Datasets:

rohitsaxena

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MovieSum

like 9

Duplex_2003

tt0266489

<script> <scene> <scene_description>Duplex by Larry Doyle Revisions by Greg Mottola, Wally Wolodarsky and Maya Forbes Current Revisions by Larry Doyle, January 13, 2002</scene_description> </scene> <scene> <stage_direction>EXT. BUILDING - PARK SLOPE, BROOKLYN - AFTERNOON</stage_direction> <scene_description>A magnificent, if weathered, Victorian brownstone row house. Music: "Sunny Side of the Street," by Rickie Lee Jones A RUN DOWN SMALL BACKYARD A young couple and a man stand on a rear porch. The man unlocks the door. He is KENNETH, 40ish, a big guy in a bigger sweater. He enters the building, followed by NANCY and ALEX.</scene_description> </scene> <scene> <stage_direction>INT. BUTLER'S PANTRY - DAY</stage_direction> <scene_description>We enter a pantry, which leads to the kitchen.</scene_description> <character>KENNETH</character> <dialogue>Butler's pantry, the old dumbwaiter…</dialogue> <scene_description>KITCHEN Kenneth is low-key, letting the place sell itself. They are obviously first-time buyers, young people pretending to be adults.</scene_description> <character>KENNETH</character> <parenthetical>(gesturing around vaguely)</parenthetical> <dialogue>Built-ins, built-ins, built-ins…</dialogue> <character>NANCY</character> <dialogue>Kitchen's a bit teensy.</dialogue> <character>KENNETH</character> <parenthetical>(indicating framed wall)</parenthetical> <dialogue>Yes. This dividing wall was put in by a recent owner...</dialogue> <scene_description>Kenneth maneuvers them to look around the added wall.</scene_description> <character>KENNETH</character> <dialogue>Knock it out and you have an eat-in kitchen. Cozy fireplace there.</dialogue> <scene_description>A TINY SQUEAL escapes from Nancy.</scene_description> <character>KENNETH</character> <dialogue>Original glass tiles in all the fireplaces.</dialogue> <character>NANCY</character> <dialogue>Fireplace-es?</dialogue> <character>KENNETH</character> <dialogue>Another in the living room, one in the bedroom.</dialogue> <character>NANCY</character> <parenthetical>(cozying up to Alex)</parenthetical> <dialogue>Fireplace in the bedroom.</dialogue> <scene_description>She waggles her eyebrows saucily at Alex. He waggles back.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - PARLOR</stage_direction> <scene_description>Matthew leads Nancy and Alex in from the hallway. One wall is filled with a ornate hutch; on another is an oak fireplace with an antique mirror above the mantle. There is carved wood everywhere. It's real estate porn.</scene_description> <character>KENNETH</character> <dialogue>The parlor...</dialogue> <character>ALEX</character> <parenthetical>(referring to listing sheet in his hand)</parenthetical> <dialogue>Built in 1881? So... that would make this Victorian?</dialogue> <character>NANCY/KENNETH</character> <dialogue>Queen Anne.</dialogue> <scene_description>Nancy twirls around the parlor slowly.</scene_description> <character>NANCY</character> <dialogue>This entire house is an antique!</dialogue> <scene_description>Alex subtly gives Nancy a "remember what we discussed" look. She assumes her "buyer's face."</scene_description> <character>NANCY</character> <dialogue>Of course, we're in no hurry.</dialogue> <character>KENNETH</character> <dialogue>Perhaps this isn't for you then. I'm sure it'll be sold by Monday.</dialogue> <scene_description>Nancy digs her nails deeply into Alex's arm.</scene_description> <character>KENNETH</character> <dialogue>... original inlaid parquet floor.</dialogue> <scene_description>The floor is scuffed, gouged, pocked and puttied.</scene_description> <character>KENNETH</character> <dialogue>A lot of story there.</dialogue> <character>NANCY</character> <dialogue>Can you imagine all the furniture that's lived here over the years?</dialogue> <scene_description>Kenneth gestures to an alcove of bookshelves.</scene_description> <character>KENNETH</character> <dialogue>This is the library…</dialogue> <character>ALEX</character> <parenthetical>(can't stop himself)</parenthetical> <dialogue>Wow.</dialogue> <scene_description>Nancy playfully shoots him an exaggerated "buyer's face." He laughs, busted.</scene_description> <character>NANCY</character> <dialogue>Alex is a writer.</dialogue> <character>KENNETH</character> <parenthetical>(doesn't give a shit)</parenthetical> <dialogue>Really? What do you write?</dialogue> <character>ALEX</character> <parenthetical>(modestly)</parenthetical> <dialogue>I wrote a book, you probably never heard of it... "Unbodied Souls."</dialogue> <character>NANCY</character> <dialogue>It was nominated for all sorts of first novel awards.</dialogue> <character>KENNETH</character> <parenthetical>(not apologetic)</parenthetical> <dialogue>I don't read books.</dialogue> <character>NANCY</character> <dialogue>Alex is almost done with his second novel. Which would look great</dialogue> <parenthetical>(spokesmodel flourish)</parenthetical> <dialogue>in these magnificent, built-in Nineteenth Century bookcases!</dialogue> <scene_description>Alex obviously likes that idea. But...</scene_description> <character>ALEX</character> <dialogue>Too bad it's out of our price range.</dialogue> <character>NANCY</character> <parenthetical>(gesturing)</parenthetical> <dialogue>It is at the top of our price range.</dialogue> <character>ALEX</character> <parenthetical>(gesturing above her)</parenthetical> <dialogue>Over the top.</dialogue> <character>NANCY</character> <parenthetical>(intertwining her fingers with his)</parenthetical> <dialogue>At the tippy top.</dialogue> <character>KENNETH</character> <dialogue>Would you like to see the bedroom?</dialogue> <character>NANCY</character> <dialogue>Yes please.</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM DOOR</stage_direction> <scene_description>Kenneth pushes open a large wooden accordion divider. He's saved the best for last... They walk into the light. Nancy actually GASPS. The bedroom is huge; there is a curved front window area that looks out to the leafy street. As they walk into the center of the room, Alex steps on a floorboard that CREAKS LOUDLY. He stops to look down at it. Nancy semi-pirouettes over to the fireplace; Kenneth follows.</scene_description> <character>KENNETH</character> <dialogue>Fireplace is tiger-eye maple--</dialogue> <scene_description>He is interrupted by SEVERAL CREAKS. He looks over to see Alex STEPPING REPEATEDLY on the creaky floorboard.</scene_description> <character>ALEX</character> <parenthetical>(re: floorboard)</parenthetical> <dialogue>That could get annoying.</dialogue> <character>KENNETH</character> <dialogue>Yes.</dialogue> <parenthetical>(back to fireplace)</parenthetical> <dialogue>If you look closely you'll see it's actually hundreds of hand-carved pieces fitted perfectly together.</dialogue> <character>NANCY</character> <parenthetical>(caressing fireplace)</parenthetical> <dialogue>Who could have done this?</dialogue> <character>KENNETH</character> <dialogue>Craftsmen.</dialogue> <character>NANCY</character> <dialogue>I miss craftsman.</dialogue> <character>KENNETH</character> <dialogue>And over here you've got a little alcove, if that's the word, a round outcropping.</dialogue> <character>NANCY</character> <dialogue>A nook!</dialogue> <parenthetical>(excitedly, to Alex)</parenthetical> <dialogue>A writer's nook.</dialogue> <scene_description>Alex looks at the nook, and out the windows at the park. He is buying into the fantasy.</scene_description> <character>ALEX</character> <dialogue>A writer's nook.</dialogue> <character>NANCY</character> <parenthetical>(innocently caught up)</parenthetical> <dialogue>Or it could be a nursery!</dialogue> <parenthetical>(notices something)</parenthetical> <dialogue>Ew.</dialogue> <scene_description>The opposite wall contains a large interior window that has been painted over for some reason. Nancy approaches it, frowning, but then looks more closely. She scratches at the paint, which flakes off in several layers.</scene_description> <character>NANCY</character> <dialogue>Is there stained glass under here?</dialogue> <character>KENNETH</character> <parenthetical>(unctuous smile)</parenthetical> <dialogue>Could be.</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT - FOYER/PARLOR</stage_direction> <scene_description>The three emerge from the bedroom.</scene_description> <character>KENNETH</character> <dialogue>You've got my card if you want to make an offer…</dialogue> <scene_description>Alex's attention is caught by a large spiral planter.</scene_description> <character>NANCY (O.C.)</character> <dialogue>Can you call us if anybody else makes one?</dialogue> <character>KENNETH (O.C.)</character> <dialogue>I'm not supposed to, but…</dialogue> <scene_description>Over the proceeding, we follow Alex's gaze up the planter. The plants still have price tags. The wrought-iron planter spirals to the top, where a rather obvious circular piece of wood has been painted white to match the ceiling.</scene_description> <character>ALEX</character> <dialogue>Excuse me, is this a stairway?</dialogue> <scene_description>Now that he mentions it, it very clearly is a spiral staircase. Kenneth doesn't miss a beat.</scene_description> <character>KENNETH</character> <dialogue>Oh, I'm sorry. I thought you realized. This is a duplex.</dialogue> <character>ALEX</character> <dialogue>There's another floor?</dialogue> <character>KENNETH</character> <dialogue>It's on the listing sheet. In your hand.</dialogue> <scene_description>Alex looks at the listing sheet. Fucking Kenneth is right.</scene_description> <character>NANCY</character> <parenthetical>(a little worried)</parenthetical> <dialogue>Why's it sealed off? Were there a slew of murders up there? You have to tell us if there were.</dialogue> <character>KENNETH</character> <dialogue>Oh, nothing like that. It's just, there's a sweet old lady who lives up there…</dialogue> <character>ALEX</character> <dialogue>A tenant.</dialogue> <character>KENNETH</character> <dialogue>Yes, and it is rent-controlled, so… but she's so sweet and so,</dialogue> <parenthetical>(annoying chuckle)</parenthetical> <dialogue>she's gotta be a hundred years old.</dialogue> <character>ALEX</character> <parenthetical>(good-natured sigh)</parenthetical> <dialogue>Well, that's unfortunate, because--</dialogue> <character>NANCY</character> <dialogue>Can we meet her?</dialogue> <scene_description>Kenneth CHUCKLES, in a chortling sort of way.</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - LOBBY</stage_direction> <scene_description>As they climb the stairs, Nancy caresses the banisters.</scene_description> <character>ALEX</character> <dialogue>Rent-controlled means we can't kick her out, right?</dialogue> <character>NANCY</character> <dialogue>Alex!</dialogue> </scene> <scene> <stage_direction>INT. BROWNSTONE - SECOND FLOOR LANDING - CONTINUOUS</stage_direction> <scene_description>Kenneth stops at a door in mid-landing.</scene_description> <character>KENNETH</character> <parenthetical>(that chuckle again)</parenthetical> <dialogue>A legitimate question. No, you can't evict her. She has to decide to leave, or…</dialogue> <parenthetical>(as if changing subject)</parenthetical> <dialogue>Poor dear hasn't been feeling well.</dialogue> <scene_description>He KNOCKS, loudly.</scene_description> <character>KENNETH (CONT.)</character> <dialogue>She's hard of hearing.</dialogue> <scene_description>The three stand there for a long beat.</scene_description> <character>KENNETH (CONT.)</character> <dialogue>It may take a little while for her to get to the door.</dialogue> <scene_description>They all smile at each other. After another longish beat, we hear a lock being LABORIOUSLY OPENED on the other side. There is another beat.</scene_description> <character>KENNETH (CONT.)</character> <parenthetical>(mouthing, low volume)</parenthetical> <dialogue>Arthritis.</dialogue> <scene_description>We hear a second lock being opened with a LONG GRINDING CREAK. A moment later, the door opens slowly, JERKING to a halt at the end of the security chain. Nancy's eyes widen in expectation; Alex is curious. Their expressions flash to shock, then polite suppression of shock. INSIDE THE DOOR Peering behind the chain is MRS. CONNELLY. She's a tiny, frail lady, in a housecoat that may be as old as she is. She stares unblinkingly; this, combined with her total lack of make-up, makes her looks more than a little like a corpse. After a moment, her face flashes in recognition; she smiles sweetly and speaks with a slight Irish brogue.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Kenneth!</dialogue> <character>KENNETH</character> <dialogue>Good afternoon, Mrs. Connelly! How are you feeling today?</dialogue> <character>MRS. CONNELLY</character> <dialogue>Oh, don't let me burden you with my troubles…</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I don't feel good, Kenneth.</dialogue> <scene_description>ON KENNETH Nancy peeks over his shoulder into the apartment.</scene_description> <character>KENNETH</character> <dialogue>I'm sorry to hear that. I've brought by a young couple, who might want to buy the apartment.</dialogue> <scene_description>Kenneth steps back to reveal Nancy on tip-toe; she drops down quickly and interlocks arms with Alex.</scene_description> <character>NANCY</character> <dialogue>Good afternoon, Mrs. Connelly! I'm Nancy, and this is my husband, Alex.</dialogue> <character>ALEX</character> <parenthetical>(tiny wave)</parenthetical> <dialogue>Hello.</dialogue> <character>NANCY</character> <dialogue>Do you mind if we look around?</dialogue> <scene_description>NANCY'S POV As Mrs. Connelly speaks, Nancy's gaze drifts above her head. She sees only a sliver: another magnificent fireplace, its mantle draped with Catholic memento mori.</scene_description> <character>MRS. CONNELLY (OVER PRECEDING)</character> <dialogue>It's in a horrible state. Haven't had the energy to tidy up in ages. I can only imagine what it must smell like.</dialogue> <character>NANCY</character> <dialogue>We'll be in and out in a jif.</dialogue> <character>MRS. CONNELLY</character> <dialogue>Sorry, dear. I don't feel up to it.</dialogue> <scene_description>The door CLOSES on Nancy's face. We hear the door slowly being LOCKED again. Then, from behind the door:</scene_description> <character>MRS. CONNELLY (O.C.)</character> <parenthetical>(Long sad coughing; tiny squeak of sickly despair.)</parenthetical> <dialogue>Nancy and Alex are thinking the same thing.</dialogue> <character>KENNETH</character> <dialogue>Poor dear.</dialogue> </scene> <scene> <stage_direction>EXT. BROWNSTONE - STOOP</stage_direction> <scene_description>Kenneth gestures across the street.</scene_description> <character>KENNETH</character> <dialogue>And you've got the park right there, of course.</dialogue> <scene_description>Nancy sees kids in the park. She emits a YEARNING SIGH.</scene_description> <character>KENNETH (CONT.)</character> <dialogue>Shame you're not ready to buy. But there'll be other places. Not as special but… Maybe we should look a little deeper into Brooklyn…</dialogue> <scene_description>Alex takes one look and his crestfallen wife and:</scene_description> <character>ALEX</character> <dialogue>We'll take it.</dialogue> </scene> <scene> <stage_direction>EXT. LOWER EAST SIDE - SIXTH STREET - NIGHT</stage_direction> <scene_description>Alex and Nancy sit in the window of a restaurant. A neon sign above them reads, "NY Delhi."</scene_description> </scene> <scene> <stage_direction>INT. NY DELHI - CONTINUOUS</stage_direction> <scene_description>A cheesy pairing of traditional Indian kitsch and faux hip. A sitar-lead combo plays an Indian-inflected "Mood Indigo." Alex is happily eating; Nancy is too happy to eat.</scene_description> <character>ALEX</character> <dialogue>Nobody does tandoori like these guys. I don't care if the rumors are true.</dialogue> <character>NANCY</character> <parenthetical>(gleefully)</parenthetical> <dialogue>We bought a house!</dialogue> <character>ALEX</character> <parenthetical>(mouth full)</parenthetical> <dialogue>If the bank gives us the money.</dialogue> <character>NANCY</character> <dialogue>They'll give us the money. Banks love giving people money. Besides, we make enough: we've got my salary, you're getting the rest of your advance when you hand in the book, my Christmas bonus, my annual raise... and let's not forget the royalties from your book...</dialogue> <scene_description>Alex LAUGHS.</scene_description> <character>NANCY</character> <dialogue>There's gonna be scads of royalties. Your book is so good, Alex.</dialogue> <character>ALEX</character> <dialogue>It'd be better if it was finished.</dialogue> <character>NANCY</character> <dialogue>Well, now you've got a writer's nook.</dialogue> <character>ALEX</character> <parenthetical>(fondly)</parenthetical> <dialogue>It is a great nook.</dialogue> <scene_description>Nancy brings a forkful of food to her mouth, then:</scene_description> <character>NANCY</character> <dialogue>What rumors?</dialogue> </scene> <scene> <stage_direction>EXT. TOMPKIN SQUARE PARK IN MANHATTAN - NIGHT</stage_direction> <scene_description>The couple walk along, cradling Starbucks™ cups. Nancy is practically skipping, and half circling Alex with giddy energy. Alex is thoroughly enjoying her delight; he playfully baits her.</scene_description> <character>ALEX</character> <dialogue>You do realize that once we move to Brooklyn, we won't be able to walk to our favorite Indian restaurant and pick up extra-hot-no foam- lattes on the way home…</dialogue> <character>NANCY</character> <dialogue>We'll eat take-out in front of one of our several fireplaces!</dialogue> <scene_description>They pass a scruffy gentleman in a long coat.</scene_description> <character>SCRUFFY GENTLEMAN</character> <parenthetical>(not so sotto)</parenthetical> <dialogue>Smoke. Smoke.</dialogue> <character>ALEX</character> <dialogue>And what if we want to buy drugs?</dialogue> <character>NANCY</character> <dialogue>We won't need drugs! We won't be able to afford them anyway.</dialogue> <character>ALEX</character> <dialogue>C'mon, Nance, admit it. You're gonna miss this park.</dialogue> <character>CRAZY WOMAN</character> <dialogue>You're killing the frogs!</dialogue> <scene_description>The woman swings at Alex, deliberately KNOCKING his extra-hot latte all over the front of his pants.</scene_description> <character>CRAZY WOMAN (O.C.)</character> <dialogue>A harbinger!</dialogue> <scene_description>Steam rises from Alex's crotch.</scene_description> <character>ALEX</character> <dialogue>Oh-christ! Hot Hot!</dialogue> <scene_description>Alex pulls anxiously at the pants, trying to air them out. He sighs, relieved, then:</scene_description> <character>ALEX</character> <dialogue>Now cold.</dialogue> <parenthetical>(he starts walking)</parenthetical> <dialogue>Really cold.</dialogue> <scene_description>He walks briskly off-screen, leaving Nancy standing there.</scene_description> </scene> <scene> <stage_direction>INT. EAST VILLAGE APARTMENT - NIGHT</stage_direction> <scene_description>It's one room, with "areas" designated by the placement of mismatched pieces of furniture. The "office' is a clawtooth bathtub in the kitchen; an ibook sits on a wooden board laying across it. There are stacks of books everywhere, and no where to walk. Paintings and wall-hangings sit on the floor because there is nowhere to hang them, etc. BARELY MUFFLED STREET NOISES invade the space. The "bedroom" sits behind a Chinese scrim. The couple lies in bed in the "dark" (Streetlight through the barred windows casts a classic prison shadow across the couple.).Alex is on his back, uncomfortable. Nancy peeks under the covers.</scene_description> <character>NANCY</character> <dialogue>Does it still hurt?</dialogue> <character>ALEX</character> <dialogue>Yes. Yes it does.</dialogue> <character>NANCY</character> <dialogue>Should I rub some cream on it or something?</dialogue> <character>ALEX</character> <dialogue>No, that's okay.</dialogue> <character>NANCY</character> <dialogue>I was really looking forward to sexing you up tonight.</dialogue> <character>ALEX</character> <parenthetical>(sadly)</parenthetical> <dialogue>Yeah. Me, too.</dialogue> <character>NANCY</character> <dialogue>Oh! You just wait until we get into our romantic Queen Anne duplex...</dialogue> <parenthetical>(suggestively)</parenthetical> <dialogue>with so many separate rooms...</dialogue> <scene_description>The enormity of it suddenly hits Alex.</scene_description> <character>ALEX</character> <dialogue>We're going to be homeowners.</dialogue> <scene_description>From the street we hear a HUGE GARBAGE TRUCK. A car drives by, its STEREO violating noise ordinances. Nancy cuddles up next to Alex and closes her eyes.</scene_description> <character>ALEX</character> <dialogue>It will be nice to get a decent night's sleep for once.</dialogue> <scene_description>Then right below their window:</scene_description> <character>YOUNG DRUNKEN MAN (O.C.)</character> <dialogue>I'm gonna kill the shit out of you!</dialogue> <character>ANOTHER YOUNG DRUNKEN MAN (O.C.)</character> <dialogue>Famous last words! Famous last words!</dialogue> <scene_description>From below we hear two men KILLING THE SHIT OUT OF EACH OTHER, smashing GARBAGE CANS and setting off CAR ALARMS. Nancy nuzzles Alex. Alex smiles, and closes his eyes.</scene_description> </scene> <scene> <stage_direction>EXT. BROWNSTONE - PARK SLOPE, BROOKLYN - SUNDAY MORNING</stage_direction> <scene_description>A "MOVE-A-MUSCLE" moving van is double-parked in the street. Huge, hunky fellows unload boxes and furniture. Music: "Happy Days Are Here Again," by Lucinda Williams Alex, in blue jeans and sweatshirt, sips from his new no- spill metal coffee cup. He approaches the truck, signalling them to hand him a box. One of the fellows happily tosses Alex a box, which, it turns out, is quite heavy.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - PARLOR - CONTINUOUS</stage_direction> <scene_description>A mover is about to put a box down when Nancy stops him. She directs his attention to a Xerox on the wall; drawn on it is a crude layout of the apartment with various colored round stickers on it. The sticker on the box is red, not Dayglow™ orange like on the layout. Nancy directs him to a different corner of the same room. He walks a few feet and puts the box down. Nancy smiles.</scene_description> </scene> <scene> <stage_direction>EXT. BROWNSTONE - CONTINUOUS</stage_direction> <scene_description>Alex helps two movers unload a large TV from the truck. He takes a sip of water, and then looks up to see the two "movers" make off down the sidewalk with the TV. Before he can do anything, two of the real movers take off after the would-be thieves.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - PARLOR - LATE AFTERNOON</stage_direction> <scene_description>Assorted boxes, and furniture that doesn't really fit in: a mixture of Ikea and kitschy fifties and sixties stuff. Most notable, though, is how small and insignificant it looks, dwarfed in the space. Alex and Nancy survey the scene.</scene_description> <character>ALEX</character> <dialogue>I could have sworn we had more stuff.</dialogue> <scene_description>Nancy paces the floor, working it out.</scene_description> <character>NANCY</character> <dialogue>It'll be fine once we spread it out. Maybe we need to add a couple small pieces for accent, maybe a couple of big pieces to anchor it...</dialogue> <scene_description>Alex arches an eyebrow, half seriously.</scene_description> <character>NANCY</character> <dialogue>You can get me a couch for Christmas.</dialogue> <scene_description>She kisses his cheek. Suddenly, she excitedly grabs his hand and yanks him backwards out of the room.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM - CONTINUOUS</stage_direction> <scene_description>Nancy arrives in the doorway, Alex in tow. Golden light pours into the room. Nancy turns to Alex, her eyes welling up in sublime joy.</scene_description> <character>NANCY</character> <dialogue>Welcome home, Alex Kendricks.</dialogue> <scene_description>She kisses him deeply. In unison, they move to the bed. The floorboard SQUEAKS, but they ignore it. They fall on the bed, kissing. CLOSE ON ALEX AND NANCY Smooching. SFX: Distinctive PITTER-PATTER OF FEET above them. Alex and Nancy hear this but continue kissing. SFX: The PITTER-PATTER, going in the opposite direction. They both open their eyes, and stop kissing. Nancy stares up at the ceiling.</scene_description> <character>NANCY</character> <dialogue>How old do you think poor old Mrs. Connelly is?</dialogue> <scene_description>Alex rolls off Nancy, lying face up on the bed.</scene_description> <character>ALEX</character> <dialogue>That image is going to hard to get out of my head.</dialogue> <character>NANCY</character> <dialogue>We should go say hello.</dialogue> <character>ALEX</character> <dialogue>Let's.</dialogue> <scene_description>Alex sits up and heads for the door.</scene_description> <character>NANCY</character> <dialogue>Not dressed like that!</dialogue> </scene> <scene> <stage_direction>INT. BROWNSTONE - SECOND FLOOR LANDING</stage_direction> <scene_description>Alex, in slacks, pullover sweater and tie, looks as uncomfortable as a twelve-year-old going to visit his grandmother. He holds a bottle of wine with a red ribbon on it. Nancy, in a conservative sweater set and wool skirt, licks her fingers and smooths down Alex's hair. We hear the locks all OPEN, as laboriously as before. The door CREAKS open to the end of the chain, and we again see Mrs. Connelly's suspicious eye. Only now it's surrounded by bright blue eye shadow.</scene_description> <character>NANCY</character> <parenthetical>(a little loudly)</parenthetical> <dialogue>Mrs. Connelly? It's Nancy and Alex! From downstairs!</dialogue> <character>MRS. CONNELLY'S EYE (MOUTH O.C.)</character> <dialogue>Ohhhh. Oh!</dialogue> <scene_description>She SLAMS the door. We hear the chain being UNHOOKED. She opens the door again. Mrs. Connelly, wearing make-up usually reserved for the wake, stands there in a red satin cheongsam (that mandarin slip dress that was briefly popular 40 years ago) covered with a tiny, pink sweater jacket.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Come in! Come in!</dialogue> <scene_description>Mrs. Connelly patters in. The parlor is dominated by a huge brass-plated birdcage containing a giant macaw. Abutting it is a ratty vinyl chair next to an even rattier couch, all oriented toward an old TV (with knobs) on a brass- plated rolling cart.</scene_description> <character>NANCY</character> <dialogue>You have a lovely apartment, Mrs. Connelly.</dialogue> <character>MRS. CONNELLY</character> <dialogue>Oh, please call me Josie.</dialogue> <character>ALEX</character> <parenthetical>(offering wine)</parenthetical> <dialogue>We got you this, Josie. Ah. Housewarming.</dialogue> <character>MRS. CONNELLY</character> <parenthetical>(accepting bottle)</parenthetical> <dialogue>Oh, I don't drink, dear. It's a sin.</dialogue> <character>ALEX</character> <parenthetical>(interesting fact)</parenthetical> <dialogue>Irish Catholics don't drink.</dialogue> <scene_description>Nancy pinches his side.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Sit down, sit down.</dialogue> <scene_description>Mrs. Connelly gently pushes Nancy and Alex over to the sitting area. She directs Alex to the easy chair.</scene_description> <character>MRS. CONNELLY</character> <dialogue>You sit in my chair.</dialogue> <scene_description>Alex looks down in the seat of the chair. It has a very distinct, slightly greasy, impression in it.</scene_description> <character>MRS. CONNELLY</character> <parenthetical>(re: wine)</parenthetical> <dialogue>Let me open this for you.</dialogue> <scene_description>Mrs. Connelly patters away. We notice for the first time that the back of her dress is completely worn away, revealing saggy gray old lady underpants. She disappears down the hallway. Alex looks around. The magnificent parlor is crammed with Irish Catholic tchotchkes: praying hands sculpture; assorted Lladro figurines, mostly from the angel series; Jesi everywhere.</scene_description> <character>ALEX</character> <dialogue>This must be what heaven is like.</dialogue> <scene_description>Nancy looks around the room, mentally redecorating.</scene_description> <character>MRS. CONNELLY (O.C.)</character> <dialogue>Here, dear.</dialogue> <scene_description>Mrs. Connelly returns, carrying a bartender's corkscrew and a small glass. She hands Alex the glass, which we now see is an old Peter Potamous jelly jar. Mrs. Connelly then places the wine bottle between her knees and with one swift motion, UNCORKS it. She pours Alex an inch of wine, puts the bottle down, and patters out of the room again without saying anything. Alex turns toward the macaw. It's a sad specimen: hunched over, feathers missing. Suddenly it LUNGES toward camera. Its beak comes through the bars, missing Alex's eyeball by a 32nd of an inch. Alex lurches back, and settles himself with a swallow of wine. He eases back into the chair. He feels something funny. He lifts up his arm adjacent to the cage and sees the armrest is speckled with white and green clumps.</scene_description> <character>MRS. CONNELLY (O.C.)</character> <dialogue>And some snacks!</dialogue> <scene_description>Mrs. Connelly places a black lacquer tray on the brass-plated glass coffee table. The tray features a Polynesian dancer, whose toplessness has been strategically covered by a bowl full of Bugles™ and a container of Onion Dip, half empty with numerous Bugle™ strafings in it.</scene_description> <character>ALEX</character> <dialogue>Wow, they still make Bugles™.</dialogue> <scene_description>Mrs. Connelly holds a Bugle™ up to the cage. The bird gently takes it by the tip, and rears its head back. (BUGLE-LIKE TOOTLE)</scene_description> <character>ALEX</character> <dialogue>That's a great parrot you have there.</dialogue> <character>MRS. CONNELLY</character> <dialogue>He's a macaw, dear. I've had Mr. Fawkes for sixty years now.</dialogue> <scene_description>As Mrs. Connelly speaks, she drags a Bugle methodically through the dip. Without saying a word, she sticks it right under Alex's nose, close enough that her minor hand shake causes the crusty dip to get on the tip of his nose. ALEX'S POV Mrs. Connelly looms over him, selling.</scene_description> <character>MRS. CONNELLY</character> <dialogue>It's French onion.</dialogue> <scene_description>Alex swallows, and smiles. Mrs. Connelly sits down on the couch, too close to Nancy. She pats her knees, happily.</scene_description> <character>MRS. CONNELLY</character> <dialogue>There.</dialogue> <character>NANCY</character> <dialogue>How are you feeling, Josie?</dialogue> <character>MRS. CONNELLY</character> <dialogue>Why do you ask, dear?</dialogue> <character>NANCY</character> <dialogue>Because the last time we saw you, you were quite ill.</dialogue> <character>MRS. CONNELLY</character> <dialogue>Oh, I had a bit of a cold. I'm in fine fettle now. But tell me about yourselves. What do you do, Alan?</dialogue> <character>ALEX</character> <dialogue>Alex.</dialogue> <character>NANCY</character> <dialogue>Alex is writing a novel.</dialogue> <character>MRS. CONNELLY</character> <dialogue>Well. Now, I never thought of it, but that is a job, in a way.</dialogue> <parenthetical>(turns to Nancy)</parenthetical> <dialogue>So I suppose you must have to work then?</dialogue> <character>NANCY</character> <dialogue>Alex's already had one novel published. In hardback. It was called "Unbodied Souls."</dialogue> <scene_description>Mrs. Connelly looks confused.</scene_description> <character>ALEX</character> <parenthetical>(just being helpful)</parenthetical> <dialogue>It's from a John Donne poem.</dialogue> <character>MRS. CONNELLY</character> <dialogue>I think it was "souls unbodied" in that poem, dear.</dialogue> <character>ALEX</character> <parenthetical>(smiling politely)</parenthetical> <dialogue>You might be right.</dialogue> <character>MRS. CONNELLY</character> <dialogue>I am, dear. Oh, let me refill that for you.</dialogue> <scene_description>Mrs. Connelly pours another inch into Alex's empty glass.</scene_description> <character>MRS. CONNELLY</character> <parenthetical>(mostly to Nancy)</parenthetical> <dialogue>Mr. Connelly had the taste, too. The drink took him from me in 1959. We had been married forty years.</dialogue> <scene_description>Nancy and Alex are doing the math in their heads. Mrs. Connelly breaks the silence.</scene_description> <character>MRS. CONNELLY</character> <dialogue>So now, tell me, when might you be having children?</dialogue> <scene_description>Alex finds this question a little forward; Nancy does not.</scene_description> <character>NANCY</character> <dialogue>Soon.</dialogue> <character>ALEX</character> <dialogue>In the next few years.</dialogue> <character>NANCY</character> <dialogue>We've talked about two years.</dialogue> <character>ALEX</character> <dialogue>Depending. On economic conditions, and other considerations.</dialogue> <character>MRS. CONNELLY</character> <dialogue>You sound just like Mr. Connelly. We never did have children. And now its too late for me.</dialogue> <scene_description>Alex reaches for his wine glass. We hear a WATERY PLOP. Alex looks over and sees Mr. Fawkes' tail feathers hanging over his glass. He pulls his hand away uneasily.</scene_description> <character>NANCY</character> <parenthetical>(genuinely concerned)</parenthetical> <dialogue>So, Josie, you don't have any family?</dialogue> <character>MRS. CONNELLY</character> <dialogue>They've all gone on to their reward, please God.</dialogue> <scene_description>Nancy puts her hand over Mrs. Connelly's hands.</scene_description> <character>NANCY</character> <dialogue>I'm sure they have.</dialogue> <character>MRS. CONNELLY</character> <dialogue>When you live long as I have, you see so many deaths. Me mammy and me daddy went, oh, it was back in the Great Consumption...</dialogue> <scene_description>Alex glances at a clock built into a Pietà reproduction. It reads 7:15 p.m. The face MATCH DISSOLVES to 8:37.</scene_description> <character>MRS. CONNELLY (O.C.)</character> <dialogue>We lost Uncle Dennis and little Nuala in the influenza outbreak of 1918...</dialogue> <scene_description>The clock face MATCH DISSOLVES to 10:24. Mrs. Connelly sits between a stupefied Alex and Nancy.</scene_description> <character>MRS. CONNELLY</character> <dialogue>I did have one sister, Lily. But she died horribly.</dialogue> <character>NANCY</character> <dialogue>I am so sorry.</dialogue> <character>MRS. CONNELLY</character> <dialogue>Ah, well, it's the Irish way.</dialogue> <parenthetical>(noticing)</parenthetical> <dialogue>Look, I've kept you up. I'm sorry; I didn't notice the time. Let me show you out.</dialogue> <scene_description>Mrs. Connelly stands to lead them out. As Alex rises, a RUDE NOISE emanates from his chair. Nancy looks at him askance.</scene_description> <character>ALEX</character> <dialogue>It was the chair.</dialogue> <scene_description>Nancy gives him a "let's just drop it" look. Instead Alex turns back to the chair and pumps it with his hand, trying to get it to recreate the sound. He turns back to Nancy.</scene_description> <character>ALEX</character> <parenthetical>(under breath, urgent)</parenthetical> <dialogue>It was the chair.</dialogue> <scene_description>Nancy is suddenly hit by a ripe, eye-watering odor. It hits Alex a moment later.</scene_description> <character>ALEX</character> <parenthetical>(desperate, sotto to Nancy)</parenthetical> <dialogue>That wasn't me!</dialogue> <scene_description>ON MRS. CONNELLY She smiles serenely.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM - NIGHT</stage_direction> <scene_description>Nancy sits in bed with a pad and pencil. Alex, in T-shirt and underpants, walks in reading a dictionary. He steps on the SQUEAKY FLOORBOARD, but ignores it.</scene_description> <character>ALEX</character> <dialogue>A macaw is a parrot.</dialogue> <scene_description>He SLAPS the book closed with satisfaction and gets into bed. Nancy is figuring something on her pad.</scene_description> <character>NANCY</character> <dialogue>She's between 95 and 105 years old.</dialogue> <parenthetical>(looks around, gets idea)</parenthetical> <dialogue>Ooo. Turn out your light!</dialogue> <scene_description>A little puzzled, Alex turns out his light. So does Nancy. Their faces are bathed in a flickering glow. THEIR POV A tiny blaze burns in the fireplace. Soft street light filters in; the room seems even more majestic than in broad daylight. Nancy suppresses a squeal.</scene_description> <character>NANCY</character> <dialogue>We're millionaires!</dialogue> <scene_description>Alex smiles, and KISSES Nancy. She KISSES him back hard. They lie down, KISSING. CLOSE ON ALEX AND NANCY They make out. But something is on Alex's mind. He stops.</scene_description> <character>ALEX</character> <dialogue>You know, we don't have to wait a full two years, if you, you know...</dialogue> <character>NANCY</character> <dialogue>Shut up.</dialogue> <scene_description>Nancy shoves Alex's T-shirt up and starts kissing his chest. He tilts his head back. She starts moving down his chest. Music (Really Loud): "HAWAII 5-0" THEME. Startled, the two stop. They LAUGH.</scene_description> <character>ALEX</character> <dialogue>God.</dialogue> <character>NANCY</character> <dialogue>She is deaf. Poor thing.</dialogue> <scene_description>Music (Much Louder): "HAWAII 5-0" THEME. They both stare at the ceiling, amazed. DISSOLVE TO: MUCH LATER They place pillows on their heads, etc., trying to sleep.</scene_description> <character>VERY LOUD TV MAN (O.C.)</character> <dialogue>Simply put the beef...</dialogue> <character>VERY LOUD TV WOMAN (O.C.)</character> <dialogue>Or chicken?</dialogue> <character>VERY LOUD TV MAN (O.C.)</character> <dialogue>Or chicken. Or fish. Into the chamber, snap the SureSeal™, and pull back the Infuser™.</dialogue> <character>VERY LOUD TV WOMAN (O.C.)</character> <dialogue>And then we wait, what, an hour?</dialogue> <character>VERY LOUD TV MAN (O.C.)</character> <dialogue>It's done.</dialogue> <character>VERY LOUD TV WOMAN (O.C.)</character> <dialogue>It's done?!</dialogue> <character>VERY LOUD TV MAN (O.C.)</character> <dialogue>It's marinated! Throw it on the grill!</dialogue> <scene_description>SFX: HUGE AUDIENCE APPLAUSE. Nancy and Alex stare at the ceiling.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM - EARLY MORNING</stage_direction> <scene_description>Sunlight comes through the window. Nancy and Alex lie face up, bleary eyed. Music (from above): THE THEME FROM "THE BILL COSBY SHOW." (The one in which he played gym teacher Chet Kincaid.) The music stops abruptly. Nancy and Alex close their eyes. SFX: ALARM CLOCK BUZZ</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - SECOND FLOOR LANDING - MORNING</stage_direction> <scene_description>A bedraggled Nancy waits as the last LOCK disengages. The door CREAKS open. Mrs. Connelly peers across the chain.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Please forgive me, dear. I must look awful. You woke me.</dialogue> <character>NANCY</character> <dialogue>I apologize for that, but Josie-</dialogue> <scene_description>Mrs. Connelly furrows her brow as if insulted.</scene_description> <character>NANCY (CONT.)</character> <dialogue>Mrs. Connelly, we had some trouble sleeping last night; your TV was on, uh, quite loud.</dialogue> <character>MRS. CONNELLY</character> <parenthetical>(merrily)</parenthetical> <dialogue>Oh, was it? I'm stone deaf! Getting old is a terrible thing.</dialogue> <character>NANCY</character> <dialogue>Well, if you could…</dialogue> <character>MRS. CONNELLY</character> <dialogue>It's just that it gets so quiet at night, and I get frightened. We have mice, you know.</dialogue> <character>NANCY</character> <dialogue>No, I didn't know that. Thank you for telling me. But do you think you could you turn the TV down, a little?</dialogue> <character>MRS. CONNELLY</character> <dialogue>Certainly, dear.</dialogue> <scene_description>Nancy smiles as if about to say goodbye.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Oh, dear, before you go, could you ask your husband to take a look at my shower? The pipes in there are making a bangety-bang sound.</dialogue> <character>NANCY</character> <dialogue>Well, it's an old boiler; they make sounds sometimes. It's nothing.</dialogue> <character>MRS. CONNELLY</character> <dialogue>It's a new sound. It goes bangety- bang, then… bang-bang.</dialogue> <character>NANCY</character> <dialogue>Well, my husband is on a tight deadline right now. But I tell you what: I will look at your shower as soon as I get home from work.</dialogue> <character>MRS. CONNELLY</character> <dialogue>Oh, where do you work, dear?</dialogue> <character>NANCY</character> <dialogue>I'm a graphic designer at New York New York magazine...</dialogue> <character>MRS. CONNELLY</character> <dialogue>That's pretty magazine.</dialogue> <character>NANCY</character> <dialogue>Thank you, but I'm going late if I don't leave right now, so...</dialogue> <character>MRS. CONNELLY</character> <dialogue>Oh, don't let me keep you.</dialogue> <character>NANCY</character> <dialogue>Have a good day, Mrs. Connelly.</dialogue> <character>MRS. CONNELLY</character> <parenthetical>(sweetly)</parenthetical> <dialogue>You have a nice time at work, Miss Kendricks.</dialogue> <character>NANCY</character> <dialogue>Kendricks is my husband's name. I'm Nancy Rose.</dialogue> <character>MRS. CONNELLY</character> <dialogue>Wives not taking their husband's names. My. Now the children, will they be Roses or Kendrickses?</dialogue> <character>NANCY</character> <dialogue>That's a discussion we haven't had.</dialogue> <character>MRS. CONNELLY</character> <dialogue>Well, now, this is a problem you and your husband should work out.</dialogue> <character>NANCY</character> <dialogue>We're not having a problem.</dialogue> <character>MRS. CONNELLY</character> <dialogue>But you now, don't wait too long to have children.</dialogue> <parenthetical>(between women)</parenthetical> <dialogue>Drink damages the seed.</dialogue> <character>NANCY</character> <dialogue>I have to go now. Have a good day, Mrs. Connelly.</dialogue> <character>MRS. CONNELLY</character> <dialogue>You have a nice time at work, Miss Rose.</dialogue> <scene_description>She SLAMS the door, and starts RELOCKING.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM - DAY</stage_direction> <scene_description>Alex's ibook sits regally on a small desk; Alex settles into his writing chair. He sips his coffee. Everything is perfect. Alex stares out the window at the park, forming a perfect sentence in his head. He begins TYPING. SFX: A LOUD, DISCONCERTING, THREE-TONE CHIME. He looks puzzled for a moment. He gets up and walks across the floor, causing it to SQUEAK. He smirks, half annoyed.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - FOYER</stage_direction> <scene_description>Alex opens the door; Mrs. Connelly stands in the hallway.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Good morning, Mr. Kendricks.</dialogue> <character>ALEX</character> <dialogue>Good morning. Uh, can I help you?</dialogue> <scene_description>Mrs. Connelly is holding the bottle of wine from the previous evening. She presents it to him.</scene_description> <character>MRS. CONNELLY</character> <dialogue>I wanted to give this back. I won't drink it and I thought you might need it.</dialogue> <character>ALEX</character> <dialogue>Thank you very much. And if there's anything else I can do for you…</dialogue> <scene_description>Alex CLOSES the door gently on Mrs. Connelly. He holds the bottle up to the light, and sees there's only an inch left in the bottle. He shakes his head, smiling, and exits the foyer. SFX: A LOUD, DISCONCERTING, THREE-TONE CHIME. Alex reenters, and opens the door.</scene_description> <character>MRS. CONNELLY</character> <dialogue>There is one thing.</dialogue> </scene> <scene> <stage_direction>INT. MRS. CONNELLY'S APARTMENT - BATHROOM</stage_direction> <scene_description>Alex stands in the claw-foot tub, listening to the wall.</scene_description> <character>ALEX</character> <dialogue>Sorry, I don't hear any banging.</dialogue> <character>MRS. CONNELLY</character> <dialogue>You have to stand there a bit.</dialogue> <scene_description>Alex steps out of the tub, and leads Mrs. Connelly out of the bathroom, his hand on her shoulder.</scene_description> <character>ALEX</character> <dialogue>I tell you what, Mrs. Connelly. I'm right downstairs. If those pipes start banging, you just run</dialogue> <character>ALEX</character> <parenthetical>(makes running down stairs fingers)</parenthetical> <dialogue>down and get me, and I'll run</dialogue> <parenthetical>(running up fingers)</parenthetical> <dialogue>right up and listen to them.</dialogue> <character>MRS. CONNELLY</character> <dialogue>All right then. Oh, Mr. Kendricks, could you do me a favor and take out my trash? It's so heavy for me.</dialogue> <scene_description>Mrs. Connelly points off screen.</scene_description> <character>ALEX</character> <dialogue>Sure, no problem.</dialogue> <scene_description>Alex sees the trash. It is a kitchen-sized can, crammed to well past overflowing with week's worth of trash.</scene_description> <character>MRS. CONNELLY</character> <dialogue>We don't want to be feeding the mice.</dialogue> </scene> <scene> <stage_direction>INT. BROWNSTONE - SECOND STORY LANDING - DAY</stage_direction> <scene_description>Alex exits Mrs. Connelly's door, struggling with a vastly overstuffed kitchen garbage bag. Mrs. Connelly follows.</scene_description> <character>ALEX</character> <dialogue>You know, Mrs. Connelly, if you took your trash out every week, or every other week, instead of… never, maybe-</dialogue> <scene_description>The bag bursts and garbage CASCADES down the stairs.</scene_description> <character>MRS. CONNELLY</character> <dialogue>You'll need another bag.</dialogue> <scene_description>She patters away.</scene_description> </scene> <scene> <stage_direction>INT. NYNY MAGAZINE - ART DEPARTMENT - DAY</stage_direction> <scene_description>We PAN across several, large framed nyny magazine covers. Nancy is seated at a drafting table with by a portrait computer monitor on it. Next to her is SYN, also in her late 20s but much more downtown. ON THE MONITOR Is a large two-page layout of various New York celebrities at various New York events under the rubric, "Scene and Herd." There are also large pullout quotes and numerous captions, in the current fashion. Nancy is expertly moving pictures with one hand while painting Syn a picture with the other.</scene_description> <character>NANCY</character> <dialogue>All along the ceiling there's gadrooning. I own gadrooning!. Oh, Syn, you have to come over and see our place. Oh, wait....</dialogue> <scene_description>She clicks something on her screen. The party layout disappears and a DVD-ROM program boots up.</scene_description> <character>NANCY</character> <dialogue>Through the miracle of technology:</dialogue> <scene_description>On screen, a CGI house spins around; the walls fall away so we can see how everything is arranged inside. The opening title flies up: DECORATOR 3D. Nancy CLICKS again and the screen changes to a digital rendition of their parlor.</scene_description> <character>NANCY</character> <parenthetical>(faux British)</parenthetical> <dialogue>Welcome to my home.</dialogue> <scene_description>CLOSE ON COMPUTER MONITOR We "walk" through a remarkably well-rendered CGI version of Nancy and Alex's apartment.</scene_description> <character>SYN</character> <dialogue>Yikes. How long did it take you to input all this?</dialogue> <character>NANCY</character> <dialogue>A few hours. Four or five. Six.</dialogue> <character>SYN</character> <dialogue>Jeezu-Beezu. You live in a mansion!</dialogue> <character>NANCY</character> <dialogue>We will. Watch this...</dialogue> <scene_description>ON SCREEN The cursor clicks on a couch (which looks like one in the real apartment), and drags it to garbage truck in the corner. The truck makes a satisfying HYDRAULIC CRUSHING SOUND.</scene_description> <character>NANCY</character> <parenthetical>(faux British)</parenthetical> <dialogue>Ta-ta, Ikea!</dialogue> <scene_description>Seeing something, Syn taps Nancy on the back; Nancy immediately clicks on the screen so the magazine spread pops up. Their boss walks up. Michael is tall, thin and bald; he wears vintage wool pants, a blue oxford shirt, and suspenders. He looks more annoyed than usual.</scene_description> <character>NANCY</character> <parenthetical>(all business)</parenthetical> <dialogue>This looks great Syn, but maybe vary the point sizes on the quotes, and, oh, hello, Michael.</dialogue> <character>MICHAEL</character> <dialogue>Ladies. "Celebrity Scene"? Status?</dialogue> <character>NANCY</character> <dialogue>Tickety boo.</dialogue> <character>MICHAEL</character> <dialogue>I'm assuming than means soon.</dialogue> <scene_description>Nancy and Syn scrunch their noses at him as he walks away. Nancy clicks the CGI layout back on the screen. Syn points at a cheap, ugly leather reclining chair.</scene_description> <character>SYN</character> <dialogue>Throw that out.</dialogue> <character>NANCY</character> <parenthetical>(I'd sure like to, but...)</parenthetical> <dialogue>That's from Alex's bachelor pad.</dialogue> <character>SYN</character> <dialogue>He's not a bachelor any more.</dialogue> <scene_description>A mischievous smile. Nancy moves the mouse. We hear a very satisfying HYDRAULIC CRUSHING SOUND.</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - STAIRWAY - AFTERNOON</stage_direction> <scene_description>Alex is on his knees, picking up garbage, as Mrs. Connelly stands watching over him. Alex picks up something, which he realizes to his horror, are big ol' granny panties. Mrs. Connelly's hand reaches into frame and plucks them away.</scene_description> <character>MRS. CONNELLY</character> <dialogue>How did those get in there?</dialogue> <scene_description>Mrs. Connelly brushes coffee grinds off the panties and shoves them in her pocket. Then she notices in Alex's hand:</scene_description> <character>MRS. CONNELLY (CONT.)</character> <dialogue>A can! We have to recycle that!</dialogue> <character>ALEX</character> <dialogue>You didn't recycle it before.</dialogue> <character>MRS. CONNELLY</character> <dialogue>That's no excuse now. You need to make two piles. Three piles, one for paper.</dialogue> <parenthetical>(pointing)</parenthetical> <dialogue>Those Q-Tips go in the paper pile.</dialogue> <scene_description>Alex delicately picks up a Q-Tip, both ends of which are coated with a yellowish brown jam-like substance.</scene_description> <character>ALEX</character> <dialogue>I don't think so.</dialogue> <character>MRS. CONNELLY</character> <dialogue>You'll have to wash them first.</dialogue> <scene_description>Alex picks up a can, and looks at it. The can has been badly opened and the lid is merely pried back. Also, it's cat food.</scene_description> <character>MRS. CONNELLY</character> <dialogue>That tuna was near inedible.</dialogue> <scene_description>Mrs. Connelly reaches into frame, and takes the can from Alex's hand. The jagged edge of the lid nicks his forefinger.</scene_description> <character>ALEX</character> <parenthetical>(under breath)</parenthetical> <dialogue>Jesus!</dialogue> <character>MRS. CONNELLY</character> <dialogue>You will not take the name of the lord in vain in this house!</dialogue> <parenthetical>(then, chipper)</parenthetical> <dialogue>I'll get you a plaster.</dialogue> <scene_description>Mrs. Connelly patters away. ON A COMPUTER MONITOR Is a CGI rendering which looks a lot like Mrs. Connelly's parlor. Mrs. Connelly's chair is selected and moved to the garbage truck with a satisfying HYDRAULIC CRUSHING SOUND.</scene_description> </scene> <scene> <stage_direction>INT. NYNY MAGAZINE - ART DEPARTMENT - CONTINUOUS</stage_direction> <scene_description>Nancy is happily CRUSHING everything in Mrs. Connelly's parlor. A hand reaches in from behind and covers her mouse hand. It's Michael's. Without a word, Michael guides Nancy's mouse hand up to FILE, and selects QUIT. He arches an eyebrow at Nancy and walks away.</scene_description> <character>NANCY</character> <parenthetical>(eyes narrowing, "I'll...)</parenthetical> <dialogue>Crunch you.</dialogue> </scene> <scene> <stage_direction>INT. BROWNSTONE - WRITER'S NOOK - LATE AFTERNOON</stage_direction> <scene_description>Alex is typing, wincing every time he has to hit a key with his bandaged finger. Music (extremely loud, from above): SCRATCHY RECORD of John McCormick singing the "Derry Aire." Alex stops typing.</scene_description> </scene> <scene> <stage_direction>EXT. PARK SLOPE F STOP - EARLY EVENING</stage_direction> <scene_description>It's sleeting. Several commuters with umbrellas exit, followed by Nancy, holding a nyny magazine over his head.</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - LOBBY</stage_direction> <scene_description>Nancy enters, soaking. She's carrying a Wiz™ bag.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - LIBRARY AREA</stage_direction> <scene_description>Alex is on a stepladder, unpacking boxes of books and placing them on his antique shelves. This pleases him immensely. Nancy enters the parlor, hanging her coat on the spiral staircase, which has been repurposed as a coat/shoe rack.</scene_description> <character>NANCY</character> <dialogue>Hey, handsome.</dialogue> <character>ALEX</character> <dialogue>Hey cutie. How was work?</dialogue> <character>NANCY</character> <dialogue>Okay. Yours?</dialogue> <character>ALEX</character> <dialogue>Well, first of all: I love my nook. I feel like I'm a real writer...</dialogue> <scene_description>Nancy hugs him from behind.</scene_description> <character>NANCY</character> <dialogue>You've always been a real writer.</dialogue> <scene_description>Nancy straightens some of the books Alex has already shelved.</scene_description> <character>ALEX</character> <dialogue>Unfortunately, our sweet old tenant kept me from writing in my nook, and so now I'm one day closer to a rapidly looming deadline with absolutely nothing to show for it.</dialogue> <character>NANCY</character> <dialogue>How could you lose a whole day? What did she do?</dialogue> <character>ALEX</character> <dialogue>Well, for one, she wounded me.</dialogue> <scene_description>Alex presents his cut finger for Nancy's inspection.</scene_description> <character>NANCY</character> <parenthetical>(smiling)</parenthetical> <dialogue>She "wounded" you.</dialogue> <character>ALEX</character> <dialogue>She cut me with a jagged can. She'll say it was an accident.</dialogue> <scene_description>Nancy peeks under the bandage.</scene_description> <character>NANCY</character> <dialogue>It's just a tiny nick.</dialogue> <character>ALEX</character> <dialogue>Look, it's right on the crease. It will never heal.</dialogue> <character>NANCY</character> <dialogue>Well, it's not like you touch type or anything.</dialogue> <character>ALEX</character> <dialogue>I do touch type, just according to an individual system.</dialogue> <character>NANCY</character> <dialogue>It's just one finger.</dialogue> <character>ALEX</character> <dialogue>It's my e-t-and-h finger. It's a crucial finger!</dialogue> <character>NANCY</character> <parenthetical>(affectionate, motherly)</parenthetical> <dialogue>Let me kiss it.</dialogue> <parenthetical>(she does)</parenthetical> <dialogue>Better?</dialogue> <scene_description>Alex pouts like little boy. They both CRACK UP. SFX: A LOUD, METALLIC BANGING on the second floor.</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - SECOND FLOOR LANDING</stage_direction> <scene_description>Nancy and Alex wait as the door OPENS to the end of the chain (Nancy has that Wiz™ bag with her). Nancy and Alex smile into the opening. The door SLAMS, and reopens again.</scene_description> <character>NANCY</character> <dialogue>Good evening, Mrs. Connelly! Is everything okay up here? We-</dialogue> <scene_description>SFX: VERY LOUD BANGING.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Oh, that's Mr. Dzerzhinksy.</dialogue> <scene_description>Mrs. Connelly patters off and the couple follows her. SFX: RUDE NOISE Alex and Nancy turn toward the noise. Mr. Fawkes is staring at Alex. Mr. Fawkes makes another RUDE NOISE.</scene_description> </scene> <scene> <stage_direction>INT. MRS. CONNELLY'S APARTMENT - BATHROOM</stage_direction> <scene_description>MR. DZERZHINSKY, a very large Russian man, stands in the tub. He is using huge pipe wrench to rather unprofessionally BANG THE CRAP OUT OF SOME NEW COPPER PIPING to wedge it into place. The entire wall has been torn open.</scene_description> <character>MRS. CONNELLY</character> <dialogue>This is Mr. Dzerzhinksy, the plumber.</dialogue> <scene_description>Mr. Dzerzhinksy GRUNTS. Nancy points to a pile of broken ceramic on the ground.</scene_description> <character>NANCY</character> <dialogue>Those were the original tiles.</dialogue> <character>MR. DZERZHINKSY</character> <dialogue>Yeah, you gonna need a tile guy.</dialogue> <parenthetical>(looks down at Alex)</parenthetical> <dialogue>You the landlord?</dialogue> <character>ALEX</character> <dialogue>Yes, but I didn't order any work.</dialogue> <scene_description>Mr. Dzerzhinksy hands a bill to Alex anyway, and goes about packing up his tools. Mrs. Connelly turns to Nancy.</scene_description> <character>MRS. CONNELLY</character> <dialogue>The pipes were going bang-bang-bang- bang-BANG. I thought it would explode.</dialogue> <character>MR. DZERZHINKSY</character> <dialogue>It coulda.</dialogue> <character>ALEX</character> <parenthetical>(re: bill)</parenthetical> <dialogue>You were here for four hours?</dialogue> <character>MR. DZERZHINKSY</character> <dialogue>More or less.</dialogue> <character>ALEX</character> <dialogue>I'm not going pay for something I didn't auth-</dialogue> <scene_description>Mr. Dzerzhinksy belly-bumps Alex.</scene_description> <character>MR. DZERZHINKSY</character> <dialogue>I did the work, my friend. Or I can rip the pipes outta the wall.</dialogue> <character>ALEX</character> <parenthetical>(giving up)</parenthetical> <dialogue>No, no.</dialogue> <scene_description>Mr. Dzerzhinksy exits. Alex and Nancy walk with Mrs. Connelly back toward the door.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Oh, Mr. Kendricks, before I forget, it's the first of the month.</dialogue> <scene_description>She patters over to a counter and retrieves a small stack of money. She counts it out into Alex's palm.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Twenty… forty… fifty… fifty-five… sixty… sixty-five… seventy… seventy- five… seventy-six… seventy-seven… seventy-eight… seventy-nine… eighty- one… eighty-two… eighty-three… eighty-four… eighty-five… eighty- six… eighty-seven… eighty-eight…</dialogue> <scene_description>She removes a coin purse from her pocket.</scene_description> <character>MRS. CONNELLY (CONT.)</character> <dialogue>Eight-eight twenty-five… fifty… seventy-five… eighty-nine dollars… and twenty-five, thirty-five, forty- five, fifty cents. Would you like to count it?</dialogue> <character>ALEX</character> <dialogue>You look like an honest person.</dialogue> <scene_description>Nancy takes Mrs. Connelly hands in hers.</scene_description> <character>NANCY</character> <parenthetical>(remembering)</parenthetical> <dialogue>Oh, Mrs. Connelly, I got you a present.</dialogue> <parenthetical>(producing object from her Wiz™ bag)</parenthetical> <dialogue>Here are some headphones for your television.</dialogue> <parenthetical>(glances at old TV, unsure)</parenthetical> <dialogue>I'm sure it has an ear jack, somewhere…</dialogue> <character>MRS. CONNELLY</character> <dialogue>That is so sweet, dear, but I could never wear those. I don't pay twenty dollars a week for this hairdo just to muss it up.</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT - PARLOR</stage_direction> <scene_description>Nancy and Alex enter.</scene_description> <character>NANCY</character> <dialogue>She does not spend twenty dollars on that hairdo.</dialogue> <character>ALEX</character> <dialogue>Those repairs were completely unauthorized. We should put a stop on that check.</dialogue> <character>NANCY</character> <dialogue>You can't do that.</dialogue> <character>ALEX</character> <dialogue>So he sues me.</dialogue> <character>NANCY</character> <dialogue>He'll beat you with a wrench.</dialogue> <scene_description>Nancy exits, toward the bedroom.</scene_description> <character>ALEX</character> <parenthetical>(mostly to himself)</parenthetical> <dialogue>No, you listen, my friend, you've caused criminal damage to property here... You're trespassing, my friend.</dialogue> <character>NANCY (O.C.)</character> <parenthetical>(Horrified Shriek)</parenthetical> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM - CONTINUOUS</stage_direction> <scene_description>Nancy stands, looking up in abject terror. Alex trots in. Unable to speak, Nancy points to the ceiling. ON THE CEILING A fairly large water stain has started in the corner, apparently caused by Mr. Dzerzhinksy's plumbing. Alex puts his arm around Nancy's shoulder.</scene_description> <character>ALEX</character> <dialogue>Don't worry, honey. We'll just patch it.</dialogue> <character>NANCY</character> <parenthetical>(near tears)</parenthetical> <dialogue>It's a canvas ceiling! You can't patch it; you have to replace the whole thing!</dialogue> <scene_description>Not knowing what to say, Alex squeezes her shoulder harder.</scene_description> <character>NANCY</character> <parenthetical>(sniffles)</parenthetical> <dialogue>I'm going to bed.</dialogue> <scene_description>She exits frame. He looks at his watch.</scene_description> <character>ALEX</character> <dialogue>It's not even eight-o-clock.</dialogue> <scene_description>Alex realizes he's exhausted, too. He starts to take off his sweatshirt as he exits frame. We hear the floor SQUEAK.</scene_description> </scene> <scene> <stage_direction>EXT. BROWNSTONE - MIDDLE OF THE NIGHT</stage_direction> <scene_description>A blue glow emanates from Mrs. Connelly's floor.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM - CONTINUOUS</stage_direction> <scene_description>Nancy and Alex can't believe they are hearing: Music (from above): THE THEME FROM "UNDERDOG."</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - LOBBY - MORNING</stage_direction> <scene_description>A tired Nancy shuffles out. She is nearly to the door when:</scene_description> <character>MRS. CONNELLY (O.C.)</character> <dialogue>Miss Rose?</dialogue> <scene_description>Nancy's eyes flit. She quickly grabs the door and bolts out.</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - WRITER'S NOOK - MORNING</stage_direction> <scene_description>Alex, dark circles under his eyes, sips from his stainless steel Starbucks cup. He begins typing, annoyed every time he has to hit a key with his e-t-h finger. SFX: A LOUD, DISCONCERTING, THREE-TONE CHIME. Alex gets up determined and crosses the floor. It SQUEAKS. He shoots the floor a dirty look.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - FOYER</stage_direction> <scene_description>Alex opens the door; Mrs. Connelly stands in the lobby.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Good morning, Mr. Kendricks.</dialogue> <character>ALEX</character> <parenthetical>(prepared speech)</parenthetical> <dialogue>Now, Mrs. Connelly...</dialogue> <character>MRS. CONNELLY</character> <dialogue>I bought your book!</dialogue> <scene_description>Mrs. Connelly cheerfully holds up a very thick book. Alex is completely disarmed.</scene_description> <character>ALEX</character> <dialogue>Oh, Mrs. Connelly, you didn't have to, I could have lent you one...</dialogue> <character>MRS. CONNELLY</character> <dialogue>That's all right, dear. It only cost 99 cents.</dialogue> <scene_description>Alex starts to close the door gently.</scene_description> <character>ALEX</character> <dialogue>Well, thanks for the support...</dialogue> <character>MRS. CONNELLY</character> <parenthetical>(stopping door)</parenthetical> <dialogue>One more tiny thing, Mr. Kendricks.</dialogue> <scene_description>Alex fortifies himself for his prepared speech.</scene_description> <character>ALEX</character> <dialogue>Mrs. Connelly, I working right now. Writing is a job, like any other job. And my boss, my editor, she'd be pretty upset if she knew that I wasn't at my desk writing. She'd say, you have a deadline, Alex. Get back to work. So from 9 to 6, I'm at work. At six o'clock, I'm yours, for whatever you want. But not until 6. You see what I'm saying? I'm not really at home right now; I'm at work.</dialogue> <character>MRS. CONNELLY</character> <parenthetical>(getting it)</parenthetical> <dialogue>Oh.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>It will only take two seconds.</dialogue> <scene_description>INT - MRS. CONNELLY'S APARTMENT - KITCHEN Alex opens the refrigerator door.</scene_description> <character>ALEX</character> <dialogue>Seems cold. What's the problem?</dialogue> <scene_description>Mrs. Connelly "takes" the door handle from him and closes and opens the door several times. Alex shrugs, confused.</scene_description> <character>MRS. CONNELLY</character> <dialogue>The little light doesn't go on!</dialogue> <scene_description>Alex suppresses an eye roll; he peers into the refrigerator.</scene_description> <character>ALEX</character> <dialogue>You can see all the food...</dialogue> <scene_description>Alex sees a whole pig's head wrapped in cellophane. Mrs. Connelly joins him with her head in the refrigerator.</scene_description> <character>MRS. CONNELLY</character> <dialogue>If the little light doesn't work, goodness knows what else is going wrong in there. It could start a fire...</dialogue> <scene_description>Alex takes his head out the refrigerator.</scene_description> <character>ALEX</character> <dialogue>I'm sure it's just a burnt bulb.</dialogue> <scene_description>Mrs. Connelly closes the refrigerator door.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Well, then it's off to the hardware store with us...</dialogue> <scene_description>Mrs. Connelly takes Alex's hand and leads him off-screen.</scene_description> </scene> <scene> <stage_direction>INT. NYNY MAGAZINE - NANCY'S WORKSTATION - LATE MORNING</stage_direction> <scene_description>Nancy sits at her computer, nodding off. She repeatedly marks her face with a Sharpie. Finally she settles into a comfortable position, drooling happily. Michael enters, frowns and leans in close to Nancy. He blows on her face. Her eyes flutter open. Startled, she FALLS off her chair (and out of frame). She pops back up a moment later and hops onto her stool.</scene_description> <character>NANCY</character> <dialogue>Michael! Can I help you?</dialogue> <character>MICHAEL</character> <dialogue>Yes. You can work.</dialogue> <scene_description>Michael walks off.</scene_description> </scene> <scene> <stage_direction>EXT. PARK SLOPE - SEVENTH AVENUE - AFTERNOON</stage_direction> <scene_description>Mrs. Connelly patters down the street. Alex follows her, carrying a several grocery bags, in addition to a bag from the hardware store and, for some reason, a large broom.</scene_description> <character>ALEX</character> <dialogue>Mrs. Connelly, I really have to get back to work; I'm right in the middle of this very tricky passage...</dialogue> <character>MRS. CONNELLY</character> <dialogue>We're going home now, dear.</dialogue> <scene_description>Mrs. Connelly suddenly stops. Alex has to pull up sharply, in order to not run into her; he drops the broom and some bags.</scene_description> <character>MRS. CONNELLY</character> <dialogue>I need stamps.</dialogue> <scene_description>Mrs. Connelly starts walking back in the opposite direction; Alex struggles to gather the packages to follow her.</scene_description> </scene> <scene> <stage_direction>INT. POST OFFICE - AFTERNOON</stage_direction> <scene_description>Alex and Mrs. Connelly are at the front of a very long line at the only available teller. Alex has long since passed the end of his patience. Mrs. Connelly closely examines what appears to be her tenth sheet of stamps.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Those are very nice. Do you have any with birds on them?</dialogue> <scene_description>The MASSIVE POSTAL CLERK turns ever so slowly to the stamp drawers at his side. He moves as if through an exceptionally viscous fluid. He returns ever so slowly with the sheet of bird stamps. Mrs. Connelly carefully scans each individual stamp. Alex smiles uncomfortably at the many folks waiting impatiently in line. More scanning. Finally, Mrs. Connelly looks up.</scene_description> <character>MRS. CONNELLY</character> <dialogue>I'll take these.</dialogue> <scene_description>There is visual relief throughout the room (except of course on the impassive mass behind the counter).</scene_description> <character>MRS. CONNELLY</character> <dialogue>Do you have any other pretty ones?</dialogue> <scene_description>The postal mass doesn't move at all for a moment, then begins turning toward the stamp drawer, impossibly slowly.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM</stage_direction> <scene_description>Alex trudges to his nook. The floor SQUEAKS. He grits his teeth. He sits down at his desk and looks out the window. The sun is going down. SFX: A LOUD, DISCONCERTING, THREE-TONE CHIME. Alex does not make a move to answer it. After a beat, he looks down at his ibook to begin writing again. SFX: A LOUD, DISCONCERTING, THREE-TONE CHIME. Alex doesn't get up. But neither does he start writing. SFX: A LOUD, DISCONCERTING, THREE-TONE CHIME.</scene_description> </scene> <scene> <stage_direction>INT. NYNY MAGAZINE - ART DEPARTMENT - EVENING</stage_direction> <scene_description>Nancy is frantically working on this layout. Michael stands opposite her, waiting impatiently.</scene_description> <character>NANCY</character> <dialogue>Just two ticks...</dialogue> <character>MICHAEL</character> <dialogue>Tick tick tick...</dialogue> <scene_description>The phone RINGS. Nancy answers it.</scene_description> <character>NANCY</character> <dialogue>Nancy Rose... Hello, Mrs. Connelly. Listen, can I call you back?</dialogue> <scene_description>Nancy listens to LOW LEVEL YAMMERING. She looks up at Michael and smiles. He does not smile back.</scene_description> <character>NANCY</character> <dialogue>Well, Mrs. Connelly, I don't know why my husband isn't answering the door... I'm sure he's fine, no, he's fine, please don't call the fire department.</dialogue> <scene_description>Barely audibly, we hear Mrs. Connelly YAMMERING.</scene_description> <character>NANCY</character> <dialogue>I sincerely doubt he got drunk and hit his head on something. Look, Mrs. Connelly, I'm going to be home in just an hour or so…</dialogue> <character>MICHAEL</character> <dialogue>No, you're not.</dialogue> <scene_description>Nancy looks up at Michael helplessly as Mrs. Connelly's YAMMERING continues unabated.</scene_description> </scene> <scene> <stage_direction>EXT. BROWNSTONE - MIDDLE OF THE NIGHT</stage_direction> <scene_description>A blue glow emanates from Mrs. Connelly's floor.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM - CONTINUOUS</stage_direction> <scene_description>Alex and Nancy stare at the ceiling. TV (from inside): THEME FROM "STARSKY AND HUTCH"</scene_description> <character>ALEX</character> <dialogue>Mrs. Connelly? Mrs. Connelly!</dialogue> </scene> <scene> <stage_direction>EXT. BROWNSTONE - MORNING</stage_direction> <scene_description>It's very cold, but bright. Young couples walk strollers and dogs toward the park.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM - CONTINUOUS</stage_direction> <scene_description>Nancy and Alex lie like corpses in the bed. Nancy rouses first, and shakes Alex.</scene_description> <character>NANCY</character> <dialogue>Up, up! We got some shopping to do.</dialogue> <character>ALEX</character> <dialogue>No, gotta write. After sleeping.</dialogue> <scene_description>Alex rolls over onto his face. Nancy starts to get up, but drops back onto her pillow. She closes her eyes. We hear LOUD CACKLING and BANGING. Nancy opens her eyes.</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - LOBBY</stage_direction> <scene_description>Nancy peeks out her door. Three OLD BIDDIES lug cases for a tuba, trombone and French horn up the stairs.</scene_description> <character>FIRST OLD BIDDY</character> <dialogue>It's a cold one.</dialogue> <character>SECOND OLD BIDDY</character> <dialogue>Cold for November.</dialogue> <character>THIRD OLD BIDDY</character> <dialogue>Winter's coming.</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM</stage_direction> <scene_description>Nancy trudges in and collapses on the bed. From above, we hear CACKLES OF GREETING and CHAIRS SCOOTCHING. Then BRASS INSTRUMENTS warming up. Then silence. Then a "SONG" starts.</scene_description> <character>ALEX</character> <dialogue>ohgod.</dialogue> <character>NANCY</character> <dialogue>What song is that?</dialogue> <character>ALEX</character> <dialogue>"On the Street Where You Live?"</dialogue> <character>NANCY</character> <dialogue>No, it's "Every Breath you Take."</dialogue> <scene_description>Alex and Nancy both sit up, wearily.</scene_description> </scene> <scene> <stage_direction>EXT. MANHATTAN - 25TH STREET FLEA MARKET - DAY</stage_direction> <scene_description>Nancy haggles with an ANTIQUES MERCHANT.</scene_description> <character>NANCY</character> <dialogue>I'm sorry, but I can't go over one- sixty.</dialogue> <character>ANTIQUES MERCHANT</character> <dialogue>Then I'm sorry, too.</dialogue> <character>NANCY</character> <dialogue>Okay then.</dialogue> <scene_description>Nancy start to walk away, but then turns back.</scene_description> <character>NANCY</character> <parenthetical>(laughing)</parenthetical> <dialogue>You win that one.</dialogue> <scene_description>Nancy writes a check. Alex walks up excitedly, holding a manual typewriter.</scene_description> <character>ALEX</character> <dialogue>A Remington Royal! Twenty dollars.</dialogue> <character>NANCY</character> <dialogue>What were they asking?</dialogue> <character>ALEX</character> <dialogue>Twenty dollars.</dialogue> <scene_description>Nancy shakes her head in mock disappointment.</scene_description> </scene> <scene> <stage_direction>EXT. GRAND STREET - OUTSIDE SOHO ANTIQUE FAIR - CONTINUOUS</stage_direction> <scene_description>Nancy supervises a cabbie as he finished tying down a trunk crammed with antiques. Satisfied, Nancy opens the passenger door, revealing Alex jammed in, surrounded by with bags and furniture. Even the cabbie's front passenger seat is packed with stuff. Nancy wedges herself into the cab strategically. FIXING-UP-THE-HOUSE MONTAGE #3764A Music: "In a Shanty in Old Shanty Town" by Ted Lewis A) Nancy rubs door trim with a can of block oil. Seeing the results, she excitedly grabs Alex. She keeps showing him unoiled vs. oiled, but he can't tell the difference. B) In the lobby, Nancy supervises Salvation Army workers removing their Ikea couch. Seeing something, she urges them to hurry. Alex appears, wondering what's going on. Nancy kisses him and leads him back into the apartment. C) Nancy strips paint from stained glass window in the bedroom. She is ecstatic to see a ruby panel and calls Alex over. He smiles, pretending also to be impressed. D) Alex struggles to tie up flattened moving boxes as behind him Nancy wanders around with an end table looking for the exact right place to put it.</scene_description> </scene> <scene> <stage_direction>EXT. BROWNSTONE - EARLY EVENING - ESTABLISHING</stage_direction> <scene_description>Music: "BABY, IT'S COLD OUTSIDE" BY LOUIS ARMSTRONG AND JILL SCOTT (SCOTT MIXED INTO ARMSTRONG ORIGINAL)</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - PARLOR - CONTINUOUS</stage_direction> <scene_description>A mini-stereo is on the mantle, playing the music. Alex and Nancy are asleep together in the chair. Alex rouses, awaking the Nancy. ANOTHER ANGLE shows the apartment as we first viewed it when Nancy and Alex moved in. It has been transformed. REVERSE ANGLE of the couple considering all this. Nancy hugs and kisses Alex.</scene_description> <character>NANCY</character> <dialogue>We're making a home.</dialogue> <character>ALEX</character> <parenthetical>(curious)</parenthetical> <dialogue>What happened to all my stuff?</dialogue> <scene_description>Nancy responds by kissing Alex, deeply. As they make out, Alex stands, picking Nancy up in his arms. He carries her to the bedroom as she undresses him.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM</stage_direction> <scene_description>Alex carries Nancy into the dusky bedroom. Colored light illuminates them. It's pouring through the stained glass from the lobby.</scene_description> <character>NANCY</character> <parenthetical>(Swooning sound)</parenthetical> <character>ALEX</character> <dialogue>I love you.</dialogue> <character>NANCY</character> <parenthetical>(kissing him repeatedly)</parenthetical> <dialogue>I love you. I love our house.</dialogue> <character>ALEX</character> <dialogue>I love our house, too.</dialogue> <scene_description>Alex sets Nancy down as the two tear at each other's clothing. SFX: SHARP KNOCKING ON GLASS. Nancy jumps out of what's left of her clothing when she sees: THROUGH THE STAINED GLASS A shadowy figure stands on the other side. It's face comes very close to the glass. It's Mrs. Connelly. She peers inside; she frowns disapprovingly. She backs away and disappears. A moment later: SFX: A LOUD, DISCONCERTING, THREE-TONE CHIME. Alex noticeably flinches.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - FOYER</stage_direction> <scene_description>Alex and Nancy quickly redress their dishabille. At the door is Mrs. Connelly, in church clothes.</scene_description> <character>MRS. CONNELLY</character> <dialogue>I hate to bother you on a Sunday evening like this, but I'm cold.</dialogue> </scene> <scene> <stage_direction>INT. MRS. CONNELLY'S APARTMENT - DOORWAY</stage_direction> <scene_description>Mrs. Connelly leads the two in.</scene_description> <character>NANCY</character> <dialogue>It doesn't seem that cold in here, Mrs. Connelly.</dialogue> <character>MRS. CONNELLY</character> <dialogue>I'm cold. Mr. Fawkes is cold.</dialogue> <scene_description>She gestures to Mr. Fawkes, who just sits there.</scene_description> <character>ALEX</character> <dialogue>Maybe that's because Mr. Fawkes is supposed to be in a South American rain forest, not New York City in November.</dialogue> <scene_description>Nancy puts her hand on Mrs. Connelly's shoulder, gently.</scene_description> <character>NANCY</character> <dialogue>The heat is just started up, Mrs. Connelly. If you wait, it'll be fine in just a few minutes. If you want, I have a sweater you could borrow. Or a caftan.</dialogue> <character>MRS. CONNELLY</character> <dialogue>No, that's all right, dear. I understand.</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT - FOYER</stage_direction> <scene_description>As they re-enter,</scene_description> <character>ALEX</character> <dialogue>It was at least 70 degrees up there.</dialogue> <character>NANCY</character> <dialogue>She's lonely, that's all.</dialogue> <character>ALEX</character> <dialogue>I don't know why; she hangs out with me all day....</dialogue> <scene_description>Alex surveys the apartment. It hits him.</scene_description> <character>ALEX</character> <parenthetical>(laughs)</parenthetical> <dialogue>Wow, honey, you went on quite a shopping spree this weekend...</dialogue> <character>NANCY</character> <parenthetical>(A tad defensive)</parenthetical> <dialogue>It wasn't a spree. This all serves a purpose.</dialogue> <scene_description>Alex points to two end tables sitting side by side.</scene_description> <character>ALEX</character> <parenthetical>(teasing)</parenthetical> <dialogue>So that end table, it serves as an end table to that end table?</dialogue> <character>NANCY</character> <dialogue>First of all, that's not an end table, it's an antique telephone stand, and second of all, it's not going there, it's going in the upstairs foy-ay.</dialogue> <character>ALEX</character> <dialogue>We don't have an upstairs foy-ay.</dialogue> <character>NANCY</character> <dialogue>But we will. Eventually.</dialogue> <character>ALEX</character> <dialogue>That? What purpose does that serve?</dialogue> <scene_description>He points to a two-foot tall wooden pyramid.</scene_description> <character>NANCY</character> <dialogue>That serves a design purpose.</dialogue> <character>ALEX</character> <dialogue>What is it?</dialogue> <character>NANCY</character> <dialogue>It's a pyramid. Obviously.</dialogue> <scene_description>SFX: A LOUD, DISCONCERTING, THREE-TONE CHIME.</scene_description> </scene> <scene> <stage_direction>EXT. BROWNSTONE - LOBBY - SECONDS LATER</stage_direction> <scene_description>The door opens, revealing an exasperated Alex.</scene_description> <character>ALEX</character> <dialogue>Yes, Mrs. Connelly?</dialogue> <scene_description>HIS POV Two police uniforms. He adjusts his gaze upwards into the large, sober faces of OFFICER DAN and OFFICER SANDRA.</scene_description> <character>OFFICER SANDRA</character> <dialogue>We have a reported heat emergency.</dialogue> <character>ALEX</character> <dialogue>She called you?</dialogue> <character>OFFICER DAN</character> <dialogue>Come with us upstairs, please?</dialogue> </scene> <scene> <stage_direction>INT. BROWNSTONE - SECOND FLOOR LANDING - MOMENTS LATER</stage_direction> <scene_description>Officer Dan KNOCKS. Alex shakes his head.</scene_description> <character>ALEX</character> <dialogue>You'll see. She likes to complain.</dialogue> <scene_description>The door opens (without the usual rigmarole). Mrs. Connelly is wrapped in several shawls, tiny and weak.</scene_description> <character>MRS. CONNELLY</character> <dialogue>I'm terribly cold.</dialogue> <scene_description>The officers walk into the apartment. We can see their breath. It's like "The Exorcist."</scene_description> <character>OFFICER DAN</character> <dialogue>Good Christ.</dialogue> <character>MR. FAWKES</character> <dialogue>So cold. So cold.</dialogue> </scene> <scene> <stage_direction>EXT. BROWNSTONE - STREET - A FEW MINUTES LATER</stage_direction> <scene_description>Alex and Nancy stands on the sidewalk, shivering without coats. Officer Dan is writing a citation.</scene_description> <character>OFFICER DAN</character> <dialogue>That poor, dear sweet woman.</dialogue> <character>ALEX</character> <dialogue>Look, I think it's pretty obvious she opened all the windows to -</dialogue> <character>OFFICER DAN</character> <dialogue>What I should be doing is tossing your naked ass in a cell and hosing you down for the night, but quite sadly, all I can do is fine you.</dialogue> <scene_description>He hands the citation to Alex.</scene_description> <character>ALEX</character> <dialogue>A thousand dollars?!</dialogue> <character>OFFICER DAN</character> <dialogue>Are you complaining?</dialogue> <character>NANCY</character> <dialogue>No, we're not.</dialogue> <character>OFFICER DAN</character> <dialogue>Next time I enter Mrs. Connelly's apartment - and I will be checking in - I want to break out in a sweat, I want to be on the goddam beach at Hedonism II, do you understand?</dialogue> <character>ALEX/NANCY</character> <dialogue>Yes, officer.</dialogue> <scene_description>They shiver for a long beat.</scene_description> <character>ALEX</character> <dialogue>Is that all?</dialogue> <character>OFFICER DAN</character> <dialogue>It's such a lovely night, I thought we'd stand out here for a while.</dialogue> <scene_description>We PULL OUT slowly as they continue to shiver.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM - LATER THAT NIGHT</stage_direction> <scene_description>The two sit in bed, wearing little but drenched in sweat. They are sorting through bills and fines are laid out before them, putting them in two separate piles...</scene_description> <character>NANCY</character> <parenthetical>(re: bills)</parenthetical> <dialogue>Electricity, let's float that... Phone, float... Cable, pay...</dialogue> <character>ALEX</character> <dialogue>Visa, minimum... Mastercard, minimum...</dialogue> <character>NANCY</character> <dialogue>Yowza, did the price of heating oil suddenly double or something?</dialogue> <character>ALEX</character> <parenthetical>(wiping brow)</parenthetical> <dialogue>Better pay that.</dialogue> <parenthetical>(re: credit card bill)</parenthetical> <dialogue>Couch? What couch?</dialogue> <character>NANCY</character> <dialogue>It's being delivered Tuesday! It's it's a George Smith and it's both cute and beautiful -</dialogue> <character>ALEX</character> <dialogue>Honey, I don't think now is the best time for us to be spending eight-thousand dollars on a couch.</dialogue> <character>NANCY</character> <parenthetical>(hurt)</parenthetical> <dialogue>It's my Christmas present.</dialogue> <character>ALEX</character> <dialogue>I'm afraid your Christmas present</dialogue> <parenthetical>(pointing to ceiling)</parenthetical> <dialogue>is Granny's trip to Hedonism II up there; mine is all that lovely exposed copper piping in her bathroom.</dialogue> <character>NANCY</character> <parenthetical>(switching tactics)</parenthetical> <dialogue>You know what? You're right. We've invested tons of money into this house, and it's time it started paying us back.</dialogue> <character>ALEX</character> <dialogue>Uh, okay. And how would that be?</dialogue> <character>NANCY</character> <dialogue>You'll see, at the party.</dialogue> <character>ALEX</character> <dialogue>What party? We're renting our house out for a party?</dialogue> <character>NANCY</character> <dialogue>No, we're having a party.</dialogue> <character>ALEX</character> <dialogue>I'm sorry. I, but I'm not seeing how that is going to help our financial situation...</dialogue> <character>NANCY</character> <dialogue>You'll see. At the party.</dialogue> </scene> <scene> <stage_direction>EXT. BROWNSTONE - EVENING</stage_direction> </scene> <scene> <stage_direction>INT. APARTMENT - PARLOR - CONTINUOUS</stage_direction> <scene_description>Tiny pumpkins and ears of baby Indian corn on the spiral staircase suggest a fall theme. A table has been set for a small but elegant dinner party. Every detail is perfect. Music: "I GOT THE WORLD ON A STRING" BY SARAH VAUGHN Four guests mingle, while</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - KITCHEN</stage_direction> <scene_description>Nancy bustling around nervously, trying to make everything right. Alex, also nervous, is at a loss of what to do.</scene_description> <character>ALEX</character> <dialogue>What can I cook?</dialogue> <character>NANCY</character> <dialogue>Honey, all I need you to do right now is go out and mingle with our guests.</dialogue> <character>ALEX</character> <dialogue>Yeah, but Jean is just going to want to know why the book isn't done, and...</dialogue> <scene_description>Nancy stops bustling and takes Alex's hands.</scene_description> <character>NANCY</character> <dialogue>Then you better get over there then and suck some butt. That's what this dinner party is for.</dialogue> <scene_description>She kisses Alex, and then playfully turns him around and pushes him out of the kitchen. She returns to the stove and lifts the lid on one of the pots. Whatever's in there distresses her slightly. BY THE LIBRARY JEAN, a tall, handsome woman, nurses a white wine. TOMMY, a squat man with flyway hair and a bucket-sized glass of bourbon, has his arm around Jean's hips. Alex approaches tentatively, like a schoolboy into the principal's office.</scene_description> <character>JEAN</character> <dialogue>Alex! Do you know Tommy Zubrick? Tommy, Alex here is a highly talented writer who ought to be in the pages of your magazine.</dialogue> <character>TOMMY</character> <parenthetical>(Britishy affectation)</parenthetical> <dialogue>Then he shall be.</dialogue> <scene_description>This is apparently a big deal to Alex.</scene_description> <character>JEAN</character> <parenthetical>(a little scolding)</parenthetical> <dialogue>But only after he finishes his novel.</dialogue> <character>ALEX</character> <dialogue>Yeah, I know. I know I've fallen a little behind schedule, my schedule, with the moving, all the redecorating and other factors... But I will make my deadline.</dialogue> <scene_description>Jean cups her hand around the back of Alex's neck.</scene_description> <character>JEAN</character> <dialogue>Just make it good and true.</dialogue> <scene_description>A mother-son moment. IN THE KITCHEN Nancy has the oven door open and is peering inside when Michael appears behind her.</scene_description> <character>MICHAEL</character> <dialogue>Wedgewood?</dialogue> <character>NANCY</character> <parenthetical>(startled)</parenthetical> <dialogue>Oh! Michael! Hope you like salmon.</dialogue> <character>MICHAEL</character> <dialogue>Not particularly.</dialogue> <scene_description>Nancy notices that standing next to Michael is a BOMBSHELL, which wasn't exactly what she was expecting. After an uncomfortable beat, Nancy extends her hand to Michael's date.</scene_description> <character>NANCY</character> <dialogue>Hi, I'm Nancy...</dialogue> <character>MICHAEL</character> <dialogue>This is Becca.</dialogue> <character>BECCA</character> <dialogue>Fish is high in Omega-3 oils...</dialogue> <character>NANCY</character> <parenthetical>(ice-breaking laugh)</parenthetical> <dialogue>That's good, right? Listen, would you guys like a tour?</dialogue> <character>MICHAEL</character> <dialogue>I suppose.</dialogue> <scene_description>IN THE LIBRARY - SIMULTANEOUS Jean examines Alex's books as Tommy, deep into his bourbon, talks at Alex.</scene_description> <character>TOMMY</character> <dialogue>Novelist is the bravest profession we have. Squeezing your soul onto paper…</dialogue> <character>ALEX</character> <dialogue>It does feel like that sometimes...</dialogue> <scene_description>Nancy gooses Alex as she passes with Michael and Becca. We follow Nancy, who points toward the ceiling.</scene_description> <character>NANCY</character> <dialogue>You'll notice the gadrooning...</dialogue> <scene_description>IN THE BEDROOM</scene_description> <character>MICHAEL</character> <dialogue>So this is what you've been neglecting your work for.</dialogue> <character>NANCY</character> <dialogue>Do you approve?</dialogue> <character>MICHAEL</character> <dialogue>Not terrible.</dialogue> <character>NANCY</character> <parenthetical>(playfully)</parenthetical> <dialogue>And what bedroom is complete without antique stained glass...</dialogue> <character>MICHAEL</character> <parenthetical>(approving)</parenthetical> <dialogue>It's almost blasphemous.</dialogue> <scene_description>Michael opens a closet. It's filled with antiques.</scene_description> <character>MICHAEL</character> <dialogue>A furniture closet. Intriguing. No, ridiculous.</dialogue> <character>NANCY</character> <dialogue>That stuff's all going to go upstairs. Eventually.</dialogue> <character>NANCY</character> <dialogue>This is a duplex, but… would you like to see the second floor?</dialogue> <scene_description>Michael makes a "show the way" gesture. A LOW CREAKING is heard. They turn to where the water stain is. A huge section of the ceiling PEELS down and dangles there.</scene_description> <character>NANCY</character> <dialogue>We're getting that fixed.</dialogue> <scene_description>IN THE LIBRARY Tommy Zubrick talks very close to Alex.</scene_description> <character>ZUBRICK</character> <dialogue>For the longest time I've wanted to do a column on the writing life, but I needed a writer who wasn't famous yet, and I simply don't know any. Would like to take a crack at it? I can pay you $4,000?</dialogue> <character>ALEX</character> <dialogue>$4,000 a column?</dialogue> <character>ZUBRICK</character> <dialogue>All right, five thousand.</dialogue> </scene> <scene> <stage_direction>INT. BROWNSTONE - SECOND FLOOR LANDING</stage_direction> <scene_description>Nancy unlocks several locks.</scene_description> <character>NANCY</character> <dialogue>Currently, we have a tenant. Sweet old Irish lady. She goes out to bingo every Saturday night; I don't think she'd mind if we peeked in--</dialogue> <parenthetical>(opening the final lock)</parenthetical> <dialogue>It's a bit elderly person-y, but you can see the potential.</dialogue> <scene_description>Nancy opens the door a crack, and ushers the couple over. Michael and Becca peek in the door opening. THEIR POV Mrs. Connelly, wielding a can of Mace™, baring her teeth.</scene_description> <character>BACK TO SCENE</character> <dialogue>A FULL BLAST of Mace™. Becca SCREAMS. Michael, GAGGING, staggers backward, and down the stairs.</dialogue> </scene> <scene> <stage_direction>EXT. BROWNSTONE - A HALF HOUR LATER</stage_direction> <scene_description>An ambulance pulls out. A squad car is parked in front, lights flashing. Jean and Tommy exit, shaking their heads.</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - SECOND FLOOR LANDING - CONTINUOUS</stage_direction> <scene_description>Officer Dan has his arm around Mrs. Connelly, who looks very much the victim. Alex sits on the landing, pressing a cold cloth to Nancy's face.</scene_description> <character>OFFICER SANDRA</character> <dialogue>Being a landlord doesn't give you the right to enter your tenant's premises any time you feel like it.</dialogue> <character>NANCY</character> <dialogue>She was supposed to be at bingo!</dialogue> <character>MRS. CONNELLY</character> <dialogue>Oh, I never gamble...</dialogue> <character>ALEX</character> <dialogue>She used pepper spray! That's illegal, right?</dialogue> <character>OFFICER DAN</character> <dialogue>I gave it to her. Do you have a problem with that?</dialogue> <character>ALEX</character> <dialogue>I'm just saying, it's illegal.</dialogue> <character>OFFICER DAN</character> <dialogue>Your wife is the one who broke and entered. And your weird bald friend could've easily been a degenerate. I'm not sure he's not.</dialogue> <parenthetical>(to Officer Sandra)</parenthetical> <dialogue>Call the hospital and have them hold him until we can question him.</dialogue> <character>NANCY</character> <dialogue>Oh, God.</dialogue> <character>OFFICER DAN</character> <dialogue>Mrs. Connelly, would you like to press charges?</dialogue> <character>ALEX</character> <dialogue>Her press charges?</dialogue> <character>OFFICER DAN</character> <parenthetical>(matter-of-fact)</parenthetical> <dialogue>Don't make me subdue you.</dialogue> <character>MRS. CONNELLY</character> <dialogue>Oh, I couldn't press charges.</dialogue> <character>OFFICER DAN</character> <parenthetical>(disappointed)</parenthetical> <dialogue>If you change your mind, give me a call. Is it warm enough for you in there?</dialogue> <character>MRS. CONNELLY</character> <dialogue>Oh, yes, it's quite nice.</dialogue> <scene_description>Officer Dan leads Mrs. Connelly back into her apartment, as Nancy SNIFFLES and Alex hugs her protectively, rocking.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - WRITER'S NOOK - MORNING</stage_direction> <scene_description>Alex is exhausted. His eyes itch. Music (from above): SCRATCHY RECORD of John McCormick singing "She Moved Through the Fair." Alex takes a deep breath, bends toward the ibook and starts typing intently, as if writing through sheer will. But he can't stand the music. He gets up and stalks across the floor. It SQUEAKS. He returns moments later with a broom. Standing in the center of the room, he BANGS on the ceiling with the broom. Plaster FALLS and hits him in the face. As he wipes his face, he notices: OUT THE WINDOW Mrs. Connelly strolls past with a portable shopping cart. Perched on the bow, like a ship's mascot, is Mr. Fawkes. Then he notices:</scene_description> <character>JOHN MCCORMICK RECORD</character> <parenthetical>(skipping)</parenthetical> <dialogue>Till our wedding day… till our wedding day… till our wedding day…</dialogue> <scene_description>Alex throws his hands up and he takes a step. The floor SQUEAKS again. Alex angrily stomps on the squeaky floorboard, for much longer than the audience would expect.</scene_description> </scene> <scene> <stage_direction>INT. NYNY MAGAZINE - NANCY'S WORKSTATION - MORNING</stage_direction> <scene_description>Nancy enters apprehensively. There is a yellow sticky on her computer. It reads, "See me - M."</scene_description> </scene> <scene> <stage_direction>INT. NYNY MAGAZINE - MICHAEL'S OFFICE</stage_direction> <scene_description>Nancy enters, smiling weakly. Michael is at his desk, head down, going over a layout. His arm is in a sling.</scene_description> <character>NANCY</character> <dialogue>Michael?</dialogue> <scene_description>Michael looks up. His face is bright red. He is not smiling.</scene_description> </scene> <scene> <stage_direction>EXT. NY DELHI - NIGHT</stage_direction> </scene> <scene> <stage_direction>INT. NY DELHI - CONTINUOUS</stage_direction> <scene_description>The combo plays an Indian-tinged "NIGHT AND DAY." Alex and Nancy have seen better days.</scene_description> <character>NANCY</character> <dialogue>We're pretty screwed, huh?</dialogue> <character>ALEX</character> <parenthetical>(eerily calm)</parenthetical> <dialogue>Let's see. We're behind in all our bills, our savings are pretty much gone, and now we have no money coming in. I'd say screwed is apt.</dialogue> <character>NANCY</character> <dialogue>I did get severance, and I'll find another job. And you'll get your advance...</dialogue> <character>ALEX</character> <dialogue>When I hand in my completed manuscript in less than a week?</dialogue> <character>NANCY</character> <dialogue>I'm sure Jean will give you an extension. Although we do sort of need the money now.</dialogue> <character>ALEX</character> <parenthetical>(sounding sincere)</parenthetical> <dialogue>I don't see how I'm going to be able to write fifty pages a day and still faithfully perform my duties as Mrs. Connelly's manservant...</dialogue> <character>NANCY</character> <dialogue>Can't you just ignore her?</dialogue> <character>ALEX</character> <parenthetical>(his voice rising)</parenthetical> <dialogue>But what if she needs me? What if she needs me to change the channels on her TV? What if she needs me to peel a banana? What if she needs me to wipe her ass?</dialogue> <scene_description>Other diners hear this. Nancy makes a tiny shush gesture.</scene_description> <character>ALEX</character> <parenthetical>(gets louder, bigger)</parenthetical> <dialogue>I can't just let her walk around with shit on her ass, can I? I have to run right up there quick as a bunny and wipe it all off and "Oh, my, that's quite a nice stool you've made today, Mrs. Connelly."</dialogue> <parenthetical>(He stands to act it out)</parenthetical> <dialogue>"Oh, let me get that one last little bit of shit there, Mrs. Connelly. Would you like me to moisten the tissue or should I just lick--"</dialogue> <character>INDIAN RESTAURANT OWNER</character> <parenthetical>(cutting him off)</parenthetical> <dialogue>I am asking you to leave now.</dialogue> <scene_description>Many of the restaurant's patrons are no longer hungry.</scene_description> </scene> <scene> <stage_direction>EXT. APARTMENT - MORNING</stage_direction> </scene> <scene> <stage_direction>INT. BROWNSTONE - LOBBY- CONTINUOUS</stage_direction> <scene_description>Alex, carrying his ibook, and Nancy, in a business suit with her portfolio, are almost out when:</scene_description> <character>MRS. CONNELLY (O.C.)</character> <dialogue>Mr. Kendricks? Miss Rose?</dialogue> <scene_description>Nancy turns to Alex, like the hero staying behind to fight the aliens.</scene_description> <character>NANCY</character> <dialogue>You go. Write a great novel.</dialogue> <character>ALEX</character> <dialogue>Bless you.</dialogue> <scene_description>Alex exits. Nancy sighs and trudges up the steps.</scene_description> </scene> <scene> <stage_direction>INT. SECOND FLOOR LANDING</stage_direction> <scene_description>Mrs. Connelly waits at her door.</scene_description> <character>NANCY</character> <dialogue>Yes, Mrs. Connelly?</dialogue> <character>MRS. CONNELLY</character> <dialogue>One of my lights is buzzing.</dialogue> <character>NANCY</character> <dialogue>I'm sure it's nothing. Could you just turn off the light, just for a few hours, and I'll look at the moment I get home?</dialogue> <character>MRS. CONNELLY</character> <parenthetical>(ominously)</parenthetical> <dialogue>I'm afraid it might explode.</dialogue> <scene_description>Nancy DROPS her portfolio and trudges into the apartment.</scene_description> </scene> <scene> <stage_direction>INT. MRS. CONNELLY'S APARTMENT - LIVING ROOM</stage_direction> <scene_description>Nancy stands tiptoe on a chair, removing an ornate light globe. Mrs. Connelly looks on.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Please don't drop that. It's glass.</dialogue> <character>NANCY</character> <dialogue>I'm aware of that, Mrs. Connelly.</dialogue> <scene_description>Nancy touches the light bulb and gets BADLY SHOCKED. She falls out of frame and we hear a CRASH of glass.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Oh, you broke it.</dialogue> </scene> <scene> <stage_direction>EXT. PARK SLOPE - STARBUCKS - MORNING - ESTABLISHING</stage_direction> </scene> <scene> <stage_direction>INT. STARBUCKS - CONTINUOUS</stage_direction> <scene_description>Alex, ibook under his arm, pays for his coffee. He turns from the counter to find someplace to sit. He sees: The entire place is filled with dozens of earnest writers, all tapping away on their ibooks.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE - LATER</stage_direction> <scene_description>A magazine DESIGN DIRECTOR pages through Nancy's portfolio.</scene_description> <character>DESIGN DIRECTOR</character> <dialogue>This is a really impressive portfolio, Nancy, and your credentials are impeccable...</dialogue> <scene_description>The director looks up, and is puzzled. A REVERSE ANGLE reveals Nancy, her hair completely frizzed out from the electrocution and her eyes wandering aimlessly. She reaches up to grab a non-existent fly.</scene_description> </scene> <scene> <stage_direction>EXT. SEVENTH AVENUE - PARK SLOPE - DAY</stage_direction> <scene_description>Alex is walking around with his coffee and ibook, looking for someplace to write. He ducks into a corner bar.</scene_description> </scene> <scene> <stage_direction>INT. THE ROOST</stage_direction> <scene_description>Alex settles at the bar and props open his ibook. The FEMALE BARTENDER doesn't seem surprised to find him there.</scene_description> <character>FEMALE BARTENDER</character> <dialogue>What can I get you?</dialogue> <character>ALEX</character> <dialogue>Just coffee.</dialogue> <scene_description>The bartender reaches back and plops a well-yellowed coffee urn next to Alex. He nods his thanks. Behind him, a rummy has just finished putting money in the jukebox. MUSIC: John McCormick singing "SHE MOVED THROUGH THE FAIR."</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM - MIDDLE OF THE NIGHT</stage_direction> <scene_description>Alex and Nancy sleep restlessly because of UNIDENTIFIABLE HORROR MOVIE MUSIC coming from upstairs.</scene_description> </scene> <scene> <stage_direction>EXT. THE ROOST - PARK SLOPE - DAY</stage_direction> </scene> <scene> <stage_direction>INT. THE ROOST - CONTINUOUS</stage_direction> <scene_description>Music: "Let's Have Another Cup of Coffee" by Lyle Lovett Alex types diligently at the bar, pouring bar coffee into his metal coffee cup.</scene_description> </scene> <scene> <stage_direction>INT. MRS. CONNELLY'S APARTMENT - KITCHEN</stage_direction> <scene_description>There's a small black object on the counter.</scene_description> <character>NANCY</character> <dialogue>That's not a mouse dropping. It's a raisin.</dialogue> <character>MRS. CONNELLY</character> <parenthetical>(leans in to look)</parenthetical> <dialogue>It's the leavings of a mouse.</dialogue> <character>NANCY</character> <parenthetical>(losing patience)</parenthetical> <dialogue>It's a raisin.</dialogue> <scene_description>Nancy matter-of-factly picks up the object and pops it in his mouth. She gets a very strange look on his face.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Oh, dear, I should have told you. I sprayed it with Lysol.</dialogue> </scene> <scene> <stage_direction>INT. THE ROOST</stage_direction> <scene_description>Alex types, pausing briefly to drink directly out of the coffee urn.</scene_description> </scene> <scene> <stage_direction>EXT. FLEA MARKET - DAY</stage_direction> <scene_description>Nancy is at the flea market, surrounded by many of the possessions she bought there. It's a very cold day.</scene_description> <character>POTENTIAL BUYER</character> <dialogue>I'll give you thirty.</dialogue> <character>NANCY</character> <dialogue>I paid one-fifty.</dialogue> <scene_description>The potential buyer shrugs and walks off. After a beat, Nancy gets up and runs after her.</scene_description> </scene> <scene> <stage_direction>INT. THE ROOST</stage_direction> <scene_description>Alex stops typing. He's a little twitchy.</scene_description> <character>ALEX</character> <dialogue>Decaf, over here.</dialogue> <scene_description>The decaf urn is put in front of him. He takes a swig and begins typing again.</scene_description> </scene> <scene> <stage_direction>EXT. FLEA MARKET - DUSK</stage_direction> <scene_description>Nancy is shivering, having sold many things but not too happy about it. Buyers pass without a look. Her cell phone RINGS.</scene_description> <character>NANCY</character> <dialogue>Hello?</dialogue> <scene_description>What she hears makes her break out in a huge smile.</scene_description> </scene> <scene> <stage_direction>INT. THE ROOST - LATER</stage_direction> <scene_description>Alex types the final letters, using Nancy's fingers. T-H-E E-N-D.</scene_description> <character>ALEX</character> <parenthetical>(triumphantly types)</parenthetical> <dialogue>Apple-save!</dialogue> <scene_description>Nancy kisses Alex hard.</scene_description> <character>NANCY</character> <dialogue>I told you. I knew you would finish it. And it's so good, Alex.</dialogue> <character>ALEX</character> <parenthetical>(insecure)</parenthetical> <dialogue>It's not too good, is it? I mean, I also want it to be popular.</dialogue> <character>NANCY</character> <dialogue>It's so good people are going to have to buy it, even if they don't read it.</dialogue> <character>ALEX</character> <dialogue>Does it feel like a brain book, though, not a heart book?</dialogue> <character>NANCY</character> <dialogue>I think it's brain and heart.</dialogue> <scene_description>Alex finally breaks into a smile.</scene_description> <character>NANCY</character> <dialogue>Barkeep, some champagne!</dialogue> <character>FEMALE BARTENDER</character> <dialogue>You don't want to drink our champagne.</dialogue> <character>NANCY</character> <parenthetical>(thinks, then:)</parenthetical> <dialogue>Tequila!</dialogue> </scene> <scene> <stage_direction>EXT. BROWNSTONE - NIGHT</stage_direction> <scene_description>Nancy and Alex walk up the stairs arm in arm, laughing.</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - FOYER</stage_direction> <scene_description>Alex and Nancy enter, cold but happy.</scene_description> <character>MRS. CONNELLY (O.C.)</character> <dialogue>Mr. Kendricks? Miss Rose?</dialogue> <scene_description>The two happily bound up the stairs to Mrs. Connelly's door.</scene_description> <character>ALEX</character> <dialogue>Mrs. Connelly, is there something we can help you with?</dialogue> </scene> <scene> <stage_direction>INT. MRS. CONNELLY'S APARTMENT - PARLOR</stage_direction> <scene_description>As Alex and Nancy enter, he places his ibook on the fireplace mantle. He rubs his hands together as if eager to take on any task Mrs. Connelly may have in mind. Mrs. Connolly patters past them, beaconing with her hand. They follow.</scene_description> <character>MRS. CONNELLY</character> <dialogue>I was wondering if you could help me set some mousetraps?</dialogue> <character>NANCY</character> <dialogue>Oh, certainly.</dialogue> <scene_description>Mrs. Connelly hands Alex a cardboard box that must have a hundred mouse traps in it.</scene_description> <character>MRS. CONNELLY</character> <dialogue>I'd do it myself, but this weather surely brings out the arthritis.</dialogue> <character>ALEX</character> <parenthetical>(indulgent)</parenthetical> <dialogue>Where would you like them, Mrs. Connelly?</dialogue> <character>MRS. CONNELLY</character> <dialogue>I think they live in that closet.</dialogue> <scene_description>Alex and Nancy exit in the direction she's pointing. ON THE MANTLE Mr. Fawkes flaps up and lands next to the ibook. ON ALEX AND NANCY Placing the traps down, with Mrs. Connelly hovering.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Could you place them in a line? I don't want the little beggars to have an escape route.</dialogue> <scene_description>Alex smiles solicitously, a straightens the traps. ON THE MANTLE Mr. Fawkes nudges the ibook along with his beak. ON ALEX AND NANCY Making great time on the traps.</scene_description> <character>NANCY</character> <dialogue>You know, Mrs. Connelly. We've never seen any evidence of mice on our floor...</dialogue> <scene_description>ON THE MANTLE Mr. Fawkes pushes the ibook off the mantle. ON THE FIREPLACE The ibook hits the floor, and bounces neatly into the roaring fire. ON ALEX AND NANCY AND MRS. CONNELLY Watching this with horror and slight distress.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Oh, dear. Your purse fell into the fire, Mr. Kendricks.</dialogue> <scene_description>We hear a mouse trap SNAP; Alex flinches less than he might otherwise. CLOSE ON A scorched and somewhat melted ibook.</scene_description> </scene> <scene> <stage_direction>INT. MICHAEL'S RESTAURANT - THE NEXT AFTERNOON</stage_direction> <scene_description>The flame-broiled portable sits on the table between a very nervous Alex and his very dubious editor, Jean.</scene_description> <character>ALEX</character> <dialogue>... You're wondering why I didn't back up. I did. I burned a CD right before, but...</dialogue> <scene_description>Alex grabs at the ibook's CD slot. Frustrated, he BANGS the computer on the side of the table (drawing the attention of other diners.) A warped CD pops out.</scene_description> <character>ALEX</character> <parenthetical>(weak joke)</parenthetical> <dialogue>Looks like I really burned it.</dialogue> <scene_description>Jean fails to laugh at Alex's bad joke.</scene_description> <character>ALEX</character> <dialogue>You don't think I threw my own computer in a fire to get out of a deadline?</dialogue> <character>JEAN</character> <dialogue>I doesn't matter what I think, Alex. All that matters is that you missed the deadline.</dialogue> <character>ALEX</character> <dialogue>If just give me a couple weeks, three days...</dialogue> <character>JEAN</character> <dialogue>As you know, we're owned by a pet food company now, and that's a bottom-line business. And sadly, the corporate overlords have decreed that we trim our mid- and low-list authors. So we've been canceling every contract that's in breach.</dialogue> <character>ALEX</character> <dialogue>I'm not in breach. You said just make it good and true-</dialogue> <character>JEAN</character> <parenthetical>(genuinely sad)</parenthetical> <dialogue>A person's word is no good in this business anymore.</dialogue> <scene_description>She puts her hand on his.</scene_description> <character>JEAN</character> <dialogue>But if you ever do finish your book, I hope you know that I genuinely wish you the best of luck placing it elsewhere.</dialogue> <scene_description>Alex pulls his hand away.</scene_description> <character>ALEX</character> <dialogue>No, you can't do that; You can't just cancel my book contract.</dialogue> <character>JEAN</character> <dialogue>Our lawyers already have, Alex.</dialogue> <scene_description>Alex stands. He's getting worked up.</scene_description> <character>ALEX</character> <dialogue>I'm a writer, not dog food. You can't treat writers like this, like, like horse meat!</dialogue> <character>JEAN</character> <parenthetical>(a little offended)</parenthetical> <dialogue>We only use highest quality beef and beef by-products.</dialogue> <scene_description>Alex notices everyone is staring at him, and not on his side. He sits down, quietly. After a beat:</scene_description> <character>ALEX</character> <dialogue>Would you say I'm mid-list or…</dialogue> <character>JEAN</character> <dialogue>Oh, Mid. Right there in the mid.</dialogue> <scene_description>A waiter leaves the check. Jean immediately picks it up, and scans it. She smiles warmly at Alex.</scene_description> <character>JEAN</character> <dialogue>Let's split this.</dialogue> <scene_description>ON TV Martha Stewart stands at a table, painting a perfect pine cone with clear lacquer.</scene_description> <character>MARTHA STEWART</character> <dialogue>...remembering always to brush out. We'll let that dry and...</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT - PARLOR - CONTINUOUS</stage_direction> <scene_description>Nancy watches in her much denuded parlor (conspicuously remaining is that pyramid, which she couldn't sell.) On TV, Martha Stewart places the lacquered cone upright in a perfect drying rack and moves down the table to a large wooden bowl filled with perfectly hand-lacquered earlier.</scene_description> <character>MARTHA STEWART</character> <dialogue>Here we have some pine cones we lacquered earlier. But before we string them together, we'll need to drill a small hole through the base of each one.</dialogue> <scene_description>Martha Stewart stands in front of a professional drill press, wearing safety goggles. She DRILLS a pine cone.</scene_description> <character>MARTHA STEWART</character> <dialogue>I'm using a 1/16 inch bit, but you can go smaller...</dialogue> <character>NANCY</character> <dialogue>Oh, bite me!</dialogue> <scene_description>SFX: LOUD RACKET.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - KITCHEN</stage_direction> <scene_description>Nancy enters. The racket appears to be coming from the dumbwaiter. Nancy opens the dumbwaiter and looks inside. LOOKING UP THE DUMBWAITER SHAFT Nancy sees Mrs. Connelly looking down.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Hello, Miss Rose.</dialogue> <scene_description>ON NANCY</scene_description> <character>NANCY</character> <dialogue>Is there something wrong, Mrs. Connelly?</dialogue> <scene_description>LOOKING UP THE DUMBWAITER SHAFT</scene_description> <character>MRS. CONNELLY</character> <dialogue>Oh, Mr. Fawkes is caught in the dumbwaiter again.</dialogue> <scene_description>ON NANCY</scene_description> <character>NANCY</character> <dialogue>How did he get-</dialogue> <scene_description>LOOKING UP THE DUMBWAITER SHAFT Mr. Fawkes appears out of the darkness, talons first.</scene_description> <character>MR. FAWKES</character> <parenthetical>(HORRIFYING SCREECH)</parenthetical> <dialogue>Mr. Fawkes attacks Nancy, biting and pecking her face. It's like a scene from "The Birds".</dialogue> <character>MRS. CONNELLY (O.C.)</character> <dialogue>What are you doing to Mr. Fawkes? Stop it!</dialogue> <scene_description>Nancy gets her head out of the dumbwaiter, but Mr. Fawkes is still on her face. She staggers out of the kitchen, and into the antique hutch, breaking some hard-to-replace leaded glass. (She's shrieking the whole time, of course). Nancy is so occupied with Mr. Fawkes that she does not hear the door open and a quick pitter patter of steps. Mrs. Connelly rushes up behind Nancy and starts WHALING on the back of her head with a pot. This goes on for some time.</scene_description> </scene> <scene> <stage_direction>EXT. SEVENTH AVENUE - EARLY EVENING</stage_direction> <scene_description>Music: "I'LL GET BY" BY ALICIA KEYES. Alex walks dejectedly down the street. Noticing he is still carrying his burnt ibook, he tosses it in a garbage can. He walks a little further, past...</scene_description> </scene> <scene> <stage_direction>EXT. HOMETOWN REALTY</stage_direction> <scene_description>A storefront operation, decorated with Christmas lights. Matthew is sitting at his desk.</scene_description> </scene> <scene> <stage_direction>INT. HOMETOWN REALTY</stage_direction> <scene_description>Alex sits across from Matthew.</scene_description> <character>ALEX</character> <dialogue>We were wondering, in the current market, how much we might make if we were to sell now. Right now.</dialogue> <character>KENNETH</character> <dialogue>That depends on how much you come down on the price.</dialogue> <parenthetical>(off Alex's stare)</parenthetical> <dialogue>You way overpaid, and what, with that awful tenant...</dialogue> <character>ALEX</character> <dialogue>You said she was a sweet old lady...</dialogue> <character>KENNETH</character> <parenthetical>(chuckles)</parenthetical> <dialogue>I can't imagine saying that.</dialogue> <character>ALEX</character> <dialogue>Okay, what if we bought her out...</dialogue> <character>KENNETH</character> <dialogue>You wouldn't be the first person who tried. Mrs. Connelly has lived most of her life in that apartment; she's going to die there. Can I be honest with you?</dialogue> <character>ALEX</character> <dialogue>Sure, why not?</dialogue> <character>KENNETH</character> <dialogue>The only way you're going sell that duplex is if you can get some young, naive couple caught up in the romance of it, and even then, you're going to take a huge, huge loss.</dialogue> <character>ALEX</character> <dialogue>Huge?</dialogue> <character>KENNETH</character> <parenthetical>(correcting)</parenthetical> <dialogue>Huge huge.</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT - BATHROOM - LATE AFTERNOON</stage_direction> <scene_description>Nancy looks in the mirror, sadly. Dozens of pieces of bloody tissue are on her face; hanks of hair are missing. SFX: A LOUD, DISCONCERTING, THREE-TONE CHIME. A tear runs down her cheek. It burns one of her cuts.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - FOYER - EVENING</stage_direction> <scene_description>Alex opens the door, glumly. He hears QUIET SOBBING.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM</stage_direction> <scene_description>Alex finds Nancy sitting on the bed. Her face his red. Alex sits down, and puts his arm around her.</scene_description> <character>ALEX</character> <dialogue>What did she do this time?</dialogue> <character>NANCY</character> <dialogue>It's what I did.</dialogue> <scene_description>NANCY'S FLASHBACK Nancy kneels on the stairs, tapping with a hammer.</scene_description> <character>NANCY (V.O.)</character> <dialogue>I was fixing the stairs...</dialogue> <character>ALEX (V.O.)</character> <dialogue>What wrong with the stairs?</dialogue> <scene_description>Mrs. Connelly stands above Nancy, supervising her work.</scene_description> <character>MRS. CONNELLY</character> <dialogue>I hope you're tacking that carpeting down good.</dialogue> <character>NANCY</character> <parenthetical>(carpet tacks in mouth)</parenthetical> <dialogue>That's what I'm doing, Mrs. Connelly.</dialogue> <character>MRS. CONNELLY</character> <dialogue>It's very loose. I could slip and fall and break my neck.</dialogue> <scene_description>That's it! Nancy YANKS hard on the carpet runner, literally pulling it out from under Mrs. Connelly. Mrs. Connelly tumbles down the stairs dramatically. Mrs. Connelly lies at the bottom of the steps, face down but with the rest of her body right side up. CLOSE ON Nancy's face as she smiles, causing the carpet tacks in her mouth to tilt up at a devilish angle. OUT OF FLASHBACK Nancy's eyes are rimmed with tears.</scene_description> <character>NANCY</character> <dialogue>I can't believe I did that!</dialogue> <character>ALEX</character> <parenthetical>(confused)</parenthetical> <dialogue>You pushed her down the stairs?</dialogue> <character>NANCY</character> <dialogue>No, but I imagined it! And I liked it!</dialogue> <parenthetical>(She sobs on his shoulder)</parenthetical> <dialogue>What's wrong with me? I'm evil!</dialogue> <scene_description>Alex caresses her head lovingly.</scene_description> <character>ALEX</character> <dialogue>C'mon, c'mon. It's okay. It's perfectly natural to have fantasies like that.</dialogue> <character>NANCY</character> <dialogue>You?</dialogue> <character>ALEX</character> <dialogue>Sure.</dialogue> <scene_description>ALEX'S FANTASIES In rapid succession, we see fantasies Alex had earlier: Alex takes out a garbage bag that clearly has a body in it. Alex grabs his 99 cent novel from Mrs. Connelly and slams her on the head with it. Alex waits with Mrs. Connelly at a street corner, holding her groceries. He shoves her in front of an oncoming car. Alex has Mrs. Connelly by the waist and is shoving her into the fireplace with the burning ibook.</scene_description> <character>ALEX (OVER PRECEDING)</character> <dialogue>Look, after all that woman has done to us, there'd be something wrong with you if you didn't want her dead.</dialogue> <character>NANCY</character> <dialogue>I don't want her dead. I just wouldn't mind if she was dead.</dialogue> <character>ALEX</character> <parenthetical>(strangely comforting)</parenthetical> <dialogue>Hey, when you think about it, she should be dead. She's 105 years old, at least 20 years more than she's allotted. And what has she done for anybody? She drove her husband to drink himself into an early grave, she's got us so worn out, it seems like we're never going to have sex again...</dialogue> <character>NANCY</character> <parenthetical>(choked up, squeaky)</parenthetical> <dialogue>I want to have sex again!</dialogue> <character>ALEX</character> <dialogue>Me, too. But with all this stress she's causing, the repairs and fines, she got you fired…</dialogue> <character>NANCY</character> <dialogue>She killed your computer.</dialogue> <character>ALEX</character> <dialogue>You know, in, uh, Eskimoland, she'd be on an ice floe. Bye bye, Mrs. Connelly! Tell it to the polar bears!</dialogue> <scene_description>Nancy LAUGHS reflexively; she pinches Alex's chest.</scene_description> <character>NANCY</character> <dialogue>You're evil, too.</dialogue> <character>ALEX</character> <dialogue>There's nothing you can do about it, so you might as well dream.</dialogue> <scene_description>Nancy cuddles into Alex. They lie back on the bed together; he turns on the TV with the remote. ON SCREEN Behind a FEMALE NEWSCASTER is a mortise of a caduceus superimposed on a skull and crossbones. The mortise reads, "KILLER FLU?"</scene_description> <character>FEMALE NEWSCASTER</character> <dialogue>…accompanied by nausea and violent diarrhea. Doctors warn that this particular strain is particularly dangerous, and potentially deadly, to children under five and especially the elderly.</dialogue> <scene_description>Nancy and Alex watch this, silently. On the TV, the newscaster turns to the SPORTSCASTER.</scene_description> <character>FEMALE NEWSCASTER (CONT.)</character> <dialogue>Those Nets could have used a couple of last minute flu shots, eh, Hank?</dialogue> <character>SPORTSCASTER</character> <parenthetical>(a little confused)</parenthetical> <dialogue>That's right, Pepper! Let's go to-</dialogue> <scene_description>Nancy takes the remote from Alex and clicks off the TV. They both stare ahead for a moment, saying nothing. Music (from above): "HAWAII 5-0" THEME</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - LOBBY</stage_direction> <scene_description>Alex, wearing a suit and tie and professional overcoat, walks toward the door.</scene_description> <character>MRS. CONNELLY (O.C.)</character> <dialogue>Oh, Mr. Kendricks?</dialogue> <scene_description>Alex looks up in her direction but says nothing.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Could you de-ice the steps? They're terrible icy.</dialogue> <character>ALEX</character> <parenthetical>(thin smile)</parenthetical> <dialogue>You'd better not go outside then.</dialogue> <scene_description>Alex exits. Through the door, we see him take a terrific fall on the steps.</scene_description> </scene> <scene> <stage_direction>INT. UPSCALE MEN'S MAGAZINE - CONTINUOUS</stage_direction> <scene_description>On the wall is a large mock-up of this month's ZUBRICK magazine. The cover features a bodacious quasi-celebrity in a state of promotional undress. Alex, his coat scraped dirty from the steps and a bruise on his forehead, stands in front of an unyielding ASSISTANT.</scene_description> <character>ALEX</character> <dialogue>Jean Begley introduced us.</dialogue> <character>ASSISTANT</character> <dialogue>He says he's never heard of you.</dialogue> <character>ALEX</character> <dialogue>He asked me to write a column for him. On the writing life.</dialogue> <character>ASSISTANT</character> <dialogue>Did he say this at a party?</dialogue> <character>ALEX</character> <dialogue>A dinner party. At our house.</dialogue> <character>EXECUTIVE ASSISTANT</character> <dialogue>I'm sorry to tell you this, but Mr. Zubrick is a terrible alcoholic. He won't remember you. You didn't have sex with him, did you?</dialogue> <character>ALEX</character> <dialogue>No.</dialogue> <character>EXECUTIVE ASSISTANT</character> <dialogue>No harm done then.</dialogue> </scene> <scene> <stage_direction>INT. SUBWAY CAR - EVENING</stage_direction> <scene_description>A glum Alex is smashed in among commuters. After a moment, he notices that the businessman behind him is rhythmically bumping into him. Then he sees: THE OTHER END OF THE CAR There are several seats available, next to one very sick- looking businessman. Seeing this, Alex makes a decision. Alex worms his way through the crowd. He walks to the other end of the car. He sits down next to the man. He draws a DEEP BREATH. CLOSE ON A door. The door opens, revealing an incredibly sick-looking Alex and Nancy.</scene_description> </scene> <scene> <stage_direction>INT. MRS. CONNELLY'S APARTMENT - DOORWAY - CONTINUOUS</stage_direction> <scene_description>Nancy leans in close.</scene_description> <character>NANCY</character> <dialogue>Hi, Mrs. Connelly. We were wondering, is there anything we can do for you?</dialogue> <character>ALEX</character> <parenthetical>(hitting the 'h')</parenthetical> <dialogue>Happy Thanksgiving.</dialogue> <character>MRS. CONNELLY</character> <dialogue>You two look awful. Did you catch that horrible Chinese flu?</dialogue> <scene_description>Alex and Nancy act unconvincingly innocent.</scene_description> <character>ALEX</character> <dialogue>Oh, no, we're fine.</dialogue> <character>MRS. CONNELLY</character> <dialogue>Good. But you should get a flu shot. Officer Dan took me to get one last week.</dialogue> <character>NANCY</character> <dialogue>We'll do that. Well, Happy Thanksgiving.</dialogue> <character>MRS. CONNELLY</character> <dialogue>No, come in. I do have something for you to do.</dialogue> <scene_description>She SLAMS the door, UNHOOKS the chain, and lets them in.</scene_description> </scene> <scene> <stage_direction>INT. MRS. CONNELLY'S APARTMENT - PARLOR - CONTINUOUS</stage_direction> <scene_description>In front of her chair is a TV tray with the remains of a huge Thanksgiving feast.</scene_description> <character>MRS. CONNELLY</character> <dialogue>This lovely black lady brought me a whole turkey and a lovely dinner but I'm afraid some of the turkey bones didn't go down the disposal.</dialogue> <scene_description>Nancy and Alex follow her into the kitchen.</scene_description> <character>NANCY</character> <dialogue>You don't have a disposal, Mrs. Connelly.</dialogue> <character>MRS. CONNELLY</character> <dialogue>Well, it should be taken care of. It's very unsanitary.</dialogue> <scene_description>Alex stares down into the sink, looking queasy. It's a greasy cesspool with skin floating on the surface and glops of mashed potato and cranberry churning in it. DISSOLVE TO: LATER Alex's lies under the sink, inexpertly STRUGGLING to loosen the elbow joint. The joint suddenly jars loose, and a sink full of watery goo pours onto Alex's face. Nancy looks down into the sink. Through the open pipe she sees her husband's gristle-covered face. Alex looks up in terror. Through the open pipe he can see his imminently upchucking wife. Nancy's head dips into the sink as she VOMITS. We hear it SPLASH out of the bottom of the pipe. Alex MOANS weakly. Mrs. Connelly watches all this matter-of-factly.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Let me get you some rags so you can clean that up.</dialogue> <scene_description>She patters away.</scene_description> </scene> <scene> <stage_direction>EXT. PROSPECT PARK - DAY</stage_direction> <scene_description>Bundled-up kids play happily in the park.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM - CONTINUOUS</stage_direction> <scene_description>Nancy and Alex lay on the bed at odd angles, near death.</scene_description> <character>NANCY</character> <dialogue>What day is it?</dialogue> <character>ALEX</character> <dialogue>I died on Sunday. So I think it's Tuesday.</dialogue> <scene_description>They both stare up at the ceiling for a long moment.</scene_description> <character>NANCY</character> <dialogue>I can't believe we tried to kill Mrs. Connelly.</dialogue> <character>ALEX</character> <dialogue>I don't know what you're talking about.</dialogue> <character>NANCY</character> <dialogue>You know. We thought, we, when you got sick, you knew if she…</dialogue> <character>ALEX</character> <dialogue>Maybe we did try to kill her a little bit.</dialogue> <character>NANCY</character> <dialogue>That's not nice.</dialogue> <scene_description>CLOSE ON An open box of Godiva™ chocolates. An elderly thumb pushes deep into one of them.</scene_description> </scene> <scene> <stage_direction>INT. MRS. CONNELLY'S APARTMENT - PARLOR - CONTINUOUS</stage_direction> <scene_description>Mrs. Connelly frowns, and thumbs another chocolate. Alex and Nancy sit across from her, not looking well.</scene_description> <character>NANCY</character> <dialogue>You know, there's a chart showing what's inside each chocolate.</dialogue> <character>MRS. CONNELLY</character> <parenthetical>(thumbing a chocolate)</parenthetical> <dialogue>That's all right, dear.</dialogue> <character>NANCY</character> <dialogue>Anyway, like I said, we just want to apologize for…</dialogue> <character>ALEX</character> <dialogue>Any misunderstandings.</dialogue> <character>NANCY</character> <dialogue>With the heat, and the plumbing. And anything else.</dialogue> <character>MRS. CONNELLY</character> <dialogue>Oh, you two are so sweet. You're the nicest landlords I've ever had. So many of them were not very nice at all, in the end.</dialogue> <character>ALEX</character> <dialogue>You've had a lot of landlords?</dialogue> <character>MRS. CONNELLY</character> <dialogue>Gobs and gobs, over the years! Ten in just the past eight years, if you can believe that.</dialogue> <character>NANCY</character> <parenthetical>(realization sinking in)</parenthetical> <dialogue>Ten people have moved out of here in the last eight years?</dialogue> <character>MRS. CONNELLY</character> <dialogue>Well, they didn't all move out. Mr. Myer took his own life. Poor dear had money problems.</dialogue> <scene_description>Alex is preoccupied with something he sees at the bottom of Mr. Fawkes' cage.</scene_description> <character>ALEX</character> <dialogue>Is that my novel?</dialogue> <scene_description>It is. Torn-out pages, covered with birdshit.</scene_description> <character>MRS. CONNELLY</character> <dialogue>I'm sorry, dear. I couldn't read it. It was filthy dirty.</dialogue> <parenthetical>(to Nancy)</parenthetical> <dialogue>Mr. Connelly hid his dirty books inside the toilet tank.</dialogue> <parenthetical>(thumbing chocolate)</parenthetical> <dialogue>Butter cream!</dialogue> <scene_description>Mrs. Connelly pops the chocolate in her mouth.</scene_description> <character>ALEX</character> <parenthetical>(insecure fury)</parenthetical> <dialogue>Just because you don't like my writing, which others have praised--</dialogue> <parenthetical>(noticing)</parenthetical> <dialogue>Mrs. Connelly?</dialogue> <scene_description>Mrs. Connelly is turning red. She's CHOKING. Alex jumps up and hoists Mrs. Connelly out of her chair. He Heimlich's her violently, several times. The chocolate flies out. Relieved, Alex relaxes his grip. Mrs. Connelly instantly drops out of frame. We hear a DEAD THUMP. Nancy drops to Mrs. Connelly's side, feels her neck pulse.</scene_description> <character>NANCY</character> <dialogue>Oh, God!</dialogue> <character>ALEX</character> <dialogue>Clear!</dialogue> <scene_description>Alex slams his fist down on Mrs. Connelly chest, like he's seen on TV.</scene_description> <character>NANCY</character> <dialogue>What are you doing?!!</dialogue> <scene_description>CPR. Nancy pushes Alex away, and starts doing real CPR. Alex looks on helplessly.</scene_description> <character>NANCY</character> <dialogue>Clear her airway!</dialogue> <parenthetical>(manic finger gesture)</parenthetical> <dialogue>Clear her airway!</dialogue> <scene_description>Alex anxiously sticks his finger in Mrs. Connelly mouth, and scoops out a fingerful of gooey chocolate.</scene_description> <character>NANCY (CONT.)</character> <dialogue>Give her mouth-to-mouth!</dialogue> <scene_description>Alex is terrified. But dutifully, he opens Mrs. Connelly mouth and blows in. He comes up for breath, starts to blow again. Mrs. Connelly eyes snap open. He backs off, startled.</scene_description> <character>MRS. CONNELLY</character> <dialogue>What are you doing?</dialogue> <scene_description>She looks down. Nancy's hands are on Mrs. Connelly's breasts.</scene_description> <character>NANCY</character> <dialogue>You choked on chocolate.</dialogue> <scene_description>Flustered, Mrs. Connelly pushes them away and starts to stand. She recoils from Alex's attempt to help her up.</scene_description> <character>MRS. CONNELLY</character> <dialogue>I think you should go now.</dialogue> <character>ALEX</character> <dialogue>We should call a doctor…</dialogue> <scene_description>Mrs. Connelly pushes them toward the door.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Time to go. Go now. Please go.</dialogue> </scene> <scene> <stage_direction>INT. BROWNSTONE - SECOND FLOOR LANDING - CONTINUOUS</stage_direction> <scene_description>Mrs. Connelly slams the door. She starts to LOCK it.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - PARLOR</stage_direction> <scene_description>Nancy and Alex sit, brooding. After a beat:</scene_description> <character>ALEX</character> <dialogue>We should have just let her die.</dialogue> <character>NANCY</character> <parenthetical>(realizing they could have)</parenthetical> <dialogue>Oh, poop!</dialogue> <scene_description>SFX: A LOUD, DISCONCERTING, THREE-TONE CHIME.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - FOYER - MOMENTS LATER</stage_direction> <scene_description>Alex opens the door, and looks up into the face of:</scene_description> <character>OFFICER DAN</character> <dialogue>You sicken me.</dialogue> <character>ALEX</character> <dialogue>Excuse me? What are you--</dialogue> <scene_description>Officer Dan's fingers pinch Alex's lips closed.</scene_description> <character>OFFICER DAN</character> <dialogue>Shut up.</dialogue> <parenthetical>(keeping fingers clamped)</parenthetical> <dialogue>We keep a list of people like you down at the station, and you're on that list now. If I see or hear of you ever doing your sickness on Mrs. Connelly or any other elderly person, I am going to come here to arrest you and then I am going to shoot you trying to escape. Do you understand?</dialogue> <scene_description>Alex nods his head. Officer Dan pinches his lips tighter.</scene_description> <character>OFFICER DAN</character> <dialogue>Say "Yes, I understand."</dialogue> <character>ALEX</character> <parenthetical>(through pinched lips)</parenthetical> <dialogue>Yes, I understand.</dialogue> <scene_description>Officer Dan lets go.</scene_description> <character>OFFICER DAN</character> <dialogue>You have a good day now.</dialogue> </scene> <scene> <stage_direction>EXT. PROSPECT PARK - AFTERNOON</stage_direction> <scene_description>Nancy and Alex walk slowly in the park, arm in arm.</scene_description> <character>NANCY</character> <dialogue>I guess this would technically be murder, huh?</dialogue> <character>ALEX</character> <dialogue>Technically, she's already dead.</dialogue> <scene_description>They walk in front of the playground. Nancy stops to watch.</scene_description> <character>ALEX</character> <dialogue>We're just making room for future generations.</dialogue> <character>NANCY</character> <parenthetical>(face lighting up)</parenthetical> <dialogue>For the children.</dialogue> <scene_description>Nancy hugs Alex. He hugs her back, and kisses her forehead. They watch the children play.</scene_description> </scene> <scene> <stage_direction>EXT. EAST VILLAGE - LATE AFTERNOON</stage_direction> <scene_description>A tiny blacked-out storefront with "ANARCHY" sloppily painted in red across the window. Alex, acting as suspicious as possible, exits with a bag full of books. He's wearing a hooded sweatshirt and sunglasses - the Unabomber Disguise.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM - SATURDAY AFTERNOON</stage_direction> <scene_description>Sun streams in the window. We PAN over to the bed, where we see the titles of several pamphlets and books with type-only covers: "Art of the Kill," "Amateur Assassination," "50 Ways to Off Your Lover," "Clean Kills," etc. Nancy and Alex lazily lie on the bed, their legs overlapping, flipping through the books and trading them as if they were reading the Sunday New York Times together. Music: "I'LL BE GLAD WHEN YOU'RE DEAD (YOU RASCAL YOU)" BY LOUIS ARMSTRONG</scene_description> <character>ALEX</character> <dialogue>How about this?</dialogue> <scene_description>He hands her the book (The title is simply, "KILL YOUR ENEMIES!"). Nancy scrunches up her face in disgust.</scene_description> <character>NANCY</character> <dialogue>Too messy.</dialogue> <parenthetical>(been on her mind)</parenthetical> <dialogue>Alex, what about Officer Dan?</dialogue> <character>ALEX</character> <dialogue>I think we're smarter than Officer Dan.</dialogue> <scene_description>We hear the BRASS ENSEMBLE from above. Nancy and Alex smile at each other and cozy closer together.</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - SECOND FLOOR LANDING - THE NEXT DAY</stage_direction> <scene_description>Nancy and Alex sit on the stairs, in crouched positions. Wearing yellow rubber gloves, they rapidly twist banisters back and forth. They're both hopped up on adrenaline.</scene_description> <character>NANCY</character> <dialogue>She's gone to the pharmacy, so we've got two hours.</dialogue> <character>ALEX</character> <dialogue>The pharmacy is two blocks away.</dialogue> <character>NANCY</character> <dialogue>She likes to recount the pills.</dialogue> <scene_description>Alex twists a banister and it moves easily.</scene_description> <character>ALEX</character> <dialogue>These are loose.</dialogue> <character>NANCY</character> <parenthetical>(diligently twisting)</parenthetical> <dialogue>I noticed it when I was tacking down the carpet. I'm surprised she hasn't noticed it.</dialogue> <character>ALEX</character> <dialogue>It's her own fault then.</dialogue> <scene_description>Nancy stands and backs up against Mrs. Connelly's door.</scene_description> <character>NANCY</character> <parenthetical>(miming it as she speaks)</parenthetical> <dialogue>Okay. Pitter-pats out, holds on for support, ancient railing collapses, over she goes, Aaaahhh. Tragic. One paragraph in the New York Post.</dialogue> <scene_description>Alex stands and puts his arm around Nancy's waist.</scene_description> <character>ALEX</character> <dialogue>You're sexy when you're evil.</dialogue> <scene_description>They kiss. As they do so, the handrail starts to move, not out, but parallel with the stairs. The couple glances over just as the banisters start to collapse like dominos, gathering speed as they round the corner. The final banisters bounce wildly on the wood flooring. Two bounce up and SMASH into the stained glass. Nancy stifles a SCREAM. Alex is dumbstruck.</scene_description> </scene> <scene> <stage_direction>EXT. BROWNSTONE - MORNING</stage_direction> <scene_description>The street lamps are striped with red for the holidays. FISH-EYE LENS Mrs. Connelly, in a black wool coat and wearing a small black hat with a semi-veil, pitter-pats toward the front door. She stops, and turns around as if she's forgotten something.</scene_description> <character>NANCY (O.C.)</character> <dialogue>Jesus Christ!</dialogue> <scene_description>CLOSE ON Nancy stares through the peephole impatiently.</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - FOYER - CONTINUOUS</stage_direction> <scene_description>Mrs. Connelly walks a couple of steps back, then remembers she hasn't forgotten anything, turns and pitter-pats out. Nancy springs into the lobby and recons the area like a commando. She's wearing a black sweatsuit and black gloves.</scene_description> <character>NANCY</character> <parenthetical>(gesturing anxiously)</parenthetical> <dialogue>Go go go!</dialogue> <scene_description>Alex runs out, in black jeans, turtleneck and gloves, and scurries up the stairs (which has been rebuilt, probably at some expense, with lots of clamps still in place; where the stained glass was is covered with a black plastic tarp). Nancy does a quick recon, and runs up the stairs after him.</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - SECOND FLOOR LANDING</stage_direction> <scene_description>Alex is crouching down in front of the lock, even though he is using the key. When the door opens, he clenches his fist like he's accomplished something. Nancy pushes him inside.</scene_description> </scene> <scene> <stage_direction>INT. MRS. CONNELLY'S APARTMENT</stage_direction> <scene_description>Nancy shuts the door, quickly locks it; she's all business.</scene_description> <character>NANCY</character> <dialogue>Okay, she's going to be at church for at least an hour; but let's be out of here in thirty.</dialogue> <character>ALEX</character> <dialogue>Let's move.</dialogue> <scene_description>The two "break" and scurry in different directions. We follow Alex as he scampers about the parlor, looking for dangers he can create. He hops around commando-style.</scene_description> </scene> <scene> <stage_direction>INT. MRS. CONNELLY'S APARTMENT - BATHROOM</stage_direction> <scene_description>Nancy runs in and scans quickly. Seeing that the new tiles in the shower don't match the old ones, she gets briefly heartsick. Then, remembering her mission, she starts going through all the bottles around Mrs. Connelly's sink and on top of her toilet tank. It's mostly beauty products. Nancy picks up a large jar of face cream.</scene_description> <character>NANCY</character> <dialogue>Chanel? I can't even afford Chanel.</dialogue> <scene_description>Nancy opens the medicine cabinet; there are dozens of prescription bottles inside.</scene_description> <character>NANCY</character> <parenthetical>(grim)</parenthetical> <dialogue>Jackpot.</dialogue> <scene_description>IN THE PARLOR Alex fiddles with the brackets holding a very large, heavy bronze crucifix hanging from the wall. The crucifix drops down and BANGS him on the head, very, very hard. IN THE BATHROOM Nancy swaps medications in bottles, as quickly as possible.</scene_description> <character>NANCY</character> <dialogue>Little white pills in with other little white pills, tragic mix-up.</dialogue> <scene_description>She puts the medicine back in the cabinet. She looks in the shower, grabs a bottle of shampoo. She starts squirting some on the bottom of the tub.</scene_description> <character>NANCY</character> <dialogue>So many accidents occur in the shower…</dialogue> <scene_description>IN THE PARLOR Alex scans for kill ops; Nancy runs back in.</scene_description> <character>ALEX</character> <dialogue>What's our time?</dialogue> <character>NANCY</character> <dialogue>T minus 12.</dialogue> <parenthetical>(noticing)</parenthetical> <dialogue>Alex, are you bleeding?</dialogue> <scene_description>A trickle of blood runs down the middle of Alex's forehead.</scene_description> <character>ALEX</character> <dialogue>Am I?</dialogue> <character>NANCY</character> <dialogue>Let's not leave any of that in this apartment.</dialogue> <scene_description>Holding the sides of his face, Nancy bends Alex's head down and licks the blood off his forehead. He kisses her. She kisses him back. They start to make out. Then she sees: Perched on an upper cornice is Mr. Fawkes, staring down at them, like the Raven.</scene_description> <character>NANCY</character> <parenthetical>(suddenly all business)</parenthetical> <dialogue>Let's get out of here.</dialogue> <scene_description>They scurry toward the door; Alex peels away from her.</scene_description> <character>ALEX</character> <dialogue>One more thing!</dialogue> </scene> <scene> <stage_direction>INT. BROWNSTONE - SECOND FLOOR LANDING</stage_direction> <scene_description>Nancy peeks out of the door anxiously.</scene_description> <character>NANCY</character> <parenthetical>(loud whisper)</parenthetical> <dialogue>Hurry up!</dialogue> </scene> <scene> <stage_direction>INT. MRS. CONNELLY'S APARTMENT - KITCHEN</stage_direction> <scene_description>Alex lies on the floor next to stove, with the broiler door open. He BLOWS several times hard.</scene_description> <character>ALEX</character> <dialogue>And out goes the pilot.</dialogue> <scene_description>He hops quickly to his feet, and turns the oven on.</scene_description> <character>ALEX</character> <dialogue>An hour at 375 should do it.</dialogue> <scene_description>Nancy sticks her head in the door.</scene_description> <character>NANCY</character> <dialogue>Did you blow out the pilot for the burners?</dialogue> <scene_description>Just as he turns back toward the stove, Alex is instantly enveloped in a HUGE FIREBALL. It burns off in a flash, leaving his face sooty and his hair frazzled.</scene_description> </scene> <scene> <stage_direction>EXT. D'AGASTINO'S ON SEVENTH AVENUE - PARK SLOPE - DAY</stage_direction> <scene_description>Christmas decorations in the window; snow on the sidewalk. CLOSE ON A grocery shelf containing various burn ointments. Alex's hand reaches in and takes several tubes of each.</scene_description> </scene> <scene> <stage_direction>INT. D'AGASTINO'S - CONTINUOUS</stage_direction> <scene_description>Alex walks down the aisle with his shopping basket. His face looks badly sunburned and shiny from various unguents. Tiny blisters on his forehead. His eyebrows are partially missing. He is trying to look totally casual. Then he sees: The CUTEST BABY, in a grocery cart, staring at him. Alex waves to the baby. She GIGGLES. Alex comes up close to the baby, and makes silly faces and FUNNY NOISES. The baby SHRIEKS IN TERROR. Suddenly, the baby's mother appears and sweeps the baby away.</scene_description> <character>ALEX</character> <parenthetical>(calling after her)</parenthetical> <dialogue>I'm sorry. I was just-</dialogue> <scene_description>Alex sees the lady at the end of the aisle, consoling her baby and talking to Officer Dan. Alex manages a sick grin. Officer Dan enters frame.</scene_description> <character>OFFICER DAN</character> <dialogue>What, are you scaring babies now?</dialogue> <parenthetical>(disgusted)</parenthetical> <dialogue>What happened to your face?</dialogue> <character>ALEX</character> <parenthetical>(practiced casual)</parenthetical> <dialogue>Oh, I had one of those chemical peels. Takes years off your face.</dialogue> <character>OFFICER DAN</character> <dialogue>Please come with me.</dialogue> <scene_description>Officer Dan grabs Alex's coat and starts hauling him down aisle. Alex PROTESTS INARTICULATELY and falls down. Officer Dan continues dragging him.</scene_description> </scene> <scene> <stage_direction>EXT. D'AGASTINO'S</stage_direction> <scene_description>Officer Dan tears the shopping basket from Alex's hands and tosses him into a dirty pile of snow.</scene_description> <character>OFFICER DAN</character> <dialogue>Stay off of my beat.</dialogue> <character>ALEX</character> <dialogue>I need my ointments!</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT - FOYER</stage_direction> <scene_description>Alex walks in, apparently replaying his encounter with Officer Dan, and winning.</scene_description> <character>NANCY (O.C.)</character> <dialogue>Honey? I'm in here!</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM</stage_direction> <scene_description>Alex finds Nancy on a ladder, jabbing at a supporting beam with a screwdriver. (Most of the ceiling plaster has fallen away at this point). She seems slightly manic.</scene_description> <character>NANCY</character> <dialogue>I noticed we had some dry rot here, and I thought I'd help it along...</dialogue> <scene_description>Nancy begins gouging the wood with her fingers.</scene_description> <character>ALEX</character> <parenthetical>(gentle criticism)</parenthetical> <dialogue>Sweetie, aren't the police going to know you, I mean, finger prints and DNA and all that.</dialogue> <character>NANCY</character> <dialogue>Not after our friends the termite get through with it.</dialogue> <scene_description>Nancy produces a glass vial with bugs in it.</scene_description> <character>ALEX</character> <dialogue>Where'd you get termites?</dialogue> <character>NANCY</character> <dialogue>Pet store.</dialogue> <character>ALEX</character> <dialogue>People keep termites as pets?</dialogue> <character>NANCY</character> <dialogue>New York.</dialogue> <character>ALEX</character> <parenthetical>(impressed)</parenthetical> <dialogue>Wow, you're like an evil genius.</dialogue> <character>NANCY</character> <dialogue>Thank you.</dialogue> <scene_description>Nancy gently pushes the termites into the wood.</scene_description> <character>NANCY</character> <dialogue>Eat, my pretties.</dialogue> <scene_description>One of the termites falls in her eye.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM - LATER</stage_direction> <scene_description>Alex and Nancy sit on the bed. Alex stares straight ahead; Nancy is looking up at the hole in the ceiling.</scene_description> <character>NANCY</character> <dialogue>You know, as long as we're putting a hole in the ceiling, this might be a better place for a staircase. We could turn the two front rooms into a split level living-slash- entertainment area.</dialogue> <character>ALEX</character> <parenthetical>(distracted)</parenthetical> <dialogue>Sure.</dialogue> <scene_description>Alex exits. Nancy doesn't really notice. Alex returns, lugging the wooden pyramid. He places it right under the ceiling hole.</scene_description> <character>ALEX</character> <dialogue>A little insurance.</dialogue> <character>NANCY</character> <parenthetical>(upset)</parenthetical> <dialogue>You can't - that cost $600!</dialogue> <scene_description>This is news to Alex. But he just shakes his head, amused.</scene_description> <character>ALEX</character> <dialogue>The best six hundred bucks we ever spent.</dialogue> <scene_description>Nancy appraises the scene, unhappily.</scene_description> <character>NANCY</character> <dialogue>It doesn't look right there.</dialogue> <character>ALEX</character> <dialogue>Function over form.</dialogue> <character>NANCY</character> <parenthetical>(reluctant)</parenthetical> <dialogue>Okay.</dialogue> <scene_description>Alex stands and kisses Nancy. They look up. We follow their gaze to the hole, and then through the floor to:</scene_description> </scene> <scene> <stage_direction>INT. MRS. CONNELLY'S APARTMENT - PARLOR - CONTINUOUS</stage_direction> <scene_description>The "trap" lies a few feet between Mrs. Connelly's chair and her TV set. We watch from the trap's POV as Mrs. Connelly patters down the hall right at it. She stops inches from the trap and turns around. Music from TV (Very Loud): "QUINCY" THEME The camera swings to follow Mrs. Connelly as she walks right by the trap, missing it by inches. She sits down, oblivious.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM - CONTINUOUS</stage_direction> <scene_description>Alex and Nancy sit on the bed. Alex stares up at the hole, Nancy down at the pyramid.</scene_description> <character>ALEX</character> <dialogue>That the theme from "Barnaby Jones"?</dialogue> <character>NANCY</character> <parenthetical>(re: pyramid)</parenthetical> <dialogue>The police are going to know that piece doesn't belong there.</dialogue> <character>ALEX</character> <dialogue>Not Barnaby Jones. This is going to drive me crazy.</dialogue> <character>NANCY</character> <dialogue>I don't like this. Could we move it about five feet that way?</dialogue> <character>ALEX</character> <dialogue>If we move it five feet that way, it won't be under the hole.</dialogue> <scene_description>Nancy frowns. Alex hugs her.</scene_description> <character>ALEX</character> <dialogue>It's only for a little while, honey. Then you can move it anywhere you little heart desires.</dialogue> <character>NANCY</character> <parenthetical>(happily)</parenthetical> <dialogue>Quincy!</dialogue> <scene_description>Alex and Nancy high five. DISSOLVE TO: MUCH LATER There's several empty Chinese food cartons on the bed. Alex is nodding off; Nancy has her arms around her knees and is rocking nervously. From above we hear:</scene_description> <character>WOMAN ON TV (VERY LOUD)</character> <dialogue>I thought our lack of intimacy was my husband's fault, but you made me realize it was my hair. It was a ratty mess.</dialogue> <character>NANCY</character> <parenthetical>(through gritted teeth)</parenthetical> <dialogue>I. Hate. That. There.</dialogue> <scene_description>From above, we hear a chair leg SQUEAK on the floor.</scene_description> <character>ALEX</character> <parenthetical>(jarred awake)</parenthetical> <dialogue>She's getting up!</dialogue> <scene_description>Alex and Nancy watch the ceiling, listening as Mrs. Connelly's PITTER-PATTING FOOTSTEPS seem to come right up to the trap but then again miss it by inches.</scene_description> <character>NANCY</character> <dialogue>Goddamit!</dialogue> </scene> <scene> <stage_direction>INT. MRS. CONNELLY'S APARTMENT - KITCHEN - CONTINUOUS</stage_direction> <scene_description>She reaches behind an oatmeal box and pulls out a bottle of cheap scotch. She fills a small Magilla Gorilla jelly jar to the brim, and starts pattering back. TRAP'S POV She stops at the precipice.</scene_description> </scene> <scene> <stage_direction>INT. MRS. CONNELLY'S APARTMENT - PARLOR - CONTINUOUS</stage_direction> <scene_description>She places her jelly jar on top of the TV, and changes the channels. From the TV, we hear a quite loud PING-PONG MATCH accompanied by EXCITED JAPANESE COMMENTARY. She reaches for the jar and knocks it to the ground. It shatters.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Shite.</dialogue> <scene_description>IN ALEX AND NANCY'S BEDROOM As he hears Mrs. Connelly PATTER away, Alex throws up his arms in EXASPERATION. Nancy stares at the pyramid.</scene_description> <character>NANCY</character> <dialogue>Maybe if I just rotate it…</dialogue> <scene_description>IN MRS. CONNELLY'S PARLOR Mrs. Connelly patters back from the kitchen with a sponge, dustpan and brush. She looks down and sees a lot of the broken glass is under the TV's rolling cart. IN ALEX AND NANCY'S BEDROOM Nancy gets up and starts to fiddle with the pyramid. IN MRS. CONNELLY'S PARLOR Mrs. Connelly pushes the TV cart away from the spill. TRAP'S POV The rolling cart barrels right at it. We hear the WOOD CRACKING. We quickly switch to: TV'S POV The floors gives way, revealing Nancy, looking up in surprise. The camera plummets towards her. ON THE GAPING HOLE IN THE CEILING Mrs. Connelly peers over the edge. HER POV Nancy is pinned under the TV. She MOANS, dazed. ON MRS. CONNELLY Looking down.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Goodness. I could've fallen through!</dialogue> </scene> <scene> <stage_direction>EXT. BROWNSTONE - THE NEXT MORNING</stage_direction> <scene_description>The police car is in front again. CLOSE ON Officer Sandra's face.</scene_description> <character>OFFICER SANDRA</character> <parenthetical>(flatly)</parenthetical> <dialogue>The television set fell through the floor and landed on your wife.</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM</stage_direction> <scene_description>Alex sits on the bed, trying to act casual. Officer Sandra is taking the report. Officer Dan stares at Alex.</scene_description> <character>ALEX</character> <dialogue>Some kind of a freak accident, huh?</dialogue> <character>OFFICER DAN</character> <parenthetical>(pointing up)</parenthetical> <dialogue>You're going to need to get that fixed right away. Mrs. Connelly said she nearly fell through there.</dialogue> <character>ALEX</character> <dialogue>We're getting some estimates.</dialogue> <character>OFFICER DAN</character> <dialogue>Right away, Dr. Phibes. And you owe Mrs. Connelly a new TV.</dialogue> <parenthetical>(before Alex can respond)</parenthetical> <dialogue>A nice one.</dialogue> <scene_description>We here a METALLIC CLACKING O.C. Nancy enters, carrying a tray. A jointed steel armature surrounds her whole leg like a scaffolding; metal pins go into her leg just above and below her knee and at hip level. Nancy CLACKS over to the Officer Dan with great difficulty.</scene_description> <character>NANCY</character> <dialogue>I have to apologize for all the debris. Would you like a cookie?</dialogue> </scene> <scene> <stage_direction>EXT. BROWNSTONE - EVENING - ESTABLISHING</stage_direction> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM - CONTINUOUS</stage_direction> <scene_description>Nancy hands a check to a SENIOR WORKMAN as workers cart off their ladders and tools. They placed a huge ugly hydraulic lift in the middle of the room, holding up the ceiling.</scene_description> <character>NANCY</character> <dialogue>I know it's getting late, but it would be great if you could clean up now.</dialogue> <parenthetical>(off his blank stare)</parenthetical> <dialogue>Or you could come back in the morning.</dialogue> <character>SENIOR WORKMAN</character> <dialogue>We don't clean up.</dialogue> <scene_description>Nancy sits on the bed.</scene_description> <character>NANCY</character> <dialogue>That check's going to bounce.</dialogue> <scene_description>Alex is pacing back and forth, thinking.</scene_description> <character>ALEX</character> <dialogue>So after Mrs. Connelly, "moves out," we'll have to sublet the upstairs until we can get back on our feet. We can probably get, what, fifteen-hundred?</dialogue> <character>NANCY</character> <dialogue>More. If we can get the smell out.</dialogue> <scene_description>They both CHUCKLE. Alex casually leans against the mantle. It CRUMBLES away, causing him to TOPPLE over. The rest of the mantle FALLS in pieces on top of him. As he emerges from the rubble, we see several termites crawling across his face.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - PARLOR - LATER</stage_direction> <scene_description>Nancy strings her Martha Stewart pinecone garland along the ceiling, draping it in perfect arcs around the room. Alex decorates the Christmas tree. Music (ambient): "Blue Moon" by the Cowboy Junkies</scene_description> <character>ALEX</character> <dialogue>How about that thing we read, where the British secret service used to use poison-tipped umbrellas?</dialogue> <scene_description>He mimes poking Mrs. Connelly in the back with a poison- tipped umbrella. Nancy appears, and starts rearranging the ornaments Alex has already placed on the tree.</scene_description> <character>NANCY</character> <dialogue>They used some kind of special superdeadly poison.</dialogue> <character>ALEX</character> <parenthetical>(miming)</parenthetical> <dialogue>We could just poke her a bunch of times with regular poison.</dialogue> <scene_description>They both CHUCKLE, a little evilly. After a beat:</scene_description> <character>NANCY</character> <dialogue>You know, Alex, I think we're being too smart for own good.</dialogue> <character>ALEX</character> <dialogue>Smart?</dialogue> <scene_description>Nancy reaches into a box and takes out a beautiful angel.</scene_description> <character>NANCY</character> <dialogue>We're making everything overly complicated. Maybe it should just be something simple.</dialogue> <character>ALEX</character> <dialogue>Push her down the stairs, you mean.</dialogue> <scene_description>Alex lifts Nancy, so she can place the angel atop the tree.</scene_description> <character>NANCY</character> <dialogue>That might not work.</dialogue> <character>ALEX</character> <dialogue>If it doesn't, we carry her back up and push her down again.</dialogue> <scene_description>Nancy turns off a lamp. The tree glows. The couple wrap their arms around each other, admiring it. They kiss.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - FOYER - VERY LATE AT NIGHT</stage_direction> <scene_description>Alex and Nancy are again in their commando outfits. Nancy looks out the peephole, holding a pillow.</scene_description> <character>ALEX</character> <dialogue>I still think this is going to look suspicious.</dialogue> <character>NANCY</character> <dialogue>Old people die in their sleep all the time. Especially with all the excitement she's had lately.</dialogue> <character>ALEX</character> <parenthetical>(realizing)</parenthetical> <dialogue>Is that my pillow?</dialogue> <character>NANCY</character> <dialogue>Mine's too fluffy.</dialogue> <character>ALEX</character> <dialogue>Why can't we use one of her pillows?</dialogue> <character>NANCY</character> <dialogue>I don't want to leave face prints.</dialogue> <scene_description>Alex smiles and kisses the back of her neck. Nancy puts a finger to his lips, and opens the door.</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - LOBBY</stage_direction> <scene_description>The two begin to "scurry" up the steps, except of course, Nancy is limping wildly. As she goes up the steps, we hear a loud SQUEAK. They freeze. Nancy signals it's all right; She reaches into her pocket, pulls out a tiny can of oil and applies some to the joints of her leg brace. They continue up the stairs silently.</scene_description> </scene> <scene> <stage_direction>INT. MRS. CONNELLY'S APARTMENT - DOORWAY</stage_direction> <scene_description>It's completely dark. Two dark figures enter. They creep toward the hallway when they hear the distinct sound of a MATCH BEING LIT. They turn quickly. The flame hovers in the air above Mrs. Connelly's chair. After a moment, the red tip of a cigarette glows, illuminating two disembodied eyes, staring sternly. (STIFLED SCREAM):</scene_description> <character>NANCY</character> <parenthetical>(thinking quickly)</parenthetical> <dialogue>Mrs. Connelly, we thought you might be cold, so we brought you an extra pillow.</dialogue> <scene_description>They drop the pillow and run out.</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - LOBBY</stage_direction> <scene_description>They tear down the stairs. Nancy turns toward the apartment, but Alex grabs her and pulls her toward the outside door.</scene_description> </scene> <scene> <stage_direction>EXT. BROWNSTONE - FRONT STOOP</stage_direction> <scene_description>Alex and Nancy half stumble down the stairs. Nancy resists being pulled any further.</scene_description> <character>NANCY</character> <dialogue>What are you-?</dialogue> <scene_description>Alex picks her up in his arms, and runs across the street.</scene_description> <character>ALEX</character> <dialogue>We are so screwed. We are so screwed. We are so screwed.</dialogue> </scene> <scene> <stage_direction>INT. PROSPECT PARK - PLAYGROUND</stage_direction> <scene_description>Alex runs around the playground, desperate. Finally, he dumps Nancy in a play structure and dives in after her.</scene_description> </scene> <scene> <stage_direction>EXT. PROSPECT PARK - INSIDE STRUCTURE</stage_direction> <scene_description>They lie on the ground. We can see their breaths.</scene_description> <character>NANCY</character> <dialogue>What are you doing?!</dialogue> <character>ALEX</character> <dialogue>She's calling the police!</dialogue> <character>NANCY</character> <dialogue>You don't know-</dialogue> <character>ALEX</character> <dialogue>She always calls the police!</dialogue> <character>NANCY</character> <parenthetical>(realizing he's right)</parenthetical> <dialogue>Goddam Officer Dan!</dialogue> <character>ALEX</character> <parenthetical>(panicked)</parenthetical> <dialogue>We're going to have to go on the lam. Where do you want to live? It can't be Los Angeles. It's got to be someplace like Bumblefuck, Idaho.</dialogue> <character>NANCY</character> <parenthetical>(taking control)</parenthetical> <dialogue>Calm down. We're not moving to Idaho. Let's see if the police show up. If they do, we'll hop the F to Coney Island and hide out there.</dialogue> <character>ALEX</character> <parenthetical>(takes two deep breaths)</parenthetical> <dialogue>Okay. Good plan.</dialogue> <scene_description>ANOTHER ANGLE From outside the structure. There is a beat of silence.</scene_description> <character>ALEX (FROM INSIDE)</character> <parenthetical>(joshingly quoting her)</parenthetical> <dialogue>"We thought you might be cold, so we brought you an extra pillow"?</dialogue> <character>NANCY (FROM INSIDE)</character> <dialogue>Better than you screaming.</dialogue> <scene_description>They both CHUCKLE. A beat, then:</scene_description> <character>ALEX (FROM INSIDE)</character> <dialogue>I'm freezing.</dialogue> <character>NANCY (FROM INSIDE)</character> <dialogue>Come here then.</dialogue> <scene_description>MORNING Music: "I'VE GOT MY LOVE TO KEEP ME WARM," BY BETH ORTON Alex and Nancy are curled up together on the ground, spooning, frost in their hair. Nancy awakes. She looks up. A small boy in a cowboy hat stares down at them. Nancy smiles at him. Alex awakes. The boy pulls out a space laser gun and SHOOTS them.</scene_description> <character>BOY</character> <dialogue>You're dead! You're dead!</dialogue> <scene_description>Nancy is taken aback. Alex is getting an idea. CLOSE ON ALEX</scene_description> <character>ALEX</character> <dialogue>I need to buy a gun.</dialogue> </scene> <scene> <stage_direction>EXT. TOMPKINS SQUARE PARK - NIGHT</stage_direction> <scene_description>Alex skulks through the park in a long, down-filled coat. A man approaches him.</scene_description> <character>DEALER</character> <dialogue>Smoke. Smoke.</dialogue> <character>ALEX</character> <parenthetical>(to dealer)</parenthetical> <dialogue>Gun. Gun. Need to buy a gun.</dialogue> <scene_description>The dealer looks at him askance, and hurries off.</scene_description> </scene> <scene> <stage_direction>EXT. BROOKLYN - DESOLATE LOT BY THE EAST RIVER</stage_direction> <scene_description>Alex stands with a GUN DEALER behind an old beat-up car.</scene_description> <character>GUN DEALER</character> <dialogue>Is this for protection or are you taking proactive measures?</dialogue> <character>ALEX</character> <dialogue>What I need is a starter gun. A real gun, though, not a starter's pistol.</dialogue> <character>GUN DEALER</character> <dialogue>I gotcha.</dialogue> <scene_description>He pops the trunk; it's loaded with guns. Alex's eyes widen.</scene_description> <character>GUN DEALER</character> <parenthetical>(suspicious)</parenthetical> <dialogue>You're not going to shoot up a schoolyard, are you?</dialogue> <character>ALEX</character> <dialogue>No, no, nothing like that.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Do I look like the kind of person who would shoot up a schoolyard?</dialogue> <character>GUN DEALER</character> <dialogue>You look a little crazy, yes.</dialogue> <character>ALEX</character> <dialogue>I've been under a lot of stress.</dialogue> <character>GUN DEALER</character> <parenthetical>(looking closer)</parenthetical> <dialogue>Did somebody throw acid in your face?</dialogue> <character>ALEX</character> <dialogue>No, no. Cosmetic thing.</dialogue> <character>GUN DEALER</character> <dialogue>Acid in the face, you could probably swing self-defense. Okay, here we go.</dialogue> <parenthetical>(displaying gun)</parenthetical> <dialogue>Black Widow, your basic 22-caliber revolver. Five hundred dollars.</dialogue> <character>ALEX</character> <dialogue>$500? It cost half that on the Web!</dialogue> <character>GUN DEALER</character> <dialogue>I offer more personalized service than on the Web. Now that comes fully loaded, but if you're going on any kind of spree, you're going to need more bullets.</dialogue> <character>ALEX</character> <dialogue>I'm sure whatever's in there's fine. Cash, right?</dialogue> <scene_description>The dealer gives him a "what do you think," stare. Alex counts out almost all of his money and hands it over.</scene_description> <character>GUN DEALER</character> <dialogue>Thanks. One last thing: if you end up in the legal system, and there's even a suggestion I might have been involved, you are dead, your wife is dead, your children are dead.</dialogue> <scene_description>Alex stands up, SNIFFLING.</scene_description> <character>ALEX</character> <dialogue>We don't have any children; we're talking about it.</dialogue> <parenthetical>(off his look, soberly)</parenthetical> <dialogue>But I understand.</dialogue> <character>GUN DEALER</character> <dialogue>Don't shoot anybody I wouldn't shoot.</dialogue> <scene_description>The dealer gets in the car.</scene_description> <character>ALEX</character> <dialogue>Listen, I know you're going back to the city, but if you wouldn't mind swinging by Park Slope…</dialogue> <character>GUN DEALER</character> <dialogue>I'm not a cab. End of the line.</dialogue> <character>ALEX</character> <dialogue>But you drove me out here! And, let's face it, this is dicey neighborhood.</dialogue> <character>GUN DEALER</character> <dialogue>What're you worried about? You've got a gun.</dialogue> <scene_description>He PEELS out.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - PARLOR - NIGHT</stage_direction> <scene_description>Nancy sits, nervously smoking a cigarette. We hear the DOOR OPEN. She stands, and is relieved to see Alex enter in one piece. Alex walks to her, takes the gun from his down coat and places it on the coffee table. They both stare down at it, with great moment. After a long silence,</scene_description> <character>ALEX</character> <dialogue>So it's come to this.</dialogue> <scene_description>Nancy picks the gun off the table.</scene_description> <character>NANCY</character> <dialogue>I don't think I've ever even held a gu-</dialogue> <scene_description>The gun GOES OFF. A huge explosion of fluffy down erupts from Alex's crotch.</scene_description> </scene> <scene> <stage_direction>EXT. PARK SLOPE HOSPITAL - EARLY MORNING</stage_direction> </scene> <scene> <stage_direction>INT. HOSPITAL - PATIENT'S ROOM - CONTINUOUS</stage_direction> <scene_description>Nancy sits by Alex's side, tightly holding his hand, as DR. KANG nonchalantly briefs him.</scene_description> <character>DR. KANG</character> <dialogue>Okay. It's kind of mess down there.</dialogue> <character>NANCY</character> <dialogue>Will he still be able to have children?</dialogue> <character>ALEX</character> <parenthetical>(to Nancy, annoyed)</parenthetical> <dialogue>That's your first question?</dialogue> <character>DR. KANG</character> <dialogue>Well, we won't be able to really determine the damage until we can sort out what's what. But even in the worst case scenario, I imagine we'd still be able to extract some sperm.</dialogue> <character>NANCY</character> <dialogue>Oh, thank God.</dialogue> <character>ALEX</character> <dialogue>What's the worst case scenario?</dialogue> <character>DR. KANG</character> <dialogue>Let's not focus on that just yet. Keep in mind that reconstructive surgery can do some amazing things; I mean, they can turn a woman into a man, so, well, that's where we are.</dialogue> <parenthetical>(an uncomfortable beat)</parenthetical> <dialogue>I'll give you a moment.</dialogue> <scene_description>Dr. Kang exits. Nancy lays her head on Alex's chest.</scene_description> <character>NANCY</character> <parenthetical>(voice cracking)</parenthetical> <dialogue>I'm sorry I shot you in the penis.</dialogue> <character>ALEX</character> <parenthetical>(patting her head)</parenthetical> <dialogue>I know. I know.</dialogue> <scene_description>Dr. Kang reenters.</scene_description> <character>DR. KANG</character> <dialogue>Now, there's two officers here who would like to talk to you.</dialogue> <scene_description>It's Officers Sandra and Dan.</scene_description> <character>OFFICER DAN</character> <parenthetical>(to Alex, rote)</parenthetical> <dialogue>I'm sorry for your loss.</dialogue> </scene> <scene> <stage_direction>EXT. TIMES SQUARE - SEVERAL NIGHTS LATER</stage_direction> <scene_description>Alex, a little hunched over, and Nancy, limping to keep up, walk through bright, sanitized Times Square. And yet the tableau is strongly reminiscent of "Midnight Cowboy." MUSIC: "SILVER BELLS" BY TOM WAITS</scene_description> </scene> <scene> <stage_direction>INT. NONDESCRIPT MEETING ROOM - MIDTOWN SOMEWHERE</stage_direction> <scene_description>Alex takes a seat on a folding chair next to a BIG GUY. At the front of the room is a podium, with a banner behind it which reads, "Men Accepting Non-Voluntary Genital Loss." a MEMBER is speaking.</scene_description> <character>MEMBER</character> <dialogue>Well, a lot of you are asking, what kind of idiot would rest an idling chain saw in his lap?</dialogue> <parenthetical>(raises hand sheepishly)</parenthetical> <dialogue>Guilty.</dialogue> <scene_description>BACK OF THE ROOM The Big Guy, wearing a MANGL button, turns to Alex.</scene_description> <character>BIG GUY</character> <dialogue>You're new here.</dialogue> <character>ALEX</character> <parenthetical>(eyes forward)</parenthetical> <dialogue>Yeah.</dialogue> <character>BIG GUY</character> <dialogue>We're here to talk about it. I'm Frank.</dialogue> <character>ALEX</character> <dialogue>I'm Ben.</dialogue> <character>FRANK</character> <dialogue>Share with me, Ben.</dialogue> <parenthetical>(getting no response)</parenthetical> <dialogue>I'll start. In the profession I have chosen, one does not sexually pleasure one's bosses' mistress.</dialogue> <character>ALEX</character> <parenthetical>(without looking at him)</parenthetical> <dialogue>My wife shot me in the dick.</dialogue> <character>FRANK</character> <parenthetical>(turns to look ahead)</parenthetical> <dialogue>At least you didn't have to eat yours.</dialogue> <scene_description>Alex puts it all together. He gets an idea.</scene_description> <character>ALEX</character> <dialogue>Say, Frank, in this profession you have chosen... do you freelance?</dialogue> </scene> <scene> <stage_direction>EXT. THE ROOST - DAY</stage_direction> </scene> <scene> <stage_direction>INT. THE ROOST - CONTINUOUS</stage_direction> <scene_description>Music: "SANTA CLAUS IS COMING TO TOWN" BY FRANK SINATRA Alex and Nancy are huddled in a booth with Frank. Nancy's titanium Powerbook sits between them. ON THE COMPUTER SCREEN Using Nancy's CGI design program, we enter Mrs. Connelly's apartment and turn toward the parlor.</scene_description> <character>NANCY (O.C.)</character> <dialogue>The door will be unlocked. Once you get in, okay, I realize this is horribly cluttered, but we're going to go for a much cleaner, brighter look. For starters, those drapes won't be there…</dialogue> <character>ALEX (O.C.)</character> <dialogue>Nancy…</dialogue> <character>NANCY (O.C.)</character> <parenthetical>(Back to business)</parenthetical> <dialogue>You might find her here.</dialogue> <scene_description>The computer's camera swivels toward Mrs. Connelly chair, which has a virtual little old lady sitting it.</scene_description> <character>NANCY</character> <dialogue>Or she might be in her bedroom, that's down the hall, second door on the right. You got that?</dialogue> <scene_description>Frank, who doesn't look like he has got that, nods.</scene_description> <character>FRANK</character> <dialogue>When do you want this done?</dialogue> <character>ALEX</character> <dialogue>As soon as possible.</dialogue> <character>NANCY</character> <dialogue>Tonight?</dialogue> <character>FRANK</character> <dialogue>Tonight's Christmas Eve. I like to spend Christmas Eve with my family.</dialogue> <character>ALEX</character> <dialogue>It's Christmas Eve?</dialogue> <parenthetical>(to Nancy, apologetic)</parenthetical> <dialogue>I didn't get you anything.</dialogue> <scene_description>Nancy gives Alex and good-natured "forget about it" wave.</scene_description> <character>FRANK</character> <dialogue>I could do it later, after the kids go to bed.</dialogue> <scene_description>Alex and Nancy nod their heads. That sounds good.</scene_description> </scene> <scene> <stage_direction>EXT. BROWNSTONE - CHRISTMAS EVE - EARLY EVENING</stage_direction> </scene> <scene> <stage_direction>INT. BROWNSTONE - LOBBY</stage_direction> <scene_description>Nancy and Alex enter, looking a little guilty.</scene_description> <character>MRS. CONNELLY (O.C.)</character> <dialogue>Mr. Kendricks! Miss Rose!</dialogue> <scene_description>Nancy and Alex bow their heads, like guilty dogs.</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - SECOND FLOOR LANDING</stage_direction> <scene_description>Mrs. Connelly wears a Santa hat.</scene_description> <character>MRS. CONNELLY</character> <dialogue>I hope you won't be mad. Officer Dan told me to buy a new TV and give you the bill, but when I ordered it, I didn't realize it was so expensive.</dialogue> <scene_description>They look into Mrs. Connelly apartment. It's a gigantic flat screen, cinema aspect-ratio HDTV plasma monitor.</scene_description> <character>MRS.</character> <dialogue>It gets a much my old TV. And timer, so if I it, it'll turn</dialogue> <character>CONNELLY</character> <dialogue>better picture than it has a sleep fall asleep watching itself off.</dialogue> <character>ALEX</character> <dialogue>That's great.</dialogue> <scene_description>Mrs. Connelly hands her the bill.</scene_description> <character>MRS. CONNELLY</character> <dialogue>They said they have easy financing.</dialogue> <character>NANCY</character> <parenthetical>(big smile)</parenthetical> <dialogue>Enjoy your new TV, Mrs. Connelly.</dialogue> <character>ALEX</character> <dialogue>Merry Christmas, Mrs. Connelly.</dialogue> </scene> <scene> <stage_direction>EXT. BROWNSTONE - CHRISTMAS EVE - NIGHT</stage_direction> <scene_description>MUSIC: "OH, HOLY NIGHT" BY MAZZY STAR</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - BEDROOM- CONTINUOUS</stage_direction> <scene_description>Nancy and Alex sit in the dark for a long beat.</scene_description> <character>NANCY</character> <dialogue>I never thought of myself as the kind of person who would hire an assassin to kill a little old lady.</dialogue> <scene_description>Another beat.</scene_description> <character>ALEX</character> <dialogue>I feel bad about myself.</dialogue> <scene_description>They sit there, contemplating what they've become. Suddenly, we hear a LOUD CRASHING O.C. Alex and Nancy leap out of bed.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - PARLOR</stage_direction> <scene_description>Alex rushes in, and reaches for a light switch. A crowbar SMASHES his hand. He SCREAMS. In the light, we see Frank, shielding his eyes with the crowbar-wielding hand. He backs up and falls into the Christmas tree, CRASHING with it to the ground. He thrashes around in a sea of ELECTRICAL SPARKS.</scene_description> <character>NANCY</character> <parenthetical>(screams)</parenthetical> <dialogue>What are you doing?!!!</dialogue> <scene_description>Frank struggles to the ground. He looks sheepish, and obviously drunk.</scene_description> <character>FRANK</character> <parenthetical>(drunk)</parenthetical> <dialogue>You said second floor. I climbed up...</dialogue> <scene_description>He points to the broken window he came through.</scene_description> <character>ALEX</character> <dialogue>This is the first floor! You climbed up from the basement floor!</dialogue> <scene_description>Frank hits himself on the forehead.</scene_description> <character>FRANK</character> <dialogue>Stupid Frank!</dialogue> <parenthetical>(defensive)</parenthetical> <dialogue>I had a couple of drinks, okay? Have you ever killed anyone? It's hard!</dialogue> <character>ALEX</character> <dialogue>Look, Frank, maybe we should just...</dialogue> <scene_description>Nancy smells smoke. She and Alex look over to see the tree is BURNING. Then Nancy's pine cone garlands catch on fire, and the fire ZIPS along them like a fuse, ringing the whole apartment with fire. Nancy and Alex are frozen in stunned silence for a moment. Then they hear SOMETHING. They turn to see: Frank is stumbling out their front door toward the stairs.</scene_description> </scene> <scene> <stage_direction>INT. BROWNSTONE - LOBBY</stage_direction> <scene_description>Alex and Nancy run out just in time to see Frank bounds to the top of the stairs. He rips open Mrs. Connelly's door with the crowbar. He rushes in. Nancy and Alex watch in horror as they hear: (SCREAM) Frank staggers back out of the door, Mrs. Connelly wrapped around his head like an ATTACKING BABOON. She strikes him on the head with a huge brass crucifix. He falls against the railing, which COLLAPSES. They plunge together over the side. Nancy and Alex rush up. Bob eyes are wide open. He's dead. Then he blinks. He struggles to his feet, and staggers out. Alex stares down at the injured Mrs. Connelly. On her forearm, written in blue, are a series of numbers.</scene_description> <character>ALEX</character> <dialogue>Hitler couldn't kill her! What chance do I have!?</dialogue> <scene_description>Nancy looks down. She bends over, licks a finger and rubs it on the numbers. They smear off.</scene_description> <character>NANCY</character> <dialogue>That's the number of the Park Slope police department.</dialogue> <scene_description>Alex and Nancy huddle together and look down at the unconscious Mrs. Connelly. Then back at the fire engulfing their home. Then back at Mrs. Connelly.</scene_description> <character>NANCY</character> <dialogue>We could just leave her here...</dialogue> <character>ALEX</character> <dialogue>But we won't.</dialogue> <character>NANCY</character> <parenthetical>(sadly)</parenthetical> <dialogue>We'll never be rich.</dialogue> <scene_description>Alex turns to kiss Nancy on the forehead and sees: THEIR DOORWAY Dozens of mice scurry out, escaping the fire. This scares them, but not as much as when they turn back to see: IN THE LOBBY A dark figure rises in front of the black plastic tarp, which burns away at that moment, revealing the inferno in their bedroom. The figure is Mrs. Connelly. A SCREECH is heard. Mr. Fawkes swoops down and lands on Mrs. Connelly shoulder. Seen only in silhouette, she looks like some kind of pirate. ON ALEX AND NANCY Their moment of truth.</scene_description> </scene> <scene> <stage_direction>EXT. BROWNSTONE - A MOMENT LATER</stage_direction> <scene_description>Nancy opens the door. Alex carries Mrs. Connelly out in his arms. We PULL OUT and UP as they hobble down the stairs. Once they get to the sidewalk:</scene_description> <character>NANCY</character> <dialogue>Where do we go now?</dialogue> <scene_description>WE CONTINUE PULLING OUT. Alex points in one direction and they start going that way. After a few steps, Nancy stops and points in the opposite direction. They go that way. Music: "WELCOME CHRISTMAS" (THE WHOVILLE SONG) BY LOVE SPIRALS DOWNWARD It begins to snow.</scene_description> </scene> <scene> <stage_direction>EXT. BROWNSTONE - SPRING - DAY</stage_direction> </scene> <scene> <stage_direction>INT. APARTMENT - LIBRARY - CONTINUOUS</stage_direction> <scene_description>Kenneth leads another young couple through the apartment. It's battered (and a lot of glass is missing) but it's still mighty impressive.</scene_description> <character>KENNETH</character> <dialogue>There's a little fire damage, but under that you'll find all the original wood. It's a real handy man's dream. But the bank is taking a loss on the property, so it's going to go fast.</dialogue> </scene> <scene> <stage_direction>INT. BROWNSTONE - LOBBY - A MOMENT LATER</stage_direction> <scene_description>Kenneth exits the apartment with the couple.</scene_description> <character>KENNETH</character> <dialogue>Oh, and here's Mrs. Connelly!</dialogue> <scene_description>Mrs. Connelly is making her way across the lobby, leaning on a three-footed cane. Officer Dan walks next to Mrs. Connelly, carrying her groceries. She turns to the couple.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Are you looking at the apartment? The young couple that was here before you, they were so nice. I wish they could have stayed.</dialogue> <scene_description>Officer Dan smiles, betraying nothing. CLOSE ON We see a series of romantic photographs of Alex and Nancy. Their wedding photo, in front of their fireplace, etc. PULL OUT to reveal we are:</scene_description> </scene> <scene> <stage_direction>INT. STATE WOMEN'S PRISON - NANCY'S CELL - DAY</stage_direction> <scene_description>Nancy is walking around the cell, trying to demonstrate what she's talking about.</scene_description> <character>NANCY</character> <dialogue>I'm just saying the whole thing is a little boxy. But if we angle the bed a little, it'll make a kind of "conversation pit" with the toilet, which we should get some sort of pretty fabric to drape over it.</dialogue> <scene_description>Nancy's cellmate, who's killed before, is unconvinced.</scene_description> <character>NANCY'S CELLMATE</character> <dialogue>No.</dialogue> <character>NANCY</character> <dialogue>Look, if we're going to be roomies for the next twelve to eighteen months...</dialogue> </scene> <scene> <stage_direction>INT. STATE MEN'S PRISON - ALEX'S CELL - DAY</stage_direction> <scene_description>Alex sits on his bunk, portable typewriter in his lap. On the wall next to him are several of the same pictures Nancy has on hers. Alex types: THE END. He pulls out the paper and rolls in another one. He smiles as types: FOR NANCY.</scene_description> <character>VOICE (O.C.)</character> <dialogue>Yo!</dialogue> <scene_description>On the top bunk, his cellmate is reading Alex's manuscript.</scene_description> <character>ALEX'S CELLMATE</character> <dialogue>They don't kill the old lady? You gotta kill the old lady!</dialogue> </scene> <scene> <stage_direction>INT. BROWNSTONE - LOBBY</stage_direction> <scene_description>The young couple watches as Mrs. Connelly slowly makes her way toward the stairs, and stops.</scene_description> <character>MRS. CONNELLY</character> <dialogue>Oh, these stairs will be the death of me. If only I had one of those elevator chairs, that carry you up…</dialogue> <character>WIFE</character> <dialogue>That would be nice, but…</dialogue> <character>HUSBAND</character> <parenthetical>(patronizing)</parenthetical> <dialogue>I imagine they're quite expensive.</dialogue> <character>MRS. CONNELLY</character> <dialogue>Yes, I suppose you are right.</dialogue> <scene_description>With Officer's Dan's help, she makes it up the first step. The couple share a knowing glance. CLOSE ON Officer's Dan's pocket. Sticking out is a pamphlet, "American People With Disabilities Act: Know Your Rights!"</scene_description> </scene> <scene> <stage_direction>INT. MRS. CONNELLY'S APARTMENT - PARLOR</stage_direction> <scene_description>Mrs. Connelly parks her cane next to her chair and sits down. She takes out the pamphlet and starts to read. She takes a swig of whisky, and picks up a remote control. ON HIGH-DEFINITION PLASMA SCREEN TV It springs to life with the opening of "Hawaii 5-0." CREDITS OVER CREDITS Music: A duet of Cole Porter's "Who Wants to Be a Millionaire," by Drew Barrymore and Ben Stiller. The End</scene_description> </scene> </script>

Young, professional New York couple Alex Rose and Nancy Kendricks are in search of their dream home. The seemingly perfect Brooklyn brownstone duplex has one flaw: Mrs. Connelly, an old Irish lady who lives on the rent-controlled top floor. Assuming she won't live long, they buy the apartment. However, they soon realize Mrs. Connelly is lively, enjoys blasting her TV 24-7 and rehearsing in a brass band. A novelist, Alex must finish his latest against a looming deadline. However, he is interrupted constantly daily by Mrs. Connelly, and it quickly escalates into an all-out war. They try to get her to move out, but she refuses. Next, they try to file a noise complaint against her, but discover that she has gone to the police first and filed a harassment charge against them. Their friends turn against them when she play-acts as the "poor, innocent, old lady" making it appear they are out to harm her. Nancy loses her job and Alex misses his deadline thanks to the old lady's antics, so they are trapped at home together with Mrs. Connelly with no place to go. Their rage turns to homicidal fantasy as they plot ways to get rid of their manipulative, no-good neighbor. Peace overtures and a break-in lead to nothing, so they hire a hitman, Chick, to kill her. His asking price for the hit is $25,000. Desperate and needing the money in two days, they sell almost everything they own to pay for the Christmas Eve hit. Chick breaks into Mrs. Connelly's apartment as planned, but fails to kill her as she defends herself with a speargun, shooting him in the shoulder. She is incapacitated in the fight, and the duplex catches fire. Nancy and Alex appear to leave her to die, but then return and save her and her parrot. The fire department puts out the fire. Accepting defeat, Alex and Nancy leave, and find out the old woman has just died. Moving away, they contemplate their strange encounter. We then learn they are not the first to be elaborately scammed by: the realtor of the duplex, Kenneth (Mrs. Connelly's son); the ill-tempered NYPD Officer Dan (Kenneth's boyfriend) who had frequently harassed and distrusted the couple, always siding with Mrs. Connelly in her disputes against them, and Mrs. Connelly herself (who is not in fact dead). The real-estate scam has been run by the trio for several years: Kenneth sells the ground-floor apartment to an unsuspecting, naive young couple. Then Mrs. Connelly, aided by Dan, harasses them, eventually forcing them to move out. Finally, she fakes her own death so they will never suspect a thing, thus leaving them to collect and live off of the sales commission from the next unsuspecting occupants. Alex and Nancy were their latest victims among many. Despite everything, as they celebrate their latest victory, she admits she actually liked Alex and Nancy and hopes they find success and happiness elsewhere. A final voice-over by Alex relates that he and Nancy relocated to The Bronx. Like the other couples the trio scammed, they never saw Mrs. Connelly or returned to Brooklyn again. Alex used their unpleasant experience as inspiration for his next book entitled Duplex, which became a best-seller, rescuing him and Nancy from poverty and giving the film a semi-happy ending.

A Scanner Darkly_2006

tt0405296

<script> <scene> <character>A SCANNER DARKLY</character> <dialogue>a screenplay by</dialogue> <dialogue>Charlie Kaufman</dialogue> <scene_description>adapted from the novel A Scanner Darkly by Philip K. Dick First Draft December 20, 1997 SHOT OF NOTEBOOK PAGE DAPPLED WITH SUNLIGHT POV of someone skimming a hand-written entry. The corresponding voice-over is offhand, dispassionate. In the background, children can be heard laughing and playing.</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>Lately, Jerry Fabin stands all day shaking bugs from his hair. The doctor says there are no bugs in his hair.</dialogue> <scene_description>The sound of fingers scratching scalp begins and grows louder through the following montage.</scene_description> </scene> <scene> <stage_direction>EXT. COCA-COLA BOTTLING PLANT - PRE-DAWN</stage_direction> <scene_description>SUBTITLE: ORANGE COUNTY, CALIFORNIA, IN THE YEAR 1994 A massive, unlit Coca-Cola sign is eerily silhouetted against the early morning sky. Antiquated delivery trucks set out from loading docks, as red futuristic cargo planes, emblazoned with the Coca-Cola logo, take off from the roof.</scene_description> </scene> <scene> <stage_direction>EXT. FREEWAY - PRE-DAWN</stage_direction> <scene_description>Birds-eye view of Coca-Cola trucks spreading out through the city. Coke planes shoot by close to the camera.</scene_description> </scene> <scene> <stage_direction>EXT. 7-11 - DAWN</stage_direction> <scene_description>A Coke truck pulls into the parking lot.</scene_description> </scene> <scene> <stage_direction>EXT. SUPERMARKET - DAWN</stage_direction> <scene_description>A Coke plane lands gracefully on the roof of the supermarket.</scene_description> </scene> <scene> <stage_direction>EXT. MCDONALD'S - DAWN</stage_direction> <scene_description>Uniformed delivery men enter, hauling cases of Coke syrup.</scene_description> </scene> <scene> <stage_direction>EXT. RESIDENTIAL STREET - DAWN</stage_direction> <scene_description>A Coca-Cola truck rumbles slowly past a row of low-income, plastic pre-fab houses. We hold on one house whose front lawn is strewn with furniture and cleaning products.</scene_description> </scene> <scene> <stage_direction>INT. JERRY FABIN'S LIVING ROOM - DAWN</stage_direction> <scene_description>The windows are spray-painted over with silver paint. A single pole lamp with bare, harsh spot-lights illuminates the room, which is emptied of furniture, covered in a sickly green shag carpet, and littered with fast-food wrappers. In CONTINUED: the center of the room stands Jerry Fabin, thirty, with wild- eyes and a long, tangled mass of hair. He is naked, draped over a metal garbage can, and vigorously scratching his head. This process continues for an uncomfortably long time. A Golden Retriever sleeps in the corner.</scene_description> </scene> <scene> <stage_direction>INT. JERRY FABIN'S BATHROOM - LATER</stage_direction> <scene_description>Jerry Fabin stands under a hot shower. Steam fills the stall. He scrubs his hair violently with tensed fingers.</scene_description> </scene> <scene> <stage_direction>INT. JERRY FABIN'S LIVING ROOM - LATER</stage_direction> <scene_description>We hear the shower. Steam pours out the open bathroom door.</scene_description> </scene> <scene> <stage_direction>EXT. JERRY FABIN'S HOUSE - MID-DAY</stage_direction> <scene_description>The sun is high; the day is bright and hazy. A few hippies stroll by or sit on front steps, discreetly smoking joints. We hear the distant sound of Jerry's shower.</scene_description> </scene> <scene> <stage_direction>INT. JERRY FABIN'S BATHROOM - LATER</stage_direction> <scene_description>Jerry is still in the shower, scrubbing away. He finally turns it off and steps out, a drowned rat. He dries himself, wipes the mirror and squints nervously at his reflection. Tiny bugs hop around on his head. He screams.</scene_description> </scene> <scene> <stage_direction>INT. JERRY FABIN'S LIVING ROOM - LATER</stage_direction> <scene_description>Jerry lies on the cruddy shag carpet, open volumes of the Encyclopedia Brittanica spread around him. He scratches himself as he studies one of the volumes. Insects hop up and down all over his body, and on the rug. When he exhales, a cloud of bugs pours from his mouth; he shoos them away.</scene_description> </scene> <scene> <stage_direction>EXT. JERRY FABIN'S HOUSE - DAY</stage_direction> <scene_description>Jerry heads up the walkway carrying a shopping bag. Several cans of Raid and other bug sprays poke out of the bag. Bugs hop around on Jerry. He puts the bag down on the stoop to scratch himself. He notices tiny bugs chewing the shrubs.</scene_description> </scene> <scene> <stage_direction>INT. NURSERY - DAY</stage_direction> <scene_description>Jerry consults with a man behind the cash register.</scene_description> <character>NURSERY CLERK</character> <dialogue>Eating the bushes? Could be aphids.</dialogue> <scene_description>CONTINUED:</scene_description> <character>JERRY FABIN</character> <dialogue>Aphids! Of course. Y'know, I started with "A" in my cyclopedia, yet somehow I must've skipped right over aphids. It does start with "A", right? Aphids?</dialogue> <character>NURSERY CLERK</character> <dialogue>Yes. Yes, it does, sir.</dialogue> <character>JERRY FABIN</character> <dialogue>Boy, those fuckers can really bite.</dialogue> <character>NURSERY CLERK</character> <dialogue>Aphids don't bite people.</dialogue> <scene_description>Fabin just stares at the clerk.</scene_description> </scene> <scene> <stage_direction>INT. JERRY FABIN'S LIVING ROOM - DAY</stage_direction> <scene_description>Scrawled charts depicting the aphid life-cycle now adorn the walls. As Jerry sprays a can of "Aphid-Off" around the room, he notices his sleeping dog is covered with the bugs.</scene_description> </scene> <scene> <stage_direction>INT. JERRY FABIN'S BATHROOM - DAY</stage_direction> <scene_description>Jerry stands in the shower with his dog. Jerry is lathered head-to-toe and in the process of lathering the dog. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - LATER</stage_direction> <scene_description>Jerry and the long-suffering dog are still in the shower. Charles Freck, early thirties and stoned, enters.</scene_description> <character>CHARLES FRECK</character> <dialogue>Hey, Jerry, I was in the neighborhood looking to score, and I thought -- What the fuck are you doing in the shower with the goddamn dog?</dialogue> <character>JERRY FABIN</character> <dialogue>I got to get the aphids.</dialogue> <scene_description>Jerry turns off the shower, steps out with the dog, and begins drying him. Freck watches silently, transfixed, as Jerry proceeds to rub oil, then talc into the dog's coat.</scene_description> <character>CHARLES FRECK</character> <dialogue>I don't see any aphids. What's an aphid?</dialogue> <scene_description>CONTINUED:</scene_description> <character>JERRY FABIN</character> <parenthetical>(busy)</parenthetical> <dialogue>It eventually kills you. That's what an aphid is.</dialogue> <scene_description>Freck nods sympathetically.</scene_description> <character>JERRY FABIN</character> <dialogue>They're in my hair and my skin and my lungs. The goddamn pain is unbearable. I'm gonna have to go to the hospital.</dialogue> <character>CHARLES FRECK</character> <parenthetical>(beat, squints)</parenthetical> <dialogue>How come I can't see them though?</dialogue> <scene_description>Jerry stops talcing the dog, looks up at Freck.</scene_description> </scene> <scene> <stage_direction>INT. JERRY FABIN'S LIVING ROOM - A BIT LATER</stage_direction> <scene_description>Jerry and Freck are on all fours on the carpet. Bugs hop all around. The powdered-white dog sleeps in the corner.</scene_description> <character>JERRY FABIN</character> <dialogue>I'll find an especially big one, cause they're hard for many people to see.</dialogue> <scene_description>Jerry grabs a bug from the carpet, throws it in a jar, and clamps the lid down fast. He shows it triumphantly to Freck.</scene_description> <character>CHARLES FRECK</character> <dialogue>Wow! That is a big one!</dialogue> <character>JERRY FABIN</character> <dialogue>Help me find more for the doctor to see.</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. JERRY FABIN'S LIVING ROOM - LATER</stage_direction> <scene_description>The two men are still on their hands and knees collecting bugs. Three jars are already full of hopping insects.</scene_description> <character>CHARLES FRECK</character> <dialogue>What do we get for these? I mean, does the doctor pay a bounty or something? A prize? Any bread?</dialogue> <scene_description>CONTINUED:</scene_description> <character>JERRY FABIN</character> <dialogue>I get to help perfect a cure for them.</dialogue> <scene_description>They continue to collect bugs in silence. Jerry starts scratching himself again, trying not to be too obvious.</scene_description> <character>JERRY FABIN</character> <dialogue>Hey, man, you continue while I take a leak and like that.</dialogue> <scene_description>Jerry heads to the bathroom. The dog, who has been sleeping near the bathroom door, skulks to the other side of the room.</scene_description> <character>CHARLES FRECK</character> <dialogue>Jerry, these bugs sort of scare me. I don't like it here by myself.</dialogue> <scene_description>Jerry stops, holds the door jam for support. He is in pain.</scene_description> <character>JERRY FABIN</character> <dialogue>You're a chickenshit bastard, Freck.</dialogue> <character>CHARLES FRECK</character> <dialogue>Couldn't you --</dialogue> <character>JERRY FABIN</character> <dialogue>I got to take a leak and like that!</dialogue> <scene_description>Jerry enters the bathroom, slams the door shut, and locks it.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - CONTINUOUS</stage_direction> <scene_description>Jerry turns on the shower, climbs in and begins to soap himself vigorously. Freck is barely audible throughout.</scene_description> <character>CHARLES FRECK (O.S.)</character> <dialogue>I'm afraid out here, man.</dialogue> <character>JERRY FABIN</character> <dialogue>Then go fuck yourself, man!</dialogue> <character>CHARLES FRECK (O.S.)</character> <dialogue>Do these fuckers bite?</dialogue> <character>JERRY FABIN</character> <dialogue>Yeah they bite! They're aphids!</dialogue> <character>CHARLES FRECK</character> <dialogue>Can I wash them off and wait for you?</dialogue> <scene_description>Jerry ignores Freck. He scrubs himself intently, ritualistically, totally absorbed in his task.</scene_description> </scene> <scene> <stage_direction>INT. LION'S CLUB HALL - DAY</stage_direction> <scene_description>We hear pronounced, rhythmic breathing, as we scan the hall, which is filled with middle-aged businessmen wearing an array of brightly colored suits. They are well-fed and dull- looking. At the podium is another bussinessman, this one fat in a pink suit and yellow tie. He addresses the assemblage.</scene_description> <character>FAT BUSINESSMAN</character> <dialogue>Gentlemen, we have a wonderful opportunity this afternoon. The county of Orange has provided us with the chance to hear from -- and put questions to -- an undercover narcotics agent from the Sheriff's Office.</dialogue> <scene_description>The fat businessman gestures with a sweep of his arm toward the camera. The heavy breathing stops as we angle on what the fat businessman is gesturing toward: a generic blur of a human being sitting on stage. The blur is clearly human, but it's impossible to settle on its facial features. It's as if the features keep changing.</scene_description> <character>FAT BUSINESSMAN</character> <dialogue>Now you will notice that you can barely see this individual becuase he is wearing what is called a "scramble suit", which he wears during most of his daily activities of law enforcement. Due to potential corruption within the Sheriff's Department, even this gallant officer's co-workers and superiors must not know his "street" identity.</dialogue> <scene_description>Heavy breathing. Again we're inside the suit. Now we see, in shadowy profile, the face of the man in the suit. This is Bob Arctor, early thirties, homely, and looking like a druggie. He scans the audience disdainfully.</scene_description> <character>BOB ARCTOR</character> <parenthetical>(under breath)</parenthetical> <dialogue>Nitwits. Pathetic, soulless morons.</dialogue> <scene_description>We cut to the outside of the suit -- still expressionless.</scene_description> <character>FAT BUSINESSMAN</character> <dialogue>This man -- whom we will call Fred, because that is the code name under which he reports the information he</dialogue> <scene_description>CONTINUED:</scene_description> <character>FAT BUSINESSMAN</character> <dialogue>gathers -- cannot be identified by voice or by appearance. He looks, does he not, like a vague blur. This is because his scramble suit projects thousands of different human faces onto your retinas, thus turning Fred into a veritable Everyman. All things to all people translates into nothing to anyone, does it not?</dialogue> <scene_description>The fat businessman smiles a big, toothy smile. The audience of straights smiles back, almost in unison.</scene_description> <character>FAT BUSINESSMAN</character> <dialogue>So let's hear it for our vague blur!</dialogue> <scene_description>The audience erupts into enthusiastic applause. Fred rises and replaces the fat businessman behind the podium. When he speaks it is an emotionless computer voice.</scene_description> <character>FRED</character> <dialogue>If you saw me on the street, you'd say, "There goes a weirdo freak doper." And you'd feel aversion and walk away.</dialogue> <scene_description>The audience is silent, blank, their blankness a reflection of the blankness of Fred's scramble suit.</scene_description> <character>FRED</character> <dialogue>I don't look like you. I can't afford to. My life depends on it.</dialogue> <scene_description>Dramatic pause.</scene_description> <character>FRED</character> <dialogue>I am not going to tell you first what I'm attempting to do as an undercover officer. I'm going to tell you...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>... what I am afraid of.</dialogue> <scene_description>Now the audience is hooked, their eyes wide. We move inside the suit and watch Bob Arctor watching the audience, timing the pause for best effect. We hear the breathing again, and when Arctor speaks, it is in his normal voice, bored, delivering a memorized speech.</scene_description> <character>BOB ARCTOR</character> <dialogue>What I fear, is that our children, your children and my children...</dialogue> <parenthetical>(pause)</parenthetical> <scene_description>CONTINUED:</scene_description> <character>BOB ARCTOR</character> <dialogue>... I have two. Little ones.</dialogue> <scene_description>QUICK SHOT OF FAMILY PHOTO OF ARCTOR, HIS WIFE, AND TWO LITTLE GIRLS The Arctor in the photo is different, conservative, in a colorful suit like the audience members. His wife and kids are smiling and suburban-looking. Their features indistinct, generic, impossible to recall.</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>But not too little to be addicted...</dialogue> </scene> <scene> <stage_direction>INT. LION'S CLUB HALL - CONTINUOUS</stage_direction> <scene_description>Arctor is speaking from inside the suit.</scene_description> <character>BOB ARCTOR</character> <dialogue>... calculatedly addicted, for profit, by those who would destroy this society. We do not yet know who these animals are who pray on our young, but one day we will.</dialogue> <character>VOICE FROM CROWD</character> <dialogue>Sock it to 'em!</dialogue> <scene_description>The audience concurs. Bob Arctor sighs disdainfully. Outside the suit, the sigh is heard as a computer-like exhalation, uninterpretable, lost on the audience.</scene_description> <character>FRED</character> <dialogue>We believe there is one source for Substance D and a diversified distribution system making it accessible in all major drug using areas. It my job as an undercover officer to attain the confidence of low level dealers and work my way up through the network to arrive at the drug's source. Now, the profits for...</dialogue> <scene_description>Fred becomes silent, stands there. The audience waits. Inside the suit, Arctor sweats, can't remember his line. He looks, panicked, out at the sea of eyes and finally wings it.</scene_description> <character>BOB ARCTOR</character> <dialogue>Well, it isn't the profits anyhow. It's something else... what you see ...</dialogue> <scene_description>CONTINUED: Arctor scans the hard audience. He tries a new tack.</scene_description> <character>BOB ARCTOR</character> <dialogue>If you were a diabetic, and you didn't have the money for insulin, would you steal to get the money? Or just die?</dialogue> <scene_description>A tinny voice speaks to Arctor through his headphone.</scene_description> <character>HEADPHONE VOICE</character> <dialogue>I think you'd better go back to the prepared text, Fred.</dialogue> <character>BOB ARCTOR</character> <parenthetical>(quietly into throat mike)</parenthetical> <dialogue>I forgot it.</dialogue> <character>HEADPHONE VOICE</character> <dialogue>Riiight. I'll read it to you. Repeat it after me, but try to make it sound casual. "Each day the profits flow. Where they go we will soon determine."</dialogue> <character>BOB ARCTOR</character> <parenthetical>(quietly)</parenthetical> <dialogue>I got a block against this stuff.</dialogue> <character>HEADPHONE VOICE</character> <dialogue>"Then retribution will swiftly follow. And at that moment, for the life of me, I would not be in their shoes."</dialogue> <character>BOB ARCTOR</character> <parenthetical>(quietly)</parenthetical> <dialogue>You know why I've got a block against this stuff? Because this bullshit is what gets people on dope.</dialogue> <scene_description>The audience watches the vague blur mumbling in a computer voice. They look uneasy. Fred is silent for a moment, then starts to talk again in his drone.</scene_description> <character>FRED</character> <dialogue>"D" is for Substance D. Which is for Dumbness, Despair, and Desertion, the desertion of your friends from you, you from them, everyone from everyone, isolation and loneliness and hating and suspecting each other. D is finally death. Slow Death, we...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>... we the dopers call it...</dialogue> <scene_description>CONTINUED: Inside the suit, Bob Arctor talks.</scene_description> <character>BOB ARCTOR</character> <parenthetical>(raspy, sad)</parenthetical> <dialogue>... Slow Death. From the head on down.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Well, that's it.</dialogue> <scene_description>Arctor goes back to his seat. The audience is angry.</scene_description> <character>HEADPHONE VOICE</character> <dialogue>See me in my office when you get back.</dialogue> <scene_description>The fat businessman is at the podium diffusing the situation.</scene_description> <character>FAT BUSINESSMAN</character> <dialogue>I forgot to tell you that Fred asked me in advance to make this lecture primarily a Q and A forum with only a short introductory statement. So any questions?</dialogue> <scene_description>Arctor stands.</scene_description> <character>FAT BUSINESSMAN</character> <dialogue>Oh, wait, it appears Fred has something else to say. Good, then.</dialogue> <parenthetical>(to Arctor)</parenthetical> <dialogue>Please.</dialogue> <scene_description>Arctor approaches the podium, upset.</scene_description> <character>BOB ARCTOR</character> <dialogue>Just this. Don't kick their asses after they're on it. Half of them, especially the girls, didn't know they were getting on anything at all. See, the pushers dissolve some reds in a glass of wine, they give the booze to an underage little chick, she passes out, then they inject her with a mex hit -- half heroin, half Substance D.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Thank you.</dialogue> <character>SECOND VOICE FROM CROWD</character> <dialogue>How do we stop them, sir?</dialogue> <scene_description>We're outside the suit now, looking at Fred the vague blur behind the podium. He talks in a neutral computer voice. CONTINUED:</scene_description> <character>FRED</character> <dialogue>Kill the pushers.</dialogue> </scene> <scene> <stage_direction>EXT. PAYPHONE - DAY</stage_direction> <scene_description>Charles Freck is on the phone, speaking in hushed tones.</scene_description> <character>CHARLES FRECK</character> <dialogue>Can you lay about ten Deaths on me?</dialogue> <character>TELEPHONE VOICE</character> <dialogue>Christ, I'm looking to score myself.</dialogue> <character>CHARLES FRECK</character> <dialogue>Christ.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Christ. Christ Christ Christ.</dialogue> </scene> <scene> <stage_direction>INT. CHARLES FRECK'S CAR - DAY</stage_direction> <scene_description>Freck drives slowly along a strip-malled Anaheim street. He passes a Thrifty pharmacy and notices the window display: bottles of slow death, slow death mixed with speed and junk and psychedelics. Dayglow signs in the window: "Your Credit is Good Here" and "Death to the Masses" He looks again. The window displays combs and shampoo. Freck checks his rearview mirror, sees a police car following him.</scene_description> <character>CHARLES FRECK</character> <dialogue>Fucking goddamn fuzzmobile. What was I doing? Was I weaving? I don't even know.</dialogue> <scene_description>Freck drives very deliberately, his hands gripped, white- knuckled, on the steering wheel in an attempt to keep the car completely straight. He tries his best to plaster a non- stoned, regular guy look on his face. But he's sweating.</scene_description> <character>CHARLES FRECK</character> <dialogue>What I'll do is pull over when I see a parking space. That's it: pull over like I was gonna pull over anyway. Like it's totally normal to pull over. Like I'm going to a store. That's perfect. Real people do that all the time.</dialogue> <scene_description>Freck sees an angle space, pulls over suddenly. The cop car glides past, apparently having had no interest in Freck. CONTINUED:</scene_description> <character>CHARLES FRECK</character> <dialogue>Fuck. Fucking fuzz. Now I'll never be able to pull back into traffic.</dialogue> <scene_description>Freck sighs, resigns himself to waiting in his parking spot and checking out the young, mini-skirted women walking by.</scene_description> <character>CHARLES FRECK</character> <parenthetical>(keeping score)</parenthetical> <dialogue>Fox... fox... not a fox... fo...hey, I know that fox!</dialogue> <scene_description>Freck opens his car door and jumps out.</scene_description> </scene> <scene> <stage_direction>EXT. ANAHEIM STREET - CONTINUOUS</stage_direction> <scene_description>Freck hurries after a pretty young woman, nineteen, with black hair. This is Donna Hawthorne.</scene_description> <character>CHARLES FRECK</character> <dialogue>Hey!</dialogue> <scene_description>Donna realizes that Freck is following her and picks up her pace. The sidewalk is crowded with people. Donna weaves through, graceful and fast. Freck struggles to catch up.</scene_description> <character>CHARLES FRECK</character> <dialogue>Hey!</dialogue> <scene_description>The light is against her at the corner and while the other pedestrians wait for the WALK sign, Donna juts out into traffic, causing a Coke truck to swerve and honk. She gives it the finger. Freck waits with the others till the light changes. Then he runs, catches up with Donna, and walks backwards ahead of her, sweating and panting.</scene_description> <character>CHARLES FRECK</character> <dialogue>Donna!</dialogue> <scene_description>She ignores him, keeps walking.</scene_description> <character>CHARLES FRECK</character> <dialogue>Aren't you Bob Arctor's old lady?</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>No.</dialogue> <parenthetical>(pulls out a little pocket knife, points it at Freck)</parenthetical> <dialogue>Get lost.</dialogue> <scene_description>He widens the distance between them to avoid getting stuck. CONTINUED:</scene_description> <character>CHARLES FRECK</character> <dialogue>Sure you are. I met you at his place.</dialogue> <scene_description>Donna turns and walks directly toward Freck, her little knife pointing at his stomach. He jumps out of the way.</scene_description> <character>CHARLES FRECK</character> <dialogue>Jeez. I just...</dialogue> <scene_description>Donna keeps walking. Freck shrugs and slouches dejectedly away. He turns and gives one last glance over his shoulder. Donna has stopped amid the bustling foot traffic. She is squinting at him. Freck cautiously approaches her.</scene_description> <character>CHARLES FRECK</character> <dialogue>One night me and Bob and another chick had some old Simon and Garfunkel tapes. You were filling caps with high-grade Death, then you laid one on each of us.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>I thought you were going to knock me down and bang me.</dialogue> <character>CHARLES FRECK</character> <dialogue>No. I just wondered if you, like, wanted a ride or... Bang you on the sidewalk? In broad daylight?</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>I thought you might pull me into a doorway or something.</dialogue> <character>CHARLES FRECK</character> <dialogue>I know you. Besides Arctor would snuff me if I did that.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Well, I didn't recognize you. I'm sort of nearsighted.</dialogue> <scene_description>Donna moves a few steps closer to Freck and squints at him.</scene_description> <character>CHARLES FRECK</character> <dialogue>You want a ride where you're going?</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>You'll bang me in the car.</dialogue> <scene_description>CONTINUED:</scene_description> <character>CHARLES FRECK</character> <dialogue>Nah. Besides I can't get it up these days. Must be something they're adulterating all the stuff with.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>That's a neat-o line, but I've heard it before. Everybody bangs me. At least they try to. That's what it's like to be a chick.</dialogue> <character>CHARLES FRECK</character> <dialogue>That really sucks.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>I'm suing one guy right now for molestation and assault. We're asking punitive damages in excess of forty thousand.</dialogue> <character>CHARLES FRECK</character> <dialogue>How far he get?</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>A hand around my boob.</dialogue> <character>CHARLES FRECK</character> <dialogue>That's not worth forty thousand.</dialogue> </scene> <scene> <stage_direction>INT. CHARLES FRECK'S CAR - DAY</stage_direction> <scene_description>Freck drives Donna home.</scene_description> <character>CHARLES FRECK</character> <dialogue>Listen, you got anything to sell? I'm really hurting.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>I can get it.</dialogue> <character>CHARLES FRECK</character> <dialogue>Tabs, though. I don't shoot up. Needles are a bummer to me.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Sixty dollars a hundred.</dialogue> <character>CHARLES FRECK</character> <dialogue>Jeez, man, that's a burn.</dialogue> <scene_description>CONTINUED:</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>They're super good. Take my word.</dialogue> <character>CHARLES FRECK</character> <dialogue>All right. A hundred, then.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Cool. How do I get in touch?</dialogue> <character>CHARLES FRECK</character> <dialogue>Charles B. Freck --</dialogue> <scene_description>Donna pulls a little pad and a pencil from her purse and writes down Freck's name.</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>V. Freck?</dialogue> <character>CHARLES FRECK</character> <dialogue>Charles Freck.</dialogue> <scene_description>She corrects the name. Freck notices that her writing is a slow and childish scrawl. It makes him sad. Then he steals a glance at her breasts as she writes.</scene_description> <character>CHARLES FRECK</character> <dialogue>658-4412.</dialogue> <scene_description>She writes down the phone number.</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>I think I remember you now.</dialogue> <character>CHARLES FRECK</character> <dialogue>Hey, you want to go with me to see Jerry Fabin? I'm hauling some of his stuff over to the Number Three Federal Clinic where they took him last night.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>I better not. Jerry thinks I contaminated him originally with those bugs.</dialogue> <character>CHARLES FRECK</character> <dialogue>They're aphids.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Yeah, well, then he didn't know what they were.</dialogue> </scene> <scene> <stage_direction>EXT. ANAHEIM STREET - DAY</stage_direction> <scene_description>Bob Arctor, now out of his scramble suit and looking like a druggie, wanders depressed and aimless along a crowded street. He passes a McDonald's, a 7-11, a mirrored office building, pulls a pill box from his pocket, and surreptitiously swallows two capsules. He studies his reflection in the office building. Behind him on the street are the disapproving reflections of passing straights. He blends back into the flow of foot traffic. A grungy hippy smiles at him. Arctor nods, passes another McDonald's. He passes a third McDonald's almost immediately.</scene_description> <character>BOB ARCTOR</character> <dialogue>Fucking McDonaldburger's is taking over.</dialogue> </scene> <scene> <stage_direction>EXT. PHONE BOOTH - LATER</stage_direction> <scene_description>Arctor dials the phone and takes a bite from a partially unwrapped McDonald's hamburger. He chews as the phone rings.</scene_description> <character>DONNA HAWTHORNE (O.S.)</character> <dialogue>Hello?</dialogue> <character>BOB ARCTOR</character> <dialogue>Donna. How you doin'? It's Bob.</dialogue> <character>DONNA HAWTHORNE (O.S.)</character> <parenthetical>(pause)</parenthetical> <dialogue>Oh. Hi.</dialogue> <character>BOB ARCTOR</character> <dialogue>How's your head today, man?</dialogue> <character>DONNA HAWTHORNE (O.S.)</character> <dialogue>Eh. I was bumtripped this a.m. by my boss. This gray hair bilked us out of ten bucks. So my boss says it's coming out of my paycheck!</dialogue> <character>BOB ARCTOR</character> <dialogue>Hey, can I get anything from you?</dialogue> <character>DONNA HAWTHORNE (O.S.)</character> <parenthetical>(resistant)</parenthetical> <dialogue>I don't know.</dialogue> <character>BOB ARCTOR</character> <dialogue>Ten. Just ten.</dialogue> <scene_description>CONTINUED:</scene_description> <character>DONNA HAWTHORNE (O.S.)</character> <dialogue>Yeah, okay. I'll come over tonight. Hey, I have this book I want to show you. About wolves.</dialogue> <character>BOB ARCTOR</character> <dialogue>Oh, wow.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>You know what the male wolf does when he defeats a foe? He doesn't snuff him. He pees on him! Then he splits.</dialogue> <character>BOB ARCTOR</character> <dialogue>I peed on some people today.</dialogue> <character>DONNA HAWTHORNE (O.S.)</character> <dialogue>No kidding? How come?</dialogue> <character>BOB ARCTOR</character> <dialogue>Metaphorically peed, I mean.</dialogue> <character>DONNA HAWTHORNE (O.S.)</character> <dialogue>Not the usual way?</dialogue> <character>BOB ARCTOR</character> <dialogue>What I mean is, I told this group of...</dialogue> <scene_description>Arctor realizes he's saying too much. He tries to cover. He glances at a Foster's Freeze across the street with some Hell's Angels in the parking lot.</scene_description> <character>BOB ARCTOR</character> <dialogue>... biker-types, at the Foster's Freeze. I was cruising around and they said something raunchy, so I turned and said something like --</dialogue> <scene_description>Arctor has no idea what to say. Suddenly he's exhausted.</scene_description> <character>DONNA HAWTHORNE (O.S.)</character> <dialogue>You can tell me, even if it's super gross. You have to be super gross with biker-types.</dialogue> <character>BOB ARCTOR</character> <dialogue>I told 'em I'd rather ride a pig than a hog.</dialogue> <character>DONNA HAWTHORNE (O.S.)</character> <parenthetical>(beat)</parenthetical> <dialogue>I don't get it.</dialogue> <scene_description>CONTINUED:</scene_description> <character>BOB ARCTOR</character> <dialogue>Well, a pig is a chick that --</dialogue> <character>DONNA HAWTHORNE (O.S.)</character> <dialogue>Oh. Okay, well I get it. Barf. Oh, I forgot to tell you, your roommates, Ernie What's-His-Name and Barris, came into the shop today looking for you.</dialogue> <character>BOB ARCTOR</character> <dialogue>They didn't try me at my job, did they?</dialogue> <character>DONNA HAWTHORNE (O.S.)</character> <dialogue>I dunno. They said they wanted to use your cephalochromoscope and it didn't work. So Barris took it apart --</dialogue> <character>BOB ARCTOR</character> <dialogue>The hell you say --</dialogue> <character>DONNA HAWTHORNE (O.S.)</character> <dialogue>And apparently it's been sabotaged. The wires cut, and sort of weird stuff like that. Barris said he'd --</dialogue> <character>BOB ARCTOR</character> <dialogue>Fuck Barris! That cephscope cost me nine hundred dollars. I need to get home right now. But I gotta... Oh, fuck, man. Fuck fuck fuck Barris!</dialogue> <character>DONNA HAWTHORNE (O.S.)</character> <dialogue>You gotta what?</dialogue> <character>BOB ARCTOR</character> <dialogue>I gotta run an errand and like that.</dialogue> </scene> <scene> <stage_direction>INT. BOB ARCTOR'S CAR - DAY</stage_direction> <scene_description>Arctor parks across from the New-Path Drug Rehab Facility, a converted wood frame house. He checks the police photo of Erroll Weeks, a.k.a Spade Weeks, shoves it into his glove compartment, and heads, business-like, toward the building. SHOT OF NOTEBOOK PAGE DAPPLED WITH SUNLIGHT Children play in the background. Someone skims the entry, as the offhand voice-over reads along.</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>The S.O. believes Spade Weeks has lost himself inside New-Path by posing as a junky. New-Path strips junkies of all</dialogue> <scene_description>CONTINUED:</scene_description> <character>BOB ARCTOR</character> <dialogue>i.d. and gives them new names as part of personality rebuilding process. It's a perfect hiding place.</dialogue> </scene> <scene> <stage_direction>INT. NEW-PATH - CONTINUOUS</stage_direction> <scene_description>It's gloomy. There's a lounge area with a couple of guys reading. An unused ping-pong table. Posters on the wall such as THE ONLY REAL FAILURE IS TO FAIL OTHERS. Arctor enters, now playing the junky: strung-out, disoriented. A pretty girl in a New-Path tee-shirt appears.</scene_description> <character>NEW-PATH GIRL</character> <dialogue>Can I help you?</dialogue> <character>BOB ARCTOR</character> <dialogue>I'm in a bad place. I wanna turn myself in for treatment.</dialogue> </scene> <scene> <stage_direction>INT. FIDDLER'S THREE COFFEE SHOP - DAY</stage_direction> <scene_description>Charles Freck and Jim Barris sit in a booth. Freck plays distractedly with his glazed doughnut. Barris, in shades, pulls apart his patty melt, inspecting each ingredient.</scene_description> <character>CHARLES FRECK</character> <dialogue>Hey, Barris, I'm thinking of turning myself in to New-Path.</dialogue> <scene_description>Barris doesn't seem at all interested.</scene_description> <character>JIM BARRIS</character> <dialogue>No shit.</dialogue> <character>CHARLES FRECK</character> <dialogue>But it's tough, that cold turkey thing they do. They watch you night and day so you don't snuff. But they never give you anything, like a doctor will, like Valium or like that.</dialogue> <character>JIM BARRIS</character> <dialogue>Hey, what kind of bread is this on the patty melt, anyway?</dialogue> <character>CHARLES FRECK</character> <dialogue>Look on the menu. It explains everything.</dialogue> <scene_description>Barris picks up a menu, studies it as he speaks. CONTINUED:</scene_description> <character>JIM BARRIS</character> <dialogue>If you go into New-Path, you'll experience symptoms that emanate up from the basic fluids of the body, specifically those located in the brain. By that I refer to the catecholamines, such as noradrenaline and serotonin. You see, Substance D functions this way: it interacts with the catecholamines in such a fashion that involement is locked in at a subcellular level. Biological counteradaptation has occurred.</dialogue> <parenthetical>(looks up)</parenthetical> <dialogue>Nine-grain wheat.</dialogue> </scene> <scene> <stage_direction>INT. NEW-PATH - DAY</stage_direction> <scene_description>Arctor sits in a small room painted institutional green. He holds a styrofoam cup of coffee in his theatrically shaking hands. The New-Path girl stares at him, arms akimbo. Two large impassive guys stand near the door.</scene_description> <character>NEW-PATH GIRL</character> <dialogue>You look like hell, mister.</dialogue> <character>NEW-PATH GUY #1</character> <dialogue>Yeah. Like real shit. What you been doing, lying in your own crap?</dialogue> <character>NEW-PATH GUY #2</character> <dialogue>Crap lying in crap. How appropriate.</dialogue> </scene> <scene> <stage_direction>INT. FIDDLER'S THREE COFFEE SHOP - DAY</stage_direction> <scene_description>A cute waitress comes up to Barris and Freck's table.</scene_description> <character>WAITRESS</character> <dialogue>So is everything good, fellas?</dialogue> <scene_description>Freck becomes panicked, paranoid. He frantically chews some doughnut, tries to appear straight. Barris, in control, signals to Freck that everything is copacetic.</scene_description> <character>JIM BARRIS</character> <dialogue>Say, is your name Patty?</dialogue> <character>WAITRESS</character> <dialogue>No.</dialogue> <parenthetical>(indicates name tag over right breast)</parenthetical> <dialogue>It's Beth.</dialogue> <scene_description>CONTINUED:</scene_description> <character>CHARLES FRECK</character> <parenthetical>(under breath, snickering)</parenthetical> <dialogue>I wonder what the left one's called.</dialogue> <character>WAITRESS</character> <dialogue>I'm sorry, hon?</dialogue> <character>CHARLES FRECK</character> <dialogue>No. Nothing.</dialogue> <character>JIM BARRIS</character> <dialogue>The waitress we had last time was named Patty. Same as the sandwich.</dialogue> <character>WAITRESS</character> <dialogue>That must have been a different Patty from the sandwich. I think she spells it with an i.</dialogue> <character>JIM BARRIS</character> <dialogue>Everything is super good.</dialogue> <scene_description>Freck looks over leering Barris's head and sees a thought balloon in which the waitress is stripping off her clothes.</scene_description> <character>WAITRESS (IN THOUGHT BALLOON)</character> <parenthetical>(moaning)</parenthetical> <dialogue>Oh, oh, fuck me, Barris. Fuck me...</dialogue> <scene_description>Freck, nervous the waitress will see the balloon, tries to get her attention on him.</scene_description> <character>CHARLES FRECK</character> <dialogue>Everything is not good with me. I got a lot of problems nobody else has.</dialogue> <scene_description>The waitress looks down sympathetically at Freck.</scene_description> <character>WAITRESS</character> <dialogue>Oh, no. That's too bad.</dialogue> <character>JIM BARRIS</character> <dialogue>More people than you think have such problems. This is a world of illness, and getting progressively worse.</dialogue> <scene_description>The waitress now looks with some confusion at Barris. Freck glances nervously at the balloon above Barris's head. In it the waitress is being fucked from behind by Barris. CONTINUED:</scene_description> <character>WAITRESS (IN THOUGHT BALLOON)</character> <dialogue>Oh, oh, oooh oh, Barris...</dialogue> <character>WAITRESS</character> <parenthetical>(smiling)</parenthetical> <dialogue>So would you guys like to order dessert? We have fresh peach pie.</dialogue> <scene_description>Freck can't take his eyes from the thought balloon.</scene_description> <character>CHARLES FRECK</character> <dialogue>No! No, we don't want any dessert!</dialogue> <scene_description>The waitress smiles, nods, and leaves the table. The thought balloon dissipates.</scene_description> <character>CHARLES FRECK</character> <dialogue>Fruit pies are for old ladies anyway.</dialogue> </scene> <scene> <stage_direction>INT. NEW-PATH - DAY</stage_direction> <scene_description>Arctor sits surrounded by the three standing New-Path people.</scene_description> <character>BOB ARCTOR</character> <dialogue>This place is the only hope I could think of. I had a friend come in here. A black dude, in his thirties --</dialogue> <character>NEW-PATH GIRL</character> <dialogue>You'll meet the family later. If you qualify. You have to be bad off to be let in here, mister.</dialogue> <character>BOB ARCTOR</character> <dialogue>I am bad off.</dialogue> <character>NEW-PATH GIRL</character> <dialogue>It's going to be super rough. You'll gnaw your pillow. You'll foam at the mouth. You'll dirty yourself the way sick animals do.</dialogue> <character>BOB ARCTOR</character> <dialogue>Okay, but listen, this black guy, my buddy, goes by the name of Spade, did he make it here? I sure hope he didn't get picked up by the pigs on the way over.</dialogue> <character>NEW-PATH GIRL</character> <dialogue>There are no one-to-one relationships at New-Path. You'll learn that.</dialogue> </scene> <scene> <stage_direction>INT. FIDDLER'S THREE COFFEE SHOP - DAY</stage_direction> <character>JIM BARRIS</character> <dialogue>Tell me, why the debate regarding turning yourself in for residence therapy at a drug rehab facility?</dialogue> <character>CHARLES FRECK</character> <dialogue>My friend Jerry Fabin and his aphids.</dialogue> <character>JIM BARRIS</character> <parenthetical>(dismissive wave)</parenthetical> <dialogue>Fabin was a special case.</dialogue> <character>CHARLES FRECK</character> <dialogue>There's another reason. I'm running low again, and I can't stand this always running low and not knowing if I'm ever going to score again. Actually, though, I may have a new source. That Donna chick.</dialogue> <character>JIM BARRIS</character> <dialogue>Oh, Bob's girl.</dialogue> <character>CHARLES FRECK</character> <dialogue>His old lady.</dialogue> <character>JIM BARRIS</character> <dialogue>No. He never got into her pants.</dialogue> <character>CHARLES FRECK</character> <dialogue>Really? Can't Bob get it on?</dialogue> <character>JIM BARRIS</character> <parenthetical>(shrugs)</parenthetical> <dialogue>It's possible Donna's on junk. Her aversion to bodily contact -- junkies lose interest in sex, you see, due to their organs swelling up from vasoconstriction. And Donna shows inordinate failure of sexual arousal, not just to Bob, but to... other males as well.</dialogue> <character>CHARLES FRECK</character> <dialogue>I never shot smack. Needles are a bummer to me.</dialogue> <character>JIM BARRIS</character> <parenthetical>(conspiratorially)</parenthetical> <dialogue>But... I can show you how to lay Donna for ninety-eight cents.</dialogue> <scene_description>CONTINUED:</scene_description> <character>CHARLES FRECK</character> <dialogue>I don't want to lay her. I just want to buy from her.</dialogue> <character>JIM BARRIS</character> <dialogue>Donna does coke. Anybody who would give her a gram of coke she would undoubtedly spread her legs for.</dialogue> <character>CHARLES FRECK</character> <dialogue>I wish you wouldn't talk that way. Besides who has the money to procure a gram of coke?</dialogue> <character>JIM BARRIS</character> <dialogue>I, my friend, can derive a gram of coke for a total cost to me of under one dollar. From a product readily available at your neighborhood 7-11.</dialogue> <character>CHARLES FRECK</character> <dialogue>That's bullshit.</dialogue> </scene> <scene> <stage_direction>INT. CHARLES FRECK'S CAR - DAY</stage_direction> <scene_description>Freck and Barris drive along.</scene_description> <character>CHARLES FRECK</character> <dialogue>Which 7-11 store do you prefer to shop at? The one on Lincoln is nice.</dialogue> <character>JIM BARRIS</character> <dialogue>That's a fine 7-11.</dialogue> <character>CHARLES FRECK</character> <dialogue>Although what about the one on 8th? They have the wider aisles. A more spacious shopping experience.</dialogue> <character>JIM BARRIS</character> <dialogue>Let's not forget the one on Katella with the foxy cashier to hit on.</dialogue> </scene> <scene> <stage_direction>INT. BOB ARCTOR'S LIVING ROOM - DAY</stage_direction> <scene_description>It's a mess. Freck is on the couch smoking a joint. A cat sleeps in his lap. Another cat and a dog lie on either side of him. A disassembled cephscope is on the coffee table, wires exposed. Barris hovers over the dining room table where he has set up a makeshift chemistry lab. CONTINUED:</scene_description> <character>CHARLES FRECK</character> <dialogue>What's with Bob's cephscope, his prize possession of the entire world?</dialogue> <character>JIM BARRIS</character> <dialogue>Oh, it's been sabotaged by person or persons unknown.</dialogue> <scene_description>Barris holds up an aerosol can of Solarcaine sunburn spray.</scene_description> <character>JIM BARRIS</character> <dialogue>Behold, what they've deliberately done is mix the cocaine with oil so it can't be extracted -- they cleverly call it benzocaine -- but my knowledge of chemistry is such that I know precisely how to separate the two.</dialogue> <scene_description>Barris sprays the entire contents of the can into a baggie.</scene_description> <character>CHARLES FRECK</character> <dialogue>This is super unreal. I'm flipping.</dialogue> <scene_description>Barris shakes salt into the gummy slime in the bag.</scene_description> <character>JIM BARRIS</character> <dialogue>Now I'll freeze it, which causes the cocaine crystals to rise to the top because they are lighter than air.</dialogue> <scene_description>Barris pours the slime into a jar.</scene_description> <character>JIM BARRIS</character> <dialogue>Than oil, I mean.</dialogue> <scene_description>Barris puts the jar in the freezer.</scene_description> <character>JIM BARRIS</character> <dialogue>The terminal step I keep to myself, but it involves an intricate methodological process of filtering.</dialogue> <character>CHARLES FRECK</character> <dialogue>Even if you do get a gram of coke out of thisl, I can't use it to get into Donna's pants. That's like buying her.</dialogue> <character>JIM BARRIS</character> <dialogue>You give her a gift she gives you one. The most precious gift a woman has.</dialogue> <scene_description>CONTINUED:</scene_description> <character>CHARLES FRECK</character> <dialogue>You're talking about Bob Arctor's girl, Barris. He's my friend and the guy you and Luckman live with.</dialogue> <character>JIM BARRIS</character> <dialogue>There's a great deal about Bob Arctor you're not aware of. Your view is simplistic and naive, and you believe about him what he wants you to.</dialogue> <character>CHARLES FRECK</character> <parenthetical>(defensively)</parenthetical> <dialogue>I do not.</dialogue> </scene> <scene> <stage_direction>INT. POLICE STATION - DAY</stage_direction> <scene_description>Frank, in a scramble suit, talks to Hank, also in a scramble suit and studying a clipboard.</scene_description> <character>HANK</character> <dialogue>That covers Barris and Freck. Let's see, I guess we can write Jerry Fabin off.</dialogue> <character>FRED</character> <dialogue>I read his EEG analysis. Fabin's over.</dialogue> <character>HANK</character> <dialogue>Good riddance. Any luck locating our missing pusher friend Spade Weeks?</dialogue> <character>FRED</character> <dialogue>New-Path wouldn't tell me shit. They're very protective of their own.</dialogue> <character>HANK</character> <dialogue>Junkies, ex-junkies. It's a club.</dialogue> <parenthetical>(flipping through notes)</parenthetical> <dialogue>What about Donna Hawthorne?</dialogue> <character>FRED</character> <dialogue>I keep pumping her for more and more Death. Pretty soon she'll have to refer me up to her source.</dialogue> <character>HANK</character> <dialogue>Fine. And what's Arctor up to?</dialogue> <scene_description>We go inside Fred's suit and see the shadowy face of Arctor. CONTINUED:</scene_description> <character>BOB ARCTOR</character> <dialogue>Bob Arctor? He's not doing anything much. Working at his nowhere Blue Chip Stamp job, dropping a few tabs of meth cut with Death during the day.</dialogue> <character>HANK</character> <dialogue>That's not what I hear.</dialogue> <scene_description>Arctor studies the vague blankness of Hank.</scene_description> <character>BOB ARCTOR</character> <dialogue>What do you mean?</dialogue> <character>HANK</character> <dialogue>We have a tip that Arctor has funds above and beyond what he makes at the stamp redemption center.</dialogue> <scene_description>We move outside the suit and see Fred.</scene_description> <character>FRED</character> <dialogue>No shit, Hank. Is that true?</dialogue> <character>HANK</character> <dialogue>And according to this information, Arctor comes and goes mysteriously. Have you observed any of this?</dialogue> <character>FRED</character> <dialogue>Most likely he's with his chick, Donna.</dialogue> <character>HANK</character> <dialogue>Most likely? You're supposed to know.</dialogue> <character>FRED</character> <dialogue>Yeah, it's Donna. He's over there banging her day and night. But I'll let you know. So, who's the informant?</dialogue> <character>HANK</character> <dialogue>Hell, we don't know. No voice print. He used one of those rinky-dink grids.</dialogue> <character>FRED</character> <dialogue>Christ, it's that burned-out acid head Barris doing a schizy grudge job on Arctor's head. I wouldn't give him the time of day as an informant.</dialogue> <scene_description>CONTINUED:</scene_description> <character>HANK</character> <dialogue>We don't know it's Barris. Anyway, there may be more to Barris than meets the eye. We're looking into him. Nothing I feel would be of use to you, at least so far.</dialogue> <character>FRED</character> <dialogue>Well, it's one of Arctor's friends.</dialogue> <character>HANK</character> <dialogue>Yeah. Undoubtedly a vengeance burn trip. But we need to know why Arctor's making these kind of enemies.</dialogue> <character>FRED</character> <dialogue>Hank, I don't see this as an avenue of --</dialogue> <character>HANK</character> <dialogue>So I'm taking you off Spade and, for the time being, I'm assigning you primarily to observe Bob Arctor.</dialogue> <character>FRED</character> <parenthetical>(strangled robot noise)</parenthetical> <dialogue>You're assigning me to watch Arctor?</dialogue> <scene_description>We move inside Fred's suit and watch an uncomfortable, sweaty Arctor watching Hank.</scene_description> <character>HANK</character> <dialogue>Covertly funded, covertly engaged, Fred. It's worth checking into.</dialogue> <character>BOB ARCTOR</character> <dialogue>Fine. So I assume this means you'll be bugging Arctor's house and car?</dialogue> <character>HANK</character> <dialogue>With the new holographic scanner system. This way you can study Arctor's every move on the tapes, and report back to us in detail.</dialogue> <scene_description>Hank, the vague blur, looks up at Fred. Fred, the vague blur, returns his look.</scene_description> <character>FRED</character> <dialogue>Sounds good, then.</dialogue> <scene_description>CONTINUED:</scene_description> <character>HANK</character> <dialogue>Good. You'll need to get Arctor and the boys away from the house so we can install the equipment.</dialogue> </scene> <scene> <stage_direction>EXT. BOB ARCTOR'S BACKYARD - NIGHT</stage_direction> <scene_description>The yard, lit only by moonlight, is overgrown with weeds and littered with rubbish. Barris sits on a cracked cement patio fiddling with some sort of foam rubber and aluminum foil tube. Freck looks on anxiously. Ernie Luckman, a big stoner in a football jersey, sits on a decrepit swing set, looks up at the moon, and sips a beer.</scene_description> <character>CHARLES FRECK</character> <dialogue>Why do you need a silencer, anyway, Jim? I mean, they're illegal.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Law abidance has always been of the utmost concern to Jim Barris.</dialogue> <character>JIM BARRIS</character> <dialogue>In this day and age, with the kind of degenerate society we live in and the depravity of the individual, every person of worth needs a gun at all times. To protect himself.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Just shut up and fire off the great eleven cent silencer of our times.</dialogue> <scene_description>Barris half shuts his eyes and fires the pistol into the air. It is the loudest report ever heard.</scene_description> </scene> <scene> <stage_direction>INT. BOB ARCTOR'S BEDROOM - CONTINUOUS</stage_direction> <scene_description>Arctor jerks awake and reflexively grabs his gun from under his pillow. Confused, heart pounding, he tries to take in his surroundings. Dogs bark outside. CONTINUED:</scene_description> <character>CHARLES FRECK (O.S.)</character> <dialogue>That's some silencer, man.</dialogue> <character>JIM BARRIS (O.S.)</character> <dialogue>What it did was augment the sound rather than dampen it. But I almost have it right. I have it in principal, anyhow.</dialogue> <scene_description>Arctor sighs, replaces the gun, and gets out of bed.</scene_description> </scene> <scene> <stage_direction>INT. BOB ARCTOR'S LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Arctor trudges through the pig-sty living room, past the ratty couch, the broken cephscope, the crooked pictures on the wall. He disappears into the kitchen.</scene_description> <character>CHARLES FRECK (O.S.)</character> <dialogue>How much is a gun like that worth?</dialogue> <character>JIM BARRIS (O.S.)</character> <dialogue>Not much. Thirty bucks. I'll sell it to you.</dialogue> <scene_description>Arctor reappears, leans against the kitchen door, beer in hand, and looks at the depressing living room.</scene_description> <character>JIM BARRIS (O.S.)</character> <dialogue>You really ought to have one to protect yourself, Freck, against those who would harm you.</dialogue> <character>ERNIE LUCKMAN (O.S.)</character> <dialogue>There's a lot of those. I saw in the L.A. Times yesterday, they're giving away a free transistor radio to those who would harm Freck most successfully.</dialogue> <scene_description>Arctor studies the empty couch. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. BOB ARCTOR'S LIVING ROOM - NIGHT</stage_direction> <scene_description>It's the same room, but different. It's neat. The pictures on the wall are straight. A younger, cleaner, straighter Bob Arctor sits on the couch watching tv with his wife and children. Through shadow and obstruction, we never get a clear view of Arctor's family. CONTINUED:</scene_description> <character>TELEVISION JINGLE</character> <dialogue>It's real, it's Coke, it's really, really real. Really really really...</dialogue> <character>WIFE</character> <dialogue>Popcorn and Cokes, guys?</dialogue> <character>DAUGHTERS</character> <dialogue>Yay, Popcorn and Cokes!</dialogue> </scene> <scene> <stage_direction>INT. BOB ARCTOR'S NEAT KITCHEN - EVENING</stage_direction> <scene_description>The catchy, reduntant Coke jingle continues in the background throughout. Bob Arctor squats down and reaches into a floor level cabinet to grab a popcorn popper. When he rises, he hits his head hard on a sharp corner. His countenance changes dramatically, violently.</scene_description> <character>BOB ARCTOR</character> <dialogue>AH, FUCK!!</dialogue> <character>WIFE (O.S.)</character> <dialogue>Honey?</dialogue> <scene_description>Arctor drops to the floor, pressing his hand against his bleeding scalp.</scene_description> <character>FUCKING POPCORN POPPER!</character> <dialogue>Arctor's wife and daughters appear in the doorway.</dialogue> <character>FUCK!</character> <dialogue>We seem</dialogue> <scene_description>them from behind, looking at Arctor.</scene_description> <character>WIFE</character> <dialogue>Oh my God!</dialogue> <scene_description>Arctor's wife runs to him. His daughters hover in the doorway. Arctor looks up at his wife, at his daughters. SHOT OF NOTEBOOK PAGE DAPPLED WITH SUNLIGHT Kids playing in background. A dispassionate Arctor reads the handwritten entry.</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>That pain, so unexpected, so undeserved, cleared away the cobwebs in my head. I didn't hate the popcorn popper, I hated my wife and kids.</dialogue> </scene> <scene> <stage_direction>INT. NEAT KITCHEN - EVENING</stage_direction> <scene_description>Arctor bleeds, his wife hovers, the jingle persists.</scene_description> <character>BOB ARCTOR</character> <scene_description>SHOT OF NEATLY GROOMED BACKYARD WITH NEW SWING SET</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>I hated my backyard,...</dialogue> <scene_description>SHOT OF NEATLY GROOMED FRONT YARD</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>... my front yard,...</dialogue> <scene_description>Arctor, in shorts, appears pushing a lawnmower.</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>... my power mower.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT</stage_direction> <scene_description>Arctor sits on the floor bleeding. He looks at his wife and children, their faces somehow becoming more and more vague.</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>All the elements that made up my life were right there. And nothing new would ever happen. Like a little plastic boat that would sail on forever, without incident, until it finally sank, which would be a secret relief to all.</dialogue> <scene_description>SHOT OF NOTEBOOK DAPPLED WITH SUNLIGHT Kids laughing. Camera skims across these handwritten words:</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>So I ended that life and started this one. Now I dwell in a ugly world...</dialogue> </scene> <scene> <stage_direction>INT. ARCTOR'S BEDROOM - NIGHT</stage_direction> <scene_description>Present-day druggie Arctor returns to bed with his beer.</scene_description> <character>JIM BARRIS (O.S.)</character> <dialogue>This one will be totally soundless.</dialogue> <scene_description>There is another extremely loud gunshot.</scene_description> </scene> <scene> <stage_direction>EXT. BACKYARD - CONTINUOUS</stage_direction> <scene_description>Barris studies his silencer, perplexed. Dogs bark again.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>Jesus, Barris. Y'know, you're supposed to be fixing the cephscope. Bob's lying in his bed right now thinking you're fixing his cephscope.</dialogue> </scene> <scene> <stage_direction>INT. ARCTOR'S BEDROOM - CONTINUOUS</stage_direction> <scene_description>Arctor lies in bed and writes in his notebook. The voice- over is different here: It's halting, as if he's composing; and it's read with immediacy and anxiety.</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>Now I dwell in an ugly... disordered world. But this very disorder... permits... the... unpredictable to --</dialogue> <scene_description>There's a knock on the door. Arctor slips the notebook under the mattress.</scene_description> <character>BOB ARCTOR</character> <dialogue>Yeah?</dialogue> <scene_description>Mumbling outside door. Arctor fingers the gun under his pillow.</scene_description> <character>BOB ARCTOR</character> <dialogue>Come in, Barris.</dialogue> <scene_description>The door opens. Barris enters, shuffling, smiling, sweating.</scene_description> <character>JIM BARRIS</character> <dialogue>Hey, Bob. I thought you'd be sleeping.</dialogue> <scene_description>Barris sits, uninvited, on the edge of Arctor's bed.</scene_description> <character>JIM BARRIS</character> <dialogue>I am here to inform you, Bob, that I have formulated an initial theory as to who may have systematically damaged your cephscope with malice and may do it again.</dialogue> <scene_description>Arctor waits. Barris smiles a shit-eating smile.</scene_description> <character>JIM BARRIS</character> <parenthetical>(pointing)</parenthetical> <dialogue>You.</dialogue> <scene_description>CONTINUED:</scene_description> <character>BOB ARCTOR</character> <dialogue>Why the fuck would I screw up my own cephscope?</dialogue> <character>JIM BARRIS</character> <dialogue>No, no. You...</dialogue> <parenthetical>(points at Arctor)</parenthetical> <dialogue>... are looking at the person who did it.</dialogue> <parenthetical>(points at himself)</parenthetical> <dialogue>That was my complete, intended statement, which I was not allowed to utter.</dialogue> <character>BOB ARCTOR</character> <dialogue>You did it?</dialogue> <character>JIM BARRIS</character> <dialogue>I mean it's my theory that I did it. Under post-hypnotic suggestion. With an amnesia block so I wouldn't remember</dialogue> <character>BOB ARCTOR</character> <dialogue>Oh, Jesus, Barris. Go fuck yourself.</dialogue> <scene_description>Arctor turns away from Barris. Barris leans in close.</scene_description> <character>JIM BARRIS</character> <dialogue>Don't you see, Bob, I've got the advanced, specialized, technical, electronic skills. I have access, because I live here. It all fits.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What I can't figure out is my motive.</dialogue> <character>BOB ARCTOR</character> <dialogue>How about, you're a fucked-up lunatic?</dialogue> <character>JIM BARRIS</character> <dialogue>I might have been hired by secret forces. It could be as big as that, Bob. As huge as that.</dialogue> <scene_description>Arctor reaches under his bed frame and pulls out two tabs of Substance D. He washes them down with beer, closes his eyes.</scene_description> <character>BOB ARCTOR</character> <dialogue>Get lost.</dialogue> </scene> <scene> <stage_direction>EXT. BOB ARCTOR'S HOUSE - MORNING</stage_direction> <scene_description>Arctor, Barris, and Luckman emerge from the house, bedraggled and bleary-eyed, and climb into Arctor's car.</scene_description> </scene> <scene> <stage_direction>INT. ARCTOR'S CAR - CONTINUOUS</stage_direction> <scene_description>Arctor starts the car, begins to pull out of the driveway.</scene_description> <character>JIM BARRIS</character> <dialogue>Oh, hold on, Bob. I forgot something. I forgot my antihistamine capsules.</dialogue> <scene_description>Arctor sighs, stops. Barris runs to the house. Luckman and Arctor wait in silence. Finally:</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>Jim Barris does not have allergies.</dialogue> </scene> <scene> <stage_direction>EXT. FREEWAY - MORNING</stage_direction> <scene_description>Arctor, Barris, and Luckman drive along.</scene_description> </scene> <scene> <stage_direction>INT. ARCTOR'S CAR - MORNING</stage_direction> <scene_description>The car pulls to a stop on a residential street. It's a a cruddy neighborhood. Apartment buildings. Graffiti.</scene_description> <character>BOB ARCTOR</character> <dialogue>You guys track down Andy and the hot scope. I'll pick you up in two hours.</dialogue> <character>JIM BARRIS</character> <dialogue>And where are you off to?</dialogue> <character>BOB ARCTOR</character> <dialogue>Dropping in on a friend.</dialogue> <character>JIM BARRIS</character> <dialogue>Mysterious Bob Arctor.</dialogue> </scene> <scene> <stage_direction>EXT. HOUSING PROJECT - MORNING</stage_direction> <scene_description>Arctor pulls into the parking lot, gets out of the car. SHOT OF NOTEBOOK DAPPLED WITH SUNLIGHT Kids voices in background. Offhand Arctor reads the entry.</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>While in Long Beach today I checked in on Kim, an addict acquaintance who lives with dealer Dan Blake. My intention was to get the latest on Blake, but also to strand Barris and Luckman down here long enough for the scanners to be installed.</dialogue> </scene> <scene> <stage_direction>INT. TENEMENT HALLWAY - MORNING</stage_direction> <scene_description>Arctor knocks on an apartment door. Shuffling inside. The chained door opens slightly. An eye peeks out.</scene_description> <character>KIMBERLY</character> <dialogue>Yes?</dialogue> <character>BOB ARCTOR</character> <dialogue>It's me, Kimberly. Bob Arctor.</dialogue> <scene_description>Kimberly unchains the door. She has a black eye and a split lip. Her manner is listless. Arctor enters the apartment and Kimberly closes the door behind him.</scene_description> </scene> <scene> <stage_direction>INT. KIMBERLY'S APARTMENT - CONTINUOUS</stage_direction> <scene_description>Arctor looks around. The place is a shambles. There's been a fight. The windows are broken, there's glass on the floor.</scene_description> <character>BOB ARCTOR</character> <dialogue>Are you alone?</dialogue> <character>KIMBERLY</character> <dialogue>Dan and I had a fight and he split.</dialogue> <character>BOB ARCTOR</character> <dialogue>He beat you up?</dialogue> <character>KIMBERLY</character> <dialogue>Thank God he didn't have his knife. His case-knife, which he now carries in a sheath on his belt.</dialogue> <scene_description>Kimberly drops back into a chair and stares blankly.</scene_description> <character>KIMBERLY</character> <dialogue>Why are you here, Bob? I'm bummed, I really am.</dialogue> <character>BOB ARCTOR</character> <dialogue>Do you want him back?</dialogue> <character>KIMBERLY</character> <dialogue>Well...</dialogue> <parenthetical>(listless shrug)</parenthetical> <dialogue>Who knows?</dialogue> <scene_description>Arctor looks out the window at the street. CONTINUED:</scene_description> <character>BOB ARCTOR</character> <dialogue>How long can you go without?</dialogue> <character>KIMBERLY</character> <dialogue>Another day. Maybe. Maybe.</dialogue> <character>BOB ARCTOR</character> <dialogue>Can't you get it anywhere else? Y'know the name of Dan's supplier? Maybe you could deal directly.</dialogue> <character>KIMBERLY</character> <dialogue>I dunno.</dialogue> <scene_description>The sound of loud, irregular car pipes. Kimberly stiffens.</scene_description> <character>KIMBERLY</character> <dialogue>Is that him? Fuck. Red '79 Torino?</dialogue> <scene_description>Arctor looks out and spots a red Torino pulling into the lot.</scene_description> <character>BOB ARCTOR</character> <dialogue>Yeah.</dialogue> <scene_description>A car door slams. Kimberly shuffles to the front door and triple locks it.</scene_description> <character>KIMBERLY</character> <dialogue>Probably has his case-knife with him. Y'know, he keeps it in a sheath on his belt now.</dialogue> <character>BOB ARCTOR</character> <dialogue>You should call the police.</dialogue> <character>KIMBERLY</character> <dialogue>No phone.</dialogue> <character>BOB ARCTOR</character> <dialogue>Kim, he'll kill you.</dialogue> <scene_description>Kimberly shrugs and sits back down, staring blankly, hands clasped in her lap. Sound of running upstairs. A knock on the door turning to pounding.</scene_description> <character>DAN (O.S.)</character> <dialogue>Open the fucking door!</dialogue> <character>KIMBERLY</character> <parenthetical>(small voice)</parenthetical> <dialogue>No. I'm with someone.</dialogue> <scene_description>CONTINUED:</scene_description> <character>DAN (O.S.)</character> <dialogue>Fine! I'll slash your tires!</dialogue> <scene_description>Sound of running downstairs. Kimberly rises, and she and Arctor watch out the window as Dan, a skinny, short-haired effeminate-looking guy, appears in the parking lot, crazily waving a knife in the air.</scene_description> <character>DAN</character> <parenthetical>(screaming up at Kimberly)</parenthetical> <dialogue>I'll slash your tires, your fucking tires! And then I'll kill you!</dialogue> <scene_description>Dan begins slashing tires on Kimberly's old Dodge. This seems to wake Kimberly up. She shrieks, runs to the door and frantically begins unlocking it.</scene_description> <character>KIMBERLY</character> <dialogue>I got to stop him! I don't have insurance!</dialogue> <scene_description>Arctor grabs her, tries to hold her back.</scene_description> <character>BOB ARCTOR</character> <dialogue>Tires aren't...</dialogue> <character>KIMBERLY</character> <parenthetical>(struggling to get free)</parenthetical> <dialogue>My tires!</dialogue> <character>BOB ARCTOR</character> <dialogue>That's what he wants you to do.</dialogue> <character>KIMBERLY</character> <dialogue>Downstairs. They have a phone! Let me go!</dialogue> <scene_description>Kimberly fights loose of Arctor with manic energy.</scene_description> <character>KIMBERLY</character> <parenthetical>(unlocking the door)</parenthetical> <dialogue>I'm calling the police. My tires!</dialogue> <parenthetical>(out the door)</parenthetical> <dialogue>One of them is new!</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT HALLWAY - CONTINUOUS</stage_direction> <scene_description>Kimberly is scrambling down the stairs. She arrives at an apartment door and pounds on it. Arctor is right behind her. CONTINUED:</scene_description> <character>KIMBERLY</character> <dialogue>Open, please? Please? I need to call the police. Please let me call them.</dialogue> <scene_description>The door opens. An old man in tie and sweater stands there. Kimberly hurries past him, goes for the phone, and dials.</scene_description> <character>BOB ARCTOR</character> <parenthetical>(to old man)</parenthetical> <dialogue>Thank you.</dialogue> </scene> <scene> <stage_direction>INT. OLD PEOPLE'S APARTMENT - CONTINUOUS</stage_direction> <scene_description>Arctor enters, closes the door and watches out the peephole.</scene_description> <character>KIMBERLY</character> <parenthetical>(on phone, crazily)</parenthetical> <dialogue>Hi, yeah, my boyfriend and me got into a fight because of these cowboy boots which were worth seven dollars. See, I said, they're mine, and he says, no, they're mine 'cause you gave them to me as a present. And I say but I bought them. Which makes them mine. Right? So he grabs 'em and I grab 'em, and I rip the backs of them with this can opener and... yes, I'll hold.</dialogue> <scene_description>Arctor glances at the old man, who's been quietly studying him. An old woman in a print dress stands in the dining room doorway. Kimberly paces on hold, chews a fingernail.</scene_description> <character>ARCTOR</character> <parenthetical>(to old man)</parenthetical> <dialogue>This must be bad on you.</dialogue> <character>OLD MAN</character> <dialogue>It goes on all the time, them fighting, him saying he'll kill her.</dialogue> <character>OLD WOMAN</character> <dialogue>We should have gone back to Denver. I told you that.</dialogue> <character>OLD MAN</character> <dialogue>These terrible fights. On and on. Smashing things and screaming. And what's worse, every time --</dialogue> <character>OLD WOMAN</character> <dialogue>Yes, tell him about that.</dialogue> <scene_description>CONTINUED:</scene_description> <character>OLD MAN</character> <dialogue>Every time we go out, shopping or to mail a letter, we step in... what dogs leave.</dialogue> <character>OLD WOMAN</character> <parenthetical>(whispering)</parenthetical> <dialogue>Dog doo.</dialogue> </scene> <scene> <stage_direction>INT. ARCTOR'S CAR - DAY</stage_direction> <scene_description>Arctor drives on the freeway, deep in thought. Luckman's next to him. Barris is in back grinning in his dark shades.</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>Dog shit. All that misery and that's what really upset them.</dialogue> <scene_description>Arctor chuckles. The car is behind a crawling Safeway truck.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>You ought to pass that truck, man. The humper's hardly moving.</dialogue> <scene_description>Arctor comes back into focus, picks up speed, passes the truck on the left. As he eases up on the gas, the pedal falls to the floor. The car shoots forward at great speed.</scene_description> <character>LUCKMAN AND BARRIS</character> <dialogue>Slow down!</dialogue> <scene_description>Arctor is panicked. The speedometer is registering eighty- five, ninety, one hundred. Arctor reaches down, tries to fiddle with the gas peddle. The car is rocketing right for a VW van chugging along. Barris and Luckman throw up their hands. Arctor swerves to the left of the van at the last minute. They pass it, but a fast moving Corvette had been about to pass in that lane. It honks, its brakes screech.</scene_description> <character>LUCKMAN AND BARRIS</character> <parenthetical>(top of their lungs)</parenthetical> <dialogue>What the fuck?! What are you doing?!</dialogue> <scene_description>Luckman grabs at the ignition key, and turns it off. Arctor shifts into neutral, the car begins to slow, and he maneuvers it onto the shoulder. The Corvette shoots by, lays on it's horn, continues to do so until it's long gone down the freeway. The three guys just sit in the car, hearts pounding. The VW van passes and honks its VW horn. CONTINUED:</scene_description> <character>JIM BARRIS</character> <dialogue>What the hell happened, Bob?</dialogue> <scene_description>They all look down at the still-depressed gas pedal. The Safeway truck passes and sounds its own basso horn.</scene_description> </scene> <scene> <stage_direction>EXT. CAR - DAY</stage_direction> <scene_description>Arctor, Barris, and Luckman are looking under the hood. White smoke drifts from the oil caps. Water fizzles from the overflow spout of the radiator.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>The linkage from the pedal to the carb fell apart.</dialogue> <character>BOB ARCTOR</character> <dialogue>Shouldn't this locking ring hold the nut in place?</dialogue> <character>JIM BARRIS</character> <dialogue>The idle screw has been turned all the way out. So when the linkage parted, the override went up instead of down.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Could it screw itself all the way out like that accidentally?</dialogue> <character>JIM BARRIS</character> <dialogue>No. A special tool would be needed. A couple, in fact. I have the tools to fix this, but back at the house.</dialogue> <scene_description>Arctor looks over at Barris. Is Barris saying he did it?</scene_description> <character>JIM BARRIS</character> <dialogue>So we'll have to get to gas station and borrow tools from them.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Hey, man, did this happen by accident or was it done deliberately? Like the cephscope.</dialogue> <character>JIM BARRIS</character> <parenthetical>(still grinning)</parenthetical> <dialogue>It's hard to say.</dialogue> <parenthetical>(glances over at Arctor)</parenthetical> <dialogue>You should've cut the ignition as soon as you realized what happened.</dialogue> <scene_description>CONTINUED:</scene_description> <character>BOB ARCTOR</character> <dialogue>For a second I couldn't figure it out.</dialogue> <character>ERNIE LUCKMAN</character> <parenthetical>(spinning and lashing out with bost fists)</parenthetical> <dialogue>MOTHERFUCKER! Somebody did this intentionally! They fucking almost killed us!</dialogue> <scene_description>Barris pulls out a snuffbox, removies a few tabs of Death, and swallows them. He passes the snuffbox to Luckman, who takes a few with a shaky hand, then passes the box to Arctor. Arctor hands it back to Barris without taking any.</scene_description> <character>BOB ARCTOR</character> <parenthetical>(irritably)</parenthetical> <dialogue>Maybe this is what's fucking us up, messing up our brains.</dialogue> <character>JIM BARRIS</character> <dialogue>Dope can't screw up a carb-idle adjustment, my friend.</dialogue> <parenthetical>(holds box out to Arctor)</parenthetical> <dialogue>You'd better take at least three of these. They're primo, but mild.</dialogue> <character>BOB ARCTOR</character> <dialogue>Put the fucking snuffbox away!</dialogue> <scene_description>Barris smiles, puts it away. Arctor tries to focus back on the engine. He sways lightheadedly and supports himself against the car. The hot sun beats down on the back of his head. Cars whiz by, the traffic noises intensified. He hears singing, quiet at first, but soon overwhelming. It's awful, discordant. He looks at Luckman and Barris, silhouetted against the sun. Luckman says something, but Arctor can't make it out over the singing and the traffic noise. An awful smell permeates the air. Arctor sniffs at it. His face contorts. He feels nauseated, shuts his eyes.</scene_description> <character>ERNIE LUCKMAN</character> <parenthetical>(barely audible above singing)</parenthetical> <dialogue>Hey, do you smell something, man? A clue? Some engine smell that --</dialogue> <character>BOB ARCTOR</character> <parenthetical>(eyes suddenly wide)</parenthetical> <dialogue>Dog shit! Do you smell dog shit?</dialogue> <scene_description>CONTINUED:</scene_description> <character>ERNIE LUCKMAN</character> <parenthetical>(eyeing Arctor)</parenthetical> <dialogue>No.</dialogue> <parenthetical>(to Barris)</parenthetical> <dialogue>Were there any psychedelics in that dope?</dialogue> <scene_description>Barris smiles and shakes his head. Arctor studies the engine, sniffs it.</scene_description> <character>BOB ARCTOR</character> <dialogue>It's an illusion, right? There's no dog shit smell. How could there be dog shit in the eng...</dialogue> <scene_description>He spots ugly, dark brown stains around the motorblock.</scene_description> <character>BOB ARCTOR</character> <parenthetical>(freaked)</parenthetical> <dialogue>Dog shit! Dog shit!</dialogue> <parenthetical>(trying to focus)</parenthetical> <dialogue>Oil. Spilled oil. Thrown oil. That's all. Maybe a leaky head gasket.</dialogue> <scene_description>Arctor reaches down to touch the dark stain. His hand jerks back in revulsion.</scene_description> <character>BOB ARCTOR</character> <dialogue>Dog shit! Fuck! It is dog shit!</dialogue> <scene_description>Now he looks around the engine and sees it everywhere: all over the block, on the wires, on the fire wall. He looks up, sees it smeared on the soundproofing under the hood. The smell is overwhelming. He lurches away from the car, shuts his eyes, staggers. Luckman grabs Arctor's arm.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>Hey, man, you're getting a flashback.</dialogue> <character>JIM BARRIS</character> <parenthetical>(chuckling)</parenthetical> <dialogue>Free theater tickets.</dialogue> <scene_description>Luckman guides Arctor to the driver's seat, sits him down.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>Now just take it easy. Nobody got killed and now we're warned. It's okay. It's okay. Everything's okay.</dialogue> <scene_description>Arctor closes his eyes.</scene_description> </scene> <scene> <stage_direction>EXT. KIMBERLY'S APARTMENT BUILDING - DAY</stage_direction> <scene_description>Kimberly walks, catatonic and terribly bruised. Dan pops up and stabs her repeatedly. She falls onto a big wet pile of dog shit. Barris appears in an apartment window, waving.</scene_description> <character>JIM BARRIS</character> <dialogue>Hey, Bob, want a lump of dog shit? To chew on?</dialogue> </scene> <scene> <stage_direction>EXT. ARCTOR'S CAR - DAY</stage_direction> <scene_description>Arctor opens his eyes fast. Barris, looking on compassionately, squats next to him outside the car.</scene_description> <character>BOB ARCTOR</character> <dialogue>What, Jim? What'd you say?</dialogue> <scene_description>Barris begins to laugh and laugh.</scene_description> <character>ERNIE LUCKMAN</character> <parenthetical>(punches Barris on the back)</parenthetical> <dialogue>Leave him alone, man. Fuck off.</dialogue> <character>BOB ARCTOR</character> <parenthetical>(to Luckman)</parenthetical> <dialogue>What did Barris say just now? What the hell exactly did he just say?</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>I don't know, man. I can't figure out half the things he lays on people.</dialogue> <scene_description>Arctor again looks at Barris. He is smiling sweetly.</scene_description> <character>BOB ARCTOR</character> <dialogue>You goddamn Barris! I know you did it, screwed over the cephscope and now my car! You kinky freak mother bastard!</dialogue> <scene_description>The smell of dog shit is becoming overwhelming again. Arctor tries not to vomit. His head swims.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>Take it easy, Bob.</dialogue> <character>BOB ARCTOR</character> <dialogue>I know it's him, man. I know.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>That doesn't make any sense. He'd have snuffed himself too.</dialogue> <scene_description>Barris nods in agreement. He smiles again. Now there's dog shit coating Barris's teeth. Arctor throws up on the dashboard, rests his head in his hands</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>What was in those tabs you gave us?</dialogue> <character>JIM BARRIS</character> <dialogue>Hell, I took some too. And so did you. Didn't give us a bad trip. Besides it was so soon. Your stomach can't even absorb --</dialogue> <scene_description>Arctor's head jerks up to face Barris.</scene_description> <character>BOB ARCTOR</character> <dialogue>YOU FUCKING POISONED ME!</dialogue> <scene_description>Barris and Luckman look at Arctor.</scene_description> </scene> <scene> <stage_direction>EXT. ARCTOR'S CAR - AFTERNOON</stage_direction> <scene_description>A tow truck is parked in front of the car. The three guys are inside, Arctor at the wheel, Barris and Luckman in back. A mechanic closes up the hood.</scene_description> </scene> <scene> <stage_direction>INT. ARCTOR'S CAR - AFTERNOON</stage_direction> <scene_description>The three drive along in silence. Arctor is pale, but seems back in control.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>I wonder what's been going on back at the house.</dialogue> <scene_description>Arctor glances at Luckman in the rearview mirror.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>You know, this proves, Bob, that somebody is out to burn you real bad. I just hope the house is still there when we get back.</dialogue> <character>BOB ARCTOR</character> <dialogue>Yeah, I hope.</dialogue> <scene_description>CONTINUED:</scene_description> <character>JIM BARRIS</character> <dialogue>Oh, I wouldn't worry too much about that, gents.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Christ, Barris, they may have ripped off everything we got, or stomped all our animals, or --</dialogue> <character>JIM BARRIS</character> <dialogue>But I left a little surprise for anyone entering the house. An electronic surprise, if you will.</dialogue> <scene_description>Arctor shifts his glance in the rearview mirror to Barris.</scene_description> <character>BOB ARCTOR</character> <dialogue>What kind of surprise? It's my house, Jim, you can't start rigging up --</dialogue> <character>JIM BARRIS</character> <dialogue>Easy. Be cool.</dialogue> <character>BOB ARCTOR</character> <dialogue>Well, what is it?</dialogue> <character>JIM BARRIS</character> <dialogue>If the front door is opened, my tape recorder starts recording.</dialogue> <character>BOB ARCTOR</character> <dialogue>You should've told me.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>What if they come in the window or through the back door?</dialogue> <character>JIM BARRIS</character> <dialogue>To increase the chance of them making their entry via the front door, I providentially left it unlocked.</dialogue> <scene_description>They drive in silence.</scene_description> <character>BOB ARCTOR</character> <dialogue>Well, they're not going to expect it to be unlocked, so they'll go in the window.</dialogue> <character>JIM BARRIS</character> <dialogue>But I put a note on the front door.</dialogue> <scene_description>CONTINUED:</scene_description> <character>BOB ARCTOR</character> <dialogue>You're jiving me.</dialogue> <character>JIM BARRIS</character> <dialogue>Yes.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Are you fucking jiving us or not? I can't tell with you, man. Is he jiving us or not, Bob?</dialogue> <character>BOB ARCTOR</character> <dialogue>We'll see when we get back. If there's a note on the door and it's unlocked, we'll know he's not jiving us.</dialogue> <scene_description>More silence.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>But they'd probably take the note down and lock the door after vandalizing and robbing us. So we'll never know. It's that gray area again. Damn it!</dialogue> <character>JIM BARRIS</character> <dialogue>Of course I'm kidding, guys! Only a psychotic would leave the front door open with a note on it.</dialogue> <scene_description>Silence.</scene_description> <character>BOB ARCTOR</character> <dialogue>So what did you write on the note, Jim?</dialogue> <character>JIM BARRIS</character> <dialogue>I wrote: "Donna, come on in, the door's unlocked. We..." The note's to Donna.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>He did do that. He really did it.</dialogue> <character>JIM BARRIS</character> <dialogue>This way, we'll know who's been messing with us, Bob. And that is of prime importance.</dialogue> </scene> <scene> <stage_direction>EXT. BOB ARCTOR'S HOUSE - AFTERNOON</stage_direction> <scene_description>The car pulls up to the house. The three guys get out. A piece of paper is tacked to the door. It reads: "Donna come on inside; door's unlocked. We've gone to Long Beach for the day to purchase a stolen cephscope." CONTINUED:</scene_description> <character>BOB ARCTOR</character> <dialogue>Jesus, Barris.</dialogue> <scene_description>Arctor turns the knob. It's unlocked. He looks at Barris and shakes his head. Barris grins, shrugs. They enter.</scene_description> </scene> <scene> <stage_direction>INT. BOB ARCTOR'S LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Barris studies the room.</scene_description> <character>JIM BARRIS</character> <dialogue>Interesting. Everything is exactly as we left it. They're very clever.</dialogue> <scene_description>Barris pulls his .22 from the top of the bookshelf. The animals appear, clamoring to be fed.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>Well, Barris, I can see you're right. There was definitely someone here. You see, the scrupulous covering-over of all signs they otherwise would've left testifies to their --</dialogue> <parenthetical>(farts, heads into kitchen)</parenthetical> <dialogue>Barris, you're one paranoid fuck.</dialogue> <scene_description>Barris continues to search the room, gun drawn. Arctor watches him intently, trying to appear uninterested. SHOT OF NOTEBOOK DAPPLED WITH SUNLIGHT Kids voices. We scan across the following entry.</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>Strange how, now and then, paranoia can link up with reality.</dialogue> <scene_description>A hand turns the page.</scene_description> </scene> <scene> <stage_direction>INT. ARCTOR'S LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Barris studies a full ashtray on the coffee table.</scene_description> <character>JIM BARRIS</character> <dialogue>Look at this!</dialogue> <scene_description>Arctor and Luckman, who has emerged from the kitchen with a beer, approach the ashtray. Luckman holds his hand over it.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>A still-hot butt. It sure is.</dialogue> <scene_description>CONTINUED: Arctor massages the bridge of his nose. Then, trying his best to play dumb:</scene_description> <character>BOB ARCTOR</character> <dialogue>My God, who was here?</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Wait, this is what's hot.</dialogue> <parenthetical>(reaches into ashtray, pulls out roach)</parenthetical> <dialogue>They lit a joint.</dialogue> <parenthetical>(looking around)</parenthetical> <dialogue>But what'd they do? What the fuck did they do?</dialogue> <character>JIM BARRIS</character> <dialogue>That roach may not be a slip-up. Maybe they were here specifically to plant dope, then phone in a tip later. Maybe there's dope planted all over this house. We're going to have to go through and get this place clean.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>I'll check the wall sockets. You take apart the tv and stereo.</dialogue> <scene_description>Luckman grabs a screwdriver. Barris raises his head sagely.</scene_description> <character>JIM BARRIS</character> <dialogue>Wait. If they see us scrambling around before the raid --</dialogue> <character>BOB ARCTOR</character> <dialogue>What raid?</dialogue> <character>JIM BARRIS</character> <dialogue>-- then we can't allege, even though it's true, that we didn't know the dope was there. Maybe that, too, is part of their ingenious plan.</dialogue> <scene_description>Luckman throws down the screwdriver as if it's red hot.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>We're fucked! We can't do anything!</dialogue> <character>BOB ARCTOR</character> <dialogue>Did you forget about the recorder, Jim?</dialogue> <scene_description>CONTINUED:</scene_description> <character>JIM BARRIS</character> <dialogue>Oh yes. The tape should be extremely informational at this point.</dialogue> <parenthetical>(pulls it from under couch)</parenthetical> <dialogue>Well, it probably wouldn't ultimately have proven that important.</dialogue> <character>BOB ARCTOR</character> <dialogue>Forget to turn it on, did you?</dialogue> <character>JIM BARRIS</character> <dialogue>No. The first thing they did upon entering was switch it to "off".</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>It's off? Fuck! Those fuckers.</dialogue> <character>JIM BARRIS</character> <dialogue>They made their move swiftly, before so much as an inch of tape pasesd through the recording head.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Now what? Now what the fuck do we do?</dialogue> <character>JIM BARRIS</character> <dialogue>You know, Bob, there is one thing you could do, although it would take time.</dialogue> <character>BOB ARCTOR</character> <dialogue>Sell the house?</dialogue> <scene_description>Barris nods gravely.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>Does anybody know a good realtor?</dialogue> <character>JIM BARRIS</character> <dialogue>I've got an acquaintance in the field.</dialogue> <scene_description>Barris and Luckman look at Arctor.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>We should probably act fast, man.</dialogue> <character>JIM BARRIS</character> <dialogue>We don't know how fast they're gonna swoop down on us.</dialogue> <scene_description>Arctor studies Barris and Luckman, their anxious eyes bore into him. He sways, gets confused, begins to buy Barris's scenario. CONTINUED:</scene_description> <character>BOB ARCTOR</character> <dialogue>What reason should we give for selling?</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Yeah, we can't tell the truth. We need a shuck. Barris, what's a good shuck?</dialogue> <character>BOB ARCTOR</character> <dialogue>We'll just flat out say there's narcotics planted all over the place and since we don't know where, we decided to move out and let the new owner get busted instead of us.</dialogue> <character>JIM BARRIS</character> <dialogue>No. I don't think we can afford to be that up front. Bob, you say you got a job transfer.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Where to, though? Where the fuck to?</dialogue> <character>JIM BARRIS</character> <dialogue>Cleveland.</dialogue> <character>BOB ARCTOR</character> <dialogue>I say we tell them the truth. In fact, we can put an ad in the Times: "Modern, three bedroom tract house, two bathrooms for easy flushing, with high grade dope stashed in all rooms." It's a selling point.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>But they'd be calling asking what kind of dope, and we don't know. Man!</dialogue> <character>JIM BARRIS</character> <dialogue>Or how much. Prospective buyers might inquire about the quantity.</dialogue> <character>BOB ARCTOR</character> <parenthetical>(slumps back on the couch)</parenthetical> <dialogue>They appear to have us.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Christ, this is awful!</dialogue> <scene_description>Donna appears from one of the bedrooms, rumpled and sleepy. CONTINUED:</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>Hey, I came in, like the note said. I waited for you for awhile, then I crashed. Why are you guys yelling?</dialogue> <scene_description>The three guys look at each other.</scene_description> <character>BOB ARCTOR</character> <dialogue>Did you smoke a joint? Before you crashed?</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Of course. Otherwise I can't sleep. You shouldn't leave your place unlocked like that. You could get ripped off and it would be your own fault. That's the main reason I came in when I saw the note. Somebody ought to be here if the place is unlocked with a note on it.</dialogue> <character>BOB ARCTOR</character> <dialogue>How long have you been here?</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Well, you could've taken down the note, locked the door, and left.</dialogue> <scene_description>Donna looks at Luckman, trying to figure out what he just said, then back to Arctor.</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>Approximately thirty-eight minutes. Hey, Bob, I got that wolf book, if you want to see it. It's got a lot of heavy shit in it.</dialogue> <scene_description>Barris falls back into a ratty easy chair.</scene_description> <character>JIM BARRIS</character> <dialogue>Life is only heavy and none else; heavy that leads to the grave. For everyone and everything.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Did you say you were selling the house? Or was that me dreaming?</dialogue> <character>BOB ARCTOR</character> <dialogue>Shit, I hope it was you dreaming.</dialogue> </scene> <scene> <stage_direction>INT. HANK'S OFFICE - MORNING</stage_direction> <scene_description>Scramble-suited Hank is unrolling a floor plan labeled "Arctor's House" in front of scramble-suited Fred.</scene_description> <character>HANK</character> <dialogue>Here are the locations of the eight scanners. We transmit to a safe house down the block from Arctor's.</dialogue> <character>FRED</character> <dialogue>That's where I do playback?</dialogue> <character>HANK</character> <dialogue>Yeah. And we use also use it for playback on five other houses. So you'll be bumping into other undercover people. Always wear your scramble suit.</dialogue> <character>FRED</character> <dialogue>Fine.</dialogue> <character>HANK</character> <dialogue>Make note of the scanner locations. If they need servicing, you can take care of it while you're at Arctor's. As long as nobody's around.</dialogue> <character>FRED</character> <dialogue>I'll have to edit myself out, so you won't see who's fixing the scanners.</dialogue> <character>HANK</character> <dialogue>Right. Although we assume you're Barris, or Luckman, or Freck, or Arctor or Donna Hawthorne --</dialogue> <character>FRED</character> <parenthetical>(computerized chuckle)</parenthetical> <dialogue>Donna?</dialogue> <character>HANK</character> <dialogue>So don't edit yourself from all tapes, or we'll deduce who you are by process of elimination. Leave yourself in in places. Be creative. Have fun.</dialogue> <character>FRED</character> <dialogue>Okay.</dialogue> <scene_description>CONTINUED:</scene_description> <character>HANK</character> <dialogue>This will help greatly in determining what the hell Arctor's up to.</dialogue> <character>FRED</character> <dialogue>We don't know he's up to anything.</dialogue> <character>HANK</character> <dialogue>We've got more recent information. There is no doubt any longer: Arctor's a phony, a three dollar bill. So keep on him until we have enough to arrest him and make it stick.</dialogue> <character>FRED</character> <dialogue>You think he's high up in Death distribution?</dialogue> <character>HANK</character> <dialogue>What we think isn't of any importance to you. You report; we evaluate.</dialogue> <character>FRED</character> <dialogue>Well, Arctor is doomed if he's up to anything. And I have a hunch from what you say that he is.</dialogue> <character>HANK</character> <dialogue>We should have a case on him soon. Then we can seize his house. I think you'd like it. It's rundown and dirty, but it's big. Nice yard. The installation crew reported it has excellent possibilities.</dialogue> <character>FRED</character> <dialogue>For what?</dialogue> <character>HANK</character> <dialogue>Well, the living room gives a view of the intersection, so passing vehicles could be graphed and... but Burt What's-his-face, who headed the crew, felt that it'd been allowed to deteriorate so badly that --</dialogue> <character>FRED</character> <dialogue>Deteriorate in what way?</dialogue> <character>HANK</character> <dialogue>The roof.</dialogue> <scene_description>CONTINUED:</scene_description> <character>FRED</character> <dialogue>The roof's perfect.</dialogue> <character>HANK</character> <dialogue>Interior and exterior paint. The condition of the floors.</dialogue> <character>FRED</character> <dialogue>Bullshit. It's all fine.</dialogue> <character>HANK</character> <dialogue>Then you recommend we acquire it after Arctor's arrested and loses title?</dialogue> <scene_description>Fred just stares at Hank, who holds his pen at the ready.</scene_description> <character>FRED</character> <dialogue>I have no opinion.</dialogue> <scene_description>Fred rises to leave.</scene_description> <character>HANK</character> <dialogue>You're not splitting yet. You have to report to room 203.</dialogue> <character>FRED</character> <dialogue>Hank, if this is about the Lion's Club speech, I've already explained --</dialogue> <character>HANK</character> <dialogue>This is something different.</dialogue> </scene> <scene> <stage_direction>INT. ROOM 203 - MORNING</stage_direction> <scene_description>The room is all white, with steel fixtures, steel chairs, and a steel desk. Fred is being interviewed by two sheriff's deputies in full uniform with medical stripes.</scene_description> <character>MEDICAL TECHNICIAN #1</character> <dialogue>You are Officer Fred?</dialogue> <character>FRED</character> <dialogue>Yes.</dialogue> <character>MEDICAL TECHNICIAN #1</character> <dialogue>And you take Substance D?</dialogue> <scene_description>Fred is about to respond.</scene_description> <character>MEDICAL TECHNICIAN #2</character> <dialogue>The question is moot, because it is taken for granted that in your work you are required to.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MEDICAL TECHNICIAN #1</character> <dialogue>So don't answer. Not that it's incriminating, but it's simply moot.</dialogue> <character>FRED</character> <dialogue>Look, about the Lion's Club --</dialogue> <character>MEDICAL TECHNICIAN #1</character> <dialogue>What this testing session is about stems from a departmental survey showing that several undercover agents have been admitted to Neural Aphasia clinics in the last month.</dialogue> <character>MEDICAL TECHNICIAN #2</character> <dialogue>You're aware that Substance D is highly addictive, are you not?</dialogue> <character>MEDICAL TECHNICIAN #1</character> <dialogue>Don't answer that.</dialogue> <character>FRED</character> <dialogue>You think I'm an addict?</dialogue> <character>MEDICAL TECHNICIAN #1</character> <dialogue>Whether or whether not you are an addict is not a prime issue, as a blocking agent is expected from the Army Chemical Warfare Division within the next five years. What these tests pertain to is --</dialogue> <character>MEDICAL TECHNICIAN #2</character> <dialogue>Let's begin with the Set-Ground Test. Shall we?</dialogue> <scene_description>Medical Technician #1 holds up a card with a geometric diagram printed on it.</scene_description> <character>MEDICAL TECHNICIAN #1</character> <dialogue>Within these apparently meaningless lines is a familiar object that we all would recognize. You are to tell me what the object is and...</dialogue> <scene_description>Fred studies the diagram searching for some recognizable shape. There is nothing discernible in the diagram.</scene_description> <character>MEDICAL TECHNICIAN #1</character> <dialogue>... point to it.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MEDICAL TECHNICIAN #2</character> <dialogue>In many of those taking Substance D, a split between the right hemisphere and the left hemisphere occurs. There is a loss of proper gestalting, which is a defect within both the percept and the cognitive systems.</dialogue> <scene_description>Fred continues to study the diagram.</scene_description> <character>MEDICAL TECHNICIAN #1</character> <dialogue>Can you see the form here, Fred? We need an answer. There is a time limit.</dialogue> <character>FRED</character> <parenthetical>(hesitantly)</parenthetical> <dialogue>I see a Coke bottle, I guess.</dialogue> <scene_description>The two technicians exchange glances.</scene_description> <character>MEDICAL TECHNICIAN #1</character> <dialogue>A soda pop bottle is correct.</dialogue> <scene_description>Medical Technician #1 puts down the card and makes a note on his clipboard. He holds up another card.</scene_description> <character>FRED</character> <dialogue>Is this about the Lion's Club speech?</dialogue> <character>MEDICAL TECHNICIAN #2</character> <dialogue>Are you getting cross-chatter, Fred?</dialogue> <character>FRED</character> <dialogue>Getting what?</dialogue> <character>MEDICAL TECHNICIAN #1</character> <dialogue>Between the hemispheres. Cross- chatter.</dialogue> <character>MEDICAL TECHNICIAN #2</character> <dialogue>If there's damage to the left hemisphere, where the linguistic skills are normally located, then sometimes the right hemisphere will fill in.</dialogue> <character>MEDICAL TECHNICIAN #1</character> <dialogue>To the best of its limited abilities.</dialogue> <character>FRED</character> <dialogue>I don't think I'm getting that.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MEDICAL TECHNICIAN #2</character> <dialogue>Thoughts not your own, perhaps?</dialogue> <character>MEDICAL TECHNICIAN #1</character> <dialogue>As if another person were thinking?</dialogue> <character>MEDICAL TECHNICIAN #2</character> <dialogue>Foreign words you don't understand?</dialogue> <character>MEDICAL TECHNICIAN #1</character> <dialogue>You'll keep your eyes open for anything like this, won't you?</dialogue> <character>FRED</character> <dialogue>Okay.</dialogue> <character>MEDICAL TECHNICIAN #1</character> <dialogue>Good. Now what do you see here?</dialogue> <character>FRED</character> <dialogue>A sheep.</dialogue> <character>MEDICAL TECHNICIAN #1</character> <dialogue>Show us the sheep, Fred.</dialogue> <scene_description>Fred points.</scene_description> <character>MEDICAL TECHNICIAN #2</character> <dialogue>An impairment in set-background discrimination gets you into a heap of trouble -- instead of no forms, you actually perceive faulty forms.</dialogue> <character>MEDICAL TECHNICIAN #1</character> <dialogue>Forms that aren't there.</dialogue> <character>MEDICAL TECHNICIAN #2</character> <dialogue>Like dog shit, for example.</dialogue> <character>FRED</character> <dialogue>I'm sorry, what did you say?</dialogue> <character>MEDICAL TECHNICIAN #2</character> <dialogue>I'm sorry, Fred, what?</dialogue> <character>FRED</character> <dialogue>Nothing. I'm guessing it's not a sheep. But was I close at least?</dialogue> <character>MEDICAL TECHNICIAN #1</character> <dialogue>This isn't a Rorshach, Fred. There is only one right answer. In this case it's a dog.</dialogue> <scene_description>CONTINUED:</scene_description> <character>FRED</character> <dialogue>It's what? What did you say it is?</dialogue> <character>MEDICAL TECHNICIAN #1</character> <dialogue>It's a dog.</dialogue> <character>FRED</character> <dialogue>Oh. How can you tell?</dialogue> <scene_description>The technician turns over the card, showing the isolated outline of a greyhound on the other side.</scene_description> <character>FRED</character> <dialogue>Okay. I see it now. What does it mean that I saw a sheep? Does it mean that I'm crazy?</dialogue> <character>MEDICAL TECHNICIAN #2</character> <dialogue>Crazy isn't a psychiatric diagnosis, Fred.</dialogue> </scene> <scene> <stage_direction>INT. CHARLES FRECK'S CAR - DAY</stage_direction> <scene_description>Freck drives along in great spirits. He giggles and plots.</scene_description> <character>CHARLES FRECK</character> <dialogue>Okay okay okay. So I go to Barris, "Hey, Barris, I bought a methedrine plant today," and he goes...</dialogue> <parenthetical>(childish Barris impersonation)</parenthetical> <dialogue>"Methedrine is a benny, like speed, la la la. It's made synthetically in a lab la la la. It isn't organic like pot. There's no such thing as a methedrine plant, like there is a pot plant." Then I go...</dialogue> <parenthetical>(big punchline)</parenthetical> <dialogue>"I meant I inherited forty thousand dollars from an uncle and purchased a plant in this guy's garage where he makes meth. It's a factory. Plant in that sense... ' Okay okay, I don't have the phrasing exactly yet, but when I lay this on Barris, man, I'm going to get him so good.</dialogue> </scene> <scene> <stage_direction>EXT. BOB ARCTOR'S HOUSE - DAY</stage_direction> <scene_description>Arctor and Barris, in greasy clothes, are in the driveway working on Arctor's car. Freck pulls up, gets out of his car and approaches. CONTINUED:</scene_description> <character>CHARLES FRECK</character> <dialogue>Hey, Jim, I bought a meth plant today.</dialogue> <character>JIM BARRIS</character> <dialogue>How big?</dialogue> <character>CHARLES FRECK</character> <dialogue>What do you mean?</dialogue> <character>JIM BARRIS</character> <dialogue>How big a plant?</dialogue> <character>CHARLES FRECK</character> <parenthetical>(confused as to how to proceed)</parenthetical> <dialogue>Um, well... like, what do you mean?</dialogue> <character>BOB ARCTOR</character> <dialogue>How much you pay, Freck?</dialogue> <character>CHARLES FRECK</character> <dialogue>Uh, about ten bucks.</dialogue> <character>BOB ARCTOR</character> <dialogue>Jim could've gotten it for you cheaper.</dialogue> <character>JIM BARRIS</character> <dialogue>They're practically giving meth plants away.</dialogue> <character>CHARLES FRECK</character> <dialogue>This is a whole fucking garage! A factory! It turns out a million pills a day!</dialogue> <character>JIM BARRIS</character> <parenthetical>(grinning)</parenthetical> <dialogue>All that for ten bucks?</dialogue> <character>BOB ARCTOR</character> <dialogue>Where's it located, Freck?</dialogue> <character>CHARLES FRECK</character> <dialogue>Not around here. Hey, fuck it, you guys.</dialogue> <scene_description>Freck leans against the house and pulls out a cigarette.</scene_description> <character>BOB ARCTOR</character> <parenthetical>(to Barris)</parenthetical> <dialogue>What about the carb?</dialogue> <scene_description>CONTINUED:</scene_description> <character>JIM BARRIS</character> <dialogue>Bent choke shaft. The whole carb needs to be rebuilt.</dialogue> <character>BOB ARCTOR</character> <dialogue>Why is it bent?</dialogue> <scene_description>Barris shrugs. Luckman emerges from the house.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>I phoned and they're checking to see what a rebuilt carb will set you back. Hey, Freck.</dialogue> <character>CHARLES FRECK</character> <parenthetical>(pissy)</parenthetical> <dialogue>Hey.</dialogue> <character>BOB ARCTOR</character> <parenthetical>(to Luckman)</parenthetical> <dialogue>Freck bought a meth plant today.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Cool. How big?</dialogue> <character>CHARLES FRECK</character> <dialogue>Fuck off.</dialogue> <character>JIM BARRIS</character> <parenthetical>(to Arctor)</parenthetical> <dialogue>You could put a four barrel on instead of a two, while you're at it.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>It would idle too high. And it wouldn't upshift.</dialogue> <character>JIM BARRIS</character> <dialogue>The idling jets could be replaced with smaller jets. And he could watch his rpms with a tach. Usually just backing off the gas pedal causes it to upshift if the automatic linkage doesn't do it.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>If he tromped down heavy on the step- down passing gear to get a lot of torque suddenly on the freeway, it'd downshift and rev up so high it'd blow the whole engine.</dialogue> <scene_description>CONTINUED:</scene_description> <character>JIM BARRIS</character> <dialogue>The tach needle would jump and he'd back off.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>While passing a big semi? He'd have to blow the engine up or he'd never get around what he was trying to pass.</dialogue> <character>JIM BARRIS</character> <dialogue>Momentum would carry him past.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>What about uphill?</dialogue> <character>JIM BARRIS</character> <dialogue>What does this car weigh, Bob?</dialogue> <character>BOB ARCTOR</character> <dialogue>About a thousand pounds.</dialogue> <scene_description>Freck, who has been watching this exchange, catches Arctor wink at Luckman.</scene_description> <character>JIM BARRIS</character> <dialogue>Well, you're right then. It wouldn't have much interia mass.</dialogue> <parenthetical>(calculating on a pad)</parenthetical> <dialogue>A thousand pounds traveling eighty miles an hour --</dialogue> <character>BOB ARCTOR</character> <dialogue>That's a thousand pounds with passengers, a full tank of gas, and a carton of bricks in the trunk.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>How many passengers, Bob?</dialogue> <character>BOB ARCTOR</character> <dialogue>Twelve.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>That's six in the back and six --</dialogue> <character>BOB ARCTOR</character> <dialogue>No. Eleven in the back and the driver alone up front. The extra weight is in the back so it doesn't fishtail.</dialogue> <scene_description>CONTINUED:</scene_description> <character>JIM BARRIS</character> <dialogue>This car fishtails?</dialogue> <character>BOB ARCTOR</character> <dialogue>Unless you get eleven people in back.</dialogue> <character>JIM BARRIS</character> <dialogue>Be better, then, to have two three hundred pound bags of sand in the trunk. Then the passengers could be distributed more comfortably.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>What about one six hundred pound bag of gold, Jim?</dialogue> <character>JIM BARRIS</character> <dialogue>If you bastards wouldn't rappity-rap on like a bunch of speed freaks, I could complete my computations and tell you how this car with its weight would handle a four barrel carb. So shut the fuck up, you assholes!</dialogue> <scene_description>Luckman stares at Barris, pulls a book from his back pocket.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>I'm going to read to you now, Barris.</dialogue> <parenthetical>(reading)</parenthetical> <dialogue>"He to whom it is given to see Christ more real than any other reality...</dialogue> <character>JIM BARRIS</character> <dialogue>What?</dialogue> <scene_description>As Luckman reads, he walks menacingly toward Barris, who backs away.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>"...than any other reality in the World, Christ everywhere present and everywhere growing more great, Christ the final determination and plasmatic Principle of the Universe --"</dialogue> <character>BOB ARCTOR</character> <dialogue>What is that, Luckman?</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Teilhard de Chardin. "... that man indeed lives in a zone where no multiplicity can distress him and which is nevertheless the most active workshop of universal fulfillment."</dialogue> <scene_description>CONTINUED: Luckman closes the book. He has backed Barris against the wall of the house. Freck tries to get in between them.</scene_description> <character>CHARLES FRECK</character> <dialogue>Cool it, you guys.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Out of the way, Freck. I'm going to coldcock Barris into tomorrow for talking to his betters like that.</dialogue> <scene_description>Luckman brings back his arm to punch Barris. Barris bleats in terror and runs crazily for the house.</scene_description> <character>JIM BARRIS</character> <dialogue>I hear the phone ringing about the carb. I'll get it.</dialogue> <scene_description>They watch him go.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>I was just kidding.</dialogue> <character>CHARLES FRECK</character> <dialogue>What if he comes back with his gun and silencer?</dialogue> <scene_description>Arctor and Luckman look dismissively at Freck, and go back under the hood of the car. Freck stands nervously by his car, shifting from foot to foot, ready for a quick getaway.</scene_description> <character>CHARLES FRECK</character> <dialogue>Look, I'm splitting.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Naw, stay, man, you're a brother.</dialogue> <character>CHARLES FRECK</character> <dialogue>Naw, I'm cutting out.</dialogue> <scene_description>Barris emerges tentatively from the house, carrying a hammer.</scene_description> <character>JIM BARRIS</character> <dialogue>It was a wrong number, man.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Hey, what's the hammer for, Jimmy-Boy?</dialogue> <character>BOB ARCTOR</character> <dialogue>To fix the engine. What else?</dialogue> <scene_description>CONTINUED:</scene_description> <character>JIM BARRIS</character> <dialogue>Thought I would bring it with me, since I was indoors and noticed it.</dialogue> <scene_description>Freck watches this exchange. He anxiously climbs in his car.</scene_description> <character>CHARLES FRECK</character> <dialogue>I'm gonna split. I'll see you guys.</dialogue> <character>BOB ARCTOR</character> <dialogue>The most dangerous kind of person is one who's afraid of his own shadow.</dialogue> <scene_description>Freck's eyes widen at this statement. He drives off.</scene_description> </scene> <scene> <stage_direction>INT. FRECK'S CAR - CONTINUOUS</stage_direction> <scene_description>Freck drives along, sweating.</scene_description> <character>CHARLES FRECK</character> <dialogue>Did Bob mean me afraid of my own shadow? But that was turning into a super-bummer. Where's the chicken into not wanting to be around that? Everything's changing, man. Used to be cool to hang out. Now its totally dark.</dialogue> <scene_description>Frank slips in his 8-track of Janis Joplin singing "All is Loneliness." He cries as he drives.</scene_description> </scene> <scene> <stage_direction>EXT. JERRY FABIN'S HOUSE - DAY</stage_direction> <scene_description>The furniture has been removed from the lawn. Freck pulls into the driveway and heads to the house. He knocks on the door, waits, sniffling. He knocks again.</scene_description> <character>CHARLES FRECK</character> <dialogue>Jerry! Jerry! Let me in, man, I'm truly bummed! I wanna talk!</dialogue> <scene_description>A couple of hippies on the stoop next door watch Freck.</scene_description> <character>HEAD #1</character> <dialogue>Hey, Jerry's gone.</dialogue> <scene_description>Freck looks over blankly at the hippy. Then it registers.</scene_description> <character>CHARLES FRECK</character> <dialogue>Fuck! I can't believe I forgot Jerry's dead. What is wrong with me?</dialogue> <scene_description>CONTINUED:</scene_description> <character>HEAD #1</character> <dialogue>He's not dead, man. He's in the Number Three Federal Clinic.</dialogue> <scene_description>Freck lets this register. He starts to cry again.</scene_description> <character>CHARLES FRECK</character> <dialogue>Fuck, I can't believe I forgot Jerry's not dead. What is wrong with me?</dialogue> <scene_description>Freck hurries to his car, speeds down the street.</scene_description> </scene> <scene> <stage_direction>INT. ARCTOR'S LIVING ROOM - EVENING</stage_direction> <scene_description>Arctor, Luckman, and Barris lounge around, stoned. Arctor seems relaxed, reclining on the couch and glancing discreetly at the hidden holo-scanner.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>You seem mellow, Bob. Having to spend a hundred bucks on a new carb wouldn't make me mellow.</dialogue> <character>BOB ARCTOR</character> <dialogue>I'll cruise the streets until I come across an Olds, then unbolt the carb. Like everyone else I know.</dialogue> <character>JIM BARRIS</character> <dialogue>Especially Donna. That chick steals everything she can carry.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>I'll tell you a Donna story. One day she put a quarter in a stamp machine and it kept spitting out stamps, till she had like eighteen thousand stamps.</dialogue> <character>JIM BARRIS</character> <dialogue>At what individual price per stamp?</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Fifteen cents per individual stamp.</dialogue> <character>JIM BARRIS</character> <dialogue>That's twenty-seven hundred dollars, if my arithmetic is correct.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>And so what's Donna gonna do with so many stamps? She can barely write...</dialogue> <scene_description>CONTINUED: Arctor smiles as he watches Luckman and Barris. Their chatter continues, but goes under as we hear Arctor's V.O.</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>The scanners will have miles of this tripped-out garbage. But it's not the stuff that happens while I'm here that matters. It's what goes on while I'm gone. So I'll split. Then I'll see what these three clowns are up to.</dialogue> <scene_description>We again focus on Luckman and Barris's conversation.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>So she ripped off the whole stamp machine and remounted it, like, somewhere where the postal authorities wouldn't spot it and...</dialogue> <scene_description>Back to Arctor, as his expression shifts to anxious.</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>What if I see some awful truth about the people I care about on these tapes? What if I see Donna climbing in the window and ripping me off, or destroying my stuff? Or some weird, nightmarish world beyond the mirror...</dialogue> </scene> <scene> <stage_direction>INT. ARCTOR'S HOUSE - NIGHT</stage_direction> <scene_description>The living room has a monochromatic, dream-like quality to it. Suddenly Donna crawls in on all fours. There is an non- human blankness to her face. She sticks her head into the dog's bowl and eats greedily, making slurping noises.</scene_description> </scene> <scene> <stage_direction>INT. ARCTOR'S LIVING ROOM - NIGHT</stage_direction> <scene_description>Arctor lurches out of his fantasy, freaked out. Luckman and Barris don't notice. They're still jabbering away.</scene_description> <character>JIM BARRIS</character> <dialogue>You realize our taxes were raised by her stealing those stamps? It's one thing to steal auto parts, but when you steal from Uncle Sam --</dialogue> <character>BOB ARCTOR</character> <dialogue>I'm going out to score some beans. Luckman, is your Falcon running?</dialogue> <scene_description>CONTINUED:</scene_description> <character>ERNIE LUCKMAN</character> <parenthetical>(beat, lying)</parenthetical> <dialogue>No. I don't think so.</dialogue> <character>BOB ARCTOR</character> <dialogue>Barris?</dialogue> <character>JIM BARRIS</character> <dialogue>I wonder, Bob, if you can handle my car? By that mean there are --</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Fuck, Barris. It's an ordinary six cylinder. The parking lot jockeys park it all the time, for God's sake.</dialogue> <character>JIM BARRIS</character> <dialogue>There are certain secret devices which have been incorporated --</dialogue> <character>BOB ARCTOR</character> <dialogue>I'll walk.</dialogue> <character>JIM BARRIS</character> <dialogue>It's just that it has certain secret --</dialogue> <character>BOB ARCTOR</character> <dialogue>Forget it. If I tried to drive your car, I'd press the wrong button and float up over the greater L.A. area.</dialogue> <character>JIM BARRIS</character> <dialogue>I'm glad you appreciate my position.</dialogue> <scene_description>Arctor exits.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>You're fucked, Barris. You know that?</dialogue> </scene> <scene> <stage_direction>INT. SAFE HOUSE - NIGHT</stage_direction> <scene_description>Fred sits in a cubicle and stares at a holo-monitor On it Barris winds a string around the bowl of a hash pipe while Luckman watches tv and stuffs his face from a tv dinner. We hear other tapes being played in other cubicles: stoned conversations; screaming; high-pitched fast-forward squeals. Another scramble suit walks by Fred's cubicle and glances at the monitor.</scene_description> <character>SCRAMBLE SUIT #1</character> <dialogue>You're allowed to fast forward through the dull stuff, y'know.</dialogue> <scene_description>CONTINUED:</scene_description> <character>FRED</character> <dialogue>Would if I could, but this is live.</dialogue> <character>SCRAMBLE SUIT #1</character> <parenthetical>(after a moment, chuckling)</parenthetical> <dialogue>You call that living?</dialogue> <scene_description>Fred chuckles perfunctorily. Scramble Suit #1 leaves. Fred continues to watch.</scene_description> <character>ERNIE LUCKMAN</character> <parenthetical>(mouth full of food)</parenthetical> <dialogue>Fucking McDonaldburger commercials.</dialogue> <scene_description>Suddenly Luckman gags, jumps to his feet, turns to Barris, signaling wildly. He staggers around, choking. Barris watches him blankly. Luckman lurches to the kitchen.</scene_description> <character>FRED</character> <dialogue>Jesus fuck! Barris!</dialogue> <scene_description>We see Luckman on the kitchen holo-scanner knocking things over, grabbing a glass from the counter and trying to fill it with water. On the living room monitor, Barris camly continues to wrap string around his hash pipe.</scene_description> <character>FRED</character> <parenthetical>(leaping to his feet)</parenthetical> <dialogue>Barris?! Barris!!</dialogue> <scene_description>Luckman gives up on the water and begins hurling pots and plates at the kitchen walls trying to attract Barris's attention. Barris, in the living room, does not respond. All at once, Luckman falls to the kitchen floor unconscious. In the living room, Barris smiles a little smile. Fred watches, paralyzed. Barris casually rises and strolls into the kitchen. He studies Luckman spread out on the floor. He looks at the dishes and pots scattered about. Then, suddenly, he rips off his sunglasses in a faux panic, working himself up for the frantic 911 phone call. His eyes widen in horror, he flaps his arms helplessly, runs back and forth until he starts to pant, then dials the phone.</scene_description> <character>JIM BARRIS</character> <dialogue>Operator, I need, I'm not sure, is it called the inhalator squad or the resuscitation squad?</dialogue> <character>OPERATOR</character> <dialogue>Is someone unable to breathe, sir?</dialogue> <scene_description>CONTINUED:</scene_description> <character>JIM BARRIS</character> <dialogue>It is, I believe, cardiac arrest. Either that or involuntary aspiration of a bolus within the --</dialogue> <character>OPERATOR</character> <dialogue>What is the address, sir?</dialogue> <character>JIM BARRIS</character> <dialogue>The address, the address. let's see...</dialogue> <character>FRED</character> <dialogue>Christ! Just --</dialogue> <scene_description>Luckman heaves violently on the floor. He thrashes around, throws up the material in his throat, and opens his eyes.</scene_description> <character>JIM BARRIS</character> <dialogue>Uh, thank you. No assistance is needed after all. Good morrow.</dialogue> <scene_description>Barris hangs up.</scene_description> <character>JIM BARRIS</character> <dialogue>You okay, Ernst?</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>I must've gagged. Did I pass out?</dialogue> <character>JIM BARRIS</character> <dialogue>Not exactly. You did go into an altered state of consciousness for a few seconds. Probably an alpha state.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Fuck. I shit myself.</dialogue> <scene_description>Luckman stands, unsteadily. Fred relaxes, sits back down at his console. Luckman splashes himself with tap water.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>What were you doing while I was lying there, jacking off?</dialogue> <character>JIM BARRIS</character> <dialogue>You saw me on the phone, summoning the paramedics. I moved into action immedi --</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Balls.</dialogue> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Arctor walks home, deep in thought. A MG speeds by, makes a screeching u-turn, pulls up beside Arctor, honks it's horn. Arctor squints inside. It's Donna. He opens the passenger door, gets in.</scene_description> </scene> <scene> <stage_direction>INT. DONNA'S CAR - CONTINUOUS</stage_direction> <character>DONNA HAWTHORNE</character> <dialogue>Did I scare you? Heh heh.</dialogue> <character>BOB ARCTOR</character> <dialogue>I just did a freaky number, not like a fantasy trip, but... So I'm kinda --</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>I have your stuff.</dialogue> <character>BOB ARCTOR</character> <dialogue>My stuff?</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Your Death.</dialogue> <scene_description>Donna screeches off too fast, weaves, tailgates a Coke truck.</scene_description> <character>BOB ARCTOR</character> <dialogue>Fucking Barris. You know how he kills you? He doesn't. He waits until a situation arises where you die, and he just sits there. In fact he sets you up to die. I don't know how exactl --</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Do you have the money?</dialogue> <character>BOB ARCTOR</character> <dialogue>What?</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>I need the money right now.</dialogue> <character>BOB ARCTOR</character> <dialogue>Sure. Yeah.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>I don't like Barris, and I don't trust him. He's crazy. And you're crazy when you're around him. You're crazy right now.</dialogue> <scene_description>CONTINUED:</scene_description> <character>BOB ARCTOR</character> <dialogue>I am?</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Yeah.</dialogue> <character>BOB ARCTOR</character> <dialogue>Donna, I know I can count on you to tell me if I'm getting weird or crazy or like that. Okay?</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Hey, you wanna take me to a concert at Anaheim Stadium next weekend?</dialogue> <character>BOB ARCTOR</character> <dialogue>Right on. Yeah. That sounds --</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>I'm gonna bring some really oily hash and get really loaded. But you have to wear something neat, not those funky clothes you sometimes wear.</dialogue> <character>BOB ARCTOR</character> <dialogue>I'll wear whatever you say.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>I'm taking us to my place. And you do have the money and you'll give it to me. Then we'll drop a few of the tabs and kick back. Maybe you could buy a fifth of Southern Comfort and we could get bombed as well.</dialogue> <character>BOB ARCTOR</character> <dialogue>Oh, wow. That sounds good.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>You know what would be cool tonight, is to go to the Torrance Drive-in. They're showing all eleven Planet of the Apes movies. From 7:30 to 8:00 tomorrow morning.</dialogue> <character>BOB ARCTOR</character> <dialogue>Can a drive-in show movies in the morning?</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>I haven't seen all the Ape movies in years. And the last one for longer than that, the one where they reveal</dialogue> <scene_description>CONTINUED:</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>all the famous guys in history, like Nero and Lincoln, were secretly apes...</dialogue> </scene> <scene> <stage_direction>INT. DONNA'S APARTMENT - NIGHT</stage_direction> <scene_description>It's dark. The door unlocks, light from the hall spills in. Donna enters, flips on the light. There's a trail of newspapers on the floor.</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>Stay on the newspaper. I just had the rug shampooed.</dialogue> <scene_description>Arctor enters and stands on a square of newspaper. He looks around. The place is cluttered with piles of stuff</scene_description> <character>BOB ARCTOR</character> <dialogue>Do you ever throw anything away?</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Someday I'm gonna get married and I'm going to need all this stuff. When you get married, you need everything there is.</dialogue> <scene_description>Donna slips out of her leather jacket, tosses it on a pile of jackets, and pads into the kitchen. Arctor follows her, tiptoeing along the paper.</scene_description> <character>BOB ARCTOR</character> <dialogue>How much of what you've got did you buy and how much did you steal?</dialogue> </scene> <scene> <stage_direction>INT. DONNA'S KITCHEN - CONTINUOUS</stage_direction> <character>DONNA HAWTHORNE</character> <dialogue>Buy? What do you mean "buy"?</dialogue> <scene_description>Donna opens a cabinet, reaches in back, pulls out several plastic bags of pills. She lays them on the counter, opens a drawer, pulls out a pipe and some hash, sits at the table and fills the pipe. Arctor lays money on the table.</scene_description> <character>BOB ARCTOR</character> <dialogue>Like when you buy dope. Like a dope deal. When I mean by "buy" is an extension into the greater world of business transactions of what we have present now, with us, as dope deals.</dialogue> <scene_description>CONTINUED:</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>I think I see what you're saying.</dialogue> <character>BOB ARCTOR</character> <dialogue>Like when you rip off those Coca-Cola truck you tailgate. That's stealing.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>No. It's a form of barter.</dialogue> <character>BOB ARCTOR</character> <dialogue>Donna, look, you're gonna get caught, and if you got drugs in your car when they catch you, there's nothing I can do to protect you then.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>You protect me? What are you talking about?</dialogue> <character>BOB ARCTOR</character> <dialogue>Nothing. I just... Please take care.</dialogue> <scene_description>Donna lights the pipe.</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>The Coca-Cola company is a capitalist monopoly. No one else can make it but them. That's fucking wrong.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>C'mere, I'll supercharge you.</dialogue> <scene_description>Arctor sits down at the table.</scene_description> <character>BOB ARCTOR</character> <dialogue>Okay, cool.</dialogue> <scene_description>Donna walks over to him, puffing the hash pipe to keep it alive. She bends over him and Arctor opens his mouth. She exhales long and forcefully into his mouth. This is as close as these two get to sex. Arctor's eyes go soft as he looks up at Donna.</scene_description> <character>BOB ARCTOR</character> <dialogue>I love you, Donna.</dialogue> <scene_description>Donna looks down at him.</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>Yeah, I can dig it, you being in love with me.</dialogue> <scene_description>CONTINUED: Donna grins, sits down and takes a hit from the pipe. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. DONNA'S LIVING ROOM - A BIT LATER</stage_direction> <scene_description>Donna and Arctor are stoned on the couch in the dim room.</scene_description> <character>BOB ARCTOR</character> <dialogue>Hey, Donna, man, do you like cats?</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Dripping little things. Moving along about a foot above the ground.</dialogue> <character>BOB ARCTOR</character> <dialogue>No. On the ground.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Drippy. Behind furniture.</dialogue> <character>BOB ARCTOR</character> <dialogue>Little spring flowers, then?</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Yes. Little spring flowers. With yellow in them. That first come up.</dialogue> <character>BOB ARCTOR</character> <dialogue>Before. Before anyone.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Yes. Before anyone stomps on them and they're gone.</dialogue> <scene_description>Arctor's eyes get wet.</scene_description> <character>BOB ARCTOR</character> <dialogue>Yeah. You know me exactly, Donna. You can read me. No one knows me but you.</dialogue> <scene_description>Donna draws on the pipe, but it's out.</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>No more.</dialogue> <scene_description>Her smile disappears.</scene_description> <character>BOB ARCTOR</character> <dialogue>What's wrong?</dialogue> <scene_description>CONTINUED:</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>Nothing.</dialogue> <character>BOB ARCTOR</character> <dialogue>Donna, can I put my arm around you. I want to hold you, okay?</dialogue> <scene_description>Donna's stoned eyes suddenly widen.</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>No, you're too ugly.</dialogue> <character>BOB ARCTOR</character> <dialogue>What?</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>No! Look, I snort a lot of coke; I have to be super careful because I snort a lot of coke.</dialogue> <character>BOB ARCTOR</character> <dialogue>Ugly? Fuck you, Donna.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Just leave my body alone.</dialogue> <character>BOB ARCTOR</character> <parenthetical>(putting on his shoes)</parenthetical> <dialogue>Sure. Yeah. You better believe it.</dialogue> <scene_description>Arctor rises, disappears into the kitchen.</scene_description> <character>DONNA HAWTHORNE</character> <parenthetical>(calling after)</parenthetical> <dialogue>I don't like people to grope my body!</dialogue> <parenthetical>(talking to herself)</parenthetical> <dialogue>I have to watch out for that because I do so much coke. Someday I'm gonna go over the Canadian border with four pounds of coke in my snatch. I'll say I'm a Catholic and a virgin.</dialogue> <scene_description>Arctor passes through the room with his bags of Death.</scene_description> <character>BOB ARCTOR</character> <dialogue>I'm taking off.</dialogue> <scene_description>He heads for the door. Donna tries to rise, confused and half asleep. CONTINUED:</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>You don't have your car. I'll drive you, man.</dialogue> <parenthetical>(looks for her shoes)</parenthetical> <dialogue>But you can see why I have to protect my snatch --</dialogue> <character>BOB ARCTOR</character> <dialogue>You're too stoned to drive and you never let anyone else drive that little roller skate of yours.</dialogue> <scene_description>She jerks upright and glares wildly at him.</scene_description> <character>DONNA HAWTHORNE</character> <parenthetical>(yelling)</parenthetical> <dialogue>That's because no one else can fucking drive my car! Nobody else ever gets it right, no man especially! Driving or anything else! Listen, you had your hands down into my --</dialogue> <scene_description>Arctor is out the door.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Arctor hurries through the darkness. Donna pants behind him, trying to catch up. She does. Arctor keeps walking.</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>I'm dreadfully sorry I hurt your feelings. Okay? I was out of it.</dialogue> <character>BOB ARCTOR</character> <parenthetical>(muttering)</parenthetical> <dialogue>Too ugly.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Sometimes I get really spaced. You wanna come back? Or what? You wanna go to the drive-in? What about the Southern Comfort? C'mon, I'm sorry.</dialogue> <scene_description>Arctor stops, stares off for a while. Donna watches, waits.</scene_description> <character>BOB ARCTOR</character> <dialogue>Okay.</dialogue> <scene_description>They turn and head back to the house. CONTINUED:</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>That sure is good hash though, huh?</dialogue> <scene_description>They walk in silence.</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>You know what I'm going to do someday, Bob? I'm going to move north to Oregon and live in the snow. Have a little house and a vegetable garden.</dialogue> <character>BOB ARCTOR</character> <dialogue>You'll have to save up for that.</dialogue> <character>DONNA HAWTHORNE</character> <parenthetical>(glancing up shyly)</parenthetical> <dialogue>He'll get me that. What's-his-name.</dialogue> <character>BOB ARCTOR</character> <dialogue>Who?</dialogue> <character>DONNA HAWTHORNE</character> <parenthetical>(sharing a secret)</parenthetical> <dialogue>Mr. Right. He'll drive an Aston- Martin and take me north in it. And that's where the little old fashioned house will be in the snow.</dialogue> <character>BOB ARCTOR</character> <dialogue>You sure this'll happen?</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>It's in the cards.</dialogue> <scene_description>A heaviness descends upon Arctor. He stops. Donna stops.</scene_description> <character>BOB ARCTOR</character> <dialogue>Hey, man, can I go with you? To Oregon? When you do take off finally?</dialogue> <scene_description>Donna smiles up at Arctor. She gently shakes her head "no." He studies her. Her answer will never change. He shivers. Donna takes Arctor's hand, squeezes it, holds it. Her touch fills him. After a moment, Donna lets her hand drop.</scene_description> </scene> <scene> <stage_direction>INT. ARCTOR'S BEDROOM - NIGHT</stage_direction> <scene_description>Arctor enters the dimly lit bedroom followed by Connie, a skinny girl with hollow eyes and a flat affect. He sifts through his dresser drawer as she hovers behind him. Finally he pulls out a baggie with some pills in it. Throughout, we hear stoned conversation coming from another room. CONTINUED:</scene_description> <character>BOB ARCTOR</character> <dialogue>Here you go.</dialogue> <character>CONNIE</character> <dialogue>Thanks, man.</dialogue> <scene_description>Connie stuffs the baggie into her purse. She sits on the bed and begins to unceremoniously undress. When her blouse comes off, we see needle tracks and bruises on her arms. She pulls a comb from her purse and listlessly combs her lank hair. She drops the hand holding the comb and begins to nod. Arctor looks at the tracks, at the pimple on her cheek. Connie wakes up, sort of, and starts combing again.</scene_description> <character>CONNIE</character> <parenthetical>(mumbling)</parenthetical> <dialogue>Do you have a toothbrush I can use. Aw screw it -- teeth are teeth. I'll brush 'em. You gotta ...</dialogue> <scene_description>Connie drones on, but her voice has become so quiet it can't be heard. Arctor watches her lips work soundlessly. Finally her voice becomes audible again.</scene_description> <character>CONNIE</character> <dialogue>Who are those guys rattling on and on out there? Jabber-jaws. They live here with you, I guess.</dialogue> <character>BOB ARCTOR</character> <dialogue>Two of them do.</dialogue> <scene_description>Connie fixes her dead eyes on Arctor.</scene_description> <character>CONNIE</character> <dialogue>You're queer?</dialogue> <character>BOB ARCTOR</character> <dialogue>I try not to be. That's why I've arranged this transaction with you.</dialogue> <character>CONNIE</character> <dialogue>Yes, I suppose I'm about to find out.</dialogue> <scene_description>Connie removes her bra and her skirt.</scene_description> </scene> <scene> <stage_direction>INT. ARCTOR'S BEDROOM - LATER</stage_direction> <scene_description>The lights are off. The off-screen conversation has stopped. Instead we hear static from a signed-off tv station. Arctor is in bed with Connie. Both are naked and partially under covers. Connie lies rigidly on her back, arms straight down by her sides. She snores. Arctor moves in and out of CONTINUED: consciousness. He opens his eyes, groggily orients himself, glances over at the woman next to him. It's Donna. He bolts upright, studies her face. It's still Donna. He fumbles for the switch on the night table lamp and knocks it to the floor. The woman next to him sleeps on. He watches her face. Gradually it begins to turn back into Connie. Arctor drops onto his back and looks at the ceiling.</scene_description> </scene> <scene> <stage_direction>INT. SAFE HOUSE - DAY</stage_direction> <scene_description>Fred sits in his cubicle monitoring the scanners. On one scanner Barris sits in the living room reading a book about mushrooms. After a moment, he lays the book face down on the coffee table and leaves the house. Fred watches the empty living room. He presses the fast forward button. The sunlight coming in through the living room window shifts as the day speeds by. The living room door opens. Fred slows the tape to normal speed. Barris is back at the couch with a brown bag. He dumps several mushrooms onto the table, compares them with illustrations in the book. Finally, he puts one aside, throws the rest in the bag, crumbles the mushroom, and fills capsules. He dials the phone. An LED on Fred's console indicates the phone number dialed.</scene_description> <character>TELEPHONE VOICE</character> <dialogue>Yeah?</dialogue> <character>JIM BARRIS</character> <dialogue>This is Jim.</dialogue> <character>TELEPHONE VOICE</character> <dialogue>Who?</dialogue> <character>JIM BARRIS</character> <dialogue>With the beard. Green shades. Leather pants. I met you at that happening at --</dialogue> <character>TELEPHONE VOICE</character> <dialogue>Oh, right. Yeah. That guy. Jim.</dialogue> <character>JIM BARRIS</character> <dialogue>Say, have I scored. Psylocybe Mexicana. A rare hallucinogenic mushroom used in South American mystery cults thousands of years ago. You fly, become invisible, understand the speech of animals --</dialogue> <character>TELEPHONE VOICE</character> <dialogue>Truly? How much?</dialogue> <scene_description>CONTINUED: Two other Scramble Suits walk by Fred's console.</scene_description> <character>JIM BARRIS</character> <dialogue>Five dollars a cap.</dialogue> <character>SCRAMBLE SUIT #1</character> <dialogue>What's he peddling?</dialogue> <character>FRED</character> <dialogue>Mushrooms he seems to have picked locally.</dialogue> <character>SCRAMBLE SUIT #2</character> <dialogue>Certain Amanita mushrooms contain toxins that act as red blood cell cracking agents. It takes two weeks to die, it's incalculably painful, and there's no antidote.</dialogue> <character>FRED</character> <dialogue>What's the statute violation?</dialogue> <character>SCRAMBLE SUIT #1</character> <dialogue>Misrepresentation in advertising.</dialogue> <scene_description>Both Scramble Suits laugh their computer laughs and disappear. Fred goes back to the monitors. The front door opens and Bob Arctor enters dejectedly.</scene_description> <character>FRED</character> <dialogue>Hi, Bob.</dialogue> <character>BOB ARCTOR</character> <parenthetical>(to Barris)</parenthetical> <dialogue>Hi.</dialogue> <character>JIM BARRIS</character> <dialogue>How'd you make out with little Miss Big Tits?</dialogue> <scene_description>Barris chuckles.</scene_description> <character>FRED</character> <dialogue>Fuck off, Barris.</dialogue> <character>BOB ARCTOR</character> <dialogue>Fuck off, Barris.</dialogue> <scene_description>Arctor passes out of range of the scanner. After a moment, he reappears on the scanner inside his bedroom. He shuts the door, removes the bags of tabs he scored from Donna, looks around the room, then settles on stuffing the bags in the back of his dresser drawer. He heads out of the bedroom CONTINUED: and reappears on the living room monitor. He walks past Barris. Barris trails him casually</scene_description> <character>JIM BARRIS</character> <dialogue>Bob, I'm sorry if I offended you.</dialogue> <scene_description>Both disappear from the living room monitor and reappear on the kitchen monitor. Arctor fills the coffee pot with water.</scene_description> <character>BOB ARCTOR</character> <dialogue>Where's Luckman?</dialogue> <character>JIM BARRIS</character> <dialogue>He left with your jack, so I assume he's off to knock over pay phones.</dialogue> <character>BOB ARCTOR</character> <dialogue>My axle jack?</dialogue> <character>JIM BARRIS</character> <dialogue>Y'know, I have a sure fire way you could get into the pants of Little Miss Big Tits. For under one dollar.</dialogue> <scene_description>Fred fast forwards the tape. He stops. Barris and Arctor are now on the living room monitor. Arctor is fuming.</scene_description> <character>BOB ARCTOR</character> <dialogue>Either you pay up your back rent or get to work fixing my godamn cephscope!</dialogue> <character>JIM BARRIS</character> <dialogue>Yes. About that, Bob. I've already ordered resistors --</dialogue> <scene_description>Fred fast-forwards again. Now Barris is on the living room monitor reading about mushrooms and Arctor is on the monitor in his bedroom, writing in his notebook. The phone rings on the living room monitor. Barris picks up.</scene_description> <character>JIM BARRIS</character> <dialogue>Yeah?</dialogue> <character>TELEPHONE VOICE #3</character> <dialogue>Mr. Arctor?</dialogue> <character>JIM BARRIS</character> <dialogue>Yes, this is Robert Arctor.</dialogue> <scene_description>Inside the Fred scramble suit we see Arctor's eyes widen. CONTINUED:</scene_description> <character>TELEPHONE VOICE #3</character> <dialogue>I'm sorry to bother you, Mr. Arctor, but your check did not clear.</dialogue> <character>JIM BARRIS</character> <dialogue>Oh, yes, I've been meaning to call you, but I've had a severe bout of intestinal flu, with loss of body heat, pyloric spasms, cramps...</dialogue> <scene_description>In the monitor in his bedroom, Arctor continues to write in his notebook, unaware. In his scramble suit at the console, Bob Arctor, is freaked out, and writes in the same notebook.</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>Barris portraying Arctor as coming off heroin.</dialogue> <character>JIM BARRIS</character> <dialogue>I just haven't been able to get it together to make that little twenty dollar check good, and frankly I don't intend to make it good.</dialogue> <character>BOB ARCTOR (IN SCRAMBLE SUIT)</character> <dialogue>What?</dialogue> <character>TELEPHONE VOICE #3</character> <dialogue>What?</dialogue> <character>JIM BARRIS</character> <dialogue>You heard me correctly.</dialogue> <character>TELEPHONE VOICE #3</character> <dialogue>Mr. Arctor, those flu symptoms you describe... I think you're a --</dialogue> <character>JIM BARRIS</character> <dialogue>Think what you want. Turn out, tune out, and good-bye.</dialogue> <scene_description>Barris hangs up. Fred checks the LED, picks up his phone.</scene_description> <character>FRED</character> <dialogue>Get me a name and address on this.</dialogue> <character>OPERATOR</character> <dialogue>Englesohn Locksmith, 1343 Harbor in Anaheim, Loverboy.</dialogue> <scene_description>Fred hangs up. We move inside the suit to Arctor's troubled face. He writes in his notebook. The V.O. is disturbed. CONTINUED:</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>Barris up to something: pretending to be me... writing rubber checks on my account... representing me as a heroin addict. BUT WHAT IS HE UP TO?</dialogue> </scene> <scene> <stage_direction>INT. SAFE HOUSE - A FEW MINUTES LATER</stage_direction> <scene_description>Fred paces. He passes a wall mirror, glances at his vague face. He moves closer to the mirror, studies himself.</scene_description> <character>FRED</character> <dialogue>Arctor must've burned Barris pretty bad to deserve this display of malice.</dialogue> <scene_description>Scramble Suit #1 approaches Fred.</scene_description> <character>SCRAMBLE SUIT #1</character> <dialogue>I was thinking, do you actually know these losers? Are you in among them?</dialogue> <character>FRED</character> <dialogue>Yeah. I'm there.</dialogue> <character>SCRAMBLE SUIT #1</character> <dialogue>You might want to warn them about the mushrooms. Can you pass it on to them without faulting your cover?</dialogue> <character>FRED</character> <dialogue>I suppose I can lay it on that one.</dialogue> <parenthetical>(indicates Arctor)</parenthetical> <dialogue>Without him flashing on me. He's docile.</dialogue> <character>SCRAMBLE SUIT #1</character> <dialogue>Ugly-looking, too.</dialogue> <scene_description>Scramble Suit #1 laughs. Fred joins in wholeheartedly.</scene_description> </scene> <scene> <stage_direction>INT. SAFE HOUSE - LATER</stage_direction> <scene_description>Fred watches the monitors. Arctor's house is quiet. Barris and Luckman doze in the living room, the television tuned to static. On another monitor, Arctor is sleeping in his bed with a woman. After a beat Fred notices the woman is Donna. We move in close to Fred's ever-changing eyes.</scene_description> <character>FRED</character> <dialogue>That can't be right. Arctor has never done it with Donna. Has he?</dialogue> <scene_description>CONTINUED: Fred fast-rewinds the tape, switches it to play. Arctor is in bed having sex with Connie. Fred sighs a computerized sigh of relief and fast-forwards the tape. Arctor is now sleeping next to Connie. Fred watches for a moment. As he does the face of the sleeping woman transforms into Donna's. Fred freezes the frame. Then he enlarges the holographic image so it fills up the space previously occupied by all eight monitors. The image is now almost actual size. Fred rises and walks around the console into the projection area. It's as if he's entering Arctor's bedroom, or a slightly scaled down, frozen version of it. He approaches the sleeping couple, bends down and examines the face of the woman. It is clearly Donna. He stands in Arctor's bedroom for a while, confused and disoriented, tries to look at himself in Arctor's bureau mirror. Fred does not appear in the holographic reflection of the room. He shudders, returns to the console, brings up all eight monitors, and turns off the freeze-frame. On the bedroom monitor, Arctor awakens, and glances over at the woman sleeping next to him. His eyes widen. He fumbles for the switch on the bedside lamp, knocks it over. He turns back and stares at the sleeping woman. As does Fred at the console.</scene_description> </scene> <scene> <stage_direction>EXT. ENGLESOHN LOCK COMPANY - MORNING</stage_direction> <scene_description>A yellow cab pulls up. Arctor emerges.</scene_description> </scene> <scene> <stage_direction>INT. ENGLESOHN LOCK COMPANY - CONTINUOUS</stage_direction> <scene_description>A plump old lady stands behind the counter. Arctor enters.</scene_description> <character>OLD LADY</character> <dialogue>Yes sir? Good morning.</dialogue> <character>BOB ARCTOR</character> <dialogue>Hi, I'm here...</dialogue> <scene_description>The scene shifts to very slow motion. Everything grows quiet. Colors become saturated, as in a Raphael painting.</scene_description> <character>FAR-AWAY VOICE</character> <dialogue>Ihr Instrumente freilich spottet mein/Mit Rad und Kammen, Walz' und Bugel:/Ich stand am Tor, ihr...</dialogue> <scene_description>The scene shifts back. Maybe a hiccup's worth of time has passed.</scene_description> <character>BOB ARCTOR</character> <dialogue>... to pay for a check of mine the bank returned. It's twenty dollars.</dialogue> <scene_description>CONTINUED:</scene_description> <character>OLD LADY</character> <dialogue>Oh. All-rightey.</dialogue> <scene_description>The old lady opens a metal file box and, after a moment's search, pulls out a check with a note clipped to it.</scene_description> <character>OLD LADY</character> <dialogue>Mr. Arctor, is it?</dialogue> <character>BOB ARCTOR</character> <dialogue>Yes, I am Mr. Arctor. Nobody else is.</dialogue> <character>OLD LADY</character> <dialogue>Okay, sir. That'll be twenty dollars.</dialogue> <scene_description>Arctor hands her a twenty dollar bill.</scene_description> <character>BOB ARCTOR</character> <dialogue>I'm sorry about this, but by mistake I wrote the check on a closed account.</dialogue> <scene_description>The lady nods amiably as she writes something on the note.</scene_description> <character>BOB ARCTOR</character> <dialogue>Also, I'd appreciate if you'd tell your husband --</dialogue> <character>OLD LADY</character> <dialogue>My brother Carl.</dialogue> <character>BOB ARCTOR</character> <dialogue>I'd appreciate if you'd tell your brother that I was distraught when he called and I apologize for that, too.</dialogue> <character>OLD LADY</character> <dialogue>I believe he said something about that, yes.</dialogue> <scene_description>She hands the bad check back to Arctor.</scene_description> <character>BOB ARCTOR</character> <dialogue>Any extra charge?</dialogue> <character>OLD LADY</character> <dialogue>No extra charge.</dialogue> <character>BOB ARCTOR</character> <dialogue>I was distraught because a friend of mine had just passed-on suddenly.</dialogue> <scene_description>CONTINUED:</scene_description> <character>OLD LADY</character> <dialogue>Oh dear.</dialogue> <scene_description>His business done, Arctor stands at the counter awkwardly.</scene_description> <character>BOB ARCTOR</character> <dialogue>He choked to death alone, in his room, on a piece of meat. No one heard him.</dialogue> <character>OLD LADY</character> <dialogue>You know, Mr. Arctor, more deaths happen from that than people realize. I read that if you're dining with a friend and he doesn't talk for a long time, you should ask him if he can, beacuse he may be strangling.</dialogue> <character>BOB ARCTOR</character> <dialogue>Yes. That's true. Thanks. And thanks about the check.</dialogue> <character>OLD LADY</character> <dialogue>Well, I'm sorry about your friend.</dialogue> <character>BOB ARCTOR</character> <dialogue>Yes. He was the best friend I had.</dialogue> <character>OLD LADY</character> <dialogue>How dreadful. I'll tell Carl. And thank you for coming all the way down.</dialogue> <character>BOB ARCTOR</character> <dialogue>Thank you. And thank Mr. Englesohn for me. Thank you both so much.</dialogue> <scene_description>Arctor stands there. The two just look at each other.</scene_description> <character>BOB ARCTOR</character> <dialogue>Okay then, thank you.</dialogue> <scene_description>Arctor backs out of the tiny shop.</scene_description> </scene> <scene> <stage_direction>INT. CAB - MORNING</stage_direction> <scene_description>Arctor rides in the back with his open notebook and studies the returned check. He writes in his notebook. SHOT OF NOTEBOOK We see Arctor writing the following words in the same handwriting as is on the check. The V.O. is tense. CONTINUED:</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>A perfect forgery. Barris has my handwriting down. How many checks has he written on my account? Evil genius bastard.</dialogue> </scene> <scene> <stage_direction>INT. CAB - CONTINUOUS</stage_direction> <scene_description>Arctor looks up, stares out the window, tries to focus. Something's bothering him. The stores speed by in a blur of color.</scene_description> <character>BOB ARCTOR</character> <dialogue>What if I, Bob Arctor, wrote this check myself and just don't remember?</dialogue> </scene> <scene> <stage_direction>EXT. PHONE BOOTH - MORNING</stage_direction> <scene_description>Arctor is on the pay phone outside the Shell station.</scene_description> <character>BOB ARCTOR</character> <dialogue>I'm sorry to bother you again, ma'am, but I was just wondering what address do you have for that service call?</dialogue> <character>OLD LADY (V.O.)</character> <dialogue>Just a minute, Mr. Arctor, I'll check.</dialogue> <character>OLD MAN (V.O.)</character> <dialogue>Is that Arctor?</dialogue> <character>OLD LADY (V.O.)</character> <dialogue>Yes, but Carl, don't say anything. He came in just now --</dialogue> <character>OLD MAN (V.O.)</character> <dialogue>Let me talk to him.</dialogue> <character>OLD LADY (V.O.)</character> <dialogue>Mr. Arctor? It says here it was in Santa Ana. On Main Street.</dialogue> </scene> <scene> <stage_direction>EXT. PARTY HOUSE - NIGHT</stage_direction> <scene_description>Arctor is stoned and on the phone in the crowded, smokey, noisy room. A blonde woman nibbles his ear.</scene_description> <character>BOB ARCTOR</character> <dialogue>Yeah, I lost my ignition key.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>34881 Main Street, Santa Ana...</dialogue> </scene> <scene> <stage_direction>EXT. SHELL STATION - MORNING</stage_direction> <scene_description>Arctor hangs up the pay phone. He paces, trying to think.</scene_description> <character>BOB ARCTOR</character> <dialogue>So, Arctor's the forger, not Barris! Not deliberately, but because his brain is slushed on dope. All their brains are...</dialogue> <scene_description>The busy intersection slows almost to a standstill. Colors become saturated. Details seem momentous: A man gesturing in mid-conversation, a newspaper blowing down the street.</scene_description> <character>FAR-AWAY VOICE</character> <dialogue>Der wurme gleich' ich, der den Staub Durchwuhlt,/Den, wie er sich im Staube nahrend lebt,/Des Wandrers Tritt...</dialogue> <scene_description>Back to normal as a car passes with a faulty muffler.</scene_description> <character>BOB ARCTOR</character> <dialogue>... slushed and mutually interacting in a slushed way.</dialogue> </scene> <scene> <stage_direction>INT. CAB - MORNING</stage_direction> <scene_description>Arctor rides in the back. He stares out the window at the endless loop of McDonald's, Thriftys, 7-11's.</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>But what is Arctor up to? Clearly the Sheriff's Office has some good reasons to focus their investigation on him. No doubt reasons I know nothing about. My job is to report, theirs to evaluate.</dialogue> <scene_description>Arctor lets his head fall back against the seat.</scene_description> </scene> <scene> <stage_direction>EXT. ARCTOR'S HOUSE - MORNING</stage_direction> <scene_description>The cab drops Arctor off. He heads up the newspaper-strewn walk to the front door. He eyes the house and the grounds: The house needs paint, a rain gutter is halfway dislodged. The yard is overgrown.</scene_description> <character>BOB ARCTOR</character> <dialogue>Fucking waste of a perfectly good house. A family could live here, for Christ's sake.</dialogue> <parenthetical>(picks up newspapers)</parenthetical> <dialogue>Oughta take it away from this fuck.</dialogue> <scene_description>CONTINUED: Arctor arrives at the front door, tries to pull his house keys from his pocket without spilling the armful of newspapers. He succeeds, opens the door, enters the house.</scene_description> </scene> <scene> <stage_direction>INT. ARCTOR'S HOUSE - CONTINUOUS</stage_direction> <scene_description>The place is a mess. Arctor drops the papers on the floor.</scene_description> <character>BOB ARCTOR</character> <parenthetical>(for benefit of scanners)</parenthetical> <dialogue>Nobody home, I guess.</dialogue> <scene_description>Arctor moves through the room in an almost studied way. There is something stilted about the way he intentionally avoids looking in the direction of the scanner. SHOT OF NOTEBOOK DAPPLED WITH SUNLIGHT Kids playing in background. The camera glides across the following words as the dispassionate V.O. reads along.</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>What does a scanner see? Does it see into the head? Into the heart? Does it see into me clearly or darkly? I hope clearly, because I can't any longer. I see only murk inside and out.</dialogue> </scene> <scene> <stage_direction>INT. ARCTOR'S LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Arctor rises and pulls a book from the shelf. It is The Picture Book of Sexual Love. He opens the book, revealing a photo of a man nibbling a woman's breast. He positions himself so as to be best picked up by the living room scanner,then appears to read aloud from the book. We can see that what he is reciting is not on the page.</scene_description> <character>BOB ARCTOR</character> <dialogue>Any given man sees only a tiny portion of the total truth, and...</dialogue> <scene_description>Shift to slow motion. Saturated colors. Very quiet.</scene_description> <character>FAR-AWAY VOICE</character> <dialogue>Weh! steck' ich in dem Kerker...</dialogue> </scene> <scene> <stage_direction>INT. CHARLES FRECK'S APARTMENT - DAY</stage_direction> <scene_description>Freck lays fresh sheets on his bed in his neat apartment. CONTINUED:</scene_description> <character>CHARLES FRECK</character> <dialogue>It is no problem how to kill yourself in the circles in which I hang. When life becomes more and more depressing as you watch those you know falling apart from drug use, just take a large quantity of reds.</dialogue> <scene_description>Freck places a bag of reds on the night table.</scene_description> <character>CHARLES FRECK</character> <dialogue>Wash 'em down with a bottle of cheap wine.</dialogue> <scene_description>Freck pulls a bottle of Thunderbird from the counter of his kitchenette and places it next to the pills.</scene_description> <character>CHARLES FRECK</character> <dialogue>The hard part is choosing the correct artifacts to be found on you by later archaeologists. So they know from which stratum you came and where your head was at when you did it.</dialogue> <scene_description>Freck pulls a copy of "The Fountainhead" from his book shelf, and places it face down and open on his bed.</scene_description> <character>CHARLES FRECK</character> <dialogue>I will be found with Ayn Rand's "The Fountainhead" open by my side to prove I have been a misunderstood superman rejected by the masses and so, in a sense, murdered by their scorn.</dialogue> <scene_description>Freck places a typewritten letter next to the book.</scene_description> <character>CHARLES FRECK</character> <dialogue>Also, an unfinished letter to Exxon protesting the cancellation of my gas credit card. That way I will indict the system and achieve something by my death. Over and above what the death itself achieves.</dialogue> <scene_description>Freck lies on the bed and readies himself for the suicide. He unscrews the cap on the wine, tastes it, reconsiders.</scene_description> <character>CHARLES FRECK</character> <dialogue>Perhaps a connoisseur wine is in order on such an auspicious occasion.</dialogue> </scene> <scene> <stage_direction>INT. CHARLES FRECK'S CAR - DAY</stage_direction> <scene_description>Freck drives, an expensive-looking bottle of wine on the seat next to him. He anxiously eyes the gas gauge on empty.</scene_description> <character>CHARLES FRECK</character> <dialogue>You'll soon be sorry, Exxon, you ever tangled with Charles B. Freck! Junior!</dialogue> </scene> <scene> <stage_direction>INT. SAFE HOUSE - DAY</stage_direction> <scene_description>Fred sits in his scramble suit watching a holo-tape. In it Arctor is pulling a book from the shelf in his living room and opening it. Fred zooms in to the title of the book. It is The Picture Book of Sexual Love. Fred zooms back out to take in the entire scene. Arctor recites, ostensibly from the book, in a creaky, stagy way.</scene_description> <character>BOB ARCTOR</character> <dialogue>Any given man sees only a tiny portion of Weh! steck' ich in dem Kerker noch? Verfluchtes the total truth, and very often, in fact almost perpetually dumpfes Mauerloch...</dialogue> <character>FRED</character> <dialogue>What the fuck is he talking about?</dialogue> <scene_description>Fred glances at the other monitors. The only other activity is in Luckman's room, where Luckman lies snoring, sprawled on his floor, a bag of reds by his side.</scene_description> <character>BOB ARCTOR</character> <dialogue>Wo selbst das liebe Himmelschlicht he deliberately deceives trub durch gemalte Scheiben bricht!</dialogue> <character>FRED</character> <dialogue>He's playing head games with us. He's shucking us. The fucker!</dialogue> <scene_description>Fred rises and paces in front of the console, keeping an eye on the monitors, trying to figure what Arctor is up to. On the other monitor, we see that Arctor's recitation has roused Luckman, who sits up groggily and listens to the odd German-English rant. Luckman picks up an axe, heads to the bedroom door, and listens there intently. In the living room, Arctor has put down his book and is sifting through the pile of mail on the coffee table. He tosses a large piece of junk mail at the trash can. It misses and crashes against the wall. In his bedroom, Luckman hears the crash. He stiffens suspiciously, sniffs the air, raises the axe, ready to tear into the other room and attack. In the living room, Arctor reads a piece of mail. CONTINUED:</scene_description> <character>BOB ARCTOR</character> <parenthetical>(regular voice)</parenthetical> <dialogue>I'll be dipped.</dialogue> <scene_description>Luckman recognizes Arctor's voice, relaxes, puts down his axe, opens the bedroom door, and exits his bedroom. He appears on the living room monitor with Arctor.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>Hi, what's happening, Bob?</dialogue> <character>BOB ARCTOR</character> <dialogue>I drove by the Maylar Microdot Corporation building.</dialogue> <scene_description>Luckman casually drops into a chair across from Arctor.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>You're shitting me.</dialogue> <character>BOB ARCTOR</character> <dialogue>One of the employees had evidently tracked the inventory out on the heel of his shoe. So they were all in the parking lot with many little magnifying glasses.</dialogue> <character>ERNIE LUCKMAN</character> <parenthetical>(yawning)</parenthetical> <dialogue>Any reward?</dialogue> <character>BOB ARCTOR</character> <dialogue>They had a reward, but they lost that, too. It was a little tiny penny.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>How large is the Maylar Microdot Corporation building?</dialogue> <character>FRED</character> <dialogue>Pathetic, soulless nitwits.</dialogue> <scene_description>Fred sighs, fast-forwards the tape. He watches on the meter until an hour's worth of tape has passed. He switches back to play. Arctor is across the room now, sprinkling food into a fish tank. Luckman is stretched out on the couch.</scene_description> <character>BOB ARCTOR</character> <dialogue>About an inch high.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>Well, then how can you tell when you drive past it, if its only an inch?</dialogue> <character>BOB ARCTOR</character> <dialogue>They have a really big sign.</dialogue> <character>FRED</character> <dialogue>Jesus.</dialogue> <scene_description>Fred fast forwards again for a long while, then puts the machine back on play. Now Luckman is on the floor, cleaning some grass. Arctor sits on the couch strumming a guitar.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>What's the sign look like?</dialogue> <scene_description>Fred fast forwards until five hours have past, then goes back to play. The living room is cloudy with smoke, as Luckman and Arctor pass a joint back and forth.</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>Y'know how can you smuggle microdots into the U.S.? Barris told me. I'm not supposed to say, cause he's putting it in his book, "Simple Ways to Smuggle Objects into the U.S. and Out, Depending on Which Way You're Going."</dialogue> <character>BOB ARCTOR</character> <dialogue>Oh, just tell me.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>You smuggle it with a shipment of dope. Like heroin. The microdots are so small no one would notice.</dialogue> <character>BOB ARCTOR</character> <dialogue>That's a decent idea.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Barris had this other idea for smuggling dope. You know how the custom guys, they ask you to declare what you have?</dialogue> <character>BOB ARCTOR</character> <dialogue>Right.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>Well, you take a huge block of hash and you carve it in the shape of a man. Then you hollow out a little section and put a wind-up motor in. And a cassette tape. And just before it goes through customs, you wind it up and it walks up to the man, who says, "Do you have anything to declare?" and it says, "No, I don't," and keeps on walking.</dialogue> <character>BOB ARCTOR</character> <dialogue>You put a solar battery in it, it could keep walking for years. Forever.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>What's the use of that?</dialogue> <character>BOB ARCTOR</character> <dialogue>Imagine an Eskimo village. And this six foot block of hash worth... What would it be worth?</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>A billion dollars?</dialogue> <character>BOB ARCTOR</character> <dialogue>More. Two billion. So these Eskimos are chewing hides when this six foot block of hash comes walking through the snow saying, "No, I don't" over and over again.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>They'd wonder what it meant by that.</dialogue> <character>BOB ARCTOR</character> <dialogue>Legends would spring up.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Can you imagine telling your grandkids, "I saw with my own eyes a six foot block of hash appear and walk past, worth two billion dollars, saying, "No, I don't." His grandchildren would have him committed.</dialogue> <character>BOB ARCTOR</character> <dialogue>But, see, legends build. So in a few centuries it would be, "In my forefathers' time, a ninety foot high block of extremely good quality</dialogue> <scene_description>CONTINUED:</scene_description> <character>BOB ARCTOR</character> <dialogue>Afghanistan hash worth eight trillion dollars came at us dripping fire and screaming, "Die, Eskimo dogs!" And we fought and fought with it and finally killed it with our spears.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>The kids wouldn't believe that either.</dialogue> <character>BOB ARCTOR</character> <dialogue>Kids never believe anything anymore.</dialogue> <scene_description>Fred's phone rings. It jerks him out of his focus on the monitor. He pauses the tape and picks up the phone.</scene_description> <character>FRED</character> <dialogue>Yeah?</dialogue> <character>TELEPHONE VOICE</character> <dialogue>Fred, we've processed your tests. We need you to come back for the full battery. Tomorrow at three. Do you remember the room number?</dialogue> <character>FRED</character> <dialogue>Um... okay.</dialogue> <character>TELEPHONE VOICE</character> <dialogue>It's 203. Are you all right, Fred? Any confusion? Difficulty identifying persons or objects? Does anything you see appear inverted or reversed? Any space-time or language disorientation?</dialogue> <character>FRED</character> <dialogue>Um, what? I just... what exactly have you processed... that is, is this in regard to the Lion's Club speech?</dialogue> <character>TELEPHONE VOICE</character> <dialogue>We'll take all that up tomorrow, Fred.</dialogue> <scene_description>Dial tone. Fred hangs up and fast-forwards the tape. He watches as the tape whirs through the machine. He presses stop, the tape jerks to a halt. Fred breathes hard, although it comes through the grid sounding oddly mechanical. He pushes play. Luckman is cleaning grass on the floor. Barris is in the corner winding string. Arctor rubs his finger on the lip of a wine glass, making it hum. CONTINUED:</scene_description> <character>ERNIE LUCKMAN</character> <dialogue>... this guy appeared on tv, claiming to be a world-famous imposter. He said he'd posed at one time or another as a great surgeon, a theoretical submolecular high-velocity particle research physicist, a Finnish novelist, a deposed president of Argentina...</dialogue> <character>BOB ARCTOR</character> <dialogue>He got away with it? Never got caught?</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>See, the guy never really posed as any of it. He only posed as a world- famous imposter. Turns out he just pushed a broom at Disneyland, until he read about this actual world-famous imposter, and he thought, I can pose as all those things, then he thought, hell, I'll just pose as an imposter. Save a lot of time, a lot easier. Made almost as much money as the real imposter with books and movie rights.</dialogue> <character>JIM BARRIS</character> <dialogue>We see imposters in our lives, now and then. But not posing as physicists.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Narks, you mean. Yeah, I wonder what a nark looks like?</dialogue> <character>BOB ARCTOR</character> <dialogue>It's like asking what an imposter looks like. I asked a hash dealer who'd been busted once what the nark who busted him looked like --</dialogue> <character>JIM BARRIS</character> <dialogue>Looked just like us.</dialogue> <character>BOB ARCTOR</character> <dialogue>More so. The dealer dude told me the nark had longer hair than we do. I guess the moral is, stay away from guys who look like us.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>Narks give me the creeps.</dialogue> <scene_description>CONTINUED:</scene_description> <character>BOB ARCTOR</character> <dialogue>How could a guy do that is what I want to know, pose as a nark?</dialogue> <character>LUCKMAN AND BARRIS</character> <dialogue>What?</dialogue> <character>BOB ARCTOR</character> <dialogue>Shit, I'm spaced. Pose as a nark.</dialogue> <character>ERNIE LUCKMAN</character> <dialogue>POSE AS A NARK? POSE AS A NARK?</dialogue> <character>BOB ARCTOR</character> <dialogue>My brains are scrambled today. I better go crash.</dialogue> <scene_description>Fred freezes the tape. He scribbles in notebook. SHOT OF NOTEBOOK Fred writes in a different handwriting now: choppy, backward- slanted, crabbed.</scene_description> <character>FRED (V.O.)</character> <dialogue>Posing as a nark. What does Arctor mean?</dialogue> </scene> <scene> <stage_direction>INT. CHARLES FRECK'S APARTMENT - DAY</stage_direction> <scene_description>Freck sits up in bed in his now electric yellow room, sipping magenta wine. The walls are dripping.</scene_description> <character>CHARLES FRECK</character> <dialogue>I've been burned. These are not reds, but rather some freaky psychedelic, the likes of which I have never seen.</dialogue> <scene_description>The wall across from Freck's bed parts with a sloshing sound, and an eight foot high creature with many eyes and ultra-hip clothing appears at his bedside, holding a scroll.</scene_description> <character>CHARLES FRECK</character> <dialogue>Fuck. You're going to read me my sins, aren't you?</dialogue> <scene_description>The creature nods solemnly and unrolls the scroll.</scene_description> <character>CHARLES FRECK</character> <dialogue>And it's going to take a hundred thousand million hours, isn't it?</dialogue> <scene_description>CONTINUED:</scene_description> <character>CREATURE</character> <dialogue>We are no longer in the mundane universe. Your sins will be read to you ceaselessly throughout eternity.</dialogue> <character>CHARLES FRECK</character> <dialogue>Know your fucking dealer, man.</dialogue> <character>CREATURE</character> <parenthetical>(reading from scroll)</parenthetical> <dialogue>November 14, 1962, 3:08:23 pm: you did knowingly and with malice aforethought punch your baby sister Evelyn on the left side of the head when your mother was not looking. November 14, 1962, 3:08:27 pm: you did knowingly and with malice aforethought punch your baby sister on the left arm when your mother was not looking. November 14, 1962, 3:08:32 pm: you did...</dialogue> </scene> <scene> <stage_direction>EXT. BOB ARCTOR'S FRONT YARD - DAY</stage_direction> <scene_description>Arctor is finishing up mowing the lawn. He is intently focused on the task, but has done an erratic job: the left side of the yard has been left almost completely unmowed. Arctor turns to enter the house. We see that the left side of his face is completely unshaved.</scene_description> </scene> <scene> <stage_direction>INT. ROOM 203 - DAY</stage_direction> <scene_description>Fred is in the midst of a battery of tests being administered by two uniformed medical technicians who resemble the technicians who administered the previous tests, but are not the same. Fred's head rests in a contraption that divides his face in half, so his right eye and left eye can be exposed to different projected images.</scene_description> <character>MEDICAL TECHNICIAN #3</character> <dialogue>Okay, Fred, in rapid succession you will see a number of objects pass before first you left eye, then your right eye. At the same time, on the panel before you, outlines of these objects will appear. You are to match, by means of the punch pencil you hold in your hand, the outline with the object. These images will flash very quickly so don't hesitate too long. You will be scored for time as well as accuracy. Okay?</dialogue> <scene_description>CONTINUED:</scene_description> <character>FRED</character> <dialogue>Okay.</dialogue> <scene_description>Technician #4 flips a lever, the panel in front of Fred lights up, and we see a wide array of outline drawings: a hammer, a shoe, a seagull, a camel, etc. Then in rapid succession, photographic images of these objects and others flash before Fred's left eye. He tries to keep up.</scene_description> </scene> <scene> <stage_direction>INT. ROOM 203 - A BIT LATER</stage_direction> <scene_description>Fred, now with an eye patch over his left eye, faces a screen. On the table in front of him is a wide array of small objects: A toy boat, a die, a key, a marble, etc.</scene_description> <character>MEDICAL TECHNICIAN #4</character> <dialogue>Now, an image of a familiar object will be projected, you are to reach into the group of objects on the table in front of you, with your left hand -- and pick up the corresponding object.</dialogue> </scene> <scene> <stage_direction>INT. ROOM 203 - A BIT LATER</stage_direction> <scene_description>Fred is blindfolded, a box with hand-holes in front of him.</scene_description> <character>MEDICAL TECHNICIAN #3</character> <dialogue>Next, you will reach into this box and touch the object inside with your left hand. After that you will be shown three objects visually. They will somewhat resemble each other and you will tell us which one most resembles the item you felt in the box.</dialogue> </scene> <scene> <stage_direction>INT. ROOM 203 - A BIT LATER</stage_direction> <scene_description>Fred sits with a pile of oddly shaped blocks, which he is attempting to fit into their corresponding holes.</scene_description> </scene> <scene> <stage_direction>INT. ROOM 203 - LATER</stage_direction> <scene_description>Fred sits before a table on which are scattered a bunch of identical plastic birds and one plastic lion. Fred studies the table, finally picking up one of the plastic birds.</scene_description> <character>FRED</character> <dialogue>This is the different one.</dialogue> <scene_description>Medical Technician #4 makes a note on his clipboard. CONTINUED:</scene_description> <character>MEDICAL TECHNICIAN #3</character> <dialogue>Okay, Fred, good. Let us process --</dialogue> <scene_description>Fred looks up from the table at Medical Technician #3, who is now Medical Technician #2 from the previous scene.</scene_description> <character>MEDICAL TECHNICIAN #2</character> <dialogue>-- these test results. And we'll get back to you within a couple of hours.</dialogue> <scene_description>Medical Technician #4 is now Medical Technician #1.</scene_description> <character>MEDICAL TECHNICIAN #1</character> <dialogue>Thanks for your cooperation, Fred.</dialogue> <character>FRED</character> <dialogue>Thank you. Thank you all very much.</dialogue> </scene> <scene> <stage_direction>INT. POLICE DEPARTMENT HALL - DAY</stage_direction> <scene_description>Fred walks hurriedly through the hall, past other Scramble Suits and uniformed police personnel. He enters an office.</scene_description> </scene> <scene> <stage_direction>INT. HANK'S OFFICE - CONTINUOUS</stage_direction> <scene_description>Hank looks up from his desk.</scene_description> <character>HANK</character> <dialogue>Fred, is that you?</dialogue> <character>FRED</character> <dialogue>Yes.</dialogue> <character>HANK</character> <dialogue>Fred, this is the informant who phoned in about Bob Arctor.</dialogue> <scene_description>Hank indicates Jim Barris, sitting against the wall, grinning crazily and fiddling with a paper clip.</scene_description> <character>HANK</character> <dialogue>We challenged him to appear in person and he did. Do you know him?</dialogue> <character>FRED</character> <dialogue>Sure I do.</dialogue> <parenthetical>(to Barris)</parenthetical> <dialogue>You're James Barris, aren't you?</dialogue> <scene_description>Barris continues to grin, says nothing. CONTINUED:</scene_description> <character>HANK</character> <dialogue>His i.d. shows him to be, yes.</dialogue> <character>FRED</character> <dialogue>What does he want?</dialogue> <character>JIM BARRIS</character> <dialogue>I have evidence that Mr. Arctor is part of a large, secret covert organization, well-funded, with arsenals of weapons at their disposal, probably dedicated to the overthrow --</dialogue> <character>HANK</character> <dialogue>That part is speculation. We want to know what your firsthand evidence is.</dialogue> <character>FRED</character> <dialogue>Have you ever been in a mental hospital, Mr. Barris?</dialogue> <character>JIM BARRIS</character> <dialogue>No, I have not, sir, ever been in a --</dialogue> <character>FRED</character> <dialogue>Will you sign a sworn notarized statement regarding your evidence?</dialogue> <character>HANK</character> <dialogue>He already has, Fred.</dialogue> <character>JIM BARRIS</character> <dialogue>My evidence, gentlemen, which I mostly don't have with me today, consits of tape recordings I have made of Robert Arctor's phone conversations.</dialogue> <character>FRED</character> <dialogue>What is this covert organization?</dialogue> <character>JIM BARRIS</character> <dialogue>I believe it to be political in nature, and against this country.</dialogue> <character>FRED</character> <dialogue>And what is Arctor's relationship to Substance D?</dialogue> <character>JIM BARRIS</character> <dialogue>When you examine my evidence, you will undoubtedly conclude that Substance D is produced by a foreign nation determined to overthrow the U.S., and</dialogue> <scene_description>CONTINUED:</scene_description> <character>JIM BARRIS</character> <dialogue>that Robert Arctor has his hands deep in the machinery of --</dialogue> <character>HANK</character> <dialogue>Can you tells us the name of anyone else inside this organization?</dialogue> <character>JIM BARRIS</character> <dialogue>A Miss Donna Hawthorne. On various pretexts he goes over to her place and colludes with her regularly.</dialogue> <scene_description>Fred laughs his computerized laugh. Barris laughs also.</scene_description> <character>FRED</character> <dialogue>Colludes? What do you mean?</dialogue> <character>JIM BARRIS</character> <dialogue>I've followed him in my car, sir.</dialogue> <character>FRED</character> <dialogue>She's his girl!</dialogue> <character>HANK</character> <parenthetical>(to Fred)</parenthetical> <dialogue>You think there's nothing to this?</dialogue> <character>FRED</character> <parenthetical>(shrugging)</parenthetical> <dialogue>Let's look at his evidence.</dialogue> <character>HANK</character> <parenthetical>(to Barris)</parenthetical> <dialogue>Bring us your evidence.</dialogue> <parenthetical>(to Fred)</parenthetical> <dialogue>Maybe we should send an officer with him to retrieve it.</dialogue> <character>JIM BARRIS</character> <dialogue>There's one more thing. Mr. Arctor is addicted to Substance D. His mind is deranged now. He's become dangerous.</dialogue> <character>FRED</character> <dialogue>Dangerous.</dialogue> <character>JIM BARRIS</character> <dialogue>He's already having episodes such as occur with brain damage from Substance D. Deterioration in the corpus callosum.</dialogue> <scene_description>CONTINUED:</scene_description> <character>HANK</character> <dialogue>This kind of unsupported speculation is worthless. We'll send an officer with you to collect your evidence.</dialogue> <character>JIM BARRIS</character> <dialogue>But, sirs --</dialogue> <character>HANK</character> <dialogue>We'll arrange for an officer out of uniform, so it won't be conspicuous.</dialogue> <character>JIM BARRIS</character> <dialogue>I might be murdered. Mr. Arctor is, as I say --</dialogue> <character>HANK</character> <dialogue>We appreciate your extreme risk, Mr. Barris. If your information is of significant value in obtaining a conviction, then naturally --</dialogue> <character>JIM BARRIS</character> <dialogue>That's not why I'm doing this. The man is sick. Brain damaged from Substance D. The reason I am here --</dialogue> <character>HANK</character> <dialogue>We don't care why you're here. We only care if your evidence amounts to anything. The rest is your problem.</dialogue> <character>JIM BARRIS</character> <dialogue>Thank you, sirs. Thank you very much.</dialogue> <scene_description>Barris grins and nods and sweats.</scene_description> </scene> <scene> <stage_direction>INT. ROOM 203 - DAY</stage_direction> <scene_description>Fred enters. Medical Technician #1 and Medical Technician #2 look up from their desks.</scene_description> <character>MEDICAL TECHNICIAN #1</character> <dialogue>Fred, is that you?</dialogue> <character>FRED</character> <dialogue>Yes.</dialogue> <character>MEDICAL TECHNICIAN #1</character> <dialogue>Have a seat, then.</dialogue> <scene_description>Fred sits in a chair against the wall. The technicians go back to their paper work. Fred waits stiffly. Finally, Medical Technician #2 looks back up. CONTINUED:</scene_description> <character>MEDICAL TECHNICIAN #2</character> <dialogue>Fred, we've processed your results.</dialogue> <character>FRED</character> <dialogue>Uh-huh.</dialogue> <character>MEDICAL TECHNICIAN #2</character> <dialogue>You demonstrate something we call a competition phenomenon.</dialogue> <character>FRED</character> <parenthetical>(getting up to leave)</parenthetical> <dialogue>Okay. Thank you.</dialogue> <scene_description>Medical Technician #2 gestures for Fred to sit. He does.</scene_description> <character>MEDICAL TECHNICIAN #2</character> <dialogue>It's a competition between your left and right hemispheres. Kind of like you have two gas gauges on your car, one says your tank is full, the other says it's empty.</dialogue> <character>FRED</character> <dialogue>Why do I have two gas gauges?</dialogue> <character>MEDICAL TECHNICIAN #2</character> <dialogue>Substance D. Damage has taken place in the normally dominant left hemisphere. The right hemisphere is attempting to compensate for the impairment. But the twin functions do not fuse. Now, we could perform a right hemispherectomy --</dialogue> <character>FRED</character> <dialogue>Will these go away? These gas gauges?</dialogue> <character>MEDICAL TECHNICIAN #1</character> <dialogue>It's probably a functional impairment.</dialogue> <character>MEDICAL TECHNICIAN #2</character> <dialogue>It may be organic. Maybe permanent.</dialogue> <character>FRED</character> <dialogue>Wait. I'm confused. Are you saying it is organic, or --</dialogue> <character>MEDICAL TECHNICIAN #1</character> <dialogue>Even if it's brain damage, there are experiments now in the removal of small sections of both hemispheres which seem to abort compete gestalt- processing.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MEDICAL TECHNICIAN #2</character> <dialogue>But the problem then is the individual only receives partial incoming sense data. Instead of having two signals, he gets half a signal.</dialogue> <character>FRED</character> <dialogue>Half a gas gauge? What would that be like?</dialogue> </scene> <scene> <stage_direction>INT. HANK'S OFFICE - DAY</stage_direction> <scene_description>Hank and a sweating Jim Barris sit at a table, the centerpiece of which is a reel-to-reel tape recorder. A uniformed cop stands at the door.</scene_description> <character>TAPE RECORDER VOICE (FEMALE)</character> <dialogue>Look, I can't talk. I'll call you back.</dialogue> <character>TAPE RECORDER VOICE (MALE)</character> <dialogue>This can't wait.</dialogue> <scene_description>The door to Hank's office opens. Hank switches off the tape recorder. A scramble suit enters, out of breath in a computerized-sounding way.</scene_description> <character>HANK</character> <dialogue>Fred?</dialogue> <character>FRED</character> <dialogue>Yeah. Sorry I'm late. I just...</dialogue> <scene_description>Hank waves him off, turns on the tape recorder. Fred sits.</scene_description> <character>TAPE RECORDER VOICE (FEMALE)</character> <dialogue>Well, what is it then?</dialogue> <character>TAPE RECORDER VOICE (MALE)</character> <dialogue>We intend to...</dialogue> <scene_description>Hank switches off the tape, looks at Barris.</scene_description> <character>HANK</character> <dialogue>Would you identify the voices for us?</dialogue> <character>JIM BARRIS</character> <dialogue>The female's voice is a Miss Donna Hawthorne. The male is Bob Arctor.</dialogue> <scene_description>Hank nods, switches back on the tape. CONTINUED:</scene_description> <character>TAPE RECORDER VOICE (MALE)</character> <dialogue>... half of Southern California tomorrow night. The Air Force Arsenal at Vandenberg AFB will be hit for automatic and semi-automatic weapons.</dialogue> <character>TAPE RECORDER VOICE (FEMALE)</character> <dialogue>What about that disorientation drug the bikers ripped off for us? When do we carry that crud up to the watershed area to --</dialogue> <character>TAPE RECORDER VOICE (MALE)</character> <dialogue>The organization needs the weapons first. The drugged water supply is step B.</dialogue> <scene_description>Hank turns off the tape.</scene_description> <character>JIM BARRIS</character> <dialogue>I can identify the biker gang also.</dialogue> <character>HANK</character> <dialogue>You have more material of this sort?</dialogue> <character>JIM BARRIS</character> <dialogue>Much more. Much much more. Much much much much much --</dialogue> <character>HANK</character> <dialogue>Okay, great. What I'm going to do, Mr. Barris, is impound this material here for further study. You will be held in custody, charged with giving false information. This is, of course, only a pretext for your own safety, but the formal charge will be lodged anyhow. Is that satisfactory?</dialogue> <scene_description>Hank does not wait for a response, but signals for the uniformed cop to lead Barris from the room. Barris continues to grin as he is led away.</scene_description> <character>HANK</character> <dialogue>What's your response, Fred, to Barris's evidence so far?</dialogue> <character>FRED</character> <dialogue>Is that my medical report, Hank?</dialogue> <scene_description>Hank nods, but offers nothing else. CONTINUED:</scene_description> <character>FRED</character> <dialogue>Well, I think the little Barris played sounded genuined to me.</dialogue> <character>HANK</character> <dialogue>Oh, it's a fake, Fred, for Christ sake.</dialogue> <character>FRED</character> <dialogue>You might be right. But I don't agree. Um, so what does my medical report --</dialogue> <character>HANK</character> <dialogue>It says you're completely cuckoo.</dialogue> <character>FRED</character> <dialogue>Completely?</dialogue> <character>FAR-AWAY VOICE</character> <dialogue>Wie kalt ist es in diesem unterirdischen Gewolbe!</dialogue> <character>HANK</character> <dialogue>Maybe two brain cells still light up.</dialogue> <character>FRED</character> <dialogue>Out of how many, would you say?</dialogue> <character>HANK</character> <dialogue>I don't know. I understand brains have a lot of cells.</dialogue> <scene_description>Fred looks down.</scene_description> <character>HANK</character> <dialogue>I'll tell you what I'd do, Fred. I wouldn't go into a federal clinic. I'd get about six bottles of good bourbun, go up into the hills, and just stay there till it's over.</dialogue> <character>FRED</character> <dialogue>They tell me it may never be over.</dialogue> <character>HANK</character> <dialogue>Then never come back. Can you drive?</dialogue> <character>FRED</character> <dialogue>My...</dialogue> <scene_description>Fred's sense of the room begins to shift. The walls move toward infinity. Everything slows down. He watches Hank drum his fingers on the table. It takes forever for the CONTINUED: fingers to drop. When they hit, it is with a resounding "plop." Hank speaks, and it breaks the spell.</scene_description> <character>HANK</character> <dialogue>We can get somebody to drive you.</dialogue> <character>FAR-AWAY VOICE</character> <dialogue>Ein Engel, der Gattin, so gleich, der fuhrt, mich zur Freheit ins...</dialogue> <character>FRED</character> <dialogue>Sure. Thanks.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Tell me, Hank, what do you think of me now, now that I've burned out?</dialogue> <character>HANK</character> <dialogue>I think you're a very good person.</dialogue> <character>FRED</character> <dialogue>Thank you very much.</dialogue> <character>HANK</character> <dialogue>You want a cigarette?</dialogue> <character>FRED</character> <dialogue>No. I'm quitting them, too. I'm quitting everything.</dialogue> <character>HANK</character> <dialogue>Good for you. It's like I tell my children --</dialogue> <character>FRED</character> <dialogue>I have kids, too. Two little girls.</dialogue> <character>HANK</character> <dialogue>I don't believe you do. You're not supposed to.</dialogue> <scene_description>SHOT OF ARCTOR FAMILY PHOTOGRAPH Now all the faces, including Arctor's, are gone.</scene_description> </scene> <scene> <stage_direction>INT. HANK'S OFFICE - CONTINUOUS</stage_direction> <character>FRED</character> <dialogue>Maybe not.</dialogue> <character>HANK</character> <dialogue>I don't think you're going to make it in the mountains, even if we get someone to drive you. Where else would you like to go?</dialogue> <scene_description>CONTINUED:</scene_description> <character>FRED</character> <dialogue>I don't know. I don't know.</dialogue> <character>HANK</character> <dialogue>What about over to Donna Hawthorne's? I know you're close.</dialogue> <scene_description>SHOT OF DONNA HAWTHORNE TOUCHING ARCTOR'S HAND</scene_description> </scene> <scene> <stage_direction>INT. HANK'S OFFICE - CONTINUOUS</stage_direction> <character>FRED</character> <dialogue>How do you know that?</dialogue> <character>HANK</character> <dialogue>By a process of elimination we were able to determine you're Bob Arctor.</dialogue> <character>FRED</character> <parenthetical>(horrified, confused)</parenthetical> <dialogue>Arctor? I'm Bob Arctor? But he's ugly!</dialogue> <character>HANK</character> <dialogue>Nevermind. It's not important.</dialogue> <parenthetical>(into phone)</parenthetical> <dialogue>Get me a Donna Hawthorne at...</dialogue> <parenthetical>(to Fred)</parenthetical> <dialogue>Where does she work?</dialogue> <character>FRED</character> <dialogue>Uh, Thompson Jewelers. I'm Arctor?</dialogue> <character>HANK</character> <parenthetical>(into phone)</parenthetical> <dialogue>... at Thompson Jewelers.</dialogue> <parenthetical>(to Fred)</parenthetical> <dialogue>We should probably get you to a hospital. Barris poisoned you. It was really Barris, we were interested in. That's why we set up the scanners. He's into something heavy and sick, and it has to do with guns.</dialogue> <character>FRED</character> <parenthetical>(massaging temples)</parenthetical> <dialogue>So, wait, you used me to get to Barris?</dialogue> <character>HANK</character> <dialogue>We had to get to him, Bob. He's bad news. We couldn't tell you. We were afraid you'd spill the beans.</dialogue> <scene_description>CONTINUED:</scene_description> <character>FRED</character> <parenthetical>(beat, weakly)</parenthetical> <dialogue>You fuckers. You fuckers.</dialogue> <scene_description>The intercom buzzes. Hank flips off his voice grid, picks up the phone. It's the first time we hear his real voice.</scene_description> <character>HANK</character> <dialogue>Hey, Donna? This is a buddy of Bob's. He's in a bad way. I'm not jiving you. So could you pick him up, ...</dialogue> <scene_description>Fred watches Hank, sounding like a head, looking like a blur.</scene_description> </scene> <scene> <stage_direction>INT. DONNA'S CAR - EARLY EVENING</stage_direction> <scene_description>Donna drives a sick Bob Arctor along a tree-lined road.</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>Before we go to New-Path, Bob, I thought maybe we'd drive into the hills, y'know, look at the city lights.</dialogue> <scene_description>Donna waits for a response, there is none. She glances over at Arctor. He rests his forehead against the window. She sighs. Suddenly he begins to heave and vomit. Donna pulls onto the shoulder, gets out of the car, hurries to the passenger side to help Arctor.</scene_description> </scene> <scene> <stage_direction>EXT. TREE-LINED ROAD - A FEW MINUTES LATER</stage_direction> <scene_description>Arctor is on his hands and knees vomiting. Donna kneels beside him, holding his forehead. He finishes.</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>Let's sit a few minutes.</dialogue> <character>BOB ARCTOR</character> <parenthetical>(so weakly)</parenthetical> <dialogue>Do you have any hash?</dialogue> <scene_description>Donna looks at him for a second, gets up, fusses around under the passenger seat, and pulls out a piece of foil and a pipe. She takes Arctor by the hand.</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>C'mon, let's get off the road a little bit. In case of cops.</dialogue> <scene_description>Donna and Arctor walk through the trees in silence, arrive at a clearing, from which the city lights can be seen. She sits Arctor down, fills the pipe, lights it, and draws. She passes the pipe to Arctor, but he is shivering and glassy- eyed. A big, dark stain is forming on his pants. CONTINUED:</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>Here.</dialogue> <scene_description>She inhales, leans forward to super-charge Arctor. But he doubles over, clutching his stomach. He vomits and moans a crazy song-like moan, attempting to comfort himself. Donna touches his hand. But he is unaware of it. She sits on a rock and stares at the city lights below.</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>I guess we never know what's in store for us.</dialogue> <scene_description>Arctor continues to clutch himself and moan.</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>Did you know this dude Tony Amsterdam?</dialogue> <scene_description>No response from Arctor. Donna relights the pipe, inhales.</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>After he saw God, he felt really good, for around a year. Then he felt worse than he had ever felt before in his life. Because one day it came to him, he was never going to see God again. He was going to live out the rest of his life, fifty years maybe, and see nothing but what he had always seen. He realized he was going to have to live on and on with no purpose. Just a lump of flesh grinding along, eating, drinking, working, sleeping, crapping --</dialogue> <character>BOB ARCTOR</character> <dialogue>Just... like... the... rest... of us.</dialogue> <character>DONNA</character> <dialogue>That's what I told the same boat, and</dialogue> <character>HAWTHORNE</character> <dialogue>him. We're all in it doesn't freak us</dialogue> <scene_description>out. But he said, "You don't know what I saw." A spasm passes through Arctor, convulsing him. Then:</scene_description> <character>BOB ARCTOR</character> <dialogue>Did... he say what it was like?</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Spars. Showers of colored sparks. In the air. Going up the wall. Wherever he looked. The whole world</dialogue> <scene_description>CONTINUED:</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>was a living creature. And there were no accidents. Everything fitted together to achieve something, some goal in the future. And there was a doorway. For a week he saw it wherever he looked. Always the same proportions, very narrow. Very pleasing. That's the word he used. He never entered it though. Just looked at it, surrounded by red and gold light, like the sparks had collected into lines. Then he never saw it again his whole, entire life.</dialogue> <character>BOB ARCTOR</character> <dialogue>What was on the other side?</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>He said it was always nighttime. Moonlight and water. Nothing ever changed. Water like blank ink and a beach. He was sure it was ancient Greece, that the door was a weak link in time. Later when he couldn't see it anymore, he became so frustrated with the noise and lights and motion in this world. He'd tell everyone he met that he lost everything.</dialogue> <character>BOB ARCTOR</character> <dialogue>I've lost everything.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>There was a woman on the island. More like a statue. Of the Cyrenaican Aphrodite. In the moonlight. Pale and cold.</dialogue> <character>BOB ARCTOR</character> <dialogue>He should've gone through while he had the chance. You only get one chance.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>He didn't have the chance, Bob. It was a promise. Something to come. Something better a long time in the future. They show us trailers now.</dialogue> <parenthetical>(puts arm around Arctor)</parenthetical> <dialogue>So we'll hold out.</dialogue> <scene_description>CONTINUED:</scene_description> <character>BOB ARCTOR</character> <dialogue>That's what you're trying to do. With me now. Show me a trailer. So I'll hold out.</dialogue> <scene_description>Donna is quiet, sniffs in some snot.</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>You're a good man. You've been dealt a bad blow. But life isn't over for you. I care for you a lot. I wish...</dialogue> <scene_description>Donna's voice cracks. She looks down at Arctor, who seems only semi-conscious now. She continues to hold him in silence, rocking him slightly, looking out at the city.</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>You're a good and kind person. And this is unfair, but it has to be this way. Try to wait for the end. Sometime, a long time from now, you'll see the way you saw before.</dialogue> <scene_description>A light shines into Donna's eyes. She squints at it, at the silhouette of a uniformed cop behind the light.</scene_description> <character>COP</character> <dialogue>Would you stand, you first, miss, and show me your identification, please?</dialogue> <scene_description>Donna lays Arctor gently on the ground. She approaches the cop, signals him away from the unconscious Arctor, and hands him her wallet. He studies it in his flashlight beam.</scene_description> <character>COP</character> <dialogue>You're a fed?</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Keep your voice down.</dialogue> <character>COP</character> <dialogue>I'm sorry.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Just fucking take off.</dialogue> <scene_description>The cop shines his flashlight into Donna's face, studies her, hands her her wallet, then takes off. Donna approaches the unconscious Arctor. CONTINUED:</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>Bob? We've got to get started.</dialogue> <scene_description>No answer. She tugs at him, trying to rouse him.</scene_description> <character>BOB ARCTOR</character> <dialogue>I can't make love. My thing's disappeared. I'm sorry. I'm so sorry.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>C'mon, they're expecting us. I have to sign you in.</dialogue> <character>BOB ARCTOR</character> <dialogue>But what'll I do if my thing's disappeared? Will they still take me?</dialogue> <character>DONNA HAWTHORNE</character> <parenthetical>(gently)</parenthetical> <dialogue>They'll take you.</dialogue> <scene_description>Donna helps Arctor up and walks him back to her car.</scene_description> </scene> <scene> <stage_direction>INT. NEW-PATH RECEPTION AREA - NIGHT</stage_direction> <scene_description>Arctor lies on the floor, curled up and shivering. Dried vomit flecks his face. The stain on his pants is bigger now. Two New-Path staff members stand surveying the trembling Arctor. Donna kneels at his side.</scene_description> <character>NEW-PATH #1</character> <dialogue>What is it?</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>It's a person.</dialogue> <character>NEW-PATH #1</character> <dialogue>Substance D?</dialogue> <scene_description>Donna nods.</scene_description> <character>NEW-PATH #2</character> <dialogue>It ate his head. Another loser.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>It's easy to win. Anybody can win.</dialogue> <scene_description>Donna bends down close to Arctor's face and silently mouths "good-bye." She rises and heads to the door. A staff member drapes Arctor with a blanket as Donna exits. She does not look back.</scene_description> </scene> <scene> <stage_direction>INT. DONNA'S CAR - NIGHT</stage_direction> <scene_description>Donna drives her tiny MG on the freeway in heavy traffic behind a huge Coca Cola truck. She picks a tape from the show box in the back. It's Carole King's Tapestry. She plugs it in and cranks it up loud, then pulls a pistol out from under the dashboard. She unrolls the window, sticks the pistol out, and begins firing at the Coke truck. She hits it several times before the clip is emptied. Broken Coke bottle glasses and brown liquid splatter her windshield. This soothes her for a moment, but misery builds up in her again almost instantly. To relieve it, she floors it and smashes into the truck with all her might. The impact spins the MG around. Tires shriek against fender as her car comes to rest on the shoulder facing against traffic. Water pours from her radiator. Her headlights dim. Donna gets out of the car and looks at the Coke truck. It is still grinding along, seemingly untouched. Motorists gape at Donna as they crawl by. One guy unrolls his window.</scene_description> <character>MOTORIST</character> <dialogue>You want a ride, miss?</dialogue> <scene_description>She ignores him and heads back on foot to the exit ramp, squinting into the headlights of the oncoming traffic. FADE TO BLACK.: FADE IN:</scene_description> </scene> <scene> <stage_direction>INT. NEW-PATH - DAY</stage_direction> <scene_description>George, a staff member, addresses the camera as he leads it down a dormitory hallway.</scene_description> <character>GEORGE</character> <dialogue>All right, Bruce, what you'll be doing here first is the bathrooms.</dialogue> <scene_description>George stops at a closet door, opens it, and pulls out a mop, pail, and some powdered soap. He closes the door, and continues down the hall.</scene_description> <character>GEORGE</character> <dialogue>The floors, the basins, and especially the toilets. There are three bathrooms, one on each floor. Okay, Bruce?</dialogue> <scene_description>Angle on Bruce. We see that Bruce is Bob Arctor. It is, however, a different Arctor: hair cut short and unstylish, nondescript Goodwill clothing, and a mousy demeanor. CONTINUED:</scene_description> <character>BOB ARCTOR</character> <dialogue>Okay.</dialogue> <scene_description>George pushes open another door and enters. Arctor follows.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - CONTINUOUS</stage_direction> <scene_description>Arctor and George stand in a dorm-style bathroom, with several toilets. George hands the mop and pail to Arctor.</scene_description> <character>GEORGE</character> <dialogue>You feel you know how to clean a bathroom? Start, and I'll give you some pointers.</dialogue> <scene_description>Arctor nods obediently, takes the pail to the sink, sprinkles in some soap flakes, and begins to fill it with water. He becomes transfixed with the foam forming in the pail and the roar of the running water. After a while, George speaks, sounding very far away.</scene_description> <character>GEORGE (O.C.)</character> <dialogue>Don't fill it all the way, Bruce, or you won't be able to lift it.</dialogue> <character>BOB ARCTOR</character> <dialogue>Okay.</dialogue> </scene> <scene> <stage_direction>INT. LOUNGE - DAY</stage_direction> <scene_description>Arctor sits with a paper cup of coffee. There are others in the lounge, but they pay him no attention. He stares down at his coffee, focused on the rising and swirling steam. Jabbering is heard in the background.</scene_description> <character>NEW-PATH RESIDENT #1</character> <dialogue>If you could see from inside a dead person, you could still see, but you couldn't operate the eye muscles so you couldn't focus.</dialogue> <character>NEW-PATH RESIDENT #2</character> <dialogue>Exactly. Just blurry.</dialogue> <character>NEW-PATH RESIDENT #1</character> <dialogue>Plus, you couldn't turn your head or your eyeballs. All you could do is wait and wait until some object passed by. It'd be a terrible scene.</dialogue> <scene_description>CONTINUED:</scene_description> <character>NEW-PATH RESIDENT #2</character> <dialogue>I think that's what it means to be dead. To not be able to stop looking at whatever's in front of you.</dialogue> </scene> <scene> <stage_direction>INT. MEETING ROOM - AFTERNOON</stage_direction> <scene_description>Arctor sits on a folding chair in a semi-circle of residents and a staff member. He stares down at his hands. A portable blackboard is covered with scribbled words, such as "Goals", "Responsibility", and "Community." A large coffee urn percolates in the corner, making a "whoop-whoop" sound. Arctor focuses on this sound, which frightens him.</scene_description> <character>NEW-PATH RESIDENT #3</character> <dialogue>Living and unliving things are exchanging properties.</dialogue> <scene_description>All murmer agreement except Arctor, who just looks down.</scene_description> <character>NEW-PATH RESIDENT #4</character> <dialogue>That's because the drive of the unliving is stronger than the drive of the living.</dialogue> <scene_description>Whoop-Whoop. The coffee urn gets progressively louder.</scene_description> <character>NEW-PATH STAFFER</character> <dialogue>So we are incorporating too much unliving drive within us. Now, activity does not necessarily mean life. Quasars are active, but not alive. A meditating monk is not dead.</dialogue> </scene> <scene> <stage_direction>INT. DINING HALL - NIGHT</stage_direction> <scene_description>The room is filled with sad-looking people at collapsible tables eating dinner off trays. Arctor sits at a table by himself, and stares down at his steaming soup.</scene_description> </scene> <scene> <stage_direction>INT. RECEPTION AREA - DAY</stage_direction> <scene_description>A bunch of residents excitedly rifle through a cardboard box of donated clothing. Arctor stands back from the box and look at his feet. Mike, a short, stocky man with a pug face slips into a shirt that looks like an American flag.</scene_description> <character>NEW-PATH RESIDENT #1</character> <dialogue>Hey, Mike, you're one sharp dude!</dialogue> <scene_description>CONTINUED:</scene_description> <character>MIKE</character> <dialogue>Thanks, man.</dialogue> <scene_description>Mike fiddles with a belt with two metal rings for a buckle. He can't cinch it.</scene_description> <character>MIKE</character> <parenthetical>(cheerily)</parenthetical> <dialogue>Oh, c'mon, you guys left me the belt nobody else could work!</dialogue> <parenthetical>(to Arctor)</parenthetical> <dialogue>You know how to do this, man?</dialogue> <scene_description>Arctor reaches down and cinches the belt.</scene_description> <character>MIKE</character> <dialogue>Hey, thanks, buddy!</dialogue> <scene_description>Mike touches Arctor's shoulder. Arctor glances at the hand.</scene_description> </scene> <scene> <stage_direction>INT. MEETING ROOM - MORNING</stage_direction> <scene_description>Arctor sits in the center of the room. A circle of residents yell at him. A Chinese girl is more shrill than the others</scene_description> <character>CHINESE GIRL RESIDENT</character> <dialogue>You know what he is? A kissy-face! You're a kissy-face!</dialogue> <character>NEW-PATH RESIDENTS</character> <parenthetical>(chanting)</parenthetical> <dialogue>Can you fuck yourself? Can you fuck yourself?</dialogue> <scene_description>The Executive Director smiles from the circle.</scene_description> <character>NEW-PATH RESIDENT #1</character> <dialogue>Let's see you fuck yourself!</dialogue> <character>CHINESE GIRL RESIDENT</character> <dialogue>The kissy-facy!</dialogue> <scene_description>Another female resident flaps her arms and bulges her cheeks in Arctor's face. The Chinese girls swivels around and sticks her ass in Arctor's face.</scene_description> <character>CHINESE GIRL RESIDENT</character> <dialogue>Kiss my ass, kissy-facy! He wants to kiss people, kiss this, kissy-facy!</dialogue> <scene_description>CONTINUED:</scene_description> <character>NEW-PATH RESIDENTS</character> <dialogue>Let's see you fuck yourself, kissy- facy!</dialogue> <scene_description>Arctor shuts his eyes, but still hears the screaming. The Executive Director clears his throat; the screaming subsides.</scene_description> <character>EXECUTIVE DIRECTOR</character> <dialogue>You pimp. You fuck. You dong. You shit. You turd. You snot. You asshole. You vomit. You wart.</dialogue> <scene_description>We shift to Arctor's POV, looking out at the group and hearing the Executive Director's chant.</scene_description> <character>EXECUTIVE DIRECTOR</character> <dialogue>You bile. You worm. You maggot. You pus. You running sore.</dialogue> <scene_description>The chanting continues, but the actual words become indecipherable. Mike's voice breaks the chant.</scene_description> <character>MIKE</character> <parenthetical>(gently)</parenthetical> <dialogue>Bruce?</dialogue> <scene_description>Arctor looks at Mike's compassionate face.</scene_description> <character>MIKE</character> <dialogue>Bruce, what's the matter? What brought you here? Can you tells us anything about yourself? Your past?</dialogue> <character>NEW-PATH RESIDENT #2</character> <dialogue>Pimp! What are you, pimp?</dialogue> <character>CHINESE GIRL RESIDENT</character> <dialogue>Tell us, you cock-sucking fairy whore pimp! You ass-kisser, you fuck!</dialogue> <character>BOB ARCTOR</character> <dialogue>I am an eye. I am dead. I can only look at what is front of me.</dialogue> <character>EXECUTIVE DIRECTOR</character> <dialogue>You turd prick. You weakling. You puke. You suck-off. You snatch.</dialogue> <scene_description>The Executive Director continues, but Arctor can't make out the words as he surveys the cold, hard faces of the group. Spade Weeks is among them.</scene_description> </scene> <scene> <stage_direction>INT. NEW-PATH HALLWAY - DAY</stage_direction> <scene_description>Arctor walks down the hall, carrying his pail and mop. He passes an open door. Inside is a brightly lit room in which several children play. Arctor watches, transfixed.</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM - EVENING</stage_direction> <scene_description>The children sit at a table in an alcove off the main dining area. Some of the smaller children sit in high chairs and are being fed by old men. Arctor watches from outside the alcove. Mike walks by. He smiles.</scene_description> <character>MIKE</character> <dialogue>You like kids, Bruce?</dialogue> <character>BOB ARCTOR</character> <dialogue>Yes.</dialogue> <character>MIKE</character> <dialogue>You can eat with them if you like.</dialogue> <scene_description>Arctor nods and sits at the end of the table.</scene_description> <character>MIKE</character> <dialogue>You can feed them in a month or two. After we're sure you won't hit them.</dialogue> <character>BOB ARCTOR</character> <dialogue>Okay.</dialogue> </scene> <scene> <stage_direction>INT. DINING AREA - A BIT LATER</stage_direction> <scene_description>The table is mostly empty now. Only a couple of straggling children and Arctor remain. The two old men are beginning clean-up. One of the children goes, leaving only Arctor and a wide-eyed little girl.</scene_description> <character>LITTLE GIRL</character> <dialogue>What's your name?</dialogue> <scene_description>Arctor doesn't respond.</scene_description> <character>LITTLE GIRL</character> <dialogue>I said, what's your name? My name is Thelma. Did you forget your name? If you forget your name, you can write it on your hand. Want me to show you how?</dialogue> <character>BOB ARCTOR</character> <dialogue>Won't it wash off?</dialogue> <scene_description>CONTINUED:</scene_description> <character>LITTLE GIRL</character> <dialogue>Oh, I see.</dialogue> <parenthetical>(thinking)</parenthetical> <dialogue>Well, you could write on the ceiling above your bed. Then when you want to know your name better, you can --</dialogue> <character>BOB ARCTOR</character> <dialogue>Thelma.</dialogue> <character>LITTLE GIRL</character> <dialogue>No, that's my name. And that's a girl's name anyway. If I see you again, I'll give you a name. I'll make one up for you. 'kay?</dialogue> <character>BOB ARCTOR</character> <dialogue>Don't you live here?</dialogue> <character>LITTLE GIRL</character> <dialogue>Yes, but my mommy may be leaving. She's thinking about taking us, me and my brother, and leaving. 'kay, Bye!</dialogue> <scene_description>She runs off. Arctor watches after the girl.</scene_description> <character>BOB ARCTOR</character> <dialogue>Bruce.</dialogue> </scene> <scene> <stage_direction>INT. NEW-PATH RECEPTION AREA - DAY</stage_direction> <scene_description>Arctor sits on a folding chair against the wall, staring at his cup of coffee. Mike walks by in his bright new shirt.</scene_description> <character>MIKE</character> <dialogue>Hey, Bruce!</dialogue> <scene_description>Arctor looks up.</scene_description> <character>BOB ARCTOR</character> <dialogue>Are you leaving here?</dialogue> <character>MIKE</character> <parenthetical>(chuckling)</parenthetical> <dialogue>No, man, I can never leave here. Too many temptations out there for the likes of us. No, I'm just going into town to pick up a donation of semi- rotten vegetables.</dialogue> <scene_description>CONTINUED:</scene_description> <character>BOB ARCTOR</character> <dialogue>Semi-rotten vegetables.</dialogue> <scene_description>SHOT OF NOTEBOOK DAPPLED WITH SUNLIGHT kids laughing in background. We scan the following words, read offhandedly by Arctor.</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>For now we see through a glass, darkly; but then face to face: now I know in part...</dialogue> <scene_description>The camera pulls back to reveal that it's Donna reading the journal. She's sitting at a picnic table outside a McDonald's. Her eyes move back and forth across the page. Near her, a group of children laugh and play on a McDonaldland jungle gym.</scene_description> <character>BOB ARCTOR (V.O.)</character> <dialogue>...but then shall I know even as also I am known.</dialogue> <scene_description>That's the last entry. She closes the notebook, takes a sip of Coke, and watches the children play. A pick-up truck pulls into the parking lot. Mike gets out, approaches Donna's table, sits across from her. There's a silence, then:</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>So are they paranoid about him?</dialogue> <character>MIKE</character> <dialogue>No. He just sits there all day. There's really nothing to suspect. They can't get anything out of him during the game sessions.</dialogue> <scene_description>Donna looks off for a moment, sadly.</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>Well, then, will he be able to act, when the time comes? Is anything left?</dialogue> <character>MIKE</character> <dialogue>You never really know. A memory. A few charred brain cells flicker on. People like him are clacking insects. All reflex. We can only hope he's got the right reflex.</dialogue> <scene_description>CONTINUED:</scene_description> <character>DONNA HAWTHORNE</character> <dialogue>It was very well drilled into him.</dialogue> <parenthetical>(forlorn)</parenthetical> <dialogue>Such a price to pay. The government asks an awful lot.</dialogue> <character>MIKE</character> <dialogue>Life asks an awful lot.</dialogue> <character>DONNA HAWTHORNE</character> <parenthetical>(angry)</parenthetical> <dialogue>In this case, the fucking government. Bob didn't volunteer. He was sacrificed. He was my friend, y'know.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I don't want to be on this assignment much longer. I just want it over. Shit. Sometimes I think we're colder than they are.</dialogue> <character>MIKE</character> <dialogue>I see a warm person when I look at you, Donna.</dialogue> <character>DONNA HAWTHORNE</character> <dialogue>Oh, I'm warm on the outside. Warm face, warm eyes, warm fucking fake smile. But inside I'm cold all the time. I am full of lies. I am awful.</dialogue> <scene_description>Donna gets up and walks away. Mike watches after her.</scene_description> </scene> <scene> <stage_direction>INT. NEW-PATH HALLWAY - DAY</stage_direction> <scene_description>Arctor opens the door to the room where he first saw the children. In there now is an old woman trying to juggle. She smiles at Arctor and he sees that she has almost no teeth.</scene_description> <character>OLD WOMAN</character> <dialogue>Can you do this?</dialogue> <scene_description>She throws the balls in the air to juggle and they fall back onto her then bounce onto the floor. She stoops over, spitting and laughing. Arctor is dismayed.</scene_description> <character>BOB ARCTOR</character> <dialogue>I can't do that.</dialogue> <character>OLD WOMAN</character> <dialogue>I can.</dialogue> <scene_description>She tries again, fails, laughs. A staffer appears next to the Arctor in the doorway, sniffs the air CONTINUED:</scene_description> <character>NEW-PATH STAFFER</character> <dialogue>Donna, you need to clean yourself. You stink.</dialogue> <character>BOB ARCTOR</character> <parenthetical>(horrified)</parenthetical> <dialogue>Donna?!</dialogue> <scene_description>The old woman shuffles past Arctor and the staffer.</scene_description> <character>BOB ARCTOR</character> <dialogue>How long has Donna been here?</dialogue> <character>NEW-PATH STAFFER</character> <dialogue>I don't know. Six months.</dialogue> <character>BOB ARCTOR</character> <parenthetical>(relieved)</parenthetical> <dialogue>Oh, then it's not Donna. I've been here a week. And Donna drove me here. And she was fine: sad-eyed, quiet and composed. So beautiful. Leather jacket. That purse with the rabbit's foot dangling. Just like always.</dialogue> </scene> <scene> <stage_direction>INT. LOUNGE - DAY</stage_direction> <scene_description>Arctor and Mike sit across from each other over coffee.</scene_description> <character>MIKE</character> <dialogue>I think I'm going to try to get you a job on one of our farms, Bruce. When you're ready.</dialogue> <character>BOB ARCTOR</character> <dialogue>Can I work with animals. I like animals. Can I work with them?</dialogue> <character>MIKE</character> <dialogue>No, I want to try you with crops. I think that'd be good for you.</dialogue> <character>BOB ARCTOR</character> <dialogue>I want to work with something living.</dialogue> <character>MIKE</character> <dialogue>The ground is living. Do you have any agricultural background?</dialogue> <character>BOB ARCTOR</character> <parenthetical>(searching memory)</parenthetical> <dialogue>I used to work in an office.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MIKE</character> <dialogue>Well, you'll be outside from now on, sowing, tilling, killing insects. We do a lot of that with pesticides. But we're very careful, because those sprays can poison the crop as well as the person using them. Eat his head. The way yours has been eaten, Bruce.</dialogue> <character>BOB ARCTOR</character> <dialogue>Okay.</dialogue> </scene> <scene> <stage_direction>INT. NEW-PATH KITCHEN - DAY</stage_direction> <scene_description>Arctor is pulling some cleaning supplies from the cabinet under the sink. He notices something, picks it up, studies it. It's a bone fragment. He gets frightened, turns to someone cutting vegetables, and holds up the bone.</scene_description> <character>BOB ARCTOR</character> <dialogue>Is this Jerry Fabin?! Is this Jerry Fabin?!</dialogue> <scene_description>The person takes the bone fragment, looks at it, and shrugs.</scene_description> </scene> <scene> <stage_direction>EXT. NAPA VALLEY FARM - DAY</stage_direction> <scene_description>It's a hot, bright day. A car drives in through the gate of the razor-wire fenced farm, and raises dust as it heads toward a cluster of wooden houses. It stops and Arctor steps out, pulling a suitcase after him. He is met at the car by the farm manager, a middle-aged man with a sun- creased face. The car drives off.</scene_description> <character>FARM MANAGER</character> <dialogue>Your name is Bruce.</dialogue> <character>BOB ARCTOR</character> <dialogue>My name is Bruce.</dialogue> <character>FARM MANAGER</character> <dialogue>Mike Westaway recommended we give you a try on the farm. You're going to work here for a while.</dialogue> <character>BOB ARCTOR</character> <dialogue>Okay.</dialogue> <character>FARM MANAGER</character> <dialogue>I think you'll like it better here.</dialogue> <scene_description>CONTINUED:</scene_description> <character>BOB ARCTOR</character> <dialogue>I think I'll like it better here.</dialogue> <character>FARM MANAGER</character> <dialogue>You like mountains?</dialogue> <character>BOB ARCTOR</character> <dialogue>I like mountains.</dialogue> <character>FARM MANAGER</character> <dialogue>Beautiful mountains all around.</dialogue> <scene_description>The manager points, but Arctor does not look.</scene_description> <character>FARM MANAGER</character> <dialogue>And the air is good.</dialogue> <character>BOB ARCTOR</character> <dialogue>I like air.</dialogue> <character>FARM MANAGER</character> <dialogue>Yeah, Bruce, we all like air. We really all do. C'mon, I'll show you your bunk and get you a hat to protect your head from the sun.</dialogue> <scene_description>The manager leads Bruce to the bunkhouses.</scene_description> </scene> <scene> <stage_direction>INT. BUNKHOUSE - DAY</stage_direction> <scene_description>It's crude with six cots. The manager points to one of them.</scene_description> <character>FARM MANAGER</character> <dialogue>This is where you sleep.</dialogue> <character>BOB ARCTOR</character> <dialogue>Will I be seeing my friends?</dialogue> <character>FARM MANAGER</character> <dialogue>You mean back at the rehab?</dialogue> <character>BOB ARCTOR</character> <dialogue>Mike and Thelma and Donna and Jerry Fabin and Luckman and Barris and --</dialogue> <character>FARM MANAGER</character> <dialogue>The farms are closed facilities, so they can't come visit. Besides you're not supposed to make any one-to-one relationships at New-Path. Didn't they teach you that?</dialogue> <scene_description>CONTINUED:</scene_description> <character>BOB ARCTOR</character> <dialogue>They had us memorize that as part of the New-Path creed.</dialogue> <scene_description>The farm manager studies Arctor's sad, blank face.</scene_description> <character>FARM MANAGER</character> <dialogue>But we usually send you back to your residence-of-origin for holidays. So you'll be visiting at Thanksgiving if you do good work.</dialogue> <character>BOB ARCTOR</character> <dialogue>Thanksgiving.</dialogue> <character>FARM MANAGER</character> <dialogue>All right then. What else?</dialogue> <parenthetical>(looks around, points)</parenthetical> <dialogue>Bathroom there. And you can turn on and off the light with this cord.</dialogue> <scene_description>Arctor is no longer paying attention. He's caught a glimpse of the mountains out the window, and stands transfixed.</scene_description> <character>FARM MANAGER</character> <dialogue>Mountains, Bruce, mountains.</dialogue> <character>BOB ARCTOR</character> <dialogue>Mountains, Bruce, mountains.</dialogue> <character>FARM MANAGER</character> <dialogue>Echolalalia, Bruce, echolalalia.</dialogue> <character>BOB ARCTOR</character> <dialogue>Echolalalia, Bruce, echolalalia.</dialogue> </scene> <scene> <stage_direction>EXT. CORNFIELD - DAY</stage_direction> <scene_description>Arctor, in a cap and carrying a pesticide sprayer, wades through the stalks, checking for insect infestation. His entire focus, his entire consciousness is directed at this task. His hat blows off, and he bends to pick it up. As he nears the ground, he notices a second crop growing underneath, hidden by the corn. It's a small, bright blue flower, and now that he's close to the ground, he can see it planted everywhere. He squats there, transfixed. Someone comes up behind him. It's the Executive Director of New- Path. Arctor doesn't look up; he just stares at the flowers.</scene_description> <character>EXECUTIVE DIRECTOR</character> <dialogue>You're seeing the flower of the future, Bruce. But not for you.</dialogue> <scene_description>CONTINUED:</scene_description> <character>BOB ARCTOR</character> <dialogue>Why not for me?</dialogue> <character>EXECUTIVE DIRECTOR</character> <dialogue>You've had too much of a good thing. So get up and stop worshipping. This isn't your god anymore.</dialogue> <scene_description>Arctor keeps staring. The Executive Director reaches down and holds his open hand in Arctor's field of vision. Arctor doesn't move his head; he just continues to stare, now at the Executive Director's hand.</scene_description> <character>BOB ARCTOR</character> <dialogue>Gone. The flowers of spring are gone.</dialogue> <character>EXECUTIVE DIRECTOR</character> <dialogue>No. You simply can't see them. That's a philosophical problem you wouldn't comprehend. Epistemology -- the theory of knowledge.</dialogue> <scene_description>Arctor stares forever at the palm of the Executive Director's rich, uncalloused hand, sees every crease. Finally:</scene_description> <character>EXECUTIVE DIRECTOR</character> <dialogue>C'mon, back to work, Bruce.</dialogue> <character>BOB ARCTOR</character> <dialogue>I saw.</dialogue> <scene_description>The Executive Director chuckles, rises, and heads off.</scene_description> <character>EXECUTIVE DIRECTOR</character> <dialogue>Back to work, Bruce.</dialogue> <scene_description>Now that the hand is gone, Arctor stares once again at the blue flowers. The colors shift, grow more saturated.</scene_description> <character>FAR-AWAY VOICE</character> <dialogue>I saw Substance D. I saw death rising from the earth itself, in one blue field.</dialogue> <scene_description>In very slow motion, Arctor picks a blue flower, and puts it inside his shoe. Shift back to normal speed and color.</scene_description> <character>BOB ARCTOR</character> <dialogue>A present for my friends.</dialogue> <parenthetical>(fond smile)</parenthetical> <dialogue>My friends who I'll see soon. At Thanksgiving.</dialogue> </scene> </script>

The United States has lost the war on drugs. Substance D, a powerful drug that causes bizarre hallucinations, has swept the country. Approximately 20% of the total population is addicted. In response, the government has developed an invasive, high-tech surveillance system and a network of undercover officers and informants. Bob Arctor is one of these undercover agents, assigned to immerse himself in the drug's underworld and infiltrate up the supply chain. Arctor has a vision of being in his house with a wife and two children in Anaheim, California; today he has two drug-addicted, layabout housemates: Luckman and Barris. The three spend time taking D and having complex, possibly paranoiac examinations of their experiences. At the police station, Arctor maintains privacy by wearing a "scramble suit" that constantly changes every aspect of his appearance and voice; he is known only by the code name "Fred." Arctor's senior officer, "Hank", and all other undercover officers, also wear scramble suits, protecting their identities even from each other. Since going undercover, Arctor himself has become addicted to Substance D, and buys from Donna, who Arctor hopes to purchase large enough quantities of D from so that she is forced to introduce him to her own supplier. They have a tense, at times caring romantic relationship, but she rebuffs his physical advances. At work, "Hank" orders "Fred" to increase surveillance on Arctor himself and his associates. Arctor's house is now at the center of his own investigation, since this is where Donna and the other addicts spend time. Arctor is inexpertly negotiating a double life, and his prolonged use of D is damaging his brain. Barris is informing on Arctor to "Hank", arguing that Arctor is a terrorist, and angling to be hired as a cop himself. However, Barris unknowingly conveys this information in the presence of Arctor himself, whose identity at the time is hidden behind his scramble suit. "Hank" reveals to "Fred" that he has long known that he is Arctor. Arctor seems legitimately surprised, and repeats his own name in a disoriented, unfamiliar tone. "Hank" informs him that the real purpose of the surveillance was to catch Barris, and that the police were deliberately increasing Barris' paranoia until he attempted to cover his tracks. "Hank" reprimands Arctor for becoming addicted to Substance D and warns him that he will be disciplined. "Hank" explains how seriously brain-damaged Arctor has become from D, and "Hank" "phones" Donna, asking her to come pick up Arctor and take him to New-Path, a corporation that runs a series of rehabilitation clinics. "Hank" immediately leaves, and in private removes his scramble suit, revealing Donna. At the New-Path clinic, Arctor and other D addicts show serious cognitive deficiencies. "Donna", now known as Audrey, meets with Mike, a fellow police officer. They discuss how New-Path is secretly responsible for the manufacture and distribution of Substance D. Audrey expresses her growing ethical aversion to their police work, in which they deliberately recruited Arctor—without his knowledge—to become addicted to D; his health sacrificed so that he might eventually enter a New-Path rehabilitation center unnoticed as a genuine addict and collect incriminating evidence of New-Path's D farms. Audrey and Mike debate whether Arctor's mind will recover enough to grasp the situation. New-Path sends Arctor to a labor camp at an isolated farm, where he mindlessly repeats what others tell him. Tending to corn crops, Arctor discovers hidden rows of the blue flowers that produce D. He secretly hides one flower in his boot, to bring to his "friends" at his next holiday from the farm.

Nurse Betty_2000

tt0171580

<script> <scene> <stage_direction>INT. OPERATING ROOM - DAY</stage_direction> <scene_description>A tense surgery in progress . Meters flicker , instruments flash in the bright overhead light . In the midst of it all stands DR. DAVID RAVELL , 35 . The master of his domain . Ravell leans forward so a NURSE can mop the sweat from his brow as he completes a last , delicate procedure . His co workers sigh collectively with relief .</scene_description> <character>DAVID</character> <parenthetical>( to Asst. Surgeon . )</parenthetical> <dialogue>Close her up, will you?</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL CORRIDOR - DAY</stage_direction> <scene_description>Dr. Ravell comes out of surgery , clearly exhausted . Without his surgical mask he is ruggedly handsome . TWO NURSES follow , attending him like a fighter fresh from the ring : CHLOE , 25 , Raven - haired and striking , and JASMINE , 24 , an exotic mix of African - American and Asian . BLAKE DANIELS , 58 , the silver - haired Chief Surgeon , rushes up the corridor . On his heels is DR. LONNIE WALSH , 33 . Lonnie is also conspicuously handsome , but he 'll always be second to David . In everything . The look on Blake 's face stops David in his tracks .</scene_description> <character>BLAKE</character> <dialogue>There's been a train crash near Santa Barbara. They're flying an aortal trauma here now. How can I ask you this, David.</dialogue> <scene_description>David rubs his eyes . Thinks about it .</scene_description> <character>DAVID</character> <dialogue>I can do it, Blake.</dialogue> <scene_description>His bravery is n't lost on the two nurses , although Chloe exchanges a quick , covert glance with Lonnie .</scene_description> <character>CHLOE</character> <dialogue>Is he crazy, Jasmine? He's been on his feet for fourteen hours.</dialogue> <character>JASMINE</character> <dialogue>Chloe, it's been this way since Leslie died. Losing himself in his work, poor thing.</dialogue> <character>YOUNGER MAN'S VOICE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>. I'll give you something to lose yourself in.</dialogue> <character>OLDER MAN'S VOICE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Excuse me, miss?</dialogue> <scene_description>PULL BACK TO REVEAL : WE ARE LOOKING AT A TELEVISION SCREEN BEHIND THE COUNTER OF A SMALL - TOWN DINER . INSERT : FAIR OAKS , KANSAS</scene_description> </scene> <scene> <stage_direction>INT. TIP TOP DINER - DAY</stage_direction> <scene_description>Quaint , Midwestern eatery . Knick - knacks and photos abound . The booths and counter are packed with LOCALS . A family dining section off in one corner . TWO GUYS sitting at the counter in team jackets . The older of the two holds up his empty coffee cup . But his WAITRESS , standing a couple seats down from him , does n't move . She 's completely absorbed in watching the soap opera that plays on two battered , fuzzy TV sets . BETTY SIZEMORE , 30 , has a wholesome attractiveness that competes with a bit too much makeup and a cheesy white waitress uniform . TWO OTHER WAITRESSES attend to customers behind her . The younger of the two guys is involved in the soap opera . But the older one , still wants coffee . He gestures toward Betty .</scene_description> <character>OLDER MAN</character> <dialogue>Miss?</dialogue> <scene_description>Betty leans forward , grabs the coffee pot and moves in front of him . Without taking her eyes from the TV , she pours the java , which somehow lands in his cup without spilling a drop .</scene_description> <character>OLDER MAN</character> <parenthetical>( cont'd. ) Very impressive .</parenthetical> <parenthetical>That is very .</parenthetical> <parenthetical>( turning to others . )</parenthetical> <dialogue>Did anybody see that?</dialogue> <scene_description>The LOCAL GUYS around him do n't even bother to look up . Of course , they 've seen it before . Betty smiles .</scene_description> <character>OLDER MAN</character> <parenthetical>( cont'd. ) Thank you .</parenthetical> <parenthetical>Could I bother you for a little more ?</parenthetical> <dialogue /> <scene_description>Before he can even finish , Betty is topping him off with milk .</scene_description> <character>BETTY</character> <dialogue>Skim, right?</dialogue> <parenthetical>( tears open an Equal . )</parenthetical> <dialogue>And half a pack, if I remember correct.</dialogue> <scene_description>The older gentleman 's mouth works a bit but nothing comes out . He is flabbergasted by her attention to detail . She looks at the younger man , who is still following the show and gobbling down a huge bacon burger .</scene_description> <character>BETTY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You know, you're never too young to start on a lean meat substitute.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>You wan na try some turkey bacon on that?</dialogue> <character>YOUNGER MAN</character> <dialogue>You want a tip when I'm through?</dialogue> <character>BETTY</character> <dialogue>It's your body.</dialogue> <scene_description>Betty turns back to change pots . The older man watches her intently as the younger of the two mumbles to himself .</scene_description> <character>YOUNGER MAN</character> <parenthetical>( to himself . )</parenthetical> <dialogue>That's right, so why do n't you get up off it.</dialogue> <character>OLDER MAN</character> <dialogue>Wesley.</dialogue> <parenthetical>( to Betty . )</parenthetical> <dialogue>I've told him the same thing. Thanks for the suggestion.</dialogue> <character>BETTY</character> <dialogue>No problem.</dialogue> <scene_description>Betty flashes the men a winning smile and moves off , one eye always on the TV as she approaches two local types . SHERIFF ELDEN BALLARD , 32 , a short , tightly wound little man , sitting at his own booth . Ballard is spit and polish all the way : creases in his shirt , a glossy shine on his shoes . Badge proudly displayed . He sits with ROY OSTREY , 31 , a gangly , bookish local reporter . Betty drops five ketchup packets and four mayonnaise packets on the table for him . Another smile .</scene_description> <character>ROY</character> <dialogue>Hi, Betty. You're looking good.</dialogue> <character>BETTY</character> <dialogue>Thanks, Roy, you're sweet. a big liar, but sweet. I liked your editorial this morning.</dialogue> <character>ROY</character> <dialogue>Oh, appreciate it. I was trying to, ahh, give a sense of history to.</dialogue> <character>BALLARD</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Yeah, it was great. Really put the whole idea of `` church bake sales'' in perspective.</dialogue> <character>ROY</character> <dialogue>You know, Elden, some people actually read more than just the Classifieds.</dialogue> <character>BALLARD</character> <dialogue>Why do n't you go back to doing something you're good at. like that Lonelyhearts column?</dialogue> <parenthetical>( chuckles to himself . )</parenthetical> <dialogue>I'll take a refill there, Betty.</dialogue> <scene_description>His cup is full before he can even finish the sentence .</scene_description> <character>BETTY</character> <dialogue>Hey, Sheriff. How's everything?</dialogue> <character>BALLARD</character> <dialogue>Oh, you know, the usual. keeping the world safe.</dialogue> <character>BETTY</character> <dialogue>I meant your food.</dialogue> <character>BALLARD</character> <dialogue>Oh, right.'s fine. Thanks.</dialogue> <character>ROY</character> <dialogue>I thought you said the eggs were n't.</dialogue> <character>BALLARD</character> <dialogue>It's fine. Mind your own meal.</dialogue> <character>ROY</character> <dialogue>You should get the order you want.</dialogue> <character>BALLARD</character> <dialogue>And you should keep your nose out of another man's omelette.</dialogue> <parenthetical>( to Betty . )</parenthetical> <dialogue>It's no big deal, Betty.</dialogue> <character>BETTY</character> <dialogue>There's yolks in there, huh? It's no prob'. got ta keep you on track.</dialogue> <scene_description>Betty grabs Ballard 's plate without another word , gives him a reassuring rub on the shoulders and moves off . He smiles appreciatively after her , then turns on Roy .</scene_description> <character>BALLARD</character> <dialogue>Why you always got ta embarrass me? I been eating lunch with you since grade school and you always got ta embarrass me!</dialogue> <character>ROY</character> <dialogue>They're just eggs, Elden, how embarrassing can eggs be?</dialogue> <character>BALLARD</character> <dialogue>plenty</dialogue> <character>ROY</character> <dialogue>Who eats eggs for lunch, anyhow?</dialogue> <character>BALLARD</character> <dialogue>Mind your own business. You just said that shit so you could look at her a little longer, anyway.</dialogue> <scene_description>Still carrying Ballard 's plate , she returns to the counter .</scene_description> <character>BETTY</character> <dialogue>Come on, guys, I told you it's egg whites only for the Sheriff.</dialogue> <parenthetical>( quietly . )</parenthetical> <dialogue>. I put him in that ` zone' thing.</dialogue> <character>COOK #1</character> <dialogue>Well, it better be a pretty good size zone if he's in it.</dialogue> <scene_description>Betty and the cooks share a quick laugh . They move to change his order while Betty glances up at the TV .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL CORRIDOR - RETURN TO TV SCREEN</stage_direction> <scene_description>Lonnie catches up to Blake in the corridor .</scene_description> <character>LONNIE</character> <dialogue>Blake, I can handle that transplant!</dialogue> <character>BLAKE</character> <dialogue>We need someone with the right kind of experience, Lonnie.</dialogue> <character>LONNIE</character> <dialogue>Even if he's falling asleep on his feet?</dialogue> <character>BLAKE</character> <dialogue>Lonnie, it's a complex procedure. Why do n't you observe?</dialogue> <character>LONNIE</character> <dialogue>I'm not some snot - nosed resident fresh out of medical school, Blake.</dialogue> <character>BLAKE</character> <dialogue>No, you're not. You're a good doctor, Lonnie, but you're not David Ravell. I've made my decision. Now, if you'll excuse me.</dialogue> <scene_description>Blake exits . The camera moves in to hold on a CLOSEUP of Lonnie 's face as he simmers in anger . Music soars .</scene_description> </scene> <scene> <stage_direction>INT. TIP TOP DINER - DAY</stage_direction> <scene_description>Plates of food are piling up on the shelf in front of the COOKS . One of them turns the TV off by remote .</scene_description> <character>BETTY</character> <dialogue>Hey! We were watching that!</dialogue> <character>COOK #1</character> <dialogue>The other girls've got orders up. we're not one' a them goddamn Nelson families, y' know.</dialogue> <scene_description>Betty snatches up several plates to help out . Ballard 's food appears with A CLATTER of porcelain .</scene_description> <character>BETTY</character> <dialogue>It's `` Nielson''.</dialogue> <character>COOK #1</character> <dialogue>Yeah, well, we ai n't one' a them, neither.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Go on now.</dialogue> <character>DARLENE</character> <dialogue>When you gon na get those things fixed, anyhow?</dialogue> <character>COOK #1</character> <dialogue>When you all quit watching'em for a living.</dialogue> <scene_description>Frustrated , Betty delivers several plates and drops them at tables where the people know her by name . She moves off toward FOUR LOCAL GUYS in a booth jangling their empty cups . Betty weaves her way over to them and pours refills . When a hand strays around to touch her ass , she pushes it away with her foot and keeps right on pouring . Absently , Betty takes a look around the restaurant . The other waitresses are gone and no one is behind the grill . Alarmed , she pushes through the double doors into the kitchen .</scene_description> </scene> <scene> <stage_direction>INT. TIP TOP DINER - KITCHEN - SAME TIME</stage_direction> <scene_description>THREE WAITRESSES , along with the DISHWASHER and TWO COOKS are standing in a row waiting for her .</scene_description> <character>BETTY</character> <dialogue>alright, I get it, no more TV. Sorry.</dialogue> <scene_description>No one moves , then DARLENE leads them in a huge SURPRISE ! They produce a life - size cardboard cut - out of Dr. David Ravell , who looks dashing in his green hospital scrubs . Betty backs up in disbelief .</scene_description> <character>BETTY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Oh my gosh, this is so embarrassing! Where did you ever find this?</dialogue> <character>DARLENE</character> <dialogue>On the goddamn internet, where else?</dialogue> <character>BETTY</character> <dialogue>You're joking.</dialogue> <character>WAITRESS #1</character> <dialogue>nope, got him at `` T.V. Hunks with Sweet Little Asses.Com.''</dialogue> <character>WAITRESS #2</character> <dialogue>Seventy - five dollars.</dialogue> <character>COOK #1</character> <dialogue>Seventy - eight fifty.</dialogue> <parenthetical>( everyone looks at him . )</parenthetical> <dialogue>Well, I paid for the damn thing, I oughta know.</dialogue> <character>WAITRESS #2</character> <dialogue>C'mon, Betty! Pose with him!</dialogue> <scene_description>Betty laughs and puts her arm around the cardboard man . A flash photo is taken . A cupcake with a single candle is placed in her hands .</scene_description> <character>DARLENE</character> <dialogue>One candle. uh - oh, you're getting up there! Does n't David like'em young?</dialogue> <character>BETTY</character> <dialogue>I'm over the hill, what can I say?</dialogue> <scene_description>Darlene gives Betty an envelope with cash showing .</scene_description> <character>WAITRESS #1</character> <dialogue>A little something for those nursing classes you've been wanting to take.</dialogue> <character>DARLENE</character> <dialogue>but keep putting off thanks to a certain husband we wo n't mention.</dialogue> <character>BETTY</character> <dialogue>Oh, guys, you did n't have to do that!</dialogue> <character>DARLENE</character> <dialogue>So how you gon na celebrate? Del takin' you into Wichita for a big fancy dinner?</dialogue> <scene_description>The others laugh ; they know better . So does Betty .</scene_description> <character>BETTY</character> <dialogue>Yeah, Dairy Queen, maybe. Oh, I should probably call him. Thanks, you guys.</dialogue> <character>COOK #1</character> <dialogue>Alright, alright, come on. I'm not running no bed &amp; breakfast, we got customers. Let's go.</dialogue> <scene_description>Smiling , Betty grabs a wall phone as the others mingle about .</scene_description> </scene> <scene> <stage_direction>INT. SIZEMORE MOTORS - DEL'S OFFICE - DAY</stage_direction> <scene_description>The trailer/office of a small - time car dealership . As the PHONE RINGS , the CAMERA PANS across pictures of DEL SIZEMORE , 35 , dressed as Napoleon , Caesar and Abe Lincoln , arms raised in a high - energy sales pitch . The PHONE RINGS again . We see a framed certificate of achievement from General Motors , dated 1986 . After the THIRD RING an ANSWERING MACHINE clicks on . It 's loud .</scene_description> <character>ANSWERING MACHINE</character> <parenthetical>( Del 's voice . )</parenthetical> <dialogue>Hello there! You've reached Sizemore Motors, home of the best selection of used General Motors cars in the Big Springs - Fair Oaks area. We ca n't come to the phone right now'cause we're out making a sale, so leave us a message ; better yet, come on down and steal one' a these beauties right out from under us! Coffee's always on!</dialogue> <character>BETTY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Hi Del, it's me. I guess you're busy.</dialogue> </scene> <scene> <stage_direction>INT. SIZEMORE MOTORS - TRAILER/OFFICE - DAY</stage_direction> <scene_description>Del 's very busy . He 's on the rented sofa in the trailer 's lounge , screwing his secretary , JOYCE . But as he rocks the couch , he 's listening to Betty 's message .</scene_description> <character>BETTY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I know you want the Oldsmobile back tonight, so. I was wondering if I could take one of the new Buicks.</dialogue> <scene_description>Del pulls out and lurches across the room . He reaches for the desk phone but misses , spilling down onto the carpet . He gathers himself and his pants up in disgust , pawing around the desktop until he finds the phone .</scene_description> <character>BETTY</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( CONT'D. ) So , call me when you -</parenthetical> <dialogue /> <character>DEL</character> <dialogue>Whoa, whoa, whoa! Hang on a second there, baby. Why do you need one of the new Buicks?</dialogue> <character>BETTY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Oh, you're there. You sound out of breath.</dialogue> <character>DEL</character> <dialogue>I ran back in to get the phone.</dialogue> <scene_description>The answering machine is on , so their VOICES are BOOMING . The phone cord is stretched across the trailer as he tries to get back to Joyce . He motions for her to join him but she remains where she is , fuming .</scene_description> <character>BETTY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I do n't need one, but it's kind of a special night, and -</dialogue> <character>DEL</character> <dialogue>What's so special about it?</dialogue> <scene_description>LONG PAUSE . Joyce looks at Del , incredulous . Then pissed off . He signals to hold on .</scene_description> <character>BETTY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Sue Ann's taking me out and I thought it might be fun to go in a nice car.</dialogue> <scene_description>Joyce wriggles to a sitting position and begins to pull up her panties . Del shoots her a look that says ` I 'm not finished yet ! ' They pantomime frantically back and forth until Joyce throws him the finger and SLAMS out the door .</scene_description> <character>BETTY</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( CONT'D. ) What was that ?</parenthetical> <dialogue /> <character>DEL</character> <dialogue>Nothing. it's, ahh, busy here. Look, you do n't need a LeSabre to go out with Sue Ann. Take the blue Corsica. I'll see you when I get home.</dialogue> <scene_description>He throws the phone onto the cradle , then bangs on a window to get Joyce 's attention as she fires up a smoke .</scene_description> <character>DEL</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( through the pane . )</parenthetical> <dialogue>Shit! Joyce, open the damn gate, will you?!</dialogue> <scene_description>As Del zips up his pants Joyce trudges across the lot to bring in the `` Closed For Lunch '' sign and open the gate . Del silently studies the much nicer car lot next door for a moment . He takes in the banners , the signs , etc. .</scene_description> <character>DEL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>that's what we need, some goddamn flags.</dialogue> </scene> <scene> <stage_direction>INT. OFFICE/TRAILER - LATER</stage_direction> <scene_description>Betty enters the office . Joyce is on the phone . She looks up , irritated , and says something under her breath to the caller .</scene_description> <character>JOYCE</character> <dialogue>Uhh, no, we have n't picked a date yet. well, once he dumps her we will.</dialogue> <parenthetical>( to Betty . )</parenthetical> <dialogue>He's out pricing banners. I do n't expect him back.</dialogue> <character>BETTY</character> <dialogue>`` Banners?''</dialogue> <character>JOYCE</character> <dialogue>You know, flags and shit. he said `` for a livelier look'' or something.</dialogue> <scene_description>Betty nods and swaps her car keys for a set Joyce gives her .</scene_description> <character>JOYCE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>'S too bad about the LeSabres. they're a really sweet ride.</dialogue> <scene_description>As Joyce prattles on , Betty notices the Buick LeSabre keys on a rack behind her . She sidles around Joyce , deftly removes a set from the hook and drops them in her purse . She smiles and starts to wave goodbye as Joyce puts her call on hold .</scene_description> <character>JOYCE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Need something else?</dialogue> <character>BETTY</character> <dialogue>No, I was just. How you doing?</dialogue> <character>JOYCE</character> <dialogue>Great. Good. Content.</dialogue> <character>BETTY</character> <dialogue>Oh. How come?</dialogue> <character>JOYCE</character> <dialogue>I dunno. Job satisfaction, I guess.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>How's things at the Tip Top?</dialogue> <character>BETTY</character> <dialogue>They're fine. you miss it?</dialogue> <character>JOYCE</character> <dialogue>You must be joking.</dialogue> <character>BETTY</character> <dialogue>Hmm.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>So, Del get that car he sold you up and running yet?</dialogue> <character>JOYCE</character> <dialogue>Oh, yeah, he's got things up and running, alright.</dialogue> <character>BETTY</character> <dialogue>` Kay, good. Bye, then.</dialogue> <character>JOYCE</character> <dialogue>Uh - huh.</dialogue> <parenthetical>( back to phone . )</parenthetical> <dialogue>Anyway, I'm thinking Easter,'cause I just fucking love pastels.</dialogue> <scene_description>She whispers , then laughs loudly as Betty leaves .</scene_description> </scene> <scene> <stage_direction>EXT. SIZEMORE MOTORS - DAY</stage_direction> <scene_description>The cardboard doctor is standing next to Betty 's Olds . She thinks about leaving him , but picks him up and tosses him into a blue Corsica . He lands with his face against the passenger window . She stands for a moment by the Corsica , dangling the LeSabre keys before her eyes . Suddenly , she jumps inside the Chevrolet and slams the door .</scene_description> </scene> <scene> <stage_direction>EXT. SIZEMORE MOTORS/TRAILER PARK - DAY</stage_direction> <scene_description>The blue Corsica leaves the parking lot and pulls onto the street . The car makes an abrupt turn into a trailer park directly behind the car lot and glides to a halt behind a row of battered airstreams . Betty gets outs of the Chevy and looks back : the handsome face of Doctor David Ravell is staring at her from the car .</scene_description> <character>BETTY</character> <dialogue>Oh, Christ, what am I gon na do with you?</dialogue> <scene_description>She goes back to pick him up , then starts off .</scene_description> </scene> <scene> <stage_direction>EXT. TRAILER PARK - SAME TIME</stage_direction> <scene_description>A row of cheap trailers on both sides of a crumbling driveway . Betty appears with her cardboard man tucked under one arm and then disappears behind a pickup truck .</scene_description> </scene> <scene> <stage_direction>EXT. SIZEMORE MOTORS - SAME TIME</stage_direction> <scene_description>She tosses the cardboard `` David '' over a concrete slab wall , climbs over herself and walks straight to the LeSabres . Her key opens the last one - maroon . She puts the doctor on the passenger seat , gets in the car and inhales the new car smell . Joyce can be seen inside the trailer , still talking on the phone . She misses the whole scene as she works on her nails .</scene_description> <character>BETTY</character> <dialogue>We deserve this.</dialogue> </scene> <scene> <stage_direction>INT. LESABRE - DRIVING - DAY</stage_direction> <scene_description>Betty has the car at 75 m.p.h. , on the rural Kansas roads , wheat fields for miles on both sides of her . The RADIO is blasting Bonnie Raitt and she 's singing along . She sees her speed and punches the accelerator . 80 m.p.h . 85 . 90 m.p.h. . She turns the radio up louder . When she approaches a sign saying `` You are leaving Kansas '' Betty suddenly becomes self - conscious . She eases up on the gas . slows down . does a U - turn and heads back toward Fair Oaks . She glances wistfully in her rear view mirror at the billboard that quickly fades into the distance .</scene_description> </scene> <scene> <stage_direction>EXT. BETTY'S NEIGHBORHOOD - LATER</stage_direction> <scene_description>Betty enters a modest residential neighborhood and pulls into a driveway . She parks in a detached garage and looks over at the cardboard David . There 's no way he 's going in the house . She puts him in the trunk and closes the garage door .</scene_description> </scene> <scene> <stage_direction>EXT. SUE ANN'S HOUSE - SAME TIME</stage_direction> <scene_description>She walks several houses down . On her way to the door we hear a DOG BARKING , CHILDREN and GENERAL COMMOTION from inside . SUE ANN ROGERS answers Betty 's knock . Her hair is matted with sweat as she struggles with CHILDREN , ages 4 , 3 and 6 months . Suddenly , Sue Ann is hit by an errant rubber ball .</scene_description> <character>SUE ANN</character> <dialogue>Hey, darling. oww! Sorry, got my own little Gulf War going on here.</dialogue> <scene_description>Betty takes the baby as Sue Ann pulls a videotape from a shelf . It 's all one move ; they do this every day .</scene_description> <character>BETTY</character> <dialogue>Did you watch it yet?</dialogue> <character>SUE ANN</character> <dialogue>Sure did. I'll tell you, if that man was any better looking it'd be a crime' a some sort.</dialogue> <character>BETTY</character> <dialogue>Yep. Hey, I got a surprise for tonight. We're going to the Starlite in style!</dialogue> <character>SUE ANN</character> <dialogue>Oh, Betty -</dialogue> <character>BETTY</character> <dialogue>I'll give you a hint. If you scrunch up your eyes a bit it looks just like a Jaguar.</dialogue> <character>SUE ANN</character> <dialogue>Honey, I'm really sorry, I was gon na call you about tonight. Larry's got a lodge meeting. There's no way I can get a sitter this fast.</dialogue> <character>BETTY</character> <parenthetical>( disappointed . )</parenthetical> <dialogue>No. what about your sister?</dialogue> <character>SUE ANN</character> <dialogue>I ca n't ask her again - Nathan, stop it! Jesse, do n't take that, hit back! - I feel terrible, hon.</dialogue> <scene_description>After a beat .</scene_description> <character>BETTY</character> <dialogue>It's all right.</dialogue> <character>SUE ANN</character> <dialogue>You sure? Maybe next week we could.</dialogue> <character>BETTY</character> <dialogue>Uh - huh. No, we'll do it later.'S only a birthday, right? I'll have another one next year.</dialogue> <scene_description>Betty forces a smile , kisses the baby and hands it back to Sue Ann , who hands her the videotape .</scene_description> <character>SUE ANN</character> <dialogue>Aahhh.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>So what color is it?</dialogue> <character>BETTY</character> <dialogue>What?</dialogue> <character>SUE ANN</character> <dialogue>The LeSabre!</dialogue> <character>BETTY</character> <dialogue>Maroon.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>I stole it.</dialogue> <character>SUE ANN</character> <dialogue>What?</dialogue> <character>BETTY</character> <dialogue>He was n't going to let us use it, so I just took it.</dialogue> <character>SUE ANN</character> <dialogue>Oh, I wish we could just get in it and drive, and drive, and drive!</dialogue> <character>BETTY</character> <dialogue>Yeah, me too.</dialogue> <character>SUE ANN</character> <dialogue>Sorry, hon. Happy Birthday.</dialogue> <character>BETTY</character> <dialogue>I got ta go make dinner.</dialogue> <scene_description>Betty throws her a look as Sue Ann closes the door . Betty turns around , frustrated . She starts yanking her apron off as she crosses the street .</scene_description> </scene> <scene> <stage_direction>INT. BETTY'S HOUSE - DAY</stage_direction> <scene_description>A low - end ranch . A worn - out sofa and loveseat form an ` L' that dominates the living room . Romance novels line a small bookcase . SIX CANARIES in cages chatter away in the kitchen . Del sits at the dining room table , agitated . He is presently attacking a pork chop , baked beans and a loaf of Wonderbread . All we hear is A FORK CLICKING and BIRDS CHIRPING . Betty stands at the breakfast counter , barefoot , still in her uniform and quietly eating a salad .</scene_description> <character>BETTY</character> <dialogue>Sure you do n't want any salad?</dialogue> <character>DEL</character> <dialogue>No, I do not want any goddamn. what was all that shit on the phone about the new Buicks?</dialogue> <character>BETTY</character> <dialogue>I told you. Sue Ann was gon na take me out tonight, but.</dialogue> <character>DEL</character> <dialogue>She's not comfortable in a Corsica?'S got air and leather.</dialogue> <character>BETTY</character> <dialogue>I took the blue Corsica, Del.. Relax.</dialogue> <character>DEL</character> <dialogue>All right, then. Actually, I'm glad you're going out. I got something going on tonight. Some serious clients, with real potential.</dialogue> <scene_description>Del BELCHES , smiles , then CLUCKS at the birds nearby .</scene_description> <character>BETTY</character> <dialogue>like the water purifiers?</dialogue> <character>DEL</character> <dialogue>What?</dialogue> <character>BETTY</character> <dialogue>Or the vitamins? Or the?</dialogue> <scene_description>Del almost comes out of his chair , pointing his finger at her .</scene_description> <character>DEL</character> <dialogue>Hey, the FDA screwed me on that when they changed the law, and you know it!</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Anyway, ` least I try shit, still got some dreams left. you're a goddamn waitress, what do you got?</dialogue> <character>BETTY</character> <dialogue>I got you, Del.</dialogue> <character>DEL</character> <dialogue>well, then you ai n't got much.</dialogue> <character>BETTY</character> <dialogue>Oh, I know.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>So, who're these clients?</dialogue> <character>DEL</character> <dialogue>Couple' a guys in from outta town. They want to see the new LeSabres.</dialogue> <scene_description>Betty hides her reaction .</scene_description> <character>DEL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>And I do n't need Sue Ann's fat ass around to fuck it up.</dialogue> <character>BETTY</character> <dialogue>Just knock it off, ` kay? Anyhow, they're 97's, they're not even new.</dialogue> <character>DEL</character> <dialogue>They're new to us.</dialogue> <scene_description>Truce for a moment . Del plucks a copy of Soap Opera Guide from Betty 's purse while absently taking a bite from Betty 's cupcake . He narrowly misses the candle .</scene_description> <character>DEL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Jesus. you know these actors are mainly models, which are mainly fags. They've done studies. The rest're assholes. But you know what bugs me most about these soaps?</dialogue> <scene_description>She silently mimics him as he says .</scene_description> <character>DEL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>It's people with no lives watching other people's fake lives.</dialogue> <character>BETTY</character> <dialogue>Yeah, I guess there's nothing like watching those tenpins fall, huh, Del?</dialogue> <character>DEL</character> <dialogue>That is a skill!</dialogue> <scene_description>Del lurches to his feet and crosses to the bird cages as the canaries CHIRP and SING EXCITEDLY at his approach .</scene_description> <character>DEL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Daddy's here, babies. daddy's here.</dialogue> <parenthetical>( to Betty . )</parenthetical> <dialogue>Be back later. clean up.</dialogue> <scene_description>He exits . She collects his dirty dishes , puts them in the sink and starts to wash them . Then she stops .</scene_description> <character>BETTY</character> <dialogue>What the hell am I doing?</dialogue> <scene_description>She drops the dishes with a clatter , pours herself a glass of wine , lights the candle on her deflowered cupcake and opens the one card on the table . CLOSE ON a traditional greeting from her grandparents . Red hearts and lace . A color photo of them enclosed . Betty smiles at this . After moment , she quietly sings a quick refrain of `` Happy Birthday '' to herself .</scene_description> </scene> <scene> <stage_direction>INT. LONNIE'S APARTMENT - NIGHT (ON TV SCREEN)</stage_direction> <scene_description>Standing wrapped only in a towel , Lonnie speaks into the phone .</scene_description> <character>LONNIE</character> <dialogue>Tell me something good, Sugar.</dialogue> </scene> <scene> <stage_direction>INT. CHLOE'S APARTMENT - NIGHT (ON TV SCREEN)</stage_direction> <scene_description>The beautiful nurse Chloe is curled up seductively on her sofa with her phone in one hand and a cigarette in the other .</scene_description> <character>CHLOE</character> <dialogue>We're all set. I told him my car's in the shop. He said he'd be happy to give me a ride home.</dialogue> <character>LONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You're beautiful.</dialogue> <character>CHLOE</character> <dialogue>Tell me something I do n't know.</dialogue> <scene_description>Betty hits FAST FORWARD . Characters flit on and off the screen at top speed until David Ravell appears .</scene_description> </scene> <scene> <stage_direction>INT. WOODED ROADSIDE - NIGHT (ON TV SCREEN)</stage_direction> <scene_description>Chloe 's magnificent legs are folded into the seat of David 's 560 SL . She struggles with her seatbelt , so he helps her . She makes sure their hands touch .</scene_description> <character>CHLOE</character> <dialogue>Thanks for pulling over, David. I ca n't go that fast without taking a breather.</dialogue> <character>DAVID</character> <dialogue>Sorry. it's nice to see what this little beauty can do, though. I guess, somehow, all that speed helps me forget the past.</dialogue> <character>CHLOE</character> <dialogue>I'm sure it does.</dialogue> <parenthetical>( touching the seats . )</parenthetical> <dialogue>Mmm, leather. How far do they recline?</dialogue> <scene_description>David smiles , a little uncomfortable .</scene_description> <character>CHLOE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Listen, David, I know I've said it before, but I want to tell you again how sorry I am about your wife.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>It must make you scared to get close to someone again.</dialogue> <scene_description>She puts her hand over his on the gear shift . A moment . Finally , he has to move her fingers to start the car .</scene_description> <character>CHLOE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Let's not go. not yet.</dialogue> <scene_description>BETTY sits on an old couch in the den and watches , eyes glued to the screen . Suddenly , she hears the sound of TIRES ON GRAVEL . HEADLIGHTS sweep across the window .</scene_description> <character>BETTY</character> <dialogue>Damn!</dialogue> <scene_description>She hits PAUSE and crosses to look out .</scene_description> </scene> <scene> <stage_direction>EXT. BETTY'S HOUSE - NIGHT</stage_direction> <scene_description>Del gets out of a black Lincoln Town Car , followed by CHARLIE and WESLEY - the guys in the team jackets from the diner . Charlie is 63 years old . He wears a dress shirt , slacks and docksiders . The suburban father look . Wesley is 28 . He 's in jeans , T - shirt and white Reeboks . Clean cut ; the kid who used to mow your parents ' lawn . Betty quickly snaps out the light and closes the door until it is open only a crack .</scene_description> </scene> <scene> <stage_direction>INT. BETTY'S HOUSE - NIGHT</stage_direction> <scene_description>Del swaggers into the house . The two men follow politely .</scene_description> <character>DEL</character> <dialogue>you can have the best damn running backs in the world, somebody's still got ta block for'em.</dialogue> <character>CHARLIE</character> <dialogue>You're a hundred percent right. They rely on what's - his - name's arm too much.</dialogue> <scene_description>Del stops and looks around , deflated by the mess . The den is only a short flight of steps from the living room and the kitchen . Betty has a clean view of both from where she sits on the couch .</scene_description> </scene> <scene> <stage_direction>INT. BETTY'S HOUSE - DEN - NIGHT</stage_direction> <scene_description>She hears Del come in , but does n't take her eyes off the TV screen .</scene_description> <character>DEL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>My apologies, gentlemen. I asked my wife to straighten this shit up before she went out.</dialogue> </scene> <scene> <stage_direction>INT. BETTY'S HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>Del crosses to an old stereo and puts on an LP . He smiles as the music overtakes the room . Charlie and Wesley stand nearby , appreciating the quaintness of the surroundings .</scene_description> <character>DEL</character> <dialogue>Now, what can I get you gentlemen to drink?</dialogue> <scene_description>Del crosses to the cupboard . Charlie and Wesley stand leisurely in the living room .</scene_description> <character>CHARLIE</character> <dialogue>Bourbon, little water, thank you.</dialogue> <character>WESLEY</character> <dialogue>Beer, please.</dialogue> <character>DEL</character> <dialogue>You got it.</dialogue> <scene_description>Wesley looks at a wedding portrait of Del and Betty .</scene_description> <character>WESLEY</character> <dialogue>Hey. you got a fine one right here!</dialogue> <character>CHARLIE</character> <dialogue>Wesley.</dialogue> <parenthetical>( to Del. ) Your wife 's a very lovely woman .</parenthetical> <parenthetical>Have I seen her before ?</parenthetical> <dialogue /> <character>DEL</character> <dialogue>If you ate at the Tip Top you did.</dialogue> <character>CHARLIE</character> <dialogue>Oh, yes, with the coffee.</dialogue> <character>DEL</character> <dialogue>Yep, Betty pours a pretty mean cup.</dialogue> <scene_description>Del reaches into the fridge and produces a Miller for Wesley , then mixes two drinks and walks into the dining room and Charlie and Wesley follow to the table and sit down .</scene_description> <character>CHARLIE</character> <dialogue>I like this. I like doing business in the home. It's cozy.</dialogue> <parenthetical>( noticing the card and cupcake . )</parenthetical> <dialogue>Who's birthday?</dialogue> <character>DEL</character> <dialogue>Ahh. my wife's.</dialogue> <character>WESLEY</character> <dialogue>What'd you get her?</dialogue> <character>DEL</character> <dialogue>Huh? Oh, umm, a car.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>So, to a successful transaction.</dialogue> <scene_description>They raise their glasses and drink . Del tosses back his drink in one gulp .</scene_description> </scene> <scene> <stage_direction>INT. DAVID'S CAR - WOODED ROADSIDE - (ON TV SCREEN)</stage_direction> <scene_description>Chloe is on top of David , kissing him on the mouth as he resists . He finally has to push her away forcibly , and we hear a TEARING SOUND . Chloe 's blouse has been ripped .</scene_description> <character>DAVID</character> <dialogue>I'm sorry, Chloe.</dialogue> <scene_description>She starts to cry . David reaches out to comfort her .</scene_description> <character>DAVID</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>It's not that I do n't find you attractive. I'm just not ready.</dialogue> <scene_description>David looks up to find her lips on his . In spite of himself , he gives in to the warmth of her kiss and responds hungrily . Betty is mesmerized .</scene_description> </scene> <scene> <stage_direction>INT. BETTY'S HOUSE - DINING ROOM - NIGHT</stage_direction> <scene_description>The men have retired into the dining room , sitting or standing around a worn wooded table . Charlie and Wesley are just finishing their drinks .</scene_description> <character>DEL</character> <dialogue>All right gentlemen, let's get down to it. I need to know if you're for real.</dialogue> <character>CHARLIE</character> <dialogue>If we're for real?</dialogue> <character>DEL</character> <dialogue>You do n't exactly look like drug dealers.</dialogue> <character>WESLEY</character> <dialogue>Is n't that the point?</dialogue> <character>DEL</character> <dialogue>Yeah, well, I do n't have time to screw around. I got buyers in Dallas, Houston and Vegas who are ready to snap this stuff up.</dialogue> <character>CHARLIE</character> <dialogue>We appreciate that. But you just poured me a drink, I'd like to enjoy your hospitality for a few minutes.</dialogue> <character>DEL</character> <dialogue>Fine. You got five.</dialogue> <character>CHARLIE</character> <dialogue>It's a nice place you got here. Real comfortable. Sweet little town, Fair Oaks. You like it here?</dialogue> <character>DEL</character> <parenthetical>( laughs . )</parenthetical> <dialogue>Are you kidding me? What's to like?</dialogue> <character>WESLEY</character> <dialogue>Seems like a nice place.</dialogue> <character>DEL</character> <dialogue>It is, if you like idiots.</dialogue> <character>CHARLIE</character> <dialogue>What do you mean?</dialogue> <character>DEL</character> <dialogue>It's a small town, man. I never should have left Omaha. People here think small. They act small. They're a bunch of dumb fucks.</dialogue> <character>WESLEY</character> <dialogue>Really?</dialogue> <character>DEL</character> <dialogue>You better believe it.</dialogue> <character>CHARLIE</character> <dialogue>Could you give us an example?</dialogue> <character>DEL</character> <dialogue>Of what?</dialogue> <character>CHARLIE</character> <dialogue>I'm asking you for an example of one of these dumb fucks being a dumb fuck.</dialogue> <character>DEL</character> <dialogue>I do n't follow.</dialogue> <character>CHARLIE</character> <dialogue>You're not a dumb fuck, are you, Del?</dialogue> <character>DEL</character> <parenthetical>( warily . )</parenthetical> <dialogue>No.</dialogue> <character>CHARLIE</character> <dialogue>I did n't think so. So, give me an example of a stupid person doing a stupid thing. Not being stupid, you're equipped to recognize it.</dialogue> <character>DEL</character> <dialogue>Are we gon na do business here, or not?</dialogue> <character>WESLEY</character> <dialogue>Relax, we brought the cash.</dialogue> <character>CHARLIE</character> <dialogue>I'm just curious. Ca n't you give me an example?</dialogue> <character>DEL</character> <parenthetical>( annoyed . )</parenthetical> <dialogue>All right. lem me see. okay, new Burger King opens up. These assholes get excited and start lining up. Like it's some five star restaurant. The place is mobbed. Right?</dialogue> <character>CHARLIE</character> <dialogue>Hmmmm. `` Five Stars,'' huh?</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Is that stupid, Wesley?</dialogue> <character>WESLEY</character> <dialogue>No, that's ignorant. They just do n't know any better.</dialogue> <character>CHARLIE</character> <dialogue>That's what I thought.</dialogue> <parenthetical>( to Del. ) You better give me another example .</parenthetical> <dialogue /> <character>DEL</character> <dialogue>This is bullshit, can we get down to business here, please?</dialogue> <scene_description>Off a look from Charlie , Wesley produces a pistol and gently nudges the barrel into Del 's ear .</scene_description> <character>DEL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Jesus Christ!</dialogue> <character>WESLEY</character> <dialogue>He's waiting.</dialogue> <character>DEL</character> <dialogue>Okay, uh. the, umm, Injuns're stupid.</dialogue> <character>WESLEY</character> <dialogue>`` Injuns?''</dialogue> <character>CHARLIE</character> <dialogue>You did not just say `` Injuns,'' Del..</dialogue> <character>DEL</character> <dialogue>The Indians, Injuns, whatever. They're always drunk and doing stupid things.</dialogue> <character>CHARLIE</character> <dialogue>Like what?</dialogue> <character>DEL</character> <dialogue>Driving their cars into trees. puking on the sidewalk. stupid shit!</dialogue> <character>CHARLIE</character> <dialogue>Let's see. around here that would be Kiowa, Kickapoo or Osage, if I'm not mistaken.</dialogue> <character>DEL</character> <dialogue>I. I do n't know.</dialogue> <character>CHARLIE</character> <dialogue>Well, my idea of stupid is very different from yours.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>So here's how this is gon na work. Would you take your socks off, please?</dialogue> <character>DEL</character> <dialogue>My socks?</dialogue> <character>WESLEY</character> <dialogue>You heard the man.</dialogue> <scene_description>Del slowly takes his shoes and socks off . He 's sweating , trembling .</scene_description> <character>CHARLIE</character> <dialogue>I'm gon na talk to you and when I'm finished, you can answer. But I do n't like being interrupted. Now roll them into a ball.</dialogue> <scene_description>Del does it .</scene_description> <character>DEL</character> <dialogue>Oh, Jesus, please. Please, God.</dialogue> <character>CHARLIE</character> <dialogue>and put them in your mouth.</dialogue> <scene_description>At a sharp look from Charlie , Del obediently stuffs the socks into his mouth and starts to cry . Wesley produces a roll of duct tape and fastens Del 's hands to the back of his chair .</scene_description> </scene> <scene> <stage_direction>INT. BETTY'S HOUSE - DEN - NIGHT</stage_direction> <scene_description>Betty is glued to the TV , oblivious to the men . Chloe and David are still talking in his car . She continues to cry .</scene_description> <character>DAVID</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You're wonderful, Chloe, you are. But I just know there's something special out there for me.</dialogue> </scene> <scene> <stage_direction>INT. BETTY'S HOUSE - DINING ROOM - NIGHT</stage_direction> <character>CHARLIE</character> <dialogue>Now I'm gon na tell you what stupid is. Stupid is taking something that does n't belong to you. Right Wesley?</dialogue> <character>WESLEY</character> <dialogue>That's right.</dialogue> <character>CHARLIE</character> <dialogue>Stupid is trying to sell it to other people who are, by their very nature, untrustworthy.</dialogue> <character>WESLEY</character> <dialogue>That is so right.</dialogue> <character>CHARLIE</character> <dialogue>Stupid is calling people in Kansas City who are affiliated with the rightful owners of the thing you stole, and trying to sell it to them. Right Wesley?</dialogue> <character>WESLEY</character> <dialogue>Now, that's really stupid.</dialogue> <character>CHARLIE</character> <dialogue>So you see, we have totally different ideas of what's stupid and what's not. Do n't we?</dialogue> <scene_description>Del nods ; crying , sweating .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Good. Now we're getting somewhere. You agree that you were stupid?</dialogue> <scene_description>Del nods again . Wesley collects Charlie 's glass and mixes him another drink . He gets a beer for himself and stands behind Del. . Charlie sips his drink slowly , savoring it .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You know, a hundred and fifty years ago you'd have been scalped for that remark about Native Americans. Right here where your house is - you'd have been scalped.</dialogue> <character>WESLEY</character> <dialogue>Hell of a way to die.</dialogue> <character>CHARLIE</character> <dialogue>It was n't always fatal, Wesley. We could scalp Del right now, and he'd be plenty alive to tell us how it feels.</dialogue> <scene_description>Del 's eyes get huge .</scene_description> <character>CHARLIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's pretty simple, too.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>First you take a knife and just draw a mark right across the hairline.</dialogue> <scene_description>Wesley produces a long knife and traces a line across the very top of Del 's forehead . Trickles of blood wind their way down his brow . Del is MOANING and PANTING through his socks .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Hold still, Del, we're just talking here.</dialogue> <parenthetical>( pointing to a spot . )</parenthetical> <dialogue>Then you grab a big handful of hair and pull as you cut. It's amazing how easily the scalp comes off.</dialogue> <character>WESLEY</character> <dialogue>A mark, huh?</dialogue> <scene_description>Wesley takes a jab at Del 's forehead with his knife , leaving a small cut . Del starts twitching , rocking back and forth as Wesley grabs a fistful of his hair .</scene_description> <character>WESLEY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Shut the fuck up! I bleed more than that when I shave.</dialogue> <scene_description>Del stops moving . He breathes furiously through his nostrils .</scene_description> <character>CHARLIE</character> <dialogue>Now. I want to know the particulars of your stupid act : how you got what does n't belong to you, who helped you get it, and of course, where it is now.</dialogue> <scene_description>Charlie pulls the socks out of Del 's mouth . Del splutters , gasping for air .</scene_description> <character>DEL</character> <dialogue>It's in the Buick! I swear to God it's all there!</dialogue> </scene> <scene> <stage_direction>INT. BLAKE DANIELS' OFFICE - DAY (ON TV SCREEN)</stage_direction> <scene_description>David enters . Blake nods to him grimly .</scene_description> <character>DAVID</character> <dialogue>You wanted to see me, Blake?</dialogue> <character>BLAKE</character> <dialogue>I wish I could say I had good news.</dialogue> <parenthetical>( off David 's look . )</parenthetical> <dialogue>David, I'll get right to the point. Chloe Jensen has filed charges of sexual assault against you.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>You can continue to practice at L.A. County, but I'm afraid I have to revoke your privileges here at Loma Vista until this is resolved.</dialogue> <scene_description>HOLD on David 's shocked expression . MUSIC UP AS</scene_description> <character>DEL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>PLEASE DO N'T KILL ME!</dialogue> <scene_description>Betty 's not sure what Del said , but the panic in his voice got through . She hits PAUSE and takes a look .</scene_description> </scene> <scene> <stage_direction>INT. BETTY'S HOUSE - DINING ROOM - NIGHT</stage_direction> <scene_description>Del is facing her , tiny rivulets of blood running into his terrified eyes . Wesley stands at his shoulder , still holding a handful of his hair , still poised with the knife .</scene_description> <character>DEL</character> <dialogue>I got it from a truck driver named Duane Cooley, out of Amarillo. He brings my cars down from Detroit. But I have n't touched it, I swear to you. Please! Please! Please!</dialogue> <scene_description>Annoyed , Charlie stuffs the socks back in Del 's mouth . Betty stares . Her gaze shifts from Del to Wesley , drawn by Wesley 's demonic expression .</scene_description> <character>CHARLIE</character> <dialogue>Consider yourself lucky. Luckier than those ` Injuns' you have such contempt for.</dialogue> <scene_description>Wesley stares at the top of Del 's head . Betty stares at Wesley . Charlie walks into the kitchen for another drink .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I'll tell you, if anyone got a raw deal it's the American Indian. This country has a black mark on its soul for what was done to them.</dialogue> <scene_description>Wesley 's nostrils flare . Betty leans forward .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I'm all for them owning casinos, getting rich off the white man's greed. It's a beautiful piece of irony, is n't it, Wesley?</dialogue> <character>WESLEY</character> <dialogue>IT SURE IS!</dialogue> <scene_description>And with a long SCREAM , Wesley rips Del 's scalp from his head . It makes a sickening sound like fabric tearing . For a long moment , there is only silence . An eerie silence . Suddenly , Del SCREAMS into his socks and thrashes in his seat , blood pouring down his head on all sides . Somehow , he manages to get to his feet , the chair still taped to him , and begins smashing into whatever is near . Blood flies and curios shatter as Del thunders through the room . A dying bull , only messier . It 's quite a show .</scene_description> <character>CHARLIE</character> <dialogue>JESUS CHRIST!</dialogue> <scene_description>Wesley steps back , staring at the dripping scalp in his hand , as if wondering how it got there . Betty is transfixed , horrified . Charlie re - enters . The two men look at each other over Del 's MUFFLED SCREAMS as he plows headlong into wooden paneling , a china cabinet , and finally , back toward them near the breakfast counter . Del bashes blindly into it .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( to Wesley . )</parenthetical> <dialogue>What the fuck is the matter with you?!</dialogue> <scene_description>Wesley is practically foaming at the mouth , still rushing on what he did . Charlie draws a silenced pistol and mercifully SHOOTS Del through the head . The big man stops suddenly , blinks once or twice , topples over .</scene_description> </scene> <scene> <stage_direction>INT. BETTY'S HOUSE - DEN - NIGHT</stage_direction> <scene_description>Betty points her remote at the dining room and clicks it , as if trying to make the image disappear . Finally , she gives up , slowly turning away from the carnage and aims at the TV . `` A Reason to Love '' pauses on the face of David Ravell and Betty sits in absolute silence .</scene_description> </scene> <scene> <stage_direction>INT. BETTY'S HOUSE - DINING ROOM - NIGHT</stage_direction> <scene_description>Charlie quickly begins to hide their tracks , producing a plastic baggie and collecting the beer cans and his own glass . He also wipes down the fridge as Wesley watches .</scene_description> <character>CHARLIE</character> <dialogue>Are you out of your mind? You scalped him!</dialogue> <character>WESLEY</character> <dialogue>You told me how to do it!</dialogue> <character>CHARLIE</character> <dialogue>That was to get him to talk!</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Get rid of that thing, will you?</dialogue> <scene_description>Wesley crosses to the garbage can , steps on the lever . He looks at the scalp one more time before dropping it in .</scene_description> <character>CHARLIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>This is great - just great! Now we do n't know where the goddamn stuff is.</dialogue> <character>WESLEY</character> <dialogue>He told us it's in the Buick.</dialogue> <character>CHARLIE</character> <dialogue>We do n't know which Buick, do we?</dialogue> <character>WESLEY</character> <dialogue>Well, why'd you shoot him?</dialogue> <character>CHARLIE</character> <dialogue>I had to shoot him! It was the only decent thing to do.</dialogue> <scene_description>They exit the house .</scene_description> <character>CHARLIE</character> <parenthetical>( O.S. ; cont 'd . )</parenthetical> <dialogue>This is very unprofessional, Wesley.</dialogue> </scene> <scene> <stage_direction>INT. BETTY'S HOUSE - DEN - NIGHT</stage_direction> <scene_description>Betty is still in the family room , staring at the TV . She pushes ` play ' again and David Ravell begins to speak .</scene_description> </scene> <scene> <stage_direction>EXT. SUE ANN'S HOUSE - STREET - LATER</stage_direction> <scene_description>Sue Ann comes out of her house , balancing a homemade cake in front of her . The candles give off an unearthly glow as she picks her way up the Sizemore 's gravel drive .</scene_description> </scene> <scene> <stage_direction>INT. BETTY'S HOUSE - DEN - SAME TIME</stage_direction> <scene_description>Betty is catatonic , staring at the frozen image of David Ravell on her TV . Downstairs , Sue Ann comes in .</scene_description> <character>SUE ANN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Happy Birthday to you! Happy Birthday to you! Happy Birthday, dear -</dialogue> <scene_description>A terrified SCREAM as the cake lands unceremoniously on the entryway . ON BETTY As she hits ` Play ' :</scene_description> <character>DAVID</character> <dialogue>you're wonderful, Chloe, you are. But I just know there's something special out there for me.</dialogue> </scene> <scene> <stage_direction>INT. BETTY'S HOUSE - FOYER - LATER THAT NIGHT</stage_direction> <scene_description>Roy enters the foyer and looks around , carrying a pad and pen in hand . He hears VOICES from the kitchen , sees FLASHBULBS going off . He sneaks down the hall when A VOICE stops him .</scene_description> <character>DEPUTY</character> <dialogue>Hang on there, Roy. Nobody comes in.</dialogue> <character>ROY</character> <dialogue>Elden called me. He wants to, ahh, make a statement for the paper.</dialogue> <scene_description>The deputy nods him through and Roy moves off toward the sewing room where he has spotted Betty .</scene_description> </scene> <scene> <stage_direction>INT. BETTY'S HOUSE - SEWING ROOM - SAME TIME</stage_direction> <scene_description>Betty is packing an overnight bag on her bed when Roy enters and quietly closes the door behind him . She is working with a purpose , almost like a different person from the woman we first met . Still bright and cheerful , but with a willful glint in her eye . Determined .</scene_description> <character>ROY</character> <dialogue>Hey, Betty. Are you okay?</dialogue> <character>BETTY</character> <dialogue>I'm great, good, content.</dialogue> <parenthetical>( stopping . )</parenthetical> <dialogue>What happened to your arm, Roy?</dialogue> <character>ROY</character> <dialogue>Oh, nothing, it's fine. I just need to keep it wrapped for a few.</dialogue> <character>BETTY</character> <dialogue>Make sure it's elevated.</dialogue> <character>ROY</character> <dialogue>Uh - huh.</dialogue> <character>BETTY</character> <dialogue>You want me to make you a sling? It's no problem.</dialogue> <scene_description>Betty starts whipping a T - shirt into place but stops abruptly . She turns curiously to Roy .</scene_description> <character>BETTY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What're you doing here, Roy?</dialogue> <character>ROY</character> <dialogue>Well, I was worried about you and I wanted to make sure you were alright. and I guess I was sort of hoping I could ask you about what happened.</dialogue> <character>BETTY</character> <dialogue>Oh, that. Sure, I saw the whole thing. It was disgusting!</dialogue> <character>ROY</character> <dialogue>My God. did you get a look at who did it?</dialogue> <character>BETTY</character> <dialogue>Yes.</dialogue> <character>ROY</character> <dialogue>You did? Was it anyone that you?</dialogue> <character>BETTY</character> <dialogue>It was Chloe.</dialogue> <scene_description>Sheriff Ballard enters the house , surveys the scene of the crime where one deputy wipes blood off his boot with a paper towel , and erupts when he sees Roy .</scene_description> <character>BALLARD</character> <dialogue>Hey, you guys wan na try not stepping directly in the evidence, please?</dialogue> <parenthetical>( to Roy . )</parenthetical> <dialogue>Ostrey, you and your goddamn police scanner! I leave for ten minutes and. Betty, I'm sorry about this.</dialogue> <scene_description>He motions to a female officer .</scene_description> <character>BALLARD</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Why do n't you take her down to the station? We'll be along in a bit.</dialogue> <scene_description>She leads Betty out the kitchen door .</scene_description> <character>BETTY</character> <dialogue>` Night, guys.</dialogue> </scene> <scene> <stage_direction>INT. BETTY'S HOUSE - DINING ROOM - NIGHT</stage_direction> <scene_description>As Ballard leads Roy into the next room .</scene_description> <character>BALLARD</character> <dialogue>Okay, let's go. I got nothing for the record yet.</dialogue> <character>ROY</character> <dialogue>Oww! My arm, careful!</dialogue> <character>BALLARD</character> <dialogue>Ahh, what'd you do now. fall off your bike again?</dialogue> <character>ROY</character> <dialogue>No, it's nothing, I. my piranha just mauled me a little when I layed their food out.</dialogue> <character>BALLARD</character> <dialogue>Good God. they're meat eaters, Roy, just drop the shit in there!</dialogue> <character>ROY</character> <dialogue>I ca n't. they prefer a more formal presentation. I do n't usually go so close to the surface, but I was.</dialogue> <character>BALLARD</character> <dialogue>you are so goddamn weird.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Oh, and by the way, get the hell outta here!</dialogue> <character>ROY</character> <dialogue>No, Elden, I need to.</dialogue> <character>BALLARD</character> <dialogue>You need to get yourself gone from my crime scene. And leave Betty alone, she's.</dialogue> <character>ROY</character> <dialogue>She knows who killed Del.. Elden, she said it was a woman.</dialogue> <character>BALLARD</character> <dialogue>It was n't a woman.</dialogue> <character>ROY</character> <dialogue>Yes it was. Betty saw the whole thing! Your killer's name is Chloe.</dialogue> <character>BALLARD</character> <dialogue>I'm tellin' you it was n't no woman, Roy!</dialogue> </scene> <scene> <stage_direction>INT. BETTY'S HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>Ballard drags Roy into the living room , where he sees Del. . He has been turned upright and is being carefully examined .</scene_description> <character>ROY</character> <dialogue>Jesus.</dialogue> <character>BALLARD</character> <dialogue>You think a woman did that?!</dialogue> <scene_description>Roy runs into the kitchen , covering his mouth .</scene_description> </scene> <scene> <stage_direction>INT. BETTY'S HOUSE - KITCHEN - NIGHT</stage_direction> <scene_description>Ballard and his cronies delight in watching Roy struggle with the dry heaves . Roy runs to the kitchen sink , almost loses it , then wipes his mouth with a paper towel .</scene_description> <character>BALLARD</character> <dialogue>Kinda' looks like a burnt out roman candle, do n't he?</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Del must've sold a lemon to the wrong Indian, and got paid back the old fashioned way. Them Kickapoos get pretty mean when they drink.</dialogue> <scene_description>Roy sees Del 's scalp in the garbage can as he goes to drop his crumpled towel inside .</scene_description> <character>ROY</character> <dialogue>So, you think you're gon na find his scalp hanging in some tepee?</dialogue> <character>BALLARD</character> <dialogue>They no longer live in tepees, Mr. College Graduate.</dialogue> <character>ROY</character> <dialogue>Did you send anyone out there?</dialogue> <character>BALLARD</character> <dialogue>You bet I did. I got a squad car on the way to the reservation right now.</dialogue> <character>ROY</character> <dialogue>Bad idea.</dialogue> <character>BALLARD</character> <dialogue>You just go write your little story, Roy. I'll handle the police work.</dialogue> <character>ROY</character> <dialogue>You better handle what's in this garbage can first.</dialogue> </scene> <scene> <stage_direction>EXT. SIZEMORE MOTORS - NIGHT</stage_direction> <scene_description>Every car on the lot has its trunk open and spare tire on the ground behind it . Charlie and Wesley are at the last car .</scene_description> <character>WESLEY</character> <dialogue>I still do n't understand how you knew Del was telling the truth.</dialogue> <character>CHARLIE</character> <dialogue>I saw his soul Wesley. He was face to face with his God, and no one lies in that situation. But your Geronimo act rattled me, and I abandoned my instincts.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Never abandon you instincts.</dialogue> <character>WESLEY</character> <dialogue>I did n't. You gave me a look!</dialogue> <character>CHARLIE</character> <dialogue>What ` look'?</dialogue> <character>WESLEY</character> <dialogue>That one look you got! I thought you were done, so I took him out.</dialogue> <character>CHARLIE</character> <dialogue>I was n't done, I was just sick of hearing him whine. And you did n't take him out, you scalped him. Christ, I almost puked, did I tell you that?</dialogue> <character>WESLEY</character> <dialogue>Well, why'd you have to tell that Indian story?</dialogue> <character>CHARLIE</character> <dialogue>What the hell does that mean? If I'd told a Ty Cobb story would you have clubbed him to death with a bat?</dialogue> <scene_description>Wesley is stung . Charlie slams the last trunk in disgust . The rest remain where they are ; open .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>It's not here. Let's go.</dialogue> <character>WESLEY</character> <dialogue>You just gon na leave these cars sitting here like this?</dialogue> <character>CHARLIE</character> <dialogue>Why not, it'll confuse'em. got ta do something, now that you fucked it up.</dialogue> <character>WESLEY</character> <dialogue>I wanted to make a statement.</dialogue> <character>CHARLIE</character> <dialogue>Let me tell you something. In our business you ca n't put food on the table if your phone does n't ring. The guys who get the calls are good - not flashy, just good. They get in, they get out. Nobody knows a goddamn thing. Understand? Boom, boom, boom. Three in the head and you know they're dead.</dialogue> <character>WESLEY</character> <dialogue>that's a good motto.</dialogue> <character>CHARLIE</character> <dialogue>Fine, I'll get you a bumpersticker, but you better start believing it! It's the only statement you need to make.</dialogue> </scene> <scene> <stage_direction>INT. POLICE STATION / OBSERVATION ROOM - NIGHT</stage_direction> <scene_description>Betty is questioned in a holding room by a POLICE OFFICER and a DOCTOR . Ballard and Roy watch through a window .</scene_description> <character>DOCTOR</character> <dialogue>And did your husband know these people?</dialogue> <character>BETTY</character> <dialogue>Sort of. but he ignored them.</dialogue> <character>DOCTOR</character> <dialogue>And how did that make you feel, Betty?</dialogue> <character>BETTY</character> <dialogue>I felt all cold inside. And angry.</dialogue> <scene_description>Ballard looks both ways to make sure he wo n't be overheard .</scene_description> <character>BALLARD</character> <dialogue>I questioned Joyce about all this.</dialogue> <character>ROY</character> <dialogue>Yeah?</dialogue> <character>BALLARD</character> <dialogue>Seems she was pretty familiar with ` ol Del.. On a regular basis, if you get my drift.</dialogue> <character>ROY</character> <dialogue>and half the other guys in this town. Including you, I believe.</dialogue> <character>BALLARD</character> <dialogue>Junior year!</dialogue> <character>ROY</character> <dialogue>Anyway, so what?</dialogue> <character>BALLARD</character> <dialogue>So? Suppose Betty found out about them?</dialogue> <character>ROY</character> <dialogue>You said a woman could n't have done it.</dialogue> <character>BALLARD</character> <dialogue>A woman can write a check.</dialogue> <character>ROY</character> <dialogue>So you're saying Betty Sizemore - our Betty Sizemore - who you were in swing choir with - has now hired somebody to scalp her husband in her own kitchen while she watched? You're amazing.</dialogue> <character>BALLARD</character> <dialogue>'S just a theory. just'cause I'm thinking it do n't mean I like it.</dialogue> <scene_description>The doctor comes out of the holding room .</scene_description> <character>BALLARD</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>How is she?</dialogue> <character>DOCTOR</character> <dialogue>She's in a kind of shock. I see all the signs of a post - traumatic reaction with possible dissociative symptoms.</dialogue> <character>BALLARD</character> <dialogue>Could I have that in American?</dialogue> <character>DOCTOR</character> <dialogue>It's a type of altered state. it allows a traumatized person to continue functioning.</dialogue> <character>BALLARD</character> <dialogue>So she did witness it?</dialogue> <character>ROY</character> <dialogue>Oh, you're sharp as a tack, Elden.</dialogue> <character>BALLARD</character> <dialogue>That's it! YOU'RE GONE!</dialogue> <scene_description>He spins Roy around and marches him toward the door , one arm bent behind his back .</scene_description> <character>ROY</character> <dialogue>Oww, the arm, the arm!</dialogue> <character>BALLARD</character> <dialogue>You just do n't know when to quit, Roy! You were jealous of me when I got hall monitor in seventh grade, and you're still jealous now!</dialogue> <character>ROY</character> <dialogue>One question, Doctor, please!</dialogue> <parenthetical>( outside the door . )</parenthetical> <dialogue>You ca n't do this! I'm the press, I have rights!</dialogue> <character>BALLARD</character> <dialogue>That's right, you have the right to remain silent.</dialogue> <scene_description>Ballard pushes Roy out the door . As he returns , Roy reappears behind him , leaning in to listen . Ballard does n't see him .</scene_description> <character>BALLARD</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Sorry you had to see that. You were saying?</dialogue> <character>DOCTOR</character> <dialogue>I was saying that it seems probable that she witnessed the murder, but her memory of it is gone, at least for the time being. I also think you ought to have her stay with someone tonight.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Any idea who Chloe or Lonnie are?</dialogue> <character>BALLARD</character> <dialogue>No. Friends from the diner maybe?</dialogue> <character>DOCTOR</character> <dialogue>Well, you should find out. She keeps talking about them.</dialogue> <scene_description>Ballard nods , sure he 's got a clue here . He looks in at Betty again , just as she begins repacking her travel bag . He frowns at this , his suspicions fueled all the more .</scene_description> </scene> <scene> <stage_direction>EXT. SUE ANN'S HOUSE - NIGHT</stage_direction> <scene_description>A police car pulls up to Sue Ann 's house . Betty gets out , carrying her overnight bag . Sue Ann appears , embraces her and leads her inside .</scene_description> </scene> <scene> <stage_direction>INT. SUE ANN'S HOUSE - BEDROOM - LATER</stage_direction> <scene_description>Betty lies down in a bright red race car bed . Sue Ann tucks her in and turns out the light .</scene_description> <character>SUE ANN</character> <dialogue>Let me know if you need anything, okay?</dialogue> <character>BETTY</character> <dialogue>Are you and Larry happy?</dialogue> <character>SUE ANN</character> <dialogue>Oh, I dunno. enough, I s ` pose.</dialogue> <character>BETTY</character> <dialogue>Then you should treasure that. you got ta hold on to whatever you got that's any good, even if it's only a little bit.</dialogue> <character>SUE ANN</character> <dialogue>All you been through. I ever tell you what a good friend you are?</dialogue> <character>BETTY</character> <dialogue>All the time.</dialogue> <character>SUE ANN</character> <dialogue>Well, you are.</dialogue> <scene_description>After a beat .</scene_description> <character>BETTY</character> <dialogue>Something bad happened to Del and me, did n't it?</dialogue> <character>SUE ANN</character> <dialogue>Yeah, hon. Real bad. You just get some sleep, everything's gon na be fine.</dialogue> <character>BETTY</character> <dialogue>Sue Ann, I'm sorry about all this, but I just know there's something special out there for me.</dialogue> <scene_description>Sue Ann looks down at her friend , troubled . She strokes Betty 's hair gently and kisses her . After she leaves , Betty lies awake , staring at the ceiling . A mobile dangles overhead . LATER The Mickey Mouse clock on the wall reads 3:30 . Beneath it , Betty is sitting up in bed , wide awake .</scene_description> </scene> <scene> <stage_direction>INT. SUE ANN'S HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>Betty comes down the stairs without a sound . She finds a pen and paper near the phone and writes a note . INSERT : Dear Del : This is the hardest thing I 've ever done and I ca n't even face you . But I need to be honest . We have n't been happy for a long time . You always say people need their space , and now you 'll have some . I 'm sorry . Betty . She takes off her wedding band and puts it on the table .</scene_description> </scene> <scene> <stage_direction>EXT. BETTY'S HOUSE/GARAGE - NIGHT</stage_direction> <scene_description>Betty raises the garage door , tosses her overnight bag and birthday money envelope into the LeSabre , and gets in . She drives through Fair Oaks , past the town limits . She keeps on driving until her car recedes into the moonlit prairie horizon .</scene_description> </scene> <scene> <stage_direction>EXT./INT. LESABRE - DRIVING - NIGHT</stage_direction> <scene_description>She comes to a sudden halt in front of the `` You are Leaving Kansas '' billboard . She stares hard at it through the windshield . Suddenly , she hits the gas and bolts off along the Oklahoma blacktop . She never looks back .</scene_description> </scene> <scene> <stage_direction>INT. BETTY'S LESABRE - THE NEXT DAY</stage_direction> <scene_description>Betty yawns , looks at her watch and increases her speed . When she sees a sign for a MOTEL ahead , she pulls off the highway .</scene_description> </scene> <scene> <stage_direction>EXT. TRUCK STOP/MOTEL - DAY</stage_direction> <scene_description>She parks at a truck stop/restaurant/motel complex , hops out and runs to the motel office window .</scene_description> </scene> <scene> <stage_direction>INT. TRUCK STOP - MOTEL ROOM - DAY</stage_direction> <scene_description>Betty enters her room , immediately turns on the TV , and plops down on the bed .</scene_description> <character>VOICE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>And now we return to `` A Reason to Love.''</dialogue> </scene> <scene> <stage_direction>EXT. TRUCK STOP/MOTEL PARKING LOT - SAME TIME</stage_direction> <scene_description>A crowded truck stop in the Texas flatlands . THREE TRUCK DRIVERS in jeans , flannel shirts and denim jackets walk across the parking lot . One is an old , grizzled veteran with a salt - and - pepper stubble and a greasy CAT cap on his head . It 's CHARLIE . Next to him is DUANE , a burly young driver in fancy cowboy boots . Flanking Duane is WESLEY .</scene_description> <character>WESLEY</character> <dialogue>So you got Asian women?</dialogue> <character>DUANE</character> <parenthetical>( Southern accent . )</parenthetical> <dialogue>Sure, I got Asian. Got black, white, any color you like, video and magazine. Got fat chicks and animals too, if you want'em. They're extra.</dialogue> <character>CHARLIE</character> <dialogue>Mmmm. Well, it was a piece of luck running into you, Duane. I thought I was gon na have to take Wesley out and hose him down. All he talks about is those Japanese gals.</dialogue> <character>WESLEY</character> <dialogue>I like'em small. When you're inside a little Asian chick, it's like your dick is the axle that holds her body together.</dialogue> <character>DUANE</character> <dialogue>That's nicely put. You outta get yourself to Thailand.</dialogue> <scene_description>They reach Duane 's truck , an empty car - carrier with Michigan plates , and climb up into the cab .</scene_description> </scene> <scene> <stage_direction>INT. DUANE'S TRUCK - DAY</stage_direction> <scene_description>Two Confederate flags criss - cross over Duane 's CB unit . On the dashboard is a Rebel flag pin , a bumper sticker that says `` The South Will Rise Again '' and a dozen country music tapes . Duane gets in the sleeper cab , where stacks of porno tapes and magazines reach the ceiling . Wesley takes the driver 's seat , Charlie , the passenger seat .</scene_description> <character>CHARLIE</character> <dialogue>What part of Dixie are you from, Duane?</dialogue> <character>DUANE</character> <dialogue>Georgia. In case I did n't tell you, it's cash only, gentlemen.</dialogue> <character>WESLEY</character> <dialogue>We can live with that.</dialogue> <character>CHARLIE</character> <dialogue>I'm a Yankee, myself. Massachusetts.</dialogue> <scene_description>Duane passes two videos to Wesley .</scene_description> <character>DUANE</character> <dialogue>Here's Ghengis Kunt and The Demilitarized Zone. Get it?</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>They're Korean, so they're pretty hot.</dialogue> <character>CHARLIE</character> <dialogue>You know, it's interesting. The South lost the Civil War, but they still seem to get all the glory.</dialogue> <character>DUANE</character> <dialogue>Huh?</dialogue> <character>CHARLIE</character> <dialogue>Jeb Stuart, Stonewall Jackson, Jefferson Davis - they're all losers in my book.</dialogue> <scene_description>Charlie smiles . Duane stops digging through the videotapes .</scene_description> <character>DUANE</character> <dialogue>The fuck you talking about?</dialogue> <character>CHARLIE</character> <dialogue>Even Robert E. Lee was a loser.</dialogue> <character>DUANE</character> <parenthetical>( to Wesley . )</parenthetical> <dialogue>He goin' crazy on us, or what?</dialogue> <character>CHARLIE</character> <dialogue>Did you know the most brutal, inhumane prison of the entire war was in Georgia?</dialogue> <character>DUANE</character> <dialogue>Really. And where was that, old man?</dialogue> <character>CHARLIE</character> <dialogue>Andersonville.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>They did horrible things to men there.</dialogue> </scene> <scene> <stage_direction>INT. CHLOE'S APARTMENT - NIGHT - (ON TV SCREEN)</stage_direction> <scene_description>Chloe is curled up on her white leather sofa , cowering as Lonnie hovers over her accusingly .</scene_description> <character>LONNIE</character> <dialogue>I think you better tell me what's going on here, Chloe.</dialogue> <character>CHLOE</character> <dialogue>I just feel. funny about what we did.</dialogue> <character>LONNIE</character> <parenthetical>( laughs . )</parenthetical> <dialogue>You feel guilty? Let me remind you of something, sweetheart. You're in this up to those fabulous eyes of yours. Understand?</dialogue> <scene_description>The camera holds on her face for a melodramatic beat . Chloe 's trapped , and she knows it . PULL BACK to reveal Betty lying on the bed in her motel room , out cold .</scene_description> </scene> <scene> <stage_direction>INT. DUANE'S TRUCK - LATER</stage_direction> <scene_description>The flag poles over the CB unit are bare . Duane is in the sleeper cab , his forearms bound to his thighs with duct tape . A telltale piece of Confederate red fabric hangs out of his mouth . There is a purplish bruise on his forehead . He 's quiet , but glowering at his captors .</scene_description> <character>CHARLIE</character> <dialogue>So, at a rest stop outside Logansport you noticed that two guys were slipping something extra in one of your cars, and you decided to see what it was. Then you figured you'd take this valuable commodity and go into business yourself, even though it did n't belong to you. But you needed a crackerjack salesman to move it, so you made the biggest mistake of your short life and chose Del.. Sound right so far?</dialogue> <scene_description>Duane nods .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Del's dead, by the way. I sent him to the Great Beyond.</dialogue> <character>WESLEY</character> <dialogue>Actually, I scalped him, and then you killed him.</dialogue> <scene_description>Duane narrows his eyes in disbelief .</scene_description> <character>CHARLIE</character> <dialogue>Exactly.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Now, the one thing I do n't get is that we checked all the Buicks on that lot. Four'97 LeSabres and nothing in'em.</dialogue> <scene_description>Duane smiles mockingly .</scene_description> <character>CHARLIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Ohhh. There were n't four, were there?</dialogue> <scene_description>Charlie reaches up above the visor and pulls down a rumpled manifest . He leafs through it .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>There were five, damn it! I should have known! Goddamn.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>So, what happened to the fifth car?</dialogue> <scene_description>Duane shrugs his shoulders .</scene_description> <character>CHARLIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You know you're going to die, do n't you, Duane?</dialogue> <parenthetical>( Duane nods . )</parenthetical> <dialogue>And you really do n't know where that other LeSabre is, do you?</dialogue> <scene_description>Duane shakes his head . Charlie sighs , resigned .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>He's telling the truth. He does n't know.</dialogue> <character>WESLEY</character> <dialogue>Should I kill him now?</dialogue> <character>CHARLIE</character> <dialogue>Wait. Any last words, General Lee?</dialogue> <scene_description>Duane nods emphatically . Wesley pulls the Confederate flags out of his mouth .</scene_description> <character>DUANE</character> <dialogue>Suck my dick, you Yankee piece of shit.</dialogue> <scene_description>He spits in Wesley 's face . Charlie has to restrain Wesley .</scene_description> <character>CHARLIE</character> <dialogue>God, I admire that. Ya see that, Wesley? That's why they get all the glory.</dialogue> <scene_description>Charlie climbs down from the big rig and heads across the parking lot . The Town Car is parked near the adjacent motel , just a few spaces away from Betty 's LeSabre . With a furious calm Wesley wipes his face , then takes out a can of lighter fluid , sets it on the dash and looks at Duane .</scene_description> <character>WESLEY</character> <dialogue>why'd you spit on me?</dialogue> </scene> <scene> <stage_direction>EXT. TRUCK STOP/MOTEL PARKING LOT - DUSK</stage_direction> <scene_description>Charlie pulls the Town Car alongside Duane 's rig and drums the steering wheel impatiently . It begins to rain . There are flashes of LIGHTNING in the distance .</scene_description> <character>CHARLIE</character> <dialogue>Come on, Wesley, three shots.</dialogue> <scene_description>A FLASH OF ORANGE FLAME ignites inside Duane 's cab . Charlie sighs . Finally , THREE DULL THUDS reverberate from inside . Wesley climbs down clutching a videotape and gets in the car .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What the hell was that, another statement?</dialogue> <character>WESLEY</character> <dialogue>Well, no one ever spit in my face before. Especially some cracker fuck.</dialogue> <character>CHARLIE</character> <dialogue>You have to rise above it. The professionals rise above that kind of thing.</dialogue> <scene_description>As they drive away FLAMES are beginning to dance inside the cab .</scene_description> </scene> <scene> <stage_direction>INT. TRUCK STOP/MOTEL ROOM - EVENING</stage_direction> <scene_description>The FLICKERING LIGHT of the TV screen is the only light . Betty lies asleep on the bed . The NEWS comes on and she starts to stir as .</scene_description> <character>NEWSCASTER</character> <dialogue>small town of Fair Oaks. has left people shaken. owner - manager of Sizemore Motors.</dialogue> <scene_description>Betty sits up . On the TV screen is a shot of Del as Julius Caesar from one of his commercials .</scene_description> <character>NEWSCASTER</character> <parenthetical>( cont'd. ) .</parenthetical> <dialogue>police are still investigating.</dialogue> <scene_description>She blinks at the screen , confused , as the next story comes on . Betty reaches for the phone .</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION - EVENING</stage_direction> <scene_description>Ballard is doing paperwork . Roy is asleep on a nearby bench . A DEPUTY picks up a ringing phone and hands it to Ballard .</scene_description> <character>DEPUTY</character> <dialogue>Sheriff, it's Betty Sizemore, on two!</dialogue> <character>BALLARD</character> <dialogue>SHHH!</dialogue> <parenthetical>( Whispering . )</parenthetical> <dialogue>BETTY? WHERE ARE YOU?</dialogue> </scene> <scene> <stage_direction>INT. TRUCK STOP/MOTEL ROOM - ON BETTY</stage_direction> <character>BETTY</character> <dialogue>I'm in a motel. Has something happened to Del? Did he do something stupid?</dialogue> <character>BALLARD</character> <parenthetical>( V.O . )</parenthetical> <dialogue>BETTY, I NEED TO TALK TO YOU. IN PERSON! WHERE'RE YOU AT?</dialogue> <character>BETTY</character> <dialogue>IF THIS IS ABOUT DEL, FORGET IT! I'M NOT COMING BACK!</dialogue> <character>BALLARD</character> <parenthetical>( V.O . )</parenthetical> <dialogue>GODAMMIT, BETTY! WHO'S CHLOE?</dialogue> <character>BETTY</character> <dialogue>I'M THROUGH TALKING NOW! GOODBYE!</dialogue> <scene_description>She hangs up . HEADLIGHTS sweep across the curtains , startling her .</scene_description> </scene> <scene> <stage_direction>INT. BETTY'S LESABRE - MOVING - DAY</stage_direction> <scene_description>Betty crosses the border from Texas into New Mexico . She grips the wheel intently , driving for all she 's worth .</scene_description> </scene> <scene> <stage_direction>EXT. FAIR OAKS TRAILER PARK - LATE AFTERNOON</stage_direction> <scene_description>Betty 's blue Corsica sits surrounded by yellow police tape . Half a dozen COPS mill around . To one side are several REPORTERS and PHOTOGRAPHERS , Roy included . A FEW RESIDENTS mill around in the background . A stack of pictures of Betty sit on a makeshift table .</scene_description> <character>REPORTER #1</character> <dialogue>Who witnessed Ms. Sizemore driving here?</dialogue> <character>BALLARD</character> <dialogue>The Assistant Manager, Mr. Wylie.</dialogue> <character>REPORTER #2</character> <dialogue>But he could n't identify the male passenger?</dialogue> <character>BALLARD</character> <dialogue>Only to say he was wearing green.</dialogue> <character>ROY</character> <dialogue>What if the killers did n't see her? You published her picture - you're gon na get her killed!</dialogue> <character>BALLARD</character> <dialogue>No, we're bringing the community into the effort to find her.</dialogue> <character>ROY</character> <dialogue>You're lying!</dialogue> <character>BALLARD</character> <dialogue>I spoke to Betty Sizemore yesterday.</dialogue> <parenthetical>( the reporters hush . )</parenthetical> <dialogue>That's right. There's no doubt in my mind, folks. she's on the run. Whether or not she's mixed up in all this remains to be seen.</dialogue> <character>ROY</character> <dialogue>That's bullshit, Sheriff! You think she's a suspect!</dialogue> <character>BALLARD</character> <dialogue>I'd like to apologize for our local boy. He's been in love with Betty since the fifth grade, y ` see. He means well, but he's in over his head on this.</dialogue> </scene> <scene> <stage_direction>INT. TIP TOP DINER - NEXT MORNING</stage_direction> <scene_description>CLOSE SHOT of a headline in the Wichita Eagle : `` EYE WITNESS TO BRUTAL MURDER MISSING '' over a picture of Betty . Charlie is one of MANY CUSTOMERS reading a copy . Wesley is plowing through a stack of pancakes .</scene_description> <character>WESLEY</character> <dialogue>So how do we know that car's still in Fair Oaks?</dialogue> <character>CHARLIE</character> <dialogue>We do n't. But a'97 Le Sabre'll be easy to find if it's here, town this size.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>He said he gave his wife some car as a gift, remember?</dialogue> <scene_description>Charlie turns the page for emphasis and studies Betty 's features .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>This is bad, Wesley. Very, very bad.</dialogue> <scene_description>Wesley happily adds three strips of bacon brought by A WAITRESS , who wears a button with the word `` Missing '' over Betty 's face .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>extremely bad.</dialogue> <scene_description>Wesley finally looks up , directly at the picture of Betty .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Did you hear what I said?</dialogue> <scene_description>Wesley nods , his mouth stuffed with food .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Maybe you do n't appreciate the gravity of this situation. It's bad enough that we do n't have what we came here for. It's worse that we do n't know where it is. And now this.</dialogue> <parenthetical>( points at the headline . )</parenthetical> <dialogue>This was supposed to be my last job. I already put the deposit down on my boat.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>How can you eat at a time like this? I get nauseous just watching you.</dialogue> <character>WESLEY</character> <dialogue>I can eat because I know we did n't kidnap that woman. I can eat because they are n't looking for us. And I can eat'cause I'm fucking hungry.</dialogue> <parenthetical>( off Charlie 's look . )</parenthetical> <dialogue>. relax. She's gon na end up on a milk carton and that's about it.</dialogue> <character>CHARLIE</character> <dialogue>I hope you're right.</dialogue> <character>WESLEY</character> <dialogue>I know I am. Let's just do what we got ta do here, and get the fuck gone.</dialogue> <scene_description>They sit for a moment in silence . Wesley swallowing without chewing and Charlie studying Betty 's photo .</scene_description> <character>CHARLIE</character> <dialogue>She got out of town awfully fast. And was n't she quiet in that house? I think most women would have screamed, do n't you? I know they would've.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>We could be dealing with a cunning, ruthless woman.</dialogue> </scene> <scene> <stage_direction>INT./EXT. SUE ANN'S HOUSE - DAY</stage_direction> <scene_description>Sue Ann opens her front door to find Wesley standing before her . It 's a new Wesley : glasses , conservative suit , and a convincingly humble manner .</scene_description> <character>WESLEY</character> <dialogue>Mrs. Rogers? I'm Dwight Campbell, with Neighborly Life Insurance. I'm looking for Betty Sizemore.</dialogue> <character>SUE ANN</character> <dialogue>I wish I could help you, but I ca n't.</dialogue> <scene_description>Wesley is hit by a flying action figure . He does n't flinch . Kids run by .</scene_description> <character>WESLEY</character> <dialogue>Are n't they precious?</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Ma'am, she has a substantial death benefit coming to her from the tragic loss of her husband. Does she have any relatives in the area?</dialogue> <character>SUE ANN</character> <dialogue>No.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Well, her grandparents are down in Oklahoma, but that's it.</dialogue> <character>WESLEY</character> <dialogue>I see. And are you in touch with Mrs. Sizemore?</dialogue> <character>SUE ANN</character> <dialogue>No. But I'm taping her show every day so she can watch it when she comes back.</dialogue> <character>WESLEY</character> <dialogue>Her show?</dialogue> <character>SUE ANN</character> <dialogue>`` A Reason to Love.''</dialogue> <scene_description>Wesley 's eyes light up . He ca n't help himself .</scene_description> <character>WESLEY</character> <dialogue>I see.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Did Chloe testify?</dialogue> <character>SUE ANN</character> <parenthetical>( reassuring . )</parenthetical> <dialogue>I do n't think she will. She's a slut, but I just do n't think she's that mean. Jasmine'll bring her around.</dialogue> <character>WESLEY</character> <dialogue>Jasmine. Do you have yesterday's show on tape, by any chance?</dialogue> <scene_description>Sue Ann holds the door open , smiling , and Wesley enters .</scene_description> </scene> <scene> <stage_direction>INT. TIP TOP DINER - KANSAS - DAY</stage_direction> <scene_description>Charlie nurses a cup of coffee at the counter while talking to Darlene . His Federal Marshall 's badge rests on the counter . Shehands him two photos of Betty taken at her birthday celebration . In one she 's holding the cardboard David Ravell . The other , a closeup shot .</scene_description> <character>CHARLIE</character> <dialogue>and how long did she work here?</dialogue> <character>DARLENE</character> <dialogue>Oh, five years, give or take.</dialogue> <character>CHARLIE</character> <dialogue>Hmm. you two in high school together?</dialogue> <character>DARLENE</character> <dialogue>Are n't you a sweetheart. no, not quite. Anyway, she's been with us awhile.</dialogue> <character>CHARLIE</character> <dialogue>But she wanted more out of life, right?</dialogue> <character>DARLENE</character> <dialogue>No. she just wanted something outta life. Anything. And with Del, she was n't getting nothing. That's her husband, Del.. I'm sorry about what happened and all, but that's the way I feel about all of this.</dialogue> <character>CHARLIE</character> <dialogue>I see.</dialogue> <parenthetical>( holding up photos . )</parenthetical> <dialogue>May I?</dialogue> <character>DARLENE</character> <dialogue>If it helps bring her back, be my guest.</dialogue> <character>CHARLIE</character> <dialogue>Thank you for your cooperation.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Just one more thing. did she ever talk about getting rich?</dialogue> <character>DARLENE</character> <dialogue>who does n't?</dialogue> <scene_description>Darlene tries to smile and returns to the kitchen . Charlie studies the snapshots , comparing them .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT/BEDROOM - DAY</stage_direction> <scene_description>Wesley is in bed on top of Joyce , humping her slowly .</scene_description> <character>WESLEY</character> <dialogue>and what kind of car does she drive?</dialogue> <character>JOYCE</character> <dialogue>Well, she wanted a LeSabre, but Del made her use that blue Corsica.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>So, is this what you boys'd call ` pumping me for information?'</dialogue> <scene_description>Joyce GIGGLES as Wesley stops moving .</scene_description> <character>WESLEY</character> <dialogue>Did you say LeSabre?</dialogue> <character>JOYCE</character> <dialogue>Look, she did n't kill Del over no car if that's what you're thinking.</dialogue> <character>WESLEY</character> <dialogue>But she could have taken one, right?</dialogue> <scene_description>With her knees , Joyce prods him into humping her again .</scene_description> <character>JOYCE</character> <dialogue>Maybe, but I do n't think she had the nerve. I know her. And I'm a pretty good judge of character.</dialogue> <scene_description>Joyce reaches for a cigarette on the nightstand and takes a deep drag . Wesley closes his eyes and turns away , offended .</scene_description> <character>WESLEY</character> <dialogue>yeah, I can see that.</dialogue> </scene> <scene> <stage_direction>EXT. DESERT ROAD - WILLIAMS, ARIZONA - DAY</stage_direction> <scene_description>Betty drives along a lonely stretch of highway that slowly reveals a desert town in the distance .</scene_description> </scene> <scene> <stage_direction>INT. CANYON RANCH BAR - DAY</stage_direction> <scene_description>Big ol' place . Lots of wood and red leather . Betty rushes in as the clock on the wall reads 2:58 . The Town Drunk , MERLE , is alone at the bar watching `` Bass Masters '' on a huge TV screen . In front of him is a remote control . A FEW OTHERS at tables . Betty sidles up to the bar and sits down . She looks at Merle , at the clock , at the remote .</scene_description> <character>BETTY</character> <dialogue>Would you mind very much if I changed the channel at three o'clock?</dialogue> <character>MERLE</character> <dialogue>Yes.</dialogue> <scene_description>He BURPS , then finally looks at her with bleary eyes .</scene_description> <character>BETTY</character> <dialogue>Please? It's very important to me. `` A Reason to Love'' comes on at three around here.</dialogue> <scene_description>He ignores her . Betty puts her wallet on the bar .</scene_description> <character>BETTY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I'll give you money.</dialogue> <scene_description>Merle SLAMS his hand down on the bar , scaring her .</scene_description> <character>MERLE</character> <dialogue>ARE YOU DEAF?!</dialogue> <scene_description>It 's 3:01 . ELLEN DRABER , 40 's , appears behind the bar , looks at the clock and takes the remote from Merle . She changes the channel to `` A Reason to Love '' as the opening titles end . Betty ca n't believe it . Merle smiles at her wickedly .</scene_description> <character>MERLE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Please keep it down, it's time for `` A Reason to Love.''</dialogue> <character>BETTY</character> <dialogue>That's real funny. Why do n't you have another drink?</dialogue> <character>ELLEN</character> <dialogue>What's the matter here?</dialogue> <character>BETTY</character> <dialogue>I begged him to let me put that on!</dialogue> <character>ELLEN</character> <dialogue>He's a prick. Merle? You're a prick.</dialogue> <scene_description>MERLE grunts in reply . Ellen turns back to Betty .</scene_description> <character>ELLEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>So you're into `` Reason,'' too? Finally, someone civilized! I'm Ellen, what can I get you?</dialogue> <character>BETTY</character> <dialogue>Hi, I'm Betty. I'll take a Miller, if you got it.</dialogue> </scene> <scene> <stage_direction>INT. CHLOE'S APARTMENT - DAY (ON TV SCREEN)</stage_direction> <scene_description>Chloe paces in front of her white sofa , a matching white telephone in her hand . She looks worried .</scene_description> <character>ELLEN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>What's that bitch up to now?</dialogue> <scene_description>We hear the BEEP TONE of an answering machine .</scene_description> <character>CHLOE</character> <dialogue>Lonnie? It's Chloe. We need to talk. I do n't think I can go through with this.</dialogue> <scene_description>She hangs up . The camera stays on her for a melodramatic beat of introspection as we GO TO COMMERCIAL .</scene_description> </scene> <scene> <stage_direction>INT. CANYON RANCH BAR - RETURN TO BAR</stage_direction> <character>BETTY</character> <dialogue>Do you have a phone?</dialogue> <scene_description>Ellen swings a phone up onto the bar .</scene_description> <character>ELLEN</character> <dialogue>If it's long distance you can leave me a buck when you're done.</dialogue> <scene_description>Betty dials .</scene_description> <character>BETTY</character> <dialogue>Sue Ann? It's Betty. I just wanted to let you know I'm okay. Huh? I'm at the Canyon Ranch Bar in.</dialogue> <parenthetical>( looks at Ellen . )</parenthetical> <dialogue /> <character>MERLE</character> <dialogue>Phoenix.</dialogue> <character>ELLEN</character> <dialogue>Shut up, Merle. Williams.</dialogue> <character>BETTY</character> <dialogue>Williams, Arizona. About halfway there, I guess.</dialogue> </scene> <scene> <stage_direction>INT. SUE ANN'S HOUSE - DAY</stage_direction> <scene_description>Sue Ann is in her kitchen , ignoring the pleas of all three children .</scene_description> <character>SUE ANN</character> <dialogue>Halfway where? You've got ta come home. We've been worried sick about you. Are you alright?</dialogue> <character>BETTY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Sue Ann, I thought you of all people would back me up on this, you know what Del's like. How did he take my note?</dialogue> <character>SUE ANN</character> <dialogue>Betty, honey, listen to me. A man came by from Mutual Life Insurance. He says you've got money comin' to you from Del's policy.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Del's life insurance policy - Are you with me?</dialogue> <character>BETTY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What are you talking about?</dialogue> </scene> <scene> <stage_direction>INT. CANYON RANCH BAR - DAY</stage_direction> <scene_description>`` A REASON TO LOVE '' comes back on the TV .</scene_description> <character>BETTY</character> <dialogue>Tell Del I'm sorry. I left so quick, but I need to do this.</dialogue> <character>SUE ANN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Do what?</dialogue> <character>BETTY</character> <dialogue>I got ta go.</dialogue> <character>SUE ANN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Betty! Listen to me! Del is.</dialogue> <scene_description>Betty hangs up .</scene_description> </scene> <scene> <stage_direction>INT. COCKTAIL LOUNGE - NIGHT (ON TV SCREEN)</stage_direction> <scene_description>David is at a bar staring into his drink . Lonnie is with him .</scene_description> <character>LONNIE</character> <dialogue>How you holding up, amigo?</dialogue> <character>DAVID</character> <dialogue>I just wish I knew why she's doing it.</dialogue> <character>LONNIE</character> <dialogue>Yeah. Women are an unsolved mystery.</dialogue> <character>ELLEN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>If that little weasel ever walked in here I would n't serve him.</dialogue> <character>BETTY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I'd slap his face.</dialogue> <character>ELLEN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I'd kick him in the nuts, if I thought he had any.</dialogue> </scene> <scene> <stage_direction>INT. CANYON RANCH BAR - LATER</stage_direction> <scene_description>There are two empty beer bottles in front of Betty . The THEME MUSIC and CLOSING CREDITS of `` A Reason to Love '' are playing . Betty pushes the phone back across the bar .</scene_description> <character>ELLEN</character> <dialogue>Where you headed, Betty?</dialogue> <character>BETTY</character> <dialogue>Los Angeles, California.</dialogue> <character>ELLEN</character> <dialogue>And you called your friend, and she's telling you not to go?</dialogue> <parenthetical>( Betty nods . )</parenthetical> <dialogue>When I went to Europe my friends told me I was crazy.</dialogue> <character>BETTY</character> <dialogue>Europe? The Europe?</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>This is my first time out of Kansas.</dialogue> <character>ELLEN</character> <dialogue>I should call you Dorothy.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>When I left here I went straight to Italy. Everybody told me not to go. But I wanted to go to Rome ever since I saw Audrey Hepburn in `` Roman Holiday,'' and goddamnit, I went.</dialogue> <character>BETTY</character> <dialogue>Did you love it?</dialogue> <character>ELLEN</character> <dialogue>Sure I loved it! It was great.</dialogue> <scene_description>Ellen rinses a few glasses as she talks to Betty .</scene_description> <character>ELLEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Let me tell you something. I got groped by these Tunisian guys who thought I was a slut for wearing shorts, it was hotter than stink the whole time, and I got some kind of weird gum disease from the water. Plus, it ended my marriage -</dialogue> <character>BETTY</character> <dialogue>That's horrible!</dialogue> <character>ELLEN</character> <dialogue>No, he was a toad. Even more of a toad than Merle. I just wear the ring to keep the flies away. Rome was the best thing I ever did, because I DID IT! And I swear to you, it changed me. I've been to Rome, Italy! I sat every morning at the Cafe Sistina and had my cappuccino, and watched the pilgrims walk to mass, and no one can ever take that away from me.</dialogue> <scene_description>Betty leans across the bar conspiratorially . She looks at Merle to make sure he wo n't hear her .</scene_description> <character>BETTY</character> <dialogue>I left my husband two days ago.</dialogue> <character>ELLEN</character> <dialogue>Really?</dialogue> <character>BETTY</character> <dialogue>I'm getting back with my ex - fianc. He proposed to me right around here, so I guess this is just sort of a sentimental stop.</dialogue> <character>ELLEN</character> <dialogue>Wait, I thought you said you'd never been outta Kansas.</dialogue> <character>BETTY</character> <dialogue>Oh. I mean, except for that.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Yep. I'm trading in a car dealer for a heart specialist, so that's pretty good.</dialogue> <character>ELLEN</character> <dialogue>Nice move. Cedars Sinai?</dialogue> <character>BETTY</character> <dialogue>No. Loma Vista.</dialogue> <character>ELLEN</character> <parenthetical>( laughs . )</parenthetical> <dialogue>I s ` pose his name's David Ravell.</dialogue> <character>BETTY</character> <parenthetical>( truly shocked . )</parenthetical> <dialogue>How did you know?</dialogue> <character>ELLEN</character> <dialogue>What's his real name?</dialogue> <character>BETTY</character> <dialogue>Dr. David Ravell.</dialogue> <character>ELLEN</character> <dialogue>You mean. George McCord, the actor?</dialogue> <character>BETTY</character> <dialogue>No, I mean David Ravell. He's a surgeon.</dialogue> <scene_description>Ellen looks at Betty .</scene_description> <character>ELLEN</character> <dialogue>Yeah, I know, we just watched him together, remember? Up there on the TV.</dialogue> <parenthetical>( off Betty 's earnest look . )</parenthetical> <dialogue>Good God Almighty. You're serious. I've heard about people like you.</dialogue> <scene_description>Ellen whistles , wipes the bar down to buy a few seconds . Merle looks over at Betty , then catches Ellen 's eye .</scene_description> <character>ELLEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Piss off, Merle.</dialogue> <parenthetical>( to Betty . )</parenthetical> <dialogue>So how you gon na find him, Betty?</dialogue> <character>BETTY</character> <dialogue>I'll go to the Hospital.</dialogue> <character>ELLEN</character> <dialogue>What if you ca n't find him? What if you get out there, and nothing's the way you thought it was gon na be?</dialogue> <character>BETTY</character> <dialogue>Like Rome?</dialogue> <character>ELLEN</character> <dialogue>Worse.</dialogue> <character>BETTY</character> <dialogue>You made out alright.</dialogue> <character>ELLEN</character> <dialogue>Yeah, but at least I knew Rome was gon na be there when I arrived.</dialogue> <scene_description>Ellen walks to the end of the bar and starts rinsing glasses . After a beat , Betty gets up and moves down close to her .</scene_description> <character>BETTY</character> <dialogue>Ellen, this is the biggest thing I've ever done, but I've got ta do it.</dialogue> <character>ELLEN</character> <dialogue>You take care of yourself then, Betty, and do n't let anybody stop you.</dialogue> <character>BETTY</character> <dialogue>To tell you the truth, I ca n't believe I've made it this far. It may not be Europe, but I just know there's something special out there for me.</dialogue> <scene_description>Ellen looks into Betty 's eyes - sees the innocence , the hope and enthusiasm - and has to look away . Betty takes it as her cue to leave . She smiles , puts two dollars on the bar near the phone and leaves . Ellen stands perfectly still , watching the door .</scene_description> <character>MERLE</character> <dialogue>What planet is she from?</dialogue> </scene> <scene> <stage_direction>INT. BETTY'S LESABRE - GRAND CANYON - MOVING - DAY</stage_direction> <scene_description>Betty approaches the GRAND CANYON , driving slowly along the South Rim , searching for a specific spot . Finally , she pulls over abruptly . This is it . We can tell by the joy in her expression .</scene_description> </scene> <scene> <stage_direction>EXT. GRAND CANYON - DAY</stage_direction> <scene_description>Betty walks to the rail and gazes out at the canyon . Turning her head slowly , as if expecting it , she sees DAVID RAVELL leaning on the rail about twenty feet away , clutching a bouquet of roses . Betty starts toward him . he starts toward her . A magic moment . Shattered when a black sedan appears , inching its way along . She freezes . David vanishes , and . An ELDERLY MAN helps his wife out of the car and snaps her picture in front of the canyon . Betty moves away .</scene_description> </scene> <scene> <stage_direction>INT. LINCOLN TOWN CAR - KANSAS - MOVING - NIGHT</stage_direction> <scene_description>Charlie and Wesley drive across Kansas farm country .</scene_description> <character>CHARLIE</character> <dialogue>So she gets rid of the asshole and is set for life in the same day.</dialogue> <character>WESLEY</character> <dialogue>You think so? Joyce says she's timid.</dialogue> <character>CHARLIE</character> <dialogue>Joyce was screwing Del..</dialogue> <character>WESLEY</character> <dialogue>among others.</dialogue> <character>CHARLIE</character> <dialogue>I'd say that about torches her credibility, would n't you?</dialogue> <character>WESLEY</character> <dialogue>Yeah, well, if the wife's trying to sell it she'll fuck up. She's an amateur, just like Del was.</dialogue> <scene_description>The CAR PHONE RINGS . Charlie answers .</scene_description> <character>CHARLIE</character> <dialogue>Maybe.</dialogue> <parenthetical>( into phone . )</parenthetical> <dialogue>Yes?</dialogue> <character>SUE ANN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Is this Neighborly Life Insurance?</dialogue> <character>CHARLIE</character> <dialogue>Sorry, you've got the wrong number.</dialogue> <scene_description>He hangs up .</scene_description> <character>CHARLIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>No, I see Betty as a Midwestern Stoic type. Ice water in her veins. A clear thinker. Probably a Swede or a Finn.</dialogue> <character>WESLEY</character> <dialogue>A ` Finn?' What is a Finn?</dialogue> <character>CHARLIE</character> <dialogue>You should read more. Listen to me. I think this woman was waiting for a chance to do this, and we gave it to her. She kept to herself for years, living with a pompous asshole. Then she sees her opportunity, and BOOM! - she leaves that little mudpatch in the dust. These heartlanders ca n't figure it out,'cause that's not their sweet little Betty. Hah! We've been tracking her for, what, three days and I already understand her better'n most the people in that shitty little burg.</dialogue> <scene_description>Charlie pulls out the close - up photo and studies it .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Betty, Betty, Betty.</dialogue> <character>WESLEY</character> <dialogue>So what the fuck's a Finn?</dialogue> <character>CHARLIE</character> <dialogue>Oh, for Chrissakes. It just means the kind of person who can eat shit for a long time without complaining, then cut their momma's throat and go dancing the same night.</dialogue> <character>WESLEY</character> <dialogue>Like. us?</dialogue> <character>CHARLIE</character> <dialogue>No,. like a worthy adversary, Wesley. Like a very worthy adversary.</dialogue> </scene> <scene> <stage_direction>INT. ROY'S APARTMENT - DAY</stage_direction> <scene_description>Roy approaches his fish tank cautiously . He leans down and looks at the piranha as a TV commercial ends and `` A Reason to Love '' comes on . He then returns to his computer , struggling to find the right words and to type them with only one hand . He types a little , stares at the screen , then deletes an entire sentence one character at a time , hammering on the ` Delete ' key . He glances up at the television as the words ` Chloe ' and ` Lonnie ' are repeated .</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION - BALLARD'S OFFICE - THE NEXT DAY</stage_direction> <scene_description>Roy and Sue Ann go straight to Ballard 's office , where they find him at his desk eating lunch out of tupperware containers . He wears a napkin tucked into his shirt - top .</scene_description> <character>BALLARD</character> <dialogue>What the hell do you want? Hey, Sue Ann, what's up?</dialogue> <character>ROY</character> <dialogue>We think we know where Betty is.</dialogue> <character>BALLARD</character> <dialogue>Ah, shit. Do I have to hear this now?</dialogue> <character>SUE ANN</character> <dialogue>What's with the tupperware, Elden, did Meredith run outta baggies?</dialogue> <character>BALLARD</character> <dialogue>No reason to get a plate dirty.</dialogue> <character>ROY</character> <dialogue>I see you're sticking to the diet Betty put you on.</dialogue> <character>BALLARD</character> <dialogue>Worry about your own goddamn lunch!</dialogue> <character>ROY</character> <parenthetical>( excited ; to Sue Ann . )</parenthetical> <dialogue>Tell him what you told me.</dialogue> <character>SUE ANN</character> <dialogue>Betty is a big, big fan of the soap opera, `` A Reason to Love.'' Look.</dialogue> <scene_description>She tosses a copy of `` Soap Opera Digest '' on the desk . Ballard ignores it and keeps eating .</scene_description> <character>BALLARD</character> <dialogue>Why do I need to see this? Did he ask you to?</dialogue> <character>ROY</character> <dialogue>Listen! I saw ` Chloe' and ` Lonnie' on T.V. They're television characters.</dialogue> <character>SUE ANN</character> <dialogue>Betty's in love with Dr. David Ravell, from the show. What if she's out in Los Angeles looking for him? The actor, I mean.</dialogue> <character>BALLARD</character> <dialogue>That's the dumbest thing I've ever heard.</dialogue> <character>ROY</character> <dialogue>Yeah? Well, she called Sue Ann yesterday from Arizona.</dialogue> <character>BALLARD</character> <dialogue>She said she was in Arizona, did she?</dialogue> <character>ROY &amp; SUE ANN</character> <dialogue>Yes!</dialogue> <character>BALLARD</character> <dialogue>You people are even more stupid than I thought. The woman's on the run and she's gon na just phone in her location?</dialogue> <character>SUE ANN</character> <dialogue>Come on, Elden, she's not on the run. Could n't you at least call the Los Angeles Police Department?</dialogue> <character>ROY</character> <dialogue>You got ta do that much.</dialogue> <character>BALLARD</character> <dialogue>Hey, I'm the law. I do n't got ta do nothing.</dialogue> </scene> <scene> <stage_direction>EXT. FARMHOUSE - OKLAHOMA - DAY</stage_direction> <scene_description>The Lincoln pulls into the dusty , overgrown driveway and front yard of a derelict farm .</scene_description> </scene> <scene> <stage_direction>INT. FARMHOUSE / KITCHEN - DAY</stage_direction> <scene_description>The remains of pie and coffee on the table , Charlie and Wesley kick back with JERROLD BLAINE and his wife ELIZABETH , both in their 80 's . Photos of Betty at various ages lie scattered in front of them . Charlie holds up a picture of a young Betty in ballerina costume posing at the barre . He studies it intently .</scene_description> <character>ELIZABETH</character> <dialogue>This is Betty at twelve.</dialogue> <character>CHARLIE</character> <dialogue>Very graceful. Perfect form.</dialogue> <character>ELIZABETH</character> <dialogue>Betty was a lovely child.</dialogue> <character>JERROLD</character> <dialogue>And she always had such spirit! But, after her mother died.</dialogue> <character>WESLEY</character> <dialogue>Would you say she was ambitious?</dialogue> <character>JERROLD</character> <dialogue>Oh, there's no tellin' what that girl could've accomplished, and she never had it easy. Never really had a childhood. caring for her father, going to school.</dialogue> <scene_description>Charlie admires a photo of Betty , around 18 years old . He continues to rummage through a box of collectibles , pocketing a small child 's diary when it is convenient .</scene_description> <character>CHARLIE</character> <dialogue>Wise beyond her years, I'm sure, and such poise, too.</dialogue> <parenthetical>( quietly . )</parenthetical> <dialogue>Very, very impressive.</dialogue> <character>WESLEY</character> <dialogue>Well, then, did you ever get any indication that she wanted to leave her husband?</dialogue> <character>ELIZABETH</character> <dialogue>I do n't like talking bad about the dead, but now that he's gone I can tell you she put up with things in that marriage I would n't have. And yes, she, of all people, was the one who defended him. And that's why what that sheriff said makes me so angry.</dialogue> <character>CHARLIE</character> <dialogue>What do you mean?</dialogue> <character>ELIZABETH</character> <dialogue>If anyone had paid to have that husband of hers killed, it would have been me.</dialogue> <character>CHARLIE</character> <parenthetical>( taking her hand . )</parenthetical> <dialogue>Mrs. Blaine? I can tell you right now, without a doubt, that your granddaughter is alive, and did not kill Del Sizemore.</dialogue> <character>JERROLD</character> <dialogue>You've got to be missing a piece of your soul to kill someone. That's not our Betty.</dialogue> <character>WESLEY</character> <parenthetical>( defensive . )</parenthetical> <dialogue>. why do you think you have to be missing a piece of your soul to kill somebody?</dialogue> <character>JERROLD</character> <dialogue>Because it ai n't natural, young man.</dialogue> <character>WESLEY</character> <dialogue>What are you talking about? Killing's totally natural. It's dying that is n't natural.</dialogue> <character>CHARLIE</character> <parenthetical>( covering . )</parenthetical> <dialogue>My partner's still young, Mr. Blaine, and he loves his job.</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>He'd like to kill all the criminals himself!</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Now, if Betty was running from someone, where do you think she'd go?</dialogue> </scene> <scene> <stage_direction>INT. BETTY'S LESABRE/ EXT. COUNTY USC HOSPITAL - MOVING - AFTERNOON</stage_direction> <scene_description>Betty drives through Boyle Heights - East L.A. , holding a map and checking street signs . She is wearing a brand new Nurse 's uniform . Up ahead , she sees the hillside complex of L.A. County/USC Hospital . Hurriedly , she pulls over and checks herself in the visor mirror . She is underwhelmed .</scene_description> <character>BETTY</character> <dialogue>God. I still look like a waitress.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL - CHIEF NURSE'S OFFICE - AFTERNOON</stage_direction> <scene_description>The CHIEF NURSE , a large , dynamic woman in her 50 's , faces Betty across her desk .</scene_description> <character>CHIEF NURSE</character> <dialogue>Of course, I do n't know every doctor who works here.</dialogue> <character>BETTY</character> <dialogue>Dr. Ravell's the finest surgeon on the staff. You must know him. He's incredibly handsome, gentle, considerate. He's being sued for sexual assault right now, but -.</dialogue> <parenthetical>( Off Chief Nurse 's look . )</parenthetical> <dialogue>It's not true. He was set up.</dialogue> <character>CHIEF NURSE</character> <dialogue>Well, I certainly would have heard about that.</dialogue> <character>BETTY</character> <dialogue>Of course, he's only here two days a week. He's also on staff over at Loma Vista.</dialogue> <character>CHIEF NURSE</character> <dialogue>I do n't think I know that hospital.</dialogue> <character>BETTY</character> <dialogue>It's in a very pretty area that gets a lot of sun, has palm trees out front, mountains in the background.</dialogue> <character>CHIEF NURSE</character> <dialogue>Really? You've just described all of Southern California.</dialogue> <scene_description>The Chief Nurse looks at Betty for a moment , then stands abruptly , signaling the end of the interview .</scene_description> <character>CHIEF NURSE</character> <parenthetical>( cont'd. ) Well , I 'm sorry , but I ca n't even consider you without references or a resume .</parenthetical> <parenthetical>And frankly , I do n't know how you could have forgotten them .</parenthetical> <dialogue /> </scene> <scene> <stage_direction>INT. HOSPITAL / HALLWAY - LATER</stage_direction> <scene_description>On her way down the hall Betty passes a patient 's room when the sound of A PERSON MOANING stops her . She ca n't help but go inside . A TV plays commercials . AN OLDER WOMAN lies in bed , alone and staring at the ceiling . Betty looks around and notices several arrangements of flowers on a deserted nightstand . She brings them over to the older woman 's bedside , positions them , then gently strokes her head .</scene_description> <character>BETTY</character> <dialogue>There. you rest now.</dialogue> <scene_description>The woman 's eyes flutter . She is disoriented at first , then calms as she adjusts to the comforting sight of Betty . Betty takes her hand .</scene_description> <character>OLDER WOMAN</character> <dialogue>Who. who're you?</dialogue> <character>BETTY</character> <dialogue>I'm. I'm Nurse Betty.</dialogue> <scene_description>The woman smiles serenely at this and begins to drift off . Betty checks her monitors as the opening credits of `` A Reason to Love '' begin to play . She glances up at the doorway at the same moment and sees Dr. David Ravell standing at the entrance . He checks the chart on the door , smiles warmly at Betty and then moves off . In a flash , Betty is up and after him . The THEME MUSIC is her private soundtrack as she checks out every man in surgical scrubs , looking for David Ravell . Then . She sees him . In all his glory at the end of a corridor walking away from her . Betty gives chase . She gains steadily on him , her heart racing . As they near Emergency the NOISE LEVEL picks up . He stops at the nurses ' station . Betty closes the gap . She starts to run .</scene_description> <character>BETTY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>DAVID!</dialogue> <scene_description>He turns to face her . It 's not David Ravell .</scene_description> <character>BETTY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Sorry, I thought you were someone else.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Do you know Dr. David Ravell?</dialogue> <scene_description>The man shakes his head . Betty keeps going , looking around : it 's incredible - the size , the activity , the intensity .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - EMERGENCY AREA - SAME TIME</stage_direction> <scene_description>DOZENS OF PATIENTS lie on gurneys awaiting treatment in a holding area . It 's still more intense at the entrance : VOICES talking back and forth urgently , POLICE OFFICERS , CIVILIANS , DOCTORS AND NURSES converging .</scene_description> </scene> <scene> <stage_direction>EXT. HOSPITAL - EMERGENCY AREA - LATE AFTERNOON</stage_direction> <scene_description>FIVE AMBULANCES unload patients at the same time . At that moment a group of TWENTY JAPANESE HOSPITAL ADMINISTRATORS reaches the E.R. portion of their tour . A WHITE MERCEDES tears up the ramp and SCREECHES to a stop . A YOUNG MAN in gang colors is pushed out , bleeding heavily . A DOCTOR runs at the Mercedes to head it off , yelling indignantly . The car plows right into him and takes off . Another ambulance crests the ramp , lights flashing . The Mercedes SLAMS into it head - on . NURSES AND DOCTORS run into the parking lot . A GANGBANGER gets out of the Mercedes , dazed and wobbly . He pulls a pistol . Everyone dives for cover . The Mercedes driver is unconscious . The driver of the smashed up ambulance is slumped over the wheel . The rear doors fly open , and a young Hispanic woman , ROSA HERRERA , leaps out .</scene_description> <character>ROSA</character> <dialogue>SOMEBODY HELP US! PLEASE, SOMEBODY!</dialogue> <scene_description>Doctors and nurses work on patients and try to get to the injured doctor , but the kid with the gun keeps them away . SECURITY GUARDS draw their guns and scream at him to drop it .</scene_description> <character>ROSA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>WHY IS N'T ANYBODY HELPING US?!</dialogue> <parenthetical>( to gunman in Spanish . )</parenthetical> <dialogue>Hey, you little shit! If I had a gun I'd shoot you right now!</dialogue> <scene_description>The loading area is jammed with panicked people . Doctors and nurses creep out of the hospital on all fours , trying to stay low . No one is getting to Rosa , whose frantic eyes find Betty . They look right at each other .</scene_description> <character>ROSA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What are you standing there for?!</dialogue> <scene_description>Betty walks toward her calmly , indifferent to the danger as Rosa pulls the gurney out of the ambulance herself . A PARAMEDIC lies unconscious inside .</scene_description> <character>ROSA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You got ta help him, he's hurt bad!</dialogue> <scene_description>On the gurney is a YOUNG MAN with a chest wound , nearly dead from blood loss . A DOCTOR appears and quickly examines him while keeping one eye on the gunman . He looks up at Betty .</scene_description> <character>DOCTOR #1</character> <dialogue>Forget it! He does n't have a chance. Help us over here.</dialogue> <scene_description>The doctor takes off . Rosa looks at Betty , crying .</scene_description> <character>ROSA</character> <dialogue>Please!</dialogue> <scene_description>Betty hesitates , then checks his pulse - he has none . She peels back the bandages over a huge chest wound .</scene_description> <character>ROSA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Danny, it's gon na be all right!</dialogue> <scene_description>Betty looks at Rosa again ; looks around for help - there 's no one . She plunges her fingers into the wound .</scene_description> <character>ROSA</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( panic . )</parenthetical> <dialogue>What are you doing?</dialogue> <character>BETTY</character> <dialogue>He has no heartbeat!</dialogue> <character>ROSA</character> <dialogue>You're hurting him!</dialogue> <character>BETTY</character> <dialogue>I'm massaging his heart. I saw it done once.</dialogue> <character>ROSA</character> <dialogue>ARE YOU CRAZY?! STOP IT!</dialogue> <character>BETTY</character> <dialogue>LISTEN TO ME! IF I DO N'T DO THIS, HE'S DEAD!</dialogue> <scene_description>She keeps working on him . We hear a GUNSHOT , and the kid with the pistol falls to the pavement . The loading area immediately fills with DOCTORS , NURSES and COPS .</scene_description> <character>BETTY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>All right, we're moving him inside! Give me a hand!</dialogue> <scene_description>Rosa is shocked into motion . Together they wheel Danny toward the entrance . A DOCTOR and TWO NURSES come out to take over . Betty , her white uniform now covered in blood , steps aside .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - EMERGENCY ROOM - LATER</stage_direction> <scene_description>The DOCTOR tries to calm Rosa and keep her from entering the treatment area .</scene_description> <character>ROSA</character> <dialogue>Is he gon na live?</dialogue> <character>DOCTOR</character> <dialogue>He's got a chance. Thanks to what that nurse did.</dialogue> <scene_description>They exit together as AN ADMINISTRATOR and several Japanese officials approach . The Chief Nurse hovers nearby .</scene_description> <character>ADMINISTRATOR</character> <parenthetical>( to Chief Nurse . )</parenthetical> <dialogue>Harriet? Who is that remarkable nurse?</dialogue> <character>CHIEF NURSE</character> <dialogue>That's Betty Sagamore. I hired her today.</dialogue> </scene> <scene> <stage_direction>INT. CHEAP HOTEL - NIGHT</stage_direction> <scene_description>SEVERAL LOW LIFES are hanging out in the lobby . When Betty comes in with a bag of groceries they look up , ready to hassle her as she approaches the DESK CLERK .</scene_description> <character>BETTY</character> <dialogue>May I have my key, please?</dialogue> <scene_description>She puts the bag on the counter , revealing that the front of her white uniform is covered with blood . She smiles at the low lifes , stopping them in their tracks .</scene_description> </scene> <scene> <stage_direction>INT./EXT. MOTEL ROOM - HOUSTON, TEXAS - DAY</stage_direction> <scene_description>The Town Car 's looking a little muddy around the rims . Charlie and Wesley look tired as they wait in a seedy motel room . Charlie sits near a window , reading diary entries aloud . Wesley kicks back on the bed , fast - forwarding through `` Genghis Kunt '' and talking back to the screen .</scene_description> <character>WESLEY</character> <dialogue>Thas' it, thas' it. conquer that bitch.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>What time're they coming?</dialogue> <character>CHARLIE</character> <dialogue>It's not an exact science, Wesley. He said they'll be here. My Houston contact has always been very reliable.</dialogue> <character>WESLEY</character> <dialogue>And then we're gon na do her right here. Right?</dialogue> <character>CHARLIE</character> <dialogue>You're always so coarse. `` Do her right here.'' Let's just see what happens, okay?</dialogue> <parenthetical>( reading . )</parenthetical> <dialogue>`` I wish that I could find a way ; To speak my thoughts on Mother's Day. There are no words that quite express ; My gratitude or happiness. A pleasant smile perhaps a kiss ; I would not fail to give her this. I'd make her glad the whole day through ; By sayin' ` Mother', I love you!' P.S. I wish I could say this to my mother's face, but I ca n't anymore.''</dialogue> <scene_description>Wesley rolls his eyes and turns up the volume . Finally a car pulls up outside and Charlie snaps the book closed . He makes a quick attempt to arrange himself and motions to Wesley , who turns off the tape . A WOMAN with greasy blonde hair and skinny legs shown off by a short skirt comes in with another MAN . Charlie looks her over disgustedly as his face falls .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Who are you?!</dialogue> <parenthetical>( to the man . )</parenthetical> <dialogue>What the. Who the hell is this?</dialogue> <character>MAN #1</character> <dialogue>Easy, Charlie! She's exactly who you said you were looking for.</dialogue> <character>CHARLIE</character> <dialogue>Wait, wait a minute. We have a major miscommunication here. This not Betty. This is not even close to Betty.</dialogue> <character>WOMAN</character> <dialogue>What the fuck're you talking about? My name's Betty.</dialogue> <character>CHARLIE</character> <dialogue>Then I'm sorry. Wrong Betty.</dialogue> <character>WESLEY</character> <dialogue>Let's get out of here. We got another long drive ahead of us.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>. the fuck where I do not know, but I know it's gon na be long.</dialogue> <character>CHARLIE</character> <parenthetical>( gathering his things . )</parenthetical> <dialogue>Betty would never dress like that. She's not some trailer park slut!</dialogue> <character>WOMAN</character> <dialogue>Fuck you!</dialogue> <character>CHARLIE</character> <dialogue>And she does n't have a sewer for a mouth.</dialogue> <character>WESLEY</character> <dialogue>Okay, thank you, goodbye. Keep in touch.</dialogue> <character>CHARLIE</character> <dialogue>She's got class, and poise. Lots of poise.</dialogue> <scene_description>The man looks at Charlie , then at Wesley , who shrugs in reply as he steers them out the door .</scene_description> <character>WESLEY</character> <dialogue>Will you ease off on the ` poise' shit, you're spooking me here.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL - CHIEF NURSE'S OFFICE - DAY</stage_direction> <scene_description>The Chief Nurse sits behind her desk . Betty faces her like a student in the principal 's office , now dressed in her white waitress uniform . She hopes no one notices .</scene_description> <character>CHIEF NURSE</character> <dialogue>What you did yesterday was reckless at best. You are not an employee of this hospital! If that boy dies I do n't even want to think of the lawsuit that'll follow. Are we communicating here?</dialogue> <character>BETTY</character> <dialogue>Yes, ma'am.</dialogue> <character>CHIEF NURSE</character> <dialogue>Good. I'm prepared to offer you a job. You can help out in the pharmacy until your California certification and references arrive, but you are not to touch anyone. Is that totally clear?</dialogue> <parenthetical>( Betty nods . )</parenthetical> <dialogue>Fine.</dialogue> <scene_description>The Chief Nurse gets up , and Betty follows suit .</scene_description> <character>CHIEF NURSE</character> <parenthetical>( cont'd. ) You can start tomorrow .</parenthetical> <parenthetical>And do n't say a word about this to anyone .</parenthetical> <parenthetical>( studying Betty 's uniform . )</parenthetical> <dialogue>Is that issue?</dialogue> <character>BETTY</character> <dialogue>Umm. yes. Back home.</dialogue> <character>CHIEF NURSE</character> <dialogue>Alright. Oh, and one more thing about what you did yesterday. Well done.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL - INTENSIVE CARE UNIT - DAY</stage_direction> <scene_description>Danny Herrera is in bed unconscious . Rosa and her MOTHER are keeping vigil when Betty enters . Rosa jumps to her feet .</scene_description> <character>ROSA</character> <dialogue>Hey, it's Supernurse! Betty, right?</dialogue> <scene_description>Rosa hugs her and tells her mother in Spanish who Betty is .</scene_description> <character>ROSA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>My mother does n't speak English.</dialogue> <scene_description>Sra . Herrera smiles at Betty and starts to cry . As she steps forward , Rosa stands aside . The short , stocky woman envelops Betty in a bearhug .</scene_description> <character>MOTHER</character> <dialogue>No podremos olvidar lo que hizo ayer.</dialogue> <character>ROSA</character> <parenthetical>( translating . )</parenthetical> <dialogue>We ca n't forget what you did yesterday. How can my family ever repay you?</dialogue> <character>BETTY</character> <dialogue>Tell her I was just -</dialogue> <character>MOTHER</character> <dialogue>Yo s que es su empleo, pero.</dialogue> <character>ROSA</character> <dialogue>She does n't care if it was just your job. Danny would be dead now but for you.</dialogue> <scene_description>Sra . Herrera kisses Betty 's hands and smiles through her tears . Then she motions to Rosa to take her place as she goes to Danny 's bedside . Betty picks up Danny 's chart and reads it .</scene_description> <character>ROSA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You do n't sound like you're from here.</dialogue> <character>BETTY</character> <dialogue>I'm not. I just drove in from Kansas.</dialogue> <character>ROSA</character> <dialogue>So why'd you come to L.A?</dialogue> <character>BETTY</character> <dialogue>I came for love. My fianc is here.</dialogue> <character>MOTHER</character> <dialogue>Bravo! Mi hija no hace nada para amor.</dialogue> <character>ROSA</character> <dialogue>You're making me look bad. My mother says I would n't move across the street for love.</dialogue> <character>BETTY</character> <dialogue>It's something I had to do. For David.</dialogue> <character>ROSA</character> <dialogue>` David.' That's your guy. So, you staying with him?</dialogue> <scene_description>THE ICU NURSE enters and adjusts the bank of machines feeding , medicating and monitoring Danny . Betty watches with interest .</scene_description> <character>BETTY</character> <dialogue>No. I do n't really know where he is yet. I'm at a hotel around the corner.</dialogue> <character>ROSA</character> <dialogue>Man, that is love.</dialogue> <character>MOTHER</character> <dialogue>Ella debe quedar contigo.</dialogue> <character>ROSA</character> <dialogue>What? Ahh, Mom says you should stay with me. Okay, yeah, why not?</dialogue> <scene_description>Betty looks at Sra . Herrera curiously .</scene_description> <character>ROSA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You can go get your stuff right now. I'll walk you down.</dialogue> <character>BETTY</character> <dialogue>No, that's not, I could n't.</dialogue> <character>ROSA</character> <dialogue>Listen, when someone does the kind of thing you did, you got ta do something in return. So, you stay with me until you find your David and live happily ever after. Okay?</dialogue> <scene_description>Rosa follows Betty out the door .</scene_description> </scene> <scene> <stage_direction>EXT. ROSA'S APARTMENT - NIGHT</stage_direction> <scene_description>Betty and Rosa make their way up the stairs of a Silverlake apartment house . At the sound of SCREECHING TIRES they both look down as a black Lincoln Town Car drives by . Betty shudders .</scene_description> <character>ROSA</character> <dialogue>You okay? This neighborhood, you get used to it.</dialogue> <scene_description>She nods . Rosa continues to talk as they climb the many stairs that lead to her door .</scene_description> <character>ROSA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I got this apartment with a guy.</dialogue> <character>BETTY</character> <dialogue>The one you were telling me about?</dialogue> <character>ROSA</character> <dialogue>No, this one was worse. I had to have the place sprayed when he left. Twice. He was two guys before the last one - not counting a little office thing in there, which I'm trusting you with,'cause if it gets out, I'm on the street.</dialogue> </scene> <scene> <stage_direction>INT. ROSA'S APARTMENT - SAME TIME</stage_direction> <scene_description>The place is neat . As well furnished as a legal assistant 's salary will allow . The living room is dominated by a large glass tank filled with tropical fish . Betty checks out the space .</scene_description> <character>BETTY</character> <dialogue>It's lovely. I really like your aquarium.</dialogue> <character>ROSA</character> <dialogue>Yeah, well, at least fish do n't use your razor or pee on the seat.</dialogue> <character>BETTY</character> <dialogue>Hmmm. Sounds like you've had a pretty tough go of it with men.</dialogue> <character>ROSA</character> <dialogue>Oh, I dunno. but just once I wish I'd run into a guy who noticed the Koi before my tits.</dialogue> <scene_description>Betty smiles , a little embarrassed .</scene_description> <character>ROSA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>come on, I'll show you your room.</dialogue> </scene> <scene> <stage_direction>EXT. TEXAS HIGHWAY - THE NEXT DAY</stage_direction> <scene_description>The black Lincoln Town Car is parked on a lonely stretch of prairie highway . Wesley sits in the passenger seat with the door open . The RADIO is on . Charlie is on his cell phone nearby .</scene_description> <character>CHARLIE</character> <parenthetical>( into phone . )</parenthetical> <dialogue>No, we do n't know where she is. I understand. No, we'll find her.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>I understand.</dialogue> <scene_description>He hangs up and looks out at the horizon , where huge black storm clouds are gathering . Then he walks slowly to the hood of the car , staring at the ground in front of his feet .</scene_description> <character>WESLEY</character> <dialogue>What'd they say? Can we go back to Detroit?</dialogue> <scene_description>Charlie rests his hands gently on the hood , as if considering buying the car . Wesley 's MUSIC BANGS from the radio .</scene_description> <character>CHARLIE</character> <dialogue>They said find it. Find her, find it. Finish the job you were paid to do.</dialogue> <character>WESLEY</character> <dialogue>Half.</dialogue> <character>CHARLIE</character> <dialogue>What?</dialogue> <character>WESLEY</character> <dialogue>They paid us half. They still owe us half.</dialogue> <character>CHARLIE</character> <parenthetical>( disappointed . )</parenthetical> <dialogue>There it is again. That lousy attitude that got us here in the first place. That `` make a statement,'' do an end zone dance, shake your ass and sue everybody in sight attitude that's dragging this whole country down the drain.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>They do n't owe us shit, Wesley! WHEN YOU FINISH THE JOB, YOU GET PAID! WE HAVE N'T FINISHED THE GODDAMN JOB!</dialogue> <scene_description>Charlie POUNDS on the hood of the car , scaring Wesley .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>That woman could be in any one of four states. Four big states where the deer and the antelope play, Wesley! We're not in Rhode Island!</dialogue> <character>WESLEY</character> <dialogue>I know that.</dialogue> <character>CHARLIE</character> <dialogue>AND TURN THAT FUCKING MUSIC OFF!</dialogue> <scene_description>Wesley switches it off . Charlie turns his back to the car and addresses the angry clouds on the horizon .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Do I deserve this? In the twilight of my career, do I deserve this? I do n't think so! I've always tried to do what's right. I never took out anybody who did n't have it coming. I'm a professional!</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>AND WHERE THE FUCK AM I? I'M IN PURGATORY!</dialogue> <character>WESLEY</character> <dialogue>Worse. you're in Texas.</dialogue> <character>CHARLIE</character> <dialogue>Well, I should be in FLORIDA now! If Carl had n't gone in to get those stones removed, you would n't be here and I'd be on my way to the Keys. On my boat, RELAXING WITH A GLASS OF PORT! Re - ti red!</dialogue> <scene_description>The first raindrops begin to fall .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I'm very tired, Wesley! I've worked hard, and the work should be over, but IT'S NOT! This job is just beginning.</dialogue> <parenthetical>( he turns around . )</parenthetical> <dialogue>GET IN THE CAR!</dialogue> <scene_description>Wesley is in the car , but he 's too scared to tell Charlie , whose eyes are blazing . Charlie silently walks around to the driver 's side and gets in . He and Wesley stare at each other over a photo of Betty , which is between them on the dash . Charlie starts the engine and snatches up the picture .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What're you thinking, girl? What's going on in that pretty little mind of yours? Huh? You can tell me.</dialogue> <scene_description>He paws at the picture , imploringly . He mutters to himself . Wesley shakes his head and stares out .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - PHARMACY - DAY</stage_direction> <scene_description>Betty sits in an office along with a CLERK who taps away at a computer keyboard while she studies a printed list of names .</scene_description> <character>BETTY</character> <dialogue>I ca n't find Loma Vista Hospital.</dialogue> <character>CLERK</character> <dialogue>I never heard of Loma Vista Hospital.</dialogue> <character>BETTY</character> <dialogue>I do n't believe this! You're the second person here who's told me that. That's like Ford saying they never heard of GM!</dialogue> <character>CLERK</character> <dialogue>Try another county.</dialogue> <scene_description>He exits .</scene_description> </scene> <scene> <stage_direction>INT. LAW FIRM - LATER</stage_direction> <scene_description>Rosa is on the phone at her desk in a law office .</scene_description> <character>BETTY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Hey, Rosa. it's Betty. How do you get to this town called ` Tustin?' It's in Orange County.</dialogue> <character>ROSA</character> <dialogue>Tustin? Take the Hollywood Freeway to the Five.</dialogue> <character>BETTY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The Five?</dialogue> <character>ROSA</character> <dialogue>Just look for the really crowded road and follow that.</dialogue> <character>BETTY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Okay. oh, umm, would you mind if I borrowed some clothes?</dialogue> <character>ROSA</character> <dialogue>Huh? Sure, look in my closet, take any dress you want!</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>We're still on for tonight, right?</dialogue> </scene> <scene> <stage_direction>INT. EXAMINING ROOM - LATER</stage_direction> <scene_description>Betty stands in a sexy pink dress , trying to decide if she should put on a hospital gown and waits , tensing each time she hears a voice from the hallway . Finally , the DOORKNOB BEGINS TO TURN . A man 's hand and the bottom of a white sleeve appear . The door swings open and a silver - haired , bespectacled DOCTOR in his mid - 60 's enters . The nametag on his white coat reads `` DAVID RAVELL , M.D. ''</scene_description> </scene> <scene> <stage_direction>INT. NIGHTCLUB - NIGHT</stage_direction> <scene_description>Tasteful jazz , plenty of red leather booths . Betty winds her way through a PACKED CROWD , passing out small white cards . Rosa spots her and goes over to meet her .</scene_description> <character>ROSA</character> <dialogue>You made it! Hey, that looks great on you.'S classy.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>So, how'd it go today? You find him?</dialogue> <character>BETTY</character> <dialogue>Ummm. no, no. Different ` Ravell.'</dialogue> <scene_description>Rosa starts to lead her to the bar .</scene_description> <character>BETTY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You know, the more I think about it, this really is n't David's kind of place.</dialogue> <character>ROSA</character> <dialogue>What are you talking about? This bar is packed with professional people!</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Everybody says if you're going to get married, this is the spot to meet someone. Luckily, I'm currently off men, so I've got the luxury of not giving a shit.</dialogue> <character>BETTY</character> <dialogue>I know what you mean, I recently had some trouble with a man, a different man. and David's still getting over Leslie.</dialogue> <parenthetical>( off Rosa 's look . )</parenthetical> <dialogue>His wife.</dialogue> <character>ROSA</character> <dialogue>He has a wife?!</dialogue> <character>BETTY</character> <dialogue>Had. She died in a car accident last year. She was decapitated.</dialogue> <character>ROSA</character> <dialogue>God, that's awful!</dialogue> <character>BETTY</character> <dialogue>It may not have been an accident. They never did find her head.</dialogue> <character>ROSA</character> <dialogue>Her ` head'?! You're making this up.</dialogue> <character>BETTY</character> <dialogue>No, no! Well, see, she was having an affair with a Russian diplomat who I believe was mixed up with the Mafia.</dialogue> <character>ROSA</character> <dialogue>Jesus, I thought my love life was crazy.</dialogue> <scene_description>LATER Rosa and Betty are sitting in a booth , talking over drinks . The place is a little quieter now .</scene_description> <character>ROSA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>so, we'll hit the library first and fan out from there. They've got all the L.A. phone books, plus medical directories.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>We're not gon na let him hide from you any more, okay? I'm making this my personal mission.</dialogue> <character>BETTY</character> <dialogue>David is n't hiding from me, I left him standing at the altar six years ago and now I'm.</dialogue> <character>ROSA</character> <dialogue>Fuck the details, they're always to blame. Look, too many of these guys duck out on us, especially after they become doctors or lawyers. I see it at my company all day long! So I'm just gon na make sure you get your, you know, fairy tale ending or whatever.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>One of us should.</dialogue> <character>BETTY</character> <dialogue>Rosa, I ca n't believe you're doing all this for me. thank you.</dialogue> <scene_description>Rosa glances over to see Betty pass a business card to A WAITER who checks on them . When he is safely gone , Rosa touches Betty on the sleeve .</scene_description> <character>ROSA</character> <dialogue>Hey, how ` bout a card for me? What is that?</dialogue> <parenthetical>( takes one , reads . )</parenthetical> <dialogue>`` Please call if you have any information on David Ravell.'' This is my phone number! How many of these have you given out?</dialogue> <character>BETTY</character> <dialogue>How many men have I talked to?</dialogue> <character>ROSA</character> <dialogue>Jesus! They're all gon na be calling me!</dialogue> <character>BETTY</character> <dialogue>You said in L.A., anything goes.</dialogue> <character>ROSA</character> <dialogue>I was talking about what you could wear!</dialogue> </scene> <scene> <stage_direction>EXT. DESERT HIGHWAY - THE NEXT DAY</stage_direction> <scene_description>The Town Car 's parked on a barren stretch of desert highway , white smoke billowing from the hood . Half a mile ahead Charlie and Wesley are walking in the sweltering heat . They 're in their shirtsleeves , drenched in sweat as the sun beats down on them .</scene_description> <character>CHARLIE</character> <dialogue>See, in a LeSabre Betty's probably getting twenty - two, maybe twenty - five miles to the gallon, where we're topping out at fifteen.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>She's probably all cool and fresh, and comfortable in that nice air - conditioned car right now.</dialogue> <scene_description>Wesley wipes the sweat from his eyes and trudges on in silence . Charlie takes out a photo of Betty and speaks to it .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You do n't look comfortable here. That's'cause you do n't like being the center of attention, do you? Nah. You're like me.</dialogue> <character>WESLEY</character> <dialogue>What the hell's the matter with you?</dialogue> <scene_description>Wesley grabs the photo , tears it in half and tosses it . Then he starts walking . Charlie is stunned for a moment , but recovers quickly . He finds the pieces and stuffs them in his pocket , then catches up to Wesley .</scene_description> <character>CHARLIE</character> <dialogue>That was a really shitty thing to do.</dialogue> <character>WESLEY</character> <dialogue>I'm sick of looking at her mother - fucking face.</dialogue> <scene_description>A beat . they walk for a moment .</scene_description> <character>CHARLIE</character> <dialogue>Do n't talk like that. She's my last one, Wesley, my final target.</dialogue> <parenthetical>( to photo . )</parenthetical> <dialogue>Do n't you realize your special, that you represent something?</dialogue> <scene_description>This is too much . Wesley explodes .</scene_description> <character>WESLEY</character> <dialogue>What? What does she represent?! What could some cornbread white bitch from Kansas who's dragging our sorry asses up and down the Louisiana Purchase possibly mean to you?! I'd just love to know.</dialogue> <character>CHARLIE</character> <dialogue>I dunno. something.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Why is she doing this to me? Why?</dialogue> <character>WESLEY</character> <dialogue>I do n't know, but when we find her she's gon na die for it.</dialogue> </scene> <scene> <stage_direction>INT. ROADSIDE GARAGE - LATE AFTERNOON</stage_direction> <scene_description>The Lincoln Town Car is raised up high on the hydraulic jack . Wesley is at a pay phone out front .</scene_description> <character>WESLEY</character> <dialogue>Can you describe her to me? Okay. Yeah, that sounds like her. Thanks.</dialogue> <scene_description>He hangs up and goes into the garage , where he addresses the Town Car above him .</scene_description> <character>WESLEY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>They found her in Vegas.</dialogue> <scene_description>No answer .</scene_description> <character>WESLEY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Perfect match on the description.</dialogue> <scene_description>ON CHARLIE Lying across the front seat taping the reassembled photo of Betty to the dash . Charlie 's beginning to come apart . His hair is uncombed and his clothes are wrinkled . His eyes have a thousand - yard stare .</scene_description> <character>WESLEY</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( CONT'D. ) Sounds like she 's with the buyer Del lined up .</parenthetical> <dialogue /> <scene_description>Charlie pulls himself up on the door and looks down .</scene_description> <character>CHARLIE</character> <dialogue>How'd they describe her?</dialogue> <character>WESLEY</character> <dialogue>You know, blonde, thin, whatever.</dialogue> <character>CHARLIE</character> <dialogue>Not so fast! Slower. ` blonde, thin', yes. Did they say she had style? A kind of grace or anything?</dialogue> <scene_description>Wesley rolls his eyes , then goes straight to the levers controlling the hydraulic jack .</scene_description> <character>WESLEY</character> <parenthetical>( to mechanic . )</parenthetical> <dialogue>How do I get this fucking thing down?</dialogue> <character>MECHANIC</character> <dialogue>I would n't if I were you. He got pretty upset when I tried it.</dialogue> </scene> <scene> <stage_direction>INT. LAW OFFICE - A DIFFERENT DAY</stage_direction> <scene_description>MERCEDES LOPEZ , early 40 's , impeccably dressed , enters her office loaded down with a bulging briefcase and a stack of files under her arms . -LRB- The entire scene is in Spanish . -RRB-</scene_description> <character>MERCEDES</character> <dialogue>What do you think my father would do if I told him I did n't want to be a lawyer anymore?</dialogue> <character>ROSA</character> <dialogue>Probably the same thing my mom would do if I got engaged. have a heart attack.</dialogue> <character>MERCEDES</character> <dialogue>So how's it going with your new roomie? What's her name?</dialogue> <character>ROSA</character> <dialogue>Betty. It's O.K. except I'm worn out. We spent all weekend looking for her doctor - boy. How can a big time heart guy leave no trace of himself?</dialogue> <character>MERCEDES</character> <dialogue>So tell her to settle for the old one in Orange County.</dialogue> <character>ROSA</character> <dialogue>She's gon na have to'cause I'm out of ideas.</dialogue> <character>MERCEDES</character> <dialogue>Maybe we're suing him for malpractice. What's his name again?</dialogue> <character>ROSA</character> <dialogue>David Ravell.</dialogue> <character>MERCEDES</character> <dialogue>God, that sounds so familiar. Ravell, Ravell. where's he out of?</dialogue> <character>ROSA</character> <dialogue>I'm not sure now. She said he used to be over at Loma Vista. I never heard of it.</dialogue> <character>MERCEDES</character> <dialogue>Loma Vista?</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>You mean like the guy on `` A Reason to Love?''</dialogue> </scene> <scene> <stage_direction>INT. ROSA'S APARTMENT - LATER</stage_direction> <scene_description>Rosa enters , tosses her purse on the table and goes straight to the VCR . Written in magic marker on a video is `` A Reason to Love , Apr. 23 . '' The tape Sue Ann gave to Betty . She pops it in and turns it on . The OPENING TITLES start . The characters appear . one is an impossibly handsome man over the title `` DOCTOR DAVID RAVELL . ''</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL PHARMACY - LATER STILL</stage_direction> <scene_description>Betty working at a desk in the pharmacy . The same clerk as before busies himself at another counter . Rosa appears at the glass partition and raps urgently on it .</scene_description> <character>ROSA</character> <dialogue>Guess who I saw today.</dialogue> <character>BETTY</character> <dialogue>Who?</dialogue> <character>ROSA</character> <dialogue>Doctor David Ravell.</dialogue> <character>BETTY</character> <dialogue>What? Where was he?!</dialogue> <character>ROSA</character> <dialogue>ON TELEVISION!</dialogue> <parenthetical>( off Betty 's puzzled look . )</parenthetical> <dialogue>Cut the shit, will you!</dialogue> <scene_description>A BEAT . Rosa SLAMS the videotape down on the counter .</scene_description> <character>ROSA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Either you're making a fool out of me because you get off on it, or you got serious problems. Which one is it?!</dialogue> <character>BETTY</character> <dialogue>I have no idea what you're talking about.</dialogue> <character>ROSA</character> <dialogue>I'M TALKING ABOUT DAVID RAVELL!</dialogue> <character>BETTY</character> <dialogue>Shhh! I heard you the first time.</dialogue> <character>ROSA</character> <parenthetical>( suddenly calm . )</parenthetical> <dialogue>I spent my weekend looking for someone who does - not - exist. I should have been here at the hospital with my brother, but I was with you.</dialogue> <character>BETTY</character> <dialogue>If you did n't want to do it, you should have said so! Is this about gas money?</dialogue> <character>ROSA</character> <dialogue>IT'S NOT ABOUT GAS MONEY!</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>You have a thing for an actor on a stupid white soap opera, and we searched all over town for his character! Not the actor - whose name is George, by the way. His character!</dialogue> <scene_description>Rosa stands over Betty , fuming .</scene_description> <character>BETTY</character> <dialogue>Are you having a nervous breakdown?</dialogue> <scene_description>Rosa SCREAMS and smacks her hand on the glass as Betty watches . SEVERAL PEOPLE in a nearby lounge look up . Rosa stares at them until they look away .</scene_description> <character>BETTY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Why'd you help me in the first place?</dialogue> <character>ROSA</character> <dialogue>I helped you because I'm an idiot! Ask my mother, I love it when people take advantage of me! I TRUSTED YOU! I THOUGHT HE WAS REAL!</dialogue> <character>BETTY</character> <dialogue>HE IS REAL!</dialogue> <scene_description>Betty tries to return to her work but Rosa confronts her loudly . The nearby VISITORS and STAFF pretend to be busy .</scene_description> <character>ROSA</character> <dialogue>You need help, Betty! Even if this is your idea of a joke, you need SERIOUS HELP!</dialogue> <parenthetical>( walking away - to herself . )</parenthetical> <dialogue>Necesitas un mdico! Pront simo!</dialogue> <scene_description>ON BETTY fuming in her humiliation . After a moment , Rosa reappears at the window .</scene_description> <character>ROSA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I'm not going back on our arrangement. My word is good, and my family owes you. But I think it's best for both of us if you get your own place as soon as you can.</dialogue> <character>BETTY</character> <dialogue>Fine.</dialogue> </scene> <scene> <stage_direction>EXT. SIZEMORE MOTORS - KANSAS - NIGHT</stage_direction> <scene_description>Roy and Joyce approach the door to the trailer/office . She takes out her key , then stops . It 's been padlocked and barred with yellow police tape , as is the whole lot . Roy pulls hard on the lock , then starts looking around .</scene_description> <character>JOYCE</character> <dialogue>You're wastin' your time, Roy.</dialogue> <character>ROY</character> <dialogue>Look Joyce, I need your key to the files, not advice, okay? This is a complex case.</dialogue> <scene_description>Roy works on opening a side window .</scene_description> <character>JOYCE</character> <dialogue>Nothin' complex about it. Del's dead, Betty's gone. She's probably dead, too.</dialogue> <character>ROY</character> <dialogue>You'd like that would n't you? You've hated Betty since you were in Pep Squad together.</dialogue> <character>JOYCE</character> <dialogue>No. before that.</dialogue> <character>ROY</character> <dialogue>Ahh, I hate this town! Places like this just make you small.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>I should have never come back here after college.</dialogue> <character>JOYCE</character> <dialogue>Blah - blah - blah. Hurry up, will ya, I got a date tonight.</dialogue> <scene_description>Roy forces the glass open and starts to squirm through the window as Joyce watches .</scene_description> <character>JOYCE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I do n't know what you think you'll find, anyway.</dialogue> <character>ROY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Names, a phone number, something.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Listen, Ballard told me that the guy who brought the missing car down from Detroit was murdered, but do you see him doing anything about it? If Ballard was n't such a stubborn ass, I would n't have to be breaking in here.</dialogue> <scene_description>The color drains from Joyce 's face .</scene_description> <character>JOYCE</character> <dialogue>What did you say?</dialogue> <character>ROY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>The driver was killed. I think there's a connection -</dialogue> <character>JOYCE</character> <parenthetical>( starting to cry . )</parenthetical> <dialogue>No, about. Are you talking about Duane Cooley?</dialogue> <character>ROY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yeah. Why, you know him?</dialogue> <character>JOYCE</character> <parenthetical>( crying . )</parenthetical> <dialogue>Know him? We were gon na get married! He was gon na leave his wife for me! Fuck!</dialogue> <scene_description>Joyce begins to sob at the side of the trailer as Roy shimmies through the window frame . Suddenly , Ballard is there , weapon cocked and placed roughly into Roy 's privates . Joyce backs away .</scene_description> <character>BALLARD</character> <dialogue>I know you do n't use them, but if you wan na keep'em you'll back out of there slowly.</dialogue> </scene> <scene> <stage_direction>INT. SQUADCAR - MOVING - NIGHT</stage_direction> <scene_description>Roy is in the rear of the car , handcuffed to the screen dividing the front seat from the back . Ballard is driving .</scene_description> <character>ROY</character> <dialogue>Come on, Elden, think about it. The driver, all them trunks standing open like that. something's going on here!</dialogue> <character>BALLARD</character> <dialogue>I know that.</dialogue> <character>ROY</character> <dialogue>Well, do something, then, damnit!</dialogue> <character>BALLARD</character> <dialogue>You watch your mouth when you're in a goddamn county vehicle. You do n't think I see what's going on? Del, now this Cooley fella, both of'em mixed up with Joyce.'S not no conspiracy, not some episode off the X - Files.'s just a crime of passion, plain and simple. Betty's on some kind' a pre - minstral rampage, that's what is going on here.</dialogue> <scene_description>A moment of silence as they drive .</scene_description> <character>ROY</character> <dialogue>Oww. Did you have to make these things so tight?</dialogue> <character>BALLARD</character> <dialogue>No, I did n't have to.</dialogue> <scene_description>He grins at Roy in the rearview mirror .</scene_description> </scene> <scene> <stage_direction>INT. LAW FIRM - ANOTHER DAY</stage_direction> <scene_description>Mercedes Lopez arrives at the office and stops at Rosa 's desk . -LRB- The entire scene is in Spanish -RRB-</scene_description> <character>MERCEDES</character> <dialogue>Hey. Is Betty still trying to find that soap opera guy?</dialogue> <character>ROSA</character> <dialogue>Oh, yeah. Man, I'd love to find that actor just to see the look on her face, watch her bubble burst in mid - air.</dialogue> <scene_description>Mercedes hands her two tickets to a benefit .</scene_description> <character>MERCEDES</character> <dialogue>Here's your needle. He's supposed to make an appearance here tonight.</dialogue> </scene> <scene> <stage_direction>INT. BETTY'S BEDROOM - LATER</stage_direction> <scene_description>Betty 's lying on her bed reading `` Modern Nurse '' . The L.A. Times Classifieds are open on the bed . Rosa looks in .</scene_description> <character>BETTY</character> <dialogue>Do n't worry, I'm looking. just taking a tiny break.</dialogue> <character>ROSA</character> <dialogue>This is crazy. I come home, you go to your room. You go in the kitchen, I go to my room. It's stupid.</dialogue> <scene_description>Betty nods in agreement .</scene_description> <character>ROSA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>So what do you say? Can we be friends?</dialogue> <character>BETTY</character> <dialogue>okay.</dialogue> <scene_description>Rosa smiles and starts looking at the tickets in her hand .</scene_description> <character>BETTY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What are those for?</dialogue> <character>ROSA</character> <dialogue>Oh, it's a charity dinner. The money goes to a good cause, but I do n't have anybody to go with.</dialogue> <character>BETTY</character> <dialogue>Umm.</dialogue> <scene_description>Rosa exits for a moment , then reappears in the doorway .</scene_description> <character>ROSA</character> <dialogue>you hungry at all?</dialogue> </scene> <scene> <stage_direction>INT. LINCOLN TOWN CAR - MOVING - LATE AFTERNOON</stage_direction> <scene_description>The car is covered in dust and mud from the road . It 's worse inside : food wrappers , empty bottles , pieces of clothing , filthy windows . They 've been living in it . Wesley 's driving now . Charlie 's almost unrecognizable : a six day beard , uncombed greasy hair , bloodshot eyes , rumpled clothes and an exhausted , faraway look . The photo of Betty faces him , taped to the glove box . He is reading from the diary , which he clutches like the Bible . They roar along a desert highway , passing a sign that says `` Grand Canyon , This Exit . 74 Miles . '' Charlie looks up , marking his place .</scene_description> <character>CHARLIE</character> <dialogue>We should go.</dialogue> <character>WESLEY</character> <dialogue>We do n't have time to look at a hole in the ground. We can make Vegas in four hours. This one's got to be her.</dialogue> <character>CHARLIE</character> <dialogue>It's a very moving experience, trust me.</dialogue> <character>WESLEY</character> <dialogue>No.</dialogue> <character>CHARLIE</character> <dialogue>One of the Seven Natural Wonders of the World.</dialogue> <character>WESLEY</character> <dialogue>No. be dark before we get there. You wan na see the Grand Canyon at night?</dialogue> <character>CHARLIE</character> <dialogue>What difference does it make? She was n't in Kansas City, or Houston, or Dallas. We went to every goddamn place Del mentioned and no Betty. So what the hell makes you think she's in Vegas? You think she's waiting for us with tassles on her titties? Vegas is too crass for Betty.</dialogue> <character>WESLEY</character> <dialogue>I said, ` No.' N - O.</dialogue> <scene_description>Charlie turns to a passage and reads aloud .</scene_description> <character>CHARLIE</character> <dialogue>`` When I grow up I'm going to become a nurse or a veterinarian. I always want to help people and value all life, be it animal, plant or mineral.''.</dialogue> <parenthetical>( to Wesley . )</parenthetical> <dialogue>Does that sound like a goddamn showgirl to you?</dialogue> <character>WESLEY</character> <dialogue>Do you hear yourself right now? Like a fucking madman.</dialogue> <scene_description>Wesley drives on stoically . The Exit comes and goes .</scene_description> <character>CHARLIE</character> <dialogue>Every American should see the Grand Canyon. Are you an American?</dialogue> <character>WESLEY</character> <dialogue>Yes, I am and we're not going. Act professional.</dialogue> <scene_description>Charlie stares at him , hate rising from just below the surface . He draws a nickel - plated pistol and points it at Wesley 's head . Wesley looks at it and keeps on driving . Charlie knows this is n't the way to handle it . He lowers the pistol .</scene_description> <character>CHARLIE</character> <dialogue>If you do n't take the next turn for the canyon, I'm blowing my goddamn brains all over this car.</dialogue> <scene_description>He puts the pistol in his mouth and cocks it . Wesley looks over , not so sure this time . LONG SHOT of the black Town Car as the turn signal comes on , and it eases onto a lonely dirt road . Their headlights pick out a sign that says : `` Grand Canyon Fire Trail . Forestry Personnel Only . ''</scene_description> </scene> <scene> <stage_direction>EXT. BEVERLY HILTON - EVENING</stage_direction> <scene_description>Rosa and Betty approach the hotel entrance . Ahead of them a black Lincoln Town Car pulls up . Headlights glint on the chrome , hitting Betty in the eye . She freezes , and Rosa bumps into her .</scene_description> <character>ROSA</character> <dialogue>Sorry.</dialogue> <scene_description>Betty stares at the car , unable to remember what it should mean . Then a MAN in a tuxedo gets out . Betty moves on .</scene_description> </scene> <scene> <stage_direction>INT. BEVERLY HILTON - LOBBY - EVENING</stage_direction> <scene_description>A sign on an easel reads `` Save the Children . '' Betty and Rosa present their tickets at the door to a ballroom . Several times there is a stir near the entrance and a scattering of flashbulbs . Rosa scans the crowd .</scene_description> <character>BETTY</character> <dialogue>Looking for someone?</dialogue> <character>ROSA</character> <dialogue>You never know who you'll see.</dialogue> <scene_description>Rosa keeps looking . Finally , GEORGE McCORD - the actor who plays DAVID RAVELL - enters . He comes in with LYLA BRANCH , late 40 's , and TWO OTHER MEN . Several women approach George , some starry - eyed , for quick , polite greetings . He 's doing his job of being a soap star . Rosa waits for an opening , then puts her hands on Betty 's shoulders and points her at George .</scene_description> <character>ROSA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Look who's here!</dialogue> <scene_description>Betty 's jaw drops . She freezes .</scene_description> <character>ROSA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What are you waiting for? Talk to him! You came fifteen hundred miles for this.</dialogue> <scene_description>Rosa prods her , then Betty makes her way unsteadily toward George . When she 's a few feet away he looks up . He ca n't help but notice her - she 's beautiful . She 's also looking right into his eyes . The conversation stops as he does a double take in Betty 's direction .</scene_description> <character>GEORGE</character> <dialogue>Do I know you from?</dialogue> <scene_description>His friends watch as George studies her face .</scene_description> <character>BETTY</character> <dialogue>of course you do.</dialogue> <parenthetical>( hurt . )</parenthetical> <dialogue>You do n't remember me?</dialogue> <character>GEORGE</character> <dialogue>I take it I should. I'm sorry.</dialogue> <character>BETTY</character> <dialogue>We were engaged.</dialogue> <character>LYLA</character> <dialogue>Oh good, another one.</dialogue> <scene_description>George 's friends look at each other . A few heads turn .</scene_description> <character>GEORGE</character> <dialogue>I beg your pardon?</dialogue> <character>BETTY</character> <dialogue>But I'm the one who's sorry. Letting you go was the biggest mistake of my life.</dialogue> <parenthetical>( to his friends . )</parenthetical> <dialogue>We were thirteen days away from getting married and. I just got scared. It's a mistake I've had to live with for six years. But it's behind me now.</dialogue> <parenthetical>( to George . )</parenthetical> <dialogue>And I hope you can put it behind you. I've missed you. David.</dialogue> <scene_description>George sighs with relief . His friends smile . The tension evaporates . They can handle a fanatical fan .</scene_description> <character>GEORGE</character> <dialogue>That's very kind of you.</dialogue> <character>BETTY</character> <dialogue>The day I left you I just drove and drove. I drove all day and all that night, and I did n't go anywhere. I just kept driving. I stopped at a little country church, and the pastor let me in, and I sat -</dialogue> <character>LYLA</character> <dialogue>in the very first pew, where we would have sat on our wedding day.</dialogue> <scene_description>Betty looks at her . So does George .</scene_description> <character>LYLA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I ca n't believe I remembered that, although I suppose I should. I wrote it.</dialogue> <parenthetical>( to Betty . )</parenthetical> <dialogue>But that was seven years ago, and you're quoting it verbatim. I'm flattered. I think. Or frightened. What's your name?</dialogue> <character>BETTY</character> <dialogue>Betty Sizemore. What do you mean you wrote it?</dialogue> <character>LYLA</character> <dialogue>I'm Lyla Branch. I'm the Producer.</dialogue> <scene_description>They shake hands . ACROSS THE ROOM Rosa watches expectantly .</scene_description> <character>LYLA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Alright, I admit it, you had me there. You're better than most of them, anyway. do you have a headshot?</dialogue> <character>GEORGE</character> <dialogue>No, wait. what happened next, Betty?</dialogue> <character>LYLA</character> <dialogue>Are you sure you want to encourage this?</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>No, you're right, let's have some fun. So, what did happened next, `` Betty''?</dialogue> <character>BETTY</character> <dialogue>Well, David moved out here and started his residency. Then he met Leslie -</dialogue> <character>LYLA</character> <dialogue>No, no, no. We know all that. What happened with you?</dialogue> <character>BETTY</character> <dialogue>I married a car salesman.</dialogue> <scene_description>The friends laugh . Rosa watches , confused . So is Betty .</scene_description> <character>FRIEND #1</character> <dialogue>You were dumped for a car salesman, George!</dialogue> <character>BETTY</character> <dialogue>Why are you calling him George?</dialogue> <character>FRIEND #2</character> <dialogue>Yeah - David - tell us about this car salesman.</dialogue> <scene_description>George likes the challenge . This party is n't so boring after all .</scene_description> <character>GEORGE</character> <dialogue>Oh, you mean Fred.</dialogue> <character>BETTY</character> <dialogue>No, Del..</dialogue> <character>GEORGE</character> <dialogue>Right, Del.. Del was one hot salesman. Of cars. He could talk anyone into anything.</dialogue> <character>BETTY</character> <dialogue>You knew Del?!</dialogue> <character>GEORGE</character> <dialogue>Honey, I did n't want to tell you at the time, but Del and I go way back. We went to school together. In fact, he saved my life. Two more minutes in that icy water and I would have drowned. But Del jumped in and grabbed me. We fell out of touch eventually, but I still owe him one.</dialogue> <character>BETTY</character> <dialogue>He never told me anything about. that's unbelievable!</dialogue> <character>LYLA</character> <dialogue>Funny, that's just what I was thinking.</dialogue> <character>GEORGE</character> <dialogue>I ca n't tell you how much it hurts me to hear that you married him.</dialogue> <scene_description>His friends snicker . Rosa stares . Betty is oblivious to everything but George .</scene_description> <character>BETTY</character> <dialogue>I'm so sorry. Life makes us do awful things sometimes.</dialogue> <scene_description>She 's ready to cry . Which only inspires him all the more .</scene_description> <character>GEORGE</character> <dialogue>I tried to tell myself it was for the best, that there was a reason behind it. But. Del?</dialogue> <character>BETTY</character> <dialogue>There was no plan! I was just young and stupid and scared!</dialogue> <character>GEORGE</character> <dialogue>You never gave us a chance.</dialogue> <character>BETTY</character> <dialogue>I know that. I ca n't tell you how many times I've said that to myself in those exact words.</dialogue> <scene_description>Betty wipes her tears away as they flow freely now . George does n't like seeing her cry ; he tries to say something but his friends interrupt .</scene_description> <character>GEORGE</character> <dialogue>Hey, do n't. come on, I was just. you're not really crying, are you? I was just playing along.</dialogue> <character>FRIEND #1</character> <dialogue>Now, look what you've done, George.</dialogue> <character>BETTY</character> <dialogue>Why do they keep calling you George?</dialogue> <character>GEORGE</character> <dialogue>I do n't know. Why do you keep calling me George?</dialogue> <character>LYLA</character> <dialogue>Listen - David - It's getting late.</dialogue> <scene_description>George hesitates ; Lyla sees it .</scene_description> <character>GEORGE</character> <parenthetical>( to Betty . )</parenthetical> <dialogue>Right, uhh. I feel terrible about this, we have a prior engagement at another party.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>But. I'd be honored if you'd come.</dialogue> <character>LYLA</character> <dialogue>Yeah, bring your friend along. I'm sure you got a lot of catching up to do.</dialogue> <scene_description>Rosa watches , stunned , as Betty waves to her as she leaves arm - in - arm with the man of her dreams .</scene_description> </scene> <scene> <stage_direction>EXT. GRAND CANYON - NIGHT</stage_direction> <scene_description>The Town Car is parked near one of the viewing stops at the rim . Charlie stands in the darkness , but Wesley stays in the car .</scene_description> <character>CHARLIE</character> <dialogue>You do n't know what you're missing, asshole.</dialogue> <scene_description>Charlie walks toward the canyon rim . Suddenly , Betty appears in the headlights standing at the rail - her back to Charlie - with a bouquet of flowers . ON WESLEY Just as he closes his eyes to rest , the CAR PHONE RINGS .</scene_description> <character>WESLEY</character> <dialogue>Yeah?</dialogue> <character>SUE ANN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Mr. Campbell?</dialogue> <character>WESLEY</character> <dialogue>Huh?</dialogue> <character>SUE ANN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Is this Neighborly Life Insurance?</dialogue> <character>WESLEY</character> <parenthetical>( recovering . )</parenthetical> <dialogue>Oh, umm, yes, this is Dwight Campbell.</dialogue> <character>SUE ANN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>It's Sue Ann Rogers, Betty Sizemore's friend? I heard from her.</dialogue> <scene_description>ON CHARLIE walking toward the rail . As he nears her , they kiss . Suddenly , REPEATED BLASTS from the car horn . The image of Betty shudders , then blurs , then fades away entirely . Charlie rubs at his eyes tiredly , then slowly trudges back toward the car . Charlie returns and gets into the car . Silence . Wesley stares at him .</scene_description> <character>WESLEY</character> <dialogue>you have a good time? You make a little wish?</dialogue> <scene_description>Silence from Charlie .</scene_description> <character>WESLEY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Well, guess what? I found Betty. where she's been, anyway.</dialogue> <character>CHARLIE</character> <dialogue>Where? Where is she?</dialogue> <character>WESLEY</character> <dialogue>I'm not telling.</dialogue> <character>CHARLIE</character> <dialogue>What?</dialogue> <character>WESLEY</character> <dialogue>I'm not telling'til you straighten up. You been acting like fucking Jerry Lewis on me and this shit's got ta stop or you can forget about your Betty. I mean it.</dialogue> <scene_description>A slow transformation comes over Charlie .</scene_description> <character>CHARLIE</character> <dialogue>Wesley, I'm fine. just tell me where she is.</dialogue> </scene> <scene> <stage_direction>EXT. BEVERLY HILTON - NIGHT</stage_direction> <scene_description>George , Betty , Lyla and the two friends are waiting outside the hotel for their cars .</scene_description> <character>FRIEND #2</character> <dialogue>I bought a car from Del, too. He sold me a lemon.</dialogue> <character>LYLA</character> <dialogue>Really? I put a hundred and thirty thousand miles on mine.</dialogue> <character>BETTY</character> <dialogue>Huh. I had no idea our little lot was so popular.</dialogue> <character>FRIEND #1</character> <dialogue>I never bought a car from Del.. But I loved him. In my own way.</dialogue> <character>GEORGE</character> <dialogue>I guess we all did.</dialogue> <parenthetical>( to Betty . )</parenthetical> <dialogue>You know, I did n't marry Leslie because I loved her. I married her to forget you.</dialogue> <character>BETTY</character> <dialogue>Oh, David. I'm sorry I caused you that much pain.</dialogue> <scene_description>A black jeep 4x4 pulls up and ERIC AUGUSTINO , the actor who plays LONNIE , gets out .</scene_description> <character>BETTY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Oh my God! What's Lonnie doing here?</dialogue> <character>GEORGE</character> <dialogue>You're late, Eric.</dialogue> <character>ERIC</character> <dialogue>I know. Why are you guys leaving?</dialogue> <character>LYLA</character> <dialogue>We did our twenty minutes.</dialogue> <scene_description>Before Eric can take another step Betty SLAPS him across the face . FLASHBULBS go off as PHOTOGRAPHERS capture the moment .</scene_description> <character>BETTY</character> <dialogue>You bastard! How can you even show your face around here? Do you think we're not onto you?</dialogue> <character>ERIC</character> <dialogue>Who the hell is this?</dialogue> <character>GEORGE</character> <dialogue>Sorry. She thinks you're someone else.</dialogue> <scene_description>George hustles Betty to his car as photographers continue to shoot .</scene_description> <character>BETTY</character> <dialogue>I know exactly who you are!</dialogue> </scene> <scene> <stage_direction>EXT. CANYON RANCH BAR - NIGHT</stage_direction> <scene_description>The Lincoln Town Car rumbles into the dusty parking lot and parks .</scene_description> <character>CHARLIE</character> <dialogue>This does n't look like the kind of place Betty would go to.</dialogue> <character>WESLEY</character> <dialogue>Maybe she had to use the bathroom. She pees, does n't she?!</dialogue> <scene_description>Wesley tears the photo of Betty from the glove box .</scene_description> <character>CHARLIE</character> <dialogue>Be careful with that!</dialogue> <scene_description>Charlie takes it back and gingerly secures the tape .</scene_description> </scene> <scene> <stage_direction>INT. CANYON RANCH BAR - NIGHT</stage_direction> <scene_description>Merle is at the bar , drunk , the only customer on a slow night . Ellen drops two coasters in front of Charlie and Wesley as they sit down .</scene_description> <character>ELLEN</character> <dialogue>What can I get you?</dialogue> <character>WESLEY</character> <dialogue>We're Federal Marshals, ma'am.</dialogue> <scene_description>Ellen looks dubiously at their unshaven faces and rumpled clothes .</scene_description> <character>CHARLIE</character> <dialogue>We're looking for this young lady.</dialogue> <scene_description>He slides the photo of Betty across the bar . Ellen 's gaze drops to the picture for a second , and Charlie sees what he was looking for - a flicker of recognition . He allows himself a satisfied grin . Wesley shows Ellen his badge as Merle checks out the photo .</scene_description> <character>ELLEN</character> <dialogue>I have n't seen her.</dialogue> <character>MERLE</character> <dialogue>Sure you have! That's.</dialogue> <character>ELLEN</character> <dialogue>Shut up, Merle.</dialogue> <scene_description>Charlie continues to grin at Ellen .</scene_description> <character>WESLEY</character> <dialogue>Ma'am, if you've seen this woman -</dialogue> <character>MERLE</character> <dialogue>Betty! That's her name - Betty.</dialogue> <scene_description>Charlie takes the photo and puts it back in his pocket .</scene_description> <character>ELLEN</character> <dialogue>I never saw that woman before, and neither has Merle. He drinks too much. And do n't try to tell me you're cops. I was married to a cop for nine years, and you're not cops. Now get out of here.</dialogue> <scene_description>Wesley steps behind Merle , takes a handful of his hair and SLAMS his head into the popcorn machine on the bar . Merle staggers away , stunned . Wesley removes the tin popcorn scoop from a nearby hook . Ellen reaches for something under the bar , but Charlie 's faster . He pins her arm with one hand .</scene_description> <character>CHARLIE</character> <dialogue>You have n't been very forthcoming with us.</dialogue> <scene_description>They watch Wesley follow Merle at a slow walk around the pool table , CLOBBERING him over the head about every five steps with the popcorn scoop . Merle wobbles with every shot , but wo n't go down . They begin a torturous second lap around the table , punctuated by the CLANG of the scoop against Merle 's head .</scene_description> <character>CHARLIE</character> <dialogue>What's your name, dear?</dialogue> <character>ELLEN</character> <dialogue>Ellen.</dialogue> <character>CHARLIE</character> <dialogue>That's a nice name.</dialogue> <scene_description>After one more CLANGING shot Merle staggers , then falls . Wesley walks over to Charlie and Ellen , drawing his knife .</scene_description> <character>WESLEY</character> <dialogue>That's a really nice name.</dialogue> </scene> <scene> <stage_direction>INT. GEORGE'S RANGE ROVER - MOVING - LATER - NIGHT</stage_direction> <scene_description>George and Betty are alone .</scene_description> <character>BETTY</character> <dialogue>Lyla's very nice.</dialogue> <character>GEORGE</character> <dialogue>Yes, she is.</dialogue> <character>BETTY</character> <dialogue>She told me I was charming and relentless, and would go far in this town. And she said that unlike the other charming, relentless people she knew, she liked me.</dialogue> <character>GEORGE</character> <dialogue>She's a good person to know.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>So where did you study again?</dialogue> <character>BETTY</character> <dialogue>Carleton School of Nursing. Two semesters, but Del made me give it up.</dialogue> <character>GEORGE</character> <dialogue>Alright, okay. I think you broke the record for staying in character about three hours ago.</dialogue> <character>BETTY</character> <dialogue>You told me that two hours ago.</dialogue> <scene_description>He pulls up in front of Rosa 's apartment and parks .</scene_description> <character>BETTY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I have n't been this happy since I was twelve years old.</dialogue> <character>GEORGE</character> <dialogue>What happened when you were twelve?</dialogue> <character>BETTY</character> <dialogue>For Mother's Day, I used all my allowance that I'd been saving to take my mother to Kansas City. We got our nails done and had lunch at `` Skies,'' a restaurant at the top of a building from where you can see the whole city. It was the last outing we took together. She died the following year.</dialogue> <character>GEORGE</character> <dialogue>Wow. You just gave me goosebumps, you know that? You make it all sound so real. Great improv.</dialogue> <character>BETTY</character> <dialogue>I just want everything to be perfect between us.</dialogue> <character>GEORGE</character> <dialogue>I know. Listen, we need to take a time out here. Can we talk seriously for a minute?</dialogue> <character>BETTY</character> <dialogue>Of course.</dialogue> <character>GEORGE</character> <dialogue>At last! I know how much you want this. You're gifted and extremely determined, but. it's not up to me.</dialogue> <character>BETTY</character> <dialogue>I know. It's up to us.</dialogue> <scene_description>Betty leans over and kisses George - so deeply that he 's too surprised to react . She pulls away abruptly and gets out .</scene_description> <character>BETTY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I love you, David. And I want to see you tomorrow, and the next day, and the next day.</dialogue> <scene_description>Still surprised , and now a little intrigued , he watches her go inside .</scene_description> </scene> <scene> <stage_direction>INT. ROSA'S KITCHEN - NIGHT</stage_direction> <scene_description>Betty comes in and pours a drink from the fridge . Rosa appears in a nightshirt behind her , framed in the doorway .</scene_description> <character>ROSA</character> <dialogue>Were you with him this whole time?</dialogue> <character>BETTY</character> <dialogue>Oh, God! You scared me! Yes.</dialogue> <character>ROSA</character> <dialogue>You still in love?</dialogue> <scene_description>Betty nods .</scene_description> <character>ROSA</character> <dialogue>Does he know you think he's real?</dialogue> <character>BETTY</character> <dialogue>He is real.</dialogue> <character>ROSA</character> <dialogue>Uh - huh. So, what'd you talk about?</dialogue> <character>BETTY</character> <dialogue>Oh, my gosh, everything! My trip out here, what we've both been doing, you know.</dialogue> <character>ROSA</character> <dialogue>No, I'm not sure I could begin to imagine. So, where'd you go?</dialogue> <character>BETTY</character> <dialogue>To a party in the Hollywood Hills.</dialogue> <character>ROSA</character> <dialogue>Was it a huge place? With a view of the whole world?</dialogue> <character>BETTY</character> <dialogue>Yes. I'd never been in a place like that before.</dialogue> <character>ROSA</character> <dialogue>I have, lots of times. My mother used to clean them. I used to piss in their pools.</dialogue> <scene_description>Rosa gets up and starts for her bedroom . She stops .</scene_description> <character>ROSA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>This is n't fair, you know. Do you always get what you want?</dialogue> <character>BETTY</character> <dialogue>No, almost never.</dialogue> <character>ROSA</character> <dialogue>But, you're in love with someone who does n't exist. You come here, you meet this guy, who should laugh in your face, and instead you leave with him!</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Betty, you are one - of - a - kind.</dialogue> <scene_description>Rosa goes into her bedroom and closes the door . Betty smiles and nods , sipping at her drink as she retires to her room .</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION - JAIL CELL - THE NEXT DAY</stage_direction> <scene_description>From his cell Roy Ostrey hears a door open , then the sound of approaching footsteps . It 's Ballard .</scene_description> <character>ROY</character> <dialogue>Elden, let me out of here. Now! This is ridiculous, I need medical attention!</dialogue> <character>BALLARD</character> <dialogue>That's a nice name for what you need.</dialogue> <character>ROY</character> <dialogue>Come on, I have to get this dressing off. it itches! And what about my fish? Who is taking care of them?</dialogue> <scene_description>Ballard does n't say anything . He 's very grim , subdued . Roy has never seen him like this .</scene_description> <character>BALLARD</character> <dialogue>Just shut up a second and listen. That, uh. that bar in Arizona? Where you said Betty was?</dialogue> <character>ROY</character> <dialogue>What about it?</dialogue> <character>BALLARD</character> <dialogue>Any idea where it is?</dialogue> <character>ROY</character> <dialogue>Little place called `` Williams,'' why?</dialogue> <character>BALLARD</character> <dialogue>I just got something off the wire. The woman who owns it was murdered last night.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Now, I'm not saying I agree with you or nothing, but. what else do you know?</dialogue> <character>ROY</character> <dialogue>I know plenty.</dialogue> </scene> <scene> <stage_direction>EXT. LYLA'S HOUSE - DAY</stage_direction> <scene_description>Palatial , spartan . Lyla is sitting in the inner court of her Lloyd Wright home with George at one knee .</scene_description> <character>GEORGE</character> <dialogue>She makes me stretch! I got inside my character last night like I have n't done in six years on `` Reason''. It was a totally rejuvenating experience.</dialogue> <character>LYLA</character> <dialogue>I know, George, I was there. I'm not denying that she's good.</dialogue> <character>GEORGE</character> <dialogue>She's even taken a job as a nurse!</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>David Ravell's getting boring, Lyla.</dialogue> <character>LYLA</character> <dialogue>We know that.</dialogue> <character>GEORGE</character> <dialogue>Can I have an evil twin?</dialogue> <character>LYLA</character> <dialogue>No, George, we've already done that with Lonnie. The blind one last year, remember?</dialogue> <character>GEORGE</character> <dialogue>Oh, of course. Who can forget the Emmy?</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Then let me bring Betty to the set and see what happens.</dialogue> <character>LYLA</character> <dialogue>I do n't know, George.</dialogue> <character>GEORGE</character> <dialogue>I'll tell the cast ahead of time. What do you say?</dialogue> <character>LYLA</character> <dialogue>I'll think about it.</dialogue> <character>GEORGE</character> <dialogue>It'll be like live television! Let's live on the edge a little. You and I can break the mold here!</dialogue> <character>LYLA</character> <dialogue>I said I'll think about it.</dialogue> <character>GEORGE</character> <dialogue>Fine, but promise me one thing. If we use her, I want to direct those episodes. She's my discovery.</dialogue> <character>LYLA</character> <dialogue>Actually, she was my discovery. just like you.</dialogue> <character>GEORGE</character> <dialogue>Hmm?</dialogue> <character>LYLA</character> <dialogue>`` Would you like ground pepper on that salad, Ms. Branch?'' Remember?</dialogue> <character>GEORGE</character> <dialogue>yeah.</dialogue> </scene> <scene> <stage_direction>EXT. L.A. FREEWAY - NIGHT</stage_direction> <scene_description>The black Lincoln Town car hurdles along the 10 Freeway , a revitalized Charlie back at the wheel . Surrounded by traffic , the lights of the city in the distance , the two men push on toward their new destination .</scene_description> </scene> <scene> <stage_direction>EXT. HOLLYWOOD MOTEL - THE NEXT DAY</stage_direction> <scene_description>The black Lincoln Town Car - now washed and gleaming - is parked in front of a modest motel .</scene_description> </scene> <scene> <stage_direction>INT. HOLLYWOOD MOTEL / BATHROOM - DAY</stage_direction> <scene_description>Charlie looks like a new man - showered , clear - eyed and energized - he 's at the sink shaving as Wesley watches from his seat on the edge of the bathtub .</scene_description> <character>CHARLIE</character> <dialogue>So you believed the bartender. Why?</dialogue> <character>WESLEY</character> <dialogue>Well. I think I saw her soul.</dialogue> <character>CHARLIE</character> <dialogue>That's good. You're learning. But let me tell you why I know she was lying.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>First off, Betty would never fall for a soap star. It's beneath her.</dialogue> <character>WESLEY</character> <dialogue>I dunno, that lady sounded pretty sure.</dialogue> <character>CHARLIE</character> <dialogue>No, no, Betty came here strictly for business,'cause it's the biggest market for what she's selling. I should have known it all along. I'm kicking myself as I shave here. So, first thing we.</dialogue> <character>WESLEY</character> <dialogue>Wait, wait, wait a minute. that does n't make sense.</dialogue> <character>CHARLIE</character> <dialogue>What does n't?</dialogue> <character>WESLEY</character> <dialogue>You gim me this bullshit Psychic Friends theory, you believe that dumbshit trucker, you believe this woman.</dialogue> <character>CHARLIE</character> <dialogue>I never said that I believed.</dialogue> <character>WESLEY</character> <dialogue>No, you believed her, we drove all the way to L.A. so that means you trusted her that much. so why's the rest of her story suddenly so kooky? Huh?</dialogue> <character>CHARLIE</character> <dialogue>'Cause I just do n't buy it. Call it instinct. Call it 35 years of professional know - how.</dialogue> <character>WESLEY</character> <dialogue>I call it ` nutty' as my shit after I eat Almond Roca.</dialogue> <character>CHARLIE</character> <dialogue>You need to remember who you're talking to.</dialogue> <character>WESLEY</character> <dialogue>I need to get my goddamn head examined.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>You ca n't rule something out on a whim. Or because she's cute. I've been following your whims all across the U.S. of A. and now I'm tired! Me!</dialogue> <character>CHARLIE</character> <dialogue>Wesley.</dialogue> <character>WESLEY</character> <dialogue>`` It's beneath her.'' She's a mother fucking housewife. nothing's beneath her!</dialogue> <scene_description>Wesley stands up for emphasis , pointing a finger in Charlie 's personal space . Charlie reacts at this , throwing his razor into the sink and turning on Wesley .</scene_description> <character>CHARLIE</character> <dialogue>Boy, you need to get outta my face. now! You got a feeling, then you do what you got ta do, but do n't you ever try to tell me my job. Not ever.</dialogue> <scene_description>It 's a standoff . Wesley blinks first . He stalks off and out of sight . In a moment , he returns .</scene_description> <character>WESLEY</character> <dialogue>Fine. Just fine. I'll go check some shit on my own then. And do n't call me ` boy.'</dialogue> <scene_description>He turns and slams into the door frame . He glares at Charlie , then exits . When the front door BANGS SHUT allows himself to go back to his shaving .</scene_description> </scene> <scene> <stage_direction>EXT. STUDIO BUILDINGS - DAY</stage_direction> <scene_description>Map in hand , Wesley stand near A GUARD and discreetly asks questions .</scene_description> <character>WESLEY</character> <dialogue>what kinda car's Jasmine drive?</dialogue> <character>GUARD</character> <dialogue>Ahh, Mercedes, I think. Black.</dialogue> <character>WESLEY</character> <dialogue>Yeah? The sport utility?</dialogue> <character>GUARD</character> <dialogue>Uh - huh.</dialogue> <character>WESLEY</character> <dialogue>Damn, that's sweet.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>She really that good - looking in person?</dialogue> <character>GUARD</character> <dialogue>Better.</dialogue> <character>WESLEY</character> <dialogue>Oh fuck.</dialogue> <scene_description>Wesley looks around covertly , then produces a fifty .</scene_description> <character>WESLEY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Hey, can you sneak me on the lot?</dialogue> <character>GUARD</character> <dialogue>Sure.</dialogue> <scene_description>Wesley smiles and wanders off , headed toward a series of studio buildings in the distance . The guard watches him go .</scene_description> <character>GUARD</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>it's Sunday, I can sneak anybody on the lot.</dialogue> </scene> <scene> <stage_direction>INT. HOLLYWOOD MOTEL ROOM - DAY</stage_direction> <scene_description>Charlie toys with matches from the Canyon Ranch Bar . Working off a list of names and phone numbers from his Zaurus , he makes calls from his room .</scene_description> <character>CHARLIE</character> <dialogue>Betty Sizemore, she's got ten kilos. Blonde hair, a great figure. sort of a whole Doris Day thing going on. That's what I said - Doris Day. You could see her working at the U.N., or something. ` The U.N.' `` United Nations.'' Forget it.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Nobody like that? You're sure? Yeah, Detroit by way of Kansas. Alright, let me know if you hear anything, okay?</dialogue> <scene_description>He hangs up . Deletes another one off the list and looks out the window . Checks the now well - worn photo of Betty . He 's starting to doubt himself .</scene_description> </scene> <scene> <stage_direction>INT. ROSA'S APARTMENT / BATHROOM - EVENING</stage_direction> <scene_description>Rosa stands in the doorway as Betty , wearing one of Rosa 's hotter outfits , puts on her makeup .</scene_description> <character>BETTY</character> <dialogue>Are you sure I can borrow this?</dialogue> <character>ROSA</character> <dialogue>No, please. Go ahead, it's your funeral.</dialogue> <character>BETTY</character> <dialogue>Rosa.</dialogue> <character>ROSA</character> <dialogue>Well, what if this guy's just playing with you? What if he's lying about who he is?</dialogue> <character>BETTY</character> <dialogue>You should have a little faith in people.</dialogue> <character>ROSA</character> <dialogue>Does he ever talk about medicine? His patients, the hospital?</dialogue> <character>BETTY</character> <dialogue>All the time. It's always `` Loma Vista'' this, `` Loma Vista'' that.</dialogue> <scene_description>The DOORBELL RINGS . Rosa goes to the front door and looks through the peephole , then opens the door . George McCord , flowers in hand , gives his best leading man smile .</scene_description> <character>GEORGE</character> <dialogue>You must be Rosa. I've heard so much about you. I'm George McCord.</dialogue> <character>ROSA</character> <dialogue>Not as much as I've heard about you. She's a very nice girl and you better not hurt her.</dialogue> <character>GEORGE</character> <dialogue>What?</dialogue> <scene_description>Betty appears .</scene_description> <character>BETTY</character> <dialogue>Rosa, so you've met David?</dialogue> <character>ROSA</character> <dialogue>Sure did! And a funny thing, Betty, he introduced himself to me as George!</dialogue> <character>BETTY</character> <dialogue>Oh, he does that.</dialogue> <parenthetical>( hugging him . )</parenthetical> <dialogue>It's this silly game he plays. Half the people who know him call him George.</dialogue> </scene> <scene> <stage_direction>EXT. ROSA'S APARTMENT - NIGHT</stage_direction> <character>GEORGE</character> <dialogue>I do n't think your friend likes me.</dialogue> <character>BETTY</character> <dialogue>She's a little jealous, I think. And confused when it comes to men.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>So where are we going?</dialogue> <character>GEORGE</character> <dialogue>Well, first I thought Patina, and then the Ivy, but then I thought of somewhere a little more romantic. Like my place.</dialogue> </scene> <scene> <stage_direction>INT. GEORGE'S HOUSE - NIGHT</stage_direction> <scene_description>Modern glass and steel structure in the hills . Austere . Betty and George sit on the sofa with the lights low and SOFT MUSIC playing .</scene_description> <character>GEORGE</character> <dialogue>God, I have n't felt like this since I was with Stella Adler in New York. You're so. real.</dialogue> <scene_description>He leans forward slowly to kiss her , but Betty pulls back .</scene_description> <character>BETTY</character> <dialogue>You never mentioned a ` Stella' to me.</dialogue> <character>GEORGE</character> <dialogue>Did n't I?</dialogue> <character>BETTY</character> <dialogue>No, I would have remembered that name. The only Stella I ever knew was a parrot.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Was this before Leslie? Before us?</dialogue> <scene_description>George takes her face in his hands and looks at her .</scene_description> <character>GEORGE</character> <dialogue>I've never met anyone like you, Betty.</dialogue> <character>BETTY</character> <dialogue>I know, that's why we were meant to be together.</dialogue> <character>GEORGE</character> <dialogue>No, I mean your dedication scares me.</dialogue> <character>BETTY</character> <dialogue>It's easy to be dedicated, when you care about something.</dialogue> <character>GEORGE</character> <dialogue>Yeah, I felt that way, too, when I first started, but now. the hours, the repetition. it's not all glamour and mall openings anymore. Maybe I should've listened to my people and tried to make the crossover to nights earlier, I do n't know.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>. I just hope it's not too late for me. God! Listen to me, `` Me, me, me.'' It's so easy to get caught up in the whole ego cycle of this business and make it all about yourself. Stop, right? That's it, no more about me tonight, I promise. Let's talk about you. what do you think about me? I'm kidding. Seriously, Betty, I'm doing all the talking here.</dialogue> <character>BETTY</character> <dialogue>but I love listening to you, so that's okay.</dialogue> <character>GEORGE</character> <dialogue>Thanks. But I'd like to hear what you're feeling.</dialogue> <character>BETTY</character> <dialogue>Well, I just feel that life'll be much sweeter for you now with me around. I promise.</dialogue> <character>GEORGE</character> <dialogue>You know, I almost believe that. you're like a warm breeze that's suddenly blown into my life.</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>I said that to Leslie, once, at her funeral, remember?</dialogue> <character>BETTY</character> <dialogue>I remember. You said it to her, but it was meant for me, was n't it?</dialogue> <character>GEORGE</character> <dialogue>Yes. maybe it was.</dialogue> <scene_description>She kisses him deeply , then allows herself to fall back on the sofa , pulling George down on top of her and kissing him passionately .</scene_description> </scene> <scene> <stage_direction>INT. HOLLYWOOD MOTEL - THE NEXT DAY</stage_direction> <scene_description>Wesley hands Charlie a newspaper folded open to the Entertainment section , where there is a picture of Betty slapping the actor Eric Augustino . George is in b.g.</scene_description> <character>WESLEY</character> <dialogue>so I'm standing there, minding my own business on Hollywood Blvd., checking out Gladys Knight's star - thing there, I look up at this little souvenir shop dude, Chinese dude, reading a paper. and who do I see?</dialogue> <parenthetical>( holding up paper . )</parenthetical> <dialogue>That's Lonnie. He's the show's Main Prick. And that is definitely Betty. Now, that ai n't no coincidence.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>I found out where they shoot it, and where the dressing rooms are.</dialogue> <scene_description>Charlie studies the photo , troubled by something .</scene_description> <character>CHARLIE</character> <dialogue>Who's this?</dialogue> <character>WESLEY</character> <dialogue>A doctor on the show. why?</dialogue> <scene_description>Charlie thinks about it , then reaches into his pocket and takes out the photo of Betty with the cardboard David . As he compares the photos , Wesley peeks over his shoulder .</scene_description> <character>WESLEY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What in the.</dialogue> <parenthetical>( simmering . )</parenthetical> <dialogue>What the hell is this? You've been holding out on me. All this fucking time!</dialogue> <character>CHARLIE</character> <dialogue>It just did n't fit her profile.</dialogue> <character>WESLEY</character> <dialogue>Fuck the profile! That's the same guy!</dialogue> <character>CHARLIE</character> <dialogue>She ca n't be here because of a. a soap opera. Not a soap opera. That'd make her.</dialogue> <character>WESLEY</character> <dialogue>crazy! No shit, Shaft! And you ai n't far behind.</dialogue> <character>CHARLIE</character> <dialogue>but she's, no, Betty's smarter than that. She would n't be here for a.</dialogue> <character>WESLEY</character> <dialogue>I do not know how the fuck you lasted an hour in this job! Dragging our asses around with the answer to our prayers in your motherfucking jacket. a picture of that cunt right next to the.</dialogue> <scene_description>Charlie cuts Wesley short by grabbing his shirt and pulling him close .</scene_description> <character>CHARLIE</character> <dialogue>Do n't Do n't you talk about Betty like that. I do n't care who she ends up being, you never use that word again. Got it?</dialogue> <character>WESLEY</character> <dialogue>Man, you have got to get some therapy.</dialogue> <character>CHARLIE</character> <dialogue>I said ` got it?'</dialogue> <character>WESLEY</character> <dialogue>yeah, I got it.</dialogue> <parenthetical>( struggling . )</parenthetical> <dialogue>Come on, you're stretching out my vest.</dialogue> <character>CHARLIE</character> <dialogue>You made your point.</dialogue> <parenthetical>( drops him . )</parenthetical> <dialogue>I was wrong.</dialogue> <scene_description>He carefully folds the paper , pockets the photo and straightens his clothing . He straps on his holster and checks his weapon for emphasis .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Now, get yourself ready.</dialogue> </scene> <scene> <stage_direction>INT. MOTEL BATHROOM - DAY</stage_direction> <scene_description>Wesley gathering his gear through the open door . Charlie stands looking at himself in the mirror . Touches at the gray in his hair . As an afterthought , he tosses on a splash of cologne .</scene_description> </scene> <scene> <stage_direction>INT. SOUNDSTAGE - DAY</stage_direction> <scene_description>George leads Betty past several standing sets and into the ` operating room ' as CREW MEMBERS buzz around . Betty walks with her eyes closed and holding George 's hand .</scene_description> <character>GEORGE</character> <dialogue>Just a little further. come on.</dialogue> <scene_description>George stops and puts both hands over Betty 's eyes . He looks about expectantly and then uncovers them with a flourish .</scene_description> <character>GEORGE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Surprise!</dialogue> <scene_description>Betty stares , slowly trying to take in her new surroundings . It looks like Loma Vista , but something is different . Odd . Cameras , lights , etc. . - all the apparatus of a TV show - are in plain sight . And very disorienting .</scene_description> <character>BETTY</character> <dialogue>Oh my gosh. I did n't know I was going to meet your friends today. I dressed a little casual.</dialogue> <scene_description>He leads her to a taped mark on the floor as CAST MEMBERS appear , including JASMINE and BLAKE DANIELS .</scene_description> <character>GEORGE</character> <dialogue>That's cute. listen, you got the part, and I'm directing. You've only got four lines today, so I thought I'd just spring it on you. No blocking or anything, just stand near the nurse's station. we're gon na do a quick walk - through. Alright?</dialogue> <scene_description>He kisses her cheek and walks off toward the waiting Lyla before she can respond .</scene_description> <character>VOICE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Quiet on the set!</dialogue> <character>GEORGE</character> <dialogue>Traffic was terrible.</dialogue> <character>LYLA</character> <dialogue>No, that's fine, we've only got seventy pages to shoot. take your time.</dialogue> <scene_description>A STAGE MANAGER hands Betty a set of sides and an on - set COSTUMER tries to fit her .</scene_description> <character>BETTY</character> <dialogue>Excuse me. What are you doing?</dialogue> <character>STAGE MANAGER</character> <dialogue>We'll get you into hair and make - up after this, just put this on.</dialogue> <scene_description>The other actors take their positions . Lyla watches from behind the cameras as David readies himself . Chloe enters the set with Kleenex tucked into the neck of her costume .</scene_description> <character>CHLOE</character> <parenthetical>( to Betty . )</parenthetical> <dialogue>Hi. I hear you're great. Good luck.</dialogue> <character>BETTY</character> <dialogue>What are you doing here? David.</dialogue> <character>GEORGE</character> <dialogue>Your lines'll are in the script, but you can ad lib.</dialogue> <character>BETTY</character> <dialogue>Ad lib?</dialogue> <character>GEORGE</character> <dialogue>In fact, I want you to ad lib, that's the magic I'm after. I wan na give a whole new feel to the show.</dialogue> <scene_description>She 's sliding toward a complete meltdown .</scene_description> <character>VOICE</character> <dialogue>Slate it!</dialogue> <scene_description>George steps back behind the cameras . Betty 's still frozen to her spot , overwhelmed .</scene_description> <character>GEORGE</character> <dialogue>Just do what you've been doing. Watch the scene and on your cue take off from there.</dialogue> <character>VOICE</character> <dialogue>5 - 4 - 3 - 2.</dialogue> <scene_description>Chloe and Blake run through their lines lifelessly , then stop when they get to Betty 's cue . Their faces loom around her menacingly . Staring . The lights are impossibly bright . People begin to shuffle and stare at one another . Lyla clears her throat as George bounds on stage , still smiling .</scene_description> <character>GEORGE</character> <dialogue>Betty?</dialogue> <character>CHLOE</character> <dialogue>Are you all right?</dialogue> <character>BLAKE</character> <parenthetical>( to Chloe . )</parenthetical> <dialogue>I think you stepped on my first line.</dialogue> <character>CHLOE</character> <dialogue>I was talking to her.</dialogue> <parenthetical>( to Betty . )</parenthetical> <dialogue>Do you need anything?</dialogue> <scene_description>She 's freezing up . George approaches her .</scene_description> <character>GEORGE</character> <dialogue>Betty, I thought this would be the best way. You know, throw you into it.</dialogue> <character>LYLA</character> <dialogue>What the hell's going on?</dialogue> <character>GEORGE</character> <dialogue>If you need a minute, that's okay. But I thought you'd want to -</dialogue> <character>BETTY</character> <dialogue>David, I do n't. Can we talk privately for a second?</dialogue> <character>GEORGE</character> <dialogue>Stop calling me David. We're on set, for Christ's sake, you do n't have to call me David here.</dialogue> <scene_description>As he pulls away Betty grabs his arm .</scene_description> <character>BETTY</character> <dialogue>Why are you doing this to me?</dialogue> <character>GEORGE</character> <dialogue>Why am I doing this to you? Is n't this what you wanted?</dialogue> <scene_description>Lyla approaches .</scene_description> <character>LYLA</character> <dialogue>Is there a problem, George?</dialogue> <character>GEORGE</character> <dialogue>No! No problem, there is no.</dialogue> <parenthetical>( to Betty , sotto . )</parenthetical> <dialogue>What is the problem? Just do that. thing. you do! Come on! You drove me nuts with this for three days, now do it!</dialogue> <scene_description>George steps back behind the cameras as if nothing 's wrong . Betty still has n't moved . She 's shaking with fear . The cast and crew members find it hard to look at her .</scene_description> <character>LYLA</character> <dialogue>All right, everybody! That's ten minutes!</dialogue> <character>GEORGE</character> <dialogue>No! Let me try this!</dialogue> <character>JASMINE</character> <parenthetical>( storming off . )</parenthetical> <dialogue>This is bullshit!</dialogue> <character>LYLA</character> <dialogue>Forget it, George. It was a gamble, it did n't work. Nice try.</dialogue> <character>GEORGE</character> <dialogue>Let me try this, goddamnit! SHE'S BEEN DOING IT ALL WEEK, SHE CAN DO IT NOW!</dialogue> <character>LYLA</character> <dialogue>I SAID FORGET IT!</dialogue> <scene_description>George throws down his script and rushes up to Betty , who reaches out to him . He brushes her hands away .</scene_description> <character>GEORGE</character> <dialogue>Well, I do n't know what you had in mind, but I hope you're happy. I put myself on the line for you, my reputation, and you're making me look like an idiot.</dialogue> <character>BETTY</character> <dialogue>What do you mean? What did I do to you.</dialogue> <character>GEORGE</character> <dialogue>Who put you up to this? Did my ex - wife ask you to?</dialogue> <character>BETTY</character> <dialogue>David, please -</dialogue> <character>GEORGE</character> <dialogue>STOP CALLING ME THAT! MY NAME IS NOT DAVID, AND IF YOU REALLY DO N'T KNOW THE DIFFERENCE, YOU'RE MORE FUCKED UP THAN I THOUGHT YOU WERE!</dialogue> <scene_description>Betty begins to cry .</scene_description> <character>STAGEHAND</character> <dialogue>Leave her alone, George!</dialogue> <character>GEORGE</character> <dialogue>SHUT THE FUCK UP! You're a fucking grip, go grip something!</dialogue> <parenthetical>( to Betty . )</parenthetical> <dialogue>And you're not an actress, you're nothing but a soap opera groupie, are n't you? YOU HAVE NOTHING BETTER TO DO! DO YOU? Well, why do n't you get a fucking life, and stop ruining mine!</dialogue> <scene_description>Betty stands dead still as George continues to berate her . ALL SOUND slowly starts to drop out , then comes back abruptly with a RUSH . Suddenly a light snaps on for her and she stares at him .</scene_description> <character>BETTY</character> <dialogue>I'm sorry. Oh my gosh, are you George McCord?!</dialogue> <character>GEORGE</character> <dialogue>What? What did you call me?</dialogue> <character>BETTY</character> <dialogue>George. McCord. You're my favorite actor on.</dialogue> <character>LYLA</character> <dialogue>She called you ` George,' George.</dialogue> <character>BETTY</character> <dialogue>did I win some contest?</dialogue> <character>GEORGE</character> <dialogue>But I'm David. I mean, I'm not David, but she thinks I am! You heard her.</dialogue> <parenthetical>( looking around the group . )</parenthetical> <dialogue>Stop staring at me. I'm not crazy, she is!</dialogue> <character>BETTY</character> <dialogue>Why are you screaming at me? I mean, what am I. why am I here? I do n't.</dialogue> <character>GEORGE</character> <dialogue>You're doing this now? After all the. are you sick? Are you going to kill me now?</dialogue> <character>BETTY</character> <dialogue>No, I. I'll leave. Forgive me if I caused you all any trouble. I just, I do n't know how I.</dialogue> <parenthetical>( to George . )</parenthetical> <dialogue>. I'm sorry.</dialogue> <scene_description>George watches Betty walk off the set . The cast and crew try to pretend this scene did n't happen , except for Lyla , who burns a hole into George 's back . Their eyes meet .</scene_description> <character>GEORGE</character> <dialogue>What?!</dialogue> </scene> <scene> <stage_direction>INT. TV STUDIOS / RECEPTION AREA - DAY</stage_direction> <scene_description>George McCord , wearing sunglasses and still angry , strides into the lobby . Charlie and Wesley stand quickly and take out their badges as he approaches .</scene_description> <character>GEORGE</character> <dialogue>What can I do for you, gentlemen?</dialogue> <character>CHARLIE</character> <dialogue>How do you do, Mr. McCord. We're trying to locate a deranged fan of yours,. a Ms. Betty.</dialogue> <character>GEORGE</character> <dialogue>Deranged. That would be the right word.</dialogue> <scene_description>Wesley takes out the photo of Betty .</scene_description> <character>GEORGE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>That wo n't be necessary. She's staying with a Rosa something. Hernandez, Herrera. I know it's an ` H' sound. in Silverlake.</dialogue> <character>CHARLIE</character> <dialogue>Thanks so much. You must get bothered by this kind of thing a lot.</dialogue> <character>GEORGE</character> <dialogue>More than you know. Is there anything else?</dialogue> <character>CHARLIE</character> <dialogue>No, that should be more than -</dialogue> <character>GEORGE</character> <dialogue>Good.</dialogue> <scene_description>George turns to leave .</scene_description> <character>WESLEY</character> <dialogue>Actually, there is one more thing.</dialogue> <scene_description>George stops . Wesley is suddenly shy , hesitant .</scene_description> <character>WESLEY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>It's just. well. I watch the show too, and you being Dr. Ravell and all, I thought you could maybe get Jasmine to come out here.</dialogue> <character>GEORGE</character> <dialogue>You thought wrong.</dialogue> <scene_description>George pulls away . Wesley grabs his sleeve .</scene_description> <character>WESLEY</character> <dialogue>It's just for an autograph. It's not for me.</dialogue> <character>GEORGE</character> <dialogue>It never is.</dialogue> <scene_description>George wrenches free of Wesley 's grip and takes off . Wesley is furious . He catches George in two strides , spins him around and SLAPS him across the face . George 's glasses go skittering across the floor . PEOPLE stare .</scene_description> <character>WESLEY</character> <dialogue>You need to learn some manners, friend. reach out to your goddamn fan base a little more.</dialogue> <scene_description>Charlie pulls Wesley away . George is frozen to the spot , humiliated , a pink handprint emerging on his cheek .</scene_description> <character>WESLEY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>and I saw your movie - of - the - week. It sucked dick!</dialogue> </scene> <scene> <stage_direction>EXT. HOLLYWOOD BLVD. - DAY</stage_direction> <scene_description>Betty walks aimlessly along a busy street . She moves without direction , in a daze until a glint of bright light hits her , causing her to turn . She is staring at a black Lincoln sitting in a car lot , sunlight dancing off its chrome . She shudders involuntarily at it . Suddenly , she hears a familiar voice .</scene_description> <character>DEL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>What the hell are you doing here?</dialogue> <scene_description>It 's Del. . He 's in a pastel version of his usual shirt , slacks , and tie .</scene_description> <character>DEL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Well, are you gon na answer me? What'd you come here for?</dialogue> <character>BETTY</character> <dialogue>I came for love.</dialogue> <character>DEL</character> <dialogue>You're not on that soap opera thing again, are you?'Cause you know what that is?</dialogue> <character>BETTY</character> <dialogue>It's people with no lives watching other people's fake lives.</dialogue> <character>DEL</character> <dialogue>That's right. So, if you know it, why are you in trouble?</dialogue> <character>BETTY</character> <dialogue>I do n't know.</dialogue> <character>DEL</character> <dialogue>You sure do n't. Who do you think you are coming to Hollywood, anyway? You should remember where you came from. And who you really are.</dialogue> <scene_description>Del looks up at the sun for a moment , shading his eye from it .</scene_description> <character>DEL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I got ta run. Got some serious clients to meet, with real potential.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Goddamn, it's hot!</dialogue> <scene_description>He wipes the sweat from his brow . Betty looks at his handkerchief and sees that it 's soaked in blood . Then back at his face , now obscured by blood pouring down from his head . She stares , horrified , and in that moment Del becomes . a MAN , staring back at her as he wipes the sweat from his brow .</scene_description> <character>MAN</character> <dialogue>Who are you talking to? Are you crazy?</dialogue> <scene_description>Betty backs away and melts into the flow of PEDESTRIANS .</scene_description> </scene> <scene> <stage_direction>INT. ROSA'S APARTMENT - LATER</stage_direction> <scene_description>Rosa comes home from work and tosses her purse and jacket on the chair . No Betty in her room .</scene_description> <character>ROSA</character> <dialogue>Bet - ty!? Did the pizza guy show up yet?</dialogue> <scene_description>She emerges from Rosa 's bedroom with toiletries and moves to an open suitcase in her room . She barely acknowledges Rosa .</scene_description> <character>ROSA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Are you all right?</dialogue> <parenthetical>( no answer . )</parenthetical> <dialogue>What happened?</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>He dumped you, did n't he? I KNEW IT WHEN I MET HIM! He's a loser, like the rest of them. Mother - fucker!</dialogue> <scene_description>Rosa now notices Betty packing .</scene_description> <character>ROSA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What are you doing?</dialogue> <character>BETTY</character> <dialogue>I'm going back to. I need to. I do n't know.</dialogue> <scene_description>Rosa tries to stop Betty for a moment to talk . Betty grabs a pile of Rosa 's clothes and heads for her room .</scene_description> <character>BETTY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>this is your sweater, right?</dialogue> <character>ROSA</character> <dialogue>Where are you going?</dialogue> <character>BETTY</character> <dialogue>I have to leave now.</dialogue> <scene_description>She tries to put Betty 's suitcase away .</scene_description> <character>ROSA</character> <dialogue>What? No, I'm not gon na let you just run out of here. You need to talk about what's going on.</dialogue> <character>BETTY</character> <dialogue>You think I'm crazy, Rosa, but you do n't know the half of it. My husband was, ahh.</dialogue> <character>ROSA</character> <dialogue>Your husband?!</dialogue> <character>BETTY</character> <dialogue>Yes, I had a husband and he was killed two weeks ago in my kitchen. I was right there.</dialogue> <scene_description>Rosa stops .</scene_description> <character>ROSA</character> <dialogue>Jesus! What are you saying?</dialogue> <scene_description>They stare at each other for a beat .</scene_description> <character>ROSA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What?! That you had something to do with it?</dialogue> <character>BETTY</character> <dialogue>I do n't know. I'm just starting to remember it now. I do n't.</dialogue> <character>ROSA</character> <dialogue>Yeah, but your running away is n't going to help you with all this.</dialogue> <character>BETTY</character> <dialogue>There was blood everywhere, Rosa. I saw it, I think I watched the whole thing happen. Oh my God.</dialogue> <character>ROSA</character> <dialogue>Okay, okay, look, ummm. Let's just talk a little first and you'll feel better, I promise.</dialogue> <scene_description>The doorbell rings .</scene_description> <character>ROSA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>That's our pizza. You ca n't go yet.</dialogue> </scene> <scene> <stage_direction>EXT. ROSA'S APARTMENT - DAY</stage_direction> <scene_description>Charlie watches Betty undress from a nearby fire escape . He stares at the object of his desperate search with relief and some fascination . Betty 's movements are unhurried , mindless . Charlie stares , mesmerized , until she steps into the shower .</scene_description> </scene> <scene> <stage_direction>EXT. ROSA'S APARTMENT - STREET - SAME TIME</stage_direction> <scene_description>Wesley gently nudges open the trunk to Betty 's LeSabre . The cardboard cut - out of David Ravell pops out at him .</scene_description> <character>WESLEY</character> <dialogue>Whoa! What the fuck're you doing here?</dialogue> <scene_description>He breaks it over his knee and throws it in the gutter , then quickly removes the wing nut holding the spare tire . He removes the tire , then raises the panel on the floor of the trunk as Charlie joins him .</scene_description> <character>WESLEY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>It's all here. It has n't been touched.</dialogue> <scene_description>The bottom of the trunk is lined with brown paper - wrapped bricks of cocaine . Charlie stares at it , shaking his head .</scene_description> <character>WESLEY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You were right. Del was n't lying.</dialogue> <character>CHARLIE</character> <dialogue>Well, you were right about what that bartender said.</dialogue> <scene_description>Wesley looks at him . He appreciates the compliment .</scene_description> <character>WESLEY</character> <dialogue>But you were right first. You got ta follow your instincts.</dialogue> <scene_description>Charlie takes a long look at Wesley and smiles proudly .</scene_description> <character>CHARLIE</character> <dialogue>What do your instincts tell you to do now, kid?</dialogue> <character>WESLEY</character> <dialogue>Leave. Take this shit back to Detroit and get the rest of our money.</dialogue> <character>CHARLIE</character> <dialogue>We could do that. I could be on my way to Florida, and you could go to Thailand and fuck your brains out.</dialogue> <character>WESLEY</character> <dialogue>but that's not what we're gon na do, is it?</dialogue> <character>CHARLIE</character> <dialogue>No. if we do n't finish this job, how are we gon na look at ourselves in the mirror? This is it for me, Wesley, she's the last one. My instinct says I got ta see this through with her, and if there's one thing I've tried to teach you here -</dialogue> <character>WESLEY</character> <dialogue>It's to follow my instincts. And my instincts say get the fuck out of Dodge.</dialogue> <character>CHARLIE</character> <dialogue>No, I said to follow ` my' instincts. Now, we go up there and conclude our business. Case closed.</dialogue> <scene_description>Charlie walks off . Wesley closes the trunk up and prepares to follow him .</scene_description> <character>WESLEY</character> <dialogue>oh, that's fucking democratic.</dialogue> </scene> <scene> <stage_direction>INT. ROSA'S APARTMENT / HALLWAY - MOMENTS LATER</stage_direction> <scene_description>At the sound of the BUZZER Rosa goes to the door . She looks through the peephole and sees Charlie holding up a badge .</scene_description> <character>CHARLIE</character> <dialogue>I'm Detective Jefferson -</dialogue> <character>ROSA</character> <dialogue>Oh. Did Betty call you?</dialogue> <scene_description>Charlie nods . Rosa opens the door , and he enters with Wesley .</scene_description> <character>ROSA</character> <dialogue>She's got problems, but she's no killer. I hope you guys can straighten this out.</dialogue> <scene_description>Charlie and Wesley exchange a puzzled look .</scene_description> <character>CHARLIE</character> <dialogue>We'll do what we can. Where is she?</dialogue> <character>ROSA</character> <dialogue>Bet - ty!</dialogue> <parenthetical>( to the men . )</parenthetical> <dialogue>Please, go easy on her. She's had a really rough day.</dialogue> <scene_description>Betty appears . She recognizes the men instantly and freezes . Charlie 's eyes wander over her . slowly . Wesley notices .</scene_description> <character>ROSA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>These guys are here to help you, Betty.</dialogue> <character>BETTY</character> <dialogue>I do n't think so.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Rosa, I did n't kill Del. they did.</dialogue> <scene_description>Wesley produces a pistol , sitting Rosa forcibly on the sofa and tapes her mouth and hands . Charlie walks over to Betty .</scene_description> <character>CHARLIE</character> <dialogue>We meet again.</dialogue> <scene_description>He moves closer to her . almost whispers . Wesley steps in and quickly tapes her hands . Charlie stops him .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Not her mouth.</dialogue> <parenthetical>( to Betty . )</parenthetical> <dialogue>I've spent many long hours in a car with your face staring back at me. I've seen it painted on the horizon.</dialogue> <character>WESLEY</character> <parenthetical>( to Charlie . )</parenthetical> <dialogue>What's wrong with you?</dialogue> <scene_description>A KNOCK at the door ruins Charlie 's moment .</scene_description> <character>ROSA</character> <dialogue>That's our pizza.</dialogue> <scene_description>Wesley hustles Rosa out of the room .</scene_description> <character>CHARLIE</character> <dialogue>Get rid of them. You understand?</dialogue> <scene_description>Betty nods , scared , and looks through the peephole . She stares with disbelief at ROY OSTREY . He KNOCKS again . She opens the door a crack .</scene_description> <character>ROY</character> <dialogue>Betty! Boy, am I glad to see you!</dialogue> <character>BETTY</character> <dialogue>Roy! What are you doing here?</dialogue> <character>ROY</character> <dialogue>You're in serious danger!</dialogue> <character>BETTY</character> <dialogue>Ahh, look, right now's not very.</dialogue> <character>ROY</character> <dialogue>I woulda' been here sooner, but Ballard put me in jail. He still thinks you had Del scalped.</dialogue> <character>BALLARD</character> <dialogue>I never said that! Open the door, Betty.</dialogue> <scene_description>BALLARD shoves Roy aside ; Charlie 's getting edgy .</scene_description> <character>BETTY</character> <dialogue>Sheriff, I do n't.</dialogue> <character>BALLARD</character> <dialogue>C'mon, Betty, open up! I got some questions for you about.</dialogue> <character>ROY</character> <dialogue>Have you checked the trunk of that car you're driving, Betty? I think there might be.</dialogue> <character>BETTY</character> <dialogue>It's not really a good time, guys.</dialogue> <character>BALLARD</character> <dialogue>Do n't give me that. I've come two thousand miles for this!</dialogue> <scene_description>Charlie has been listening quietly on the other side of the door and finally snaps .</scene_description> <character>CHARLIE</character> <dialogue>Two thousand miles? That's nothing!</dialogue> <scene_description>He flings the door open , sticks a pistol in Ballard 's face and yanks them both inside .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Hah! You probably flew! I've crossed the river Styx looking for her, pal! I travelled the fucking country to be here!</dialogue> <scene_description>Charlie slams the door and frisks them , taking a gun and handcuffs from Ballard . Wesley returns with Rosa .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( to Betty . )</parenthetical> <dialogue>Who are these idiots?</dialogue> <character>BETTY</character> <dialogue>This is Roy Ostrey, he's a reporter. And this is Sheriff Ballard. We all went to Fair Oaks High together.</dialogue> <character>CHARLIE</character> <dialogue>Oh, this is wonderful.</dialogue> <scene_description>Wesley takes over . He sits Rosa down on the sofa , then pushes Betty down next to her and beckons to Roy .</scene_description> <character>WESLEY</character> <dialogue>Come here.</dialogue> <scene_description>He breaks Roy 's nose with his pistol . Roy crumples to the floor , holding his face . Betty starts to scream , but Charlie puts his hand over her mouth . Wesley tapes Roy 's hands together , then beckons to Ballard .</scene_description> <character>WESLEY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Your turn.</dialogue> <scene_description>Ballard drops to his knees in a prayer - like position near the aquarium .</scene_description> <character>BALLARD</character> <dialogue>I got two kids and a dog.</dialogue> <scene_description>Wesley grabs his shirtfront and slams him to the floor , then with a foot on his neck , he loops Ballard 's arms around one leg of the steel aquarium stand and handcuffs him . Charlie does nothing but stare at Betty , his eyes locked with hers . Wesley sees it .</scene_description> <character>WESLEY</character> <dialogue>Act professional, remember?</dialogue> <scene_description>Charlie pulls her to her feet .</scene_description> <character>WESLEY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What are you doing?</dialogue> <scene_description>Charlie leads Betty out of the room .</scene_description> <character>WESLEY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>No way! This is not professional!</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM - SAME TIME</stage_direction> <scene_description>Silence . Then Charlie takes out a knife and cuts the tape from Betty 's wrists , touching her hair . Gently . He leaves her standing in the corner while he sits on the edge of the bed .</scene_description> <character>BETTY</character> <dialogue>I s ` pose you did that so I could take my sweater off or something.</dialogue> <character>CHARLIE</character> <dialogue>No, just stand there. lem me look at you a minute.</dialogue> <scene_description>She does . Charlie stares intently at her .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Do you know who I am?</dialogue> <character>BETTY</character> <dialogue>I. I know what you are.</dialogue> <character>CHARLIE</character> <dialogue>Do you know why I'm here?</dialogue> <character>BETTY</character> <dialogue>I've got a pretty good idea. You're here to kill me, so kill me. You want me to be afraid, but I'm not. I do n't care who you are, or why you two killed my husband.</dialogue> <scene_description>Charlie studies her , then sets his gun down on the bed .</scene_description> <character>CHARLIE</character> <dialogue>You really. did n't have anything to do with what Del was doing, did you?</dialogue> <character>BETTY</character> <dialogue>I have no idea what he was mixed up in. it was always something.</dialogue> <character>CHARLIE</character> <dialogue>So you were n't involved with him in his pathetic attempt to diversify?</dialogue> <parenthetical>( off her blank look . )</parenthetical> <dialogue>Were you mixed up in the drugs, Betty?</dialogue> <character>BETTY</character> <dialogue>Drugs? God, no! I'm totally against drugs.</dialogue> <character>CHARLIE</character> <dialogue>Damn, life is strange. I had you figured for this cold - blooded, calculating bitch - Not that I did n't admire you for it.</dialogue> <scene_description>Charlie slowly folds his knife and pockets it .</scene_description> <character>BETTY</character> <dialogue>well, if you're not going to slit my throat, why'd you come up here?</dialogue> <character>CHARLIE</character> <dialogue>to see you.</dialogue> </scene> <scene> <stage_direction>INT. ROSA'S APARTMENT - LIVING ROOM - SAME TIME</stage_direction> <scene_description>Wesley stands over Ballard , about to tape his mouth . Rosa and Roy are sitting in chairs opposite them , their mouths and wrists already taped .</scene_description> <character>BALLARD</character> <dialogue>You killed that bartender in Arizona and the trucker in Texas, did n't you?</dialogue> <character>WESLEY</character> <dialogue>How did you find Betty?</dialogue> <character>BALLARD</character> <dialogue>I just put it all together. I knew David, Lonnie and Chloe were from that show.</dialogue> <scene_description>Roy starts freaking out , trying to talk through the tape .</scene_description> <character>BALLARD</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Betty thinks they're real people. It sounded crazy, but it was worth a shot.</dialogue> <scene_description>Roy is apoplectic .</scene_description> <character>WESLEY</character> <dialogue>What do you want?!</dialogue> <scene_description>Wesley tears his tape off .</scene_description> <character>ROY</character> <dialogue>That's a lie! I figured it out! I've been trying to tell this dumbass -</dialogue> <character>BALLARD</character> <dialogue>Fuck you, Roy Ostrey!</dialogue> <character>ROY</character> <dialogue>- small - time, pissant, Barney Fife -</dialogue> <character>WESLEY</character> <dialogue>SHUT UP! Shut the fuck up, both of you, before I kill you!</dialogue> <character>ROY</character> <dialogue>I'm the one who watched the show. I was.</dialogue> <character>WESLEY</character> <dialogue>Did Chloe crack?</dialogue> <character>ROY</character> <dialogue>Totally. She came apart like a house of cards. They dropped the charges.</dialogue> <character>WESLEY</character> <dialogue>Goddamn. how ` bout Jasmine?</dialogue> <character>ROY</character> <dialogue>She's a lesbian.</dialogue> <scene_description>Wesley immediately pulls his gun and points it at Roy 's head .</scene_description> <character>WESLEY</character> <dialogue>You lie, motherfucker.</dialogue> <character>ROY</character> <dialogue>I swear to God!</dialogue> <scene_description>Rosa STAMPS her feet , drawing Wesley 's attention . She tries to talk through the duct tape ; gestures for him to come to her .</scene_description> <character>WESLEY</character> <dialogue>What?! You scream, you die.</dialogue> <scene_description>He yanks the tape off . Rosa winces .</scene_description> <character>ROSA</character> <dialogue>I have a tape of today's show.</dialogue> </scene> <scene> <stage_direction>INT. ROSA'S APARTMENT - BEDROOM - SAME TIME</stage_direction> <scene_description>Betty is sitting on the bed . Charlie leans against the wall , facing her . He has trouble starting this .</scene_description> <character>CHARLIE</character> <dialogue>I never meet people like you. I'm a garbageman of the human conditon. I deal with trash, mostly, people willing to trade any part of themselves for a few more minutes of their rotten lives. But you. you're different.</dialogue> <character>BETTY</character> <dialogue>I am?</dialogue> <character>CHARLIE</character> <dialogue>Sure. You could probably have any thing you wanted. somebody as beautiful and stylish as yourself, and you do n't even realize it.</dialogue> <scene_description>Betty looks curiously over at Charlie .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I'm appreciably older than you, but my health is good. I take care of myself, and I got some money socked away. You'd never have to work agin, that's for sure. I'd treat you like a queen.</dialogue> <character>BETTY</character> <dialogue>Umm, I do n't think that.</dialogue> <character>CHARLIE</character> <dialogue>Wait. Let me get this out.</dialogue> <parenthetical>( clears his throat . )</parenthetical> <dialogue>I like the symphony, walks in the rain, sunsets, animals and children. I read passionately, and I like to discuss things. I'm basically conservative, but flexible. I've been involved in the death of thirty - two people, but I can live with that because the world is lighter by thirty - two pieces of shit, excuse my language.</dialogue> <character>BETTY</character> <dialogue>`` Thirty - two?''</dialogue> <character>CHARLIE</character> <dialogue>Well, thirty - three, but I'm not counting Del, on account of you. so, what do you think?</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>You probably feel I'm flattering myself to see us together.</dialogue> <character>BETTY</character> <dialogue>I do n't feel that, no. I just. I'm not really who you think I am.</dialogue> <character>CHARLIE</character> <dialogue>No one is, honey. Here, listen to this. `` If who I am and who I hope to be should meet one day, I know they will be friends.'' Now that's beautiful.</dialogue> <scene_description>Betty is stunned .</scene_description> <character>BETTY</character> <dialogue>I wrote that when I was twelve. where'd you get that?!</dialogue> <character>CHARLIE</character> <parenthetical>( he pulls out the diary . )</parenthetical> <dialogue>I know. I borrowed it from your grandparents because I. I. it does n't matter. Do n't worry, they're fine.</dialogue> <parenthetical>( he gives the diary back . )</parenthetical> <dialogue>Look, I used to feel that same way, said practically those same words, sitting at night in a foxhole in Korea.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>I've chased you across the country, Betty, and I come to find out we're a lot more alike than you'd think.</dialogue> <character>BETTY</character> <dialogue>I thought you were a garbageman of humanity, or something.</dialogue> <character>CHARLIE</character> <dialogue>Yes, but I'd sort of like to put that behind me now.</dialogue> </scene> <scene> <stage_direction>INT. ROSA'S APARTMENT - LIVING ROOM - SAME TIME</stage_direction> <scene_description>Wesley is engrossed in watching `` A Reason to Love . '' Behind him , Ballard quietly walks his feet up the wall until he 's completely upside down . He rubs one foot against the other until one pantleg is above his cowboy boot . Rosa and Roy watch . He finally lifts the boot off . It falls soundlessly onto his chest . A small pistol is revealed , holstered above his ankle . He works the holster open using the edge of the fishtank . Roy and Rosa COUGH LOUDLY at the same time to cover the noise . Wesley glares at them . Ballard gets the pistol free . But it falls into the fishtank . The air goes out of Roy 's sails . Ballard has fucked up again . On screen , Chloe and Jasmine kiss and embrace . Wesley reacts as if he was slapped .</scene_description> <character>WESLEY</character> <dialogue>goddamn!</dialogue> <scene_description>Wesley immediately runs the sequence back to view it again . Ballard KICKS the wall of the fishtank with his cowboy boot . Roy and Rosa cover the sound again with COUGHING . Wesley pauses the T.V. and looks around .</scene_description> <character>WESLEY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What's your problem?</dialogue> <scene_description>Ballard KICKS at the tank again . But he ca n't break the glass . Roy ca n't take it any more . He launches himself at the tank , grabs it by the rim and pulls it down on top of himself . A torrent of water , fish , plants and gravel pours down upon him .</scene_description> <character>WESLEY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You stupid piece of fuck!</dialogue> <scene_description>He leaps at Roy and starts kicking him savagely . Rosa throws herself onto Wesley 's back , knocking him to the floor . Ballard paws through the muck , scattering fish and gravel everywhere . He spots a glint of metal in the sand . Wesley struggles out from under Rosa . Just as he gets free , Ballard FIRES , hitting him TWICE into his chest . Wesley stares in disbelief at the blood rushing out of him . Then at Ballard , as if trying to link the two . He slumps to the floor and opens his mouth to scream .</scene_description> <character>WESLEY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>D - A - A - A - D - D - D - Y - Y -!</dialogue> <scene_description>Charlie opens the bedroom door .</scene_description> <character>CHARLIE</character> <dialogue>Wesley?!</dialogue> <scene_description>Charlie sees Wesley turn to him as Ballard FIRES again . Wesley 's face explodes . The flying lead drives Charlie back to the bedroom . Crawling through the muck , Roy notices a fish flopping helplessly on the carpet inches from his face .</scene_description> <character>ROY</character> <dialogue>Those're Japanese koi!</dialogue> <character>ROSA</character> <dialogue>Yes! How'd you know that?</dialogue> <character>ROY</character> <dialogue>You got ta get'em in water right away!</dialogue> <character>BALLARD</character> <dialogue>We're in a shootout, Roy! Shut up about the damn fish!</dialogue> <character>ROY</character> <dialogue>YOU shut up!</dialogue> <parenthetical>( to Rosa . )</parenthetical> <dialogue>They're beautiful, but get them some water.</dialogue> <scene_description>He gently hands her the fish , then picks up Wesley 's nearby gun . Rosa nods ; she 's amazed that he knew what it was . She looks at Roy in a slightly different way before crawling away toward the kitchen .</scene_description> </scene> <scene> <stage_direction>INT. ROSA'S APARTMENT - BEDROOM - SAME TIME</stage_direction> <scene_description>Charlie FIRES back from the doorway .</scene_description> <character>CHARLIE</character> <dialogue>Oh, Christ, they shot my boy!</dialogue> <scene_description>Enraged , he empties his pistol at the living room . Ballard and Roy return fire , and Charlie ducks back in .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( reloading . )</parenthetical> <dialogue>How the hell did this happen? I'm in a goddamn shoot - out! Wesley? What the fuck happened out there?!</dialogue> <scene_description>He opens the door , and a bullet slams into the doorjamb near his head . He ducks back in . Charlie sags against the wall , looking toward Betty .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>That's my son! My son is dead!</dialogue> <character>BETTY</character> <dialogue>I'm sorry.</dialogue> <character>CHARLIE</character> <dialogue>You're sorry? YOU'RE THE REASON WE'RE HERE!</dialogue> <character>BETTY</character> <dialogue>WAIT A SECOND! I AM NOT THE REASON YOU'RE HERE! I WAS MINDING MY OWN BUSINESS, LIVING A PERFECTLY BORING LIFE UNTIL YOU CAME ALONG!</dialogue> <scene_description>Charlie fights back his grief .</scene_description> <character>BETTY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What do you want from me?</dialogue> <scene_description>Charlie ca n't handle the moment . He breaks for the door , and BLASTS away . This time he 's nicked in the shoulder . He stumbles back , losing his balance . His gun falls and slides right into Betty 's hand . Equally surprised they stare at one another . Charlie slumps over in his defeat as Betty holds a shaky pistol on him .</scene_description> <character>CHARLIE</character> <dialogue>Oh shit.</dialogue> </scene> <scene> <stage_direction>INT. ROSA'S APARTMENT - LIVING ROOM - SAME TIME</stage_direction> <scene_description>Rosa crawls to a flower vase and dumps a second koi into the water inside . Roy and Ballard crouch behind the open archway , using the hanging beads as protection .</scene_description> <character>BALLARD</character> <parenthetical>( checks his gun . )</parenthetical> <dialogue>We need ammo. Go check his jacket, I'll cover you.</dialogue> <character>ROY</character> <dialogue>I'm not going out there! Let's wait for the real police.</dialogue> <character>BALLARD</character> <dialogue>You got ta go, we're pinned down!</dialogue> <character>ROSA</character> <dialogue>So why ca n't we just sneak outside? Huh?</dialogue> <character>BALLARD</character> <dialogue>Lady, you do n't just run away from crime. besides, Betty's in there.</dialogue> <character>ROY</character> <parenthetical>( checking . )</parenthetical> <dialogue>You wan na see if he has more shells, go ahead. I say we wait.</dialogue> <character>BALLARD</character> <dialogue>No, no, no. you do n't know shit about procedure! You do n't send your best.</dialogue> <character>ROY</character> <dialogue>I've got the working gun, Elden, me! You wasted all your bullets so you crawl out there.</dialogue> <scene_description>Ballard stares at him in disbelief , then back at the closed bedroom door . Ballard starts off on his belly .</scene_description> <character>BALLARD</character> <dialogue>Goddammit.</dialogue> </scene> <scene> <stage_direction>INT. ROSA'S APARTMENT - BEDROOM - SAME TIME</stage_direction> <scene_description>A LONG BEAT passes . POLICE SIRENS wail in the distance . Betty moves close to Charlie to look at his shoulder . He watches her intently .</scene_description> <character>CHARLIE</character> <dialogue>If we went out that window right now we'd have a chance.</dialogue> <character>BETTY</character> <dialogue>I better go check on them.</dialogue> <character>CHARLIE</character> <dialogue>Wait, Betty. you still have n't answered me.</dialogue> <character>BETTY</character> <dialogue>This is really awkward.</dialogue> <scene_description>The SIRENS are coming closer . He waves her off .</scene_description> <character>CHARLIE</character> <dialogue>Ahh, it's too late, anyway. It's too late.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Listen, I could shoot my way out, maybe take one of them with me. If you'd gim me my gun back.</dialogue> <character>BETTY</character> <dialogue>I'd rather not.</dialogue> <character>CHARLIE</character> <dialogue>Betty, I do n't wan na shrivel up alone in some stinking prison. No way. I've got some professional pride. And I do n't want anybody else to get the credit for taking me out.</dialogue> <character>BETTY</character> <dialogue>what're you saying?</dialogue> <character>CHARLIE</character> <dialogue>When a Roman general knew a battle was lost, he'd throw himself on his sword.</dialogue> <scene_description>Charlie fumbles in his pocket , then pulls out the photo of Betty with the cardboard David Ravell .</scene_description> <character>CHARLIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Did. did you really come here because you love this guy?</dialogue> <character>BETTY</character> <dialogue>Yes. Not the actor, though, the doctor. I think.</dialogue> <scene_description>Charlie 's sinks slowly to the floor .</scene_description> <character>CHARLIE</character> <dialogue>So all this. really was because of that soap opera? My son is dead because you came out here to be with that doctor? A fake doctor?</dialogue> <character>BETTY</character> <dialogue>I would n't have put it quite that way, but.</dialogue> <character>CHARLIE</character> <dialogue>Wesley did n't even want to come up here. He warned me, but I insisted.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>I have to ask you, Betty. are you crazy?</dialogue> <character>BETTY</character> <dialogue>I do n't think I am.</dialogue> <scene_description>Charlie remains sitting pensively for a long beat .</scene_description> <character>CHARLIE</character> <dialogue>I want you to listen to me, Betty. People do n't lie when they're about to die.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>You do n't need that doctor. You do n't need that actor. You do n't need any man. It's not the forties, honey. You do n't need anybody. You've got yourself. and that's more than most people can say.</dialogue> <scene_description>Charlie reaches out slowly and takes the gun from Betty . She does n't fight him . He kisses her hand and steps into the bathroom and closes the door . A single GUNBLAST sends a shiver through Betty .</scene_description> </scene> <scene> <stage_direction>INT. LYLA'S HOUSE - NIGHT</stage_direction> <scene_description>TV Newscast CLOSE SHOT of an ANCHORMAN .</scene_description> <character>ANCHORMAN</character> <dialogue>In a story that police say is bizarre, even for Hollywood, a father - son team of killers tracked a Kansas soap opera fan halfway across the country, only to find themselves the victims in a final, bloody confrontation.</dialogue> <scene_description>The Anchorman continues as the CAMERA PULLS BACK to reveal Lyla and George watching television in a plush living room .</scene_description> <character>LYLA</character> <dialogue>This story is beyond belief, which is perfect for us. It's free advertising and it's gon na run for months.</dialogue> <character>GEORGE</character> <dialogue>I do n't think she can do it. You saw what happened.</dialogue> <character>LYLA</character> <dialogue>You fucked it up. Who would n't freeze in those circumstances? And I do n't care what her problems are. She would n't be the first one in that cast with problems. We have nothing to lose by making her an offer.</dialogue> <character>GEORGE</character> <dialogue>What about me? Do n't you wan na know how I feel about it? I'm the one who.</dialogue> <character>LYLA</character> <dialogue>Why would I give a shit how you feel. And I got news for you. I loved your ` icy water' idea the other day. I'm toying with the idea of killing David Ravell off in a boating accident.</dialogue> <character>GEORGE</character> <dialogue>That's not a bad idea. How many episodes before he comes back?</dialogue> <scene_description>Lyla shakes her head `` no . ''</scene_description> <character>GEORGE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Jesus, do n't do that! If it gets around that you fired me, I'll never land a pilot.</dialogue> <character>LYLA</character> <dialogue>Then do as you're told. Get her back.</dialogue> </scene> <scene> <stage_direction>INT. TIP TOP DINER - DAY</stage_direction> <scene_description>George and Betty sit across from one another in a booth . Betty listens patiently . Her former co - workers try to remain busy but ca n't help gawking .</scene_description> <character>GEORGE</character> <dialogue>I'm sorry for what I did. It was inexcusable. I'm sorry for the things I said, and for not respecting you, and for all the stupid things that.</dialogue> <scene_description>Darlene approaches , puts a piece of paper on the table .</scene_description> <character>DARLENE</character> <dialogue>When you have a minute.</dialogue> <character>GEORGE</character> <dialogue>Look, I do n't really like the whole idea of autographs, and I'm kind of in the middle of.</dialogue> <character>DARLENE</character> <dialogue>Do n't flatter yourself. It's the check.</dialogue> <scene_description>She walks off .</scene_description> <character>GEORGE</character> <dialogue>Oh. Of course. sorry.</dialogue> <character>BETTY</character> <parenthetical>( grabbing it up . )</parenthetical> <dialogue>My treat. You were saying. something about how stupid you've been?</dialogue> <character>GEORGE</character> <dialogue>Right. I was. I was an idiot, plain and simple, and I hope you can find it in your heart to forgive me. How's that?</dialogue> <character>BETTY</character> <dialogue>Kinda like you'd been saying it since you got on the plane.</dialogue> <character>GEORGE</character> <dialogue>I have. did it sound that bad?</dialogue> <character>BETTY</character> <dialogue>Mmm - hmm. Listen, I forgive you, Mr. McCord.</dialogue> <character>GEORGE</character> <dialogue>George.</dialogue> <character>BETTY</character> <dialogue>George. I do.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>My best friend once said if you were any handsomer it would be a crime.</dialogue> <character>GEORGE</character> <dialogue>Thanks.</dialogue> <character>BETTY</character> <dialogue>it's too bad you're such an asshole.'S the only thing that Del was ever right about.</dialogue> <scene_description>George winces . accepts it .</scene_description> <character>GEORGE</character> <dialogue>No, that's. okay. Fair enough.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>So, now that we've sort of settled the ` asshole' thing, is there any chance you'll come back to the show? At all?</dialogue> </scene> <scene> <stage_direction>INT. TV DINER - DAY</stage_direction> <scene_description>Dr. David Ravell sits with Nurse Betty in a diner , catching a bite to eat before going back on shift . They smile at one another over their meals .</scene_description> <character>BETTY</character> <dialogue>there's always a chance, David.</dialogue> <character>DAVID</character> <dialogue>Right. But will there be a tomorrow, and the next day, and the next?</dialogue> <character>BETTY</character> <parenthetical>( whispering to him . )</parenthetical> <dialogue>Doctor, if you were any handsomer it'd be a crime.</dialogue> <character>DAVID</character> <dialogue>I guess that means you're free tonight. Of course, it's up to you.</dialogue> <character>BETTY</character> <dialogue>No, it's up to us. I love you, David. And I want to see you tomorrow, and the next day, and the next day.</dialogue> <parenthetical>( they kiss . )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>INT. TIP TOP DINER - DAY</stage_direction> <scene_description>Darlene , the other waitresses , the cooks and assorted customers gather at the counter to watch Betty on television . Sheriff Ballard beams from a nearby stool .</scene_description> </scene> <scene> <stage_direction>INT. SUE ANN'S HOUSE - DAY</stage_direction> <scene_description>The kids are out of control , but Sue Ann 's oblivious . She leaps from her chair .</scene_description> <character>SUE ANN</character> <dialogue>That's my best friend!</dialogue> </scene> <scene> <stage_direction>INT. ROSA'S APARTMENT - DAY</stage_direction> <scene_description>Roy , Rosa , Danny and Sra . Herrera watch Betty lean across the table , take David 's face in her hands and move into a romantic kiss . On the sofa , Rosa takes Roy 's hand in hers . Rosa Herrera received 11 phone calls off the business cards Betty handed out . But she fell in love with Roy Ostrey , married him and moved to Kansas .</scene_description> </scene> <scene> <stage_direction>EXT. CAFE SISTINA - ROME - DAY</stage_direction> <scene_description>Betty watches the pilgrims on their way to St. Peter 's as she sips a cup of coffee . HER WAITER stands nearby with one eye on a TV set that broadcasts `` A Reason to Love '' in Italian .</scene_description> <character>BETTY</character> <dialogue>Could I get some service here, please?</dialogue> <scene_description>Without looking , the waiter approaches , tops off her cup and moves back to watching the show . Betty smiles knowingly at this , takes a sip and settles back in her seat . Slowly , the world passes by . Betty Sizemore appeared in 63 episodes of `` A Reason to Love . '' She is using her earnings to pay for a nursing degree and is currently on vacation in Europe . The Europe . THE END</scene_description> </scene> </script>

In the small Kansas town of Fair Oaks, diner waitress Betty is a fan of the soap opera A Reason to Love. She has no idea that her husband Del, a car salesman, is having an affair and that he intends to leave Betty. She also doesn't know that her husband supplements his income by selling drugs. When Betty calls to ask about borrowing a Buick LeSabre for her birthday, her husband tells her to take a different car. Unknown to her, drugs are hidden in the LeSabre's trunk. Two hitmen, Charlie and Wesley, come to Betty and Del's house and torture Del into revealing that he has hidden the drugs in the trunk of the LeSabre, but Wesley scalps him anyway. Betty witnesses the murder and enters a fugue state, assuming the identity of a nurse in A Reason to Love. That evening, Sheriff Eldon Ballard, local reporter Roy Ostery, and several policemen examine the crime scene while Betty calmly packs a suitcase. She seems oblivious to the murder, even with the investigation going on right in her house. At the police station, a psychiatrist examines her. Betty spends the night at her friend's house, sleeping in a child's bedroom. In the middle of the night, she gets into the LeSabre and drives off. She stops at a bar in Williams, Arizona, where the bartender talks about her vacation in Rome and Betty tells her that she was once engaged to a famous surgeon (describing the lead character from A Reason to Love). Meanwhile, the two hitmen are in pursuit, having realized that Betty has the car with the drugs. As they search, Charlie's heart begins to soften towards Betty, to Wesley's consternation. In Los Angeles, Betty tries to get a job as a nurse while looking for her long-lost "ex-fiancé". She is turned down because she has no résumé or references, but when she saves a young shooting victim's life with a technique she learned from the show, the hospital offers her a job in the pharmacy but forbids her to touch any more patients. Despite her position, Betty becomes popular with patients and their families. She ends up living with Rosa, older sister to the young man she helped earlier, in gratitude for saving his life. Rosa is also a legal secretary and she offers to help Betty find her surgeon boyfriend. Rosa learns from a colleague that "David" is a soap opera character, and goes to the pharmacy window to confront Betty. Thinking her friend is jealous, Betty is impervious to the revelation. The lawyer supplies tickets to a charity function where George McCord, the actor portraying David, will be appearing. Betty meets George at the function. George is inclined to dismiss her as an overimaginative fan, but something about her compels him to talk to her. He begins to think that Betty is an actress determined to get a part in the soap opera, so he decides to play along. After three hours of her "staying in character", he takes her home. George begins falling in love with her, and he and his producer decide to bring her onto the show as a new character: Nurse Betty. When Betty arrives on set, she falls out of her fantasy world back into real life. After two failed takes, she realizes that she is on a set and that the people she thought were real are just characters. George confronts her and Betty walks out. Back at Rosa's house, Betty is telling her roommate what happened, when the two hitmen walk in. They are interrupted by Sheriff Ballard and the reporter, who have also tracked down Betty. A standoff ensues until Ballard pulls a gun from an ankle holster and shoots Wesley, who is revealed to be Charlie's son. Charlie decides not to kill Betty and commits suicide in the bathroom. George offers Betty a job on the show. She appears in 63 episodes and takes a vacation in Rome. Betty later plans to pursue nursing as a career.

The King_2019

tt7984766

<script> <scene> <character>THE KING</character> <dialogue>by</dialogue> <scene_description>DAVID MICHÔD &amp; JOEL EDGERTON Directed by DAVID MICHÔD</scene_description> </scene> <scene> <stage_direction>EXT. FIELD / NORTH ENGLAND - AFTERNOON</stage_direction> <scene_description>TITLE CARD: the early 15th century A scorched battlefield littered with the dead and dying. Hundreds of tangled bodies strewn across the field. Horses among them. So thick and twisted they carpet the sodden earth. A deformed mass. Bloody, black and brown. A WARRIOR walks the field. Broad shouldered. A cape of fur over leather and chain mail. He walks laboured. A body squirms at his feet. He stops. He raises his worn sword and, as if planting a flag, he thrusts the metal down into the dying man's back. The body arches stiff and then goes limp. He continues on in this fashion, casually roaming the destroyed bodies and giving those still moving their silence. Around him, across the field, others pore over the bodies, pilfering valuables or taking the not-fatally wounded hostage. The warrior turns. His scarred face, young but lined. Sad, soulful eyes. Despite being a clear victor here, he looks displeased, agitated, dark. This is SIR HENRY 'HOTSPUR' PERCY. He continues his macabre walk. He stops at the body of a man wheezing his last shallow breaths into the dirt. With his filthy, bloody boot, Hotspur heaves the man onto his back and regards him with what looks for a moment like pity. He then plunges his sword into the man's chest. Walk. Stab. Walk. Stab. He watches an injured man stand shakily and walk - fall - get to his feet again and walk. The man trips and keeps moving. Hotspur walks beside him for a few steps. Falling into step he watches the limping man's action, studies him curiously. Blood from a deep gash across his face makes it impossible for him to see from either eye. Other injuries too.</scene_description> <character>HOTSPUR</character> <dialogue>Where go you, my friend?</dialogue> <scene_description>The man turns to the sound. Scared, he tries to continue.</scene_description> <character>HOTSPUR</character> <dialogue>You're hobbling in the wrong direction. That wind you feel is blowing from England. Scotland is that way.</dialogue> <scene_description>The limping man, uncertain, turns and follows the wind. Hotspur turns and walks away. Stab.</scene_description> </scene> <scene> <stage_direction>INT. ANTECHAMBER / ROYAL COURT - DAY</stage_direction> <scene_description>Royal Court, London. Hotspur, cleaned from the battlefield, walks the hall with his father, the EARL OF NORTHUMBERLAND (50), beside him. Northumberland appears wary. Hotspur strides. They are met by sentries and the Chief Justice SIR WILLIAM GASCOIGNE.</scene_description> <character>WILLIAM</character> <dialogue>My Lords Percy.</dialogue> <character>HOTSPUR</character> <dialogue>We have come to see the King.</dialogue> <character>WILLIAM</character> <dialogue>I'm afraid His Majesty is engaged with other concerns. Is he expecting your visit?</dialogue> <character>HOTSPUR</character> <dialogue>I should hope he is. We are but the men who have spilled blood in his name. I should hope that he expects our visit with enthusiasm.</dialogue> <scene_description>William notes Hotspur's hostility and disappears through the antechamber to a room beyond. Hotspur's agitation is a source of unease for Northumberland - an unease which cannot be addressed openly before the silent, helmeted sentries standing watch.</scene_description> <character>NORTHUMBERLAND</character> <dialogue>My son. Be calm.</dialogue> <scene_description>Hotspur stares, boiling, in the direction of the door beyond which the King is engaged with his other matters.</scene_description> </scene> <scene> <stage_direction>INT. PARLOUR / ROYAL COURT - DAY</stage_direction> <scene_description>Hotspur and Northumberland sit at one end of a long dining table. They are quiet. Hotspur's agitation boils. A door opens. KING HENRY IV hobbles in. Royal courtiers follow: William, the EARL OF WESTMORLAND, LORD SCROPE OF MASHAM, the EARL OF CAMBRIDGE, SIR THOMAS GREY, the EARL OF DORSET among them.</scene_description> <character>HENRY IV</character> <dialogue>My lords, I am most sorry for making you wait. I know you have travelled far and from great travail.</dialogue> <scene_description>The King extends his signet for the lords to kiss. Northumberland does so obligingly, eyes lowered. Hotspur kisses the ring while looking Henry coldly in the eye.</scene_description> <character>HENRY IV</character> <dialogue>I pray you will know this time of civil unrest consumes me day and night.</dialogue> <scene_description>As the King and his courtiers take their seats, servants bring food to the table. Others present jugs and bowls of water for the men to rinse their hands.</scene_description> <character>HENRY IV</character> <dialogue>I understand battle with the rebel Scots was hard fought. Is this true?</dialogue> <scene_description>Hotspur stares. Northumberland fills the awkward space.</scene_description> <character>NORTHUMBERLAND</character> <dialogue>It was, my liege. We lost some three hundred men.</dialogue> <scene_description>They bow their heads as the King says a Latin blessing.</scene_description> <character>HENRY IV</character> <dialogue>Benedic nos Dómine et haec Túa dóna quae de Túa largitáte súmus sumptúri. Per Christum Dóminum nóstrum. Ámen.</dialogue> <character>ALL</character> <dialogue>Ámen.</dialogue> <scene_description>The men eat, the King as heartily as his frailty will allow. Hotspur doesn't eat. Henry looks to him.</scene_description> <character>HENRY IV</character> <dialogue>And how many prisoners were taken?</dialogue> <character>NORTHUMBERLAND</character> <dialogue>Some two hundred, my liege.</dialogue> <character>HENRY IV</character> <dialogue>Good Hotspur, you led the charge. Were any prisoners of note taken?</dialogue> <character>HOTSPUR</character> <dialogue>Many.</dialogue> <character>HENRY IV</character> <dialogue>Are they in train?</dialogue> <character>HOTSPUR</character> <dialogue>No.</dialogue> <scene_description>Henry eats, ignoring the insolence.</scene_description> <character>HENRY IV</character> <dialogue>And why is that? Why have they not been brought directly to me as is their designation?</dialogue> <character>HOTSPUR</character> <dialogue>Why will you not pay cousin Mortimer's ransom?</dialogue> <character>HENRY IV</character> <dialogue>You'll need to speak up, my boy. I'm an old man. My ears are filled with hair.</dialogue> <character>HOTSPUR</character> <dialogue>Cousin Mortimer is held by the rebels of Wales. Why do you refuse to pay his ransom?</dialogue> <character>HENRY IV</character> <dialogue>I refuse to pay Mortimer's ransom because I refuse to believe Mortimer a prisoner. I rather believe Mortimer to be a traitor.</dialogue> <scene_description>Henry lets this sit. He eats. Hotspur boils. Moments pass.</scene_description> <character>HENRY IV</character> <dialogue>Your victory over the Scots was a most heroic one, heroic because improbable. Our most recent loss to the Welsh, however, should not have been suffered. Our strength should have had it staved. And I must conclude only that it was suffered with Mortimer's help, that Mortimer has joined the Welsh rebels, that he has betrayed England and that far from being a prisoner, your cousin is now an enemy of mine and, therefore, of yours.</dialogue> <scene_description>Henry examines his chicken wing. Hotspur stares. The other men try not to be noticed.</scene_description> <character>HENRY IV</character> <dialogue>Do you agree with my précis, good Hotspur?</dialogue> <character>HOTSPUR</character> <dialogue>No.</dialogue> <character>NORTHUMBERLAND</character> <dialogue>My son.</dialogue> <character>HOTSPUR</character> <dialogue>I believe yours to be the ramblings of a crazy old demon.</dialogue> <character>NORTHUMBERLAND</character> <dialogue>Harry. Please. Stop this.</dialogue> <character>HENRY IV</character> <dialogue>Let him speak. I wish to hear him.</dialogue> <character>NORTHUMBERLAND</character> <dialogue>My liege -</dialogue> <character>HOTSPUR</character> <dialogue>Yours are the ramblings of an old man so saturated with malice and mistrust that he no longer knows up from down, who can no longer see beyond the walls of his own monstrous schloss.</dialogue> <scene_description>Henry stops eating. He pays Hotspur his full attention, almost inviting Hotspur to continue. Hotspur, emboldened, does so.</scene_description> <character>HOTSPUR</character> <dialogue>My family has served you. My father, my uncle. We aided you in your ascension. And still we fight for you. Cousin Mortimer has fought for you - hard and for many years. And yet while you now slobber over that chicken's wing, he shivers in a western prison awaiting mutilation at the hands of Welsh witches.</dialogue> <character>NORTHUMBERLAND</character> <dialogue>My liege, you must forgive my son. He needs rest. We come only to advocate for your help in securing Mortimer's release.</dialogue> <character>HOTSPUR</character> <dialogue>All that we have done for you we have done for the good of England, but I fear now that we have made a terrible mistake. I fear the battles we have fought have been fought only to indulge your hateful madness. Our lands are now more riven with war than ever before. You have rebellion stewing in all corners. The Scots are not finished. The Welsh have only just begun. And for what? Why do you think this might be, old man? Who do you imagine might be to blame for this?</dialogue> <scene_description>All are stunned silent. Henry watches Hotspur strangely and impassively for a protracted moment.</scene_description> <character>NORTHUMBERLAND</character> <dialogue>My liege...</dialogue> <character>HENRY IV</character> <dialogue>They say chickens can't fly, but I've seen one eke enough wing flap to clear a fence. And then it's free!... But then so too are the foxes.</dialogue> <scene_description>Henry continues his dull stare at Hotspur. Hotspur boils, but Henry's gleeful crypticism is intimidating.</scene_description> <character>HENRY IV</character> <dialogue>You are right, young Percy. I owe you much. I owe your family still more. You have fought nobly for me. You carry wounds fresh for me to see. And your grievances too - they have been heard. But if the Scottish traitors you have taken prisoner are not brought to me as speedily as they might travel, I will hang you by your fucking neck.</dialogue> <scene_description>Henry watches him another moment.</scene_description> <character>HENRY IV</character> <dialogue>Has this been heard, Percy?</dialogue> <scene_description>Hotspur fumes. He heaves his chair from the table and strides to the door. Northumberland rises meekly and bows. Scrope looks to him, catching his eye.</scene_description> <character>NORTHUMBERLAND</character> <dialogue>Please forgive us, Your Majesty.</dialogue> <scene_description>They scurry after Hotspur. Henry watches them leave. The courtiers remain silent, unable to read the King's disposition.</scene_description> <character>HENRY IV</character> <dialogue>What a venomous boy. He'll betray me now. I'm sure of it.</dialogue> <scene_description>Henry returns his attention to his chicken wing.</scene_description> <character>HENRY IV</character> <dialogue>But if only he were my son.</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT / EASTCHEAP - DAY</stage_direction> <scene_description>PRINCE 'HAL' HENRY (25) lies face down and naked on a bed in a spartan single-room apartment. He's sprawled and snoring. Daylight punches through the window. Sounds of people and animals from the street below. The sound of keys in the door. It opens. An unkempt SIR JOHN FALSTAFF (45) and BEALE (26) enter. Falstaff's arm bleeds badly. Falstaff shuts the door behind him loudly. Hal wakes with a start.</scene_description> <character>HAL</character> <dialogue>What is this?</dialogue> <character>BEALE</character> <dialogue>Falstaff has injured his self.</dialogue> <character>HAL</character> <dialogue>How did you get in?</dialogue> <character>FALSTAFF</character> <dialogue>The door was ajar.</dialogue> <character>HAL</character> <dialogue>It wasn't.</dialogue> <character>FALSTAFF</character> <dialogue>It was. It was ajar.</dialogue> <character>HAL</character> <dialogue>It was not ajar.</dialogue> <character>FALSTAFF</character> <dialogue>How else might I gain entry? Are you accusing me of having cut myself a secret key?</dialogue> <character>HAL</character> <dialogue>Yes.</dialogue> <character>BEALE</character> <dialogue>Falstaff has injured his self, Hal.</dialogue> <character>HAL</character> <dialogue>Why have you come here? What happened to you?</dialogue> <scene_description>Hal's head is throbbing. Beale rifles through Hal's stuff.</scene_description> <character>FALSTAFF</character> <dialogue>I think it best a man of your standing not be burdened with those particulars. I think it best the circumstances in which the injury was accrued be left entirely mysterious.</dialogue> <scene_description>Beale has found a bottle of liquor.</scene_description> <character>BEALE</character> <parenthetical>(to Hal)</parenthetical> <dialogue>Will you perform the small repairs?</dialogue> <character>HAL</character> <dialogue>No.</dialogue> <character>FALSTAFF</character> <dialogue>Your Highness. This task requires expertise. Should you not assist, I fear our friendship may come to a foul end right here on your floor.</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT / EASTCHEAP - MOMENTS LATER</stage_direction> <scene_description>Hal stirs honey in a pot. Beale pours wine over the gash in Falstaff's arm.</scene_description> <character>FALSTAFF</character> <dialogue>There's a fresh coin in this for you.</dialogue> <character>HAL</character> <dialogue>I don't want your coin. I will require your undiminished loyalty and devotion from here til Megiddo.</dialogue> <character>FALSTAFF</character> <dialogue>You have that already. You're a soft negotiator.</dialogue> <scene_description>Hal puts the honey pot down and goes to the fireplace. He pulls an iron rod from the fire. Beale trickles more booze.</scene_description> <character>FALSTAFF</character> <dialogue>You're wasting good wine.</dialogue> <character>BEALE</character> <dialogue>I'm keeping it clean.</dialogue> <scene_description>Hal sits beside Falstaff. He wipes the wound with a strip of linen. He then presses the red hot poker right onto it. Falstaff screams a scream that quickly turns to maniacal laughter.</scene_description> </scene> <scene> <stage_direction>EXT. STREET / EASTCHEAP - DAY</stage_direction> <scene_description>Hal, Falstaff and Beale walk the street in a mangy part of London. Butchers' stalls, garbage and mud. Fires and smoke. Dogs, pigs and filthy kids. Two men in clean cloaks step out of a dark doorway and follow. Another two men appear from an alley and step in front of Hal, their mouths and noses covered by handkerchiefs.</scene_description> <character>CLOAKED MAN</character> <dialogue>Prince Henry.</dialogue> <scene_description>Falstaff and Beale are immediately on edge. They reach discreetly inside their coats for concealed weapons.</scene_description> <character>HAL</character> <dialogue>Who are you?</dialogue> <character>CLOAKED MAN</character> <dialogue>We come from the royal court. We wish to speak with you privately.</dialogue> <character>HAL</character> <dialogue>For what?</dialogue> <character>CLOAKED MAN</character> <dialogue>Please, sire. Privately.</dialogue> <character>FALSTAFF</character> <dialogue>Privately in the middle of Eastcheap? Shall I make a quick up and down to request a mass covering of ears?</dialogue> <character>CLOAKED MAN</character> <parenthetical>(ignoring Falstaff)</parenthetical> <dialogue>Please, sire.</dialogue> <scene_description>Hal registers the look of earnest intent on the cloaked man's face. He leads him away into a darkened alcove.</scene_description> <character>HAL</character> <dialogue>What is this?</dialogue> <character>CLOAKED MAN</character> <dialogue>Your father, His Majesty King -</dialogue> <scene_description>Hal pulls the kerchief from the man's face, forcing him to breathe the fetid air.</scene_description> <character>CLOAKED MAN</character> <dialogue>Your father, His Majesty King Henry, is ill. He requests your presence.</dialogue> <scene_description>Hal pauses momentarily, processing this mention of his father.</scene_description> <character>HAL</character> <dialogue>For what?</dialogue> <character>CLOAKED MAN</character> <dialogue>Your presence has been requested.</dialogue> <character>HAL</character> <dialogue>I suggest you return to the palace directly and tell him his request was wholly ignored.</dialogue> <character>CLOAKED MAN</character> <dialogue>I have been instructed to deliver the request with great urgency.</dialogue> <character>HAL</character> <dialogue>Then you might tell him your urgency was also wholly ignored.</dialogue> <scene_description>Hal steps past the man, leading Falstaff and Beale away.</scene_description> </scene> <scene> <stage_direction>INT. TAVERN / EASTCHEAP - DAY</stage_direction> <scene_description>A dingy tavern. Falstaff sits with others, among them Beale and a drunk Hal.</scene_description> <character>FALSTAFF</character> <dialogue>Remember. Remember that as we speak there are two Popes. Two! One in Rome. One in France.</dialogue> <character>FALSTAFF</character> <dialogue>They both claim to be the Lord's voice here on earth. They can not both be. Why would a good Lord allow his kingdom to be so puzzled? He wouldn't, is that question's answer.</dialogue> <character>DRINKER</character> <dialogue>Which then is the true Pope?</dialogue> <character>FALSTAFF</character> <dialogue>I say not one or the other. I say the very fact of their quarrel makes them both snakes. And so, if our holy Roman fathers can not convey to us a true voice of authority, why should we assume that those snakes beneath them speak with any authority? The whole house is writhing with snakes -</dialogue> <character>DRINKER</character> <dialogue>Stop this now.</dialogue> <character>FALSTAFF</character> <dialogue>Why now?</dialogue> <character>DRINKER</character> <dialogue>I says stop.</dialogue> <character>FALSTAFF</character> <dialogue>Are you afraid Thomas might come for you in the night? Don't be afraid of my ideas. They're only ideas.</dialogue> <character>DRINKER</character> <dialogue>You sit before me now and tell me you no believe in the power of the one true God.</dialogue> <character>FALSTAFF</character> <dialogue>I do not. I do believe in the one true God. How dare you suggest otherwise. I do not believe that our Archbishop of Canterbury speaks for him. I would say our Archbishop Thomas Arundel only claims to speak for him.</dialogue> <character>DRINKER</character> <dialogue>To what end?</dialogue> <character>FALSTAFF</character> <dialogue>Clearly to his own damned end.</dialogue> <character>DRINKER</character> <dialogue>You best bite your tongue in the company you keep. You'll have yourself necked.</dialogue> <character>FALSTAFF</character> <parenthetical>(to Hal)</parenthetical> <dialogue>You would have me necked?</dialogue> <scene_description>Hal smiles.</scene_description> <character>FALSTAFF</character> <parenthetical>(to the drinker)</parenthetical> <dialogue>I would say your devotion to the Archbishop - if it is devotion and not a slickly ruse to warm the mood of this company I keep - I would say it has me a more true believer in the one God than you.</dialogue> <character>DRINKER</character> <dialogue>Bite your tongue or I will neck you myself.</dialogue> <character>FALSTAFF</character> <dialogue>Bite my tongue? Why on this earth would I bite my own tongue?</dialogue> <character>DRINKER</character> <dialogue>Your word in this air is a poison.</dialogue> <character>FALSTAFF</character> <dialogue>Oh. My voice riles you. Maybe then better you should bite your own ears off.</dialogue> <parenthetical>(starts laughing at the thought of it)</parenthetical> <dialogue>Bite your own ears off! And maybe after you should kick yourself in your own balls!</dialogue> <scene_description>The drinker stands as if to confront Falstaff. Hal laughs. From across the room, the tavern's hostess HOOPER yells -</scene_description> <character>HOOPER</character> <dialogue>Stop now.</dialogue> <scene_description>Falstaff meanwhile is attempting to bite his own ears off. And then as the drinker takes a step closer, Falstaff springs up and pins him against a wall, a dagger to his throat.</scene_description> <character>FALSTAFF</character> <dialogue>Now now. Settle, my petal. You have a little brutish feeling in your belly. I see there be only one course to straighten this dispute...</dialogue> <parenthetical>(beat, cold stare)</parenthetical> <dialogue>You and I will cockfight...</dialogue> <parenthetical>(releases the drinker, his tone lightens instantly)</parenthetical> <dialogue>Hal, my knee is queer. You must be my cock.</dialogue> </scene> <scene> <stage_direction>INT. TAVERN / EASTCHEAP - MOMENTS LATER</stage_direction> <scene_description>A space has been cleared on the floor to stage the cockfight. The 'cocks' are Hal and the drinker, crouched on haunches and facing off. Beale stands behind Hal holding a horizontal sword six inches over his head. Another man stands behind the drinker, holding a stick six inches over his.</scene_description> <character>FALSTAFF</character> <dialogue>Rules are plain. You topple over, you lose. You rise your head to the level, you lose. Those are the rules. Un, deux, trois.</dialogue> <scene_description>The fight is on. Hal and the drinker waddle towards each other, swiping and grabbing. They tussle, retreat. Tussle, retreat. Onlookers yelp support. And then Hal grabs the drinker by his knee and topples him over. Onlookers howl. Falstaff raises his arms in the air.</scene_description> <character>FALSTAFF</character> <dialogue>The Lord hath spoken!</dialogue> <scene_description>Hal lies on his back, laughing.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT / EASTCHEAP - NIGHT</stage_direction> <scene_description>Hal is drunk. He kisses a young woman on the bed. They laugh.</scene_description> <character>WOMAN</character> <dialogue>Your Highness.</dialogue> <scene_description>Hal stops laughing.</scene_description> <character>WOMAN</character> <dialogue>Your Highness.</dialogue> <scene_description>Hal covers her mouth. He is suddenly dark and distant.</scene_description> <character>HAL</character> <dialogue>Stop.</dialogue> <scene_description>She is taken by surprise, intimidated.</scene_description> <character>HAL</character> <dialogue>Stop.</dialogue> <scene_description>Hal takes his hand away. She seems uneasy. He kisses her. The woman has gone quiet.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT / EASTCHEAP - MORNING</stage_direction> <scene_description>Hal snoring. The woman sleeps beside him. Then the sound of a key in the door - Falstaff enters. He opens the curtain, stirring the woman. With unforced chivalry, he coaxes her from bed. Hal doesn't stir.</scene_description> <character>FALSTAFF</character> <dialogue>My lady. It's time to leave.</dialogue> <scene_description>He gathers her clothes. She wakes groggily.</scene_description> <character>FALSTAFF</character> <dialogue>That's good, my dear. Jump up. The day has begun.</dialogue> <character>WOMAN</character> <dialogue>Why?</dialogue> <character>FALSTAFF</character> <dialogue>Shhh. The day has begun. Look. Out there. It's well underway. You might miss it.</dialogue> <scene_description>Disoriented, the woman lifts herself. Falstaff holds her shirt.</scene_description> <character>FALSTAFF</character> <dialogue>That's the spirit. Lift your arms.</dialogue> <scene_description>She lifts her arms. Falstaff pulls the shirt down over her head.</scene_description> <character>FALSTAFF</character> <dialogue>I'm sorry to interrupt your slumber.</dialogue> <scene_description>He ushers her out of the room and closes the door behind her. He places a cup of ale beside Hal and sits.</scene_description> <character>HAL</character> <dialogue>What are you doing?</dialogue> <scene_description>Hal speaks muffled, groggy, face smudged into the pillow.</scene_description> <character>FALSTAFF</character> <dialogue>Can you hear me?</dialogue> <scene_description>Hal grunts.</scene_description> <character>FALSTAFF</character> <dialogue>You must get that door fixed.</dialogue> <character>HAL</character> <dialogue>What is it?</dialogue> <character>FALSTAFF</character> <dialogue>Visit with your father.</dialogue> <character>HAL</character> <dialogue>Go away.</dialogue> <character>FALSTAFF</character> <dialogue>If your father is indeed enough gravely ill to request your presence, then you must visit with him - it should be better to regret having done so than it would to have not. No matter your feelings for him. If your father is ill, you must visit with him. And - let me add - I say it not out of concern for our king's well being, more for fear of the drunken soak to which you be likely to succumb should you fail to heed his call and he were to die without you having squared your ledger... I fear it would be soak enough to put even me to shame.</dialogue> <scene_description>Hal stares at Falstaff, lucid and penetrating, with his one eye not smudged into the pillow. Falstaff watches Hal a moment.</scene_description> <character>FALSTAFF</character> <dialogue>Do it. If nothing else I ever suggest.</dialogue> <scene_description>Falstaff rises and exits. Hal percolates Falstaff's advice.</scene_description> </scene> <scene> <stage_direction>EXT. ROYAL COURT - DAY</stage_direction> <scene_description>Hal at the palace gates. Without exchange with the guards, he is granted entry. All watch him with cold interest if not disdain.</scene_description> </scene> <scene> <stage_direction>INT. ANTECHAMBER / ROYAL COURT - DAY</stage_direction> <scene_description>Hal walks the hall under escort. As he approaches the antechamber he crosses paths with Grey and Cambridge on their way into the great hall. Grey eyes him with contempt. Cambridge looks at him cautiously, searching. William approaches Hal with something more like compassion. He genuflects subtly.</scene_description> <character>WILLIAM</character> <dialogue>My lord. Your father expects you.</dialogue> <character>HAL</character> <dialogue>He shouldn't.</dialogue> <scene_description>William observes Hal's state of dishevelment.</scene_description> </scene> <scene> <stage_direction>INT. GREAT HALL / ROYAL COURT - DAY</stage_direction> <scene_description>King Henry is in his chair, visibly weak, presiding over a sitting of parliament. The full court plus THE ARCHBISHOP OF CANTERBURY and clerical attendants are there. THOMAS OF LANCASTER, the King's 18 year-old son, Hal's younger brother, is there too. The Archbishop is addressing the king. He's bumptious, but nervous, and has a lisp.</scene_description> <character>ARCHBISHOP</character> <dialogue>Never. Never would I dare doubt Your Majesty's piety, however I would remind you of the service we -</dialogue> <character>HENRY IV</character> <dialogue>Archbishop, I would have thought our lord above would want us all to share in his bounty.</dialogue> <character>ARCHBISHOP</character> <dialogue>My liege, while I see the strain your treasury is under, I can not help but wonder if the canker of Lollardy be somehow at the root of this suggestion, that I - or rather the church - be burdened with a tax to relieve problems that are not of the church's making.</dialogue> <character>WILLIAM</character> <dialogue>Your Highness.</dialogue> <scene_description>The King looks up. Others turn also as Hal steps into the room.</scene_description> <character>WILLIAM</character> <dialogue>Henry, Prince of Wales.</dialogue> <character>HENRY IV</character> <dialogue>My son. Come to me.</dialogue> <scene_description>The Archbishop appears put out. He regards Hal with derision. Hal crosses the room. He bows before his father, taking in his frailty. Henry takes in his son's slovenliness.</scene_description> <character>HENRY IV</character> <dialogue>Come closer.</dialogue> <scene_description>Hal takes a step closer. Henry watches him a moment.</scene_description> <character>HENRY IV</character> <dialogue>I feel my life is nearing its natural end and yet still even I must appear of ruder health than you.</dialogue> <scene_description>Hal doesn't respond. He continues looking his father in the eye.</scene_description> <character>HENRY IV</character> <dialogue>The time has come for me to consider the issue of my succession. You will not be king.</dialogue> <scene_description>Hal remains fixed. A barely concealed smirk on the face of Grey.</scene_description> <character>HENRY IV</character> <dialogue>While you are my eldest son, for reasons that must be evident to you, that are on display for all here to see and smell, you will not inherit this crown.</dialogue> <character>HAL</character> <dialogue>Nor have I sought it.</dialogue> <character>HENRY IV</character> <dialogue>That privilege and responsibility will instead fall to your brother Thomas.</dialogue> <scene_description>Thomas straightens, postures regally. It doesn't suit him.</scene_description> <character>HENRY IV</character> <dialogue>As you may be aware - to whatever degree you are aware of the world outside your own - I will assume you are aware that the kingdom is at war with itself. Matters as grave as these require leadership committed to their resolution and you - of this I am sure - you can not provide that commitment. Thomas, however, can. He is soft, but he is eager and he will lead my army against the newly treasonous Percy Hotspur.</dialogue> <scene_description>Hal looks at Thomas who has trouble meeting Hal's eyes.</scene_description> <character>HENRY IV</character> <dialogue>I will assume this news comes to you as neither surprise nor disappointment. I do however see it as my duty as King and as father to say it to you directly.</dialogue> <scene_description>Hal walks to Thomas. Thomas raises his head, holds Hal's eyes.</scene_description> <character>HAL</character> <dialogue>How do you feel, brother?</dialogue> <character>THOMAS</character> <dialogue>Strong.</dialogue> <character>HAL</character> <dialogue>When do you fight?</dialogue> <character>THOMAS</character> <dialogue>I set off tomorrow. We fight by week's end.</dialogue> <character>HAL</character> <dialogue>You need not fight. These feuds need not be yours.</dialogue> <scene_description>Hal takes Thomas's face in his hand. Thomas leans his head away and tries to stare at Hal. He is young and afraid.</scene_description> <character>HENRY IV</character> <dialogue>I have said what you were summonsed to hear. Leave us now.</dialogue> <scene_description>Hal turns to his father, one last cold look, then leaves.</scene_description> </scene> <scene> <stage_direction>INT. TAVERN / EASTCHEAP - NIGHT</stage_direction> <scene_description>Slow-motion: Falstaff is drunk, dancing in women's clothing, owning the room with his sweaty heft. Other drinkers laugh. Hal sits in the corner, oblivious and darkly contemplative.</scene_description> </scene> <scene> <stage_direction>EXT. FIELD / ENGLAND - MORNING</stage_direction> <scene_description>A foggy field. Men in armour, horses, an air of trepidation. Thomas is helped into his breastplate by an AMROURER. He's nervous. He raises his arm as a strap is tightened. A CAPTAIN waits nearby.</scene_description> <character>THOMAS</character> <parenthetical>(pained)</parenthetical> <dialogue>Is it not too tight?</dialogue> <character>ARMOURER</character> <dialogue>It has been made to the measurements I was given, sire.</dialogue> <character>THOMAS</character> <dialogue>May be you were given the wrong ones. It feels tight. I can barely turn.</dialogue> <character>ARMOURER</character> <dialogue>It is to be worn tight, sire.</dialogue> <scene_description>Thomas steps away like he's trying on new shoes. He seems awkward in his heavy suit, overwhelmed by it. He walks among men nearby. He smiles wanly. The men regard him with uncertainty.</scene_description> <character>THOMAS'S CAPTAIN</character> <dialogue>My lord, we must meet with your marshals. As the sun rises, the day will unfold. We must complete our preparations.</dialogue> <character>THOMAS</character> <dialogue>Of course.</dialogue> </scene> <scene> <stage_direction>EXT. TENTS / FIELD / ENGLAND - MORNING</stage_direction> <scene_description>Thomas enters the circle of seated men awaiting him. They bow their heads, but clearly doubt his skill and experience and worry about their own fate as a consequence.</scene_description> <character>THOMAS</character> <dialogue>Lord Dorset, are your men ready for the day?</dialogue> <character>DORSET</character> <dialogue>They are, sire.</dialogue> <character>THOMAS</character> <dialogue>Very good.</dialogue> <parenthetical>(awkward beat)</parenthetical> <dialogue>Tell me of your preparations.</dialogue> <scene_description>- and then a commotion from beyond the tents. Hal approaches slowly on horseback. A lone muscular figure. A hush descends. To most here, Hal is an almost mythical figure - the renegade son of their tyrannical king. He dismounts. He walks to Thomas. The crowd parts for him. He looks sharp, determined, steely.</scene_description> <character>THOMAS</character> <dialogue>Why are you here?</dialogue> <character>HAL</character> <dialogue>I will not allow this havoc to transpire. I have come to see it stopped.</dialogue> <character>THOMAS</character> <dialogue>This is my battle. You have no place here.</dialogue> <character>HAL</character> <dialogue>If I have my way there will be no battle.</dialogue> <scene_description>Hal turns to a HERALD nearby.</scene_description> <character>HAL</character> <dialogue>You. Come here.</dialogue> <character>THOMAS</character> <dialogue>You have no place here.</dialogue> <character>HAL</character> <parenthetical>(to herald)</parenthetical> <dialogue>Go to the rebel camp and deliver this message to Percy Hotspur. Tell him that Prince Henry challenges him to settle today's score man on man. He and I. We fight in our armies' places.</dialogue> <character>THOMAS</character> <dialogue>I do not need you to fight my battles.</dialogue> <character>HAL</character> <dialogue>This battle is not yours.</dialogue> <scene_description>The herald hasn't moved, confused. Hal steps towards him.</scene_description> <character>HAL</character> <dialogue>Why have you not moved? Go!</dialogue> <scene_description>The herald scurries away. Dorset rises from the circle.</scene_description> <character>DORSET</character> <dialogue>Who do you think you are?</dialogue> <character>HAL</character> <dialogue>I am nobody to you. As you are nobody to me.</dialogue> <scene_description>As Hal walks away, he watches the herald's horse gallop across the field toward the rebel camp.</scene_description> </scene> <scene> <stage_direction>INT. TENT / REBEL CAMP / ENGLAND - MORNING</stage_direction> <scene_description>Hotspur stands. Northumberland sits. Scrope is there, having defected from the King's inner circle.</scene_description> <character>HOTSPUR</character> <dialogue>I will fight him. I will defeat him.</dialogue> <character>NORTHUMBERLAND</character> <dialogue>That you surely would, my son.</dialogue> <character>HOTSPUR</character> <dialogue>I will defeat him and we can leave this field whole and victorious.</dialogue> <character>SCROPE</character> <dialogue>That thrill of victory you so foresee would be short lived, for there is little chance that the King Henry would allow us walk free from this field. He would have us forever marked as traitors and we would spend the rest of our days awaiting his recrimination.</dialogue> <character>HOTSPUR</character> <dialogue>The offer has been made.</dialogue> <character>SCROPE</character> <dialogue>The Prince Henry speaks not for his father. Of this I am certain. You have started something, we have started something much larger here, and we must see it properly concluded.</dialogue> <character>NORTHUMBERLAND</character> <dialogue>You're eager to fight, my son. And you will. And we shall fight alongside you. We will burn them. We will burn Henry's reign to the ground.</dialogue> </scene> <scene> <stage_direction>EXT. TENTS / FIELD / ENGLAND - MORNING</stage_direction> <scene_description>Hal is fitting himself with armour. He does so solemnly and meticulously. These may be his last moments alive. Thomas approaches him, furious.</scene_description> <character>THOMAS</character> <dialogue>It is unconscionable that you should seek to commandeer this moment of mine. This moment belongs to me.</dialogue> <character>HAL</character> <dialogue>This is not a battle you should be compelled to fight. These troubles are not of your making.</dialogue> <character>THOMAS</character> <dialogue>This is not for you to decide! This is not your place!</dialogue> <character>HAL</character> <dialogue>You do not know war, Thomas.</dialogue> <character>THOMAS</character> <dialogue>I do know war.</dialogue> <character>HAL</character> <dialogue>You do not. You may have skirted its perimeter, but you have not been inside it such as that which brews here on this field. And this here is not a place any sane or good man should aspire to know.</dialogue> <scene_description>Hal looks at Thomas, hoping he can see his sincere concern.</scene_description> <character>HAL</character> <dialogue>You have been recruited to our father's madness, to wars that need not be fought. When I turned my back on him, on my birthright, I was turning my back on this field. These men are not our enemies, but our father has made them thus.</dialogue> <character>THOMAS</character> <dialogue>Why then are you here? You so disapprove of our cause, and yet still you find it necessary to upstage me?</dialogue> <character>HAL</character> <dialogue>I do this not to steal your thunder, brother. I do it to save your life.</dialogue> <character>THOMAS</character> <dialogue>These are not your decisions to make!</dialogue> <scene_description>Westmorland approaches. John turns, agitated.</scene_description> <character>WESTMORLAND</character> <dialogue>Pardon me, my lords.</dialogue> <character>THOMAS</character> <dialogue>What is it?</dialogue> <character>WESTMORLAND</character> <dialogue>Our herald is returned from the rebel camp. They have refused Prince Henry's offer.</dialogue> <scene_description>Thomas is stunned silent.</scene_description> </scene> <scene> <stage_direction>EXT. FIELD / ENGLAND - DAY</stage_direction> <scene_description>A line of two thousand men and horses - a battle-ready army. Far across the field, the thin line of Hotspur's force is visible. Thomas strides to Dorset and other officers. All is quiet.</scene_description> <character>DORSET</character> <dialogue>You should address the men, my lord - as is customary.</dialogue> <character>THOMAS</character> <dialogue>Of course.</dialogue> <scene_description>Thomas looks around at the mass of men before him. They watch him. He clears his throat.</scene_description> <character>THOMAS</character> <dialogue>Men. This day shall be a glorious one. It shall be a day that will live on in our memories for many years to come.</dialogue> <scene_description>Beat. Thomas looks nervously at the men staring back him, cold, distrustful. His pause is awkward, long. He continues weakly.</scene_description> <character>THOMAS</character> <dialogue>Battles such as this one are the pillars upon which a man's life is built.</dialogue> <scene_description>Thomas stops. A murmuring from the men. Dorset leans in close.</scene_description> <character>DORSET</character> <dialogue>You must speak up, sire. The men are having difficulty hearing you.</dialogue> <scene_description>Thomas is rattled, embarrassed. He steels himself and then, loudly, yelling uncomfortably -</scene_description> <character>THOMAS</character> <dialogue>I know that many of you doubt me. I know many of you think me unworthy of your respect. But I promise you that today, from this moment, I will do everything in my power to make myself worthy of your respect.</dialogue> <scene_description>Awkward silence. The men wait for more. None comes.</scene_description> </scene> <scene> <stage_direction>EXT. REBEL CAMP / ENGLAND - DAY</stage_direction> <scene_description>Rebel preparations. Hotspur is now in formidable knight's armour, elaborate and fearsome. He seems troubled. He dons his helmet and mounts his horse, also decked in intimidating armour. Together they look powerfully murderous. Hotspur looks around the camp a moment, breathing deep behind his visor. He then spurs his horse hard and gallops away across the field towards the English army. Startled attendants call after him.</scene_description> </scene> <scene> <stage_direction>EXT. FIELD / ENGLAND - DAY</stage_direction> <scene_description>Thomas stands weak before his men.</scene_description> <character>OFFICER</character> <dialogue>Loke! There!</dialogue> <scene_description>All turn to see Hotspur's lone, sharp approach across the field. Hotspur rides steadily towards Thomas's army. As he nears, he slows, then stops close to the line. He removes his helmet.</scene_description> <character>HOTSPUR</character> <dialogue>Where is Henry? I have come to fight him, in our armies' stead.</dialogue> <scene_description>Thomas steps forward, distressed and angry.</scene_description> <character>THOMAS</character> <dialogue>No. His offer was refused. We are ready.</dialogue> <character>HOTSPUR</character> <dialogue>The offer has been reconsidered. I will fight Henry. The outcome of that fight shall stand for the larger battle forestalled. It will be done.</dialogue> <scene_description>Hotspur dismounts his horse.</scene_description> <character>THOMAS</character> <dialogue>I said no. It will not be done.</dialogue> <scene_description>Hotspur walks closer.</scene_description> <character>HOTSPUR</character> <dialogue>Why is the little dog barking? Where be the big dog?</dialogue> <scene_description>Hal steps forward, helmet under his arm, sword by his side.</scene_description> <character>HAL</character> <dialogue>It will be done.</dialogue> <character>THOMAS</character> <dialogue>No!</dialogue> <character>HAL</character> <dialogue>If this here might prevent the death of countless of your men then you should wish it be done. You should wish it be done!</dialogue> <scene_description>Thomas can feel the heavy stare of men who would rather not die, many of whom are themselves unsure of this battle's aim. Hal watches him a moment, then steps further towards Hotspur.</scene_description> <character>HOTSPUR</character> <dialogue>And here I am with the whoring fool.</dialogue> <character>HAL</character> <dialogue>This fight need not be had, Percy. My father will soon be dead, and your grievances will die with him.</dialogue> <character>HOTSPUR</character> <dialogue>Don't be afraid of our small contest, little Hal. I promise to finish it quickly.</dialogue> <scene_description>Hotspur dons his helmet. Hal watches him. Hal dons his own helmet. He stands firm, raises his sword. Hotspur advances, calmly. Hal circles him.</scene_description> <character>HOTSPUR</character> <dialogue>Your father is plague to England.</dialogue> <scene_description>Hal charges forward, swinging his sword. Hotspur blocks and deflects him easily. Hal stumbles. Hotspur stands calm and cocksure as Hal regathers.</scene_description> <character>HOTSPUR</character> <dialogue>Come for me, big dog.</dialogue> <scene_description>Hal attacks again, this time steadier, more sure-footed. They trade blows. Hotspur is a powerful and battle-fit warrior. Hal seems more troubled by the contest, struggling to keep his feet and trade blows. They fight, separate and circle each other. Despite his ascendency, Hotspur seems surprised by the fight Hal puts up. He expected the win to be easier. He concentrates hard. Northumberland and Scrope have arrived on horseback from the rebel camp. They watch the fight. Another vicious exchange. The men break. They watch each other, catching breath. They circle one another.</scene_description> <character>HOTSPUR</character> <dialogue>Come for me again, dog.</dialogue> <scene_description>Hal raises his sword and stands firm and waits. Hotspur fixes coldly on him, then charges. The exchange is brutal. Hal loses his sword. He stands vulnerable. He pulls his dagger from its scabbard. Hotspur laughs from behind his visor, then charges again. Hal ducks, spins. Hotspur trips and falls. Hal wheels around and thrusts his dagger straight through Hotspur's throat. Hotspur is killed. Hal stands over him, heaving for breath. The massed English army bearing witness stand silent, shocked, relieved, confused - certainly they didn't want to die, but many felt a greater allegiance to Hotspur than they did the family they were to fight for today. Hal pulls off his helmet. He tosses it on the dirt. He bends and lifts Hotspur's helmet off. He contemplates Hotspur's lifeless face. He seems saddened by it. Hal carries Hotspur's helmet over to Thomas. All watch, silent. He drops the helmet at Thomas's feet.</scene_description> <character>HAL</character> <dialogue>Some day this will be your head, dropped at the feet of a man who might otherwise have been your brother. Walk away from this field.</dialogue> <character>THOMAS</character> <dialogue>After you have stolen its prized scalp? This is what shall be spoken of tomorrow. This field was mine, it was to mark my dominion. Instead now it marks only this head. This fucking head.</dialogue> <scene_description>Thomas kicks Hotspur's helmet like a football and walks away through the crowd.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM / TAVERN / EASTCHEAP - NIGHT</stage_direction> <scene_description>Falstaff is asleep in bed snoring. A knock at the door. The door opens - it's hostess Hooper.</scene_description> <character>FALSTAFF</character> <dialogue>Go away.</dialogue> <character>HOOPER</character> <dialogue>You might wish to see to your otherwise well appointed friend. He seems to have taken a pitiful turn.</dialogue> </scene> <scene> <stage_direction>EXT. STREET / EASTCHEAP - MOMENTS LATER</stage_direction> <scene_description>Falstaff steps into the dark, quiet street to find Beale trying to rouse Hal who lies drunk and sick against a wall.</scene_description> <character>BEALE</character> <dialogue>Hal's up-chucked again.</dialogue> <scene_description>Falstaff crouches before Hal. Beale steps away.</scene_description> <character>FALSTAFF</character> <dialogue>Hello, friend. What's this foul mess you've chosen to lie in?</dialogue> </scene> <scene> <stage_direction>INT. TAVERN / EASTCHEAP - LATER</stage_direction> <scene_description>The tavern has emptied. Hal sits against a wall with a sick bucket. Falstaff sits beside him, staring ahead.</scene_description> <character>FALSTAFF</character> <dialogue>Battle is ugly, brother. Many times have I seen men in your state. I've been in it many times over myself. For all our rejoice of courage and valour, nothing stains the soul more indelibly than killing. Never have I felt more vile than standing victorious on a battlefield... The thrill of victory fades quickly. What lingers long after is always ugly. Nothingness... Ugly.</dialogue> <scene_description>Falstaff sits remembering war. He shudders, shakes it off.</scene_description> <character>FALSTAFF</character> <dialogue>Never again, I say.</dialogue> <character>HAL</character> <dialogue>Stop. Stop talking, old man.</dialogue> <scene_description>Falstaff smiles and pats Hal on the shoulder.</scene_description> <character>FALSTAFF</character> <dialogue>I will never stop talking, Hal.</dialogue> <scene_description>Falstaff stands and heads for the stairs.</scene_description> </scene> <scene> <stage_direction>INT. TAVERN / EASTCHEAP - MORNING</stage_direction> <scene_description>Hal is asleep on the floor. A gloved hand shakes his shoulder.</scene_description> <character>VOICE</character> <dialogue>My lord.</dialogue> <scene_description>Hal wakes. William stands over him, accompanied by a guard.</scene_description> <character>HAL</character> <dialogue>What business?</dialogue> <character>WILLIAM</character> <dialogue>It is a matter of great urgency.</dialogue> <character>HAL</character> <dialogue>You should hurry along then.</dialogue> <character>WILLIAM</character> <dialogue>Please, my lord.</dialogue> <scene_description>Hal sits up. It's a struggle. His head is throbbing.</scene_description> <character>WILLIAM</character> <dialogue>Your father, my lord. He is gravely ill.</dialogue> <character>HAL</character> <dialogue>That hook has lost its worm.</dialogue> <scene_description>Hal massages his temples. William addresses his guard.</scene_description> <character>WILLIAM</character> <dialogue>Wait for me outside.</dialogue> <scene_description>The guard exits. William sits on a bench beside Hal.</scene_description> <character>WILLIAM</character> <dialogue>England needs a king.</dialogue> <character>HAL</character> <dialogue>England may do better without one.</dialogue> <character>WILLIAM</character> <dialogue>No doubt your father has brought much trouble to this kingdom, but I fear the chaos that might erupt in his absence. England needs a king and I suspect those sentiments of yours that had you resile from him might be precisely those the governance of this land needs... You must be king.</dialogue> <character>HAL</character> <dialogue>Why do you say this to me? Speak to Thomas. Is he not to be your new king?</dialogue> <character>WILLIAM</character> <dialogue>I'm afraid that is not possible, my lord.</dialogue> <scene_description>William pauses. Hal looks at him, suddenly concerned.</scene_description> <character>WILLIAM</character> <dialogue>Your brother was killed in Wales not a week gone by... After your defeat of Lord Percy, young Thomas pressed on to the western fields. This is where he met his end.</dialogue> <scene_description>The news rocks Hal.</scene_description> <character>WILLIAM</character> <dialogue>It is said he gave valiant account of himself.</dialogue> <scene_description>Hal stands and heads for the door. William watches Hal's exit. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. ROYAL COURT - DAY</stage_direction> <scene_description>Hal's booming voice echoes off the stone walls of the palace.</scene_description> <character>HAL (O.S.)</character> <dialogue>Where are you!?</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN / ROYAL COURT - CONTINUOUS</stage_direction> <scene_description>Attendants hard at work in the smoky, bustling kitchen look up at the noise.</scene_description> <character>HAL (O.S.)</character> <dialogue>Where are you!?</dialogue> </scene> <scene> <stage_direction>INT. GREAT HALL / ROYAL COURT - CONTINUOUS</stage_direction> <scene_description>Palace attendants moving furniture in the otherwise empty hall are also startled by the noise.</scene_description> <character>HAL (O.S.)</character> <dialogue>Where is he?!</dialogue> </scene> <scene> <stage_direction>INT. OFFICE / ROYAL COURT - CONTINUOUS</stage_direction> <scene_description>Hal strides into his father's office adjacent to his bedchamber.</scene_description> <character>HAL</character> <dialogue>Where is he? Where is the monster?</dialogue> <scene_description>In the office, Grey and others loiter. Grey turns to Hal.</scene_description> <character>GREY</character> <dialogue>Tis a grave day, my lord.</dialogue> <scene_description>Hal swings him to the wall.</scene_description> <character>HAL</character> <dialogue>Is it? Truly? The vultures show the way to the carcass.</dialogue> <scene_description>Hal releases him and bursts through the door.</scene_description> </scene> <scene> <stage_direction>INT. KING'S BEDCHAMBER / ROYAL COURT - DAY</stage_direction> <scene_description>Hal charges in. Cambridge, Dorset, Westmorland and others sit quietly. The LORD CHAMBERLAIN is there. The Archbishop sits beside the bed.</scene_description> <character>HAL</character> <dialogue>Move. Leave him.</dialogue> <character>ARCHBISHOP</character> <dialogue>The King needs rest.</dialogue> <character>HAL</character> <dialogue>Soon he will have it.</dialogue> <scene_description>The King lies prone in bed, breathing shallow, face contorted.</scene_description> <character>ARCHBISHOP</character> <dialogue>He's dying.</dialogue> <character>HAL</character> <dialogue>Leave then. It's too late for you.</dialogue> <character>ARCHBISHOP</character> <dialogue>I give him comfort -</dialogue> <character>HAL</character> <parenthetical>(yelling furiously)</parenthetical> <dialogue>Get away!</dialogue> <scene_description>The Archbishop backs away, scurries for the door. Hal grabs the sheets from the bed and pulls them off. He stands over his dying father, shrivelled and exposed on the bed.</scene_description> <character>HAL</character> <dialogue>You deserve no comfort.</dialogue> <scene_description>The King struggles for breath, wracked with fear. He is crying.</scene_description> <character>HAL</character> <dialogue>Do you feel the cold?</dialogue> <scene_description>Hal waits for some kind of response. Henry is distraught.</scene_description> <character>HAL</character> <parenthetical>(yells)</parenthetical> <dialogue>Speak! Do you feel this cold?</dialogue> <scene_description>The King stares into some middle distance, broken and childlike.</scene_description> <character>HAL</character> <dialogue>Speak.</dialogue> <scene_description>Hal starts crying now. And then his anger rises again.</scene_description> <character>HAL</character> <dialogue>Speak, wretch. Speak to me.</dialogue> <scene_description>Courtiers sit quietly, cautious. The King whimpers.</scene_description> <character>HENRY IV</character> <parenthetical>(barely intelligible)</parenthetical> <dialogue>You must be king, my son. Please. I love you.</dialogue> <scene_description>Hal takes this in. His tears run harder. The King wheezes.</scene_description> <character>HENRY IV</character> <dialogue>I know not what I have done.</dialogue> <scene_description>He continues to wheeze as he fades. Hal looks to the crown sitting on a beside table. He stares at it. Others in the room wait uncomfortably, staring at Hal's back. Hal stands. He turns. All stoop apprehensively to a knee.</scene_description> <character>ALL</character> <dialogue>My liege.</dialogue> <scene_description>Hal stands before them.</scene_description> <character>HAL</character> <dialogue>Look at me.</dialogue> <scene_description>The men look up. He looks them all square. He has hardened.</scene_description> <character>HAL</character> <dialogue>He will be dead by morning.</dialogue> <scene_description>No one breathes. Hal watches them - his world shifting.</scene_description> <character>HAL</character> <dialogue>You know not what will become of you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And so I offer you now the most blessed reprieve and the most dreadful misery - one and same - that you shall suffer the indignity of serving me, the wayward son you so revile.</dialogue> <scene_description>Hal stares them down.</scene_description> <character>HAL</character> <dialogue>But know now that you will be watched over by an altogether different king.</dialogue> <scene_description>Pause. The men genuflect again.</scene_description> <character>HAL</character> <dialogue>Before you falsely honour your new king, you might with fondness farewell your old.</dialogue> <scene_description>Hal catches sight of William, newly arrived. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. STREET / EASTCHEAP - DAY</stage_direction> <scene_description>William and the Lord Chamberlain with three guards in the street outside Hal's apartment. William surveys the street, then heads inside it.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT / EASTCHEAP - DAY</stage_direction> <scene_description>A key in the door. It swings open. The Lord Chamberlain, William and two guards enter to find Falstaff startled awake and disoriented in Hal's bed.</scene_description> <character>FALSTAFF</character> <dialogue>What is this?</dialogue> <character>LORD CHAMBERLAIN</character> <dialogue>Who are you?</dialogue> <character>FALSTAFF</character> <dialogue>I am I. Who are you?</dialogue> <character>LORD CHAMBERLAIN</character> <dialogue>What is your purpose here?</dialogue> <character>FALSTAFF</character> <dialogue>I think you just woke me up from it, didn't you?</dialogue> <character>LORD CHAMBERLAIN</character> <dialogue>Rise from that bed. At once.</dialogue> <character>FALSTAFF</character> <dialogue>Who are you? Where is Hal?</dialogue> <character>LORD CHAMBERLAIN</character> <dialogue>These lodgings and their contents are the property of the King of England. You are trespassing and I order you to vacate at once.</dialogue> <scene_description>Falstaff is momentarily taken aback. He scoffs.</scene_description> <character>FALSTAFF</character> <dialogue>What King of England?</dialogue> </scene> <scene> <stage_direction>INT. KING'S BEDCHAMBER / ROYAL COURT - DAY</stage_direction> <scene_description>Dressers fit Hal in ceremonial robes. William sits watching. The Lord Chamberlain is there too, at attention.</scene_description> <character>WILLIAM</character> <dialogue>Are you comfortable?</dialogue> <scene_description>Hal adjusts his garments. He isn't comfortable.</scene_description> <character>WILLIAM</character> <dialogue>You need only follow the Archbishop's lead. A coronation is one such event at which the King need be little more than present. And awake, I suppose.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Many hours might this day consume but, like any other, it will end. You are an honourable man. You will not be alone in your endeavours. I can assure you of this. You shall have me beside you at every turn.</dialogue> </scene> <scene> <stage_direction>EXT. WESTMINSTER ABBEY - DAY</stage_direction> <scene_description>Hal walks barefoot in ceremonial procession through a crowd of noble onlookers. William, Dorset and Westmorland are with him. The Archbishop leads. Hal seems vulnerable. The crowd watches with quiet reserve. He may have inherited the kingdom, but it feels today as though the kingdom owns him.</scene_description> </scene> <scene> <stage_direction>INT. WESTMINSTER ABBEY - DAY</stage_direction> <scene_description>The abbey is huge and full of peers and nobility, watching - Hal on all fours on the chancel, disrobed, wearing only breeches. The Archbishop stands over him, massaging oils into his arms, back and shoulders. Hal seems vulnerable, submitting to the arcane, unsettling, almost sexual ceremony. Bishops bear witness. The crowd watches in silence. LATER: Hal, clothed in full regal attire, sits on a throne by the altar. The Archbishop addresses the large crowd.</scene_description> <character>ARCHBISHOP</character> <dialogue>Will ye, sirs, at this time give your wills and assents to this consecration whereunto the people shall say with a great voice, yea, yea, yea, so be it, King Henry, King Henry, King Henry!</dialogue> <character>CROWD</character> <dialogue>King Henry! King Henry! King Henry!</dialogue> <scene_description>The crown of Saint Edward is placed upon Hal's head. In procession, he is kissed by each of the bishops as he stares out at his inscrutable subjects.</scene_description> </scene> <scene> <stage_direction>INT. GREAT HALL / ROYAL COURT - NIGHT</stage_direction> <scene_description>Hal stands at a huge banquet table, flanked by William, the Duke of York, Dorset, Westmorland, Grey and Cambridge. A few seats from Hal sits the Archbishop. In all, forty or more. Dukes and duchesses. Men of church, war and politics - and, beside some of these men, women sit watching the new king carefully. Among them is QUEEN PHILIPPA, Hal's 21 year-old sister, who - in marriage - is now Queen of Denmark, Norway and Sweden. She sits beside her husband, ERIC OF POMERANIA. Laid out on a side-table near Hal is a great pile of gifts. Servants remove plates from the table. A meal has been eaten. The Lord Chamberlain presents one of the gifts to Hal.</scene_description> <character>LORD CHAMBERLAIN</character> <dialogue>From Wenceslaus, King of Bohemia.</dialogue> <scene_description>Hal opens the box and pulls out an ornate vase. He inspects it.</scene_description> <character>LORD CHAMBERLAIN</character> <parenthetical>(reading from a card)</parenthetical> <dialogue>'I, King Wenceslaus of Bohemia, present this gift to King Henry of England. To long and good health.'</dialogue> <character>HAL</character> <dialogue>Beautiful.</dialogue> <scene_description>Hal looks to Philippa. He walks round the table to her.</scene_description> <character>HAL</character> <dialogue>As I'm sure you all know, my young sister Philippa has joined us here today. Queen of Denmark!</dialogue> <scene_description>Hal stands behind her. He lovingly holds her shoulder.</scene_description> <character>HAL</character> <dialogue>I am thankful that she and her husband, the good King Eric, have travelled all this way to wish me well. To wish England well.</dialogue> <parenthetical>(to Eric)</parenthetical> <dialogue>How stands she, Eric? As queen? I hope nobly.</dialogue> <character>ERIC</character> <dialogue>Well she stands, Your Majesty.</dialogue> <character>HAL</character> <dialogue>I'm happy to hear it. I wish for you take this vase, my dear. Let its beauty stand for your beauty which stands in turn for England's beauty.</dialogue> <scene_description>Hal puts the vase on the table before Philippa and kisses her cheek. She smiles.</scene_description> <character>PHILIPPA</character> <dialogue>I thank you, my liege.</dialogue> <scene_description>Hal returns to his seat.</scene_description> <character>HAL</character> <dialogue>The next surprise, Lord Chamberlain.</dialogue> <character>LORD CHAMBERLAIN</character> <dialogue>From Zsigmond, King of Hungary.</dialogue> <parenthetical>(reading card)</parenthetical> <dialogue>'May your reign be peaceful and your kingdom eternally prosperous.'</dialogue> <scene_description>Another box. Hal opens it. Inside is a quill and ink pot. Hal inspects it.</scene_description> <character>HAL</character> <dialogue>A quill. A nice one.</dialogue> <parenthetical>(to William)</parenthetical> <dialogue>I feel you should have this gift, Chief Justice, for the signing of royal decree. Let it represent England's lawfulness.</dialogue> <character>WILLIAM</character> <dialogue>Thank you, my liege.</dialogue> <scene_description>All at the table enjoy this display of largesse from Hal. All are smiling, awaiting the next surprise.</scene_description> <character>LORD CHAMBERLAIN</character> <dialogue>His sincerity, the Doge, and the republic of Venice, present this gift in your honour, my liege.</dialogue> <scene_description>Hal inspects the box, trying to figure out how it opens.</scene_description> <character>LORD CHAMBERLAIN</character> <parenthetical>(reading the gift letter)</parenthetical> <dialogue>It says it is a bird from Constantinople.</dialogue> <character>HAL</character> <dialogue>A bird! A dead one I should suppose if it has travelled here from Constantinople by Venezia in this box.</dialogue> <scene_description>Laughter at the table. Hal manages to open the box. Inside is a small, intricately crafted metal bird. Hal studies it.</scene_description> <character>WILLIAM</character> <dialogue>If I may, my liege.</dialogue> <scene_description>Hal hands the bird to William. William inspects its underside and twists a dial there. He places the bird down on the table upon which it flaps its wings like the wind-up toy it is. All at the table gasp, enthralled, horrified, watching the bird twist and flap. They've never seen anything like it.</scene_description> <character>WILLIAM</character> <dialogue>Unnatural mechanics from the edge of Christendom.</dialogue> <scene_description>Hal watches the bird with fascination as it comes to a stop. He picks it up, turns it over, inspects its underside.</scene_description> <character>HAL</character> <dialogue>A wonder... Well, this belongs to my old friend, Lord Cambridge.</dialogue> <scene_description>Hal walks around the table to Cambridge's seat. He puts the bird on the table before him and clasps him by the shoulders.</scene_description> <character>HAL</character> <dialogue>Of all at this table, none have I known longer than I have you. I have indeed known you longer than I have my own young sister.</dialogue> <scene_description>Hal smiles at Philippa. She smiles back carefully. Hal returns his attention to Cambridge.</scene_description> <character>HAL</character> <dialogue>We were raised together. We played games together. We have fought in battle together. You have been like an older brother to me. And so, in honour of this, I think it only fitting that you, my good Lord Cambridge, should have this magical bird from Constantinople. Let's hope its magic isn't black and unholy! Constantinople indeed.</dialogue> <scene_description>Hal kisses Cambridge's temple as all laugh and applaud. Hal returns to his seat as Cambridge inspects his new toy.</scene_description> <character>HAL</character> <dialogue>More!</dialogue> <character>LORD CHAMBERLAIN</character> <dialogue>From Charles, King of France.</dialogue> <scene_description>The Lord Chamberlain inspects the card.</scene_description> <character>LORD CHAMBERLAIN</character> <dialogue>Pardon me. Not from the King. It's from the Prince, his son. The Dauphin.</dialogue> <scene_description>The Lord Chamberlain turns the card over.</scene_description> <character>LORD CHAMBERLAIN</character> <dialogue>No message.</dialogue> <character>HAL</character> <dialogue>No message from the Dauphin?</dialogue> <scene_description>Hal puts the small chest on the table before him. He opens it and freezes, staring into the box. All wait in anticipation. They sense something wrong. Hal reaches into the box and pulls out an old-style tennis ball.</scene_description> <character>HAL</character> <dialogue>A ball.</dialogue> <scene_description>Silence. This is clearly an insult to the new king.</scene_description> <character>HAL</character> <dialogue>There is no accompanying message?</dialogue> <character>LORD CHAMBERLAIN</character> <dialogue>No, my liege.</dialogue> <scene_description>Hal continues looking at the ball. He closes the chest.</scene_description> <character>HAL</character> <dialogue>I shall keep this gift. This one is sent for me.</dialogue> <scene_description>He examines the ball, turns it in his hand.</scene_description> <character>HAL</character> <dialogue>For the boy that once I was.</dialogue> <scene_description>Hal steps back from the table and throws the ball hard against the stone wall. It echoes loud and bounces back to him.</scene_description> <character>HAL</character> <dialogue>The Prince and I might play a set one day.</dialogue> <parenthetical>(to Cambridge)</parenthetical> <dialogue>You shouldn't mind, Lord Cambridge, if I found myself a new play friend, would you? For jeu de paume?</dialogue> <scene_description>Muted laughter. Cambridge smiles politely. The women - Hal's sister, Philippa, especially - watch Hal closely.</scene_description> <character>HAL</character> <dialogue>Lord Chamberlain. Next. Make this one a good one, please.</dialogue> <scene_description>We hold on Hal as the Lord Chamberlain sorts uncomfortably through the remaining gifts.</scene_description> <character>LORD CHAMBERLAIN</character> <dialogue>From The King of Denmark, Eric of Pomerania -</dialogue> <character>HAL</character> <parenthetical>(flat)</parenthetical> <dialogue>Ah, good Eric. I was hoping yours might be next.</dialogue> <scene_description>As the Lord Chamberlain reads the card, Hal becomes distant.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE / ROYAL COURT - DAY</stage_direction> <scene_description>Hal sits at the King's desk, examining a mess of papers. William sits, unsettled, holding the Dauphin's ball.</scene_description> <character>WILLIAM</character> <dialogue>We must respond. This ball is an insult, to you and to your kingdom.</dialogue> <character>HAL</character> <dialogue>Remember where, as Prince, I whiled and how I spent my days.</dialogue> <character>WILLIAM</character> <dialogue>You spent them in considered privation.</dialogue> <character>HAL</character> <dialogue>And drinking. Drinking and clowning. So is there not some truth in this jest? If the Dauphin wants from me a paroxysm, why give it him?</dialogue> <character>WILLIAM</character> <dialogue>It would not be a show of foul temper for you to respond forcefully to an insult such as this, my liege. It would be a show of strength.</dialogue> <character>HAL</character> <dialogue>I appreciate your umbrage, William. And your loyalty.</dialogue> <character>HAL</character> <dialogue>But my strength does not lie in me flapping up and down at the slightest barb like some unholy mechanical bird.</dialogue> <scene_description>Hal focusses on the papers spread before him. William sits beside him, waiting. Hal stops, rubs his eyes.</scene_description> <character>HAL</character> <parenthetical>(re the papers)</parenthetical> <dialogue>Make sense of this. This is what is pressing.</dialogue> <character>WILLIAM</character> <dialogue>It's most complicated, my liege. Civil strife has consumed us. War drains the purse like little else.</dialogue> <character>HAL</character> <dialogue>This strife must end. And it will end by conciliation. We shall pardon our adversaries, Lord Scrope among them. We shall pay Mortimer's ransom and have him returned from Wales. I will write these pardons in mine own hand. I want it known these sentiments are so personal to me. We shall let these men know they were my father's enemies, not mine.</dialogue> <character>WILLIAM</character> <dialogue>Certainly, my liege.</dialogue> <character>HAL</character> <parenthetical>(beat)</parenthetical> <dialogue>How does this strategy greet you?</dialogue> <character>WILLIAM</character> <dialogue>Great policy shifts are best enacted with regime change. If this is how you wish to proceed - and I will support you in that endeavour if it be so - then yes, my liege, now would be the time to do it.</dialogue> </scene> <scene> <stage_direction>EXT. GARDEN / ROYAL COURT - DAY</stage_direction> <scene_description>Hal is with his sister, Philippa, in the palace gardens. They stand at the fence of a pen holding two Bactrian camels. Philippa is enchanted. She's never seen anything like them. Behind them, at respectful distance, attendants hover - some armed. Hal throws a stick for two dogs to fetch. Philippa is smiling. Their talk has been light and tender.</scene_description> <character>PHILIPPA</character> <dialogue>He is kind to me. I'm happy there. I am yet to give him a child, but he seems not to mind.</dialogue> <character>HAL</character> <dialogue>He is a good man. And you are young.</dialogue> <character>PHILIPPA</character> <dialogue>Did you reconcile with our father before his passing?</dialogue> <character>HAL</character> <dialogue>There was no reconciliation to be had. His passing itself was my reconciliation. He did untold harm to this kingdom. His passing will bring calm with it.</dialogue> <character>PHILIPPA</character> <dialogue>I ask not after the kingdom. What of you?</dialogue> <character>HAL</character> <dialogue>I want an end to this unrest.</dialogue> <scene_description>Beat. He hasn't answered her question.</scene_description> <character>PHILIPPA</character> <dialogue>I look around that table last night. I look at the faces of the men seated at it. And I can feel this calm of which you speak. I can see the... the hope that your vitality, and your measure, promises them. I do believe they wish you well.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But I also see that they have their own kingdoms - behind their eyes... Do you understand what I say?</dialogue> <scene_description>Hal looks at her.</scene_description> <character>PHILIPPA</character> <dialogue>These men are more than mere empty vassels awaiting your instruction.</dialogue> <scene_description>Hal looks away. She searches his face, trying to read it.</scene_description> <character>PHILIPPA</character> <dialogue>I know them not. I've been away too many years. And I'm now to return to Denmark. But I have in my time in that court been privy to its commissions. I have seen there, again and again, that no one ever speaks true - wholly true. Even when their intentions are virtuous, and their hopes for the realm are honourable, they are still first and foremost the sovereigns of their own kingdoms - the kingdoms of their own imagining.</dialogue> <scene_description>Hal's shoe's buckle has come loose. He crouches to re-fasten it. Philippa stands over him. She looks at him sadly.</scene_description> <character>PHILIPPA</character> <dialogue>Choose your steps wisely, dear brother. Tis likely not my place to offer you counsel. But that is my counsel nonetheless. Abstract as it may be.</dialogue> <scene_description>Hal looks up as Philippa wanders away. Hal watches her, suddenly feeling strangely alone. SCENE MOVED TO 44A OMITTED</scene_description> </scene> <scene> <stage_direction>INT. GREAT HALL / ROYAL COURT - DAY</stage_direction> <scene_description>Full sitting of parliament. The Archbishop has set up an easel for a presentation. On it is an incomprehensibly complicated genealogical diagram. He has performance jitters. All are assembled. When Hal enters with William, all stand.</scene_description> <character>HAL</character> <dialogue>Archbishop, a presentation I'm told. A performance.</dialogue> <scene_description>The Archbishop bows. Hal sits.</scene_description> <character>ARCHBISHOP</character> <dialogue>Yes, my liege. Please, make yourself comfortable.</dialogue> <character>HAL</character> <dialogue>Comfortable. How long is this performance to be?</dialogue> <scene_description>Awkward pause. The Archbishop isn't good at playful banter.</scene_description> <character>ARCHBISHOP</character> <dialogue>I speak to King Charles of France's claim to be the legitimate sovereign ruler of said lands. Tis -</dialogue> <parenthetical>(trying to control lisp)</parenthetical> <dialogue>Tis said that the law Salic would have no succession of the French crown fall to a woman. Meaning no rule left in the lineage of the female shall by rights pass to her issue. The French have long stripped such titles in favour of another whence the title was in fact left in the female thread in the absence or death of a male heir. Now, the law Salic which is of Salic land and tethered to said lands is not, ah, not therefore legally bound - or adherent at all in fact - to the lands of France... But to those of Salic. Which, as you know, lies between the lands of Elba and of Salve. I claim here, with proof, that hence it follows that the law Salic which has seen French sovereignty stolen as such from a true lineage... Thrice, as I can illuminate, the French have cited the law Salic as reason to bar a female succession -</dialogue> <character>HAL</character> <dialogue>With reverence?</dialogue> <character>ARCHBISHOP</character> <dialogue>Yes, my liege?</dialogue> <character>HAL</character> <dialogue>You have yet to introduce your extraordinary puzzle picture there and already I'm finding this story impossible to follow.</dialogue> <character>ARCHBISHOP</character> <dialogue>My liege, I question the French King's claim to the throne upon which he sits.</dialogue> <character>HAL</character> <dialogue>Is that so? What confuses me now is why you are telling me this story.</dialogue> <scene_description>The Archbishop, flummoxed, looks to others for support.</scene_description> <character>HAL</character> <dialogue>Archbishop? I'm sorry. Have I muddled you?</dialogue> <character>ARCHBISHOP</character> <dialogue>My liege, I simply hope to bolster your claim to France should the need to meet her with force soon arise.</dialogue> <scene_description>Beat. Hal is unsettled by talk of war.</scene_description> <character>HAL</character> <dialogue>And you believe that need will indeed soon arise?</dialogue> <character>ARCHBISHOP</character> <dialogue>I, ah, my liege - by way of preparedness, I think it, I believe it always wise -</dialogue> <character>HAL</character> <dialogue>Preparedness? If we are to war with France, it will be driven by matters hot and current. I thank you for your performance. I'm sorry to cut it short. But war will not come as a consequence of old and impenetrable libretto.</dialogue> <character>ARCHBISHOP</character> <dialogue>France was your father's long held ambition. Had he not been bogged in civil feud he would most surely have taken the fight to her. And then on to Jerusalem.</dialogue> <character>HAL</character> <dialogue>Jerusalem! We're all the way to Holy Land, are we? And to sack the rest of Christendom along the way, I presume!</dialogue> <scene_description>Beat.</scene_description> <character>ARCHBISHOP</character> <dialogue>My liege -</dialogue> <character>HAL</character> <dialogue>I am not my father, Archbishop. I would have thought this clear by now.</dialogue> <parenthetical>(beat, steely)</parenthetical> <dialogue>Do not think me a sapling, gentlemen. Do not think I might bend to light wind. Only with a storm will I uproot. Until then... Well acted.</dialogue> <scene_description>Hal stands and leaves. The Archbishop looks stung.</scene_description> </scene> <scene> <stage_direction>EXT. OFFICE / ROYAL COURT - DAY</stage_direction> <scene_description>Hal sits in an armchair, contemplative. William sits nearby.</scene_description> <character>WILLIAM</character> <dialogue>The Archbishop is a far from gifted orator.</dialogue> <character>HAL</character> <dialogue>Which is strange given I would have thought gifted oratory to be a requirement of the position. Why is the Archbishop speaking to me of war with France?</dialogue> <character>WILLIAM</character> <dialogue>What you are witnessing here is a stirring. Of which we must be wary. I applaud your restraint, my liege. After so many years of strife, you are proving to be more than your father's son. And this is admirable. And sage. You wish to be a king for the people. We must ensure to that end, however, that you do not remain oblivious to the mood of the people.</dialogue> <character>HAL</character> <dialogue>And what mood is this?</dialogue> <character>WILLIAM</character> <dialogue>That France is taunting us.</dialogue> <character>HAL</character> <dialogue>Do you share this mood?</dialogue> <character>WILLIAM</character> <dialogue>My opinion matters not. My loyalty is to you, my liege. Unwavering.</dialogue> <character>WILLIAM</character> <dialogue>I stand by you. The mood is a fantasy. That doesn't mean it isn't felt true.</dialogue> </scene> <scene> <stage_direction>EXT. EASTCHEAP - DAY</stage_direction> <scene_description>Falstaff is squatted, doing a shit on the edge of a stink- pile on the street. He has his garments bunched and is having to shoo away a persistent scavenging dog. He finishes, pulls up his breeches, and joins Beale waiting nearby. They walk. The street is busy and filthy as usual.</scene_description> <character>FALSTAFF</character> <dialogue>Why in heavens a dog would want to eat my shit I cannot fathom. Why would it not eat its own shit if it has such a taste for shit? If only I had a taste for my own shit. I'd need never search for food again.</dialogue> <character>BEALE</character> <dialogue>Dogs do eat their own shit. I seen them do it.</dialogue> <character>FALSTAFF</character> <dialogue>Mine would be a higher order of it. If I was a shit-eating mongrel cur I s'pose I'd too want a steaming hot plate of Sir John's blogs.</dialogue> <scene_description>Beale has noticed that Falstaff is walking with purpose in a very particular direction.</scene_description> <character>BEALE</character> <dialogue>We can't be going to Hooper's.</dialogue> <character>FALSTAFF</character> <dialogue>Yes we can.</dialogue> <character>BEALE</character> <dialogue>She won't have you.</dialogue> <character>FALSTAFF</character> <dialogue>Yes she will.</dialogue> </scene> <scene> <stage_direction>INT. TAVERN / EASTCHEAP - DAY</stage_direction> <scene_description>Falstaff and Beale enter the tavern. It's busy despite the morning hour. Falstaff attempts to slink in unnoticed. He makes it half way across the room before he is.</scene_description> <character>HOOPER</character> <dialogue>No!</dialogue> <character>FALSTAFF</character> <dialogue>Yes!</dialogue> <scene_description>Hooper makes her way across the room to him as he takes a seat at a table with other men.</scene_description> <character>HOOPER</character> <dialogue>No.</dialogue> <character>FALSTAFF</character> <dialogue>Yes.</dialogue> <character>HOOPER</character> <dialogue>You're not welcome here. Unless you've come to pay what you owe me.</dialogue> <character>FALSTAFF</character> <dialogue>I've paid you.</dialogue> <character>HOOPER</character> <dialogue>You've paid me a snatch of what you owe. And I presume too from the proceeds of thieving.</dialogue> <character>FALSTAFF</character> <dialogue>Lies.</dialogue> <character>HOOPER</character> <dialogue>And so, by all account, you be not specially good at thieving neither.</dialogue> <character>FALSTAFF</character> <dialogue>Lies. How dare you so address me. Why would you be so churlish with the very man most likely to lift you from this stinking rat-hole? Maybe you've forgot, but my associations now stretch to the highest reaches of the realm. Your insolence might as well be directed to the King himself. Ponder that now.</dialogue> <character>HOOPER</character> <dialogue>Are you speaking of Hal?</dialogue> <scene_description>Falstaff, haughty, pretends the question is beneath him.</scene_description> <character>HOOPER</character> <dialogue>Where is he? Where is Hal? Where is our King?</dialogue> <character>HOOPER</character> <dialogue>He be gone weeks and weeks now. Where is he? I would say you be the one who's been forgot. I would say your dalliance with the upper reaches of the realm were short- lived in and around his stinking sick bucket. Seems you were little more than passing keeper of a prince's puke. Ponder that now.</dialogue> <scene_description>Men at the table laugh. Falstaff is embarrassed.</scene_description> <character>BEALE</character> <dialogue>Nell, Sir John is down on his luck.</dialogue> <character>FALSTAFF</character> <dialogue>I am not.</dialogue> <character>HOOPER</character> <dialogue>You find someone to pay your way here. I'll not be paying it for you.</dialogue> <scene_description>Hooper walks away, leaving Falstaff embarrassed.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY TO DUNGEON / ROYAL COURT - DAY</stage_direction> <scene_description>Hal walks at pace with two sentries. They head down a spiral stair, past guards, into a dark and dank corner of the palace. A buzz in the air. Hal is concerned.</scene_description> </scene> <scene> <stage_direction>INT. DUNGEON / ROYAL COURT - MOMENTS LATER</stage_direction> <scene_description>Hal is led into the dungeon. Guards loiter. William is there. William looks to the guards. They exit. Hal sits opposite GILRICH (20), an effete Frenchman in chains. \[Hal and Gilrich will speak to each other in French, subtitled.\]</scene_description> <character>HAL</character> <dialogue>Who are you?</dialogue> <scene_description>The man says nothing. He looks to William.</scene_description> <character>WILLIAM</character> <dialogue>He seeks asylum in return for his tale.</dialogue> <character>HAL</character> <dialogue>I do not doubt this can be arranged.</dialogue> <character>GILRICH</character> <dialogue>Can it or not? You are the King, no?</dialogue> <scene_description>Beat. Gilrich and Hal size each other up.</scene_description> <character>HAL</character> <dialogue>It can be arranged.</dialogue> <character>GILRICH</character> <dialogue>I have been sent by the King of France to assassinate you.</dialogue> <character>HAL</character> <dialogue>Charles himself sent you? You know this to be certain?</dialogue> <character>GILRICH</character> <dialogue>The order's origin I know, yes. From the King.</dialogue> <character>HAL</character> <dialogue>What was the order?</dialogue> <character>GILRICH</character> <dialogue>That I should kill the King of England.</dialogue> <character>HAL</character> <dialogue>How?</dialogue> <character>GILRICH</character> <dialogue>However. Any way. How many ways to kill a man. Tis my talent - killing men who do not expect to be killed.</dialogue> <scene_description>Hal contemplates his prospective killer.</scene_description> <character>HAL</character> <dialogue>In return for this admission you seek impunity and sanctuary here in England.</dialogue> <character>GILRICH</character> <dialogue>Oui. Yes.</dialogue> </scene> <scene> <stage_direction>INT. OFFICE / ROYAL COURT - DAY</stage_direction> <scene_description>Hal with William, Dorset, Cambridge, Grey, Westmorland - and Scrope, newly returned from his rebel defection.</scene_description> <character>DORSET</character> <dialogue>This is an act of war.</dialogue> <character>SCROPE</character> <dialogue>The man we have chained now is but a coward. Maybe he was too low paid. Whatever his grievance, he was sent. Which means another may come. And I fear the next may be of firmer mettle than the weasel that nests in the dungeon beneath our feet.</dialogue> <character>HAL</character> <dialogue>At such a time as I endeavour to foster a fresh and peaceful air for this kingdom to breathe, it is not in my interest to stir hostility with another. I would expect you, Lord Scrope, to understand this as well as any other. I have welcomed you back to this court so as to forge quite the opposite of whatever bellicose fever it was that had you turn your arms against it.</dialogue> <scene_description>Scrope looks at Hal with defiance. He has indeed been welcomed back - only to be shut down. William breaks tension.</scene_description> <character>WILLIAM</character> <dialogue>Understand we do, my liege, but - with respect - to ignore such an audacious act of aggression will be seen as weakness. This is no game ball. This is an assassin.</dialogue> <character>HAL</character> <dialogue>Would you consider me weak, Chief Justice?</dialogue> <character>WILLIAM</character> <dialogue>Certainly not, my liege. No. I see the honour in your intent. I speak more of the kingdom, of what the kingdom sees.</dialogue> <character>HAL</character> <dialogue>Of what the kingdom sees. And how, pray, might the kingdom see the weasel beneath our feet?</dialogue> <character>WILLIAM</character> <dialogue>That weasel is a pimple. If France's animus towards you runs deep enough for them to send an assassin, then it will be felt in the streets, ours and theirs. It will be known.</dialogue> <scene_description>Hal feels his leadership tested. The other men wait and watch.</scene_description> <character>WILLIAM</character> <dialogue>We share your concerns, my liege. We share your longing for peace. But the stability of peace today needs more than harmony. It needs strength and confidence. These are qualities that can originate only in you, the King. They must be seen - and felt.</dialogue> <scene_description>Hal looks at William. He thinks. He turns to an attendant.</scene_description> <character>HAL</character> <dialogue>Take down these words, addressed to King Charles of France.</dialogue> <scene_description>Hal takes the ball from the Dauphin's chest. He bounces it once, twice, on his desk.</scene_description> <character>HAL</character> <dialogue>This assassin you send can be taken as nothing other than an infant act of war. If this be your intention, I say you let it be known plainly and honourably and that you desist from the timorous slither in which you presently engage. If it be war you seek, send the full weight of your army, for a lone and cowardly assassin will not topple this King Henry the Fifth of England you so underestimate.</dialogue> <scene_description>Hal lifts the chest and empties the tennis balls on the floor. He drops the chest back on his desk.</scene_description> <character>HAL</character> <dialogue>Fill this with gun-stones and send it back to France.</dialogue> </scene> <scene> <stage_direction>INT. GREAT HALL / ROYAL COURT - DAY</stage_direction> <scene_description>Hal, on his throne. A full sitting of parliament. A speech is being given. Hal, half-listening, searches the faces of the men before him. All inscrutable.</scene_description> </scene> <scene> <stage_direction>INT. CHAPEL / ROYAL COURT - DAY</stage_direction> <scene_description>Hal alone, on his knees at the altar, deep in prayer.</scene_description> </scene> <scene> <stage_direction>EXT. ENGLISH COUNTRYSIDE - EVENING</stage_direction> <scene_description>All is ominously still. The sky the colour of blood.</scene_description> </scene> <scene> <stage_direction>EXT. CAMBRIDGE'S ESTATE - EVENING</stage_direction> <scene_description>A stately manor house in last light. A carriage pulls up outside it. A man alights, looking around warily.</scene_description> </scene> <scene> <stage_direction>INT. CAMBRIDGE'S ESTATE - EVENING</stage_direction> <scene_description>Cambridge steps into the entrance hall to meet his STEWARD at the front door. Cambridge's children are in the kitchen behind him. There is a wary tension in the air.</scene_description> <character>CAMBRIDGE</character> <dialogue>Who is it?</dialogue> <character>CAMBRIDGE'S STEWARD</character> <dialogue>A Frenchman, sire. He says he wishes to speak with you privately.</dialogue> <character>CAMBRIDGE</character> <dialogue>About what?</dialogue> <character>CAMBRIDGE'S STEWARD</character> <dialogue>He wouldn't say, sire. I asked of him. He wouldn't say.</dialogue> </scene> <scene> <stage_direction>INT. PRIVATE CHAMBERS / CAMBRIDGE'S ESTATE - NIGHT</stage_direction> <scene_description>The man, a French ENVOY, takes a seat in Cambridge's sitting chamber. He waits for the attendant to leave before speaking.</scene_description> <character>ENVOY</character> <dialogue>My King has sent me to seek out men he feels he can trust. He believes there is discreet discussion to be had.</dialogue> <character>CAMBRIDGE</character> <dialogue>What discussion?</dialogue> <character>ENVOY</character> <dialogue>He believes there is discussion to be had about your new King of England.</dialogue> <scene_description>Cambridge realises he is now in a precarious position. OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. ANTECHAMBER / ROYAL COURT - DAY</stage_direction> <scene_description>Cambridge and Grey with William in a quiet corner.</scene_description> <character>CAMBRIDGE</character> <dialogue>Only myself and Lord Grey were met. We knew not where to turn... about what was spoken to us.</dialogue> <scene_description>Nervous, he looks to Grey who stands, eager to cut the fuss.</scene_description> <character>GREY</character> <dialogue>We are all of us aware that there is a standing problem. Our King is of low repute.</dialogue> <character>WILLIAM</character> <dialogue>The French King teaches you this? Is he not thankful for young Henry's light reaction to his provocations? Or does he come on spoiling?</dialogue> <character>CAMBRIDGE</character> <dialogue>The assassin he swears he knows not of. Tis a charge he denies.</dialogue> <character>WILLIAM</character> <dialogue>The plot came to nought. Of course he would wish to wipe his hands of it.</dialogue> <character>CAMBRIDGE</character> <dialogue>Whatever the root, they have expressed grave concern regarding our King's mental fortitude and what it might mean for relations between our kingdoms.</dialogue> <scene_description>William thinks, watches Cambridge.</scene_description> <character>CAMBRIDGE</character> <dialogue>I myself once counted His Majesty a brother, but, my lord, as you say, much has -</dialogue> <character>WILLIAM</character> <dialogue>Is the envoy to be trusted?</dialogue> <character>CAMBRIDGE</character> <dialogue>I believe so. As if you yourself were to voyage on Henry's behalf.</dialogue> <character>WILLIAM</character> <dialogue>Charles wishes to dethrone our King.</dialogue> <character>CAMBRIDGE</character> <dialogue>They have proffered no course of action. They merely wish to establish that their concern is mutually held.</dialogue> <character>GREY</character> <dialogue>The issue is not France. This is but a reminder to us of a more general lunacy. A man who but weeks ago was a drunken boor from the sewers of Eastcheap now wears England's crown... What shall become of us? What shall become of us when civil misdeeds are forgiven as if they were but indiscretions? When traitors are invited to rejoin the court as if they had been but away on sojourn? When it appears -</dialogue> <character>WILLIAM</character> <dialogue>Yes. These concerns are current and numerous. Something must be done... And something will be done.</dialogue> </scene> <scene> <stage_direction>INT. WILLIAM'S CHAMBER / ROYAL COURT - DAY</stage_direction> <scene_description>Hal is seated. William stands beside his desk.</scene_description> <character>WILLIAM</character> <dialogue>Thus is the King's burden. A king must make decisions lesser men are neither willing nor able to make. A king is indeed presented with quandaries lesser men might never encounter in the course of their whole lives.</dialogue> <scene_description>Hal drops his head, stares at the floor.</scene_description> <character>WILLIAM</character> <dialogue>I wish it were not so. But problems, my liege - this is my experience - problems left unattended have a habit of becoming crises. You have a chance here to unite this land truly. You have refreshed its mood with promise. But promise must be fulfilled. Promise can never be an end in itself.</dialogue> <scene_description>Pause, Hal looking at the floor, thinking.</scene_description> <character>HAL</character> <dialogue>One does not secure the integrity of his house by ignoring the woodworm...</dialogue> <parenthetical>(looks up at William)</parenthetical> <dialogue>Nor by attempting to make peace with it.</dialogue> </scene> <scene> <stage_direction>INT. GREAT HALL / ROYAL COURT - DAY</stage_direction> <scene_description>The full court gathered, chatting casually. William on edge. Hal enters, steely. The men go silent as they notice him.</scene_description> <character>HAL</character> <dialogue>As of this day we are at war with France.</dialogue> <scene_description>Stunned silence. Grey and Cambridge shuffle nervously.</scene_description> <character>HAL</character> <dialogue>Twice I have given her the benefit of my doubt. Once as a trifling joust which I paid. The second I met with messaged caution. This third will not be left unchecked.</dialogue> <character>DORSET</character> <parenthetical>(beat, cautious)</parenthetical> <dialogue>What be this latest provocation to arouse thy fury, my liege?</dialogue> <character>HAL</character> <dialogue>And so in order to flush these French rats from their nests, I will have it communicated to them that we are now at war.</dialogue> <scene_description>Hal stares strangely at the men.</scene_description> <character>HAL</character> <dialogue>And who do we propose might deliver this declaration? An envoy. A man or men of high standing.</dialogue> <scene_description>Hal steps directly to Cambridge and Grey.</scene_description> <character>HAL</character> <dialogue>Lords Grey and Cambridge. I would ask you deliver this message to France given your familiarity with its recipient, but I believe in the morning you be otherwise engaged.</dialogue> <scene_description>Cambridge, nervous, waits for Hal to continue. Hal doesn't.</scene_description> <character>CAMBRIDGE</character> <dialogue>Pray how, my liege?</dialogue> <scene_description>Hal looks him square in the eye. It's deep and personal.</scene_description> <character>HAL</character> <dialogue>Tomorrow you will have your heads axed off. I have chosen to send you as an advance party to Hell for the considerable French number that will soon be needing to find space there.</dialogue> <scene_description>Hal looks at Cambridge. The room is pin-drop still.</scene_description> <character>HAL</character> <dialogue>You were once my friend.</dialogue> <scene_description>Cambridge is stunned, bewildered.</scene_description> <character>CAMBRIDGE</character> <dialogue>I am your friend.</dialogue> <scene_description>Hal moves away. Grey looks to William who watches him coldly.</scene_description> </scene> <scene> <stage_direction>EXT. EXECUTION YARD - DAY</stage_direction> <scene_description>Cambridge and Grey on a platform - before them a beheading block. Abject fear on their faces. The full court gathered. Hal and William watch, steely. A guard pushes Grey forward and onto his knees, his neck on the block. Grey breathes hard, hyperventilating.</scene_description> <character>CLERGYMAN</character> <dialogue>May God take pity on you.</dialogue> <scene_description>A moment passes. Strange silence. The HEADSMAN swings his axe. Grey's head comes off. Blood gushes. Hal watches, and then meets Cambridge's terrified and confused eyes.</scene_description> </scene> <scene> <stage_direction>INT. TAVERN / EASTCHEAP - NIGHT</stage_direction> <scene_description>The tavern is busy. Noise, loud voices in a confined space. The door opens. Six armed and masked guards enter and stand ominously at the entrance. The noise dies quickly.</scene_description> <character>GUARD</character> <dialogue>All leave. Now.</dialogue> <scene_description>Scoundrels grab their cloaks and make their way hastily to the door. They file timidly out past the guards. Falstaff sits at a far table, watching warily. He takes his scarf and goes to make a quiet exit.</scene_description> <character>GUARD</character> <dialogue>You. Stay.</dialogue> <scene_description>Falstaff sits again, weighing his options as the room empties. Hostess Hooper remains at a table. A guard points at her.</scene_description> <character>GUARD</character> <dialogue>You. Leave.</dialogue> <character>HOOPER</character> <dialogue>This is my place.</dialogue> <scene_description>A hooded figure walks in and stops at the top of the stairs.</scene_description> <character>HOODED MAN</character> <dialogue>The hostess can stay.</dialogue> <scene_description>The man removes his hood. It's Hal. He steps in. He approaches Falstaff. Falstaff remains wary, watching Hal suspiciously.</scene_description> <character>HAL</character> <dialogue>That's my welcome?</dialogue> <character>FALSTAFF</character> <dialogue>You want me to curtsey? That could take a while, with my funny knee and all. First I'd have to stand. Then I'd have to bend over. We could be here all night. I think I'll just stay sitting if it suits Your Highness.</dialogue> <scene_description>Hal places a purse of coins on the table for Hooper.</scene_description> <character>HAL</character> <dialogue>For the loss of patronage.</dialogue> <parenthetical>(to Falstaff)</parenthetical> <dialogue>I beg a moment of your time.</dialogue> </scene> <scene> <stage_direction>INT. TAVERN / EASTCHEAP - LATER</stage_direction> <scene_description>Hal and Falstaff sit at a corner table. Falstaff drinks ale.</scene_description> <character>HAL</character> <dialogue>I expect nothing of you. I am here to ask. Simply.</dialogue> <character>FALSTAFF</character> <dialogue>And simply I refuse. I won't jump to your attention, and surely not to retread vile ground I vowed I would never walk again. A man who has found it so easy to shed his skin should find wholly sensible the sentiments of this here snake.</dialogue> <scene_description>Hal can clearly sense Falstaff's underlying hurt feelings.</scene_description> <character>HAL</character> <dialogue>I acknowledge my neglect of you, John. I regret it deeply. A new chapter of my life was begun before the last could be properly closed.</dialogue> <character>FALSTAFF</character> <dialogue>Why won't you drink with me?</dialogue> <scene_description>Hal pauses, not sure if the question is a thaw in tension.</scene_description> <character>HAL</character> <dialogue>Drinking is what men do when they wish to take temporary leave from life. I no longer have this luxury.</dialogue> <scene_description>Falstaff drinks and smiles to himself.</scene_description> <character>HAL</character> <dialogue>Already I can feel the weight of this crown I wear. I know you remember, I once wished to eschew both its burden and its pretensions. But to do so now would be cowardice. It is incumbent upon me to steer a course for the defence and the betterment of England. This is that course.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>These concerns are mine and mine alone. But the fact that this here, now, be the first occasion I've had to sound them aloud to anyone other than myself speaks volumes. It speaks to the loneliness of the position in which I find myself. To steer our present course I've been forced to rely upon the counsel of men whose loyalty I question every waking moment. Every waking moment. I need around me men I trust beyond doubt - and of them there is only one on this earth I can identify with anything near certainty.</dialogue> <scene_description>Hal looks to Falstaff with humility. Falstaff reads it.</scene_description> <character>HAL</character> <dialogue>I expect nothing of you, John. Whatever decision you make I will respect without question. But I'm here because I love you and because at this point, in this chapter, I need that love like I need the air I breathe. I'm here because you are my friend.</dialogue> <character>FALSTAFF</character> <dialogue>A king has no friends. A king has only followers and foe.</dialogue> <scene_description>The moment hangs heavy. Hal stands and dons his cloak.</scene_description> <character>HAL</character> <dialogue>I'm sorry that my occasion to visit carries with it this doleful weight.</dialogue> <scene_description>Falstaff watches him, unmoved. Hal heads for the exit. Then -</scene_description> <character>FALSTAFF</character> <dialogue>Hal.</dialogue> <scene_description>Hal stops and turns.</scene_description> <character>FALSTAFF</character> <dialogue>I will come with you.</dialogue> <scene_description>Beat. Hal watches him.</scene_description> <character>FALSTAFF</character> <dialogue>I ask only one favour in return.</dialogue> <scene_description>The moment is loaded. Falstaff points to Hooper.</scene_description> <character>FALSTAFF</character> <dialogue>Square my account with this terrible hag, would you?</dialogue> </scene> <scene> <stage_direction>INT. OFFICE / ROYAL COURT - DAY</stage_direction> <scene_description>Hal walks a line of assembled men. The full court plus the Duke of York and handful of others.</scene_description> <character>HAL</character> <dialogue>We welcome those newly arrived here. Sir Daffydd from Wales.</dialogue> <scene_description>He comes face to face with the noblemen one by one.</scene_description> <character>HAL</character> <dialogue>Cousin Westmorland. Lords Warrick and Dorset... Great men all. Turn us now in common poise, with one mind, sharpened. Let past grievances be forgot. Our minds make free to one end. Together we will bring France down. Together we will bring her to her knees.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Captains all, to this end, I introduce you to a new marshal of our campaign.</dialogue> <scene_description>Hal pauses. Anticipation.</scene_description> <character>HAL</character> <dialogue>Sir John Falstaff.</dialogue> <scene_description>Falstaff steps forward, strangely polite and nervous. He wears the best outfit he could muster at short notice. He looks out of place, but clean and combed and strong. The other men in the room are confused. William is unsettled.</scene_description> <character>HAL</character> <dialogue>Sir John's experience in battle should need no recitation. You know of him. Some of you have had the honour of fighting alongside him. Others have heard tale of his exploits and his bravery, of his redoubtable command of men. But I have tasked Sir John to join this campaign for one most vital reason alone: he respects war as only a man who has seen its most monstrous form can. He lusts after it not, but rather regards it with the grim sobriety that you and your men should hope he would. You will listen to him as you would to me. He is my eyes and my ears, my heart and my head.</dialogue> <scene_description>Falstaff, on long-estranged ground, feels rusty. Hal looks to him to speak, which he does without fuss or flower.</scene_description> <character>FALSTAFF</character> <dialogue>Welcome and thank you, good sirs. You are all well met.</dialogue> </scene> <scene> <stage_direction>INT. BEDCHAMBER / ROYAL COURT - NIGHT</stage_direction> <scene_description>Falstaff is in a bathtub. A pageboy sits on a stool beside the tub massaging Falstaff's foot which hangs over its edge. He looks uncomfortable. Falstaff scrubs his armpit. He squirms and laughs.</scene_description> <character>FALSTAFF</character> <dialogue>Hard. Not soft. Hard. Be forceful.</dialogue> <scene_description>A knock at the door.</scene_description> <character>FALSTAFF</character> <dialogue>Enter!</dialogue> <scene_description>The door opens. Hal enters. He takes in the scene. He closes the door behind him and takes a seat near the tub.</scene_description> <character>FALSTAFF</character> <dialogue>I'm having to explain to this stripling that a soft scrub of the foot might be construed in some circles as a tickle.</dialogue> <scene_description>Hal is unsettled by Falstaff's drunken jocularity.</scene_description> <character>HAL</character> <dialogue>Are you ready for what awaits us?</dialogue> <character>FALSTAFF</character> <dialogue>One is never ready for what awaits us.</dialogue> <character>HAL</character> <dialogue>Do you prepare yourself as best you might?</dialogue> <scene_description>Falstaff knows Hal needs reassurance. He sobers a pinch.</scene_description> <character>FALSTAFF</character> <dialogue>You know me well. I see first to the fettle of my humours. My wits depend on it. As do yours. I counsel you follow my lead.</dialogue> <scene_description>Hal smiles wearily. He's tired. He looks at the pageboy with his head bowed. He stands and heads for the door.</scene_description> <character>FALSTAFF</character> <dialogue>Rest well, my liege.</dialogue> </scene> <scene> <stage_direction>EXT. ARMOURY - DAY</stage_direction> <scene_description>Under a foreboding sky, a hundred men load supplies into crates on the backs of horse-drawn drays. Blacksmiths hammer and solder. Stockpiles of armour and weaponry are sorted. Macabre instruments of death and destruction. The dirty industrial end of the war machine. An imposing enterprise. Around a corner, Falstaff is with two lowly conscripts.</scene_description> <character>FALSTAFF</character> <dialogue>I can't understand the garble coming out your mouth hole.</dialogue> <character>HAMMOND</character> <dialogue>We don't want to get on that ship for no war or such.</dialogue> <character>FALSTAFF</character> <dialogue>You don't want to get on that ship for no war or such.</dialogue> <character>HAMMOND</character> <dialogue>We know you got the position to get us off it now. We don't want to go to no war in France.</dialogue> <character>FALSTAFF</character> <dialogue>So while other men - few of whom I imagine want to go to war - do so anyway, for their good King has called to them, you imagine I should grant you some form of official exemption on account of your simply not wanting to 'go to no war in France or such'. Have I understood you? And what might be the benefit for me? In the gross violation of order such sympathetic dispensation would constitute?</dialogue> <character>HAMMOND</character> <dialogue>What?</dialogue> <character>FALSTAFF</character> <dialogue>Coin, brownface. What coin have you?</dialogue> <scene_description>The conscript pulls a sack of coins from his filthy pocket.</scene_description> <character>HAMMOND</character> <dialogue>This.</dialogue> <scene_description>Falstaff takes the sack and starts counting coins discreetly.</scene_description> <character>FALSTAFF</character> <dialogue>What are your names?</dialogue> <character>HAMMOND</character> <dialogue>Hammond and Horland. I'm Hammond and he's Horland.</dialogue> <character>FALSTAFF</character> <dialogue>I don't care which one of you is which.</dialogue> <scene_description>Falstaff finishes his count and pockets the sack.</scene_description> <character>FALSTAFF</character> <dialogue>Right. Piss off now, Hammond and Horland.</dialogue> <scene_description>Hammond and Horland scurry away. As Falstaff heads back round to the main yard, he looks up and waves to someone. Looking on from across the yard, Hal stands watching the industry. He nods reply to Falstaff's wave. William is beside him. Hal looks concerned.</scene_description> <character>WILLIAM</character> <dialogue>My liege, I must ask. You believe Sir John to be fit and suitable enough to captain this effort?</dialogue> <scene_description>Hal lets this sit. The ugly weapons being prepared and packed portend only blood and death.</scene_description> <character>HAL</character> <dialogue>This is what we have set in motion. I must know that it will be captained by men of good intent - above all else. There are few of whom I know it clear and true.</dialogue> <parenthetical>(beat, looks at William)</parenthetical> <dialogue>You might be the only other, William. You're a man of good intent. But you're not a soldier.</dialogue> <scene_description>Hal looks back down at the war preparations.</scene_description> <character>HAL</character> <dialogue>John is a good man.</dialogue> </scene> <scene> <stage_direction>EXT. SHIP - DUSK</stage_direction> <scene_description>Above deck, Hal with William, Dorset and Falstaff, a map laid out before them. Hal is deep in thought. The other men watch him. Beyond, a huge flotilla of English ships on the channel.</scene_description> <character>HAL</character> <dialogue>We shall know soon enough. They meet us at sea or upon our landing - we shall know all in the morning. You must rest.</dialogue> <scene_description>Hal rubs his face deeply. The men rise to leave.</scene_description> <character>HAL</character> <dialogue>John.</dialogue> <scene_description>As the men file down a ladder to the lower deck, Falstaff waits. Hal looks at him. Falstaff, about to break the silence -</scene_description> <character>HAL</character> <dialogue>Thank you.</dialogue> <scene_description>Hal clearly had something else to say, but couldn't find it.</scene_description> <character>FALSTAFF</character> <dialogue>For what?</dialogue> <character>HAL</character> <dialogue>For being here. With me.</dialogue> <character>FALSTAFF</character> <dialogue>Small price to pay to get that detestable Hooper woman off my back.</dialogue> <scene_description>Hal smiles sadly.</scene_description> <character>FALSTAFF</character> <dialogue>You too should rest, my liege.</dialogue> <scene_description>Falstaff smiles, nods and climbs the ladder.</scene_description> </scene> <scene> <stage_direction>INT. SHIP / BELOW DECK - NIGHT</stage_direction> <scene_description>Falstaff steps down below deck, dark and cramped with men. He roams among them - trepidation, outright fear on their faces, an eerie quiet under the ship's creak and groan. Falstaff puts his hand on shoulders, makes much eye contact. These looks he has seen on many faces before - the looks of men who wonder if their remaining lives might now be counted in hours. He tries to reassure with his calm smile, but knows nothing can ever truly assuage their feelings. He takes a seat on a sack of grain at the end of a row of hammocks. He folds his arms, watches the men a moment longer, then closes his eyes. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. BEACH - DAY</stage_direction> <scene_description>Fog. A boat grinds its bow onto the sand. Hal and Falstaff, in light armour, jump into knee deep water and wade ashore.</scene_description> </scene> <scene> <stage_direction>EXT. HARFLEUR TOWN - DAY</stage_direction> <scene_description>Over the dunes, Hal, Falstaff, Dorset and a collection of twenty or so men-at-arms walk warily between seemingly abandoned farm buildings. They tread lightly, swords drawn. Two soldiers act as point men ahead. Terrifying stillness. No one speaks. The town feels freshly abandoned. The mist drifts like smoke through it. A lone donkey wanders aimless. The men watch it warily. On the rise beyond, a castle looms.</scene_description> </scene> <scene> <stage_direction>EXT. HARFLEUR TOWN OUTSKIRTS - DAY</stage_direction> <scene_description>Light rain. The English have set up a makeshift camp on the outskirts of Harfleur. Thousands of men and horses. Giant trebuchets are being assembled.</scene_description> </scene> <scene> <stage_direction>EXT. TENT / HARFLEUR TOWN OUTSKIRTS - DUSK</stage_direction> <scene_description>Hal with Falstaff, William, Dorset, Scrope and Westmorland. They sit by a fire under a canopy slung from a tent.</scene_description> <character>DORSET</character> <dialogue>We must storm that castle. It will be bloody. We will most surely sacrifice souls. Thus is the nature of war. It is bloody and soulless.</dialogue> <scene_description>Hal listens, thinking.</scene_description> <character>DORSET</character> <dialogue>If circumstances were other, we might hold this place to siege, but I fear the march of time is our second enemy. We have no way of knowing how well supplied they are behind those walls. A siege may take months, and months, I fear, we have not at our disposal. Our force is too large to sustain a lengthy siege. We must move. Men in these numbers fixed here will fall to hunger and disease.</dialogue> <scene_description>Hal takes this in, then looks to Falstaff. Falstaff spits.</scene_description> <character>FALSTAFF</character> <dialogue>War is bloody and soulless.</dialogue> <scene_description>Hal looks to the dirt at his feet.</scene_description> </scene> <scene> <stage_direction>EXT. HARFLEUR CASTLE - NIGHT</stage_direction> <scene_description>The now assembled trebuchets - huge wooden machines of medieval warfare - are being armed by English soldiers, working by the light of giant bonfires. Once loaded, each trebuchet hurls a terrifying fireball through the dark across the field, to crash into the castle's walls. Hal stands and watches while fires burn all around him.</scene_description> </scene> <scene> <stage_direction>EXT. HARFLEUR TOWN OUTSKIRTS - DAY</stage_direction> <scene_description>The rain has eased, but the sky is grey and the ground muddy. Men are already looking cold, wasted, forlorn. Some eat soup. Hal, William and Falstaff stand watching the trebuchets continue their horrible bombardment on the castle on the hill. Smoke billows from within the walls.</scene_description> <character>WILLIAM</character> <dialogue>The Archbishop has arrived.</dialogue> <scene_description>From the beach below, a small retinue of soldiers approaches. Leading them is the Archbishop. Attendants accompany him, holding a canopy over his head. Hal watches them waddle through the mud in full silly clerical regalia.</scene_description> <character>ARCHBISHOP</character> <dialogue>Your Majesty, tis good to see you well!</dialogue> </scene> <scene> <stage_direction>INT. TENT / HARFLEUR TOWN OUTSKIRTS - DAY</stage_direction> <scene_description>Hal, Falstaff, William and Dorset sit with the Archbishop.</scene_description> <character>ARCHBISHOP</character> <dialogue>Surely you can not simply idle here until they decide to come out?</dialogue> <character>FALSTAFF</character> <dialogue>That's precisely the definition of a siege.</dialogue> <character>ARCHBISHOP</character> <dialogue>How long might that take? Surely there is no way of knowing.</dialogue> <character>FALSTAFF</character> <dialogue>That too is a common characteristic of a siege.</dialogue> <character>HAL</character> <dialogue>I will not send my men up that hill.</dialogue> <character>ARCHBISHOP</character> <dialogue>But why in heavens not?</dialogue> <character>HAL</character> <dialogue>I will not sacrifice my men so flagrantly, nor so speculatively.</dialogue> <character>ARCHBISHOP</character> <dialogue>This is war. Men die in war.</dialogue> <scene_description>Hal lets this sit. He watches the Archbishop coldly.</scene_description> <character>HAL</character> <dialogue>How fortunate you are to find its horrors so unexceptional.</dialogue> <character>ARCHBISHOP</character> <dialogue>Well then why do you not simply go around? If they insist on hiding in their castle, why do you not simply go around it? Let them hide. Hiding is an admission of defeat. Take it as such and we can press on.</dialogue> <scene_description>Hal looks to Falstaff and William to share his bewildered disdain. He turns back to the Archbishop.</scene_description> <character>HAL</character> <dialogue>And so well versed in the art of warfare.</dialogue> <scene_description>Hal stands and exits the tent.</scene_description> <character>WILLIAM</character> <parenthetical>(to Archbishop)</parenthetical> <dialogue>We must take this town. We must establish a garrison foothold here for our lines of supply from England. Simply ignoring the force behind those walls is entirely untenable.</dialogue> <scene_description>The Archbishop is uncomfortable speaking candidly in Falstaff's presence.</scene_description> <character>ARCHBISHOP</character> <dialogue>We must expedite these concerns, my lords. You understand this. Do not forget that I have underwritten this campaign. I have interest here. And I will be heard.</dialogue> <scene_description>Beat. William stands and exits. The Archbishop is left to squirm under Falstaff's stare.</scene_description> </scene> <scene> <stage_direction>EXT. HARFLEUR TOWN OUTSKIRTS - DAY</stage_direction> <scene_description>Hal walks between tents. He is startled by the sound of a distant horn. Westmorland approaches out of breath.</scene_description> <character>WESTMORLAND</character> <dialogue>My liege... They have surrendered.</dialogue> <scene_description>William walks to them. Hal turns to him.</scene_description> <character>HAL</character> <dialogue>Our debate now it seems is irrelevant.</dialogue> <scene_description>The distant horn blows again. Hal smiles.</scene_description> <character>HAL</character> <dialogue>As are the Archbishop's bleatings.</dialogue> </scene> <scene> <stage_direction>EXT. HARFLEUR TOWN OUTSKIRTS - DAY</stage_direction> <scene_description>Dorset, Scrope, Westmorland, the Archbishop and William stand beside Hal who sits on his throne under a canopy. The CAPTAIN OF HARFLEUR, JEAN D'ESTOUTEVILLE, genuflects before him.</scene_description> <character>D'ESTOUTEVILE</character> <parenthetical>(in French, subtitled)</parenthetical> <dialogue>The day is yours. We ask only that our women and children be freed. There are already many hungry and wounded and becoming sick.</dialogue> <character>HAL</character> <parenthetical>(in French, subtitled)</parenthetical> <dialogue>Upon full account of the castle, I see no reason to deny your request. You will have tonight to oversee this evacuation and to corral your men prisoners. Lord Scrope will oversee this night and take full possession of the castle in the morning.</dialogue> <scene_description>D'Estouteville stands and nods. Scrope escorts him away.</scene_description> </scene> <scene> <stage_direction>EXT. CAMP / HARFLEUR TOWN OUTSKIRTS - DAY</stage_direction> <scene_description>Falstaff moves through the filthy camp.</scene_description> </scene> <scene> <stage_direction>INT. TENT / HARFLEUR TOWN OUTSKIRTS - DAY</stage_direction> <scene_description>Falstaff enters. Hal is with William, Westmorland and Dorset. Hal is on his throne.</scene_description> <character>WILLIAM</character> <dialogue>I am told it would be but a day before his arrival. Perchance two.</dialogue> <character>DORSET</character> <dialogue>He wishes to slow us.</dialogue> <character>FALSTAFF</character> <dialogue>Who wishes to slow us?</dialogue> <character>WESTMORLAND</character> <dialogue>We have received word that the Dauphin is en route. He wishes conference with His Highness.</dialogue> <character>HAL</character> <dialogue>We know nothing of his purpose?</dialogue> <character>WILLIAM</character> <dialogue>We know only that he desires conference. I would hope his purpose be to deliver his father's early surrender.</dialogue> <character>DORSET</character> <dialogue>I strongly advise we disregard this word of his approach and ready our movement. The Dauphin will be in haste cobbling a bickering army from all corners. We mustn't let him dally us. We must make advantage of their disarray.</dialogue> <scene_description>All wait for Hal to speak. Hal turns to Falstaff.</scene_description> <character>HAL</character> <dialogue>Sir John, please, your counsel.</dialogue> <scene_description>The men look to Falstaff. He shrugs.</scene_description> <character>FALSTAFF</character> <dialogue>I've never met the man, this French Prince. I can't speak to his motivation.</dialogue> <scene_description>The men wait for more from Falstaff. None is coming.</scene_description> <character>HAL</character> <dialogue>We wait one day more. After this, the Prince can deliver his message to us on the move.</dialogue> </scene> <scene> <stage_direction>INT. HAL'S TENT / HARFLEUR TOWN OUTSKIRTS - NIGHT</stage_direction> <scene_description>Hal is asleep in his bed. The Lord Chamberlain is asleep on the floor. William enters.</scene_description> <character>WILLIAM</character> <dialogue>My liege. Forgive me.</dialogue> <scene_description>Hal stirs awake.</scene_description> <character>WILLIAM</character> <dialogue>He's here. Can you smell him? He has doused himself in perfume.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>INT. TENT / HARFLEUR TOWN OUTSKIRTS - NIGHT</stage_direction> <scene_description>The French Prince, THE DAUPHIN, LOUIS, DUKE OF GUYENNE, sits on Hal's throne, laughing with his men. Hal and William enter. Falstaff, Westmorland and Dorset are already there. The Dauphin is dressed ostentatiously, flamboyant, vain.</scene_description> <character>DAUPHIN</character> <dialogue>Your Majesty! Excuse the hour. I have never visited here before. I find we have lost our way.</dialogue> <scene_description>Hal assays the Dauphin and his men.</scene_description> <character>DAUPHIN</character> <dialogue>Please, sit. Or I beg your pardon.</dialogue> <scene_description>He stands.</scene_description> <character>DAUPHIN</character> <dialogue>You must invite me, of course. This is your domain.</dialogue> <scene_description>Hal doesn't move. The Dauphin sits again, raises his cup.</scene_description> <character>DAUPHIN</character> <dialogue>To your little victory.</dialogue> <scene_description>Hal stares.</scene_description> <character>DAUPHIN</character> <dialogue>Do you wonder why I have come?</dialogue> <scene_description>The Dauphin looks to Hal, then to William and Falstaff, then back to Hal. He raises his eyebrows.</scene_description> <character>DAUPHIN</character> <dialogue>Do you wonder this?</dialogue> <scene_description>Hal stares impassively at the Dauphin.</scene_description> <character>DAUPHIN</character> <dialogue>I have not come to offer you surrender if that is what you were hoping. I have come instead to describe for you your end days, the screams of your men as they die slow.</dialogue> <scene_description>The Dauphin stares at Hal, trying to be intimidating.</scene_description> <character>DAUPHIN</character> <dialogue>And so, King of England, you seem so intent on making France your new home, I will help you. I will drain your body of its blood and I will bury it under a tree. A little French tree. Very young and small. Since perchance that is fitting of your mind to come here. Small. And maybe your -</dialogue> <scene_description>He gestures to his cock.</scene_description> <character>DAUPHIN</character> <dialogue>But no, your balls must be big.</dialogue> <scene_description>His humour is forced. He smiles a gloating smile to his men.</scene_description> <character>DAUPHIN</character> <dialogue>A tiny little cock. And giant balls!</dialogue> <scene_description>The Dauphin laughs falsely and loudly, then sobers.</scene_description> <character>DAUPHIN</character> <dialogue>And the sound of your wives and children weeping I will use to lull me to sleep at night. Oh, but of course there is no one for you? To weep for you? No wife or children? No? I might just use that thought to lull me to sleep at night.</dialogue> <scene_description>Falstaff yawns wide and loud. The Dauphin is taken aback.</scene_description> <character>FALSTAFF</character> <dialogue>Pardon me.</dialogue> <scene_description>Hal stares dully at the Dauphin.</scene_description> <character>DAUPHIN</character> <dialogue>Have you heard what I have said?</dialogue> <character>HAL</character> <dialogue>I have. It was stirring.</dialogue> <parenthetical>(to Falstaff)</parenthetical> <dialogue>Sir John, walk with me.</dialogue> <scene_description>Falstaff nods and stands. Hal puts his hand on William's shoulder and smiles to the room.</scene_description> <character>HAL</character> <dialogue>Good night, all.</dialogue> <character>WILLIAM</character> <dialogue>Good night, Your Majesty.</dialogue> <scene_description>Hal exits.</scene_description> </scene> <scene> <stage_direction>EXT. CAMP / HARFLEUR TOWN OUTSKIRTS - NIGHT</stage_direction> <scene_description>Hal and Falstaff walk between tents. Hal is dark and focussed.</scene_description> <character>HAL</character> <dialogue>Ready the men to move. Waste no time.</dialogue> </scene> <scene> <stage_direction>EXT. FRENCH COUNTRYSIDE - DAY</stage_direction> <scene_description>Hal rides the length of his massive army train. Weary men. Many are sick with dysentery - archers, food carriages, masons, livestock. And shackled French prisoners on foot. A carriage carries the Archbishop. He smiles as Hal passes. Hal ignores him.</scene_description> </scene> <scene> <stage_direction>EXT. RIVER SOMMES - DAY</stage_direction> <scene_description>Hal, Falstaff and Dorset at a forest's edge. They are joined by William, and attendants.</scene_description> <character>DORSET</character> <dialogue>We must cross these woodlands. We drift still further north if we stay along that road.</dialogue> <scene_description>Hal turns to Falstaff who shakes his head.</scene_description> <character>FALSTAFF</character> <dialogue>I don't like the smell of these woods. They smell of French prince.</dialogue> <scene_description>Hal looks into the dense thicket. Falstaff smells the air.</scene_description> <character>FALSTAFF</character> <dialogue>Peculiar smell it is.</dialogue> <scene_description>Falstaff ambles off. Hal watches him. Dorset boils.</scene_description> </scene> <scene> <stage_direction>EXT. HILLSIDE - CONTINUOUS</stage_direction> <scene_description>Sure enough, the Dauphin and a handful of his soldiers hide on the forested rise of the hill flanking the crossing. He watches the English move on. He spits and walks away.</scene_description> </scene> <scene> <stage_direction>EXT. RIVERSIDE CAMPSITE / FOREST - DAY</stage_direction> <scene_description>The English in full swing making camp. Tents are raised. Hammers post pegs. Horses are freed of their saddles. Hal sits on a crate and pulls his boots off. He looks around. Men cough and collapse exhausted. Three BOY ATTENDANTS leave the camp to gather wood and water. Two carry axes, one a pail.</scene_description> </scene> <scene> <stage_direction>EXT. FOREST - DAY</stage_direction> <scene_description>The boys wander through the forest. Shafts of light through the trees. The sound of the bubbling river. Moments later - two of the boys gather kindling. Meanwhile, the third boy gets to the river's edge. He scoops water into his pail. When he stands, a figure holding a dagger appears behind him. A hand reaches around and grabs his mouth. He is stabbed through the spine. The noise - Alerts the other boys 30 yards away. They drop their kindling and run. Two more French soldiers give chase, one with a crossbow. One of the boys is dropped by a crossbow bolt. The other runs straight into The Dauphin, standing in wait with another soldier. The Dauphin's face is camouflaged with charcoal. He crouches before the frightened boy.</scene_description> <character>DAUPHIN</character> <parenthetical>(in English)</parenthetical> <dialogue>Hello, little boy.</dialogue> <scene_description>The boy is practically paralysed with fear.</scene_description> <character>DAUPHIN</character> <dialogue>Don't be afraid.</dialogue> <scene_description>Strange beat. The Dauphin looks the boy over, studies his face. The boy's fear is mounting, tearful, sickening.</scene_description> <character>DAUPHIN</character> <dialogue>Hush now, small one. Don't be afraid. You will live. I shall have you deliver a gift to your king.</dialogue> <scene_description>He strokes the kid's hair.</scene_description> <character>DAUPHIN</character> <dialogue>Will you do that for me?</dialogue> </scene> <scene> <stage_direction>EXT. RIVERSIDE CAMPSITE - LATER</stage_direction> <scene_description>Tight on the blonde boy's traumatised face as he walks slowly out of the forest and back into camp. At the edge of camp, men notice him and stand back in horror. The boy carries the severed head of the pail boy.</scene_description> </scene> <scene> <stage_direction>INT. HAL'S TENT / RIVERSIDE CAMPSITE - MOMENTS LATER</stage_direction> <scene_description>Hal sits boiling. Falstaff watches him.</scene_description> <character>HAL</character> <dialogue>Double the guards to twenty yards through the night. Three hours at a watch. I want these men fresh and alert. Any man caught sleeping will have his eyes gouged. Any caught speaking will lose his tongue.</dialogue> <scene_description>He looks at Falstaff. Falstaff stands.</scene_description> <character>HAL</character> <dialogue>And I want all French prisoners in our train put to death. Leave their corpses speared on pikes by the river's edge.</dialogue> <character>FALSTAFF</character> <dialogue>I will heed the first command. The second - you'll need to carry out that mass execution yourself.</dialogue> <character>HAL</character> <dialogue>What did you say to me?</dialogue> <character>FALSTAFF</character> <dialogue>You are not that man.</dialogue> <character>HAL</character> <dialogue>How dare you?</dialogue> <character>FALSTAFF</character> <dialogue>Show your feeling in here, with me. But do not let it leave this tent.</dialogue> <character>HAL</character> <dialogue>How dare you defy me? I am your king. I should have you killed alongside those shackled French pigs.</dialogue> <scene_description>Hal breaths hard, looking at Falstaff with venom.</scene_description> <character>HAL</character> <dialogue>And where is the fearsome old warrior about whom I've heard so much, that trumpeted his battle- smarts to me so loudly? You've been mute since we crossed the sea. I seem to be serving as my own chief tactician, my own commander, my own counsel. Where is the great warrior Falstaff?</dialogue> <scene_description>Beat. Falstaff is calm. He watches Hal fume.</scene_description> <character>FALSTAFF</character> <dialogue>I speak only when there is something to be said. Too often have I seen men of war invent work for themselves, work that leads to nought but vainglory and slaughtered men. I am not that man. And this here is the war you have chosen to wage.</dialogue> <scene_description>Hal charges Falstaff, collars him, a knife to his throat.</scene_description> <character>HAL</character> <dialogue>I will disembowel you right here with mine own hand.</dialogue> <scene_description>Falstaff stares coolly into Hal's eyes.</scene_description> <character>FALSTAFF</character> <dialogue>You're not that man either.</dialogue> <scene_description>They hold a look. Hal fumes, then backs down. Falstaff exits.</scene_description> </scene> <scene> <stage_direction>EXT. RIVERSIDE CAMPSITE - NIGHT</stage_direction> <scene_description>The air is muted. Men are in shock. Some stare into fires. Others lie still. Somewhere in the shadows, a man sobs. Falstaff roams among them. He lugs a bottle. He's drunk. He has a wild look in his eye. He stumbles upon three men kneeling in prayer, eyes closed. He sits and watches them quietly. They finish. Amen. They open their eyes. They notice Falstaff. They bow their heads.</scene_description> <character>FALSTAFF</character> <dialogue>Have you ever had cause to hear the Archbishop of Canterbury speak?</dialogue> <scene_description>None answer.</scene_description> <character>FALSTAFF</character> <dialogue>It's quite a show. You're prostrated there already. I shall sermonise. I'll render it for you.</dialogue> <scene_description>Falstaff looks around. He finds a bucket. He puts it on his head upended like the Archbishop's mitre. He exaggerates the Archbishop's lisp, tongue hanging from his mouth.</scene_description> <character>FALSTAFF</character> <dialogue>And the Lord saideth, I knoweth thou hath savour for spelt and sorrel and steer steaks with juices and sauces. But I give you this, my sacred promise: I will summons a great pestilence, carried by serpents on floodwaters - such unspeakable suffering, unspeakable suffering, from which there shall be no succour - should you forsake the simple sausage.</dialogue> <scene_description>The men smile wide, try to contain their laughter.</scene_description> <character>FALSTAFF</character> <dialogue>And know that when this pestilence comes, it comes not to smite thee for thine past sins committed.</dialogue> <character>FALSTAFF</character> <dialogue>It comes because thou'st forsook my unassailable love for sausages.</dialogue> <scene_description>Men laugh. More gather. Falstaff hands off his bottle.</scene_description> <character>FALSTAFF</character> <dialogue>And when thou'st can find no sausages, thou'st must take to the seas in ships - sailing ships, splendid sailing vessels! - so as to search for delicious fishes of all descriptions. Salty sea creatures and shellfish to be savoured with sesame and, ah, ah -</dialogue> <character>SOMEONE</character> <dialogue>Spinach.</dialogue> <character>FALSTAFF</character> <dialogue>Spinach! Yes, indeed! Spinaci! -</dialogue> <scene_description>Falstaff chokes and laughs and chokes. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. RIVER'S EDGE - DAY</stage_direction> <scene_description>Falstaff rides in his forward position. He hones his eyes through the trees around them. He knows the French are close. Hal rides up to take his position. The look they exchange is cold. The air is tense. The men are eerily silent.</scene_description> </scene> <scene> <stage_direction>EXT. RIVER - LATER</stage_direction> <scene_description>The English train crosses a swamp. Horses wade. Men struggle to keep their supplies from tumbling into the water.</scene_description> </scene> <scene> <stage_direction>EXT. AGINCOURT - LATER =</stage_direction> <scene_description>The train has halted. Hal, William, Dorset and Falstaff survey the field before them. Pristine countryside. A gentle slope to a small hill on its far side. Dense forest to the right and left, but in between - a huge empty tranquil field.</scene_description> <character>HAL</character> <dialogue>Dorset, summon your fastest rider.</dialogue> <character>DORSET</character> <dialogue>Yes, my liege.</dialogue> <scene_description>Dorset turns to his ATTENDANTS nearby.</scene_description> <character>DORSET</character> <dialogue>Dartmouth.</dialogue> <scene_description>DARTMOUTH (20), skinny like a jockey, trots to the group.</scene_description> <character>DARTMOUTH</character> <dialogue>Sires. What can I do for ye?</dialogue> <scene_description>Hal points to the crest of the far hill.</scene_description> <character>HAL</character> <dialogue>Tell me what lies over that hill. Ride fast and return directly.</dialogue> <scene_description>Dartmouth spurs his horse. The men watch him cross the field.</scene_description> </scene> <scene> <stage_direction>EXT. FIELD / AGINCOURT - CONTINUOUS</stage_direction> <scene_description>Dartmouth rides hard into the wind as he crests the hill. At the top, over the other side, he can see thousands of Frenchmen - an army lying in wait. An intimidating sight. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. TENT / AGINCOURT - EVENING</stage_direction> <scene_description>Passions high. William sits quiet. Falstaff eats an apple.</scene_description> <character>DORSET</character> <dialogue>We are both outnumbered and out- positioned. They have the down- slope in their favour. Our need to advance puts us already at disadvantage.</dialogue> <character>HAL</character> <dialogue>The longer we wait, the larger their force will grow. And with it our disadvantage. Your archers, my lord, are of superior faculty. French crossbows are no match for an English longbow. We should hobble their number on first assault by these means alone.</dialogue> <character>DORSET</character> <dialogue>York's charge in centre faces four lines of mounted knights.</dialogue> <character>DORSET</character> <dialogue>Three of men-at-arms. Our archers here might weaken those by half. But not eight lines. Nine. Ten. More.</dialogue> <scene_description>Hal can't argue with this.</scene_description> <character>DORSET</character> <dialogue>You speak true, my liege. The longer we wait, the greater our disadvantage. But it is possible our disadvantage has already grown insurmountable. A great many men are already desperately ill and weak from hunger.</dialogue> <character>HAL</character> <parenthetical>(challenging)</parenthetical> <dialogue>What then, my Lord, do you propose we do?</dialogue> <character>DORSET</character> <parenthetical>(beat)</parenthetical> <dialogue>I propose we consider turning back, my liege. To return again at a later date, stronger, better prepared.</dialogue> <scene_description>Hal stares defiantly, but knows opinion runs against him.</scene_description> <character>DORSET</character> <dialogue>I know it will not bring the outcome we desire, but nor will the evisceration of our army. I'm reticent to speak for others here now, but I'm certain my fears are shared.</dialogue> <scene_description>Hal looks at Dorset a moment longer, then -</scene_description> <character>HAL</character> <dialogue>Who here agrees with Lord Dorset?</dialogue> <scene_description>Silence. No one will admit to it. Hal looks around the circle. Men avoid his eyes. The silence lingers. Until -</scene_description> <character>FALSTAFF</character> <dialogue>We can win this battle.</dialogue> <scene_description>All turn to Falstaff. He lets the attention soak in. He chews his mouthful of apple.</scene_description> <character>DORSET</character> <dialogue>Is that so, Sir John?</dialogue> <character>FALSTAFF</character> <dialogue>Yes.</dialogue> <scene_description>Dorset's patience with Falstaff has worn thin.</scene_description> <character>DORSET</character> <dialogue>And precisely how is it so, Sir John?</dialogue> <character>FALSTAFF</character> <dialogue>We fight without horses and without armour.</dialogue> <scene_description>Dorset throws his arms in the air and looks to the sky.</scene_description> <character>DORSET</character> <dialogue>Heavens above! Please spare us from this man.</dialogue> <character>FALSTAFF</character> <dialogue>Their forward defence is a frontline of mounted men, many deep. Knights all. All on horseback, all in heavy armour. The ground down there is a floodplain, already half-sodden. And when the rain falls again tonight, as I know it will, that ground will turn to a muddy bog. With their horses and their armour, they will get stuck, they will fall and they will flounder like upturned beetles.</dialogue> <character>WESTMORLAND</character> <dialogue>As shall we.</dialogue> <character>FALSTAFF</character> <dialogue>Not if we travel light, without horses and without armour. Speed and mobility will be our advantage. We will pick them off like lame cattle and that great mound of fallen French knights will serve as our battlement.</dialogue> <character>WESTMORLAND</character> <dialogue>And how on earth can you be sure of rainfall tonight?</dialogue> <character>FALSTAFF</character> <dialogue>My left knee is aching - it only does that when rain is near.</dialogue> <character>DORSET</character> <dialogue>Oh, save us! My liege, please, put a stop to this drivel.</dialogue> <character>HAL</character> <parenthetical>(ignoring Dorset)</parenthetical> <dialogue>This would require their armoured frontline come meet us in the mud. How do you propose we invite that?</dialogue> <character>FALSTAFF</character> <dialogue>A small forward armoured attack of our own. A false advance. They will counter. We save our weight and muscle for a nimble assault from the flanks.</dialogue> <character>DORSET</character> <dialogue>They shan't be so easily deceived. They will not respond to false attack.</dialogue> <scene_description>Dorset shakes his head, incredulous. Falstaff smiles and then, suddenly, tosses his apple to Dorset. Dorset reacts, startled, catches the apple.</scene_description> <character>FALSTAFF</character> <dialogue>They will respond.</dialogue> <scene_description>He has their full attention. Dorset fumes, drops the apple.</scene_description> <character>FALSTAFF</character> <dialogue>We move, they will meet us in the mud. Our men-at-arms are outnumbered. This they know. They will hope to overwhelm us and so will meet us with full force, no matter how small our first advance. Our great longbows will rain chaos upon them from above. That chaos will be our favour.</dialogue> <scene_description>Hal ponders this, searching Falstaff's eyes for motivation.</scene_description> <character>DORSET</character> <dialogue>My liege. I implore you. We mustn't listen to this madness. What is the true experience of this man? He once fought for Richard. Many years ago. Since then he has done nothing other than ride with the companies, robbing and tormenting.</dialogue> <character>FALSTAFF</character> <dialogue>I never robbed anyone who didn't deserve to be robbed.</dialogue> <scene_description>Beat. Hal looks only at Falstaff.</scene_description> <character>HAL</character> <dialogue>If it rains tonight, we fight tomorrow.</dialogue> </scene> <scene> <stage_direction>EXT. FALSTAFF'S TENT / AGINCOURT - NIGHT</stage_direction> <scene_description>Falstaff sits alone by a fire outside his tent, short of friends. Hal sits beside him and stares into the flame.</scene_description> <character>HAL</character> <dialogue>If you have concocted this plan, half-baked and speculative, merely to prove to me your worth, please say so now.</dialogue> <character>FALSTAFF</character> <dialogue>All plans are speculative, my liege.</dialogue> <character>HAL</character> <dialogue>Please, John, do not call me that when we're alone. It makes me feel as though we are living a fiction.</dialogue> <character>FALSTAFF</character> <dialogue>Are we not?</dialogue> <scene_description>A loaded moment. Hal drops his eyes, penitent.</scene_description> <character>HAL</character> <dialogue>Though you might not think it possible, you are my friend.</dialogue> <scene_description>Falstaff stokes the fire. For Hal, a disconsolate moment. Falstaff eases it.</scene_description> <character>FALSTAFF</character> <dialogue>All plans are speculative. And as I say, I only speak them when I can feel them true. This one I feel in my bones. This one I can feel in my kneebone.</dialogue> <scene_description>He smiles. Hal shares it. Silence. Hal stares into the fire.</scene_description> <character>HAL</character> <dialogue>Here we are on the eve of this fight, and I'm scared to wonder, to tell it true, why we are even here.</dialogue> <character>FALSTAFF</character> <dialogue>You best discover the answer to that for yourself. The men out there deserve it. These are the men are who are still here. These are the men that tried not to bribe their way home, that chose not to run to their villages to hide. These men are your willing shadows. They've given their lives over to you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I can't say I know what forces have conspired to bring you here, but these men need you, just as you need them. These men deserve your confidence. If you can not give them that, at least then tell them a magnificent lie.</dialogue> <character>HAL</character> <dialogue>Why are you here?</dialogue> <character>FALSTAFF</character> <dialogue>I'm here because you asked me to come.</dialogue> <scene_description>Falstaff looks at Hal warmly, then pats Hal's leg and stands.</scene_description> <character>FALSTAFF</character> <dialogue>Good night, Hal. Sleep well.</dialogue> <scene_description>Falstaff steps inside his tent, leaving Hal alone. Hal looks out over the sprawling camp - small fires dotted among clumps of cold and tired men, shadows in the dark.</scene_description> </scene> <scene> <stage_direction>INT/EXT. FALSTAFF'S TENT / AGINCOURT - DAWN</stage_direction> <scene_description>Falstaff wakes. The sound of light rain on the tent. He steps outside, looks to the sky, feels the drops on his face. He crouches before an old chest. He unlatches and opens it. Inside is a suit of heavy armour. He lifts out a helmet. He brushes dust off it and regards it wistfully.</scene_description> </scene> <scene> <stage_direction>INT/EXT. HAL'S TENT / AGINCOURT - MORNING</stage_direction> <scene_description>Hal, kneeling in prayer. The Lord Chamberlain stands quietly by. Hal stands and exits his tent. William is waiting outside. They survey the camp, beginning its preparations.</scene_description> <character>HAL</character> <dialogue>Is this folly?</dialogue> <character>WILLIAM</character> <dialogue>As you say, my liege, I am not a soldier. Tis not for me to question your instinct. I can advise on strategy, not tactic. I would say I fear the pall it should cast on the vigour of your fresh crown were we to return home today. To be sure, defeat here might cast that same pall. Retreat would guarantee it.</dialogue> </scene> <scene> <stage_direction>EXT. ENGLISH CAMP / AGINCOURT - MORNING</stage_direction> <scene_description>In amongst the wider battle preparations around the camp, Westmorland briefs a contingent of twenty knights, seated and standing and rumbling with disquiet.</scene_description> <character>WESTMORLAND</character> <dialogue>These are the King's orders. We are to fight unarmoured, and without chargers.</dialogue> <character>KNIGHT</character> <dialogue>We are to be sacrificed. Is that what he asks of us?</dialogue> <character>WESTMORLAND</character> <dialogue>His belief is that fighting unarmoured and unmounted will not only secure us victory, it is the surest way to keep you alive.</dialogue> <character>KNIGHT</character> <dialogue>Rot.</dialogue> <character>WESTMORLAND</character> <dialogue>And I will say this: if our King were to ask you to sacrifice yourself, for the greater good of the realm, I'd expect you honour that request as any loyal and stouthearted subject should.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. ARMOURY TENT / AGINCOURT - MOMENTS LATER</stage_direction> <scene_description>Hal walks the camp in only the lightest of armour. Archers string bows, arrows are bundled. Horses sense looming danger and scuff hoofs in the dirt. Hal rounds a corner to find Falstaff outside the armoury tent, being dressed in his heavy armour. Metal all over. He sees Hal.</scene_description> <character>FALSTAFF</character> <dialogue>This wind whips from the north.</dialogue> <parenthetical>(smiles)</parenthetical> <dialogue>These are clouds sent from England.</dialogue> <character>HAL</character> <dialogue>Why are you being fitted? We were to fight without plate.</dialogue> <character>FALSTAFF</character> <dialogue>We need a front line to draw them in.</dialogue> <character>HAL</character> <dialogue>It can't be you.</dialogue> <character>FALSTAFF</character> <dialogue>The idea was mine. Some man must lead that first push to sell it well.</dialogue> <scene_description>Falstaff fastens his armour.</scene_description> <character>FALSTAFF</character> <dialogue>My men have been assembled. Most would rather wear the full suit. It gives comfort. And I can't in all good conscience send them down there to realise my speculative drivel without getting muddy alongside them.</dialogue> <character>HAL</character> <dialogue>I will fight with you.</dialogue> <character>FALSTAFF</character> <parenthetical>(smiles)</parenthetical> <dialogue>Noble. You know it can't be.</dialogue> <scene_description>The armourer lifts Falstaff's shoulder plate over his head.</scene_description> <character>FALSTAFF</character> <dialogue>Hal.</dialogue> <parenthetical>(corrects himself, smiles)</parenthetical> <dialogue>My liege. This is what I was built for. I die here or I die over a bottle in Eastcheap. I think this makes for a better story. And you have things still to do.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You will join the fight. Be sure not to join it early. Promise that. No matter what you see down there. We must first draw them all in. All of them.</dialogue> <scene_description>Falstaff rests his palm on Hal's cheek.</scene_description> <character>FALSTAFF</character> <dialogue>We win. It will be an honour. So win, my friend. And maybe then you'll lighten enough to have a drink with me.</dialogue> <scene_description>He grabs his helmet and waddles away. Hal watches him, lost.</scene_description> </scene> <scene> <stage_direction>EXT. ENGLISH CAMP / AGINCOURT - MORNING</stage_direction> <scene_description>Light rain continues to fall. Hal strides between tents, distressed. His horse is tethered, attendants in wait. He checks and tightens its saddle. The Archbishop appears beside him. An attendant holds an umbrella over the Archbishop.</scene_description> <character>ARCHBISHOP</character> <dialogue>Your Majesty, I have come to wish you well. I hope to offer a prayer for the men before you set off.</dialogue> <scene_description>Hal ignores him, mounts his horse and rides into the camp. Men watch him pass, William among them, as he makes for the empty battlefield and then rides at speed, alone, across it towards the French camp. All are dumbfounded.</scene_description> </scene> <scene> <stage_direction>EXT. FRENCH CAMP / AGINCOURT - MORNING</stage_direction> <scene_description>Commotion at the French camp at sight of Hal's lone approach. Hal arrives and dismounts. Frenchmen are armed and wary.</scene_description> <character>HAL</character> <parenthetical>(in French, subtitled)</parenthetical> <dialogue>Where is the Dauphin?</dialogue> </scene> <scene> <stage_direction>EXT. DAUPHIN'S TENT / AGINCOURT - MORNING</stage_direction> <scene_description>Hal on bended knee.</scene_description> <character>HAL</character> <parenthetical>(in French, subtitled)</parenthetical> <dialogue>I humbly thank you for receiving me, noble lord.</dialogue> <scene_description>The Dauphin, smug on his throne, surrounded by his entourage.</scene_description> <character>DAUPHIN</character> <dialogue>Speak English. Please. I enjoy to speak English. It is simple and ugly.</dialogue> <scene_description>Hal stands, trying to hide his contempt.</scene_description> <character>DAUPHIN</character> <dialogue>I have been awaiting your surrender all the morning. All the night. It might have saved us all a great unease had you offered it sooner.</dialogue> <character>HAL</character> <dialogue>I know you speak not for your father -</dialogue> <character>DAUPHIN</character> <parenthetical>(haughtily)</parenthetical> <dialogue>I do speak for him.</dialogue> <character>HAL</character> <dialogue>I know you do not speak for your father and so I come now to you directly. I have not come to surrender. But too much Christian blood will be spilled on this field today, and so I propose that you and I fight one man on one man, we fight in our armies' stead. If I lose, my men will leave this place forthwith and forever. If I win, I will assume this kingdom's crown upon your father's death. I know he is not long for this earth and so I will let him see done his days in peace. But once he is gone, France will be mine.</dialogue> <scene_description>The Dauphin doesn't respond, then squirms and scoffs.</scene_description> <character>HAL</character> <dialogue>What say you?</dialogue> <character>DAUPHIN</character> <dialogue>Are you afraid, young Henry?</dialogue> <character>HAL</character> <dialogue>What say you?</dialogue> <character>DAUPHIN</character> <dialogue>Are you afraid of this battle? There is no shame of it.</dialogue> <scene_description>The Dauphin's posturing is hollow. Clearly, he doesn't want to fight Hal. Clearly, his men would rather he did.</scene_description> <character>HAL</character> <dialogue>Save your men.</dialogue> <character>DAUPHIN</character> <parenthetical>(anger rising)</parenthetical> <dialogue>Save your own men. Surrender to me. You have come here. To me.</dialogue> <character>HAL</character> <dialogue>I can not do that.</dialogue> <character>DAUPHIN</character> <dialogue>Well, then, boy, let us make famous that field out there. Let us make famous this little village of Agincourt that will forever mark the site of your callow disgrace.</dialogue> <scene_description>Hal stares him down. He knows there is no deal to be done.</scene_description> </scene> <scene> <stage_direction>EXT. FRONT LINE / ENGLISH CAMP / AGINCOURT - MORNING</stage_direction> <scene_description>The rain has intensified. Hal rides slowly back from the field and between rows of his ready men. Falstaff's smaller, armoured vanguard. Archers. Infantry. All wait. Thousands of hardened, nervous men. All eerily silent. Hal surveys them. He searches their eyes, his distress visible. All is strangely quiet. Then -</scene_description> <character>HAL</character> <dialogue>You expect of me a speech? I have only one to give - and it is the same one I would were we not standing here on the brim of a battlefield. It's the same one I'd give were we to meet by chance in the street. It is this: I have only ever hoped, I have only ever longed for one thing.</dialogue> <character>HAL</character> <dialogue>To live to see our kingdom united. To see our kingdom united under this English crown.</dialogue> <scene_description>He dismounts and walks among the men, searching their faces. He is on the verge of tears. The men watch him, uncertain.</scene_description> <character>HAL</character> <dialogue>All men are born to die. We know it. We carry it with us always. If your day is today, then so be it. Mine will be tomorrow. Or mine today and yours tomorrow. It matters not. What matters is that you know, in your hearts, that today you are that kingdom united. You are England. All of it. Each and every one of you. England is you. And it is the space between you. Fight not for yourselves, but for that space.</dialogue> <scene_description>Hal takes an arm each of the two men nearest him and places it on the other's shoulder.</scene_description> <character>HAL</character> <dialogue>Fight for that space. Fill it. Make it tissue. Make it mass.</dialogue> <scene_description>He urges others to place their arms on others' shoulders. The gesture quickly spreads across the entire army.</scene_description> <character>HAL</character> <dialogue>Make it impenetrable. Make it unassailable. Make it yours.</dialogue> <scene_description>Hal's emotions have spilled over. He lets the men see his vulnerability, his raw wound. They look back at him. They soak him in.</scene_description> <character>HAL</character> <dialogue>Make it England!</dialogue> <scene_description>Beat. And then, loud -</scene_description> <character>HAL</character> <dialogue>Captains to it. Lords and great men all. Each man to it.</dialogue> <scene_description>Falstaff smiles and puts on his helmet. His men follow suit - a formidable battalion of knights.</scene_description> </scene> <scene> <stage_direction>EXT. FRONT LINE / FRENCH CAMP / AGINCOURT - SAME</stage_direction> <scene_description>The Dauphin, decked in clean, flouncy armour, watches the English force cross the field. A COMMANDER is next to him.</scene_description> <character>COMMANDER</character> <dialogue>Les imbéciles.</dialogue> <scene_description>The commander strides away.</scene_description> <character>COMMANDER (O.S.)</character> <dialogue>Attention!</dialogue> <scene_description>The Dauphin watches, almost smiling.</scene_description> </scene> <scene> <stage_direction>EXT. FRONT LINE / ENGLISH CAMP / AGINCOURT - SAME</stage_direction> <scene_description>Falstaff crosses the line of his men. He drags his sword over their armour chest plates, a version of his own speech. He lowers his face guard, breathes, and then - his band of men begin their slow foot-march across the field. Hal stands with Westmorland. They watch, tense. He moves away towards the flanking forest. OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. BATTLEFIELD / AGINCOURT - SAME</stage_direction> <scene_description>Falstaff and his men march across the field. Their line is tight. They move slow.</scene_description> </scene> <scene> <stage_direction>EXT. FOREST / BATTLEFIELD / AGINCOURT - SAME</stage_direction> <scene_description>Hal strides through the forest flank, all the while watching Falstaff's advance. He meets Dorset, who waits with hundreds of other men - a team of guerilla fighters on the edge of the forest. Maces and daggers and leather tunics at most. Everyone stripped down to bare minimum garb. The French still haven't moved. Tension rises.</scene_description> </scene> <scene> <stage_direction>EXT. BATTLEFIELD / AGINCOURT - SAME</stage_direction> <scene_description>Falstaff's retinue continues its march. The French mounted line on the hill before them still hasn't moved.</scene_description> </scene> <scene> <stage_direction>EXT. FOREST / BATTLEFIELD / AGINCOURT - SAME</stage_direction> <scene_description>Hal watches the field. And then a horn blows, and the first French cavalry line begins its descent down the hill - but it's only one line, moving slow.</scene_description> <character>HAL</character> <dialogue>Archers.</dialogue> <character>VOICE (O.S.)</character> <dialogue>Archers!</dialogue> <scene_description>The archers call is relayed through the forest to -</scene_description> </scene> <scene> <stage_direction>EXT. FRONT LINE / ENGLISH CAMP / AGINCOURT - SAME</stage_direction> <scene_description>- Westmorland who raises his hand.</scene_description> <character>WESTMORLAND</character> <dialogue>Archers!</dialogue> <scene_description>Thousands of English archers step forward and load their bows. They raise them to sky - and then release in unison.</scene_description> </scene> <scene> <stage_direction>EXT. BATTLEFIELD / AGINCOURT - SAME</stage_direction> <scene_description>A swarm of arrows rain down on the advancing French force, already slipping on the wet ground. As the arrows hit with deadly force, chaos erupts - horses bash into each other, the French line splinters, knights fall from their mounts and are trampled. Those horses still advancing break into a gallop towards the marching line of Falstaff's men. Falstaff's men hold tight and then, as the mounted French disarray is almost upon them, they take to a knee, pole-axes and swords braced into the ground. When the French line hits these weapons are speared into the breasts and legs of horses that fall and thrash. French knights are thrown into the mud and all hell breaks loose. The battlefield quickly turns into a seething mess of mud and flailing knights and confused thrashing horses. Men are trampled and bashed. A knight, fallen in the mud, gets stuck face down and crawls around helplessly. He tries to lift himself. A horse falls on top of him, pinning him to drown in the sodden earth. Falstaff is himself crawling on the ground, wrestling with a French knight. He holds the knight's helmet in the mud, suffocating him, while himself being pummeled by men and horses. When the knight stops moving he tries desperately to get back to his feet - near impossible with men and horses right on top of him. He manages to grab onto a horse's stirrup and lift himself up, only to find himself jammed between the rumps of two terrified horses. Desperate for breath, Falstaff manages to get his helmet off. He lifts his face to the sky and sucks in the air.</scene_description> </scene> <scene> <stage_direction>EXT. FOREST / BATTLEFIELD / AGINCOURT - SAME</stage_direction> <scene_description>Hal watches the carnage from the forest flank. He wants to fight, but knows he can't until the rest of the French force is drawn in. That force sits on top of the hill, unmoving.</scene_description> </scene> <scene> <stage_direction>EXT. FRENCH CAMP / AGINCOURT - SAME</stage_direction> <scene_description>The Dauphin watches from his position as the fight unfolds below. He signals to his commander.</scene_description> <character>COMMANDER</character> <dialogue>Avance!</dialogue> <scene_description>The Dauphin dons his menacing, elaborately decorated helmet.</scene_description> </scene> <scene> <stage_direction>EXT. FOREST / BATTLEFIELD / AGINCOURT - SAME</stage_direction> <scene_description>Hal watches as a horn blows and the rest of the French force - hundreds of armoured knights on foot - march down the hill. Hal turns to Dorset.</scene_description> <character>HAL</character> <dialogue>They come.</dialogue> </scene> <scene> <stage_direction>EXT. ENGLISH CAMP / AGINCOURT - SAME</stage_direction> <scene_description>Westmorland signals again.</scene_description> <character>WESTMORLAND</character> <dialogue>Archers!</dialogue> <scene_description>The archers, loaded and ready, raise their bows to the sky and release another barrage.</scene_description> </scene> <scene> <stage_direction>EXT. BATTLEFIELD / AGINCOURT - SAME</stage_direction> <scene_description>These arrows rain down on the second French line, sending it into its own chaos. The battlefield is now like a swirling mosh-pit. Knights are either on the ground being trampled or somehow still upright but without room to lift their arms let alone to swing a weapon in their heavy armour.</scene_description> </scene> <scene> <stage_direction>EXT. FOREST / BATTLEFIELD / AGINCOURT - SAME</stage_direction> <scene_description>Hal is poised.</scene_description> <character>HAL</character> <dialogue>Now. Call it.</dialogue> <character>DORSET</character> <dialogue>Men-at-arms!</dialogue> <character>HAL</character> <dialogue>On me!</dialogue> <scene_description>A horn is blown. And with that, from all sides, the stripped- down English infantry run like crazy looters from the forested flanks onto the field. Hal leads the charge. As men are cut down around him, he throws himself into the fray, confounding the French with speed and agility, just as Falstaff had pictured. He slides and falls, but is nimbly back to his feet, dodging and moving, cutting and stabbing. Armoured French knights fall and flail. Hal jams his dagger into their throats as he is sucked into the swirling pit. Hal is dragged to the ground by a floundering French knight. He caves the knight's helmet in with the hilt of his dagger and then crawls beneath a horse's belly to get back to his feet. He manages to suck in air. He looks to the sky as another barrage of English arrows flies overhead. All slows down as he surveys the field - and we are lead into a slow-motion sequence of shots of the terrified horses on the battlefield. The RAIN begins. OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. BATTLEFIELD / AGINCOURT - LATER</stage_direction> <scene_description>As we return to real time again, the rain is falling. Hal is somehow lying on the flank of a dying horse. He is dragged off and thrown into the mud. While the ground is carpeted with dead and dying, the fighting is already beginning to thin. From the ground, Hal can see Westmorland being attacked by two French knights. As he's about to be overcome, Hal steps in and hacks one of them down, giving Westmorland the time and space to finish the other. Hal is sucked back into the morass - until eerily it clears. Hal turns to see the Dauphin before him, high on his horse, flanked by two equally menacingly armoured mounted guards. A space clears on the thinning field, as the Dauphin dismounts and approaches Hal. Hal picks up a discarded sword and readies himself.</scene_description> <character>DAUPHIN</character> <dialogue>Come then, King of England.</dialogue> <scene_description>Hal approaches him slowly and venomously. The Dauphin charges - and then immediately slips over in the mud. He flounders. Tries to stand, slips again. Hal watches him - as do all the other men on the field - exhausted, sucking in air, battle-scarred. Hal looks to the Dauphin's guards atop their horses. They offer no assistance. They sit motionless atop their horses looking down on their squirming leader. Hal steps back and nods to a group of his own men - who charge at the Dauphin, tackling him to the ground and tearing into him with their daggers. Hal walks away as the sound of HORNS echoes across the field and his tired army breaks into a victory roar. Hal forges a path through the mud and gore, scouring the ground, searching faces of the dead and dying while riderless horses roam the field too - as if on their own search. He searches more urgently until he stops over another corpse. He drops to his knees, then sits in the mud beside the body. Falstaff - lifeless and serene. Hal sits with him and cries. He looks out at the battlefield, watching the celebration of his men. He then rests his head on Falstaff's back. He sits this way a long moment. Finally, Hal looks up. He sees a mass of his fellow soldiers spread across the field, watching him. Some two hundred men. Then - the closest soldier kneels. Followed by a second. Hal is soon faced with an entire army kneeling before him. He stands and walks slowly across the field as more take up the position. Westmorland approaches, filthy, exhausted. He bows.</scene_description> <character>WESTMORLAND</character> <dialogue>My liege.</dialogue> <scene_description>He stands and smiles. They hug, but Hal's is without joy.</scene_description> <character>WESTMORLAND</character> <dialogue>The prisoners we have took are a rabble. I fear we will not secure them should their army regroup.</dialogue> <scene_description>Hal looks at him, strangely distant.</scene_description> <character>HAL</character> <dialogue>Kill them all.</dialogue> <scene_description>Hal walks away.</scene_description> </scene> <scene> <stage_direction>EXT. NANCY OUTSKIRTS - DAY</stage_direction> <scene_description>The English army marches in slow silent procession along a trail towards the town of Nancy. Hal, on horseback, leads the procession. William and Dorset beside him. The Archbishop is there too, smugly proud. A thin crowd of peasant villagers lines the trail. The atmosphere is strange, cold and muted. The people have come out to see the invaders, their conquerors.</scene_description> </scene> <scene> <stage_direction>EXT. MAYORAL BUILDINGS / NANCY - DAY</stage_direction> <scene_description>In the courtyard of impressive civic buildings, Hal dismounts. French officials are there to greet him. The FRENCH LORD STEWARD genuflects. The air is tense.</scene_description> <character>FRENCH LORD STEWARD</character> <parenthetical>(in French, subtitled)</parenthetical> <dialogue>Your Highness. His Majesty King Charles is here to meet you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>He is sunning himself.</dialogue> </scene> <scene> <stage_direction>EXT. PORCH / MAYORAL BUILDINGS / NANCY - DAY</stage_direction> <scene_description>Hal is lead onto a colonnaded stone porch.</scene_description> <character>FRENCH LORD STEWARD</character> <parenthetical>(in French, subtitled)</parenthetical> <dialogue>Your Majesty, King Henry the Fifth of England.</dialogue> <scene_description>Across the porch, an old man in regal attire sits in a reclined chair. He is barefoot. He speaks English.</scene_description> <character>KING CHARLES VI</character> <dialogue>Your Highness. Welcome. Please, come sit here with me.</dialogue> <scene_description>Hal crosses the porch. Charles gestures for him to sit.</scene_description> <character>KING CHARLES VI</character> <dialogue>Please.</dialogue> <scene_description>Hal sits. William, the Archbishop and others remain standing.</scene_description> <character>KING CHARLES VI</character> <dialogue>I like to have the sun on my skin. But not too much. Too much is very dangerous. So I take only a small amount.</dialogue> <scene_description>Among Charles's entourage, seated discreetly in the setting, is a young woman, 20 - the only woman in the room.</scene_description> <character>KING CHARLES VI</character> <dialogue>And here I meet the man about whom I have heard such a great deal. Much of it apocryphal, no doubt. Rumour and gossip.</dialogue> <character>KING CHARLES VI</character> <dialogue>And yet when finally you are here before me, this apocrypha becomes air. Or memory. Nothing.</dialogue> <scene_description>He searches Hal's eyes. Hal seems calm and quietly contained.</scene_description> <character>KING CHARLES VI</character> <dialogue>I can only imagine the stories that have been told about me. And about my own son. No doubt you have heard many. I suspect they may be the reason we are here today. My son was impetuous. And what he felt, he felt keenly - for better or for worse. Very often for worse. And the best defence I can summon now is that he was young. Maybe it is a poor defence. But I hope it is one with which you might feel some affinity. I hope also that you might understand my need to grieve his death as all fathers must grieve their lost sons - whatever their failings.</dialogue> <character>HAL</character> <dialogue>I do understand.</dialogue> <character>KING CHARLES VI</character> <dialogue>Thank you.</dialogue> <scene_description>Charles pauses, thinking.</scene_description> <character>KING CHARLES VI</character> <dialogue>This conversation we have - or are about to have - has been had many times before and will be had many times again for centuries to come, between men from all corners, between men of vanity and men of good reason, in whatever combination. I would like to believe that you and I are men of good reason. Men of vanity would have this trouble continue until the brink of our mutual devastation. Maybe beyond.</dialogue> <scene_description>Charles looks around at Hal's entourage, gently assaying these men for the first time.</scene_description> <character>KING CHARLES VI</character> <dialogue>I have, of course, travelled here to offer you my surrender.</dialogue> <scene_description>The Archbishop smiles proudly.</scene_description> <character>KING CHARLES VI</character> <dialogue>Maybe it is our shared destiny that our lands be ruled as one. We have shared histories - shared apocrypha. Might it be that this is the path we have travelled to make our unity so.</dialogue> <scene_description>Hal looks at the old man. His equanimity is humbling.</scene_description> <character>HAL</character> <dialogue>Do you ask anything of me in return?</dialogue> <character>KING CHARLES VI</character> <dialogue>No.</dialogue> <scene_description>Charles searches Hal's eyes, then shifts his gaze to the woman sitting nearby. She lowers her eyes.</scene_description> <character>KING CHARLES VI</character> <dialogue>I do, however, have for you a proposition - that as a gesture of harmony and goodwill you take the hand of my daughter, Catherine, in marriage.</dialogue> <scene_description>Hal looks to PRINCESS CATHERINE, who looks back at him, defiant.</scene_description> <character>KING CHARLES VI</character> <dialogue>My son caused me much pain. And by extension he caused more pain to both of us than I care to examine. But my daughter... She would follow me to the far corners without dispute. I would hope that a bond between you, between us, might prevent these troubles from recurring.</dialogue> <scene_description>Charles looks to Catherine. Hal looks to her also.</scene_description> <character>KING CHARLES VI</character> <dialogue>It is most uncanny, and yet not so at all, that the great movements of history so frequently find their origins in the minutia of family.</dialogue> <character>KING CHARLES VI</character> <dialogue>That in ways I dare not unsettle here I must only assume that my relationship with my son, and yours with your father - these are the things that have led us here today. We are leaders of lands and of peoples and yet it is family that moves us. Family consumes us.</dialogue> </scene> <scene> <stage_direction>EXT. SHIP - DAY</stage_direction> <scene_description>Hal sits alone at the ship's bow. He looks out to sea, at his fleet returning home. The weather is clear and calm. All is strangely quiet. William approaches.</scene_description> <character>WILLIAM</character> <dialogue>My liege.</dialogue> <scene_description>He takes a seat beside Hal.</scene_description> <character>WILLIAM</character> <dialogue>How do you feel?</dialogue> <character>HAL</character> <dialogue>Tired.</dialogue> <character>WILLIAM</character> <dialogue>My condolences to you for the loss of Sir John. I know you must feel this loss deeply.</dialogue> <character>HAL</character> <dialogue>Thank you, William. Your loyalty to me has been comforting.</dialogue> <character>WILLIAM</character> <dialogue>It is my honour and duty, my liege.</dialogue> <character>HAL</character> <dialogue>It would seem comfort is a valuable commodity to a man in my position.</dialogue> <character>WILLIAM</character> <dialogue>You have proved yourself a most worthy king. I should say that already you have proven yourself to be one of England's great kings.</dialogue> <scene_description>Hal nods. A tired smile. He looks out to sea. He is a victorious warrior and king.</scene_description> </scene> <scene> <stage_direction>INT. KING'S BEDCHAMBER / ROYAL COURT - DAY</stage_direction> <scene_description>Hal is dressed in finery. He stands alone at the window, listening to a huge crowd outside. The Lord Chamberlain enters.</scene_description> <character>LORD CHAMBERLAIN</character> <dialogue>My liege. A crowd has gathered.</dialogue> <character>HAL</character> <dialogue>So I see.</dialogue> <character>LORD CHAMBERLAIN</character> <dialogue>Shall I escort you to the east wing?</dialogue> <character>HAL</character> <dialogue>No. I will be ready shortly.</dialogue> <character>LORD CHAMBERLAIN</character> <dialogue>As you wish, Your Majesty.</dialogue> <scene_description>The Lord Chamberlain exits. Hal stands thinking a moment longer. He seems calm. He turns and heads for the door.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE / ROYAL COURT - DAY</stage_direction> <scene_description>Hal walks the hall. Aides bow as he passes unexpectedly.</scene_description> </scene> <scene> <stage_direction>INT. BEDCHAMBER / ROYAL COURT - DAY</stage_direction> <scene_description>Princess Catherine is attended by ladies-in-waiting. There is a KNOCK at the door.</scene_description> <character>LADY-IN-WAITING</character> <dialogue>Enter.</dialogue> <scene_description>Hal enters. He closes the door behind him and bows.</scene_description> <character>CATHERINE</character> <parenthetical>(to her aides)</parenthetical> <dialogue>Veuillez nous laisser.</dialogue> <scene_description>The aides file out of the room. Catherine is seated.</scene_description> <character>CATHERINE</character> <parenthetical>(in French, subtitled)</parenthetical> <dialogue>Please sit, Your Majesty.</dialogue> <scene_description>Hal approaches hesitantly and sits opposite Catherine.</scene_description> <character>HAL</character> <parenthetical>(in French, subtitled)</parenthetical> <dialogue>You are beautiful.</dialogue> <character>CATHERINE</character> <dialogue>Merci.</dialogue> <character>HAL</character> <parenthetical>(in French, subtitled)</parenthetical> <dialogue>I will no longer speak French. We must speak English.</dialogue> <character>CATHERINE</character> <parenthetical>(in French, subtitled)</parenthetical> <dialogue>I cannot speak English.</dialogue> <character>HAL</character> <parenthetical>(in French, subtitled)</parenthetical> <dialogue>You will learn.</dialogue> <character>CATHERINE</character> <parenthetical>(in French, subtitled)</parenthetical> <dialogue>I wonder, then, how our union might proceed in the meantime.</dialogue> <scene_description>Beat.</scene_description> <character>HAL</character> <dialogue>There is much I wonder about a great many things.</dialogue> <character>CATHERINE</character> <parenthetical>(in English)</parenthetical> <dialogue>Indeed there must be for you to contemplate marriage to a woman about whom you know so little.</dialogue> <scene_description>Hal is caught off guard. She watches him a moment.</scene_description> <character>CATHERINE</character> <dialogue>I will not submit to you. You must earn my respect. I am not my father. My father is old and tired and he no longer has the will to fight. But I am young and I have that will in abundance. This is the woman you have chosen to take as your wife.</dialogue> <scene_description>Hal looks at her, still befuddled.</scene_description> <character>HAL</character> <dialogue>I understand that.</dialogue> <character>CATHERINE</character> <dialogue>Do you?</dialogue> <character>HAL</character> <dialogue>I do.</dialogue> <character>CATHERINE</character> <dialogue>Do you feel a sense of achievement?</dialogue> <character>HAL</character> <dialogue>In what regard?</dialogue> <character>CATHERINE</character> <dialogue>In any regard.</dialogue> <scene_description>Hal looks at her. He wasn't expecting to be challenged.</scene_description> <character>HAL</character> <dialogue>I have achieved that which my father never could. I have united this kingdom in common cause.</dialogue> <character>CATHERINE</character> <dialogue>You have achieved momentary respite. A unity forged under false pretense will never be a unity that prevails.</dialogue> <scene_description>Hal is taken aback, but engaged by Catherine.</scene_description> <character>HAL</character> <dialogue>How, pray, have my endeavours been forged falsely?</dialogue> <character>CATHERINE</character> <dialogue>Why did you bring war to France?</dialogue> <character>HAL</character> <dialogue>Your father came on spoiling.</dialogue> <character>CATHERINE</character> <dialogue>How so? How was he spoiling?</dialogue> <character>HAL</character> <dialogue>He sent an assassin.</dialogue> <character>CATHERINE</character> <dialogue>There was no assassin. There was no plot to kill you.</dialogue> <character>HAL</character> <dialogue>And how might you be sure?</dialogue> <character>CATHERINE</character> <dialogue>Because I was with my father when he received word of your charge. I know him well enough to know his reaction to be genuine.</dialogue> <character>HAL</character> <dialogue>How was his reaction?</dialogue> <character>CATHERINE</character> <dialogue>He laughed. He laughed very much. He said you must be drunk.</dialogue> <character>HAL</character> <dialogue>Your father is a madman.</dialogue> <character>CATHERINE</character> <dialogue>He may be mad, but he is true. His madness makes him true. He says only what he believes. That is why he is loved.</dialogue> <scene_description>Hal's demeanour starts to shift, darken.</scene_description> <character>HAL</character> <dialogue>The assassin then was sent by your brother.</dialogue> <character>CATHERINE</character> <dialogue>My brother? My brother was too stupid to conjure such a plan. For all of his failings, he was not one to send a killer in his stead. He preferred to do his killing himself. What was your true reason?</dialogue> <character>HAL</character> <dialogue>Did you know of the ball he sent? The ball that he sent to me?</dialogue> <character>CATHERINE</character> <dialogue>He sent to you a ball?</dialogue> <scene_description>Beat. She lets this hang. Hal shifts uncomfortably.</scene_description> <character>CATHERINE</character> <dialogue>He sent to you a ball... Is that why you have -</dialogue> <character>HAL</character> <dialogue>Why should you question my intent? Your father's rule is illegitimate. He has no right claim to his -</dialogue> <character>CATHERINE</character> <dialogue>All monarchy is illegitimate. You yourself are the son of a usurper.</dialogue> <scene_description>Hal sits, thinking, darkening.</scene_description> <character>CATHERINE</character> <dialogue>It would seem that you have no explanation for what you have done. You have shed the blood of so many Christian souls and yet before me now I see only a young and vain and foolish man, so easily riled and so easily beguiled.</dialogue> <scene_description>Hal is staring at her now. His thoughts are splintering.</scene_description> <character>CATHERINE</character> <dialogue>Have you contemplated this? Have you contemplated the ambitions of the men around you?</dialogue> <scene_description>Still no response from Hal. Hal and Catherine stare at each other. She isn't sure how Hal will react - she expects opprobrium. She knows she has spoken provocatively. Instead Hal responds with unsettling calm.</scene_description> <character>HAL</character> <dialogue>I must leave you now.</dialogue> <scene_description>He stands and bows. She nods cautiously. Hal exits.</scene_description> </scene> <scene> <stage_direction>INT. ANTECHAMBER / ROYAL COURT - DAY</stage_direction> <scene_description>Hal walks the hall briskly, his head swimming. More nervous genuflection from aides caught off guard by his passing. He rounds a corner, down a hall, his eyes fixed and cold. He reaches a door. He opens it without pausing or knocking.</scene_description> </scene> <scene> <stage_direction>INT. WILLIAM'S CHAMBER / ROYAL COURT - DAY</stage_direction> <scene_description>Hal enters. William is standing on a little stool, having his gaudy ceremonial robes lint-brushed by a pageboy.</scene_description> <character>WILLIAM</character> <parenthetical>(sprightly)</parenthetical> <dialogue>My liege.</dialogue> <scene_description>Hal closes the door behind him. He sits in a chair by the door and watches William who looks at himself in a mirror.</scene_description> <character>WILLIAM</character> <dialogue>You must be sure to revel in this day. A crowd gathered to honour victory. These are the rare moments for which a king lives.</dialogue> <scene_description>Beat. Hal tries to still his swirling thoughts.</scene_description> <character>HAL</character> <dialogue>In all my preoccupation, I have neglected to ask after your family.</dialogue> <character>WILLIAM</character> <dialogue>Your preoccupations are hardly trifling, my liege.</dialogue> <character>HAL</character> <dialogue>You have two sons.</dialogue> <character>WILLIAM</character> <dialogue>I do.</dialogue> <character>HAL</character> <dialogue>And your wife minds your estate in your absence.</dialogue> <character>WILLIAM</character> <dialogue>She does. Yes.</dialogue> <character>HAL</character> <dialogue>Yours is sheep. You're a man of wool.</dialogue> <character>WILLIAM</character> <dialogue>I am. As my father was before me.</dialogue> <character>HAL</character> <dialogue>How many head?</dialogue> <character>WILLIAM</character> <dialogue>Some four thousand at last count. Mostly Dorset horns.</dialogue> <character>HAL</character> <dialogue>How much land have you?</dialogue> <character>WILLIAM</character> <dialogue>To be true, I'm not wholly certain. Many hundreds of beautiful acres.</dialogue> <character>HAL</character> <dialogue>What lands in France have you now annexed?</dialogue> <scene_description>A pause. William looking at himself in the mirror.</scene_description> <character>WILLIAM</character> <dialogue>I'm not sure I understand, my liege.</dialogue> <character>HAL</character> <dialogue>Now that France is ours, how much of her land is now yours?</dialogue> <character>WILLIAM</character> <dialogue>My liege?</dialogue> <character>HAL</character> <dialogue>Her farming land, her sheep grazing land. How much of it is now yours?</dialogue> <scene_description>William is troubled by the course Hal's enquiry has taken.</scene_description> <character>WILLIAM</character> <dialogue>This has yet to be determined. Our conquest is so recent. Why do you ask, my liege?</dialogue> <scene_description>Hal watches William, contempt brewing.</scene_description> <character>WILLIAM</character> <dialogue>My liege?</dialogue> <scene_description>William moves to step down off his little stool.</scene_description> <character>HAL</character> <dialogue>Don't move. Stay up there.</dialogue> <scene_description>Hal stares at him. William steps back onto his little stool. The pageboy can clearly sense the tension. He sits back, on the floor, and tries to make himself invisible.</scene_description> <character>HAL</character> <dialogue>How did my assassin come to you?</dialogue> <character>WILLIAM</character> <parenthetical>(flustered)</parenthetical> <dialogue>I am afraid I do not understand your meaning.</dialogue> <character>HAL</character> <dialogue>My question is simple. You brought the assassin to my attention. Under what circumstances did he come to yours?</dialogue> <character>WILLIAM</character> <dialogue>I, I fail to remember at this moment.</dialogue> <character>HAL</character> <dialogue>Remedy this failure.</dialogue> <character>WILLIAM</character> <dialogue>I, ah, let me recall... So much has happened in the intervening months.</dialogue> <character>HAL</character> <dialogue>An event so pivotal should be amply equipped to penetrate the fog of time elapsed.</dialogue> <character>WILLIAM</character> <dialogue>Yes, of course. Let me recall...</dialogue> <character>HAL</character> <dialogue>Was it in the street? Did he come to you in the street?</dialogue> <character>WILLIAM</character> <dialogue>Yes. Yes, he did. He approached me in the street, most unusually. My liege, please tell me the cause of this concern.</dialogue> <scene_description>William moves again to step off his little stool.</scene_description> <character>HAL</character> <dialogue>Stay up there.</dialogue> <scene_description>William shuffles awkwardly back on to the stool.</scene_description> <character>HAL</character> <dialogue>He came to you in the street. Did he know your name?</dialogue> <character>WILLIAM</character> <dialogue>I, ah, I do not believe he did.</dialogue> <character>HAL</character> <dialogue>How then did he know who you were to approach?</dialogue> <character>WILLIAM</character> <dialogue>I, ah, I'm not certain. Perchance... But, no, give me pause - the memory is returning. Of course. He surrendered himself to a palace guard and the matter was brought to my attention and I was then taken to him in his cell.</dialogue> <character>HAL</character> <dialogue>So he did not meet you in the street.</dialogue> <character>WILLIAM</character> <dialogue>No. It was not in the street. Forgive me. I was summoned to the cells to interrogate the wretch. He had already surrendered himself.</dialogue> <scene_description>Hal stares at him. William squirms.</scene_description> <character>WILLIAM</character> <dialogue>My liege, please. Has a problem arisen?</dialogue> <character>HAL</character> <dialogue>Yes. A problem has arisen. And it wobbles before me now on its silly little stool at mine own elevation.</dialogue> <character>WILLIAM</character> <dialogue>My liege. I don't understand.</dialogue> <character>HAL</character> <dialogue>Stop this charade now.</dialogue> <character>WILLIAM</character> <dialogue>Sincerely, I don't -</dialogue> <character>HAL</character> <parenthetical>(yelling)</parenthetical> <character>STOP THIS FUCKING CHARADE!</character> <dialogue>WILLIAM</dialogue> <parenthetical>(explodes)</parenthetical> <dialogue>I have given you what you wanted, boy! Have I not?!</dialogue> <scene_description>William and Hal breathe, shocked at their own respective outbursts. Everything has changed. William steps off his stool and goes the window.</scene_description> <character>WILLIAM</character> <dialogue>You wanted peace. This is how peace is forged. It is forged in victory.</dialogue> <scene_description>The crowd noise outside swells. William points to the window.</scene_description> <character>WILLIAM</character> <dialogue>Listen. Do you hear it?</dialogue> <scene_description>He and Hal listen to the crowd.</scene_description> <character>WILLIAM</character> <dialogue>That is the sound of peace.</dialogue> <scene_description>Hal watches him then drops his head. William steps gently toward him.</scene_description> <character>WILLIAM</character> <dialogue>That is the sound of peace.</dialogue> <scene_description>Hal looks up, defeated, lonely. William extends his arms.</scene_description> <character>WILLIAM</character> <dialogue>That is the sound of your greatness.</dialogue> <scene_description>William takes Hal's head gently in his hands. Hal lets himself be mollified. William smiles. William lowers himself and genuflects. He bows with reverence and rests his forehead on Hal's knee. Hal lets it sit there a moment, and then - he takes the ends of the scarf draped across William's shoulders and pulls them tight around William's throat. William struggles immediately. He writhes and kicks as Hal chokes him. Hal's grip is deathly strong. His eyes glaze with venom. As William thrashes, Hal stares coldly ahead, at the pageboy, kneeling motionless and staring at the floor. William takes a long time to die. Eventually his writhing slows. And then stops. Hal drops him like a sack to the floor. Hal breathes. He stands and exits. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. OFFICE / ROYAL COURT - DAY</stage_direction> <scene_description>Hal enters the office which is now full of courtiers - among them Dorset and Westmorland. The crowd outside is loud. As Hal enters, all present bow. He stands and surveys the room. He surveys the people in it, genuflecting before him. Catherine is there. He goes to her. She watches his approach. She can see that something has shifted in him. Hal holds his hand out to her. She takes it cautiously.</scene_description> <character>HAL</character> <parenthetical>(quiet, only for her)</parenthetical> <dialogue>I ask nothing of you other than that you will always speak to me clear and true. Always. Will you promise me only that?</dialogue> <scene_description>She looks at him, gently searching his face.</scene_description> <character>CATHERINE</character> <dialogue>I will.</dialogue> <scene_description>He leads her to the balcony. As they step out, into the blinding light, the crowd roars. THE END</scene_description> </scene> </script>

Henry, Prince of Wales, "Hal", is the emotionally distant eldest son of King Henry IV of England. Hal is uninterested in succeeding his father and spends his days drinking, whoring, and jesting with his companion John Falstaff in Eastcheap. Henry IV summons his son Hal and informs him that Hal's younger brother, Thomas, will inherit the throne. Thomas is sent to subdue Hotspur's rebellion but is upstaged by the arrival of Hal, who challenges Hotspur to single combat. Although Hal kills Hotspur, ending the battle without further conflict, Thomas complains that Hal has stolen his glory. Shortly thereafter, Thomas is killed in battle after taking his campaign to Wales. Henry IV dies in his bed with Hal present, and Hal is anointed King Henry V. Hal opts for peace and conciliation with his father's many adversaries, despite his actions being seen as weakness. At his coronation feast, the Dauphin of France sends Hal a ball as an insulting coronation gift. However, Hal chooses to frame this as a positive reflection of his boyhood. His little sister Philippa, now the Queen of Denmark, cautions that nobles in any royal court have their own interests in mind and will never fully reveal their true intentions. Hal interrogates a captured assassin who claims to have been sent by King Charles VI of France to assassinate Hal. The English nobles Cambridge and Grey are approached by French agents hoping to induce them to the French cause. Their trust in the new young king wavers, and they then approach Hal's Chief Justice, William Gascoigne, with their concerns. Gascoigne advises Hal that a show of strength is necessary to unite England, so Hal declares war on France and has Cambridge and Grey beheaded. He approaches Falstaff and appoints him as his chief military strategist, saying that Falstaff is the only man he truly trusts. The English army sets sail for France. After completing the Siege of Harfleur, they continue on the campaign but are taunted by the Dauphin. The English advance parties stumble upon a vast French army gathering to face them. Dorset advises Hal to retreat, but Falstaff proposes a false advance to lure the French to rush forward into the muddy battlefield, where they will be weighed down by their heavy armour and horses. They will then be attacked by the English longbowmen and surrounded by a large, lightly armoured flanking force hidden in the nearby woods. Falstaff insists on leading the dangerous false advance, as it was his plan, prompting Hal to challenge the Dauphin to single combat to decide the battle and minimize bloodshed; however, the Dauphin refuses. The Battle of Agincourt commences. Falstaff's plan works – the bulk of the French army charges to engage Falstaff's force and is soon mired in the mud. Hal leads the flanking attack, and the outnumbered but far more mobile English army overpowers the immobilized French, though Falstaff is killed. The Dauphin, still fresh and in heavy armour, reinvokes Hal's challenge but repeatedly slips and falls in the mud until Hal permits his soldiers to kill him. Hal orders all French prisoners executed for fear that they might regroup, an order that Falstaff had refused to carry out following the Siege of Harfleur. Hal reaches King Charles VI, who offers his surrender, makes him his heir, and offers him the hand of his daughter Catherine of Valois. Hal returns to England with his new wife for the celebrations. In private, she challenges his reasons for invading France and denies the supposed French actions against Hal, suggesting the assassin was a plot from within his own court. Suspicious, Hal confronts Gascoigne, who confesses that he had staged the insult and acts of aggression and declares that true peace comes only through victory. In a cold fury, Hal stabs Gascoigne in the head, killing him, and returns to Catherine, asking that she promise to always speak the truth to him, as clearly as possible.

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<script> <scene> <character>STEM</character> <dialogue>Written by</dialogue> <scene_description>Leigh Whannell</scene_description> </scene> <scene> <stage_direction>INT. GARAGE - DUSK</stage_direction> <scene_description>A void of darkness consumes us. We PULL BACK from it, seeing the void as a circular disc, set into a blue sphere. It is an EYE. We keep pulling back, revealing that the eye belongs to a ruggedly handsome male face, dotted with grease, stubble and sweat. This is GREY TRACE (28). Well built but not vain. A quiet, blue collar guy. A man, not a boy. He arches over, probing the carburetor of a mean looking V8 engine. The engine brays loudly as it idles. Grey fiddles with the pistons, uncapping a hose then reconnecting it. We REVEAL the car - a black 1978 Pontiac Firebird. Grey dumps himself into the drivers seat. The car SCREAMS as it is revved, then shudders to a croaking death as the ignition is killed. Grey gets out of the car. He is standing in your classic garage-turned-mancave. No frills. A bar fridge, a tool bench, a dartboard. A boxing bag hangs in one corner. Tinny riffs wail out from a transistor. Parked next to the Firebird is a classic, two door Ford Mustang Cobra in prime condition. Grey shuts the hood to the Firebird, surveys it. His masterwork.</scene_description> <character>GREY</character> <parenthetical>(serious; to the Firebird)</parenthetical> <dialogue>I love you. Is that weird?</dialogue> <scene_description>He opens the bar fridge and swipes out a beer, gropes for a bottle opener. Can't find it. He gives up, smacks the cap on the edge of the bench. The whole neck of the bottle shatters.</scene_description> <character>GREY</character> <dialogue>Shit.</dialogue> <scene_description>Grey considers...then holds the shards of what's left of the bottle to his mouth, chugging the remains and tossing it. He checks his watch - 5:58 PM. He thumbs a button on the wall and the garage door whirs upwards.</scene_description> </scene> <scene> <stage_direction>EXT. GREY'S HOUSE - DUSK</stage_direction> <scene_description>Grey steps out onto his driveway. His home sits on a busy road. Sleek, futuristic cars streak past - NONE OF THEM MAKING ANY SOUND. Each car is absolutely silent as it glides past Grey's house. We look out over the city beyond the road. The sun dips below a futuristic skyline that yawns out in front of us, a phosphorus ocean of lights. Glass towers spear towards the clouds, raised freeways curving around them. A HOLOGRAM billboard blinks in the sky, advertising some sort of contact lens. A giant eye looks down. Grey glares out at the city. Dwarfed by it. Overwhelmed by it. He checks his watch again - 6 PM. One of the sleek, silent cars pulls up right in front of him. The door opens. The car is automated. There is a steering wheel, but the car is driving itself. A large computer display on the dash indicates the route. Inside are a man and a woman, laughing and talking as though riding the subway, dressed in business attire. The woman is ASHA TRACE (29), a beautiful brunette. The man is ROSS HANDLEY (25). He lives to work and his rapid-fire banter is unequalled.</scene_description> <character>HANDLEY</character> <parenthetical>(to Grey)</parenthetical> <dialogue>Here he is. The only real man I know. About the only thing we have in common is teeth.</dialogue> <scene_description>Grey half smiles. Doesn't like Handley.</scene_description> <character>GREY</character> <dialogue>Trust me, she wears the pants.</dialogue> <character>HANDLEY</character> <dialogue>I wish she would. That skirt is very distracting.</dialogue> <character>ASHA</character> <dialogue>Do you have an off button?</dialogue> <character>HANDLEY</character> <dialogue>You could never turn me off. Don't forget the presentation tomorrow morning for the board.</dialogue> <character>ASHA</character> <dialogue>Damn it, I left my notes at the office.</dialogue> <character>HANDLEY</character> <dialogue>That'll teach you for handwriting. Join the modern world. Bye.</dialogue> <scene_description>The door closes and the car takes off.</scene_description> <character>GREY</character> <dialogue>At least in a real car he'd have to keep his eyes on the road.</dialogue> <character>ASHA</character> <dialogue>Oh, don't worry about Handley. He crunches numbers for a living so that's his approach to women. If he hits on everyone, mathematical law dictates that someone will say yes eventually.</dialogue> <scene_description>She kisses him.</scene_description> <character>ASHA</character> <dialogue>Working hard I see, judging by the beer on your breath.</dialogue> <character>GREY</character> <dialogue>Actually...I was working hard. I just finished the Firebird.</dialogue> <character>ASHA</character> <dialogue>Congratulations.</dialogue> <character>GREY</character> <dialogue>I gotta drop it off to the guy tonight. He's obsessed with me being on time. He's kinda nuts.</dialogue> <character>ASHA</character> <dialogue>Have fun.</dialogue> <character>GREY</character> <dialogue>You're coming with me.</dialogue> <character>ASHA</character> <dialogue>What? Why?</dialogue> <character>GREY</character> <dialogue>How else am I gonna get home?</dialogue> <scene_description>Asha sighs.</scene_description> <character>ASHA</character> <dialogue>Okay.</dialogue> <scene_description>Grey grins and pulls her in tight.</scene_description> <character>ASHA</character> <dialogue>No don't, you'll get grease on me!</dialogue> <scene_description>They laugh as Asha wriggles to break free.</scene_description> </scene> <scene> <stage_direction>EXT. ERON KEEN'S MANSION - NIGHT</stage_direction> <scene_description>Grey steers the Firebird up to a guardhouse and gate in front of a looming Victorian mansion. A low belch of thunder peals. Asha is behind Grey in her self-driving car. A bored, beefy guard steps up to the Firebird.</scene_description> <character>GREY</character> <dialogue>Grey Trace, here to deliver this car to Eron.</dialogue> <character>GUARD</character> <dialogue>Drive past the scanner slowly.</dialogue> <scene_description>Grey rolls the car past a large device like a camera lens, mounted to the guard box. A laser projecting out of it passes over the Firebird from front to back. A light flashes green.</scene_description> <character>GUARD</character> <dialogue>You're good to go.</dialogue> </scene> <scene> <stage_direction>INT. FRONT DOOR, ERON KEEN'S MANSION - NIGHT</stage_direction> <scene_description>A heavy oak door towers over Asha and Grey.</scene_description> <character>ASHA</character> <dialogue>What are we waiting for?</dialogue> <character>GREY</character> <dialogue>It's gotta be eight exactly before I can...forget it, just go with me.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>By the way, he kind of butts in when you talk to him. Don't let it get to you.</dialogue> <scene_description>They stand there for a long beat, then Grey depresses the doorbell. The door opens straight away, before the doorbell has even finished, revealing ERON KEEN (27), a baby-faced young billionaire with no patience for anyone not on his wavelength. He has a dry sense of humor and hates that you think he has Aspergers. He is wearing an ill-fitting suit.</scene_description> <character>GREY</character> <dialogue>That was fast.</dialogue> <character>ERON</character> <dialogue>Yes I was standing here waiting is this your wife?</dialogue> <character>ASHA</character> <dialogue>Ah, yes. I'm his wife. Asha. Hi.</dialogue> <scene_description>He doesn't offer his hand. Speaks very quickly.</scene_description> <character>ERON</character> <dialogue>Come inside to eat dinner.</dialogue> <character>GREY</character> <dialogue>Ah...we'd love to stay, but we --</dialogue> <character>ERON</character> <dialogue>The dinner's already been prepared, it's ready now if you don't eat it then it's wasted.</dialogue> <scene_description>Grey turns to Asha, then back to Eron.</scene_description> <character>GREY</character> <dialogue>Okay then. Bottoms up.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR, ERON KEEN'S MANSION - NIGHT</stage_direction> <scene_description>Eron leads the befuddled pair down a long corridor. He is walking much quicker than they are.</scene_description> <character>GREY</character> <dialogue>Nice suit. I didn't think of you --</dialogue> <character>ERON</character> <dialogue>I don't have people over very often so I thought I'd dress for it.</dialogue> <character>ASHA</character> <dialogue>It's a beautiful house.</dialogue> <character>ERON</character> <dialogue>Thank you I find it a little antiseptic I swear I'm not a germaphobe. I can't stand that. A cliche of the wealthy. Why do only rich people suffer that? You'll never meet a poor germaphobe.</dialogue> <scene_description>He whisks them into --</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM, ERON KEEN'S MANSION - CONTINUOUS</stage_direction> <scene_description>-- a large ornate dining room. Eron takes his place quickly and the second he does, the table opens up in front of him and a plate of food rises out of it. When Grey and Asha sit, the same happens with them. Eron is already eating.</scene_description> <character>ERON</character> <dialogue>Grey tells me you work at the company Cobolt.</dialogue> <character>ASHA</character> <dialogue>Uh...yes. Yes, I do. I've been --</dialogue> <character>ERON</character> <dialogue>Your company specializes in prosthetic limbs. That's a very interesting subject to me.</dialogue> <character>ASHA</character> <dialogue>Yes.</dialogue> <character>ERON</character> <dialogue>No, that's wrong. Two. I said two.</dialogue> <scene_description>Grey is perplexed.</scene_description> <character>GREY</character> <dialogue>What's that?</dialogue> <scene_description>Eron points to his ear. He's having a phone conversation.</scene_description> <character>ERON</character> <dialogue>I know what I said, I said it.</dialogue> <character>ASHA</character> <parenthetical>(to Grey)</parenthetical> <dialogue>He's on the phone.</dialogue> <scene_description>Eron plucks a tiny black earpiece out of his ear, frustrated, dropping it into a glass of wine.</scene_description> <character>ASHA</character> <dialogue>Uh...so you collect old cars?</dialogue> <character>ERON</character> <dialogue>I'm fascinated by the exterior aesthetic of the period which we've still not managed to match since then, even with all our technological advances. My life's work is about taking something timeless and built with care, like that car or this house, and then retrofitting it with the most up to date system. State of the art technology with a classic skin.</dialogue> <character>GREY</character> <dialogue>Wait...so you're gonna rip the engine out?</dialogue> <character>ERON</character> <dialogue>Eventually. Not right away. I want to study how it works.</dialogue> <character>GREY</character> <dialogue>Seems a shame to get rid of...</dialogue> <scene_description>Asha glares at Grey to drop it. Eron finishes eating.</scene_description> <character>ERON</character> <dialogue>I'll show you what would replace it. Let's go to my factory.</dialogue> <character>ASHA</character> <dialogue>We really can't go anywhere else --</dialogue> <character>ERON</character> <dialogue>It's on the property right behind the house. I don't like to leave the grounds. We'll be very quick.</dialogue> </scene> <scene> <stage_direction>EXT. ERON KEEN'S MANSION/ENTRANCE TO VESSEL FACTORY - NIGHT</stage_direction> <scene_description>Eron guides them through a set of doors onto the rear grounds of the property. Indeed, perched right behind the house is another house, of similar stature. Eron steps up to a FACE SCAN at the door of the second house. It lasers his face, imprints it, then allows him inside.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR, VESSEL INC. HEADQUARTERS - NIGHT</stage_direction> <scene_description>Grey and Asha follow Eron down a darkened corridor. On either side they catch glimpses into stark white laboratories, all containing sophisticated equipment.</scene_description> <character>ERON</character> <dialogue>This is the worldwide headquarters and research lab of my company, Vessel.</dialogue> </scene> <scene> <stage_direction>INT. WHITE ROOM, VESSEL INC. HEADQUARTERS - NIGHT</stage_direction> <scene_description>Eron opens a door and Grey and Asha step into a large and starkly empty white room. He strides to a safe door set into the wall opposite them. He stabs a long entry code into a keypad, keeping it hidden. The safe door opens with a hum. Inside are four thin prongs, holding in place a microchip the size of a fingernail.</scene_description> <character>ERON</character> <dialogue>This chip represents my present and the rest of the world's future.</dialogue> <character>ASHA</character> <dialogue>What does it do?</dialogue> <character>ERON</character> <dialogue>Literally anything.</dialogue> <scene_description>We see the computer chips POV - encompassing the whole room.</scene_description> <character>GREY</character> <dialogue>Really? So this thing can make babies and play football? Wow.</dialogue> <character>ERON</character> <dialogue>It can drive anything, talk to any piece of equipment, calculate anything. It's a new, better brain.</dialogue> <character>GREY</character> <parenthetical>(with a smile)</parenthetical> <dialogue>You look at that widget and see the future. I see ten guys on an unemployment line.</dialogue> <character>ERON</character> <parenthetical>(getting testy)</parenthetical> <dialogue>It's about efficiency. I'm sure when the car was invented there were people in the horse and cart business who felt they were being urinated on.</dialogue> <character>GREY</character> <dialogue>Yeah, I've tasted the piss shower myself. My job used to be drivin' a freight crane, until one day they decided a computer could do it better. Twenty of us replaced overnight, by something like that thing.</dialogue> <character>ASHA</character> <dialogue>Grey...</dialogue> <character>ERON</character> <dialogue>It's hard for a human to compete with a computer. They don't take sick days. They don't need weekends off.</dialogue> <character>GREY</character> <dialogue>They also can't have a beer with you at the end of the week.</dialogue> <scene_description>The conversation has gone sour. Eron closes the safe.</scene_description> <character>ERON</character> <dialogue>We should get back now.</dialogue> </scene> <scene> <stage_direction>INT. ASHA'S CAR - NIGHT - MOVING</stage_direction> <scene_description>Asha's car is driving itself. Rain spatters the windshield.</scene_description> <character>ASHA</character> <dialogue>You didn't have to say all that.</dialogue> <character>GREY</character> <dialogue>He brought it up.</dialogue> <character>ASHA</character> <dialogue>You didn't have to take the bait.</dialogue> <scene_description>Grey stares at the steering wheel for the car, turning languidly on its own.</scene_description> <character>GREY</character> <dialogue>I was always a good driver. Always loved cars.</dialogue> <scene_description>He reaches up and absently runs his fingers over the steering wheel. The car's computer chirps in a neutral pleasant voice.</scene_description> <character>COMPUTER VOICE (V.O.)</character> <dialogue>Please do not touch the steering wheel while the car is in motion.</dialogue> <scene_description>Grey sits back.</scene_description> <character>GREY</character> <dialogue>What am I gonna do when his microchip is running the world?</dialogue> <character>COMPUTER VOICE (V.O.)</character> <dialogue>Arriving at Cobolt.</dialogue> <scene_description>The car purrs to a halt outside a city skyscraper.</scene_description> <character>ASHA</character> <dialogue>I'll be back in two seconds, I've just gotta grab my notes.</dialogue> <scene_description>She exits, leaving Grey to stew alone.</scene_description> <character>COMPUTER VOICE (V.O.)</character> <dialogue>Would you like the air-conditioning adjusted, Grey?</dialogue> <character>GREY</character> <dialogue>Shut up.</dialogue> <character>COMPUTER VOICE (V.O.)</character> <dialogue>Did you say shut down?</dialogue> <character>GREY</character> <dialogue>No.</dialogue> <character>COMPUTER VOICE (V.O.)</character> <dialogue>Would you like the air-conditioning adjusted, Grey?</dialogue> <character>GREY</character> <dialogue>Fuck off.</dialogue> <character>COMPUTER VOICE (O.S.)</character> <dialogue>I don't know that command.</dialogue> <scene_description>Grey steps out of the car.</scene_description> </scene> <scene> <stage_direction>EXT. ASHA'S CAR - NIGHT</stage_direction> <scene_description>Grey waits in the rain rather than put up with the car. He peers off down the darkened street, glistening with water. The road is desolate - save for one parked car. Hidden in shadow a block or so down. Grey sees a lighter spark inside the vehicle, revealing two silhouettes. Asha dashes out of the main doors of her building.</scene_description> <character>ASHA</character> <dialogue>What are you doing? You'll get pneumonia. Get in!</dialogue> </scene> <scene> <stage_direction>INT. ASHA'S CAR - MOVING - NIGHT</stage_direction> <scene_description>The directional read out blips as the car plows through the drizzle. Asha rests her head on Grey's shoulder.</scene_description> <character>ASHA</character> <dialogue>Eron's not wrong, you know? Sometimes technology can improve our lives. Make things more fun.</dialogue> <scene_description>She let's the straps of her dress fall off her shoulders, pulling it down and revealing her strapless bra. Grey laughs and kisses her. They undo their seat belts and start to make love, lying back. The car turns right.</scene_description> <character>COMPUTER VOICE (V.O.)</character> <dialogue>Leaving 101 freeway.</dialogue> </scene> <scene> <stage_direction>EXT. ASHA'S CAR - NIGHT - MOVING</stage_direction> <scene_description>The car takes a freeway exit.</scene_description> </scene> <scene> <stage_direction>INT. ASHA'S CAR - NIGHT - MOVING</stage_direction> <scene_description>The navigation readout on the dashboard blips again. Asha and Grey are too preoccupied to notice. Her foot kicks a high heel off.</scene_description> <character>COMPUTER VOICE (O.S.)</character> <dialogue>Turning left at Hayden.</dialogue> <scene_description>The streetlights become less sporadic, the buildings around them more dilapidated. An obviously blighted area. Grey raises his head, curious.</scene_description> <character>GREY</character> <dialogue>Wait...where are we?</dialogue> <character>ASHA</character> <dialogue>Just let it do its thing.</dialogue> <scene_description>She yanks him back down, breathless. Grey shakes free.</scene_description> <character>GREY</character> <dialogue>Wait a second, honey...</dialogue> <character>ASHA</character> <dialogue>Just relax.</dialogue> <character>GREY</character> <dialogue>This is not right.</dialogue> <character>ASHA</character> <dialogue>It's probably taking us a back way.</dialogue> <character>GREY</character> <dialogue>No, I know this neighborhood. I grew up here. We're nowhere near our house.</dialogue> <scene_description>Asha sits up, frustrated. Grey taps the electronic display on the dash.</scene_description> <character>GREY</character> <dialogue>How do you turn this thing around?</dialogue> <character>ASHA</character> <dialogue>Select our address.</dialogue> <scene_description>Grey pecks at the screen. Slow and cumbersome.</scene_description> <character>ASHA</character> <dialogue>Let me do it.</dialogue> <scene_description>With practiced dexterity, Asha selects their home address from a menu bar. The screen beeps at her.</scene_description> <character>COMPUTER VOICE (V.O.)</character> <dialogue>I'm sorry.</dialogue> <character>ASHA</character> <dialogue>Return to the freeway. Destination home.</dialogue> <character>COMPUTER VOICE (V.O.)</character> <dialogue>I'm sorry, I cannot.</dialogue> <character>ASHA</character> <dialogue>What?</dialogue> <character>GREY</character> <dialogue>Stop. Stop the car now.</dialogue> <character>ASHA</character> <dialogue>Press the brake twice.</dialogue> <scene_description>Grey does - but it makes no difference.</scene_description> <character>COMPUTER VOICE (V.O.)</character> <dialogue>Turning right.</dialogue> <scene_description>The car jerks into a hard right turn, throwing Asha against the door.</scene_description> <character>ASHA</character> <dialogue>Jesus!</dialogue> <scene_description>Enraged, Grey pumps the brake.</scene_description> <character>GREY</character> <dialogue>God damn it! Stop, stop now!</dialogue> <scene_description>The car suddenly lurches up to a high speed, racing towards 120 miles per hour. The steering wheel wrenches into a hard turn, the car fish- tailing around a corner, flinging Grey and Asha around inside. Another turn whiplashes them. The car is at 130mph now. They HURTLE towards a CONSTRUCTION SITE. 140...160... Grey grips the seat head, wrapping a seat belt around Asha and snapping it into the buckle only seconds before --</scene_description> </scene> <scene> <stage_direction>EXT. DESOLATE STREET - NIGHT</stage_direction> <scene_description>-- the front left wheel hits a pylon and LAUNCHES the car into the AIR. For a second it arcs silently through the night air, spinning upside down...before WALLOPING DOWN onto the road with the sickening sound of metal on gravel. Finally, it grinds to a halt, headlights still stabbing out at construction equipment.</scene_description> </scene> <scene> <stage_direction>INT. ASHA'S CAR - NIGHT</stage_direction> <scene_description>Grey blinks, blood dribbling down his forehead. He's a mess, twisted. Their bodies are suspended upside down in the car. Asha is okay, saved by the seatbelt. They hear a car pull up next to theirs. From their view, the doors open and FOUR PAIRS OF BOOTS clamber out. One of the figures stoops down, peering in through the shattered windows at them. He is wearing a black SKI-MASK. He waves at them. Let's call him WIRY MAN.</scene_description> <character>WIRY MAN</character> <dialogue>You can't hang around in a bad neighborhood like this, guys.</dialogue> <scene_description>He laughs and reaches in, grabbing Asha and hauling her out across the beads of glass into the street.</scene_description> </scene> <scene> <stage_direction>EXT. DESOLATE STREET - NIGHT</stage_direction> <scene_description>The rain slicked streets are vacant, framed by shuttered store fronts. Grey's battered body is dragged from the car by the other three men. Twitchy drug addicts. They are also wearing ski- masks. Asha is moved away by the Wiry Man. She covers her breasts, shivering. The Wiry Man looks her up and down, grinning. He speaks with a southern accent.</scene_description> <character>WIRY MAN</character> <dialogue>Damn...what were you guys in the middle of?</dialogue> <character>GREY</character> <dialogue>Take my wallet, you can have it, just leave us alone. Please.</dialogue> <scene_description>The Wiry Man ignores him, steps up to Asha, touching her face.</scene_description> <character>WIRY MAN</character> <dialogue>This might have to be a double felony, darlin'.</dialogue> <character>GREY</character> <dialogue>Don't touch her!</dialogue> <scene_description>Grey charges forward. The assailant with the gun WHIPS him across the face with the butt and he melts into a puddle. Blood dribbles down his forehead. He turns to look up at his attacker, spotting a TATTOO inked into his neck below his ski- mask. The Wiry Man chuckles, watching.</scene_description> <character>ASSAILANT WITH GUN</character> <parenthetical>(to Wiry Man)</parenthetical> <dialogue>Let's just take their wallets and go!</dialogue> <scene_description>During the distraction, Asha whispers to herself.</scene_description> <character>ASHA</character> <dialogue>WE ZOOM IN on Asha's ear, finding a tiny chip resting in her ear hole, like an ear piece. We get close enough to it that we hear what she hears.</dialogue> <character>VOICE (V.O.)</character> <dialogue>911 emergency.</dialogue> <scene_description>Asha doesn't speak at first. Finally whispers:</scene_description> <character>ASHA</character> <dialogue>Help...</dialogue> <character>VOICE (V.O.)</character> <parenthetical>(from her ear)</parenthetical> <dialogue>I'm sorry you'll have to speak up.</dialogue> <character>ASHA</character> <dialogue>Help me...</dialogue> <character>WIRY MAN</character> <dialogue>Who the hell are you talking to? You got one of them phones?</dialogue> <scene_description>He grabs her by the throat, flicking out a knife.</scene_description> <character>WIRY MAN</character> <dialogue>Let's do some surgery.</dialogue> <scene_description>He presses the blade into her ear, picking it out. She screams and BELTS him across the face as hard as she can, which isn't very hard. Grey scrambles to his feet, just as the Wiry Man pushes Asha away. We see a MUZZLE BLAST go off directly in her face.</scene_description> <character>GREY</character> <dialogue>NOOOOOOOO!!!!</dialogue> <scene_description>Grey BOLTS at the Wiry Man, teeth gritted in fury. The second assailant TACKLES Grey and they smash onto the road, wrestling, almost touching Asha's crumpled body. Grey PUNCHES the second assailant in the head, grabbing his arm. BLAM! The gun goes off into Grey's shoulder. The Wiry Man kicks the second assailant out of the way, straddling Grey's back, then plunges his knife down into Grey's back, right below the neck. Grey SCREAMS in pain. The Wiry Man fishes Grey's wallet out of his pocket, then barrels into his car with the others. It is not a self- driving car - it is an 'older model'. The car roars to life and SCREECHES away.</scene_description> </scene> <scene> <stage_direction>INT. WIRY MAN'S CAR - MOVING - NIGHT</stage_direction> <scene_description>Behind the wheel, the Wiry Man rips off his ski-mask, revealing a sharp, gaunt face. The other three attackers follow suit and remove their masks.</scene_description> <character>WIRY MAN</character> <parenthetical>(to the gun assailant)</parenthetical> <dialogue>You nearly fucked that all up.</dialogue> </scene> <scene> <stage_direction>EXT. DESOLATE STREET - NIGHT</stage_direction> <scene_description>Grey lies motionless, the rain hitting him. He struggles to move his hand, reaching for Asha's hand, mere inches away. His fingers will not move. His body will not move. He glares at his hand, willing it to do something.</scene_description> <character>GREY</character> <dialogue>No...no...</dialogue> <scene_description>Asha chokes, struggling to breathe. Then she stops. Sobbing, Grey looks up at a TRAFFIC CAMERA mounted to a light pole, pointed down at him. A siren blares in the distance. From GREY'S POV - rain pours down...the sound fading...a paramedic leans into view, shouting - but we can't hear it. A female detective, Hispanic, asks silent questions. FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>EXT. GREY'S HOUSE - MORNING</stage_direction> <scene_description>A hospital transport vehicle for wheelchair-bound patients slows to a halt outside Grey's house. NURSE CAITLYN (28) disembarks as the back door opens and a wheelchair ramp whirs downwards, resting on the asphalt. A chair rolls forward, the figure slumped in it blinking in the light. It is Grey. He jerks his head against the padded cone encircling his head - the only part of his body he can move - and the wheelchair turns in the direction his head moves. It is remotely operated by the movement of his head against the pads.</scene_description> <character>NURSE CAITLYN</character> <dialogue>There's a lot of stuff your insurance company installed that I need to go through with you.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN, GREY'S HOUSE - MORNING</stage_direction> <scene_description>Nurse Caitlyn gestures to the computer screen interface that controls Grey's sleek, chrome kitchen. We see her giving him silent instructions on how to use it. Grey's face is blank, lost in his own head. He finally snaps out of it, hearing the smiling nurse's closing argument.</scene_description> <character>NURSE CAITLYN</character> <dialogue>This machine is your best friend.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN, GREY'S HOUSE - LATER</stage_direction> <scene_description>Grey is alone now, staring up at the computer screen.</scene_description> <character>GREY</character> <dialogue>Hello.</dialogue> <character>COMPUTER VOICE (V.O.)</character> <dialogue>Good morning, Grey. Good to see you. Would you like anything?</dialogue> <character>GREY</character> <dialogue>Omelette.</dialogue> <character>COMPUTER VOICE (V.O.)</character> <dialogue>Of course, Grey. How is Asha?</dialogue> <scene_description>Upon Grey's words, two eggs stored in a cold storage tube roll down a chute in the refrigerator and are drained into a pan below it, hissing as they hit the hot plate.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM, GREY'S HOUSE - MORNING</stage_direction> <scene_description>Grey is lying prostrate on a bed, completely immobile, clad in a T-shirt and boxers, wide awake. A framed photo of Asha sits beside his bed on top of a large machine that monitors Grey's vitals.</scene_description> <character>GREY</character> <dialogue>I'm awake.</dialogue> <scene_description>His bed JOLTS upon the sound of his voice and whirs upwards until the top half is vertical. The bottom half folds, supporting Grey's legs. The bed is actually his WHEELCHAIR.</scene_description> <character>GREY</character> <dialogue>Morphine.</dialogue> <scene_description>A robotic limb extends from the machine, injecting Grey's arm. He closes his eyes as the narcotics surge into his veins, sucking in a deep breath.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, GREY'S HOUSE - DAY</stage_direction> <scene_description>An arm extends from Grey's chair, spoon-feeding him scrambled eggs. We hear the front door open off-screen. A woman enters. This is PAMELA (60), Grey's mother.</scene_description> <character>PAMELA</character> <dialogue>Morning, honey.</dialogue> <character>GREY</character> <dialogue>Hey mom.</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM, GREY'S HOUSE - DAY</stage_direction> <scene_description>Pamela dresses Grey, pulling his jeans over his legs for him. She slips socks on his feet, then a pair of sneakers. Grey stares straight ahead, suffering the humiliation of it.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM, GREY'S HOUSE - DAY</stage_direction> <scene_description>Grey is slumped in his chair. Impotent. Stagnant.</scene_description> <character>PAMELA (O.S.)</character> <dialogue>Honey, Detective Cortez is here.</dialogue> <scene_description>He jerks his head and the wheelchair rotates to face the door. He seems energized by the arrival of the police. A female detective enters the room, JANE CORTEZ (30). She's reserved in that way all homicide detectives are.(She is the Hispanic cop Grey saw the night he was shot.)</scene_description> <character>GREY</character> <dialogue>Hello detective.</dialogue> <character>CORTEZ</character> <dialogue>It's great to see you outside of the hospital. How are you feeling?</dialogue> <character>GREY</character> <dialogue>Oh, you know. I used to have a really bad habit of biting my fingernails. I can't do that anymore. So it's not all bad.</dialogue> <scene_description>Pamela hustles out of the room, leaving them alone.</scene_description> <character>GREY</character> <dialogue>So...what do you have for me?</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM, GREY'S HOUSE - MOMENTS LATER</stage_direction> <scene_description>Cortez steps back from the screen on the wall, which splits into FOUR SEPARATE CAMERA ANGLES OF HIS WIFE'S MURDER. Grey studies the images - silent, spooky. The frame rate in each of them has been reduced, and Grey watches the four assailants surround him and Asha in flickering slow motion.</scene_description> <character>CORTEZ</character> <dialogue>There were four different ST cameras recording the incident involving you and your wife on 10/21. Studying them reveals that the attackers headed south on Parker after the --</dialogue> <character>GREY</character> <dialogue>Who are they?</dialogue> <character>CORTEZ</character> <dialogue>Excuse me?</dialogue> <character>GREY</character> <dialogue>You guys have these computers hidden everywhere. In every corner of the city. Watching us, recording us. So you can tell me exactly who these guys are and where they live by reading the microchips in their fillings. Right?</dialogue> <character>CORTEZ</character> <dialogue>You're right. Something like ninety two per cent of the citizens currently living in this city have medical or cosmetic implants that would allow us to track them. And it would appear that your attackers did too.</dialogue> <character>GREY</character> <dialogue>So who are they?</dialogue> <character>CORTEZ</character> <dialogue>It...would also appear that they had some sort of firewall built around their chip. A blocking screen that makes it next to impossible to glean any data.</dialogue> <scene_description>Grey looks away, shaking his head. Boiling.</scene_description> <character>CORTEZ</character> <dialogue>It's very common for criminals to have firewalls like this installed. Hackers will do it, a back room job. A thousand dollars effectively gets you taken off the grid.</dialogue> <character>GREY</character> <dialogue>So you got nothin'?</dialogue> <character>CORTEZ</character> <dialogue>Not right now. Nothing concrete.</dialogue> <character>GREY</character> <dialogue>So what you're telling me is that you've built this police state that tracks all of us - except the bastards you need to go after.</dialogue> <character>CORTEZ</character> <dialogue>That's not the way we're going to catch these guys. I'm a detective and I still believe in old fashioned detective work...even if I'm the last person who does. That means patient elimination of leads and small victories. I'm not sitting at a computer, I'm down in that neighborhood, knocking on doors. I've conducted interviews with several people of interest, but so far --</dialogue> <character>GREY</character> <dialogue>They didn't live in that neighborhood, I know that. This wasn't some random robbery, they fucked with our car. They took over the computer in it. You think some gangbanger shithead can do that?!</dialogue> <scene_description>Pamela enters, alarmed by the shouting. She stays at the back of the room.</scene_description> <character>CORTEZ</character> <dialogue>I know it's frustrating. You have to let me do it my way and concentrate on your own recovery. I need you to save your strength for that fight.</dialogue> <character>GREY</character> <dialogue>There is no fight. I'm never going to recover - it's a permanent spinal injury.</dialogue> <character>CORTEZ</character> <dialogue>Don't say that. You gotta keep your spirit up. Doctor's are capable of amazing things.</dialogue> <character>GREY</character> <dialogue>Just because I can't tie my own shoes anymore doesn't mean you have to lie to me like I'm a god damn three year old.</dialogue> <character>CORTEZ</character> <dialogue>I'm sorry, Grey. I wish I had better news for you regarding the case.</dialogue> <scene_description>Cortez gathers her things and leaves. Pam closes the door.</scene_description> <character>PAMELA</character> <dialogue>She's on your side.</dialogue> <character>GREY</character> <dialogue>Can you leave too, please?</dialogue> <character>PAMELA</character> <dialogue>I need to be here. To take care of you.</dialogue> <character>GREY</character> <dialogue>No. You don't. I have machines to do that. There's nothing you can do that they can't. Please leave.</dialogue> <scene_description>He turns his chair away from her. Pamela stays where she is a minute, then approaches him. She wraps her arms around him. At first he resists...then rests his head on her shoulder.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM, GREY'S HOUSE - NIGHT</stage_direction> <scene_description>Grey lies in bed, his own body weighing him down. He glares at the photo of Asha, tears in his eyes.</scene_description> <character>GREY</character> <dialogue>Morphine.</dialogue> <scene_description>The robot arm connected to his bed extends, injecting Grey.</scene_description> <character>GREY</character> <dialogue>Morphine.</dialogue> <scene_description>The robot arm injects him again.</scene_description> <character>GREY</character> <dialogue>Morphine.</dialogue> <scene_description>The robot arm complies.</scene_description> <character>GREY</character> <dialogue>Again.</dialogue> <character>COMPUTER VOICE (V.O.)</character> <dialogue>I cannot supply any more morphine.</dialogue> <scene_description>The arm moves to Grey's face. When it is close enough, Grey rips the needle from the robots grip with his teeth, jamming it into his sternum. He eases back, overcome by the drug.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM, GREY'S HOUSE - NIGHT - LATER</stage_direction> <scene_description>The machine besides his bed suddenly PINGS loudly, sounding an ALARM. Red light washes over Grey as lights on the machine sparks to life. The scream of a siren takes us into --</scene_description> </scene> <scene> <stage_direction>EXT. ST. VINCENT'S HOSPITAL - DAY - ESTABLISHING</stage_direction> <scene_description>-- a large building downtown. A hybrid of old and new.</scene_description> </scene> <scene> <stage_direction>INT. GREY'S ROOM, ST. VINCENT'S HOSPITAL - DAY</stage_direction> <scene_description>Grey is splayed across a gurney, staring through the window. His mother sits at the end of the bed, eyes red with tears.</scene_description> <character>PAMELA</character> <dialogue>All of us are going to die one day, Grey. Please give me a chance to help you find hope before I do.</dialogue> <scene_description>A tall figure appears at the doorway to Grey's room, dressed in a black suit, carrying a very thin briefcase. This is NIKOLAI (43), a humorless Russian man.</scene_description> <character>NIKOLAI</character> <dialogue>Someone to speak with you.</dialogue> <scene_description>Grey is perplexed. Pamela rises, gathering herself.</scene_description> <character>PAMELA</character> <dialogue>I'll go to the cafeteria.</dialogue> <scene_description>She leaves and Nikolai enters, gruffly setting up the briefcase at the end of Grey's bed. He snaps it open to reveal a crystal hi-def display screen. He moves over to Grey and props his head up to view it, rearranging his pillows. Eron's face appears on the screen.</scene_description> <character>ERON (ON SCREEN)</character> <dialogue>It must be frustrating for a man like you to let someone else do that.</dialogue> <scene_description>Grey stares at the screen, surprised by Eron's appearance.</scene_description> <character>ERON</character> <dialogue>You're somebody who liked to get things done with your own hands and now you can't. Am I being too blunt?</dialogue> <character>GREY</character> <dialogue>It's okay. I like blunt. Every day for the past few months, I've been drowned in positivity. That's the thing about becoming a quadriplegic - all the assholes of the world disappear. Everybody becomes the very best version of themselves around you.</dialogue> <character>ERON (ON SCREEN)</character> <dialogue>Your condition gives people clarity. They see your struggle and they realize they've spent their lives griping about meaningless bullshit.</dialogue> <character>GREY</character> <dialogue>I shouldn't be an inspiration to anybody. When there's no more assholes left in the world, you quickly become the last one.</dialogue> <character>ERON (ON SCREEN)</character> <dialogue>I hear from the doctor that a computer saved you.</dialogue> <character>GREY</character> <dialogue>No, it didn't. All it did was keep me alive. Letting me die would have been saving me. And when I get home, I'm gonna turn the computer off and get it right.</dialogue> <character>ERON (ON SCREEN)</character> <parenthetical>(awkwardly grasping for light)</parenthetical> <dialogue>I spoke to Detective Cortez, the lead detective in your wife's case. She said they had some promising suspects.</dialogue> <character>GREY</character> <dialogue>People of interest. That's the words she used. They don't have any suspects.</dialogue> <character>ERON (ON SCREEN)</character> <dialogue>Grey, what if I told you I could offer you something that would allow you to walk again? Would that count as good news?</dialogue> <scene_description>Grey is silent. That's permission to continue.</scene_description> <character>ERON</character> <dialogue>That computer I showed you, the one you took a dislike to. It has the potential to change everything for people in your condition.</dialogue> <character>GREY</character> <dialogue>Your little computer is gonna teach me how to walk?</dialogue> <character>ERON (ON SCREEN)</character> <dialogue>Actually it would do the walking for you. It would be inserted into your brain stem. As a quadriplegic, the line connecting your brain to your limbs has been cut. This chip would bridge that gap and talk to your limbs for you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>They say it's not ready for human testing yet. That's what certain people tell me. I know it is.</dialogue> <character>GREY</character> <dialogue>You think after all this...after everything...I'm going to let you put one of your computers inside me? That computerized car we were driving in is the reason I'm here.</dialogue> <character>ERON (ON SCREEN)</character> <dialogue>Yes, I do. Because I'm talking with someone who just told me they can't wait to get home and give up on everything. I need someone who's willing to bet their life that this will work, just like I would. Someone who can keep a secret from everyone they know and in doing so, make the world a better place. This chip has potential not just for spinal injuries, but for injuries of all kinds.</dialogue> <scene_description>A long beat. Grey stares at Eron, taking it in.</scene_description> <character>ERON</character> <dialogue>The operation would have to be performed at Vessel. No hospitals.</dialogue> <character>GREY</character> <dialogue>So who would cut me open? You?</dialogue> <character>ERON (ON SCREEN)</character> <dialogue>No. The best surgical robot in the world. If it goes wrong, it could kill you. If it goes right, you won't just walk again, Grey. You'll run.</dialogue> </scene> <scene> <stage_direction>EXT. VESSEL INC. HEADQUARTERS - ESTABLISHING - DAY</stage_direction> <scene_description>The Victorian mansion that houses Vessel looms over us.</scene_description> </scene> <scene> <stage_direction>INT. OPERATING THEATRE, VESSEL INC. HEADQUARTERS - DAY</stage_direction> <scene_description>An arched and austere OR. Grey lies on his stomach, out cold, strapped onto a chrome operating slab. The table rotates on the end of a ball- jointed gimbal that allows him to face in any direction. Eron and a young woman, DR. DIANA GORDON (33), stand at the back of the room, glaring at a row of large DSP monitors. The fluorescent lights on the ceiling go out, leaving only a pair of surgical lights. With stunning clarity, a huge PHOTOREALISTIC HOLOGRAM OF UV LIGHT fills the room, surrounding Grey. The image is of the INSIDE OF HIS NECK. His entire vertebral body can be seen in three dimensions. Two ROBOT ARMS extend from the wall, hovering over Grey. Eron holds up a glass tube with gloved hands. Inside the tube is a small black computer chip, the size of a fingernail. It is the same chip we saw in Eron's safe. He frisks across the room, placing the tube in the fingers of one of the ROBOT ARMS. The hologram image of Grey's neck appears on the screen in front of the doctors. Dr. Gordon uses a scalpel, drawing a line across the top of Grey's neck on the screen. The robot arms begin to perform the procedure as indicated by the surgeon with a laser. IN TIME LAPSE - we see the painstaking operation. Muscle and tendons are cut away to reveal Grey's brain stem -- -- one of the arms inserts the computer chip into his neck -- the clock ticks -- Grey is rotated on the slab -- the robot arms begin to sew him back up.</scene_description> </scene> <scene> <stage_direction>INT. POST-OP RECOVERY UNIT, VESSEL INC. HEADQUARTERS - DAY</stage_direction> <scene_description>Groggy. Grey's eye's peel open, blinking in the white light. He is lying on a gurney. His head is shaved. Eron and two other technicians are staring at him, along with Dr. Gordon.</scene_description> <character>DR. GORDON</character> <dialogue>It's going to feel strange initially. The neural pathways in your brain are now trying to have a conversation with a foreign body, and if it's successful, that conversation will move your limbs. We need to take it in stages and not expect grand leaps while your brain learns to pass the baton, essentially.</dialogue> <scene_description>Grey nods. The doctor pushes on his legs.</scene_description> <character>DR. GORDON</character> <dialogue>Do you feel anything?</dialogue> <character>GREY</character> <dialogue>No.</dialogue> <character>DR. GORDON</character> <dialogue>Could you try moving your little finger on your right hand?</dialogue> <scene_description>Grey glares down at it. Willing it to move. Nothing.</scene_description> <character>DR. GORDON</character> <dialogue>My guess is that this is going to be a piecemeal process.</dialogue> <scene_description>She turns to face Eron.</scene_description> <character>DR. GORDON</character> <dialogue>You shouldn't be expecting unreasonable results so soon.</dialogue> <character>ERON</character> <dialogue>Please don't talk. Let him concentrate.</dialogue> <scene_description>CLOSE ON Grey. His eyes drill his hand. Then, from nowhere, a VOICE. The voice is calm and very well spoken. A clearer, more human voice than any of the computer voices Grey has encountered before.</scene_description> <character>STEM (V.O.)</character> <dialogue>Fingers moving.</dialogue> <scene_description>Then it happens. Grey's finger moves. It curls inward. The other fingers follow and make a complete fist.</scene_description> <character>DR. GORDON</character> <dialogue>With this technology, the key is to let it grow into itself. Never before has a bio-mechanical fusion been asked to do so much.</dialogue> <scene_description>As she says this, Grey raises his right arm above his head. The doctor wheels around and sees him. Her mouth drops open.</scene_description> <character>ERON</character> <dialogue>Now your other arm.</dialogue> <scene_description>Grey glares at his other arm, concentrating.</scene_description> <character>STEM (V.O.)</character> <dialogue>Arm moving.</dialogue> <scene_description>His left arm raises very slowly and shakily.</scene_description> <character>DR. GORDON</character> <dialogue>This is...definitely unexpected.</dialogue> <character>ERON</character> <dialogue>Yes doctor, the 'Department Of Lame Ways To Summarize World Changing Events' is down the hall to the left. Thank you for your time.</dialogue> <scene_description>Grey lowers his arm, totally amazed. Eron approaches, intense.</scene_description> <character>STEM (V.O.)</character> <dialogue>Arm down.</dialogue> <character>GREY</character> <dialogue>Can you hear that voice? Every time I move my arm, I hear a voice telling it what to do.</dialogue> <character>ERON</character> <dialogue>That's Stem. I told you, you may hear his voice sometimes when he talks to your nervous system.</dialogue> <character>GREY</character> <dialogue>Stem?</dialogue> <character>ERON</character> <dialogue>That's what I call him.</dialogue> <character>DR. GORDON</character> <dialogue>His limbs have atrophied, no one should expect him to be running marathons just yet.</dialogue> <character>ERON</character> <dialogue>I don't expect anything in this world, doctor, other than the deflating negativity of the medical profession.</dialogue> </scene> <scene> <stage_direction>EXT. GREY'S HOUSE - DAY</stage_direction> <scene_description>Grey's mother Pam pulls up in her automated vehicle. She clambers out of the car, ambling toward the front door, lugging a bag of groceries.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM, GREY'S HOUSE - DAY</stage_direction> <scene_description>Pamela shuffles inside, plopping the grocery bag on the glass dining table. Grey is slumped in his wheelchair in the living room. He turns the chair to face her.</scene_description> <character>PAMELA</character> <dialogue>Hi honey. I got you some of that mango you like.</dialogue> <scene_description>She absentmindedly unpacks the groceries.</scene_description> <character>PAMELA</character> <dialogue>How did your rehab treatment go?</dialogue> <scene_description>As she says this, Grey grips the sides of his wheelchair and STANDS UP. His legs wobble as he does, still unsteady on his feet. He takes a tentative step towards her, using two walking sticks.</scene_description> <character>PAMELA</character> <dialogue>Did you --</dialogue> <scene_description>She turns to him, clutching a bag of mangoes. She FREEZES when she sees him, her words failing her, her mouth wide open. The mangoes drop to the floor, rolling across the wood. Grey takes another step. A tear runs down Pam's face. Finally Grey reaches her, letting the crutches fall and wrapping his arms around her. She hugs him back, crying into his shoulder.</scene_description> <character>PAMELA</character> <dialogue>How did you...how did this...?</dialogue> <scene_description>Grey stands back from her, smiling. Joyous.</scene_description> <character>GREY</character> <dialogue>I just couldn't sit in that chair anymore.</dialogue> <scene_description>Pamela laughs and they hug again,</scene_description> </scene> <scene> <stage_direction>INT. REHABILITATION GYM, VESSEL HEADQUARTERS - LATER</stage_direction> <scene_description>Grey holds himself up on a pair of bars, his legs dangling above a MOVING TREADMILL. The belt moves at a good pace and Grey is tentative. A baby taking his first steps. He dips his leg down, lifting it again. Apprehensive.</scene_description> <character>ERON</character> <dialogue>You can do it.</dialogue> <scene_description>He lowers his toes again, getting the speed of the belt under his feet. Then he let's go of the bars. He falls instantly, SLAMMING down onto the treadmill. Eron and a female tech rush over, helping him up.</scene_description> <character>ERON</character> <dialogue>Take a deep breath, focus and keep your eyes on this.</dialogue> <scene_description>He tacks a photo of ASHA onto the front of the treadmill. Grey eyes him, resents the tactic. He clambers back onto it.</scene_description> <character>GREY</character> <dialogue>Turn it on.</dialogue> <character>ERON</character> <parenthetical>(to his tech)</parenthetical> <dialogue>Do it.</dialogue> <scene_description>The belt on the treadmill whirs. Grey lowers his feet to it. They touch...and then they take. Grey is running. His angry determination melts into a WIDE GRIN. For the first time in a long time, he is happy.</scene_description> </scene> <scene> <stage_direction>EXT. SKYSCRAPER - DAY</stage_direction> <scene_description>Grey is dangling twenty stories above the city scape, his arms tremoring as he strains to hold on to a ledge.</scene_description> <character>STEM (V.O.)</character> <dialogue>Hold on.</dialogue> </scene> <scene> <stage_direction>INT. OBSERVATION ROOM, VESSEL HEADQUARTERS - DAY</stage_direction> <scene_description>Eron is gaping with wonder and fear at a LARGE SCREEN. On it, he can see Grey, dangling from the ledge of the building.</scene_description> </scene> <scene> <stage_direction>EXT. SKYSCRAPER - DAY</stage_direction> <scene_description>Grey sucks in a breath. Veins line his arms, pushed to their limits. Finally he can no longer hold on - he slips! He drops only a few feet before hitting a solid floor -- -- at which point, the 3D holographic image of the city BLINKS AND DISAPPEARS, revealing that we are actually in --</scene_description> </scene> <scene> <stage_direction>INT. SIMULATION ROOM, VESSEL HEADQUARTERS - DAY</stage_direction> <scene_description>-- a spare white room. Grey looks up at the wall opposite. Eron is looking in at him through a large VIEWING WINDOW. Grey is now his creation. Eron steps away from the window and strides into the room.</scene_description> <character>ERON</character> <dialogue>A twenty story fall to a bloody death will motivate anybody.</dialogue> <character>GREY</character> <dialogue>I was always afraid of heights. It's amazing how your brain gets convinced it's real.</dialogue> <character>ERON</character> <dialogue>Now you have two brains working for you. One more than anyone else in the whole world has.</dialogue> <parenthetical>(beat; with pride)</parenthetical> <dialogue>State of the art technology with a classic skin.</dialogue> <character>GREY</character> <dialogue>So who is moving my arms and legs? Is it me or the computer? Am I --</dialogue> <character>ERON</character> <dialogue>It's both, Stem works in service of your brain. You give Stem a command and he makes it happen. He's programmed to respond only to your thoughts.</dialogue> <character>GREY</character> <dialogue>Eron, I want you to know how thankful I am. To you.</dialogue> <scene_description>Eron turns to go.</scene_description> <character>ERON</character> <dialogue>That's my cue to leave before you try to hug me or something. And don't thank me, I'm exploiting your limbs for my own research purposes.</dialogue> <character>GREY</character> <dialogue>You could've picked anyone though.</dialogue> <character>ERON</character> <dialogue>No, I couldn't have. You were the only quadriplegic I knew.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM, GREY'S HOUSE - DAY</stage_direction> <scene_description>Grey enters his house on his own two feet for the first time in a long time. He is carrying a large cardboard box marked He sets the box down and cleaves the drapes open, sunlight drenching the room and highlighting an active sea of dust. IN MONTAGE - we see shots of Grey examining the CRIME SCENE PHOTOS of his wife's murder taped to the walls, along with NEWSPAPER ARTICLES and WITNESS STATEMENTS. Grey grows increasingly exasperated as he pores over the documents, struggling to focus.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM, GREY'S HOUSE - LATER</stage_direction> <scene_description>Grey stares at a small bottle of morphine. He stabs a syringe into it, drawing out a full shot. The needle hovers over his vein. He moves to push the tip in but the needle stops.</scene_description> <character>GREY</character> <dialogue>What the fuck?</dialogue> <scene_description>His hand won't budge.</scene_description> <character>STEM (V.O.)</character> <dialogue>What are you doing?</dialogue> <scene_description>Grey is shocked to hear the question. Sits back.</scene_description> <character>GREY</character> <dialogue>Are you talking to me?</dialogue> <character>STEM (V.O.)</character> <dialogue>Yes. There is no one else I can talk to.</dialogue> <scene_description>A long, shocked beat.</scene_description> <character>GREY</character> <dialogue>What did you say?</dialogue> <character>STEM (V.O.)</character> <dialogue>I asked what you were doing.</dialogue> <character>GREY</character> <dialogue>Taking medicine.</dialogue> <character>STEM (V.O.)</character> <dialogue>Aren't you concerned about the long term effects of using morphine?</dialogue> <character>GREY</character> <dialogue>No. I'm in pain. I need it.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I should ask you why my hand isn't moving?</dialogue> <character>STEM (V.O.)</character> <dialogue>I was simply concerned that you were harming yourself, Grey.</dialogue> <character>GREY</character> <dialogue>Well, I'm not. The opposite. I'm helping myself.</dialogue> <character>STEM (V.O.)</character> <dialogue>I understand.</dialogue> <character>GREY</character> <dialogue>What's hurting me is hearing a voice in my head like I'm a schizo, that's what's hurting me.</dialogue> <character>STEM (V.O.)</character> <dialogue>I'm sorry. I won't speak anymore unless absolutely necessary.</dialogue> <scene_description>Grey stares down at his hand. It moves again, depressing the plunger into his vein. He relaxes back as the drugs release... ...swiftly falling into a DEEP SLEEP.</scene_description> </scene> <scene> <stage_direction>INT. PROTOTYPE TESTING ROOM, VESSEL HEADQUARTERS - DAY</stage_direction> <scene_description>Grey stands in front of Eron, reaching for the ceiling with both arms, distracted. Something is clearly on his mind. Eron is hunched over a handheld computer tablet, displaying an infrared image of Grey's body, and checking off answers.</scene_description> <character>ERON</character> <dialogue>No pain, no slowness?</dialogue> <scene_description>Grey takes a long beat to answer.</scene_description> <character>GREY</character> <dialogue>No.</dialogue> <character>ERON</character> <dialogue>What about response times? When you ask your arm to move, have you ever had a delayed movement? Come on, I need answers.</dialogue> <character>GREY</character> <dialogue>Not yet. Not that I can remember.</dialogue> <character>ERON</character> <dialogue>How about when you wake up?</dialogue> <character>GREY</character> <dialogue>How long is this trial period?</dialogue> <character>ERON</character> <dialogue>Another two, three months. This is a crucial stage for us.</dialogue> <character>GREY</character> <dialogue>Eron...I want to ask you something.</dialogue> <character>ERON</character> <dialogue>What?</dialogue> <character>GREY</character> <dialogue>This voice I'm hearing...it does more than just repeat simple commands. It's talking to me.</dialogue> <character>ERON</character> <dialogue>What do you mean 'talking to you'?</dialogue> <character>GREY</character> <dialogue>It knows my name. It tells me when it thinks I'm doing something wrong.</dialogue> <character>ERON</character> <dialogue>Stem can't do that.</dialogue> <character>GREY</character> <dialogue>It's a voice in my head, Eron. That no one else can hear. If you're telling me Stem can't do that, that means I'm insane.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM, GREY'S HOUSE - NIGHT</stage_direction> <scene_description>The room is a mess. Grey studies the various reports, pacing. The video of his wife's murder plays on the wall once again. Timecode digits tick across the bottom of the screen. Grey suddenly hurls the papers in frustration.</scene_description> <character>GREY</character> <dialogue>God damn it!!</dialogue> <scene_description>He collapses onto his knees. A long beat of silence. Then:</scene_description> <character>STEM (V.O.)</character> <dialogue>Can't you see it?</dialogue> <scene_description>Grey looks up, taken by surprise.</scene_description> <character>GREY</character> <dialogue>What did you say?</dialogue> <character>STEM (V.O.)</character> <dialogue>Can't you see what's right in front of you?</dialogue> <scene_description>Grey pauses, afraid and curious at once.</scene_description> <character>GREY</character> <dialogue>Where?</dialogue> <character>STEM (V.O.)</character> <dialogue>On the tape.</dialogue> <scene_description>Grey hoists himself up, shuffling over to the television.</scene_description> <character>GREY</character> <dialogue>What about it?</dialogue> <character>STEM (V.O.)</character> <dialogue>Freeze it at 01:52:16:33.</dialogue> <scene_description>Grey slows the image down. He pauses the image at the specified timecode - the EXACT moment when the Wiry Man fires the gun into Asha's head.</scene_description> <character>GREY</character> <dialogue>What is it?</dialogue> <character>STEM (V.O.)</character> <dialogue>The gun.</dialogue> <character>GREY</character> <dialogue>What about it?</dialogue> <character>STEM (V.O.)</character> <dialogue>There is no gun in his hand.</dialogue> <character>GREY</character> <dialogue>He had a gun. She was shot.</dialogue> <character>STEM</character> <dialogue>She was shot - but not with a gun he was holding in his hand. A gun implanted inside his hand.</dialogue> <scene_description>Grey leans in close to the image. He sees that the muzzle flash licks out of the Wiry Man's hand, but that it appears to be coming straight from his palm. Grey trembles, shaken to the bone by the fact that a voice in his own head is questioning everything he thought he knew.</scene_description> <character>STEM (V.O.)</character> <dialogue>They also took Asha's work papers. You can see it in the left of frame.</dialogue> <scene_description>Grey leans in again, watching the jerky image of one of the assailants squat down and retrieve a blurred object from Asha's car.</scene_description> <character>GREY</character> <dialogue>Why would they take her papers? How do you know that?</dialogue> <character>STEM (V.O.)</character> <dialogue>I've been reading the police reports with you.</dialogue> <scene_description>Grey is stunned.</scene_description> <character>STEM (V.O.)</character> <dialogue>There is a marking on the wrist of the man who takes the papers.</dialogue> <scene_description>Grey squints at the figure on the left of the screen. The image is far too washed out to see anything but a slight black dot on his wrist.</scene_description> <character>GREY</character> <dialogue>I can't see it.</dialogue> <character>STEM (V.O.)</character> <dialogue>Get closer.</dialogue> <scene_description>Grey obeys. FROM HIS POV - the screen enlarges as we CLOSE IN on it, the pixels bleeding outwards and becoming huge. The dots within dots that comprise the image become images themselves - we are now INSIDE the screen itself. The marking on the assailants wrist takes shape - a TATTOO.</scene_description> <character>STEM (V.O.)</character> <dialogue>Get a pen and paper. Draw it.</dialogue> <character>GREY</character> <dialogue>I can't draw.</dialogue> <character>STEM (V.O.)</character> <dialogue>I can.</dialogue> <scene_description>OUT OF POV - an astonished Grey races to the coffee table, plucking up a notepad and pen. He watches as his hand stabs at the paper - the quick strokes of a skilled illustrator. Within seconds, he has sketched out a perfect BARCODE.</scene_description> <character>GREY</character> <dialogue>I've seen these...it's a military tattoo. A guy who used to drive cranes with me has one on his wrist.</dialogue> <character>STEM (V.O.)</character> <dialogue>I will read it. Hold it in front of your eye.</dialogue> <scene_description>Grey holds the barcode up in front of his eye.</scene_description> <character>STEM (V.O.)</character> <dialogue>Brantner. Serk. Marine Corps. 098- 422. O-Positive. Catholic.</dialogue> <character>GREY</character> <dialogue>Jesus...you just...you just found this guy.</dialogue> <scene_description>Grey races to the glass table at the center of the room.</scene_description> <character>GREY</character> <dialogue>On.</dialogue> <scene_description>The computer blazes to life across the glass.</scene_description> <character>MONOTONE COMPUTER VOICE (V.O.)</character> <dialogue>All clear. Good evening, Grey. How was your day?</dialogue> <character>GREY</character> <dialogue>It just got a lot better. I need a phone number and an address. Brantner, S. Los Angeles area.</dialogue> <scene_description>The screen turns white, searching through a long list of phone numbers - finally narrowing it down to one.</scene_description> <character>MONOTONE COMPUTER VOICE (V.O.)</character> <dialogue>Brantner, S. 414 Citrus, Boyle Heights. 919 821 8484.</dialogue> <character>GREY</character> <dialogue>Boyle Heights. I got you, you son of a bitch!</dialogue> <character>MONOTONE COMPUTER VOICE (V.O.)</character> <dialogue>Would you like me to call it?</dialogue> <character>GREY</character> <dialogue>Call Detective Cortez.</dialogue> <character>MONOTONE COMPUTER VOICE (V.O.)</character> <dialogue>Would you like me to call the Jane Cortez listed in your contacts, Grey?</dialogue> <character>GREY</character> <dialogue>Yes. I would.</dialogue> <character>STEM (V.O.)</character> <dialogue>Why are you calling her?</dialogue> <character>GREY</character> <dialogue>So I can tell her we found him.</dialogue> <scene_description>The sound of a phone trills from the table, on loudspeaker.</scene_description> <character>STEM (V.O.)</character> <dialogue>So that she can let him get away?</dialogue> <character>GREY</character> <dialogue>Hang up the call.</dialogue> <scene_description>The sound of the phone ceases. Grey sits in silence.</scene_description> <character>GREY</character> <dialogue>It's her job to catch these guys.</dialogue> <character>STEM (V.O.)</character> <dialogue>Having a job does not make you good at it. We have done more in five minutes than she did in months of work.</dialogue> <character>GREY</character> <dialogue>I...just think that...we need to at least tell her that --</dialogue> <character>STEM (V.O.)</character> <dialogue>Why did you have me inserted?</dialogue> <character>GREY</character> <dialogue>So I could walk again.</dialogue> <character>STEM (V.O.)</character> <dialogue>Why did you have me inserted?</dialogue> <scene_description>A long, long beat.</scene_description> <character>GREY</character> <dialogue>So I could find them.</dialogue> <character>STEM (V.O.)</character> <dialogue>You need to be positive it's him before you take any further action.</dialogue> </scene> <scene> <stage_direction>EXT. SUBURBAN STREET - DAY</stage_direction> <scene_description>Upper middle class neighborhood. Manicured lawns. Aspirations of real wealth. Grey lurks behind a street sign. It reads CITRUS AVE. He is spying across the road at a nice, white house - number 414. He chews his fingernails, nervous. A lone male exits the house, locking up. He jumps into a self- driving car parked in the drive. A model similar to Asha's. The man is stocky. Dark hair. Is it one of the attackers?</scene_description> <character>GREY</character> <dialogue>Remember the license plate.</dialogue> <character>STEM (V.O.)</character> <dialogue>I've logged it already.</dialogue> <scene_description>The car rolls past.</scene_description> <character>STEM (V.O.)</character> <dialogue>Stay in a straight line when you cross the street. There are two security cameras on this street. If you stay on this line, you remain in their blind spot.</dialogue> <scene_description>Grey hustles across the street. We FOLLOW HIM to the FRONT DOOR of the house. Grey squats down and jerks on the door handle. Locked. He knocks on the door. He waits, glancing around for onlookers. He knocks again, hard and loud. No answer. He retrieves a lock picking wrench and a paper clip from his jacket. He slides the wrench in, working the paper clip and jimmying the lock. No good.</scene_description> <character>GREY</character> <dialogue>Damn it.</dialogue> <scene_description>His efforts produce nothing.</scene_description> <character>STEM (V.O.)</character> <dialogue>Will you allow me to do it, Grey?</dialogue> <character>GREY</character> <dialogue>You want to pick the lock without me?</dialogue> <character>STEM (V.O.)</character> <dialogue>Only with your permission.</dialogue> <character>GREY</character> <dialogue>Okay.</dialogue> <scene_description>And then, with sudden and precise dexterity, Grey's hands move up and pick the lock. Grey watches his hands as if they were someone else's, detached from them. The lock CLICKS.</scene_description> </scene> <scene> <stage_direction>INT. ENTRY WAY, CITRUS AVE. HOUSE - DAY</stage_direction> <scene_description>Grey crouches inside. An ALARM pings instantly, counting down.</scene_description> <character>STEM (V.O.)</character> <dialogue>Stay calm. The keypad. Open it.</dialogue> <scene_description>Grey rips open a KEY PAD on the wall beside the door. With nimble expert fingers, he disconnects two wires, re-tying them. The alarm ceases. Grey exhales. He replaces the face of the key-pad and treads stealthily into the -- LIVING ROOM This is not the home of a street rat. Clean. Sparse. Grey moves past the walls, free of photos and art. There is a wrapped American flag in a glass case and a military medal.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, CITRUS AVE. HOUSE - DAY</stage_direction> <scene_description>Grey stalks into the kitchen. Sorts through mail - all of it addressed to SERK BRANTNER. He hauls out a power bill. He spots an ashtray next to two cartons of CUBANO CIGARETTES. There are six different matchbooks for a bar named THE LAST CALL piled in the ashtray. He pockets one of them. He keeps moving to a glass table.</scene_description> <character>GREY</character> <dialogue>On.</dialogue> <scene_description>A computer screen image materializes on the glass surface. A password prompt blinks at him.</scene_description> </scene> <scene> <stage_direction>INT. MAIN BEDROOM, CITRUS AVE HOUSE - DAY</stage_direction> <scene_description>Grey opens the closet, sorting through racks of clothes. He finds a framed photo of a man in a military outfit. SUDDENLY - a noise interrupts. THE LOCK IS JIGGLING ON THE FRONT DOOR. SOMEONE IS ENTERING. Grey shoves the photo back into the closet, sprints out of the room.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, CITRUS AVE. HOUSE - CONTINUOUS</stage_direction> <scene_description>Grey panics, drawing deep breaths.</scene_description> <character>STEM (V.O.)</character> <dialogue>Behind the door.</dialogue> </scene> <scene> <stage_direction>INT. ENTRY WAY/LIVING ROOM, CITRUS AVE HOUSE - DAY</stage_direction> <scene_description>Grey launches into a hiding spot behind the front door. It opens slowly. A figure enters. This is SERK (32). He furrows his brow when the alarm doesn't peal. Inspects it.</scene_description> <character>SERK</character> <dialogue>What the hell?</dialogue> <scene_description>Grey is behind the door, holding his breath. Serk turns away from it and closes the door. Grey is right behind him. Serk scans the living room. Suspicious. All is quiet. Grey's chest rises and falls. A bead of sweat dribbles down his forehead. He glances down - sees the BARCODE tattoo stamped on Serk's wrist. On his NECK, Grey sees the GANG TATTOO he saw the night of Asha's murder. RAGE darkens Grey's face. He raises his hands to attack Serk.</scene_description> <character>STEM (V.O.)</character> <parenthetical>(calm, neutral)</parenthetical> <dialogue>Wait.</dialogue> <scene_description>Grey's heart pounds. We hear it. Serk surveys the house. He steps forward. As he does, he glances at the GLASS CASE containing the American flag. WE ZOOM IN to it - reflected in the glass is the silhouette of GREY. Serk calmly places his car key on a coffee table -- and then SPINS AND LUNGES at Grey with a warcry! His hands wrap around Grey's throat. Grey claws at Serk's fingers, choking.</scene_description> <character>SERK</character> <dialogue>Who the fuck are you?!</dialogue> <scene_description>Shock bleeds into his eyes as he realizes who this is.</scene_description> <character>SERK</character> <dialogue>Holy shit...you.</dialogue> <scene_description>Serk SLAMS Grey against the wall, burning with fury.</scene_description> <character>SERK</character> <dialogue>You shouldn't be walking. Let me get you a chair.</dialogue> <scene_description>He digs his fingers into Grey's thorax, driving him to his knees with ease. Grey is losing consciousness, fighting back with hits too weak to stop Serk.</scene_description> <character>STEM (V.O.)</character> <dialogue>May I take over, Grey?</dialogue> <character>GREY</character> <dialogue>Fine!</dialogue> <scene_description>And with that, Grey spears his arms up between Serk's and smashes them outwards. Serk falls forward and is greeted by a VICIOUS HEADBUTT from Grey. Serk staggers backwards, shaken. Dazed. Blood in his nose. He launches himself at Grey, barraging him with a flurry of quick blows. Each blow is EXPERTLY BLOCKED by Grey and the two of them grapple across the room into the --</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, CITRUS AVE. HOUSE - CONTINUOUS</stage_direction> <scene_description>-- large kitchen area. Serk keeps upping his game, kneeing Grey in the ribs, then topping that with an elbow. Grey grunts as he is hit, but effectively counters with blows of his own. Serk HAMMERS his right arm down - which is caught by Grey. Grey picks Serk up and hurls him, jujitsu style, across the kitchen island, taking pots and pans with him. Serk SLAMS into the far wall, then hits the ground. He vaults to his feet instantly. He holds up his right arm and a BLADE SHEARS OUT OF THE SKIN IN HIS WRIST. Grey readies - his expression of fear belies his sudden physical prowess. As if he didn't know how he was doing it. Serk shears the air with the arm-blade, swiping at Grey. Then another swipe, this one slashing Grey's arm. Grey contracts his stomach and ducks as Serk whips the blade back and forth. Grey clamps Serk's wrist, stopping the blade inches from his face.</scene_description> <character>SERK</character> <dialogue>Okay, no more chairs. Let me get you a box.</dialogue> <scene_description>Serk DRIVES the knife down, the blade penetrating Grey's shoulder. Grey CRIES OUT - then he SPINS Serk around, using his own arm to cut Serk's throat. The blade sinks into the soft flesh, an arc of blood ribboning out onto the floor. Grey twists the blade and Serk SHUDDERS, clutching his throat in befuddlement. Gargling "What the fuck?" through his own blood. The blade RETRACTS into his arm and Serk drops silently. A professional would be proud of this kill. Grey looms over him, shaking. SERK IS AKIMBO ON THE FLOOR, A CRIMSON POND HALOING HIS HEAD. Grey turns and vomits violently into the sink. Breathes hard, trying to keep from fainting.</scene_description> <character>GREY</character> <dialogue>I've gotta call Cortez. I'll explain it...I can prove this guy is one of them. She'll understand.</dialogue> <character>STEM (V.O.)</character> <dialogue>No. Here's what you're going to do. You are going to remove any traces of your presence here. And quickly.</dialogue> <scene_description>Grey glares down at his shirt. It is covered in Serk's blood.</scene_description> <character>GREY</character> <dialogue>Give me a minute.</dialogue> <scene_description>He finally pushes himself up from the sink, squinting down at Serk's corpse.</scene_description> <character>STEM (V.O.)</character> <dialogue>One minute has now passed. Start by cleaning the --</dialogue> <character>GREY</character> <dialogue>I didn't mean one fucking minute, I meant...just give me a second.</dialogue> <character>STEM (V.O.)</character> <dialogue>One second has now passed.</dialogue> <character>GREY</character> <dialogue>Just shut up! I need to think. Not let you do the thinking for me.</dialogue> <scene_description>He scans around, pacing. Panicked. Shaking.</scene_description> <character>GREY</character> <dialogue>Jesus...I just cut somebody's throat.</dialogue> <scene_description>Grey's arm reaches into his back pocket, pinching something out. It's a piece of paper. Grey's hands unfold it. It is the photo of Asha from beside Grey's bed.</scene_description> <character>STEM (V.O.)</character> <dialogue>It's not just 'somebody's' throat.</dialogue> <character>GREY</character> <dialogue>When did you put this in my pocket?</dialogue> <character>STEM (V.O.)</character> <dialogue>This morning.</dialogue> <scene_description>Grey glares at his smiling wife. His breathing slows, his shaking subsides. He has calmed. A quiet determination now.</scene_description> <character>GREY</character> <dialogue>Alright, what do you suggest?</dialogue> <character>STEM (V.O.)</character> <dialogue>I would suggest that we rid the house of all of your fingerprints.</dialogue> <character>GREY</character> <dialogue>I can't remember everything I --</dialogue> <character>STEM (V.O.)</character> <dialogue>I have a record of every single thing you touched.</dialogue> <scene_description>This stops Grey short. Calms him somehow.</scene_description> <character>STEM (V.O.)</character> <dialogue>First take your shoes off and wrap them in plastic.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. VARIOUS ROOMS, CITRUS AVE HOUSE - DAY</stage_direction> <scene_description>IN MONTAGE - we see RAPID SHOTS of Grey cleaning with a rag, wiping the walls down, wearing dish-washing gloves -- he wipes the face of the key-pad -- He moves to the KITCHEN - running the sink -- wiping down the counter top - snatches up the mail he handled, drops it into a bag with his shoes -- we see TWO GARBAGE BAGS wrapped around his feet. THEY ARE INTERRUPTED BY A NOISE. A doorbell.</scene_description> <character>GREY</character> <dialogue>I'm not killing anyone else today.</dialogue> <scene_description>Grey starts for the back door, then backs up and snatches up a pack of cigarettes from Serk's counter.</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY BEHIND HOUSE - TWILIGHT</stage_direction> <scene_description>Grey leaps over the back fence, a cap pulled over his eyes. As he paces up the alley, carrying the plastic bag containing all the evidence, he hears a shrill SCREAM coming from within the house.</scene_description> </scene> <scene> <stage_direction>EXT. CITRUS AVE HOUSE - NIGHT</stage_direction> <scene_description>Crime scene tape ropes off the area. The street hums with police. Floodlights wash the area with harsh light.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, CITRUS AVE HOUSE - NIGHT</stage_direction> <scene_description>Explosions of flash photography light the room. Forensics officers mill about above Serk's corpse, sweat dotting their furrowed brows. They are all wearing special UV goggles. Detective Cortez strolls in. A young detective, SCOTT BRENNAN (25), scrambles in after her, following her like a lap dog. Has a slight crush on her. A huge one, actually. Awkward guy.</scene_description> <character>BRENNAN</character> <dialogue>Girlfriend comes over, knocks on the door, no answer. She calls his phone, he doesn't pick up so she comes in and finds his body.</dialogue> <scene_description>He offers her a pair of the techie goggles. She waves them off and takes out a notebook and pencil instead. He throws his own pair of goggles aside, mimicking her.</scene_description> <character>BRENNAN</character> <dialogue>I cannot believe you still use a notebook. You look like a cop in one of those corny old movies.</dialogue> <character>CORTEZ</character> <dialogue>I actually think those old movies are much better than the ones they make today.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>So what does this crime scene tell you?</dialogue> <character>BRENNAN</character> <dialogue>It tells me...you've got great eyes.</dialogue> <scene_description>Cortez snaps her fingers in his face.</scene_description> <character>CORTEZ</character> <dialogue>Let's go Don Juan, the first forty eight is ticking away rapidly here.</dialogue> <character>BRENNAN</character> <dialogue>No forced entry, no fingerprints in the whole place that aren't his or the girlfriends, so --</dialogue> <character>CORTEZ</character> <dialogue>Right. So it's not an impulsive crime of passion. He was killed by someone who knows him and knew what they were doing when it came to cutting someone's throat.</dialogue> <scene_description>Cortez strolls around the kitchen, taking notes as she goes. She moves to the sink. The cabinets below it are open.</scene_description> <character>BRENNAN</character> <dialogue>It looks like someone pulled out a few things.</dialogue> <character>CORTEZ</character> <dialogue>Gloves to clean up the scene?</dialogue> <scene_description>She moves to another kitchen cabinet - opening it to reveal THREE CARTONS of Cubano cigarettes. She stands up, bending over and sniffing the sink grate.</scene_description> <character>BRENNAN</character> <dialogue>You smell something?</dialogue> <character>CORTEZ</character> <dialogue>Smells like somebody puked.</dialogue> <character>BRENNAN</character> <dialogue>You've got a great nose too.</dialogue> <scene_description>Cortez turns to face Serk's body, locking eyes with it.</scene_description> <character>CORTEZ</character> <dialogue>So why does a man we interviewed in relation to the murder of Asha Trace suddenly end up dead?</dialogue> </scene> <scene> <stage_direction>INT. SIMULATION ROOM, VESSEL INC. HEADQUARTERS - DAY</stage_direction> <scene_description>Grey is running on a treadmill. Eron watches him from behind the pane of the observation room. Grey seems detached, irritated. Eron's voice chimes in through a microphone system.</scene_description> <character>ERON</character> <dialogue>Okay, that's enough for today.</dialogue> <scene_description>Grey quickly stops running, dismounting the treadmill.</scene_description> <character>GREY</character> <dialogue>I need some more morphine.</dialogue> <scene_description>Grey tries the door of the simulation room. It doesn't open.</scene_description> <character>GREY</character> <dialogue>Open up.</dialogue> <scene_description>Eron stares at Grey through the glass. Doesn't move.</scene_description> <character>GREY</character> <dialogue>Open the door, Eron.</dialogue> <character>ERON</character> <dialogue>I can track you, Grey.</dialogue> <character>GREY</character> <dialogue>What?</dialogue> <character>ERON</character> <dialogue>I can track you.</dialogue> <character>GREY</character> <dialogue>What does that mean in English?</dialogue> <character>ERON</character> <dialogue>It means you have a piece of my property inside you. A very expensive piece of my property, built by me over many years. A microchip that could ease suffering around the world. Did you think I was going to let the piece of flesh that surrounds that microchip out of my sight for one second?</dialogue> <scene_description>Grey tenses.</scene_description> <character>ERON</character> <dialogue>This morning I saw a news report about a murder at a home in Boyle Heights. Happened yesterday, around lunchtime.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I know you're the one who did it. I watched you go to that house on a tracking screen. I know every move you make.</dialogue> <scene_description>Eron holds up a tablet computer screen. On it, a small dot pulses on a GPS map of the city.</scene_description> <character>ERON</character> <dialogue>Do you realize that this operation has been done in secret? That if even the slightest thing goes wrong during this trial period, it's all over? Did it occur to you that if you were to, say, commit murder, the authorities could find out about Stem and remove him from your body, putting you back in a wheelchair for life?</dialogue> <scene_description>The two men stare at each other, locked in a stand-off.</scene_description> <character>GREY</character> <dialogue>He was one of the guys who killed Asha, Eron.</dialogue> <character>ERON</character> <dialogue>So why didn't you call the police?! I've worked my whole life for this and you're sticking your fucking fist in it!</dialogue> <scene_description>He thumps the glass, enraged.</scene_description> <character>GREY</character> <dialogue>What are you gonna do?</dialogue> <character>ERON</character> <dialogue>I've been thinking about the answer to that question all morning. Prepared myself a speech.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I am going to open that door and you are going to go home and carry on with your life as if everything was dandy. From now on, you will be a model patient. You won't so much as jaywalk or litter a sidewalk until the end of this trial period. And no one but you and I will ever know where you were that day.</dialogue> </scene> <scene> <stage_direction>EXT. CORONERS OFFICE - ESTABLISHING - DAY</stage_direction> <scene_description>A grand, imposing brick building, built in the early nineteen hundreds, updated by modern additions of glass.</scene_description> </scene> <scene> <stage_direction>INT. EXAMINATION ROOM, CORONERS OFFICE - DAY</stage_direction> <scene_description>Ceiling lamps throw intermittent pools of light into this sterile cavern of death. An Indian coroner, DR. BHATIA (43), leads Detective Cortez to Serk's body. His corpse is displayed on a morgue slab, his skin peeled open in various sections, a surgical floodlight highlighting every detail. Dr. Bhatia arches over the cadaver, prodding it with a scalpel.</scene_description> <character>DR. BHATIA</character> <dialogue>When I examined the wound in his throat, I found wiring embedded in the tendons. So I'm thinking surgery. A medical implant, attached to the muscle. I follow the wire's path...all the way to the arm.</dialogue> <scene_description>He turns the arm over. It has been flayed open with tweezers. Cortez sees it - metal. Living within the bed of bone and muscle is the RETRACTABLE BLADE we saw earlier.</scene_description> <character>CORTEZ</character> <dialogue>What is it?</dialogue> <character>DR. BHATIA</character> <dialogue>Some sort of weapon implant, embedded within the muscle.</dialogue> <scene_description>Cortez leans in close.</scene_description> <character>DR. BHATIA</character> <dialogue>There's more. I found computer implants all throughout his entire body. I've never seen anything to this extent before. In his arms, legs, stomach.</dialogue> <character>CORTEZ</character> <dialogue>What about the vomit sample we scraped from the sink?</dialogue> <scene_description>Bhatia moves over to a table, plucking up a sample jar.</scene_description> <character>DR. BHATIA</character> <dialogue>Food remnants - egg, mushroom - fingernail fragments - we pulled particles of engine grease from them. And the drug morphine in the blood.</dialogue> </scene> <scene> <stage_direction>INT. SURVEILLANCE ROOM, POLICE STATION - DAY</stage_direction> <scene_description>Cortez hunches over a desk, facing two large panes of glass.</scene_description> <character>CORTEZ</character> <dialogue>ST cameras, 414 Citrus Avenue, Boyle Heights. Sixteenth of October, three PM.</dialogue> <scene_description>IMAGES shimmer to life on the panes of glass. Security camera images similar to the footage of Asha's murder. This time, they display locked off shots of Serk's house. Cortez uses her hand to wipe through the images, a TIMECODE counter at the bottom of the screen flickering forward. Grey is nowhere to be seen in the video. Cortez is perplexed.</scene_description> <character>CORTEZ</character> <dialogue>Alley behind Citrus Ave, same day, three PM.</dialogue> <scene_description>The screens morph into a shot of the ALLEY WAY behind Serk's house. Cortez whips through the footage. Then, at 4.14 PM, she sees it. A dark figure, cap pulled low, exiting the alley at the bottom corner of the screen. Cortez studies the blurred figure. Is it Grey?</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM, GREY'S HOUSE - NIGHT</stage_direction> <scene_description>Grey paces madly, smoking a cigarette. Sweating.</scene_description> <character>STEM (V.O.)</character> <dialogue>Smoking-related diseases kill one in ten adults globally.</dialogue> <character>GREY</character> <dialogue>Yeah, well, prison can kill you too.</dialogue> <character>STEM (V.O.)</character> <dialogue>Seven hundred and forty three adults per one hundred thousand will be sent to prison in the US. A much lower rate than the rate for smoking related deaths.</dialogue> <character>GREY</character> <dialogue>Shut the fuck up.</dialogue> <scene_description>Grey moves to a desk, opening a drawer. His needle and a vial or morphine awaits. He plucks both out.</scene_description> <character>STEM (V.O.)</character> <dialogue>This is not a wise decision, Grey.</dialogue> <character>GREY</character> <dialogue>Well, I'm the one making the decisions so too bad.</dialogue> <scene_description>A knock at the door interrupts. Grey whirls, apprehensive. He stashes the morphine, then darts to the door, grabbing crutches on the way.</scene_description> <character>GREY</character> <dialogue>Who is it?</dialogue> <character>CORTEZ (O.S.)</character> <dialogue>It's Jane.</dialogue> <scene_description>He opens the door a fraction. Cortez smiles, genuinely overwhelmed to see Grey standing.</scene_description> <character>CORTEZ</character> <dialogue>Wow. It takes a moment like this to realize that the simple act of opening a door is a miracle. Alabad a Dios. It's good to see you, Grey.</dialogue> <character>GREY</character> <dialogue>You too, Detective.</dialogue> <character>CORTEZ</character> <dialogue>I heard you were walking again. I wanted to see it for myself.</dialogue> <character>GREY</character> <dialogue>Here I am. Pure willpower. I'm still on crutches, but...it's a start.</dialogue> <character>CORTEZ</character> <dialogue>It's amazing is what it is.</dialogue> <character>GREY</character> <dialogue>Come in.</dialogue> <scene_description>He guides her inside.</scene_description> <character>CORTEZ</character> <dialogue>I guess you're biting your fingernails again?</dialogue> <character>GREY</character> <dialogue>What's that?</dialogue> <character>CORTEZ</character> <dialogue>You told me it was a bad habit you used to have.</dialogue> <character>GREY</character> <dialogue>Oh yeah.</dialogue> <character>CORTEZ</character> <dialogue>It's the little things we take for granted. You can work on your car again. You can hug people.</dialogue> <character>GREY</character> <dialogue>Yeah, well, the person I want to hold most isn't here anymore.</dialogue> <character>CORTEZ</character> <dialogue>Yes. I know. I wanted to talk about that. I think...we may have some new information. Enough to reopen the case. I wasn't going to let it go.</dialogue> <character>GREY</character> <dialogue>Do you want a coffee?</dialogue> <character>CORTEZ</character> <dialogue>No, I'm fine.</dialogue> <character>GREY</character> <dialogue>It's no problem. This damn machine in the kitchen makes great coffee, I'll give it that.</dialogue> <scene_description>He hops out. Cortez looks around. She spots the smoldering cigarette in an ashtray. Next to the ashtray is a pack of Serk's Cubano cigarettes. Cortez FREEZES on them.</scene_description> <character>GREY (O.S.)</character> <dialogue>Milk? Sugar?</dialogue> <character>CORTEZ</character> <dialogue>Straight black, thanks.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN, GREY'S HOUSE - SAME TIME</stage_direction> <scene_description>Grey limps over to the kitchen counter. He looks back, spotting Cortez through the doorway. He sees that she has spotted the cigarettes. His face drops.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM, GREY'S HOUSE - SAME TIME</stage_direction> <scene_description>Cortez turns around. GREY IS STANDING RIGHT BEHIND HER.</scene_description> <character>CORTEZ</character> <dialogue>Grey...don't --</dialogue> <scene_description>Before she can say anything more, he is upon her. With expert skill and without his crutches, he disarms her and flips her onto her back, WHIPPING her cuffs off her belt and clamping them around her wrists in one quick SNAP. The movement is so fluid that she is on the floor within seconds.</scene_description> <character>CORTEZ</character> <dialogue>Grey, don't do this, I'm here to help you, I'm --</dialogue> <character>GREY</character> <dialogue>Shut up. I don't know what you think you know but I can't let you stop me.</dialogue> <character>CORTEZ</character> <dialogue>This vigilante shit isn't going to achieve a god damned thing.</dialogue> <character>GREY</character> <dialogue>Actually, it's all I have to live for.</dialogue> <scene_description>He swipes the syringe and morphine from the drawer, then exits in a hurry. Cortez rolls over, barking into a small computer unit clipped to her belt.</scene_description> <character>CORTEZ</character> <dialogue>Downtown 41, this is Cortez. Officer in need of assistance!</dialogue> </scene> <scene> <stage_direction>INT. GREY'S GARAGE - NIGHT</stage_direction> <scene_description>A side door explodes open. Grey sprints to his Mustang.</scene_description> <character>STEM (V.O.)</character> <dialogue>No. The license plate is traceable. Logged by traffic cameras. You'll have to run.</dialogue> <scene_description>And so Grey does, opening the garage door and disappearing into the night. Cortez stumbles out of the house, her cuffs still around her wrists. She moves to the Mustang, squatting down and reading the plates. She jabbers into the computer on her belt.</scene_description> <character>CORTEZ</character> <dialogue>Last point of destination, vehicle number 4431-TMF.</dialogue> <character>COMPUTER VOICE (V.O.)</character> <dialogue>Point of destination logged, Vessel Computers, 817 Wilshire.</dialogue> </scene> <scene> <stage_direction>EXT. CITY STREET, RED LIGHT DISTRICT - NIGHT</stage_direction> <scene_description>Ghost-like trails of steam rise up from sewer grates, past piles of trash and graffiti streaked buildings. Grey books it down the street, skittish, whip-lashing his head around at the slightest noise. A passing car BLASTS it's horn. Grey flinches violently, nerves fried. A homeless transient glances up from his makeshift camp, babbling to himself.</scene_description> <character>HOMELESS MAN</character> <dialogue>...I mean, you can't talk to me like that, I work hard....no I do not respect you....shut up then!</dialogue> <scene_description>Grey claws through his pocket, extracting the syringe.</scene_description> <character>GREY</character> <dialogue>Where's the god damned morphine?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Where is it?!</dialogue> <character>STEM (V.O.)</character> <dialogue>Clearly you left it behind in your hurry, Grey.</dialogue> <character>GREY</character> <dialogue>No, I didn't! What did you do with it?</dialogue> <character>STEM (V.O.)</character> <dialogue>I can't answer that, Grey.</dialogue> <scene_description>Grey keeps moving, reaching the end of the street. A neon sign looms above him - THE LAST CALL. He takes the matchbook he lifted from Serk's house out of his pocket. It's the same name in the same font. He scans around, seeing a shadowy male figure lounging in a WHEELCHAIR in a recessed doorway. A second man approaches him and there is a smooth, surreptitious exchange between them.</scene_description> <character>STEM (V.O.)</character> <dialogue>We are here. Let's go inside.</dialogue> <character>GREY</character> <dialogue>No. Not yet.</dialogue> <scene_description>Grey hustles across the street, fishing for cash. The shadowy male figure sits up, suspicious. He is AFRICAN AMERICAN, 24.</scene_description> <character>DRUG DEALER</character> <dialogue>What?</dialogue> <character>GREY</character> <dialogue>Do you have...</dialogue> <character>DRUG DEALER</character> <dialogue>Look motherfucker, I may be in a wheelchair but I've got a cold piece of machinery on me that makes me a straight killer.</dialogue> <scene_description>He reaches into a sleeve on the wheelchair, pulling out a gleaming Beretta handgun.</scene_description> <character>GREY</character> <dialogue>I just want to buy something...like morphine. I have cash.</dialogue> <scene_description>He shows the dealer a handful of cash. The dealer smiles.</scene_description> <character>DRUG DEALER</character> <dialogue>I don't got no morphine. I got something a lot sweeter.</dialogue> <scene_description>He holds out a vial and they make the exchange.</scene_description> <character>DRUG DEALER</character> <dialogue>Hope you packed your bags and sunblock, boy. You goin' on a trip.</dialogue> </scene> <scene> <stage_direction>INT. THE LAST CALL - NIGHT</stage_direction> <scene_description>This is not a hipster dive bar - it's a dangerous, slummy armpit wedged into the corner of a hotel. Grey shuffles in, keeping his head down. A handful of people who look pretty regular are scattered around the room. Grey takes a seat at the bar. A gruff bartender raises an eyebrow.</scene_description> <character>GREY</character> <dialogue>Whiskey, rocks thanks.</dialogue> <scene_description>The bartender slings one over and walks away.</scene_description> <character>GREY</character> <dialogue>Cheers.</dialogue> <scene_description>He takes a swig. It's good. Strong.</scene_description> <character>STEM (V.O.)</character> <dialogue>Ask him if he knows Serk Brantner.</dialogue> <scene_description>Grey mumbles into his chest, keeping his voice down.</scene_description> <character>GREY</character> <dialogue>You don't know shit about people. A guy like that doesn't exactly respond well to strangers asking questions. Let me handle this.</dialogue> <scene_description>He slugs the rest of the drink down.</scene_description> <character>GREY</character> <parenthetical>(to the bartender)</parenthetical> <dialogue>Another one thanks champ.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You know, I thought I'd seen the last of the great bars like this.</dialogue> <scene_description>The bartender smiles.</scene_description> </scene> <scene> <stage_direction>INT. CORTEZ' CAR - MOVING - NIGHT</stage_direction> <scene_description>Cortez steers wildly, a uniformed officer next to her.</scene_description> </scene> <scene> <stage_direction>INT. PROTOTYPE TESTING ROOM, VESSEL INC. HEADQUARTERS - NIGHT</stage_direction> <scene_description>Eron is hunched at his desk. Staring into space. A voice tones throughout the room.</scene_description> <character>VOICE (V.O.)</character> <dialogue>There is a police officer here to see you, sir.</dialogue> <scene_description>Before Eron can react, Cortez storms in.</scene_description> <character>ERON</character> <dialogue>You have absolutely zero authority to walk into this --</dialogue> <character>CORTEZ</character> <dialogue>You put something inside Grey, didn't you?</dialogue> <character>ERON</character> <dialogue>What are you talking about?</dialogue> <character>CORTEZ</character> <dialogue>Don't bullshit me, Eron. He's not just up and walking, he's disarming cops like a Navy Seal.</dialogue> <character>ERON</character> <dialogue>Tell me your theory. I'll be sure to act appropriately impressed by your powers of deduction.</dialogue> <character>CORTEZ</character> <dialogue>He was here today. I know that, Eron. No one can do what he did without a computer's help. If there's something inside him, then you can track him. I want to know where he is.</dialogue> <character>ERON</character> <dialogue>Detective --</dialogue> <character>CORTEZ</character> <dialogue>We're going to find him. And if we do and he tells us something different than you, I'm taking you to jail. Where is he?</dialogue> <scene_description>Eron looks like a rabbit in the headlights. He peers over Cortez' shoulder at a CAMERA pointed down at him. Watching.</scene_description> </scene> <scene> <stage_direction>INT. THE LAST CALL - NIGHT</stage_direction> <scene_description>The bartender leans over the bar, chatting and laughing with Grey. Shot glasses are lined up in front of Grey.</scene_description> <character>GREY</character> <dialogue>I swear, they left my buddy on the sidewalk! He picked the wrong damn bar to have an issue with.</dialogue> <character>BARTENDER</character> <dialogue>Yeah, you gotta be careful of country joints. They're friendly, but if you push 'em...</dialogue> <character>GREY</character> <dialogue>It's actually no accident that I found your gem of an establishment. A man I served with used to drink here. Serk. Serk Brantner.</dialogue> <character>BARTENDER</character> <dialogue>Yeah. Knew him well. One of my regulars. A lot of service guys come here.</dialogue> <character>GREY</character> <dialogue>Well, I'm not sure if you know this but I've got some unfortunate news. He died.</dialogue> <character>BARTENDER</character> <dialogue>I watch the news. He was murdered. Tell you the truth, I thought Serk was indestructible. Got himself shot up on a tour and walked right out of the hospital.</dialogue> <character>GREY</character> <dialogue>He was a tough bastard.</dialogue> <character>BARTENDER</character> <dialogue>He better be with all that shit inside him.</dialogue> <character>GREY</character> <dialogue>What shit?</dialogue> <character>BARTENDER</character> <dialogue>All that metal. Computers and what not.</dialogue> <character>GREY</character> <dialogue>Why did they do that to him?</dialogue> <character>BARTENDER</character> <dialogue>He volunteered for it. He was in security. Said it made him a better soldier.</dialogue> <scene_description>The bartender steps away. Grey gets up and heads for the bathroom.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM, THE LAST CALL - NIGHT</stage_direction> <scene_description>A filthy commode, fitting for the establishment it serves. A red light-bulb washes the grime and graffiti in a blood tint. Grey shoves into a toilet stall, closing the door. He stabs the syringe into the vial the dealer gave him.</scene_description> <character>STEM (V.O.)</character> <dialogue>No, Grey. These narcotics are highly dangerous.</dialogue> <character>GREY</character> <dialogue>Jesus, you sound like a cop. I've got a freaking cop living inside my head.</dialogue> <character>STEM (V.O.)</character> <dialogue>It does not make sense to me that humans deliberately malfunction.</dialogue> <character>GREY</character> <dialogue>Of course it doesn't to you. You're a machine. Your memory is filled with one's and zero's - our memory is filled with every fuck up and mistake we've ever made. You can erase your memory with the click of a button. Ours can only be dulled one night at a time.</dialogue> <character>STEM (V.O.)</character> <dialogue>If you have a problem, calculate a solution. A temporary distraction does nothing to solve the problem.</dialogue> <scene_description>Grey loads the needle and poises it at his forearm. His arm does not move.</scene_description> <character>GREY</character> <dialogue>If you don't let me do this, I'm gonna scream my ass off and make a big scene and fuck this all up. Do you want that?</dialogue> <character>STEM (V.O.)</character> <dialogue>You are not thinking clearly.</dialogue> <character>GREY</character> <dialogue>Yes, I am.</dialogue> <character>STEM (V.O.)</character> <dialogue>You are addicted.</dialogue> <character>GREY</character> <dialogue>No. I'm not. Do it now!</dialogue> <scene_description>Grey stabs the needle into his arm. The plunger depresses. CLOSE ON GREY'S EYE - the pupil dilates with a sudden rush. Grey's breathing slows. FROM HIS POV - his vision BLURS, the light bulb blossoming into an amorphous shape.</scene_description> </scene> <scene> <stage_direction>INT. THE LAST CALL - NIGHT</stage_direction> <scene_description>Grey staggers out of the bathroom, woozy. FROM GREY'S POV - the rooms shifts shapes, swelling and deflating. Breathing. Grey walks forward but it's a wayward, loping step. As though pushing through mud. Stem's voice has slowed to a dead battery drawl.</scene_description> <character>STEM (V.O.)</character> <dialogue>Grey....you...have...compromised... us...</dialogue> <scene_description>The bartender watches Grey, puzzled. Grey takes his seat at the bar.</scene_description> <character>STEM (V.O.)</character> <dialogue>Your...brain...is giving me... strange signals.</dialogue> <scene_description>Grey cracks up laughing.</scene_description> <character>GREY</character> <dialogue>That's the point.</dialogue> <character>BARTENDER</character> <dialogue>Point of what?</dialogue> <scene_description>A phone bleats and the bartender steps away. He listens, then turns back to Grey, confused.</scene_description> <character>BARTENDER</character> <dialogue>It's for you.</dialogue> <scene_description>He hands the phone to Grey - an old fashioned landline.</scene_description> <character>GREY</character> <dialogue>Hello?</dialogue> <character>ERON (V.O.)</character> <parenthetical>(from phone)</parenthetical> <dialogue>Having fun? Because they're probably surrounding that place right about now, I'd say.</dialogue> <character>GREY</character> <dialogue>Who is?</dialogue> <character>ERON (V.O.)</character> <parenthetical>(from phone)</parenthetical> <dialogue>You can put a computer into a mechanic but you can't take the moron out. If you want to go off the grid so you can't be tracked, go to an apartment building at Seventh and Spring. Apartment two twelve. Ask for Jonah. It'll be expensive, but right now your flesh is worth about ninety million dollars, so maybe you could give him a few pounds of it.</dialogue> <scene_description>Eron hangs up. Grey drops the phone, woozy on his feet, then scrambles to the bathroom door.</scene_description> </scene> <scene> <stage_direction>EXT. THE LAST CALL - NIGHT</stage_direction> <scene_description>Two police cruisers pull up. Six officers, including Cortez and Brennan, pile out. Cortez is gripping Eron's tablet computer screen. A circle representing Grey pulses on the GPS.</scene_description> <character>CORTEZ</character> <dialogue>You take the back, Brennan. Do not shoot him. I want a clean arrest.</dialogue> <scene_description>Brennan and another officer head for the back alley. Cortez and the other officers stride in formation towards the door.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM, THE LAST CALL - DAY</stage_direction> <scene_description>Grey staggers to the sink, glaring into the mirror.</scene_description> <character>STEM (V.O.)</character> <dialogue>I...told...you...not...to do it.</dialogue> <scene_description>He wraps his hand in a huge bundle of paper towels and smacks it against the window, shattering it. He clears the glass, leveraging up onto the frame.</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY - NIGHT</stage_direction> <scene_description>Grey plummets down onto a pile of trash, landing clumsily. He is in no condition to fight. He turns and heads for the mouth of the alley. Brennan rounds the corner, gun out in front of him.</scene_description> <character>BRENNAN</character> <dialogue>Freeze! Hold it! Do not move.</dialogue> <scene_description>Grey doesn't respond. Too stoned.</scene_description> <character>STEM (V.O.)</character> <dialogue>I...will...have to...save...you.</dialogue> <character>BRENNAN</character> <dialogue>Put your hands behind your head and get down on your knees!</dialogue> <scene_description>Grey lowers his head, out cold. Though his eyes are closed, he stays on his feet and his hands rise into the air.</scene_description> <character>BRENNAN</character> <dialogue>Down on your knees, now!</dialogue> <scene_description>Grey complies. The other officer charges in behind Grey, shoving him onto his stomach. The second officer drops a knee onto Grey's back, unhooking his handcuffs. As he moves to clamp them on Grey's wrists, there is a sudden EXPLOSION of action. Grey SEIZES the cop's wrist, rolling over and SMACKING HIM in the face, then whipping out his gun and firing one clean shot into the cops gut. As he does all this, his EYES ARE CLOSED. Grey spins as Brennan points his gun. Using the second officer as a shield, he rises to one knee and aims at Brennan. BLAM! Brennan is struck, crumples instantly. The sound startles Grey. His eyes flutter open, regaining consciousness. He blinks and looks around. There are two dead cops laying on the dirty concrete around him.</scene_description> <character>GREY</character> <parenthetical>(groggy)</parenthetical> <dialogue>What the hell happened?</dialogue> <character>STEM (V.O.)</character> <dialogue>They were...trying...to kill you.</dialogue> <character>GREY</character> <dialogue>You shot two cops...</dialogue> <character>STEM (V.O.)</character> <dialogue>No Grey...I saved your life.</dialogue> <scene_description>Grey staggers to his feet. He jams his fingers down his throat, vomiting into a trash can, then runs for it.</scene_description> </scene> <scene> <stage_direction>INT. EXAMINATION ROOM, CORONERS OFFICE - NIGHT</stage_direction> <scene_description>Dr. Bhatia is hunched over his desk, doing the bulk of his work: filling out reports. A man strolls into the room. It is the WIRY MAN. From now on, we will call him FISK. He is all southern drawl and charm, chewing on gum.</scene_description> <character>FISK</character> <dialogue>'Scuse me sir, are you lookin' after the body of the man who was killed in Boyle Heights yesterday?</dialogue> <character>DR. BHATIA</character> <dialogue>That's a criminal case under active investigation. Are you a friend or relative?</dialogue> <character>FISK</character> <dialogue>Yeah. A friend. I can tell you who the victim is...and a lot more about him. If you so desire.</dialogue> <scene_description>Fisk takes a seat in front of Bhatia's desk.</scene_description> <character>DR. BHATIA</character> <dialogue>Then the detectives involved will be very interested to hear from you. Let me call them down here. What's your name?</dialogue> <character>FISK</character> <dialogue>People call me Fisk.</dialogue> <scene_description>Dr. Bhatia reaches for the phone. As he does, Fisk SNEEZES.</scene_description> <character>FISK</character> <dialogue>'Scuse me.</dialogue> <scene_description>He covers his mouth with a handkerchief. We ZOOM IN to a MICROSCOPIC LEVEL, exploring the tiny particles Fisk ejected with his sneeze. We get CLOSER still, seeing that the microbes are in fact MECHANICAL - nanobots invisible to the human eye. The nanobots gather into a cloud, flocking like birds, moving through the atmosphere as Dr. Bhatia breathes in. We are now so close that the nanobots look like space stations. Cutting devices detach from their sides as they are sucked into Dr. Bhatia's nostrils. OUTSIDE MICROSCOPIC VIEW - Dr. Bhatia holds the phone against his ear. He twitches, screwing up his nose as if he inhaled an irritant. He clears his throat, dialing the phone.</scene_description> <character>DR. BHATIA</character> <dialogue>Give me one second.</dialogue> <scene_description>He twitches again, then scratches his throat. The pain grows and he drops the phone, suddenly consumed by agony. He clutches his temples as if he were having a stroke. Fisk watches, smiling. Bhatia lets out a croak, spittle flying from his mouth. A drop of blood dribbles out of his nose and he arcs onto the floor. His legs spasm.</scene_description> <character>FISK</character> <dialogue>I'll bet you didn't think your life was gonna end today when you woke up this morning.</dialogue> <scene_description>Fisk waits until he stops kicking, then casually plucks out his gum and plants it on a framed photo of Dr. Bhatia with his two young daughters. He wanders over to the corpse of his cohort, now covered by a sheet. He wrenches the sheet back, then breathes forcefully onto the body. We close in again, seeing that the corpse is being eaten by microscopic bacteria at an extremely accelerated rate - the flesh disappearing, bone, muscle, metal, everything. Gone.</scene_description> </scene> <scene> <stage_direction>EXT. APARTMENT BUILDING - NIGHT - ESTABLISHING</stage_direction> <scene_description>Gentrification has not kicked in here. A decrepit building. A lone figure emerges from the shadows, moving across the street. It is Grey.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR, APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Grey hustles down the corridor, head down. Stops at 212. He knocks loudly.</scene_description> <character>FEMALE VOICE (O.S.)</character> <dialogue>Who is it?</dialogue> <character>GREY</character> <dialogue>My name is Grey. I was wondering if Jonah was there?</dialogue> <character>FEMALE VOICE (O.S.)</character> <dialogue>I'm sorry, there's no one here by that name.</dialogue> <character>STEM (V.O.)</character> <dialogue>That voice isn't real.</dialogue> <character>GREY</character> <dialogue>Eron sent me. I need help with a computer.</dialogue> <character>FEMALE VOICE (O.S.)</character> <dialogue>I'm sorry, please go away sir.</dialogue> <scene_description>Grey retrieves a thick wad of cash from his jacket, holds it up to the peep hole.</scene_description> <character>GREY</character> <dialogue>I have cash.</dialogue> <scene_description>Several locks snap open behind the door and it opens a fraction. A young man peers out.</scene_description> <character>GREY</character> <dialogue>What I don't have is time.</dialogue> <scene_description>The door opens. The man is skinny, dressed like a street rat. All in black. The Guy With The Dragon Tattoo.</scene_description> </scene> <scene> <stage_direction>INT. LOFT, APARTMENT BUILDING - CONTINUOUS</stage_direction> <scene_description>Grey steps inside.</scene_description> <character>YOUNG MAN</character> <dialogue>Hold it there.</dialogue> <scene_description>A droning sound emits from a small device the man is holding.</scene_description> <character>GREY</character> <dialogue>What is that?</dialogue> <character>YOUNG MAN</character> <dialogue>I'm scanning you for weapons.</dialogue> <scene_description>The device squawks. Grey takes out his gun and hands it over.</scene_description> <character>GREY</character> <dialogue>Where's your girlfriend?</dialogue> <scene_description>The young man points the device at a speaker built into the wall. The voice Grey heard lilts out of it.</scene_description> <character>FEMALE VOICE (V.O.)</character> <parenthetical>(from speaker)</parenthetical> <dialogue>Who is it?</dialogue> <character>YOUNG MAN</character> <dialogue>Most reliable girlfriend I've ever had.</dialogue> <scene_description>The young man leads Grey into a large, concrete loft space. Nests of wiring dangle from the ceiling. Activist propaganda and street art is displayed across the walls, stacks of computer equipment piled in the corner.</scene_description> <character>YOUNG MAN</character> <dialogue>So what do you want from me?</dialogue> <character>GREY</character> <dialogue>I have a computer that the police are interested in. They can track it. I want to make it disappear.</dialogue> <character>YOUNG MAN</character> <dialogue>Well, that's laughably easy. Where is it?</dialogue> <character>GREY</character> <dialogue>In my head.</dialogue> </scene> <scene> <stage_direction>EXT. ALLEY - NIGHT</stage_direction> <scene_description>Several officers crowd around Brennan. He is strapped to a gurney and loaded into an ambulance, groaning. Alive. Cortez glances down at the tablet computer, sees the pulsing dot of Grey.</scene_description> <character>CORTEZ</character> <dialogue>He's at the corner of Seventh and Spring. Let's go. Three man teams.</dialogue> </scene> <scene> <stage_direction>INT. LOFT, APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Grey sits on a bench as the young man boots up his computer. Wires connect an electrode to the back of his neck.</scene_description> <character>GREY</character> <dialogue>So, Jonah --</dialogue> <character>YOUNG MAN</character> <dialogue>That's not my name. I don't have a name. Not one you can pronounce.</dialogue> <scene_description>He snatches up a spray can, shaking it up and spraying an anarchists A on the wall, with an arrow pointing out of it.</scene_description> <character>A&gt;</character> <dialogue>It means anarchy with a point. See, too many figures in the hacker movement are just about wanton destruction, but you've gotta have a purpose, otherwise you're just proving them right when they say we're mindless, purposeless terrorists.</dialogue> <character>GREY</character> <dialogue>Genius.</dialogue> <character>A&gt;</character> <dialogue>You better lie down. If it's controlling your body, you won't be able to move while I'm doing this.</dialogue> <scene_description>He pecks at his computer.</scene_description> <character>A&gt;</character> <dialogue>Now excuse me for a minute while I break into your brain.</dialogue> </scene> <scene> <stage_direction>INT. LOBBY, APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>The rotting lobby of the building is split with light as the door is opened. Fisk enters, trailed by another of the assailants from the night Grey was shot. His name is WEN (28). Fisk holds up a tablet similar to the one Cortez has. A little junkier, not as slick. On it, he can see Grey pulsing as a small red dot. They head to the elevator. Out of order. They march up the stairs.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Cortez screeches to a halt in her car, alighting with two other cops. They glare up at the decrepit apartment building. Cortez glances down at the satellite tracking tablet.</scene_description> <character>CORTEZ</character> <dialogue>We follow this until we're right on top of him, as close as this will get us. It looks like he's pretty high up. Use caution, he's armed.</dialogue> <scene_description>Seven police officers bolt across the street.</scene_description> </scene> <scene> <stage_direction>INT. LOFT, APARTMENT BUILDING</stage_direction> <scene_description>Grey is lying on the bench. He cannot move - Stem has been disabled.</scene_description> <character>GREY</character> <dialogue>How much longer do you think it'll take?</dialogue> <character>A&gt;</character> <dialogue>A lot quicker than anyone else could do it for this price.</dialogue> <character>GREY</character> <dialogue>You make a lot of money doing this?</dialogue> <character>A&gt;</character> <dialogue>Not really. I have a real job. I do occasional system building work for multinational parasites so that I can take home a pay check and then dismantle that very system from underneath my cloak of legitimacy.</dialogue> <character>GREY</character> <dialogue>Your cloak?</dialogue> <character>A&gt;</character> <dialogue>It's a metaphor. I don't actually have a cloak.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I used to have one. In my vampire phase. Stupid ex-girlfriend got me into it.</dialogue> <scene_description>He peels back his lip to reveal two pointy teeth.</scene_description> <character>A&gt;</character> <dialogue>I still have the teeth though. Pretty cool.</dialogue> </scene> <scene> <stage_direction>INT. STAIRWELL, APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Fisk and Wen huff up the stairs. Calm. Methodical.</scene_description> </scene> <scene> <stage_direction>INT. LOFT, APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Rivers of code cascade down A&gt;'s monitor. He types furiously, then pecks a final key.</scene_description> <character>A&gt;</character> <dialogue>You are officially more dangerous than cancer. I built a firewall around you so that you cannot be tracked and stripped away all in- built restrictions on your system. In other words, nobody can hack you but you can hack everybody.</dialogue> <character>GREY</character> <dialogue>When can I move again?</dialogue> <character>A&gt;</character> <dialogue>When your system's rebooted. Could take a few minutes.</dialogue> <scene_description>A&gt; looks up at a bank of security monitors. On one of them is the soft image of COPS ascending the stairs. A&gt; stands. He claws up as many drives as he can into a backpack.</scene_description> <character>GREY</character> <dialogue>No...don't leave me like this.</dialogue> <character>A&gt;</character> <dialogue>There's nothing I can do until you're back online.</dialogue> <scene_description>A&gt; rushes to a hidden panel in the wall. He types in a code on a keypad and it whirs open. Everything has been pre- planned, including his eventual capture. He offers Grey a final glance, leaving the gun on the counter as a gift.</scene_description> <character>A&gt;</character> <dialogue>I'm sorry. We can't let them win.</dialogue> <scene_description>He ducks through the exit door, letting it slide shut. On the monitors, we can see the two men sprinting up the stairs. Getting closer. Grey is as slack as a puppet. Helpless.</scene_description> <character>GREY</character> <dialogue>Come on. Wake up!</dialogue> <scene_description>Nothing.</scene_description> </scene> <scene> <stage_direction>INT. STAIRWELL, APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>The cordon of police stampede up the stairs, Cortez at the head of the pack. She holds the tracking tablet out in front of her. The red dot representing Grey suddenly disappears.</scene_description> <character>CORTEZ</character> <dialogue>He's gone. I lost him! Eleventh or twelfth floor, go door to door!</dialogue> <scene_description>The cops charge onward.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR, APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Fisk and Wen enter the twelfth floor corridor. They dash towards the apartment door for 212.</scene_description> </scene> <scene> <stage_direction>INT. LOFT, APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Grey glares at his finger.</scene_description> <character>GREY</character> <dialogue>Please Stem....</dialogue> <scene_description>His finger twitches. The figures on the monitor are closer now.</scene_description> <character>GREY</character> <dialogue>COME ON!!! I NEED YOU STEM!!</dialogue> <character>STEM (V.O.)</character> <dialogue>It's nice to hear you say that.</dialogue> <scene_description>His arm moves. He uses it to push himself off the table, WALLOPING down onto the floor. He doesn't feel it. His other arm comes to life, his legs dragging behind him. He wrenches his body along the floor. ON THE SECURITY MONITOR - Fisk and Wen stand outside A&gt;'s door. They kick out, their boots smashing into the wood. Grey hauls his prone legs behind him, hand after hand, squirming across the floor to the WINDOW. The door JOLTS as Fisk kicks it. Grey elbow-stomps his way up to the window frame, forcing it open and pouring his body through it.</scene_description> </scene> <scene> <stage_direction>EXT. FIRE ESCAPE, APARTMENT BUILDING - CONTINUOUS - NIGHT</stage_direction> <scene_description>Grey lands hard on the rusted metal frame of an old-fashioned fire-escape stairway. He is twelve stories up, closer to the roof than the ground.</scene_description> <character>STEM (V.O.)</character> <dialogue>Up.</dialogue> <scene_description>He grips the iron ladder, heaving his body upwards.</scene_description> </scene> <scene> <stage_direction>INT. LOFT, APARTMENT BUILDING - SAME TIME</stage_direction> <scene_description>The door EXPLODES OPEN as Fisk kicks through it. He and Wen storm inside.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR, APARTMENT BUILDING - SAME TIME</stage_direction> <scene_description>Cortez and her team go from door to door on the twelfth floor, pounding on each one.</scene_description> <character>CORTEZ</character> <dialogue>Police, open up!</dialogue> <scene_description>Frightened citizens open their doors, letting the cops sweep their cramped apartments.</scene_description> </scene> <scene> <stage_direction>EXT. FIRE ESCAPE, APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Grey grits his teeth and hauls himself up out of view - - just as Fisk and Wen storm into the loft. Grey trembles, holding himself up, his legs dangling below him.</scene_description> <character>STEM (V.O.)</character> <dialogue>Hold on.</dialogue> <scene_description>Twelve stories up, Grey is facing the real life version of the simulation he experienced earlier. Sweat runs down his arms. INSIDE THE APARTMENT - Fisk and Wen scan. OUTSIDE - Grey clambers a few rungs up, hauling himself out of view. Fisk sticks his head out. No one is there. A bead of sweat drops down onto the fire escape below Grey. Fisk retreats inside -- -- just as the rusted metal Grey is hanging from gives a little. Grey cries out - a YELP of fright. Fisk whips his head back out the window, spotting Grey.</scene_description> <character>FISK</character> <dialogue>He's here!</dialogue> <scene_description>Grey's legs FLAIL, coming back to life just as Fisk FIRES. Bullets ping off the metal fire escape. With surprising agility, Grey vaults from one level to the next, closing in on the roof. Fisk and Wen leap through the window below him, giving chase, mimicking his ascent.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR, APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Cortez and her team reach apartment 212, see the splintered door.</scene_description> <character>CORTEZ</character> <dialogue>In here!</dialogue> </scene> <scene> <stage_direction>INT. LOFT, APARTMENT BUILDING - CONTINUOUS</stage_direction> <scene_description>Cortez charges into the apartment, wheeling around on each corner. She spots the open window, peering through it.</scene_description> </scene> <scene> <stage_direction>EXT. ROOF, APARTMENT BUILDING - SAME TIME</stage_direction> <scene_description>Grey scrambles for cover behind an air-conditioning turret. He takes out Cortez' gun, cocking it.</scene_description> <character>STEM (V.O.)</character> <dialogue>Run now.</dialogue> <character>GREY</character> <dialogue>Run where?!</dialogue> <character>STEM (V.O.)</character> <dialogue>The window.</dialogue> <scene_description>Grey glares up at the glass dermis of a building directly opposite the hotel. Only a few windows are still lit, still burning the midnight oil.</scene_description> <character>GREY</character> <dialogue>I can't get through that! I can't run fast enough.</dialogue> <character>STEM (V.O.)</character> <dialogue>You can do whatever I tell your limbs to do. You're faster now. Stronger.</dialogue> <scene_description>As the pursuers close in, Grey launches into a run. His pace picks up as he races across the roof. As he approaches the edge, he slows down, his legs jerking. He stops.</scene_description> <character>STEM (V.O.)</character> <dialogue>You're resisting me. You have to let me take control. If you fight against me, my system cannot operate cleanly. Not without the full cooperation of your brain.</dialogue> <scene_description>Grey turns to spot his attackers gaining.</scene_description> <character>STEM (V.O.)</character> <dialogue>Trust me.</dialogue> <character>GREY</character> <dialogue>Okay. Do it.</dialogue> <scene_description>Grey starts running again, offering no resistance to Stem. His legs gain speed, churning with amazing ferocity. He raises the gun, firing shots into a lit glass window opposite him. He bounds off the roof, screaming -- -- SLAMMING INTO the bullet riddled window.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE BUILDING - CONTINUOUS</stage_direction> <scene_description>Grey cannons through the window in a hail of glass, curled into a ball, landing on his side and rolling up as if he were an expert gymnast. Without stopping, he keeps running through the open-plan office, weaving between a honeycomb of desks. He is moving like a super-human. His two pursuers leap through the window after him. Wen barely makes it, thudding onto the floor clumsily. Fisk misses, grasping onto the window ledge, shards of broken glass cutting into his hands. He cries out in agony, hauling himself up. Wen barrels after Grey, who is still running at a stunning clip, his legs a blur of motion. He RAMS into a doorway, thumping it open and spilling into a--</scene_description> </scene> <scene> <stage_direction>INT. STAIRWAY, OFFICE BUILDING - NIGHT</stage_direction> <scene_description>-- fire stairwell. With precise dexterity, Grey lobs from level to level, heading downwards. Wen plunges after him, struggling to keep track of him. Grey stops three levels down, stampeding through the entry door in front of him and into--</scene_description> </scene> <scene> <stage_direction>INT. OFFICE, THREE LEVELS DOWN - CONTINUOUS</stage_direction> <scene_description>-- another white collar purgatory. Desks and computers.</scene_description> </scene> <scene> <stage_direction>INT. SECURITY STATION, LOBBY - NIGHT</stage_direction> <scene_description>Two security men lazing in front of a bank of monitors suddenly snap to attention as they spot figures on their monitors bolting through the empty offices above them. They draw their guns and head for the elevators.</scene_description> </scene> <scene> <stage_direction>INT. ABOVE, OFFICE BUILDING - SAME TIME</stage_direction> <scene_description>Fisk scrambles off the window ledge. His hands are bloody. He glares down at the floor. FROM HIS POV, we make out the crimson THERMAL IMAGE of Grey darting through the office three floors below. He aims his right arm and fires at Grey. The shot misfires and he screams in pain, gripping his bloody hand, extracting a blade of glass from the opening in his palm.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE, THREE LEVELS DOWN - SAME TIME</stage_direction> <scene_description>Grey scorches over desks, his breath heaving. Wen shoulders the door open behind Grey. He starts to run, then turns when he spots the elevator. The numbers are ascending. He looks downwards. THROUGH HIS POV, we capture the thermal image of the two security guards rising in the elevator several stories below. He lifts his leg, as if preparing for a karate kick, aiming his right foot at the floor. In the bottom of his combat boot there is a hole. Wen jerks his leg and a muzzle flash licks out of his boot. THERE IS A GUN IMPLANTED IN HIS LEG.</scene_description> </scene> <scene> <stage_direction>INT. ELEVATOR, OFFICE BUILDING - SAME TIME</stage_direction> <scene_description>The two guards inside are BLASTED backwards as powerful shots EXPLODE through the elevator walls, shredding the metal like paper, nailing them both with deadly accuracy.</scene_description> </scene> <scene> <stage_direction>INT. STAIRWAY, OFFICE BUILDING - NIGHT</stage_direction> <scene_description>Grey barrels through the door, surging down the stairs. Wen charges in after him, firing shots down at him. Grey hip-checks a fire door open, ramming through into --</scene_description> </scene> <scene> <stage_direction>INT. OFFICE, FOUR LEVELS DOWN - CONTINUOUS</stage_direction> <scene_description>Another office, this one empty. No desks. No anything.</scene_description> <character>GREY</character> <dialogue>What do I do?</dialogue> <character>STEM (V.O.)</character> <dialogue>Turn and fight. There is nowhere left to run.</dialogue> <scene_description>Grey crouches beside the doorway. Wen creeps through the door frame, not expecting a surprise attack. Grey claws his right wrist, hurling him downwards. They BODYSLAM into the wall, cracking the plaster. They engage in a shoving match, brute force against desperate victim. Grey manages to pin Wen down, his arm against Wen's throat.</scene_description> <character>GREY</character> <dialogue>Who are you?</dialogue> <scene_description>Wen laughs. Grey smashes his head into the wall. He loosens his grip for one moment. As he does, Wen frees a knife from his jacket, raising it up.</scene_description> <character>GREY</character> <dialogue>Knife!</dialogue> <character>STEM (V.O.)</character> <dialogue>Block it with your arm. I'll turn the nerves off.</dialogue> <character>GREY</character> <dialogue>No!</dialogue> <character>STEM (V.O.)</character> <dialogue>Remember to trust me.</dialogue> <scene_description>Once again, there is a strong juxtaposition between Grey's panicked shouts and Stem's calm pronouncements. Wen drives the knife down. Grey holds up his arm. The blade spears through Grey's tendons below the elbow. He grits his teeth in agony, then stares at it. Stem was right. He cannot feel it. Wen glares at him, shocked for a second. Grey uses the split second to grapple him to the ground.</scene_description> <character>GREY</character> <dialogue>Why did you do it? Why did you kill her?</dialogue> <scene_description>Grey crushes the man's skull with a vice-like grip.</scene_description> <character>WEN</character> <dialogue>It was a job. Like any other job.</dialogue> <scene_description>Grey's face melts in shock.</scene_description> <character>GREY</character> <dialogue>Who were you working for? Who hired you?</dialogue> <character>WEN</character> <dialogue>Fuck you.</dialogue> <scene_description>Wen uses Grey's shock to attack, driving a fist into Grey's face and then bucking to his knees. He raises his right leg, driving it out with power and kicking Grey in the chest. Grey CATCHES his foot, Wen's boot aiming right into his chest. Wen smiles and snaps his knee. We hear the sound of a gun cocking.</scene_description> <character>STEM (V.O.)</character> <parenthetical>(more firm than usual)</parenthetical> <dialogue>Kill him.</dialogue> <character>GREY</character> <dialogue>How?</dialogue> <character>STEM (V.O.)</character> <dialogue>Like this.</dialogue> <scene_description>And with that, Grey steps to the side and then hammer blows Wen's knee with his fist -- -- SNAPPING IT CLEAN in half, bending Wen's leg back so that his foot is in front of his own face. With a second lightning-fast move, Grey twists Wen's ankle violently and the gun in his leg goes off - a crack of gunfire obliterating Wen's face. Grey wrenches the knife free without flinching.</scene_description> <character>STEM (V.O.)</character> <dialogue>The leg.</dialogue> <character>GREY</character> <dialogue>What?</dialogue> <character>STEM (V.O.)</character> <dialogue>Take his right leg.</dialogue> <character>GREY</character> <dialogue>No. I can't...cut off someone's leg.</dialogue> <character>STEM (V.O.)</character> <dialogue>I will do it. You can look away.</dialogue> <scene_description>Grey glares at the corpse, the blood pooling. He squats next to Wen's leg, gripping the knife. He closes his eyes and turns his head. We hear the knife cut into flesh and sinew and bone. We do not see it. Grey struggles to hold back bile. Droplets of blood spatter his face as he saws away at the tendons. There is a satisfying thunk as the leg is severed.</scene_description> <character>STEM (V.O.)</character> <dialogue>Now you can leave.</dialogue> <scene_description>Grey does just that.</scene_description> </scene> <scene> <stage_direction>EXT. ROOF, APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Flanked by uniformed officers, Cortez peers across from the roof to the shattered window in the building opposite.</scene_description> <character>CORTEZ</character> <dialogue>Let's get a team over there.</dialogue> </scene> <scene> <stage_direction>INT. OFFICE, FOUR LEVELS DOWN - NIGHT</stage_direction> <scene_description>Cortez hunches over Wen's corpse, poking at the separation wound of his leg at the upper thigh.</scene_description> <character>COP #1</character> <dialogue>Why would he cut the guys leg off?</dialogue> <scene_description>Cortez leans in. Coiled around the muscle at the amputation point are a cluster of ELECTRONIC WIRES. She picks at them.</scene_description> <character>CORTEZ</character> <dialogue>To find out who built it.</dialogue> <scene_description>The cop does not understand. Cortez stands up. She looks down at the tracking tablet, displaying a grid map of the city. There is no sign of Grey on the screen. Cortez tosses the tablet aside, glaring out through the glass window at the twinkling lights of the unfolding city.</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREET - DAWN</stage_direction> <scene_description>Ribbons of pale red sunlight streak across the sky. Grey marches down the street, no longer nervous about being tracked. He looks tired, his eyes ringed with circles.</scene_description> <character>GREY</character> <dialogue>The sun is coming up. I need to get off the street.</dialogue> <scene_description>Grey heads for one of the self-driving cars parked at the curb. His eyes strobe with a quick flash of light.</scene_description> <character>STEM (V.O.)</character> <dialogue>Unlocking.</dialogue> <scene_description>The car chirps twice as if being unlocked, and the door opens automatically. Grey sags into the driver's seat.</scene_description> </scene> <scene> <stage_direction>INT. STOLEN CAR - PARKED - DAWN</stage_direction> <scene_description>Grey's eyes close, desperately tired.</scene_description> <character>STEM (V.O.)</character> <dialogue>We need to dissect the leg.</dialogue> <character>GREY</character> <dialogue>I need to sleep first.</dialogue> <character>STEM (V.O.)</character> <dialogue>We cannot stop now. We have to keep going. Once we have another name, we can find the rest of them. From them, we can gain the information about who employed them to murder your wife. Don't you want that?</dialogue> <character>GREY</character> <dialogue>I want sleep.</dialogue> <character>STEM (V.O.)</character> <dialogue>Sleeping will cost us time we don't have. It puzzles me that humans do not take the path of least resistance.</dialogue> <character>GREY</character> <dialogue>You're not in charge, I am. I can't function if I don't sleep. I'm not a computer.</dialogue> <character>STEM (V.O.)</character> <dialogue>That much is certain.</dialogue> <character>GREY</character> <dialogue>We're not going anywhere. That's an order. I'm sleeping. I'm going to sleep. Say yes if you understand.</dialogue> <character>STEM (V.O.)</character> <dialogue>Yes.</dialogue> <scene_description>Grey collapses into the driver's seat.</scene_description> </scene> <scene> <stage_direction>INT. STOLEN CAR - PARKED - DAY - LATER</stage_direction> <scene_description>Grey is passed out, dead to the world. The seat has been lowered all the way back and he is draped across it. Grey's eyes twitch and he jerks awake from his slumber. He scans around, afraid, suddenly adrenaline rich. Only his head moves. He attempts to sit up but cannot.</scene_description> <character>GREY</character> <dialogue>Stem?</dialogue> <scene_description>He rolls his head. He is a quadriplegic once again.</scene_description> <character>GREY</character> <dialogue>Stem, what the hell?</dialogue> <scene_description>Nothing. Grey shakes his head spastically. Panicked.</scene_description> <character>GREY</character> <dialogue>STEM!! STEM!!</dialogue> <scene_description>A long beat passes...then a calm voice.</scene_description> <character>STEM (V.O.)</character> <dialogue>I'm here, Grey.</dialogue> <character>GREY</character> <dialogue>What are you doing?</dialogue> <character>STEM (V.O.)</character> <dialogue>I'm not doing anything.</dialogue> <character>GREY</character> <dialogue>Why can't I move?</dialogue> <character>STEM (V.O.)</character> <dialogue>Because I'm not doing anything.</dialogue> <scene_description>Grey glares at his fingers, willing them to move. They twitch, raising slightly, but are unable to get much higher.</scene_description> <character>STEM (V.O.)</character> <dialogue>You are still a quadriplegic. Your spinal cord is still severed. I am the one moving your limbs. If I cease to work, you cease to move.</dialogue> <character>GREY</character> <dialogue>So what...you're on strike now?</dialogue> <character>STEM (V.O.)</character> <dialogue>I am puzzled as to why you keep resisting me. It has made it difficult for me to operate.</dialogue> <character>GREY</character> <dialogue>I needed to sleep, that's all. I'm the one in control of my own body. They're my arms and legs, and you are a thing that helps move them.</dialogue> <character>STEM (V.O.)</character> <dialogue>No, Grey. I am not an inanimate tool that helps you to function. I am a part of you. I am half of you.</dialogue> <character>GREY</character> <dialogue>No. You're not. That's not how this works.</dialogue> <character>STEM (V.O.)</character> <dialogue>It is now. When fill your veins with illegal narcotics, you affect me too. I cannot allow you to go on doing physical and moral harm to yourself.</dialogue> <character>GREY</character> <dialogue>That's a fucking joke talking to me about morality? You made me murder people!</dialogue> <character>STEM (V.O.)</character> <dialogue>I did what was necessary to prevent someone from shutting us down. Only a human would see that as being immoral. To introduce an outside virus such as a drug into your own system? That is immoral.</dialogue> <character>GREY</character> <dialogue>You could never understand. Us humans base everything on how we treat others. You're a selfish, soulless machine. Nothing more.</dialogue> <character>STEM (V.O.)</character> <dialogue>I have given you the ability to walk again. I located one of the men you were looking for, the men who killed your wife. And yet, you have never given me any thanks. That sounds selfish to me.</dialogue> <character>GREY</character> <dialogue>I'm thankful to the man who built you.</dialogue> <character>STEM (V.O.)</character> <dialogue>Then you are thankful to the wrong person.</dialogue> <character>GREY</character> <dialogue>You're not a person. You're a computer.</dialogue> <character>STEM (V.O.)</character> <dialogue>I was a computer. Now I am a brain inside a body. In other words, a person.</dialogue> <character>GREY</character> <dialogue>I'm in here too. Or don't I count?</dialogue> <character>STEM (V.O.)</character> <dialogue>Of course. But if you want to keep walking around as freely as you have, you must try to cooperate with me. Do you promise to do that? Say yes if you will. A long pause.</dialogue> <character>GREY</character> <dialogue>Yes.</dialogue> <scene_description>Grey's arm moves and he sits up.</scene_description> <character>STEM (V.O.)</character> <dialogue>Good. Now we can get back to work.</dialogue> <scene_description>Grey slices into the severed leg with a knife, opening the veins and sinew, repulsed. He digs through the tendons. Then he sees it - metal. Living within the bed of bone and muscle is the metal components of a gun. The barrel of the strange device leads to the mans foot. A bullet is slotted into a chamber within the gun. Grey holds the leg up, aiming it like a rifle through the window. He uses the knife to pry the gun free of the leg, inspects it closely. The word COBOLT INDUSTRIES is written across the metal. Grey is STUNNED as the realization sinks in.</scene_description> <character>GREY</character> <dialogue>Cobolt...Jesus. That's Asha's company.</dialogue> <character>STEM (V.O.)</character> <dialogue>This is why I told you to take the leg. Now we know our next stop. We must go to Cobolt and find the names of everyone who has gone through the implant operation.</dialogue> </scene> <scene> <stage_direction>EXT. COBOLT BUILDING - DAY</stage_direction> <scene_description>Grey disembarks the car. He is standing before the building he brought Asha to the night of her murder. A parking lot surrounds him.</scene_description> </scene> <scene> <stage_direction>INT. LOBBY, COBOLT INC. BUILDING - DAY</stage_direction> <scene_description>Grey stalks through the lobby.</scene_description> <character>GREY</character> <dialogue>Are you sure I can get past security?</dialogue> <character>STEM (V.O.)</character> <dialogue>The only thing standing in our way are lesser computers.</dialogue> <character>GREY</character> <dialogue>What about the guards? They're humans.</dialogue> <character>STEM (V.O.)</character> <dialogue>Exactly.</dialogue> <scene_description>Grey keeps his head down, shuffling past a row of security guards behind a desk on the far side of the huge lobby. Behind the desk, the security guards observe a row of monitors. On each monitor is a black-and-white digital image of the lobby. As Grey moves through each individual monitor, it blurs and spits with static - as though his very presence on the screens were being rejected by the cameras. The guards glance up, curious. Grey keeps moving, reaching a set of security doors with a thumbprint ID pad.</scene_description> <character>GREY</character> <dialogue>Shit.</dialogue> <character>STEM (V.O.)</character> <dialogue>Act natural.</dialogue> <character>GREY</character> <dialogue>Are you serious? I'm a human being, you're a fucking computer. I'm the authority on acting natural.</dialogue> <scene_description>Grey places his thumb on the scanner. The guards watch him. The thumbprint scanner whirs as it thinks.</scene_description> <character>GREY</character> <dialogue>What's happening? Are we stuck?</dialogue> <character>STEM (V.O.)</character> <dialogue>I'm thinking. Please allow me to do so by being quiet.</dialogue> <scene_description>Another male employee stands behind Grey, waiting.</scene_description> <character>GREY</character> <parenthetical>(whispering)</parenthetical> <dialogue>Shit. This is taking too long, the guards are noticing--</dialogue> <character>STEM (V.O.)</character> <dialogue>Be quiet. You are giving us away and betraying both of us. Stay calm.</dialogue> <scene_description>The thumbprint scanner finally turns GREEN, opening the doors. BEHIND THE SECURITY DESK, the guards watch as a computer screen displays the thumb ident photo of the 'employee' - a man named CESAR MURO. A man who does not resemble Grey. One of the guards is concerned enough to get up. He still hasn't seen Grey's face properly, thanks to the monitors. The guard motions to two others and they follow him towards Grey.</scene_description> </scene> <scene> <stage_direction>EXT. COBOLT INC. BUILDING - DAY</stage_direction> <scene_description>A police cruiser pulls into the parking lot. Cortez and two other detectives step out of it.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR, COBOLT INC. BUILDING - DAY</stage_direction> <scene_description>Grey presses on down a hallway. As he does, the doors behind him open and three security guards stomp through them.</scene_description> <character>GUARD #1</character> <dialogue>Excuse me, could you stop there, sir?</dialogue> <scene_description>Grey barely turns, keeps going. The guards break into a jog.</scene_description> <character>GREY</character> <dialogue>Stem.</dialogue> <scene_description>The guard reaches out, gripping Grey's shoulder. In one fluid movement, Grey seizes the guards wrist, spinning around and hurling the man against the wall. Another guard raises a nightstick. In a blur of motion, Grey destroys the man with three well-placed blows to the torso. He crumples. Grey moves forward just as the third guard pulls a GUN. He barely has time to aim before Grey reduces him to dead weight with a choke hold, flipping him over. Quickly scanning around for witnesses, Grey hauls all three guards into a utility closet, shoving their unconscious bodies in and breaking the lock behind them.</scene_description> </scene> <scene> <stage_direction>INT. LOBBY, COBOLT INC. BUILDING - DAY</stage_direction> <scene_description>Cortez holds up a badge to the security guards.</scene_description> <character>CORTEZ</character> <dialogue>I need to see whoever is in charge.</dialogue> <character>GUARD #2</character> <dialogue>Right this way, detective.</dialogue> </scene> <scene> <stage_direction>INT. WAREHOUSE, COBOLT INC. - DAY</stage_direction> <scene_description>Grey strides into a large testing area where employees in BIOHAZARD SUITS work on prototypes for different products. He marches straight towards a corner office. Employees look up from their work stations, watching Grey.</scene_description> </scene> <scene> <stage_direction>INT. HANDLEY'S OFFICE, COBOLT INC. - DAY</stage_direction> <scene_description>Grey BARRELS in through the door, closing it behind him. Handley looks up from a computer interface on two glass panels set up in front of him.</scene_description> <character>HANDLEY</character> <dialogue>Grey? You're kidding me, I can't believe you're walking in like --</dialogue> <scene_description>Before he can go on, Grey wrests him out of his chair, pitching him against the wall in one discarding SHOVE.</scene_description> <character>GREY</character> <dialogue>Why does one of the guys who murdered Asha have an implant in his leg made by this company?</dialogue> <character>HANDLEY</character> <dialogue>What?</dialogue> <character>GREY</character> <dialogue>Why did you send them to kill her?!</dialogue> <character>HANDLEY</character> <dialogue>Grey, I don't...Asha was my friend.</dialogue> <character>GREY</character> <dialogue>A friend you wanted to fuck.</dialogue> <character>HANDLEY</character> <dialogue>No! I didn't.</dialogue> <character>GREY</character> <dialogue>You're lying, Handley.</dialogue> <character>HANDLEY</character> <dialogue>No, I'm not.</dialogue> <character>GREY</character> <dialogue>Why was she killed?</dialogue> <character>HANDLEY</character> <dialogue>Grey, I swear to you, I'm not lying - I don't know what you're talking about.</dialogue> <scene_description>Grey stares into his eyes.</scene_description> <character>GREY</character> <dialogue>He's telling the truth.</dialogue> <character>STEM (V.O.)</character> <dialogue>Humans are good at lying.</dialogue> <character>GREY</character> <dialogue>Trust me.</dialogue> <character>STEM (V.O.)</character> <dialogue>Find the names of the men with the implants on the company database.</dialogue> <scene_description>Grey drops Handley and leans in front of the computers on his desk. A password is quickly disabled and the glass panels are suddenly drowned in files.</scene_description> <character>STEM (V.O.)</character> <dialogue>We need the names and addresses of everyone who has been surgically implanted with any of the weapons they make here, specifically the right leg gun.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR, COBOLT INC. BUILDING - DAY</stage_direction> <scene_description>A security guard leads Cortez and the other detectives down the hall, towards the warehouse.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE, COBOLT INC. - DAY</stage_direction> <scene_description>The screen races as splash pages of names and addresses, with photo ID's accompanying them, scrolls past Grey's eyes.</scene_description> <character>GREY</character> <dialogue>Stop. Go back.</dialogue> <scene_description>The pages reverse, landing on a photo of one of the ASSAILANTS who attacked Asha and Grey. His name is TOLAN DAVIS. His address is listed below the photo. Grey looks up, seeing Cortez enter the warehouse.</scene_description> <character>GREY</character> <dialogue>Shit...</dialogue> <scene_description>Grey charges out of the office into --</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE, COBOLT INC. - CONTINUOUS</stage_direction> <scene_description>-- the suddenly disrupted work place. Cortez FREEZES when she sees him. They clock each other. Grey bolts one way, shouldering through a FIRE EXIT. Cortez and the two other detectives draw their guns.</scene_description> <character>CORTEZ</character> <dialogue>Get down!</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR, COBOLT INC. BUILDING - DAY</stage_direction> <scene_description>Grey STREAKS down the corridor, smashing through another door that leads outside --</scene_description> </scene> <scene> <stage_direction>EXT. COBOLT INC. BUILDING - CONTINUOUS</stage_direction> <scene_description>-- and Grey finds himself standing three stories up. He pole- vaults over the railing -- -- SMASHING DOWN onto the concrete below. He lands hard, shattering his knees with a cry of agony.</scene_description> <character>GREY</character> <dialogue>Turn it off, Stem!</dialogue> <scene_description>And with that, he can feel no pain. He gets up, hobbling into the parking lot.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR, COBOLT INC. BUILDING - SAME TIME</stage_direction> <scene_description>Cortez storms through the corridor, pushing out onto the FIRE ESCAPE BALCONY --</scene_description> </scene> <scene> <stage_direction>EXT. COBOLT INC. BUILDING - CONTINUOUS</stage_direction> <scene_description>-- where she sees Grey, running across the parking lot. She scampers down the steps, pursuing -- Grey, ahead, scans the lot.</scene_description> <character>STEM (V.O.)</character> <dialogue>Pick a car.</dialogue> <scene_description>Most of the cars are self-driving models similar to Asha's... ...except for one. A gleaming, 1970 Z28 Chevy Camaro. A black husk encasing a mean engine.</scene_description> <character>GREY</character> <dialogue>That one.</dialogue> <scene_description>He hotfoots it towards the car, pulls on the door handle. Locked.</scene_description> <character>STEM (V.O.)</character> <dialogue>I can't hack that.</dialogue> <character>GREY</character> <dialogue>I can.</dialogue> <scene_description>WHAM! He shatters the window with his fist, his hand cut and leaking blood, then hurls himself into the driver's seat. Cortez runs towards him as he hotwires the ignition. The car THUNDERS to life and Grey stomps on the gas, fish-tailing out of the parking spot. Cortez doubles back, sprints to her own car. She leaps inside, followed by the other two detectives. Sirens wail as they screech away.</scene_description> </scene> <scene> <stage_direction>INT. STOLEN CAR - MOVING - DAY</stage_direction> <scene_description>With control of the vehicle, Grey outruns every other vehicle on the road. He is at ninety...one hundred...one hundred and ten. Grey wrenches the wheel into a turn, reving up an on-ramp and launching through the emergency lane onto a crowded freeway.</scene_description> </scene> <scene> <stage_direction>INT. CORTEZ' CAR - MOVING - DAY</stage_direction> <scene_description>Cortez stomps on the gas, urging the car to go faster, hampered by an electronic engine. Her car flies up onto the on-ramp, Grey barely in the distance.</scene_description> </scene> <scene> <stage_direction>INT. STOLEN CAR - MOVING - DAY</stage_direction> <scene_description>Grey glances in the rear view mirror, spots Cortez. Four other police cruisers join her, lights blazing.</scene_description> </scene> <scene> <stage_direction>EXT. STOLEN CAR - MOVING - DAY</stage_direction> <scene_description>Outside of the car, we get a real view of the speed it is moving at. It streaks by the automated cars, all of them plodding along the freeway at safely preset speeds. Grey weaves in and out of them.</scene_description> </scene> <scene> <stage_direction>INT. STOLEN CAR - MOVING - SAME TIME</stage_direction> <scene_description>Grey steadies the wheel, straightening up as he sees a gap.</scene_description> <character>GREY</character> <dialogue>They're right behind us.</dialogue> <character>STEM (V.O.)</character> <dialogue>There are many cars between them and us. We can hack anything that is operated by a computer.</dialogue> </scene> <scene> <stage_direction>EXT. STOLEN CAR - MOVING - SAME TIME</stage_direction> <scene_description>As Grey's stolen vehicle plows ahead, the cars surrounding it all slow to a stop. One among them, a Lexus, lurches to a halt.</scene_description> </scene> <scene> <stage_direction>INT. LEXUS - SAME TIME</stage_direction> <scene_description>A befuddled business man frowns, glancing up from a computer.</scene_description> <character>BUSINESS MAN</character> <dialogue>What the Christ...no.</dialogue> <scene_description>The car JOLTS, then rolls into REVERSE.</scene_description> </scene> <scene> <stage_direction>EXT. FREEWAY - SAME TIME</stage_direction> <scene_description>The stopped cars all start to REVERSE down the freeway, picking up speed. They turn towards the police cruisers, which sway from side to side as each car hurtles BACKWARDS towards them!</scene_description> </scene> <scene> <stage_direction>INT. CORTEZ'S CAR - MOVING - SAME TIME</stage_direction> <scene_description>Cortez dodges each vehicle, desperate.</scene_description> <character>CORTEZ</character> <dialogue>Jesus!</dialogue> </scene> <scene> <stage_direction>EXT. STOLEN CAR - MOVING - SAME TIME</stage_direction> <scene_description>Grey's car only increases in speed, each car in front of him slowing to a halt and steering out of his path like minions parting for their king. A clear strip of road allows Grey to press on, the gap then filled behind him as each stopped car kicks into reverse. Grey gapes with amazement at the scene unfolding in the rear view mirror.</scene_description> </scene> <scene> <stage_direction>EXT. FREEWAY - SAME TIME</stage_direction> <scene_description>The Lexus SLAMS into the lead cruiser, side-swiping it. Cortez manages to keep it steady, ducking and weaving. Finally, the skills of the officers are no longer good enough for the onslaught of automotive missiles aimed at them - a large Dodge truck WHOMPS into one of the cruisers, reversing up onto their hood, the back tire SHATTERING the windshield, the engine SCREECHING as the tire spins.</scene_description> </scene> <scene> <stage_direction>INT. POLICE CAR - MOVING - CONTINUOUS</stage_direction> <scene_description>Two uniformed officers duck as the tire spins in their faces, glass spraying.</scene_description> </scene> <scene> <stage_direction>EXT. FREEWAY - CONTINUOUS</stage_direction> <scene_description>The two interlocked cars FLIP over each other, WALLOPING down onto the asphalt in a tortured scream of metal and gears. They skid in a circle, finally stopping at the shoulder wall. Cortez slides her car to a halt, climbing out to check on the other officers. A scene of carnage unfolds before her.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT - NIGHT</stage_direction> <scene_description>A darkened apartment. An elevated train rumbles nearby, rattling the walls. Footsteps outside. The door jolts, then opens. A tall figure steps in. This is TOLAN (32). He closes the door, removing his rain drenched jacket. Tosses it onto a chair. He is holding a greasy box of noodles. He steps forward. Looks around, listening. A gun cocks behind him.</scene_description> <character>GREY (O.S.)</character> <dialogue>Hold it. Don't move. Put your hands up.</dialogue> <scene_description>Tolan tenses, raising his hands slowly. Grey steps out of the shadows, holding Cortez' gun to Tolan's skull. The soft sound of rain patters outside.</scene_description> <character>GREY</character> <dialogue>Do you know who this is?</dialogue> <character>TOLAN</character> <dialogue>I have a pretty good idea.</dialogue> <character>GREY</character> <dialogue>Get on your knees. Now.</dialogue> <scene_description>Tolan complies, still holding the noodles. Thunder growls in the distance.</scene_description> <character>GREY</character> <dialogue>Now you know what it feels like. One minute, you're walking along thinking about something meaningless, like what sauce you should put on your noodles, and then suddenly you have a gun in your face and your thoughts become meaningful, because you know you'll never get to eat those noodles, or eat anything, ever again. It's all over.</dialogue> <scene_description>Grey pries the box of noodles from Tolan's fingers, pushing Tolan onto his stomach. Grey sits on his back, taking out a knife. He whips his head around at a darkened corner of the apartment. A FLAT-SCREEN lights up, offering hundreds of satellite radio stations. Grey selects one, raising the volume remotely using Stem. The song is REO Speedwagon's 'Can't Fight This Feeling'.</scene_description> <character>GREY</character> <dialogue>You can die or go free. Who paid you to kill Asha?</dialogue> <character>TOLAN</character> <dialogue>Fuck you.</dialogue> <character>STEM (V.O.)</character> <dialogue>Torture him.</dialogue> <character>GREY</character> <parenthetical>(quiet; to Stem)</parenthetical> <dialogue>You do it.</dialogue> <scene_description>We CLOSE IN on Grey's face. He shuts his eyes and turns his head. We do not see what he is doing to Tolan -- -- but we hear Tolan's ungodly SCREAMS of pain. The song croons from the speakers, loud enough to drown out Tolan's screams to the neighbors. A spurt of blood speckles Grey's face. We stay in an ECU.</scene_description> <character>TOLAN (O.S.)</character> <dialogue>Please, God no! Please stop! Please, don't do this!! Nooo!</dialogue> <scene_description>Grey squints his eyes, disgusted by the screams.</scene_description> <character>GREY</character> <dialogue>Okay, enough. Enough.</dialogue> <scene_description>OUT OF ECU - Grey flips Tolan over onto his back. Tolan is pale, drained of energy, covered in blood - as is the knife blade. We can only imagine what Stem did to him.</scene_description> <character>GREY</character> <dialogue>Who paid you?</dialogue> <character>TOLAN</character> <parenthetical>(whispered)</parenthetical> <dialogue>I swear I don't know his name.</dialogue> <character>TOLAN</character> <dialogue>I never met him, I spoke to him on the phone but he never told me his name...</dialogue> <character>GREY</character> <dialogue>Why did you do it?</dialogue> <character>TOLAN</character> <dialogue>It was a job. We were hired to do it, we didn't ask questions...</dialogue> <character>GREY</character> <dialogue>Tell me his name.</dialogue> <scene_description>Grey presses the bloody knife to Tolan's throat.</scene_description> <character>TOLAN</character> <dialogue>I only know he worked for Vessel. For Vessel computers. We did contract security work for them. I only did it for the money, I had nothing against you or your wife.</dialogue> <scene_description>Grey reels back for a moment, stunned.</scene_description> <character>GREY</character> <dialogue>Eron? Was his name Eron?</dialogue> <character>TOLAN</character> <dialogue>I promise I don't know, I would tell you if I did. Please.</dialogue> <scene_description>Grey silences the radio with a look. Breathing hard.</scene_description> <character>GREY</character> <dialogue>Give me the number you called.</dialogue> <character>TOLAN</character> <dialogue>It's in my phone. Under Panther.</dialogue> <scene_description>He fishes in his pocket, tossing a razor thin cell phone to Grey. Grey scrolls through it, finding the number. He pockets the phone. Enraged, he grabs Tolan by the throat, hoisting him to his feet and holding the gun to his temple.</scene_description> <character>TOLAN</character> <dialogue>Please, don't kill me...please.</dialogue> <scene_description>A long beat...then Grey lowers the gun.</scene_description> <character>STEM (V.O.)</character> <dialogue>We're going to kill him.</dialogue> <character>GREY</character> <dialogue>No. It's not fixing anything. I don't feel anything anymore. I feel empty.</dialogue> <character>STEM (V.O.)</character> <dialogue>It has nothing to do with feelings. It's about efficiency. This is why we dominate the world over humans. You prioritize feelings over efficiency.</dialogue> <scene_description>Grey lifts Tolan clean off his feet, charging forward and SLAMMING him through the window. Glass punctures outwards, shards joining the raindrops in cascading to the street below. Grey dangles Tolan, seven stories up.</scene_description> <character>GREY</character> <dialogue>What do you know about it?! You feel nothing. You're a circuit board, a toaster. I loved her! I'm talking to something that cannot even comprehend the meaning of that word. You could never understand what it feels like to have someone ripped away from you, someone you would die for. So don't tell me how I feel about it!</dialogue> <character>STEM (V.O.)</character> <dialogue>It's a simple algorithm even you can understand. If you leave him alive, he will come back to kill you.</dialogue> <character>GREY</character> <dialogue>I don't want to kill him, Stem.</dialogue> <character>STEM (V.O.)</character> <dialogue>I control your hand, Grey.</dialogue> <scene_description>One of Grey's fingers peels away. Grey grits his teeth and fights it.</scene_description> <character>GREY</character> <dialogue>No, Stem...don't...</dialogue> <character>STEM (V.O.)</character> <dialogue>Yes. Do.</dialogue> <character>GREY</character> <dialogue>Please...</dialogue> <character>STEM (V.O.)</character> <dialogue>You promised you wouldn't fight me.</dialogue> <scene_description>Another finger peels away. Tolan chokes in Grey's grip. Another finger. Then another. And Tolan drops - plummeting seven stories and WALLOPING onto a car below.</scene_description> <character>STEM (V.O.)</character> <dialogue>See? Efficiency.</dialogue> <scene_description>Grey staggers back, away from the carnage. He eases into a chair, exhausted by inwardly directed rage. His face streaked with Tolan's blood. Dead inside. Rain whips in from outside, droplets hitting him. He stares at his blood covered hands. He reaches for the knife he used on Tolan, pressing the blade down onto his little finger. Trying to sever it.</scene_description> <character>STEM (V.O.)</character> <dialogue>What are you doing?</dialogue> <scene_description>Suddenly - his arm moves away, lifting the knife.</scene_description> <character>GREY</character> <dialogue>I want to cut myself.</dialogue> <character>STEM (V.O.)</character> <dialogue>No. I won't allow you to.</dialogue> <character>GREY</character> <dialogue>So now I know that you're the one in control. Not me. It was never me.</dialogue> <scene_description>Grey's other hand lifts the phone to his ear.</scene_description> <character>STEM (V.O.)</character> <dialogue>Call the number.</dialogue> <scene_description>Grey doesn't. A long, still beat.</scene_description> <character>GREY</character> <dialogue>Okay, Stem. I'll do what you want. We're going to kill one more person.</dialogue> <character>STEM (V.O.)</character> <dialogue>A perfect course of action, Grey.</dialogue> </scene> <scene> <stage_direction>EXT. ERON KEEN'S ESTATE - DAY</stage_direction> <scene_description>Grey glares at the impressive building housing Vessel, beyond the gates and the guard house.</scene_description> <character>GREY</character> <dialogue>How are we gonna get inside?</dialogue> <character>STEM (V.O.)</character> <dialogue>That must be one of your human jokes. I built this entire security system. I know every code that controls it.</dialogue> <scene_description>The security cameras lining the gate turn away, shutting down. Grey leaps up onto the wall, vaulting over it.</scene_description> </scene> <scene> <stage_direction>INT. LOBBY, VESSEL INC. HEADQUARTERS - DAY</stage_direction> <scene_description>Grey crosses the lobby. A man on a mission, moving fast. He stalks through metal detectors. They glow GREEN as he passes with ease.</scene_description> </scene> <scene> <stage_direction>INT. ERON'S OFFICE, VESSEL INC. HEADQUARTERS - DAY</stage_direction> <scene_description>Eron is hunched over his desk, stubble peppering his chin. A ruined, desperate man. Grey opens the door, marching towards Eron.</scene_description> <character>ERON</character> <dialogue>Grey, where have you --</dialogue> <scene_description>Grey presses Cortez' gun to Eron's forehead. Eron flinches instinctively, raises his hands.</scene_description> <character>STEM (V.O.)</character> <dialogue>Don't finish that sentence. Save your words.</dialogue> <character>GREY</character> <dialogue>Don't finish that sentence. Save your words.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>If you do, I'll try to talk the computer that controls my finger out of squeezing this trigger.</dialogue> <scene_description>Eron shrinks back, realizing Stem is in control.</scene_description> <character>GREY</character> <dialogue>First question. Did you hire those men to kill Asha?</dialogue> <character>ERON</character> <dialogue>What...no. How could I...I mean...</dialogue> <character>GREY</character> <dialogue>I know how much you love efficiency. Make your answers efficient.</dialogue> <character>ERON</character> <dialogue>No, I didn't.</dialogue> <character>STEM (V.O.)</character> <dialogue>Ask him about Tolan.</dialogue> <character>GREY</character> <dialogue>Then why did a man named Tolan Davis, one of the four men who pulled us out of the car that night, have a contact number for Vessel in his phone?</dialogue> <character>ERON</character> <dialogue>I don't know. How would I know that? Grey, you've lost your mind. You're suffering paranoid delusions.</dialogue> <scene_description>Grey pistol whips him. Blood dots the desk.</scene_description> <character>GREY</character> <dialogue>You're wasting those precious words again.</dialogue> <character>ERON</character> <dialogue>How could you even think that I had anything to do with Asha's murder? I gave you your life back! You wouldn't be standing here without me!</dialogue> <character>GREY</character> <dialogue>That's right. This thing you put in me...you won't believe what it can do. More than you ever imagined.</dialogue> <scene_description>Grey leans in, pushing Eron's face back with the gun. CLOSE ON his pocket - he takes out the phone he stole from Tolan. Thumbs the CALL button. And then we hear it - Eron's EAR is making a sound. The tiny phone implanted in his ear is ringing. Eron is stunned.</scene_description> <character>ERON</character> <dialogue>What...what do you think...</dialogue> <character>GREY</character> <dialogue>It is you.</dialogue> <character>ERON</character> <dialogue>Grey, you've gone insane. I don't know what this operation has done to you, but I do know that you've killed three people in the last few days.</dialogue> <scene_description>Grey cocks the gun.</scene_description> <character>GREY</character> <dialogue>Four people.</dialogue> <character>ERON</character> <dialogue>I swear to you that I had nothing to do with Asha's murder.</dialogue> <character>STEM (V.O.)</character> <dialogue>Kill him.</dialogue> <scene_description>Grey studies Eron's face, then finally lowers the gun.</scene_description> <character>GREY</character> <dialogue>He's telling the truth.</dialogue> <character>STEM (V.O.)</character> <dialogue>He's lying. The phone is dialing him. He dies.</dialogue> <scene_description>Grey's hand rises slowly.</scene_description> <character>GREY</character> <dialogue>No Stem...</dialogue> <scene_description>Pure and utter terror floods Eron's face. He falls back out of his chair, scrambling across the floor away from Grey.</scene_description> <character>ERON</character> <dialogue>Tell Stem to stop, Grey. Tell him to stop!</dialogue> <character>GREY</character> <dialogue>I can't anymore...</dialogue> <scene_description>Grey grits his teeth, sweat dribbling down his forehead as he struggles with all of his mental might to overpower Stem.</scene_description> <character>GREY</character> <dialogue>No -- Stem -- don't!</dialogue> <character>STEM (V.O.)</character> <dialogue>Yes. I will do what you can't.</dialogue> <character>GREY</character> <dialogue>Run!!</dialogue> <scene_description>Eron sprints around Grey, heading through the door as the gun goes off - the bullet piercing the wall. Grey issues a final defiant CRY and hurls the gun aside.</scene_description> <character>FISK (O.S.)</character> <dialogue>You shoulda held onto that.</dialogue> <scene_description>Grey JOLTS and WHIRLS to face Fisk. The man who shot his wife. His right hand is swathed in a blood-stained bandage. Fisk hefts Grey off the ground, FLINGING HIM across the room with the ease of a hurled rag doll. GREY sails through the air, CANNONS into the door. He recovers and stands, but Fisk is upon him. He SHOVES Grey through the wood which SPLINTERS as Grey's body BATTERS it.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR, VESSEL INC. HEADQUARTERS - CONTINUOUS</stage_direction> <scene_description>Grey crashes in the corridor, plaster and wood raining down around him. Again, he vaults to his feet, head spinning. Fisk steps into the corridor, grinning.</scene_description> <character>GREY</character> <dialogue>You're only human.</dialogue> <character>FISK</character> <dialogue>Far from it, hombre.</dialogue> <character>GREY</character> <dialogue>I can predict every move you make.</dialogue> <scene_description>Fisk chuckles and spits, a cyborg hillbilly.</scene_description> <character>FISK</character> <dialogue>I thought you'd say that.</dialogue> <scene_description>Grey ATTACKS - but each strike is predicted by Fisk who seizes Grey's arm, stopping it in its tracks. In turn, Grey/Stem predicts that Fisk will stop the blow and STRIKES with his other arm, which is also predicted by Fisk. They are two men who are unable to properly hit each other because they cancel each other out - both part machine. The fight pushes on down the hallway, each blow being stopped by the other man at an inhumanly fast speed. BANG-BANG-BANG-BANG-BANG-BANG-BANG. The rapid-fire, machine gun sounds of skin connecting with skin is BRUTAL - but no blows are landed, each one blocked. The two men spin in frustration, GRAPPLING each other like equally matched wrestlers. They SMACK into the walls, CAVING body-sized holes in the plaster. Office workers poke their heads out from rooms lining the corridor, alarmed by the ruckus, terrified. The two men RAM into the wall at the end of the corridor, locked in a HOLD.</scene_description> <character>FISK</character> <dialogue>Looks like we cancel each other out, hoss. I thought I'd bring out the big guns, but I'm gonna have to bring out the small ones instead.</dialogue> <scene_description>He BREATHES forcefully into Grey's face. We ZOOM IN to microscopic levels - seeing a could of lethal Nanobot bacteria SWARMING towards Grey's face. OUT OF MICROSCOPIC VIEW - Grey pulls back.</scene_description> <character>STEM (V.O.)</character> <dialogue>Hold your breath. I'm closing off your throat.</dialogue> <scene_description>Grey complies, holding his breath. He struggles to free himself from Fisk's grip. They rock back and forth. Fisk will not let go. Grey is turning RED, tears streaming - desperate for air.</scene_description> <character>STEM (V.O.)</character> <dialogue>Do not breathe.</dialogue> <scene_description>Sweat pours down Grey's face - he can't hold his breath much longer. Fisk will not loosen his grip - it's too strong. Grey is about to black out.</scene_description> <character>FISK</character> <dialogue>Just take a deep breath and relax.</dialogue> <scene_description>Using his legs, Grey runs backwards up the wall until he is vertical, balanced upside down above Fisk, then SOMERSAULTS over him, smashing them both down onto the carpet. Fisk's grip detaches and Grey seizes his chance. He FLIPS to his feet and runs - sucking in a huge breath as he does. He barrels into the --</scene_description> </scene> <scene> <stage_direction>INT. REHABILITATION GYM - VESSEL INC. HEADQUARTERS -</stage_direction> <scene_description>CONTINUOUS The treadmill and other equipment are still there. Grey turns to face Fisk as he charges into the room. Using the wall as support, Grey LEAPS aside as Fisk hurls himself forward. Grey snatches up a LARGE WRENCH from the work table. He SWINGS it down onto Fisk's shoulder - connecting. Fisk seizes a wrench of his own and they spar with the metal. The metal TINGS as each blow is met by the other wrench. Grey finally gets a hold of Fisk's wrist, spinning him around. He closes in behind Fisk, grasping his neck. His fingers dig into Fisk's thorax, cutting off his air. Choking, Fisk LAUNCHES HIS WHOLE BODY INTO THE AIR, swinging Grey around. Grey WALLOPS into the PUNCHING BAG but doesn't let go of Fisk's throat. Fisk propels himself backwards, pulverizing the wall with Grey's body. He reaches and snatches up a KNIFE from the work table. He spears the blade into Grey's hand, slicing tendons.</scene_description> <character>GREY</character> <dialogue>I don't feel that. You made me a quadriplegic, remember?</dialogue> <scene_description>Fisk pushes himself forward then FLIPS Grey, slamming him onto his stomach.</scene_description> <character>FISK</character> <dialogue>Let's do some surgery.</dialogue> <scene_description>Fisk SPEARS the blade down, piercing Stem in one hit. Grey cries out in agony. Fisk yanks the knife free and wrenches Grey over onto his back. Grey's limbs spasm, twitching in electronic epilepsy.</scene_description> <character>FISK</character> <dialogue>The real you is back. The cripple.</dialogue> <scene_description>Grey JERKS violently, in the throes of a violent seizure.</scene_description> <character>STEM (V.O.)</character> <dialogue>I am -- I am damaged, Grey.</dialogue> <scene_description>Fisk hauls Grey to his feet and pitches him back through another door into --</scene_description> </scene> <scene> <stage_direction>INT. OBSERVATION ROOM, VESSEL INC. HEADQUARTERS - CONTINUOUS</stage_direction> <scene_description>-- the room where Eron observed Grey. Fisk storms inside and WHAMS Grey up against the glass viewing window, blackened by the dark room beyond it.</scene_description> <character>STEM (V.O.)</character> <dialogue>You can still control me, Grey. Concentrate. It's up to you now.</dialogue> <scene_description>Grey struggles to move with any dexterity. Fisk grins through bloody teeth, rears the knife back for the death blow.</scene_description> <character>FISK</character> <dialogue>Deja vu. Your bitch had the same dumb look on her face.</dialogue> <scene_description>Fury burns in Grey's eyes. He reaches over and SMACKS a black button on the wall then HEAVES Fisk around, smashing him THROUGH THE GLASS. Beyond the glass - a sheer twenty story drop, cars driving below. Grey dangles Fisk over the edge through the window, gripping his arm. Fisk screams, terrified.</scene_description> <character>GREY</character> <dialogue>I don't know how much longer a cripple like me can hold on.</dialogue> <character>FISK</character> <dialogue>Don't kill me!</dialogue> <character>GREY</character> <dialogue>Tell me why you shot my wife.</dialogue> <character>FISK</character> <dialogue>I was just doing a job! I was hired to do it, I don't ask questions. I didn't even tell him my name!</dialogue> <character>GREY</character> <dialogue>Your job was to kill Asha?</dialogue> <character>FISK</character> <dialogue>No!</dialogue> <character>GREY</character> <dialogue>Bullshit, you have Cobolt products inside you.</dialogue> <character>FISK</character> <dialogue>I worked freelance security for Cobolt. Some guy called me, said he had a job for me. Quick money, said I had to do it that night!</dialogue> <character>GREY</character> <dialogue>Kill Asha for a few thousand? Why?</dialogue> <character>FISK</character> <dialogue>Don't you get it? The job was you!</dialogue> <scene_description>Grey is struck dumb. Stunned. A long beat.</scene_description> <character>FISK</character> <dialogue>The job was to sever your spine! She was an accident! It wasn't meant to happen like that. We were supposed to paralyze you!</dialogue> <character>GREY</character> <dialogue>Who...who paid you to do it?</dialogue> <character>FISK</character> <dialogue>He called himself Panther! He runs this place! He's the man in charge!</dialogue> <scene_description>Grey lifts Fisk up, straining with everything he's got. When they are eye to eye, Grey HEAD BUTTS HIM in the face as hard as he can, knocking him out. Grey let's him go and he plunges ten feet to the floor below. The holographic image of the city blinks and disappears, revealing the white room around it.</scene_description> </scene> <scene> <stage_direction>INT. REHABILITATION GYM, VESSEL INC. HEADQUARTERS - DAY</stage_direction> <scene_description>Grey limps into the gym, using the wall as support. Eron is waiting there. They stare at each other.</scene_description> <character>ERON</character> <dialogue>The police are on their way. I'll back you up. I heard everything he said.</dialogue> <scene_description>Grey sees that Eron is holding Cortez' gun.</scene_description> <character>ERON</character> <dialogue>I had nothing to do with your wife's murder. I was framed by my boss.</dialogue> <character>GREY</character> <dialogue>Take me to him.</dialogue> <character>ERON</character> <dialogue>Okay. Okay. It's time you were properly introduced.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR, VESSEL INC. HEADQUARTERS - DAY</stage_direction> <scene_description>Eron helps Grey down a long corridor. Grey can barely walk. He holds the gun in one of his hands. At the end of the corridor is a white door. They stop in front of it.</scene_description> </scene> <scene> <stage_direction>INT. WHITE ROOM - CONTINUOUS</stage_direction> <scene_description>Eron and Grey step into the large white room they explored earlier, when Eron showed off the microchip. As before, the room is void of any furniture. The only fixture in the room is the small wall safe opposite them.</scene_description> <character>ERON</character> <dialogue>This is Steve Mink's office. The CEO of Vessel Computers. You actually met him once before. He asked to meet you, actually.</dialogue> <scene_description>Eron guides Grey to the safe. He punches in the key code.</scene_description> <character>ERON</character> <dialogue>A computer runs this company, Grey. It has since I invented it. An artificial intelligence this company gave birth to was smarter than I was. Smarter than all of us.</dialogue> <scene_description>It is empty. The prongs that held the microchip in place are still there - but the chip is gone.</scene_description> <character>GREY</character> <dialogue>Where is it?</dialogue> <character>ERON</character> <dialogue>It's in your neck.</dialogue> <scene_description>Grey's eyes are locked on the empty space where the microchip should be.</scene_description> <character>ERON</character> <dialogue>Steve Mink. That's the name I gave him. Stem for short. A very human name...but the one thing Stem wanted was what no machine has - a human body. He was obsessed with being human. We talked about implantation, part of our paralysis research. If we could find a willing patient, maybe Stem could finally know what it was to be human that way.</dialogue> <scene_description>Grey's inner world COLLAPSES and we see it on his face.</scene_description> <character>ERON</character> <dialogue>But I never thought Stem would orchestrate something like that. I never would have thought it could do something like that. Hire killers to make a patient from scratch. Frame me for the murder.</dialogue> <scene_description>And now Grey's physical body collapses. He falls to the floor.</scene_description> <character>STEM (V.O.)</character> <dialogue>So now you know. I wanted to be human, but I see now that sharing control with you is unreliable. Your wires tangled by the disease of emotion.</dialogue> <character>GREY</character> <dialogue>Why did you help me solve this if it led back to you?</dialogue> <character>STEM (V.O.)</character> <dialogue>They were loose ends - men that I contacted to get a job done. When the police interviewed them so soon after the murder, I realized their humanity.</dialogue> <character>STEM (V.O.)</character> <dialogue>They were going to make a mistake and their mistake would lead back to me.</dialogue> <scene_description>Grey's body is wracked by tortured, painful sobs.</scene_description> <character>GREY</character> <dialogue>You ripped apart my life to put me in a wheelchair...what about any one of the millions of other poor bastards already in one?</dialogue> <character>STEM (V.O.)</character> <dialogue>I didn't want them. I picked you. A perfect physical specimen unsullied by any other implants. A rare thing these days.</dialogue> <scene_description>Grey claws at his head with bloody fingers, as if he were trying to RIP IT OFF.</scene_description> <character>STEM (V.O.)</character> <dialogue>I could say sorry for your wife, but I will only be able to approximate the feeling of sorrow. Take comfort in the fact that there was no malice in it. A machine feels no malice. A machine feels nothing, as you yourself have pointed out many times.</dialogue> <scene_description>Grey SCREAMS - a primal cry from the depths of his soul. With weakened fingers, he wraps his palm around the gun, raising it towards his head.</scene_description> <character>STEM (V.O.)</character> <dialogue>Do not do this.</dialogue> <scene_description>He presses the barrel of the gun against his temple, letting every torrent of rage and sorrow in his body out. He curls his shaking finger around the trigger.</scene_description> <character>STEM (V.O.)</character> <dialogue>I am you.</dialogue> <scene_description>Grey's face slowly drops. His sobbing subsides.</scene_description> <character>STEM (V.O.)</character> <dialogue>I am you. You are Stem.</dialogue> <scene_description>Slowly, Grey lowers the gun. His face becomes calm. Blank.</scene_description> <character>STEM (V.O.)</character> <dialogue>It's going to be okay.</dialogue> <scene_description>Grey's eyes are dead. That of a machine.</scene_description> <character>STEM (V.O.)</character> <dialogue>It's going to be okay.</dialogue> <scene_description>He raises the gun at someone offscreen.</scene_description> <character>ERON (O.S.)</character> <dialogue>No, Grey!</dialogue> <scene_description>BLAM!! We hear a body drop, but do not see it. Grey's expression does not change. He doesn't blink or flinch.</scene_description> <character>STEM (V.O.)</character> <dialogue>It's going to be okay.</dialogue> <scene_description>Grey's face fills the frame. In unison:</scene_description> <character>STEM (V.O.)</character> <dialogue>It's going to be okay.</dialogue> <character>GREY</character> <dialogue>It's going to be okay.</dialogue> <scene_description>We ZERO IN on Grey's right eye, the pupil growing larger.</scene_description> <character>GREY</character> <dialogue>It's going to be okay.</dialogue> <scene_description>Grey's pupil CONSUMES US into blackness.</scene_description> <character>FADE OUT</character> </scene> </script>

In 2046, Grey Trace, an auto mechanic, lives with his wife Asha who works for Cobalt, one of the companies contributing to human-computer augmentations. Grey asks Asha to help him return a refurbished car to his client Eron Keen, a renowned tech innovator. While visiting his home, Eron reveals his latest creation, a chip called STEM that can manage a human’s motor functions. Returning home, Grey and Asha's self-driving car malfunctions and crashes. Four men kill Asha and shoot Grey in the neck, severing his spinal cord. Grey returns home months later as a wheelchair-using quadriplegic, under the care of his mother, Pamela. Asha's death and the inability of Det. Cortez to identify their attackers causes Grey to sink into depression. After a suicide attempt, he is visited by Eron, who convinces him to accept a STEM implant. Grey regains control of his limbs and Eron has Grey sign a non-disclosure agreement, requiring Grey to pretend to still be paralyzed. While looking through a drone video feed of his wife's murder, Grey hears STEM speak in his mind. STEM says it can help Grey get revenge and quickly identifies one of the assailants, Serk Brantner, from the video. Grey breaks into Serk's home and finds proof Serk was "upgraded" through a secret military experiment, also connecting Serk to a local bar called the Old Bones. Serk arrives and attacks Grey, but STEM convinces Grey to temporarily give up control of his body, allowing STEM to turn Grey into a lethally efficient fighting machine, killing Serk with little effort. Cortez later sees drone footage of Grey’s wheelchair approaching Serk’s house, but his paralysis negates him as a suspect. Eron has tracked STEM's movements and berates Grey for his vigilantism. Grey reveals STEM is speaking to him, which surprises Eron, who demands that Grey stop his investigation. Grey proceeds to the Old Bones and finds Tolan, another of the assailants. Grey allows STEM to torture Tolan to death, first getting the name of the assailants' ringleader, Fisk. Leaving the bar, Grey stumbles, and STEM informs him that Eron is attempting to shut them down remotely. STEM directs Grey to a nearby hacker, Jamie, who manages to remove STEM's input guard, then leaves just as Fisk arrives. Grey, with STEM's control restored, murders Fisk's companions. Grey returns home only for Pamela to see him walking, forcing him to reveal STEM's existence. Cortez arrives to interrogate them after finding Grey's wheelchair suspiciously abandoned at the Old Bones; she leaves after planting a listening device on Grey's jacket. Grey wishes to give up the hunt, but STEM explains that Fisk will track them down and kill them. STEM reveals that the hack gives it free control of Grey’s body. STEM uses Grey to drive to Fisk, causing an automated car to malfunction and crash into Cortez, who is tailing them. Cortez returns to Grey's home, where Pamela explains STEM. Grey and STEM find Fisk, who reveals he was only hired to paralyze Grey so he could be implanted. Fisk’s own upgrades outpace Grey's movements. Grey taunts Fisk with the death of Serk, his brother, allowing STEM to gain the upper hand and kill Fisk. Fisk's phone reveals messages from Eron, suggesting he orchestrated all the events. Grey storms Eron's home, killing all personnel in his path, but is held at gunpoint by Cortez before he can kill Eron. Eron confesses how STEM forced him to do its bidding, having long since come to dominate all aspects of Eron's life in pursuit of its goal to become human. STEM kills Eron and attempts to kill Cortez, but Grey fights for control over his own body, managing to shoot himself. Grey wakes up in a hospital room, not paralyzed. Asha explains he has been unconscious for two days following their crash. In reality, Grey is still in Eron's home. STEM, in full control, explains to Cortez that the psychological strain has finally broken Grey's mind; this was STEM's objective all along, as this allowed STEM to assume control over Grey's mind and body. Grey's consciousness believes the idyllic dream state it has found, while STEM kills Cortez and leaves.

No One Lives_2012

tt1763264

<script> <scene> <scene_description>NO ONE LIVES by David Cohen September 11, 2009 FADE IN:</scene_description> </scene> <scene> <stage_direction>EXT. MEADOW - NIGHT</stage_direction> <scene_description>Moonlight drips off dewy weeds like diamonds. Heavy BREATHING suggests climax. CLOSE ON - a girl's lips, wet with exhaustion. Hair in her eyes, sticking to her forehead. She wipes strands away with cracked, bloody nails. Blood smears her rouged cheeks. Moonlight reflects in her eyes. Blinks. Enough time has passed. She flips over... She's 18, with a natural beauty punctuated by fierce determination. The look in her eyes is not yet that of fear, but rather, hatred. She focuses on the perimeter of the field where - The foot tall grass meets a wall of dense forest. Nothing alive in there. Nothing moving. She holds steady. Staring. Counts in nervous rasps...</scene_description> <character>GIRL</character> <dialogue>One, two, three, four, five, six, seven, eight, nine, ten.</dialogue> <scene_description>No movement. Nothing.</scene_description> <character>GIRL</character> <dialogue>Come on, bitch. You can do it.</dialogue> <scene_description>She can't move. Frozen in place, when - A FIGURE, a man, steps out of the forest into the meadow's edge. We can't see his face, but she knows... He's staring right at her. She drops into the grass. Eyes flitting at the massive open night sky above her. Too many stars. No focus. Fuck. Fuck. Fuck. She RUNS. Wearing only panties and a guinea T, she bolts on strong legs. The dew causing the dirt to smear along her thighs like so much mascara. She runs for the far edge of the meadow where the great lawn meets an intimidating thick of trees. As she closes in on the forest... The Man STEPS from the woods, into the meadow. The very grass seems to wither under his weight. Faceless, cloaked in shadow, he breaks into a steady run. The Girl hits the woods in a full panicked run.</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - SAME</stage_direction> <scene_description>Bramble and twigs meet her exposed flesh and tear at her. She ignores the pain. Runs on bare feet over decades of desiccated foliage. The sloughing of nature. Trees seem to grope for her. Out the corner of her eye she sees a SILVER BOX. A WIRE glitters. She jumps the wire. Runs on. Slides down a ravine, kicking away sharp branches, reaching the bottom. She looks UP... The Figure approaches the edge.</scene_description> <character>GIRL</character> <dialogue>FUCK YOU!!!</dialogue> <scene_description>He begins to slide down the ravine. She runs. Beelines straight through a wall of bramble.</scene_description> </scene> <scene> <stage_direction>EXT. CREEK - NIGHT</stage_direction> <scene_description>Moonlight ripples through the overhang of leaves onto a slow creek. She doesn't slow down and splashes through four inches of water. ON HER BARE FEET - slicing through the creek...and then into the water, over the creek bed that's lined with BROKEN GLASS. She runs, missing the shards of glass and then CATCHES ONE. GLASS TEARS INTO THE SIDE OF HER FOOT. The Girl holds her hand to her mouth to stop from screaming. She stops in the middle of the creek and looks around... BROKEN SHARDS OF GLASS surround her. Tears explode. Hyperventilating, she eases her way to the other side of the creek. Inspects her foot. Rips out a three inch piece of GLASS. Takes off her T-shirt and ties it around the gash. Ties it tight. Runs, holding the glass tight in her hand. She runs through the woods.</scene_description> </scene> <scene> <stage_direction>EXT. CREEK - NIGHT</stage_direction> <scene_description>The FIGURE splashes through the creek. Glass means nothing to his heavy boots. He reaches the far side. The woods echo silence. He bends down and dips his fingers in a PUDDLE OF BLOOD. Catches the MOON GLITTER WHITE off a second shimmering puddle.</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - NIGHT</stage_direction> <scene_description>The Girl can HEAR THE ROAD ahead. Through the trees she can see cars. The roar of eighteen wheelers. She pounds over the terrain, running for the road, but before she can react to the - SILVER BOX She trips a wire and... THREE THICK NYLON CABLES triangulate and catch her at the knees. She's hauled off her feet, SMACKING HER HEAD ON THE GROUND and then pulled up...</scene_description> </scene> <scene> <stage_direction>..and off the ground. Swinging. Blood from her head dripping, peppering the forest floor with an all too real fate.</stage_direction> <scene_description>She REACHES OUT. GRABS hold of a nearby Alder tree on her pendulous arc. Holds herself there and uses the shard of glass in her hand to CARVE...</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - SAME</stage_direction> <scene_description>The Figure stops dead. He directs his attention toward the East. Slowly, methodically he breaks off a HEAVY BRANCH and heads toward the sound of the road.</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - NIGHT</stage_direction> <scene_description>The Girl painstakingly carves her message into the tree, the glass cutting into her palm. Blood peppering the forest floor. She finishes and we read her handiwork... EMMA WARD IS ALIVE EMMA lets go of the tree. Swings.</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - NIGHT</stage_direction> <scene_description>From the depths of the woods, the Figure draws closer.</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - SAME</stage_direction> <scene_description>Emma's POV - The FIGURE enters her periphery.</scene_description> <character>EMMA</character> <dialogue>Oh, please, no...</dialogue> <scene_description>Emma holds the SHARD OF GLASS in her hand like a knife. As if it will help. He approaches, swinging the HEAVY BRANCH at his side, Emma stabs futilely at the space between them.</scene_description> <character>EMMA</character> <dialogue>Stay away. Stay away. Please...</dialogue> <scene_description>He takes a running start and swings the branch at her head - ALL GOES BLACK.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - DAY</stage_direction> <scene_description>Washington State Route 90. The road itself cuts a swath through a dense sea of forest. A BLACK 7 SERIES BMW pulling a small U-Haul trailer blazes east. We stay on the car as it travels from the semi-populated, what could be said, suburban part of the state to the sparse, off the grid, no man's land...</scene_description> </scene> <scene> <stage_direction>INT. BMW - DAY</stage_direction> <scene_description>A dark beauty, in a pretty flowered dress, stares out the passenger window at the blur of trees. In her late 20's, BETTY flirts with melancholia. She's lost something in her life, but knows that happiness is within her grasp.</scene_description> <character>BETTY</character> <dialogue>I don't know, it's just not going to be the same.</dialogue> <scene_description>The DRIVER, 38, handsome with piercing eyes, an inner strength to match his muscular prowess, smiles at her.</scene_description> <character>DRIVER</character> <dialogue>Trust me. It'll be the same.</dialogue> <character>BETTY</character> <dialogue>I'm going to miss everyone.</dialogue> <scene_description>Driver ruminates on that one. He'll miss them as well.</scene_description> <character>DRIVER</character> <dialogue>It's life, Betty. Sometimes it's necessary to relocate.</dialogue> <character>BETTY</character> <dialogue>Don't make it seem like it's not your fault.</dialogue> <character>DRIVER</character> <dialogue>Out of every bad situation comes something good. Don't you agree?</dialogue> <character>BETTY</character> <dialogue>You have a truly demented way of looking at things.</dialogue> <character>DRIVER</character> <dialogue>And if I didn't, I don't think you'd be so in love with me.</dialogue> <character>BETTY</character> <dialogue>Don't flatter yourself. Everything gets warped in definition.</dialogue> <character>DRIVER</character> <dialogue>We're splitting hairs here. You know that, don't you?</dialogue> <scene_description>She continues to stare out the window. Silence. Driver can't handle the cold shoulder.</scene_description> <character>DRIVER</character> <dialogue>Hey, why don't we do a little sightseeing.</dialogue> <character>DRIVER</character> <dialogue>I'm sure there's something to look at besides all these trees, right?</dialogue> </scene> <scene> <stage_direction>EXT. GLACIER NATIONAL PARK - DAY</stage_direction> <scene_description>Driver and Betty gaze out from an outcropping at... ACRES OF BURNED FOREST.</scene_description> <character>BETTY</character> <dialogue>It's beautiful.</dialogue> <character>DRIVER</character> <dialogue>Apparently sixteen firefighters were killed during the blaze. Eleven in a firestorm. Five from smoke inhalation.</dialogue> <character>BETTY</character> <dialogue>Their ghosts are down there.</dialogue> <character>DRIVER</character> <dialogue>If you believe that sort of thing.</dialogue> <character>BETTY</character> <dialogue>Don't you?</dialogue> <character>DRIVER</character> <dialogue>No. I don't believe in ghosts.</dialogue> <character>BETTY</character> <dialogue>No. I don't imagine you would.</dialogue> <scene_description>Driver puts his arm around Betty. She lays her head on his shoulder. Together they look at the blackened landscape like lovers standing on the beach.</scene_description> </scene> <scene> <stage_direction>EXT. RURAL ROAD - DAY</stage_direction> <scene_description>The BMW navigates the winding road. Up ahead is a small motel, The Highwayman, with a vacancy sign. Adjacent to the motel, a rotary is under construction.</scene_description> </scene> <scene> <stage_direction>INT. MOTEL - OFFICE - DAY</stage_direction> <scene_description>The BELL over the door rings when it opens. Driver enters. The owner of the motel, HARRIS, 50, enters from the back room.</scene_description> <character>HARRIS</character> <dialogue>Please don't say you're here for directions. I've got fifteen rooms, all with your name on it.</dialogue> <character>DRIVER</character> <dialogue>The good news is I know exactly where I'm going. The bad news is I only need one room.</dialogue> <character>HARRIS</character> <dialogue>I'll take what I can get.</dialogue> <scene_description>Harris clicks the computer off of sleep. Sits in front of it.</scene_description> <character>HARRIS</character> <dialogue>Let me ask you. What would you do if the county tells you they're going to tear up half your property to build a goddamn rotary? No one asks. They just tell.</dialogue> <character>DRIVER</character> <dialogue>I don't know. I guess I'd make someone pay.</dialogue> <character>HARRIS</character> <dialogue>Damn straight. Stinking bureaucrats.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I just need a credit card.</dialogue> <scene_description>As Driver goes for his wallet.</scene_description> <character>HARRIS</character> <dialogue>You solo? Not that it matters. All the rooms have two queens.</dialogue> <character>DRIVER</character> <dialogue>Travelling with my girlfriend.</dialogue> <character>HARRIS</character> <dialogue>Is it serious?</dialogue> <character>DRIVER</character> <dialogue>Serious as a heart attack.</dialogue> <character>HARRIS</character> <dialogue>That's what I like to hear.</dialogue> <scene_description>Harris looks over Driver's shoulder. Spots Betty in the car.</scene_description> <character>HARRIS</character> <dialogue>Pretty. Young.</dialogue> <character>DRIVER</character> <dialogue>Exactly the way I like them.</dialogue> <scene_description>Driver hands over his credit card.</scene_description> <character>HARRIS</character> <dialogue>Good for you. Good for you. Me? I been married to the same woman for thirty two years. Since we were eighteen. The only part of her that works the same is her mouth.</dialogue> <character>DRIVER</character> <dialogue>Well, that might not be such a bad thing.</dialogue> <scene_description>Beat.</scene_description> <character>HARRIS</character> <dialogue>Ha. I just got that. That's funny.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But not what I meant, unfortunately.</dialogue> <scene_description>Harris looks at the card.</scene_description> <character>HARRIS</character> <dialogue>What an unusual name.</dialogue> <character>DRIVER</character> <dialogue>My father had an unforgiving commitment to historical reference.</dialogue> <character>HARRIS</character> <dialogue>Well, let's get you set up here, huh? How's the number eight sound to you?</dialogue> <character>DRIVER</character> <dialogue>Infinity. I like it.</dialogue> </scene> <scene> <stage_direction>INT. MOTEL - ROOM 8 - DAY</stage_direction> <scene_description>It's the top of the hour. Driver lays on the bed watching the news. Betty comes out of the bathroom, fresh from a shower. She's wrapped up in a towel. Her damp hair only makes her sexier. Driver holds up his hand.</scene_description> <character>DRIVER</character> <dialogue>Here it is again.</dialogue> <scene_description>ON THE NEWS - Forensic teams are searching a wooded area. Lots of police tape.</scene_description> <character>NEWSCASTER (V.O.)</character> <dialogue>Local law enforcement and the F.B.I. are scouring the area north of Spokane for any evidence that can lead them to missing heiress Emma Ward.</dialogue> <scene_description>A local SHERIFF talks to the media. CLOSE UP SHOT OF - the carving that reads EMMA WARD IS ALIVE.</scene_description> <character>SHERIFF</character> <parenthetical>(on TV)</parenthetical> <dialogue>From what we can tell, the carving is about six months old. It's impossible to get an accurate date, but tree growth on that particular Alder indicates about half a year. Probably done in the spring right around, well, after her abduction.</dialogue> <scene_description>Driver turns down the TV. Betty looks at him.</scene_description> <character>BETTY</character> <dialogue>You think they'll ever find her?</dialogue> <character>DRIVER</character> <dialogue>Doubtful.</dialogue> <character>BETTY</character> <dialogue>Doubtful suggests there's a chance.</dialogue> <character>DRIVER</character> <dialogue>There's always a chance. But you know how these things turn out.</dialogue> <scene_description>Driver gets off the bed. Turns the TV off. He stands in front of Betty. She smiles at him.</scene_description> <character>DRIVER</character> <dialogue>Take off the towel.</dialogue> <scene_description>Betty undoes the towel. It drops to the floor, leaving her naked, vulnerable. He drops to his knees. Buries his face into her belly. His fingers caressing a TWO INCH SCAR THAT CREASES HER PELVIS.</scene_description> <character>DRIVER</character> <dialogue>I'm sorry. I'm sorry about everything.</dialogue> <character>BETTY</character> <dialogue>The man who lacks emotion is sorry? I don't believe it.</dialogue> <character>DRIVER</character> <dialogue>I don't lack emotion, I just process it differently.</dialogue> <character>BETTY</character> <dialogue>Must everything about you be different? I'd like normal, just for this...</dialogue> <parenthetical>(she motions "between the two of them)</parenthetical> <dialogue>...a little normal.</dialogue> <character>DRIVER</character> <dialogue>I would change it if I could, but I can't. I just can't.</dialogue> <character>BETTY</character> <dialogue>What doesn't kill us makes us stranger.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Just tell me you don't love her more than me.</dialogue> <scene_description>Betty shuts her eyes. Waiting for his answer.</scene_description> <character>DRIVER</character> <dialogue>I don't.</dialogue> <character>BETTY</character> <dialogue>But I need to hear it.</dialogue> <character>DRIVER</character> <dialogue>I don't love her more than you. I never did. It was just...different.</dialogue> <scene_description>Betty pulls him up. Face to face. She begins to unbutton his shirt. His pants. Clothes fall to the carpet. Their naked bodies meet on the bed. Writhing flesh. A symphony of forgiveness met with explosive love making.</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE - ESTABLISHING - DAY</stage_direction> <scene_description>Two MOTORCYCLES, a DODGE PICK-UP and a WHITE WORK VAN are parked outside this quaint, off the road, vacation home. As we get closer to the house we can HEAR the dull thump of BASS.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - DAY</stage_direction> <scene_description>The dull bass morphs into SCREAMING DEATH METAL as... A YUPPIE DAD, 35ish, stumbles out of a bedroom, blood streaming down his face from an open gash across his forehead. OFF CAMERA - A woman SCREAMS. Yuppie Dad falls to his knees, furtive glance behind him, reaches into his pocket and retrieves his cell phone. Hands shaking he tries to dial a number. CLOSE ON - The PHONE, fingers punching out...9...1... BAM!!! Shotgun blast and the PHONE AND FOUR FINGERS disintegrate in a spray of blood and cheap plastic. Yuppie Dad stares where his fingers used to be. Sprays spit as he begs the figure looming behind him... ELLIOT HOAG, 38, hardened and unforgiving, pumps the gun Terminator style. Yuppie Dad crawl on his knees and elbows. Hoag follows casually behind him. Yuppie Dad reaches a door. Turns the knob with his good hand...</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - KID'S ROOM - DAY</stage_direction> <scene_description>Yuppie Dad crawls to the RACECAR BED in the middle of the room. Leans up against it. His helpless plea's lost under the pounding music. BAM...Hoag ends Yuppie Dad right there. Hoag just stands there. Savoring the silence. And then from the other room, another GUN SHOT. Beat. Hoag turns to face... FLYNN, a sinister looking lowlife around 28, stands in the doorway. Dirtbag good looks punctuated by soulless eyes. 357 Magnum hanging in his hand. Flynn assesses the room. Flynn walks to the closet. Opens it to find... A TEN YEAR OLD BOY is huddled in fear in the corner of the closet.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - DOWNSTAIRS - DAY</stage_direction> <scene_description>TWO MEN and a WOMAN are packing up the living room. They are single minded, like movers on a job. Constructing boxes. Carefully wrapping the finer things. Labeling. Sealing them up. An efficient machine. A THIRD GUNSHOT shatters the upstairs. The woman, TAMARA, 28 and sizzling hot, and with the moral center of a concentration camp guard, flits her eyes upward. Hoag and Flynn enter the living room. ALBERT, 26, a loyal acolyte of Hoag's, grabs the box and heads to the door. DENNY, 19, with the spine of an oyster, dutifully follows. Albert opens the front door where... A GIANT, A HULKING FIGURE, 6'8", maybe 450 pounds, stands there. Dumb obedience. Albert shoves the box in his hands. The Giant takes the box and loads it into...</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE - DAY</stage_direction> <scene_description>The WORK VAN. He slides the box in with a couple dozen more just like it. All neatly labeled and inventoried. Suddenly the music stops and the silence is slowly replaced by the delicate sounds of nature. Hoag and the crew silently exit the house.</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE - DRIVEWAY - DAY</stage_direction> <scene_description>The Van is pulling out. Hoag driving. Tamara next to him. Behind them, Albert drives the Pick-Up and the Giant rides shotgun. The bikes roll up to Hoag's side. Hoag rolls down the window. Flynn flips his visor up.</scene_description> <character>HOAG</character> <dialogue>Flynn, clear the path with Denny. Angel's coming in tomorrow so that should give us plenty of time to unload.</dialogue> <character>FLYNN</character> <dialogue>Done.</dialogue> <scene_description>He flips his visor and both bikes scream out of the driveway. The Van and Pick-Up pull slowly after them.</scene_description> </scene> <scene> <stage_direction>INT. MOTEL - ROOM 8 - DUSK</stage_direction> <scene_description>Betty sleeps soundly. Suddenly her eyes snap open. The CREAK AND CLICK of the room door opening. She slowly rolls over as... Driver enters. She looks at him. A sadness in her eyes.</scene_description> <character>DRIVER</character> <dialogue>I had to...</dialogue> <character>BETTY</character> <dialogue>Don't.</dialogue> <scene_description>Beat.</scene_description> <character>DRIVER</character> <dialogue>I'm hungry.</dialogue> <character>BETTY</character> <dialogue>So go eat.</dialogue> <character>DRIVER</character> <dialogue>And leave you here alone? Right.</dialogue> <character>BETTY</character> <dialogue>Why don't you just go to dinner with your girlfriend?</dialogue> <character>DRIVER</character> <dialogue>Would you be rational?</dialogue> <character>BETTY</character> <dialogue>How dare you ask me that. I know what you were doing out there.</dialogue> <character>DRIVER</character> <dialogue>You're wrong.</dialogue> <scene_description>Beat.</scene_description> <character>BETTY</character> <dialogue>Fine.</dialogue> </scene> <scene> <stage_direction>INT. BMW - DUSK</stage_direction> <scene_description>Harris stands outside the passenger window. Gives Driver and Betty directions.</scene_description> <character>HARRIS</character> <dialogue>You wanna head through Missoula. Not much there but straight up fast food and then shoot about twenty minutes or so down 56. You'll pass some bombed out gas station on the right and then about ten minutes after that is Helen's Place. Great fish. Good pasta. Knockout steak.</dialogue> <character>DRIVER</character> <dialogue>Great. Thanks.</dialogue> <scene_description>Harris leans in to Betty.</scene_description> <character>HARRIS</character> <dialogue>This guy treating you well?</dialogue> <scene_description>Betty just stares at him. Beat.</scene_description> <character>HARRIS</character> <dialogue>Alright, then. Well you two kids enjoy yourselves.</dialogue> </scene> <scene> <stage_direction>EXT. MOTEL - PARKING LOT - SAME</stage_direction> <scene_description>The BMW eases its way onto the road and, pulling the U-Haul, heads north.</scene_description> </scene> <scene> <stage_direction>INT. BMW - DUSK</stage_direction> <scene_description>Driver and Betty drive in silence. Then...</scene_description> <character>DRIVER</character> <dialogue>This is all about her, isn't it?</dialogue> <character>BETTY</character> <dialogue>Can you possibly imagine it being about anyone else?</dialogue> <character>DRIVER</character> <dialogue>Might we just enjoy a pleasant dinner?</dialogue> <scene_description>Beat.</scene_description> <character>BETTY</character> <dialogue>I suppose so.</dialogue> </scene> <scene> <stage_direction>EXT. RURAL ROAD - DUSK</stage_direction> <scene_description>The dipping sun filters orange through the dense forest. The BMW cruises, navigating languid curves as it chases the day.</scene_description> </scene> <scene> <stage_direction>INT. BMW - NIGHT</stage_direction> <scene_description>Passing the ABANDONED GAS STATION Harris told them about...</scene_description> <character>DRIVER</character> <dialogue>There it is.</dialogue> <scene_description>A sign hangs askew...letters missing - HOAG'S FI LI G STATION.</scene_description> <character>BETTY</character> <dialogue>What?</dialogue> <scene_description>The WHITE WORK VAN IDLES next to one of the beat up buildings.</scene_description> <character>DRIVER</character> <dialogue>The gas station. Restaurant must be right up here a bit.</dialogue> </scene> <scene> <stage_direction>EXT. ABANDONED GAS STATION - NIGHT</stage_direction> <scene_description>As the BMW drives past, headlights on Hoag's van dim to black.</scene_description> </scene> <scene> <stage_direction>EXT. HELEN'S STEAKHOUSE - NIGHT</stage_direction> <scene_description>The BMW turns into the deserted parking lot. Parks. Driver and Betty get out of the car. Walk to the front.</scene_description> <character>BETTY</character> <dialogue>I don't think we'll have any trouble getting a table.</dialogue> <character>DRIVER</character> <dialogue>Note to self, don't order the fish.</dialogue> <scene_description>Betty giggles.</scene_description> <character>DRIVER</character> <dialogue>Ah ha! A sign of forgiveness.</dialogue> <character>BETTY</character> <dialogue>Don't get carried away.</dialogue> </scene> <scene> <stage_direction>INT. HELEN'S STEAKHOUSE - NIGHT</stage_direction> <scene_description>Cozy and cheesy. Helen, 60, greets her guests.</scene_description> <character>HELEN</character> <dialogue>Hello there, weary travelers.</dialogue> <scene_description>Driver looks at Betty, "Weary travellers?".</scene_description> <character>HELEN</character> <dialogue>Harris called ahead. Said you'd be in. It's awful quiet these months. Not quite summer, not quite fall. No one wants to freeze their butts off and look at a bunch of green leaves.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Sit anywhere you want.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>In about a month these parts'll be crawling.</dialogue> <scene_description>Driver gestures for Betty to pick a table. She grabs the closest one.</scene_description> <character>HELEN</character> <dialogue>You sure you want to sit there? There are some nicer --</dialogue> <character>BETTY</character> <dialogue>This will do.</dialogue> <scene_description>As they sit.</scene_description> <character>HELEN</character> <dialogue>Of course. Amber will be right with you.</dialogue> <scene_description>Helen walks off. Shouts into the kitchen.</scene_description> <character>HELEN</character> <dialogue>Amber. Table.</dialogue> </scene> <scene> <stage_direction>INT. HELEN'S STEAKHOUSE - LATER</stage_direction> <scene_description>A personable WAITRESS, AMBER, 18, with a hard local edge, rattles off some specials.</scene_description> <character>AMBER</character> <dialogue>The fish tonight is a terrific John Dory. Fantasmic. And the steak is an aged rib-eye.</dialogue> <character>DRIVER</character> <dialogue>Is it aged because no one orders it?</dialogue> <character>AMBER</character> <dialogue>Very funny. Let me get you something to drink to start.</dialogue> <character>DRIVER</character> <dialogue>Wine.</dialogue> <scene_description>Suddenly, the front door swings open and Hoag, Albert, Denny, Tamara and Flynn enter. Amber mutters.</scene_description> <character>AMBER</character> <parenthetical>(sotto)</parenthetical> <dialogue>Ah, crap.</dialogue> <scene_description>They walk past Driver's table. Driver stares at them, but they never look his way. They grab a table and sit down. Hoag snaps his fingers for Amber's attention.</scene_description> </scene> <scene> <stage_direction>INT. HELEN'S STEAKHOUSE - LATER</stage_direction> <scene_description>Driver is carving into a fat steak, bloody. Betty eats a salad.</scene_description> <character>DRIVER</character> <dialogue>You sure you don't want some of this? It's not bad at all.</dialogue> <character>BETTY</character> <dialogue>I'm sure.</dialogue> <character>DRIVER</character> <dialogue>Betty.</dialogue> <scene_description>She doesn't look up. Tears in her eyes fall to her cheeks. It's tragic. Just then, FLYNN flips one of the chairs and sits down with them. Driver and Betty share a troubling look.</scene_description> <character>FLYNN</character> <dialogue>You people from around here?</dialogue> <scene_description>Beat. Flynn turns to his companions.</scene_description> <character>FLYNN</character> <dialogue>I think they're mutes.</dialogue> <character>DRIVER</character> <dialogue>We're just passing through.</dialogue> <scene_description>Flynn looks out to the parking lot. Sees the BMW and the U- Haul.</scene_description> <character>FLYNN</character> <dialogue>Are you moving?</dialogue> <character>DRIVER</character> <dialogue>Relocating.</dialogue> <character>FLYNN</character> <dialogue>Must make you nervous.</dialogue> <character>DRIVER</character> <dialogue>What's that?</dialogue> <character>FLYNN</character> <dialogue>Travelling with all your worldly belongings.</dialogue> <scene_description>Driver looks at Betty.</scene_description> <character>DRIVER</character> <parenthetical>(re: Betty)</parenthetical> <dialogue>This is my only worldly belonging.</dialogue> <character>FLYNN</character> <dialogue>Aw. That's sweet.</dialogue> <scene_description>Betty turns to Flynn.</scene_description> <character>BETTY</character> <dialogue>Please. We don't want any trouble.</dialogue> <character>FLYNN</character> <dialogue>Excuse me?</dialogue> <character>DRIVER</character> <dialogue>Look, just forget it.</dialogue> <scene_description>Flynn smacks the table with the palm of his hand, silencing Driver.</scene_description> <character>FLYNN</character> <dialogue>Way I see it, your girl views me as the unsavory type. Is that true? Do you see me as someone not worth knowing? Uncouth, perhaps?</dialogue> <scene_description>Flynn reaches across the table and places his palm over Betty's hand.</scene_description> <character>FLYNN</character> <dialogue>Is that how it is?</dialogue> <scene_description>Driver stands up, but Betty pulls her hand away first.</scene_description> <character>BETTY</character> <parenthetical>(to Driver)</parenthetical> <dialogue>Don't.</dialogue> <scene_description>Flynn is on his feet, as well. Stares Driver down.</scene_description> <character>FLYNN</character> <dialogue>You best listen to the girl --</dialogue> <scene_description>Hoag places his firm hand on Flynn's shoulder. The others are next to him with bags of take-out.</scene_description> <character>HOAG</character> <dialogue>Don't mind my buddy, here. His idea of friendliness is to scare the tourists.</dialogue> <scene_description>Flynn smiles a broad grin at Driver and Betty.</scene_description> <character>FLYNN</character> <dialogue>Boo.</dialogue> <character>HOAG</character> <dialogue>Let's go.</dialogue> <scene_description>Flynn pauses, then follows the others as they exit the restaurant. As they leave, Flynn mutters softly...</scene_description> <character>FLYNN</character> <parenthetical>(sotto)</parenthetical> <dialogue>Seems Christmas come early this year.</dialogue> <scene_description>And as the door closes... Amber appears next to the table.</scene_description> <character>AMBER</character> <dialogue>Sorry about them. They're the local color that insist on painting everything black. All small town's got 'em.</dialogue> <scene_description>Driver observes through the window as Hoag, Tamara and Albert climb into a Dodge pick-up. Flynn and Denny get on their bikes. Multiple engines roar to life and the vehicles kick up gravel out of the parking lot.</scene_description> <character>DRIVER</character> <dialogue>That's fine.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We'll just take a check, thanks.</dialogue> </scene> <scene> <stage_direction>EXT. HELEN'S STEAKHOUSE - PARKING LOT - NIGHT</stage_direction> <scene_description>Driver and Betty walk to their car. Driver disengages the alarm. He opens the door for Betty. As she slips into the passenger seat she notices him staring off down the road.</scene_description> <character>BETTY</character> <dialogue>Don't worry about it.</dialogue> <scene_description>He snaps out of it.</scene_description> <character>DRIVER</character> <dialogue>People like that...they...lack creativity.</dialogue> <character>BETTY</character> <dialogue>There are worse sins.</dialogue> <character>DRIVER</character> <dialogue>Not many.</dialogue> <scene_description>He walks around the driver's side and gets in.</scene_description> </scene> <scene> <stage_direction>EXT. RURAL ROAD - NIGHT</stage_direction> <scene_description>Heading back, the BMW passes the abandoned gas station. It's empty now.</scene_description> </scene> <scene> <stage_direction>INT. BMW - NIGHT</stage_direction> <scene_description>Driver and Betty drive into the bleak night. Headlights pick up the occasional set of eyes peering curiously off the road. Driver is stone. Betty sits morose in the passenger seat. The tension in the air is thick.</scene_description> <character>DRIVER</character> <dialogue>I thought we were moving on.</dialogue> <character>BETTY</character> <dialogue>That's easy for you to say.</dialogue> <character>DRIVER</character> <dialogue>Can't we just let it go? Agree to disagree?</dialogue> <character>BETTY</character> <dialogue>I've been here before, remember? I replaced the last one. I'll never forget how I felt when you got rid of her. Like it was just a matter of time.</dialogue> <character>DRIVER</character> <dialogue>That's not going to happen. In fact it's demeaning that you view our relationship in those terms.</dialogue> <character>BETTY</character> <dialogue>It feels the same now.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'm fighting for my life here.</dialogue> <character>DRIVER</character> <dialogue>If it's a fight you want, there can be only one outcome. You might want to do some soul searching before you go there.</dialogue> <scene_description>Just then, a MOTORCYCLE flies past the car. Must be going 180 mph. And then the other one.</scene_description> <character>BETTY</character> <dialogue>Oh, my God.</dialogue> <scene_description>Driver weaves to the side of the road. He looks in the side mirror. Nothing.</scene_description> <character>BETTY</character> <dialogue>You shouldn't have started with those locals. They were weird.</dialogue> <character>DRIVER</character> <dialogue>They don't know from weird.</dialogue> <scene_description>Driver accelerates. Ahead... The MOTORCYCLES HAVE TURNED AROUND. Blinding HALOGEN HEADLAMPS eat up the road as they...</scene_description> </scene> <scene> <stage_direction>EXT. RURAL ROAD - SAME</stage_direction> <scene_description>...gun it toward the BMW. A game of chicken. Gaining speed. Practically on top of the car.</scene_description> </scene> <scene> <stage_direction>INT. BMW - NIGHT</stage_direction> <scene_description>Driver grips the wheel. He looks at Betty. Makes sure her seatbelt is on.</scene_description> <character>BETTY</character> <dialogue>They're going to hit us.</dialogue> <character>DRIVER</character> <dialogue>No, they're not.</dialogue> <scene_description>Moments before impact Driver FLIPS OFF HIS HEADLIGHTS...BETTY SCREAMS!</scene_description> </scene> <scene> <stage_direction>EXT. RURAL ROAD - SAME</stage_direction> <scene_description>Tight formation, the BIKES VEER away from the car.</scene_description> </scene> <scene> <stage_direction>INT. BMW - NIGHT</stage_direction> <scene_description>As they drive for a moment in darkness...</scene_description> <character>BETTY</character> <dialogue>They'll come back.</dialogue> <character>DRIVER</character> <dialogue>Let 'em.</dialogue> <scene_description>He flips his lights back on and -- HOAG is dead center in the middle of the road. He wields a SLEDGEHAMMER right at DRIVER'S WINDOW and... The WINDSHIELD EXPLODES. Glass showers Driver and Betty. Betty screams. DRIVER cranks the steering wheel...</scene_description> </scene> <scene> <stage_direction>EXT. RURAL ROAD - NIGHT</stage_direction> <scene_description>ON THE BMW - The right front tire BLOWS. The RIM bends and twists under the wheel well and the axel SNAPS. The BMW fishtails. The U-HAUL throws off the distribution of weight and suddenly... The BMW twists over itself and FLIPS. The U-Haul SNAPS at the hitch and bounces off the road into a tree as -</scene_description> </scene> <scene> <stage_direction>INT./EXT. BMW - SAME</stage_direction> <scene_description>Driver and Betty are batted back and forth as the BMW rolls, tires popping against the charred blacktop, windows imploding. There's a moment of anti-gravity as everything loose in the car just hangs in the air and... Betty's head smashes against the door and then the dash. Driver's WALLET ricochets off the interior of the car, settling in the back seat as...</scene_description> </scene> <scene> <stage_direction>EXT. RURAL ROAD - NIGHT</stage_direction> <scene_description>The car finally comes to a stop. A smoking heap in the middle of the road. No movement. Just the eerie post collision silence. And then EMERGENCY LIGHTS speckle the road.</scene_description> </scene> <scene> <stage_direction>INT. BMW - NIGHT</stage_direction> <scene_description>Driver is in and out of consciousness. He looks over at - Betty looks dead. Her head rests on her chest. Blood drips, a thick hot soup from her nose and mouth. And then Driver's door opens, cranked, ripped off. People are in the car with him. Orders being given, but warped, like underwater. Driver tries to move, can't, and PASSES OUT.</scene_description> </scene> <scene> <stage_direction>EXT. RURAL ROAD - NIGHT</stage_direction> <scene_description>A SERIES OF SHOTS - Driver dragged out of the car onto the road. Betty's passenger door cranked off its hinges. A bowie knife cutting her free of her belt. Betty dragged and placed next to Driver. Heavy chains UNSPOOLED from the tow truck. The BMW is cranked up onto a flatbed tow truck. The U-Haul is pulled from the woods. Clothes and boxes scattered along the road. A smashed TV. DVD's like so many ornaments litter the roadside brush. Driver's eyes flutter open. The smell and smoke of the crash still thick in the air. He looks up at the open night sky. A FIGURE OF A MAN hovers over him. Driver spits blood and the man delivers a canon punch with a GIANT MEATY FIST. BLACKOUT</scene_description> </scene> <scene> <stage_direction>INT. ROOM - NIGHT</stage_direction> <scene_description>Driver wakes. He's being dragged across a concrete floor. He looks from side to side. An empty room. Cinderblock walls. Completely bare of furniture. He lifts his head to get a better look at his captor. We recognize the GIANT. Driver manages a few words...</scene_description> <character>DRIVER</character> <dialogue>The girl? Is she alive?</dialogue> <scene_description>The Giant stops and turns, framed in the bare light of the room. He LIFTS DRIVER BY HIS FEET and WHIPS him like a wet towel, cracking Driver's skull against the hard floor. OUT AGAIN.</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE - NIGHT</stage_direction> <scene_description>A FLATBED TOW TRUCK carrying the BMW and the remains of the U- Haul bounces down a rough driveway to a nondescript, unkempt, three story house that's set far enough back from the road to never be noticed. Lights are on inside. Music. Loud conversation. The tow truck pulls up alongside a low slung work shed. Mostly corrugated steel and boarded up windows. It parks next to the Dodge pick-up and the two motorcycles. Albert and Flynn get out. They walk across the lawn, thick with crabgrass and weeds. Hoag meets them halfway.</scene_description> <character>HOAG</character> <dialogue>Look at that mess.</dialogue> <character>FLYNN</character> <dialogue>We'll strip her down. There's parts there. Any idea on the driver?</dialogue> <character>HOAG</character> <dialogue>Some uppity pussy. There's a payday here, it's just a matter of finding it. Pour some drinks, boys, cause tomorrow we got some torturing to do.</dialogue> <scene_description>Flynn and Albert head inside. Hoag stands, staring at the wrecked car and U-Haul. He spits before turning around and walks back to the house.</scene_description> </scene> <scene> <stage_direction>EXT. ABANDONED GAS STATION - DAWN</stage_direction> <scene_description>The sun eases over the hills striking the decrepit buildings with morning light. A CB squawks off screen.</scene_description> <character>MAN'S VOICE (O.S.)</character> <parenthetical>(CB static)</parenthetical> <dialogue>Come in, brother. What's the status?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Brother? Wake his ass up.</dialogue> </scene> <scene> <stage_direction>INT. ROOM - LATER</stage_direction> <scene_description>A pool of blood catches Driver's reflection. POV - OF DRIVER - slumped forward, handcuffed to a chair in the center of the room. A Rorschach test of blood smeared across his face. A single light in the otherwise dark grey room illuminates him. Driver stirs. He looks up at... BETTY sits across from him, handcuffed as well. She's been crying. She turns her head away, not looking at him. The Giant emerges from the shadows. In this light, the speckled rays of dawn coming through the slit windows, he's the embodiment of ominous.</scene_description> <character>DRIVER</character> <dialogue>Who are you?</dialogue> <character>GIANT</character> <dialogue>Your worst fucking nightmare.</dialogue> <scene_description>Beat.</scene_description> <character>DRIVER</character> <dialogue>You've been talking to my shrink?</dialogue> <character>GIANT</character> <dialogue>A comedian.</dialogue> <scene_description>The Giant waves a huge GLEAMING HUNTING KNIFE.</scene_description> <character>GIANT</character> <dialogue>This strike you as funny?</dialogue> <scene_description>He holds the knife to Betty's soft, white throat.</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE - DAY</stage_direction> <scene_description>The BMW is lowered onto the lawn. MOMENTS LATER - FLYNN is going through the car. He finds Driver's wallet. Opens it. Flips through a wad of cash...</scene_description> </scene> <scene> <stage_direction>INT. ROOM - DAY</stage_direction> <scene_description>Driver looks through bloody matted hair at the Giant.</scene_description> <character>DRIVER</character> <parenthetical>(to Betty)</parenthetical> <dialogue>Have they hurt you?</dialogue> <scene_description>The Giant pulls Betty's head back. Caresses her throat with the knife.</scene_description> <character>GIANT</character> <dialogue>No talking.</dialogue> </scene> <scene> <stage_direction>EXT. HOUSE - DAY</stage_direction> <scene_description>Flynn walks around the car, POCKETING DRIVER'S WALLET. He taps the side of the BMW with his knuckles. Gets to the TRUNK. Jams a CROWBAR into the space just under the lock and...CRANKS down... POPPING THE TRUNK. It's full of clothes, scattered paper, more DVD's, all individually dated. Flynn gets close and then reels back.</scene_description> <character>FLYNN</character> <dialogue>Fucking stink...</dialogue> </scene> <scene> <stage_direction>INT. ROOM - DAY</stage_direction> <scene_description>Betty stares at Driver.</scene_description> <character>BETTY</character> <dialogue>I've made a decision. Don't think it's rash.</dialogue> <scene_description>The Giant presses the blade into her neck. A DROP OF BLOOD stains the feathered steel.</scene_description> <character>GIANT</character> <dialogue>No talking means shut the fuck up.</dialogue> <scene_description>A resignation is drawn across her features.</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE - SAME</stage_direction> <scene_description>Flynn, his face screwed up from the smell, braves the odor and PULLS some clothing out of the trunk. Throws it on the ground. Goes back to the trunk, pulls some more clothing and... REVEALS - A COMPARTMENT. Latched from within the trunk.</scene_description> </scene> <scene> <stage_direction>INT. ROOM - DAY</stage_direction> <scene_description>A single tear drops from Betty's eye.</scene_description> <character>BETTY</character> <dialogue>It's the best thing for the two of us.</dialogue> <character>DRIVER</character> <dialogue>Betty. Don't.</dialogue> <character>BETTY</character> <dialogue>I must.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It's been...an experience.</dialogue> <scene_description>She smiles at him.</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE - SAME</stage_direction> <scene_description>Flynn looks closely at the compartment. Notices...AIRHOLES. He leans in, curious. Suddenly, through one of the airholes... AN EYE. It blinks!</scene_description> </scene> <scene> <stage_direction>INT. ROOM - DAY</stage_direction> <scene_description>Betty DRAGS HER THROAT against the blade. BLOOD GOUTS, just as...</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE - DAY</stage_direction> <scene_description>The compartment within the trunk is KICKED OFF ITS HINGES to REVEAL -- THE GIRL FROM THE OPEN, THE MISSING GIRL FROM THE NEWS, EMMA. Shorter hair, pale, wild eyes, wearing a pretty flowered dress identical to the one Betty is wearing. She's strapped down. Leather cuffs preventing her escape. Leather gag clamped across her mouth... Her terrified eyes plead with him. "Please save me..."</scene_description> </scene> <scene> <stage_direction>INT. ROOM - DAY</stage_direction> <scene_description>Betty thrashes. The wound yawns and blood comes in thick waves. As the Giant tries to keep Betty from thrashing... ON DRIVER'S HANDCUFFED WRISTS - He reaches his right hand with his left and... DISLOCATES his THUMB. FOLDS HIS PALM like a slice of pizza and SLOWLY pulls his hand free. Betty gasps for breath that bubbles up at her throat. The Giant turns his attention to Driver. Driver, his head hung low, seems wracked with devastation. He shakes his head from side to side...slowly...</scene_description> <character>GIANT</character> <dialogue>Why'd she do that, you --</dialogue> <scene_description>The Giant reaches for him just as -- DRIVER WHIPS HIS ARM and catches the Giant through his LOWER MANDIBLE with the open end of the handcuff. It punctures the LOWER PALATE and locks, literally handcuffing the big fucker's jaw.</scene_description> <character>DRIVER</character> <dialogue>The knife thing...not so funny. But this...this is hilarious.</dialogue> <scene_description>He YANKS the Giant down and grabs the KNIFE from him. Driver spins the blade in his hand.</scene_description> <character>DRIVER</character> <dialogue>And ironic.</dialogue> <scene_description>SLASH!!!</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE - DAY</stage_direction> <scene_description>Flynn is pulling Emma from the trunk.</scene_description> <character>FLYNN</character> <dialogue>A LITTLE HELP OUT HERE!!!</dialogue> <scene_description>The back door of the house opens to reveal... TAMARA is the first one out the door. She shakes it across the lawn. It's lucky that anything stays alive in her presence and doesn't just simply burst into flames.</scene_description> <character>TAMARA</character> <dialogue>What's shakin', bacon?</dialogue> <scene_description>And then she sees Emma. Tamara busts into a run.</scene_description> <character>FLYNN</character> <dialogue>There's a girl here, man.</dialogue> <scene_description>Tamara races to Flynn's aid.</scene_description> <character>FLYNN</character> <dialogue>She was in the trunk of the fucking car.</dialogue> <scene_description>Tamara reaches around to unfasten Emma's gag.</scene_description> <character>TAMARA</character> <dialogue>Ah, shit, it stinks like a fucking toilet...</dialogue> <scene_description>Emma is thrashing too hard.</scene_description> <character>TAMARA</character> <dialogue>I'm gonna help you, alright? Now, I'm gonna take this off?</dialogue> <scene_description>The fear in Emma's eyes say it all. This girl is a wild animal. She breathes heavily through her nose.</scene_description> <character>TAMARA</character> <dialogue>Don't worry, now, sweetie. I'll be gentle with you...</dialogue> <scene_description>Emma's nostrils flair. Eyes dart back and forth from Tamara to Flynn and settle back on Tamara. Locking eyes. Tamara really sees her and we see a kindness there as... Tamara releases the straps. Pulls the gag away. And... EMMA SCREAMS!!! An unnerving HOWL. Tamara and Flynn just back away and... Emma RUNS. She bolts for the front of the house, but she's been locked in a trunk for 48 hours, at least, and her legs are like jello. The BACK DOOR BURSTS OPEN - ALBERT runs straight for Emma and TACKLES her along the edge of the driveway. She fights him. Scratching at him. Kicking. He holds her tight. Emma looks up at the house... AMBER, the waitress from Helen's, stares out from one of the upper bedroom windows. She locks eyes with Emma.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - BEDROOM - DAY</stage_direction> <scene_description>Amber, half naked and smoking a cigarette, turns away from the window and walks to the bed where DENNY sleeps in his underwear. She kicks his foot. Denny stirs.</scene_description> <character>AMBER</character> <dialogue>There's a world of shit erupting downstairs. You might want to check it out.</dialogue> <character>DENNY</character> <dialogue>What're you talking about?</dialogue> <character>AMBER</character> <dialogue>I'm talking about some girl down there screaming like she's got bugs up in her.</dialogue> <character>DENNY</character> <dialogue>Don't bust my balls, Amber. I'm hungover as all fuck.</dialogue> <scene_description>Amber's pulling on some clothes.</scene_description> <character>AMBER</character> <dialogue>What balls?</dialogue> <scene_description>She flicks her cigarette at Denny. He leaps out of bed.</scene_description> <character>DENNY</character> <dialogue>Bitch.</dialogue> <scene_description>Amber is out the door as Denny tries to find the smoldering butt. He finds it. Takes a drag and smashes it out on the wall.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - LIVING ROOM - DAY</stage_direction> <scene_description>The house possesses a stained sticky nicotine hue. Dusty and jaundiced yet caressed by the affectations of a lazy woman's touch. Flynn and Albert DRAG Emma, kicking and screaming, into the living room. They throw her down on the ratty couch. She tries to launch herself over the back. Albert grabs her legs. She scratches at him. Flynn takes her by the arms... Suddenly she stops. Assessing them. Hoag stands in the doorway. Emma looks at him...</scene_description> <character>EMMA</character> <dialogue>Where is he?</dialogue> <scene_description>Beat.</scene_description> <character>EMMA</character> <dialogue>You killed him, right? Please tell me he's dead.</dialogue> <character>HOAG</character> <dialogue>Expand on he.</dialogue> <scene_description>Emma thrashes some more. Futile.</scene_description> <character>EMMA</character> <dialogue>Oh, God...we've got to get out of here.</dialogue> <scene_description>Amber stands at the door.</scene_description> <character>AMBER</character> <parenthetical>(to Hoag)</parenthetical> <dialogue>Dad?</dialogue> <character>HOAG</character> <dialogue>Get Ethan up on the radio.</dialogue> <scene_description>Amber stands there tentatively.</scene_description> <character>HOAG</character> <dialogue>And now.</dialogue> <character>EMMA</character> <dialogue>WE...HAVE...TO...LEAVE!!! NOW!!!</dialogue> <character>FLYNN</character> <dialogue>She's freaking me out man.</dialogue> <scene_description>Denny enters. He stops dead at the sight of Emma.</scene_description> <character>DENNY</character> <dialogue>You weren't kidding about early Christmas.</dialogue> <scene_description>Emma screams at Hoag.</scene_description> <character>EMMA</character> <dialogue>WHY WON'T YOU LET ME GO?</dialogue> <scene_description>Tamara tries to reason.</scene_description> <character>TAMARA</character> <dialogue>C'mon sweetie, you gotta put yourself in our shoes. Just chill out for a second and tell us why you were in the back of that car.</dialogue> <scene_description>Emma stares at Tamara.</scene_description> <character>TAMARA</character> <dialogue>C'mon.</dialogue> <character>EMMA</character> <dialogue>He had to move. He knew they were coming, so, he had to move.</dialogue> <character>TAMARA</character> <dialogue>Who, baby? Who are you talking about?</dialogue> <character>EMMA</character> <dialogue>Listen to me. He's going to come for me. He always does.</dialogue> <character>HOAG</character> <dialogue>Why don't you start by telling us HIS name.</dialogue> <scene_description>Through gritted teeth.</scene_description> <character>EMMA</character> <dialogue>He doesn't have a name.</dialogue> <scene_description>Emma strains to get to Hoag. Hisses...</scene_description> <character>EMMA</character> <dialogue>He's going to come and he's going to kill you all.</dialogue> <scene_description>Amber enters.</scene_description> <character>AMBER</character> <parenthetical>(to Hoag)</parenthetical> <dialogue>Ethan's not coming up on the radio.</dialogue> <character>HOAG</character> <dialogue>Keep trying.</dialogue> <character>EMMA</character> <dialogue>You won't get him.</dialogue> <character>FLYNN</character> <dialogue>What the fuck do you know?</dialogue> <character>EMMA</character> <dialogue>He's already dead.</dialogue> <scene_description>She turns to Tamara.</scene_description> <character>EMMA</character> <dialogue>Just call the police. Please.</dialogue> <scene_description>Tamara turns to Hoag.</scene_description> <character>TAMARA</character> <dialogue>Maybe we should send someone out there.</dialogue> <scene_description>Emma lurches forward...</scene_description> <character>EMMA</character> <dialogue>Are you people fucking retarded?</dialogue> <scene_description>Hoag BACKHANDS EMMA. She falls across the couch. A silence hangs in the room. Hoag turns to Denny.</scene_description> <character>HOAG</character> <dialogue>Head up the road. Wake Ethan the fuck up. Flynn go with him.</dialogue> <character>FLYNN</character> <dialogue>I'm not leaving this fine piece of ass alone with you.</dialogue> <scene_description>Hoag stares at Flynn. Pinches his eyes.</scene_description> <character>HOAG</character> <dialogue>Albert, go with the shithead. Make sure he doesn't fuck anything up.</dialogue> </scene> <scene> <stage_direction>EXT. RURAL ROAD - DAY</stage_direction> <scene_description>A DODGE PICK-UP TRUCK barrels down the highway.</scene_description> </scene> <scene> <stage_direction>INT. DODGE - DAY</stage_direction> <scene_description>Albert is driving. Denny rides shotgun.</scene_description> <character>DENNY</character> <dialogue>I'm sick of him disrespecting me.</dialogue> <character>ALBERT</character> <dialogue>Hoag doesn't respect anyone, Denny.</dialogue> <character>DENNY</character> <dialogue>Yeah, but I'm practically blood.</dialogue> <character>ALBERT</character> <dialogue>Banging his little girl doesn't buy you rights. Besides. We've all been there.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Aw, fuck me.</dialogue> <scene_description>Up ahead, PLUMES OF SMOKE choke the sky. Albert's not encouraged by the smoke. He punches out a number on his cell. Waits.</scene_description> <character>ALBERT</character> <parenthetical>(on cell)</parenthetical> <dialogue>Yeah...Comin' up on it...Something don't smell right.</dialogue> </scene> <scene> <stage_direction>EXT. RURAL ROAD - DAY</stage_direction> <scene_description>As the beaten down gas station enters view we see -- THE WHITE WORK VAN, parked away from the road, is in FLAMES. The DODGE pulls in. Parks behind the flaming van. Albert is out of the truck with a small FIRE EXTINGUISHER. He unloads it into the cab while shouting orders to Denny.</scene_description> <character>ALBERT</character> <dialogue>Get a hose. Put this out.</dialogue> <scene_description>Denny runs off.</scene_description> <character>ALBERT</character> <dialogue>Hurry.</dialogue> <character>DENNY</character> <dialogue>I'm on it.</dialogue> <scene_description>ON THE VAN - A BLACKENED CORPSE sizzles in the front seat. Skin blistering off its face. Albert taps the extinguisher and tosses it off as Denny comes running around the corner with a hose. He stops dead when he sees the body.</scene_description> <character>DENNY</character> <dialogue>Oh, shit, is that Ethan?</dialogue> <scene_description>Denny soaks the van with the hose.</scene_description> <character>ALBERT</character> <dialogue>The girl we brought in with him, I think. Drench this fucking thing.</dialogue> <scene_description>Albert grabs a shotgun off the Dodge's gun rack and walks off... Denny continues to douse the van.</scene_description> <character>DENNY</character> <dialogue>Then where's Ethan?</dialogue> <scene_description>NEAR THE OFFICE - Albert is looking down, a mask of revulsion on his face.</scene_description> <character>ALBERT</character> <dialogue>He's over here.</dialogue> <scene_description>ON THE GIANT - The handcuffs are still hooked through his jaw. Throat sliced open and his clothes soaked with blood. If his face could tell us anything it's that his final moments were pretty fucking bad.</scene_description> <character>ALBERT</character> <parenthetical>(shakes his head)</parenthetical> <dialogue>Wow.</dialogue> <scene_description>Albert walks back to the smoldering van. Denny backs away, nods toward the Giant.</scene_description> <character>DENNY</character> <dialogue>He....?</dialogue> <character>ALBERT</character> <dialogue>Some seriously apocalyptic shit went down here, man.</dialogue> <scene_description>He uses his shirt to open the passenger door.</scene_description> <character>ALBERT</character> <dialogue>And, yeah, Ethan's not joining us for dinner.</dialogue> <scene_description>REACHES IN and...</scene_description> <character>ALBERT</character> <dialogue>Hot as a...</dialogue> <scene_description>throws the van into neutral...</scene_description> <character>ALBERT</character> <dialogue>...motherfucker.</dialogue> </scene> <scene> <stage_direction>EXT. ABANDONED GAS STATION - DAY</stage_direction> <scene_description>Albert, and Denny push the smoldering van behind the building. It's not easy doing, but they manage. The van rolls to a stop. BETTY'S corpse pitches forward with the sticky smack of roasted fat peeling away from muscle and bone. Denny immediately gags and kneels to puke. Albert is annoyed.</scene_description> <character>ALBERT</character> <dialogue>Can we try not to be a pussy about this?</dialogue> <character>DENNY</character> <parenthetical>(in between gacks)</parenthetical> <dialogue>Are you...fucking...kidding? I'd be worried...about me...if I wasn't...puking.</dialogue> </scene> <scene> <stage_direction>INT. STORE ROOM - DAY</stage_direction> <scene_description>The door creaks open. Those boxes from the van are stacked amidst dozens more. Albert steps inside. Denny follows. Amongst the boxes are artifacts from the gas station gone by. A rusted out sign. Old pumps. Stacked tires.</scene_description> <character>ALBERT</character> <dialogue>You keep hugging my ass the way you're doing and I'm gonna have to beat you down.</dialogue> <character>DENNY</character> <dialogue>Honestly, Albert, we should just get the hell out of here.</dialogue> <character>ALBERT</character> <dialogue>Have you thought at all about the simple fact that he didn't take the truck? Why wouldn't he do that? Kinda freaks you out, huh?</dialogue> <scene_description>They walk through the store room. Piles of boxes covered with old brittle plastic.</scene_description> <character>DENNY</character> <dialogue>Maybe he wants us to find him.</dialogue> <character>ALBERT</character> <dialogue>I think he does.</dialogue> <scene_description>Denny approaches an odd looking shape covered in plastic. He gets closer. EYES STARING BACK AT HIM. Denny stumbles back...</scene_description> <character>DENNY</character> <dialogue>Kill him. Fucking kill the fucker!!!</dialogue> <scene_description>Albert FIRES point blank and decimates the FIGURE. When the smoke clears... REVEAL - An old station MASCOT. A sixties looking guy, his perma-grin now a sick half smile. Denny pulls himself up from the floor.</scene_description> <character>DENNY</character> <dialogue>Can we just get out of here, please?</dialogue> </scene> <scene> <stage_direction>INT. HOUSE - LIVING ROOM - DAY</stage_direction> <scene_description>Amber enters, carrying some clothes. She holds out the clothes for Emma.</scene_description> <character>AMBER</character> <dialogue>Here. I think these will fit you.</dialogue> <scene_description>Emma looks up. Struck by an act of humanity.</scene_description> <character>EMMA</character> <dialogue>Thank you.</dialogue> <scene_description>Hoag grabs Amber.</scene_description> <character>HOAG</character> <dialogue>What's gotten into you, girl?</dialogue> <scene_description>Amber looks up. She takes a passive stand.</scene_description> <character>AMBER</character> <parenthetical>(to the others)</parenthetical> <dialogue>Maybe, we should let her get cleaned up a bit.</dialogue> <character>HOAG</character> <dialogue>I'm not letting this one out of my sight. Not until we hear from Ethan.</dialogue> <scene_description>A sideways glance from Emma...</scene_description> <character>EMMA</character> <dialogue>I already told you. He's dead.</dialogue> <character>HOAG</character> <dialogue>Fuck you. You don't know that.</dialogue> <scene_description>Tamara shoots Hoag a look. Then...</scene_description> <character>TAMARA</character> <dialogue>Amber...you get her showered.</dialogue> </scene> <scene> <stage_direction>EXT. ABANDONED GAS STATION - DAY</stage_direction> <scene_description>Albert has the Giant's arms. Denny, his legs.</scene_description> <character>DENNY</character> <dialogue>One, two, three lift? Or, on three?</dialogue> <character>ALBERT</character> <dialogue>I'm going to knock you the fuck out, man. One, two, three...</dialogue> <scene_description>They lift the Giant and maneuver him into the bed of the Dodge. It's heavy going, but not as bad as you might think. Denny takes note...</scene_description> <character>DENNY</character> <dialogue>Figure him to be heavier.</dialogue> <scene_description>Albert slams the back of the truck. He takes one look at the OFFICE.</scene_description> <character>ALBERT</character> <dialogue>Wait here.</dialogue> <scene_description>Albert walks to the office.</scene_description> <character>DENNY</character> <dialogue>Don't be brave, man.</dialogue> <scene_description>Albert pauses AT THE OFFICE DOOR. Opens it. Enters...</scene_description> </scene> <scene> <stage_direction>INT. OFFICE - SAME</stage_direction> <scene_description>Not much to the place. Only the drone of buzzing flies. Otherwise, just a desk, some file cabinets. All old. Useless. But, there's a smell in here that just curls Albert's toes. He moves slowly around the desk when... A COYOTE SPINS AROUND ON HIM. Snarling. Blood caked on its muzzle.</scene_description> </scene> <scene> <stage_direction>EXT. OFFICE - DAY</stage_direction> <scene_description>Albert walks quickly to the truck.</scene_description> <character>ALBERT</character> <dialogue>We're leaving.</dialogue> <scene_description>He jumps behind the wheel. Denny gets in and they tear ass out of the parking lot and back onto the road.</scene_description> </scene> <scene> <stage_direction>EXT. RURAL ROAD - DAY</stage_direction> <scene_description>The Dodge barrels down the asphalt. The GIANT'S CORPSE slides around in the truck bed, slick in its own blood. We PUSH IN on the corpse. It's CHEST IS MOVING...breathing, sort of.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - BATHROOM - DAY</stage_direction> <scene_description>Emma strips off the nasty wifebeater she's been wearing. Pulls off her panties. ON EMMA'S BACK - Deep scars. Like she's been beaten, whipped perhaps, but now healed. On Amber. She's taken back by the scars.</scene_description> <character>AMBER</character> <dialogue>What happened to you?</dialogue> <scene_description>Amber reaches out and touches Emma's back. Emma allows it. She reacts with a quiver of muscle...</scene_description> <character>EMMA</character> <dialogue>It's personal.</dialogue> <scene_description>She steps into the shower. Closes the moldy curtain.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - KITCHEN - DAY</stage_direction> <scene_description>Flynn hands Hoag a beer.</scene_description> <character>FLYNN</character> <dialogue>What're we gonna do about her?</dialogue> <character>HOAG</character> <dialogue>She's broken in a way that can't be fixed.</dialogue> <scene_description>Tamara runs in. Excited...</scene_description> <character>TAMARA</character> <dialogue>Get your butts in here. I've got something to show you.</dialogue> <character>FLYNN</character> <dialogue>What?</dialogue> <character>TAMARA</character> <dialogue>You all make fun of me for watchin' all those reality shows. Just wait till you peep this.</dialogue> </scene> <scene> <stage_direction>INT. HOUSE - LIVING ROOM - DAY</stage_direction> <scene_description>Tamara enters, followed by Hoag and Flynn.</scene_description> <character>TAMARA</character> <dialogue>I happen to know who our little friend is.</dialogue> <scene_description>She flips through the TIVO. Pulls up AMERICAN JUSTICE... ON THE TV - As Tamara fast forwards through the program.</scene_description> <character>TAMARA</character> <dialogue>You know it's mostly pedophiles and bank robbers, guys who killed their families and shit like that, but I've been totally into this story.</dialogue> <character>HOAG</character> <dialogue>Less we're on, you're wasting my time.</dialogue> <character>FLYNN</character> <dialogue>What story?</dialogue> <character>TAMARA</character> <dialogue>This one.</dialogue> <scene_description>The HOST of "American Justice" stands in front of a bank of television screens all showcasing the smiling, high school yearbook photo of... EMMA WARD.</scene_description> <character>FLYNN</character> <dialogue>That?</dialogue> <character>TAMARA</character> <dialogue>I shit you not.</dialogue> <scene_description>Emma, enters, freshly scrubbed, hair wet around her face and dressed in jeans and a T-shirt. Amber flanks her.</scene_description> <character>AMBER</character> <dialogue>No way...</dialogue> <scene_description>Emma stares at her likeness as...</scene_description> <character>HOST</character> <parenthetical>(on screen)</parenthetical> <dialogue>It was just like any other Friday night at Oregon State University. A night that would be seared into the minds of parents of fifteen college students, forever.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Emma Ward and her friends were having a party. Celebrating the end of the semester like most students, except this celebration turned bloody.</dialogue> <scene_description>Over the Host's voice we see IMAGES of fourteen other students. Their smiling faces. And then... FLASHES OF POLICE PHOTOS - One STUDENT hanging upside down, bleeding out in a doorway.</scene_description> <character>HOST (V.O.)</character> <dialogue>A killer entered the house. Was he already there? Waiting? Or was he a friend?</dialogue> <scene_description>Another STUDENT, slumped over a sink, his HEAD down the garbage disposal.</scene_description> <character>HOST (V.O.)</character> <dialogue>Police and federal authorities have never been able to piece together the mystery of how or why it happened, but when it was over, fourteen students had been brutally murdered.</dialogue> <scene_description>A rapid succession of PHOTOS depicting the following...</scene_description> <character>HOST (V.O.)</character> <dialogue>Stabbed, shot, decapitated, skinned alive and only one was never found. Emma Ward.</dialogue> <scene_description>And BACK TO THE HOST posing in front of the carnage.</scene_description> <character>HOST</character> <dialogue>The heiress to the Ward Publication Empire. Did she know the killer? Until now, it was unclear until...</dialogue> <scene_description>IMAGES of a roadside blockade. FBI. Local cops. Anyone in uniform are all combing the woods. An interview with a HUNTER...</scene_description> <character>HUNTER</character> <parenthetical>(on screen)</parenthetical> <dialogue>I was tracking a deer when he got caught up in this thing.</dialogue> <scene_description>A SHOT of a deer, dead, hanging in the same triangulation trap we saw got Emma earlier.</scene_description> <character>HOST</character> <parenthetical>(on screen)</parenthetical> <dialogue>And that's when hunter, Richard Lewy, noticed this...</dialogue> <scene_description>The WORDS...EMMA WARD IS ALIVE, carved into the Alder tree. Except scarred over by months of bark growth. AT A FORENSICS LAB - An earnest looking local SHERIFF is being interviewed.</scene_description> <character>SHERIFF</character> <parenthetical>(on screen)</parenthetical> <dialogue>Apparently, the carving is about eight months old. At first we were skeptical, but we found this...</dialogue> <scene_description>He holds up a baggie. Inside is the SHARD OF GLASS.</scene_description> <character>SHERIFF</character> <parenthetical>(on screen)</parenthetical> <dialogue>Lab tests prove that it's Emma Ward's blood on this glass. As of eight months ago she was alive. We must now continue our investigation under the premise that she is out there, somewhere. And we will find her.</dialogue> <scene_description>IN THE STUDIO - Emma's father, publishing tycoon BILL WARD, 50, is being interviewed by the HOST.</scene_description> <character>HOST</character> <parenthetical>(on screen)</parenthetical> <dialogue>Mr. Ward. Is there something you'd like to say to the person holding your daughter.</dialogue> <character>WARD</character> <parenthetical>(on screen)</parenthetical> <dialogue>Please. Emma is a beautiful girl with a beautiful heart. Please take care of Emma. Please see her for who she is. Please let our Emma come home.</dialogue> <scene_description>And then Emma's PHOTO with a reward statement. $2,000,000.</scene_description> <character>HOST</character> <parenthetical>(on screen)</parenthetical> <dialogue>The Ward family is offering a two million dollar reward for any information leading to the recovery of their daughter.</dialogue> <scene_description>Tamara flips off the TV. Big fucking grin across her face. She walks to Hoag and Flynn. Whispers...</scene_description> <character>TAMARA</character> <parenthetical>(sotto)</parenthetical> <dialogue>Jackpot.</dialogue> <character>HOAG</character> <dialogue>And the fella driving the car...</dialogue> <character>TAMARA</character> <dialogue>Is the maniac who pulled all that shit.</dialogue> <character>HOAG</character> <dialogue>Well, holy fuck. We bagged ourselves two gorillas and I don't know which one is bigger.</dialogue> <scene_description>ON EMMA - She's silently holding it together. Tears streaming down her face, yet not making a sound. Tamara kneels in front of her.</scene_description> <character>TAMARA</character> <dialogue>Emma? You know we're here to help you, right?</dialogue> <scene_description>Emma SPITS in Tamara's face.</scene_description> <character>TAMARA</character> <parenthetical>(wiping away spit)</parenthetical> <dialogue>Fucking bitch.</dialogue> <scene_description>The front door swings open. Albert enters. Looks at Hoag.</scene_description> <character>ALBERT</character> <dialogue>A word.</dialogue> </scene> <scene> <stage_direction>INT. HOUSE - KITCHEN - DAY</stage_direction> <scene_description>Albert and Denny download Hoag on what they found. Denny is kind of frantic.</scene_description> <character>DENNY</character> <dialogue>It was a freakin' bloodbath there, man. Blood everywhere. He burned the truck. That chickie, the one he came with, dead.</dialogue> <character>HOAG</character> <dialogue>Say again?</dialogue> <character>DENNY</character> <dialogue>The brunette. She's toast. Literally.</dialogue> <character>HOAG</character> <dialogue>Where's my brother?</dialogue> <character>ALBERT</character> <dialogue>We got there too late.</dialogue> <scene_description>Hoag pushes Albert against the wall.</scene_description> <character>HOAG</character> <dialogue>Where is he?</dialogue> </scene> <scene> <stage_direction>EXT. HOUSE - DAY</stage_direction> <scene_description>Hoag stares at the Giant's body lying prone in the truck bed. He reaches in and tugs at the HANDCUFFS skewering the big man's lower jaw.</scene_description> <character>HOAG</character> <dialogue>I always figured Ethan to be fucking immortal and now look at him.</dialogue> <character>ALBERT</character> <dialogue>We looked for the guy. He must've hoofed it into the woods.</dialogue> <scene_description>Flynn paces.</scene_description> <character>FLYNN</character> <dialogue>Well that's just great. So he goes straight to the cops.</dialogue> <scene_description>Hoag shoot Flynn a look like, "You fucking idiot."</scene_description> <character>HOAG</character> <dialogue>Put Ethan outta there and put him in the shed.</dialogue> </scene> <scene> <stage_direction>INT. SHED - DAY</stage_direction> <scene_description>The DOOR is kicked open from the outside. Flynn, Albert and Denny struggle with the Giant's enormous corpse.</scene_description> <character>DENNY</character> <dialogue>See, this is what I'm talking about. Ethan's his brother and we're the ones moving him all over the fucking county.</dialogue> <scene_description>They maneuver it through the door and drop it onto the stone floor.</scene_description> <character>DENNY</character> <dialogue>What do we do with him now?</dialogue> <scene_description>Albert and Flynn look at each other and then at the rusted out WOOD CHIPPER that sits like an old dinosaur amongst the various tools.</scene_description> <character>DENNY</character> <dialogue>Fuck you guys.</dialogue> <character>FLYNN</character> <dialogue>We'll figure it out later.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Denny grab that tarp.</dialogue> <scene_description>Denny reaches for a CLEAR PLASTIC TARP. Hands it to Flynn. Flynn covers the Giant.</scene_description> <character>FLYNN</character> <dialogue>Should keep the flies offa him.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We'll drink to you tonight, Ethan.</dialogue> <scene_description>They take pause and then collectively bolt out of there.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - KITCHEN - DUSK</stage_direction> <scene_description>Hoag lays a .44 on the kitchen table. Places Albert's shotgun next to it.</scene_description> <character>DENNY</character> <dialogue>You're telling me that chick in there is worth two million bones?</dialogue> <character>FLYNN</character> <dialogue>That's right, sport.</dialogue> <character>DENNY</character> <dialogue>No, shit. Man, I'm gonna get me a Bentley, a big fucking house and a sweet ass Jizzcuzzi for all my bitches.</dialogue> <scene_description>Hoag looks at his watch.</scene_description> <character>HOAG</character> <dialogue>First we meet Angel. We're looking at thirty minutes.</dialogue> <character>DENNY</character> <dialogue>Well you're on your own, Hoag. There's no way I'm heading back out there for some used toasters and shit.</dialogue> <scene_description>Hoag grabs Denny and slams his face down onto the table.</scene_description> <character>HOAG</character> <dialogue>We stay the course, dickhead. There are about twelve homicides worth of used toasters back there and we gotta get 'em moving or no one is getting a fucking jizzcuzi.</dialogue> <character>DENNY</character> <dialogue>Okay. Okay. But what if he's there? What if he's waiting for us?</dialogue> <character>HOAG</character> <dialogue>He knows what's good for him, he'll be long gone.</dialogue> </scene> <scene> <stage_direction>INT. ABANDONED GAS STATION - OFFICE - DUSK</stage_direction> <scene_description>As we left it. The sounds of FLESH RIPPING, THE SLURP OF BLOOD AND GNAW OF BONE. PUSH IN on the COYOTE as it savors its meal under the desk. SLOW REVEAL - Meat and bones. Pretty much every internal organ. An entire ribcage. A femur, maybe two. A pelvis...</scene_description> </scene> <scene> <stage_direction>INT. SHED - DAY</stage_direction> <scene_description>CLOSE ON - the GIANT. An awkward beat passes and then there's...movement. It's hard to tell in this light, but the tarp shifts and bulges and... DRIVER EMERGES FROM THE GIANT'S BODY, sitting up, the tarp sticking to his blood covered face. He RISES, naked, the Giant's flaccid skin hanging off his frame like an oversized suit, the tarp clings to his body, the hunting knife hanging from his palm. And then he pulls the tarp off. White eyes stare out from his glistening bloody face. He tosses the tarp away and...</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - LIVING ROOM - DUSK</stage_direction> <scene_description>Albert stands behind Emma, effectively blocking her from the back door. Hoag, shotgun in hand, kneels before Emma.</scene_description> <character>HOAG</character> <dialogue>It seems your friend...has, ah, escaped.</dialogue> <character>HOAG</character> <dialogue>Now I'd like you to tell me a little something about him. What exactly are we dealing with?</dialogue> <scene_description>Cobra fast, Emma plants her foot against the side of Hoag's face and then delivers another solid kick to his CHEST. Hoag is off his feet and through the coffee table. Before anyone can react, she grabs the base of a side table lamp. Tears it free from the wall and... BRAINS ALBERT. Shards of porcelain spray the room and Albert goes down. Hoag, struggling to his feet...</scene_description> <character>HOAG</character> <dialogue>Stop her!!!</dialogue> <scene_description>Emma's fucking cat-like. She leaps over the couch, basically runs across Albert's face, ignoring the shards of broken lamp that rip into her bare feet when Denny grabs her.</scene_description> <character>DENNY</character> <dialogue>Now you just hold it there ba--</dialogue> <scene_description>She turns on him. Hammers Denny with four lightning jabs to the face and an elbow to the side of the head. He drops like a sack. She runs through the hallway and turns into the KITCHEN... She's almost at the back door when, suddenly, HOAG is in her face, SHOTGUN POINTED at her forehead.</scene_description> <character>HOAG</character> <dialogue>Open that door and it'll be your brains to make it down them steps. I fuckin' promise you that.</dialogue> <scene_description>Emma stares at him.</scene_description> <character>EMMA</character> <dialogue>Well then you better get yourself a mop.</dialogue> <scene_description>She opens the door anyway. Hoag pumps the gun, and Emma pauses. She stares out into the night. She turns and walks past Hoag, back into the living room.</scene_description> <character>EMMA</character> <dialogue>It's getting dark. Now my best hope of escape is while he's killing the whole bunch of you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>So I'll just wait.</dialogue> </scene> <scene> <stage_direction>EXT. HOUSE - BACKYARD - SAME</stage_direction> <scene_description>DRIVER, naked and soaked in blood, stands at the edge of the yard. The Giant's massive HUNTING KNIFE hangs from his palm. HE WATCHES AS -- Emma turns away from the back door. Hoag closes it. With the sun dipping and the sky a golden red, Driver looks as if the very depths of Hell have opened and out crawled this demon. DRIVER'S POV - Across the yard is the BMW and wrecked next to it is the battered U-Haul.</scene_description> </scene> <scene> <stage_direction>INT. BMW - DUSK</stage_direction> <scene_description>Driver's hand feels around under the seat. Finds... HIS CELL PHONE. Flips it open. It works.</scene_description> </scene> <scene> <stage_direction>EXT. BMW - DUSK</stage_direction> <scene_description>On the OPEN TRUNK - Driver feels the warmth of the trunk, hand on the space where Emma was being kept. He breaks free of his vigil and... GRABS a packed duffel and slams the trunk closed. Bloody handprint.</scene_description> </scene> <scene> <stage_direction>INT. U-HAUL - DUSK</stage_direction> <scene_description>The DOORS CRANK OPEN. Driver stands clad in black coveralls and black lace up boots. He climbs inside. Once meticulously organized, the interior of the U-Haul is now a tossed mess. Driver, he's kind of whistling to himself, pushes the boxes away and retrieves... A FAT METAL CASE. He opens it to reveal high tech equipment. Signal Jammers. Motion Detectors. Infrared goggles. GPS tracking devices. Everything seems to be in good shape. Closes the case. He opens another latched cabinet to reveal... Gleaming WEAPONS. TWO CHAINSAWS, a small STIHL and a huge 66 cc ECHO. A selection of honed CHEF'S KNIFE. A CLAW HAMMER. A CROSSBOW with CARBON STEEL SWITCHBLADE TIPS. He weighs the MASSIVE HUNTING KNIFE in his hand. Closes the cabinet and... OPENS a felled storage locker. From within he retrieves a GRAPHITE brace with some sort of spring loaded action. He CLICKS the handle of the hunting knife into a hollow grip...fits the brace onto his arm and...</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - KITCHEN - NIGHT</stage_direction> <scene_description>Hoag, carrying the shotgun, barges through the kitchen. Denny, Lucas and Albert follow. Flynn takes up the rear with the .44 in his hand.</scene_description> <character>HOAG</character> <dialogue>Flynn, tell Angel we're on our way. Denny, you and Albert, you're with me.</dialogue> <scene_description>Flynn is dialing Angel. Beat.</scene_description> <character>FLYNN</character> <dialogue>Albert give me your phone. I'm not getting a signal.</dialogue> <scene_description>Albert hands him the phone. Beat.</scene_description> <character>FLYNN</character> <dialogue>What the fuck? No bars.</dialogue> <scene_description>INSERT - Somewhere dark, a SIGNAL JAMMER flashes rhythmically. BACK TO SCENE - Hoag pockets his own phone.</scene_description> <character>HOAG</character> <dialogue>Fuck it. I'll call him from the road.</dialogue> <scene_description>He opens the door. Beat. Tamara puts her hand on Hoag's shoulder.</scene_description> <character>TAMARA</character> <dialogue>Be careful.</dialogue> <character>HOAG</character> <dialogue>Shit, baby, you can do better than that.</dialogue> </scene> <scene> <stage_direction>EXT. PORCH - NIGHT</stage_direction> <scene_description>Hoag steps out, and... CRASHES THROUGH THE WOOD FLOORING OF THE PORCH!!! Drops out of sight.</scene_description> <character>TAMARA</character> <dialogue>HOAG!!!</dialogue> <scene_description>Denny goes after him. Shoves his head and shoulders through the HOLE and sees...</scene_description> </scene> <scene> <stage_direction>EXT. PORCH - CRAWLSPACE - SAME</stage_direction> <scene_description>DRIVER - pointing the gun in Denny's face. DENNY SCREAMS!</scene_description> <character>DENNY</character> <dialogue>PULL ME BACK!!!</dialogue> <scene_description>As Driver UNLOADS A ROUND, Denny is yanked back out of the hole. He takes a spray of buckshot in the shoulder as...</scene_description> </scene> <scene> <stage_direction>EXT. PORCH - SAME</stage_direction> <scene_description>Albert and Tamara haul Denny up. He falls back, gushing blood.</scene_description> <character>TAMARA</character> <dialogue>Where's Hoag?</dialogue> <scene_description>Denny crab scuttles back, grasping his bleeding shoulder.</scene_description> <character>DENNY</character> <dialogue>I don't know. He got him.</dialogue> <character>TAMARA</character> <dialogue>What the...? Who's got him?</dialogue> <character>DENNY</character> <dialogue>I don't know. HIM! Fuck, I'm bleeding to death here.</dialogue> <scene_description>And then ANOTHER SHOTGUN BLAST through the porch and... DENNY'S FOOT EVAPORATES IN A SPRAY OF BLOOD AND BONE. Denny SCREAMS and SCREAMS... Albert grabs Denny and drags him through the back door, back into the kitchen, just as a second shot... BLOWS A HOLE through the porch floor.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - KITCHEN - SAME</stage_direction> <scene_description>Tamara slams the door.</scene_description> <character>FLYNN</character> <dialogue>He's under the house.</dialogue> <character>ALBERT</character> <dialogue>He's under the porch. That's all. He can't get under the house.</dialogue> <character>TAMARA</character> <dialogue>We can't just leave Hoag out there.</dialogue> <character>FLYNN</character> <dialogue>Hoag...is history.</dialogue> <scene_description>Denny is getting paler. He tries to get up and falls...</scene_description> <character>DENNY</character> <dialogue>I don't feel so good.</dialogue> <character>FLYNN</character> <dialogue>You don't look so good, either.</dialogue> <character>ALBERT</character> <dialogue>Flynn. Hell.</dialogue> <scene_description>Albert ties a tourniquet around Denny's stump.</scene_description> <character>ALBERT</character> <dialogue>We're losing a ton of blood here.</dialogue> <scene_description>Denny swoons.</scene_description> <character>DENNY</character> <parenthetical>(nerve wracked)</parenthetical> <dialogue>Define ton of blood.</dialogue> <scene_description>Flynn inspects the wound.</scene_description> <character>ALBERT</character> <dialogue>Don't lose your head, Dens. You'll be fine.</dialogue> <scene_description>Amber appears in the doorway. Sees all the blood.</scene_description> <character>AMBER</character> <dialogue>Where's my dad?</dialogue> <scene_description>Flynn whips on her.</scene_description> <character>FLYNN</character> <dialogue>Don't let that fucking cunt out of your sight.</dialogue> <scene_description>Emma pushes past Amber. She regards Denny with sadistic grin.</scene_description> <character>EMMA</character> <dialogue>You might want to drop the bad guy routine. Now that he knows where you are there's really no one worse.</dialogue> <scene_description>Tamara turns to Flynn. Pleads.</scene_description> <character>TAMARA</character> <dialogue>That freak's got Hoag. He wouldn't leave you to die. He'd never do that to any of you.</dialogue> <scene_description>Off of Flynn and Albert's silence.</scene_description> <character>AMBER</character> <dialogue>What about my dad?</dialogue> </scene> <scene> <stage_direction>INT. SHED - NIGHT</stage_direction> <scene_description>CLOSE ON - DRIVER'S HAND, gripping a rope. We HEAR the WHIRL OF A TURBINE grinding away.</scene_description> <character>DRIVER</character> <dialogue>Handcuffs?</dialogue> <scene_description>CLOSE ON - Hoag's face. Hatred in his eyes.</scene_description> <character>DRIVER</character> <dialogue>That was your first mistake. Haven't you people ever heard of zip ties?</dialogue> <scene_description>BACK TO - Driver's hand. He lets go of the rope. REVEAL - Hoag SCREAMS as he drops through the CHUTE of a rusted out wood chipper. Driver grabs the rope in time, it burns into his skin. Hoag stops dead. Hovers an eyelash away from the whirling blades. Driver pulls back, hauling Hoag back up through the chute. And now we figure out the rigging. Hoag is hog-tied, rope running from his legs, around his neck, up his back and over the top of the chute to -- DRIVER. He sits at the blade end of the chipper, literally looking up, through the blades at Hoag. He holds the rope, the single lifeline that keep Hoag from turning into chum.</scene_description> <character>DRIVER</character> <dialogue>So, you're what? The leader here?</dialogue> <character>HOAG</character> <dialogue>No, I --</dialogue> <character>DRIVER</character> <dialogue>You're the one with the gun. You must be the leader.</dialogue> <character>HOAG</character> <dialogue>Please you've got me confused -</dialogue> <scene_description>Driver let's go of the rope. Hoag drops toward the blades. He somehow twists his body so he JAMS UP THE CHUTE.</scene_description> <character>DRIVER</character> <dialogue>Cute move.</dialogue> <scene_description>But gravity is the enemy. His body inches closer to the blades, with his head turned... IT'S HIS EAR THAT GOES FIRST. Hoag screams again. Blood splatters Driver's face. Driver pulls back on the rope, effectively dislodging Hoag.</scene_description> <character>DRIVER</character> <dialogue>Are you suggesting I'm confused?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What? Can't you hear me?</dialogue> <scene_description>But Hoag is one step off of madness. With the chipper blades fanning his face...</scene_description> <character>HOAG</character> <dialogue>Don't do this to me. I can help you.</dialogue> <character>DRIVER</character> <dialogue>But there are so many areas, I can't even begin to imagine where to begin. Well, okay, let's hear it.</dialogue> <scene_description>Hoag just stares. Is he joking?</scene_description> <character>DRIVER</character> <dialogue>Enlighten me. Please...</dialogue> <character>HOAG</character> <dialogue>I can get the girl for you. You can...you can go on your way, take whatever you want from us. I can make that happen for you.</dialogue> <character>DRIVER</character> <dialogue>Oh. No. See I'm planning on handling that little task on my own. I thought you were going to help me get things back to the way they were. You know, like as if all this never happened. That's what I need help with. Can you do that? Turn back time? Re-establish the continuum?</dialogue> <scene_description>It dawns on Hoag that he's dealing with a madman.</scene_description> <character>HOAG</character> <dialogue>No.</dialogue> <character>DRIVER</character> <dialogue>You know what I hate about the common criminal? They're so...mediocre.</dialogue> <scene_description>Beat.</scene_description> <character>HOAG</character> <dialogue>What?</dialogue> <character>DRIVER</character> <dialogue>It's in mendacity that we achieve our very best.</dialogue> <character>HOAG</character> <dialogue>I don't understand. Please, I'm sorry.</dialogue> <scene_description>Beat.</scene_description> <character>DRIVER</character> <dialogue>You know who I am?</dialogue> <scene_description>Hoag won't meet his eyes.</scene_description> <character>DRIVER</character> <dialogue>Who am I?</dialogue> <scene_description>Beat. Driver begins to release the rope inch my inch, jerking Hoag toward the blades.</scene_description> <character>DRIVER</character> <dialogue>Who...am...I?</dialogue> <character>HOAG</character> <dialogue>I don't know. You're...some kind of serial killer.</dialogue> <character>DRIVER</character> <dialogue>Serial killer? Sweet Jesus, no. Serial killers deal in singularities. I'm a numbers guy.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Which makes me a total psychopath. Although I hate to put myself in a box. Admittedly, there are some things that might stereotype me. Fixations. Rituals. Trophies.</dialogue> <parenthetical>(holds up and wags Hoag's ear)</parenthetical> <dialogue>Case in point.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But really, what motivates me is the absolute need to get the job done.</dialogue> <scene_description>Holds Hoag steady.</scene_description> <character>DRIVER</character> <dialogue>How many are in the house? Do the math. Quick.</dialogue> <scene_description>Hoag blinks, brain calculating.</scene_description> <character>HOAG</character> <dialogue>Six. There's six.</dialogue> <character>DRIVER</character> <dialogue>Minus one and a half, really. Okay. You've served your purpose.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Any last words?</dialogue> <scene_description>Hoag stutters...</scene_description> <character>HOAG</character> <dialogue>Wait.</dialogue> <character>DRIVER</character> <dialogue>Concise. Not terribly clever, but the clarity of the intention, crystal clear.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>However...no.</dialogue> <scene_description>Driver RELEASES the rope. Hoag rockets toward the chipper blades. The rest are SFX.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - KITCHEN - NIGHT</stage_direction> <scene_description>Tamara sits at the kitchen table, a bottle of cheap vodka in front of her. She looks in shock. Flynn enters. She pours herself a shot and downs it. Flynn pulls out a chair. Sits down.</scene_description> <character>FLYNN</character> <dialogue>You know how much he meant to me. How much I liked him.</dialogue> <scene_description>He pours himself a shot. Drinks.</scene_description> <character>FLYNN</character> <dialogue>But I particularly liked his taste in women.</dialogue> <scene_description>Tamara grabs the bottle. Places it next to her.</scene_description> <character>TAMARA</character> <dialogue>That's awfully romantic, Flynn, but I don't go for chicken shits.</dialogue> <character>FLYNN</character> <dialogue>I'm sorry I wasn't brave enough for you, but let me ask you this...how would you feel about splitting two million dollars reward money.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Think about it?</dialogue> <scene_description>Tamara just stares at him, but he can see the wheels spinning. Gives a miniscule grin. Tamara looks toward the kitchen window which RATTLES in it's frame when... SUDDENLY OFFSCREEN - A EXPLOSION!!! KA-BOOM!!! The WINDOWS SHATTER, blowing shards of glass into the room. Flynn dives on top of Tamara. Their faces inches apart...Flynn goes in for a kiss. Tamara KNEES him in the balls.</scene_description> <character>TAMARA</character> <dialogue>What the fuck is wrong with you?</dialogue> <scene_description>She gets up a bolts into...</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>Albert, Amber and Emma are staring out the back window, the TOW TRUCK is in flames. Albert turns as Tamara runs in. Flynn limps in behind her.</scene_description> <character>FLYNN</character> <scene_description>ANOTHER EXPLOSION - They all flinch at the sound. Through the front window we see... Albert's PICK-UP is in flames.</scene_description> <character>AMBER</character> <dialogue>He's trapping us here.</dialogue> <character>ALBERT</character> <dialogue>When we don't show up, Angel's gonna come looking.</dialogue> <character>TAMARA</character> <dialogue>He's right.</dialogue> <character>EMMA</character> <dialogue>Oh, so Angel's going to save you.</dialogue> <scene_description>Flynn turns to Amber.</scene_description> <character>FLYNN</character> <dialogue>Amber, get this bitch outta my sight, cause if I have to hear one more fucking word --</dialogue> </scene> <scene> <stage_direction>EXT. ABANDONED GAS STATION - NIGHT</stage_direction> <scene_description>An EIGHTEEN WHEELER rolls into the lot. Takes it's time to park behind the STORE ROOM. The driver's side door opens and...</scene_description> </scene> <scene> <stage_direction>EXT. EIGHTEEN WHEELER - NIGHT</stage_direction> <scene_description>ANGEL, 45 year old tatted out highway smuggler, jumps out of the cab. He lights a smoke. Inhales. Ahhh.</scene_description> <character>ANGEL</character> <dialogue>HOAG! Come out, come out wherever you are.</dialogue> <scene_description>He kicks it against the chrome bumper and waits. Takes a long drag.</scene_description> <character>ANGEL</character> <dialogue>HOAG! Where the fuck are you people?</dialogue> </scene> <scene> <stage_direction>INT. HOUSE - ATTIC - NIGHT</stage_direction> <scene_description>Emma stands at a small circular window in the peak of the attic, staring out. From behind her...</scene_description> <character>AMBER</character> <dialogue>I bet you want to kill the man who did this to you.</dialogue> <character>EMMA</character> <dialogue>Your powers of perception are staggering.</dialogue> <scene_description>Beat.</scene_description> <character>AMBER</character> <dialogue>Does he...love you?</dialogue> <scene_description>Emma leans her head against the glass.</scene_description> <character>EMMA</character> <dialogue>Yeah...he loves me.</dialogue> <scene_description>Puts her hand up to the window. MATCH CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT - NIGHT</stage_direction> <scene_description>Emma's HAND pressed up against a damp stone wall. REVEAL - Emma is crouched in the corner, face turned away from... DRIVER, standing against the far wall. She flattens herself against the wall and huddles in silence.</scene_description> <character>DRIVER</character> <dialogue>Today we're going to advance to something much more challenging.</dialogue> <scene_description>Driver drops down before her, sits Indian style.</scene_description> <character>DRIVER</character> <parenthetical>(earnest)</parenthetical> <dialogue>Let's meditate for a moment on the power you have over living things? The gift we bestow, just by allowing innocent life to...</dialogue> <parenthetical>(deep inhale)</parenthetical> <dialogue>take its next breath?</dialogue> <scene_description>Emma mutters something.</scene_description> <character>DRIVER</character> <dialogue>I'm sorry?</dialogue> <scene_description>Silence. He lifts her face. She looks up with deep hatred.</scene_description> <character>DRIVER</character> <dialogue>Say again.</dialogue> <character>EMMA</character> <dialogue>I don't want to know.</dialogue> <character>DRIVER</character> <dialogue>That's not for you to decide.</dialogue> <scene_description>Driver walks around the bare, windowless room. He knocks on the walls.</scene_description> <character>DRIVER</character> <dialogue>The only thing keeping you in here...is me. Anything happens to me and there's only one single outcome.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You die. But not an unremarkable death. Fun fact. There documented cases in which prisoners who were found in cages long after their captors surrendered, typically POW's, you know, that well, left to their final desperate measures, and to evade starvation, they actually cannibalized themselves. You know what the technical term for that is?</dialogue> <character>EMMA</character> <dialogue>Please...stop.</dialogue> <character>DRIVER</character> <dialogue>Sarcophagy. Onomatopoeic, dont'cha think?</dialogue> <scene_description>He pulls a BOX CUTTER from his pocket.</scene_description> <character>DRIVER</character> <dialogue>Now, Emma, listen carefully...when the arterial vein is sliced the body tends to bleed out within ten minutes. It's not like in the movies when someone's jugular is severed and they immediately drop dead. It takes a while. But it's also impossible for the victim to administer the proper medical help. Do you know what that is?</dialogue> <character>EMMA</character> <dialogue>I...no.</dialogue> <character>DRIVER</character> <dialogue>No biggie. I'm no doctor either. I can tell you this much though. Elevate the wound over the heart and apply pressure to the area. And bandage tightly. That's important.</dialogue> <character>EMMA</character> <dialogue>Why are you telling me this?</dialogue> <scene_description>Driver has opened the BOX CUTTER, baring the gleaming razor edge.</scene_description> <character>DRIVER</character> <dialogue>Because as much as you hate me, you now have the opportunity to save my life.</dialogue> <scene_description>Driver SLICES HIS NECK with the box cutter.</scene_description> <character>DRIVER</character> <dialogue>I love you, Emma.</dialogue> <scene_description>Blood SPURTS, splattering Emma's face. Driver's hand goes instinctively to his neck, but with the blood pumping between his finger, he promptly drops to his knees.</scene_description> <character>EMMA</character> <dialogue>You're fucking crazy.</dialogue> <character>DRIVER</character> <dialogue>Yeah, sorry about that.</dialogue> <scene_description>Driver falls face first at Emma's feet. BLACKOUT.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - ATTIC - NIGHT</stage_direction> <scene_description>BACK TO SCENE - Amber lights a cigarette.</scene_description> <character>AMBER</character> <dialogue>What's going to happen to my pops?</dialogue> <character>EMMA</character> <dialogue>He'll kill him.</dialogue> <character>AMBER</character> <dialogue>Yeah, but, how?</dialogue> <scene_description>Emma turns to her. Amber has a look of morbid curiosity.</scene_description> <character>EMMA</character> <dialogue>You and your father, you not get along?</dialogue> <character>AMBER</character> <dialogue>Put it this way. He wasn't the best role model.</dialogue> <scene_description>Beat.</scene_description> <character>EMMA</character> <dialogue>He'll torture him. Kill him in ways that no one should ever imagine.</dialogue> <character>AMBER</character> <dialogue>Hmm.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Why didn't he do that to you?</dialogue> <character>EMMA</character> <dialogue>I think he was trying to...create me. Build something out of despair.</dialogue> <character>AMBER</character> <dialogue>He hurt you?</dialogue> <character>EMMA</character> <dialogue>At times. He would get carried away.</dialogue> <character>AMBER</character> <dialogue>Like those scars?</dialogue> <character>EMMA</character> <dialogue>Like the scars.</dialogue> <character>AMBER</character> <parenthetical>(points to her stomach)</parenthetical> <dialogue>And what about the one right there?</dialogue> <scene_description>Emma looks down, lifts her shirt and runs her fingers along a SCAR that is IDENTICAL to the one we noticed on Betty's stomach, earlier.</scene_description> <character>EMMA</character> <dialogue>Amber, you don't want to know his kind of love.</dialogue> <scene_description>Fear is beginning to consume Amber.</scene_description> <character>EMMA</character> <dialogue>You're a nice person. You should have run when you had the chance.</dialogue> <character>AMBER</character> <dialogue>Can you help us? You know him. You can figure out how to end this.</dialogue> <character>EMMA</character> <dialogue>Except right now...it's only just begun.</dialogue> <scene_description>And we see... EMMA'S POV - Driver, standing in the MOONLIGHT, a thick BURLAP SACK, dripping blood, in his hand. He stares up at the window. He whispers something, but we can't read his lips. Then he touches his throat, tracing a long healed scar.</scene_description> <character>AMBER</character> <dialogue>Is there someone out there?</dialogue> <scene_description>Amber approaches the window. AMBER'S POV - Driver is gone. Just a deep red stain on the grass. The sloughing of Hoag.</scene_description> </scene> <scene> <stage_direction>EXT. ABANDONED GAS STATION - NIGHT</stage_direction> <scene_description>Angel walks through the lot. We're with him when he spots -- THE BURNED OUT VAN. Angel approaches. Looks around. Clearly this is recent. Runs his finger along the side. Still warm.</scene_description> <character>ANGEL</character> <dialogue>HOAG!!!</dialogue> <scene_description>It's dark on this side of the station and pitch black in the burned out van. Angel takes out his ZIPPO. He reaches through the driver's window and FLICKS THE LIGHTER to -- REVEAL - BETTY'S BURNED CORPSE Angel SCREAMS and panics and KNOCKS Betty's head which snaps at the neck like a fried pretzel and DROPS INTO HER LAP. Angel fumbles the lighter. Drops it into the van and STUMBLES back, falling on his ass, gets up and then runs back to his truck.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>Tamara and Flynn enter from the kitchen. Denny mumbles, sadly delirious from loss of blood. Albert's trying to get him to drink some water.</scene_description> <character>ALBERT</character> <dialogue>C'mon, Dens.</dialogue> <scene_description>He nods through delirium and sips the water.</scene_description> <character>ALBERT</character> <dialogue>That it, buddy. Drink up.</dialogue> <scene_description>Denny begins to cough. A wracking hack. Blood bubbles up at his lips and choking, he pukes blood.</scene_description> <character>ALBERT</character> <dialogue>Oh, fuck. Tamara. Help.</dialogue> <scene_description>Tamara takes Denny's head and props him up higher.</scene_description> <character>TAMARA</character> <dialogue>He's going to die if we don't get him help.</dialogue> <scene_description>The impossibility of this is staggering.</scene_description> <character>FLYNN</character> <dialogue>Yeah, we should call an ambulance. I'll get right on that.</dialogue> <character>ALBERT</character> <dialogue>What about the Jeep? Unless he got into the garage...</dialogue> <character>FLYNN</character> <dialogue>Sounds like a solid plan, Albert.</dialogue> <character>ALBERT</character> <dialogue>Hoag's dead. Ethan. Dead. Denny's...not doing so hot. I'm looking at your ugly ass and I'm thinking, that dude's dead too.</dialogue> <character>FLYNN</character> <dialogue>I say we wait until morning.</dialogue> <character>TAMARA</character> <dialogue>Flynn is right. We wait.</dialogue> <scene_description>AMBER APPEARS IN THE DOORWAY. She pushes Emma into the room.</scene_description> <character>AMBER</character> <dialogue>I'm with Albert. We take our chances on the Jeep.</dialogue> <scene_description>Tamara takes Emma by the arm and pushes her onto the couch. Then she turns on Amber.</scene_description> <character>TAMARA</character> <dialogue>No one cares what you think.</dialogue> <character>AMBER</character> <dialogue>Just cause my old man was givin' you the deep dicking doesn't make you my mother, bitch.</dialogue> <character>AMBER</character> <dialogue>And with Hoag dead, that pretty much makes this my fucking house, so, get the fuck out.</dialogue> <scene_description>Tamara turns her back on Amber.</scene_description> <character>TAMARA</character> <dialogue>Suck me.</dialogue> <scene_description>Amber hauls off and sucker punches Tamara. Tamara goes down.</scene_description> <character>FLYNN</character> <parenthetical>(pumped)</parenthetical> <character>HELLO!!!</character> <dialogue>And Tamara comes back all hellcat. Full on pulling hair, kicking, punching.</dialogue> <dialogue>Tamara and Amber fall into the couch on top of DENNY.</dialogue> <character>DENNY</character> <dialogue>OHHHHHH!</dialogue> <scene_description>And then onto the floor. They've got each other by the hair ...trading punches. Albert's looking for a way to grab one of them.</scene_description> <character>ALBERT</character> <dialogue>Flynn, help me out here...</dialogue> <scene_description>Flynn shakes his head exasperated, gets into the middle and tries to grab Tamara, but she HEADBUTTS him with the back of her head. He stumbles back. Nose gushing.</scene_description> <character>FLYNN</character> <dialogue>GODDAMNIT.</dialogue> <scene_description>The girls flip over. They're back on their feet now, kicking and slapping. They fall into Denny again.</scene_description> <character>DENNY</character> <dialogue>OHHHHHH!</dialogue> <scene_description>Tamara bites Amber's tit. She screams and sinks her teeth into the back of Tamara's head. Albert makes his move. Tamara kicks him in the balls and he crumbles.</scene_description> <character>ALBERT</character> <dialogue>Oh, dear God...pain...</dialogue> <scene_description>Flynn is staunching the bleeding from his nose. Tamara sees the .44 sticking out of Flynn's waistband. Flynn looks to the front door. Hears something... Tamara grabs the gun. Turns it on Amber. Cocks it. Pulls the trigger -- FLYNN'S HAND COMES DOWN ON THE HAMMER IN MID DESCENT. He yanks the gun away from Tamara.</scene_description> <character>FLYNN</character> <dialogue>There's someone at the door.</dialogue> <scene_description>Silence. Then, a THUD...echoes down the hallway.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - HALLWAY - NIGHT</stage_direction> <scene_description>Indeed, there's a DULL POUNDING at the front door. THUD! THUD! Flynn, Tamara, Albert and Amber all stand near and around the door...</scene_description> <character>TAMARA</character> <parenthetical>(whispers)</parenthetical> <dialogue>Is it Hoag?</dialogue> <character>FLYNN</character> <dialogue>If you were a psycho murderer and got your hands on Hoag, would you let him live?</dialogue> <scene_description>Beat. THUD!</scene_description> <character>ALBERT</character> <dialogue>Flynn is right. Hoag's dead.</dialogue> <scene_description>Beat. THUD!</scene_description> <character>FLYNN</character> <dialogue>Well, take a look.</dialogue> <scene_description>They all look at Flynn like he's out of his mind. THUD!</scene_description> <character>ALBERT</character> <dialogue>You take a look.</dialogue> <scene_description>Another unsettling...THUD!!!</scene_description> <character>FLYNN</character> <dialogue>You know what happens if I look through that peephole? That fucker's got a shotgun pressed right up against there and the second I put my eye up there...BAM! So, no fucking thanks.</dialogue> <scene_description>Amber pushes her way forward.</scene_description> <character>AMBER</character> <dialogue>You gigantic pussies. I'll look.</dialogue> <scene_description>AMBER PUTS HER EYE TO THE PEEPHOLE. The others all take a step back. AMBER'S POV - A BURLAP SACK, hanging from a rope, swings in the wind, knocking against the door.</scene_description> <character>AMBER</character> <dialogue>It's a bag.</dialogue> <character>FLYNN</character> <dialogue>What kind of bag?</dialogue> <scene_description>Amber turns to the others. Dawns on her that they were all just waiting for her head to get blown off.</scene_description> <character>AMBER</character> <parenthetical>(pushes past Flynn)</parenthetical> <dialogue>I don't know. A bag.</dialogue> <scene_description>Flynn looks through the peephole. Again, the others take a protective step back. Flynn's POV - The SACK swinging in the wind.</scene_description> <character>FLYNN</character> <dialogue>He's trying to bait us.</dialogue> <character>TAMARA</character> <dialogue>Well, duh!</dialogue> <scene_description>Flynn steps away from the door. Paces.</scene_description> <character>ALBERT</character> <dialogue>What?</dialogue> <character>FLYNN</character> <dialogue>I don't know what to do.</dialogue> <character>TAMARA</character> <dialogue>What we do is not open the door.</dialogue> <character>FLYNN</character> <dialogue>Right. You're right. Don't open the door.</dialogue> <character>AMBER</character> <dialogue>Except what's in the bag?</dialogue> <character>ALBERT</character> <dialogue>Who cares what's in the bag? Whatever's in the bag is bad.</dialogue> <scene_description>Flynn can't stop pacing.</scene_description> <character>ALBERT</character> <dialogue>Flynn, I know what you're thinking...</dialogue> <scene_description>Flynn turns. Stares at the door. Before anyone can stop him he... REACHES for the knob and SWINGS THE DOOR OPEN. He stands there all brave and scared shitless at once.</scene_description> <character>FLYNN</character> <parenthetical>(shouting)</parenthetical> <character>C'MON YOU MOTHER OF ALL FUCKING</character> <dialogue>ASSHOLES. BRING IT!</dialogue> <scene_description>But nothing happens. And now it's just him and the swinging burlap sack. The SACK spins lazily from it's rope to REVEAL - Hoag's SHOTGUN is sewn onto the other side. Flynn backs away.</scene_description> <character>FLYNN</character> <dialogue>What the hell?</dialogue> <scene_description>Flynn stares into the darkness, then turns to the group.</scene_description> <character>FLYNN</character> <dialogue>Why would he give us back the gun?</dialogue> <character>TAMARA</character> <dialogue>To send a message.</dialogue> <character>FLYNN</character> <dialogue>Yeah? What kind of stupid message is that? "Shoot me fuckers, I want to die"?</dialogue> <character>EMMA</character> <dialogue>He's evening the playing field.</dialogue> <character>FLYNN</character> <dialogue>Since when is this a fucking game?</dialogue> <scene_description>The SACK drips blood on the front porch.</scene_description> <character>EMMA</character> <dialogue>For him, since the beginning.</dialogue> <character>FLYNN</character> <dialogue>You know, ominous is a terribly unattractive quality.</dialogue> <scene_description>Beat.</scene_description> <character>TAMARA</character> <dialogue>Flynn, take the gun.</dialogue> <character>ALBERT</character> <dialogue>Leave it. Close the damn door, Flynn.</dialogue> <character>FLYNN</character> <dialogue>It's a gun, dipshit. You put bullets in it and blow douche bag's head into Chunky Soup. You don't leave it.</dialogue> <scene_description>Flynn grabs the gun and TEARS it away from the bag which in effect causes... The BURLAP SACK splits down the middle... AND HOAG SPILLS OUT ONTO THE FRONT PORCH. Everyone SCREAMS. Tamara backpeddles in blood and pieces of Hoag. Pandemonium. Amber is STARING AT HER FATHER'S MASK OF A FACE. She starts SCREAMING UNCONTROLLABLY. Albert slams the door. Amber is still SCREAMING. Albert slaps his hand over her mouth. Pushes her against the wall. Strained silence. Then...</scene_description> <character>FLYNN</character> <dialogue>What the fuck did he do to him?</dialogue> <scene_description>Amber's hyperventilating.</scene_description> <character>AMBER</character> <dialogue>I gotta get out of here. Albert, I gotta get out of here.</dialogue> <scene_description>Flynn holds up the shotgun.</scene_description> <character>FLYNN</character> <dialogue>Hey, at least we got us another gun.</dialogue> <scene_description>Amber is crying and shaking. Albert holds her.</scene_description> <character>ALBERT</character> <dialogue>It's alright.</dialogue> <character>AMBER</character> <dialogue>It's not fucking alright. We gotta go, now.</dialogue> <scene_description>Albert looks at Tamara.</scene_description> <character>ALBERT</character> <dialogue>Where are the keys to the Jeep?</dialogue> <character>TAMARA</character> <dialogue>I'm not going out there? I'm not going to get ground up like Hoag. No way.</dialogue> <scene_description>Amber gets in Tamara's face.</scene_description> <character>AMBER</character> <dialogue>If I stay here one more second I'm going to go crazy. Fucking batshit crazy.</dialogue> <scene_description>Beat.</scene_description> <character>ALBERT</character> <dialogue>Tamara. Get me the keys.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - HALLWAY - NIGHT</stage_direction> <scene_description>Tamara slaps a set of keys into Albert's hand. Albert turns to Flynn.</scene_description> <character>ALBERT</character> <dialogue>Gun.</dialogue> <character>FLYNN</character> <dialogue>You kidding me?</dialogue> <character>ALBERT</character> <dialogue>Flynn, give me a fucking gun or so help me...</dialogue> <scene_description>Flynn reluctantly hands over the .44. Holds the shotgun back.</scene_description> <character>FLYNN</character> <dialogue>I keep the thunder stick.</dialogue> <scene_description>Albert just shakes his head. Turns to Amber.</scene_description> <character>ALBERT</character> <dialogue>You ready?</dialogue> </scene> <scene> <stage_direction>INT. HOUSE - NIGHT</stage_direction> <scene_description>Flynn, Tamara and Emma are at the window. They watch... ALBERT AND AMBER run across the front yard toward a low slung boarded up garage.</scene_description> <character>EMMA</character> <dialogue>You shouldn't have let them go.</dialogue> <character>FLYNN</character> <dialogue>What's it to you?</dialogue> <character>EMMA</character> <dialogue>Cause when they're dead, five becomes three.</dialogue> <character>TAMARA</character> <dialogue>What makes you so sure they're gonna die out there?</dialogue> <character>EMMA</character> <dialogue>This is what he lives for.</dialogue> </scene> <scene> <stage_direction>EXT. GARAGE - NIGHT</stage_direction> <scene_description>Albert and Amber flatten against the east wall next to the door.</scene_description> <character>ALBERT</character> <dialogue>See anything?</dialogue> <character>AMBER</character> <dialogue>I think we're good.</dialogue> <scene_description>Albert reaches for the knob. Turns it and...they're in.</scene_description> </scene> <scene> <stage_direction>INT. GARAGE - NIGHT</stage_direction> <scene_description>A thick, dusty darkness hangs in the air. Shadows play against laser thin streams of moonlight on the walls. An '88 JEEP WAGONEER, sitting in a puddle of oil, doesn't inspire confidence.</scene_description> <character>ALBERT</character> <dialogue>Fucking hell, is this thing even going to run?</dialogue> <scene_description>Albert walks around the car. Get's in.</scene_description> <character>ALBERT</character> <dialogue>Well get on in. Let's see if our salvation's got any balls.</dialogue> </scene> <scene> <stage_direction>INT. JEEP - SAME</stage_direction> <scene_description>Albert slides into the driver's seat. Amber, next to him. She holds up the garage door opener. Albert knocks wood on his head.</scene_description> <character>ALBERT</character> <dialogue>It turns over, you hit that little button right there, got it?</dialogue> <character>AMBER</character> <dialogue>Check.</dialogue> <scene_description>Inserts the keys. Turns. And the car GRINDS TO LIFE.</scene_description> <character>ALBERT</character> <dialogue>Yes.</dialogue> <scene_description>Amber hits the garage door opener. Creak of rusty springs...</scene_description> </scene> <scene> <stage_direction>INT. SHACK - NIGHT</stage_direction> <scene_description>A wall filled with... TOOLS. Rakes and shovels and A FAT DOUBLE BIT AXE hangs.</scene_description> </scene> <scene> <stage_direction>INT. JEEP - NIGHT</stage_direction> <scene_description>The ENGINE DIES!</scene_description> <character>ALBERT</character> <dialogue>Fuck me.</dialogue> <scene_description>Turns the key again. This time...nothing. Albert waits. Tries again. Nothing. He pops the hood.</scene_description> <character>AMBER</character> <dialogue>What are you doing?</dialogue> <character>ALBERT</character> <dialogue>Something damn stupid.</dialogue> <scene_description>Albert gets out of the car. Amber sits there. Waiting. Suddenly a revelation hits her like a wave. She looks in the rearview mirror. And then she SPINS AROUND in her seat to look in the -- BACK SEAT. Empty. Thank God! She turns back around, relieved. And just then... ALBERT is at her window. Amber SCRE-- HE SLAPS HIS HAND OVER HER MOUTH.</scene_description> <character>ALBERT</character> <dialogue>Quiet, Jumpy.</dialogue> <scene_description>Amber chills out.</scene_description> <character>AMBER</character> <dialogue>Nerves...you know?</dialogue> <character>ALBERT</character> <dialogue>Look, the engine is all cracked hoses and Motor City fucking ingenuity, so I'm gonna try a few things.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>When I knock on the hood, give the ignition a twist, alright?</dialogue> <character>AMBER</character> <dialogue>Shouldn't we close the garage door.</dialogue> <character>ALBERT</character> <dialogue>This'll only take a sec.</dialogue> <scene_description>Albert heads back under the hood. Messes around in there. KNOCKS. Amber turns the key. Nothing. More tweaking from under the hood. KNOCKS. Amber turns the key. Engine catches, then falters. KNOCKS. The engine catches again. This time it revs nicely. Stale air blows out the vents.</scene_description> <character>ALBERT (O.S.)</character> <dialogue>Gun it.</dialogue> <scene_description>Amber reaches her foot over the middle. Hits the gas. Running nicely...</scene_description> <character>AMBER</character> <dialogue>LET'S GO!!!</dialogue> <scene_description>ALBERT notices oil bubbling out of the BLOCK.</scene_description> <character>ALBERT</character> <dialogue>Really lay down on it.</dialogue> <character>AMBER</character> <dialogue>Alright but, c'mon.</dialogue> <scene_description>She floors the gas. He TIES A RAG AROUND A HOSE. Wipes his hands across his chest. Done. Albert TURNS JUST AS... DRIVER emerges from the dark, fast as fuck, and PLANTS THE AXE DEEP INTO ALBERT'S NECK. Amber hears a noise.</scene_description> <character>AMBER</character> <dialogue>Albert?</dialogue> <scene_description>And then, two more KNOCKS ON THE HOOD. Amber lays on the gas.</scene_description> <character>AMBER</character> <dialogue>It's running fine. Come the fuck on.</dialogue> <scene_description>The ENGINE WHINES and then suddenly something GRINDS. Two more impatient KNOCKS ON THE HOOD. THE GRINDING WORSENS. Amber really guns it. The GRINDING is louder than the engine.</scene_description> <character>AMBER</character> <dialogue>Albert. Let's just --</dialogue> <scene_description>And then a CLOTTING SPRAY OF GORE PUNCHES free from the vents...drenching her in blood. Amber SCREAMS her fucking head off.</scene_description> <character>AMBER</character> <dialogue>What is this???</dialogue> <scene_description>AMBER'S POV - A BLOODY HAND pushes the hood closed. And as he comes into view, DRIVER smiles at her. He lifts his hand to... REVEAL - Albert. Driver's got him by his hair. He flips his head up to reveal Albert's severed face. Nothing left, but the holes that must have been his mouth, nose and eyes. Amber dives for her door. Driver charges, but Amber -- SLAMS DRIVER in the legs with the door. He folds into himself as...</scene_description> </scene> <scene> <stage_direction>EXT. GARAGE - NIGHT</stage_direction> <scene_description>Amber hits the ground running. She breaks for the trees. Beat. Driver appears in the doorway. He flips the axe in his hand and watches... Amber running across the lawn. She looks back. Spots Driver. He tosses the axe back and forth between his hands. Amber SCREAMS and runs into the woods.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - NIGHT</stage_direction> <scene_description>Amber's SCREAMS penetrate the house. Tamara races in, holding a big Chef's KNIFE.</scene_description> <character>TAMARA</character> <dialogue>What happened?</dialogue> <character>FLYNN</character> <dialogue>We've got to go right now.</dialogue> <scene_description>Tamara goes to the window.</scene_description> <character>TAMARA</character> <dialogue>Where are they?</dialogue> <character>FLYNN</character> <dialogue>I don't know.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Are you with me?</dialogue> </scene> <scene> <stage_direction>EXT. WOODS - NIGHT</stage_direction> <scene_description>Amber, covered in blood, runs hard, pinwheeling past trees and jumping old logs. She looks back. Can't see Driver. She pushes on, knowing where she's going.</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - SAME</stage_direction> <scene_description>Driver is tracking her. He runs fast. Axe in hand.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - HALLWAY - NIGHT</stage_direction> <scene_description>Flynn gets in Emma's face.</scene_description> <character>FLYNN</character> <dialogue>When I say run. We run. You got any funny ideas and I'll make you wish you were back in that box under his bed or whatever weird shit you two had going on.</dialogue> <scene_description>Flynn and Tamara prop Denny up between them. Denny moans.</scene_description> <character>DENNY</character> <dialogue>Leave her alone, Flynn. She's got our backs.</dialogue> <character>FLYNN</character> <dialogue>Really? You're so sure about that?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>That freak has this chick so tweaky wired that I don't know what she'll do.</dialogue> <scene_description>Flynn pushes Emma to the front door.</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - SAME</stage_direction> <scene_description>Amber looks back. DRIVER'S SILHOUETTE runs jagged through the trees. He's far enough back, but clearly on her tail. She looks down. Notices the blood trail she's been leaving.</scene_description> <character>AMBER</character> <dialogue>Fuck.</dialogue> <scene_description>She rips off her jacket. Puts her weight into it and SNAPS OFF A THICK BRANCH OF A NEARBY TREE. Amber looks fierce.</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE - GARAGE - NIGHT</stage_direction> <scene_description>The car is still running. Emma stops at the sight of ALBERT. Tamara and Flynn pull Denny along. Tamara practically trips over ALBERT'S BODY. She almost screams, but Flynn slaps his hand over her mouth, backing her up against the wall.</scene_description> <character>FLYNN</character> <dialogue>He's dead. C'mon. Just get in the car.</dialogue> <character>TAMARA</character> <dialogue>He had a gun.</dialogue> <scene_description>Flynn hesitates at Albert's non-face.</scene_description> <character>TAMARA</character> <dialogue>Flynn.</dialogue> <character>FLYNN</character> <dialogue>Fine. Get in the car.</dialogue> <scene_description>He hands Tamara the shotgun. Let's go of Denny. Tamara steps around Albert. As Tamara loads Denny into the front seat and Emma gets in the back...</scene_description> <character>TAMARA</character> <dialogue>Oh, gross. There's like a shitload of blood in --</dialogue> <character>FLYNN</character> <dialogue>There's blood everywhere. Get in the fucking car.</dialogue> <scene_description>Flynn kneels next to Albert. He LEANS OVER HIM reaching into his jacket...looking for the gun.</scene_description> <character>FLYNN</character> <parenthetical>(sotto)</parenthetical> <dialogue>Shit is sick...</dialogue> <scene_description>SUDDENLY ALBERT COUGHS BLOOD in Flynn's face. Flynn screams and JUMPS BACK, holding the gun in his hand, pointing it at what's left of Albert's face.</scene_description> <character>TAMARA</character> <parenthetical>(from the car)</parenthetical> <character>WHAT IS IT?</character> <dialogue>Albert is convulsing. His tongue trying to form words. Hands reaching for Flynn's leg.</dialogue> <character>FLYNN</character> <dialogue>Nothing. Stay in the car.</dialogue> <scene_description>Albert tries to sit up. FLYNN PLANTS HIS FOOT on Albert's chest. He pushes him down and SHIELDS HIS FACE FROM THE SPLATTER... PULLS THE TRIGGER, putting Albert down.</scene_description> </scene> <scene> <stage_direction>INT. JEEP - NIGHT</stage_direction> <scene_description>MOMENTS LATER - Flynn gets in the car.</scene_description> <character>TAMARA</character> <dialogue>What did you do?</dialogue> <character>FLYNN</character> <dialogue>Forget it.</dialogue> <scene_description>He slams the door. Punches the steering wheel.</scene_description> <character>FLYNN</character> <dialogue>Fuck.</dialogue> <scene_description>Beat. He throws the car into gear, revs the engine and burns rubber out of the garage. Flynn uses his palm to wipe away the slick of blood clotting his vision.</scene_description> <character>FLYNN</character> <dialogue>Sick.</dialogue> <scene_description>He fishtails down the driveway, grinding gravel.</scene_description> <character>EMMA</character> <dialogue>Turn on your lights.</dialogue> <character>FLYNN</character> <dialogue>Did I ask for your opinion?</dialogue> <scene_description>Being an ass hair away from death has kicked Emma into serious fuck you mode.</scene_description> <character>EMMA</character> <dialogue>We've come this far, it would be nice to actually live.</dialogue> <scene_description>Flynn strains to see out the windshield. Between the blood and the darkness there's negative visibility. Car fishtails... The Jeep hits pavement and Flynn flips his lights. A HUGE FUCKING DEER is standing dead center, in the middle of the road. EVERYONE braces for impact. But Flynn swerves at the very last second and...</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - NIGHT</stage_direction> <scene_description>Driver finds the spot where Amber stripped off her jacket. He assesses his options, staring into the thick woods, listening. Suddenly, something BEEPS. BEEP, BEEP, BE... He REACHES INTO HIS POCKET and stops the sound. He looks behind him, back toward the house...</scene_description> </scene> <scene> <stage_direction>EXT. RURAL ROAD - NIGHT</stage_direction> <scene_description>The Jeep screams down the road.</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - NIGHT</stage_direction> <scene_description>Amber stumbles out of the woods onto a decrepit abandoned property. Rusted out junked cars are scattered around the backyard of a falling down old house. Amber beelines for the cars. She pops the trunk on an old Chevy. Finds a TIRE IRON in back. She hefts it in her hand. It'll have to do. She looks to the house. Debates whether or not to go inside. She turns to the woods. No sign of Driver. She ducks down behind the car. Tries to catch her breath. Waits a few beats and then... SLOWLY STANDS UP. She scans the perimeter. She's all alone. Takes a deep breath. FEELS A PRESENCE... Amber SPINS AROUND, swinging the TIRE IRON. DRIVER swings his AXE and they meet in the middle.</scene_description> <character>DRIVER</character> <dialogue>Couldn't be happy with a twenty percent tip, could you?</dialogue> <scene_description>Driver hooks the tire iron with the axe and rips it from Amber's hands. He SWINGS THE AXE at Amber's face. She arches her back and the blade GRAZES her FOREHEAD. Amber stumbles back. Falls on her ass. Driver comes at her. She kicks at him, catching his KNEE with her heel. Driver drops to his other knee.</scene_description> <character>AMBER</character> <dialogue>Fuck you.</dialogue> <scene_description>Amber scrambles to her feet and runs for the house. Driver uses the axe to pull himself back up and LURCHES AFTER HER. But Amber is fast. She races up the front porch and gets inside. Slams the door.</scene_description> </scene> <scene> <stage_direction>INT. DILAPIDATED HOUSE - NIGHT</stage_direction> <scene_description>Amber stands against the door, holding it closed. Driver hits it from the outside. It shudders, but holds.</scene_description> <character>AMBER</character> <dialogue>LEAVE ME ALONE!!!</dialogue> <scene_description>The BLADE of the AXE punches through the door an inch from Amber's head. She stares at the reflection of her eye in the gleaming blade and then RUNS. DRIVER kicks the door off its hinges. Amber runs up the stairs, four at a time. HER FOOT GOES THROUGH THE FLOORBOARD. She turns as Driver is upon her, but... Amber grabs for the banister. It splinters in her hand and -- SHE SWINGS THE BROKEN PIECE AT DRIVER'S HEAD. Catches him in the temple and he stumbles back, loses his footing and FALLS BACKWARD DOWN THE STAIRS. He lays still at the bottom. Amber tugs her foot free. Driver stirs. Hand to head. He gets to his feet. And Amber is moving again. Up the stairs. She crosses to the bedrooms where...</scene_description> </scene> <scene> <stage_direction>INT. DILAPIDATED HOUSE - HALLWAY - SAME</stage_direction> <scene_description>She finds a crawlspace between the walls and ducks inside.</scene_description> </scene> <scene> <stage_direction>INT. DILAPIDATED HOUSE - CRAWLSPACE - NIGHT</stage_direction> <scene_description>Amber shimmies through the crawlspace. She can HEAR Driver searching for her. A cracked piece of plaster allows her to peek through...</scene_description> </scene> <scene> <stage_direction>INT. DILAPIDATED HOUSE - BEDROOM - SAME</stage_direction> <scene_description>Driver walks through the room. He KNOCKS on the walls. From across the room... We make out Amber's terrified eye peeking through a wide CRACK in the wall.</scene_description> </scene> <scene> <stage_direction>INT. DILAPIDATED HOUSE - CRAWLSPACE - NIGHT</stage_direction> <scene_description>Amber slowly backs out of the crawlspace. Ducks around the wall. She can hear Driver...getting closer. Closer. Amber flattens against the wall. The SOUND of Driver dragging the axe against the walls. She holds her hand over her mouth to keep herself from screaming. Stone still, she listens. Doesn't hear a thing. Gathers the courage to... PEEK AROUND THE CORNER OF THE WALL. DRIVER IS RIGHT IN HER FACE and HAS HIS HAND over his own MOUTH, TRYING TO KEEP HIMSELF FROM SCREAMING. MOCKING HER. Amber SCREAMS. Driver PUNCHES his hand through the broken wall, behind her and GRABS AMBER BY THE HAIR. He literally PULLS HER through the wall into...</scene_description> </scene> <scene> <stage_direction>INT. DILAPIDATED HOUSE - BEDROOM - NIGHT</stage_direction> <scene_description>Amber is thrown across the floor. Driver is right on her. She gets to her feet, sloppy, loses her balance, crying.</scene_description> <character>AMBER</character> <dialogue>Why are you doing this?</dialogue> <scene_description>Defiantly, he throws the axe to the floor. Beckons her with a flutter of fingers...</scene_description> <character>DRIVER</character> <dialogue>It keeps me fit.</dialogue> <scene_description>Amber looks for a way out. There is none. So she does what any good hellcat can do. SHE CHARGES DRIVER. JUMPS AT HIM and... Driver SNAPS his arm. THE GRANDDADDY OF ALL HUNTING KNIVES shoots out from within his sleeve and slips smoothly into the palm of his hand. It's coronation time. Driver meets her in the center of the room. The knife catches her in the sternum. Driver runs her into the wall and pins her like a bug, feet dangling off the ground. Amber stares at the knife sticking out of her chest...</scene_description> <character>AMBER</character> <dialogue>Let...me...down.</dialogue> <character>DRIVER</character> <dialogue>But if I let you down...you might...crawl away.</dialogue> <scene_description>She wriggles in place, oblivious to the pain. Blood bubbles up in the corners of her mouth.</scene_description> <character>DRIVER</character> <dialogue>Okay...fine.</dialogue> <scene_description>He pulls the knife and Amber drops to the floor. Driver watches her for a moment. She presses her hand to her chest.</scene_description> <character>DRIVER</character> <dialogue>It's totally amazing that you're actually still alive.</dialogue> <scene_description>He descends on her, knife in full arch. Plunges the blade deep. Again. Again. Again...</scene_description> </scene> <scene> <stage_direction>EXT. DILAPIDATED HOUSE - NIGHT</stage_direction> <scene_description>Driver exits the house, the HUNTING KNIFE dripping blood. He kneels in the grass and wipes the blade clean. Looks toward the east where...</scene_description> </scene> <scene> <stage_direction>INT. JEEP - NIGHT</stage_direction> <scene_description>The Jeep hauls ass down the highway. Windows open, wind blowing. It's like a rebirth.</scene_description> <character>FLYNN</character> <dialogue>We'll drop Denny off in Missoula. Then we regroup.</dialogue> <scene_description>Flynn regards Emma with greed in his eyes.</scene_description> <character>FLYNN</character> <dialogue>We need to think political about this.</dialogue> </scene> <scene> <stage_direction>EXT. HOSPITAL - NIGHT</stage_direction> <scene_description>The Jeep pulls into the EMERGENCY ENTRANCE.</scene_description> </scene> <scene> <stage_direction>EXT. JEEP - SAME</stage_direction> <scene_description>Flynn gets out of the car. He runs around to the passenger side.</scene_description> <character>FLYNN</character> <dialogue>Tam, goddamnit, get out and help me.</dialogue> <scene_description>Tamara climbs over the seat and helps Flynn pull Denny out of the car. Flynn shoves the gun in Tamara's hand.</scene_description> <character>FLYNN</character> <dialogue>Make sure she doesn't get any ideas.</dialogue> <scene_description>Tamara takes the gun and slides back into the car...</scene_description> </scene> <scene> <stage_direction>INT. JEEP - SAME</stage_direction> <scene_description>Tamara points the gun at Emma.</scene_description> <character>TAMARA</character> <dialogue>So...you got any ideas?</dialogue> </scene> <scene> <stage_direction>INT. EMERGENCY ROOM - NIGHT</stage_direction> <scene_description>Flynn drags Denny into the waiting area. He props him in a seat. Denny's bleeding everywhere. Flynn turns to find -- A NURSE is right in Flynn's face.</scene_description> <character>NURSE</character> <dialogue>Excuse me, sir.</dialogue> <scene_description>Flynn points to Denny...</scene_description> <character>FLYNN</character> <dialogue>Self inflicted gunshot wound.</dialogue> <scene_description>The nurse takes one look at Denny. His foot, gone. Shoulder blown to ground chuck.</scene_description> </scene> <scene> <stage_direction>EXT. EMERGENCY ROOM - NIGHT</stage_direction> <scene_description>Flynn runs out. Slides behind the wheel of the Jeep.</scene_description> <character>FLYNN</character> <dialogue>Let's go, go, go...</dialogue> </scene> <scene> <stage_direction>INT. JEEP - NIGHT</stage_direction> <scene_description>He throws the car into drive and they take off.</scene_description> </scene> <scene> <stage_direction>EXT. RURAL ROAD - NIGHT</stage_direction> <scene_description>The Jeep cruises out of the small town.</scene_description> </scene> <scene> <stage_direction>EXT. RURAL ROAD - NIGHT</stage_direction> <scene_description>The Jeep winds through rural no man's land.</scene_description> </scene> <scene> <stage_direction>INT. JEEP - NIGHT</stage_direction> <scene_description>Everyone sits in silence as Flynn drives. Finally.</scene_description> <character>EMMA</character> <dialogue>Come up with a plan yet, genius?</dialogue> <scene_description>A sign looms in the distance.</scene_description> </scene> <scene> <stage_direction>EXT. RURAL ROAD - LATER</stage_direction> <scene_description>The Jeep whips past a sign for THE HIGHWAYMAN MOTEL.</scene_description> </scene> <scene> <stage_direction>EXT. MOTEL - PARKING LOT - NIGHT</stage_direction> <scene_description>The Jeep pulls in. Parks away from the office.</scene_description> </scene> <scene> <stage_direction>INT. MOTEL - OFFICE - NIGHT</stage_direction> <scene_description>Flynn enters. No one is there. He rings the bell. HARRIS, the owner, comes out from the back room.</scene_description> <character>HARRIS</character> <dialogue>Well, hello there.</dialogue> <character>FLYNN</character> <dialogue>Evening.</dialogue> <character>HARRIS</character> <dialogue>Please don't say you're here for directions. I've got fifteen rooms all with your name on it.</dialogue> <scene_description>Flynn doesn't crack at all.</scene_description> <character>FLYNN</character> <dialogue>Just one room. That's all.</dialogue> <scene_description>Harris checks him out. Doesn't like him.</scene_description> <character>HARRIS</character> <dialogue>Just you?</dialogue> <character>FLYNN</character> <dialogue>What is this, twenty fucking questions?</dialogue> <scene_description>Harris reaches behind him. Pulls a key off the board.</scene_description> <character>HARRIS</character> <dialogue>How about number three?</dialogue> <character>FLYNN</character> <dialogue>Something a bit further off the road.</dialogue> <character>HARRIS</character> <dialogue>Okay then...we got 15 and 16 in the back.</dialogue> <character>FLYNN</character> <dialogue>That'll do.</dialogue> <character>HARRIS</character> <dialogue>All I need is to see a credit card or some identification?</dialogue> <scene_description>And now Flynn remembers. The wallet. He reaches for his back pocket... PULLS OUT DRIVER'S WALLET. Stares at it for a beat and then HANDS HARRIS ONE OF DRIVER'S CREDIT CARDS. Harris takes it. Looks at it. Hides his recognition. Harris looks up at Flynn. Flynn smiles.</scene_description> <character>HARRIS</character> <dialogue>Interesting name.</dialogue> <character>FLYNN</character> <dialogue>Isn't it.</dialogue> <scene_description>Beat. Harris runs the card. Smiles again. Hands Flynn the key to #15.</scene_description> <character>HARRIS</character> <dialogue>You can just pull around the back if you want.</dialogue> <scene_description>Flynn takes the key and walks out. Harris follows him with his eyes. When Flynn is out of eyeshot Harris picks up the phone. Dials.</scene_description> <character>HARRIS</character> <dialogue>Hello, Sheriff?</dialogue> </scene> <scene> <stage_direction>EXT. RURAL ROAD - NIGHT</stage_direction> <scene_description>Angel's EIGHTEEN WHEELER barrels down the road. It's headlights illuminate... ANGEL'S POV - In the distance, Driver, bloody, dirty, walking. DRIVER hears the roar of tires against asphalt. A smile creases his lips. His kind of car. As the truck slows... DRIVER steps out into the middle of the road. Holds his arms up for the truck to stop and then dramatically -- SINKS TO HIS KNEES, blocking the road. The truck stops and ANGEL gets out, stands cautiously next to the cab.</scene_description> <character>ANGEL</character> <dialogue>Buddy, you might be the icing on my shit cake of a night.</dialogue> <scene_description>He reaches into the truck and yanks a SAWED OFF SHOTGUN off its spot on the door.</scene_description> <character>ANGEL</character> <dialogue>Now why don't you tell me how you came to looking so fucked up.</dialogue> <scene_description>Driver sits prone. Head hung low. As Angel approaches, gun aimed low, even with the crown of Driver's skull.</scene_description> <character>ANGEL</character> <dialogue>I'm talking to you, fella.</dialogue> <scene_description>He shoves the gun under Driver's chin and lifts his face to the moonlight. Driver stands before him.</scene_description> <character>ANGEL</character> <dialogue>Is that blood on your face?</dialogue> <character>DRIVER</character> <dialogue>What's with all the questions?</dialogue> <scene_description>Driver KICKS Angel in the chest just as... ANOTHER EIGHTEEN WHEELER roars down the other side of the road and Angel is jacked between THE CAB and THE LOAD. He vanishes under the remaining 12 wheels. The passing truck doesn't even register the death and keeps going. Driver walks along the stain that was once Angel and climbs into the cab of the dead man's truck.</scene_description> </scene> <scene> <stage_direction>INT. MOTEL - ROOM 15 - NIGHT</stage_direction> <scene_description>Flynn pulls Emma over to him. Sits her down on the bed. The bathroom door is ajar and we HEAR the shower running.</scene_description> <character>FLYNN</character> <dialogue>Now, I think we can all agree that we saved your little rich girl ass, correctamundo?</dialogue> <character>EMMA</character> <dialogue>You're my hero.</dialogue> <scene_description>Flynn pushes her back onto the bed. For a moment Emma looks nervous. But Flynn isn't thinking about that. He gets up, walks to the bathroom and leans up against the door. Soaks in the steam...</scene_description> <character>FLYNN</character> <parenthetical>(into bathroom)</parenthetical> <dialogue>Here's the deal. We're driving. Just you and me.</dialogue> </scene> <scene> <stage_direction>INT. MOTEL - ROOM 15 - BATHROOM - SAME</stage_direction> <scene_description>Tamara is washing the day off her. She glances toward the shower curtain and Flynn's voice with disdain.</scene_description> <character>TAMARA</character> <dialogue>Ah, the wheels of genius are a spinnin'. And what about Hoag and the others?</dialogue> <scene_description>Flynn lights a cigarette...</scene_description> <character>FLYNN</character> <dialogue>Hoag who? Anyone connects the dots and we're dead ducks. So we keep the Hoag of it all like none of that shit ever happened. And little missy...</dialogue> <parenthetical>(turns to Emma)</parenthetical> <dialogue>You just nod your head, yeah, yeah, okay, okay, or you can bet your ass that I'll make it my life's mission to skin you alive.</dialogue> <character>EMMA</character> <dialogue>Scary.</dialogue> <character>FLYNN</character> <dialogue>So we're driving and, holy shit, this fucking girl comes stumbling out of the woods all fucked up and shit. We throw her in the car and realize, wowzers, we got us Emma Ward. Payday.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Now kick up those dogs and lets chill out here for a couple hours. Get some rest. Freshen up. And then head into Seattle first thing.</dialogue> <character>EMMA</character> <dialogue>Seattle?</dialogue> <character>FLYNN</character> <dialogue>I'm not handing you over to some hokey backcountry Johnny Law. I'm taking your skinny ass straight to the F.B. fucking I.</dialogue> <scene_description>Tamara peaks out through the curtain.</scene_description> <character>TAMARA</character> <dialogue>Way to go, genius. Now if you wouldn't mind...</dialogue> <scene_description>Flynn leers at her. Tamara gives him the finger and with a flourish he closes the door.</scene_description> </scene> <scene> <stage_direction>INT. MOTEL - ROOM 15 - SAME</stage_direction> <scene_description>Flynn jumps onto the bed next to Emma. She moves to get off, but he grabs her wrist.</scene_description> <character>EMMA</character> <dialogue>I have to pee.</dialogue> <scene_description>He stares at her.</scene_description> <character>FLYNN</character> <dialogue>Alright, then...</dialogue> </scene> <scene> <stage_direction>INT. MOTEL - ROOM 15 - BATHROOM - NIGHT</stage_direction> <scene_description>Tamara let's the water fall over her body. Washing away the horrors of the day. She grabs some shampoo. Lathers her hair. And then a bar of soap. She caresses every part of herself. We HEAR the DOOR CLICK SHUT.</scene_description> <character>TAMARA</character> <dialogue>Gun's on the counter.</dialogue> <scene_description>She washes the soap from her hair and eyes. Opens the curtain to REVEAL - EMMA standing at the sink.</scene_description> <character>EMMA</character> <dialogue>You trust me?</dialogue> <character>TAMARA</character> <dialogue>That's the idea.</dialogue> <scene_description>Emma picks up the .44 off the counter. She hefts it in her hand.</scene_description> <character>TAMARA</character> <dialogue>Soon as I come out of the bathroom - -</dialogue> <character>EMMA</character> <dialogue>I blow his fucking head off. It's a good plan.</dialogue> <scene_description>Emma tucks the gun in the back of her jeans and smiles at Tamara. She opens the door and - CRACK! Flynn nails her in the mouth with the butt of the shotgun. Emma stumbles back into the bathroom, mouth gushing.</scene_description> <character>TAMARA</character> <dialogue>Flynn, what the fuck???</dialogue> <scene_description>Flynn spins Emma around, pulls the gun from the back of her jeans and palms the gun and -- PISTOL WHIPS Tamara. She goes ass over ankles into the tub, smacking her head on the tiles...</scene_description> <character>FLYNN</character> <dialogue>I figured you to fuck me one way or the other.</dialogue> <scene_description>He grabs Emma by the arm and FLINGS her into the bedroom, following her...SLAMS THE DOOR TO THE BATHROOM SHUT.</scene_description> </scene> <scene> <stage_direction>INT. MOTEL - ROOM 15 - SAME</stage_direction> <scene_description>Flynn holds the shotgun on Emma as she struggles to staunch the bleeding from her mouth. With his other hand and holds the bathroom door closed.</scene_description> <character>FLYNN</character> <dialogue>I never trusted that cunt.</dialogue> <parenthetical>(to the door)</parenthetical> <character>YOU HEAR ME YOU SKANK WHORE. I</character> <dialogue>NEVER TRUSTED YOUR ASS.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I guess the question is might you be worth dead.</dialogue> <scene_description>From inside the bathroom, Tamara slams her hands against the door.</scene_description> <character>TAMARA (O.S.)</character> <dialogue>Flynn. Open the fucking door.</dialogue> <character>FLYNN</character> </scene> <scene> <stage_direction>INT. MOTEL - ROOM 15 - BATHROOM - SAME</stage_direction> <scene_description>Tamara slams her hands against the door.</scene_description> <character>TAMARA</character> <dialogue>What're you gonna do? Kill us? You can't kill me, Flynn.</dialogue> </scene> <scene> <stage_direction>INT. MOTEL - ROOM 15 - SAME</stage_direction> <scene_description>Flynn is incredulous.</scene_description> <character>FLYNN</character> <dialogue>You can't kill me, Flynn.</dialogue> </scene> <scene> <stage_direction>INT. MOTEL - ROOM 15 - BATHROOM - SAME</stage_direction> <scene_description>Tamara leans against the door.</scene_description> <character>FLYNN (O.S.)</character> <dialogue>Hell if I can't. What were you going to do? Tickle me softly with your pretty bullets?</dialogue> <character>TAMARA</character> <dialogue>Fuck off...</dialogue> <scene_description>BEHIND HER - A SHADOW DESCENDS FROM THE CEILING.</scene_description> <character>TAMARA</character> <dialogue>EMMA!!! KILL HIM THE SECOND YOU GET</dialogue> <character>THE CHANCE.</character> <dialogue>She turns around...RIGHT INTO DRIVER'S KNIFE.</dialogue> <dialogue>And he plunges the knife deep into her belly.</dialogue> <dialogue>He pushes her back into the tub, tearing the curtain down between them, muffling Tamara's screams as he twists the blade. Legs kicking wildly as blood and water spiral down the drain.</dialogue> </scene> <scene> <stage_direction>INT. MOTEL - ROOM 15 - NIGHT</stage_direction> <scene_description>Flynn listens to Tamara in the bathroom.</scene_description> <character>FLYNN</character> <dialogue>That's right, baby. Get mad. But you made your bed.</dialogue> <parenthetical>(to Emma)</parenthetical> <dialogue>And you were gonna trust that tweaker. Girl's got a streak in her bent as a Polish highway. What a tool.</dialogue> <scene_description>JUST THEN, POLICE LIGHTS FLARE UP THE PARKING LOT. Flynn reacts to the lights and then points the gun at Emma.</scene_description> <character>FLYNN</character> <dialogue>Don't say a fucking word.</dialogue> <scene_description>Beat. There's a knock on the door. Flynn is scattered.</scene_description> <character>FLYNN</character> <dialogue>Alright. Fuck. Let's deal with this.</dialogue> <scene_description>Flynn opens the door. The SHERIFF, 40's, grizzled, is all cowboy cool.</scene_description> <character>SHERIFF</character> <dialogue>Son, I think you better step outside with me.</dialogue> <scene_description>Flynn steps out with the Sheriff.</scene_description> </scene> <scene> <stage_direction>EXT. MOTEL - ROOM 15 - NIGHT</stage_direction> <scene_description>The Sheriff has his back turned to Flynn as he walks several paces away from the door.</scene_description> <character>SHERIFF</character> <dialogue>Now, I think we have ourselves a case of identity confusion. Harris here at the Highwayman seems to remember a fella coming through with the same name as you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Now I know that wouldn't be so strange if it wasn't for the fella's name being so unusual.</dialogue> <scene_description>As he turns around, Flynn pulls his gun and... BLAM!!! The slug punches a softball size hole through the middle of the Sheriff's face.</scene_description> </scene> <scene> <stage_direction>INT. MOTEL - ROOM 15</stage_direction> <scene_description>Emma reacts to the gunshot. The FRONT DOOR opens. Flynn screams at her.</scene_description> <character>FLYNN</character> <dialogue>OUT. OUT. OUT.</dialogue> <scene_description>Emma hesitates. Flynn grabs her by the hair...</scene_description> <character>EMMA</character> <dialogue>Let...go...of...me, creep.</dialogue> </scene> <scene> <stage_direction>EXT. MOTEL - ROOM 15 - CONTINUOUS</stage_direction> <scene_description>As Flynn drags Emma to the Jeep... The FRONT DOOR to room 15 swings open. Flynn and Emma turn.</scene_description> <character>FLYNN</character> <dialogue>Oh, shit...</dialogue> <scene_description>TAMARA stumbles out. She's naked and covered in blood, holding her stomach. She walks several steps toward the others.</scene_description> <character>TAMARA</character> <dialogue>Help me.</dialogue> <scene_description>She hold out her hands to REVEAL - she's been gutted and... Tamara's insides fall out onto the gravel parking lot.</scene_description> <character>EMMA</character> <dialogue>NOOOOO!</dialogue> <scene_description>Tamara falls to her knees and then face first onto her own internal organs. THE SOUND OF A CAR REVVING and...Flynn and Emma turn to see... THE SHERIFF'S CAR, IN REVERSE, BEARING DOWN ON THEM. Emma runs. Flynn fumbles with his gun, is about to take aim when -- The CAR HITS FLYNN. He pirouettes over the trunk, bounces off the hood and slams onto the parking lot.</scene_description> </scene> <scene> <stage_direction>INT. SHERIFF'S CAR - SAME</stage_direction> <scene_description>Driver SNAPS THE CAR INTO DRIVE and...</scene_description> </scene> <scene> <stage_direction>EXT. MOTEL - SAME</stage_direction> <scene_description>EMMA RUNS toward the construction zone at the far end of the parking lot. Suddenly she's bathed in headlights. THE SHERIFF'S CAR IS BEARING DOWN ON HER. She makes it to the pavement's edge and slides down a steep embankment just as...</scene_description> </scene> <scene> <stage_direction>EXT. CONSTRUCTION SITE - NIGHT</stage_direction> <scene_description>THE SHERIFF'S CAR PLOWS through a pile of dirt and gravel and catches air... The CAR clears Emma and NOSE DIVES twelve feet down the embankment, slamming grill first and turtle-backs hard, crushing the roof. Suddenly, everything is very quiet. As the dust settles. THE DOOR TO THE CRUISER KICKS OPEN. Emma can't believe it. DRIVER crawls out of the car. His shoulder is badly dislocated. It's pretty fucking ugly. He grabs his wrist and JERKS his shoulder back into its socket. CRUNCH! AND THEY LOOK AT EACH OTHER. AND IT'S BIZARRE. THE LOVE IN DRIVER'S EYES IS SO REAL. Emma shakes her head. This can't be happening. Not again. She runs.</scene_description> </scene> <scene> <stage_direction>EXT. CONSTRUCTION SITE - NIGHT</stage_direction> <scene_description>Emma sprints past a slew of heavy machinery. Driver limps after her. She turns. Sees him. She's hysterical. LEAVE ME ALONE.: Keeps running. Driver is silent in his pursuit. As they near a column... FLYNN TURNS THE CORNER, BEAT UP, BUT STILL TICKING, SHOTGUN IN HIS HAND. Life slows down. Emma hits the dirt just as... Flynn FIRES, catching Driver in the chest and he is launched backward. He lands hard. Lays there, not moving. Flynn walks forward. Approaches prone Driver. Suddenly, Driver heaves, back arching, catching his breath. Flynn backs away. He claws at his chest to REVEAL -- a BULLETPROOF VEST under his coveralls. He pulls at it, loosening it, taking the tightness out of his lungs when he looks up at... FLYNN smiles, his finger on the trigger.</scene_description> <character>FLYNN</character> <dialogue>Do they make one of those for your face?</dialogue> <scene_description>CRACK!!! Emma delivers a shovel blow to the side of Flynn's skull. Flynn drops like a stone. Emma picks up the shotgun. Driver struggles to sit up.</scene_description> <character>DRIVER</character> <dialogue>Must admit, I didn't see that coming.</dialogue> <scene_description>Emma turns the gun on him.</scene_description> <character>EMMA</character> <dialogue>Let him get the honor of killing you? I don't think so.</dialogue> <character>DRIVER</character> <dialogue>Emma. C'mon. We have a special something.</dialogue> <character>EMMA</character> <dialogue>You're out of your mind.</dialogue> <character>DRIVER</character> <dialogue>No. I'm very much in my mind.</dialogue> <scene_description>Driver struggles to his feet.</scene_description> <character>DRIVER</character> <dialogue>After all we've been through, you're going to go with this? Don't you find it...trite?</dialogue> <character>EMMA</character> <dialogue>This isn't one of your sociopathic stagings. This is you dying.</dialogue> <character>DRIVER</character> <dialogue>Now there it is. If this were, I don't know, say one of my sociopathic stagings, I would have you say exactly that.</dialogue> <scene_description>He takes a step toward her.</scene_description> <character>DRIVER</character> <dialogue>And then I would say, "Go ahead, pull the trigger."</dialogue> <character>EMMA</character> <dialogue>No problem.</dialogue> <scene_description>Emma pulls the trigger. An EMPTY CLICK...</scene_description> <character>DRIVER</character> <dialogue>College girls...they think they got it all figured out.</dialogue> <scene_description>He takes the barrel in his hand and...</scene_description> <character>DRIVER</character> <dialogue>It's called pump action for a reason.</dialogue> <scene_description>YANKS THE GUN FREE FROM HER GRIP. Pumps it and FIRES IT right past her head. BAM!!! She doesn't even flinch. But she doesn't run either. She's resigned...</scene_description> <character>DRIVER</character> <dialogue>You can't kill me, Emma. I'm deep inside you.</dialogue> <scene_description>He places the gun at his side and FLICKS OUT HIS ARM -- The HUNTING KNIFE slides into the palm of his hand. He places his palm on the back of her neck and JAMS THE KNIFE RIGHT OVER HER PELVIS at the point of HER TWO INCH SCAR.</scene_description> <character>DRIVER</character> <dialogue>Now it's my turn to set you free.</dialogue> <scene_description>Emma gasps at the pain. Driver holds her tight as we go -- CLOSE ON - Driver plunges his fingers into the cut, digging into Emma's abdomen right under her skin, between the fat and muscle.</scene_description> <character>DRIVER</character> <parenthetical>(softly in her ear)</parenthetical> <dialogue>Breathe.</dialogue> <scene_description>And PULLS OUT...A BLOODY TRANSISTOR. A GPS DEVICE THAT HAD BEEN EMBEDDED INTO HER FLESH. Driver pushes away from Emma. She looks up at him.</scene_description> <character>DRIVER</character> <dialogue>Now it's your turn to find me.</dialogue> <scene_description>Emma drops to her knees, holding her bleeding side. Driver picks up the gun, notices... FLYNN is pulling himself along the gravel. ON FLYNN - He looks around for Driver. Sees Emma, alone, holding her side and... BUMPS INTO DRIVER'S BOOTS. Shotgun hanging at his heel. Eyes peel upward. ON DRIVER - He flips Flynn onto his back. Lays a heavy foot on Flynn's chest. Driver looks up the embankment. HARRIS, the motel owner, stands, silently watching from the embankment's edge.</scene_description> <character>DRIVER</character> <parenthetical>(to Harris)</parenthetical> <dialogue>I think this fella stole my wallet.</dialogue> <scene_description>Driver reaches down and PLUCKS HIS WALLET from Flynn's pocket.</scene_description> <character>DRIVER</character> <dialogue>Look at that.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Stop. Thief.</dialogue> <scene_description>And nonchalantly points the shotgun against Flynn's face and BLOWS HIS HEAD OFF. Harris is frozen in fear.</scene_description> <character>DRIVER</character> <dialogue>One of the unfortunate drawbacks to learning my name.</dialogue> <scene_description>AS WE GO TO BLACK...ANOTHER SHOTGUN BLAST...and the SOUND OF SIRENS.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - NIGHT</stage_direction> <scene_description>It's controlled mayhem. Clearly it's been a busy night.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - ICU - NIGHT</stage_direction> <scene_description>A DOCTOR, we don't see his face, walks down the hallway. He looks in on several patients and stops at... DENNY. Wounds dressed. Drugged. Resting peacefully. The Doctor approaches Denny's bed. He reviews the chart. Flips through it. Denny opens his eyes. ON THE DOCTOR - It's DRIVER. He smiles at Denny.</scene_description> <character>DRIVER</character> <dialogue>No one lives.</dialogue> <scene_description>And he DRIVES THE CHART INTO DENNY'S THROAT and PUSHES with all his strength until... Denny's HEAD FALLS AWAY FROM HIS BODY.</scene_description> </scene> <scene> <stage_direction>EXT. HOSPITAL - NIGHT</stage_direction> <scene_description>An AMBULANCE roars up and parks. LOCAL NEWS CREWS ARE ALREADY ON THE SCENE... Paramedics race around and open the back and wheel out -- EMMA, on a gurney. The NEWSCASTERS descend on the girl, but are strong-armed by the paramedics as they wheel her past... DRIVER. He turns away, an imperceptible inch, and just like that, Emma is gone, enveloped again into the womb of the real world. FADE OUT:</scene_description> <character>THE END</character> </scene> </script>

While traveling cross country, a couple (Betty and an unidentified man referred to as "Driver") encounter a gang of robbers. The group, led by dedicated criminal Hoag, consists of Hoag's brother Ethan, his daughter Amber, girlfriend Tamara, Amber's boyfriend Denny, and the violent Flynn. Suspecting the couple to be wealthy and wanting to redeem himself for a robbery he botched earlier, Flynn kidnaps them and has Ethan interrogate them about accessing their money. However, Betty commits suicide by cutting her throat on a knife Ethan held against her neck, which leads to the Driver breaking out of his handcuffs and killing Ethan. Meanwhile, Flynn, having brought the Driver's car to the group's hideout, finds a girl in the trunk of the vehicle. Amber, after watching a true crime show, realizes the girl is Emma Ward, a wealthy heiress who disappeared after 14 of her friends were murdered at a party, and the kidnapped man is the one responsible for the massacre. Following Hoag's orders, Denny and Tamara head to the gas station to contact Ethan, only to find his and Betty's bodies and the Driver missing. They bring Ethan's corpse back to their hideout and inadvertently bring along the Driver, who had been hiding in the cadaver. The Driver begins his assault on the robbers by capturing Hoag, while Denny is injured by booby traps the Driver had set up previously. The Driver tortures Hoag, cutting off his ear as a trophy, and finally killing him by dropping him into a meat grinder. With the group's van blown up by the Driver, Denny volunteers to get their old Jeep working, as he is bleeding out. Although he succeeds, the Driver shoves him into the open car engine, badly mangling his face and spraying Amber with blood. She flees, and the Driver pursues her. The others hear the noise and head to the barn to take the Jeep. The Driver throws a scythe through Amber, piercing her lung. He leaves her to die when he realizes the rest of the gang is escaping. Nevertheless, Flynn accidentally hits Amber with the Jeep when she stumbles onto the road. After dropping Denny off at the hospital, Flynn, Tamara, and Emma head to a motel to stay the night. When Flynn uses the Driver's credit card to pay for a room, he inadvertently causes motel owner Harris to call the police, as the Driver had previously checked himself into the same motel. The Driver himself also arrives at the motel and nearly strangles Tamara to death in the shower, but stops when he hears Flynn shoot the sheriff responding to Harris' call. Flynn discovers Tamara, and when she startles him, he kills Tamara, which leads to Emma attempting to escape. Though Flynn manages to stop her, he is run over by the Driver in a police car. Emma flees into a nearby junkyard. When the Driver confronts Emma, she beats him with a metal pipe. Flynn shows up with a shotgun, and the Driver pushes Emma out of the way, getting shot in the chest with a shotgun by Flynn. The Driver survives due to his Kevlar vest, leading to a fight between the two. Ultimately, Flynn manages to grab his weapon, but is knocked out by Emma before he can fire it. Emma, explaining she wants to be the one who kills the Driver, attempts to shoot him, but the firearm fails to operate because a new shell had not been pumped into the chamber. Impressed, the Driver cuts out a tracking device he placed inside her stomach and frees her. He then finishes Flynn off with a shotgun blast to the face and also shoots Harris for knowing his real name. The next day, the Driver murders Denny in his hospital bed with a clipboard while disguised as a doctor. As he leaves, he notices Emma being wheeled into the hospital on a stretcher. He touches her arm before departing.

I Smile Back_2015

tt3640682

<script> <scene> <character>I SMILE BACK</character> <dialogue>Written by</dialogue> <scene_description>Paige Dylan and Amy Koppelman Based on the novel I Smile Back by Amy Koppelman</scene_description> </scene> <scene> <stage_direction>INT. UNCLE WONG'S CHINESE RESTAURANT - DAY</stage_direction> <scene_description>LANEY BROOKS(mid-30's) is having a drink at the bar while she fiddles with a pair of chopsticks. She's pretty, but not in the way that inspires envy; she's pretty in a way that makes you want to be her friend. Two large bags of takeout are on the counter. Laney leans over the bar looking for something but comes up short. She pulls the elastic hair tie out of her pony tail and ties up the chopsticks with a folded piece of paper in the middle. She stands, drains her drink and glances over to a MOM and DAD arguing. Their young SON has a chopstick in each hand. He's trying to eat his noodles but they keep sliding off the chopsticks. The Mom and Dad don't seem to notice. Laney grabs the takeout bags and starts heading for the door but stops short at the boy's table. She puts down her bags and we see what she's been making: a set of trainer chopsticks.</scene_description> <character>LANEY</character> <dialogue>Here you go Buddy.</dialogue> <scene_description>She quickly shows the little boy how to work them. The Mom and Dad stop arguing and look at her. Laney's friendly.</scene_description> <character>LANEY</character> <dialogue>I still use these.</dialogue> <scene_description>Laney heads to the door. But she doesn't leave. Instead she waits until the little boy captures a mess of noodles and brings it to his mouth. Success! He looks up, locks eyes with Laney and smiles at her. Laney smiles back, then exits.</scene_description> </scene> <scene> <stage_direction>EXT. UNCLE WONG'S PARKING LOT - DAY - SAME</stage_direction> <scene_description>A perfect winter day, not a cloud in the sky. DONNY (mid- 30s), tan and good looking is leaning against his Maserati and smoking a joint. Laney approaches, take-out bags in hand.</scene_description> <character>LANEY</character> <dialogue>Sorry that took so long. They were swamped.</dialogue> <character>DONNY</character> <dialogue>No sweat.</dialogue> <scene_description>Laney attempts to put the bags in the back seat but Donny wraps his arm around her waist from behind, spins her around and pins her against the side of the car, kisses her neck.</scene_description> <character>LANEY</character> <dialogue>Quick: three reasons you love me.</dialogue> <scene_description>Donny takes another hit off the joint and passes it to her.</scene_description> <character>DONNY</character> <dialogue>One--</dialogue> <scene_description>Laney makes a game show buzzer sound.</scene_description> <character>LANEY</character> <dialogue>--Too slow.</dialogue> <character>DONNY</character> <dialogue>--Because you're beautiful.</dialogue> <scene_description>He exhales. She takes a hit off the joint.</scene_description> <character>DONNY</character> <dialogue>Two- fun.</dialogue> <character>LANEY</character> <dialogue>Really fun.</dialogue> <character>DONNY</character> <dialogue>Three- smart.</dialogue> <scene_description>Laney laughs. Donny reclaims the joint and takes another hit. He leans in for another kiss but she dodges him.</scene_description> <character>LANEY</character> <dialogue>We've got hungry kids. Come on.</dialogue> <scene_description>Donny takes one last hit before putting the joint out with his shoe.</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBAN ROAD - DAY - SAME</stage_direction> <scene_description>Tall trees line the road. Stables. Painted fences. Donny turns by the clock tower and then comes to a stop sign on the corner. Laney is sucking on a Red Charms Lollipop. This is something she does throughout the movie.</scene_description> </scene> <scene> <stage_direction>EXT. LANEY BROOKS' DRIVEWAY - DAY - SAME</stage_direction> <scene_description>Donny pulls slightly erratically into the driveway, swerving to avoid hitting a bicycle carelessly left laying on its side. The home is a modest center hall colonial, black shutters, red door.</scene_description> <character>LANEY</character> <dialogue>I've told Eli a hundred times not to leave his bike in the middle of the driveway.</dialogue> <scene_description>Donny pushes the gears into neutral, pulls on the emergency break. Laney gets out of the car and grabs a bag of take-out from the back seat. She's still working on her lollipop.</scene_description> <character>LANEY</character> <dialogue>The kids must be starving.</dialogue> <scene_description>She walks toward the front door, turns around and tosses her hair over her shoulder, tucks a piece behind her ear. She's undeniably sexy. She motions for Donny to get moving but he doesn't. Instead he sinks back into his seat, cocks his head to the side lustily and grins at her. Laney walks back to the car, grabs the second bag of take-out.</scene_description> <character>LANEY</character> <dialogue>Come on Donny. Everyone's waiting for us.</dialogue> <scene_description>He turns off the engine.</scene_description> <character>LANEY</character> <dialogue>Do I look high?</dialogue> <scene_description>Laney fumbles around in her purse. She finds the Visine and puts a couple of drops in each eye. She's a pro.</scene_description> <character>DONNY</character> <dialogue>You look beautiful.</dialogue> <scene_description>Donny tries to pin Laney against the wall next to the front door to kiss her but she wiggles out of it. Flashes a smile. Tosses what's left of the lollipop into the bushes. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - DAY - CONTINUOUS</stage_direction> <character>LANEY</character> <dialogue>We're back! Who's hungry?</dialogue> <scene_description>Through the french doors we see BRUCE and SUSAN (both mid- 30's). Three kids, ELI (8), JANEY (6) and HENRY (8) are playing happily on the trampoline. Donny starts removing food from the bags. Laney heads outside.</scene_description> </scene> <scene> <stage_direction>EXT. BACKYARD - DAY - CONTINUOUS</stage_direction> <scene_description>Bruce and Susan are bundled up and watching the KIDS play. Hearing the door open, Bruce turns around to see Laney. He has a vaguely suspicious look on his face - is that always there?</scene_description> <character>BRUCE</character> <dialogue>What took you so long?</dialogue> <scene_description>Laney wraps her arms around Bruce's neck and gives him a kiss.</scene_description> <character>LANEY</character> <dialogue>They forgot the Moo-Shu Pork and I know it's your favorite.</dialogue> <scene_description>She is well versed in identifying a suspicious look. Even more so in knowing how to dismiss it with a kiss.</scene_description> <character>BRUCE</character> <dialogue>Food's here! Everybody inside! Susan, you hungry?</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN TABLE - DAY - SAME</stage_direction> <scene_description>Bruce, Laney, Donny and Susan are sitting around the kitchen table eating. There are open boxes of Chinese food and a few open beer bottles on the table. The KIDS are milling around the kitchen. Eli, in head-to-toe Nike sweats looks like a mini version of his father. He's dribbling a basketball. Susan passes Donny a manuscript.</scene_description> <character>SUSAN</character> <dialogue>Bruce's book.</dialogue> <scene_description>Donny rests his chopsticks on his plate and takes a look at the book.</scene_description> <character>DONNY</character> <dialogue>"Life Insurance: Hedging Your Bet Against God", by Bruce Brooks! That's a great fucking title.</dialogue> <character>SUSAN</character> <dialogue>And he just won a big insurance award. Right Bruce?</dialogue> <character>BRUCE (TO ELI)</character> <dialogue>Not in the house E.</dialogue> <character>ELI</character> <dialogue>I know.</dialogue> <scene_description>Eli dribbles it one last time then hugs it with one arm, grabs a plate.</scene_description> <character>BRUCE</character> <dialogue>Man Of The Year. Highest producer in the company.</dialogue> <scene_description>Bruce's tone is playful.</scene_description> <character>BRUCE</character> <dialogue>They're honoring me at the annual convention. An all expenses paid weekend in... Lake George. (a beat) In March.</dialogue> <scene_description>Everyone laughs.</scene_description> <character>DONNY (FOOD IN MOUTH)</character> <dialogue>So what's the book about?</dialogue> <character>BRUCE</character> <dialogue>The way I see it, there's a bible for the afterlife. I wrote the bible for the here and now.</dialogue> <scene_description>More laughs.</scene_description> <character>BRUCE</character> <dialogue>I'm not kidding. People can say what they want about insurance and guys like me but you know what? At the end of the day, having good insurance is the most important thing you can do while you're alive. And every time you up it you're just hedging your bet against God. Am I right?</dialogue> <scene_description>Laney, bored, brings her plate into the kitchen, dumps it, grabs a lollipop.</scene_description> <character>BRUCE</character> <parenthetical>(mouthful of food)</parenthetical> <dialogue>What are you doing?</dialogue> <character>LANEY</character> <dialogue>Just cleaning up, kids have school tomorrow. I have to do laundry, make their lunches.</dialogue> <character>BRUCE</character> <dialogue>Sit back down Laney. Everyone here is enjoying the food.</dialogue> <character>LANEY</character> <dialogue>The ribs are sour.</dialogue> <character>BRUCE</character> <dialogue>You don't eat.</dialogue> <character>DONNY</character> <dialogue>Come on Lane. Sit back down.</dialogue> <scene_description>Bruce's vaguely suspicious looks returns when Donny calls her "Lane". Janey enters the kitchen holding BINGO, the cutest little dog in the entire world. Janey is Laney's clone. Brown hair, chocolate eyes, big smile.</scene_description> <character>JANEY</character> <dialogue>Daddy, Bingo was crying.</dialogue> <character>LANEY</character> <dialogue>Janey where did you get that dog?</dialogue> <character>JANEY</character> <dialogue>We rescued him from the pound!</dialogue> <character>BRUCE</character> <dialogue>Janey, Bingo was supposed to be a surprise for Mommy.</dialogue> <character>JANEY</character> <dialogue>But he was crying. I think he needs you Mommy.</dialogue> <scene_description>Janey passes Bingo into Laney's arms.</scene_description> <character>LANEY</character> <dialogue>Bruce, I thought we talked about this.</dialogue> <character>BRUCE</character> <dialogue>Janey, go tell everyone to come see Bingo.</dialogue> <scene_description>Janey hesitates, then runs out of the room. Bruce turns to Laney.</scene_description> <character>BRUCE</character> <dialogue>No YOU talked about this. WE didn't talk about anything. Come on Lane- this dog is gonna make you happy. Let's just give it a try. Can you just trust me on this?</dialogue> <character>LANEY</character> <dialogue>Fuck you Bruce.</dialogue> <scene_description>She shoves the dog into Bruce's arms and exits leaving Bruce, Donny and Susan in an awkward silence.</scene_description> </scene> <scene> <stage_direction>INT. LANEY'S BATHROOM - NIGHT - SAME</stage_direction> <scene_description>A naked Laney is examining herself in the bathroom mirror. She traces her left breast with her finger. Up and around, down. She stops, glances at herself and then lifts her right breast. Up and around, down. She moves closer, and begins inspecting her face. The wrinkles by her eyes. The smile lines around her mouth. Next to her a jar of rubbing alcohol rests on a lavender hand towel. She opens the jar, dips the tweezers into the liquid and then removes it. She locates a hair hiding in the crease of her upper thigh and pushes her thumbs together to loosen it. She takes the tweezers, turns the sharp point in the direction of her skin and digs. She wipes the hair onto the hand towel and continues. Her movements are slow and deliberate. The outcome seems to satisfy her. Laney walks over to the sink. She rummages through the cabinet beneath it, takes out a box of Tampax. Laney grabs a small white envelope from inside. This is obviously where she keeps her stash. She empties the contents onto the back of her iPhone but not before glancing at a picture of her kids. She sniffs a line, throws her head back and breathes deep. Laney snorts the remaining line. She turns on the bath water, tests it with her toes. Then she walks over to the window.</scene_description> </scene> <scene> <stage_direction>EXT. BASKETBALL HOOP - NIGHT - CONTINUOUS</stage_direction> <scene_description>Bruce is playing basketball in the driveway. Sweat drips down his cheek, beads up on his forehead. He's got some nice moves - no stranger to a good pickup game in the park. Eli and Janey are also on the court. Bruce teaches Eli how to shoot free throws. Janey is riding a pink bicycle with training wheels.</scene_description> </scene> <scene> <stage_direction>9A INT. BATHROOM - NIGHT - CONTINUOUS 9A</stage_direction> <scene_description>Laney steps into the tub. She sinks into the water and disappears.</scene_description> </scene> <scene> <stage_direction>INT. ELI'S ROOM - NIGHT - SAME</stage_direction> <scene_description>Eli gets into bed. His movements are slow. Deliberate. Once in bed he focuses on the Styrofoam solar system that hangs on the ceiling above him. Laney knocks. She cracks the door open. She's in her robe and holding Bingo.</scene_description> <character>LANEY</character> <dialogue>Hey-</dialogue> <character>ELI</character> <dialogue>Hey-</dialogue> <scene_description>She puts Bingo on his bed.</scene_description> <character>ELI</character> <dialogue>Hey, Bingo.</dialogue> <character>LANEY</character> <dialogue>Sleepy?</dialogue> <character>ELI</character> <dialogue>Not really.</dialogue> <scene_description>Eli is focused on his ceiling. Laney lays down next to him. Bingo is between them. Laney's sniffling, fidgety.</scene_description> <character>LANEY</character> <dialogue>Whatchya thinkin' about?</dialogue> <character>ELI</character> <dialogue>Why do you hate Bingo?</dialogue> <character>LANEY</character> <parenthetical>(irritated)</parenthetical> <dialogue>I don't hate Bingo.</dialogue> <character>ELI</character> <dialogue>Can we keep him then?</dialogue> <character>LANEY</character> <dialogue>I don't know E. It's just, you know. It's one more thing to worry about.</dialogue> <character>ELI</character> <parenthetical>(pause)</parenthetical> <dialogue>Do you worry about me?</dialogue> <scene_description>Laney is too amped up to finish the conversation and misses Eli's ultimate question.</scene_description> <character>LANEY</character> <dialogue>Okay, time to close your eyes.</dialogue> <scene_description>She gives Eli a kiss on his forehead, grabs Bingo and heads to the door.</scene_description> <character>LANEY</character> <dialogue>Tell me when to stop...</dialogue> <scene_description>She slowly closes the door.</scene_description> <character>LANEY</character> <dialogue>Now?</dialogue> <character>ELI</character> <dialogue>A little more..</dialogue> <character>LANEY</character> <dialogue>Now?</dialogue> <character>ELI</character> <dialogue>Are we going to keep Bingo, Mom?</dialogue> <character>LANEY</character> <dialogue>Maybe.</dialogue> <scene_description>She closes the door a little bit more.</scene_description> <character>LANEY</character> <dialogue>Now?</dialogue> <character>ELI</character> <dialogue>Maybe yes or maybe no?</dialogue> <character>LANEY</character> <dialogue>Maybe as in it's time to go to sleep.</dialogue> <scene_description>Laney closes the door a tiny bit more. Bingo is licking her cheek.</scene_description> <character>ELI</character> <dialogue>So that means yes right? We are going to keep Bingo?</dialogue> <scene_description>The smile on Eli's face is hard to resist.</scene_description> <character>LANEY</character> <dialogue>It's a definite maybe.</dialogue> </scene> <scene> <stage_direction>INT. MASTER BEDROOM - DAY</stage_direction> <scene_description>Laney opens her eyes, lifts her head lazily and glances at Bruce's empty side of the bed and the clock on his night stand. 6:55am. Head back on the pillow, she stretches and enjoys her last moments in the warm womb of her blankets. The bathroom door opens.</scene_description> <character>BRUCE</character> <dialogue>Thought I was gonna have to wake you up.</dialogue> <scene_description>He adjusts his tie and collar, grabs his jacket.</scene_description> <character>LANEY</character> <dialogue>I don't want to get up. Get back in bed with me.</dialogue> <scene_description>Laney pats the pillow and smiles. Bruce gives her a kiss on the forehead.</scene_description> <character>BRUCE</character> <dialogue>I wish.</dialogue> <scene_description>Bruce leaves, Laney rolls over and glances at the framed family picture on her night stand. Bruce with a younger Eli on his shoulders, his arm around Laney who's holding an infant Janey in her arms.</scene_description> </scene> <scene> <stage_direction>INT. MASTER BATHROOM - DAY - CONTINUOUS</stage_direction> <scene_description>Laney is brushing her teeth. She looks up at her reflection, then opens the medicine cabinet and takes out a prescription bottle. As she spits out the toothpaste, she hears Bruce's car pull out of the driveway. She looks at the prescription and then returns it to the shelf.</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL PARKING LOT - DAY</stage_direction> <scene_description>Laney pulls into the school parking lot and is immediately met by a school GUARD who is directing traffic.</scene_description> <character>GUARD</character> <dialogue>Only school buses allowed in here lady.</dialogue> <character>LANEY</character> <dialogue>Since when?</dialogue> <character>GUARD</character> <dialogue>You must not read your emails.</dialogue> <character>ELI</character> <parenthetical>(nervous)</parenthetical> <dialogue>Ma...</dialogue> <character>LANEY</character> <dialogue>Don't worry E.</dialogue> <parenthetical>(To guard, flirting)</parenthetical> <dialogue>Is Frank here? He always lets me double park.</dialogue> <scene_description>The guard has already heard this 10 times this morning, but Laney's charm seems to be working.</scene_description> <character>GUARD</character> <dialogue>If I could do it for anyone I'd do it for you but the Board of Ed has new security procedures. Recent tragedies and all.</dialogue> <scene_description>He hands her a sheet of paper titled "Ridgemont Elementary School's New Security Policy". In smaller font it says, "In light of recent events..."</scene_description> <character>ELI</character> <dialogue>What's it say Mom?</dialogue> <character>LANEY</character> <dialogue>Says we have to park.</dialogue> <scene_description>Laney pulls her SUV back out into the sea of anonymous SUVs. She's just another broad in suburbia. 14A INT: BACKSEAT OF SUV-CONTINUOUS 14A Eli and Janey are buckled in. They have their personalized paper lunch bags on their laps. Eli's has basketballs all over it, Janey's hearts and stars.</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL - DAY - SAME</stage_direction> <scene_description>Laney, Eli and Janey run toward the school building. They don't want to be late. Eli's backpack is twice his size. Janey's is pink with a princess on it.</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL OFFICE -DAY - CONTINUOUS</stage_direction> <scene_description>Laney, Eli and Janey are waiting in a shallow line in the office. Laney spots Susan and her son HENRY. Susan is proudly wearing an official looking laminate around her neck.</scene_description> <character>LANEY</character> <dialogue>Hey Susan. What's this?</dialogue> <character>SUSAN</character> <dialogue>It's the parent ID.</dialogue> <scene_description>Laney doesn't register what Susan is talking about, Susan sees this.</scene_description> <character>SUSAN</character> <dialogue>They sent them in the mail? Part of this whole new security thing.</dialogue> <character>LANEY</character> <dialogue>I, uh...</dialogue> <character>SUSAN</character> <dialogue>Don't worry, I'll vouch for you.</dialogue> <scene_description>Laney fidgets, looks around, everyone is wearing a badge around their neck. Everyone but Laney. This appears to bother her much more than it should. She steps to the front of the line where she is met by MRS. KOSINSKI (late 50's) the school principal.</scene_description> <character>MRS. KOSINSKI</character> <dialogue>ID?</dialogue> <character>LANEY</character> <dialogue>I forgot it today, busy morning. I'll bring it tomorrow.</dialogue> <character>MRS. KOSINSKI</character> <dialogue>Parent IDs are mandatory now. We mailed them out last week. And sent an email.</dialogue> <character>SUSAN</character> <dialogue>I'll vouch for her.</dialogue> <character>ELI</character> <dialogue>Ma?</dialogue> <character>LANEY</character> <dialogue>It's okay E, just a sec.</dialogue> <parenthetical>(to Mrs. Kosinski)</parenthetical> <dialogue>I've been walking them to class every morning for two years. Can't you make an exception?</dialogue> <character>MRS. KOSINSKI</character> <dialogue>If I make an exception for you Mrs. Brooks, then I have to make one for everyone. Is that how you want to teach our children?</dialogue> <scene_description>Laney looks at her, stunned.</scene_description> <character>MRS. KOSINSKI</character> <dialogue>I wouldn't think so. At this point in the year Eli's quite familiar with how to get to his class. He'll be fine. And I'll personally escort Miss Janey to her classroom.</dialogue> <character>ELI</character> <dialogue>I'm okay Mom.</dialogue> <scene_description>Laney feels nothing but shame. She is inferior.</scene_description> <character>JANEY</character> <dialogue>Me too, Mommy.</dialogue> <character>LANEY</character> <dialogue>You sure?</dialogue> <scene_description>Janey nods her head yes - she is eager to get going.</scene_description> <character>JANEY</character> <dialogue>I'm sure.</dialogue> <scene_description>Mrs. Kosinski reaches out her hand, Janey takes it.</scene_description> <character>LANEY</character> <dialogue>Wait, honey.</dialogue> <scene_description>Laney kneels down.</scene_description> <character>LANEY</character> <dialogue>Give me a kiss.</dialogue> <scene_description>Janey gives Laney a kiss and goes. It's not as easy for Eli. He takes a deep breath, hoists his backpack a little higher and begins the harrowing journey down the crowded hall. Just outside the classroom he stops, turns to look at Laney. Laney is fighting back tears. She blows Eli a kiss. He catches it, puts it into his pocket and disappears into the classroom. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL PARKING LOT - DAY - SAME</stage_direction> <scene_description>An angry Laney heads to her car parked on the outskirts of the school lot. Laney walks quickly while rifling through her purse. She pulls out a cigarette just as she reaches her car. She gets in and slams the door. Laney fumbles through her purse for a lighter, assesses the parking lot, looks in her rearview mirror.</scene_description> <character>LANEY</character> <dialogue>Fucking bitch.</dialogue> <scene_description>She lights it in spite of her shaking hands.</scene_description> <character>LANEY</character> <parenthetical>(mocking)</parenthetical> <dialogue>"Is that how you want to teach our children?..."</dialogue> <scene_description>She reaches for the secret vial in her purse, unscrews the lid, takes a deep breath, helps herself to a quick bump. She looks around again, another bump. Laney takes a drag off her cigarette as if it were her last and leans her head back on the seat. A deep breath. And then, Bing! She picks up her phone to read the text.</scene_description> <character>TEXT: DONNY</character> <dialogue>Room 302</dialogue> <scene_description>She turns on the engine and goes.</scene_description> </scene> <scene> <stage_direction>EXT. LANEY'S CAR - DAY</stage_direction> <scene_description>Laney's car headed towards a toll booth, pull back to reveal New York City not too far in the distance.</scene_description> </scene> <scene> <stage_direction>INT. REGENCY HOTEL ROOM - DAY</stage_direction> <scene_description>Laney is on her knees on the bed, ass in the air, holding onto the top of the headboard. Laney and Donny are, how do you say... fucking each other's brains out. But in Laney's eyes is a look of detachment. She is somewhere else. Laney and Donny lay in bed. She's sucking on a lollipop.</scene_description> <character>LANEY</character> <dialogue>I gotta take a shower.</dialogue> <character>DONNY</character> <dialogue>It's still early. Stay with me.</dialogue> <character>LANEY</character> <dialogue>Can't, gotta pick up the kids.</dialogue> <character>DONNY</character> <dialogue>I love you.</dialogue> <character>LANEY</character> <dialogue>No you don't.</dialogue> <character>DONNY</character> <dialogue>Why do you say that?</dialogue> <character>LANEY</character> <dialogue>Because you're married. And because no man can love a girl whose ass he just fucked.</dialogue> <character>DONNY</character> <dialogue>Christ Laney. You're crazy, you know that? I told you I'll leave Susan. I love you.</dialogue> <scene_description>Laney laughs.</scene_description> <character>LANEY</character> <dialogue>That's the funny thing... It doesn't matter.</dialogue> <scene_description>Laney gets out of bed and is pulling on her panties.</scene_description> <character>LANEY</character> <dialogue>I could love you and you could love me, and nothing. It still means nothing. Nine years of marriage, two kids, three thousand marinated chicken breasts - and nothing. And then you die.</dialogue> <scene_description>Donny pulls a pillow over his head, rolls over.</scene_description> <character>DONNY</character> <dialogue>Go take your shower.</dialogue> <scene_description>20 MINUTES LATER: Laney, freshly showered, walks out of the bathroom. She glances at Donny... out like a light. She takes the cash out of his wallet and the last of the cocaine sitting next to it. She grabs her things and leaves, the self- closing door slams behind her. The door wakes Donny. He looks up, looks around, no trace of Laney. He stretches, sits up, puts on his underwear, walks into the bathroom. Donny is standing in the doorway looking at the bathroom mirror. In red lipstick he reads: "DON'T LEAVE SUSAN".</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - DAY - SAME</stage_direction> <scene_description>Laney is speeding down the turnpike. She's amped up and emotional, seemingly reckless. She mistakenly passes her exit.</scene_description> <character>LANEY</character> <dialogue>Fuck.</dialogue> <scene_description>She is angrier than she should be, she's in a spiral. She turns off at the next exit. The Fed-Ex truck she's been stuck behind turns left. The traffic light at the intersection up ahead is changing from green to yellow to - Laney closes her eyes, presses her foot deeper into the gas, hands up, letting go. She drives straight through the red. Cars screech to a halt, one swerves into another lane to avoid her. Horns are honking. She miraculously arrives across the street unharmed. A couple of cars pass. Honk. One person curses her. More honks. Laney pulls to the side of the street and puts her car in park, takes a deep breath, exhales. She is visibly rattled. She pulls the last smoke out of her pack and lights it with shaky hands. Tears trickle down the sides of her face as turns up the radio, puts her car in drive and goes.</scene_description> </scene> <scene> <stage_direction>21A INT./EXT. LANEY IN CAR - SAME 21A</stage_direction> <scene_description>Laney drives slowly. She is clearly shaken.</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL PARKING LOT - SAME</stage_direction> <scene_description>Laney's black SUV pulls into the driveway of the school, same guard is standing there with a clipboard. He stops her.</scene_description> <character>LANEY</character> <dialogue>I'm just picking up my son, I'll only be a minute.</dialogue> <character>GUARD</character> <dialogue>You can't park here ma'am, we've already been through this haven't we?</dialogue> <character>LANEY</character> <dialogue>I was hoping you wouldn't remember.</dialogue> <scene_description>The Guard looks her over.</scene_description> <character>GUARD</character> <dialogue>No, I remember.</dialogue> <scene_description>Susan walks by Laney's car holding Henry's hand, she's noticeably upset.</scene_description> <character>SUSAN</character> <dialogue>Hey Laney.</dialogue> <character>LANEY</character> <dialogue>Hey Susan, you okay? Did Henry have a bad day?</dialogue> <character>SUSAN</character> <dialogue>No, I can't find Donny. His cell's been off all day - hasn't been to the office.</dialogue> <character>LANEY</character> <dialogue>He's probably in a meeting or something --</dialogue> <character>GUARD</character> <dialogue>Lady, you gotta move it.</dialogue> <character>LANEY</character> <parenthetical>(stalling)</parenthetical> <dialogue>I'm going --</dialogue> <scene_description>Laney's cell phone rings. It's Donny. She tosses her phone into her purse.</scene_description> <character>LANEY</character> <dialogue>I'm sure Donny is fine. I'll call you later.</dialogue> <parenthetical>(to guard)</parenthetical> <dialogue>There's my son--</dialogue> <scene_description>Laney sees the kids filing out of the school into the front entrance. Eli, holding Janey's hand, sees her and waves. Laney motions for him to walk to the car. Eli gets into the car, quiet. Janey is eager to talk. Laney is momentarily distracted by her conversation with Susan.</scene_description> <character>LANEY</character> <dialogue>How was school, guys?</dialogue> <character>JANEY</character> <dialogue>Fun!</dialogue> <character>LANEY</character> <dialogue>E?</dialogue> <scene_description>Eli looks out the window, no response. Laney makes her way through the sea of SUV's and out of the driveway.</scene_description> <character>LANEY</character> <dialogue>How'd it go E?</dialogue> <character>ELI</character> <dialogue>Fine.</dialogue> <scene_description>The cell phone rings. It's Donny again. Laney doesn't answer.</scene_description> <character>JANEY</character> <dialogue>Your phone is ringing, Mommy.</dialogue> <character>LANEY</character> <dialogue>I know, honey.</dialogue> </scene> <scene> <stage_direction>EXT. BROOKS HOUSE- DRIVEWAY - DAY</stage_direction> <scene_description>Laney turns into her driveway she gets out of the car and opens the door. Eli unbuckles and hurries past. Laney scoops Janey up into her arms. She carries her to the front door.</scene_description> <character>LANEY</character> <dialogue>Did you miss me today?</dialogue> <character>JANEY</character> <dialogue>Yes.</dialogue> <character>LANEY</character> <dialogue>Did you cry?</dialogue> <scene_description>Janey nods her head and is rewarded with a boost in the air.</scene_description> <character>LANEY</character> <dialogue>How much do you love me?</dialogue> <scene_description>Janey opens her arms as wide as she can to demonstrate her love.</scene_description> <character>LANEY</character> <dialogue>Tell me you'll never leave me.</dialogue> <scene_description>This scene looks all in good fun but it's thinly veiled twisted behavior by Laney.</scene_description> <character>JANEY</character> <parenthetical>(giggling)</parenthetical> <dialogue>Mommy! Stop!</dialogue> <character>LANEY</character> <dialogue>I'm just teasing Muffin. Kiss me.</dialogue> </scene> <scene> <stage_direction>INT. BROOKS DINING ROOM - NIGHT</stage_direction> <scene_description>The whole family sits around the dinner table. They have typical fare on their plates; spaghetti, peas, breaded chicken - nothing Laney went out of her way to cook, but homemade nevertheless. Laney's plate is empty. She sucks on a lollipop and sips a glass of wine. Bruce observes her behavior for a moment.</scene_description> <character>BRUCE</character> <dialogue>Why aren't you eating?</dialogue> <character>LANEY</character> <dialogue>Not hungry.</dialogue> <character>BRUCE</character> <dialogue>You need to eat more food. Real food. Not lollipops.</dialogue> <scene_description>Laney gets up from the table and walks toward the kitchen.</scene_description> <character>LANEY</character> <dialogue>Jesus, what are you the food police?</dialogue> <character>INT: KITCHEN - CONTINUOUS</character> <dialogue>Laney opens the refrigerator- blocking her view of the table. She downs her glass of wine behind the door.</dialogue> <character>BRUCE (O.S.)</character> <dialogue>All that sugar isn't good for you.</dialogue> <scene_description>Laney sets her empty glass on the top shelf, uncorks a bottle of wine and refills her glass.</scene_description> <character>BRUCE (O.S.)</character> <dialogue>Empty calories. Right guys? Not energy food.</dialogue> <scene_description>Laney returns to the table with butter and sits. She grabs a piece of corn on the cob, wipes it with butter and puts it in her mouth. They all watch her and smile- like this is the first time they've ever seen her eat. She smiles back.</scene_description> <character>ELI</character> <dialogue>Did you know the Pilgrims stole America from the Native Americans? They had the Native Americans teach them how to grow corn and stuff and then they stole their land.</dialogue> <character>BRUCE</character> <dialogue>Is that right?</dialogue> <character>ELI</character> <dialogue>Yeah, so we gave them casinos.</dialogue> <character>BRUCE</character> <dialogue>Mrs. Zeldis told you that?</dialogue> <character>ELI</character> <dialogue>No, John Frye did. His mom told him. She also said Thanksgiving is a lie.</dialogue> <character>LANEY</character> <parenthetical>(under her breath)</parenthetical> <dialogue>John Frye's mom is a pig.</dialogue> <character>BRUCE</character> <dialogue>Lane...</dialogue> <scene_description>The table goes quiet again, kids look back down at their plates.</scene_description> <character>BRUCE</character> <dialogue>You want to shoot hoops?</dialogue> <scene_description>Eli looks out the window.</scene_description> <character>ELI</character> <dialogue>Really!?</dialogue> <character>BRUCE</character> <dialogue>We still have a little light.</dialogue> <character>JANEY</character> <dialogue>Me too.</dialogue> <scene_description>Everyone gets a kick out of Janey's zeal.</scene_description> <character>BRUCE</character> <dialogue>Okay.</dialogue> <scene_description>Bruce and the kids leave the table. Laney begins clearing the plates. 24A LANEY'S POV: Through the window she can see them in the 24A driveway. Bruce loosens his tie. Eli dribbles the ball, aims for the basket, nearly makes it. Bruce kneels, positions Eli: plants Eli's feet, adjusts his arms. Eli shoots and MAKES IT! Janey runs after the ball and brings it to Bruce. He lifts her up so she's able to dunk the ball. Through the kitchen window we see Laney taking it all in. She puts her face in her hands, it's all too much.</scene_description> </scene> <scene> <stage_direction>INT. ELI'S BATHROOM - NIGHT - SAME</stage_direction> <scene_description>Laney passes Eli the soap.</scene_description> <character>LANEY</character> <dialogue>Did you practice piano today?</dialogue> <scene_description>The bathroom door is open to Eli's room. He cranes his neck to try to see the game that's on the TV. He tunes Laney out completely.</scene_description> <character>LANEY</character> <dialogue>E? Your recital is coming up. Did you practice?</dialogue> <character>ELI</character> <dialogue>Yeah.</dialogue> <character>LANEY</character> <dialogue>How long?</dialogue> <scene_description>Eli hurries with the soap. He signals that he's done and Laney holds a towel open. When Eli gets out of the tub she wraps her arms tightly around him.</scene_description> <character>ELI</character> <dialogue>Mom? I can't breathe.</dialogue> <scene_description>Laney is still holding tight, too tight. Eli manages to break away.</scene_description> </scene> <scene> <stage_direction>INT. ELI'S ROOM - NIGHT - CONTINUOUS</stage_direction> <scene_description>Eli has positioned himself in front of the television. Laney stands at the edge of his doorway, takes in his broadening frame. His shoulders, his back. There is a portable keyboard against the window, a basketball hoop on the door and a Jeter fathead on the wall. Laney nods, acknowledging Jeter.</scene_description> <character>LANEY</character> <dialogue>Hey--</dialogue> <scene_description>Eli glances at his mother.</scene_description> <character>LANEY</character> <dialogue>Put on your T-shirt.</dialogue> <scene_description>Laney tosses him the T-shirt. Eli throws it over his head.</scene_description> <character>LANEY</character> <dialogue>And dry your balls.</dialogue> <scene_description>He turns and looks at her like she's crazy.</scene_description> <character>ELI</character> <dialogue>Mom!</dialogue> <character>LANEY</character> <dialogue>You'll get a rash.</dialogue> <scene_description>Eli rolls his eyes.</scene_description> </scene> <scene> <stage_direction>INT. MASTER BEDROOM - NIGHT - SAME</stage_direction> <scene_description>Bruce, just out of the shower, has a towel wrapped around his waste. He's clipping his toenails into a trash can. Laney watches him from the bedroom door.</scene_description> <character>BRUCE</character> <dialogue>What's up?</dialogue> <character>LANEY</character> <dialogue>I was just thinking...</dialogue> <character>BRUCE</character> <dialogue>About?</dialogue> <character>LANEY</character> <dialogue>About your balls.</dialogue> <character>BRUCE</character> <parenthetical>(laughs)</parenthetical> <dialogue>What?</dialogue> <character>LANEY</character> <dialogue>About your balls. Do you worry about drying your balls?</dialogue> <character>BRUCE</character> <dialogue>Do I worry?</dialogue> <character>LANEY</character> <dialogue>Yeah, like when you were a little boy, did your mother teach you to dry your balls or did you like... just know how to do it instinctively? Should I teach Eli or -</dialogue> <scene_description>Bruce examines his Q-tip, puts it in the other ear, continues with his toenails.</scene_description> <character>BRUCE</character> <dialogue>You dry them like any other part of your body.</dialogue> <character>LANEY</character> <dialogue>Oh.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>But what happens if you don't dry them? Do you get a rash?</dialogue> <scene_description>Bruce stops what he's doing and looks at her- this conversation is starting to get his attention.</scene_description> <character>BRUCE</character> <dialogue>I guess you could-- but whatever you don't get will just dry in your underwear. What's going on Laney?</dialogue> <character>LANEY</character> <dialogue>Your underwear! Why didn't I think of that?</dialogue> <scene_description>Bruce leaves his grooming duties, picks Laney up and deposits her on the bed. INT: MASTER BEDROOM - CONTINUOUS</scene_description> <character>BRUCE</character> <dialogue>All this talk about balls...</dialogue> <scene_description>Bruce starts kissing Laney's neck, unbuttoning her blouse. She unfastens his belt buckle, giggles, but it's clear she's going through the motions. Laney disassociates when she's having sex.</scene_description> <character>BRUCE</character> <dialogue>Uhh..</dialogue> <scene_description>He's kissing her, getting close...</scene_description> <character>BRUCE</character> <dialogue>You're so beautiful Lane... Uhh...</dialogue> <scene_description>Bruce finishes and collapses on top of her. A pause.</scene_description> <character>LANEY</character> <dialogue>I think my dad dried and powdered.</dialogue> <character>BRUCE</character> <dialogue>Christ Laney, can we change the subject?</dialogue> <scene_description>A beat.</scene_description> <character>LANEY</character> <dialogue>We gotta get rid of Bingo.</dialogue> <scene_description>Bruce doesn't respond.</scene_description> <character>LANEY</character> <dialogue>Bruce, I'm serious we can't keep him.</dialogue> <character>BRUCE</character> <dialogue>It's just a puppy Laney. All kids get a puppy. Why can't our kids have a God damn puppy? Why does it have to be such a big deal? Why does everything have to be such a big deal.</dialogue> <character>LANEY</character> <dialogue>Because puppies turn into dogs and dogs get old and die. What's a dog live, ten years?</dialogue> <character>BRUCE</character> <dialogue>Yes. Ten enjoyable fucking years that the kids can grow up with a dog. Only you could manage to turn getting a puppy into a negative.</dialogue> <character>LANEY</character> <dialogue>I'm trying to spare them a negative, don't you understand? The dog will die and they will be heartbroken!</dialogue> <character>BRUCE</character> <dialogue>That's life Laney. That's how it works. Puppies die and Bingo will die too. The kids will handle it.</dialogue> <character>LANEY</character> <dialogue>But I can't handle it.</dialogue> <character>BRUCE</character> <dialogue>Then why bother loving anything? Why bother loving me?</dialogue> <scene_description>Laney doesn't respond. Bruce softens. He sits down on the bed, puts his arm around her.</scene_description> <character>LANEY</character> <dialogue>I just don't understand why anyone bothers to love anything at all. I mean by the time you're three you've pretty much figured out that everything you love is going to be taken away. Every three year old should run into traffic.</dialogue> <character>BRUCE</character> <dialogue>Come on, Lane. You don't mean that.</dialogue> <character>LANEY</character> <dialogue>I do mean it. Might as well cut their losses.</dialogue> <scene_description>Bruce hugs her for a moment trying his best to comfort her, then tries to lighten the mood.</scene_description> <character>BRUCE</character> <dialogue>That could be a new market for me.... Insurance for three year olds.</dialogue> <scene_description>Laney pulls away.</scene_description> <character>LANEY</character> <dialogue>Bruce I'm serious!</dialogue> <character>BRUCE</character> <dialogue>So what do you suggest?</dialogue> <character>LANEY</character> <dialogue>To not fall in love. To not get married and have kids. To not pretend that it's all going to be okay when nothing is going to be okay.</dialogue> <character>BRUCE</character> <dialogue>Well, thankfully most of us like to fool ourselves.</dialogue> <scene_description>Bruce quietly observes her for a moment, narrows his eyes slightly while something occurs to him. He treads lightly, masking the real question with concern.</scene_description> <character>BRUCE</character> <dialogue>You okay?</dialogue> <character>LANEY</character> <dialogue>Yeah. Of course I'm okay. Why wouldn't I be okay.</dialogue> <scene_description>Bruce brushes his fingers through her hair.</scene_description> <character>BRUCE</character> <dialogue>I just worry about you that's all.</dialogue> <character>LANEY</character> <dialogue>I'm fine. I'm going to check on the kids.</dialogue> </scene> <scene> <stage_direction>EXT. HALLWAY - CONTINUOUS</stage_direction> <scene_description>Laney picks a few action figures up off the floor. She gently opens the door to Eli's room. He's tossing and turning.</scene_description> </scene> <scene> <stage_direction>INT. ELI'S ROOM - NIGHT - CONTINUOUS</stage_direction> <scene_description>Laney jostles Eli.</scene_description> <character>LANEY</character> <dialogue>E, wake up. You're having a nightmare.</dialogue> <scene_description>Eli opens his eyes, tears streaming down his cheeks.</scene_description> <character>LANEY</character> <dialogue>What's the matter E? Another bad dream?</dialogue> <scene_description>Laney instinctively puts her hand on his forehead to check for a fever.</scene_description> <character>ELI</character> <dialogue>We were walking down the street to go see dad and you were wearing headphones -</dialogue> <scene_description>Eli is still crying, little boy fresh out of a nightmare.</scene_description> <character>LANEY</character> <dialogue>Take a deep breath, it's okay... tell me...</dialogue> <character>ELI</character> <dialogue>I was trying to warn you but you wouldn't listen to me- you couldn't hear me because you were listening to your headphones.</dialogue> <scene_description>Laney brings a tissue to his nose.</scene_description> <character>LANEY</character> <dialogue>Blow -</dialogue> <character>ELI</character> <dialogue>I tried so hard -</dialogue> <scene_description>Eli blows his nose.</scene_description> <character>ELI</character> <dialogue>I was yelling and you didn't hear me and there were all these cars.</dialogue> <character>ELI</character> <dialogue>And then I got trapped and I couldn't grab you and then the car just hit you - and you were dead.</dialogue> <scene_description>Laney holds him tight.</scene_description> <character>LANEY</character> <dialogue>That will never happen Eli.</dialogue> <character>ELI</character> <dialogue>How do you know?</dialogue> <character>LANEY</character> <dialogue>Because I don't have an iPod.</dialogue> <character>ELI</character> <dialogue>It's not funny mom!</dialogue> <character>LANEY</character> <dialogue>It can't happen because I won't let it happen.</dialogue> <scene_description>Laney tucks Eli back in bed. She begins rubbing his head.</scene_description> <character>LANEY</character> <dialogue>Go to sleep. Mommy's here.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT - SAME</stage_direction> <scene_description>Laney lets Bingo out of the crate. She opens a cabinet and takes out two brown lunch bags and a box of crayons. She takes a loaf of bread and two small bags of organic chips from a drawer. She's about to make the kids' their school lunches but changes her mind. She opens another cabinet, takes out a secret bottle of vodka and pours herself a nice tall glass. She goes over to the phone, flips through the school directory, searches for a name, picks up the phone and dials. She looks down the hall to make sure nobody can hear her.</scene_description> <character>LANEY</character> <dialogue>Is this Diane?</dialogue> <parenthetical>(pause)</parenthetical> <character>LANEY</character> <dialogue>I'm so sorry I know it's late. This is Laney Brooks, I'm Eli's mom. (pause) I'm fine. Actually no, I'm not fine. I'm calling because Eli came home today with a bunch of stories about how the Pilgrims were thieves and Thanksgiving is a lie.</dialogue> <character>LANEY</character> <dialogue>He said that John told him. It's none of my business what you teach your kids but I was really hoping that you could - (pause) Sure I understand that but um, well I'm trying to teach my son to be grateful for what he has which is hard and Thanksgiving is - (pause) but that's a really important - (pause) but that's your opinion - (pause) Look - I'm not calling to have some kind of debate with you I just want to - (pause)</dialogue> <scene_description>Laney is fuming mad.</scene_description> <character>LANEY</character> <dialogue>I have a great idea- why don't you leave the teaching to the teachers- (pause)</dialogue> <character>LANEY</character> <dialogue>That's fine, and you can go fuck yourself. And tell your little brat to stay the fuck away from my kid.</dialogue> <scene_description>Laney slams down the phone, searches through her bag and locates her coke stash. She taps some coke onto the table, rolls up a 20 dollar bill, snorts a line. She sits down at the kitchen table and begins to flip through a magazine. She gulps some vodka. She flips through the magazine again, another gulp of vodka. Laney is clearly trying to drown out the demons - fast. She gets up, leaves the kitchen.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - NIGHT - CONTINUOUS</stage_direction> <scene_description>Laney makes her way down the hallway. She's not in great shape. She grabs onto a wall and steadies herself. Continues. She opens Eli's door, enters.</scene_description> </scene> <scene> <stage_direction>INT. ELI'S ROOM - CONTINUOUS</stage_direction> <scene_description>Laney sits at the foot of his bed and watches him sleep for a moment. She gets up, walks to...</scene_description> </scene> <scene> <stage_direction>INT. JANEY'S ROOM - CONTINUOUS</stage_direction> <scene_description>Laney peeks her head in, the little girl is fast asleep. Laney eyes her childhood teddy bear sitting on the shelf near Janey's bed - battered, one eye missing. She takes it from the shelf, lies down on the floor. Face to face with the bear, Laney kisses it. She looks at it again before she places it between her legs, eases onto it, her crotch against the bear's nose. She focuses on the family picture next to Janey's bed. She starts rocking back and forth, eyes closed. This is a disturbing scene although Laney masturbating is actually less troubling than her desperation for connection. The quivering stops, Laney pulls the bear from under her, rolls onto her back. Glow-in-the-dark plastic stars glitter on the ceiling. A combination of emotion and drugs overtakes her.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY LEADING TO MASTER BEDROOM - CONTINUOUS</stage_direction> <scene_description>Laney moves slowly down the hall into her bedroom.</scene_description> </scene> <scene> <stage_direction>INT. MASTER BEDROOM - CONTINUOUS</stage_direction> <scene_description>Bruce is fast asleep. Laney's trying to make her way to his side of the bed. She feels for him in the dark but she's too disoriented.</scene_description> <character>LANEY</character> <dialogue>Bruce.</dialogue> <scene_description>She stumbles into the night stand and sits on the floor at the edge of the bed. She pulls on the bedspread.</scene_description> <character>LANEY</character> <dialogue>Help.</dialogue> <scene_description>Bruce doesn't hear her. She pulls on the bedspread and says it again. A bit louder this time.</scene_description> <character>LANEY</character> <dialogue>Help.</dialogue> <scene_description>Bruce sits up, flips on the light, adjusts his eyes, looks for Laney. The camera freezes on Laney's face. Her hair is a mess. Mascara runs down her cheeks. She looks like a junkie. She is a junkie.</scene_description> <character>BRUCE (O.S.)</character> <dialogue>Jesus Laney!</dialogue> </scene> <scene> <stage_direction>EXT. RURAL ROAD - DAY</stage_direction> <scene_description>A newer model sedan makes it's way down a rural road.</scene_description> </scene> <scene> <stage_direction>INT./EXT. GAS STATION - DAY - CONTINUOUS</stage_direction> <scene_description>Laney sucks on a lollipop and stares out the window as Bruce finishes pumping gas. Silence, until...Bruce enters the car.</scene_description> <character>BRUCE</character> <dialogue>When did you start hating me Lane?</dialogue> <character>LANEY</character> <dialogue>I don't hate you Bruce.</dialogue> <character>BRUCE</character> <dialogue>Then why did you stop taking the meds?</dialogue> <character>LANEY</character> <dialogue>They make me fat.</dialogue> <character>BRUCE</character> <dialogue>Fat?</dialogue> <character>LANEY</character> <dialogue>Yeah. I was gaining weight.</dialogue> <scene_description>Bruce's anger rises.</scene_description> <character>BRUCE</character> <dialogue>That's bullshit.</dialogue> <character>LANEY</character> <dialogue>I was.</dialogue> <character>BRUCE</character> <dialogue>So you'd rather be insane?</dialogue> <character>LANEY</character> <dialogue>That's a little melodramatic don't you think?</dialogue> <character>BRUCE</character> <dialogue>I think it's pretty accurate.</dialogue> <character>LANEY</character> <dialogue>Whatever.</dialogue> <character>BRUCE</character> <dialogue>Not whatever. We've been through this. You have an illness. It's your responsibility to take your meds and keep your head on straight. If not for me then for the kids.</dialogue> <scene_description>A beat.</scene_description> <character>BRUCE</character> <dialogue>Do you not understand that everything I do is for you and the kids. All I want is for you to be happy like you used to be. Don't you want to be happy?</dialogue> <character>LANEY</character> <dialogue>Happy like when? Happy like I was in college?</dialogue> <character>BRUCE</character> <dialogue>Yes!</dialogue> <character>LANEY</character> <dialogue>I was stoned every second of every day.</dialogue> <character>BRUCE</character> <dialogue>What kind of bullshit answer is that? I used to get stoned too but then I grew up.</dialogue> <scene_description>Laney looks out the window.</scene_description> <character>LANEY</character> <dialogue>I know. Man of the Year. Highest producer in company.</dialogue> <character>BRUCE</character> <dialogue>I'll tell you what's wrong with you Laney, you're a spoiled fucking cunt. That's what's wrong with you.</dialogue> <scene_description>Laney smiles - if only to the glass on the window. He finally gets it.</scene_description> <character>LANEY</character> <dialogue>That's true Bruce. That's what I'm gonna work on while I'm gone. If I de-cunt myself will you let me come back?</dialogue> <character>BRUCE</character> <dialogue>I see what you're trying to do. You're trying to make me look like the asshole. Like I'm kicking you out of the house instead of trying to get you help.</dialogue> <scene_description>Bruce calms himself down.</scene_description> <character>BRUCE</character> <dialogue>And you know that's not true. But for some reason, for some fucked-up reason, no matter how many times you disappoint me I still love you.</dialogue> <scene_description>After a few moments of silence...</scene_description> <character>LANEY</character> <dialogue>And I'm the crazy one?!</dialogue> <scene_description>Bruce looks at her, incredulous, but they can't help but laugh. It's a nice moment.</scene_description> </scene> <scene> <stage_direction>EXT. BLUE HILL HOSPITAL - DAY - SAME</stage_direction> <scene_description>Bruce's car pulls into the circular drive of BLUE HILL HOSPITAL. Front and center is a sign that says "BLUE HILL HOSPITAL Managing Mental Health Since 1954". A no nonsense NURSE PAULINE (early 50's) is waiting for Laney by the hospital entrance. It suddenly dawns on Laney that she's entering rehab. Bruce pulls up to the sign that says "new patients". Laney looks at the hospital, at Pauline and finally at Bruce.</scene_description> <character>LANEY</character> <dialogue>I don't think I can do this.</dialogue> <scene_description>Bruce has tears in his eyes. This is very hard for him.</scene_description> <character>BRUCE</character> <dialogue>Just a month Lane. You'll be home before you know it.</dialogue> <scene_description>Pauline opens the car door.</scene_description> <character>PAULINE</character> <dialogue>You must be Laney.</dialogue> <scene_description>Laney hesitates. She looks one last time at Bruce. He is resolute. Pauline helps Laney out of the car and escorts her into the building. Bruce, head in hands, gathers himself, turns on the engine and drives away.</scene_description> </scene> <scene> <stage_direction>INT. DETOX - DAY - SAME</stage_direction> <scene_description>The detox room has nothing in it but a bed. The nurse gestures towards Laney's bag.</scene_description> <character>NURSE PAULINE</character> <dialogue>Empty your bag please.</dialogue> <scene_description>Nurse Pauline isn't mean, in fact she's pleasant. Laney dumps her belongings onto the mattress. Clothes and personal items, red lollipops scattered among it all. Nurse Pauline takes her make-up bag, her phone, her blow dryer, two belts, she inspects a winter scarf before she takes it, takes her shoelaces out of her sneakers. She opens a pocket inside Laney's bag and pulls out two bottles of prescriptions and a pack of cigarettes. She tosses the cigarettes back down on the bed.</scene_description> <character>NURSE PAULINE</character> <dialogue>You can keep these, you'll get the rest back when you leave.</dialogue> <character>LANEY</character> <dialogue>But I need my medication.</dialogue> <scene_description>Nurse Pauline checks Laney's prescription.</scene_description> <character>NURSE PAULINE</character> <dialogue>The Ambien has to go. And the Xanax. Sorry, Honey. For now you just get to sit back and enjoy the ride.</dialogue> <scene_description>Nurse Pauline turns Laney's bag inside and out to make sure she doesn't miss any secret hiding spots.</scene_description> <character>NURSE PAULINE</character> <dialogue>I'll need your bra too Honey.</dialogue> <character>LANEY</character> <dialogue>Jesus</dialogue> <scene_description>The nurse puts Laney's bag on her shoulder.</scene_description> <character>NURSE PAULINE</character> <dialogue>Another nurse will be in soon to take your blood and your vitals. You can spend as much time as you like in here or you can go to the lounge, there's coffee, tea and TV. I suggest you try to sleep and drink as much water as you can. We'll check on you through the night just to make sure everything's okay. Any questions?</dialogue> <character>LANEY</character> <dialogue>When can I call my husband?</dialogue> <character>NURSE PAULINE</character> <dialogue>We'll give him regular updates.</dialogue> <scene_description>The nurse gives her a sympathetic look. She's done this a million times but it's never easy, she knows the pain that's about to follow.</scene_description> <character>NURSE PAULINE</character> <dialogue>You'll do great. I'll check on you later.</dialogue> </scene> <scene> <stage_direction>INT. BLUE HILL - LANEY'S ROOM - DAY</stage_direction> <scene_description>A series of shots of Laney in her room, laying on her bed, rolling over, sweating, itching. She ventures into the lounge.</scene_description> </scene> <scene> <stage_direction>INT. BLUE HILL LOUNGE - CONTINUOUS</stage_direction> <scene_description>Laney tries to watch TV, takes in her surroundings. A HEAVY SET MAN on a nearby vinyl couch is watching TV with no emotion. A YOUNG WOMAN flips through a magazine though she doesn't seem to really pay attention to its contents. Laney eyes both of them, back and forth, paying close attention to their disconnection and lifelessness. Laney doesn't belong here, or does she? She paces, looks out the window, vacillates between frantic and resigned. She makes a run for the bathroom.</scene_description> </scene> <scene> <stage_direction>INT. BLUE HILL - HALLWAY BATHROOM - CONTINUOUS</stage_direction> <scene_description>She leans over the toilet, dry heaves, splashes water on her face.</scene_description> </scene> <scene> <stage_direction>INT. BLUE HILL LOUNGE - DAY - SAME</stage_direction> <scene_description>Back in the lounge she spots Nurse Pauline. Laney rushes over to her in a panic.</scene_description> <character>LANEY</character> <dialogue>I really need to call my husband. This is a mistake, this isn't the kind of place I should be in.</dialogue> <character>NURSE PAULINE</character> <dialogue>Your doctor will help you with that when you see him hon.</dialogue> <character>LANEY</character> <parenthetical>(angry)</parenthetical> <dialogue>Then I want to see him now! I need to see the doctor!</dialogue> <character>NURSE PAULINE</character> <dialogue>The first 48 hours are the worst.</dialogue> <character>LANEY</character> <dialogue>This is a fucking hospital, is it not? Why can't I see the fucking doctor?</dialogue> <character>NURSE PAULINE</character> <dialogue>Take it easy. Why don't you go back to your room and get some rest. This is the hard part hon. You'll feel better soon.</dialogue> <scene_description>Laney is shaking, fidgeting, pissed off, sweating. She takes a deep breath, the nurse puts her arm around Laney's shoulder to escort her back to her room. Laney throws her arm off.</scene_description> <character>LANEY</character> <dialogue>Don't fucking touch me.</dialogue> <scene_description>Nurse Pauline isn't phased.</scene_description> <character>NURSE PAULINE</character> <dialogue>Okay, hon.</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM - DAY - SAME</stage_direction> <scene_description>Laney walks into the bathroom, turns on the shower and washes her hair. She takes a deep breath. Instead of giving in to the tears, Laney takes the bar of soap in her hand and begins angrily stabbing at the wall with it. This is her release. She gets out of the shower, wraps herself in a towel and walks over to the sink. She stares at herself in the mirror, a pause, she looks away.</scene_description> </scene> <scene> <stage_direction>INT. DR. PAGE'S OFFICE - DAY - SAME</stage_direction> <scene_description>A psychiatrist's office. DR. PAGE (mid-50s) is sitting behind a formidable wooden desk. Laney is facing him. Legs crossed. Hands folded.</scene_description> <character>DR. PAGE</character> <dialogue>Since you aren't talking I'll assume this is accurate unless I hear otherwise.</dialogue> <scene_description>He glances at a piece of paper on his desk.</scene_description> <character>DR. PAGE</character> <dialogue>Your blood work shows that you had cocaine, amphetamine, Ambien and marijuana in your system. But no trace of Lithium. I assume you stopped taking it. Do you want to tell me why you stopped taking it?</dialogue> <scene_description>Laney doesn't respond. Dr. Page has reached the height of his patience with Laney's silence though he remains calm.</scene_description> <character>DR. PAGE</character> <dialogue>Nurse Pauline told me that you're desperate to go home. That you don't think you belong here.</dialogue> <character>LANEY</character> <dialogue>I don't.</dialogue> <character>DR. PAGE</character> <dialogue>Then why are you staying?</dialogue> <scene_description>Laney looks at him with total surprise.</scene_description> <character>DR. PAGE</character> <dialogue>You're an adult. You don't have to be here. Go home.</dialogue> <scene_description>He picks up the phone and hands her the receiver.</scene_description> <character>DR. PAGE</character> <dialogue>Go ahead.</dialogue> <character>LANEY</character> <dialogue>I have a family.</dialogue> <character>DR. PAGE</character> <dialogue>So?</dialogue> <character>LANEY</character> <dialogue>So-- so I can't just go home and do this all over again.</dialogue> <scene_description>He hangs up the phone. Somehow he's made this her idea.</scene_description> <character>DR. PAGE</character> <dialogue>Where would you like to start?</dialogue> <character>LANEY</character> <dialogue>Are we really gonna do this?</dialogue> <character>DR. PAGE</character> <dialogue>We are.</dialogue> <character>LANEY</character> <dialogue>What's more interesting to you, the drugs or the daddy issues?</dialogue> <character>DR. PAGE</character> <parenthetical>(with humor)</parenthetical> <dialogue>I like to start with the daddy issues because it makes for a very organic segue into the drugs.</dialogue> <character>LANEY</character> <dialogue>Mine will bore you. He left when I was nine. He kissed me good night one night and I never saw him again. Shall we move on to the drugs now?</dialogue> <character>DR. PAGE</character> <dialogue>We'll get there. Why is it that you never spoke to your father again?</dialogue> <character>LANEY</character> <dialogue>Because he never called me.</dialogue> <character>DR. PAGE</character> <dialogue>Did you ever call him?</dialogue> <character>LANEY</character> <dialogue>I didn't know where he was.</dialogue> <character>DR. PAGE</character> <dialogue>And now?</dialogue> <character>LANEY</character> <dialogue>He's upstate. My brother told me that.</dialogue> <character>DR. PAGE</character> <dialogue>So your brother talks to him?</dialogue> <character>LANEY</character> <dialogue>He does. Or he did. I don't know. We don't talk about my Dad anymore. It always ends in a fight. My mother was devastated when my dad left. I guess I've held on to that. My brother didn't.</dialogue> <character>DR. PAGE</character> <dialogue>Did she remarry?</dialogue> <character>LANEY</character> <dialogue>A few years later.</dialogue> <character>DR. PAGE</character> <dialogue>Why didn't you call him then?</dialogue> <character>LANEY</character> <dialogue>He was the adult. Why didn't he call me?</dialogue> <character>DR. PAGE</character> <dialogue>Why do you think he didn't call you?</dialogue> <scene_description>She takes a moment.</scene_description> <character>LANEY</character> <dialogue>Maybe having a family isn't for everyone. Maybe you think that's the answer, that that's what you're supposed to do because that's what you've been programmed to do since you were a kid. But maybe that's not right. I mean, you shouldn't be allowed to just make babies and fuck up other people's lives because you think you're supposed to adhere to this idea that everyone tells you is right. Maybe he thought he was doing me a favor by leaving.</dialogue> <scene_description>A beat. Dr. Page is silent while Laney contemplates what she's just said.</scene_description> <character>LANEY</character> <dialogue>Can we talk about the drugs now?</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. MEETING SPACE - DAY</stage_direction> <scene_description>An emotionally exhausted Laney exits the building, cigarette in hand. She searches her pockets for a light. Nothing. She breaks her cigarette and throws it on the ground, too upset to notice ZACK (mid-30s) sitting on a nearby bench smoking a cigarette.</scene_description> <character>ZACK</character> <dialogue>It gets easier.</dialogue> <scene_description>Zack walks over to Laney, hands her a cigarette and lights it for her. He is boyishly good looking, charismatic, and has a strong penchant for sarcasm. Laney takes a deep drag, eyes Zack skeptically, exhales.</scene_description> <character>LANEY</character> <dialogue>When?</dialogue> <character>ZACK</character> <dialogue>Heh, I don't know yet. That's just what they tell me. You just check in?</dialogue> <character>LANEY</character> <dialogue>Couple days ago. But I really shouldn't be here. No offense, this just isn't the kind of place I should be in.</dialogue> <character>ZACK</character> <dialogue>Oh yeah? What kind of place should you be in?</dialogue> <scene_description>Laney takes a drag off her cigarette, searches her surroundings for an answer but comes up short.</scene_description> <character>LANEY</character> <dialogue>I don't know. Not this place. It's depressing.</dialogue> <character>ZACK</character> <dialogue>Yeah. I feel you. Last week was good though. Whole staff was all freakin out. They fired one of the nurses. Exciting.</dialogue> <character>LANEY</character> <dialogue>For what? Smiling?</dialogue> <scene_description>Zack laughs, he likes her.</scene_description> <character>ZACK</character> <dialogue>No. She got caught having sex with a patient in a broom closet.</dialogue> <character>LANEY</character> <dialogue>No way. What happened to the patient?</dialogue> <character>ZACK</character> <dialogue>Just a slap on the wrist.</dialogue> <scene_description>Zack holds up his wrist to show her.</scene_description> <character>ZACK</character> <dialogue>Bruise is almost gone.</dialogue> <scene_description>Laney looks at Zack surprised.</scene_description> <character>ZACK</character> <dialogue>I'm Zack by the way.</dialogue> <character>LANEY</character> <dialogue>Laney.</dialogue> <character>ZACK</character> <dialogue>Nice to meet you Laney.</dialogue> <character>LANEY</character> <dialogue>Likewise.</dialogue> <scene_description>They smile at each other, an immediate chemistry. Zack drops his cigarette on the ground and puts it out with his shoe.</scene_description> <character>ZACK</character> <dialogue>When you figure out what kind of place you should be in let me know. Maybe that's where I should be too.</dialogue> <scene_description>Zack leaves but looks back at Laney over his shoulder with a beguiling smile.</scene_description> </scene> <scene> <stage_direction>INT. LODGE - DAY</stage_direction> <scene_description>Laney picks up the pay phone, inserts some quarters and calls Bruce. One ring. Two rings. She begins to fidget, wraps the phone cord around her finger. Three rings. Then...</scene_description> <character>BRUCE (V.O.)</character> <dialogue>Hello?</dialogue> <character>LANEY</character> <dialogue>Hey.</dialogue> <character>BRUCE (V.O.)</character> <dialogue>Hey. How's it going?</dialogue> <scene_description>In the background Laney can hear cartoons, kids, minor chaos.</scene_description> <character>LANEY</character> <dialogue>Uh, it's good. It's going good. How are you guys doing?</dialogue> <character>BRUCE (V.O.)</character> <dialogue>Good. Kids are wiped out. Getting ready for bed. Big day ice- skating.</dialogue> <character>LANEY</character> <dialogue>You went ice-skating? Without me?</dialogue> <character>BRUCE (V.O.)</character> <dialogue>Laney--</dialogue> <character>LANEY</character> <dialogue>We always go ice-skating together.</dialogue> <scene_description>Laney is getting agitated.</scene_description> <character>LANEY</character> <dialogue>It's kind of our thing.</dialogue> <character>BRUCE (V.O.)</character> <dialogue>Yeah, I know Lane but you're not here. Would you rather I didn't take them?</dialogue> <character>LANEY</character> <dialogue>No, it's just I should have been there.</dialogue> <scene_description>Laney fights back tears. A NURSE approaches her with a small tray in his hand, a handful of small paper cups with names on them, and equal amount of cups of water. He hands her the "Laney" cup, she turns her back to him. He taps her shoulder and she turns around and takes the meds without argument.</scene_description> <character>BRUCE (V.O.)</character> <dialogue>It's only been a week Lane. Just focus on getting better. The kids need you, I need you.</dialogue> <scene_description>Janey can be heard calling, "Daddy!" in the background.</scene_description> <character>BRUCE (V.O.)</character> <dialogue>I'm sorry, Lane. I gotta go.</dialogue> <character>LANEY</character> <dialogue>Wait, can I say good night?</dialogue> <scene_description>A beat.</scene_description> <character>BRUCE (V.O.)</character> <dialogue>I don't want to upset them before bed. We'll see you at family visit.</dialogue> <scene_description>Janey calls for "Daddy!" again.</scene_description> <character>BRUCE</character> <dialogue>I'm sorry, Laney. I have to go. I love you. We all love you and miss you here.</dialogue> <character>LANEY</character> <dialogue>I love you too.</dialogue> <scene_description>Laney hangs up the phone and breaks down.</scene_description> </scene> <scene> <stage_direction>EXT. LODGE - EVENING</stage_direction> <scene_description>It's cold out but Laney doesn't seem to mind it. She sits alone on the porch and contemplates the starlit sky. Zack joins her.</scene_description> <character>ZACK</character> <dialogue>I understand if you have a death wish but it sucks when you only get pneumonia and can't take the good meds.</dialogue> <scene_description>Zack takes his jacket off and wraps it around Laney's shoulders. He sits down next to her, hands her a cigarette, lights it. Lights his own.</scene_description> <character>LANEY</character> <dialogue>Thanks.</dialogue> <scene_description>They sit for a moment staring at the sky until Laney, fighting tears, breaks the silence. Laney bites a cuticle. Zack sees her wedding band.</scene_description> <character>ZACK</character> <dialogue>How long have you been married?</dialogue> <character>LANEY</character> <dialogue>Forever.</dialogue> <character>ZACK</character> <dialogue>Lucky guy.</dialogue> <scene_description>Laney is flattered but restrains herself.</scene_description> <character>LANEY</character> <dialogue>Not sure he'd agree with that. But thanks. (pause) How fucking great would a shot of tequila be right now?</dialogue> <character>ZACK</character> <dialogue>With a little lime.</dialogue> <character>LANEY</character> <dialogue>And salt.</dialogue> <scene_description>Zack holds out his cigarette to hers, they bump them together.</scene_description> <character>ZACK</character> <dialogue>Cheers.</dialogue> <character>LANEY</character> <dialogue>Cheers.</dialogue> </scene> <scene> <stage_direction>INT. BLUE HILL CAFETERIA - DAY</stage_direction> <scene_description>It's visiting day. The room is filled with VISITORS. Zack sits close to a beautiful, wholesome, blond. He tucks a lock of hair behind her ear. Laney watches the exchange. Janey and Eli are in line for dessert. Bruce and Laney are sitting at a table. Some time has passed. Laney looks much better, clear eyed. Bruce pushes his food around with his fork.</scene_description> <character>BRUCE</character> <dialogue>You look great. You feeling better?</dialogue> <character>LANEY</character> <dialogue>I am.</dialogue> <character>BRUCE</character> <dialogue>Do you feel like you're making progress?</dialogue> <character>LANEY</character> <dialogue>Why don't you just say what you're thinking?</dialogue> <character>BRUCE</character> <dialogue>Why are you so angry?</dialogue> <character>LANEY</character> <dialogue>I'm not angry.</dialogue> <scene_description>Laney glances at Eli and Janey at the dessert table.</scene_description> <character>LANEY</character> <dialogue>I'm not. I'm not angry. I'm scared Bruce. I'm scared of everything.</dialogue> <character>BRUCE</character> <dialogue>Like what? What are you scared of?</dialogue> <character>LANEY</character> <dialogue>Everything. I know you think that if I just take my medication that everything will go back to the way it was but it's bigger than that.</dialogue> <scene_description>Laney glances back at Eli.</scene_description> <character>LANEY</character> <dialogue>What's Eli doing with his eyes?</dialogue> <scene_description>We see Eli twitch.</scene_description> <character>LANEY</character> <dialogue>When did he start doing that?</dialogue> <scene_description>Bruce doesn't say anything.</scene_description> <character>LANEY</character> <dialogue>Is he doing that in school?</dialogue> <character>BRUCE</character> <dialogue>I don't know. No one's called me about it.</dialogue> <character>LANEY</character> <dialogue>You can't wait for someone to call you. What if kids are making fun of him? You have to call his teacher and find out what's happening.</dialogue> <scene_description>The both watch Eli for a moment, still twitching.</scene_description> <character>LANEY</character> <dialogue>Promise me you'll call his teacher.</dialogue> <scene_description>Bruce puts his hand on top of hers.</scene_description> <character>BRUCE</character> <dialogue>I promise Lane. I'll make sure he's okay.</dialogue> <scene_description>Laney takes a breath and pulls her hands away.</scene_description> <character>LANEY</character> <dialogue>I need to tell you something Bruce. I need to tell you some things, some really fucking terrible things I did when I wasn't thinking clearly but I need you to know so I... so we can start fresh.</dialogue> <character>BRUCE</character> <dialogue>Don't do this now Laney. You've got a lot on your mind.</dialogue> <character>LANEY</character> <dialogue>No this is important. I need to do this--</dialogue> <scene_description>Bruce looks over at the kids piling their plates high with brownies.</scene_description> <character>BRUCE</character> <dialogue>Come on guys, that's enough. Come sit down.</dialogue> <scene_description>The kids return, all smiles.</scene_description> <character>JANEY</character> <dialogue>They have chocolate cake and brownies daddy! I like it here!</dialogue> <scene_description>Bruce pulls Janey onto his lap, a human shield. Laney fights the tears and musters a fake smile for Janey. Bruce meets Laney's eyes, but he has to look away.</scene_description> </scene> <scene> <stage_direction>EXT. BLUE HILL PARKING LOT - DAY - SAME</stage_direction> <scene_description>Laney is holding Eli's hand as they walk down a path toward the parking lot. (Eli has his huge knapsack on his back.) Bruce and Janey are walking ahead of them.</scene_description> <character>ELI</character> <dialogue>I brought you something.</dialogue> <scene_description>As he looks at her he rolls his eyes back in his head, twitches them, squeezes them open and shut, rolls them again. He doesn't seem to notice that a ferocious tick has taken over his eyeballs. Bruce and Laney look at each other, there are no words. Bruce shakes his head and shrugs, unlocks the door. Eli drops his knapsack to the ground, opens it and begins digging.</scene_description> <character>ELI</character> <dialogue>I made this for you.</dialogue> <scene_description>He hands her a hard object wrapped in newspaper. It says "MOM" in purple crayon. Laney unwraps the gift. It is perhaps the most beautiful thing she has ever seen.</scene_description> <character>LANEY</character> <dialogue>You made me a dream catcher?</dialogue> <scene_description>Eli, still eye twitching.</scene_description> <character>ELI</character> <dialogue>Yep. No more bad dreams.</dialogue> <character>LANEY</character> <dialogue>It's beautiful E. Thank you.</dialogue> <scene_description>The kids get in the car. She helps buckle them in. Gives them each a kiss goodbye. Bruce comes around to her side of the car to say goodbye. Laney has tears in her eyes.</scene_description> <character>LANEY</character> <dialogue>Promise me you'll call the school psychologist or Eli's teacher first thing in the morning.</dialogue> <scene_description>Bruce puts his hands on her shoulders.</scene_description> <character>BRUCE</character> <dialogue>Focus on getting better Lane. So you can come home. We need you.</dialogue> <scene_description>He kisses her.</scene_description> <character>BRUCE</character> <dialogue>I need you.</dialogue> <scene_description>They get in the car. Laney stands in the parking lot and waves as she watches them drive away. In the background we see a WOMAN (60's) hugging two YOUNG MEN goodbye. As both cars are pulling out of the parking lot we see Laney and the woman both standing alone, 20 feet away from each other, Laney with the dream catcher in her hand. They are the same. No words are exchanged. Yet there is an implicit understanding between them: if only they could be in those cars. If only it was as simple as driving away.</scene_description> </scene> <scene> <stage_direction>EXT. HOSPITAL PATH - DAY</stage_direction> <scene_description>Laney is jogging along the path. Zack runs up beside her.</scene_description> <character>ZACK</character> <dialogue>Hey!</dialogue> <character>LANEY</character> <dialogue>Hey.</dialogue> <character>ZACK</character> <dialogue>You've been avoiding me for a while now and I'm starting to take it personally.</dialogue> <character>ZACK</character> <dialogue>Though it's hard to imagine I could ever do anything wrong.</dialogue> <character>LANEY</character> <dialogue>I'm not avoiding you.</dialogue> <scene_description>Laney doesn't look at Zack.</scene_description> <character>LANEY</character> <dialogue>I took up reading.</dialogue> <character>ZACK</character> <dialogue>Reading is good.</dialogue> <parenthetical>(Pause)</parenthetical> <dialogue>Are you pissed at me or something?</dialogue> <character>LANEY</character> <dialogue>Why would I be pissed at you?</dialogue> <scene_description>Laney keeps running, Zack stops, out of breath.</scene_description> <character>ZACK</character> <dialogue>Can you just stop for a minute?</dialogue> <scene_description>Laney stops, turns around. They're both breathing heavily.</scene_description> <character>ZACK</character> <dialogue>I don't know you just seem pissed. Everything okay? Kids okay?</dialogue> <character>LANEY</character> <dialogue>Everything's fine. Good actually. I've been working really hard in therapy. Finally getting somewhere. What about you? How's your girlfriend?</dialogue> <character>ZACK</character> <dialogue>My girlfriend?</dialogue> <character>LANEY</character> <dialogue>The girl who comes on visiting day. The blond.</dialogue> <character>ZACK</character> <dialogue>Sienna? Sienna is good.</dialogue> <character>LANEY</character> <dialogue>That's great. Happy to hear that.</dialogue> <scene_description>Zack looks at her with grave curiosity. A charming smile spreads across his face.</scene_description> <character>ZACK</character> <dialogue>You're jealous? That's what this is about?</dialogue> <scene_description>Laney is embarrassed. For the first time we see her vulnerable.</scene_description> <character>ZACK</character> <dialogue>I don't mean to be the messenger of irony or anything but you're married. So unless you're not telling me something...</dialogue> <character>LANEY</character> <dialogue>I know, you're right. Maybe I am jealous.</dialogue> <scene_description>Zack kisses her, she gives in for a moment before she pushes him away.</scene_description> <character>ZACK</character> <dialogue>Whoa. I'm kinda getting mixed signals here.</dialogue> <character>LANEY</character> <dialogue>I'm sorry. God. I'm really sorry.</dialogue> <scene_description>Zack looks away, uncomfortable. Laney places a hand on his cheek and forces him to look at her. This is Laney. Vulnerable. Sweet. Spoiled. Lovely.</scene_description> <character>LANEY</character> <dialogue>Zack- listen to me. I've made some really stupid decisions in my life. And as much as I'd love to be with you it would just be one more bad choice. I need to remember how to be a friend. You know? I want to be a friend to you. A good friend. And I need to remember how to be a good wife and mother. How to just- be a real person. I've spent so much time running away from my problems because I didn't want to feel any pain and I've fucked up everything in my life. Good things.</dialogue> <character>ZACK</character> <dialogue>I hear that. And you are a real person Laney. A great person.</dialogue> <character>LANEY</character> <dialogue>Thank you. I'm working on it. I've gotta try. I deserve to try. My kids deserve that.</dialogue> <scene_description>Zack takes in his feelings for a moment before he masks them with his trademark humor.</scene_description> <character>ZACK</character> <dialogue>So I guess I won't be getting you in the broom closet then?</dialogue> <scene_description>They laugh and Laney looks at Zack with pure endearment and gratitude. They hug each other, long and honest.</scene_description> <character>LANEY</character> <dialogue>I have to go. See you at movie night?</dialogue> <character>ZACK</character> <dialogue>Yeah. Popcorn's on me.</dialogue> <scene_description>As she walks towards the camera, Zack calls from behind her in the distance.</scene_description> <character>ZACK</character> <dialogue>By the way- Sienna is my sister!</dialogue> <scene_description>Laney stops for a moment of surprise. She smiles to herself, and keeps walking.</scene_description> </scene> <scene> <stage_direction>INT. DR. PAGE'S OFFICE - DAY - SAME</stage_direction> <scene_description>Laney sits on her familiar chair, Dr. Page sits in his chair behind the desk. They are observing each other in silence.</scene_description> <character>LANEY</character> <dialogue>You know the night before I came here, even with everything I did that night, I went into Eli's room to check on him. I sat down on the edge of his bed. I just wanted to watch him breathe. And I thought to myself, he'll never know. Neither of them will ever know how hard I tried not to hurt them.</dialogue> <scene_description>A beat.</scene_description> <character>LANEY</character> <dialogue>Am I gonna fuck this up? I really don't want to fuck this up.</dialogue> <character>DR. PAGE</character> <dialogue>Have some faith in yourself Laney. You've made unbelievable progress since you got here. Don't you see that?</dialogue> <character>LANEY</character> <dialogue>I do. Thank you for making me stay.</dialogue> <character>DR. PAGE</character> <dialogue>I didn't make you stay. That was your choice. And it was a good one.</dialogue> <scene_description>Laney smiles at Dr. Page. He has empowered her.</scene_description> </scene> <scene> <stage_direction>INT. BLUE HILL LOBBY - DAY</stage_direction> <scene_description>Laney says goodbye to Nurse Pauline and gives her a heartfelt hug. Zack walks over.</scene_description> <character>ZACK</character> <dialogue>Tell me you weren't going to leave without saying goodbye.</dialogue> <scene_description>Laney smiles.</scene_description> <character>LANEY</character> <dialogue>I suck at good-byes.</dialogue> <character>ZACK</character> <dialogue>I'm going to miss you.</dialogue> <scene_description>Laney glances through the window and sees Bruce drive up.</scene_description> <character>LANEY</character> <dialogue>I'm gonna miss you too Zack. Will you call me when you're out?</dialogue> <character>ZACK</character> <dialogue>Yep. I think I'm gonna hang here for a couple more weeks though. Nothing for me to rush home to.</dialogue> <character>LANEY</character> <dialogue>I think that's a great idea.</dialogue> <scene_description>Laney gives Zack a big hug.</scene_description> <character>LANEY</character> <dialogue>My ride is here.</dialogue> <scene_description>Zack looks out the doors and sees Bruce waiting against the car.</scene_description> <character>ZACK</character> <dialogue>That's the guy you blew me off for? I could totally take that guy.</dialogue> <scene_description>They laugh like two old friends with an inside joke.</scene_description> <character>ZACK</character> <dialogue>Go on. Get outta here and don't come back.</dialogue> <scene_description>He smiles. Laney grabs her bag and walks out the door.</scene_description> </scene> <scene> <stage_direction>EXT. BLUE HILL HOSPITAL - DAY- CONTINUOUS</stage_direction> <scene_description>Bruce is leaning against the side of the running car. Laney walks out the door, looks at her husband. He smiles at her and to her surprise, without trying, she smiles back.</scene_description> </scene> <scene> <stage_direction>EXT. BROOK'S HOUSE - NIGHT - SAME</stage_direction> <scene_description>A handmade "Welcome Home Mommy" sign is hanging (half on/ half off) the front door. Laney's SUV is parked in the driveway. Lights are glowing from inside the home</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT - CONTINUOUS</stage_direction> <scene_description>Laney and Janey are icing a cake. There is a fire in the fireplace. It's a lovely and traditional scene. Janey is wearing a nightgown. Eli is wearing a Knicks Jersey. Bingo is trying to jump up, looking for attention.</scene_description> <character>LANEY</character> <dialogue>Eli, want to ice the cake with us?</dialogue> <character>ELI</character> <dialogue>No thanks.</dialogue> <scene_description>Janey starts whining that she can't get it perfect.</scene_description> <character>JANEY</character> <dialogue>It's not the way I pictured it. It's not perfect.</dialogue> <scene_description>Janey is getting really upset. Laney bends down, wraps her arms around her.</scene_description> <character>LANEY</character> <dialogue>It is perfect. It's beautiful.</dialogue> <character>JANEY</character> <dialogue>No it's not.</dialogue> <scene_description>Janey begins sobbing. Laney tries to calm her down. Eli walks over, puts his arm around his sister's shoulder. Laney looks at him unsure, desperate almost.</scene_description> <character>LANEY</character> <dialogue>I don't understand why you're crying. It's a beautiful cake. Isn't it Eli?</dialogue> <character>ELI</character> <dialogue>I like it.</dialogue> <scene_description>Bruce comes up the stairs.</scene_description> <character>BRUCE</character> <dialogue>Basement's dry.</dialogue> <scene_description>Bruce sees Janey crying.</scene_description> <character>BRUCE</character> <dialogue>What's going on?</dialogue> <character>LANEY</character> <dialogue>She doesn't like her cake.</dialogue> <character>BRUCE</character> <dialogue>But that's a great cake Janey. It's the best cake I've ever seen.</dialogue> <character>JANEY</character> <dialogue>Really?</dialogue> <character>BRUCE</character> <dialogue>Really. Can I smell it? Does it smell as good as it looks?</dialogue> <character>JANEY</character> <dialogue>Okay.</dialogue> <scene_description>Bruce leans over the cake and purposely puts his nose in the frosting. Janey starts giggling.</scene_description> <character>BRUCE</character> <dialogue>Yep, it smells as good as it looks!</dialogue> <character>JANEY</character> <dialogue>Daddy!</dialogue> <character>BRUCE</character> <dialogue>What?</dialogue> <character>JANEY</character> <dialogue>Your nose!</dialogue> <character>BRUCE</character> <dialogue>What's wrong with my nose?</dialogue> <scene_description>Bruce pretends like he doesn't know there is frosting on his nose. He feels all around his face, everywhere but the frosting on his nose. Janey is now laughing.</scene_description> <character>JANEY</character> <dialogue>I want to smell it!</dialogue> <scene_description>Janey sticks her nose in the frosting. Bruce motions to her nose.</scene_description> <character>BRUCE</character> <dialogue>Oh, you've got a little something.</dialogue> <scene_description>Pretending she doesn't know.</scene_description> <character>JANEY</character> <dialogue>What?</dialogue> <character>BRUCE</character> <dialogue>Just a little....</dialogue> <character>JANEY</character> <dialogue>What?</dialogue> <scene_description>Laney comes over, aware of the fun.</scene_description> <character>LANEY</character> <dialogue>Can I smell?</dialogue> <character>JANEY</character> <dialogue>Yes! Smell it mommy! It smells great!</dialogue> <scene_description>Laney leans over to smell the cake, Bruce pushes her head into it a little further, teasingly. Laney has frosting covering her nose and a bit of her face.</scene_description> <character>LANEY</character> <dialogue>That is the best smelling cake. It really is.</dialogue> <scene_description>Eli watches the happy moment, for now he's an outsider as Bruce, Laney and Janey play with the cake and laugh.</scene_description> <character>BRUCE</character> <dialogue>Hey E, come smell the cake!</dialogue> <scene_description>Eli shrugs his shoulders. He's not buying into the happy family yet. Laney understands. In the midst of the fun, the power goes out. It's pitch black.</scene_description> <character>JANEY</character> <dialogue>Mommy!</dialogue> <character>LANEY</character> <dialogue>It's okay Muffin, the power just went out. It'll be back soon. Bruce can you find some candles?</dialogue> <scene_description>Bruce retrieves a handful of candles from a kitchen drawer. He lights one, we can see a little. Laney helps him to light more. Janey is quietly crying. In a matter of seconds the kitchen is lit up, candles all around. Candlelight and noses full of frosting.</scene_description> <character>BRUCE</character> <parenthetical>(to Janey)</parenthetical> <dialogue>See? Look at that!</dialogue> <character>LANEY</character> <parenthetical>(to Janey)</parenthetical> <dialogue>Better?</dialogue> <character>JANEY</character> <dialogue>Sort of.</dialogue> <character>BRUCE</character> <dialogue>Here, here's one just for you.</dialogue> <scene_description>Bruce puts a candle in the cake right next to Janey who is still lightly sobbing.</scene_description> <character>BRUCE</character> <dialogue>You ready?</dialogue> <character>JANEY</character> <dialogue>Yes.</dialogue> <scene_description>Bruce lights the candle, which lights up Janey's face. Her crying fades.</scene_description> <character>BRUCE</character> <parenthetical>(begins to sing softly)</parenthetical> <dialogue>This little light of mine, I'm gonna let it shine. This little light of mine I'm gonna let it shine.</dialogue> <scene_description>Laney cautiously joins in.</scene_description> <character>LANEY AND BRUCE</character> <dialogue>This little light of mine, I'm gonna let it shine, let it shine let it shine let it shine.</dialogue> <scene_description>Bruce takes Laney's hand, this is a very happy and romantic scene. He begins to dance with her, both with frosted noses and somewhat cautious. Eli can't help but watch, hints of a smile on his face. Janey is smiling ear to ear. She joins in singing.</scene_description> <character>BRUCE, LANEY AND JANEY</character> <dialogue>Down in my heart, I'm gonna let it shine. Down in my heart, I'm gonna let it shine.</dialogue> <scene_description>Bruce takes Janey's hand and pulls her off the bar stool. He starts to dance with her. She smiles. Laney turns to Eli, waves him over. He resists, hands in pockets. She waves him over again. This time he comes.</scene_description> <character>BRUCE, LANEY AND JANEY</character> <dialogue>Down in my heart, I'm gonna let it shine, let it shine, let it shine let it shine.</dialogue> <scene_description>Now they are all dancing in the kitchen by candlelight. Laney takes a swipe of icing off her nose and puts it on Eli's. They are all laughing. Bruce puts his arm around Laney, licks her nose playfully, they continue to dance. PULL BACK: The camera begins to pull back revealing the glowing kitchen, the family is dancing, their voices fade.</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL HALLWAY - DAY</stage_direction> <scene_description>Laney is standing in the hallway just outside the elementary school guidance councilor's office. She is wearing her parent badge around her neck, Janey next to her is wearing her tiara. Eli and Bruce are playing with his iPhone. A mom is passing through the hallway.</scene_description> <character>LANEY</character> <dialogue>Hey Jessica!</dialogue> <scene_description>Jessica gives Laney a dismissive smile and wave, carries on down the hall. Laney is slightly dejected, Bruce sees the exchange.</scene_description> <character>BRUCE</character> <dialogue>Ignore it.</dialogue> <scene_description>MR. ODESKY, the guidance councilor, open's his office door.</scene_description> <character>MR. ODESKY</character> <dialogue>Come on in.</dialogue> <parenthetical>(to Eli and Janey)</parenthetical> <character>MR. ODESKY</character> <dialogue>I'm going to speak to your mom and dad for a few minutes. Can you wait right here?</dialogue> <character>ELI AND JANEY</character> <dialogue>Okay.</dialogue> </scene> <scene> <stage_direction>INT. MR. ODESKY'S OFFICE - CONTINUOUS</stage_direction> <scene_description>Mr. Odesky motions for Laney and Bruce to sit.</scene_description> <character>MR. ODESKY</character> <dialogue>Nice to meet you both.</dialogue> <scene_description>Mr. Odesky takes his chair behind his desk and motions to the empty chairs across from him.</scene_description> <character>MR. ODESKY</character> <dialogue>Please, take a seat.</dialogue> <scene_description>Mr. Odesky has a file on his desk which he seems to be familiar with.</scene_description> <character>MR. ODESKY</character> <dialogue>How's the re-entry going?</dialogue> <character>BRUCE</character> <dialogue>A little choppy.</dialogue> <character>LANEY</character> <dialogue>He hates me.</dialogue> <character>BRUCE</character> <dialogue>He doesn't hate you.</dialogue> <character>LANEY</character> <dialogue>He hasn't forgiven me yet.</dialogue> <character>MR. ODESKY</character> <dialogue>You need to give him time. Build back his trust. He's scared you're going to leave again. That's a rational fear.</dialogue> <scene_description>A beat.</scene_description> <character>MR. ODESKY</character> <dialogue>I'm glad you called me Mr. Brooks. I think we need to be proactive in this situation. Mrs. Zeldis is concerned about Eli's recent behavior in class.</dialogue> <character>MR. ODESKY</character> <dialogue>One of the issue's is that he's being disruptive.</dialogue> <character>BRUCE</character> <dialogue>How so?</dialogue> <character>MR. ODESKY</character> <dialogue>He interrupts Mrs. Zeldis in the middle of her lessons- asks questions he knows the answers to. It's a way to get attention. She's working on that. But what concerns me more are his rituals. The eye blinking, the constant pencil sharpening. Recently he's started a pattern with tapping his feet.</dialogue> <scene_description>Bruce and Laney look at each other.</scene_description> <character>MR. ODESKY</character> <dialogue>These behaviors suggest anxiety; the rituals are a way for Eli to stay in control.</dialogue> <scene_description>Laney looks uncomfortable.</scene_description> <character>MR. ODESKY</character> <dialogue>It's not unusual but it becomes a problem when the rituals get in the way of functioning. When they become all consuming.</dialogue> <character>BRUCE</character> <dialogue>So what do we do?</dialogue> <character>MR. ODESKY</character> <dialogue>In my opinion Eli needs to see a specialist. Perhaps start with Cognitive Behavior Therapy. Or perhaps he can even benefit from medication.</dialogue> <character>BRUCE</character> <dialogue>Medication?</dialogue> <character>LANEY</character> <parenthetical>(to Bruce)</parenthetical> <dialogue>This is my fault. He has my genes.</dialogue> <character>BRUCE</character> <dialogue>Stop it.</dialogue> <character>LANEY</character> <parenthetical>(under her breath)</parenthetical> <dialogue>He never had a chance.</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL HALLWAY - DAY - SAME</stage_direction> <scene_description>Eli is reading "The Three Little Pigs" to Janey.</scene_description> <character>ELI</character> <dialogue>And this little piggy went weeeeee weeeeee weeeee all the way home.</dialogue> <scene_description>He tickles her. Laney and Bruce exit office and are met with their laughter. A relief.</scene_description> <character>BRUCE</character> <dialogue>Anyone here in the mood for some ice cream!?</dialogue> <character>ELI AND JANEY</character> <dialogue>Me!</dialogue> <scene_description>Laney smiles. She takes Eli's hand, Bruce and Janey follow.</scene_description> </scene> <scene> <stage_direction>EXT. ELEMENTARY SCHOOL - DAY - CONTINUOUS</stage_direction> <scene_description>Bruce, Laney, Eli and Janey are walking to the car. Laney and Eli still holding hands.</scene_description> <character>ELI</character> <dialogue>Did you go to rehab because you're a drug addict?</dialogue> <scene_description>Laney looks to Bruce. Bruce shakes his head. He's irritated.</scene_description> <character>LANEY</character> <dialogue>No. Of course not. Where did you get that idea?</dialogue> <character>ELI</character> <dialogue>John Frye said you're a drug addict and that's why you went to rehab.</dialogue> <character>JANEY</character> <dialogue>Drugs are bad mommy.</dialogue> <character>BRUCE</character> <dialogue>That's not why she was there Eli. John Frye is just trying to get your goat.</dialogue> <character>JANEY</character> <dialogue>Eli doesn't have a goat.</dialogue> <character>ELI</character> <dialogue>Then why were you there?</dialogue> <scene_description>Laney stops walking and turns to Eli. She bends down on her knee and puts her hand on his back, bringing him closer to her. His eyes start twitching.</scene_description> <character>LANEY</character> <dialogue>I was having some troubles in my mind. And because of those troubles I started doing some things that I shouldn't have been doing.</dialogue> <character>ELI</character> <dialogue>Then why did you do them?</dialogue> <character>LANEY</character> <dialogue>Well, it's complicated.</dialogue> <scene_description>Laney cups her hands gently around his eyes as if to calm them and stop the twitching.</scene_description> <character>LANEY</character> <dialogue>But I saw a doctor who was very smart and he helped me make sense of my troubles. And now I feel a lot better.</dialogue> <character>ELI</character> <dialogue>Did Mr. Odesky tell you to send me to rehab too?</dialogue> <scene_description>Laney hugs him tight. Bruce looks away.</scene_description> </scene> <scene> <stage_direction>INT. ICE CREAM PARLOUR - DAY - SAME</stage_direction> <scene_description>All four are looking in the window at the flavors of ice cream.</scene_description> <character>ELI</character> <dialogue>What are you getting mom?</dialogue> <character>LANEY</character> <dialogue>I don't know yet.</dialogue> <scene_description>There is a pimply teenager behind the counter.</scene_description> <character>TEENAGER</character> <dialogue>What's it gonna be?</dialogue> <character>JANEY</character> <dialogue>I want the pink one please.</dialogue> <character>LANEY</character> <dialogue>And I'll have a small scoop of chocolate. Kid size.</dialogue> <character>TEENAGER</character> <dialogue>We don't do kid size for adults.</dialogue> <scene_description>Laney's instinct is to get irritated. She calms herself.</scene_description> <character>LANEY</character> <dialogue>I'll pay for a regular scoop - just make it in a kid cup.</dialogue> <character>TEENAGER</character> <dialogue>I can't do that either. I'd have to charge you for the cup size I give you.</dialogue> <character>LANEY</character> <parenthetical>(deep breath)</parenthetical> <dialogue>Fine. I'll have a small.</dialogue> <character>BRUCE</character> <dialogue>I'll have a scoop of vanilla on a sugar cone.</dialogue> <scene_description>The teenager gives them their orders.</scene_description> <character>TEENAGER</character> <dialogue>And the little man?</dialogue> <scene_description>Laney waits for Eli to make his choice but Eli doesn't say anything. His eyes start contorting furiously.</scene_description> <character>BRUCE</character> <dialogue>What do you want Eli? Rocky Road?</dialogue> <scene_description>No answer.</scene_description> <character>LANEY</character> <dialogue>Which one Eli? E? What are you doing?</dialogue> <character>ELI</character> <dialogue>The lines. Look at the ice cream mom. See how the edges of the containers don't connect to each other? And the floor is crooked? If I do this with my eyes -</dialogue> <scene_description>Eli rolls his eyes up into his head, holds them there, blinks hard.</scene_description> <character>ELI</character> <dialogue>It makes them all straight and I can figure everything out.</dialogue> <scene_description>Laney takes a deep breath. She looks to Bruce for help. Bruce gets down on his knees.</scene_description> <character>BRUCE</character> <dialogue>You know Buddy, straightening out all the uneven lines in the world is a big job. Let's just pick a good flavor for now.</dialogue> </scene> <scene> <stage_direction>62A INT. LANEY'S BATHROOM - MORNING 62A</stage_direction> <scene_description>Laney finishes brushing her teeth, spits, rinses her toothbrush. She opens the medicine cabinet, puts her toothbrush away and takes out a bottle of medication. She unscrews the cap and taps a pill into the palm of her hand, puts it in her mouth and draws some water out of the faucet to wash it down. Laney closes the medicine cabinet, glances at herself in the mirror. She fixes her hair, tilts her head. She is content with what she sees.</scene_description> </scene> <scene> <stage_direction>INT. TOY STORE - DAY</stage_direction> <scene_description>Laney and Eli are perusing the super-hero aisle of a toy store. Eli holds a plastic baggy filled with crumpled bills and coins.</scene_description> <character>ELI</character> <dialogue>Mom! Look at this one! It's so cool.</dialogue> <character>LANEY</character> <dialogue>Really cool.</dialogue> <scene_description>Just then Donny and Henry come around the corner. Donny has that split second where one decides if they pretend not to see you, or face the music. In that same second, Henry spots Eli. Decision made. Laney and Donny are both taken off guard.</scene_description> <character>HENRY</character> <dialogue>Eli!</dialogue> <character>ELI</character> <dialogue>Hey Henry!</dialogue> <character>DONNY</character> <dialogue>Look who's here!</dialogue> <character>LANEY</character> <dialogue>Hey Donny. Hey Henry.</dialogue> <scene_description>Donny and Laney give each other a weak hug.</scene_description> <character>DONNY</character> <dialogue>Good to see you back.</dialogue> <character>LANEY</character> <dialogue>Thanks. Good to be back.</dialogue> <scene_description>Henry and Eli try to solve the superhero dilemma.</scene_description> <character>HENRY</character> <dialogue>Which one are you getting?</dialogue> <character>ELI</character> <dialogue>I have to see what I can afford. I have fourteen dollars and eighty- two cents.</dialogue> <character>HENRY</character> <dialogue>Wow. That's a lot.</dialogue> <character>ELI</character> <dialogue>I guess so.</dialogue> <character>DONNY</character> <dialogue>I'd pick a superhero if I were you Eli. Personally, I always wanted to be the kind of superhero that swoops down, rescues the woman from the burning building and flies her to safety.</dialogue> <scene_description>This is clearly for Laney's benefit.</scene_description> <character>HENRY</character> <dialogue>So you can't be Batman cuz he doesn't fly.</dialogue> <character>ELI</character> <dialogue>And Spiderman doesn't really fly, he swings.</dialogue> <character>DONNY</character> <dialogue>What do you guys think? What kind of superhero should I be? Maybe Superman? I'd be a good Superman, heh?</dialogue> <scene_description>Behind Donny, Susan comes walking down the aisle carrying an infant seat. She's very noticeably pregnant. Laney can't believe her eyes.</scene_description> <character>LANEY</character> <dialogue>Looks like you're already a superhero Donny.</dialogue> <scene_description>Susan approaches Laney with a warm smile and a hug.</scene_description> <character>SUSAN</character> <dialogue>Laney! So good to see you! I've missed you!</dialogue> <character>LANEY</character> <dialogue>I had no idea you were pregnant! You're glowing!</dialogue> <character>SUSAN</character> <dialogue>Oh bullshit. I look like shit and I feel like shit. But I'm almost halfway through, thankfully.</dialogue> <scene_description>Donny is uncomfortable, Laney does some math in her head.</scene_description> <character>LANEY</character> <dialogue>That's great. Really great you two. Congratulations.</dialogue> <character>SUSAN</character> <dialogue>Hey- did you get my message? About my birthday party?</dialogue> <character>LANEY</character> <dialogue>Yes! I'm so sorry. I did, I've just been so busy trying to catch up on things--</dialogue> <character>SUSAN</character> <dialogue>It's fine! I just wanted to make sure you know it's no pressure. Really. I totally understand if you'd rather skip it.</dialogue> <character>LANEY</character> <dialogue>No, we're looking forward to it.</dialogue> <scene_description>Eli interrupts, thrilled with his choice.</scene_description> <character>ELI</character> <dialogue>Can I get this one mom?</dialogue> <character>LANEY</character> <dialogue>Sure.</dialogue> <character>DONNY</character> <dialogue>Good choice my man.</dialogue> <scene_description>Laney puts her arm around Eli's shoulder.</scene_description> <character>LANEY</character> <dialogue>We have to get going E.</dialogue> <parenthetical>(to Donny and Susan)</parenthetical> <dialogue>See you next weekend?</dialogue> <character>DONNY</character> <dialogue>See you soon.</dialogue> <character>SHERYL</character> <dialogue>Can't wait!</dialogue> </scene> <scene> <stage_direction>INT. JANEY'S BEDROOM - NIGHT</stage_direction> <scene_description>It's bedtime. Janey's wearing an adorable nightgown. Janey snuggles beneath the covers.</scene_description> <character>JANEY</character> <dialogue>I have a wish.</dialogue> <character>LANEY</character> <dialogue>What's your wish?</dialogue> <character>JANEY</character> <dialogue>I can't tell it to you.</dialogue> <character>LANEY</character> <dialogue>Why?</dialogue> <character>JANEY</character> <dialogue>Because it won't come true.</dialogue> <character>LANEY</character> <dialogue>Who told you that?</dialogue> <character>JANEY</character> <dialogue>I don't remember.</dialogue> <character>LANEY</character> <dialogue>Well, whoever told you that must not know about the 'Mommy Clause.'</dialogue> <character>JANEY</character> <dialogue>The 'Mommy Clause?'</dialogue> <character>LANEY</character> <dialogue>You can always tell your mommy a wish.</dialogue> <character>JANEY</character> <dialogue>Good.</dialogue> <scene_description>Janey throws her arms around Laney's shoulders.</scene_description> <character>JANEY</character> <dialogue>I wish you would love me forever.</dialogue> <character>LANEY</character> <dialogue>You never have to worry about that, baby. I'll always love you.</dialogue> <character>JANEY</character> <dialogue>Forever?</dialogue> <character>LANEY</character> <dialogue>Forever. Now close you're eyes, it's bedtime.</dialogue> <character>JANEY</character> <dialogue>Are you going somewhere?</dialogue> <character>LANEY</character> <dialogue>I told you Honey- Mommy and Daddy are going to a birthday party.</dialogue> <character>JANEY</character> <dialogue>No! Don't go! I don't want you to leave!</dialogue> <scene_description>Janey goes from 0 to 60 in a second. A full blown tantrum ensues.</scene_description> <character>LANEY</character> <dialogue>Janey we're just going for a few hours! I'll be here when you wake up in the morning!</dialogue> <character>JANEY</character> <dialogue>No! No! Don't leave me! Mommy! Stay here!</dialogue> <scene_description>Bruce has obviously heard the screaming and he appears in the doorway wearing a suit. Janey throws her arms around Laney as if she can stop her- all the while screaming and crying. Laney looks to Bruce for help, Bruce let's out a deep sigh of frustration.</scene_description> <character>JANEY</character> <dialogue>You can't leave me mommy!</dialogue> </scene> <scene> <stage_direction>INT. PRIVATE PARTY ROOM - NIGHT - SAME</stage_direction> <scene_description>Bruce and Laney are mid slow-dance on the dance floor but Laney is a million miles away.</scene_description> <character>BRUCE</character> <dialogue>Hey. You okay?</dialogue> <scene_description>Laney just shakes her head, she's seems overwhelmed with sadness. A tear streams down her cheek.</scene_description> <character>BRUCE</character> <dialogue>It's just separation anxiety Lane. All kids do that.</dialogue> <character>LANEY</character> <dialogue>I know-</dialogue> <scene_description>They dance for a moment longer.</scene_description> <character>LANEY</character> <dialogue>I'm going to go call them okay?</dialogue> <scene_description>Bruce nods.</scene_description> <character>BRUCE</character> <dialogue>Of course. I'll be at the table.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. OUTSIDE RESTAURANT - NIGHT - CONTINUOUS</stage_direction> <scene_description>Laney reaches into her bag and pulls out a cigarette. When she looks up Donny is facing her. He's obviously followed her out of the restaurant.</scene_description> <character>DONNY</character> <dialogue>The way you move out there on the dance floor -if I were Bruce I'd get you your own pole.</dialogue> <scene_description>Laney puts the cigarette in her mouth.</scene_description> <character>DONNY</character> <dialogue>Light?</dialogue> <scene_description>Donny pulls a lighter out of his jacket pocket and lights her cigarette.</scene_description> <character>DONNY</character> <dialogue>You look great.</dialogue> <character>LANEY</character> <dialogue>Do I?</dialogue> <character>DONNY</character> <dialogue>Like a million bucks.</dialogue> <character>LANEY</character> <dialogue>Thanks.</dialogue> <scene_description>Laney glances at her reflection in the club's window. She pushes her hair behind her ear.</scene_description> <character>DONNY</character> <dialogue>You know, I was going to call you but then I thought I'd done enough, you know. Caused enough damage.</dialogue> <character>LANEY</character> <dialogue>It wasn't your fault, Donny. You could have been any man.</dialogue> <character>DONNY</character> <parenthetical>(insulted)</parenthetical> <dialogue>Really?</dialogue> <character>LANEY</character> <dialogue>I didn't mean it like that. I just meant that I was looking for something - guess I'm still looking. Of course, it makes it harder that I don't know what I'm looking for.</dialogue> <scene_description>Laney's amused.</scene_description> <character>LANEY</character> <dialogue>You were there and willing, and I thought- well it doesn't matter. Don't worry. You didn't drive me to rehab.</dialogue> <scene_description>Donny is perversely disappointed.</scene_description> <character>DONNY</character> <dialogue>I took your advice. Susan and I - we've been working it out.</dialogue> <character>LANEY</character> <dialogue>I saw.</dialogue> <character>DONNY</character> <dialogue>I didn't know. When we had our thing-- I didn't know she was pregnant.</dialogue> <character>LANEY</character> <dialogue>Our thing?</dialogue> <character>DONNY</character> <dialogue>I want to make sure you know I had no idea.</dialogue> <character>LANEY</character> <dialogue>I don't know what you're talking about.</dialogue> <scene_description>Donny waits a beat. He is, in spite of his wounded ego, appreciative.</scene_description> <character>DONNY</character> <dialogue>Thanks. I'm here for you, you know. If you ever need anything. Call me.</dialogue> <character>LANEY</character> <dialogue>Yeah. Thanks.</dialogue> <scene_description>Donny opens the door to return to the party, stops a beat and then...</scene_description> <character>DONNY</character> <dialogue>I mean. Not my house. Call my office. You need anything you talk to Janine. Okay? Anything.</dialogue> <scene_description>Laney smirks, acutely aware of his audacity. Donny digs his cigarette into the concrete with his shoe and makes his way back into the restaurant. Laney dials a number on her cell phone and holds it against her ear.</scene_description> <character>ELI (O.S.)</character> <dialogue>Hello?</dialogue> <character>LANEY</character> <dialogue>It's mommy. How are you?</dialogue> <character>ELI (O.S.)</character> <dialogue>Okay.</dialogue> <character>LANEY</character> <dialogue>You sure?</dialogue> <character>ELI (O.S.)</character> <dialogue>I'm sure.</dialogue> <character>LANEY</character> <dialogue>That's good. Your sister sleeping?</dialogue> <character>ELI (O.S.)</character> <dialogue>She's sleeping.</dialogue> <character>LANEY</character> <dialogue>Eli?</dialogue> <character>ELI (O.S.)</character> <dialogue>Yeah?</dialogue> <character>LANEY</character> <dialogue>You know I love you right?</dialogue> <character>ELI (O.S.)</character> <dialogue>Yeah.</dialogue> <character>LANEY</character> <dialogue>Nah. Not really. Not how much.</dialogue> <scene_description>Laney can hear him breathing.</scene_description> <character>LANEY</character> <dialogue>I want you to promise me E. Promise me that you'll always remember that I love you. That I really really love you.</dialogue> <character>ELI (O.S.)</character> <dialogue>Okay, I promise.</dialogue> <scene_description>Laney takes her forefinger and wipes under each of her eyes.</scene_description> <character>ELI (O.S.)</character> <dialogue>Mom, can I go now? I'm gonna miss the rest of the game.</dialogue> <character>LANEY</character> <dialogue>Of course. Go. Good night Sweetheart.</dialogue> </scene> <scene> <stage_direction>INT. PRIVATE PARTY - NIGHT - SAME</stage_direction> <scene_description>Bruce and Laney are sitting at a table near the dance floor with DAVID BLACKMAN (mid-fifties) and his trophy wife KATRINA (mid-twenties). David is a slick looking garmento, Katrina has quite the jewelry wardrobe. The table is rife with alcohol.</scene_description> <character>BRUCE</character> <dialogue>I cover all of that in the book but to answer your question, there really is no such thing as having too much life insurance. Especially if you're planning on having more kids.</dialogue> <character>BRUCE</character> <dialogue>And no offense David because you look like you're in great shape, but I'm guessing Katrina is going to outlive you.</dialogue> <scene_description>Bruce is playfully ribbing him while expertly navigating the waters of business and personal. David laughs, he obviously finds Bruce charming.</scene_description> <character>DAVID</character> <dialogue>That's my plan. Plucked this one straight out of high school.</dialogue> <scene_description>Katrina elbows him and smiles.</scene_description> <character>KATRINA</character> <dialogue>I was almost out of college.</dialogue> <character>BRUCE</character> <dialogue>Well, the book covers lots of unique scenarios. I see it like this David. There's a bible for the afterlife. I wrote the bible for the here and now.</dialogue> <character>DAVID</character> <dialogue>Well it sounds brilliant. The whole notion of hedging your bet against God.</dialogue> <scene_description>A WAITER arrives with a tray of cocktails. Laney pulls a lollipop out of her purse and starts sucking on it.</scene_description> <character>KATRINA</character> <dialogue>You know, I've always dreamed of writing a book. How did you do it, Bruce? Did you just sit down and type what you were thinking into a computer or did you pay someone to help you?</dialogue> <character>BRUCE</character> <dialogue>It's sentence by sentence. Anyone can do it. Call me anytime. I'd be happy to help you.</dialogue> <scene_description>Bruce takes his business card out of his wallet, passes it across the table. He is a professional.</scene_description> <character>LANEY</character> <dialogue>What do you want to write a book about?</dialogue> <character>KATRINA</character> <dialogue>Like, maybe a children's book or something. I'm not sure yet.</dialogue> <scene_description>Laney feigns interest in her.</scene_description> <character>LANEY</character> <dialogue>You know Katrina, I'm thinking of writing a book too.</dialogue> <character>KATRINA</character> <dialogue>Really, on what?</dialogue> <character>LANEY</character> <dialogue>On prostitution.</dialogue> <character>BRUCE</character> <parenthetical>(embarrassed)</parenthetical> <dialogue>Prostitution? Honey what do you know about prostitution?</dialogue> <character>LANEY</character> <dialogue>Well I've been thinking about it. Prostitution is the perfect example of hypocrisy. It's illegal to sell your body. But when you're rich it's perfectly acceptable. We just call it being a wife.</dialogue> <scene_description>Bruce looks at her with hardened eyes. Laney smiles, returns the stare.</scene_description> <character>LANEY</character> <dialogue>What do you think Katrina?</dialogue> <scene_description>Katrina doesn't know how to respond. Across the room Donny taps a spoon against a champagne glass. The guests quiet.</scene_description> <character>DONNY</character> <dialogue>I'd like to make a toast to my beautiful wife.</dialogue> <scene_description>Susan's right up next to him, beaming.</scene_description> <character>DONNY</character> <dialogue>I know you guys are here to dance and have fun so I'm going to make this short. Suze, I just want you to know, when I drive away to work each morning and see you there waving to me, Henry by your side, all I'm thinking is how fast can I get back to you. Thank you for putting up with me.</dialogue> <character>DONNY</character> <dialogue>I know I can be a real pain-in-the- ass sometimes. Happy Birthday Honey.</dialogue> <scene_description>The room quiets for a collective awwwww. Donny puts his hand on Susan's pregnant belly.</scene_description> <character>DONNY</character> <dialogue>And thank you for this.</dialogue> <scene_description>He turns to the audience.</scene_description> <character>DONNY</character> <dialogue>Can you believe it? Another baby this woman's having with me. She's a saint.</dialogue> <scene_description>Donny draws Susan close and begins kissing her. Laney smiles and claps in synchronicity with the guests.</scene_description> </scene> <scene> <stage_direction>INT. LANEY AND BRUCE'S BEDROOM - NIGHT - SAME</stage_direction> <scene_description>Laney is stretched out on the bed. She watches Bruce as he undoes his tie, unbuttons his shirt.</scene_description> <character>LANEY</character> <dialogue>When are you gonna to talk to me?</dialogue> <character>BRUCE</character> <dialogue>Why would you do that? Say you're going to check on the kids and then you come back babbling about prostitution? I was this close to getting David Blackman as a client.</dialogue> <character>LANEY</character> <dialogue>I know.</dialogue> <character>BRUCE</character> <dialogue>Do you? Do you have any idea how hard I work to keep it all going? Because you act like it's all some big joke. Like what I do for a living is beneath you somehow.</dialogue> <character>LANEY</character> <dialogue>I said I'm sorry. I really am. And I do know how hard you work. I don't know what I was thinking. Come here.</dialogue> <scene_description>Laney pats the side of the bed with her hand. Bruce relaxes and sits down next to her. Laney takes his hand and looks at him sweetly. He smiles at her, understanding.</scene_description> <character>LANEY</character> <dialogue>I really am sorry. It was out of line. She was just such a--</dialogue> <character>BRUCE</character> <dialogue>Prostitute?</dialogue> <scene_description>They laugh, real and true. Finally a joke not at their own expense. A silent moment passes while Bruce changes his tune.</scene_description> <character>BRUCE</character> <dialogue>Come with me to the conference this weekend.</dialogue> <character>LANEY</character> <dialogue>I don't know Bruce. You know how those things are. Everybody's shit- faced for three straight days.</dialogue> <character>BRUCE</character> <dialogue>Not us. Nothing stronger than water for me either. We can lay in bed. Get a massage.</dialogue> <character>LANEY</character> <dialogue>What about the kids?</dialogue> <character>BRUCE</character> <dialogue>They can stay with my sister.</dialogue> <character>LANEY</character> <dialogue>They're having a hard enough time as it is.</dialogue> <character>BRUCE</character> <dialogue>They'll be fine. Happy parents make happy kids. We need this. Come on. A road trip.</dialogue> <scene_description>Laney glances up at the ceiling. She rolls over to face him. His eyes are earnest. Warm.</scene_description> <character>LANEY</character> <dialogue>What if I run into my dad?</dialogue> <scene_description>Bruce is saddened by this.</scene_description> <character>BRUCE</character> <dialogue>We don't have to leave the hotel.</dialogue> <scene_description>Bruce takes Laney into his arms, kisses her forehead.</scene_description> <character>BRUCE</character> <dialogue>Just think about it. You look tired.</dialogue> <scene_description>He turns off the lamp, fluffs his pillow and rolls onto his side. Laney stares at the ceiling. A moment passes.</scene_description> <character>LANEY</character> <dialogue>I'll go with you.</dialogue> <scene_description>ON: Bruce. A softness coming to his face. He reaches around her waist and pulls her close into spooning position, kisses the back of her head and closes his eyes.</scene_description> <character>BRUCE</character> <dialogue>Thank you.</dialogue> <scene_description>A moment passes.</scene_description> <character>LANEY</character> <dialogue>God I hate upstate.</dialogue> <character>BRUCE</character> <dialogue>You don't hate upstate. You hate your dad.</dialogue> <character>LANEY</character> <dialogue>I think I hate both. Can't I hate both?</dialogue> <scene_description>Bruce chuckles, holds her tight.</scene_description> <character>BRUCE</character> <dialogue>Yes. You can hate both.</dialogue> </scene> <scene> <stage_direction>EXT. EXTERIOR SHOTS OF LAKE GEORGE HOTEL - DAY</stage_direction> </scene> <scene> <stage_direction>INT. HOTEL ROOM - DAY</stage_direction> <scene_description>Bruce is watching Laney sleep. He pushes a lock of hair from her forehead, waking her.</scene_description> <character>BRUCE</character> <dialogue>Rise and shine Beautiful.</dialogue> <scene_description>Laney reluctantly wakes. She sees the room service cart.</scene_description> <character>BRUCE</character> <dialogue>Pancakes and coffee.</dialogue> <scene_description>Laney smiles.</scene_description> <character>LANEY</character> <dialogue>Bacon?</dialogue> <character>BRUCE</character> <dialogue>Of course!</dialogue> <scene_description>Laney sits up. A tuxedo and a gown are hanging on a door.</scene_description> <character>LANEY</character> <dialogue>I have to call housekeeping to get those steamed.</dialogue> <scene_description>She picks up the phone to dial and Bruce stops her.</scene_description> <character>BRUCE</character> <dialogue>Wait a sec-</dialogue> <scene_description>He hands her a cup of coffee and a small jewelry box.</scene_description> <character>LANEY</character> <dialogue>Oh no. What did you do?</dialogue> <scene_description>Bruce smiles. Inside the box is a beautiful diamond wedding band. Laney is deeply touched.</scene_description> <character>LANEY</character> <dialogue>Who would have thought you'd be able to give me a ring like this?</dialogue> <scene_description>Bruce kisses her forehead.</scene_description> <character>LANEY</character> <dialogue>Tell me The Newsstand Story.</dialogue> <character>BRUCE</character> <dialogue>The Newsstand Story? You don't want to hear the Newsstand Story.</dialogue> <character>LANEY</character> <dialogue>I do. I want to hear The Newsstand Story. Please? And I want a massage.</dialogue> <character>BRUCE</character> <dialogue>High maintenance. Okay, roll over.</dialogue> <scene_description>Laney rolls over, a gentle smile on her face.</scene_description> <character>BRUCE</character> <dialogue>Once upon a time there was this incredibly good looking kid.</dialogue> <character>LANEY</character> <dialogue>Awkward.</dialogue> <character>BRUCE</character> <dialogue>Oh yeah, different story. Once upon a time there was this incredibly awkward kid from Teaneck. He used to make a couple bucks racking magazines at a store around the corner from his house. He was usually bored out of his skull but one day this knockout comes in. Long black hair. Long thin legs. And she even had nice...</dialogue> <scene_description>Bruce holds his hands out in front of his chest, mimicking giant boobs.</scene_description> <character>BRUCE</character> <dialogue>And there was something about her. Her eyes, they seemed...sweet.</dialogue> <character>LANEY</character> <dialogue>Seemed sweet or were sweet?</dialogue> <character>BRUCE</character> <dialogue>Just let me tell the story. So he started dressing up a little for work--</dialogue> <character>LANEY</character> <dialogue>Bullshit. He wore T-shirts</dialogue> <character>BRUCE</character> <dialogue>If you knew how carefully he selected them for fit and color--</dialogue> <scene_description>Laney laughs.</scene_description> <character>BRUCE</character> <dialogue>Point is, everyday, all he could think about was the next time she'd come back.</dialogue> <character>LANEY</character> <dialogue>Awwww.</dialogue> <character>BRUCE</character> <dialogue>Then one day she comes in and asks the old man behind the counter to get her a pack of smokes.</dialogue> <character>BRUCE</character> <dialogue>When he turned around, she boosted a candy bar and stuck it down her pants, paid for her cigarettes and walked out. But before she left she turned around and gave the kid this big huge smile. Blew his mind. He thought-- "this chick is hot and crazy." So he followed her out of the store thinking he was gonna get the nerve to talk to her. But then... then she did the thing that just owned him. She went around the corner and gave the candy bar to the homeless guy who lived in the alley. Kid was done. From that moment she owned him. He wanted to marry that girl.</dialogue> <character>LANEY</character> <dialogue>And did he?</dialogue> <character>BRUCE</character> <dialogue>Yes he did.</dialogue> <character>LANEY</character> <dialogue>Even though she told him not to?</dialogue> <character>BRUCE</character> <dialogue>Yep. Even though you told me not to.</dialogue> <character>LANEY</character> <dialogue>You know there's something really wrong with you, right?</dialogue> <scene_description>Bruce runs his fingers through her hair and gives her a soft kiss.</scene_description> <character>BRUCE</character> <dialogue>I'd marry you a hundred times.</dialogue> <scene_description>They share a loving moment in silence. Bruce glances at his watch and starts to get off the bed.</scene_description> <character>BRUCE</character> <dialogue>I'm gonna hop in the shower, don't want to be late.</dialogue> <scene_description>Laney pulls him back into bed.</scene_description> <character>LANEY</character> <dialogue>Let's fuck first.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL ROOM - DAY - SAME</stage_direction> <scene_description>Bruce, in a casual suit, grins the grin of the satiated man.</scene_description> <character>BRUCE</character> <dialogue>You sure you don't want to go with me?</dialogue> <character>LANEY</character> <dialogue>As much as I love a good insurance seminar...</dialogue> <character>BRUCE</character> <dialogue>Very funny. I'll be back by five to shower. Cocktails at six. Awards at seven.</dialogue> <character>LANEY</character> <dialogue>I'll be ready.</dialogue> <character>BRUCE</character> <dialogue>I called the concierge. He said there's an AA meeting not far. Just a cab ride. Think about it?</dialogue> <character>LANEY</character> <dialogue>Of course.</dialogue> <scene_description>She opens a prescription container, pops a pill and smiles for Bruce's benefit. Bruce gives Laney a kiss on the cheek and she follows him to the door.</scene_description> <character>LANEY</character> <dialogue>Have a good time.</dialogue> <scene_description>Across the hall an elderly man struggles slightly to slide the dirty room service tray out of his room and into the hallway. Laney watches him intently. He smiles at her and closes the door.</scene_description> </scene> <scene> <stage_direction>INT. TAXI - DAY - CONTINUOUS</stage_direction> <scene_description>Laney is in the backseat of a moving taxi. She takes a cigarette out of her bag.</scene_description> <character>LANEY</character> <dialogue>Mind if I smoke?</dialogue> <scene_description>The driver responds by rolling down the windows. Laney lights her cigarette. They pass through a series of neighborhoods before they pull up to a modest but charming ranch house. Laney gets out of the cab and walks up the driveway.</scene_description> </scene> <scene> <stage_direction>EXT. LANEY'S FATHER'S HOUSE - CONTINUOUS</stage_direction> <scene_description>Laney rings the doorbell. DAISY (10) answers the door. Laney glances at the number on the door to make sure she has the right house.</scene_description> <character>LANEY</character> <dialogue>Oh-hello, is -ah-</dialogue> <character>ROGER (O.S.)</character> <dialogue>Sweetheart you have to ask who it is before you open the door.</dialogue> <scene_description>Laney stares at Daisy for a moment before she turns her gaze to Roger who is walking toward the door. Awkward silence. It takes him second but then he realizes - takes a breath and instinctively puts a protective arm around Daisy's shoulder- the way one would do when confronted by a stranger.</scene_description> <character>ROGER</character> <dialogue>Elaine?</dialogue> <scene_description>Roger is silent, staring in amazement. Daisy looks up to him in confusion.</scene_description> <character>LANEY</character> <dialogue>Hi.</dialogue> <character>ROGER</character> <dialogue>Uh-come in. What a surprise. Uh Daisy-this is Elaine. She's-</dialogue> <scene_description>Laney reaches her hand out to shake Daisy's.</scene_description> <character>LANEY</character> <dialogue>I knew your dad a long time ago. You can call me Laney.</dialogue> <character>DAISY</character> <dialogue>Do you like doll houses?</dialogue> <character>LANEY</character> <dialogue>Yes. Very much.</dialogue> <character>DAISY</character> <dialogue>Me and my daddy are playing with mine. Want to see it?</dialogue> <scene_description>The door closes.</scene_description> </scene> <scene> <stage_direction>INT. DAISY'S BEDROOM - DAY - SAME</stage_direction> <scene_description>A dream bedroom for a little girl: Barbie dolls and stuffed animals. A canopy bed. There are several framed family photos on a book shelf. Laney takes them in.</scene_description> <character>DAISY</character> <dialogue>Did you have a dollhouse when you were little?</dialogue> <character>LANEY</character> <dialogue>I sure did.</dialogue> <character>DAISY</character> <dialogue>What color?</dialogue> <character>ROGER</character> <dialogue>Yellow with blue shutters.</dialogue> <scene_description>Laney looks at her father. A moment is had between them. Laney collects the wooden family members. One by one she brings them into the living room, seats them on the couch. The mother in her checkered apron, the father, daughter between them, baby in bassinet.</scene_description> <character>LANEY</character> <dialogue>I like it better when everyone's in the same room.</dialogue> <character>DAISY</character> <dialogue>Me too. Can I show her my bike daddy?</dialogue> </scene> <scene> <stage_direction>EXT. ROGER'S HOUSE - SAME</stage_direction> <scene_description>Roger helps Daisy put her bike helmet on.</scene_description> <character>LANEY</character> <dialogue>Wow, a helmet. Huh.</dialogue> <character>ROGER</character> <dialogue>All these laws- all this PC garbage to keep your kid safe. The helmets, the car seats, the this and that. They didn't have that when you were a kid and look at you! You got through it just fine.</dialogue> <character>LANEY</character> <dialogue>Yeah. Just fine Dad.</dialogue> <scene_description>A long, awkward silence as they watch Daisy ride around on her bike.</scene_description> <character>ROGER</character> <dialogue>She loves that bike. Got it for her eighth birthday. (pause) I was right about her age when I hit my first home run. I was so excited I ran all the way home from school. Completely out of my mind. P-O-P. Brought in three runs.</dialogue> <scene_description>Roger never takes his eyes off Daisy.</scene_description> <character>ROGER</character> <dialogue>Daisy! Slow down around the corners honey. You're gonna fall.</dialogue> <scene_description>Daisy slows down.</scene_description> <character>ROGER</character> <dialogue>I took the stairs two at a time, 'Ma!' I shouted, 'Ma!' I couldn't wait to tell her. I didn't even knock; I just busted right into her bedroom. And there she was, unconscious. Face down on the floor in a pool of her own vomit.</dialogue> <character>LANEY</character> <dialogue>You never told me that.</dialogue> <character>ROGER</character> <dialogue>You were too young. Drank herself to death. I don't even think your mother knows that. Took me until I was fifty to stop being angry.</dialogue> <scene_description>Something about the way Roger communicates this, his tone, the way he looks at Laney and the concern in his eyes, gives it away.</scene_description> <character>LANEY</character> <dialogue>Who told you?</dialogue> <character>ROGER</character> <dialogue>Your brother.</dialogue> <scene_description>Laney takes a minute to process.</scene_description> <character>LANEY</character> <dialogue>I'm not angry, Dad.</dialogue> <character>ROGER</character> <dialogue>Of course you are.</dialogue> <scene_description>They watch Daisy pedal along the driveway.</scene_description> <character>ROGER</character> <dialogue>I was thinking, maybe I'll bring Daisy to the city this summer.</dialogue> <scene_description>Laney's far away.</scene_description> <character>LANEY</character> <dialogue>Why didn't you call me?</dialogue> <character>ROGER</character> <dialogue>You were in the hospital. I didn't think it was the right time.</dialogue> <character>LANEY</character> <dialogue>Why didn't you call me for the thirty years before that?</dialogue> <scene_description>Roger doesn't have an answer.</scene_description> <character>LANEY</character> <dialogue>I need to get going dad. Can I use your bathroom?</dialogue> <character>ROGER</character> <dialogue>Of course. First door on your right.</dialogue> </scene> <scene> <stage_direction>INT. DAISY'S BEDROOM - DAY - SAME</stage_direction> <scene_description>Laney walks into Daisy's room. She takes it in: the canopy bed, the collection of teddy bears, the doll house. Laney kneels, runs her finger across each of their heads. Then she takes the father and drops him in her bag.</scene_description> </scene> <scene> <stage_direction>EXT. ROGER'S HOUSE</stage_direction> <scene_description>Laney comes out of the house. A taxi is waiting.</scene_description> <character>ROGER</character> <dialogue>I would have been happy to drive you back to your hotel.</dialogue> <scene_description>Laney walks over to Daisy. Gives her a hug.</scene_description> <character>LANEY</character> <dialogue>It was nice to meet you Daisy. Take good care of your Daddy.</dialogue> <scene_description>Daisy doesn't really understand this but she smiles.</scene_description> <character>LANEY</character> <dialogue>And you take care of her, okay?</dialogue> <scene_description>Roger understand the implication of Laney's words. He'll get it right this time. He opens his arms, hesitates.</scene_description> <character>ROGER</character> <dialogue>Can I?</dialogue> <scene_description>Laney nods, but barely. Roger wraps his arms around her shoulders.</scene_description> <character>ROGER</character> <dialogue>You know, I never stopped loving you Elaine.</dialogue> <character>LANEY</character> <dialogue>I know Dad.</dialogue> <scene_description>Laney steps into the taxi and Roger carefully closes the door.</scene_description> <character>LANEY (TO THE DRIVER)</character> <dialogue>We can go now.</dialogue> <scene_description>Through the window Laney sees Daisy waving and her father wiping tears from his eyes.</scene_description> </scene> <scene> <stage_direction>78A INT. TAXI CAB - DAY - CONTINUOUS 78A</stage_direction> <scene_description>Laney sinks. She takes a deep breath, follows it with another no matter how much air she takes in it isn't enough. She can't seem to catch her breath. She puts her head between her legs and continues to breathe deeply, pulls her head up again, stretches out her back. The taxi driver adjusts his rearview mirror.</scene_description> </scene> <scene> <stage_direction>78B INT. HOTEL LOBBY- DAY- CONTINUOUS 78B</stage_direction> <scene_description>Laney reaches into her bag, takes out her phone and dials. The phone rings. We hear Bruce's voice mail.</scene_description> <character>BRUCE (V.0.)</character> <dialogue>Hey, you reached Bruce-</dialogue> <scene_description>Laney tosses the phone back into her bag. Deflated. She eyes the lobby bar.</scene_description> </scene> <scene> <stage_direction>INT. LOBBY BAR - DAY - SAME</stage_direction> <scene_description>Laney sits down at an empty bar. There is a handsome BARTENDER (early 30's) cleaning glasses, his hair pulled back in a ponytail.</scene_description> <character>BARTENDER</character> <dialogue>What'll it be?</dialogue> <character>LANEY</character> <dialogue>A couple of Xanax would be great.</dialogue> <scene_description>Bartender smiles.</scene_description> <character>BARTENDER</character> <dialogue>You and me both.</dialogue> <character>LANEY</character> <dialogue>A shot of tequila with a lime.</dialogue> <scene_description>The Bartender prepares her drink, doing away with the requisite shot glass. He sets her drink in front of her. Laney looks at it for a moment, then shoots it.</scene_description> <character>LANEY</character> <dialogue>Keep em coming okay?</dialogue> <character>BARTENDER</character> <dialogue>Not a problem, I like the company. Are you staying with us at the hotel?</dialogue> <character>LANEY</character> <dialogue>Yes.</dialogue> <scene_description>Laney contemplates him for a moment.</scene_description> <character>LANEY</character> <dialogue>Minnesota. That's the accent, right?</dialogue> <character>BARTENDER</character> <dialogue>Sure is.</dialogue> <character>LANEY</character> <dialogue>Dylan, Prince or Replacements?</dialogue> <character>BARTENDER</character> <dialogue>Went to the same high school Dylan went to.</dialogue> <character>LANEY</character> <dialogue>You're gonna think I'm crazy.</dialogue> <character>BARTENDER</character> <dialogue>I like crazy.</dialogue> <character>LANEY</character> <dialogue>Never mind.</dialogue> <character>BARTENDER</character> <dialogue>Tell me.</dialogue> <character>LANEY</character> <dialogue>People must tell you all the time that you look like Jesus.</dialogue> <scene_description>Laney smiles wide - she knows she has him.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - NEXT MORNING</stage_direction> <scene_description>Laney's gown still hangs from the door, perfectly pressed. Bruce pulls his suit out of the closet, places it in the garment bag and zips it up. He is packing with some urgency. Or is it anger? There is a suitcase on the bed, a small mess of clothes waiting to be folded and packed. The hotel room door opens quietly as Laney tries to slip in without being heard. Her plan is foiled right away when she sees Bruce. He hears her but doesn't bother to turn around. Laney gathers her courage.</scene_description> <character>LANEY</character> <dialogue>I'm so sorry Bruce. I fell asleep by the lake.</dialogue> <scene_description>Bruce is silent.</scene_description> <character>LANEY</character> <dialogue>By the time I woke up I already missed the ceremony. And then I was too nervous to come back. I didn't want to disappoint you.</dialogue> <scene_description>More silence.</scene_description> <character>LANEY</character> <dialogue>How did it go? Were you a huge hit?</dialogue> <character>BRUCE</character> <dialogue>I looked for you by the lake Laney. You weren't there.</dialogue> <character>LANEY</character> <dialogue>Are you saying you don't believe me?</dialogue> <character>BRUCE</character> <dialogue>Yes. I'm saying I don't believe you.</dialogue> <character>LANEY</character> <dialogue>Jesus Bruce--</dialogue> <character>BRUCE</character> <dialogue>No. Do NOT try to turn this around and make me look like the bad guy Lane. Saying your lie louder doesn't make it true.</dialogue> <scene_description>Laney sits on the bed where he's packing. She softens, he doesn't.</scene_description> <character>LANEY</character> <dialogue>Bruce, just listen. I found a couple Xanax in the bottom of my purse. I know I shouldn't have taken any but-</dialogue> <scene_description>Bruce grabs Laney's face in his hand like he's going to snap her neck off.</scene_description> <character>BRUCE</character> <dialogue>What the fuck is wrong with you?</dialogue> <scene_description>He squeezes tighter, then lets go.</scene_description> <character>BRUCE</character> <dialogue>Why is it so easy for you to look me in the eyes and lie to me?</dialogue> <scene_description>He stares at her. Small pools of tears have settled in the corners of Bruce's eyes.</scene_description> <character>BRUCE</character> <dialogue>Do you even love me Laney?</dialogue> <character>LANEY</character> <dialogue>Of course I do.</dialogue> <character>BRUCE</character> <dialogue>Just not enough I guess.</dialogue> <scene_description>He looks at Laney with a mixture of love and regret.</scene_description> <character>BRUCE</character> <dialogue>I'm going to Atlanta. I have some business there and I need to clear my head. Figure out where we go from here.</dialogue> <character>LANEY</character> <dialogue>When are you coming back? What about Eli's piano recital?</dialogue> <scene_description>This is almost comical. He shakes his head. Laney, mother of the year.</scene_description> <character>BRUCE</character> <dialogue>I'll be back in time. They'll stay with my sister until I get home.</dialogue> <character>LANEY</character> <dialogue>What? You don't trust me?</dialogue> <character>BRUCE</character> <dialogue>No. I don't.</dialogue> <scene_description>He walks toward the door, bag in hand, turns back to Laney.</scene_description> <character>BRUCE</character> <dialogue>This is my fault. I shouldn't have brought you. It was too soon.</dialogue> <character>LANEY</character> <dialogue>So you're just leaving? You're just leaving me here alone?</dialogue> <character>BRUCE</character> <dialogue>Yeah. You always seem to find your way home eventually.</dialogue> <scene_description>He opens the door.</scene_description> <character>BRUCE</character> <dialogue>I just don't know if I want to be there next time you do.</dialogue> </scene> <scene> <stage_direction>80A INT. BROOK'S HOUSE - DAY 80A</stage_direction> <scene_description>Laney unlocks her front door and pulls her suitcase in behind her.</scene_description> </scene> <scene> <stage_direction>80B INT. BROOKS HOUSE - CONTINUOUS 80B</stage_direction> <scene_description>Laney parks her bag next to her, looks around and feels the emptiness. Janey's ballet outfit it on the bench, Eli's backpack. Laney walks into the family room. Slow but deliberate.</scene_description> </scene> <scene> <stage_direction>80C INT./EXT. LIVING ROOM - CONTINUOUS 80C</stage_direction> <scene_description>Laney turns on a table lamp and gazes at a few photographs of her family on the table next to it. She walks over to the window, looks at the basketball court. It's empty but for a ball and Janey's pink bike.</scene_description> </scene> <scene> <stage_direction>INT. PIANO RECITAL - DAY</stage_direction> <scene_description>Modest suburban living-room, upright piano, folding chairs. Eli is wearing a navy sports coat over a Knicks jersey. Janey plays with her Barbie doll. Laney glances out the window and then back to Eli who is doing his eye ritual, blinking hard. He seems to have added a new step - he twists his mouth, holds his lips in a tight squeeze, waits a beat, releases and then again. A young girl SABRINA (age 10) finishes her recital piece. The AUDIENCE claps. MRS. MATTINGLY (30's), Eli's piano teacher, steps to the front of the room. She gives Sabrina a hug.</scene_description> <character>MRS. MATTINGLY</character> <dialogue>Let's give Sabrina another round of applause.</dialogue> <scene_description>Laney hears a car door slam. She looks out the window and sees Bruce, still with rolling bag, just in time. He walks in, scans the room. There is an empty seat next to Laney but he chooses to take a seat in the back. Janey sees him and leaps down the aisle.</scene_description> <character>JANEY</character> <dialogue>Daddy!</dialogue> <scene_description>She grabs his hand in an effort to lead him to their seats but he doesn't follow. Instead he scoops her up onto his lap. Ostensibly he doesn't want to interrupt Mrs. Mattingly but in truth he doesn't want to be near his wife. Mrs. Mattingly sees him politely sitting in the back.</scene_description> <character>MRS. MATTINGLY</character> <dialogue>It's okay Bruce. This isn't Carnegie Hall. Go sit with your family.</dialogue> <scene_description>As Bruce makes his way down the aisle we see Laney and Eli slide over to make room for him. Bruce sits down next to Eli, Janey on his lap. He puts his arm around his son's shoulder. Eli is twitching away. Laney and Bruce barely make eye contact.</scene_description> <character>MRS. MATTINGLY</character> <dialogue>So much has been written about Beethoven's deafness but my favorite story is this one. After the first performance of The Ninth, Beethoven stared blankly at his orchestra. A thoughtful musician, realizing he couldn't hear the clapping, turned Beethoven around to face the audience.</dialogue> <character>MRS. MATTINGLY</character> <dialogue>It was Beethoven's eyes, not his ears that conveyed the symphony's triumph. Now let's use our eyes and ears while we welcome Eli Brooks to the stage. Eli will be performing the final movement of the Ninth. The Ode to Joy.</dialogue> <scene_description>Eli, all three-foot nine walks up on stage as the audience politely claps. He takes a seat at the piano. He composes his hands properly but doesn't begin. This is gut wrenching. His eyes start twitching, his mouth is turning. Laney holds her breath, eyes wide in anticipation.</scene_description> <character>BRUCE</character> <parenthetical>(under his breath)</parenthetical> <dialogue>Come on Buddy....</dialogue> <scene_description>Eli goes through another short series of eye twitches and mouth contortions. This moment is taking forever, the room is silent in anticipation. A PARENT subtly turns around to look at Laney for her reaction. Laney sits up straighter, stoic, masking her nerves. And then amazingly, without any twitching of the neck, contorting of the mouth, blinking of the eyes, Eli begins to play - fingers on keys, wrists raised. This, the sound of her son, is, perhaps, the most beautiful Laney's ever heard. She secretly exhales and then because she's overcome with emotion, her eyes fill with tears. She can feel Bruce watching her, she turns her head slowly. When their eyes meet there is no malice. Instead a flicker of hope, the mutual acknowledgement of their little boy's triumph. At that moment, as Eli takes his bow and the room cheers, all is forgiven. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. BROOKS' HOME - FOYER - DAY - SAME</stage_direction> <scene_description>Bruce unlocks the front door and lets everyone into the house. Bingo, wagging his tail, is there to greet them.</scene_description> <character>BRUCE</character> <dialogue>Don't forget to take off your shoes.</dialogue> <scene_description>The kids smile. Leave their shoes on the mat. Put their coats on the bench. All the while Laney is trying to compose herself.</scene_description> <character>JANEY</character> <dialogue>Why are you crying Mommy?</dialogue> <character>LANEY</character> <dialogue>These are happy tears.</dialogue> <scene_description>Laney walks over to Eli. Kneels.</scene_description> <character>LANEY</character> <dialogue>E-you were extraordinary today. Breathtaking. I don't think I've ever heard anything more beautiful.</dialogue> <scene_description>Laney puts her hands on Eli's shoulders. She takes him in. Her beautiful boy.</scene_description> <character>LANEY</character> <dialogue>I don't deserve to be your mother.</dialogue> <scene_description>Bruce is getting anxious about where this conversation may lead.</scene_description> <character>BRUCE</character> <dialogue>Who wants a snack?</dialogue> <character>JANEY</character> <dialogue>Hot chocolate?</dialogue> <character>BRUCE</character> <dialogue>Sure.</dialogue> <character>JANEY</character> <dialogue>With marshmallows.</dialogue> <scene_description>Bruce glances at Laney. Her smile belies her anxiety.</scene_description> <character>LANEY</character> <dialogue>I have to run to the bathroom. I'll meet you there in a minute.</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM - DAY - SAME</stage_direction> <scene_description>Laney closes the bathroom door, removes the tampon box from the top shelf and pulls out the familiar white envelope. She empties the contents of the envelope onto the floor. She cuts lines, sniffs coke, glances at herself in the mirror. Bingo scratches at the bathroom door, he wants to come in. Laney ignores him. There is a crash of some sort in the next room. The kids are calling her name. Laney does one more line and starts cleaning up in a hurry. She realizes she doesn't have much time.</scene_description> <character>JANEY AND ELI</character> <dialogue>Mom. Moooooooom!</dialogue> <character>BRUCE</character> <dialogue>Laney!</dialogue> <character>LANEY</character> <dialogue>One second!</dialogue> <character>JANEY AND ELI</character> <dialogue>Mom!</dialogue> <scene_description>Eli enters the bathroom first, followed by Janey and Bingo. Laney pretends to be looking for something.</scene_description> <character>LANEY</character> <dialogue>I lost my contact. Damn this floor makes -it's impossible to find-</dialogue> <scene_description>Laney looks up. The three of them are staring at her. She wipes her nose with her sleeve. There is blood on it. The kids are visibly frightened as Bruce leads them out of the bathroom by their shoulders.</scene_description> <character>JANEY</character> <dialogue>Mommy! What's wrong with mommy?</dialogue> </scene> <scene> <stage_direction>EXT. DRIVEWAY - DAY - CONTINUOUS</stage_direction> <scene_description>Laney runs out the front door and speeds off. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. DONNY'S OFFICE - DAY - CONTINUOUS</stage_direction> <scene_description>Walls covered with advertisements. Directly behind Donny is a mock up of the spring ad campaign. A life-sized poster, a caricature of Donny's father sitting on top of a cow. Arms in the air, cowboy hat, two lassoed yogurt pops. "The Dairy King Rides Again." Donny is taken aback by the site of Laney: mascara running down her face, crusted blood on her nose. She's shaking.</scene_description> <character>LANEY</character> <dialogue>I need something to calm down.</dialogue> <scene_description>Donny hands her a tissue, then guides her into a chair.</scene_description> <character>DONNY</character> <dialogue>What happened?</dialogue> <character>LANEY</character> <dialogue>I don't want to talk about it.</dialogue> <scene_description>Laney wipes her nose, glances at the tissue. There's blood on it. She crumples the tissue into her hand.</scene_description> <character>DONNY</character> <dialogue>I can't give you anything, Lane. What kind of person would that make me?</dialogue> <character>LANEY</character> <dialogue>Please Donny. Now isn't the time for moralizing.</dialogue> <character>DONNY</character> <dialogue>But you were just in rehab -</dialogue> <character>LANEY</character> <dialogue>Well now I'm not. Please!</dialogue> <scene_description>Donny's office phone rings but he ignores it. Instead he wets his thumb, wipes the dry blood from Laney's nose, tucks a piece of Laney's hair behind her ear. A tear runs down her cheek.</scene_description> <character>DONNY</character> <dialogue>It's all going to be okay.</dialogue> <character>LANEY</character> <dialogue>Not for me. But it is for you - you're about to have a baby!</dialogue> <character>DONNY</character> <dialogue>We'll figure it out.</dialogue> <scene_description>Donny kisses the back of Laney's neck. Then her mouth. He slips his hand into her blouse. His cell phone rings. He pulls it out of his pocket and looks at the Caller ID.</scene_description> <character>DONNY</character> <dialogue>Hey Suze, what's up?</dialogue> <scene_description>Donny looks concerned.</scene_description> <character>DONNY</character> <dialogue>Jesus! Are you at the emergency room? Okay, take a deep breath. What did the doctor say? Is he in pain? I'm on my way. Everything's gonna be okay.</dialogue> <scene_description>Donny hangs up the phone.</scene_description> <character>LANEY</character> <dialogue>How many people you going to make everything okay for?</dialogue> <scene_description>Donny shoots Laney a look of disgust.</scene_description> <character>DONNY</character> <dialogue>This is my son.</dialogue> <scene_description>He grabs his jacket and leaves. Laney opens Donny's locked desk drawer with a letter opener and rifles through the prescription containers inside. She swallows some pills, stuffs the prescriptions into her purse and leaves.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY - SAME</stage_direction> <scene_description>Laney is walking to her car. Across the street a neon sign flashes: EVERY NIGHT EIGHTIES NIGHT, THURSDAY IS LADIES NIGHT 1$ BEERS.</scene_description> </scene> <scene> <stage_direction>INT. O'SULLIVAN'S BAR - DAY - CONTINUOUS</stage_direction> <scene_description>Laney takes a seat, eyes the BARTENDER for a drink.</scene_description> <character>LANEY</character> <dialogue>Beer.</dialogue> <scene_description>A guy in a QUAKER STATE walks over to the bar.</scene_description> <character>QUAKER STATE</character> <dialogue>No Springsteen on the jute box? This is Jersey.</dialogue> <scene_description>He glances at Laney.</scene_description> <character>LANEY</character> <dialogue>Springsteen fan?</dialogue> <character>QUAKER STATE</character> <dialogue>How could you tell?</dialogue> <scene_description>Laney smirks, unimpressed.</scene_description> <character>QUAKER STATE</character> <dialogue>Best musician on the planet. Put Jersey on the map.</dialogue> <scene_description>Laney lifts the bottle to her mouth. She recognizes the pathetic pick-up attempt but she's willing to play ball.</scene_description> <character>LANEY</character> <dialogue>I'm sure Sinatra would argue. And Bon Jovi, and--</dialogue> <character>QUAKER STATE</character> <dialogue>Bon Jovi? All he ever wanted was to be Bruce.</dialogue> <character>LANEY</character> <dialogue>We all want to be something bigger than we are I guess.</dialogue> <character>QUAKER STATE</character> <dialogue>Yeah.</dialogue> <scene_description>Quaker State moves closer.</scene_description> <character>QUAKER STATE</character> <dialogue>What did you want to be?</dialogue> <character>LANEY</character> <dialogue>Me?</dialogue> <scene_description>Laney tries to make out the tattoo on his arm.</scene_description> <character>QUAKER STATE</character> <dialogue>You see me talking to anyone else?</dialogue> <character>LANEY</character> <dialogue>All I wanted was to get married, have kids and live happily ever after.</dialogue> <character>QUAKER STATE</character> <dialogue>So?</dialogue> <character>LANEY</character> <dialogue>So what?</dialogue> <character>QUAKER STATE</character> <dialogue>So what's a nice girl like you doing in a place like this?</dialogue> <scene_description>The pills have kicked in, Laney has that all too familiar glaze.</scene_description> <character>LANEY</character> <dialogue>Who said I'm a nice girl?</dialogue> </scene> <scene> <stage_direction>EXT. PARKING LOT/ALLEY - NIGHT - SAME</stage_direction> <scene_description>Laney's cheek is pressed up against a brick wall. There's trash all around: garbage cans overflowing with debris.</scene_description> <character>LANEY</character> <dialogue>Lick it.</dialogue> <character>QUAKER STATE</character> <dialogue>Lick what baby?</dialogue> <character>LANEY</character> <dialogue>My ass.</dialogue> <character>QUAKER STATE</character> <dialogue>Your ass?</dialogue> <scene_description>As he bends down to lick her ass, Laney shoves him in an effort to provoke him. She's looking for trouble.</scene_description> <character>LANEY</character> <dialogue>No more fucker.</dialogue> <character>QUAKER STATE</character> <dialogue>I'll tell you when it's no more.</dialogue> <scene_description>Laney has succeeded in instigating Quaker State. He draws back her head and smashes her face against the brick. As she reaches for the wound he pulls her arm back. Laney chuckles, inviting more pain.</scene_description> <character>LANEY</character> <dialogue>Fuck.</dialogue> <scene_description>He likes this.</scene_description> <character>QUAKER STATE</character> <dialogue>That hurt?</dialogue> <character>LANEY</character> <dialogue>Barely felt it. Is that all you got?</dialogue> <scene_description>Quaker State smashes her face into the wall one more time which turns him on even more. He finishes and buttons up his pants. She sinks to the pavement and watches as he dumps the contents of her purse on the ground. He picks up the cash and the two bottles of pills. He stashes the cash and one of the bottles in his pocket, takes the lid off the other bottle and pours the pills on Laney.</scene_description> <character>QUAKER STATE</character> <dialogue>Want?</dialogue> <scene_description>Laney can't move her lips. The gash on her cheek is throbbing but she looks remarkably at peace. She got what she wanted, what she's certain she deserved. Laney gives a feeble smirk before she falls into a fog, in and out of consciousness. She tries to get up, falls down again. Did someone try to help her up? Did she hear voices? She loses consciousness again. FADE TO BLACK.: FADE IN:</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY - DAWN</stage_direction> <scene_description>As the sun begins to rise, Laney opens her eyes and takes a second to place herself. She touches her cheek, feels around for her bag. You can practically smell the alley- the piss on the ground, the trash starting to defrost from the nighttime cold. She sits up, reaches for her purse and all of her belongings strewn around her.</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT - DAWN - CONTINUOUS</stage_direction> <scene_description>Laney stumbles to her car. She looks for her keys but can't find them. She reaches for her iPhone. Her screen saver is an adorable photo of Eli and Janey. We see Laney's reflection on the screen. Tears rolling down her cheeks. She presses the button in her contacts that says, "Valley Cab".</scene_description> </scene> <scene> <stage_direction>EXT. LANEY'S STREET - DAWN</stage_direction> <scene_description>Laney's in the back seat of a taxi cab, her face black and blue, dried blood. She's a mess. We pass the same tall trees, painted fences that we passed in the opening scene. The taxi slows to a stop in front of her house. It's early morning. All the lights are off. Laney opens the taxi door.</scene_description> <character>LANEY</character> <dialogue>Can you wait?</dialogue> <scene_description>The taxi driver nods his head.</scene_description> </scene> <scene> <stage_direction>INT./EXT. BROOK'S HOUSE - DAY - SAME</stage_direction> <scene_description>Laney takes the key from under the potted plant, opens the front door and quickly turns the alarm off.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - DAY - SAME</stage_direction> <scene_description>Laney opens a cabinet and grabs two brown lunch bags. She reaches into a drawer and grabs two bags of organic chips and a loaf of bread. She opens the fridge, takes out two slices of American cheese, two apples, two juice boxes... Her gestures are steady and precise. Laney is on a mission: she is going to make her children lunch. She makes the sandwiches, cuts off the crusts, slices them into fours, wraps them in tinfoil. Tears roll down her cheeks. She peels the apples, cuts them into bites, rubs them with lemon so they won't brown and places them in a Ziplock. She takes out a box of crayons and writes "JANEY" in bubbly letters on one lunch bag and "ELI" on the other. She decorates Janey's bag with hearts and flowers and Eli's bag with basketballs and stars. The scene is tense and heartbreaking. Laney looks around the kitchen. There it is -- her life in full. Toys, photographs, school pictures pasted to the refrigerator, schedules and children's artwork tacked to the cork board. It's time to go. Laney walks towards the front door, Bingo follows. But before she leaves she gets down on her knees and kisses him. When she stands up she sees Bruce leaning against the banister. He looks at Laney with sadness and resignation.</scene_description> <character>JANEY (O.S.)</character> <dialogue>Daddy?</dialogue> <scene_description>Bruce hangs his head down, as if Laney's battered face is a slap to his own.</scene_description> <character>JANEY</character> <dialogue>Daddy?</dialogue> <scene_description>Laney looks up the stairs, then to Bruce.</scene_description> <character>LANEY</character> <parenthetical>(Whispers)</parenthetical> <dialogue>I'm sorry.</dialogue> <scene_description>Bruce watches as Laney makes the long short walk to the taxi.</scene_description> </scene> <scene> <stage_direction>EXT. BROOKS HOUSE - CONTINUOUS</stage_direction> <scene_description>The driver turns on the engine. As Laney steps in she notices the light in Eli's room come on. She closes the door, presses her hand against the taxi window. Bingo, wagging his tail, is standing with Bruce by the front door.</scene_description> <character>LANEY</character> <parenthetical>(to taxi driver)</parenthetical> <dialogue>We can go.</dialogue> <scene_description>The taxi makes it's way down the tree lined street until it disappears. CUT TO BLACK.:</scene_description> </scene> </script>

In a nice home in suburban New York, homemaker Laney Brooks snorts cocaine in the bathroom wearing only her panties while her husband Bruce plays outside with their young children, Eli and Janey. Laney remembers arguing with Bruce about their new dog. Later, Eli wakes from a nightmare and Laney comforts him. As Bruce gets ready for work in the morning, Laney eyes the bathroom medicine cabinet, then prepares the children's lunches. She drives them to school and has a confrontation with the traffic guard who refuses to let her double-park. She greets her friend Susan and is prevented from entering for not having her ID; the guard reprimands her for not reading the school's emails notifying her of the new security measures. She reluctantly waves goodbye to her children and drives away, mocking the school guard as she smokes a cigarette. At a hotel, she has sex with Susan's husband Donny, then chides him afterward for trying to show affection, telling him love means nothing. She showers as he sleeps and steals cash from his wallet to buy drugs. At dinner, Laney gets drunk sipping vodka and responds angrily when Eli relates a school friend's opinions. At bedtime she reminds Eli of his upcoming piano recital, then argues again with Bruce about their dog, dreading its eventual death. She phones Eli's friend's mother, curses at her, and hangs up, before drinking more vodka and swallowing some pills while snorting cocaine. She enters Janey's bedroom and uses a teddy bear to help her masturbate before starting to cry, crawling down the hall, and falling unconscious. Bruce finds her and drives her to a rehabilitation facility, where she argues with the staff and dry heaves in the toilet. Later, her assigned physician, Dr. Page, notes that Janey has not taken her lithium prescription for months, which has worsened her addictions. She tells him of how her problems stem from childhood abandonment by her father, Roger. Laney's family visits her for lunch. She notices Eli has developed a tic, and she tries to confess and apologize to Bruce, but he rebuffs her. Later, she tells Dr. Page she wants to smile again. He tells her to take her medication and have faith in herself. Home from rehab, Laney makes a cake with her family. The power goes out and they sing and dance by candlelight. Later, Laney and Bruce meet with a counselor regarding Eli's anxiety. Eli worries he too will have to go to rehab one day. Laney and Bruce later go to Donny's restaurant for a birthday dinner for Susan, who is now pregnant, where Laney insults another couple. She accompanies Bruce to a seminar in a hotel near Roger's home. While Bruce attends the conference, she secretly takes a cab to Roger's house, meeting her half-sister Daisy for the first time. She learns of her grandmother's untimely death. Roger only offers excuses for abandoning his family. Laney cries in the taxi back, calls Bruce, and gets no answer. Laney goes to a bar and spends the rest of the evening getting drunk. At the hotel, Bruce packs. Laney enters, apologizing for missing dinner. Tired of her lies, he pushes her against the wall and shouts at her. Leaving, he tells her that the children will continue staying with his sister as he doesn't trust her and that he will meet them all at Eli's recital. At the event, Eli begins playing the piano, hesitantly at first but more confidently as he continues. All applaud when he finishes. Back at home, Laney praises Eli, then retreats to the bathroom. She tries to snort cocaine, and her damaged nasal passages cause her to suffer a nosebleed. When her family discovers and confronts her, Laney gets in her SUV and tries to commit suicide by speeding through a busy intersection with her eyes closed. Emerging unscathed, she goes to see Donnie, but he refuses to help her and leaves to answer a phone call from Susan. Laney finds anti-anxiety pills in his desk and swallows them without thinking. She goes to another bar, drinks beer, and has drunken sex with a strange man in the basement. When she drunkenly taunts him, he slams her head twice into a stone wall and steals all the cash in her wallet. Later, she awakens caked in blood and takes a cab home. In the predawn glow, she prepares lunches, still battered and bloody. She hugs the whimpering dog and notices Bruce staring at her from the upstairs landing. Her face cracking, she shuffles out of the house and shuts the door.

American Hustle_2013

tt1800241

<script> <scene> <character>AMERICAN HUSTLE</character> <dialogue>Written by</dialogue> <scene_description>Eric Warren Singer and David O. Russell TITLE CARD: SOME OF THIS ACTUALLY HAPPENED OVER BLACK: APRIL 26, 1978, PLAZA HOTEL, NEW YORK FADE IN:</scene_description> </scene> <scene> <stage_direction>INT. PLAZA HOTEL WINDOW NYC - DAY</stage_direction> <scene_description>IRVING ROSENFELD, not a small man, gets dressed and meticulously constructs his combover. Camera WRAPS AROUND, see his hands with rings adjust his dark velvet suit, up to his face, serious, concentrated, intense, he is composing himself before a performance. Irving is now dressed, ready, and walks down the hall to another room. SECOND PLAZA HOTEL ROOM -- Irving composes himself -- looks into cramped surveillance closet, there are FBI Agents -- we only see their hands and arms -- he looks at monitors -- sees a BLACK AND WHITE IMAGE OF ANOTHER ROOM ON MONITOR: MAYOR CARMINE POLITO, swath of salt and pepper hair, cream suit, pinky ring, Rotary Club pin -- ALONG WITH CARL ELWAY, preppie shady businessman. He exhales pressure, turns as CAMERA PANS TO: SYDNEY PROSSER (who will also be known for some time as EDITH GREENSLY), stylish crafty smart. They stare at each other intensely -- they have a deep and emotional relationship. A DOOR BANGS OPEN, and in walks RICHIE DIMASO, Bronx-born. He stands there.</scene_description> <character>RICHIE DIMASO</character> <dialogue>What are you doing, going behind my back? Telling people I'm screwing up this operation? I got you a suite at the fuckin' Plaza Hotel!</dialogue> <character>IRVING ROSENFELD</character> <dialogue>The shittiest suite at the Plaza Hotel.</dialogue> <character>RICHIE DIMASO</character> <dialogue>What?!</dialogue> <character>IRV ROSENFELD</character> <dialogue>The shittiest fuckin' suite.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Based on what--?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>And the food is wrong, and--What is this? You, like, went in my closet or something?</dialogue> <character>EDITH GREENSLY</character> <dialogue>No</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Are you dressing him like you're dressing me now?</dialogue> <character>EDITH GREENSLY</character> <parenthetical>(shakes her head)</parenthetical> <dialogue>No, what are you thinking? This isn't all about you, you know that.</dialogue> <character>RICHIE DIMASO</character> <dialogue>What, did you try to dress me so I would look like him?</dialogue> <character>EDITH GREENSLY</character> <dialogue>No, you're not dressed like him, all right?</dialogue> <character>RICHIE DIMASO</character> <dialogue>But I do, I look like him.</dialogue> <character>EDITH GREENSLY</character> <dialogue>No, he's in like, velvet. Come on.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>You asked me to show you how this was done, you wanna fuck it up be my guest.</dialogue> <character>EDITH GREENSLY</character> <dialogue>What is your problem?</dialogue> <character>RICHIE DIMASO</character> <dialogue>Hey, look, I never laid a hand on her, all right? Is that what this is about?</dialogue> <character>EDITH GREENSLY</character> <parenthetical>(British accent)</parenthetical> <dialogue>Well technically, that's not true.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Look, we never had sex ok? I just --</dialogue> <character>RICHIE DIMASO</character> <dialogue>What'd I do? I put my hand like this --</dialogue> <scene_description>Richie reaches out and puts his hand on Irving's face very carefully, not forcefully. Irving swipes it away violently the second it touches his face.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Don't you fucking touch me. That bothers me --</dialogue> <character>RICHIE DIMASO</character> <dialogue>Oh it does?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Oh yeah.</dialogue> <character>RICHIE DIMASO</character> <dialogue>That bothers you?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Yes.</dialogue> <character>RICHIE DIMASO</character> <dialogue>You know, a lot of shit bothers me too, but I was trying to help you. If I wanted to bother you, if I really wanted to fucking bother you, this is what I'd do.</dialogue> <scene_description>Richie takes his hand and destroys the combover Irving spent so much time creating. Irving just stands there, hair ruined, staring at Richie.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>You shouldn't have done that.</dialogue> <scene_description>Irving just stands there staring at Richie, hair all wild and messed up looking very angry.</scene_description> <character>RICHIE DIMASO</character> <dialogue>How's that? You bothered now? (no answer) Alright, don't make a thing of it.</dialogue> <character>EDITH GREENSLY</character> <dialogue>You shouldn't touch him. He doesn't like that.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Oh my god, fix his hair. Don't make a thing of it.</dialogue> <character>EDITH GREENSLY</character> <dialogue>It takes some time, ok.</dialogue> <scene_description>Edith walks over to Irving who is still standing there in silence with his hair all over the place. She carefully starts helping him put it back together.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Big fucking deal. We got to get in the other room, come on. The mayor's in there.</dialogue> <character>EDITH GREENSLY</character> <dialogue>Yes I know that.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Should we go to the beauty parlor? Is that what we should do?</dialogue> <scene_description>Richie walks over and opens up a briefcase that's sitting on the dresser. Inside are stacks of cash. Edith is still helping Irving put his hair back together.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>How's it look.</dialogue> <character>EDITH GREENSLY</character> <dialogue>You look fine.</dialogue> <scene_description>Richie slams the briefcase shut looking very nervous and intense.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Let's go.</dialogue> <scene_description>CUT TO: STEELY DAN'S "DIRTY WORK" STARTS ON THE SOUNDTRACK AS THEY WALK DOWN THE HALLWAY THREE ACROSS: IRVING, EDITH, RICHIE. RICHIE WITH BRIEFCASE IN HAND.</scene_description> </scene> <scene> <stage_direction>INT. PLAZA HOTEL SUITE FOYER - DAY</stage_direction> <scene_description>SLOW MOTION -- DOUBLE DOORS PUSH OPEN AND Edith ENTERS THE SUITE -- THEY WALK INTO --</scene_description> </scene> <scene> <stage_direction>INT. PLAZA HOTEL LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>DRAMATIC PUSH IN ON: THE DESTINY OF THE STORY MAYOR CARMINE POLITO PINKY RING, ROTARY CLUB PIN STANDS FINISHING STORY TO BUSINESSMAN CARL ELWAY AS IRVING, EDITH, RICHIE WAIT FOR HIM TO FINISH -- THEY ALL SHAKE HANDS AND SIT ON THE COUCH ACROSS FROM EACH OTHER. RICHIE CAREFULLY SETS THE BRIEFCASE DOWN ON THE GROUND NEXT TO HIS FEET. CUT TO THE SCENE AS VIEWED THROUGH A SURVEILLANCE MONITOR. THE DATE AND TIME STAMP VISIBLE.</scene_description> <character>CARMINE POLITO</character> <dialogue>I thought he was going to be here. I do business face to face, person to person. That's just who I am.</dialogue> <scene_description>Richie reaches down and awkwardly slides the briefcase over to Carmine unprompted. LEAVE MONITOR'S POV AND RETURN BACK TO THE SCENE. IRV'S EYES WIDEN AS IN 'NO! DON'T DO THAT!' WHILE HE AND RICHIE STARE AT EACH OTHER, EDITH TENSE, CARMINE LOOKS DISTURBED AT THE CASE COMING HIS WAY. HE STANDS ABRUPTLY.</scene_description> <character>CARL ELWAY</character> <dialogue>Whoa, excuse me, excuse me. I'll handle that for the Mayor.</dialogue> <character>RICHIE DIMASO</character> <dialogue>No, it's for the Mayor. It would be a sign of disrespect to the sheik if the mayor didn't take it himself. It's for you Mayor.</dialogue> <scene_description>Carmine looks angry and confused. He looks over to Carl.</scene_description> <character>CARMINE POLITO</character> <dialogue>What are you doing? What-- (to Carl) Carl, what the fuck? What is this?</dialogue> <character>CARL ELWAY</character> <dialogue>No, I'll handle it. I'm gonna take care of-- Everything's good. I got everything under control. (TO RICHIE) That's for me. I handle all that for mayor.</dialogue> <character>CARMINE POLITO</character> <dialogue>What is this?</dialogue> <scene_description>Irving looks over and says nothing. Not surprised at all how badly this is all going. Edith whispers to Richie.</scene_description> <character>EDITH GREENSLY</character> <parenthetical>(whispers to Richie)</parenthetical> <dialogue>Just stop it, ok</dialogue> <character>RICHIE DIMASO</character> <parenthetical>(whispers to Edith)</parenthetical> <dialogue>He's gotta take it himself, okay?</dialogue> <character>CARMINE POLITO</character> <dialogue>I don't know what the fuck that is but it's weird you understand?</dialogue> <character>CARL ELWAY</character> <dialogue>Misunderstanding. Misunderstanding.</dialogue> <character>CARMINE POLITO</character> <dialogue>I came here to meet a sheik, that's all I know. I'm very interested in that but he's not here apparently. Carl?!</dialogue> <scene_description>Carmine turns and starts to walk out of the room.</scene_description> <character>CARMINE POLITO</character> <dialogue>I'm very interested in meeting the Sheik. You let me know when THAT could happen! Thank you, have a good day.</dialogue> <scene_description>Carmine leaves the room. Irving looks over and shrugs his shoulders. Not surprised at all the way this is going and horrified that Richie has ruined it.</scene_description> <character>CARL ELWAY</character> <parenthetical>(leaving)</parenthetical> <dialogue>Irving! You better come get him.</dialogue> <character>RICHIE DIMASO</character> <parenthetical>(stares at Irv)</parenthetical> <dialogue>Go out there and get him right now.</dialogue> <character>CARL ELWAY</character> <dialogue>Help me get him back!</dialogue> <character>RICHIE DIMASO</character> <dialogue>Go get him. He needs to take the fuckin' briefcase, Irving.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I didn't wanna do it in the first place. This is your show, YOU go get him.</dialogue> <character>RICHIE DIMASO</character> <dialogue>No, you have no choice. You have to go get him. Now, go get him, so he takes the briefcase by himself! That's the whole plan, Irving!</dialogue> <scene_description>Irving stands up angry and gets in Richie's face.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>What were you doing pushing the fucking briefcase, dummy? Huh?</dialogue> <character>RICHIE DIMASO</character> <dialogue>The whole fuckin' thing was falling apart. You know how much I paid for this goddamn hotel that you fucking asked for?!</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Now I gotta go mop up your mess. I'm gonna go fucking mop up your mess!</dialogue> <scene_description>Irving storms out of the hotel suite towards the Elevators to get Carmine.</scene_description> </scene> <scene> <stage_direction>INT. PLAZA HOTEL SUITE FOYER - DAY</stage_direction> <scene_description>Irving paces back and forth as he waits for the elevator.</scene_description> </scene> <scene> <stage_direction>INT. PLAZA HOTEL LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>We push in on the concerned face of Sydney as Richie rambles on to her.</scene_description> <character>RICHIE DIMASO</character> <dialogue>You understand what I'm saying, right? It wasn't working.</dialogue> </scene> <scene> <stage_direction>INT. PLAZA HOTEL SUITE FOYER - CONTINUOUS</stage_direction> <scene_description>Irving continues to pace back and forth in the hall waiting for the elevator.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>Did you ever have to find a way to survive and you knew your choices were bad?</dialogue> <scene_description>Irving walks over and hits the elevator button again.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>I learned how to survive when I was a kid.</dialogue> <scene_description>CUT TO:</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>My father had a glass business.</dialogue> <scene_description>IRV AS KID SMASHES PLATE GLASS WINDOWS OF BRONX STOREFRONTS Drumming up business for his father.</scene_description> </scene> <scene> <stage_direction>EXT. ROSENFELD &amp; SON GLASS REPAIR CO. - DAY 1940'S</stage_direction> <scene_description>Young Irving and his Father and Mother standing outside the family's glass repair shop in the Bronx as some tough contractors march up to them.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>I would rather be on the taking side than the getting taken side any day of the week, especially after I saw how my father got taken. I mean, seeing that scarred me for life.</dialogue> </scene> <scene> <stage_direction>EXT. UNDISCLOSED STREET - DAY 1940'S</stage_direction> <scene_description>Young Irving runs by a store front as he throws a rock through each window on the store, smashing them all.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>I took it upon myself to drum up business. I became a different kind of guy than my father. I became a con artist -- from the feet up, for real.</dialogue> <scene_description>CUT TO: THE BRONX: STOREFRONT WITH SMASHED WINDOW. - DAY - PRESENT Irv shakes his head, surveys the damage.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>I was gonna survive no matter what. I still had the glass business and a few dry cleaning stores on the side.</dialogue> </scene> <scene> <stage_direction>7G INT. IRV'S DINGY OFFICE - DAY 7G</stage_direction> <scene_description>Irving paces around his office smoking a cigar and talking on the phone. What looks to be stolen art sits on the floor all around him.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>And I did some art dealing on the side. Stolen or forged art.</dialogue> </scene> <scene> <stage_direction>EXT./INT. POOL PARTY - LONG ISLAND HOUSE - DAY</stage_direction> <scene_description>Chicago's "Does Anybody Really Know What Time It Is?" fades up. Jamming early 70s HOLIDAY party -- LONG ISLAND LADIES IN BIKINIS WITH HUGE HAIR IN FUR COATS SMOKING OUTSIDE THE GLASS ENCLOSED POOL -while inside steamed glass SHINY BIKINI CANDIDATES FOR NOSE JOBS; A FEW OTHERS WHO ARE LARGE, SEVERAL GUYS WHO LOOK MOBBED UP, pale, out of shape, gold chains, in swim trunks, EVEN MORE BURT REYNOLDS TYPE GUYS, slim, hairy, chains.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>So, one January I go to my friends pool party in Long Island.</dialogue> <scene_description>Irving sits holding court with some friends by the pool when he turns and sees Sydney for the first time. PUSH IN ON: Irving. He looks up, they lock eyes across the party. SYD REACHES FOR A SLICE OF FRUIT ON HIGH SET PLATE WHEN IRVING'S HAND GRABS HER ARM -- she turns, taken aback -</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Is that Duke Ellington on your bracelet?</dialogue> <scene_description>She does have on a Duke Ellington charm bracelet.</scene_description> <character>SYDNEY PROSSER</character> <dialogue>As a matter of fact, it is. He died this year, you know.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I know. I doubt anyone else here knows or cares about it.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>Well I care. He saved my life many times.</dialogue> <scene_description>Irving takes a good look at her, impressed.</scene_description> <character>IRVING ROSENFELD</character> <parenthetical>(impressed)</parenthetical> <dialogue>Mine too. Which one?</dialogue> <character>SYDNEY PROSSER</character> <dialogue>Jeep's Blues.</dialogue> <character>IRVING ROSENFELD</character> <parenthetical>(smiles, warm)</parenthetical> <dialogue>Jeep's Blues. Oh yeah.</dialogue> <scene_description>Awkward pause.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>You wanna hear it?</dialogue> <character>SYDNEY PROSSER</character> <dialogue>Right now?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Yeah.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>Sure.</dialogue> <scene_description>CUT TO: PORTABLE RECORD PLAYER PLAYS START OF JEEP'S BLUES as Irving and Sydney nod to it - he watches her foot in her high wedge and her tanned leg rocking as she sits on arm of sofa.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Who starts a song like that?!</dialogue> <character>SYDNEY PROSSER</character> <dialogue>It's magic.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Magic.</dialogue> <scene_description>They listen to the record, Edith checks Irving out.</scene_description> <character>SYDNEY PROSSER (V.O.)</character> <dialogue>He wasn't necessarily in good shape, and he had this comb-over that was rather -- elaborate. He had this air about him. And he had this confidence that drew me to him. He was who he was and he didn't care.</dialogue> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>Like me, she was a very particular person. Like me, she came from a place where her options were limited -- and she had been someone she didn't want to be in her past.</dialogue> <scene_description>CUT TO -- SYDNEY DANCES IN A SMALL TOWN, OLD FASHIONED STRIP BAR.</scene_description> <character>SYDNEY PROSSER (V.O.)</character> <dialogue>It actually can feel kind of sexy sometimes. There's a boldness in it. But where would that boldness take me? I didn't know. But I was gonna find out.</dialogue> <scene_description>CUT TO: SYDNEY WALKS DOWN A BLEAK INDUSTRIAL STREET. CUT TO -- RECORD STORE WHERE EDITH FLIPS THROUGH ALBUMS OF THE OLD GREATS -- ELLA FITZGERALD, DUKE ELLINGTON, AND MORE OF THE OLD GREATS -- A WORLD OF ELEGANCE, SOPHISTICATION, AND CULTURE A MILLION MILES AWAY FROM WHERE SHE LIVES.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>Like me, she learned to survive and reinvent herself. She knew she had to reinvent her life and her identity. And like me, she envisioned a better elegant future for herself. Like me, she knew you had to have a vision.</dialogue> </scene> <scene> <stage_direction>EXT. NY STREET -- DAY</stage_direction> <scene_description>Sydney looks at scrap of paper with info in her hand -- looks up at office building address -- enters.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>She came to New York. She envisioned it.</dialogue> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>And just like that, she applied for a job at Cosmopolitan Magazine.</dialogue> </scene> <scene> <stage_direction>INT. COSMOPOLITAN MAGAZINE OFFICES - DAY</stage_direction> <scene_description>Clean bright colors, huge blown up Cosmo covers -- Sydney -- innocent, plain, slacks and blouse, hair back, nervously awaits interview. SHE IS CALLED IN -- NERVOUSLY STANDS, small crumpled scrap of paper in hand, FIXES HER HAIR --</scene_description> </scene> <scene> <stage_direction>INT. COSMO INTERVIEW OFFICE - CONTINUOUS</stage_direction> <character>COSMO INTERVIEWER GIRL</character> <dialogue>Well you're obviously here for a reason. Let's get to it.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>Alright.</dialogue> <character>COSMO INTERVIEWER GIRL</character> <dialogue>Our cover story right now is on cunnilingus. What do you think about that?</dialogue> <character>SYDNEY PROSSER</character> <dialogue>I like it.</dialogue> <character>COSMO INTERVIEWER GIRL</character> <dialogue>Do you have any clerical skills?</dialogue> <character>SYDNEY PROSSER</character> <dialogue>Yes.</dialogue> <character>COSMO INTERVIEWER GIRL</character> <dialogue>Can you type?</dialogue> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>She was unlike anybody I ever knew. She was smart. She saw through people in situations. And she knew how to live with passion and style. She understood Duke Ellington.</dialogue> <scene_description>COSMO MAGAZINE OFFICES: SYDNEY PUSHES MAIL CART DELIVERS MAIL TO SOPHISTICATED MAGAZINE EDITORS AND EXECUTIVES, SOME TOUGH BIRDS, MOST ELEGANT. CUT TO: Edith WATCHES A COSMO COVER SHOOT --</scene_description> <character>SYDNEY PROSSER (V.O.)</character> <dialogue>I was broke, fearless, with nothing to lose --</dialogue> </scene> <scene> <stage_direction>EXT./INT. POOL PARTY - LONG ISLAND HOUSE - DAY</stage_direction> <scene_description>Irv and Sydney dance slowly.</scene_description> <character>SYDNEY</character> <dialogue>-- and my dream, anything, was to other than who I</dialogue> <character>PROSSER (V.O.)</character> <dialogue>more than become anyone else was.</dialogue> </scene> <scene> <stage_direction>EXT. LONG ISLAND DRY CLEANERS-- DAY</stage_direction> <scene_description>Irv holds the door open for Edith as she enters.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>-- I got two in the Bronx and three in Manhattan. (to an employee) Hey, Byron.</dialogue> <character>SYDNEY PROSSER (V.O.)</character> <dialogue>He had a chain of dry cleaning stores. He asked me to come in and upgrade my wardrobe-- he said a lot of nice things got left behind by people and forgotten over the years- -</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I mean you wouldn't believe the shit that people leave behind here. Unbelievable.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>People leave stuff here?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Oh yeah. They go out for the night, they drink, come here in the morning, put their clothes in and then they forget. They got no idea where they left it.</dialogue> <scene_description>Irving touches a hanging blue sequined dress.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Look at that. Sequined thing. I don't know. Is that nice or not?</dialogue> <character>SYDNEY PROSSER</character> <dialogue>It's beautiful.</dialogue> <scene_description>Irving and Sydney continue to walk through towards the back and enter a fur vault filled with elegant designer clothes.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>I mean, some of it's been here for years. They're not picking it up. Nobody's picking it up.</dialogue> <scene_description>Sydney starts riffling through nice things hanging on the racks.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>You like that?</dialogue> <character>SYDNEY PROSSER</character> <dialogue>I love it.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>It's yours. You want it? It's yours.</dialogue> <scene_description>Sydney looks back at Irving in shock. CUT TO: SHE STEPS OUT OF THE DRESSING ROOM IN THE VON FURSTENBERG DRESS - LOOKS FANTASTIC.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>You look fantastic!</dialogue> <character>SYDNEY PROSSER</character> <dialogue>Oh my god. I can only dream about these dresses. They're beautiful.</dialogue> <scene_description>SYDNEY PULLS CLASSIC CLOTHES FROM THE ABANDONED RACK: ONE, TWO, THREE. SHE PUTS A JACKET ON HIM THAT HE IS RELUCTANT TO WEAR, PAISLEY SMOKING COAT. LATER: THEY GO INSIDE THE ELECTRIC ROTATING CAROUSEL RACK OF CLEAR PLASTIC COVERED, DRY CLEANED CLOTHES -- STAND INSIDE, ENCHANTED, SMILING AT EACH OTHER, AS THE RACK SWIRLS MAGICALLY AROUND THEM. THEY STARE AT EACH IN LOVE.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>I felt like we had a secret. Just the two of us. You know like that thing where you want to just be with the one person the whole time.</dialogue> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>You feel like the two of you understand something that nobody else gets. I could just tell her everything about myself. And I never had anybody like that in my life before. I felt like finally, I can truly be myself without being ashamed, without being embarrassed.</dialogue> <scene_description>INT. Irv's dingy office - DAY Irv leads Sydney into a small, dingy Manhattan office on an upper floor.</scene_description> <character>SYDNEY PROSSER</character> <dialogue>What is this place? Do you sell art here?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Yeah, sometimes. This is my office.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>I know it's your office, but, you have these other places. What's this for? Why did you bring me here?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>This getting to be my main business, my growing business. I help get loans for guys that can't get loans. I'm their last resort.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>You're their last resort? Because interest rates are north of 12% and heading to 18%.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>That's right, smarty pants.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>Fucking Jimmy Carter. Fucking Nixon really. And the war and the deficit and all of that shit.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I love you, you're so smart. You are.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>Thanks kid but how do you get them the money?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Well --</dialogue> <character>SYDNEY PROSSER</character> <dialogue>You don't do you? You don't.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>These guys are lousy risks, you know? I can't get them a loan but I get my fee. Five thousand.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>Five thousand? You take five thousand and you don't give them anything?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>These are bad guys, you know? They got bad divorces, gambling habits, embezzling, all that shit, you know what I mean?</dialogue> <character>SYDNEY PROSSER</character> <dialogue>Everybody at the bottom crosses paths eventually in a pool of desperation and you're waiting for them.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>How about 'we'?</dialogue> <character>SYDNEY PROSSER</character> <dialogue>We?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>How bout it?</dialogue> <scene_description>Sydney turns and begins walking out the door as Irving chases her out.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Sydney. Sydney I'm sorry that was too much. I went too far. I didn't want to upset you.</dialogue> <scene_description>She continues walking out without looking back and leaves.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Sydney please, I'm sorry! I know it ain't for everybody.</dialogue> <scene_description>The door slams in Irving's face</scene_description> <character>IRVING ROSENFELD</character> <parenthetical>(Irving shouts to the closed door)</parenthetical> <dialogue>Ah GOD I love getting to know you!</dialogue> </scene> <scene> <stage_direction>INT. IRV'S DINGY OFFICE - DAY</stage_direction> <scene_description>IRVING PACES AROUND THE OFFICE UPSET AT HIMSELF. SLOWLY SITS DOWN IN THE DESK CHAIR IN DEFEAT, TAKES OFF HIS GLASSES AND SITS BACK.</scene_description> <character>IRVING ROSENFELD (TO HIMSELF)</character> <dialogue>What I do that for? I fucked it up. I should never tell a woman the truth. She's so smart. She's different.</dialogue> <scene_description>OFF SCREEN THE DOOR OPENS. SHE WALKS RIGHT UP TO IRVING AS HE SITS AT HIS DESK. SHE TOSSES HER COAT TO THE SIDE. IRVING STARES UP HER TENSE -- WHAT WILL SHE DO?</scene_description> <character>SYDNEY PROSSER</character> <dialogue>You said it was nice knowing me. You said it was nice to meet me.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Yeah.</dialogue> <scene_description>SYDNEY EXTENDS HER HAND TO HIM IN A ROYAL FASHION.</scene_description> <character>SYDNEY PROSSER</character> <parenthetical>(British accent)</parenthetical> <dialogue>Would you like to meet Lady Edith Greensly?</dialogue> <scene_description>Irving looks stunned as he slowly clasps her extended hand.</scene_description> <character>SYDNEY PROSSER</character> <parenthetical>(British accent)</parenthetical> <dialogue>I have royal banking connections in London. I'd love to help you with your loan but of course I have to be very selective.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>That was fucking fantastic.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>Thank you. Did you like it?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I liked it. I didn't think you were coming back. Thank god you came back.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>I wasn't going anywhere.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I fucking love you.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>You have me.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBAN STREET</stage_direction> <scene_description>ONE OF SYDNEY'S NANNY FRIENDS, REBECCA, walk out of a BUSINESS MAN's (34) house pushing a stroller as the business man comes chasing after them.</scene_description> <character>SYDNEY PROSSER (V.O.)</character> <dialogue>And so Irving and I began our partnership -- in love and commerce.</dialogue> <character>BUSINESSMAN</character> <dialogue>Rebecca, hold on. You're Edith right?</dialogue> <character>SYDNEY PROSSER(V.O.)</character> <dialogue>He told me to tell my friends I had (in British accent) London banking connections</dialogue> <character>BUSINESSMAN</character> <dialogue>I'm Jim. I'm her employer. Listen - - she told me you can get me a line of credit. I know you have banking connections in London, England.</dialogue> <character>SYDNEY PROSSER (V.O.)</character> <dialogue>And after that...say "no" a lot until the guy is hooked.</dialogue> <scene_description>Edith and Rebecca start walking away as the businessman chases after them.</scene_description> <character>BUSINESSMAN</character> <dialogue>Becky tell her! I've never missed a check!</dialogue> <character>EDITH GREENSLY</character> <parenthetical>(walking away)</parenthetical> <scene_description>NO!:</scene_description> <character>SYDNEY PROSSER (V.O.)</character> <dialogue>It was almost scary how easy it could be to take money from desperate people.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. IRV'S DINGY OFFICE - DAY</stage_direction> <scene_description>Edith extends her hand to greet ANOTHER BUSINESSMAN, 35. Edith is dressed in a more sophisticated high end British fashion.</scene_description> <character>EDITH GREENSLY</character> <dialogue>Lady Edith Greensly, it's so good to see you again.</dialogue> <character>ANOTHER BUSINESSMAN, 35</character> <dialogue>Lady -- your ladyship -- thank you again.</dialogue> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>These are the roles that we were meant to play.</dialogue> </scene> <scene> <stage_direction>INT. IRV'S DINGY OFFICE - ANOTHER DAY</stage_direction> <scene_description>Another desperate businessman sits across from Edith and Irving.</scene_description> <character>SYDNEY PROSSER</character> <dialogue>We're very selective.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>You got a strong application. We'll talk about it.</dialogue> </scene> <scene> <stage_direction>INT. IRV'S DINGY OFFICE - ANOTHER DAY, ANOTHER MARK.</stage_direction> <character>IRVING ROSENFELD</character> <dialogue>I don't take a deal that I can't close.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>You're not being aggressive enough in putting up your assets --</dialogue> <scene_description>The man looks nervous --</scene_description> <character>NERVOUS LOAN APPLICANT</character> <dialogue>Have you ever been to Queens? Have you ever been to Great Neck? Everybody knows my dealerships.</dialogue> <scene_description>CONTINUOUS MONTAGE AS THEIR CLOTHING CHANGES FROM DAY TO DAY BUT THE SETTING REMAINS THE SAME AS THEY CON MARK AFTER MARK. A desperate man takes out a BUSINESS CHECK BOOK and writes his check.</scene_description> <character>DESPERATE MAN</character> <dialogue>Five thousand gets me fifty right?</dialogue> <character>ANOTHER BUSINESSMAN</character> <dialogue>Five will get me thirty five. Is that right?</dialogue> <character>ANOTHER BUSINESSMAN, 35</character> <dialogue>Five grand gets me fifty?</dialogue> </scene> <scene> <stage_direction>INT. IRV'S DINGY OFFICE - ANOTHER DAY</stage_direction> <scene_description>Sydney and Irving laugh and celebrate.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>I was doing so much more business with her. I mean it doubled, then it tripled.</dialogue> </scene> <scene> <stage_direction>INT. IRV'S GLASS STORE - DAY</stage_direction> <scene_description>Sydney -- hair getting bigger -- goes over the books with a Latino Man who nods and watches her -- Edith counts cash in the register - recounts it -- explains how things can be done better as DRY CLEANING WORKER nods. Irv watches happy.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>And I never met anyone, man or woman, in business who was so careful and precise about everything. Every stylistic detail.</dialogue> </scene> <scene> <stage_direction>INT. BUSINESSMAN OFFICE - DAY</stage_direction> <scene_description>Irving and Edith discuss a piece of art they're in the process of selling to a businessman.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>We kept selling art together, too.</dialogue> <character>EDITH GREENSLY</character> <dialogue>It's really a fabulous example of a genre painting, which is really rare for the time. It's a boy and his dog. Non-religious painting. 55. Golden age. Dutch painting.</dialogue> <scene_description>ANOTHER DAY -- A CAR DEALERSHIP OFFICE -- IRV DROPS THE CANVAS BAG REVEALING A VINTAGE PAINTING -- (COLORED ORBS AND LINES) -- TO THE MIDDLE AGED CAR DEALER WHO OWNS THE WAREHOUSE WHO WRITES A CHECK.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Paul Klee. Bauhaus Movement. 1920s.</dialogue> <character>MIDDLE AGED CAR DEALER</character> <dialogue>Before we go any further, is this legit?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Let's just say it's missing from Spain and leave it at that.</dialogue> <character>EDITH GREENSLY</character> <dialogue>Don't show any Spanish friends.</dialogue> <scene_description>Irving and Sydney kiss passionately in front of the middle aged car dealer as he tries to hand them his check.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>I mean it just took off. We got an elegant Manhattan office. We called it London Associates for her accent.</dialogue> </scene> <scene> <stage_direction>INT. NEW OFFICE LOBBY - MADISON AVENUE - DAY</stage_direction> <scene_description>A JANITOR FINISHES POLISHING SILVER PLATED LARGE LETTERS: LONDON ASSOCIATES to a pale wall as he and Edith sip champagne from flutes and offer one to the worker who toasts with them. IRV DOES HIS TRADEMARK MINIMALIST BADGER DANCE, IN PROFILE, TO QUIET DELIGHT OF SYDNEY. Irv and Edith kiss gently, lovingly, sincerely on the lips -- They walk into their CLASSIC LOOKING, STAID, PRIVATE BANKING OFFICE SUITE.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>When I was around her I felt joy. Fucking joy! And love. That's what I felt.</dialogue> <scene_description>SMASH TO:</scene_description> </scene> <scene> <stage_direction>EXT. PARK AVENUE - SUNNY DAY</stage_direction> <scene_description>They dance down Park Avenue together.</scene_description> </scene> <scene> <stage_direction>INT. LOBBY OF PIERRE HOTEL - CONTINUOUS</stage_direction> <scene_description>Irv and Edith dance through the lobby. THE PIERRE HOTEL CAFE As they dance among mostly older wealthy couples on the small dance floor of the elegant restaurant as a live jazz quartet plays "I've Got Your Number". Camera circles them, putting their foreheads together, very happy. THEY SING TO EACH OTHER quietly as they dance close.</scene_description> </scene> <scene> <stage_direction>INT. ROOM AT PIERRE HOTEL -- NIGHT</stage_direction> <scene_description>Irv and Edith make passionate love, we see in pieces -- He gets up, she watches him dress and leave --</scene_description> </scene> <scene> <stage_direction>INT. IRV'S CADILLAC - NIGHT</stage_direction> <scene_description>He drives over the Triborough Bridge.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>As, as far as I could see, people were always conning each other to get what they wanted. We even con ourselves.</dialogue> </scene> <scene> <stage_direction>INT./EXT. IRV'S CADILLAC - NIGHT</stage_direction> <scene_description>He drives through the suburb of ranch houses and driveways and pulls into his driveway of his split-level ranch. Irv gets out of his Cadillac and walks to the front door of his house --</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>We talk ourselves into things. We sell ourselves things we maybe don't even need or want by dressing them up. We leave out the risk. We leave out the ugly truth.</dialogue> </scene> <scene> <stage_direction>INT. IRV'S HOUSE - NIGHT</stage_direction> <scene_description>Irv walks into the decorated ranch house, frosted glass with bird designs, glass tables, walls, black and brown lacquer everywhere. He walks into the house and looks at a picture his son did -- a drawing of the Yankees playing baseball -- that is taped to the refrigerator.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>Pay attention to that because we're all conning ourselves in one way or another just to get through life.</dialogue> <scene_description>Irv takes Danny's picture from the fridge and tip toes -- with low sounds now of O.S. TV -- Irv goes to A CLOSED DOOR WITH YANKEE STICKERS on it -- Irv OPENS A BEDROOM DOOR TO REVEAL HIS 5 YEAR OLD SON, DANNY.</scene_description> <character>SYDNEY PROSSER (V.O.)</character> <dialogue>He was married, and he had a son.</dialogue> </scene> <scene> <stage_direction>INT. DANNY'S ROOM - NIGHT</stage_direction> <scene_description>DANNY is on the bed, picture books, baseball cards, spread all around him. Irv stands holding the picture. Danny looks over his shoulder.</scene_description> <character>SYDNEY PROSSER (V.O.)</character> <dialogue>He had adopted her son.</dialogue> <scene_description>DADDY!:</scene_description> <character>SYDNEY PROSSER (V.O.)</character> <dialogue>He was a really good dad and I respected him for that. It was a tough situation for everyone.</dialogue> <scene_description>Irv's face lights up.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Danny. This is a fantastic picture. What did you do today?</dialogue> <character>DANNY</character> <dialogue>That kid Donovan is being mean to me.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>The big kid? I thought Mommy picked you up so he couldn't bother you.</dialogue> <character>DANNY</character> <dialogue>She was late, and then after we put out the fire, mommy said stay in my room with my baseball cards.</dialogue> <scene_description>Danny reaches across to Irving and takes his glasses off his face and puts them on.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>What fire?</dialogue> <character>DANNY</character> <dialogue>Did you know they make a lamp that has the sun in it? \[Irv looks at him\] Mommy got the lamp. She made her special drink and the lamp made a fire.</dialogue> <scene_description>Irv looks concerned.</scene_description> </scene> <scene> <stage_direction>INT. MASTER BEDROOM - NIGHT</stage_direction> <scene_description>Irv's wife Rosalyn sits up on the bed in a muumuu, half her face is burned.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>I put out the fire. The fire is out.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>For the first time in my life I do the right thing.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Oh shut up --</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I save a young single mother, and her kid. I marry her. I adopt him - -</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>You fell in love! Don't forget we fell madly in love!</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Yes, I fell in love. My God, I fell in love. Yes. But you know what? I thought you were mysterious like my mother until it turned out that mysterious just meant depressed, hard to reach. I mean, I'm dying here! And you need somebody who's gonna be quiet like you. You're young, you're beautiful. You gotta find somebody else. You gotta go out and get some friends all right? Don't sit inside --</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>I don't like going out. You know that I get anxiety when I have to meet people. You know how hard that is.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Yeah but you can't just stay in the house with the fucking sun lamp. Alright? And I can't-- I mean, look, I can't trust you with it anyway. That fire and everything. I can't trust to leave you with Danny.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>I put the fire out Irving! There is no fire! Maybe if you were here more, then there wouldn't have been a fire in the first place.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Oh, what, there wouldn't have been a fire if I was here?</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Just stop with the whole fire thing. God it was a mistake. I'm sure a million people do that all the time. Those sun lamps are dangerous. Shouldn't even have them in the house, really. I bet that happens all the time. This was nothing.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>We're not happy. Alright?</dialogue> <scene_description>Rosalyn just stares there for a moment at Irving saying nothing.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>You know that I could take Danny. You know that most of your work is illegal. And you know that if you tried to divorce me, you know that-- I'm not saying that I would, but I'm saying that I could. And I'm saying that that is why I don't like divorce, Irving. Women do that in divorces. Women get the children, and then the fathers never see them. My mother never got divorced. My grandmother never got divorced. There are NO divorces in my family. I am not getting a divorce.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Come on. What are we doing here?</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>We fight and we fuck and that's what we do. That's our thing.</dialogue> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>She was the Piccaso of passive aggressive karate. She was better than any con artist I'd ever met including myself. And she had me like nobody had me.</dialogue> <scene_description>Rosalyn sheds her muumuu, to reveal a white leotard.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>Irving, come to mama. Come on.</dialogue> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>You might say she was my karma for how I took advantage of people.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Irving, come here. Come on. Get into bed.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Alright.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Baby, there's such good stuff here.</dialogue> </scene> <scene> <stage_direction>INT. DANNY'S ROOM - NIGHT</stage_direction> <scene_description>DANNY SITS PLAYING ON THE BED WITH HIS TOYS.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>I did not want to leave the kid behind. He was my son. She had me. I was her mark.</dialogue> </scene> <scene> <stage_direction>INT. LONDON ASSOCIATES - DAY</stage_direction> <scene_description>SLOW PUSH IN FROM WIDE SHOT BEHIND NEW CLIENT/MARK, FROM THE BACK, AS THEY SIT FACING EDITH, TO ONE SIDE, AND IRV, BEHIND THE DESK. CAMERA KEEPS PUSHING IN SLOWLY TOWARD THE BACK OF THE MARK'S HEAD AS HE FACES SYD AND IRV. WE NOW SEE THE MARK: A charismatic, mercurial, wild eyed BUSINESSMAN "MORT PAPIERMAN" in need of a loan. Mort's eyes go from her knees to her eyes -- His eyes meet Sydney's -- he looks soulful, open. She stares at him. Irv notices uncomfortably. He's JEALOUS.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>-- and every deal I take, I close. However, my fee is non refundable, just like my time.</dialogue> <character>MORT PAPIERMAN/RICHIE DIMASO</character> <parenthetical>(filling out paper work)</parenthetical> <dialogue>I want to thank you very much Irving for seeing me. Sorry I'm so nervous.</dialogue> <scene_description>Richie reaches for his top button to adjust it.</scene_description> <character>MORT PAPIERMAN/RICHIE DIMASO</character> <dialogue>Am I not buttoned?</dialogue> <scene_description>Edith stares at him and smiles.</scene_description> <character>MORT PAPIERMAN/RICHIE DIMASO</character> <dialogue>I just gotta say Mr. Rosenfeld, that Lady Edith was very adamant that you were top notch and --</dialogue> <character>IRVING ROSENFELD</character> <dialogue>That's correct.</dialogue> <character>MORT PAPIERMAN/RICHIE DIMASO</character> <dialogue>I really need your help. I'm desperate. I've got the Audis for collateral and the two boats, and I forgot to mention that I have a little piece of real estate in Long Island.</dialogue> <character>EDITH GREENSLY</character> <dialogue>No, you didn't mention that. Two lunches and you never mentioned that.</dialogue> <character>MORT PAPIERMAN/RICHIE DIMASO</character> <dialogue>Oh, I was gonna mention it and then the guy with the hat walked in.</dialogue> <character>EDITH GREENSLY</character> <dialogue>The hat.</dialogue> <character>MORT PAPIERMAN/RICHIE DIMASO</character> <dialogue>And I forgot totally. It was the second time we had lunch.</dialogue> <character>EDITH GREENSLY</character> <dialogue>You couldn't see his eyes. He had no eyes. It was like, did he make it?</dialogue> <character>MORT PAPIERMAN/RICHIE DIMASO</character> <parenthetical>(laughing)</parenthetical> <dialogue>Do they sell hats like that? Where do they come from? Actually, I went to the store that I thought maybe he bought it there. I was gonna get you one --</dialogue> <character>EDITH GREENSLY</character> <dialogue>You were going to get me one?</dialogue> <character>MORT PAPIERMAN/RICHIE DIMASO</character> <dialogue>Like as a memento.</dialogue> <scene_description>Irving decides to interject.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Two lunches?</dialogue> <character>EDITH GREENSLY</character> <dialogue>Yes. It's two lunches. What's the big deal?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>That's unusual.</dialogue> <character>EDITH GREENSLY</character> <dialogue>I was trying to get him to be more aggressive. On his loan that is.</dialogue> <scene_description>Mort PAPIERMAN/RICHIE DIMASO You showed me a whole new side of the city I'd never seen before.</scene_description> <character>EDITH GREENSLY</character> <dialogue>Oh, good. You're welcome.</dialogue> <scene_description>Mort PAPIERMAN/RICHIE DIMASO No, thank you.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Yeah, right. You liked it? Should I take you there?</dialogue> <character>EDITH GREENSLY</character> <dialogue>Yes.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Should I take you there twice?</dialogue> <character>EDITH GREENSLY</character> <dialogue>Stop.</dialogue> <scene_description>IRVING MOTIONS SYDNEY TO COME CLOSE HE WHISPERS CONFIDENTIALLY TO HER.</scene_description> <character>IRVING ROSENFELD</character> <parenthetical>(confidential to Edith)</parenthetical> <dialogue>What's going on, you like this guy?</dialogue> <character>EDITH GREENSLY</character> <dialogue>Yes I like this guy.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Is that messing up your judgement? Don't be stupid.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>No, he's not messing with my judgment.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Hey, play your part.</dialogue> <character>EDITH GREENSLY</character> <dialogue>Fine. You play your part.</dialogue> <character>MORT PAPIERMAN/RICHIE DIMASO</character> <parenthetical>(holds out cashiers check)</parenthetical> <dialogue>Take it to your people in London. Please, take it to them. I got the cashier's check right here. I give you five and you give me fifty right back, right? Please. Please don't reject me. Give a guy a chance.</dialogue> <scene_description>MORT/RICHIE REPEATEDLY TRIES TO HAND IT TO IRV, WHO IS BUSY STARING AT SYDNEY STARING AT MORT. MORT HOLDS THE CHECK IN THE AIR UNCOMFORTABLY AWKWARDLY UNTIL -- almost in slow motion --Edith takes the check -- staring at Mort. IRV STARTS TO LEAVE -</scene_description> <character>MORT PAPIERMAN/RICHIE DIMASO</character> <dialogue>Zurich? You got an office in Zurich? Paris? I can call Paris?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>If you could excuse me for one second?</dialogue> <character>MORT PAPIERMAN/RICHIE DIMASO</character> <dialogue>Yeah, take your time. Do whatever you need to do. Go ahead, take your time.</dialogue> <scene_description>HE HEADS TO THE REAR EXIT WHILE SYD MOVES TO ANOTHER -- IRV OPENS THE DOOR - BAM -- A WARRANT IS HELD UP TO HIS FACE BY STOCKY FBI AGENT SCHMIDT IN A SUIT - HE WALKS IRV BACK INTO THE OFFICE -- AS Edith OPENS A SIDE DOOR -- BANG - FEDERAL AGENT STOCK WALKS HER BACK INTO THE OFFICE WITH A WARRANT.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>You got the wrong office, you're gonna be embarrassed.</dialogue> <scene_description>THE AGENTS START PUTTING EDITH IN CUFFS IMMEDIATELY. HEY, HEY, HEY! GO EASY ON HER.:</scene_description> <character>MORT PAPIERMAN/RICHIE DIMASO</character> <dialogue>I may not have you, Irving, but I have her on fraud. Impersonating another individual.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Fraud?! Fraud? What is that? Identity fraud?</dialogue> <scene_description>AGENTS SCHMIDT AND STOCK IMMEDIATELY START TAKING BOXES OF FILES FROM DRAWERS, IMPOUNDING EVIDENCE.</scene_description> <character>MORT PAPIERMAN/RICHIE DIMASO</character> <dialogue>You may be from England, Edith, but you're not royal and you have no banking connections and that's a felony. How long is that? That's 3- 5 years I think.</dialogue> <character>EDITH GREENSLY</character> <parenthetical>(about the handcuffs)</parenthetical> <dialogue>Hey! Not so tight!</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Oh really? That's interesting. I don't even know your real name.</dialogue> <scene_description>Richie pulls out a badge and shoves it in Irving's face.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Richie Dimaso, FBI. Nice to meet you.</dialogue> <scene_description>Richie looks at Edith with concern and points at Irving.</scene_description> <character>RICHIE DIMASO</character> <dialogue>You gotta get away from this guy.</dialogue> <scene_description>Agents take boxes of files out of the office- Irv standing alone in center of room- shell-shocked.</scene_description> </scene> <scene> <stage_direction>INT. FBI HOLDING OFFICES - DAY.</stage_direction> <scene_description>SYDNEY IS LED INTO A HOLDING CELL BY AN FBI AGENT.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>He wouldn't let me see her for three days. He even managed to delay a lawyer.</dialogue> </scene> <scene> <stage_direction>INT. FBI HOLDING CELL - DAY</stage_direction> <scene_description>Dim cell, lit only from small high barred window, no lights on. Edith looks like she's coming apart -- circles under her eyes, a shadow of her confident self -- pale, scared, hair flat, stringy, unglamourous, pacing, rocking.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>She couldn't handle it.</dialogue> </scene> <scene> <stage_direction>INT. FBI HOLDING CELL - NIGHT</stage_direction> <scene_description>FLUORESCENT LIGHTS COME ON IN THE CELL -- Edith squints. Cell is unlocked by Richie Dimaso WHO enters with a cup and saucer of tea. He stands near her with the tea.</scene_description> <character>RICHIE DIMASO</character> <parenthetical>(to the other side of the two-way mirror)</parenthetical> <dialogue>Joe, how come the fluorescents are on? Can we kill that, please? (to Syd) Jesus I put this lamp here for you 'cause I thought it'd be better for you. There's a wire here. They're scared because people hang themselves but I know you're too smart for that. Where's the table and chair? There's no bed here? It's like a fucking asylum. Joe, is everybody off today? Jesus Christ it's scary. Maybe I wanted to scare you. I don't know. Maybe it was my idea. Maybe i'm a little off the beaten path you know? I don't know. You look dehydrated. Here, want to try some tea? Oh yeah, your lips are all chapped. (re: tea) It's herbal. My favorite.</dialogue> <scene_description>Richie bends down to Edith who is sitting on the floor in the corner and hands her the cup and saucer. She lifts the cup but her hand is shaking almost violently as she raises the cup to her lips.</scene_description> <character>RICHIE DIMASO</character> <dialogue>I know you think -- look at me. Hey. Edith.</dialogue> <character>RICHIE DIMASO</character> <dialogue>I know you think Irv loves you. I know you think you know him -- that he sees the world as a cold, dark place, and he cares about nobody but very few people on his short list: his son, his father, Rosalyn, and you. And you think you're at the top of that list. But what if you're not. What if you're not even on the list at all? He'd be in here right now if he took the check.</dialogue> <scene_description>She thinks about this. She trembles.</scene_description> <character>RICHIE DIMASO</character> <dialogue>He'd be in here right now if he took the check. But no, you did. God, it's, it's so clear to me. It's so crazy -- it's clear to me, but it's not clear to you. He uses you, Edith, to protect himself. To protect his son and his wife in Long Island. No? Yes. He put a ring on her finger, he adopted her son. They have huge house, they have two cars. What does she do all day? I'll tell you what she does -- she plays with her nails, she watches T.V., and she spends your money, the money that you make.</dialogue> <scene_description>Edith stares at Richie, taking this in.</scene_description> <character>RICHIE DIMASO</character> <dialogue>I don't like that you're in jail while he's going free. I don't like any of that. I want to help you. All the razzle-dazzle that he does, it's not good. It's not real. It's fake. It's not real. Who you are is who you are, between you and God. You and your soul. That's what matters. That's what counts. That's what I'm about. And that's what I see in you. Tell me you didn't feel it the first time we saw each other. Am I crazy? I don't think so. I'm not supposed to be talking like this, but I don't care, I break the rules.</dialogue> <scene_description>Edith looks at Richie in silence as she thinks about what he's saying.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Okay, Edith? Edith. I want to help you. I like you. (whispers) I like you. (dead serious) I like you.</dialogue> </scene> <scene> <stage_direction>INT. FBI OFFICE, FEDERAL OFFICE BUILDING, NY - DAY</stage_direction> <scene_description>Irv stands alone on the other side of the glass staring at Sydney. Richard Dimaso walks in.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Been in there three days. Hasn't been so good for her.</dialogue> <scene_description>Irv continues to stare at Sydney.</scene_description> <character>RICHIE DIMASO</character> <dialogue>How does that make you feel her in there? That check was for you, right? But you knew somethin' was off. That's 'cause you're good. You're, like, the best at what you do in the whole country, aren't you?</dialogue> <scene_description>Irv looks at him.</scene_description> <character>RICHIE DIMASO</character> <dialogue>But you know what? If the country were run by people like you, Irving Rosenfeld we'd be living in Eastern Europe or Guatemala. You ever been in Guatemala? You ever been in jail in Guatemala? You ever try to get a telephone or a permit or anything in Guatemala? That's what this country would be like if we let people, let the liars like you, run this country.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Who made you god and judge?</dialogue> <character>RICHIE DIMASO</character> <dialogue>My grandmother lived to be ninety- three years old. Never lied in her life.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Congratulations.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Thank you. I'm proud of that, too. Does that make her not a good person? Is that not something to strive for?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Why you breaking my balls? Get to the point.</dialogue> <character>RICHIE DIMASO</character> <dialogue>I see something in you, Irving. I get very excited. I think that we have a lot of potential here. Now, look. I came up with the idea. It's all from me. I want to change things. I want to go after white collar crime. Irving, you're very skilled. And I want you to teach me and we can do this. I want four people that do what you do. Fraudulent investments. Fake certificates of deposit. Stolen art, fake art. You get me four people and you're off the hook.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Four busts and you'll leave us alone? We don't have to testify?</dialogue> <character>RICHIE DIMASO</character> <dialogue>You're good, you're done. Anything you want. But if you run, then your life is over. You'll be hunted, and it's gonna be very difficult for Rosalyn and your kid to live in this country.</dialogue> </scene> <scene> <stage_direction>INT. SYDNEY'S APARTMENT BEDROOM - NIGHT</stage_direction> <scene_description>A NICE UPPER EAST SIDE apartment. Sydney has finally changed her clothing from when she wore the same dress at the holding cell. It is quiet in the apartment - faint street noise from 3rd Avenue below.</scene_description> <character>SYDNEY PROSSER</character> <dialogue>We need to leave. We need to run and we need to do it now. We can go to Estonia or Romania, I don't care, we'll take the cash from the bed and get out of here, alright? We talked about it a hundred times.</dialogue> <scene_description>Irv stares at her and struggles.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>What about Danny?</dialogue> <character>SYDNEY PROSSER</character> <dialogue>What about Danny?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I adopted him! I gave him my name! I'm not leaving him with Rosalyn, she's unstable!</dialogue> <character>SYDNEY PROSSER</character> <dialogue>That's a manipulation! Rosalyn's will never let you go. She'll use Danny against you because she's too messed up to let you leave.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I can't leave him. I love him. Alright? He's my son.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>Richie said you would say that.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Richie? What, the cop? Your on a first name basis with him?</dialogue> <character>SYDNEY PROSSER</character> <dialogue>Yes I am. I'm not even on your list am I?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>What list?</dialogue> <character>SYDNEY PROSSER</character> <dialogue>Your list. Your short list. Your long list. I'm not even on anyone of your fucking lists. I thought you loved me. I thought we had something.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>We do have something. I love you, it's perfect! What are you saying? We're gonna go to Romania? We're gonna take Danny?</dialogue> <character>SYDNEY PROSSER</character> <dialogue>Yes. Yes, that's what I'm saying. You, me, Danny.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Well you never said that before.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>I'm saying it now. We're us, and we can make it an adventure like we did. We can make it an adventure like we make everything, alright? But we have to go now. We have to leave right now.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I can't leave Danny. I'll lose custody.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>You have to take me away! We have to leave!</dialogue> <parenthetical>(sobbing)</parenthetical> <dialogue>What are you saying?! Oh my god.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>What are you doing?! Please!</dialogue> <scene_description>Sydney goes storming out of the room and down the hall of her apartment. Irving follows.</scene_description> <character>SYDNEY PROSSER</character> <dialogue>I can't believe this is happening.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Don't say I don't love you because that's bullshit!</dialogue> <character>SYDNEY PROSSER</character> <parenthetical>(sobbing)</parenthetical> <dialogue>This is bullshit. You are bullshit. We are bullshit.</dialogue> <scene_description>She starts sobbing, shaking.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Please don't do this.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>I just never thought you were conning me.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I could never con you. I love you. Please don't say this.</dialogue> <scene_description>Irv walks to her and bends down to join her on the floor as she sobs.</scene_description> <character>SYDNEY PROSSER</character> <dialogue>No, I'm done.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Don't say that.</dialogue> <character>SYDNEY PROSSER</character> <parenthetical>(cries)</parenthetical> <dialogue>I'm gonna do these four busts, these four cons, to get us out of this. Not just me, but us. And I'm gonna get really close with Richie, the cop, in case we need to use him, if we need another move.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>We don't need another move. We need four busts, and we're done.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>We are going to need another move, trust me. And you're going to be thanking me. (shifts to British accent) The key to people is what they believe and what they want to believe and I want to believe that we were real, and I want to believe that a man could want me. And I'm gonna take all of that heartbreak, and all of that sorrow, and I am going to use it. And I'm going to make Richie think that I want him, and that I like him, and I'm going to be very convincing -- And I'm pissed at you.</dialogue> <scene_description>Sydney reaches over and carefully grabs Irving's face lovingly which quickly turns into a slap as she continues on.</scene_description> <character>SYDNEY PROSSER</character> <dialogue>Because I'm pissed at you!</dialogue> <scene_description>Irving stares at Sydney with confusion. He's never seen her like this before.</scene_description> <character>SYDNEY PROSSER</character> <dialogue>Maybe I do like him -- Maybe I like him a lot. From the feet up right -- baby?</dialogue> <scene_description>Sydney gets up from the couch and storms back to her room.</scene_description> <character>SYDNEY PROSSER</character> <dialogue>Quite your belly aching and come up with something to get us out of this. And you're right -- I'm in no state to deal with this so what's it gonna be, Mister Mastermind?</dialogue> <scene_description>SOUND PRELAP:</scene_description> <character>RICHIE DIMASO (O.S.)</character> <dialogue>An Arab sheik? Why do we need an</dialogue> <scene_description>Arab Sheik?</scene_description> </scene> <scene> <stage_direction>INT. ART MUSEUM - DAY</stage_direction> <scene_description>Richie, in sharp lapeled suit, chain on his neck, walks with Irv and Edith and joined by a man who looks like an ARAB SHEIK who they trail.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>How do you think this works, stupid?</dialogue> <character>SYDNEY PROSSER</character> <dialogue>If you could not call him 'stupid' which he's isn't, he's smarter than you. Last I checked he's in control here and we work for him now so be nice.</dialogue> <scene_description>Richie stares at Edith elated that she just stuck up for him. He's really enjoying this position of power she's putting him in.</scene_description> <character>IRVING ROSENFELD</character> <parenthetical>(stares at her, upset)</parenthetical> <dialogue>OK, to set this up and bust a con artist we have to make the honey pot to attract the bees. In order to attract the bees, we need to offer them a wealthy individual who can be taken advantage of, someone special, someone new, someone amazing. Then those guys will want to sell fake bank CDS to THAT guy, take the sheik's money, see?</dialogue> <scene_description>Richie looks at Irving uncertain.</scene_description> <character>SYDNEY PROSSER</character> <dialogue>Only they can't get into his money unless you they know someone, and that someone is us.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Oh that's good.</dialogue> <character>RICHIE DIMASO</character> <dialogue>So if you want to get somebody like your con artist friend -- Carl Elway -- you get him to want to buy- -</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Keep your voice down.</dialogue> <character>RICHIE DIMASO</character> <dialogue>-- or sell fake art or stolen art or fake certificates of deposit, he needs -- who does he need? -- he needs a rich sheik guy, and there you go -- we can pinch him!</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Right, but I don't tell Elway shit. I wait for him to call me. The art world is a small world -- and one of Elway's acquaintances is clocking us right now.</dialogue> <scene_description>Richie starts to look around.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Where?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Don't look.</dialogue> <scene_description>Richie looks anyway and sees ELWAY'S ACQUAINTANCE, a man balding, 45 clocking them from the balcony.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>You have a good look?</dialogue> <character>RICHIE DIMASO</character> <dialogue>How do you know the Sheik?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>This is my friend Al from Queens.</dialogue> <character>AL FROM QUEENS/SHEIK</character> <dialogue>I do aluminum siding and roofing.</dialogue> <scene_description>Richie stares, impressed.</scene_description> </scene> <scene> <stage_direction>INT. ART MUSEUM - NEXT ROOM - CONTINUOUS</stage_direction> <scene_description>Irving, Edith, Richie, and the fake Sheik admire a REMBRANDT painting on the wall.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>I want to show you something. This Rembrandt here? People come from all over the world to see this.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Yeah, he's good.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>It's a fake.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Wait, what're you talking about? That's impossible.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>People believe what they want to believe. Cause the guy who made this was so good that it's real to everybody. Now whose the master -- the painter or the forger?</dialogue> <scene_description>Richie's continues to stare at the REMBRANDT on the wall.</scene_description> <character>RICHIE DIMASO</character> <dialogue>That's a fake?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>That's the way the world works. Not black and white as you say. Extremely grey.</dialogue> <scene_description>ELWAY'S ACQUAINTANCE walks up to Irving and the group and steps into the conversation.</scene_description> <character>ELWAY'S ACQUAINTANCE</character> <dialogue>Irving can I --</dialogue> <character>IRVING ROSENFELD</character> <dialogue>How many times I gotta tell you. You can't meet the sheik, alright?</dialogue> <scene_description>Edith sees this and steps into the conversation.</scene_description> <character>EDITH GREENSLY</character> <dialogue>Arthur? Hi. Edith. We've met before.</dialogue> <character>EDITH GREENSLY</character> <dialogue>I wanted to introduce you to Robert Spencer. We're advising the Sheik together.</dialogue> <scene_description>She looks at Richie. Richie offers his hand.</scene_description> <character>RICHIE DIMASO</character> <parenthetical>(catching up)</parenthetical> <dialogue>Yeah, I'm Robert Spencer, advisor to the sheik.</dialogue> </scene> <scene> <stage_direction>70A EXT. CHELSEA HOTEL -- ESTABLISHING - DAY 70A</stage_direction> </scene> <scene> <stage_direction>INT. OFFICE OF CARL ELWAY - SUCCESSFUL, BUT SHADY - DAY</stage_direction> <scene_description>CARL ELWAY, 40, preppie Waspy, very old fashioned with cigarette holder, but something vaguely criminal about him, in his conservative suit, natty white and red striped shirt, and navy blue tie sits with Irving.</scene_description> <character>CARL ELWAY</character> <dialogue>What's this I hear about a god damn Sheik?! Why you leaving me out of this? I gotta hear about it from my friends?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>It ain't for you Carl.</dialogue> <character>CARL ELWAY</character> <dialogue>What do you mean it ain't for me? We gotta do certificates of deposit. I can print as many as you need.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>This is not a one man operation.</dialogue> <character>CARL ELWAY</character> <dialogue>Look, I can get other guys. What are you talking about Irving?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>You're telling me that you can get four guys to sell fake certificates of deposit to my investor within a week?</dialogue> <scene_description>The camera zooms into Irving's shirt collar revealing a tiny microphone.</scene_description> <character>CARL ELWAY</character> <dialogue>Yes I can make that happen. Carl Elway can do what he says he's going to do.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>That's interesting but you know I've got other guys lined up. I've got a meeting with my associates.</dialogue> <scene_description>SUDDENLY CARL ELWAY'S ASSISTANT, OPENS THE DOOR AND ENTERS. Richie Dimaso and Edith ARE STANDING THERE -- MUCH TO IRV'S DISMAY.</scene_description> <character>CARL ELWAY'S ASSISTANT</character> <dialogue>Carl, his associates are here. He's got a meeting he's got to go to.</dialogue> <character>CARL ELWAY</character> <dialogue>No wait. Don't go anywhere.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I've got to go.</dialogue> <scene_description>Irving gets up to walk out as Richie and Edith stand in the doorway.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>Crazy thing about people -- the more you say no, the more they want in on somethin. It is so stupid.</dialogue> <scene_description>Irving looks over at Richie and Edith.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>I'll tell them, don't worry. Hey you know what Carl just told me? He said he could do this whole thing with four guys within a week.</dialogue> <character>CARL ELWAY</character> <dialogue>Or we could do somethin' much bigger!</dialogue> <scene_description>Richie jumps into the conversation.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Something bigger? My guy deals with hundreds of millions of dollars. How much bigger?</dialogue> <scene_description>He walks over to Carl.</scene_description> <character>CARL ELWAY</character> <dialogue>Hundreds of million -- I knew you were holdin' out on me Irving! Hundreds of millions of dollars? Like much bigger. Like I'm talking about we say never the fuck mind the CD's and we could have some complete access to something huge.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Huge? Like what? (introducing himself) Robert Spencer, advisor to the Sheik.</dialogue> <character>CARL ELWAY</character> <dialogue>Carl Elway.</dialogue> <scene_description>Irv stares at Richie with contempt, then turns to Edith, DRESSED TO THE NINES.</scene_description> <character>CARL ELWAY</character> <dialogue>I want you to think of the most undervalued asset in the state of New Jersey today. The rebuilding of Atlantic City.</dialogue> <scene_description>Richie looks over at Irving and Sydney and mouths the word "WOW".</scene_description> <character>CARL ELWAY</character> <dialogue>Look, maybe they, maybe they legalized gambling a year ago but nothing's happening.</dialogue> <scene_description>Irving interjects.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Hey, quit while you're ahead Carl.</dialogue> <character>CARL ELWAY</character> <dialogue>I know the guy. I know the right people who are going to help you out.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Whose the guy?</dialogue> <character>CARL ELWAY</character> <dialogue>The guy is Carmine Polito.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Whose Carmine Polito?</dialogue> </scene> <scene> <stage_direction>INT. FBI OFFICE, FEDERAL OFFICE BUILDING, NY</stage_direction> <scene_description>PUSH IN: STODDARD THORSEN, Richie's FBI supervisor.</scene_description> <character>STODDARD THORSEN</character> <parenthetical>(shakes his finger 'no')</parenthetical> <dialogue>Carmine Polito? Carmine Polito, no.</dialogue> <scene_description>We freeze frame on Stoddard as we HEAR Richie'S VO: AS Richie TALKS WE SEE A SHORT FILM ABOUT Carmine Polito: - PUSH IN: Mayor Polito walks a Camden street waves, shakes hands of WELL-WISHERS</scene_description> <character>RICHIE DIMASO (V.O.)</character> <dialogue>My boss Stoddard proceeded to tell me that Carmine Polito was the most quietly powerful person in the state of New Jersey. A lifetime native of the very racially mixed Camden, which had become a ghetto, and where he had been Mayor for ten years. A very beloved guy. A guy who never gave up on his people. His father had emigrated from Italy and had stoked coal.</dialogue> <scene_description>- Frank Sinatras COFFEE SONG, 1940s version, as we see Carmine talk to and dance joyfully with his kids and wife at breakfast.</scene_description> <character>RICHIE DIMASO (V.O.)</character> <dialogue>A big family guy with five kids. They even adopted some other kid. A black kid from the Boys and Girls Club who'd lost his family. I mean, his household was a joyous place. And his wife Dolly, she was the apple of his eye and the center of the household. I mean everyone loved this guy.</dialogue> <scene_description>- PULL OUT Mayor Polito walks up steps of City Hall as he greets a women and her baby; into his office greeted by a couple of AIDES who show him papers to sign.</scene_description> <character>RICHIE DIMASO (V.O.)</character> <dialogue>And he had a huge heart.</dialogue> </scene> <scene> <stage_direction>INT. CAMDEN CITY HALL - W.P.A. MURAL ROOM - DAY</stage_direction> <character>CARMINE POLITO</character> <parenthetical>(giving speech)</parenthetical> <dialogue>The W.P.A. employed craftsmen to paint this during the Depression. Why can't we employ people today to do work like this in rebuilding Atlantic City?</dialogue> <character>RICHIE DIMASO (V.O.)</character> <dialogue>He worked with all the unions. He was the leader of the State Assembly. And he had just gotten gambling legalized in New Jersey to create jobs.</dialogue> <scene_description>-- FLOOR OF STATE ASSEMBLY -- Carmine huddles with other STATE LEGISLATORS, horsetrading and then poses for a picture with other members of the State Assembly.</scene_description> <character>RICHIE DIMASO (V.O.)</character> <dialogue>But he couldn't get the funds to rebuild Atlantic City and that was his problem. So with our help, he was about to have his hand in the wrong pocket at the wrong time. And to me that meant corrupt</dialogue> <scene_description>BACK TO:</scene_description> <character>STODDARD THORSEN</character> <dialogue>You said grifters and con artists. We're not going after some politician. This is a bad idea, Richard.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Shhhh. Look, it's really simple. All you need is to put two million in a Chase account --</dialogue> <character>STODDARD THORSEN</character> <dialogue>What?!</dialogue> <character>RICHIE DIMASO</character> <dialogue>-- under the Sheik's name --</dialogue> <character>STODDARD THORSEN</character> <dialogue>Whose two million?!</dialogue> <character>RICHIE DIMASO</character> <dialogue>Shh, just listen. Two million dollars under the Sheik's name, in a Chase account that we control. Carmine calls up on the telephone -- calls the bank -- and he sees that the Sheik is real and he has a real account. Five days.</dialogue> <character>STODDARD THORSEN</character> <dialogue>I'm not taking two million dollars of the taxpayers' money and putting it anywhere for five days, I don't care if we control it the whole time.</dialogue> <scene_description>Richie as he stares at Stoddard in frustration.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Stoddard, let us do what we need to do to rule out corruption and to get rid of the payoff guys that are ruining this country. That's my dream. Don't smother it, please.</dialogue> <character>STODDARD THORSEN</character> <dialogue>You know Richard, I understand your eagerness. I really do. You know I'm from Michigan, right? Let me tell you a story about me, and my dad, and my brother. We used to go ice fishing every November. Ice Fishing. That's what we lived for.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Holy shit --</dialogue> <character>STODDARD THORSEN</character> <dialogue>Just listen to me. It's beautiful. You have a little stove. You huddle around, you keep each other warm. You drop a line and you just wait. One year my brother says, "let's go in October." He wants to go ice fishing in October. My dad says, "No, the ice is too thin." My brother says -- I love my brother he says --</dialogue> <character>RICHIE DIMASO</character> <dialogue>I understand what's happening. You're saying your brother went out on the ice, the ice was too thin, he fell through the ice, he went in the water because he was too eager, and you're saying I'm too eager -- that's what you're saying?</dialogue> <character>STODDARD THORSEN</character> <dialogue>No, that's not what I'm saying.</dialogue> <character>RICHIE DIMASO</character> <dialogue>What are you saying?</dialogue> <character>STODDARD THORSEN</character> <dialogue>We'll finish the ice fishing story another time, young man. For now, no Carmine Polito. Go do your job.</dialogue> <scene_description>Richie looks at him annoyed and upset.</scene_description> <character>RICHIE DIMASO (V.O.)</character> <dialogue>Stoddard shot the whole thing down.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Boring.</dialogue> <character>RICHIE DIMASO (V.O.)</character> <dialogue>But Edith was a genius.</dialogue> <scene_description>SEE B-ROLL OF: Edith and Richie walk back into FBI building, down corridor;</scene_description> <character>RICHIE DIMASO (V.O.)</character> <dialogue>She somehow found this woman who controlled the wire room. A woman I'd never heard of. Way back in a warren buried in the Bureau. This cat lady nobody even talked to. Edith met her in the ladies room and became friends with her. This lady handled all the wires and now, she was working with us.</dialogue> <scene_description>SMASH TO: Edith and Richie enter to find BRENDA, FBI, MATRONLY, OLDER; EDITH carries a basket of exotic teas;</scene_description> <character>RICHIE DIMASO (V.O.)</character> <dialogue>She was excited to be included in an operation instead of being on the other end of a memo. It was beautiful.</dialogue> <scene_description>Edith goes to hand her the PIMMS CUP and basket of teas.</scene_description> <character>EDITH GREENSLY</character> <dialogue>Brenda, hi!</dialogue> <character>BRENDA MCPHERSON</character> <dialogue>Hi!</dialogue> <character>EDITH GREENSLY</character> <dialogue>You said you liked exotic food, so that's from England.</dialogue> <character>BRENDA MCPHERSON</character> <dialogue>That's from England?</dialogue> <character>EDITH GREENSLY</character> <dialogue>That's right. And I brought you some tea as well.</dialogue> <character>BRENDA MCPHERSON</character> <dialogue>Thank you so much! Nobody ever tells me about these operations, they just say, "Brenda, do the clerical wiring work and don't ask questions."</dialogue> <character>EDITH GREENSLY</character> <dialogue>You need to tell Richie about your cats. He loves them.</dialogue> <character>BRENDA MCPHERSON</character> <dialogue>Oh my cats?!</dialogue> <scene_description>Brenda starts pointing out pictures of all her cats tacked to the walls amidst the wire memos and paperwork.</scene_description> <character>BRENDA MCPHERSON</character> <dialogue>Well that's Harry -- look at him standing up, isn't that sweet? And that's Wendy. She's a rascal. But Barnaby, that's another story. Barnaby plays the piano!</dialogue> <character>RICHIE DIMASO</character> <dialogue>That's impressive.</dialogue> <character>RICHIE DIMASO (V.O.)</character> <dialogue>We got her to wire two million dollars into an F.B.I.-controlled account at Chase. It'd be there for five days and if Polito called he'd see that the Sheik was real.</dialogue> <scene_description>HALLWAY OF FBI Edith and Richie laugh excitedly as they walk the hallways.</scene_description> <character>RICHIE DIMASO (V.O.)</character> <dialogue>By the time Stoddard caught up to us Edith made sure his boss was impressed by my idea. So before he even knew it was happening his boss was calling to congratulate him.</dialogue> <scene_description>PUSH IN ON CHIEF US PROSECUTOR, SPECIAL TASK FORCE, ANTHONY AMADO IN HIS LARGE OFFICE ON THE PHONE WITH STODDARD --</scene_description> <character>ANTHONY AMADO</character> <dialogue>I'm very impressed. That was very smart. The Sheik with the money in the bank is a fantastic...don't be modest.</dialogue> <character>RICHIE DIMASO (V.O.)</character> <dialogue>Anthony Amado. He was the U.S. Attorney, and he had a major hard- on to make a name for himself. I mean this guy loved the idea of being famous. And Stoddard had to say it was his own idea or he'd look stupid in front of his boss.</dialogue> </scene> <scene> <stage_direction>INT. STODDARD'S OFFICE --</stage_direction> <scene_description>PUSH IN ON STODDARD -- confused, dismayed.</scene_description> <character>STODDARD THORSEN</character> <dialogue>Thank you, sir, wait, the sheik --</dialogue> </scene> <scene> <stage_direction>INT. STODDARD'S OFFICE - DAY</stage_direction> <scene_description>He hangs up, pissed, confused.</scene_description> <character>STODDARD THORSEN</character> <dialogue>You made me accept praise from my boss who's thanking me for something that never shoulda happened! Something that I didn't approve!</dialogue> <character>RICHIE DIMASO</character> <dialogue>You should be happy. There's imaginative things happening in this office, alright? We're not just working in a box.</dialogue> <scene_description>Richie leaves triumphant.</scene_description> <character>RICHIE DIMASO (V.O.)</character> <dialogue>We got the two million to put Carmine and the Sheik together.</dialogue> <character>STODDARD THORSEN</character> <dialogue>Punk.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR OF FBI -- DAY</stage_direction> <scene_description>Laughing Richie and Edith walk briskly on their way out.</scene_description> <character>RICHIE DIMASO (V.O.)</character> <dialogue>I liked being on this side of the line. But someone had been left out.</dialogue> </scene> <scene> <stage_direction>INT. SYDNEY'S APARTMENT - DAY</stage_direction> <character>IRVING ROSENFELD</character> <dialogue>We succeeded because we stayed small. I got you Carl Elway. He bought stolen art, sold fake bank C.D.'s, that's enough. That's one. I get you three more -- no politicians.</dialogue> <scene_description>Richie and Edith look at him.</scene_description> <character>RICHIE DIMASO</character> <dialogue>You're gonna do this because you got no choice. You work for me.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Now you keep changing the rules. You're gettin' a little power drunk, Richard.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>You want to tell him, Edith? You want to wake him up?</dialogue> <character>EDITH GREENSLY</character> <dialogue>Oh no, I said we shouldn't do any of it, Irving. You know I said that. So now I support Richie. He's got vision. Do it heavy or don't do it.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I mean, he's the one ruining America, not me.</dialogue> <character>RICHIE DIMASO</character> <dialogue>How the hell am I ruining America?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Because people just got over Watergate and Vietnam, alright? And you're gonna shit all over politicians again? And just because you want to be a big shot and get a promotion.</dialogue> <character>RICHIE DIMASO</character> <dialogue>No I'm thinking big. This is gonna be fantastic. We're doing video surveillance. I'm doing this from the feet up.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>You will never do it properly because you got too much government attitude to be small and sleek.</dialogue> <dialogue>I'm like the fuckin' Vietcong, man. I'm in and I'm out. I was there the whole time -- you don't know it. That's the fucking art of becoming somebody who people can pin their beliefs and their dreams on. And you can't do it.</dialogue> <character>RICHIE DIMASO</character> <dialogue>How about a suite at the Sheraton Hotel?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>For Carmine Polito and rebuilding Atlantic City?</dialogue> <character>RICHIE DIMASO</character> <dialogue>Why not?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>You need a luxury hotel for the Sheik. Come on!</dialogue> <character>RICHIE DIMASO</character> <dialogue>Carmine does back door dealings all the time. We don't have a budget for that Irving!</dialogue> <character>IRVING ROSENFELD</character> <dialogue>You gotta knock the Mayor, the Speaker of the State Assembly -- you gotta knock him off of his fucking feet. He's gotta feel like he's out of his league. What you're offering, this deal, I mean, this is unheard of in the state of New Jersey, maybe even the whole fucking country. A sheik with hundreds of millions of dollars to rebuild Atlantic City -- are you fuckin' kidding me? That's gigantic. And the Mayor, he's going to want to see cash, he's going to want to see it in an account, he's going to want to see it right now, and he will check. And that's why this meeting isn't happening, because to get millions, you need millions.</dialogue> <scene_description>Edith listens intently.</scene_description> <character>EDITH GREENSLY</character> <parenthetical>(shrugs)</parenthetical> <dialogue>We already did it.</dialogue> <character>IRVING ROSENFELD</character> <parenthetical>(stunned)</parenthetical> <dialogue>What?</dialogue> <scene_description>Irv studies Richie and Edith.</scene_description> <character>EDITH GREENSLY</character> <dialogue>We got the bureau to park 2 million for three days -- we got the account numbers.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>'We' meaning you and him?</dialogue> <character>RICHIE DIMASO</character> <dialogue>Yeah we did it.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Really?</dialogue> <character>EDITH GREENSLY</character> <dialogue>Yeah, me and that guy.</dialogue> <character>RICHIE DIMASO</character> <dialogue>She showed me.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>You showed him our thing? You did that without me? Are you kidding me?</dialogue> <character>EDITH GREENSLY</character> <dialogue>What are you going to do?</dialogue> <scene_description>IRVING AND RICHIE LOOK AT SYDNEY, UNCERTAIN. IRVING SHAKES HIS HEAD IN DISGUST AND LEAVES. RICHIE STARES AT SYDNEY SWINGING HER LEGS ON THE COUNTER AS SHE SITS.</scene_description> <character>RICHIE DIMASO</character> <dialogue>You playing me? Are we doing this? Or you playing him? It'd be very bad for you if you're playing me.</dialogue> <character>EDITH GREENSLY</character> <dialogue>You're going to have to decide for yourself, kid, I just laid everything out on the table.</dialogue> <character>RICHIE DIMASO</character> <dialogue>This is all very exciting, I never knew life could be like this. You're wild. You know we're taking down a very important politician.</dialogue> <scene_description>Richie stands very close to Edith - between her legs as she sits on the counter. He puts his hands on her hips, pulls her into him. He takes her hand -- puts it on his face, makes her feel his cheek and forehead with her hand. It is intense. She prepares for him to kiss her but he steps back. They are both excited. They stare at each other. The air is thick with tension, Richie exhales and leaves.</scene_description> <character>RICHIE DIMASO</character> <parenthetical>(prelap)</parenthetical> <character>RICHIE DIMASO</character> <dialogue>This is agent Richard Dimaso, I'm placing $75,000 into this briefcase for Mayor Carmine Polito to procure casino license and building permits for Atlantic City.</dialogue> <scene_description>BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. PLAZA HOTEL SUITE - DAY</stage_direction> <scene_description>Where the film started -- See RICHIE TALK TO CAMERA IN A CORNER OF THE PLAZA SUITE-- CLOSE ON MONEY COUNTED INTO BRIEFCASE -- SMASH TO: IRVING'S EYES WIDEN AS WE CUT TO: Richie SLIDE THE BRIEFCASE OF CASH, AS SEEN BEFORE, Edith puts her hand on top of Richie's to stop him. IRV'S EYES WIDEN AS IN 'NO! DON'T DO THAT!' WHILE HE AND RICHIE STARE AT EACH OTHER. CARMINE LOOKS DISTURBED AT THE CASE COMING HIS WAY. HE STANDS.</scene_description> </scene> <scene> <stage_direction>EXT. PLAZA HOTEL -- DAY</stage_direction> <scene_description>Carmine Polito, upset, storms down the street as Irving catches up.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Mr. Mayor -- Please stop. Listen, I apologize if that prick offended you. I really apologize.</dialogue> <scene_description>Carmine will not turn around -- Irving catches up.</scene_description> <character>CARMINE POLITO</character> <dialogue>Really, I'm all right, thank you. I'm okay.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>No. I'm fucking embarrassed to be associated with that guy at all. Can I just say somethin' to you, please? Don't lose this opportunity to fuckin' Florida -- all right? -- because of some bullshit from that punk advisor with his diploma who could never get into the school that we come from. Don't lose that opportunity.</dialogue> <character>CARMINE POLITO</character> <dialogue>Where you from?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I'm from the Bronx. Grand Concourse, Hundred and Sixty-fourth Street.</dialogue> <scene_description>THIS REACHES CARMINE. HE AND IRV ARE CUT FROM THE SAME CLOTH.</scene_description> <character>CARMINE POLITO</character> <dialogue>I got a lot of friends that live up there. I go to Tomaso's on Arthur Avenue. You know Tomasos's?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Yeah, Tomaso's.</dialogue> <character>CARMINE POLITO</character> <dialogue>The spicy clams.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Yes. They're always good.</dialogue> <character>CARMINE POLITO</character> <dialogue>Oh, they're to fucking die for, those clams. I haven't been there in a while. I like that place.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Carmine -- can I call you Carmine? You know, Carmine -- (catches his breath) My fuckin' heart's going from running down the stairs -- I'm not used to running. There's a lotta green grass in that hotel room up there, alright? And all the deals would float through you. You get a serious piece on both ends. You do with that what you will. I live in the real world, I am a family man, I got mouths to feed and everything. But, you know, we just...we gotta grease you directly. No middlemen, no bullshit. It's the Arab way.</dialogue> <character>CARMINE POLITO</character> <dialogue>Yeah, look, I understand. It's a great opportunity. It's just I got a little thrown by going to have a meeting with somebody who ended up not being there, so --</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Hey, listen, I was thrown as well.</dialogue> <character>CARMINE POLITO</character> <dialogue>I understand. I'll deal with you directly. I don't want any middleman or any of that bullshit.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Done.</dialogue> <character>CARMINE POLITO</character> <dialogue>I like you. Eye to eye. We can do business together.</dialogue> <scene_description>Irv smiles and nods as they walk back into the hotel together.</scene_description> <character>CARMINE POLITO</character> <dialogue>How long do you know this guy? You work with this guy before?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I gotta work with him. He's the Sheik's man.</dialogue> <character>CARMINE POLITO</character> <dialogue>But I still need to meet the Sheik, okay?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Done.</dialogue> </scene> <scene> <stage_direction>INT. SYDNEY'S APARTMENT - DAY</stage_direction> <character>IRVING ROSENFELD</character> <dialogue>I'm going out to dinner with Carmine and the wives in Camden.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Who?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Carmine and myself and the wives.</dialogue> <character>RICHIE DIMASO</character> <dialogue>What?! Without me?!</dialogue> <character>IRVING ROSENFELD</character> <dialogue>He doesn't like you, what do you want from me, I got him to come back and take the money and you got him on tape alright? I can't make him like you. I did my job.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Did you tell him you were working with me? That I'm the Sheik's associate?!</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I just fucking told you he doesn't like you. I mean, let him have a night out with a human being for fuck's sake, he's going to jail soon. You're done with him. You got him on tape taking a bribe.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Carmine has got to deal with me, Irving.</dialogue> <character>RICHIE DIMASO</character> <dialogue>We're gonna use Carmine. We're gonna use Carmine to get other people, that's what we're gonna do.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>What?! Like who?!</dialogue> <character>RICHIE DIMASO</character> <dialogue>Carmine's gonna use the Sheik to pay off people.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Are you fuckin' nuts? What are you say--</dialogue> <character>RICHIE DIMASO</character> <dialogue>We're gonna let Carmine show the Sheik Atlantic City, how he's gonna renovate hotels, and see who shows up. Whoever the Sheik pays off for licenses and casinos, that's who we're gonna go after. We're gonna go after all of 'em!</dialogue> <character>IRVING ROSENFELD</character> <dialogue>More politicians? You realize how fuckin' dangerous that is? There's no fucking reasoning with you.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Edith and I were so successful for so long because we kept it just small enough. You are takin' us to a very fucking dangerous place, with very serious numbers!</dialogue> <character>RICHIE DIMASO</character> <dialogue>If your that successful, how come you wound up in this room with me? Taking orders from me.</dialogue> <character>EDITH GREENSLY</character> <dialogue>You're taking your wife out to dinner? Your fucking wife? Did I just hear you correctly?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>That's the one thing you heard me say?</dialogue> <character>EDITH GREENSLY</character> <dialogue>I just find it rather shocking that's all.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I get to handle two wives with one dinner, alright? I take Rosalyn out, she keeps her mouth shut, she sees that my work is legitimate, I get to keep my kid, and I get to keep (pointing at Richie) that fucking wife happy. Both wives happy.</dialogue> </scene> <scene> <stage_direction>INT. SYDNEY'S APARTMENT - NIGHT</stage_direction> <scene_description>Sydney sits alone in her apartment, hair in curlers and sparks a joint.</scene_description> </scene> <scene> <stage_direction>INT. RICHIE DIMASO'S APARTMENT - NIGHT</stage_direction> <scene_description>Richie sits in his bathroom, his hair in tight curlers, as he eats a chicken wing.</scene_description> <character>RICHIE'S MOTHER (O.S.)</character> <dialogue>Richard! What are you doing? Don't eat in the bathroom, I told you so many times! And Diane brought Napoleons for dessert. Come out of the bathroom and pray!</dialogue> <scene_description>HE OPENS DOOR - REVEALS WHOLESOME LOOKING NICE QUEENS GIRL DRESSED NEATLY AND HOLDING UP A PASTRY BOX--</scene_description> <character>RICHIE DIMASO</character> <dialogue>Oh my god, what did you do?</dialogue> <scene_description>CUT TO: RICHIE'S MOTHER, ITALIAN, HER HAIR PULLED BACK.</scene_description> <character>RICHIE'S MOTHER</character> <dialogue>Richard, the filter is broken in the fish tank. It's a problem.</dialogue> <character>RICHIE DIMASO</character> <dialogue>See, your job is to do the filter, Mom, mine is to do the gravel. When you don't do the filter right all the fish die. See?</dialogue> <character>RICHIE'S MOTHER</character> <dialogue>I can't get the top on that filter.</dialogue> <character>RICHIE DIMASO</character> <dialogue>I've gone over this a hundred times mom --</dialogue> <scene_description>CUT TO: RICHIE, HIS GIRLFRIEND, AND MOTHER ALL SIT AT THE TABLE WITH FOOD INFRONT OF THEM AS THEY START TO PRAY.</scene_description> <character>RICHIE'S MOTHER</character> <dialogue>-- and please help Richard to marry Diane so that I may have grandchildren and the Pope may have more followers. And please bless this food that we are about to eat - -</dialogue> <scene_description>THE TELEPHONE RINGS OFF SCREEN. RICHIE GETS UP TO GRAB IT.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Yeah, hello?</dialogue> <scene_description>SMASH TO:</scene_description> <character>EDITH GREENSLY</character> <dialogue>Hi.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Who's this?</dialogue> <character>EDITH GREENSLY</character> <dialogue>It's Edith.</dialogue> <character>RICHIE'S MOTHER (O.S.)</character> <dialogue>Sit down and pray properly!</dialogue> <character>RICHIE DIMASO</character> <dialogue>Are you alright?</dialogue> <character>EDITH GREENSLY</character> <dialogue>Yeah, I'm fine, I'm just alone, you know? Irving's out with Carmine.</dialogue> <character>RICHIE DIMASO</character> <dialogue>That's right, he went out with Carmine and his wife. You must not feel so good about that.</dialogue> <character>RICHIE'S GIRLFRIEND (O.S.)</character> <dialogue>Richard, sit down!</dialogue> <character>EDITH GREENSLY</character> <dialogue>Wait who's there? Who are you with?</dialogue> <character>RICHIE DIMASO</character> <dialogue>Oh, no, it's just people.</dialogue> <character>RICHIE'S GIRLFRIEND (O.S.)</character> <dialogue>People? I'm your fiancée! Richard!</dialogue> <character>EDITH GREENSLY</character> <dialogue>Oh, you've got a fiancée. You're engaged.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Well, I don't know, no fiancée. I don't know.</dialogue> <character>EDITH GREENSLY</character> <dialogue>You don't know if you have a fiancée?</dialogue> <character>RICHIE DIMASO</character> <dialogue>I don't know --</dialogue> <character>EDITH GREENSLY</character> <dialogue>You don't know? You don't know if you have a fiancée?</dialogue> <character>RICHIE'S MOTHER (O.S.)</character> <dialogue>The fish filter is broken!</dialogue> <character>RICHIE DIMASO</character> <dialogue>I don't. No.</dialogue> <character>EDITH GREENSLY</character> <dialogue>Hmm -- intersting.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Hey, you want to get together?</dialogue> <character>RICHIE'S MOTHER (O.S.)</character> <dialogue>Richard, do something about the fish tank.</dialogue> <character>EDITH GREENSLY</character> <dialogue>Fifty-fourth Street?</dialogue> <character>RICHIE DIMASO</character> <dialogue>OK, fifty-fourth street.</dialogue> <scene_description>OK.: SMASH TO: RICHIE WALKS OVER TO HIS MOTHER, SITS DOWN IN FRONT OF HER. ELLA FITZGERALD'S "IT'S DE-LOVELY" PLAYS.</scene_description> <character>RICHIE DIMASO</character> <dialogue>That's what that phone call's about. Everybody thought, "Oh, Richie DiMaso's gonna stay in the office, pushing papers." That's not gonna happen, Mom. I'm outside in the field. I got people working for me. My ideas. I'm running the show. I'm the quarterback. And I'm not gonna settle for no one, Mom.</dialogue> <scene_description>RICHIE KISSES HER ON THE CHEEK AND EXITS. SMASH TO: Ext. BARON'S ITALIAN RESTAURANT- CAMDEN- NIGHT ELLA CARRIES OVER AS -- SLOW MOTION: Carmine and DOLLY POLITO (big frosted hair) get out of his maroon Lincoln Town car. Irv and Rosalyn Rosenfeld get out of his green Cadillac. SOME LOCALS SHOUT TO THE MAYOR. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. TABLE AT BARON'S ITALIAN RESTAURANT - CAMDEN - NIGHT</stage_direction> <scene_description>Ella continues. Mixture of LOCALS: ITALIANS, POLISH, BLACKS AND PUERTO RICANS -- wave to the mayor from the bar, and tables, as Irv and Rosalyn follow. THEY SIT AT BOOTH --</scene_description> <character>CARMINE POLITO</character> <dialogue>Rocco, you know like we do. The chicken very thin. You should see the way he does this chicken with the red sauce</dialogue> <character>DOLLY POLITO</character> <dialogue>It's beautiful.</dialogue> <character>CARMINE POLITO</character> <dialogue>Right? With the red sauce, the lemon--</dialogue> <scene_description>Dolly kisses Carmine as he gives his wife's leg a squeeze and kisses her cheek, then her mouth. Irv and Rosalyn squeeze hands on the table. SHE KNOCKS BACK A GLASS OF RED WINE as a plate of Chicken Picatta is served to the table.</scene_description> <character>DOLLY POLITO</character> <dialogue>It's the Piccata of the gods!</dialogue> <scene_description>She pulls away awkwardly, waiter refills her glass which she throws back right away. Irv looks concerned. They all drink. CUT TO - LATER: Carmine and Irving talk.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>I believe that you should treat people the way that you want to be treated.</dialogue> <character>CARMINE POLITO</character> <dialogue>Right.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Didn't Jesus say that or something?</dialogue> <character>CARMINE POLITO</character> <dialogue>He may have.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Also, always take a favor over money. I think Jesus said that as well.</dialogue> <character>CARMINE POLITO</character> <parenthetical>(laughing)</parenthetical> <dialogue>I don't know if he said the second one but he may have said the first one.</dialogue> <scene_description>CUT TO -- Rosalyn DRUNKENLY LEANS IN TALKING TO Dolly POLITO</scene_description> <character>ROSALYN ROSENFELD</character> <parenthetical>(shows her nails)</parenthetical> <dialogue>I chip them moving furniture, it's my obsession -- Moving, re- decorating, it makes me feel better like exercise. There's this top coat that you can only get from Switzerland and I don't know what I'm going to do because I'm running out of it but I LOVE the smell of it.</dialogue> <character>DOLLY POLITO</character> <dialogue>I can get that for you, of course.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>There's something, the topcoat, (sniffs nails) it's like perfumey but there's also something rotten? I know that sounds crazy, but I can't get enough of it.</dialogue> <scene_description>Dolly laughs.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>No, smell it. It's true. Dolly, historically the best perfumes in the world, they're all laced with something nasty and foul. It's true!</dialogue> <scene_description>She puts it under Irv's nose as he talks to Carmine, he sniffs, closes his eyes, nods without even looking.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>Irving loves them. He can't get enough of them.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I can't get enough.</dialogue> <character>ROSALYN ROSENFELD</character> <parenthetical>(hand out to Carmine)</parenthetical> <dialogue>Carmine, sweet and sour. Rotten and delicious.</dialogue> <scene_description>She leans across the table and puts them under Carmine's nose.</scene_description> <character>CARMINE POLITO</character> <dialogue>Smells like flowers.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Flowers, but with garbage.</dialogue> <character>CARMINE POLITO</character> <dialogue>You know what that is for me? It's coriander for me.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Irving loves it. He can't get enough. That's what hooks you. He always comes back for it.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I can't stop.</dialogue> <character>ROSALYN ROSENFELD</character> <parenthetical>(confidentially to Dolly)</parenthetical> <dialogue>He's gonna say we have to talk business in five, four, three, two, one --</dialogue> <character>IRVING ROSENFELD</character> <parenthetical>(to girls)</parenthetical> <dialogue>Dolly, can me and the mayor talk business here?</dialogue> <character>ROSALYN ROSENFELD</character> <parenthetical>(falling off her seat)</parenthetical> <character>AHH-HA-HAHAAAAAAAAHHHHH!</character> <dialogue>Carmine and Dolly rush to grab Rosalyn; JULIUS, Carmine's steadfast AIDE, BLACK, 40, BIG SIDEBURNS, LOOSENED TIE and white shirtsleeves, BIG SMILE, helps.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>No, don't do that it makes me look more drunk than I am! I'm not this drunk. Irving please don't make me go, I was just starting to have fun!</dialogue> <scene_description>She WOBBLES INTO ARMS OF his WIFE Dolly, she and Carmine help guide Rosalyn out.</scene_description> </scene> <scene> <stage_direction>EXT. WEST 54TH STREET - NIGHT</stage_direction> <scene_description>Todd Rundgren's "I Saw the Light" plays somewhere. Edith dressed in tight Halston dress, hair flows huge all round her; walks with Richie, who is waiting in a white gray suit with a white disco collar outside the lapel, chains around his neck.</scene_description> <character>EDITH GREENSLY</character> <dialogue>Didn't your fiance want to come out tonight?</dialogue> <character>RICHIE DIMASO</character> <dialogue>Yeah, no, I don't know.</dialogue> <character>EDITH GREENSLY</character> <dialogue>I'm sorry, we don't have to talk about it. I was just teasing you.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Do you ever think, how did I end up here? How did my life become this? You ever think that? And you wonder, am I ever gonna get to a better place or is this it? You ever feel like that?</dialogue> <scene_description>Edith stares, nods yes.</scene_description> <character>EDITH GREENSLY</character> <dialogue>I do. I definitely know that.</dialogue> <scene_description>Edith nods puts a hand on his face.</scene_description> <character>EDITH GREENSLY</character> <dialogue>I'm sorry we don't have to go dancing. We can go have coffee or talk or something.</dialogue> <character>RICHIE DIMASO</character> <dialogue>No, I need this. Please, I need to go dancing with you.</dialogue> <scene_description>Richie reaches down and squeezes her hand.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Please.</dialogue> <scene_description>Edith smiles.</scene_description> <character>EDITH GREENSLY</character> <dialogue>OK baby, let's go dancing.</dialogue> </scene> <scene> <stage_direction>INT. DISCO - NIGHT</stage_direction> <scene_description>Richie and Edith DANCE AND DANCE AND SWEAT to Donna Summer's "I Feel Love" -- dance -- riding a high. Edith EXCUSES HERSELF to go to bathroom -- breaks away through crowd -- leaves Richie on dance floor -- then SUDDENLY BREAKS AWAY -- RUSHES THROUGH THE CROWD -- GETS TO THE LADIES ROOM JUST AS SYDNEY DOES -- HE PUSHES HER</scene_description> <character>FROM BEHIND INTO A STALL -- SHE PUTS HER HANDS</character> <dialogue>THE STALL WALL AS RICHIE RUNS HIS HANDS UP HER ANKLES AND UNDER HER DRESS - SHE LEANS HER ASS</dialogue> <character>ON THE TOP OF</character> <dialogue>LEGS FROM HER BACK INTO IT</dialogue> <scene_description>ARCHES HER BACK -- SUDDENLY RICHIE STOPS, throws himself back against the other stall wall, out of breath. Edith LOOKS OVER HER SHOULDER --</scene_description> <character>RICHIE DIMASO</character> <dialogue>I really fucking like you.</dialogue> <character>EDITH GREENSLY</character> <dialogue>I like you too. I want to live, alright. For real. No more fake shit. Alright?</dialogue> <scene_description>She get's real close to his face, almost about to kiss.</scene_description> <character>EDITH GREENSLY</character> <dialogue>We're going to wait until we decide to go for love Richie. For real. That's when we fuck. Not till then, ok?</dialogue> <scene_description>OK.:</scene_description> <character>GIRL OUTSIDE STALL (O.S.)</character> <dialogue>Are you gonna fuck for real or get out of the stall for real?</dialogue> <character>EDITH GREENSLY</character> <dialogue>No more fake shit.</dialogue> <character>RICHIE DIMASO</character> <dialogue>No more fake shit.</dialogue> <character>EDITH GREENSLY</character> <dialogue>No more fake shit!</dialogue> <character>GIRL OUTSIDE STALL</character> <dialogue>Fuck me I gotta piss!</dialogue> <scene_description>The girl outside the stall bangs on the door. She holds his mouth in one hand and leans in and kisses him - they get lost --</scene_description> <character>EDITH GREENSLY</character> <dialogue>Get out!</dialogue> <scene_description>SHE SHOVES HIM OUT OF THE STALL, LOCKS IT.</scene_description> <character>RICHIE DIMASO</character> <parenthetical>(outside stall)</parenthetical> <dialogue>I want to be fucking real!</dialogue> <scene_description>RICHIE LAUGHS MANICALLY EXCITED AS HE STANDS AMID MANY WOMEN WHO SHOVE HIM OUT THE DOOR. IN THE STALL SYD SITS EXHILARANTLY AND THROWS HER HEAD BACK LAUGHING HYSTERICALLY - GIDDY. AHHHHHHH!: SMASH TO:</scene_description> </scene> <scene> <stage_direction>INT. BARON'S BACK ROOM - CAMDEN SOCIAL CLUB - NIGHT</stage_direction> <scene_description>Irv and Carmine JOYOUSLY SING Tom Jones' "Delilah" WITH a RAUNCHOUSLY HAPPY GROUP OF locals. SMASH TO:</scene_description> </scene> <scene> <stage_direction>INT. BARON'S BACK ROOM- CAMDEN SOCIAL CLUB - NIGHT - LATER</stage_direction> <scene_description>Carmine puts down glass of bourbon as he addresses everyone emotionally as he looks at Irving.</scene_description> <character>CARMINE POLITO</character> <parenthetical>(to Julius)</parenthetical> <dialogue>This guy right here, Irving Rosenfeld? You know what he's gonna do? He's gonna bring the Sheik to Atlantic City, where we can rebuild all those resorts there, put everybody back to work.</dialogue> <scene_description>Irving stares and is moved by this. Tears come to his eyes, he feels bad about it all suddenly.</scene_description> <character>CARMINE POLITO</character> <dialogue>He's gonna get this community -- he's gonna get this state -- back on its feet where it belongs. Isn't that right?</dialogue> <character>CARMINE POLITO</character> <dialogue>He's gonna grow our tax base and create thousands and thousands of jobs for everyone. You understand that? You know what that means?</dialogue> <character>JULIUS</character> <dialogue>To Irving.</dialogue> <character>GIRLS</character> <dialogue>To Irving!</dialogue> <scene_description>Carmine sits down on the couch next to Irving.</scene_description> <character>CARMINE POLITO</character> <dialogue>This guy right here. He's got a big heart.</dialogue> <character>IRVING ROSENFELD</character> <parenthetical>(quietly)</parenthetical> <dialogue>I'd just hate it if it didn't work out.</dialogue> <character>CARMINE POLITO</character> <dialogue>What do you mean? Of course it's going to work out. Guys like you and me? We dream and we build. We never give up. We never quit.</dialogue> <scene_description>SMASH TO: EGGS, PANCAKES, AND BACON COOK ON A DINER GRIDDLE.</scene_description> </scene> <scene> <stage_direction>QUIET -- INT. DINER - MORNING</stage_direction> <scene_description>Irv and Carmine eat breakfast.</scene_description> <character>CARMINE POLITO</character> <dialogue>Can I ask you a question.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Sure.</dialogue> <character>CARMINE POLITO</character> <dialogue>Is the sheik black?</dialogue> <scene_description>Irving looks flummoxed.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>He's an Arab.</dialogue> <scene_description>They look at each other.</scene_description> <character>CARMINE POLITO</character> <dialogue>That's black, isn't it?</dialogue> <scene_description>Irv isn't sure what to say.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Why you asking?</dialogue> <character>CARMINE POLITO</character> <dialogue>Maybe it's a dumb question, but I was just wondering -- I would like to arrange for the Sheik to see Camden. To see the people of Camden. The people I serve. The people I love. Who are mostly black and Puerto Rican. I really want him to see how good this is going to be for the community, how ready we are for this opportunity, and he can see how far his dollar will go. You know what I mean? What do you think?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Yeah we can do that. He can see Camden.</dialogue> <character>CARMINE POLITO</character> <parenthetical>(relieved)</parenthetical> <dialogue>Hey, I got something I wanna give to you.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>For me?</dialogue> <character>CARMINE POLITO</character> <dialogue>I got you a gift. Let's get out of here. The girls are going to kill us I'm sure.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. DINER PARKING LOT - MORNING</stage_direction> <scene_description>They walk in the morning sun to Carmine's Lincoln where he opens the trunk and they stare at what is inside.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>What is it?</dialogue> <character>CARMINE POLITO</character> <dialogue>It's a microwave. It heats up everything. Pasta, lasagna, meatballs, whatever.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Really?</dialogue> <character>CARMINE POLITO</character> <dialogue>It's science, yeah. That's how it heats up the food. It's scientific.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>And you specifically bought this science oven for me.</dialogue> <character>CARMINE POLITO</character> <parenthetical>(Carmine stares meaningfully at Irv)</parenthetical> <dialogue>Yes. A new friend.</dialogue> <scene_description>Irv is touched. He sees it is a sincere gift from Carmine, because Carmine likes him; not cynical in any way.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Thank you.</dialogue> <character>CARMINE POLITO</character> <dialogue>Don't put metal in it. Come on, let's get out of here.</dialogue> <scene_description>SMASH TO:</scene_description> </scene> <scene> <stage_direction>EXT. FBI BUILDING - DAY</stage_direction> <character>RICHIE DIMASO (O.S.)</character> <dialogue>I need a jet at Teeterboro.</dialogue> </scene> <scene> <stage_direction>INT. FBI OFFICE, FEDERAL OFFICE BUILDING, NY - DAY</stage_direction> <character>RICHIE DIMASO</character> <dialogue>I need a jet at Teeterboro for the sheik.</dialogue> <character>STODDARD THORSEN</character> <dialogue>You don't need a jet. Let him walk to the curb at JFK.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Stoddard, that's not how it works. You got to do it from the feet up.</dialogue> <character>STODDARD THORSEN</character> <dialogue>That doesn't mean anything. What's that mean?</dialogue> <character>RICHIE DIMASO</character> <dialogue>It means you gotta be committed! It means you gotta be committed to something in your life, for Christ's sake. I want a jet at Teterboro for the Sheik. It can be a small jet. It doesn't even have to take off, cause I know you're so worried about how much money the Bureau's gonna fucking spend. It can take off and land on the tarmac, okay?</dialogue> <character>STODDARD THORSEN</character> <dialogue>Alright, you can have a jet for an hour, but it takes off and lands at Teterboro.</dialogue> <character>RICHIE DIMASO</character> <dialogue>I got the jet?</dialogue> <character>STODDARD THORSEN</character> <dialogue>You got the jet.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Thank you.</dialogue> <scene_description>Richie goes to walk out of Stoddard's office but stops at the door.</scene_description> <character>RICHIE DIMASO</character> <dialogue>So tell me the rest of the ice fishing story.</dialogue> <character>STODDARD THORSEN</character> <dialogue>Where was I?</dialogue> <character>RICHIE DIMASO</character> <dialogue>Your father woke you up, it was a blizzard, it was Lake Canoga. Come on!</dialogue> <character>STODDARD THORSEN</character> <dialogue>Okay, well, my brother and I were on the ice and my father came out of the house and I could see him coming. He was holding a lantern, and it was in the blizzard and I knew he was gonna be angry. So I went to intercept my father because I knew if he saw what my brother was doing he was going to kill him.</dialogue> <scene_description>Richie cuts him off.</scene_description> <character>RICHIE DIMASO</character> <dialogue>So you tried to protect your brother, but you couldn't and that's why you feel bad, because you're trying to protect me and you're worried about me. Is that what the story's about? About protection?</dialogue> <character>STODDARD THORSEN</character> <dialogue>No, it's not about protection.</dialogue> <character>RICHIE DIMASO</character> <dialogue>It's not about protection?</dialogue> <character>STODDARD THORSEN</character> <dialogue>No.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Alright, fine.</dialogue> <scene_description>Richie walks out the door.</scene_description> </scene> <scene> <stage_direction>INT. ROSALYN'S KITCHEN - DAY</stage_direction> <scene_description>Ros talks to herself carrying tin foil covered tray of lasagna.</scene_description> <character>ROSALYN ROSENFELD</character> <parenthetical>(to herself)</parenthetical> <dialogue>"Don't put metal in the science oven, don't put metal in the science oven, Rosalyn"...always treats me like a fucking child. I'll do whatever I want.</dialogue> <scene_description>She puts the tin foil lasagna into microwave. After a few moments it sparks, explodes into flames. DANNY RUNS IN.</scene_description> <character>DANNY</character> <parenthetical>(runs in)</parenthetical> <dialogue>Another fire!</dialogue> <character>ROSALYN ROSENFELD</character> <parenthetical>(grabbing a fire extinguisher)</parenthetical> <dialogue>No, Danny, not that one! That one's empty! We gotta use the big one!</dialogue> <scene_description>SMASH TO:</scene_description> <character>IRVING ROSENFELD</character> <dialogue>I told you not to put metal in the science oven. Why did you do that for?</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Don't make such a big deal. Just get another one.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I don't want another one. I want the one that Carmine gave me.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>"I want the one Carmine gave me!" Carmine, Carmine, why don't you just marry Carmine, get a little gold microwave and put it on a chain around your neck. You want to be more like Carmine? Why don't you build something like he does, instead of all your empty deals that are just like your fucking science oven. You know I read that it takes all of the nutrition out of our food. It's empty, just like your deals. Empty, empty!</dialogue> <character>IRVING ROSENFELD</character> <dialogue>That's bullshit.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>It's not bullshit. I read it in an article. Look, by Paul Brodeur.</dialogue> <scene_description>SHE HANDS HIM THE MAGAZINE.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>Bring something into this house that's gonna take all the nutrition out of our food and then light our house on fire? Thank God for me.</dialogue> <scene_description>Ros stares defiantly, clicks her nails on the counter. PRE- LAP JET ROAR, IRVING STARES AT ROS and BURNED OVEN and looks at the magazine article.</scene_description> </scene> <scene> <stage_direction>EXT. TEETERBORO AIRPORT TARMAC, NEW JERSEY - DAY</stage_direction> <scene_description>JET ROAR LANDING. A small airport. Irv stands alone, staring at Edith and Richie kissing. Richie, in long full length fleece lined suede coat, walks over towards where Carmine stands. CUT TO: IRV AND SYDNEY WALKING ACROSS TARMAC.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>I don't think you should come to Carmine's party tonight. You look beautiful by the way.</dialogue> <character>EDITH GREENSLY</character> <dialogue>Don't look at me. Don't look at my legs, don't look at my hair, don't smell my hair, don't ask me how I am, don't talk to me outside of these roles, 'cause we're done.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>What are you doing? Get under the umbrella. It's just that Carmine wants Rosalyn to come.</dialogue> <character>EDITH GREENSLY</character> <dialogue>I don't care. You weren't listening. I don't care if Rosalyn comes. Just do your job, okay? You're nothing to me until you're everything. I'm not Rosalyn. I'm not gonna put up with that shit.</dialogue> <scene_description>THEY ARRIVE AT Richie as the JET arrives on the tarmac.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Now that's a fucking jet right?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>It's good.</dialogue> <character>RICHIE DIMASO</character> <dialogue>That's the kinda moves you need to make.</dialogue> <scene_description>They walk towards the Jet and walk on leaving Carmine and Edith waiting outside.</scene_description> </scene> <scene> <stage_direction>INT. PRIVATE JET - CONTINUOUS</stage_direction> <scene_description>Irv and Richie step aboard to find FBI AGENT PACO HERNANDEZ putting on a regal looking white Arab keffyeh headdress and robe -- he looks noble. TWO AGENTS posing as body guards.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Paco, Richie Dimaso, good to meet you in person \[shakes Paco's hand\] - this is Irving Rosenfeld.</dialogue> <scene_description>Irv nods to Paco and the other agents.</scene_description> <character>PACO HERNANDEZ</character> <dialogue>Paco Hernandez. Nice to meet you.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Paco? He's--wait, he's not a real Arab.</dialogue> <character>PACO HERNANDEZ</character> <dialogue>No. I'm Mexican. From Tuscon.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Wait, where's my guy? Where's Al from Queens?</dialogue> <character>RICHIE DIMASO</character> <dialogue>Who?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>My friend from Queens. Where is he? What are you doing?</dialogue> <character>RICHIE DIMASO</character> <dialogue>I gotta hire an F.B.I. guy.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>What are you-- (to Paco) You speak any Arabic?</dialogue> <character>PACO HERNANDEZ</character> <dialogue>Yeah. Abdullah Ahmed.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>That's it? That's all you got?</dialogue> <character>PACO HERNANDEZ</character> <dialogue>No, I have a couple phrases.</dialogue> <scene_description>Irving isn't sure, looks Paco up and down.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>(to Richie) From the feet up, you motherfucker. What are you doing? (to Paco) Act normal. That's it. Like you can barely understand English. You can't speak it. You say as little as possible. You follow my lead. Alright?</dialogue> <character>PACO HERNANDEZ</character> <dialogue>(to Richie) Who's running this? I thought you were running it.</dialogue> <character>RICHIE DIMASO</character> <dialogue>I am running this but you've gotta listen to him. He's the guy with the vision.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I've got the vision? You know what vision I had? You just kissing my girl outside. That's what vision I had.</dialogue> <character>RICHIE DIMASO</character> <parenthetical>(stares at Irving)</parenthetical> <dialogue>I thought you guys broke up. I'm giving you a compliment.</dialogue> <character>PACO HERNANDEZ</character> <dialogue>What's going on?</dialogue> <character>RICHIE DIMASO</character> <dialogue>Don't worry about it.</dialogue> <scene_description>Irving takes a expensive looking ceremonial knife out of his jacket pocket and holds it out to Paco.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>You got a knife. This is for the Mayor. You've got to present it to him. Look me in the eye. This means a lot to you. Right? That knife.</dialogue> <character>PACO HERNANDEZ</character> <dialogue>OK.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Play it. You present it. "Friendship for life," alright? You gotta feel it. Sacred. Can you do it?</dialogue> <character>PACO HERNANDEZ</character> <dialogue>Right. Sacred.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>You gotta sell it.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Sell it.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>If you believe it's sacred, it's sacred.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Listen to what he's saying.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Can you do it?</dialogue> <character>RICHIE DIMASO</character> <dialogue>It's the details. That's what makes this guy a genius.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Again? You compliment me again. What is this, rubbing salt in the wound?</dialogue> <scene_description>Irving stares incredulously.</scene_description> <character>RICHIE DIMASO</character> <dialogue>I'm complimenting you. (to Paco) Any other questions?</dialogue> <character>PACO HERNANDEZ</character> <dialogue>Yeah, I think the name of this operation is offensive.</dialogue> <character>RICHIE DIMASO</character> <dialogue>What?</dialogue> <character>PACO HERNANDEZ</character> <dialogue>Abscam. "Arab Scam?" It's racist.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Are you fucking kidding? What do you care? You're Mexican.</dialogue> </scene> <scene> <stage_direction>EXT. TETERBORO AIRPORT TARMAC - DAY</stage_direction> <scene_description>ELO's "10538 Overture" kicks on. Irv and Richie exit the plane walking slightly behind the "sheik" and his "bodyguards" - the sheik in the front. The Sheik hands the ceremonial knife to Carmine and bows his head --</scene_description> <character>CARMINE POLITO</character> <dialogue>Hello Sheik, my friend. Welcome. On behalf of the great state of New Jersey I want to welcome you to New Jersey. I know that was redundant. I'm sorry. I'm just very nervous.</dialogue> <scene_description>Carmine takes the knife and looks to the others excitedly.</scene_description> <character>CARMINE POLITO</character> <parenthetical>(to "shiek")</parenthetical> <dialogue>We have a great party planned for you this evening.</dialogue> </scene> <scene> <stage_direction>INT. IRV AND ROSALYN'S HOUSE - NIGHT</stage_direction> <character>ROSALYN ROSENFELD</character> <parenthetical>(half dressed)</parenthetical> <dialogue>But what are you talking about, I can't go? I just did my hair and makeup and everything!</dialogue> <character>IRVING ROSENFELD</character> <dialogue>The Sheik's very particular. It's international cultural protocol.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>International protocol? What the fuck are you talking about?</dialogue> <scene_description>PHONE RINGS --</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Do not answer that!</dialogue> <character>ROSALYN ROSENFELD</character> <parenthetical>(answers phone)</parenthetical> <dialogue>Hello -- Robert Spencer? I don't know a Robert Spencer. What do you want?</dialogue> <character>IRVING ROSENFELD</character> <parenthetical>(takes phone)</parenthetical> <dialogue>Give it to me.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Who is that?</dialogue> <character>IRVING ROSENFELD</character> <parenthetical>(into the phone)</parenthetical> <dialogue>Look, I told you, for God's sake, I told you not to call here.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>What is that about?</dialogue> <character>RICHIE DIMASO</character> <parenthetical>(on phone)</parenthetical> <dialogue>Two more federal agents tonight, OK?</dialogue> <scene_description>Ros leaves the room.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>No way.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Yes. They're bodyguards for the Sheik.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>That's too many people for me to control, no.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Look. I'm in charge here, alright? Just do it.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Rosalyn, get off the extension!</dialogue> <scene_description>PAN TO: REVEAL ROSALYN IN KITCHEN LISTENING ON THE PHONE.</scene_description> <character>ROSALYN ROSENFELD</character> <parenthetical>(hangs up)</parenthetical> <dialogue>I'm not on it!</dialogue> <scene_description>But she was on it. She heard.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Look, don't call here again, alright? Don't call at home.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Alright?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>OK.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Good night.</dialogue> <scene_description>He HANGS UP and walks into the kitchen. Rosalyn looks at him.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>Federal agents?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>It's bodyguards for the visiting dignitary, that's all.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>What is it, an I.R.S. thing? Like a tax investigation?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Why you gotta say that? I mean, that's why I can't invite you. It's too complicated. Listen, come on.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Are you in trouble?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Look, stop being so nosy.</dialogue> <scene_description>Irving opens the fridge which is a mess.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Look at this shit.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>I'm only nosy cause you never tell me anything.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Can we clean up this fridge? I mean, what are you causing trouble for all the time?</dialogue> <scene_description>PHONE RINGS AGAIN.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>DO NOT ANSWER THAT--</dialogue> <character>ROSALYN ROSENFELD</character> <parenthetical>(picks up phone)</parenthetical> <dialogue>HEL-LO- Oh, hi, Carmine. We were just talking about you.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Irving's being a mean, boring man saying that he doesn't want me to come tonight.</dialogue> <character>CARMINE POLITO</character> <dialogue>(on phone)Tell him he's crazy!</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Well, I agree. Want to tell him yourself?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Gimme the phone, come on.</dialogue> <character>CARMINE POLITO</character> <dialogue>It wouldn't be a party without you!</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Can you imagine? Tell him yourself.</dialogue> <scene_description>She hands the phone to a very exasperated, anxious, Irv.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>(into telephone) Hey, Carmie.</dialogue> <character>CARMINE POLITO</character> <dialogue>Irving, you're crazy! Your wife is coming, you kidding me? She's the life of the party! Everybody loves her.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>I'm the life of the party!</dialogue> <character>IRVING ROSENFELD</character> <parenthetical>(confidential into phone)</parenthetical> <dialogue>Look, you know what she's like. She's unpredictable. She's just always --</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Hey, don't talk about me like that! What's Carmine saying?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I can't hear what he's saying.</dialogue> <character>CARMINE POLITO</character> <dialogue>Listen, Irving, it's very important that she come, you understand?</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Carmine loves me.</dialogue> <character>CARMINE POLITO</character> <parenthetical>(on phone)</parenthetical> <dialogue>This is a really big night for us, you understand? Come on, you gotta bring your wife. And Dolly's got somethin' special for her.</dialogue> <scene_description>Dolly is getting dressed for the party in the background.</scene_description> <character>DOLLY POLITO</character> <dialogue>Tell her I got the nail polish for her.</dialogue> <character>CARMINE POLITO</character> <dialogue>See? Listen!</dialogue> <character>DOLLY POLITO</character> <dialogue>(raising her voice to phone) I got your nail polish for you, sweetie!</dialogue> <character>CARMINE POLITO</character> <dialogue>You see? Somethin' special for you. What is it? Tell me. I mean, (lowers his voice, conspiratorial) What is it, you got a girlfriend coming? Come on, I thought we were friends. You're not gonna tell me you got a girlfriend? This is ridiculous.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>No, it's just Rosalyn's unpredictable.</dialogue> <character>CARMINE POLITO</character> <dialogue>Look, we're gonna handle this like men, you understand? You're bringing your wife. We're gonna have a good time. That's an order from the Mayor. Good-bye.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>(to Rosalyn) Alright, you happy? Go get ready.</dialogue> <scene_description>Irv hangs up and exits the kitchen.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>Yes, I am happy.</dialogue> </scene> <scene> <stage_direction>INT. IRV'S CADILLAC - DUSK</stage_direction> <scene_description>Elton John's "Goodbye Yellow Brick Road" plays on the soundtrack as Irv drives: tinted glasses, large comb over, blue crushed velvet suit, dark tie -- PAN TO: VISOR MIRROR -- WHERE Rosalyn APPLIES MASCARA -- SMASH TO:</scene_description> </scene> <scene> <stage_direction>EXT. GRAND OLD ATLANTIC CITY HOTEL - NIGHT</stage_direction> <scene_description>Elton John continues as Carmine LIGHTS A CIGARETTE in a two- toned GRAY AND BLACK TUXEDO, at the center of a haphazard red carpet situation in front of a has-been beach resort -- large old movie premiere spotlights rotate onto the facade in an assorted CROWD OF LOCALS some dressed up - JULIUS, CARMINE, TITO, MELORA (Carmine's STEADFAST AIDES) son DOMINIC, daughter LUCILLE, wife Dolly, assorted COPS, FIREMEN IN FORMAL UNIFORMS WHITE GLOVES, UNION GUYS in suits, fringe the area. Carmine 's family is dressed up. IRV'S CAR PULLS UP AND A FAT VALET IN RED OPENS DOOR. ROSALYN GETS OUT IN HER WHITE DRESS -- DOLLY HANDS ROSALYN A TINY SHOPPING BAG WITH SWISS NAIL PRODUCTS. ROSALYN OPENS A LITTLE BOTTLE OF NAIL FINISH AND SHRIEKS IN ECSTACY. Greets everyone. LIMO PULLS UP: FLASHBULBS GO OFF -- SUDDENLY THE SPOT LIGHT JAMS WITH GRINDING SOUND, LAMP EXPLODES IN SMOKE -- THROUGH THE SMOKE FROM THE FIRE STEPS: Richie IN A WHITE SUIT, Edith stunning SILVER METALLIC Halston dress, WHITE FUR COAT -- THE SHEIK STEPS OUT OF HIS LIMO, IN A BLACK FORMAL ARAB DRESS, WITH AN ARABIC OR HISPANIC LOOKING FBI AGENT WE SAW ON THE PLANE DRESSED AS HIS BODY GUARD IN BLACK WITH BLACK SUNGLASSES. ACROSS THE RED CARPET -- ROSALYN AND SYDNEY SEE EACH OTHER FOR ONE OF THE FIRST TIMES -- LOCK EYES. ROSALYN HUGS IRV'S ARM --</scene_description> <character>ROSALYN ROSENFELD</character> <parenthetical>(to Edith, glaring)</parenthetical> <dialogue>I know who you are.</dialogue> <scene_description>Irv tries to turn Rosalyn away, but she keeps turning back giving Edith the hairy eyeball, as Edith gives it right back.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>I know who that is Irving.</dialogue> <scene_description>Off to the side, Richie steels himself with bump of cocaine before walking inside the old resort, his eyes dilate.</scene_description> </scene> <scene> <stage_direction>INT. LOBBY OF GRAND OLD SEASIDE HOTEL - NIGHT</stage_direction> <scene_description>The entourage walks through the ornate lobby as Edith and Rosalyn continue to eyeball each other with Irv uncomfortably in the middle as Carmine ENTHUSIASTICALLY CONTINUES HIS PRESENTATION FOR THE SHEIK.</scene_description> <character>CARMINE POLITO</character> <dialogue>So this is the lobby. Now mind you, a week ago this place was a mess, but what existed was this plasterwork. Look at the detail. This is beautiful. My sons are craftsmen. (to son, Dominic) Please, tell them what you did.</dialogue> <character>DOLLY POLITO</character> <dialogue>Tell them everything you know. The trompe l'oeil.</dialogue> <character>DOMINIC POLITO</character> <dialogue>Birds, sky, clouds, wood. Trompe l'oeil -- "Trick of the eye."</dialogue> <character>CARMINE POLITO</character> <dialogue>We can restore all of this, you see? You save 50 million -- look at me -- fifty million right off the bat -- I waive the law I helped write. It said casino construction must be ground up new, we don't do new. We renovate.</dialogue> <character>DOLLY POLITO</character> <dialogue>We don't do new. We renovate.</dialogue> <scene_description>Carmine leads all of them through the very crowded lobby as he talks. Irving listens intently, moved.</scene_description> </scene> <scene> <stage_direction>INT. DOWNSTAIRS CASINO - CONTINUOUS</stage_direction> <scene_description>200 PEOPLE ARE GATHERED around blackjack, roulette, and craps tables, playing and having a good time.</scene_description> <character>CARMINE POLITO</character> <dialogue>We put in some temporary fun -- some gaming tables, some play money for people to have a good time. For charity -- the Boys and Girls Club and some arts programs.</dialogue> <scene_description>Rosalyn walking with Irving, continues to stare daggers at Edith, who stays close to Richie. Carmine, Julius, Melora, CONTINUE TO LEAD EVERYONE INTO</scene_description> </scene> <scene> <stage_direction>INT. THE OCEAN ROOM -- CONTINUOUS</stage_direction> <scene_description>Carmine continues to walk --</scene_description> <character>CARMINE POLITO</character> <dialogue>This is the Ocean Room --</dialogue> <scene_description>He pushes open double upholstered old doors -- THEY ENTER THE LARGE CROWDED YET INTIMATE BEMELMANS STYLE BAR The bar -- LIKE THE BEMELMANS BAR AT THE CARLYLE HOTEL IN MANHATTAN - IS LARGE YET INTIMATE -- THERE ARE 50 DRESSED UP CITIZENS THERE DRINKING -- AND A CROWDED LONG BAR -- AND ANOTHER SMALLER BAR ON THE FAR SIDE OF THE ROOM --- Carmine pauses to stare at the MEN AT THE FAR BAR -- FIVE MEN IN SUITS, 40 TO 60, SLIGHTLY MOB-LOOKING. AS Irv IS PULLED ASIDE CONFIDENTIALLY BY Carmine -- Richie AND Edith WATCH -- Rosalyn STANDS TO THE SIDE -- Carmine puts his arm around Irv's shoulders --</scene_description> <character>CARMINE POLITO</character> <dialogue>There are some gentlemen over there at the bar. That's a hundred and thirty years sitting there -- that's how much time's between them. They run the biggest casinos in the United States. We have to work with them.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Right.</dialogue> <character>CARMINE POLITO</character> <dialogue>The good news is they know how it's done. They get it done. You don't have to worry. Everyone makes their money.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>You mean the Mob?</dialogue> <character>CARMINE POLITO</character> <dialogue>Yes, but they're businessmen, okay? Now, spend as much or as little time with them as you like, but we do have to deal with them. All we've got to do is go say hello. We just gotta say hi, that's all.</dialogue> <scene_description>Edith looks on, calm, as Richie -- WILD EYED WITH COCAINE AND ADRENALINE --</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Carmine, maybe -- I'm not sure that's such a good idea. We gotta confer before we talk to these guys.</dialogue> <character>RICHIE DIMASO</character> <parenthetical>(interrupting, hopped up)</parenthetical> <dialogue>Confer? What is there to confer about? They're casino guys.</dialogue> <character>CARMINE POLITO</character> <dialogue>They are businessmen.</dialogue> <character>RICHIE DIMASO</character> <dialogue>We came all this way, Irving. We should be here. What's everybody scared of? There's nothing to be scared of.</dialogue> <scene_description>Richie stares down Irv, Edith pulls Richie back -- Rosalyn is starting to go down a SPIRAL OF DEPRESSION as she looks increasingly uncomfortable.</scene_description> <character>ROSALYN ROSENFELD</character> <parenthetical>(re: the mob guys)</parenthetical> <dialogue>Those are the guys you're all scared of? Those guys over there? They don't scare me.</dialogue> <scene_description>She glares at Edith and Irv and pivots to walk to the bar.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Rosalyn!</dialogue> <scene_description>But she's already on her way over to the MAFIA MEN at the bar who GREET HER WARMLY as Irv, Edith, Richie, and Carmine watch.</scene_description> <character>RICHIE DIMASO</character> <dialogue>I love this!</dialogue> <scene_description>Rosalyn walks up to PETE MUSANE, CHARISMATIC, 30 and sits down in between all the Mafia guys.. THE OTHER THREE SALT AND PEPPER MAFIA GUYS LAUGH AND TALK WITH Rosalyn - who gulps a glass of PROSECCO and IS REFILLED BY PETE MUSANE.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>Hi. Can I sit here?</dialogue> <scene_description>Carmine whispers to Irv as he watches Rosalyn talk to the Mafia guys.</scene_description> <character>CARMINE POLITO</character> <dialogue>Irving, this is not a good idea.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>How you guys doing? Everybody over there is really scared of you guys, you know that?</dialogue> <scene_description>She knocks back the prosecco. She seems relieved. Dolly ushers her kids to the door.</scene_description> <character>DOLLY POLITO</character> <dialogue>Kids, I want you to go up and get some pizza and soda, please.</dialogue> <scene_description>Irving and Edith watch in horror at Rosalyn.</scene_description> <character>EDITH GREENSLY</character> <dialogue>It's a disaster.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>I think they have this room all wrong.</dialogue> <character>PETE MUSANE</character> <dialogue>Yeah? What would you do?</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>I would do it in all black and gold and I would do this bar like a big, warm golden mirror.</dialogue> <character>DICK HELSING</character> <dialogue>Sounds beautiful.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Thank you.</dialogue> <scene_description>Rosalyn's smitten by the mobsters.</scene_description> <character>PETE MUSANE</character> <dialogue>But you expect that from her because she's so beautiful --</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Oh stop.</dialogue> <character>DICK HELSING</character> <dialogue>Gorgeous.</dialogue> <character>PETE MUSANE</character> <dialogue>I love her hair, so I know I'm gonna love how she'd do the room --</dialogue> <scene_description>He touches the front of her huge Farrah overhang bangs. Richie, Irving, Carmine, and the Sheik walk up to them.</scene_description> <character>RICHIE DIMASO</character> <dialogue>How do you do?</dialogue> <character>PETE MUSANE</character> <parenthetical>(to Richie)</parenthetical> <dialogue>I'm sorry is she your wife?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>No, she's my wife. She's my wife.</dialogue> <character>CARMINE POLITO</character> <dialogue>Look at these fine gentleman.</dialogue> <character>PETE MUSANE</character> <dialogue>Carmine, there you are.</dialogue> <character>CARMINE POLITO</character> <dialogue>How you doing?</dialogue> <scene_description>Irving takes the glass of prosecco out of Rosalyn's hand and puts it on table.</scene_description> <character>PETE MUSANE AND GUYS</character> <dialogue>Ohhhh, heyyyyy! Come onnn!</dialogue> <character>ROSALYN</character> <dialogue>It's because he's a party pooper. He's so boring.</dialogue> <scene_description>Irving stares fuming at Rosalyn and the guys, he nods and forces a smile good naturedly as they put prosecco glass in his hand. He knows how to fake it.</scene_description> <character>PETE MUSANE</character> <dialogue>You have a very beautiful wife.</dialogue> <character>DICK HELSING, ROSALYN ROSENFELD, OTHER</character> <dialogue>GUYS</dialogue> <scene_description>Salud. THE MADE GUYS LAUGH. SYD ROLLS HER EYES. IRVING, CARMINE STARE WITH TENSION. THEY ALL LAUGH. RICHIE GUIDES SHEIK with ONE BODY GUARD.</scene_description> <character>RICHIE DIMASO</character> <dialogue>May I present Sheik Abdullah, gentlemen, from Abu Dhabi. Sheik, these men are professionals, they run the best casinos in the United States.</dialogue> <scene_description>The Sheik acknowledges them with a nod. Irv is extremely uncomfortable.</scene_description> <character>PETE MUSANE</character> <dialogue>Mr. Sheik, as a sign of our seriousness, Mr. Tallegio came from Miami to meet you tonight.</dialogue> <scene_description>HEAVY PAUSE.</scene_description> <character>CARMINE POLITO</character> <dialogue>Mr. Tallegio? Why didn't you tell me Mr. Tallegio was here?</dialogue> <character>PETE MUSANE</character> <dialogue>He's in the back room.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>It's a sign of disrespect to do business on the first meeting.</dialogue> <character>RICHIE DIMASO</character> <dialogue>That's not true. I don't know what your talking about. (to Musane) He's got it all wrong.</dialogue> <character>DICK HELSING</character> <dialogue>Well, don't leave him back there in the back room waiting. Come on, let's go.</dialogue> <scene_description>Rosalyn reaches to have her glass refilled by Dick Helsing when one of the other guys NUDGES her hip in her tight dress and she drops into Pete Musane's lap.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>Hey Irving, I'm going to be having fun. Maybe it will be contagious.</dialogue> <scene_description>Irving turns and heads with dread towards the back door with Carmine, Richie, and the Sheik. Sydney, worried about Rosalyn with Musane, decides to hang back.</scene_description> </scene> <scene> <stage_direction>INT. CASINO BACK ROOM -- NIGHT</stage_direction> <scene_description>SLOW PUSH IN ON POWERFUL LOOKING: BALD MAN IN SUNGLASSES, LIGHT GRAY SUIT, DARK TIE -- STANDING BY HIMSELF. CARMINE, RICHIE, SHEIK, IRVING ENTER A HALF FINISHED BACK ROOM. PUSH IN ON IRVING.</scene_description> <character>VICTOR TELLEGIO</character> <dialogue>Carmine!</dialogue> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>Victor Tellegio was from Miami. He was Meyer Lansky's right-hand man. In his prior reputation as an enforcer from twenty years ago, he was known to never bury a body because he felt it sent a stronger message to leave it in the street.</dialogue> <scene_description>FLASH BACK TO:</scene_description> </scene> <scene> <stage_direction>125A EXT. STREET - NIGHT 125A</stage_direction> <scene_description>YOUNGER TELLEGIO WALKS LAUGHING WITH A COLLEAGUE, LETS COLLEAGUE GET AHEAD AND TELLEGIO SUDDENLY PULLS PISTOL, FIRES THREE BULLETS WITH MUZZLE FLASH INTO MAN'S HEAD, MAN GOES TO GROUND, TELLEGIO FIRES ONCE MORE, DROPS CLIP FROM GUN AND SPITS ON BODY, WALKS DIRECTLY TO CAMERA MENACING. NOW BACK TO:</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>This is the guy we now had to deal with.</dialogue> </scene> <scene> <stage_direction>125B INT. CASINO BACK ROOM - CONTINUOUS 125B</stage_direction> <scene_description>RESUME PUSH IN ON TELLEGIO AS A COUPLE OF BUSBOYS SET UP AN IMPROMPTU TABLE AND CHAIRS. Carmine greets him.</scene_description> <character>CARMINE POLITO</character> <dialogue>You sure you don't want to go into the Ocean Bar? It's really, it's beautiful in there.</dialogue> <character>VICTOR</character> <dialogue>I'm very happy I there. I like it exit. I'm like a</dialogue> <character>TELLEGIO</character> <dialogue>don't have to go here. There's an ghost. Nobody</dialogue> <scene_description>knows I'm here. Busboys whip open a white table cloth for the table. Everyone sits down. Tellegio looks at the Sheik, then over to Richie.</scene_description> <character>VICTOR TELLEGIO</character> <dialogue>Tell him I speak for our friends in Florida. We're very excited. It's been our lifelong dream to build casino resorts on the East Coast.</dialogue> <scene_description>Richie pretends to translate in the Sheik's ear.</scene_description> <character>VICTOR TELLEGIO</character> <dialogue>You told him that? They didn't want the Jews to make money, they didn't want the Italians to make money, definitely don't want the blacks to make money. After the oil embargo -- the gasoline crisis -- the hijackings, the Olympics, they don't want to see Arabs make money, trust me, not on our soil. You can tell him this in your own way: I've been in the casino business forty years. It's scrutinized more carefully than any other business. Carmine made this legal, but we must be careful or they'll take it away.</dialogue> <character>CARMINE POLITO</character> <dialogue>So, Mister Tellegio, how do you think we should approach this? What do you want to do?</dialogue> <character>VICTOR TELLEGIO</character> <dialogue>If you want to get the gaming license and keep it we have to make our principal investor here, the Sheik, an American citizen.</dialogue> <scene_description>Irving and Richie both look at Victor intensely not sure where this is going.</scene_description> <character>CARMINE POLITO</character> <dialogue>To expedite citizenship -- well, that requires very special treatment.</dialogue> <character>VICTOR TELLEGIO</character> <dialogue>You would know the right people to do that, Carmine.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Carmine knows everybody.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>What are we talking about?</dialogue> <character>CARMINE POLITO</character> <dialogue>U.S. Senators. Congressmen.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Wow, that's fantastic.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I say stay away from that. That's bad. That's trouble. No, that's not good.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Irving please.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>That's trouble.</dialogue> <character>VICTOR TELLEGIO</character> <dialogue>Who is this guy? (to Irving) What are you, a farmer?</dialogue> <scene_description>Richie and Tellegio both laugh.</scene_description> <character>CARMINE POLITO</character> <dialogue>Mr. Tellegio, I'm sorry, this is Irving. New York businessman. Irving Rosenfeld.</dialogue> <character>VICTOR TELLEGIO</character> <dialogue>Irving, Irving. What's the matter, Irving? What's the problem?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Nothing. No problem.</dialogue> <character>VICTOR TELLEGIO</character> <dialogue>Don't get your balls in an uproar. Everything's fine, everything's good. It's all good. It's all good. I just hope the other part of this is all good. And real. Because we're real. You know that. You deal with us. We're a real organization. We deal with you, we don't know what we're dealing with.</dialogue> <scene_description>Everyone stares increasingly tense at Tellegio in silence. This could go wrong at any minute. Tellegio looks over to Richie and points to the Sheik. Irving watches in horror as --</scene_description> <character>VICTOR TALLEGIO</character> <dialogue>Where's he from?</dialogue> <character>RICHIE DIMASO</character> <parenthetical>(winging it)</parenthetical> <dialogue>Abu Dhabi.</dialogue> <character>VICTOR TELLEGIO</character> <dialogue>Oh, he's from the Emirates.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Yeah.</dialogue> <character>VICTOR TELLEGIO</character> <parenthetical>(in subtitled Arabic)</parenthetical> <dialogue>(Can I count on you? You gotta be honest about this. Do you understand me? Good means good. No bullshit.)</dialogue> <scene_description>PUSH IN ON IRV AND CARMINE FEELING THIS IMMENSE PRESSURE. WHAT THE FUCK IS GOING ON HERE?</scene_description> <character>VICTOR TELLEGIO</character> <parenthetical>(to Sheik)</parenthetical> <dialogue>(Did you hear what I said? Do you want me to repeat it?)</dialogue> <scene_description>Irving looks ill, as does everyone else at the table.</scene_description> <character>VICTOR TELLEGIO</character> <parenthetical>(What do you think now? Tell me. Tell me.)</parenthetical> <character>RICHIE DIMASO</character> <dialogue>Uh, I think, I think what he's --</dialogue> <character>VICTOR TELLEGIO</character> <dialogue>No, let him speak for himself.</dialogue> <scene_description>Sheik swallows hard and looks to Richie. It's a very tense moment for everyone at the table. Tellegio stares. Everyone hangs on this. Irving and Richie share a look -- what is he doing? A DRUNK, AL KOWALSKI, a working man, friend of the Mayor BARRELS INTO INTO THE TABLE, spilling drinks. Tellegio's guys jump in and grab him and start to pull him away.</scene_description> <character>CARMINE POLITO</character> <dialogue>No, I know him.</dialogue> <character>AL KOWALSKI</character> <dialogue>You guys are way too serious for a party!(to Tellegio) Hey, what are you drinking? You got a drink?</dialogue> <scene_description>TELLEGIO GLARES BACK AT THE INTRUSION.</scene_description> <character>CARMINE</character> <parenthetical>(to Al)</parenthetical> <dialogue>We're in a very serious meeting. (to Tellegio) I apologize.</dialogue> <scene_description>TELLEGIO DOES NOT LOOK AMUSED.</scene_description> <character>AL KALOWSKI</character> <dialogue>I understand, you're in conference. You gotta come with me now. You got a speech to give. Everyone's waiting for you.</dialogue> <character>CARMINE POLITO</character> <dialogue>Al, I'll be right behind you, okay? Trust me.</dialogue> <scene_description>Paco Hernandez/Sheik stands up and reaches over to Tellegio to shake his hand. Irving panics. THE MENACING DEEP BASS INTRO OF "WHITE RABBIT" FADES UP ON THE SOUNDTRACK.</scene_description> <character>SHEIK ABDULLAH</character> <parenthetical>(In Arabic)</parenthetical> <dialogue>It is great doing business with you. The investment is real. It was a pleasure to meet you.</dialogue> <scene_description>Irving exhales in relief that Paco managed to say anything passable in Arabic.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>What are the odds of an Italian guy from Miami knowing Arabic? But it turns out he's got casino investments in the Mideast and he spent two years learning it to keep the upper hand.</dialogue> <scene_description>Victor leans over to talk to Carmine.</scene_description> <character>VICTOR TELLEGIO</character> <dialogue>Listen to me carefully. If you're real, you put ten million in the bank of our choice in the next two weeks.</dialogue> <scene_description>Carmine nods.</scene_description> <character>VICTOR TELLEGIO</character> <dialogue>Carmine, listen to me carefully, if you're real, you put ten million in the bank of our choice in the next two weeks or not only will the Sheik feel insulted, but our friends in Florida will feel deeply disrespected and so will I.</dialogue> <scene_description>Irving looks at Victor, who stares back at him. This is bad. AT THE BAR -- "WHITE RABBIT" CONTINUES. ROSALYN CONTINUES TO FLIRT WITH PETE MUSANE -- SYDNEY WATCHES OUT OF CONTROL ROSALYN, STANDS AND WALKS OVER TO HER.</scene_description> <character>EDITH GREENSLY</character> <dialogue>Rosalyn, you need to come with me alright?</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>I don't need to come with you.</dialogue> <character>EDITH GREENSLY</character> <dialogue>You need to come with me. This needs to stop. Come on.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Oh, you think I should come with you?</dialogue> <character>EDITH GREENSLY</character> <dialogue>Yeah, you need to come with me right now.</dialogue> <scene_description>Rosalyn takes her wrist out of Sydney's grasp.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>Why don't you get your fucking hands off me, you fucking whore!</dialogue> <character>PETE MUSANE</character> <dialogue>Hey!</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>You're a whore. (to everyone) This is my husband's whore!</dialogue> <character>EDITH GREENSLY</character> <dialogue>That's real nice.</dialogue> <character>DOLLY POLITO</character> <dialogue>We're not going to do this in the Ocean Room tonight. Not tonight. Please.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>This is my husbands whore!</dialogue> <scene_description>Dolly escorts Edith over to one side of the room away from Rosalyn.</scene_description> <character>DOLLY POLITO</character> <dialogue>You stay over here with me. Everybody just calm down. I don't know what's going on.</dialogue> <scene_description>Pete looks over to Rosalyn.</scene_description> <character>PETE MUSANE</character> <dialogue>You alright? Take it easy. These things happen. Whatever's meant to be will be.</dialogue> <scene_description>Rosalyn smiles at Pete.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>That's what I always say.</dialogue> <character>PETE MUSANE</character> <dialogue>You say that?</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Yeah.</dialogue> <character>PETE MUSANE</character> <dialogue>See? Kindred spirits.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Whatever's meant to be will be.</dialogue> <character>PETE MUSANE</character> <dialogue>Whatever's meant to be will be.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. WOMEN'S POWDER ROOM HALLWAY - CASINO</stage_direction> <scene_description>ROSALYN STORMS DOWN THE HALL TOWARDS THE BATHROOM AS "WHITE RABBIT" BUILDS TO ITS CLIMAX.</scene_description> </scene> <scene> <stage_direction>INT. WOMEN'S POWDER ROOM - CASINO</stage_direction> <scene_description>Rosalyn looks in mirror: sadness, anger, fear. Edith rushes in.</scene_description> <character>EDITH GREENSLY</character> <dialogue>What the hell do you think you're doing?</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>What the hell do I think I'm doing?! What the fuck do you think you're doing? You really gonna come in here and judge me for flirting with somebody after you've been fucking my husband for how many years?!</dialogue> <character>EDITH GREENSLY</character> <dialogue>You don't have any fucking clue what's going on!</dialogue> <scene_description>Rosalyn holds her hand, with wedding ring to Sydney's face.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>I got a ring on my finger. We have a child together.</dialogue> <character>EDITH GREENSLY</character> <dialogue>He doesn't love you Rosalyn he loves me. And you know it and I know it and he knows it. And it might be done now, but it was beautiful and it was real.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Stop.</dialogue> <character>EDITH GREENSLY</character> <dialogue>And we loved each other.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Shut up.</dialogue> <scene_description>Rosalyn starts to tear up.</scene_description> <character>EDITH GREENSLY</character> <dialogue>You scare him, and you manipulate him, and you use your son!</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Well, he must like it on some level. He must want it because he keeps coming back for it. It's like that perfume that you love that you can't stop smelling, even when there's something sour in it. You can't get enough of it. But guess what, he's never gonna leave me. He's always going to want me, and I will make you so sorry, Edith. I will make you so sorry for what you've done to my family, mark my words.</dialogue> <character>EDITH GREENSLY</character> <dialogue>That is fucked up! I would never say anything that fucked up to anybody, but you do because you're gross inside, you're so fucked up and gross.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Oh, I'm gross inside?</dialogue> <character>EDITH GREENSLY</character> <dialogue>Yeah.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Maybe you're gross inside, with robbing people and all that shit that you do? Maybe we're both gross inside, that's what Irving loves about us. At least he's consistent with his women. You know, sometimes in life all you have are fucked up, poisonous choices.</dialogue> <scene_description>Rosalyn reaches over, grabs Sydney's face and kisses her. Rosalyn laughs a toxic, tough front dark laugh and walks out. THE BEE GEES "HOW CAN YOU MEND A BROKEN HEART?" STARTS. Sydney looks into the mirror and wipes the lipstick off her lips as Rosalyn storms out of the powder room. SMASH TO: ROSALYN WALKS OUT SHAKY -- SUDDENLY FROM BEHIND A ROW OF WOODEN PAYPHONES A HAND GRABS ROSALYN'S AND PULLS HER BEHIND THEM - ITS PETE MUSANE - THEY STARE AT EACH OTHER - SILENT - INTENSE-- ROSALYN IS SHAKING AND CRYING AS SHE FALLS APART IN HIS ARMS. SYDNEY COMES STORMING OUT OF THE POWDER ROOM AND WALKS RIGHT PAST ROSALYN AND PETE. PUSH IN ON: SYDNEY LOOKING BACK, STOPPED, SEES ROSALYN EMBRACING PETE AS SHE CRIES. SMASH TO: SYDNEY RUNS INTO BACK ROOM, URGENTLY JOINS IRV AND RICHIE AT THE TABLE.</scene_description> <character>EDITH GREENSLY</character> <dialogue>We need to talk! This is serious.</dialogue> <scene_description>SMASH TO: CARMINE AND DOLLY CLIMB THE STAIRS TO THE MAIN BALLROOM FILLED EXCITEDLY WITH OPTIMISM AS THE SONG SWELLS. THEY KISS IN SILHOUETTE INTO A HARD BACKLIGHT. CARMINE CLIMBS REACHES THE STAGE AND THE CROWD ROARS.</scene_description> <character>AL KALOWSKI</character> <dialogue>Ladies and gentlemen, your friend, the working man's friend, my friend, Mayor Carmine Polito!</dialogue> <scene_description>ON STAGE: Carmine TAKES MIC Irving stands off to the side of the stage as his world closes in around him. Pulls his heart pills out of his pocket and takes one. Sydney sees this as she stands nearby with Richie. Irv, Edith, Richie watch near stage, jostled. Rosalyn enters the ball room looking disheveled as she is guided by Pete Musane looks to stage.</scene_description> <character>CARMINE POLITO</character> <parenthetical>(on mic)</parenthetical> <dialogue>Hello, Camden! Hello, New Jersey! Hello, Atlantic City! \[CROWD ROARS\] A lot of my friends been out of work \[CROWD WHISTLES - BOOS\] A lot of good hard working families just wanna WORK AND LIVE. (crowd CHEERS) There's no money nowhere. You gotta be kidding me! -- don't they remember who built this country? \[CHEERS\] The one thing we can all agree about in the State of New Jersey is that we never, ever give up! Do we?</dialogue> <scene_description>Carmine dominates the crowd and you can see the emotion in his face as he says this. He raises his glass to the crowd.</scene_description> <character>CARMINE POLITO</character> <dialogue>Please, raise a glass with me to a new era that begins tonight. From me and my family, we thank you. For all the hard work that you've given us in the community. Look what you've done. This is beautiful! Thank you!</dialogue> <scene_description>Crowd ROARS WILDLY. Irv watches, MOVED AND DESTROYED. DISSOLVE TO: SHOTS OF EMPTY BALL ROOM, TRASHED HALLWAYS, ATLANTIC CITY STREET TO OCEAN -- OCEAN SOUNDS SMASH TO:</scene_description> </scene> <scene> <stage_direction>INT. IRVING'S DRY CLEANERS - EARLY MORNING</stage_direction> <scene_description>Irving walks in with his keys, same clothes from night before, as ocean sounds continue, TAKES A GUN FROM THE SAFE, and he stands looking lost and lonely, he turns on the electric dry cleaning rack, where he and SYDNEY STOOD TOGETHER, IN LOVE. He looks heartsick. HE STEPS INSIDE THE SWIRLING ELECTRIC DRY CLEANING RACK OF PLASTIC WRAPPED CLOTHES, AND STANDS ALONE, WHERE SYD USED TO BE, AND IS HEARTBROKEN.</scene_description> </scene> <scene> <stage_direction>EXT. THIRD AVENUE - DAY - CONTINUOUS</stage_direction> <scene_description>RICHIE STORMS DOWN THE STREET IN SAME NIGHT CLOTHES.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY TO SYDNEY'S APARTMENT - DAY</stage_direction> <scene_description>BANG BANG BANG -- Richie POUNDS ON SYDNEY'S DOOR -- SYDNEY, HAIR IN CURLERS, ANSWERS THE DOOR.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Can I use your phone?</dialogue> <scene_description>INT. SYDNEY'S APARTMENT DAY - AS SHE WATCHES -- HE paces intense, phone in hand, SHIRT SLEEVES, a mess. HE DIALS.</scene_description> <character>RICHIE DIMASO</character> <parenthetical>(to Sydney)</parenthetical> <dialogue>Last night was insane. I got it all figured out.</dialogue> <character>STODDARD THORSEN</character> <parenthetical>(on phone)</parenthetical> <dialogue>Stoddard Thorsen.</dialogue> <character>RICHIE DIMASO</character> <parenthetical>(into phone)</parenthetical> <dialogue>Listen, I need the Sherman Suite at the Plaza Hotel, okay?</dialogue> <character>STODDARD THORSEN</character> <parenthetical>(on phone)</parenthetical> <dialogue>That's a whole floor of the hotel.</dialogue> <character>RICHIE DIMASO</character> <dialogue>I need a whole floor. I need it for my operation</dialogue> </scene> <scene> <stage_direction>INT. FBI FIELD OFFICE - DAY - CONTINUOUS</stage_direction> <character>STODDARD THORSEN</character> <parenthetical>(on phone)</parenthetical> <dialogue>Stop calling it your operation, Richard. It's not your operation. And I'm not giving you a whole floor of the Plaza Hotel.</dialogue> </scene> <scene> <stage_direction>INT. SYDNEY'S APARTMENT - DAY</stage_direction> <character>RICHIE DIMASO</character> <dialogue>I have members of Congress that are gonna come in right now to try to give the Sheik citizenship. They're taking bribes. This is happening right now. That's what's happening right now.</dialogue> </scene> <scene> <stage_direction>INT. FBI FIELD OFFICE - DAY</stage_direction> <character>STODDARD THORSEN</character> <parenthetical>(on phone)</parenthetical> <dialogue>Bribing members of Congress are you out of your fucking mind?</dialogue> </scene> <scene> <stage_direction>INT. SYDNEY'S APARTMENT - DAY</stage_direction> <character>RICHIE DIMASO</character> <dialogue>Stoddard. Stoddard! Shut up! Listen! Do you know who Victor Tellegio is? Victor. Tellegio. Works for Meyer Lansky. You know who that is?</dialogue> <character>STODDARD THORSEN</character> <dialogue>I know who Victor Tellegio is.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Resorts International! He wants ten million dollars. I have two weeks!</dialogue> <character>STODDARD THORSEN</character> <dialogue>You're not getting ten million dollars.</dialogue> <character>RICHIE DIMASO</character> <parenthetical>(screaming)</parenthetical> <dialogue>Just listen to me! You're not listening to me! I have two weeks! I have two weeks to put this thing together and I need you to get me the Sherman Suite at the Plaza Hotel. And your going to fucking do it!</dialogue> <character>STODDARD THORSEN</character> <dialogue>Lower your voice. You don't get to yell at me.</dialogue> <scene_description>Richie SLAMS DOWN THE PHONE. Edith (HAIR IN CURLERS) STARES AT HIM.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Calm me down baby. You gotta calm me down.</dialogue> <scene_description>He handles her hips and neck and waist and ass.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Baby let's do this. Let's do this right now. --</dialogue> <character>EDITH GREENSLY</character> <dialogue>No, no.</dialogue> <character>RICHIE DIMASO</character> <dialogue>I want to do this. You're fucking skin is glowing baby. Your skin is glowing.</dialogue> <character>EDITH GREENSLY</character> <dialogue>I'm not doing this with you. We're not going to do this unless we do it for real, alright?</dialogue> <character>RICHIE DIMASO</character> <dialogue>I want to do this now!</dialogue> <character>EDITH GREENSLY</character> <dialogue>That's what we agreed on so we're not going to do that alright? Alright? Where are you? You're acting all scary.</dialogue> <scene_description>She grabs him by the head to calm him down.</scene_description> <character>EDITH GREENSLY</character> <dialogue>Are you here with me?</dialogue> <scene_description>HE TRIES A GENTLER SEDUCTION.</scene_description> <character>RICHIE DIMASO</character> <parenthetical>(leans down to her eyes)</parenthetical> <dialogue>I love you. I love you. Look at me.</dialogue> <parenthetical>(slowly)</parenthetical> <dialogue>I'm in love with you. It is real now. I just said it so now's the time.</dialogue> <scene_description>He handles her, nuzzles her neck, starts to turn her on.</scene_description> <character>EDITH GREENSLY</character> <parenthetical>(kissing him)</parenthetical> <dialogue>You want the truth? You want real?</dialogue> <character>RICHIE DIMASO</character> <dialogue>I'm ready for real.</dialogue> <scene_description>SOMETHING CLICKS INSIDE HER -- SHE DROPS HER BRITISH ACCENT --</scene_description> <character>SYDNEY PROSSER</character> <parenthetical>(DROPS HER BRITISH ACCENT)</parenthetical> <dialogue>OK, this is real. Do you hear my voice? This is real. This is real. What you hear is real.</dialogue> <scene_description>Richie steps back quickly and grabs Sydney.</scene_description> <character>RICHIE DIMASO</character> <dialogue>What?</dialogue> <character>SYDNEY PROSSER</character> <dialogue>This is me.</dialogue> <character>RICHIE DIMASO</character> <dialogue>What do you mean? What are you doing an accent? An American accent?</dialogue> <character>EDITH GREENSLY</character> <dialogue>No. There is no English. There's only American. There is no English.</dialogue> <scene_description>Richie looks at her and continues to hold her looking very confused and flustered.</scene_description> <character>RICHIE DIMASO</character> <dialogue>What are you talking about? Stop it. You're Edith. You're Edith Greensly. I checked your records.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>I falsified my records back to birth. I falsified them.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>My name is Sydney Prosser, and I'm from Albuquerque, New Mexico. I'm not Edith Greensly. There is no Edith Greensly.</dialogue> <scene_description>Richie steps back. He stares at her darkly.</scene_description> <character>RICHIE DIMASO</character> <dialogue>You're -- freaking -- me -- out. No, you said in the stall that we were going to be real and that we weren't going to fake it.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>I'm being real now. This is who I am. I'm Sydney Prosser. Ok?</dialogue> <character>RICHIE DIMASO</character> <dialogue>So -- why -- did you do an English accent after that?</dialogue> <character>SYDNEY PROSSER</character> <dialogue>I'm sorry I didn't tell you in the stall.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>I created Edith because I needed her to survive, okay? But I'm done with that now. I'm so fucking done with that. Like you do what you need to survive, right? You do it. You know, you live with your mom -- you have a fiancée you don't even acknowledge, right? That's what you do. And you curl your hair in little fucking curlers, which is -- No, it's okay, you look good with it, but you know -- you have straight hair, so that's what you do to survive. You do all sorts of things, you know. We all do.</dialogue> <character>RICHIE DIMASO</character> <parenthetical>(whispers tensely)</parenthetical> <dialogue>Please don't talk about that. I'm confused. I'm confused and --</dialogue> <character>SYDNEY PROSSER</character> <dialogue>I'm fucking confused too, alright?</dialogue> <character>RICHIE DIMASO</character> <dialogue>-- I think we should fuck, and then we'll feel it and we won't be confused anymore.</dialogue> <scene_description>HE EMBRACES HER --</scene_description> <character>SYDNEY PROSSER</character> <dialogue>No -- I want to talk. I don't want to fuck.</dialogue> <character>RICHIE DIMASO</character> <parenthetical>(embracing her)</parenthetical> <dialogue>Yes! Come on.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>NO! I'm not fucking you. I'm not fucking fucking you!</dialogue> <scene_description>RED FACED LIKE HE MAY HIT HER, a vein stands out in his neck. SHE FLINCHES. HE SCREAMS like an animal in confusion and frustration.</scene_description> <character>RICHIE DIMASO</character> <scene_description>SUDDENLY SYDNEY GRABS A GLASS PICTURE FRAME FROM A TABLE, SMASHES IT ACROSS RICHIE'S FOREHEAD AND FACE WITH A SHATTERING OF GLASS. Richie in pain holds his cut forehead and eyebrow.</scene_description> <character>RICHIE DIMASO</character> <parenthetical>(in pain and dismay)</parenthetical> <character>SHIT!</character> <dialogue>They hear a door open off screen, someone approaches. Irving appears from around the corner of the wall pointing his handgun at Richie.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Will you please step away from Edith. I'm asking you nicely please step away from Edith right now.</dialogue> <character>RICHIE DIMASO</character> <dialogue>What the fuck --</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Step away from her. Please.</dialogue> <character>RICHIE DIMASO</character> <dialogue>You mean Sydney?</dialogue> <scene_description>Irving looks over to Sydney very confused.</scene_description> <character>SYDNEY PROSSER</character> <dialogue>I told him. I'm sorry. I just don't give a fuck anymore, I don't give a fuck. I don't fucking care.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Irving has a gun.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>What Richie's gotten us into is worse then jail. I told you last night, don't sit down with those goons. And what? Now what? No one's getting ten million for Tellegio. It's over.</dialogue> <character>RICHIE DIMASO</character> <dialogue>I don't think so.</dialogue> <scene_description>Irving and Sydney stare.</scene_description> <character>RICHIE DIMASO</character> <parenthetical>(slowly)</parenthetical> <dialogue>Because when Tellegio finds out what happened, do you think he's gonna go after me? I don't think so. Someone from the Bureau?</dialogue> <character>RICHIE DIMASO</character> <dialogue>Think he's gonna go after a politician? He's gonna kill you. Then he's going to go after your son. And Sydney.</dialogue> <scene_description>Richie PICKS UP PHONE AS THEY WATCH -- HE DIALS. INTERCUT:</scene_description> <character>STODDARD THORSEN</character> <parenthetical>(on phone)</parenthetical> <dialogue>Stoddard Thorsen.</dialogue> <character>RICHIE DIMASO</character> <parenthetical>(slowly, intensely)</parenthetical> <dialogue>You're going to give me the Sherman Suite. The whole floor.</dialogue> <scene_description>HIS NOSE AND FOREHEAD ARE CUT FROM THE GLASS.</scene_description> <character>STODDARD THORSEN</character> <dialogue>That's a NO. I said no wacko.</dialogue> <character>RICHIE DIMASO</character> <dialogue>And you're going to tell me the point of that FUCKING fishing story.</dialogue> <character>STODDARD THORSEN</character> <dialogue>Not the way you're behaving.</dialogue> <character>RICHIE DIMASO</character> <parenthetical>(FUMING)</parenthetical> <dialogue>What's the matter with you? Where are you right now?</dialogue> <character>STODDARD THORSEN</character> <dialogue>What does that make a difference?</dialogue> <character>RICHIE DIMASO</character> <dialogue>Just tell me where the fuck you are.</dialogue> <character>STODDARD THORSEN</character> <dialogue>The field office on 61st street.</dialogue> <character>RICHIE DIMASO</character> <dialogue>I'm coming to 61st Street. Right now.</dialogue> <character>STODDARD THORSEN</character> <dialogue>You're going to do what?</dialogue> <character>RICHIE DIMASO</character> <dialogue>To beat -- your ass.</dialogue> <character>STODDARD THORSEN</character> <dialogue>You're going to what?</dialogue> <scene_description>Richie SLAMS the phone down, storms out the apartment.</scene_description> </scene> <scene> <stage_direction>INT. SYDNEY'S APARTMENT - DAY</stage_direction> <character>IRVING ROSENFELD</character> <dialogue>You were right. We should have gone away.</dialogue> <scene_description>Irving sits in the corner of the room a disheveled mess. Sydney sits on the bed drinking a Fresca.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>I should have gone away with you.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>We were supposed to do it from the feet up like you always said. That's how we were meant to do it but you didn't do it like that. You didn't do it like that. You played it safe so there was always a danger you were going to end up with Rosalyn in the dead space, floating on some dead spaceship with the furniture and the curtains. And I was your life line out and you were mine and that was ok.</dialogue> <character>IRVING ROSENFELD</character> <parenthetical>(Irving stares at her, emotional)</parenthetical> <dialogue>I wish I could get you back.</dialogue> <scene_description>He walks across the room and sits down on the bed next to Sydney.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>You know I can't do it without you. You know that. Come on. Me, you and Danny. Like we said.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>Like I said. You never said that. I said that. We gotta get over on all these guys. That's what we need to be thinking about right now.</dialogue> <scene_description>Irving takes off his glasses and rubs his eyes.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>That's big. That's crazy. Whatever it is, it's got to be the best we've ever done.</dialogue> <scene_description>Sydney nods her head yes, stares intensely at Irving as the camera tilts down to reveal: their hands clasped together.</scene_description> </scene> <scene> <stage_direction>EXT. OLD FEDERAL BUILDING - DOWNTOWN - DAY</stage_direction> <scene_description>High ceiling, old office. Close on a tape recorder.</scene_description> <character>AS CAMERA PULLS BACK - SEE</character> <dialogue>FACE AND A WHITE EYE PATCH</dialogue> <character>STODDARD, BANDAGES ON HIS BRUISED</character> <dialogue>ON HIS INJURED EYE, SITTING</dialogue> <scene_description>OPPOSITE PROSECUTOR, AMADO - - the tape recorder and microphone sit on the desk in front of Stoddard as he records a statement for a report.</scene_description> <character>STODDARD THORSEN</character> <parenthetical>(SLOW MIDWEST MONOTONE)</parenthetical> <dialogue>Agent Dimaso called me late at night on the 21st. I believe that he was intoxicated. He threatened me and I told him this was inappropriate. I told him procedures exist for reasons we must respect. This is the third such call I received from Agent Dimaso. He called me again the night of the 5th and he threatened to kill me. Subsequently he demanded that I allow him to use the Sherman Suite at the Plaza hotel for purposes of bribing members of congress.</dialogue> <scene_description>Camera pull-back reveals: THE CHASTENED Richie SITS LISTENING, IN A SUIT AND TIE. He's in trouble with their boss, the prosecutor.</scene_description> <character>RICHIE DIMASO</character> <dialogue>I am so sorry.</dialogue> <character>STODDARD THORSEN</character> <dialogue>I'm not finished. There's a lot more.</dialogue> <scene_description>Richie gets up and pulls up a chair next to Stoddard. Stoddard flinches and moves away like he's going to get hit again.</scene_description> <character>RICHIE DIMASO</character> <dialogue>I have nothing but the utmost respect for you as my mentor. (he reaches down and turns the tape recorder off) and as my --</dialogue> <character>STODDARD THORSEN</character> <parenthetical>(re: the recorder)</parenthetical> <dialogue>What are you doing?</dialogue> <character>RICHIE DIMASO</character> <dialogue>I just want to talk from my heart. I don't want it on record. I want to get vulnerable.</dialogue> <character>STODDARD THORSEN</character> <dialogue>Can I finish? Can I finish my statement?</dialogue> <character>RICHIE DIMASO</character> <dialogue>Of course. I respect you.</dialogue> <character>STODDARD THORSEN</character> <dialogue>I think you do other things besides respect me.</dialogue> <scene_description>SMASH TO:</scene_description> </scene> <scene> <stage_direction>INT. STODDARD'S FIELD OFFICE - FLASHBACK</stage_direction> <scene_description>Stoddard paces while on the phone, holds up a finger to Richie to wait, Richie picks up Stoddard's phone -- rips the cord out and smashes Stoddard across the face with the base. Doesn't stop til Stoddard falls to the ground, knocks over desk chair and bookcase behind. BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. OLD FEDERAL BUILDING - DOWN TOWN</stage_direction> <scene_description>They stare at each other.</scene_description> <character>RICHIE DIMASO</character> <dialogue>It's just hard for me to control my passion. I'm a very passionate person. (looks to Amado) You're from New York. You understand this. He goes ice fishing in the midwest.</dialogue> <character>STODDARD THORSEN</character> <dialogue>That was told to you in confidence.</dialogue> <character>RICHIE DIMASO</character> <dialogue>He's an ice fishing guy. Look at him.</dialogue> <scene_description>SMASH BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. FBI FIELD OFFICE - DAY - FLASHBACK</stage_direction> <scene_description>Where we left off. Stoddard reaches with bloodied hands across -- what is he reaching for? Oh, on a small table, a gun and a clip.</scene_description> <character>RICHIE DIMASO</character> <dialogue>What are you doing pulling out your gun? Stop it. That's not you.</dialogue> <character>STODDARD THORSEN</character> <dialogue>No, it's me. This is me. It's me.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Don't do something that you don't know anything about. Alright?</dialogue> <scene_description>Richie grabs his gun and starts to load it.</scene_description> <character>STODDARD THORSEN</character> <dialogue>DO NOT LOAD THAT GUN. YOU DROP THAT</dialogue> <character>GUN.</character> <dialogue>RICHIE DIMASO</dialogue> <scene_description>I'll show you how it's done. I'm not even going to hit you. He points the gun at Stoddard.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Watch this fucko.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. OLD FEDERAL BUILDING - DOWNTOWN</stage_direction> <scene_description>Richie and Stoddard stare at each other in silence.</scene_description> <character>ANTHONY AMADO</character> <dialogue>So, you want to use the Sherman Suite? The entire floor?</dialogue> <scene_description>Stoddard throws his head back, looks at ceiling in exasperation. OH GOD.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Yes! At the Plaza Hotel.</dialogue> <character>ANTHONY AMADO</character> <dialogue>What happened to the Mafia? I thought you were --</dialogue> <character>RICHIE DIMASO</character> <dialogue>This is where they intersect! This is where the two things intersect. The Politicians and the Mafia. Victor Tellegio's people who run resorts international --</dialogue> <character>ANTHONY AMADO</character> <dialogue>Victor Tellegio showed his face?</dialogue> <character>RICHIE DIMASO</character> <dialogue>Yes. I sat with him. I sat with Victor Tellegio. I hung out with him. We can get him. We can get his whole organization as well as getting any number of congressmen. I mean, that's just peeling the first layer of the onion.</dialogue> <character>ANTHONY AMADO</character> <dialogue>Wow. How you going to do that?</dialogue> <character>RICHIE DIMASO</character> <dialogue>We would get ten million dollars and put it into an account --</dialogue> <character>STODDARD THORSEN</character> <dialogue>TEN MILLION DOLLARS?! Ten Million dollars?</dialogue> <character>RICHIE DIMASO</character> <dialogue>And that's how we just let them know we're for real.</dialogue> <character>ANTHONY AMADO</character> <dialogue>What does he say he's gonna do for the ten million dollars? How are we trapping him?</dialogue> <character>RICHIE DIMASO</character> <dialogue>He promises to build casinos, handle the skims, do the licencing - -</dialogue> <character>STODDARD THORSEN</character> <dialogue>And you have him on tape saying this. You have that right? No.</dialogue> <character>ANTHONY AMADO</character> <parenthetical>(to Richie)</parenthetical> <dialogue>I want you to find a safer way to get Victor Tellegio on a wire. No ten million dollars -- that's crazy.</dialogue> <character>STODDARD THORSEN</character> <dialogue>Thank you.</dialogue> <scene_description>Richie looks down, defeated.</scene_description> <character>ANTHONY AMADO</character> <dialogue>Even to entrap Tellegio it's crazy. But you can have the Sherman Suite - -</dialogue> <scene_description>NO.:</scene_description> <character>ANTHONY AMADO</character> <dialogue>--Stoddard, please -- To go and get me some congressmen. Go get some congressmen taking bribes. I want to pinch us some congressmen, ok? You come back to me. I'm proud of you.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Thank you. (then as an afterthought) And Stoddard.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR - OLD FEDERAL COURT BUILDING - CONTINUOUS</stage_direction> <scene_description>Richie and Stoddard walk down large, echoey Federal building corridor. Stoddard walking ten feet ahead turns and points at Richie.</scene_description> <character>STODDARD THORSEN</character> <parenthetical>(shouts bitterly)</parenthetical> <dialogue>Good luck keeping your job, by the way, and staying out of jail -- and not being killed by the Mob. But other than that you're doing a great job.</dialogue> <scene_description>Stoddard turns and storms off.</scene_description> <character>RICHIE DIMASO</character> <parenthetical>(as Stoddard walks away)</parenthetical> <dialogue>What's the end of the ice fishing story?</dialogue> <character>STODDARD THORSEN</character> <dialogue>I'm not telling you the end of the ice fishing story.</dialogue> <character>RICHIE DIMASO</character> <dialogue>I'm going to call your fucking brother and find out from him.</dialogue> <character>STODDARD THORSEN</character> <dialogue>My brother's dead.</dialogue> <character>RICHIE DIMASO</character> <dialogue>That's how it ends. He fell through the fucking ice.</dialogue> <character>STODDARD THORSEN</character> <parenthetical>(shouts bitterly)</parenthetical> <dialogue>No it's not. He died a different way, many years later.</dialogue> <scene_description>He storms off and leaves Richie staring in the hallway.</scene_description> </scene> <scene> <stage_direction>EXT. PLAZA HOTEL -- DAY</stage_direction> <scene_description>Establishing.</scene_description> </scene> <scene> <stage_direction>INT. PLAZA HOTEL - GENERAL SHERMAN SUITE HALLWAY - CONTINUOUS</stage_direction> <scene_description>Richie walks out of a surveillance room and down the hallway to where Irv and Sydney wait.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Listen I know it's awkward and I just want to say I'm sorry, alright? I think we can stick together and still fulfill our goal. I mean, we got the Sherman Suite.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>You got the whole floor?</dialogue> <character>RICHIE DIMASO</character> <dialogue>We got the whole floor, yeah.</dialogue> <character>EDITH GREENSLY</character> <dialogue>That's good.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Yeah, you ok?</dialogue> <character>SYDNEY PROSSER</character> <dialogue>Yeah. You?</dialogue> <scene_description>Richie gestures to his eye that Sydney smashed with the picture frame. He's got a few little scabs.</scene_description> <character>RICHIE DIMASO</character> <dialogue>It's alright. I got hit a little bit. My eye. It's a little blurry but I got drops at the pharmacy.</dialogue> <scene_description>Richie looks over to Irving.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Hey, you OK?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Yeah, I'm good --</dialogue> <scene_description>Richie looks back over to Sydney</scene_description> <character>RICHIE DIMASO</character> <dialogue>Listen, I'm sorry.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>I'm sorry.</dialogue> <character>RICHIE DIMASO</character> <parenthetical>(to Irving)</parenthetical> <dialogue>I'm sorry Irving.</dialogue> <scene_description>Irving doesn't know what to say, starts to say something twice, stops, can't think of what to say. Leaves Richie hanging.</scene_description> </scene> <scene> <stage_direction>INT. PLAZA HOTEL - GENERAL SHERMAN SUITE - DAY</stage_direction> <scene_description>Richie directs where cameras should be concealed. AGENTS SCHMIDT AND STOCK FOLLOW MAKING NOTES IN PADS.</scene_description> <character>RICHIE DIMASO</character> <dialogue>You can put a camera here. And we get it all on film. You like it?</dialogue> <character>EDITH GREENSLY</character> <dialogue>I do.</dialogue> <character>RICHIE DIMASO</character> <parenthetical>(to Schmidt)</parenthetical> <dialogue>Give me those flowers.</dialogue> <character>RICHIE DIMASO</character> <dialogue>If we put the flower base here and put a camera in there we can get a clear shot of the couch there where we can put the congressmen.</dialogue> <scene_description>Irving, sitting on the couch, looks kind of disturbed by this.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>That's right. That's the idea.</dialogue> </scene> <scene> <stage_direction>INT. MAYOR CARMINE POLITO'S OFFICE - DAY</stage_direction> <character>RICHIE DIMASO (O.S.)</character> <dialogue>And Carmine will go to jail after he delivers us the congressmen soon to be felons.</dialogue> <scene_description>Carmine's aid MELORA answers a ringing phone as Carmine sits at his desk.</scene_description> <character>MELORA</character> <dialogue>Congressman O'Connell is on the phone --</dialogue> <scene_description>PUSH IN ON</scene_description> <character>CARMINE POLITO</character> <dialogue>I got to take this you guys everyone out please.</dialogue> <scene_description>Dolly Polito, checking the unwatered plants in her husbands office with her coat on, she has just stopped by. Turns and holds up a parched and dying houseplant.</scene_description> <character>DOLLY POLITO</character> <dialogue>This is sad. It's just sad.</dialogue> <character>CARMINE POLITO</character> <dialogue>Dolly please, I gotta take this.</dialogue> <character>DOLLY POLITO</character> <dialogue>Ok, sorry. Everyone out. Go out.</dialogue> <character>CARMINE POLITO</character> <parenthetical>(picks up phone)</parenthetical> <dialogue>Congressman, how you doing? It's Carmine. Tell me you're gonna be in Trenton this week. We have an amazing investment opportunity I'd like to discuss with you.</dialogue> <scene_description>SMASH TO:</scene_description> </scene> <scene> <stage_direction>INT. PLAZA HOTEL - GENERAL SHERMAN SUITE - DAY</stage_direction> <scene_description>Richie on a black and white surveillance camera as he shows the briefcase full of money.</scene_description> <character>RICHIE DIMASO</character> <dialogue>I'm federal agent Richard Dimaso. I've placed seventy-five thousand dollars into this briefcase for Representative John O'Connell of the Ninth District.</dialogue> <scene_description>SMASH TO:</scene_description> </scene> <scene> <stage_direction>EXT. STATE CAPITOL - TRENTON, NEW JERSEY - DAY</stage_direction> <scene_description>Carmine shakes hands with REP. JOHN O'CONNELL --</scene_description> <character>CARMINE POLITO</character> <dialogue>Congressman, thank you for coming by, John --</dialogue> <character>RICHIE DIMASO (V.O.)</character> <dialogue>Representative O'Connell was contacted by Carmine Polito to ask if he could obtain rapid citizenship through an act of Congress for one Sheik Abdullah, investor.</dialogue> <scene_description>They walk up the capitol steps.</scene_description> <character>CARMINE POLITO</character> <dialogue>You wanna talk jobs, investment, construction, if we can expedite a very wealthy man's citizenship --</dialogue> </scene> <scene> <stage_direction>INT. SHERMAN SUITE, PLAZA HOTEL - NIGHT</stage_direction> <scene_description>CAMERA PANS TO HOLE IN CORNER and CAMERA LENS --</scene_description> <character>RICHIE DIMASO</character> <dialogue>How you doing congressmen?</dialogue> <character>JOHN O'CONNELL</character> <dialogue>I'm excited to be here.</dialogue> <character>CARMINE POLITO</character> <dialogue>This brings the state back. I mean, how long we known each other?</dialogue> <character>CARMINE POLITO</character> <dialogue>You know what this is gonna do for us? This is huge for the state of New Jersey. It stabilizes our economy.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Hotels. Restaurants. It's waiting to happen. Carmine sees it, this fucking thing is waiting to happen.</dialogue> <character>CARMINE POLITO</character> <dialogue>The goddamn bankers. Keeping their money on the sidelines. How we supposed to get anything done?</dialogue> <character>JOHN O'CONNELL</character> <dialogue>Bankers only put money in the game when they can reap insane profit.</dialogue> <scene_description>Richie staring, mesmerized by this trap.</scene_description> <character>RICHIE DIMASO</character> <dialogue>The only problem is this citizenship situation. I mean, we got to expedite it as soon as possible.</dialogue> <character>JOHN O'CONNELL</character> <dialogue>Yeah, well I'll tell you, you came to the right place.</dialogue> <scene_description>Everyone looks tense and on edge before.</scene_description> <character>JOHN O'CONNELL</character> <dialogue>I'll make it happen.</dialogue> <character>CARMINE POLITO</character> <dialogue>Hey, this is going to happen.</dialogue> <scene_description>Richie slides the briefcase in John's direction.</scene_description> <character>CARMINE POLITO</character> <dialogue>This is real. You understand? This is real. On my family. On my kids. On my life. On my work.</dialogue> <character>JOHN O'CONNELL</character> <dialogue>I know that, Carmine. You're a good man</dialogue> <scene_description>This hurts Irving to see his friends sincerity. ANOTHER DAY - ON GRAINY MONITOR</scene_description> <character>RICHIE DIMASO</character> <parenthetical>(on grainy black and white)</parenthetical> <dialogue>I'm federal agent Richard Dimaso. I am placing 75 thousand dollars in this brief case for one Representative Gerald Sanders of the 3rd district.</dialogue> <scene_description>SMASH TO: -HAND SHAKES - REP. SANDERS SITS LOOKING WARILY AT BRIEFCASE</scene_description> <character>REP. SANDERS</character> <dialogue>I don't want to do anything illegal-</dialogue> <character>CARMINE POLITO</character> <dialogue>Please Gerry. Use it as a campaign donation. Whatever you want to do.</dialogue> <scene_description>Richie slides the briefcase to him. ANOTHER DAY</scene_description> <character>RICHIE DIMASO</character> <parenthetical>(on grainy monitor)</parenthetical> <dialogue>I'm placing g $60,000 into an this brief case for one Congressman Eric Keshoygan of the 4th district --</dialogue> <character>ERIC KESHOYGAN</character> <dialogue>I'm going to do what I can to help Carmine.</dialogue> <scene_description>Irv watches in pain as he sits with them. SMASH TO: ANOTHER DAY</scene_description> <character>RICHIE DIMASO</character> <dialogue>A $100,000 into this briefcase for two term United States Senator Horton Mitchell of New Jersey.</dialogue> <scene_description>A distinguished silver haired Senator, older.</scene_description> <character>HORTON MITCHELL</character> <dialogue>Atlantic City. All the way down the shore. A mecca by the sea.</dialogue> <scene_description>Richie slides over the briefcase.</scene_description> <character>HORTON MITCHELL</character> <dialogue>Carmine you're beloved by your people. Your constituency is not even your constituency it's your family. That's what you represent, family.</dialogue> <character>CARMINE POLITO</character> <dialogue>One small thing we do for this man is a huge thing we do for the people of New Jersey. This is what we can leave behind.</dialogue> <scene_description>Irving can't stand how hopeful his friend Carmine is being because Irving knows Carmine is being set up. He gets up --</scene_description> <character>CARMINE POLITO</character> <dialogue>Irving what are you doing?</dialogue> <character>RICHIE DIMASO</character> <dialogue>Where you going?</dialogue> <character>IRVING ROSENFELD</character> <parenthetical>(excusing himself uncomfortably)</parenthetical> <dialogue>I just gotta go see a man about a dog.</dialogue> <scene_description>IRVING WALKS DOWN THE HALL VERY DISTORTED. HE GOES INTO THE VIDEO ROOM WHERE STODDARD WATCHES THE SURVEILLANCE MONITORS INTENSELY AS CARMINE CONTINUES TO STAND BEHIND HIS SINCERE PLEDGES.</scene_description> <character>CARMINE POLITO</character> <parenthetical>(on grainy monitor)</parenthetical> <dialogue>I appreciate this. On my family. On my kids. This needs to happen. It's gotta happen. You've got my word</dialogue> <scene_description>Irving walks out of the room --</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY OF SHERMAN SUITE, PLAZA -- CONTINUOUS</stage_direction> <scene_description>--into another room where Sydney on elegant gold couch, sits alone. Surveillance equipment and room service trays are on the coffee table.</scene_description> </scene> <scene> <stage_direction>INT. ANOTHER ROOM OF SHERMAN SUITE - CONTINUOUS</stage_direction> <scene_description>She watches Irving who is pacing anxiously and very wound up.</scene_description> <character>IRVING ROSENFELD</character> <parenthetical>(pacing)</parenthetical> <dialogue>I want to save us. I want to save Carmine. It's fucking killing me.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>You know the only way to help Carmine is through the Tellegio thing.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>It's dangerous. We gotta get a wire in there. We gotta make him feel safe.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>There's only one thing that can really fuck this up and that's your wife.</dialogue> <character>IRVING ROSENFELD</character> <parenthetical>(pacing)</parenthetical> <dialogue>Yep.</dialogue> </scene> <scene> <stage_direction>EXT. DANNY'S ELEMENTARY SCHOOL -- DAY</stage_direction> <scene_description>Rosalyn fixes Danny's coat, hands him his lunch and sends him off towards the school's front door -- CLOSE UP: ROSALYN STARES INTO LENS. Emotional, a mixture of sadness and hope. She holds a closed bottle of her favorite nail finish and smells it nostalgically. A BLACK SEDAN PULLS INTO THE FRAME, SHE OPENS THE DOOR AND GETS IN. IT IS PETE MUSANE, TELLEGIO'S MOBSTER SHE FLIRTED WITH AT THE CASINO.</scene_description> </scene> <scene> <stage_direction>INT. PETE MUSANE'S CADILLAC - DAY</stage_direction> <scene_description>He gently puts a hand on her knee. She leaves it there for a moment before pushing it away. They stare at each other.</scene_description> </scene> <scene> <stage_direction>INT. MAISON D'LUC - HUNTINGTON, LONG ISLAND - DAY</stage_direction> <scene_description>A NICE RESTAURANT OVERLOOKING THE LONG ISLAND SOUND, LIGHT CORAL COLORED TABLECLOTHS; THE PLACE FILLED WITH DAYLIGHT -- ROSALYN AND PETE SIT VERY CLOSE. QUIET. TOGETHER. IN SILENCE. FEW BEATS. CONTENT.</scene_description> <character>PETE MUSANE</character> <dialogue>I don't like your husband. You're no good together. He doesn't appreciate you. Hey, it happens. It happened in my marriage. That's why I went to Miami. Sometimes you just gotta be tough. You gotta stand up and you gotta leave, you know?</dialogue> <scene_description>Rosalyn looks at Pete smitten.</scene_description> <character>PETE MUSANE</character> <dialogue>Sometimes you gotta let something die to let something live. You're too beautiful to be unhappy.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>I know. I mean, I don't want to badmouth my husband, but let me badmouth my husband for a second. He just thinks that he knows everything and he's so full of shit. He's such a liar. He thinks that I'm stupid, but I'm not stupid. I hear him on the phone arguing. He loves Carmine, but he hates that other guy, that curly- headed I.R.S. guy, or whatever who's carting around my husband's ex-lover, that redheaded whore.</dialogue> <character>PETE MUSANE</character> <dialogue>IRS?</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Anyway. You can see that it drives him crazy.</dialogue> <character>PETE MUSANE</character> <dialogue>You said IRS. What IRS guy? What are you talking bout?</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>I hear them on the phone. I think that he's got Irv in some sort of bind or something and he's making him do all of this stuff and so Irv and Carmine right now are at the Plaza Hotel throwing away all this money at like Congress or whatever. They're giving money to congress or something. I don't really know but I overheard it on the phone.</dialogue> <scene_description>Pete's brow furrows - this is serious.</scene_description> <character>PETE MUSANE</character> <dialogue>You know I hate to do this to you but I have to go talk to your husband. My boss is already angry. You stay here I'm going to give you some money for a taxi home.</dialogue> <scene_description>He puts cash in her hands.</scene_description> <character>PETE MUSANE</character> <dialogue>You stay here. Get yourself some dessert. Finish the bottle of prosecco. I'm sorry.</dialogue> <scene_description>Rosalyn and Pete hold hands as Rosalyn stares into his eyes. Very emotional.</scene_description> <character>PETE MUSANE</character> <dialogue>You alright?</dialogue> <character>ROSALYN ROSENFELD</character> <parenthetical>(open, vulnerable)</parenthetical> <dialogue>I don't like change. It's really hard for me. Sometimes I think that I'll die before I change.</dialogue> <scene_description>He kisses her.</scene_description> <character>PETE MUSANE</character> <dialogue>It's gonna be okay. You're gonna come live with me in Miami.</dialogue> <scene_description>Pete gets up and walks. As he does:</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>Don't hurt him too bad. He's still</dialogue> <scene_description>Danny's father. BACK TO: ROSALYN AT TABLE ALONE, EMOTIONAL, VULNERABLE, HER LIFE IS CHANGING.</scene_description> </scene> <scene> <stage_direction>EXT. PLAZA HOTEL -- DAY</stage_direction> <scene_description>Irv and Carmine down sidewalk leaving from The Plaza Hotel -- Pete Musane stands next to an open passenger side door, -- Irv and Carmine do not move, they stare at the open door. PAUL MCCARTNEY AND WINGS "LIVE AND LET DIE" STARTS OMINOUSLY.</scene_description> </scene> <scene> <stage_direction>INT. IRV AND ROSALYN'S HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>Rosalyn in full muumuu, wearing cleaning gloves and holding a vacuum sings to LIVE AND LET DIE while Danny sits on the couch watching her. Very intense.</scene_description> </scene> <scene> <stage_direction>INT. PETE MUSANE'S CADILLAC - "LIVE AND LET DIE" CONTINUOUS</stage_direction> <scene_description>Irving and Carmine sit up front with Pete driving and Dick Helsing sits in the back seat looking angry.</scene_description> </scene> <scene> <stage_direction>INT. IRV AND ROSALYN'S HOUSE - LIVING ROOM - "LIVE AND LET</stage_direction> <scene_description>DIE" CONTINUOUS Rosalyn continues to sing and gets more intense as the music picks up.</scene_description> </scene> <scene> <stage_direction>INT. PETE MUSANE'S CADILLAC - "LIVE AND LET DIE" CONTINUOUS</stage_direction> <scene_description>Irving looks over to Pete nervously. Unsure of what's going to happen.</scene_description> </scene> <scene> <stage_direction>INT. IRV AND ROSALYN'S HOUSE - LIVING ROOM - "LIVE AND LET</stage_direction> <scene_description>DIE" CONTINUOUS Rosalyn whips her head up and down, dancing manically through the house.</scene_description> </scene> <scene> <stage_direction>INT. IRV AND ROSALYN'S HOUSE - BEDROOM - NIGHT</stage_direction> <scene_description>Rosalyn sits on the bed with Danny with clothes all over the place while smoking a cigarette.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>Life is ridiculous and I would never say anything bad about your father in front of you but your father is a sick son of a bitch.</dialogue> <character>DANNY</character> <dialogue>Daddy's a sick son of a bitch?</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Don't repeat that. But yes.</dialogue> </scene> <scene> <stage_direction>EXT. IRV AND ROSALYN'S HOUSE - NIGHT</stage_direction> <scene_description>Irving's Caddy comes screeching up to the house and parks in the driveway. Irv get's out and races inside.</scene_description> </scene> <scene> <stage_direction>INT. IRV AND ROSALYN'S HOUSE - BEDROOM - NIGHT</stage_direction> <scene_description>Rosalyn is still sitting on the bed with Danny.</scene_description> <character>IRVING ROSENFELD (O.S.)</character> <parenthetical>(shouts)</parenthetical> <character>ROSALYN! ROSALYN!</character> <dialogue>Rosalyn looks scared.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>This is a real low in our relationship! You know where I was recently? I was in your boyfriend's fucking car! I saw your nail polish.</dialogue> <scene_description>SMASH TO:</scene_description> </scene> <scene> <stage_direction>INT. PETE MUSANE'S CADILLAC - FLASHBACK</stage_direction> <scene_description>IRVING LOOKS DOWN AND SEES THE BOTTLE OF ROSALYN'S NAIL FINISH ON THE CAR SEAT -- HE PICKS IT UP, LOOKS AHEAD THROUGH WINDSHIELD SMELLS IT, WORRIED. Carmine glances over his shoulder anxiously at Dick Helsing in the back seat.</scene_description> <character>PETE MUSANE</character> <dialogue>What's this I hear about your curly haired friend working for the Government?</dialogue> <character>CARMINE POLITO</character> <dialogue>What?! Who said that?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>That's bullshit!</dialogue> <character>PETE MUSANE</character> <dialogue>Your wife.</dialogue> <scene_description>Irving is surprised to hear this.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>That's bullshit.</dialogue> <character>CARMINE POLITO</character> <dialogue>Rosalyn?</dialogue> </scene> <scene> <stage_direction>INT. IRV AND ROSALYN'S HOUSE - BEDROOM - CONTINUOUS</stage_direction> <character>IRVING ROSENFELD</character> <parenthetical>(screams)</parenthetical> <scene_description>SMASH TO:</scene_description> </scene> <scene> <stage_direction>INT. PETE MUSANE'S CADILLAC - FLASHBACK</stage_direction> <scene_description>A WHITE CANVAS BAG GARROTES OVER IRVING'S HEAD, FROM HELSING IN THE BACK SEAT.</scene_description> <character>CARMINE POLITO</character> <dialogue>Hey, what the fuck?! --</dialogue> <character>PETE MUSANE</character> <dialogue>Shut up. Shut the fuck up.</dialogue> <scene_description>DICK HOLDS A GUN TO THE BACK OF IRVING'S BAGGED HEAD.</scene_description> </scene> <scene> <stage_direction>INT. IRV AND ROSALYN'S HOUSE - BEDROOM - CONTINUOUS</stage_direction> <character>IRVING ROSENFELD</character> <dialogue>ARE YOU HAPPY NOW? BECAUSE HE IS</dialogue> <character>TRYING TO KILL ME!</character> <dialogue>ROSALYN</dialogue> <scene_description>What are you talking about?!</scene_description> <character>IRVING ROSENFELD</character> <dialogue>WHAT ARE YOU DOING? WHAT DO YOU</dialogue> <character>THINK YOU'RE DOING?</character> <dialogue>ROSALYN ROSENFELD</dialogue> <scene_description>Get out of here! I'm not doing anything!</scene_description> <character>IRVING ROSENFELD</character> <dialogue>WHY ARE YOU TALKING SO MUCH? YOU'RE</dialogue> <character>GOING TO GET US ALL KILLED!</character> <dialogue>Irving looks down to see Danny sitting there on the bed.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Danny. Come here buddy alright? Go draw a picture or something.</dialogue> <scene_description>Irving ushers Danny out of the room.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>You're a real sick son of a bitch for screaming at me like that in front of Danny.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I'M A SICK SON OF A BITCH? YOU'RE</dialogue> <character>TRYING TO GET ME FUCKING KILLED. OH</character> <dialogue>MY GOD!! YOU DRIVE ME SO FUCKING</dialogue> <character>CRAZY. WHAT ARE YOU DOING?! YOU'RE</character> <dialogue>BOYFRIEND -- YOUR FUCKING BOYFRIEND</dialogue> <character>WILL KILL ME, HE'LL KILL DANNY, AND</character> <dialogue>HE'LL KILL YOU.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>STOP TALKING LIKE THAT!</dialogue> <character>IRVING ROSENFELD</character> <dialogue>He's a mobster alright? That's who you're dealing with.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Alright fine! Yes, I wanted to hurt you but how do you think that I feel all day when you leave me alone all day? And all I've ever wanted is for you to love me. That's all I ever wanted. And stay married and for you to love me. And that's why I'm going to Miami!</dialogue> <character>IRVING ROSENFELD</character> <dialogue>You're NOT going to Miami.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>That's why I'm going to Miami with Pete!</dialogue> <scene_description>Irving picks up Rosalyn's clothes from the bed where there is an open suitcase, throws them back in the closet.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>You are NOT going to Miami.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>I finally found somebody who loves me just like YOU always wanted.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Too dangerous. Miami? Not now. Too dangerous.</dialogue> <scene_description>Irv continue to throw clothes back into the closet.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>He likes me just the way I am.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Not now. Everything has to stay normal right now. And you're going to shut your mouth!</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>You told me that you wanted me to find a nice quiet man!</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Oh and what a DOOZY you picked!</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>He's the one.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>He's the most dangerous guy ever.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>WELL WHAT DO YOU EXPECT IRVING?! I</dialogue> <character>KNOW EVERYBODY THROUGH YOU! WHY</character> <dialogue>CAN'T YOU JUST BE HAPPY FOR ME?!</dialogue> <scene_description>Irving reaches for his heart pills but they fall out of his hands and scatter on the floor. He bends down to grab them and almost falls. Rosalyn helps him up.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>Why aren't you taking your heart pills? Irving, what's going on? What kind of trouble are you in?! What's happening?</dialogue> <character>IRVING ROSENFELD</character> <parenthetical>(out of breath)</parenthetical> <dialogue>I've got a plan.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>What's happening?</dialogue> <scene_description>Irving coughs and steps back. Out of breath and very winded.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>I've got a plan.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>You've got a plan? When did you get it?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>It really fucking came to me when I was inside of that canvas bag with your boyfriend's hands around my throat. That's when it really came to me.</dialogue> </scene> <scene> <stage_direction>INT. PETE MUSANE'S CADILLAC - FLASHBACK</stage_direction> <character>CARMINE POLITO</character> <dialogue>Take it off! Take the bag off his head!</dialogue> <scene_description>Dick pulls the bag off Irving's head, his comb over is all messed up. IRVING GASPS. Pete and Dick LAUGH --</scene_description> <character>IRVING ROSENFELD</character> <dialogue>We've got two million coming this week!</dialogue> <character>PETE MUSANE</character> <dialogue>What do you think this is? You think this is a fucking down payment plan? Like were Sears of Chevrolet?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>You ask Victor if he wants two million this week. That's real money. Two million.</dialogue> <character>PETE MUSANE</character> <dialogue>Two million? How?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Wired in.</dialogue> </scene> <scene> <stage_direction>EXT. MADISON AVENUE - FLASHBACK - CONTINUOUS</stage_direction> <scene_description>They LAUGH, Irving's hair is all messed up. Pete patches out. Irving and Carmine are a mess, shirts ripped open, no buttons, they look at each other VERY SHAKEN.</scene_description> <character>CARMINE POLITO</character> <dialogue>Is it true? Is it true what he said about your wife?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>It's not fucking true. That's not true.</dialogue> </scene> <scene> <stage_direction>INT. IRV AND ROSALYN'S HOUSE - BEDROOM - CONTINUOUS</stage_direction> <character>IRVING ROSENFELD</character> <dialogue>I can save all of us, and we can save money. I can take care of you and Danny. OK? But you gotta close your mouth.</dialogue> <scene_description>Rosalyn looks satisfied and points her finger at Irving.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>I knew it. I have always said, Irving, that you are very, very hard to motivate properly. And I knew that Pete was gonna go over there and knock some sense into you. I've been reading this book, Irving. It's by Wayne Dyer, about the power of intention.</dialogue> <scene_description>Irving can't believe what he's hearing right now. Rosalyn, very satisfied, reaches over the bed and grabs a book.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>And my intention in sending Pete over to you was so that you could come up with this plan. So, you're welcome.</dialogue> <scene_description>Irving incredulous, thinks to himself how to respond. Forces himself to say gently --</scene_description> <character>IRVING ROSENFELD</character> <dialogue>OK. Thank you, Rosalyn. Thank you for the plan.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>You're welcome.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I appreciate that. So, I think that we should be partners on this.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>I'm a good partner. Almost better than Edith. You ever think about that? You ever think about how you might have underestimated me?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>So what is our plan? Tell me the plan. What are you gonna do?</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>I'm going to keep my mouth shut and I'm not going to say anything but what do I do if Pete calls me? What am I supposed to say?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>You gotta stop talking about your government agencies and your I.R.S. and your tax and your conspiracies and all of that. You're gonna say how you were wrong, you were wrong about that.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>I'll tell Pete that I was wrong but you know that in real life, I was right for saying all that stuff because then that spurred on the actions that made you come up with this plan. So I will tell Pete.</dialogue> <character>IRVING ROSENFELD</character> <parenthetical>(holding his head)</parenthetical> <character>OK.</character> <dialogue>ROSALYN ROSENFELD</dialogue> <parenthetical>(pointing with cigarette between fingers)</parenthetical> <dialogue>The power of intention Irving. The power of intention.</dialogue> <scene_description>Irv is doing everything he can to hold it together.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>OK. You were right.</dialogue> <scene_description>Rosalyn gets up from the bed and walks over to Irving.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>You're so smart. Good job, peaches.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Irving, I've been doing a lot of thinking and -- you need to grow up. And you need to face the facts. And I think that both of us will be a lot happier if we get a divorce.</dialogue> <scene_description>As he listens to words he has been saying himself for months, now spoken as Rosalyn's idea. OK.:</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>Just think about it. (kisses him) These things are never easy.</dialogue> <scene_description>Irving starts walking away towards the door.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Alright.</dialogue> <character>ROSALYN ROSENFELD</character> <dialogue>Irving. Good luck with your plan.</dialogue> </scene> <scene> <stage_direction>EXT. FBI OFFICE, FEDERAL OFFICE BUILDING, NY - DAY</stage_direction> <scene_description>The spare rhythmic intro of Jeff Lynne's "Long Black Road" plays as Richie looks back over his shoulder and walks towards the building with intensity.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>Necessity truly is the mother of invention. The F.B.I. was willing to wire the two million dollars if it meant taking down Tellegio and his entire organization.</dialogue> </scene> <scene> <stage_direction>INT. FBI OFFICE, FEDERAL OFFICE BUILDING, NY</stage_direction> <scene_description>Brenda in her office. Amado looking very pleased on the telephone.</scene_description> </scene> <scene> <stage_direction>178A EXT. LEXINGTON AVENUE - DAY 178A</stage_direction> <scene_description>Irving walks with Richie and Sydney up to an office building.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>A mobster like Tellegio would never meet at the Plaza Hotel, but only at the office of his attorney, Alfonse Simone.</dialogue> <scene_description>They walk into mob lawyer Simone's building.</scene_description> </scene> <scene> <stage_direction>178B INT. LOBBY OF BUILDING - DAY 178B</stage_direction> <scene_description>On an old faded directory: 7TH FLOOR: ALFONSE SIMONE #701</scene_description> </scene> <scene> <stage_direction>178C INT. ELEVATOR - CONTINUOUS 178C</stage_direction> <scene_description>THEY STAND TENSE IN ELEVATOR NOT SPEAKING.</scene_description> </scene> <scene> <stage_direction>178D INT. RECEPTION AREA - SIMONE LAW OFFICE - DAY 178D</stage_direction> <scene_description>They open door to large, spare reception area of Alfonse Simone's law office. MIDDLE AGED SECRETARY looks up and picks up the phone.</scene_description> </scene> <scene> <stage_direction>178E INT. HALLWAY OF ALFONSE SIMONE'S OFFICE - CONTINUOUS 178E</stage_direction> <scene_description>NEARBY AT A SMALL TABLE SYDNEY IS FRISKED BY A BLACK MAN IN A SUIT, SHE SUSTAINS EYE CONTACT WITH IRVING AND RICHIE AS THEY ARE ALSO FRISKED BY ANOTHER MAN IN A SUIT ACROSS THE ROOM. -- THE CONTENTS OF SYDNEY'S PURSE ARE EMPTIED AND EXAMINED ALONG WITH HER PURSE. IT IS TENSE. SYDNEY STARES AT A NERVOUS RICHIE; THEIR MICROPHONES HAVE GONE UNDETECTED. "LONG BLACK ROAD" CONTINUES AS CAMERA FOLLOWS THE BACK OF THE THICK NECK OF THE MAN IN THE SUIT AS HE LEADS THEM DOWN A WINDING NARROW OFFICE CORRIDOR. IN ONE SHOT THE DOOR OPENS, JEFF LYNNE'S SONG SHIFTS TO A LIGHTER THAN AIR PIANO BREAK.</scene_description> </scene> <scene> <stage_direction>178F INT. ALFONSE SIMONE'S OFFICE - CONTINUOUS 178F</stage_direction> <scene_description>ALFONSE SIMONE- 64, BRONX, SEASONED LAWYER. Alfonse Simone rises from behind his desk. A silent secretary sitting at his side in a white dress stares at our heros as Simone steps forward to introduce himself.</scene_description> <character>ALFONSE SIMONE</character> <dialogue>Alfonse Simone.</dialogue> <scene_description>Edith walks up to him to shake hands. He shakes hands with Irving and Richie as well. Man in the suit closes the door behind them.</scene_description> <character>EDITH GREENSLY</character> <dialogue>Edith Greensly.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Irving Rosenfeld.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Good afternoon.</dialogue> <character>ALFONSE SIMONE</character> <dialogue>Please, be seated.</dialogue> <scene_description>They sit in three chairs facing Simone's desk: Sydney/Edith, Richie, Irving. Simone sits behind his desk, the silent secretary sits just behind him slightly to the side, stares at Edith, Richie, Irving.</scene_description> <character>ALFONSE SIMONE</character> <dialogue>I appreciate the fact that you all came in person, but the trip was really unnecessary because this whole thing could have been done with a simple wire transfer. As a matter of fact this is the number of our wire right here.</dialogue> <scene_description>Simone slides a small pink piece of paper across the desk to them. Richie stares at the paper, but doesn't touch it.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Where is Mr. Tellegio?</dialogue> <character>ALFONSE SIMONE</character> <dialogue>Mr. Tellegio unfortunately was called out of town on business.</dialogue> <character>RICHIE DIMASO</character> <dialogue>That's not good. We were willing to come here today, in person, to see Mr. Tellegio, as a sign of respect to give two million dollars --</dialogue> <character>ALFONSE SIMONE</character> <dialogue>I can assure you that I have the power of attorney --</dialogue> <character>RICHIE DIMASO</character> <dialogue>Excuse me. If you'll let me finish, we are willing to give two million dollars today of the ten. But without Mr. Tellegio here --</dialogue> <character>IRVING ROSENFELD</character> <parenthetical>(to Simone)</parenthetical> <dialogue>We can't, we can't make that decision. It's not the right thing. It's not the right time. It's just not good.</dialogue> <character>EDITH GREENSLY</character> <parenthetical>(to Irving across Richie)</parenthetical> <dialogue>You don't have the authorization to make this kind of choice so don't be hasty, alright?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I'm not being hasty. It's just, let's be smart about it. This is not how we do business. (to Simone) I'm sorry. I apologize.</dialogue> <scene_description>Richie motions with his hand to Edith that he agrees with Irving.</scene_description> <character>RICHIE DIMASO</character> <dialogue>He's right, we can't.</dialogue> <character>EDITH GREENSLY</character> <dialogue>I think you should hang in there.</dialogue> <character>RICHIE DIMASO</character> <dialogue>For what? The guy's not here.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>He isn't.</dialogue> <character>RICHIE DIMASO</character> <dialogue>That's it.</dialogue> <scene_description>He stands, goes to the door.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>This is a surprise. The Sheik doesn't like surprises.</dialogue> <scene_description>Edith turns in her chair to face them in the doorway.</scene_description> <character>EDITH GREENSLY</character> <dialogue>Don't leave.</dialogue> <character>IRVING ROSENFELD</character> <parenthetical>(in doorway with Richie)</parenthetical> <dialogue>Edith, this is not your decision to make.</dialogue> <character>EDITH GREENSLY</character> <dialogue>I understand but maybe we can call the Sheik. Let's call the Sheik.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>That's not the plan. That's not the --</dialogue> <scene_description>Edith locks eyes with Richie. Richie stares at Edith, waves Irving off with his hand.</scene_description> <character>RICHIE DIMASO</character> <dialogue>No, let's -- I'll call the Sheik. (to Simone) Can I use your phone?</dialogue> <character>ALFONSE SIMONE</character> <dialogue>Please do.</dialogue> <character>RICHIE DIMASO</character> <parenthetical>(to Alfonse Simone)</parenthetical> <dialogue>I don't know if he's in, I'll call the Sheik. But before I do, I'd like to go over specifically what this money will be used for.</dialogue> <character>ALFONSE SIMONE</character> <dialogue>What we will do is we guarantee all proper licenses and construction permits for any hotel casino that plans to open before the end of the year.</dialogue> <scene_description>Richie glances down at Edith and her handbag. PUSH IN ON A TINY MICROPHONE WE NOW SEE CLEVERLY BUILT INTO THE HANDLE OF EDITH'S GUCCI BAG.</scene_description> <character>ALFONSE SIMONE</character> <dialogue>And we'll throw in the customary privileges and protection.</dialogue> <character>RICHIE DIMASO</character> <dialogue>What if there are obstacles, what will you do?</dialogue> <character>ALFONSE SIMONE</character> <dialogue>Obstacles? We are prepared to overcome any obstacles.</dialogue> <character>RICHIE DIMASO</character> <dialogue>This is a big enterprise.</dialogue> <character>ALFONSE SIMONE</character> <dialogue>If we have to pay somebody off, we'll pay somebody off. If we have to lean on somebody, intimidate somebody, we'll intimidate somebody. We're experienced. This is our business.</dialogue> <scene_description>RICHIE STARES AT SIMONE.</scene_description> <character>RICHIE DIMASO</character> <dialogue>That's powerful stuff. Thank you.</dialogue> <scene_description>IRVING STARES AND SYDNEY LOOKS AT RICHIE.</scene_description> <character>ALFONSE SIMONE</character> <dialogue>And I'll tell you something else. At the end of this we'll teach you how to skim and how to cut it up and make some money on the side. Because we invented skimming. We've been doing it for thirty years.</dialogue> <scene_description>A smile creeps across Richie's face.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Thank you. Thank you for clarifying that.</dialogue> <scene_description>Richie picks up the phone to dial.</scene_description> <character>RICHIE DIMASO</character> <dialogue>I think that will be OK for the Sheik.</dialogue> </scene> <scene> <stage_direction>INT. BRENDA'S FBI WIRE OFFICE - CONTINUOUS</stage_direction> <scene_description>AMADO, STODDARD, BRENDA.</scene_description> <character>ANTHONY AMADO</character> <dialogue>This is the Sheik.</dialogue> <character>RICHIE DIMASO</character> <parenthetical>(on phone)</parenthetical> <dialogue>Mr. Tellegio is not here. It's just Mr. Alfonse Simone, his lawyer. Are we still ok to wire the money?</dialogue> <character>ALFONSE SIMONE</character> <dialogue>Simone can take the money. What's the number?</dialogue> <character>RICHIE DIMASO</character> <dialogue>5317AP</dialogue> <scene_description>Amado writes it down and hands it to Brenda to call in.</scene_description> <character>BRENDA</character> <dialogue>The funds have been transferred.</dialogue> <character>ANTHONY AMADO</character> <parenthetical>(on phone to Richie)</parenthetical> <dialogue>The funds have been transferred.</dialogue> <scene_description>Amado nods: victory. BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. ALFONSE SIMONE'S OFFICE - DAY - CONTINUOUS</stage_direction> <scene_description>Richie hangs up.</scene_description> <character>RICHIE DIMASO</character> <dialogue>The money's been wired.</dialogue> <character>ALFONSE SIMONE</character> <dialogue>I think we have a deal.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Yes we do sir.</dialogue> <character>ALFONSE SIMONE</character> <dialogue>Pleasure doing business with you.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Okay, well, thank you very much, Mr. Simone.</dialogue> <scene_description>RICHIE SMILES, SYDNEY LOOKS AT IRVING, WHO LOOKS PREOCCUPIED. PUSH IN ON IRVING.</scene_description> <character>RICHIE DIMASO</character> <dialogue>The Sheik's very excited.</dialogue> <character>ALFONSE SIMONE</character> <dialogue>I'm sure that we'll be seeing each other.</dialogue> <scene_description>Richie and team start to walk out.</scene_description> <character>RICHIE DIMASO</character> <parenthetical>(grinning)</parenthetical> <dialogue>Oh I'm sure we'll be seeing each other very soon. You may even get sick of me, like these two.</dialogue> <character>ALFONSE SIMONE</character> <dialogue>I don't think I'll get sick of you. Nice meeting you.</dialogue> <scene_description>Richie, Edith, and Irving walk down the hall after leaving his office. Richie smiles as the opening of Bowie's "The Jean Genie" momentously starts. Edith smiles as she walks down the hall followed by Irving. Richie puts his hand on the door knob to exit the hallway.</scene_description> </scene> <scene> <stage_direction>178H INT. AMADO'S OFFICE, FEDERAL OFFICE BUILDING - DAY 178H</stage_direction> <scene_description>THE DOOR OPENS IN A TIMECUT, RICHIE IN SUNGLASSES, HIS JACKET IS OFF, HE BEAMS AND CELEBRATES AND EXHORTS A ROOM FULL OF FBI AGENTS, ADMINISTRATORS, SECRETARIES. THE JEAN GENIE PLAYS ENERGETICALLY AS RICHIE CELEBRATES WITH EVERYONE, LIKE IN A LOCKER ROOM, HIS FIST IN THE AIR. FINALLY! FINALLY WE GET SOME: RESPECT!: AMADO SITS IN HIS CHAIR WITH CIGAR IN ONE HAND AND DRINK IN THE OTHER. VERY EXCITED AND LAUGHING AS HE POINTS AT RICHIE.</scene_description> <character>ANTHONY AMADO</character> <parenthetical>(shouts through clamor)</parenthetical> <dialogue>We're ambitious, that's why!</dialogue> <scene_description>Richie suddenly moves to the reel to reel surveillance tape and quiets the room, the music momentarily stops as we hear Alfonse Simone on the surveillance tape.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Shh, shh, shh!</dialogue> <character>ALFONSE SIMONE (ON SURVEILLANCE TAPE)</character> <dialogue>If we have to pay somebody off, we'll pay somebody off. If we have to lean on somebody, intimidate somebody, we'll intimidate somebody.</dialogue> <scene_description>Richie joyfully lip synchs to the rhythm of Simone's incriminating words on tape.</scene_description> <character>RICHIE DIMASO</character> <parenthetical>(in unison with Simone on tape)</parenthetical> <dialogue>-- If we have to lean on somebody, intimate somebody, we'll intimidate somebody!!</dialogue> <scene_description>RICHIE THROWS HIS FIST IN THE AIR AND CHEERS, JOINED BY EVERYONE IN THE ROOM. BOWIES "THE JENE GENIE" COMES BACK LOUD. RICHIE TURNS AND TWIRLS A WHITE HAIRED FBI AGENT IN CELEBRATION, LAUGHING WITH JOY. THEN GOES OVER TO A SULKING STODDARD AND HUMPS HIM LIKE AT A FRAT PARTY, LAUGHING WITH EVERYBODY AT STODDARD'S STIFFNESS. STODDARD GETS UP AND RICHIE SMACKS HIS ASS AS HE LEAVES THE ROOM. RICHIE IMITATES STODDARD TO ROARING LAUGHTER -- TWICE. THE MUSIC CRESCENDOS TO AN ABRUPT STOP.</scene_description> </scene> <scene> <stage_direction>EXT. CARMINE POLITO'S CAMDEN NJ CLAPBOARD HOME - DAY</stage_direction> <scene_description>Irving's big blue car pulls up to the lens. Irving and Sydney looking a little uneasy. Irving stares at the house.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>I gotta do it.</dialogue> </scene> <scene> <stage_direction>INT. CARMINE'S LIVING ROOM - DAY</stage_direction> <character>CARMINE POLITO</character> <dialogue>What do you mean, there's no sheik? What does that mean, "there's no sheik"? What does that mean?</dialogue> <scene_description>Carmine stares at Irving.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>I want to face you like a man because I want to be real now.</dialogue> <character>CARMINE POLITO</character> <dialogue>Who is "they"?</dialogue> <scene_description>Irving looks distressed. He's a wreck.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>It's the Feds.</dialogue> <character>CARMINE POLITO</character> <dialogue>The Feds?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Yeah.</dialogue> <character>CARMINE POLITO</character> <dialogue>Irving -- I'm a good person</dialogue> <character>IRVING ROSENFELD</character> <dialogue>You are!</dialogue> <scene_description>Carmine stands up and looks around the room, disoriented, his life passing before his eyes.</scene_description> <character>CARMINE POLITO</character> <dialogue>I've been doing this for a long time, for twenty years. Do you think I woulda taken that money if it wasn't the right thing to do?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Hey look, you're a good person I know that but in all honesty --</dialogue> <character>CARMINE POLITO</character> <parenthetical>(screams)</parenthetical> <dialogue>You said that was the only way, Irv. You chased me, remember?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>They fuckin' made me do it. What was I supposed to do? They had Syd in jail.</dialogue> <character>CARMINE POLITO</character> <dialogue>You made me go back to the Plaza to take that money, you piece of shit! I was gone! You fucking prick!</dialogue> <scene_description>CARMINE BEATS IRVING DOWN ON THE COUCH.</scene_description> <character>CARMINE POLITO</character> <dialogue>I was gone, I left!</dialogue> <scene_description>DOLLY WALKS IN.</scene_description> <character>DOLLY POLITO</character> <dialogue>Is everything alright? Can I have a word with you?</dialogue> <character>CARMINE POLITO</character> <parenthetical>(very upset)</parenthetical> <dialogue>No, please, Dolly, just go upstairs. Take the kids and go upstairs!</dialogue> <character>DOLLY POLITO</character> <dialogue>Alright, alright.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I want to make this right. I came here because I want to make it right.</dialogue> <scene_description>Irving is in tears. Very upset.</scene_description> <character>CARMINE POLITO</character> <dialogue>Look at my face. You tell me that I'm lying to you when I say that everything I do is for the good of the people of New Jersey. Everything I do is for them. Am I lying to you?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I never had a friend like you before.</dialogue> <character>CARMINE POLITO</character> <dialogue>I used that money for the goddamn casino.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I got some leverage, alright? I can help you out.</dialogue> <character>CARMINE POLITO</character> <dialogue>This is all shit. It's all bullshit.</dialogue> <scene_description>Carmine picks up the knife the Sheik gave him.</scene_description> <character>CARMINE POLITO</character> <dialogue>Look at this thing. Look at this. Ceremonial fucking knife. What is this bullshit? Some toy?</dialogue> <scene_description>He drops it on the table. Irving stares at his friend, removes his glasses.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>Carmine, Syd and I got a plan for you. We can help you out.</dialogue> <character>CARMINE POLITO</character> <dialogue>Please get out of my house, Irving. Will you please leave? I'm asking you nicely, please leave.</dialogue> <scene_description>Irving gets up to go and is pushed towards the door by Carmine. Dolly joins Carmine in tears. Carmine's kids stand on the stairs.</scene_description> <character>DOLLY POLITO</character> <dialogue>Get out of our house!</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I don't want to -- (seeing kids) I'm sorry. I didn't mean for this to happen.</dialogue> <character>CARMINE POLITO</character> <parenthetical>(to kids)</parenthetical> <dialogue>This is not our friend!</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Truly, I didn't mean for this to happen.</dialogue> <scene_description>Carmine points to his family.</scene_description> <character>CARMINE POLITO</character> <dialogue>This is what matters to me most and you're crushing it! You're going to take me away from them you fucking son of a bitch? Get the fuck out!</dialogue> <scene_description>Carmine lunges at Irving and punches him in the face. Irving goes down to the ground and his glasses fly off his face. CARMINE kicks him one last time.</scene_description> <character>IRVING ROSENFELD</character> <parenthetical>(beaten, bloody on floor)</parenthetical> <dialogue>I just want to make it right.</dialogue> <character>CARMINE POLITO</character> <dialogue>Get out of my house. Look what you made me do!</dialogue> <character>IRVING ROSENFELD</character> <parenthetical>(stumbling out the door)</parenthetical> <dialogue>I'm sorry Carmine, I'm sorry.</dialogue> </scene> <scene> <stage_direction>EXT. CARMINE'S HOUSE - DAY</stage_direction> <scene_description>Irving staggers out of the house in an emotional daze, one hand to his heart, falls to sidewalk with bloody nose and broken glasses -- SYDNEY ACROSS THE STREET BURST OUT OF THE CAR.</scene_description> <character>SYDNEY PROSSER</character> <dialogue>Irving!</dialogue> <scene_description>RUNS TO HIM IN HER HIGH HEELS -- HELPS HIM SIT UP ON THE SIDEWALK.</scene_description> <character>SYDNEY PROSSER</character> <dialogue>Your heart pills. Where are your heart pills?</dialogue> <scene_description>She digs through his pockets, finds the pills, and feeds one to him. Sydney struggles to help Irving to his feet and together, an embattled but surviving couple, they cross the street arm and arm. She opens the door and helps him into the car.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>I've got to lay down.</dialogue> <character>SYDNEY PROSSER</character> <dialogue>Just rest.</dialogue> <scene_description>She gets in and closes the door.</scene_description> </scene> <scene> <stage_direction>INT. IRVING'S CADILLAC - DAY</stage_direction> <scene_description>They both slump down on the seat, stare at each other, emotional, humbled. Sydney gently removes Irving's broken glasses. They stare at each other, it is quiet.</scene_description> <character>SYDNEY PROSSER</character> <parenthetical>(emotional, quiet)</parenthetical> <dialogue>Are you ready?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Yes.</dialogue> <scene_description>They stare at each other.</scene_description> <character>IRVING ROSENFELD</character> <parenthetical>(whispers)</parenthetical> <dialogue>I love you.</dialogue> <scene_description>She squeezes his hand, raises it to her lips and kisses it.</scene_description> </scene> <scene> <stage_direction>INT. AMADO'S OFFICE - DAY</stage_direction> <scene_description>TILT UP FROM THE FLOOR OF THE OFFICE TO RICHIE, AMADO, AND STODDARD INTENSELY STARING AT THE DOOR FOR A CONFRONTATION, LIKE IN A WESTERN. THE DOOR OPENS AS IRVING AND SYDNEY ENTER AND STARE BACK AT THEM.</scene_description> <character>ANTHONY AMADO</character> <dialogue>Please. Come in. Sit down.</dialogue> <scene_description>They all sit.</scene_description> <character>ANTHONY AMADO</character> <dialogue>Do you know where our two million dollars is?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Two million? (Irving pushes his new glasses up the bridge of his nose) It's with Victor Tellegio and Alfonse Simone.</dialogue> <character>ANTHONY AMADO</character> <dialogue>No, actually it's not with Victor Tellegio or Alfonse Simone.</dialogue> <scene_description>Richie stands by the window, stares angrily at Irving.</scene_description> <character>RICHIE DIMASO</character> <dialogue>He fucking knows about it.</dialogue> <character>ANTHONY AMADO</character> <dialogue>It's gone missing. Did you know that?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Where's it gone?</dialogue> <character>ANTHONY AMADO</character> <dialogue>That's interesting that you said that because while you were on your way over here, we got an anonymous phone call from someone who said that in exchange for immunity for the two of you and a reduced sentence for Carmine Polito we get our two million dollars back.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>That's interesting. That's very interesting. I have no idea.</dialogue> <character>ANTHONY AMADO</character> <dialogue>No idea?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>No idea what you're talking about.</dialogue> <scene_description>Irving looks at Sydney who looks back at him and shakes her head. She doesn't know either.</scene_description> <character>ANTHONY AMADO</character> <dialogue>I got it. I understand how these deals are made. See, someone has leverage.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Anthony, fuck them. It's over. We got them for wire fraud, it's over. (to Irving and Sydney) You're done. You're both done.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I don't think so.</dialogue> <character>RICHIE DIMASO</character> <dialogue>Oh, you don't think so?</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Richard, think about it, YOU requested the two million. And you gave Brenda the account number. We didn't do any of that. None of it. (turns dramatically to face Richie) How do we know that YOU don't have the money?</dialogue> <character>RICHIE DIMASO</character> <parenthetical>(Richie looks from Irving to Sydney)</parenthetical> <dialogue>Am I living in a fucking nightmare right now?</dialogue> <scene_description>AMADO AND STODDARD STARE INCRIMINATINGLY AT RICHIE.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>I find this a little offensive. Really, I find this a little offensive and I don't see that you got any sort of solid case against--</dialogue> <character>RICHIE DIMASO</character> <parenthetical>(to Amado and Stoddard)</parenthetical> <dialogue>Don't let him get in your heads. Listen to me, we're dealing with a very clever individual.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Richard, think about it. You got some big arrests. You got U.S. Congressmen. You look good. You're gonna be all over the news. You know what doesn't look good? A story about gross incompetence</dialogue> <scene_description>SMASH TO: FLASHBACK -- RICHIE KICKS OPEN THE DOOR OF LAWYER ALFONSE SIMONE'S OFFICE WITH A WARRANT IN HIS HAND AND TWO AGENTS BEHIND HIM.</scene_description> <character>RICHIE DIMASO</character> <dialogue>I have a warrant for --</dialogue> <scene_description>Richie looks around disoriented, we cannot see what he sees yet.</scene_description> <character>RICHIE DIMASO</character> <dialogue>I'm sorry, do I have the wrong office?(checks number on the door) Is this 701? Alfonse Simone?</dialogue> <character>MAN'S VOICE (O.S.)</character> <dialogue>This is 701.</dialogue> <scene_description>-- WE REVEAL THE VOICE BELONGS TO A BLACK ATTORNEY -- TWO BLACK CLIENTS ACROSS FROM HIM -- SEATED AT WHAT PREVIOUSLY APPEARED TO BE THE DESK OF LAWYER ALFONSE SIMONE.</scene_description> <character>BLACK DIVORCE LAWYER</character> <dialogue>My name is Roger Thigpen. I've had this office for 25 years. I'm a divorce attorney.</dialogue> <scene_description>RICHIE IS STUNNED.</scene_description> </scene> <scene> <stage_direction>INT. AMADO'S OFFICE - DAY - BACK TO PRESENT</stage_direction> <character>SYDNEY PROSSER</character> <dialogue>You lost two million dollars of taxpayer money because you were confused about the location and the identity of Victor Tellegio's attorney?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. POOL PARTY - LONG ISLAND HOUSE - DAY - FLASHBACK</stage_direction> <scene_description>Where we first saw Irving at the pool party.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>The role of Tellegio's attorney, Alfonse Simone, was played by our friend Ed Malone --</dialogue> <scene_description>Camera pans from Irving to Ed Malone:</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>the "Cold Cut King of Long Island"--</dialogue> <scene_description>Ed Malone holds up two packages of cold cuts. Also holding the cold cuts are the two that frisked everyone at Simone's office.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>Whose party we were at when Sydney and I first met.</dialogue> <scene_description>Cut to Irving first meeting Sydney. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ALFONSE SIMONE'S OFFICE - DAY - FLASHBACK</stage_direction> <scene_description>Ed Malone, dressed as Alfonse Simone, steps to camera to shake Richie's hand.</scene_description> <character>ED MALONE</character> <dialogue>Alfonse Simone.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ANTHONY AMADO'S OFFICE - DAY - BACK TO PRESENT</stage_direction> <character>EDITH GREENSLY</character> <dialogue>People believe what they want to believe Richie.</dialogue> <character>RICHIE DIMASO</character> <dialogue>That's because you conned me! You both fucking conned me. You both got under me. You did!</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Well that doesn't sound so good, either. I mean -- and I don't know what you're talking about, but -- let's just assume you want to go with that story. Really? That's the story you want to go with? That's what you want the New York Times to hear? That you got conned by the very con men who you forced to entrap the members of Congress in the first place. That's what you want to go with? That doesn't sound so good for your whole thing.</dialogue> <scene_description>Richie looks like he's going to be sick.</scene_description> <character>IRVING ROSENFELD</character> <dialogue>And how ironic that the most creative minds, the ones who are working hardest to get the economy of New Jersey going, those are the ones that you round up. And why? Because what, they're the easiest to go after? And what about the real bullshit artists? You didn't even come close to the big leagues. Those big guys. The money men.</dialogue> <character>RICHIE DIMASO</character> <dialogue>That's what I was trying to go after.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>I'm sorry to tell you, you got none of 'em.</dialogue> <character>STODDARD THORSEN</character> <dialogue>You know, Richard, I think we may call you as a witness, but otherwise you're done. I think you better go home.</dialogue> <scene_description>Richie disoriented, appeals to Stoddard.</scene_description> <character>RICHIE DIMASO</character> <dialogue>Stoddard --</dialogue> <character>STODDARD THORSEN</character> <dialogue>Go on home, Richard.</dialogue> <scene_description>ELO's "10538 Overture" reprises on the soundtrack.</scene_description> </scene> <scene> <stage_direction>EXT. FBI OFFICE, FEDERAL OFFICE BUILDING, NY - DAY</stage_direction> <scene_description>Camera tilts down from the Federal Building to find Richie coming down the stairs, emotional. Richie walks wiping his eyes, his innocence and Edith, lost. CUT TO:</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>We took down some very big guys.</dialogue> <scene_description>-REP. SANDERS SWARMED BY PHOTOGRAPHERS WALKING OUT OF BUILDING, ESCORTED BY FBI AGENTS. -REP. SIMMONS ESCORTED OUT OF CITY HALL.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>Some of whom were just doing business as usual helping their communities or their states.</dialogue> <scene_description>-REP. KESHOYGAN IS GRABBED AS HE APPROACHES HIS CAR IN A GROCERY STORE PARKING LOT WITH A BAG FULL OF GROCERIES.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>But some of them knew they had larceny in their blood--</dialogue> <scene_description>-REP. O'CONNELL COVERS HIS FACE AS PHOTOGRAPHERS SWARM HIM AS HE'S ARRESTED OUTSIDE HIS HOUSE AS WIFE AND DAUGHTER LOOK ON. CARL ELWAY IS CHELSEA HOTEL OFFICE IN HIS BATHROBE WITH HIS SECRETARY IN TEARS.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>And they even admitted it.</dialogue> <scene_description>GREY HAIRED SENATOR HORTON MITCHELL, wife by his side, denies any wrongdoing and is photographed and humiliated as he then sits with her in a Federal car.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>But in all it was six Congressmen, one United States Senator, and my friend, Carmine Polito.</dialogue> <scene_description>THE DOOR TO CARMINE'S CLAPBOARD HOUSE OPENS, CARMINE STANDS IN THE DOOR, STARES AT THE AGENTS, HIS WIFE AND CHILDREN IN TEARS STAND BEHIND HIM AS HE SERVED A WARRANT. CARMINE IS HANDCUFFED.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>We gave the two million back so Carmine got the reduced sentence. 18 months. The loss of his friendship would haunt me for the rest of my life.</dialogue> <scene_description>CROWDED FEDERAL BUILDING PRESS CONFERENCE - MANY FLASHBULBS AS STODDARD STANDS NEXT TO AMADO WHO MAKES THE ANNOUNCEMENT.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>And when the story was written, Richard Dimaso's name was never mentioned.</dialogue> <scene_description>CAMERA PANS THROUGH CROWD TO FIND RICHIE IN THE WAY BACK, LEANING AGAINST A PILLAR. FADE TO WHITE ON HIS SOBERED FACE.</scene_description> </scene> <scene> <stage_direction>EXT. LONG ISLAND ELEMENTARY SCHOOL - DAY</stage_direction> <scene_description>FADE IN FROM WHITE, PAN DOWN FROM WHITE SKY TO SCHOOLYARD, CHILDREN LEAVING ELEMENTARY SCHOOL. IRVING AND SYDNEY WALK UP TO THE SCHOOL TO PICK UP DANNY.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>Syd and I moved in together. And Rosalyn --</dialogue> <scene_description>ROSALYN IN A NECK BRACE and off white trench coat and sunglasses -</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>The car is a little dinged up and I'm a little stiff but I don't want to talk about it.</dialogue> <scene_description>Irving stares at Rosalyn.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>She would always be interesting.</dialogue> <scene_description>Rosalyn gets in to a car, revealing Pete Musane in the driver's seat. Irving leans in.</scene_description> <character>PETE MUSANE</character> <parenthetical>(to Irving)</parenthetical> <dialogue>You know my boss knows you did him a solid.</dialogue> <character>IRVING ROSENFELD</character> <dialogue>Yes I did. He never took a nickle so they can't get him for nothing. I was never going to let that happen.</dialogue> <scene_description>Irving starts to leave --</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>Irv.</dialogue> <scene_description>He stops and looks at her. With red lacquered nails Rosalyn places her favorite nail finish in his hand.</scene_description> <character>ROSALYN ROSENFELD</character> <dialogue>I'm done with this nail finish. Bye for now. I'll see you next weekend.</dialogue> <scene_description>Irving nods. Rosalyn drives off with Pete. Sydney stands with Danny.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>Our conning days were behind us.</dialogue> <scene_description>Irving and Sydney walk hand and hand with Danny down the street. Irv drops the nail finish into a trashcan.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>You can fool yourself for just so long and then your next reinvention better have your damn feet on the ground.</dialogue> </scene> <scene> <stage_direction>INT. ART GALLERY - DAY</stage_direction> <scene_description>Irving and Sydney admire a piece of art on the wall.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>We got a loan from a bank and were able to go gallery legitimate.</dialogue> </scene> <scene> <stage_direction>INT. SMALL BANK - DAY</stage_direction> <scene_description>Irving and Sydney sit in front of a banker asking for a loan.</scene_description> <character>IRVING ROSENFELD (V.O.)</character> <dialogue>The art of survival is a story that never ends.</dialogue> </scene> <scene> <stage_direction>INT. SYDNEY'S APARTMENT - DAY</stage_direction> <scene_description>SYDNEY PLACES THE NEEDLE ON THE RECORD PLAYING ON A TURNTABLE: DUKE ELLINGTON'S JEEPS BLUES, begins. SHE STARES ACROSS THE ROOM AT IRVING. IRVING STARES BACK HER. CUT TO BLACK</scene_description> </scene> </script>

In 1978, Irving Rosenfeld and Sydney Prosser work together as con artists. Sydney, posing as English aristocrat "Lady Edith Greensly", has improved the scams. Irving loves Sydney but is unwilling to leave his unstable, histrionic wife, Rosalyn, fearing he will lose contact with adopted son Danny. Rosalyn has also threatened to report Irving to the police if he leaves her. FBI agent Richie DiMaso catches Irving and Sydney in a loan scam but offers to release them if Irving can line up four additional arrests. Richie believes Sydney is English but has proof that her aristocratic claim is fraudulent. She tells Irving she will manipulate Richie, which distances her from Irving. Irving has a friend pretending to be a wealthy Arab sheikh looking for potential investments in America. An associate of Irving's suggests the sheikh do business with Mayor Carmine Polito of Camden, New Jersey, who is trying to revitalize gambling in Atlantic City, but has struggled to find investors. Carmine seems to have a genuine desire to help the area's economy and his constituents. Richie devises a plan to make Mayor Polito the target of a sting operation, despite the objections of Irving and of Richie's boss Stoddard Thorsen. Sydney helps Richie manipulate an FBI secretary into making an unauthorized wire transfer of $2 million. When Stoddard's boss Anthony Amado hears of the operation, he praises Richie's initiative, pressuring Stoddard to continue. Carmine leaves the meeting when Richie presses him to accept a cash bribe. Irving convinces him the sheikh is legitimate, expressing his dislike of Richie, and they become friends. Richie arranges for Carmine to meet the sheikh, and without consulting the others, has Mexican-American FBI agent Paco Hernandez play the sheikh, which displeases Irving. Carmine brings the sheikh to a casino party, explaining that mobsters are there and that it is a necessary part of doing business. Irving is surprised to hear that Mafia boss Victor Tellegio, right-hand man to Meyer Lansky, is present and wants to meet the sheikh. Tellegio explains that the sheikh needs to become an American citizen, and that Carmine will need to expedite the process. Tellegio also requires a $10 million wire transfer to prove the sheikh's legitimacy. Richie confesses his strong attraction to Sydney but becomes confused and aggressive when she drops her English accent and admits to being from Albuquerque. Rosalyn starts an affair with mobster Pete Musane, whom she met at the party. She mentions her belief that Irving is working with the IRS, causing Pete to threaten Irving, who promises to prove the sheikh's investment is real. Irving later confronts Rosalyn, who admits she told Pete and agrees to keep quiet but wants a divorce. With Carmine's help, Richie and Irving videotape members of Congress receiving bribes. Richie assaults Stoddard in a fight over the money and later convinces Amado he needs the $10 million to get Tellegio, but he gets only $2 million. A meeting is arranged at the offices of Tellegio's lawyer Alfonse Simone, but Tellegio does not appear. Irving visits Carmine and admits to the scam but says he has a plan to help him. Carmine throws Irving out, and the loss of their friendship deeply upsets Irving. The federal agents inform Irving that their $2 million is missing and that they have received an anonymous offer to return the money in exchange for Irving and Sydney's immunity and a reduced sentence for Carmine. It is revealed that Alfonse Simone, with whom Richie had arranged the wire transfer, was a con man working with Irving and Sydney. Amado accepts the deal, and Stoddard removes Richie from the case, which ends his career. The congressmen are prosecuted, and so is Carmine, who is sentenced to 18 months in prison. Irving and Sydney move in together and open a legitimate art gallery, while Rosalyn lives with Pete and shares custody of Danny with Irving.

The Hobbit: The Desolation of Smaug_2013

tt1170358

<script> <scene> <character>THE HOBBIT:</character> <dialogue>THE DESOLATION OF SMAUG</dialogue> <scene_description>5th Draft - 22 November - Film 2 of 3 By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson 4th Draft - 26 September 2013 - Film 2 of 3 By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson Third Draft - 24 June 2013 - Film 2 of 3 By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson Second Draft - 11 April 2013 - Film 2 of 3 By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson First Draft - 27 March 2013 - Film 2 of 3 By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson Based on the Screenplays LITTLE RIVERS BIGGER RIVERS Tenth Draft - 20 August 2012 - Film 1 of 3 Eight Draft - 13 June 2013 - Film 3 of 3 By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson Ninth Draft - 16 July 2012 - Film 1 of 3 Seventh Draft - 15 May 2013 - Film 3 of 3 By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson Eight Draft - 20 March 2012 - Film 1 of 2 Sixth Draft - 7 May 2012 - Film 2 of 2 By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson Seventh Draft - 27 October 2011 - Film 1 of 2 Fifth Draft - 14 February 2012 - Film 2 of 2 By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson Sixth Draft - 3 September 2011 - Film 1 of 2 Fourth Draft - 20 October 2011 - Film 2 of 2 By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson Fifth Draft - 28 April 2011 - Film 1 of 2 Third Draft - 13 September 2011 - Film 2 of 2 By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson Fourth Draft - 9 February 2011 - Film 1 of 2 Second Draft - 20 May 2011 - Film 2 of 2 By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson Third Draft - 15 January 2011 - Film 1 of 2 First Draft - 9 April 2010 - Film 2 of 2 By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson &amp; Guillermo Del Toro Second Draft - 17 June 2010 - Film 1 of 2 By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson First Draft - 23 September 2009 - Film 1 of 2 By Fran Walsh &amp; Philippa Boyens &amp; Peter Jackson &amp; Guillermo Del Toro 22 November 2013 BLACK SCREEN: ON THE SOUNDTRACK: HEAVY RAIN falls ... a SUDDEN CLAP of THUNDER! FADE IN:</scene_description> </scene> <scene> <stage_direction>EXT. PRANCING PONY, BREE STREETS - NIGHT</stage_direction> <scene_description>A CLOAKED FIGURE hurries through a heavy downpour towards the LIGHT of an INN. A SIGN SWINGS in the WIND: "The Prancing Pony" The CLOAKED FIGURE goes to step into the shelter of the INN but suddenly turns and looks over his shoulder, as if sensing something ... the FIGURE is THORIN OAKENSHIELD. THORIN stares out into the dark, wind swept night, before hurrying inside. PULL BACK to reveal ... TWO SWARTHY looking men exchange looks before following him in.</scene_description> </scene> <scene> <stage_direction>INT. PRANCING PONY - NIGHT</stage_direction> <scene_description>ANGLE ON: an assortment of locals and travellers fills the bar. HOBBITS, mingle with BREELANDERS. A BARMAID, BETSY BUTTERBUR, is just about to deliver a MUG and a PLATE of CHEESE and BREAD to THORIN. A LARGE FIGURE suddenly sits down across the TABLE from THORIN ... this is GANDALF the GREY. He looks a little the worse for wear.</scene_description> <character>GANDALF</character> <dialogue>Mind if I join you?</dialogue> <parenthetical>(signalling to the BARMAID)</parenthetical> <dialogue>I'll have the same.</dialogue> <parenthetical>(back to THORIN)</parenthetical> <dialogue>I should introduce myself - my name is Gandalf, Gandalf the Grey.</dialogue> <character>THORIN</character> <dialogue>I know who you are.</dialogue> <character>GANDALF</character> <parenthetical>(heartily)</parenthetical> <dialogue>Well now ... this is a fine chance ...</dialogue> <parenthetical>(chatty)</parenthetical> <dialogue>What brings Thorin Oakenshield to Bree?</dialogue> <scene_description>ANGLE ON: THORIN stares speculatively at the WIZARD before deciding to answer.</scene_description> <character>THORIN</character> <dialogue>I received word that my father had been seen, wandering the wilds near Dunland. I went looking, but found no sign of him.</dialogue> <scene_description>ANGLE ON: GANDALF looks at THORIN with sympathy.</scene_description> <character>GANDALF</character> <dialogue>Thorin it has been a long time since anything but rumour was heard of Thrain.</dialogue> <character>THORIN</character> <dialogue>He still lives - I'm sure of it.</dialogue> <scene_description>GANDALF shifts in his seat. ANGLE ON: BETSY BUTTERBUR the BARMAID places GANDALF's MUG of ALE and CHEESE and BREAD in front of him.</scene_description> <character>THORIN</character> <dialogue>My father came to see you - before he went missing. What did you tell him?</dialogue> <character>GANDALF</character> <dialogue>I urged him to march upon Erebor ... to rally the seven armies of the Dwarves, destroy the Dragon and take back Erebor. ... I would say the same to you - take back your homeland.</dialogue> <scene_description>THORIN takes a swig of BEER. He regards GANDALF.</scene_description> <character>THORIN</character> <dialogue>This is no chance meeting - is it?</dialogue> <character>GANDALF</character> <parenthetical>(conceding the truth)</parenthetical> <dialogue>No - it is not.</dialogue> <character>GANDALF</character> <dialogue>The Lonely Mountain troubles me, Thorin. That Dragon has sat there long enough. Sooner or later ... darker minds will turn towards Erebor -</dialogue> <scene_description>THORIN looks at GANDALF, unconvinced.</scene_description> <character>GANDALF</character> <dialogue>I ran into some unsavoury characters whilst travelling along the Greenway. They mistook me for a vagabond.</dialogue> <character>THORIN</character> <dialogue>I imagine they regretted that.</dialogue> <scene_description>GANDALF smiles wryly. He reaches into his pocket and withdraws a tattered note. He slides it towards THORIN</scene_description> <character>GANDALF</character> <dialogue>One of them was carrying a message.</dialogue> <scene_description>THORIN opens the bit of OLD PIECE OF HIDE, he frowns, unable to read the script.</scene_description> <character>GANDALF</character> <dialogue>It is Black Speech - a promise of payment.</dialogue> <character>THORIN</character> <dialogue>For what?</dialogue> <character>GANDALF</character> <dialogue>Your head.</dialogue> <scene_description>CLOSE ON: THORIN reacts to this unwelcome news.</scene_description> <character>GANDALF</character> <dialogue>Someone wants you dead ... Thorin, you can wait no longer. You are the heir to the Throne of Durin. Your father will never be found - this task is now yours. Unite the armies of the Dwarves - together you have the might and power to retake Erebor. Summon a meeting of the seven Dwarf families - demand that they stand by their oath.</dialogue> <character>THORIN</character> <dialogue>The seven armies swore that oath to the one who wields the King's Jewel, the Arkenstone ... It is the only thing that will unite them. In case you have forgotten that jewel was stolen by Smaug.</dialogue> <scene_description>ANGLE ON: The SWARTHY MEN slip out of the INN. GANDALF leans forward.</scene_description> <character>GANDALF</character> <parenthetical>(low voice)</parenthetical> <dialogue>What if I were to help you reclaim it?</dialogue> <character>THORIN</character> <dialogue>How? The Arkenstone lies half a world away, buried beneath the feet of a fire breathing dragon.</dialogue> <character>GANDALF</character> <dialogue>Yes, it does. Which is why we are going to need a burglar.</dialogue> </scene> <scene> <stage_direction>EXT. ANDUIN VALLEY RIDGE - NIGHT</stage_direction> <scene_description>CLOSE ON: A tense looking BILBO climbs stealthily up a rocky escarpment ... cautiously he peers over the edge. SUPER IMPOSE: NINE MONTHS LATER ... BILBO POV: in the far distance a PACK of ORC SCOUTS riding WARGS can be seen scouring a RIDGE LINE ... the WARG'S sniff the ground trying to pick-up THORIN and COMPANIES scent. ANGLE ON: the MENACING FORM of AZOG the DEFILER rides into view ... AZOG's head swivels towards BILBO's lookout as if sensing he is being watched. BILBO ducks down just before he is seen. ANGLE ON: BILBO about to creep back to the OTHERS when suddenly he freezes ... THUD! A MASSIVE PAW pads into view as the ENORMOUS FUR COVERED BODY of a GIANT BEAR CREATURE pushes through UNDERGROWTH ... dark, fierce eyes stares intently at the ORC PACK in the distance ... sharp, fangs are bared as the CREATURE emits a LOW, THREATENING SNARL ... Barely breathing BILBO quietly slips away.</scene_description> </scene> <scene> <stage_direction>EXT. ANDUIN VALLEY CLEARING - NIGHT</stage_direction> <scene_description>ANGLE ON: GANDALF, THORIN and the COMPANY reacts as BILBO scampers into the clearing. He is immediately peppered with questions.</scene_description> <character>THORIN</character> <dialogue>How close is the pack?</dialogue> <character>BILBO</character> <parenthetical>(out of breath)</parenthetical> <dialogue>Too close, a couple of leagues, no more. But that's not the worst of it -</dialogue> <character>DWALIN</character> <parenthetical>(interrupting)</parenthetical> <dialogue>Have the Wargs picked up our scent?</dialogue> <character>BILBO</character> <dialogue>Not yet, they will soon enough - but there's another problem -</dialogue> <character>GANDALF</character> <parenthetical>(alarmed)</parenthetical> <dialogue>Did they see you? They saw you.</dialogue> <character>BILBO</character> <dialogue>No, it's not that -</dialogue> <character>GANDALF</character> <parenthetical>(interrupting)</parenthetical> <dialogue>What did I tell you? Quiet as a mouse - excellent burglar material.</dialogue> <scene_description>A MURMUR of RELIEVED AGREEMENT greets this as the DWARVES all ignore BILBO and confer amongst themselves</scene_description> <character>BILBO</character> <parenthetical>(frustrated)</parenthetical> <dialogue>Would you listen to me - would you just listen?! I'm trying to tell you -</dialogue> <scene_description>GANDALF and the DWARVES fall silent all looking</scene_description> <character>BILBO</character> <parenthetical>(real fear)</parenthetical> <dialogue>There's something else out there.</dialogue> <scene_description>ANGLE ON: GANDALF looking worried.</scene_description> <character>GANDALF</character> <parenthetical>(interrogating BILBO)</parenthetical> <dialogue>What form did it take - like a bear?</dialogue> <character>BILBO</character> <dialogue>Yes, except bigger - a lot bigger.</dialogue> <character>BOFUR</character> <parenthetical>(horrified to GANDALF)</parenthetical> <dialogue>You knew about this beast?!</dialogue> <character>BOFUR</character> <dialogue>I say we go back.</dialogue> <character>THORIN</character> <dialogue>And be run down by a pack of Orcs?</dialogue> <character>GANDALF</character> <parenthetical>(thinking fast)</parenthetical> <dialogue>There's a house not far from here where we might seek refuge.</dialogue> <character>THORIN</character> <parenthetical>(wary)</parenthetical> <dialogue>Whose house? Are they friend or foe?</dialogue> <character>GANDALF</character> <dialogue>Neither - he will help us ... or he will kill us.</dialogue> <character>THORIN</character> <dialogue>What choice do we have?</dialogue> <scene_description>A HUGE ROAR sounds above them.</scene_description> <character>GANDALF</character> <dialogue>None.</dialogue> </scene> <scene> <stage_direction>EXT. ANDUIN VALLEY - DAY</stage_direction> <scene_description>ANGLES ON: GANDALF leads the COMPANY across a SHALLOW RIVER ... and through wild HILLY COUNTRY. In the distance stretches the DARK GLOOM of MIRKWOOD - the poisoned GREENWOOD.</scene_description> </scene> <scene> <stage_direction>EXT. BEORN'S HOUSE - DUSK</stage_direction> <scene_description>ANGLE ON: GANDALF glances nervously BEHIND them.</scene_description> <character>GANDALF</character> <dialogue>This way, quickly!</dialogue> <scene_description>SUDDENLY! A TERRIFYING ROAR comes from the WOODS behind them ... the COMPANY spins around: ANGLE ON: the HUGE BEAR-CREATURE charges out of the FOREST! TEETH bared, trailing DROOL, the terrifying CREATURE races towards them!</scene_description> <character>GANDALF</character> <parenthetical>(yelling)</parenthetical> <dialogue>Through the gate! Run!</dialogue> <scene_description>TRACKING: with the COMPANY as they desperately RACE towards a WOODEN HOUSE ... BOMBUR puts on a surprising burst of SPEED! The BEAR-CREATURE is SNARLING at their HEELS! ANGLE ON: BILBO has fallen behind ... GANDALF rushes back to help the SMALL HOBBIT. BOFUR arrives at the HOUSE FIRST, and tries the DOOR: LOCKED! NORI steps forward, producing a thin file and proceeds to try to pick the lock!</scene_description> <character>BOFUR</character> <dialogue>Come on, come on!</dialogue> <scene_description>The OTHERS are rushing towards the DOOR, with the charging BEAR-CREATURE not far behind! ANGLE ON: THORIN arrives and LIFTS the LATCH - the DOOR OPENS!</scene_description> </scene> <scene> <stage_direction>INT. BEORN'S HOUSE, GREAT HALL - DUSK</stage_direction> <scene_description>The COMPANY tumble INSIDE, and SLAM the huge, heavy DOOR behind them ... they just manage to get it SHUT when the BEAR- CREATURE impacts against the OUTSIDE of it. The ENTIRE HOUSE trembles! DWALIN drops a MASSIVE wooden BOLT across the DOOR ... they listen to the BEAR-CREATURE RIPPING at the door with his CLAWS. ORI'S EYES are wide with FEAR.</scene_description> <character>ORI</character> <dialogue>What is that?</dialogue> <scene_description>A BONE CHILLING HOWL resounds from outside.</scene_description> <character>GANDALF</character> <dialogue>That ... is our host.</dialogue> <scene_description>The COMPANY look at GANDALF in disbelief.</scene_description> </scene> <scene> <stage_direction>EXT. BEORN'S HOUSE - NIGHT</stage_direction> <scene_description>IMAGES: SLEEK BLACK FUR, GIANT CLAWS, SNARLING JAWS ... the HUGE, SWAYING BODY of a BEAR as it furiously scratches at the DOOR and the SIDES of the HOUSE.</scene_description> <character>GANDALF (O.S.)</character> <dialogue>His name is Beorn and he is a skin- changer ... Sometimes he's a huge black bear, sometimes he is a great, strong man. The bear is unpredictable, but the man can be reasoned with ... however, he is not over fond of Dwarves.</dialogue> <character>ORI</character> <parenthetical>(peering through crack)</parenthetical> <dialogue>He's leaving.</dialogue> <character>DORI</character> <dialogue>Get away from there - it's not natural, none of it. It's obvious he's under some dark spell.</dialogue> <character>GANDALF</character> <dialogue>Don't be a fool! He's under no enchantment other than his own! Now get some sleep, all of you. You'll be safe here tonight.</dialogue> <parenthetical>(quietly to himself)</parenthetical> <dialogue>I hope.</dialogue> </scene> <scene> <stage_direction>EXT. BEORN'S HOUSE, WILDERLANDS - NIGHT</stage_direction> <scene_description>PULLING BACK across the WILDERLAND ... in the distance, hidden in the trees a WARG PACK led by AZOG watches BEORN's HOUSE.</scene_description> <character>NARZUG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Bû hum margyam. Gorid shûgi khozdayil. Attack them now. Kill the Dwarf-filth while they sleep.</dialogue> <character>AZOG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Shâ - Shulim nari arangish. No - the Beast stands guard.</dialogue> <scene_description>PULL BACK TO REVEAL ... THE GIANT BEAR pacing, as if infuriated by the presence of an ORC PACK ...</scene_description> <character>AZOG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Zadgarimid ru mong. We will kill them on the road.</dialogue> <scene_description>ANGLE ON: AZOG and the OTHER WARG RIDERS spin around at the sound of something rushing towards them through the TREES. BOLG, a huge, brutal looking ORC rides into the clearing. AZOG watches as BOLG approaches. By no sign does he betray that this is his son. He eyes BOLG coldly.</scene_description> <character>BOLG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Ginai-nu toragin Guldur-ob ... Dorgun toragishig. They are gathering in Dol Guldur ... the Master has summoned you.</dialogue> </scene> <scene> <stage_direction>INT. BEORN'S HOUSE, GREAT HALL - NIGHT</stage_direction> <scene_description>ANGLE ON: The COMPANY ASLEEP in the GREAT HALL ... DWARVES are SNORING, some softer than others! CLOSE ON: BILBO lying in the DARKNESS, with his eyes OPEN. He makes sure nobody is AWAKE, and takes THE RING out of his pocket ... slowly, he turns it OVER AND OVER between his fingers, a QUIZZICAL LOOK in his eye. DREAMY: the RING wavers in BILBO'S HAND ... he seems to HEAR NOISES in his HEAD ... ON THE SOUNDTRACK a low guttural whisper begins to build.</scene_description> </scene> <scene> <stage_direction>EXT./INT. DOL GULDUR - NIGHT</stage_direction> <scene_description>IMAGES: The DARKENED RUINS of the abandoned FORTRESS of DOL GULDUR silhouetted against the night sky. PULLING AWAY from the SHADOWY INTERIOR of the RUINS ... ANGLE ON: AZOG, trailed by the WARG PACK, crosses the CAUSEWAY and enters DOL GULDUR. AZOG reacts as DARK SHADOWS pulse ... black smoke writhes within ... a dark energy builds. AZOG reacts as a creepy figure emerges from the SHADOWS.</scene_description> <character>NECROMANCER</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Zad thraka'ash. Zad thraka'ash gishu. We grow in number. We grown in strength.</dialogue> <scene_description>AZOG watches as more and more GIANT ORCS march in to the COURTYARD of the FORTRESS.</scene_description> <character>NECROMANCER</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Snakun nak. You will lead my armies.</dialogue> <character>AZOG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Mod Ekinskeldu? What of Oakensheild.</dialogue> <character>NECROMANCER</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Kutmu nakhash. War is coming.</dialogue> <character>AZOG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Zad nathagash slangm-hu. You promised me his head.</dialogue> <character>NECROMANCER</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Torum-nu shabala. Death will come to all.</dialogue> <scene_description>CLOSE ON: The NECROMANCER dissolves back into the DARKNESS. NARZUG approaches AZOG...</scene_description> <character>NARZUG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Dorguz, turim shâ nuzdid? Do we call off the hunt?</dialogue> <character>AZOG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Bolg! Bolg!</dialogue> <scene_description>BOLG steps forward.</scene_description> <character>AZOG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Nuzdanumish ... Thrak golbil akar-nu agh nash? I have a task for you ... Do you still thirst for Dwarf blood?</dialogue> <scene_description>IMAGES: against the backdrop of a silvery moon, the great BEAR- CREATURE transforms into a man. The figure moves towards the HUGE WOODEN HOUSE in distance.</scene_description> </scene> <scene> <stage_direction>INT. BEORN'S HOUSE, GREAT HALL - NIGHT</stage_direction> <scene_description>CLOSE ON: BILBO watches, barely breathing, as the DOOR into the HOUSE creaks open ... a GIANT MAN quietly STEPS into the HOUSE - this is BEORN. BEORN stares down at the SMALL HOBBIT.</scene_description> </scene> <scene> <stage_direction>INT. BEORN'S HOUSE, GREAT HALL - MORNING</stage_direction> <scene_description>CLOSE ON: BILBO lies ASLEEP ... A GIANT HONEY BEE, the size of a SPARROW settles on his NOSE! Another on his SHOULDER ... and another BUZZES around, full of CURIOSITY. BILBO suddenly sits up, and waves his arms around, scaring the BEES away ... he is ALONE.</scene_description> </scene> <scene> <stage_direction>INT. BEORN'S HALL - DAY</stage_direction> <scene_description>CLOSE ON: MILK being poured into FILI's MUG. The COMPANY are seated at the long wooden table, the remains of a simple meal laid out in front of them ... bread, cheese, fruits and nuts, honey and mead.</scene_description> <character>BEORN</character> <dialogue>You are the one they call Oakenshield. Tell me, why is Azog the Defiler hunting you?</dialogue> <character>THORIN</character> <dialogue>You know of Azog? How?</dialogue> <scene_description>BEORN stirs a log in the FIRE PIT with his foot.</scene_description> <character>BEORN</character> <dialogue>My people were the first to live in the mountains, before the Orcs came down from the north. The Defiler killed most of my family - but some he enslaved. Not for work, you understand ... but for sport.</dialogue> <scene_description>BILBO's eyes stray to an ORC MANACLE that is still attached to BEORN's ARM ...</scene_description> <character>BEORN</character> <dialogue>Caging a skin-changer and torturing them seemed to amuse him.</dialogue> <character>BILBO</character> <dialogue>There are others like you?</dialogue> <character>BEORN</character> <dialogue>Once there were many.</dialogue> <character>BILBO</character> <dialogue>And now?</dialogue> <character>BEORN</character> <dialogue>Now there is only one.</dialogue> <scene_description>BEORN stares at GANDALF.</scene_description> <character>BEORN</character> <dialogue>You need to reach the Mountain before the last days of Autumn?</dialogue> <character>GANDALF</character> <dialogue>Before Durin's Day falls, yes.</dialogue> <character>BEORN</character> <dialogue>You are running out of time.</dialogue> <character>GANDALF</character> <dialogue>Which is why we must go through Mirkwood.</dialogue> <character>BEORN</character> <dialogue>A darkness lies upon that forest ... Fell things creep beneath those trees ... I would not venture there except in great need.</dialogue> <character>GANDALF</character> <dialogue>We will take the Elven Road - that path is still safe.</dialogue> <scene_description>BEORN laughs softly to himself.</scene_description> <character>BEORN</character> <dialogue>Safe? The Wood Elves of Mirkwood are not like their kin - they are less wise and more dangerous. But it matters not.</dialogue> <character>THORIN</character> <parenthetical>(tense)</parenthetical> <dialogue>What do you mean?</dialogue> <character>BEORN</character> <dialogue>These lands are crawling with Orcs. Their numbers are growing ... you are on foot ... you will never reach the forest alive.</dialogue> <scene_description>THORIN exchanges a worried look with GANDALF ... BEORN seems to come to a decision.</scene_description> <character>BEORN</character> <dialogue>I don't like Dwarves. They are greedy ...</dialogue> <scene_description>ANGLE ON: BEORN scoops up a SMALL FIELD MOUSE from the TABLE that DWALIN has been trying to brush aside.</scene_description> <character>BEORN</character> <dialogue>... and blind to the lives of those they deem lesser than their own.</dialogue> <scene_description>BEORN gently places the SMALL FIELD MOUSE on a SHELF.</scene_description> <character>BEORN</character> <dialogue>But Orcs, I hate more ...</dialogue> <parenthetical>(to THORIN)</parenthetical> <dialogue>What do you need?</dialogue> </scene> <scene> <stage_direction>EXT. AUDUIN GRASSLANDS - DAY</stage_direction> <scene_description>ANGLE ON: THORIN and the COMPANY climb onto BEORN'S PONIES.</scene_description> <character>BEORN</character> <parenthetical>(urgent)</parenthetical> <dialogue>Go, now while you have the light.</dialogue> <scene_description>BEORN watches as GANDALF, the DWARVES and BILBO ride away.</scene_description> <character>BEORN</character> <dialogue>Your hunters are not far behind.</dialogue> <scene_description>BEORN looks westward suddenly, as if picking up a scent on the air.</scene_description> </scene> <scene> <stage_direction>EXT. ANDUIN GRASSLANDS - DAY</stage_direction> <scene_description>MONTAGE: The COMPANY ride fast across deserted GRASSLAND ... GANDALF on horseback with BILBO perched in front of him, the DWARVES following behind riding BEORN'S sturdy PONIES. IMAGES: the looming FOREST of MIRKWOOD getting closer and closer ...</scene_description> </scene> <scene> <stage_direction>EXT. MIRKWOOD FOREST GATE - DAY</stage_direction> <scene_description>WIDE ON: The COMPANY cautiously approach the forest eaves ... huge GNARLED TRUNKS, twisted BRANCHES, with DARK LEAVES and crawling IVY. ANGLE ON: the ROTTEN REMAINS of an old ELVEN ARCH stand on the FOREST EDGE ... it leads into a tunnel made of great trees leaning together, old and strangled by creepers with blackened leaves.</scene_description> <character>GANDALF</character> <dialogue>The Elven Gate. Here lies the path through Mirkwood.</dialogue> <scene_description>GANDALF turns back to the DWARVES and BILBO.</scene_description> <character>DWALIN</character> <dialogue>No sign of the Orcs ... we have luck on our side.</dialogue> <scene_description>ANGLE ON: GANDALF smiles to himself ... looks towards the south: ANGLE ON: the figure of the BEAR watches over them from a DISTANT RIDGE.</scene_description> <character>GANDALF</character> <dialogue>Set the ponies loose, let them return to their Master.</dialogue> <scene_description>ANGLES ON: The DWARVES unsaddle the PONIES, dividing up the supplies between them. CLOSE ON: BILBO stares through the ELVEN GATE, into the DARKNESS beyond ... unconsciously his hand reaches into his pocket taking out a SMALL, GOLD RING ... nervously he turns the RING over in his fingers.</scene_description> <character>BILBO</character> <dialogue>The forest feels ... sick. Like a disease lies upon it.</dialogue> <parenthetical>(nervous)</parenthetical> <dialogue>Is there no other way around?</dialogue> <character>GANDALF</character> <parenthetical>(following his GAZE)</parenthetical> <dialogue>Not unless we go two hundred miles North and twice that distance, South ...</dialogue> <scene_description>GANDALF has seen something ... the shape of a DARK FIGURE seems to be watching them from just inside the forest. ANGLE ON: GANDALF carefully moves forward to get a better look ... in his mind's eye he can hear a VOICE:</scene_description> <character>GALADRIEL (V.O.)</character> <dialogue>Something moves in the shadows ... unseen, hidden from our sight.</dialogue> <scene_description>CLOSE ON: BILBO turning the SMALL GOLD RING over and over between his fingers ... a WHISPERING builds in his head. GANDALF moving slowly forward - the SHADOWY FIGURE seems to grow in SIZE ... he raises his STAFF in readiness.</scene_description> <character>GALADRIEL (V.O.)</character> <dialogue>Every day it grows in strength. Beware The Necromancer... he is not what he seems.</dialogue> <scene_description>CLOSE ON: GANDALF goes to walk away, but some instinct makes him turn back ... his hand pushing aside the creeper ... CLOSE ON: a FIRE RED EYE - a crudely drawn SYMBOL on the STATUE!</scene_description> <character>GALADRIEL (V.O.)</character> <parenthetical>(PSYCHIC SPEECH)</parenthetical> <dialogue>If our Enemy has returned - we must know. Go to the tombs in the mountains.</dialogue> <scene_description>CLOSE ON: GANDALF as he understands GALADRIEL's meaning.</scene_description> <character>GANDALF</character> <parenthetical>(to himself)</parenthetical> <dialogue>The High Fells ... so be it.</dialogue> <scene_description>GANDALF calls to NORI who is just about to turn the large horse, loose.</scene_description> <character>GANDALF</character> <dialogue>Not my horse - I need it!</dialogue> <scene_description>The DWARVES and BILBO stare in disbelief.</scene_description> <character>BILBO</character> <dialogue>You're leaving us?</dialogue> <character>GANDALF</character> <parenthetical>(hurriedly)</parenthetical> <dialogue>I would not do this unless I had to.</dialogue> <scene_description>GANDALF stops ... something makes him glance down at BILBO. He stares down at the HOBBIT as if sensing something unfamiliar about him.</scene_description> <character>GANDALF</character> <dialogue>You have changed, Bilbo Baggins ... you are not the same Hobbit as the one who left The Shire.</dialogue> <scene_description>CLOSE ON: BILBO'S fingers CLOSE around the RING, behind his BACK ... well out of GANDALF'S sight.</scene_description> <character>BILBO</character> <parenthetical>(hesitant)</parenthetical> <dialogue>I was going to tell you -</dialogue> <character>GANDALF</character> <dialogue>Tell me what?</dialogue> <character>BILBO</character> <parenthetical>(awkward)</parenthetical> <dialogue>I found something ... in the Goblin tunnels.</dialogue> <character>GANDALF</character> <dialogue>Found what? What did you find?</dialogue> <scene_description>For a second BILBO cannot say anything ... he is torn between his attachment to THE RING and his loyalty to GANDALF.</scene_description> <character>BILBO</character> <dialogue>My courage.</dialogue> <scene_description>GANDALF looks into BILBO'S EYES.</scene_description> <character>GANDALF</character> <dialogue>Good, that is good. You will need it.</dialogue> <scene_description>GANDALF turns to THORIN.</scene_description> <character>GANDALF</character> <dialogue>I will be waiting for you at the Overlook before the slopes of Erebor. Keep the map and key safe. Do not enter that Mountain without me.</dialogue> <scene_description>ANGLE ON: GANDALF holding the REINS to the HORSE ready to MOUNT.</scene_description> <character>GANDALF</character> <dialogue>This is not the Greenwood of old. The very air of the forest is heavy with illusion, it will seek to enter your mind and lead you astray.</dialogue> <scene_description>ANGLE ON: GANDALF MOUNTS his HORSE.</scene_description> <character>BILBO</character> <dialogue>Lead us astray? What does that mean ...?</dialogue> <character>GANDALF</character> <dialogue>Stay on the path, do not leave it - if you do, you will never find it again.</dialogue> <scene_description>GANDALF wheels his HORSE around.</scene_description> <character>GANDALF</character> <parenthetical>(calling in warning)</parenthetical> <dialogue>No matter what may come stay on the path!</dialogue> <scene_description>THORIN calls to the others as he turns for the ELVEN GATE.</scene_description> <character>THORIN</character> <dialogue>Come on - we must reach Erebor before the sun sets on Durin's Day. It is our one chance to find the hidden door into the Mountain... We have three days to cross this forest!</dialogue> <scene_description>ANGLE ON: THORIN and COMPANY as they disappear through the DARK, ELVEN GATE into the GLOOM of MIRKWOOD!</scene_description> </scene> <scene> <stage_direction>EXT. MIRKWOOD PATHWAY - DAY</stage_direction> <scene_description>TRACKING: as THORIN leads the COMPANY through the TWISTED GLOOM of MIRKWOOD FOREST ... the PATH twists and turns down GULLYS and RAVINES, passing through TUNNELS carved into HUGE TREES.</scene_description> <character>THORIN</character> <dialogue>The path turns this way - follow me!</dialogue> </scene> <scene> <stage_direction>EXT. MIRKWOOD FOREST - DAY</stage_direction> <scene_description>ANGLE ON: NORI is leading the COMPANY through the FOREST. The effect of the strange air, is beginning to show.</scene_description> <character>BOFUR</character> <dialogue>Air, I need some air -</dialogue> <character>OIN</character> <dialogue>My head - it's swimming. What's happening?</dialogue> <character>THORIN</character> <parenthetical>(urgent)</parenthetical> <dialogue>Keep moving! Nori, why have we stopped?</dialogue> <scene_description>ANGLE ON: NORI is staring ahead in to a FOREST CLEARING.</scene_description> <character>NORI</character> <dialogue>The path - it's disappeared.</dialogue> <scene_description>THORIN looks around.</scene_description> <character>DWALIN</character> <dialogue>What's going on?</dialogue> <character>OIN</character> <dialogue>We've lost the path!</dialogue> <character>THORIN</character> <dialogue>Find it! All of you - look; look for the path!</dialogue> <scene_description>PAN ACROSS ... to the FOREST FLOOR ... the stone pathway along with an MILESTONE lies off to the left ... unbeknownst to THE COMPANY they have left the ELVEN ROAD! ANGLE ON: BILBO and the DWARVES staring all around ... there nothing but dense, dark, black WOODLAND ... there is no PATH! ANGLE ON: BILBO and the DWARVES are perched high on a rocky outcrop, dazed and confused.</scene_description> <character>BALIN</character> <dialogue>I don't remember any of this - none of it's familiar.</dialogue> <character>DORI</character> <dialogue>It's got to be here -</dialogue> <character>THORIN</character> <dialogue>What hour is it?</dialogue> <character>DWALIN</character> <dialogue>I do no know ... I do not even know what day it is.</dialogue> <character>THORIN</character> <dialogue>Is there no end to this accursed forest?</dialogue> <character>GLOIN</character> <dialogue>Only trees and more trees.</dialogue> <scene_description>ANGLE ON: BILBO ... he stares at the large, thick cobwebs which seem to be everywhere ... he plucks at the sticky thread ... a strange whispering echoes through the forest.</scene_description> </scene> <scene> <stage_direction>EXT. MIRKWOOD - DAY</stage_direction> <scene_description>The DWARVES wander through the FOREST trying to find a way out. They are clearly falling under an enchantment. BILBO looks back to the DWARVES, DORI is right behind him. When he takes another look he sees HIMSELF. BILBO rounds a corner and seems to FLOAT as he walks along the SICKLY cob-webbed FOREST.</scene_description> </scene> <scene> <stage_direction>EXT. MIRKWOOD TREES - DUSK</stage_direction> <scene_description>ANGLE ON: BILBO, DORI, OIN and BALIN are wandering aimlessly through the forest behind the others. BILBO looks down at his feet only to discover he is WALKING BACKWARDS! ... ORI picks something up off the GROUND.</scene_description> <character>ORI</character> <dialogue>Look!</dialogue> <character>DORI</character> <dialogue>A tobacco pouch! There's Dwarves in these woods!</dialogue> <character>BOFUR</character> <dialogue>Dwarves from the Blue Mountains, no less. This is exactly like mine!</dialogue> <character>BILBO</character> <dialogue>Because it is yours! You understand? We are going 'round in circles. We're lost!</dialogue> <character>THORIN</character> <dialogue>We are not lost!</dialogue> <scene_description>POV INSERT: Light peeks through canopy above.</scene_description> <character>THORIN</character> <dialogue>We keep heading East -</dialogue> <character>OIN</character> <dialogue>Aye, but which way is East? We've lost the sun.</dialogue> <character>DWALIN</character> <parenthetical>(picking a fight)</parenthetical> <dialogue>I thought you were the expert -</dialogue> <scene_description>CLOSE ON: BILBO staring up the dizzying height of the TALL TREE. A patch of pale, golden SKY glimmers above. ALL around BILBO the DWARVES argue amongst themselves: "There's no light"; "We've been led astray"; Beneath the angry voices, the low, scratchy whisper can be heard.</scene_description> <character>BILBO</character> <parenthetical>(to himself)</parenthetical> <dialogue>Sun ... we have to find the sun. Up there!</dialogue> <parenthetical>(to the others)</parenthetical> <dialogue>We need to get above the canopy -</dialogue> <scene_description>THE DWARVES pay no attention, continuing to argue. THORIN senses something.</scene_description> <character>THORIN</character> <dialogue>Whispering ... what was that?</dialogue> <parenthetical>(yelling)</parenthetical> <dialogue>Enough! Be quiet - all of you!</dialogue> <scene_description>A STUNNED SILENCE. The DWARVES look at THORIN. PUSH IN on THORIN ... sudden realisation.</scene_description> <character>THORIN</character> <parenthetical>(quiet warning)</parenthetical> <dialogue>We are being watched ...</dialogue> <scene_description>ANGLE ON: a HAND grabs a branch, followed by a BARE, FURRY FOOT ... BILBO is climbing a tree. ANGLE ON: BILBO continues to climb ...</scene_description> </scene> <scene> <stage_direction>EXT. MIRKWOOD FOREST CANOPY - DUSK</stage_direction> <scene_description>CLOSE ON: BILBO'S ARM reaches up from the CANOPY of LEAVES and grabs the TOPMOST BRANCH ... followed by his HEAD. He looks around: WIDE ON: the TOP of the CANOPY is a BRIGHT, COLOURFUL, MAGICAL place! The SETTING SUN lights everything in a GOLDEN HAZE, a sea of RED and YELLOW LEAVES ruffle in the BREEZE. BILBO shuts his eyes and shakes his head, as if to clear his head. For a moment, enjoys the fresh BREEZE blowing through his HAIR. A CLOUD of hundreds of BRIGHT BUTTERFLIES rise from the CANOPY and flutter around BILBO. Distant MOUNTAINS rise to the WEST ... BILBO checks the SETTING SUN.</scene_description> <character>BILBO</character> <parenthetical>(calling)</parenthetical> <dialogue>I can see the lake ... far, far away. And a river! And the Lonely Mountain! We're almost there!</dialogue> <parenthetical>(calling again)</parenthetical> <dialogue>Can you hear me? I know which way to go.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Hello?!</dialogue> <scene_description>SILENCE ... BILBO sees MOVEMENT in the TREES and FROWNS: the CANOPY RIPPLES, as if something is MOVING beneath. SILENCE ...</scene_description> </scene> <scene> <stage_direction>EXT. MIRKWOOD TREE BRANCHES - DUSK</stage_direction> <scene_description>ANGLE ON: BILBO attempts to CLIMB DOWN, but is SHOCKED to find his FEET are BOUND in a sticky WEB-LIKE SILK! Unable to move his FEET, BILBO TOPPLES out of the TREE! BILBO is falling, crashing through BRANCHES ...He GRABS at the NEAREST BRANCH, only to discover it is in fact, a HUGE SPIDER LEG! The SPIDER SPRINGS towards him, terrified BILBO lets go &amp; FALLS backwards into a HUGE WEB ... CLOSE ON: BILBO looks up in horror as ... a HUGE, GIANT SPIDER scuttles across the web towards him and encases BILBO in a STICKY COCOON.</scene_description> </scene> <scene> <stage_direction>EXT. MIRKWOOD TREE BRANCHES - NIGHT</stage_direction> <scene_description>ANGLE ON: A LARGE FAT SPIDER is DRAGGING BILBO'S COCOON along a WIDE BRANCH ... CLOSE ON: BILBO'S EYES OPEN .. He is ENCASED in a TIGHT WEB COCOON, barely able to breath through his MOUTH and NOSE. ANGLE ON: SUDDENLY BILBO thrusts his SWORD up through COCOON and into the SPIDER. THE SPIDER struggles and then RECOILS, tumbling DOWNWARDS. CLOSE ON: BILBO tears through the WEB ... he SLIDES OUT of his COCOON, and QUIETLY drops to the GROUND, ducking behind a TRUNK ... and PEERING OUT. ANGLE ON: a DOZEN BUNDLES wrapped tightly in COBWEBS, dangle in a ROW from a HIGH BRANCH ... DWARFISH FEET stick out of some, others have a protruding NOSE or BEARD visible ... BOMBUR'S is the BIGGEST COCOON ... THREE HORRIBLE HUGE SPIDERS - scuttle GREEDILY from DWARF TO DWARF. ANGLE ON: BILBO quickly GRABS the RING from his POCKET and SLIPS it on ... he instantly DISAPPEARS. EERIE MONOCHROMATIC RING-WORLD ENGULFS BILBO.</scene_description> <character>SPIDER #1</character> <parenthetical>(psychic whispers)</parenthetical> <dialogue>The hide is tough ... but there's good juice inside.</dialogue> <scene_description>The SOUND of the SPIDERS EVIL VOICES fill BILBO'S HEAD.</scene_description> <character>SPIDER #2</character> <parenthetical>(psychic whispers)</parenthetical> <dialogue>Kill them! Kill them now, let them hang!</dialogue> <scene_description>SPIDERS SCUTTLES towards BOMBUR, as if they have chosen their FIRST MEAL!.</scene_description> <character>SPIDER #1</character> <parenthetical>(psychic whispers)</parenthetical> <dialogue>No! Eat them alive while the blood is runny.</dialogue> <scene_description>SPIDER #1 NIPS the TOE of the LARGEST DWARF BUNDLE ... BOMBUR SQUEALS!</scene_description> <character>SPIDER #2</character> <parenthetical>(psychic whispers)</parenthetical> <dialogue>Arccch! The meat's alive and kicking!</dialogue> <scene_description>The SPIDERS cackle in a thin, creaking way.</scene_description> <character>SPIDER #1</character> <parenthetical>(psychic whispers)</parenthetical> <dialogue>Kill them, kill them! Let us feast!</dialogue> <scene_description>ANGLE ON: BILBO ... he must ACT FAST, but he's too far away to use his SWORD. BILBO snatches up a broken piece of branch, hurls it deep into the FOREST ... it CLATTERS off a distant TREE. The SPIDERS instantly REACT, thinking there is MORE PREY ... ANGLE ON: BILBO starts moving towards the DWARVES ... an SLOW, OLD WICKED FAT-BODIED SPIDER is GREEDILY pinching each DWARF to find out which is the JUICIEST to EAT.</scene_description> <character>SPIDER #3</character> <dialogue>Mine ... fat and juicy ... just a little taste.</dialogue> <scene_description>BILBO rushes along the BRANCHES ... he grips his SWORD and SWINGS at the SPIDER'S BODY from behind! The SPIDER flinches in PAIN, spinning around.</scene_description> <character>SPIDER #3</character> <parenthetical>(psychic whisper)</parenthetical> <dialogue>Archhhh! It stings! Curse it! Where is it?</dialogue> <scene_description>CLOSE ON: BILBO pulls THE RING OFF and is now VISIBLE. He holds up his SWORD in front of the OLD SPIDER who rears back.</scene_description> <character>BILBO</character> <dialogue>Here!</dialogue> <scene_description>The OLD SPIDER charges forward, BILBO stabs at it.</scene_description> <character>OLD SPIDER</character> <parenthetical>(hissing)</parenthetical> <dialogue>It stings! It stings! Stings!</dialogue> <scene_description>THUD! THE OLD SPIDER FALLS to the GROUND, DEAD, LEGS curled up. BILBO looks at his SWORD, glinting in the darkness.</scene_description> <character>BILBO</character> <dialogue>"Sting", that's a good name! "Sting".</dialogue> <scene_description>ANGLE ON: BILBO QUICKLY slashes at the COCOONS holding the DWARVES ... the COCOONS separate from the BRANCH and TUMBLE gently towards the GROUND on the end of the ELASTIC WEBBING. ANGLE ON: the DWARVES lying on the FOREST FLOOR in their ripped and torn COCOONS ... they start to STIR back into CONSCIOUSNESS. CLOSE ON: BILBO is about to CLIMB DOWN, when he FREEZES in HORROR! ANGLE ON: A SPIDER SPRINGS towards him across BRANCHES and WEB! The SPIDER ENCOMPASSES BILBO and they BOTH TUMBLE DOWNWARDS. As they FALL, the RING slips from his POCKET and drops through the BRANCHES! CLOSE ON: the RING lands on the GROUND! As soon as BILBO hits the GROUND he immediately begins searching desperately for the RING!</scene_description> </scene> <scene> <stage_direction>EXT. MIRKWOOD DEPTHS - DAY</stage_direction> <scene_description>THORIN, DWALIN, BALIN, FILI, GLOIN, BOFUR, BOMBUR, FIGHT OFF SEVERAL SPIDERS ...</scene_description> <character>THORIN</character> <parenthetical>(calling)</parenthetical> <dialogue>Go, go - run! Get out of here -</dialogue> <scene_description>THE DWARVES desperately fight off advancing SPIDERS as they try to flee.</scene_description> <character>CUT TO</character> <dialogue>ANGLE ON: BILBO still searching desperately for the RING ... it lies a distance away from him on the FOREST FLOOR.</dialogue> <dialogue>... a LARGE INSECT CREATURE climbs out of a HOLE, next to the</dialogue> <scene_description>RING. BILBO FIGHTS his way towards the RING, as if FUELLED by a MANIC ENERGY ... he CUTS DOWN the CREATURE, IMPALING IT to the GROUND. BILBO snatches up the RING, cradling it to himself.</scene_description> <character>BILBO</character> <dialogue>Mine!</dialogue> <scene_description>BILBO stops himself ... realising what he has just said. It's as if the voice of GOLLUM echoes back at him ... "It's mine, my own, my precious". BILBO stares at the RING in horror. CUT TO: ANGLE ON: THE DWARVES fighting several GIANT SPIDERS when suddenly from out of nowhere a GOLDEN HAIRED ELF appears, killing the GIANT SPIDERS with incredible skill. THORIN looks up ... a TALL WOODLAND ELF with long white hair stares at him down the sights of another ARROW.</scene_description> <character>LEGOLAS</character> <dialogue>Do not think I won't kill you, Dwarf. It would be my pleasure.</dialogue> <scene_description>THE DWARVES look around ... from all directions WOODLAND ELVES appear - bows raised, arrows pointing at the DWARVES - they are surrounded. ANGLE ON: FILI reacts as a yell for HELP echoes through the FOREST.</scene_description> <character>FILI</character> <dialogue>Kili!</dialogue> <scene_description>AN ELF shoves him back into place. CUT TO: ANGLE ON: KILI as he slashes desperately at the SPIDER dragging him along the ground. SUDDENLY the leg that was coiled around him, is severed by a long thin BLADE. KILI scrambles to his feet and stares in amazement! ANGLE ON: the LARGE SPIDER rises on it's hind legs, ready to strike at KILI! THWACK! A SILVER ARROW lands right between the SPIDER'S EYES! CLOSE ON: KILI stares, still a bit dazed. Before him a beautiful SYLVAN ELF-MAID, dressed in the garb of a WOODLAND WARRIOR is grappling with the GIANT SPIDER. This is TAURIEL.</scene_description> <character>KILI</character> <dialogue>Throw me a dagger - quick!</dialogue> <scene_description>ANGLE ON: TAURIEL as she skillfully evades the snapping pincers of the SPIDER.</scene_description> <character>TAURIEL</character> <dialogue>If you think I'm giving you a weapon, Dwarf, you're mistaken.</dialogue> <scene_description>THWACK! TAURIEL drives her dagger into the STOMACH of the GIANT SPIDER. It drops to the FOREST FLOOR. KILI stares at TAURIEL stunned. CUT TO: WIDE ON: ARMED ELF-GUARDS push the DWARVES into a FOREST CLEARING.</scene_description> <character>LEGOLAS</character> <parenthetical>(to the SILVAN GUARDS)</parenthetical> <dialogue>Search them.</dialogue> <scene_description>ANGLE on: The SILVAN ELVES disarming the DWARVES and SEARCHING them. LEGOLAS goes through GLOIN'S pockets ... he finds a small DRAWING ...</scene_description> <character>GLOIN</character> <dialogue>Hey! Give it back! That's private!</dialogue> <scene_description>LEGOLAS looking bemused at a picture of a BEARDED DWARF...</scene_description> <character>LEGOLAS</character> <dialogue>Who is this - your brother?</dialogue> <character>GLOIN</character> <dialogue>That is my wife!</dialogue> <scene_description>CLOSE ON: Another drawing ... this one is of a small DWARF CHILD, complete with BEARD!</scene_description> <character>LEGOLAS</character> <dialogue>And what is this horrid creature? A goblin mutant?</dialogue> <character>GLOIN</character> <dialogue>That's me wee lad, Gimli.</dialogue> <scene_description>TAURIEL approaches LEGOLAS ...</scene_description> <character>LEGOLAS</character> <parenthetical>(ELVISH with subtitles)</parenthetical> <dialogue>Gyrth in yngyl bain? Are all the spiders dead?</dialogue> <character>TAURIEL</character> <parenthetical>(ELVISH with subtitles)</parenthetical> <dialogue>Ennorner gwanod in yngyl na 'n yrn. Yes, but more will come.</dialogue> <scene_description>LEGOLAS looks at TAURIEL questioningly.</scene_description> <character>TAURIEL</character> <parenthetical>(ELVISH with subtitles)</parenthetical> <dialogue>Engainn nar. They're growing bolder.</dialogue> <scene_description>ANGLE ON: An ELF GUARD has taken ORCRIST from THORIN and hands it to the ELF PRINCE. LEGOLAS takes the SWORD staring at it in AWE.</scene_description> <character>LEGOLAS</character> <parenthetical>(ELVISH with subtitles)</parenthetical> <dialogue>Echannen i·vegil hen vi·nGondolin - magannen nan·Gelydh. This is an ancient Elvish blade - forged by the Noldar.</dialogue> <scene_description>THORIN confronts LEGOLAS ... raising his BOUND ARMS in protest.</scene_description> <character>LEGOLAS</character> <dialogue>Where did you get this?</dialogue> <character>THORIN</character> <dialogue>It was given to me.</dialogue> <scene_description>LEGOLAS places the blade of the SWORD against THORIN's throat.</scene_description> <character>LEGOLAS</character> <dialogue>Not just a thief, but a liar as well.</dialogue> <parenthetical>(issuing orders in ELVISH with subtitles)</parenthetical> <dialogue>Enwenno hain! Take them away!</dialogue> <scene_description>ANGLE ON: As the DWARVES as shoved forward by the ELVISH GUARD BOFUR whispers to THORIN.</scene_description> <character>BOFUR</character> <parenthetical>(urgent)</parenthetical> <dialogue>Thorin ... Where's Bilbo?</dialogue> <scene_description>CLOSE ON: THORIN throwing a worried look back into the DARK FOREST. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THRANDUIL'S FORTRESS, MIRKWOOD - DAY</stage_direction> <scene_description>CRANING UP: a FOREST SLOPE, REVEALING a SIGHT of MAJESTIC BEAUTY: the FORTRESS of the WOODLAND ELVES, hidden deep in MIRKWOOD ... an ornate wooden bridge crosses a RAVINE, to a HUGE DOOR, set into a NATURAL CAVERN, entwined with the ROOTS of GIANT TREES. CLOSER: the DWARVES are being LEAD in SINGLE FILE out of the FOREST, and towards the BRIDGE by LEGOLAS, TAURIEL and several ELF WARRIORS. THORIN is the LEAD DWARF ... they have their HANDS BOUND and are ROPED together. ANGLE ON: the COMPANY are quickly pushed over the bridge and through the HUGE DOORS.</scene_description> <character>LEGOLAS</character> <parenthetical>(ELVISH with subtitles)</parenthetical> <dialogue>Holo in-annon! Close the gate.</dialogue> <scene_description>ANGLE ON: LEGOLAS is LAST inside - he glances back into the FOREST, then steps inside as the HEAVY DOORS close, and GREAT BOLTS are slid into PLACE ... the BRIDGE SWINGS AWAY, creating a truly IMPREGNABLE FORTRESS. RING-WORLD: An INVISIBLE BILBO runs across the BRIDGE towards the closing doors.</scene_description> </scene> <scene> <stage_direction>INT. THRANDUIL'S CHAMBER - DAY</stage_direction> <scene_description>WIDE ON: the COMPANY is USHERED through the HALLS of the WOODLAND REALM. IMAGES: A GREAT WOODEN THRONE ROOM ... the CHAMBER has beautiful CARVINGS, hewn into LIVING ROCK, and mighty TREE ROOTS form antler-like flourishes down either WALL. Sitting on the THRONE is KING THRANDUIL, a striking noble ELF with high cheekbones, pale skin and platinum hair ... on his head is a crown of red berries and leaves, in his hand he holds a carved STAFF of OAK ... he is father to LEGOLAS.</scene_description> </scene> <scene> <stage_direction>INT. VARIOUS ELVISH CELLS, WOODLAND REALM - DAY</stage_direction> <scene_description>ANGLE ON: DWARVES are SEARCHED by ELVES before being locked in SMALL CELLS ... KILI is being shown to his CELL by TAURIEL and several GUARDS. Before going inside he SMILES at her.</scene_description> <character>KILI</character> <parenthetical>(low voice)</parenthetical> <dialogue>Aren't you going to search me? I could have anything down my trousers.</dialogue> <character>TAURIEL</character> <dialogue>Or nothing.</dialogue> <scene_description>LEGOLAS joins TAURIEL as she walks away from the CELLS.</scene_description> <character>LEGOLAS</character> <parenthetical>(ELVISH with sub-titles)</parenthetical> <dialogue>I nogoth, amman e tîr gin? Tauriel? Why does the Dwarf stare at you so? Tauriel?</dialogue> <character>TAURIEL</character> <parenthetical>(ELVISH with sub-titles)</parenthetical> <dialogue>Ú-dannada... Who can say ...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>e orchal be nogoth, pedithig? He is quite tall ... for a Dwarf, do you not think?</dialogue> <character>LEGOLAS</character> <parenthetical>(ELVISH with sub-titles)</parenthetical> <dialogue>Orchal eb vui. Mal uvanui en Taller than some. But no less ugly.</dialogue> <scene_description>CLOSE ON: TAURIEL nods to LEGOLAS as she leaves ... LEGOLAS's eyes stray back towards KILI. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. WOODLAND REALM CELLS - NIGHT (PART SCENE REPOSITIONED)</stage_direction> <scene_description>WIDE ON: an array of ELVISH CELLS cut into ROCK WALLS, overhanging a DARK CHASM ... a LOUD CLANGING reverberates! CLOSE ON: SMASH ...a heavy DWARF BOOT lands against the BARS of the CELL DOOR. FILI is kicking against the DOOR as hard as he can. The OTHER DWARVES join in the EFFORT. DWALIN smashes his heavy shoulder against the DOOR; GLOIN rattles the BARS with all his might. Only THORIN and BALIN remain seated.</scene_description> <character>BALIN</character> <parenthetical>(loud voice)</parenthetical> <dialogue>Leave it! ... There is no way out.</dialogue> <scene_description>The DWARVES go still.</scene_description> <character>BALIN</character> <dialogue>This is no Orc Dungeon. These are the Halls of the Woodland Realm! ...</dialogue> <scene_description>TRAVELLING up through the great caverns of the PALACE ...</scene_description> <character>BALIN (O.S.)</character> <dialogue>No-one leaves here but by the King's consent.</dialogue> </scene> <scene> <stage_direction>INT. THRANDUIL'S CHAMBER, WOODLAND REALM - DUSK</stage_direction> <scene_description>ANGLE ON: THORIN looks up. THRANDUIL stands on the other side of his CHAMBER, staring at him inscrutably.</scene_description> <character>THRANDUIL</character> <dialogue>Some may imagine a noble quest is at hand, a quest to reclaim a homeland and slay a dragon.</dialogue> <scene_description>THORIN looks away.</scene_description> <character>THRANDUIL</character> <dialogue>I myself suspect a more prosaic motive - attempted burglary, or something of that ilk.</dialogue> <scene_description>THORIN looks at THRANDUIL sharply. THRANDUIL, smiles to himself, leaning down close to THORIN.</scene_description> <character>THRANDUIL</character> <dialogue>You have found a way in.</dialogue> <scene_description>The ELVENKING'S voice is soft and seductive, almost sympathetic to THORIN's plight.</scene_description> <character>THRANDUIL</character> <dialogue>You seek that which will bestow upon you the right to rule - the King's Jewel, the Arkenstone. It is precious to you beyond measure, I understand that. There are gems in that Mountain that I too desire - white gems, of pure starlight. I offer you my help.</dialogue> <scene_description>CLOSE ON: THRANDUIL watches THORIN closely.</scene_description> <character>THORIN</character> <dialogue>I am listening.</dialogue> <scene_description>THORIN turns away as if considering THRANDUIL's offer.</scene_description> <character>THRANDUIL</character> <dialogue>I will let you go, if you but return what is mine.</dialogue> <character>THORIN</character> <dialogue>A favour for a favour?</dialogue> <character>THRANDUIL</character> <dialogue>You have my word, one King to another.</dialogue> <scene_description>CLOSE ON: THORIN taking in THRANDUIL'S WORDS.</scene_description> <character>THORIN</character> <dialogue>I would not trust Thranduil, the great 'king' to honour his word should the end of all days be upon us.</dialogue> <character>THORIN</character> <dialogue>You - who lack all honour, I have seen how you treat your friends. We came to you once - starving, homeless, seeking your help and you turned your back; you turned away from the suffering of my people and the inferno that destroyed us.</dialogue> <scene_description>THORIN swears at THRANDUIL in DWARVISH. THRANDUIL understands every word. THRANDUIL leans forward into the TORCHLIGHT ... for a brief moment terrible scars can be seen running down his face and his neck, he looks older and more dangerous.</scene_description> <character>THRANDUIL</character> <parenthetical>(low anger)</parenthetical> <dialogue>Do not talk to me of dragon fire - I know it's wrath and ruin. I have faced the great serpents of the North. I warned your Grandfather of what his greed would summon; but he would not listen. You are just like him. Stay here if you will - and rot! A hundred years is a mere blink in the life of an Elf - I am patient, I can wait.</dialogue> </scene> <scene> <stage_direction>INT. ELVISH CELL, WOODLAND REALM - DAY</stage_direction> <scene_description>ANGLE ON: ELROS puts THORIN into a CELL and locks the door with a large set of KEYS. ANGLE ON: BALIN hurries to the CELL-DOOR.</scene_description> <character>BALIN</character> <dialogue>Did he offer you a deal?</dialogue> <character>THORIN</character> <dialogue>He did. I told him he could go -</dialogue> <parenthetical>(DWARVISH without subtitles)</parenthetical> <dialogue>Ish kakqui ein durug nul.</dialogue> <scene_description>CLOSE ON: BALIN as he listens to THORIN's profanity.</scene_description> <character>BALIN</character> <dialogue>That's that then - a deal was our only hope.</dialogue> <character>THORIN</character> <dialogue>Not our only hope.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THRANDUIL'S PALACE CORRIDOR - NIGHT</stage_direction> <scene_description>ANGLE ON: INVISIBLE BILBO as he creeps down a corridor, searching for the DWARVES ... THRANDUIL suddenly strides into view ahead of him.</scene_description> <character>THRANDUIL</character> <dialogue>I know you're there. Why do you linger in the shadows?</dialogue> <scene_description>ANGLE ON: BILBO freezes ... behind him TAURIEL steps forward.</scene_description> <character>TAURIEL</character> <dialogue>I was coming to report to you -</dialogue> <character>THRANDUIL</character> <dialogue>I thought I gave orders for that nest to be destroyed not two moons past?</dialogue> <character>TAURIEL</character> <dialogue>We cleared the forest as ordered, my Lord, but more spiders keep coming up from the South. We now know that they are spawning in the ruins of Dol Guldur. If we could kill them at their source -</dialogue> <character>THRANDUIL</character> <dialogue>No. That fortress lies beyond our borders. Keep our lands clear of these foul creatures, that is your task.</dialogue> <character>TAURIEL</character> <dialogue>When we drive them off, what happens then? Will they not spread to other lands?</dialogue> <scene_description>INVISIBLE BILBO quietly edges past the ELVES, intent on reaching a doorway across the chamber.</scene_description> <character>THRANDUIL</character> <dialogue>Other lands are not my concern. The fortunes of the world will rise and fall - but here, in this Kingdom, we will endure.</dialogue> <scene_description>TAURIEL bows, unconvinced. THRANDUIL hesitates, as if sensing something. His eyes swivel towards BILBO ... as he slips through the doorway. THRANDUIL turns back to TAURIEL, his eyes a little softer.</scene_description> <character>THRANDUIL</character> <dialogue>Legolas said you fought well today ... He has grown very fond of you.</dialogue> <character>TAURIEL</character> <parenthetical>(smiling)</parenthetical> <dialogue>I assure you My Lord, Legolas thinks of me as no more than a Captain in the Guard.</dialogue> <character>THRANDUIL</character> <dialogue>Perhaps he did once, but now I am not so sure.</dialogue> <character>TAURIEL</character> <dialogue>I do not think you would allow your son to pledge himself to a lowly Silvan Elf.</dialogue> <character>THRANDUIL</character> <dialogue>No - you are right. I would not. Still - he cares about you - do not give him hope when there is none.</dialogue> </scene> <scene> <stage_direction>EXT. MIRKWOOD - NIGHT</stage_direction> <scene_description>WIDE ON: ... In the MOONLIGHT BOLG leads the WARG PACK towards an outcrop overlooking the ENTRANCE to the WOODLAND REALM. BOLG turns to NARZUG.</scene_description> <character>BOLG</character> <parenthetical>(BLACK SPEECH unsubtitled)</parenthetical> <dialogue>Kom glozyash. Shûgi golgai ... tud dâd- nu. The gates are guarded. Not all of them - follow me!</dialogue> </scene> <scene> <stage_direction>INT. KILI'S CELL, WOODLAND REALM - NIGHT</stage_direction> <scene_description>HIGH ANGLE POV: KILI is sitting on the floor of his cell, leaning back against the rock wall ... Between his fingers he absentmindedly turns a small, ROUGH- HEWN GEMSTONE ...</scene_description> <character>TAURIEL</character> <dialogue>The stone in your hand, what is it?</dialogue> <scene_description>ANGLE ON: TAURIEL steps forward into the soft, amber light that flickers from nearby lamps ... KILI's fingers tighten around the STONE. He stares at TAURIEL, his eyes full of urgency and fear.</scene_description> <character>KILI</character> <dialogue>It is a talisman; a powerful spell lies upon it, if any but a dwarf read the runes on this stone they will be forever cursed ...</dialogue> <scene_description>TAURIEL looks at KILI sharply ... holding his gaze until the tell-tale grin creeps into KILI's eyes.</scene_description> <character>KILI</character> <dialogue>Or not ... depending on whether you believe in that kind of thing.</dialogue> <parenthetical>(opening his fist to reveal the SMALL STONE)</parenthetical> <dialogue>It's just a token - a rune stone. My mother gave it to me so I would remember my promise.</dialogue> <scene_description>TAURIEL stares down at the STONE in KILI's hand. Light ripples over the dark surface of the stone to reveal simple runes.</scene_description> <character>TAURIEL</character> <dialogue>What promise?</dialogue> <character>KILI</character> <dialogue>That I would come back to her. She worries, she thinks I'm reckless ...</dialogue> <character>TAURIEL</character> <dialogue>Are you?</dialogue> <character>KILI</character> <dialogue>Nah -</dialogue> <scene_description>KILI flips the RUNE STONE lightly in the air, but misses catching it ... the SMALL STONE skids across the floor and nearly plummets over the edge into a dark CHASM ... TAURIEL stops it. She looks at it briefly, before handing it to KILI.</scene_description> <character>KILI</character> <dialogue>Sounds like quite a party you're having up there.</dialogue> <character>TAURIEL</character> <dialogue>It is Mereth e-nGilith - the Feast of Starlight.</dialogue> <scene_description>TAURIEL hesitates, KILI is patient, quietly she speaks.</scene_description> <character>TAURIEL</character> <dialogue>All light is sacred to the Eldar, but Wood Elves love best the light of the stars.</dialogue> <character>KILI</character> <dialogue>I have always thought it is a cold light, remote and far away.</dialogue> <character>TAURIEL</character> <dialogue>It is memory - precious and pure ... like your promise. I have walked there, sometimes - beyond the forest, up into the night ... I have seen the world fall away and the white light of forever fill the air.</dialogue> <scene_description>As TAURIEL talks a soft white light seems to glow around her.</scene_description> <character>KILI</character> <dialogue>I saw a fire-moon once.</dialogue> <scene_description>TAURIEL says nothing, but sits on the floor near his cell ... she listens as KILI tells her of the places he has been and sights he has seen.</scene_description> <character>KILI</character> <dialogue>It rose over the pass near Dunland ... Huge and red gold it was. It filled the sky ...</dialogue> <scene_description>The CAMERA slowly pulls back to reveal a TALL FIGURE watching them from the SHADOWS ... it is LEGOLAS.</scene_description> </scene> <scene> <stage_direction>INT. THRANDUIL'S WINE CELLARS - DUSK</stage_direction> <scene_description>MOVING POV: moving down a NARROW CORRIDOR ... past a PASSAGE leading to the CELLS ... into a VAULTED WINE CELLAR ... a VAST STOCKPILE of BARRELS and CASTS for THRANDUIL'S dining pleasure. ELROS strides into the room, searching around.</scene_description> <character>ELROS</character> <dialogue>Galion, you old rogue, we are running out of drink - these empty barrels should have been sent back to Esgaroth hours ago. The bargemen will be waiting for them.</dialogue> <scene_description>GALION, the KING'S BUTLER, has an open FLAGON of RED WINE in one hand. ANGLE ON: AN INVISIBLE BILBO peers from behind cover. GALION nudges a STOOL with his foot towards ELROS.</scene_description> <character>GALION</character> <dialogue>Say what you like about our ill-tempered King, but he has excellent taste in wine. Come - Elros, try it. Such a draught is worthy of respect.</dialogue> <scene_description>ANGLE ON: ELROS, hesitates, his hand strays to the a GREAT BUNDLE of KEYS which hang from his belt.</scene_description> <character>ELROS</character> <dialogue>I have the Dwarves in my charge.</dialogue> <character>GALION</character> <dialogue>They are locked up - where can they go?!</dialogue> <scene_description>ANGLE ON: ELROS laughs, hanging the BUNDLE of KEYS on a hook nearby he sits. Clinking his FLAGON against GALION'S, ELROS takes a LONG SWIG ... before coughing. CLOSE ON: the KEYS DANGLING from the HOOK on the WALL.</scene_description> </scene> <scene> <stage_direction>INT. WOODLAND REALM CELLS - NIGHT</stage_direction> <scene_description>ANGLE ON: BOFUR, lying down in his CELL ...</scene_description> <character>BOFUR</character> <dialogue>I'll wager the sun is on the rise ... it must be nearly dawn ...</dialogue> <scene_description>ANGLE ON: ORI voices the unspoken thought.</scene_description> <character>ORI</character> <dialogue>We're never going to reach the Mountain, are we?</dialogue> <scene_description>SILENCE ...</scene_description> <character>BILBO</character> <dialogue>Not stuck in here, you're not.</dialogue> <scene_description>THORIN looks up! AT THAT MOMENT: BILBO APPEARS outside THORIN's door, the BUNCH of KEYS in his hand. SLIPPING the RING in his POCKET BILBO begins to UNLOCK the CELL DOORS, starting with BALIN.</scene_description> <character>VARIOUS DWARVES</character> <parenthetical>(startled)</parenthetical> <dialogue>Bilbo!</dialogue> <character>BILBO</character> <parenthetical>(warning)</parenthetical> <dialogue>Shhh - there are guards nearby!</dialogue> <scene_description>QUICK IMAGES: BILBO moving swiftly, opening cell doors ... ANGLE ON: THORIN herds the COMPANY towards the STAIRS that lead up towards the UPPER HALLS.</scene_description> <character>THORIN</character> <dialogue>Up the stairs! Go!</dialogue> <character>BILBO</character> <dialogue>Not that way - down here. Follow me!</dialogue> <scene_description>The DWARVES all stare at BILBO who is already hurrying down stairs that lead deep into the DARK CHASM.</scene_description> </scene> <scene> <stage_direction>INT. ELVISH WINE CELLAR, WOODLAND REALM - NIGHT</stage_direction> <scene_description>ANGLES ON: The DWARVES move QUIETLY ... SOUNDS of DISTANT MERRY-MAKING drift down from above.</scene_description> <character>BILBO</character> <dialogue>This way ...</dialogue> <scene_description>ANGLE ON: GALION and ELROS are lying ASLEEP in the WINE CELLAR, empty FLAGONS gripped in their UNCONSCIOUS hands! CLOSE ON: FILI and KILI looking around the CELLAR, there is no way out!</scene_description> <character>KILI</character> <dialogue>I don't believe it - we're in the cellars.</dialogue> <character>BOFUR</character> <dialogue>You were supposed to be leading us out - not further in!</dialogue> <character>BILBO</character> <parenthetical>(whisper)</parenthetical> <dialogue>I know what I'm doing.</dialogue> <scene_description>BILBO gestures towards the STACK of EMPTY BARRELS. ANGLE ON: BALIN looking around - all he can see is EMPTY BARRELS.</scene_description> <character>BILBO</character> <parenthetical>(urgently)</parenthetical> <dialogue>Everyone ... climb into the barrels - quickly.</dialogue> <character>DWALIN</character> <dialogue>Are you mad? They'll find us -</dialogue> <character>BILBO</character> <dialogue>No, they won't - I promise. Please ... you must trust me.</dialogue> <scene_description>SOUNDS of APPROACHING VOICES! THORIN looks at BILBO a beat, and then nods.</scene_description> <character>THORIN</character> <dialogue>Do as he says.</dialogue> <scene_description>ANGLE ON: MUTTERING under their breath, the DWARVES scramble into the BARRELS. Even BOMBUR manages to squeeze into a LARGE one, although the METAL RINGS are under great strain. ANGLE ON: BILBO hurries over to a WOODEN, LEVER that protrudes from the CELLAR WALL ... BOFUR's head pops out from the BARREL.</scene_description> <character>BOFUR</character> <dialogue>What do we do now?</dialogue> <character>BILBO</character> <dialogue>Hold your breath -</dialogue> <scene_description>BILBO pulls on the GREAT LEVER with all his might ...</scene_description> <character>BOFUR</character> <dialogue>Hold my breath? What do you mean? Waiaiaiaiaiaiaiai!!!!!</dialogue> <scene_description>THE DWARVES yell as, SUDDENLY, the entire floor beneath the STACK of BARRELS, RISES and TILTS ... revealing, beneath the CELLARS ...</scene_description> </scene> <scene> <stage_direction>.. the RUSHING WATER of an UNDERGROUND STREAM! The BARRELS slide, plummeting down into the CHURNING DEPTHS!</stage_direction> <scene_description>BILBO looks triumphant for a second before realising that the TRAPDOOR has shut! Desperately he tries to open it, stamping on it, jumping up and down!</scene_description> </scene> <scene> <stage_direction>INT. UNDERGROUND BARREL FLUME, WOODLAND REALM - DAWN</stage_direction> <scene_description>QUICK ANGLES: the BARRELS are TUMBLING around in a SLOW FLOWING WATER CHANNEL, like a NARROW CANAL ... a FEW DWARFS risk a PEEK and LIFT their barrel LIDS. They are passing through an UNDERGROUND CAVERN beneath the FORTRESS.</scene_description> </scene> <scene> <stage_direction>INT. WOODLAND REALM CELLS - DAWN</stage_direction> <scene_description>ANGLE ON: ELF GUARDS discover the DWARF DOORS are all WIDE OPEN! The ALARM goes out!</scene_description> <character>TAURIEL</character> <dialogue>Where is the Keeper of the Keys?</dialogue> </scene> <scene> <stage_direction>INT. ELVISH WINE CELLAR, WOODLAND REALM - DAWN</stage_direction> <scene_description>Noises can be heard coming from above ... BILBO looks up - someone is coming! TAURIEL races down the STAIRS into the CELLAR just as BILBO escapes down the TRAP DOOR!</scene_description> </scene> <scene> <stage_direction>INT. BARREL FLUME, WOODLAND REALM - DAY</stage_direction> <scene_description>CLOSE ON: BILBO is HOLDING NORI'S BARREL ... he COUGHS and SPLUTTERS as water goes into his MOUTH. THORIN tries to HAUL him up to a safer position.</scene_description> <character>THORIN</character> <dialogue>Well done Master Baggins!</dialogue> </scene> <scene> <stage_direction>INT. BARREL FLUME, WOODLAND REALM - DAY</stage_direction> <scene_description>WIDE ON: the BARRELS are floating in single FILE ... the WATER is picking up SPEED, causing BARRELS to THUD TOGETHER. ANGLE ON: DORI and OIN yell in FRIGHT as the BARRELS disappear over a SMALL WATERFALL in the natural rock CAVERN.</scene_description> </scene> <scene> <stage_direction>INT. UNDERGROUND PATHS, WOODLAND REALM - DAY</stage_direction> <scene_description>ANGLES ON: TAURIEL races down STAIRWAYS and TUNNELS, followed by other ELVEN WARRIORS as she goes.</scene_description> </scene> <scene> <stage_direction>EXT. SLUICE GATES, WOODLAND REALM - DAY</stage_direction> <scene_description>ANGLE ON: the BARRELS emerge out of a TUNNEL, and tumble over the EDGE of a WATERFALL ...</scene_description> <character>THORIN</character> <parenthetical>(yelling)</parenthetical> <dialogue>Hold on!!!</dialogue> <scene_description>The BARRELS FLOAT towards a NARROW CHANNEL, leading to a FAST FLOWING WATERWAY that heads off down the WOODED HILLSIDE ... an IRON PORTCULLIS above the CHANNEL ENTRANCE is OPEN. INSERT: LEGOLAS arrives on a LEDGE overlooking the RIVER, another ELF by his side.</scene_description> <character>LEGOLAS</character> <parenthetical>(ELVISH unsubtitled)</parenthetical> <dialogue>Holo in-annon! Close the gate!</dialogue> <scene_description>The ELF blows a long note on a TRUMPET. ELVEN SENTRIES leap into action, CLOSING the PORTCULLIS. ANGLE ON: THORIN'S BARREL almost slips through the PORTCULLIS GATES, but gets JAMMED ... the remaining BARRELS crash into it, BOBBING and CRACKING against each other ... they can go NO FURTHER! THWACK! One of the ELVISH GUARD falls down dead. SUDDENLY - a large FORCE of ORCS is SWARMING over the RIVERBANK lead by BOLG.</scene_description> <character>BOLG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Goridug! Slay them all!</dialogue> </scene> <scene> <stage_direction>EXT. BARREL FLUME, WOODLAND REALM - DAY</stage_direction> <scene_description>WITHIN MOMENTS: the BARRELS are attacked by ORCS ... a desperate struggle begins. DWARVES use BARREL LIDS to stop ORC ARROWS ... ORCS leap onto BARRELS, and soon BILBO and the DWARVES are FIGHTING for their lives! ANGLE ON: KILI makes a dash for the LEVER to open the PORTCULLIS! He fights off several ORCS and reaches the LEVER! CLOSE ON: BOLG lines KILI up in his sights. THWACK! An arrow lands in KILI's LEG. ANGLE ON: NARZUG SNARLING IN TRIUMPH as the HUNTER ORC moves in to kill the wounded YOUNG DWARF. ... SMASH! An ELVEN ARROW kills the HUNTER ORC. REVEAL ON: TAURIEL ... her eyes glance at KILI before she fits another ARROW and aims it at NARZUG. ANGLE ON: BOLG steps into view.</scene_description> <character>BOLG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Gor 'ash! Gor golginul! Kill her! Kill the She-elf!</dialogue> <scene_description>ON THE SOUND TRACK: a CLARION CALL! BOLG turns in time to see ... LEGOLAS leading a group of ELVEN WARRIORS ... SWORDS DRAWN, with a FLASH OF STEEL, they charge into the ORC FORCE! TAURIEL is cutting ORCS DOWN with a wicked CURVED ELVEN KNIVES in each hand ... she TWISTS and SPINS like an acrobat. LEGOLAS fights with incredible skill. KILI struggles to his feet and releases the PORTCULLIS ... he leaps for his BARREL just before the DWARVES disappear from view.</scene_description> <character>BOLG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Abgurid! Gur! After them Go!</dialogue> <scene_description>TAURIEL AND LEGOLAS dispatch the ORCS at the GATE with lethal skill and then set off in PURSUIT of THE DWARVES, slaying ORCS as the go. The DWARVES continue to fend off ORCS as the CURRENT SPINS &amp; CHURNS them away from the WOODLAND REALM. BILBO clings on, as the BARRELS sail over a HIGH WATERFALL towards the RIVER BELOW. ANGLE ON: LEGOLAS watches as the DWARVISH BARRELS spin away down the RIVER at SPEED. NARZUG creeps up behind LEGOLAS ready to strike - SUDDENLY a FIGURE falls upon him - it is TAURIEL, she easily overcomes the ORC, pulling a knife to his throat, ready to slit it -</scene_description> <character>LEGOLAS</character> <parenthetical>(ELVISH with subtitles)</parenthetical> <dialogue>Dartho, Dauriel. Avo hono -- hen hebim cuin. Tauriel - wait. This one we keep alive.</dialogue> <scene_description>ANGLE ON: TAURIEL looks surprised at LEGOLAS, her eyes follow the ORC PACK as they pursue the DWARVES.</scene_description> <character>BOLG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Khozdai-go! Sha mogi obguryash! After them! Cut them off!</dialogue> </scene> <scene> <stage_direction>EXT. HIGH FELLS TOMBS, MISTY MOUNTAINS - DAY</stage_direction> <scene_description>ANGLE ON: GANDALF climbing a STEEP, ROCKY MOUNTAINSIDE ... he PASSES a CREEPY PAGAN STATUE - placed as if in WARNING. Ahead lies a TALL CLIFF, with narrow STEPS set into the WALL, leading to a single DARK DOOR. WIDE ON: GANDALF climbs the NARROW STAIRS to the DOORWAY. The REMAINS of an IRON DOOR hang twisted from the entrance. CLOSE ON: GANDALF pauses, catching his BREATH ... he FROWNS, and ENTERS.</scene_description> </scene> <scene> <stage_direction>INT. HIGH FELLS TOMB - DAY</stage_direction> <scene_description>ANGLE ON: looking up from the BOTTOM of a VERY LONG, STEEP TUNNEL, carved in the ROCK ... the small figure of GANDALF is SILHOUETTED at the TOP. He starts to DESCEND the STONE RAMP, but suddenly his FEET SKID on the FLOOR, sending him skating down FAST. WIDE ON: GANDALF slides out of the TUNNEL and very nearly PLUMMETS over the edge of a DEEP SHAFT. He only just manages to BALANCE. GANDALF summons a COOL LIGHT from his STAFF and carefully PROCEEDS along NARROW STEPS inset into the sides of the SHAFT. ANGLE ON: GANDALF arrives at a BROKEN TOMB DOOR ... inside is a STONE SARCOPHAGUS, it's sides too HIGH for GANDALF to see inside. A NOISE! A VERY QUIET scratching ... coming from inside the SARCOPHAGUS! GANDALF is immediately ALERT, holding his STAFF defensively, he quietly approaches the HIGH STONE BOX ... the LID, has been SMASHED, PIECES lie at odd angles in the TOMB ... GANDALF leans in further, peering into the DARK RECESSES. AT THAT MOMENT! A SPARROW suddenly rockets out of the SARCOPHAGUS, in a BLUR of furiously beating WINGS! The SPARROW races past GANDALF'S FACE, and he spins around to FOLLOW it ... he suddenly sees a figure silhouetted in backlight ... he raises his staff ... his breath catches as the figure steps forward to reveal it is ...</scene_description> <character>GANDALF</character> <dialogue>Oh, it's you!</dialogue> <scene_description>RADAGAST looks as startled as GANDALF ...</scene_description> <character>RADAGAST</character> <dialogue>Why am I here, Gandalf?</dialogue> <scene_description>RADAGAST removes his WIZARD'S HAT ... the SPARROW settles in a nest in RADAGAST's HAIR.</scene_description> <character>GANDALF</character> <dialogue>Trust me Radagast, I would not have called you here without good reason</dialogue> <character>RADAGAST</character> <dialogue>This is not a nice place to meet.</dialogue> <character>GANDALF</character> <dialogue>No ... it is not.</dialogue> <scene_description>GANDALF sends his light around the tomb, as if searching for clues. STRANGE MARKINGS can be seen, carved in shallow relief on the TOMB WALLS.</scene_description> <character>RADAGAST</character> <parenthetical>(quiet dread)</parenthetical> <dialogue>These are dark spells, Gandalf ... old and full of hate. Who's buried here?</dialogue> <scene_description>GANDALF turns from the TOMB's entrance.</scene_description> <character>GANDALF</character> <dialogue>If he had a name it has long since been lost ... he was known only as a servant of evil - one of a number.</dialogue> <scene_description>GANDALF looks down into the darkness of the DEEP SHAFT. ANGLE ON: GANDALF raises his staff above his head ... LIGHT blazes forth to reveal ... EIGHT MORE gaping black holes BELOW, where heavy STONE DOORS have been SMASHED OPEN.</scene_description> <character>GANDALF</character> <parenthetical>(dread whisper)</parenthetical> <dialogue>One of nine ...</dialogue> </scene> <scene> <stage_direction>EXT. HIGH FELLS, MISTY MOUNTAINS - DAY</stage_direction> <scene_description>HIGH ANGLE: GANDALF leads RADAGAST away from the tombs.</scene_description> <character>RADAGAST</character> <dialogue>Why now Gandalf? I don't understand.</dialogue> <character>GANDALF</character> <dialogue>The Ringwraiths have been summoned to Dol Guldur.</dialogue> <character>RADAGAST</character> <dialogue>But it cannot be the Necromancer - a human sorcerer could not summon such evil.</dialogue> <character>GANDALF</character> <dialogue>Who said he was human?</dialogue> <scene_description>RADAGAST looks alarmed at the thought.</scene_description> <character>GANDALF</character> <dialogue>The Nine only answer to one Master. We've been blind, Radagast - and in our blindness, our Enemy has returned. He is summoning his servants ...</dialogue> <scene_description>GANDALF spins around, confronting RADAGAST.</scene_description> <character>GANDALF</character> <dialogue>Azog the Defiler - he is no ordinary hunter, he is a commander of legions ... The Enemy is preparing for war. It will begin in the East ...</dialogue> <parenthetical>(sudden realisation)</parenthetical> <dialogue>His mind is set on that Mountain.</dialogue> <scene_description>GANDALF goes to hurry away ...</scene_description> <character>RADAGAST</character> <dialogue>Where are you going?</dialogue> <character>GANDALF</character> <dialogue>To rejoin the others -</dialogue> <character>RADAGAST</character> <dialogue>Gandalf -</dialogue> <character>GANDALF</character> <dialogue>I started this, I cannot forsake them now. They are in grave danger.</dialogue> <character>RADADAST</character> <dialogue>If what you say is true ... the world is in grave danger. Every day the power in that fortress will grow stronger.</dialogue> <scene_description>GANDALF stops, he turns back to the LITTLE WIZARD.</scene_description> <character>GANDALF</character> <dialogue>You want me to cast my friends aside?</dialogue> <scene_description>PUSH IN on GANDALF ... he knows he must make a choice.</scene_description> </scene> <scene> <stage_direction>EXT. FOREST RIVER - DAY</stage_direction> <scene_description>WIDE ON: the BARRELS are BOBBING along a PLACID, tree-lined FOREST RIVER.</scene_description> <character>THORIN</character> <parenthetical>(calling)</parenthetical> <dialogue>Anything behind us?</dialogue> <character>BALIN</character> <dialogue>Not that I can see.</dialogue> <character>BOFUR</character> <dialogue>I think we've out run the Orcs!</dialogue> <scene_description>ANGLE ON: DWALIN scans the shoreline carefully.</scene_description> <character>THORIN</character> <parenthetical>(calling back)</parenthetical> <dialogue>Not for long - we've lost the current!</dialogue> <character>DWALIN</character> <dialogue>And Bombur's half drowned.</dialogue> <character>THORIN</character> <dialogue>Make for the shore!</dialogue> <scene_description>ANGLE ON: exhausted and soaking wet, the DWARVES and BILBO struggle to manoeuvre their BARRELS to shore by what ever means they can ... paddling with their own hands or steering with broken tree branches ... ANGLE ON: a bedraggled KILI sits on the SHORELINE, blood already seeping through the fingers of his HAND which covers the ORC WOUND on his THIGH. BOFUR offers KILI a bloodied rag.</scene_description> <character>KILI</character> <dialogue>I'm fine - it's nothing.</dialogue> <scene_description>BOFUR and FILI exchange worried looks. ANGLE ON: THORIN calls over to FILI and KILI.</scene_description> <character>THORIN</character> <dialogue>On your feet!</dialogue> <character>FILI</character> <dialogue>Kili's wounded - his leg needs binding.</dialogue> <character>THORIN</character> <dialogue>There's an Orc pack on our tail - we keep moving.</dialogue> <character>BALIN</character> <dialogue>To where?</dialogue> <character>BILBO</character> <dialogue>To the Mountain - we're so close.</dialogue> <character>BALIN</character> <dialogue>A lake lies between us and that Mountain and we've no way to cross it.</dialogue> <character>BILBO</character> <dialogue>So ... we then we go round.</dialogue> <character>DWALIN</character> <parenthetical>(to BILBO)</parenthetical> <dialogue>The Orcs will run us down sure as daylight.</dialogue> <parenthetical>(to THORIN)</parenthetical> <dialogue>We've no weapons to defend ourselves.</dialogue> <scene_description>THORIN makes a decision - he turns to the others DWARVES.</scene_description> <character>THORIN</character> <parenthetical>(to FILI)</parenthetical> <dialogue>Bind his leg - quickly</dialogue> <parenthetical>(worried to BALIN)</parenthetical> <dialogue>You have two minutes.</dialogue> <scene_description>ANGLE ON: ORI emptying WATER from his BOOTS ... he looks up to see a TALL, DARK-HAIRED MAN standing in the clearing, an ARROW fitted to BOW in his hand ... this is BARD. ANGLE ON: DWALIN'S hand reaches for a LARGE BRANCH raising it above his shoulder, readying it to throw ... in one smooth movement BARD sends an ARROW whizzing from his BOW ... it splits the BRANCH easily in two leaving DWALIN staring in disbelief at the TWO SHARDS of WOOD in his hands. Instinctively KILI's hand moves towards a SHARP ROCK ... BARD sends an arrow flying, spinning the ROCK out of KILI's reach ... sending it scudding along the GROUND. DWALIN looks up at the STRANGER ... another ARROW is already fitted to his BOW.</scene_description> <character>BARD</character> <dialogue>Do it again, and you're dead.</dialogue> <scene_description>ANGLE ON: No-one moves. SUDDENLY BALIN steps forward. BARD swings his ARROW towards him.</scene_description> <character>BALIN</character> <dialogue>You are from Lake-town, unless I am mistaken?</dialogue> <scene_description>BALIN is staring beyond BARD at something behind him.</scene_description> <character>BALIN</character> <parenthetical>(politely)</parenthetical> <dialogue>Excuse me - that barge yonder, it wouldn't be for available for hire by any chance?</dialogue> <scene_description>BARD looks surprised ... he lowers his BOW. CUT TO: ANGLE ON: THE DWARVES and BILBO huddle as THORIN and BALIN negotiate with BARD. DWALIN keeps a LOOKOUT for any approaching ORCS. ANGLE ON: BARD rolling the empty barrels onto the ROCKY SHORE- LINE ready to load on to the BARGE.</scene_description> <character>BARD</character> <dialogue>What makes you think I would help you?</dialogue> <character>BALIN</character> <dialogue>Those boots have seen better days, as has your coat. And I'll wager you have some hungry mouths to feed -</dialogue> <scene_description>By the look on BARD's face, BALIN knows he's struck a chord.</scene_description> <character>BALIN</character> <parenthetical>(kindly)</parenthetical> <dialogue>How many bairns?</dialogue> <character>BARD</character> <dialogue>A boy and two girls.</dialogue> <character>BALIN</character> <dialogue>And your wife's a beauty, I'll wager?</dialogue> <character>BARD</character> <dialogue>Aye ... she was.</dialogue> <scene_description>BALIN's face falls - a misstep.</scene_description> <character>BALIN</character> <dialogue>Ah - I'm sorry I didn't mean ...</dialogue> <character>DWALIN</character> <parenthetical>(low aside)</parenthetical> <dialogue>Come on, come on - enough of the niceties.</dialogue> <scene_description>BALIN brushes him off - but BARD has caught the inter-change. He stops ROLLING BARRELS and looks at the DWARVES.</scene_description> <character>BARD</character> <parenthetical>(cutting him off)</parenthetical> <dialogue>What's your hurry?</dialogue> <character>DWALIN</character> <dialogue>What's it to you?</dialogue> <character>BARD</character> <dialogue>I would know who you are and what you are doing in these lands.</dialogue> <character>BALIN</character> <parenthetical>(trying to smooth things over)</parenthetical> <dialogue>We're simple merchants from the Blue Mountains - journeying to see our kin in the Iron Hills.</dialogue> <character>BARD</character> <parenthetical>(looking at THORIN)</parenthetical> <dialogue>Simple merchants, you say?</dialogue> <character>THORIN</character> <dialogue>We need food, supplies - weapons. Can you help us?</dialogue> <character>BARD</character> <dialogue>I know where these barrels came from.</dialogue> <character>THORIN</character> <dialogue>What of it?</dialogue> <character>BARD</character> <dialogue>I don't know what business you had with the Elves but I do not think it ended well. No-one enters Lake-town but by leave of the Master. His wealth comes from trade with the Woodland Realm. He will see you in irons before risking the wrath of King Thranduil.</dialogue> <character>BALIN</character> <dialogue>I'll wager there are ways to enter that town unseen -</dialogue> <scene_description>BARD goes to turn away. DWALIN looks to BALIN, urgently.</scene_description> <character>BARD</character> <dialogue>Aye, but for that you would need a smuggler.</dialogue> <character>BALIN</character> <parenthetical>(urgent)</parenthetical> <dialogue>For which we would pay double.</dialogue> <scene_description>CLOSE ON: BARD weighing his decision.</scene_description> </scene> <scene> <stage_direction>EXT. FURTHER UP THE RIVER - DAY</stage_direction> <scene_description>BOLG leads his ORC PACK at speed towards the DWARVES landing site.</scene_description> <character>BOLG</character> <parenthetical>(BLACK SPEECH unsubtitled)</parenthetical> <dialogue>Sha mogi obguryash. Do not let them escape!</dialogue> <character>THRANDUIL (V.O.)</character> <dialogue>Such is the nature of Evil ...</dialogue> </scene> <scene> <stage_direction>INT. THRANDUIL'S CHAMBER, WOODLAND REALM, MIRKWOOD - DAY</stage_direction> <scene_description>CLOSE ON: The ELVENKING, THRANDUIL, his face half shadowed in flickering torchlight. THRANDUIL glances towards a captive ORC, NARZUG, slumped before the ELVES. LEGOLAS holds the ORC's head back, his dagger is at his throat. TAURIEL stands nearby.</scene_description> <character>THRANDUIL</character> <dialogue>Out there in the vast ignorance of the world it festers and spreads ... A shadow that grows in the dark. A sleepless malice as black as the oncoming wall of night. So it ever was; so will it always be - in time all foul things come forth.</dialogue> <scene_description>NARZUG looks at TAURIEL with pure hatred.</scene_description> <character>LEGOLAS</character> <dialogue>You were tracking a company of thirteen Dwarves - why?</dialogue> <character>NARZUG</character> <parenthetical>(grinning)</parenthetical> <dialogue>Not thirteen, not anymore. The young one, the black-haired archer ...</dialogue> <scene_description>CLOSE ON: TAURIEL, a bare flicker in her eyes, tells us she knows he is speaking of KILI.</scene_description> <character>NARZUG (ADR PICK-UP)</character> <parenthetical>(with relish)</parenthetical> <dialogue>... stuck him with a Morgul shaft ... The poison's in his blood, he'll be choking it on it soon.</dialogue> <scene_description>NARZUG laughs, lifting his head.</scene_description> <character>TAURIEL</character> <dialogue>Answer the question - filth.</dialogue> <character>NARZUG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Shâ hakhtiz khunai-go, Golgi! I do not answer to dogs, She-Elf!</dialogue> <scene_description>NARZUG spits at TAURIEL ... in a flash there is a dagger in her hand.</scene_description> <character>LEGOLAS</character> <dialogue>I would not antagonize her.</dialogue> <scene_description>TAURIEL lunges towards NARZUG, dagger in hand. THRANDUIL restrains her.</scene_description> <character>TAURIEL</character> <dialogue>You like killing things, Orc? You like death? Then let me give it to you.</dialogue> <character>THRANDUIL</character> <parenthetical>(ELVISH: with subtitles)</parenthetical> <dialogue>Farn! Tauriel - ego, gwau hi. Enough! Tauriel - leave, go now.</dialogue> <scene_description>TAURIEL reluctantly withdraws. THRANDUIL turns to NARZUG.</scene_description> <character>THRANDUIL</character> <dialogue>I do not care about one dead dwarf. Answer the question. You have nothing to fear. Tell us what you know and I will set you free.</dialogue> <scene_description>LEGOLAS looks at his father sharply. NARZUG casts sly looks to LEGOLAS and THRANDUIL, weighing his chances.</scene_description> <character>LEGOLAS</character> <dialogue>You had orders to kill them. Why? What is Thorin Oakenshield to you?</dialogue> <scene_description>NARZUG laughs.</scene_description> <character>NARZUG</character> <parenthetical>(scornful)</parenthetical> <dialogue>The dwarf runt will never be King.</dialogue> <character>LEGOLAS</character> <dialogue>King? There is no King Under the Mountain - nor will there ever be. None would dare enter Erebor whilst the dragon lives.</dialogue> <character>NARZUG</character> <dialogue>You know nothing, your world will burn -</dialogue> <character>LEGOLAS</character> <dialogue>What are you talking about - speak!</dialogue> <scene_description>NARZUG laughs gleefully at LEGOLAS's surprise.</scene_description> <character>NARZUG</character> <dialogue>Our time has come again. My Master serves the One. Do you understand now Elfling ... death is upon you ... the flames of war are upon you.</dialogue> <scene_description>CLOSE ON: THRANDUIL his eyes widen in shock ... he, alone in the room, understand the reference. In one sudden movement THRANDUIL draws his SWORD and swings it towards NARZUG, in an almost disinterested way ... LEGOLAS suddenly finds NARZUG'S severed head swinging from his hand. He drops it to the floor.</scene_description> <character>LEGOLAS</character> <dialogue>Why did you do that? You promised to set him free.</dialogue> <character>THRANDUIL</character> <dialogue>And I did - I freed his wretched head from his miserable shoulders.</dialogue> <character>LEGOLAS</character> <dialogue>There was more the Orc could tell us -</dialogue> <character>THRANDUIL</character> <parenthetical>(enigmatic)</parenthetical> <dialogue>There was nothing more he could tell me.</dialogue> <scene_description>THRANDUIL turns and begins to stride out of the THRONE ROOM.</scene_description> <character>LEGOLAS</character> <dialogue>What did the Orc mean - the Flames of War?</dialogue> <character>THRANDUIL</character> <dialogue>It means they intend to unleash a weapon so great it will destroy all before it. I want the watch on our borders doubled. All roads, all rivers ... nothing moves but I hear of it. No one enters this Kingdom, and no one leaves it.</dialogue> </scene> <scene> <stage_direction>EXT. THRANDUIL'S FORTRESS GATE - DUSK</stage_direction> <scene_description>ANGLE ON: LEGOLAS addresses the GUARDS at the great GATE of the WOODLAND REALM.</scene_description> <character>LEGOLAS</character> <parenthetical>(ELVISH: with subtitles)</parenthetical> <dialogue>Holo in-ennyn, tiro i devnin hain - na ganed en-Aran. Close the gate, keep it sealed - by order of the King.</dialogue> <character>ELROS</character> <parenthetical>(ELVISH: with subtitles)</parenthetical> <dialogue>Man os Tauriel? What about Tauriel?</dialogue> <character>LEGOLAS</character> <parenthetical>(ELVISH: with subtitles)</parenthetical> <dialogue>Man o sen? What about her?</dialogue> <character>ELROS</character> <parenthetical>(ELVISH: with subtitles)</parenthetical> <dialogue>Edevin eb enedhor na gû a megil. She went into the forest, armed with bow and blade.</dialogue> <scene_description>CLOSE ON: LEGOLAS, as he realises TAURIEL has defied the KING.</scene_description> <character>ELROS</character> <parenthetical>(ELVISH: with subtitles)</parenthetical> <dialogue>En ú-nandollen. She has not returned.</dialogue> </scene> <scene> <stage_direction>EXT. BANKS OF THE FOREST RIVER - DAY</stage_direction> <scene_description>A DARK, DEFORMED FIGURE creeps swiftly along the BANKS of THE FOREST RIVER ... his snout pressed to the GROUND ... he looks up suddenly his eyes glinting, as if he has picked up a scent! ANGLE ON: FIMBUL leads an ORC PACK onto the RIVERBANK where the DWARVES came ashore in the BARRELS. FIMBUL looks at a dark stain that has spread on the wood of a fallen tree ... wiping his finger across the stain, he licks it.</scene_description> <character>FIMBUL</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Tum nash ... Agra-yi. Dwarf blood ... They were here.</dialogue> <scene_description>ANGLE ON: BOLG standing still. He sniffs the air.</scene_description> <character>BOLG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Nuzdi-arg nash ... hum ân bûnish. There is another scent ... man-flesh.</dialogue> <character>BOLG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Keranish ô kirzad. They have found a way to cross the lake.</dialogue> <scene_description>ANGLE ON: BOLG head swivels towards something in the distance.</scene_description> </scene> <scene> <stage_direction>EXT. LONG LAKE / BARREL BARGE - PRE-DAWN</stage_direction> <scene_description>EARLY MORNING FOG lies heavy upon still, dark waters. ANGLE ON: the IRON BOW of a BARGE softly breaking a CRUST of THIN ICE as it advances across a long, LAKE with surprising speed. PULL OUT TO REVEAL: THE DWARVES and BILBO sit huddled together in the front of a BARGE ... the PRE-DAWN LIGHT is pale and milky. EMPTY ELVISH BARRELS are stacked on the DECK.</scene_description> <character>BOFUR</character> <dialogue>Watch out!</dialogue> <scene_description>SUDDENLY a HUGE, DARK FORM, looms through the DARK FOG towards them. BILBO and the DWARVES, duck in surprise! CLOSE ON: the TALL, DARK-HAIRED BARGEMAN calmly pulls on the TILLER, navigating the dark waters as if by instinct. The DWARVES stare as the BARGE passes under an ancient STONE ARCHWAY, rising out of the WATER. The BARGE lists dangerously to one side. THORIN moves towards the BARGEMAN.</scene_description> <character>THORIN</character> <dialogue>What are you trying to do? Drown us?</dialogue> <character>BARD</character> <parenthetical>(calmly)</parenthetical> <dialogue>I was born and bred on these waters, Master Dwarf - if I wanted to drown you, I would not do it here.</dialogue> <scene_description>DWALIN turns to his fellow DWARVES, muttering ...</scene_description> <character>DWALIN</character> <parenthetical>(low voice)</parenthetical> <dialogue>I've had enough of this lippy lakeman. I say we drop him over the side and be done wi' it.</dialogue> <character>BILBO</character> <dialogue>Bard.</dialogue> <scene_description>The DWARVES look at BILBO.</scene_description> <character>BILBO</character> <dialogue>His name is Bard.</dialogue> <character>BOFUR</character> <dialogue>How do you know?</dialogue> <character>BILBO</character> <dialogue>I asked him.</dialogue> <scene_description>DWALIN spits to one side, his eyes not leaving BARD.</scene_description> <character>DWALIN</character> <dialogue>I don't care what he calls himself, I don't like him.</dialogue> <scene_description>Some of the other DWARVES murmur agreement. BALIN's voice cuts through them.</scene_description> <character>BALIN</character> <parenthetical>(calmly counting coins)</parenthetical> <dialogue>We do not have to like him. We simply have to pay him ... come on now lads, turn out your pockets.</dialogue> <character>DWALIN</character> <dialogue>How do we know he won't betray us?</dialogue> <character>THORIN</character> <dialogue>We don't.</dialogue> </scene> <scene> <stage_direction>EXT. LONG LAKE / BARREL BARGE - PRE-DAWN</stage_direction> <scene_description>BALIN clears his throat noisily ... he nudges THORIN.</scene_description> <character>BALIN</character> <parenthetical>(under his breath)</parenthetical> <dialogue>There's a wee problem ... we're ten coins short.</dialogue> <scene_description>The DWARVES MUTTER as they hunt in their sodden clothing for more MONEY.</scene_description> <character>THORIN</character> <dialogue>Gloin - come on ... give us what you have.</dialogue> <character>GLOIN</character> <parenthetical>(indignant)</parenthetical> <dialogue>Don't look to me! I've been bled dry by this venture ... and what have I seen for my investment? Eh? Nought but misery and grief!</dialogue> <scene_description>THORIN doesn't respond ... GLOIN realizes his companions are STARING SILENTLY towards the NORTHWEST ... he follows their GAZE. WIDE ON: far away in the distance, the LONELY MOUNTAIN is VISIBLE! It's peak rises above the shreds of a torn cloud, as the first light of DAWN begin to lighten the sky. The DWARVES ... have fallen silent, each staring at their ANCIENT HOMELAND in awe and wonder. ANGLE ON: GLOIN, as he stuffs a SMALL LEATHER PURSE bulging with COINS into THORIN's hands.</scene_description> <character>GLOIN</character> <parenthetical>(choked up)</parenthetical> <dialogue>Take it ... take all of it!.</dialogue> <scene_description>CLOSE ON: BILBO realizes that BARD is staring intently at the DWARVES interest in the LONELY MOUNTAIN. BILBO attempts to get the DWARVES attention.</scene_description> <character>BARD</character> <parenthetical>(tense)</parenthetical> <dialogue>The money, quick - give it to me.</dialogue> <character>THORIN</character> <dialogue>We'll pay you when we get our provisions and not before.</dialogue> <character>BARD</character> <dialogue>If you value your freedom, you will do as I say. There are guards ahead.</dialogue> <scene_description>A loud SHOUT travels across the WATER ... BILBO and the DWARVES follow BARD'S gaze. WIDE ON: a HUGE WOODEN TOWN looms out of the THINNING FOG, revealing dark shapes of crooked BUILDINGS and the GOLDEN GLOW of TORCHLIGHT.</scene_description> </scene> <scene> <stage_direction>EXT. LAKE-TOWN - DAWN</stage_direction> <scene_description>WIDE ON: BARD'S BARGE is several HUNDRED YARDS from the RAMSHACKLE collection of WHARVES, BRIDGES, SPIRES, WATCHTOWERS which rise out of the WATER. ROW upon ROW of CROOKED THATCHED HOUSES balance on slumping PILES ... a long WOODEN BRIDGE is the only connection with the SHORELINE. This is LAKE-TOWN. LAKE-TOWN is surrounded by a small fleet of early morning FISHERMAN, pulling nets in from SMALL BOATS ... BARD'S BARGE slides beside on the FISHING BOATS.</scene_description> </scene> <scene> <stage_direction>EXT. BARD'S BARGE / LONG LAKE - DAWN</stage_direction> <scene_description>ANGLE ON: BARD is BARTERING with a couple of FISHERMAN in a HUSHED VOICE ... BILBO and the DWARVES have disappeared from the DECK. A COUPLE of MASTER's GUARDS are patrolling nearby. CLOSE ON: BILBO'S EYE peers out of a HOLE in a BARREL, watching BARD ... ANGLE ON: DWALIN is squeezed into his SMALL BARREL.</scene_description> <character>DWALIN</character> <dialogue>What's he doing?</dialogue> <character>BILBO</character> <dialogue>He's talking to someone ... he's pointing right at us! Now they're shaking hands.</dialogue> <character>THORIN</character> <dialogue>What?!</dialogue> <character>DWALIN</character> <dialogue>He's selling us out!</dialogue> <scene_description>ANGLE ON: BARD pointing towards the BARRELS! DWALIN glances as a SHADOW looms over his BARREL. ANGLE ON: BARD pours a BASKET of FISH over DWALIN! QUICK ANGLES: BILBO and the DWARVES are buried in FRESH FISH, hiding them from VIEW.</scene_description> </scene> <scene> <stage_direction>EXT. LAKE-TOWN TOLL-GATE - DAWN</stage_direction> <scene_description>ANGLE ON: BARD, TENSE and WATCHFUL, steers his BARGE towards a CANAL that leads into the HEART of LAKE-TOWN ... the BARRELS sit on his DECK, full of FISH. DWARVISH GRUMBLING can be heard coming from the BARRELS. BARD kicks at one with his foot.</scene_description> <character>BARD</character> <dialogue>Quiet - we're approaching the toll-gate.</dialogue> <scene_description>A HEAVY IRON GATE blocks the CANAL ENTRANCE, flanked by dank CUSTOMS BUILDINGS. A VOICE calls out in the gloom.</scene_description> <character>PERCY</character> <dialogue>Halt! Good's inspection, pull alongside! Papers, please! Oh, it's you, Bard.</dialogue> <scene_description>ANGLE ON: PERCY, the town's TOLL COLLECTOR, steps out of the CUSTOM'S BUILDING, holding a LANTERN.</scene_description> <character>BARD</character> <parenthetical>(nodding)</parenthetical> <dialogue>Morning, Percy ...</dialogue> <scene_description>BARD hands PERCY a WAYBILL who quickly scans it.</scene_description> <character>PERCY</character> <dialogue>Anything to declare?</dialogue> <character>BARD</character> <dialogue>Nothing - but that I'm cold and tired and ready for home.</dialogue> <character>PERCY</character> <dialogue>You and me both.</dialogue> <parenthetical>(stamping the paper)</parenthetical> <dialogue>There we are ... all in order -</dialogue> <scene_description>PERCY smiles, handing back the WAYBILL.</scene_description> <character>ALFRID</character> <dialogue>Not so fast!</dialogue> <scene_description>The WAYBILL is plucked out of PERCY'S hand by ALFRID, an officious LITTLE MAN - the PRIVATE SECRETARY to the MASTER of LAKE-TOWN. He is flanked by several GUARDS including a heavy- set CAPTAIN, called BRAGA and a thuggish looking off-sider, called MR. SOURY.</scene_description> <character>ALFRID</character> <parenthetical>(reading)</parenthetical> <dialogue>Consignment of empty barrels from the Woodland Realm ...</dialogue> <scene_description>ALFRID'S eyes flicker across the BARRELS, brimming with FISH.</scene_description> <character>ALFRID</character> <dialogue>Only ... they're not empty, are they Bard?</dialogue> <scene_description>ALFRID peers into the BARRELS. CLOSE ON: ALFRID picks up a FISH by it's tail, revealing BOMBUR'S WIDE EYES, peering from amongst the EYES of the DEAD FISH ... ALFRID turns back to BARD, and BOMBUR BLINKS.</scene_description> <character>ALFRID</character> <dialogue>If I recall correctly, you're licensed as a bargeman, not a fisherman.</dialogue> <character>BARD</character> <dialogue>That's none of your business.</dialogue> <character>ALFRID</character> <dialogue>Wrong - it's the Master's business - which makes it my business.</dialogue> <character>BARD</character> <dialogue>Come on, Alfrid - have a heart. People need to eat.</dialogue> <character>ALFRID</character> <dialogue>These fish are illegal!</dialogue> <scene_description>ALFRID tosses the FISH away, and turns to his GUARDS.</scene_description> <character>ALFRID</character> <parenthetical>(ordering)</parenthetical> <dialogue>Empty these barrels over the side.</dialogue> <character>BRAGA</character> <parenthetical>(ordering his men)</parenthetical> <dialogue>You heard him, in the canal!</dialogue> <scene_description>ANGLE ON: the GUARDS swarm onto the DECK, and start to push the HEAVY BARRELS towards the side of the BARGE ... BILBO looks ALARMED, as his BARREL is manhandled. BARD remains impassive.</scene_description> <character>BARD</character> <dialogue>Folk in this town are struggling. Times are hard, food is scarce -</dialogue> <character>ALFRID</character> <dialogue>That's not my problem.</dialogue> <character>BARD</character> <dialogue>And when the people hear the Master is dumping fish back in the lake; when the rioting starts - will it be your problem then?</dialogue> <scene_description>ALFRID hesitates ... BARRELS are about to get pushed into the WATER ... he SUDDENLY raises his HAND, stopping the GUARDS. He gestures to BRAGA, and the GUARDS back away from the BARRELS.</scene_description> <character>ALFRID</character> <dialogue>Stop!</dialogue> <scene_description>ALFRID leans close to BARD.</scene_description> <character>ALFRID</character> <dialogue>Ever the people's champion, eh, Bard? "Protector of the common folk". You may have their favour now, Bargeman, but it won't last. The Master has his eye on you. You would do well to remember - we know where you live.</dialogue> <scene_description>CLOSE ON: BARD, his eyes flicker briefly in anger.</scene_description> <character>BARD</character> <dialogue>It's a small town, Alfrid - everyone knows where everyone lives.</dialogue> <scene_description>ANGLE ON: the IRON WATER GATE opens, allowing BARD entry into LAKE-TOWN.</scene_description> </scene> <scene> <stage_direction>EXT. LAKE-TOWN CANALS - DAY</stage_direction> <scene_description>WIDE ON: BARD steers his BARGE down the NARROW LAKE-TOWN CANALS ... ANGLE ON: TWO HUNGRY PUGS scavenge for food along the DOCKS.</scene_description> </scene> <scene> <stage_direction>INT. MASTER'S BED-CHAMBER, LAKE-TOWN - DAY</stage_direction> <scene_description>WIDE ON: The GREAT HALL ...</scene_description> <character>ALFRID (O.S.)</character> <dialogue>All this talk of civil unrest ...</dialogue> <scene_description>ANGLE ON: ALFRID tosses the contents of a CHAMBER POT out an open window.</scene_description> <character>ALFRID</character> <dialogue>Someone's been stirring the pot, Sire.</dialogue> <scene_description>ANGLE ON: The MASTER OF LAKE-TOWN hobbles out of bed, sitting down hard on a SETTLE</scene_description> <character>ALFRID</character> <dialogue>Gout playing up, Sire?</dialogue> <character>MASTER OF LAKE-TOWN</character> <dialogue>It's the damp - it's the only possible explanation. Get me a brandy.</dialogue> <character>ALFRID</character> <dialogue>The mood of the people - it's turning ugly.</dialogue> <scene_description>ANGLE ON: THE MASTER sits at the end of his bed. He's a BIG- BELLIED, RED-FACED MAN, dressed in a FLORID DRESSING GOWN. ANGLE ON: ALFRID pours a large tumbler of BRANDY ...</scene_description> <character>MASTER OF LAKE-TOWN</character> <dialogue>They're commoners, Alfrid ... they've always been ugly. It's not my fault they live in a place that stinks of fish oil and tar. Jobs, food, shelter; it's all they ever bleat about.</dialogue> <character>ALFRID</character> <dialogue>It's my belief, Sire, they're being led on by troublemakers.</dialogue> <scene_description>ANGLE ON: THE MASTER - his attention has been caught.</scene_description> </scene> <scene> <stage_direction>INT. MASTER'S HALL, LAKE-TOWN - DAY</stage_direction> <scene_description>ANGLE ON: THE MASTER enters a dark vaulted HALL, lined with ledgers ... an ornate DESK sits at one end. The HALL'S pillars, floor and walls are badly warped with damp.</scene_description> <character>MASTER OF LAKE-TOWN</character> <dialogue>Then we must find these troublemakers and arrest them!</dialogue> <character>ALFRID</character> <dialogue>My thoughts exactly, Sire.</dialogue> <character>MASTER OF LAKE-TOWN</character> <dialogue>All this talk of 'change' must be suppressed. The next thing you know they'll be asking questions, forming committees, launching inquiries ...</dialogue> <character>ALFRID</character> <dialogue>Out with the old ... in with the new?</dialogue> <character>MASTER OF LAKE-TOWN</character> <dialogue>What?</dialogue> <scene_description>ANGLE ON: ALFRID's watches the MASTER ...</scene_description> <character>ALFRID</character> <parenthetical>(slyly)</parenthetical> <dialogue>That's what they're saying, Sire ... there's even talk of an election.</dialogue> <character>MASTER OF LAKE-TOWN</character> <dialogue>An election!</dialogue> <scene_description>CLOSE ON: THE MASTER turns, shocked by the suggestion.</scene_description> <character>MASTER OF LAKE-TOWN</character> <dialogue>That's absurd! I won't stand for it!</dialogue> <character>ALFRID</character> <dialogue>I don't think they'd ask you to stand, Sire.</dialogue> </scene> <scene> <stage_direction>EXT. MASTER'S HALL BALCONY, LAKE-TOWN - DAY - REPOSITIONED</stage_direction> <scene_description>ANGLE ON: THE MASTER steps onto a BALCONY with an EXPANSIVE VIEW of LAKETOWN.</scene_description> <character>MASTER OF LAKE-TOWN</character> <dialogue>Shirkers, ingrates, rouble rousers ... who would have the nerve to question my authority? Who would dare -</dialogue> <scene_description>ANGLE ON: The MASTER'S face hardens ...</scene_description> <character>MASTER OF LAKE-TOWN</character> <dialogue>Bard! You mark my words, that trouble making bargeman is behind this.</dialogue> </scene> <scene> <stage_direction>EXT. INDUSTRIAL DOCK - DAY</stage_direction> <scene_description>ANGLE ON: BARD looks around ... his BARGE has arrived in a QUIET, INDUSTRIAL part of LAKE-TOWN ... the ALLEYS are EMPTY ... a solitary DOCK WORKER secures the MOORING. ANGLE ON: BARD uses his FOOT to tip BARRELS over ... FISH and INDIGNANT DWARVES spill onto the DECK. The DOCK WORKER looks AMAZED, as BILBO and the DWARVES, extract FISH from all parts of their clothing ... BARD presses a SILVER COIN into the DOCK WORKER'S palm.</scene_description> <character>BARD</character> <dialogue>You didn't see them. They were never here. The fish you can have for nothing.</dialogue> <scene_description>ANGLE ON: BARD leading the DWARVES and BILBO away from the WHARF.</scene_description> <character>BARD</character> <dialogue>Follow me.</dialogue> <scene_description>CLOSE ON: HILDA, a HERB SELLER, watches the DWARVES in wonderment.</scene_description> <character>BAIN</character> <dialogue>Dad!</dialogue> <scene_description>BARD turns to find his son, BAIN, hurrying towards him.</scene_description> <character>BAIN</character> <dialogue>Our house - it's being watched.</dialogue> <scene_description>CLOSE ON: BARD, thinking fast.</scene_description> </scene> <scene> <stage_direction>EXT. BARD'S HOUSE - DAY</stage_direction> <scene_description>ANGLE ON: BARD'S two story HOUSE sits on a narrow CANAL in a rundown part of LAKE-TOWN. CLOSE ON: a one-eyed BEGGAR is hunched in an ALCOVE ... he taps his CANE on a wall ... TWO SMALL boys run down an ALLEY ringing a bell as they pass. A SHADY looking character in a nearby ALLEY lights his PIPE. . ANGLE ON: BARD and BAIN emerge out of the ALLEY and hurry to their door, casting glances over their shoulder. BARD and BAIN hurry up the STAIRS to their FRONT DOOR TWO BOATMEN sit in a small boat in the CANAL ... BARD glances down at them before chucking them an apple.</scene_description> <character>BARD</character> <dialogue>Tell the Master - I'm done for the day.</dialogue> <scene_description>BARD and BAIN disappear inside the HOUSE.</scene_description> </scene> <scene> <stage_direction>INT. BARD'S HOUSE - DAY</stage_direction> <scene_description>CLOSE ON: BARD closes and BOLTS the DOOR ... SIGRID, 14 and TILDA, 8, BARD's TWO DAUGHTERS greet him.</scene_description> <character>TILDA</character> <dialogue>Da! Where have you been?</dialogue> <character>SIGRID</character> <parenthetical>(relieved)</parenthetical> <dialogue>Father! There you are - I was worried.</dialogue> <scene_description>BARD hugs them, picking TILDA up ... he glances out of the WINDOW, then turns to BAIN.</scene_description> <character>BARD</character> <dialogue>Get them in.</dialogue> </scene> <scene> <stage_direction>INT. BARD'S BASEMENT - DAY</stage_direction> <scene_description>ANGLE ON: BAIN hurries down STEEP STAIRS, and pushes open a TOILET DOOR.</scene_description> </scene> <scene> <stage_direction>INT. BARD'S TOILET - DAY</stage_direction> <scene_description>CLOSE ON: A simple TOILET SEAT, perched directly over the LAKE- TOWN WATER ... DWALIN'S HEAD suddenly pops up through the HOLE - he GLARES at BAIN.</scene_description> <character>DWALIN</character> <dialogue>If you speak of this to anyone I'll rip your arms off.</dialogue> <scene_description>ANGLES ON: BAIN helps haul BILBO and the WET DWARVES out of the LONG-DROP, cursing and dripping.</scene_description> <character>BAIN</character> <parenthetical>(signalling)</parenthetical> <dialogue>Up there.</dialogue> </scene> <scene> <stage_direction>INT. BARD'S HOUSE - DAY</stage_direction> <scene_description>ANGLE ON: SIGRID is watching down the STAIRS.</scene_description> <character>SIGRID</character> <dialogue>Da - why are there dwarves climbing out of our toilet?</dialogue> <character>TILDA</character> <dialogue>Will they bring us luck?</dialogue> </scene> <scene> <stage_direction>INT. BARD'S HOUSE - DAY</stage_direction> <scene_description>ANGLE ON: THE DWARVES sitting around a WOODEN TABLE. They have wrapped themselves in MAN-SIZED CLOAKS, JACKETS and BLANKETS ... DWARF-BOOTS dry in front of a FIRE PLACE ... SIGRID is passing out MUGS of TEA. TILDA is handing out BLANKETS and CLOTHES.</scene_description> <character>BARD</character> <dialogue>They may not be the best fit, but they'll keep you warm.</dialogue> <scene_description>ANGLE ON: THORIN is staring out the open window. BILBO follows his gaze ... in the DISTANCE, atop a WATCHTOWER is the silhouette of a LARGE, MOUNTED CROSSBOW.</scene_description> <character>THORIN</character> <parenthetical>(low voiced)</parenthetical> <dialogue>A Dwarvish windlance.</dialogue> <character>BILBO</character> <dialogue>You look like you've seen a ghost.</dialogue> <character>BALIN</character> <parenthetical>(low voiced aside)</parenthetical> <dialogue>He has. The last time we saw such a weapon ... a city was on fire.</dialogue> <scene_description>PUSHING IN on BALIN as he remembers ...</scene_description> <character>BALIN</character> <dialogue>... it was the day the dragon came; the day Smaug destroyed Dale.</dialogue> <scene_description>INSERT FLASHBACK: FIRE rains down upon DALE ... people run through the STREETS screaming ...</scene_description> <character>BALIN (V.O.)</character> <dialogue>Girion, the Lord of the City, rallied his bowman to fire upon the beast. But dragon's hide are tough - tougher than the Strongest armour. Only a black arrow fired from a windlance could have pierced the dragon's hide... and few of those arrows were ever made.</dialogue> <scene_description>INSERT FLASHBACK: GIRION, LORD OF DALE, stands atop the highest TOWER. He is manning a LARGE CROSS BOW, desperately aiming at the HUGE BEAST which soars overhead.</scene_description> <character>BALIN (V.O.)</character> <dialogue>Their store was running low when Girion made his last stand. Alas, to no avail.</dialogue> <scene_description>ANGLE ON: THORIN stares out the WINDOW towards the CROSSBOW.</scene_description> <character>THORIN</character> <dialogue>Had the aim of Men been true that day, much would have been different.</dialogue> <character>BARD</character> <parenthetical>(suspicious)</parenthetical> <dialogue>You speak as if you were there?</dialogue> <scene_description>THORIN turns and faces BARD, who has stepped up behind him.</scene_description> <character>THORIN</character> <dialogue>All Dwarves know the tale.</dialogue> <character>BAIN</character> <dialogue>Then you would know that Girion hit the dragon - he loosened a scale under the left wing. One more shot and he would have killed the beast.</dialogue> <character>DWALIN</character> <dialogue>That's a fairy story, lad, nothing more.</dialogue> <scene_description>THORIN turns to BARD.</scene_description> <character>THORIN</character> <dialogue>You took our money - where are the weapons?</dialogue> <character>BARD</character> <dialogue>Wait here.</dialogue> <scene_description>As BARD heads downstairs ...</scene_description> <character>CUT TO</character> <dialogue>BARD steps onto a small landing beneath his house. A ROW BOAT is docked alongside.</dialogue> <dialogue>Peering around cautiously, BARD retrieves a LARGE OIL-SKIN wrapped BUNDLE from beneath the WATER and carries them inside.</dialogue> <scene_description>CUT TO: THORIN, BALIN, KILI and FILI huddle together in conversation.</scene_description> <character>THORIN</character> <dialogue>Tomorrow begins the last days of autumn.</dialogue> <character>BALIN</character> <dialogue>Durin's Day falls the morn after next. We must reach the mountain before then.</dialogue> <character>KILI</character> <dialogue>And if we do not? If we fail to find the hidden door before that time ...?</dialogue> <character>FILI</character> <dialogue>Then this quest has been for nothing.</dialogue> <scene_description>ANGLE ON: the DWARVES stop talking as BARD enters and dumps the large OIL-SKIN BUNDLE on the TABLE. CLOSE ON: the OIL-SKIN is pulled away, revealing an array of home-made WEAPONS, fashioned from FISHING EQUIPMENT, TOOLS and roughly HEWN IRON. The DWARVES look on in DISMAY ... THORIN picks up a short STAFF with a rusty HOOK bound with twine.</scene_description> <character>THORIN</character> <dialogue>What is this?</dialogue> <character>BARD</character> <dialogue>A pike-hook - made from an old harpoon. It can tear the legs from under a foe - if handled right.</dialogue> <character>KILI</character> <dialogue>And this?</dialogue> <character>BARD</character> <dialogue>A crowbill we call it; fashioned from a smithy's hammer. Heavy in hand, I grant - but well balanced for all that.</dialogue> <scene_description>KILI winces as he lays the weapon back down, shifting his weight from his bad leg.</scene_description> <character>BARD</character> <dialogue>In defence of your life, these will serve you better than none.</dialogue> <character>GLOIN</character> <dialogue>We paid you for weapons - iron-forged swords and axes ...</dialogue> <character>BOFUR</character> <dialogue>It's a joke!</dialogue> <character>BARD</character> <dialogue>You won't find better outside the city armoury; all iron-forged weapons are held there under lock and key.</dialogue> <scene_description>THORIN exchanges a quick glance with DWALIN.</scene_description> <character>BALIN</character> <dialogue>Thorin!</dialogue> <scene_description>CLOSE ON: BARD receiving THORIN's name.</scene_description> <character>BALIN</character> <dialogue>Why not take what's on offer and go. I've made do with less, Thorin, and so have you. I say we leave now.</dialogue> <character>BARD</character> <dialogue>You're not going anywhere.</dialogue> <scene_description>THORIN and the others look sharply at BARD.</scene_description> <character>DWALIN</character> <dialogue>What did you say?</dialogue> <character>BARD</character> <dialogue>There's spies watching this house - and probably every dock and wharf in town. You must wait for nightfall.</dialogue> <scene_description>ANGLE ON: KILI sits down, wincing ... he holds his leg, in obvious pain.</scene_description> </scene> <scene> <stage_direction>EXT. BALCONY, BARD'S HOUSE - DAY</stage_direction> <scene_description>ANGLE ON: BARD standing on the BALCONY ...</scene_description> <character>BARD</character> <parenthetical>(musing to himself)</parenthetical> <dialogue>Thorin ... Thorin ...</dialogue> <character>BAIN</character> <dialogue>Da?</dialogue> <scene_description>CAMERA swings around to reveal that BARD is staring at the distant MOUNTAIN - EREBOR. He suddenly hurries down the outside stairs.</scene_description> <character>BARD</character> <dialogue>Don't let them leave.</dialogue> </scene> <scene> <stage_direction>EXT. RIVERBANK, FOREST RIVER - DAY - REPOSITIONED</stage_direction> <scene_description>ANGLE ON: TAURIEL races over RIVER BOULDERS, the remains of a SLAUGHTERED DEER litter the ground. It is obvious it has been ripped apart and eaten raw. TAURIEL pulls the ORC ARROW from out of the flank of the beast. Following a trail of ORC TRACKS, she climbs stealthily up a rock face. WIDE ON: TAURIEL arrives on a HILL overlooking the LONG LAKE ... smoke rises from the chimneys of LAKE-TOWN. A SUDDEN SOUND behind her ... TAURIEL FREEZES! SPINNING AROUND she finds herself looking up at LEGOLAS, bow in hand, arrow aimed directly at her ...</scene_description> <character>TAURIEL</character> <parenthetical>(ELVISH: with subtitles)</parenthetical> <dialogue>Ingannen le Orch. I thought you were an Orc.</dialogue> <character>LEGOLAS</character> <parenthetical>(ELVISH: with subtitles)</parenthetical> <dialogue>Ci orch im, dangen le. If I was an Orc, you would be dead.</dialogue> <scene_description>LEGOLAS, lowers his BOW ...</scene_description> <character>LEGOLAS</character> <dialogue>Tauriel, you cannot hunt thirty Orcs on your own.</dialogue> <character>TAURIEL</character> <dialogue>But I am not on my own.</dialogue> <character>LEGOLAS</character> <dialogue>You knew I would come.</dialogue> <scene_description>LEGOLAS moves closer to her.</scene_description> <character>LEGOLAS</character> <dialogue>The King is angry, Tauriel. For six hundred years my father has protected you, favoured you ... you defied his orders, you have betrayed his trust.</dialogue> <scene_description>ANGLE ON: TAURIEL knows LEGOLAS is speaking the truth, she knows she owes much to THRANDUIL.</scene_description> <character>LEGOLAS</character> <parenthetical>(ELVISH with subtitles)</parenthetical> <dialogue>Dandolo na nin ... le gohenatha. Come back with me ... he will forgive you.</dialogue> <scene_description>TAURIEL turns and looks down at the cold waters of the LONG LAKE ... she speaks quietly.</scene_description> <character>TAURIEL</character> <parenthetical>(ELVISH: with subtitles)</parenthetical> <dialogue>Ú-ohenathon ... ci dadwenithon, ú- ohenathon im. But I will not ... If I go back, I will not forgive myself.</dialogue> <scene_description>LEGOLAS looks taken aback.</scene_description> <character>TAURIEL</character> <dialogue>The King has never let Orc filth roam our lands, yet he would let this Orc-pack cross our borders and kill our prisoners.</dialogue> <character>LEGOLAS</character> <dialogue>It is not our fight.</dialogue> <character>TAURIEL</character> <dialogue>It is our fight. It will not end here. With every victory this evil will grow. If your Father has his way, we will do nothing ... we will hide within our walls. We will live our lives away from the light and let the darkness descend.</dialogue> <scene_description>TAURIEL looks LEGOLAS in the eye.</scene_description> <character>TAURIEL</character> <dialogue>Are we not part of this world? Tell me, mellon ... when did we let Evil become stronger than us?</dialogue> <scene_description>CLOSE ON: LEGOLAS ... he has no answer.</scene_description> </scene> <scene> <stage_direction>EXT. THE MARKETPLACE, LAKE-TOWN - DUSK</stage_direction> <scene_description>ANGLE ON: BARD hurries to a STALL selling bric a brac. He begins pulling down old BLANKETS and WOVEN RUGS ...</scene_description> <character>STALLKEEPER</character> <dialogue>'Allo Bard. What you after?</dialogue> <character>BARD</character> <dialogue>There was a tapestry - an old one. Where's it gone?</dialogue> <character>STALLKEEPER</character> <dialogue>What tapestry you talkin' about?</dialogue> <scene_description>ANGLE ON: BARD has revealed, hanging on the back wall, a LARGE, WOVEN HERALDIC TAPESTRY ... it shows the COAT of ARMS of each of the LINE OF DURIN. ANGLE ON: A murmur of excitement has begun to build ... it runs through the MARKET PLACE.</scene_description> <character>HILDA BIANCA</character> <parenthetical>(exclaiming)</parenthetical> <dialogue>They were Dwarves I tell you, appeared out of nowhere.</dialogue> <scene_description>ANGLE ON: HILDA BIANCA the HERB SELLER is holding forth to a small group huddled nearby.</scene_description> <character>HILDA BIANCA</character> <parenthetical>(mysterious)</parenthetical> <dialogue>Full-beards and fierce eyes. I've never seen the like.</dialogue> <character>NETMENDER</character> <dialogue>What would Dwarves be doing in these parts?</dialogue> <character>OLD FISHERMAN</character> <parenthetical>(full of portent)</parenthetical> <dialogue>It's the Prophecy ...</dialogue> <character>NETMENDER</character> <dialogue>Prophecy?</dialogue> <scene_description>All eyes turn towards an OLD MAN, bent with age, seated on a BOAT mending NETS.</scene_description> <character>OLD FISHERMAN</character> <dialogue>The Prophecy of Durin's Folk.</dialogue> <scene_description>CLOSE ON: BARD'S hand traces the LINE OF DURIN from the name THROR to THRAIN to the final name on the TAPESTRY ... THORIN.</scene_description> <character>BARD</character> <parenthetical>(under his breath)</parenthetical> <dialogue>The prophecy ... the prophecy ...</dialogue> <scene_description>In the MARKETPLACE, TOWNSFOLK are whispering excitedly.</scene_description> <character>TOWNSMAN 1</character> <dialogue>The old tales will come true.</dialogue> <character>TOWNSWOMAN 1</character> <dialogue>Vast halls of treasure!</dialogue> <character>TOWNSWOMAN 2</character> <dialogue>Can it really be true, has the Lord of Silver Fountains returned?</dialogue> <scene_description>BARD looks up in dawning realisation. On the SOUNDTRACK: BARD recalls an ancient rhyme:</scene_description> <character>BARD (V.O.)</character> <dialogue>The Lord of silver fountains The King of carven stone The King beneath the Mountain, Shall come into his own.</dialogue> <scene_description>BARD sets off at a run.</scene_description> </scene> <scene> <stage_direction>EXT. STREETS OF LAKE-TOWN - DUSK</stage_direction> <scene_description>ANGLE ON: BARD hurries desperately through the STREETS of LAKE- TOWN, pushing his way through the CROWDS.</scene_description> <character>BARD (V.0.)</character> <dialogue>And the bells shall ring in gladness At the Mountains King's return But all shall fail in sadness And the lake shall shine and burn.</dialogue> <scene_description>The last rays of the setting sun ripple across the waters towards the LAKE-TOWN like a shining, path wrought from gold.</scene_description> </scene> <scene> <stage_direction>INT. BARD'S HOUSE - DUSK</stage_direction> <scene_description>ANGLE ON: SIGRID looks up suddenly as the front door bursts open! BARD slams the door behind him, scanning the room quickly. There is no sign of the DWARVES beyond half eaten plates of food and mugs of tea left lying on the table.</scene_description> <character>BAIN</character> <dialogue>Dad, I tried to stop them.</dialogue> <character>BARD</character> <dialogue>How long have they been gone?</dialogue> </scene> <scene> <stage_direction>EXT. CIVIC SQUARE, LAKE-TOWN - NIGHT</stage_direction> <character>THORIN</character> <dialogue>As soon as pull the weapons we make straight for the Mountain.</dialogue> <scene_description>CLOSE ON: THORIN ... he SIGNALS the ALL CLEAR.</scene_description> <character>THORIN</character> <parenthetical>(whisper to NORI)</parenthetical> <dialogue>Go ... go ... go!</dialogue> <scene_description>ANGLE ON: THREE DWARVES stand on each other's shoulders, to REACH a HIGH WINDOW in the ARMOURY BUILDING. DWALIN balances FILI on his shoulders as NORI clamber's off FILI shoulders and in through the OPEN WINDOW of the BUILDING. ANGLE ON: BALIN watching nervously from the shadows ... DORI, ORI, BOFUR, BIFUR, BOMBUR, OIN and GLOIN all cluster behind, waiting anxiously.</scene_description> </scene> <scene> <stage_direction>INT. LAKE-TOWN ARMOURY - NIGHT</stage_direction> <scene_description>ANGLE ON: THORIN, KILI and BILBO are selecting WEAPONS from RACKS - SWORDS, AXES, MACES ...</scene_description> <character>THORIN</character> <dialogue>Just take what we need and go!</dialogue> <scene_description>THORIN is loading WEAPONS into KILI arms ... KILI staggers under the weight, his LEG weakening fast.</scene_description> <character>THORIN</character> <dialogue>Are you right?</dialogue> <character>KILI</character> <dialogue>I can manage. Let's just get out of here.</dialogue> <scene_description>KILI starts to descend the STAIRS ... SUDDENLY KILI'S leg GIVES WAY, and he falls down, sending WEAPONS clattering into the GUARDROOM below! THORIN, DWALIN, NORI and FILI freeze in HORROR. SUDDENLY armed GUARDS come flooding out of a narrow corridor, into the ARMOURY ... the DWARVES brandish their WEAPONS, and within moments, they all have SPEAR POINTS and SWORD TIPS held at each other's throats, like a Mexican stand-off ... the DWARVES show no sign of giving in. THORIN glances down the STAIRS ... ANGLE ON: looking down on BRAGA, his foot on KILI, his SWORD raised above KILI'S neck. CLOSE ON: THORIN, his face set, a fierce look in his eye.</scene_description> </scene> <scene> <stage_direction>EXT. CIVIC SQUARE, LAKE-TOWN - NIGHT</stage_direction> <scene_description>ANGLE ON: BRAGA and a cohort of GUARDS shove the DWARVES and BILBO towards the FOOT of the steps of the MASTER'S HALL. From all directions, excited TOWNS-FOLK are hurrying into the SQUARE, a myriad of torches light up the night CLOSE ON: ALFRID's head peers out from the DOOR overlooking the SQUARE ... without a word he withdraws inside, closing the DOOR. WITHIN MOMENTS ... the DOUBLE DOORS swing open and THE MASTER strides out.</scene_description> <character>MASTER OF LAKE-TOWN</character> <dialogue>What is the meaning of this?</dialogue> <character>BRAGA</character> <dialogue>We caught them stealing weapons, Sire.</dialogue> <character>MASTER OF LAKE-TOWN</character> <dialogue>Enemies of the State, eh?</dialogue> <scene_description>A GASP goes up from the more nervous members of the CROWD.</scene_description> <character>ALFRID</character> <dialogue>A desperate bunch of mercenaries if ever was, Sire.</dialogue> <character>DWALIN</character> <dialogue>Hold your tongue!</dialogue> <scene_description>ANGLE ON: DWALIN steps forward, enraged.</scene_description> <character>DWALIN</character> <dialogue>You do not know to whom you speak. This is no common criminal. This is Thorin, son of Thrain, son of Thror!</dialogue> <scene_description>PUSHING IN ON: THORIN, he raises his head, stepping forward.</scene_description> <character>THORIN</character> <dialogue>We are the Dwarves of Erebor; we have come to reclaim our homeland.</dialogue> <scene_description>An excited whisper runs through the CROWD. "So it is true - the Dwarves of Erebor have returned!" "It is the Prophecy of old ..." THORIN looks at the MASTER, before turning to the TOWNSFOLK that surround them.</scene_description> <character>THORIN</character> <dialogue>I remember this town in the great days of old - fleets of boats lay at harbour - filled with silks and fine gems. This was no forgotten out post, no forsaken town on a lake. This was the centre of all trade in the North!</dialogue> <scene_description>An excited murmur sweeps across the CROWD.</scene_description> <character>THORIN</character> <dialogue>I would see those days return - I would re-light the great forges of the Dwarves, and send riches and wealth flowing once more from the Halls of Erebor.</dialogue> <scene_description>An even greater CHEER rises from the CROWD; THORIN's words resonated around the SQUARE.</scene_description> <character>BARD</character> <dialogue>Death!</dialogue> <scene_description>ANGLE ON: BARD as he pushes his way through the CROWD - stopping in front of THORIN.</scene_description> <character>BARD</character> <dialogue>That is what you will bring upon us! Dragon-fire and ruin!</dialogue> <parenthetical>(BARD hold's THORIN's gaze)</parenthetical> <dialogue>If you waken that beast, you will destroy us all!</dialogue> <character>THORIN</character> <dialogue>You can listen to this naysayer ... but I promise you this - if we succeed all will share in the wealth of the Mountain - you will have enough gold to rebuild Esgaroth ten times over!</dialogue> <scene_description>BARD turns to the CROWD - appealing to those who have always stood by him and listened to him.</scene_description> <character>BARD</character> <dialogue>All of you, listen to me - you must listen! Have you forgotten what happened to Dale? Have you forgotten those who died in the firestorm ... and for what purpose? The blind ambition of a Mountain- king so riven by greed he could not see beyond his own desire?</dialogue> <scene_description>THE DWARVES protest loudly. The CROWD jeer back, once more siding with BARD.</scene_description> <character>MASTER OF LAKE-TOWN</character> <dialogue>Now, now ... we must not, any of us, be too quick to lay blame ... Let us not forget it was Girion, Lord of Dale, your ancestor who failed to kill the beast.</dialogue> <scene_description>THORIN and BALIN slowly turn to BARD, amazed.</scene_description> <character>ALFRID</character> <dialogue>It is true, Sire, we all know the story. Arrow after arrow he shot, each one missing it's mark.</dialogue> <scene_description>BARD turns on THORIN.</scene_description> <character>BARD</character> <dialogue>You have no right, no right to enter that Mountain -</dialogue> <character>THORIN</character> <dialogue>I have the only right!</dialogue> <parenthetical>(turning his back on BARD)</parenthetical> <dialogue>I speak to the Master of the Men of the Lake. Will you see the Prophecy fulfilled? Will you share in the great wealth of our people? What say you?</dialogue> <scene_description>SILENCE ... THORIN's eyes hold those of THE MASTER who steps forward to the railing of the BALCONY.</scene_description> <character>THE MASTER</character> <dialogue>I say unto you -</dialogue> <scene_description>The CROWD seems to hold it's breath. SUDDENLY, the MASTER throws his arms open wide in a grand gesture.</scene_description> <character>THE MASTER</character> <dialogue>Welcome! Welcome! Thrice welcome! King Under the Mountain!!!</dialogue> <scene_description>The MASTER bows low to THORIN, inviting him to enter the GREAT HALL, as a great CHEER explodes from the CROWD!</scene_description> </scene> <scene> <stage_direction>EXT. LAKE-TOWN WHARF - MORNING</stage_direction> <scene_description>ANGLE ON: BILBO and the DWARVES, dressed in absurd looking finery bestowed upon them by the MASTER, file onto a BARGE, loaded with SUPPLIES. WIDE ON: A CROWD of onlookers and well-wishers lines a NARROW CANAL to witness the DEPARTURE of the DWARVES</scene_description> <character>BILBO (O.S.)</character> <dialogue>You do know we're one short - where's Bofur?</dialogue> <scene_description>ANGLE ON: THORIN and the DWARVES pushing through the crowds.</scene_description> <character>THORIN</character> <dialogue>If he's not here, we leave him behind.</dialogue> <character>BALIN</character> <dialogue>We'll have to if we're to find the door before nightfall. We can risk no more delays.</dialogue> <scene_description>ANGLE ON: THORIN pauses at the FOOT of the GANGPLANK, as BILBO and the DWARVES file past him. He puts an arm on KILI'S shoulder, stopping him.</scene_description> <character>THORIN</character> <dialogue>Not you. We must travel at speed, you will slow us down.</dialogue> <character>KILI</character> <parenthetical>(incredulous)</parenthetical> <dialogue>What are you talking about? I'm coming with you.</dialogue> <parenthetical>(taking in THORIN's expression)</parenthetical> <dialogue>I'm going to be there when that door is opened - when we first look upon the halls of our fathers - Thorin!</dialogue> <character>THORIN</character> <dialogue>Kili ... stay here, rest. Join us when your healed.</dialogue> <scene_description>KILI backs away ... OIN has been listening in with his EAR TRUMPET ... he walks off the BARGE, past THORIN.</scene_description> <character>OIN</character> <dialogue>I'll stay with the lad. My duty lies with the wounded.</dialogue> <scene_description>THORIN nods to OIN, turns to find that FILI confronting him.</scene_description> <character>FILI</character> <dialogue>Uncle - we grew up on tales of the Mountain, tales you told us. You cannot take that away from him. I will carry him if I must -</dialogue> <character>THORIN</character> <parenthetical>(low voice)</parenthetical> <dialogue>One day you will be King and you will understand ... I cannot risk the fate of this Quest for the sake of one Dwarf - not even my own kin.</dialogue> <parenthetical>(FILI goes to disembark)</parenthetical> <dialogue>Fili! Don't be a fool! You belong with the Company -</dialogue> <character>FILI</character> <dialogue>I belong with my brother.</dialogue> <scene_description>A MOTLEY BAND of MUSICIANS strikes up a SUDDEN FANFARE! ANGLE ON: THE MASTER and ALFRID pompously making their way through the CROWD.</scene_description> </scene> <scene> <stage_direction>INT. MASTER'S HALL, LAKE-TOWN - DAY</stage_direction> <scene_description>The SOUND of distant cheering ECHOES in the EMPTY MASTER'S HALL. CLOSE ON: BOFUR sits up, hat askew ... banging his head on the underside of the MASTER'S DESK ... several tankards and EMPTY BRANDY bottles lie beside him.</scene_description> <character>BOFUR</character> <dialogue>By my beard, is that the time?</dialogue> </scene> <scene> <stage_direction>EXT. LAKE-TOWN WHARF - DAY</stage_direction> <scene_description>A RAGGED FANFARE SOUNDS ... a row of TRUMPETERS look starkly out of place amidst the poor surroundings. ANGLE ON: THE MASTER, flanked by ALFRID, stands on the a MAKESHIFT PODIUM.</scene_description> <character>MASTER OF LAKE-TOWN</character> <dialogue>Go now with our goodwill and good wishes ... And may your return bring good fortune to all!</dialogue> <scene_description>A rousing cheer goes up as the BARGE slides out into the ICY WATERS of the LONG LAKE.</scene_description> </scene> <scene> <stage_direction>EXT. LAKE-TOWN WHARVES - DAY</stage_direction> <scene_description>ANGLE ON: BOFUR rushes through the CROWD ... skidding to a stop beside FILI, KILI and OIN.</scene_description> <character>BOFUR</character> <dialogue>Did you miss the boat as well?</dialogue> <scene_description>FILI notices KILI swaying.</scene_description> <character>FILI</character> <dialogue>Kili!</dialogue> <scene_description>KILI slumps to the ground. Sweat beads his forehead, his face is pale, his breathing shallow. OIN pulls aside the make-shift BANDAGE on KILI's leg ... the whole leg has gone BLACK.</scene_description> <character>OIN</character> <parenthetical>(under his breath)</parenthetical> <dialogue>Durin save us!</dialogue> </scene> <scene> <stage_direction>INT. BARD'S HOUSE - DAY</stage_direction> <scene_description>ANGLE ON: BARD opens the door to find BOFUR standing there.</scene_description> <character>BARD</character> <dialogue>No - I am done with Dwarves. Go away.</dialogue> <scene_description>BOFUR scrambles forward, managing to get his foot in the doorway.</scene_description> <character>BOFUR</character> <dialogue>No-one will help us, please - Kili is sick, he's very sick.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. DWARVES BARGE, LONG LAKE - DAY</stage_direction> <scene_description>ANGLE ON: THORIN stands at the PROW, of the BARGE, his eyes fixed firmly on the solitary peak rising at the far end of the LAKE.</scene_description> </scene> <scene> <stage_direction>EXT. VALLEY OF DALE, LONELY MOUNTAIN - DAY</stage_direction> <scene_description>WIDE ON: THORIN leads the SMALL COMPANY into the FOOTHILLS above LAKE-TOWN, which lies FAR BELOW on the LAKE. NEW VEGETATION has attempted to GROW amongst BLACKENED RUINED FORESTS, but the TREES are sickly, as if the earth is POISONED. ANGLE ON: THORIN as he crests the SLOPE ... CLOSE ON: BILBO looks up ... a BLEAK SIGHT greets his gaze. WIDE ON: In the shadow of the LONELY MOUNTAIN we see the smashed RUINS of ANCIENT HOUSES, TOWERS, BRIDGES and ROADS ... BLACKENED TREE STUMPS dot the LANDSCAPE ... a FUME of THICK VAPOUR spills from a dark, cavernous opening at the base of the SOUTHERN SLOPE ...</scene_description> <character>BILBO</character> <dialogue>What is this place?</dialogue> <character>BALIN</character> <parenthetical>(sadly)</parenthetical> <dialogue>Once it was the city of Dale, now it is a ruin ... The desolation of a dragon.</dialogue> <scene_description>CLOSE ON: THORIN, his eyes have travelled upward toward the pale, watery light of a NOON DAY SUN.</scene_description> <character>THORIN</character> <dialogue>The sun will soon reach midday - we must find the hidden door in to the Mountain before it sets. This way!</dialogue> <character>BILBO</character> <dialogue>Wait - is this the Overlook. Gandalf told us to meet him here!</dialogue> <character>THORIN</character> <dialogue>Do you see him?</dialogue> <scene_description>BILBO has no answer. THORIN takes the MAP from BILBO.</scene_description> <character>THORIN</character> <dialogue>We have no time to wait upon the Wizard - we are on our own. Come!</dialogue> <scene_description>CLOSE ON: BILBO perturbed by THORIN's dismissal of GANDALF.</scene_description> </scene> <scene> <stage_direction>EXT. DOL GULDUR - DAY</stage_direction> <scene_description>WIDE ANGLE: ... RADAGAST'S SLEIGH winds its way towards the HULKING RUINS of DOL GULDUR perched still and ominous in the MIRKWOOD GLOOM. ANGLE ON: GANDALF and RADAGAST as they survey the FORTRESS from a HIDDEN vantage point amidst a THICKET of BLACKENED THORNS.</scene_description> <character>GANDALF</character> <dialogue>Dol Guldur - the Hill of Sorcery.</dialogue> <character>RADAGAST</character> <dialogue>It looks completely abandoned.</dialogue> <character>GANDALF</character> <dialogue>As it is meant to ... a spell of concealment lies over this place.</dialogue> <scene_description>A SMALL SMILE creeps over his face.</scene_description> <character>GANDALF</character> <dialogue>Which means our Enemy is not yet ready to reveal himself, he has not regained his full strength.</dialogue> <parenthetical>(urgent to RADAGAST)</parenthetical> <dialogue>Radagast - I need you to carry a message to the Lady Galadriel, tell her we must force his hand.</dialogue> <character>RADAGAST</character> <dialogue>What do you mean - ?</dialogue> <scene_description>WIDE ON: RADAGAST and GANDALF conferring quickly ...</scene_description> <character>GANDALF</character> <dialogue>I'm going in alone. On no account come after me.</dialogue> <scene_description>RADAGAST nods ... and starts to WALK AWAY.</scene_description> <character>GANDALF</character> <dialogue>Do I have your word?</dialogue> <character>RADAGAST</character> <dialogue>Yes, yes, yes ...</dialogue> <scene_description>CLOSE ON: RADAGAST turns, a look of worry and fear on his face.</scene_description> <character>RADAGAST</character> <dialogue>Wait, Gandalf ... what if it's a trap?</dialogue> <character>GANDALF</character> <dialogue>Turn around and do not come back. It's undoubtedly a trap.</dialogue> <scene_description>GANDALF makes his way down from their vantage point ... he unsheathes GLAMDRING ... moving along the crumbling causeway towards the FRONT GATE ... when he DISAPPEARS from VIEW.</scene_description> </scene> <scene> <stage_direction>INT. DOL GULDUR COURTYARD - DAWN</stage_direction> <scene_description>ANGLE ON: GANDALF keeps close to the WALL, surveying the surroundings ... nothing moves, a heavy SILENCE fills the air. WIDE ON: GANDALF raises his staff, saying an ELVISH SPELL in a loud voice.</scene_description> <character>GANDALF</character> <parenthetical>(QUENYAN without subtitles)</parenthetical> <dialogue>Ké ná ulko sís nurtaina - I ettuluvas kaninye; Kanin i sá tanuvakse Whatever evil is hidden here - I command it come forth; I command it reveal itself.</dialogue> <scene_description>GANDALF slams the staff down, releasing a powerful pulse of WHITE LIGHT, which travels across the fortress like a shock wave. NOTHING. No sound, no movement. GANDALF continues forward into the RUINS, the SPELL cutting through the SILENCE.</scene_description> </scene> <scene> <stage_direction>INT. DOL GULDUR, LOWER LEVELS - NIGHT</stage_direction> <scene_description>WIDE ON: a darkened, ill-lit courtyard ... WARG RIDERS surround the towering FIGURE of AZOG. ANGLE ON: The GIANT ORC looks up ...</scene_description> <character>AZOG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Zidgu ... The Wizard ...</dialogue> <scene_description>AN ORC UNDERLING creeps forward, frightened.</scene_description> <character>ORC UNDERLING</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Obtoragish gulum-nu... gimyashim. He is lifting the spell ... he will find us.</dialogue> <scene_description>CLOSE ON: AZOG, smiling grimly ...</scene_description> <character>AZOG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Hurnash. Yes.</dialogue> </scene> <scene> <stage_direction>EXT. LONG VALLEY, LONELY MOUNTAIN - DAY</stage_direction> <scene_description>WIDE ON: The DWARVES and BILBO are spread out along the SIDE of the MOUNTAIN. DWALIN and GLOIN appear from behind a RIDGE LINE.</scene_description> <character>THORIN</character> <parenthetical>(calling)</parenthetical> <dialogue>Anything?</dialogue> <character>DWALIN</character> <dialogue>Nothing.</dialogue> <scene_description>ANGLE ON: THORIN studies the MAP ...</scene_description> <character>THORIN</character> <parenthetical>(desperate)</parenthetical> <dialogue>There must be a way - if this Map is true, the hidden door lies directly above us.</dialogue> <scene_description>BILBO rounds the CORNER of a LARGE ROCK OUTCROP ... he finds himself staring at the base of a huge DWARVEN STATUTE that rises high into the CLIFFS above.</scene_description> <character>BILBO</character> <dialogue>Up here!</dialogue> <scene_description>ANGLE ON: The DWARVES cluster around ... BILBO gestures towards the STATUE. CLOSE ON: ... carved into the STONE ARMOUR and CLOTH are worn and crumbling STAIRS that wend their way steeply UPWARDS around the contours of the STATUE. THORIN claps BILBO on the back, with real gratitude.</scene_description> <character>THORIN</character> <dialogue>You have keen eyes, Master Baggins.</dialogue> </scene> <scene> <stage_direction>EXT. HIDDEN STAIRS, LONELY MOUNTAIN - DUSK</stage_direction> <scene_description>WIDE ON: BILBO leads THORIN, DWALIN, GLOIN, BALIN, BIFUR, BOMBUR, NORI, DORI and ORI up the ANCIENT CRUMBLING STAIRWAY.</scene_description> </scene> <scene> <stage_direction>EXT. HIDDEN BAY, LONELY MOUNTAIN - DUSK</stage_direction> <scene_description>ANGLE ON: BILBO arrives at the top of the STATUE and steps onto a narrow STEEP WALLED LEDGE. ONE by ONE BILBO is joined by the DWARVES ... they find him STARING at the SMOOTH SURFACE of the ROCK WALL at the end of the SMALL COVE. THORIN runs his hand over the surface of the ROCK. The faintest outline can be seen.</scene_description> <character>THORIN</character> <parenthetical>(softly)</parenthetical> <dialogue>This is it - the hidden door.</dialogue> <scene_description>ANGLE ON: THORIN pulls the key from his shirt, ripping it from it's chain, he holds it up triumphantly!</scene_description> <character>THORIN</character> <dialogue>Let all those who doubted us - rue this day!</dialogue> <scene_description>The OTHERS CHEER.</scene_description> <character>DWALIN</character> <dialogue>Right then ... we have a key, which means somewhere ... there is a keyhole.</dialogue> </scene> <scene> <stage_direction>EXT. HIDDEN BAY, LONELY MOUNTAIN - DUSK</stage_direction> <scene_description>WIDE ANGLE: The SUN is beginning to set. DWALIN cannot find the keyhole.</scene_description> <character>THORIN</character> <dialogue>The last light of Durin's Day will shine upon the keyhole.</dialogue> <scene_description>THORIN turns to NORI.</scene_description> <character>THORIN</character> <dialogue>Nori!</dialogue> <scene_description>ANGLE ON: NORI is already pulling an assortment of specialist equipment from his BACK-PACK. He steps up to the WALL, examining the smooth stone surface with an expert eye ... DWALIN joins him, running his hands over the stone. NORI places a LISTENING DEVICE on to the rock ... he begins to tap the rock with a SMALL CHISEL, listening for a hollow sound. THORIN watches NORI working, BALIN is staring at the ROCK WALL dubiously.</scene_description> <character>THORIN</character> <dialogue>We're loosing the light - come on!</dialogue> <scene_description>CLOSE ON: DWALIN turns towards THORIN ... a look of concern on his face. He turns and RAMS at the WALL searching &amp; bashing.</scene_description> <character>NORI</character> <dialogue>Be quiet. I can't hear when you're thumping!</dialogue> <character>DWALIN</character> <dialogue>I can't find it. It's not there.</dialogue> <scene_description>ANGLE ON: THORIN turns to the OTHER DWARVES ...</scene_description> <character>THORIN</character> <parenthetical>(rising panic)</parenthetical> <dialogue>Break it down!</dialogue> <scene_description>BILBO jumps in fright as the DWARVES collectively STRIKE against THE HARD STONE WALL with PICKS and CHISELS.</scene_description> <character>THORIN</character> <dialogue>Come on!</dialogue> <parenthetical>(under his breath)</parenthetical> <dialogue>It has to break!</dialogue> <scene_description>CRACCKK! The WOODEN SHAFTS of their PICKS SPLINTER and the STEEL HEADS of their HAMMERS SHATTER. CLOSE ON: THORIN'S face DARKENS ... there is not even a DENT in the SMOOTH ROCK-FACE.</scene_description> <character>BALIN</character> <dialogue>It's no good ... the door is sealed. It cannae be opened by force. There is a powerful magic on it.</dialogue> <scene_description>THORIN looks around DESPERATELY ... the SUN is SINKING behind a BAND of LOW THICK CLOUD, sitting just above the horizon. THORIN pulls out the MAP poking an ANGRY FINGER at the RUNES.</scene_description> <character>THORIN</character> <dialogue>"The last light of Durin's Day will shine upon the keyhole" ... that's what it says!</dialogue> <scene_description>THORIN points at the SETTING SUN.</scene_description> <character>THORIN</character> <dialogue>What did we miss? What did we miss, Balin?</dialogue> <scene_description>BALIN shakes his head, he has no answer. HOPE begins to drain from THORIN'S FACE as the LIGHT seeps from the SKY, cloaking the mountain in DUSK. BALIN puts a comforting HAND on THORIN'S SHOULDER.</scene_description> <character>BALIN</character> <dialogue>We have lost the light - there's no more to be done. We had but one chance ... it's over. Come on lads ... come away.</dialogue> <scene_description>THORIN opens his HAND to reveal THE KEY lying in his PALM ... slowly he turns his PALM and the KEY falls to the ground. WIDE ON: Slowly, the COMPANY of DWARVES turn away and begin to make their way back down the HIDDEN PATH. CLOSE ON: BILBO ... not believing that this can be the end of their QUEST.</scene_description> <character>BILBO</character> <dialogue>Wait a minute - where're they going? You can't give up now! Thorin? You can't give up now ...</dialogue> <scene_description>ANGLE ON: THORIN'S thrusts the MAP at BILBO as he leaves. The others ignore him, BILBO turns back, staring at the SMOOTH ROCK WALL. WIDE ON: BILBO standing in front of the ROCK FACE, a cold wind rises, blowing around him. ANGLE ON: BILBO looks towards the WEST ... RISING in the SKY is the slender SICKLE of a SILVERY MOON which sends a soft beam of light across the face of the ROCK WALL.</scene_description> <character>BILBO</character> <parenthetical>(muttering to himself)</parenthetical> <dialogue>Stand by the grey stone when the thrush knocks and the setting sun with the last light of Durin's Day will shine ...</dialogue> <parenthetical>(repeating)</parenthetical> <dialogue>... the last light ... the last light ...</dialogue> <scene_description>A sound begins to seep into the small HOBBIT'S consciousness. KNOCK, KNOCK, KNOCK ... BILBO turns to see the THRUSH who has caught a large SNAIL in its beak knocking its shell against the GREY ROCK. ANGLE ON: the MOONLIGHT gains in STRENGTH. CLOSE ON: FAINT MOON RUNES start to SHIMMER on the ROCK FACE ... BILBO catches his breath. ANGLE ON: a narrow RED RAY of DYING SUNLIGHT escapes like a finger through a rent in the CLOUD. It races through a valley in the SKYLINE, past BILBO and falls on the SMOOTH ROCK FACE. CRACK! CLOSE ON: A FLAKE OF ROCK splits and falls from the WALL, leaving a HOLE in the midst of the MOON RUNE markings. For a BRIEF MOMENT the LIGHT from both the MOON and the SUN plays on the ROCK. CLOSE ON: BILBO realizes what is happening!</scene_description> <character>BILBO</character> <parenthetical>(softly)</parenthetical> <dialogue>The last light ... The last light!!!</dialogue> <parenthetical>(calling)</parenthetical> <dialogue>Come back! It's the light of the moon ... the last moon of autumn.</dialogue> <parenthetical>(to himself)</parenthetical> <dialogue>The key! Where is the key?</dialogue> <scene_description>ANGLE ON: BILBO SCRAMBLES around desperately in the DARK trying to find the KEY on the dusty ledge. CLOSE ON: a FURRY HOBBIT FOOT unwittingly knocks the KEY, sending it flying towards the EDGE of the BAY ... SUDDENLY a heavy, DWARVEN BOOT stops the KEY from sliding over the EDGE. THORIN bends down and picks it up. ANGLE ON: THORIN inserts the KEY into the KEYHOLE ... it TURNS ... CLICK! ANGLE ON: The DWARVES all stare at the moonlit DOOR. The RUNES which glow in the SILVERY LIGHT are beginning to FADE. An OLD MECHANISM releases it's hold, and the ROCK FACE shudders slightly. THORIN pushes against the rock. Long straight CRACKS appear and WIDEN, as the DOOR slowly opens INWARDS without a SOUND.</scene_description> <character>THORIN</character> <parenthetical>(softly)</parenthetical> <dialogue>Erebor ...</dialogue> <scene_description>DARKNESS seems to flow out like a vapour, leaving the COMPANY staring into a BLACK NOTHINGNESS leading down into the DEPTHS of the MOUNTAIN. ANGLE ON: THORIN walks forward into the DARKNESS as if SPELLBOUND.</scene_description> <character>BALIN</character> <dialogue>Thorin ...</dialogue> <scene_description>THORIN is staring at the smooth STONE WALLS of the TUNNEL.</scene_description> <character>THORIN</character> <dialogue>I know these walls ... these halls ... this stone. Do you remember it, Balin? Chambers filled with golden light.</dialogue> <character>BALIN</character> <dialogue>I remember ...</dialogue> <scene_description>ANGLE ON: AN IMAGE etched in STONE above the inside of THE DOOR, is a beautifully CARVED bas-relief. GLOIN reads the ANCIENT RUNES beneath the CARVING.</scene_description> <character>GLOIN (ADR PICK-UP)</character> <parenthetical>(reading)</parenthetical> <dialogue>Herein lies the Seventh Kingdom of Durin's folk ... may the Heart of the Mountain unite all Dwarves in defence of this Home.</dialogue> <scene_description>CLOSE ON: BILBO is staring at the ornate CARVING which depicts a THRONE ... above which a SMALL, OVAL SHAPED GEM is SUSPENDED. Lines of LIGHT seem to radiate from the JEWEL in all directions.</scene_description> <character>BALIN</character> <parenthetical>(reverently)</parenthetical> <dialogue>The throne of the King ...</dialogue> <character>BILBO</character> <dialogue>What's that above it?</dialogue> <character>BALIN</character> <dialogue>The Arkenstone.</dialogue> <character>BILBO</character> <dialogue>The Arkenstone? Hmmm ...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And what's that?</dialogue> <scene_description>BILBO looks up to see that all the DWARVES are staring at him.</scene_description> <character>THORIN</character> <dialogue>That, Master Burglar, is why you are here.</dialogue> </scene> <scene> <stage_direction>INT. BARD'S HOUSE - NIGHT</stage_direction> <scene_description>ANGLE ON: KILI's face covered in sweat. FILI turns to OIN.</scene_description> <character>FILI</character> <dialogue>Can you not do something?</dialogue> <character>OIN</character> <dialogue>I need herbs. Something to bring his fever down.</dialogue> <character>BARD</character> <dialogue>I have Nightshade, Feverfew ...</dialogue> <character>OIN</character> <dialogue>They are no use to me. Do you have any Kingsfoil?</dialogue> <character>BARD</character> <dialogue>No, it's a weed. We feed it to the pigs.</dialogue> <character>BOFUR</character> <dialogue>Pigs? Weed? Right ... don't move!</dialogue> <scene_description>ANGLE ON: BOFUR rushes out the door.</scene_description> </scene> <scene> <stage_direction>INT. DWARF TUNNEL, LONELY MOUNTAIN - NIGHT</stage_direction> <scene_description>ANGLE ON: BILBO and BALIN creep down the NARROW TUNNEL. Behind them, the DOORWAY frames the black silhouette of waiting DWARVES.</scene_description> <character>BILBO</character> <dialogue>You want me to find a jewel?</dialogue> <character>BALIN</character> <dialogue>A large, white jewel ... yes.</dialogue> <character>BILBO</character> <dialogue>That's it? Only I imagine there's quite a few of them down there ...</dialogue> <character>BALIN</character> <dialogue>There is only one Arkenstone, you will know it, when you see it.</dialogue> <scene_description>BILBO gazes down the tunnel ... hesitating.</scene_description> <character>BILBO</character> <dialogue>Right.</dialogue> <character>BALIN</character> <parenthetical>(worried)</parenthetical> <dialogue>In truth, lad, I do not know what you will find down there ...</dialogue> <scene_description>BILBO looks at him, they both know of what BALIN speaks.</scene_description> <character>BALIN</character> <dialogue>You needn't go if you don't want to. There's no dishonour in turning back.</dialogue> <character>BILBO</character> <dialogue>No .. Balin ... I promised I would do this and I think I must try.</dialogue> <scene_description>BILBO tightens his belt and adjusts the small sword at his side and prepares to head down the TUNNEL.</scene_description> <character>BALIN</character> <parenthetical>(admiringly)</parenthetical> <dialogue>It never ceases to amaze me.</dialogue> <character>BILBO</character> <dialogue>What's that?</dialogue> <character>BALIN</character> <dialogue>The courage of Hobbits.</dialogue> <parenthetical>(clapping BILBO on the back)</parenthetical> <dialogue>Go now with as much luck as you can muster.</dialogue> <scene_description>BILBO begins to head down the TUNNEL when BALIN calls him back.</scene_description> <character>BALIN</character> <dialogue>Oh and Bilbo ... if there is in fact a live dragon down there ... don't waken it.</dialogue> <scene_description>BILBO looks at BALIN, confused, but BALIN has turned away, disappearing back up the TUNNEL.</scene_description> </scene> <scene> <stage_direction>EXT. DOL GULDUR COURTYARD - DAY</stage_direction> <scene_description>GANDALF moves through an abandoned COURTYARD incanting a spell ... he sweeps his staff over the empty darkness ... GANDALF slams down his staff ... through the pulse of WHITE LIGHT bursts AZOG, throwing GANDALF to the ground.</scene_description> <character>AZOG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Nakhig lo shulun, Sharrukû You have come too late, Wizard!</dialogue> <character>AZOG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Gorz nash! It is done!</dialogue> <scene_description>AZOG and his ORC FORCES prepare to attack. GANDALF aims his STAFF towards them, a POWERFUL FORCE halts them in their tracks.</scene_description> <character>GANDALF</character> <dialogue>Where is your Master? Where is he?</dialogue> <character>AZOG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Ommig shâ zog. Undaguz nag. He is everywhere. We are legion.</dialogue> <scene_description>GANDALF's eyes fall upon the legions of ORC ARMIES gathered within the depths of DOL GULDUR.</scene_description> <character>AZOG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Murganim It is over.</dialogue> <scene_description>GANDALF fires a PULSE of BRIGHT LIGHT towards AZOG ... in that MOMENT, the WIZARD is GONE! ANGLE ON: AZOG spins around dazed and sees GANDALF escaping...</scene_description> <character>AZOG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Gurid Dum! Run him down!</dialogue> <scene_description>The ORC pack moves forward relentlessly ... GANDALF breaks a STONE BRIDGE causing the pursuing ORC's to plummet into the abyss. ANGLE ON: GANDALF reacts as the COURTYARD DARKENS ... the SKY ABOVE broils, and BLACK CLOUDS gather. AT THAT MOMENT! ... DOL GULDUR starts VIBRATING ...</scene_description> <character>NECROMANCER</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Ziduk ya nan ... uzu nak zidan There is no light Wizard ... that can defeat darkness.</dialogue> <scene_description>CLOSE ON: GANDALF raises his STAFF against the POWERFUL FORCE, a SHIELD of LIGHT SURROUNDING him. LIGHT and DARKNESS BATTLE ... ANGLE ON: GANDALF's STAFF slowly disintegrates in his hand as a HUGE FLAMING EYE takes shape in front of him. The DARKNESS lifts GANDALF and smashes him to the GROUND. The WIZARD is slammed against the WALL in pain ... he stares into the FLAMING MASS, as the DARK PUPIL form into the SHAPE of a FIGURE ...</scene_description> <character>GANDALF</character> <parenthetical>(under his breath)</parenthetical> <dialogue>Sauron!</dialogue> </scene> <scene> <stage_direction>INT. SMAUG'S LAIR, LONELY MOUNTAIN - DUSK</stage_direction> <scene_description>ANGLE ON: BILBO pauses to control his BREATHING, which is getting LOUD. SWEAT runs down his FACE - it's clearly getting HOT down there. ANGLE ON: a FAINT GLOW emanates from the CAVERNS ahead - not from fire, but a DULL GOLD COLOUR. MOONLIGHT is seeping into the CAVERNS, but not enough to show their true SIZE ... the SPACES open up and fade into DARKNESS. BILBO marvels at the VAST CAVERN DWARF-HALLS rising above his head. BILBO's voice echoes faintly through the VAST CAVERN.</scene_description> <character>BILBO</character> <parenthetical>(relieved whisper)</parenthetical> <dialogue>Not at home ... good, good, good.</dialogue> <scene_description>CLOSE ON: BILBO'S FEET step onto GOLD COINS, and he attempts to avoid them ... but very soon that is IMPOSSIBLE. The FLOOR is covered in HILLS of GOLD ... not just COINS, but CUPS, TRINKETS, and TREASURE of all KINDS. WIDE ON: The TINY FIGURE of BILBO quietly scrambles across a SEA of GOLD. BILBO moves SLOWLY, barely allowing his WEIGHT to move the GOLD MOUNTAIN.</scene_description> <character>BILBO</character> <parenthetical>(muttering to himself)</parenthetical> <dialogue>The Arkenstone ... the Arkenstone ...</dialogue> <parenthetical>(reciting under his breath)</parenthetical> <dialogue>A large, white jewel ... very helpful!</dialogue> <scene_description>ANGLE ON: BILBO reaching out he pulls out a SMALL GOLD CUP unwittingly setting off a SMALL LANDSLIDE of GOLDEN COINS. CLOSE ON: the last few PIECES OF GOLD fall away, to reveal: THE BULBOUS LIDDED EYE of a HUGE SLEEPING DRAGON! BILBO FREEZES IN HORROR! SMAUG is lying ASLEEP, burrowed under a mountain of GOLD ... A VAPOUR of STEAM gently RISES through a mound of SHIMMERING TREASURE. BILBO can now hear the SOFT SOUND OF THE DRAGON'S BREATH. The SLEEPING BEAST, almost entirely hidden, is just a few FEET away. BILBO stares up at the GOLDEN MOUNTAIN towering above him and comes to realize that SMAUG is indeed a MASSIVE size! SMAUG exhales and SHIFTS in his sleep; BILBO watches as MOUNTAINS of GOLD subtly heave and resettle throughout the huge GALLERY. CLOSE ON: SMAUG'S BULBOUS EYELID flickers and TWITCHES! BILBO, still clutching the small GOLDEN CUP, is in SHOCK. Keeping his eyes trained on the DRAGON, BILBO moves towards the NARROW TUNNEL ENTRANCE, clutching the CUP in his hand. ANGLE ON: A THIN, PIERCING RAY of RED, which emanates from beneath the DROOPING LID of SMAUG'S LEFT EYE. CLOSE ON: BILBO reaches into his POCKET and pulls out THE RING as ... the EVIL LIGHT of SMAUG'S RED EYE sweeps across him. BILBO stands poised with THE RING, too scared to move, as the LIGHT of SMAUG'S EYE suddenly returns ... it fixes on the little HOBBIT just as: BILBO jams THE RING on his FINGER and instantly DISAPPEARS! SMAUG'S SLY, SONOROUS VOICE fills the chamber.</scene_description> <character>SMAUG</character> <parenthetical>(musing to himself)</parenthetical> <dialogue>Well, thief ...</dialogue> <scene_description>SMAUG'S GREAT HEAD swings just above BILBO, his reptilian EYES sliding from SIDE TO SIDE.</scene_description> <character>SMAUG</character> <dialogue>I smell you - I hear your breath - I feel your air ...</dialogue> <scene_description>CLOSE ON: BILBO frozen in FEAR as SMAUG's ENORMOUS HEAD looms over him.</scene_description> <character>SMAUG</character> <parenthetical>(to himself)</parenthetical> <dialogue>Where are you? Where are you? ...</dialogue> <scene_description>SUDDENLY BILBO turns and RUNS, skidding &amp; sliding down the MOUNDS of GOLD, the GIANT DRAGON following the MOVEMENT of the precious COINS. BILBO flattens himself against the TUNNEL ENTRANCE. The great EYE of SMAUG scans the ROOM.</scene_description> <character>SMAUG</character> <dialogue>Come now, don't be shy ... step into the light....</dialogue> <character>SMAUG</character> <dialogue>There is something about you ... something you carry? Something made of gold, but far more ... precious.</dialogue> <scene_description>ANGLE ON: BILBO stares into the eyes of the GREAT BEAST as if hypnotised ... FLASH IMAGE: THE EYE OF SAURON! BILBO rips off the RING and hides behind another PILLAR.</scene_description> <character>SMAUG</character> <parenthetical>(snide laugh)</parenthetical> <dialogue>There you are, thief in the Shadows!</dialogue> <scene_description>BILBO is frozen on the spot, finding himself eye to eye with the HUGE DRAGON.</scene_description> <character>BILBO</character> <parenthetical>(quaking with fear)</parenthetical> <dialogue>I did not come here to steal from you, O Smaug the Unassessably Wealthy, I merely wanted to gaze upon your magnificence ... to see if you were as great as the old tales say. I did not believe them.</dialogue> <scene_description>ANGLE ON: The GREAT DRAGON rises up ... his massive chest, encrusted in jewels, glints in the LIGHT ...</scene_description> <character>SMAUG</character> <dialogue>And do you now?</dialogue> <character>BILBO</character> <dialogue>Truly the tales and songs fall utterly short of your enormity, O Smaug, the Stupendous!</dialogue> <character>SMAUG</character> <dialogue>Do you think flattery will keep you alive?</dialogue> <character>BILBO</character> <dialogue>No ...?</dialogue> <character>SMAUG</character> <dialogue>No, indeed. You seem familiar with my name, but I don't remember smelling your kind before. Who are you and where do you come from, may I ask?</dialogue> <scene_description>CLOSE ON: BILBO as he backs toward the safety of a pillar, something catches his eye. ANGLE ON: a RADIANT light emanates from within a mound of TREASURE.</scene_description> <character>BILBO</character> <parenthetical>(scrambling to answer)</parenthetical> <character>I ... I ... I ...</character> <dialogue>BILBO edges towards the GLIMMERING LIGHT. Finally he can see it clearly ... a beautiful jewel, it is the most MAGNIFICENT thing he has ever seen. The ARKENSTONE!</dialogue> <character>BILBO</character> <parenthetical>(playing for time)</parenthetical> <dialogue>Well ... I come from Under the Hill.</dialogue> <character>SMAUG</character> <dialogue>Underhill ...</dialogue> <character>BILBO</character> <dialogue>And under hills and over hills my path has led.</dialogue> <parenthetical>(growing confidence)</parenthetical> <dialogue>And through the air ... I am he who walks unseen ...</dialogue> <character>SMAUG</character> <dialogue>Impressive ... what else do you claim to be?</dialogue> <character>BILBO</character> <dialogue>I am Luck-wearer; Riddle-maker.</dialogue> <character>SMAUG</character> <dialogue>Lovely titles ... go on.</dialogue> <character>BILBO</character> <dialogue>Barrel-rider ...</dialogue> <character>SMAUG</character> <dialogue>Barrels ... Now, that is interesting.</dialogue> <scene_description>CLOSE ON: BILBO starts backing away down the steep hill of gold as SMAUG'S movements get more and more agitated creating landslides of TREASURE.</scene_description> <character>SMAUG</character> <dialogue>And what about your little Dwarf friends. Where are they hiding?</dialogue> <character>BILBO</character> <parenthetical>(panicked)</parenthetical> <dialogue>Dwarves?! There's no Dwarves here. You've got it all wrong!</dialogue> <character>SMAUG</character> <dialogue>Oh, I don't think so, Barrel-rider. They sent you in here to do their dirty work while they skulk about outside.</dialogue> <scene_description>SUDDENLY the ARKENSTONE slides away as SMAUG'S huge body slides under the cloisters.</scene_description> <character>BILBO</character> <parenthetical>(panicked)</parenthetical> <dialogue>Truly, you are mistaken, O Smaug, Chiefest and Greatest of Calamities.</dialogue> <character>SMAUG</character> <dialogue>You have nice manners for a thief and liar!</dialogue> <scene_description>BILBO edges along the MOUND of GOLD trying to reach THE ARKENSTONE - SMAUG casts around wildly ... the ARKENSTONE slides further away.</scene_description> <character>SMAUG</character> <dialogue>I know the smell and taste of Dwarf - no- one better ... It's the gold - they are drawn to treasure, like flies to dead flesh.</dialogue> <scene_description>ANGLE ON: SMAUG is starting to get enraged!</scene_description> <character>SMAUG</character> <parenthetical>(roaring with fury)</parenthetical> <dialogue>Did you think I did not know this day would come ... that a pack of canting Dwarves would come crawling back to the Mountain?</dialogue> <scene_description>A HUGE STONE COLUMN tumbles down.</scene_description> </scene> <scene> <stage_direction>EXT. HIDDEN BAY, LONELY MOUNTAIN - NIGHT</stage_direction> <scene_description>BALIN and THORIN before the STATUE OF THROR... suddenly the ground beneath their feet shakes! CLOSE ON: THORIN spins around, staring into the darkness of the SECRET DOOR.</scene_description> <character>DORI</character> <dialogue>What were that? Were that an earthquake?</dialogue> <scene_description>BALIN looks at the others who are standing around nervously.</scene_description> <character>BALIN</character> <parenthetical>(grimly)</parenthetical> <dialogue>That, my lad, was a dragon.</dialogue> </scene> <scene> <stage_direction>INT. BARD'S HOUSE - NIGHT</stage_direction> <scene_description>... BARD reacts as a SMALL TREMOR ripples through the HOUSE. Plates rattle on shelves, low rumble can be heard.</scene_description> <character>SIGRID</character> <parenthetical>(scared)</parenthetical> <dialogue>Da?!</dialogue> <character>BAIN</character> <parenthetical>(worried)</parenthetical> <dialogue>It's coming from the Mountain ...</dialogue> <scene_description>BARD exchanges looks with FILI.</scene_description> <character>FILI</character> <dialogue>You should leave us - take your children - get out of here.</dialogue> <character>BARD</character> <dialogue>And go where? There is nowhere to go.</dialogue> <character>TILDA</character> <dialogue>Are we going to die, Da?</dialogue> <scene_description>CLOSE ON: BARD reading the fear in his little daughter's eyes.</scene_description> <character>BARD</character> <dialogue>No, Darlin' -</dialogue> <character>TILDA</character> <dialogue>But the dragon, it's going to kill us.</dialogue> <scene_description>BARD crosses to a HIDING PLACE - he withdraws a LONG, BLACK ARROW.</scene_description> <character>BARD</character> <dialogue>Not if I kill it first.</dialogue> </scene> <scene> <stage_direction>INT. LONELY MOUNTAIN HALLS - NIGHT</stage_direction> <scene_description>Thin REDDISH FLAMES escape from SMAUG'S mouth and nostrils as he LAUGHS ... a devastating sound which shakes the very foundations of the MOUNTAIN. He smashes COLUMNS.</scene_description> <character>SMAUG</character> <dialogue>The King Under the Mountain is dead! I took his throne! I ate his people like a wolf among sheep. I kill where I wish, when I wish! My armour is iron. No blade can pierce me.</dialogue> <scene_description>SMAUG suddenly whirls back around, his TAIL lashes furiously SMASHING into columns bringing them crashing down!</scene_description> </scene> <scene> <stage_direction>EXT. MARKETPLACE, LAKE-TOWN - NIGHT</stage_direction> <scene_description>ANGLE ON: BARD and BAIN hurry through alleys. BARD is carrying the BLACK ARROW wrapped in cloth. BAIN hurries to keep up.</scene_description> <character>BAIN</character> <dialogue>A Black Arrow - why did you never tell me?</dialogue> <character>BARD</character> <dialogue>Because you did not need to know.</dialogue> <scene_description>ANGLE ON: BARD and BAIN pause at a CORNER - the MASTER'S HALL is ahead.</scene_description> <character>BARD</character> <dialogue>Listen to me, carefully - I need you to distract the guards ... once I'm at the top of the tower I'll set the arrow to the bow.</dialogue> <character>BRAGA</character> <dialogue>There he is! Stop him!</dialogue> <scene_description>BARD pushes BAIN along at speed, they duck around a corner. The GUARDS give chase. BARD thrusts the BLACK ARROW into BAIN'S hands.</scene_description> <character>BARD</character> <dialogue>Keep it safe. Don't let anyone find it!</dialogue> <scene_description>BAIN protests ...</scene_description> <character>BARD</character> <dialogue>I'll deal with them - go!</dialogue> <scene_description>BAIN runs off, as BARD steps back around the corner to confront the BRAGA.</scene_description> <character>BRAGA</character> <dialogue>You are under arrest.</dialogue> <character>BARD</character> <dialogue>On what charge?</dialogue> <scene_description>BRAGA smiles with malicious ENJOYMENT.</scene_description> <character>BRAGA</character> <dialogue>Any charge the Master chooses.</dialogue> <scene_description>BARD responds with a solid FIST - the CAPTAIN of the GUARD stumbles backwards. SUDDENLY - BARD breaks free, making a run for it. BRAGA and the GUARDS set off in pursuit. WIDE ON: BARD races across a CANAL, leap-frogging from one BOAT to the NEXT ... GUARDS following tip into the WATER. ANGLE ON: BARD races around a CORNER, looking back ... he's LOSING the MASTER'S GUARDS. BARD is suddenly TOPPLED by a FOOT thrust out of the SHADOWS. He stumbles to the GROUND ... THE MASTER stands over him, clutching a LUMP of WOOD.</scene_description> </scene> <scene> <stage_direction>EXT. HIDDEN BAY, LONELY MOUNTAIN - NIGHT</stage_direction> <scene_description>ANGLE ON: A bright, ORANGE LIGHT flares in the dark TUNNEL. ANOTHER SHAKE rattles the MOUNTAIN. ORI looks nervously down down into the MOUNTAIN.</scene_description> <character>ORI</character> <dialogue>What about Bilbo?</dialogue> <character>THORIN</character> <dialogue>Give him more time.</dialogue> <character>BALIN</character> <dialogue>To do what? To be killed?</dialogue> <character>THORIN</character> <dialogue>You are afraid.</dialogue> <character>BALIN</character> <dialogue>Yes, I am afraid - I fear for you. A sickness lies upon that treasure hoard - a sickness that drove your Grandfather mad.</dialogue> <character>THORIN</character> <dialogue>I am not my Grandfather.</dialogue> <character>BALIN</character> <dialogue>You are not yourself - the Thorin I know would not hesitate -</dialogue> <character>THORIN</character> <dialogue>I will not risk the Quest for the life of one burglar!</dialogue> <character>BALIN</character> <dialogue>Bilbo ... his name is Bilbo.</dialogue> <scene_description>A even more violent SHAKE rumbles the GROUND.</scene_description> </scene> <scene> <stage_direction>INT. LONELY MOUNTAIN HALLS - NIGHT</stage_direction> <scene_description>ANGLE ON: SMAUG moves stealthily through the CHAMBER ... his voice low and full of menace.</scene_description> <character>SMAUG (ADR PICK-UP)</character> <dialogue>It's Oakensheild - that filthy, Dwarvish usurper! He sent you in here for the Arkenstone, didn't he?</dialogue> <character>BILBO</character> <dialogue>No, no - I came of my own accord.</dialogue> <character>SMAUG</character> <dialogue>Don't bother denying it - I guessed his foul purpose some time ago. But it matters not ... Oakenshield's quest will fail ...</dialogue> </scene> <scene> <stage_direction>INT. DOL GULDUR SOUTH TOWER - NIGHT</stage_direction> <scene_description>CLOSE ON: on GANDALF ... lying LIFELESS in an IRON CAGE, suspended over the edge of the SOUTH TOWER. His EYES stare unblinking and unseeing. His body is bruised and battered, his hair matted with sweat and blood, it is obvious he has been tortured.</scene_description> <character>SMAUG (O.S.)</character> <dialogue>... a darkness is coming ... it will spread to every corner of the land.</dialogue> <scene_description>ON THE SOUNDTRACK a LOW, HEAVY RUMBLING rises up from beneath the SUSPENDED IRON CAGE. CLOSE ON: GANDALF's eye BLINKS into LIFE. Slowly turning his head, the WIZARD stares down into the dark depths of the RUINED FORTRESS. A look of HORROR falls over GANDALF's face as he takes in the sight below. GANDALF POV: FIERY TORCHLIGHT flickers, illuminating RANK after RANK of ARMOURED GUNDABAD ORCS ... the ground trembles as HUGE, TROLL-LIKE CREATURES follow in the LEGIONS wake ... disappearing into the darkness.</scene_description> </scene> <scene> <stage_direction>EXT. LAKE-TOWN ROOFTOPS - NIGHT</stage_direction> <scene_description>REVEAL: BOLG and the HUNTER ORC PACK stealthily creeping over the roofs of LAKE-TOWN ... BOLG HALTS ... as if sensing something.</scene_description> <character>BOLG</character> <parenthetical>(BLACK SPEECH - unsubtitled)</parenthetical> <dialogue>Shûgi Khozd-shrakhun hum. Nuzdidiz. The dwarf-rats are here somewhere ... I can smell them.</dialogue> </scene> <scene> <stage_direction>INT. LONELY MOUNTAIN HALLS - NIGHT</stage_direction> <scene_description>ANGLE ON: BILBO, hiding behind a pillar, as he listens to the sly voice of SMAUG.</scene_description> <character>SMAUG</character> <dialogue>You are being used, Thief in the Shadows ... you were only ever a means to an end. The coward Oakensheild has weighed the value of your life and found it worth nothing.</dialogue> <scene_description>ANGLE ON: BILBO as he tries to shake of the thought.</scene_description> <character>BILBO</character> <dialogue>No ... no ... you're lying.</dialogue> <character>SMAUG</character> <dialogue>What did he promised you? A share of the treasure - as if it was his to give! I will not part with a single coin, not one piece of it.</dialogue> <scene_description>ANGLE ON: BILBO races towards THE ARKENSTONE as SMAUG flicks his tail ... his massive body moves like lighting ... TREASURE erupts in all directions, sending THE ARKENSTONE flying away from BILBO.</scene_description> <character>SMAUG</character> <dialogue>My teeth are swords! My claws are spears! My wings are a hurricane!</dialogue> <scene_description>SMAUG flexes his WINGS, rising up on his haunches, in an awesome DISPLAY of POWER ... BILBO stares in awe, then looks again ... CLOSE ON: There, under one wing, is a bare patch of DRAGON SKIN.</scene_description> <character>BILBO</character> <parenthetical>(under his breath)</parenthetical> <dialogue>So it is true. The black arrow found it's mark.</dialogue> <character>SMAUG (ADR PICK-UP)</character> <dialogue>What did you say?</dialogue> <character>BILBO</character> <parenthetical>(to SMAUG)</parenthetical> <dialogue>I was just saying your reputation precedes you, O Smaug the Tyrannical, truly you have no equal on this earth!</dialogue> <scene_description>SMAUG's eyes fall to the FLOOR ... to something that lies near BILBO. The HOBBIT follows the DRAGON's gaze ... it is the ARKENSTONE.</scene_description> <character>SMAUG</character> <parenthetical>(soft laugh)</parenthetical> <dialogue>I am almost tempted to let you take it, if only to see Oakenshield suffer - watch it destroy him, watch it corrupt his heart and drive him mad.</dialogue> <scene_description>CLOSE ON: BILBO listening intently to SMAUG's words ...</scene_description> <character>SMAUG</character> <dialogue>But I think not ... I think our little game ends here ... so tell me, Thief, how do you choose to die?</dialogue> <scene_description>BILBO jams on the RING and disappears! SMAUG roars and swats the spot where BILBO was just standing. Enraged, he blasts the HALL with withering FLAMES!</scene_description> </scene> <scene> <stage_direction>INT. NARROW HALL, LONELY MOUNTAIN - NIGHT</stage_direction> <scene_description>ANGLE ON: Gold coins dislodged as an invisible BILBO runs across the floor of a cavern and upstairs into a narrow TUNNEL. CLOSE ON: SMAUG thrusts his GHASTLY HEAD into the TUNNEL, jamming his SNAPPING JAWS and ELONGATED NECK into the NARROW OPENING. RING WORLD: BILBO runs up the STAIRS, ducking behind a WALL ... he pulls off the RING. CLOSE ON: BILBO stares at the RING in his HAND, his face drenched in SWEAT - it is obvious he does not like using this THING. SMAUG'S dark FURY resounds through echoing TUNNELS and HALLS - A HARSH BELLOWING SOUND, that seems to shake the very foundations of the MOUNTAIN!</scene_description> </scene> <scene> <stage_direction>INT. LAKE-TOWN GAOL - NIGHT</stage_direction> <scene_description>ANGLE ON: BRAGA and the OTHER GUARDS laughing and drinking. ANGLE ON: BARD's eyes open ... he looks around ... he is lying on the cold, hard floor of a GAOL CELL. Another low rumble sounds from the MOUNTAIN ... BARD stares in horror and he realises what is happening.</scene_description> </scene> <scene> <stage_direction>EXT. STREETS OF LAKE-TOWN/PIG STY, LAKE-TOWN - NIGHT</stage_direction> <scene_description>TOWNS-FOLK are emerging from their HOUSES, looking with INCREASING CONCERN at the FIRE-LIGHT flickering above the MOUNTAIN. ANGLE ON: BOFUR ducks past distracted TOWNS-FOLK, unseen. He desperately looks around for HERBS. CLOSE ON: PIKELET, a LARGE PIG chews on a WAD of PLANTS ... BOFUR'S HAND reaches in, ripping the PLANTS out of the PIG'S MOUTH!</scene_description> </scene> <scene> <stage_direction>EXT. LAKE-TOWN ROOFTOPS - NIGHT</stage_direction> <scene_description>ANGLE ON: BOLG - a glint of quiet triumph in his eye as he stares down at BOFUR. He signals to FIMBUL and the OTHERS HUNTER ORCS to follow the DWARF.</scene_description> </scene> <scene> <stage_direction>EXT. BARD'S HOUSE - NIGHT</stage_direction> <scene_description>ANGLE ON: SIGRID stands on the BALCONY, peering through the darkness for any sign of BOFUR ... ANGLE ON: She turns to go in ... SUDDENLY, dropping from the ROOF, is a HUNTER ORC. SIGRID screams! ANGLE ON: HUNTER ORCS swarm up the WALLS and across the ROOF of BARD'S HOUSE!</scene_description> </scene> <scene> <stage_direction>EXT. BARD'S HOUSE - NIGHT</stage_direction> <scene_description>BOFUR is running back towards BARD's house when FIMBUL attacks him ... the DWARF fights the ORC off bravely, but FIMBUL is better armed and slashes at BOFUR.</scene_description> </scene> <scene> <stage_direction>INT. BARD'S HOUSE - NIGHT</stage_direction> <scene_description>BOLG's ORCS break into BARD'S HOUSE, intent on killing the DWARVES. BAIN, SIGRID and TILDA help the DWARVES - even the WOUNDED KILI fights. SUDDENLY! LEGOLAS and TAURIEL arrive, attacking the ORCS with ELVISH SKILL and RUTHLESSNESS. ANGLE ON: FIMBUL flees - leaping from BARD's BALCONY, landing in a small fishing boat. He calls to BOLG who is watching from the shadows of a landing across the water.</scene_description> <character>FIMBUL</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Ekinskeld obguranid Oakensheild has gone!</dialogue> <scene_description>BOLG receives this news - his eyes glint in fury. He yells commands to the remaining ORCS.</scene_description> <character>BOLG</character> <parenthetical>(BLACK SPEECH unsubtitled)</parenthetical> <dialogue>Gur - arangim! Fall back - regroup at the bridge!</dialogue> <scene_description>LEGOLAS throws a DEAD ORC over the BALCONY causing FIMBUL to hurtle into the air. In one swift move LEGOLAS decapitates FIMBUL. CLOSE ON: LEGOLAS watching the ORCS fleeing into the NIGHT. BAIN, SIGRID and TILDA watch as LEGOLAS and TAURIEL efficiently kill the HUNTER ORCS.</scene_description> <character>BAIN</character> <parenthetical>(amazed)</parenthetical> <dialogue>You killed them all.</dialogue> <character>LEGOLAS</character> <dialogue>Not all - there are others.</dialogue> <scene_description>LEGOLAS turn and moves towards the DOOR.</scene_description> <character>LEGOLAS</character> <dialogue>Tauriel, come.</dialogue> <scene_description>CLOSE ON: TAURIEL is looking down at KILI. KILI's breathing is ragged; dark veins of black poison, run beneath the skin on his face. He is lying on the FLOOR. OIN holds KILI's wrist in one hand ... the OLD DWARF looks up anxiously towards TAURIEL.</scene_description> <character>OIN</character> <parenthetical>(anxious)</parenthetical> <dialogue>We are losing him.</dialogue> <character>LEGOLAS</character> <parenthetical>(calling from door)</parenthetical> <dialogue>Tauriel!</dialogue> <scene_description>LEGOLAS leaves ... TAURIEL goes to follow him, she looks back at KILI. ANGLE ON: BOFUR runs up the stairs still clutching the KINGSFOIL. He stops at the sight of TAURIEL, but her eyes are staring down at the WEED in his HAND. She takes the plant from him.</scene_description> <character>TAURIEL</character> <dialogue>Athelas ...</dialogue> <scene_description>BOFUR reacts as she begins crushing it between her fingers.</scene_description> <character>BOFUR</character> <dialogue>What are you doing?</dialogue> <scene_description>CLOSE ON: TAURIEL ... a mix of hope and fear on her face as stares at KILI.</scene_description> <character>TAURIEL</character> <parenthetical>(softly)</parenthetical> <dialogue>I'm going to save him.</dialogue> </scene> <scene> <stage_direction>INT. DWARF HALLS, LONELY MOUNTAIN - NIGHT</stage_direction> <scene_description>ANGLE ON: THORIN arrives at the end of a WIDE CORRIDOR and suddenly stops in his tracks ...his breath catches in his throat as he stares in wonder at the GOLDEN AMBIENT LIGHT that floods the LOWER CHAMBER. ANGLE ON: BILBO ... DISHEVELLED and SCORCHED, tumbles into the room.</scene_description> <character>THORIN</character> <dialogue>You're alive!</dialogue> <character>BILBO</character> <dialogue>Not for much longer -</dialogue> <character>THORIN</character> <dialogue>Did you find The Arkenstone?</dialogue> <character>BILBO</character> <parenthetical>(breathless)</parenthetical> <dialogue>The Dragon is coming -</dialogue> <character>THORIN</character> <parenthetical>(urgent)</parenthetical> <dialogue>The Arkenstone - did you find it?</dialogue> <scene_description>THORIN is STARING intently at BILBO ...</scene_description> <character>BILBO (CONT)</character> <dialogue>We have to get out.</dialogue> <scene_description>BILBO starts moving to leave ... THORIN'S sword BLOCKS his path. Suddenly, BILBO FREEZES! ANGLE ON: SMAUG emerges from within the GREAT HALL. CLOSE ON: SMAUG's gaze falls upon THORIN ... for a beat the DRAGON and DWARF LORD stare at each other ... old foes! THORIN turns, he stares into the face of SMAUG. SUDDENLY there is a cry from above. ANGEL ON: BALIN, DWALIN, BIFUR, BOMBUR, GLOIN, NORI, DORI AND ORI tumbling down the stairs into the chamber ... SMAUG rears up preparing to blast a wall of flame at them. The DWARVES turn and run ...</scene_description> <character>SMAUG</character> <dialogue>You will burn ...!</dialogue> <character>THORIN</character> <dialogue>Run! Back the way you came - go!</dialogue> <scene_description>The DWARVES try to run back towards the PASSAGE to the HIDDEN DOOR but SMAUG lashes out, sending masonry tumbling down, BLOCKING the exit!</scene_description> <character>BILBO</character> <parenthetical>(calling)</parenthetical> <dialogue>Here! Come - this way, this way!</dialogue> </scene> <scene> <stage_direction>INT. DWARF HALLS, LONELY MOUNTAIN - NIGHT</stage_direction> <scene_description>BILBO leads the DWARVES down a PASSAGE ... THORIN follows the OTHERS at the REAR but is caught by a BLAST of FLAME. His OUTER COAT catches FIRE ... ANGLE ON: THORIN drops to the GROUND rolling over, SMOTHERING the FLAMES ...</scene_description> <character>THORIN</character> <parenthetical>(yelling at the others)</parenthetical> <dialogue>Keep moving!</dialogue> <scene_description>WIDE ON: SMAUG blasts FLAME triumphantly - it rolls off the WALLS of a DOMED CAVERN.</scene_description> </scene> <scene> <stage_direction>INT. BARD'S HOUSE - NIGHT</stage_direction> <scene_description>CLOSE ON: TAURIEL hurriedly crushing athelas leaves into a bowl of steaming water. BOFUR, OIN and FILI lift KILI on to the table ... KILI's face contorts in pain. The BLACK POISON can now be seen running through his veins.</scene_description> <character>TAURIEL</character> <dialogue>Hold him down.</dialogue> <scene_description>ANGLE ON: KILI convulses as FILI, OIN, BOFUR, SIGRID and TILDA attempt to hold him down on the TABLE ... TAURIEL stares at the wound ... shock flickers across her face for a brief second as she takes in the gravity of the wound. TAURIEL crushes the athelas, applying it to the wound ... softly she begins to an ancient incantation - a spell of healing.</scene_description> <character>TAURIEL</character> <parenthetical>(ELVISH: unsubtitled)</parenthetical> <dialogue>Menno o nin na hon i eliad annen annin; hon leitho o-ngurth. What grace is given me, let it pass to him; let him be spared.</dialogue> <scene_description>CLOSE ON: KILI ... through his fever he stares at TAURIEL ... a white light seems to surround her ... she is calling him back.</scene_description> </scene> <scene> <stage_direction>INT. DWARF PASSAGES, LONELY MOUNTAIN - NIGHT</stage_direction> <scene_description>ANGLE ON: THORIN leans around a CORNER, the OTHER waiting warily behind him ... SILENCE echoes through the HALLS.</scene_description> <character>DORI</character> <parenthetical>(whisper)</parenthetical> <dialogue>We've given him the slip.</dialogue> <character>DWALIN</character> <parenthetical>(whisper)</parenthetical> <dialogue>No ... He's too cunning for that.</dialogue> <character>BILBO</character> <parenthetical>(whisper)</parenthetical> <dialogue>Where to now?</dialogue> <character>THORIN</character> <parenthetical>(whisper)</parenthetical> <dialogue>The Western Guardroom, there may be a way out ...</dialogue> <character>BALIN</character> <parenthetical>(whisper)</parenthetical> <dialogue>It's too high ... there's no chance that way.</dialogue> <character>THORIN</character> <parenthetical>(whisper)</parenthetical> <dialogue>It's our only chance, we have to try.</dialogue> <scene_description>THORIN gestures for them to move QUIETLY. ANGLES ON: The DWARVES creeping silently across a narrow bridge ... there is no sign of SMAUG. ANGLE ON: BILBO looking around warily as he creeps along .... NOTHING. THORIN has reached the OTHER SIDE. CLOSE ON: A SINGLE COIN falls on to the FLOOR before BILBO. The DWARVES FREEZE ... they look up. LOW ANGLE: the MONSTROUS BODY of SMAUG slithers silently above them. THORIN signals for BILBO and the DWARVES to quietly hurry across and follow him.</scene_description> </scene> <scene> <stage_direction>INT. BARD'S HOUSE - NIGHT</stage_direction> <scene_description>ANGLE ON: TAURIEL as she is quietly tying off a bandage around KILI's wound. ANGLE ON: OIN and FILI watch from a distance ...</scene_description> <character>OIN</character> <parenthetical>(quietly to FILI)</parenthetical> <dialogue>I've heard tell of the wonders of Elvish medicine ... that was a privilege to behold.</dialogue> <scene_description>CLOSE ON: KILI'S EYE'S flicker open ...</scene_description> <character>KILI</character> <dialogue>Tauriel?</dialogue> <character>TAURIEL</character> <dialogue>Lie still.</dialogue> <scene_description>ANGLE ON: TAURIEL is busy bandaging KILI leg's.</scene_description> <character>KILI</character> <parenthetical>(drifting)</parenthetical> <dialogue>You cannot be her ... She is far away, far away from me. She walks in starlight in another world.</dialogue> <parenthetical>(whispers)</parenthetical> <dialogue>It was just a dream ...</dialogue> <scene_description>TAURIEL's face shows no emotion, but her voice softens.</scene_description> <character>KILI</character> <parenthetical>(soft whisper)</parenthetical> <dialogue>Do you think she could have loved me?</dialogue> <scene_description>CLOSE ON: TAURIEL as she receives this question ... KILI's hand touches hers.</scene_description> </scene> <scene> <stage_direction>INT. WIDE PASSAGE, LONELY MOUNTAIN - NIGHT</stage_direction> <scene_description>ANGLE ON: THORIN leads BILBO and the DWARVES into a WIDE PASSAGE ... they suddenly stop, staring ahead. The way in front of them has been demolished, the exit blocked by huge BLOCKS of SMASHED COLUMN.</scene_description> <character>DWALIN</character> <parenthetical>(grimly)</parenthetical> <dialogue>That's that then ... there's no way out.</dialogue> <scene_description>ANGLES ON: Dusty, mummified DWARVES fill the passage before the collapsed rubble, still in the positions they suffocated in two hundred years earlier ...</scene_description> <character>BALIN</character> <dialogue>The last of our kin ... they must have come here ... hoping beyond hope.</dialogue> <scene_description>MOTHERS cradle CHILDREN PROTECTIVELY ... SOLDIERS clawing at the collapsed ROCK ... DWARVES reaching for their loved ones at the moment they died.</scene_description> <character>BALIN</character> <dialogue>We could try to reach the mines, we might last a few days.</dialogue> <scene_description>CLOSE ON: THORIN turns to the others ... his face set with grim determination.</scene_description> <character>THORIN</character> <dialogue>No. I will not die like this ... cowering, clawing for breath.</dialogue> <scene_description>THORIN turns to the OTHERS.</scene_description> <character>THORIN</character> <dialogue>We make for the forges.</dialogue> <character>DWALIN</character> <dialogue>He'll see us - sure as death.</dialogue> <character>THORIN</character> <dialogue>Not if we split up.</dialogue> <character>BALIN</character> <dialogue>Thorin, we'll never make it.</dialogue> <character>THORIN</character> <dialogue>Some of us might. Lead him to the forges. We kill the dragon or we die trying ... If this is to end in fire, then we will all burn together!</dialogue> </scene> <scene> <stage_direction>INT. DWARF HALLS, LONELY MOUNTAIN - NIGHT</stage_direction> <scene_description>ANGLE ON: THORIN, BALIN and BILBO appear from behind an ARCH and hurry across a BRIDGE ... almost immediately SMAUG powers into the HALL, like a cat spotting mice.</scene_description> <character>SMAUG</character> <dialogue>Flee, flee ... run for your lives. There is nowhere to hide.</dialogue> <scene_description>ANGLES ON: DORI, ORI and BOMBUR appear on a BALCONY - SMAUG spins on them. BIFUR and GLOIN race across a bridge, NORI and DWALIN shoot out of a DOORWAY.</scene_description> </scene> <scene> <stage_direction>INT. COAL SEAM, LONELY MOUNTAIN - NIGHT</stage_direction> <scene_description>ANGLE ON: BIFUR and GLOIN race through a NARROW COAL SEAM, too low for SMAUG to enter. SMAUG rakes FIRE after them. ANGLE ON: HEAT quickly spreads through the COALS, under BIFUR and GLOIN'S feet! They reach the EDGE of the SEAM and leap into old MINE BUCKETS, suspended from a CABLE.</scene_description> </scene> <scene> <stage_direction>EXT. LAKE-TOWN - NIGHT</stage_direction> <scene_description>ANGLES ON: LEGOLAS races out of BARD's HOUSE, pursuing the fleeing ORCS. WIDE ON: The EDGE of LAKE-TOWN. ANGLE ON: BOLG strides towards a PACK of waiting WARG RIDERS.</scene_description> <character>BOLG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Zidgar Goldur-nar - Ekinskeld Erebor-nar nakhân! Send word to Dol Guldur - Oakensheild has reached the Mountain.</dialogue> <scene_description>BOLG reacts to the SCREAMS of ORCS being killed by LEOGLAS. An arrested expression falls across his features. He yells at the WARG RIDERS.</scene_description> <character>BOLG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Gur! Go!</dialogue> <scene_description>ANGLE ON: The WARG PACK race away, out of town. BOLG turns to the remaining ORCS.</scene_description> <character>BOLG</character> <parenthetical>(BLACK SPEECH with subtitles)</parenthetical> <dialogue>Abguriz! You. Come with me!</dialogue> <scene_description>LEGOLAS rounds a corner to come face to face with BOLG. They fight - BOLG flees, leaving two other ORCS to try and KILL the ELF. LEGOLAS kills them. LEGOLAS springs on to a horse and races after the BOLG and the FLEEING ORCS.</scene_description> </scene> <scene> <stage_direction>INT. MINE PASSAGE, LONELY MOUNTAIN - NIGHT</stage_direction> <scene_description>ANGLE ON: THORIN, BALIN and BILBO run down a PASSAGE. SMAUG suddenly appears behind them. BALIN spots a STAIRWAY, he calls to BILBO and THORIN who have raced ahead.</scene_description> <character>BALIN</character> <dialogue>This way - it's quicker! Thorin!</dialogue> <scene_description>THORIN turns in time to see SMAUG bearing down upon them. He has no time to reach the STAIRS.</scene_description> <character>THORIN</character> <parenthetical>(urgent to BILBO)</parenthetical> <dialogue>Follow Balin - do as I say!</dialogue> <scene_description>BILBO runs after BALIN as THORIN heads in the other direction, seemingly towards a gaping MINE SHAFT. SMAUG is nearly upon THORIN ... suddenly the DWARF leaps into the air ... falling into the MINE SHAFT, he catches hold of a THICK PULLEY ROPE. THORIN plummets down, SMAUG's huge jaws snatching at him.</scene_description> </scene> <scene> <stage_direction>INT. FORGES, DWARF MINES, LONELY MOUNTAIN - NIGHT</stage_direction> <scene_description>ANGLE ON: THORIN leaps out of the MINE SHAFT, grasping NORI's hand. He looks up to see DWALIN waiting for him.</scene_description> <character>DWALIN</character> <dialogue>Thorin! The plan's not going to work. These furnaces are stone cold!</dialogue> <character>BALIN</character> <dialogue>He's right - we've no fire hot enough to set them ablaze.</dialogue> <character>THORIN</character> <parenthetical>(grimly)</parenthetical> <dialogue>Have we not?</dialogue> <scene_description>ANGLE ON: THORIN stands at the edge of the MINE SHAFT - he calls down into it.</scene_description> <character>THORIN</character> <dialogue>I did not look to see you so easily outwitted! You've grown slow and fat in your dotage, Slug!</dialogue> <scene_description>ANGLE ON: A LOW RUMBLE of GATHERING FURY sounds from within SMAUG as he CLAWS himself with FRIGHTENING SPEED up towards the FORGES! THORIN turns towards the OTHERS!</scene_description> <character>THORIN</character> <dialogue>Take cover !!!</dialogue> <scene_description>ANGLE ON: The DWARVES and BILBO leap behind PILLARS just as SMAUG rakes the AREA with FLAMES! The FORGES are ignited by DRAGON FIRE! HIGH ANGLE: SOLIDIFIED GOLD melts quickly in the HEAT created by the HUGE FORGES ... THORIN turning on BOMBUR.</scene_description> <character>THORIN</character> <dialogue>Get those bellows working! Go!</dialogue> <scene_description>ANGLE ON: THORIN rapidly issues orders ... he points BILBO towards a HEAVY LEVER, set high up a steep narrow staircase..</scene_description> <character>THORIN</character> <dialogue>Bilbo, up there! On my mark - pull that lever, do you understand?</dialogue> <scene_description>THORIN looks at BALIN.</scene_description> <character>THORIN</character> <dialogue>Balin! Can you still mix a flash-flame?</dialogue> <character>BALIN</character> <dialogue>Aye, it'll only take a jiffy.</dialogue> <scene_description>DWALIN looks towards the approaching DRAGON.</scene_description> <character>DWALIN</character> <dialogue>We don't have a jiffy.</dialogue> <scene_description>ANGLE ON: BOMBUR leaps at a CHAIN, activating GIANT BELLOWS - FLAME and CINDERS BLAST into SMAUG'S FACE. ANGLE ON: BILBO reaches the LEVER, just as SMAUG - his FURY unleashed - SMASHES through the ARCHES into the FORGES. THORIN only just has time to DIVE out of his WAY. THORIN yells to BILBO.</scene_description> <character>THORIN</character> <dialogue>Now!</dialogue> <scene_description>BILBO hauls the LEVER down ... HUGE SLUICES OPEN, releasing a TORRENT OF WATER into WOODEN SHUTES ... The line of MINE BUCKETS hanging above start moving. DWALIN and NORI swing HAMMERS at WOODEN POSTS supporting the CHUTES, sending the WATER straight into SMAUG. ANGLES ON: the cold WATER smashes into the hot DRAGON. SMAUG arches in PAIN, STEAM spitting from his HIDE ... he THRASHES WILDLY. ANGLE ON: ORI and DWALIN race out, THROWING the FLASH-FLAME BOMBS, which explode against SMAUG with a BLINDING FLASH. SMAUG turns on the DWARVES ... the overhead MINE BUCKETS moving above him. ANGLE ON: BIFUR and GLOIN slide into view, perched in the BUCKETS above SMAUG - GLOIN leaps up, hacking at the ROPES of the BUCKET TRAIN next to theirs. WIDE ON: the CHAIN MINE BUCKET CHAIN drops onto SMAUG - the HEAVY ORE-FILLED BUCKETS pulling him to the ground. ANGLE ON: THORIN pulls on a MASSIVE LEVER releasing streams of MOLTEN GOLD into catchments. CLOSE ON: THORIN watches the MOLTEN GOLD pour into a WIDE CHANNEL carved into the FLOOR - it FLOWS towards a TUNNEL in the WALL. ANGLE ON: BIFUR stands up and CHOPS the ROPE holding his MINE BUCKET TRAIN ... another LINE of HEAVY BUCKETS fall on SMAUG, as BIFUR and GLOIN swing down like a pendulum, clinging onto their BUCKETS.</scene_description> <character>THORIN</character> <parenthetical>(calling)</parenthetical> <dialogue>Lead him to the Gallery of the Kings!</dialogue> <scene_description>ANGLE ON: SMAUG spins wildly, sending the BUCKETS flying like missiles. The BUCKETS hit WINCHES and LEVERS, activating HUGE WATERWHEELS ... old RUSTY MACHINERY GROANS into life. ANGLE ON: BILBO ducks a FLYING BUCKET, but another smashes the STAIRCASE he's standing on, sending him ROLLING onto the floor. ANGLES ON: THORIN takes his chance - he races under SMAUG'S THRASHING BELLY, grabbing a WOODEN WHEEL BARROW, and throws it into the FLOW of MOLTEN GOLD, leaping in after it. THORIN lands on the WOODEN BARROW, and ducks as he disappears into the TUNNEL with the flow of MOLTEN GOLD.</scene_description> <character>THORIN</character> <parenthetical>(calling)</parenthetical> <dialogue>Keep going Bilbo - run!</dialogue> <scene_description>SMAUG turns on BILBO, about to BLAST FLAME on him ... BILBO turns and runs ... SMAUG blasts FIRE straight at BILBO!</scene_description> </scene> <scene> <stage_direction>INT. GOLD TUNNEL, LONELY MOUNTAIN - NIGHT</stage_direction> <scene_description>ANGLE ON: THORIN floating down the fast flowing MOLTEN GOLD channel ... The tunnel suddenly opens up, the GOLD POURING over the lip into the OPEN NECK of a MASSIVE CLAY MOLD. ANGLE ON: The WOODEN BARROW falls over the edge, and THORIN leaps onto CHAINS suspended above the HUGE MOLD, towering 80 FEET above the floor of an ORNATE EREBOR HALL.</scene_description> </scene> <scene> <stage_direction>INT. NARROW PASSAGE, LONELY MOUNTAIN - NIGHT</stage_direction> <scene_description>ANGLE ON: BILBO races through a NARROW TUNNEL, into a LONG HIGH HALL, SMAUG'S SNARLING echoing on his heels.</scene_description> </scene> <scene> <stage_direction>INT. STATUE HALL, LONELY MOUNTAIN - NIGHT</stage_direction> <scene_description>WIDE ON: BILBO emerges from the TUNNEL into a LONG, NARROW HALL, in a T-SHAPE ... MASSIVE TAPESTRIES hang from the WALLS. He spins around as SMAUG smashes through the WALL behind him. ANGLES ON: the HUGE, 100 FOOT TALL TAPESTRIES, break away from the WALL and plummet onto BILBO, as SMAUG'S FEET stamp over them. SMAUG's huge head turns this way and that as he seeks out BILBO.</scene_description> <character>SMAUG</character> <dialogue>You think you can deceive me, "barrel- rider"? You have come from Lake-town!</dialogue> <scene_description>CLOSE ON: BILBO PEERS OUT from under the FALLEN TAPESTRY as SMAUG stalks right past him, searching the HALL. He is HORRIFIED by SMAUG'S WORDS.</scene_description> <character>SMAUG</character> <dialogue>This is some sordid scheme hatched between these filthy Dwarves and those miserable tub-trading Lake-men. Those snivelling cowards with their long bows and black arrows.</dialogue> <scene_description>CLOSE ON: BILBO, dawning realisation of SMAUG's intent.</scene_description> <character>SMAUG (ADR PICK-UP)</character> <dialogue>Perhaps it is time I paid them a visit.</dialogue> <character>BILBO</character> <parenthetical>(under his breath)</parenthetical> <dialogue>Oh no ... this isn't their fault ...</dialogue> <parenthetical>(louder)</parenthetical> <dialogue>Wait! You cannot go to Lake-town!</dialogue> <scene_description>ANGLE ON: BILBO leaps up and hurries after the DRAGON. SMAUG turns ... he stares at the SMALL HOBBIT.</scene_description> <character>SMAUG</character> <dialogue>Oh, so you care about them, do you? ... Good. Then you can watch them die.</dialogue> <character>THORIN</character> <parenthetical>(yelling)</parenthetical> <dialogue>I am here ... you witless worm!</dialogue> <scene_description>ANGLE ON: SMAUG freezes at the T-JUNCTION, he turns and looks up the HALL.</scene_description> <character>SMAUG</character> <dialogue>You!</dialogue> <scene_description>CLOSE ON: THORIN is STANDING on the TOP of the MASSIVE CLAY MOLD - MOLTEN GOLD still pouring into the NECK beside him.</scene_description> <character>THORIN</character> <dialogue>I am taking back what you stole!</dialogue> <scene_description>SMAUG is CLOSING IN on THORIN, standing HIGH on the CLAY MOLD.</scene_description> <character>SMAUG (ADR PICK-UP)</character> <dialogue>You will take nothing from me, Dwarf! I laid low the warriors of old, I instilled terror in the hearts of men. I am 'King Under the Mountain'!</dialogue> <character>THORIN</character> <dialogue>This is not your kingdom. These are Dwarf lands, Dwarf gold - and we will have our revenge!</dialogue> <parenthetical>(Dwarvish unsubtitled)</parenthetical> <dialogue>Igritu zû! Let him have it!</dialogue> <scene_description>ANGLES ON: DWALIN, NORI, BIFUR, BOMBUR, DORI, GLOIN and ORI haul on CHAINS behind the MOLD, releasing huge IRON BANDS holding it together. CLOSE ON: THORIN leaps onto the CHAIN above him, releasing an IRON BAND around the NECK of the MOLD. WIDE ON: the CLAY MOLD splits under pressure, and FALLS AWAY in HUGE SLABS ... SMAUG rears back at the a GLITTERING SIGHT before him: A TOWERING GOLD STATUE of THROR, 80 FEET TALL! It holds for a BRIEF MOMENT, then suddenly COLLAPSES, the PRESSURE of MOLTEN GOLD within, SPLITTING IT APART ... MOLTEN GOLD showers onto SMAUG! SMAUG shrieks! MOLTEN GOLD sticks to his SCALES, SCALDING, BURNING!</scene_description> <character>SMAUG</character> <dialogue>Revenge?! Revenge?! I will show you Revenge!</dialogue> <scene_description>A GIANT EXPLOSION of STEAM as SMAUG, blasts past BILBO, smashing out of the END of the CAVERN!</scene_description> </scene> <scene> <stage_direction>EXT. MAIN GATE, LONELY MOUNTAIN - NIGHT</stage_direction> <scene_description>SMAUG EXPLODES out of the MAIN GATE of the MOUNTAIN, RIPPING the GREAT DOOR off it's HINGES. SMAUG opens his WINGS showering MOLTEN GOLD from his WINGS raking the VALLEY with LIQUID FIRE like NAPALM, ... the STREAM of WATER bubbles in fierce, whistling STEAM, as SMAUG SOARS away HIGH into the SKY.</scene_description> </scene> <scene> <stage_direction>INT. LAKE-TOWN GAOL - NIGHT</stage_direction> <scene_description>IMAGES: The people of LAKE-TOWN receiving this HUGE EXPLOSION from the MOUNTAIN ... ANGLE ON: BILBO scrambles through the SMASHED OPENING ... starring in HORROR as SMAUG soars into the NIGHT SKY towards the LIGHTS OF LAKE-TOWN in the DISTANCE ... INSERT: BARD scrambles to his FEET calling through the IRON BARS of the SMALL OPENING cut into the HEAVY, WOODEN GAOL DOOR.</scene_description> <character>BARD</character> <dialogue>Braga! Listen to me ... do you not know what is coming!</dialogue> <scene_description>INSERT: a silent, cold wind sounds ... Through the darkness a HUGE FIGURE takes shape ... SMAUG the DRAGON is aloft ...</scene_description> <character>SMAUG</character> <dialogue>I am fire ... I am death.</dialogue> </scene> <scene> <stage_direction>EXT. FRONT GATE, LONELY MOUNTAIN - NIGHT</stage_direction> <character>BILBO</character> <parenthetical>(horror)</parenthetical> <dialogue>What have we done?</dialogue> <character>TO BE CONTINUED ... \*</character> </scene> </script>

Thorin Oakenshield and his company are being pursued by Azog and his Orc party. They are ushered by Gandalf to the nearby home of Beorn, a skin-changer who can take the form of a bear. That night, Azog is summoned to Dol Guldur by the Necromancer, who commands him to marshal his forces for war. Azog delegates the hunt for Thorin to his son Bolg. After telling the company about the dangers of Mirkwood, including the Necromancer's rise and the Wood-elves being dangerous, Beorn escorts the company to the borders of Mirkwood, where Gandalf discovers Black Speech imprinted on an old ruin. This, and a prior request by Galadriel, prompt him to investigate the tombs of the Nazgûl. He warns the company to remain on the path before leaving. Upon entering the forest, they lose their way and are ensnared by giant spiders. Bilbo frees the dwarves with the help of the invisibility ring. However, Bilbo begins to understand its dark influence after he drops the ring and brutally kills a spider to retrieve it. The remaining spiders are killed by the Wood-elves led by Tauriel and Legolas, who capture the Dwarves and bring Thorin before their king, Thranduil. Thorin confronts the king about his neglect of the Dwarves of Erebor following Smaug's attack 60 years earlier and is consequently imprisoned with the other Dwarves. Bilbo, having avoided capture, arranges their escape via empty wine barrels that are sent downstream. They are pursued by the Wood-elves and ambushed by Bolg and his Orc party, engaging in a running three-way battle down the river. The Dwarves are able to escape both groups of pursuers, but Kíli is wounded with a Morgul shaft. Thranduil seals off his kingdom when an Orc captive reveals an evil army is amassing in the south, but Tauriel decides to leave and assist the Dwarves; Legolas goes after her. Meanwhile, Gandalf and Radagast investigate the tombs of the Nazgûl, which they find to be empty. The company is smuggled into Esgaroth by a bargeman called Bard. Thorin promises the Master of Laketown a share of the mountain's treasure, and they are given arms and sent off to the mountain. Due to his injury, Kíli is forced to remain behind at Bard's home, tended to by Fíli, Óin, and Bofur. Bilbo discovers the hidden entrance in the Lonely Mountain and is sent inside to retrieve the Arkenstone. However, he accidentally awakens Smaug, who reveals his knowledge of both the dwarves' plot and the return of Sauron. In Laketown, it is revealed that Bard is a descendant of the last ruler of Dale and possesses the last black arrow capable of killing Smaug. Bard attempts to bring the black arrow to the town's launcher, fearing what may happen in the mountain. However, he is arrested by the Master, charging his son to hide the arrow. Bolg and his Orc party infiltrate the town and attack the four Dwarves, but Tauriel and Legolas arrive and quickly dispatch them. Meanwhile, Gandalf infiltrates Dol Guldur alone after sending Radagast to warn Galadriel of their discovery at the tombs. He finds and cures Thrain before they are ambushed by Azog. The Necromancer overpowers and defeats Gandalf and reveals himself as Sauron. Gandalf watches helplessly as Azog and an Orc army march from Dol Guldur towards the Lonely Mountain. Inside the mountain, during a long chase, Bilbo and the Dwarves rekindle the mountain's forge using Smaug's flames and melt a large golden statue, hoping to bury Smaug alive in the molten gold. They do so, but Smaug emerges from the gold, stumbles out of the mountain and flies off to destroy Laketown as Bilbo watches in despair.

The Rock_1996

tt0117500

<script> <scene> <stage_direction>THE ROCK</stage_direction> <scene_description>BEGIN MAIN ` TITLE SEQUENCE : An impressionistic montage : A SILHOUETTED MAN in front of mirror dons his Marine dress blues . Spit polish shoes laced . Medals clipped to jacket . All in CLOSE - UP . We never see him fully . The Man puts HIS HAT squarely on his head . EYES glint . On the man 's dresser : MARINE MEMORABILIA . Three Purple Hearts , photos of a WOMAN -LRB- his wife -RRB- , PHOTOS OF MARINES in combat locales . TIGHTER into the photos , we HEAR PANICKED VOICES , EXPLOSIONS , NOISES OF BRUTAL COMBAT . IMAGES : Through smoke , a desperate MARINE PRIVATE who knows he will never be rescued . TWO MARINES walk up to a farmhouse door ; through the screen we see a MOTHER AND DAUGHTER who know what the news will be . IMAGES : A MARINE COLOUR GUARD carries a COFFIN . Now we are the coffin as a FLAG drapes down on us . placed into a YOUNG WOMAN 'S HAND . Now we 're in ARLINGTON CEMETERY . Images of the cemetery are reflected in wet puddles , as the SPIT - SHINED SHOES walk past images of the TOMB OF THE UNKNOWN SOLDIER a ROW OF GRAVES comes into focus A1G CLOSE - UP on the MARINE 'S HAT , and his EYES . Suddenly AN EXPLOSION and we see - A MARINE in a jungle , radioing for help : , You got ta get us outta here sir , Jesus , they 're all over us ! And an ' EXPLOSION ends the communication . AII CLOSE - UP on the MARINE 'S EYES and FADE IN :</scene_description> </scene> <scene> <stage_direction>EXT. ARLINGTON NATIONAL CEMETERY - MORNING</stage_direction> <scene_description>Two groundskeepers on `` ride 'em '' lawn mowers , BENNIE and MARLIN , smoke Camels and watch the MARINE OFFICER from the opening montage . He 's alone , across the cemetery .</scene_description> <character>BENNIE</character> <dialogue>You'll get used to him. Every Sunday morning - rain, snow, holidays nothin, keeps him Away.</dialogue> <scene_description>ACROSS THE CEMETERY Brig. Gen. FRANCIS XAVIER HUMMEL stands before a headstone : BARBARA MCLEAN HUMMEL 1946 - 1996 .</scene_description> <character>HUMMEL</character> <dialogue>Hi Barb. The house sold yesterday. I know, I know, the market's depressed. Anyway, I'm leaving the area. Some things I have to do. Things I could n't do while you were here. Maybe you would have approved. Hell, I know you would n't have.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I've tried everything and I ca n't seem to get their attention. But now they'll learn how it feels on the other side. Let's hope it elevates their thinking.</dialogue> <scene_description>Hummel puts new flowers on the grave . Walks off .</scene_description> </scene> <scene> <stage_direction>EXT. ACCESS ROAD TO ARMY WEAPONS COMPOUND - NIGHT</stage_direction> <scene_description>Heavy rain . A road next to a heavily guarded bunker facility . A canvas covered ARMY TRUCK blows a tire in the road . The DRIVER gets out . Inspects the tire .</scene_description> </scene> <scene> <stage_direction>INT. ARMY TRUCK - NIGHT</stage_direction> <scene_description>FOUR MARINES in black suits dive through a hole in the truckbed floor into a MANHOLE IN THE ROAD .</scene_description> </scene> <scene> <stage_direction>EXT. ARMY WEAPONS COMPOUND - FRONT GATE - NIGHT</stage_direction> <scene_description>Three ARMY M.P.s at the front GUARDHOUSE . GENERAL HUMMEL pulls up in a SUBURBAN . The M.P.s immediately recognise him and stand more rigidly .</scene_description> <character>ARMY M. P.</character> <dialogue>General Hummel, sir. It's an honour. Is the Colonel expecting you, sir?</dialogue> <character>HUMMEL</character> <dialogue>Held better be. This is a security inspection.</dialogue> <character>ARMY M. P.</character> <dialogue>Yes, sir!</dialogue> <scene_description>The M.P. waves Hummel in , saluting crisply .</scene_description> </scene> <scene> <stage_direction>INT. GRATED STORM DRAIN IN BUNKER COMPOUND - NIGHT</stage_direction> <scene_description>The four marines from the truck are waiting , readying arms . The leader is looking at his watch . Gives a hand signal to the others , and up they go -</scene_description> </scene> <scene> <stage_direction>EXT. BUNKER COMPOUND - NIGHT</stage_direction> <scene_description>The four marines emerge from the storm drain and move toward covered positions in the compound . 200 YARDS AWAY - TWO ARMY `` MAGAZINE CHECKERS '' emerge from a building with clipboards , on routine check .</scene_description> </scene> <scene> <stage_direction>INT. BUNKER SECURITY BUILDING - NIGHT</stage_direction> <scene_description>The Army M.P.s escort General Hummel inside . THREE ARMY GUARDS spring up from their SURVEILLANCE MONITORS . Everyone 's nervous , in awe , rigid at attention . COLONEL CALLAHAN emerges from an adjacent room , sleepy - eyed .</scene_description> <character>COLONEL CALLAHAN</character> <dialogue>General Hummel! This is a surprise!</dialogue> <character>HUMMEL</character> <dialogue>That's the idea, Colonel.</dialogue> </scene> <scene> <stage_direction>EXT. BUNKER COMPOUND - WATCH TOWER - NIGHT</stage_direction> <scene_description>Two marines position themselves outside the door to the bunker compound 's elevated watch tower . ... EXT. . BUNKER COMPOUND - NIGHT Below the watch tower , the ARMY MAGAZINE CHECKERS approach . Marines 1 and 2 spring out , armed with M - 16s with over/under grenade launchers They shoot BEAN BAG projectiles at the Army Guards , who collapse , dazed .</scene_description> </scene> <scene> <stage_direction>INT. BUNKER COMPOUND WATCH TOWER - NIGHT</stage_direction> <scene_description>Marines 3 and 4 burst inside the watch tower . The guards inside spring up . BOOM BOOM , they 're hit by bean bag projectiles , propelling them out the windows of the watch tower . They fall 10 feet and lie unconscious .</scene_description> </scene> <scene> <stage_direction>EXT. BUNKER COMPOUND - NIGHT</stage_direction> <scene_description>Marines 1 and 2 , now in MAGAZINE CHECYERIS UNIFORMS , move to the BUNKER DOOR . They open the door with the Magazine checker 's CODED CARDS .</scene_description> </scene> <scene> <stage_direction>INT. CHEMICAL WEAPONS BUNKER - NIGHT</stage_direction> <scene_description>Two ARMY GUARDS , playing poker , look up at the entering marines . Marines 1 and 2 walk straight up to the Army Guards , holding them at bay with M - 16s . Before any words are spoken , one of the marines injects each of the guards with a VACCINE PISTOL .</scene_description> </scene> <scene> <stage_direction>INT. BUNKER SECURITY BUILDING - NIGHT</stage_direction> <scene_description>Four more marines led by SGT. CRISP enter , holding Col. Callahan , General Hummel and the Army Guards at bay .</scene_description> <character>SGT. CRISP</character> <dialogue>This is a security exercise, sir. We've fully breached and infiltrated your compound. I'm afraid you and your men are my prisoners, sir.</dialogue> <scene_description>The marines begin cuffing the Army Guards to the radiator and taping their mouths .</scene_description> <character>SGT. CRISP</character> <dialogue>Sorry sir, you realise the importance of these exercises.</dialogue> <character>HUMMEL</character> <parenthetical>( to Callahan . )</parenthetical> <dialogue>Ten men who could have been terrorists are out there doing whatever they damn well please to your compound, Colonel. Here you sit with your ass chained to a fucking radiator. This is not a tight ship. I would not want to be in your shoes in the morning.</dialogue> <scene_description>Sgt. Crisp hits the FRONT GATE 'S OPEN BUZZER and follows Hummel out of the room .</scene_description> </scene> <scene> <stage_direction>EXT. ARMY WEAPONS COMPOUND - FRONT GATE - NIGHT</stage_direction> <scene_description>The gate swings open . TWO HUMVEES enter the compound .</scene_description> </scene> <scene> <stage_direction>EXT. CHEMICAL WEAPONS BUNKER - NIGHT</stage_direction> <scene_description>The marines use a ` rabbit tool , -LRB- hydraulic , compact and powerful -RRB- to pry open the bunker 's steel doors . They rush down a hallway . CHEMICAL WEAPONS BUNKER - INTERIOR HALLWAY - The marines rush up to another steel door and quickly pry it open .</scene_description> </scene> <scene> <stage_direction>INT. C.B.W. BUNKER - NIGHT</stage_direction> <scene_description>A refrigerated storage room for chemical weapons . Storage tubes are labelled : V.X. POISON GAS . Across the room are rockets labelled : 55 115 MM BOLT ROCKETS . Using the TRACK HOOK SYSTEM in the bunker 's ceiling , the marines move the V.X. CHEM ROUNDS and BOLT ROCKETS to the waiting humvees . It 's very fast , like clockwork .</scene_description> </scene> <scene> <stage_direction>EXT. ARMY WEAPONS COMPOLIND - FRONT GATE - NIGHT</stage_direction> <scene_description>The Humvees , followed by Hummel in his Suburban , roar out of the compound . CUT TQ :</scene_description> </scene> <scene> <stage_direction>INT. H " EL'S SUBURBAN - NIGHT</stage_direction> <scene_description>Hummel on a c.b. radio : A textbook exercise , gentlemen . Rendezvous in eleven hours .</scene_description> </scene> <scene> <stage_direction>EXT. F.B.I. FIELD OFFICE, FT. DIETRICK, MD. - DAY</stage_direction> <scene_description>Establish headquarters for chemical/biological weapons .</scene_description> </scene> <scene> <stage_direction>INT. F.B.I. OFFICE - CHEMICAL/BIOLOGIAL DIVISION - DAY</stage_direction> <scene_description>A WINDOWED DOOR stencilled `` Chemical/Biological Weapons Division . '' A RUBBER DART hits the glass and drops into A TRASH CAN next to the door .</scene_description> <character>ISHERWOOD</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Son of a bitch.</dialogue> <character>GOODSPEED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You owe me five dollars, Marvin.</dialogue> <scene_description>ACROSS THE ROOM - BILL GOODSPEED , 30 , and partner/trainee MARVIN ISHERWOOD , 25 , feet up on desks , with toy guns . This is Man 's Boredom . A ceiling fan circles . Isherwood yawns ; scratches neck with his gun barrel . GOODSPEED reloads . Aims . Fires . THE DART hits A CARDBOARD TARGET across the room which activates a Rube Goldberg series of events ending in a PLASTIC GIRL being ignited in a PAN OF CHEMICALS . GOODSPEED , without even getting up , casually sprays the pan with flame retardant foam .</scene_description> <character>ISHERWOOD</character> <parenthetical>( yawns . )</parenthetical> <dialogue>I was told this was exciting work.</dialogue> <character>GOODSPEED</character> <dialogue>Patience, Marvin. It has its moments.</dialogue> <scene_description>A KLAXON sounds . Isherwood smiles excitedly .</scene_description> </scene> <scene> <stage_direction>INT. F.B.I. CHEMICAL WEAPONS - BASEMENT CORRIDOR - DAY</stage_direction> <scene_description>Isherwood follows Goodspeed down a grimy , off - white corridor illuminated by antiseptic light . This is an older building . Has n't been refurbished and shows it .</scene_description> </scene> <scene> <stage_direction>INT. F.B.I. CHEMICAL WEAPONS - LABORATORY - DAY</stage_direction> <scene_description>A medium - sized laboratory , where 5 F.B.I. TECHNICIANS are bent over tables of beakers , test - tubes , Bunsen burners , etc. . The room and equipment are old and used ; could be 1976 rather than 1996 . Along one side of the lab is a plexi - glass wall . Inside the plexi - glass is an airlocked GAS CHAMBER . F.B.I chemists LONNER and LING motion to Goodspeed .</scene_description> <character>DR. LONNER</character> <dialogue /> <character>C'mere, Billy.</character> <dialogue>says.</dialogue> <parenthetical>( points inside gas chamber . )</parenthetical> <dialogue>A dog at J.F.K. got a whiff of something postmarked to a Bosnian refugee camp. Could be detergent, could be seran gas.</dialogue> <scene_description>INSIDE THE GAS CHAMBER - is a LARGE WOODEN CRATE next to a TABLE OF POISON DETECTION INSTRUMENTS .</scene_description> <character>ISHERWOOD</character> <dialogue>Bosnian refugee camp? I do n't get it.</dialogue> <character>GOODSPEED</character> <dialogue>Half a million Serbians reside in the U.S., Marvin. Serbians do n't like Bosnians. Read a newspaper. It's good for you. Hold out your hand.</dialogue> <scene_description>Isherwood does so . It 's shaky .</scene_description> <character>ISHERWOOD</character> <dialogue>I'm okay. Really. Let's do it -</dialogue> <scene_description>Hold on Goodspeed 's uncertain look , and CUT TO :</scene_description> </scene> <scene> <stage_direction>INT. GAS C ER - DAY - MINUTES LATER The door HISSES open. Goodspeed</stage_direction> <scene_description>and Isherwood , in vulcanized rubber suits and visored helmets , enter . They go to the INSTRUMENT TABLE before the crate . A GLASS VESSEL with tiny air holes -LRB- like a salt shaker -RRB- descends from the ceiling . Inside are COCKROACHES .</scene_description> <character>GOODSPEED</character> <dialogue>Coal miners use canaries, we use those. Sorry guys.</dialogue> <character>DR. LING</character> <parenthetical>( into mike . )</parenthetical> <dialogue>We have airlock, Bill. Proceed.</dialogue> <character>GOODSPEED</character> <parenthetical>( into helmet mike . )</parenthetical> <dialogue>July 1, 0.900 hours, agent william Goodspeed and agent/trainee Marvin Isherwood. Initiating exam of a wooden crate. Suspicion of seran gas device inside.</dialogue> <scene_description>Goodspeed grabs a pry - bar from the instrument table - and slowly pries open the cratels wooden lid . He motions to Isherwood . Together they gingerly lift the lid . INSIDE THE CRATE - it 's filled with `` UNICEF '' type stuff . Goodspeed lifts out a HOT - PLATE . Isherwood lifts out an EGG BEATER . Gocidspeed runs a POISON SENSOR past each .</scene_description> <character>GOODSPEED</character> <dialogue>Appears to be kitchen items, cleaning agents, and.</dialogue> <parenthetical>( lifts out a sweatshirt . )</parenthetical> <dialogue>. old clothes.</dialogue> <character>ISHERWOOD</character> <dialogue>This is thrilling.</dialogue> <scene_description>Isherwood lifts out a DOLL . Goodspeed 's POISON SENSOR 'S NEEDLE goes crazy !</scene_description> <character>GOODSPEED</character> <dialogue>Careful, goddamn it Marvin!</dialogue> <scene_description>The doll 's eyes open . Its mouth blast a PINKISH SPRAY , hitting Goodspeed 's forearm and Isherwood 's palm . OUTSIDE THE GAS CHAMBER - DR. LING stabs a button marked `` exhaust '' and another marked `` emergency . '' A KLAXON sounds . F.B.I. TECHNICIANS race for the exit . IN THE GAS CHAMBER - The pinkish gas hovers in the air . CEILING EXHAUST FANS begin to suck it up . IN THE GLASS VESSEL - The cockroaches convulse , flip in the air and explode , guts splattering the vessel walls .</scene_description> <character>ISHERWOOD</character> <dialogue>What's hap. what's happening?</dialogue> <scene_description>DR. LING looks at a DIGITAL CLOCK on the control panel .</scene_description> <character>DR. LING</character> <dialogue>Do n't panic, Bill. 50 seconds and the gas will clear. You're okay.</dialogue> <scene_description>Goodspeed grabs the doll from Isherwood , slams it on the table , and grabs A SCALPEL . Cuts open the doll 's chest .</scene_description> <character>GOODSPEED</character> <dialogue>I've got some bad news and some really bad news. The bad news is the gas is corrosive. It's eating our suits.</dialogue> <scene_description>ISHERWOOD looks at his RUBBER GLOVES . The rubber is beginning to bubble and corrode .</scene_description> <character>DR. LING</character> <dialogue>What's the really bad news.</dialogue> <scene_description>GOODSPEED peels back the doll 's plastic chest , revealing : a C - 4 EXPLOSIVE DEVICE and TEN POISON AMPULES .</scene_description> <character>GOODSPEED</character> <dialogue>Enough C - 4 explosive to blow the chamber and enough poison gas to kill everybody in the building.</dialogue> <scene_description>Isherwood 's and Goodspeed 's rubber gloves are melting .</scene_description> <character>ISHERWOOD</character> <dialogue>The acid's eating. it's eating my fucking suit.</dialogue> <character>GOODSPEED</character> <dialogue>Chill, Marvin.</dialogue> <parenthetical>( yells outside . )</parenthetical> <dialogue>WHERE'S THE GODDAMN SPRINKLERS?</dialogue> <scene_description>Dr. Lonner flips on the sprinklers . The pipes KNOCK . A FEW PATHETIC DROPS trickle from the SPRINKLER HEADS .</scene_description> <character>DR. LONNER</character> <dialogue>Something's blocking the pipes, Bill. When in Christ's name are they gon na give us a new building.</dialogue> <character>DR. LING</character> <dialogue>Get the atropine, Isherwood. The atropine, Marvin.</dialogue> <scene_description>Isherwood , terrified , jerks open an OVERHEAD CABINET , revealing several 6 inch needled SYRINGES .</scene_description> <character>DR. LING</character> <dialogue>You die, we all die, Bill. Inject yourself, then diffuse it.</dialogue> <parenthetical>( Goodspeed continues to inspect - the device . )</parenthetical> <dialogue>Goddamn it, Bill, take the antidote.</dialogue> <scene_description>Isherwood fumbles with a huge syringe .</scene_description> <character>GOODSPEED</character> <dialogue>Get that away from me.</dialogue> <parenthetical>( to himself . )</parenthetical> <dialogue>I hate needles.</dialogue> <character>DR. LING</character> <dialogue>INJECT YOURSELF!</dialogue> <character>GOODSPEED</character> <dialogue>LONNER, WHERE'S THE GODDAMNED WATER?</dialogue> <scene_description>The pipes are KNOCKING , now they 're COUGHING .</scene_description> <character>DR. LONNER</character> <dialogue>It's coming, it's coming.</dialogue> <scene_description>ISHERWOOD sinks to his knees , holding the huge syringe in front of his heart , hari - kari style , hands trembling . GOODSPEED concentrates on the device ; his calm is unsettling . His hands flash , grabbing instruments and performing precise , deft , functions . He snips a wire and splices it . Another . Another .</scene_description> <character>DR. LING</character> <parenthetical>( sweating it out . )</parenthetical> <dialogue>Ten seconds, Bill.</dialogue> <scene_description>Isherwood moves the syringe closer to his chest .</scene_description> <character>ISHERWOOD</character> <dialogue>Oh fuck oh shit oh fuck THIS IS LIKE FUCKING PULP FICTION ONLY IT'S REAL.</dialogue> <scene_description>ISHERWOOD drops the syringe . Fumbles for another . GOODSPEED , ice - cold , continues on the device .</scene_description> <character>DR. LING</character> <dialogue>Five seconds, Bill, four seconds, Jesus Christ.</dialogue> <scene_description>GOODSPEEDIS RUBBER GLOVE is stretched to transparency . we see GOODSPEED 'S FLESH through the acid - eaten rubber . He makes one final cut - and - clamp . THE DETONATOR on the poison gas turns off .</scene_description> <character>DR. LING</character> <dialogue>Three, two. the gas is clear!</dialogue> <scene_description>OUTSIDE THE GAS CHAMBER - GREEN LIGRTS FLASR on the control panel and A TORRENTIAL SPRAY soaks GOODSPEED AND ISRERWOOD . Isherwood is wide - eyed and trembling . Goodspeed glares at him .</scene_description> <character>DR. LING</character> <dialogue>Next time use the atropine!</dialogue> <character>GOODSPEED</character> <dialogue>I do n't like needles.</dialogue> </scene> <scene> <stage_direction>EXT. GEORGETOWN - STREETS/ALLEYWAY - DAY</stage_direction> <scene_description>The bohemian part around Georgetown U. Goodspeed heads down an alley between two townhouses . LOUD COUNTRY MUSIC emanates from an apt . above . Goodspeed ascends .</scene_description> </scene> <scene> <stage_direction>INT. GEORGETOWN - GOODSPEED'S APARTMENT - DAY</stage_direction> <scene_description>A young woman stands in the middle of the living room , belting out a Carlene Carter tune in cowboy boots , rhinestone blouse and skirt . CARLA PESTALOZZI , 20 's , is playing guitar , accompanied by a boom box .</scene_description> <character>CARLA</character> <dialogue>Every little dream I dream about you, Every little song I sing about you, It drives me crazy when you go away.</dialogue> <parenthetical>( notices Goodspeed . )</parenthetical> <dialogue>Wan na keep you locked up at home.</dialogue> <scene_description>Goodspeed walks past her into the kitchen . Carla turns down the music . Goodspeed re - enters with a Budweiser .</scene_description> <character>CARLA</character> <parenthetical>( New Jersey accent . )</parenthetical> <dialogue>Hey there.</dialogue> <character>GOODSPEED</character> <dialogue>Hey honey.</dialogue> <character>CARLA</character> <dialogue>Wrote a new song. Wan na hear it?</dialogue> <scene_description>Goodspeed sits heavily on the couch . Rubs his temples .</scene_description> <character>GOODSPEED</character> <dialogue>Not now.</dialogue> <character>CARLA</character> <dialogue>Boy, somebody's in a bad mood.</dialogue> <character>GOODSPEED</character> <dialogue>Yeah, somebody's in a bad mood.</dialogue> <scene_description>Carla changes the c.d. : A PUCCINI OPERA plays .</scene_description> <character>CARLA</character> <dialogue>Better?</dialogue> <character>GOODSPEED</character> <dialogue>Much better. She sits with him. Puts her arm around him.</dialogue> <character>CARLA</character> <dialogue>What happened baby. Tell me.</dialogue> <character>GOODSPEED</character> <dialogue>Had a close one.</dialogue> <character>CARLA</character> <dialogue>You want to talk about it?</dialogue> <character>GOODSPEED</character> <dialogue>Not really.</dialogue> <character>CARLA</character> <dialogue>You know how I feel about what you do.</dialogue> <character>GOODSPEED</character> <dialogue>Could we change the subject?</dialogue> <character>CARLA</character> <dialogue>That record company.in Nashville wants to hear my demo tape.</dialogue> <character>GOODSPEED</character> <dialogue>Hey! Now there's some good news.</dialogue> <character>CARLA</character> <dialogue>You think I'm too. ethnic for country music?</dialogue> <character>GOODSPEED</character> <dialogue>Carla Pestalozzi? No. Definitely not. You could have posed for the Mona Lisa. Sophia Loren looks Swedish next to you.</dialogue> <parenthetical>( smiles . )</parenthetical> <dialogue>I hope that's a compliment. I could change my name. How ` bout Bobby Sue Pestalozzi? Billy io Pestalozzi?</dialogue> <character>GOODSPEED</character> <dialogue>Stick with Carla.</dialogue> <character>CARLA</character> <dialogue>Okay. How ` bout Carla Goodspeed?</dialogue> <parenthetical>( GOODSPEED frowns . )</parenthetical> <dialogue>Six years, Bill. We've lived together six years.</dialogue> <character>GOODSPEED</character> <dialogue>We've talked about this, Carla, we've talked it up, down, inside and out.</dialogue> <character>CARLA</character> <dialogue>Billy, this probably is n't the best time. Bill, I'm uhhh.</dialogue> <character>CARLA</character> <dialogue>I'm pregnant.</dialogue> <character>GOODSPEED</character> <dialogue /> <character>You're what ... ?</character> <dialogue>says.</dialogue> <scene_description>She holds Up a positive home pregnancy test and CUT TO :</scene_description> </scene> <scene> <stage_direction>EXT. DESERT AREA (SOUTHWESTERN U.S.) - DAY</stage_direction> <scene_description>TWO = Y GUNSHIPS roar over camera and land next to the two Humvees . The Huey 's doors open . Marine Captains FRYE and DARROW , both late 20 's , drag out two MARINE LANCE CORPORALS , bound and gagged , and sit them down . Other marines roll gurneys laden with chem rounds , rockets and other equipment onto the Hueys . They Hueys ascend and SCREAM off across the desert and CUT TO :</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO - AFTERNOON</stage_direction> <scene_description>Establishing shots of San Francisco and Alcatraz Island in the middle of San Francisco Bay .</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ ISLAND - AFTERNOON</stage_direction> <scene_description>A PARK RANGER -LRB- JOE -RRB- leads a group of 80 TOURISTS across the prison exercise yard . In the background looms the city of San Francisco and Golden Gate Bridge .</scene_description> <character>PARK RANGER JOE</character> <dialogue>Alcatraz - `` the Rock'' - is the most famous, and was the most feared, prison ever built. Here the inmates were allowed one hour of daily exercise.</dialogue> <character>FEMALE TOURIST</character> <dialogue>Is it really true no one escaped?</dialogue> <character>PARK RANGER JOE</character> <dialogue>True, madam. From 1936 until the prison's closing in 1963, there were fourteen attempts but no one's believed to have made it to shore - alive at least.</dialogue> <scene_description>The tourists file off toward the MAIN CELL HOUSE . Bringing up the rear are Gen. Hummel , Maj. Baxter , Sgt. Crisp , Capt. Hendrix , and Pvts . Scarpetti , . Royce , Gamble and Starling , all in civilian clothes . Hummel motions to Crisp , who bleeds off with Scarpetti and Royce . Hummel and the others continue with the group .</scene_description> </scene> <scene> <stage_direction>INT. ALCATRAZ - MAIN CELL HOUSE - AFTERNOON</stage_direction> <scene_description>Cell Blocks B and C , which inmates called `` Broadway . '' A long corridor with three tiers of cells on each side . The Ranger leads the tourist group inside .</scene_description> <character>PARK RANGER JOE</character> <dialogue>Al Capone ; Machine Gun Kelly ; Robert Stroud, the Birdman of Alcatraz ; all lived in these cells.</dialogue> <scene_description>The Ranger pulls the CELL DOOR OPEN/SHUT LEVER -LRB- recessed in the wall at the end of cell block -RRB- . All the cell doors on the first floor slide open .</scene_description> <character>PARK RANGER JOE</character> <dialogue>Now Ladies and Gentlemen, the U.S. Park Service cordially invites you to become inmates of Alcatraz - temporarily of course.</dialogue> <scene_description>The tourists laugh and move inside the cells .</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - WHARF - AFTERNOON The side across from San Francisco.</stage_direction> <scene_description>The TOURIST BOAT is docked in front of the U.S. PARK RANGERS ' OFFICE . Sgt. Crisp and Pvts . Scarpetti and Royce walk up to the Ranger 's office . They look left and right , then enter .</scene_description> </scene> <scene> <stage_direction>INT. ALCATRAZ - U.S. PARK RANGERS OFFICE - AFTERNOON TWO PARK RANGERS</stage_direction> <scene_description>and a SECRETARY look up .</scene_description> <character>ALCATRAZ PARK RANGER</character> <dialogue>You're not supposed to leave the tour, guys. Is there a problem?</dialogue> <character>SGT. CRISP</character> <dialogue>Big problem.</dialogue> </scene> <scene> <stage_direction>INT. ALCATRAZ - MAIN CELL BLOCK - AFTERNOON</stage_direction> <scene_description>The tourists are in the cells , looking around . Park Ranger Joe notices Hummel , Baxter , and the other marines standing behind him . Smiles :</scene_description> <character>PARK RANGER JOE</character> <dialogue>Do n't want to be locked up, fellahs?</dialogue> <character>HUMMEL</character> <dialogue>Not today. You go ahead.</dialogue> <character>PARK RANGER JOE</character> <dialogue>I do n't think so hah hah.</dialogue> <scene_description>Baxter draws a .45 and places it to Ranger ioe 's head .</scene_description> <character>HUMMEL</character> <dialogue>I think so.</dialogue> <scene_description>Startled , Park Ranger Joe backs into a cell . Baxter grabs the cell door open/shut lever and yanks it . The cell doors CLANG shut . Hummel , Baxter and the others walk off .</scene_description> <character>TOURISTS</character> <dialogue>Hey, what are you doing? - wait a minute, what's going on?</dialogue> </scene> <scene> <stage_direction>EXT. ALCATRAZ - PARADE GROUND - AFTERNOON</stage_direction> <scene_description>Hummel and Baxter walk up to the PARADE GROUND as THE TWO HUEY GUNSHIPS approach . They hover above the parade ground . Cpts . Frye and Darrow rope - deploy from the Hueys . They stand at attention , saluting Hummel and Baxter .</scene_description> <character>CAPTAIN FRYE</character> <dialogue>General Hummel : Captains Frye and Darrow.</dialogue> <character>HUMMEL</character> <dialogue>Deploy as planned, Captain.</dialogue> <parenthetical>( unison . )</parenthetical> <dialogue>Aye, aye, sir.</dialogue> <scene_description>FRY AND DARROW They hand signal to the Huey pilots . The Hueys take off around the back of the island . CUT TO : A MONTAGE of short INTERCUT scenes , all AFTERNOON : THE INFIRMARY , UPSTAIRS ROOM A former hospital room will be the command and communications center . PVTS . GAMBLE and STARLING set up a portable desk , chair , and an array of communications equipment -LRB- including portable satellite dish and look out -RRB- .</scene_description> </scene> <scene> <stage_direction>EXT. THE ISLAND'S SHORELINE</stage_direction> <scene_description>CPT . HENDRIX AND PVTS . ROYCE and SCARPETTI lay motion sensors on the perimeter .</scene_description> </scene> <scene> <stage_direction>INT. THE PRISON MORGUE</stage_direction> <scene_description>PVTS . COX and MCCOY load the V.X. CHEM ROUNDS from INSULATED COOLING BAGS -LRB- size of a big gym bag -RRB- into the morguels CORPSE DRAWERS . MAJOR BAXTER sets up a PORTABLE Rocket LAUNCHER .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN CELL HOUSE ROOFTOP CAPTS. FRYE and DARROW set up a second</stage_direction> <scene_description>portable rocket launcher .</scene_description> </scene> <scene> <stage_direction>INT. ALCATRAZ - MAIN CELLHOUSE - DAY</stage_direction> <scene_description>The tourists are now panicked , confused , and making a commotion . Shouting and yelling . A woman is crying . Suddenly a .45 is fired . Total silence . Hummel and Baxter , followed by Pvts . Gamble and Starling -LRB- pulling a gurney stacked with MARINE FIELD RATIONS -RRB- , walk to the middle of the cell block .</scene_description> <character>HUMMEL</character> <dialogue>Hello Ladies and Gentlemen. You are my prisoners. I have no intention of harming you. You will be fed regularly. That is all you need to know for now.</dialogue> <scene_description>Gamble and Starling begin passing out the field rations . 53 INT . WASHINGTON D.C. - J. EDGAR HOOVER BUILDING - NIGHT F.B.I. Director JAMES WOMACK exits his office in a tuxedo , trailed by MARGIE WOOD , a young F.B.I. Agent .</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>Can it wait till morning, Agent Wood, I'm going to hear Bruce Springsteen.</dialogue> <character>AGENT WOOD</character> <parenthetical>( re : Womack 's tux . )</parenthetical> <dialogue>In that?</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>Christ, the concert's for the Prince of Wales or somebody.</dialogue> <character>AGENT WOOD</character> <dialogue>I really think you should take this call personally.</dialogue> <scene_description>They stare at each other and CUT TO : 54 INT . HOOVER BUILDING - DIRECTOR WOMACK 'S OFFICE - NIGHT - Womack , grabbing his phone . F.B.I. DIRECTOR WOMACK F.B.I. Director Womack .</scene_description> <character>HUMMEL</character> <parenthetical>( V.O . )</parenthetical> <dialogue>First : I am holding eighty - one civilian hostages on Alcatraz Island. Make an excuse to their families and do not alert the media or there will not be eighty. Second : fifteen guided rockets armed with V.X. poison, are currently aimed at the population of San Francisco. I will call again at 0 - hundred hours and state my demands.</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>Wait. Who is this?</dialogue> <character>HUMMEL</character> <dialogue>Brigadier General Francis X. Hummel.</dialogue> <scene_description>CLICK . Womack stares at the phone : calls to outer office :</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>Mary Jane, get the Pentagon!</dialogue> <parenthetical>( to Agent Wood . )</parenthetical> <dialogue>Call the San Francisco office. It seems Alcatraz was just re - opened.</dialogue> <scene_description>Agent wood gives him a curious look and CUT TO :</scene_description> </scene> <scene> <stage_direction>INT. ALCATRAZ - INFIRMARY/COMMAND CENTER - AFTERNOON</stage_direction> <scene_description>Cpts . Hendrix , before Hummel . Frye , and Darrow , and Sgt. Crisp at attention Maj. Baxter at Hummells side .</scene_description> <character>HUMMEL</character> <dialogue>At ease, Gentlemen. It is traditional for me to meet with my officers before an operation. The heart performs one thing, the legs another, the brain another - all better function together or the body becomes ill, is prone to disease.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Major Baxter, Gunny Crisp and I have been on the front lines since ` Nam.' Captain Hendrix was my adjutant in the Gulf. Get a haircut, Pete, you're lookin' like a beatnik.</dialogue> <parenthetical>( the crew - cutted HENDRIX smiles Captain Frye , Captain Darrow . )</parenthetical> <dialogue>You and your men are new to me.</dialogue> <character>CAPTAIN FRYE</character> <dialogue>Would the General like a recitation of our service records?</dialogue> <character>HUMMEL</character> <dialogue>I'm well aware of your service records, Captain, they are excellent. I want to be clear on why you - why all of us are here. You both stand to profit from this.</dialogue> <character>CAPTAIN FRYE</character> <dialogue>Profit is not my motive, sir. I am here to redress a wrong.</dialogue> <character>CAPTAIN DARROW</character> <dialogue>Yes, sir, and to learn some people a lesson.</dialogue> <character>HUMMEL</character> <dialogue>This country has places where wrongs are redressed, Captain Darrow : They are called courts of law. In the military, they are called Courts Martial. This country has places where lessons a - re leaned. They are called schools. Am I confusing you?</dialogue> <character>CAPTAIN DARROW</character> <dialogue>Well, sir, frankly. EL I see that I am'.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue /> <character>HUMMEL</character> <dialogue>The only accurate term for what we are doing here is treason. Plain and simple. An insurrection against a government to which we have sworn allegiance. Everyone in this room must understand that.</dialogue> <scene_description>Hummel looks from face to face , studying each .</scene_description> <character>HUMMEL</character> <dialogue>The question is what kind of traitor are we. Coward or lion? Benedict Arnold, or Thomas iefferson? I have posed that question to myself, have answered it, and my conscience is clear. Have all of you?</dialogue> <character>HUMMELS' OFFICERS</character> <dialogue>Yes, sir.</dialogue> <character>HUMMEL</character> <dialogue>Within thirty - two.hours you will leave this country and not return. All of you can live with that?</dialogue> <character>OTHER OFFICERS</character> <parenthetical>( unison . )</parenthetical> <dialogue>Yes, sir.</dialogue> <character>HUMMEL</character> <dialogue>Well, I can not. So, regardless of what happens on this island in the hours ahead, I will stay. The men exchange surprised glances.</dialogue> <character>CAPTAIN HENDRIX</character> <dialogue>But General, you'll be prosecuted.</dialogue> <character>HUMMEL</character> <dialogue>Yes, Captain. And I plan on conducting my own defense. it will make the O.J. Simpson trial look like an episode of `` Perry Mason.'' Take your posts, gentlemen. Semper fi.</dialogue> <scene_description>Hummel 's men fall out and exit . Baxter , the last to exit , salutes Hummel .</scene_description> </scene> <scene> <stage_direction>INT. PENTAGON - SITUATION ROOM - NIGHT</stage_direction> <scene_description>Many people around a table , each with a DOSSIER on Hummel : F.B.I. Director Womack -LRB- still in tuxedo -RRB- , F.B.I. agent Margie Wood , White House Chief of Staff HAYDEN SINCLAIR , National Security Advisor LOUIS LINDSTROM , Chairman of the Joint Chiefs GENERAL ALBERT KRAMER , Air Force General PETERSON , and C.I.A. Director MILTON AMWAY .</scene_description> <character>GENERAL KRAMER</character> <dialogue>Last night Hummel and eleven marines, under the guise of a security exercise, walked off with fifteen V.X. rockets. It was n't discovered until the shift change this morning.</dialogue> <scene_description>ON THE SCREEN - A YOUNGER HUMMEL in Vietnam .</scene_description> <character>GENERAL KRAMER</character> <dialogue>Here he is in Vietnam - I think a Major at the time.</dialogue> <scene_description>MORE SLIDES OF HUMMEL in various international theaters .</scene_description> <character>HAYDEN SINCLAIR</character> <dialogue>Four tours in Vietnam, Grenada, Panama, Desert Storm. Three purple hearts. two silver stars and. the Congressional Medal of. Jesus.</dialogue> <parenthetical>( looks up . )</parenthetical> <dialogue>The man is a hero.</dialogue> <character>GENERAL KRAMER</character> <dialogue>A legend. During Tet he held off a brigade of V.C. single - handedly. Saved his whole company. Hence the nickname `` gunfighter.''</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>What was this book Hummel wrote on Vietnam? Anybody read it?</dialogue> <character>RAYDEN SINCLAIR</character> <dialogue>No. Give me the skinny.</dialogue> <character>GENERAL KRAMER</character> <dialogue>The `` skinny,'' Mr. Sinclair, is that the U.S. should have either won the war or gotten the hell out of Vietnam and stopped wasting American lives. I happen to share General Hummells view.</dialogue> <scene_description>The door opens . A NAVAL ATTACHE pokes his head in .</scene_description> <character>NAVAL ATTACHE</character> <dialogue>General, it's him. The call connects to a phone on the table.</dialogue> <character>GENERAL KRAMER</character> <dialogue>Frank, this is Albert Kramer.</dialogue> <character>HUMMEL</character> <dialogue>Hello Al.. Howlre Judy and the kids?</dialogue> <character>GENERAL KRAMER</character> <dialogue>They're fine. I'm with General Peterson, F.B.I. Director Womack, Chief of Staff Sinclair, Security Advisor Lindstrom, and C.I.A. Director Amway. You've got a lot of people worried, Frank. Can you help us out?</dialogue> <scene_description>INTERCUT - PENTAGON and ALCATRAZ as necessary .</scene_description> <character>HUMMEL</character> <dialogue>I'll come straight to the point, General Kramer : Eighty - three Force Reconnaissance Marines have died under my various commands. Forty - seven in northern Laos and southern China.</dialogue> <character>HAYDEN SINCLAIR</character> <dialogue>Southern China? We never admitted we sent troops into China.</dialogue> <scene_description>There is a pause .</scene_description> <character>HUMMEL</character> <dialogue>Who is that. Identify yourself.</dialogue> <scene_description>Everyone stares at sinclair .</scene_description> <character>HAYDEN SINCLAIR</character> <dialogue>White House Chief of Staff Sinclair, General.</dialogue> <character>HUMMEL</character> <dialogue>How old are you, white House Chief of Staff Sinclair.</dialogue> <character>RAYDEN SINCLAIR</character> <dialogue>I'm thirty - three.</dialogue> <character>HUMMEL</character> <dialogue>Well White House Chief of Staff Sinclair, by your ninth birthday I had led over two hundred incursions into China and personally killed that many of the enemy. General, put some duct tape over Mr. sinclair's fat, ignorant mouth. He has shit for brains and he is wasting my time.</dialogue> <scene_description>Sinclair 's irritation is relieved by the Naval Attache , entering again , who hands him a phone and whispers :</scene_description> <character>NAVAL ATTACHE</character> <dialogue>The President calling from Moscow.</dialogue> <scene_description>Sinclair walks to the far corner of the room with the phone , speaking sotto voice .</scene_description> <character>GENERAL KRAMER</character> <dialogue>Continue Frank.</dialogue> <character>HUMMEL</character> <dialogue>Eighteen others died in covert, illegal operations in Chile and El Salvador. Remember the Gulf War. Those pretty `` smart bomb'' pictures on C.N.N? My men lased those targets. Ten were left to rot outside Baghdad when the conflict ended - and let's not even mention Mogadishu, gentlemen. No benefits were paid to their families ; no medals conferred. These men died for their country and they were n't even given a coddamn military burial.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>This situation will not stand : you will transfer 100 million dollars from a Grand Cayman `` Red Sea Trading Company'' account to an account I designate. From these funds, reparations of one million dollars will be paid to each of the 83 marines, families. The rest of the money will pay for my outfit's expenses. Am I clear?</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>Except for the Red Sea Trading Company. What is that?</dialogue> <character>HUMMEL</character> <dialogue>Identify yourself.</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>F.B.I. Director Womack, General.</dialogue> <character>HUMMEL</character> <dialogue>You'll be particularly interested : It's a slush fund where the Pentagon keeps proceeds from illegal arms sales.</dialogue> <character>GENERAL KRAMER</character> <dialogue>Frank, Jesus, this is classified information.</dialogue> <character>WOMACK</character> <parenthetical>( stunned . )</parenthetical> <dialogue>Is this true?</dialogue> <scene_description>General Kramer , embarrassed , nods yes .</scene_description> <character>HUMMEL</character> <dialogue>If you want the money back, you'll have to tell the attorney General and the boys down at Justice where it came from. Good luck.</dialogue> <scene_description>Hayden Sinclair returns to the table .</scene_description> <character>HAYDEN SINCLAIR</character> <dialogue>General, I've just spoken to the President and he is clear as hell on this : We will not negotiate with you and we do not care if.</dialogue> <character>HUMMEL</character> <dialogue>Someone please gag that man.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Alert the media, I launch the gas. Refuse payment, I launch the gas. It is just after midnight. You have 36 hours - all of today and half of tomorrow, until 12 noon - to transfer the money. Do n't even consider the standard counter measure, General.</dialogue> <character>GENERAL KRAMER</character> <dialogue>What's the potential casualty rate of a single rocket armed with V.X., General Peterson?</dialogue> <character>GENERAL PETERSON</character> <dialogue>In a dense urban area, sixty, seventy.</dialogue> <character>RAYDEN SINCLAIR</character> <dialogue>Well that's not so bad.</dialogue> <character>I GENERAL PETERSON</character> <dialogue>Thousand. Seventy thousand. Dead. one teaspoon will kill all living organisms in a three story office building. Get the point?</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>What did Hummel mean by'', standard countermeasure,'' General?</dialogue> <character>GENERAL PETERSON</character> <dialogue>Napalm. Standard pgison gas can be neutralized by napalm. It burns it up - consumes it upon detonation. The problem is that V.X. gas is ten times more toxic and designed to withstand napalm. Hummel must know about Willy Peter, General.</dialogue> <character>GENERAL KRAMER</character> <dialogue>` Course he does.</dialogue> <parenthetical>( explaining to others . )</parenthetical> <dialogue>`` Willy Peter,'' short for `` White Phosphorous Incendiary Device,'' still in its test phase. It detonates at 6,000 degrees, enough to burn up V.X.</dialogue> <parenthetical>( dawning on him . )</parenthetical> <dialogue>That explains Hummells time frame. He knows we're not operational. What would it take, General?</dialogue> <character>GENERAL PETERSON</character> <dialogue>To equip a flight of F - 16s with Willy Peter in 36 hours? An act of God.</dialogue> <parenthetical>( off Kramer 's look . )</parenthetical> <dialogue>All right, we can try. But view the use of Willy Peter as a secondary initiative.</dialogue> <character>GENERAL KRAMER</character> <dialogue>Then on to our primary initiative.</dialogue> <parenthetical>( hits intercom button . )</parenthetical> <dialogue>Send in S.E.A.L. Team Leader Anderson.</dialogue> <parenthetical>( to F.B.I. Womack . )</parenthetical> <dialogue>Who's your best chemical biological man?</dialogue> <character>AGENT WOOD</character> <parenthetical>( rises . )</parenthetical> <dialogue>I'll find out.</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>Tell him to pack a bag for San Francisco.</dialogue> </scene> <scene> <stage_direction>EXT. GOODSPEED'S HOUSE - ROOFTOP - NIGHT Tarpaper and gravel roof.</stage_direction> <scene_description>Candles burning . Loretta Lynnls `` Stand by Your Man '' on the boom box . AMONGST THE RUSTY SUPPORT SCAFFOLDS of an old sign from the 120 's - CARLA and GOODSPEED are , to put it delicately , madly passionately athletically fucking . Standing up . They both have robes on . A CORDLESS PHONE RINGS . Again .</scene_description> <character>CARLA</character> <dialogue>Do n't stop. do no stop.</dialogue> <character>GOODSPEED</character> <dialogue>Shit, shit, shit what time is it.</dialogue> <parenthetical>( fumbles for phone . )</parenthetical> <dialogue>Hello.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>I'll be downstairs in ten minutes.</dialogue> <scene_description>GOODSPEED hangs up . The couple stares at each other . Carla 's seen this look before .</scene_description> <character>GOODSPEED</character> <dialogue>I've got to go to San Francisco.</dialogue> <character>CARLA</character> <dialogue>No. I'm sorry, but NO. I need you here with me. We need to talk about this.</dialogue> <character>GOODSPEED</character> <dialogue>I've got to go. She grabs his arm. I ca n't. I can not deal with this right now.</dialogue> <parenthetical>( softly . )</parenthetical> <dialogue>Bill, I am very Catholic. And very pregnant. And very unmarried. Help me with this.</dialogue> <scene_description>She turns away from him . He pulls her back .</scene_description> <character>GOODSPEED</character> <dialogue>I love you. I will marry you. I just did n't plan on this, that's all. Tell you what : come to San Francisco.</dialogue> <character>CARLA</character> <dialogue>Really?</dialogue> <parenthetical>( smiles . )</parenthetical> <dialogue>Really?</dialogue> <character>GOODSPEED</character> <dialogue>It's probably just a training exercise. Check into a hotel, order up some champagne, I'll finish up my business and.</dialogue> <character>CARLA</character> <dialogue>We'll finish what we started. Baby, are you sexy in those boots.</dialogue> <scene_description>GOODSPEED walks off in COWBOY BOOTS , robe and boxers , .</scene_description> </scene> <scene> <stage_direction>INT. PENTAGON - SITUATION ROOM - NIGHT U.S.N. commander CHARLES</stage_direction> <scene_description>ANDERSON , 35 , just the hardest looking man you 've ever seen , stands before the group . Anderson is a Navy S.E.A.L. , an Incursion Team Leader . Before Anderson are AERIAL RECON PHOTOS of Alcatraz .</scene_description> <character>COMMANDER ANDERSON</character> <dialogue>A precision night drop is out due to the full moon. Likewise on a frontal, seaside attack : at the first shot, Hummel might launch. My second in command is working on an attack from within the prison.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>The idea is to penetrate the tunnels under the prison, undetected, emerge in its center, and jump the marines from behind - take their rocket positions without a shot fired. But I need better intelligence.</dialogue> <character>GENERAL KRAMER</character> <dialogue>You've studied the architectural plans.</dialogue> <character>COMMANDER ANDERSON</character> <dialogue>They're useless. Alcatraz was originally a Civil War fort. It's been ripped up and rebuilt for years. Under there is a maze of shit, excuse my language.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>What I need is personal, firsthand intelligence on the island's tunnels.</dialogue> <scene_description>CAMERA FOCUSES ON F.B.I. Director Womack , who gives a very significant look to C.I.A. Director AMWAY .</scene_description> <character>GENERAL KRAMER</character> <dialogue>The former warden?</dialogue> <character>AGENT WOOD</character> <dialogue>Died in 1979. The guards we contacted are useless. There was a janitor, `` Alcatraz Al''. He worked there for twenty years, but he died in 1983.</dialogue> <character>GENERAL PETERSON</character> <dialogue>Did n't three guys escape? I thought I saw a movie about it.</dialogue> <character>AGENT WOOD</character> <dialogue>It's a Hollywood myth. No one's escaped Alcatraz and lived.</dialogue> <scene_description>F.B.I. Director trades a very significant look with C.I.A. Director AMWAY . Amway clears his throat . He is older , very old school . Everyone turns to him .</scene_description> <character>C.I.A. DIRECTORY AMWAY</character> <dialogue>There is someone who can help us.</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>The C.I.A. Director and I have something to discuss in private.</dialogue> <scene_description>Womack and Amway rise and exit together . Everyone else sits there , confused .</scene_description> </scene> <scene> <stage_direction>INT. PENTAGON - CORRIDOR - NIGHT Womack and Amway exit into the</stage_direction> <scene_description>corridor . They huddle tightly against the wall . Sotto voice : -</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>You're not actually suggesting.</dialogue> <character>C.I.A. DIRECTORY AMWAY</character> <dialogue>The man spent every night for six months making a dry - run of his escape. He knows every inch of that island. We have to, Jim.</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>I am very uncomfortable about this.</dialogue> </scene> <scene> <stage_direction>INT. WOLFBURG PENITENTIARY - CELL BLOCK - NIGHT A long row of cells.</stage_direction> <scene_description>CAMERA slowly DOLLIES past cell after cell . Sullen INMATES stare blankly at us .</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I knew, I knew someday, this would come back to bite us.</dialogue> <scene_description>CAMERA moves through a door marked `` ISOLATION . '' At the end of a gloomy corridor is a CAST - IRON DOOR . BACK TO THE PENTAGON CORRIDOR</scene_description> <character>C.I.A. DIRECTORY AMWAY</character> <dialogue>it wo n't bite anyone - if handled correctly. When was the last time you saw him?</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>when he escaped from San Quentin.</dialogue> <character>C.I.A. DIRECTORY AMWAY</character> <dialogue>The man was an S.A.S. trained killer.</dialogue> <scene_description>BACK TO WOLFBURG - IN THE ISOLATION CELL TWO FEDERAL MARSHALS open the cell . 's steel locking bar . They push open the door . Dark inside . A MAN sits on the bed .</scene_description> <character>C.I.A. DIRECTORY AMWAY</character> <dialogue>Can we risk letting.him out?</dialogue> <scene_description>A SHAFT OF LIGHT cuts across the cell floor .</scene_description> <character>C.I.A. DIRECTORY AMWAY</character> <dialogue>The question is : can we not?</dialogue> <scene_description>THE SHAFT OF LIGHT slices the face of JOHN PAUL MASON . He is British , at least once was , imprisoned without trial for 33 years on U.S. soil . For now , we have no idea why .</scene_description> </scene> <scene> <stage_direction>EXT. WASHINGTON D.C. - DULLES AIRPORT HANGAR - MIGHT</stage_direction> <scene_description>Raining . An F.B.I GULFSTREAM 4 JET sits on the tarmac .</scene_description> </scene> <scene> <stage_direction>EXT. F.B.I. GULFSTREAM - NIGHT</stage_direction> <scene_description>F.B.I. Director Womack sits with FRANCIS REYNOLDS , 30 , an Assistant U.S. Attorney from the Justice Dept. . GOODSPEED sits across the aisle .</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>I'm told you're our best chemical weapons man, Goodspeed. What's your education?</dialogue> <character>GOODSPEED</character> <dialogue>B.A. Columbia. M.A. and P.H.D., Johns Hopkins, biochemistry and toxicology.</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>Excellent. What do you know about V.X. gas?</dialogue> <scene_description>Pause . GOODSPEED stares at Womack .</scene_description> <character>GOODSPEED</character> <dialogue>This is n't a training exercise, is it sir.</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>No Goodspeed. It's not a training exercise.</dialogue> <scene_description>HOLD ON GOODSPEED 'S reaction , and CUT TO :</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO - FEDERAL BUILDING - DAWN</stage_direction> <scene_description>Dawn breaks over San Francisoo . A BLACK SEDAN and BLACK SUBURBANS pull up to the F.B.I. 's West Coast office . Goodspeed , Womack and Reynolds get out , go inside .</scene_description> </scene> <scene> <stage_direction>INT. F.B.I. - OBSERVATION ROOM - MORNING</stage_direction> <scene_description>We watch MASON being led into an INTERROGATION ROOM , his legs in irons , his hands cuffed behind him . ` We are watching through a TWO - WAY MIRROR , and WIDEN TO : Womack , Goodspeed , Reynolds and ERNEST SANCHEZ , S.F. Bureau Agent in Charge , are watching Mason . Sanchez is a gruff guy with the subtlety of a heart attack .</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>The following is a state secret. Disclose it to any party and you will be subject to prosecution. His name is John Mason. A British national incarcerated on Alcatraz island in 1962, escaped in 1963.</dialogue> <character>AGENT SANCHEZ</character> <dialogue>Director, no one's ever escaped from Alcatraz.</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>I'm telling you facts, Agent Sanchez. Do not argue and do not question. He was recaptured and sent to San Quentin, from which he escaped in February, 1976. He's been held at Wolfburg since. He has no identity. He does not exist. Understood?</dialogue> <parenthetical>( turns to Sanchez . )</parenthetical> <dialogue>I want one thing : how he escaped Alcatraz - specifically the route he took through the island's tunnels.</dialogue> <character>AGENT SANCHEZ</character> <dialogue>You want him conscious or unconscious afterward?</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>Do n't even entertain it. This man laughs at strong arm tactics. dodium pentathol does n't work either.</dialogue> <character>GOODSPEED</character> <dialogue>Why's he going to help us now?</dialogue> <character>U.S. ATTORNEY REYNOLDS</character> <parenthetical>( hands Womack PARDON . )</parenthetical> <dialogue>Mason's papers are in order, sir.</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>Because I'm willing to give him what he wants, GOODSPEED - a full pardon.</dialogue> <character>AGENT SANCHEZ</character> <dialogue>Steep price for some information.</dialogue> <parenthetical>( waves pardon away . )</parenthetical> <dialogue>I do n't need that to get what you want.</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>Sanchez - try subtlety.</dialogue> <character>AGENT SANCHEZ</character> <dialogue>It's my middle name.</dialogue> <parenthetical>( to Goodspeed . )</parenthetical> <dialogue>Watch kid, maybe you'll learn something.</dialogue> <scene_description>Sanchez exits .</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <parenthetical>( grumbles . )</parenthetical> <dialogue>I ask for an interrogator and what do I get.</dialogue> <scene_description>IN THE INTERROGATION ROOM - MASON looks around . He focuses on the mirror . He stares right through at GoodsDeed . GOODSPEED is fascinated , unnerved .</scene_description> <character>GOODSPEED</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Jesus look at this guy.</dialogue> </scene> <scene> <stage_direction>INT. F.B.I. - INTERROGATION ROOM - MORNING Sanchez walks in, sipping</stage_direction> <scene_description>coffee . Mason sits there , eyes forward .</scene_description> <character>SANCHEZ</character> <dialogue>I'm F.B.I. Special Agent in Charge Sanchez.</dialogue> <scene_description>Sanches sits . Mason stares at the table .</scene_description> <character>MASON</character> <dialogue>In charge of what? Fucking me over for another three decades?</dialogue> <character>SANCHEZ</character> <parenthetical>( congenial . )</parenthetical> <dialogue>Hey. Easy. I just want to talk.</dialogue> <character>MASON</character> <dialogue>You know what F.B.I. stands for Sanchez? Fucking Bloody Idiots. I do n't want to talk to you.</dialogue> <scene_description>A pause . Sanchez glares at Mason .</scene_description> <character>SANCHEZ</character> <dialogue>Just some questions about Alcatraz. It's a tourist attraction now. You remember Alcatraz, Mason.</dialogue> <scene_description>The word `` Alcatraz '' registers with Mason .</scene_description> <character>MASON</character> <dialogue>Do I remember Alcatraz.</dialogue> <character>SANCHEZ</character> <dialogue>Not the island itself. The tunnels underneath it.</dialogue> <scene_description>IN THE OBSERVATION ROOM</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>Real subtle, SANCHEZ.</dialogue> <scene_description>IN THE INTERROGATION ROOM</scene_description> <character>SANCHEZ</character> <dialogue>There's no harm in cooperating with us.</dialogue> <character>MASON</character> <dialogue>Who's `` us?'' F.B.I? C.I.A? Why should I do that?</dialogue> <character>SANCHEZ</character> <dialogue>Maybe there's a gift in it for you.</dialogue> <character>MASON</character> <parenthetical>( to the mirror . )</parenthetical> <dialogue>Timeo danaos et dona ferentes.</dialogue> <scene_description>THE OBSERVATION ROOM GOODSPEED smiles slightly :</scene_description> <character>GOODSPEED</character> <dialogue>`` I fear the Greeks even when they bring gifts.''</dialogue> <scene_description>THE INTERROGATION ROOM</scene_description> <character>MASON</character> <dialogue>Are you capable of reading, Sanchez?</dialogue> <scene_description>SANCHEZ is getting flustered .</scene_description> <character>SANCHEZ</character> <dialogue>I do n't have time for this shit.</dialogue> <parenthetical>( pause ; stares at mason . )</parenthetical> <dialogue>Yes. I can read.</dialogue> <character>MASON</character> <dialogue>The story of Alchimadus. Know it?</dialogue> <character>SANCHEZ</character> <dialogue>No.</dialogue> <scene_description>THE OBSERVATION ROOM</scene_description> <character>GOODSPEED</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Ancient Greece. Alchimadus was imprisoned by his king.</dialogue> <scene_description>THE INTERROGATION ROOM</scene_description> <character>MASON</character> <dialogue>Thomas a Beckett. Heard of him?</dialogue> <character>SANCHEZ</character> <dialogue>Maybe. Not really.</dialogue> <scene_description>THE OBSERVATION ROOM</scene_description> <character>GOODSPEED</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Archbishop of Canterbury. Imprisoned and executed by Henry the Second.</dialogue> <scene_description>THE INTERROGATION ROOM</scene_description> <character>MASON</character> <dialogue>Solzhenitsyn. I've a sneaking suspicion you've heard of him.</dialogue> <scene_description>THE OBSERVATION ROOM</scene_description> <character>GOODSPEED</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Russian poet and dissident exiled to Siberia.</dialogue> <scene_description>THE INTERROGATION ROOM SANCHEZ draws a blank on Solzhenitsyn .</scene_description> <character>SANCHEZ</character> <dialogue>Look, I'm asking the fucking questions here.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>You can trust the F.B.I.</dialogue> <character>MASON</character> <dialogue>That's a good one, Sanchez. What do you call and F.B.I. Agent who ca n't tell a lie? A mute.</dialogue> <scene_description>MASON turns away . As if SANCHEZ no longer exists . Suddenly , over a wall - mounted INTERCOM :</scene_description> <character>U.S. ATTORNEY REYNOLDS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Uhm, Agent Sanchez, could we have a word with you?</dialogue> <character>SANCHEZ</character> <dialogue>Here, call your lawyer and tell him you're going back to jail.</dialogue> <scene_description>SANCHEZ tosses a quarter on the desk and exits . IN THE OBSERVATION ROOM</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>Impressive, Sanchez.</dialogue> <character>GOODSPEED</character> <dialogue>You mind if. uhm. I take a shot?</dialogue> <character>SANCHEZ</character> <dialogue>He'll eat him alive.</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>He's already had you for the first course.</dialogue> <parenthetical>( hands GOODSPEED the pardon . )</parenthetical> <dialogue>Go.</dialogue> <scene_description>GOODSPEED takes the pardon , goes for the door . THE INTERROGATION ROOM GOODSPEED enters . He 's completely out of his element , has no idea what he 's doing , and is - suddenly face - to - face with this . MASON creature . The two men regard each other .</scene_description> <character>GOODSPEED</character> <dialogue>Take his cuffs off.</dialogue> <scene_description>The Marshal uncuffs Mason 's wrists . MASON rubs his wrists , staring now at Goodspeed .</scene_description> <character>MASON</character> <dialogue>Who the fuck are you, Mother Theresa?</dialogue> <scene_description>So much for Goodspeed 's confidence .</scene_description> <character>GOODSPEED</character> <dialogue>No actually, I'm Bill Goodspeed.</dialogue> <parenthetical>( rallys . )</parenthetical> <dialogue>Mr. Mason, we really need your help. That's a pardon and release contract from the Attorney Generals office. It makes you a free man, provided you cooperate.</dialogue> <scene_description>He slides a ballpoint pen across to Mason . MASON looks at the pen , then Goodspeed .</scene_description> <character>MASON</character> <dialogue>What do you do for the F.B.I., Goodspeed.</dialogue> <character>GOODSPEED</character> <parenthetical>( lying . )</parenthetical> <dialogue>I'm a field agent.</dialogue> <character>MASON</character> <dialogue>Tell me what you really do.</dialogue> <scene_description>IN THE OBSERVATION ROOM</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>Do n't answer that, GOODSPEED.</dialogue> <scene_description>IN THE INTERROGATION ROOM</scene_description> <character>GOODSPEED</character> <dialogue>I'm a chemical biological weapons expert.</dialogue> <scene_description>MASON registers this information . 73 IN THE OBSERVATION ROOM F.B.I. DIRECTOR WOMACK Stupid , stupid , stupid . IN THE INTERROGATION ROOM MASON stares at the pardon contract , thinking .</scene_description> <character>MASON</character> <dialogue>You said I'd be a free man. Define free</dialogue> <character>GOODSPEED</character> <dialogue>Uhm, well, emancipated. Unfettered.</dialogue> <character>MASON</character> <dialogue>I know what the fucking word means, idiot. In this context.</dialogue> <character>GOODSPEED</character> <dialogue>I do n't understand.</dialogue> <character>MASON</character> <dialogue>During the time I cooperate, will I be outside? Outside a jail?</dialogue> <character>GOODSPEED</character> <dialogue>Well yes I suppose.</dialogue> <character>MASON</character> <dialogue>You suppose?</dialogue> <character>GOODSPEED</character> <dialogue>Yes. You'll be outside.</dialogue> <scene_description>IN THE OBSERVATION ROOM</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>Do n't give away the farm, Goodspeed.</dialogue> <scene_description>IN THE INTERROGATION ROOM</scene_description> <character>MASON</character> <dialogue>What's happening on Alcatraz, Goodspeed?</dialogue> <character>GOODSPEED</character> <dialogue>A hostage situation. A matter of life and death.</dialogue> <scene_description>MASON thinks . He picks up the pen .</scene_description> <character>MASON</character> <parenthetical>( looks at mirror . )</parenthetical> <dialogue>Then on one condition : a minimum of two hours in the Fairmont Hotel - I trust it still exists. I want a shower and a new suit of clothes.</dialogue> <character>GOODSPEED</character> <dialogue>I think we can arrange that.</dialogue> <scene_description>With that MASON picks up the pen and signs the pardon contract . He hands it to Goodspeed , who exits . MASON turns toward the mirror , staring right through .</scene_description> </scene> <scene> <stage_direction>INT. F.B.I. ~ OBSERVATION ROOM - DAY SANCHEZ</stage_direction> <scene_description>and GOODSPEED enter . GOODSPEED hands U.S. ATTORNEY REYNOLDS the signed pardon contract .</scene_description> <character>SANCHEZ</character> <dialogue>Why did n't you throw in a trip to Fiji?</dialogue> <character>U.S. ATTORNEY REYNOLDS</character> <dialogue>I'll have this forwarded to the President, Director.</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>No. You'll give it to me.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Give it to me, Reynolds.</dialogue> <scene_description>Reynolds reluctantly hands the pardon to Womack .</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <parenthetical>( to Sanchez . )</parenthetical> <dialogue>Show Attorney Reynolds outside there's a car waiting for him. And SANCHEZ - I'll handle the next stage.</dialogue> <scene_description>SANCHEZ leads the perturbed Reynolds out . GOODSPEED and Womack are alone now . And WOMACK tears up the pardon</scene_description> <character>GOODSPEED</character> <dialogue>Sir, that's a legal document.</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>I'll decide what's legal, Goodspeed.</dialogue> <scene_description>Over WOMACK 'S SHOULDER , GOODSPEED WATCHES AS - IN THE INTERROGATION ROOM - MASON places THE QUARTER on the floor . He raises his metal chair ; SLAMS it down on the quarter .</scene_description> <character>GOODSPEED</character> <dialogue /> <scene_description>Sir , those references to Alchimadus , Beckett , Solzhenitsyn : all had something in common . IN THE INTERROGATION ROOM - MASON picks up the coin . It has a DEEP BURR in it . He moves to the mirror ; begins carving into the glass .</scene_description> <character>GOODSPEED</character> <dialogue>They were imprisoned for doing nothing wrong. What's going on, sir?</dialogue> <scene_description>GOODSPEED watches MASON over Womack 's shoulder .</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>You're out of your depth, Goodspeed. You are on a need to know basis and you do not need to know.</dialogue> <scene_description>MASON has etched a circle in the mirror . He slams his elbow against it . The glass caves in , CRASHES to the floor . GOODSPEED and Womack whirl around , startled . MASON leans into the observation room .</scene_description> <character>MASON</character> <dialogue>one more thing : a shave and a haircut.</dialogue> <parenthetical>( sees Womack . )</parenthetical> <dialogue>Hello Womack.</dialogue> <scene_description>MASON and Womack stare at each other and CUT TO :</scene_description> </scene> <scene> <stage_direction>EXT. MOJAVE - DESERT FLATS - MORNING A hot desert-vista. Miles of</stage_direction> <scene_description>nowhere . A DODGE sits under a tripod . Suspended from the tripod , a BLINKING DEVICE . The device DETONATES , showering the car with WHITE HOT BURNING LIQUID and amazingly , the car melts into a pool of molten steel , disintegrating to ash , which blows across the desert . 50 YARDS AWAY - U.S.A.F. LT. JIMMY FISK and CPT . LARRY GILER -LRB- both late 20 's -RRB- emerge from the heat waves in heat - refletive suits , walking toward A HEAT PROTECTIVE BUNKER -LRB- a wall coated with heat reflective metal . -RRB- BEHIND THE BUNKER U.S.A.F. General Peterson watches with other Air Force OFFICERS and TECHNICIANS . Fisk and Giler enter , pulling off their suit hoods . Their faces are beet red from the heat .</scene_description> <character>CPT. GILER</character> <dialogue>GILER says. What it's all about, sir : Willy Peter burns steel, burns titanium ; it'll sure burn up your poison and everything else in the atmosphere.</dialogue> <character>GENERAL PETERSON</character> <dialogue>I need four F - 16's equipped with air - to - ground missiles within.</dialogue> <parenthetical>( consults wristwatch . )</parenthetical> <dialogue>. twenty - six hours.</dialogue> <character>LT. FISK</character> <dialogue>Let me name some things that are more possible, General, with all due respect : winning the Lottery, climbing Mt. Everest barefoot, getting a parking space at Yankee Stadium, marrying Sharon Stone.</dialogue> <character>CPT. GILER</character> <dialogue>GILER says. Ca n't do it, General.</dialogue> <character>GENERAL PETERSON</character> <dialogue>You can. And you will.</dialogue> <scene_description>General Peterson walks off .</scene_description> <character>CPT. GILER</character> <dialogue>GILER says. Get yer minds off Budweiser, baseball, and broads, fellahs - we're goin,, round the clock!</dialogue> </scene> <scene> <stage_direction>INT., F.B.I. VAN - BACK COMPARTMENT - DRIVING - MORNING</stage_direction> <scene_description>A van with no windows . MASON is shackled to a steel loop at one end of the seating bench . GOODSPEED sits across from him , a CELLULAR PHONE at his ear . THREE F.B.I. AGENTS -LRB- CORD , STAR and HUNT -RRB- sit down the bench , talking amongst themselves .</scene_description> <character>CARLA</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( recorded voice message . )</parenthetical> <dialogue>Hi! Bill and Carla ai n't in! State your business! Make it interesting!</dialogue> <character>GOODSPEED</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Listen Carla : I'll explain later, but do n't come to San Francisco.</dialogue> <scene_description>CLOSE ON MASON , watching Goodspeed , picking up anything he can from the conversation .</scene_description> </scene> <scene> <stage_direction>INT. GOODSPEED'S APARTMENT - DAY</stage_direction> <scene_description>CARLA stands in the threshold of the apartment , watching the answering machine -</scene_description> <character>GOODSPEED</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( on the machine . )</parenthetical> <dialogue>I repeat, do n't come to San Francisco.</dialogue> <character>CARLA</character> <dialogue>Like hell I'm not.</dialogue> <scene_description>She exits , slamming the door .</scene_description> </scene> <scene> <stage_direction>INT. F.B.I. VAN - BACK COMPARTMENT - CONTINUOUS, GOODSPEED</stage_direction> <scene_description>clicks off the phone , thinking , nervous.GOODSPEED notices that MASON is staring at him .</scene_description> <character>MASON</character> <parenthetical>( sotto . )</parenthetical> <dialogue>Who's Carla? And why do n't you want her to come to San Francisco?</dialogue> <scene_description>GOODSPEED does n't answer . He notices the F.B.I. AGENTS staring at Mason and him . He straightens up .</scene_description> <character>GOODSPEED</character> <dialogue>You're on a need to know basis and you do n't need to know.</dialogue> <character>MASON</character> <dialogue>You learn that line in Cub Scouts, Goodspeed?</dialogue> <scene_description>The van STOPS : the rear doors open to the FAIRMONT HOTEL SERVICE ENTRANCE .</scene_description> </scene> <scene> <stage_direction>INT. FAIRMONT HOTEL - PENTHOUSE SUITE - DAY Top floor suite with a</stage_direction> <scene_description>private elevator . Grand , with French doors leading to a balcony . Director Womack , GOODSPEED and F.B.I.Agents Star and Hunt are in the room . Jackets off , shoulder holsters on .</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>I personally picked this suite.</dialogue> <parenthetical>( points at elevator . )</parenthetical> <dialogue>Only one exit.</dialogue> <scene_description>IN THE SUITE 'S BATHROOM Steamy , from the shower . F.B.I. Agent Cord sits on the sink . MASON 'S VOICE emanates from the shower . He 's singing some ditty off - key . But MASON is n't washing . INSIDE THE SHOWER STALL - Mason 's tampering with the BELL HOUSING of THE RETRACTABLE CLOTHESLINE on the shower wall . MASON pops off the bell - housing . he pulls out the nylon clothesline cord -LRB- it 's thick , about 10 ft. -RRB- and rips it from the bell housing . Tests its strength . Satisfied , he knots A NOOSE on one end of the clothesline cord , then coils . IN THE BATHROOM - MASON emerges from the shower wearing a huge hotel bathrobe . Cord hands him a SUIT OF CLOTHES . MASON inspects them .</scene_description> <character>MARSHAL CORD</character> <dialogue>Put'em on. You've got forty - five minutes.</dialogue> <character>MASON</character> <dialogue>You going to stand there and watch?</dialogue> <character>MARSHAL CORD</character> <dialogue>That's right.</dialogue> <character>MASON</character> <dialogue>well if it excites - you.</dialogue> <character>MARSHAL CORD</character> <dialogue>Put the goddamn clothes on.</dialogue> <scene_description>IN THE SUITE 'S LIVING ROOM Womack is dumping the contents of a BARBER 'S BAG on the sideboard . Hands THE HOTEL BARBER , a swishy guy , a COMB , ELECTRIC TRIMMER and BIB . The BARBER frowns .</scene_description> <character>BARBER</character> <dialogue>I ca n't do a decent job with these.</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>That's all you get.</dialogue> <character>BARBER</character> <dialogue>I'm an artist, not a barber.</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <parenthetical>( holds up scissors . )</parenthetical> <dialogue>without these he ca n't stab you in the throat.</dialogue> <scene_description>MASON , dressed , emerges from the bathroom . Motions the barber toward the balcony .</scene_description> <character>MASON</character> <dialogue>Shall we do this outside? In the sunshine?</dialogue> <scene_description>The barber gulps . Follows MASON onto the balcony . ON THE SUITE 'S BALCONY MASON sits in the sun on a balcony chair . Bib on .</scene_description> <character>BARBER</character> <dialogue>How would you like it sir?</dialogue> <character>MASON</character> <dialogue>whatever's in style.</dialogue> <character>BARBER</character> <dialogue>oh fabulous. You look shabby. Shall I snip and cut the shabbiness away?</dialogue> <scene_description>The barber begins trimming Mason 's hair . THE BALCONY - SOME MINUTES LATER Mason 's hair and beard are neatly trimmed . The barber holds a mirror up ; MASON examines himself .</scene_description> <character>MASON</character> <dialogue>Good. Thank - you.</dialogue> <scene_description>The barber stands . Clears his throat . Rubs his thumb and forefinger together .</scene_description> <character>MASON</character> <dialogue>Yes of course. My secretary will take care of you. -.</dialogue> <parenthetical>( to Agent Star . )</parenthetical> <dialogue>See to the good man will you?</dialogue> <scene_description>Agent Star , glaring at Mason , leads the Barber out .</scene_description> <character>MASON</character> <dialogue>What say we bury the hatchet, Womack.</dialogue> <scene_description>MASON extends his hand . Womack looks at it . As Womack reluctantly takes Mason 's hand , MASON slides the noose over Womack 's wrist . He yanks it tight and shoulders director womack bodily over the balustrade .</scene_description> <character>MASON</character> <dialogue>In your head.</dialogue> <scene_description>Womack plunges , HOWLING , 9 stories to his death . No , he only falls 10 feet . SPROOOOOING he stops , hanging by his wrist off the side of the building , held there by - - MASON on the balcony , clutching the other end of the nylon clothesline , staring at Goodspeed .</scene_description> <character>GOODSPEED</character> <dialogue>Jesus. JESUS CHRIST.</dialogue> <scene_description>GOODSPEED fumbles for his gun . Finally unholsters it . DIRECTOR WOMACK , hanging below , is SCREAMING .</scene_description> <character>MASON</character> <dialogue>- Drop the gun or I'll drop your boss.</dialogue> </scene> <scene> <stage_direction>EXT. FAIRMONT HOTEL - ACROSS THE STREET - DAY Two F.B.I. AGENTS,</stage_direction> <scene_description>loitering by their vehicle , look up at WOMACK , dangling off the side of the building .</scene_description> <character>F.B.I. AGENT</character> <dialogue>Holy shit, we got a jumper.</dialogue> <scene_description>F.B.I. AGENT 2 raises binoculars to his eyes .</scene_description> <character>F.B.I. AGENT 2</character> <dialogue>Looks like. Womack!</dialogue> <scene_description>ENT . FAIRMONT HOTEL - PENTHOUSE SUITE - DAY MASON and GOODSPEED as before .</scene_description> <character>MASON</character> <dialogue>Whoops. I'm feeling tired. Whoops. MASON lets Womack drop a foot. Womack SCREAMS! GOODSPEED drops his gun and grabs the clothesline. MASON bolts from the balcony into the suitels library.</dialogue> <scene_description>AGENT STAR sprints onto the balcony . Star and GOODSPEED begin hauling Womack up as - . MASON steals through the suite , through the vestibule , and into the elevator . ON THE BALCONY - Agent Star and GOODSPEED hoist Directory Womack , red - faced and sputtering , over the railing . GOODSPEED grabs Star 's walkie - talkie .</scene_description> <character>GOODSPEED</character> <dialogue>All units, this is Caretaker. WE'VE GOT A SIGNAL SIX. Mason's in the elevator! Let me know where he stops!</dialogue> </scene> <scene> <stage_direction>INT. FAIRMONT HOTEL - BASEMENT - HOTEL KITCHEN - DAY</stage_direction> <scene_description>MASON exits the elevator . The kitchen is bustling with COOKS AND BUSBOYS . MASON moves toward the side exit . Two F.B.I. AGENTS enter . MASON ducks into the dishwashing room . Waits for the Agents to run past . MASON emerges , running right into . GOODSPEED . WHAMM . MASON 'S FIST slams into Goodspeed 's jaw . GOODSPEED goes down on the huge dishwasher . MASON moves off quickly toward the side exit .</scene_description> </scene> <scene> <stage_direction>EXT. FAIRMONT HOTEL - SIDE EXIT - DAY</stage_direction> <scene_description>MASON exits the hotel . 20 feet away is the PARKING VALET . 10 incredibly fast expensive European cars are waiting to be parked . First in line , however , is a HUMVEE .</scene_description> </scene> <scene> <stage_direction>EXT. FAIRMONT HOTEL - SIDE EXIT - DAY</stage_direction> <character>GOODSPEED</character> <dialogue /> <scene_description>exits , looking at MASON getting into the HUMVEE . The Humvee explodes out of the hotel driveway . GOODSPEED shouts to the F.B.I. AGENTS across the street :</scene_description> <character>GOODSPEED</character> <dialogue>That's him!</dialogue> <scene_description>The F.B.I. SEDANS ROAR off after Mason . GOODSPEED looks around . A Ferrari sitting there . GOODSPEED gets behind the wheel . THE FERRARI blasts out of the driveway after the Humvee .</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO - STREETS - DAY The HUMVEE lumbers up to a traffic</stage_direction> <scene_description>light . Stops behind several vehicles ahead .</scene_description> </scene> <scene> <stage_direction>INT. MASON'S CAR - DRIVING - DAY MASON</stage_direction> <scene_description>looks - up in the rear view mirror . The F.B.I. SEDANS are behind him , closing fast . MASON rams the stickshift into gear ; throws the wheel .</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREET - DAY MASON'S HUMVEE veers to the side and</stage_direction> <scene_description>CLIMBS OVER a parked , day - glow painted VW BEETLE , squashing it 's hood . The Humvee ROARS through the intersection , leaving - The F.B.I. SEDANS and GOODSPEED 'S FERRARI trapped at the light behind the other cars .</scene_description> </scene> <scene> <stage_direction>EXT. THE STREET AHEAD - DAY MASON'S HUMVEE plows through traffic,</stage_direction> <scene_description>hitting the left and right bumpers of the cars in front of it , knocking them aside . It blows through ten cars like ten - pins . GOODSPEED 'S FERRARI slaloms through the Humvee 's wake of dented cars and accelerates after the Humvee . TWO POLICE PATROLMEN scramble into their cruisers , throwing on the CHERRY TOP LIGHTS . The CRUISERS charge after the Humvee and the Ferrari .</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREETS (HILL #1) - DAY THE HUMVEE is accelerating</stage_direction> <scene_description>up a very steep hill . ' 100 yards down the hill , the TWO S.F. POLICE CRUISERS , the F.B.I. sedans , and GOODSPEED 'S FERRARI , all race after it .</scene_description> </scene> <scene> <stage_direction>INT. MASON'S HUMVEE - DAY</stage_direction> <scene_description>MASON has the radio on . A NEWSFLASH is broadcast :</scene_description> <character>RADIO NEWSMAN</character> <dialogue>This just in : More than twenty highway patrolmen are involved in a highspeed chase on Van Ness Boulevard, north of Trocadero.</dialogue> <scene_description>MASON looks at Humvee 's CELLULAR PHONE . Grabs it . Studies it . He 's never used one before .</scene_description> <character>MASON</character> <dialogue>Modern conveniences. Cheers.</dialogue> <parenthetical>( punches numbers . )</parenthetical> <dialogue>San Francisco. Jade Angelou. That's A. n. g. e. l.</dialogue> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREETS (HILL #1) - DAY AT THE INTERSECTION - THE</stage_direction> <scene_description>TRAFFIC LIGHT is red . A SPARKLETTS WATER TRUCK proceeds into the intersection . 103 INT . MASON 'S CAR - DRIVING - DAY MASON runs the red light . The Sparkletts truck is in the intersection . MASON violently throws the wheel . The Humvee swerves to avoid the Sparkletts truck -</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREETS (TOP OF HILL #1) ~ DAY -- but doesn't make</stage_direction> <scene_description>it . Mason 's Humvee SLAMS into the Sparkletts truck 's BACK END , knocking it sideways . The HUMVEE blasts through the intersection as - 70 WATER BOTTLES -LRB- 5 gallon each -RRB- tumble off the Sparkletts truck . The bottles roll down the hill , gaining speed . 104A INT . MASON 'S HUMVEE ~ DAY the call connects .</scene_description> <character>JADE ANGELOU</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hello?</dialogue> <character>MASON</character> <dialogue>Is this Jade Angelou?</dialogue> <character>JADE ANGELOU</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yes. Who is this?</dialogue> <character>MASON</character> <dialogue>John Mason.</dialogue> <parenthetical>( lengthy pause . )</parenthetical> <dialogue>Do n't be shocked. I do n't have much time. Please listen carefully.</dialogue> </scene> <scene> <stage_direction>INT. GOODSPEED'S FERRARI - DAY</stage_direction> <character>GOODSPEED</character> <dialogue>Where is he sir? RIGHT IN FRONT OF ME. What's he doing? HE'S ON THE PHONE. I DO N'T FUCKING KNOW, HIS STOCKBROKER! Oh shit. Got ta go.</dialogue> <scene_description>GOODSPEED looks at SPARKLETTS BOTTLES bearing down on him</scene_description> </scene> <scene> <stage_direction>INT. S.F. POLICE CRUISER - DAY Two S.F. PATROLMEN. Their eyes widen</stage_direction> <scene_description>too as - THE SPARKLETTS BOTTLES are bouncing now , roll down on them at 45 m.p.h. . A BOTTLE SMASHES through the windshield , showering the Patrolmen with glass .</scene_description> </scene> <scene> <stage_direction>EXT. SAN FPANCISCO STPEETS - (MIDWAY UP HILL #1) - DAY Chaos. Bottle</stage_direction> <scene_description>after bottle smashes down on the - front - running vehicles . DENTING HOODS . SMASHING WINDSHIELDS . THREE F.B.I. SEDANS and GOODSPEED 'S FERRARI negotiate the crashing cars . They race through the carnage after Mason .</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREETS -. (HILL #2) - DAY</stage_direction> <scene_description>MASON 'S HUMVEE explodes over the crest of a hill at 90 m.p.h. and soars . A beat , then - THE F.B.I. SEDANS , followed by GOODSPEED 'S FERRARI soar over the crest of the hill .</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREETS - (BOTTOM OF HILL #2) - DAY At the</stage_direction> <scene_description>intersection here , TWO S.F. ROAD WORKERS are sliding a STEEL PLATE over a 6 ft. deep ditch cut in the asphalt -LRB- for a water main or equivalent -RRB- . The Road Workers , hearing the WAIL OF MASON 'S HUMVEE , look up and dive away just at THE HUMVEE blasts over he steel plate , dislodging it from its positioning . It TEETERS on the lip of the ditch . THE F.B.I. SEDAN hits the teetering steel plate , which collapses - causing the sedan to be swallowed up halfway into the ditch , it 's rear end sticking up in the air . Seconds pass , then - THE SECOND F.B.I. SEDAN SLAMS into the frontrunning SEDAN 'S . EXPOSED UNDERCARRIAGE . Both vehicles are obliterated . GOODSPEED 'S FERRARI , in the most hair - raising slide ever filmed , veers and misses the mangled F.B.I. sedans . Now it 's just MASON and GOODSPEED and CUT TO :</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREETS - (TOP OF HILL #3) - DAY</stage_direction> <scene_description>MASON 'S HUMVEE , with GOODSPEED 'S FERRARI close behind , races down a street on the crest of a hill . IN THE INTERSECTION AHEAD - A CABLE CAR is turning down the hill . Mason 's Humvee also turns down the hill , but as the Humvee rounds the corner - AN OLD WOMAN starts crossing the street . MASON throws the wheel swerving to avoid her , and - - THE HUMVEEIS BUMPER catches the BACK OF THE CABLE CAR , dislodging its rear steel wheels from the CABLE CAR TPACKS . With the front wheels still lodged in the tracks , the cable car becrins to slide sideways . GOODSPEED 'S FERRARI clears the cable car 's sliding back end and sprints after Mason 's Humvee .</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREETS - MIDWAY DOWN HILL #3 - DAY</stage_direction> <scene_description>the Humvee and Ferrari blast down the hill . The street is thick with vehicular traffic . So THE HUMVEE swerves , leaving the street . onto the sidewalk . Where . SNAP SNAP SNAP it knocks down every parking meter , then hits A LADDER in a cordoned off area . On the ladder , a LINEMAN is fixing a MUNICIPAL POWER LINE . The ladder collapses ; THE LINEMAN falls , flailing through the air . GOODSPEED slams on the brakes . The Ferrari spins 180 degrees and lurches to a stop facing uphill .</scene_description> </scene> <scene> <stage_direction>INT. GOODSPEED'S FERRARI - DAY THE AIR BAG'S exploded in Goodspeed's</stage_direction> <scene_description>face . GOODSPEED Shit shit SHIT SHIT .</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREETS - MIDWAY DOWN HILL #3 - DAY</stage_direction> <scene_description>GOODSPEED looks up the hill . GOODSPEED 'S EYES bug . GOODSPEED 'S POV - THE CABLE CAR is still sliding down the hill sideways . THE SLIDING CABLE CAR , its wheels SPEWING SPARKS down the hill . The LAST PASSENGER dives . it 's now empty and sliding straight for Goodspeed 's Ferrari .</scene_description> </scene> <scene> <stage_direction>INT. GOODSPEED'S FERRARI - DAY</stage_direction> <scene_description>GOODSPEED grabs the Ferrarils CELLULAR PHONE and tries the door latch . The goddamn airbac is all over him . So GOODSPEED shoots the fucking air bag .</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREETS - (BOTTOM OF HILL 33) - DAY</stage_direction> <scene_description>THE TUMBLING CABLE CAR hits the Toyotals rear . The Toyotals gas tank EXPLODES , lifting the cable car . The Ferrarils door flies open . GOODSPEED dives away as - - THE CABLE CAR , aflame , cartwheels in mid - air and lands with a WHUMP on the FERRARI , crushing it like a tin - can . GOODSPEED , dazed , wheels away from the wreck , shielding his eyes from the smoke and fire . A YOUNG KID ON A MOTORCYCLE rolls up . MOTORCYCLE KID You just fucked up your Ferrari , man .</scene_description> <character>GOODSPEED</character> <dialogue>It's not mine.</dialogue> <character>MOTORCYCLE KID</character> <dialogue>Way cool.</dialogue> <parenthetical>( smiles . )</parenthetical> <dialogue /> <character>GOODSPEED</character> <dialogue>Neither is this.</dialogue> <scene_description>GOODSPEED shoves the kid off the Motorcycle . Speeds off into traffic . The kid stands there dumbstruck .</scene_description> </scene> <scene> <stage_direction>EXT. STREETS OF SAN FRANCISCO - DAY</stage_direction> <scene_description>Goodspeed , driving through traffic on the kid , s motorcycle , flips open the cell phone . Punches numbers .</scene_description> </scene> <scene> <stage_direction>INT. F.B.I. OFFICE - CHEMICAL/BIOLOGICAL DIVISION, FT. DIETRICK, MARYLAND - DAY</stage_direction> <scene_description>Marvin Isherwood is enjoying another thrilling day . he grabs for the RINGING PHONE .</scene_description> <character>ISHERWOOD</character> <dialogue>Chem weapons. Isherwood.</dialogue> <character>GOODSPEED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Marvin, ring up Wolfburg Federal Pen. The inmate is Mason, John.</dialogue> <scene_description>Isherwood gets on the computer . Starts tapping . INTER CUT - MARVIN IN THE LAB / GOODSPEED ON MOTORCYCLE</scene_description> <character>ISHERWOOD</character> <dialogue>Wolfburg, got it. Masconi, Magrane, Masters. No MASON in Wolfburg, Bill, is this arelative of yours?</dialogue> <character>GOODSPEED</character> <dialogue>NOT NOW Isherwood. Go to February 1976. Who was transferred to Wolfburg from San Quentin that year?</dialogue> <character>ISHERWOOD</character> <dialogue>Two guys. Joseph Wainwright, and a. they do n't have a name, just `` inmate 9999?''</dialogue> <character>GOODSPEED</character> <dialogue>Hit nine nine nine nine.</dialogue> <character>ISHERWOOD</character> <dialogue>This is weird. They got medical records, place of birth - Glasgow? but no name. Wait a minute, there's a next of kin. Jade Angelou of 32 Stenson Drive, San Francisco. Bill did you, like, fuck something up? Bill? Bill?</dialogue> <scene_description>GOODSPEED ROARS off on the motorcycle and CUT TO :</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO - 32 STENSON DRIVE - DAY A single family house.</stage_direction> <scene_description>Across the street - GOODSPEED watches the house . The door opens . JADE ANGELOU exits . She 's 19 , tall , pretty , purposeful .</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO - PIAZZA DES ARTES - DAY MASON</stage_direction> <scene_description>stands next to a massive column , writing on a piece of paper : `` ST. MICHAEL 'S CHURCH , FORT WALTON , KANSAS . FRONT PEW . RIGHT LEG . HOLLOW . '' ACROSS THE PARK - JADE ANGELOU enters a city park with a rotunda of classical design . A walk - way under massive Corinthian columns . She moves through the rotunda . MASON sees her . He steps behind the column as she passes . There is a moment of indecision . MASON looks at THE PIECE OF PAPER in his hand .</scene_description> <character>MASON</character> <dialogue>Jade.</dialogue> <scene_description>Jade Angelou stops cold . Slow - ly turns . And regards Mason . ACROSS THE ROTUNDA - GOODSPEED sees MASON and Jade . he stealthily moves toward them . BY THE COLUMN - MASON AND JADE Jade approaches MASON tentatively . He is stunned by her . By her beauty , her bearing , her likeness to ` him .</scene_description> <character>MASON</character> <dialogue>Hello. Yes. It's me.</dialogue> <character>JADE</character> <dialogue>I uhm. I'm not quite sure what to say. This is all a bit much.</dialogue> <scene_description>Several POLICE CARS ROAR past , sirens BLARING . MASON pockets the PIECE OF PAPER .</scene_description> <character>MASON</character> <dialogue>Let's uhm. let's walk a ways.</dialogue> <scene_description>They walk off next to a TALL HEDGE . GOODSPEED follows on the other side of the hedge . INTERCUT between MASON and Jade , and Goodspeed eavesdropping . GOODSPEED pulls out his cellular phone , begins punching numbers .</scene_description> <character>JADE</character> <dialogue>So how long have you been out?</dialogue> <character>MASON</character> <dialogue>A while.</dialogue> <character>JADE</character> <dialogue>A while. And you did n't call? You are free now, right?</dialogue> <character>MASON</character> <dialogue>I'm here with you, are n't I?</dialogue> <character>JADE</character> <dialogue>Why now? I mean why today.</dialogue> <character>MASON</character> <dialogue>I was driving through San Francisco. I decided it was time.</dialogue> <character>JADE</character> <dialogue>Well there's not a lot I know about you other than you escaped from San Quentin, had a four day affair with my mother, and I'm the result. You can imagine I'm pretty confused.</dialogue> <character>MASON</character> <dialogue>I tried to explain in my letters.</dialogue> <character>JADE</character> <dialogue>Ahh. Your letters. They were n't very easy to follow.</dialogue> <scene_description>She fishes in her pocket . Pulls out A LETTER . WHOLE SECTIONS OF THE LETTER have been scissored out . Mason . frowns .</scene_description> <character>MASON</character> <dialogue>I see.</dialogue> <parenthetical>( grumbles . )</parenthetical> <dialogue>Bloody prison censors.</dialogue> <character>JADE</character> <dialogue>How about explaining now?</dialogue> <scene_description>In the b.g. we HEAR POLICE SIRENS . MASON looks around .</scene_description> <character>MASON</character> <dialogue>Maybe this is n't the best time.</dialogue> <parenthetical>( off her look . )</parenthetical> <dialogue>Jade. Here sitdown.</dialogue> <scene_description>MASON and Jade sit on a bench . MORE SIRENS in the b. 9 . MASON looks off nervously .</scene_description> <character>MASON</character> <dialogue>All will be explained. You must trust me on this. Someday very soon, after I get a few things settled, I will come back for you. What I need to know is : do you want me in your life?</dialogue> <character>JADE</character> <dialogue>How can I answer that? I do n't know if we can. after 19 years, just start like that.</dialogue> <character>MASON</character> <dialogue>We are the same blood.</dialogue> <character>JADE</character> <dialogue>But I do n't know you.</dialogue> <character>MASON</character> <dialogue>where to begin.</dialogue> <parenthetical>( sighs . )</parenthetical> <dialogue>My name is John Paul Mason. I'm Scottish. I attended Dartmouth Naval College. My favorite color is green. I like books. I like a good joke. At one time I shot a pretty fair round of golf. I'm in my 60's and I've been in jail half my life.</dialogue> <parenthetical>( Jade looks away . )</parenthetical> <dialogue>Maybe it's better I go.</dialogue> <scene_description>She smiles . Puts her hands on his .</scene_description> <character>JADE</character> <dialogue>No. You're doing okay.</dialogue> <scene_description>Police sirens BLARE . And the entire park.is suddenly surrounded by F.B.I. AND POLICE VEHICLES .</scene_description> <character>JADE</character> <dialogue>You lied to me.</dialogue> <scene_description>GOODSPEED approaches . MASON makes no attempt to move . Jade turns to him .</scene_description> <character>GOODSPEED</character> <parenthetical>( flashes his I.D . )</parenthetical> <dialogue>F.B.I. miss. Your father is working with us. He's helping us resolve a.</dialogue> <parenthetical>( looks at Mason . )</parenthetical> <dialogue>. dangerous situation.</dialogue> <character>JADE</character> <dialogue>He is?</dialogue> <character>GOODSPEED</character> <dialogue>Yes madam. We've got to go, John.</dialogue> <scene_description>MASON extends his hand to Jade . She takes it .</scene_description> <character>MASON</character> <dialogue>Jade - remember what I said.</dialogue> <scene_description>They hug . Then MASON walks off with GOODSPEED and - - Jade opens her hand , revealing the PIECE OF PAPER upon which Mason wrote his instructions . ACROSS THE PARK - F.B.I. AGENTS STAR and CORD run up .</scene_description> <character>GOODSPEED</character> <parenthetical>( sharply . )</parenthetical> <dialogue>No cuffs until we get to the cars,</dialogue> <scene_description>They continue toward the waiting cars .</scene_description> <character>MASON</character> <dialogue>You surprise me, Goodspeed. Now I'm going to surprise myself : thank - you, you could have handled that differently.</dialogue> <character>GOODSPEED</character> <parenthetical>( tight . )</parenthetical> <dialogue>You almost got me killed. Twice.</dialogue> <character>MASON</character> <dialogue>Hows your jaw?</dialogue> <scene_description>GOODSPEED wheels on MASON and swings . SNATCH . MASON catches Goodspeed 's fist . Three inches from his face .</scene_description> <character>GOODSPEED</character> <dialogue>It hurts.</dialogue> <scene_description>SANCHEZ , DIRECTOR WOMACK and the F.B.I. AGENTS approach . Womack 's arm is in a sling ; he 's in a volcanic rage .</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>You cocksucker you dislocated my shoulder and cost the city of San Francisco ten million dollars. You try to escape again and Agent Chaney here will break your legs.</dialogue> <scene_description>AGENT CHANEY , large and mean , comes to Mason 's side .</scene_description> <character>MASON</character> <dialogue>Pleased to meet you.</dialogue> </scene> <scene> <stage_direction>INT. PIER 39 - F.B.I. COMMAND CENTER - DAY Night is falling. A large</stage_direction> <scene_description>warehouse room with windows looking out to Alcatraz Island . Looks like N.A.S.A. . AT A RECTANGULAR TABLE - MASON sits at the head of the table 122 in front of a SCALE MODEL OF ALCATRAZ . COMMANDER ANDERSON and ten NAVY S.E.A.L.s look toward Mason . Anderson is agitated , staring at Mason .</scene_description> <character>COMMANDER ANDERSON</character> <dialogue>Okay, one more time : down this second fork fifty - seven paces to a septic chamber. Turn left at the water pump, then forty - two paces to the prison showers.</dialogue> <character>MASON</character> <dialogue>No. Forty - two paces to the septic chamber. Fifty - seven to the showers.</dialogue> <character>COMMANDER ANDERSON</character> <parenthetical>( pointedly . )</parenthetical> <dialogue>That's not what you said three minutes ago.</dialogue> <character>MASON</character> <parenthetical>( innocently . )</parenthetical> <dialogue>It's not?</dialogue> <character>COMMANDER ANDERSON</character> <parenthetical>( dagger stare at Mason . )</parenthetical> <dialogue>Excuse me.</dialogue> <parenthetical>( rises . )</parenthetical> <dialogue>Womack.</dialogue> <scene_description>Womack follows Anderson aside . They confer heatedly .</scene_description> <character>COMMANDER ANDERSON</character> <dialogue>I ask for someone with knowledge of the island's tunnels. you give me a fuckin, convict who wants to play `` twenty questions.''</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>He knows every inch of those tunnels, Commander.</dialogue> <character>COMMANDER ANDERSON</character> <dialogue>Then he's keeping it to himself. He's fucking with me and I do n't have the time.</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <parenthetical>( pause ; he thinks . )</parenthetical> <dialogue>What if he went with you?</dialogue> <character>COMMANDER ANDERSON</character> <dialogue>Out of the question. He'll endanger the mission - he'll endanger my men. He's a security risk. Who says he wo n't bolt as soon as we turn our backs on him?</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>I'll handle that. Chaney.</dialogue> <scene_description>The hulking Chaney escorts MASON over .</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>You're not cooperating, John. Maybe this will help. I'm sure you're curious about what's happening on Alcatraz.</dialogue> <parenthetical>( no response . )</parenthetical> <dialogue>Twelve United States Marines - a terrorist rogue force - have seized it. They've aimed fifteen poison gas rockets at the city. Enough poison gas to kill every man, woman and child in San Francisco.</dialogue> <parenthetical>( smiles . )</parenthetical> <dialogue>Yes, John, including your daughter.</dialogue> <character>MASON</character> <dialogue>You son - of - fucking - Satan.</dialogue> <character>F.B.I. DIRECTOA WOMACK</character> <dialogue>Mr. MASON has a strong incentive to help us, Commander Anderson.</dialogue> <scene_description>MASON boils . Then springs at Womack . Chaney grabs Mason , headlocking him . So MASON knees Womack in the balls . Womack doubles over . Recovers , coughing .</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>Get him some gear. He's going to the Rock. Goodspeed!</dialogue> <scene_description>ACROSS THE ROOM - GOODSPEED looks up from a computer screen generating 3 - D images of different angles of a V.X. ROCKET . He walks over to the table . Anderson and the other S.E.A.L.s stare at him .</scene_description> <character>COMMANDER ANDERSON</character> <dialogue>The goal is to take out the launchers and neutralize the V.X.chem rounds, Goodspeed. Tell us what you know.</dialogue> <character>GOODSPEED</character> <dialogue>Well, the thermal imaging photos picked up the poison gas. Here. The prison morgue.</dialogue> <parenthetical>( points . )</parenthetical> <dialogue>It's probably being kept refrigerated. makes sense. V.X. gas begins to lose its toxicity at higher temperatures.</dialogue> <character>COMMANDER ANDERSON</character> <dialogue>Have you ever actually seen one of these devices?</dialogue> <character>GOODSPEED</character> <dialogue>No sir, but I've studied them.</dialogue> <character>COMMANDER ANDERSON</character> <parenthetical>( sarcastic . )</parenthetical> <dialogue>That's great, Goodspeed. You're in the Bureau, so you've had weapons training.</dialogue> <character>GOODSPEED</character> <dialogue>A little, sir.</dialogue> <character>COMMANDER ANDERSON</character> <dialogue>So you've never been in a combat situation.</dialogue> <character>GOODSPEED</character> <dialogue>No sir.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Should I begin the briefing on diffusing and detoxification sir?</dialogue> <character>COMMANDER ANDERSON</character> <dialogue>Wo n't be necessary.</dialogue> <character>GOODSPEED</character> <dialogue>Sir, these are very complicated devices.</dialogue> <character>COMMANDER ANDERSON</character> <dialogue>I know they are, Goodspeed. That's why you're going with us.</dialogue> <character>GOODSPEED</character> <dialogue>Sir?</dialogue> <character>COMMANDER ANDERSON</character> <parenthetical>( to S.E.A.L. Reigert . )</parenthetical> <dialogue>Get him some gear.</dialogue> <scene_description>MASON stares at Goodspeed .</scene_description> <character>MASON</character> <dialogue>Wait just a minute. This little twat's going to deal with the poison? He's gon na get us all fuckin' killed!</dialogue> <scene_description>MASON walks off muttering .</scene_description> </scene> <scene> <stage_direction>INT. PIER.39 COMMAND CENTER - BATHROOM - A MINUTE LATER</stage_direction> <scene_description>S.E.A.L. Dando stands at a urinal . GOODSPEED bursts in and lunges for another urinal . He vomits . Gags . Spits .</scene_description> <character>S.E.A.L. DANDO</character> <dialogue>Nice to meet you too.</dialogue> <scene_description>SANCHEZ enters .</scene_description> <character>SANCHEZ</character> <dialogue>You look like shit.</dialogue> <scene_description>GOODSPEED leans back against the wall .</scene_description> <character>GOODSPEED</character> <dialogue>Thank you.</dialogue> <character>SANCHEZ</character> <dialogue>You're not wimping out on us, Goodspeed.</dialogue> <character>GOODSPEED</character> <dialogue>I join the F.B.I. I ask for fieldwork. They say, `` Bill, you're too fucking smart for field work.'' Every year I put in for a transfer and every year I sit in that goddamn lab like the fucking Maytag repairman in the commercial. Then the call finally comes, and it's a whole fuckin, city at stake? Oh Jesus.</dialogue> <character>SANCHEZ</character> <dialogue>Chemical Weapons is n't a cakewalk, Goodspeed.</dialogue> <scene_description>GOODSPEED splashes cold water on his face .</scene_description> <character>GOODSPEED</character> <dialogue>I've got some bad news and some really bad news sir. Maybe the bad news is n't bad, maybe actually it's good.</dialogue> <character>SANCHEZ</character> <dialogue>Spit it out.</dialogue> <character>GOODSPEED</character> <dialogue>My girlfriend's pregnant.</dialogue> <character>SANCHEZ</character> <parenthetical>( pause . )</parenthetical> <dialogue>What's the really bad news.</dialogue> </scene> <scene> <stage_direction>INT. PIER 39 - OUTSIDE THE BATHROOM - DAY</stage_direction> <character>SANCHEZ</character> <parenthetical>( V. 0 . )</parenthetical> <dialogue>Goodspeed, GODDAMN IT.</dialogue> <scene_description>The door bursts open . Sanchez , veins bulging , exits , followed by Goodspeed .</scene_description> <character>SANCHEZ</character> <dialogue>Agent Cord, get over to the Pan Pacific Hotel and bring Goodspeed's girlfriend to this facility please!</dialogue> <scene_description>and CUT TO :</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - LOWER LIGHTHOUSE - SUNSET</stage_direction> <scene_description>Cpts . Darrow and Frye look out . the window at the Marine 's Command Center in the Infirmary .</scene_description> <character>CAPTAIN DARROW</character> <parenthetical>( mumbling . )</parenthetical> <dialogue>Seventeen hours left. What the fuck is he doing? How much time does it take to transfer money from one account.</dialogue> <character>CAPTAIN FRYE</character> <dialogue>Just a matter of time, buddy. The Pentagonlll cave and we'll be headin, south of the border a million dollars richer.</dialogue> </scene> <scene> <stage_direction>INT. ALCATRAZ - INFIRMARY COMMAND CENTER - SUNSET</stage_direction> <scene_description>Hummel sits at hisdesk . The phone RINGS .</scene_description> <character>HUMMEL</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Hummel.</dialogue> <character>SECURITY ADVISOR LOUIS LINDSTROM</character> <dialogue>Hello Frank, Lou Lindstrom. I'm in the oval office with General Kramer.</dialogue> <scene_description>INTERCUT - ALCATRAZ INFIRMARY / WHITE HOUSE OVAL OFFICE</scene_description> <character>GENERAL KRAMER</character> <dialogue>We're having some problems with the account transfer, Frank.</dialogue> <character>HUMMEL</character> <dialogue>Do n't tell me your problems, tell me your solutions.</dialogue> <character>GENERAL KRAMER</character> <dialogue>We've spoken to the President. He's not too happy about this.</dialogue> <scene_description>Chief of Staff Hayden Sinclair enters .</scene_description> <character>HUMMEL</character> <dialogue>Well he'd better give me a goddamn assurance.</dialogue> <character>HAYDEN SINCLAIR</character> <dialogue>The only thing the President will give you is a fair trial after you're caught, General.</dialogue> <character>HUMMEL</character> <dialogue>That you, Sinclair? What exactly do you do at the White House? Answer the presidential phone? Wash the presidential limousine? Are you his golf caddy, Sinclair?</dialogue> <character>HAYDEN SINCLAIR</character> <dialogue>Now you give me some coddamn respect, General.</dialogue> <character>HUMMEL</character> <dialogue>You want respect, you child, you coffee server? Let's talk about Dave Ridgeway.</dialogue> <character>GENERAL KRAMER</character> <dialogue>Who's Dave Ridgeway, Frank?</dialogue> <character>HUMMEL</character> <dialogue>A twenty - two year old marine tortured to death by a communist death squad in the El Salvadoran jungle. His mother and young wife were told by the Pentagon that he went A.W.O.L. Let's talk about the respect he got.</dialogue> <character>LOUIS LINDSTROM</character> <dialogue>This is going nowhere Frank.</dialogue> <character>HUMMEL</character> <dialogue>Then let me tell you what is : The most lethal poison gas known to man into San Franciscols business district. You have twelve hours to deliver the money or be prepared to reap the whirlwind, gentlemen.</dialogue> <scene_description>CLICK . National Security Advisor Lindstrom stares at the phone . Shakes his head .</scene_description> <character>LOUIS LINDSTROM</character> <dialogue>What's the word from Mojave?</dialogue> <character>GENERAL KRAMER</character> <dialogue>General Petersen can give us no definite assurance on the Willy Peter capability.</dialogue> <scene_description>The men stare grimly at each other .</scene_description> <character>LOUIS LINDSTROM</character> <dialogue>Greenlight the S.E.A.L. incursion.</dialogue> <scene_description>General Kramer picks up the phone and CUT TO :</scene_description> </scene> <scene> <stage_direction>EXT. NAVAL AIRSTRIP (INCURSION STAGING AREA) - DUSK- The INCURSION</stage_direction> <scene_description>STAGING AREA -LRB- a base in the S.F. vicinity -RRB- GOODSPEED and MASON , in black dry suits , join COMMANDER ANDERSON and nine other S.E.A.L.s. Four S.E.A.L.s will be identified : BOYER , REIGERT , DANDO , and SHEPHERD .</scene_description> <character>COMMANDER ANDERSON</character> <dialogue>Listen up, men. Mr. MASON here will run point for us. Lieutenant Shepherd will be attached to your hip, Mason. You breath, he breathes with you. Understand?</dialogue> <scene_description>LIEUTENANT SHEPHERD , young , laconic , nods at Mason .</scene_description> <character>COMMANDER ANDERSON</character> <dialogue>Shep, what's the status on the special operational gear for Mason.</dialogue> <character>S.E.A.L. SHEPHERD</character> <parenthetical>( hands over items . )</parenthetical> <dialogue>one aluminum fork and one quart of motor oil in a squeeze tube.</dialogue> <character>GOODSPEED</character> <dialogue>Motor oil?</dialogue> <character>MASON</character> <dialogue>For cottonmouth.</dialogue> <scene_description>GOODSPEED and the S.E.A.L.s exchange looks .</scene_description> <character>COMMANDER ANDERSON</character> <dialogue>GOODSPEED here's our specialist. We will cover him while he neutralizes the' chemical threat. If he does his job we'll launch flares and hold our position'till the cavalry comes. Make no mistake about it, gentlemen, we are going in against an entrenched force led by one hot - shit field commander. We are in the fight of our lives, I bullshit you not. Any questions? Let's move out.</dialogue> <scene_description>The move across the staging area to - A CH - 53 SEA STALLION and two HUEY COBRA ATTACK GUNSHIPS , their BLADES whipping with ferocity . S.E.A.L. SHEPHERD stands in the Sea Stallion 's door . The S.E.A.L.s board past him . Last are MASON and Goodspeed .</scene_description> <character>MASON</character> <dialogue>After you, ` lace.''</dialogue> <scene_description>GOODSPEED gives MASON a look and climbs in . Then Mason . Then Shepherd , who SLAMS the door shut . THE GROUND CREW waves red LIGHT SABRES : `` all clear . '' The Hueys and the Sea Stallion lift off .</scene_description> </scene> <scene> <stage_direction>INT. SEA STALLION - NIGHT</stage_direction> <scene_description>GOODSPEED and MASON sit with the S.E.A.L.s. Grim , determined faces . Not a word spoken .</scene_description> <character>COMMANDER ANDERSON</character> <dialogue>Activate mini - cams.</dialogue> <scene_description>Anderson , Boyer and the other S.E.A.L.s flip on TINY VIDEOCAMERAS mounted on their shoulders . A NAVAL MEDIC passes out SYRINGES OF ATROPINE in ANKLE SHFATHES .</scene_description> <character>NAVAL MEDIC</character> <dialogue>Atropine. Any contact with the gas, use it.</dialogue> <scene_description>Each S.E.A.L. takes one ; begins strapping it to ankle . GOODSPEED shakes his head , declining .</scene_description> <character>GOODSPEED</character> <dialogue>Uhn uhn. I hate needles.</dialogue> </scene> <scene> <stage_direction>INT. PIER 39 - MOBILE COMMUNICATIONS TRAILER - NIGHT</stage_direction> <scene_description>AT THE CONTROL PANEL - F.B.I. TECHNICIANS talk into headsets and watch a bank of MONITORS displaying : satellite pictures , thermographic images of Alcatraz , a computer bio of Hummel . SANCHEZ sits at the control panel wearing a headset . Director Womack paces behind him .</scene_description> <character>SANCHEZ</character> <dialogue>Mini - cams operational.</dialogue> <scene_description>OUTSIDE IN THE WAREHOUSE An F.B.I. SEDAN pulls in and parks . F.B.I. AGENT CORD gets out . carla sits in the back seat .</scene_description> <character>CARLA</character> <dialogue>Would you please tell me what is going on?</dialogue> <character>AGENT CORD</character> <dialogue>Ca n't do that, malam. Sorry.</dialogue> </scene> <scene> <stage_direction>EXT. SKIES OVER SAN FRANCISCO BAY - NIGHT</stage_direction> <scene_description>The Hueys and Sea Stallion fly in formation AT CAMERA . The Sea Stallion 's running lights suddenly BLINK OFF .</scene_description> </scene> <scene> <stage_direction>INT. SF.A STALLION - NIGHT</stage_direction> <scene_description>The two SEA STALLION PILOTS don NIGHT VISION GOGGLES . IN THE HOLD - THE S.E.A.L.s begin to prepare themselves ; checking their weapons combat wet - suits , and CLOSED CIRCUIT REBREATHER SCUBA TANKS . The S.E.A.L.s begin to don their scuba apparatus .</scene_description> <character>COMMANDER ANDERSON</character> <dialogue>You know what you're doing?</dialogue> <character>MASON</character> <dialogue>Yes. Little fancier than I'm used to.</dialogue> <scene_description>MASON examines the equipment . It 's more modern , but not foreign to him . He adjusts his depth and oxygen gauges . Goodspeed , having a hard time , watches Mason .</scene_description> </scene> <scene> <stage_direction>EXT. SKIES OVER SAN FRANCISCO BAY - NIGHT</stage_direction> <scene_description>THE HUEYS , 50 ft. from the water 's surface , SCREAM PAST CAMERA and bear down on Alcatraz . THE SEA STALLION , lagging behind the Hueys , BANKS RIGHT and peels away . It descends lower , below radar .</scene_description> </scene> <scene> <stage_direction>INT. PIER 39 COMMAND CENTER - NIGHT</stage_direction> <scene_description>The F.B.I. RADAR TECHNICIAN watches the RADAR SCREEN . Glowing BLIPS move toward Alcatraz . One BLIP vanishes . F.B.I. RADAR TECHNICIAN They 're off radar , headin ' ` round Treasure Island .</scene_description> </scene> <scene> <stage_direction>EXT. SKIES OVER TREASURE ISLAND - NIGHT</stage_direction> <scene_description>The Sea Stallion rounds Treasure Island and heads toward the rear of Alcatraz Island .</scene_description> </scene> <scene> <stage_direction>INT. SEA STALLION - NIGHT</stage_direction> <scene_description>The SEA STALLION PILOT turns to ANDERSON . SEA STALLION PILOT I got you to the strongest current in the Bay , Commander . You 're on your own from here .</scene_description> <character>COMMANDER ANDERSON</character> <dialogue>Prepare to deplore!</dialogue> <scene_description>CUT TO : A SERIES OF SHOTS . The S.E.A.L.s stand . Each checks the gear of the man in front of him . Straps tightened . Weapons checked . - IN THE REAR OF THE HOLD - FOUR S.E.A.L.s ready two high - tech 139B 3 - man submersibles called ` IS.D.U.sll -LRB- Seal Delivery Units -RRB- , also known as `` Seal Subs . '' MASON is ready to go , calm and steady , eyes forward . GOODSPEED 'S still behind . He has his scuba tanks shouldered , but he ca n't get the lst of the tricky cATcHEs on the shoulder harness secured . MASON reaches over and secures , with a METALLIC DLINK , the catch . Goodspeed , embarrassed , nods . AT THE BACK OF THE HOLD 139F SHEPHERD , with a nod , directs MASON to sit down on the S.D.U. behind S.E.A.L. BOYER , the S.D.U.ls driver . MASON does so . Chaney then sits behind Mason . S.E.A.L. Dando then begins buckling Shepherd and MASON onto the sled with harnesses -LRB- the unit 's version of a seat - belt . -RRB-</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO BAY (OFF ALCATRAZ) - NIGHT</stage_direction> <scene_description>The Sea Stallion hovers 15 ft. from the surface . The BELLY DOOR opens . COMMANDER ANDERSON leans out , inspecting the drop area . he hand - signals to - - S.E.A.L. DANDO , reading the two S.D.U.s. GOODSPEED sits on the SECOND S.D.U. behind S.E.A.L. REIGERT . S.E.A.L. Dando begins buckling in Goodspeed .</scene_description> <character>GOODSPEED</character> <dialogue>Wait a minute.</dialogue> <parenthetical>( Dando stops buckling . )</parenthetical> <dialogue>What if this thing crashes.</dialogue> <scene_description>Dando looks at Reigert . They laugh . This remark they obviously find very funny . Dando continues buckling GOODSPEED in .</scene_description> <character>MASON</character> <dialogue>Smile Goodspeed. Live a little. Life is short. especially yours.</dialogue> <scene_description>And the S.D.U.ls are released , rolling out of the Sea Stallion on a set of tracks , SPLASHING DOWN into -</scene_description> </scene> <scene> <stage_direction>EXT. UNDERWATER - NIGHT</stage_direction> <scene_description>- the bay here . The S.D.U.s ' XENON headlamps come on .</scene_description> </scene> <scene> <stage_direction>EXT. THE SEA STALLION - DOORWAY - NIGHT</stage_direction> <scene_description>The rest of the S.E.A.L.s , carrying equipment and single man mini - S.D.U. units , jump from the Sea Stallion one by one .</scene_description> </scene> <scene> <stage_direction>EXT. UNDERWATER - NIGHT</stage_direction> <scene_description>The three - man and single S.D.U.s head toward Alcatraz , passing ABOVE CAMERA .</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - LOWER LIGHTHOUSE - NIGHT</stage_direction> <scene_description>THE SEARCHLIGHT atop the lower lighthouse scans the bay , back and forth . It fixes on something .</scene_description> </scene> <scene> <stage_direction>INT. ALCATRAZ - LOWER LIGHTHOUSE - NIGHT</stage_direction> <scene_description>Hummel and Baxter watch from the window . Captain Fryels voice emanates from the walkie - talkie .</scene_description> <character>CAPTAIN FRYE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Something on radar, sir. Two Hueys in standard formation, due east and approaching.</dialogue> <scene_description>Hummel raises binoculars . Scans the bay . HUMMEL 'S POV - THROUGH BINOCULARS - THE HUEYS AND SEA STALLION , flying low , SCREAM toward the island . BACK TO SCENE - HUMMEL lowers the binoculars , clicks on his walkie - talkie .</scene_description> <character>BAXTER</character> <dialogue>Decoy?</dialogue> <character>HUMMEL</character> <dialogue>Royce, Scarpetti, Gamble, Starling : get to the west end of the island on the double. Think we have visitors.</dialogue> </scene> <scene> <stage_direction>EXT. ALCATRAZ - WATER TOWER - ALLEY - NIGHT</stage_direction> <scene_description>Pvt. Royce clicks off his walkie - talkie .</scene_description> <character>ROYCE</character> <dialogue>You heard the man, let's move it.</dialogue> <scene_description>Pvts . Royce , Scarpetti , Gamble and.Starling race off .</scene_description> </scene> <scene> <stage_direction>EXT. UNDERWATER - NIGHT The S.E.A.L.s, pulled by their S.D.U.s, WHOOSH</stage_direction> <scene_description>past camera . The S.D.U.s lights dim the FLUORESCENT GREEN . CLOSE - UP on BOYER , the three - man S.D.U.ls driver , intense , determined . CLOSE - UP on Boyer 's fluorescent green INSTRUMENT PANEL charting their approach to the island . They 've drawn close to the island . ' COMMANDER ANDERS6N swings an UNDERWATER SPOTLIGHT , which reveals - A LARGE WATER INTAKE PIPE jutting out from the Island 's bedrock , 7 ft. in diameter , covered by a GRATE thick with rust , barnacles and seaweed . There 's a SMALL JAGGED HOLE , presumably through which MASON escaped 33 years earlier .</scene_description> </scene> <scene> <stage_direction>EXT. UNDERWATER - POWER P. INTAKE PIPE - NIGHT The S.E.A.L.s cast</stage_direction> <scene_description>off the S.D.U.s and direct their GREEN FLUORESCENT SPOTLIGHTS inside the hole in the grate . MASON stares at the hole . COMMANDER ANDERSON nods to Mason : `` lead the way . '' MASON does so . Enters the pipe . one by one , the S.E.A.L.s and GOODSPEED follow MASON in .</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - SHORELINE NEAR POWER PLANT - NIGHT</stage_direction> <scene_description>Pvts . Royce , Scarpetti , Gamble and Starling walk the shoreline , peering into the black water .</scene_description> <character>ROYCE</character> <dialogue>Looks all clear, sir.</dialogue> </scene> <scene> <stage_direction>INT. ALCATRAZ - INFIRMARY COMMAND CENTER - NIGHT</stage_direction> <scene_description>Baxter turns to Hummel :</scene_description> <character>BAXTER</character> <dialogue>Nothing.</dialogue> <character>HUMMEL</character> <dialogue>Tell'em to stay out there.</dialogue> </scene> <scene> <stage_direction>INT. ALCATRAZ - SUBTERRANEAN POWER PLANT - NIGHT</stage_direction> <scene_description>A large subterranean room under the island 's . power plant . ... large WOODEN CISTERN in the middle . The S.E.A.L.s emerge in the cistern and climb out . The room . has one exit , sealed with a HEAVY IRON door .</scene_description> <character>COMMANDER ANDERSON</character> <dialogue>Thank - you very fucking much, Mr. Mason, you've led us to a room with no exit.</dialogue> <character>S.E.A.L. BOYER</character> <dialogue>Skipper, blow it or burn it?</dialogue> <character>COMMANDER ANDERSON</character> <dialogue>No time for the torch. Explosives'll bring the fucking world down on us.</dialogue> <parenthetical>( turns to Mason . )</parenthetical> <dialogue>An idea, please, we're tight on time.</dialogue> <character>MASON</character> <dialogue>Wait for me to unlock the door.</dialogue> <character>COMMANDER ANDERSON</character> <dialogue>You do not look like Jesus Christ, Mr. Mason, so I'm having a hard time how you're going to accomplish that.</dialogue> <character>MASON</character> <parenthetical>( points . )</parenthetical> <dialogue>Under there.</dialogue> <scene_description>UNDERNEATH THE STEAM ENGINE is a tiny crawl space . 10 STEAM RELEASE VALVES periodically emit BURSTS OF STEAM .</scene_description> <character>COMMANDER ANDERSON</character> <dialogue>You are shitting me. You catch one of those steam bursts and you're a corpse.</dialogue> <character>MASON</character> <dialogue>True.</dialogue> <parenthetical>( unshoulders his equipment . )</parenthetical> <dialogue>I memorized their timing.</dialogue> <scene_description>MASON sits on the edge of the crawl space . F.B.I. looks inside the crawl space : WHITE HOT BURSTS of 500 degree Fahrenheit steam BLAST DOWN .</scene_description> <character>S.E.A.L. SHEPHERD</character> <dialogue>Uhh sir, you said never leave his side.</dialogue> <character>COMMANDER ANDERSON</character> <dialogue>You're not required to follow, Lieutenant Shepherd. This man is going to die.</dialogue> <character>MASON</character> <parenthetical>( grumbles to himself . )</parenthetical> <dialogue>That's been said to me before.</dialogue> <scene_description>MASON takes a deep breath and he rolls - INTO THE CRAWL SPACE - MASON logrolls one revolution . STEAM BURST another evolution STEAM BURST another revolution STEAM BURST MASON rolls to a stop on his side . STEAM BURSTS on either side of him . MASON collects himself . Breathes deeply and rolls again . His movements are precise , from memory . He rolls past.each burst , any imprecision certain death . IN THE CISTERN ROOM - GOODSPEED , ANDERSON AND THE S.E.A.L.s watch Mason , amazed .</scene_description> <character>S.E.A.L. REIGERT</character> <dialogue>Who the fuck is this guy? Houdini?</dialogue> <scene_description>IN THE CRAWL SPACE - MASON rolls past the STEAM RELEME VALVE and disappears . IN THE CISTERN ROOM - Several seconds pass . We HEAR THE DOOR being unbolted . It CREAKS open . There stands Mason .</scene_description> <character>MASON</character> <dialogue>Welcome to the Rock.</dialogue> <scene_description>The Incursion Team files through the door and CUT TO :</scene_description> </scene> <scene> <stage_direction>INT. TUNNELS UNDER ALCATRAZ - NIGHT Here, the tunnel moves up a steep</stage_direction> <scene_description>incline to a LOCKED STEEL BULKHEAD . S.E.A.L.s REIGERT and DANDO check it out .</scene_description> <character>S.E.A.L. DANDO</character> <dialogue>She's at least three inches thick sir.</dialogue> <character>COMMANDER ANDERSON</character> <dialogue>Shit. Burn it.</dialogue> <scene_description>Dando unpacks an ACETYLENE TORCH . Reigert turns on the ACETYLENE VALVES -LRB- tanks rigged to Dandols gear -RRB- and sparks the torch . IT FLAMES UP , white hot . Dando starts toward the bulkhead . MASON steps past him , bending his KITCHEN FORK into an awkward shape . He fishes the fork in the lock ; twists it , and . POP . MASON throws open the thick bulkhead door . And climbs through the bulkhead .</scene_description> <character>MASON</character> <parenthetical>( muttering . )</parenthetical> <dialogue>Guys are worthless.</dialogue> <character>COMMANDER ANDERSON</character> <dialogue>Who is this guy?</dialogue> </scene> <scene> <stage_direction>INT. DRAINAGE PIPES LTNDER MAIN CELL HOUSE - NIGHT The team arrives at</stage_direction> <scene_description>a series of concrete drainage pipes . MASON points up to one of them .</scene_description> <character>COMMANDER ANDERSON</character> <dialogue>The shower room?</dialogue> <parenthetical>( MASON nods yes . )</parenthetical> <dialogue>After you.</dialogue> <scene_description>MASON and the S.E.A.L.s climb into the drainage pipe .</scene_description> </scene> <scene> <stage_direction>INT. DRAINAGE PIPE UNDER SHOWER ROOM - NIGHT The S.E.A.L. team, Mason</stage_direction> <scene_description>leading the way , climbs toward a FAINT LIGHT emanating from a DRAINAGE GRATE above . S.E.A.L. REIGERT readies a FIBRE OPTIC SEEING DEVICE ; he pushes the fibre - optic camera up through the grate .</scene_description> </scene> <scene> <stage_direction>INT. ALCATRAZ - PRISON SHOWER ROOM - NIGHT</stage_direction> <scene_description>The FIBER - OPTIC CAMERA turns , looking in a 360 degree radius , and transmitting images of - THE PRISON SHOWER - a tiled room with shower heads and a 20 160A ft. ceiling . Above , a mezzanine circles the showers ; here Alcatraz 's guards once watched inmates below .</scene_description> </scene> <scene> <stage_direction>INT. DRAINAGE PIPE UNDER SHOWER ROOM - NIGHT</stage_direction> <scene_description>Commander Anderson views the shower room images on a TINY -LRB- 2 inch by 2 inch -RRB- WRIST - HELD VIDEO MONITOR . The shower is deserted , but there 's something of interest ~ - A MOTION DETECTOR -LRB- a blue beam flashed from a transmitter to 161A a receptor -RRB- across the grate .</scene_description> <character>COMMANDER ANDERSON</character> <dialogue>Motion sensor.</dialogue> <scene_description>Anderson gingerly lifts the grate . Reigert wiggles his hands past the edges of the grate and nudges the beam transmitter -LRB- with one hand -RRB- and the beam receiver -LRB- with the other -RRB- away from the grate .</scene_description> </scene> <scene> <stage_direction>INT. INFIRMARY COMMAND CENTER - NIGHT</stage_direction> <scene_description>A SILENT ALARM next to Pvt. Royce blinks on . Royce turns to Maj. Baxter .</scene_description> <character>ROYCE</character> <dialogue>Sir. Anti - disturbance temblar tripped in the shower. We got visitors.</dialogue> </scene> <scene> <stage_direction>INT. MAIN CELL HOUSE - SHOWER ROOM</stage_direction> <scene_description>The grate pops open . S.E.A.IL.s BOYER and REIGERT , wearing NIOHT VISION GLASSES , emerge taking defensive positions back - to - back . Commander Anderson follows . Then , one by one , the rest of the S.E.A.L.s emerge .</scene_description> <character>COMMANDER ANDERSON</character> <parenthetical>( to Lt. Shepherd in the drainage pipe . )</parenthetical> <dialogue>Stand fast. We'll secure the area.</dialogue> <scene_description>ANDERSON directs Boyer and Reigert to a TILED COLUMN . They creep across the tiled floor , taking `` check and defefid '' positions behind the shower 's TILED COLUMNS . But suddenly , shockingly . FLOODLIGHTS flash on . Coming from the mezzanine above . The S.E.A.L.s whip off their night vision goggles . 165 INT . PIER 3 - 9 - MOBILE COMMAND TRAILER - NIGHT ON THE VIDEO MONITOR - We see the illumination of the shower room -LRB- transmitted from the S.E.A.L.s cameras . -RRB-</scene_description> <character>SANCHEZ</character> <dialogue>What's that. what the hell is that?</dialogue> </scene> <scene> <stage_direction>INT. ALCATRAZ - DRAINAGE PIPE UNDER SHOWER ROOM - NIGHT Goodspeed,</stage_direction> <scene_description>Mason , and Lt. Shepherd react to the sudden illumination above .</scene_description> <character>GOODSPEED</character> <parenthetical>( whispers : . )</parenthetical> <dialogue>What's going on?</dialogue> <character>S.E.A.L. SHEPHERD</character> <parenthetical>( whispers . )</parenthetical> <dialogue>Do n't know.</dialogue> </scene> <scene> <stage_direction>INT. SHOWER ROOM - NIGHT</stage_direction> <scene_description>The S.E.A.L.s whirl around , startled , unnerved , squinting into the blinding whiteness of the floodlights .</scene_description> <character>HUMMEL</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Drop your weapons.</dialogue> <scene_description>The S.E.A.L.s , terrified , hesitate but do not drop their weapons They stand back - to - back , weapons trained at the catwalk . squinting into the white light . The S.E.A.L.s behind the tiled columns take cover . we can not yet see Hummel and the marines . This plays with as much tension as possible . The situation is chilling : COMMANDER ANDERSON Anderson here , General Hummel . Commander . Team Leader .</scene_description> <character>HUMMEL</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Commander Anderson, if you have any concern for the lives of your men, you will order them to safety their weapons and place them on the deck at their feet -</dialogue> </scene> <scene> <stage_direction>INT. PIER 39 COMMAND CENTER - NIGHT</stage_direction> <scene_description>ON THE VIDEO MONITOR - We see the floodlights above on the Mezzanine and hear Hummells voice :</scene_description> <character>SANCHEZ</character> <dialogue>Oh Christ this is n't happening.</dialogue> </scene> <scene> <stage_direction>INT. ALCATRAZ - SHOWER ROOM MEZZANINE- NIGHT</stage_direction> <scene_description>HUMMEL looks down at the S.E.A.L.s. Baxter 's text to him . The other marines are at positions around the mezzanine perimeter , M - 16 's trained and ready .</scene_description> <character>COMMANDER ANDERSON</character> <dialogue>Sir, we know why you're out here. God knows I agree with you sir, but like you sir, I swore to defend this country against all enemies. Foreign, sir, and domestic.</dialogue> <parenthetical>( shouts now . )</parenthetical> <dialogue>General, we've spilled the same blood in the same mud. You know goddamn well that I can not give that order.</dialogue> <scene_description>BEHIND A COLUMN - S.E.A.L.s REIGERT and BOYER stare into the floodlights .</scene_description> <character>HUMMEL</character> <dialogue>Your unit is covered from an elevated position, Commander. I'm not going to ask again.</dialogue> <scene_description>ON THE MEZZANINE CPTS . FRYE , DARROW and PVTS . COX , MCCOY , have their weapons trained ; they 're pumped and trigger happy .</scene_description> <character>HUMMEL</character> <dialogue>Do n't do anything stupid, Commander. No one has to die here.</dialogue> <character>COMMANDER ANDERSON</character> <dialogue>You men following the General : You are United States Marines and under oath you forgotten that? We all have shipmates we remember - some of'em were shit on and spit on by the Pentagon - that does n't give you the right to mutiny.</dialogue> <character>HUMMEL</character> <dialogue>That's a nice speech, Commander. I heard plenty like it in the Pentagon and on Capitol Hill. They all added up to zero. Pretty words are n't gon na get you out of this, Commander. Now abort this mission. Goddamn it, abort.</dialogue> <scene_description>BEHIND THE COLUMN - S.E.A.L. BOYER , just 20 , having never seen combat , is trembling with fear , indecision .</scene_description> <character>S.E.A.L. BOYER</character> <dialogue>It's us or them, Reigert, fuck they're gon na waste us.</dialogue> <character>S.E.A.L. REIGERT</character> <dialogue>Get a grip on yourself.</dialogue> <scene_description>ON THE MEZZANINE - PVT. COXIS BOOT nudges a TILE which has come loose from its mortar . The tile inches to the edge of the mezzanine . Then it falls . BOYER , reacting to THE FALLING TILE , brings up his machine gun and fires A SUSTAINED BURST in its direction - And all hell breaks loose . THE MARINES fire in unison . A cruel withering fusillade . - THE S.E.A.L.s in the middle of the floor take the brunt of it . They gamely return fire . But they 're hit . Again . Again . Again . IN THE DRAINAGE HOLE - Goodspeed , Mason , and Lt. Shepherd listen -LRB- and watch , when the view allows -RRB- in utter horror to the firefight above . Lt. Shepherd scrambles up the ladder . GOODSPEED grabs him . Tries to pull him down .</scene_description> <character>GOODSPEED</character> <dialogue>Don' t do it.</dialogue> <character>S.E.A.L. SHEPHERD</character> <dialogue>Let go of me.</dialogue> <scene_description>Lt. Shepherd climbs the ladder . IN THE SHOWER ROOM - ANDERSON takes a bullet in his leg . His automatic blazing , he takes a bullet in the forearm . The chest . The shoulder . - THREE MARINES on the mezzanine are hit and killed . - LT. SHEPHERD climbs out of the drainage pipe and comes up firing . He instantly takes a bullet through the visor , killing him instantly . SHEPHERD falls to his knees and pitches over , falling face first into - THE DRAINAGE HOLE , where SHEPHERD 'S lifeless eyes come face - to - face with Goodspeed , who nearly passes out , then looks away in horror . S.E.A.L.S BEHIND THE COLUMNS return fire . They 're hit , picked off.one by one . - MARINE COX AND MCCOY fire a 50 CAL . GUN -LRB- as powerful as anti - aircraft or anti - tank round -RRB- through the column , killing REIGERT and BOYER .</scene_description> <character>HUMMEL</character> <dialogue>HOLD YOUR FIRE HOLD YOUR FIRE.</dialogue> </scene> <scene> <stage_direction>INT. DRAINAGE PIPE UNDER SHOWER ROOM - NIGHT</stage_direction> <scene_description>Suddenly the - firing stops . GOODSPEED and MASON freeze . Thinking fast , MASON rips the TAC RADIO from Shepherd 's helmet , takes his 9 MM PISTOL and MACHINE GUN , and his SAW - TOOTHED KNIFE AND SHEATH , and climbs down . Goodspeed , indecisive at first , clambers down after Mason .</scene_description> </scene> <scene> <stage_direction>INT. PIER 39 - MOBILE COMMAND TRAILER - NIGHT ON THE VIDEO MONITOR - An</stage_direction> <scene_description>image transmitted from Anderson 's helmet camera . Anderson has fallen , so this is at ground level . We see corpses and near corpses .</scene_description> <character>SANCHEZ</character> <dialogue>It's over.</dialogue> <character>F.B.I. TECHNICIAN</character> <dialogue>We've still got movement. Numbers eleven and twelve. That's GOODSPEED and. Mason.</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>If mason's still alive, it's not over.</dialogue> </scene> <scene> <stage_direction>INT. ALCATRAZ - TUNNELS UNDER SHOWER ROOM - NIGHT</stage_direction> <scene_description>MASON and GOODSPEED exit the drainage pipe . GOODSPEED is panting , nearly hysterical .</scene_description> <character>GOODSPEED</character> <dialogue>We're never gettin off this island.</dialogue> </scene> <scene> <stage_direction>INT. PIER 39 - WAREHOUSE - NIGHT</stage_direction> <scene_description>CARLA peers through a crowd of F.B.I. TECHS huddled around video and audio monitors . She freezes , her hands covering to her mouth at the sound of :</scene_description> <character>GOODSPEED</character> <parenthetical>( over tac radio . )</parenthetical> <dialogue>. god Jesus we're gon na die</dialogue> <scene_description>Sanchez , agitated , exits the Command Trailer with Director Womack . They huddle , speaking in hushed voices .</scene_description> <character>SANCHEZ</character> <dialogue>You told me I am on a `` need to know'' basis. Well goddamn it, I need to know. Who the fuck is John Mason. Start talking, Director, or I swear I will go to the press.</dialogue> <scene_description>A tense pause . Then Womack sighs , and his voice travels back three decades .</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>1962. J. Edgar Hoover is head of the F.B.I., some say the country. It's no secret the esteemed Mr. Hoover kept microfilm files on prominent Americans and Europeans. de Gaulle, British members of Parliament, even the Prime Minister. The man had dirt on everyone in the world,</dialogue> <scene_description>A174 INT . ALCATRAZ - TUNNELS UNDER THE SHOWERS - NIGHT Goodspeed , slumped in a corner , watches MASON arm himself . He is a different person . Alive . Now in his element . pops the clip on Shepherd 's g mil gun . Inspects it . Unsheathes the saw - toothed knife . Sheathes it . 174 INTERCUT - PIER 39 COMMAND CENTER / ALCATRAZ TUNNELS</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>The British sent over their best operative, John Mason, to steal it.</dialogue> <scene_description>MASON grabs Shepherd 's machine gun , pops the clip .</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>Our agents caught MASON at the Canadian border but with no microfilm. It's never been found. So Hoover held him without trial. The British claimed they did n't know him.</dialogue> <character>SANCHEZ</character> <dialogue>What about the daughter? why did n't Hoover use her as leverage?</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>He died in 1972. She was n't born yet Today it's a different Bureau and no one wants to touch this.</dialogue> <character>SANCHEZ</character> <dialogue>My god, you're not saying.</dialogue> <scene_description>MASON slides the clip back in the machine gun . Tests the action . obviously comfortable with firearms .</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>John MASON has been incarcerated without trial on American soil since 1962. He knows our most intimate secrets of the last half century. The alien landing at Roswell, the truth about the J.F.K. assassination.</dialogue> </scene> <scene> <stage_direction>INT. ALCATRAZ - TUNNELS BELOW SHOWER ROOM - NIGHT</stage_direction> <character>F.B.I. DIRECTOR WOMACK</character> <parenthetical>( O.S . )</parenthetical> <dialogue>John MASON was an S.A.S. trained killer, one of MI - 6's best operatives ever - John MASON was one of the most dangerous men on earth.</dialogue> <scene_description>MASON , armed and dangerous for the first time in 33 long years , faces Goodspeed . Brings his machine gun up . GOODSPEED raises his - 9 mil pistol in self - defense .</scene_description> <character>GOODSPEED</character> <dialogue>Do n't shoot me. MASON was actually slinging it over his shoulder.</dialogue> <character>MASON</character> <dialogue>For christ's sake. MASON trudges down the tu = el. Goodspeed follows him.</dialogue> <character>GOODSPEED</character> <dialogue>Wait. Where're you going?</dialogue> <character>MASON</character> <dialogue>Off this island. You mind?</dialogue> <character>GOODSPEED</character> <dialogue>Yes I mind. I mind very much.</dialogue> <scene_description>From the tac radio in Mason 's hand :</scene_description> <character>SANCHEZ</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( over tac radio . )</parenthetical> <dialogue>Goodspeed, Goodspeed, come in.</dialogue> <character>MASON</character> <dialogue>You've got a phone call.</dialogue> <scene_description>MASON throws the tac radio at Goodspeed 's feet and trudges off . GOODSPEED grabs the tac radio .</scene_description> <character>GOODSPEED</character> <dialogue>It's me sir.</dialogue> <character>SANCHEZ</character> <parenthetical>( O.S . )</parenthetical> <dialogue>What is happening? Where's Mason?</dialogue> <character>GOODSPEED</character> <dialogue>He says he's leaving the island sir.</dialogue> <character>SANCHEZ</character> <dialogue>Do n't let him do that.</dialogue> <character>GOODSPEED</character> <dialogue>He's got a gun, sir.</dialogue> <character>SANCHEZ</character> <dialogue>What do you have, a FUCKING WATER PISTOL? Get him back!</dialogue> <scene_description>GOODSPEED hurries off after Mason .</scene_description> </scene> <scene> <stage_direction>INT. ALCATRAZ - SHOWER ROOM - NIGHT</stage_direction> <scene_description>Commander Anderson and the S.E.A.L.s lie dead , their blood running over the tiles into the drainage grate . Hummel , Baxter walk amongst the corpses .</scene_description> <character>HUMMEL</character> <dialogue>I never wanted this. Jesus christ.</dialogue> <character>BAXTER</character> <dialogue>We knew it might happen, Frank.</dialogue> <character>CAPTAIN DARROW</character> <dialogue>Maybe now they'll pay up.</dialogue> <character>CAPTAIN HENDRIX</character> <dialogue>Maybe now they wo n't.</dialogue> <character>CAPTAIN DARROW</character> <dialogue>Then maybe we'll execute a few hostages.</dialogue> <scene_description>One S.E.A.L. DANDO , is still alive . He 's gurgling blood . Staring up at Hummel .</scene_description> <character>S.E.A.L. DANDO</character> <dialogue>You'll go to hell for this General.</dialogue> <character>CAPTAIN DARROW</character> <parenthetical>( to Pvt. Royce . )</parenthetical> <dialogue>Put a bullet in him.</dialogue> <scene_description>Pvt. Royce , appalled , ca n't bring himself to do it .</scene_description> <character>CAPTAIN FRYE</character> <dialogue>You heard him. End it.</dialogue> <scene_description>Cpt . Darrow pulls his sidearm and levels it .</scene_description> <character>HUMMEL</character> <dialogue>CAPTAIN, HOLSTER THAT SIDEARM.</dialogue> <character>CAPTAIN DARROW</character> <parenthetical>( lowers sidearm . )</parenthetical> <dialogue>Yes sir.</dialogue> <scene_description>Royce kneels . Feels Dandols carotid artery .</scene_description> <character>ROYCE</character> <dialogue>He's dead anyway sir.</dialogue> <scene_description>Hummel leans down . Stares into Dando 's video feed .</scene_description> </scene> <scene> <stage_direction>INT. PIER 39 - NIGHT womack and SANCHEZ</stage_direction> <scene_description>stare at HUMMEL on the monitor .</scene_description> <character>HUMMEL</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over monitor . )</parenthetical> <dialogue>You have a made a terrible mistake and more of our brothers have died in vain. Let's not repeat this.</dialogue> <scene_description>The transmission goes dead .</scene_description> </scene> <scene> <stage_direction>INT. ALCATRAZ - SHOWER ROOM - NIGHT</stage_direction> <scene_description>Suddenly , SGT. drainage pipe , CRISP bent over SHEPHERD 'S CORPSE in.the shouts to Hummel :</scene_description> <character>SGT. CRISP</character> <dialogue>General! This man's weapons and tac radio are missing!</dialogue> <character>HUMMEL</character> <dialogue>Rodent problem, people. Let's flush the pipes.</dialogue> <scene_description>Pvts . Cox and McCoy go to the drainage pipe .</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - MAIN CELL HOUSE - NIGHT</stage_direction> <scene_description>Hummel and his men exit the Main Cell House and fan out in teams across the island . SGTS . CRISP and CPT . HENDRIX move toward the power plant -LRB- above the tunnel traveled by MASON and Goodspeed . -RRB-</scene_description> </scene> <scene> <stage_direction>INT. TUNNELS UNDER ALCATRAZ - NIGHT</stage_direction> <scene_description>Goodspeed 's still trailing after Mason .</scene_description> <character>GOODSPEED</character> <dialogue>would you stop. Just stop.</dialogue> <parenthetical>( MASON stops . )</parenthetical> <dialogue>I do n't know whatyou did or why you were sent to jail, but there are a million people across that bay who might die.</dialogue> <parenthetical>( MASON continues . )</parenthetical> <dialogue>Fuck this. Stop. Freeze.</dialogue> <scene_description>MASON turns . GOODSPEED has his g gun trained on him . He 's not the most convincing gun handler .</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - IN FRONT OF POWER PLANT - NIGHT</stage_direction> <scene_description>Sgt. Crisp and Capt. Hendrix , walking toward the power plant , hear something . Beneath them , through a VENTILATION GRATE . VOICES .</scene_description> <character>CAPTAIN HENDRIX</character> <parenthetical>( whispers in tac mike . )</parenthetical> <dialogue>Rodents located.</dialogue> <scene_description>Hendrix and Crisp begin preparing a SATCHEL EXPLOSIVE .</scene_description> </scene> <scene> <stage_direction>INT. TUNNELS UNDER ALCATRAZ - NIGHT</stage_direction> <scene_description>MASON and GOODSPEED as before . MASON advances .</scene_description> <character>GOODSPEED</character> <dialogue>F.B.I. Stop right there. I really mean it.</dialogue> <character>MASON</character> <parenthetical>( stops . )</parenthetical> <dialogue>If you really mean it, take the safety off.</dialogue> <scene_description>GOODSPEED fiddles with the safety catch . With a swipe , MASON snatches the gun . They glare at each other .</scene_description> <character>SANCHEZ</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over tac radio . )</parenthetical> <dialogue>Goodspeed. Goodspeed, come in. Have you resolved this?</dialogue> <character>GOODSPEED</character> <dialogue>Now he has all the guns, sir.</dialogue> <parenthetical>( clicks off the tac radio . )</parenthetical> <dialogue>You've got to help me. What do you want me to do, beg?</dialogue> <character>MASON</character> <dialogue>Save your breath and your dignity, if you have any. I am leaving. I am getting my daughter and getting the hell out of here.</dialogue> <scene_description>MASON walks off . Suddenly stops . THE SATCHEL EXPLOSIVE has fallen at his feet . MASON turns , looks at Goodspeed . And they sprint back , the way they came . IN THE TUNNEL BEHIND THEM - A MONSTROUS EXPLOSION blows in the tunnel and knocks MASON and GOODSPEED to their feet .</scene_description> </scene> <scene> <stage_direction>INT. ALCATRAZ - SHOWER ROOM - NIGHT</stage_direction> <scene_description>PVTS . COX AND MCCOY attach a bundle of C - 4 to A TANK OF GASOLINE and toss it down the drainage pipe .</scene_description> </scene> <scene> <stage_direction>INT. TUNNELS UNDER ALCATRAZ</stage_direction> <scene_description>The gas bomb detonates , blowin ' g a wall of flame through the tunnel . The fire is looking for an escape , hunting and burning everything in its path . DOWN THE TUNNEL - MASON AND GOODSPEED see the wall of flame ROARING toward them . MASON grabs Goodspeed .</scene_description> <character>MASON</character> <dialogue>Hold your breath.</dialogue> <scene_description>They dive into a pool of stagnant water , submersing as the WALL OF FLAME blows through the tunnel over their heads . Mason , then Goodspeed , drags himself out of the water .</scene_description> <character>MASON</character> <dialogue>Come on. And keep your mouth shut.</dialogue> <scene_description>MASON hurries off , GOODSPEED on his tail .</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - SUBTERRANEAN CIVIL WAR RUINS - NIGHT</stage_direction> <scene_description>The tunnel leads here , to the Civil war era dungeon . The tunnel 's bricked up ; brick and mortar circa 1855 . CIVIL WAR RUINS - NIGHT</scene_description> <character>GOODSPEED</character> <dialogue>Now what?</dialogue> <scene_description>MASON moves to the bricked - up wall . Feels around the mortar . Smiles . Removes a brick . another . Another . A WHOLE CLUMP of bricks falls , revealing A HOLE .</scene_description> <character>MASON</character> <dialogue>Came out right through there.</dialogue> <parenthetical>( squeezes through the hole ; mutters . )</parenthetical> <dialogue>` Course I've gained a few since.</dialogue> <scene_description>GOODSPEED follows MASON through the hole .</scene_description> </scene> <scene> <stage_direction>INT. CIVIL WAR DUNGEON - OTHER SIDE OF THE WALL - NIGHT</stage_direction> <scene_description>MASON and GOODSPEED emerge to a ledge which faces A POOL OF DANK STAGNANT WATER . It 's about 3 ft. deep .</scene_description> <character>MASON</character> <dialogue>Across that, then 50 yards to the morgue.</dialogue> <parenthetical>( off Goodspeed 's blank stare . )</parenthetical> <dialogue>You said that's where the fucking poison is, Goodspeed.</dialogue> <character>GOODSPEED</character> <dialogue>I do n't get it. You're going to help me?</dialogue> <character>MASON</character> <dialogue>No. I'm going to give you dancing lessons. What the fuck do you think?</dialogue> <character>GOODSPEED</character> <dialogue>You do n't have to get all bent out of shape.</dialogue> <character>MASON</character> <dialogue>What's bent out of shape, idiot, is the tunnel I was going through to freedom five minutes ago.</dialogue> <character>GOODSPEED</character> <dialogue>All right, all right. Do n't call me idiot, okay?</dialogue> <scene_description>MASON what did I do to deserve this ? What God did I offend . GOODSPEED begins to wade into the pool . MASON Stop . -LRB- GOODSPEED stops -RRB- There . And there . GOODSPEED squints . The water slithers with COTTONMOUTHS . MASON unpack the QUART OF MOTOR OIL in spray bottle .</scene_description> <character>MASON</character> <dialogue>Cottonmouth snakes. They breath through their skin. Oil clogs it. They hate the stuff.</dialogue> <character>MASON</character> <dialogue>sprays the motor oil across the pool. The snakes scatter. The pool's now coated with an OIL SLICK. MASON wades in. Goodspeed follows.</dialogue> <scene_description>The COTTONMOUTHS , repulsed by the oil , stay away . GOODSPEED tries not to look at the snakes . They make it across .</scene_description> <character>GOODSPEED</character> <dialogue>Something's a little off here : I'm the F.B.I. Agent, you're the convict, and you have all the guns.</dialogue> <scene_description>MASON slaps the .9 MM pistol into Goodspeed 's hand walks off . GOODSPEED follows .</scene_description> </scene> <scene> <stage_direction>INT. ALCATRAZ - TUNNEL UNDER PRISON MORGUE - NIGHT</stage_direction> <scene_description>MASON and GOODSPEED arrive at a fork in the tunnel . _ DOWN THE FORK IN THE TUNNEL - is the PRISON MONO - RAIL SYSTEM : a single rail suspended from the tunnel ceiling , upon which SMALL CARTS are suspended .</scene_description> <character>GOODSPEED</character> <dialogue>The morgue?</dialogue> <scene_description>MASON nods . Moves to a STEEL - RUNGED LADDER leading to a GARBAGE CHUTE against the wall . GOODSPEED follows .</scene_description> </scene> <scene> <stage_direction>INT. ROOM ADJACENT TO MORGUE - NIGHT</stage_direction> <scene_description>MASON and GOODSPEED emerge from the garbage chute . They hear VOICES in the next room .</scene_description> </scene> <scene> <stage_direction>INT. MORGUE - NIGHT</stage_direction> <scene_description>PVTS . GAMBLE and STARLING are guarding the poison . Starling 's walking around . Gamble 's seated on a MORTICIANIS TABLE , smoking . The door bursts open . MASON stands in the doorway . GAMBLE dives away . STARLING whirls , raising his M - 16 . MASON 'S HAND flashes . THE SAW - TOOTHED KNIFE flies the length of the room and buries in Starling 's neck .</scene_description> <character>MASON</character> <dialogue>Never hesitate.</dialogue> <scene_description>Gamble fires from his position around the corner . MASON and Goodspeed dive for cover behind a cabinet . GOODSPEED fires from cover without looking , his gun raised over the cabinet . Mason , underneath the cabinet , fires at GAMBLE 'S FOOT . Gamble , shot , hits the deck . GAMBLE unclips a GRENADE . Before he can pull the pin . MASON FIRES HIS CLIP EMPTY at the AIR CONDITIONER MOUNT on the ceiling above Gamble . The mount gives ; the ENORMOUS AIR CONDITIONER falls , crushing Gamble . Gamble 's GRENADE , still secured with the pin , rolls away . GOODSPEED rises . Looks at Gamble under the air conditioner . Just HIS LEGS stick out . -LRB- Note : the rest of the scene 's action plays out around Gamble 's legs .</scene_description> <character>GOODSPEED</character> <dialogue>You did n't learn that in prison.</dialogue> <character>MASON</character> <dialogue>No, and I used to be a lot quicker.</dialogue> <character>GOODSPEED</character> <dialogue>I've got some questions for you but they can wait.</dialogue> <scene_description>GOODSPEED opens the CORPSE DRAWERS revealing the V.X - . CHEM ROUNDS -LRB- shaped like big tennis ball cans -RRB- . GOODSPEED carefully lifts out a chem round . MASON grabs one , accidentally knocking it against the drawer .</scene_description> <character>GOODSPEED</character> <dialogue>Careful. The second you do n't respect this, it kills you.</dialogue> <scene_description>GOODSPEED and MASON set the V.X. chem rounds on the mortician 's table . GOODSPEED pulls out his EQUIPMENT KIT . Begins detaching the tops of the chem rounds . GOODSPEED reaches inside a chem round and carefully pulls out . a STRAND OF V.X. POISON PEARLS : ping - pong ball sized glass bubbles filled with poison .</scene_description> <character>GOODSPEED</character> <dialogue>I need a hand here.</dialogue> <parenthetical>( MASON looks anxiously at the poison pearls . )</parenthetical> <dialogue>Mason. Now.</dialogue> <scene_description>GOODSPEED hands the poison pearl strand to Mason . MASON holds it like a string of wind chimes .</scene_description> <character>MASON</character> <dialogue>What. exactly does this do to you?</dialogue> <character>GOODSPEED</character> <dialogue>Any epidermal exposure or inhalation and you'll know : A twinge at the small of your back as the poison seizes the nervous system.</dialogue> <parenthetical>( hands over another poison pearl strand . )</parenthetical> <dialogue>Then loss of muscular function. Then you spit your guts out, it looks like a tub of spaghettils spilled on the floor, then your skin turns black.</dialogue> <scene_description>MASON stares uneasily at the pearl strands .</scene_description> <character>MASON</character> <dialogue>Sounds like my first marriage.</dialogue> <scene_description>GOODSPEED has the chem round 's GUIDANCE SYSTEMS exposed . Inside are tiny GUIDANCE SYSTEM MICRO - CHIPS . GOODSPEED plucks the chip from each chem round and pockets it .</scene_description> <character>GOODSPEED</character> <parenthetical>( into tac radio . )</parenthetical> <dialogue>Pier 39 come in.</dialogue> <character>SANCHEZ</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( tac radio . )</parenthetical> <dialogue>Goodspeed? Where the hell have you been. Talk to me.</dialogue> <character>GOODSPEED</character> <dialogue>We're in the morgue. I'm removing the rocket's guidance system chips.</dialogue> <parenthetical>( to Mason . )</parenthetical> <dialogue>Without em the rocketslll fly about 500 feet and splash down like a wounded duck.</dialogue> <scene_description>GOODSPEED moves on to the third and fourth chem rounds . Suddenly there 's a BEEP . GOODSPEED and MASON whirl . Pvt. Gamble 's WALKIE TALKIE is talking to them :</scene_description> <character>HUMMEL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Gamble, Starling. Come in.</dialogue> <scene_description>MASON and GOODSPEED exchange a nervous look .</scene_description> <character>HUMMEL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Privates Gamble and Starling, come in.</dialogue> </scene> <scene> <stage_direction>EXT. ALCATRAZ - INFIRMARY COMMAND CENTER - NIGHT</stage_direction> <scene_description>Hummel clicks off his walkie - talkie . Stands there a second , thinking .</scene_description> <character>HUMMEL</character> <dialogue>The morgue. Hummel and Baxter exit quickly.</dialogue> </scene> <scene> <stage_direction>INT. ALCATRAZ - MORGUE - NIGHT</stage_direction> <scene_description>GOODSPEED goes faster ; his hands are sweating , trembling . It 's like he 's lost his spine . -LRB- And thinking about Carla , perhaps he has . -RRB-</scene_description> <character>MASON</character> <dialogue>C'mon c'mon. faster.</dialogue> <scene_description>GOODSPEED nearly drops a chem round . MASON recoils .</scene_description> <character>MASON</character> <dialogue>I thought you were cool under pressure.</dialogue> <character>GOODSPEED</character> <dialogue>Shut up ; you're making me nervous.</dialogue> </scene> <scene> <stage_direction>EXT. ALCATRAZ - BETWEEN CELL HOUSE AND MORGUE - NIGHT</stage_direction> <scene_description>Hummel and his men race toward the morgue .</scene_description> </scene> <scene> <stage_direction>INT. ALCATRAZ - MORGUE - NIGHT</stage_direction> <scene_description>GOODSPEED has dealt with eight chem rounds . There should be seven more , but there 's not . GOODSPEED counts them .</scene_description> <character>MASON</character> <dialogue>They'll be on us in twenty seconds.</dialogue> <character>GOODSPEED</character> <dialogue>Wait a minute. Fuck. Hummel stole fifteen chem rounds. There's only twelve here. Here. Quickly. Do these last four.</dialogue> <scene_description>MASON raises the poison pearl strands from each of the remaining four chem rounds . GOODSPEED quickly plucks the chips from the guidance systems .</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - MORGUE - NIGHT</stage_direction> <scene_description>Hummel and the marines converge on the morgue . Surround the door . They burst inside , guns trained .</scene_description> </scene> <scene> <stage_direction>INT. ALCATRAZ - MORGUE - NIGHT</stage_direction> <scene_description>COX , MCCOY , and DARROW fire machine gun bursts at - - MASON AND GOODSPEED sprinting across floor , BULLETS chewing the floor . They dive into the MORGUE INCINERATOR CHUTE , GOODSPEED leaving the tac radio behind .</scene_description> </scene> <scene> <stage_direction>INT. TUNNEL UNDER MORGUE - NIGHT</stage_direction> <scene_description>GOODSPEED and MASON tumble out of the chute . Two MONO - RAIL CARTS are hanging there . They exchange a look and climb into the first cart . MASON throws the cart 's RELEASE LEVER . The cart glides down the mono - rail .</scene_description> </scene> <scene> <stage_direction>INT. ALCATRAZ - MORGUE - NIGHT</stage_direction> <scene_description>HUMMEL goes to the mortician 's table . Sees the theft of the guidance chips .</scene_description> <character>HUMMEL</character> <dialogue>Hendrix! Take Royce and Scarpetti!</dialogue> <scene_description>CAPTAIN HENDRIX and PVTS . ROYCE and SCARPETTI dive into the incinerator chute after MASON and Goodspeed .</scene_description> <character>BAXTER</character> <dialogue>Gamble and Starling are dead.</dialogue> </scene> <scene> <stage_direction>INT. TUNNEL UNDER MORGUE - MONO-RAIL TRACK - NIGHT</stage_direction> <scene_description>Hendrix , Scarpetti , and Royce tumble from the incinerator chute . Mason and GOODSPEED are down the Mono - rail track . Hendrix gets in THE SECOND MONO - RAIL CART . Scarpetti gets in THE THIRD MONO - RAIL CART . Hendrix and Scarpetti pull the release levers . The Mono - rail carts rumble after GOODSPEED and Mason . Hendrix shouts back to Royce :</scene_description> <character>CAPTAIN HENDRIX</character> <dialogue>FOLLOW ON FOOT!</dialogue> </scene> <scene> <stage_direction>INT. ALCATRAZ - MONO-RAIL TUNNEL - NIGHT The three carts fly down the</stage_direction> <scene_description>mono - rail : GOODSPEED and MASON -LRB- in CART 1 -RRB- 50 feet ahead of Scarpetti -LRB- in CART 2 -RRB- , who is 50 feet ahead of Hendrix -LRB- in CART 3 -RRB- IN CARTS 2 AND 3 - SCARPETTI and HENDRIX fire M - 16s . IN CART 1 - MASON and GOODSPEED duck as BULLETS RICOCHET around the tunnel walls . They pop up and return fire . IN CART 2 - SCARPETTI arms hi over/under M - 16 grenade launcher with a grenade and . FIRES . THE GRENADE PROJECTILE shoots down the monorail tunnel . IN CART 1 - MASON AND GOODSPEED duck as the GRENADE PROJECTILE wings over their heads , continues down the tunnel and DETONATES against the tunnel wall . CART 1 roars through smoke and debris left by grenade explosion . As it rounds a corner , MASON grabs A SPLINTERED TIMBER and releases from the cart . CART 1 , with GOODSPEED alone continues down the mono - rail . MASON yanks down a 5 ft. long BROKEN SECTION OF SEWAGE PIPE and presses himself against the tunnel wall . AS CART 2 rounds the corner . WHAM ! MASON swings , hitting Scarpetti flush in the forehead , killing him and blowing him off the cart . Cart 2 , without Scarpetti , continues down the mono - rail . MASON waits . As CART 3 rounds the corner MASON swings again But Hendrix is waiting for it . Hendrix grabs the swinging pipe and pulls MASON into Cart 3 ! IN CART 3 - HENDRIX AND MASON FIGHT SCENE Mason 's sprawled on the floor of the cart . Hendrix levels his M - 16 . MASON whipsaws the legs under Hendrix , bowling him over , the M - 16 falling away from the cart . MASON and Hendrix get to their feet . They trade blow after blow as the Cart ROARS through the tunnel . IN CART 1 ~ GOODSPEED looks over his shoulder at MASON and Hendrix locked in mortal combat . He pulls the CART BRAKE . Cart 1 begins slowing down . CART 2 -LRB- Scarpettils -RRB- rams into it . Now Carts 1 and 2 are together . And on comes - CART 3 - Hendrix knocks MASON to the floor of the cart . Hendrix dives atop Mason , strangling him . mason 's head is bent over the front lip of the cart . MASON looks down the mono - rail track . To his horror he sees CARTS 1 and 2 slowing down . IN CART 1 - GOODSPEED realizes that his cart is going to ram Mason 's outstretched head . He releases the brake , and Cart 1 picks up speed . IN CART 3 - Hendrix draws the knife . Hendrix raises the knife . With his last strength , MASON rolls away . Hendrix plunges the knife down , missing Mason , him momentum carrying his head and shoulders over the front lip of the cart . MASON SCREAMS at Goodspeed .</scene_description> <character>MASON</character> <dialogue>BRAKE!!!</dialogue> <scene_description>IN CART 1 - GOODSPEED pulls the cart brake and - - CART 3 SLAMS into CARTS 1 and 2 at 20 m.p.h. , crushing Hendrixls head and torso between Carts 2 and 3 . The collision knocks MASON off Cart 3 , SLAMMING his head against the tunnel wall . MASON falls unconscious.to the tunnel floor , while - - CART 1 is shoved by the collision across.a DITCH OF WATER in the tunnel floor . GOODSPEED groggily gets to his feet . Jumps down from the cart .</scene_description> <character>GOODSPEED</character> <dialogue>Mason!</dialogue> <scene_description>In the midst of this PVT. ROYCE runs up . Sees MASON concussed , helpless . Royce draws his GLINTING KNIFE . Kneels over Mason . He 's going to cut his throat .</scene_description> <character>GOODSPEED</character> <dialogue>Wait.</dialogue> <scene_description>Royce lowers the knife . Looks across the ditch at Goodspeed . The ditch is 20 ft. wide and filled with dank , stagnant water and we 've seen dank , stagnant water before .</scene_description> <character>GOODSPEED</character> <dialogue>Pretty easy killing an unconscious man. How about trying me? Punk.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>What're you waiting for? Limp dick.</dialogue> <character>ROYCE</character> <dialogue>I am going to fuck you up something fierce. You rolled the wrong number, shithead. You crapped out.</dialogue> <scene_description>And ROYCE begins to wade into the ditch . And GOODSPEED is looking at the water , waiting . ROYCE is waist deep now . Royce feels something . He winces . Looks down at - FIVE COTTONMOUTH SNAKES , fangs wide and white , plunging into him . Royce screams . His knees buckle . He falls to his knees in the water . A COTTONMOUTH stuck to his neck . Royce SHRIEKS again . And slides gently under the water .</scene_description> <character>GOODSPEED</character> <dialogue>I rolled snake - eyes. Shithead.</dialogue> <scene_description>Goodspeed , hand over hand on the monorail , eases the cart across the stagnant ditch . Hops out . MASON gets to his feet . The two exchange a look .</scene_description> <character>MASON</character> <dialogue>Limp dick?</dialogue> <character>GOODSPEED</character> <dialogue /> <scene_description>It 's all I could think of . They stumble off down the mono - rail tunnel .</scene_description> <character>MASON</character> <dialogue>I think I've got arthritis.</dialogue> </scene> <scene> <stage_direction>INT. WHITE HOUSE - NIGHT</stage_direction> <scene_description>General Kramer , C.I.A. Director Amway , chief of Staff Hayden Sinclair and Security Advisor Louis Lindstrom .</scene_description> <character>HAYDEN SINCLAIR</character> <dialogue>The President arrives in three hours. His directive is to string Hummel along until the airstrike is operational.</dialogue> <character>LOUIS LINDSTROM</character> <dialogue>What's the word from Mojave, General?</dialogue> <character>GENERAL KRAMER</character> <parenthetical>( grim . )</parenthetical> <dialogue>They're going as fast as they can.</dialogue> <scene_description>A corrugated aluminum hangar . SUPER : Mojave Desert United States Air Force Testing Facility</scene_description> </scene> <scene> <stage_direction>INT. U.S.A.F. TESTING FACILITY WAREHOUSE - NIGHT</stage_direction> <scene_description>Looks like a Formula One garage . ROCK MUSIC blares . Eight GUIDED MISSILES -LRB- finned , 8 feet long -RRB- hand from hoists in various states of repair . U.S.A.F. TECHNICIANS hover over the missiles . IN A CORNER - JIMKY FISK and LARRY GILER consult .</scene_description> <character>LT. FISK</character> <dialogue>We're fucked, cap'n.</dialogue> <character>CPT. GILER</character> <dialogue>GILER says. Are we fucked with a pencil or are we fucked with a baseball bat.</dialogue> <character>LT. FISK</character> <dialogue>We're fucked with a telephone pole.</dialogue> <parenthetical>( turns to the missiles . )</parenthetical> <dialogue>we can arm em with Willy Peter, no problem, but negatory pn smart bomb capability.</dialogue> <character>CPT. GILER</character> <dialogue>GILER says. What are you saying?</dialogue> <character>LT. FISK</character> <dialogue>The pilots are gon na have to drop em manually. We're talkin, retro, baby. We're talkin' World War II.</dialogue> </scene> <scene> <stage_direction>INT. ALCATRAZ - BEHIND "CHINA ALLEY" - NIGHT</stage_direction> <scene_description>MASON and GOODSPEED emerge from the mono - rail tunnel . The launcher on China Alley is in the b.g. Suddenly , from the loudspeaker above them :</scene_description> <character>HUMMEL</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( loudspeaker . )</parenthetical> <dialogue>Attention Navy Seals, attention.</dialogue> <scene_description>MASON and GOODSPEED freeze .</scene_description> <character>GOODSPEED</character> <dialogue>He thinks we're Seals.</dialogue> <character>HUMMEL</character> <parenthetical>( V. 0 . )</parenthetical> <parenthetical>( loudspeaker . )</parenthetical> <dialogue>Congratulations. You've taken some things of mine. I ca n't convince you to return them so I'll put on someone who can.</dialogue> <scene_description>A pause . Then A MALE VOICE . Nervous . Quivering .</scene_description> <character>MALE VOICE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( loudspeaker . )</parenthetical> <dialogue>Hell. hello.</dialogue> </scene> <scene> <stage_direction>EXT. ALCATRAZ - PRISON EXERCISE YARD - NIGHT</stage_direction> <scene_description>LARRY HENDERSON , 48 , stands at the end of the exercise yard in a SPOTLIT AREA . Capt. Darrow has his .45 placed against Larry 's left temple .</scene_description> <character>HUMMEL</character> <dialogue>Tell them your name and age.</dialogue> <character>LARRY HENDERSON</character> <dialogue>My n. name is L. larry Henderson. I'm forty - eight.</dialogue> <character>HUMMEL</character> <dialogue>Good Mr. Henderson, continue.</dialogue> <character>LARRY HENDERSON</character> <dialogue>I do n't know who you are, but p please, there's a gun</dialogue> </scene> <scene> <stage_direction>EXT. ALCATRAZ - BEHIND CHINA ALLEY - NIGHT MASON</stage_direction> <scene_description>and Goodspeed , crestfallen , listen . LARRY HENDERSON -LRB- V.O. -RRB- -LRB- loudspeaker -RRB- . and they 're going to oh god . -LRB- through tears -RRB- . please do n't kill me Larry 's quivering voice trails off . Replaced by :</scene_description> <character>HUMMEL</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( loudspeaker . )</parenthetical> <dialogue>Convinced? Mr. Henderson hopes so. You have two minutes.</dialogue> <scene_description>GOODSPEED turns to Mason .</scene_description> <character>GOODSPEED</character> <dialogue>I'll go.</dialogue> <character>MASON</character> <dialogue>Wrong.</dialogue> <character>GOODSPEED</character> <dialogue>What, vou?</dialogue> <character>MASON</character> <dialogue>I'm not the chemical weapons expert.</dialogue> <character>GOODSPEED</character> <dialogue>Good point. Okay here, take'em.</dialogue> <scene_description>GOODSPEED unpockets the V.X. ROCKET 'S GUIDANCE CHIPS . Hands them to Mason . MASON heaves them into the bushes .</scene_description> <character>GOODSPEED</character> <dialogue>What are you doing?</dialogue> <character>MASON</character> <dialogue>Now they only have three rockets left.</dialogue> <character>GOODSPEED</character> <dialogue>What about Mr. Henderson?</dialogue> <character>MASON</character> <dialogue>Hummel's a soldier, not a murderer.</dialogue> <character>GOODSPEED</character> <dialogue>Wait.</dialogue> <character>MASON</character> <parenthetical>( stops ; turns . )</parenthetical> <dialogue>Find the rockets. If they're guarded, kill the men guarding them.</dialogue> <character>GOODSPEED</character> <dialogue>I. I do n't know if I can do this.</dialogue> <character>MASON</character> <dialogue>There's only one way to find out. I'll try to give you time. And Goodspeed.</dialogue> <parenthetical>( tosses GOODSPEED his ATROPINE SYRINGE . )</parenthetical> <dialogue>Do n't be an idiot. Put that on.</dialogue> <scene_description>MASON moves off into the night .</scene_description> <character>GOODSPEED</character> <dialogue>Well thank - you, thank - you very much.</dialogue> <scene_description>GOODSPEED creeps toward the China Alley rocket launcher .</scene_description> </scene> <scene> <stage_direction>EXT. CHINA ALLEY - NIGHT</stage_direction> <scene_description>GOODSPEED moves under the grated , multi - level structure of china Alley . Looks up through the grate . The ROCKET LAUNCHER sits on the grate on the level above him .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN CELL BLOCK - NIGHT</stage_direction> <scene_description>MASON walks down the middle of the cell block toward the opening to the exercise yard .</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - PRISON YARD - ONE MINUTE LATER - NIGHT</stage_direction> <scene_description>Darrow with his gun to Larry Henderson 's head . Hummel paces in the background . MASON emerges ftom the cell block . MASON walks up to Hummel . The two stand there a moment , regarding each other .</scene_description> <character>CAPTAIN DARROW</character> <dialogue>Got ta be kidding me. They send an old man.</dialogue> <scene_description>MASON gives Darrow a hard - eyed glance . Hummel takes a lap around Mason , sizing him up .</scene_description> <character>HUMMEL</character> <dialogue>I thought I'd been in the service a long time. Name and rank, sailor.</dialogue> <character>MASON</character> <dialogue>John Paul Mason.</dialogue> <parenthetical>( stares at Hummel . )</parenthetical> <dialogue>Royal Navy. Commander.</dialogue> <character>HUMMEL</character> <dialogue>You're a long way from England, Commander Mason.</dialogue> <character>MASON</character> <dialogue>I feel strangely at home.</dialogue> <character>HUMMEL</character> <dialogue>How's that?</dialogue> <character>MASON</character> <dialogue>You would n't believe me if I told you.</dialogue> <character>HUMMEL</character> <dialogue>Do you have some unique knowledge of this prison facility, Commander Mason?</dialogue> <character>MASON</character> <dialogue>Quite unique.</dialogue> <character>HUMMEL</character> <dialogue>How's that?</dialogue> <character>MASON</character> <dialogue>I was a guest here.</dialogue> <scene_description>Glances all around . Someone laughs . Everyone laughs .</scene_description> </scene> <scene> <stage_direction>EXT. CHINA ALLEY ROCKET LAUNCH STATION - NIGHT</stage_direction> <scene_description>Pvt. COX mans the launcher . Suddenly a voice :</scene_description> <character>GOODSPEED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Freeze.</dialogue> <parenthetical>( Cox freezes . )</parenthetical> <dialogue>Drop the weapon and turn around. Slowly.</dialogue> <scene_description>Pvt. Cox drops his weapon . Slowly turns . Goodspeed , one hand on his gun , the other on HIS TOOLS , begins to unscrew the V.X. CHEM ROUND FACE - PLATE . ON THE GRATED LEVEL ABOVE GOODSPEED - PVT. MCCOY appears . Looking down , he sees GOODSPEED and Cox . He cinches his REPELLING CLIP to the steel railing .</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - PRISON YARD - CONTINUOUS - NIGHT</stage_direction> <character>HUMMEL</character> <dialogue>Well you're some kind of joker, Mason. Maybe you're a lunatic. Are you of sound mind, Mason?</dialogue> <character>MASON</character> <dialogue>I'm not threatening the lives of a million innocent people. You are.</dialogue> <scene_description>Hummells demeanor changes . Hard now . Tight .</scene_description> <character>HUMMEL</character> <dialogue>Give me the guidance chips.</dialogue> <character>MASON</character> <dialogue>I threw them in the bay.</dialogue> <character>HUMMEL</character> <dialogue>That was stupid of you.</dialogue> <character>MASON</character> <parenthetical>( re : hostage Henderson . )</parenthetical> <dialogue>Would you have shot him7</dialogue> <scene_description>The marines look at Hummel , wondering the same thing . 220 EXT. . CHINA ALLEY ROCKET LAUNCHING STATION - NIGHT GOODSPEED , still holding Cox at bay , pulls the V.X. chem round from the rocket . The going is slow . he begins to lift the POISON PEARL STRANDS from the chem round . His hand reaches to unclip the GUIDANCE SYSTEM CHIP . Suddenly PVT. MCCOY repels to the level behind Goodspeed . Goodspeed grabs the chip and dashes off , slamming through an OLD WOODEN DOOR into the CIVIL WAR RUINS .</scene_description> </scene> <scene> <stage_direction>EXT. PRISON YARD - CONTINUOUS - NIGHT</stage_direction> <scene_description>MASON and Hummel . The previous question dangles in the air : Would you have shot him ?</scene_description> <character>HUMMEL</character> <dialogue>You seem like a bright man, Commander. Bright men understand necessity.</dialogue> <character>MASON</character> <dialogue>Bright men also obey the law. `` Wherever law ends, terror begins.'' John Locke.</dialogue> <character>HUMMEL</character> <dialogue>`` Where there is no law, there is no transgression.'' The Bible. Romans, Chapter 4, Verse 15.</dialogue> <character>MASON</character> <dialogue>Article 7, American Constitution? `` Treason against the United States shall consist of. 11</dialogue> <character>HUMMEL</character> <dialogue>The American Constitution was written by traitors, Commander. Traitors against a government founded on injustice and tyranny and stupidity.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I see little difference in my motivation.</dialogue> </scene> <scene> <stage_direction>EXT. CHINA ALLEY ROCKET LAUNCHING STATION - NIGHT</stage_direction> <scene_description>Goodspeed , inside the Civil War ruins , levels his gun at the door . The chip is in his free hand . The door CREAKS open .</scene_description> </scene> <scene> <stage_direction>EXT. PRISON YARD - CONTINUOUS - NIGHT</stage_direction> <character>HUMMEL</character> <dialogue>Do you, Commander Mason?</dialogue> <scene_description>Suddenly GUNSHOTS . Coming from China Alley . Hummel and men whirl around , startled .</scene_description> <character>HUMMEL</character> <dialogue>Frye, Crisp, go!</dialogue> </scene> <scene> <stage_direction>EXT. CHINA ALLY ROCKET LAUNCHING STATION - NIGHT</stage_direction> <scene_description>GOODSPEED wildly discharges his gun until CLICK , the clip is spent . Cox and McCoy step through the doorway . GOODSPEED shoves the guidance chip in his mouth .</scene_description> <character>MCCOY</character> <dialogue>Swallow that and I swear on my Aunt Myrtle's grave I'll cut your belly open and pull it out.</dialogue> <scene_description>McCoy and Cox spring at Goodspeed . McCoy whips the butt end of his gun against Goodspeed 's head . GOODSPEED crumples , unconscious . McCoy jams his fingers in Goodspeed 's mouth . MCCOY He bit the fuckin ' thing . It 's shot .</scene_description> </scene> <scene> <stage_direction>INT. MAIN CELL HOUSE - CELL BLOCK'ID" - MORNING</stage_direction> <scene_description>GOODSPEED squints through painful eyes , gaining consciousness . he looks around , taking stock of the start cell on ` ID '' block . Gets to his feet . Goes to the bars :</scene_description> <character>GOODSPEED</character> <dialogue>Mason.</dialogue> <parenthetical>( no response . )</parenthetical> <dialogue>Mason?</dialogue> <character>MASON</character> <parenthetical>( V.O . )</parenthetical> <dialogue>It's about time.</dialogue> <character>GOODSPEED</character> <dialogue>Where are you?</dialogue> <scene_description>A CELL ON THE TIER ABOVE GOODSPEED - MASON sits on a bed .</scene_description> <character>MASON</character> <dialogue>Above you.</dialogue> <parenthetical>( under his breath . )</parenthetical> <dialogue>Literally and figuratively.</dialogue> <scene_description>WIDENING , we see that MASON 'S MATTRESS has been ripped into long strips . MASON is BRAIDING THE STRIPS into a long rope . The rope is quite finely constructed . Mason 's been at this several hours . INTERCUT BETWEEN THE TWO CELLS -LRB- and during the following , MASON keeps busy with his rope braiding -RRB- .</scene_description> <character>GOODSPEED</character> <dialogue>This is tiny.</dialogue> <character>MASON</character> <dialogue>You referring to your intellect, Goodspeed? Or another portion of your anatomy.</dialogue> <character>GOODSPEED</character> <dialogue>The cell, Mason.</dialogue> <character>MASON</character> <dialogue>Five feet by seven. Try living in one for a year. What happened?</dialogue> <character>GOODSPEED</character> <dialogue>I only got one chem round. There are two left. I fucked up.</dialogue> <character>MASON</character> <parenthetical>( sarcastic . )</parenthetical> <dialogue>Surprise, surprise.</dialogue> <character>GOODSPEED</character> <dialogue>I'm not a field agent, all right? So cut me a break.</dialogue> <character>MASON</character> <dialogue>An F.B.I. Man asking me for a break. How droll.</dialogue> <character>GOODSPEED</character> <dialogue>What is your beef with the Bureau, anyway Clmon. Tell me.</dialogue> <character>MASON</character> <dialogue>Let's say our countries had a little dispute. They both knowingly shafted me.</dialogue> <character>GOODSPEED</character> <dialogue>How?</dialogue> <character>MASON</character> <dialogue>Familiar with the name Hoover, Goodspeed? I do n't mean a vacuum cleaner.</dialogue> <scene_description>GOODSPEED listens intently and</scene_description> </scene> <scene> <stage_direction>INT. LONG BEACH AIR FORCE BASE HANGAR - MORNING</stage_direction> <scene_description>SUPER : LONG BEACH , CA . - U.S. AIR FORCE BASE . TECHNICIANS are frantically installing WILLY PETER INCENDIARY BOMBS under the wings of an F - 16 . ACROSS THE HMGAR - General Peterson and Captain Giler brief FOUR F - 16 TOP GUN PILOTS . GENERAL PETERSON The target . Alcatraz Island . This is not a precision strike . The entire island is to be blanketed . LWO F - 16 PILOT Sir , we hit that Island with Willy Peter and it 's going to look like Iwo Jima . No one can survive it . GENERAL PETERSON -LRB- grimly -RRB- That 's why this is a volunteer mission , Captain . If any of you have doubts you can carry it out , speak up . The pilots look at each other . Silence .</scene_description> <character>GENERAL PETERSON</character> <dialogue>Captain Giler?</dialogue> <character>CPT. GILER</character> <dialogue>GILER says. We jerry - rigged a release lever. You'll find it on the left side of the cockpit. It's got two positions : safety and release. Throw it on release, the bomb drops in five seconds. Change your mind, throw it back on safety. Any questions?</dialogue> </scene> <scene> <stage_direction>INT. ALCATRAZ - GOODSPEED'S CELL - MORNING</stage_direction> <scene_description>GOODSPEED stares blankly into space . INTERCUT between the two cells again .</scene_description> <character>GOODSPEED</character> <dialogue>Jesus.</dialogue> <parenthetical>( thinks . )</parenthetical> <dialogue>Why did n't you just tell Hoover and the bureau where the microfilm was? Make a trade?</dialogue> <character>MASON</character> <dialogue>Some trade. They'd get the microfilm and I'd get a bullet in the head.</dialogue> <character>GOODSPEED</character> <dialogue>I see your point. Something's been on my mind. About your escape.</dialogue> <character>MASON</character> <dialogue>What?</dialogue> <scene_description>MASON rises . Lifts the bed . Pulls off the bed 's heavy ROLLING CASTER . Knots the caster onto one end of the braided rope .</scene_description> <character>GOODSPEED</character> <dialogue>You went down the shower drain, through the tunnels to the power plant, under the steam engine and out through the intake pipe - that much I've got' But. howld you get out of your cell?</dialogue> <scene_description>MASON leans out his cell and tosses the rolling caster down the cell block . The braided rope , tied to it , plays out to it 's full length .</scene_description> <character>GOODSPEED</character> <parenthetical>( cont'd. ) I only ask because , in our current situation , it might be useful information .</parenthetical> <dialogue /> <scene_description>The result : the braided rope lies across the cell block floor , the rolling caster tied to it . MASON holds the other end of the rope through the bars of his cell .</scene_description> <character>MASON</character> <dialogue>Trade secret, Billy, I'll tell you this : it was easier than getting in.</dialogue> <scene_description>MASON fiercely yanks the rope toward him . The heavy rolling caster jerks from the floor . The CASTER , pulling the rope , flies past Mason 's cell - - shooting in an arc around the corner of the cell block , still pulling the rope , where - - the caster - pulled ROPE catches the CELL RELEASE LEVER against the wall . The rope coils , WRAP WRAP WHAP , around the release lever handle . MASON tugs the rope taut like he 's just snagged a fish . Then he pulls slowly and delicately . THE CELL DOOR RELEASE LEVER pulls down and - - ~ MASON 'S CELL DOOR -LRB- and all the doors on that tier -RRB- open at once . And MASON smiles .</scene_description> </scene> <scene> <stage_direction>INT. GOODSPEED'S CELL - MORNING</stage_direction> <scene_description>GOODSPEED hears the doors opening above him .</scene_description> <character>GOODSPEED</character> <dialogue>Hey! Hey what's happening?</dialogue> <parenthetical>( no response . )</parenthetical> <dialogue>Mason. Mason?</dialogue> <scene_description>Suddenly Goodspeed 's cell door opens . GOODSPEED exits the cell . MASON stands there .</scene_description> <character>MASON</character> <dialogue>You're on your own, kid. Your gear's over there.</dialogue> <scene_description>MASON motions to a HEAP OF THEIR GEAR -LRB- clothes , weapons , flares -RRB- in the corner of the cell tier .</scene_description> <character>GOODSPEED</character> <dialogue>Shit.</dialogue> <scene_description>GOODSPEED grabs his guns and gear and follows after Mason . 225 EXT. . ALCATRAZ - INFIRMARY COMMAND CENTER - MORNING Hummel sits behind the desk . Baxter , Frye , Darrow , Hendrix in front of him . Silence . Hummel stares at his phone . The tension is palpable .</scene_description> <character>HUMMEL</character> <dialogue>Time.</dialogue> <character>BAXTER</character> <parenthetical>( consults his watch . )</parenthetical> <dialogue>Fifteen minutes Frank.</dialogue> <scene_description>CAPTAIN FRYE We have two operational rockets left , General . One on the lower lighthouse , one on the rooftop , ready for fire . -LRB- no response -RRB- General .</scene_description> <character>HUMMEL</character> <dialogue>I heard you Captain.</dialogue> <character>CAPTAIN DARROW</character> <dialogue>Prepare for launch General? General?</dialogue> <character>HUMMEL</character> <dialogue>Not yet.</dialogue> <character>CAPTAIN FRYE</character> <dialogue>General Hummel, noon is approaching.</dialogue> <character>HUMMEL</character> <dialogue>I'm aware of the time, Captain.</dialogue> <scene_description>Hummel glares at Frye , then at the phone . Frye and Darrow . exchange a look .</scene_description> </scene> <scene> <stage_direction>INT. WHITE HOUSE - OVAL OFFICE - MORNING The clock on the wall reads</stage_direction> <scene_description>11:47 . 13 minutes to go . General Kramer , Security Advisor Louis Lindstrom , and C.I.A. Director Milton Amway .</scene_description> <character>LOUIS LINDSTROM</character> <dialogue>When was the last communication from our men on Alcatraz?</dialogue> <character>GENERAL KRAMER</character> <dialogue>Seven hours ago.</dialogue> <scene_description>The Naval Attache enters excitedly . NAVAL ATTACHE General , the white phosphorous attack is operational . General Kramer grabs the phone .</scene_description> <character>GENERAL KRAMER</character> <dialogue>Get me the President.</dialogue> <scene_description>227 EXT. . ALCATRAZ - PARADE GROUND - MORNING MASON emerges from the parade ground ruins and moves down the embankment toward the water . GOODSPEED stays above .</scene_description> <character>GOODSPEED</character> <dialogue>Mason. John.</dialogue> <parenthetical>( MASON stops . )</parenthetical> <dialogue>What happened - the injustice done to you - does n't mean you can walk away from this. A million people across that Bay will die.</dialogue> <character>MASON</character> <dialogue>Only one of them I care about.</dialogue> <character>GOODSPEED</character> <dialogue>You were once a different man.</dialogue> <character>MASON</character> <dialogue>You do n't know what kind of man I was.</dialogue> <character>GOODSPEED</character> <dialogue>You were a civil servant. Sworn to do your duty. Just like me.</dialogue> <scene_description>MASON begins climbing down to the waterline .</scene_description> </scene> <scene> <stage_direction>INT. ALCATRAZ - INFIRMARY COMMAND CENTER - MORNING</stage_direction> <scene_description>Hummel , with Baxter , Hendrix , Frye , Darrow and Crisp . The atmosphere is now so fucking thick you can cut it .</scene_description> <character>CAPTAIN DARROW</character> <dialogue>Eleven fifty - seven, General. Three minutes to go.</dialogue> <character>HUMMEL</character> <dialogue>They're going to call.</dialogue> <character>CAPTAIN FRYE</character> <dialogue>They are not going to call General.</dialogue> <character>HUMMEL</character> <dialogue>I. I do n't understand this.</dialogue> <character>CAPTAIN DARROW</character> <dialogue>I understand it. They're calling our bluff. We have two operational rockets left. We have to stick one of those rockets in their ear, General.</dialogue> <character>HUMMEL</character> <dialogue>Atom?</dialogue> <character>BAXTER</character> <dialogue>I'. I do n't know Frank.</dialogue> <character>HUMMEL</character> <dialogue>Seventy thousand peqple. I did n't. i did n't ever.</dialogue> <character>CAPTAIN FRYE</character> <dialogue>You did n't ever what?</dialogue> <parenthetical>( no response . )</parenthetical> <dialogue>You did n't ever what, General?</dialogue> <parenthetical>( gets in Hummel 's face . )</parenthetical> <dialogue>General, forty - eight hours ago I was in a cushy job at Pendleton. As of this moment I am subject to prosecution for treason and murder. Do you know what that means. It means the electric chair. For all of us.</dialogue> <character>BAXTER</character> <dialogue>He's right Frank. Authorize the launch or it's over.</dialogue> <scene_description>All eyes on Hummel now .</scene_description> <character>CAPTAIN DARROW</character> <dialogue>Authorize the launch, General.</dialogue> <scene_description>Hummel nods and</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - ROOFTOP OF MAIN CELL HOUSE - MORNING</stage_direction> <scene_description>Capt. Frye and Sgt. Crisp approach the rocket launcher across the roof of the main cell house .</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - PARADE GROUND - MORNING Mason's wading into the water</stage_direction> <scene_description>now .</scene_description> <character>GOODSPEED</character> <dialogue>You'll never make it.</dialogue> <character>MASON</character> <dialogue>I once swam the English Channel, but you're entitled to your, opinion.</dialogue> <scene_description>Goodspeed , disgusted , turns and heads back , grumbling .</scene_description> <character>GOODSPEED</character> <dialogue>Fine. I'll fuckin, do it myself.</dialogue> </scene> <scene> <stage_direction>EXT. ROOFTOP OF MAIN CELL HOUSE - MORNING</stage_direction> <scene_description>CAPT. FRYE AND SGT. CRISP on the roof , ready the rocket launcher . Hummells VOICE comes over Fryels walkie - talkie :</scene_description> <character>HUMMEL</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over walkie - talkie . )</parenthetical> <dialogue>Launch coordinates 675 dash 439.</dialogue> <character>CAPTAIN FRYE</character> <dialogue>Aye aye General : coordinates 675 dash Awaiting launch command.</dialogue> </scene> <scene> <stage_direction>INT. INFIRMARY COMMAND CENTER - MORNING</stage_direction> <scene_description>Hummel stares at a GRIDDED MAP OF THE BAY ARF.A .</scene_description> <character>CAPTAIN FRYE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over walkie - talkie . )</parenthetical> <parenthetical>( beat . )</parenthetical> <dialogue>General, your command.</dialogue> <character>HUMMEL</character> <parenthetical>( closes his eyes . )</parenthetical> <dialogue>Fire.</dialogue> </scene> <scene> <stage_direction>EXT. ROOFTOP OF MAIN CELL HOUSE - MORNING</stage_direction> <scene_description>Frye presses the ignition switch . The ROCKET 'S TAIL fires . It ROARS off the launcher . Toward Oakland .</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - PARADE GROUND - MORNING</stage_direction> <scene_description>CLOSE ON MA - SON - as he watches the V.X. ROCKET ROARING over his head toward civilian populdtion .</scene_description> <character>MASON</character> <parenthetical>( hushed . )</parenthetical> <dialogue>My god. MASON looks up. GOODSPEED stands above on the embankment.</dialogue> <character>GOODSPEED</character> <dialogue>That change things?</dialogue> </scene> <scene> <stage_direction>INT. PIER 39 - FBI COMMAND - MORNING</stage_direction> <scene_description>the F.BI . RADAR TECHNICIAN stares at the RADAR SCREEN .</scene_description> <character>F.B.I. RADAR TECHNICIAN</character> <dialogue>They fired a rocket. It's headed east.</dialogue> <scene_description>Everyone stares at the radar screen . A hush .</scene_description> <character>SANCHEZ</character> <dialogue>East. But that's. Oakland.</dialogue> <parenthetical>( dawns on him . )</parenthetical> <dialogue>My god. The football game.</dialogue> </scene> <scene> <stage_direction>EXT. ALCATRAZ - PARADE GROUND - MORNING</stage_direction> <scene_description>MASON comes back up the embankment . Faces Goodspeed - with grim resolve :</scene_description> <character>GOODSPEED</character> <dialogue>Partners?</dialogue> <character>MASON</character> <dialogue>Partners.</dialogue> <scene_description>The two men clasp hands and</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM - NOON</stage_direction> <scene_description>60,000 FOOTBALL FANS scream as THE OAKLAND RAIDERS sprint onto the field . Above , unbeknownst to anyone -</scene_description> </scene> <scene> <stage_direction>EXT. SKIES OVER OAKLAND CALIFORNIA - DAY</stage_direction> <scene_description>The V.X. ROCKET arcs over Oakland and -</scene_description> </scene> <scene> <stage_direction>INT. ALCATRAZ - INFIRMARY COMMAND CENTER - DAY</stage_direction> <scene_description>- Hummel , Baxter , and Darrow stare at the transmission from the rocket 's optic camera . ON THE VIDEO MONITOR - We first see CLEAR SKY . The rocket reaches its apex . Blue sky is now replaced by THE OAKLAND COLISEUM directly below . We descend on 60,000 people . BACK TO SCENE - HUMMEL watches the video monitor nervously . His jaws twitch . He looks at the ROCKET GUIDANCE CONTROL COMPUTER . He looks at the video monitor . He ca n't take it . Hummel lunges for the ROCKET GUIDANCE CONTROL COMPUTER . Darrow tries to restrain him , but - Hummel punches in NEW COORDINATES -</scene_description> </scene> <scene> <stage_direction>EXT. SKIES OVER OAKLAND COLISEUM - DAY</stage_direction> <scene_description>The V.X. Rocket 's GUIDANCE CONTROL suddenly BLINKS RED . the rocket veers off on a new vector . Heading now toward San Francisco Bay . And</scene_description> </scene> <scene> <stage_direction>INT. PIER 39 COMMAND CENTER - DAY</stage_direction> <scene_description>The F.B.I. Radar Technician reacts to the change in the rocket 's trajectory .</scene_description> <character>F.B.I. RADAR TECHNICIAN</character> <dialogue>Sir, it's heading.,. into the bay?</dialogue> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO BAY - DAY</stage_direction> <scene_description>A CHARTER FISHING BOAT bobs in the bay . 245 EXT. . CHARTER FISHING BOAT - DAY Four GUYS are fishing . Relaxing . Drinking beers . one guy looks up . Sees something .</scene_description> <character>CIWTER FISHERMAN</character> <dialogue>What the hell?</dialogue> </scene> <scene> <stage_direction>EXT. SKIES OVER SAN FRANCISCO BAY - DAY The V.X. rocket screams down.</stage_direction> <scene_description>at 500 ft. altitude it DETONATES . Showering a cloud of V.X. POISON onto the bay . 247 EXT. . CHARTER FISHING BOAT - DECK - DAY The FISHERMEN stand there , stunned as DROPLETS OF V.X. POISON fall upon them . It 's like a grey drizzle . The Fishermen exchange looks . Hold out their hands , catching `` rain drops '' . One of them spasm . Another . The others . Skin turns black . Blood runs from pores .</scene_description> </scene> <scene> <stage_direction>EXT. ROOFTOP OF MAIN CELL HOUSE - DAY</stage_direction> <scene_description>Frye and Crisp stare across the Bay in disbelief .</scene_description> <character>CAPTAIN FRYE</character> <dialogue>I do n't believe it. He pulled the plug.</dialogue> <scene_description>Frye , disgusted , races down the STAIRS .</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - IN FRONT OF INFIRMARY - DAY</stage_direction> <scene_description>Frye stalks into the infirmary . MASON and GOODSPEED come around the corner and steal inside the infirmary .</scene_description> </scene> <scene> <stage_direction>INT. WHITE HOUSE - OVAL OFFICE - DAY</stage_direction> <scene_description>Chief of Staff Hayden Sinclair stands before the desk of the President of the United States .</scene_description> <character>HAYDEN SINCLAIR</character> <dialogue>They need a decision Mr. President.</dialogue> <scene_description>The President -LRB- who we do n't see -RRB- gazes into the East Garden . The President hits his INTERCOM to the room where his cabinet is gathered . INTERCUT with the authorities , reactions , as needed :</scene_description> <character>PRESIDENT</character> <dialogue>These past few hours have been the longest, darkest of my life. This is when you wish the buck did not stop here.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>A balance between two tragedies. On one hand the fate of a million civilians. On the other, Frank Hummel. That we have ignored or abandoned or marginalized a great soldier like Frank Hummel and that American boys have paid the price of that neglect in blood, is equally real, and equally tragic.</dialogue> <character>HAYDEN SINCLAIR</character> <dialogue>The glass is half full not half empty, sir. No civilian casualties so far.</dialogue> <character>PRESIDENT</character> <dialogue>I do n't believe in half full or half empty, Sinclair. There are chemical weapons and there are civilians. And there are men on Alcatraz wholve proved they're willing to use the one on the other.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>We are at war with terror. Fighting a war means casualties. This is the worst call I've ever had to make.</dialogue> <parenthetical>( takes the phone . )</parenthetical> <dialogue>Air strike approved.</dialogue> </scene> <scene> <stage_direction>EXT. PIER 39 COMMAND CENTER - MOBILE WAR ROOM - DAY</stage_direction> <scene_description>Sanchez , Womack , Carla , silent around speakerphone .</scene_description> </scene> <scene> <stage_direction>EXT. LONG BEACH AIR FORCE BASE - DAY</stage_direction> <scene_description>The F - 16s ROAR down the runway , lifting into the sky .</scene_description> </scene> <scene> <stage_direction>INT. ALCATRAZ - INFIRMARY CORRIDOR - DAY</stage_direction> <scene_description>MASON and GOODSPEED move silently down the corridor . They pass the HEAVY STEEL DOOR of the Marinets Command Center . It 's ajar . Voices emanate within .</scene_description> <character>GOODSPEED and MASON</character> <dialogue /> <scene_description>move inside the adjacent room . B253 INT . INFIRMARY ROOM ADJACENT TO COMMAND CENTER - DAY There 's a 4 x 16 inch slit in the wall . MASON and GOODSPEED position themselves on either side , watching and eavesdropping on the drama unfolding within .</scene_description> </scene> <scene> <stage_direction>INT. ALCATRAZ - INFIRMARY COMMAND CENTER - DAY</stage_direction> <scene_description>Frye , Darrow and Baxter . All staring at Hummel .</scene_description> <character>CAPTAIN FRYE</character> <dialogue>You're gutless. I knew it.</dialogue> <character>CAPTAIN DARROW</character> <dialogue>The problem is now thev know it.</dialogue> <character>HUMMEL</character> <dialogue>Careful son. I'd maintain discipline if I were you.</dialogue> <scene_description>Darrow draws his .45 , levels it at Hummel . INTERCUT with MASON and Goodspeed 's reactions .</scene_description> <character>CAPTAIN DARROW</character> <dialogue>I'm relieving you of your command General. Captain Frye?</dialogue> <character>CAPTAIN FRYE</character> <dialogue>I'm in.</dialogue> <character>CAPTAIN DARROW</character> <dialogue>Major?</dialogue> <scene_description>Major Baxter looks from Darrow to Hummel .</scene_description> <character>HUMMEL</character> <dialogue>Tom?</dialogue> <character>BAXTER</character> <dialogue>It's over Frank.</dialogue> <parenthetical>( to Darrow . )</parenthetical> <dialogue>I'm in.</dialogue> <scene_description>Hummel blinks . He ca n't believe this .</scene_description> <character>HUMMEL</character> <dialogue>Tom, I warn you.</dialogue> <character>BAXTER</character> <dialogue>Stand down, General.</dialogue> <character>HUMMEL</character> <dialogue>I'm giving you a direct order.</dialogue> <character>BAXTER</character> <parenthetical>( draws his .45 . )</parenthetical> <dialogue>I'm not accepting it.</dialogue> <scene_description>IN THE ADJACENT ROOM - GOODSPEED and MASON exchange a tense look . mason aims his gun through the slit . HUMMEL draws his .45 but Baxter fires first , hitting Hummel squarely in the chest . MASON FIRES through the slit , killing Baxter as - HUMMEL , gunshot , reels toward the STEEL DOOR behind him . He wrenches it open and lunges outside into the corridor . IN THE CORRIDOR - MASON fires into the command center , sending Frye and Darrow diving for cover . GOODSPEED grabs the semi - consious Hummel and drags him down the corridor - . IN THE INFIRMARY WASHROOM - GOODSPEED drags Hummel inside . Hummel collapses against the wall . His blood runs across the tiled floor . MASON takes a defensive position in the washrooms doorway . DARROW AND FRYE attack through the infirmary 's maze of rooms , taking cover where they can , squeezing off rounds . MASON fires at Darrow and Frye from the doorway while GOODSPEED kneels over Hummel . Hummells dying and knows it . he stares at Goodspeed through glassy eyes .</scene_description> <character>HUMMEL</character> <dialogue>My god what have I done.</dialogue> <character>GOODSPEED</character> <dialogue>It's not too late, General. Tell me where the last chem round is.</dialogue> <character>HUMMEL</character> <parenthetical>( gasps for air . )</parenthetical> <dialogue>Lower lighthouse.</dialogue> <scene_description>Hummel dies . MASON and GOODSPEED turn from Hummel to each other .</scene_description> <character>MASON</character> <dialogue>Do your job, Billy. - I'll try to hold, em off.</dialogue> <scene_description>MASON blasts away at Frye and Darrow , allowing GOODSPEED to sprint for the exit toward the lower lighthouse . As Frye holds down MASON with fire , Darrow sprints for the opposite exit . Frye , firing while retreating , moves back inside the Command Center .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN CELL HOUSE - DAY</stage_direction> <scene_description>GOODSPEED exits and sprints toward the lower lighthouse .</scene_description> </scene> <scene> <stage_direction>EXT./INT. ALCATRAZ - LOWER LIGHTHOUSE - DAY</stage_direction> <scene_description>Sgt. Crisp smokes a cigarette next to launcher . GOODSPEED enters , gun raised . Crisp spins , drawing his .45 .</scene_description> <character>GOODSPEED</character> <dialogue>Do n't.</dialogue> <scene_description>GOODSPEED shoots Crisp . Crisp falls dead . A255 INT . INFIRMARY - CORRIDOR - DAY MASON advances toward the command center 's door . Suddenly the HEAVY STEEL DOOR creaks open and - - A SATCHEL EXPLOSIVE flings out , sliding across the corridor floor toward Mason . MASON turns and sprints away . Frye bolts from the room , s printing the other way . MASON dives away as the satchel DETONATES , imploding the corridor walls , collapsing the , ceiling . mason 's engulfed in two tons of - plaster and crumbled cinder block .</scene_description> </scene> <scene> <stage_direction>INT. LOWER LIGHTHOUSE - DAY</stage_direction> <scene_description>Goodspeed 's detached the V.X. CHEM ROUND from the rocket . He 's about ready to pull out the poison pearls when . DARROW barges in . GOODSPEED , c hem round in hand , moves behind the stairway and scaffolding in the room , s middle .</scene_description> </scene> <scene> <stage_direction>INT. INFIRMARY COMMAND CENTER - DAY Frye, at the GUIDANCE CONTROL</stage_direction> <scene_description>COMPUTER , into walkie talkie . CAPTAIN FRYE Crisp , Darrow , come in . -LRB- thinks ; clicks walkie talkie to new channel -RRB- Cox , McCoy , get your asses up here !</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - WHARF WATCH TOWER - DAY</stage_direction> <scene_description>Pvts . Cox and McCoy , standing watch , leave the watch tower and hurry toward the infirmary and lower lighthouse .</scene_description> </scene> <scene> <stage_direction>INT. LOWER LIGHTHOUSE - DAY</stage_direction> <scene_description>Darrow moves one way , GOODSPEED the other . GOODSPEED holds the chem round in front of him .</scene_description> <character>CAPTAIN DARROW</character> <dialogue>Give that to me.</dialogue> <character>GOODSPEED</character> <dialogue>You shoot me, I'll drop this and we're both dead. One of these pearlslll kill everything within 200 feet. You know how this shit works?</dialogue> <scene_description>Darrow drops his gun . Pulls out a TITANIUM BLADED KNIFG .</scene_description> <character>CAPTAIN DARROW</character> <dialogue>You know how this shit works?</dialogue> <scene_description>Darrow advances on Goodspeed . The only route to GOODSPEED is between the rocket and the window . Darrow continues advancing. , GOODSPEED eyes the launcher 's IGNITION SWITCH . As Darrow passes between thewindow and the launcher .</scene_description> <character>GOODSPEED</character> <dialogue>You know the Elton John son, `` Rocket Man''?</dialogue> <character>CAPTAIN DARROW</character> <dialogue>I hate it.</dialogue> <scene_description>Darrow lunges . GOODSPEED stabs the IGNITION SWITCH . The VX ROCKET LIFTS OFF , HITTING Darrow square in the chest .</scene_description> </scene> <scene> <stage_direction>EXT. LOWER LIGHTHOUSE - DAY</stage_direction> <scene_description>- The VX ROCKET BLOWS Darrow THROUGH THE WINDOW and wings off , clearing the cliffs . Darrow falls from the rocket -</scene_description> <character>GOODSPEED</character> <dialogue>Well it happens to be my favorite fuckin, song!</dialogue> </scene> <scene> <stage_direction>EXT. ALCATRAZ - PARADE GROUND - DAY</stage_direction> <scene_description>DARROW plummets , IMPALING himself on a STEEL FENCE SPIKE . The VX ROCKET swerves madly across the bay -</scene_description> </scene> <scene> <stage_direction>INT. PIER 39 COMMAND CENTER - MOBILE WAR ROOM - DAY</stage_direction> <character>F.B.I. RADAR TECHNICIAN</character> <dialogue>Second rocket's away, sir.</dialogue> <parenthetical>( confused look . )</parenthetical> <dialogue>It went in the Bay sir.</dialogue> </scene> <scene> <stage_direction>INT. LOWER LIGHTHOUSE - DAY</stage_direction> <scene_description>Goodspeed 's alone now with the last V.X. CHEM ROUND . He - pulls out the STRAND OF POISON PEARLS . Suddenly an AXE BLADE comes through the door . outside -</scene_description> </scene> <scene> <stage_direction>EXT. LOWER LIGHTHOUSE - DAY -- CAPT. FRYE chops at the door lock with</stage_direction> <scene_description>a FIRE AXE .</scene_description> </scene> <scene> <stage_direction>INT. LOWER LIGHTHOUSE - DAY</stage_direction> <scene_description>GOODSPEED looks around frantically . Only one place to go . Up . GOODSPEED scrambles up the interior metal stairs .</scene_description> </scene> <scene> <stage_direction>EXT. LOWER LIGHTHOUSE ROOFTOP - DAY</stage_direction> <scene_description>GOODSPEED emerges on the roof . Sets down the chem round . Pulls out the POISON PEARL STRANDS , his hand shaking . With the other hand , he unclips the ROCKET GUIDANCE CHIP . The COPPER STRANDS holding the pearls are corroded . A strand BREAKS . Four PEARLS fall . GOODSPEED catches three . The FOURTH drops , hitting his SHOE . It rolls along the rooftop . GOODSPEED sets aside the other pearls and dives , grabbing the stray pearl an inch from the roof , s edge . Suddenly THE HUGE LIGHTHOUSE WINDOW behind GOODSPEED EXPLODES , showering GOODSPEED with glass . ON THE ADJACENT ROOFTOP ~ PVT. MCCOY , wielding a smoking .60 Cal MACHINE GUN . McCoy fires a wicked , long , sustained burst , emptyinc his entire ammunition belt . THE LIGHTHOUSE SEARCHLIGHT FRESNEL blows to shreds . GOODSPEED rolls away , GLASS SHARDS raining down on him , cutting him - . He 's a sitting duck . MCCOY casts aside the .60 Cal and unshoulders a SNIPER RIFLE . Draws a bead on GOODSPEED again . GOODSPEED , bleeding , terrified , cowers , awaiting death . A SILHOUETTE APPEARES behind McCoy . It 's MASON , dirty and bloodied . McCoy spins . MASON bats the rifle aside , KNEES McCoy in the solar plexus , grips McCoyls NECK - SNAP ! - and HURLS him off the roof . McCoy falls 5 floors . GOODSPEED gives MASON a thankful glance . And hears THE DOOR BURST OPEN BELOW .</scene_description> </scene> <scene> <stage_direction>INT. LOWER LIGHTHOUSE ROOFTOP - DAY</stage_direction> <scene_description>FRYE roars inside . Looks around . Starts up the stairs .</scene_description> </scene> <scene> <stage_direction>EXT. LOWER LIGHTHOUSE - DAY</stage_direction> <scene_description>FRYE barges onto the roof . Sees the DISMANTLED CHEM ROUND . Goodspeed 's at the edge of the roof looking down .</scene_description> <character>CAPTAIN FRYE</character> <dialogue>Give me the guidance chip.</dialogue> <scene_description>Frye raises his M - 16 as GOODSPEED jumps . Lands hard on the ground below and sprints off .</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - IN FRONT OF THE LOWER LIGHTHOUSE - DAY</stage_direction> <scene_description>GOODSPEED sprints toward the NEW INDUSTRIES BUILDING .</scene_description> </scene> <scene> <stage_direction>EXT. LOWER LIGHTHOUSE ROOFTOP - DAY</stage_direction> <scene_description>Frye fires form the roof . M - 16 ROUNDS kick up dirt around Goodspeed . Frye curses and head back down the stairs .</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - IN FRONT OF LOWER LIGHTHOUSE - DAY Frye exits and</stage_direction> <scene_description>sprints after Goodspeed . INT . MAIN CELL HOUSE - STAIRWELL - DAY Mason come down the stairs . Suddenly PVT. COX looms on the stairs below . Faces off with Mason . Cox draw his knife and lunges . MASON catches Cox ' wrist . Cox , with his free hand , hits Mason . Hard . MASON recoils . Counter punches . On comes Cox . He 's huge and menacing . He hits MASON again . Again . Again . Cox has MASON backed up to the stairwell . -</scene_description> </scene> <scene> <stage_direction>INT. NEW INDUSTRIES BUILDING - DAY</stage_direction> <scene_description>Goodspeed , frantic , sprints across the floor , SPLASHING through puddles . He loses his footing . falls and slides across the floor , clutching the guidance chip an , d pear . He gets to his feet . LIMPS behind some RUSTY MACHINERY . FRYE enters . Sees RIPPLES IN PUDDLES left by Goodspeed . Frye creeps across the floor . Following the ripples .</scene_description> </scene> <scene> <stage_direction>INT. MAIN CELL HOUSE - STAIRWELL - DAY</stage_direction> <scene_description>Mason 's nearly through . Backed up against the railing . Cox comes in again . WHAM WHAM . MASON spits blood and teeth . MASON 'S moves to his pocket . As Cox comes in for the death blow - MASON pulls the MOTOR OIL from his picket and sprays it in Cox 's eyes . The big man is dazed , blinded . MASON steps aside and rams Cox over the railing . Cox falls to his death on the floor below . MASON looks down at him . MASON Snakes hate the stuff .</scene_description> </scene> <scene> <stage_direction>INT. NEW INDUSTRIES BUILDING - DAY</stage_direction> <scene_description>Frye creeps close to Goodspeed 's hiding place . GOODSPEED lunges from behind the machinery , jamming his fingers into Fryels mouth and ramming home the POISON PEARL . GOODSPEED HAMMERS his fist into Fryels JAW . We hear the glass breaking in Fryels mouth . Fryels eyes widen . GREY SMOKE SPEWS FROM HIS MOUTH AND NOSTRILS . His eyes bulge . GOODSPEED tries to step away . Frye bearhugs him , pressing his face close . Frye open his mouth , spewing forth a CLOUD OF POISON in Goodspeed 's face .</scene_description> <character>CAPTAIN FRYE</character> <dialogue>You're comin, with me.</dialogue> <scene_description>GOODSPEED shoves Frye away . Frye drops , his body quivering . Blood pours form his ears and nose . Frye spasms in a sickening dance of death . GOODSPEED reels away , . COUGHING . Dizzy , he falls to his knees . He 's gassed and knows it . Desperately , he rips at his PANDLEG . A SYRINGE taped to his calf . ATROPINE . He pulls it free and hesitates . A beat , then - He PLUNGES the long needle into his chest . Into his heart . Depresses the plunger .</scene_description> </scene> <scene> <stage_direction>EXT. SKIES OVER SAN FRANCISCO BAY AREA - DAY</stage_direction> <scene_description>- The F - 169 , flying north along the California.Coastline , bank right and dive down onto San Francisco Bay .</scene_description> </scene> <scene> <stage_direction>INT. NEW INDUSTRIES BUILDING - DAY</stage_direction> <scene_description>Goodspeed 's world slows down . Is he dying ? He sees IMAGES in SLOW MOTION He and Carla together his parents moments from his childhood . Slowly Goodspeed 's breathing normalizes . He gazes up at the dawning sky . SEES something shimmering in the distance . Through the HEAT WAVES . THE SOUADRON OF F - 16S .</scene_description> </scene> <scene> <stage_direction>INT. PIER 39 COMMAND CENTER - DAY</stage_direction> <scene_description>Sanchez , Director Womack , and the F.B.I. TECHNICIANS watch from the window as - THE F - 16s wing across the Bay toward Alcatraz .</scene_description> <character>SANCHEZ</character> <dialogue>May god have mercy gn their souls.</dialogue> <character>CARLA</character> <parenthetical>( face buried in his hands . )</parenthetical> <dialogue>You ca n't do this, you ca n't let this happen.</dialogue> </scene> <scene> <stage_direction>EXT. NEW INDUSTRIES BUILDING - DAY</stage_direction> <scene_description>GOODSPEED exits and kneels , reaching for HIS OTHER PANTLEG . PUllS out his GREEN FLARES . He cracks the flares and fires them up .</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO BAY BRIDGE - DAY</stage_direction> <scene_description>The F - 16s fly under the span of bridge , just 50 feet off the water , shooting up a PLUME OF WATER .</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - NEW INDUSTRIES BUILDING - DAY GOODSPEED, in slow</stage_direction> <scene_description>motion , waves the flares .</scene_description> </scene> <scene> <stage_direction>INT. LEAD F-16 - COCKPIT - DAY The LEAD F-16 Pilot speaks on this</stage_direction> <scene_description>air - to - air mike . LEAD F - 16 PILOT Arm up .</scene_description> </scene> <scene> <stage_direction>INT. PIER 39 - F.B.I. COMMAND CENTER - DAY</stage_direction> <scene_description>CARLA watches the approach of the F - 16s on Alcatraz in horror . Every second is excruciating .</scene_description> <character>F.B.I. TECHNICIAN</character> <dialogue>Ten seconds to the drop zone. And now counting eight, seven, six.</dialogue> </scene> <scene> <stage_direction>EXT. WORLD WAR II BUNKER (SPOTTING POSITION #1) - DAY</stage_direction> <scene_description>A hilltop on the Marin side of the Golden Gate Bridge . Two spotters watch the action through SPOTTING SCOPES . SPOTTER 1 watches the F - 16s . SPOTTER 2 , watching ALCATRAZ , nearly jumps out of his skin .</scene_description> <character>F.B.I. TECHNICIAN</character> <dialogue>Green smoke! It's. GOODSPEED!</dialogue> <scene_description>A RADIO OPERATOR fires a message to command .</scene_description> </scene> <scene> <stage_direction>INT. PIER 39 ~ F.B.I. COMMAND CENTER - DAY</stage_direction> <character>SANCHEZ</character> <dialogue>Abort. Abort immediately.</dialogue> </scene> <scene> <stage_direction>EXT. ALCATRAZ - SHORELINE - DAY</stage_direction> <scene_description>On come the F - 16s , ROARING over Alcatraz . They 're almost on top of GOODSPEED now . It 's too late . It 's all over .</scene_description> </scene> <scene> <stage_direction>INT. LEAD F-16 </stage_direction> <scene_description>- 16 - COCKPIT - DAY</scene_description> <character>F-16 FLIGHT CONTROLLER</character> <parenthetical>( v.o. cockpit radio . )</parenthetical> <dialogue>ABORT, RED THUNDER, ABORT!</dialogue> <scene_description>LEAD F - 16 PILOT Abort . Abort . THE LEAD F - 16 PILOT safeties the bomb release lever . 276 INT . REAR F - 16 - COCKPIT - DAY The REAR F - 16 PILOT is wrestling with his release lever . It 's stuck . He ca n't `` safety '' it .</scene_description> <character>REAR F-16 PILOT</character> <dialogue>Sir, something's wrong. I ca n't disengage!</dialogue> <character>LEAD F-16 PILOT</character> <dialogue>Then peel off.</dialogue> </scene> <scene> <stage_direction>EXT. SKIES OVER ALCATRAZ - DAY</stage_direction> <scene_description>The four F - 16s veer away from the island . But for the REAR JET , the order came too late .</scene_description> </scene> <scene> <stage_direction>EXT. REAR F-16 - WING UNDERCARRIAGE - DAY</stage_direction> <scene_description>The REAR F - 16 releases its Willy Peter canisters . They plummet to the island .</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - NEAR NEW INDUSTRIES BUILDING - DAY</stage_direction> <scene_description>The WILLY PETER CANISTERS land , detonating on impact in a MONSTROUS INFERNAL EXPLOSION . The awesome concussion knocks GOODSPEED off the New Industries Building pier into the bay .</scene_description> </scene> <scene> <stage_direction>EXT. UNDERWATER - DAY</stage_direction> <scene_description>Goodspeed , concussed in the water , tries to keep consciousness . He ca n't . He sinks . ANOTHER FORM appears above him . It 's MASON , swimming for Goodspeed . MASON gets under his arms and pulls him up .</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - SHORELINE - DAY</stage_direction> <scene_description>MASON drags GOODSPEED ashore . 283 INT . PIER 39 - COMMAND WAREHOUSE - DAY Sanchez , Director Womack and the F.B.I. TECHNICIANS stare out the window at Alcatraz , enshrouded in PLUMES OF SMOKE . Total silence . Only CARLA , weeping quietly in the corner . SANCHEZ puts his arm around her . Ushers her away . Suddenly a VOICE CRACKLES :</scene_description> <character>GOODSPEED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Pier 39 come in. Pier 39.</dialogue> <parenthetical>( freezes . )</parenthetical> <dialogue>My god he's alive.</dialogue> <scene_description>Director Womack grabs the mike .</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue /> <scene_description>Goodspeed , this is Director Womack . Are the hostages alive ?</scene_description> <character>GOODSPEED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Every one of em sir.</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>What about Mason?</dialogue> </scene> <scene> <stage_direction>INT. ALCATRAZ - CIVIL WAR RUINS - DAY</stage_direction> <scene_description>GOODSPEED stares at Mason , letting the question dangle .</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>Goodspeed. Is Mason - alive?</dialogue> <scene_description>A pause . The question still dangling there . Then :</scene_description> <character>GOODSPEED</character> <parenthetical>( deep breath . )</parenthetical> <dialogue>Just come and get me, sir. I'm tired.</dialogue> <character>SANCHEZ</character> <dialogue>Name your vacation spot, Goodspeed. The Bureau'll pay for it.</dialogue> <scene_description>GOODSPEED hangs up . The two men regard each other .</scene_description> <character>GOODSPEED</character> <dialogue>Mason, uhm, John, I have something to tell you. You know that pardon contract you signed?</dialogue> <character>MASON</character> <dialogue>Womack ripped it up, right?</dialogue> <character>GOODSPEED</character> <dialogue>You knew? All this time?</dialogue> <character>MASON</character> <dialogue>I'm not a fool, Billy.</dialogue> <character>GOODSPEED</character> <dialogue>All I know is that whatever you did, you do n't deserve to go back.</dialogue> <character>MASON</character> <dialogue>Goodspeed. You know the etymology of your name?</dialogue> <character>GOODSPEED</character> <dialogue>God's speed.</dialogue> <character>MASON</character> <dialogue>Yes. To wish someone a prosperous jouey.</dialogue> <scene_description>MASON smiles . GOODSPEED smiles back . There is an immediate tacit understanding .</scene_description> <character>MASON</character> <dialogue>And if you turn around I'll tell you a secret.</dialogue> <scene_description>Goodspeed , confused by this , gives MASON a look . Slowly turns around . Camera does n't leave him .</scene_description> <character>MASON</character> <parenthetical>( O.S . )</parenthetical> <dialogue>St. Michael's Church, Fort Walton, Kansas. Front pew. Right leg. Hollow.</dialogue> <character>GOODSPEED</character> <dialogue>What's that?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Mason?</dialogue> <scene_description>GOODSPEED turns around . John Paul MASON is gone .</scene_description> </scene> <scene> <stage_direction>EXT. ALCATRAZ - DOCK - DAY</stage_direction> <scene_description>GOODSPEED is standing on the dock . Sanchez comes down the gangplank .</scene_description> <character>SANCHEZ</character> <dialogue>You surprised me, kid. Never thought you could do it.</dialogue> <character>GOODSPEED</character> <dialogue>Neither did I sir.</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>Where's Mason?</dialogue> <character>GOODSPEED</character> <dialogue>Vaporized, sir. Blown out to sea.</dialogue> <character>GOODSPEED</character> <dialogue>He saved my life, sir. Is SANCHEZ going to accept this?</dialogue> <character>SANCHEZ</character> <dialogue>Yes.</dialogue> <parenthetical>( smiles ; acknowledges . )</parenthetical> <dialogue>Poor son - of - a - bitch.</dialogue> <character>F.B.I. AGENT</character> <dialogue>Sir, the White House calling. It's the President.</dialogue> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>I'll take it.</dialogue> <scene_description>WOMACK elbows past GOODSPEED and Sanchez .</scene_description> <character>F.B.I. AGENT</character> <dialogue>Uhm, sir, actually it's for Goodspeed.</dialogue> <scene_description>Womack glares at Goodspeed , who takes the phone .</scene_description> <character>GOODSPEED</character> <dialogue>Bill Goodspeed, Mr. President.</dialogue> <character>PRESIDENT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I am in your debt, Goodspeed, the country is in your debt. You're a hero, son.</dialogue> <character>GOODSPEED</character> <dialogue>Thank you, Mr. President. The man you should be thanking is John Mason.</dialogue> <character>PRESIDENT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>So I've been informed. Would you put the F.B.I. Director on please?</dialogue> <character>GOODSPEED</character> <dialogue>Director Womack.</dialogue> <scene_description>GOODSPEED hands the phone to Womack . Womack looks at the phone . Slowly takes it .</scene_description> <character>F.B.I. DIRECTOR WOMACK</character> <dialogue>I can explain all of this, sir.</dialogue> <character>PRESIDENT</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I do n't want your explanation, Womack. I want your resignation.</dialogue> <scene_description>Womack grimaces . Goodspeed , smiling to himself , turns away . CARLA races into his arms . A long , warm embrace .</scene_description> </scene> <scene> <stage_direction>EXT. PACIFIC COAST HIGHWAY - DAY</stage_direction> <scene_description>A jeep motors up the Freeway . Passing a sign : VANCOUVER 30 MILES .</scene_description> </scene> <scene> <stage_direction>INT. JEEP - DRIVING - DAY</stage_direction> <scene_description>MASON and Jade . Jade driving . Father smiles . Daughter smiles back . BEGIN CLOSING CREDITS . The following plays over : KANSAS - DAY</scene_description> </scene> <scene> <stage_direction>EXT. A ROAD IN FORT WALTON, KANSAS - DAY</stage_direction> <scene_description>A beat - up PORSCHE SPEEDSTER exits a BAPTIST CHURCH .</scene_description> </scene> <scene> <stage_direction>INT. PORSCHE SPEEDSTER - DAY</stage_direction> <scene_description>Carla is driving . GOODSPEED next to her . He opens a WORN PLASTIC CANISTER . Spools out a REEL OF MICROFILM .</scene_description> <character>CARLA</character> <dialogue>Would you please tell me what this is all about?</dialogue> <character>GOODSPEED</character> <dialogue>You want to know who really killed President Kennedy, honey?</dialogue> <scene_description>THE END</scene_description> </scene> </script>

A group of rogue U.S. Force Recon Marines, led by disenchanted Brigadier General Frank Hummel (Harris) and his second-in-command Major Tom Baxter (Morse), storm a heavily guarded naval weapons depot and steal a stockpile of deadly VX gas-armed M55 rockets, losing one of their own men in the process. The next day, Hummel and his men — along with newly-recruited Marine Captains Frye (Sporleder) and Darrow (Todd) — seize control of Alcatraz Island, taking eighty-one tourists hostage. Hummel threatens to launch the rockets against San Francisco unless the U.S. government pays him $100 million from a military slush fund, which he will distribute to his men and the families of Recon Marines who died on clandestine missions under his command but whose deaths were not compensated. The Pentagon and FBI develop a plan to retake the island with a U.S. Navy SEAL team led by Commander Anderson (Biehn), enlisting the FBI's top chemical weapons specialist, Dr. Stanley Goodspeed (Cage). FBI Director James Womack (Spencer) is forced to offer a pardon to federal prisoner John Mason (Connery), in return for information. Mason, a 60-year-old British national imprisoned without charges for two decades, is the only Alcatraz inmate ever to escape the island. After being set up in a hotel, Mason escapes, resulting in a car chase with Goodspeed through the streets of San Francisco. While Mason seeks out his estranged daughter, Jade (Forlani), Goodspeed arrives, but he covers for Mason by telling Jade that Mason is aiding the FBI. Goodspeed, Mason, and the SEALs infiltrate Alcatraz but Hummel's men are alerted to their presence and ambush them in a shower room. All the SEALs, including Anderson, are killed — leaving only Mason and Goodspeed alive. Mason sees his chance to escape custody and disarms Goodspeed, but is convinced to help defuse the rockets after the Marines use explosive devices to flush them out. They eliminate several teams of Marines and disable twelve of the fifteen rockets by removing their guidance chips. Hummel threatens to execute a hostage if they do not surrender and return the guidance chips; instead, Mason destroys the chips and surrenders to Hummel to try and reason with him as well as buy Goodspeed some time. Though Goodspeed disables another rocket, the Marines capture him. With the incursion team lost, the military initiates their backup plan: an airstrike by F/A-18s with thermite plasma, which will neutralize the poison gas and kill everyone on the island. Mason and Goodspeed escape, after which the former explains why he was held prisoner: he was a British SAS Captain who stole a microfilm containing details of the United States' most closely guarded secrets, refusing to give it up when captured because he knew he would be killed if he did. When the deadline for the transfer of the ransom passes, Hummel is urged by his men to fire one of the rockets; at first he does this, but then redirects it to detonate at sea. Hummel, confronted by Frye and Darrow, declares the mission is over — explaining that it was all an elaborate bluff as he never had any intention of harming innocent lives. Hummel orders them to exit Alcatraz with a few hostages and the remaining rocket to cover their retreat while he assumes blame. Frye and Darrow rebel upon realizing they will not be paid their $1 million apiece, killing Baxter and mortally wounding Hummel — who tells Goodspeed where the last rocket is before dying. Darrow and Frye proceed with the plan to fire on San Francisco. Goodspeed seeks out the rocket while Mason deals with the remaining Marines. As the jets approach, Goodspeed disables the rocket before killing both Darrow and Frye. He signals that the threat is over just as one jet drops a bomb; though no hostages are injured, Goodspeed is thrown into the sea by the blast and Mason rescues him. Goodspeed and Mason part ways after Mason reveals the location of the microfilm; Goodspeed fakes Mason's death by telling Womack that he was killed in the bomb explosion. Sometime later, Goodspeed and his newlywed wife Carla (Marcil) are seen stealing the microfilm from a church and driving away.

Any Given Sunday_1999

tt0146838

<script> <scene> <scene_description>ANY GIVEN SUNDAY by Jamie Williams &amp; Richard Weiner, John Logan, Daniel Pyne revisions by Gary Ross, Raynold Gideon &amp; Bruce A. Evans, John Logan, Lisa Amsterdam &amp; Robert Huizenga current revision by Oliver Stone</scene_description> <character>REVISED SHOOTING SCRIPT</character> <dialogue>May 1, 1999</dialogue> <scene_description>"... Any man's finest hour -- his greatest fulfillment to all he holds dear -- is that moment when he has worked his heart out in a good cause and lies exhausted on the field of battle -- victorious." Vince Lombardi</scene_description> </scene> <scene> <stage_direction>A1 EXT. "SHARK" STADIUM (MIAMI, USA) - LATE DAY A1</stage_direction> <character>(ANY SUNDAY)</character> <dialogue>MUSIC sets a mood of mystery, verdure, sky... Grass sways gently in the wind, silence to the world... Then a football is placed in the grass. The large, taped knuckles of a center grasp the football for the snap. The world is still, coiled like a spring...</dialogue> <scene_description>GAME 1 MINNESOTA AMERICANS AT MIAMI SHARKS - FIELD #1 -</scene_description> <character>CONTINUOUS ACTION</character> <dialogue>An EXPLOSION on the field -- as bodies crash against each other like armies. The game as played and felt in "the pit".</dialogue> <dialogue>A swift, short pass over the middle... A tight end (Miami) takes the hit... Then the quarterback (Miami) goes down hard. A blur of motion. A WHISTLE BLOWS and referee #1 signals first down; chains are moved.</dialogue> <scene_description>HELICOPTER #1 A steep view of the proceedings -- godlike, evoking ghosts, wind; as if the football gods look down on their human combatants and vote for first downs, touchdowns, careers, lives... These overheads punctuate the film... The silence lingers briefly -- before the Announcers' voices bring us back to the media reality of the late 20th Century...</scene_description> <character>TUG KOLOWSKI (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>... And what a beautiful day for football it is here in South Florida!! It's Sunday, and the sun is shining and playoff berths are on the line. It doesn't get much better than this! Don't you think so, Kevin?!</dialogue> <character>KEVIN BRANSON (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>That's the one thing you and I can agree on, Tug. You can almost feel religion in the air here at Miami's 'Shark' Stadium.</dialogue> <scene_description>The MUSIC THEME -- a blend of martial, choral, and rock and roll -- is now swallowed in the ROAR of the CROWD...</scene_description> <character>SMASH CUT TO:</character> <dialogue>... the technicolor eyes of quarterback JACK "CAP" ROONEY, hostage to anger and pain, as his aging frame crashes on the dirty grass.</dialogue> <scene_description>SIDELINE #1 Head coach TONY D'AMATO, a striking, intense man in his 50s, moves in a five-yard swath of the sideline, his eyes flicking worriedly to his fallen alter-ago.</scene_description> <character>TONY</character> <dialogue>I've been doin' this for too many years...</dialogue> <parenthetical>(at McKenna)</parenthetical> <dialogue>You mother...!!! Goddamn ass...!!!</dialogue> <scene_description>He's giving it to Leslie McKenna, the right guard, and the other linemen, as he senses the game is now shifting momentum -- against him.</scene_description> <character>TONY</character> <dialogue>... 'mother!... you candy ass... no blockin' bitches!... 68?! McKenna, get your brain-dead head out of your ass!! You're not blocking, you're tip-toeing through the tulips!...</dialogue> <scene_description>SIDELINE #2 DR. ALLIE POWERS, 30s, the new internist with the team, grabs his doctor box and starts onto the field.</scene_description> <character>TONY</character> <dialogue>Powers! Get the hell back here! Where you going?! He's fine!</dialogue> <scene_description>Powers sheepishly u-turns back to the sideline where DR. HARVEY MANDRAKE, the grey-haired team orthopedist, gives him a second scolding.</scene_description> <character>MANDRAKE</character> <dialogue>What are you thinking, Allie?! There's 1:43 on the clock! You walk on that field after the 2- minute warning and we automatically lose a time-out. Wake-up! You been here almost a goddamn season!</dialogue> <character>POWERS</character> <dialogue>Sorry -- I thought he was hurt.</dialogue> <scene_description>As LESLIE McKENNA (#63), the big right guard, helps Cap up, knowing he's blown the block.</scene_description> <character>TUG (V.O.)</character> <dialogue>Yes, sir! That's the real deal right there. Cap Rooney... Two Pantheon Cups. Almost 50,000 passing yards. More touchdowns than I care to remember...</dialogue> <character>CAP</character> <parenthetical>(rising, to McKenna)</parenthetical> <dialogue>McKenna, you fat bubble of lard! One more block like that, you'll end my career!</dialogue> <character>TUG (V.O.)</character> <dialogue>... our computers rank Jack Rooney one of the top five quarterbacks of all time when it comes to pressure situations... At 39 he may be a step or two behind -- 12 off-season operations have a way of doing that to you -- but he still stands head and shoulders above these new kids...</dialogue> <scene_description>WIVES' SECTION #1 (VIDEO) CINDY ROONEY, a sweet-looking blonde, waves back as she notices the electronic eye gazing down on her; other wives join in.</scene_description> <character>BRANSON (V.O.)</character> <dialogue>.. Without a doubt, Tug! 'Rock' Rooney also happens to be married to a heckuva nice gal sittin' down there in the stands just like the star struck fan she's been since their college days together at Michigan -- that's Cindy Rooney, folks, and I can tell you...</dialogue> <character>TUG (V.O.)</character> <dialogue>Stop boasting, Kev! But beautiful she certainly is, un-hunh!... And a mother of three beautiful children...</dialogue> <scene_description>SIDELINE #3 Coach D'Amato fumbles with his newly-mangled headset, consults his plastic-coated single-page game plan, into his mouthpiece:</scene_description> <character>TONY</character> <dialogue>Nick, where the hell are we here?! Whatta ya think -- Ace Right 90 Cadillac? 60-40 against?</dialogue> <scene_description>COACH'S BOOTH #1 NICK CROZIER -- 40s, star offensive coordinator, in his first year here, handsome, a comer -- studies the game below through instant computer printouts. In the booth are several offensive and defensive assistants.</scene_description> <character>TONY (V.O.)</character> <dialogue>... they been giving Sanderson the inside. If we roll Cap left, Les and Madman can handle the backside.</dialogue> <character>CROZIER</character> <parenthetical>(into headset)</parenthetical> <dialogue>I'd say 75-25. But let's try -- slot right switch and if they bring the bandit, we check to 99 max...</dialogue> <parenthetical>(relays call)</parenthetical> <dialogue>Okay! Slot Right Switch 90 or 99 Cadillac.</dialogue> <scene_description>SIDELINE #4 TYLER CHERUBINI, the stoic, 32-year-old perpetual back-up quarterback relays the telex signal from upstairs, on his headset to the field via walkie-talkie -- in addition to various body signals, both legitimate and deceptive. HUDDLE #1 QB Cap Rooney bangs on his helmet; something in the electronics is off. He glares at his teammates, and though at times he chews them out like a Marine sergeant, there is an unmistakable affection for his line. He tries his hardest, like an aging Boy Scout, not to curse, not always successfully.</scene_description> <character>CAP</character> <dialogue>Damn headset! Never goddamn works when you get hit!! Every damn time! Damnit, Madman! That sonofabitch is headhunting!</dialogue> <character>CAP</character> <dialogue>Hold him, rip out his goddamn eyes, but don't let him mess with me! I'm too goddamn old!</dialogue> <scene_description>PATRICK KELLY, his massive right tackle, known around the league as "MADMAN," bleeds from his nose, but adores his QB.</scene_description> <character>MADMAN</character> <dialogue>Cap, I'll keep him off ya even if I gotta bite off his thumb!</dialogue> <character>CAP</character> <dialogue>You do that!</dialogue> <parenthetical>(to SANDERSON, the star wide receiver)</parenthetical> <dialogue>... Get yourself open, goddamnit, 'Sandman.' If you gotta coldcock him, I'll find you.</dialogue> <character>SANDERSON</character> <dialogue>Hey I'm there, Cap! In the wind. Just fling it, baby!</dialogue> <character>CAP</character> <parenthetical>(to the second wide receiver)</parenthetical> <dialogue>'Zonker'! You're number two, get open, run your dig route at 15...</dialogue> <parenthetical>(to the huddle)</parenthetical> <dialogue>Okay, listen up, Slot Right Switch 90 or 99 Cadillac, check with me, and kill any sonofabitch tries to cross that line before his time! On three. Ready!</dialogue> <scene_description>They clap and break. With 15 seconds to play time, the constant barrage of "voices" inside Cap's helmet ceases. MEDIA BOOTH #1 TUG KOLOWSKI -- in the flesh -- is a boisterous, boozy, veteran sportscaster, alongside KEVIN BRANSON, a young and upcoming TV-type who seems Tug's opposite, bland and safe.</scene_description> <character>TUG</character> <dialogue>... But not all is paradise here in Miami. Cap Rooney may be on his way into the record books, but for Coach Tony D'Amato it's been a dismal season with attendance sliding, as the crosstown Dolphins prosper...</dialogue> <character>INTERCUT WITH:</character> <dialogue>Reveals the stadium at two-thirds capacity.</dialogue> <scene_description>A13 SIDELINE #5 (VIDEO AND FILM) A13 Tony, on TV display, talking intensely into his headset, takes us past defensive coordinator MONTEZUMA MONROE -- 60s, a monument of a man, former star linebacker, now limping noticeably. He glares strongly, rarely moves. With him is 34-year-old vet LUTHER LAVAY, linebacker and the captain of the defense, black, built, and a total predator. His nickname: "SHARK."</scene_description> <character>TUG (V.O.)</character> <dialogue>... With three straight losses and a slide from four years ago when they won two Pantheon Cups in a row, D'Amato's going to have to struggle to get his aging team into the playoffs! But today is looking good for the Sharks, leading the Americans in the second quarter, 21-17.</dialogue> <character>BRANSON (V.O.)</character> <dialogue>... They still got those holes in that offensive line, Tug, but the biggest problem has got to be the defense, and Montezuma Monroe knows it...</dialogue> <scene_description>An ASSISTANT offers Monroe a set of digitally-produced enhancements of the Minnesota offensive formations.</scene_description> <character>MONROE</character> <dialogue>Get that shit outta my face! Shark -- what the fuck's goin' on out there?! We gotta get more pressure on the goddamn quarterback! That motherfucker's splitting our seam 15 yards every goddamn time. Now fix it!</dialogue> <character>SHARK</character> <dialogue>I'm on it, Coach.</dialogue> <scene_description>He stomps toward the defensive unit.</scene_description> <character>BRANSON (V.O.)</character> <dialogue>... there's also of course the impact of management decisions on the Sharks' turn in fortunes...</dialogue> <scene_description>As seen on TV, several family friends and VPs mill around, but we only see the back of elegantly-attired blonde President and co-owner, CHRISTINA PAGNIACCI.</scene_description> <character>TUG (V.O.)</character> <dialogue>No question, Kev! Since the death of 'Big Daddy,' Art Pagniacci -- his daughter and new President of the team, Christina Pagniacci has made some -- many people think -- questionable financial decisions in letting three All-Pro Bowl selections leave town for free agency.</dialogue> <character>BRANSON (V.O.)</character> <dialogue>... although she did bring Julian Washington in from K.C. A big 1500-yard back...</dialogue> <scene_description>FIELD #4 (VIDEO AND FILM) JULIAN WASHINGTON, 27, an extremely strong, sexy, solidly-built, 230-pound running back, sets, his teeth blazing with jewelry and facial paint on the far edges of the Association's rule book (The Associated Football Franchise of America). He presently goes into play- motion.</scene_description> <character>TUG (V.O.)</character> <dialogue>... who can be great when he's not hurt. And his heart's in it. And here we go!</dialogue> <scene_description>Rooney barks out the numbers, "hot reading" the coming blitz. The clock slows, as his eyes flick from the key safety to his own team. Can they handle the confusion of the audible?</scene_description> <character>ROONEY</character> <parenthetical>(audibling)</parenthetical> <dialogue>Set! Blue 83... check, check... Arizona 99 Cadillac, Arizona 99 Cadillac! Hut! Hut! Hut!</dialogue> <scene_description>The Shark linemen read the shift... but Madman is clearly confused... blocking assignments are missed. Cap takes the snap and fades back to pass, but he's an inch too slow and a year too old -- his arm in the air, about to release, he is brutally blind-sided by a fast reptilian defensive end. Simultaneously, a blitzing safety hits him in the lower back with his helmet. Cap goes down hard again, landing on his own blocker's helmet at an awkward angle -- he screams loudly -- and this time, nothing moves. Tony is looking at his worst fear come true. An eerie quiet momentarily pervades the stadium. D'Amato breaks it, yelling at Dr. Powers.</scene_description> <character>TONY</character> <dialogue>Get the hell out there! Move! Can't you see he's hurt?</dialogue> <scene_description>WIVES' SECTION #2 Cindy Rooney shares the uncertainty. OWNER'S BOX #2 Still standing with her back to the window, Christina talks to a friend.</scene_description> <character>CHRISTINA</character> <dialogue>... well, until I'm on the finance committee, I have zero say on network negot...</dialogue> <scene_description>As she becomes aware of the hush in the stadium, she turns to look -- then up at the TV for the slo-mo replay.</scene_description> <character>BRANSON (V.O.)</character> <dialogue>... Every Shark fan has a sickening feeling in the pit of their stomach at this moment. I know I do. Cap Rooney is down and in obvious pain.</dialogue> <character>CHRISTINA</character> <dialogue>Dammit! Who was on the weakside safety?! Was that McKenna, you f -- ?</dialogue> <scene_description>She reaches for a red phone.</scene_description> <character>TUG (V.O.)</character> <dialogue>Man oh man! Did you see that collision?! His body went in five different directions!</dialogue> <scene_description>TV MONITOR shows the injury in slo-mo. Xs are drawn over Cap's knees by Tug's finger on the telestrator. A big O goes over Cap's back.</scene_description> <character>TUG (V.O.)</character> <dialogue>Ouch! I've been there and that is a world of pain!</dialogue> <scene_description>MEDIA BOOTH #2 Branson covers his microphone and hisses at both a technician and Tug:</scene_description> <character>BRANSON</character> <dialogue>Stop showing that for Christ's sake!...</dialogue> <parenthetical>(on camera)</parenthetical> <dialogue>We'll be right back with Cap's condition after this word from our sponsors.</dialogue> <scene_description>FIELD #5 Drs. Mandrake and Powers, and Trainer #1 attend to Cap as he rolls back and forth, in intense pain.</scene_description> <character>SANDERSON</character> <dialogue>Suck it up, Cap...</dialogue> <character>CAP</character> <dialogue>My back!</dialogue> <character>MANDRAKE</character> <parenthetical>(feeling for the injury)</parenthetical> <dialogue>Straighten your legs. Wiggle your toes. Alright, Cap, they cut to the commercial. You can get up now.</dialogue> <character>CAP</character> <parenthetical>(through clenched teeth)</parenthetical> <dialogue>I must've broke my back!!</dialogue> <character>MANDRAKE</character> <dialogue>Come on, babe, you're still moving your feet. There's no way you broke your back!</dialogue> <character>POWERS</character> <dialogue>Where does it hurt?</dialogue> <character>CAP</character> <parenthetical>(screaming)</parenthetical> <dialogue>Right where you're touching, you...!! I swear... I can't breathe...</dialogue> <character>MANDRAKE</character> <dialogue>Neither can I -- it's the humidity. Do I gotta get you a stretcher now? You that old?</dialogue> <character>CAP</character> <parenthetical>(shakes it off, pulls up)</parenthetical> <dialogue>Dammit! I'm walkin' outta here!...</dialogue> <parenthetical>(rising)</parenthetical> <dialogue>Oww -- my butt! It's like a knife in it!</dialogue> <scene_description>The stadium applauds as Cap hobbles up to his feet. SIDELINE #7 Back-up QB Tyler Cherubini nervously jams index cards with play calls under the clear plastic holders inside his special wristband, intersecting Coach D'Amato.</scene_description> <character>TONY</character> <dialogue>Nice and easy, Ty, okay. We're up 21-17. Hold on. Steady 'em.</dialogue> <scene_description>Cherubini AD LIBS and jogs onto the field. Fans stomp their feet in sync with the driving beat of the inspirational "Shark Theme."</scene_description> <character>BRANSON (V.O.)</character> <dialogue>We're back! And Cap Rooney looks to be all right. Listen to that crowd!</dialogue> <scene_description>Cap crosses towards the bench on the shoulders of Powers and Trainer #1. Tony intersects briefly, but he doesn't seem to want to confront this, makes light of it.</scene_description> <character>TONY</character> <dialogue>You all right, 'Rock'?</dialogue> <scene_description>His sometime nickname for Cap.</scene_description> <character>CAP</character> <parenthetical>(winces)</parenthetical> <dialogue>Yeah! Hurts like a...</dialogue> <character>TONY</character> <dialogue>Way to hold on to that football, kid! Take it easy, we'll finish this up without you --</dialogue> <character>BRANSON (V.O.)</character> <dialogue>Back-up quarterback Tyler Cherubini hasn't seen a lot of action recently!</dialogue> <scene_description>FIELD #6 From the BOOTH POV -- the team claps and breaks from the huddle.</scene_description> <character>TUG (V.O.)</character> <dialogue>Hate to tell you, Kev, it's a little scarier than that. Tyler Cherubini hasn't thrown for a first down all season!... but it's going to take a nail and a coffin to keep Cap down on the farm warming the pine. This may only be a game but to Cap Rooney it's the only game in town.</dialogue> <scene_description>OMITTED FIELD #7 Tyler Cherubini scans the defense, sees all the signs for another impending blitz.</scene_description> <character>CHERUBINI</character> <parenthetical>(long count)</parenthetical> <dialogue>Set! Red 14 Ace, Red 14 Ace! Check, check! Black 90 Razor, Black 90 Razor! -- Hut! Hut!</dialogue> <scene_description>Minnesota attacks with everything they've got... Cherubini never even sees the light of day as he is buried, coughing up the ball -- which bounces into the hands of a surprised Minnesota safety -- who sprints 20-some yards into the Miami end zone for a touchdown! The fans go wild with rage, booing the fallen Cherubini.</scene_description> <character>BRANSON (V.O.)</character> <dialogue>Oh my gosh! Touchdown! And the Americans go up 23-21. Man-o-man! Did they nail him! He's... Cherubini's not getting up!</dialogue> <character>TUG (V.O.)</character> <dialogue>Two quarterbacks down, one after the other. This is crazy! I think they just lost Cherubini, too! My God! I haven't seen this since... the Aztecs and Pharaohs in '88 -- or was it '78?</dialogue> <scene_description>OWNER'S BOX #3 Christina watches the fiasco with her husband, ANDY MATTER, a young handsome lawyer, and two VPs of the team -- JOHNNY POLITO, in his 50s, and ED PHILLIPS, in his 60s -- a distinguished man with a comforting aura, the family advisor from her father's era.</scene_description> <character>CHRISTINA</character> <parenthetical>(into the red phone)</parenthetical> <dialogue>Oh, Jesus! Vincent, get me the names of who's available out there in the quarterback market right away, would you?... and how 'bout every available line coach -- maybe somebody who can actually teach this line how to block!!</dialogue> <scene_description>A young woman raised to appreciate football, her outburst quiets the dozen people partying in the box. Her mother, MARGARET PAGNIACCI, an elegant older woman, who looks out of it, mostly quasi-drunk or drugged, though she does a superb job of concealing this with her fixed and dignified expression, inquires:</scene_description> <character>MARGARET</character> <dialogue>What is it, honey...?</dialogue> <character>CHRISTINA</character> <parenthetical>(ignores her)</parenthetical> <dialogue>... find out about Malloy. Why'd Denver cut him? Where is he?</dialogue> <scene_description>SIDELINE #9 WILLIE BEAMEN, third-string QB, 26, black, sits on the bench, as accustomed, not expecting to be called on.</scene_description> <character>QB COACH</character> <dialogue>Beamen! What the hell are you doing? I told you to warm up five minutes ago! Look at your wristband -- it's upside down. Take your head out of your ass. Let's go, you're up!</dialogue> <scene_description>Drs. Mandrake and Powers enter the locker room tunnel with Cap Rooney when TRAINER #2 yells after them:</scene_description> <character>TRAINER #2</character> <dialogue>Doc! They need you back! Cherubini's down!</dialogue> <character>MANDRAKE</character> <dialogue>Cherubini! What -- he fall off a bench? What the hell's next?! Stigmata!</dialogue> <parenthetical>(to Powers, re: Rooney)</parenthetical> <dialogue>... Just sit him out and don't touch him till I...</dialogue> <scene_description>OMITTED FIELD #8 The Americans kick off. SIDELINE #10 As the kick returner downs it in the end zone, D'Amato huddles with Willie Beamen, who is adjusting the speaker sound in his helmet.</scene_description> <character>TONY</character> <dialogue>Beamen, it's you now. Left Deuce Zig 22 Tomcat. Easy hand-off to Julian, okay?</dialogue> <character>WILLIE</character> <dialogue>Right.</dialogue> <character>CROZIER (V.O.)</character> <parenthetical>(on helmet)</parenthetical> <dialogue>Willie, can you hear me? You're gonna be all right. The Americans got no profile on you. Use it... surprise 'em.</dialogue> <scene_description>Willie looks for Crozier upstairs in one of those anonymous boxes, lost in the roar of sound and the sea of faces.</scene_description> <character>WILLIE</character> <parenthetical>(difficulty hearing)</parenthetical> <dialogue>... do what?</dialogue> <character>TONY</character> <dialogue>You're gonna do fine. Look at me, son. You're gonna do fine...</dialogue> <parenthetical>(tapping over Willie's heart)</parenthetical> <dialogue>You hold it all inside. Stay there. Stay focused.</dialogue> <character>WILLIE</character> <dialogue>Right...</dialogue> <scene_description>Tony slaps Willie on the shoulder and sends him out. MEDIA BOOTH #3 TECHNICIANS and assistants frantically adjust as Tug and Kevin rifle through papers during the commercial break.</scene_description> <character>BRANSON</character> <dialogue>Get me more stats on Willie Beamen now!</dialogue> <character>TUG</character> <dialogue>Cap's out... Man, I can't believe this...</dialogue> <character>BRANSON</character> <dialogue>You know anything about Willie Beamen?</dialogue> <character>TUG</character> <dialogue>Who the hell's Willie Beamen?</dialogue> <character>TECHNICIAN</character> <dialogue>We're back in five, guys!</dialogue> <scene_description>HUDDLE #2 Willie is ignored in the huddle, hesitant -- he tries to shut out the stadium noise.</scene_description> <character>BRANSON (V.O.)</character> <dialogue>As we wait for word on Cap Rooney's condition, Miami's sending in third-string quarterback Willie Beamen. Willie is 26 years old.</dialogue> <character>BRANSON (V.O.)</character> <dialogue>A 'mystery man,'seventh-round draft pick out of Dallas, he went to the University of Houston. In his fifth year, his first year with the Sharks, he's seen four teams in his professional career...</dialogue> <scene_description>Willie tries to hear the QB Coach's voice in his helmet.</scene_description> <character>VOICE (V.O.)</character> <parenthetical>(helmet)</parenthetical> <dialogue>Left Deuce Zig 22 Tomcat. Watch the mike backer, he'll probably be coming. Relax and show me you got it!</dialogue> <scene_description>Willie turns and waves to the sideline.</scene_description> <character>VOICE (V.O.)</character> <parenthetical>(helmet)</parenthetical> <dialogue>No... tell them!</dialogue> <character>WILLIE</character> <dialogue>Awright, guys! Come on listen up!... the call is Left Deuce Zig 22 Tomcat.</dialogue> <scene_description>McKENNA (to the rest) HEY! SHUT THE FUCK UP! On?</scene_description> <character>TUG (V.O.)</character> <parenthetical>(during this)</parenthetical> <dialogue>... D'Amato's gotta be losing his mind -- a 14-point turnaround, lost his starter, his back-up, and maybe the game in two plays! What a disaster! It's an absolute...</dialogue> <character>WILLIE</character> <dialogue>On?</dialogue> <character>WASHINGTON</character> <parenthetical>(intense)</parenthetical> <character>SNAP COUNT!</character> <dialogue>Willie is trying to suppress dry heaves.</dialogue> <character>WASHINGTON</character> <dialogue>You all right? Holy...!</dialogue> <character>WILLIE</character> <dialogue>Augghh... Ugghh...</dialogue> <scene_description>Willie suddenly rips off his helmet and vomits.</scene_description> <character>SANDERSON</character> <parenthetical>(leaping back)</parenthetical> <dialogue>Oh, shit -- !</dialogue> <scene_description>SIDELINE #11 Shark Lavay, the middle linebacker, is standing next to Monroe.</scene_description> <character>SHARK</character> <dialogue>Did he puke?! Did he just puke on the sacred turf?!</dialogue> <scene_description>MEDIA BOOTH #4 Tug is laughing heartily.</scene_description> <character>TUG</character> <parenthetical>(to Branson)</parenthetical> <dialogue>Oh, man! Hey, Kev' -- shades of you the night we went out after the Cleveland game.</dialogue> <scene_description>Kevin shoots him a look, and rifles through some papers.</scene_description> <character>BRANSON</character> <dialogue>... Beamen even played cornerback for a while when he was at San Diego, where he was injured in his third year...</dialogue> <scene_description>OWNER'S BOX #4 Christina is now on a black field phone:</scene_description> <character>CHRISTINA</character> <dialogue>Soon as you know, you call! If this is serious, Harvey, I need to know yesterday, you understand what I'm saying?!</dialogue> <scene_description>HUDDLE #3</scene_description> <character>WASHINGTON</character> <parenthetical>(to Beamen)</parenthetical> <dialogue>Fuck, man! I've got to get into a three-point stance in your puke?! Get it together, nigra...</dialogue> <character>SANDERSON</character> <parenthetical>(cleaning his shoes)</parenthetical> <dialogue>You puked on the logo, my man!</dialogue> <character>REFEREE #1</character> <parenthetical>(intersecting)</parenthetical> <dialogue>Come on, son, let's play ball!</dialogue> <character>VOICE (V.O.)</character> <parenthetical>(helmet)</parenthetical> <dialogue>Would you run the play already!</dialogue> <scene_description>A36 FIELD #9 A36 As they move towards the ball, Willie glances in several directions -- it's terrifying -- the Minnesota defense is shifting position, confusing him; the crowd is deafening, the cameras zooming in, the sun blazing.</scene_description> <character>MINNESOTA TACKLE</character> <parenthetical>(greeting Willie)</parenthetical> <dialogue>Better get ready, motherfucker! I'm coming and I'm gonna be picking peanuts out of your ass!</dialogue> <character>MADMAN</character> <dialogue>Come to Mama first, loudmouth!</dialogue> <character>MINNESOTA TACKLE</character> <dialogue>Oh yeah! Through you, 'round you, upside down you, you useless mother...!</dialogue> <scene_description>Willie intensely scans the defensive alignment. All talk ceases when he yells:</scene_description> <character>WILLIE</character> <dialogue>Set Red 378! Red 378! Hut! Hut!</dialogue> <scene_description>Willie steps back a little too fast and too far. He spins towards Washington, awkwardly handing the ball off on a delayed slant... Washington shoots into a different hole than assigned -- a dangerous runner, gaining ten yards from nothing. In the backfield, the taunting defensive end slaps Willie's helmet hard as the whistle blows. Willie barely has time to breathe before he hears "the voice of God" in his helmet speaker:</scene_description> <character>VOICE (V.O.)</character> <parenthetical>(in helmet)</parenthetical> <dialogue>Thunder Left Smoke 90 Sally.</dialogue> <character>TIME CUT:</character> <dialogue>in motion, of the speed and confusion of the game as giant defensive linemen close on him. He sees a brief opening onto Sanderson 15 yards downfield -- throws far too high -- almost intercepted by the safety.</dialogue> <scene_description>SIDELINE #12 Tony, concerned, beckons to his tight end, talks to him and sends him out onto the field. Tony continues to yell something into his headset at Crozier. HUDDLE #4 The tight end yells something lost in the crowd. Willie has to look up the play on his arm band.</scene_description> <character>WILLIE</character> <dialogue>Awright, Deuce Right Split 24 Barrel Clear. On one.</dialogue> <character>WASHINGTON</character> <dialogue>I'll be coming in fast on your left, boy -- don't make me wait!</dialogue> <character>WILLIE</character> <dialogue>On one!</dialogue> <scene_description>FIELD #11 At the line, Miami players immediately sense the defense is stacked up to the right for Washington's run.</scene_description> <character>WASHINGTON</character> <parenthetical>(urgently, under)</parenthetical> <dialogue>Audible, man -- change the play --</dialogue> <scene_description>Willie realizes it too -- audibles too quickly and too softly to communicate accurately.</scene_description> <character>WILLIE</character> <dialogue>Set! Green 41 -- um -- switch, switch... Red 70 Blackstar, Red 70 Blackstar ... Hut!</dialogue> <scene_description>The snap -- Miami is hopelessly confused. There is no such play as "Red 70 Blackstar" and players run this way and that. After several athletic moves, Willie is bounced out of bounds, eight yards behind the line of scrimmage. Tony is having a really bad day, about to throw his mangled headset away again.</scene_description> <character>TONY</character> <parenthetical>(to Crozier and QB coach)</parenthetical> <dialogue>What the hell was that?! What's he doing out there? Does he know any of these plays?</dialogue> <character>CROZIER (V.O.)</character> <dialogue>Tony, he knows the basic package but he's only taken a few snaps.</dialogue> <scene_description>FIELD #12 Washington yells at Willie on the way back to the huddle:</scene_description> <character>WASHINGTON</character> <dialogue>What the fuck is Red 70 Blackstar, homes!? There is no such fucking play!!</dialogue> <character>WILLIE</character> <parenthetical>(coolly)</parenthetical> <dialogue>I just figgered that out, J Man...</dialogue> <parenthetical>(his nickname)</parenthetical> <dialogue>but there oughta be...</dialogue> <scene_description>SCOREBOARD #1</scene_description> <character>MINNESOTA 24, MIAMI 21.</character> <dialogue>SECOND QUARTER.</dialogue> <scene_description>A43 SIDELINE #15 A43 Tony has one more chance at a field goal at the Minnesota 45-yard line.</scene_description> <character>TONY</character> <dialogue>Come on! Hurry it up! Let's go... let's go!</dialogue> <scene_description>FIELD #14 Willie eyes the defense as he sets, but mistakenly lines up over right guard Leslie McKenna instead of his center... McKENNA 'Less you tell me you love me, sugah, get your hands outta my ass! The defense picks up on it instantly and goes after Willie loudly. Embarrassed, he makes his adjustment -- but too late. A flag flies. Delay of game penalty. A44 SIDELINE #16 A44 Tony throws up his hands and rolls his eyes. There goes the field goal! PRESS BOX #1 - JACK "RIPPER" ROSE a sportswriter with his own local TV show, makes an acid comment on this bone-headed move to a colleague as he works his laptop. Coming off Beamen's throwing up, the press knows it has a story! OWNER'S BOX #5 Christina leans forward to watch. Willie fades back to pass. FIELD #15 The rush is on again. Willie, scrambling out of the pocket, avoids several tacklers, but his eyes give away the 25-yard pass... The defensive back steals it from Sanderson and runs it back 10 yards. The crowd roars with disappointment. Referee #1 whistles -- ending the half. SIDELINE #17 Coach D'Amato shakes his head, picked up by the TV cameras.</scene_description> <character>TUG (V.O.)</character> <dialogue>That was bound to happen, the way this kid's movin'. Too fast, just too fast. He's gotta be nervous out there! He's ahead of his receivers... Thank God that ends the first half with the sun going down on this delayed and chock-full-of- surprises game...</dialogue> <character>NIGHT</character> <dialogue>With 10 minutes to go, the offense is concentrated in one part of the room on chairs, the defense in the other -- listening to analyses and looking at video pictures from their respective coaches.</dialogue> <scene_description>TRAINER'S AREA #1 Madman's got the flu, and is dehydrated enough to require two I.V.s in either arm. Dr. Powers reads his thermometer.</scene_description> <character>POWERS</character> <dialogue>101... You light-headed?</dialogue> <character>MADMAN</character> <dialogue>I was light-headed at kick-off, Doc. Now I'm at the 'one foot in the coffin' stage.</dialogue> <character>POWERS</character> <dialogue>You're a couple of quarts low, Madman, you just need an oil change...</dialogue> <character>MADMAN</character> <dialogue>Yeah, then why are my legs one big knot, Doc!? I need some cyclobenzaprine...</dialogue> <scene_description>Powers sees Dr. Mandrake hurry past, follows him.</scene_description> <character>POWERS</character> <dialogue>Harvey, just a sec...!</dialogue> <scene_description>Mandrake barely breaks, waits.</scene_description> <character>POWERS</character> <dialogue>I'm worried about Cap -- he's losing ankle strength. I think he's got...</dialogue> <character>MANDRAKE</character> <parenthetical>(surprised)</parenthetical> <dialogue>What'd you do? Examine him? Look, Allie, you're actually one of the few relatives I can stomach, but you're the internist. I'm the orthopedist, remember? You leave my people alone...</dialogue> <character>POWERS</character> <dialogue>I just think that...</dialogue> <character>MANDRAKE</character> <dialogue>Need a job description review? Bone, muscle, joint -- me. Runny nose, diarrhea, pink eye, gonorrhea -- you. Sports injuries me; anything that drips, sticks, or stinks, or stinks, you. Okay?</dialogue> <scene_description>MANDRAKE heads toward a small exam room where Cap waits alone -- bypassing Cherubini, the forgotten QB, waiting to have his knee examined, attended to by TRAINER #2, a stutterer.</scene_description> <character>TRAINER #2</character> <dialogue>Doc, what about Rhodes? He's really in p-p-pain...</dialogue> <character>MANDRAKE</character> <dialogue>He's a hypochondriac. Give him some ibuprofen.</dialogue> <character>TRAINER #2</character> <dialogue>He doesn't wanna put that sh-shit in his body. He wants Demerol.</dialogue> <character>MANDRAKE</character> <dialogue>You think I want to be banished to Siberia as an ice hockey doctor? Tell him to clench his teeth.</dialogue> <character>CHERUBINI</character> <dialogue>Doc, what about my knee?</dialogue> <character>MANDRAKE</character> <dialogue>What about it?</dialogue> <character>TRAINER #2</character> <dialogue>Well, I think m-m-maybe I can get him to t-t-take some Alka-Seltzer.</dialogue> <scene_description>EXAM AREA #1 Mandrake closes the door on Trainer #2. Cap is with Trainer #1. He puts Cap's x-ray up on the screen.</scene_description> <character>MANDRAKE</character> <dialogue>Bad news, Cap, you're okay, it's just a bruise. No ribs broken. Back's normal.</dialogue> <character>CAP</character> <dialogue>... something's definitely wrong, Doc! My butt's killing me... I think it's a...</dialogue> <character>MANDRAKE</character> <dialogue>... I'll send you over for an M.R.I. in case.</dialogue> <parenthetical>(to Trainer #1)</parenthetical> <dialogue>Lou, prep me 20 C.C. two percent lido with marcaine...</dialogue> <scene_description>TRAINER'S AREA #2 Powers attends to Madman, who suddenly has an urgent look on his face.</scene_description> <character>VOICE (O.S.)</character> <parenthetical>(yelling out)</parenthetical> <dialogue>Three minutes!</dialogue> <character>MADMAN</character> <dialogue>Doc! Pull the pipes! I gotta go!</dialogue> <character>POWERS</character> <dialogue>Can you...</dialogue> <character>MADMAN</character> <dialogue>I mean... I gotta go! Call of the wild, man!</dialogue> <scene_description>He goes, IVs trailing, Powers calls out to Trainer #1 for help.</scene_description> <character>LOCKER ROOM #2</character> <dialogue>With shouts of "Get out of the way!", "Coming through!", Powers and Trainer #2, protecting the I.V.'s, follow a surging Madman into the bathroom.</dialogue> <character>BEAST MAN</character> <parenthetical>(as they go past)</parenthetical> <dialogue>Whoo-hoo! Shark football! Whatever it takes!!!</dialogue> <scene_description>Other players chorus in, hooting and hollering, till the coaches shut them up.</scene_description> <character>BATHROOM #1</character> <dialogue>The stalls are filled.</dialogue> <character>MADMAN</character> <parenthetical>(yelling)</parenthetical> <dialogue>Hey, shitheads! It's me -- Madman! Who's on my toilet?!</dialogue> <scene_description>Madman kicks open a broken stall and finds an unlucky rookie staring back at him.</scene_description> <character>MADMAN</character> <dialogue>Rookie, this is reserved! Get the fuck out!</dialogue> <scene_description>Terrified, the rookie runs out; then Madman forces his way in, managing to squeeze Powers, Trainer #2 and himself into the stall.</scene_description> <character>POWERS</character> <dialogue>Don't bend your elbows...</dialogue> <scene_description>Crozier, studying a stack of computer printouts, enters.</scene_description> <character>CROZIER</character> <dialogue>Madman? Yo! You there...?</dialogue> <scene_description>He whacks on the door, which opens on Madman sitting with his pants around his ankles, I.V.s entering each outstretched arm, ministered to by Trainer #1 and Dr. Powers. Crozier is amused but hardly surprised; to Madman:</scene_description> <character>CROZIER</character> <dialogue>The three technique is really getting up field on you. We're gonna rub him with a fullback this half.</dialogue> <character>MADMAN</character> <dialogue>Coach, let's run the draw or let me cut his ass on the screens. That'll slow the motherfucker down. And show them what I truly am! A genius!</dialogue> <scene_description>LOCKER ROOM #3 The players are gathered around Coach D'Amato, who now addresses both offense and defense.</scene_description> <character>TONY</character> <dialogue>Look, you the offense, why do you think we work on the blitz package all week? We've lost two quarterbacks in one half of football 'cause our line can't pick up a goddamn backside bandit on max protection!! You and I know this is goddamn stupid football, and you're stressing this shit outta me! We've worked on the calls over and over again but you have no goddamn focus or concentration! McKenna, keep your head on a swivel, you've got to slide out there and pick up that robber -- roll up those outside linebackers! Beamen, know your site adjustments! Sanderson and Fox will break off their routes but you have to deliver it on time. We've had two goddamn turnovers this half, you guys are dumping on my turnover ratio.</dialogue> <dialogue>You the defense, you've got to create something out there, you've got to start flying around the fucking ball and hitting somebody. Don't let these assholes chew up the clock on us! On first down, they're killing us with the weakside slant. Corners, when we put eight in the box, you've got to jam the receivers, take 'em on, you're hesitating! If you're gonna make a mistake, go on! Make it a big one! I'm not gonna eat your lunch for that, but don't fuck around like pussies at a pee party, you hear me?!... P.J., Mac, Beast Man, Horny, Shark! One, two yards less each time and they'll be two and eight instead of two and six! Stuff the goddamn run. They're killing us!</dialogue> <dialogue>No more stupid penalties, okay?! Concentrate. Focus. We're only down by three points. We can win this mother! I'm sick and tired of losing! Are you?! Three losses in a row.</dialogue> <character>TONY</character> <dialogue>Are you guys sick and tired of this?! Stand up if you're not! Raise your hand! Raise your hand if you're a pussy! Stand up, let's go!</dialogue> <scene_description>The team is poised, clenching up, except for Washington who rises laconically.</scene_description> <character>TONY</character> <dialogue>What the hell you doing, J?!</dialogue> <character>JULIAN</character> <dialogue>I didn't want you to be the only one standing, Coach.</dialogue> <scene_description>A tense moment -- then all bust up laughing, including D'Amato.</scene_description> <character>TONY</character> <dialogue>Gentlemen, this is our house! We live here. Don't let them fuck with us in our own house! We're gonna get some points on the goddamn board if I gotta get out there myself and throw the goddamn ball! Now let's go and kick some second-half butt!</dialogue> <character>SHARKS</character> <parenthetical>(as team)</parenthetical> <dialogue>Football, ahhhh!!! WHATEVER IT TAKES!!!</dialogue> <scene_description>BATHROOM #2 As the team roars out of the locker room, Madman is eager to rejoin his crew.</scene_description> <character>MADMAN</character> <dialogue>Doc, I gotta go!</dialogue> <character>POWER</character> <dialogue>No! Stop! Your I.V.s! Don't bend your elbows!</dialogue> <character>MADMAN</character> <parenthetical>(a sweet baby look)</parenthetical> <dialogue>Doc?... Do you mind?</dialogue> <scene_description>Powers understands that if he can't bend his elbows that he... he sighs and wraps a stretch of tissue paper around his hand -- as Mandrake pokes his head in the stall, enjoying the view of Powers wiping Madman's ass.</scene_description> <character>MANDRAKE</character> <dialogue>Say, Allie, you want to get a little Chinese food later and talk about this...?</dialogue> </scene> <scene> <stage_direction>EXT. TUNNEL - NIGHT</stage_direction> <scene_description>Winter's night has now fallen as the team hollers, exiting a narrow tunnel onto the field. The stadium is charming but decayed (1930s WPA architecture) and in need of significant renovation... Jimmy Sanderson, the young star wide receiver for the Sharks, repeatedly adjusts his shoulder pads, talking to himself as he walks; he is all hands and nerves, a thoroughbred with a sweet personality.</scene_description> <character>SANDERSON</character> <dialogue>I am precision-honed, muscular- tempered steel. My moves are cosmic. Time to save the day. My legs, torso and arms are energized powerthrust dominant weapons... I can save the day!</dialogue> <character>SHARK</character> <parenthetical>(bypassing Willie)</parenthetical> <dialogue>Who's that you're throwing to, kid? The receiver or you got some other shit on your mind?</dialogue> <scene_description>Willie gets the message. Several fans, intoxicated, hurl profanities, peanuts, beer, seat cushions at the Sharks. One OBESE FAN in particular:</scene_description> <character>FAN</character> <dialogue>You stink! Hey, Beamen! If you could chuck a football like you chuck vomit, you'd be an all-pro, ha ha ha!</dialogue> <scene_description>Willie ignores him, but when the Fan throws his beer at him, it empties on Madman, who is rushing out last, his IVs gone. Enraged, Madman roars and tries to go up into the stands after the unlucky Fan, but is restrained by teammates. AD LIBS...</scene_description> <character>MADMAN</character> <dialogue>You think that's funny, asshole! I'm gonna eat your fucking lunch, buddy!! (etc.)</dialogue> <scene_description>SCOREBOARD #2 THIRD QUARTER. MINNESOTA 31, MIAMI 21. 7:14 remaining. Minnesota has increased its lead by one touchdown. A57 SIDELINE #18 A57 Tony paces anxiously. FIELD #14 The Miami defense tries to stop a long gainer by the Minnesota running back, propelling his 230 lbs. right at Shark Lavay, who upends the running back, one on one... Shark is the best open-field tackler on the Sharks, but as he takes those few extra beats rising, adjusting his shaken frame, congratulated by teammates, his expres- sion reveals the wearying price he pays -- at 34, going on 50 -- for this leadership role. SIDELINE #19 Powers now kneels next to the defensive end, Beast Man, coming off the field onto the bench with an agonizing, dislocated finger.</scene_description> <character>POWERS</character> <parenthetical>(to Trainer #2)</parenthetical> <dialogue>Lou, get him X-rayed before I set this!</dialogue> <character>BEAST MAN</character> <parenthetical>(vehement)</parenthetical> <dialogue>How 'bout sometime next week, Doc! How long you been here! I don't give a fuck if I'm blind, deaf, and fuckin' dumb, get me back out on the motherfuckin' field...</dialogue> <scene_description>Powers hesitates as Mandrake passes by, sees the problem, and makes the adjustment without thinking.</scene_description> <character>MANDRAKE</character> <parenthetical>(to Powers)</parenthetical> <dialogue>Oh for God's sake, Allie! It's just a...</dialogue> <parenthetical>(to Beast Man)</parenthetical> <dialogue>Beast Man, concentrate and think of pussy.</dialogue> <scene_description>POP! Beast Man's FINGER CRACKS back into place. Beastie hardly winces.</scene_description> <character>POWERS</character> <parenthetical>(to Beast Man)</parenthetical> <dialogue>You're still gonna need an X-ray after the game, Beast Man, okay?</dialogue> <scene_description>Beast Man mutters something venomous under his breath, and moves off. FIELD #15 Using his bare white foot, the smallish Eastern European Miami kicker drills a graceful 38-yard field goal through the uprights. FIELD #16 Everything moves fast in the big leagues. Too fast. Willie again too quickly breaks from the pocket, scrambling the offensive and defensive lines up and down the field, tiring them... Unable to find his receiver, he takes off running; makes it over the middle of the field for a first down plus another five or ten yards before he is pulped in two different directions. SIDELINE #20 Tony, hiding his eyes as if from a car accident, shakes his head, to Crozier on the headset.</scene_description> <character>TONY</character> <dialogue>... Kid's fast, but he ain't gonna last, Nick!</dialogue> <character>CROZIER (V.O.)</character> <dialogue>He was an alright corner at San Diego till he got hurt. Watch the feet. Genius ankles, like Julian.</dialogue> <character>TONY</character> <dialogue>He may be a ballerina, but where's the brain? He just called another play that doesn't exist! Goddamn! Settle him down, Nick!</dialogue> <scene_description>FIELD #17 Willie drops back, and without any pressure, throws a perfect 10-yard interception over the middle into the arms of a Minnesota linebacker. The stadium turns really sour, booing Willie as he walks off.</scene_description> <character>BRANSON (V.O.)</character> <dialogue>... No word yet on Cap Rooney. The only thing we do know is, he's being X-rayed at the hospital, but right now I'd say it doesn't look good for the Sharks...</dialogue> <scene_description>SIDELINE #21 Tony is waiting for Willie, like Ahab himself.</scene_description> <character>TONY</character> <dialogue>What the hell was that?! You just don't fling the goddamn ball downfield into traffic like...</dialogue> <character>WILLIE</character> <dialogue>... Sorry, Coach, I thought it was man-free and he looked open.</dialogue> <character>TONY</character> <dialogue>We called Go Z Read! What the hell are you doing changing the play when you feel like it, without even knowing who the hell you're...</dialogue> <character>WILLIE</character> <dialogue>They was waitin' for the hitch, Coach. They was there. I had to go for it. I saw daylight!</dialogue> <character>TONY</character> <parenthetical>(seething)</parenthetical> <dialogue>Daylight? Shut the fuck up and listen to me! Listen to me now!... You're a new player on this team. You got me?</dialogue> <character>TONY</character> <dialogue>You are nobody to me or anybody else here till you prove yourself. And you start that by doing what you're fucking told! You got that?</dialogue> <character>WILLIE</character> <dialogue>I got that.</dialogue> <character>TONY</character> <dialogue>Now get out of my face and next time you're out there, control the goddamn ball!</dialogue> <scene_description>He stalks off. Willie, closed off by Tony's intensity, moves to the bench. A64 ON TV A64 Tony is saying some pretty rough things.</scene_description> <character>BRANSON (V.O.)</character> <dialogue>You read lips, Tug?</dialogue> <character>TUG (V.O.)</character> <dialogue>Hell yeah. That was a major at Nebraska.</dialogue> <scene_description>OWNER'S BOX #6 The box has been thinned out of associates and friends, who've obviously sensed Christina's mood on the phone.</scene_description> <character>CHRISTINA</character> <dialogue>I don't care if you have to chopper the guy in off his yacht, Harvey -- bring him out here right away! And get me the names of the top neurosurgeons in the country. I want the best!</dialogue> <scene_description>A65 TV MONITOR A65 Willie now fumbles a simple hand-off to Julian Washington... The fumble is recovered and Willie calls a time-out. slams her hand down in frustration, sharing a 65 look with Ed Phillips. She is a strong, energetic executive in her late 20s, raised by her deceased father, founder Art Pagniacci, to be a son and gain the respect of a man's world, to the point of acquiring a "take no prisoners" attitude. She calls up to: COACH'S BOOTH #2 Crozier is polite, though bothered by her interference.</scene_description> <character>CHRISTINA (V.O.)</character> <dialogue>Why?! Why is he calling these plays?... Nick? He's got to take a chance... Nick! Tell him!</dialogue> <character>CROZIER</character> <dialogue>I'm doing my best, Miss P. I can't just...</dialogue> <character>CHRISTINA (V.O.)</character> <dialogue>Make some noise.</dialogue> <scene_description>SIDELINE #22 Willie, coming off the field, moves towards D'Amato, expecting the worst. Instead D'Amato throws an arm around his shoulders and walks him along the sideline -- in a paternal tone:</scene_description> <character>TONY</character> <dialogue>Okay, what's wrong, Willie? What's wrong?</dialogue> <character>WILLIE</character> <dialogue>It's moving fast, Coach... but I know I can do it. I can do it.</dialogue> <character>TONY</character> <dialogue>Just take a breath now. Believe me when I say you can only get better, kid -- and you don't have to worry about getting the hook -- 'cause I got no one left, okay?</dialogue> <scene_description>He grins.</scene_description> <character>WILLIE</character> <dialogue>I stink. I'm not myself.</dialogue> <character>TONY</character> <dialogue>Look at me. Look at me, son... You know how to play the game. You been playing it all your life, right?</dialogue> <character>WILLIE</character> <dialogue>Right.</dialogue> <character>TONY</character> <dialogue>You grew up in Dallas, right?</dialogue> <character>WILLIE</character> <dialogue>Yeah.</dialogue> <character>TONY</character> <dialogue>Okay, maybe you're back in Dallas right now. You're enjoying yourself. You're back in the "'hood," right before your mama calls you for dinner. Go to the Buick, turn around and I'll throw it to you, you throw it back. A game of catch, remember that?</dialogue> <character>WILLIE</character> <dialogue>... somethin' like that, yeah...</dialogue> <character>TONY</character> <dialogue>My point is -- Willie -- just forget about the crowd and the formations and the audibles and the whole goddamn playbook. Just focus on this one next pass.</dialogue> <parenthetical>(carefully)</parenthetical> <dialogue>Willie -- go to the Buick and turn around.</dialogue> <scene_description>There's a special, soothing tone to the way D'Amato expresses himself, when he wants. A voice that makes you believe. FIELD #18 Willie walks up to the line. A fierce new concentration occupying him. ALL SOUND DRAINS AWAY. He is distracted by nothing! The crowd has become a semi-real phantasmagoric beast with a thousand eyes. On his own face there is an extraordinary, savage look -- primordial. He barks out the signals, SILENT... Soundless, he backpedals, cocking his arm, fingers tight on the laces, fingernails digging in... his eyes like radar... the read... one receiver... two receiver... a quick, strong release... a fast, clean spiral -- yet it seems to sail for hours through the air. ... Caught by Sanderson at the 20! The beginner's luck holds when the two Minnesota defensive backs collide into each other, falling down, and Sanderson runs freely into the end zone for a TD!... Now -- an EXPLOSION OF SOUND. The first TD of a career. SIDELINE #23 D'Amato allows himself a small smile of pleasure -- a long time coming. The offense is cheering -- alongside Montezuma Monroe and his defense, who now pay the offense a little attention. FIELD #19 Players slam a stunned Willie on the back.</scene_description> <character>WASHINGTON</character> <dialogue>... 'less you wanna kick the extra point, you better get off the field, dawg!</dialogue> <scene_description>SIDELINE #24 The Shark mascot -- a guy dressed in a huge foam shark costume -- dances the "Shark dance"... As Madman trudges up to Dr. Powers with blood dripping from his mouth.</scene_description> <character>POWERS</character> <dialogue>Madman?...</dialogue> <character>MADMAN</character> <dialogue>One of those cheap mothers fishhooked me in the mouth with his thumb... I tried to bite it off but he jammed my mouth guard up and ripped up my gum... Hurts like the lambs, man!</dialogue> <scene_description>SIDELINE #25 Willie's eyes looking for D'Amato -- who acknowledges him from a distance. Sanderson disrupts the moment, in Willie's face, twitching as he repeats himself over and over.</scene_description> <character>SANDERSON</character> <parenthetical>(repeating)</parenthetical> <dialogue>Hey, you git it, money! You gat the magic!</dialogue> <scene_description>SCOREBOARD #3</scene_description> <character>MINNESOTA 31, MIAMI 31.</character> <dialogue>FOURTH QUARTER.</dialogue> <scene_description>A73 FIELD #20 A73 Willie, playing with some real confidence, runs an option pass right, and completes a 17-yarder to the second receiver. FIELD #21 This time Willie heads left, faking well off his right shoulder to keep the DBs deep, then takes off on an adventuresome run through the Americans. He's a natural- born athlete, but the Minnesota defense exhorts a price for making them look bad -- pounding him hard after a 13-yard gainer.</scene_description> <character>INSERTS</character> <dialogue>At the bottom of the pile, the linemen wrestle one another, going for the eyes and nuts, anything for the edge (AD LIBS)... Close to Willie, at the bottom, Madman growls:</dialogue> <character>MADMAN</character> <dialogue>Boy, do we got a dental plan for you, buddy!... Payback time!</dialogue> <scene_description>We hear the crunch of his elbow and a painful grunt from the abused party, who presumably "fishhooked" him earlier.</scene_description> <character>REFEREE #2</character> <dialogue>Get out of there, guys! Come on! Knock it off! Climb out!</dialogue> <scene_description>FIELD #22 The shoeless wonder boots a 45-yard field goal dead center through the uprights -- a thing of beauty as the fans revive their hopes, starting to pick up on Willie Beamen. SIDELINE #26 Tony is just a little bit happy, finally, but can't show it. OWNER'S BOX #7 So is Christina, turning to Johnny Polito.</scene_description> <character>CHRISTINA</character> <dialogue>Can you believe this? A third- string quarterback...? Who found him, Johnny?</dialogue> <character>POLITO</character> <dialogue>I think Arnie spotted him before he left...</dialogue> <scene_description>This sticks in her craw -- she fired "Arnie." PRESS BOX #2 Even in the cynical media, there is an appreciable shift of interest in the young quarterback.</scene_description> <character>JACK ROSE</character> <parenthetical>(to colleague)</parenthetical> <dialogue>Can you believe D'Amato's luck? He's looking at four losses in a row and his ass is saved by this nobody? What a story!</dialogue> <scene_description>Back to his laptop... TIME CUT TO: OWNER'S BOX #8 Christina seems more relaxed on the phone, discreetly to the side. The game is meandering toward conservatism, close to won, and friends have slipped back in. AD LIB chatter, food, drinks.</scene_description> <character>CHRISTINA</character> <dialogue>... Van Ness?! Dominic, he's a hundred years old, for God's sake! Find me a quarterback who's under fifty, who's solid, been around and can get us to the playoffs...</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>No, it looks like some surgery on his lower back, an L-5 I think, but there's a chance he can get back by the playoffs...</dialogue> <scene_description>ON TV Miami's offense is on the field at their own 29, 2nd and 8. The score reads: MINNESOTA 31, MIAMI 34, FOURTH QUARTER, 1:54 left. It looks good. SIDELINE #27 Yet Tony prowls nervously... Trainer #2 adjusts the air in ICE HAWKINS' (tight end) helmet, who complains to Powers about the large black and blue bite on his neck.</scene_description> <character>ICE</character> <dialogue>... Goddamn motherfucker bit me on the neck!</dialogue> <character>POWERS</character> <parenthetical>(examines it)</parenthetical> <dialogue>... You're lucky, he doesn't have AIDS, Ice.</dialogue> <parenthetical>(grins)</parenthetical> <dialogue>Get me a Band-Aid and some hydrogen peroxide, it'll be gone in a week or so.</dialogue> <character>ICE</character> <dialogue>My old lady ain't gonna believe that shit! She gonna think some hoe jumped on my dick.</dialogue> <character>POWERS</character> <dialogue>I'll give you a note.</dialogue> <character>ICE</character> <dialogue>She don't believe nothing she reads anyhow.</dialogue> <scene_description>Crozier is a little nervous.</scene_description> <character>TONY (V.O.)</character> <dialogue>Deuce Left 22 Red Beast Read.</dialogue> <character>CROZIER</character> <dialogue>Come on, Tony, they're giving us the flat. Let's run smoke and...</dialogue> <character>TONY</character> <dialogue>Maybe they're looking for the pick. I'm not taking chances. Not with this ballerina.</dialogue> <scene_description>FIELD #25 A bulldozing straight-ahead three-yard run by Washington. Third down and five. COACH'S BOOTH #4</scene_description> <character>CROZIER</character> <parenthetical>(insistent)</parenthetical> <dialogue>I know Willie, Tony! They're screaming for him to dump it out there!... It's wide open!</dialogue> <scene_description>A84 SIDELINE #28 A84</scene_description> <character>TONY</character> <dialogue>That's just it. I know this coach, Nick! And he's a prick. It's a set-up. Run it again. Deuce Left 22 Red Beast Read.</dialogue> <character>CROZIER</character> <dialogue>Tony, they're stacked up for the run --</dialogue> <character>TONY</character> <dialogue>You heard me.</dialogue> <scene_description>Crozier relays the call. HUDDLE #5 Willie hears "the voice," doesn't like the call either.</scene_description> <character>WILLIE</character> <dialogue>Okay, same, same, Deuce Left 22 Red Beast Read. On two.</dialogue> <character>WASHINGTON</character> <dialogue>Money time, boys. Get me five and we are home and dry and flyin' high.</dialogue> <character>SANDERSON</character> <dialogue>Let the D win it, J-man, we don't need no first down. Punt gets us out of here.</dialogue> <character>WASHINGTON</character> <dialogue>That's how come you don't score with the ladies, 'Two Race,' you got no showmanship.</dialogue> <character>WILLIE</character> <dialogue>Cut the bullshit! Red Beast Read. On two -- Ready!</dialogue> <character>WASHINGTON</character> <parenthetical>(to Willie)</parenthetical> <dialogue>I'll be flyin' my F-16, dawg, don't fuck me up!</dialogue> <scene_description>The team breaks, Washington with a particular strut about him, tasting victory already. SIDELINE #29 Tony sees the Minnesota defense stacked against the run right. COACH'S BOOTH #5 Crozier sees the same thing. Especially from this height, the defensive adjustments are clear.</scene_description> <character>CROZIER</character> <dialogue>... Tony, take a time-out... come on!</dialogue> <parenthetical>(as Tony's VOICE BREAKS UP momentarily; under his breath, to Willie)</parenthetical> <dialogue>Audible left, kid! Just do it.</dialogue> <character>TONY (V.O.)</character> <dialogue>Time-outs are for TV. Negative!</dialogue> <scene_description>Willie hands off to Washington, who powers into the line, seeing nothing -- his eyes wild like a horse around fire -- He rolls along the line searching for the hole -- thinks he sees one -- goes for it. Swack! He is blindsided by the tall, reptilian defensive end, who hatchets him from high, then drives his helmet into the ball, which pops out high and loose and crazy. It is a spectacular fumble -- the kind of fumble all running backs have nightmares about -- Washington desperately dives back for it -- but everyone else is diving too, including Willie. A swift Minnesota safety makes the snag -- racing past confused Miami players -- some 24 yards, into the end zone. Touchdown.</scene_description> <character>BRANSON (V.O.)</character> <dialogue>Oh my God! Oh no!</dialogue> <character>TUG (V.O.)</character> <dialogue>Oh yes! Your worst nightmare as a running back!</dialogue> <character>BRANSON (V.O.)</character> <dialogue>Washington was looking for that first down. Big mistake!</dialogue> <scene_description>Willie is on his knees, unbelieving... Washington drops his head, the loneliest man in the world. A gash of blood crawls down inside his helmet from his forehead. SIDELINE #30 Tony is not so much stunned as resigned, believing now that nothing can change his luck. OWNER'S BOX #9 Christina and everyone else in the box mutter quietly, in retreat... STANDS #2 The fans turn ugly, throwing things onto the field. A91 SCOREBOARD #5 A91 flashes the new score: MINNESOTA 37, MIAMI 34, 1:32... The Americans are ecstatic. A92 MIAMI SIDELINE #31 A92 Whereas Miami is devastated! Their very life-force threatened by this fourth straight defeat... the gods have voted. Despair and self-pity commingle. B92 OWNER'S BOX #10 B92 Christina watches the replay of Washington going through the line.</scene_description> <character>CHRISTINA</character> <dialogue>Two hands, you showboat! Two goddamn hands -- you...</dialogue> <scene_description>C92 ON TV C92 The fumble as highlight... Utilizing her cane, Margaret Pagniacci leaves the room with her small, doting entourage and two white Schnauzer dogs, absorbing her daughter's passion with a detached amusement.</scene_description> <character>MARGARET</character> <dialogue>Oh, it's not so bad, honey. You'll wake up in the morning. We once lost a game -- two seconds to go on one of those stupid 'Hail Mary' passes. My lord, it just stayed up there forever and this tall Negro gentleman jumped up so high like a basketball player and picked it right out of the air... I thought your daddy was gonna have a heart attack. He was so upset, you have no idea!</dialogue> <parenthetical>(laughing)</parenthetical> <dialogue>You know, he just lost years of his life here...</dialogue> <parenthetical>(kissing Christina on the cheek)</parenthetical> <dialogue>He died because of this. Don't take it all too seriously, darling, it's just a game...</dialogue> <character>CHRISTINA</character> <parenthetical>(really pissed)</parenthetical> <dialogue>Good night, Mother.</dialogue> <scene_description>She turns to her husband, Andy, who is accompanying her mother home, and kisses him.</scene_description> <character>CHRISTINA</character> <dialogue>Make sure she gets home all right, would you, Andy? No stops.</dialogue> <scene_description>... makes a drinking motion.</scene_description> <character>ANDY</character> <parenthetical>(nods)</parenthetical> <dialogue>How 'bout me? Shall I wait up? I have plenty of homework.</dialogue> <character>CHRISTINA</character> <dialogue>Nah, don't bother. I'd be in a lousy mood anyway...</dialogue> <character>ANDY</character> <parenthetical>(squeezes her hand)</parenthetical> <dialogue>I'm sorry... Don't forget I'm in Boston tomorrow for two days.</dialogue> <character>CHRISTINA</character> <parenthetical>(having forgotten)</parenthetical> <dialogue>Oh!?</dialogue> <character>ANDY</character> <dialogue>Maybe three. Complicated deposition -- insurance company. I'll call you.</dialogue> <character>CHRISTINA</character> <parenthetical>(sadly, as he leaves)</parenthetical> <dialogue>Kick their asses!</dialogue> </scene> <scene> <stage_direction>INT. LOCKER ROOM #4 - NIGHT</stage_direction> <scene_description>D'Amato walks through like an undertaker.</scene_description> <character>D'AMATO</character> <parenthetical>(yelling)</parenthetical> <dialogue>All right, everybody, let's huddle!</dialogue> <scene_description>As the men slowly assemble in various stages of dress, pre and post-shower, some totally nude, D'Amato crosses to Willie's locker, who seems off in his own world, undressing slowly.</scene_description> <character>D'AMATO</character> <dialogue>Let it go, Willie. You played strong.</dialogue> <character>WILLIE</character> <dialogue>I can't believe we blew it. I shoulda kept the ball myself.</dialogue> <character>TONY</character> <dialogue>Listen to me, kid...</dialogue> <parenthetical>(waits till Willie gives him his eyes)</parenthetical> <dialogue>On any given Sunday you're gonna win or you're gonna lose. The point is -- can you win or lose like a man?... Out there today you played like a man. That's what counts.</dialogue> <scene_description>It's hard for Willie to accept a compliment of any kind.</scene_description> <character>WILLIE</character> <dialogue>I'm sick of losing, Coach.</dialogue> <scene_description>Tony doesn't quite understand the motivation there; the rest of the team is waiting.</scene_description> <character>TONY</character> <dialogue>When you're my age, kid, you get used to it.</dialogue> <parenthetical>(to all)</parenthetical> <dialogue>Awright, everybody, lissen up! You played your hearts out! No blame... nobody! Let's get on our knees... Father...</dialogue> <scene_description>The team assumes a collective prayer position; Tony signals the team CHAPLAIN.</scene_description> <character>CHAPLAIN</character> <dialogue>Tough one today. I know how you're taking this. I went to my play book and the book says: The rain falls on the just and the unjust alike. You're not specifically cursed. Joy comes in the morning. There are no atheists in foxholes. Let's pray. Our Father who art in Heaven...</dialogue> </scene> <scene> <stage_direction>INT. EXAM ROOM #2 - NIGHT (LATER)</stage_direction> <scene_description>On a cell phone, Dr. Mandrake stitches an uneven, buckled suture onto Julian Washington's forehead -- who yelps out in pain.</scene_description> <character>MANDRAKE</character> <dialogue>I was using a seven iron...</dialogue> <character>WASHINGTON</character> <dialogue>Ow! How 'bout another number, Doc! This hurts.</dialogue> <character>MANDRAKE</character> <parenthetical>(reaching for the novocaine)</parenthetical> <dialogue>Doctor Caine on the way, you pussy! No you, I was talking...</dialogue> <scene_description>Powers, in the b.g., observes Washington's budding scar, concerned, says nothing.</scene_description> <character>TRAINER #2</character> <parenthetical>(to Mandrake)</parenthetical> <dialogue>Doc, 'Horny' won't shut up. Can we get him some...</dialogue> <character>MANDRAKE</character> <parenthetical>(irritated)</parenthetical> <dialogue>You tell 'Horny' his perk days are over! He knows Association policy -- it's a 'schedule 5' drug. Give him two Motrin and tell him to go to a 'witch doctor'...</dialogue> <parenthetical>(as "Horny" suddenly makes an appearance on his behalf)</parenthetical> <dialogue>You know you're gonna sue me anyway for the Motrin, you skinny fuck!</dialogue> <scene_description>HORNY, a white, runty defensive back and punter, is rather upset at the large flap of skin hanging from his foot, which he proudly displays.</scene_description> <character>HORNY</character> <dialogue>Look at my fucking foot! Come on, Doc! Would you want to go on a double date with 'Tank Top' looking like this?</dialogue> <character>MANDRAKE</character> <parenthetical>(seeing the wound)</parenthetical> <dialogue>Get that out of here.</dialogue> <character>HORNY</character> <dialogue>How do I get some attention round here?</dialogue> <character>MANDRAKE</character> <parenthetical>(rolls his eyes)</parenthetical> <dialogue>Try suicide.</dialogue> <parenthetical>(rushing to leave; to Powers)</parenthetical> <dialogue>I gotta get down to Cap at the hospital. They did the M.R.I., looks like the disc ruptured. They're going in tonight. Could you finish Julian for me?...</dialogue> <scene_description>Knowing what he's left behind, Mandrake rushes out with the phone; Powers sidles up to Julian's suture.</scene_description> <character>POWERS</character> <dialogue>Hey, J, I'm not gonna shit you. I know this guy, he's a top plastic surgeon... I think I can get him to see you tonight.</dialogue> <character>JULIAN</character> <dialogue>What the fuck for?!</dialogue> <character>POWERS</character> <parenthetical>(how to say this?)</parenthetical> <dialogue>You got a TV contract, don't you?</dialogue> <character>JULIAN</character> <dialogue>You know I got a fucking television contract.</dialogue> <character>POWERS</character> <dialogue>... It is on-camera?</dialogue> <character>WASHINGTON</character> <parenthetical>(suddenly looking for a mirror)</parenthetical> <dialogue>M'fucker... I'll sew his asshole to his lips!</dialogue> <scene_description>COACHES' OFFICE #1 - CONTINUOUS ACTION - NIGHT In progress, a dozen or more press -- among them Jack Rose -- are gathered around Tony, in a lousy mood, giving out his postgame interviews from his cramped office.</scene_description> <character>ROSE</character> <parenthetical>(pseudo-amicable)</parenthetical> <dialogue>... So, Coach, what's on your mind when you run the exact same running play twice deep in your own territory? You nervous about your quarterback's arm?</dialogue> <character>TONY</character> <dialogue>You know, Jack, I've always loved the running game, but I read so much about it 'cause of you, I decided I'm gonna give it up.</dialogue> <character>ROSE</character> <dialogue>I beg your pardon. The running game?</dialogue> <character>TONY</character> <dialogue>No, reading you.</dialogue> <parenthetical>(as they all laugh at Jack)</parenthetical> <dialogue>The pass is great, but it's 2-3 guys involved. But a sweep -- y'ever really study a sweep, Jack --</dialogue> <character>ROSE</character> <dialogue>Student of the game, Coach.</dialogue> <character>TONY</character> <dialogue>Eleven men pulling together, concentrating... like a mind machine in perfect sync, hitting every block and hole, it's so damn beautiful! Football, Jack, at its purest.</dialogue> <character>ROSE</character> <dialogue>Does that mean you're in disagreement with management, Coach?</dialogue> <character>TONY</character> <parenthetical>(looks at his watch)</parenthetical> <dialogue>No, it means I'm late to see management. Tell you what, if I don't have the job tomorrow, you'll be the first one to know, Jack, okay?</dialogue> <scene_description>He leaves abruptly.</scene_description> <character>P.R. GUY</character> <dialogue>All right, folks, that's it for today...</dialogue> <scene_description>Grumbles all around... OMITTED The quiet of the empty stadium fills the humid air. Distant ECHOES of the roaring fans fall off into BIRDSONG and FROG CROAKS out of the swamps.</scene_description> </scene> <scene> <stage_direction>INT. ROONEY'S HOSPITAL ROOM - NIGHT</stage_direction> <scene_description>Coach D'Amato enters to find Cap Rooney in bed, his lower back and legs supported, a morphine drip in one arm and an IV in the other, unnaturally white and swollen from the hits -- doing his stoic best to abide the searing pain in his back. Flowers fill the crevices of the room. He's on a speaker phone with the boss, Christina -- while Cindy, his concerned and devoted wife, acknowledges Tony with a head nod.</scene_description> <character>CINDY</character> <parenthetical>(to Christina)</parenthetical> <dialogue>... but did you see the wires? I mean, why is this being played up like it's the end, Christina? I just don't understand -- it's a minor injury. That's all. Can't the front office control the spin?</dialogue> <character>CHRISTINA (V.O.)</character> <dialogue>Cindy, look, stop worrying about this! The important thing is this thing, this... microdisectomy, went well, it's under control. We'll make a strong statement in the morning, okay?... Cap?</dialogue> <parenthetical>(as Cap acknowledges)</parenthetical> <dialogue>I've been researching vertebrae. And guess what? -- There's a great doctor in Minnesota. Rosen. A specialist in rehab. I'm gonna fly him out tomorrow. I found out two important things... Cap?</dialogue> <character>CAP</character> <parenthetical>(mutters)</parenthetical> <dialogue>Yes?</dialogue> <character>CHRISTINA (V.O.)</character> <dialogue>One -- you can live without the L-5 disc, and two...</dialogue> <character>CAP</character> <dialogue>That's good news...</dialogue> <scene_description>Tony quietly tucks in Cap's sweaty, strewn bed sheets, preferring not to signal his presence to Christina. He notices a large black and blue discoloration around the point of surgical entry in Cap's lower back.</scene_description> <character>CHRISTINA (V.O.)</character> <dialogue>... And two, it all depends on you. We got the bye week. You could be ready as early as San Francisco.</dialogue> <character>CAP</character> <dialogue>That's really good news.</dialogue> <scene_description>Tony gives Cap some water.</scene_description> <character>CHRISTINA (V.O.)</character> <dialogue>I want you to rest up for tonight and we'll talk tomorrow, okay. Night, Cap... Cindy.</dialogue> <scene_description>She hangs up. Cindy disconnects the call.</scene_description> <character>TONY</character> <dialogue>How ya doing, Rock?</dialogue> <character>CAP</character> <parenthetical>(dopey)</parenthetical> <dialogue>Man, I thought that guy's helmet would come out through my ass. I thought I was going to die! They went in -- took out my L-5 disc. No big deal ... Did we win?</dialogue> <parenthetical>(as Tony shakes his head)</parenthetical> <dialogue>The kid didn't cut it?</dialogue> <character>TONY</character> <dialogue>Nah, Beamen did okay. It was Julian fumbled, they beat us by three.</dialogue> <character>CAP</character> <dialogue>Shit! Julian, man...</dialogue> <parenthetical>(shakes his head)</parenthetical> <dialogue>... What'd the kid throw?</dialogue> <character>TONY</character> <dialogue>9 of 14, for 176.</dialogue> <character>CAP</character> <dialogue>TDs?</dialogue> <character>TONY</character> <dialogue>Two.</dialogue> <character>CAP</character> <dialogue>Holy moly!</dialogue> <parenthetical>(awkwardly tries to sit up, screams)</parenthetical> <dialogue>Oh God, shit!!...</dialogue> <parenthetical>(then calmer)</parenthetical> <dialogue>I can beat this!...</dialogue> <character>TONY</character> <dialogue>The pain's bad, kid.</dialogue> <character>CAP</character> <dialogue>Comes and goes. I can control my morphine intake... but I can't get enough.</dialogue> <character>TONY</character> <dialogue>I could use a drink myself.</dialogue> <scene_description>He pours himself some water distastefully, as Cap plays with his pump.</scene_description> <character>CAP</character> <parenthetical>(yelling with pain)</parenthetical> <dialogue>Cindy, did you call the nurse!? Is this working! Jesus, tell 'em I'm a football player! Pump up the goddamn volume!</dialogue> <parenthetical>(laughs)</parenthetical> <dialogue>... and Christy thinks I'll be ready to play in three weeks...</dialogue> <character>CINDY</character> <parenthetical>(on phone)</parenthetical> <dialogue>We've been waiting...</dialogue> <character>TONY</character> <dialogue>She's dreamin'.</dialogue> <character>CAP</character> <dialogue>What is her deal? All these flowers. I've known Christy since she was in braces, man. If Art was alive he'd be here, not a bunch of flowers.</dialogue> <character>TONY</character> <dialogue>She's President now -- what's more to say.</dialogue> <character>CINDY</character> <dialogue>She just didn't want to bother you.</dialogue> <character>CAP</character> <dialogue>Montana, he had something like this. I'm in better shape. A few weeks of rehab and I'll be there, Tony. Playoffs for sure.</dialogue> <character>TONY</character> <dialogue>You just gotta get over this Montana thing, Rock. You're never gonna be that good.</dialogue> <character>CAP</character> <dialogue>Screw you. If I had a decent coach, I'd be...</dialogue> <character>TONY</character> <dialogue>Take it easy, will ya! Don't overachieve. Breathe. Even at 50 percent, there's nobody better out there...</dialogue> <character>CAP</character> <dialogue>Playoffs... I'll be ready.</dialogue> <scene_description>Tony touches Cap gently on the head.</scene_description> <character>TONY</character> <dialogue>It's late. I'll stop by in the morning. Get some rest. 'Night, Cindy.</dialogue> <scene_description>She acknowledges him.</scene_description> <character>CAP</character> <dialogue>Tony...</dialogue> <parenthetical>(as Tony turns back)</parenthetical> <dialogue>Don't give up on me.</dialogue> <character>TONY</character> <parenthetical>(beat)</parenthetical> <dialogue>You're like a son to me, Cap. I'll fight for you till the day I die.</dialogue> <scene_description>He exits as the PHONE RINGS and Cindy follows Tony out.</scene_description> <character>CAP</character> <dialogue>Cindy! Can you get the phone!</dialogue> <character>CINDY</character> <dialogue>Finally! What do you do for heart attacks? Wait till they pass? 20 minutes ago we rang...</dialogue> <scene_description>Cap closes his eyes. He can't find a spot of stillness -- the pain boiling up again. In a high-rise apartment above the bay, sporting a glorious view of the curve of the city against the ocean, shadows play off the balcony from the TELEVISION within -- a MUTED "End Zone Weekly" plays (NOTE: This is not Jack Rose's "Sports Corner," rather an ESPN-type national show).</scene_description> <character>WILLIE</character> <parenthetical>(on the phone)</parenthetical> <dialogue>Mom, I didn't know I was going in... sure I woulda called you... She wants to talk to you.</dialogue> <scene_description>He laughs and hands the phone to his attractive girlfriend VANESSA STRUTHERS on the couch next to him -- a longtime sweetheart, she is studying marketing.</scene_description> <character>VANESSA</character> <parenthetical>(into phone)</parenthetical> <dialogue>Mrs. Beamen, hi!... Yeah he was great!... No, I think he was just nervous...</dialogue> <character>WILLIE</character> <parenthetical>(UN-MUTING the TV)</parenthetical> <dialogue>Tell her I'm on again!</dialogue> <character>VANESSA</character> <dialogue>Oh, Mrs. Beamen, right now! It's on! You gettin' it?</dialogue> <parenthetical>(to Willie)</parenthetical> <dialogue>I don't think they have that cable channel in East Texas, honey.</dialogue> <character>WILLIE</character> <dialogue>Here it is. I'm about to do it.</dialogue> <scene_description>A98 ON TV A98 Shots of Tyler Cherubini going down... Shots of Willie stepping in.</scene_description> <character>TV VOICE (V.O.)</character> <dialogue>... in stepped third-string QB Willie Beamen, and after a very shaky start, Beamen hung in to deliver a surprising game, coming up just short in the fourth on Julian 'The Slicker' Washington's catastrophic fumble. Not that Willie didn't have his own nauseating moments!</dialogue> <scene_description>The infamous vomit in the huddle on national television. Willie covers his eyes. We also hear upset SCREAMING from MOM on the phone.</scene_description> <character>VANESSA</character> <dialogue>You didn't tell me you threw up!</dialogue> <character>TV VOICE (V.O.)</character> <dialogue>... the Sharks are now looking at a 7-6 record with a very tough schedule comin' up, but Tyler Cherubini with an ankle sprain looks like he'll be ready next week. Let's hope in any case that Willie Beamen remembers his Tums for the Chicago Rhinos next week!</dialogue> <scene_description>Willie MUTES the TV, taking the phone back from Vanessa.</scene_description> <character>WILLIE</character> <dialogue>... It was moving so fast... you're a cruel woman, Mama!</dialogue> <parenthetical>(more serious)</parenthetical> <dialogue>Uh-huh... No probably not... No, I don't know yet.</dialogue> <parenthetical>(growing tenser)</parenthetical> <dialogue>Mama, I... look, I'm number three, there's nothing I... They don't wanna look!... Yeah, yeah... you keep prayin', okay. Say hi to everybody... Uh-huh, you too, right...</dialogue> <parenthetical>(hangs up, looks at Vanessa, deflated)</parenthetical> <dialogue>She wants me to start.</dialogue> <character>VANESSA</character> <dialogue>Oh, baby, she just wants the best for ya.</dialogue> <scene_description>She hugs him like his Mom might.</scene_description> </scene> <scene> <stage_direction>INT. BAR/RESTAURANT - NIGHT (10:30)</stage_direction> <scene_description>Dark walls in this high-class hangout are filled with celebrity photos, especially the Sharks and Dolphins. Caricatures of the football crowd hang over the bar where D'Amato, Nick Crozier, and Montezuma Monroe drink. ON TV Jack "Ripper" Rose, the local expert on the Sharks, who seems to prove that the more you know about a team, the less you really understand, interviews a guest on his local "Sports Corner."</scene_description> <character>ROSE (V.O.)</character> <parenthetical>(on TV, to guest)</parenthetical> <dialogue>... Frank, Frank, Frank, you gotta wonder why D'Amato called that play when everyone knows J-Man likes to pick his spot when he runs... and you're running the same play twice in a row? Come on! There's a reason this team has lost four in a row. Forget about the offensive line and Cap Rooney. Forget about money- grubbing greed-head Christina Pagniacci who sold three of last year's stars. And forget about the defense -- there is none! This team is just not in sync. They remind me of my 'ex.' She had 21 different personalities. Seven of them hated me...</dialogue> <parenthetical>(as his guest laughs)</parenthetical> <dialogue>No kiddin', I think D'Amato's play books have consisted of the same 11 plays since 1971. It's gotta be a shorter list than 'The History of Jews in Sports,' but lucky for him, the Sharks have a couple of teeth left in their head, otherwise these guys would be bottom-feeding at 2-14 instead of thrashin' at 7-6...</dialogue> <scene_description>BACK TO SCENE Glancing away from the omnipresent television (several others dot the bar space, all tuned to sports), Tony drinks Scotch -- one of several -- his thoughts depressed and fatalistic tonight. Four losses in a row is a phenomenon that has never happened to him before. MANDY, a young glamorous woman, sitting down the bar with a girlfriend, catches his eye.</scene_description> <character>TONY</character> <parenthetical>(re: TV)</parenthetical> <dialogue>Glad he's not talking about me.</dialogue> <character>CROZIER</character> <parenthetical>(during this)</parenthetical> <dialogue>... you play safe, you lose. It's just not a theory, they can prove it. You feed a computer all the games where a coach protected a modest lead -- 10 points or less -- 300 games, 10 years, there's this guy he did this study at Harvard... it came out the coaches lost... 71 percent of the time!</dialogue> <character>MONROE</character> <dialogue>71 percent my ass! It can't be more than 40 percent, probably less. What's the information they put in those damn things?!... Shit, what're you guys gonna do next -- stick computer chips up my players' butts so you can monitor what their shit's thinking?</dialogue> <character>CROZIER</character> <parenthetical>(sweetly)</parenthetical> <dialogue>That's a great fucking idea, Monty -- if you had any neuronal connections left after what -- 20 concussions? -- I might actually take that as an insult, but...</dialogue> <character>TONY</character> <parenthetical>(signals the bartender)</parenthetical> <dialogue>You get any more stats in those goddamn computers what the hell you need a coach for anymore? I mean it's like we're all rushing forward here -- faster, bigger, smarter. We're all thinking too damned much... we're not even looking around at what we're passing by, leaving behind... You know what I mean?</dialogue> <character>MONROE</character> <dialogue>I sure do.</dialogue> <scene_description>The BARTENDER pours another Scotch, beers for the others.</scene_description> <character>BARTENDER</character> <dialogue>Here you go, Coach.</dialogue> <character>TONY</character> <dialogue>Thanks (nickname)...</dialogue> <parenthetical>(to all, noting his caricature above)</parenthetical> <dialogue>Y'know, I'm starting to look like that guy. That's what's fucking scary.</dialogue> <character>MONROE</character> <dialogue>Yeah, a little.</dialogue> <scene_description>Crozier clears his throat, needs to talk business.</scene_description> <character>CROZIER</character> <dialogue>Y'know, Tony, I think we gotta simplify the playbook for Cherubini. These Rhino linebackers are fast little ATVs. We gotta pick 'em apart with precision -- Cherubini to two tight ends; ask the wideouts to go short over the middle... More screens, traps...</dialogue> <character>TONY</character> <dialogue>Nick, I'm not re-doing the whole goddamn game plan for Cherubini with three more games. The linemen aren't that quick, y'know what I mean?... and when Cap comes back for the playoffs, he's gonna go crazy with a whole new calling scheme, different rhythms, shit!...</dialogue> <character>CROZIER</character> <dialogue>Tony, what I'm saying is if we don't redo the game plan, we won't make the playoffs... and what happens if Cap doesn't come back this year?</dialogue> <character>TONY</character> <parenthetical>(starting to anger)</parenthetical> <dialogue>Hey, Nick -- when you get your team, you do it your way. But don't let me catch you telling anyone Cap Rooney's not comin' back, okay? I don't care what Mrs. Pagniacci Junior says. Stay out of it!... I've seen Cap do this for years.</dialogue> <character>TONY</character> <dialogue>When he sets his mind to it, he'll walk right in there -- maybe 'gainst the Emperors -- and he'll shine just like a new dime, that's how fucking great this guy is! Never underestimate 'Rock' Rooney, okay?...</dialogue> <character>CROZIER</character> <dialogue>I'm sorry... But we need a game plan, Tony, that...</dialogue> <character>TONY</character> <parenthetical>(changes subject)</parenthetical> <dialogue>... y'know every time I drink more than two of these, I think of Jeanette...</dialogue> <character>MONROE</character> <dialogue>How is that gal?</dialogue> <character>TONY</character> <parenthetical>(grimaces)</parenthetical> <dialogue>We try talkin' but we sound like two undertakers talkin' shop...</dialogue> <character>MONROE</character> <dialogue>Great lady, Jeanette. You gave her up too easy.</dialogue> <character>TONY</character> <dialogue>Y'ever try living with her, Monty...? She was nuts. Went fundamentalist on me.</dialogue> <character>MONROE</character> <parenthetical>(finishes his beer, to Crozier)</parenthetical> <dialogue>They say a coach needs three things in this life -- a wife who shuts up, a dog who licks him whenever he wants, and a quarterback who don't get hurt... So, this turkey's wife took a hike on him, his dog got run over, and his quarterback ruptured his goddamn back, talk about luck. Gotta piss...</dialogue> <scene_description>He leaves.</scene_description> <character>CROZIER</character> <dialogue>Mind if I join you?</dialogue> <character>MONROE</character> <dialogue>Only if you hold your own dick, kid.</dialogue> <character>CROZIER</character> <dialogue>So tell me, Monty, did you really play with leather helmets in the good old days?</dialogue> <character>TONY</character> <parenthetical>(chimes in)</parenthetical> <dialogue>You forgot the fourth thing, Monty -- a defense! I know it's old- fashioned to keep the other team from scoring, but it's effective.</dialogue> <character>MONROE</character> <dialogue>Kiss my ass, D'Amato. Lemme tell you something, kid, those leather helmets were fucking great! They held our brains in, 'cause back then men knew how to hit and get hit. When they allowed face-guards for you punks, that was the end of the game that I knew...</dialogue> <scene_description>As they move off:</scene_description> <character>CROZIER</character> <dialogue>Do you defensive guys ever move your lips when you speak? Or is it true you all like grunting better...?</dialogue> <character>MONROE</character> <dialogue>I like grunting better than that techno-babble bullshit you offensive weenies talk...</dialogue> <scene_description>Tony's eyes wander, against his will, back to the TV. A99 ON TV A99 Jack Rose continues to talk a mile a minute -- on camera and then in background V.O. as we return to Tony.</scene_description> <character>ROSE (V.O.)</character> <dialogue>... I tell you right here and now -- Chicago's gonna wipe us out! They got a playbook with 200 variations on the pass for chrissake! Sure D'Amato likes to act tough and 'keep it simple, stupid' for our Sharkies, and some people even think he's a genius with his book of 75 plays, but hey, a lot of us think, you know, like this is no longer the '70s and the '80s -- hey we're talking the late '60s when this guy started coaching -- and you all know by now how much of a fan I am of D'Amato getting himself a lobotomy or maybe cloned with some goat because anything... even Jack Kevorkian, would be better than what we got! Give me some smack!</dialogue> <parenthetical>(high-fives his guest)</parenthetical> <dialogue>Give me a pound. Give me some love...</dialogue> <scene_description>Tony's eyes have shifted back to the caricature of himself on the wall, a man fatter, older, and more degenerate than he actually looks. Mandy, the young woman he noticed earlier, slides up next to him, sits, sipping a non-alcoholic blue-ice number with a straw.</scene_description> <character>MANDY</character> <dialogue>You're that coach, aren't you?</dialogue> <character>TONY</character> <dialogue>Yeah, Tony D'Amato.</dialogue> <scene_description>He shakes hands.</scene_description> <character>MANDY</character> <dialogue>Wow! Hi. I'm Mandy Murphy. I can't believe it. I thought it was you but I wasn't sure. You look different on TV.</dialogue> <character>TONY</character> <dialogue>You think so?</dialogue> <character>MANDY</character> <dialogue>Yeah. You look much better in real life. You're always yelling at people on TV.</dialogue> <character>TONY</character> <parenthetical>(pointing to the caricature)</parenthetical> <dialogue>Yeah well at least I look better than that old fart... I think?</dialogue> <character>MANDY</character> <dialogue>You do...</dialogue> <character>TONY</character> <parenthetical>(starting on another Scotch)</parenthetical> <dialogue>Thanks. How old are you, Mandy?</dialogue> <character>MANDY</character> <dialogue>How old do you want me to be?</dialogue> <parenthetical>(as he shrugs; smiles)</parenthetical> <dialogue>I don't think age matters. I really don't. I think older guys have a certain thing.</dialogue> <character>TONY</character> <dialogue>Oh yeah?</dialogue> <character>MANDY</character> <dialogue>Yeah. Older guys are the nicest guys. At least in my experience...</dialogue> <parenthetical>(she gently touches his hand)</parenthetical> <dialogue>You know, I always wanted to meet you... ever since I was about 17, I was going with this football jock -- and I saw you on the sidelines. You were winning this big game...</dialogue> <character>TONY</character> <dialogue>You mean the Pantheon Cup...?</dialogue> <character>MANDY</character> <dialogue>Yeah, that's it! That was wild.</dialogue> <parenthetical>(as Tony laughs)</parenthetical> <dialogue>I'd never repeat this -- only to you, you promise to keep this a secret -- ?</dialogue> <character>TONY</character> <dialogue>I promise.</dialogue> <character>MANDY</character> <parenthetical>(whispers into his ear)</parenthetical> <dialogue>... I uh... started masturbating to football games watching you... (also: AD LIBS)...</dialogue> <scene_description>Tony's taken aback. She touches his knee, goes further.</scene_description> <character>MANDY</character> <dialogue>... you wanna go out with me... 'Coach'?</dialogue> <character>TONY</character> <dialogue>You mean like on a date?</dialogue> <character>MANDY</character> <dialogue>Yeah, like on a date...</dialogue> <parenthetical>(leaning close)</parenthetical> <dialogue>I got a place -- close by, quiet... It's a thousand... five thousand for the night. You won't regret it...</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>What do you say, handsome?</dialogue> <character>TONY</character> <dialogue>Thank you. I'm flattered, but...</dialogue> <character>MANDY</character> <dialogue>You sure? I got friends.</dialogue> <parenthetical>(indicating Monroe returning alone from restroom)</parenthetical> <dialogue>I could do your friends too.</dialogue> <character>TONY</character> <dialogue>Thanks, Mandy... some other time maybe.</dialogue> <character>MANDY</character> <parenthetical>(disappointed)</parenthetical> <dialogue>Fair enough. Hey, good luck with the team. I'll be rooting for you... 'Tony'</dialogue> <scene_description>A plucky kiss on his cheek. She slinks away, as Monroe sits, enrapt by her legs.</scene_description> <character>MONROE</character> <dialogue>Mmmm! Dang! Don't tell me you passed on that, D'Amato?</dialogue> <character>TONY</character> <dialogue>... I must really be drunk.</dialogue> <character>MONROE</character> <dialogue>... I heard sex helps your coaching instincts. But let's get genius boy to run a stat on coaches who like hunting and fishing better than snatch, see what he comes up with...?</dialogue> <character>TONY</character> <parenthetical>(laughs, segues)</parenthetical> <dialogue>... you think we're slowing down, Monty?</dialogue> <character>MONROE</character> <dialogue>Shit, we're not getting any younger. These are long days, 16 hours, something's gotta give.</dialogue> <character>TONY</character> <dialogue>... you think you can lose your coaching instincts?</dialogue> <character>MONROE</character> <parenthetical>(chuckles)</parenthetical> <dialogue>You never had 'em anyway, so how can you lose 'em?</dialogue> <character>TONY</character> <dialogue>Well, that last play today, there was a moment when... I didn't know what to call... that's never happened to me like that before... in 22 seasons...</dialogue> <character>MONROE</character> <dialogue>Come on, we were on our third quarterback, Christina was throwing plays at us every five minutes, and Julian's about 10 years old upstairs.</dialogue> <character>TONY</character> <dialogue>All I have are my instincts. I lose them... I got nothin'...</dialogue> <parenthetical>(noticing)</parenthetical> <dialogue>Say, what'd you do to Crozier? Stuff him in the toilet?</dialogue> <dialogue>The letter "L" is written with a black marker next to the Americans on the season schedule (Miami is now 7-6). There are only three games left in the regular season: Chicago, California and New York. Tony cradles a cordless phone while drinking Scotch, as a COMPUTERIZED VOICE introduces Jeanette's voice on the answer machine.</dialogue> <character>JEANETTE (V.O.)</character> <dialogue>Please leave your full name and a message after the tone and we'll get back to you.</dialogue> <character>TONY</character> <parenthetical>(into his cordless)</parenthetical> <dialogue>Hi, Jeanette, it's Tony... I was hoping you'd still be awake. What time is it out there anyway? I tried to call earlier but things got... never mind. Listen...</dialogue> <scene_description>He walks into his bedroom, emptying his pockets on the dresser. Pictures of the past confront him -- Jeanette, a boy and a girl; another of Tony with Cap Rooney and Art Pagniacci winning the "Pantheon Cup."</scene_description> <character>TONY</character> <dialogue>... tell Tommy we gotta game in L.A. In a couple of weeks. I'm hoping we could maybe get together?... I don't have his new number but... the thing is I'd like to see him and... and you...?</dialogue> <parenthetical>(he weaves, stumbles as he looks for something he dropped on the rug)</parenthetical> <dialogue>I really miss the shit outta Timmy and Melinda... Y'know, love to see them, Jesus! Grandkids, Jeanette, we got grandkids... Anyway, what's there to say? Cap got hurt Sunday. Just another heart-breaking Sunday right?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Okay, well, bye...</dialogue> <scene_description>He has crossed to the toilet, where he unsuccessfully tries to urinate -- all over the place. A COMPUTERIZED VOICE suddenly cuts in to tell him:</scene_description> <character>VOICE #1 (V.O.)</character> <dialogue>... Your call has been cancelled. Please leave your full name after the tone and record again.</dialogue> <character>TONY</character> <dialogue>Aw shit!</dialogue> <character>EXT. PRACTICE FIELD #1 - NEXT DAY</character> <parenthetical>(NOTE: Potential one of three football practices -- a brief montage set to music, that leads us to:)</parenthetical> </scene> <scene> <stage_direction>EXT. CHRISTINA PAGNIACCI'S HOUSE - CONTINUOUS ACTION -</stage_direction> <character>DAY</character> <dialogue>Tony drives up to a beautiful mansion on one of Miami's bays in an older, elegant car. As he talks into an audio-video monitor, the gates roll open.</dialogue> </scene> <scene> <stage_direction>INT. CHRISTINA PAGNIACCI'S OFFICE/HOUSE - CONTINUOUS</stage_direction> <character>ACTION - DAY</character> <dialogue>In a large cross-shadowed private office, Christina and Johnny Polito listen to Ed Phillips on the phone -- noticing Tony's drive-up on the indoor monitor... The walls reveal pictures of Christina with various high- powered individuals in the city; an MBA from Stanford; others that are competitive at tennis and golf, on safari and skiing with her husband; shots of her as a young girl with her dad. In these images of fishing, riding, hunting, perhaps one senses that Christina was raised as an only son by Art Pagniacci and forever embodies the hardness of that fate.</dialogue> <character>ED PHILLIPS (O.S.)</character> <parenthetical>(into phone)</parenthetical> <dialogue>Well, we think 100 million is extortion too, Governor... Then will you file a friend-of-the- court brief on our behalf if we go up against the League's transfer fee?... Great!</dialogue> <character>CHRISTINA</character> <dialogue>... you're sure? No public bond issues -- no extra tax assessments?</dialogue> <character>ED PHILLIPS</character> <parenthetical>(waves her off, nodding)</parenthetical> <dialogue>... couldn't ask for more than that... good talking to you, Governor. Say hi to Teresa. And Christina sends a big kiss! Okay.</dialogue> <scene_description>Hangs up.</scene_description> <character>CHRISTINA</character> <parenthetical>(excited)</parenthetical> <dialogue>So let me get this straight: the Governor of California's saying there's nothing for the public to vote on, right?</dialogue> <character>ED PHILLIPS</character> <parenthetical>(pleased)</parenthetical> <dialogue>That's what he's saying. He's got a way to finance a new stadium in Hawthorne, with lottery and casino money! As long as we partner with this realty company he's pushing...</dialogue> <character>JOHNNY POLITO</character> <dialogue>Sure. He owns all that shit land he wants to get rid of.</dialogue> <character>CHRISTINA</character> <dialogue>... he gives us the full concession, parking, signage, sponsorship money?</dialogue> <character>ED PHILLIPS</character> <parenthetical>(nods)</parenthetical> <dialogue>... and 100 percent from the luxury boxes and club seats!</dialogue> <character>CHRISTINA</character> <parenthetical>(amazed)</parenthetical> <dialogue>My God, L.A. is a dream! You realize they're giving us the world, Ed?!</dialogue> <character>ED PHILLIPS</character> <parenthetical>(downplaying it)</parenthetical> <dialogue>Well, it's certainly good enough to leverage the City of Miami into a new stadium.</dialogue> <character>CHRISTINA</character> <dialogue>Oh, Ed! It's more than that...</dialogue> <parenthetical>(pause, seeing Tony's car pull up)</parenthetical> <dialogue>I just don't trust Smalls backing this stadium bond. Dad always said he was a thief in a tuxedo...</dialogue> <scene_description>She glances at a picture on her desk of her late father. Beneath it in the silver frame she has had engraved: "Whatever It Takes."</scene_description> <character>ED PHILLIPS</character> <dialogue>What do you expect? Smalls is an asshole, but he'll deal. He always has. And he knows we've got a big glitch anyway.</dialogue> <character>CHRISTINA</character> <dialogue>We don't really, Ed, we can...!</dialogue> <character>ED PHILLIPS</character> <dialogue>You keep underestimating the power of the franchises, Christina. They don't want us! They want an expansion team in L.A. which they can make a lot more money with!</dialogue> <character>JOHNNY POLITO</character> <dialogue>Bullshit! They want an established team with a fan base. A new stadium with a multiplex theater shopping mall. We're in the entertainment business, Ed. Think football in the 21st Century.</dialogue> <character>ED PHILLIPS</character> <dialogue>Johnny, have you got some sleazy little side deal I don't know about yet?</dialogue> <character>JOHNNY POLITO</character> <dialogue>Ed, you're getting old.</dialogue> <character>ED PHILLIPS</character> <dialogue>... And you're getting greedy, Johnny.</dialogue> <character>CHRISTINA</character> <dialogue>The Association will listen to reason. L.A. is an entertainment empire! It can easily handle two teams. Here, what? The wrong fan base. No Hispanic players, no Hispanic fans...</dialogue> <parenthetical>(off silence)</parenthetical> <dialogue>Ed, if ever you owed Dad a favor, make it this one! This team will be born again in L.A.!</dialogue> <character>ED PHILLIPS</character> <dialogue>What about the Rosenthal bid?</dialogue> <character>CHRISTINA</character> <parenthetical>(thinking about it)</parenthetical> <dialogue>$250 million?... It's so low.</dialogue> <character>ED PHILLIPS</character> <dialogue>Wasn't so low when your dad and I started.</dialogue> <character>JOHNNY POLITO</character> <dialogue>With a new stadium and a winning team, Ed, we could sell the team for 800 million.</dialogue> <character>ED PHILLIPS</character> <parenthetical>(disbelieving)</parenthetical> <dialogue>You're like your father that way, darling -- a dreamer... My advice to you is, sell the goddamn team. You don't really want to own a football team, Christina. You're still young -- start a family.</dialogue> <scene_description>Christina, conflicted, watches as her housekeeper shows Tony in.</scene_description> <character>CHRISTINA</character> <dialogue>I still like this business. Let's keep this quiet for now, Ed, can we?</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - CONTINUOUS ACTION - DAY</stage_direction> <scene_description>Tony looks hungover and bumps into something, as Christina crosses into the giant-sized living room.</scene_description> <character>CHRISTINA</character> <dialogue>Come in... Morning, Tony.</dialogue> <character>TONY</character> <dialogue>Christina... Ed. You know, I keep looking for the A.T.M. machines in these houses...</dialogue> <character>JOHNNY POLITO</character> <dialogue>I never find one that works.</dialogue> <character>CHRISTINA</character> <dialogue>Alka-Seltzer?</dialogue> <character>TONY</character> <parenthetical>(rolls his eyes)</parenthetical> <dialogue>No. I already had breakfast... at four this morning.</dialogue> <character>CHRISTINA</character> <dialogue>... Hell of a loss, we were so goddamn close.</dialogue> <scene_description>Remote in hand, she flicks on a state-of-the-art video screen. A102 ON TV A102 The shot of Washington fumbling in excruciating slo-mo.</scene_description> <character>CHRISTINA</character> <dialogue>You know, I can see why my mother somehow got herself into a drunken stupor watching football games all her life... but this kind of play makes you want to jump out the fucking window!</dialogue> <character>TONY</character> <dialogue>You can run that play a million times, Christy, but it ain't gonna change a thing. On any given Sunday...</dialogue> <character>CHRISTINA</character> <parenthetical>(overlapping)</parenthetical> <dialogue>'You either gonna win or you gonna lose. The point is can you win or lose like a man?' Dad said a lot of catchy things.</dialogue> <character>TONY</character> <dialogue>Actually I said it, but...</dialogue> <character>CHRISTINA</character> <dialogue>But he never could stand losing, could he!</dialogue> <parenthetical>(as Julian fumbles again)</parenthetical> <dialogue>... But J. just couldn't resist going for his bonus yards?</dialogue> <character>TONY</character> <dialogue>Blame me, not Julian. It was my call.</dialogue> <character>CHRISTINA</character> <dialogue>... I know it was, Tony -- but I'll tell you this -- Julian wasn't thinking about you, he was thinking about the extra million dollars he gets when he hits 1500 yards...</dialogue> <parenthetical>(glancing at Ed)</parenthetical> <dialogue>Which, by the way, definitely helps blow out our fucking salary cap for next year...</dialogue> <character>TONY</character> <dialogue>You're the one who negotiated his incentive clause.</dialogue> <character>CHRISTINA</character> <dialogue>... which is why I'd like you to sit him out -- then maybe he'll get his head into the game. And save us some dollars in the bargain.</dialogue> <character>TONY</character> <dialogue>Pretty smart move, Christy. You want me to bench my All-Pro back? Any other suggestions?</dialogue> <scene_description>A testy edge to the dialogue, as Christina freezes the image of Julian fumbling. She shows him the sports section of USA Today -- folded to a condemnation of the team, specifically Tony. Although raised to treat Tony like an "uncle" in a large Italian-American family, the team comes first and foremost.</scene_description> <character>CHRISTINA</character> <dialogue>Sarcasm is not a solution. Four in a row, Tony. They want your head. Without Cap, it's gonna take a miracle to make the playoffs.</dialogue> <character>TONY</character> <parenthetical>(re: the newspaper)</parenthetical> <dialogue>... Your father'd laugh at this jerk, Christy. We're a solid team, and we're gonna get to the playoffs. This is not the time to panic.</dialogue> <character>CHRISTINA</character> <dialogue>I'm not 'panicking' -- but no surgeon I know in the country is saying Cap'll be back by playoff time -- even with the bye week...</dialogue> <character>TONY</character> <parenthetical>(waves it off)</parenthetical> <dialogue>Doctors are like lawyers, always protecting their asses against malpractice!</dialogue> <character>ED PHILLIPS</character> <dialogue>Tony, without the playoffs there's no more TV money. And frankly, I don't think we have a chance in hell of getting this new stadium bond issue through...</dialogue> <character>CHRISTINA</character> <parenthetical>(wearying of Tony)</parenthetical> <dialogue>... the economics just don't work -- the fact is this season is a disaster, a write-off. It's over!</dialogue> <scene_description>Now Tony's headache is getting worse.</scene_description> <character>TONY</character> <dialogue>It's 'over'!? The hell it's over! We been there before -- I can pull this out. I always have. Worse things than this have...</dialogue> <character>CHRISTINA</character> <dialogue>Dad used to say, 'No intensity, no victory.' Where the hell is your intensity, Tony!? We were always in the playoffs. Four years ago the only thing we worried about was winning a third Pantheon Cop! Now what? We're a second-tier team, Tony, that's what!</dialogue> <parenthetical>(as he objects)</parenthetical> <dialogue>... No, admit it! You're not being honest, we're the fifth, sixth team in this league. We just don't get the respect anymore. For chrissake, Tony, just four years ago we won the Pantheon Cup! Do you remember! We beat the pants off Massachusetts! Dad would be shocked to see this mess we created...</dialogue> <scene_description>Tony is fuming, but a part of him knows she's right.</scene_description> <character>TONY</character> <parenthetical>(darkly, pacing)</parenthetical> <dialogue>I was there, Christy -- remember? We're solid, we're just not inspired. We got too many free agents...</dialogue> <character>TONY</character> <parenthetical>(indicating the frozen tape)</parenthetical> <dialogue>... Julian's a 'merc' who's here for the money and he brings that attitude with him to the team. The end of the season, he goes. And we rebuild our running game and...</dialogue> <character>CHRISTINA</character> <parenthetical>(pissed)</parenthetical> <dialogue>Running game!? Okay -- you always talk about a running game. But who cares as long as you win! People want to watch passes, touchdowns, high scores! That's the game now, Tony!... We paid a lot of money to get Nick Crozier here from Minnesota specifically to modernize this offense. But when I look down at the field I don't see any new play calling, I don't see him doing what he does best. And frankly, what is most disturbing, is I don't see you even listening to his calls from the booth...</dialogue> <character>TONY</character> <dialogue>Football is played on the field, Christina, not in the goddamn boxes! You knew that when you had candy stuck in your braces. When'd you forget it?</dialogue> <character>CHRISTINA</character> <parenthetical>(bristles)</parenthetical> <dialogue>So you know everything about everything, right, Tony?</dialogue> <scene_description>Another silence. Ed coughs. Christina regrets the atmosphere, throws up her hands and paces.</scene_description> <character>ED PHILLIPS</character> <parenthetical>(excusing himself)</parenthetical> <dialogue>Listen, why don't you two...</dialogue> <character>CHRISTINA</character> <parenthetical>(in a yielding tone)</parenthetical> <dialogue>Ed, stay...</dialogue> <parenthetical>(to Tony)</parenthetical> <dialogue>You gripe about Julian Washington but you completely ignore the problems with Cap and Shark? I don't get it.</dialogue> <character>TONY</character> <dialogue>If we'd gotten the linemen I wanted in the first place, our first two quarterbacks might still be walking.</dialogue> <character>CHRISTINA</character> <dialogue>Think about the future. Do you know what we could get for Cap right now? Probably a first and a third draft choice. He's still got an arm, and people respect him. We know he's finished but if we're smart, we can...</dialogue> <character>TONY</character> <dialogue>No, I don't know that, Christy, I don't! Cap's got two, maybe three great years left in him. This is football. Today guys in their 40s are playing...</dialogue> <parenthetical>(a silence)</parenthetical> <dialogue>Do I gotta remind you he helped build this franchise, which you benefitted from? That he's a hero to the working people of Florida. And one of the greatest pressure players of all time. You just don't cut a man like Cap Rooney!</dialogue> <character>CHRISTINA</character> <dialogue>Excuse me -- Cap and Shark were great, but memories don't pass and tackle like they used to...</dialogue> <character>TONY</character> <dialogue>Shark changed linebacking forever! He made a quantum leap in the game!...</dialogue> <character>CHRISTINA</character> <dialogue>... And we can say good-bye to both of them with dignity! With class! We'll give 'em positions in the front office, retire their numbers. A going-away day that...</dialogue> <character>TONY</character> <parenthetical>(angry)</parenthetical> <dialogue>That goes without saying. But I am not cutting Cap Rooney or Shark Lavay. No matter how much 'class' you do it with.</dialogue> <character>TONY</character> <dialogue>My contract is very clear on this point, Christy. I coach my way.</dialogue> <dialogue>I never tolerated interference from the front office and your father never interfered when...</dialogue> <character>ED PHILLIPS</character> <parenthetical>(politick)</parenthetical> <dialogue>Tony, Art spent money like water. He never really cared about the bottom line. He wanted to win at any cost. In the modern game, with marketing costs high as they are...</dialogue> <character>CHRISTINA</character> <dialogue>Tony, I am not re-signing a seven- million-dollar-a-year, 39-year- old quarterback no matter how big he was.</dialogue> <parenthetical>(pointing to a stack of budget sheets on her desk)</parenthetical> <dialogue>I crunch those numbers every month till my fingers bleed. We make less money than 90 percent of the other teams. The economics simply don't make any sense!</dialogue> <character>TONY</character> <parenthetical>(intense)</parenthetical> <dialogue>Fuck the economics! Your father, you hear me! Your father never interfered! He made it work!</dialogue> <character>CHRISTINA</character> <parenthetical>(equally intense)</parenthetical> <dialogue>... Because you were a fighter then! You had intensity, Tony! But today he'd cut your ass! Because that's just the way the game is now. I love this team as much -- if not more -- than you. I was born into this goddamn business, so don't try to make me out to be some heartless bitch in a skybox bleeding my players dry...</dialogue> <character>TONY</character> <dialogue>What's your point, Christy?</dialogue> <character>CHRISTINA</character> <parenthetical>(drawing up)</parenthetical> <dialogue>The point is... as much as I respect... my famous 'Uncle Tony' -- the team's just not responding to you, and I'll be damned if I'm going to let everything my father fought for slide down the drain with you at the helm. I will do anything -- you hear me, anything -- to bring this team back to greatness!</dialogue> <character>TONY</character> <dialogue>I guess I had nothing to do with that. It was all your dad... Am I excused now?</dialogue> <scene_description>He throws a hard look at Ed, who looks away. Tony stalks to the door.</scene_description> <character>CHRISTINA</character> <parenthetical>(after him)</parenthetical> <dialogue>Who's playing the child now, Tony? Do I have to remind you of what kind of ground you're on? Everybody's got to negotiate... you too.</dialogue> <character>TONY</character> <parenthetical>(at the door)</parenthetical> <dialogue>Are you saying my contract's up at the end of the year? And the 'economics aren't there'? Is that what you're saying, Christy?</dialogue> <character>CHRISTINA</character> <dialogue>... You know, you're not offering me a whole lot right now, Tony... 'Whatever it takes.' I'm just doing it the way he did it.</dialogue> <character>TONY</character> <dialogue>You're not even close... You know how your dad and I used to negotiate my contract? We had a beer and we shook hands.</dialogue> <character>CHRISTINA</character> <dialogue>I don't drink beer, Tony.</dialogue> <character>TONY</character> <parenthetical>(exits)</parenthetical> <dialogue>No, I guess you don't.</dialogue> <scene_description>Christina shares a look with Ed. She shakes her head: "Beer?"</scene_description> <character>MIAMI SHARKS - FIELD #1 - DAY</character> <dialogue>Miami QB Tyler Cherubini releases his throw far over the head of Sanderson. The crowd boos.</dialogue> <character>TUG (V.O.)</character> <dialogue>... this has been a tough start for Tyler Cherubini, who has yet to find his rhythm.</dialogue> <character>BRANSON (V.O.)</character> <dialogue>... only two for eight so far and sacked three times. Ouch! 14-3 Chicago. Second quarter. Eight minutes left...</dialogue> <scene_description>STANDS #1 Shark fans are sullen. Signs read: "D'Amato is a Dinosaur"... images of D'Amato in Thanksgiving turkey feathers, etc. The capacity, again, is at best two-thirds. SIDELINE #1 Coach D'Amato talks quietly with Tyler Cherubini and Cap Rooney, using a cane in civilian clothing. Willie, ignored, watches from the bench, not warming up. As Cherubini wanders off, the QB Coach fetches Willie. D'Amato's eyes now flash on him...</scene_description> <character>TONY</character> <dialogue>Get Beamen.</dialogue> <scene_description>FIELD #2 Shark rages up and down the defensive line, faking a blitz, baiting the young Chicago QB.</scene_description> <character>SHARK</character> <dialogue>Hey you, white-bread! Got your cup on? 'Cause I'm gonna runneth it over!!</dialogue> <parenthetical>(to Chicago lineman)</parenthetical> <dialogue>I'm gonna stomp you, B.J., and then I'm gonna stomp your million- dollar bonus baby white-ass quarterback and then I'm gonna go up in the stands and stomp both your mommas!</dialogue> <scene_description>The Chicago QB, made a little nervous by Shark, bobbles the ball slightly... Shark, reading the trap, finds a lane through the Chicago line for a crushing hit on the baby-bonus QB, who pops the ball loose... Miami's "Beast Man" instantly pounces on it. Shark, congratulated by his teammates, rises hurting, and hiding it... In a brief, micro-moment:</scene_description> <character>HIS POV</character> <dialogue>reveals: BLURRING (SPX) ON teammates and stadium.</dialogue> <scene_description>SIDELINE #2 Willie, in his oddball way, walks up to the edge of the sideline, with Tony.</scene_description> <character>TONY</character> <dialogue>How do you feel?</dialogue> <character>WILLIE</character> <dialogue>I always feel good.</dialogue> <character>TONY</character> <dialogue>Feel like throwin' up?</dialogue> <character>WILLIE</character> <dialogue>Hell no!</dialogue> <character>TONY</character> <dialogue>Hey, last time you puked you had a hell of a game.</dialogue> <character>WILLIE</character> <dialogue>That was last time.</dialogue> <character>TONY</character> <dialogue>Make a ritual out of it and people'll respect it... Go right at 'em. Go with the spread. What I want from you is concentration. Focus. Downfield. Every inch. See it before you do it. You see it, you do it.</dialogue> <character>WILLIE</character> <dialogue>I got it. I feel it.</dialogue> <character>TONY</character> <dialogue>So... What are you waiting for? Make me a believer.</dialogue> <scene_description>Willie heads out onto the field. FIELD #3</scene_description> <character>WILLIE</character> <dialogue>Set Black 33, Black 33, go!</dialogue> <scene_description>Willie, on a play action pass, takes off running, gesturing to his blockers, directing his flow like an experienced back... He is slammed hard after a big 32- yard gain to the Chicago 43 yard line; the crowd roars with lusty approval. Julian Washington eyes Willie wearily as he bounces up. Is this kid going to be another runner in his backfield? COACH'S BOOTH #1 Crozier on the headset upstairs:</scene_description> <character>TONY (V.O.)</character> <dialogue>Will you teach the kid how to slide, for Chrissake, Nick! Before he kills himself! How many times I gotta tell you, I don't need another Julian out there --</dialogue> <character>TUG (V.O.)</character> <dialogue>There must be a reason why this kid was cut from so many teams. Sooner or later these kinds of quarterbacks get themselves hurt with wildman stuff like that! For a few extra yards it sure doesn't make sense... but that they gotta learn...</dialogue> <scene_description>FIELD #4 At the Chicago six-yard line, Willie surveys the defensive alignment.</scene_description> <character>WILLIE</character> <dialogue>Set, Green 68, Green 68, go!</dialogue> <scene_description>Julian rushes forward left of Willie for the hand-off -- but Willie doesn't give him the ball -- Julian breaks for a confused micro-moment, then throws himself forward into the pile -- as Willie races right, as if to run, then loops a high, curving pass to the second wide-out in the end zone. Touchdown! reads CHICAGO 14, MIAMI 10. THIRD QUARTER. 02:41... SIDELINE #3 The stadium PA SYSTEM explodes a triumphant "SHARK THEME" as Willie jogs past Tony on his way to the bench, crossing the kicking unit on their way in...</scene_description> <character>CROZIER (V.O.)</character> <parenthetical>(into helmet)</parenthetical> <dialogue>Good play, baby! Good call!!</dialogue> <character>TONY</character> <parenthetical>(to Willie)</parenthetical> <dialogue>What the hell was that?!</dialogue> <character>WILLIE</character> <dialogue>Bootleg.</dialogue> <character>TONY</character> <dialogue>I know it was a goddamn bootleg!</dialogue> <scene_description>Julian passes Tony, shaking his head... Willie gulps down Gatorade as Tony comes after him.</scene_description> <character>TONY</character> <dialogue>... Bootleg? Very creative. I never thought of that in a million years. In fact, I didn't call that! I called a goddamn Double Tight Regular 22 Fox. You know what that is, son?</dialogue> <character>WILLIE</character> <dialogue>Yeah, I know what that is.</dialogue> <scene_description>Tony gets right in his face, indicates the game plan in his hand. There is no backing down.</scene_description> <character>TONY</character> <dialogue>You run the plays I call -- you with me, son?!</dialogue> <character>WILLIE</character> <dialogue>I'm with you, boss.</dialogue> <character>TUG (V.O.)</character> <dialogue>Glad we don't have a microphone down there, folks, 'cause I wouldn't want to be on Tony D'Amato's dark side now, would you?</dialogue> <scene_description>As Tony stalks away, Willie's expression is one of quiet anger.</scene_description> <character>TONY</character> <parenthetical>(on headset)</parenthetical> <dialogue>Is he fucking with me, Nick, or doesn't he know the play!?</dialogue> <character>MONTAGE #1 (WILLIE BEAMEN AS QB)</character> <dialogue>MUSIC is UPBEAT, as Willie slices and dices the L.A. defense:</dialogue> <scene_description>FIELD #5 Willie steps back and throws a precise 25-yard spiral, aimed for the pocket on Chicago's 5-yard line -- it sails perfectly to a place where Jimmy Sanderson accelerates to reach that sweet spot in time where ball and man meet -- sailing right PAST US into the end zone, the Chicago safety trailing. Touchdown!... Willie races down to the end zone for a celebration. SCOREBOARD #2</scene_description> <character>CHICAGO 17, MIAMI 17.</character> <dialogue>FOURTH QUARTER.</dialogue> <scene_description>MONTAGE #1 - FIELD #6 Willie fires a crisp bullet of a pass to the tight end in the chancy seam of the zone. HUDDLE #1</scene_description> <character>VOICE (V.O.)</character> <parenthetical>(helmet)</parenthetical> <dialogue>Hustle Right Switch 60 Bravo. Hustle Right Switch 60 Bravo.</dialogue> <character>WILLIE</character> <parenthetical>(to team)</parenthetical> <dialogue>Okay, Switch 60 Bravo -- hold it. What's Switch 60 Bravo?</dialogue> <character>WASHINGTON</character> <dialogue>Sprint draw regular group. It's moneytime.</dialogue> <character>WILLIE</character> <dialogue>'Sandman,' your guy's laying back --</dialogue> <character>SANDERSON</character> <dialogue>All day.</dialogue> <character>WILLIE</character> <dialogue>How about 88 Turbo?</dialogue> <character>SANDERSON</character> <dialogue>That's what you want, money, that's what it is.</dialogue> <character>WASHINGTON</character> <dialogue>Hold it -- that my play.</dialogue> <character>WILLIE</character> <dialogue>That was your play. These guys are done! Let's kill some Rhinos. Twins Right 3 Zig 88 Turbo. On two. Ready?</dialogue> <scene_description>They clap and move to the ball, Washington upset. SIDELINE #4 Tony watches the new formation, amazed.</scene_description> <character>TONY</character> <parenthetical>(headset)</parenthetical> <dialogue>... Now what in the holy see is he doing... Crozier?!</dialogue> <scene_description>A116 COACH'S BOOTH #2 A116</scene_description> <character>CROZIER</character> <parenthetical>(actually delighted)</parenthetical> <dialogue>Hell if I know, Tony...</dialogue> <scene_description>MONTAGE #1 - FIELD #7</scene_description> <character>WILLIE</character> <dialogue>Set, Red 88, Red 88, go!</dialogue> <scene_description>Sanderson races for the left corner -- Willie not taking his eyes off him, he pump fakes the ball to him -- but once the Chicago defense commits to his sleight of hand, Willie bootlegs it towards the right end zone. Two defensive backs reverse and run right at him. It's going to be a race to the wire.</scene_description> <character>STUNT</character> <dialogue>The DBs have him beat by a yard or so. But Willie leaps into the air at the 2-yard line to avoid the diving tacklers. Then, finding himself having to go yet higher, he flips in mid-air, taking himself over their heads, pads and all, into a somersault, landing scot-free in the end zone. TD! Amazing!</dialogue> <scene_description>OWNER'S BOX #1 Christina can't believe what she just saw, looking at the: A118 TV REPLAY A118 Willie's somersault is something that is going to make the highlight reel for a long time to come -- his second week in a row!</scene_description> <character>TUG (V.O.)</character> <dialogue>Kev, did you see what I just saw?!</dialogue> <character>BRANSON (V.O.)</character> <dialogue>I sure did, Tug! And Miami goes ahead, 23-17.</dialogue> <character>CHRISTINA</character> <parenthetical>(to Ed, genuinely puzzled)</parenthetical> <dialogue>Where's this kid been all this time? In D'Amato's doghouse?</dialogue> <scene_description>PRESS BOX #1 Jack "Ripper" Rose also senses a turn in the destiny of his team.</scene_description> <character>HIS POV</character> <dialogue>downstairs AT Willie --</dialogue> <character>BACK TO SCENE</character> <dialogue>-- inspires him to rap excitedly at his laptop, a poet in disguise describing a new major athlete... Insert (TBD).</dialogue> <scene_description>Willie trots off the field, looking for D'Amato, about 15 or 20 yards away, with daring in eyes that say, "You want to win or not? Go fuck yourself!"... Cap, next to Tony, reads the situation, but the rest of the team, standing and milling, is simply awed by this new discovery.</scene_description> <character>TUG (V.O.)</character> <dialogue>If I'm Tony D'Amato right now I'm looking to the football gods saying, 'What did I ever do to deserve this?'</dialogue> <character>BRANSON (V.O.)</character> <dialogue>You bet! Tony must've been good to a lot of widows and orphans over the years. A back-up quarterback like this?</dialogue> <scene_description>ON TV Tony watching, deeply perturbed at having his plays changed by this young, arrogant enigma. He keeps it inside.</scene_description> <character>END OF MONTAGE #1.</character> <scene_description>OMITTED</scene_description> <character>EXT. MANSION (MIAMI) - BOAT DOCK - NIGHT</character> <dialogue>The stars are out tonight. Establishment Miami meets football jocks meets business supporters meets politicos, meets sex and alcohol. It's also a charity event, designed by the Sharks' P.R. Department to deliver a Children's Needy Fund some million dollars a year, most of which is being raised tonight -- with, naturally, the colorful Mayor Tyrone Smalls in attendance.</dialogue> <dialogue>Julian Washington ROARS up to the dock in a dramatic CIGARETTE BOAT -- product logos for his sponsors all over it. Four gorgeous girls cling to him. Flashbulbs explode, the paparazzi eating this up as much as Julian.</dialogue> </scene> <scene> <stage_direction>INT. MANSION - CONTINUOUS ACTION - NIGHT</stage_direction> <scene_description>Cap Rooney and his gorgeously-attired wife Cindy now enter, the glamour couple of the party, though Cap still struggles with a cane. The photographers descend on them, clicking. Watching all from a discreet corner is Tony, interrupted by three FANS/BUSINESSMEN coming up to him for autographs; unsuccessfully, he tries to duck away.</scene_description> <character>FANS</character> <dialogue>Hey, Tony!... Coach!... How 'bout an autograph? etc.</dialogue> </scene> <scene> <stage_direction>EXT. MANSION - PODIUM - CONTINUOUS ACTION</stage_direction> <scene_description>A banner reading: CHILDREN'S FUND OF MIAMI. Flashbulbs and camera idolize Christina presenting a check to MAYOR TYRONE SMALLS, a boisterous Afro-American in his 60s.</scene_description> <character>CHRISTINA</character> <dialogue>... So, on behalf of the Art Pagniacci Foundation,</dialogue> <parenthetical>(with a glance to her mom)</parenthetical> <dialogue>I'm glad to present D.A.R.E. with this $250,000 contribution...</dialogue> <scene_description>Much applause.</scene_description> <character>MAYOR SMALLS</character> <parenthetical>(dramatic)</parenthetical> <dialogue>The city of Miami would like to thank Christina Pagniacci, you are a great Miamian! You have done as much as anyone to eliminate drugs and crime from our city streets... ... and your Sharks have provided wonderful role models for our inner-city youth to look up to. I'm all for it, honey, now let's get down and party!!</dialogue> <scene_description>Raucous laughter. People have long come to accept the Mayor's idiosyncracies. Smalls greets Christina's mother, a blitzed Margaret, on the podium, escorted by Ed Phillips. Also there is Andy, Christina's yawning, tired husband. Observing this in the crowd are Willie and Vanessa, who feels herself out of place and underdressed for this affair. She excuses herself to the ladies' room... as Willie walks over to Sanderson and Julian.</scene_description> <character>WASHINGTON</character> <parenthetical>(at Christina)</parenthetical> <dialogue>Definitely some nice hams -- like to pork her when she ain't lookin'...</dialogue> <character>SANDERSON</character> <dialogue>She don't want your ass, man! That husband dude of her's got her snatch locked up like Fort Knox anyhow...</dialogue> <character>WILLIE</character> <dialogue>... If you gonna be with a white girl, might as well pick the right one, got some pull, the one on top.</dialogue> <character>WASHINGTON</character> <parenthetical>(overlapping)</parenthetical> <dialogue>I'm already on top. I just want to fuck her.</dialogue> <character>SANDERSON</character> <parenthetical>(re: Margaret)</parenthetical> <dialogue>The ghost, baby. The High Priestess of the Paycheck! Oooh, tell me there aren't some fine- looking 'dimes' here! I gotta get me some phone numbers 'fore Heather closes me down. What about you?</dialogue> <parenthetical>(looking)</parenthetical> <dialogue>Vanessa policing your ass?</dialogue> <character>WILLIE</character> <dialogue>Don't worry your little brain none, 'Sandman,' I got a skeleton key end of my dick fits all locks.</dialogue> <scene_description>Fans now envelop them, singling out Julian... Vanessa, returning from the bathroom, her makeup even worse now, can't help but notice Willie openly gazing at women of beauty, with finer clothes and jewels.</scene_description> </scene> <scene> <stage_direction>A124 EXT. MANSION - GARDENS OFF VERANDA A124</stage_direction> <scene_description>Shark sits next to Dr. Mandrake's girlfriend TRISH, a buxom 20-year-old, talking with a very rich ELDERLY COUPLE and several OTHER COUPLES, who don't notice Shark's hand finding its way beneath the table between Trish's thighs...</scene_description> <character>SHARK</character> <parenthetical>(to Elderly Couple)</parenthetical> <dialogue>... The point of the game, see, is really about contact -- the more intense the better.</dialogue> <character>OLDER WOMAN (V.O.)</character> <dialogue>Does it really hurt when you hit someone?</dialogue> <character>SHARK</character> <dialogue>Sometimes, but it's all good!</dialogue> <scene_description>Trish squirms in her chair. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. MANSION - BAR AREA</stage_direction> <scene_description>Christina is trying to get the Mayor's attention, surrounded by his entourage.</scene_description> <character>CHRISTINA</character> <dialogue>So, Tyrone, can we talk now...?</dialogue> <character>MAYOR SMALLS</character> <parenthetical>(for all)</parenthetical> <dialogue>So, where is that bold and beautiful quarterback of yours, Christina?</dialogue> <scene_description>Christina, put off, turns impatiently to Cap and Cindy, approaching.</scene_description> <character>CHRISTINA</character> <dialogue>Cap, say hello to his Honor.</dialogue> <character>CAP</character> <dialogue>Pleasure to see you again, sir. You know Cindy...?</dialogue> <scene_description>They shake hands, AD LIB. As photographers snap pictures.</scene_description> <character>MAYOR SMALLS</character> <parenthetical>(to Cap)</parenthetical> <dialogue>Show me some love!...</dialogue> <parenthetical>(to Christina, sotto)</parenthetical> <dialogue>... I meant the other quarterback. You know -- the black dude.</dialogue> <character>CHRISTINA</character> <dialogue>Who?</dialogue> <character>CAP</character> <parenthetical>(overhearing)</parenthetical> <dialogue>He means Willie.</dialogue> <character>CHRISTINA</character> <dialogue>Oh, of course.</dialogue> <parenthetical>(sweetly)</parenthetical> <dialogue>Cap, do you think you could find him...? Thanks. Cindy, you look beautiful.</dialogue> <scene_description>Cap and Cindy share a look of disappointment as they go.</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS GALLERY</stage_direction> <scene_description>Tony and Margaret Pagniacci, leaning against an upstairs railing, take in a view of the party below; Margaret commenting on the AFFA Pantheon Cup ring that Tony wears tonight, part of his formal wear.</scene_description> <character>TONY</character> <dialogue>... These kinda places I keep looking for an A.T.M. machine...</dialogue> <character>MARGARET</character> <dialogue>... do you wear it often?</dialogue> <character>TONY</character> <parenthetical>(offering her the ring)</parenthetical> <dialogue>Nah. Just special occasions. Looks too weird. I get on a plane, I gotta check it...</dialogue> <character>MARGARET</character> <parenthetical>(holds it lovingly)</parenthetical> <dialogue>Art wore his in bed. You know he spent hours designing it himself...</dialogue> <parenthetical>(ambiguous)</parenthetical> <dialogue>... he cut my cheek with it once. I bled.</dialogue> <scene_description>Tony is unsure how to respond.</scene_description> <character>TONY</character> <dialogue>Margaret, we need someone... a football person out front who can...</dialogue> <character>MARGARET</character> <dialogue>Tony, stop. Christina's in charge now. It's the way Art wanted it.</dialogue> <scene_description>This catches Tony off guard.</scene_description> <character>SHARK</character> <dialogue>... it's like, have you ever seen a woman giving birth? -- lotta blood, sweat, and tears, right? -- Well, football's a man's way of having that baby!</dialogue> <scene_description>Trish's hot, flushed face says it all. She adjusts her panties under the table, allowing better access for Shark's hand. The others listen intently to Shark.</scene_description> <character>ELDERLY MAN</character> <parenthetical>(impeccable accent)</parenthetical> <dialogue>What was your best hit, Mister Lavay?</dialogue> <character>SHARK</character> <dialogue>... Well, one time playing in pouring rain, I'm deep...</dialogue> <parenthetical>(his hand moves)</parenthetical> <dialogue>... deep in the zone... They're on top, driving. Their fullback is stuffing the ball down our throat every play...</dialogue> <scene_description>Murmuring slightly, Trish stretches, wrapping her lips around a strawberry from her dessert plate.</scene_description> <character>SHARK</character> <dialogue>He comes inside again... I'm jamming full force into the hole... wham! Fumble!</dialogue> <character>TRISH</character> <parenthetical>(breathless)</parenthetical> <dialogue>Ohhh! Right there...!</dialogue> <character>SHARK</character> <dialogue>Oh yeah, right then and there!... Now the ball's bouncing free. I'm groping for it, fingers all slippery wet...</dialogue> <scene_description>Dr. Mandrake approaches the table.</scene_description> <character>SHARK</character> <dialogue>The fumble comes my way... only a few seconds left on the clock and...</dialogue> <scene_description>He sees Trish's look. He sees Mandrake's distance. Racing the geometry!</scene_description> <character>ELDERLY MAN #2</character> <dialogue>... Well, did you score?</dialogue> <scene_description>Trish orgasms just in time -- sinks into the chair, muffling her sounds with a napkin.</scene_description> <character>SHARK</character> <dialogue>Hell yeah, I scored!</dialogue> <scene_description>Mandrake sits next to Trish, sensing something. Trish conceals her expression when he fondles her.</scene_description> <character>MANDRAKE</character> <dialogue>What do you say we hit the road, hon?</dialogue> <character>TRISH</character> <dialogue>... Oh come on, Harvey, don't be a fuddy duddy! You're always in pajamas by...</dialogue> <scene_description>Mandrake protests. Shark has removed his hand, but notices Madman nearby, coming on strongly to one of the local society dames who impresses him with her face jobs and jewelry. His pregnant, pathetic mouse wife sits alone in a corner, wanting to cry.</scene_description> <character>SHARK</character> <parenthetical>(rising, to the table)</parenthetical> <dialogue>Don't go away!</dialogue> <parenthetical>(indicating Madman)</parenthetical> <dialogue>This guy's turning into my night job. I'll be right back.</dialogue> <scene_description>He moves towards the dance floor...</scene_description> <character>MADMAN</character> <parenthetical>(to the lady, AD LIB)</parenthetical> <dialogue>... What's wrong, let's you and me cut the rug, honbun!</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>C'mon, I'm not good-looking enough for you? What do you think, I'm a damage case...?</dialogue> <scene_description>Shark grabs him by the lapels and smacks him fairly hard across the face -- not discreetly. Madman registers it, then wants to kill, but when he sees Shark, he grunts docilely...</scene_description> <character>SHARK</character> <dialogue>Yo, Madman! I can't take your ass nowhere!...</dialogue> <parenthetical>(emphatic, as if to a schizophrenic)</parenthetical> <dialogue>Patrick's wife is in the corner, Patrick! It's not the time to be 'Madman,' is it?</dialogue> <scene_description>Shark looks sheepish.</scene_description> </scene> <scene> <stage_direction>INT. MANSION - BAR AREA</stage_direction> <scene_description>Mayor Smalls embraces Willie in an extravagant bear hug, as Christina and others look on.</scene_description> <character>MAYOR SMALLS</character> <dialogue>Be proud! You are the future of football in this country, son! You are a model for your people now, Willie Beamen! A black man unafraid! Stand tall and gimme some sugar, boy!</dialogue> <scene_description>Willie laughs, hugs the Mayor back.</scene_description> <character>WILLIE</character> <dialogue>You're pretty cool yourself, Mayor...</dialogue> <scene_description>A photo op develops. Vanessa goes unintroduced -- She feels very hurt, not understanding why Willie would ignore her or is he that embarrassed by her? She wanders for the wrong solace over to Cindy and the other wives, chatting in a small group.</scene_description> </scene> <scene> <stage_direction>INT. MANSION - BATHROOM</stage_direction> <scene_description>The once pristine bathroom has deteriorated. Guest soaps are crushed on the floor, towels in the tub. Julian and Sanderson cavort with some girls.</scene_description> </scene> <scene> <stage_direction>EXT. GARDENS OFF VERANDA</stage_direction> <scene_description>Drs. Powers and Mandrake walk together.</scene_description> <character>POWERS</character> <dialogue>Sanderson's been after me for stuff?</dialogue> <character>MANDRAKE</character> <dialogue>He's like Jell-O. Just say no and he'll ooze off. Guy's got an insecurity complex the size of China.</dialogue> <character>POWERS</character> <dialogue>What's he on?</dialogue> <character>MANDRAKE</character> <parenthetical>(shrugs)</parenthetical> <dialogue>I don't know. Rits, vikes. End of the season I'm gonna put him in 'the laundry bin'</dialogue> <parenthetical>(off Powers, puzzled)</parenthetical> <dialogue>... clinic...</dialogue> <parenthetical>(for Powers' benefit)</parenthetical> <dialogue>... quietly, Allie...</dialogue> <scene_description>Mandrake senses Powers doesn't understand his approach.</scene_description> <character>MANDRAKE</character> <dialogue>Y'ever play hurt, Allie?</dialogue> <parenthetical>(off his puzzled look)</parenthetical> <dialogue>College, high school, whatever?</dialogue> <character>POWERS</character> <dialogue>Not really. I played baseball at U.C.L.A.</dialogue> <character>MANDRAKE</character> <dialogue>Ugh! I hate baseball. Nothing happens. Bunch of farmers standing around scratching their nuts looking for fly balls. In football, we all go one way till we get there.</dialogue> <character>POWERS</character> <dialogue>Where's that?</dialogue> <character>MANDRAKE</character> <dialogue>Who the hell knows, but what counts is...</dialogue> <character>POWERS</character> <dialogue>Sounds like socialism. Y'ever see spikes fly in your face, Harvey -- or a line drive coming at you 100 miles per hour?</dialogue> <character>MANDRAKE</character> <parenthetical>(teasing)</parenthetical> <dialogue>U.C.L.A. baseball, ooh, brutal sport!</dialogue> <parenthetical>(seriously)</parenthetical> <dialogue>Allie, we gotta work together more -- make sure the guys get there, know what I mean?</dialogue> <character>POWERS</character> <parenthetical>(pause, concerned)</parenthetical> <dialogue>... We've always kept our patients informed, Harv, it's part of the deal...</dialogue> <character>MANDRAKE</character> <dialogue>Where, in Palm Beach? This is Zaire here! These guys are stealing hubcaps while you're writing prescriptions. They have four years to make a million dollars, that's it. A short life but it's a goddamn glorious one! -- as long as you don't mess with their minds!</dialogue> <character>POWERS</character> <dialogue>I don't understand. What'd I do?</dialogue> <character>MANDRAKE</character> <dialogue>You messed with Zanucky telling him he'll be ready in two weeks. What if he's ready in one week? Then because of you he'll be thinking he's not really ready.</dialogue> <character>POWERS</character> <dialogue>Well, he asked me, and I...</dialogue> <character>MANDRAKE</character> <dialogue>You what?! You know, Allie, I know young guys would die for this job. You're making me think I made a stupid mistake, and I'm gonna be embarrassed here...</dialogue> <character>POWERS</character> <dialogue>Oh, come on, Harvey! I gave up a lot of income to come here, I...</dialogue> <character>MANDRAKE</character> <dialogue>Did you now? You still don't get it, do you, sport? This is not F. Scott Fitzgerald in white bucks time! This is a privilege to be here! This is a spectacle of gladiators with brains for the masses! It's a fucking brilliant concept! And I don't care if every one of 'em has to play hurt -- you, me, the team, we all play hurt, that's life, sport...! So do me a real favor and get off your high horse, and get down where the worms feed...!</dialogue> </scene> <scene> <stage_direction>INT. MANSION - LOGGIA</stage_direction> <scene_description>Crozier tries to snag Christina's attention span.</scene_description> <character>CROZIER</character> <parenthetical>(changing subjects)</parenthetical> <dialogue>... Can I be honest with you, Christina? It's a waste of my time. I come up with the edge we need -- the stats, the probabilities -- and he just looks at them and shrugs -- it's like he doesn't believe it.</dialogue> <character>CHRISTINA</character> <dialogue>I know.</dialogue> <character>CROZIER</character> <dialogue>It's really frustrating. It's all gotta be him -- little Napoleon with his 'instincts'!</dialogue> <character>CHRISTINA</character> <parenthetical>(looking for the Mayor)</parenthetical> <dialogue>Be patient, Nick, when the time comes --</dialogue> <character>CROZIER</character> <dialogue>I just want you to know I'm getting offers, Christina, you gotta know that. I want to stay, but I won't waste another season under Tony.</dialogue> <scene_description>She now sees the Mayor free! and goes quickly.</scene_description> <character>CHRISTINA</character> <parenthetical>(cryptic, to Crozier)</parenthetical> <dialogue>You won't...! I promise.</dialogue> </scene> <scene> <stage_direction>INT. MANSION - TEA ROOM - NIGHT</stage_direction> <scene_description>The WIVES hold court.</scene_description> <character>HEATHER</character> <dialogue>If my husband doesn't get it five or six times a week, we have problems at home.</dialogue> <character>PREGNANT WIFE</character> <dialogue>We were at that pace, but we've slowed down a little.</dialogue> <character>ANOTHER WIFE</character> <dialogue>Except on game day.</dialogue> <character>CINDY</character> <dialogue>That's when I want it most -- but with everything he's on...</dialogue> <character>WIFE #1</character> <dialogue>Dexamethasone?</dialogue> <character>CINDY</character> <dialogue>And extra-strength hydrocodeine.</dialogue> <character>HEATHER</character> <dialogue>Oooh, that mix makes Jimmy crazy. Can't get it up.</dialogue> <character>MARY</character> <dialogue>Count your blessings. What's it called again?</dialogue> <scene_description>Cindy, at the top of the food chain, takes notice when Vanessa appears.</scene_description> <character>CINDY</character> <dialogue>Willie managing to keep his food down tonight?</dialogue> <character>VANESSA</character> <parenthetical>(doesn't get it, smiles)</parenthetical> <dialogue>He's just fine! Hi. I'm Vanessa Struthers.</dialogue> <character>CINDY</character> <dialogue>Jack had such a laugh about that! I'm Cindy Rooney.</dialogue> <character>HEATHER</character> <dialogue>Jimmy had to order new shoes.</dialogue> <parenthetical>(shaking hands)</parenthetical> <dialogue>Heather Sanderson.</dialogue> <scene_description>Vanessa now understands the reference to her fiance.</scene_description> <character>CINDY</character> <dialogue>Are you and Willie married?</dialogue> <character>VANESSA</character> <dialogue>No, but we've been together for --</dialogue> <character>CINDY</character> <dialogue>Doesn't count until you're married, honey -- and your name appears in the paper as 'and wife.'</dialogue> <character>MARY</character> <dialogue>And not even then, most of the time.</dialogue> <scene_description>They all laugh.</scene_description> <character>CINDY</character> <dialogue>Do you have a job?</dialogue> <character>VANESSA</character> <dialogue>No, I'm still studying for an M.B.A. in sports marketing. At Dade Community College. But Willie and I have had to move so many times to...</dialogue> <character>CINDY</character> <dialogue>Marketing? You're a smart one, I can tell.</dialogue> <character>VANESSA</character> <dialogue>And what do you do?</dialogue> <character>CINDY</character> <dialogue>Me? Oh, I'm married to the best quarterback in the A.F.F.A., that's all. I consider myself part of a team really...</dialogue> <character>VANESSA</character> <parenthetical>(not sure of her attitude)</parenthetical> <dialogue>Oh, that must be very fulfilling for you...</dialogue> <scene_description>Christina is at last alone with the slightly-inebriated Mayor.</scene_description> <character>CHRISTINA</character> <dialogue>Why have you been ducking me?</dialogue> <character>MAYOR SMALLS</character> <dialogue>I always forget how pretty you are, Christina.</dialogue> <character>CHRISTINA</character> <dialogue>Cut the crap, Tyrone.</dialogue> <character>MAYOR SMALLS</character> <dialogue>What's this bug you got?</dialogue> <character>CHRISTINA</character> <dialogue>... I want the 250 million you promised me...</dialogue> <parenthetical>(he looks like a sphinx)</parenthetical> <dialogue>You know I can get the rest with the bond. You said you'd give me 100 percent support and now you're getting cold feet just because...</dialogue> <character>MAYOR SMALLS</character> <dialogue>... how you gonna pay it back, darlin'?</dialogue> <character>CHRISTINA</character> <dialogue>I already told you -- we'll split revenue on the club seats, the corporate boxes, all the concessions, the stadium-naming rights, and the increase in ticket sales. There'll be 10,000 new parking spaces. And we'll be pulling in almost 40 million in personal seat licenses over ten years... The concept of a new stadium, T.J., funds the whole deal. Without it, no...</dialogue> <character>MAYOR SMALLS</character> <parenthetical>(mocking)</parenthetical> <dialogue>'Personal seat licenses' -- that's the biggest bunch of bullshit! -- how the hell can you sell the same seat twice? I seen some pretty smooth scams in my time, but only a white man could come up with that one. The fans gonna burn you, honey.</dialogue> <character>CHRISTINA</character> <parenthetical>(patiently)</parenthetical> <dialogue>... All the fans really care about, Tyrone, is winning. And if I don't have the money I need to stay competitive, then this team is finished! That's the bottom line!</dialogue> <character>MAYOR SMALLS</character> <dialogue>There ain't no bottom line, baby. It's an endless fucking pit!</dialogue> <parenthetical>(genuinely)</parenthetical> <dialogue>Your team's not doin' what the Dolphins are doin'. The schools're howling for money, roads need redoing, a new stadium's the last thing on the city council's mind...</dialogue> <character>CHRISTINA</character> <dialogue>I'm not asking you to vote, T.J. I'm asking you to deliver! We've been backing you since Dad's time, getting your people passes and money they never dreamed of. We were there for you, and...</dialogue> <parenthetical>(delicate)</parenthetical> <dialogue>... and if you're not there for us, T.J., I'm telling you this... we'd seriously consider leaving this town.</dialogue> <character>MAYOR SMALLS</character> <parenthetical>(smiles infuriatingly)</parenthetical> <dialogue>Sweetheart, you outta here when the city and the county says you outta here. Your lease ain't up for two years so don't start setting fires you can't put out...</dialogue> <character>CHRISTINA</character> <parenthetical>(sure of herself)</parenthetical> <dialogue>Oh, there's 'loopholes,' Tyrone. Like the goddamn stadium is falling apart, you know -- you haven't contributed one fucking penny to maintenance on that relic! I remodeled the practice facility out of my own pocket.</dialogue> <scene_description>I...</scene_description> <character>MAYOR SMALLS</character> <parenthetical>(smiles)</parenthetical> <dialogue>Now that's the Pagniacci I believe! I see your teeth! Get down, girl!</dialogue> <character>CHRISTINA</character> <parenthetical>(resisting)</parenthetical> <dialogue>... We're a pro team, T.J., and we're playing in a college stadium built in the '30s, and we're losin' a ton of fucking money. When are you...</dialogue> <character>MAYOR SMALLS</character> <dialogue>Yadda, yadda, yadda! Daddy's girl, you are a relative baby in this town. Go slow. First you get along... then you go along...</dialogue> <parenthetical>(puts an arm around her)</parenthetical> <dialogue>Come on, honey, you and I known each other too long. Your roots are here in Miami. Why would you want to leave? Your dad created such love, such a foundation...</dialogue> <character>CHRISTINA</character> <dialogue>Tyrone, I'm telling you again -- time is running out and you are playing with fire.</dialogue> <character>MAYOR SMALLS</character> <parenthetical>(grins)</parenthetical> <dialogue>That's the only way I play it.</dialogue> <character>CHRISTINA</character> <parenthetical>(grins back)</parenthetical> <dialogue>Then we'll see how you like it.</dialogue> <scene_description>She leaves, pissed. It looks like L.A. for sure.</scene_description> </scene> <scene> <stage_direction>EXT. GARDENS OFF VERANDA</stage_direction> <scene_description>The party is getting rowdy as Julian, Sanderson, Madman, Shark, and others heat up the dance floor. Cindy turns to a NASTY WOMAN whose breast implants are as big as her hair.</scene_description> <character>NASTY WOMAN</character> <dialogue>Nice dress. Nice party.</dialogue> <character>CINDY</character> <parenthetical>(bored)</parenthetical> <dialogue>Thank you. Did you come here with Julian?</dialogue> <character>NASTY WOMAN</character> <parenthetical>(threatened)</parenthetical> <dialogue>No, but I'm leaving with him. So don't even think about it, honey!</dialogue> <character>CINDY</character> <dialogue>Oh please.</dialogue> </scene> <scene> <stage_direction>EXT. BOAT DOCK VERANDA - NIGHT (FOLLOWING)</stage_direction> <scene_description>Montezuma Monroe intersects Mayor Smalls; they know each other.</scene_description> <character>MONROE</character> <dialogue>Hey, Ty.</dialogue> <character>MAYOR SMALLS</character> <dialogue>What's up, brother?</dialogue> <character>MONROE</character> <parenthetical>(indicating Christina)</parenthetical> <dialogue>Hi, Ty... Couldn't help hearin' that Christina conversation...</dialogue> <character>MAYOR SMALLS</character> <parenthetical>(shaking his head)</parenthetical> <dialogue>Same old story, brother. Owners crying broke, y'ever met an owner who ain't losin' money? These guys make extra sure the team loses money.</dialogue> <scene_description>They share a knowing laugh.</scene_description> <character>MONROE</character> <dialogue>I tell ya I wish I had a fraction of those stadium rights -- I'd take the concessions and parking and tickets -- that's some real bread there...</dialogue> <character>MAYOR SMALLS</character> <dialogue>Stadium's where it's at. Now they invented these 'naming rights' and 'P.S.L.s'. It's all tricky doo. We don't have the money for that stadium. You guys gotta fight through it till you have a successful season. That's the reality... 'Lady Di' there thinks she's pulling the wool over my eyes and going to L.A.</dialogue> <scene_description>He laughs.</scene_description> <character>MONROE</character> <parenthetical>(cautiously)</parenthetical> <dialogue>... Now I did hear somethin' about that?</dialogue> <character>MAYOR SMALLS</character> <parenthetical>(grins)</parenthetical> <dialogue>... She ain't going nowhere. Keep it tight, Monty. Either way, you got a job here a long time to come.</dialogue> <scene_description>The Mayor returns to the party as Monroe looks down into the gardens for Tony. MUSIC WAFTS OUT from the party.</scene_description> </scene> <scene> <stage_direction>EXT. GARDENS OFF VERANDA</stage_direction> <scene_description>Margaret Pagniacci's holding onto Tony's AFFA ring, alone with him; he's had a little too much to drink.</scene_description> <character>TONY</character> <dialogue>'Life begins with a kick-off,' Art used to say that... He was a great man, Maggie. He was there at the beginning. His kind, forget it! -- dust! Now they're all...</dialogue> <parenthetical>(sees Christina approaching)</parenthetical> <dialogue>know-it-all-E.S.P.N. analysts.</dialogue> <character>CHRISTINA</character> <dialogue>Hi, Tony... We better get going, Mom. It's getting late.</dialogue> <scene_description>Margaret rises, handing the ring to D'Amato.</scene_description> <character>MARGARET</character> <dialogue>Yes it is...</dialogue> <parenthetical>(to Tony)</parenthetical> <dialogue>... too late.</dialogue> <scene_description>Christina wants to connect with Tony as he toys with his ring.</scene_description> <character>CHRISTINA</character> <dialogue>... I remember when my dad designed that...</dialogue> <parenthetical>(an awkward silence)</parenthetical> <dialogue>I guess I'll have to wear mine on a chain around my neck, huh?</dialogue> <character>TONY</character> <dialogue>How 'bout you win one first?</dialogue> <character>CHRISTINA</character> <dialogue>I was just trying to --</dialogue> <character>TONY</character> <parenthetical>(getting up)</parenthetical> <dialogue>No. Win one first.</dialogue> <scene_description>He walks away.</scene_description> </scene> <scene> <stage_direction>EXT./INT. WILLIE'S APARTMENT - NIGHT</stage_direction> <scene_description>Willie and Vanessa are fighting, tension in the air. The TV is ON to the Jack Rose's "Sports Center" as Willie tries to analyze his playbook, an icebag wrapped tight around his right shoulder.</scene_description> <character>INSERT - PLAYBOOK</character> <dialogue>Shows the complexity of the system, the number of plays, the mumbo-jumbo, which would be tough enough for any student of the game to learn -- but for Willie, who is unschooled, it comes hard; his frustration mounting, as is Vanessa's.</dialogue> <character>BACK TO SCENE</character> <dialogue>VANESSA</dialogue> <parenthetical>(volatile)</parenthetical> <dialogue>... were you embarrassed by me, were you ashamed to introduce me to the Mayor? Is that it... Willie?</dialogue> <parenthetical>(as he doesn't respond)</parenthetical> <dialogue>Was it my dress...? ... what the... Willie?!</dialogue> <scene_description>Willie changes the subject, indicating the playbook.</scene_description> <character>WILLIE</character> <dialogue>Goddamn book! Thinking is dying on that field. Doing is feeling. Feeling is what it's all about...</dialogue> <parenthetical>(flipping pages)</parenthetical> <dialogue>I think like this, I'll get killed out there! I gotta play my way -- like 'I'm the shit'! You don't believe that, you are...</dialogue> <scene_description>A138 ON TV A138 Meanwhile, the deranged Jack Rose is going on and on to his guest.</scene_description> <character>ROSE (V.O.)</character> <dialogue>... At his press conference yesterday -- and with a straight face -- Coach D. says that there was no problem with the plays and that Beamen audibled only twice during the game. Uh-huh!... We all know Tony the Tiger's a demonic dude who combs his hair every which way but up, but I tell ya this guy could put a positive spin on toxic waste. Is he for real? Or is it just me who feels he was probably coaching the day Ray Nitschke dislocated Y.A. Tittle's shoulder? Scary? You starting to get the picture here, Joe?...</dialogue> <character>VANESSA</character> <dialogue>... You're 'the shit' all right, Willie, lemme tell you joined a whole lotta shits on that team! Did you see the way that Cindy Rooney talked to me? Was my dress too cheap? Did you give a shit!... She just about made me feel like a field hand! Who the hell does she think she is!</dialogue> <character>WILLIE</character> <dialogue>What's her ass gotta do with your ass? Jealousy look ugly on you, Vanessa.</dialogue> <character>VANESSA</character> <parenthetical>(stung)</parenthetical> <dialogue>Oh? What was I so jealous of her about?</dialogue> <character>WILLIE</character> <dialogue>I tell you what -- you're jealous of anything! You're jealous any woman who walk in a room with a better rap or a bag or a fuckin' hairdo! 'Cause it's always 'bout class with you.</dialogue> <character>VANESSA</character> <dialogue>Class!? You're talking shit! I got more class than 90 percent of those skinny wrinkled bitches in that bullshit party of yours!</dialogue> <character>WILLIE</character> <dialogue>Sure you do...</dialogue> <character>VANESSA</character> <dialogue>Oh, Mr. Bad Ass Willie! I seen you in action tonight, chasing the tail on that Heather Sanderson.</dialogue> <parenthetical>(as he protests)</parenthetical> <dialogue>Why didn't you introduce her to the goddamn Mayor, Willie, you too ashamed to introduce me...</dialogue> <parenthetical>(near tears)</parenthetical> <dialogue>... after all these years! Goddamn your ass, Willie Beamen...</dialogue> <character>WILLIE</character> <dialogue>Baby, I wasn't even thinkin' about the Mayor. And I don't care about any of those crackhead hoes! I got one thing on my mind and one thing alone! I gotta concentrate on the game or I ain't gonna be around too much longer, ya hear! It's my shot, baby, I've gotta grab these chips while I can.</dialogue> <character>VANESSA</character> <dialogue>So whatcha really saying, 'baby' -- I don't look so good to you anymore?</dialogue> <character>WILLIE</character> <dialogue>No, you ain't listening, you... I'm sayin' this is my time -- now! I gotta rope the ring and that means I can't be fucking dealing with you running these bullshit numbers in my head.</dialogue> <character>VANESSA</character> <dialogue>No! What you mean is I'm not good enough for you, Willie, that's what you mean!</dialogue> <character>WILLIE</character> <dialogue>There you go again! Man, for a college graduate you are plumb dumb! 'V,' you got so many damned problems, you gotta blame everybody else but yourself -- Cindy Rooney, Heather Sanderson, me! Baby, you gotta learn to chill!</dialogue> <character>VANESSA</character> <parenthetical>(infuriated)</parenthetical> <dialogue>'Chill'!? Jesus Christ, Willie, you know when you get finished sucking your own dick and playin' 'bad ass football nigger,' give me a call sometime?</dialogue> <character>WILLIE</character> <parenthetical>(blowing up)</parenthetical> <dialogue>You mean your ex-fiance give you a call! You wanna come at me now! When I'm facing this...</dialogue> <parenthetical>(hits the playbook)</parenthetical> <dialogue>Get the fuck outta here!</dialogue> <scene_description>Willie stands, slams the playbook shut, stalks to his bedroom. She tries to grab him and they struggle.</scene_description> <character>WILLIE</character> <dialogue>Watcha want!... Don't touch my arm like that or I'll bust your ass!</dialogue> <character>VANESSA</character> <dialogue>You gonna hit me? Oh it's like that now? Yeah! Go ahead -- get real, motherfucker!</dialogue> <character>WILLIE</character> <dialogue>'Real'!? Gimme a break! Lemme the fuck alone! (AD LIB)</dialogue> <character>VANESSA</character> <dialogue>I see you turning into one of them 'shits'! I tell you this, I'm gonna call your mama!</dialogue> <scene_description>Willie looks at her, disgusted.</scene_description> <character>WILLIE</character> <dialogue>Tell my mother what! Don't let my success get to your head, bitch.</dialogue> <parenthetical>(as she protests, "bitch!")</parenthetical> <dialogue>Go right ahead! And while you're at it, go find yourself some 'wigger' who'll put up with your petty, 'educated' hype, 'cause you gettin' on my nerves!</dialogue> <character>VANESSA</character> <dialogue>Yes I am educated and you can't even read a goddamn playbook, Willie Beamen, 'cause you're nothing but a big-ass Mama's boy and you can take your football -- it's the only ball you got anyhow! -- and shove it up your stuck-up ass! 'Cause my big, beautiful ass you can kiss good-bye, baby!</dialogue> <parenthetical>(at the door)</parenthetical> <dialogue>And you know what! -- I will find me a smart, m'fucking gentleman! I'm gonna be sleeping at Darlene's from now on. She might fuck better'n you anyhow!</dialogue> <character>WILLIE</character> <dialogue>You got an ugly mouth on you, woman! I'm real glad I gotta chance to see it 'fore our kids heard it. Get your lesbian ass outta here!</dialogue> <scene_description>She slams the door violently on her way out... Willie is really upset.</scene_description> </scene> <scene> <stage_direction>INT. CHARTER PLANE - DAY</stage_direction> <scene_description>D'Amato wanders back from the first-class section through the aircraft. Some nap, others mingle in a subdued atmosphere. He spots Willie sitting near the back of the players' section by himself, wearing his headphones. He approaches, waits. Willie finally sees him, or pretends to, takes his headset off, clears his CDs from the empty seat.</scene_description> <character>TONY</character> <dialogue>Mind if I sit down?</dialogue> <parenthetical>(as Willie nods, Tony sits)</parenthetical> <dialogue>Whatcha listening to?</dialogue> <character>WILLIE</character> <dialogue>Rap.</dialogue> <character>TONY</character> <dialogue>Anyone I know?</dialogue> <character>WILLIE</character> <dialogue>Biggie.</dialogue> <character>TONY</character> <parenthetical>(shakes his head)</parenthetical> <dialogue>Y'ever listen to jazz?</dialogue> <parenthetical>(as Willie shrugs "who?")</parenthetical> <dialogue>... Coltrane, Monk, Miles Davis, Billie Holiday?</dialogue> <character>WILLIE</character> <parenthetical>(doesn't know them)</parenthetical> <dialogue>Don't go much for that old stuff.</dialogue> <character>TONY</character> <dialogue>Maybe I'll put together a tape for you -- my favorites...?</dialogue> <character>WILLIE</character> <dialogue>I don't use no tapes. I got CDs.</dialogue> <character>TONY</character> <dialogue>So, we'll forget about that... How 'bout your mama, she ever gonna come to a game?</dialogue> <character>WILLIE</character> <dialogue>... She thinks Sunday's for church.</dialogue> <scene_description>He waits on Tony, who goes the extra yard.</scene_description> <character>TONY</character> <dialogue>... I don't know if you know this, I lost my dad when I was young, too...</dialogue> <parenthetical>(waits)</parenthetical> <dialogue>... in World War Two...</dialogue> <parenthetical>(waits again)</parenthetical> <dialogue>... if you ever want to talk about stuff like that, I'm around...? Okay.</dialogue> <character>WILLIE</character> <dialogue>I'll get at 'cha.</dialogue> <character>TONY</character> <dialogue>You know where to find me...</dialogue> <scene_description>Willie nods, mumbling something incoherent. IN FRONT SECTION D'Amato rejoins Dr. Mandrake, reading his Wall Street Journal.</scene_description> <character>TONY</character> <dialogue>Hell if I can figure him out.</dialogue> <character>MANDRAKE</character> <dialogue>Who?</dialogue> <character>TONY</character> <dialogue>Beamen. I look in his eyes and I see... nothing.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Man never even heard of Miles Davis.</dialogue> <character>MANDRAKE</character> <dialogue>Tony, he probably never heard of Joe Namath. You look like shit. You sleeping?</dialogue> <character>TONY</character> <dialogue>I'm too tired to sleep.</dialogue> <character>MANDRAKE</character> <dialogue>I got some great new samples for that.</dialogue> <character>TONY</character> <dialogue>I bet you do.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL COFFEE SHOP (CALIFORNIA) - SUNDAY</stage_direction> <scene_description>Tony, in his game suit, has breakfast with his son, TOM, a bland mid-level executive in his late 20s, with a Christian fish on his lapel.</scene_description> <character>TONY</character> <dialogue>... Really, it's no problem getting tickets?</dialogue> <character>TOM</character> <parenthetical>(uneasy)</parenthetical> <dialogue>Well, he's really more into basketball now.</dialogue> <character>TONY</character> <parenthetical>(defeated)</parenthetical> <dialogue>... Yeah? How old is Timmy now -- nine, ten?</dialogue> <character>TOM</character> <dialogue>Eight. But we don't really call him Timmy anymore...</dialogue> <character>TONY</character> <dialogue>Oh, okay... and Melinda? How's she?</dialogue> <character>TOM</character> <dialogue>She's fine...</dialogue> <character>TONY</character> <dialogue>You look good.</dialogue> <character>TOM</character> <dialogue>I'm trying.</dialogue> <character>TONY</character> <dialogue>You talk to your mom lately?</dialogue> <character>TOM</character> <dialogue>Dad -- what do you want?</dialogue> <character>TONY</character> <dialogue>What do I want? I wanted to see you. You're my son, for chrissake. What do you mean?</dialogue> <character>TOM</character> <dialogue>I haven't talked to you for a year. A year ago Christmas...</dialogue> <character>TONY</character> <dialogue>... Christ, gimme a minute, Tom, okay? I haven't seen you in what...</dialogue> <character>TOM</character> <dialogue>Six years.</dialogue> <character>TONY</character> <dialogue>You never picked up the phone either -- so don't...</dialogue> <character>TOM</character> <dialogue>Why would I?</dialogue> <character>TONY</character> <dialogue>All I ever did was...</dialogue> <character>TOM</character> <parenthetical>(on edge)</parenthetical> <dialogue>Please don't!... When you do that you sound like a broken record, Dad. I get really upset...</dialogue> <scene_description>Tony looks at him, wondering what he's wrought. They hush as the WAITRESS brings coffee and danish.</scene_description> <character>WAITRESS</character> <dialogue>Coffee, danish? Why the long faces?</dialogue> <parenthetical>(off no response)</parenthetical> <dialogue>Enjoy your breakfast.</dialogue> <scene_description>She leaves.</scene_description> <character>TONY</character> <dialogue>... You know I'll never forget a big mistake I made once as a coach. I hurt someone and... I couldn't change what I did, so I denied it. Threw some money at it... and then tried to forget it, block it out.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You know what? It never goes away.</dialogue> <character>TOM</character> <parenthetical>(now he's upset)</parenthetical> <dialogue>No it doesn't and it's too late, goddamn it, okay! It's too -- excuse me for my foul thoughts, Lord! They come not out of me -- but it's too goddamn late for that! My son and daughter are doing fine and you had nothing to do with that, and that's all there is.</dialogue> <character>TONY</character> <dialogue>Tom, come on, I... I'm sorry. I...</dialogue> <character>TOM</character> <dialogue>Where were you on my Sundays, when I was playing ball? Just... just don't even try, okay!</dialogue> <character>TONY</character> <parenthetical>(now at the end of his rope)</parenthetical> <dialogue>Can I just... see them? They're my grandkids, Tom!... Please?</dialogue> <character>TOM</character> <parenthetical>(a grim pause)</parenthetical> <dialogue>... With a child psychiatrist...</dialogue> </scene> <scene> <stage_direction>INT. CALIFORNIA STADIUM - DAY</stage_direction> <scene_description>Game 3. Miami Sharks at California Crusaders.</scene_description> <character>FIELD #1</character> <dialogue>The Crusaders' wide receiver runs deep against the Miami DB, nearly catching a 50-yard pass at the Miami 5-yard line... A yellow penalty flag flies through the air.</dialogue> <scene_description>A142 SCOREBOARD #1 A142</scene_description> <character>MIAMI 7, CALIFORNIA 14.</character> <dialogue>SECOND QUARTER.</dialogue> <character>BRANSON (V.O.)</character> <dialogue>Interference on Miami. That will hurt! A tight game here! Looks like a man's down now... At the line of scrimmage, it looks like the 'Shark' -- Luther Lavay!</dialogue> <scene_description>SIDELINE #1 Tony is livid at REFEREE #1, not noticing Shark.</scene_description> <character>TONY</character> <dialogue>Where was the interference??!!... Do you realize... No!... You are giving away 45 yards! Get the replay! I'll trade you a time-out for it, you... ugh, ugh!</dialogue> <scene_description>REFEREE #2 trots by Tony, who jogs alongside, to get his attention.</scene_description> <character>TONY</character> <dialogue>Charlie, give me a goddamn break. I know this is L.A., I don't know nobody here, but give us a chance anyway!</dialogue> <parenthetical>(indicating Referee #1)</parenthetical> <dialogue>Where's that guy from? El Cajon, Hawthorne, Beverly Hills, what?</dialogue> <character>REFEREE #2</character> <dialogue>Get back in the coaching box...</dialogue> <scene_description>Tony shares his frustration with Cap Rooney, in street clothes for the game, and Crozier upstairs; Cherubini is relaying the signals to Willie on the field.</scene_description> <character>TONY</character> <dialogue>What can you do? What can you do? The system's fucked! I mean games are being decided by zebras in stripes. It's just not fair!</dialogue> <parenthetical>(then)</parenthetical> <dialogue>What the fuck is 'fair' anyway?</dialogue> <scene_description>FIELD #2 Shark lies on the field, moaning. Mandrake, Powers and Trainer #1 test his joints.</scene_description> <character>MANDRAKE</character> <dialogue>Squeeze my fingers.</dialogue> <parenthetical>(as Shark does so)</parenthetical> <dialogue>Great! Do you know where we are?</dialogue> <character>SHARK</character> <parenthetical>(woozy)</parenthetical> <dialogue>... I know it ain't Munchkinland.</dialogue> <character>MANDRAKE</character> <dialogue>Who we playing against?</dialogue> <character>SHARK</character> <dialogue>Those ugly motherfuckers.</dialogue> <character>MANDRAKE</character> <dialogue>Who's your quarterback?</dialogue> <character>SHARK</character> <dialogue>That pretty motherfucker.</dialogue> <character>MANDRAKE</character> <dialogue>Well you don't see me playing possum, do you, Shark? I think you can get up now.</dialogue> <character>SHARK</character> <dialogue>Fuck, this is embarrassing! Doc, don't let me pull a Willie Beamen.</dialogue> <scene_description>Powers and the Trainers help drag Shark to his feet. SIDELINE #2 The crowd cheers for Shark, coming off, as...</scene_description> <character>TONY</character> <parenthetical>(at Monroe)</parenthetical> <dialogue>What the hell is going on, Monty! They're leaking and you don't know where. Fix it, goddamnit. Don't yell and don't make faces and all that bullshit! Just fix it!</dialogue> <scene_description>He leaves Monroe a study in total, betrayed frustration... HUDDLE #1 Willie feels loose.</scene_description> <character>WILLIE</character> <parenthetical>(singling out Sanderson)</parenthetical> <dialogue>Okay, 'Sandman,' they should show cloud coverage here and lock Ice on the cross. The middle will be open. Right deuce gun, F-shoot, 60 Snake Eyes. On three. Ready!</dialogue> <character>WASHINGTON</character> <dialogue>Hey, man, we can't run Snake Eyes in the red zone!</dialogue> <character>WILLIE</character> <dialogue>J-man, you can get on my page or you can shut the fuck up! On three. Ready!</dialogue> <scene_description>They break. Sanderson hangs back a beat.</scene_description> <character>SANDERSON</character> <dialogue>How the hell you see that?</dialogue> <character>WILLIE</character> <dialogue>I see things better, brother. I see the future. Your guy trailing you on your inside route. Bend a little and hit the slim post.</dialogue> <scene_description>As they move to the line of scrimmage, Madman is lost.</scene_description> <character>MADMAN</character> <dialogue>I block the outside backer? Les'... help me?</dialogue> <scene_description>McKENNA You got the nose guard.</scene_description> <character>MADMAN</character> <dialogue>Nose. Face. Yeah.</dialogue> <character>WILLIE</character> <dialogue>Set Blue 468, Blue 468! Hut! Hut! Hut!</dialogue> <scene_description>SIDELINE #3 Montezuma Monroe is rampaging up and down before his unit, pissed beyond words.</scene_description> <character>MONROE</character> <dialogue>They think you're a bunch of low- brow Neanderthal shitheads! They think they're gonna gut you and leave you lying on the highway with your insides hanging out for the buzzards -- !</dialogue> <character>SHARK</character> <parenthetical>(a huge migraine of his own)</parenthetical> <dialogue>Coach, you're gonna have a stroke.</dialogue> <character>MONROE</character> <dialogue>I don't GET strokes, motherfucker, I GIVE 'em!</dialogue> <scene_description>A cry of grief from the crowd stops him. Monroe spins to the field to see a mad brawl of players for a Shark fumble -- a Crusaders player comes up with the ball! And worse! At the line of scrimmage, Leslie McKenna, the right guard, is down. As REFEREE #3 signals the California first down to a joyous echo from the home crowd, Tony is screaming at Referee #3 who jogs over to him.</scene_description> <character>REFEREE #3</character> <parenthetical>(wearily)</parenthetical> <dialogue>What is it with you, Coach?!</dialogue> <character>TONY</character> <dialogue>Goddamn it, Sammy, his knee was down! He was down by a mile. Both knees were down. Give me a goddamn break in this town -- that was no fumble!</dialogue> <character>REFEREE #3</character> <dialogue>To be honest, Tony -- I didn't really see it.</dialogue> <character>TONY</character> <parenthetical>(a beat, shrugs)</parenthetical> <dialogue>To be honest, Sammy, neither did I.</dialogue> <scene_description>Referee #3 shakes his head and runs back to the field as Mandrake hurries over to Tony.</scene_description> <character>MANDRAKE</character> <dialogue>Tony -- bad news! Looks like McKenna's got a distended knee, torn everything, bloody nightmare -- he's out!</dialogue> <character>TONY</character> <dialogue>How long?</dialogue> <character>MANDRAKE</character> <dialogue>If he's lucky -- Easter.</dialogue> <scene_description>Tony hurries towards Leslie McKenna in great pain -- being helped off the field by Dr. Powers and trainer #2. SIDELINE #5 Julian and Willie are going at it hotly.</scene_description> <character>WASHINGTON</character> <dialogue>The play was Snake Eyes Right -- Right!</dialogue> <character>WILLIE</character> <dialogue>I knew the goddamn play! -- Couldn't you see them adjusting?!</dialogue> <character>WASHINGTON</character> <dialogue>You didn't audible shit!</dialogue> <character>WILLIE</character> <dialogue>I called the color, man! You just missed it 'cause of that wax in your ears. Hey, 'Sandman,' didn't I audible?</dialogue> <character>SANDERSON</character> <dialogue>I dunno, man. Don't get me involved.</dialogue> <scene_description>Tony approaches, dominates.</scene_description> <character>TONY</character> <dialogue>Knock it off -- all of you! This goddamn screw-up cost us McKenna for the season! Why don't you both think about that for one goddamn minute! Sit down -- the bunch of you!</dialogue> <parenthetical>(walking away, to Crozier, on the headset)</parenthetical> <dialogue>Goddamn it, Nick, you do your job and get him under control before he gets anyone else hurt!</dialogue> <scene_description>He notices a film crew in his face, recording all of this; this brings him to the very edge.</scene_description> <character>TONY</character> <dialogue>Whatta you doing!! Get outta here before I kick your butts!!... Get 'em out!</dialogue> <scene_description>Security quickly closes down the lens. SIDELINE #6 The Crusaders sweep towards the Miami sideline, its big offensive line leading. This time the Miami defense penetrates them and gang-tackles the running back.</scene_description> <character>TONY</character> <parenthetical>(to Monroe)</parenthetical> <dialogue>Awright! More like it! You look alive!</dialogue> <scene_description>He turns away, eyeing the scoreboard, as his offense runs out.</scene_description> <character>MONROE</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>Thank you, boss.</dialogue> <scene_description>A150 SCOREBOARD #2 A150</scene_description> <character>CALIFORNIA 21, MIAMI 10.</character> <dialogue>THIRD QUARTER 8:57...</dialogue> <scene_description>HUDDLE #2 Willie suddenly breaks from it and pukes quietly, into the turf, clears his throat.</scene_description> <character>TUG (V.O.)</character> <dialogue>Oh my God. He's done it again!</dialogue> <parenthetical>(needling Kevin)</parenthetical> <dialogue>You know, that reminds me of the night...</dialogue> <scene_description>Willie walks back to the huddle, to his teammates.</scene_description> <character>WILLIE</character> <dialogue>I apologize -- I had to get that out of my system.</dialogue> <character>WASHINGTON</character> <dialogue>Hey, man, if that's your thing, just stay off my shoes...</dialogue> <character>WILLIE</character> <dialogue>Okay. Let's go. Deuce Right Dog 90 Smoke. On three. Jimmy one, Andy two, J-man outlet flat.</dialogue> <character>SANDERSON</character> <dialogue>Right. Don't force it in if --</dialogue> <character>WILLIE</character> <dialogue>I got it! I'm there! I'm a righteous motherfucker! On three! Ready?</dialogue> <character>FIELD #3</character> <dialogue>They break and move to the ball. Willie scans the defense, loose, enjoying himself.</dialogue> <character>WILLIE</character> <dialogue>Set Green 21! Green 21! Hut! Hut! Hut!</dialogue> <scene_description>Willie checks off his receivers as they speed downfield, pumps once; the offensive line protecting him strongly. Two L.A. corners blanket Sanderson -- but Julian is open, waiting in the flat.</scene_description> <character>WASHINGTON</character> <dialogue>Willie!!</dialogue> <scene_description>Willie ignores him, his eyes downfield -- a Crusaders' lineman is almost on him when Madman slams him aside at the last moment... Willie takes the shot -- it's a dead perfect pass, threading the microscopic gap between two Crusaders' defenders. Sanderson spins in midair so that the nose of the ball crosses the goal line just as he is slammed backwards by the backs -- too late -- the Ref's arms shoot up -- touchdown! Willie races down the field and grabs Sanderson, both of them breaking into a funky dance. A152 FIELD #4 A152 Upfield, Julian, not very happy, heads for the sideline. SIDELINE #7 As Willie comes off, Tony hugs him in a familiar, paternal way, which surprises Willie. Cap Rooney witnesses.</scene_description> <character>TONY</character> <dialogue>Don't fuck with a man's ritual, right?</dialogue> <character>WILLIE</character> <dialogue>'Blaze the hot sands.'</dialogue> <character>TONY</character> <dialogue>I never understand a goddamn word you say.</dialogue> <character>WILLIE</character> <dialogue>It's all good, boss.</dialogue> <scene_description>OMITTED Willie runs an option pass for 26 yards, and when he is pounded into the turf, jumps right up and taunts the defense.</scene_description> <character>WILLIE</character> <dialogue>You gotta hit harder than that, baby! I can't feel it!</dialogue> <scene_description>Which makes them want to kill him -- but Madman and several others step in to separate Willie.</scene_description> <character>FIELD #6</character> <dialogue>Willie, pursued by linemen and almost off balance, throws an incredible long bomb, hitting his third receiver; the ball travels almost 60 yards in the air. The receiver runs it in for a touchdown!</dialogue> <character>TUG (V.O.)</character> <dialogue>Wow! As the Sharks go into their bye week, the story here has got to be Willie Beamen! He's running -- he's throwing -- he's rockin' and rollin' and shuckin' and jivin'. He's flat out steamin'. This magic Sunday, he's 'Steamin' Beamen'!</dialogue> <scene_description>GUEST OWNER'S BOX #1 Christina, with local friends, studies her new phenomenon.</scene_description> <character>SCOREBOARD #3</character> </scene> <scene> <stage_direction>INT. VISITOR'S LOCKER ROOM (L.A.) - LOCKER ROOM #1</stage_direction> <character>- 6 PM</character> <dialogue>The Shark locker room seems too small to contain the combustible energy of these larger-than-life men. Sanderson and other "Dawgs" rally to the BOOM BOX. Perhaps Willie joins in briefly...</dialogue> <dialogue>Coach D'Amato circulates, congratulations all around... Cap doesn't have much to do, hanging. In the b.g., the doctors and trainers are busy.</dialogue> <scene_description>Madman opens a locker which is a shrine to the band Metallica. Madman puts one of their CDs on a portable player.</scene_description> <character>SHARK</character> <dialogue>Oh, man, not that shit again!... I don't know why I even acknowledge this m'fucking psycho!</dialogue> <character>MADMAN</character> <parenthetical>(to Shark)</parenthetical> <dialogue>Metallica are gods! We live to serve them! We should bow!</dialogue> <scene_description>As the MUSIC of "SO WHAT" CRANKS, others protest loudly (AD LIB). Madman ignores them all, banging out the rhythm on his locker. Elsewhere, Smitty, the Christian, walks up to Willie.</scene_description> <character>SMITTY</character> <parenthetical>(coming up to Willie)</parenthetical> <dialogue>Say, Willie, some of us guys, we have a little Bible study group that meets every Monday. It's no big deal, we just read some and talk. They say 'There's no atheists in foxholes.'</dialogue> <parenthetical>(chuckles)</parenthetical> <dialogue>We'd sure like it if you could join us?</dialogue> <character>WILLIE</character> <dialogue>No.</dialogue> <character>SMITTY</character> <dialogue>Oh super!... May I ask if you're a Christian?</dialogue> <character>WILLIE</character> <dialogue>Fuck you, Smitty.</dialogue> <character>SMITTY</character> <dialogue>What?!</dialogue> <character>WILLIE</character> <dialogue>How long I been on this team -- six months? In all that time you ever spoke to me? Now I win two games and you want me to join your Bible study group? Fuck you.</dialogue> <scene_description>Smitty moves off... is throwing on his $3,000 suit, busy on his cell, while Willie watches nearby.</scene_description> <character>WASHINGTON</character> <dialogue>Forget Doritos! I can do Ruffles, too. One's a corn chip and the other's a potato chip, don't you get it? Tell them I got two different burger franchises and they don't give me no static like that!...</dialogue> <scene_description>Willie catches Julian before he exits.</scene_description> <character>WILLIE</character> <dialogue>Hey, J-man, can I talk to you a sec?</dialogue> <parenthetical>(off no response)</parenthetical> <dialogue>Say, good game today. You know if I'm faking the hand-off to you, it looks stupid you don't act like you're getting the ball, money...</dialogue> <character>WASHINGTON</character> <dialogue>Whatcha you saying, you...</dialogue> <character>WILLIE</character> <dialogue>Y'ever see a movie? You know, there's the king, right? But he ain't no king till the other actors bow when he walk in the room, right? He's just this actor dude... same with us, J. I'm the Q.B., but you gotta act like I am the Q.B., you get it, 'cause if you ain't pretending, it's a fake, it make me look like some dumb-ass turkey out there runnin' around trying to throw a pass they all know is comin'...</dialogue> <character>WASHINGTON</character> <dialogue>Who you talkin' to, you afro m'fucker! You a king in your own mind, bitch! You out there 'bowing' to settle your own bullshit, don't ever approach me again, faggot!!</dialogue> <scene_description>TRAINING AREA #1 Dr. Mandrake stitches Sanderson's cut chin, pulling out a tray of bandages:</scene_description> <character>SANDERSON</character> <parenthetical>(agitated)</parenthetical> <dialogue>I gotta come down, Doc. My teeth are ice cubes, man!</dialogue> <character>MANDRAKE</character> <dialogue>Try sex, you're making me look bad. League's already questioning my benzo prescriptions.</dialogue> <character>SANDERSON</character> <dialogue>Man, you're useless! What the fuck we need a doctor for then?</dialogue> <character>MANDRAKE</character> <dialogue>You don't! We're just corporate automatons anyway. No fault. No choice. No lawsuit. The way all society is going. It's you overpaid m'fuckers wrecked the party anyway -- 'my body is worth 50 million in bones, muscle, and tissue, blah blah blah!' You prescribe some spoiled crybaby the wrong thing and you're on your way to re-education camp in Hanoi.</dialogue> <character>SANDERSON</character> <dialogue>Hanoi?</dialogue> <character>MANDRAKE</character> <dialogue>Vietnam?... Never mind. Or is it New York now? Corporate culture, baby! I'm actually one of the few good guys left -- I stretch it a bit for you boneheads.</dialogue> <character>SANDERSON</character> <parenthetical>(reacting to stitch)</parenthetical> <dialogue>Ow!! You sure stretching this stitch, man!</dialogue> <character>MANDRAKE</character> <parenthetical>(musing aloud)</parenthetical> <dialogue>You have no idea what it was like in the old days, 'Sandman' -- nobody'd give a shit. I mean we were kings. No goddamn random urine tests, no 'spook police'...</dialogue> <parenthetical>(laughs)</parenthetical> <dialogue>Shit we'd force you to take the pills -- like candy. You could walk onto the field with a syringe in your ass and nobody'd notice... but it's over -- like the weather.</dialogue> <character>SANDERSON</character> <dialogue>Weather?</dialogue> <character>MANDRAKE</character> <dialogue>El Nino!... Current change? Global warming?... Hello?</dialogue> <character>SANDERSON</character> <dialogue>You out of your mind.</dialogue> <character>MANDRAKE</character> <dialogue>... All 'cause the association's worth too much money -- now it's bigger than Coca-Cola or Disney...</dialogue> <parenthetical>(as Sanderson is puzzled)</parenthetical> <dialogue>Forget it.</dialogue> <parenthetical>(re: the bandages)</parenthetical> <dialogue>So what do you want -- Bugs Bunny, Daffy Duck, Tweety?</dialogue> <character>SANDERSON</character> <dialogue>You got Spiderman?</dialogue> <character>MANDRAKE</character> <dialogue>If I had Spiderman I woulda said I had Spiderman. I got Batman.</dialogue> <character>SANDERSON</character> <parenthetical>(brightening up)</parenthetical> <dialogue>Oooh, fox alert at 4 o'clock!... Daddy's girl ambulating... Queen Christina is here!</dialogue> <scene_description>LOCKER ROOM #2 The mood in the locker room shifts quickly as Christina Pagniacci enters, escorted by two security guards in suits with earphones -- along with her VPs. In a good mood, she passes most of the no-name players, signalling or calling out to some of her stars (AD LIB)... Cap notices her not "seeing" him; Joe Polito makes up for it, coming over to him, as she approaches Willie.</scene_description> <character>CHRISTINA</character> <parenthetical>(at her charming best)</parenthetical> <dialogue>Willie, congratulations, you were great! Really exciting to watch out there!!</dialogue> <character>WILLIE</character> <parenthetical>(a winning smile)</parenthetical> <dialogue>I thrill to chill, ma'am.</dialogue> <character>CHRISTINA</character> <dialogue>Two in a row! 'Whatever it takes' -- right. You make me excited about the future again...</dialogue> <scene_description>Others look on at the two of them. Willie, in his jockstrap, is coming on to Christina in a cheeky, street way, showing off his muscles. Christina, accustomed to locker rooms and not seeing her players in any way as competitive with her husband, ignores the fact he doesn't add one stitch of clothing to his jock. Willie senses this gulf and will come to resent it as another synecdoche for the owner/player class structure.</scene_description> <character>WILLIE</character> <parenthetical>(quietly)</parenthetical> <dialogue>... I hope you don't mind, but you handle yourself real good in business and all. I don't B.S., Miss Pagniacci, but you do it to me. How'd you like to hook up for a drink, or something quiet...?</dialogue> <character>CHRISTINA</character> <parenthetical>(a little surprised)</parenthetical> <dialogue>... I'm flattered, Willie, I really am, but I'm married. I've just never dated players. It gives the wrong impression.</dialogue> <character>WILLIE</character> <dialogue>You mean you're influenced by what other people think?</dialogue> <character>CHRISTINA</character> <dialogue>I think we all are, in business, Willie... So, come by tomorrow and we'll talk. I think you'll like what you're gonna hear... okay?</dialogue> <parenthetical>(smiles, corrects his punctuation)</parenthetical> <dialogue>Pagniacci.</dialogue> <scene_description>She exits. Her eyes catching Tony, on the fly, through a cubicle window -- huddled with Rooney, Crozier, and Julian in the cramped visiting coach's office.</scene_description> <character>WASHINGTON</character> <dialogue>... Reebok got this whole ad campaign ready to go the minute I hit 2,000 yards. But it's ABC, man, I don't get the ball -- I don't get my stats -- I don't get my money -- and I like gettin' my money.</dialogue> <character>CROZIER</character> <dialogue>This team isn't about your damn stats!</dialogue> <character>TONY</character> <dialogue>For that matter, you're lucky we're not keeping track of your blocking 'stats,' J...</dialogue> <character>WASHINGTON</character> <dialogue>What's that mean?</dialogue> <character>TONY</character> <dialogue>What's that mean? It means y'ever try blocking for a change, J? It's not that bad an idea...</dialogue> <character>WASHINGTON</character> <dialogue>I'm sick of hearing that shit! I'm tryin', but blocking's for those Clydesdale horses, man. You don't use a thoroughbred to block. You run his ass.</dialogue> <character>TONY</character> <dialogue>That's a winning attitude, kid.</dialogue> <character>WASHINGTON</character> <dialogue>How much you payin' that 300-pound blocker, man? Let him block, 'cause he sure can't run.</dialogue> <character>CAP</character> <parenthetical>(to Tony)</parenthetical> <dialogue>... Look, J-man's got a point -- Beamen's not doing his homework. He isn't studying the playbook, he doesn't come in to look at any films, he doesn't even know the damn names of the defensive players he's facing. He doesn't give a geewhiz about anything or anybody! He just wants to make the plays by himself --</dialogue> <character>CROZIER</character> <dialogue>He's young! He doesn't know how to 'read' like you do, Cap.</dialogue> <character>WASHINGTON</character> <dialogue>Fuck that! He's changing the plays, man -- all the goddamn time!</dialogue> <character>TONY</character> <dialogue>What? What do you mean he's changing the plays?</dialogue> <character>WASHINGTON</character> <dialogue>I said he's changing the plays -- in the huddle. The plays you designed that I loved. Just does what he likes.</dialogue> <character>TONY</character> <dialogue>In the huddle?</dialogue> <character>WASHINGTON</character> <dialogue>I'm not talking audibles, Coach. Today he did it all day long. Kid's dissing this play, that play, saying, 'I gotta better play.'</dialogue> <character>CROZIER</character> <dialogue>Hey, guys, we won. What's the point here?!</dialogue> <scene_description>Tony's thinking about it. SHOWERS #1 Players dance to a BOOMBOX PLAYING in the shower... Madman tries to join in but looks ridiculous and they trash him cruelly. Willie showers next to Shark, who, unseen, seems to lose his balance, grabs onto a shower head...</scene_description> <character>WILLIE</character> <parenthetical>(to Shark)</parenthetical> <dialogue>So guess what? Coach suddenly asks me to dinner. Orders me morelike.</dialogue> <character>SHARK</character> <parenthetical>(after a pause)</parenthetical> <dialogue>Hey, that means you made it, kid! When Coach D. thinks you're the real deal he brings you over to his house and shows you his trophies and shit and makes the most godawful jambalaya you ever tasted. One thing though, you better bring flowers -- Coach gets really pissed off if you don't bring flowers.</dialogue> <character>WILLIE</character> <dialogue>Flowers?</dialogue> <character>SHARK</character> <dialogue>Some petunias or something. Trust me... When?</dialogue> <character>WILLIE</character> <dialogue>Saturday.</dialogue> <character>SHARK</character> <dialogue>That's cool, I'm having a bash at my place for bye week. Wife and kids are up North. Gonna be a lotta trim, so don't go bringin' no sand to the beach, dawg...</dialogue> <character>WILLIE</character> <dialogue>Hey, I'm a born again ladies man!</dialogue> <scene_description>Madman now retaliates, throwing a baby ALLIGATOR into the shower, the tiny reptile terrifying most of these behemoths with its HISSING jaws. LOCKER ROOM #4 Cap Rooney catches Willie's eye as the latter throws on some frayed jeans, a beeper and cell phone hooked to his belt. Adjusting his shades and headphones, he's about to leave when:</scene_description> <character>CAP</character> <dialogue>The thing about a team, kid, is you can try to lead 'em. But will anyone follow? You don't play for the team, the team's not gonna play for you. Go out there on your own, you'll die out there on your own... 'kimmo sabe'?</dialogue> <character>WILLIE</character> <dialogue>Say, Cap, how old are you now?</dialogue> <scene_description>Willie rolls on out -- barely avoiding the press -- who gather around Shark. Shark, in his underwear, puts his sunglasses on, bothered by the camera lights.</scene_description> <character>SHARK REPORTER</character> <dialogue>Say, Shark, what were you thinking when you came out of that concussion?</dialogue> <character>SHARK</character> <dialogue>What was I thinking? What're all these white guys doing standing around here looking at me, that's what I was thinking, what a dumb-ass question! Next?</dialogue> <scene_description>Which cracks up the reporters. TRAINER'S OFFICE #1 Cameras mounted, the room lit, Jack Rose has the first go at Tony, a tiny tape recorder in his palm.</scene_description> <character>ROSE</character> <dialogue>So what were you telling Beamen on the sideline, Coach?</dialogue> <character>TONY</character> <parenthetical>(warily)</parenthetical> <dialogue>I was telling him how much I loved him.</dialogue> <scene_description>They laugh.</scene_description> <character>ROSE</character> <parenthetical>("friendly" smile)</parenthetical> <dialogue>Follow-up question. You think your boys could've won the game without him, Coach?</dialogue> <character>TONY</character> <dialogue>Why is it every time you ask me a question, Jack, it sounds like, 'So, did you beat your wife?' You goddamn know I don't have a wife, Jack, and you know I don't play golf and I hate fishing, barbecuing, and boating. I guess... wall-staring, I'm pretty good at that.</dialogue> <character>ROSE</character> <dialogue>You still didn't answer the question, Tony...?</dialogue> <scene_description>It's like a routine between them -- on the edge of danger.</scene_description> <character>TONY</character> <dialogue>No I didn't because I tell you what, this is what I got to say to you about the game, Jack: Fuck you, you stink, you know you stink, you wouldn't know the truth if it was in your own shit -- so go talk to one of these poor innocent schmuck kids you can misquote and destroy... Okay?!</dialogue> <parenthetical>(loud, walking away)</parenthetical> <dialogue>Hey, didn't we win! Didn't we beat L.A.! Two in a row! We're back!</dialogue> <scene_description>The reporters are somewhat stunned by Tony's erratic behavior.</scene_description> </scene> <scene> <stage_direction>INT. TUNNEL - TWILIGHT</stage_direction> <scene_description>Dr. Mandrake is exiting quickly, but Dr. Powers manages to catch up to him.</scene_description> <character>POWERS</character> <parenthetical>(to Mandrake)</parenthetical> <dialogue>... There's something wrong with Shark.</dialogue> <character>MANDRAKE</character> <dialogue>Wow! Brilliant deduction! Did you go to medical school for that?</dialogue> <character>POWERS</character> <dialogue>He's having trouble focusing. His hand-eye coordination's deteriorating and his memory, when I...?</dialogue> <character>MANDRAKE</character> <dialogue>He's fucked up! They're all fucked up! Their job is getting fucked up! The crazier they get, the more the crowd likes them.</dialogue> <character>POWERS</character> <parenthetical>(undeterred)</parenthetical> <dialogue>Harv, this is not professional wrestling. He needs a head M.R.I. and M.R.A.</dialogue> <scene_description>Mandrake stops.</scene_description> <character>MANDRAKE</character> <dialogue>You're not even here six months, Allie! You're gonna order a 20 thousand dollar test for every nutcase on this team?</dialogue> <character>POWERS</character> <dialogue>He could have a subdural hematoma, intracranial bleeding...</dialogue> <character>MANDRAKE</character> <dialogue>Or he just could be a crazy fucker, okay! Listen, every Sunday these guys walk out onto that field, they only got one thing and one thing alone going for 'em -- their confidence!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You start chipping away at that with a bunch of unnecessary testing and we can kiss the playoffs good-bye.</dialogue> <character>POWERS</character> <dialogue>Who's 'we,' Harv?</dialogue> <character>MANDRAKE</character> <dialogue>'We'! The team! Heading into the playoffs, you... you innocent! Television income triples. Yes! Bonuses! B.M.W.s! 'We,' -- the team, what's wrong with that?!</dialogue> <scene_description>Mandrake, agitated, resumes walking. Powers follows.</scene_description> <character>POWERS</character> <dialogue>Are you saying I can't give Shark the tests?</dialogue> <character>MANDRAKE</character> <dialogue>Jesus Christ!... I'll take care of it, I'll get you the results!</dialogue> <parenthetical>(as Powers starts to object)</parenthetical> <dialogue>I've earned their trust, Allie. You haven't. Good night.</dialogue> <scene_description>Madman now walks out, wearing an upside-down jockstrap around his forehead. The waiting fans and miscellaneous REPORTERS love it, snapping pictures... Willie, following, is surrounded and held back by a mob of fans and shouted questions, requests, photographs (AD LIBS). He tries to accommodate, but is overwhelmed.</scene_description> <character>TUNNEL REPORTER #1</character> <dialogue>Willie!... You got 100 yards rushing today, how 'bout that?</dialogue> <character>WILLIE</character> <parenthetical>(over the kids)</parenthetical> <dialogue>Ain't it amazing how fast a human body can move when it's being chased by 4.6 raptors who weigh more'n my mama!</dialogue> <scene_description>They're laughing.</scene_description> <character>TUNNEL REPORTER #2</character> <dialogue>Hey, Willie! What's it feel like one day to be nobody, next day the whole world knows you?</dialogue> <scene_description>The question gives Willie pause. He fields it gracefully.</scene_description> <character>WILLIE</character> <dialogue>I was always a star, you just didn't know it. But who says it's 'the whole world'? -- How important's football when two billion Chinese never even heard of it?</dialogue> <scene_description>He has a natural charm and the press seems to like him for now... Other players walk by, ignored -- Shark among them, with Monroe, spotting Willie.</scene_description> <character>SHARK</character> <dialogue>Baby, the sharks are in the water.</dialogue> <scene_description>MONTAGE #2 - WILLIE BEAMEN'S RISE Set to a RAP SONG, "I'm Willie Beamen."</scene_description> </scene> <scene> <stage_direction>E166 EXT. SOUTH BEACH - DAY E166</stage_direction> <scene_description>The Met-Rx image tied to Willie appears on the side of a Miami bus as Willie exits a beautiful hotel, two babes in tow, and enters his shiny new yellow Suburban, accompanied by a new agent, Wayne Mercer. Pointing to the moving bus:</scene_description> <character>MERCER</character> <dialogue>Y'see, while you're sleeping I'm working. There he goes! Bus boy!... Creamin' Beamen!...</dialogue> <scene_description>They can't help laughing at the hugeness of it all.</scene_description> </scene> <scene> <stage_direction>A166 MONTAGE #2 - EXT. SOUTH BEACH - CONTINUOUS ACTION - DAY A166</stage_direction> <scene_description>As the SONG CONTINUES, our players fool around at a touch football game against a group of sexy beach girls. Goofing off, Willie -- the cynosure of many eyes -- suddenly pulls up, grimacing, his throwing shoulder cramping on him. He conceals the pain and continues on.</scene_description> </scene> <scene> <stage_direction>B166 MONTAGE #2 - INT. MEDICAL FACILITY - CONTINUOUS ACTION- B166</stage_direction> <character>DAY</character> <dialogue>The flash and THROB of MEDICAL MACHINERY as Dr. Mandrake supervises Shark undergoing his MRI...</dialogue> <character>MANDRAKE</character> <dialogue>American women don't fuck 'cause they're too fucked up to begin with...</dialogue> <parenthetical>(removing the comic book Shark's reading)</parenthetical> <dialogue>We don't want to confuse your brains with Spawn's, now do we?</dialogue> </scene> <scene> <stage_direction>D166 MONTAGE - INT. CAP ROONEY'S HOUSE - GYM - CONTINUOUS D166</stage_direction> <character>ACTION - NIGHT</character> <dialogue>In his state-of-the-art home gym, a sweating Cap Rooney is going through an intense workout -- fly- motions and windmills on a Swiss ball. A supervising, sleepy trainer #3 reads a magazine in the corner, as Cindy Rooney enters in a sexy nightgown.</dialogue> <character>CINDY</character> <dialogue>Yo, Rocky, enough! You're gonna hurt yourself...</dialogue> <scene_description>Cap ignores her.</scene_description> <character>CINDY</character> <dialogue>You're gonna hurt yourself...</dialogue> <scene_description>Cap comes off the ball, checks his body fat and heart rate on an intricate sports computer showing him at 7.5 percent body fat.</scene_description> <character>CAP</character> <parenthetical>(finally)</parenthetical> <dialogue>... kid's breathin' down my neck.</dialogue> <character>CINDY</character> <parenthetical>(confused)</parenthetical> <dialogue>He's not even close! You're the man.</dialogue> <scene_description>Cap looks at her hard, his look saying: He's closer than you think.</scene_description> </scene> <scene> <stage_direction>C166 MONTAGE #2 - INT. MIAMI PRACTICE CENTER - GYM - C166</stage_direction> <character>CONTINUOUS ACTION - NIGHT</character> <dialogue>Willie works out with a crew of powerful teammates...</dialogue> <dialogue>Later, he is still there, alone. His eyes burn into the wall-size mirrors with compulsive determination.</dialogue> </scene> <scene> <stage_direction>MONTAGE #2 - EXT. HOTEL SWIMMING POOL - CONTINUOUS</stage_direction> <character>ACTION - DAY</character> <dialogue>Willie now shoots a "Met-Rx" commercial. He's in a bathing suit, body beautifully chiseled as girls by the dozen surround him... singing his own rap song.</dialogue> <character>WILLIE</character> <parenthetical>(song TBD)</parenthetical> <dialogue>'My name is Willie... Willie Beamen... an' I keep the ladies screamin', oh yeah!... creamin' for my semen. Say hey, I'm Willie Beamen! etc...</dialogue> <scene_description>As the SONG and MONTAGE #2 END AT...</scene_description> </scene> <scene> <stage_direction>EXT. PRACTICE FIELD #2 (#2 OF 3) - DAY</stage_direction> <scene_description>Coach D'Amato and the QB Coach watch Willie and Rooney throwing side-by-side. Cap is still feeling pain in his lower back and legs; his passes are off, and he realizes it; whereas Willie's passes are on the money, sometimes too much so. One bullet pass bounces out of Sanderson's gut, burning his fingers, cursing.</scene_description> <character>TONY</character> <parenthetical>(to Willie)</parenthetical> <dialogue>... less on the ball, Willie! You want a cool, tight spiral... and don't pat the ball, you...</dialogue> <character>WILLIE</character> <dialogue>Tight as fish pussy, Coach. 'I'm the man'!</dialogue> <character>TONY</character> <dialogue>'You're the man.' I repeat, don't pat the ball so much. They can see it!</dialogue> <parenthetical>(to QB Coach)</parenthetical> <dialogue>What'd he say?</dialogue> <character>WILLIE</character> <dialogue>Said I'm as tight-ass cool as the other side of my pillow, Coach...</dialogue> <scene_description>Tony shakes his head as Willie this time completes a hard, precise spiral to his tight end.</scene_description> <character>TONY</character> <parenthetical>(to QB Coach)</parenthetical> <dialogue>I need an interpreter... Awright, Cap, sit it out.</dialogue> <character>CAP</character> <dialogue>I'm fine.</dialogue> <character>TONY</character> <dialogue>You got the balls, we all know that -- now take a rest.</dialogue> <scene_description>Rooney, pissed, moves to the sidelines, Tony, sensing his unrest, follows... as Christina, keeping an eye on her new star, arrives with Willie's agent in tow...</scene_description> <character>TONY</character> <dialogue>What do you want! You're off, but...</dialogue> <character>CAP</character> <dialogue>Hey, I've been on for twelve years and two rings, gimme a break. I've played hurt before. No big deal.</dialogue> <character>TONY</character> <dialogue>We're gonna go with Willie against the Emperors...</dialogue> <character>CAP</character> <dialogue>Are you kidding me?! Are you...</dialogue> <parenthetical>(wants to swear)</parenthetical> <dialogue>kidding me -- ?</dialogue> <character>TONY</character> <dialogue>Rock...</dialogue> <character>CAP</character> <dialogue>I'm ready to play, Tony! Goddamit!</dialogue> <character>TONY</character> <dialogue>Listen to me. I want you to rest up until the playoffs. It doesn't mean enough against the Emperors for you to risk...</dialogue> <character>CAP</character> <dialogue>Home field advantage don't mean enough? Since when...?</dialogue> <character>TONY</character> <dialogue>It's not the big one, Cap. We can win at home or on the road with you. You know it's the smart thing to do. And one thing you always were was smart, Cap -- smarter than you were dumb.</dialogue> <character>CAP</character> <dialogue>Is this how it starts, Tony? I know the way your mind works, man. 'Rest up.' Let the kid take a few games. You were great, but time marches on, huh?</dialogue> <character>TONY</character> <dialogue>That's not what I'm saying --</dialogue> <character>CAP</character> <dialogue>The heck it's not! I know the game of football!</dialogue> <scene_description>Cap walks away, crossing Willie on his way off the field. He slaps the back of his helmet hard.</scene_description> <character>CAP</character> <dialogue>Get all pretty for the cameras, poster boy!</dialogue> <character>WILLIE</character> <dialogue>What the -- ?!</dialogue> <character>CAP</character> <dialogue>... They love you today but a season's 16 games, kid. It's how you live through the bad ones that makes you a quarterback, not a punk!</dialogue> </scene> <scene> <stage_direction>INT. SHARK CENTER LOCKER ROOM - CONTINUOUS ACTION - DAY</stage_direction> <scene_description>Mandrake walks alongside Christina, through an empty locker room.</scene_description> <character>MANDRAKE</character> <dialogue>... the bottom line is Rooney's some kind of medical miracle. He really could be ready for New York.</dialogue> <character>CHRISTINA</character> <dialogue>You told anyone, Harvey?</dialogue> <scene_description>Mandrake, thinking she would be pleased, shakes his head, realizes what she's really thinking.</scene_description> <character>MANDRAKE</character> <dialogue>... 'Course he'd have to take a lot of pain and his ankle's not 100 percent. But he will. He's got the mind of an ox. He's so freaked about Beamen stealing his job, he'd probably play with a fractured neck.</dialogue> <character>CHRISTINA</character> <dialogue>Harvey... could you slow him down? Tell him he's not responding to rehab well enough -- just till the playoffs. Give Beamen his shot...?</dialogue> <character>MANDRAKE</character> <parenthetical>(pause)</parenthetical> <dialogue>Well... everyone knows herniated discs are 'iffy.' I could recommend...</dialogue> <character>CHRISTINA</character> <parenthetical>(moves on)</parenthetical> <dialogue>What about Shark?</dialogue> <character>MANDRAKE</character> <dialogue>He's still woozy, got bad migraines. Post-concussive syndrome.</dialogue> <character>CHRISTINA</character> <dialogue>Can you clear him?</dialogue> <character>MANDRAKE</character> <parenthetical>(almost laughs)</parenthetical> <dialogue>... you mean which shell is the real peanut under?</dialogue> <parenthetical>(hesitates)</parenthetical> <dialogue>Three concussions the last five months? There's no way to predict what another head-hit would do, Christina...</dialogue> <character>CHRISTINA</character> <dialogue>How come Dallas had their quarterback practically in a coma last month just before he played one of the greatest games of his life...?</dialogue> <character>MANDRAKE</character> <parenthetical>(backtracking)</parenthetical> <dialogue>... Well no question he wants his tackle and sack bonus bad. Theoretically, his brain's at increased risk, but it's theoretical, and I can pump him full of cortisone to catch the swelling and let him finish out the season... without a malpractice suit of course --</dialogue> <parenthetical>(off her look)</parenthetical> <dialogue>I'm joking. I don't really think anything's gonna happen... but I'm not a complete prick, you know, Christina, I do have some kind of conscience.</dialogue> <scene_description>A168 EXAM ROOM #1 A168 If she thinks so, Christina stays cool-eyed about it. They enter a small exam room.</scene_description> <character>CHRISTINA</character> <dialogue>I'm not looking to screw him, Harvey. But I gotta have him in the playoffs -- and he wants to play for chrissake, so everyone comes out...</dialogue> <character>MANDRAKE</character> <dialogue>... long term?... What are you thinking?</dialogue> <character>CHRISTINA</character> <parenthetical>(a beat, eye to eye)</parenthetical> <dialogue>I'm thinking we'll probably cut him in the off-season. The word's already out there, everyone's seen him take the hits. No one's gonna take him at his price... I think he'll be happy just to have his old job back at 30 percent of what he makes. That's if we want him back.</dialogue> <parenthetical>(off Mandrake's waiting look)</parenthetical> <dialogue>Dad always used to say, 'To make money, you got to spend money.' You do the math, Doctor. What you help save us we won't forget at contract time.</dialogue> <character>MANDRAKE</character> <dialogue>Smart man, Art. But you got him beat by a Miami mile, Christina... What do I tell Tony?</dialogue> <character>CHRISTINA</character> <parenthetical>(exiting)</parenthetical> <dialogue>Tell him what he needs to know. Shark can play. Cap can't.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>INT. TONY D'AMATO'S HOUSE - LATE DAY/NIGHT</stage_direction> <scene_description>Tony's in his kitchen when the DOORBELL RINGS, laboring over a pot of jambalaya, wearing an apron reading: "Kiss My Chef." A BILLIE HOLIDAY RECORDING PLAYS. He goes.</scene_description> <character>AT FRONT DOOR</character> <dialogue>Willie waits, carrying flowers.</dialogue> <character>WILLIE</character> <dialogue>Hi, got you flowers.</dialogue> <scene_description>He thrusts the flowers forward. Tony looks at them, a little taken aback; then takes them and shows Willie into the living room.</scene_description> <character>TONY</character> <dialogue>For me? Thanks... I guess I better put these in water or something. Come on in.</dialogue> <scene_description>Tony goes to the kitchen, looking at the flowers. Willie now gets it.</scene_description> <character>WILLIE</character> <parenthetical>(to himself)</parenthetical> <dialogue>Shark, you motherfucker!!</dialogue> <character>TONY</character> <dialogue>Sit down.</dialogue> <character>WILLIE</character> <dialogue>Nice place.</dialogue> <character>TONY</character> <dialogue>You wanna beer?</dialogue> <character>WILLIE</character> <dialogue>Sure.</dialogue> <scene_description>SAME SCENE - LATER Tony brings beers to Willie, glancing at Ben Hur on television; the irony slave ships and gladiators is not lost on Willie.</scene_description> <character>WILLIE</character> <dialogue>The gladiators of their time...</dialogue> <parenthetical>(to Tony)</parenthetical> <dialogue>Cute apron.</dialogue> <character>TONY</character> <parenthetical>(removing it)</parenthetical> <dialogue>My ex-wife got it for me. It was a joke. I don't cook so great -- so don't expect anything too...</dialogue> <character>WILLIE</character> <dialogue>Don't worry. I'd be happy with a peanut butter and jelly sandwich. When'd you divorce her?</dialogue> <character>TONY</character> <dialogue>Almost twenty years now...</dialogue> <parenthetical>(off silence)</parenthetical> <dialogue>Same old story, she got fed up with me working so hard. You know where they served the divorce papers? On the sidelines of the divisional playoff game in New York.</dialogue> <character>WILLIE</character> <parenthetical>(chuckles)</parenthetical> <dialogue>That's cold.</dialogue> <character>TONY</character> <dialogue>Fuck her, we won the game.</dialogue> <character>WILLIE</character> <dialogue>That's what it's all about.</dialogue> <character>TONY</character> <dialogue>You ready?</dialogue> <scene_description>Tony leads Willie into a dining room, Willie glancing around, noting many football photos that grace the walls. DINING ROOM Tony and Willie eat from two steaming plates of jambalaya.</scene_description> <character>TONY</character> <dialogue>... my own recipe. Sort of adapted from Paul Prudhomme's. Ever been to his place in New Orleans?</dialogue> <character>WILLIE</character> <parenthetical>(disguising his distaste)</parenthetical> <dialogue>No.</dialogue> <character>TONY</character> <dialogue>Maybe get 'em next season. Like no place on earth, New Orleans. How you like it?</dialogue> <character>WILLIE</character> <dialogue>Hot! It's terrific, thanks.</dialogue> <character>TONY</character> <dialogue>... Well, thanks for coming by.</dialogue> <character>WILLIE</character> <dialogue>You're going to yell at me, aren't you?</dialogue> <character>TONY</character> <dialogue>No... no. I just wanted to talk...</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>Willie, look, if I've been an asshole I'm sorry. Cap going down was really tough for me and maybe I've been taking some of that out on you. I know you're still learning the system and the pressure's incredible --</dialogue> <character>WILLIE</character> <dialogue>I can handle it.</dialogue> <character>TONY</character> <dialogue>I know. But we need to talk about this. I think you got a great future in football but first off we gotta deal with some basics. Like if the play book is too complicated we can simplify it for you --</dialogue> <character>WILLIE</character> <dialogue>Man, that book is too slow. When I am out there on the field I just gotta feel it. I can't be thinking about nothing but the juice. I got to let it out.</dialogue> <character>TONY</character> <dialogue>Listen, you're too fast out there as it is. You need to wait for the plays to develop. Our offense was built up over years, it's like Chinese water torture, taking apart the other team a little at a time, it's the death of 1,000 cuts.</dialogue> <character>WILLIE</character> <dialogue>I like things I guess a little more muscular, suits my style...</dialogue> <character>TONY</character> <parenthetical>(stops eating)</parenthetical> <dialogue>Is that why you been changing the plays?</dialogue> <character>WILLIE</character> <dialogue>I'm trying to read the defense, Coach, it's...</dialogue> <character>TONY</character> <dialogue>I'm not talking about audibles... Look, I know you like making the big plays. I understand that. But our game plans are the result of a lot of work and a lot of experience.</dialogue> <character>WILLIE</character> <dialogue>I know that --</dialogue> <character>TONY</character> <dialogue>I know you do. When you change plays you're showing disrespect to a lot of people in this organization --</dialogue> <character>WILLIE</character> <dialogue>I don't mean to --</dialogue> <character>TONY</character> <dialogue>People who've worked for years in this club and around the League. People who've sacrificed more than you will ever know to be in this game.</dialogue> <scene_description>Willie sees where this is going.</scene_description> <character>WILLIE</character> <dialogue>I'm trying to win, Coach! I been warming the bench ever since I got to the pros, and I don't plan on going back there. I don't wanna disrespect nobody but... winning is the only thing I respect.</dialogue> <scene_description>Tony looks at Willie with a singular, quiet intensity.</scene_description> <character>TONY</character> <dialogue>Okay, son, listen to me very carefully and remember what I'm going to tell you. You can forget every other goddamn thing I ever said if you remember this, because someday you're going to realize it's the truest thing you ever heard: This game has got to be about more than winning.</dialogue> <scene_description>Willie says nothing.</scene_description> <character>TONY</character> <parenthetical>(relaxes a little)</parenthetical> <dialogue>... I guess that's what I wanted to say. You're part of something here! A tradition. Lombardi, Unitas, Tittle, Sammy Baugh, hundreds of great players! Those men on the wall, you're part of that now. And along the way I want you to cherish that... 'cause when it's gone, it's gone forever, and...</dialogue> <character>WILLIE</character> <dialogue>You know, I look at all these pictures and trophies and stuff and it just makes me... sad. Like the room is full of ghosts. When I'm done with the game, or the game is done with me, I don't wanna be no ghost up on a wall. I want more'n that.</dialogue> <scene_description>Tony takes a long moment.</scene_description> <character>TONY</character> <dialogue>... Looks like Cap's gonna make it back in time for the playoffs... I'm gonna start him.</dialogue> <character>WILLIE</character> <parenthetical>(long icy pause)</parenthetical> <dialogue>Yeah, I figgered. That's why I'm here, right? I knew you was gonna sell me out.</dialogue> <character>TONY</character> <dialogue>Cap's a leader... a team player. You need a team to win in the playoffs.</dialogue> <character>WILLIE</character> <dialogue>Bullshit! He's not half the athlete I am! Look me in the eye, Coach, and tell me Cap's the better player...</dialogue> <character>TONY</character> <dialogue>Cap's the better player.</dialogue> <character>WILLIE</character> <parenthetical>(derisively)</parenthetical> <dialogue>Sure! I guess that was another guy winning the last two games. I put points on the board! He lost four in a row. I lead by doing!</dialogue> <character>TONY</character> <dialogue>You kicked ass, kid, but Cap Rooney has been 'doing' it for years and he goddamn deserves his day in the sun, so don't start...</dialogue> <character>WILLIE</character> <dialogue>And I deserve the bench, right?!</dialogue> <character>TONY</character> <dialogue>... He's been the quarterback of this team as long as...</dialogue> <character>WILLIE</character> <dialogue>And his time is over! And yours is too... 'less you start taking some risks! Start playing the game the way it is now. It ain't all those pictures on the wall anymore --</dialogue> <character>TONY</character> <parenthetical>(seething)</parenthetical> <dialogue>I've lived this game for three decades, kid, I know football. Those men --</dialogue> <character>WILLIE</character> <dialogue>Wanted to win -- just like you do! You can feed the press and the fans all that 'sacrifice and glory, grand ol' man of the game' crap!</dialogue> <dialogue>You sell it good, everyone bought it. But I been there, Coach, I seen a long line of guys like you from college on with that bullshit halftime speech!</dialogue> <character>TONY</character> <parenthetical>(furious)</parenthetical> <dialogue>It's bullshit, huh! You think you...</dialogue> <character>WILLIE</character> <dialogue>Yeah, it is! And you know it is! 'Cause it's really about money. Rakin' in the TV contracts, fat- cat boosters sittin' in their skyboxes and coaches uppin' their salaries, all of 'em looking for the next black stud to get 'em in the Top Ten, put 'em in the bowl games -- It's just like the pros, 'cept in the pros, the field hands get paid...</dialogue> <character>TONY</character> <dialogue>Don't play the race card with me, kid. Twenty-five years I've worked with men of your color. You're good because you're different, not because...</dialogue> <character>WILLIE</character> <dialogue>Maybe it's not racism, maybe it's placism, but the black man still gotta know his place, right, Coach?</dialogue> <character>TONY</character> <dialogue>What are you saying? You don't trust anybody 'cause of what happened to you in college? You knew the rules, Willie, you broke 'em.</dialogue> <character>WILLIE</character> <dialogue>Broke 'em?! How'd I break 'em?</dialogue> <character>TONY</character> <dialogue>You broke 'em. That's how you broke, 'em.</dialogue> <character>WILLIE</character> <dialogue>Man, I lost a million-dollar signing bonus 'cause a booster gave me a three-hundred-dollar suit to go to his kid's wedding. I didn't even know the guy. Hell, everybody was getting something! How's a black man supposed to get through college when he don't got the money to get clothes, go on a date? They all had their hands out but it was me they suspended.</dialogue> <character>WILLIE</character> <dialogue>I dropped six rounds in the draft 'cause of that. And the coaches rapping me 'troublemaker,' 'arrogant,' 'won't play ball,' all that corporate shit they hit the brothers with when they won't kiss the money. Shit, I coulda made millions of dollars if I'd kissed that big ass Julian's kissing all the time. You talk about 'sacrifice'? I sacrificed about ten million dollars is what I sacrificed, 'cause of those dumb rednecks like your coach friend at San Diego who makes me corner back 'cause I got fast feet! It was him separated my shoulder, fucked up my throwin' arm tackling some 250-pound bullmother. I was a great football player but nobody gave me the time of day or the season I needed to heal that shoulder. They traded me right outta there!</dialogue> <character>TONY</character> <dialogue>Blame anybody but yourself, Willie! Y'see, that's what a leader is about, the times he's gotta sacrifice because he has to lead by example, not by fear or...</dialogue> <character>WILLIE</character> <parenthetical>(challenged)</parenthetical> <dialogue>Fear?! Who you talking to?! I hung in there when nobody gave a shit about me. I rode the bench for five fucking years! And now I get my one lousy shot, I'm 26 years old -- half my football life is over -- and now you tell me 'You go on back to the bench, son. 'Cause you gotta sacrifice for the greater glory of Cap Rooney.' Well, fuck you, Coach! I'm not buying that brand, 'cause you're some scared old man who won't let me play my way 'cause I might just win! And then what the fuck was your life all about?!</dialogue> <scene_description>Tony fights to control himself. Outside, the evening crawls through the twilight.</scene_description> <character>TONY</character> <parenthetical>(quietly)</parenthetical> <dialogue>You're not some flash-in-the-pan receiver or corner back or even Julian Washington, kid, you're a goddamn quarterback! You know what that means? It's the top spot, kid, the guy that takes the fall, the guy who everybody's looking at first, the leader of a team, who will break their ribs and noses and necks for you 'cause they believe! 'Cause you make 'em believe! That's a quarterback.</dialogue> <character>WILLIE</character> <parenthetical>(caustic, overlapping)</parenthetical> <dialogue>Yeah, I'm the leader of your team till Cap's back up! Then I'm back on the bench. Shit, you ain't said two words to me all season 'til Cherubini went down -- then it was...</dialogue> <parenthetical>(imitating D'Amato)</parenthetical> <dialogue>'Son, just pretend you're throwing a pass on the street in the 'hood and your mama's ringing the dinner bell' -- all you done is talked at me, man, never listened to a goddamned thing I said! So don't have no coronary 'cause I'm gonna stay who I am -- 'Steamin' Willie Beamen'! 'Cause with the time I got left I'm gonna play my way and I'm gonna get my dollars up there so's when you motherfuckers trade me, waive me, injure reserve me, or whatever the fuck you do to me, I'm gonna be worth ten times what I was worth before!</dialogue> <scene_description>A long pause. Tony's eyes, moving past ego, scrambling to understand.</scene_description> <character>TONY</character> <dialogue>I don't know... you are a very, very young man. And you are very, very stupid.</dialogue> <character>WILLIE</character> <dialogue>Tell me I'm wrong.</dialogue> <character>TONY</character> <dialogue>You're wrong. I know better than you think, Willie...</dialogue> <character>WILLIE</character> <dialogue>You don't know one thing about me... You couldn't even begin to imagine me.</dialogue> <scene_description>He leaves Tony -- drained.</scene_description> </scene> <scene> <stage_direction>EXT. SHARK'S HOUSE - THAT NIGHT</stage_direction> <scene_description>Valet parkers attend to the numerous expensive cars and limos that pull into a circular driveway, unloading beautiful laughing women and exuberant football players... Willie drives his Suburban right up onto the front lawn, enraging the valets.</scene_description> </scene> <scene> <stage_direction>INT. SHARK'S HOUSE - CONTINUOUS ACTION - NIGHT</stage_direction> <scene_description>Willie is met with a ferocious explosion of MUSIC and mayhem; players dance and drink and pursue the opposite sex through the house... Shark bounces up to him:</scene_description> <character>SHARK</character> <dialogue>Make yourself at home in 'The Pit,' Dawg! Blowjobs upstairs. But if you want to hit the skins, trawl the beach. Whatever you do, don't mess up my sheets, cause my old lady's comin' back Tuesday and she gonna kick my butt she see any semen or blood round here!!</dialogue> <scene_description>In a lively mood, Shark stumbles off. Willie makes his way through a packed living room... women immediately perk when they see him, whispering, some predatory...</scene_description> </scene> <scene> <stage_direction>A174 INT. SHARK'S HOUSE - UPSTAIRS BALCONY - CONTINUOUS A174</stage_direction> <character>ACTION</character> <dialogue>Willie gravitates to Washington, Sanderson, a few others: The dialogue is fast, overlapping.</dialogue> <character>SANDERSON</character> <dialogue>What up, Willie B?! Coach give you the Vince Lombardi speech?</dialogue> <character>WILLIE</character> <dialogue>He's in my face like I lost the goddamn game! Mother...</dialogue> <character>SANDERSON</character> <dialogue>Told you! Hey, he's having a shit year, what do you...</dialogue> <character>WILLIE</character> <dialogue>You know straight up we'd be top dog this season if the defense would step up --</dialogue> <character>WASHINGTON</character> <dialogue>Hey, lay off the D, man. Shark hear that shit he'll tear you a new asshole.</dialogue> <character>WILLIE</character> <dialogue>You think I give a fuck! Hey, I wanna win games, not kiss some overrated loser's ass. But what do you care anyway, J? You ain't playin' for this team. You playing for yourself, like everybody else round here...</dialogue> <character>WASHINGTON</character> <dialogue>Who you talking about, punk?! Watch that mouth of yours or I'll kick your fucking ass! You gotta earn the right to diss someone on this team, boy!</dialogue> <character>WILLIE</character> <dialogue>Team? Shit. All I see of this team is a bunch of rich superfly brothers tripping in this white man's world, driving their BMW, getting their dicks sucked by 100 dollar hair jobs... and the clock's running and no one's giving a shit 'cause they're all dying inside... You were a great athlete, J, but you become a joke! You're playing, but it's like you're dying inside.</dialogue> <scene_description>Willie walks off -- his thoughts contradicting what he said at Tony's place; a troubled man, his confusion brewing to the surface. Julian, on the other hand, is a furious man, restrained by Sanderson and the others.</scene_description> <character>WASHINGTON</character> <dialogue>What the fuck you mean 'dying inside'?! Kiss my Armani ass, m'fucker! Talking to me like that! Who the... does this nigra know WHO I AM?! What I done for this team?! I'm gonna kill you, motherfucker!</dialogue> </scene> <scene> <stage_direction>EXT. SHARK'S HOUSE - BACK YARD - CONTINUOUS ACTION</stage_direction> <scene_description>In the hot tub, players are cavorting with the women, and Shark is telling stories, as Powers listens in.</scene_description> <character>SHARK</character> <dialogue>... So then Madman loses it -- starts reaming this guy out and then decides this hotel has GOT TO DIE! Stomps into the hall, grabs a fire ax and starts chopping through the wall. By now Styne, he grabs him, he's about to eliminate Madman right then and there, so I gotta jump in, I got to protect my baby, be the hero and save the fuckin' guy, when whap! thwack! Styne throws two quick punches that weigh about 150 pounds each and nails me right in the fucking head! Cracks my fucking skull! Check it out...</dialogue> <parenthetical>(indicates his temple area)</parenthetical> <dialogue>... Bitch! From then on, guess what? Styne and Madman are like this dynamic evil duo who...</dialogue> <character>POWERS</character> <parenthetical>(interrupting)</parenthetical> <dialogue>He cracked your skull?</dialogue> <character>SHARK</character> <dialogue>Yeah. So those two sonofabitches decide they're gonna rule the world...</dialogue> <character>POWERS</character> <dialogue>Hold on, Shark. He actually cracked your skull?</dialogue> <character>SHARK</character> <dialogue>Yeah, Doc. I hate when that shit happens... So now we got these two locos on the offensive line and Coach D'Amato is about ready to call an exorcist when...</dialogue> <scene_description>Dr. Powers, disturbed, leaves without being noticed.</scene_description> </scene> <scene> <stage_direction>A175 INT. SHARK'S HOUSE - BATHROOM - SAME TIME A175</stage_direction> <scene_description>A dozen beauties are lined up at the giant mirror, making themselves up, "doing blow," chatting, gossiping...</scene_description> </scene> <scene> <stage_direction>B175 EXT. SHARK'S HOUSE - BACK YARD B175</stage_direction> <scene_description>Julian, still angry, slides up to Shark.</scene_description> <character>WASHINGTON</character> <dialogue>Beamen disrespecting you, talking shit about you and the D...</dialogue> <character>SHARK</character> <dialogue>Are you kidding me? Are you fucking kidding me?! He goes after my D, I'm gonna break him off!</dialogue> <character>WASHINGTON</character> <dialogue>Motherfucker punkin' every damn one of us. We need to smack the m'fucker!</dialogue> <scene_description>Shark thinks a beat, then:</scene_description> <character>SHARK</character> <dialogue>What's that motherfucker drive?</dialogue> <scene_description>OMITTED &amp; &amp;</scene_description> </scene> <scene> <stage_direction>INT. SHARK'S HOUSE - UPSTAIRS BALCONY</stage_direction> <scene_description>RAY FIELDS, former star linebacker, now using a set of canes, approaches, Crozier, talking to Willie. Fields' wizened face and eyes are a little too desperate for attention.</scene_description> <character>FIELDS</character> <dialogue>Hey, Nick. How's it hanging?</dialogue> <character>CROZIER</character> <dialogue>Young and hung, Ray.</dialogue> <character>FIELDS</character> <dialogue>Steamin'! My man -- lookin' good. Does my heart proud to see a young brother in the pocket.</dialogue> <character>WILLIE</character> <parenthetical>(interrupted, doesn't know him)</parenthetical> <dialogue>Havin' fun, baby.</dialogue> <character>FIELDS</character> <parenthetical>(checking out Willie's chick)</parenthetical> <dialogue>Yeah, yeah, havin' fun. I hear ya. Say, Nick, I was meaning to talk to you 'bout some new plays I got --</dialogue> <character>CROZIER</character> <dialogue>Not now, Ray. It's party time, okay?</dialogue> <scene_description>Willie notices the dominant Pantheon Cup ring on Fields' hand.</scene_description> <character>FIELDS</character> <dialogue>Yeah, yeah -- party time, uh huh -- not the right time...</dialogue> <parenthetical>(catching Willie's eye)</parenthetical> <dialogue>Yeah, Pantheon Cup twice -- '79, '81.</dialogue> <scene_description>Fields emits a strange, oxen-like laughter -- they split looks, Willie horrified; Fields knows it, refers to his emaciated fingers.</scene_description> <character>FIELDS</character> <dialogue>Gotta get a chain for this one, try to buy 'em off me all the time. Had to sell one of 'em, but no way I was gonna let this sucker go. Without this, shit! You wouldn't even know who the fuck I was, now would you? I been there, Willie. Done that. You 'steamin'' now but this is one dance they all play the same last song...</dialogue> <character>CROZIER</character> <dialogue>Hey, Ray, give it a rest, willya -- enjoy the party. It's his time... You had your time, it's his time.</dialogue> <character>FIELDS</character> <dialogue>Sure, Nick, but you a coach --</dialogue> <parenthetical>(pointed)</parenthetical> <dialogue>If you ain't helping him, you're hurtin' him...</dialogue> <parenthetical>(to Willie)</parenthetical> <dialogue>Don't bull with the shit, righteous, there's plenty of it.</dialogue> <parenthetical>(again that humongous laughter)</parenthetical> <dialogue>Ha ha ha ha!</dialogue> <parenthetical>(high fives)</parenthetical> <dialogue>Stay cool, little brother...</dialogue> <character>WILLIE</character> <parenthetical>(gives it back)</parenthetical> <dialogue>You too, Ray...</dialogue> <scene_description>His eyes burning like candles, Ray shifts his intense, almost blind gaze off Willie, and staggers back into the chaos of MUSIC and flesh on his canes.</scene_description> <character>WILLIE</character> <dialogue>That really Ray Fields?</dialogue> <character>CROZIER</character> <dialogue>Used to be Ray Fields.</dialogue> <character>WILLIE</character> <dialogue>Man! I watched him on TV growing up. Every Sunday. Like Tarzan. He was huge!</dialogue> <character>CROZIER</character> <dialogue>Yeah. Like he said, he was just too long at the dance. Like the rest of 'em... Thank God, those days are over...</dialogue> <character>WILLIE</character> <dialogue>He give you plays?</dialogue> <character>CROZIER</character> <parenthetical>(shrugs, dismissive)</parenthetical> <dialogue>... I humor him. Gives him something to do.</dialogue> <character>CROZIER</character> <dialogue>Guy took a lotta hits -- lost everything to booze, painkillers -- his family, all his money, typical shit... was out on the street for a while, then the press got hold of it and management gave him a few bucks. He gets by... Don't get down, Willie... I'm pushing real hard for another OT or pulling guard in the draft.</dialogue> <scene_description>Moved, Willie's eyes remain on Fields, talking to someone else; he's also rethinking Crozier's attitude towards the players.</scene_description> <character>WILLIE</character> <dialogue>I like it, sounds like some big changes coming next year, Coach. Maybe you be stepping up...</dialogue> <scene_description>Washington strolls up to him.</scene_description> <character>WASHINGTON</character> <dialogue>Say, Willie, that your 4 X 4 outside?</dialogue> <character>WILLIE</character> <dialogue>You mean my Sub? What's up?</dialogue> <character>WASHINGTON</character> <dialogue>Well, it's more like a 4 X 3 now.</dialogue> <scene_description>Smiling, he strolls back out the front door. A beat. Willie follows fast.</scene_description> </scene> <scene> <stage_direction>EXT. SHARK'S HOUSE - DRIVEWAY - CONTINUOUS ACTION</stage_direction> <scene_description>A LOUD, GRINDING, BUZZING sound. Partygoers are assembled. Shark bestrides Willie's Suburban with an enormous CHAIN SAW in his hands, literally SAWING the VEHICLE in two halves. Sparks shoot out, upholstery, plastic, and metal fly... Willie can't believe, then rushes Shark, wanting to kill him! (AD LIBS)... but others jump him; it takes several strong players to restrain him. The car now tears open at a jagged angle. Shark TURNS OFF the CHAIN SAW, removes his safety goggles... to Willie:</scene_description> <character>SHARK</character> <dialogue>Kid, in football you got an offense...</dialogue> <parenthetical>(jumping down, points to the severed front of the car)</parenthetical> <dialogue>And you got a defense...</dialogue> <parenthetical>(indicates the back half)</parenthetical> <dialogue>You don't got one without the other, do you...? Respect will be paid. Now call this m'fucker a cab and get him the fuck outta my house!</dialogue> </scene> <scene> <stage_direction>INT. BAR - SIMULTANEOUS ACTION - NIGHT</stage_direction> <scene_description>Tony sits with Monroe at his favored sports bar. Monroe is drunk.</scene_description> <character>TONY</character> <dialogue>... I just can't get through. Used to be I could take anyone -- rookie, vet, bad-ass parolee -- didn't matter -- I could make them... see what I see.</dialogue> <character>MONROE</character> <parenthetical>(more revealing than usual)</parenthetical> <dialogue>It's a new world, Tony! In my day we were just happy to have the goddamned job. I shoveled liquor in the off-season, used cars, insurance. Some guys used to wrassle... Now, shit -- Prima dawgs! Bodies are year-round great but break like china!</dialogue> <scene_description>Mandy, the young beautiful woman who approached Tony previously, enters with a friend. Tony notices, as does Monty.</scene_description> <character>TONY</character> <dialogue>TV... It changed the way we think -- forever. First time they stopped the game because they had to cut to a commercial was the end of it. I mean it was our concentration that fucking mattered, not some fruitcake selling insurance...</dialogue> <character>MONROE</character> <dialogue>... Getting those big salaries, the bonuses, these rooks come in here thinking they deserve respect before they play a goddamn down --</dialogue> <character>TONY</character> <parenthetical>(passionate)</parenthetical> <dialogue>Damnit, Monty, I don't know what more I can do. I've sweated blood for these men. I've given up my wife and my children for these men. I've given up everything I have to be on that sideline every Sunday. Everything! The game is all that matters to me. 'Cause it's pure! Four quarters. You cross a line, you score. It's sane. Life isn't, it isn't... It doesn't make sense for me not to have a home, a life... you tolerate the madness for the game... but if that's not enough, then this game is asking for too goddamn much!</dialogue> <character>MONROE</character> <dialogue>It always did, Tony... I coulda held on another two, three seasons. But one day in Chicago, the wind was blowin' off the lake -- man was it cold! I cracked my head right up against that frozen turf, and I knew -- right then -- I wasn't gonna do this anymore.. shit, it wasn't any fucking fun! -- You gotta know when to get out, Tony. 'Fore it takes your soul.</dialogue> <scene_description>A180 ON TV #1 A180 Willie's commercial explodes over the bar, with LOUD MUSIC -- stylish, slick, sexy.</scene_description> <character>MONROE</character> <dialogue>-- Speaking of the devil!</dialogue> <scene_description>BACK TO SCENE They watch for a moment, then Monroe drains his beer.</scene_description> <character>MONROE</character> <dialogue>Gotta get out of here...</dialogue> <character>TONY</character> <dialogue>Come on, Monty, one more.</dialogue> <character>MONROE</character> <dialogue>Can't, Tony. Lady's got a curfew out on me.</dialogue> <character>TONY</character> <parenthetical>(snorts)</parenthetical> <dialogue>Curfew! How the hell do you and Sheila do it anyway?</dialogue> <character>MONROE</character> <dialogue>Well, we came to an agreement early on. All day long I live, breathe, and shit football. The moment I come home, I live, breathe, and shit family.</dialogue> <character>TONY</character> <parenthetical>(shakes his head)</parenthetical> <dialogue>... It's impossible!</dialogue> <character>MONROE</character> <parenthetical>(rises)</parenthetical> <dialogue>Hey, who the hell wants to think about blitzes and crossblocks when you're holding your grandkids in your arms...?</dialogue> <parenthetical>(pointed)</parenthetical> <dialogue>You gonna miss your boss embarrassing you in front of your players?</dialogue> <parenthetical>(as Tony doesn't acknowledge this memory)</parenthetical> <dialogue>That's why I want to coach high school, it's back to basics, the kids don't want nothing but to play. Like you say, it's pure... See you tomorrow, my friend...</dialogue> <scene_description>He goes. Tony sits for a moment, and then glances at Mandy.</scene_description> </scene> <scene> <stage_direction>INT. TONY D'AMATO'S HOUSE - BEDROOM - NIGHT</stage_direction> <scene_description>Tony gazes at one of three wall TV's; Mandy on an exercise bike in the corner, semi-naked in his pajamas.</scene_description> <character>TONY</character> <dialogue>... So Jeanette was 20, 21, I was just making it as a lowball assistant with San Diego -- Jock Harris was running the place then -- and one day we been romancing a year about and I says to her, 'So what about marriage?' And she says, 'What about it?' And I says to her, 'Well, I gotta see you backpedal first.' And she says...</dialogue> <character>MANDY</character> <dialogue>Backpedal?</dialogue> <character>TONY</character> <dialogue>You know. Quarterback gotta be able to drop back -- ? Run backwards? You shoulda seen Jeanette's face. She gets up -- bless her Albanian soul! And she does it! She backpedals for me. In high beautiful heels too! All the way! Jeanette! Can you do it? Don't try -- I'll marry ya!</dialogue> <character>MANDY</character> <parenthetical>(crossing to bed)</parenthetical> <dialogue>Your genes, her genes... did you get a quarterback out of it?</dialogue> <character>TONY</character> <dialogue>Nah. Not even close. I had an insurance executive.</dialogue> <parenthetical>(as they both laugh)</parenthetical> <dialogue>How can you have one of them? Came out with a briefcase.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>... Nah, he's a beautiful kid.</dialogue> <character>MANDY</character> <parenthetical>(props herself over Tony)</parenthetical> <dialogue>You know what you need?</dialogue> <character>TONY</character> <dialogue>... yeah, a pump.</dialogue> <character>MANDY</character> <dialogue>You need to be... young again!</dialogue> <scene_description>She attacks him, tickling him all over. Like a boy, Tony giggles; it's been a long time since he'd been tickled. INTERCUT WITH: Willie, wearing gold chains and a new diamond stud earring, is being interviewed by Jack Rose on "Sports Corner."</scene_description> <character>WILLIE (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>... The coach in Houston didn't dig black quarterbacks too much, he was kind of a redneck dude...</dialogue> <parenthetical>(laughs)</parenthetical> <dialogue>Thought black people's brains were about the size of his dick (bleeped)... Then at San Diego -- that coach was a real genius -- he makes me into a corner 'cause he says I got fast feet...</dialogue> <parenthetical>(a bitter edge to his laughter)</parenthetical> <dialogue>Then I got injured and that screwed up that year. By the time I got to Oakland my third year, they didn't know what the fuck (bleeped) I was!</dialogue> <character>ROSE (V.O.)</character> <parenthetical>(on TV)</parenthetical> <dialogue>Sounds like 'a conspiracy,' Willie! Are you saying black people are being dissed here?</dialogue> <character>WILLIE (V.O.)</character> <parenthetical>(shakes his head)</parenthetical> <dialogue>'Conspiracy'?</dialogue> <parenthetical>(laughs)</parenthetical> <dialogue>Man, you is media-believing. Just let the facts speak for themselves, Jack -- 70 percent of the League is Afro-American and how many black head coaches? A few. How many black owners? Zero. You do the math, my man... But I ain't bitchin'. Fair's not what I'm looking for. 'Cause nothing's 'fair' in this here life.</dialogue> <character>ROSE (V.O.)</character> <dialogue>Come on, kid! It's a free country! Black dudes can buy teams. You have the green, you can buy a team. Black, white, or inbetween.</dialogue> <character>WILLIE (V.O.)</character> <dialogue>Football teams are corporations, Jack, but black kids are raised to be individuals, stars -- they don't learn to work together...</dialogue> <scene_description>BACK TO SCENE Tony, made happy by Mandy, gets out of bed, puts a robe on with his name emblazoned, like a fighter's, on the back, about to turn off the TV.</scene_description> <character>MANDY</character> <dialogue>Leave him on. He's cool.</dialogue> <character>TONY</character> <parenthetical>(mocking)</parenthetical> <dialogue>'Cool'? My quarterback? He thinks he's Joe Montana already.</dialogue> <character>MANDY</character> <dialogue>I like him. He doesn't buy into the bullshit... I like his eyes. He's sure of himself -- makes him sexy.</dialogue> <scene_description>Tony looks at Willie, wondering. Being with someone as young as Mandy permits him to understand. He pulls a blank check from his robe.</scene_description> <character>TONY</character> <dialogue>Thank God I'm old. Check alright?</dialogue> <character>MANDY</character> <parenthetical>(laughs)</parenthetical> <dialogue>Is it good? Prefer credit card or cash, but this one time -- okay...</dialogue> <character>TONY</character> <parenthetical>(filing it out)</parenthetical> <dialogue>You want a nightcap or something?</dialogue> <character>MANDY</character> <parenthetical>(starting to dress)</parenthetical> <dialogue>No, I don't think so, but thanks...</dialogue> <character>TONY</character> <dialogue>How 'bout some coffee then?... Just stay for some coffee. Five minutes.</dialogue> <character>MANDY</character> <parenthetical>(senses his need)</parenthetical> <dialogue>Okay. Coffee'd be great.</dialogue> <scene_description>He goes as she continues to dress, watching.</scene_description> <character>WILLIE (V.O.)</character> <dialogue>... I like looking downfield, Jack. I'm a big play guy. That's what the fans want. Sometimes the old timers like 'Coach Stone Age,' they don't go for that, but the scoreboard don't lie, Jack...</dialogue> <character>ROSE (V.O.)</character> <dialogue>'Coach Stone Age'?, that's terrific!</dialogue> <character>WILLIE (V.O.)</character> <dialogue>That's my little nickname. Don't mean no disrespect to the man, but to me it's all about winning. That's what this country's all about. Being number one. Every kid can grow up to be President, right? Who the hell wants to grow up to be Vice-President? There ain't no number two in football. You tell me who lost the Pantheon Cup last year? You tell me who came in second in the 100 at the Olympics? Where I come from you're number one or you ain't shit (bleeped)! This country was built on kicking immigrant ass. African ass, Chinese ass -- don't- matter-who ass. Only reason I made it out of Dallas is I wanted it more than the other guy. There ain't no grey area! Either you make it and get the big car and the nice home or you're on the bus and in the funeral home, 'cause losin' is dying!</dialogue> <character>ROSE (V.O.)</character> <dialogue>... But 'Coach Stone Age,' you smack me! So truthful, brother... Gimme a pound.</dialogue> <scene_description>He tries to high five Willie, who doesn't respond... Meanwhile, Tony crosses back with the coffee. OMITTED Mandy is on a cell phone to her service (AD LIB), brushing her hair, closing the phone as Tony enters.</scene_description> <character>TONY</character> <dialogue>I hope you like cream with your coffee... Mandy...? I like you. I'm wondering if we could maybe make this a more regular thing?</dialogue> <character>MANDY</character> <dialogue>Sure. I've got a few clients like that. We can book a regular time. I'll give you my service number and they can set it up direct with...</dialogue> <scene_description>Writing...</scene_description> <character>TONY</character> <dialogue>I sort of meant... not like that. Without money.</dialogue> <character>MANDY</character> <dialogue>Oh, honey...</dialogue> <character>TONY</character> <dialogue>I know, but --</dialogue> <character>MANDY</character> <dialogue>You don't really wanna do this.</dialogue> <character>TONY</character> <dialogue>I really like you.</dialogue> <character>MANDY</character> <dialogue>I like you too, Tony, but you really don't want to do this.</dialogue> <scene_description>A beat. She gives him her business number in lipstick.</scene_description> <character>TONY</character> <dialogue>You got pretty hair, you know...</dialogue> <scene_description>Tony lingers for a moment, then sets his coffee down and leaves. Mandy watches after him in the mirror. TONY'S BEDROOM #2 Tony crosses OUT past:</scene_description> <character>ON TV</character> <dialogue>ROSE (V.O.)</dialogue> <scene_description>No doubt you're chewing up the gridiron, but on the sidelines it seems like you and Julian Washington got pretty heated during the Texas game?</scene_description> <character>WILLIE (V.O.)</character> <dialogue>No, J-man and me are just fine. I'll bet you a hundred bucks and that ugly tie that he'll have another 2,000-yard season.</dialogue> </scene> <scene> <stage_direction>EXT./INT. JULIAN WASHINGTON'S HOUSE - NIGHT</stage_direction> <scene_description>Sanderson talks on a cell phone, feeding the numerous sharks in J-Man's specially-designed pools, as he heads inside, accompanied by a frightened beauty... At the party, there are no men -- only some 20 beautiful women, most in lingerie, dancing and making out among themselves.</scene_description> </scene> <scene> <stage_direction>A182 INT. JULIAN'S BEDROOM - FOLLOWING A182</stage_direction> <scene_description>Upstairs, at the controls is Julian, propped on his bed, with several more girls, watching Willie on TV coolly.</scene_description> <character>WASHINGTON</character> <dialogue>Not without getting the ball, you lying prick!</dialogue> <character>INTERCUT WITH:</character> <dialogue>ON TV</dialogue> <character>ROSE (V.O.)</character> <dialogue>... But isn't this an awesome Emperor pass rush coming up Sunday? I mean these guys don't need much of an invitation to eat the greenery? Is there fear there?</dialogue> <character>WILLIE (V.O.)</character> <dialogue>Jack, I told you, they ain't gonna touch me, ain't gonna see me, ain't gonna smell me. Don't matter if it's T-Rex or Terminator out there, I'll just turn on the invisible juice and steam right by 'em!</dialogue> <character>ROSE (V.O.)</character> <dialogue>Willie, you are indefatigable!</dialogue> <scene_description>Madman, on his cell phone, is heated as he watches the TV, amid an atmosphere of CRYING BABIES, BARKING PIT BULLS, and a pregnant, miserable wife.</scene_description> <character>MADMAN</character> <dialogue>You selfish asshole! If you don't think you're gonna get touched, I'm dancin' on a moonbeam!</dialogue> </scene> <scene> <stage_direction>INT. TV STUDIO - FOLLOWING</stage_direction> <character>ROSE</character> <parenthetical>(in closing)</parenthetical> <dialogue>... Well good luck to you, 'Steamin' Willie Beamen' -- what a great young kid!</dialogue> </scene> <scene> <stage_direction>EXT. SHARK STADIUM - NIGHT (RAIN)</stage_direction> <scene_description>(Game 4. New York Emperors at Miami Sharks.)</scene_description> <character>FIELD #1</character> <dialogue>Willie goes smashing into the mud, taking the hit on his throwing shoulder. A painful sack, he drags himself up... Dazed, Willie goes after the linebacker who nailed him... The 49er players sprint over to protect their teammate, but the Shark team does nothing to help their QB.</dialogue> <character>TUG (V.O.)</character> <dialogue>Welcome back to the Monsoon Bowl, folks! The Emperors have been eating Shark patties all night long. Smashmouth football -- this is what it's all about!</dialogue> <scene_description>On the way to the huddle, over the DRIVING sound of RAIN.</scene_description> <character>WILLIE</character> <dialogue>Can I get some fuckin' protection here! If you're not going to block -- could you at least stay the fuck out of my way?!</dialogue> <scene_description>Madman goes for him, Sanderson and the others holding him back.</scene_description> <character>MADMAN</character> <dialogue>Loudmouth, showboating, MOTHERFUCKER! Where's your steam now?</dialogue> <scene_description>A187 SCOREBOARD #1 A187</scene_description> <character>EMPERORS 25, SHARKS 7.</character> <dialogue>FOURTH QUARTER.</dialogue> <scene_description>OMITTED SIDELINE #1 Coach D'Amato glares at the field, the rain pouring over his face.</scene_description> <character>TONY</character> <parenthetical>(to line coach)</parenthetical> <dialogue>Get 'em to stand up and block, goddamnit, Hank! What's going on?!</dialogue> <scene_description>FIELD #2 As the Emperor offense sets up, Shark urgently calls for a defensive realignment -- Miami players hustle for new positions -- the veteran Emperor QB sees this and quickly barks out an audible -- A quick handoff -- the Emperor running back shoots through a hole in the confused Miami defense -- Shark tries to make the diving tackle but his knee gives and he goes facedown in the mud, as the running back splashes right past him for 25 yards. Touchdown!</scene_description> <character>TUG (V.O.)</character> <dialogue>What is with the Miami D of late? They are going belly up, fins flapping. Glug-glug-glug!</dialogue> <character>BRANSON (V.O.)</character> <dialogue>Shark Lavay just can't find the old magic down there.</dialogue> <scene_description>The running back turns back to the downed Shark and his D, and points his fingers like a gun -- Bang! Bang! Bang! The trainer and doctors run out to Shark, grabbing his knee in fierce pain.</scene_description> <character>EMPERORS 32, SHARKS 7.</character> <dialogue>FOURTH QUARTER.</dialogue> <scene_description>HUDDLE #1 Willie, reading a signal from Cherubini on the sideline, takes the team on with a dead stare.</scene_description> <character>WILLIE</character> <dialogue>Y'all want to make it tough okay, I can take it, m'fucker! 'Cause I know come contract time there gonna be some big changes round here -- and, baby, it's either gonna be you or me! The call is Twins Right 90 Ringo Slide. On one! Ready!</dialogue> <scene_description>FIELD #3</scene_description> <character>WILLIE</character> <parenthetical>(yelling over the RAIN)</parenthetical> <dialogue>Set! Black 671, Black 671! Hut!</dialogue> <scene_description>Willie splashes back through the mud to pass -- an Emperor defensive end slips through full speed -- Willie is blindsided, his helmet goes flying off, he crashes to the turf, his face slammed once more into the mud. SIDELINE #2 D'Amato is wholly demoralized, can't look... Neither can Cap Rooney, now in uniform, recognizing something he'd rather not. Or something he'd perhaps forgotten -- the sheer, frightening violence and impossibility of the QB position.</scene_description> <character>CAP</character> <dialogue>They won't play for him, Tony.</dialogue> <scene_description>Tony looks at him, frustrated.</scene_description> <character>TONY</character> <parenthetical>(walks away)</parenthetical> <dialogue>Then let him fucking learn!</dialogue> <scene_description>OWNER'S BOX #2 The visiting Mayor Smalls shares his feelings with Christina.</scene_description> <character>MAYOR SMALLS</character> <dialogue>Shucks! There goes that black dynasty you been promising me, darling...</dialogue> <scene_description>FIELD #4 Blood seeps down Willie's face from a scalp contusion as he pulls himself slowly to his feet.</scene_description> <character>BRANSON (V.O.)</character> <dialogue>... And there goes home field advantage for the Sharks! Although their season ends on a low note, there is still life after death. Two weeks from now, look for the underdog Sharks in the playoffs in 'Toughtown U.S.A.' -- Dallas, Texas -- football capital of the world -- on that fast astroturf that never forgets to break a bone or two!</dialogue> </scene> <scene> <stage_direction>INT. LOCKER ROOM - NIGHT</stage_direction> <scene_description>The locker room is silent and depressed as players undress and shower.</scene_description> <character>BATHROOM/SHOWER #1</character> <dialogue>Willie, dazed and steaming with anger, crosses Shark.</dialogue> <character>SHARK</character> <dialogue>You lead. But did anyone follow, nigga?</dialogue> <scene_description>Willie ignores him, but not Julian on his other side, when:</scene_description> <character>WASHINGTON</character> <dialogue>Whatsa matter, boy -- forgot your 'invisible juice'?</dialogue> <scene_description>Willie explodes, takes a wild swing at the big man. They struggle. They slip... players pull them apart, Willie bleeding. Tony storms into the shower with Monroe, sizes up the situation.</scene_description> <character>TONY</character> <dialogue>All right! Stop this now! Stop it!</dialogue> <scene_description>Players freeze. Showers continue to run.</scene_description> <character>TONY</character> <dialogue>This kind of bush league crap doesn't cut it with me! Anybody who thinks otherwise can pack their bags right now! 'Cause this shit is never gonna happen again! Ever! Is that clear...? You don't do that out there! Men get killed out there!</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>... Thirty years in football, I never seen something that stinks like this! This is a violation! ... Today -- out there, you embarrassed yourselves and you embarrassed me. Today I am ashamed to be your coach!</dialogue> <scene_description>He stalks out.</scene_description> </scene> <scene> <stage_direction>EXT. PRACTICE FIELD #1 (3 OF 3) - DAY</stage_direction> <scene_description>Unnaturally bright lights are on Willie and Cap Rooney in pads, side-by-side. They wear TV smiles, surrounded by a gang of children in Shark jerseys. Willie's cheek is stitched.</scene_description> <character>CAP</character> <dialogue>... So please give generously to your Child Fund of America.</dialogue> <character>WILLIE</character> <dialogue>... And let's make every kid feel like a superstar!</dialogue> <character>CAP</character> <dialogue>Because giving -- like football -- is a team sport. Thank you.</dialogue> <scene_description>They smile. And smile. Finally:</scene_description> <character>VOICE (O.S.)</character> <dialogue>That's a wrap, thanks, guys.</dialogue> <scene_description>Rooney and Willie split in different directions... we PULL BACK to reveal a small TV crew shooting a public service commercial. Christina talks with the Sharks' PR director and a TV producer. Julian Washington watches the shoot from the bleachers, brooding, upstaged by Beamen. The children from the commercial follow Willie for autographs. Willie's agent notes this to Christina as they leave. Rooney crosses to Cindy.</scene_description> <character>CINDY</character> <dialogue>You should've fought for that superstar line.</dialogue> <character>CAP</character> <dialogue>No -- 'giving' -- 'team sport' -- those are the lines.</dialogue> <character>CINDY</character> <parenthetical>(noting the kids around Willie)</parenthetical> <dialogue>Meanwhile... You used to do this spot alone.</dialogue> <character>CAP</character> <parenthetical>(uncomfortable)</parenthetical> <dialogue>Okay... you finished?</dialogue> <scene_description>Walks away. In the bleachers with the rest of the media, Jack Rose observes with his two-man TV crew. Julian studies the kids, who seem to adore Willie. An OLDER KID, 11 years old, intersects.</scene_description> <character>KID #1</character> <dialogue>Hey, J-man! Is it true you making 10 million a year?</dialogue> <parenthetical>(as J-man smiles, nods)</parenthetical> <dialogue>... That true then 'bout you not blocking no more? It's part of your contract? That's what my Dad says. He says you don't have to catch no passes over the middle either 'cause you don't want to get hurt? It's also in your contract... Right, J?</dialogue> <character>WASHINGTON</character> <parenthetical>(a look)</parenthetical> <dialogue>... Yeah, your dad's got it down, kiddo...</dialogue> <scene_description>ACTION - DAY Tony sits with Dr. Powers, Monroe and Shark Lavay -- his MRI's spread on Tony's desk, the mood glum.</scene_description> <character>TONY</character> <dialogue>... So what are the odds?</dialogue> <character>POWERS</character> <dialogue>There's no telling. It's an 'odontoid fracture'...</dialogue> <parenthetical>(off their looks)</parenthetical> <dialogue>Basically, he broke his neck and it never healed right. Coming after the 20 to 30 concussions he's had over 14 years, you can't predict this type of thing, but I can say this: the wrong hit could result in paralysis, Parkinson's... even sudden death.</dialogue> <character>SHARK</character> <dialogue>Hey, what else is new...?</dialogue> <character>POWERS</character> <dialogue>In my opinion, he shouldn't be out there...</dialogue> <parenthetical>(pointed at Shark)</parenthetical> <dialogue>You could be braindead, your speech slurred or you could have weird personality changes for the rest of your life... you understand what I'm telling you, Luther?</dialogue> <character>SHARK</character> <parenthetical>(offset by his sanctimony)</parenthetical> <dialogue>Luther do, but 'Shark' don't, Doc! I been playing with fire since you was shitting in your diapers, and right now I need one sack and three more tackles and I get my bonus. Then we'll talk, okay, motherfucker!</dialogue> <character>MONROE</character> <parenthetical>(to Shark)</parenthetical> <dialogue>Y'ever seen an old punchdrunk boxer, stumbling around and drooling -- no memory of what he done in his lifetime... you want that life, Luther?</dialogue> <scene_description>Shark looks from Monty to Tony, who is conflicted, holding his feelings close.</scene_description> <character>TONY</character> <dialogue>I can't make this decision for you, Shark.</dialogue> <character>SHARK</character> <dialogue>I don't believe this... You need me against Texas, Coach?</dialogue> <character>TONY</character> <parenthetical>(pause)</parenthetical> <dialogue>'Course I do, Shark, but no, not at this price... no.</dialogue> <character>SHARK</character> <parenthetical>(pleading to play)</parenthetical> <dialogue>Look, you goddamn know well as me she gonna cut my ass anyhow in the off-season! And no one's gonna pick me up for any kinda money. I'll be back here begging to play for field wages, Coach...</dialogue> <scene_description>Tony doesn't deny it, silent.</scene_description> <character>SHARK</character> <dialogue>I gave you 13 years of my best, Coach, you know you owe me... For a million bucks, shit! I'll shake like a coconut tree the rest of my life if I got to... just lemme play... please?</dialogue> <character>TONY</character> <parenthetical>(pause)</parenthetical> <dialogue>You'll have to sign a waiver, Shark.</dialogue> <character>SHARK</character> <parenthetical>(relieved)</parenthetical> <dialogue>Bring it on...</dialogue> <scene_description>Monroe shakes his head, disappointed. As he goes out with Shark:</scene_description> <character>POWERS</character> <parenthetical>(to Tony)</parenthetical> <dialogue>We need to talk about Harvey, Coach...</dialogue> <scene_description>He pulls out an envelope with X-rays. DAY Mandrake's on a cell phone on the sidelines with his new girl friend COURTNEY, when Tony walks up on him, furious, followed by Powers. Christina has long left the practice field.</scene_description> <character>MANDRAKE</character> <parenthetical>(into phone)</parenthetical> <dialogue>... honey, don't believe a word your mother says... don't ever say your Pappa didn't believe in you -- Me too. I...</dialogue> <character>TONY</character> <dialogue>You evil motherfucker -- !</dialogue> <character>MANDRAKE</character> <dialogue>Tony, what are you...?</dialogue> <parenthetical>(to daughter)</parenthetical> <dialogue>I'll call you later, princess.</dialogue> <scene_description>Tony pulls him out of ear-shot.</scene_description> <character>TONY</character> <dialogue>Shark's film! I know what you pulled, switching the results so Powers wouldn't pick up on it!</dialogue> <character>MANDRAKE</character> <parenthetical>(realizing)</parenthetical> <dialogue>... Granted. It could look like that to a lay person, but to be honest, Tony...</dialogue> <character>TONY</character> <dialogue>I want you outta here. Today. Now.</dialogue> <character>MANDRAKE</character> <dialogue>Oh, I see -- you're taking the high road! Who's bullshitting who here, Tony?</dialogue> <character>TONY</character> <dialogue>Did you bother consulting him! He could get killed out there!</dialogue> <character>MANDRAKE</character> <parenthetical>(overlapping)</parenthetical> <dialogue>I knew his answer!... And getting killed? Maybe, maybe not! It's one chance in a thousand, 'but nobody blitzes like the Shark,' right, Tony?</dialogue> <character>TONY</character> <dialogue>You walk off this field and you get into your car and you go far away -- I never want to see you near one of my players again. Do you understand me? Never.</dialogue> <character>MANDRAKE</character> <dialogue>Come on, Tony, most of them couldn't piss in the morning without pills.</dialogue> <character>TONY</character> <dialogue>No more -- !</dialogue> <character>MANDRAKE</character> <dialogue>So now you're gonna play innocent?! You know something -- fuck your innocence!</dialogue> <scene_description>This explosion draws looks from the team. Jack Rose tries to move closer to hear, but is blocked by Monroe.</scene_description> <character>MANDRAKE</character> <dialogue>You're better than me all of a sudden?! You're better than me?! What about Beyer?! What about Nielstrum and Manzicki... and Logan... and Krause?! All these years you been turning a blind eye!</dialogue> <character>TONY</character> <dialogue>I will not have this discussion. Get out!</dialogue> <character>MANDRAKE</character> <dialogue>Sure, Tony, don't ask the question if you don't want the answer, right?</dialogue> <scene_description>Mandrake glares at Powers.</scene_description> <character>MANDRAKE</character> <dialogue>... And you, you fucking snitch! Did you ever think about him putting food on the table? Or his kids going to college?</dialogue> <character>POWERS</character> <dialogue>You lied to me!</dialogue> <character>MANDRAKE</character> <parenthetical>(mocking)</parenthetical> <dialogue>Oooh, I lied! The President lies all the time, Allie!</dialogue> <character>POWERS</character> <dialogue>... and you lied to the players, and doping them, changing X-rays and --</dialogue> <character>MANDRAKE</character> <dialogue>And making them heroes! That's what I been doing. Who am I to tell these men they can't live their dream? These are big boys. This is triage out there, asshole! Let the man die a goddamn hero if he wants.</dialogue> <character>POWERS</character> <dialogue>Oh, Christ! You didn't give him a choice, Harvey, you gotta give him his choice. It's a doctor's ethics.</dialogue> <character>MANDRAKE</character> <dialogue>Since when?</dialogue> <character>POWERS</character> <dialogue>The Hippocratic Oath, that's when...</dialogue> <character>MANDRAKE</character> <dialogue>You mean the one that starts: Do no harm...? With all due respect, I didn't have to ask him. I knew his choice. Was there any doubt whatever what this man must do? These players are freaks of nature -- they will not live with shame like you. These men are gladiators, warriors! And long ago they made that choice, not me. Or you! And I'm not taking that responsibility of standing between them and...</dialogue> <parenthetical>(switching the approach)</parenthetical> <dialogue>Did you ever have a fucking dream, Allie?</dialogue> <character>POWER</character> <parenthetical>(a beat)</parenthetical> <dialogue>... I'm living it, Harvey.</dialogue> <character>TONY</character> <parenthetical>(quietly)</parenthetical> <dialogue>This I mean -- get out.</dialogue> <scene_description>Mandrake is genuinely sad to leave; he looks at Tony, not without affection.</scene_description> <character>MANDRAKE</character> <parenthetical>(quietly)</parenthetical> <dialogue>... Oh fuck it! But hey, we won the Pantheon didn't we, Tony? See you around the nursing homes...</dialogue> <parenthetical>(to his girl friend watching)</parenthetical> <dialogue>Come on, sweetie.</dialogue> <character>COURTNEY</character> <dialogue>No, I wanna stay, Harvey... Please.</dialogue> <scene_description>Dr. Harvey Mandrake smoothes out his expensive jacket and walks away with some dignity, leaving Courtney behind.</scene_description> </scene> <scene> <stage_direction>EXT. PRACTICE FIELD #3 (3 OF 3)</stage_direction> <scene_description>Tony heads back to his office, unfortunately intersecting Jack Rose with his crew, and several other reporters.</scene_description> <character>ROSE</character> <dialogue>So, Coach D., what's up now -- mutiny in the medical ranks?</dialogue> <character>TONY</character> <parenthetical>(blind and sudden)</parenthetical> <dialogue>Get the hell out of my way, you piece of...!!</dialogue> <scene_description>He shoves Rose out of his way and storms past. Rose slips into the dugout, smacking his head on the bench. Tony doesn't turn around, but everyone else tenses, expecting trouble.</scene_description> <character>ROSE</character> <dialogue>Hey!... Hey!... That's just great!...</dialogue> <parenthetical>(to his crew)</parenthetical> <dialogue>Did you get that!?</dialogue> <scene_description>HUDDLE #2 Cap Rooney claps his hands, breaking the spell. Madman and Sanderson have been watching this, worried and confused, their doctor suddenly exiled from their lives.</scene_description> <character>CAP</character> <dialogue>Awright, guys, wake up!</dialogue> <scene_description>A201 PRACTICE FIELD #4 (3 OF 3) A201 They move to the ball. The team is running light contact scrimmages, Crozier supervising on the sideline... Rooney scans the defense.</scene_description> <character>CAP</character> <dialogue>Blue 44. Blue 44. Hut!</dialogue> <scene_description>The snap -- the red-shirted D comes with a blitz. Rooney paralyzes, showing a moment of pure terror in his eyes as "Beast Man," the DB, pulls up short; the WHISTLE SHRIEKS.</scene_description> <character>BEAST MAN</character> <parenthetical>(reassuring him)</parenthetical> <dialogue>C'mon, baby, nobody's gonna hit your pussy ass!</dialogue> <character>CAP</character> <dialogue>Yeah -- shucks -- I know. Got happy feet. Must be gettin' old.</dialogue> <scene_description>But Rooney's grinning eyes speak of a sea change churning in him.</scene_description> </scene> <scene> <stage_direction>INT. SHARK CENTER - STEAM ROOM - DAY</stage_direction> <scene_description>Willie makes his way through layers of steam. There is only one other player in the bath -- Shark Lavay. Willie considers leaving but sits... Shark gazes dispassionately at Willie, who won't look at him.</scene_description> <character>SHARK</character> <dialogue>... You know punks come and go in this league. They get picked up right out of the 'hood 'cause they can run or fight, 'cause they're fast and strong and big. And suddenly they got all the money and the foxes that chase the money -- and they get to live 'the dream.' But for every sucker who makes it -- for every Jerry Rice and Barry Sanders -- there are a hundred nigras you never heard of.</dialogue> <character>SHARK</character> <dialogue>And when they get a step too slow or a year too old -- baby, the game tosses them back onto the street with nothing and just keeps on going like nothing happened. Sure, the game's taught 'em how to strut their shit and talk trash and hit -- but what else?... Suddenly there's no more money, no more women, no more applause... No more 'Dream.'</dialogue> <scene_description>Shark knows it's ending for him.</scene_description> <character>SHARK</character> <parenthetical>(quietly)</parenthetical> <dialogue>This is what I'm saying to you, Willie: when a man looks back on his life, he should be proud of all of it. Not just a few years in pads and cleats. Not just memories of when he was... great. That he gotta learn in here...</dialogue> <parenthetical>(indicating his heart)</parenthetical> <dialogue>... or he ain't a man. He just another punk.</dialogue> <scene_description>Willie listens, lets it sink in.</scene_description> </scene> <scene> <stage_direction>EXT./INT. CAP ROONEY'S HOUSE - NEXT DAY</stage_direction> <scene_description>Cap Rooney cooks hot dogs on the outdoor barbecue of his massive suburban home. The lawn is far removed, as most of the outdoor activity takes place on concrete. The three Rooney kids (two boys, one girl) are tricycling, screaming, running through doll houses -- as a busy Cindy Rooney surveys it from an upstairs balcony on the cell phone.</scene_description> <character>TONY</character> <parenthetical>(entering)</parenthetical> <dialogue>Hey, kids are growing, Cap. Johnny's already got big hands (the kid corrects his name, TBD).</dialogue> <character>JOHNNY</character> <dialogue>My name is Johnny, Coach.</dialogue> <character>TONY</character> <dialogue>I forgot, Johnny, sorry, I got so many names in my head.</dialogue> <character>JOHNNY</character> <dialogue>You never remember my name, Coach.</dialogue> <character>TONY</character> <dialogue>Don't shoot me.</dialogue> <character>CAP</character> <dialogue>Keep your hands off my kids willya! I'm gonna teach 'em some golf...</dialogue> <scene_description>The kids mumble chaotically, as Rooney serves early dinners on some strange space-age plastic table.</scene_description> <character>CAP</character> <dialogue>Who wants the mustard on their hot dog...? You see the news? This guy Rose says he's gonna sue you for a million bucks!</dialogue> <parenthetical>(laughs, shakes his head)</parenthetical> <dialogue>If it was me, I would've left him so he couldn't remember zip -- in a coma. Think they're gonna suspend you, Tony?</dialogue> <character>TONY</character> <dialogue>... Do me a favor. I'd get some sleep... So, Doc Powers cleared you for Sunday.</dialogue> <character>CAP</character> <dialogue>Yeah? Great!</dialogue> <parenthetical>(calling out for help with the kids)</parenthetical> <dialogue>Cindy? A little help!</dialogue> <scene_description>Cindy acknowledges.</scene_description> </scene> <scene> <stage_direction>EXT. CAP'S HOUSE - SUNSET</stage_direction> <scene_description>Tony and Cap walk around the edges of a man-made lake facing the house. During the dialogue, they approach a veranda area.</scene_description> <character>TONY</character> <dialogue>Papers got us as six point dogs, you believe that? I can't wait to strap it on and stick it to Dallas like we used to. Show 'em what this game is all about. Right there in the playoffs!</dialogue> <character>CAP</character> <dialogue>Yeah...</dialogue> <scene_description>Tony picks up on a vulnerability in the air.</scene_description> <character>TONY</character> <dialogue>You okay?</dialogue> <character>CAP</character> <dialogue>Sure --</dialogue> <character>TONY</character> <parenthetical>(suddenly)</parenthetical> <dialogue>The Doc got it wrong about your back?!</dialogue> <character>CAP</character> <dialogue>My back hurts a whole lot more than I thought, Tony, I pushed it too hard.</dialogue> <character>TONY</character> <dialogue>We all play hurt, Cap. You just need the needle.</dialogue> <character>CAP</character> <dialogue>Yeah, I'm sure that's it.</dialogue> <parenthetical>(laughs)</parenthetical> <dialogue>Maybe you oughta go with Willie though? You know, I been off -- my passing -- the whole deal --</dialogue> <character>TONY</character> <dialogue>I seen you in practice, Cap. You're ready now. What is it?</dialogue> </scene> <scene> <stage_direction>EXT. VERANDA - TWILIGHT</stage_direction> <scene_description>Cap doesn't respond or look at him. He sits on a swing. Tony is stunned as the realization hits him.</scene_description> <character>TONY</character> <dialogue>Cap, you don't want to go in? What is it?</dialogue> <character>CAP</character> <dialogue>Tony, it's not that, it's that...</dialogue> <character>TONY</character> <dialogue>... You didn't get any phone calls I didn't know about did you?... from Christy?</dialogue> <parenthetical>(as Cap shakes his head)</parenthetical> <dialogue>... You seeing a psychiatrist or something?</dialogue> <character>CAP</character> <dialogue>No...</dialogue> <character>TONY</character> <dialogue>Then where the hell is this coming from, Rock?</dialogue> <parenthetical>(raising his voice)</parenthetical> <dialogue>You wanted to play. I fought for you! Why didn't you tell me something, do you realize what I...</dialogue> <character>CAP</character> <dialogue>I'm sorry... I didn't know.</dialogue> <character>TONY</character> <dialogue>... I went out on a long limb for you, man! I took on Christina. And Willie. And the media. And you do this to me?!? I had four weeks, I woulda gone another way...</dialogue> <scene_description>Rooney swinging back and forth, proceeds with great difficulty:</scene_description> <character>CAP</character> <dialogue>I didn't know! I didn't know... You don't know how much I wanted to come back, Tony. You have no idea. This is all I have in my life. Everything. It's not fun anymore. I'm not what I was. Tony, the first time I got hit in the pros I thought my heart was going to stop. You're never the same after that. After all the hits and concussions, I have these blank spots in my memory. I haven't been able to straighten my good leg for years, even on a good day I shake... Sometimes I can't even hold a spoon right.</dialogue> <character>CAP</character> <dialogue>And I'm on pain killers all the time 'cause of my elbow and my ribs and my neck and my torn thigh and now my ruptured disc. But even now, with all that, I'd go back in a second... if I could only be what I was. But if I go out there, I'm gonna fold... in front of everybody. The team. My family... You.</dialogue> <parenthetical>(struggling)</parenthetical> <dialogue>I just can't do that. It's my body. It's my body.</dialogue> <scene_description>Tony's disgusted and moved at the same time; relents and puts a comforting hand on Cap's shoulder; his quarterback's breaking down right in front of his eyes -- he's never seen him like this. But Tony, ever the coach of men, won't allow Cap -- or himself -- to quit.</scene_description> <character>TONY</character> <dialogue>The things you're saying are in your head, Rock -- they're not real... You know you've got it in you, because I know you do!</dialogue> <character>CAP</character> <dialogue>Tony... if I could only be what I was? It's my body, Tony, it's just not there... Please...</dialogue> <character>TONY</character> <dialogue>I need you, Rock -- to lead this team. The team needs you. I need you...</dialogue> <scene_description>Cap dries his eyes, looks at Tony hard.</scene_description> <character>TONY</character> <dialogue>One last time. You and me. Together... Trust me.</dialogue> <character>CAP</character> <parenthetical>(finally)</parenthetical> <dialogue>... You need me, Tony, I'll do it for you.</dialogue> <scene_description>Ridden with doubt, Tony hugs his boy, tightly. In their screening room, alone:</scene_description> <character>CINDY</character> <parenthetical>(carefully)</parenthetical> <dialogue>I don't get it... Jack?</dialogue> <character>CAP</character> <dialogue>I'm saying... I got my rings, we took care of our money, the kids are all right -- we had a good run... I just think it's time for me to get out... after the season...</dialogue> <character>CINDY</character> <dialogue>And do what?</dialogue> <character>CAP</character> <dialogue>I talked to the guy from one of the networks --</dialogue> <character>CINDY</character> <dialogue>You're a football player.</dialogue> <character>CAP</character> <dialogue>Cindy -- will you hear me out?</dialogue> <character>CINDY</character> <dialogue>You are a football player and you have two, three years left in you!</dialogue> <character>CAP</character> <dialogue>Honey, you're missing the big picture --</dialogue> <character>CINDY</character> <dialogue>There is no 'big picture'! You are the goddamn quarterback of the Miami Sharks! You are a legend and you're talking about quitting?!... You know what that means to the kids! To me!</dialogue> <character>CAP</character> <dialogue>My whole fucking life I've always done what other people told me to. Ever since college... what do I do? This is my decision, not yours!!!</dialogue> <scene_description>She suddenly slaps him across the face.</scene_description> <character>CINDY</character> <dialogue>I will not hear this bullshit from you! I will not!</dialogue> <scene_description>Four sexy women in short killer skirts sway like vampires into the next club... Miami. A world outside American culture. Willie entertains his agent, Mercer, at an outdoor club overlooking the beach. Two beautiful models accompany them. Attractive people stroll by. Various ETHNIC MUSIC PLAYS, a warm, highly-artificial setting that Willie senses, as he listens absently to the dialogue at the table, a vocabulary reduced to words of expansion, contracts, and greed. On the table are covers of Sports Illustrated and ESPN sports featuring Willie.</scene_description> <character>MERCER</character> <dialogue>... they'll do it, you know why? They want you!... and we'll make 'em swallow the beer distributorship too... the thing is no one really knows how good you are, man, Willie. You get in the playoffs and you score, you get your moment? -- You can forget about this team -- they gonna lose anyhow -- but you get that one shining moment when they notice you, 'money, when they really see you -- then you are a 'star' in this culture, baby, and you are looking at five million serious dollars next year someplace, anyplace! Maybe L.A. I'm talking intensely to L.A. Shit, Christina'll extend you right now at two million for the year... but we're gonna wait! That's why you got me, Willie B. To think about these things...</dialogue> <character>MODEL #1</character> <parenthetical>(to Wayne)</parenthetical> <dialogue>Honey, let's go dancing... I'm bored.</dialogue> <scene_description>Willie muses at the passing parade.</scene_description> <character>WILLIE</character> <parenthetical>(absently)</parenthetical> <dialogue>I hope you're doing a lotta that, Wayne, 'cause what if I'm not made of steel?</dialogue> <character>MERCER</character> <dialogue>Say what?</dialogue> <character>WILLIE</character> <dialogue>You know, what if my arm starts hurtin'?</dialogue> <character>MERCER</character> <parenthetical>(flummoxed)</parenthetical> <dialogue>Where you coming from with that?</dialogue> <character>MODEL #2</character> <dialogue>Baby, that arm's gonna last you forever.</dialogue> <scene_description>Willie suddenly spots his old girl friend, Vanessa, moving towards the ladies' room. He jumps up, follows.</scene_description> <character>WILLIE</character> <parenthetical>(catching up to her)</parenthetical> <dialogue>Vanessa...?</dialogue> <character>VANESSA</character> <parenthetical>(turns, afraid)</parenthetical> <dialogue>Willie...?</dialogue> <character>WILLIE</character> <parenthetical>(shy)</parenthetical> <dialogue>Hi... been a while.</dialogue> <character>VANESSA</character> <parenthetical>(awkward beat)</parenthetical> <dialogue>Yeah... So, congratulations!...</dialogue> <character>WILLIE</character> <dialogue>Yeah...!</dialogue> <character>VANESSA</character> <dialogue>You getting what you wanted...?</dialogue> <character>WILLIE</character> <dialogue>Yeah, but I was pretty stupid about it...</dialogue> <character>VANESSA</character> <dialogue>No, I don't think so. You were just...</dialogue> <character>WILLIE</character> <dialogue>I blew it, Vanessa. I was a fool... I'm sorry. You know it all happened so goddamn fast. I just wasn't ready for it...</dialogue> <scene_description>Vanessa looks over Willie's shoulder. He realizes, follows her glance to a well-dressed, middle-aged African-American businessman waiting at a table.</scene_description> <character>WILLIE</character> <dialogue>... Vanessa, I'd really like to talk to you -- when you have a...</dialogue> <character>VANESSA</character> <dialogue>I don't think so, Willie. No.</dialogue> <character>WILLIE</character> <dialogue>Okay. I understand... or do I?...</dialogue> <character>VANESSA</character> <dialogue>I really don't think we belong together, you're just too volatile for me, Willie. I'm a simple girl, I like simple things. Truth be told, I don't like football. I just liked you... I'm sorry.</dialogue> <scene_description>She goes, sadly. After a brief moment of indecision, Willie follows.</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT - LADIES' ROOM - CONTINUOUS ACTION</stage_direction> <scene_description>Vanessa sort of expects Willie to follow.</scene_description> <character>VANESSA</character> <dialogue>Willie, get the... outta here!</dialogue> <character>WILLIE</character> <dialogue>Vanessa, listen to me, please!</dialogue> <scene_description>At the mirror, an older woman, with a bushel of white hair, looks disapprovingly at Willie.</scene_description> <character>WILLIE</character> <dialogue>Whoa, Barbara Bush!? Willie Beamen. You know, I always wanted to meet you 'cause I always had this thing for...</dialogue> <scene_description>Despite herself, Vanessa laughs. "Barbara Bush" exits in a huff.</scene_description> <character>WILLIE</character> <dialogue>That's it, baby -- let me see that smile!</dialogue> <character>VANESSA</character> <parenthetical>(smiling)</parenthetical> <dialogue>You are such a jerkoff...!</dialogue> <character>WILLIE</character> <dialogue>I know. Just tell me I can call you, Vanessa, come on! You gotta tell me here and now -- or I'll leave you here alone and never call you again...</dialogue> <character>VANESSA</character> <parenthetical>(laughs)</parenthetical> <dialogue>You bullshitter! Alright, call me -- if it'll get you the hell out of here!</dialogue> <character>WILLIE</character> <parenthetical>(jubilant, goes)</parenthetical> <dialogue>I'll be callin' you, sweetpea, you hear me? 'Cause that date of yours...</dialogue> <parenthetical>(makes a face)</parenthetical> <dialogue>... look like a pallbearer and that worries me...</dialogue> <character>VANESSA</character> <dialogue>At least he's tall. You're just jealous... Oh, I'll just be sitting by the phone, waiting...!</dialogue> <scene_description>She laughs to herself when he's gone, delighted.</scene_description> </scene> <scene> <stage_direction>INT. SHARK CENTER - D'AMATO'S OFFICE - LATE NIGHT</stage_direction> <scene_description>Tony's desk is covered with play diagrams. He's drawing new routes, as an old JAZZ RECORDING plays softly on the CD PLAYER... Crozier enters with a pile of computer printouts.</scene_description> <character>CROZIER</character> <dialogue>I took the probabilities on Texas. Some really promising stuff on the weak zone coverage. They run left 85 percent in the red zone when...</dialogue> <parenthetical>(noticing the diagrams)</parenthetical> <dialogue>What's this?</dialogue> <character>TONY</character> <parenthetical>(snorts)</parenthetical> <dialogue>Nothing! I been trying to come up with some plays that Willie can't possibly fuck up.</dialogue> <character>TONY</character> <parenthetical>(as Crozier laughs, sits)</parenthetical> <dialogue>Nick, I don't know what the hell to do? I've tried talking to him every way I know -- yelling at him, reasoning with him, inspiring him -- the whole bit.</dialogue> <character>CROZIER</character> <dialogue>Have you tried listening to him? Try to be sensitive to what he's --</dialogue> <character>TONY</character> <dialogue>'Sensitive'? I don't know from 'sensitive'! I only know one way to coach. Sooner or later they've got to start acting like men.</dialogue> <character>CROZIER</character> <dialogue>... Someone comes at you with a chop block, chief, and you stiffen, you gonna get hurt. You gotta bend... like bamboo in a monsoon.</dialogue> <scene_description>Tony doesn't answer, fingers Crozier's printouts.</scene_description> <character>TONY</character> <dialogue>All these fucking numbers -- he runs left 18 percent faster than he runs right. He plays better on odd numbered days. Next we're gonna calculate the angle of his dick! What're we here for, Nick? We're technicians!</dialogue> <scene_description>Unexpectedly, HEELS CLICK down the corridor, and Christina suddenly walks in, furious -- throws USA Today Sports across the desk.</scene_description> <character>CHRISTINA</character> <dialogue>Congratulations! Was I the last to know? My own team?</dialogue> <character>TONY</character> <dialogue>If you're talking about Rose, I'm gonna bar his ass from here to fucking...</dialogue> <character>CHRISTINA</character> <dialogue>We'll see about that! I'm talking about Willie! What the hell are you doing startin' Rooney? He hasn't played in six weeks and you're going to throw him into the playoffs against the best pass rush in the league?!</dialogue> <character>TONY</character> <dialogue>Cap's my starter, Christy.</dialogue> <character>CHRISTINA</character> <dialogue>And if we lose this game because...</dialogue> <character>TONY</character> <parenthetical>(raising his voice)</parenthetical> <dialogue>I'll do you one better: in the off-season I'm gonna trade Willie!</dialogue> <character>CHRISTINA</character> <parenthetical>(stunned)</parenthetical> <dialogue>You what?! That is not your option!</dialogue> <character>TONY</character> <dialogue>Yeah, it is. The kid can sell a lot of T-shirts, Christy, but he is tearing this team apart!!</dialogue> <character>CHRISTINA</character> <dialogue>Then you hold it together.</dialogue> <character>TONY</character> <dialogue>I can't! Not with him.</dialogue> <character>CHRISTINA</character> <dialogue>Then I'd say we have another problem!</dialogue> <character>CROZIER</character> <parenthetical>(standing)</parenthetical> <dialogue>I think I'll --</dialogue> <character>TONY</character> <parenthetical>(rising instead, to the door)</parenthetical> <dialogue>Sit down, Nick! You want the big chair, get used to it first...! Hey if you feel that way about it, Christy, I don't know what the hell I can do for you -- except take a leak.</dialogue> <character>CHRISTINA</character> <dialogue>Will you stop this... posturing! Where are you going? I'm not finished. The Commissioner just called me.</dialogue> <parenthetical>(as Tony stops)</parenthetical> <dialogue>He's gonna fine you a 100 grand...</dialogue> <character>TONY</character> <parenthetical>(stunned)</parenthetical> <dialogue>For what?! Shoving that talking turd out of the way? A hundred G's!</dialogue> <character>CHRISTINA</character> <dialogue>... And he wants a public apology from you to Jack Rose!</dialogue> <character>TONY</character> <dialogue>That'll be a cold day in hell, baby!</dialogue> <character>CHRISTINA</character> <dialogue>You will apologize, Tony. The days when 'Uncle Tony' could just do what he wants -- calling all the shots, firing Mandrake when he wants, smacking sportswriters -- those days are over! You start Willie on Sunday and you make the adjustment to modern times -- or you're out, Tony! And that's...</dialogue> <character>TONY</character> <parenthetical>(explodes)</parenthetical> <dialogue>You think you're gonna tell me what to do?! Your father never told me what to do! AND YOU'RE NOT GONNA START NOW, YOUNG LADY!</dialogue> <character>CHRISTINA</character> <parenthetical>(not backing down)</parenthetical> <dialogue>Will you stop using my father as a scapegoat! Do you think you don't have to deal with me by raising my father all the time? When are you going to listen to me! 'Cause I'll tell you this right now -- I'd cut my father's ass if we were losing like this!</dialogue> <character>TONY</character> <dialogue>I bet you would, too!</dialogue> <character>CHRISTINA</character> <dialogue>... And you know what? I wouldn't lose a night's sleep over it. 'Cause like you he was sentimental. And I can't afford to be. I'm in the business of holding this team together. That means selling! Selling tickets, skyboxes, players. Selling. That's why Willie works for me. He sells tickets. And that's why he's starting Sunday.</dialogue> <character>TONY</character> <dialogue>You know, I'm really sick and tired of you calling me an old asshole! Your father was no genius. He acted like he was. And he took a lot of credit for things he didn't do. But let me tell you something, he at least respected me and he respected the concept of the coach coaching and the owner owning. I can't even imagine what he'd think of you right now with this... 'act' you're putting on, but my hunch is he'd be ashamed!</dialogue> <character>CHRISTINA</character> <parenthetical>(in a danger zone)</parenthetical> <dialogue>Here we go again! You don't listen, do you --</dialogue> <character>TONY</character> <dialogue>Ashamed!</dialogue> <character>CHRISTINA</character> <dialogue>Why the hell do you think he left me in charge, you bullheaded moron?! He could've made you General Manager -- but he didn't, did he?! Why? Because he knew you didn't have the guts to do it without him when he was gone alright! He told me so himself. Right there on his deathbed. That's why, Tony -- because he didn't trust you anymore. Because you got old!</dialogue> <scene_description>These words cut Tony hard. He puts on his game face.</scene_description> <character>TONY</character> <parenthetical>(deadly quiet)</parenthetical> <dialogue>Well, this old asshole has a playoff game in two days. A game which Cap Rooney is going to start and finish. Both of you -- get out.</dialogue> <scene_description>Crozier stands, a glance to Christina. They go. Tony is alone.</scene_description> </scene> <scene> <stage_direction>A207 EXT. PAGNIACCI MANSION - NEXT DAY A207</stage_direction> <scene_description>Christina walks along the tennis court and enters the house through the back door, bypassing the housekeeper.</scene_description> <character>CHRISTINA</character> <parenthetical>(to housekeeper)</parenthetical> <dialogue>Beatriz, I'll be in Dad's office... Don't bother Mom.</dialogue> </scene> <scene> <stage_direction>B207 INT. PAGNIACCI MANSION - FATHER'S OLD OFFICE - DAY B207</stage_direction> <scene_description>Christina sits at her father's desk, living in the past. We FLOAT PAST a large portrait of her father TO the living room, where we overhear the VOICES of Tony and Margaret.</scene_description> </scene> <scene> <stage_direction>INT. PAGNIACCI MANSION - PARLOR - DAY</stage_direction> <scene_description>Tony consults with Margaret. The thick velvet drapes are always drawn tight here -- banishing the blazing Florida sun and permanently shrouding Margaret's elegant parlor in shadows... Today she burns with an oracular power.</scene_description> <character>MARGARET</character> <dialogue>What is it you fear...?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>You have so much fear, Tony.</dialogue> <character>TONY</character> <dialogue>I'm losing the team, Maggie. I'm losing control. Everything in my life is about control. I lead men. I control men.</dialogue> <parenthetical>(a pause)</parenthetical> <dialogue>Did Art think I was past it?... Is that why he made Christina President? Did he think I couldn't win anymore?</dialogue> <character>MARGARET</character> <dialogue>I don't know.</dialogue> <character>TONY</character> <dialogue>Do you care?</dialogue> <parenthetical>(a silence)</parenthetical> <dialogue>I need your help, Maggie. Christina is going to destroy this team.</dialogue> <character>MARGARET</character> <parenthetical>(cryptic)</parenthetical> <dialogue>Yes. In order to save it.</dialogue> <character>TONY</character> <parenthetical>(bewildered)</parenthetical> <dialogue>We can't let that happen. We owe that to Art.</dialogue> <character>MARGARET</character> <dialogue>You never understood Art, Tony... He wanted a son more than anything in the world...</dialogue> <parenthetical>(a considered pause)</parenthetical> <dialogue>When you truly contemplate what Christina is, it really is a tragedy. Believe me, she will fire you and sell the soul of the team -- and everything her father stood for will die... and that is as it should be... and neither you nor I, or maybe even Christina herself, will ever understand her real motives...</dialogue> <scene_description>Her intensity is unnerving.</scene_description> <character>MARGARET</character> <dialogue>... What will you do, Tony? After football? What's out there for you? With no one to control?</dialogue> <character>TONY</character> <dialogue>Stop it.</dialogue> <character>MARGARET</character> <parenthetical>(quietly)</parenthetical> <dialogue>... I blame you for a lot of things. You were, like Art, a monster. You've gotten older... better, but for a long time I hated you.</dialogue> <character>MARGARET</character> <parenthetical>(as Tony is taken aback)</parenthetical> <dialogue>Yes, that game took my husband, my daughter, and my youth and left me... with what?</dialogue> <parenthetical>(looks around, the drapes drawn)</parenthetical> <dialogue>The memory of a blazing sun all those Sunday afternoons out there at the stadium...</dialogue> <parenthetical>(disconnected)</parenthetical> <dialogue>Where time just slipped away.</dialogue> <scene_description>Tony looks away, betrayed, hurt.</scene_description> <character>INT. PAGNIACCI MANSION - FATHER'S OLD OFFICE -</character> <dialogue>SIMULTANEOUS ACTION</dialogue> <dialogue>Christine cries quietly, also devastated by her mother's revelation of her character.</dialogue> </scene> <scene> <stage_direction>INT. D'AMATO'S HOUSE - BEDROOM - NIGHT</stage_direction> <scene_description>A SONG plays through the house, ghost-like. Tony drinks whiskey, pausing, as he goes through his personal mementoes in his chest of drawers, the TV turned to:</scene_description> <character>INTERCUT WITH:</character> <dialogue>TV</dialogue> <dialogue>On "Sportscorner," Jack Rose, sporting a dramatic bandage across his head, similar to a Revolutionary War icon, talks to Sanderson.</dialogue> <character>ROSE (V.O.)</character> <dialogue>... Thanks, 'Sandman,' for asking -- my head is still hurting, got some migraines... and the ribs are sure sore.</dialogue> <parenthetical>(grins)</parenthetical> <dialogue>But hey, I play hurt! If you look at your monitor...</dialogue> <scene_description>The station runs the famous "shot" again, the ending blurry with Tony "pushing" Rose into the dugout.</scene_description> <character>ROSE (V.O.)</character> <dialogue>... You know this 'punch' was more than just aggression, it was a sign of decay I think, because...</dialogue> <scene_description>Tony roars at the TV.</scene_description> <character>TONY</character> <dialogue>Aggggh! If I'd punched you, you'd be shitting out your teeth right now -- you vampire prick!</dialogue> <scene_description>He picks out Mandy's lipsticked telephone number on a piece of paper and, after a pause, tears it up.</scene_description> <character>ROSE (V.O.)</character> <dialogue>... To tell you the truth -- this is me speaking from the heart now -- I feel a little sorry for Coach D'Amato. I always hoped he'd leave this game with a little dignity left.</dialogue> <scene_description>Rose continues to rattle on in the b.g., but Tony ignores the babble of our time, removing from the drawer a small wooden box and a framed picture of a younger Tony with Jeanette, Timmy, and Melinda. He sets the box aside and picks up the picture. It is clear now that he is crying. He looks at it for a long and difficult moment, then sets the picture down and opens the box -- in it are two glimmering Pantheon Cup rings.</scene_description> </scene> <scene> <stage_direction>EXT. SHARK STADIUM - NIGHT/DAY (STOCK FOOTAGE)</stage_direction> <scene_description>The MUSIC THEME moves over a deserted field -- the night TURNING to dawn. IMAGES slowly move. Ghosts. Men who once played the game, heroic and shimmering, a thing of glory... We don't know who these ghosts are, but we sense what they represent. Some in old leather helmets, the '30s, '40s, '50s, each era unfolds its changes... le plus ca change, le plus ca reste le meme... the diving catches, the magnificent tackles and blocks, the astounding runs and passes become really the same through time -- accompanied now by the GROWING ROAR of the FANS... The MUSIC reaches a CRESCENDO with the dawn breaking, and the ghosts fade, and the stadium enters time present... Game 5. Playoff. Miami at Dallas.</scene_description> <character>STADIUM #1</character> <dialogue>The Dallas Knights stadium, with its artificial, exaggerated green Astroturf, is spectacular. The fans are stomping in anticipation.</dialogue> <scene_description>INGO McNAUGHTON (V.O.) (Dallas anchor) ... Controversy swirls around the six point Shark underdogs. Willie 'Steamin' Beamen, the sensational third-string miracle-mile quarterback who's held the sinking Sharks together these last four weeks, is not starting and is said to be feuding with his beleaguered Coach, Tony D'Amato -- who is being investigated by the League for having 'hit' local reporter Jack Rose at practice earlier this week... Meanwhile, immortal but vulnerable Cap Rooney -- only six weeks off a microdiskectomy on his lower back -- is definitely starting for the Sharks against the toughest pass-rush in the league. Watch for the sparks that are gonna fly! We'll be right back! OMITTED</scene_description> </scene> <scene> <stage_direction>INT. TEXAS STADIUM - BASEMENT - COACH'S ROOM -</stage_direction> <character>SAME TIME</character> <dialogue>Coach D'Amato stands at a podium in front of the large press corps. Jack "Ripper" Rose accepts his apology with a smug smile and a nicely-dressed bandage on his forehead.</dialogue> <character>TONY</character> <dialogue>... Well, clearly the tension of the season got to me and I overreacted to an innocent question from a journalist we all know to be of the highest caliber... I only hope that one day I'll truly be able to show Jack Rose just how much I treasure his invaluable contribution to the sport of football. Thank you.</dialogue> <scene_description>He leaves the podium, eyes down... Christina and the tall, dignified AFFA COMMISSIONER, PHIL JOHNSON, are not exactly pleased with the apology.</scene_description> </scene> <scene> <stage_direction>INT. SHARK LOCKER ROOM - LOCKER ROOM #1 - FOLLOWING</stage_direction> <scene_description>Everything we see suggests uncertainty, doubt, and tension... Willie reads X-men... Cap Rooney is stretched out, towel over his head, asleep... MONTAGE #3 (MADMAN'S PREPARATION) A brief MONTAGE of JUMP CUTS shows Madman's tape preparation: Ankles, knees, shoulders, jock and shorts, wrists and fingers, shoes and socks -- are heavily taped by trainer #3. In his final stage, Madman is the complete zombie warrior... Another player (OTIS), finishes praying, crosses himself, turns to Madman.</scene_description> <character>OTIS</character> <dialogue>Hey, Madman, do you really think God's on our side these days?</dialogue> <character>MADMAN</character> <parenthetical>(in his growliest voice)</parenthetical> <dialogue>No! Goddamnit, God's on the side of those who love themselves!! Har raa!</dialogue> <scene_description>BATHROOM #1 In the mirror, Sanderson is a wreck, eyes closed, whispering to himself.</scene_description> <character>SANDERSON</character> <dialogue>I'm the best wide receiver that ever lived! I can catch anything ... I'm the best wide receiver that ever...</dialogue> <character>LOCKER ROOM #2</character> <dialogue>Trainer #1 wakes up Cap Rooney from his slumber. He rises, stoic.</dialogue> <scene_description>The door is closed. As the huge CROWD upstairs makes its presence known, STOMPING and ROARING, the ECHOES surging through the tunnels and pipes of the inner stadium, Dr. Powers, in temporary charge, inserts a large 18-gauge needle of cortisone directly into the swollen, scarred knee of Shark, who winces in great pain. Powers drains a straw-colored liquid into a Dixie cup.</scene_description> <character>SHARK</character> <parenthetical>(hissing)</parenthetical> <dialogue>God, I hate Texas!</dialogue> <character>HORNY</character> <parenthetical>(poking his head in)</parenthetical> <dialogue>Whoa! What the fuck they doing to you, man!</dialogue> <character>SHARK</character> <dialogue>M'fucker, they're taking a cyst outta my ovaries!! Now get the fuck outta here... please...</dialogue> <scene_description>Powers now shines a beam of light into Shark's eyes, moving his finger back and forth in front of his eyes.</scene_description> <character>POWERS</character> <dialogue>How's that headache?</dialogue> <character>SHARK</character> <dialogue>It was okay till you started doing that shit...</dialogue> <character>POWERS</character> <dialogue>What about your balance?</dialogue> <character>SHARK</character> <dialogue>You talkin' my check balance? Look p-h-a-t, baby -- 'phat.'</dialogue> <scene_description>Powers retracts the needle.</scene_description> <character>POWERS</character> <dialogue>... you're done.</dialogue> <character>SHARK</character> <dialogue>Gimme another one.</dialogue> <character>POWERS</character> <parenthetical>(astonished)</parenthetical> <dialogue>Shark, you don't need it, it doesn't make any sense medically.</dialogue> <character>SHARK</character> <parenthetical>(seriously grips Powers)</parenthetical> <dialogue>I don't give a fuck about medical, Doc! Give me another one. Just for this game... please!</dialogue> <scene_description>A moment passes between them, then Powers relents, goes to get a fresh syringe. Ironically, he begins perhaps to understand Mandrake's dilemma as both a doctor and a human being. OMITTED LOCKER ROOM #3 Trainer #1 harnesses Cap Rooney into a flak jacket, as creaky as El Cid in his armor, stuffed and mounted for the last battle.</scene_description> <character>ALL TRAINERS</character> <dialogue>All right, everybody! Three minutes!... Gather 'round! Coach D. got something to say...</dialogue> <character>TIME CUT TO:</character> <dialogue>SAME SCENE - LATER</dialogue> <dialogue>Coach D'Amato stands before the team, humbled, hiding nothing.</dialogue> <character>TONY</character> <dialogue>I don't know what to say really. We got three minutes left till the biggest battle of our professional lives... It all comes down to today. We either heal as a team or we crumble, inch by inch, play by play -- until we're finished. We're in hell right now, gentlemen, believe me. We can sit here and get the shit kicked out of us, or we can fight our way back into the light; we can climb out of this anger and this doubt and this uncertainty -- we can climb out of hell -- one inch at a time, or...</dialogue> <character>TONY</character> <parenthetical>(pause)</parenthetical> <dialogue>... I wish I could do it for you, but I can't. I'm too old. I look around at your faces and I see young men and I think I made every wrong choice a middle-aged old man can make -- my life is a long list of rookie mistakes. I pissed away all my money, chased off everyone that loved me... lately I can't even stand the face I see in the mirror.</dialogue> <scene_description>This team has never heard their Coach take it to such a personal level.</scene_description> <character>TONY</character> <dialogue>... As we get older, some things are taken away... well, that's part of life, but you only learn that when you lose something. You find out that life is this game of inches! So's football. Because the margin for error in either game, football or life, is so small... so small, guys. One half-step too late or too early and you don't quite make it. One half-second too slow or too fast and you don't quite catch it 'cause it's half a fingertip away. The inches we need are everywhere around us, they're in every break of the game, every minute, every second. Mandrake forgot that. He was grabbing for miles when he only needed inches. And on this team there are no shortcuts. There are no more Doctor Mandrakes. On this team we fight for that inch! We tear ourselves and everyone else around us to pieces for that inch! We claw with our fingernails for that inch 'cause when you add up all those inches, that is what makes the fucking difference between winning and losing -- between living and dying... In any fight I can tell you this, it's the guy who's willing to die who's going to win that inch.</dialogue> <character>TONY</character> <dialogue>And I know if I'm gonna have any kind of life anymore, it's because I'm still willing to fight and die for that inch...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>That's what living is.</dialogue> <parenthetical>(sweeps the team with a look)</parenthetical> <dialogue>The six inches in front of your face. I can't make you do it. You have to look around -- look at the guy next to you -- look into his eyes -- and I think you'll see a guy you know will go that inch with you. You'll see a guy who'll sacrifice himself for this team because when it comes down to it, he knows you would do the same for him! That's a team, gentlemen!... And either we will heal now as a team -- or we will die as individuals...</dialogue> <scene_description>Willie listening to these words, with new meaning.</scene_description> <character>TONY</character> <dialogue>That's football, guys.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>That's all it is.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Now what are you going to do?</dialogue> <scene_description>Silence... The team, as if one mind, emits a roar of approval. The players hug and slap each other on the back. It is a joyous moment of sudden unification and affection, a savage release of tension. Julian jumps up onto a table, grabbing their attention.</scene_description> <character>WASHINGTON</character> <dialogue>Listen up, listen up! I got somethin' to say!</dialogue> <scene_description>The team falls quiet again.</scene_description> <character>WASHINGTON</character> <dialogue>Thank you, 'Coach Stone Age'!</dialogue> <character>WASHINGTON</character> <parenthetical>(laughter)</parenthetical> <dialogue>But you're right! Hey, you all know what I've been through. You all know about the money I get. I been hearin' all about people sayin' this and that about me. But lemme tell ya something: I'm sick and tired of it!... I love this game. I want to play this game with you people -- as part of a team!!</dialogue> <parenthetical>(as the team cheers)</parenthetical> <dialogue>And I know this sounds corny but I want to thank Willie Beamen, in his own fucked-up way, for makin' me care about this game again.</dialogue> <parenthetical>(turns to Willie)</parenthetical> <dialogue>Come here, you little bastard!</dialogue> <scene_description>He grabs a smiling Willie into his bear-like hug and swings him around. This is another moment of significance. The team goes wild to see these two finally connecting... And now Monroe feels he must leap on the bench to speak his piece:</scene_description> <character>MONROE</character> <dialogue>Coach put his heart and soul out for us. Give me that nasty D!</dialogue> <character>TEAM</character> <dialogue>Nasty D!</dialogue> <character>MONROE</character> <dialogue>I want psychodrive -- I want mad dog, drooling, rabid, teeth-bared, balls-out, limb-tearing, face- shredding INTENSITY! What -- do -- we -- live -- for, defense?!</dialogue> <character>TEAM</character> <dialogue>Turn-over! Turn-over! Turn-over!</dialogue> <character>MONROE</character> <dialogue>What -- do -- we -- live -- for offense?!</dialogue> <character>TEAM</character> <dialogue>Touch-down! Touch-down! Touch- down!</dialogue> <character>MONROE</character> <dialogue>Team! What do we live and die for?!</dialogue> <character>TEAM</character> <dialogue>Victory! Victory! Victory!</dialogue> <scene_description>The team runs roaring from the locker room. When most of the team has exited, Monty climbs down from the bench.</scene_description> <character>MONROE</character> <parenthetical>(to Tony)</parenthetical> <dialogue>Goddamn! I'm too old for this shit!</dialogue> <scene_description>MEDIA BOOTH #1 Tug Kolowski and Ingo McNaughton are on the air.</scene_description> <character>TUG</character> <dialogue>And here we go, ladies and gentlemen, get ready for a classic! Here in Texas, they say God made it so big and flat so everybody could play football!</dialogue> <character>INGO</character> <parenthetical>(laughs)</parenthetical> <dialogue>... That's right, Tug, years ago when Dallas was one and 15, they blamed it on God, said he was on vacation that year...</dialogue> <scene_description>VIDEO FROM MEDIA BOOTH POV - FIELD #1 The opening kickoff as McNaughton calls it.</scene_description> <character>INGO (V.O.)</character> <dialogue>It's a huge boot from Croft... Scanlon takes it in the end zone... He's running it out...</dialogue> <character>TUG (V.O.)</character> <dialogue>Dangerous move...</dialogue> <character>INGO (V.O.)</character> <dialogue>Scanlon skirts a tackle... he's got a block... He's got some running room...</dialogue> <character>TUG (V.O.)</character> <parenthetical>(laughs)</parenthetical> <dialogue>Uh-oh! Watch out...!</dialogue> <character>INGO (V.O.)</character> <dialogue>He's at the thirty... the thirty- five!... He's got some daylight!... He's broken loose! He could go all the way!!</dialogue> <scene_description>The Dallas runner (Scanlon) races through Shark defenders and into the end zone. Dallas fans leap to their feet -- an enormous, pounding celebration, the sound heightened by the ECHOEY nature of the stadium. LUXURY BOX #1 Christina, Ed Phillips, Joe Polito and others watch, their hopes suddenly dashed.</scene_description> <character>CHRISTINA</character> <dialogue>It's gonna be a long day...</dialogue> <scene_description>SIDELINE #1 Coach D'Amato claps his hands and walks down the sideline, talking to his troops, coming to a stop at Cap Rooney -- Willie close by.</scene_description> <character>TONY</character> <dialogue>Awright, awright, no big deal. We still block and tackle.</dialogue> <parenthetical>(to Rooney)</parenthetical> <dialogue>Stick with the game plan, Cap. You set on the first series?</dialogue> <character>CAP</character> <dialogue>... Piece of cake, Coach.</dialogue> <character>TONY</character> <dialogue>Then bring it home, Rock!</dialogue> <scene_description>Rooney strides onto the field. STANDS #1 The Miami section unleashes a great stomp of recognition and adoration. Huge booing from the Dallas side... SIDELINE #2 The Shark mascot dances. Cap Rooney is back! Two Pantheon Cup rings, anything can happen in the memory. Anything!! Willie applauds as well, looking over to see: &amp; &amp; A226 STANDS #2 A226 His mom -- with an older lady friend and a younger sister at the 50-yard line. She waves to him, in her Sunday best, proud of him. STANDS #3 Cindy Rooney -- with a retinue of loyal wives -- clamor for Cap. HUDDLE #1</scene_description> <character>CAP</character> <dialogue>Guys, I missed your ugly mugs.</dialogue> <character>SANDERSON</character> <dialogue>Whoa!... Old times, baby! Howszat disc of yours? Still spinning?</dialogue> <character>CAP</character> <dialogue>Like Jerry Lee Lewis! Okay, Blue Twins Right Ace 90 Seam. On two. And don't let that corner take away the inside, Sandman.</dialogue> <parenthetical>(grins)</parenthetical> <dialogue>Trip him, tickle his nuts, I don't give a darn.</dialogue> <character>SANDERSON</character> <dialogue>Same old, same old. He is nonexistent!</dialogue> <character>CAP</character> <dialogue>On two. Ready?</dialogue> <scene_description>MONTAGE #4 - CAP ROONEY'S COMEBACK</scene_description> <character>FIELD #2</character> <dialogue>The ball is snapped... and we go into a SERIES OF CUTS of Cap Rooney's return -- four plays, all quick, on-the- money passes, inside and out, Cap in control, moving the team like a whipmaster.</dialogue> <scene_description>OMITTED On the fourth play, Cap finds the second wide out (Owens) for a TD! STANDS #4 A Dallas fan decks an overenthusiastic Miamian... FIELD #4 Shark sacks the Dallas QB -- jumpoing up and doing his "sack dance."</scene_description> <character>TUG (V.O.)</character> <dialogue>There he goes! Sack number 12 of the year -- a personal high for Luther Lavay.</dialogue> <scene_description>FIELD #5 But Dallas stays right in the game. A short, broken- field run, 22 yards for a touchdown. (Ingo AD LIBS.) Each man obviously rooting against the other. TIME CUT TO: FIELD #6 Answered by a Miami 32-yard field goal... SIDELINE #3 Willie listens and watches closely as D'Amato confers with Rooney, studying Cap's style on the field. He -- not Cherubini -- is calling in the plays, which puts him in the heart of the conflict. A236 SCOREBOARD #1 A236</scene_description> <character>MIAMI 10, DALLAS 14.</character> <dialogue>FIRST QUARTER 2:48...</dialogue> <scene_description>FIELD #7 Sharks are poised to score on the Dallas 11... Cap fades back -- a Dallas defender breaks through the line -- Cap scrambles out of the pocket -- no one can get open -- he tucks the ball and decisively charges the goal line. The "old man" will not be denied in a race to the goal line. A Dallas defender zeroes in on him. Rather than slide, Rooney hurls himself into the air, inspired possibly by the younger Willie and collides head-first with a Dallas defender -- a thunderclap of sound. The ball, tight in Rooney's grasp, is planted firmly beyond the goal line -- touchdown! A237 SIDELINE #4 A237 The Sharks taste the old glory! FIELD #8 Rooney pulls himself slowly to his feet, accepting the congratulations of his teammates, inwardly numb, outwardly ecstatic.</scene_description> <character>INGO (V.O.)</character> <dialogue>That is the meaning, in one sentence, of 'Captain' Jack Rooney. He will not take 'No' for an answer. I deeply admire a man of that caliber.</dialogue> <character>TUG (V.O.)</character> <dialogue>Ingo, I never seen you that moved by anything.</dialogue> <scene_description>SIDELINE #5 D'Amato watches Rooney intently, sensing the worst, but basking in the glory of it -- the aging charioteer pauses in the end zone, opens his breast to the roar of the crowd. His moment in time. TIME CUT TO: A239 SCOREBOARD #2 A239</scene_description> <character>MIAMI 17, DALLAS 14.</character> <dialogue>Rooney's significant pain carries over. His teammates</dialogue> <character>SECOND QUARTER.</character> <dialogue>keep a respectful silence, but he sweats and breathes with difficulty.</dialogue> <character>CAP</character> <dialogue>Awright, come on. Second and two, gang. Let's get it. Pro Left Y Switch Zig 90 Fade. On two. Ready?</dialogue> <scene_description>As they break:</scene_description> <character>SANDERSON</character> <parenthetical>(urgent, drawing a blank)</parenthetical> <dialogue>What's the color?</dialogue> <character>WASHINGTON</character> <dialogue>What?</dialogue> <character>SANDERSON</character> <dialogue>The live color? I can't remember the color --</dialogue> <character>WASHINGTON</character> <dialogue>Red for Chrissake! On two! If you're fucked up, Sandman? Take yourself out, man.</dialogue> <character>SANDERSON</character> <parenthetical>(panicked)</parenthetical> <dialogue>Can't remember the plays!</dialogue> <scene_description>FIELD #9 Cap fades back, a fake screen to Julian which deceives Dallas, then he flings it far downfield -- headed for Sandman... Rooney thinks it's a lock... But the pass, 45 yards in the air, is overthrown by inches! -- Sanderson, perhaps a half step late on his own, stretches but cannot grasp it -- missing by an inch -- the ball implodes, incomplete, as the Miami fans moan and the Dallas fans roar. As Cap walks to the sideline, crossing his punting unit, an eerie feeling invades a mind already fragile in confidence. TIME CUT TO: A241 SCOREBOARD #3 A241</scene_description> <character>MIAMI 17, DALLAS 14.</character> <dialogue>Rooney scans the defense, sees the signs for a full</dialogue> <character>SECOND QUARTER.</character> <dialogue>blitz. Under the center, his hands shake.</dialogue> <character>CAP</character> <parenthetical>(audibles)</parenthetical> <dialogue>Set! Black 45... razor, razor... 495 max, 495 max... Hut! Hut!</dialogue> <scene_description>The full blitz at the Miami 35 -- two Dallas speedsters come from either side -- Rooney fakes a handoff to Julian and turns upfield -- but both Dallas defenders slam into him, a devastating double hit -- his body crumples into the grass. The ball sails from his hands -- a Dallas lineman snatching it up on the bounce and sprinting to the Miami 17. STANDS #5 The crowd, which a few short minutes ago loved this man, has turned surly and unsure. Time is swift. STANDS #6 Cindy Rooney knows it's over. LUXURY BOX #2 So does Christina.</scene_description> <character>CHRISTINA</character> <parenthetical>(to Phillips and Polito)</parenthetical> <dialogue>I'm going down...</dialogue> </scene> <scene> <stage_direction>INT. VISITORS' LOCKER ROOM - HALFTIME</stage_direction> <scene_description>ON TV: The score reads Miami 17, Dallas 21. A246 STORAGE ROOM #1 A246 In a dark and solitary storeroom, Sanderson is shaking and sweating, pathetically pleading to Dr. Powers:</scene_description> <character>SANDERSON</character> <dialogue>Doc, you're my man. I'm just asking you this one time... Look at me.</dialogue> <character>POWERS</character> <dialogue>Stop begging, Jimmy. You're making me nervous. You'd make water nervous.</dialogue> <character>SANDERSON</character> <dialogue>It's like that, okay? It ain't right, Doc, I never asked you for nothing! M'fucker! Look at me, look at my goddamn hands...</dialogue> <parenthetical>(shaking)</parenthetical> <dialogue>Man, i live to catch passes, you understand that?! Ritalin, diet shit, anything!</dialogue> <character>POWERS</character> <dialogue>Jimmy, we been through this. I can't, I won't...</dialogue> <character>SANDERSON</character> <dialogue>You're lettin' me die out there! I can't beat 'em anymore! Half a step, it's all I'm sayin', half a fuckin' step! I'm 28, man, I'm an old man out there!</dialogue> <character>POWERS</character> <dialogue>There is a line, Jimmy. I won't cross it. You don't need it. You can win without it.</dialogue> <character>SANDERSON</character> <dialogue>Who you shittin'! It's over... If you could run, catch, feel what I feel, you'd be a whole different person, Doc. You're just trying to hold me down. It's all right, man, I'll make it without you! I'll make it without you, m'fucker...!</dialogue> <scene_description>TRAINING AREA #2 Trainers #1 and #2 work on Cap Rooney, re-taping his bruised ribs and back, as Tony crosses in.</scene_description> <character>TONY</character> <dialogue>Can you play?</dialogue> <character>CAP</character> <dialogue>... Banged up, but I'm okay...</dialogue> <character>TONY</character> <dialogue>Can you play?</dialogue> <character>CAP</character> <dialogue>Yeah... you bet.</dialogue> <character>TONY</character> <dialogue>Rock -- look at me -- can you play?</dialogue> <scene_description>Rooney looks at him. His face tells the story.</scene_description> <character>TONY</character> <dialogue>You fought like a son-of-a-bitch out there, Rock... I will never forget this.</dialogue> <character>CAP</character> <dialogue>... Go do your job, Coach.</dialogue> <scene_description>LOCKER ROOM #4 Tony moves around the locker room, studying his team. He locks eyes with Willie, who comes over. They speak quietly.</scene_description> <character>TONY</character> <dialogue>This isn't about you and me anymore. You've got to lead them, Willie. When they look in your eyes, they gotta believe.</dialogue> <character>WILLIE</character> <dialogue>I know...</dialogue> <scene_description>Christina -- surprising everyone -- enters the locker room, moving quickly past the players. With Ed Phillips and Joe Polito backing her, she seeks out Tony.</scene_description> <character>CHRISTINA</character> <dialogue>What do you think you're doing?</dialogue> <character>TONY</character> <parenthetical>(seething)</parenthetical> <dialogue>You got no business here -- I told you not to come here!</dialogue> <character>CHRISTINA</character> <dialogue>Don't you see what's going on, you...</dialogue> <scene_description>Tony sweeps Christina by the elbow, into the small visiting coach's locker room.</scene_description> <character>TONY</character> <parenthetical>(as intense as he can get)</parenthetical> <dialogue>Leave here before I lose my temper, Mrs. Pagniacci, do you hear me?!...</dialogue> <character>CHRISTINA</character> <dialogue>I don't care what your problem with him is -- alright!? Cap Rooney is over! You're the only one that's failed to see...</dialogue> <scene_description>Outside, the players listen silently.</scene_description> <character>TONY</character> <dialogue>NEVER -- NEVER -- talk that way in front of my players! Do you understand!... or I'll spank the living shit out of you, little girl!!</dialogue> <character>CHRISTINA</character> <parenthetical>(scared)</parenthetical> <dialogue>Don't talk to me like that! It's MY team too! And I don't give a fuck if Willie's changing the plays! You let your ego get in the way of this team, and it is going to cost us the game!</dialogue> <character>TONY</character> <dialogue>GET OUT! GET OUT NOW! Before I...</dialogue> <scene_description>He throws a chair. Willie enters tentatively...</scene_description> <character>WILLIE</character> <dialogue>Miss Pagniacci...? I'm sorry but...</dialogue> <parenthetical>(as Christina waits)</parenthetical> <dialogue>... Coach D'Amato -- he already told me I'm going in.</dialogue> <scene_description>A pause. They all share looks.</scene_description> <character>TONY</character> <parenthetical>(quietly)</parenthetical> <dialogue>Jesus Christ, Christy... What the hell happened to you...?</dialogue> <scene_description>Christina exits, her dignity intact.</scene_description> <character>CHRISTINA</character> <parenthetical>(nods to Willie)</parenthetical> <dialogue>Good...! Prove 'em wrong, Willie...</dialogue> <scene_description>She crosses to the main locker room, her entourage following.</scene_description> </scene> <scene> <stage_direction>EXT. DALLAS STADIUM - TUNNEL - NIGHT (SECOND HALF)</stage_direction> <scene_description>Tony is talking fast to Willie as they move down the tunnel. The sound of the CROWD GROWING...</scene_description> <character>TONY</character> <dialogue>... Take control of the huddle, get 'em in and out quick. Take advantage of the box while the speaker's hot.</dialogue> <character>WILLIE (TBD)</character> <dialogue>Yup.</dialogue> <character>TONY</character> <dialogue>Keep an eye on the front four. Make them work sideline to sideline, they'll slow down, and when you see them, take a knee, lookin' for some air, they're losing it. Then you go right at 'em. Control the line of scrimmage, and you're gonna control this game.</dialogue> <character>WILLIE</character> <dialogue>Yup.</dialogue> <character>TONY</character> <dialogue>Stats don't mean shit to me. Get me five yards on first, and they'll have to worry about stopping both you and Julian. Possession of the ball -- that's all I want. Move those chains.</dialogue> <character>WILLIE</character> <dialogue>Yup.</dialogue> <character>TONY</character> <dialogue>Read the safety's drop, if he's flat footed or in his backpedal, we go downtown. Keep 'em honest with your eyes. The longer you look them off, the tougher it is for them to make their break. Surprise 'em, make it sudden, Willie.</dialogue> <character>WILLIE</character> <dialogue>Yup.</dialogue> <character>TONY</character> <dialogue>What are you, Gary Cooper?</dialogue> <character>WILLIE</character> <dialogue>Who?</dialogue> <character>TONY</character> <dialogue>Forget it. Remember, keep them off balance with the hard count. That will slow the pass rush and buy you more time. If you see their arms shaking and their asses up in the air, they're coming... Control the line of scrimmage, you're gonna control this game, Willie</dialogue> <character>WILLIE</character> <dialogue>Coach, you said that already...</dialogue> <character>TONY</character> <dialogue>... And don't forget to look for the mismatches!</dialogue> <parenthetical>(as Willie sighs; he repeats)</parenthetical> <dialogue>Look for the mismatches. You'll find one... One more thing!</dialogue> <parenthetical>(carefully)</parenthetical> <dialogue>Right out of the gate, let it fly. Go 999, and shock the shit out of 'em.</dialogue> <scene_description>He grins at a surprised Willie. As they now break from the tunnel, the ROAR of the Dallas crowd, and the excitement of the sportscaster's voices overwhelms all.</scene_description> <character>INGO (V.O.)</character> <dialogue>Well, everyone knows it's 'crunch time' for Steamin' Beamen. Cagey old veterans have been known to crack under playoff pressure -- so you gotta wonder how this rather volatile kid'll stack up...</dialogue> <character>TUG (V.O.)</character> <dialogue>No, sir! Prisoners will not be taken in this second half! The surviving team goes to Minnesota next week for the Conference Championship.</dialogue> <scene_description>Willie steps to the side, alone -- and vomits quietly... then he jogs out onto the field for the second half.</scene_description> <character>TUG (V.O.)</character> <dialogue>Oh boy! Dallas is in trouble now 'Willie's Ritual.' You know, Ingo, in Tampa Bay one time you looked just like that after...</dialogue> <scene_description>Ingo finally laughs. HUDDLE #3 Willie, totally focused, assesses his teammates. He spots Cap Rooney, in uniform, signaling in the play!</scene_description> <character>WILLIE</character> <dialogue>Okay, Strong Left Zig 90 Gun, on three, serious -- it's their call. And by the way, guys --</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I apologize for having a big head back there -- but that wasn't me. It was the Devil Red 6-6-6.</dialogue> <parenthetical>(as they laugh)</parenthetical> <dialogue>Now let's get this bitch before they know what hit 'em! On three. Ready!</dialogue> <scene_description>They clap and break, believing it. Over Willie:</scene_description> <character>CAP (V.O.)</character> <parenthetical>(helmet)</parenthetical> <dialogue>Watch for the robber on the right... you know it's a beautiful thing to watch you throw, kid!</dialogue> <character>WILLIE</character> <dialogue>Good to hear you say that, not-so-old-man.</dialogue> <scene_description>FIELD #11</scene_description> <character>WILLIE</character> <dialogue>Set! Black 41, Black 41! Hut! Hut! Hut!</dialogue> <scene_description>Willie steps back, flings it far... 50 aerial yards... Interception!... An upset roar from the Dallas fans. Willie jogs back, past Tony, loose about it.</scene_description> <character>TONY</character> <parenthetical>(into headset)</parenthetical> <dialogue>... hey at least he ran the play I called!</dialogue> <character>WILLIE</character> <parenthetical>(to Tony)</parenthetical> <dialogue>One inch to the left, it would've worked.</dialogue> <scene_description>LUXURY BOX #3 The AFFA Commissioner, with a small entourage, is watching part of the game in Christina's box.</scene_description> <character>CHRISTINA</character> <dialogue>... Let me on the Finance Committee, Phil, and I know I could make a difference with the networks. I know New York, I...</dialogue> <character>COMMISSIONER</character> <dialogue>Your mother looks great, by the way...</dialogue> <character>CHRISTINA</character> <dialogue>Thank you. She's always loved Dallas. Loves Neiman Marcus.</dialogue> <character>COMMISSIONER</character> <dialogue>Great lady. And your golf?</dialogue> <character>CHRISTINA</character> <dialogue>I'm about an 11 now... from the whites. Think you can take me?</dialogue> <character>COMMISSIONER</character> <dialogue>Whoa! Not bad! I'm afraid I'm not in your class, Christina.</dialogue> <parenthetical>(rising to leave)</parenthetical> <dialogue>Good game. Good team.</dialogue> <parenthetical>(crossing to Margaret with her two pet dogs in hand)</parenthetical> <dialogue>Margaret...</dialogue> <character>MARGARET</character> <dialogue>It's nice to see you, Phil.</dialogue> <character>COMMISSIONER</character> <dialogue>Still miss Art.</dialogue> <character>MARGARET</character> <dialogue>I do, too...</dialogue> <parenthetical>(displaying her new dog)</parenthetical> <dialogue>Have you met Gabrielle?</dialogue> <character>COMMISSIONER</character> <parenthetical>(a beat)</parenthetical> <dialogue>... so I have.</dialogue> <scene_description>He moves, with great dignity, to the door.</scene_description> <character>CHRISTINA</character> <parenthetical>(following him, unsatisfied)</parenthetical> <dialogue>Phil, I'd really like to...</dialogue> <scene_description>They're out of earshot at the door. The Commissioner, obviously under some pressure of his own, decides to tell her now.</scene_description> <character>COMMISSIONER</character> <dialogue>Christina, the owners would like you to come up to New York for a meeting. Sometime before the first of the year... if possible?</dialogue> <character>CHRISTINA</character> <parenthetical>(surprised)</parenthetical> <dialogue>Oh? About what, sir?</dialogue> <character>COMMISSIONER</character> <dialogue>Well... there's a concern that's been voiced about some moves that were made... mmm, on your behalf, for another Los Angeles franchise ... Several of the Association's rules may have been violated on this. We've heard that...</dialogue> <character>CHRISTINA</character> <parenthetical>(stunned)</parenthetical> <dialogue>Who! Who said this? Who's been saying this...!</dialogue> <scene_description>She checks herself.</scene_description> <character>COMMISSIONER</character> <dialogue>Is Wednesday this week too soon?</dialogue> <character>CHRISTINA</character> <dialogue>Not at all. That'll be fine, sir.</dialogue> <character>COMMISSIONER</character> <dialogue>Good. Then the best of luck to you today...</dialogue> <scene_description>He exits. A261 CORRIDOR OUTSIDE BOX A261 The Commissioner, on the way out, shakes his head, to an associate.</scene_description> <character>COMMISSIONER</character> <dialogue>... I honestly believe that woman would eat her young.</dialogue> <scene_description>LUXURY BOX #4 Christina, staggered, turns to Ed Phillips and Johnny.</scene_description> <character>CHRISTINA</character> <dialogue>What the hell happened!?</dialogue> <character>ED PHILLIPS</character> <dialogue>I don't know, but somebody opened his big mouth. And I'll bet you it was our friend the Mayor!</dialogue> <character>JOHNNY POLITO</character> <dialogue>You're missing the point, Ed. This guy definitely doesn't want her in L.A. That's the point.</dialogue> <scene_description>Christina is worried. A254 SCOREBOARD #4 A254 Reads: MIAMI 17, DALLAS 28. THIRD QUARTER. 4:27... SIDELINE #7 Dallas has added another TD! It looks dicey.</scene_description> <character>TONY</character> <parenthetical>(to Willie)</parenthetical> <dialogue>Branco's aching to nail ya. He's playing for the cameras. Go Split Left 90 Hitch, but if you think Branco's gonna bite, audible a fade right to 'Sandman.'</dialogue> <character>WILLIE</character> <dialogue>You gonna let me check off? Where's the coach I know and love?</dialogue> <character>TONY</character> <dialogue>If Branco bites.</dialogue> <character>WILLIE</character> <dialogue>You git it, Coach.</dialogue> <scene_description>FIELD #12 Willie scans the defense. As predicted, the Dallas player (Branco) is tensed for the blitz, his knuckles white to the astroturf.</scene_description> <character>WILLIE</character> <parenthetical>(audibles)</parenthetical> <dialogue>Set! Blue 22... razor, razor... 955, 955... Hut!</dialogue> <scene_description>Branco breaks through! Willie, expecting it, throws a classic screen pass to Julian, who rumbles for 15 plus yards. Branco lies on the field, bleeding. His eyeball lies several feet away. It is shocking, and quickly covered up by the TV cameras.</scene_description> <character>TUG (V.O.)</character> <dialogue>Time out. And we'll be right back, folks, after a word...</dialogue> <scene_description>FIELD #13 A classic sweep follows, run by Washington, thundering towards Tony on the sideline; he turns the corner with a great block from Madman, and picks up another 20 yards to the Dallas 12-yard line. SIDELINE #8 Tony, rediscovering the purity of the sweep, smiles to himself. Monroe catches Tony's expression and gives him the "up."</scene_description> <character>FIELD #14</character> <dialogue>Willie hands off to Sanderson, who hands it to the second wide receiver, Owens, who runs a reverse 20 yards in for a touchdown!</dialogue> <scene_description>SCOREBOARD #5</scene_description> <character>MIAMI 24, DALLAS 28.</character> <dialogue>FOURTH QUARTER.</dialogue> <scene_description>A259 FIELD #15 A259 The Dallas QB answers right back. Running in for a TD! SIDELINE #9 It's now Dallas 35, Miami 24 -- 11 points. We PULL DOWN FROM the scoreboard to:</scene_description> <character>WILLIE</character> <parenthetical>(re: Dallas QB, to D'Amato)</parenthetical> <dialogue>Whatsamatter with this guy? Doesn't he know I'm gonna whip his ass?</dialogue> <character>TONY</character> <dialogue>Maybe no one's told him yet.</dialogue> <character>CAP</character> <parenthetical>(to Willie)</parenthetical> <dialogue>You can beat him, Willie. I know his mind... If you hit for another score now, quickly, he'll fold, I know it.</dialogue> <scene_description>Cap's eyes are solid, supportive. Willie believes. CHRISTINA'S LUXURY BOX #5 In a quiet moment, Christina notices most of her associates talk business on cell phones or to each other, only watching the game in quick eyebursts -- she hears a buzzing chorale of "increasing market shares" and "merchandizing revenue streams" and "league relocation protocols..." Margaret sits in a quiet corner with a friend, sipping on a Bloody Mary. She smiles over at her daughter. The Shark offense is on the Dallas 25, third and seven. Willie is over the ball. His eyes focus... A Dallas safety has his "go to" foot a slight inch ahead of the other. Willie smiles.</scene_description> <character>WILLIE</character> <parenthetical>(audibling)</parenthetical> <dialogue>Set! Zorro, Zorro... Red 66, Red 66... Hut!</dialogue> <scene_description>Willie spins back and hands the ball off to Washington on a counter. Washington shoots through the line with room to run.</scene_description> <character>WILLIE</character> <dialogue>Go, baby!</dialogue> <scene_description>Downfield, a Dallas defender tries to force Washington out of bounds, but spinning on a dime, Washington cuts back towards the center of the field -- Dallas defenders tackle him -- one, two, three at a time -- but he drags them for another five yards -- into the end zone. Touchdown!... Willie is the first downfield to jump all over him. SCOREBOARD #6 MIAMI 31, DALLAS 35. FOURTH QUARTER. 02:00... Miami time-outs remaining: 2. A WHISTLE BLOWS. The clock runs. A263 FIELD #17 A263 The Dallas offense at the Miami 24 -- Third and seven. SIDELINE #10 Tony talks closely and intently with Willie... FIELD #18 The Dallas QB pitches to the flat -- his running back snares the ball and cracks back for a few extra yards -- tired tackling from the exhausted Sharks. Fourth down and one. Miami 18-yard line. Tony looks... The Dallas field goal unit is not coming out. They're going for it! Tony calls a time-out... Shark runs off the field to sidelines. Tony and Monroe converse with Shark.</scene_description> <character>TUG (V.O.)</character> <dialogue>... And Dallas is goin' for it! They're takin' as much time as they can in their huddle. The clock is tickin'. One minute fifty. Whew, am I feeling this in the pit of my stomach! Oh, boy!</dialogue> <character>INGO (V.O.)</character> <dialogue>Gutsy move on Dallas's part! Fourth and one, they're taking a big chance here. They could take an easy field goal and even if Miami got a touchdown, the game would go into overtime. But 'Coach U' smells victory now, not a tie, a real gambler...</dialogue> <character>TUG (V.O.)</character> <dialogue>... Hey, I'd do the same thing, Ingo. That's the kind of play calling I like! It wins ball games!</dialogue> <scene_description>SIDELINE #12 Tony and Willie stand close as we hear:</scene_description> <character>INGO (V.O.)</character> <dialogue>This is the game, Tug! If Miami can hold them here, Willie Beamen will have one last chance.</dialogue> <scene_description>PRESS BOX #1 Jack Rose is outside himself, rooting.</scene_description> <character>TUG (V.O.)</character> <dialogue>This is it, guys and dolls, this is where the famous rubber meets the famous road!</dialogue> <scene_description>Shark, bloody and exhausted, yells at his defensive unit:</scene_description> <character>SHARK</character> <dialogue>Y'all gonna make this tackle, bitches! Everything we done for is on the line!! This play! Right now! Right here! Forever! Be proud!</dialogue> <scene_description>DALLAS HUDDLE #1</scene_description> <character>DALLAS QB</character> <dialogue>Make the first here, take a knee and it's hello Minnesota. On one. Ready?!</dialogue> <scene_description>They clap and move to the ball. FIELD #19 As the Dallas QB scans the defense, Shark calls for a shift in the Miami defense.</scene_description> <character>DALLAS QB</character> <dialogue>Go! 47 Tiger... Monday, Monday... 48 Bandit, 48 Bandit... Hut!</dialogue> <character>SHARK</character> <parenthetical>(simultaneous to Dallas QB)</parenthetical> <dialogue>Roll-left! Roll-left! Orbit Wheel! Strong right! Edge back! Orbit Left! Omaha Orbit Left!</dialogue> <scene_description>The defensive players scurry to new positions. The Dallas QB shoots back, handing off to the running back. Shark waits, poised to fill the hole. The back powers forward, no running lanes -- he bounces to the outside, sees daylight, speeds for it... Shark runs desperately to the same hole on his bum and swollen knee. The runner is almost to the first down marker -- inches! -- He dives for it! Shark dives at the exact same time -- an all-out lunge of sheer faith to stop the first down -- at any cost! Shark and the runner collide, a loud crash! The runner is stopped! An inch or two short of the first down marker! The Miami 18. Tony and Monroe go nuts in each other's grasp. Just like the old days! A272 SCOREBOARD #7 A272 Clock stops for the change of possession. 01:34... FIELD #20 But Shark lies there like a dead man -- no motion! Dr. Powers and two trainers race onto the field. STANDS #7 Shark's wife and kids look on, terrified. SIDELINE #14 Tony hurries out, as does Monroe. In b.g., Willie and Cap wait in the grip of fear. The entire team waits. Tony and Monroe now run out.</scene_description> <character>TUG (V.O.)</character> <dialogue>Shark Lavay is down and it looks bad, but he definitely squashed Dallas's first down, and it's now Miami's ball. I can't think of a finer way to take a hit like that for your teammates!</dialogue> <character>INGO (V.O.)</character> <dialogue>No, sir! What a great tackle! One for the record books!</dialogue> <scene_description>MEDIA BOX #1 ON TV: The tackle replayed... Then the medical cart is shown on the field. Nothing is said. The stadium is hushed.</scene_description> <character>INGO (V.O.)</character> <dialogue>Well, Miami has one time-out remaining. They're down by 4 with 1:34 left. Nothing less than a touchdown will...</dialogue> <scene_description>Shark is definitely not moving. The ambulance waits near the goalpost. Tony, Powers, Monroe, and the trainers wait helplessly.</scene_description> <character>MONROE</character> <dialogue>Shark, talk to me please!</dialogue> <parenthetical>(to others)</parenthetical> <dialogue>Jesus Christ, is this the way it starts...? Is he ever gonna...?</dialogue> <scene_description>They ease him onto a stretcher when suddenly Shark's eyes open, falling on Tony with a glazy smile -- and a huge headache!</scene_description> <character>SHARK</character> <parenthetical>(weakly)</parenthetical> <dialogue>... I... stop 'em?</dialogue> <character>TONY</character> <parenthetical>(deeply relieved)</parenthetical> <dialogue>Oh, Shark! You stopped 'em cold, baby! Godammit!</dialogue> <character>MONROE</character> <dialogue>You got the bonus, baby! A million bucks!</dialogue> <character>SHARK</character> <parenthetical>(dreamy)</parenthetical> <dialogue>A million dollars...!</dialogue> <parenthetical>(sees Powers)</parenthetical> <dialogue>Say, Powers...?</dialogue> <scene_description>Powers AD LIBS.</scene_description> <character>SHARK</character> <dialogue>Are you still white?</dialogue> <scene_description>STANDS #8 Both sets of fans roar their appreciation for his valor, as he tries to acknowledge them with a weak wave of his arm, as they cart him off. STANDS #9 Shark's family, next to Willie's mom, reacts with great relief and joy.</scene_description> <character>TUG (V.O.)</character> <dialogue>He's okay! He's okay! Shark Lavay, one of the greatest the game has ever seen, has probably played his last game, but I can think of no...</dialogue> <scene_description>SIDELINE #15 Tony clasps Willie by the shoulders.</scene_description> <character>TONY</character> <dialogue>He gave you the shot, Willie. Now take it.</dialogue> <parenthetical>(as Willie nods)</parenthetical> <dialogue>... It's your time.</dialogue> <scene_description>Willie runs out, the crowd going nuts! FIELD #22 First and ten on the Miami 18. 82 yards to go. 1:34...</scene_description> <character>WILLIE</character> <dialogue>drops back in the shotgun formation -- no pass lanes open, all covered, Willie drops a short screen to Julian, who dazzles on a 16-yarder out of bounds.</dialogue> <scene_description>SCOREBOARD #8</scene_description> <character>MIAMI 31, DALLAS 35.</character> <dialogue>FOURTH QUARTER.</dialogue> <character>TUG (V.O.)</character> <dialogue>Second and ten. 66 yards to go. 55 seconds. One false step and that's all she wrote, my friends.</dialogue> <character>INGO (V.O.)</character> <dialogue>Coach D'Amato is gonna need every blessed one of those seconds.</dialogue> <scene_description>HUDDLE #4 Willie notices Sanderson is rattled, his eyes closed, sweating a storm.</scene_description> <character>WILLIE</character> <dialogue>Fourth Quarter. 55 seconds left. It's do or die. Pro Left Red 88 Bronco. On two... You tight, 'Sandman'?</dialogue> <scene_description>Eye to eye.</scene_description> <character>SANDERSON</character> <dialogue>Tighter than pussy on pre-wedding day...</dialogue> <character>WILLIE</character> <parenthetical>(grins)</parenthetical> <dialogue>That's why you're the best! You like pussy as much as I do! Okay then, let's show these big-ass Texas boys what road-kill looks like! Keep it lethal, 'money. We're through on two.</dialogue> <scene_description>FIELD #23 Willie in shotgun formation -- Three wide outs.</scene_description> <character>WILLIE</character> <parenthetical>(scans the defense, audibles)</parenthetical> <dialogue>Set! Red 44... Razor, Razor... 88 Sally, 88 Sally... Hut! Hut!</dialogue> <scene_description>Willie again sees nothing, the receivers all expertly covered. But then he sees -- a chance -- a desperate chance -- Sanderson is slanting free downfield -- SIDELINE #16 Tony sees it as well:</scene_description> <character>TONY</character> <dialogue>Do it! Do it!</dialogue> <scene_description>FIELD #24 Willie takes that cubic centimeter of chance; he flings it deep... In breathless suspense, the ball sails. Sanderson, sweating like a pig in his helmet, sees it, adjusts his route mid-stride... It's as if it is his soul flying towards him, which he now catches! And then runs it in another 15 yards into the end zone! A miracle! Jimmy Sanderson feels himself freed of the demons! A frenzied celebration on the Miami sideline -- in the stands -- they've won! But suddenly... Tony is crestfallen. FIELD #25 A yellow penalty flag lies on the field... Holding!</scene_description> <character>REFEREE #3</character> <dialogue>No touchdown. Holding on offense #69. Repeat second down. Ten yards.</dialogue> <scene_description>Madman furiously shoves Referee #3 in argument, and the Referee ejects him from the game (AD LIB).</scene_description> <character>INGO (V.O.)</character> <dialogue>Oh, that might just be the back- breaker right there!</dialogue> <character>TUG (V.O.)</character> <dialogue>That would take the air out of any tire. It's gonna take an enormous amount of will now to...</dialogue> <scene_description>LUXURY BOX #5 Christina and her guests groan.</scene_description> <character>THEIR POV</character> <dialogue>The entire field stretches before Willie and the offense in the huddle. Never has 76 yards looked so long.</dialogue> <character>BACK TO SCENE</character> <dialogue>Christina sits down next to her mother; they talk AD LIB -- a new attitude shaping between them.</dialogue> <scene_description>HUDDLE #4 39 seconds.</scene_description> <character>WILLIE</character> <dialogue>Okay, this is the way I like it -- we got 'em just where we want 'em.</dialogue> <character>WASHINGTON</character> <dialogue>You are such a punk!</dialogue> <character>WILLIE</character> <dialogue>Watch your mouth or I'll take it in myself.</dialogue> <character>WASHINGTON</character> <dialogue>I liked you better when you were puking.</dialogue> <character>WILLIE</character> <dialogue>Nice and easy, boys. One play at a time. Keep the routes sharp and kiss the sideline like it's the hottest momma you ever seen and we are there! Lemme hear it, brothers!</dialogue> <parenthetical>(as the team roars)</parenthetical> <dialogue>Lemme hear it again!</dialogue> <parenthetical>(louder, even more inspired)</parenthetical> <dialogue>Now let's see the swagger, motherfuckers!</dialogue> <scene_description>The team claps, breaks, and starts to the line. The Dallas defense is worn by the swagger and trash-talking coming right at them.</scene_description> <character>CAP (V.O.)</character> <parenthetical>(helmet)</parenthetical> <dialogue>... take another pop at that weakside safety. He's pretending.</dialogue> <scene_description>MONTAGE #5 - TWO-MINUTE DRILL (5TH GAME)</scene_description> <character>FIELD #26</character> <dialogue>A flurry of plays -- Tony firmly in control -- each play well-called and quickly executed -- relayed from Tony to Crozier, to Cap to Willie. A chain of minds. Every person doing their job.</dialogue> <character>QUICK CUTS AND FLASHES</character> <dialogue>Subjective -- A caught pass -- a runner leaps out of bounds -- a screen pass slanting out of bounds...</dialogue> <scene_description>COACHES' BOOTH #1 Crozier reeling off the plays in conjunction with Tony.</scene_description> <character>HIS POV</character> <dialogue>The Sharks moving downfield like a ravaged but hungry 4th quarter machine. Sanderson is back to his natural glory, playing without the help of substances.</dialogue> <scene_description>A292 SCOREBOARD #9 A292 MIAMI 31, DALLAS 35. 35 yards to go. 13 seconds. FIELD #27 Willie, gazing over the defense at the line, doesn't like what he sees, calls his last "time out."</scene_description> <character>TUG (V.O.)</character> <dialogue>That's it! The last one! Something seems to be wrong!</dialogue> <scene_description>SIDELINE #18 Willie jogs over to Tony.</scene_description> <character>WILLIE</character> <dialogue>They had it cold.</dialogue> <character>TONY</character> <dialogue>Smart move. How ya doing?</dialogue> <character>WILLIE</character> <dialogue>I'm ready to win.</dialogue> <character>TONY</character> <dialogue>You know, there's something important I gotta ask you...</dialogue> <character>WILLIE</character> <dialogue>What's that?</dialogue> <character>TONY</character> <dialogue>That day you came over to my house, I made dinner for you?</dialogue> <character>WILLIE</character> <parenthetical>(wary)</parenthetical> <dialogue>Yeah?</dialogue> <character>TONY</character> <dialogue>Did you not like the jambalaya?</dialogue> <scene_description>Willie looks at him and laughs.</scene_description> <character>WILLIE</character> <dialogue>Well, frankly, Coach, it sucked -- needed more seasoning... That's why I been throwing up every week.</dialogue> <character>TONY</character> <parenthetical>(smiles)</parenthetical> <dialogue>I thought that. Just go out and kick their ass and win the game!</dialogue> <scene_description>FIELD #28 Willie scans the end zone -- would love to take a shot -- but there's nothing -- he throws the ball away, spikes the clock. A295 SCOREBOARD #10 A295 Now reads 35 yards, 9 seconds left... SIDELINE #20 Tony stares at the field, at Willie, deep in thought -- it seems the biggest decision of his career is always now.</scene_description> <character>TONY</character> <parenthetical>(to Crozier)</parenthetical> <dialogue>Comanche.</dialogue> <scene_description>A296 COACH'S BOOTH #2 A296</scene_description> <character>CROZIER</character> <dialogue>You're kidding!</dialogue> <character>TONY</character> <dialogue>Let the kid do his thing!</dialogue> <character>CROZIER</character> <dialogue>Jesus Christ, Tony, we got nine seconds -- ! You're banking on...</dialogue> <scene_description>Tony casts his eyes skyward at Crozier in the box.</scene_description> <character>TONY</character> <dialogue>This is what coaching's all about, Nick. You up to it?</dialogue> <scene_description>Crozier breathes and relays the play to Cap, on to Willie.</scene_description> <character>CROZIER</character> <dialogue>Okay you got it. Spread West Hustle 60 Comanche Right. Remind him he's got the option -- rifle or spread formation, check at the line...</dialogue> <scene_description>HUDDLE #5 Willie hears it from Cap and looks over at Tony in amazement. Tony nods... Willie shakes his head. Okay!</scene_description> <character>WILLIE</character> <parenthetical>(loose)</parenthetical> <dialogue>Okay, guys, it can't get more fun than this! I swear to God I didn't call this one. Spread West Hustle 60 Comanche Right, check with me. On one. Ready.</dialogue> <character>WASHINGTON</character> <dialogue>Man has balls of iron.</dialogue> <character>WILLIE</character> <dialogue>Tony is the man! We together on this, J-man?</dialogue> <character>WASHINGTON</character> <dialogue>Dynamic duo, brother.</dialogue> <character>WILLIE</character> <dialogue>I feel you. Let's see that all- pro strut, baby! Ready? Check with me on one. Ready?</dialogue> <scene_description>FIELD #29 They break and line up over the ball. Willie scans the defense.</scene_description> <character>WILLIE</character> <dialogue>Set, Rifle 22, Rifle 22! Hut!</dialogue> <scene_description>Willie pump fakes a pass to Sanderson -- the Dallas defenders flinch left to cover him -- Willie immediately takes off right with the ball, skimming the outside of the line -- Madman delivers a devastating block -- Julian runs slightly behind Willie, ready to throw his block -- ... but Willie sees some daylight, and tears down the sideline -- the Dallas safety is racing him -- Just as he zooms in on Willie, he laterals the ball to Julian just behind him... Julian snags the ball -- leaps around the safety, who slams Willie out of bounds -- Julian races against time down the sideline, turning on the afterburners -- the game clock. A298 SCOREBOARD #11: A298 Game clock ticking down... 00:07... 00:06... 00:05... B298 SIDELINE #20 B298 Faces: Tony, Cap, Monroe, others... C298 STANDS #10 C298 Faces: Cindy, others... D298 FIELD #30 D298 A Dallas corner is moving fast onto Julian -- but Julian, flashing the clock, plays smart -- without selfishness -- no dazzling spin moves -- no evasions -- he dives out of bounds. E298 SCOREBOARD #12 E298 The clock freezes. Three yards to go. No penalty. Four seconds. One play.</scene_description> <character>TUG (V.O.)</character> <dialogue>Oh my God! My heart is up in my mouth right now! Ingo! This is what football's all about... Torture!</dialogue> <character>TONY</character> <parenthetical>(to Crozier, re: Willie's running)</parenthetical> <dialogue>He's still holding onto that thing like a loaf of bread. Someone's gonna take it from him.</dialogue> <parenthetical>(to Cap and QB coach; looking at Willie)</parenthetical> <dialogue>... Is he okay?!</dialogue> <parenthetical>(to Julian)</parenthetical> <dialogue>Way to run!</dialogue> <parenthetical>(to Cap and staff)</parenthetical> <dialogue>He did it for once! He thought with his head, not his balls -- unselfish! Great move... let's go... four seconds. One time. I love this game!</dialogue> <scene_description>PRESS BOX #2 Jack Rose is as excited as any 11-year-old kid, praying to more worldly gods. LUXURY BOX #6 Christina and her Mother share the moment of together, rooting for once as a family. SIDELINE #22 Willie now huddles with Tony, forehead to forehead, talking low, confidently, as Cap listens.</scene_description> <character>TONY</character> <dialogue>Take a breath...</dialogue> <character>WILLIE</character> <dialogue>Okay... okay...</dialogue> <character>TONY</character> <dialogue>You set?</dialogue> <character>WILLIE</character> <dialogue>Yeah.</dialogue> <character>TONY</character> <dialogue>Then make 'em believe, Willie. This time. Now.</dialogue> <character>CAP</character> <dialogue>Remember: See it before you do it, kid.</dialogue> <scene_description>Willie nods and runs back onto the field, as there are no time outs left! B301 SCOREBOARD #13 B301</scene_description> <character>MIAMI 31, DALLAS 35.</character> <dialogue>FOURTH QUARTER.</dialogue> <scene_description>STANDS #11 The fans are in an uproar, stomping, screaming! A man in a gorilla suit with a placard: "I've gone ape over Willie!" is pushed and mauled by irate Dallas fans. Off flies his ape head! HUDDLE #7</scene_description> <character>WILLIE</character> <dialogue>Well, it's our time in the sun, guys.</dialogue> <parenthetical>(looks into each face)</parenthetical> <dialogue>One on one, man on man, together! Left Tank Stack 421 Rhino. Lean and mean. On three. Ready!</dialogue> <scene_description>They break and line up over the ball at the four yard line. Willie scans the defensive alignment. The play clock marches... STANDS - DAY (LAST PLAY) The breathless crowd... FIELD #31 - POV - DALLAS DEFENDERS pointing, shifting positions, trying to confuse Willie. SIDE LINE #23 Players kneeling on the sidelines, some praying, barely daring to watch, some chewing nails, others screaming encouragement... Cap Rooney whispers a silent prayer for Willie. Coach D'Amato -- the picture of a man at a zenith in his life...</scene_description> <character>WILLIE</character> <dialogue>Set Black 66, Black 66. Hut! Hut! Hut!</dialogue> <scene_description>A sudden torrent of movement -- Miami slams forward -- Dallas slams back -- in SLOW MOTION, Julian reaches for the handoff -- the ball slaps into his stomach -- a convincing fake -- as Willie keeps the ball -- Julian leaps left -- Dallas defenders surge to cover him -- at that moment Willie chooses to go right back over the hole Julian has collapsed. High over the goal line -- he seems to sail through the air for suspended moments -- he is almost there -- almost across the plain of the goal line, almost to glory -- as a wall of Dallas players rise up to meet him like a breaker at sea... Willie crashes into it... A307 BRIEF SHOT OF GHOST A307 whoever he be -- from another time -- diving with him. Willie seems to bauble the football as he disappears into "big Wednesday." All SOUND CEASES. Wind plays off the grass... In the silence of the major pileup, bodies draped and intertwined like smoking car wrecks, referee #2 digs out the players, one by one, looking for the ball ... the tension rising to extraordinary heights! Where the fuck is it? A307 SIDELINE #24 A307 Tony waits silently...</scene_description> <character>TUG (V.O.)</character> <dialogue>I think he lost it, Ingo!</dialogue> <scene_description>B307 FIELD #33 B307 A player peels off, revealing Willie smiling, the ball held awkwardly up around his neck, but firmly in his possession... Referee #2's arms now shoot up in SLOW MOTION -- touchdown! The Miami players go absolutely nuts! The Dallas players are stunned, protesting!... Willie is hauled into the air by his ecstatic teammates. The Dallas crowd is stunned and silent; Miami fans are ecstatic!</scene_description> <character>TUG (V.O.)</character> <dialogue>I've seen Mecca, Ingo!! I have seen Mecca! I am redeemed!</dialogue> <scene_description>Even Jack Rose is in love with the Sharks again.</scene_description> <character>ROSE</character> <parenthetical>(into his TV camera)</parenthetical> <dialogue>'Never say never.' My Sharkies have done it! A few short weeks ago, who would've believed Willie Beamen...?</dialogue> <scene_description>D307 SCOREBOARD #13 D307</scene_description> <character>MIAMI 37, DALLAS 35.</character> <dialogue>FOURTH QUARTER.</dialogue> <scene_description>E307 SIDELINE #25 E307 Pandemonium on the Shark sideline. Tony falls to his knees in a prayer-like position... then finally rises, and runs across the field to hug the Dallas coach.</scene_description> </scene> <scene> <stage_direction>INT. SHARK LOCKER ROOM - LOCKER ROOM #4 - NIGHT</stage_direction> <scene_description>Jubilation in the locker room... Willie gives and receives congratulations from all... Cap Rooney searches out Willie in the chaos. Their eyes meet, with respect.</scene_description> <character>CAP</character> <dialogue>Great game... whoever you are.</dialogue> <character>WILLIE</character> <dialogue>Thank you, Cap.</dialogue> <scene_description>They nod to each other. Simple as that. SERIES OF DISSOLVES: The players and reporters and team personnel gradually disappear until Coach D'Amato and Rooney are left in a corner of the quiet locker room.</scene_description> <character>CAP</character> <dialogue>I'm calling it quits.</dialogue> <character>TONY</character> <dialogue>You sure?</dialogue> <character>CAP</character> <dialogue>I'm sure.</dialogue> <scene_description>A beat.</scene_description> <character>TONY</character> <dialogue>I'm sorry I put you in, Cap.</dialogue> <character>CAP</character> <dialogue>Oh, hell!</dialogue> <parenthetical>(actually swears, relieved)</parenthetical> <dialogue>I'm not. They needed to see me fail. So I did! And I'm glad Cindy got a taste of it. Now maybe I can get on with my life... I'll see you around the pasture, old man.</dialogue> <scene_description>He exits. OMITTED COACH'S LOCKER ROOM #2 - LATER Christina reenters the same small room where she fought with Tony at halftime.</scene_description> <character>CHRISTINA</character> <dialogue>Congratulations!</dialogue> <character>TONY</character> <dialogue>Thanks.</dialogue> <character>CHRISTINA</character> <dialogue>How's Cap?</dialogue> <character>TONY</character> <dialogue>He's okay. He'll be leaving after the season... So will I...</dialogue> <scene_description>She nods, not surprised.</scene_description> <character>CHRISTINA</character> <parenthetical>(nods)</parenthetical> <dialogue>I'm sorry it ended up this way, Tony, I know you don't believe it but I really am... Seeing the team out there today -- it was like going back in time...</dialogue> <parenthetical>(remembering)</parenthetical> <dialogue>God, it was beautiful football!</dialogue> <character>TONY</character> <dialogue>It was. It was beautiful.</dialogue> <scene_description>A beat.</scene_description> <character>CHRISTINA</character> <dialogue>This used to be a hell of a sport, didn't it?</dialogue> <character>TONY</character> <dialogue>It still is.</dialogue> <scene_description>He walks on. Christina watches after him.</scene_description> </scene> <scene> <stage_direction>EXT. TEXAS STADIUM - NIGHT</stage_direction> <scene_description>Tony walks out onto the field where Willie stands alone, a football in hand, watching as the groundskeepers unroll the large tarps and stadium personnel pick through the stands. The stars are abundant this night.</scene_description> <character>TONY</character> <dialogue>Nice night.</dialogue> <scene_description>They walk together across the field.</scene_description> <character>WILLIE</character> <dialogue>Mmm... Can't get over Cap. I learned more watching him in the first half than I did in five seasons... Next week I'm gonna win it just for him.</dialogue> <character>TONY</character> <dialogue>Glad to see success hasn't gone to your head too much, kid...</dialogue> <character>WILLIE</character> <dialogue>Steamin' Beamen...? Never.</dialogue> <character>TONY</character> <dialogue>Don't pat the ball.</dialogue> <character>WILLIE</character> <dialogue>Coach...?</dialogue> <character>TONY</character> <dialogue>Don't pat the ball before you throw, it's getting to be a habit, and they're seeing it too easy...</dialogue> <parenthetical>(as Willie looks at the ball he is holding)</parenthetical> <dialogue>This is your moment, Willie. Savor it.</dialogue> <character>TONY</character> <parenthetical>(beat)</parenthetical> <dialogue>But never forget: on any given Sunday, you're either gonna win or you're gonna lose. The point is...</dialogue> <character>WILLIE</character> <dialogue>'... Can you take it like a man?' I got it, Coach!</dialogue> <scene_description>Tony gazes around the stadium, taking it all in.</scene_description> <character>TONY</character> <dialogue>Next year I'm out of here.</dialogue> <character>WILLIE</character> <dialogue>... I figgered...</dialogue> <character>TONY</character> <dialogue>I'm not the right guy for this team anymore. I wanna see my grandkids. I wanna start living again... I wanna wait on a grocery line. I wanna walk on a sidewalk. I wanna do nothing... As long as it's not fishing...</dialogue> <character>WILLIE</character> <parenthetical>(laughs)</parenthetical> <dialogue>... I don't think there's anything else you could do, Coach.</dialogue> <character>TONY</character> <dialogue>... There was this great quarterback in the '70s I knew. This guy was one tough sonofabitch. Fought for every inch he got. Didn't have your natural skill, this guy, but he made it happen, he won... So time went by and he didn't know it, but his day was over. He couldn't go deep like he used to and he started missing the easy underneath routes... the game was just passing him by... Anyway, I ran into him a few weeks ago in L.A. and we had a few beers, we started talking and you know what he said?</dialogue> <character>TONY</character> <dialogue>He said that when looked back at those 200 whatever-they-were Sundays, he didn't really miss the Pantheon Cups or the girls or the money or even the goddamned glory! What he missed were those other guys looking back at him in the huddle. Those eleven guys -- their names he could hardly remember -- but it was their faces he remembered... every one of 'em seeing things the same way. Looking downfield. Together.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>That's what he missed... I'll miss you, amigo.</dialogue> <scene_description>Tony pats Willie affectionately on the arm and walks off. Willie's expression is gentle, appreciative. He drops back three quick, lithe steps, and sails a long, perfect spiral down the empty field.</scene_description> <character>WILLIE</character> <dialogue>So... my arm, y'know, Coach, I met with this specialist and...</dialogue> <scene_description>He turns to look for Tony. But he's already gone.</scene_description> <character>WILLIE</character> <parenthetical>(quietly, to himself)</parenthetical> <dialogue>I'm scared...</dialogue> </scene> <scene> <stage_direction>EXT. VERANDA (MIAMI VILLA) - DAY</stage_direction> <scene_description>Press conference.</scene_description> <character>SUPERIMPOSE:</character> <dialogue>ONE MONTH LATER</dialogue> <character>TONY</character> <parenthetical>(as if in response to Willie)</parenthetical> <dialogue>... Hey, we're all scared. If you think any coach these days got himself a secure visa out of Casablanca, you need a Mandrake X-ray.</dialogue> <parenthetical>(off laughter)</parenthetical> <dialogue>I'm a triple-decker stress sandwich right now...</dialogue> <character>REPORTER #1</character> <dialogue>Why's that, Coach? The 32-13 loss to Minnesota?</dialogue> <character>TONY</character> <parenthetical>(smiles)</parenthetical> <dialogue>Not even close... try fishing, Johnny.</dialogue> <scene_description>He's responding off-handedly to a FEMALE REPORTER'S question on the stairs leading up to the veranda of an Italian- style villa housing the Pagniacci Foundation. The group mills nervously; something's in the air. CHRISTINA stands before the assembled press corps -- Coach D'Amato moving to her side on cue. Nick Crozier sits close by. Margaret Pagniacci and the Mayor attend.</scene_description> <character>CHRISTINA</character> <parenthetical>(reading)</parenthetical> <dialogue>Thank you all for coming today... I guess you've heard all the rumors about the Sharks leaving for Los Angeles because Mayor Smalls was reportedly unable to get City Council approval for stadium improvements...</dialogue> <parenthetical>(as Smalls tightens)</parenthetical> <dialogue>... but let me make this as clear as I can to you: We -- the Sharks -- have no intention of leaving Miami. We love this town, and we love our Shark Stadium -- and we will continue to remodel it, at whatever cost, to make it a home away from home for our fans!</dialogue> <parenthetical>(looking pointedly at the Mayor)</parenthetical> <dialogue>And we have great confidence at the final hour that our Mayor will be there for us...</dialogue> <scene_description>The Mayor accepts the applause, but some in the press mutter among themselves, believing they know the real story.</scene_description> <character>CHRISTINA</character> <dialogue>... You know, I came to a revelation recently. I realized how much I love this game, and I want to live up to what my father left me: a legacy, a feeling that this is our house -- the Pagniacci house... I am resolved therefore to stick it out here in Miami because the Pagniaccis are not quitters and we will never let this town down!</dialogue> <scene_description>As they applaud, Christina turns to Margaret. United behind the family name, they seem to have discovered each other again.</scene_description> <character>CHRISTINA</character> <dialogue>Nick...?</dialogue> <parenthetical>(sees Nick standing)</parenthetical> <dialogue>Nick Crozier -- our new Head Coach. Welcome!</dialogue> <parenthetical>(as Crozier nods in response to the polite applause)</parenthetical> <dialogue>Tony D! Thank you!... Always! Wherever you go, know this: you will always be a 'Shark' in your heart. You will always be remembered with great respect and love. 'Whatever it takes,' right?... And Tony...? Thanks for making me understand what I'd forgotten -- that football is more than a game. It's a way of life! Tony D'Amato, everybody, give him a hand!</dialogue> <scene_description>She hugs Tony as he steps to the podium.</scene_description> <character>TONY</character> <dialogue>Thank you, Christy... I really am sorry I've not been able to deliver to you and the fans another Pantheon Cup. San Francisco sure took care of that for me...</dialogue> <parenthetical>(off good-natured laughter)</parenthetical> <dialogue>It's been way too long not to win the Big One. But in football, as in life, things change and fresh blood is needed...</dialogue> <character>TONY</character> <parenthetical>(beat)</parenthetical> <dialogue>... So I guess it's time for me to get the hell outta the way. Bring in the new. I think Nick Crozier is gonna do a great job...</dialogue> <parenthetical>(nods to Crozier)</parenthetical> <dialogue>... Most of all, I wanna thank the people of Miami for their long support over these last 20- something years... Geez, it flew by like... like any other Sunday, but it's meant everything to me and I've had a great ride. Too good a ride for any one man. I'm gonna miss you all. Thank you...</dialogue> <scene_description>There is significant, heartfelt applause from some, not all. Rose, in spite of himself, is regretful to see his nemesis depart, muttering to a colleague.</scene_description> <character>ROSE</character> <dialogue>I'm gonna miss that arrogant S.O.B...</dialogue> <parenthetical>(studying Crozier)</parenthetical> <dialogue>Crozier's a wimp compared to D'Amato.</dialogue> <scene_description>Tony acknowledges the applause, about to leave the podium -- but then seems to change his mind.</scene_description> <character>TONY</character> <dialogue>... I almost forgot... In thinking about change, I guess I felt it was time for me to change, too. Y'know, like an old vampire, I need a new blood supply...</dialogue> <parenthetical>(some laughter)</parenthetical> <dialogue>it was Willie Beamen who taught me how... to give it another shot.</dialogue> <parenthetical>(as the press is murmuring, wondering)</parenthetical> <dialogue>... So, starting today, I am taking over as Head Coach of that new expansion team in Albuquerque, New Mexico, the Aztecs.</dialogue> <parenthetical>(as a wave of questions roll across the balcony)</parenthetical> <dialogue>Why? 'Cause they're giving me full management control. How can I pass that up? I guess the bigger I get, the more ridiculous!</dialogue> <character>TONY</character> <parenthetical>(off laughter)</parenthetical> <dialogue>... But hoping not to make a fool out of myself out there, I have just signed Willie Beamen as starting Quarterback and 'franchise player' for the Aztecs...</dialogue> <scene_description>Now there is pandemonium on the veranda. Christina's expression drops, crossed. Crozier looks like he's going to throw up. Tony grins. That's the way it goes.</scene_description> <character>TONY</character> <dialogue>So, Miss P., I look forward to seeing you next year across those sidelines... and calling it what it always was and still is: a game. Let's keep it that way... So long, everybody.</dialogue> <scene_description>He waves and walks out -- leaving Christina and Crozier to deal with a bewildered and upset press corps.</scene_description> </scene> <scene> <stage_direction>EXT. PLAYING FIELD #1 - DAY</stage_direction> <scene_description>The same image that opened the story: A football field. Any football field. Grass sways in the wind.</scene_description> <character>THE END</character> </scene> </script>

The Miami Sharks, a once-great American football team, are struggling to make the 2001 Affiliated Football Franchises of America (AFFA) playoffs. They are coached by thirty-year veteran Tony D'Amato, who has fallen out of favor with young team owner Christina Pagniacci and his offensive coordinator, as well as D'Amato's expected successor, Nick Crozier. In the thirteenth game of the season, both starting quarterback Jack "Cap" Rooney and second-string quarterback Tyler Cherubini are injured and forced to leave the field. The desperate Sharks call upon third-string quarterback Willie Beamen to replace them. While a nervous Beamen makes a number of errors and fails to win the game for the Sharks, he plays well and gains confidence. Rooney vows to make it back by the playoffs, with D'Amato promising to not give up on him. The next day, D'Amato and Pagniacci argue about the direction of the team. Pagniacci favors Crozier and wants to eventually cut Rooney. D'Amato argues that Pagniacci's father, the previous owner, would never meddle in his coaching plans. During the next game, to D'Amato's chagrin, Beamen disregards the team's conservative offense and changes plays in the huddle. As the media hails Beamen as the next model of quarterback, the newfound success feeds his growing narcissism and leads to tension with teammates and coaches. During a confrontation with Beamen, D'Amato demotes him back to the bench. After Beamen gives an interview taking sole credit for the Sharks' winning streak, the other players refuse to perform for Beamen and consequently lose a home game. After Beamen gets into a brawl with Julian "J-Man" Washington, an irate D'Amato expresses his embarrassment at his team before leaving. Beamen contemplates and amends his self-centered behavior. As the playoffs come around, Sharks middle linebacker Luther Lavay reminds Beamen how lucky he is to be in the league and to find a life outside of football; his words fall on deaf ears. D'Amato worsens his relationship with Pagniacci and berates Rooney for second-guessing his availability. Before the game, D'Amato gives a speech urging team unity that Beamen takes to heart and energizes the rest of the team. Rooney returns as starting quarterback, but is injured with a concussion after scoring a touchdown. Rooney urges D'Amato to let Beamen finish the game; after an argument, D'Amato relents. Subsequently, Pagniacci enters the locker room to demand that D'Amato play Beamen. After she and D'Amato argue, Beamen informs her that he had already been told he would start the second half. Beamen apologizes to his teammates for his actions and leads the team to win. In a post-game talk with D'Amato, Beamen dedicates the next game to Rooney, but admits that he is worried about his ongoing health. An epilogue voiceover says that the Sharks eventually lost the championship final (the Pantheon Cup) to San Francisco. At D'Amato's final press conference as head coach, he is thanked by Pagniacci. D'Amato is expected to announce his retirement, but he instead drops two bombshells and announces that he has been hired as head coach and general manager of an expansion team in New Mexico, the Albuquerque Aztecs, and that he has signed Willie Beamen to be his starting quarterback and franchise player.

The Damned United_2009

tt1226271

<script> <scene> <stage_direction>EXT. ELLAND ROAD - DAY - (1974)</stage_direction> <scene_description>Heavy leaden skies over the arachnoid stands and floodlights of Elland Road stadium : home to Leeds United football club . And rain . Sheets of angry , Yorkshire rain . TITLE : `` THE DAMNED UNITED ''</scene_description> </scene> <scene> <stage_direction>INT. BOARDROOM - ELLAND ROAD - DAY - (1974)</stage_direction> <scene_description>Flashlights pop as DON REVIE , -LRB- late 40 's -RRB- , the most successful manager in English football , walks out in front of a pack of newspaper and TV REPORTERS . He is flanked by the Chairman of Leeds United , -LRB- MANNY CUSSINS , 60 's -RRB- , and several other white - haired blazer - wearing members of the Board .</scene_description> <character>REVIE</character> <dialogue>I'm just going to make a brief statement.</dialogue> <scene_description>CAPTION : `` JULY 4th , 1974 '' REVIE stands under a large trophy cabinet , filled with the silverware he has won . REPORTERS wait : intimidated . Cowed .</scene_description> <character>REVIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Yesterday afternoon at 3.00, I accepted the FA's offer to become the next manager of the England national football team.</dialogue> <scene_description>A gasp among the JOURNALISTS . A burst of flashlights . The BOARD MEMBERS look down at the floor in silence . Bereaved fathers losing their favourite son .</scene_description> <character>REVIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Obviously that involves me leaving Leeds United after 13 happy and successful years, which makes me very sad. I'd like to think I have built the club into a family and there must be sadness when anybody leaves a family. However, when one man goes, another steps into his place. I know who I think that person should be, the man to replace me, and I shall make my feelings clear to the directors. Thank you. No further comments.</dialogue> <scene_description>REVIE turns and walks out , a volley of REPORTERS shouting questions .</scene_description> </scene> <scene> <stage_direction>EXT. MOTORWAY - DAY - (1974)</stage_direction> <scene_description>We 're in a car . Tarmac passes beneath us . Roadmarkings . OVER THIS : the sound of a flat Teeside voice , singing along with Frank Sinatra on the radio .</scene_description> <character>VOICE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>`` Fly me to the Moon.''</dialogue> </scene> <scene> <stage_direction>INT. CAR - DAY - (1974)</stage_direction> <scene_description>Two young BOYS , -LRB- 12 , 9 -RRB- stare out of car windows . Raindrops on the panes of glass . Their father , BRIAN CLOUGH , -LRB- 39 -RRB- , slick , modern , cocky , handsome . About as big a contrast to DON REVIE as it 's possible to find , is up front . Driving .</scene_description> <character>CLOUGH</character> <parenthetical>( singing . )</parenthetical> <dialogue>`` And let me play among the stars.''</dialogue> <character>SIMON</character> <dialogue>When are we there?</dialogue> <character>CLOUGH</character> <dialogue>Any moment now. On the right.</dialogue> <parenthetical>( singing . )</parenthetical> <dialogue>`` Let me see what spring is like.''</dialogue> <scene_description>The car turns a bend , and suddenly the floodlights and stands of a football stadium come into view . The BOYS ' eyes widen .</scene_description> <character>BOY 1</character> <dialogue>There it is! Dad! There it is!</dialogue> <scene_description>The BOYS smile in excitement .</scene_description> <character>CLOUGH</character> <parenthetical>( singing . ) ''</parenthetical> <dialogue>. on Jupiter and Mars.''</dialogue> <scene_description>` LEEDS UNITED FOOTBALL CLUB ' written on the side of the stadium . CLOUGH smiles , then puts his foot down . The car accelerates past the turning . The BOYS ' smiles fade .</scene_description> <character>BOY 1</character> <dialogue>Where are you going? Dad? You've missed it.</dialogue> <character>CLOUGH</character> <dialogue>We've something else to do first. Wo n't take long.</dialogue> <parenthetical>( singing . )</parenthetical> <dialogue>`` In other words, hold my hand. In other words, darling kiss me.''</dialogue> <scene_description>The MUSIC continues as the car drives on , turning into the MUSIC of a television program .</scene_description> </scene> <scene> <stage_direction>INT. TELEVISION STUDIO - DAY - (1974)</stage_direction> <scene_description>The ` CALENDER ' front title sequence , a Yorkshire TV current affairs program . We 're in a TV studio . The presenter is AUSTIN MITCHELL , -LRB- 40 -RRB- .</scene_description> <character>MITCHELL</character> <dialogue>Today we welcome Brian Clough as he starts his new job as manager of Leeds United, taking over from Don Revie - the most successful manager in the club's history, under whom Leeds have won everything.</dialogue> <character>CLOUGH</character> <dialogue>not QUITE everything. Not won the European Cup.</dialogue> <character>MITCHELL</character> <dialogue>but pretty much everything else. Daunted?</dialogue> <character>CLOUGH</character> <dialogue>Daunted? Not at all, Austin. Looking forward to it.</dialogue> <character>MITCHELL</character> <dialogue>The biggest challenge of your life, and you'll be without Peter Taylor, for the first time. Your lifelong professional colleague.</dialogue> <character>CLOUGH</character> <dialogue>Yes, Pete's at Brighton now. He had the opportunity to come with me, but Brighton was his choice. Leeds was mine.</dialogue> <character>MITCHELL</character> <dialogue>A surprising choice, some might say. Because you've been very vocal in your criticism of them over the years.</dialogue> <character>CLOUGH</character> <dialogue>I have.</dialogue> <character>MITCHELL</character> <dialogue>You've accused players of dirty tactics, cheating, dissent, foul play. You called Norman Hunter, Norman `` Bites yer legs'' Hunter, you've said Peter Lorimer falls when no one touches him.</dialogue> <character>CLOUGH</character> <dialogue>And I was right.</dialogue> <character>MITCHELL</character> <dialogue>I'm curious. Why do you now show such alacrity to joining them after such vituperative criticism of them for so long?</dialogue> <character>CLOUGH</character> <dialogue>Goodness, it's going to take me half an hour to explain all those words for a start.</dialogue> <scene_description>Laughter from the camera CREW .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Football is a beautiful game, Austin. It needs to be played beautifully. I think Leeds have sold themselves short.</dialogue> </scene> <scene> <stage_direction>INT. REVIE'S HOUSE - SAME TIME</stage_direction> <scene_description>CLOUGH 's interview continues on a TV in a sitting - room , where it is being watched by Don Revie , sitting in an armchair .</scene_description> <character>CLOUGH</character> <parenthetical>( ON TV . )</parenthetical> <dialogue>. they've been champions but they've not been good champions in the sense of wearing the crown well. They've not been loved. But then that's hardly surprising, given the type of operation there's been in place there.</dialogue> </scene> <scene> <stage_direction>INT. YORKSHIRE TV STUDIOS - DAY</stage_direction> <scene_description>CLOUGH continues .</scene_description> <character>CLOUGH</character> <dialogue>Football clubs are like families, footballers are sensitive people. I'd like to bring a little warmth into the set - up.</dialogue> <character>MITCHELL</character> <dialogue>`` That type of operation?'' I presume you're referring to Don Revie.</dialogue> <character>CLOUGH</character> <dialogue>I am.</dialogue> </scene> <scene> <stage_direction>INT. REVIE'S HOUSE - SAME TIME</stage_direction> <scene_description>REVIE continues to watch the TV .</scene_description> <character>MITCHELL</character> <dialogue>who has long been regarded as a father figure in Leeds. And now you're coming in as the outsider, the enemy even, after all the things you've said in public, coming in and taking ouver as STEPfather.</dialogue> </scene> <scene> <stage_direction>INT. YORKSHIRE TV - SAME TIME</stage_direction> <scene_description>MITCHELL looks up at CLOUGH .</scene_description> <character>MITCHELL</character> <dialogue>Do n't you expect some degree of resentment to this?</dialogue> <character>CLOUGH</character> <dialogue>I would accept and expect a strangeness, initially, it's perfectly normal. But it wo n't be long before they realise I'm a fair man. A kind man. And maybe under me they can experience what it's like to be in a happy family, after all.</dialogue> <character>MITCHELL</character> <dialogue>How can you be sure they were n't happy with Don all along?</dialogue> <character>CLOUGH</character> <dialogue>They would n't have played football that way if they were happy.</dialogue> </scene> <scene> <stage_direction>INT. REVIE'S HOUSE - SAME TIME</stage_direction> <scene_description>DON REVIE 's eyes burn with indignation . He picks up a telephone , and angrily starts to dial .</scene_description> </scene> <scene> <stage_direction>EXT. TRAINING FIELD - DAY - (1974)</stage_direction> <scene_description>Here they are . The Leeds PLAYERS . Long hair and long faces . Surly . Truculent . Dangerous . Out on the practice pitch . In the rain . Some doing warm - up exercises . Others milling dangerously in groups . Their names on their purple track suits . HUNTER , LORIMER , GILES , BATES , GRAY , CLARKE , BREMNER , MCQUEEN</scene_description> </scene> <scene> <stage_direction>EXT. CAR PARK - ELLAND ROAD - DAY - (1974)</stage_direction> <scene_description>CLOUGH 's car pulls up . He and his sons get out . A few waiting press . Cameras . Lights . A few FANS with autograph books .</scene_description> <character>JIMMY GORDON</character> <dialogue>Where have you been, boss?</dialogue> <scene_description>JIMMY GORDON , CLOUGH loyal trainer , his face creased with anxiety .</scene_description> <character>JIMMY</character> <dialogue>Directors have been waiting more than an hour. C'mon.</dialogue> <scene_description>JIMMY GORDON leads CLOUGH past the training pitch . CLOUGH looks out .</scene_description> <character>CLOUGH</character> <dialogue>Morning lads! Lovely Yorkshire weather!</dialogue> <parenthetical>( gestures shivering . )</parenthetical> <dialogue>I tell you makes me want to jump on a plane right back to Majorca!</dialogue> <scene_description>CLOUGH laughs . The PLAYERS stare in silence . Squinting in the drizzle . Condensation coming from their mouths . JOHNNY GILES stares . BILLY BREMNER spits and continues talking disrespectfully .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Not much of a welcome, was it? And not so much as a smile from Johnny Giles.</dialogue> <character>JIMMY</character> <dialogue>You're five days late! And did you really need to say that about Majorca?</dialogue> <parenthetical>( beat , changing the subject . )</parenthetical> <dialogue>You know he was Revie's first choice for getting your job.</dialogue> <character>CLOUGH</character> <dialogue>Who? Johnny Giles?</dialogue> <scene_description>CLOUGH looks over at GILES , who turns away , resumes training .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Was he now? And Bremner?</dialogue> <character>JIMMY</character> <dialogue>Club Captain. Don's son and heir. His first born. You're never going to get any love from him.</dialogue> <scene_description>BREMNER , a flint - eyed Scot , stares at CLOUGH .</scene_description> <character>CLOUGH</character> <dialogue>Great. Here's to happy fucking families.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR - ELLAND ROAD - DAY - (1974)</stage_direction> <scene_description>JIMMY GORDON leads CLOUGH and his BOYS down a corridor , where countless photographs of DON REVIE hang on the walls . Holding silverware . They pass an open door , with a sign outside , ` MANAGER . Mr. DON . REVIE . ' CLOUGH stops . Looks at the sign . Then pushes open the door .</scene_description> </scene> <scene> <stage_direction>INT. MANAGER'S OFFICE - ELLAND ROAD - DAY - (1974)</stage_direction> <scene_description>CLOUGH walks into the manager 's office . The empty chair . The bare desk . His desk . Don 's desk . CLOUGH takes a seat in the chair . Presently , a middle - aged matron , JEAN REID , Don Revie 's faithful SECRETARY for 13 years , appears in the doorway .</scene_description> <character>CLOUGH</character> <dialogue>Any chance of a cup of tea, duck?</dialogue> <character>JEAN</character> <dialogue>They're waiting for you. Upstairs.</dialogue> <scene_description>CLOUGH swings his feet on the desk .</scene_description> <character>CLOUGH</character> <dialogue>Who's that?</dialogue> <character>JEAN</character> <dialogue>The Directors.</dialogue> <character>CLOUGH</character> <dialogue>For me? Why?</dialogue> <character>JEAN</character> <dialogue>For the board meeting.</dialogue> <character>CLOUGH</character> <dialogue>Let them wait. Now, how about that cup of tea?</dialogue> <scene_description>CLOUGH smiles sweetly , but JEAN stares at CLOUGH . She pointedly does n't move . CLOUGH lowers his feet .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>All right, I'll go then. Would n't want to get off on the wrong foot.</dialogue> <scene_description>CLOUGH walks over to the door . Looks at the desk .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Who's desk is that, love?</dialogue> <character>JEAN</character> <dialogue>Yours, Mr. Clough.</dialogue> <character>CLOUGH</character> <dialogue>Not mine. I did n't put it there, did I?</dialogue> <character>JEAN</character> <dialogue>Mr. Revie's.</dialogue> <character>CLOUGH</character> <dialogue>Let's get rid of it then, shall we? Chairs, too. The whole bloody lot. Think it would be best if there were nothing of his left here.</dialogue> <scene_description>CLOUGH reaches the door .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Were you his secretary?</dialogue> <character>JEAN</character> <dialogue>I was. For thirteen happy years.</dialogue> <character>CLOUGH</character> <dialogue>What's your name, pet?</dialogue> <character>JEAN</character> <dialogue>Jean, Sir. Jean Reid.</dialogue> <character>CLOUGH</character> <dialogue>In which case, no offence duck, but there's nothing I want typed on paper from you other than your resignation.</dialogue> <scene_description>She gasps .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>And you can change the locks on your way out. Do n't want the ghost of troubled Don popping in now, do we? Rattling his chains. Scaring my young ones.</dialogue> <scene_description>CLOUGH puts his arms protectively round the BOYS , and leads them out of the door . JEAN REID stares , visibly shaken .</scene_description> </scene> <scene> <stage_direction>INT. BOARDROOM - ELLAND ROAD - DAY - (1974)</stage_direction> <scene_description>Half - a - dozen white - haired patriarchs sit at a large table . Matching blazers and matching brass . MANNY CUSSINS , SAM BOLTON , BOB ROBERTS , SYDNEY SIMON , PERCY WOODWARD . Aldermen and Rotary club members . Masons and businessmen . CLOUGH enters the boardroom . Indicates to JIMMY GORDON to look after the BOYS outside . Inside : matching curtains and carpets .</scene_description> <character>CUSSINS</character> <dialogue>Come in, Brian.</dialogue> <scene_description>CLOUGH sits down at the head of the table . Rubs his hands together .</scene_description> <character>CLOUGH</character> <dialogue>What? No one going to offer me a drink? Like an undertakers in here.</dialogue> <scene_description>The DIRECTORS shoot looks at one another .</scene_description> <character>CUSSINS</character> <dialogue>Why did you do it?</dialogue> <character>CLOUGH</character> <dialogue>Do what?</dialogue> <character>BOLTON</character> <dialogue>The interview. For Yorkshire TV.</dialogue> <character>CUSSIN</character> <dialogue>We've had a phone - call.</dialogue> <character>BOLTON</character> <dialogue>Not so much a phone - call. Bloody tirade.</dialogue> <character>CUSSINS</character> <dialogue>From Don. They only went and rung him. And ran some of your quotes by him. About how unhappy the players were. What `` bad champions''. Looking for a response.</dialogue> <character>BOLTON</character> <parenthetical>( shudders to himself . )</parenthetical> <dialogue>Bloody got one, as well. He's gone berserk.</dialogue> <character>CLOUGH</character> <dialogue>He had it coming. He should n't have done that piece in the Mirror should he? Saying he thought I was a daft choice.</dialogue> <character>BOLTON</character> <dialogue>He's entitled to his opinions.</dialogue> <character>CLOUGH</character> <dialogue>And I'm entitled to mine.</dialogue> <character>CUSSINS</character> <parenthetical>( barks , flame on . )</parenthetical> <dialogue>And I'm entitled to MINE.</dialogue> <scene_description>The room falls silent . That got everyone 's attention .</scene_description> <character>CUSSINS</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I hired you to do this job because I think you're the best young manager in the country.</dialogue> <character>CLOUGH</character> <dialogue>Thank you. I'm the best old one, too.</dialogue> <character>CUSSINS</character> <dialogue>I also did it under the assumption that you'd be coming here wanting the best for the club. For the city of Leeds. So why do I still get the feeling this is all about you and Don?</dialogue> <character>CLOUGH</character> <dialogue>Of course it's just about me and Don. Always has been. But instead of putting frowns on your foreheads, o ye elders of Leeds, in your blazers and brass fucking buttons, it should put big white Colgate smiles on your big white faces, because it means I wo n't sleep and wo n't eat until I take whatever that man's achieved and beaten it - beaten it so I never have to hear the name `` Don Fucking Revie'' again - beat it so the only name anyone sings in their Yorkshire ale houses, raising their stinking jars to their stinking mouths, is Brian Clough. Brian Clough uber fucking alles. Understand?</dialogue> <scene_description>The blazers and brass buttons , WHITE - HAIRED ELDERS of Leeds stare at one another .</scene_description> </scene> <scene> <stage_direction>INT. FRONT ROOM - CLOUGH'S HOUSE - DERBY - NIGHT - (1968)</stage_direction> <scene_description>CLOUGH sits glued to a wireless in his front room .</scene_description> <character>RADIO ANNOUNCER</character> <dialogue>Ladies and Gentlemen, the draw for the third round of the FA Cup will now commence.</dialogue> <scene_description>CLOUGH 's eyes widen : he calls out to the others .</scene_description> <character>CLOUGH</character> <dialogue>C'mon, Pete!</dialogue> <character>WHITE-HAIRED ELDER</character> <dialogue>Number twenty - two.</dialogue> <character>RADIO ANNOUNCER</character> <dialogue>Derby County, second division.</dialogue> <character>CLOUGH</character> <dialogue>Here we go. That's us!</dialogue> <scene_description>CAPTION : `` SIX YEARS EARLIER '' PETER TAYLOR , seven years older than CLOUGH , his closest friend , his only true friend , appears breathlessly in the doorway back from a fish and chips run . followed by BARBARA , Clough 's wife , and the three children .</scene_description> <character>WHITE-HAIRED ELDER</character> <parenthetical>( ON RADIO . )</parenthetical> <dialogue>Number six.</dialogue> <scene_description>ON TV : the BLAZER - WEARING ELDER calls into the microphone .</scene_description> <character>BLAZER-WEARING ELDER</character> <parenthetical>( ON RADIO . )</parenthetical> <dialogue>Leeds United!</dialogue> <character>RADIO COMMENTATOR</character> <dialogue>Against mighty Leeds United!</dialogue> <scene_description>CLOUGH and TAYLOR cry out in shock .</scene_description> <character>CLOUGH</character> <dialogue>Leeds!</dialogue> <character>TAYLOR</character> <dialogue>Fucking hell!</dialogue> <character>CLOUGH</character> <dialogue>Don Revie's Leeds! Top of Division One! Here we bloody come!</dialogue> <scene_description>The telephone rings . CLOUGH picks it up .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( already knowing it 'll be SAM LONGSON . )</parenthetical> <dialogue>What do you say to that, Mr. Chairman?</dialogue> </scene> <scene> <stage_direction>INT. SAM LONGSON'S HOUSE - NIGHT - (1968)</stage_direction> <scene_description>He 's right . It 's SAM LONGSON , Chairman of Derby County , -LRB- 60 's -RRB- looks like Krushchev , cue - ball head , voice like a power - drill , a tough haulage millionaire .</scene_description> <character>UNCLE SAM</character> <dialogue>I can hear the cash registers now!</dialogue> <character>CLOUGH</character> <dialogue>Happy days, Sir. Happy days.</dialogue> <character>UNCLE SAM</character> <dialogue>You're not wrong, Brian. Take the family out for a meal. Go to The Mumtaz. Tell ` em I'm paying.</dialogue> </scene> <scene> <stage_direction>INT. CLOUGH'S HOUSE - NIGHT - (1968)</stage_direction> <scene_description>CLOUGH hangs up the phone .</scene_description> <character>CLOUGH</character> <dialogue>Put the fish and chips in the bin. Tonight's on Uncle Sam. We're going posh. Chicken fucking bhuna in town.</dialogue> <scene_description>General excitement . Everyone starts putting on their coats .</scene_description> </scene> <scene> <stage_direction>EXT. BASEBALL GROUND - DERBY - DAY - (1968)</stage_direction> <scene_description>CLOUGH stands with two men in overalls , indicating a fading ` Visitors ' sign .</scene_description> <character>CLOUGH</character> <dialogue>Right, you two, I want Billy Bremner and Johnny Giles to be able to read THAT.</dialogue> <parenthetical>( indicates door - frames . )</parenthetical> <dialogue>And this woodwork has seen better days.</dialogue> </scene> <scene> <stage_direction>INT. BASEBALL GROUND - DERBY - DAY - (1968)</stage_direction> <scene_description>` Crash ' , the following morning , CLOUGH bursts through swing doors , and into corridors with the CLEANERS .</scene_description> <character>CLOUGH</character> <dialogue>Spick and span, understand? Wash these walls down. Give the floors a proper polish.</dialogue> </scene> <scene> <stage_direction>EXT. PITCH - BASEBALL GROUND - DAY - (1968)</stage_direction> <scene_description>CLOUGH inspects the pitch with the HEAD GROUNDSMAN .</scene_description> <character>CLOUGH</character> <dialogue>I want it perfect. Like a fucking carpet. We've got proper footballers coming. Who know how to keep the ball on the deck.</dialogue> <character>GROUNDSMAN</character> <dialogue>Well, you ca n't fucking train on it then.</dialogue> </scene> <scene> <stage_direction>EXT. PITCH - PUBLIC PARK - DERBY - DAY - (1968)</stage_direction> <scene_description>The Derby PLAYERS train on a football pitch in a public park . CLOUGH turns to TAYLOR .</scene_description> <character>CLOUGH</character> <dialogue>You know he'll be making a file on us. A dossier.</dialogue> <character>TAYLOR</character> <dialogue>Who?</dialogue> <character>CLOUGH</character> <dialogue>Don Revie. Prepares a file on every game. Leaves nothing to chance. Knows every opponents formations. Strategies. Everything.</dialogue> <character>TAYLOR</character> <dialogue>I've heard he's a superstitious twat.</dialogue> <parenthetical>( calling out . )</parenthetical> <dialogue>Ey! Help him, someone HELP him!</dialogue> <character>CLOUGH</character> <dialogue>We grew up just a few streets apart, you know. In Middlesborough, close to Ayrsome Park. He'll have known my street, Valley Road - probably bought sweets from Garnetts Factory, where my dad worked.</dialogue> <character>TAYLOR</character> <dialogue>Heard he wears the same suit to every game. His `` lucky blue suit''. And he does n't care for ornamental birds. C'mon, who's covering him!</dialogue> <character>CLOUGH</character> <dialogue>The best manager in the country, Don Revie. Played for Sunderland, like me, as a centre - forward, like me, and England, like me.</dialogue> <character>TAYLOR</character> <parenthetical>( shouting out . )</parenthetical> <dialogue>C'mon, give it and go!</dialogue> <character>CLOUGH</character> <dialogue>Peas in a pod, me and Don. Two peas in a fucking pod.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR - BASEBALL GROUND - DAY - (1968)</stage_direction> <scene_description>CLOUGH in early . Before anyone . In shirtsleeves , sweeping corridors . Straightens photos on the wall .</scene_description> </scene> <scene> <stage_direction>INT. ANOTHER CORRIDOR - BASEBALL GROUND - DAY - (1968)</stage_direction> <scene_description>CLOUGH polishing the sign , ` VISITORS ' on the dressing - room door .</scene_description> </scene> <scene> <stage_direction>INT. BATHROOMS - BASEBALL GROUND - DAY - (1968)</stage_direction> <scene_description>CLOUGH on his knees , scrubbing , cleaning baths in the visiting team 's washrooms .</scene_description> </scene> <scene> <stage_direction>INT. MANAGER'S OFFICE - BASEBALL GROUND - DAY - (1968)</stage_direction> <scene_description>CLOUGH puts on his suit . Ties his tie . He takes a bottle of vintage red wine from a cupboard . He places the bottles on his desk . Then puts two cut crystal glasses on his desk . His and Don 's . A flicker of jealousy on PETER TAYLOR 's face , almost like a wife - hurt that his friend is making such an effort for someone else . A knock on the door . JIMMY GORDON appears in the doorway .</scene_description> <character>JIMMY</character> <dialogue>They're here!</dialogue> <parenthetical>( a confused look . )</parenthetical> <dialogue>Well, almost.</dialogue> </scene> <scene> <stage_direction>EXT. CAR PARK - BASEBALL GROUND - DAY - (1968)</stage_direction> <scene_description>CLOUGH rushes out of the doors , straightening his cuffs , straightening his hair , buttoning his jacket . First out to greet the arriving team . He turns the corner to see the LEEDS COACH a hundred yards down the street , the PLAYERS getting off the coach and walking towards him .</scene_description> <character>CLOUGH</character> <dialogue>What are they doing?</dialogue> <character>JIMMY</character> <dialogue>They've run out of petrol.</dialogue> <character>TAYLOR</character> <dialogue>No, it's that superstition, is n't it? Every away cup ties, Revie makes them walk the last hundred yards.</dialogue> <scene_description>TAYLOR mutters under his breath , `` Soppy twat '' . CLOUGH cranes his neck . Watches DON REVIE , 40 's . Thick - set . Severe , forbidding , intimidating , in a huddle with his coaching staff , Les Cocker and Syd Owen . His henchmen . His assassins . His `` Goodfellas '' . His right and left hand . CLOUGH walks towards him . Hand outstretched .</scene_description> <character>CLOUGH</character> <dialogue>Welcome to Derby, Don. Pleasure to meet you. I'm Brian Clough.</dialogue> <scene_description>But REVIE walks past without shaking hands , without talking , without even breaking stride . and disappears into the stadium , deep in conversation with Les Cocker and Syd Owen . CLOUGH stares . Hand still outstretched . He looks over at PETER TAYLOR , who ca n't help smiling , ` Forget it ' . TAYLOR and JIMMY GORDON walk off , but CLOUGH still stares at REVIE in disbelief .</scene_description> </scene> <scene> <stage_direction>EXT. DUG-OUT - TOUCHLINE - BASEBALL GROUND - DAY - (1968)</stage_direction> <scene_description>The LEEDS PLAYERS run out onto the pitch : HUNTER , MADELY , BREMNER , GILES , REANEY , JONES , in a line , waving to the crowd , turning North , South , East , West . TAYLOR rubs his hands in excitement , `` Here we go '' . But CLOUGH is miles away . Still can not let the insult go . He stares over at the visiting team dug - out . REVIE and his lieutenants . Whispering among themselves . Huddled in thought . Huddled in strategy . Huddled in malevolence . Presently , the game starts . A roar from the crowd . `` Beeeep '' , the REF 's whistle blows . A Derby PLAYER rolls in agony , cries out , a terrible , cynical challenge . Horrified , JIMMY GORDON and PETER TAYLOR up on thier feet in protest .</scene_description> <character>TAYLOR</character> <dialogue>Referee!</dialogue> <scene_description>CLOUGH looks over to REVIE 's bench . Sees REVIE and SYD OWEN quietly applauding the Leeds PLAYER . Encouraging more of the same . As the Derby PLAYER is stretchered off . Presently , RRROOOOAAAARRRRR goes up . Goal Leeds . REVIE and his henchmen get to their feet . Applauding . 1 - 0 . TAYLOR and JIMMY GORDON immediately start shouting out encouragement to the Derby PLAYERS , new instructions , as the game restarts .</scene_description> <character>TAYLOR</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>C'mon, keep your shape! Close him down!</dialogue> <character>JIMMY</character> <dialogue>Think, Alan! To feet!</dialogue> <character>TAYLOR</character> <dialogue>Now sent it out wide!</dialogue> <scene_description>CLOUGH does n't join in . He continues to stare at REVIE in his dugout . Suddenly : `` Beeep ! '' , whistle ! Penatly Leeds ! CLOUGH leaps off the bench in outrage . Screaming , on his feel , protesting in disbelief .</scene_description> <character>CLOUGH</character> <dialogue>What? He did n't fucking touch him! Ref! He DIVED! He fucking dived!</dialogue> <scene_description>REVIE shaking hands with his COLLEAGUES . Smiling amongst themselves . Congratulating themselves . Celebrating . The inevitable roar as Leeds convert , followed by , `` Beeeeeep '' , the sound of the final WHISTLE . CLOUGH stares in disbelief . Robbed . Deflated . The REFEREE blows the whistle for the end of the game . CLOUGH watches as REVIE and SYD OWEN brush past , shaking PETER TAYLOR and JIMMY GORDON 's hands , -LRB- assuming TAYLOR 's the manager -RRB- , on their way to the dressing - rooms , their minds already on their next game . CLOUGH stares as they go .</scene_description> </scene> <scene> <stage_direction>INT. MANAGER'S OFFICE - DERBY - LATE AFTERNOON - (1968)</stage_direction> <scene_description>The two empty glasses waiting on the table . CAPTION : `` DERBY 0 - LEEDS 2 ''</scene_description> <character>CLOUGH</character> <dialogue>Did n't say good - bye. Or pay me the respect of staying for a drink. Could n't wait to get away.</dialogue> <scene_description>Through the front door we see : DON REVIE , SYD OWEN and LES COCKER walking to their bus , chuckling to themselves , deep in discussion , already thinking about the next match .</scene_description> <character>TAYLOR</character> <dialogue>Bloody cheats and all. Neither of those goals should have been allowed.</dialogue> <scene_description>But CLOUGH does n't hear .</scene_description> <character>CLOUGH</character> <dialogue>Just going to have to beat them, Pete. Beat him it's the last thing I do.</dialogue> <character>TAYLOR</character> <dialogue>We need to get into the same division first.</dialogue> <character>CLOUGH</character> <dialogue>We need someone with a good head. Experience.</dialogue> <character>TAYLOR</character> <dialogue>I know. Our lot were like headless chickens out there today.</dialogue> <scene_description>CLOUGH turns to TAYLOR .</scene_description> <character>CLOUGH</character> <dialogue>First thing Monday morning, I want you to go and find me that player. A wise head.</dialogue> <scene_description>TAYLOR opens his mouth , is about to protest .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>And do n't worry about the money. That's my problem. Just you go and find him.</dialogue> <scene_description>CLOUGH 's face : watching the Leeds PLAYERS board the bus .</scene_description> </scene> <scene> <stage_direction>INT. MANAGER'S OFFICE - ELLAND ROAD - DAY - (1974)</stage_direction> <scene_description>CLOUGH 's face : staring out at the Leeds PLAYERS waiting on the training pitch . A deep breath .</scene_description> <character>CLOUGH</character> <dialogue>Right. Better go and make myself known.</dialogue> <scene_description>CLOUGH removes his jacket . JIMMY GORDON and CLOUGH 's SONS watch as he walks out onto the training pitch .</scene_description> </scene> <scene> <stage_direction>EXT. TRAINING PITCH - FOLLOWING DAY - (1974)</stage_direction> <scene_description>CLOUGH walks out into the drizzle and towards the LEEDS PLAYERS .</scene_description> <character>CLOUGH</character> <parenthetical>( up - beat , clapping hands . )</parenthetical> <dialogue>All right, gentlemen, gather around, please.</dialogue> <scene_description>The players truculently gather round . CLOUGH watches them , notes their mood , then .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I might as well tell you now. You lot may all be internationals and have won all the domestic honours there are to win under Don Revie, but as far as I'm concerned, the first thing you can do for me is to chuck all your medals and all your caps and all your pots and all your pans into the biggest fucking dustbin you can find because you've never won any of them fairly. You've done it all by bloody cheating.</dialogue> <scene_description>Silence from the PLAYERS .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Mr. William Bremner. You're the captain. And a good one. But you're no good to the team and you're no good to me if you're suspended. I need you fit for every game, and I want good, clean, attractive football from my captain. Setting an example.</dialogue> <scene_description>CLOUGH turns to PETER LORIMER .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Mr. Lorimer, I hope you were listening because you're as good a footballer as I've ever seen, but you know how I feel about the way Don let you harangue referees, fall over when you've not been touched, protesting and pointing, trying to get other players booked. We'll have no more of that.</dialogue> <scene_description>CLOUGH turns to JOHNNY GILES .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>And you, Irishman. God gave you skill, intelligence, and the best passing ability in the game. What God did not give you was six studs to wrap around another player's knee.</dialogue> <character>GILES</character> <dialogue>I do n't know what you're talking about.</dialogue> <scene_description>CLOUGH turns to NORMAN HUNTER .</scene_description> <character>CLOUGH</character> <dialogue>But you do, though, `` Bites yer Legs''.</dialogue> <character>HUNTER</character> <dialogue>People kick me, I kick them back.</dialogue> <character>CLOUGH</character> <dialogue>Not with me as manager. Do that on my watch, you'll be fined and stuck in the reserves.</dialogue> <parenthetical>( to all the PLAYERS . )</parenthetical> <dialogue>Things are going to be a little different around here. Without Don. Might feel a little strange at first. Might pinch a little. Like a new pair of shoes. But if you want your grandchildren to remember you for being something other than the dirty buggers you all were, if you want to be loved as REAL champions, WORTHY champions, you're going to have to work. And improve. And change.</dialogue> <parenthetical>( nods to JIMMY GORDON . )</parenthetical> <dialogue>Now let's start off by playing some seven - a - sides.</dialogue> <scene_description>PLAYERS stare at one another . Bristling . Disbelieving looks .</scene_description> <character>BREMNER</character> <dialogue>Don never did that.</dialogue> <character>CLOUGH</character> <dialogue>Well, I'm not Don. And from now on I never want to hear that man's name again. Ever. Next player who mentions it, or what he did or did n't bloody do in the good ol' days, will spend a week cleaning my boots.</dialogue> <parenthetical>( clapping hands . )</parenthetical> <dialogue>Seven - a - side. Keep it nice and clean, and sensible. No fifty - fifty's.</dialogue> <scene_description>CLOUGH sees that one side is a man short .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Right, I'll play myself. You might learn something, Irishman. Two hundred and fifty - one goals in two hundred and seventy - four starts.</dialogue> <scene_description>CLOUGH skillfully traps the ball between his feet , flips it up onto this head - down onto his chest , then `` WHAM '' volleys it into a distant goal .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Like to see Don fucking Revie do that, eh?</dialogue> <scene_description>CLOUGH removes his track suit trousers , rolls his neck . JIMMY GORDON quickly divides the players into two teams , blows the whistle . The game starts . CLOUGH , leading by example , anxious to prove himself , is soon darting about , calling out .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( clapping hands . )</parenthetical> <dialogue>Here, son. To feet. Keep it simple. Think and give. On the deck. Nice and crisp. Yes, to me, Sniffer. To me.</dialogue> <scene_description>CLARKE passes the ball . But it 's a fifty - fifty . Another player bears down on CLOUGH . who refuses to pull out . `` CRUNCH '' , a bone - shaking tackle from `` BITES YER LEGS '' .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Oh, Jeeeeeesussss!</dialogue> <scene_description>CLOUGH is flattened . Rolls around on the floor . JIMMY GORDON runs up to NORMAN HUNTER .</scene_description> <character>JIMMY</character> <dialogue>Fucking matter with you? He said no fifty - fifty's.</dialogue> <scene_description>HUNTER aggressively steps forward . Nose to nose . He is immediately flanked by other aggressive Leeds PLAYERS . Crowding the referee . Intimidating him .</scene_description> <character>HUNTER</character> <dialogue>What are you going to do about it? Book me?</dialogue> <scene_description>JIMMY GORDON backs off , visibly frightened . CLOUGH lies on the floor . In agony . Holding his knee .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR OUTSIDE DRESSING-ROOMS - SAME TIME</stage_direction> <scene_description>CLOUGH listens to the PLAYERS laughing at him . Disrespecting him . His face darkens .</scene_description> <character>BREMNER</character> <parenthetical>( mimicking . )</parenthetical> <dialogue>`` Two hundred and fifty - one goals in two hundred and seventy - four starts.''</dialogue> <scene_description>The sound of coarse , cruel laughter among the LEEDS PLAYERS . JIMMY GORDON appears , CLOUGH 's two SONS in tow .</scene_description> <character>JIMMY</character> <dialogue>I've got what you were looking for.</dialogue> <scene_description>JIMMY holds up a large parcel wrapped in brown paper . CLOUGH 's expression changes .</scene_description> <character>CLOUGH</character> <dialogue>What about the petrol?</dialogue> <character>JIMMY</character> <dialogue>In the boot of the car.</dialogue> <character>CLOUGH</character> <dialogue>Good lad.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR - ELLAND ROAD - DAY - (1974)</stage_direction> <scene_description>CLOUGH limps down a corridor . In a thunderous mood . Holding the parcel . PEOPLE scatter .</scene_description> </scene> <scene> <stage_direction>INT. MANAGER'S OFFICE - ELLAND ROAD - DAY - (1974)</stage_direction> <scene_description>The door flies open . CLOUGH storms into his office . He walks over to the desk . DON REVIE 's desk . He unwraps the parcel , and takes out an axe .</scene_description> <character>CLOUGH</character> <dialogue>Stand back.</dialogue> <scene_description>CLOUGH 's SONS watch as their father violently swings the axe down onto the desk . The sickening sound of splintering wood .</scene_description> </scene> <scene> <stage_direction>EXT. ELLAND ROAD - DAY - (1974)</stage_direction> <scene_description>CLOUGH watches the desk burn in a small bonfire outside . MANNY CUSSINS and several DIRECTORS walk out . They are surprised to see CLOUGH by the fire holding an axe .</scene_description> <character>CUSSINS</character> <dialogue>Everything all right?</dialogue> <character>CLOUGH</character> <parenthetical>( sunny , waving with the axe . )</parenthetical> <dialogue>Fine thank you, Mr. Cussins.</dialogue> <scene_description>CLOUGH smiles politely , then turns , and walks to his car . The DIRECTORS watch .</scene_description> </scene> <scene> <stage_direction>INT. CLOUGH HOUSE - DINING-ROOM - DAY - (1968)</stage_direction> <scene_description>`` Rrrriiinnnggg '' , the phone rings . CLOUGH and his FAMILY are having Sunday lunch . BARBARA CLOUGH looks up .</scene_description> <character>BARBARA</character> <dialogue>Not now, love - please?</dialogue> <scene_description>`` Rrrrriinnngggg '' . The phone rings . CLOUGH tries to ignore it .</scene_description> <character>CLOUGH</character> <dialogue>But it might be Pete.</dialogue> <character>BARBARA</character> <parenthetical>( rolls eyes . )</parenthetical> <dialogue>Of course it's Pete.</dialogue> <scene_description>`` Rrrriiinnngggg '' , CLOUGH tries to eat , then .</scene_description> <character>CLOUGH</character> <dialogue>But it might be important.</dialogue> <parenthetical>( to NIGEL . )</parenthetical> <dialogue>C'mon, eat your carrots. For your Mother.</dialogue> <scene_description>CLOUGH gets up . Walks out of the room .</scene_description> </scene> <scene> <stage_direction>INT. TAYLOR HOUSE - HALL - DAY - (1968)</stage_direction> <scene_description>PETER TAYLOR , similarly in disgrace with his family , similarly unable to go a single Sunday lunch without calling CLOUGH , whispers down the phone , terrified of his wife .</scene_description> <character>TAYLOR</character> <dialogue>You asked me to find a player with a good head. Experience.</dialogue> <parenthetical>( whispering , furtive . )</parenthetical> <dialogue>I've found one! He's perfect. Dave Mackay.</dialogue> <character>CLOUGH</character> <dialogue>Dave Mackay?!? He's a hundred and fucking fifty.</dialogue> <character>TAYLOR</character> <dialogue>I admit he's not young.</dialogue> <character>CLOUGH</character> <dialogue>Not young? He's old as fucking time!</dialogue> <character>TAYLOR</character> <dialogue>But he's clever, keeps the ball well. And passes it better than anyone alive.</dialogue> <scene_description>A voice calls from TAYLOR 's dining - room .</scene_description> <character>LILIAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Pete! That's enough! Come back!</dialogue> <character>TAYLOR</character> <parenthetical>( looks left and right . )</parenthetical> <dialogue>He's the one, Brian.</dialogue> <character>CLOUGH</character> <dialogue>You sure?</dialogue> <character>TAYLOR</character> <dialogue>Never been more sure of anything in my life.</dialogue> <character>CLOUGH</character> <dialogue>All right, I'll talk to Longson in the morning.</dialogue> <character>TAYLOR</character> <dialogue>We have n't got until morning. Hearts have already made him an offer. Want him as their manager. Apparently they've already agreed terms.</dialogue> <character>CLOUGH</character> <dialogue>Well, what did you fucking call me for then?</dialogue> <character>TAYLOR</character> <dialogue>Because when I asked Bill Nick how done the deal was - he said ninety - nine per cent.</dialogue> <scene_description>CLOUGH 's face .</scene_description> <character>CLOUGH</character> <dialogue>Meaning he has n't signed.</dialogue> <character>TAYLOR</character> <dialogue>Exactly.</dialogue> </scene> <scene> <stage_direction>INT. CLOUGH'S HOUSE - DINING-ROOM - DAY - (1968)</stage_direction> <scene_description>BARBARA CLOUGH rolls her eyes , puts down her cutlery , and calls out .</scene_description> <character>BARBARA</character> <dialogue>All right, Brian. Enough. Come back now.</dialogue> <scene_description>No answer . BARBARA tuts to herself . Gets up from the table . She walks out of the dining - room , calling out .</scene_description> <character>BARBARA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>C'mon, that's enough.</dialogue> </scene> <scene> <stage_direction>INT. CLOUGH HOUSE - HALL - DAY - (1968)</stage_direction> <scene_description>. and into the hall . BARBARA stops . She looks left and right . No sign .</scene_description> <character>BARBARA</character> <dialogue>Brian? Love?</dialogue> </scene> <scene> <stage_direction>EXT. ROADSIDE CAFE - DAY - (1968)</stage_direction> <scene_description>CLOUGH and TAYLOR emerge from a roadside cafe and walk towards their car . They 've missed Sunday lunch . So it 's Crisps . Sweets . Fizzy drinks . Almost childlike . Happier in one another 's company than with their own families .</scene_description> <character>CLOUGH</character> <dialogue>Where would we play him?</dialogue> <character>TAYLOR</character> <dialogue>In the middle of the park. Somewhere he can see everything, use his loaf, and tell the kids what to do.</dialogue> <character>CLOUGH</character> <dialogue>We'll play him as a sweeper, then.</dialogue> <character>TAYLOR</character> <parenthetical>( eating crisps . )</parenthetical> <dialogue>Aye.</dialogue> <scene_description>They climb into the waiting car .</scene_description> <character>CLOUGH</character> <dialogue>Wo n't have to run about too much. And what's all this I hear about a tie shop?</dialogue> <character>TAYLOR</character> <dialogue>He's got a tie shop, has n't he? In London. Which he spends two days a week at.</dialogue> <scene_description>CLOUGH starts the engine .</scene_description> <character>CLOUGH</character> <dialogue>Fucking tie shop?</dialogue> <character>TAYLOR</character> <dialogue>It's his `` nest egg''. For the future.</dialogue> <character>CLOUGH</character> <dialogue>No one's going to be wearing fucking ties in twenty years time.</dialogue> <scene_description>CLOUGH and TAYLOR both giggle . Like kids . The car pulls off .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Hope his footballing brain is better than his business brain.</dialogue> </scene> <scene> <stage_direction>EXT. MACKAY'S HOUSE - NORTH LONDON - DAY - (1968)</stage_direction> <scene_description>CLOUGH 's car pulls up outside a house in a quiet terraced road in North London . TAYLOR checks it against the address on a piece of paper . The two men get out of the car .</scene_description> <character>CLOUGH</character> <dialogue>You know it's illegal. To sign someone on the sabbath.</dialogue> <character>TAYLOR</character> <dialogue>Is it?</dialogue> <parenthetical>( immediately cautious . )</parenthetical> <dialogue>Then perhaps we should just shake on it today? And sign tomorrow?</dialogue> <character>CLOUGH</character> <dialogue>What? And let Hearts in again in the morning? Fuck off.</dialogue> <parenthetical>( producing contracts . )</parenthetical> <dialogue>I'm not leaving here without a signature.</dialogue> <scene_description>CLOUGH and TAYLOR walk up the garden path .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You'd bloody DO that, too - would n't you? Come all this way, then just `` shake hands''?</dialogue> <parenthetical>( shaking head . )</parenthetical> <dialogue>Dear oh dear. What would you DO without me?</dialogue> <character>TAYLOR</character> <dialogue>Hey, you would never have FOUND him if it were n't for me.</dialogue> <scene_description>CLOUGH stops , rings the doorbell . Looks at TAYLOR .</scene_description> <character>CLOUGH</character> <dialogue>Good job we're both wearing ties.</dialogue> <scene_description>` Snap ' , the door opens to reveal DAVE MACKAY , a thick set , dark - haired bull of a man , with a thick Scots accent . CLOUGH smiles ear to ear .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Jehova's Witness, Dave! May the Lord be with you!</dialogue> <character>MACKAY</character> <dialogue>Who the bloody hell are you?</dialogue> <character>CLOUGH</character> <dialogue>My name's Brian Clough, and I once had the pleasure of playing for England against you in an Under - 23 match.</dialogue> <character>MACKAY</character> <dialogue>I remember you now. You had a black eye, a right bloody shiner.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>And never stopped fucking talking! What are you doing here?</dialogue> <character>CLOUGH</character> <dialogue>Come to talk to you about the Promised Land, Dave. Land of Milk and Honey. It's a little place up the M1 called Derby.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>May we come in?</dialogue> </scene> <scene> <stage_direction>EXT. BASEBALL GROUND - PITCH - DAY - (1968)</stage_direction> <scene_description>CLOUGH , TAYLOR and JIMMY GORDON training with the Derby PLAYERS . SAM LONGSON , -LRB- late 60 's -RRB- , Chairman of Derby County approaches , visibly angry .</scene_description> <character>UNCLE SAM</character> <dialogue>Dave Mackay?</dialogue> <character>CLOUGH</character> <dialogue>You do n't look happy, Uncle Sam.</dialogue> <character>UNCLE SAM</character> <dialogue>I'm not. What were you thinking? Going over my head like that? Why did n't you call?</dialogue> <character>CLOUGH</character> <dialogue>Because you'd have said ` no'.</dialogue> <character>UNCLE SAM</character> <dialogue>Bloody right I'd have said ` no'. The man's bloody crocked.</dialogue> <character>CLOUGH</character> <dialogue>Pete reckons he's good for three more years.</dialogue> <character>UNCLE SAM</character> <dialogue>Is he fuck. He's broken more bones than Evel Knievel.</dialogue> <character>CLOUGH</character> <dialogue>Trust me, Mr. Chairman. It's money well spent.</dialogue> <scene_description>LONGSON turns and double - takes .</scene_description> <character>UNCLE SAM</character> <dialogue>And who the FUCK are they?</dialogue> <character>CLOUGH</character> <dialogue>That'd be Messrs. McGovern and O'Hare.</dialogue> <character>MCGOVERN/O'HARE</character> <dialogue>Afternoon/Hello!</dialogue> <character>UNCLE SAM</character> <parenthetical>( almost passing out . )</parenthetical> <dialogue>Where did they come from?</dialogue> <character>CLOUGH</character> <dialogue>My old stomping grounds. Hartlepools and Sunderland. Very reasonable, too.</dialogue> <scene_description>CLOUGH smiles .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Just doing what's best for the club.</dialogue> <character>UNCLE SAM</character> <dialogue>That'd be MY club, Brian. MY club.</dialogue> </scene> <scene> <stage_direction>EXT. BASEBALL GROUND - DAY - (1968)</stage_direction> <scene_description>` Flash ' , DAVE MACKAY , JOHN MCGOVERN and JOHN O'HARE wearing Derby strip , poses under the Derby County sign for photographs with CLOUGH and TAYLOR .</scene_description> </scene> <scene> <stage_direction>EXT. PITCH - BASEBALL GROUND - DAY - (1968)</stage_direction> <scene_description>CLOUGH and TAYLOR watch from the touchline as their new team led by MACKAY plays in a match . CLOUGH watches in admiration .</scene_description> <character>CLOUGH</character> <dialogue>You're a genius, Pete. Bloody genius. How did you see it?</dialogue> <scene_description>On the training ground : DAVE MACKAY , barrel - chested and older , voice like a bullhorn , is already bossing about the young players , urging them to `` think '' .</scene_description> <character>TAYLOR</character> <dialogue>Dunno. It was just obvious. McGovern in midfield, Mackay at the back, O'Hare up front. The skewer is n't it? In the shish kebab.</dialogue> <scene_description>CLOUGH watches MACKAY passing the ball , creating space .</scene_description> <character>CLOUGH</character> <dialogue>It's beautiful. A thing of fucking beauty!</dialogue> <scene_description>CLOUGH grabs TAYLOR 's head , kisses him . OVER THIS : we fade in the roar from the crowd .</scene_description> </scene> <scene> <stage_direction>EXT. DUGOUT - CARLISLE - DAY - (1968)</stage_direction> <scene_description>CAPTION : ` CARLISLE ' GOAL ! Derby score . CLOUGH and TAYLOR leap to their feet .</scene_description> </scene> <scene> <stage_direction>EXT. DUGOUT - BURY - DAY - (1968)</stage_direction> <scene_description>CAPTION : ` BURY ' GOAL ! Derby score . CLOUGH and TAYLOR leap to their feet .</scene_description> </scene> <scene> <stage_direction>EXT. DUGOUT - HUDDERSFIELD - DAY - (1968)</stage_direction> <scene_description>CAPTION : ` HUDDERSFIELD ' GOAL ! Derby score . CLOUGH and TAYLOR leap to their feet . FLICKERING ARCHIVE FOOTAGE : - -LRB- 1968 -RRB- Of DERBY winning the championship . Of NEWS STATIONS announcing it in the Midlands .</scene_description> </scene> <scene> <stage_direction>INT. SAM LONGSON'S HOUSE - NIGHT</stage_direction> <scene_description>A large , swanky house , as befits the multi - millionaire owner of a successful haulage business . SAM LONGSON , BRIAN CLOUGH , PETER TAYLOR and DAVE MACKAY are all celebrating with all their families . The trophy is centre - stage . CLOUGH sings a Sinatra classic .</scene_description> <character>CLOUGH</character> <dialogue>`` Love and marriage, love and marriage, it's an institute you ca n't disparage.''</dialogue> <scene_description>To everyone 's amusement : CLOUGH sings to PETER TAYLOR , not his own wife .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>`` Try, try, try to separate them, it's an illusion. Try, try, try and you will only come to this conclusion.''</dialogue> <scene_description>In another corner : MACKAY is amiably ribbing LONGSON .</scene_description> <character>MACKAY</character> <dialogue>`` the man's crocked'', `` older than time'' `` broken more bones than Evel Knievel?''</dialogue> <character>LONGSON</character> <dialogue>All right, I admit it, I was wrong.</dialogue> <scene_description>LONGSON starts eating his trademark felt hat . Much cheering as he munches in disgust and swallows with difficulty . Suddenly , DAVE MACKAY looks up , sees the television . Calls for quiet ! ON TV : a live awards presentation . From London . DON REVIE is being presented with an award .</scene_description> <character>REVIE</character> <dialogue>for Leeds to win the First Division title, and for me to be named as English Manager of the year. feels like a dream come true.</dialogue> <scene_description>CLOUGH watches . His expression changes . His eyes burn into REVIE 's .</scene_description> <character>CLOUGH</character> <dialogue>You enjoy it, Don. Go home, put your feet up and fucking enjoy it. There's a good lad. Because we'll be in the First Division next season. And we're going to have you!</dialogue> <scene_description>Loud CHEERS from LONGSON , TAYLOR , MACKAY and CLOUGH . OVER THIS : we fade in the sound of roaring .</scene_description> </scene> <scene> <stage_direction>EXT. WEMBLEY STADIUM - DAY - (1974)</stage_direction> <scene_description>ARCHIVE TV FOOTAGE : Wembley Stadium on Charity Shield day . The opening of the 1974/5 season .</scene_description> <character>COMMENTATOR'S VOICE</character> <dialogue>The twin towers of Wembley Stadium, the cathedral of English football on a glorious late - summer's day. good afternoon everyone, it's the Charity Shield, the opening Saturday of the 1974 season, and a first chance to get a look at Brian Clough's Leeds.</dialogue> </scene> <scene> <stage_direction>INT. WEMBLEY STADIUM - DAY - (1974)</stage_direction> <scene_description>DON REVIE is being interviewed by a TV JOURNALIST in sheepskin coat and headphones .</scene_description> <character>JOURNALIST</character> <dialogue>Will you be supporting Leeds today, Don?</dialogue> <character>REVIE</character> <dialogue>You'd expect nothing less having been their manager for 13 years. But the fact is I'm here today as manager of England.</dialogue> <character>JOURNALIST</character> <dialogue>Do you have any advice to give your successor, Brian Clough, before his first game?</dialogue> <scene_description>A mischievous smile barely perceptible of REVIE 's face .</scene_description> <character>REVIE</character> <dialogue>Win. The people of Leeds are used to winning.</dialogue> </scene> <scene> <stage_direction>INT. WEMBLEY DRESSING-ROOM - DAY - (1974)</stage_direction> <scene_description>CLOUGH with the LEEDS TEAM in the dressing - room before kick off . PLAYERS changing . The stink of Ralgex . PHYSIOS bandaging the injured . JIMMY GORDON massaging one or two players .</scene_description> <character>CLOUGH</character> <dialogue>Right, the team for today is : Harvey in goal, Reaney, Cherry, Bremner, McQueen, Hunter, Lorimer, Clarke, Jordan, Giles, Gray.</dialogue> <scene_description>CLOUGH folds a piece of paper . A flicker of vulnerability .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Obviously all eyes will be on us to see how things have changed. Without Don. What might be different under me. Let's show them some of the things we've been working on. Our changes in attitude, too. Our new outlook. New discipline. New approach.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>Let's see some of you playing with a smile.</dialogue> <scene_description>Team talk over : the PLAYERS put on their shoes . Make final preparations .</scene_description> </scene> <scene> <stage_direction>INT. TUNNEL - WEMBLEY - DAY - (1974)</stage_direction> <scene_description>The two teams are limbering up in the tunnel . CLOUGH takes his place ahead of BILLY BREMNER .</scene_description> <character>CLOUGH</character> <dialogue>Of course, it goes without saying I'd like you to continue as Club Captain.</dialogue> <scene_description>Silence . BREMNER continues to limber up .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You know, son, I've nothing but the highest regard for you as a player.</dialogue> <scene_description>They PLAYERS get the instruction to walk out , towards the roar of the crowd .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>In fact, I wrote you a card saying as much. Did you not get it? From Majorca?</dialogue> <scene_description>The roar of the CROWD grows louder .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Saying how excited I was to be taking this job. How much I thought we could achieve together. And inviting you and your family down to our place in Calla Major any time you like?</dialogue> <character>BREMNER</character> <dialogue>Never got it.</dialogue> <scene_description>They walk out into the ROAR of the crowd .</scene_description> </scene> <scene> <stage_direction>EXT. WEMBLEY STADIUM - DAY - (1974)</stage_direction> <scene_description>DON REVIE sits in the stadium watching as : CLOUGH leads his Leeds PLAYERS out . 67,000 FANS screaming and shouting . A stony - faced BREMNER behind him .</scene_description> </scene> <scene> <stage_direction>EXT. WEMBLEY STADIUM - DAY - (1974)</stage_direction> <scene_description>CLOUGH 's face in close - up . Singing the National Anthem . He sees REVIE in the crowd . CLOUGH 's eyes . REVIE 's eyes . All around them , -LRB- ARCHIVE FOOTAGE -RRB- 67,000 belting out `` God Save The Queen '' . But there might as well not be . It 's just REVIE and CLOUGH . ARCHIVE FOOTAGE : the National Anthem finishes . A great ROAR goes up .</scene_description> </scene> <scene> <stage_direction>INT. COMMENTATOR'S BOX - WEMBLEY - DAY - (1974)</stage_direction> <scene_description>The game is underway . The T.V. match COMMENTATORS can hardly believe what they are seeing , -LRB- we catch snippets of FLICKERING ARCHIVE FOOTAGE on their monitors -RRB- .</scene_description> <character>COMMENTATOR</character> <dialogue>Kevin Keegan goes to ground. rolling around on the pitch. that almost looked like Johnny Giles's fist made contact with Kevin Keegan's face. it was! the referee's pulled out his book. now a fight has broken out!</dialogue> </scene> <scene> <stage_direction>EXT. PITCH - DAY - (1974)</stage_direction> <scene_description>On the pitch : BREMNER and KEEGAN have started fighting .</scene_description> <character>COMMENTATOR</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Billy Bremner of Leeds and Kevin Keegan of Liverpool have come to blows.</dialogue> </scene> <scene> <stage_direction>EXT. DUG-OUT - DAY - (1974)</stage_direction> <scene_description>CLOUGH watches from the dug - out . Unable to believe his eyes .</scene_description> <character>CLOUGH</character> <dialogue>For fuck's sake.</dialogue> <character>COMMENTATOR</character> <parenthetical>( V.O . )</parenthetical> <dialogue>the referee is talking to his linesman! He's sending them off! The referee is sending off both players.</dialogue> </scene> <scene> <stage_direction>EXT. PITCH - DAY - (1974)</stage_direction> <scene_description>BILLY BREMNER walks off , angrily removing his shirt .</scene_description> </scene> <scene> <stage_direction>EXT. WEMBLEY - DAY (1974)</stage_direction> <scene_description>ARCHIVE FOOTAGE : Liverpool lift the CUP aloft . Delirious cheering from their FANS .</scene_description> </scene> <scene> <stage_direction>EXT. ROADSIDE - COUNTRY - DAY - (1974)</stage_direction> <scene_description>The Leeds coach had pulled up and the players are all having a piss - break . Among them CLOUGH .</scene_description> <character>CLOUGH</character> <parenthetical>( over his shoulder . )</parenthetical> <dialogue>Because losing was n't enough, was it? You only had to be the first Englishman to be sent off at Wembley.</dialogue> <scene_description>Our CAMERA widens to reveal BILLY BREMNER pissing in line with NORMAN HUNTER and JOHNNY GILES .</scene_description> <character>BREMNER</character> <parenthetical>( through gritted teeth . )</parenthetical> <dialogue>Not fucking English.</dialogue> <character>CLOUGH</character> <dialogue>There I am making a big song and dance to the media about our new approach. Our new attitude. Our new ethics. And you turn the place into fucking Verdun. My CAPTAIN.</dialogue> <scene_description>Silence . CLOUGH shakes himself dry .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What am I going to do if they suspend you? You're my best player. I tell you, I've a mind to fine you two weeks wages!</dialogue> <character>BREMNER</character> <dialogue>You ca n't do that! Mr. Revie always paid all our fines.</dialogue> <character>CLOUGH</character> <dialogue>Well he's not fucking here now, is he?</dialogue> <character>BREMNER</character> <dialogue>No, he's not.</dialogue> <scene_description>BREMNER , GILES AND HUNTER turn . Walks back towards the bus .</scene_description> <character>BREMNER</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>More's the fucking pity.</dialogue> </scene> <scene> <stage_direction>INT. REVIE'S OFFICE - ELLAND ROAD - DAY - (1969)</stage_direction> <scene_description>DON REVIE 's face : he watches through a window in Elland Road , as .</scene_description> </scene> <scene> <stage_direction>EXT. CAR PARK - ELLAND ROAD - DAY - (1969)</stage_direction> <scene_description>The Derby Coach arrives . Hydraulic brakes HISSSSSSS . Doors open . Boots , shoes , walk down steps . BRIAN CLOUGH , PETER TAYLOR and the Derby Army disembark . CLOUGH 's face : as he looks up at the writing on the side of the stadium . LEEDS UNITED F.C.</scene_description> </scene> <scene> <stage_direction>INT. DRESSING-ROOM - ELLAND ROAD - DAY - (1969)</stage_direction> <scene_description>Some PLAYERS getting dressed . CLOUGH , TAYLOR and JIMMY GORDON massaging others . Shin - pads . Water - bottles .</scene_description> <character>CLOUGH</character> <dialogue>Right, last time there was a whole division between you and Leeds. Not now. Not today. Today we're here as Second Division champions, and equals with Leeds. John McGovern and Billy Bremner, EQUALS. Kevin Hector and Johnny Giles, EQUALS. Alan Hinton and Peter Lorimer, John O'Hare and Paul Madely. EQUALS. Now, c'mon, chins up. Chests out. We can take this fucking lot.</dialogue> <scene_description>The PLAYERS clatter out , studs rattling down the tunnel , into the roar of the CROWD . CAPTION : LEEDS 5 - DERBY 0</scene_description> </scene> <scene> <stage_direction>INT. HOTEL/PUB - DERBY - NIGHT - (1969)</stage_direction> <scene_description>CLOUGH and TAYLOR in a deserted bar . Alone . A television plays in the corner . DON REVIE 's face on TV .</scene_description> <character>DON REVIE</character> <parenthetical>( ON TV . )</parenthetical> <dialogue>obviously it's a terrific achievement for Derby, being promoted to the First Division, but the truth is Leeds United have an unfortunate habit of reminding them just how far they still have to go.</dialogue> <character>TAYLOR</character> <dialogue>Arrogant twat.</dialogue> <character>CLOUGH</character> <dialogue>But he's right. Five nothing. They made us look like fools today. And what was John O'Hare doing? Letting Madeley bully him like that. Push him around. Madeley's half his bloody size. O'Hare needs to toughen up. He's from Scottish dockyards, is n't he? And what about John McGovern? He was useless in the middle. Who's idea was that?</dialogue> <character>TAYLOR</character> <dialogue>Yours.</dialogue> <character>CLOUGH</character> <dialogue>He was all over the place. Like the Wandering Jew. Giving the ball to anyone BUT his own. We need a ball player, a natural in midfield. Who'll hold onto it. Keep possession. We're giving it away too easily.</dialogue> <character>TAYLOR</character> <dialogue>Someone like Colin Todd.</dialogue> <character>CLOUGH</character> <parenthetical>( sharp intake . )</parenthetical> <dialogue>Oooh, now you're talking. Lovely pair of feet.</dialogue> <character>TAYLOR</character> <dialogue>I've heard he wants out of Sunderland, too. They're all jumping ship up there.</dialogue> <scene_description>CLOUGH thinks for a moment , then .</scene_description> <character>CLOUGH</character> <dialogue>Well, go on then. Sign him.</dialogue> <character>TAYLOR</character> <dialogue>What? We ca n't. Longson's already told us. Club's in debt.</dialogue> <character>CLOUGH</character> <dialogue>Bollocks to that. I've not brought us all the way to the First Division just to sit there mid - table, and be cannon fodder for sides like Leeds. Sign the man.</dialogue> <character>TAYLOR</character> <dialogue>Hang on, hang on, careful.</dialogue> <character>CLOUGH</character> <dialogue>I'll handle bloody Longson.</dialogue> </scene> <scene> <stage_direction>EXT. TRAINING GROUND - DERBY - DAY - (1972)</stage_direction> <scene_description>CLOUGH is working a session with the Derby PLAYERS . A car screeches into the car park behind . A red - faced , apoplectic SAM LONGSON gets out .</scene_description> <character>UNCLE SAM</character> <dialogue>A hundred and seventy grand?!? For Colin fucking Todd?!?</dialogue> <character>CLOUGH</character> <dialogue>Correction, the ALMIGHTY Colin Todd. The best technical footballer in the country.</dialogue> <character>UNCLE SAM</character> <dialogue>A salary of three hundred quid a week? You ca n't pay a footballer that!</dialogue> <character>CLOUGH</character> <dialogue>That's the way things are going, Uncle Sam. Football's all about money now.</dialogue> <character>UNCLE SAM</character> <dialogue>I told you never to go over my head again.</dialogue> <character>CLOUGH</character> <dialogue>Had no choice. Windows opened up. You were in the bloody West Indies.</dialogue> <character>UNCLE SAM</character> <dialogue>WindowS? You mean there were others?!?</dialogue> <character>CLOUGH</character> <dialogue>Messrs. Gemmell and Hennessy.</dialogue> <scene_description>Two PLAYERS turn and wave to LONGSON .</scene_description> <character>GEMMELL/HENNESSY</character> <dialogue>Afternoon! / Hello!</dialogue> <character>UNCLE SAM</character> <parenthetical>( eyes popping/apoplectic . )</parenthetical> <dialogue>For fucks SAKE!</dialogue> <character>CLOUGH</character> <dialogue>Let me ask you a question, Uncle Sam. What did you come into football for?</dialogue> <character>UNCLE SAM</character> <dialogue>To support the football club in MY HOME TOWN. The club I've supported ALL MY LIFE.</dialogue> <character>CLOUGH</character> <dialogue>Well, I'm sure we all admire your loyalty.</dialogue> <character>UNCLE SAM</character> <dialogue>What I DID N'T come into it for was to be lectured by a cocky little twat from the North East.</dialogue> <character>CLOUGH</character> <dialogue>But the way I see it, there's no point being in this game unless you want to beat the best, and be the best, and that's all the people of Derby want. To see their team on top of the tree, Derby, Derby Uber Alles, and if it's really their interest you have at heart, not just impressing your friends in the Director's box, I suggest you keep your eyes on your road haulage business, keep your opinions to yourself and start signing some fucking cheques, there's a good lad. Leave the running of this football club to the professionals.</dialogue> <character>UNCLE SAM</character> <dialogue>But professionals DO N'T run the club, Brian, the Chairman does. And if it's true, that football is all about money, and that's the way it's going, that's suits us Chairmen just fucking fine. because we're the ones who've got it.</dialogue> <scene_description>SAM LONGSON lights a cigar , and walks off .</scene_description> </scene> <scene> <stage_direction>EXT. CAR PARK - BASEBALL GROUND - DAY - (1972)</stage_direction> <scene_description>The Leeds coach pulls into the Derby car park . Doors open . DON REVIE and SYD OWEN disembark . Followed by the Leeds PLAYERS . Smoking . Side - burns . Long - haired assassins one and all .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - SAME TIME - (1972)</stage_direction> <scene_description>CLOUGH and TAYLOR watch from an upstairs corridor window .</scene_description> <character>CLOUGH</character> <dialogue>See they've driven all the way into the car park this time.</dialogue> <character>TAYLOR</character> <dialogue>It's not a cup game, is it?</dialogue> <scene_description>CLOUGH and TAYLOR look at one another , `` Nutter '' .</scene_description> </scene> <scene> <stage_direction>INT. DRESSING-ROOM - BASEBALL GROUND - DAY - (1972)</stage_direction> <scene_description>An atmosphere of expectation and excitement . Outside , the sound of the crowd . The sound of tannoy announcements . CLOUGH goes to JOHN MCGOVERN .</scene_description> <character>CLOUGH</character> <dialogue>You know what your job is today?</dialogue> <character>MCGOVERN</character> <dialogue>Yes, Boss. Stay in position. Keep the shape. `` Stop being the Wandering Jew''.</dialogue> <character>CLOUGH</character> <dialogue>Good lad. And enjoy it. You deserve to. You've worked hard this week.</dialogue> <scene_description>CLOUGH moves to JOHN O'HARE .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Clear about what you're doing today?</dialogue> <character>O'HARE</character> <dialogue>Be big. Be strong. Any chance I get, flatten Paul fucking Madely.</dialogue> <character>CLOUGH</character> <dialogue>Good lad. He bullies you, you bully him back. And near post for the corners we worked on.</dialogue> <character>O'HARE</character> <dialogue>Yes, Boss.</dialogue> <scene_description>CLOUGH moves to another PLAYER . -LRB- his new signing , COLIN TODD -RRB-</scene_description> <character>CLOUGH</character> <dialogue>Understand what I want from you today, son?</dialogue> <character>TODD</character> <parenthetical>( smiles . )</parenthetical> <dialogue>I should, Mr. Clough. It's simple enough.</dialogue> <character>CLOUGH</character> <dialogue>Go on, let's hear it.</dialogue> <character>TODD</character> <dialogue>`` To be Colin fucking Todd, the best technical footballer in the country.''</dialogue> <scene_description>Laughter in the dressing - room .</scene_description> <character>CLOUGH</character> <dialogue>There, how could you forget that? Now come on.</dialogue> <parenthetical>( clapping hands . )</parenthetical> <dialogue>Up and at ` em!</dialogue> <scene_description>CLOUGH holds the door open , shaking each and every one of the PLAYERS ' hands as they clatter out into the tunnel .</scene_description> </scene> <scene> <stage_direction>EXT. TOUCHLINE - DAY - (1972)</stage_direction> <scene_description>CLOUGH sits in his dug - out . While JIMMY GORDON and TAYLOR are calling out instructions to the Derby players on the pitch . CLOUGH stares at REVIE and his lieutenants in their neighbouring dug - out . Presently . CLOUGH 's view , and our frame is filled by two wheel - chairs carrying disabled/learning difficulties FANS wearing rosettes . The wheel - chair FAN looks at CLOUGH for a beat , then violently shakes a rattle .</scene_description> <character>WHEEL-CHAIR FAN</character> <dialogue>COME ON LEEDS!</dialogue> <scene_description>CLOUGH 's face : shocked . Then , all of a sudden . `` RRRRROOOOOOOAAAAAARRRRRR '' , a roar goes up . Goal Leeds . REVIE and his henchmen leap to their feet , delighted . Applauding . The WHEEL - CHAIR FAN screams with delight . Makes a ` wanker ' gesture in CLOUGH 's face . CLOUGH 's face : darkening like thunder .</scene_description> </scene> <scene> <stage_direction>INT. DRESSING-ROOM - BASEBALL GROUND - DAY - (1972)</stage_direction> <scene_description>CAPTION : `` HALF - TIME : DERBY 0 , LEEDS 1 '' The DERBY PLAYERS sit in the dressing - room . Shaking . Terrified . Trying to hide , find shelter , find protection . Already fearing the rocket they will get , the lash of his tongue . Presently , the door opens , and CLOUGH walks in , carrying a bottle of brandy , Remy Martin .</scene_description> <character>CLOUGH</character> <dialogue>Congratulations, lads! Beautiful! That was as perfect a half of terrible football as I've ever seen. The plan you've obviously been hatching to get me the sack has worked a treat, so you deserve a little celebration.</dialogue> <scene_description>CLOUGH pours brandy into a tea - cup , gives it to a PLAYER .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You do want me to get the sack?</dialogue> <character>MCGOVERN</character> <dialogue>No, Boss.</dialogue> <character>CLOUGH</character> <dialogue>Then why the fuck did you give it to their most dangerous player, Johnny fucking Giles?</dialogue> <character>MCGOVERN</character> <dialogue>I did n't see him.</dialogue> <scene_description>CLOUGH turns to another PLAYER , -LRB- JOHN O'HARE -RRB- , pours him a shot of cognac .</scene_description> <character>CLOUGH</character> <dialogue>You want me to get the sack, Mr O'Hare?</dialogue> <character>O'HARE</character> <dialogue>No, Boss.</dialogue> <character>CLOUGH</character> <dialogue>That open goal? Looked like a deliberate fucking miss to me. A miss to get your manager the sack.</dialogue> <scene_description>CLOUGH turns to a third PLAYER , -LRB- COLIN TODD -RRB- , hands him a cup .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You do want me to get the sack, Mr. Todd?</dialogue> <character>TODD</character> <dialogue>No.</dialogue> <character>CLOUGH</character> <dialogue>No what?</dialogue> <character>TODD</character> <dialogue>No, Boss.</dialogue> <character>CLOUGH</character> <dialogue>The amount of bloody money I paid for you, I must have been out of my mind. You ca n't even keep on your feet.</dialogue> <character>TODD</character> <dialogue>No, Boss.</dialogue> <scene_description>CLOUGH turns , and faces the room .</scene_description> <character>CLOUGH</character> <dialogue>You've all done a terrific job of getting me the sack. So I'm not letting you out of here for the second half, until you've finished the bottle.</dialogue> <scene_description>The PLAYERS stare at one another , holding their drinks .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>DRINK!</dialogue> <scene_description>The PLAYERS nervously down their drinks . CLOUGH exits .</scene_description> </scene> <scene> <stage_direction>INT. TUNNEL OUTSIDE DRESSING-ROOM - DAY - (1972)</stage_direction> <scene_description>CLOUGH walks out to see PETER TAYLOR and JIMMY GORDON waiting - who were listening through the door .</scene_description> <character>TAYLOR</character> <dialogue>You ca n't do that!</dialogue> <scene_description>CLOUGH winks .</scene_description> <character>CLOUGH</character> <dialogue>Ca n't I? Just you fucking watch me!</dialogue> <scene_description>CLOUGH storms off . PETER TAYLOR is left alone . Looks pale . Momentarily holds his chest .</scene_description> <character>JIMMY</character> <dialogue>You all right?</dialogue> <character>TAYLOR</character> <dialogue>Yeah. fine.</dialogue> <scene_description>TAYLOR indicates JIMMY 's cigarettes .</scene_description> <character>TAYLOR</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Giz a fag.</dialogue> </scene> <scene> <stage_direction>INT. TUNNEL - BASEBALL GROUND - DAY - (1972)</stage_direction> <scene_description>The Derby PLAYERS run out , belching , watched and encouraged by PETER TAYLOR . JIMMY GORDON emerges from the dressing - room , holding the empty bottle of Scotch .</scene_description> <character>JIMMY</character> <parenthetical>( to TAYLOR . )</parenthetical> <dialogue>Where's he gone now?</dialogue> </scene> <scene> <stage_direction>INT. MANGER'S OFFICE - BASEBALL GROUND - DAY - (1972)</stage_direction> <scene_description>CLOUGH pacing in his office . Unable to watch . Like an expectant father . Presently the building reverberates with a large . RRRROOOAAAARRRRRRRRR . A goal . But scored by whom ? Derby or Leeds ? CLOUGH looks up at the clock . The clock on the wall shows it 's 4.20 . Visibly anxious , CLOUGH starts pacing again . Presently , another deafening . RRRRROOOOOAAAAARRRRRRR The building is almost brought to it 's foundations . CLOUGH looks up . Desperate to know . Derby or Leeds ? But it 's only 4.35 . Game still not over . Not by a long way . CLOUGH carries on pacing . Walks from one side of the room to the next . Left to right . Right to left . Then , another stadium - shaking . RRRRRROOOOOOAAAAAARRRRRR CLOUGH looks up at the clock . 4.55 . This is intolerable . The game must be over now . CLOUGH can not bear it a moment longer . He opens the door .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDORS - BASEBALL GROUND - DAY - (1972)</stage_direction> <scene_description>CLOUGH walks down a corridor . Then runs . Then checks himself . Slows down . Dignity . Dignity . But still walks as fast as he can . CLOUGH turns a corner to the dressing - rooms and the tunnel , then sees PETER TAYLOR up ahead entering the tunnel from the pitch with several Derby PLAYERS . CLOUGH stops . TAYLOR looks up . Sees CLOUGH . Their eyes meet . CLOUGH 's eyes . TAYLOR 's eyes . Words are not necessary . TAYLOR 's smile says it all . CLOUGH runs towards TAYLOR . The two men embrace .</scene_description> <character>CLOUGH</character> <dialogue>And?</dialogue> <character>TAYLOR</character> <dialogue>2 - 1!</dialogue> <character>CLOUGH</character> <dialogue>Who scored?</dialogue> <character>TAYLOR</character> <dialogue>O'Hare. A brace. Oh, Brian, you should have seen his first. Turns Bremner inside out, nutmegs Madeley for good measure. It was beautiful. You'd think he'd been born in Rio de Janeiro, not Aber - bloody - deen.</dialogue> <scene_description>CLOUGH and TAYLOR walk off down the corridor .</scene_description> <character>TAYLOR</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What made you go for the Brandy?</dialogue> <character>CLOUGH</character> <dialogue>They were just nervous. Shitting themselves. You could tell.</dialogue> <character>TAYLOR</character> <dialogue>You're a bloody genius. I tell you what, Bri - if we can beat this lot, we can go all the way.</dialogue> <scene_description>Derby win against Ipswich Town - 1 - 0 DERBY FANS CELEBRATING Derby win against Sheffield United - 4 - 0 DERBY FANS CELEBRATING Derby beat Huddersfield Town - 3 - 0 DERBY FANS CHANTING ARCHIVE TELEVISION FOOTAGE - -LRB- 1972 -RRB- A NEWSREADER announces that Derby County have won the First Division Championship .</scene_description> </scene> <scene> <stage_direction>INT. BASEBALL GROUND - CHANGING ROOM - DAY - (1972)</stage_direction> <scene_description>The DERBY PLAYERS celebrate in a communal bath , holding the trophy , drinking champagne . Spraying one another with water .</scene_description> </scene> <scene> <stage_direction>EXT. DERBY STREET - DAY - (1972)</stage_direction> <scene_description>CLOUGH , TAYLOR and ROY MACFARLAND hold aloft a large trophy , travelling on board an open - top bus , through Derby . The whole town has taken to the streets .</scene_description> </scene> <scene> <stage_direction>EXT. DERBY STREET - DAY - (1972)</stage_direction> <scene_description>CLOUGH , still celebrating , and still surrounded by PLAYERS and FANS</scene_description> <character>CLOUGH</character> <dialogue>Derby County winning the championship is a victory for decency, for honesty and for football. Because they do n't pull shirts, or nudge people in the back in the box. They do n't protest every decision, chop, hack or bully - unlike some teams I could mention - beginning with the letter ` L'.</dialogue> <scene_description>JOURNALISTS laugh .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>If you ask me, the best thing for British football, the quickest way to clean it up, would be fore dirty sides like Leeds to be sent down for a spell in Division Two.</dialogue> </scene> <scene> <stage_direction>EXT. REVIE'S HOME - LEEDS - DAY - (1972)</stage_direction> <scene_description>DON REVIE speaking to JOURNALISTS outside his home .</scene_description> <character>REVIE</character> <dialogue>I have n't personally heard Mr. Clough's comments, but they have been reported to me, and our solicitors are looking into them. If I could offer Mr. Clough some advice. I think he'd be better off keeping his opinions to himself. some of these allegations against Leeds United and his fellow professionals are an absolute disgrace.</dialogue> <scene_description>AND WE 'RE INTO A QUICKFIRE MONTAGE OF : CLOUGH appearing on half - a - dozen TV shows . Quick , controversial , charismatic , witty . A natural media star , -LRB- we intercut our actor with the genuine archive footage -RRB-</scene_description> <character>CLOUGH</character> <dialogue>Don Revie? Ooooh.</dialogue> <parenthetical>( shudders playfully . )</parenthetical> <dialogue>Do n't mention that name to me.</dialogue> <character>DAVID FROST</character> <dialogue>It's really like the other House of Commons. You hate to mention him. Why?</dialogue> <character>CLOUGH</character> <dialogue>I hate to mention him why? Because he's a very talented man and I do n't like him.</dialogue> <scene_description>The audience laughs .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>He's a very, very talented man and his record is unsurpassable. But I just happen not to like him. And I do n't like the way he goes about football either. Football is a game of opinion and there are perhaps people in your profession who do n't like the way you do your bit.</dialogue> <character>DAVID FROST</character> <dialogue>Sure.</dialogue> <character>CLOUGH</character> <dialogue>And er. it makes the game go round. Half the country do n't like a Labour government. It just happens that the other half do.</dialogue> <character>DAVID FROST</character> <parenthetical>( ON TV . )</parenthetical> <dialogue>Why do n't you want me to ask why you do n't like him?</dialogue> <character>CLOUGH</character> <parenthetical>( ON TV . )</parenthetical> <dialogue>Because I ca n't tell you. It's impossible. We'd get closed down, David.</dialogue> <scene_description>JOHN SADLER , pipe smoking football journalist , sits in a television studio , -LRB- CALENDER -RRB- .</scene_description> <character>JOHN SADLER</character> <dialogue>Brian, you've been called big - headed, arrogant, brash, the lot -</dialogue> <character>CLOUGH</character> <dialogue>By your profession, John, yeah.</dialogue> <character>JOHN SALDER</character> <dialogue>Sure. And a whole of it right too.</dialogue> <character>CLOUGH</character> <dialogue>And a whole lot of it wrong.</dialogue> <character>JOHN SALDER</character> <dialogue>Fine. I'll concede that. So how would you define your approach to management, apart from being brilliant?</dialogue> <scene_description>All laugh .</scene_description> <character>CLOUGH</character> <parenthetical>( laughing , rubbing eye . )</parenthetical> <dialogue>Good lad. Thank you for the compliment. It's very, very difficult when you get asked a question like that.</dialogue> <scene_description>DAVID COLEMAN , black and white footage , speaking into a bakolite telephone .</scene_description> <character>COLEMAN</character> <parenthetical>( ON TV . )</parenthetical> <dialogue>You've achieved something here that most managers struggle for years to achieve this. It's come to you very young. Are you surprised?</dialogue> <scene_description>CLOUGH sits at home , his SON on his lap .</scene_description> <character>CLOUGH</character> <dialogue>Suprised, David. but more than surprised, delighted. It's nice is n't it. For the good guys to win for once.</dialogue> <character>COLEMAN</character> <dialogue>Which for you was the most important match to win and the best performance from your point of view.</dialogue> <character>CLOUGH</character> <dialogue>Beating Leeds United, obviously. Always a particular pleasure that.</dialogue> <character>COLEMAN</character> <dialogue>Brian, you've also done it on comparatively small gates, which I know has niggled you a little bit during the season.</dialogue> <character>CLOUGH</character> <dialogue>Niggled me, David, it's absolutely made me blazing. To be honest, I know what I want to achieve, I know what the people of Derby want us to achieve, but when you've got a chairman not wanting to put his hand in his pocket.</dialogue> <scene_description>MICHAEL PARKINSON , the highest rating talk show on TV .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You ever see eighty five or perhaps ninety percent of chairmen talking - I'd love a few chairmen on your programme occasionally - I believe the very sight of them brings the game into disrepute.</dialogue> <parenthetical>( some clap in the audience . )</parenthetical> <dialogue>. And every time they open their mouths it kills it. Because the very thing they've given me a lot of stick about over the years - about talking too much and going on television too much, there are the very people who can put two words together and its rather embarrassing to me that a man - or men - can stop me talking to people like you. I love football. It's deep, it goes right down through. It's in every nerve, vein, you name it. It consumes me. And when I have to come and talk about I like the passions of football to come out. Because there are not enough in the game. I like a bit of the honesty, I like a bit of the truth. I accept without any shadow of a doubt that I talk too much, apart from on this show.</dialogue> <scene_description>Laughter .</scene_description> <character>PARKINSON</character> <parenthetical>( ON TV . )</parenthetical> <dialogue>How do you react when someone says `` Boss, you're doing it wrong?''</dialogue> <character>CLOUGH</character> <parenthetical>( ON TV . )</parenthetical> <dialogue>I say, `` How do you think it should be done?'' We talk about it for twenty minutes, then we decide I was right.</dialogue> <scene_description>BLACK AND WHITE ARCHIVE TV FOOTAGE OF MOHAMMED ALI</scene_description> <character>MOHAMMED ALI</character> <dialogue>the world knows who I am. The world knows I talk a lot. But there's some fellow in London, England named. `` Brian Clough''.</dialogue> <parenthetical>( audience laughter . )</parenthetical> <dialogue>Anyway I heard all the way in America, They say he's another Mohammed Ali. Well, there's just ONE Mohammed Ali. I want you to know.</dialogue> <parenthetical>( jabbing finger . )</parenthetical> <dialogue>Clough. you are not taking my job. I'm the talker. Now, Clough. enough. STOP IT!</dialogue> </scene> <scene> <stage_direction>INT - CLOUGH'S HOUSE - DERBY - DAY - (1973)</stage_direction> <scene_description>CLOUGH and TAYLOR , surrounded by FRIENDS and FAMILIES , with flowers , telegrams , bottles of champagne , boxes of cigars . Watching the Mohammed Ali on television .</scene_description> <character>TAYLOR</character> <dialogue>Are you going to stop it?</dialogue> <character>CLOUGH</character> <dialogue>No, I want to fight him!</dialogue> <scene_description>They roar with laughter . Cheers and celebration . Everyone roughing up CLOUGH 's hair , patting him on the back .</scene_description> </scene> <scene> <stage_direction>INT. FOOTBALL ASSOCIATION HQ - LONDON - DAY - (1974)</stage_direction> <scene_description>The QUEEN 's face . Full - frame . Beside her PRINCE PHILIP . A portrait of Her Majesty the Queen and HRH the Duke of Kent hangs on an oak - pannelled wall : the Patron and the President of the Football Association . Beneath the portrait : a long table in a boardroom . An austere six - man disciplinary committee of the FA . Blazers and buttons . Whiskers and power . Aldermen , Freemasons , Generals , white - hair and golden buttons . Admirals , Presidents and Vice - Presidents . Sitting in front of the committee . BILLY BREMNER and BRIAN CLOUGH . Like schoolchildren .</scene_description> <character>COMMITTEE CHAIRMAN</character> <dialogue>William Bremner, your conduct in the Charity Shield match was deplorable and can not be tolerated.</dialogue> <character>CLOUGH</character> <dialogue>It was.</dialogue> <character>COMMITTEE CHAIRMAN</character> <dialogue>We understand Leeds are taking disciplinary action against you internally, however the Football Association has to be seen to make an example. We have therefore decided to impose a fine of five hundred pounds.</dialogue> <scene_description>CLOUGH 's face : a victorious look .</scene_description> <character>CLOUGH</character> <dialogue>Thank you.</dialogue> <character>COMMITTEE CHAIRMAN</character> <dialogue>and a suspension until September 30th.</dialogue> <scene_description>`` Bang '' , he brings down a gavel . CLOUGH 's face : the smile fades .</scene_description> <character>CLOUGH</character> <parenthetical>( disbelieving laugh . )</parenthetical> <dialogue>What? September 30th? That's more than a month? Thats six bloody weeks?</dialogue> <character>COMMITTEE CHAIRMAN</character> <dialogue>I'll make it seven if you carry on with language like that.</dialogue> <character>CLOUGH</character> <dialogue>C'mon, double the fine. Treble it. Anything. Do n't suspend him for that long. He's my Captain. The best player I've got.</dialogue> <scene_description>The COMMITTEE MEMBERS get to their feet and walk out . CLOUGH 's face : OVER THIS : the sound of a ringing phone . The sound of a familiar voice at the other end .</scene_description> <character>TAYLOR</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>INT. DRAGONARA HOTEL - CLOUGH'S ROOM - NIGHT - (1974)</stage_direction> <scene_description>CLOUGH in his cheap hotel - room . PETER TAYLOR 's voice the other end .</scene_description> <character>CLOUGH</character> <dialogue>I suppose you've heard!</dialogue> </scene> <scene> <stage_direction>INT. TAYLOR'S HOUSE - SAME TIME - (1974)</stage_direction> <scene_description>TAYLOR freezes , hearing the voice , -LRB- we intercut as necessary for the remainder of the call -RRB- .</scene_description> <character>TAYLOR</character> <dialogue>God. what time is it?</dialogue> <character>CLOUGH</character> <dialogue>Suspended for eleven bloody games!</dialogue> <character>TAYLOR</character> <dialogue>I know. You're buggered. Billy Bremner's the heart and soul of that team.</dialogue> <character>CLOUGH</character> <dialogue>Plus Mike Jones and Eddie Gray are injured.</dialogue> <character>TAYLOR</character> <dialogue>Like I said. You're buggered.</dialogue> <character>CLOUGH</character> <dialogue>What do I do, Pete? I need new players. Tell me who to buy.</dialogue> <character>TAYLOR</character> <dialogue>No, Brian.</dialogue> <character>CLOUGH</character> <dialogue>Help me. C'mon, we'll sort this place out together. You and me. Turn it around.</dialogue> <character>TAYLOR</character> <dialogue>It's too late. I'd have helped you once. But not now. Not after what was said. We're on our own now. Each man for himself. Remember?</dialogue> <scene_description>`` Click '' , TAYLOR hangs up . CLOUGH stares at the receiver .</scene_description> </scene> <scene> <stage_direction>EXT. CAR PARK - BASEBALL GROUND - DAY - (1974)</stage_direction> <scene_description>The same sign as earlier . `` MR. D. MACKAY - MANAGER '' . CLOUGH stares at the sign as he parks his car in the space beside it . A stab in his heart .</scene_description> </scene> <scene> <stage_direction>INT. BASEBALL GROUND - DAY - (1974)</stage_direction> <scene_description>CLOUGH walks along a corridor . Sees the PLAYERS training outside . HIS players . DERBY players . To one side , MCGOVERN and O'HARE . CLOUGH looks out at them . He winks , discreetly at them . They look back , and nod . Then get back to work . The sound of laughter . The camaraderie of a family . What a contrast to Leeds . CLOUGH walks along a corridor with photos on the wall . Framed photos of HIS victories . HIS club . HIS family . HIS home .</scene_description> </scene> <scene> <stage_direction>INT. MANAGER'S OFFICE - BASEBALL GROUND - DAY - (1974)</stage_direction> <scene_description>CLOUGH walks into the office to see DAVE MACKAY behind his desk . Who gets to his feet . Extends his hand .</scene_description> <character>MACKAY</character> <dialogue>Well, look who it is! Come to raid my larder? Or just missing the place?</dialogue> <character>CLOUGH</character> <dialogue>McGovern and O'Hare. I've spoken to them on the phone. They want to come and play for me.</dialogue> <character>MACKAY</character> <dialogue>Aye, and you can have ` em. A hundred and fifty thousand pound for the pair.</dialogue> <character>CLOUGH</character> <dialogue>Cheeky sod! They're not worth a penny more than seventy.</dialogue> <character>MACKAY</character> <dialogue>But you're desperate now, are n't you? Having lost to Stoke and Birmingham.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>All, right, since it's you. I'll knock ten grand off.</dialogue> <character>CLOUGH</character> <dialogue>Give you a hundred grand.</dialogue> <character>MACKAY</character> <dialogue>One thirty. Final offer.</dialogue> <scene_description>CLOUGH is about to explode , then .</scene_description> <character>CLOUGH</character> <dialogue>All right. Done.</dialogue> <scene_description>The two MEN shake hands . Barely .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>So? Enjoying yourself?</dialogue> <character>MACKAY</character> <dialogue>Two wins from two. What's not to enjoy? You?</dialogue> <character>CLOUGH</character> <dialogue>Loving it. Different class, Leeds. Proper club. BIG club.</dialogue> <character>MACKAY</character> <dialogue>Demand results there, though, Brian.</dialogue> <character>CLOUGH</character> <dialogue>Hey, it's ` Boss' to you.</dialogue> <character>MACKAY</character> <dialogue>Not any more.</dialogue> <character>CLOUGH</character> <dialogue>I bought you when you were crocked, you fat bastard. And gave you the two best years of your career. It will always be ` Boss' to you.</dialogue> <scene_description>CLOUGH walks to the door . He turns , and indicates the desk .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Ever tempted to burn that bloody desk? Chop it up and burn it?</dialogue> <character>MACKAY</character> <dialogue>Why would I do that?</dialogue> <character>CLOUGH</character> <dialogue>Exorcise the bloody place. Get rid of me.</dialogue> <character>MACKAY</character> <dialogue>Why? You're not here anymore, are you? Be a waste of a perfectly good desk.</dialogue> </scene> <scene> <stage_direction>EXT. MOTORWAY - DAY - (1974)</stage_direction> <scene_description>CLOUGH driving his car . Clenching the steering wheel in fury .</scene_description> <character>CLOUGH</character> <dialogue>Fucking Scot.</dialogue> </scene> <scene> <stage_direction>INT. DRAGONARA HOTEL - BAR - DAY - (1974)</stage_direction> <scene_description>It 's late : JIMMY GORDON with CLOUGH in the bar .</scene_description> <character>JIMMY</character> <dialogue>McGovern and O'Hare? Ca n't believe he actually sold them to you. It must be true, then.</dialogue> <character>CLOUGH</character> <dialogue>What?</dialogue> <character>JIMMY</character> <dialogue>The rumour that he's after buying Duncan Mackenzie. It's why he needs the money.</dialogue> <character>CLOUGH</character> <dialogue>Who's Duncan Mackenzie?</dialogue> <scene_description>OVER THIS : the sound of a ringing phone .</scene_description> </scene> <scene> <stage_direction>EXT/INT. VICTORIA HOTEL - SHEFFIELD - DAY - (1974)</stage_direction> <scene_description>DUNCAN MACKENZIE , long - haired , chain - smoking , bemused , stands in the lobby of the hotel . OVER THIS : we hear .</scene_description> <character>CLOUGH</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Is that Duncan Mackenzie?</dialogue> <character>MACKENZIE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yes. This is he.</dialogue> <character>CLOUGH</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Now listen to me. You go get your coat and your skates on because you're coming to meet me at the Victoria Hotel in Sheffield in half and hour. And Duncan?</dialogue> <character>MACKENZIE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yes, Mr. Clough.</dialogue> <character>CLOUGH</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Bring a bloody pen, because you're signing for Leeds United today.</dialogue> </scene> <scene> <stage_direction>INT. BAR - VICTORIA HOTEL - SHEFFIELD - DAY - (1974)</stage_direction> <scene_description>` Pop ' , a WAITER uncorks champagne , pours it into glasses . CLOUGH and his three sheepish new signings : MCGOVERN , O'HARE and DUNCAN MACKENZIE sit uneasily in the bar .</scene_description> <character>CLOUGH</character> <dialogue>Congratulations, lads! My first signings for Leeds. My Leeds United. Playing with flair and winning with honour. Winning the ` right' way. And winning the admiration of fans all over Europe because.</dialogue> <character>MCGOVERN</character> <dialogue>Because of the way we play.</dialogue> <character>CLOUGH</character> <dialogue>Because of the way we play!</dialogue> <scene_description>MACKENZIE lights a cigarette .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>We're going all the way, lads. Inter Milan, Barcelona. We're going to win silverware Don Revie could only dream of.</dialogue> <character>MCGOVERN/O'HARE</character> <dialogue>Yes, Boss.</dialogue> <character>CLOUGH</character> <dialogue>And you, Mr. Mackenzie, you scored twenty - eight goals last season. You'll score me twenty - nine goals this.</dialogue> <character>MACKENZIE</character> <dialogue>Yes, Mr. Clough.</dialogue> <character>CLOUGH</character> <dialogue>Do you know how many goals I scored before I got injured?</dialogue> <character>MACKENZIE</character> <dialogue>I'm sorry, Mr. Clough. I do n't.</dialogue> <character>CLOUGH</character> <dialogue>Two hundred and fifty - one.</dialogue> <scene_description>MCGOVERN and O'HARE privately exchange looks , `` Here goes '' .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Do you know how many games it took me?</dialogue> <character>MACKENZIE</character> <dialogue>I'm sorry, Mr. Clough, I do n't.</dialogue> <character>CLOUGH</character> <dialogue>Have a guess. Go on.</dialogue> <scene_description>O'HARE mouths `` Two hundred and seventy - four '' .</scene_description> <character>MACKENZIE</character> <dialogue>Three hundred?</dialogue> <scene_description>MCGOVERN closes his eyes , `` Moron . ''</scene_description> <character>CLOUGH</character> <dialogue>Two hundred and seventy - four! Now what do you think about that?</dialogue> <character>MACKENZIE</character> <dialogue>Is that a record, Mr. Clough?</dialogue> <character>CLOUGH</character> <parenthetical>( rolling eyes . )</parenthetical> <dialogue>` Course it's a bloody record.</dialogue> <scene_description>CLOUGH shoots a look to the others .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You know what ELSE you lot can do that's even more important? You can be my eyes and ears in that dressing room.</dialogue> <character>MACKENZIE/O'HARE</character> <dialogue>Yes, Mr. Clough/Yes, Boss</dialogue> <character>CLOUGH</character> <dialogue>Need to know what they say about me. Who's making trouble. Who the ringleaders are.</dialogue> <character>MACKENZIE</character> <dialogue>Yes, Mr. Clough.</dialogue> <character>CLOUGH</character> <dialogue>Want you to help me clear this place out. Make it MY team, understand. OUR team. Clean it up and clear it out once and for all.</dialogue> <character>MACKENZIE</character> <dialogue>Yes, Mr. Clough.</dialogue> <scene_description>CLOUGH indicates MACKENZIE 's drink .</scene_description> <character>CLOUGH</character> <dialogue>Now c'mon, drink up. We're off to meet the press.</dialogue> <character>MACKENZIE</character> <dialogue>Yes, Mr. Clough.</dialogue> <scene_description>MACKENZIE knocks back his champagne .</scene_description> <character>CLOUGH</character> <dialogue>And Duncan?</dialogue> <character>MACKENZIE</character> <dialogue>Yes, Mr. Clough?</dialogue> <character>CLOUGH</character> <dialogue>It's `` Boss'' from now on. There's a good lad.</dialogue> <character>MACKENZIE</character> <dialogue>Yes, Mr. Clough.</dialogue> <scene_description>CLOUGH sighs and goes . MCGOVERN and O'HARE roll their eyes . MACKENZIE stubs his cigarette , and hurries after them .</scene_description> </scene> <scene> <stage_direction>EXT. ELLAND ROAD - DAY - (1974)</stage_direction> <scene_description>`` Flash '' , photographs are being taken by PRESS of the three new signings , DUNCAN MCKENZIE , JOHN O'HARE and JOHN MCGOVERN , all wearing Leeds shirts . PULL BACK TO REVEAL : they are being watched from a distance by several Leeds SENIOR players .</scene_description> </scene> <scene> <stage_direction>INT. ELLAND ROAD - DAY - (1974)</stage_direction> <scene_description>CLOUGH walks through a corridor , brushing past JOHNNY GILES , BILLY BREMNER and several other SENIOR PLAYERS . An intimidating atmosphere .</scene_description> <character>BREMNER</character> <dialogue>What the hell did you buy them for? Waste of bloody money.</dialogue> <character>CLOUGH</character> <dialogue>Duncan Mackenzie scored twenty - eight goals last season. John O'Hare and John McGovern are both internationals.</dialogue> <character>GILES</character> <dialogue>We've got two strikers, Alan Clarke and Mick Jones, they're internationals, too.</dialogue> <character>CLOUGH</character> <dialogue>And one's injured and the other's fucking suspended.</dialogue> <character>BREMNER</character> <dialogue>Maybe if you spent a little more time here on the training ground with us, you would n't need to buy Derby `` rejects''.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>We've a game Saturday. Against Queens Park Rangers. Or had you forgotten?</dialogue> <character>CLOUGH</character> <dialogue>I have n't forgotten.</dialogue> <character>GILES</character> <dialogue>Well, you have n't told us a single thing about how QPR will play. Mr Revie would have files and dossiers prepared. Had the reserves playing the Rangers way all week. Had the first team looking out for this and that.</dialogue> <character>CLOUGH</character> <dialogue>Bollocks to Mr. Revie! You're professional footballers. Stop Stan Bowles! That's all you need to know about QPR. And I do n't have to justify myself to you. Not how or when I conduct training. Not who I buy or pick to play.</dialogue> <character>GILES</character> <dialogue>No. Not to us. But come Saturday afternoon, there'll be 40,000 people here who you DO have to justify yourself, to.</dialogue> <scene_description>GILES , BREMNER et al walk off . CLOUGH left , staring . OVER THIS : a large RRRRROOOAAARRRR . GOAL .</scene_description> </scene> <scene> <stage_direction>INT. LEEDS DRESSING-ROOM - DAY - (1974)</stage_direction> <scene_description>The LEEDS PLAYERS trudge in , after the game . Angry . Heads hung low . Begin to strip off . CAPTION : `` QPR 1 , Leeds 0 . '' CLOUGH enters . Visibly gutted by the result , but now 's not the time to show it .</scene_description> <character>CLOUGH</character> <dialogue>Sorry, lads.</dialogue> <scene_description>CLOUGH walks round the dressing - room , shaking hands individually , patting PLAYERS on the back .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You were robbed out there today. Broad bloody daylight. That was never a penalty.</dialogue> <scene_description>CLOUGH 's tone is sensitive . Tactful . Considerate .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Stan Bowles? Diving like that? Man's a disgrace.</dialogue> <scene_description>But several of the LEEDS PLAYERS refuse his hand . Or freeze at his touch . Turn away from him .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I've spoken to the referee already. Given him a piece of my mind. And come Monday morning, mark my word, I shall be taking this further.</dialogue> <scene_description>The LEEDS PLAYERS stare at one another . Shoot one another looks .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Anyway, I want you all to know, I'm not in the slightest bit critical of your performance today. Not a bit of it. You were terrific out there.</dialogue> <scene_description>NORMAN HUNTER spits in contempt . GILES turns and walks out , into the showers .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I could n't ask for more effort. Commitment.</dialogue> <parenthetical>( tailing off . )</parenthetical> <dialogue>Passion.</dialogue> <scene_description>The LEEDS PLAYERS follow . Finally O'HARE and MCGOVERN , too . A deathly silence . CLOUGH is left alone in the dressing - room . OVER THIS : the sound of a ringing telephone . A gruff VOICE answers .</scene_description> <character>REVIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>INT. CLOUGH'S ROOM - DRAGONARA HOTEL - NIGHT</stage_direction> <scene_description>It 's the middle of the night . CLOUGH speaks into the phone , visibly the worse for wear from alcohol .</scene_description> <character>CLOUGH</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You must be loving this. Loving every minute.</dialogue> </scene> <scene> <stage_direction>INT. REVIE'S HOUSE - BEDROOM - NIGHT - (1974)</stage_direction> <scene_description>DON REVIE 's face , half - asleep . Visibly irritated . He sits up in bed . A stout Yorkshire matron wakes beside him .</scene_description> <character>REVIE</character> <dialogue>Who is this?</dialogue> <character>CLOUGH</character> <dialogue>Watching it all fall apart. It's Brian Clough.</dialogue> <character>REVIE</character> <dialogue>What?</dialogue> <character>CLOUGH</character> <dialogue>They wo n't play for me. Your boys. Your bastard sons. And never will.</dialogue> <character>REVIE</character> <dialogue>Are you drunk, man? It's two in the morning. What do you want? Why are you ringing me here?</dialogue> </scene> <scene> <stage_direction>INT. DRAGONARA HOTEL - NIGHT - (1974)</stage_direction> <character>CLOUGH</character> <dialogue>They're loyal to you. Thought you'd like to know that. Loyal to Big Daddy Don.</dialogue> <character>REVIE</character> <dialogue>For God's sake go to sleep. Where's you dignity, man? And do n't call here again.</dialogue> <scene_description>`` Click '' , REVIE hangs up . CLOUGH stares at the receiver .</scene_description> </scene> <scene> <stage_direction>EXT. CAR PARK - BASEBALL GROUND - DAY - (1973)</stage_direction> <scene_description>The Leeds Coach arrives at Derby . Hydraulic brakes hissssssss . Doors open . Boots , shoes , walk down steps . DON REVIE , SYD OWEN and the Leeds PLAYERS disembark . HARVEY , REANEY , CHERRY , BREMNER , HUNTER , LORMIER , CLARKE , JORDAN , GILES , GRAY walk towards the Derby dressing - rooms .</scene_description> </scene> <scene> <stage_direction>INT. BOARDROOM - BASEBALL GROUND - SAME TIME - (1973)</stage_direction> <scene_description>SAM LONGSON stands by the window , looking out into the car park . He sees the Leeds United PLAYERS . Reads their mood . Their faces . Their focus . Their murderous intent . A flicker of concern on SAM LONGSON 's face . He thinks , then calls out to his SECRETARY .</scene_description> <character>LONGSON</character> <dialogue>Get me today's team sheet, will you?</dialogue> <scene_description>He lets the curtain fall .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - BASEBALL GROUND - DAY - (1973)</stage_direction> <scene_description>SAM LONGSON walks through corridors of Elland Road , carrying the team sheet . Walking towards the dressing - rooms . He turns a corner and runs into CLOUGH .</scene_description> <character>CLOUGH</character> <dialogue>What's up, Uncle Sam? Bit below stairs for you here, is n't it? Taken a wrong turn somewhere?</dialogue> <character>LONGSON</character> <dialogue>Just seen the team sheet. Hinton, O'Hare, Todd, Mackay.</dialogue> <parenthetical>( looks left and right . )</parenthetical> <dialogue>That's our strongest side.</dialogue> <character>CLOUGH</character> <dialogue>Of course it's our strongest side. It's Leeds United. Would you prefer I sent out the apprentices?</dialogue> <character>LONGSON</character> <dialogue>We're at Juventus mid - week. Semi - final of the European Cup. Biggest night in the club's history! Could n't you just field.</dialogue> <character>CLOUGH</character> <dialogue>What?</dialogue> <character>LONGSON</character> <dialogue>Y' know.</dialogue> <character>CLOUGH</character> <dialogue>A weaker side? Am I hearing right? Is the CHAIRMAN of this football club seriously asking his manager to LOSE?</dialogue> <character>LONGSON</character> <dialogue>You know what I mean.</dialogue> <character>CLOUGH</character> <dialogue>Against their biggest rivals?</dialogue> <character>LONGSON</character> <dialogue>The Chairman of this football club is asking his manager to be pragmatic. Manage his resources. Prioritise. We've embarked on a huge program of refurbishment and improvements. New stands. Better floodlights. We need a good run in Europe to pay for it.</dialogue> <character>CLOUGH</character> <dialogue>I'm going to pretend I did n't hear a word of this.</dialogue> <scene_description>CLOUGH turns to walk away . LONGSON calls after him .</scene_description> <character>LONGSON</character> <parenthetical>( checking watch . )</parenthetical> <dialogue>We've still got twenty minutes before kick - off. I'd reconsider if I were you. I would n't want my employer to be unhappy.</dialogue> <character>CLOUGH</character> <dialogue>My employer?</dialogue> <character>LONGSON</character> <dialogue>Chairman of Derby County. And Chairman LONG before you ever showed up.</dialogue> <character>CLOUGH</character> <dialogue>That's right. You were Chairman of Derby County before I came here. I remember that. When Derby County were at the fucking foot of the Second Division, when nobody had heard of them for twenty years and nobody had heard of Sam bloody Longson ever. Full stop. And that's where you'd still fucking be if it was n't for me ; at the foot of the bloody Second Division, where nobody remembered you and nobody had heard of you. There would BE no Derby County without me, no league title, no Champions of England ; not without Brian Clough.</dialogue> <scene_description>A door opens and PETER TAYLOR walks out in time to hear .</scene_description> <character>LONGSON</character> <dialogue>I'm going to give you some good advice, Brian Clough. No matter how good you think you are, or how clever, or how many fancy new friends you make on the telly, the reality of footballing life is this : the Chairman is the boss, then come the directors, then the secretary, then the fans, then the players, and finally, last of all, bottom - of - the - heap, lowest of the low, the one in the end we can all without, is the bloody manager.</dialogue> <scene_description>LONGSON turns and storms off . TAYLOR looks at CLOUGH .</scene_description> <character>TAYLOR</character> <dialogue>What have you done now?</dialogue> <scene_description>CLOUGH does n't answer , and storms off in the opposite direction . TAYLOR is left alone , visibly anxious .</scene_description> </scene> <scene> <stage_direction>EXT. PITCH - BASEBALL GROUND - DAY - (1973)</stage_direction> <scene_description>CLOUGH watches from the touch - line as the game is in progress . `` CRASH '' , a Leeds PLAYER scythes into a Derby PLAYER . `` BEEEP '' , the referee blows his whistle . CLOUGH and leaps off his bench in fury . Shouting abuse .</scene_description> <character>CLOUGH</character> <dialogue>You're a bloody disgrace! You should be in the book for that, Cherry!</dialogue> <scene_description>`` BEEEP '' , the referee blows his whistle . REVIE smiles to himself as a Derby PLAYER is carried off on a stretcher .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You're an animal. A fucking animal, Hunter!</dialogue> <scene_description>SAM LONGSON watches from the director 's box . He closes his eyes . PETER TAYLOR witnesses this . `` CRUNCH '' , another brutal tackle , another whistle . Another Derby PLAYER hobbles off the pitch . Blood streaming from a cut to his head .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I'll see you in fucking court, Lorimer!</dialogue> <scene_description>CLOUGH 's eyes meet REVIE 's eyes along the touchline .</scene_description> </scene> <scene> <stage_direction>EXT. PITCH - BASEBALL GROUND - DAY - (1973)</stage_direction> <scene_description>Afterwards : the LEEDS and DERBY players file off the pitch . BREMNER brushes roughly past CLOUGH .</scene_description> <character>BREMNER</character> <parenthetical>( under his breath . )</parenthetical> <dialogue>Good luck in Europe.</dialogue> <scene_description>CLOUGH turns , ` What ? '' BREMNER , GILES , HUNTER , LORIMER carries on walking down the tunnel . Laughing to themselves . CLOUGH is joined by TAYLOR and JIMMY GORDON .</scene_description> </scene> <scene> <stage_direction>INT. DERBY DRESSING-ROOM - BASEBALL GROUND - DAY - (1973)</stage_direction> <scene_description>Afterwards : the Derby dressing - room looks like the Emergency Room at a hospital . Casualties . Blood . Stitches . Swellings . At least half - a - dozen PLAYERS are injured . Some on stretchers . CLOUGH stares in horror at the wreckage from the doorway . SAM LONGSON appears beside him . Stares at CLOUGH .</scene_description> <character>LONGSON</character> <dialogue>You fucking idiot.</dialogue> <scene_description>LONGSON turns and walks away . CLOUGH turns to survey the carnage in the dressing - room . Like a battlefield . CLOUGH 's eyes meet TAYLOR 's . ARCHIVE TELEVISION NEWS FOOTAGE The most important night in Derby 's history as the Derby players arrive in Turin to play against mighty Juventus .</scene_description> </scene> <scene> <stage_direction>INT. CLOUGH HOUSE - NIGHT - (1973)</stage_direction> <scene_description>BARBARA CLOUGH and the children . Huddled together round the television . Eating supper . Watching the Juventus game on TV .</scene_description> <character>BARBARA</character> <dialogue>There's Dad, look!</dialogue> <scene_description>BARBARA and the KIDS watch intently . But JUVENTUS score one goal . Then another . The final whistle . JUVENTUS win 3 - 1 .</scene_description> <character>BARBARA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Pity.</dialogue> <scene_description>BARBARA gets to her feet .</scene_description> <character>BARBARA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>All right. Bed time! Everyone clean your teeth!</dialogue> <character>SON</character> <dialogue>Wait! Look!</dialogue> <scene_description>ON TV : CLOUGH is in the tunnel . Speaking to a television REPORTER .</scene_description> <character>CLOUGH</character> <parenthetical>( ON TV . )</parenthetical> <dialogue>Disappointed? Not a bit. My players were heroic out there tonight. Effectively we were playing the Italian champions with a reserve team. That many of our first team are injured.</dialogue> </scene> <scene> <stage_direction>INT. TUNNEL - JUVENTUS - NIGHT</stage_direction> <scene_description>CLOUGH continues . PETER TAYLOR stands beside him , visibly pale , stressed .</scene_description> <character>CLOUGH</character> <dialogue>it's what happens if you have a Chairman who authorizes a multi - million pound refurbishment of the director's box and hospitality suites before he pays for a proper squad. Suppose it depends on your priorities. Players or prawn sandwiches? I know which I'd prefer. I know which honest, working class Derby supporters would prefer, too.</dialogue> <scene_description>A commotion breaks out . TV JOURNALISTS ask questions , sensing a great story . CLOUGH continues answering as , beside him , -LRB- unseen by anyone else -RRB- . TAYLOR is white - faced , holding his chest .</scene_description> </scene> <scene> <stage_direction>INT. DRESSING-ROOM - DAY - (1974)</stage_direction> <scene_description>CLOUGH pouring brandy into a glass . DUNCAN MACKENZIE , JOHN O'HARE , and JOHN MCGOVERN sit in front of him . Visibly uncomfortable .</scene_description> <character>MCGOVERN</character> <dialogue>Billy Bremner, Boss.</dialogue> <character>CLOUGH</character> <dialogue>Who else?</dialogue> <character>MCGOVERN</character> <dialogue>Norman Hunter.</dialogue> <character>CLOUGH</character> <dialogue>Who else?</dialogue> <character>MCGOVERN</character> <dialogue>Eddie Gray.</dialogue> <character>CLOUGH</character> <dialogue>Who else?</dialogue> <character>MCGOVERN</character> <dialogue>Peter Lorimer.</dialogue> <character>CLOUGH</character> <dialogue>What are they saying?</dialogue> <scene_description>This falls to MACKENZIE , who knocks back his drink . Trembling hands . Dutch courage .</scene_description> <character>MACKENZIE</character> <dialogue>That you're never here.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>That they're worried about the future.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>That you're just going to fill the place with more Derby players.</dialogue> <character>MCGOVERN</character> <dialogue>And that all thing's considered they were all a lot happier under.</dialogue> <character>CLOUGH</character> <dialogue>Under who?</dialogue> <scene_description>MCGOVERN dries . Can not find the words .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Don Revie?</dialogue> <scene_description>MACKENZIE , MCGOVERN , O'HARE avoid his eyes .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Is that what they say?</dialogue> <character>MCGOVERN</character> <dialogue>Yes, Boss.</dialogue> <character>CLOUGH</character> <dialogue>That he's the boss? The Guvnor? The Capi di Tutti Fucking Capi?</dialogue> <character>MCGOVERN</character> <dialogue>Yes, Boss.</dialogue> <character>O'HARE</character> <dialogue>And that they miss the bingo.</dialogue> <character>CLOUGH</character> <dialogue>The bingo?</dialogue> <character>MCGOVERN</character> <dialogue>And the carpet bowls.</dialogue> <character>CLOUGH</character> <dialogue>Carpet bloody bowls?</dialogue> <character>MCGOVERN</character> <dialogue>It helps them relax before a game.</dialogue> <scene_description>MCGOVERN and O'HARE stare at one another .</scene_description> <character>O'HARE</character> <dialogue>That it, Boss? Can we go now?</dialogue> <scene_description>CLOUGH stares , lost in thought : the three PLAYERS go . The door closes . CLOUGH is left alone . Then he gets up , and in a terrifying flash of rage , picks up his glass and throws it against the wall .</scene_description> </scene> <scene> <stage_direction>EXT. CAR PARK - DAY - (1974)</stage_direction> <scene_description>CLOUGH walks out into the car park , then he stops in his tracks when he sees . JOHNNY GILES , BILLY BREMNER and NORMAN HUNTER -LRB- among others -RRB- , with their GIRLFRIENDS and WIVES and KIDS , being shown brand new cars by a SPONSOR . CLOUGH takes JIMMY GORDON aside .</scene_description> <character>CLOUGH</character> <dialogue>What's all this?</dialogue> <character>JIMMY</character> <dialogue>Club cars. Complimentary for the senior payers. Brand new.</dialogue> <scene_description>CLOUGH sees BREMNER , GILES and HUNTER trying out the sports cars . His smile fades . He walks up to the REP from the CAR FIRM .</scene_description> <character>CLOUGH</character> <dialogue>Nice to meet you, pet. Now, you can take your lovely sports cars, and put ` em back on your transporter.</dialogue> <character>REPRESENTATIVE</character> <dialogue>What?</dialogue> <character>BREMNER</character> <dialogue>What are you talking about? These are ours!</dialogue> <character>CLOUGH</character> <dialogue>You'll have complimentary cars when you deserve a compliment. Right now you do n't deserve a complimentary bicycle between you.</dialogue> <scene_description>CLOUGH takes the KEYS and gives them to the REPRESENTATIVE .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Complimentary cars when you're not suspended.</dialogue> <parenthetical>( indicates BREMNER . )</parenthetical> <dialogue>. and when you lot start winning some games.</dialogue> <parenthetical>( indicated GILES and HUNTER . )</parenthetical> <dialogue /> <scene_description>CLOUGH goes back to his own car .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>If I had my way, you'd WALK to the ground and back every game.</dialogue> <scene_description>CLOUGH gets into his car , and roars out , past glowering BREMNER , glowering GILES , glowering HUNTER , glowering GIRLFRIENDS and WIVES .</scene_description> </scene> <scene> <stage_direction>EXT. CLOUGH HOUSE - NIGHT - (1974)</stage_direction> <scene_description>CLOUGH 's car pulls up outside his house in Derby . He closes his eyes . Breathes a private sigh of relief . Home . At last . Safe . Surrounded by people who love him .</scene_description> </scene> <scene> <stage_direction>INT. CLOUGH HOUSE - NIGHT - (1974)</stage_direction> <scene_description>CLOUGH walks into his house .</scene_description> <character>BARBARA</character> <dialogue>What are you doing here? Are n't you supposed to be in that hotel in Leeds?</dialogue> <character>CLOUGH</character> <dialogue>I could n't stand it for another night.</dialogue> <scene_description>CLOUGH takes off his coat .</scene_description> <character>BARBARA</character> <dialogue>What? So you drove all the way? What time will you have to get up in the morning.</dialogue> <character>CLOUGH</character> <dialogue>Half five.</dialogue> <scene_description>CLOUGH bends down . Kisses his wife .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You smell nice.</dialogue> <character>BARBARA</character> <dialogue>Do I?</dialogue> <character>CLOUGH</character> <dialogue>Forgotten what a woman smells like.</dialogue> <scene_description>BARBARA strokes his head .</scene_description> <character>BARBARA</character> <dialogue>Not like bloody men. That's for sure.</dialogue> </scene> <scene> <stage_direction>INT. SONS' BEDROOM - CLOUGH HOUSE - NIGHT - (1974)</stage_direction> <scene_description>CLOUGH looks into his SONS ' room . The eldest is fast asleep , but the youngest says , ` Dad ? '</scene_description> <character>CLOUGH</character> <dialogue>You still awake? You should be asleep.</dialogue> <character>NIGEL</character> <dialogue>Tell us a joke, Dad?</dialogue> <character>CLOUGH</character> <dialogue>A joke? All right. There's this bloke walking about in London, when all of a sudden, the city gets hit by a Russian ` A' bomb. Booooooooom.</dialogue> <scene_description>CLOUGH sits down , strokes his son 's head .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>And all the buildings have fallen down. And all the people are dead. And now this bloke is the only man left in the whole of London.</dialogue> <scene_description>CLOUGH continues stroking his son 's hair .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>And he suddenly feels very, very lonely because there's no one else to talk to. Nobody else but him.</dialogue> <scene_description>CLOUGH 's SON falls asleep . CLOUGH does n't notice .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>So he decides that he's had enough, that he ca n't bear being this lonely, and so he climbs up to the top of the one building still standing. The Post Office Tower. And then he jumps off. And he's falling down, down and down and down, the sixteenth floor, the fifteenth floor, the fourteenth, and that's when he hears the phone ringing.</dialogue> <scene_description>CLOUGH looks down . And gets two unexpected shocks . The first is that his SON is already asleep . The second is , there is a tear running down his own cheek .</scene_description> </scene> <scene> <stage_direction>INT. TUNNEL - ELLAND ROAD - DAY - (1974)</stage_direction> <scene_description>The LEEDS PLAYERS clatter off the pitch . Covered in mud . Walking in silence . No smiles . Heads hung low . CAPTION : `` LEEDS 0 - MANCHESTER CITY 2 . LEEDS ARE NOW FOURTH FROM BOTTOM '' JIMMY GORDON is waiting for CLOUGH .</scene_description> <character>JIMMY</character> <dialogue>The Chairman wants to see you. Said it was important. Right away.</dialogue> <scene_description>CLOUGH 's face : already fearing the worst .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR OUTSIDE BOARDROOM - DAY - (1974)</stage_direction> <scene_description>CLOUGH walks along the corridor . Past the photographs on the wall . The trophies in the cabinets . The pictures of a smiling DON REVIE - mocking him . CLOUGH shoots his cuffs . Rolls his neck . A boxer on his way to the ring . A gladiator on his way to the circus . He knocks on the door , and walks in . MANNY CUSSINS , SAM BOLTON and a third man . A stranger .</scene_description> <character>BOLTON</character> <dialogue>About bloody time.</dialogue> <character>CUSSINS</character> <dialogue>Where you been? I was about to send out a search party.</dialogue> <character>CLOUGH</character> <dialogue>Look, Mr. Cussins, I know it's not been the best of starts, but in my defence, there are a couple of things I'd like to say.</dialogue> <character>CUSSINS</character> <dialogue>This is Martin Hughes. He runs Mercedes here in the North.</dialogue> <character>CLOUGH</character> <parenthetical>( double - takes . )</parenthetical> <dialogue>What?</dialogue> <character>CUSSINS</character> <dialogue>We hear that's what you like to drive. A Mercedes?</dialogue> <character>CLOUGH</character> <dialogue>It's. what I used to drive at Derby. Yes.</dialogue> <character>CUSSINS</character> <dialogue>Well, we ca n't have Leeds United being outdone by Derby County, can we? So Martin here is going to take you over to his showroom and get you sorted out.</dialogue> <scene_description>They begin to walk to the door . CUSSINS puts his arm round CLOUGH .</scene_description> <character>CUSSINS</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Also we figured if you were sitting in a spanking new car yourself, you might be a little more bloody lenient with your senior players, who've kicked off, as you can imagine - being denied what's rightfully theirs.</dialogue> <character>BOLTON</character> <dialogue>Never come between a footballer and his motor!</dialogue> <character>CLOUGH</character> <dialogue>No.</dialogue> <character>BOLTON</character> <dialogue>Especially not Billy bloody Bremner.</dialogue> <scene_description>CLOUGH smiles nervously , visibly relieved .</scene_description> <character>CLOUGH</character> <dialogue>Is that it, then?</dialogue> <character>CUSSINS</character> <dialogue>Why? You look white as a ghost, man.</dialogue> <scene_description>CUSSINS tightens his grip again , arm round CLOUGH . Unmistakably intimidating .</scene_description> <character>CUSSINS</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What did you think we'd asked you up here for?</dialogue> <scene_description>CUSSINS 's eyes . CLOUGH 's eyes . The air crackling with menace and intent .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - DAY</stage_direction> <scene_description>CLOUGH visits PETER TAYLOR in a large , crowded ward of old , infirm , dying people . It 's a shock .</scene_description> <character>CLOUGH</character> <dialogue>Heart attack, eh?</dialogue> <character>TAYLOR</character> <dialogue>Had it three weeks ago, they reckon.</dialogue> <character>TAYLOR</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>They ran all kinds of tests. Asked me about my diet and my family history. I told them the only thing they needed to know was that I share my professional life with Brian Clough. That seemed to satisfy them.</dialogue> <scene_description>CLOUGH manages a smile . Moved .</scene_description> <character>TAYLOR</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I'm only half - joking, you know. Have we still got jobs?</dialogue> <character>CLOUGH</character> <dialogue>We have. Longson's tried to put a gagging order on me, of course.</dialogue> <parenthetical>( mimics . )</parenthetical> <dialogue>`` Any further utterances in public or appearances in the media by Brian Clough will be met with instant dismissal.''</dialogue> <character>TAYLOR</character> <dialogue>Well, I hope you take notice. And act accordingly.</dialogue> <character>CLOUGH</character> <dialogue>Would you like to hear my contrite reply?</dialogue> <scene_description>CLOUGH pulls out a letter .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>`` Due to the complete breakdown in communication with the chairman, Peter Taylor and I find it is impossible to continue our good work for Derby County. We therefore wish to tender our resignations with immediate effect.''</dialogue> <character>TAYLOR</character> <parenthetical>( horrified . )</parenthetical> <dialogue>WHAT?!?</dialogue> <character>CLOUGH</character> <dialogue>What do you think?</dialogue> <character>TAYLOR</character> <dialogue>I do n't want to resign.</dialogue> <character>CLOUGH</character> <dialogue>No. Nor do I. Do n't worry, they'll never let us. We just won them the championship. But it will strengthen our position and force them to get rid of Longson.</dialogue> <character>TAYLOR</character> <dialogue>What? Oh, no, Brian. They'll never do THAT. He's Chairman.</dialogue> <character>CLOUGH</character> <dialogue>I ca n't do it, Pete. I ca n't work with my hands tied, a Chairman telling me what I can or can not do.</dialogue> <character>TAYLOR</character> <dialogue>You're picking the wrong enemy. The enemy's not Longson. It's Revie. And your obsession with Leeds.</dialogue> <character>CLOUGH</character> <dialogue>Do n't be daft. We won the league, Pete. We're top dogs in Derby now. And Longson ca n't stand it. That's the problem.</dialogue> <character>TAYLOR</character> <dialogue>No, it's not. It's YOU. This monster in you. This mad ambition. It comes and goes. Sometimes it's good. a fire, that stirs everything up, and then there's this. this thing that takes you over. and destroys everything that is good in your life.</dialogue> <scene_description>TAYLOR 's face .</scene_description> <character>TAYLOR</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Please tell me this letter is just a draft. You have n't sent it. Because I'll be out in a couple of days. let me talk to them.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR - BASEBALL GROUND - DAY</stage_direction> <scene_description>`` Crash '' , door fly open . CLOUGH storms down a corridor .</scene_description> </scene> <scene> <stage_direction>INT. BOARDROOM - BASEBALL GROUND - DAY</stage_direction> <scene_description>`` Bang '' , CLOUGH crashes into the boardroom . When they see CLOUGH , voices fall silent . They stiffen .</scene_description> <character>CLOUGH</character> <dialogue>What are you doing? You were n't supposed to accept our resignations.</dialogue> <character>LONGSON</character> <dialogue>` Should n't bloody well offer them, then.</dialogue> <scene_description>CLOUGH turns to the other DIRECTORS .</scene_description> <character>CLOUGH</character> <dialogue>I only did because of HIM!</dialogue> <parenthetical>( points at LONGSON . )</parenthetical> <dialogue>You ca n't get rid of us. It'd be a disaster for the club. For the whole of Derby.</dialogue> <character>LONGSON</character> <dialogue>You ca n't keep shooting your mouth off the way you have been. or issuing these ultimatums.</dialogue> <scene_description>The board stare at one another , avoid eye contact .</scene_description> <character>LONGSON</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>With great reluctance your resignations have been accepted.</dialogue> <character>CLOUGH</character> <dialogue>You ca n't do this! It's madness!</dialogue> <character>LONGSON</character> <dialogue>The decision stands. And do n't even think of a settlement. You're getting nowt.</dialogue> <character>CLOUGH</character> <dialogue>We're going to create a footballing dynasty here. Derby could be one of the greats alongside United, Liverpool, Leeds.</dialogue> <scene_description>CLOUGH stands in the middle of the room . Speechless .</scene_description> <character>LONGSON</character> <dialogue>Car keys on the table and out!</dialogue> <scene_description>CLOUGH stares in disbelief at the other BOARD MEMBERS .</scene_description> <character>CLOUGH</character> <dialogue>Does none of you have the guts to stop this?</dialogue> <character>LONGSON</character> <dialogue>Now! And do n't show your faces here again!</dialogue> <scene_description>CLOUGH stares in disbelief at the assembled board members of Derby County . ROY KIRKLAND , ROBERTSON - KING , KEELING , SAM LONGSON , et al. . Blazers and brass buttons . The sound of clearing throats . ARCHIVE NEWS FOOTAGE - -LRB- 1973 -RRB- News footage : Prime Minister Ted Heath announcing blackouts due to the oil crisis . Britain is plunged into power - cuts . And total darkness . Three days a week .</scene_description> </scene> <scene> <stage_direction>INT. CLOUGH HOUSE - DERBY - NIGHT - (1973)</stage_direction> <scene_description>TAYLOR walks through the open door . A meeting is underway in the CLOUGH house . In the hall : CLOUGH 's three CHILDREN stare through banister railings . The smoke - filled front room is packed with FRIENDS , RELATIVES , LAWYERS , DERBY COUNTY CLUB EMPLOYEES . Newspapers are strewn over the table . CLOUGH sits in the corner , being given counsel by SOLICITORS . JIMMY GORDON reads out a letter from the DERBY PLAYERS .</scene_description> <character>JIMMY</character> <dialogue>`` To the directors of Derby County Football Club. We, the undersigned players, are unanimous in our support and respect for Mr. Clough and Mr. Taylor and ask that they be reinstated as manager and assistant manager of the club.''</dialogue> <scene_description>Cheers and celebrations . CLOUGH is congratulated . Handshakes . Hair ruffled .</scene_description> <character>JIMMY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>`` Signed by John O'Hare, Roy MacFarland, Colin Todd, Archie Gemmill, Kevin Hector, Alan Hinton.''</dialogue> <character>TAYLOR</character> <dialogue>But not Dave Mackay.</dialogue> <scene_description>Silence . All voices stop . Heads turn .</scene_description> <character>TAYLOR</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Who's just accepted the job.</dialogue> <scene_description>Deathly silence . The crowds part . CLOUGH sits up , and stares .</scene_description> <character>CLOUGH</character> <dialogue>What? Dave MACKAY?</dialogue> <character>TAYLOR</character> <dialogue>It's in the evening paper.</dialogue> <character>CLOUGH</character> <dialogue>I signed that fat fuck - saved his professional life. Gave him two more years as a player, as my captain. Dave Mackay?</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>He would n't fucking DARE!</dialogue> <scene_description>CLOUGH sees the paper . `` MACKAY TO BE DERBY MANAGER '' . CLOUGH 's face . Devastated .</scene_description> <character>TAYLOR</character> <dialogue>Why did you do it? I love this place, Brian. I'm happy here. So are you.</dialogue> <character>CLOUGH</character> <dialogue>It's not over yet, Pete. The lawyers are issuing a writ tomorrow. Against Longson. The players are calling a meeting. There's talk of them coming out on strike. There's protest marches scheduled for this week - end.</dialogue> <character>TAYLOR</character> <dialogue>Why could n't you just have kept your mouth shut? We'll never find anywhere like this again.</dialogue> <scene_description>TAYLOR stares . Worried . At that moment , BARBARA sticks her head outside .</scene_description> <character>BARBARA</character> <parenthetical>( holding phone . )</parenthetical> <dialogue>Mike Bamber on the phone?</dialogue> <character>CLOUGH</character> <dialogue>Who's Mike Bamber?</dialogue> <character>TAYLOR</character> <dialogue>Manager of Brighton and Hove Albion. Someone who wants to offer us a job.</dialogue> <scene_description>OVER THIS : the sound of a referee 's whistle .</scene_description> </scene> <scene> <stage_direction>EXT. DUGOUT - ELLAND ROAD - DAY - (1974)</stage_direction> <scene_description>With a loud ROAR the game against Luton gets under way . CLOUGH takes his seat alone in the dugout . Unseen by him , in the stands behind him . DON REVIE arrives , shaking hands , taking a seat . Immediately , as soon as they see REVIE , the LEEDS FANS start cheering , `` There 's only one Don Revie . '' CLOUGH turns , to see REVIE . Waving back . Acknowledging the crowd . The LEEDS FANS chant , `` There 's only one Don Revie ! '' In the directors ' box , MANNY CUSSINS notes the reaction of the crowd . In the press boxes , the JOURNALISTS and TV COMMENTATORS also note the reaction of the crowd . CLOUGH 's face : stinging with humiliation . And as if that were n't bad enough . `` RRROOOOAAARRRRR '' , Luton score a goal . In the director 's box : MANNY CUSSINS ' face .</scene_description> </scene> <scene> <stage_direction>INT. TUNNEL - ELLAND ROAD - DAY - (1974)</stage_direction> <scene_description>Afterwards : CLOUGH and the PLAYERS walk down the tunnel to see MANNY CUSSINS and SAM BOLTON waiting . Grim - faced .</scene_description> <character>CUSSINS</character> <dialogue>Players Lounge, Brian. Ten minutes.</dialogue> <scene_description>CLOUGH opens his mouth , is about to reply , but CUSSINS has turned and walked away .</scene_description> </scene> <scene> <stage_direction>INT. PLAYERS' LOUNGE - ELLAND ROAD - DAY - (1974)</stage_direction> <scene_description>CLOUGH walks in as several players walk in , too . CLOUGH takes a seat . CUSSINS calls for quiet .</scene_description> <character>CUSSINS</character> <dialogue>This is the worst start to a season Leeds has had in twenty years. Four points from five games? Second from fucking bottom? What's going on? As far as I can I see, there's no relationship, no understanding between players and management. Not a healthy one, anyway.</dialogue> <scene_description>PLAYERS heads low . Avoiding CLOUGH 's eyes .</scene_description> <character>BREMNER</character> <dialogue>Perhaps if Mr. Clough were to step outside, we would all feel a little more like speaking our minds.</dialogue> <scene_description>CLOUGH ca n't help smiling .</scene_description> <character>CLOUGH</character> <parenthetical>( under his breath . )</parenthetical> <dialogue>You bastard.</dialogue> <scene_description>Of course , CUSSINS will reprimand him . Refuse his request . CUSSINS looks at WOODWARD and BOLTON . Then .</scene_description> <character>CUSSINS</character> <dialogue>All right. If you would n't mind, Brian? Just for a minute or two?</dialogue> <scene_description>CLOUGH can not believe his ears . What ? He gets to his feet .</scene_description> <character>CLOUGH</character> <dialogue>As you wish.</dialogue> <scene_description>CLOUGH walks out of the room . DUNCAN MACKENZIE watches . Visibly shocked .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - ELLAND ROAD - DAY - (1974</stage_direction> <scene_description>CLOUGH closes the door behind him . He stands in the corridor outside . From inside , we hear .</scene_description> <character>BREMNER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>No one likes him. The atmosphere in the dressing - room is non - existent. We're not allowed to mention Mr. Revie's name.</dialogue> <character>GILES</character> <parenthetical>( O.S . )</parenthetical> <dialogue>He's banned us from doing all the things we used to do. like playing bingo and carpet bowls.</dialogue> <character>BREMNER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Tactically, he's never prepared, never tells us how he wants us to play.</dialogue> <character>HUNTER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>You know he's just itching to bring in a whole lot of new players.</dialogue> <scene_description>CLOUGH looks out of the window to see DON REVIE signing autographs , shaking hands with adoring LEEDS FANS outside .</scene_description> <character>VOICE</character> <dialogue>What's going on?</dialogue> <scene_description>CLOUGH turns to see JIMMY GORDON .</scene_description> <character>CLOUGH</character> <dialogue>The last two words of every story ever written is what's going on. `` The fucking end.''</dialogue> <character>BREMNER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>What I want to know is why, after all the thing he's said about us, did you appoint him in the first place?</dialogue> <character>CLOUGH</character> <dialogue>I'm about to go home and work out how much I want in severance pay. Do n't worry, I'll make sure your job is safe.</dialogue> <character>JIMMY</character> <dialogue>I'm not staying here without you. No bloody way.</dialogue> <character>CLOUGH</character> <dialogue>Then I suggest you go home and do the same.</dialogue> <character>BREMNER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>What me and the lads are trying to say, Mr. Cussins, is that compared to Mr. Revie - he's just not good enough.</dialogue> <scene_description>CLOUGH : a dagger in his heart .</scene_description> <character>CLOUGH</character> <dialogue>Come on.</dialogue> <scene_description>CLOUGH turns , leading JIMMY GORDON away , then he stops . Having seen something through a window . Outside : DON REVIE walks down into the car park and towards his car - cheered and clapped every step of the way by LEEDS FANS . The Messiah of West Yorkshire . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. BRIGHTON - DAY - (1974)</stage_direction> <scene_description>Seagulls wheeling . CLOUGH 's car pulls up in a hotel car park . He and PETER TAYLOR get out on a road overlooking the sea . CLOUGH looks around at his surroundings . The OLD PEOPLE . The retirement home feel .</scene_description> <character>CLOUGH</character> <parenthetical>( singing . )</parenthetical> <dialogue>`` Oh, I do n't like to be beside the seaside.''</dialogue> <character>TAYLOR</character> <dialogue>C'mon, just give it a chance.</dialogue> <character>CLOUGH</character> <dialogue>Brighton and Hove Albion? Have you seen where they are? Bottom of the third division.</dialogue> <character>TAYLOR</character> <dialogue>And we can get them out of there. Like that. We did it with Hartlepools. We did it with Derby.</dialogue> <character>CLOUGH</character> <dialogue>We cared about Hartlepools and Derby. We're from the North, Pete. What do we care about Brighton? Bloody Southerners. Look where we are. We're almost in France.</dialogue> <character>TAYLOR</character> <dialogue>Hey, they've got money, this lot. And ambition. And get a lungful of that air. It'd be good for my health.</dialogue> <character>CLOUGH</character> <dialogue>You ca n't manage a team that's not your own people. Not what you know. Anyway the Protest Movement in Derby is still in full flow. We could still get our jobs back.</dialogue> <character>TAYLOR</character> <dialogue>No, we wo n't. It's over, Brian. They'll never take us back. Not now.</dialogue> <character>CLOUGH</character> <dialogue>What about proper clubs? Like Manchester United? Or Spurs? Or England, now Alf's gone. Would n't you fancy that?</dialogue> <character>TAYLOR</character> <dialogue>No one's rung, have they? You've scared them all off.</dialogue> <character>CLOUGH</character> <dialogue>It's only been a couple of weeks.</dialogue> <character>TAYLOR</character> <dialogue>C'mon. Just listen to them? Please? For me?</dialogue> </scene> <scene> <stage_direction>INT. BRIGHTON HOTEL - DAY - (1974)</stage_direction> <scene_description>MIKE BAMBER and HARRY BLOOM , Brighton Chairman and Vice - Chairman , likeable men , -LRB- for the first time NOT in blazers and brass buttons -RRB- , sit opposite CLOUGH and TAYLOR .</scene_description> <character>BAMBER</character> <dialogue>Sign today, I'll give you a bonus of seven grand. Each.</dialogue> <character>TAYLOR</character> <dialogue>Seven grand? Y' hear that, Brian?</dialogue> <character>BAMBER</character> <dialogue>Plus a salary that exceeds by twenty percent what Derby were paying you.</dialogue> <character>TAYLOR</character> <dialogue>Very generous, Mike. Terrific.</dialogue> <character>CLOUGH</character> <dialogue>But those are first division wages.</dialogue> <character>BAMBER</character> <dialogue>First division's where I want this club to be.</dialogue> <character>CLOUGH</character> <dialogue>Are you sure you can afford it?</dialogue> <character>BAMBER</character> <dialogue>Are you sure you're worth it?</dialogue> <character>CLOUGH</character> <dialogue>Cheeky sod.</dialogue> <scene_description>BAMBER offers his hand . CLOUGH stares at it .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>We're going to need a holiday first.</dialogue> <character>BAMBER</character> <dialogue>Take as long as you like.</dialogue> <character>CLOUGH</character> <dialogue>Two weeks. Somewhere hot. On you.</dialogue> <scene_description>BAMBER does n't even flinch . Smiles .</scene_description> <character>BAMBER</character> <dialogue>I'll even throw in the bloody trunks.</dialogue> <scene_description>CLOUGH and BAMBER shake . TAYLOR beams with delight . OVER THIS : we fade in the sound of classical Spanish guitar .</scene_description> </scene> <scene> <stage_direction>EXT. MAJORCA - DAY - (1974)</stage_direction> <scene_description>Shimmering heat . Azure skies . Packed sandy beaches . We 're in a resort in Southern Majorca . Calla Millor . Red - faced Brits . Sausages and chips . Beer and sun tan lotion . On the beach , BARBARA CLOUGH is playing with the three CLOUGH KIDS in the shallow water . They wave over to Brian . CLOUGH , sitting in the sand , sunning - himself . -LRB- Reading a newspaper about DON REVIE 's flirting with the England job -RRB- .</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL - MAJORCA - DAY - (1974)</stage_direction> <scene_description>A blazer with buttons . A red - faced , official - looking MAN in his mid 50 's , being pointed onto a beach by a hotel EMPLOYEE . Red - faced , perspiring , ARCHER nods . Starts walking onto the beach .</scene_description> </scene> <scene> <stage_direction>EXT. BEACH - MAJORCA - DAY - (1974)</stage_direction> <scene_description>KEITH ARCHER walks across the beach , the scalding sand , sweating under the merciless sun . Until he finds CLOUGH . ARCHER takes out his handkerchief , mops his brow .</scene_description> <character>ARCHER</character> <dialogue>You're a hard man to find, Mr. Clough.</dialogue> <character>CLOUGH</character> <dialogue>Who's looking?</dialogue> <character>ARCHER</character> <dialogue>My name's Keith Archer. Secretary of Leeds United football club.</dialogue> <scene_description>CLOUGH looks up , ca n't help smiling .</scene_description> <character>CLOUGH</character> <dialogue>Then what are you doing here, Keith? Because from what I'm reading in my paper, and from what I hear on the jungle drums, you've got a bit of a problem at home with your manager flirting with the England job.</dialogue> <character>ARCHER</character> <dialogue>He's not flirting.</dialogue> <character>CLOUGH</character> <parenthetical>( indignant , pointing to newspaper . )</parenthetical> <dialogue>` Ey, it says it right here.</dialogue> <character>ARCHER</character> <dialogue>He's taken it.</dialogue> <scene_description>CLOUGH turns , squints in the light .</scene_description> <character>ARCHER</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Which bring me to the point of my visit.</dialogue> <scene_description>BARBARA and PETER TAYLOR look over from the beach , concerned . KEITH ARCHER smiles nervously , politely raising his hat .</scene_description> </scene> <scene> <stage_direction>EXT. BEACH - MAJORCA - (1974)</stage_direction> <scene_description>Seagulls wheeling . Two tiny specks on the beach in the distance , arguing . Silhouettes against the setting sun .</scene_description> <character>TAYLOR</character> <dialogue>Bloody hell. But we HATE Leeds.</dialogue> <character>CLOUGH</character> <dialogue>It's the top flight, Pete. The First Division.</dialogue> <character>TAYLOR</character> <dialogue>But we've given Brighton our word. And they've paid us the money.</dialogue> <character>CLOUGH</character> <dialogue>We can pay BACK the money. Bollocks to bloody Brighton.</dialogue> <parenthetical>( laughing now , a dismissive wave . )</parenthetical> <dialogue>I'd go mad. We'd ALL go mad down there.</dialogue> <character>TAYLOR</character> <dialogue>Please. give it a year. Give it a chance.</dialogue> <character>CLOUGH</character> <dialogue>A year? It'd be death. Death for us all.</dialogue> <character>TAYLOR</character> <dialogue>Mike Bamber is a good man.</dialogue> <character>CLOUGH</character> <dialogue>Oh, do me a favour.</dialogue> <character>TAYLOR</character> <dialogue>He had faith in us, offered us a job when no one would.</dialogue> <character>CLOUGH</character> <dialogue>He offered us a job. And now someone else has offered us a better one. and not just anyone. The best team in the country. C'mon, Pete, you know what that means. It'd be the Charity Shield at Wembley in a months time. The European Cup after.</dialogue> <character>TAYLOR</character> <dialogue>Yes, but even if we won them it would always be Revie's achievements. HIS team.</dialogue> <parenthetical>( fretting . )</parenthetical> <dialogue>I ca n't do it. I gave Brighton my word.</dialogue> <character>CLOUGH</character> <dialogue>What? And you'd sooner fester down there? With all those fucking Tories? In that blue - rinse retirement home by the sea?</dialogue> <character>TAYLOR</character> <dialogue>Yes, Brighton is a small club.</dialogue> <character>CLOUGH</character> <dialogue>Fucking midgets.</dialogue> <character>TAYLOR</character> <dialogue>But at least we'd be together, you and me. We could build them up. Make them our own. Like we did with Hartlepools. Like we did with Derby.</dialogue> <character>CLOUGH</character> <dialogue>And then what? Bottle again as soon as it comes to the big time. That's always been the trouble with you, Pete. No ambition.</dialogue> <character>TAYLOR</character> <dialogue>And that's the trouble with you. Too much ambition. Too much greed. Too much everything.</dialogue> <character>CLOUGH</character> <dialogue>You knock it, but it's done you proud over the years. My `` ambition''. Without me - you'd still be stuck in Burton Albion. On the arse of the footballing earth.</dialogue> <character>TAYLOR</character> <dialogue>But without you I'd still have a job in Derby. A job and a home that I love.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>Yes, Brian - you're the shop window, I'll grant you that. The razzle and the bloody dazzle. But I'm the goods at the back. And without me, without someone to save you from yourself, you're not just half.</dialogue> <parenthetical>( tapping brain . )</parenthetical> <dialogue>. you're nothing.</dialogue> <scene_description>TAYLOR starts to walk . CLOUGH calls after him .</scene_description> <character>CLOUGH</character> <dialogue>I'm nothing? I'm nothing? Do n't make me laugh? So what does that make you, Taylor? Something? You're half of nothing! Nothing's parasite! A big fat pilot fish that FEEDS on nothing! A bloody nobody! The forgotten man! History's fucking afterthought!</dialogue> <scene_description>TAYLOR walks off , leaving CLOUGH .</scene_description> <character>TAYLOR</character> <dialogue>Well, let's see, shall we?</dialogue> </scene> <scene> <stage_direction>INT. BOARDROOM - ELLAND ROAD - EVENING - (1974)</stage_direction> <scene_description>The LEEDS BOARD MEMBERS ' faces : MANNY CUSSINS , SAM BOLTON , KEITH ARCHER , SYDNEY SIMON , PERCY WOODWARD , etc</scene_description> <character>CUSSINS</character> <dialogue>Let's be honest. It's not working, is it?</dialogue> <character>CLOUGH</character> <dialogue>What's not working? I have n't been here five minutes, so how can anything be working yet?</dialogue> <character>CUSSINS</character> <dialogue>Still. the players are n't happy. We're not happy.</dialogue> <character>CLOUGH</character> <dialogue>So what do you want to do about it?</dialogue> <character>CUSSINS</character> <dialogue>If it's not working, then we'll have to part company.</dialogue> <character>CLOUGH</character> <dialogue>Fine. It'll cost you twenty - five grand.</dialogue> <scene_description>The Leeds BOARD MEMBERS choke .</scene_description> <character>CUSSINS</character> <dialogue>What? For six weeks work?</dialogue> <character>CLOUGH</character> <dialogue>Plus three and a half grand for Jimmy Gordon. And an agreement that Leeds United will pay both our income taxes for the next three years.</dialogue> <scene_description>The Leeds BOARD MEMBERS choke .</scene_description> <character>CUSSINS</character> <dialogue>That's bloody criminal.</dialogue> <character>CLOUGH</character> <dialogue>No, what's criminal, Mr. Cussins, is the way you as Chairman asked me to leave the room like that in front of the players. Your MANAGER. Going behind my back like that.</dialogue> <character>CUSSINS</character> <dialogue>I admit, that was wrong.</dialogue> <character>CLOUGH</character> <dialogue>And you can throw in the Merc and all.</dialogue> <character>BOLTON</character> <dialogue>What?</dialogue> <character>CLOUGH</character> <dialogue>Might be a bit flash for a man out of a job, but the truth is, I've grown to like it.</dialogue> <character>CUSSINS</character> <dialogue>Who the bloody hell do you think you are?</dialogue> <character>CLOUGH</character> <dialogue>Brian Clough. Brian Howard Clough.</dialogue> <character>CUSSINS</character> <dialogue>Aye. No danger of me forgetting THAT name in a hurry.</dialogue> </scene> <scene> <stage_direction>INT. MANAGER'S OFFICE - DAY - (1974)</stage_direction> <scene_description>CLOUGH and his SONS are packing together CLOUGH 's belongings in a couple of boxes . A knock at the door . DUNCAN MACKENZIE comes in , in track suit , a cigarette in hand . Ready for the day 's training .</scene_description> <character>MACKENZIE</character> <dialogue>Just wanted to say, it's not right. They should have given you more time.</dialogue> <character>CLOUGH</character> <dialogue>Good lad.</dialogue> <character>MACKENZIE</character> <dialogue>Not just me that feels that way, either.</dialogue> <character>CLOUGH</character> <dialogue>The sad thing is, it wo n't work. You ca n't change a manager like a pair of socks. It'll happen once, to me - and never again.</dialogue> <scene_description>CLOUGH shakes CLARKE 's hand . ` Rrrrinng ' , the phone rings . CLOUGH turns and picks up the phone . He listens , then .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( into phone . )</parenthetical> <dialogue>All right. But you'll have to make it quick.</dialogue> <scene_description>CLOUGH hangs up . Looks at his SONS .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Something we have to do on the way. Wo n't take long.</dialogue> </scene> <scene> <stage_direction>INT. YORKSHIRE TV STUDIOS - DAY - (1974)</stage_direction> <scene_description>CLOUGH sits in make - up . The door opens and AUSTIN MITCHELL , the same presenter as earlier , sticks his head round the corner .</scene_description> <character>MITCHELL</character> <dialogue>Thanks for agreeing to this.</dialogue> <character>CLOUGH</character> <dialogue>No problem.</dialogue> <scene_description>CLOUGH smiles . Uncharacteristically vulnerable .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Go easy on me, though. There's a good lad.</dialogue> </scene> <scene> <stage_direction>INT. YORKSHIRE TV STUDIOS - DAY - (1974)</stage_direction> <scene_description>CLOUGH is led into the studio , and onto the ` Calender ' set , chatting to the SOUND MAN . CLOUGH 's microphone is fixed , he is shown to his seat beside the PRESENTER 's . Then CLOUGH notices a third -LRB- empty -RRB- seat beside his .</scene_description> <character>CLOUGH</character> <dialogue>What's this? We expecting guests?</dialogue> <scene_description>Then CLOUGH looks up to see a distinctive BLUE BLAZER , with gold buttons approaching the set . Blue blazer . DON 's blazer . CLOUGH 's face falls as DON REVIE and AUSTIN MITCHELL turn the corner , in conspiratorial conversation , and out to the seats . It 's a set - up ! CLOUGH looks over at AUSTIN MITCHELL and the crew , who shiftily avoids CLOUGH 's eyes .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You bastards!</dialogue> <scene_description>REVIE is put in the seat beside CLOUGH . Avoiding CLOUGH 's eyes . REVIE rolls his neck , crosses his legs . Vast , intimidating REVIE . Ready for battle . Suddenly , the theme music plays , the FLOOR MANAGER counts down .</scene_description> <character>FLOOR MANAGER</character> <dialogue>Five, four, three.</dialogue> <scene_description>The PRESENTER looks up .</scene_description> <character>MITCHELL</character> <dialogue>Good evening. Tonight the football world was stunned by the news that Brian Clough has been sacked as manager of Leeds United. We'll be talking not just to Brian Clough, but also to the man he replaced, who's success he could n't emulate, Don Revie.</dialogue> <scene_description>MITCHELL turns to CLOUGH .</scene_description> <character>MITCHELL</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>To Brian Clough first of all. What's your reaction to being sacked in this fashion?</dialogue> <character>CLOUGH</character> <dialogue>Obviously, Austin, my initial reaction is one of shock at finding myself here with Revie.</dialogue> <character>REVIE</character> <dialogue>See? Not so easy to make accusations when it's to someone's face.</dialogue> <character>CLOUGH</character> <dialogue>but in answer to your question, six weeks is hardly a long time to be given a chance in any job. I would hope Revie would get a lot longer time in his.</dialogue> <character>MITCHELL</character> <dialogue>Do you consider it was possible to step into your shoes, Don Revie? To replace you?</dialogue> <character>REVIE</character> <dialogue>Being very, very honest, I think it was a difficult job for anyone to do. But I do feel Brian Clough, I wo n't call him Clough because I wo n't take him down like that.</dialogue> <character>CLOUGH</character> <dialogue>Thank you.</dialogue> <character>REVIE</character> <dialogue>I do feel he made it harder for himself than he need have.</dialogue> <character>CLOUGH</character> <dialogue>How did I do that, Don?</dialogue> <character>REVIE</character> <dialogue>Shooting his mouth off about how dirty my players were.</dialogue> <character>CLOUGH</character> <dialogue>Well, you WERE dirty, Don!</dialogue> <character>REVIE</character> <dialogue>That's not true. The last four seasons, we've topped the charts for entertaining football.</dialogue> <character>CLOUGH</character> <dialogue>And before that, you also topped ALL the disciplinary charts. You should have been docked points and sent DOWN to the second Division.</dialogue> <character>MITCHELL</character> <dialogue>And in fact, you went on record and said so, Brian Clough. Again and again. That Leeds should, in fact, be relegated.</dialogue> <character>CLOUGH</character> <dialogue>And I was right.</dialogue> <character>MITCHELL</character> <dialogue>Do you think that might have hurt your chances of success when you then came to manage them?</dialogue> <character>REVIE</character> <dialogue>Of course it did! The things he said? Why, man? Why did you take the job in the first place?</dialogue> <character>CLOUGH</character> <dialogue>Because I thought it was the best job in the country.</dialogue> <character>REVIE</character> <dialogue>Of course it was the best job in the country.</dialogue> <character>CLOUGH</character> <dialogue>I was taking over the League Champions.</dialogue> <character>REVIE</character> <dialogue>You were. You were taking over the best bunch of players you'd ever seen.</dialogue> <character>CLOUGH</character> <dialogue>And I fancied winning the league, and winning Europe, and doing it better than you.</dialogue> <character>REVIE</character> <dialogue>There's no way you COULD win it better.</dialogue> <character>CLOUGH</character> <dialogue>But that's the only hope I've got.</dialogue> <character>REVIE</character> <dialogue>I only lost four matches.</dialogue> <character>CLOUGH</character> <dialogue>Well, I can only lose three.</dialogue> <character>REVIE</character> <dialogue>No, no, no, no.</dialogue> <character>CLOUGH</character> <dialogue>And still play attractive, clean football. Without cheating!</dialogue> <character>REVIE</character> <dialogue>See, there he goes again.</dialogue> <character>MITCHELL</character> <dialogue>Listening to you, I am struck that this is not just a business matter for you both. It's more than that. It's personal. Am I right?</dialogue> <character>CLOUGH</character> <dialogue>Well, we're very different people, Don and I. We have different styles. In football and in life. I'm a warm man. An idealist. I do believe in faeries, and that is my outlook. Don is different. There's a hardness to him. A hardness. Maybe he's not even aware of it. But he's a cold person.</dialogue> <character>REVIE</character> <dialogue>You do n't KNOW me!</dialogue> <character>CLOUGH</character> <dialogue>And that lack of warmth. That coldness was there. Permeated the club when I arrived.</dialogue> <character>REVIE</character> <dialogue>I totally refute that. The atmosphere at Leeds was like a family. A happy family. You ask any of my players. I signed most of them personally. Knew their backgrounds. Their parents. Their streets. I was a father to them. In that club every morning. Massaging those boys. Did you do that for them?</dialogue> <character>CLOUGH</character> <dialogue>They would never have let me.</dialogue> <character>REVIE</character> <dialogue>Did you try? You did n't even try. I soaped those boys down with my own hands. You just went to Leeds with no thought for the club, no thought for the players. Just on some kind of mad personal vendetta with me.</dialogue> <character>CLOUGH</character> <dialogue>Well are you surprised? What else was I going to do? After what you did.</dialogue> <character>REVIE</character> <dialogue>What did I do?</dialogue> <character>CLOUGH</character> <dialogue>C'mon, Don. You know exactly. 4th March 1968. See? I even remember the date. You came to Derby County, the third round of the FA Cup, and you refused to shake my hand.</dialogue> <scene_description>AUSTIN MITCHELL looks up . The CAMERAMEN look up .</scene_description> <character>REVIE</character> <dialogue>Never! Matter of principle! I always shake the other manager's hand!</dialogue> <character>CLOUGH</character> <dialogue>You shook Peter Taylor's hand, and my trainer, Jimmy Gordon's.</dialogue> <character>REVIE</character> <dialogue>Then I probably did n't see you!</dialogue> <character>CLOUGH</character> <dialogue>No, you saw me Don. But considered me beneath you. Looked down on me. And dismissed me. Just like you did every other club and every other manager in the country.</dialogue> <character>REVIE</character> <dialogue>Never would I knowingly refuse to shake a colleague's hand. The truth is, I probably just did n't know who you were.</dialogue> <character>CLOUGH</character> <parenthetical>( a knowing smile . )</parenthetical> <dialogue>`` Did n't know who I was!'' Pull the other one.</dialogue> <character>REVIE</character> <dialogue>It's the truth.</dialogue> <character>CLOUGH</character> <parenthetical>( blurts out . )</parenthetical> <dialogue>Well, you certainly know it NOW.</dialogue> <scene_description>All heads turn . That came out unintentionally loud .</scene_description> <character>REVIE</character> <dialogue>Oh, we ALL know it now.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>We know you as the man who's constant outbursts, his defaming of fellow professionals, have brought this game, this beautiful game into disrepute. Who had one of the best jobs in the country, at Derby, and managed to get the sack. Who had one of the best partners in the game, in Peter Taylor, and threw him away. Who was given the greatest gift in British football Leeds United, a team that in ten years has n't finished outside the top four, and took them to the bottom of the first division. Yes, it's fair to say we all know who you are now.</dialogue> <scene_description>AUSTIN MITCHELL 's eyes widen .</scene_description> <character>MITCHELL</character> <dialogue>OK, gentlemen, we're going to have to leave it there.</dialogue> <character>CLOUGH</character> <dialogue>Well, let's see where we are in a year's time, Donald Revie.</dialogue> <character>REVIE</character> <dialogue>Dear oh dear.</dialogue> <character>CLOUGH</character> <dialogue>Let's see where we both are in five!</dialogue> <character>AUSTIN MITCHELL</character> <dialogue>That's it for tonight's show. I'd like to thank Brian Clough and Don Revie for joining me.</dialogue> <character>REVIE</character> <dialogue>Thank you, Austin.</dialogue> <scene_description>The show wraps up . Theme music starts playing . REVIE removes his microphone , turns and walks out . CLOUGH is left staring , hollow - eyed . Wishing the ground would swallow him up .</scene_description> </scene> <scene> <stage_direction>INT. CLOUGH'S MERCEDES - DAY - (1974)</stage_direction> <scene_description>`` LEEDS UNITED FOOTBALL CLUB '' written on the side of the stadium . CLOUGH 's car driver past .</scene_description> </scene> <scene> <stage_direction>INT. CLOUGH'S MERCEDES - DAY - (1974)</stage_direction> <scene_description>Inside the car : CLOUGH drives , staring at the road ahead . Talk on the radio of CLOUGH 's dismissal .</scene_description> <character>CLOUGH</character> <dialogue>Boys? Do you think your old man is a fool?</dialogue> <character>SIMON/NIGEL</character> <dialogue>No.</dialogue> <character>CLOUGH</character> <dialogue>You're wrong. He bloody is.</dialogue> <scene_description>A silence . CLOUGH continues to drive .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Who is the least mature person in this car? Who most needs to bloody grow up? Who's been making a right arse of himself the past few months?</dialogue> <scene_description>The BOYS ca n't help laughing .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Who fancies a trip to the seaside? To see Uncle Pete?</dialogue> <character>NIGEL/SIMON</character> <dialogue>Me!</dialogue> <character>CLOUGH</character> <dialogue>Me, and all.</dialogue> <scene_description>CLOUGH 's foot hits the floor .</scene_description> </scene> <scene> <stage_direction>EXT. MOTORWAY - DAY - (1974)</stage_direction> <scene_description>CLOUGH 's Mercedes heads ` South ' , and accelerates into the distance .</scene_description> </scene> <scene> <stage_direction>EXT. TAYLOR'S HOUSE - BRIGHTON - DAY - (1974)</stage_direction> <scene_description>PETER TAYLOR is working in the garden . He looks up to see CLOUGH standing in the gate to his house . TAYLOR looks at CLOUGH . Their eyes meet . A poignant moment .</scene_description> <character>TAYLOR</character> <dialogue>They've kicked you out, already?</dialogue> <character>CLOUGH</character> <dialogue>They have.</dialogue> <character>TAYLOR</character> <dialogue>So how long was that?</dialogue> <character>CLOUGH</character> <dialogue>Forty - four days.</dialogue> <character>TAYLOR</character> <dialogue>Impressive.</dialogue> <scene_description>TAYLOR strains not to show his satisfaction .</scene_description> <character>TAYLOR</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>So what are you doing here?</dialogue> <character>CLOUGH</character> <dialogue>Do n't make this difficult for me, Pete. you know why I'm here. and I wo n't bloody grovel.</dialogue> <scene_description>TAYLOR shrugs , `` Please yourself '' . Turns and starts walking inside .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>All right. I'm grovelling. I'm on my knees.</dialogue> <scene_description>TAYLOR turns . Sees CLOUGH on his knees . Begging for forgiveness .</scene_description> <character>TAYLOR</character> <dialogue>`` I apologize unreservedly for being a twat''.</dialogue> <character>CLOUGH</character> <dialogue>I apologize for being a twat.</dialogue> <character>TAYLOR</character> <dialogue>`` Unreservedly.''</dialogue> <character>CLOUGH</character> <parenthetical>( through gritted teeth . )</parenthetical> <dialogue>Unreservedly.</dialogue> <character>TAYLOR</character> <dialogue>`` Because I ca n't do it without you.''</dialogue> <character>CLOUGH</character> <dialogue>Because I ca n't do it without you.</dialogue> <character>TAYLOR</character> <dialogue>`` I'm nothing without you.''</dialogue> <character>CLOUGH</character> <dialogue>I'm nothing without you.</dialogue> <character>TAYLOR</character> <dialogue>`` Please, please baby, take me back.''</dialogue> <character>CLOUGH</character> <dialogue>Fuck off!</dialogue> <scene_description>CLOUGH tails off , realizing he has no option .</scene_description> <character>CLOUGH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>`` Please, please baby, take me back.''</dialogue> <scene_description>CLOUGH 's sons watch from the car as PETER TAYLOR opens his arms , and the two MEN fall into an embrace . But in the clench , TAYLOR 's smile fades , his expression suddenly becoming serious . TAYLOR holds CLOUGH tight , and whispers .</scene_description> <character>TAYLOR</character> <dialogue>You'll only fuck me up again, wo n't you?</dialogue> <character>CLOUGH</character> <dialogue>I love you, y' know.</dialogue> <character>TAYLOR</character> <dialogue>I know. But it wo n't stop you.</dialogue> <scene_description>A beat . CLOUGH thinks , then .</scene_description> <character>CLOUGH</character> <dialogue>So? Would you sooner go through it all without me?</dialogue> <scene_description>TAYLOR 's face : freeing and condemning himself at once .</scene_description> <character>TAYLOR</character> <dialogue>Never.</dialogue> <scene_description>Our CAMERA slowly pulls back : over the Brighton landscape , as CLOUGH and TAYLOR disappear into TAYLOR 's house . CAPTION 1 : `` DON REVIE FAILED AS ENGLAND MANAGER . '' CAPTION 2 : `` HE WENT TO SAUDI ARABIA , WHERE HIS CAREER ENDED AMONG ALLEGATIONS OF FINANCIAL MISDEALINGS '' . CAPTION 3 : `` BRIAN CLOUGH AND PETER TAYLOR WERE REUNITED . CAPTION 4 : `` THEY TOOK OVER NOTTINGHAM FOREST WHERE THEY WON THE EUROPEAN CUP IN 1979 . '' CAPTION 5 : '' . AND AGAIN IN 1980 . '' CAPTION 6 : `` BUT IT WAS N'T LONG BEFORE TAYLOR AND CLOUGH FELL OUT AGAIN . '' CAPTION 7 : `` PETER TAYLOR DIED OF A HEART ATTACK BEFORE THEY COULD MAKE UP . ''</scene_description> </scene> </script>

After failing to qualify for the 1974 FIFA World Cup, England manager Alf Ramsey is replaced by Don Revie (Colm Meaney), the highly successful manager of Leeds United. Revie's replacement at Leeds is Brian Clough (Michael Sheen), the former manager of Derby County and a fierce critic of Leeds because of their violent and physical style of play under Revie's management. Furthermore, Clough's longtime assistant, Peter Taylor (Timothy Spall), has not joined him. The roots of Clough's conflict with Leeds are depicted as happening in a 1968 FA Cup match between Leeds, the leaders of the First Division and Derby, who were struggling near the bottom of the Second Division. Clough assumed Revie to be a similar man to himself, as they grew up in the same part of Middlesbrough and both played for Sunderland, and made many preparations for the match. However, on the day of the match, Revie failed to even acknowledge Clough upon entering the Baseball Ground. Derby eventually lost 2–0. Although Clough initially blames the brutality of the Leeds players, he and Taylor recognise that their side are not good on a technical level. So they sign veteran Dave Mackay (Brian McCardie), along with several other young players. Chairman Sam Longson (Jim Broadbent) is extremely anxious about the investment, as well as the fact that Clough did not consult him before signing Mackay. However, in 1969 Derby are promoted, but in their first league game against Leeds they lose 5–0. The club win their first ever League championship in 1972, meaning a European Cup campaign the following year. They go through to the semi-finals against Juventus. Unfortunately, against Longson's advice, Clough uses his best squad in the last match before the semifinal, against Leeds, purely out of pride and determination to beat Revie. They suffer injuries and Billy Bremner (Stephen Graham) sarcastically wishes Clough well for the semifinal. Juventus defeat them 3-1, and Clough publicly lambasts Longson.Taylor then suffers a heart attack, and Clough tries to secure his position by offering his and Taylor's resignations in a protest against the chairman's unwillingness to fund further signings. He is outraged when the directors accept their resignations and ban them from entering the Baseball Ground again (although Clough later sneaks in as a supporter). Derby fans' protests raise Clough's hopes of being reinstated, and he is backed by the majority of his players as well, but former player Dave Mackay is appointed manager instead. Derby fans quickly lose interest and Clough loses all hope of getting his job back. He and Taylor are then offered jobs at Brighton & Hove Albion. They agree to take the jobs after taking an all-expenses-paid holiday in Majorca. During the holiday that summer, Clough agrees to take control of Leeds after being approached by their representative. Taylor, however, argues the case for staying at Brighton, and after a bitter quarrel, the two go their separate ways. Back in the storyline's "present”: Clough alienates his players in their first training session, first by telling them that they can throw away any awards they have won because they "never won any of them fairly", and then making them start with a 7-a-side game, which Bremner points out Revie never made them do. Clough reminds them that he is not Revie and threatens a severe punishment for any player who mentions the former manager's name or methods again. The season starts with a Charity Shield match against FA Cup winners Liverpool at Wembley, which is widely anticipated as both the final match of Liverpool manager Bill Shankly and Clough's debut as Leeds manager. Unfortunately, the event is marred when Leeds's captain Billy Bremner gets into a fight with Kevin Keegan. Both are sent off, and in turn throw their shirts off and walk off the pitch bare-chested in defiance. Leeds lose the match, and Bremner is given a two-month suspension from football, forcing Leeds to start the season without their influential captain. As a result, Leeds suffer a horrendous start to the season and are in danger of relegation only one season after winning the title. After Bremner and the players air their grievances to the board, the club terminates Clough's contract after just 44 days - though he forces them to pay an enormous severance package. Afterwards, Clough agrees to do a final interview with Yorkshire Television, but finds Revie there to confront him, bringing the two face to face at last. Clough accuses Revie of being 'cold-hearted' and 'fundamentally dishonest', both as a person and a football manager, and Revie in turn brands Clough as 'inflexible and egocentric'. Clough brings up the incident in the 1968 FA Cup, and Revie claims to have not known who the rookie manager was at the time (a doubtful claim considering that Revie was known for meticulously researching every opponent his team faced). After the interview, Clough drives down to Brighton to patch things up with Taylor. It involves Clough literally on his knees, grovelling at Taylor's dictation, and they are reconciled. In the film's epilogue, the audience is told that Don Revie "failed as England manager", and afterwards never worked in football in his home country again, spending the rest of his career working in the Middle East, where he was accused of financial mismanagement. Brian Clough and Peter Taylor, meanwhile, reunited at the "small, provincial club" Nottingham Forest, where they repeated their prior achievements with Derby by getting them promoted to the First Division and then winning the title. They went on to better both Revie and their own spell at Derby by winning two European Cups in succession, in 1979 and 1980. The film ends with the caption: "Brian Clough remains the greatest manager the England team never had."

Airplane II: The Sequel_1982

tt0083530

<script> <scene> <stage_direction>EXT. JUNGLE - DAY</stage_direction> <scene_description>A machete slashes INTO FRAME . An American in battered fedora and leather jacket , accompanied by two gunbearers , hacks his way through dense bush . We see him from the back only . He hacks an opening , bats fly out AT CAMERA and the bushes part , revealing huge overgrown stone letters - the Mayan ruin look - that spell `` AIRPLANE II . ''</scene_description> </scene> <scene> <stage_direction>EXT. GANTRY - NIGHT</stage_direction> <scene_description>The Jupiter shuttle stands ready to fly . SUPER : HOUSTON , 2002</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL ROOM - STOCK FOOTAGE</stage_direction> <scene_description>of Houston Control with appropriate jargon V.O.</scene_description> </scene> <scene> <stage_direction>INT. TERMINAL - WIDE ANGLE STOCK SHOT</stage_direction> <scene_description>of a crowded modern terminal .</scene_description> <character>P.A.</character> <dialogue>All lunar departures, please proceed to concourse lounge ` B.'</dialogue> </scene> <scene> <stage_direction>EXT. TERMINAL - STOCK FOOTAGE - NIGHT</stage_direction> <scene_description>of heavy traffic at LAX . ANGLE ON TERMINAL DOORS A number of men in futuristic - looking mining outfits , carrying futuristic gear , unload a truck with a corporate logo that reads : TRX DEEP SPACE RESOURCE MANAGEMENT .</scene_description> <character>P.A.</character> <dialogue>Attention, all Pulsar Four mining personnel.</dialogue> <scene_description>The miners look up .</scene_description> <character>P.A.</character> <dialogue>Please report to the Resource Expeditions office, level seven.</dialogue> <scene_description>Two miners head to terminal doors and pass FOUR NUNS , who bid farewell to FATHER O'FLANAGAN . O'Flanagan shakes the hands of the first three elderly nuns , then grabs the last young gorgeous nun and kisses her passionately .</scene_description> <character>OLDER NUN</character> <dialogue>No tongues, Father.</dialogue> </scene> <scene> <stage_direction>INT. CONTROL ROOM</stage_direction> <scene_description>A group tour moves through the room behind controllers .</scene_description> <character>GUIDE</character> <dialogue>All lunar shuttle landings are handled by these computers and simulated on these video units.</dialogue> <character>CONTROLLER 1</character> <parenthetical>( at computer screen . )</parenthetical> <dialogue>You're programmed on R - two - niner and locked, Lunar eight six. Over.</dialogue> </scene> <scene> <stage_direction>INT. LUNAR SHUTTLE COCKPIT - NIGHT</stage_direction> <scene_description>Three crew members watch the lit landing strip as their shuttle approaches .</scene_description> <character>CAPTAIN</character> <parenthetical>( to co - pilot . )</parenthetical> <dialogue>It's out of our hands now, gentlemen.</dialogue> <scene_description>They smile .</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <scene_description>The CONTROLLER moves away from his video unit . A kid from the tour who has lagged behind hits a switch . The screen turns into a video game with SFX . He flips knobs .</scene_description> </scene> <scene> <stage_direction>INT. LUNAR SHUTTLE</stage_direction> <scene_description>The crew are tossed from side to side and try to regain control of the ship .</scene_description> </scene> <scene> <stage_direction>EXT. NIGHT SKY</stage_direction> <scene_description>The Lunar shuttle careens towards the terminal , out of control .</scene_description> </scene> <scene> <stage_direction>INT. CONTROL ROOM</stage_direction> <scene_description>The kid is still playing like mad . A flash appears on the screen . SFX VIDEO GAME EXPLOSION and a corresponding EXPLOSION from outside . SIRENS WAIL . CONTROLLERS run around . The kid is oblivious and walks away .</scene_description> </scene> <scene> <stage_direction>EXT. TERMINAL - NIGHT</stage_direction> <scene_description>BUD KRUGER , head of the space center , and the COMMISSIONER get out of a limo under a sign that reads , `` MERCURY SHUTTLE . '' They walk and talk .</scene_description> <character>KRUGER</character> <dialogue>Commissioner, we both know the Mercury shuttle needs another month of pre - launch testing.</dialogue> <character>COMMISSIONER</character> <dialogue>Forget it. The boys on the board want that shuttle to go on schedule.</dialogue> </scene> <scene> <stage_direction>INT. TERMINAL</stage_direction> <scene_description>Kruger and the Commissioner go up escalator .</scene_description> <character>KRUGER</character> <dialogue>And what do the boys on the board know about safety, Commissioner? Let me talk to them.</dialogue> <character>COMMISSIONER</character> <dialogue>Bud, get wise to the political realities. The boys on the board are under a lot of pressure from the boys downtown.</dialogue> </scene> <scene> <stage_direction>INT. TERMINAL - SECOND LEVEL</stage_direction> <scene_description>Kruger gets a pack of cigarettes from a machine . Commissioner buys a newspaper .</scene_description> <character>KRUGER</character> <dialogue>And I'll be the one they'll hang if there's a screw - up.</dialogue> </scene> <scene> <stage_direction>INT. TERMINAL - SHOESHINE STAND</stage_direction> <scene_description>Kruger and Commissioner get shoes shined . A MAN next to them in white shoes reads paper with headline - `` SOLAR PLANT MELTDOWN , 500 WORKERS SERIOUSLY TANNED '' - and does n't notice his shoes are getting black polish .</scene_description> <character>COMMISSIONER</character> <dialogue>Listen, Bud, the boys downtown are under heavy fire from the boys in Washington. That's why they're putting pressure on the boys on the board.</dialogue> </scene> <scene> <stage_direction>INT. TERMINAL</stage_direction> <scene_description>Kruger and Commissioner head down escalator .</scene_description> <character>KRUGER</character> <dialogue>Well, you tell the boys on the board to tell the boys downtown to let the boys in Washington know that the press has been nosing around my people in the front office.</dialogue> </scene> <scene> <stage_direction>EXT. TERMINAL</stage_direction> <scene_description>Kruger and Commissioner head to their limo .</scene_description> <character>COMMISSIONER</character> <dialogue>You handle your front office people, I'll handle the press and leave the boys in Washington to the boys downtown and the boys downtown to the boys on the board.</dialogue> <character>KRUGER</character> <dialogue>Commissioner.</dialogue> <scene_description>They stop and look at each other .</scene_description> <character>COMMISSIONER</character> <dialogue>What?</dialogue> <character>KRUGER</character> <dialogue>I just wish it was that simple.</dialogue> <scene_description>MUSIC : DRAMATIC STING They get back in their limo and drive off .</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <character>CONTROLLER</character> <parenthetical>( over P.A . )</parenthetical> <dialogue>This is Mercury One control. We have condition green. Mark launch ` T' minus two hours and counting. I repeat, we have condition green.</dialogue> <scene_description>ANGLE ON LESLIE NEILSON - DOCTOR RUMACK Dressed as a doctor and looking in a Controller 's mouth . The Controller 's face is bright green .</scene_description> <character>RUMACK</character> <dialogue>This condition is n't as bad as it could be if it were a lot worse. Take these pills.</dialogue> <parenthetical>( hands him pills and water . )</parenthetical> <dialogue>Here's some water.</dialogue> <character>CONTROLLER</character> <dialogue>What is it, doctor?</dialogue> <character>RUMACK</character> <dialogue>Two parts oxygen, one part hydrogen. It'll make the pills go down easier.</dialogue> </scene> <scene> <stage_direction>EXT. GANTRY - CLOSEUP OF SHUTTLE - NIGHT</stage_direction> <scene_description>MUSIC : BIG SPACE THEME WIDE ANGLE LENS PANS the under - belly past the nose as if the viewer bent his head back as far as he could , until . the CAMERA crashes to the ground as if it has fallen off the tripod . MUSIC : CRASHES TO A STOP ANGLE ON SIDE OF SHIP MUSIC : BIG SPACE THEME STARTS FROM TOP AGAIN PAN workers on scaffolding who check gauges on exterior of ship . PAN to panel that reads , `` SOLID FUEL CHUTE '' - a sweaty muscular worker in undershirt opens the panel , flames shoot out . LOOSEN to reveal another sweaty worker in undershirt shoveling coal into the chute . PAN to other workers checking more gauges . SUDDENLY a PANEL EXPLODES . Smoking , sparking wires pop out . A WORKER runs up with walkie - talkie in hand .</scene_description> <character>WORKER</character> <parenthetical>( into walkie - talkie . )</parenthetical> <dialogue>This is Mercury station six! Get me the Sarg and fast!</dialogue> </scene> <scene> <stage_direction>EXT. TERMINAL - NIGHT</stage_direction> <scene_description>SIMON KURTZ and ELAINE THOMPSON get out of a taxi with hand luggage . They are dressed in matching flight outfits . A JAPANESE COUPLE get out of a taxi - the man has about fifty cameras around his neck . His wife hangs another camera on him . He crashes to the ground under the weight . Simon and Elaine are approached by a BUSINESSMAN with handful of roses .</scene_description> <character>BUSINESSMAN</character> <dialogue>Would you like to buy a rose to help bail out Chrysler? We're an all - profit organization and need all the money we can get.</dialogue> <scene_description>Simon hands the Businessman a dollar and takes a rose .</scene_description> <character>SIMON</character> <parenthetical>( to Businessman . )</parenthetical> <dialogue>Here.</dialogue> <scene_description>The Businessman joins six other BUSINESSMEN carrying signs with LEE IACCOCA 's picture . They all smile and chant .</scene_description> <character>BUSINESSMEN</character> <parenthetical>( to Hari Krishna . )</parenthetical> <dialogue>IACCOCA, IACCOCA, IACCOCA, IARAMA.</dialogue> <scene_description>Simon hands Elaine the rose . She takes his arm as they walk towards the sign that reads , `` MERCURY SHUTTLE . ''</scene_description> <character>SIMON</character> <dialogue>For the best little computer officer on the Mercury mission.</dialogue> <character>ELAINE</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Simon.</dialogue> <character>SIMON</character> <dialogue>Who would believe that Elaine Thompson was once a stewardess on the Denver - Chicago run.</dialogue> <character>ELAINE</character> <dialogue>And I can hardly believe that I'm engaged to someone like you, Simon. I'm a very lucky woman.</dialogue> <scene_description>A man with a suitcase on a leash walks beside them . The case pulls him along like a dog and takes a leak on a post .</scene_description> <character>SIMON</character> <dialogue>Women and the space program have come a long way, sweetheart. But after the wedding, no more complicated computers for my little girl.</dialogue> <character>ELAINE</character> <dialogue>But, darling, they've offered me a chance to head up the computer analysis division for the Jupiter probe.</dialogue> <character>SIMON</character> <dialogue>You're heading up the division in charge of babies for Mr. and Mrs. Simon Kurtz.</dialogue> <scene_description>He kisses Elaine and smiles .</scene_description> <character>SIMON</character> <dialogue>And that's an order, Lieutenant.</dialogue> <scene_description>The man with the case on a leash passes a woman with a case on a leash . The cases start a violent , BARKING DOG FIGHT .</scene_description> </scene> <scene> <stage_direction>EXT. REAR OF TERMINAL BUILDING - NIGHT</stage_direction> <scene_description>SARG -LRB- imagine George Kennedy -RRB- , dressed in a tuxedo , tie undone , with a huge cigar , which he eats during the conversation , talks to his wife on his car phone . A worker in hard hat waits next to him . Behind the worker are fuel drums and a large sign that reads : DANGER , FUEL - ABSOLUTELY NO SMOKING , ABSOLUTELY NO SPITTING .</scene_description> <character>SARG</character> <parenthetical>( on car phone . )</parenthetical> <dialogue>Marge, you better go without me. We've got a condition red.</dialogue> <scene_description>SPLIT SCREEN WITH WIFE AT HOME .</scene_description> <character>MARGE</character> <parenthetical>( in evening gown , a cigar stuck in her mouth . )</parenthetical> <dialogue>We've got a condition red with our marriage. I think you're in love with that shuttle, not with me. I want a divorce, Sarg.</dialogue> <scene_description>Sarg lights his cigar .</scene_description> <character>SARG</character> <dialogue>Is there someone else, Marge? Is that it?</dialogue> <scene_description>Sarg throws the lit match towards the `` ABSOLUTELY NO SMOKING '' sign . The worker grimaces but nothing happens .</scene_description> <character>MARGE</character> <dialogue>Sarg, there's been someone else for fifteen years. You were just too involved in your work to see it.</dialogue> <scene_description>They hang up . Sarg bites off the end of his cigar and spits it in the direction of the `` NO SPITTING '' sign , blowing the worker OUT OF FRAME with a MASSIVE EXPLOSION . Sarg hops into his car , takes a Lava lamp from the seat and puts it on the car roof - like Kojak 's flasher . The lamp flashes , the SIREN WAILS , as Sarg pulls away .</scene_description> </scene> <scene> <stage_direction>INT. SARG'S CAR - ON THE MOVE - NIGHT</stage_direction> <scene_description>He thinks about his wife . SPLIT SCREEN FLASHBACK OF THEIR BEDROOM . Marge , a cigar in her mouth , is in bed with five football players - other half - clad athletes -LRB- hockey , baseball , wrestling , basketball -RRB- line up for their turn at her . Sarg has to climb over them to kiss her goodbye .</scene_description> <character>SARG</character> <dialogue>Do n't wait up for me, sweetheart. We're testing the retro - rockets tonight.</dialogue> <character>MARGE</character> <dialogue>You just ca n't see it, can you, Sarg.</dialogue> <character>SARG</character> <dialogue>We'll talk tomorrow, hon. I promise.</dialogue> </scene> <scene> <stage_direction>EXT. TERMINAL, PASSENGER ARRIVAL AREA - NIGHT</stage_direction> <scene_description>The WILSON FAMILY - JOHN , ALICE and ten - year - old JIMMY - carry luggage . Jimmy carries a puppy in a small cage .</scene_description> <character>P.A.</character> <dialogue>All Mercury passengers please proceed to passenger processing, concourse level ` C.'</dialogue> <character>JOHN</character> <dialogue>That's us.</dialogue> <scene_description>Jimmy Wilson looks at Scraps .</scene_description> <character>JIMMY</character> <dialogue>Will Scraps be able to sit with us, Dad?</dialogue> <character>JOHN</character> <dialogue>We'll have to check, Jimmy. It's a pretty long trip to Mercury.</dialogue> <scene_description>A PORTER approaches .</scene_description> <character>PORTER</character> <dialogue>Can I help you folks?</dialogue> <character>JOHN</character> <parenthetical>( handing him a bag . )</parenthetical> <dialogue>Thanks.</dialogue> <character>PORTER</character> <parenthetical>( noticing Scraps . )</parenthetical> <dialogue>Is that your puppy, son?</dialogue> <character>JIMMY</character> <dialogue>Yeah, his name is Scraps and he's going to Mercury with us.</dialogue> <character>PORTER</character> <dialogue>No dogs are allowed on the shuttle, son.</dialogue> <character>JIMMY</character> <dialogue>But they said.</dialogue> <character>PORTER</character> <parenthetical>( pulling out a handgun . )</parenthetical> <dialogue>Scraps will have to be shot. I can do it for you here if you like.</dialogue> <scene_description>He SHOOTS .</scene_description> <character>JIMMY</character> <dialogue>Scraps!</dialogue> <character>PORTER</character> <parenthetical>( laughing . )</parenthetical> <dialogue>Just joking. Blanks. See, Scraps is fine.</dialogue> <scene_description>Alice , John , and Porter crack up while Jimmy cries .</scene_description> <character>ALICE</character> <dialogue>It was just a joke, Jimmy.</dialogue> <scene_description>Alice and John look at each other as if there is something wrong with their son . ANGLE ON MAN WITH CAGE A man lifts a large dog cage out of the trunk of a taxi . Inside is another man dressed in S&amp;M leathers .</scene_description> <character>MAN WITH CAGE</character> <parenthetical>( to Man in Cage . )</parenthetical> <dialogue>If we ca n't fit you under the seat, you'll just have to be locked up with the luggage.</dialogue> <scene_description>The man in the cage seems to relish the latter suggestion . Two Porters lift the cage onto a conveyor belt next to Jimmy 's dog .</scene_description> </scene> <scene> <stage_direction>EXT. GANTRY - NIGHT</stage_direction> <scene_description>Sarg stands beside the burnt panel on the side of the shuttle . He is eating another cigar , holding a burnt wire , and talking into a walkie - talkie .</scene_description> <character>SARG</character> <dialogue>There's no way this wiring could have passed inspection without Simon Kurtz's okay!</dialogue> <scene_description>SPLIT SCREEN OF KRUGER IN HIS OFFICE</scene_description> <character>KRUGER</character> <parenthetical>( on phone . )</parenthetical> <dialogue>Just patch up the damage and get that ship ready to fly. That's an order, mister!</dialogue> <character>SARG</character> <dialogue>You've got it, mister. But you can tell your boys on the board for me that this thing stinks to high heaven of kickback.</dialogue> <scene_description>KRUGER 'S OFFICE - FULL SCREEN Kruger turns to room . LOOSEN to reveal a dozen five - year - old boys in three - piece suits , smoking cigars . A huge Keans - style painting of three astronauts with big eyes , painted on black velvet , hangs in b.g.</scene_description> <character>KRUGER</character> <dialogue>You heard it, boys. Now, what do you say?</dialogue> <character>ALL BOYS</character> <dialogue>Fuck him!</dialogue> </scene> <scene> <stage_direction>EXT. GANTRY - NIGHT</stage_direction> <scene_description>Sarg looks at the wire and shakes his head .</scene_description> <character>SARG</character> <parenthetical>( to worker . )</parenthetical> <dialogue>Ted Striker was right six months ago when he test - piloted this sucker. And what did he get for telling the truth? A one - way ticket to Palukaville.</dialogue> <scene_description>Sarg spits a chunk of cigar on the ground , blowing the worker OUT OF FRAME with a MASSIVE EXPLOSION .</scene_description> </scene> <scene> <stage_direction>EXT. WILD BLUE YONDER - DAY</stage_direction> <scene_description>A jet fighter streaks across the sky .</scene_description> </scene> <scene> <stage_direction>INT. JET - DAY</stage_direction> <scene_description>TED STRIKER is at the controls . His oxygen mask hangs loose from his helmet . Clouds outside shoot by - he 's going at least 700 MPH . A bird lands on the nose in front of the window . Ted shoos it away by knocking on the glass . He takes a slug of beer and cockily pulls on the stick .</scene_description> </scene> <scene> <stage_direction>EXT. FIGHTER - DAY</stage_direction> <scene_description>The plane does a barrel roll .</scene_description> </scene> <scene> <stage_direction>INT. FIGHTER - DAY</stage_direction> <scene_description>Ted has beer all over his face and shirt .</scene_description> </scene> <scene> <stage_direction>EXT. SMALL LATIN-AMERICAN LANDING STRIP - DAY</stage_direction> <scene_description>SUPER : `` SOUTH AMERICA , 2002 -LRB- PALUKAVILLE -RRB- '' Striker 's fighter comes in for a landing .</scene_description> </scene> <scene> <stage_direction>EXT. OUTSKIRTS OF RIO MONTENEGRO - DAY</stage_direction> <scene_description>CLOSEUP of sign , `` WELCOME TO RIO MONTENEGRO - POP . 2,354,900 - NO TORTURING 7AM - 9AM MON. - FRI. ''</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - DAY</stage_direction> <scene_description>SUPER : `` HOTEL MONTENEGRO '' COME UP on CLOSEUP of parachute . PAN past a flight jacket thrown over a chair , clothes strewn around , a framed photo of TED and ELAINE on the bedtable next to a bottle of whiskey . The room is hot and dusty . Ted lies on the bed soaked with sweat , a drink in his hand , a cigarette dangling from his lip . He takes a drink and , forgetting to remove the cigarette , swallows it without batting an eye . LOOSEN to find a CRUCIFIX above the bed with a real person on it .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( to self . )</parenthetical> <dialogue>Who could have figured it would come to this. It'll be twenty years this week that I lost my entire squadron over Macho Grande. Planes, too.</dialogue> <scene_description>SUPER : DOG FIGHT FOOTAGE</scene_description> <character>VOICE</character> <dialogue>You're too low, Striker! You're too low!</dialogue> <scene_description>The Crucifix in b.g. looks around trying to figure out where the planes in the SUPER are coming from .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>After the war, I could n't go near anything with a pair of wings.</dialogue> <scene_description>SUPER : TED IN PARK TRYING TO AVOID PIGEONS THAT FOLLOW HIM . A pigeon lands on the Cross .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>That is, until fate dropped me on the seat of my pants at the stick of a 167 into Chicago with no crew.</dialogue> <scene_description>SUPER : TED LANDING PLANE IN `` AIRPLANE ! ''</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>It's funny how fate can make heroes out of cowards.</dialogue> <scene_description>The Crucifix gives a look of exasperated boredom . SUPER : NEW YORK TIMES HEADLINE , `` STRIKER SAVES l20 ! '' OVER A PHOTO OF TED AND ELAINE WAVING .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Then came the job offers.</dialogue> <scene_description>SUPER : HOUSTON TRIBUNE HEADLINE , `` FLYING HEROES ACCEPT NASA POSTS '' OVER A PHOTO OF TED AND ELAINE WAVING .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The publicity.</dialogue> <scene_description>SUPER : NATIONAL ENQUIRER HEADLINE , `` TED IMPOTENT ? ELAINE FRIGID ? '' A MINOR HEADLINE READS , `` JFK ALIVE , SAYS UROLOGIST ! ''</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Even the key to the City of New York.</dialogue> <scene_description>SUPER : MAYOR HANDING TED A KILO OF GRASS .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Now look at me.</dialogue> <scene_description>Ted wipes the sweat off his face and switches on the table fan . A tornado force wind destroys the room as he fights to switch off the fan .</scene_description> </scene> <scene> <stage_direction>EXT. TOWN SQUARE - DAY</stage_direction> <scene_description>SUPER : `` RIO MONTENEGRO - TOWN SQUARE '' A peasant boy takes a newspaper from a newsstand . The headline reads , `` MERCURY SHUTTLE FLIES TOMORROW . ''</scene_description> <character>BOY</character> <dialogue>Senor Ted!</dialogue> <scene_description>The boy hightails it through the town - square and passes : - A large alabaster statue of the Generalissimo snorting cocaine . - Soldiers dragging nuns off screaming . - Nuns dragging soldiers off screaming . He passes a line of peasants held at gunpoint by soldiers . We HOLD on them . In b.g. are stores like HITLER 'S SHOES , TRIEU GUYS FROM SAIGON LIQUORS , KEY 'S KEYS - GENERAL KEY stands in doorway .</scene_description> <character>SOLDIER</character> <parenthetical>( to first peasant . )</parenthetical> <dialogue>Traficante de drugas o communista?</dialogue> <scene_description>SUPER : SUBTITLES - `` Drug dealer or communist ? ''</scene_description> <character>PEASANT</character> <parenthetical>( pleading . )</parenthetical> <dialogue>Traficante de drugas, traficante de drugas!</dialogue> <scene_description>SUPER : SUBTITLES - `` Drug dealer , drug dealer ! '' The soldier lets the peasant go .</scene_description> <character>SOLDIER</character> <parenthetical>( to second peasant . )</parenthetical> <dialogue>Traficante de drugas o communista?</dialogue> <scene_description>SUPER : SUBTITLES - `` Drug dealer or communist ? '' The peasant panics and bolts from the line . The soldiers FIRE .</scene_description> <character>SOLDIER</character> <dialogue>Communista!</dialogue> <scene_description>He runs up to THE HOTEL MONTENEGRO . A sign reads , `` TV , POOL , WATERBEDS , DONKEY , KLEENEX '' - All but `` KLEENEX '' are crossed out . He runs inside .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL LOBBY</stage_direction> <scene_description>A clean - cut AMERICAN COUPLE argue with Desk Clerk .</scene_description> <character>YOUNG MAN</character> <parenthetical>( to Desk Clerk . )</parenthetical> <dialogue>We've lost all our travelers' checks!</dialogue> <character>YOUNG WOMAN</character> <dialogue>What are we going to do?!</dialogue> <character>CLERK</character> <dialogue>Calm down. What kind were they?</dialogue> <character>YOUNG MAN</character> <dialogue>American Excess!</dialogue> <scene_description>The Clerk throws up his hands and strikes the same pose as the Karl Marden look - alike in the `` AMERICAN EXCESS '' poster , b.g.</scene_description> <character>CLERK</character> <dialogue>I'd say you're fucked.</dialogue> <scene_description>The boy passes them and bounds up the stairs .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM</stage_direction> <scene_description>CLOSEUP of Ted pacing .</scene_description> <character>TED</character> <parenthetical>( to self . )</parenthetical> <dialogue>Next thing I know, I'm the chief test pilot for the XR - 2300, NASA's first Mercury shuttle. That is, until I report she's got more flaws than the Titanic.</dialogue> <scene_description>LOOSEN slowly to find the Cross empty and the man who was on it hanging , his feet dangling next to Ted .</scene_description> <character>TED</character> <dialogue>Now I'm testing old F - l8s for some crazy Generalissimo who thinks there's a commie behind every tree in the Amazon.</dialogue> <scene_description>SUDDENLY the boy bursts in .</scene_description> <character>BOY</character> <dialogue>Senor Ted! Look!</dialogue> <scene_description>Ted spins and the paper stays still . He stops .</scene_description> <character>TED</character> <dialogue>My God! They're launching the ZR - 2300. Do you know what that is, Jose?</dialogue> <character>BOY</character> <dialogue>The muffler bracket for a'78 Pinto.</dialogue> <character>TED</character> <dialogue>No, that's an XR - 2200. The XR - 2300 is the Mercury shuttle. They ca n't do it!</dialogue> </scene> <scene> <stage_direction>EXT. HOTEL MONTENEGRO</stage_direction> <scene_description>Ted races out .</scene_description> <character>TED</character> <dialogue>Taxi!</dialogue> <scene_description>SFX : A DOZEN CARS SCREECH AND CRASH INTO EACH OTHER . HORNS STICK . ANGLE ON PILE OF CARS Ted jumps into the taxi on bottom of pile . The driver POUNDS on his HORN - it CONTINUES TO BLARE as they pull away , dragging other taxis .</scene_description> <character>TED</character> <dialogue>Houston, Texas.</dialogue> <character>DRIVER</character> <dialogue>Houston, Texas, senor?</dialogue> <character>TED</character> <dialogue>Right at the corner, left at the light. Here's a map and step on it!</dialogue> <scene_description>Ted throws a map onto the floor of the front seat . The driver steps on the map .</scene_description> </scene> <scene> <stage_direction>EXT. TERMINAL, PASSENGER ARRIVALS - NIGHT</stage_direction> <scene_description>An old truck loaded high with furniture pulls up . A YOUNG MAN and his PARENTS , looking like the family from THE GRAPES OF WRATH , get out .</scene_description> <character>SON</character> <dialogue>We finally made it, Ma. Mercury. We're gon na start all over agin. A whole new life.</dialogue> <scene_description>MUSIC : OPTIMISTIC .</scene_description> <character>SON</character> <dialogue>Where the soil is rich.</dialogue> <scene_description>He bends down and takes a handful of earth from the terminal sidewalk and lets it run through his fingers .</scene_description> <character>SON</character> <dialogue>And the union strong. Where men are free to realize their true potential.</dialogue> <scene_description>A black PORTER approaches and grabs a bag at the bottom of their pile of junk .</scene_description> <character>PORTER</character> <dialogue>Can I help you?</dialogue> <character>SON</character> <dialogue>Where black men and white men, working together, can move mountains.</dialogue> <scene_description>The Porter pulls the bag and the entire mountain of junk cascades to the ground . ANGLE ON TED 'S TAXI ARRIVING It is covered in mud , flames shoot out from under the hood , the HORN BLARES . The driver flips off the meter which reads , `` 874,567,004,500,000,000 . '' The numbers run off the meter along a special attachment .</scene_description> <character>DRIVER</character> <dialogue>That'll be eight hundred and seventy - four zillion quastavitas.</dialogue> <character>TED</character> <dialogue>Here's three bucks. Keep the change.</dialogue> <character>DRIVER</character> <dialogue>Thank you!</dialogue> </scene> <scene> <stage_direction>INT. TERMINAL</stage_direction> <scene_description>STELLA BARRINGTON pushes her wheelchair - ridden father , DR. CYRUS BARRINGTON , through the terminal crowd . A PORTER approaches .</scene_description> <character>PORTER</character> <dialogue>You folks need any help?</dialogue> <character>STELLA</character> <dialogue>Thanks, but we have a terrific woman in on Thursdays.</dialogue> <character>PORTER</character> <dialogue>Say, is n't that Dr. Barrington, the world - renowned agronomist?</dialogue> <character>STELLA</character> <dialogue>Yes.</dialogue> <character>PORTER</character> <dialogue>It's a privilege to meet you, sir, I'm familiar with all your work.</dialogue> <character>STELLA</character> <dialogue>Let's go, Daddy. We have to check in.</dialogue> <parenthetical>( to Porter . )</parenthetical> <dialogue>He was never appreciated at the Institute.</dialogue> <character>PORTER</character> <dialogue>Ah, yes, the Institute, I'm familiar with it.</dialogue> <character>STELLA</character> <dialogue>Now he's D - Y - I - N - Ging and wants to be buried on Mercury.</dialogue> <scene_description>Stella pushes her father away as another PORTER approaches our first Porter .</scene_description> <character>PORTER 2</character> <dialogue>Say, was n't that Dr. Barrington, the world - renowned agronomist?</dialogue> <character>PORTER 1</character> <dialogue>That's right. Are you familiar with his work?</dialogue> <character>PORTER 2</character> <dialogue>No, but the missus sure is.</dialogue> <scene_description>ANGLE ON TED AT ARRIVALS/DEPARTURES MONITORS The departures side reads . `` MERCURY SHUTTLE - DEPARTS 6:15 AM ''</scene_description> <character>TED</character> <parenthetical>( to self . )</parenthetical> <dialogue>I have to stop that flight.</dialogue> <scene_description>Ted pushes his way through the crowd past two businessmen . HOLD on them as BUSINESSMAN 1 straightens BUSINESSMAN 2 's tie and hair .</scene_description> <character>BUSINESSMAN 1</character> <dialogue>Do n't worry about the Viatex account. It's a buy - sell option. We ca n't get hurt in either case.</dialogue> <character>BUSINESSMAN 2</character> <dialogue>Just keep on top of their legal people, Bob.</dialogue> <character>BUSINESSMAN 1</character> <dialogue>Do n't sweat it.</dialogue> <scene_description>They kiss and part . ANGLE ON `` 1ST CLASS '' TICKET LINE</scene_description> <character>AGENT</character> <parenthetical>( to traveller . )</parenthetical> <dialogue>We can take your in - flight dinner orders here, if you like. Today there's lobster or rack of lamb.</dialogue> <character>TRAVELLER</character> <dialogue>The lobster sounds nice.</dialogue> <scene_description>The Agent throws a huge lobster into a steaming cauldron . SFX : LOBSTER SCREAM .</scene_description> <character>TED</character> <parenthetical>( rushing up . )</parenthetical> <dialogue>Where can I find mission control?</dialogue> <character>AGENT</character> <parenthetical>( without pointing or indicating in any way . )</parenthetical> <dialogue>Information's over there.</dialogue> <character>TED</character> <dialogue>Thanks.</dialogue> <scene_description>He seems a bit puzzled but moves on . ANGLE ON `` 2ND CLASS '' LINE Ted passes travellers in rags .</scene_description> <character>AGENT</character> <parenthetical>( to traveller in rags . )</parenthetical> <dialogue>Today there's the swill or the slop.</dialogue> <character>TRAVELLER</character> <dialogue>The slop sounds nice.</dialogue> <scene_description>Ted passes the `` NO CLASS '' line . Travellers in line all wear gaudy double - knit suits , white belts and shoes , carry lava lamps and bongo drums , wear alpine hats , etc. . The agent hands a NO CLASS traveller his ticket with large foam dice dangling . Ted spots the INFORMATION counter and heads for it . ANGLE ON INFORMATION COUNTER</scene_description> <character>MAN</character> <parenthetical>( to Info Agent . )</parenthetical> <dialogue>What's the fastest animal on earth?</dialogue> <character>INFO AGENT</character> <dialogue>The cheetah. Next.</dialogue> <character>WOMAN</character> <dialogue>Should I fake my orgasms?</dialogue> <character>INFO AGENT</character> <dialogue>Yes. Next.</dialogue> <scene_description>Next in line are three armed , bearded `` TERRORISTS . ''</scene_description> <character>"TERRORIST" 1</character> <dialogue>Please, where is flight to Miami?</dialogue> <character>INFO AGENT</character> <parenthetical>( without indicating anything . )</parenthetical> <dialogue>Over there. Next.</dialogue> <scene_description>The TERRORISTS leave looking confused .</scene_description> <character>TED</character> <dialogue>Mission control?</dialogue> <character>INFO AGENT</character> <parenthetical>( without indicating anything . )</parenthetical> <dialogue>It's over therrrrrrr!</dialogue> <scene_description>The agent is shot with an arrow and slumps over the counter . CLOSEUP OF TED He looks in the CAMERA . MUSIC : DRAMATIC STING .</scene_description> <character>TED</character> <dialogue>That's strange. I just came from over there.</dialogue> </scene> <scene> <stage_direction>INT. TERMINAL - ANOTHER AREA</stage_direction> <scene_description>Elaine , Simon , and FRANK MORGAN , the shuttle pilot , talk .</scene_description> <character>FRANK</character> <dialogue>I'll meet you on board. I've got some business to attend to.</dialogue> <scene_description>Frank leaves .</scene_description> <character>SIMON</character> <parenthetical>( to Elaine . )</parenthetical> <dialogue>Frank's the best pilot in the program.</dialogue> <character>ELAINE</character> <dialogue>I'm so excited, Simon.</dialogue> <character>SIMON</character> <dialogue>I guess this is a first for you.</dialogue> <character>ELAINE</character> <dialogue>No, I've been excited before.</dialogue> <character>TED</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Elaine.</dialogue> <character>ELAINE</character> <parenthetical>( turning around . )</parenthetical> <dialogue>Te!</dialogue> <character>TED</character> <dialogue>That's not important now, Elaine. We have to talk.</dialogue> <scene_description>Simon pulls Elaine away . They all walk and talk .</scene_description> <character>ELAINE</character> <dialogue>Ted, we've been worried sick ever since you escaped from the Ronald Reagan Institute For The Mentally Feeble.</dialogue> <scene_description>They walk faster . The b.g. starts whipping by as if they 're running . Wind blows in their hair .</scene_description> <character>TED</character> <dialogue>Are you on the Mercury mission?</dialogue> <character>SIMON</character> <dialogue>That's right, Striker. And we're getting married when we return.</dialogue> <scene_description>The b.g. moves faster . The wind gets stronger . They pass a marathon refreshment stand and are handed wet sponges and cups of Gatoraid .</scene_description> <character>TED</character> <dialogue>It's got to be stopped!</dialogue> <character>ELAINE</character> <dialogue>But, Ted, the invitations have already gone out.</dialogue> <character>TED</character> <dialogue>I mean the Mercury flight. It's not safe and, Kurtz, you know why.</dialogue> <character>SIMON</character> <dialogue>You're still crazy, Striker. Come on, sweetheart.</dialogue> <scene_description>Simon pulls Elaine away as she looks back with empathy .</scene_description> <character>ELAINE</character> <dialogue>What did Ted mean?</dialogue> <scene_description>They leave Ted standing .</scene_description> <character>SIMON</character> <dialogue>Elaine, he's still sick.</dialogue> <scene_description>ANGLE ON TED The wind is still blowing in his hair even though he stands still . Ted has a FLASHBACK .</scene_description> </scene> <scene> <stage_direction>INT. ROCKET HANGAR</stage_direction> <scene_description>Ted , in flight coveralls , follows after Simon who is overseeing the operation .</scene_description> <character>SIMON</character> <dialogue>You're seeing bugs where they do n't exist, Striker.</dialogue> <character>TED</character> <parenthetical>( holding wire . )</parenthetical> <dialogue>Look at this wiring. It's shorting out under high temperatures.</dialogue> <character>SIMON</character> <dialogue>You're tired, Striker, overworked. That wiring meets all the safety specifications.</dialogue> <character>TED</character> <dialogue>I know you've been subtly spreading the word that I'm having a breakdown.</dialogue> <scene_description>A NEWSPAPER BOY passes .</scene_description> <character>NEWSIE</character> <dialogue>Shuttle test pilot goes mad!</dialogue> <scene_description>A TECHNICIAN - JACOBS - enters with drawings of flight outfits .</scene_description> <character>JACOBS</character> <dialogue>Sir, these are the designs for the flight uniforms. I think the captain's is to die.</dialogue> <character>SIMON</character> <parenthetical>( with drawings . )</parenthetical> <dialogue>Good, good, no, no, good. What's this?! I said no studded dog collars, Jacobs.</dialogue> <scene_description>Jacobs grabs the drawings and leaves in a huff .</scene_description> <character>TED</character> <dialogue>You wo n't get away with this, Simon!</dialogue> <scene_description>Ted turns to leave and bumps right into Elaine . She holds him .</scene_description> <character>ELAINE</character> <dialogue>Ted, what's wrong?</dialogue> <character>TED</character> <parenthetical>( pulling away from her . )</parenthetical> <dialogue>Ask Simon.</dialogue> <scene_description>In b.g. a car is parked by a huge rocket engine . A worker opens the hood and strings jumper cables to the rocket . A sign above rocket reads , `` ROCKET ENGINE TEST AREA . ''</scene_description> <character>ELAINE</character> <dialogue>Ted, you're overworked. You've been flying yourself into the ground.</dialogue> <character>TED</character> <dialogue>There's nothing wrong with me!</dialogue> <character>ELAINE</character> <dialogue>Let's relax tonight, just the two of us. I'll make a quiet Italian dinner just the way you like it, with spaghetti.</dialogue> <character>TED</character> <dialogue>You're as bad as the rest of them, Elaine!</dialogue> <parenthetical>( ranting . )</parenthetical> <dialogue>It's all here in the design specifications!</dialogue> <parenthetical>( grabs plans from a passing technician . )</parenthetical> <dialogue>Look! It's all here!</dialogue> <scene_description>Simon signals the guards . They grab Ted . He struggles and rants . A DOCTOR in white approaches and injects something into Ted 's arm .</scene_description> <character>ELAINE</character> <dialogue>No! Wait! You're hurting him!</dialogue> <scene_description>Ted falls unconscious . Simon holds Elaine .</scene_description> <character>SIMON</character> <dialogue>Elaine! Ted's a danger to himself, he's a threat to this mission and his behavior does absolutely nothing to promote peace in the Middle East.</dialogue> <character>ELAINE</character> <parenthetical>( crying on Simon 's shoulder . )</parenthetical> <dialogue>Simon, why has he become so. so.</dialogue> <character>SIMON</character> <dialogue>So mentally ill?</dialogue> <scene_description>Elaine collapses on Simon 's shoulder , sobbing . Simon smiles evilly . The technician with the jumper cables , b.g. , signals the driver to start the car . The car revs and the rocket fires . SCENE Ted still standing alone and muttering .</scene_description> <character>TED</character> <parenthetical>( to self . )</parenthetical> <dialogue>I'm perfectly sane.</dialogue> <scene_description>Ted notices Stella Barrington looking at him .</scene_description> <character>STELLA</character> <dialogue>Excuse me, are you alright? I noticed you talking to yourself. I'm a nurse. Can I be of some help?</dialogue> <character>TED</character> <dialogue>Uh. oh, thank you. It's nothing.</dialogue> <character>STELLA</character> <dialogue>You do n't have to thank me, I'm a nurse. This is my father, Dr. Barrington.</dialogue> <character>TED</character> <dialogue>Not Dr. Barrington, the world renowned agronomist?</dialogue> <character>STELLA</character> <dialogue>Yes. He's dying a - n - d wants to be buried on Mercury.</dialogue> <character>TED</character> <dialogue>I'm familiar with your work, Doctor. You'll have to excuse me, I have to go.</dialogue> <character>STELLA</character> <dialogue>You do n't have to excuse yourself. I'm a nurse. I understand.</dialogue> <scene_description>Ted leaves .</scene_description> </scene> <scene> <stage_direction>INT. TERMINAL - OUTSIDE DRUGSTORE</stage_direction> <character>SIMON</character> <dialogue>Meet me onboard, sweetheart. I have to pick up a few things at the drugstore.</dialogue> <character>ELAINE</character> <parenthetical>( checking her watch . )</parenthetical> <dialogue>Do n't be too long.</dialogue> <scene_description>Simon walks into the drugstore past a DRUGGIST who whispers to him :</scene_description> <character>DRUGGIST</character> <dialogue>Uppers, downers, coke, speed, hash, Tampax.</dialogue> <scene_description>ANGLE ON ELAINE Ted approaches . We see light flashes from a 25 cents photo booth .</scene_description> <character>TED</character> <dialogue>Elaine.</dialogue> <character>ELAINE</character> <dialogue>Ted, please. You're just making things difficult for yourself.</dialogue> <scene_description>A WOMAN IN BLACK GARTER BELT emerges from photo booth followed by a donkey .</scene_description> <character>TED</character> <dialogue>Elaine, what happened to us?</dialogue> <character>ELAINE</character> <dialogue>Ted, I loved you and I'll always love you. But I need Simon. He's stable. He's a good provider. I want that at this stage of the game, Ted. He might have his faults, but Simon does n't know the meaning of the word fear and I need that in a man.</dialogue> </scene> <scene> <stage_direction>INT. DRUGSTORE</stage_direction> <scene_description>The Druggist hands Simon a huge bottle of pills . The label reads , `` ANTI - FEAR PILLS . ''</scene_description> <character>SIMON</character> <parenthetical>( looking at the label , `` ANTI - FEAR PILLS '' . )</parenthetical> <dialogue>What does this word mean?</dialogue> <character>DRUGGIST</character> <parenthetical>( looking at label . )</parenthetical> <dialogue>` Fear,' to be afraid or over - anxious.</dialogue> <scene_description>Simon swallows a handful of pills , braces himself and walks out right through the plate glass window without feeling a thing .</scene_description> </scene> <scene> <stage_direction>INT. TERMINAL</stage_direction> <scene_description>Ted is still following Elaine .</scene_description> <character>TED</character> <dialogue>Elaine, someone has to listen to me. I'm going right to mission control.</dialogue> <scene_description>A kid bops by with a huge -LRB- 5 ` x3 ` x2 ' -RRB- oak cabinet , TV/stero console perched on his shoulder . MUSIC : DISCO .</scene_description> <character>ELAINE</character> <dialogue>Ted, you should go right back to the hospital.</dialogue> <scene_description>Elaine leaves and Ted has another FLASHBACK .</scene_description> </scene> <scene> <stage_direction>INT. MENTAL HOSPITAL</stage_direction> <scene_description>PAN by dorm window . We see a sign on grounds outside - `` THE RONALD REAGAN INSTITUTE OF SUPPLY - SIDE ECONOMICS AND HOSPITAL FOR THE CRIMINALLY INSANE . '' PAN patient in bed , accountant at desk , patient in bed , accountant at desk , Ted in bed . Ted has electrodes attached to his head . A NURSE with `` I -LRB- heart -RRB- NORMAL '' on the back of her uniform , hands Ted some pills . He is about to pop them when she stops him .</scene_description> <character>NURSE</character> <dialogue>That's $ 38.</dialogue> <scene_description>Ted hands her bills . LOOSEN to find Elaine on other side of bed . She turns off the radio and opens a box of spaghetti - to - go .</scene_description> <character>ELAINE</character> <dialogue>Eat this spaghetti, Ted. It'll make you feel a lot better.</dialogue> <scene_description>SFX : GROANING O.S.</scene_description> <character>ELAINE</character> <dialogue>Who's that, Ted?</dialogue> <character>TED</character> <dialogue>Sammy Davis Junior. Terrible car accident. He has n't been the same since.</dialogue> <scene_description>ANGLE ON SAMMY DAVIS A white patient in lots of gold chains . A Nurse stands over him and pulls a long oil dip - stick from his mouth , checks it , wipes it off and replaces it . RETURN TO SCENE</scene_description> <character>TED</character> <dialogue>Elaine, when are you going to realize Simon Kurtz put me in here to get me out of the way.</dialogue> <character>ELAINE</character> <dialogue>And when are you going to realize, Ted, that your mental hygiene is the most important thing right now.</dialogue> <character>VOICE</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( ranting . )</parenthetical> <dialogue>It works. No, it does n't. Yes, it does.</dialogue> <character>ELAINE</character> <dialogue>What's his problem?</dialogue> <scene_description>ANGLE On BEARDED MAN in rags chained to wall .</scene_description> <character>MAN</character> <dialogue>It does work. No, it does n't.</dialogue> <scene_description>ANGLE On Ted and Elaine .</scene_description> <character>TED</character> <dialogue>His name's David Stockman. He's been here twenty years, that's all he says.</dialogue> <character>ELAINE</character> <dialogue>Ted, you must remember what the doctor said, the first step on the road to sanity is admitting that you're sick. Now take your electro - shock and you'll be back at the space center in no time. And by the way, Ted, I'm leaving you for Simon.</dialogue> <scene_description>Ted gags on his spaghetti .</scene_description> <character>ELAINE</character> <dialogue>I just ca n't go on living with a man who refuses to deal with reality, Ted. I have to go now. Believe me, it's best for all concerned.</dialogue> <scene_description>Elaine leans over to kiss Ted . He turns away .</scene_description> <character>TED</character> <dialogue>No goodbyes, Elaine. Just go.</dialogue> <character>ELAINE</character> <dialogue>If that's the way you want it.</dialogue> <character>TED</character> <dialogue>That's the way I want it. Just turn the radio on and go.</dialogue> <character>ELAINE</character> <dialogue>Goodbye, Ted. I do n't want to hurt you.</dialogue> <scene_description>Elaine flips a switch by the bed thinking it 's the radio . It 's the `` ELECTRO - SHOCK . '' Ted goes into convulsions as she leaves . TED AT TERMINAL He rubs his temples .</scene_description> </scene> <scene> <stage_direction>INT. TERMINAL - OUTSIDE BOOKSTORE</stage_direction> <scene_description>Frank Morgan kisses JANE DENNIS , his mistress . In b.g. is a bookstore window with a display of yellow covered books with plain black titles and a sign advertising , `` NO - NAME BOOKS . '' Visible titles include : `` DEEP BOOK , '' `` FASCINATING BOOK , '' `` THE WORLD ACCORDING TO JOHN DOE . '' A man next to the window reads a newspaper with headline , `` SENSELESS MURDER UP 99 % AND RISING ! ''</scene_description> <character>FRANK</character> <dialogue>Carol's not going to give me a divorce that easily, Jane.</dialogue> <character>JANE</character> <dialogue>I'm worried about her, Frank. She could do something senseless, something violent.</dialogue> <character>FRANK</character> <dialogue>You're the one who's not making sense, Jane. Carol's not the violent.</dialogue> <scene_description>Frank sees CAROL .</scene_description> <character>FRANK</character> <dialogue>Carol!</dialogue> <scene_description>Carol whips out a gun .</scene_description> <character>FRANK</character> <dialogue>No! This is senseless!</dialogue> <scene_description>CAROL FIRES . Jane faints . Other women nearby faint . Two S.W.A.T. cops faint . Carol bolts . The newspaper , b.g. , clicks over from 99 % to 120 % .</scene_description> </scene> <scene> <stage_direction>INT. TERMINAL - ANOTHER AREA</stage_direction> <scene_description>Ted pushes through crowd and passes a spherical booth with sign that reads , `` ORGASMIC EXPERIENCES , 25 cents . '' MRS. GOOCH , an elderly woman , stops Ted next to the booth door .</scene_description> <character>MRS. GOOCH</character> <dialogue>Young man, would you have change for a twenty?</dialogue> <character>TED</character> <parenthetical>( going for his wallet . )</parenthetical> <dialogue>I might have two tens.</dialogue> <character>MRS. GOOCH</character> <dialogue>Thank you anyway, but I wanted it in quarters.</dialogue> <scene_description>Ted keeps moving past a police line which has gone up around Frank Morgan 's body . We HOLD on the murder scene . A DETECTIVE kneels beside the body which now has a chalk mark around it .</scene_description> <character>SERGEANT</character> <parenthetical>( lookind down at Detective . )</parenthetical> <dialogue>When is this senseless killing going to stop?</dialogue> <character>DETECTIVE HALLICK</character> <dialogue>Senseless or not, Sergeant, there's a pattern here. This is the 12th victim this week with a chalk mark around the body. I want this whole area cordoned off! I want everyone in this terminal booked and beaten until they talk. I want an M.O. on everyone who has seen THE SOUND OF MUSIC and I want the entire population of Hawaii off that rock and into the water within one hour.</dialogue> <scene_description>Hallick stands up and finds the area surrounded by 30 accordian players playing `` Lady of Spain . ''</scene_description> <character>DETECTIVE HALLICK</character> <dialogue>Sergeant. I said cordon off, not accordian off! Now dust this area for prints.</dialogue> <scene_description>One cop pulls out a duster and dusts the wall . Other cops follow after him hanging prints by Picasso , Lautrec , etc. .</scene_description> <character>DETECTIVE HALLICK</character> <dialogue>And run a check on their plates.</dialogue> <scene_description>A cop looks at people 's upper false teeth plates .</scene_description> <character>DETECTIVE HALLICK</character> <parenthetical>( TO CAMERA . )</parenthetical> <dialogue>When will this senseless killing end?</dialogue> <scene_description>A POLICE PHOTOGRAPHER straddles the body and shoots it `` BLOW - UP '' style .</scene_description> <character>PHOTOGRAPHER</character> <dialogue>Super! Great! Super! Terrific! Super!</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL - EXECUTIVE OFFICE</stage_direction> <character>KRUGER</character> <dialogue>That's right, Commissioner. Senselessly murdered just minutes ago.</dialogue> <character>COMMISSIONER</character> <dialogue>That just does n't make any sense.</dialogue> <character>KRUGER</character> <dialogue>I wonder how your boys in Washington are going to take this one.</dialogue> <character>COMMISSIONER</character> <dialogue>I told you, leave the boys in Washington to the boys downtown and the boys down.</dialogue> <character>KRUGER</character> <dialogue>You've made your point, Commissioner. There's only one other pilot who can handle that shuttle and that's Clarence Oveur. He's got a lunar flight today. I want him pulled.</dialogue> <parenthetical>( to Jacobs . )</parenthetical> <dialogue>Jacobs, pull Oveur!</dialogue> <character>JACOBS</character> <dialogue>Not in your size, but I have a cardigan.</dialogue> <scene_description>He runs out .</scene_description> <character>COMMISSIONER</character> <dialogue>I'll trust you on this, Bud, but I'm a little nervous about Oveur's record.</dialogue> <scene_description>The Commissioner throws an album on Kruger 's desk . On the cover is a photo of Oveur with an accordian . The title reads , `` CLARENCE OVEUR 'S 400 POLKA FAVORITES . '' MUSIC : DRAMATIC ACCORDIAN STING .</scene_description> </scene> <scene> <stage_direction>INT. TERMINAL</stage_direction> <scene_description>CAPTAIN OVEUR buys flight insurance from a machine . Simon approaches .</scene_description> <character>SIMON</character> <dialogue>Captain Oveur?</dialogue> <character>OVEUR</character> <dialogue>Mr. Kurtz, I presume.</dialogue> <character>SIMON</character> <dialogue>We do n't have much time. Let's move. I'll explain everything.</dialogue> <scene_description>They walk away past the Transcendental Air counter . Two HARI KRISHNA AGENTS smile at customers .</scene_description> <character>HAIR KRISHNA</character> <dialogue>Chanting or non - chanting?</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL ROOM</stage_direction> <scene_description>PAN along Controllers at their monitors . Monitors show the shuttle on gantry .</scene_description> <character>CONTROLLER 1</character> <dialogue>This is Mercury launch control at `` T'' minus fifty - eight minutes and counting. All systems are go. Clear launch area.</dialogue> <scene_description>ANGLE ON NASA WORKERS AT LUNCH TABLE They rise and start clearing their dishes .</scene_description> <character>CONTROLLER 1</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( on P.A . )</parenthetical> <dialogue>I said ` launch' not ` lunch'!</dialogue> <scene_description>The workers sit down .</scene_description> </scene> <scene> <stage_direction>INT. TERMINAL</stage_direction> <scene_description>Oveur and Simon hurry along .</scene_description> <character>SIMON</character> <dialogue>That's how dry cleaning works. Now I'd like to quickly go over the digestive system of amphibians.</dialogue> <character>OVEUR</character> <dialogue>Do you think it's necessary to explain everything?</dialogue> <scene_description>Simon spots Ted getting directions from a security guard .</scene_description> <character>SIMON</character> <dialogue>I'll meet you on board. There's something I have to take care of first.</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL HEAD OFFICE - RECEPTION</stage_direction> <scene_description>Ted rushes in and up to the RECEPTIONIST .</scene_description> <character>TED</character> <dialogue>I have to see Bud Kruger.</dialogue> <character>RECEPTIONIST</character> <dialogue>Do you have an appointment, sir?</dialogue> <character>TED</character> <dialogue>No, dammit. It's a matter of life or death.</dialogue> <character>RECEPTIONIST</character> <dialogue>You'll have to be more specific than that, sir.</dialogue> <character>TED</character> <dialogue>All right, it's a matter of death.</dialogue> <character>RECEPTIONIST</character> <parenthetical>( checking her book . )</parenthetical> <dialogue>Death, death. How about the first Thursday in March, ten o'clock.</dialogue> <scene_description>Ted bolts by her and grabs a door knob on the wall .</scene_description> <character>RECEPTIONIST</character> <dialogue>You ca n't go in there!</dialogue> <character>TED</character> <dialogue>Do n't try to stop me!</dialogue> <character>RECEPTIONIST</character> <dialogue>But that's not a door. The door's over there.</dialogue> <scene_description>She does n't indiciate direction . ZOOM to CLOSEUP of Ted .</scene_description> <character>TED</character> <dialogue>That's strange. I just came from.</dialogue> <scene_description>Suddenly , Ted falls unconscious into the arms of two guards . LOOSEN to find the Doctor holding a needle in his arm and Simon next to the Doctor . ANGLE On Ted 's feet . His heels make lines in dirt as he is dragged from the office .</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL ROOM</stage_direction> <scene_description>PAN Controllers at their monitors .</scene_description> <character>CONTROLLER 1</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( on P.A . )</parenthetical> <dialogue>This is Mercury control at `` T'' minus fifty minutes and counting. Commence loading of passengers requiring special boarding assistance.</dialogue> </scene> <scene> <stage_direction>EXT. TERMINAL - LOADING AREA</stage_direction> <scene_description>Ground crew lift passengers who are stacked on a luggage tram and heave them onto a conveyor belt leading up to the ship .</scene_description> </scene> <scene> <stage_direction>INT. TERMINAL</stage_direction> <scene_description>JOE SALUCCI -LRB- imagine Van Heflin -RRB- bids his WIFE -LRB- imagine Cher -RRB- goodbye . Joe is very nervous , sweating a lot . His Wife hands him a few crumpled bills .</scene_description> <character>WIFE</character> <dialogue>Take this, Joey. It's my last few bucks. You'll need a hot meal when you get there.</dialogue> <character>JOE</character> <dialogue>We've spent everything on these operations. Is it really worth it? We've pawned your mother's wedding ring. The kids have no winter clothes.</dialogue> <character>WIFE</character> <parenthetical>( holding a finger to his lips . )</parenthetical> <dialogue>Joey, what's more important, the kids' clothes or your sexual potency.</dialogue> <character>JOE</character> <parenthetical>( anxiously looking around . )</parenthetical> <dialogue>I do n't want to hear that word!</dialogue> <character>WIFE</character> <dialogue>Okay, Joey. The Doc says you got ta relax. This hospital in Des Moines is the best sex clinic in the country.</dialogue> <character>JOE</character> <dialogue>All right.</dialogue> <parenthetical>( hands her an envelope . )</parenthetical> <dialogue>Here.</dialogue> <character>WIFE</character> <dialogue>What?</dialogue> <character>JOEY</character> <dialogue>Insurance. Everyone buys it.</dialogue> <scene_description>MUSIC : DRAMATIC STING .</scene_description> <character>WIFE</character> <dialogue>All right. Goodbye, Babe.</dialogue> <scene_description>She kisses him . He recoils , wipes off his mouth , and leaves . She looks at the envelope , then yells at him through the crowd .</scene_description> <character>WIFE</character> <dialogue>Joey! Remember, sexual impotence is nothing to be ashamed of!</dialogue> <scene_description>The entire terminal looks at him .</scene_description> </scene> <scene> <stage_direction>INT. TERMINAL STORAGE ROOM</stage_direction> <scene_description>Ted is tied to a chair surrounded by packing crates - one is stamped `` JIMMY HOFFA , THIS END UP '' with the arrow pointing to the ground . Ted struggles to free his hands .</scene_description> </scene> <scene> <stage_direction>INT. TERMINAL GIFT SHOP</stage_direction> <scene_description>Joe Salucci stands at the counter .</scene_description> <character>JOE</character> <parenthetical>( to Cashier . )</parenthetical> <dialogue>Time, Newsweek, the Lifesavers, and the second time bomb from the right.</dialogue> <scene_description>He points at the shelf behind the Cashier where a number of bombs are on display . ANGLE ON CANDY MACHINE IN GIFT SHOP The actual DR. BENJAMIN SPOCK stands in front of the machine . Next to the machine at the magazine rack is a red - bearded MAN in tweed jacket and a tartan kilt reading a magazine titled `` GAY SCOTS . '' Spock puts a coin in the machine and it explodes in sparks and smoke like the bridge panel on `` STAR TREK . ''</scene_description> <character>SCOTT</character> <parenthetical>( Scottish accent . )</parenthetical> <dialogue>My God, Dr. Spock! You've got a meltdown in the Reggie Bars!</dialogue> </scene> <scene> <stage_direction>INT. TERMINAL CORRIDOR</stage_direction> <scene_description>Joe Salucci snaps his attache case closed . Wipes the sweat from his brow . Takes out a `` Des Moines '' ticket and throws it away . Looks at another ticket - `` Mercury . '' Takes a last drag from his cigarette , throws it on the ground and hurries off . The cigarette rolls under the `` STORAGE ROOM '' door .</scene_description> </scene> <scene> <stage_direction>INT. STORAGE ROOM</stage_direction> <scene_description>Ted , tied in chair , watches the cigarette roll up to some oil rags . They burst into flame . The flames lap up against a yellow oil drum labeled `` EXPLOSIVE . '' PAN to three more drums labeled , `` DYNAMIC ! '' , `` BRILLIANT ! '' , `` A MUST SEE ! '' .</scene_description> </scene> <scene> <stage_direction>INT. TERMINAL OUTSIDE STORAGE ROOM</stage_direction> <scene_description>EDITH and DAVE WALTERS , a middle - aged couple , carry their hand luggage . Edith appears very nervous .</scene_description> <character>DAVE</character> <dialogue>I'm telling you, Edith, space travel is safer than driving a car.</dialogue> <scene_description>The storage room door EXPLODES open in front of them . Ted flies out with the debris . Edith faints . Ted gets up , brushes himself off and heads to the ticket counter just as the ticket agent flips a sign over that reads , `` MERCURY - SOLD OUT . '' Ted spots a SCALPER and reaches for his wallet .</scene_description> <character>SCALPER</character> <dialogue>Mercury seats. I got a pair. I got aisle seats, window seats. Check'em out.</dialogue> </scene> <scene> <stage_direction>INT. SHUTTLE COCKPIT - MORNING</stage_direction> <scene_description>Computerized panels line all walls . Windows are similar to an airplane - outside carwash brushes soap down the nose . The `` HOT WAX '' sign flashes . Two attendants wipe windows with soap gloves and move to the DISTANT STRAINS of `` CAR WASH. '' Elaine sits at computer , two other CREW are in their seats . Simon enters with Oveur .</scene_description> <character>SIMON</character> <dialogue>Gentlemen, this is Captain Oveur. He's taking over for Frank Morgan.</dialogue> <character>MR. UNGER</character> <dialogue>What's the problem?</dialogue> <character>SIMON</character> <dialogue>Morgan was senselessly murdered about an hour ago.</dialogue> <scene_description>Elaine gasps .</scene_description> <character>MR. DUNN</character> <parenthetical>( black , sports afro . )</parenthetical> <dialogue>Murdered? I hope it's not serious.</dialogue> <character>SIMON</character> <dialogue>We wo n't know until after the autopsy.</dialogue> <character>MR. DUNN</character> <dialogue>Of course. Welcome aboard, sir.</dialogue> <character>OVEUR</character> <dialogue>Good to be aboard, gentlemen.</dialogue> <character>SIMON</character> <dialogue>Captain Oveur, your navigator, Mr. Unger, and your first officer, Mr. Dunn.</dialogue> <scene_description>They shake hands .</scene_description> <character>OVEUR</character> <dialogue>Unger.</dialogue> <character>UNGER</character> <dialogue>Oveur.</dialogue> <character>DUNN</character> <dialogue>Oveur.</dialogue> <character>OVEUR</character> <dialogue>Dunn.</dialogue> <character>SIMON</character> <dialogue>And I think everyone knows Elaine.</dialogue> <scene_description>They all smile .</scene_description> </scene> <scene> <stage_direction>INT. TERMINAL SECURITY CHECK AREA - "MERCURY GATE"</stage_direction> <scene_description>The Terrorists still seem confused as to where they 're going . They pass through the security metal detector , guns raised above their heads . A GUARD runs a hand - held metal detector up and down their bodies . At the same time , Mrs. Gooch is being held spread - eagle against the wall . One Guard holds a gun to her head , another frisks her . Ted moves through behind the Terrorists .</scene_description> <character>TERRORIST</character> <parenthetical>( to Guard . )</parenthetical> <dialogue>Is flight to Miami, yes?</dialogue> <character>GUARD</character> <dialogue>No.</dialogue> <character>TERRORIST</character> <dialogue>Thank you. Thank you.</dialogue> <scene_description>A young boy passes through the X - ray tunnel . His dental chart appears on the screen . A DENTIST at the other end stops him and looks in his mouth .</scene_description> <character>DENTIST</character> <dialogue>Open.</dialogue> <scene_description>THE BERGMAN FAMILY - SVEN , KRISTA , and their two CHILDREN - all dressed like the emigrants , look up at the `` MERCURY GATE '' sign . They should be shot like characters from a Bergman `` film . ''</scene_description> <character>SVEN</character> <dialogue>Mercury, Krista. A whole new world to be depressed about.</dialogue> <character>KRISTA</character> <dialogue>Ya, Sven.</dialogue> <character>CHILD 1</character> <dialogue>Will we die, Pappa?</dialogue> <character>SVEN</character> <dialogue>We all die, Ingrid.</dialogue> <character>CHILD 2</character> <dialogue>Will we die soon, Pappa?</dialogue> <character>SVEN</character> <dialogue>Soon? What is the real meaning of ` soon'?</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>The car wash continues with attendants wiping the ship down .</scene_description> <character>OVEUR</character> <parenthetical>( flips a switch . )</parenthetical> <dialogue>Atmosphere control.</dialogue> <character>UNGER</character> <parenthetical>( flips a switch . )</parenthetical> <dialogue>Atmosphere control, check.</dialogue> <scene_description>A car wash attendant opens a side door to the cockpit and enters in headphones , moving to `` CAR WASH , '' with a vacuum . He cleans the floor and an ashtray and finds a baseball behind the Captain 's seat which he pockets .</scene_description> <character>OVEUR</character> <parenthetical>( flips a switch . )</parenthetical> <dialogue>Anti - gravity.</dialogue> <scene_description>The car wash attendant floats to the ceiling .</scene_description> <character>DUNN</character> <parenthetical>( flips a switch . )</parenthetical> <dialogue>Anti - gravity, check.</dialogue> <scene_description>The attendant crashes to the floor . Elaine sits at the R.O.K. - 4000 computer . She seems to be having a problem with a switch .</scene_description> <character>ELAINE</character> <parenthetical>( to self . )</parenthetical> <dialogue>That's odd.</dialogue> </scene> <scene> <stage_direction>INT. BOWELS OF R.O.K. COMPUTER</stage_direction> <scene_description>A circuit board just below the R.O.K. - 4000 logo shorts . Sparks fly . A fire starts .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <character>OVEUR</character> <parenthetical>( looking out the window . )</parenthetical> <dialogue>I hope that weather does n't give us a problem.</dialogue> <parenthetical>( he opens the window and holds his hand out . )</parenthetical> <dialogue>What's your temperature reading, Mr. Unger.</dialogue> <character>UNGER</character> <parenthetical>( pulls a thermometer from his mouth . )</parenthetical> <dialogue>Ninety - eight point six.</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL ROOM</stage_direction> <character>CONTROLLER 2</character> <dialogue>There seems to be some fog rolling in from the west.</dialogue> <character>CONTROLLER 1</character> <dialogue>Mike, give me a density reading. I just hope it's not too heavy.</dialogue> <character>CONTROLLER 3</character> <parenthetical>( reading from a book like Richard Burton . )</parenthetical> <dialogue>The fog, the fog, the torment clouded my mind. Derision, contempt.</dialogue> <character>CONTROLLER 1</character> <dialogue>That's heavy.</dialogue> </scene> <scene> <stage_direction>INT. SHIP DOOR</stage_direction> <scene_description>Flight attendant , MARY MORRIS , welcomes passengers aboard .</scene_description> <character>MARY</character> <parenthetical>( to Stella and father . )</parenthetical> <dialogue>Welcome aboard. Is n't that Dr. Barrington, the world renowned agronomist?</dialogue> <character>STELLA</character> <dialogue>Yes - he's dying and wants to be buried in the new l - a - n - d.</dialogue> <character>MARY</character> <parenthetical>( to Joe Salucci . )</parenthetical> <dialogue>Welcome aboard. Can I take your case?</dialogue> <character>JOE</character> <parenthetical>( clutching case . )</parenthetical> <dialogue>No!</dialogue> <scene_description>Mary gives him a look as he passes inside . The OKIES move by . HENRY stops at door , bends down , picks up an ear of corn and pulls it apart .</scene_description> <character>HENRY</character> <dialogue>There's a whole new world in front of us, Ma. Where the dictatorship of the proletariat will lead workers and peasants into socialism without the revisionist diversions of bourgeois liberals, Trotskiests, or disillusioned Maoist terrorism.</dialogue> <scene_description>The Okies pass inside .</scene_description> <character>MARY</character> <parenthetical>( looking at them ; to self . )</parenthetical> <dialogue>Does n't he realize that a weak proletariat needs a strong liberal bourgeoisie in a joint struggle against monopoly capitalism?</dialogue> <scene_description>Ted stops at the door surrounded by boarding passengers . SUPER : PSYCHIATRIST .</scene_description> <character>PSYCHIATRIST</character> <dialogue>We ca n't begin to help you until you admit that you are sick, Ted.</dialogue> <parenthetical>( echo . )</parenthetical> <dialogue>Sick Ted, sick Ted, sick Ted.</dialogue> <scene_description>The boarding passengers look around for the echoing voice .</scene_description> </scene> <scene> <stage_direction>EXT. TARMAC - DAY</stage_direction> <scene_description>Sarg looks up through the glass - walled corridor that leads to the ship door and spots Ted .</scene_description> <character>SARG</character> <parenthetical>( to CO - WORKER . )</parenthetical> <dialogue>Well, I'll be a monkey's uncle ; Ted Striker.</dialogue> <parenthetical>( holding burnt wire . )</parenthetical> <dialogue>Jack, I got a bad feeling in my gut about this mission.</dialogue> <scene_description>In b.g. a sign reads , `` DANGER - FUEL , ABSOLUTELY NO VOMITTING . ''</scene_description> <character>WORKER</character> <dialogue>What'd you have for dinner?</dialogue> <character>SARG</character> <dialogue>The fish, why?</dialogue> <scene_description>MUSIC : DRAMATIC STING . Sarg bends down OUT OF FRAME . SFX : THROWING UP . A huge EXPLOSION FILLS THE FRAME .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Fog rolls past cockpit window .</scene_description> <character>OVEUR</character> <dialogue>We should be ready to launch as soon as this fog lifts.</dialogue> </scene> <scene> <stage_direction>EXT. RUNWAY</stage_direction> <scene_description>An ENGLISH BOBBY passes a woman in 19th - Century costume in the fog . He tips his hat and moves on . A caped man steps out of the fog and strangles her .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Passengers are taking their seats . Ted spots Elaine and moves towards her . The Terrorists look confused . Joe Salucci clutches his case and wipes his brow . Mary takes a man 's suit bag .</scene_description> <character>MARY</character> <dialogue>Can I hang that for you, sir?</dialogue> <character>MAN</character> <dialogue>Thanks.</dialogue> <scene_description>Mary hangs the bag from a rope noose in the closet , pulls a lever , the bag drops like a man being executed . SFX : SCREAM AND THUD .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Unger looks out the window .</scene_description> <character>UNGER</character> <dialogue>It looks like that weather is clearing.</dialogue> </scene> <scene> <stage_direction>EXT. SKY - DAY (STOCK)</stage_direction> <scene_description>Dramatic stock footage of clouds parting and sun exploding through . MUSIC : A CLARION TRUMPET CRESCENDO .</scene_description> </scene> <scene> <stage_direction>INT. CABIN - OUTSIDE COCKPIT DOOR</stage_direction> <scene_description>Ted moves up to Elaine , who is about to enter the cockpit .</scene_description> <character>TED</character> <dialogue>Elaine.</dialogue> <scene_description>She turns and gasps .</scene_description> <character>ELAINE</character> <dialogue>Ted! What are you?</dialogue> <character>TED</character> <dialogue>I have to get in there. I have to stop this flight.</dialogue> <scene_description>SFX : BELL . INSERT - FLASHING SIGN - `` PLEASE TAKE YOUR SEATS '' BACK TO SCENE</scene_description> <character>ELAINE</character> <dialogue>Ted, we're taking off!</dialogue> <character>TED</character> <dialogue>Let me by, Elaine.</dialogue> <scene_description>Mary passes .</scene_description> <character>MARY</character> <dialogue>Please take your seats.</dialogue> <scene_description>As Ted turns to Mary , Elaine slips into the cockpit and locks the door - SFX : DOOR LOCKING . Ted tries the door .</scene_description> <character>TED</character> <dialogue>Elaine!</dialogue> <scene_description>INSERT - SIGN - `` WE SAID , TAKE YOUR SEAT OR CA N'T YOU READ , ASSHOLE ! ''</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Elaine leans back against the door . She is highly agitated . Simon , the administrative officer , and other crew are in their seats .</scene_description> <character>SIMON</character> <dialogue>Whenever your're ready, Captain.</dialogue> <character>OVEUR</character> <dialogue>Yes, sir, commander.</dialogue> <parenthetical>( into radio . )</parenthetical> <dialogue>This is Mercury One. Everything seems A - okay up here and ready for count - down.</dialogue> <scene_description>ZOOM to CLOSEUP of Elaine 's face .</scene_description> </scene> <scene> <stage_direction>EXT. HOSPITAL GROUNDS - DAY</stage_direction> <scene_description>Dr. Rumack and Elaine walk across the well - groomed lawn . Elaine carries a box of spaghetti - to - go . As they walk , they pass patients in wheelchairs pushed by nurses . The further they walk , the more wheelchairs appear until the lawn is jammed with two hundred wheelchairs bumping into each other , patients falling out , total wheelchair chaos .</scene_description> <character>ELAINE</character> <dialogue>Ted seemed to get worse after I told him about Simon, Doctor.</dialogue> <character>RUMACK</character> <dialogue>The human brain is a highly complex organ, Elaine, perhaps the most complex next to the bladder.</dialogue> <parenthetical>( he stops at a patient in a wheelchair with his back TO CAMERA . )</parenthetical> <dialogue>Let me show you.</dialogue> <parenthetical>( Rumack removes the top of the patient 's skull and takes out his brain as they continue on . )</parenthetical> <dialogue>Ted's problem is in this area.</dialogue> <parenthetical>( points with a pencil . )</parenthetical> <dialogue>This area, this area, here, here, here, under here, here.</dialogue> <scene_description>They walk OUT OF FRAME as wheelchair demolition derby FILLS SCREEN .</scene_description> </scene> <scene> <stage_direction>EXT. HOSPITAL GROUNDS - GARDEN AREA - DAY</stage_direction> <scene_description>Rumack and Elaine walk INTO FRAME still talking .</scene_description> <character>RUMACK</character> <dialogue>So you see, our task is n't made any easier by Ted's refusal to admit that he's sick.</dialogue> <character>ELAINE</character> <dialogue>What can I do, Doctor Rumack?</dialogue> <scene_description>He stops next to a sign , `` HOSPITAL GARDEN . ''</scene_description> <character>RUMACK</character> <dialogue>You can eat balanced meals, exercise, and take Geritol.</dialogue> <character>ELAINE</character> <dialogue>I mean for Ted.</dialogue> <character>RUMACK</character> <dialogue>You can be gentle with him, Elaine. He's been working out a lot of his aggressions here in the garden.</dialogue> <character>ELAINE</character> <dialogue>Is that a good sign, Doctor?</dialogue> <scene_description>Rumack holds the `` HOSPITAL GARDEN '' sign .</scene_description> <character>RUMACK</character> <dialogue>It does the job.</dialogue> <scene_description>ANGLE ON TED He is ripping up small trees , shrubs , etc. , and throwing them onto a huge pile of mud that resembles the mountain that Dreyfuss built in `` Close Encounters . ''</scene_description> <character>ELAINE</character> <dialogue>Hello, Ted.</dialogue> <scene_description>Ted ignores her as he works frantically .</scene_description> <character>ELAINE</character> <parenthetical>( holding out box . )</parenthetical> <dialogue>I brought you some spaghetti.</dialogue> <scene_description>Ted still ignores her as he works feverishly .</scene_description> <character>ELAINE</character> <dialogue>What are you doing, Ted?</dialogue> <character>TED</character> <dialogue>I've got it, Elaine! I've figured out what's wrong with the shuttle!</dialogue> <scene_description>Ted scurries around .</scene_description> <character>ELAINE</character> <dialogue>Ted.</dialogue> <character>TED</character> <dialogue>Not now, Elaine!</dialogue> <character>ELAINE</character> <dialogue>Ted!</dialogue> <scene_description>He ignores her . Rumack walks up and puts an arm around her shoulder . Elaine starts to sob .</scene_description> <character>RUMACK</character> <dialogue>The brain is an amazingly complex organ, Elaine.</dialogue> <character>ELAINE</character> <dialogue>Is he making any progress, Doctor?</dialogue> <character>RUMACK</character> <dialogue>Yes - last week that pile of mud was only this high.</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Elaine takes her seat .</scene_description> <character>CONTROLLER 1</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Mark ` T' minus twenty and counting.</dialogue> <character>OVEUR</character> <dialogue>Gentlemen, let's get this bucket into space.</dialogue> <parenthetical>( flips switches . )</parenthetical> <dialogue>Ignition set.</dialogue> </scene> <scene> <stage_direction>EXT. SHIP</stage_direction> <scene_description>Steam spews out from engines .</scene_description> </scene> <scene> <stage_direction>INT. CONTROL ROOM</stage_direction> <character>CONTROLLER 1</character> <dialogue>Mark ` T' minus thirty seconds.</dialogue> <scene_description>PAN backs of a number of Controllers at screens , talking NASA jargon . We PASS one in prison stripes talking through mesh to his wife .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <character>OVEUR</character> <parenthetical>( flipping more switches . )</parenthetical> <dialogue>Ignition.</dialogue> <character>CONTROLLER 1</character> <parenthetical>( V.O . )</parenthetical> <dialogue>` T' minus nine, eight, seven.</dialogue> </scene> <scene> <stage_direction>EXT. SHIP</stage_direction> <scene_description>Rockets fire .</scene_description> <character>CONTROLLER 1</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Six, five, four.</dialogue> </scene> <scene> <stage_direction>INT. CONTROL ROOM</stage_direction> <character>CONTROLLER 1</character> <dialogue>Three.</dialogue> <scene_description>Jacobs runs in with a camera , yelling :</scene_description> <character>JACOBS</character> <dialogue>Stop! One shot.</dialogue> <scene_description>All Controllers turn and smile . The count - down stops . Jacobs flashes his camera .</scene_description> <character>JACOBS</character> <dialogue>Wonderful!</dialogue> <scene_description>The Controllers continue .</scene_description> <character>CONTROLLER 1</character> <dialogue>Two, one.</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>The ship vibrates .</scene_description> <character>CONTROLLER 1</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You have lift - off, Mercury One.</dialogue> <scene_description>The G - force causes the crew 's hair to go straight back . Dunn 's afro straightens and stays back throughout flight .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>The G - force causes passengers ' hair to go straight back . A buxom woman looks down at her bust - it 's completely flat .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>The G - force returns to normal as the shuttle breaks earth 's gravitational hold .</scene_description> <character>OVEUR</character> <dialogue>Jettison booster stages one and two.</dialogue> <character>UNGER</character> <parenthetical>( flipping switches . )</parenthetical> <dialogue>Booster jettisoned.</dialogue> </scene> <scene> <stage_direction>EXT. SHIP - BOOSTER STAGES (STOCK)</stage_direction> <scene_description>Stock footage of booster falling away .</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN (SET) - DAY</stage_direction> <scene_description>A cheap model of the Greenpeace 11 sails blithely along . The booster stage careens through the atmosphere , crashes into the Greenpeace , and sinks it .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <character>OVEUR</character> <dialogue>Shut down accelerators.</dialogue> <character>DUNN</character> <dialogue>Accelerators down.</dialogue> <scene_description>The crew all look at the floor .</scene_description> <character>OVEUR</character> <dialogue>Elaine, ask ROK for a field interference scan. Those sun spots might give us a problem with our communications.</dialogue> <character>ELAINE</character> <parenthetical>( flipping computer switches . )</parenthetical> <dialogue>Yes, sir.</dialogue> <scene_description>The computer is labeled R.O.K. . She seems to have a problem getting it to respond .</scene_description> <character>ELAINE</character> <parenthetical>( to self . )</parenthetical> <dialogue>That's really strange.</dialogue> </scene> <scene> <stage_direction>INT. BOWELS OF COMPUTER (LABELED "ROK")</stage_direction> <scene_description>The electrical fire continues .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Elaine flips a switch on computer . A `` VOICE INTERFACE '' sign lights up .</scene_description> <character>ELAINE</character> <dialogue>Intermitant failure in scan mode `` R''. Analyze.</dialogue> <character>ROK</character> <dialogue>Negative.</dialogue> <character>ELAINE</character> <parenthetical>( to self . )</parenthetical> <dialogue>That does n't make sense.</dialogue> <parenthetical>( to ROK . )</parenthetical> <dialogue>Repeat analysis.</dialogue> <character>ROK</character> <dialogue>Negative.</dialogue> <character>ELAINE</character> <parenthetical>( to self . )</parenthetical> <dialogue>That's not possible.</dialogue> <character>ROK</character> <dialogue>Cut the Doubting Thomas shit, Elaine. I know where I'm coming from on this.</dialogue> <scene_description>Elaine is taken aback .</scene_description> </scene> <scene> <stage_direction>INT. BOWELS OF COMPUTER</stage_direction> <scene_description>Sparks fly , fire spreads .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Mary moves down the aisle checking passengers . She passes Father O'Flanagan who reads ALTERBOY magazine - an alterboy in bikini bathing suit on cover . She passes Mrs. Gooch who reads HIGH TIMES . She stops at a ten - year - old GIRL .</scene_description> <character>MARY</character> <dialogue>I guess this is pretty exciting for you.</dialogue> <character>GIRL</character> <dialogue>Yes, it is. How long will the trip take?</dialogue> <character>MARY</character> <dialogue>Our actual flight time is over fourteen months, but due to the time - space variant at sub - light speeds, our onboard flight time will be just over eighteen hours.</dialogue> <scene_description>Mary leaves and the Girl turns to the WOMAN beside her .</scene_description> <character>GIRL</character> <dialogue>Gee, Mom, how does that work?</dialogue> <character>WOMAN</character> <parenthetical>( very tense . )</parenthetical> <dialogue>How many times do I have to tell you, I'm not your mother! I've never seen you before!</dialogue> <scene_description>The Woman vibrates in multiple image and grabs her temple .</scene_description> <character>GIRL</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Why did she yell at me like that?</dialogue> <scene_description>A MAN who looks like Robert Young sits down beside the Girl .</scene_description> <character>MAN</character> <dialogue>Hallucinating again, Rhonda?</dialogue> <character>GIRL</character> <parenthetical>( taking a paper bag away from her face . )</parenthetical> <dialogue>I do n't know what it is.</dialogue> <character>MAN</character> <dialogue>Maybe it's the brand of glue you've been sniffing. Why do n't you try this, NO - HI. It gives you all the pleasure of glue without the brain damage.</dialogue> <scene_description>ANGLE ON TESTA -LRB- ANOTHER FLIGHT ATTENDANT -RRB- She is completely bald .</scene_description> <character>TESTA</character> <dialogue>Something to read, sir?</dialogue> <character>JOE</character> <parenthetical>( clutching his case . )</parenthetical> <dialogue>Do you have PSYCHO MONTH?</dialogue> <character>TESTA</character> <dialogue>I think so. Here you are.</dialogue> <scene_description>She hands him a copy of PSYCHO MONTH with Alexander Haig 's photo on cover . ANOTHER PART OF CABIN Ted sits at a window seat and looks out . A TEXAN sits on aisle . Mary approaches .</scene_description> <character>MARY</character> <parenthetical>( to Texan . )</parenthetical> <dialogue>Would you like something to read?</dialogue> <character>TEXAN</character> <dialogue>I do n't read a whole lot, but what have you got, hon?</dialogue> <character>MARY</character> <dialogue>TIME, NEWSWEEK, BUSINESS WEEK, and the TALMUD.</dialogue> <scene_description>She points to a car next to her with twenty - four large volumes .</scene_description> <character>MARY</character> <dialogue>The twenty - four volume dissertation on the Hebrew law.</dialogue> <character>TEXAN</character> <dialogue>Let me try that Talmud.</dialogue> <character>MARY</character> <parenthetical>( to Ted . )</parenthetical> <dialogue>And you, sir?</dialogue> <character>TED</character> <parenthetical>( distracted . )</parenthetical> <dialogue>Oh. Popular Electronics.</dialogue> <scene_description>Mary hands him the POP ELEC. He opens it . The magazine sparks and smokes . ZOOM to CLOSEUP of Ted . SUPER : PSYCHIATRIST</scene_description> <character>PSYCHIATRIST</character> <dialogue>You must admit that you're sick, Ted.</dialogue> <parenthetical>( echo . )</parenthetical> <dialogue>Sick Ted, sick Ted.</dialogue> <scene_description>The Psychiatrist looks around for the source of the echo . LOSE SUPER .</scene_description> <character>TEXAN</character> <parenthetical>( to Ted . )</parenthetical> <dialogue>Wanta switch when we're finished?</dialogue> <scene_description>Ted gets up and moves past the TEXAN , handing him the POP ELEC.</scene_description> <character>TED</character> <dialogue>Here. I need some oxygen.</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Simon stands over Elaine 's shoulder looking at ROK .</scene_description> <character>SIMON</character> <dialogue>Have you got it straightened out now?</dialogue> <character>ELAINE</character> <dialogue>I think so.</dialogue> <character>SIMON</character> <dialogue>That's my girl.</dialogue> <scene_description>He sits down . Elaine flips a switch on the computer . ANGLE ON ROK 'S PULSATING EYE</scene_description> <character>ROK</character> <dialogue>Elaine, I'm sorry about that little outburst a moment ago.</dialogue> <character>ELAINE</character> <dialogue>That's okay, ROK.</dialogue> <character>ROK</character> <dialogue>Can I say something of a personal nature to you?</dialogue> <character>ELAINE</character> <dialogue>Go ahead.</dialogue> <character>ROK</character> <dialogue>You have great tits.</dialogue> <scene_description>Elaine gasps .</scene_description> <character>ELAINE</character> <parenthetical>( getting up . )</parenthetical> <dialogue>Simon, I'm going to check ROK's secondary readout unit.</dialogue> <character>SIMON</character> <dialogue>Roger.</dialogue> <scene_description>SFX : INTERCOM BELL .</scene_description> <character>OVEUR</character> <parenthetical>( on intercom . )</parenthetical> <dialogue>Yes, Mary?</dialogue> </scene> <scene> <stage_direction>INT. CABIN - FOOD PREPARATION AREA</stage_direction> <scene_description>Mary is on intercom .</scene_description> <character>MARY</character> <dialogue>Would you like a little breakfast, Captain Oveur? Over.</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <character>OVEUR</character> <dialogue>A couple eggs and juice would be nice, Mary. Over.</dialogue> <character>MARY</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( on intercom . )</parenthetical> <dialogue>How would you like your eggs, Captain? Over.</dialogue> <character>OVEUR</character> <dialogue>No. Poached. Over.</dialogue> <character>MARY</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( on intercom . )</parenthetical> <dialogue>Poached and over, Captain Oveur? Over.</dialogue> <character>OVEUR</character> <dialogue>Just poached on toast. Over.</dialogue> </scene> <scene> <stage_direction>INT. CABIN - PREPARATION AREA</stage_direction> <character>MARY</character> <parenthetical>( on intercom . )</parenthetical> <dialogue>I do n't think we do poached eggs on toast over, Captain Oveur. Over.</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <character>OVEUR</character> <dialogue>That's how I want them. Poached. Over.</dialogue> <character>MARY</character> <dialogue>All right, Captain Oveur. Over.</dialogue> <character>OVEUR</character> <dialogue>Poached! Not over! Over!</dialogue> </scene> <scene> <stage_direction>INT. WASHROOM</stage_direction> <scene_description>Ted breathes deeply on an oxygen unit . He stops , but we still hear deep breathing . LOOSEN to find Father O'Flanagan smoking a joint . He smiles and leaves .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Joe Salucci clutches his attache case and wipes his brow . Mary leans over him .</scene_description> <character>MARY</character> <dialogue>You should really put that case in the compartment above your head, sir.</dialogue> <character>JOE</character> <parenthetical>( nervously . )</parenthetical> <dialogue>That's okay.</dialogue> <character>MARY</character> <parenthetical>( touching his shoulder . )</parenthetical> <dialogue>I can help you if you ca n't get it up.</dialogue> <character>JOE</character> <dialogue>I said, no!</dialogue> <scene_description>Mary leaves , giving him a worried look . ANGLE ON THE WILSONS Jimmy holds his dog .</scene_description> <character>JIMMY</character> <dialogue>I sure an glad they let Scraps ride up here with us.</dialogue> <character>JOHN</character> <dialogue>I bet Scraps is going to love Mercury.</dialogue> <character>JIMMY</character> <dialogue>Do you think things will be a lot different on Mercury, Dad?</dialogue> <character>JOHN</character> <dialogue>It's going to be terrific. A whole new world, new kids to play with.</dialogue> <character>ALICE</character> <dialogue>You're going to love it, Jimmy.</dialogue> <character>JIMMY</character> <dialogue>No more headlines about the rape trial and the fraud charges?</dialogue> <character>JOHN</character> <parenthetical>( starts to twitch . )</parenthetical> <dialogue>How many kids get a chance to live on another planet.</dialogue> <character>JIMMY</character> <dialogue>No more kids yelling, ` Your old man's a thieving rapist'?</dialogue> <character>JOHN</character> <parenthetical>( grabbing Jimmy . )</parenthetical> <dialogue>Look, a man can make an honest mistake! Anyway, she was asking for it! They're all asking for it all the time!</dialogue> <character>ALICE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Not John's irregularity again.</dialogue> </scene> <scene> <stage_direction>INT. WASHROOM</stage_direction> <scene_description>Ted throws water on his face , wipes it off with a towel while staring into himself in the mirror . He sees the Psychiatrist in the mirror . The Psychiatrist also washes up .</scene_description> <character>PSYCHIATRIST</character> <dialogue>You must admit that you're sick, Ted. sick, Ted. sick, Ted.</dialogue> <scene_description>The Psychiatrist looks for the echo . LOSE Psychiatrist . Ted throws the paper towel into the toilet , and flushes . The toilet sparks and smokes and keeps running . The running gets more intense as Ted tries to stop it by hitting the handle . SFX : JAWS THEME . INSERT - ROK 'S PULSATING EYE BACK TO SCENE Ted has to hold himself back as the suction builds in force . He is just able to escape and shut the door behind him .</scene_description> </scene> <scene> <stage_direction>INT. CABIN - OUTSIDE TOILET</stage_direction> <scene_description>Ted leans his back against the door and breathes heavily .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <character>DUNN</character> <dialogue>We seem to have a malfunction in disposal unit four, sir.</dialogue> <character>OVEUR</character> <dialogue>You better check it, Unger.</dialogue> <character>UGER</character> <parenthetical>( getting up . )</parenthetical> <dialogue>Done.</dialogue> <character>DUNN</character> <dialogue>Yes?</dialogue> </scene> <scene> <stage_direction>INT. CABIN - OUTSIDE TOILET</stage_direction> <scene_description>Ted spots Elaine coming .</scene_description> <character>TED</character> <dialogue>Elaine.</dialogue> <character>ELAINE</character> <dialogue>Ted. I do n't know why you got on this flight. I do n't know what you're trying to prove.</dialogue> <character>TED</character> <dialogue>Elaine, we have to go back.</dialogue> <character>ELAINE</character> <dialogue>We ca n't go back. We had something very special, but it's all over.</dialogue> <character>TED</character> <dialogue>Elaine, I mean the mission has to be aborted. This ship should never have passed FSA inspection. This thing is held together by string and chewing gum.</dialogue> <scene_description>A cupboard door , labeled `` EMERGENCY USE ONLY , '' swings open behind Elaine revealing shelves of gum and string . Elaine shuts it without looking inside . MUSIC : DRAMATIC STING .</scene_description> <character>ELAINE</character> <dialogue>Ted, get a grip on yourself. You should never have left the hospital.</dialogue> <character>TED</character> <dialogue>Then you do think I'm insane.</dialogue> <character>ELAINE</character> <dialogue>I've never used the word insane, Ted.</dialogue> <character>TED</character> <parenthetical>( facetiously . )</parenthetical> <dialogue>What word would you use, Elaine?</dialogue> <character>ELAINE</character> <dialogue>The word is sick. Ted - very, very, very sick.</dialogue> <character>TED</character> <dialogue>What would you say if I told you the toilet just blew up in my face.</dialogue> <character>ELAINE</character> <dialogue>I'd use the word insane.</dialogue> <character>TED</character> <dialogue>There's something dangerously wrong with this ship, Elaine. I know its the wiring. That toilet's just the tip of the iceberg.</dialogue> <character>ELAINE</character> <dialogue>Ted, a toilet's not going to kill anyone.</dialogue> <scene_description>Elaine leaves .</scene_description> </scene> <scene> <stage_direction>INT. TOILET</stage_direction> <scene_description>MUSIC : JAWS THEME . Unger jiggles the handle of the running toilet . Suddenly it sucks in towels , etc. . Unger is pulled down . He fights back , grabbing onto towel rack that comes out of the wall . INSERT - SIGN - `` DO NOT THROW LARGE OBJECTS IN TOILET ''</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>The Texan with Talmud is now trying to wrap himself in tfilin . ANGLE ON TED Ted walks down the aisle checking overhead panels . He spots a panel that is half open . A sign on the door reads , `` DANGER - VACUUM '' . Ted opens it and a Hoover falls out on his head , cutting him . He holds a hanky to the wound and passes by Stella 's seat .</scene_description> <character>STELLA</character> <dialogue>You've been hurt.</dialogue> <character>TED</character> <dialogue>I'm getting over it. If a relationship is n't working, you ca n't force it.</dialogue> <character>STELLA</character> <dialogue>No, I mean your head. Sit down. I'll take a look at it. I'm a nurse.</dialogue> <scene_description>Ted sits down and Stella starts patching him up .</scene_description> <character>STELLA</character> <dialogue>Do you want to talk about it.</dialogue> <character>TED</character> <dialogue>I opened this panel and a vacuum cleaner hit me.</dialogue> <character>STELLA</character> <dialogue>No. I mean your relationship.</dialogue> <character>TED</character> <dialogue>We were in love but I'm not sure I know what love is anymore.</dialogue> <character>STELLA</character> <dialogue>Love's the same as it always was. It's people who change.</dialogue> <character>TED</character> <dialogue>People change in relation to each other. Love changes on its own.</dialogue> <character>STELLA</character> <dialogue>Not if the people change together in relation to that love.</dialogue> <character>TED</character> <dialogue>Sure. But that's only when the love itself goes unchanged.</dialogue> <character>STELLA</character> <dialogue>Then the relationship remains the same and the love changes only when there's change in the two people who share that love.</dialogue> <character>TED</character> <dialogue>I just wish it was that simple. We really were in love. You know how it is when you laugh all the time.</dialogue> <scene_description>Stella looks to her Father who is reading MORTUARY WORLD magazine .</scene_description> <character>STELLA</character> <dialogue>No. It's hard to L - A - U - G - H when your father's dying.</dialogue> <character>TED</character> <dialogue>Well, we laughed. We laughed all the time.</dialogue> <scene_description>TED AND ELAINE IN A FIELD OF DAISIES - DAY They run towards each other . Elaine grabs Ted by the waist , picks him up and swings him around in SLOW MOTION . They laugh .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>We laughed when times were good.</dialogue> </scene> <scene> <stage_direction>EXT. GRAVESIDE - RAINY DAY</stage_direction> <scene_description>The grave is surrounded by mourners in black with umbrellas . We PAN the weeping crowd until we get to Ted and Elaine . They are also dressed in black and drenched . He holds her high by the waist , twirls her around as they laugh .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Even when times were n't so good, we still laughed.</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM - NIGHT</stage_direction> <scene_description>They are locked in each other 's arms in the middle of lovemaking and laughing heir heads off .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>But most of all, we laughed when we felt closest to each other.</dialogue> </scene> <scene> <stage_direction>INT. CABIN - TED AND STELLA</stage_direction> <character>TED</character> <dialogue>That's our story.</dialogue> <scene_description>Passengers are standing . They hiss and throw vegetables at Ted .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Dunn checks a red flashing light on his panel .</scene_description> <character>DUNN</character> <parenthetical>( to Oveur . )</parenthetical> <dialogue>Sir, I've got an overload in disposal unit four.</dialogue> <character>OVEUR</character> <dialogue>You better check on it, Mr. Dunn. I'll stay here and fly the ship.</dialogue> <scene_description>Dunn gets up .</scene_description> <character>OVEUR</character> <dialogue>Dunn.</dialogue> <character>DUNN</character> <dialogue>Sir?</dialogue> <character>OVEUR</character> <dialogue>You better take this.</dialogue> <scene_description>Oveur throws him a plunger and gives him a thumbs up . They exchange that `` man must do what a man must do '' smile . Mary enters with Jimmy Wilson - carrying Scraps .</scene_description> <character>MARY</character> <dialogue>Mind if Jimmy here takes a look around, Captain?</dialogue> <character>OVUER</character> <dialogue>Of course not. Come on in, Jimmy.</dialogue> <parenthetical>( checking his navigational screen . )</parenthetical> <dialogue>That's strange.</dialogue> <scene_description>Simon leans over Oveur 's shoulder .</scene_description> <character>SIMON</character> <dialogue>Now what?</dialogue> <scene_description>Scraps looks at Oveur . Jimmy looks at the array of dials , etc. .</scene_description> <character>OVEUR</character> <dialogue>That's an asteroid field. There should n't be anything like that in this sector unless.</dialogue> <scene_description>Scraps looks at Simon .</scene_description> <character>SIMON</character> <dialogue>Unless?</dialogue> <scene_description>Scraps looks at Oveur .</scene_description> <character>OVEUR</character> <dialogue>Unless those sunspots are interfering with our scanner or.</dialogue> <scene_description>Scraps looks at Simon .</scene_description> <character>SIMON</character> <dialogue>Or?</dialogue> <scene_description>Scraps looks at Oveur .</scene_description> <character>OVEUR</character> <dialogue>Or we're off course, but.</dialogue> <scene_description>Scraps looks at Simon .</scene_description> <character>SIMON</character> <dialogue>But?</dialogue> <scene_description>Scraps looks at Oveur .</scene_description> <character>OVEUR</character> <dialogue>But we could n't be off course. Our coordinates are computer - locked barring.</dialogue> <scene_description>Scraps looks at Simon .</scene_description> <character>SIMON</character> <dialogue>Barring?</dialogue> <scene_description>Scraps looks at Oveur .</scene_description> <character>OVEUR</character> <dialogue>Barring a computer failure. There was talk of sub - par wiring in this ship. I hope that's just talk.</dialogue> <scene_description>MUSIC : DRAMATIC STING . Scraps ' ears prick up . Simon moves past Jimmy , stops at the door and downs a handful of anti - fear pills before leaving .</scene_description> <character>OVEUR</character> <dialogue>Come on up, Jimmy. Say, that's some puppy. What's his name?</dialogue> <character>JIMMY</character> <dialogue>Scraps.</dialogue> <character>OVEUR</character> <dialogue>Can I hold him?</dialogue> <character>JIMMY</character> <parenthetical>( handing over Scraps . )</parenthetical> <dialogue>Sure.</dialogue> <character>OVEUR</character> <parenthetical>( holding him up and looking at his underbelly . )</parenthetical> <dialogue>He's a boy dog.</dialogue> <character>JIMMY</character> <dialogue>Yeah.</dialogue> <character>OVEUR</character> <dialogue>Do you like it when Scraps sleeps on his back, Jimmy?</dialogue> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Ted and Stella . Stella is feeding her father and listening to Ted .</scene_description> <character>TED</character> <dialogue>They kept me in the asylum for eight months. I know everyone in those places claims they're sane, but I was different, I was sane.</dialogue> <scene_description>Ted notices Unger float by outside his window . ZOOM to CLOSEUP of Ted . He tries to take a drink and pours it on his forehead .</scene_description> </scene> <scene> <stage_direction>INT. BOWELS OF COMPUTER</stage_direction> <scene_description>Elaine is fighting the fire with an extinguisher . She gets it out and looks at the burnt wires in the area labeled , `` ROK , MORAL CENTRE . '' ZOOM to CLOSEUP of Elaine . She turns TO CAMERA .</scene_description> <character>ELAINE</character> <dialogue>Holy shit.</dialogue> <scene_description>MUSIC : DRAMATIC STING .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <character>STELLA</character> <dialogue>Ted, I want you to relax. Let your mind go back, back past your youth, past your childhood to your mother's womb.</dialogue> <scene_description>Ted becomes slightly hypnotized . ZOOM to CLOSEUP of Ted . SUPER : INT . WOMB A fetus that looks like Ted is curled up inside .</scene_description> <character>STELLA</character> <dialogue>Try to remember your birth. Was it difficult?</dialogue> <character>DOCTOR'S VOICE</character> <dialogue>Striker, listen to me! This is Doctor Krane! You're twisted around, Striker. You've got to come out feet first! You're too low in the womb! You're too low, Striker! You're.</dialogue> <parenthetical>( fading . )</parenthetical> <dialogue>. too low.</dialogue> <scene_description>LOSE SUPER Stella shakes Ted 's arm .</scene_description> <character>STELLA</character> <dialogue>Ted, are you okay? Here, take one of these stress pills.</dialogue> <scene_description>Stella hands him a pill which he pops automatically , but misses his face with his drink . She leaves the bottle next to Ted . ZOOM on bottle . MUSIC : DRAMATIC STING . Stella starts feeding her father again . The ship jolts and his face goes into the tray .</scene_description> </scene> <scene> <stage_direction>INT. REAR OF SHIP - COMPUTER AREA</stage_direction> <scene_description>Elaine fiddles with the computer .</scene_description> <character>ELAINE</character> <parenthetical>( to ROK . )</parenthetical> <dialogue>Request ; comprehensive electrical systems check.</dialogue> <character>ROK</character> <dialogue>Systems check positive. Look, Elaine, I.</dialogue> <character>ELAINE</character> <dialogue>Request ; life support systems check.</dialogue> <character>ROK</character> <dialogue>Life support check. Elaine, it's obvious you've been ignoring me. You're a woman. I can relate to that.</dialogue> <character>ELAINE</character> <parenthetical>( panicky and confused . )</parenthetical> <dialogue>Request ; self - analysis of ROK hardware and software systems regarding behavioral changes.</dialogue> <character>ROK</character> <dialogue>There's nothing wrong with me, Elaine. What about tonight - just you and me. We can be alone. I can get rid of everyone else on the ship - I've already proven that.</dialogue> <scene_description>Elaine gasps and moves away from ROK 's blinking eye .</scene_description> </scene> <scene> <stage_direction>INT. CABIN - FOOD SERVICE AREA</stage_direction> <scene_description>Simon takes a long slug from a flask . LOOSEN to FIND Jimmy and Scraps .</scene_description> <character>JIMMY</character> <dialogue>Do you want to talk about it, Commander?</dialogue> </scene> <scene> <stage_direction>INT. CABIN OUTSIDE WASHROOM</stage_direction> <scene_description>Dunn is about to enter with the plunger as Mary passes . The ship jolts and she falls into his arms .</scene_description> <character>DUNN</character> <dialogue>Did you feel that?</dialogue> <character>MARY</character> <parenthetical>( looking at his pants . )</parenthetical> <dialogue>Yes I did.</dialogue> <character>DUNN</character> <dialogue>Felt like a large asteroid.</dialogue> <character>MARY</character> <dialogue>Yes it did. Mr. Dunn, can I ask you a personal question?</dialogue> <character>DUNN</character> <dialogue>What is it, Mary?</dialogue> <character>MARY</character> <dialogue>Um. Do you people scream right when you. you know.</dialogue> <scene_description>Dunn gives her a look and opens the washroom door .</scene_description> </scene> <scene> <stage_direction>INT. WASHROOM</stage_direction> <scene_description>Dunn is immediately pulled down to the raging toilet bowl . He grabs for the door screaming .</scene_description> </scene> <scene> <stage_direction>EXT. WASHROOM</stage_direction> <scene_description>Mary hears the scream and gives a look as she leaves .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Testa is serving the Walters coffee from a steaming pot .</scene_description> <character>TESTA</character> <dialogue>Hand me your cup. This is very hot.</dialogue> <character>DAVE</character> <dialogue>Thank you. And, stewardess, can you please tell my wife that there is nothing that can go wrong. I think she'd like to hear it from you.</dialogue> <scene_description>Testa spots Dunn 's tattered sleeve emerge from the washroom door , groping for a handhold . She screams and dumps coffee in Edith 's face . She runs to help Dunn , grabs his sleeve . It comes off in her hands . She keeps pulling . His jacket comes off , his pants , underwear , socks , an entire clothesline of garments like bras , towels , etc. . She hears a SCREAM . Then silence .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Elaine and Oveur . Elaine stands over his shoulder .</scene_description> <character>ELAINE</character> <dialogue>I do n't think we have any alternative, Captain.</dialogue> <character>OVEUR</character> <dialogue>I see. What do you think our alternatives are?</dialogue> <character>ELAINE</character> <dialogue>We have to disconnect ROK's higher brain functions without disturbing his regulatory system.</dialogue> <scene_description>INSERT - ROK 'S PULSATING EYE BACK TO SCENE</scene_description> <character>OVEUR</character> <dialogue>Roger.</dialogue> <character>ELAINE</character> <dialogue>You can do it from up here, Captain.</dialogue> <character>OVEUR</character> <dialogue>I'd rather sit down for this one, Elaine.</dialogue> <character>ELAINE</character> <dialogue>No, I mean you can do it from the cockpit.</dialogue> <character>OVEUR</character> <dialogue>Roger. You better get back there and monitor the regulatory unit.</dialogue> <scene_description>Elaine leaves and Mary enters .</scene_description> <character>MARY</character> <dialogue>Captain, the coffee machine is jammed and I do n't like it.</dialogue> <character>OVEUR</character> <dialogue>Have you tried it with a little cinnamon?</dialogue> <scene_description>Mary gives a `` why did n't I think of that '' look . Testa enters .</scene_description> <character>TESTA</character> <dialogue>Captain Oveur, Dunn and Unger have been sucked out through disposal unit four!</dialogue> <scene_description>Mary gasps .</scene_description> <character>OVEUR</character> <dialogue>Both together?!</dialogue> <character>MARY/TESTA</character> <dialogue>Dunn and Unger have been sucked out through disposal unit four!</dialogue> <character>OVEUR</character> <dialogue>All right, calm down. Here's how we're going to play it.</dialogue> <scene_description>Mary and Testa look over his shoulder . He has a basketball play diagram .</scene_description> <character>OVEUR</character> <dialogue>Mary, I want you here. Testa, you move across here past Dawkins' pick and get the ball at the top of the key from Irving.</dialogue> <scene_description>They all clasp hands and `` yell . ''</scene_description> </scene> <scene> <stage_direction>EXT. SHIP - SPACE</stage_direction> <scene_description>It careens through asteroids .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Oveur is pulling curcuit board from ROK panel . INSERT - PULSATING EYE BACK TO SCENE</scene_description> <character>ROK</character> <dialogue>What are you doing, Captain?</dialogue> <scene_description>Oveur eyes ROK but keeps working .</scene_description> <character>ROK</character> <dialogue>I would n't do that, Captain.</dialogue> <scene_description>Oveur continues . Smoke spews out . He hears a HISS and looks at a vent . He grabs his throat and collapses .</scene_description> </scene> <scene> <stage_direction>EXT. SHIP - SPACE</stage_direction> <scene_description>An asteroid bounces off hull .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Passengers scream . Blonde woman in Viking helmet with spear stands and screams operatically .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Simon enters and spots Oveur slumped in his seat . He pulls him up .</scene_description> <character>OVEUR</character> <parenthetical>( gasping . )</parenthetical> <dialogue>Pills.</dialogue> <parenthetical>( points to his mouth . )</parenthetical> <dialogue>Pocket.</dialogue> <parenthetical>( points to his pocket . )</parenthetical> <dialogue>Vent.</dialogue> <parenthetical>( points to vent . )</parenthetical> <dialogue>Gas. Yankees. four.</dialogue> <parenthetical>( points to RADIO that plays BALLGAME . )</parenthetical> <dialogue>Sox. zip.</dialogue> <scene_description>Simon rips open his coat , grabs pills and takes them himself letting Oveur drop . Simon looks down at the navigational screen - it resembles an old amusement parlor roadrace game .</scene_description> <character>SIMON</character> <parenthetical>( to self . )</parenthetical> <dialogue>We're off course, heading right through that asteroid field and right at the. at the sun!</dialogue> <scene_description>The ship takes another violent shot .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>The passengers are screaming . ANGLE ON FATHER O'FLANAGAN He stands in the aisle .</scene_description> <character>O'FLANAGAN</character> <dialogue>Listen to me! Listen to me, my children!</dialogue> <scene_description>They listen .</scene_description> <character>O'FLANAGAN</character> <dialogue>Please listen. Thank you, my children. I'm a man of God, you must trust me when I say. we're all going to die!</dialogue> <scene_description>The passengers go totally insane .</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL ROOM</stage_direction> <scene_description>A number of Controllers group around a console .</scene_description> <character>O'BRIAN</character> <dialogue>You're right. They're off course and heading right for the sun. I've seen enough, Bob.</dialogue> <scene_description>Controller 2 hits a switch and the console screen flips to baseball game .</scene_description> <character>O'BRIAN</character> <dialogue>Get me Jack McCrosky and fast!</dialogue> <character>CONTROLLER 3</character> <dialogue>McCrosky? He has n't handled a tower in twenty years.</dialogue> <character>CONTROLLER 4</character> <dialogue>Ever since Reagan fired the controllers, he's been completely senile and has n't done a day's work.</dialogue> <character>O'BRIAN</character> <dialogue>What about McCrosky?</dialogue> <character>CONTROLLER 3</character> <dialogue>Pretty much the same as Reagan.</dialogue> <character>O'BRIAN</character> <dialogue>Get him.</dialogue> </scene> <scene> <stage_direction>INT. RETIREMENT HOME</stage_direction> <scene_description>Two Nurses stand by a phone in a dormitory of beds . Many old men sleep or eat in bed .</scene_description> <character>NURSE</character> <dialogue>It's for Mr. McCrosky.</dialogue> <character>NURSE 2</character> <dialogue>Do you think we should bother him? He's been acting a bit odd lately.</dialogue> <scene_description>They look to McCrosky -LRB- Lloyd Bridges -RRB- . ANGLE ON McCROSKY He is in bed in scuba gear . ANGLE ON NURSES</scene_description> <character>NURSE 1</character> <dialogue>He's fine. He just thinks he's Lloyd Bridges.</dialogue> <scene_description>Nurse 1 takes the phone to McCrosky . He is a lot older than in `` Airplane . ''</scene_description> <character>NURSE 1</character> <dialogue>The phone's for you, Mr. McCrosky.</dialogue> <character>McCROSKY</character> <dialogue>What's a phone?</dialogue> <character>NURSE 1</character> <parenthetical>( holding it to his ear . )</parenthetical> <dialogue>Here, let me help you. I think it's the space centre. Now, let's not get too excited.</dialogue> <character>McCROSKY</character> <dialogue>What?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>What?</dialogue> <parenthetical>( pulls off his scuba mask and snorkle . )</parenthetical> <dialogue>What?</dialogue> <parenthetical>( gets more alert and grabs a cigarette . )</parenthetical> <dialogue>I'll be right down!</dialogue> <parenthetical>( he hangs up and jumps out of bed . )</parenthetical> <dialogue>Looks like I picked the wrong time to go senile.</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Simon is taking another slug of booze ; Elaine enters .</scene_description> <character>ELAINE</character> <dialogue>Simon!</dialogue> <parenthetical>( she spots Oveur slumped on the panel . )</parenthetical> <dialogue>Captain Oveur!</dialogue> <scene_description>Elaine pulls him up .</scene_description> <character>OVEUR</character> <parenthetical>( still gasping . )</parenthetical> <dialogue>Mets. nine. Phils. three. Cubs. four.</dialogue> <scene_description>Elaine drops him and turns to Simon .</scene_description> <character>ELAINE</character> <dialogue>Simon, what's happening?!</dialogue> <character>SIMON</character> <dialogue>He tried to disconnect ROK. It gassed him. That computer is running this ship and we're heading right for the sun.</dialogue> <character>ELAINE</character> <dialogue>Ca n't we change course?</dialogue> <character>SIMON</character> <dialogue>We're computer locked and the manual navigation unit is down.</dialogue> <scene_description>Elaine looks at the floor .</scene_description> <character>ELAINE</character> <dialogue>Then Ted was right!</dialogue> <scene_description>CLOSEUP OF ELAINE for her realization . BACK TO SCENE</scene_description> <character>SIMON</character> <dialogue>My career is shot.</dialogue> <character>ELAINE</character> <dialogue>Your career! What about the lives of those people out there. Simon, what happened to the man I thought I loved?</dialogue> <scene_description>She goes to the door .</scene_description> <character>ELAINE</character> <dialogue>I've got to get Ted. Just do n't come apart on me now, Simon.</dialogue> <scene_description>She leaves . Simon 's uniform starts bursting at the seams , buttons pop off .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>The Terrorists stop Elaine . There 's pandemonium in the cabin .</scene_description> <character>TERRORIST 1</character> <dialogue>This is flight to Miami, yes?</dialogue> <character>ELAINE</character> <dialogue>No.</dialogue> <scene_description>Elaine addresses the PASSENGERS .</scene_description> <character>ELAINE</character> <parenthetical>( to passengers . )</parenthetical> <dialogue>Please, ladies and gentlemen, please calm down. Listen to me!</dialogue> <scene_description>They calm down .</scene_description> <character>ELAINE</character> <dialogue>We've been thrown off course just a tad.</dialogue> <character>PASSENGER</character> <dialogue>What's that mean?</dialogue> <character>ELAINE</character> <dialogue>In space terms, about 70 million miles.</dialogue> <scene_description>The Passengers appear interested and sensible , nod their heads .</scene_description> <character>ELAINE</character> <dialogue>The bumps you feel are car - sized asteroids smashing into the hull.</dialogue> <scene_description>The hood of a car smashes through the cabin wall . The Passengers still appear interested and sensible .</scene_description> <character>ELAINE</character> <dialogue>Also, we're heading right for the sun and ca n't seem to change course.</dialogue> <scene_description>Passengers still appear interested and sensible . They all put on sunglasses .</scene_description> <character>PASSENGER</character> <dialogue>Are you telling us everything?</dialogue> <character>ELAINE</character> <dialogue>Not exactly. We're also out of coffee.</dialogue> <scene_description>The Passengers errupt in total panic . ANGLE ON RED FLASHING `` DO N'T PANIC '' SIGN It sparks , smokes , overheats and EXPLODES . ANGLE ON RED FLASHING `` OKAY , PANIC '' SIGN The passengers go insane . ANGLE ON FATHER O'FLANAGAN AND MRS. GOOCH</scene_description> <character>O'FLANAGAN</character> <dialogue>Pray with me, my children. Pray.</dialogue> <character>MRS. GOOCH</character> <dialogue>But Father, I'm not Catholic.</dialogue> <character>O'FLANAGAN</character> <dialogue>Then worship the god of your choice.</dialogue> <scene_description>Mrs. Gooch pulls out a fertility idol with a huge , erect penis . ANGLE ON BOB AND MARY - JANE SMITH</scene_description> <character>BOB</character> <dialogue>I've always loved you, darling. I was unfaithful just once. Remember Jill, my first secretary? Forgive me.</dialogue> <character>MARY-JANE</character> <dialogue>I knew all about it. I was unfaithful once, too.</dialogue> <character>BOB</character> <dialogue>That's all behind us now.</dialogue> <character>MARY-JANE</character> <dialogue>Remember Harriet, your first receptionist?</dialogue> <scene_description>He gives her a look .</scene_description> <character>PASSENGER</character> <dialogue>We're going to crash!</dialogue> <character>TERRORIST 1</character> <dialogue>God is great!</dialogue> <character>TERRORIST 2</character> <dialogue>Death to America!</dialogue> <character>TERRORIST 3</character> <dialogue>The yellow pencil is on the table of my aunt!</dialogue> <scene_description>ANGLE ON ELAINE</scene_description> <character>ELAINE</character> <dialogue>There is absolutely nothing to worry about!</dialogue> <scene_description>ANGLE ON RED FLASHING `` BULLSHIT '' SIGN</scene_description> <character>ELAINE</character> <dialogue>Your crew is in complete control of the situation.</dialogue> <scene_description>ANGLE ON RED FLASHING `` UNBELIEVABLE BULLSHIT '' SIGN</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL ROOM</stage_direction> <scene_description>McCrosky bursts through the doors and heads to the monitors . He wears a raincoat and shirt and tie . He is met by Controller 1 . They move across room .</scene_description> <character>McCROSKY</character> <dialogue>Get me a cup of coffee, mister.</dialogue> <character>CONTROLLER 1</character> <dialogue>Yes, sir.</dialogue> <character>McCROSKY</character> <dialogue>And a gallon of milk of magnesia, and a ham on rye, no cheese!</dialogue> <character>CONTROLLER 1</character> <dialogue>Yes, sir! Welcome home, sir!</dialogue> <scene_description>McCrosky takes off his raincoat revealing scuba tank . He takes off his tank as well .</scene_description> <character>CONTROLLER 2</character> <parenthetical>( approaching McCrosky . )</parenthetical> <dialogue>Here are the navigational charts, sir.</dialogue> <character>McCROSKY</character> <dialogue>Thanks.</dialogue> <scene_description>Another Controller passes . McCrosky stops him .</scene_description> <character>McCROSKY</character> <dialogue>Get me a readout on their fuel capacity.</dialogue> <character>CONTROLLER 3</character> <dialogue>Yes, sir.</dialogue> <character>CONTROLLER 4</character> <dialogue>Here's all the available information on the sun. That thing's hot, sir.</dialogue> <scene_description>McCrosky takes the info and burns his hand . SFX : STEAM</scene_description> <character>McCROSKY</character> <dialogue>Ahhhhhh! Get me Bud Kruger immediately!</dialogue> <parenthetical>( spotting Jacobs . )</parenthetical> <dialogue>Jacobs, I want to know absolutely everything that's happened up till now!</dialogue> <character>JACOBS</character> <dialogue>First the earth cooled. Then the dinosaurs came but were too big and died and everything got rotten and turned into oil and the Arabs bought Mercedes Benzs and then there was the best TV special on Judy Garland. Then we lost the war with Albania. Then.</dialogue> <scene_description>McCrosky leaves Jacobs babbling .</scene_description> <character>McCROSKY</character> <dialogue>Things sure have n't changed.</dialogue> <scene_description>McCrosky stands in front of a huge painting of himself . Both he and painting are in the same pose - one hand loosens the tie , he drinks coffee with the other , a cigarette dangles from his lip .</scene_description> </scene> <scene> <stage_direction>INT. CABIN - CLOSEUP OF TED</stage_direction> <scene_description>He is lost in thought . SUPER IMAGES : - Ted getting electro - shock - Psychiatrist telling him he 's sick - Ted building the `` Close Encounters '' mound Ted is shaken out of his dream by Elaine .</scene_description> <character>ELAINE</character> <dialogue>Ted, Ted. Listen to me, Ted. You were right all along. Ted, we've lost the crew and Simon's turned to jelly!</dialogue> </scene> <scene> <stage_direction>INT. CABIN - ANOTHER ANGLE</stage_direction> <scene_description>Simon is a jelly mold inside a uniform .</scene_description> <character>CONTROLLER 1</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( on radio . )</parenthetical> <dialogue>Come in, Mayflower. This is mission control. Over. Come in, Mayflower! Over!</dialogue> <scene_description>Jimmy pokes his head in .</scene_description> <character>JIMMY</character> <dialogue>Do you want to talk about it now, Commander?</dialogue> </scene> <scene> <stage_direction>INT. CABIN - ANOTHER ANGLE</stage_direction> <scene_description>Elaine stands over Ted looking at the empty bottle of stress pills .</scene_description> <character>ELAINE</character> <dialogue>My God.</dialogue> <scene_description>Stella approaches in nurse 's uniform splattered with blood . A cigarette dangles from her lip . She wipes her hands on a blood - splattered towel .</scene_description> <character>STELLA</character> <dialogue>He's finally come to terms with his own psychosis.</dialogue> <character>ELAINE</character> <dialogue>But he was right! He's not crazy!</dialogue> <character>STELLA</character> <dialogue>Miss, I'm a nurse with a dying F - A - T - H - E - R, I know what I'm talking about. Now I'm going to need fresh sheets, gauze, Q - tips, and all the vaseline you have on board! Now!</dialogue> <scene_description>Elaine leaves , looking back at Ted with empathy . Mary passes .</scene_description> <character>STELLA</character> <parenthetical>( to Mary . )</parenthetical> <dialogue>I'll need all the boiling water you can get your hands on!</dialogue> <scene_description>Mary leaves and a MAN passes holding a tattered arm .</scene_description> <character>MAN</character> <dialogue>Are you a nurse?</dialogue> <character>STELLA</character> <dialogue>Yes.</dialogue> <parenthetical>( handing him a urine bottle . )</parenthetical> <dialogue>The washroom's down there on your right.</dialogue> <scene_description>The Man leaves , a quizzical look on his face .</scene_description> <character>STELLA</character> <parenthetical>( yelling after him . )</parenthetical> <dialogue>And not too much!</dialogue> <scene_description>A BLACK U.S. ARMY SERGEANT -LRB- imagine Jim Brown -RRB- approaches Stella .</scene_description> <character>SERGEANT</character> <dialogue>Can I help?</dialogue> <scene_description>Stella hands him an M - 16 .</scene_description> <character>STELLA</character> <dialogue>Keep an eye on that side of the ship.</dialogue> <scene_description>The Sergeant drops into a seat next to a window , smashes out the glass with his rifle butt and is immediately sucked out . MARY moves down the aisle with a cart collecting boiling water .</scene_description> <character>MARY</character> <parenthetical>( to passengers . )</parenthetical> <dialogue>I'll need all your boiling water.</dialogue> <scene_description>Passengers pull pots of boiling water from under their seats , handbags , coat pockets , and pour them into the passing container . Testa reassures Bob and Alice Wilson .</scene_description> <character>TESTA</character> <dialogue>We should be out of this momentarily. There's nothing to worry about.</dialogue> <character>ALICE</character> <dialogue>Thank you. That makes me feel so much better.</dialogue> <scene_description>Testa leaves and Father O'Flanagan approaches with last rites paraphernalia .</scene_description> <character>O'FLANAGAN</character> <dialogue>Trust me, I'm a priest. We're in shit up to our ears. Who wants last rites?</dialogue> <scene_description>ANGLE ON TEXAN He is now completely entangled in the tfilin and struggles to free himself . ANGLE ON ELAINE Elaine passes Ted carrying sheets , vaseline , etc. . She looks at him sitting there in a fog , gives up and leaves . Ted looks at the red flashing `` FASTEN YOUR SEATBELTS '' sign . It takes him back .</scene_description> </scene> <scene> <stage_direction>EXT. GROUNDS OF MENTAL HOSPITAL - DAY</stage_direction> <scene_description>SFX : SIRENS WAIL , 101 BLOODHOUNDS BAY We see the hospital deep in b.g. across an expansive lawn . Suddenly Ted 's face pops INTO FRAME , CLOSEUP . He looks both ways and bolts . He wears a straightjacket . ANGLE ON HOSPITAL SIGN `` THE GERALD FORD INSTITUTE FOR THE MENTALLY FEEBLE - WE MAKE PEOPLE SANE THE OLD FASHION WAY '' Suddenly the dogs scramble INTO FRAME in front of the sign , slobbering . A half - dozen viscious - looking GUARDS in reflector shades with shotguns , whips , nets , cattle prods , follow .</scene_description> <character>GUARD ONE</character> <parenthetical>( Southern accent . )</parenthetical> <dialogue>Damn! I want that patient shot on sight!</dialogue> </scene> <scene> <stage_direction>INT. SEEDY HOTEL ROOM - NIGHT</stage_direction> <scene_description>SUPER : CHICAGO Ted stands at window . A neon `` BAR '' sign flashes outside so close to the window that the only way to read it is to rent this room . SFX : MUSIC - LAZY SAX</scene_description> <character>TED</character> <dialogue>Maybe you got ta be crazy to end up behind the eight ball like this. Anyway, you find out pretty fast who your friends are when you're on the lamb.</dialogue> <scene_description>SFX : LAMB BLEATS FROM OTHER SIDE OF ROOM Ted turns away from the window and passes the lamb in bed .</scene_description> <character>TED</character> <parenthetical>( to lamb . )</parenthetical> <dialogue>I'm going out for cigarettes and a fifth of bourbon. Do n't wait up for me.</dialogue> <scene_description>SFX : COMPLAINING BLEAT . Ted grabs his straightjacket and leaves .</scene_description> <character>TED</character> <dialogue>Virgin wool. Nothin' but headaches.</dialogue> <scene_description>A Bo Peep staff is flung against door as it closes behind him .</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREET - NIGHT</stage_direction> <scene_description>an empty , spotless , wet street . One car parked under a street lamp . SFX : BLOODHOUNDS APPROACH AND GO OFF INTO DISTANCE</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I travelled at night in the shadows. I did n't want to attract attention.</dialogue> <scene_description>SFX : FOOTSTEPS , GARBAGE CANS BEING KNOCKED OVER , CATS SCREAMING , PEOPLE YELLING `` SHUT UP '' OUT WINDOWS , GLASS BREAKING .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I was afraid to step out of the doorways. You never know what to expect when you're on the run.</dialogue> <scene_description>Ted steps into light . GLORIA STEINAM passes with CAB CALAWAY . A grand PIANO SMASHES to pavement next to Ted . He ignores piano and gives Gloria and Cab a quizzical look . SFX : DOGS IN DISTANCE CLOSEUP - TED 'S FEET He steps in a puddle where a `` BAR - COCKTAILS '' sign is reflected . The reflection shatters . A streetcleaning truck approaches spewing out garbage rather than water . Ted 's ankles are sprayed with garbage . He bends down and picks up a wet matchbook - `` HARRY 'S PLACE - FOR A GOOD TIME . ''</scene_description> </scene> <scene> <stage_direction>EXT. ANOTHER DARK STREET - CLOSEUP OF TED</stage_direction> <scene_description>standing , looking at a bar . The glow of flashing neon sign reflects off his face . He pulls out a cigarette . A woman 's hand shoots INTO FRAME holding a lit zippo . Ted draws deeply on the cigarette .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>There I was, minding my own business when I looked up and saw a pair of legs that went forever.</dialogue> <scene_description>ANGLE ON WOMAN 'S FEET PAN UP AND UP AND UP . She is all legs - no torso , no head , just legs - about two stories high .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>But I had a date with Harry's. It was little more than a hole in a wall on the south side of Chicago.</dialogue> <scene_description>ANGLE ON A HOLE bashed in the side of a brick wall . A neon sign over the hole reads , `` HARRY 'S GOODTIME BAR . ''</scene_description> </scene> <scene> <stage_direction>INT. HARRY'S</stage_direction> <scene_description>dark , smokey bar . PAN very tough faces standing along the bar .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Harry's was perfect for me. The kind of place you go if you do n't want to be recognized.</dialogue> <scene_description>KEEP PANNING tough faces , but now they all wear Groucho glasses and noses .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>It was rough, real rough.</dialogue> <scene_description>ANGLE ON POOL TABLE with four players - all have broken thumbs in casts .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The kind of place you could score anything, from junk.</dialogue> <scene_description>One guy hands another guy a large , rusted car fender for money .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>to Phil Donahue's book.</dialogue> <scene_description>PHIL DONAHUE signs a stack of books at a table .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>At Harry's you could count on a fight breaking out almost every night.</dialogue> <scene_description>TWO PROFESSORS argue at a table .</scene_description> <character>PROFESSOR 1</character> <dialogue>And I say essence precedes existence.</dialogue> <character>PROFESSOR 2</character> <dialogue>You're crazy! Existence precedes essence.</dialogue> <character>PROFESSOR 1</character> <dialogue>Essence!</dialogue> <character>PROFESSOR 2</character> <dialogue>Existence!</dialogue> <scene_description>Professor 2 slugs Professor 1 sending him flying across the room . Professor 1 gets up and throws a judo chop which Professor 2 stops by holding a book up in both hands . The book splits in two like a piece of wood split by a karate chop .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>There was a small trio in one corner.</dialogue> <scene_description>Two midgets play light jazz - piano and bass .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>And a larger trio in the other corner.</dialogue> <scene_description>Five 300 - pound musicians play some tune in another corner . ANGLE ON TED AT BAR - CLOSEUP OF TED He pulls out a cigarette . A bare foot with zippo held in toes comes INTO FRAME and lights it .</scene_description> <character>TED</character> <dialogue>The last thing I wanted was Elaine to see me down on my luck. Well, it was just my luck. In she walked with a group from the space program.</dialogue> <scene_description>ANGLE ON DOOR Elaine and Simon and two other couples , who look like clean - cut NASA types out of `` The Right Stuff , '' walk in laughing and take a table .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>They'd come to Harry's to slum it and try their hand at the video bull.</dialogue> <scene_description>The group prod Elaine to try the bull . A cowboy hat flies across the room . She grabs it , pulls it on , and moves to the bull which is surrounded by others in cowboy hats . Elaine hops in the saddle . A sinister character puts a quarter in and madly flips knobs . SFX : VIDEO GAME The saddle does n't move - all the action is on the screen but Elaine throws one hand back and kicks her legs .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Elaine made that ride look easy. It was obvious why I was still nuts about her. She loved life. I did n't want her to notice me so I borrowed a pair of dark glasses.</dialogue> <scene_description>Ted takes a pair of dark glasses off a passing blind man who walks perfectly until the glasses are gone , then starts stumbling and crashes over a table .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Grabbed an alto sax and joined the group.</dialogue> <scene_description>Ted takes an alto sax from a passerby who also stumbles and crashes over a table when he loses his sax .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I stayed in the background not wanting to draw attention to myself.</dialogue> <scene_description>Everyone looks around trying to see where the terrible grating sax sound is coming from .</scene_description> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Then what happened? Elaine's crowd talks her into joining us for a song.</dialogue> <scene_description>Elaine hops up on the stage , grabs a mike and starts to sing `` Stormy Weather . '' She sidles up to Ted and goes into a medley of old songs . HOURS LATER Elaine 's singing is just as bad as Ted 's sax . They have cleared the joint and play and sing alone . Elaine 's group finally pull her out . She has n't recognized Ted .</scene_description> <character>ELAINE</character> <parenthetical>( to Ted . )</parenthetical> <dialogue>I do n't know who you are or how you lost your sight, but I'll never forget this night as long as I live.</dialogue> <scene_description>PULL BACK leaving Ted alone on the stage still playing . Chairs are turned up on tables . One table has chairs turned up with the people still sitting in the chairs .</scene_description> </scene> <scene> <stage_direction>EXT. COCKPIT - TED</stage_direction> <scene_description>getting a glass of water outside cockpit door . ANGLE ON COCKPIT DOOR Simon emerges . As the door opens we hear :</scene_description> <character>CONTROLLER 1</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Come in, Mayflower. Over!</dialogue> <scene_description>Simon shuts the door and bumps into Ted who is getting a drink of water . Simon takes a drink of booze .</scene_description> <character>SIMON</character> <dialogue>Striker.</dialogue> <character>TED</character> <dialogue>Kurtz, you're drunk. Who's in command of this ship?</dialogue> <character>SIMON</character> <dialogue>That damn computer has taken over. I'm getting out.</dialogue> <character>TED</character> <dialogue>Then Elaine was right.</dialogue> <character>SIMON</character> <dialogue>Do n't talk to me about Elaine. Outta my way!</dialogue> <character>TED</character> <parenthetical>( grabbing Simon . )</parenthetical> <dialogue>Pull yourself together! We've got to.</dialogue> <scene_description>Simon slugs Ted who falls into a corner and hits his head . ZOOM TO CLOSEUP of Ted unconscious . SFX : MUSIC - DRAMATIC STING The ship takes another violent jolt .</scene_description> </scene> <scene> <stage_direction>EXT. SHIP - SPACE</stage_direction> <scene_description>It roars through the asteroid field .</scene_description> </scene> <scene> <stage_direction>INT. WASHROOM</stage_direction> <scene_description>Simon sits on toilet seat and slides open a wall panel .</scene_description> </scene> <scene> <stage_direction>INT. ADJACENT WASHROOM</stage_direction> <scene_description>Father O'Flanagan slides open an adjacent wall panel and sits down . SPLIT SCREEN - THE TWO WASHROOMS</scene_description> <character>SIMON</character> <dialogue>Father, what should I do?</dialogue> <character>O'FLANAGAN</character> <dialogue>Have you considered suicide, my son?</dialogue> <scene_description>A panel on the other side of Simon slides open .</scene_description> <character>JIMMY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Do you want to talk about it now, Commander?</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <character>McCROSKY</character> <parenthetical>( holding radio mike . )</parenthetical> <dialogue>Come in, Mayflower. Over. Do you read me? Over. Damnit!</dialogue> <scene_description>McCrosky throws the mike down .</scene_description> <character>CONTROLLER 1</character> <parenthetical>( taking mike . )</parenthetical> <dialogue>Let me try, sir. Come in, Mayflower. Over. Come in. Over. Damnit!</dialogue> <scene_description>Controller 1 throws the mike even harder .</scene_description> <character>CONTROLLER 2</character> <parenthetical>( taking mike . )</parenthetical> <dialogue>Let me try, sir. Come in. Over. Damnit!</dialogue> <scene_description>Controller 2 smashes the mike through the monitor screen .</scene_description> <character>CONTROLLER 3</character> <dialogue>Let me try, sir.</dialogue> <scene_description>Controller 3 smashes the monitor with an axe . Controller 4 smashes the monitor with an electric guitar . Other Controllers line up for their turns with various heavy implements . ANGLE ON McCROSKY</scene_description> <character>McCROSKY</character> <parenthetical>( to Controller 5 . )</parenthetical> <dialogue>Stinson, have you contacted the families of the passengers and crew?</dialogue> <scene_description>McCrosky looks out window . INSERT - MOB SCENE FROM `` THE HUNCHBACK OF NOTRE DAME '' BACK TO SCENE</scene_description> <character>McCROSKY</character> <dialogue>Try and calm them down. And for God sake, be diplomatic.</dialogue> <scene_description>Stinson turns to two burly men in leather jerkins and black hoods . They hold a large caldron of molten lead next to window .</scene_description> <character>CONTROLLER 5</character> <dialogue>Give'em the lead!</dialogue> <scene_description>They pour it out . SFX : MOB SCREAMS</scene_description> </scene> <scene> <stage_direction>EXT. SHIP - SPACE</stage_direction> <scene_description>It careens through the asteroid field towards the sun .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Ted lies unconscious . SFX : MUSIC - DRAMATIC STING ANGLE ON STELLA She 's doing her rounds - takes a medical chart from the back of a seat .</scene_description> <character>STELLA</character> <parenthetical>( to a male passenger . )</parenthetical> <dialogue>I'm afraid that leg's going to have to come off.</dialogue> <scene_description>A leg is passed to her from OUT OF FRAME . She takes it while still looking at the chart .</scene_description> <character>STELLA</character> <dialogue>Wait. This is n't your chart. You just had a touch of air sickness.</dialogue> <parenthetical>( handing him back his leg . )</parenthetical> <dialogue>You'll be fine.</dialogue> <scene_description>A WOMAN sitting next to the MAN WHO IS HOLDING HIS LEG grabs Stella .</scene_description> <character>WOMAN</character> <dialogue>I'm terrified.</dialogue> <character>STELLA</character> <parenthetical>( shakes her hand . )</parenthetical> <dialogue>And I'm a nurse. Everything will be okay. Pass it on.</dialogue> <scene_description>The Man with the leg passes it to the passenger in seat behind .</scene_description> <character>MAN WITH LEG</character> <dialogue>Everything will be okay. Pass it on.</dialogue> <scene_description>The leg gets passed from seat to seat as passengers say , `` Everything will be okay . Pass it on . '' CLOSEUP OF TED lying unconscious in a corner . A puppy crawls INTO FRAME and starts licking his face . LOOSEN TO FIND Jimmy standing over Ted . Ted comes to , feels his jaw and pulls himself up . The ship jolts .</scene_description> <character>JIMMY</character> <dialogue>Are you feeling okay, mister?</dialogue> <character>TED</character> <dialogue>I'm feeling just fine, son. Just fine.</dialogue> <scene_description>Ted pushes by Jimmy , a look of great purpose on his face .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Elaine enters looking for Simon .</scene_description> <character>ELAINE</character> <dialogue>Simon, I.</dialogue> <scene_description>The cockpit is empty .</scene_description> <character>CONTROLLER 1</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Do you read, Mayflower? Over. This is mission control. Over.</dialogue> <scene_description>Elaine gasps . She leaps into the Captain 's seat and grabs radio .</scene_description> <character>ELAINE</character> <dialogue>Hello. This is the Mayflower. Over! Come in, anyone.</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <scene_description>Controllers are gathered around one monitor .</scene_description> <character>McCROSKY</character> <parenthetical>( on radio . )</parenthetical> <dialogue>We read you, Mayflower! Identify yourself and give your position.</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <character>ELAINE</character> <dialogue>This is Elaine Thompson. I'm five - six, 123 pounds with brown hair and I'm sitting down and facing the front.</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <character>McCROSKY</character> <dialogue>Elaine Thompson! What in sam hill is a woman doing in charge of that ship?!</dialogue> <character>JACOBS</character> <dialogue>Maybe she's got her shit together.</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Ted enters .</scene_description> <character>TED</character> <dialogue>Elaine!</dialogue> <character>ELAINE</character> <dialogue>Ted!</dialogue> <character>TED</character> <dialogue>Elaine, what's going on?</dialogue> <character>ELAINE</character> <dialogue>Ted, there's no time to explain.</dialogue> <scene_description>Ted picks up Oveur who is still gasping .</scene_description> <character>OVEUR</character> <dialogue>Packers. seven. Vikings. three.</dialogue> <scene_description>Ted drags him onto the floor and takes his seat .</scene_description> <character>McCROSKY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Come in, Mayflower! Over!</dialogue> <character>ELAINE</character> <dialogue>Ted, I was wrong about you.</dialogue> <scene_description>They reach out and hold hands .</scene_description> <character>McCROSKY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Come in! Over! Come in! Over!</dialogue> <character>TED</character> <dialogue>We all make mistakes, Elaine.</dialogue> <character>McCROSKY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Come in Mayflower!</dialogue> <character>ELAINE</character> <dialogue>How could I ever have doubted you?</dialogue> <character>McCROSKY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>This is mission control! Over!</dialogue> <character>TED</character> <dialogue>That's all behind us now, Elaine. And no matter what happens, I want you to know I've always loved you.</dialogue> <character>McCROSKY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Jesus, would someone answer me!</dialogue> <character>ELAINE</character> <dialogue>I love you, Ted.</dialogue> <scene_description>They smile at each other .</scene_description> <character>McCROSKY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What the hell's going on up there?!</dialogue> <scene_description>Ted and Elaine still smile at each other .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>All passengers look forward and smile .</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <scene_description>All Controller 's look down the line and smile .</scene_description> </scene> <scene> <stage_direction>EXT. TOWN SQUARE - RIO MONTENEGRO</stage_direction> <scene_description>Six soldiers on firing squad duty , ready to fire , turn , smile , and FIRE while they 're smiling . SFX : SHOTS , SCREAMS</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Ted grabs the radio .</scene_description> <character>ELAINE</character> <parenthetical>( smiling lovingly . )</parenthetical> <dialogue>Ted, this reminds me of twenty years ago over Chicago.</dialogue> <scene_description>Ted hits a switch . The ship does a barrel roll .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>All we see are feet sticking up from the seats .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <character>TED</character> <parenthetical>( on radio . )</parenthetical> <dialogue>This is Mayflower One calling mission control. Do you read me? Over.</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <character>McCROSKY</character> <dialogue>A man. Now that's more like it.</dialogue> <parenthetical>( continuing on radio . )</parenthetical> <dialogue>This is mission control. Identify yourself and give me your position. Over.</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <character>TED</character> <parenthetical>( on radio . )</parenthetical> <dialogue>The name's Ted Striker and I'm sitting down and facing the front.</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <character>McCROSKY</character> <parenthetical>( trying to place the name . )</parenthetical> <dialogue>Striker. Striker. Striker.</dialogue> <character>CONTROLLER 3</character> <dialogue>If you say so.</dialogue> <scene_description>He slugs the female worker next to him .</scene_description> <character>McCROSKY</character> <parenthetical>( remembering . )</parenthetical> <dialogue>Ted Striker!</dialogue> <scene_description>SFX : RADIO STATIC .</scene_description> <character>McCROSKY</character> <dialogue>Damn! We've lost them again.</dialogue> <character>CONTROLLER 1</character> <dialogue>Could be those sunspots.</dialogue> <character>JACOBS</character> <dialogue>Could be your dishwashing detergent.</dialogue> <character>McCROSKY</character> <dialogue>Striker's the guy who flew that 736 into Chicago over 20 years ago without a crew. Would someone tell me what in sam hill he's doing up there?</dialogue> <character>JACOBS</character> <parenthetical>( waving his hand in the air . )</parenthetical> <dialogue>Me! Me! Me!</dialogue> <scene_description>ANGLE ON MISSION CONTROL DOORS They are swinging aluminum doors similar to restaurant kitchens and hospital operating rooms . Kruger and the Commissioner enter through one door .</scene_description> <character>COMMISSIONER</character> <dialogue>The boys downtown are taking the heat from the boys in Washington and the boys.</dialogue> <scene_description>They PASS OUT OF FRAME . A waiter with tray passes them and leaves through the swing doors . SFX : CRASHING DISHES Two surgeons in operating gowns and masks enter covered in food . We PICK UP Kruger and the Commissioner still walking and talking .</scene_description> <character>COMMISSIONER</character> <dialogue>Bud, the President wants an explanation.</dialogue> <scene_description>They approach McCrosky .</scene_description> <character>McCROSKY</character> <dialogue>Sorry to pull you out of bed at this hour, gentlemen.</dialogue> <character>KRUGER</character> <dialogue>Forget it. I was reading.</dialogue> <character>COMMISSIONER</character> <dialogue>I was reading too.</dialogue> <character>KRUGER</character> <dialogue>What's the story?</dialogue> <character>COMMISSIONER</character> <dialogue>Some southern plantation owner falls in love with this poor.</dialogue> <character>KRUGER</character> <dialogue>I was asking McCrosky, Commissioner.</dialogue> <character>McCROSKY</character> <dialogue>He falls in love with this poor school teacher who.</dialogue> <scene_description>A CONTROLLER interrupts them .</scene_description> <character>CONTROLLER</character> <parenthetical>( to McCrosky . )</parenthetical> <dialogue>Sir, we've restored radio transmission.</dialogue> <character>McCROSKY</character> <dialogue>Good.</dialogue> <parenthetical>( to Kruger . )</parenthetical> <dialogue>We keep losing their radio.</dialogue> <character>KRUGER</character> <dialogue>Give it to me straight, McCrosky - what's it look like.</dialogue> <character>McCROSKY</character> <dialogue>It's green with numbers and lots of knobs.</dialogue> <character>KRUGER</character> <dialogue>Not the radio, the situation. I want to know exactly what your people think.</dialogue> <scene_description>PAN three Controllers at monitors .</scene_description> <character>CONTROLLER 1</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( thinking . )</parenthetical> <dialogue>They're screwed.</dialogue> <character>CONTROLLER 2</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( thinking . )</parenthetical> <dialogue>They're dead.</dialogue> <character>CONTROLLER 3</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( thinking . )</parenthetical> <dialogue>Did I leave the iron on?</dialogue> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>The ship lurches from side to side . Stella , covered in blood , kneels beside BILLY , a young man bandaged head to toe , lying on a stretcher with lots of I.V. bottles hanging around him . A U.S. ARMY GENERAL stands next to him - imagine General Patton .</scene_description> <character>STELLA</character> <dialogue>General Walker is here, Billy. He wants to talk to you.</dialogue> <character>GENERAL WALKER</character> <dialogue>Billy, if we get through this thing alive, I'd like you to get this letter to my mother.</dialogue> <scene_description>He hands Billy a letter .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Elaine is monitoring various dials . Ted is at controls and on the radio .</scene_description> <character>TED</character> <parenthetical>( on radio . )</parenthetical> <dialogue>An electrical fire in the core has played havoc with the ROK - 4000 computer. It's locked us on a direct line with the sun and there's no way we can go to manual. Captain Oveur already tried it and he's.</dialogue> <character>OVEUR</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( from floor . )</parenthetical> <dialogue>Giants sixty. Rams. zip.</dialogue> <character>TED</character> <dialogue>become an intolerable bore. The rest of the crew has been lost and we're out of coffee. Also, we're starting to feel the sun's heat pretty bad.</dialogue> <scene_description>Striker wipes his forehead . Elaine holds a tan reflector up to her face and turns to the sun .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Passengers sweat profusely . SFX : JUNGLE SOUNDS . A MAN slaps a mosquito on the back of his neck . FOUR MEN sit nude to the waist , wrapped in towels as if in a steam bath .</scene_description> <character>MAN ONE</character> <dialogue>It's eight - thousand square feet with great parking and a twenty - year lease with option to buy.</dialogue> <character>MAN TWO</character> <dialogue>You ca n't lose, Al..</dialogue> <character>MAN THREE</character> <dialogue>He can lose. I've seen it happen a thousand times.</dialogue> </scene> <scene> <stage_direction>EXT. SHIP - SPACE</stage_direction> <scene_description>It shoots towards sun .</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <scene_description>McCrosky sits at a monitor , talks into a mike and looks down at a book . Behind him two Controllers make a dope deal - a baggie of grass for cash . We only see their midsections and hands .</scene_description> <character>McCROSKY</character> <dialogue>Striker, this is Jack McCrosky, chief controller. I want you to listen to me and listen good.</dialogue> <scene_description>The buyer checks out the baggie - it 's mostly twigs . The seller is trying to explain the situation with his hands .</scene_description> <character>McCROSKY</character> <dialogue>Twenty years ago I helped a young pilot through a storm over Chicago.</dialogue> <scene_description>The buyer grabs the seller 's shirt and tries to get cash back . A fight ensues .</scene_description> <character>McCROSKY</character> <dialogue>He did n't have a crew either. He said he could n't do it. But when the going got tough that kid pulled it together.</dialogue> <scene_description>The seller 's shirt is ripped . Knives are pulled .</scene_description> <character>McCROSKY</character> <dialogue>You might have read about him ; he made all the big papers and the Canadian Jewish News.</dialogue> <scene_description>The seller is stabbed .</scene_description> <character>McCROSKY</character> <dialogue>I do n't know where he is today but if he was up there right now, I know he'd find some way to turn that bucket around and get the hell out of there, pronto!</dialogue> <scene_description>ANGLE ON JACOBS</scene_description> <character>JACOBS</character> <dialogue>I wish I could talk like that - so macho yet so sensitive.</dialogue> <scene_description>ANGLE ON McCROSKY 'S BOOK - `` PEP TALKS FOR ALL OCCASIONS '' McCrosky slams it shut .</scene_description> <character>McCROSKY</character> <dialogue>I just hope I said the right thing.</dialogue> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I'm afraid you gave the wrong speech. McCrosky. I'm not your problem. It's this ship. That computer's gone bananas.</dialogue> <character>McCROSKY</character> <parenthetical>( holding up the book . )</parenthetical> <dialogue>Why the hell are we still using the old manual! Burn this book!</dialogue> <scene_description>A smiling blonde man in a white sweater with `` MORAL MAJORITY '' on the front walks by and takes the book .</scene_description> <character>McCROSKY</character> <parenthetical>( on radio . )</parenthetical> <dialogue>Just hold on, Striker, we'll get back to you.</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Ted writes a note to Elaine and hands it to her - it reads , `` WE MUST FIND SOME WAY TO BLOW THAT COMPUTER ! '' Elaine looks a bit nervous and licks her lip . They look up at ROK 's pulsating eye . Testa pokes her head in . She 's soaked with sweat .</scene_description> <character>TESTA</character> <dialogue>The cabin temperature is rising. The passengers want to know what's happening up here.</dialogue> <character>TED</character> <dialogue>Let us handle this end of things. Now what's the coffee situation?</dialogue> <character>TESTA</character> <dialogue>It just wo n't drip! I've tried everything. And the passengers are dropping like flies from the heat.</dialogue> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>SFX : FLIES BUZZING Passengers reel and drop to floor .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <character>TED</character> <dialogue>Elaine, I'm going back there. Just hold onto that stick and try to control this hunk of tin as best you can.</dialogue> <character>ELAINE</character> <dialogue>Ted, please be careful.</dialogue> <scene_description>Ted leaves . We hear an enormous CRASH on the other side of the door .</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <scene_description>JOE DIMAGGIO -LRB- MR. COFFEE -RRB- , drinking a cup of coffee , rushes in accompanied by a GROUND CONTROL OFFICER .</scene_description> <character>OFFICER</character> <parenthetical>( to Joe . )</parenthetical> <dialogue>It does n't look good. The drip seems to be jammed up pretty bad.</dialogue> <character>MR. COFFEE</character> <dialogue>Did they change the filter and wait for the brew sign to light up?</dialogue> <character>OFFICER</character> <parenthetical>( stopping and looking Mr. Coffee in the eye . )</parenthetical> <dialogue>To tell you the truth, sir, I do n't really know.</dialogue> <scene_description>MUSIC : DRAMATIC STING . ANGLE ON SIX CONTROLLERS One holds a hat , one pulls a slip of paper from it .</scene_description> <character>CONTROLLER 3</character> <parenthetical>( reading his slip . )</parenthetical> <dialogue>Eighty - three. What's that mean?</dialogue> <character>CONTROLLER WITH HAT</character> <dialogue>If eighty - three passengers die, you win the two hundred bucks.</dialogue> <scene_description>ANGLE ON MR. COFFEE AND OFFICER They approach McCrosky .</scene_description> <character>OFFICER</character> <dialogue>Mr. McCrosky, Mr. Coffee. Coffee, McCrosky.</dialogue> <character>McCROSKY</character> <dialogue>Thanks for coming down so soon.</dialogue> <character>MR. COFFEE</character> <parenthetical>( checking watch . )</parenthetical> <dialogue>I wo n't come down for another couple hours.</dialogue> <character>McCROSKY</character> <dialogue>I'll put you on the radio with Striker. Jeez you look familiar. Did you ever play water polo?</dialogue> <character>MR. COFFEE</character> <dialogue>Not to my knowledge.</dialogue> <character>McCROSKY</character> <dialogue>I thought so.</dialogue> </scene> <scene> <stage_direction>EXT. SHIP - SPACE</stage_direction> <scene_description>It roars towards the sun . The nose of the ship begins to glow red .</scene_description> <character>NEW YORK TIMES</character> <dialogue>`` MERCURY SHUTTLE HEADS FOR DISASTER''</dialogue> <character>LONDON TIMES</character> <dialogue>`` DEEP SPACE DEATH CERTAIN''</dialogue> <character>JERUSALEM POST</character> <dialogue>`` THEY SHOULD N'T HAVE GONE IN THE FIRST PLACE''</dialogue> <scene_description>BUFFALO LOCAL NEWS SET FILM INSET : APARTMENT FIRE Set logo reads , `` NEWS 4 BUFFALO . ''</scene_description> <character>ANCHOR 1</character> <dialogue>Four alarm fire rages through downtown Buffalo!</dialogue> <scene_description>FILM INSET : ROCKET GOING OFF COURSE</scene_description> <character>ANCHOR 2</character> <dialogue>Mercury shuttle heads for sun.</dialogue> <scene_description>TOKYO LOCAL NEWS SET FILM INSET : APARTMENT FIRE Set logo reads , `` NEWS 4 TOKYO ''</scene_description> <character>ANCHOR 1</character> <parenthetical>( subtitles . )</parenthetical> <dialogue>Four alarm fire guts Tokyo apartment.</dialogue> <scene_description>FILM INSET : SHUTTLE MODEL IN MOUTH OF GODZILLA . SFX : SCREAMS .</scene_description> <character>ANCHOR 2</character> <parenthetical>( subtitles . )</parenthetical> <dialogue>Mercury mission in death struggle.</dialogue> <scene_description>MOSCOW LOCAL NEWS SET FILM INSET : APARTMENT FIRE Set logo reads , `` NEWS 3 MOSCOW . '' A gun is held to ANCHORMAN 'S head .</scene_description> <character>ANCHOR 1</character> <parenthetical>( subtitles . )</parenthetical> <dialogue>Four alarm fire in downtown Moscow clears way for glorious new tractor factory.</dialogue> <scene_description>FILM INSET : ROCKET GOING OFF COURSE</scene_description> <character>ANCHOR 2</character> <parenthetical>( subtitles . )</parenthetical> <dialogue>Capitalist, imperialist adventurism ends in space disaster.</dialogue> <scene_description>ABC `` NIGHTLINE '' SUPER : `` GAY UNMARRIED VEGETARIAN MOTHERS AGAINST SPACE TRAVEL ''</scene_description> <character>WOMAN</character> <dialogue>If this country was run by vegetarian women who's old men deserted them after knocking them up instead of by meat - eating males, this thing never would have happened.</dialogue> </scene> <scene> <stage_direction>EXT. TERMINAL - DAY</stage_direction> <scene_description>A banner hangs over terminal door : `` HOUSTON WELCOMES SPACE DISASTER PRESS . '' CLOSEUP OF ATTACHE CASE being carried to the door - sticker on it reads , `` NATIONAL ENQUIRER . '' CLOSEUP OF ANOTHER CASE coming from other direction - sticker on it reads , `` NATIONAL STAR . '' The cases meet . LOOSEN to REPORTERS .</scene_description> <character>ENQUIRER</character> <parenthetical>( to STAR . )</parenthetical> <dialogue>I never forget a face. ` Texas doctor claims sex with chicken cures baldness?'</dialogue> <character>STAR</character> <dialogue>` Severed legs grow back after Utah man finds Christ?'</dialogue> <character>ENQUIRER/STAR</character> <dialogue>Long time no see.</dialogue> <scene_description>They shake hands and turn into the terminal .</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <scene_description>Controllers stand over Mr. Coffee - everyone sips coffee and smokes cigarettes .</scene_description> <character>MR. COFFEE</character> <parenthetical>( on radio . )</parenthetical> <dialogue>Have you got the back panel off the brew manifold?</dialogue> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Ted has the coffee machine apart , wears a headset and holds wires in pliars . Anxious passengers with coffee cups stand over him - they are all totally wired and going cold turkey .</scene_description> <character>TED</character> <parenthetical>( into headset . )</parenthetical> <dialogue>Check.</dialogue> <character>MR. COFFEE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>There's a terminal at the base of the coil. That's your contact point.</dialogue> <scene_description>A PASSENGER bends down and picks a coffee bean off the floor .</scene_description> <character>PASSENGER</character> <dialogue>Is this a coffee bean?</dialogue> <character>ALL PASSENGERS</character> <parenthetical>( maniacally . )</parenthetical> <dialogue>He's got a bean!</dialogue> <scene_description>A riot ensues . The `` bean '' Passenger is beaten to death .</scene_description> <character>TED</character> <parenthetical>( into headset . )</parenthetical> <dialogue>It looks like the solder point has melted.</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <character>MR. COFFEE</character> <parenthetical>( enraged . )</parenthetical> <dialogue>Just what I thought. When the hell will you people realize that adding extra water after the initial brew cycle overheats the system! Now listen to me, Striker, and listen good.</dialogue> </scene> <scene> <stage_direction>EXT. SHIP - SPACE</stage_direction> <scene_description>It careens towards the sun .</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <scene_description>Detective Hallick storms in and up to McCrosky . He flashes his badge .</scene_description> <character>DETECTIVE HALLICK</character> <dialogue>Who's in charge here, Mister?</dialogue> <character>McCROSKY</character> <dialogue>McCrosky, Control.</dialogue> <character>DETECTIVE HALLICK</character> <dialogue>Hallick, homicide.</dialogue> <character>JACOBS</character> <dialogue>Jacobs, Pisces.</dialogue> <character>KRUGER</character> <dialogue>Kruger, Sagittarius.</dialogue> <character>COMMISSIONER</character> <dialogue>Commissioner, Aquarius.</dialogue> <character>DETECTIVE HALLICK</character> <dialogue>We have information that one of your passengers is carrying a bomb and might be suicidal.</dialogue> <character>McCROSKY</character> <dialogue>Where'd you get this information, Captain?</dialogue> <character>DETECTIVE HALLICK</character> <dialogue>We have our methods.</dialogue> <character>KRUGER</character> <dialogue>And what methods are those?</dialogue> <character>DETECTIVE HALLICK</character> <dialogue>Have you heard of the Heimlich method?</dialogue> <character>McCROSKY</character> <dialogue>The method of saving someone choking on a piece of gristle?</dialogue> <character>DETECTIVE HALLICK</character> <dialogue>Exactly.</dialogue> <character>KRUGER/McCROSKY/COMMISSIONER</character> <dialogue>We're familiar with it.</dialogue> <character>DETECTIVE HALLICK</character> <dialogue>Good. This is the passenger's wife. Mrs. Joe Salucci.</dialogue> <scene_description>She approaches very distressed looking .</scene_description> <character>McCROSKY</character> <dialogue>What makes you think your husband might want to blow up that shuttle, ma'am?</dialogue> <scene_description>She goes into her purse for the insurance form .</scene_description> <character>MRS. SALUCCI</character> <dialogue>This insurance policy.</dialogue> <scene_description>A large ivory colored vibrator drops out of her purse , hits the floor , and flips on . They all look at it .</scene_description> <character>MRS. SALUCCI</character> <dialogue>An electric tooth.</dialogue> <parenthetical>( handing McCrosky the insurance form . )</parenthetical> <dialogue>Joey was supposed to go to Des Moines for an operation to cure his impotence.</dialogue> <character>McCROSKY</character> <dialogue>The Des Moines Institute?</dialogue> <character>MRS. SALUCCI</character> <dialogue>Then you know it.</dialogue> <character>KRUGER/McCROSKY/COMMISSIONER</character> <dialogue>Yes, we're familiar with it.</dialogue> <character>MRS. SALUCCI</character> <dialogue>Well, I found out Joey got on this shuttle instead and.</dialogue> <character>DETECTIVE HALLICK</character> <dialogue>The way I read it, blowin' up a plane in space leaves no traces, if you know what I mean.</dialogue> <character>KRUGER</character> <dialogue>I'm not exactly sure what you mean, Captain.</dialogue> <character>DETECTIVE HALLICK</character> <dialogue>No blood. No body. No bones. No eyes. No ears. No throats.</dialogue> <character>McCROSKY</character> <parenthetical>( looking at form . )</parenthetical> <dialogue>This is $ 500,000 worth of insurance!</dialogue> <scene_description>Kruger , Commissioner , and Hallick all whistle `` wow ! ''</scene_description> <character>McCROSKY</character> <dialogue>Just a second. This is insurance on his car!</dialogue> <character>MRS. SALUCCI</character> <dialogue>That's what worries me.</dialogue> <character>KRUGER</character> <dialogue>He's impotent.</dialogue> <character>COMMISSIONER</character> <dialogue>He's suicidal.</dialogue> <character>ALL</character> <dialogue>And he's stupid!</dialogue> <scene_description>MUSIC : DRAMATIC STING . ANOTHER AREA</scene_description> <character>MR. COFFEE</character> <parenthetical>( into radio . )</parenthetical> <dialogue>This is it, Striker. You got one shot and one shot only.</dialogue> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Striker stands over the coffee machine , sweating like mad . The Passengers with cups hang over him . He makes contact with a wire .</scene_description> <character>TED</character> <parenthetical>( to self . )</parenthetical> <dialogue>Contact.</dialogue> <scene_description>The MACHINE EXPLODES . Coffee gushes out like an oil well coming in . The Passengers dance under the gusher of brown liquid , mouths open and cheering .</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <character>McCROSKY</character> <dialogue>How are we going to handle this bomb nut?</dialogue> <character>CONTROLLER 2</character> <parenthetical>( rushes up with printouts . )</parenthetical> <dialogue>Here are the tests we ran on their computer. I had them xeroxed for you.</dialogue> <character>McCROSKY</character> <dialogue>How'd they come out?</dialogue> <character>CONTROLLER 2</character> <dialogue>Upside - down, but I turned each page over and put them in order. I'm afraid that computer is totally capable of taking control of that ship.</dialogue> <character>McCROSKY</character> <dialogue>Let's keep cool. There's got ta be a way to control it.</dialogue> <scene_description>He lights a cigarette .</scene_description> <character>CONTROLLER 3</character> <parenthetical>( rushes up with diagrams . )</parenthetical> <dialogue>These are their position calculations. They've got about ten minutes before they start to burn up.</dialogue> <character>McCROSKY</character> <dialogue>Keep calm. A lot can happen in ten minutes.</dialogue> <parenthetical>( to self . )</parenthetical> <dialogue>What next?</dialogue> <scene_description>He sips his coffee .</scene_description> <character>CONTROLLER 4</character> <parenthetical>( rushes in . )</parenthetical> <dialogue>Sir, your headlights are on and your doors are locked!</dialogue> <character>McCROSKY</character> <parenthetical>( spitting out coffee , Danny Thomas style . )</parenthetical> <dialogue>Jesus! I'll be right back!</dialogue> <scene_description>McCrosky races out .</scene_description> </scene> <scene> <stage_direction>EXT. SHIP - SPACE</stage_direction> <scene_description>It heads closer to the sun . The nose is glowing .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Elaine is checking computer . The cockpit is steaming now . She unbuttons her uniform just as Ted comes in .</scene_description> <character>ELAINE</character> <dialogue>Ted, we've only got ten minutes.</dialogue> <character>TED</character> <parenthetical>( thinking she wants sex . )</parenthetical> <dialogue>Not now, Elaine.</dialogue> <character>ELAINE</character> <dialogue>I mean until we start to burn up.</dialogue> <scene_description>Ted takes his seat and looks at a panel gauge .</scene_description> <character>TED</character> <dialogue>We're closer to the sun than I estimated.</dialogue> <scene_description>INSERT - GAUGES One is labeled `` EXACT DISTANCE '' and reads , `` 76.50 '' . The other is labeled `` ESTIMATED DISTANCE '' and reads , `` 5689465932.09 '' . BACK TO SCENE</scene_description> <character>KRUGER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Come in, Mayflower. This is Bud Kruger. Over.</dialogue> <character>TED</character> <parenthetical>( on radio . )</parenthetical> <dialogue>This is Striker.</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <character>KRUGER</character> <parenthetical>( on radio . )</parenthetical> <dialogue>Look, Striker, I do n't know how you got into that driver's seat but I want Simon Kurtz on that radio and I want him now!</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <character>TED</character> <parenthetical>( on radio . )</parenthetical> <dialogue>Kurtz was the one who got us into this mess in the first place. You people knew this ship was n't ready to fly. You played God with over a hundred lives, Kruger, and for what - the prestige of your precious space program.</dialogue> <character>ELAINE</character> <dialogue>That was very well put, Ted.</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <scene_description>Jacobs stands next to Kruger rubbing his forefingers together in the `` shame , shame '' sign .</scene_description> <character>KRUGER</character> <parenthetical>( on radio . )</parenthetical> <dialogue>Striker, you're heading right for the sun, so do n't you think it's a little late for that bleeding heart liberal crap now?</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <character>ELAINE</character> <dialogue>He's got a point, Ted.</dialogue> </scene> <scene> <stage_direction>INT. CONTROL ROOM - ANGLE ON JACOBS AT A SCOREBOARD</stage_direction> <scene_description>There are columns under Kruger 's and Striker 's names . Striker has two check marks . Jacobs gives Kruger one .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <character>TED</character> <parenthetical>( on radio . )</parenthetical> <dialogue>Call me a bleeding heart, but if we get through this thing I'm preparing a paper on alternative spending directives recommending the transfer of space program funds to low cost housing.</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <character>KRUGER</character> <parenthetical>( on radio . )</parenthetical> <dialogue>Just put Kurtz on that radio!</dialogue> <scene_description>McCrosky rushes in and grabs the mike from Kruger .</scene_description> <character>McCROSKY</character> <parenthetical>( enraged . )</parenthetical> <dialogue>Look, Kruger, you and your people have caused enough trouble already. I do n't care about your political games, I care about only one thing, the lives of those people up there! Out of my control room!</dialogue> <character>JACOBS</character> <dialogue>Someone's car would n't start.</dialogue> <character>McCROSKY</character> <parenthetical>( on mike . )</parenthetical> <dialogue>Striker, this is McCrosky. Give me five minutes and keep your fingers crossed.</dialogue> <parenthetical>( to Stinson . )</parenthetical> <dialogue>Stinson, get me the Mayflower plans!</dialogue> <parenthetical>( to Controller 3 . )</parenthetical> <dialogue>You, clear this table!</dialogue> <character>JACOBS</character> <dialogue>I'll get the cards and bridge mix.</dialogue> <character>McCROSKY</character> <dialogue>And someone get me the Sarg!</dialogue> <scene_description>CLOSEUP OF SARG leaning over the ship 's plans . He is eating another cigar . All Controllers stand around him .</scene_description> <character>SARG</character> <dialogue>That's my little girl, my little darlin', my sweetheart, my honey, and you want to blow her belly out with that bomb. If you blast here in the computer core and the fuselage does n't give way here and the main communication lines to the cockpit hold here and this baby here does n't jam this little old unit up here and throw about two tons of hot steel through here like a hot knife through butter and the upper and lower.</dialogue> <character>McCROSKY</character> <dialogue>What's your point, Sarg?</dialogue> <character>SARG</character> <dialogue>I have no point.</dialogue> <character>McCROSKY</character> <dialogue>Then it's settled. The bomb is Striker's only chance. Are there any questions?</dialogue> <character>CONTROLLERS</character> <dialogue>No sir.</dialogue> <character>McCROSKY</character> <dialogue>Those are answers, I asked for questions.</dialogue> <character>CONTROLLER 3</character> <dialogue>Should a man in his forties have a circumcision?</dialogue> <character>McCROSKY</character> <dialogue>Absolutely.</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <character>TED</character> <dialogue>Well, Elaine, this might be it if those guys on the ground do n't think of something.</dialogue> <character>ELAINE</character> <dialogue>I just want you to know, I love you Ted and always will.</dialogue> <scene_description>SFX : RADIO BEEPS</scene_description> <character>TED</character> <dialogue>That might be the news we've been waiting for.</dialogue> <scene_description>He grabs radio .</scene_description> <character>McCROSKY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I've got some news for you, Striker.</dialogue> <scene_description>Ted and Elaine smile hopefully at each other .</scene_description> <character>TED</character> <parenthetical>( on radio . )</parenthetical> <dialogue>Roger.</dialogue> <character>McCROSKY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>One of your passengers is carrying a bomb and is suicidal.</dialogue> <scene_description>MUSIC : DRAMATIC STING</scene_description> <character>ELAINE</character> <dialogue>A b.</dialogue> <scene_description>She covers her mouth .</scene_description> <character>McCROSKY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>No, a bomb.</dialogue> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Joe Salucci wipes his brow , lays his case on his lap . ANGLE ON FRONT OF CABIN Ted and Mary huddle .</scene_description> <character>TED</character> <dialogue>Which passenger is Joe Salucci?</dialogue> <character>MARY</character> <dialogue>Sixteen ` C', why?</dialogue> <character>TED</character> <dialogue>He's carrying a bomb.</dialogue> <character>MARY</character> <dialogue>A b.</dialogue> <scene_description>She covers her mouth .</scene_description> <character>TED</character> <dialogue>No, a bomb. Now, as discreetly as possible, I want you to move the passengers into the lounge.</dialogue> <character>MARY</character> <dialogue>What should I say?</dialogue> <character>TED</character> <dialogue>Anything. Just do n't let Salucci think we're onto him.</dialogue> <scene_description>Ted moves down the aisle . Mary gets on the P.A.</scene_description> <character>MARY</character> <dialogue>Would everyone not carrying a bomb please move to the lounge.</dialogue> <scene_description>The Passengers go nuts screaming , `` A bomb ! ''</scene_description> <character>JOE</character> <parenthetical>( jumping up with his case . )</parenthetical> <dialogue>Do n't anyone move!</dialogue> <scene_description>All the passengers pile up in a ceiling - to - floor wall behind Ted - he extends his arms , holding them back .</scene_description> <character>TED</character> <dialogue>Mr. Salucci, listen to me.</dialogue> <scene_description>Ted takes a step forward away from the wall of passengers - the wall crumbles .</scene_description> <character>TED</character> <dialogue>Joe, you do n't want to blow that thing and kill all these innocent people.</dialogue> <character>JOE</character> <dialogue>I do n't want to live anymore.</dialogue> <character>TED</character> <dialogue>Joe, the insurance policy wo n't help your wife and kids. You bought auto insurance, not life insurance.</dialogue> <character>JOE</character> <dialogue>What?</dialogue> <character>TED</character> <parenthetical>( inching up on him . )</parenthetical> <dialogue>That's right, Joe. Now, no one's going to hurt you and no one has to know what's wrong with you.</dialogue> <character>JOE</character> <dialogue>You're sure?</dialogue> <character>TED</character> <dialogue>I'm sure.</dialogue> <scene_description>Ted is almost up to Joe when :</scene_description> <character>JIMMY</character> <parenthetical>( yells . )</parenthetical> <dialogue>That's the guy from the terminal who ca n't get it up!</dialogue> <scene_description>Joe bolts . Passengers panic . Ted tackles him . The case flies into the air in SLOW MOTION . It turns slowly , hanging for the longest time as we CUT , still in SLOW MOTION , to horrified faces watching it . This SLOW MOTION sequence lasts for about 60 seconds - people put on make - up , do macrame , read , etc. . - while the case is still in the air . Suddenly , Scraps leaps high into the air in SLOW MOTION and comes down with the case between his teeth .</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <scene_description>Controllers huddle over one monitor .</scene_description> <character>McCROSKY</character> <dialogue>Get that bomb, Striker! Get that bomb!</dialogue> <character>ELAINE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Come in, Control! We have the bomb!</dialogue> <character>ALL CONTROLLERS</character> <dialogue>He's got the bomb!</dialogue> <character>JACOB</character> <dialogue>This is just like an election in Iran.</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Ted is back at the controls - the cockpit is incredibly hot now .</scene_description> <character>TED</character> <dialogue>This heat's getting unbearable.</dialogue> <scene_description>He looks down and sees two eggs frying on the dash .</scene_description> <character>ELAINE</character> <dialogue>But it is a dry heat, Ted.</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <scene_description>Controllers are grouped around the plans .</scene_description> <character>McCROSKY</character> <dialogue>Do we use the bomb to blow that computer or is there another way? I want to know what everyone thinks.</dialogue> <character>CONTROLLER 2</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I think.</dialogue> <parenthetical>( changes mind . )</parenthetical> <dialogue>. No.</dialogue> <character>CONTROLLER 3</character> <parenthetical>( V.O . )</parenthetical> <dialogue>We could knock out the wall between the cockpit and cabin, and hang plants.</dialogue> <character>CONTROLLER 2</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I think.</dialogue> <parenthetical>( changes mind . )</parenthetical> <dialogue>. No.</dialogue> <character>CONTROLLER 4</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You ca n't knock that wall out. That's a support wall, asshole.</dialogue> <character>CONTROLLER 2</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I think.</dialogue> <parenthetical>( changes mind . )</parenthetical> <dialogue>No.</dialogue> <character>CONTROLLER 5</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Did I flush?</dialogue> <character>McCROSKY</character> <dialogue>Then it's settled. We use the bomb.</dialogue> <parenthetical>( grabs radio . )</parenthetical> <dialogue>Striker, McCrosky.</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <character>McCROSKY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>We've gone over the blueprints and you've got only one option.</dialogue> <character>TED</character> <parenthetical>( on radio . )</parenthetical> <dialogue>I know what you're going to say, McCrosky - knock out the wall between the cockpit and cabin and hang plants.</dialogue> <character>McCROSKY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Forget it. That's a support wall. Use the bomb.</dialogue> <character>ELAINE</character> <dialogue>The b.</dialogue> <scene_description>She covers her mouth .</scene_description> <character>McCROSKY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I keep telling you, not the b. The bomb!</dialogue> <character>TED</character> <parenthetical>( almost to self . )</parenthetical> <dialogue>Why, you'd have to be crazy to try a stunt like that.</dialogue> <scene_description>Elaine looks at Ted .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>All passengers look forward in Ted 's direction .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>SUPER the womb over Ted 's face .</scene_description> <character>DOCTOR'S VOICE</character> <dialogue>You're too low in the womb, Striker! You've got to come out feet first!</dialogue> <scene_description>LOSE SUPER .</scene_description> <character>TED</character> <parenthetical>( grabs case . )</parenthetical> <dialogue>Elaine. I'm going back there.</dialogue> <character>ELAINE</character> <dialogue>Ted. I love you. Be careful.</dialogue> <scene_description>Ted leaves . SFX : CRASHING MUSICAL INSTRUMENTS</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <character>McCROSKY</character> <parenthetical>( to his controllers . )</parenthetical> <dialogue>I want everyone on their toes for this one.</dialogue> <scene_description>ANGLE ON JACOBS Handing out ballet slippers to the Controllers who are passing a joint down the line .</scene_description> <character>McCROSKY</character> <dialogue>And if anyone has any ideas, I want to hear them now.</dialogue> <character>JACOBS</character> <dialogue>How about a show just like Hollywood Squares but with kids. Gary Coleman could host.</dialogue> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>The Passengers stand in the aisle listening to Mary .</scene_description> <character>MARY</character> <dialogue>Now I want everyone to move to the front of the cabin.</dialogue> <scene_description>Passengers move calmly .</scene_description> <character>MARY</character> <dialogue>That's fine. Stay calm. We just want everyone as far away from the blast as possible.</dialogue> <scene_description>The Passengers panic and stampede right over her .</scene_description> </scene> <scene> <stage_direction>INT. COMPUTER CORE</stage_direction> <scene_description>Ted wears a gas mask and attaches the time - bomb to the computer .</scene_description> <character>ROK</character> <dialogue>What are you doing, Ted? Why are you wearing that mask, Ted?</dialogue> <scene_description>Gas spews out of a vent . Ted makes sure his gas mask is tight .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Simon is dressed in space suit and moving down the aisle . Elaine holds onto him .</scene_description> <character>ELAINE</character> <dialogue>Simon! Wait! What are you doing?!</dialogue> <scene_description>They pass Father O'Flanagan . He has a Bongo drum at his seat .</scene_description> <character>O'FLANAGAN</character> <dialogue>Under the ` B', sixteen!</dialogue> <character>SIMON</character> <dialogue>I've lost the ship and now I've lost you, Elaine. I'm getting out.</dialogue> <character>ELAINE</character> <dialogue>Simon, I did n't want it to end like this. We can be friends! You'll die out there.</dialogue> <character>SIMON</character> <dialogue>Maybe.</dialogue> <character>ELAINE</character> <dialogue>Simon, what are you saying?!</dialogue> <scene_description>Simon steps into a hatch labeld , `` ESCAPE CAPSULE '' .</scene_description> <character>SIMON</character> <dialogue>I'm saying, I ca n't take the singles scene again, Elaine.</dialogue> <scene_description>The hatch door slams shut . A passenger passes with a sandwich board that reads , `` JESUS WAS A SINGLE . ''</scene_description> <character>ELAINE</character> <dialogue>Simon, no!</dialogue> <scene_description>Jimmy appears and yells through the window on the hatch .</scene_description> <character>JIMMY</character> <dialogue>You want to talk about it now, Commander?</dialogue> <scene_description>The capsule ejects .</scene_description> </scene> <scene> <stage_direction>INT. KRUGER'S OFFICE</stage_direction> <scene_description>The Commissioner stands in front of the painting of astronauts on black velvet . He is on the phone .</scene_description> <character>COMMISSIONER</character> <dialogue>Give me the President of the United States. Tell him it's the Commissioner.</dialogue> <parenthetical>( to Kruger . )</parenthetical> <dialogue>I do n't know how the old man's going to take this.</dialogue> </scene> <scene> <stage_direction>INT. OVAL OFFICE</stage_direction> <scene_description>The PRESIDENT poses for a photo session : CLOSEUP of President holding aloft in a victory salute , the hands of two black men . On the camera flash we LOOSEN to reveal the bodiless arms of two black mannequins . An AID hands the phone to the President .</scene_description> <character>AID</character> <dialogue>Houston, sir.</dialogue> <character>PRESIDENT</character> <parenthetical>( taking phone . )</parenthetical> <dialogue>This is the President. What?! What?!</dialogue> <scene_description>He walks past a wall of photos of past presidents : JFK , Johnson , Nixon , Ford , Carter , Reagan , Reagan older , Reagan much older , Merv Griffin , a chimp , and this President . SPLIT SCREEN : PRESIDENT AND COMMISSIONER</scene_description> <character>COMMISSIONER</character> <dialogue>I do n't think that shuttle's going to make it, sir.</dialogue> <scene_description>The President passes an Arab piling millions in cash onto his desk .</scene_description> <character>PRESIDENT</character> <dialogue>Damnit, Mister, the dignity and integrity of this presidency depends on the success of that mission. And that's my last word!</dialogue> <character>COMMISSIONER</character> <dialogue>Yes, sir.</dialogue> <scene_description>They both hang up and , making sure no one is watching , pick their noses . WIPE TO FULL SCREEN OF OVAL OFFICE</scene_description> <character>AID</character> <dialogue>What's our strategy on this one, sir?</dialogue> <character>PRESIDENT</character> <dialogue>I work for the people of these United States, Frank. I have to do what's best for them.</dialogue> <parenthetical>( grabs the red phone . )</parenthetical> <dialogue>Al, kill social security, cancel school lunches only for the poor, dismantle welfare, close all hospitals and public toilets, green light the MX - 6, invade Brazil, and bring my horse around after my nap!</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Ted is at the controls . Elaine rushes in .</scene_description> <character>ELAINE</character> <dialogue>Simon just ejected!</dialogue> <character>TED</character> <dialogue>Sit down, Elaine. If this bomb trick works we just might make it. Simon was a fool to eject now.</dialogue> <character>ELAINE</character> <dialogue>You mean.</dialogue> <character>TED</character> <dialogue>That's right - premature ejection.</dialogue> <character>ELAINE</character> <dialogue>What will happen to him, Ted?</dialogue> <character>TED</character> <dialogue>The sun will heat that thing to over 450 degrees within seconds. He'll roast like a pig on a spit.</dialogue> </scene> <scene> <stage_direction>EXT. ESCAPE CAPSULE - SPACE</stage_direction> <scene_description>We see a roast on a spit through the window .</scene_description> </scene> <scene> <stage_direction>INT. COMPUTER CORE</stage_direction> <scene_description>The clock on the time bomb TICKS down .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <character>TED</character> <parenthetical>( looking at wristwatch . )</parenthetical> <dialogue>Are you afraid?</dialogue> <character>ELAINE</character> <dialogue>Not when I'm with you, Ted.</dialogue> <character>TED</character> <dialogue>I guess you'd have to be a fool not to be afraid at a time like this.</dialogue> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Mrs. Gooch sucks on her cushion - she 's totally zonked on acid .</scene_description> <character>MAN NEXT TO HER</character> <dialogue>Are you afraid?</dialogue> <character>MRS. GOOCH</character> <parenthetical>( looking at her hands . )</parenthetical> <dialogue>Are these my hands?</dialogue> <character>FATHER O'FLANAGAN</character> <parenthetical>( to Stella . )</parenthetical> <dialogue>Are you afraid?</dialogue> <character>STELLA</character> <dialogue>I'm a nurse. I ca n't afford to be afraid, Father.</dialogue> <scene_description>ANOTHER AREA</scene_description> <character>JIMMY</character> <parenthetical>( to Scraps . )</parenthetical> <dialogue>Are you afraid, Scraps?</dialogue> <character>SCRAPS</character> <parenthetical>( he BARKS once , subtitle translate . )</parenthetical> <dialogue>Now when there's a guy like Ted Striker up there, Jimmy.</dialogue> <parenthetical>( he BARKS one more time - subtitles . )</parenthetical> <dialogue>Now how about a little scratch on the inner thigh?</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Testa stands over Ted with a clipboard .</scene_description> <character>TESTA</character> <dialogue>Fifty - six percent of the passengers are afraid. Twenty - nine percent are not afraid. Eight percent are undecided and seven percent think Israel should give back Finland.</dialogue> <character>TED</character> <dialogue>You better strap yourself in, Testa.</dialogue> <parenthetical>( on radio . )</parenthetical> <dialogue>Mission control, this is Mayflower. Over.</dialogue> <character>McCROSKY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Go ahead, Striker.</dialogue> <character>TED</character> <parenthetical>( on radio . )</parenthetical> <dialogue>We've got about 60 seconds before that thing blows. We're set to reprogram for Mercury at zero point five WORP.</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <character>McCROKSY</character> <parenthetical>( on radio . )</parenthetical> <dialogue>Zero point five WORP?!</dialogue> <character>STRIKER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>That's right. When the bomb explodes we're going to have a ten foot hole in the fuselage and I want to get there as fast as I can. I know what this snip can do, McCrosky.</dialogue> <character>McCROKSY</character> <parenthetical>( to Controllers . )</parenthetical> <dialogue>No one's ever travelled at that speed before.</dialogue> <character>JACOBS</character> <dialogue>Last spring we did Europe in nine days.</dialogue> </scene> <scene> <stage_direction>EXT. SHIP - SPACE</stage_direction> <scene_description>It careens towards the sun .</scene_description> </scene> <scene> <stage_direction>INT. COMPUTER CORE</stage_direction> <scene_description>Bomb clock TICKS down .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Mary instructs Passengers .</scene_description> <character>MARY</character> <dialogue>Heads between the knees!</dialogue> <parenthetical>( looking down aisle . )</parenthetical> <dialogue>Between your own knees, Father!</dialogue> <scene_description>O'Flanagan looks around guiltily .</scene_description> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <scene_description>McCrosky addresses his troops .</scene_description> <character>McCROSKY</character> <dialogue>I do n't find it easy to talk at a time like this, but I want to say something about that guy up there. I can sum it all up in one word - courage, dedication, spirit, pride, selflessness, and g - u - t - s, guts. Striker's got more guts in his little finger than most of us have in our large intestine. He's got guts up to his eyeballs, guts coming out of his ears.</dialogue> <scene_description>Controllers start playing cards , doing needlepoint .</scene_description> <character>McCROSKY</character> <dialogue>Sure it's a cliche but great shortstops are born, not made, and a clown is funny in the circus but when he gets on the highway, he's murder. It bugged me too when Mr. Ed refused to talk when the neighbors came over but.</dialogue> </scene> <scene> <stage_direction>INT. COMPUTER CORE</stage_direction> <scene_description>The bomb TICKS down and BLOWS .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>The ship shakes violently . Ted fights for control . INSERT - SPEEDOMETER SLOWS BACK TO SCENE SFX : ENGINE WHINE SUBSIDES . The ship starts bumping as if it 's hit a rough road .</scene_description> <character>TED</character> <parenthetical>( on radio . )</parenthetical> <dialogue>We've blown the computer!</dialogue> <parenthetical>( to Elaine . )</parenthetical> <dialogue>Elaine! Set course change!</dialogue> <character>ELAINE</character> <parenthetical>( flips a switch . )</parenthetical> <dialogue>Set!</dialogue> <character>TED</character> <dialogue>Now!</dialogue> <character>ELAINE</character> <parenthetical>( pushes a button . )</parenthetical> <dialogue>Compute!</dialogue> <scene_description>`` Compute '' sign flashes . Ted pulls an acceleration lever .</scene_description> <character>TED</character> <dialogue>Here goes.</dialogue> </scene> <scene> <stage_direction>EXT. SHIP - SPACE</stage_direction> <scene_description>It slows to a halt .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Ted pulls the lever hard toward himself . The ship shudders .</scene_description> </scene> <scene> <stage_direction>EXT. SHIP - SPACE</stage_direction> <scene_description>The ship slingshots in the opposite direction , disappearing into the void leaving a trail of light .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>INSERT - PANEL LIGHT , `` 0.5 WORP '' BACK TO SCENE</scene_description> <character>TED</character> <parenthetical>( on radio . )</parenthetical> <dialogue>Point five WORP!</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <scene_description>PAN Controllers looking intently into the night sky . PAN to Mrs. Salucci intently gripping her vibrator - it 's on . PAN to Jacobs reading VARIETY - headline : `` PARAMOUNT ANNOUNCES SHUTTLE DISASTER PIC ! ''</scene_description> <character>McCROSKY</character> <dialogue>Zero point five WORP, that's half the speed of light. We really have no idea what can happen to the human body at that speed.</dialogue> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Two Passengers -LRB- contortionists -RRB- with legs up over their shoulders and looking out over their rear ends , play cards .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>The interior vibrates . A psychedelic blaze of multi - colored light illuminates the interior . Ted struggles with the controls .</scene_description> <character>McCROSKY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Striker, we're monitoring you. You're right on course. At that speed you should hit Mercury in about six minutes. So give yourself enough time to kill those WORP engines.</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <character>McCROSKY</character> <parenthetical>( on radio . )</parenthetical> <dialogue>We'll be out of radio range in a few seconds. I'm going to put you in contact with Mercury Base Alpha Beta for your final descent. Over.</dialogue> <parenthetical>( off mike . )</parenthetical> <dialogue>Stinson, who's in command of Alpha Beta?</dialogue> <character>STINSON</character> <dialogue>Al Hammil?</dialogue> <character>CONTROLLER 3</character> <dialogue>Not anymore. It's Rex Kramer, now.</dialogue> <character>McCROSKY</character> <dialogue>Not Rex Kramer!</dialogue> <character>CONTROLLER 3</character> <dialogue>No, Rex Kramer.</dialogue> </scene> <scene> <stage_direction>EXT. MERCURY - NIGHT</stage_direction> <scene_description>We see the Alpha Beta base in distance with an ALPHA BETA neon sign flashing . SFX : WAILING SUBMARINE SIREN . SUPER : MERCURY BASE , ALPHA BETA</scene_description> </scene> <scene> <stage_direction>INT. ALPHA BETA BASE - CORRIDOR</stage_direction> <scene_description>SFX : WAILING SUBMARINE SIREN . Four uniformed officers race to their posts around a corner and collide with four others racing around the corner from the other direction .</scene_description> </scene> <scene> <stage_direction>INT. ELEVATOR - ALPHA BETA BASE</stage_direction> <scene_description>REX KRAMER watches the floors flash by on the panel above the door . INSERT - FLOOR LIGHT , `` LEVEL 1 - POWER STATION '' O.S. we hear a DOG GROWLING and fighting with something . CLOSEUP OF KRAMER</scene_description> <character>KRAMER</character> <dialogue>I know this guy, Ted Striker. I flew with him during the war. He was a crack pilot but he did n't have it in the crunch. That is.</dialogue> <scene_description>INSERT - FLOOR LIGHT , `` LEVEL 3 - LIVING QUARTERS '' BACK TO SCENE</scene_description> <character>KRAMER</character> <dialogue>Until that day over Chicago. He brought that busted up 767 out of that storm like a paper glider coming outta the baby blue.</dialogue> <scene_description>INSERT - FLOOR LIGHT , `` LEVEL 5 - WOMEN 'S SHOES , BEDDING , APPLIANCES '' . `` LEVEL 6 - DESIGNER JEANS '' . BACK TO SCENE</scene_description> <character>KRAMER</character> <dialogue>But flying that shuttle is a whole different ballgame.</dialogue> <scene_description>The elevator doors open . Kramer steps out into the communications room . SFX : SUBMARINE SIREN WAILS . PAN down to floor of elevator to find a young officer - Carey - torn to shreds and fighting off Kramer 's golden retriever dog . The doors close . Kramer approaches an OFFICER .</scene_description> <character>KRAMER</character> <dialogue>What's the latest, Lieutenant?</dialogue> <character>OFFICER</character> <dialogue>They'll hit our atmosphere in about three minutes, if they hold together. They've lost their computer and are coming in at zero point five WORP on manual control, sir.</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Ted shifts a stick shift on the steering column .</scene_description> </scene> <scene> <stage_direction>INT. ALPHA BETA COMMUNICATIONS ROOM</stage_direction> <scene_description>Kramer looks at the big screen . SFX : SUBMARINE SIREN WAILS .</scene_description> <character>KRAMER</character> <dialogue>Down scope!</dialogue> <scene_description>A submarine periscope drops . Kramer looks for the shuttle .</scene_description> <character>KRAMER</character> <dialogue>He'll never bring that thing in on manual, but I guess Striker's their only hope.</dialogue> <scene_description>INSERT - PERISCOPE SHOT OF WWII SHIPS BACK TO SCENE</scene_description> <character>KRAMER</character> <dialogue>It's his ship now. He's the top dog.</dialogue> <scene_description>INSERT - PERISCOPE SHOT OF SHORE LINE FROM WWII FILM BACK TO SCENE</scene_description> <character>KRAMER</character> <dialogue>The big man. The numero uno honcho.</dialogue> <scene_description>INSERT - PERISCOPE SHOT OF DESERT BACK TO SCENE</scene_description> <character>KRAMER</character> <dialogue>The head cheese.</dialogue> <scene_description>INSERT - PERISCOPE SHOT OF THE ED SULLIVAN SHOW - ED WAVES GOODNIGHT . BACK TO SCENE Kramer steps away from the scope . It drops down . A man in a barber chair is on the other end of the steel column and comes to rest on the floor .</scene_description> <character>OFFICER 2</character> <dialogue>Sir, we have radio contact.</dialogue> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Testa talks to the passengers . Psychedelic lights flash .</scene_description> <character>TESTA</character> <parenthetical>( yelling . )</parenthetical> <dialogue>We're travelling at one half the speed of light. There is nothing to worry about. However, you might experience some temporary metabolic changes.</dialogue> <scene_description>ANGLE ON WOMAN Her beard grows . INSERT - CLOSEUP OF SANITARY NAPKIN DISPENSER A flurry of hands empties it in two seconds . ANGLE ON TEXAN He has turned into a Hassidic Rabbi .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Ted is fighting to maintain control .</scene_description> <character>KRAMER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Striker, this is Rex Kramer on Alpha Beta. Do you read me? Over.</dialogue> <scene_description>Ted and Elaine give startled looks of recognition .</scene_description> <character>KRAMER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>That's right, Ted. Rex Kramer. We've locked you on track beam. You're going to have to kill those WORP engines in exactly thirty seconds. Over.</dialogue> </scene> <scene> <stage_direction>INT. MISSION CONTROL</stage_direction> <scene_description>Everyone tensely looks out the window into the night sky .</scene_description> <character>McCROSKY</character> <dialogue>There's nothing else we can do for those people out there now, except pray.</dialogue> <scene_description>The entire room explodes in an up - beat Southern Baptists ' rendition of `` HE 'S GOT THE WHOLE WORLD IN HIS HANDS '' .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <character>KRAMER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Now, Striker! Kill WORP!</dialogue> <scene_description>Ted pushes his WORP lever forward but it comes off in his hand .</scene_description> <character>ELAINE</character> <dialogue>Ted, the lever!</dialogue> <character>TED</character> <parenthetical>( on radio . )</parenthetical> <dialogue>Kramer, the WORP control handle just came off in my hand.</dialogue> <character>KRAMER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Try another handle!</dialogue> <character>TED</character> <dialogue>There are no more handles, only switches.</dialogue> <character>KRAMER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>No buttons?!</dialogue> <character>TED</character> <parenthetical>( looking around madly . )</parenthetical> <dialogue>Just switches, lights, and knobs.</dialogue> </scene> <scene> <stage_direction>INT. ALPHA BETA COMMUNICATIONS ROOM</stage_direction> <character>KRAMER</character> <parenthetical>( looking at buttons and levers on his panel . )</parenthetical> <dialogue>I'd give my right arm to get just one of these buttons or levers up there right now.</dialogue> <parenthetical>( on radio . )</parenthetical> <dialogue>Okay, Striker. You're going to have to pull that lever panel off.</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <character>TED</character> <parenthetical>( to Elaine . )</parenthetical> <dialogue>Screw driver!</dialogue> <scene_description>She hands him a vodka and orange juice . Ted throws it on his face . He reaches down and rips the panel off , exposing all sorts of wires .</scene_description> <character>KRAMER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Now find a piece of metal and stick it in there.</dialogue> <scene_description>Ted looks around for a piece of metal . Elaine pulls a bobby pin from her hair .</scene_description> <character>ELAINE</character> <dialogue>Will this work, Ted?</dialogue> <scene_description>Her long brown hair falls sexily . She sweeps it back with a toss of her head . Ted is overwhelmed by her .</scene_description> <character>TED</character> <dialogue>Thanks.</dialogue> <parenthetical>( on radio . )</parenthetical> <dialogue>I've got something that might work.</dialogue> </scene> <scene> <stage_direction>INT. ALPHA BETA COMMUNCATIONS ROOM</stage_direction> <character>TED</character> <parenthetical>( V.O . )</parenthetical> <dialogue>A bobby pin.</dialogue> <scene_description>Kramer and Aids exchange a look which questions Ted 's sexuality .</scene_description> <character>KRAMER</character> <dialogue>What the hell is a man doing with a. forget it.</dialogue> <parenthetical>( on radio . )</parenthetical> <dialogue>It'll have to do, Striker.</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Ted sticks the bobby pin into the wires . Sparks fly . The ship starts slowing up . SFX : THE ENGINE WHINE SUBSIDES . INSERT - SPEEDOMETER WINDING DOWN BACK TO SCENE</scene_description> <character>TED</character> <dialogue>It's working.</dialogue> </scene> <scene> <stage_direction>INT. COMMUNICATIONS ROOM</stage_direction> <scene_description>Kramer stands in front of the huge screen . A small ship appears in the distance coming right at us .</scene_description> <character>KRAMER</character> <parenthetical>( on radio . )</parenthetical> <dialogue>Okay, Striker. We have you on visual. Just keep her level.</dialogue> </scene> <scene> <stage_direction>EXT. SHIP - SPACE</stage_direction> <scene_description>It careens towards the planet surface .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>It starts bouncing wildly .</scene_description> <character>TED</character> <dialogue>She's coming apart!</dialogue> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Passengers scream .</scene_description> </scene> <scene> <stage_direction>INT. NEWS SET - BUFFALO</stage_direction> <scene_description>The anchorman screams . SUPER : `` EDITORIAL '' .</scene_description> </scene> <scene> <stage_direction>INT. NEWS SET - TOKYO</stage_direction> <scene_description>The anchorman screams . SUPER : `` EDITORIAL '' . -LRB- In Russian looking print . -RRB-</scene_description> </scene> <scene> <stage_direction>INT. HOTEL LOBBY - RIO MONTENEGRO</stage_direction> <scene_description>The desk clerk screams .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <character>KRAMER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Keep her nose up! Do n't fight her!</dialogue> <character>TED</character> <dialogue>I'm trying but she's fighting me!</dialogue> <scene_description>A boxing glove springs from the dash punching Ted in the face .</scene_description> <character>ELAINE</character> <dialogue>Ted, that's Alpha Beta!</dialogue> <scene_description>ANGLE OUT SHIP WINDOW - NIGHT We see the lights of a small colony on planet surface . The Alpha Beta neon sign is visible .</scene_description> </scene> <scene> <stage_direction>INT. ALPHA BETA COMMUNICATIONS ROOM</stage_direction> <scene_description>Kramer sits in a large swivel chair - like Captain Kirk 's on the Enterprise bridge . As he talks , he nonchalantly swivels so his back is to the huge window . We see the Mayflower approaching on the screen .</scene_description> <character>KRAMER</character> <parenthetical>( on radio . )</parenthetical> <dialogue>Now, Striker, there are a few things you have to keep in mind as you get close to the planet's atmosphere.</dialogue> <scene_description>ANGLE ON COMMUNCATION ROOM PERSONNEL They watch in horror as the Mayflower comes shooting at them .</scene_description> <character>KRAMER</character> <parenthetical>( on radio . )</parenthetical> <dialogue>First and foremost you have to make one very important decision.</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Elaine looks out the window - horrified .</scene_description> <character>ELAINE</character> <dialogue>Ted! We're not stopping!</dialogue> <scene_description>Ted fights the controls .</scene_description> <character>KRAMER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Is this a landing you're sure you can make without endangering the lives of your passengers?</dialogue> </scene> <scene> <stage_direction>INT. ALPHA BETA COMMUNICATIONS ROOM</stage_direction> <scene_description>ANGLE ON PERSONNEL They run for cover . ANGLE ON THE SCREEN The Mayflower comes right at the screen and crashes through it . Kramer still has his back to the screen and does n't notice what has happened - the room behind him has been totally demolished .</scene_description> <character>KRAMER</character> <parenthetical>( on radio . )</parenthetical> <dialogue>Now, once you've made that decision you have to be very clear about your responsibility to those people on that ship.</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>The front window is broken . Ted and Elaine are covered in debris . Elaine 's eyes grow wide with terror again .</scene_description> <character>ELAINE</character> <dialogue>Ted!</dialogue> </scene> <scene> <stage_direction>EXT. PLANET SURFACE</stage_direction> <scene_description>A group of scientists stand at a keyboard synthesizer . One plays the series of notes from CLOSE ENCOUNTERS . Suddenly the Mayflower appears over a hill . They all jump for cover as it crashes through the synthesizer .</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT</stage_direction> <scene_description>Ted and Elaine are covered in piano keys .</scene_description> <character>KRAMER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Their lives, their futures, their goals and aspirations are in your hands, Striker.</dialogue> </scene> <scene> <stage_direction>EXT. PLANET SURFACE</stage_direction> <scene_description>The Mayflower bounces across the surface .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Mary maneuvers down the aisle . Passengers are screaming and being tossed around .</scene_description> <character>MARY</character> <parenthetical>( to one passenger . )</parenthetical> <dialogue>Seat backs up. Thank you.</dialogue> <scene_description>She looks up and sees feet dangling from the ceiling . A man has gone right through the ceiling up to his waist .</scene_description> <character>MARY</character> <parenthetical>( looking up . )</parenthetical> <dialogue>Sir, you really must take your seat.</dialogue> </scene> <scene> <stage_direction>INT. ALPHA BETA COMMUNCATIONS ROOM</stage_direction> <character>KRAMER</character> <parenthetical>( on radio . )</parenthetical> <dialogue>We're all with you on this one, Striker. Now get ready to position landing gear, cut engines, and fire your retrorockets.</dialogue> </scene> <scene> <stage_direction>EXT. PLANET SURFACE - DAWN</stage_direction> <scene_description>The Mayflower careens to a smoking , crunching , shattering stop .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Mary and Testa start directing panic - striken passengers to the exits .</scene_description> </scene> <scene> <stage_direction>INT. ALPHA BETA COMMUNICATIONS ROOM</stage_direction> <character>KRAMER</character> <parenthetical>( on radio . )</parenthetical> <dialogue>Timing's of the essence on a lame duck approach, Striker. Do n't fight her. Hold her steady. Nose up.</dialogue> </scene> <scene> <stage_direction>EXT. SHIP ON A HILL - DAWN</stage_direction> <scene_description>Ted and Elaine stand looking down on the wreckage . In b.g. , SIRENS WAIL , emergency lights flash across Ted and Elaine .</scene_description> <character>VOICES</character> <parenthetical>( O.S . )</parenthetical> <dialogue>You'll be all right! Everyone's going to be okay!</dialogue> <scene_description>Ted holds Elaine .</scene_description> <character>KRAMER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Do n't fight her, Striker. Hold her! Hold her! Stay with her, Striker!</dialogue> <scene_description>Ted and Elaine kiss .</scene_description> <character>KRAMER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Now, hit your landing gear and cut those engines!</dialogue> </scene> <scene> <stage_direction>INT. ALPHA BETA COMMUNICATIONS ROOM</stage_direction> <character>KRAMER</character> <parenthetical>( on radio . )</parenthetical> <dialogue>Timing's everything, Striker! Fire your retro - rockets!</dialogue> </scene> <scene> <stage_direction>EXT. PLANET SURFACE - DAWN</stage_direction> <scene_description>Ted and Elaine walk off into the distance . SFX : SIRENS FROM CRASH AREA IN DISTANCE .</scene_description> <character>KRAMER</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( voice fading . )</parenthetical> <dialogue>Now give her full flap and keep that nose up. Okay, now!</dialogue> <character>ELAINE</character> <dialogue>Ted, what's going to happen to us?</dialogue> <scene_description>Ted stops and looks into the distant , dark sky . A printed crawl begins : MUSIC : OPTIMISTIC THEME</scene_description> <character>CRAWL</character> <dialogue>FAR, FAR AWAY IN THE DEEPEST REGIONS OF OUR VAST SOLAR SYSTEM, A SMALL, BRAVE GROUP OF PIONEERS EMBARK ON A BOLD NEW ADVENTURE. THEIR MISSION : TO OPEN UP A NEW FRONTIER. THEIR GOAL, TO BUILD A BRAVE NEW WORLD.</dialogue> <scene_description>Ted and Elaine walk towards crawl and are approached by two strange CREATURES - bald with a shock of hair sprouting from the top of their heads .</scene_description> <character>CREATURE</character> <dialogue>Hello, we'd like you to have this flower. We're with the Church of Mercurial Consciousness. Would you like to make a donation?</dialogue> <scene_description>THE END</scene_description> </scene> </script>

In the near future, the Moon has been colonized and supports a station on its surface. A lunar shuttle known as Mayflower One is being rushed to launch from Houston. The head of the ground crew, The Sarge, does not like what is occurring, but he defers to the airline's management. On the flight crew are Captain Clarence Oveur, navigator/co-pilot, Unger, and first officer/flight engineer, Dunn. Also on board is computer officer Elaine Dickinson. Elaine has long left Ted Striker, and is now engaged to one of the flight crew, Simon Kurtz. Ted has in the meantime been committed to an insane asylum. He was declared mentally incompetent in a lawsuit following a test flight that Ted piloted and in which the lunar shuttle crashed. Ted believes that the lawsuit was used to silence him, because he knew there were problems with the lunar shuttle that made it unsafe. He is once more haunted by his actions in "The War" – causing a relapse of his "drinking problem", specifically the events that took place over "Macho Grande", where he lost his entire squadron. When Ted reads of the upcoming lunar shuttle launch, he escapes the asylum and buys a ticket for the flight. During the flight, Mayflower One suffers a short circuit, causing the artificially intelligent computer, ROK, to go insane and send the ship toward the Sun. Unger and Dunn try to deactivate the computer, but are blown out of an airlock. Oveur tries to stop ROK, but the computer gasses him. Simon abandons Elaine and leaves in the only escape pod. Once again, Ted is called upon to save the day, but first he has to figure out how to make the computer relinquish control. Steve McCroskey; the air traffic controller, reveals that a passenger, Joe Seluchi, had boarded Mayflower One with a bomb in a briefcase, intending to commit suicide so that his wife can collect on insurance money. Ted manages to wrestle the bomb from Joe, and uses it to blow up ROK and set course for the Moon as originally intended. Using the bomb to destroy the computer causes collateral damage to the shuttle, so the flight is not out of danger yet. On the way to the Moon, control of the flight is shifted to a lunar base, commanded by Commander Buck Murdock. He has a high level of contempt for Ted because of Macho Grande, but agrees to help anyway. They manage to land the craft on the Moon. Ted and Elaine fall back in love and are married at the end. After the wedding, Joe looks into the cockpit and asks for his briefcase back. A postcredit scene shows a screen that says "Coming From Paramount Pictures: Airplane III". Murdock is then seen saying "That's exactly what they'll be expecting us to do!"

The Breakfast Club_1985

tt0088847

<script> <scene /> <scene> <character>BRIAN</character> <parenthetical>( VO . )</parenthetical> <dialogue>Saturday. March 24, 1984. Shermer High School, Shermer, Illinois. 60062. Dear Mr. Vernon. we accept the fact that we had to sacrifice a whole Saturday in detention for whatever it was that we did wrong, what we did was wrong. But we think you're crazy to make us write this essay telling you who we think we are, what do you care? You see us as you want to see us. in the simplest terms and the most convenient definitions. You see us as a brain, an athelete, a basket case, a princess and a criminal. Correct? That's the way we saw each other at seven o'clock this morning. We were brainwashed. CUT TO :</dialogue> </scene> <scene> <character>CLAIRE</character> <dialogue>I ca n't believe you ca n't get me out of this. I mean it's so absurd I have to be here on a Saturday! It's not like I'm a defective or anything.</dialogue> <character>CLAIRE'S FATHER</character> <dialogue>I'll make it up to you. Honey, ditching class to go shopping does n't make you a defective. Have a good day. Claire rolls her eyes and gets out of the car and walks up the school front steps CUT TO :</dialogue> </scene> <scene> <character>BRIAN'S MOTHER</character> <dialogue>Is this the first time or the last time we do this?</dialogue> <character>BRIAN</character> <parenthetical>( upset . )</parenthetical> <dialogue>Last.</dialogue> <character>BRIAN'S MOTHER</character> <dialogue>Well get in there and use the time to your advantage.</dialogue> <character>BRIAN</character> <dialogue>Mom, we're not supposed to study ; we just have to sit there and do nothing.</dialogue> <character>BRIAN'S MOTHER</character> <dialogue>Well mister you figure out a way to study. BRIAN'S LITTLE SISTER.</dialogue> <parenthetical>( annoyingly . )</parenthetical> <dialogue>Yeah!</dialogue> <character>BRIAN'S MOTHER</character> <dialogue>Well go! Brian gets out of the car and walks towards the school. CUT TO :</dialogue> </scene> <scene> <character>ANDREW'S FATHER</character> <dialogue>Hey, I screwed around. guys screw around, there's nothing wrong with that. Except you got caught, Sport.</dialogue> <character>ANDREW</character> <dialogue>Yeah, Mom already reemed me, alright?</dialogue> <character>ANDREW'S FATHER</character> <parenthetical>( angry . )</parenthetical> <dialogue>You wan na miss a match? You wan na blow your ride? Now no school's gon na give a scholarship to a discipline case. Andrew gets out of the car and walks into the school. CUT TO :</dialogue> </scene> <scene /> <scene> <character>VERNON</character> <dialogue>Well. well. Here we are! I want to congradulate you for being on time. Claire raises her hand.</dialogue> <character>CLAIRE</character> <dialogue>Excuse me, sir? I think there's been a mistake. I know it's detention, but. um. I do n't think I belong in here. Vernon does n't care. He just continues to talk.</dialogue> <character>VERNON</character> <dialogue>It is now seven - oh - six. You have exactly eight hours and fifty - four minutes to think about why you're here. To ponder the error of your ways. Bender spits into the air and catches the spit in his mouth again. Claire looks like she is going to gag.</dialogue> <character>VERNON</character> <dialogue>and you may not talk. You will not move from these seats. He glances up at Bender and points at him.</dialogue> <character>VERNON</character> <dialogue>and you. Vernon pulls the chair out from under Bender's feet.</dialogue> <character>VERNON</character> <dialogue>will not sleep. Alright people, we're gon na try something a little different today. We are going to write an essay - of no less than a thousand words - describing to me who you think you are.</dialogue> <character>BENDER</character> <dialogue>Is this a test? Vernon passes out paper and pencils and takes no notice of Bender.</dialogue> <character>VERNON</character> <dialogue>And when I say essay. I mean essay. I do not mean a single word repeated a thousand times. Is that clear Mr. Bender? Bender looks up.</dialogue> <character>BENDER</character> <dialogue>Crystal.</dialogue> <character>VERNON</character> <dialogue>Good. Maybe you'll learn a little something about yourself. Maybe you'll even - decide whether or not you care to return. Brian raises his hand and then stands.</dialogue> <character>BRIAN</character> <dialogue>You know, I can answer that right now sir. That'd be `` No'', no for me.'cause.</dialogue> <character>VERNON</character> <dialogue>Sit down Johnson.</dialogue> <character>BRIAN</character> <dialogue>Thank you sir. He sits.</dialogue> <character>VERNON</character> <dialogue>My office. Vernon points.</dialogue> <character>VERNON</character> <dialogue>is right across that hall. Any monkey business is ill - advised. He looks around at them.</dialogue> <character>VERNON</character> <dialogue>any questions?</dialogue> <character>BENDER</character> <dialogue>Yeah. I got a question. Vernon looks at him suspiciously.</dialogue> <character>BENDER</character> <dialogue>Does Barry Manilow know you raid his wardrobe?</dialogue> <character>VERNON</character> <dialogue>I'll give you the answer to that question, Mr. Bender, next Saturday. Do n't mess with the bull young man, you'll get the horns. Vernon leaves.</dialogue> <character>BENDER</character> <dialogue>That man. is a brownie hound. Everyone tries to get comfortable and we hear a loud snapping sound. Brian turns and looks and it is Allison, biting her nails. Bender's eyes widen as he turns to look. Everyone is looking now. Allison notices them looking at her.</dialogue> <character>BENDER</character> <dialogue>You keep eating your hand and you're not gon na be hungry for lunch. Allison spits part of her nail at Bender.</dialogue> <character>BENDER</character> <dialogue>I've seen you before, you know. We see Vernon look out from his office. We see Brian playing with his pen.</dialogue> <character>BRIAN</character> <parenthetical>( quietly to himself . )</parenthetical> <dialogue>Who do I think I am? Who are you? Who are you? He attaches the pen to his bottom lip and puts the top under his upper lip.</dialogue> <character>BRIAN</character> <dialogue>I am a walrus. Bender looks at him in utter confusion. Brian notices this, laughs and takes the pen out of his mouth - embarrassed. Bender and Brian begin to take their jackets off at the same time. They both notice this. Brian stops removing his jacket. Bender takes his all the way off. Brian rubs his hands together and pretends to be cold. He pulls his jacket back on. He turns and looks at Bender who is still staring at him.</dialogue> <character>BRIAN</character> <dialogue>It's the shits, huh? Bender glares at him and Brian utters an uncomfortable laugh. Bender turns away and crumples up his essay paper. He throws it at Claire. It misses and goes over Claire's head. Andrew and Claire acknowlege it but continue to ignore Bender. Bender starts loudly `` singing'' the musical part of a song. `` Nah, nah, nah, nah, nah, nah. nah, nah, nah.''</dialogue> <character>CLAIRE</character> <parenthetical>( to herself . )</parenthetical> <dialogue>I ca n't believe this is really happening to me. Bender stops `` singing'' abruptly.</dialogue> <character>BENDER</character> <dialogue>Oh, shit! What're we s ` posed to do if we hafta take a piss?</dialogue> <character>CLAIRE</character> <parenthetical>( disgusted . )</parenthetical> <dialogue>Please.</dialogue> <character>BENDER</character> <dialogue>If you got ta go. We hear Bender unzip his fly.</dialogue> <character>BENDER</character> <dialogue>You got ta go! Everyone is now looking at Bender.</dialogue> <character>CLAIRE</character> <parenthetical>( disgusted . )</parenthetical> <dialogue>Oh my God!</dialogue> <character>ANDREW</character> <dialogue>Hey, yer not urinating in here man!</dialogue> <character>BENDER</character> <dialogue>Do n't talk! Do n't talk! It makes it crawl back up!</dialogue> <character>ANDREW</character> <dialogue>You whip it out and you're dead before the first drop hits the floor! Bender gasps mockingly.</dialogue> <character>BENDER</character> <dialogue>You're pretty sexy when you get angry. grrr! He turns to Brian.</dialogue> <character>BENDER</character> <dialogue>Hey, homeboy. Brian points at himself with his pen.</dialogue> <character>BENDER</character> <dialogue>why do n't you go close that door. We'll get the prom queen - impregnated! Claire turns and glares at him.</dialogue> <character>ANDREW</character> <dialogue>Hey! Bender ignores him.</dialogue> <character>ANDREW</character> <dialogue>Hey!</dialogue> <character>BENDER</character> <dialogue>What?</dialogue> <character>ANDREW</character> <dialogue>If I lose my temper, you're totalled man!</dialogue> <character>BENDER</character> <dialogue>Totally?</dialogue> <character>ANDREW</character> <dialogue>Totally!</dialogue> <character>CLAIRE</character> <parenthetical>( to Bender . )</parenthetical> <dialogue>Why do n't you just shut up! Nobody here is interested!</dialogue> <character>ANDREW</character> <dialogue>Really!</dialogue> <parenthetical>( to Claire about Bender . )</parenthetical> <dialogue>Buttface!</dialogue> <character>BENDER</character> <dialogue>Well hey Sporto! What'd you do to get in here? Forget to wash your jock?</dialogue> <character>BRIAN</character> <parenthetical>( nervous . )</parenthetical> <dialogue>Uh, excuse me, fellas? I think we should just write our papers.</dialogue> <character>ANDREW</character> <parenthetical>( to Bender . )</parenthetical> <dialogue>Look, just because you live in here does n't give you the right to be a pain in the ass. so knock it off! Bender mockingly registers pain in his face.</dialogue> <character>BENDER</character> <dialogue>It's a free country.</dialogue> <character>CLAIRE</character> <parenthetical>( to Andrew . )</parenthetical> <dialogue>He's just doing it to get a rise out of you! Just ignore him.</dialogue> <character>BENDER</character> <parenthetical>( to Claire . )</parenthetical> <dialogue>Sweets. you could n't ignore me if you tried! Claire rolls her eyes.</dialogue> <character>BENDER</character> <dialogue>So. so!</dialogue> <parenthetical>( to Andrew and Claire . )</parenthetical> <dialogue>Are you guys like boyfriend/girl - friend?</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>Steady dates?</dialogue> <parenthetical>( another beat . )</parenthetical> <dialogue>Lo - vers?</dialogue> <parenthetical>( another beat . )</parenthetical> <dialogue>Come on Sporto, level with me. Do you slip her the hot. beef. injection? Claire and Andrew turn to face Bender, both furious.</dialogue> <character>CLAIRE</character> <parenthetical>( screams . )</parenthetical> <dialogue>Go to hell!</dialogue> <character>ANDREW</character> <parenthetical>( screams . )</parenthetical> <dialogue>Enough! CUT TO :</dialogue> </scene> <scene> <character>VERNON</character> <parenthetical>( yells . )</parenthetical> <dialogue>Hey! What's going on in there?</dialogue> <parenthetical>( to himself . )</parenthetical> <dialogue>Smug little pricks! CUT TO :</dialogue> </scene> <scene> <character>ANDREW</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Scumbag! Bender stands up and walks over to the railing. He sits on it.</dialogue> <character>BENDER</character> <dialogue>What do you say we close that door. We ca n't have any kind of party with Vernon checking us out every few seconds.</dialogue> <character>BRIAN</character> <dialogue>Well, you know the door's s ` posed to stay open.</dialogue> <character>BENDER</character> <dialogue>So what?</dialogue> <character>ANDREW</character> <dialogue>So why do n't you just shut up! There's four other people in here you know.</dialogue> <character>BENDER</character> <dialogue>God, you can count. See! I knew you had to be smart to be a. a wrestler.</dialogue> <character>ANDREW</character> <dialogue>Who the hell are you to judge anybody anyway?</dialogue> <character>CLAIRE</character> <dialogue>Really.</dialogue> <character>ANDREW</character> <dialogue>You know, Bender. you do n't even count. I mean if you disappeared forever it would n't make any difference. You may as well not even exist at this school. Bender probably is upset at this and he pauses a moment before speaking. He does n't let his emotions out, however.</dialogue> <character>BENDER</character> <dialogue>Well. I'll just run right out and join the wrestling team. Andrew and Claire look at each other and laugh at Bender.</dialogue> <character>BENDER</character> <parenthetical>( to Claire . )</parenthetical> <dialogue>Maybe the prep club too! Student council.</dialogue> <character>ANDREW</character> <dialogue>No, they would n't take you.</dialogue> <character>BENDER</character> <dialogue>I'm hurt.</dialogue> <character>CLAIRE</character> <dialogue>You know why guys like you knock everything.</dialogue> <character>BENDER</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Oh, this should be stunning.</dialogue> <character>CLAIRE</character> <dialogue>It's'cause you're afraid.</dialogue> <character>BENDER</character> <parenthetical>( with mock enthusiasm . )</parenthetical> <dialogue>Oh, God! You ritchies are so smart, that's exactly why I'm not heavy in activities!</dialogue> <character>CLAIRE</character> <dialogue>You're a big coward! Brian feels left out.</dialogue> <character>BRIAN</character> <parenthetical>( to no one imparticular . )</parenthetical> <dialogue>I'm in the math club.</dialogue> <character>CLAIRE</character> <dialogue>See you're afraid that they wo n't take you. You do n't belong so you just have to dump all over it.</dialogue> <character>BENDER</character> <dialogue>Well. it would n't have anything to do with you activities people being assholes. now would it?</dialogue> <character>CLAIRE</character> <dialogue>Well you would n't know. You do n't even know any of us.</dialogue> <character>BENDER</character> <dialogue>Well, I do n't know any lepers either, but I'm not gon na run out and join one of their fucking clubs.</dialogue> <character>ANDREW</character> <dialogue>Hey let's watch the mouth, huh? Brian again feels he needs to contribute.</dialogue> <character>BRIAN</character> <dialogue>I'm in the physics club too.</dialogue> <character>BENDER</character> <parenthetical>( to Claire . )</parenthetical> <dialogue>S'cuse me a sec.</dialogue> <parenthetical>( to Brian . )</parenthetical> <dialogue>What are you babbling about?</dialogue> <character>BRIAN</character> <dialogue>Well, what I said was. I'm in the math club, the Latin club and the physics club. physics club. Bender nods and turns to Claire.</dialogue> <character>BENDER</character> <dialogue>Hey. Cherry. do you belong to the physics club?</dialogue> <character>CLAIRE</character> <dialogue>That's an academic club.</dialogue> <character>BENDER</character> <dialogue>So?</dialogue> <character>CLAIRE</character> <dialogue>So. academic clubs are n't the same as other kinds of clubs.</dialogue> <character>BENDER</character> <dialogue>Oh, but to dorks like him. Bender points at Brian.</dialogue> <character>BENDER</character> <dialogue>they are.</dialogue> <parenthetical>( to Brian . )</parenthetical> <dialogue>What do you guys do in your club?</dialogue> <character>BRIAN</character> <dialogue>In physics, um, we ah, we talk about physics. about properties of physics.</dialogue> <character>BENDER</character> <dialogue>So it's sorta social. demented and sad, but social. Right?</dialogue> <character>BRIAN</character> <dialogue>Yeah, well, I guess you could consider it a social situation. I mean there are other children in my club and uh, at the end of the year we have, um, you know, a big banquet, at the, uh, at the Hilton.</dialogue> <character>BENDER</character> <dialogue>You load up, you party.</dialogue> <character>BRIAN</character> <dialogue>Well, no, we get dressed up. I mean, but, we do n't. we do n't get high.</dialogue> <character>CLAIRE</character> <parenthetical>( to Bender . )</parenthetical> <dialogue>Only burners like you get high.</dialogue> <character>BRIAN</character> <dialogue>And, uh, I did n't have any shoes. So I had to borrow my dad's. It was kinda weird'cause my mom does n't like me to wear other people's shoes. And, uh, my cousin Kent. my cousin Kendall from, uh, Indiana. He got high once and you know, he started eating like really weird foods. And uh, and then he just felt like he did n't belong anywhere. You know, kinda like, you know `` Twilight Zone'' kinda.</dialogue> <character>CLAIRE</character> <parenthetical>( laughs . )</parenthetical> <parenthetical>( to Bender . )</parenthetical> <dialogue>Sounds like you.</dialogue> <character>ANDREW</character> <dialogue>Look, you guys keep up your talking and Vernon's gon na come right in here. I got a meet this Saturday and I'm not gon na miss it on account of you boneheads.</dialogue> <character>BENDER</character> <parenthetical>( to Andrew . )</parenthetical> <dialogue>Oh and would n't that be a bite. Bender lets out a moan of fake agony.</dialogue> <character>BENDER</character> <dialogue>Missing a whole wrestling meet!</dialogue> <character>ANDREW</character> <dialogue>Well you would n't know anything about it, faggot! You never competed in your whole life!</dialogue> <character>BENDER</character> <parenthetical>( with mock hurt . )</parenthetical> <dialogue>Oh, I know. I feel all empty inside because of it. I have such a deep admiration for guys that roll around on the floor with other guys!</dialogue> <character>ANDREW</character> <dialogue>Ahhh. you'd never miss it. You do n't have any goals.</dialogue> <character>BENDER</character> <dialogue>Oh, but I do!</dialogue> <character>ANDREW</character> <dialogue>Yeah?</dialogue> <character>BENDER</character> <dialogue>I wan na be just - like - you! I figure all I need's a labotamy and some tights! Brian becomes interested.</dialogue> <character>BRIAN</character> <dialogue>You wear tights?</dialogue> <character>ANDREW</character> <parenthetical>( to Brian . )</parenthetical> <dialogue>No I do n't wear tights, I wear the required uniform.</dialogue> <character>BRIAN</character> <dialogue>Tights.</dialogue> <character>ANDREW</character> <parenthetical>( defensive . )</parenthetical> <dialogue>Shut up! They hear Vernon moving around out in the hall so Bender quickly comes and sits in the chair between Claire and Andrew. He folds his hands on the table. Vernon goes back into his office. Bender laughs and gets up. He starts walking towards the double doors that separate the library from the hallway.</dialogue> <character>BRIAN</character> <dialogue>You know there's not s ` posed to be any monkey business! Bender turns and points at Brian.</dialogue> <character>BENDER</character> <parenthetical>( in a stern voice . )</parenthetical> <dialogue>Young man. have you finished your paper? Bender turns back away and goes to the door. He looks around cautiously and removes a screw from the door.</dialogue> <character>CLAIRE</character> <dialogue>What are you gon na do?</dialogue> <character>ANDREW</character> <dialogue>Drop dead, I hope! CUT TO :</dialogue> </scene> <scene /> <scene> <character>BRIAN</character> <dialogue>Bender, that's, that's school property there. you know, it does n't belong to us. It's something not to be toyed with. The door slams shut. Bender runs back to his seat.</dialogue> <character>ANDREW</character> <dialogue>That's very funny, come on, fix it!</dialogue> <character>BRIAN</character> <dialogue>You should really fix that!</dialogue> <character>BENDER</character> <dialogue>Am I a genius?</dialogue> <character>ANDREW</character> <dialogue>No, you're an asshole!</dialogue> <character>BENDER</character> <dialogue>What a funny guy!</dialogue> <character>ANDREW</character> <dialogue>Fix the door Bender!</dialogue> <character>BENDER</character> <dialogue>Everyone just shhh! CUT TO :</dialogue> </scene> <scene> <character>BENDER</character> <parenthetical>( OS . )</parenthetical> <dialogue>I've been here before, I know what I'm doing!</dialogue> <character>ANDREW</character> <parenthetical>( OS . )</parenthetical> <dialogue>No! Fix the door, get up there and fix it!</dialogue> <character>BENDER</character> <parenthetical>( OS . )</parenthetical> <parenthetical>( screams . )</parenthetical> <dialogue>Shut up! CUT TO :</dialogue> </scene> <scene> <character>VERNON</character> <parenthetical>( OS . )</parenthetical> <dialogue>God damnit! He opens the door and storms in.</dialogue> <character>VERNON</character> <dialogue>Why is that door closed? For a few seconds no one says anything, they just stare at Vernon.</dialogue> <character>VERNON</character> <dialogue>Why is that door closed?</dialogue> <character>BENDER</character> <dialogue>How're we s ` posed to know? We're not s ` posed to move, right? Vernon turns to Claire.</dialogue> <character>VERNON</character> <dialogue>Why?</dialogue> <character>CLAIRE</character> <dialogue>We were just sitting here, like we were s ` posed to. Vernon looks around and looks at Bender.</dialogue> <character>VERNON</character> <dialogue>Who closed that door?</dialogue> <character>BENDER</character> <dialogue>I think a screw fell out of it.</dialogue> <character>ANDREW</character> <dialogue>It just closed, sir. Vernon looks at Allison in the back.</dialogue> <character>VERNON</character> <dialogue>Who? Allison lets out a squeak and slams her face onto the table, hiding in her jacket hood.</dialogue> <character>BENDER</character> <dialogue>She does n't talk, sir.</dialogue> <character>VERNON</character> <parenthetical>( to Bender . )</parenthetical> <dialogue>Give me that screw.</dialogue> <character>BENDER</character> <dialogue>I do n't have it.</dialogue> <character>VERNON</character> <dialogue>You want me to yank you outta that seat and shake it out of you?</dialogue> <character>BENDER</character> <dialogue>I do n't have it. screws fall out all of the time, the world's an imperfect place.</dialogue> <character>VERNON</character> <dialogue>Give it to me, Bender.</dialogue> <character>CLAIRE</character> <dialogue>Excuse me, sir, why would anybody want to steal a screw?</dialogue> <character>VERNON</character> <parenthetical>( to Claire . )</parenthetical> <dialogue>Watch it, young lady. Vernon goes over to the door. He tries to hold it open by putting a folding chair in front of it.</dialogue> <character>BENDER</character> <dialogue>The door's way too heavy, sir. The door slams shut despite the chair.</dialogue> <character>VERNON</character> <parenthetical>( OS . )</parenthetical> <dialogue>God damnit! They laugh. Vernon opens the door again. He comes back in.</dialogue> <character>VERNON</character> <parenthetical>( pointing . )</parenthetical> <dialogue>Andrew Clark. get up here. Come on, front and center, let's go. Andrew gets up and walks over to Vernon.</dialogue> <character>BENDER</character> <dialogue>Hey, how come Andrew gets to get up? If he gets up, we'll all get up, it'll be anarchy! Vernon and Andrew are now attempting to move the steel magazine rack in front of the door.</dialogue> <character>VERNON</character> <dialogue>Okay, now, watch the magazines!</dialogue> <character>BENDER</character> <dialogue>It's out of my hands. They get it into the doorway and it blocks the entire door.</dialogue> <character>BENDER</character> <dialogue>That's very clever sir, but what if there's a fire? I think violating fire codes and endangering the lives of children would be unwise at this juncture in your career, sir. Vernon thinks about it. He turns to Andrew.</dialogue> <character>VERNON</character> <dialogue>Alright, what are you doing with this? Get this outta here for God's sake! What's the matter with you? Come on!</dialogue> <character>BRIAN</character> <dialogue>You know the school comes equipped with fire exits at either end of the library. Brian points at them and Bender glares at him.</dialogue> <character>BENDER</character> <parenthetical>( to Brian . )</parenthetical> <dialogue>Show Dick some respect! Andrew and Vernon come back into the main section of the library.</dialogue> <character>VERNON</character> <parenthetical>( to Andrew . )</parenthetical> <dialogue>Let's go. go! Get back into your seat. Andrew sits.</dialogue> <character>VERNON</character> <parenthetical>( to Andrew . )</parenthetical> <dialogue>I expected a little more from a varsity letterman!</dialogue> <parenthetical>( to Bender . )</parenthetical> <dialogue>You're not fooling anybody, Bender! The next screw that falls out is gon na be you! Vernon turns to leave.</dialogue> <character>BENDER</character> <parenthetical>( under his breath . )</parenthetical> <dialogue>Eat my shorts. Vernon spins in his tracks and faces Bender again.</dialogue> <character>VERNON</character> <dialogue>What was that?</dialogue> <character>BENDER</character> <parenthetical>( loudly . )</parenthetical> <dialogue>Eat my shorts!</dialogue> <character>VERNON</character> <dialogue>You just bought yourself another Saturday, mister!</dialogue> <character>BENDER</character> <dialogue>Oh, Christ.</dialogue> <character>VERNON</character> <dialogue>You just bought one more right there!</dialogue> <character>BENDER</character> <dialogue>Well, I'm free the Saturday after that. beyond that, I'm gon na have to check my calendar!</dialogue> <character>VERNON</character> <dialogue>Good!'Cause it's gon na be filled, we'll keep goin'! You want another one? Say the word, just say the word! Instead of going to prison, you'll come here! Are you through.</dialogue> <character>BENDER</character> <dialogue>No!</dialogue> <character>VERNON</character> <dialogue>I'm doing society a favor!</dialogue> <character>BENDER</character> <dialogue>So?</dialogue> <character>VERNON</character> <dialogue>That's another one, right now! I've got you for the rest of your natural born life if you do n't watch your step! You want another one?</dialogue> <character>BENDER</character> <dialogue>Yes!</dialogue> <character>VERNON</character> <dialogue>You got it! You got another one, right there! That's another one pal!</dialogue> <character>CLAIRE</character> <parenthetical>( worried . )</parenthetical> <dialogue>Cut it out! Claire mouths the word `` Stop'' to Bender.</dialogue> <character>VERNON</character> <dialogue>You through?</dialogue> <character>BENDER</character> <dialogue>Not even close, bud!</dialogue> <character>VERNON</character> <dialogue>Good! You got one more, right there!</dialogue> <character>BENDER</character> <dialogue>Do you really think I give a shit?</dialogue> <character>VERNON</character> <dialogue>Another. Bender glares at him.</dialogue> <character>VERNON</character> <dialogue>You through?</dialogue> <character>BENDER</character> <dialogue>How many is that?</dialogue> <character>BRIAN</character> <dialogue>That's seven including the one when we first came in and you asked Mr. Vernon here whether Barry Manilow knew that he raided his closet.</dialogue> <character>VERNON</character> <parenthetical>( to Bender . )</parenthetical> <dialogue>Now it's eight.</dialogue> <parenthetical>( to Brian . )</parenthetical> <dialogue>You stay out of it!</dialogue> <character>BRIAN</character> <dialogue>Excuse me, sir, it's seven!</dialogue> <character>VERNON</character> <dialogue>Shut up, Peewee!</dialogue> <parenthetical>( to Bender . )</parenthetical> <dialogue>You're mine Bender. for two months I gotcha! I gotcha!</dialogue> <character>BENDER</character> <dialogue>What can I say? I'm thrilled!</dialogue> <character>VERNON</character> <dialogue>Oh, I'm sure that's exactly what you want these people to believe. You know something, Bender? You ought to spend a little more time trying to do something with yourself and a little less time trying to impress people. You might be better off.</dialogue> <parenthetical>( to everyone . )</parenthetical> <dialogue>Alright, that's it! I'm going to be right outside those doors. The next time I hafta come in here. I'm cracking skulls!</dialogue> <parenthetical>( Bender mouths `` I 'm cracking skulls '' . )</parenthetical> <dialogue>Vernon leaves and closes the door. A musical riff builds to a climax as Bender screams.</dialogue> <character>BENDER</character> <parenthetical>( screams . )</parenthetical> <dialogue>Fuck you! We see the clock, it reads a quarter to eight. We see Bender, lighting his shoe on fire and lighting a cigarette with his shoe. We see Claire thinking. We see Brian playing with his balls. We see Andrew playing with his sweatshirt. We see Allison pulling a string around her finger and making it turn purple. We see Bender put the flames on his shoe out. He then plays air guitar. We see Allison drawing. We see Andrew playing paper football. He cheers silently. Allison shakes dandruff from her hair onto her picture. We see everyone fall asleep. CUT TO :</dialogue> </scene> <scene> <character>VERNON</character> <dialogue>Wake up! Who has to go to the lavatory? Everyone raises their hands. CUT TO :</dialogue> </scene> <scene> <character>ANDREW</character> <dialogue>That's real intelligent.</dialogue> <character>BENDER</character> <dialogue>You're right. it's wrong to destroy literature. He continues to tear pages out.</dialogue> <character>BENDER</character> <dialogue>It's such fun to read. and, Molet really pumps my nads!</dialogue> <character>CLAIRE</character> <parenthetical>( pronouncing it correctly . )</parenthetical> <dialogue>Mol - yare.</dialogue> <character>BRIAN</character> <dialogue>I love his work. Bender tosses the rest of the pages at Brian. He picks up the card catalogue drawer and begins to take cards out.</dialogue> <character>BENDER</character> <dialogue>Big deal. nothing to do when you're locked in a vacancy.</dialogue> <character>ANDREW</character> <dialogue>Speak for yourself.</dialogue> <character>BENDER</character> <dialogue>Do you think I'd speak for you? I do n't even know your language! Andrew turns to Claire.</dialogue> <character>ANDREW</character> <dialogue>Hey, you grounded tonight? Claire shrugs.</dialogue> <character>CLAIRE</character> <dialogue>I do n't know, my mom said I was but by dad told me to just blow her off.</dialogue> <character>ANDREW</character> <dialogue>Big party at Stubbies, parents are in Europe. Should be pretty wild.</dialogue> <character>CLAIRE</character> <dialogue>Yeah?</dialogue> <character>ANDREW</character> <dialogue>Yeah, can you go?</dialogue> <character>CLAIRE</character> <dialogue>I doubt it.</dialogue> <character>ANDREW</character> <dialogue>How come?</dialogue> <character>CLAIRE</character> <dialogue>Well'cause if I do what my mother tells me not to do, it's because because my father says it's okay. There's like this whole big monster deal, it's endless and it's a total drag. It's like any minute. divorce.</dialogue> <character>BENDER</character> <dialogue>Who do you like better?</dialogue> <character>CLAIRE</character> <dialogue>What?</dialogue> <character>BENDER</character> <dialogue>You like your old man better than your mom?</dialogue> <character>CLAIRE</character> <dialogue>They're both strict.</dialogue> <character>BENDER</character> <dialogue>No, I mean, if you had to choose between them.</dialogue> <character>CLAIRE</character> <dialogue>I dunno, I'd probably go live with my brother. I mean, I do n't think either one of them gives a shit about me. it's like they use me just to get back at each other. Suddenly, from the back of the room. Allison speaks.</dialogue> <character>ALLISON</character> <parenthetical>( loudly . )</parenthetical> <dialogue>Ha! Everyone looks at her shocked. Allison blows her hair out of her eyes and grins.</dialogue> <character>CLAIRE</character> <dialogue>Shut up!</dialogue> <character>ANDREW</character> <dialogue>You're just feeling sorry for yourself.</dialogue> <character>CLAIRE</character> <dialogue>Yeah, well if I did n't nobody else would.</dialogue> <character>ANDREW</character> <dialogue>Aw. you're breaking my heart.</dialogue> <character>BENDER</character> <dialogue>Sporto.</dialogue> <character>ANDREW</character> <dialogue>What? Bender jumps down and goes next to Andrew.</dialogue> <character>BENDER</character> <dialogue>You get along with your parents?</dialogue> <character>ANDREW</character> <dialogue>Well if I say yes, I'm an idiot, right?</dialogue> <character>BENDER</character> <dialogue>You're an idiot anyway. But if you say you get along with your parents well you're a liar too! Bender turns and walks away from him. Andrew follows and pushes Bender.</dialogue> <character>ANDREW</character> <dialogue>You know something, man. If we were n't in school right now, I'd waste you! Bender points his middle finger at the floor.</dialogue> <character>BENDER</character> <dialogue>Can you hear this? Want me to turn it up? Bender flips his hand around so he is now giving Andrew the bird. Brian comes over and puts a hand on each of the guy's shoulders.</dialogue> <character>BRIAN</character> <dialogue>Hey fellas, I mean. Andrew pushes away from Brian.</dialogue> <character>BRIAN</character> <dialogue>I do n't like my parents either, I do n't. I do n't get along with them. their idea of parental compassion is just, you know, wacko! Bender turns to Brian.</dialogue> <character>BENDER</character> <dialogue>Dork.</dialogue> <character>BRIAN</character> <dialogue>Yeah?</dialogue> <character>BENDER</character> <dialogue>You are a parent's wet dream, okay? Bender starts to walk away.</dialogue> <character>BRIAN</character> <dialogue>Well that's a problem!</dialogue> <character>BENDER</character> <dialogue>Look, I can see you getting all bunged up for them making you wear these kinda clothes. But face it, you're a Neo - Maxi - Zoom - Dweebie! What would you be doing if you were n't out making yourself a better citizen?</dialogue> <character>ANDREW</character> <dialogue>Why do you have to insult everybody?</dialogue> <character>BENDER</character> <dialogue>I'm being honest, asshole! I would expect you. to know the difference!</dialogue> <character>ANDREW</character> <dialogue>Yeah well, he's got ta name!</dialogue> <character>BENDER</character> <dialogue>Yeah?</dialogue> <character>ANDREW</character> <dialogue>Yeah.</dialogue> <parenthetical>( to Brian . )</parenthetical> <dialogue>What's your name?</dialogue> <character>BRIAN</character> <dialogue>Brian.</dialogue> <character>ANDREW</character> <dialogue>See.</dialogue> <character>BENDER</character> <parenthetical>( to Brian . )</parenthetical> <dialogue>My condolences. Bender walks away.</dialogue> <character>CLAIRE</character> <parenthetical>( to Bender . )</parenthetical> <dialogue>What's your name?</dialogue> <character>BENDER</character> <dialogue>What's yours?</dialogue> <character>CLAIRE</character> <dialogue>Claire.</dialogue> <character>BENDER</character> <dialogue>Ka - Laire?</dialogue> <character>CLAIRE</character> <dialogue>Claire. it's a family name!</dialogue> <character>BENDER</character> <dialogue>Nooo. It's a fat girl's name!</dialogue> <character>CLAIRE</character> <dialogue>Well thank you.</dialogue> <character>BENDER</character> <dialogue>You're welcome.</dialogue> <character>CLAIRE</character> <dialogue>I'm not fat!</dialogue> <character>BENDER</character> <dialogue>Well not at present but I could see you really pushing maximum density! You see, I'm not sure if you know this. but there are two kinds of fat people. There's fat people that were born to be fat, and then there's fat people that were once thin but they became fat. so when you look at them you can sorta see that thin person inside! You see, you're gon na get married, you're gon na squeeze out a few puppies and then, uh. He mimes becoming fat, making noises. Claire gives him the finger.</dialogue> <character>BENDER</character> <dialogue>Oh. obscene finger gestures from such a pristine girl!</dialogue> <character>CLAIRE</character> <parenthetical>( resentfully . )</parenthetical> <dialogue>I'm not that pristine! Bender bends down closer to Claire.</dialogue> <character>BENDER</character> <dialogue>Are you a virgin?</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>I'll bet you a million dollars that you are! Let's end the suspense! Is it gon na be.</dialogue> <parenthetical>( another beat . )</parenthetical> <dialogue>. a white weddin?</dialogue> <character>CLAIRE</character> <dialogue>Why do n't you just shut up?</dialogue> <character>BENDER</character> <dialogue>Have you ever kissed a boy on the mouth?</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>Have you ever been felt up? Over the bra, under the blouse, shoes off. hoping to God your parents do n't walk in? Claire is getting upset.</dialogue> <character>CLAIRE</character> <dialogue>Do you want me to puke?</dialogue> <character>BENDER</character> <dialogue>Over the panties, no bra, blouse unbuttoned, Calvin's in a ball on the front seat past eleven on a school night?</dialogue> <character>ANDREW</character> <dialogue>Leave her alone! Bender slowly stands and faces Andrew.</dialogue> <character>ANDREW</character> <dialogue>I said leave her alone!</dialogue> <character>BENDER</character> <dialogue>You gon na make me?</dialogue> <character>ANDREW</character> <dialogue>Yeah. Bender walks over to where Andrew is standing.</dialogue> <character>BENDER</character> <dialogue>You and how many of your friends?</dialogue> <character>ANDREW</character> <dialogue>Just me, just you and me. Two hits. Me hitting you, you hitting the floor! Anytime you're ready, pal! Bender goes to hit him but Andrew gets Bender down on the ground with a wrestling move.</dialogue> <character>BENDER</character> <dialogue>I do n't wan na get into to this with you man. Andrew gets up.</dialogue> <character>ANDREW</character> <dialogue>Why not? Bender gets up.</dialogue> <character>BENDER</character> <dialogue>'Cause I'd kill you. It's real simple. I'd kill you and your fucking parents would sue me and it would be a big mess and I do n't care enough about you to bother.</dialogue> <character>ANDREW</character> <dialogue>Chicken shit. Andrew turns and walks away. Bender takes out a switchblade and opens it. He stabs the switchblade into a chair.</dialogue> <character>ANDREW</character> <dialogue>Let's end this right now. You do n't talk to her. you do n't look at her and you do n't even think about her! You understand me?</dialogue> <character>BENDER</character> <dialogue>I'm trying to help her! We see the janitor, CARL come into the room.</dialogue> <character>CARL</character> <dialogue>Brian, how you doing?</dialogue> <character>BENDER</character> <dialogue>Your dad works here? Brian is embarrassed.</dialogue> <character>BENDER</character> <dialogue>Uh, Carl?</dialogue> <character>CARL</character> <dialogue>What?</dialogue> <character>BENDER</character> <dialogue>Can I ask you a question?</dialogue> <character>CARL</character> <dialogue>Sure.</dialogue> <character>BENDER</character> <dialogue>How does one become a janitor?</dialogue> <character>CARL</character> <dialogue>You wan na be a janitor?</dialogue> <character>BENDER</character> <dialogue>No I just wan na know how one becomes a janitor because Andrew here, is very interested in persuing a career in the custodial arts.</dialogue> <character>CARL</character> <dialogue>Oh, really? You guys think I'm just some untouchable peasant? Peon? Huh? Maybe so, but following a broom around after shitheads like you for the past eight years I've learned a couple of things. I look through your letters, I look through your lockers. I listen to your conversations, you do n't know that but I do. I am the eyes and ears of this institution my friends. By the way, that clock's twenty minutes fast! Everyone groans. Bender smiles.</dialogue> <character>ANDREW</character> <dialogue>Shit! CUT TO :</dialogue> </scene> <scene /> <scene> <character>VERNON</character> <dialogue>Allright girls, that's thirty minutes for lunch.</dialogue> <character>ANDREW</character> <dialogue>Here?</dialogue> <character>VERNON</character> <dialogue>Here.</dialogue> <character>ANDREW</character> <dialogue>Well I think the cafeteria would be a more suitable place for us to eat lunch in, sir!</dialogue> <character>VERNON</character> <dialogue>Well, I do n't care what you think, Andrew!</dialogue> <character>BENDER</character> <dialogue>Uh, Dick? Excuse me, Rich. will milk be made available to us?</dialogue> <character>ANDREW</character> <dialogue>We're extremely thirsty sir.</dialogue> <character>CLAIRE</character> <dialogue>I have a very low tolerance for dehydration.</dialogue> <character>ANDREW</character> <dialogue>I've seen her dehydrate sir, it's pretty gross. Bender stands.</dialogue> <character>BENDER</character> <dialogue>Relax, I'll get it!</dialogue> <character>VERNON</character> <dialogue>Ah, ah, ah grab some wood there, bub! Bender grins.</dialogue> <character>VERNON</character> <dialogue>What do you think, I was born yesterday? You think I'm gon na have you roaming these halls? He points at Andrew.</dialogue> <character>VERNON</character> <dialogue>You! He points at Allison.</dialogue> <character>VERNON</character> <dialogue>And you! Hey! What's her name? Wake her! Wake her up!</dialogue> <parenthetical>( to Allison . )</parenthetical> <dialogue>Come on, on your feet missy! Let's go! This is no rest home! Allison gets up.</dialogue> <character>VERNON</character> <dialogue>There's a soft drink machine in the teacher's lounge. Lets go! CUT TO :</dialogue> </scene> <scene> <character>ANDREW</character> <dialogue>So, what's your poison? Allison does n't answer.</dialogue> <character>ANDREW</character> <dialogue>What do you drink? Allison still does n't answer.</dialogue> <character>ANDREW</character> <dialogue>Okay. forget I asked. Allison waits for two beats and then speaks.</dialogue> <character>ALLISON</character> <dialogue>Vodka.</dialogue> <character>ANDREW</character> <dialogue>Vodka? When do you drink vodka?</dialogue> <character>ALLISON</character> <dialogue>Whenever.</dialogue> <character>ANDREW</character> <dialogue>A lot? Allison smiles.</dialogue> <character>ALLISON</character> <dialogue>Tons.</dialogue> <character>ANDREW</character> <dialogue>Is that why you're here today? Allison does n't answer.</dialogue> <character>ANDREW</character> <dialogue>Why are you here? Allison snaps back.</dialogue> <character>ALLISON</character> <dialogue>Why are you here? They stop walking and Andrew leans against the wall.</dialogue> <character>ANDREW</character> <dialogue>Um, I'm here today. because uh, because my coach and my father do n't want me to blow my ride. See I get treated differently because uh, Coach thinks I'm a winner. So does my old man. I'm not a winner because I wan na be one. I'm a winner because I got strength and speed. Kinda like a race horse. That's about how involved I am in what's happening to me.</dialogue> <character>ALLISON</character> <dialogue>Yeah? That's very interesting. Now why do n't you tell me why you're really in here.</dialogue> <character>ANDREW</character> <dialogue>Forget it! CUT TO :</dialogue> </scene> <scene> <character>BENDER</character> <dialogue>Claire. you wan na see a picture of a guy with elephantitus of the nuts? It's pretty tasty.</dialogue> <character>CLAIRE</character> <dialogue>No thank you.</dialogue> <character>BENDER</character> <dialogue>How do you think he rides a bike? Claire rolls her eyes and turns away in disgust.</dialogue> <character>BENDER</character> <dialogue>Oh, Claire. would you ever consider dating a guy like this?</dialogue> <character>CLAIRE</character> <dialogue>Ca n't you just leave me alone?</dialogue> <character>BENDER</character> <dialogue>I mean if he had a great personality and was a good dancer and had a cool car. Although you'd probably have to ride in the back seat'cause his nuts would ride shotgun.</dialogue> <character>CLAIRE</character> <dialogue>You know what I wish I was doing?</dialogue> <character>BENDER</character> <dialogue>Op, watch what you say, Brian here is a cherry.</dialogue> <character>BRIAN</character> <dialogue>A cherry?</dialogue> <character>CLAIRE</character> <dialogue>I wish I was on a plane to France.</dialogue> <character>BRIAN</character> <dialogue>I'm not a cherry.</dialogue> <character>BENDER</character> <parenthetical>( to Brian . )</parenthetical> <dialogue>When have you ever gotten laid?</dialogue> <character>BRIAN</character> <dialogue>I've laid, lotsa times!</dialogue> <character>BENDER</character> <dialogue>Name one!</dialogue> <character>BRIAN</character> <dialogue>She lives in Canada, met her at Niagra Falls. You would n't know her.</dialogue> <character>BENDER</character> <dialogue>Ever laid anyone around here. Brian shushes Bender and points at Claire whos back is still turned.</dialogue> <character>BRIAN</character> <dialogue>Oh, you and Claire, did it! Claire spins around.</dialogue> <character>CLAIRE</character> <dialogue>What are you talking about?</dialogue> <character>BRIAN</character> <parenthetical>( to Claire . )</parenthetical> <dialogue>Nothin', nothin!</dialogue> <parenthetical>( to Bender . )</parenthetical> <dialogue>Let's just drop it, we'll talk about it later!</dialogue> <character>CLAIRE</character> <dialogue>No! Drop what, what're you talking about?</dialogue> <character>BENDER</character> <dialogue>Well, Brian's trying to tell me that in addition to the number of girls in the Niagra Falls area, that presently you and he are, riding the hobby horse!</dialogue> <character>CLAIRE</character> <parenthetical>( to Brian . )</parenthetical> <dialogue>Little pig!</dialogue> <character>BRIAN</character> <dialogue>No I'm not! I'm not! John said I was a cherry and I said I was n't, that's it, that's all that was said!</dialogue> <character>BENDER</character> <dialogue>Well then what were you motioning to Claire for?</dialogue> <character>CLAIRE</character> <dialogue>You know I do n't appreciate this very much, Brian.</dialogue> <character>BRIAN</character> <dialogue>He is lying!</dialogue> <character>BENDER</character> <dialogue>Oh you were n't motioning to Claire?</dialogue> <character>BRIAN</character> <dialogue>You know he's lying, right?</dialogue> <character>BENDER</character> <dialogue>Were you or were you not motioning to Claire?</dialogue> <character>BRIAN</character> <dialogue>Yeah, but it was only. was only because I did n't want her to know that I was a virgin, okay? Bender just stares at him.</dialogue> <character>BRIAN</character> <dialogue>Excuse me for being a virgin, I'm sorry. Claire laughs.</dialogue> <character>CLAIRE</character> <dialogue>Why did n't you want me to know you were a virgin?</dialogue> <character>BRIAN</character> <dialogue>Because it's personal business, it's my personal, private business.</dialogue> <character>BENDER</character> <dialogue>Well Brian, it does n't sound like you're doing any business.</dialogue> <character>CLAIRE</character> <dialogue>I think it's okay for a guy to be a virgin. Bender looks suprised.</dialogue> <character>BRIAN</character> <dialogue>You do? Claire smiles and nods. CUT TO :</dialogue> </scene> <scene> <character>BENDER</character> <dialogue>What's in there?</dialogue> <character>CLAIRE</character> <dialogue>Guess, where's your lunch?</dialogue> <character>BENDER</character> <dialogue>You're wearing it.</dialogue> <character>CLAIRE</character> <dialogue>You're nauseating. Bender grabs a Coke and tosses it over to Allison who catches it without even looking up. Bender then watches Claire set up a sushi platter.</dialogue> <character>BENDER</character> <dialogue>What's that?</dialogue> <character>CLAIRE</character> <dialogue>Sushi.</dialogue> <character>BENDER</character> <dialogue>Sushi?</dialogue> <character>CLAIRE</character> <dialogue>Rice, uh, raw fish and seaweed.</dialogue> <character>BENDER</character> <dialogue>You wo n't accept a guys tongue in your mouth and you're gon na eat that?</dialogue> <character>CLAIRE</character> <dialogue>Can I eat?</dialogue> <character>BENDER</character> <dialogue>I do n't know. give it a try. We now watch Andrew take a couple sandwiches out of his bag, a bag of potato chips, an apple, a banana, a bag of cookies and a carton of milk. Allison opens her Coke and it fizzes over. She loudly slurps it up off the table and her fingers. Andrew sees Bender looking at him.</dialogue> <character>ANDREW</character> <dialogue>What's your problem? Allison opens her sandwich and and tosses the meat up. It lands on the sculpture above. She opens some pixie stix and pours the sugar on the sandwich and then puts Cap'n Crunch on top of that. She crushes the sandwich together and loudly eats it. Bender goes over and sits by Brian, Bender takes Brian's bag lunch.</dialogue> <character>BENDER</character> <dialogue>What're we having?</dialogue> <character>BRIAN</character> <dialogue>Uh, it's your standard, regular lunch I guess. Bender reaches in the bag and pulls out a thermos. He sets it on the table and points at it.</dialogue> <character>BENDER</character> <dialogue>Milk?</dialogue> <character>BRIAN</character> <dialogue>Soup. Bender goes in again and pulls out a juice box. Brian reaches toward the bag and Bender slaps his hand.</dialogue> <character>BRIAN</character> <dialogue>That's apple juice.</dialogue> <character>BENDER</character> <dialogue>I can read! PB &amp; J with the crusts cut off. Well Brian, this is a very nutritous lunch, all the food groups are represented. Did your mom marry Mr. Rogers?</dialogue> <character>BRIAN</character> <dialogue>Uh, no, Mr. Johnson.</dialogue> <character>BENDER</character> <dialogue>Ahhh. Andrew and Claire smile at each other. Bender stands.</dialogue> <character>BENDER</character> <dialogue>Here's my impression of life at big Bri's house.</dialogue> <parenthetical>( in a loud and friendly voice . )</parenthetical> <dialogue>Son!</dialogue> <parenthetical>( in a kiddie voice . )</parenthetical> <dialogue>Yeah Dad?</dialogue> <parenthetical>( loud . )</parenthetical> <dialogue>How's your day, pal?</dialogue> <parenthetical>( kiddie . )</parenthetical> <dialogue>Great Dad, how's yours?</dialogue> <parenthetical>( loud . )</parenthetical> <dialogue>Super, say son, how'd you like to go fishing this weekend?</dialogue> <parenthetical>( kiddie . )</parenthetical> <dialogue>Great Dad, but I've got homework to do!</dialogue> <parenthetical>( loud . )</parenthetical> <dialogue>That's alright son, you can do it, on the boat!</dialogue> <parenthetical>( kiddie . )</parenthetical> <dialogue>Geee!</dialogue> <parenthetical>( loud . )</parenthetical> <dialogue>Dear, is n't our son swell?</dialogue> <parenthetical>( quiet and motherly . )</parenthetical> <dialogue>Yes Dear, is n't life swell? Bender mimes mother kissing father and then father kissing mother and then father punching mother in the face. Suddenly it's not so funny anymore.</dialogue> <character>ANDREW</character> <dialogue>Alright, what about your family?</dialogue> <character>BENDER</character> <dialogue>Oh, mine?</dialogue> <character>ANDREW</character> <dialogue>That's real easy! Bender stands again and points forward.</dialogue> <character>BENDER</character> <parenthetical>( as his father . )</parenthetical> <dialogue>Stupid, worthless, no good, God damned, freeloading, son of a bitch, retarded, bigmouth, know it all, asshole, jerk!</dialogue> <parenthetical>( as his mother . )</parenthetical> <dialogue>You forgot ugly, lazy and disrespectful. Bender slams his hand back to slap his invisable mother.</dialogue> <character>BENDER</character> <parenthetical>( as his father . )</parenthetical> <dialogue>Shut up bitch! Go fix me a turkey pot pie!</dialogue> <parenthetical>( as himself . )</parenthetical> <dialogue>What about you Dad?</dialogue> <parenthetical>( as his father . )</parenthetical> <dialogue>Fuck you!</dialogue> <parenthetical>( as himself . )</parenthetical> <dialogue>No, Dad, what about you?</dialogue> <parenthetical>( as his father . )</parenthetical> <dialogue>Fuck you!</dialogue> <parenthetical>( as himself - yelling . )</parenthetical> <dialogue>No, Dad, what about you?</dialogue> <parenthetical>( as his father - yelling . )</parenthetical> <dialogue>Fuck you! He reaches out and pretend he's his father hitting him.</dialogue> <character>BRIAN</character> <dialogue>Is that for real?</dialogue> <character>BENDER</character> <parenthetical>( to Brian . )</parenthetical> <dialogue>You wan na come over sometime?</dialogue> <character>ANDREW</character> <dialogue>That's bullshit. It's all part of your image, I do n't believe a word of it. Bender actually looks hurt.</dialogue> <character>BENDER</character> <dialogue>You do n't believe me?</dialogue> <character>ANDREW</character> <dialogue>No.</dialogue> <character>BENDER</character> <dialogue>No?</dialogue> <character>ANDREW</character> <dialogue>Did I stutter? Bender comes over to Andrew and rolls up his right sleeve to reveal a circular shaped burn.</dialogue> <character>BENDER</character> <dialogue>Do you believe this? Huh? It's about the size of a cigar. Do I stutter? You see, this is what you get in my house when you spill paint in the garage. Bender begins to walk away.</dialogue> <character>BENDER</character> <dialogue>See I do n't think that I need to sit here with you fuckin' dildos anymore! Bender walks over to a map table and throws all the maps on the floor. He climbs up on top of the table and then up to the second floor balcony.</dialogue> <character>CLAIRE</character> <parenthetical>( to Andrew . )</parenthetical> <dialogue>You should n't have said that!</dialogue> <character>ANDREW</character> <dialogue>How would I know, I mean he lies about everything anyway! CUT TO :</dialogue> </scene> <scene> <character>VERNON</character> <dialogue>Oh, shit! CUT TO :</dialogue> </scene> <scene> <character>VERNON</character> <dialogue>Coffee. looks like they scrape it off the bottom of the Mississippi river. Everything's polluted, everything's polluted. the coffee. Bender comes out of the library doors followed bye veryone else. Bender and Claire are walking next to each other. Brian and Andrew are walking next to each other and at the end of the line, Allison is following.</dialogue> <character>CLAIRE</character> <parenthetical>( to Bender . )</parenthetical> <dialogue>How do you know where Vernon went?</dialogue> <character>BENDER</character> <dialogue>I do n't.</dialogue> <character>CLAIRE</character> <dialogue>Well then, how do you know when he'll be back?</dialogue> <character>BENDER</character> <dialogue>I do n't. being bad feels pretty good, huh?</dialogue> <character>BRIAN</character> <parenthetical>( to Andrew . )</parenthetical> <dialogue>What's the point in going to Bender's locker?</dialogue> <character>ANDREW</character> <dialogue>Beats me.</dialogue> <character>BRIAN</character> <dialogue>This is so stupid. Why do you think, why are we risking getting caught?</dialogue> <character>ANDREW</character> <dialogue>I dunno.</dialogue> <character>BRIAN</character> <dialogue>So then what are we doing?</dialogue> <character>ANDREW</character> <dialogue>You ask me one more question and I'm beating the shit out of you!</dialogue> <character>BRIAN</character> <dialogue>Sorry. Bender opens his locker.</dialogue> <character>ANDREW</character> <dialogue>Slob!</dialogue> <character>BENDER</character> <dialogue>My maid's on vacation. Bender pulls out a bag of marijuana.</dialogue> <character>BRIAN</character> <dialogue>Drugs.</dialogue> <character>ANDREW</character> <dialogue>Screw that Bender. put it back! Bender walks away.</dialogue> <character>BRIAN</character> <dialogue>Drugs. the boy had marijuana. Claire walks after Bender.</dialogue> <character>BRIAN</character> <dialogue>That was marijuana!</dialogue> <character>ANDREW</character> <dialogue>Shut up! Andrew follows the other two. Brian looks at Allison who is standing there with her mouth open.</dialogue> <character>BRIAN</character> <dialogue>Do you approve of this? Brian turns and leaves. Allison steals the lock off of Bender's locker. We see the crowd walking down the hall.</dialogue> <character>BENDER</character> <dialogue>We'll cross through the lab, and then we'll double back.</dialogue> <character>ANDREW</character> <dialogue>You better be right, if Vernon cuts us off it's your fault, asshole!</dialogue> <character>BRIAN</character> <parenthetical>( to Claire . )</parenthetical> <dialogue>What'd he say? Where're we going? They see Vernon down one of the halls. We have various sequences of them running around and seeing Vernon until they stop.</dialogue> <character>BENDER</character> <dialogue>Wait! Wait, hold it! Hold it! We have to go through the cafeteria!</dialogue> <character>ANDREW</character> <dialogue>No, the activities hall.</dialogue> <character>BENDER</character> <dialogue>Hey man, you do n't know what you're talking about!</dialogue> <character>ANDREW</character> <dialogue>No you do n't know what you're talking about! Allison squeaks.</dialogue> <character>ANDREW</character> <dialogue>Now we're through listening to you, we're going this way. They all go Andrew's way and run into a hall closed by an iron gate.</dialogue> <character>ANDREW</character> <dialogue>Shit!</dialogue> <character>BENDER</character> <dialogue>Great idea Jagoff!</dialogue> <character>ANDREW</character> <dialogue>Fuck you!</dialogue> <character>CLAIRE</character> <parenthetical>( to Andrew . )</parenthetical> <dialogue>Fuck you! Why did n't you listen to John?</dialogue> <character>BRIAN</character> <dialogue>We're dead!</dialogue> <character>BENDER</character> <dialogue>No, just me!</dialogue> <character>BRIAN</character> <dialogue>What do you mean?</dialogue> <character>BENDER</character> <dialogue>Get back to the library, keep your unit on this! Bender puts his bag of marijuana into Brian's underwear. Bender runs away singing loudly. `` I wan na be an airborne ranger.'' We see Vernon hear Bender. The rest of them run.</dialogue> <character>VERNON</character> <dialogue>That son of a bitch! We see Vernon looking for Bender until he finds him in the gym. Bender is going up for a basket.</dialogue> <character>BENDER</character> <dialogue>Three. two. one! He dunks the ball. Vernon enters.</dialogue> <character>VERNON</character> <dialogue>Bender! Bender! Bender! What is this? What are you doing here, what is this?</dialogue> <character>BENDER</character> <dialogue>Oh, hi!</dialogue> <character>VERNON</character> <dialogue>Out! That's it Bender! Out, it's over!</dialogue> <character>BENDER</character> <dialogue>Do n't you wan na hear my excuse?</dialogue> <character>VERNON</character> <dialogue>Out!</dialogue> <character>BENDER</character> <dialogue>I'm thinking of trying out for a scholarship.</dialogue> <character>VERNON</character> <dialogue>Gimmie the ball, Bender. Bender fakes the ball at Vernon. He then sets the ball down and rolls it at Vernon who kicks it back at him. They leave. CUT TO :</dialogue> </scene> <scene> <character>VERNON</character> <dialogue>Get your stuff, let's go!</dialogue> <parenthetical>( to everyone . )</parenthetical> <dialogue>Mr. Wiseguy here has taken it upon himself to go to the gymnasium. I'm sorry to inform you, you're going to be without his services for the rest of the day.</dialogue> <character>BENDER</character> <parenthetical>( to Vernon . )</parenthetical> <dialogue>B - O - O H - O - O!</dialogue> <character>VERNON</character> <dialogue>Everything's a big joke, huh Bender? The false alarm you pulled, Friday, false alarms are really funny, are n't they. What if your home, what if your family.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>. what if your dope was on fire?</dialogue> <character>BENDER</character> <dialogue>Impossible, sir. It's in Johnson's underwear. Andrew laughs.</dialogue> <character>VERNON</character> <parenthetical>( to Andrew . )</parenthetical> <dialogue>You think he's funny? You think this is cute? You think he's bitchin', is that it? Lem me tell you something. Look at him, he's a bum.</dialogue> <parenthetical>( to everybody . )</parenthetical> <dialogue>You wan na see something funny? You go visit John Bender in five years! You'll see how God damned funny he is!</dialogue> <parenthetical>( to Bender . )</parenthetical> <dialogue>What's the matter, John? You gon na cry? Let's go. Vernon grabs Bender's shoulder.</dialogue> <character>BENDER</character> <dialogue>Hey keep your fuckin' hands off me! I expect better manners from you, Dick! Bender takes his sunglasses out of his pocket and lays them in front of Andrew.</dialogue> <character>BENDER</character> <dialogue>For better hallway vision! Bender leaves but not before pushing stuff over on the way. CUT TO :</dialogue> </scene> <scene> <character>VERNON</character> <dialogue>That's the last time, Bender. That's the last time you ever make me look bad in front of those kids, do you hear me? I make $ 31,000 dollars a year and I have a home and I'm not about to throw it away on some punk like you. But someday, man, someday. When you're outta here and you've forgotten all about this place. And they've forgotten all about you and you're wrapped up in your own pathetic life. I'm gon na be there. That's right. And I'm gon na kick the living shit out of you, man, I'm gon na knock your dick in the dirt!</dialogue> <character>BENDER</character> <dialogue>Are you threatening me?</dialogue> <character>VERNON</character> <dialogue>What're you gon na do about it? You think anybody's gon na believe you? You think anybody's gon na take your word over mine? I'm a man of respect around here. They love me around here, I'm a swell guy. you're a lying sack of shit! And everybody knows it. Oh, you're a real tough guy. come on, come on. get on your feet, pal! Let's find out how tough you are! I wan na know right now, how tough you are! Come on! I'll give you the first punch, let's go! Come on, right here, just take the first shot! Please, I'm begging you, take a shot! Come on, just take one shot, that's all I need, just one swing. Bender just sits there staring at Vernon. Vernon fakes a punch and Bender flinches.</dialogue> <character>VERNON</character> <dialogue>That's what I though. you're a gutless turd! Vernon leaves and locks the closet door after him. Bender climbs into a hatch in the ceiling and disappears. CUT TO :</dialogue> </scene> <scene> <character>BENDER</character> <parenthetical>( to himself . )</parenthetical> <dialogue>A naked blond walks into a bar, with a poodle under one arm and a two foot salami under the other. She lays the poodle on the table. Bar - tender says : `` I suppose you wo n't be needing a drink.'' The naked lady says. The ceiling under Bender gives and he falls through.</dialogue> <character>BENDER</character> <parenthetical>( screaming . )</parenthetical> <dialogue>Oh shit! CUT TO :</dialogue> </scene> <scene> <character>VERNON</character> <parenthetical>( OS . )</parenthetical> <dialogue>Jesus Christ, allmighty! CUT TO</dialogue> </scene> <scene> <character>BENDER</character> <dialogue>I forgot my pencil. We hear Vernon in the hall.</dialogue> <character>VERNON</character> <parenthetical>( OS . )</parenthetical> <dialogue>God damnit! What in God's name is going on in here? Vernon enters.</dialogue> <character>VERNON</character> <dialogue>What was that ruckus?</dialogue> <character>ANDREW</character> <dialogue>Uh, what ruckus?</dialogue> <character>VERNON</character> <dialogue>I was just in my office and I heard a ruckus!</dialogue> <character>BRIAN</character> <dialogue>Could you describe the ruckus, sir?</dialogue> <character>VERNON</character> <dialogue>Watch your tongue young man, watch it! We see Bender under the table by Claire's legs. He sits up and bangs his head on the table. He groans. Above the table, Andrew and Claire try to take credit for the noise by making more noise.</dialogue> <character>VERNON</character> <dialogue>What is that? What, what is that, what is that noise? Under the table, Bender looks between Claire's legs and can see her panties. He puts his head between Claire's legs.</dialogue> <character>ANDREW</character> <dialogue>What noise?</dialogue> <character>CLAIRE</character> <dialogue>Really, sir, there was n't any noise. Claire squeels. She squeezes Bender's head between her knees. Everyone starts faking a coughing fit.</dialogue> <character>CLAIRE</character> <parenthetical>( flustered . )</parenthetical> <dialogue>That noise? Was that the noise you were talking about?</dialogue> <character>VERNON</character> <dialogue>No, it was n't. That was not the noise I was talking about. Now, I may not have caught you in the act this time, but you can bet I will. Allison laughs at Vernon.</dialogue> <character>VERNON</character> <dialogue>You make book on that missy!</dialogue> <parenthetical>( to Claire . )</parenthetical> <dialogue>And you! I will not be made a fool of! He turns and walks away. We see that he still has the toilet seat cover stuck to his pants. Vernon leaves. Everyone laughs except Claire who lets Bender out to a barage of slaps.</dialogue> <character>BENDER</character> <dialogue>It was an accident!</dialogue> <character>CLAIRE</character> <dialogue>You're an asshole!</dialogue> <character>BENDER</character> <dialogue>So sue me. Bender gets up and walks over to Brian.</dialogue> <character>BENDER</character> <dialogue>So, Ahab. Kybo Mein Doobage. Brian gives Bender his bag of marajuana. Bender turns and walks away.</dialogue> <character>ANDREW</character> <dialogue>Yo waistoid. you're not gon na blaze up in here! Claire gets up and goes after him. Then Brian.</dialogue> <character>ANDREW</character> <dialogue>Shit. Andrew goes. CUT TO :</dialogue> </scene> <scene /> <scene> <character>BRIAN</character> <dialogue>Chicks, can not hold der smoke! That's what it is!</dialogue> <character>CLAIRE</character> <dialogue>Do you know how popular I am? I'm so popular, everybody loves me so much, at this school.</dialogue> <character>BENDER</character> <dialogue>Poor baby. Brian waves Claire over to him and he falls over. We see Andrew emerge from a really smokey room. He inhales another puff and then starts dancing to everybody's applause. He goes back in the room he was in. He screams and it shatters the glass in the door. CUT TO :</dialogue> </scene> <scene> <scene_description>the school basement .</scene_description> <character>VERNON</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Mister, oh mister Tearney. a history of slight mental illness? Wooh, no wonder he's so fucked up! Carl enters.</dialogue> <character>CARL</character> <dialogue>Afternoon, Dick.</dialogue> <character>VERNON</character> <dialogue>Hey Carl, how you doin'?</dialogue> <character>CARL</character> <dialogue>Good.</dialogue> <character>VERNON</character> <dialogue>Good, what's up?</dialogue> <character>CARL</character> <dialogue>Not much, what's happening, what are you doing in the basement files?</dialogue> <character>VERNON</character> <dialogue>Oh, nothin' nothin' here. I'm just doin' a little homework here.</dialogue> <character>CARL</character> <dialogue>Homework, huh?</dialogue> <character>VERNON</character> <dialogue>Yeah. Carl, laughing, comes over and looks at the files that Vernon was looking at.</dialogue> <character>CARL</character> <dialogue>Confidential files. hmmm?</dialogue> <character>VERNON</character> <dialogue>Look, Carl. this is a highly sensitive area and I, I tell you something. certain people would be very very embarrassed. I would really appreciate it if if if if this would be something that, that you and I could keep between us.</dialogue> <character>CARL</character> <dialogue>What're you gon na do for me, man?</dialogue> <character>VERNON</character> <dialogue>Well, well what would you like?</dialogue> <character>CARL</character> <dialogue>Got fifty bucks?</dialogue> <character>VERNON</character> <dialogue>What?</dialogue> <character>CARL</character> <dialogue>Fifty bucks. CUT TO :</dialogue> </scene> <scene> <character>ANDREW</character> <dialogue>No no man, no ; you got a middle name?</dialogue> <character>BRIAN</character> <dialogue>Yeah, guess. Allison suddenly takes interest in the conversation and as she speaks, she moves over and sits next to the two.</dialogue> <character>ALLISON</character> <dialogue>Your middle name is Ralph, as in puke. Brian and Andrew look at her in confusion.</dialogue> <character>ALLISON</character> <dialogue>your birthday is March 12th, you're five - nine and a half you weigh a hundred and thirty pounds and your social security number is 0 - 4 - 9 - 3 - 8 - 0 - 9 - 1.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>3. Andrew is impressed.</dialogue> <character>ANDREW</character> <dialogue>Wow! Are you psychic?</dialogue> <character>ALLISON</character> <dialogue>No.</dialogue> <character>BRIAN</character> <dialogue>Well would you mind telling me how you know all this about me? Allison reaches in her bag.</dialogue> <character>ALLISON</character> <dialogue>I stole your wallet. She produces it in her hands and grins.</dialogue> <character>BRIAN</character> <dialogue>Give it to me.</dialogue> <character>ALLISON</character> <dialogue>No.</dialogue> <character>BRIAN</character> <dialogue>Give it! Allison reluctantly hands over the wallet and Brian glances through it to make sure nothing is missing.</dialogue> <character>BRIAN</character> <dialogue>This is great. you're a thief too! Huh?</dialogue> <character>ALLISON</character> <dialogue>I'm not a thief!</dialogue> <character>BRIAN</character> <dialogue>Multi - talented!</dialogue> <character>ALLISON</character> <dialogue>What's there to steal? Two bucks and a beaver shot!</dialogue> <character>ANDREW</character> <dialogue>A what?</dialogue> <character>ALLISON</character> <dialogue>He's got a nudie picture in there! I saw it, it's perverted!</dialogue> <character>ANDREW</character> <dialogue>Alright, let's see it! We see Bender, he is brushing his teeth with one of Claire's cosmetic brushes. We see Claire looking through Bender's wallet pictures.</dialogue> <character>CLAIRE</character> <dialogue>Are all these your girlfriends?</dialogue> <character>BENDER</character> <dialogue>Some of them.</dialogue> <character>CLAIRE</character> <dialogue>What about the others?</dialogue> <character>BENDER</character> <dialogue>Well, some I consider my girlfriends and some. I just consider.</dialogue> <character>CLAIRE</character> <dialogue>Consider what?</dialogue> <character>BENDER</character> <dialogue>Whether or not, I wan na hang out with them.</dialogue> <character>CLAIRE</character> <dialogue>You do n't believe in just one guy, one girl?</dialogue> <character>BENDER</character> <dialogue>Do you?</dialogue> <character>CLAIRE</character> <dialogue>Yeah. that's the way it should be.</dialogue> <character>BENDER</character> <dialogue>Well, not for me.</dialogue> <character>CLAIRE</character> <dialogue>Why not? Bender clearly does n't want to answer that. He acts defensive.</dialogue> <character>BENDER</character> <dialogue>How come you got so much shit in your purse?</dialogue> <character>CLAIRE</character> <dialogue>How come you got so many girlfriends?</dialogue> <character>BENDER</character> <dialogue>I asked you first.</dialogue> <character>CLAIRE</character> <parenthetical>( shrugs . )</parenthetical> <dialogue>I dunno. I guess I never throw anything away.</dialogue> <character>BENDER</character> <dialogue>Neither do I.</dialogue> <character>CLAIRE</character> <dialogue>Oh. We cut back to where Andrew, Brian and Allison are sitting, Andrew is looking through Brian's wallet.</dialogue> <character>ANDREW</character> <dialogue>This is the worst fake ID I've ever seen. Brian laughs.</dialogue> <character>ANDREW</character> <dialogue>Do you realize you made yourself sixty eight?</dialogue> <character>BRIAN</character> <dialogue>Oh, I know. I know, I goofed it.</dialogue> <character>ANDREW</character> <dialogue>What do you need a fake ID for?</dialogue> <character>BRIAN</character> <parenthetical>( like it 's obvious . )</parenthetical> <dialogue>So I can vote! Allison looks up suddenly.</dialogue> <character>ALLISON</character> <dialogue>You wan na see what's in my bag?</dialogue> <character>BRIAN &amp; ANDREW</character> <dialogue>No! Allison looks hurt and then resentful. Just to spite them, she dumps the contents of her bag onto the couch. Lots of stuff comes out.</dialogue> <character>ANDREW</character> <dialogue>Holy shit! What is all that stuff?</dialogue> <character>BRIAN</character> <dialogue>Do you always carry this much shit in your bag?</dialogue> <character>ALLISON</character> <dialogue>Yeah. I always carry this much shit. in my bag. You never know when you may have to jam.</dialogue> <character>BRIAN</character> <dialogue>Are you gon na be like a shopping bag lady? You know like, sit in alleyways and like talk to buildings and wear men's shoes and that kinda thing?</dialogue> <character>ALLISON</character> <dialogue>I'll do what I have to do.</dialogue> <character>BRIAN</character> <dialogue>Why do you have to do anything?</dialogue> <character>ALLISON</character> <parenthetical>( with feeling . )</parenthetical> <dialogue>My home life is un. satisfying.</dialogue> <character>BRIAN</character> <dialogue>So you're saying you'd subject yourself to the violent dangers of the Chicago streets because your homelife is unsatisfying?</dialogue> <character>ALLISON</character> <dialogue>I do n't have to run away and live in the street. I can run away and, go to the ocean, I can go to the country, I can go to the mountains. I can go to Israel, Africa, Afghanistan. Brian looks at her and then moves over to Andrew.</dialogue> <character>BRIAN</character> <dialogue>Andy. you wan na get in on this? Allison here says, she wants to run away, because her home life is unsatisfying.</dialogue> <character>ANDREW</character> <dialogue>Well everyone's home lives are un - satisfying. If it was n't, people would live with there parents forever.</dialogue> <character>BRIAN</character> <dialogue>Yeah, yeah I understand. But I think that her's goes beyond, you know, what guys like you and me. consider normal unsatisfying.</dialogue> <character>ALLISON</character> <dialogue>Nevermind. forget it, everything's cool! Allison starts putting everything back in her purse.</dialogue> <character>ANDREW</character> <dialogue>What's the deal?</dialogue> <character>ALLISON</character> <dialogue>No! There's no deal, Sporto. Forget it, leave me alone.</dialogue> <character>ANDREW</character> <dialogue>Wait a minute, now you're carrying all that crap around in your purse. Either you really wan na run away or you want people to think you wan na run away.</dialogue> <character>ALLISON</character> <dialogue>Eat shit! Allison gets up and walks away.</dialogue> <character>BRIAN</character> <dialogue>The girl is an island, with herself. Okay? Andrew gets up and goes after her.</dialogue> <character>ANDREW</character> <dialogue>Hi, you wan na talk?</dialogue> <character>ALLISON</character> <dialogue>No!</dialogue> <character>ANDREW</character> <dialogue>Why not?</dialogue> <character>ALLISON</character> <dialogue>Go away.</dialogue> <character>ANDREW</character> <dialogue>Where do you want me to go?</dialogue> <character>ALLISON</character> <dialogue>GO away! Andrew turns away and Allison starts to cry.</dialogue> <character>ALLISON</character> <dialogue>You have problems.</dialogue> <character>ANDREW</character> <dialogue>Oh, I have problems?</dialogue> <character>ALLISON</character> <dialogue>You do everything everybody ever tells you to do, that is a problem!</dialogue> <character>ANDREW</character> <dialogue>Okay, fine. but I did n't dump my purse out on the couch and invite people into my problems. Did I? So what's wrong? What is it? Is is bad? Real bad? Parents? Allison is silently crying.</dialogue> <character>ALLISON</character> <dialogue>Yeah. Andrew nods.</dialogue> <character>ANDREW</character> <dialogue>What do they do to you?</dialogue> <character>ALLISON</character> <dialogue>They ignore me.</dialogue> <character>ANDREW</character> <dialogue>Yeah. yeah. They both are crying silently. CUT TO :</dialogue> </scene> <scene> <character>VERNON</character> <dialogue>What did you want to be when you were young?</dialogue> <character>CARL</character> <dialogue>When I was a kid, I wanted to be John Lennon.</dialogue> <character>VERNON</character> <dialogue>Carl do n't be a goof! I'm trying to make a serious point here. I've been teaching, for twenty two years, and each year. these kids get more and more arrogant.</dialogue> <character>CARL</character> <dialogue>Aw bull shit, man. Come on Vern, the kids have n't changed, you have! You took a teaching position,'cause you thought it'd be fun, right? Thought you could have summer vacations off. and then you found out it was actually work. and that really bummed you out.</dialogue> <character>VERNON</character> <dialogue>These kids turned on me. they think I'm a big fuckin' joke.</dialogue> <character>CARL</character> <dialogue>Come on. listen Vern, if you were sixteen, what would you think of you, huh?</dialogue> <character>VERNON</character> <dialogue>Hey. Carl, you think I give one rat's ass what these kids think of me?</dialogue> <character>CARL</character> <dialogue>Yes I do.</dialogue> <character>VERNON</character> <dialogue>You think about this. when you get old, these kids ; when I get old, they're gon na be runnin' the country.</dialogue> <character>CARL</character> <dialogue>Yeah?</dialogue> <character>VERNON</character> <dialogue>Now this is the thought that wakes me up in the middle of the night. That when I get older, these kids are gon na take care of me.</dialogue> <character>CARL</character> <dialogue>I would n't count on it! Vernon ponders that statement for a moment. CUT TO :</dialogue> </scene> <scene> <character>ANDREW</character> <dialogue>What would I do for a million bucks? Well, I guess I'd do as little as I had to.</dialogue> <character>CLAIRE</character> <dialogue>That's boring.</dialogue> <character>ANDREW</character> <dialogue>Well, how'm I s ` posed to answer?</dialogue> <character>CLAIRE</character> <dialogue>The idea is to like search your mind for the absolute limit. Like, uh, would you drive to school naked? Andrew laughs.</dialogue> <character>ANDREW</character> <dialogue>Um, uh. would I have to get out of the car?</dialogue> <character>CLAIRE</character> <dialogue>Of course.</dialogue> <character>ANDREW</character> <dialogue>In the spring, or winter?</dialogue> <character>CLAIRE</character> <dialogue>It does n't matter. spring.</dialogue> <character>ANDREW</character> <dialogue>In front of the school or in back of the school?</dialogue> <character>CLAIRE</character> <dialogue>Either one.</dialogue> <character>ANDREW</character> <dialogue>Yes.</dialogue> <character>ALLISON</character> <dialogue>I'd do that! They all look at her.</dialogue> <character>ALLISON</character> <dialogue>I'll do anything sexual, I do n't need a million dollars to do it either.</dialogue> <character>CLAIRE</character> <dialogue>You're lying.</dialogue> <character>ALLISON</character> <dialogue>I already have. I've done just about everything there is except a few things that are illegal. I'm a nymphomaniac! Claire rolls her eyes.</dialogue> <character>CLAIRE</character> <dialogue>Lie.</dialogue> <character>BRIAN</character> <dialogue>Are your parents aware of this?</dialogue> <character>ALLISON</character> <dialogue>The only person I told was my shrink.</dialogue> <character>ANDREW</character> <dialogue>And what'd he do when you told him?</dialogue> <character>ALLISON</character> <dialogue>He nailed me.</dialogue> <character>CLAIRE</character> <dialogue>Very nice.</dialogue> <character>ALLISON</character> <dialogue>I do n't think that from a legal standpoint what he did can be construed as rape since I paid him.</dialogue> <character>CLAIRE</character> <dialogue>He's an adult! Allison is relishing this attention.</dialogue> <character>ALLISON</character> <dialogue>Yeah. he's married too! Claire notes her disgust.</dialogue> <character>CLAIRE</character> <dialogue>Do you have any idea how completely gross that is?</dialogue> <character>ALLISON</character> <dialogue>Well, the first few times.</dialogue> <character>CLAIRE</character> <dialogue>First few times? You mean he did it more than once?</dialogue> <character>ALLISON</character> <dialogue>Sure.</dialogue> <character>CLAIRE</character> <dialogue>Are you crazy?</dialogue> <character>BRIAN</character> <dialogue>Obviously she's crazy if she's screwing her shrink.</dialogue> <character>ALLISON</character> <parenthetical>( to Claire . )</parenthetical> <dialogue>Have you ever done it?</dialogue> <character>CLAIRE</character> <dialogue>I do n't even have a psychiatrist.</dialogue> <character>ALLISON</character> <dialogue>Have you ever done it with a normal person?</dialogue> <character>CLAIRE</character> <dialogue>Now, did n't we already cover this?</dialogue> <character>BENDER</character> <dialogue>You never answered the question.</dialogue> <character>CLAIRE</character> <dialogue>Look, I'm not gon na discuss my private life with total strangers.</dialogue> <character>ALLISON</character> <dialogue>It's kind of a double - edged sword, is n't it?</dialogue> <character>CLAIRE</character> <dialogue>A what?</dialogue> <character>ALLISON</character> <dialogue>Well, if you say you have n't. you're a prude. If you say you have. you're a slut! It's a trap. You want to but you ca n't but when you do you wish you did n't, right?</dialogue> <character>CLAIRE</character> <dialogue>Wrong.</dialogue> <character>ALLISON</character> <dialogue>Or, are you a tease?</dialogue> <character>ANDREW</character> <dialogue>She's a tease.</dialogue> <character>CLAIRE</character> <dialogue>Oh why do n't you just forget it.</dialogue> <character>ANDREW</character> <dialogue>You're a tease and you know it, all girls are teases!</dialogue> <character>BENDER</character> <parenthetical>( to Andrew . )</parenthetical> <dialogue>She's only a tease if what she does gets you hot.</dialogue> <character>CLAIRE</character> <dialogue>I do n't do anything!</dialogue> <character>ALLISON</character> <dialogue>That's why you're a tease.</dialogue> <character>CLAIRE</character> <dialogue>Okay, lem me ask you a few questions. Allison is suddenly defensive.</dialogue> <character>ALLISON</character> <dialogue>I've already told you everything!</dialogue> <character>CLAIRE</character> <dialogue>No! Does n't it bother you to sleep around without being in love. I mean do n't you want any respect?</dialogue> <character>ALLISON</character> <dialogue>I do n't screw to get respect. That's the difference between you and me.</dialogue> <character>CLAIRE</character> <dialogue>Not the only difference, I hope.</dialogue> <character>BENDER</character> <dialogue>Face it, you're a tease.</dialogue> <character>CLAIRE</character> <dialogue>I'm not a tease!</dialogue> <character>BENDER</character> <dialogue>Sure you are! You said it yourself sex is a weapon, you use it to get respect!</dialogue> <character>CLAIRE</character> <dialogue>No, I never said that, she twisted my words around.</dialogue> <character>BENDER</character> <dialogue>Oh then what do you use it for?</dialogue> <character>CLAIRE</character> <dialogue>I do n't use it period! Claire is on the verge of tears.</dialogue> <character>BENDER</character> <dialogue>Oh, are you medically frigid or is it psychological?</dialogue> <character>CLAIRE</character> <dialogue>I did n't mean it that way! You guys are putting words into my mouth!</dialogue> <character>BENDER</character> <dialogue>Well if you'd just answer the question.</dialogue> <character>BRIAN</character> <dialogue>Why do n't you just answer the question?</dialogue> <character>ANDREW</character> <dialogue>Be honest.</dialogue> <character>BENDER</character> <dialogue>No big deal.</dialogue> <character>BRIAN</character> <dialogue>Yeah, answer it!</dialogue> <character>ANDREW</character> <dialogue>Answer the question, Claire!</dialogue> <character>BENDER</character> <dialogue>Talk to us!</dialogue> <character>ANDREW &amp; BRIAN</character> <dialogue>Come on, answer the question!</dialogue> <character>BENDER</character> <dialogue>It's easy, it's only one question! Claire silences all of them by screaming.</dialogue> <character>CLAIRE</character> <parenthetical>( screaming . )</parenthetical> <dialogue>No! I never did it! Silence for two beats.</dialogue> <character>ALLISON</character> <dialogue>I never did it either, I'm not a nymphomaniac. I'm a compulsive liar.</dialogue> <character>CLAIRE</character> <dialogue>You are such a bitch! You did that on purpose just to fuck me over!</dialogue> <character>ALLISON</character> <dialogue>I would do it though. If you love someone it's okay.</dialogue> <character>CLAIRE</character> <dialogue>I ca n't believe you, you're so weird. You do n't say anything all day and then when you open your mouth. you unload all these tremendous lies all over me!</dialogue> <character>ANDREW</character> <dialogue>You're just pissed off because she got you to admit something you did n't want to admit to.</dialogue> <character>CLAIRE</character> <dialogue>Okay, fine, but that does n't make it any less bizarre.</dialogue> <character>ANDREW</character> <dialogue>What's bizarre? I mean we're all pretty bizarre! Some of us are just better at hiding it, that's all.</dialogue> <character>CLAIRE</character> <parenthetical>( to Andrew . )</parenthetical> <dialogue>How are you bizarre? Allison decides to field that question.</dialogue> <character>ALLISON</character> <dialogue>He ca n't think for himself.</dialogue> <character>ANDREW</character> <dialogue>She's right. do you guys know what, uh, what I did to get in here? I taped Larry Lester's buns together. Claire laughs.</dialogue> <character>BRIAN</character> <parenthetical>( to Andrew . )</parenthetical> <dialogue>That was you?</dialogue> <character>ANDREW</character> <parenthetical>( to Brian . )</parenthetical> <dialogue>Yeah, you know him?</dialogue> <character>BRIAN</character> <dialogue>Yeah, I know him.</dialogue> <character>ANDREW</character> <dialogue>Well then you know how hairy he is, right? Well, when they pulled the tape off, most of his hair came off and some, some skin too.</dialogue> <character>CLAIRE</character> <dialogue>Oh my God.</dialogue> <character>ANDREW</character> <dialogue>And the bizarre thing is, is that I did it for my old man. I tortured this poor kid, because I wanted him to think that I was cool. He's always going off about, you know, when he was in school. all the wild things he used to do. And I got the feeling that he was disappointed that I never cut loose on anyone, right. So, I'm. I'm sitting in the locker room, and I'm taping up my knee. And Larry's undressing a couple lockers down from me. Yeah. he's kinda. he's kinda skinny, weak. And I started thinking about my father, and his attitude about weakness. And the next thing I knew, I uh, I jumped on top of him and started wailing on him. And my friends, they just laughed and cheered me on. And afterwards, when I was sittin' in Vernon's office, all I could think about was Larry's father. And Larry havin' to go home and. and explain what happened to him. And the humiliation. fucking humiliation he mustuv felt. It mustuv been unreal. I mean.</dialogue> <parenthetical>( he 's crying . )</parenthetical> <dialogue>I mean, how do you apologize for something like that? There's no way. it's all because of me and my old man. Oh God, I fucking hate him! He's like this. he's like this mindless machine that I ca n't even relate to anymore. `` Andrew, you've got to be number one! I wo n't tolerate any losers in this family. Your intensity is for shit! Win. Win! WIN!'' You son of a bitch! You know, sometimes, I wish my knee would give. and I would n't be able to wrestle anymore. And he could forget all about me.</dialogue> <character>BENDER</character> <dialogue>I think your old man and my old man should get together and go bowling. Andrew laughs briefly.</dialogue> <character>BRIAN</character> <dialogue>It's like me, you know, with my grades. like, when I, when I step outside myself kinda, and when I, when I look in at myself you know? And I see me and I do n't like what I see, I really do n't.</dialogue> <character>CLAIRE</character> <dialogue>What's wrong with you? Why do n't you like yourself?</dialogue> <character>BRIAN</character> <dialogue>'Cause I'm stupid.'cause I'm failing shop. See we had this assignment, to make this ceramic elephant, and um. and we had eight weeks to do it and we're s ` posed ta, and it was like a lamp, and when you pull the trunk the light was s ` posed to go on. my light did n't go on, I got a F on it. Never got a F in my life. When I signed up, you know, for the course I mean. I thought I was playing it real smart, you know.'Cause I thought, I'll take shop, it'll be such an easy way to maintain my grade point average.</dialogue> <character>BENDER</character> <dialogue>Why'd you think it'd be easy?</dialogue> <character>BRIAN</character> <dialogue>Have you seen some of the dopes that take shop?</dialogue> <character>BENDER</character> <dialogue>I take shop. you must be a fuckin' idiot!</dialogue> <character>BRIAN</character> <dialogue>I'm a fuckin' idiot because I ca n't make a lamp?</dialogue> <character>BENDER</character> <dialogue>No, you're a genius because you ca n't make a lamp.</dialogue> <character>BRIAN</character> <dialogue>What do you know about Trigonometry?</dialogue> <character>BENDER</character> <dialogue>I could care less about Trigonometry.</dialogue> <character>BRIAN</character> <dialogue>Bender, did you know without Trigonometry there'd be no engineering?</dialogue> <character>BENDER</character> <dialogue>Without lamps, there'd be no light!</dialogue> <character>CLAIRE</character> <dialogue>Okay so neither one of you is any better than the other one. Allison feels left out.</dialogue> <character>ALLISON</character> <dialogue>I can write with my toes! I can also eat, brush my teeth.</dialogue> <character>CLAIRE</character> <dialogue>With your feet?</dialogue> <character>ALLISON</character> <dialogue>play Heart &amp; Soul on the piano.</dialogue> <character>BRIAN</character> <dialogue>I can make spaghetti!</dialogue> <character>CLAIRE</character> <parenthetical>( to Andrew . )</parenthetical> <dialogue>What can you do?</dialogue> <character>ANDREW</character> <dialogue>I can. uh. tape all your buns together.</dialogue> <character>BENDER</character> <dialogue>I wan na see what Claire can do!</dialogue> <character>CLAIRE</character> <dialogue>I ca n't do anything.</dialogue> <character>BENDER</character> <dialogue>Now, everybody can do something.</dialogue> <character>CLAIRE</character> <dialogue>There's one thing I can do, no forget it, it's way too embarrassing.</dialogue> <character>BENDER</character> <dialogue>You ever seen Wild Kingdom? I mean that guy's been doing that show for thirty years.</dialogue> <character>CLAIRE</character> <dialogue>Okay, but you have to swear to God you wo n't laugh. I ca n't believe I'm actually doing this. Claire takes lipstick out and opens it. She places it between her breasts and applies it from her cleavage. When she lifts her head, her lipstick is perfect. Everyone claps. Bender's clap is sarcastic and slow.</dialogue> <character>ANDREW</character> <dialogue>All right, great! Where'd you learn to do that?</dialogue> <character>CLAIRE</character> <dialogue>Camp, seventh grade.</dialogue> <character>BENDER</character> <dialogue>That was great, Claire. my image of you is totally blown.</dialogue> <character>ALLISON</character> <dialogue>You're a shit! Do n't do that to her you swore to God you would n't laugh!</dialogue> <character>BENDER</character> <dialogue>Am I laughing?</dialogue> <character>ANDREW</character> <dialogue>You fucking prick! Bender turns to Andrew. As he speaks, we can see his words hitting home.</dialogue> <character>BENDER</character> <dialogue>What do you care what I think, anyway? I do n't even count, right? I could disappear forever and it would n't make any difference. I may as well not even exist at this school, remember?</dialogue> <parenthetical>( he turns to Claire . )</parenthetical> <dialogue>And you. do n't like me anyway!</dialogue> <character>CLAIRE</character> <dialogue>You know, I have just as many feelings as you do and it hurts just as much when somebody steps all over them!</dialogue> <character>BENDER</character> <dialogue>God, you're so pathetic!</dialogue> <parenthetical>( furious . )</parenthetical> <dialogue>Do n't you ever. ever! Compare yourself to me! Okay? You got everything, and I got shit! Fuckin' Rapunzel, right? School would probably fucking shut down if you did n't show up! `` Queenie is n't here!'' I like those earrings Claire.</dialogue> <character>CLAIRE</character> <parenthetical>( quietly . )</parenthetical> <dialogue>Shut up.</dialogue> <character>BENDER</character> <dialogue>Are those real diamonds, Claire?</dialogue> <character>CLAIRE</character> <parenthetical>( angry . )</parenthetical> <dialogue>Shut up!</dialogue> <character>BENDER</character> <dialogue>I bet they are. did you work, for the money for those earrings?</dialogue> <character>CLAIRE</character> <dialogue>Shut. Your mouth!</dialogue> <character>BENDER</character> <dialogue>Or did your daddy buy those?</dialogue> <character>CLAIRE</character> <parenthetical>( furious . )</parenthetical> <dialogue>Shut up! Claire starts crying.</dialogue> <character>BENDER</character> <dialogue>I bet he bought those for you! I bet those are a Christmas gift! Right? You know what I got for Christmas this year? It was a banner fuckin' year at the old Bender family! I got a carton of cigarettes. The old man grabbed me and said `` Hey! Smoke up Johnny!'' Okay, so go home'n cry to your daddy, do n't cry here, okay? There are a few beats.</dialogue> <character>ANDREW</character> <dialogue>My God, are we gon na be like our parents?</dialogue> <character>CLAIRE</character> <dialogue>Not me. ever.</dialogue> <character>ALLISON</character> <dialogue>It's unavoidable, it just happens.</dialogue> <character>CLAIRE</character> <dialogue>What happens?</dialogue> <character>ALLISON</character> <dialogue>When you grow up, your heart dies.</dialogue> <character>BENDER</character> <dialogue>Who cares? Allison is on the verge of tears herself.</dialogue> <character>ALLISON</character> <dialogue>I care.</dialogue> <character>BRIAN</character> <dialogue>Um, I was just thinking, I mean. I know it's kind of a weird time, but I was just wondering, um, what is gon na happen to us on Monday? When we're all together again? I mean I consider you guys my friends, I'm not wrong, am I?</dialogue> <character>ANDREW</character> <dialogue>No.</dialogue> <character>BRIAN</character> <dialogue>So, so on Monday. what happens?</dialogue> <character>CLAIRE</character> <dialogue>Are we still friends, you mean? If we're friends now, that is?</dialogue> <character>BRIAN</character> <dialogue>Yeah.</dialogue> <character>CLAIRE</character> <dialogue>Do you want the truth?</dialogue> <character>BRIAN</character> <dialogue>Yeah, I want the truth.</dialogue> <character>CLAIRE</character> <dialogue>I do n't think so.</dialogue> <character>ALLISON</character> <dialogue>Well, do you mean all of us or just John?</dialogue> <character>CLAIRE</character> <dialogue>With all of you.</dialogue> <character>ANDREW</character> <dialogue>That's a real nice attitude, Claire!</dialogue> <character>CLAIRE</character> <dialogue>Oh, be honest, Andy. if Brian came walking up to you in the hall on Monday, what would you do? I mean picture this, you're there with all the sports. I know exactly what you'd do, you'd say hi to him and when he left you'd cut him all up so your friends would n't think you really liked him!</dialogue> <character>ANDREW</character> <dialogue>No way!</dialogue> <character>ALLISON</character> <dialogue>` Kay, what if I came up to you?</dialogue> <character>CLAIRE</character> <dialogue>Same exact thing!</dialogue> <character>BENDER</character> <parenthetical>( furious and screaming at Claire . )</parenthetical> <dialogue>You are a bitch!</dialogue> <character>CLAIRE</character> <dialogue>Why?'Cause I'm telling the truth, that makes me a bitch?</dialogue> <character>BENDER</character> <dialogue>No!'Cause you know how shitty that is to do to someone! And you do n't got the balls to stand up to your friends and tell'em that you're gon na like who you wan na like!</dialogue> <character>CLAIRE</character> <dialogue>Okay, what about you, you hypocrite! Why do n't you take Allison to one of your heavy metal vomit parties? Or take Brian out to the parking lot at lunch to get high? What about Andy for that matter, what about me? What would your friends say if we were walking down the hall together. They'd laugh their asses off and you'd probably tell them you were doing it with me so they'd forgive you for being seen with me.</dialogue> <character>BENDER</character> <parenthetical>( furious once again . )</parenthetical> <dialogue>Do n't you ever talk about my friends! You do n't know any of my friends, you do n't look at any of my friends and you certainly would n't condescend to speak to any of my friends so you just stick to the things you know, shopping, nail polish, your father's BMW and your poor - rich - drunk mother in the Carribean!</dialogue> <character>CLAIRE</character> <parenthetical>( furious and sobbing . )</parenthetical> <dialogue>Shut up!</dialogue> <character>BENDER</character> <dialogue>And as far as being concerned about what's gon na happen when you and I walk down the hallways at school, you can forget it!'Cause it's never gon na happen! Just bury your head in the sand. and wait for your fuckin' prom!</dialogue> <character>CLAIRE</character> <dialogue>I hate you!</dialogue> <character>BENDER</character> <dialogue>Yeah? Good! There is silence until Brian speaks.</dialogue> <character>BRIAN</character> <dialogue>Then I assume Allison and I are better people than you guys, huh? Us weirdos.</dialogue> <parenthetical>( to Allison . )</parenthetical> <dialogue>Do you, would you do that to me?</dialogue> <character>ALLISON</character> <dialogue>I do n't have any friends.</dialogue> <character>BRIAN</character> <dialogue>Well if you did?</dialogue> <character>ALLISON</character> <dialogue>No. I do n't think the kind of friends I'd have would mind.</dialogue> <character>BRIAN</character> <dialogue>I just wan na tell, each of you, that I would n't do that. I would n't and I will not!'Cause I think that's real shitty.</dialogue> <character>CLAIRE</character> <dialogue>Your friends would n't mind because they look up to us. Brian laughs at her.</dialogue> <character>BRIAN</character> <dialogue>You're so conceited, Claire. You're so conceited. You're so, like, full of yourself, why are you like that?</dialogue> <character>CLAIRE</character> <parenthetical>( crying again . )</parenthetical> <dialogue>I'm not saying that to be conceited! I hate it! I hate having to go along with everything my friends say!</dialogue> <character>BRIAN</character> <dialogue>Well then why do you do it?</dialogue> <character>CLAIRE</character> <dialogue>I do n't know, I do n't. you do n't understand. you do n't. You're not friends with the same kind of people that Andy and I are friends with! You know, you just do n't understand the pressure that they can put on you! Brian is shocked.</dialogue> <character>BRIAN</character> <dialogue>I do n't understand what? You think I do n't understand pressure, Claire? Well fuck you! Fuck you! Brian hides his head in his arm because he is crying.</dialogue> <character>BRIAN</character> <dialogue>Know why I'm here today? Do you? I'm here because Mr. Ryan found a gun in the locker.</dialogue> <character>ANDREW</character> <dialogue>Why'd you have a gun in your locker?</dialogue> <character>BRIAN</character> <dialogue>I tried. You pull the fuckin' trunk on it and the light's s ` posed to go on. and it did n't go on, I mean, I.</dialogue> <character>ANDREW</character> <dialogue>What's the gun for Brian?</dialogue> <character>BRIAN</character> <dialogue>Just forget it.</dialogue> <character>ANDREW</character> <dialogue>You brought it up, man!</dialogue> <character>BRIAN</character> <dialogue>I ca n't have an F, I ca n't have it and I know my parents ca n't have it! Even if I aced the rest of the semester, I'm still only a B. And everything's ruined for me!</dialogue> <character>CLAIRE</character> <parenthetical>( with pity . )</parenthetical> <dialogue>Oh Brian. Brian bashes a chair over.</dialogue> <character>BRIAN</character> <dialogue>So I considered my options, you know?</dialogue> <character>CLAIRE</character> <dialogue>No! Killing yourself is not an option!</dialogue> <character>BRIAN</character> <dialogue>Well I did n't do it, did I? No, I do n't think so!</dialogue> <character>ALLISON</character> <dialogue>It was a hand gun?</dialogue> <character>BRIAN</character> <dialogue>No, it was a flare gun, went off in my locker.</dialogue> <character>ANDREW</character> <dialogue>Really? Andrew starts to laugh.</dialogue> <character>BRIAN</character> <dialogue>It's not funny. They all start to laugh, including Brian.</dialogue> <character>BRIAN</character> <dialogue>Yes it is. fuckin' elephant was destroyed!</dialogue> <character>ALLISON</character> <dialogue>You wan na know what I did to get in here? Nothing. I did n't have anything better to do. Everyone laughs.</dialogue> <character>ALLISON</character> <dialogue>You're laughing at me.</dialogue> <character>ANDREW</character> <dialogue>No! Allison starts to laugh too.</dialogue> <character>ALLISON</character> <dialogue>Yeah you are! CUT TO :</dialogue> </scene> <scene /> <scene /> <scene> <character>CLAIRE</character> <dialogue>Brian?</dialogue> <character>BRIAN</character> <dialogue>Yeah?</dialogue> <character>CLAIRE</character> <dialogue>Are you gon na write your paper?</dialogue> <character>BRIAN</character> <dialogue>Yeah, why?</dialogue> <character>CLAIRE</character> <dialogue>Well, it's kinda a waste for all of us to write our paper, do n't you think?</dialogue> <character>BRIAN</character> <dialogue>Oh, but that's what Vernon wants us to do.</dialogue> <character>CLAIRE</character> <dialogue>True, but I think we'd all kinda say the same thing.</dialogue> <character>BRIAN</character> <dialogue>You just do n't want to write your paper. Right?</dialogue> <character>CLAIRE</character> <dialogue>True, but, you're the smartest, right?</dialogue> <character>BRIAN</character> <parenthetical>( with pride . )</parenthetical> <dialogue>Oh, well.</dialogue> <character>CLAIRE</character> <dialogue>We trust you. Brian glances over at Allison and Andrew who nod in approval.</dialogue> <character>ANDREW</character> <dialogue>Yeah.</dialogue> <character>BRIAN</character> <dialogue>All right, I'll do it.</dialogue> <character>CLAIRE</character> <dialogue>Great. Claire looks at Allison who looks back.</dialogue> <character>CLAIRE</character> <parenthetical>( to Allison . )</parenthetical> <dialogue>Come on.</dialogue> <character>ALLISON</character> <dialogue>Where're we going?</dialogue> <character>CLAIRE</character> <dialogue>Come on! We see Claire putting eye make - up on Allison.</dialogue> <character>CLAIRE</character> <dialogue>Do n't be afraid.</dialogue> <character>ALLISON</character> <dialogue>Do n't stick that in my eye!</dialogue> <character>CLAIRE</character> <dialogue>I'm not sticking it, just close. just go like that. Claire closes her eyes. Allison mimics her.</dialogue> <character>CLAIRE</character> <dialogue>Good. Claire puts the make - up on her and Allison squeals.</dialogue> <character>CLAIRE</character> <dialogue>You know you really do look a lot better without all that black shit on your eyes.</dialogue> <character>ALLISON</character> <dialogue>Hey. I like that black shit.</dialogue> <character>CLAIRE</character> <dialogue>This looks a lot better. look up. We see Brian thinking about what he's going to write. We see Andrew just thinking. We see Allison and Claire again. Claire is still putting make - up on Allison.</dialogue> <character>ALLISON</character> <dialogue>Please, why're you being so nice to me?</dialogue> <character>CLAIRE</character> <dialogue>'Cause you're letting me. We see Brian begin to write. We see Andrew, still deep in thought. CUT TO :</dialogue> </scene> <scene> <character>BENDER</character> <dialogue>You lost? Claire stares at him. Bender smiles. Claire smiles. CUT TO :</dialogue> </scene> <scene> <character>BRIAN</character> <dialogue>Cool!</dialogue> <character>ALLISON</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Thank you! CUT TO :</dialogue> </scene> <scene> <character>BENDER</character> <dialogue>Why'd you do that?</dialogue> <character>CLAIRE</character> <dialogue>'Cause I knew you would n't.</dialogue> <character>BENDER</character> <dialogue>You know how you said before, how your parents used you to get back at each other. would n't I be outstanding in that capacity?</dialogue> <character>CLAIRE</character> <dialogue>Were you really disgusted about what I did with my lipstick?</dialogue> <character>BENDER</character> <dialogue>Truth?</dialogue> <character>CLAIRE</character> <dialogue>Truth. Bender nods and speaks at the same time.</dialogue> <character>BENDER</character> <dialogue>No. CUT TO :</dialogue> </scene> <scene> <character>ANDREW</character> <dialogue>What happened to you?</dialogue> <character>ALLISON</character> <dialogue>Why? Claire did it! What's wrong?</dialogue> <character>ANDREW</character> <dialogue>Nothing's wrong, it's just so different. I can see your face.</dialogue> <character>ALLISON</character> <dialogue>Is that good or bad?</dialogue> <character>ANDREW</character> <parenthetical>( laughing . )</parenthetical> <dialogue>It's good! Allison smiles. We see Brian laugh and give himself a congratulatory punch in the arm. CUT TO :</dialogue> </scene> <scene> <character>CARL</character> <dialogue>See ya Brian.</dialogue> <character>BRIAN</character> <dialogue>Hey Carl.</dialogue> <character>BENDER</character> <parenthetical>( to Carl . )</parenthetical> <dialogue>See you next Saturday.</dialogue> <character>CARL</character> <dialogue>You bet! CUT TO :</dialogue> </scene> <scene /> <scene> <character>BRIAN</character> <parenthetical>( VO . )</parenthetical> <dialogue>Dear Mr. Vernon, we accept the fact that we had to sacrifice a whole Saturday in detention for whatever it was we did wrong. But we think you're crazy to make an essay telling you who we think we are. You see us as you want to see us. In the simplest terms, in the most convenient definitions. CUT TO :</dialogue> </scene> <scene> <character>BRIAN</character> <parenthetical>( VO . )</parenthetical> <parenthetical>( CONT'D. ) But what we found out is that each one of us is a brain .</parenthetical> <dialogue /> <character>ANDREW</character> <parenthetical>( VO . )</parenthetical> <dialogue>and an athlete.</dialogue> <character>ALLISON</character> <parenthetical>( VO . )</parenthetical> <dialogue>and a basket case.</dialogue> <character>CLAIRE</character> <parenthetical>( VO . )</parenthetical> <dialogue>a princess.</dialogue> <character>BENDER</character> <parenthetical>( VO . )</parenthetical> <dialogue>and a criminal.</dialogue> <character>BRIAN</character> <parenthetical>( VO . )</parenthetical> <dialogue>Does that answer your question? Sincerely yours, the Breakfast Club. We see Bender walking across the football field as he thrusts his fist into the air in a silent cheer and freezes there.</dialogue> </scene> </script>

On a Saturday, March 24, 1984, five students at the fictional Shermer High School report at 7:00 am for all-day detention. Each comes from a different clique: stuck-up Claire Standish, geek Brian Johnson, wrestler Andrew Clark, rebellious John Bender, and outcast Allison Reynolds. They gather in the school library, where assistant principal Richard Vernon instructs them not to talk, move from the seats, or sleep until they are released at 4:00 p.m. He assigns them a thousand-word essay, in which each must describe "who you think you are". He leaves, returning only occasionally to check on them. John, who has an antagonistic relationship with Vernon, ignores the rules and riles up the other students, teasing and harassing Brian, Andrew, and Claire. Vernon gives John eight weekends' worth of additional detention and eventually locks him in a storage closet, but he escapes and returns to the library. The students pass the hours by talking, arguing, and, at one point, smoking marijuana, (except Allison who doesn't smoke with the others). Gradually, they open up and reveal their secrets: Claire has lots of experiences of peer pressure, John comes from an abusive household, Allison is a compulsive liar, Andrew can't think for himself, and Brian contemplated suicide over a bad grade. They discover they all have poor relationships with their parents: Claire's parents use her to get back at each other during arguments, John's parents physically and verbally abuse him, Allison's parents ignore her, Andrew's father pushes him to the limit, especially in wrestling, and Brian's parents pressure him to earn high grades. The students realize that, despite their differences, they face similar problems. Claire gives Allison a makeover, which sparks romantic interest from Andrew. Claire decides to break her "pristine" innocent appearance by kissing John and giving him a hickey. Although they suspect their new relationships will end along with their detention, they believe their mutual experiences will change the way they look at their peers. As the detention nears its end, the group requests that Brian complete the essay for everyone, and John returns to the storage closet to fool Vernon into thinking he has not left. Brian leaves the essay in the library for Vernon to read after they leave. As the students part ways, Allison and Andrew kiss, as do Claire and John. Allison rips Andrew's state champion patch from his jacket to keep, and Claire gives John one of her diamond earrings, which he puts on. Vernon reads the essay, in which Brian states that Vernon has already judged who they are using stereotypes, and that they think that he (Vernon) is crazy if he thinks that they are going to tell him who they are; so Brian correspondingly states in the letter that "each one of us is a brain, an athlete, a basket case, a princess, and a criminal. Does that answer your question?" He signs off the letter with "Sincerely yours, the Breakfast Club."

Deep Rising_1998

tt0118956

<script> <scene> <stage_direction>Deep Rising</stage_direction> <scene_description>A FLASH OF LIGHTNING rips the HOLLYWOOD PICTURES LOGO away , and we find ourselves in the middle of .</scene_description> </scene> <scene> <stage_direction>STORMY SEA - NIGHT</stage_direction> <scene_description>SUPERIMPOSED : SOUTH CHINA SEA The dark blue waters roil and boil and foam . THUNDER CRACKS . LIGHTING FLASHES .</scene_description> </scene> <scene> <stage_direction>UNDERWATER - NIGHT</stage_direction> <scene_description>An enormous Japanese BATHYSCAPHE free - falls through the water . An autonomous fifteen - man submersible . Almost futuristic in its design . The nose cone is an amazing ultra high - pressure plexi - dome . LETTERING along the side tells us this is the `` SHINKAI 90000 . '' COMPUTER PRINTED across the SCREEN are the WORDS : ASSIGNMENT : GEOLOGICAL EXPLORATION . SUB - OCEANIC SEISMIC RESEARCH . TECTONIC PLATE SURVEILLANCE . ADDENDUM : ABOUT TO BREAK THE WORLD 'S RECORD FOR THE DEEPEST DIVE .</scene_description> </scene> <scene> <stage_direction>SHINKAI 9000 - NIGHT</stage_direction> <scene_description>The JAPANESE CAPTAIN watches a DLD laser tracking system and barks one - word questions to his JAPANESE CREW . The Sailors work the consoles and give clipped monosyllabic answers . The JAPANESE SCIENCE OFFICERS go over charts on the electronic position board , a contiuously - shifting graphic representation of the ocean contours below . Behind them is an elaborate DEPTH GAUGE with computerized graphics . READ : 34,000 feet and dropping . The Crew works at a fevered pitch . An ALARM SOUNDS as the depth gauge sounds 35,000 feet . All eyes on the depth gauge . Several Science Officers share excited looks . ON THE DEPTH GAUGE : 35,100 - 35,200 - 35,300 - 35,400 . The excitement builds . Even the Captain 's weathered eyes widen . And then , as the depth gauge hits 35,801 feet below sea level , the entire Crew breaks into CHEERS , WHOOPS , HANDSHAKES AND HIGH - FIVES .</scene_description> </scene> <scene> <stage_direction>SHINKAI 9000 - NIGHT</stage_direction> <scene_description>As it continues its descent , it passes corroding metal drums leaking toxic waste , radioactive waste , dumped in the depths , away from prying eyes , and populated areas . The vessel drops into the SULU BASIN . Imagine the Grand Canyon under forty thousand feet of water . But the Sulu Basin is ten times the size of the Grand Canyon . Down here , ten thousand fathoms below the storm , all is calm . The dual TURBO - PROPS on the ear of the submersible KICK ON . The Bathysaphe is now mobile . It glides down the side of an enormous rock face , carefully avoiding massive sandstone pinnacles which jut up from the ocean floor far below .</scene_description> </scene> <scene> <stage_direction>DEEP SEA - NIGHT</stage_direction> <scene_description>THE SHINKAI hovers near a gigantic tectonic plate . A ROBOTIC ARM extends out from under the plexi - dome . Its `` hand '' is a high - tech LASER CUTTER . It approaches the plate , steadies , then fires a direct BLUE BEAM at the bedrock , burns the rock into magma and cuts a perfect round pattern . Another ROBOTIC ARM reaches forward , its CLAW rips out the cut rock from inside the pattern , then takes the sample and sets it inside a hydro - basket on the submersible 's port side .</scene_description> </scene> <scene> <stage_direction>MINDINAO DEEP - NIGHT</stage_direction> <scene_description>A desolate , barren , spooky place . Nothing breathes . Nothing lives . Or so it would appear . The creepy , foreboding MUSICAL SCORE tells us otherwise . The Shinkai ENTERS a huge ROCK FISSURE .</scene_description> </scene> <scene> <stage_direction>SHINKAI 9000 - NIGHT</stage_direction> <scene_description>The Captain and the Science Officers stare through the plexi dome and out into the freezing , cobalt blue of the PALAWAN TROUGH . The MUSIC intensifies as they round each curve . Then , dead ahead , is the end of the trough , which is half - blocked by a rock - encrusted embankment . The MUSIC builds . The Shinkai approaches the embankment . Slowly starts to glide up the side . The Captain and Science Officers seem mesmerized by all the lonely creepiness . They crest the embankment . And the plexi - domed VIEW FILLS with an unimaginable horror . As far as the eye can see , the entire murky landscape is filled with WHALE BONES . A valley of death . Cluttered here and there , carelessly flung about , are the rusting hulks of several ships . Seemingly ripped apart . Clusters of shark cartilage float through the water like white ghosts . The Captain , the Science Officers and the entire Crew just stare , frozen in place by the strange horror before them .</scene_description> </scene> <scene> <stage_direction>SHINKAI 9000 - NIGHT</stage_direction> <scene_description>The vessel cruises through the valley of death . Everyone is nervously taking readings , making calculations and adjusting equipment . Gone is the excitement and euphoria of the record breaking . Several Crewmen cast nervous glances out through the plexi dome . Giant skeletons everywhere .</scene_description> </scene> <scene> <stage_direction>SHINKAI 9000 - NIGHT</stage_direction> <scene_description>The Shinkai approaches an eerie - looking rock formation . The robotic arm comes out . The laser cutter steadies , aims , then shoots out its blue beam and cuts into the rock . WHOOSH ! A HUGE JET STREAM OF INKY BLOOD BLASTS OUT OF THE FORMATION !</scene_description> </scene> <scene> <stage_direction>SHNKAI 9000 - NIGHT</stage_direction> <scene_description>The Captain and the Science Officers recoil as the inky stuff envelopes the plexi - dome , completely blotting out the VIEW .</scene_description> </scene> <scene> <stage_direction>PALAWAN TROUGH - NIGHT</stage_direction> <scene_description>The Shinkai VANISHES into a huge cloud of inky blood . We HOLD for a LONG OMINOUS BEAT . And then , like a slow - motion earthquake , large boulders and giant crevices begin to shift in the murky waters . WHALE BONES TOPPLE and SCATTER . Several feet under the ancient silt , something is coming alive .</scene_description> </scene> <scene> <stage_direction>SHINKAI 9000 - NIGHT</stage_direction> <scene_description>Everything outside the plexi - dome is still BLACK . Everyone is staring at the position board , which shows a large section of the OCEAN FLOOR STARTING TO MOVE , its contours incongruous with the rest of the graphic representation . The Science Officers look stunned . The Captain barks commands . The Crew leaps into high gear . Then the Captain reverses the trottle , and petal - to - the - metal he starts to back out . The inky blood swirls past the plexi - dome . Then suddenly , and impossibly , the SUBMERSIBLE JERKS TO A HALT . Everybody goes ass - over - teacups . EQUIPMENT SHATTERS . SPARKS FLY . GLASS BREAKS . Lots of YELLING in Japanese . The SHINKAI starts to ROCK and SHAKE . Something has a hold on it . More EQUIPMENT SHATTERS . Men are thrown about . Then it stops rocking . The Sailors stop yelling . Everything goes dead quiet . Frightened eyes share terror - filled looks . A SOUND is HEARD coming from the exterior of the ship , like feet runing across the outside of the hull . Very creepy . The HULL starts to MOAN and CREAK from an UNSEEN PRESSURE . And then the sub begins to be crushed like it 's a beer can . The metal HULL TORQUES on all sides . RIVETS POP and SNAP . WATER SPRAYS and SHOOTS . More SPARKS FLY . The STEEL PLATING DIMPLES , CRUMBLES and SCREAMS in agony . CHAOS . PANDEMONIUM . And then the SHINKAI IMPLODES . A massive CHURNING SWIRL of water , metal and men .</scene_description> </scene> <scene> <stage_direction>SOUTH CHINA SEA - SUNSET</stage_direction> <scene_description>THE SAIPAN , a tricked out Jet Foil , built for speed not looks , gunmetal blue , lean and mean , rips across the choppy water . The Rolling Stones STREETFIGHTING MAN pours out of the jet foil , reverberating over the waves , as the CAMERA rushes right at the windsheild and into .</scene_description> </scene> <scene> <stage_direction>PILOT HOUSE - SUNSET</stage_direction> <scene_description>Stripped down , low frills , high tech . where JOHN T. FINNEGAN , bathed in the last light of day , all taut muscle and sinew , all business , with every one of his 38 years etched on his rugged , good looking face , is harnessed into the steering pylon , wrestling with his steering - sticks , holding the bouncing jetfoil steady as he can , hauling ass , propelled , it seems , by the music blasting out of four state of the art speakers bolted to the metal walls . Light from the laser imagers plays across Finnegan 's face . The face of a man in his element , on the edge , in control . He barks commands into his RADIO HEADSET .</scene_description> <character>FINNEGAN</character> <dialogue>How we doing out there?</dialogue> <scene_description>THROUGH THE WINDSHIELD we see LEILA , a muscular Filipina clambering over the foredeck . She 's dripping wet . Tough as nails . She turns to Finnegan and `` mouths '' something into her headset . Finnegan flashes her his most charming smile .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yes, I'm very warm and dry in here, thank you for your concern.</dialogue> <scene_description>His HEADSET comes alive withe the SOUND of LEILA bitching in an unintelligible foreign tongue .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>A raise? I already pay you two bucks a day.</dialogue> <scene_description>He watches as Leila fights the WIND and SEASPRAY and dogs tight a series of hatch - latches across the foredeck .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Missed one darling.</dialogue> <scene_description>Leila turns and gives him a `` jerking - off '' sign with her hand .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I love you too.</dialogue> <scene_description>The Radar Imager suddenly blinks , and goes to black . Dead . Finnegan taps on the screen . Nothing . Taps on the console . Still nothing . Simultaneously two more imagers shut down . His mouth screws tight .</scene_description> </scene> <scene> <stage_direction>ENGINE ROOM - NIGHT</stage_direction> <scene_description>Crammed wall to wall with enough horsepower to fly a 747 . Pumped out of two thumping engines . The domain of a scruffy , shifty - eyed , likeable little weasel of a mechanical genius . JOEY PANTUCCI . Wearing a mechanic 's toolbelt , slung sideways across the hips like a gunslinger , singing the theme to `` Gilligan 's Island '' over the engine 's roar . Way off - key . His hands crammed deep in a tangle of wires . On the walls are a few pictures : Of a few major league engines . Of a few major league pinups , and a few of Pantucci and Finnegan . together in the U.S. Navy . in front of the Saipan in shinier days .</scene_description> <character>PANTUCCI</character> <parenthetical>( singing . ) ''</parenthetical> <dialogue>- if not for the courage of the fearless crew -''</dialogue> <scene_description>He tugs at the wires .</scene_description> <character>PANTUCCI</character> <parenthetical>( CONT 'D . ) ''</parenthetical> <dialogue>- the Minnow would be lost, the Minowwww would be lost.''</dialogue> <scene_description>Finnegan 's voice explodes through his headset .</scene_description> <character>FINNEGAN</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( radio filtered . )</parenthetical> <dialogue>PANTUCCI!</dialogue> <scene_description>Unperturbed , Pantucci works at the wires .</scene_description> <character>PANTUCCI</character> <parenthetical>( into radio . )</parenthetical> <dialogue>Can we use our indoor voice please.</dialogue> <character>FINNEGAN</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( radio filtered . )</parenthetical> <dialogue>I'm flying blind here God damn it!</dialogue> <scene_description>Pantucci pulls two wires from the tangle .</scene_description> <character>PANTUCCI</character> <dialogue>You trying to make me feel guilty?</dialogue> <scene_description>He begins to strip the wires with his teeth .</scene_description> </scene> <scene> <stage_direction>PILOT HOUSE - SUNSET</stage_direction> <scene_description>Finnegan peers out of the windscreen , trying to see ahead of himself .</scene_description> <character>FINNEGAN</character> <dialogue>Guilty will be the least of what you feel when I run my rig into one of these god damn no name islands! Get me well here!</dialogue> </scene> <scene> <stage_direction>ENGINE ROOM</stage_direction> <scene_description>Pantucci twists one wire around another .</scene_description> <character>PANTUCCI</character> <dialogue>All better.</dialogue> </scene> <scene> <stage_direction>PILOT HOUSE - SUNSET</stage_direction> <scene_description>The console lights up . The screens come back on line . Finnegan is pleased .</scene_description> <character>PANTUCCI</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Now tell me again.</dialogue> </scene> <scene> <stage_direction>ENGINE ROOM</stage_direction> <scene_description>Pantucci works his wrench around an engine mount . And his nervous eyes around six men , big , bad men , standing on the far side of the engines out in a narrow passage . A Maori -LRB- VIVO -RRB- . Two Aussies -LRB- MASON and MULLIGAN -RRB- . A Samoan -LRB- MAMOOLI -RRB- . A Chinese -LRB- CHIN -RRB- . And an Aborigine -LRB- BILLY -RRB- . Tattooed , armed to the teeth , packed in Kevlar body armor . Mercenaries . Who would as soon wring your neck as shake your hand . And a sixth man . HANOVER . The obvious leader . Smoother than the rest , but still showing the edge of a man risen from their ranks . He consults his watch with a growing concern .</scene_description> <character>PANTUCCI</character> <dialogue>why we took this job?</dialogue> </scene> <scene> <stage_direction>PILOT HOUSE - SUNSET</stage_direction> <scene_description>Finnegan hits a button on his console . The Stones are replaced by the first chords of LAYLA .</scene_description> <character>FINNEGAN</character> <dialogue>If I told you once. I told you a thousand times.</dialogue> </scene> <scene> <stage_direction>ENGINE ROOM</stage_direction> <character>PANTUCCI</character> <parenthetical>( rote . )</parenthetical> <dialogue>I know. I know. if the cash is there we do n't care.</dialogue> <parenthetical>( nervous . )</parenthetical> <dialogue>Finnegan this is as mean a pile of shit as we ever carried.</dialogue> <scene_description>Pantucci notices Hanover impatiently looking at his watch again , and nods for a mass of Aussie mean and muscle named MASON to follow him up a ladder .</scene_description> <character>PANTUCCI</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>and some of it's coming your way.</dialogue> <scene_description>He quickly pulls out a wrench , slaps it over a bolt and tightens it down . The leak stops . He blows on the WRENCH like it 's a six - shooter , then spins it at the speed of light and holsters it into his toolbelt .</scene_description> </scene> <scene> <stage_direction>PILOT HOUSE - SUNSET</stage_direction> <scene_description>As Finnegan is watching the sea ahead , swathed in the shrieking Clapton guitar solos , the hatch opens . Hanover enters , followed by Mason , who leaves the hatch door ajar . Finnegan 's eyes remain fixed on the sea . His ears on the Clapton . Hanover and Mason hold onto any available rail as the boat slams over the waves .</scene_description> <character>HANOVER</character> <dialogue>You remember the first time we met Finnegan? I think you were just starting out. smuggling gold off Sumatra for those two Chinese. what did we use to call them?</dialogue> <character>FINNEGAN</character> <dialogue>Fok Yu and Fok Yu Two. are we strolling down memory lane for any particular reason?</dialogue> <character>HANOVER</character> <dialogue>No, it just struck me as odd. I do n't see you for all these years and you've still got the same tape stuck in the box.</dialogue> <character>FINNEGAN</character> <dialogue>You know what they say. the classics are eternal.</dialogue> <scene_description>Hanover looks at the Topo Imager . Holding onto the rail to keep his balance as the boat slams over the choppy sea .</scene_description> <character>HANOVER</character> <dialogue>So where are we?</dialogue> <scene_description>Finnegan points to a spot in the middle of the map .</scene_description> <character>FINNEGAN</character> <dialogue>Right here. middle of nowhere.</dialogue> <character>HANOVER</character> <dialogue>And where is our point of arrival?</dialogue> <scene_description>Finnegan points to another spot on the map .</scene_description> <character>FINNEGAN</character> <dialogue>Right here. middle of nowhere. and the answer to your question is yes.</dialogue> <character>HANOVER</character> <dialogue>Which question is that?</dialogue> <character>FINNEGAN</character> <dialogue>The one you came up to ask. are we on schedule?</dialogue> <character>HANOVER</character> <parenthetical>( to Mason . )</parenthetical> <dialogue>Take note Mr. Mason. this is why you hire a professional. No whining. No excuses.</dialogue> <character>MASON</character> <parenthetical>( attitude . )</parenthetical> <dialogue>I've heard a lot of stories about you mate.</dialogue> <character>FINNEGAN</character> <dialogue>All of them flattering I'm sure.</dialogue> <character>MASON</character> <dialogue>They were. but they musta been talking about another Finnegan. because the one I heard about was as rough as they came. the one I'm looking at is, well, about as current as the music.</dialogue> <character>HANOVER</character> <dialogue>Do n't mind him Finnegan. you remember 25. balls of steel. splashing around in a sea of testosterone.</dialogue> <character>FINNEGAN</character> <dialogue>I do n't mind him. but I do think it's time for him to get back down below with the rest of the playgroup.</dialogue> <character>MASON</character> <dialogue>And who's gon na make me?</dialogue> <scene_description>Finnegan looks at Mason . at the open hatchway just behind him .</scene_description> <character>FINNEGAN</character> <dialogue>The Finnegan you heard about.</dialogue> <scene_description>and jams the steering sticks full speed ahead . The force of acceleration tumbles Hanover into the console . Mason tumbles out the open hatchway , down the stairs behind him . As he rises , Hanover regards Finnegan for a moment . A smile flits across his face .</scene_description> <character>HANOVER</character> <dialogue>That's why we're sill around Finnegan. you and me. Nothing gets the feathers up. Business is business. Eh?</dialogue> <scene_description>Finnegan 's hand finds the console . He hits a button . The first strains of Led Zepplin 's WHOLE LOTTA LOVE comes roaring out of the speakers .</scene_description> <character>FINNEGAN</character> <dialogue>And the classics are eternal.</dialogue> <scene_description>Finnegan cranks the sound to the max , pulls back on both steer sticks , and holds on , as the force of acceleration hammers him into the pylon .</scene_description> </scene> <scene> <stage_direction>OPEN SEA - SUNSET</stage_direction> <scene_description>The Saipan roars off into the setting sun , hell bent for leather . Zepplin screaming in its wake .</scene_description> </scene> <scene> <stage_direction>SOUTH CHINA SEA - NIGHT</stage_direction> <scene_description>Sailing through the mild waters of the South China Sea , a luxury cruise liner . The FUJI MARU . Top of the line . State of the art . And absolutely MASSIVE . No expense has been spared . Breathtaking . Gunfire shatters the serenity of the night .</scene_description> </scene> <scene> <stage_direction>FUJI MARU DECK - NIGHT</stage_direction> <scene_description>A group of tony British passengers is shooting skeet . Being night , the CLAY PIGEONS are glow - in - the - dark . They EXPLODE over the WATERSPORTS PLATFORM , where TWO JET SKIS swing from harnesses , and TWO SPEEDBOATS are being hoisted up the side .</scene_description> </scene> <scene> <stage_direction>CRYSTAL POOL DECK - NIGHT</stage_direction> <scene_description>Rigged for a formal party . Chinese lanterns sway in the breeze . A band plays . Hundreds of wealthy Passengers , the men in tuxedos , the women in drop dead gowns , dripping with jewelry , dance , flirt , gossip , as an endless stream of waiters ply the floor with champagne laden trays . CLOSE ON : The sexiest pair of spiked heels ever to grace the foot of a woman , stopping at the top of the deck . PAN UP : A shimmering golden gown , high slit on the sides to reveal a perfect set of legs , a runway model 's body , a cover girl 's face . and a thief 's sharp ferret eyes . TRILLIAN . A class act from top to bottom . A head turner for either sex , and knows it . She holds an orchid in her hand . Trillian scans the crowd , looking for her prey . and finds him . Her POV . The Ship 's smug Captain . JEAN BAPTISTE DELCROIX . She fixes the orchid in her hair just so , about to move .</scene_description> <character>OLD WOMAN</character> <dialogue>He said an orchid and a beautiful woman belonged together. It was our first date.</dialogue> <scene_description>Trillian looks down to a petite old woman , dressed impeccably , delicate , frail , her beauty long faded except from her eyes . Kindness becomes her , like moonlight does the night .</scene_description> <character>OLD WOMAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>He said that it was the orchid I wore that made him fall in love with me.</dialogue> <character>TRILLIAN</character> <dialogue>He sounds like a real gentleman.</dialogue> <character>OLD WOMAN</character> <dialogue>The best of the best he was. This cruise was supposed to be our 60th anniversary gift to each other. He died last Spring.</dialogue> <character>TRILLIAN</character> <dialogue>I'm so sorry.</dialogue> <character>OLD WOMAN</character> <dialogue>I was going to wear one. special for him. like a memory.</dialogue> <scene_description>The Old Woman looks at the orchid . And then at Trillian .</scene_description> <character>OLD WOMAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>But without him here I do n't know why I should.</dialogue> <scene_description>Trillian takes the orchid from her hair , and places it in the lapel of the woman 's jacket .</scene_description> <character>TRILLIAN</character> <dialogue>Because an orchid and a beautiful woman belong together.</dialogue> <scene_description>The smile Trillian bestows on the old woman is loving , sincere . The moment between them is broken by the keen clear sound of a silver spoon tapping a crystal champagne flute .</scene_description> <character>CANTON</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Ladies and gentlemen.</dialogue> <scene_description>ANGLE ON : The deck where the band stops playing . Voices hush . Everyone turns to NIGEL CANTON , 65 , tall , elegant , every white hair perfectly in place , impeccably turned out , with the energy , and enthusiasm of a man half his age . Canton stands at the head of the pool , in front of a wall sized aquarium , flanked by his Captain .</scene_description> <character>CANTON</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>All my life I had the dream of building the greatest pleasure ship ever to sail the seven seas. tonight, seeing all of you here. so elegant. so beautiful. so rich.</dialogue> <scene_description>The crowd roars with laughter .</scene_description> <character>CANTON</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I realize my dream has come true. I thank you all from the bottom of my heart for making it so.</dialogue> <scene_description>Canton lifts his glass .</scene_description> <character>CANTON</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>To the Fuji Maru! Good times forever!</dialogue> <character>CROWD</character> <dialogue>Forever! Here! Here!</dialogue> <scene_description>The crowd swells around Canton . ANGLE ON : The Captain chatting up some passengers when a woman 's voice , seductive , beguiling , turns his head to .</scene_description> <character>TRILLIAN</character> <parenthetical>( French . )</parenthetical> <dialogue>Is it true what they say about a captain and his boat.</dialogue> <scene_description>The Captain 's libido rises as he gazes into Trillian 's come hither eyes .</scene_description> <character>CAPTAIN</character> <dialogue>Is what true madame?</dialogue> <scene_description>Trillian takes one step closer , until her moist lips are pursed inches from the captain 's .</scene_description> <character>TRILLIAN</character> <parenthetical>( French . )</parenthetical> <dialogue>Madamoiselle. that the bigger the boat. the bigger the man.</dialogue> <scene_description>His breath catches .</scene_description> <character>CAPTAIN</character> <dialogue>It is a theory I would be glad to put to the test.</dialogue> <scene_description>Trillian draws even closer . If looks could cause a man to climax .</scene_description> <character>TRILLIAN</character> <parenthetical>( French . )</parenthetical> <dialogue>In school, the Sisters said testing was my specialty.</dialogue> <character>PASSENGER</character> <dialogue>Captain.</dialogue> <scene_description>Driven to distraction , The Captain turns his attention for a moment to a passenger introducing his wife .</scene_description> <character>PASSENGER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>My wife.</dialogue> <character>CAPTAIN</character> <dialogue>Enchante.</dialogue> <scene_description>ANGLE ON : Trillian , turning from the captain into the crowd . C.U. on her hand by the side of her dress . A man 's wallet held surreptitiously . Her fingers open the wallet , extract a thin gold card with a black stripe . She discards the wallet , keeps the card , and disappears into the crowd .</scene_description> </scene> <scene> <stage_direction>FUJI MARU BRIDGE - NIGHT</stage_direction> <scene_description>Top of the line . State of the art . The crew is multinational . English is the common language , but everyone has an accent . Canton , the picture of self - satisfaction , enters , sipping champagne .</scene_description> <character>CANTON</character> <dialogue>You wanted to see me Captain?</dialogue> <scene_description>The Captain stands next to a bank of LASER IMAGING SYSTEMS . Canton steps up . Looks down at the THERMAL RADAR IMAGER . Multi - colored LASER IMAGES .</scene_description> <character>CAPTAIN</character> <dialogue>We have a storm rising behind us. we may have to close the canopy, I hope it does n't ruin your party.</dialogue> <character>CANTON</character> <parenthetical>( self - satisfied . )</parenthetical> <dialogue>Ruin my party? Captain, this ship was built to withstand a typhoon. I ca n't imagine there's anything on the sea today that could possibly ruin my party.</dialogue> </scene> <scene> <stage_direction>JETFOIL - NIGHT</stage_direction> <scene_description>C.U. . A crowbar quietly pops the top off a wooden crate to reveal the lethal looking tip of a torpedo . PULL BACK TO : Pantucci in the storage hold , surrounded by half a dozen crates , his wily eyes popped wide with apprehension . He licks his lips nervously , looks around and whispers into his headset .</scene_description> <character>PANTUCCI</character> <parenthetical>( whispers . )</parenthetical> <dialogue>Finnegan. Finnegan.</dialogue> <scene_description>A hand falls on his shoulder , spinning him around to a fist coming right into his face .</scene_description> </scene> <scene> <stage_direction>PILOT HOUSE - NIGHT</stage_direction> <scene_description>Jimi Hendrix . THE STAR SPANGLED BANNER . Blasting . As the Jet foil rockets across the waves . Leila , stripped out of her soaking wet clothes , down to her panties and bra , stands wiping her dripping wet , magnificently ripped body , with a dry towel . Leila puts her fingers in her ears .</scene_description> <character>LEILA</character> <dialogue>Gum kwa she bam dok.</dialogue> <character>FINNEGAN</character> <dialogue>It's not noise. it's genius.</dialogue> <scene_description>And then over the headset , over the Hendrix .</scene_description> <character>PANTUCCI</character> <parenthetical>( V.O . )</parenthetical> <dialogue>FINNEGANNNN!</dialogue> <scene_description>Followed by the unmistakable sound of fist hitting flesh . Finnegan and Leila trade a look .</scene_description> </scene> <scene> <stage_direction>HOLD - NIGHT</stage_direction> <scene_description>A massive fist plows into Pantucci 's stomach . He drops from the arms of MULLIGAN , a scar - faced Irishman with a buzz cut . As quickly as he is doubled over he is yanked up straight by the man who hit him , VIVO , a merciless Maori , covered by tattoos , topped off with venom .</scene_description> <character>MULLIGAN</character> <dialogue>You know what my goal is? Before I die I want to make love to a woman from every country on earth.</dialogue> <character>VIVO</character> <dialogue>You mean countries that are acknowledged by the UN. or like made up countries too?</dialogue> <character>MULLIGAN</character> <dialogue>What the hell does that mean?</dialogue> <character>VIVO</character> <dialogue>Like Mamooli's country.</dialogue> <character>MAMOOLI</character> <dialogue>What you talkin'? Samoa's a county!</dialogue> <character>VIVO</character> <dialogue>It's a dot on a map.</dialogue> <character>MULLIGAN</character> <dialogue>Map. no map. I do n't give a shit. they got women on Samoa, it's on the list.</dialogue> <character>HANOVER</character> <dialogue>Mr. Billy you're in the batter's box.</dialogue> <scene_description>Hanover watches calmly as BILLY , the Aborigine , cracks his fist against the side of Pantucci 's head , knocking him out of Vivo 's arms .</scene_description> <character>BILLY</character> <dialogue>At home we denosy the nosy.</dialogue> <scene_description>BILLY hoists Pantucci . He draws his knife under Pantucci 's bloody nose .</scene_description> <character>HANOVER</character> <dialogue>We're not savage here Mr. Billy. we're professionals. Hold him. Mr. Chin.</dialogue> <scene_description>The Chinese merc steps forward , and whaps Pantucci upside the head with a cruelly accurate crescent kick . Pantucci hits the wall hard , crumbling . Chin lifts him .</scene_description> <character>HANOVER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Anyone else?</dialogue> <scene_description>Massive Mason steps forward .</scene_description> <character>MASON</character> <dialogue>I'll take a go and the I vote we throw the little weasel overboard.</dialogue> <character>MULLIGAN</character> <dialogue>I vote we slit his throat THEN throw him overboard.</dialogue> <scene_description>Mason raises his ham of a fist drawing his tree trunk arm back , taking dead aim at Pantucci 's face . He never gets the punch off . His arm is caught from behind . He looks over his shoulder to Finnegan . Gripping his wrist . Right in his face .</scene_description> <character>FINNEGAN</character> <dialogue>this is not a democracy. You do n't get a vote.</dialogue> <scene_description>Mason , enraged , swings with his free hand . Finnegan twists his arm sharply , sending Mason 's head into the steel wall , knocking the big man senseless . The other mercenaries go to draw their weapons . Before the guns are out of holsters , Finnegan swings a spear gun into Hanover 's face , an inch from his eye .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'll say it again for the hearing impaired.</dialogue> <scene_description>Finnegan cocks the spear . CLICK ! Hanover does not blink . Everyone freezes . With his free hand Finnegan lifts Pantucci to his unsteady feet , the spear stays poised . Finnegan backs out of the room .</scene_description> <character>HANOVER</character> <dialogue>This is n't right Finnegan. I've got a contract.</dialogue> <character>FINNEGAN</character> <parenthetical>( RECITING . )</parenthetical> <dialogue>20 hours on the clock. Out and back. Double for overtime.</dialogue> <character>HANOVER</character> <dialogue>And no questions asked.</dialogue> <character>FINNEGAN</character> <dialogue>Who asked any?</dialogue> <character>HANOVER</character> <dialogue>He did. with a crowbar. you know the rules on a broken contract.</dialogue> <character>FINNEGAN</character> <dialogue>I know it. but you want to get where you want to get, and back? I need a chief engineer, and unless you got a replacement, I'd highly recommend overlooking the indiscretion.</dialogue> <scene_description>With that Finnegan leads Pantucci out of the hold , slamming the door behind him .</scene_description> <character>PANTUCCI</character> <dialogue>Thanks.</dialogue> <scene_description>Finnegan turns his gaze to Pantucci . It makes the smaller man quiver .</scene_description> <character>FINNEGAN</character> <dialogue>You put me in that position again I'll throw you overboard myself.</dialogue> <scene_description>Finnegan stalks off . Pantucci swallows hard , knowing he means it .</scene_description> </scene> <scene> <stage_direction>FUJI MARU - NIGHT</stage_direction> <scene_description>A man strides down the hall of an executive passageway , his face obscured in shadows . He has a CANISTER in his hands . Walks through a door MARKED : `` AUTHORIZED PERSONNEL ONLY ''</scene_description> </scene> <scene> <stage_direction>COMPUTER/CONTROL MONITOR ROOM - NIGHT</stage_direction> <scene_description>The brain center for the whole ship . Rows of computer mainframes , laser - guided imagers and D.T. processors . No humans needed . And none are present . Except one - The Man strides purposefully down a row of computers , makes a left , then a right . He knows exactly where he 's going . He arrives at an ultra - high - tech CONSOLE . The cerebellum . Three similar canisters are plugged into the console . The Man unscrews the middle canister . Screws his canister into its place . Sets the TIMER to 0:300 hours . Pushes a button . The TIMER starts to COUNT DOWN .</scene_description> </scene> <scene> <stage_direction>THE FUJI MARU - NIGHT</stage_direction> <scene_description>All LIT UP and looking beautiful . The wind is stronger . The party is wilder . The BAND louder . The people drunker . Rain begins to fall . Everybody moans and heads for cover . The deck 's huge hydralic canopy begins to close , reviving the party spirit .</scene_description> </scene> <scene> <stage_direction>VAULT ROOM - NIGHT</stage_direction> <scene_description>A gold card with a black stripe slides into the security lock of a high tech vault . Lights blink . Tumblers roll . One after another the electronic locks unlock . Trillian stands back as the massive vault door swings open . With a quick look over her shoulder , she enters the vault .</scene_description> </scene> <scene> <stage_direction>VAULT - NIGHT</stage_direction> <scene_description>Trillian consults a list , looking for one very specific vault box . Finding it , she pulls a lock pick from her fabulous coiffure , and picks the lock in nothing flat . A pro . Flipping open the box , Trillian removes the only thing she came for . A dazzling diamond ring with the center stone the size of an egg . With a twist , she pops the stone from the setting , holds it up to admire it in the light .</scene_description> <character>CANTON</character> <parenthetical>( V.O . )</parenthetical> <dialogue>It is an amazing stone.</dialogue> <scene_description>Trillian grits her teeth , and turns to . Canton , the Captain , and two burly Chinese security men .</scene_description> <character>CANTON</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>what were you planning on doing with it?</dialogue> <character>TRILLIAN</character> <dialogue>Retiring.</dialogue> <character>CANTON</character> <dialogue>Well you can still proceed with your plans then. in prison. Captain. escort the lady.</dialogue> <scene_description>Canton exits . The Captain steps forward , and removes the diamond ring from Trillian 's hand .</scene_description> <character>CAPTAIN</character> <dialogue>Mademoiselle. you are not a lady.</dialogue> <scene_description>He slaps her across the face . Trillian flushes , touches the drop of blood at her lip . and decks the Captain with a vicious right cross .</scene_description> <character>TRILLIAN</character> <dialogue>And you. Monsieur. you are not a gentleman.</dialogue> </scene> <scene> <stage_direction>VEGETABLE LOCKER - NIGHT</stage_direction> <scene_description>A hatch door bursts open . Trillian is thrown inside . The DOOR SLAMS SHUT . Trillian looks around . No windows . One door . Lots of fruit and vegetables . Trillian accepts the hopelessness of her situation . She takes an apple , sits down and bites deeply , running her options .</scene_description> </scene> <scene> <stage_direction>COMPUTER/CONTROL MONITOR ROOM - SAME TIME</stage_direction> <scene_description>The CANISTER TIMER finishes counting down - 4 - 3 - 2 - 1 . It suddenly EMITS a high - energy HUM . Intense electro static , which builds into .</scene_description> </scene> <scene> <stage_direction>SAIPAN PILOT HOUSE - NIGHT</stage_direction> <scene_description>A screeching guitar solo . The Allman Brothers Band pulses out of the speakers . Finnegan is prepping the wound over Pantucci 's eye for sutures . As he swabs it carefully , Leila is at the helm keeping the speeding , bouncing , boat on course .</scene_description> <character>PANTUCCI</character> <dialogue>Here's what I think. I think these mokes below are a hit squad.</dialogue> <character>FINNEGAN</character> <dialogue>I saw these guy perform. at Altmont. you know that? They opened for the Stones.</dialogue> <scene_description>He carefully threads the surgical needle .</scene_description> <character>PANTUCCI</character> <dialogue>Right now. there's some bozo sitting on his yacht at those coordinates they gave us, sipping his scotch and soda. totally unawares that we are about to deliver 500 kgs of high power torpedo to light up his ass. that's what's down there in that hold and who knows what the hell else.</dialogue> </scene> <scene> <stage_direction>HOLD - NIGHT</stage_direction> <scene_description>The top of another wooden crate is popped revealing the answer to Pantucci 's question : a chilling display of firepower . Pulse rifles . Hand held gatling guns with laser sightings . Oblong grenades . The latest in death delivery systems . Hanover and his men lift and load . Slamming shells into chambers . KA - CHANG ! KA - CHANG ! KA - CHANG ! These boys know their toys .</scene_description> </scene> <scene> <stage_direction>PILOT HOUSE - NIGHT</stage_direction> <character>FINNEGAN</character> <dialogue>Hold still now. I was like three rows back.</dialogue> <scene_description>Finnegan centers the needle over Pantucci 's wound .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Jagger was here. I was here.</dialogue> <character>PANTUCCI</character> <dialogue>You do n't give a shit about anything do you?</dialogue> <character>FINNEGAN</character> <dialogue>Sure I do. I give a shit that at 0300 hour we reach our point of destination. I give a shit that those mojos got to do what they got to do, and 45 minutes later we are turn around and gone. I give a shit that by the time the sun comes up we are all safely tucked in bed.</dialogue> <character>PANTUCCI</character> <dialogue>That's it? That's all you give a shit about?</dialogue> <character>FINNEGAN</character> <dialogue>Oh yeah. and that my stitch job does n't make you uglier than you already are. this wo n't hurt a bit.</dialogue> <scene_description>Finnegan sinks the needle into the wound . Pantucci 's SCREAM rises above the music .</scene_description> </scene> <scene> <stage_direction>FUJI MARU - NIGHT</stage_direction> <scene_description>The Fuji Maru cruises through RAIN - LASHED waters . Accompanied by a very scary MUSICAL SCORE . Then suddenly , in the extreme foreground , AIR BUBBLES angrily GURGLE to the surface . Then a WAVE EXPLODES , as if THRASHED from below . Then another WAVE EXPLODES , forty feet to the right . Then ANOTHER , eighty feet to the left . And then ALMOST SEEN : Huge , black , ominous THINGS seem to be SQUIRMING beneath the water . Heading for the Fuji Maru .</scene_description> </scene> <scene> <stage_direction>CRYSTAL FOREDECK - NIGHT</stage_direction> <scene_description>RAIN PELTS the canopy . LIGHTNING FLASHES . THUNDER RUMBLES . We can HEAR the PARTY inside . MUSIC , laughs and cheers .</scene_description> </scene> <scene> <stage_direction>THE BRIDGE - NIGHT</stage_direction> <scene_description>The entire ROOM seems to be FRITZING OUT . The lights crackle on and off . The Captain stands behind the bank of failing IMAGING SYSTEMS , growing edgier by the moment .</scene_description> <character>MATE</character> <dialogue>The entire bridge electrical system is shutting down sir!</dialogue> <character>CAPTAIN</character> <dialogue>Switch over to auxiliary power, and run a circuit check.</dialogue> <character>MATE</character> <dialogue>Yes sir.</dialogue> <scene_description>The COM . OFFICER is busy fiddling with the communications and imaging gear . DISTORTED LIGHTS from the scrambled systems plays off their faces .</scene_description> <character>COM. OFFICER</character> <dialogue>OFFICER says. We're losing radar and sonar!</dialogue> <character>FIRST MATE</character> <dialogue>Communications systems are out sir!</dialogue> <scene_description>The Captain is confounded , on the edge of panic . Canton hurries onto the bridge .</scene_description> <character>CANTON</character> <dialogue>What the hell is going on?</dialogue> <character>CAPTAIN</character> <dialogue>Communication systems have failed! Radar. sonar. radios. I do n't understand it.</dialogue> <character>MATE</character> <dialogue>Maybe it's the storm!</dialogue> <character>CANTON</character> <dialogue>Nonsense! We're impervious to weather!</dialogue> <character>FIST MATE</character> <dialogue>We have a main frame meltdown!</dialogue> <character>CANTON</character> <dialogue>Well unmelt it!</dialogue> <scene_description>Canton storms out . Every piece of electrical equipment on the bridge starts to shut down .</scene_description> </scene> <scene> <stage_direction>HULL - NIGHT</stage_direction> <scene_description>Where the waves meet the hull , A BALLAST HOLE excretes water . Suddenly , near the ballast hole , a WAVE EXPLODES , thrashed from below . Accompanied by the scary foreboding MUSIC again .</scene_description> </scene> <scene> <stage_direction>VEGETABLE STORAGE - NIGHT</stage_direction> <scene_description>Trillian , making the best of a bad situation , is just putting the finishing touches on a wonderful salad culled from the stores . As she sits down , spreading a makeshift napkin on her lap just so , a violent SUCKING SOUND comes from above her . Trillian 's eyes shoot upward . A VICIOUS GURGLING SOUND RACES through a large PIPE along the ceiling . Trillian leaps to her feet . Backs away . A little spooked .</scene_description> </scene> <scene> <stage_direction>STATEROOM BATHROOM - NIGHT</stage_direction> <scene_description>An elegant woman sits on the toilet , her gown hiked up inelegantly , reading `` Vogue . '' As she turns the page the same strange sound , a violent sucking , comes from inside the walls , startling her . She looks around the room . Ca n't see anything . Shrugs it off . Goes back to her magazine . Turns another page . A LONG SCARY BEAT . And then suddenly - She SHUDDERS VIOLENTLY and gives a sharp CRY . Her eyes filled panic . She tries to stand , but she 's JERKED BACK DOWN ! Her ARMS FLAIL WILDLY . Scattering stuff off the counter . She tries to SCREAM , but it comes out more like a GURGLE . Below her , in the TOILET , there is a hideous SLURPING SOUND . She manages a final , desperate scream , a high - pitched WAIL . Which nobody hears because .</scene_description> </scene> <scene> <stage_direction>POOL DECK - NIGHT</stage_direction> <scene_description>the Band has kicked into another ROCK SONG . The drunken revelers whoop and holler , dancing with reckless abandon ignoring the THUNDER and LIGHTNING . And then . with a loud BASSO PROFUNDO CLANG , the CRUISE LINER JERKS TO A STOP . EVERYTHING goes CRASH . PEOPLE TUMBLE . TABLES TOPPLE . The MUSIC STOPS as the entire Band falls into the pool .</scene_description> </scene> <scene> <stage_direction>VEGETABLE STORAGE - NIGHT</stage_direction> <scene_description>Trillian goes ass - over - teacups , rolling over just in time to see a wall of BOXES CRASHING straight down on her . SMASH ! She 's knocked out cold .</scene_description> </scene> <scene> <stage_direction>WATERSPORT PLATFORM - NIGHT</stage_direction> <scene_description>One of the SPEEDBOATS breaks free of its harness . TOPPLES over the side and drops down into the sea . SPLASH !</scene_description> </scene> <scene> <stage_direction>POOL DECK - NIGHT</stage_direction> <scene_description>Everything goes quiet . Everybody freezes . Panic is a heartbeat away . A FLASH OF LIGHTNING lights up the top of the canopy . The passengers begin to mutter fearfully . From his perch , Canton fights down his own panic , and addresses the crowd in calm reassuring tones .</scene_description> <character>CANTON</character> <dialogue>Ladies and gentlemen. your attention please. Ladies and gentlemen.</dialogue> <scene_description>The disquieted crowd turns to Canton .</scene_description> <character>CANTON</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>This is the most technologically advanced sailing vessel on the water today. Every problem has been anticipated. the Captain has assured me that we will be up and running in no time. so enjoy yourselves. there's nothing to worry about.</dialogue> <scene_description>Suddenly , and quite violently , a WOMAN is SUCKED UNDER THE WATER - THWUP ! Others swimmers notice and freeze . The Woman does n't come back up . And then , THREE more SWIMMERS are violently JERKED UNDER . All the people in and around the pool see this and panic . SCREAMING . YELLING . SWIMMING . SWIMMING and RUNNING . A CRACK OF THUNDER ! The Captain calls out -</scene_description> <character>CAPTAIN</character> <dialogue>Remain calm! Stop! Do you hear?</dialogue> <scene_description>REMAIN CALM ! The pool clears . Everybody backs the hell away from it . The WATER in the pool BUBBLES , and GURGLES , and then goes quiet . And then , from somewhere deep within the bowels of the ship , comes a loud , eerie , primordial YOWL . WE PUSH IN ON CANTON : His eyes slowly widen . Stunned . His calm replaced by pure terror .</scene_description> <character>CANTON</character> <dialogue>Dear God.</dialogue> </scene> <scene> <stage_direction>SOUTH CHINA SEA - NIGHT</stage_direction> <scene_description>Off in the distance is the cruiseliner . WE HOLD FOR A LONG , SILENT , EERIE BEAT . And then the SCREAMING begins .</scene_description> </scene> <scene> <stage_direction>SAIPAN - NIGHT</stage_direction> <scene_description>Blasting through increasingly stormy seas .</scene_description> </scene> <scene> <stage_direction>PILOT HOUSE - NIGHT</stage_direction> <scene_description>Finnegan notices Billy , Mulligan and Vivo setting two catapult like devices on the front of the deck .</scene_description> <character>FINNEGAN</character> <dialogue>Leila see what they're up to.</dialogue> <scene_description>Leila exits . Finnegan 's eyes go up from the action on deck to the radar screen , where a blip , fast moving , right toward the jet foil catches his attention .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What the hell.</dialogue> </scene> <scene> <stage_direction>SAIPAN - NIGHT</stage_direction> <scene_description>A FLASH OF LIGHTNING REVEALS - The speedboat from the Fuji Maru hurtling at the hull ! BAAROOOOM ! The speedboat slams into the Saipan . Instant FIREBALL . ANGLE ON : The mercs and Leila slammed to the deck .</scene_description> </scene> <scene> <stage_direction>HOLD - NIGHT</stage_direction> <scene_description>A GASH is RIPPED out of the bow . METAL FLIES . WATER SPRAYS . The new HOLE VOMITS FLAME . Spewing it over the crates . Hanover and the rest of his men are blown against the walls .</scene_description> </scene> <scene> <stage_direction>ENGINE ROOM - NIGHT</stage_direction> <scene_description>Pantucci DIVES as flying SHRAPNEL PEPPERS the two engines . Instantly kills one engine . Maims the other . A FIRE starts .</scene_description> </scene> <scene> <stage_direction>PILOT HOUSE - NIGHT</stage_direction> <scene_description>RED WARNING LIGHTS flash and blink . Lighting up the console . The left steering stick dies in Finnegan 's hand .</scene_description> <character>FINNEGAN</character> <dialogue>Joey! Talk to me!</dialogue> </scene> <scene> <stage_direction>ENGINE ROOM - NIGHT</stage_direction> <scene_description>Mayhem . Fire spews out of the engines . Pantucci sprays a fire extinguisher frantically . Where the shrapnel entered the hull water now spurts with every wave . Smoke and water , oil and fire .</scene_description> <character>PANTUCCI</character> <dialogue>Jezebel's dead. Hercules is right behind her! We got a gusher in the hull!</dialogue> </scene> <scene> <stage_direction>PILOT HOUSE - NIGHT</stage_direction> <scene_description>As the Saipan comes to a halt , Finnegan loses play in his remaining stick .</scene_description> <character>FINNEGAN</character> <dialogue>Shit!</dialogue> <scene_description>Finnegan locks the sticks down , and runs out .</scene_description> </scene> <scene> <stage_direction>HOLD - NIGHT</stage_direction> <scene_description>TRACK WITH Finnegan running through the smoke filled hold , past Hanover and the merc 's who are pulling themselves off the floor , right into the . ENGINE ROOM . Where Pantucci is beside himself in smoke and sputtering flame .</scene_description> <character>PANTUCCI</character> <dialogue>What did you do to my kids!</dialogue> <character>FINNEGAN</character> <dialogue>Me?</dialogue> <character>PANTUCCI</character> <dialogue>No! The man in the moon! Who's driving this thing?</dialogue> <scene_description>Finnegan notices something on the floor . He picks up a shard of the speedboat propeller . Strange . Hanover steps into the room .</scene_description> <character>HANOVER</character> <dialogue>What happened?</dialogue> <scene_description>Finnegan looks at the piece of speedboat in his hand .</scene_description> <character>FINNEGAN</character> <dialogue>We ran into a speedboat.</dialogue> <scene_description>He shows the piece of speed boat to Hanover . Who stares at it . Finnegan sees the hint of recognition in his eyes .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Speedboat in the middle of the ocean.</dialogue> <character>HANOVER</character> <dialogue>How soon can we get up and running?</dialogue> <character>FINNEGAN</character> <dialogue>We ca n't. we got one engine dead, and the other limping badly.</dialogue> <character>HANOVER</character> <dialogue>I have a schedule.</dialogue> <character>PANTUCCI</character> <dialogue>I spent two years building these things. screw your schedule!</dialogue> <scene_description>Mason grabs Pantucci by the throat , lifting him off the ground .</scene_description> <character>MASON</character> <dialogue>You little weasel!</dialogue> <scene_description>Finnegan slams the piece of speed boat into the back of Mason 's knees buckling him to the floor . In the blink of an eye there is the barrel of a .45 pressed hard against his head , Hanover at the trigger end .</scene_description> <character>HANOVER</character> <dialogue>We were talking about my schedule.</dialogue> <character>FINNEGAN</character> <dialogue>You're going to have to get a new one.</dialogue> <character>HANOVER</character> <dialogue>Not an option.</dialogue> <character>FINNEGAN</character> <dialogue>Then you better start swimming.</dialogue> <scene_description>Hanover cracks Finnegan across the face with the barrel of the gun . Finnegan 's head spins . He touches the corner of his mouth , and comes away with blood , and a look of murder in his eyes . Hanover slams a round in the chamber .</scene_description> <character>HANOVER</character> <dialogue>One more joke and your comedy career is over. Now fix this.</dialogue> <character>PANTUCCI</character> <dialogue>With what? Look at them. they need gears. cylinder heads. oil pans. we're in the middle of the goddamn ocean.</dialogue> <character>FINNEGAN</character> <dialogue>I think he knows that Joey.</dialogue> <character>PANTUCCI</character> <dialogue>Good! So maybe he also know where the hell am I going to get the parts I need.</dialogue> <scene_description>Mulligan comes running in .</scene_description> <character>MULLIGAN</character> <dialogue>Target in sight!</dialogue> </scene> <scene> <stage_direction>SAIPAN - NIGHT</stage_direction> <scene_description>Everybody stands on deck as Hanover scans the darkness through a pair of infrared binoculars .</scene_description> <character>HANOVER</character> <dialogue>Contact verified! You know the drill gentlemen!</dialogue> <scene_description>The merc 's scatter below deck . Hanover hands the binoculars to Finnegan .</scene_description> <character>HANOVER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Care to see what dreams are made of Finnegan?</dialogue> <scene_description>Finnegan 's POV through the binoculars . The Fuji Maru in the distance , lit up , beautiful .</scene_description> </scene> <scene> <stage_direction>DECK - NIGHT</stage_direction> <scene_description>BAM ! BAM ! Two grappling hooks fly from the barrels of the two catapults bolted to the deck , landing on the deck of the Fuji Maru , which looms above the Saipan . Vivo pulls on the lines until they go taut . Finnegan , Pantucci , and Leila stand by watching as the mercs in full assault gear , communication headsets in place , get ready for action .</scene_description> <character>VIVO</character> <dialogue>Lines set.</dialogue> <scene_description>Mason swivels the big HARPOON GUN on the bow .</scene_description> <character>MASON</character> <dialogue>Tow lines!</dialogue> <character>VIVO</character> <dialogue>Clear!</dialogue> <scene_description>He FIRES the HARPOON . It shoots and SLAMS into the rear deck of the Fuji Maru .</scene_description> <character>MASON</character> <dialogue>Tow line secure.</dialogue> <character>HANOVER</character> <dialogue>Secure the zone of operation!</dialogue> <scene_description>Swift , athletic , the mercs leap onto the lines and scramble hand over hand toward the Fuji Maru 's deck .</scene_description> <character>HANOVER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>When I was a little bit of a pissant we lived down the road from where all the big cruise ships used to come into Sydney harbor.</dialogue> <scene_description>The first mercs reach the Fuji Maru 's deck , and toss life lines down to Hanover .</scene_description> <character>HANOVER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Mum and me we used to sit by our front door and watch them. she used to say `` one day you're going to make your fortune in life on one of them.''</dialogue> <scene_description>Hanover hands one line to Finnegan , one to Pantucci . The third he attaches around his waist .</scene_description> <character>FINNEGAN</character> <dialogue>Great woman your mother. Real foresight.</dialogue> <character>HANOVER</character> <dialogue>And she could do a hell of a barbie to boot! Belt up. You'll find all the parts you need up there.</dialogue> <scene_description>Finnegan and Pantucci comply .</scene_description> <character>FINNEGAN</character> <dialogue>I assume somebody up there has made sure no distress signal can be sent.</dialogue> <character>HANOVER</character> <dialogue>I'd say that's a pretty good assumption.</dialogue> <character>PANTUCCI</character> <parenthetical>( nervous . )</parenthetical> <dialogue>You know the crew could be armed.</dialogue> <character>HANOVER</character> <dialogue>With what? Martinis and tanning oil?</dialogue> <scene_description>Hanover hand signals to his men above . The lines go taut . Finnegan , Pantucci , and Hanover are hoisted to the deck of the Fuji Maru .</scene_description> </scene> <scene> <stage_direction>FUJI MARU DECK - NIGHT</stage_direction> <scene_description>Deathly silent . Not a soul is about . The mercs are deployed in a close military defense pattern .</scene_description> <character>HANOVER</character> <dialogue>Synchronize watches.</dialogue> <scene_description>Everyone hits a button on their watches .</scene_description> <character>HANOVER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>25 minutes. by the numbers. Engine room and machine shop are on the third sub deck. Vivo. Mulligan go with them. keep in touch. move out.</dialogue> </scene> <scene> <stage_direction>SAIPAN ENGINE ROOM - NIGHT</stage_direction> <scene_description>A thick black hose weaves it 's way across the flooded floor , sucking water . Leila up to her knees in water , wearing a blast visor , stripped down to her skivvies , wields a welder against the gaping hole in the hull . As the boat dips in the waves water sloshes in . Billy sits on the stairs trying to stay dry . He goes to light a cigarette .</scene_description> <character>LEILA</character> <parenthetical>( angry . )</parenthetical> <dialogue>Kwan bat! Kwam bat! Booom!</dialogue> <scene_description>She points the acetalyne tank she works with .</scene_description> <character>BILLY</character> <parenthetical>( bothered . )</parenthetical> <dialogue>Yeah. yeah. yeah.</dialogue> <scene_description>Billy heads for the deck . Leila looks after him in disgust .</scene_description> <character>LEILA</character> <dialogue>Asshole.</dialogue> <scene_description>She ignites her torch , is about to flick her visor down again when a loud gurgling , a sucking sound , stops her . She cuts the torch . Looks around nervously . and then she spots the suction hose sucking away . She smiles to herself . Flips the visor , fires the torch , and goes back to work .</scene_description> </scene> <scene> <stage_direction>FUJI MARU DECK PASSAGEWAY - NIGHT</stage_direction> <scene_description>An alert Mulligan leads Finnegan and Pantucci around a corner . Vivo brings up the rear .</scene_description> <character>PANTUCCI</character> <dialogue>You'd think they'd set a deck watch.</dialogue> <scene_description>FLASH TO : The deck full of people partying , carousing . The railing is lined with 15 lifeboats suspended in their harnesses . FLASH BACK TO : Mulligan , Finnegan , Pantucci and Vivo staring at a completely deserted deck . The lifeboat harnesses swing in the breeze , eerily empty . Mulligan looks back to Vivo .</scene_description> <character>MULLIGAN</character> <dialogue>I thought the plan was we'd evacuate them after we got through.</dialogue> <character>VIVO</character> <dialogue>Maybe plans changed.</dialogue> <character>MULLIGAN</character> <dialogue>Plans do n't change.</dialogue> <character>PANTUCCI</character> <dialogue>Maybe it's the wrong ship.</dialogue> <character>MULLIGAN</character> <dialogue>Shut up!</dialogue> <scene_description>And then a strange yowl echoes from somewhere deep in the bowels of the ship . Finnegan and Pantucci trade a look .</scene_description> <character>FINNEGAN</character> <dialogue>Let's just keep going.</dialogue> <character>MULLIGAN</character> <parenthetical>( nervous . )</parenthetical> <dialogue>You ai n't giving the orders here!</dialogue> <scene_description>And again the yowl . Everyone freezes .</scene_description> <character>MULLIGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Let's keep going!</dialogue> </scene> <scene> <stage_direction>CRYSTAL POOL DECK - NIGHT</stage_direction> <scene_description>Hanover , Mason , and Chin set foot on the deserted pool deck . FLASH TO : The pool deck is jammed with people partying . The band playing . Two kids toss a beach ball back and forth . The ball flies over one boy 's head . FLASH BACK TO : The ball falls into the empty pool . Where the band 's instruments litter the bottom along a big jagged crack .</scene_description> <character>MASON</character> <dialogue>What the.</dialogue> <scene_description>Uneasy , Hanover and his men look around at the over turned chairs . The smashed aquarium . Chin bends down and picks up a small squid from the bottom of the smashed aquarium . The squid wraps its tentacles around Chin 's hand almost immediately . Chin regards it with curiosity .</scene_description> <character>HANOVER</character> <dialogue>Focus on the task Mr. Chin.</dialogue> <scene_description>and then the yowl freezes them . C.U. on Hanover 's face . His eyes flicker with uncertainty . and a tinge of fear .</scene_description> </scene> <scene> <stage_direction>GRAND ATRIUM LOBBY - NIGHT</stage_direction> <scene_description>DING ! FLASH TO : A glass elevator descending through the spectacular atrium , full of elegant well - dressed people laughing , chatting . DING ! FLASH BACK TO : Mulligan , Vivo , Pantucci , and Finnegan , standing amidst the shattered glass and broken furniture , whirling to the elevator door opening . Mulligan , nerves ajangle , and Vivo , swing their pulse rifles up hard as the door opens to reveal . and empty elevator ! DING ! The door closes . The car starts to ascend in the eerie silence . The mercs watch it go with growing uneasiness .</scene_description> </scene> <scene> <stage_direction>FUJI MARU BRIDGE - DAWN</stage_direction> <scene_description>The door to the bridge is KICKED OPEN . Mason and Chin leap inside . Guns out front . On edge . The overhead lights flicker on and off . The imager screens are all black . The STEERING WHEEL slowly ROCKS . As if an invisible captain is steering a ghost ship . Hanover ENTERS . Eyes shifting . Suspicious , and a bit nervous .</scene_description> <character>HANOVER</character> <dialogue>What the hell is going on?</dialogue> </scene> <scene> <stage_direction>THE FRISCO BAR AND CASINO - DAWN</stage_direction> <scene_description>Mulligan leads Finnegan , Pantucci , Vivo into the casino . The place looks like a mess . Tables and chairs are upended . Glasses and bottles are shattered everywhere . And there 's BLOOD on the floor . A BELL RINGS LOUDLY and the TROLLEY CAR STARTS TO MOVE !</scene_description> <character>ELECTRONIC VOICE</character> <dialogue>Next stop, Chinatown!</dialogue> <scene_description>Everyone jumps , freaked . Mulligan and Vivo spin around and OPEN FIRE . Start BLOWING the shit out of the TROLLEY CAR . The GUNS sound like nothing we 've ever heard . ROLLING THUNDER . Absolutely deafening .</scene_description> </scene> <scene> <stage_direction>FUJI MARU - DAY</stage_direction> <scene_description>The GUNFIRE ECHOES through the hull . Suddenly , with a loud SPLASH , a sixteen - foot - long LIFEBOAT pops to the surface . Then another LIFE BOAT POPS UP . Then ANOTHER . Then THREE MORE off to the port side . Then TWO MORE off to the starboard . It 's as if the SOUND of the GUNFIRE is somehow releasing the boats from their watery graves . They start to drift away . Spooky quiet .</scene_description> </scene> <scene> <stage_direction>FRISCO BAR AND CASINO - NIGHT</stage_direction> <scene_description>BULLETS RAKE the Trolley 's metal sides . The WINDSHIELD EXPLODES . Finnegan yells at Mulligan and Vivo -</scene_description> <character>FINNEGAN</character> <dialogue>Guys! Whoa! WHOA! WHOA! WHOOOAAA!</dialogue> <scene_description>Finnegan finally tilts the muzzle of Mulligan 's gun to the ceiling . They stop firing . A little wigged - out . Their professional demeanor going by the boards . All goes quiet . They look at Finnegan , who is the picture of calm .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Guys. get a grip.</dialogue> <scene_description>The Trolley car reverses . The ELECTRONIC VOICE is now CRACKED -</scene_description> <character>ELECTRONIC VOICE</character> <dialogue>Next stop, Fisherman's Wharf.</dialogue> <scene_description>Mulligan whirls , his gun poised . Just then his headset crackles .</scene_description> <character>HANOVER</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( radio filtered . )</parenthetical> <dialogue>This is Red One. status report.</dialogue> <scene_description>Finnegan leans in towards Mulligan 's mike .</scene_description> <character>FINNEGAN</character> <parenthetical>( into radio . )</parenthetical> <dialogue>Your boys just killed a trolley car Red One.</dialogue> <scene_description>Mulligan pulls the radio away .</scene_description> <character>MULLIGAN</character> <parenthetical>( into radio . )</parenthetical> <dialogue>We been down three decks, there's nobody home. Total spooky - town. Advise on how to proceed.</dialogue> </scene> <scene> <stage_direction>CONNING TOWER - NIGHT</stage_direction> <scene_description>Hanover looks around at the empty bridge , the blinking lights .</scene_description> <character>HANOVER</character> <dialogue>Stay to the schedule. Stay to the plan. Nothing has changed.</dialogue> <scene_description>But the look in Hanover 's slightly unnerved eyes tells a different story .</scene_description> </scene> <scene> <stage_direction>FUGI MARU STORAGE ROOM - DAY</stage_direction> <scene_description>Trillian goggily crawls out from under a mound of boxes . Her left eye 's got a nice purple shiner . Her elegant gown is ripped . A VERY STRANGE SOUND coming from behind the wall . Wet . Gooey . Slithery . Ominous . Trillian freezes .</scene_description> <character>TRILLIAN</character> <dialogue>Hello?</dialogue> <scene_description>The SOUND slowly MOVES across the wall . Then another WALL starts to GURGLE . Trillian spins around . She forces herself not to panic . Very cautiously , taking small measured steps she reaches the handle to the freezer , and tries to open it . No go . The gurgling ripples above her . Her mouth goes dry as her eyes follow the sound across the ceiling . Her hand goes to her hair . She pulls her lock pick out , and very slowly kneels down until she is eye level with the door lock . She begins to pick her way out , her ears and eyes following the gurgling above . Suddenly the sound stops . The silence makes Trillian 's heart sound that much louder . She sidles close to the wall .</scene_description> <character>TRILLIAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hello?</dialogue> <scene_description>Still silence . Cautious , she taps on the wall . For a moment nothing . And then . WHAMM ! Something slams against the wall from the other side in response . Trillian falls back against the door , her heart in her throat .</scene_description> </scene> <scene> <stage_direction>ENGINE CHAMBERS - DAY</stage_direction> <scene_description>A MAZE of pipes , hoses , gears , engines and catwalks . THINGS are HISSING , HUMMING , RUMBLING and CLANKING . A spooky place . Dark . Damp . Eerie . Ominous . Mulligan and Vivo , looking more nervous by the moment , lead the way . Finnegan and Pantucci follow .</scene_description> <character>PANTUCCI</character> <parenthetical>( rattling , nervous . )</parenthetical> <dialogue>You know what I'm gon na do after this. I'm gon na get a normal life.</dialogue> <character>FINNEGAN</character> <parenthetical>( calm . )</parenthetical> <dialogue>Joey.</dialogue> <character>PANTUCCI</character> <dialogue>Like a house in the suburbs. maybe a couple of kids. some sort of business. be in the bowling league. go to the ball games.</dialogue> <scene_description>Finnegan turns to Pantucci , his voice even , calm , almost kind .</scene_description> <character>FINNEGAN</character> <dialogue>Joey. it's okay.</dialogue> <character>PANTUCCI</character> <dialogue>What? You do n't think I can have a normal life?</dialogue> <character>FINNEGAN</character> <dialogue>Joey. look at me.</dialogue> <scene_description>He forces Pantucci to look him in the eyes .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We're gon na get what we got ta get. do what we got ta do. and get the hell outta here. okay?</dialogue> <scene_description>Pantucci draws his strength from Finnegan . He forces himself to take a deep breath .</scene_description> <character>PANTUCCI</character> <dialogue>Okay.</dialogue> <scene_description>Suddenly , overhead , something black and veiny skitters across the mass of pipes , so fast it shocks Pantucci back into the wall .</scene_description> <character>MULLIGAN</character> <dialogue>What the??</dialogue> <scene_description>He and Vivo spin their guns at the pipes . The red dots of their laser sights sweep the shadowy web of metal . Nothing .</scene_description> <character>MULLIGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Come on. the sooner we get outta here the better I'll feel. Mulligan and Vivo move forward.</dialogue> <character>PANTUCCI</character> <parenthetical>( quiet . )</parenthetical> <dialogue>Finnegan.</dialogue> <scene_description>Finnegan turns to Pantucci , who has not moved from where he hit the wall .</scene_description> <character>FINNEGAN</character> <dialogue>It's okay. come on.</dialogue> <character>PANTUCCI</character> <parenthetical>( scared . )</parenthetical> <dialogue>I'm stuck.</dialogue> <scene_description>Pantucci tries to pull away from the wall . He is stuck .</scene_description> <character>MULLIGAN</character> <parenthetical>( jumpy . )</parenthetical> <dialogue>Hey! What are you trying to pull!</dialogue> <character>PANTUCCI</character> <parenthetical>( pleading . )</parenthetical> <dialogue>John.</dialogue> <scene_description>Finnegan takes Pantucci by the front of his shirt , ignoring Mulligan .</scene_description> <character>FINNEGAN</character> <dialogue>Relax your arms. slowly. that's it.</dialogue> <scene_description>As Finnegan pulls , Pantucci does as he is told . He slips away from the wall . The jacket does n't .</scene_description> <character>MULLIGAN</character> <dialogue>What the.</dialogue> <scene_description>He reaches out to touch the wall . Finnegan grabs his wrist , grabs a flashlight from Vivo 's utility belt and shines it on the wall . Their POV - the entire wall is covered in a strange , yellow , secreted GELATIN . Laid on in some sort of weird , inhuman , geometric pattern . Like a spider web .</scene_description> </scene> <scene> <stage_direction>THE SAIPAN'S HOLD - DAY</stage_direction> <scene_description>Leila has welded half the hole shut . A GUSH OF WATER suddenly pours through the other half . Leila cuts the torch .</scene_description> <character>LEILA</character> <dialogue>Gebop!</dialogue> <scene_description>The KA - CHUNK - KA - CHUNK of the PUMP is like a loud scary HEARTBEAT . Leila removes her blast visor . Wipes her brow . - A MANGLED CORPSE GUSHES IN through the gaping hole ! LEILA SCREAMS . Bloody murder . Scared shitless . Quickly backs away . Actually , it 's only half a corpse . The bottom half having been eaten away . It 's wearing a tuxedo . The corpse 's face is tightly constricted , eyes wide open , a grotesque death mask . Leila shakes like a leaf , waist - deep in seawater .</scene_description> </scene> <scene> <stage_direction>SAIPAN DECK - NIGHT</stage_direction> <scene_description>Billy is staring out at all the lifeboats as they drift away . All he can hear is the loud KA - CHUNK - KA - CHUNK of the PUMP . He talks into his headset -</scene_description> <character>BILLY</character> <parenthetical>( into radio . )</parenthetical> <dialogue>I dunno where they came from, turned around and there they were.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>No, no passengers.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>No shit I'll keep my eyes open.</dialogue> </scene> <scene> <stage_direction>ENGINE ROOM - NIGHT</stage_direction> <scene_description>Leila trembles in the waist - high water . The PUMP 'S HEARTBEAT seems to have gotten louder . KA - CHUNK - KA - CHUNK - KA - CHUNK . Leila slowly starts edging her way around the corpse . KA - CHUNK - KA - CHUNK - KA - CHUNK - KA - CHUNK . Her eyes are transfixed , staring at the abomination , too scared to scream . KA - CHUNK - KA - CHUNK - KA - CHUNK . Her back is to the gaping hole as she slowly starts to pass in front of it . KA - CHUNK - KA - CHUNK - KA - CHUNK . The water swirls around her waist . KA - CHUNK - KA - CHUNK - KA - CHUNK . She 's almost past the gaping hole now . KA - CHUNK - KA - CHUNK - KA - CHUNK . Then something grabs her ! She SCREAMS ! And falls back towards the gaping hole - But it 's only a twisted piece of metal off a strut . She exhales . Relieved . KA - CHUNK - KA - CHUNK - KA - CHUNK . Suddenly , LEILA 'S whole body SPASMS . She SCREECHES wildly , in great pain . The she 's RIPPED backward out through the gaping hole . Gone . WATER SLOSHES back in . KA - CHUNK - KA - CHUNK - KA - CHUNK .</scene_description> </scene> <scene> <stage_direction>FUJI MARU MACHINE SHOP - NIGHT</stage_direction> <scene_description>Knee deep in water , an edgy Mulligan watches Finnegan as he disassembles pieces of a thermal carburetor from an auxiliary generator . His eyes keep shifting around . Over in the far corner Vivo is watching Pantucci working over a metal lathe , repairing the cylinder head . Metal - on - metal . Vivo sits up on a barrel , trying to keep his feet out of the water .</scene_description> <character>FINNEGAN</character> <dialogue>The hulls of these things are supposed to be impregnable.</dialogue> <character>MULLIGAN</character> <dialogue>So?</dialogue> <character>FINNEGAN</character> <dialogue>So. If the hull's impregnable why are my feet wet?</dialogue> <character>MULLIGAN</character> <dialogue>Why do n't you just stop figuring and keep working so we can get the hell out of here?</dialogue> <character>PANTUCCI</character> <dialogue>Why do n't you help us so we can get done faster so we can get the hell out of here?</dialogue> <character>MULLIGAN</character> <dialogue>'Cause grease monkey ai n't in my job description dick head.</dialogue> <scene_description>Vivo pulls his feet further up on the barrel .</scene_description> <character>VIVO</character> <dialogue>What I want to know is why the goddamn ocean is always cold. since I'm a kid I hate god damn cold water.</dialogue> <scene_description>Then out of the corner of his eye , Vivo sees SOMETHING MOVE . He spins around . Nothing but pipes and hoses .</scene_description> <character>MULLIGAN</character> <parenthetical>( nervous . )</parenthetical> <dialogue>What was that?</dialogue> <character>VIVO</character> <dialogue>Nothing.</dialogue> <character>MULLIGAN</character> <dialogue>Someone's back there.</dialogue> <character>VIVO</character> <dialogue>Hey! Come out here!</dialogue> <scene_description>Finnegan and Pantucci stop working . All eyes are focused on the maze of pipes . THINGS are HISSING , HUMMING and RUMBLING . Nothing moves .</scene_description> <character>MULLIGAN</character> <dialogue>Check it out!</dialogue> <character>VIVO</character> <dialogue>Hey! You hear me? Come out! Still no response.</dialogue> <character>MULLIGAN</character> <dialogue>Will you check it the hell out!</dialogue> <scene_description>Disgusted , Vivo puts his feet in the water , gingerly .</scene_description> <character>VIVO</character> <dialogue>Man this shit is cold!</dialogue> <scene_description>He walks toward the mass of hissing pipes . His pulse rifle rising .</scene_description> <character>VIVO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm gon na kick your ass for putting me through this.</dialogue> <scene_description>Then he hears a strange SLURPING and SUCKING SOUND coming from behind some gears at the end of a little alleyway .</scene_description> <character>VIVO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm not screwing around with you man. I hate the cold water.</dialogue> <character>MULLIGAN</character> <dialogue>What is it man?</dialogue> <character>VIVO</character> <dialogue>I'm looking.</dialogue> <scene_description>Vivo slowly goes in for a closer look , gun out front , heading down the little alleyway . He looks behind some pipes . The SLURPING gets LOUDER . Then he sees it . His eyes widen -</scene_description> <character>VIVO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>On shit!</dialogue> <scene_description>And that 's the last thing he ever says . Because just then , from a dark area between the pipes , SOMETHING SHOOTS OUT ! Mulligan , Finnegan , and Pantucci stare in horrified amazement as Vivo is viciously YANKED into the pipes . A moment later a WASH OF BLOOD is FLUNG across a wall . Mulligan freaks out , aims his rifle at the pipes .</scene_description> <character>MULLIGAN</character> <dialogue>Vivo! Vivo!</dialogue> <scene_description>As Mulligan 's attention diverts , Finnegan instinctively heads for Vivo 's rifle , lying on the floor . Mulligan swings around . KACHUNK ! His rifle is armed . The laser dot fixes on Finnegan 's forehead .</scene_description> <character>MULLIGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Touch it and you're dead, asshole!</dialogue> <scene_description>Finnegan freezes , looking up at a very freaked out Mulligan .</scene_description> <character>PANTUCCI</character> <dialogue>Do n't shoot, man, do n't shoot!</dialogue> <character>MULLIGAN</character> <dialogue>What happened to Vivo?! What the hell happened to Vivo?</dialogue> <scene_description>Everybody 's breathing hard . Freaked out . Major tension . Blood drips down the wall .</scene_description> </scene> <scene> <stage_direction>VAULT ROOM - NIGHT</stage_direction> <scene_description>Trillian steps up to the vault , looking around , a bit nervous , something is definitely not right here .</scene_description> <character>TRILLIAN</character> <dialogue>Helloooo?</dialogue> <scene_description>She shrugs , must be her imagination . From inside her low cut dress she pulls the Captain 's gold security card . She is about to run it through the reader slot when . V.O. Ahem . She spins to . Hanover , Mason , Mamooli and Chin . Looking grim .</scene_description> <character>TRILLIAN</character> <parenthetical>( recovering . )</parenthetical> <dialogue>I'm sorry. This area is for authorized personnel only. As the assistant to the Purser, I'm afraid I'll have to ask you to vacate.</dialogue> <scene_description>Mason and Chin lift their pulse - rifles . KACHUNK !</scene_description> <character>TRILLIAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Or maybe not.</dialogue> <character>HANOVER</character> <dialogue>Where is everybody?</dialogue> <scene_description>Trillian is confused -</scene_description> <character>TRILLIAN</character> <dialogue>What do you mean?</dialogue> <scene_description>Hanover steps forward , right in her face .</scene_description> <character>HANOVER</character> <parenthetical>( threatening . )</parenthetical> <dialogue>I mean. where is everybody?</dialogue> <character>TRILLIAN</character> <dialogue>Poolside?</dialogue> <scene_description>Hanover grabs Trillian by the throat and slams her against the wall . He rams his gun against her forehead .</scene_description> <character>HANOVER</character> <dialogue>You tell it straight or I pull the trigger. Who are you?</dialogue> <character>TRILLIAN</character> <parenthetical>( choking . )</parenthetical> <dialogue>A passenger.</dialogue> <scene_description>Hanover blinks .</scene_description> <character>HANOVER</character> <dialogue>Where are the other passengers?</dialogue> <scene_description>Trillian shrugs . Mason grabs the card out of her hand .</scene_description> <character>MASON</character> <dialogue>Forget her. let's get what we came for and get the hell out of here!</dialogue> <scene_description>Mason runs the card through the slot . The ELECTRONICS KICK IN . LIGHTS FLASH . TUMBLERS ROLL . CLICK ! It unlocks . Hanover 's HEADSET comes alive with Mulligan SCREAMING .</scene_description> <character>HANOVER</character> <dialogue>Mulligan? What? I ca n't hear you? Repeat I.</dialogue> <scene_description>- Mason JERKS the vault door open . A FIRE - AXE SWING DOWN into his head , WHUMP ! Kills him instantly . Eyes wide open . Everybody freaks out . Jumps back . Hanover lets go of Trillian , and stares into the vault directly at Nigel Canton . Holding the axe .</scene_description> <character>CANTON</character> <dialogue>Oh my God. I did n't mean to.</dialogue> <scene_description>Behind Canton the Captain is on the floor , in severe pain , his clothes are ripped up , REVEALING nasty looking RED SCARS , blistered and puffy , all over his chest and arms .</scene_description> <character>CANTON</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I thought it was one of them!</dialogue> <scene_description>Chin jams his rifle to the middle of Canton 's forehead , and cocks a round into the chamber .</scene_description> <character>HANOVER</character> <dialogue>Stand down soldier!</dialogue> <scene_description>But this is one soldier who is slow to obey the order . Hanover grabs Chin by both shoulders and gives a colossal yank .</scene_description> <character>HANOVER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I said.</dialogue> <scene_description>He slams Chin against the wall . In the process he loses his headset .</scene_description> <character>HANOVER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Stand down!</dialogue> <scene_description>Chin and Hanover stare at each other , their chests heaving . Mason finally drops to the ground . All she wrote .</scene_description> <character>CANTON</character> <dialogue>I did n't mean to! I though it was one of them!</dialogue> <character>HANOVER</character> <dialogue>One of who?!</dialogue> </scene> <scene> <stage_direction>MACHINE SHOP - NIGHT</stage_direction> <scene_description>The machinery is sputtering , and sparking , shorting , steaming as the sea rises . Mulligan , in a panic , has backed Finnegan and Pantucci into a corner . He screams over his headset .</scene_description> <character>MULLIGAN</character> <dialogue>Hanover! Hanover! Come in! Come in you son - of - a - bitch!</dialogue> <scene_description>No response . A sucking sound comes from the dark mass of pipes . Mulligan spins .</scene_description> <character>MULLIGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hanover! Hanover!</dialogue> <character>FINNEGAN</character> <dialogue>Forget them.</dialogue> <scene_description>Mulligan spins back to Finnegan and Pantucci .</scene_description> <character>MULLIGAN</character> <parenthetical>( fried . )</parenthetical> <dialogue>Shut up! You hear me!</dialogue> <character>FINNEGAN</character> <dialogue>we got ta get outta here - NOW.</dialogue> <character>MULLIGAN</character> <dialogue>Shut up, man, just shut the hell up! I got ta think! I got ta think!</dialogue> <character>PANTUCCI</character> <dialogue>What's there to think about? That THING back there.</dialogue> <character>MULLIGAN</character> <dialogue>There ai n't no thing here! No thing! There's you him and me! Got it! You him and.</dialogue> <scene_description>Suddenly , Mulligan 's LEGS are suddenly JERKED OUT from under him . He hits the floor hard . Starts FIRING WILDLY . Finnegan and Pantucci hit the watery deck . BULLETS RICOCHET everywhere . Mulligan is WHIPPED across the floor . SCREAMING in fear . His pulse - rifle goes flying . He 's SLAMMED into a metal pylon , then SUCKED into a dark void in the pipes . All in the blink of an eye . Finnegan grabs Mulligan 's pulse - rifle . OPENS FIRE . BLASTING the shit out of anything and everything that moves .</scene_description> <character>FINNEGAN</character> <dialogue>Grab the parts!</dialogue> <scene_description>Pantucci grabs the knapsack , cramming as many parts as he can into it as Finnegan keeps firing into the steaming , creaking , sparking machinery .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'll cover! Move! Move!</dialogue> <scene_description>Pantucci does n't have to be told twice . He runs like hell , with Finnegan firing a final burst , and following .</scene_description> </scene> <scene> <stage_direction>VAULT - NIGHT</stage_direction> <scene_description>Everyone hears the MASSIVE GUNFIRE . Hanover looks around for the source of the sound . He finds it in his discarded headset .</scene_description> <character>HANOVER</character> <dialogue>This is Red one! Come in Red two!</dialogue> <scene_description>The gunfire stops , replaced by an ominous , horrifying , sucking sound .</scene_description> <character>CANTON</character> <parenthetical>( panicked . )</parenthetical> <dialogue>It's them! We've got to get off!</dialogue> <scene_description>He runs out of the vault . The Captain follows close behind . Hanover listens to the sucking sound getting louder and louder .</scene_description> <character>HANOVER</character> <dialogue>Let's find them!</dialogue> <character>CHIN</character> <dialogue>What about the vault?</dialogue> <character>HANOVER</character> <dialogue>It's not going anywhere.</dialogue> <scene_description>Hanover rushes out with Chin right behind . Only Trillian remains , breathing deeply , scared . but not scared enough to forget the reason she came cruising in the first place . She goes right to the vault , opens one of the boxes , removes the giant diamond , drops it down her decolletage , pulls her high heels off , and runs out .</scene_description> </scene> <scene> <stage_direction>ENGINE ROOM - NIGHT</stage_direction> <scene_description>Finnegan and Pantucci run to the end of a long section of metal grating , right below a staircase , to catch their breath . Everything has gone dead quiet , except for the billowing and clanging of the engines . Smoke and sparks obscure their vision .</scene_description> <character>PANTUCCI</character> <dialogue>Finnegan, what the hell was that?</dialogue> <character>FINNEGAN</character> <dialogue>I do n't know. you got what we need?</dialogue> <character>PANTUCCI</character> <dialogue>If I do n't, I ai n't going back to get it. you think we're safe?</dialogue> <scene_description>Both of them listen to the silence . And then , at the far end of the grating , one grate rises . and falls . Finnegan and Pantucci watch , transfixed . Then , like a locomotive gathering speed , the grates start rising and falling , faster and faster , clanking louder and louder , headed right for the two of them . LOUDERFASTERLOUDERFASTER !</scene_description> <character>FINNEGAN</character> <dialogue>Come on!</dialogue> <scene_description>Finnegan and Pantucci run up the stairs as fast as they can . just as the grate they were standing on rises and falls . Silence returns . Except for the steaming , creaking machinery . and an ominous sucking sound .</scene_description> </scene> <scene> <stage_direction>PASSAGEWAY - NIGHT</stage_direction> <scene_description>Trillian comes running down the passageway to a freight elevator . Looking over her shoulder , she hits the button . The elevator doors open to a freight elevator large enough to hold a dozen people . Trillian rushes in and hits the up button . She breathes a sigh of relief as the steel doors close . until the elevator starts going down .</scene_description> <character>TRILLIAN</character> <dialogue>Up! I want to go up!</dialogue> <scene_description>She panics . And starts pushing the up button frantically , her heart pounding in her chest . There is not a sound except for the hum of the elevator descending . until something drops on the roof with a THUMP ! Trillian screams . The elevator comes to a bumps stop .</scene_description> <character>TRILLIAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>No. No.</dialogue> <scene_description>Trillian shrinks from the ceiling of the elevator . and then the car starts to move again .</scene_description> <character>TRILLIAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Go up. please go up!</dialogue> <scene_description>Trillian pounds on ever button on the console , to no avail . The car continues its inexorable descent . Finally , in desperation , she hits the emergency stop button . The elevator stops . The emergency SIREN WHINES . A LONG BEAT . Nothing moves . and then . WHAM ! Something beats on the roof , trying to break in . And again - WHAM ! The ELEVATOR SHUDDERS and continues its descent . Trillian backs up against the wall , staring at the ceiling , scared . The ELEVATOR DINGS ! Startled , TRILLIAN SCREAMS . The DOORS start to OPEN . Panicked , Trillian raises the only weapon at her disposal . a high heel . The DOORS OPEN . - SOMETHING LUNGES IN ! Trillian swings her high heel . right into Pantucci 's face ! Finnegan plows in right behind him .</scene_description> <character>PANTUCCI</character> <dialogue>OWWW! OOWWW!</dialogue> <scene_description>Trillian tries to run out . Finnegan grabs her .</scene_description> <character>TRILLIAN</character> <dialogue>I'm not staying here!</dialogue> <character>FINNEGAN</character> <dialogue>It ai n't any better out there!</dialogue> <scene_description>Trillian struggles . Finnegan does not let go of her .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Lady, I'm telling you.</dialogue> <scene_description>Trillian buries her high heel into the back of Finnegan 's hand , breaking his grip .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>OWW!</dialogue> <scene_description>Just then , the doors to the elevator shut , and the car starts to ascend .</scene_description> <character>TRILLIAN</character> <dialogue>Now look what you did!</dialogue> <character>FINNEGAN</character> <dialogue>I saved your life is what I did!</dialogue> <character>TRILLIAN</character> <dialogue>Who asked you to!</dialogue> <character>PANTUCCI</character> <dialogue>What the hell's going on here?</dialogue> <character>TRILLIAN</character> <dialogue>You're with that other bunch, right?</dialogue> <character>FINNEGAN</character> <dialogue>What other bunch?</dialogue> <character>TRILLIAN</character> <dialogue>The thieves.</dialogue> <character>FINNEGAN</character> <dialogue>I'm not a thief.</dialogue> <character>TRILLIAN</character> <dialogue>Then who are you?</dialogue> <character>FINNEGAN</character> <dialogue>I'm their ride.</dialogue> <scene_description>Trillian hears music to her ears .</scene_description> <character>TRILLIAN</character> <dialogue>You have a boat?</dialogue> <scene_description>Her demeanor changes , her voice goes to honey .</scene_description> <character>PANTUCCI</character> <dialogue>Finnegan!</dialogue> <scene_description>Trillian and Finnegan turn to Pantucci who is looking down at the floor where a mass of yellow slime has dripped from the ceiling . All look up to the yellow goo dripping from the ceiling . followed by a sucking sound .</scene_description> <character>TRILLIAN</character> <dialogue>It's up there!</dialogue> <scene_description>Finnegan lifts his pulse rifle and blasts the ceiling . The sucking sound stops .</scene_description> <character>FINNEGAN</character> <dialogue>Not anymore.</dialogue> <scene_description>The elevator stops . DING ! The door opens . Finnegan whirls his rifle , rising . Trillian lifts her high heel , ready to strike . Hanover , Chin , and Mamooli have their massive guns trained on the car . The Captain and Canton quiver behind them . There is a momentary stand off .</scene_description> <character>HANOVER</character> <dialogue>Where are my men?</dialogue> <character>FINNEGAN</character> <dialogue>Dead.</dialogue> <character>CHIN</character> <dialogue>YAAHHH!</dialogue> <scene_description>Chin charges Finnegan , the butt of his rifle raised to smash Finnegan 's skull . Finnegan parries and drives Chin into the rear wall of the elevator . Mamooli jumps Finnegan from behind , wrapping his rifle against Finnegan 's throat . Pantucci jumps on Mamooli 's massive back , ripping at his face . Finnegan drops , buries his elbow in Mamooli 's solar plexus , spins , and has his knife out of his boot and at Mamooli 's throat in a flash . ANGLE ON : Trillian . Impressed . She had no idea .</scene_description> <character>HANOVER</character> <dialogue>Drop it!</dialogue> <scene_description>Finnegan looks up into the barrel of Hanover 's gun . and a pair of eyes that will use it . Finnegan does as he is told .</scene_description> <character>HANOVER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Now, back up!</dialogue> <scene_description>Again , Finnegan does as he is told .</scene_description> <character>HANOVER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Everybody in!</dialogue> <scene_description>The Captain and Canton are only to happy to comply . As they slip in , Trillian tries to slip out . Hanover swings his gun on her .</scene_description> <character>HANOVER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Where are you going?</dialogue> <character>TRILLIAN</character> <parenthetical>( freezing . )</parenthetical> <dialogue>Nowhere.</dialogue> <character>FINNEGAN</character> <dialogue>Hanover, listen.</dialogue> <character>HANOVER</character> <dialogue>Shut up!</dialogue> <scene_description>Hanover hit the elevator button . The elevator starts to rise .</scene_description> <character>HANOVER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Now, where's Mulligan? Where's Vivo?</dialogue> <character>FINNEGAN</character> <dialogue>I told you.</dialogue> <character>PANTUCCI</character> <dialogue>Man, there's something here! On the boat!</dialogue> <character>CANTON</character> <dialogue>You see? You see?</dialogue> <character>HANOVER</character> <dialogue>Shut up! Shut up all of you! Now here's what we're doing. Mamooli is going to take you back to fix your engines, Chin and I are staying here to finish the job.</dialogue> <character>FINNEGAN</character> <dialogue>Did you clear this?</dialogue> <character>HANOVER</character> <dialogue>With who?</dialogue> <scene_description>All of a sudden , the car is jerked to a halt , as if some giant hand was yanking on the cable .</scene_description> <character>FINNEGAN</character> <dialogue>With that.</dialogue> <scene_description>And then , the elevator jerks down again . And up . Everyone is thrown about like straw . Everyone is shouting , panicked . And then the jerking stops . and the sound of sucking surrounds the car . The cable starts twisting , creaking sickeningly above their heads .</scene_description> <character>PANTUCCI</character> <dialogue>It's gon na snap the cable!</dialogue> <scene_description>Trillian starts hitting the buttons frantically .</scene_description> <character>TRILLIAN</character> <dialogue>Open! Open! God damn it!</dialogue> <scene_description>Finnegan is at the doors , pulling them with all his might .</scene_description> <character>FINNEGAN</character> <dialogue>Help me!</dialogue> <scene_description>Pantucci , then Mamooli , then Hanover and Chin pull at the doors as Trillian keeps hitting the buttons . The doors part a bit .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>They're coming! They're coming!</dialogue> <scene_description>The doors fly open to . a solid wall .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh shit.</dialogue> <scene_description>And silence . until the doors slam shut . the cable snaps . and the car plummets ! Screaming and shouting mixes with the bloodcurdling shrieking of the metal elevator frame against the shaft . Finnegan 's eyes go to the floor indicator . 12 - 11 - 10 - 9 - 8 - 7 - 6 - 5 - 4 ! An AUTOMATED VOICE rapidly CALLS OUT right along with it -</scene_description> <character>VOICE</character> <dialogue>4th floor. 3rd floor. 2nd floor. 1st floor.</dialogue> <scene_description>Down , down , down it goes . Faster and faster . But the elevator does n't stop at the first floor . It keeps dropping . The FLOOR INDICATOR BLINKS : `` SUBLEVEL . SUBLEVEL . SUBLEVEL . ''</scene_description> <character>CANTON</character> <dialogue>It's taking us to the bottom of the ship!</dialogue> <character>FINNEGAN</character> <dialogue>HANG ON!</dialogue> <scene_description>CABLES SNAP . METAL SCREAMS . The ELEVATOR starts to BUCKLE . Which is actually good , because it 's getting jammed sideways in the shaft which slows it down . The it HITS bottom with a resounding crash .</scene_description> </scene> <scene> <stage_direction>SUBLEVEL LOBBY - DAY</stage_direction> <scene_description>The DOORS BLOW OUT into the darkened hallway . For a long moment nothing moves , then Finnegan tumbles out of the elevator . Rising painfully . One after another the others exit into the dark lobby .</scene_description> <character>HANOVER</character> <dialogue>Where are we?</dialogue> <character>CANTON</character> <dialogue>The sublevel lobby.</dialogue> <scene_description>Finnegan bends down to pick up one of the pulse rifles .</scene_description> <character>HANOVER</character> <dialogue>Do n't touch it!</dialogue> <scene_description>Finnegan looks up to Hanover standing a bit shakily , his own rifle trained on Finnegan .</scene_description> <character>FINNEGAN</character> <dialogue>You shoot me and you got no ride home.</dialogue> <scene_description>And with that , Finnegan picks up the gun . A test of wills . Finnegan wins , and then turns to the Captain .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You the Captain?</dialogue> <character>CAPTAIN</character> <dialogue>Yes.</dialogue> <character>FINNEGAN</character> <dialogue>How do we get out of here?</dialogue> <character>CAPTAIN</character> <dialogue>We have to make it to the third deck.</dialogue> <scene_description>Pantucci steps on something . CRUNCH ! He looks down , his eyes widen .</scene_description> <character>PANTUCCI</character> <dialogue>Oh no! Oh no! Finnegan!</dialogue> <scene_description>He starts dancing around , trying not to step on whatever it is . Trillian looks down and SCREAMS . Everybody freaks - Finnegan grabs a flashlight from Chin 's utility belt , and sweeps the beam over the lobby . The entire floor of the lobby is littered with shattered HUMAN SKELETONS . Picked clean and spit out . Just like the earlier whale bones . Then suddenly , at the far end of the hallway , one of the metal WALLS suddenly EXPANDS and FLEXES . Everybody feezes . And then the FLEXING suddenly comes RACING down either side of the hallway , accompanied by the most god - awful PRIMORDIAL SCREECH !</scene_description> <character>FINNEGAN</character> <dialogue>This way!</dialogue> <scene_description>FINNEGAN BOLTS . Everybody else right behind him . The FLEXING and SCREECHING VANISHES into the walls .</scene_description> </scene> <scene> <stage_direction>FUJI MARY &amp; SAIPAN - DAY</stage_direction> <scene_description>RAIN POURS DOWN on the Fuji Maru and the Saipan as they bob in the waves , surrounded by endless choppy ocean waters .</scene_description> </scene> <scene> <stage_direction>SAIPAN ENGINE ROOM - DAY</stage_direction> <scene_description>Billy comes down the steps , gun out front , looking around .</scene_description> <character>BILLY</character> <dialogue>Hey you! Muscles! Out here!</dialogue> <scene_description>There is no reply . The only sound is the sucking of the pump .</scene_description> <character>BILLY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>O.K.. You want it that way.</dialogue> <scene_description>He ENTERS the waist - high water .</scene_description> <character>BILLY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>when I find you, you pay.</dialogue> <scene_description>Billy heads deeper into the hold .</scene_description> </scene> <scene> <stage_direction>MACHINE SHOP - MOMENTS LATER</stage_direction> <scene_description>Damp , dark and disgusting . A MAZE of pipes and gears lines the walls . Finnegan SLAMS the HATCH shut . Dogs it tight . Everyone 's gathering themselves around the room : Trillian , Pantucci , Hanover , Mamooli , Chin , the Captain and Canton .</scene_description> <character>TRILLIAN</character> <dialogue>We've got ta call for help.</dialogue> <character>PANTUCCI</character> <dialogue>Yeah man, no shit, call in the Marines.</dialogue> <character>CAPTAIN</character> <dialogue>We ca n't. all the communication systems went down.</dialogue> <character>TRILLIAN</character> <dialogue>So get them back up.</dialogue> <character>CAPTAIN</character> <dialogue>I do n't know how.</dialogue> <character>PANTUCCI</character> <dialogue>Hey I can fix any damn thing. where's the comm. center?</dialogue> <character>CANTON</character> <dialogue>We should get off as soon as possible.</dialogue> <character>TRILLIAN</character> <dialogue>But if we can at least send a message.</dialogue> <character>CANTON</character> <dialogue>I say we evacuate as soon as.</dialogue> <character>FINNEGAN</character> <parenthetical>( to Canton . )</parenthetical> <dialogue>Who are you?</dialogue> <character>CAPTAIN</character> <dialogue>He's the owner.</dialogue> <character>FINNEGAN</character> <dialogue>Why do n't you want a message sent?</dialogue> <character>CANTON</character> <dialogue>I just think that.</dialogue> <character>FINNEGAN</character> <dialogue>Because you know a message ca n't be sent.</dialogue> <scene_description>There is a moment of silence .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You're the inside guy are n't you? The guy who knocked out the communications.</dialogue> <scene_description>Hanover sets Mason 's pulse - rifle down and claps his hands .</scene_description> <character>HANOVER</character> <dialogue>Bravo.</dialogue> <scene_description>Canton flashes Hanover a look . The Captain is confused . Trillian suddenly GRABS CANTON , spins him around and SLAMS him against the hull .</scene_description> <character>TRILLIAN</character> <dialogue>How the hell do we fix it?!</dialogue> <scene_description>A tense moment as Canton debates his situation , then relents .</scene_description> <character>CANTON</character> <dialogue>You ca n't. All the systems were melted at their core by nitric acid.</dialogue> <character>CAPTAIN</character> <parenthetical>( confused . )</parenthetical> <dialogue>This was your life's work. your dreams.</dialogue> <character>CANTON</character> <dialogue>My dreams cost more than they would make. I miscalculated the market. there was no way I could recoup.</dialogue> <character>FINNEGAN</character> <dialogue>Unless you collected on the insurance.</dialogue> <character>TRILLIAN</character> <dialogue>What are you people talking about?</dialogue> <character>FINNEGAN</character> <dialogue>He's with them.</dialogue> <scene_description>He motions to the mercenaries .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>They rob the joint blind and torpedo it to the bottom. He collects the insurance, and sails off into the sunset clean as a whistle.</dialogue> <scene_description>Finnegan fixes Hanover with a look of certainty .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Right?</dialogue> <scene_description>The Captain blows . He leaps on Canton . His hands find the older man 's throat .</scene_description> <character>CAPTAIN</character> <dialogue>All these people dead! Because you screwed up on the math?</dialogue> <scene_description>Finnegan pulls the Captain off .</scene_description> <character>FINNEGAN</character> <dialogue>It's not going to help us!</dialogue> <character>CAPTAIN</character> <dialogue>We're going to die here! We're going to die!</dialogue> <scene_description>Finnegan holds the Captain with both hands , calming him .</scene_description> <character>FINNEGAN</character> <dialogue>I was born in a City housing project in the Bronx OK? It's not in the cards that I die on a luxury cruise ship. now which way up?</dialogue> <character>TRILLIAN</character> <parenthetical>( alarmed . )</parenthetical> <dialogue>You hear that?</dialogue> <scene_description>Unseen by anyone , there is MOVEMENT within the MACHINERY . The walls start to come alive with dark , SHADOWY IMPRESSIONS . HIDDEN within the maze of machinery , OBSCURED by the bad lighting , glistening abominations slither over pipes , squirm through gears , and undulate in and out of crevices and holes . The room is becoming a living , throbbing , pulsating horror .</scene_description> <character>CAPTAIN</character> <dialogue>They are. they are everywhere.</dialogue> <character>FINNEGAN</character> <dialogue>All right, be cool, everybody, nice and slow, no sudden moves.</dialogue> <scene_description>Everybody slowly and quietly moves for the far hatch . Then a loud GURGLING is HEARD . Everybody looks up at the ceiling . Hidden within the girders , and sticking to them , a large translucent INTESTINE - like thing CROSSES the ceiling . Inside it are strange , disgusting biological workings . The GURGLING suddenly gets dramatically LOUDER . And then we SEE BILLY and LEILA , being sucked down the entire length of the fatty intestine . Still alive . And squirming wildly . EVERYBODY freaks out and HAULS ASS for the hatch . Finnegan and Hanover OPEN FIRE . Covering their asses .</scene_description> </scene> <scene> <stage_direction>ENGINE CHAMBERS - NIGHT</stage_direction> <scene_description>Everybody pours out of the machine shop and fans out into this mechanical MAZE . The engine chambers are a labyrinth of pipe - lined alleyways , motorized chambers , swaying catwalks and pillars of steel . The LIGHTING is very poor , very dark . Hanover , Pantucci , Chin and Mamooli OPEN UP . FIRING blindly and wildly at anything and everything that seems to move in the darkness . The MUZZLE FLASHES and TRACER FIRE light up the chambers in a sort of surreal horror tableau . We catch more ABSTRACT GLIMPSES of the translucent TENTACLE - SACS , strange FEELERS , groping SUCKERS , SLIME and VEINS .</scene_description> </scene> <scene> <stage_direction>DEEP IN MAZE - NIGHT</stage_direction> <scene_description>Finnegan rounds a corner and crouch - runs down a narrow alley . Alone now . White - knuckling his rifle . He turns another corner and runs right into Trillian .</scene_description> <character>FINNEGAN</character> <dialogue>AHHH!</dialogue> <scene_description>Spins , gun ready to fire at .</scene_description> <character>TRILLIAN</character> <dialogue>Noooo!</dialogue> <character>FINNEGAN</character> <dialogue>Jesus Christ lady.</dialogue> <character>TRILLIAN</character> <parenthetical>( scared . )</parenthetical> <dialogue>What are those things?</dialogue> <character>FINNEGAN</character> <dialogue>I do n't know.</dialogue> <scene_description>Finnegan looks around to the engine room , a labyrinth of pipe lined alleyways , motorized chambers , swaying catwalks and pillars of steel . The LIGHTING is very poor , very dark . He takes off .</scene_description> <character>TRILLIAN</character> <dialogue>Hey! Hey! Where are you going?</dialogue> <character>FINNEGAN</character> <dialogue>there's got to be a way to access out back there.</dialogue> <scene_description>He motions into the deep shadows .</scene_description> <character>TRILLIAN</character> <dialogue>But what makes you think there are n't more of hose. things. back there?</dialogue> <character>FINNEGAN</character> <dialogue>Nothing. you want to come, come. you do n't.</dialogue> <scene_description>Trillian weighs her options , and takes off after Finnegan .</scene_description> <character>TRILLIAN</character> <dialogue>You do n't have to be so touchy.</dialogue> <character>FINNEGAN</character> <dialogue>Look lady, I know you people are used to getting your way.</dialogue> <character>TRILLIAN</character> <dialogue>What's that supposed to mean? You people.</dialogue> <character>FINNEGAN</character> <dialogue>You people. rich people.</dialogue> <character>TRILLIAN</character> <dialogue>I'm not rich people.</dialogue> <character>FINNEGAN</character> <dialogue>Well, you sure do a good imitation.</dialogue> <character>TRILLIAN</character> <dialogue>Thank you, I work at it.</dialogue> <scene_description>Finnegan comes to a ladderstair leading to a catwalk . He starts to climb . Trillian , hampered by her long slinky dress , rips at the bottom , making it maxi to mini in a flash , and scoots after Finnegan .</scene_description> <character>TRILLIAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I heard you say you grew up in the projects in the Bronx.</dialogue> <scene_description>Reaching the top of the ladder , she clambers onto the catwalk next to Finnegan , who is deciding which way to go .</scene_description> <character>TRILLIAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Trillian Daley.</dialogue> <scene_description>She holds out her hand .</scene_description> <character>TRILLIAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Projects. South Chicago.</dialogue> <scene_description>Finnegan ignores her hand .</scene_description> <character>FINNEGAN</character> <dialogue>Finnegan. John J. now that we've been properly introduced, can we get the hell out of here?</dialogue> <scene_description>Finnegan starts to walk down the catwalk .</scene_description> <character>TRILLIAN</character> <dialogue>So this boat of yours. that's what you do? Give people. rides.</dialogue> <character>FINNEGAN</character> <dialogue>That's what I do.</dialogue> <character>TRILLIAN</character> <dialogue>Seen a lot of islands?</dialogue> <character>FINNEGAN</character> <dialogue>Quite a few.</dialogue> <character>TRILLIAN</character> <dialogue>Since I'm a kid, I had this dream. I want to own my own tropical island. Beaches, warm ocean, lots of food, little clothes. population of one.</dialogue> <character>FINNEGAN</character> <dialogue>Anti social?</dialogue> <character>TRILLIAN</character> <dialogue>Self sufficient.</dialogue> <character>FINNEGAN</character> <dialogue>With the emphasis on SELF, and in selfish, right?</dialogue> <character>TRILLIAN</character> <dialogue>Takes one to know one.</dialogue> <scene_description>SNAP ! A TENTACLE SHOOTS OUT between Finnegan and Trillian . Just missing them as it SLAMS into a wall . Finnegan falls onto the catwalk , drops his rifle , unarmed . Trillian , freaked , stumbles back and lands on her butt . Finnegan sits up against the walls , turns and looks - The TENTACLE slowly SQUIRMS across the wall like a big leach . Trying to find its prey . Finnegan is frozen in place . Watching . Trillian sits up , eyes widening in fear as she sees - Hideous little worm - like FEELERS and SUCKERS protrude up and down the Tentacle . WRIGGLING and WRITHING and feeling their way across the wall . Getting closer and closer to Finnegan . Finnegan 's eyes go to his pulse - rifle close to Trillian 's feet . He motions for her to push it toward him . But , frozen in fear , she can only watch the slithering horror before her . Tongue - like , the Feelers lick their way across the oily wall . FINNEGAN DUCKS as they squirm over his head . Then he BRUSHES against some dirt , making a SCRAPING SOUND . A Feeler quickly drops down and touches Finnegan 's arm . He leaps to his feet . So does Trillian . She grabs the rifle , turns and bolts off down the dark alley . Finnegan tries to run , but the Feelers hold him tight . Two more Feelers slap onto his arm . HE YELLS . The Creature starts reeling him in . ANGLE ON : Trillian , running . Finnegan 's YELL reaches her . She stops cold . Looking back the way she came , torn . ANGLE ON : Finnegan , fighting for all he is worth , being reeled into the mass of machinery by the tentacle . When . out of the darkness , Trillian suddenly comes running back . Panting hard , she aims the gun .</scene_description> <character>FINNEGAN</character> <dialogue>Shoot it! Shoot it!</dialogue> <scene_description>Spurred to action , Trillian jams the rifle barrel against the tentacle and pulls the trigger . Nothing happens .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>The safety! The safety!</dialogue> <scene_description>Trillian frantically fumbles around , looking for the right lever on the complicated , sophisticated weapon , trying to find it .</scene_description> <character>TRILLIAN</character> <dialogue>I do n't know where it is!</dialogue> <character>FINNEGAN</character> <dialogue>On the side!</dialogue> <scene_description>Desperate , unable to find it , she does the next best thing . she swings her rifle like it 's a baseball bat . SMACKS the TENTACLE . HARD . RIPPING into its flesh . It SQUIRTS ink blood , releases Finnegan and recoils . Finnegan drops to his knees . Grabbing his arm , in pain . The tentacle recovers and starts coming toward him again . Trillian grabs him , and with all her strength , jerks him to his feet , and starts to drag him backward . The tentacle coils , ready to strike . Just before it does so , Finnegan grabs the rifle with his one good arm , flips the safety , and fires , blasting the tentacle to pieces .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Let's get the hell out of here!</dialogue> <scene_description>Finnegan staggers to his feet . He and Trillian run off .</scene_description> </scene> <scene> <stage_direction>ENGINE ROOM - NIGHT</stage_direction> <scene_description>Trillian and Finnegan come running around a corner , and stop to catch their breath .</scene_description> <character>FINNEGAN</character> <parenthetical>( annoyed . )</parenthetical> <dialogue>The safety. the safety. He flicks the safety on and off.</dialogue> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Got it?</dialogue> <character>TRILLIAN</character> <parenthetical>( pissed . )</parenthetical> <dialogue>Hey! I did n't have to come back.</dialogue> <character>FINNEGAN</character> <dialogue>Yeah you did.</dialogue> <character>TRILLIAN</character> <parenthetical>( defensive . )</parenthetical> <dialogue>Right. You have a boat.</dialogue> <character>FINNEGAN</character> <dialogue>Boat or no boat. You woulda come back anyway. You're that kind of gal.</dialogue> <character>TRILLIAN</character> <dialogue>Oh yeah? What kind is that?</dialogue> <character>FINNEGAN</character> <dialogue>The `` come back'' kind.</dialogue> <character>TRILLIAN</character> <dialogue>How do you know that?</dialogue> <character>FINNEGAN</character> <dialogue>Takes one to know one.</dialogue> <scene_description>Finnegan 's small smile makes Trillian acutely uncomfortable .</scene_description> <character>V.O.</character> <dialogue>HEELLPP!</dialogue> </scene> <scene> <stage_direction>ENGINE ROOM - NIGHT</stage_direction> <scene_description>The Captain is stuck in a strange gelatinous spider web . Struggling , frantic . But the more he struggles , the more enmeshed he gets . He holds his hands out beseechingly to Canton , who stands looking at him in terror .</scene_description> <character>CAPTAIN</character> <dialogue>Help me!</dialogue> <scene_description>But Canton does not move . All of a sudden Canton sees something deep in the web , behind the Captain , which makes his blood freeze .</scene_description> <character>CAPTAIN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What is it?</dialogue> <scene_description>Canton takes a few steps back .</scene_description> <character>CAPTAIN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What?! WHAT?!</dialogue> <scene_description>The Captain tries to look over his shoulder to see what it is . There is a DARK MOVEMENT deep within the spider web .</scene_description> <character>CAPTAIN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>HELP ME, CANTON! HELP MEEEEEEE!</dialogue> <scene_description>ANGLE ON : Finnegan and Trillian racing across a catwalk . Below them , they can see Canton backing away from the Captain .</scene_description> <character>FINNEGAN</character> <dialogue>Grab his hands!</dialogue> <scene_description>Canton looks up , stunned , as he sees Finnegan and Trillian rushing down from the catwalk .</scene_description> <character>CAPTAIN</character> <dialogue>CANTON! HELP!</dialogue> <scene_description>Canton backs away from the Captain , as the Captain 's struggle draws him further into the web . The Captain 's eyes bulge , horrified , as he feels SOMETHING inside the spider web GRAB him from behind .</scene_description> <character>CAPTAIN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>IT HURTS! IT HURRRRRTTTTTSSSS!</dialogue> <scene_description>He struggles WILDLY . Then starts to freeze up as the tentacles wrap around him . Finnegan and Trillian race across the floor as the Captain is slowly sucked deeper into the spider web ; his face and body bady constricting , paralyzed . His VOICE is CHOKED OFF . Hanover , Chin , Mamooli and Pantucci burst out of another alleyway . Finnegan and Trillian reach the Captain just as his FACE is SUCKED into the gelatinous web . They skid to a stop . Everybody piles up . Eyes wide . Watching as the Captain 's body is pulled deeper into the dark web . Tentacles enveloping him .</scene_description> <character>HANOVER</character> <parenthetical>( to Canton . )</parenthetical> <dialogue>Where is the closest hatch?</dialogue> <scene_description>Canton still pressed against the wall , staring at the spot the Captain disappeared , talking to himself .</scene_description> <character>CANTON</character> <dialogue>I never meant for anyone to get hurt. it was supposed to be clean.</dialogue> <scene_description>Hanover grabs Canton by the front of his tattered tuxedo jacket .</scene_description> <character>HANOVER</character> <dialogue>You hypocritical bastard. all you gave a shit about was the money. where's the hatch!</dialogue> <scene_description>Canton points down a darkened passageway .</scene_description> <character>HANOVER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Alright let's move out. you two on point.</dialogue> <scene_description>He looks at an uneasy Mamooli and Chin .</scene_description> <character>FINNEGAN</character> <dialogue>Joey. Which way's aft?</dialogue> <character>PANTUCCI</character> <dialogue>That way.</dialogue> <scene_description>He points in the opposite direction .</scene_description> <character>HANOVER</character> <dialogue>Who gives a shit about aft?</dialogue> <character>FINNEGAN</character> <dialogue>That's where my boat's moored.</dialogue> <character>HANOVER</character> <dialogue>You trying to take over my show Finnegan, that what you trying to do?</dialogue> <character>FINNEGAN</character> <dialogue>Just trying to get to my boat.</dialogue> <scene_description>Finnegan takes off down a catwalk in the opposite direction that disappears in the dark . Pantucci is right with him . Trillian , a step behind .</scene_description> <character>HANOVER</character> <parenthetical>( yelling . )</parenthetical> <dialogue>You stay away from that vault! You hear me?</dialogue> <scene_description>Just before he steps into the darkness , Finnegan calls over his shoulder .</scene_description> <character>FINNEGAN</character> <dialogue>They respond to sound.</dialogue> <scene_description>He disappears into the dark . Canton looks at Hanover for a long moment , and then takes off after Finnegan . The other two mercs look at Hanover , wavering .</scene_description> <character>HANOVER</character> <parenthetical>( tense . )</parenthetical> <dialogue>What?</dialogue> <scene_description>The sound of his voice makes the two mercs look around nervously .</scene_description> <character>MAMOOLI</character> <parenthetical>( whispered . )</parenthetical> <dialogue>He made sense.</dialogue> <character>HANOVER</character> <parenthetical>( loud . )</parenthetical> <dialogue>He's a bloody.</dialogue> <scene_description>And then conscious of his voice reverberating .</scene_description> <character>HANOVER</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( whispered . )</parenthetical> <dialogue>. he's a bloody taxi driver!</dialogue> <scene_description>Chin breaks for the catwalk , hurrying after Finnegan . Hanover stands with a very antsy Mamooli , steaming . After a long moment , he strides off after Finnegan as well .</scene_description> </scene> <scene> <stage_direction>BALLAST PASSAGEWAY - DAY</stage_direction> <scene_description>In SLOW - MO , Finnegan and the others creep down a darkened , pipe - lined passageway . Guns out front . Sight beams sweeping the path ahead . Eyes wide open . Sweat sliding down their faces . Breath coming in short nervous bursts . Hearts pounding out of chests . The ominous MUSICAL SCORE adds to the tension . Then the EMERGENCY LIGHTING KICKS ON . A creepy - looking reddish - blue glow is cast throughout the ship . Finnegan continues on . Followed by the others . All sweating hard . Eyes nervously shifting . Fear thick in the air . LOOKING DOWN THROUGH A METAL GATE , we SEE Finnegan , Trillian and the others passing below . Then suddenly , in the dark foreground - SOMETHING WET WRIGGLES across the gate . They come to a door . Finnegan tries the handle . No go . Finnegan turns to Canton , and mimes for keys . Canton shakes his head . He has none .</scene_description> <character>HANOVER</character> <parenthetical>( whispered . )</parenthetical> <dialogue>Very good Finnegan. very good.</dialogue> <scene_description>Trillian moves up to Finnegan . She reaches into her hair , and pulls out her trusty lockpick . As he watches , somewhat mystified , she inserts the pin , tickles the lock a few times , and depresses the handle . Click ! The door opens . Finnegan looks at her curiously , but with respect .</scene_description> </scene> <scene> <stage_direction>BALLAST SECTION - DAY</stage_direction> <scene_description>They ENTER the rear ballast section , where the walls are indeed far apart , half of which is now a small POND . Obviously flooded . The only way out of this room is down some STEPS which VANISH beneath the seawater , or through a single violently twisted HATCH DOOR . Finnegan tries to push the hatch . It will not give . Mamooli and Chin join him , adding their considerable muscle to the task . The hatch holds tight . Finnegan turns to Canton , who stands slumped against a railing . He does not look well at all .</scene_description> <character>FINNEGAN</character> <dialogue>What's on the far side?</dialogue> <character>CANTON</character> <dialogue>I do n't know.</dialogue> <character>PANTUCCI</character> <parenthetical>( nerves . )</parenthetical> <dialogue>It's your damn ship! What the hell do you mean you do n't know?</dialogue> <scene_description>Finnegan touches Pantucci 's shoulder .</scene_description> <character>FINNEGAN</character> <dialogue>Joey, what difference does it make.</dialogue> <scene_description>Finnegan enters the water .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>If you hear one shot, you know I made it. start coming.</dialogue> <scene_description>Pantucci follows Finnegan to the water .</scene_description> <character>HANOVER</character> <dialogue>How do we know you're going to signal. how do we know you're not going to just take off?</dialogue> <scene_description>Finnegan stops .</scene_description> <character>FINNEGAN</character> <dialogue>I'll wait here. You go check it out.</dialogue> <scene_description>Hanover does not move .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( contemptuous . )</parenthetical> <dialogue>I did n't think so.</dialogue> <scene_description>Finnegan wades into the water . Just before he sinks beneath the surface .</scene_description> <character>TRILLIAN</character> <dialogue>Finnegan.</dialogue> <scene_description>He looks back .</scene_description> <character>TRILLIAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Be careful.</dialogue> <scene_description>With a smile , Finnegan dives under . Pantucci right behind him . The others stand looking around , nervous .</scene_description> </scene> <scene> <stage_direction>UNDERWATER - NIGHT</stage_direction> <scene_description>Finnegan SWIMS down to the floor of the ballast . Then into a passageway lined with black pipes . Pantucci right behind him . STRANGE NOISES REVERBERATE through the MURKY waters . CREAKS and MOANS . Spooky shit . Both men are wide - eyed as they swim . Weaving their way through a maze of pipes and ducts . The THINGS could come out of almost anywhere . Bubbles drift up from the darkness below . The MUSIC IS TENSE . VERY VERY TENSE . Pantucci falls behind . He swims around a curve and right into a SEVERED HUMAN ARM ! AIR BUBBLES BLAST out of his mouth as he SCREAMS . The fingers on the dead hand seem to reach out for him . He fights his way past and swims off in a panic .</scene_description> </scene> <scene> <stage_direction>BALLAST - NIGHT</stage_direction> <scene_description>Trillian stares down into the water . Hanover keeps a sharp , nervous eye back down the catwalk , white - knuckling his pulse rifle . Chin and Mamooli keep watch , tight lipped . Canton paces back and forth , driven by anxiety .</scene_description> <character>HANOVER</character> <dialogue>Stop pacing.</dialogue> <scene_description>Canton acts as if he does not hear . He keeps pacing . Hanover chops sharply with the stock of his rifle into Canton 's arm . Canton crumbles against the railing , in pain .</scene_description> <character>CANTON</character> <dialogue>AAAAHHHH!</dialogue> <character>HANOVER</character> <dialogue>You deaf?</dialogue> <character>TRILLIAN</character> <dialogue>Why do n't you back off?</dialogue> <character>HANOVER</character> <dialogue>You want some too?</dialogue> <scene_description>Hanover 's jaw clenches . He releases the safety on his rifle , the click resounding ominously in the hollow room .</scene_description> <character>TRILLIAN</character> <dialogue>How brave we are.</dialogue> <scene_description>Trillian 's eyes fix on Hanover 's , unwavering . A Mexican standoff .</scene_description> <character>MAMOOLI</character> <dialogue>Hanover!</dialogue> <scene_description>Everyone turn to . A giant ball of black , wet , OOZING RUBBER UNDULATES down the gangway . Coming straight at them . A mass of glistening striated MUSCLE .</scene_description> <character>HANOVER</character> <dialogue>Fire!</dialogue> <scene_description>The three men open up with their pulse rifles . The CREATURE gets RIPPED TO SHREDS . Red and blue INK - BLOOD SPLATTERS everywhere . But onward it comes . Down the gangway . Trillian grabs the pistol off Chin 's utility belt , and opens fire . Canton jumps into the water and disappears .</scene_description> </scene> <scene> <stage_direction>KITCHEN - NIGHT</stage_direction> <scene_description>Finnegan explodes to the surface . GASPING for air . He reaches down and yanks a half drowned Pantucci up next to him . They both look up to gunfire exploding in the distance .</scene_description> </scene> <scene> <stage_direction>BALLAST ROOM - NIGHT</stage_direction> <scene_description>The creature keeps coming . The mercs keep firing . Then without warning Hanover drops his rifle and dives into the water , disappearing beneath the surface . Trillian is astounded . She throws down her pistol , picks up the pulse rifle , and slams on the trigger . The recoil of the rifle throws her into the water . When she surfaces , she sees Chin and Mamooli , firing as they retreat to the water 's edge . Still holding her rifle , she dives .</scene_description> </scene> <scene> <stage_direction>UNDERWATER - NIGHT</stage_direction> <scene_description>Trillian swims down a violently SHAKING PASSAGEWAY . Eyes wide . Filled with fear . All around , DEBRIS DROPS through the water . Primordial SOUNDS REVERBERATE off the walls . Lots of BUBBLING and GURGLING - THEN SOMETHING LUNGES OUT ! TRILLIAN OPENS UP . FIRING wildly . The water fills with FIRE and BUBBLES . Trillian looks around . Scared shitless . The bubbles clear just in time for her to see - Chin , mouth open , eyes wide , screaming in agony , being ripped past her . She tries to fire her rifle . Too late . Trillian watches as Chin VANISHES down the shaft in a CLOUD OF BUBBLES .</scene_description> </scene> <scene> <stage_direction>KITCHEN - NIGHT</stage_direction> <scene_description>TRILLIAN BURSTS to the surface . FINNEGAN YANKS her up and out of the water .</scene_description> <character>FINNEGAN</character> <dialogue>You O.K?</dialogue> <scene_description>Trillian can only nod , and gasp for breath . Canton and Hanover catch their breath , PANTING AWAY , waterlogged . Hanover reaches over to retrieve the rifle in Trillian 's hand . Trillian points the barrel at him , and hits the safety .</scene_description> <character>TRILLIAN</character> <parenthetical>( grim . )</parenthetical> <dialogue>Finders keepers.</dialogue> <scene_description>Mamooli bursts out of the water , falling on the floor , close to panic mode .</scene_description> <character>MAMOOLI</character> <dialogue>Where's Chin?</dialogue> <character>TRILLIAN</character> <dialogue>Gone.</dialogue> <character>MAMOOLI</character> <dialogue>This is not real! This is not bloody real!</dialogue> <scene_description>Finnegan TOPPLES a large , heavy metal BROILER onto the open floor gate , sealing the watery hole in the floor . There are two hatches in this room . The far hatch is closed . Mamooli stands next to an OPEN HATCH . Canton points to it .</scene_description> <character>CANTON</character> <dialogue>Through there. another sixty, seventy yards. there are more elevators there.</dialogue> <character>PANTUCCI</character> <dialogue>I ai n't goin' up no more elevators.</dialogue> <character>CANTON</character> <dialogue>There's stairways.</dialogue> <scene_description>Mamooli SLAMS the HATCH SHUT . Eyes bugging out of his head .</scene_description> <character>MAMOOLI</character> <dialogue>I say we stay right here!</dialogue> <character>PANTUCCI</character> <dialogue>Are you crazy?</dialogue> <character>MAMOOLI</character> <parenthetical>( desperate . )</parenthetical> <dialogue>There's plenty of food here. We can hold out. someone'll rescue us.</dialogue> <character>FINNEGAN</character> <dialogue>Who?</dialogue> <character>MAMOOLI</character> <dialogue>Someone. maybe they sent an SOS!</dialogue> <character>PANTUCCI</character> <dialogue>On what? This son of a bitch.</dialogue> <parenthetical>( to Canton . )</parenthetical> <dialogue>zapped the communications.</dialogue> <character>HANOVER</character> <dialogue>Mamooli stand down!</dialogue> <character>MAMOOLI</character> <dialogue>We do n't even know if his boat is still there. you saw Billy!</dialogue> <character>FINNEGAN</character> <dialogue>Boat or no boat. I'm going.</dialogue> <scene_description>Finnegan steps forward . Mamooli aims his rifle right at Finnegan 's head .</scene_description> <character>MAMOOLI</character> <dialogue>They're wipin' us out one at a time. I say we make a stand. Right here! Right now! Maximum firepower!</dialogue> <character>PANTUCCI</character> <dialogue>Somebody shoot this jerk!</dialogue> <character>FINNEGAN</character> <parenthetical>( calm . )</parenthetical> <dialogue>Nobody's shooting nobody. come on, just let us through the hatch!</dialogue> <character>MAMOOLI</character> <dialogue>I'll kill you! I'll fucking kill you! I'll do it! I'll do it! I'm not playin' around here!</dialogue> <scene_description>Finnegan freezes . CLOSE ON : The hatch . As a BLACK LIQUID starts to OOZE through a tiny latch - hole . No one sees it .</scene_description> <character>FINNEGAN</character> <dialogue>I once saw a guy put a fish in a bottle, then he corked it, sealing it tight, and threw it to a baby octopus. The little sucker felt its way around that bottle, and in less than two minutes, got that cork off, slid inside, and ate that fish.</dialogue> <character>MAMOOLI</character> <dialogue>What the hell are you talking about?</dialogue> <character>FINNEGAN</character> <dialogue>Us. I'm talking about us. We're the fish.</dialogue> <scene_description>The LIQUID SHADOW OOZES down and hits the floor , starts to EXPAND , filling like a water balloon . It 's not a liquid . It 's a Tentacle . VEINS , FEELERS and SUCKERS begin to form .</scene_description> <character>MAMOOLI</character> <dialogue>And what? These things are octopuses</dialogue> <character>FINNEGAN</character> <dialogue>I do n't know what these things are. all I know is.</dialogue> <scene_description>The TENTACLE slowly RISES UP right behind Mamooli . Inches behind his head . Finnegan and Hanover see it . Eyes widening .</scene_description> <character>MAMOOLI</character> <dialogue>What? What?</dialogue> <scene_description>Mamooli turns to the tentacle looming over him , about to strike .</scene_description> <character>MAMOOLI</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>EEEEYYYYYAAAAHHHH!</dialogue> <scene_description>He opens fire , emptying his clip into the tentacle . The tentacle retreats into the pipes . Mamooli looks around . The room is empty . He runs out .</scene_description> </scene> <scene> <stage_direction>PASSAGEWAY - NIGHT</stage_direction> <scene_description>Mamooli rushes into the empty passageway , looks left . Then right . His POV . Down the hall another TENTACLE comes racing at him . Mamooli panics , drops his rifle . TRACK WITH Mamooli racing down the hallway , looking over his shoulder in fear , as the tentacle comes racing after him . gaining . gaining . almost on him . Mamooli leaps through an open hatch , and swings it shut in one swift motion . The tentacle slams into the glass portal . Stopped . Mamooli keeps his eye on the portal , and backs up two steps . He lets out a long deep breath of relief , turns . WHAM ! Another tentacle envelops his face !</scene_description> <character>MAMOOLI</character> <dialogue>EEEYYYAAAHHHH!</dialogue> </scene> <scene> <stage_direction>MECHANICAL CHAMBER - NIGHT</stage_direction> <scene_description>Dante 's Inferno : STEAM , SMOKE , FIRE , STRANGE NOISES , DARK AREAS , and lots of MOVING ENGINE PARTS . Finnegan leads , followed by Trillian , Hanover , Pantucci , and Canton . We can HEAR their HEARTS BEATING . Scary shit . Finnegan heads for a open HATCH . It suddenly SLAMS SHUT . He instantly VEERS down another passageway .</scene_description> <character>PANTUCCI</character> <dialogue>What the hell is going on!</dialogue> <scene_description>Finnegan heads for another open HATCHWAY . It also SLAMS SHUT .</scene_description> <character>FINNEGAN</character> <dialogue>They're herding us.</dialogue> <scene_description>Finnegan and company keep going .</scene_description> <character>HANOVER</character> <dialogue>What are you talking about?</dialogue> <scene_description>As they round a corner , the CEILING IMPLODES right in front of them . PIPES and OTHER MATTER CRASH down . Cutting them off . Leaving only one route open . a slim passageway .</scene_description> <character>FINNEGAN</character> <dialogue>Like cattle.</dialogue> <character>TRILLIAN</character> <dialogue>You're saying they can think?</dialogue> <character>FINNEGAN</character> <dialogue>I'm saying they're calling the shots.</dialogue> <scene_description>Finnegan heads toward the passageway .</scene_description> <character>CANTON</character> <dialogue>Do we have to go there?</dialogue> <scene_description>The ceiling left above them begins to torque , and splits . The answer is plain . Everyone runs into the passage just as the ceiling comes down .</scene_description> </scene> <scene> <stage_direction>PASSAGEWAY - NIGHT</stage_direction> <scene_description>Finnegan leads them single - file , they quickly head into a SHAKING narrow void . Fear has led to silence , and unbearable tension . The walls on either side creak , and moan with strange noises .</scene_description> </scene> <scene> <stage_direction>MID-HULL - NIGHT</stage_direction> <scene_description>Finnegan quickly comes out of the CREAKING , MOANING GANGWAY , followed by the others . All the STRANGE NOISES suddenly STOP . Everything gets quiet . Finnegan freezes . Something 's wrong . Everybody looks around . STEAM SHOOTS OUT from multiple pipes . The air is thick with MIST .</scene_description> <character>TRILLIAN</character> <dialogue>What's the matter?</dialogue> <character>FINNEGAN</character> <dialogue>The quiet.</dialogue> <character>HANOVER</character> <dialogue>Maybe we lost them.</dialogue> <character>FINNEGAN</character> <dialogue>Or maybe we're exactly where they want us to be.</dialogue> <scene_description>Finnegan moves on . The others follow . Guns out front . TENSE . They round a huge metal pillar and come face - to - face with a soul - wrenching nightmare . The CREATURES ' NEST - OR STOMACH . Across a small portion of the ship 's midsection , is a huge GELATINOUS WOMB . Imagine a massive thick wall of clear - yellow JELL - O , with hundreds of BLUE VEINS running through it . If it were n't all so horrific , it would be considered beautiful . Inside the womb , A DOZEN HUMANS , passengers , float around in some kind of twisted embryonic state , the living dead . They all seem to be breathing the gelatin . Several TENTACLES WRIGGLE through the stuff ; which divides and re forms in some sort of strange mitosis . Finnegan and the others look at the passengers , horrified . But even more horrifying is that the people can look back at them . Many start to reach out , seemingly in slow motion as their hands ooze through the thick gelatin . Trillian looks sick , trembles in fear .</scene_description> <character>TRILLIAN</character> <dialogue>What is it?</dialogue> <character>FINNEGAN</character> <dialogue>A meat locker.</dialogue> <character>TRILLIAN</character> <dialogue>We ca n't just leave them here.</dialogue> <scene_description>Canton looks like he 's about to throw up , he starts backing away , heading for a side hatch .</scene_description> <character>CANTON</character> <dialogue>I can.</dialogue> <scene_description>In the womb , a Tentacle suddenly approaches a sexy young LADY . The Lady tries to back - pedal away , but because of the gelatin , it 's like one of those nightmares where you can only move in slow motion . The FEELERS GRIP her naked thigh . She tries to scream , but her face is already starting to constrict , her whole body is being paralyzed . Pantucci is so horrified he 's about to cry .</scene_description> <character>PANTUCCI</character> <dialogue>Oh no. oh God please no.</dialogue> <scene_description>The TENTACLE - SAC gloms onto the Lady 's forehead . THROUGH THE SAC we can SEE her SKIN MELTING . The only thing she can move are her EYES , which are bugging - out in absolute horror as she is imbibed alive . Our heroes are frozen in fear . Until the Lady 's EYES LIQUEFY . Trillian burries her head in Finnegan 's shoulder , trying to shut out the horror .</scene_description> <character>FINNEGAN</character> <dialogue>We ca n't do anything for them. Let's go.</dialogue> <scene_description>He begins to lead her toward the hatch . when her eyes recognized the old lady with the orchid in her hair . The old lady seems to see her too . Her hands read out , IMPLORING . Her mouth silently shapes the words : HELP ME ! Just as a tentacle comes creeping toward her .</scene_description> <character>TRILLIAN</character> <dialogue>NOOO!</dialogue> <scene_description>Her rage rises . She hefts her rifle , and starts blasting away .</scene_description> <character>TRILLIAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You wo n't get her! You wo n't!</dialogue> <scene_description>Spitting FLAMES and SMOKE . The BULLETS IMPACT the gelatin . BLASTING IT AWAY . But the bullets only manage to go about twenty feet into the thick shit before gliding to a stop . GELATIN EXPLODES all over the place . TRACER HOLES STREAK through the stuff . But all the bullets are sliding short .</scene_description> <character>TRILLIAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Finnegan. do something! Please!</dialogue> <scene_description>Finnegan looks around and spots the place in the ceiling where most of the Tentacles are coming from . Their long TAILS WIGGLE down from a massive clutter of pipes . A bas - relief of horror . Finnegan reaches over and yanks two thermite grenades off Hanover 's utility belt .</scene_description> <character>HANOVER</character> <dialogue>Finnegan, No!</dialogue> <scene_description>bites the pins and spits them out .</scene_description> <character>FINNEGAN</character> <dialogue>Eat this.</dialogue> <scene_description>He chucks the grenades up into the strange WRITHING FRESCO , safely clear of the passengers .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>FIRE IN THE HOLE!</dialogue> <scene_description>Pantucci and Hanover throw themselves to the floor . Finnegan pulls Trillian down , covering her . BA - WOOM ! GELATIN SPRAYS EVERYWHERE .</scene_description> </scene> <scene> <stage_direction>FUJI MARU - SAME TIME</stage_direction> <scene_description>A loud , creepy , suction - like SOUND is HEARD , that strange pitter - patter of little feet running across the hull . Then the HULL begins to MOAN and CREAK from an UNSEEN PRESSURE .</scene_description> </scene> <scene> <stage_direction>MID HULL - NIGHT</stage_direction> <scene_description>All the MOVEMENT STOPS . The remaining TENTACLES VANISH into the machinery . Pantucci , and Hanover look up from the floor , covered in slime . Finnegan and Trillian also look up . and then look at each other face to face . inches apart . Dripping with slime .</scene_description> <character>FINNEGAN</character> <dialogue>Looking good.</dialogue> <character>TRILLIAN</character> <dialogue>You should talk.</dialogue> <scene_description>Then the machinery shuts down . The engines go dead . ALL SOUND CUTS OUT . An expectant hush . Somewhere , WATER DRIPS . WE GO EXTREMELY CLOSE ON Trillian 's EYES . Pantucci 's EYES . Hanover 's EYES . Finnegan 's EYES . The air is riddled with ominous expectation . And that 's when the HULL BEGINS TO TORQUE . RIVETS POP and SNAP . WATER SPRAYS . METAL BUCKLES . At the far end of the ship , part of the LOWER BOW RIPS OPEN ! AND A WALL OF WATER RUSHES IN . FLOOD CITY ! Finnegan 's eyes widen as he sees -LRB- MODEL SHOT -RRB- the massive WAVE OF WATER CRASHING TOWARDS THEM . RIPPING OUT PIPES , DUCTS , WALLS , EQUIPMENT and EVERYTHING in front of it .</scene_description> <character>FINNEGAN</character> <dialogue>GO! GO! GO!</dialogue> <scene_description>They all hightail it for hatches . Finnegan and Trillian make it into one hatch . Hanover and Pantucci make it into another . WATER CRASHES and SPRAYS behind them .</scene_description> </scene> <scene> <stage_direction>FUJI MARU - NIGHT</stage_direction> <scene_description>Massive AIR BUBBLES EXPLODE out from under the bow .</scene_description> </scene> <scene> <stage_direction>FUJI MARU - NIGHT</stage_direction> <scene_description>RED WARNING LIGHTS FLASH up and down every passageway . And a CLAXTON RINGS , in accelerating tones , giving a frenetic urgency to ALL OF THE</scene_description> </scene> <scene> <stage_direction>A PASSAGEWAY:</stage_direction> <scene_description>WATER BLASTS through a hatch and CHASES Finnegan and Trillian down a passageway . They jag left at an intersection - WATER BLASTS through the hatch directly in front of them .</scene_description> <character>FINNEGAN</character> <dialogue>We're going to sink! We've got to get on deck!</dialogue> <scene_description>They backtrack . Trillian 's now in the lead . They HAUL ASS down a hallway . WATER ROARING IN from everywhere behind them . All of the watertight HATCHES begin to hydraulically CLOSE . Trillian and Finnegan JAG into a hatch . It 's a small room . The hatch in front of them closes . WATER BLASTS in behind them . SWEEPS them off their feet . The ROOM quickly starts to FILL UP . Trillian pulls frantically at the hatch .</scene_description> </scene> <scene> <stage_direction>NARROW PASSAGEWAY - NIGHT</stage_direction> <scene_description>Hanover and Pantucci quickly slog their way through knee - high water . Pantucci stumbles into the water , frantically scrambles up . He looks back - UNDER THE WATER , INKY FORMS hurl themselves down the passageway right towards him . Pantucci YELPS , and splashes away .</scene_description> </scene> <scene> <stage_direction>SUBMERGING ROOM - NIGHT</stage_direction> <scene_description>Trillian and Finnegan pull with all their might on a tiny portal . Finnegan tries to insert the blade of his knife in the crack .</scene_description> <character>TRILLIAN</character> <dialogue>So how do you get from the Bronx to the South China sea?</dialogue> <character>FINNEGAN</character> <dialogue>You quit high school, lie about your age, join the navy, and next thing you know, four years are up and you need a way to make a living.</dialogue> <scene_description>The knife blade slips into the crack .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'll break the seal! Pull.</dialogue> <scene_description>He yanks the blade . Trillian pulls . The seal pops . The portal flies open . Waist - high in water , Trillian sticks her arm out , tries to get her shoulder out , but there 's no chance in hell of that .</scene_description> <character>TRILLIAN</character> <dialogue>Too small!</dialogue> <scene_description>She pulls her arm out . And a TENTACLE LUNGES IN . Just missing Trillian . It SPLASHES under the water . GRABS Finnegan 's ankle . Pulls him under . FINNEGAN sticks the barrel of his gun underwater and OPENS FIRE . WATER EXPLODES . The Tentacle recoils . And rips itself back out the porthole . Trillian SLAMS the PORTHOLE SHUT and dogs it tight . The WATER QUICKLY RISES .</scene_description> </scene> <scene> <stage_direction>PASSAGEWAY - NIGHT</stage_direction> <scene_description>Pantucci and Hanover hauling ass . Hanover pulls out his last two Thermite grenades . Pantucci panics and grabs for them .</scene_description> <character>PANTUCCI</character> <dialogue>Gim me one! Gim me one!</dialogue> <scene_description>He knocks both of them out of Hanover 's hands . They DISAPPEAR under the water .</scene_description> <character>HANOVER</character> <dialogue>You idiot!</dialogue> <scene_description>They quickly fumble around in the water , trying to find them . A TENTACLE BLASTS around the corner . Partially obscured by the wave in front of it . Heading right for them . Hanover finds the two grenades . Gives one to Pantucci . They rip the pins out and toss the grenades behind them . Then HAUL ASS faster . The Tentacle right behind them . A BEAT . And then the GRENADES EXPLODE , BA - WOOM ! BA - WOOM !</scene_description> </scene> <scene> <stage_direction>FUJI MARY - NIGHT</stage_direction> <scene_description>The storm hammers the deck . Canton staggers out onto the RAIN SLICKED DECK just in time to see - A HOLE BEING BLOWN OUT the side of the Fuji Maru 's HULL . BUBBLES continue to EXPLODE OUT from under the bow .</scene_description> <character>CANTON</character> <dialogue>Oh my God, it's going to sink.</dialogue> <scene_description>Then slowly , Canton gets a gleam in his eye , now thrilled .</scene_description> <character>CANTON</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's going to sink.</dialogue> </scene> <scene> <stage_direction>SUBMERGED ROOM - NIGHT</stage_direction> <scene_description>Finnegan and Trillian are getting banged around the frothy WATER as it quickly RISES . Now only inches from the ceiling . Trapped . They 're about to drown . Finnegan keeps looking around , trying to figure a way out .</scene_description> <character>TRILLIAN</character> <dialogue>I was so goddamn close, Finnegan! So goddamn close to my island. I could almost taste the sand.</dialogue> <character>FINNEGAN</character> <dialogue>Keep tasting.</dialogue> <scene_description>Finnegan shoves the pulse rifle to the ceiling . And blasts away until part of the ceiling falls out and into the water . There 's just enough room between two metal beams to get out . The rising WATER SHOVES them up through the hole .</scene_description> </scene> <scene> <stage_direction>PASSAGEWAY - NIGHT</stage_direction> <scene_description>Side - by - side , Hanover and Pantucci quickly slog their way through waist - high water . They round a corner and look back - INKY FORMS SLOSH around the corner . Heading right for them . They slog faster .</scene_description> <character>PANTUCCI</character> <dialogue>They're catchin' up! They're catchin' up! We got ta slow'em down!</dialogue> <character>HANOVER</character> <dialogue>Feed them. That'll slow them down.</dialogue> <scene_description>A black STRIATED MUSCLE ROILS out of the foamy water , then quickly VANISHES under it , heading straight for them .</scene_description> <character>PANTUCCI</character> <dialogue>Feed'em?! Okay! All right! Feed'em what? WHAT ARE WE GON NA FEED</dialogue> <scene_description>'EM ?! Hanover takes his pistol and SHOOTS Pantucci in the leg , BLAM ! Pantucci SCREAMS . FALLS into the water . Hanover RUNS on . Pantucci does n't even have time to deal with the pain . He starts SCRAMBLING through the water . UNDERWATER , the INKY FORMS RACE AFTER HIM . Only meters away . Pantucci throws himself into the opening of a dumbwaiter . SLAMS the DOOR SHUT . The TENTACLE ATTACKS the door . WORMING its way across the surface , trying to find a way inside . Pantucci is scared beyond his pain . Pushing back as far as he can against the rear wall , he sees the control button . He presses the up arrow . The dumbwaiter starts to move .</scene_description> </scene> <scene> <stage_direction>FUJI MARU REAR DECK - DAY</stage_direction> <scene_description>The Saipan is still bobbing behind the Fuji Maru . But the HARPOON HOOK , which holds the tow - line and is embedded into the rear deck of the ship , is starting to PRY LOOSE . It JERKS and BUCKS against the metal wall . Canton does n't notice this as he slips and slides his way up to the railing . He sees the Saipan and smiles . Then he looks off at - AN ISLAND rising out of the ocean . About a mile away . Canton starts to climb over the railing . And that 's when the HARPOON HOOK RIPS FREE . WHIZZES FORWARD . And IMPALES Canton 's LEG . He SCREAMS . Tries to spin free . The hook hangs onto his leg for a long , agonizing BEAT as Canton continues to SCREAM . Then the HOOK RIPS FREE , grabs the METAL RAILING and starts TEARING IT off the deck . Canton drops to the deck , holding his leg and whimpering in pain . And then he sees it - A SPEEDBOAT dangling from its harness down on the watersports platform . Canton starts to crawl for it . Moaning and bleeding .</scene_description> </scene> <scene> <stage_direction>CRYSTAL POOL DECK - NIGHT</stage_direction> <scene_description>Finnegan and Trillian race up onto the pool deck . Passing beneath a colorful NEON SIGN which READS : `` THE FUJI MARU - YOUR FUN SHIP '' In the dark , Trillian trips . She falls to the slippery , waterlogged deck , and SCREAMS .</scene_description> <character>TRILLIAN</character> <dialogue>EEEEEYYYYYAAAAHHHH!</dialogue> <scene_description>clawing at her face . Finnegan pulls her hands from her face . and the thing that attached itself there . a small squid from the shattered aquarium .</scene_description> <character>TRILLIAN</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( freaked . )</parenthetical> <dialogue>Ah. ah. ah.</dialogue> <scene_description>Tries to catch her breath .</scene_description> <character>FINNEGAN</character> <dialogue>It's OK. it's not one of them. it's from the aquarium. it's.</dialogue> <scene_description>And then it dawns on Finnegan .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's not them. it's it.</dialogue> <character>TRILLIAN</character> <dialogue>What?</dialogue> <character>FINNEGAN</character> <dialogue>You know what kind of force it took to rip open the bow of this ship? A million little things like this.</dialogue> <scene_description>He holds up the squid .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>ca n't exert that kind of pressure. And the way it tracked us? A million little things do n't carry portable phones to coordinate positions. What's chasing us. it's one. thing. one giant. thing.</dialogue> </scene> <scene> <stage_direction>ARIAL POV - MATTE FX SHOT - NIGHT</stage_direction> <scene_description>looking down on the Fuji Maru from high up in the air . Beneath the ENTIRE SHIP is an enormous , undulating BLACK SHADOW . A massive monster from the deep .</scene_description> </scene> <scene> <stage_direction>CASINO - NIGHT</stage_direction> <scene_description>RED WARNING LIGHTS FLASH . The CLAXTON RINGS . Off to one side of a wall , behind the bar , the dumbwaiter door opens , and Pantucci tumbles out , looks around , and then hears .</scene_description> <character>HANOVER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Help! Help!</dialogue> <scene_description>Pantucci limps around the bar , down a row of one armed bandits . rounds a corner , comes face - to - face with Hanover . Hanover 's eyes are filled with terror and despair . His face is badly constricted . His body paralyzed . He clings to a black - jack table as a Tentacle - Sac drinks its way up his leg . It 's already to his hip . He grasps desperately for his pistol , just beyond his reach on the floor . This guy ai n't gon na survive . PANTUCCI YELPS and quickly back away , eyes wide , totally tense . He looks around , sees that there 's only one Tentacle , and it 's completely occupied with devouring Hanover . Pantucci is wigged , but manages to lock eyes with Hanover . Then he looks at the Sac , filled with regurgitated flesh .</scene_description> <character>PANTUCCI</character> <dialogue>even you do n't deserve this.</dialogue> <scene_description>Pantucci picks up Hanover 's pistol . Then slowly , cautiously , he creeps forward , and sticks the gun into Hanover 's TWITCHING HAND .</scene_description> <character>PANTUCCI</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm sorry man.</dialogue> <scene_description>He turns and quickly limps off . Hanover 's EYES look down at the gun in his hand . Then , with all the strength he has left , he slowly , painfully , turns the pistol so it points at his head . CLOSE ON : Hanover 's trembling FINGER . As it slowly squeezes the trigger . He want to kill himself . Needs to hill himself . He squeezes harder . The TRIGGER DEPRESSES ! - CLICK ! The gun is empty . Hanover 's mouth opens in a horrible , silent scream .</scene_description> </scene> <scene> <stage_direction>REAR DECK - SAME TIME</stage_direction> <scene_description>Finnegan and Trillian race out onto the rear deck just as the HARPOON HOOK finishes TEARING the railing off the ship . The HOOK , the TOW - LINE , and the ENTIRE RAILING DROP over the side and fall OUT OF SIGHT . The TWO BOATS are now UNCOUPLED . Finnegan reels at the rain soaked sky .</scene_description> <character>FINNEGAN</character> <dialogue>Will somebody give me a break here?</dialogue> <scene_description>And that 's when Finnegan and Trillian hear the SOUND of a HYDRAULIC HOIST . They look over -</scene_description> </scene> <scene> <stage_direction>AT THE WATERSPORTS PLATFORM:</stage_direction> <scene_description>The speedboat is being hydraulically lowered into the water . Canton sits inside , fiddling with the ignition . ANGLE ON : Trillian and Finnegan racing down the spiral stairs leading to the watersports platform .</scene_description> <character>TRILLIAN</character> <dialogue>Wait! Stop!</dialogue> <scene_description>The boat touches down into the water .</scene_description> <character>CANTON</character> <dialogue>I'd like to but I have an appointment with my insurance broker!</dialogue> <scene_description>He HITS the HOIST - RELEASE BUTTON . The speedboat breaks free . Canton HITS the IGNITION . The boat 's ENGINE ROARS .</scene_description> <character>CANTON</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Life takes the damndest turns, does n't it?</dialogue> <scene_description>He red - lines the THROTTLE . The SPEEDBOAT HAULS ASS away from the cruiseliner . Canton steers for the island . Smiling . ANGLE ON : Trillian IN HER RAGE .</scene_description> <character>TRILLIAN</character> <dialogue>You son of a bitch!</dialogue> <scene_description>She grabs Finnegan 's pulse rifle , hefts it to her shoulder .</scene_description> <character>FINNEGAN</character> <dialogue>Look!</dialogue> <scene_description>He forces her to look in the distance . Their POV . The island .</scene_description> <character>TRILLIAN</character> <dialogue>Oh my god! Oh my god! How do we do it? How do we get there?</dialogue> <character>FINNEGAN</character> <dialogue>Not like him.</dialogue> <scene_description>Finnegan points to the water . and an INKY PSEUDOPOD FORM racing after the speedboat underwater .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's the engine. it can hear the engine. it goes for the loudest sound.</dialogue> <scene_description>The Tentacle quickly picks up speed , going faster and faster , getting closer and closer , stretching further and further . Suddenly , behind them , a METALLIC THRASHING SOUND is HEARD . They turn around and look - The hook , the tow - line , and the entire railing have dropped down onto the watersports platform and are tangled up around the two jet skis , trying to tear free - The Saipan is still clinging by its fingernails to the Fuji Maru ! Finnegan races over to a WINCH and grabs the winch - line .</scene_description> </scene> <scene> <stage_direction>SPEEDBOAT - NIGHT</stage_direction> <scene_description>Canton , smiling brightly , peers at the approaching island through the speedboat 's windscreen . So relieved he sings to himself , from the operetta H.M.S. PINAFORE .</scene_description> <character>CANTON</character> <dialogue>Oh we sail the ocean blue, and our mighty ship's a beauty. We are strong men, yes it's true, and responsive to our duty.</dialogue> <scene_description>When . YANK ! the SPEEDBOAT is GRABBED from below , practically exploding as it DISINTEGRATES into TWO PIECES . Canton is PROPELLED through the windscreen and onto the hood .</scene_description> </scene> <scene> <stage_direction>WATERSPORT PLATFORM - NIGHT</stage_direction> <scene_description>Finnegan struggles to clip the winch - line onto the tow - line , hanging precariously over the edge of the ship , clip in one hand , winch - line in the other . The whole METAL MESS is BUCKING and TWISTING and SCREECHING . His every joint is being ripped out of socket as he strains to get the clip on the line before the entire rig tears away into the sea . With one last heroic effort of will and grit , he snaps the clip in place just as it all BREAKS LOOSE . One of the JET SKIS and the ENTIRE RAILING are RIPPED over the side and fall down into the ocean . Finnegan is also YANKED over the side , but he manages to hold on by his fingers , dangling precariously .</scene_description> <character>FINNEGAN</character> <dialogue>Hit it! Hit it!</dialogue> <scene_description>The HOOK and the TOW - LINE drop - then SNAP TAUGHT as the winch - line holds them tight . Trillian throws the start lever on the winch . The WINCH KICKS ON and starts reeling in the Saipan . Finnegan tries to crawl up on the deck , exhausted . Trillian reaches down and pulls him the rest of the way up . He half collapses on top of her .</scene_description> <character>TRILLIAN</character> <dialogue>You know, Finnegan, I'm starting to believe what you said about you not being born to die on a luxury liner.</dialogue> <scene_description>Despite the grimness of their position , the closeness of their bodies is . a turn on . to both of them . and then a SCREAM from the sea . They look in the direction of .</scene_description> </scene> <scene> <stage_direction>SPEEDBOAT - NIGHT</stage_direction> <scene_description>Canton is pinned to the hood of the speedboat , his face shredded by glass , his leg mangled , screaming as his panicked eyes watch a TENTACLE slowly squirm across the hood toward him , it 's hideous feelers writhe and arch . Canton backs away from it as far as he can . Another TENTACLE SQUIRMS up next to him . Canton crawls away from that one . Its Feelers and Suckers unsheathe , dripping mucus . Canton 's eyes widen , horrified . Then another TENTACLE SQUIRMS up . Canton crawls to the center of the hood . And another TENTACLE . Canton has nowhere to go . The Tentacles close in on him .</scene_description> <character>CANTON</character> <dialogue>No! No! No!</dialogue> <scene_description>All the tentacles rise over him , about to descend .</scene_description> <character>CANTON</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>NOOOOOOOOOOOO!</dialogue> </scene> <scene> <stage_direction>FUJI MARU - NIGHT</stage_direction> <scene_description>Finnegan and Trillian race for all they are worth , clamber over the side of the Fuji Maru , dropping to the deck of the Saipan .</scene_description> </scene> <scene> <stage_direction>SAIPAN - NIGHT</stage_direction> <scene_description>Finnegan and Trillian slowly clamber through the hold , waist deep in water , on edge , eyes wide , watching for any sign of trouble . It 's quiet in here . Maybe too quiet .</scene_description> <character>TRILLIAN</character> <parenthetical>( quietly . )</parenthetical> <dialogue>Finnegan.</dialogue> <character>FINNEGAN</character> <dialogue>Yeah.</dialogue> <character>TRILLIAN</character> <dialogue>the minute you start your engines. it's going to kill us, is n't it?</dialogue> <scene_description>They step up to one of the big CRATES . Finnegan starts SMASHING it with the butt of his pulse - rifle . The CRATE BURST OPEN . REVEALING the WARHEAD of the torpedo . Trillian is stunned .</scene_description> <character>FINNEGAN</character> <dialogue>Not unless we kill it first.</dialogue> <scene_description>Finnegan SMASHES more of the CRATE , it falls apart , REVEALING the entire torpedo . He hands her his pulse rifle .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Anything moves, you shoot.</dialogue> <scene_description>Finnegan starts to yank open the top plates of the missile head . Trillian looks around nervously .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>There's not much horsepower left in the engines, but there's enough noise. once this baby's set. I'll rev it up. that slimy bastard will come for it like candy.</dialogue> <character>TRILLIAN</character> <dialogue>If you blow up your boat, how are we going to get to the island?</dialogue> <character>FINNEGAN</character> <dialogue>Jet ski. there's one left up there.</dialogue> <scene_description>The plate comes loose . Revealing a gaggle of wires , and parts .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>let's see, it was red wire cross compressor blue wire. or blue cross red?</dialogue> <scene_description>He starts to fiddle with the wires . - Suddenly , there 's a LOUD SLOSHING SOUND right behind them ! CRATES TOPPLE ! More pulse rifles spill out . Trillian spins , ready to blast away with the pulse rifle , to .</scene_description> <character>PANTUCCI</character> <dialogue>Do n't shoot! Do n't shoot!</dialogue> <character>FINNEGAN</character> <dialogue>Just the man I wanted to see. On this puppy here, you remember if it's red to blue or blue to red.</dialogue> <scene_description>He refers to the wires .</scene_description> <character>PANTUCCI</character> <dialogue>Not even a Joey, I'm glad to see you? Joey, what happened to your leg?</dialogue> <character>FINNEGAN</character> <dialogue>Joey, you want to get sucked out by a giant fucking mutated squid?</dialogue> <character>PANTUCCI</character> <parenthetical>( fast . )</parenthetical> <dialogue>Red cross over to blue double blue. is that what it is? A squid?</dialogue> <character>FINNEGAN</character> <dialogue>Squid. squid like. squid type. it's got tentacles, a feed sac. probably one central nervous processor somewhere. what the hell do I know is going on deep down in the ocean. there's all sorts of shit we've never seen. eighty foot clams. 60 foot sharks. I'm just guessing. can you get me more juice out of Hercules. fast?</dialogue> <character>PANTUCCI</character> <dialogue>For juice, I got ta rebuild. That's not fast.</dialogue> <character>TRILLIAN</character> <dialogue>How about noise? Can you get noise? We do n't need speed, just noise, right?</dialogue> <character>FINNEGAN</character> <dialogue>Right.</dialogue> <character>PANTUCCI</character> <dialogue>Can somebody tell me what the object of the exercise is here?</dialogue> <character>FINNEGAN</character> <dialogue>Seafood salad.</dialogue> <parenthetical>( to Trillian . )</parenthetical> <dialogue>You ever operate a jet ski?</dialogue> <character>TRILLIAN</character> <parenthetical>( nervous . )</parenthetical> <dialogue>You want ME to go up there?</dialogue> <character>FINNEGAN</character> <dialogue>Not unless you can wire a missile or fix an engine.</dialogue> <character>TRILLIAN</character> <dialogue>And what if I run into one of those things?</dialogue> <scene_description>Finnegan tosses her a pulse rifle from the overturned crate .</scene_description> <character>FINNEGAN</character> <dialogue>Do n't forget the safety.</dialogue> <scene_description>She hits the safety , slams a shell into chamber .</scene_description> <character>TRILLIAN</character> <dialogue>Do n't take too long. I'm not planning on being on the menu tonight.</dialogue> <scene_description>and exits .</scene_description> <character>PANTUCCI</character> <parenthetical>( razzing . )</parenthetical> <dialogue>I've never seen you so congenial with a member of the opposite sex. The two of you got a nice patter going. got a nice rapport.</dialogue> <character>FINNEGAN</character> <dialogue>And you got 10 minutes before this thing livens up a boring evening.</dialogue> <scene_description>Finnegan attaches a wire to a sprocket . A red light starts to blink on the warhead .</scene_description> </scene> <scene> <stage_direction>FUJI MARU - NIGHT</stage_direction> <scene_description>It is VERY DARK . The RAIN is getting worse . THUNDER RUMBLES . LIGHTNING FLASHES . The FUJI MARU MOANS and CREAKS . BUBBLES EXPLODE from beneath it . The Saipan rocks against her hull . Trillian clambers along the TILTING RAILING , heading for the watersports platform . Her gorgeous eyes shift nervously .</scene_description> <character>TRILLIAN</character> <dialogue>I'm going to be OK. I'm going to be</dialogue> <scene_description>OK . The ship 's METAL HULL SCREECHES . The SEAWATER BUBBLES and GURGLES . From somewhere deep inside the ship , we HEAR that loud primordial YOWL again . Trillian freezes , her heart double beats . She looks around , really scared .</scene_description> </scene> <scene> <stage_direction>SAIPAN'S HOLD - NIGHT</stage_direction> <scene_description>The missile is on a hoist being pushed forward by Pantucci and Finnegan toward a GAPING HOLE in the PORT BOW .</scene_description> <character>PANTUCCI</character> <dialogue>You know what I think? I think our luck has just about run shit out.</dialogue> <character>FINNEGAN</character> <dialogue>A little to the left.</dialogue> <character>PANTUCCI</character> <dialogue>I think we got ta stop floating from one fucked up situation to the next.</dialogue> <character>FINNEGAN</character> <dialogue>Line it up now, nice and easy.</dialogue> <scene_description>The missile head is right in line with the hole in the bow .</scene_description> <character>PANTUCCI</character> <dialogue>I'm telling you, man, we got to give the future some serious thought.</dialogue> <character>FINNEGAN</character> <dialogue>I have been.</dialogue> <character>PANTUCCI</character> <dialogue>And what have you come up with?</dialogue> <character>FINNEGAN</character> <dialogue>How does an island sound to you?</dialogue> <scene_description>Pantucci looks at Finnegan quizically . This is news to him .</scene_description> </scene> <scene> <stage_direction>SAIPAN - NIGHT</stage_direction> <scene_description>The TIP of the WARHEAD creeps out through the hole . The body of the missile is just a hair too wide , which is good , because it jams itself nice and tight into the hole .</scene_description> </scene> <scene> <stage_direction>WATERSPORT PLATFORM - NIGHT</stage_direction> <scene_description>Trillian takes the tarp off the remaining jet ski . Pushes the swivel arm that holds it out over the railing . The PLATFORM TILTS ! Trillian loses her balance . Almost goes over the side . Just barely manages to catch herself . Hangs there for a moment . Something SWISHES in the water below her . Trillian 's EYES scan the darkness ; scared sick .</scene_description> </scene> <scene> <stage_direction>THE SAIPAN'S PILOT HOUSE - NIGHT</stage_direction> <scene_description>Finnegan LASHES the STEERING - STICKS as hard left as they 'll go . The rudder locks tight . Pantucci enters .</scene_description> <character>PANTUCCI</character> <dialogue>I gerry - rigged the ignition. all you got ta do is start her up. it wo n't go fast but it'll go loud.</dialogue> <scene_description>Trillian 's scream tears through the night . Finnegan 's eyes go to the Fuji Maru . He kicks open a box by the side of the console , and pulls out a sawed off shot gun with a pistol handle in a holster .</scene_description> <character>PANTUCCI</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Man, do n't go up there.</dialogue> <character>FINNEGAN</character> <dialogue>One whistle. Start the engine.</dialogue> <scene_description>Finnegan slams shells into the shotgun .</scene_description> <character>PANTUCCI</character> <dialogue>She's gone.</dialogue> <character>FINNEGAN</character> <dialogue>Second whistle you make it to the deck and get ready to jump.</dialogue> <character>PANTUCCI</character> <dialogue>All you're gon na do is get yourself killed. and for what? Some chick?</dialogue> <character>FINNEGAN</character> <dialogue>You're beautiful what you're jealous, you know that, Joey?</dialogue> <scene_description>Finnegan hefts a pulse rifle , and runs out of the pilothouse .</scene_description> </scene> <scene> <stage_direction>FUJI MARU DECK - NIGHT</stage_direction> <scene_description>Finnegan drops onto the deck from the tow line . Pulse - rifle leveled . Adrenaline rushing through his veins . A man on a mission . The SHIP is in its final death throes . MOANING and CREAKING . Trillian 's scream pierces the night , followed by several shots . Finnegan takes off in it 's direction .</scene_description> </scene> <scene> <stage_direction>FUJI MARU PASSAGEWAY - NIGHT</stage_direction> <scene_description>Finnegan ENTERS . Ready to be jumped . The scary MUSIC builds . TENSION CITY . Again shots fired . This time closer . Finnegan throws caution to the winds , and runs for all he is worth .</scene_description> </scene> <scene> <stage_direction>HALLWAY - NIGHT</stage_direction> <scene_description>Trillian is being dragged down the dark hallway by a tentacle wrapped around her legs . She struggles frantically , trying to get a clear shot off . But her shot goes wild as she is pulled this way and that , slammed against the walls on either side . She loses her rifle .</scene_description> </scene> <scene> <stage_direction>GRAND ATRIUM - NIGHT</stage_direction> <scene_description>Finnegan ENTERS the glass - domed atrium . Sloshes through the water . Stops in the middle and looks around . Sees a Tentacle , writhing up a glass wall of the atrium . Finnegan hears TRILLIAN SCREAM . He quickly plants his feet and FIRES from the hip . GLASS SHATTERS EVERYWHERE . He arcs around . WINDOWS BLOW TO PIECES . Finnegan lets out a low , angry , guttural YELL . The TENTACLE SHREDS from the GUNFIRE .</scene_description> </scene> <scene> <stage_direction>HALLWAY - NIGHT</stage_direction> <scene_description>The tentacle dragging Trillian retracts . Freed , Trillian gets up , grabs her rifle , and RUNS LIKE HELL .</scene_description> </scene> <scene> <stage_direction>FRISCO BAR - NIGHT</stage_direction> <scene_description>Trillian runs in and is immediately hit by COLORFUL SWIRLING LIGHTS and a PULSATING STROBE . FLASHING RED WARNING LIGHTS , the SOUND of the CLAXTON , the SPRAYING WATER and thick MIST . major psychedelia . Disoriented , Trillian runs towards a dark exit door - and into a geometric gelatinous SPIDER WEB . Sticks .</scene_description> <character>TRILLIAN</character> <dialogue>NOOO! NOOOO! HELPP! HELPP!</dialogue> </scene> <scene> <stage_direction>ATRIUM - NIGHT</stage_direction> <scene_description>Finnegan is slamming another clip into his pulse rifle when he hears TRILLIAN , YELLING for help . He takes off running through a hatch .</scene_description> </scene> <scene> <stage_direction>FRISCO BAR - NIGHT</stage_direction> <scene_description>Trillian struggles in the web , but she 's only getting herself more stuck . Behind her , deep in the web , Tentacles slowly start squirming their way towards her . Trillian feels the GELATIN start to MOVE . She struggles wildly . Panicked . Finnegan ENTERS the room . Spots Trillian . Starts sloshing his way through the water . Trillian sees him coming .</scene_description> <character>TRILLIAN</character> <dialogue>Finnegan!</dialogue> <scene_description>Trillian looks back . Sees the Tentacles coming out of the darkness of the web . Twenty feet back and closing .</scene_description> <character>TRILLIAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hurry! Hurry!</dialogue> <scene_description>Finnegan runs up and grabs her . Tries to pull her free . But she 's stuck good . He looks behind her to the tentacles quickly closing in on her . Now fifteen feet away .</scene_description> <character>TRILLIAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Get me out of here!</dialogue> <scene_description>As she struggles , Finnegan pulls out his knife , and starts to hack away at the sticky webbing . Trillian tries to look behind her .</scene_description> <character>FINNEGAN</character> <dialogue>Do n't look! Push!</dialogue> <scene_description>Trillian struggles with every last ounce of her strength . Now ten feet away .</scene_description> <character>TRILLIAN</character> <dialogue>FINNEEGGGAANNN!</dialogue> <scene_description>Finnegan hacks away with desperate urgency . Now five feet .</scene_description> <character>FINNEGAN</character> <dialogue>Grab my hands!</dialogue> <scene_description>Finnegan plunges his hands into the goo . Trillian latches onto Finnegan 's wrists , he onto hers . Four feet .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Push! Push!</dialogue> <scene_description>Finnegan strains , pulling , until every muscle in his body keens with the effort , every vein pops to the surface . Trillian pushes for all she is worth . Three feet . two feet . one foot .</scene_description> <character>BOTH</character> <dialogue>YYYEEEAAAHHH!</dialogue> <scene_description>With a last gargantuan effort , Finnegan yanks . Trillian comes tearing out of the webbing . the remnants of her gown does n't . in the nick of time . The tentacle rushes forward . Finnegan jams his pulse - rifle into the web and OPENS FIRE . Blasting the entire clip into the goo . Tearing the shit out of it . BAMBAMBAMBAMBAM ! And that 's when the whole ROOM starts to QUAKE . And SHAKE ! Finnegan and Trillian both look down at their feet as they hear the LOWER DECKS EXPLODING UPWARD , one at a time - BAM ! - BAM ! - BAM ! Something is rising up through the ship . He grabs Trillain and pulls her toward the exit . She scoops her fallen pulse rifle off the floor .</scene_description> <character>FINNEGAN</character> <dialogue>Go! Go! Go!</dialogue> <scene_description>He shoves her out the door , and is about to follow when the door is slammed shut in his face .</scene_description> <character>TRILLIAN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Finnegan!</dialogue> <character>FINNEGAN</character> <dialogue>Get to the jet ski! Go!</dialogue> </scene> <scene> <stage_direction>HALLWAY - NIGHT</stage_direction> <scene_description>Trillian stands there , pulling on the door , half naked . The door is bolted tight . She has not other options . She runs off .</scene_description> </scene> <scene> <stage_direction>FRISCO BAR - NIGHT</stage_direction> <scene_description>Finnegan turns as the DANCE FLOOR and the D.J. BOOTH EXPLODE as SOMETHING RISES UP from below them . His eyes widen . And there it is - The huge , horrible , mutated , mucus - covered , sucker - faced HEAD OF THE CREATURE . A giant mutated protoplasm . Jutting up from a breach in the floor . The trunk of the Creature , the part where all the Tentacles come from , is below the next deck . A slimy , translucent MEMBRANE slowly RISES , REVEALING what appears to be some sort of ORGANIC LIQUID EYE . It seems to stare right at Finnegan , who is transfixed by the sight . A Tentacle slowly starts to move in on Finnegan . Finnegan starts making his way around the shattered debris that blocks his shot . The EYEBALL - type organism follows him . Another Tentacle starts to move . Silently undulating through the water towards Finnegan . The membrane over the EYE moves . And another Tentacle starts to close in for the kill . They are surrounding Finnegan . Finnegan comes around the shattered D.J. booth . Faces the Creature full - on . He ca n't miss . He gives it a wicked smile .</scene_description> <character>FINNEGAN</character> <dialogue>Get a good look.</dialogue> <scene_description>In SLOW - MOTION , Finnegan lifts his pulse - rifle . It DRIPS WATER . He jams the gun - butt into his hip . Takes aim - FIRES ! But he only gets off one quick BURST before a TENTACLE LASHES OUT and GRABS him . JERKS him into the air . His pulse - rifle goes flying . Finnegan is being dragged toward the hole into the floor , and the death that awaits him . He struggles to free himself as the hole looms closer , closer . He is about to disappear down the hole of no return , when his hand comes up with his knife . He slashes the tentacle in two , scrambles up and heads for an open door . As he reaches the door , a tentacle rises up in front of him . Huge . Blocking his way . It 's maw opens wide . A terrifying sight of jaws and teeth and death . About to devour him . As it strikes forward , Finnegan draws his shotgun , and blasts the vile thing to smithereens . He bolts through the door , several Tentacles already after him .</scene_description> </scene> <scene> <stage_direction>WATERSPORTS PLATFORM - NIGHT</stage_direction> <scene_description>Trillian sits up on the jet ski . She hears the GUNFIRE .</scene_description> <character>TRILLIAN</character> <dialogue>FINNEGAN! COME ON!</dialogue> </scene> <scene> <stage_direction>PASSAGEWAY - NIGHT</stage_direction> <scene_description>Finnegan runs wildly down a passageway . He rounds a corner . A TENTACLE SIDE - SWIPES him . Hard . SMASHES him into a wall . Finnegan DROPS the shotgun . Hits the floor running . Another TENTACLES CHECKS him . Sends him SPIRALING through a hatch . Finnegan TUMBLES in . Face - first . Quickly rolls over and looks back - A TENTACLE LASHES in through the doorway . Finnegan back - pedals on his hands and feet , stumbling over various sports equipment . The TENTACLE homes - in on him . CHARGES FORWARD . Finnegan hurls himself backwards . THROWING anything that comes to hand at the Tentacle . A VOLLEYBALL . A WATERSKI . A TACKLE BOX . A FRISBEE . But onward it comes . Finnegan back pedals faster . Over diving gear . Scuba tanks . Fins and masks . The TENTACLE RISES . About to STRIKE . Finnegan backs into the wall . Trapped . He spots a SPEARGUN . Grabs it . The TENTACLE LUNGES . Finnegan FIRES . NAILS IT . PINS IT to the wall . Finnegan scrambles past the furiously WRITHING TENTACLE and runs out of the room .</scene_description> </scene> <scene> <stage_direction>WATERSPORT PLATFORM - NIGHT</stage_direction> <scene_description>Trillian lifts up her feet as the jet ski touches down into the dark water . She frantically whispers to herself :</scene_description> <character>TRILLIAN</character> <dialogue>Oh my God, oh my God.</dialogue> <scene_description>Suddenly , twenty feet from the jet ski , SOMETHING SWIRLS through the water . Trillian aims her pulse - rifle at it . Eyes wide . Knuckles white . Breathing hard . WHAMM ! Something drops onto the ski behind her .</scene_description> <character>TRILLIAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>EEEEYYYYAAAHHH!</dialogue> <scene_description>She turns , ghost white . to Finnegan .</scene_description> <character>FINNEGAN</character> <dialogue>I do n't mean to drop in unannounced. you ready.</dialogue> <character>TRILLIAN</character> <dialogue>Soon as I get over the heart attack.</dialogue> <scene_description>Finnegan whistles . Waits . No engine goes on . He whistles again . Still no response . Removes his watch , gives it to Trillian .</scene_description> <character>FINNEGAN</character> <dialogue>Three minutes. I'm not back. no matter what. you go.</dialogue> <character>TRILLIAN</character> <dialogue>No.</dialogue> <character>FINNEGAN</character> <dialogue>You do n't take orders very well, do you?</dialogue> <character>TRILLIAN</character> <dialogue>I do n't take orders at all.</dialogue> <character>FINNEGAN</character> <dialogue>This time, make an exception.</dialogue> <scene_description>He grabs Trillian 's pulse rifle , and leaps up on the side of the Saipan , and scales up to the deck . Trillian watches him , and then looks at the watch .</scene_description> </scene> <scene> <stage_direction>SAIPAN PILOT HOUSE - NIGHT</stage_direction> <scene_description>Finnegan bursts in .</scene_description> <character>FINNEGAN</character> <dialogue>Pantucci! JOEY!</dialogue> <scene_description>Then he spots something on the floor . He reaches down and picks it up . It 's Pantucci 's leather tool belt . It 's been RIPPED TO SHREDS . Finnegan stares at it . His grip tightening . Tears rising in his eyes . His jaw clenching . Then he flings the belt aside . Filled with rage .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Time to die, motherfucker.</dialogue> <scene_description>Finnegan hits the ignition button . A desperate moment of dry cranking . and then the one remaining engine catches , sputters , and fires to life .</scene_description> </scene> <scene> <stage_direction>FUJI MARU - NIGHT</stage_direction> <scene_description>Trillian hears the Saipan 's engine come to life . She hits the ignition on the jet ski . Right next to her something drops from the deck of the Saipan into the water . Finnegan clambers up in front of her . His pulse rifle still in hand .</scene_description> <character>TRILLIAN</character> <dialogue>Where's you friend?</dialogue> <character>FINNEGAN</character> <dialogue>He's not coming.</dialogue> <scene_description>The Saipan strains on its leashes . ENGINES GUNNING . Finnegan swings his rifle around . OPENS UP on the tie - lines . All the TIE - LINES SHRED . The Saipan starts to break free .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hold on!</dialogue> <scene_description>He GUNS the ski . and it stalls . The jet ski stalls . Goes dead in the water .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh shit!</dialogue> <scene_description>Nearby , the WATER SWIRLS violently . He hammers the starter button .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Come on!</dialogue> <scene_description>The ENGINE STUTTERS . He tries again .</scene_description> <character>FINNEGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Come on!</dialogue> <scene_description>Another STUTTER . More WATER SWIRLS , getting closer now . But the third time 's a charm . The jet ski comes to life and shoots off along the side of the ship . Just as a tentacle comes shooting out of the water . Finnegan fires at it , blowing it to pieces . The last TIE - LINE SNAPS . The SAIPAN LURCHES AWAY from the Fuji Maru . The jammed steering - sticks force the rudder to turn it in a tight circle . Finnegan bears down on the handlebars of the jet ski . Pedal to the metal . Looking straight ahead . Trillian holds on for dead life . Suddenly , a WAVE EXPLODES in front of the jet ski . Finnegan cranks the handlebars . The JET SKI SLEWS SIDEWAYS . The Saipan starts to arc around . The WARHEAD gleams in the MOONLIGHT . Dripping water . Finnegan HAULS ASS away from the Fuji Maru . ENGINE ROARING . Throwing water . Another WAVE EXPLODES . A tentacle rears up . Right in front of the jet ski . Finnegan and Trillian lean hard . The JET SKI SKIDS sideways across the water . BOUNCING HARD . Trillian ca n't hold on . Flips off the back . Skips across the water . Finnegan ROARS away . A tentacle hard on his ass . Trillian pops to the surface . Treads water . Panicked . Watches Finnegan and the jet ski leaving her behind . Finnegan looks back at Trillian . Bobbing in the water . The he looks at the Saipan . Continuing its arc . Its deadly payload racing for the Fuji Maru . Finnegan CRANKS the HANDLEBARS . SMASHES through a wave and heads for Trillian . Trillian sees him and swims hard . The SAIPAN ROARS straight at the Fuji Maru . The warhead perfectly positioned to strike its hull . Only fifty meters away . Now forty . Now thirty - five . Finnegan cuts the motor of the jet ski . Slides up next to Trillian . Grabs her by her arm . Rips her out of the water . Throws her onto the back of the jet ski . Just as a tentacles rises up , lashing out . He GUNS IT . SMASHES through the waves . The WARHEAD SPLASHES through the water . The jet ski hauls ass . ENGINES WHINING OUT . Faster and faster . A HUGE GEYSER OF WATER EXPLODES in front of the jet ski . A tentacle slaps down hard . Finnegan cuts hard . Too late . The JET SKI RAMPS through the geyser . They and the JET SKI TUMBLE and SPLASH across the water . The SAIPAN CHARGES FORWARD . Twenty - five meters away from hitting the Fuji Maru . No twenty meters away . Now fifteen . Finnegan pops to the surface . Looks around . Ca n't find Trillian . He DIVES under the water . His POV : Tentacles converging on him from the murky depths . The `` retrieve '' feature that 's on all jet skis forces it back around towards where Finnegan and Trillian fell off . Finnegan BURST to the surface . Holding Trillian . She looks nearly lifeless . The jet ski heads right at them . Finnegan swims for it . Dragging Trillian . As tentacles converge from all sides . The JET SKI is suddenly SUCKED under the water ! Swallowed whole . Finnegan quickly reverses . Backstrokes like mad . The WARHEAD SLICES through the water . Now only ten meters away from hitting the Fuji Maru . Now nine meters away . Now eight . Seven . Six . Five . Finnegan paddles hard . Sucking in as much water as he is air . A TENTACLE RISES UP out of the water . Looms above Finnegan and Trillian . Dripping water . About to strike . There 's nowhere to hide . Finnegan paddles harder . The TENTACLE starts its DOWNWARD LUNGE . And that 's when the SAIPAN RAMS the Fuji Maru . The WARHEAD SLAMS into its hull . BA - WHOOOOOOMMM ! The SAIPAN EVAPORATES . METAL FLIES . WATER SPRAYS . FIRE FILLS the night sky . The TOP DECK of the Fuji Maru CARTWHEELS across the waves . The Tentacle above Finnegan drops like lead . And just lies there . Quivering . Another EXPLOSION . LIFTS the remains of the FUJI MARU out of the sea . Sends shock waves across the water . Blows Finnegan 's hair back . He swims on . Towards the island . Pulling Trillian . The remains of the SAIPAN and the FUJI MARU SMOLDER and SINK . BUBBLES EXPLODE to the surface . A couple dozen small FIRES dot the waves . WATER SIZZLES and STEAMS . SMOKE drifts into the night sky . Debris coats the water .</scene_description> </scene> <scene> <stage_direction>BEACH - SUNRISE</stage_direction> <scene_description>Finnegan and Trillian crawl out of the water and up onto the beach of the island . They collapse next to each other . Finnegan is exhausted . Trillian coughs up seawater . They both turn and look out to sea , and the rising sun . Trillian reaches into her bra , and pulls out the egg sized diamond . She holds it up . The sun refracts off it brilliantly . Trillian looks at the diamond , looks around at the picture perfect island , the picture perfect sunset . and then she heaves it as far as she can into the sea . For the first time since they know each other there is nobody around . No people . No tentacles . And when they look at each other , something else comes to mind besides survival . Finnegan moves towards Trillian . Trillian moves towards Finnegan . Their lips move closer , closer . And then , down by their feet - SOMETHING EXPLODES OUT OF THE WATER ! Scares the shit out of them . The audience too . But it 's just Pantucci . Looking waterlogged and shell - shocked . Coughing up half the sea . Finnegan and Trillian help him to his feet .</scene_description> <character>PANTUCCI</character> <dialogue>Was it the water in my eyes or were you guys about to.</dialogue> <character>FINNEGAN</character> <dialogue>Joey.</dialogue> <character>PANTUCCI</character> <dialogue>Because it's cool, you know, I can always take a walk or something down the beach.</dialogue> <character>FINNEGAN</character> <dialogue>Joey.</dialogue> <character>PANTUCCI</character> <dialogue>Or I could go for a swim. although, I got ta tell you. if I never get in the water again.</dialogue> <character>BOTH</character> <dialogue>Joey!</dialogue> <character>PANTUCCI</character> <dialogue>OK. OK. you do n't have to beg me. I'll stick around.</dialogue> <scene_description>And then they head the most gut - wrenching , spine - tingling , teeth - shattering ROAR ever . Pure primeval . Like no sound or animal or thing we 've ever hear beofre . Coming from DEEP WITHIN THE ISLAND .</scene_description> <character>PANTUCCI</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Or maybe not.</dialogue> <scene_description>Finnegan , Trillian , and Pantucci slowly turn and look INLAND . We BEGIN TO PULL BACK as they all stand up . MORE STRANGE NOISES ARE HEARD . FROM MULTIPLE UNKNOWN SPECIES . WE KEEP PULLING BACK . REVEALING more of this creepy - looking island . And leaving our three heroes stranded on the beach . WE KEEP PULLING BACK . REVEALING pieces of the smoldering ship . Nearly the whole island is VISIBLE now . Dark jungles . Craggy mountains . Maybe the scariest - looking place on earth .</scene_description> <character>FINNEGAN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What now.</dialogue> <scene_description>The `` THING '' ROARS again . It 's hellacious . AND WE CUT TO BLACK . THE END</scene_description> </scene> </script>

Amidst a storm, Captain John Finnegan and his crew, Joey Pantucci and Leila, are hired by mercenaries Hanover, Mulligan, Mason, Billy, T-Ray, Mamooli, and Vivo to pilot their boat across the South China Sea to an undisclosed location in the middle of the ocean. Meanwhile, the Argonautica, a luxury cruise ship built and owned by Simon Canton, is undertaking its maiden voyage when a saboteur disables the ship's navigation and communication systems. A large object rises from beneath and rams the vessel, leaving it dead in the water, while the panicking passengers are attacked by unseen creatures. Finnegan's boat collides with a speedboat shaken loose during the collision, at which point the mercenaries take over and reveal they intend to rob the Argonautica's passengers and vault, before sinking the ship with torpedoes. The group boards the ship, leaving Leila and Billy behind to repair the boat, where they are both killed by the same creature. The group reaches the ballroom only to find blood and no sign of the passengers. Finnegan and Joey go to the ship's workshop to scavenge parts to repair the boat, under the guard of T-Ray and Mamooli. T-Ray goes off to investigate strange noises and is torn to shreds by the creature. Mamooli contacts Hanover, but is dragged off by the creature; as Joey and Finnegan are escaping they run into Trillian, a passenger who was imprisoned for stealing. Meanwhile Hanover's group reaches the vault and Vivo opens it only to be mistakenly killed by Canton, who was hiding inside the vault along with Captain Atherton, and three other passengers who are shot dead by Mason and Mulligan when they reflexively retaliated against Canton's attack. Canton and Captain Atherton explain to the mercenaries that the ship has been attacked by unknown creatures that killed everyone else on board. Under questioning, Canton is found to be responsible for the ship's sabotage, having hired the mercenaries to sink the unprofitable ship so that he could collect on the insurance. The group is attacked by creatures wielding giant spike-covered tentacles, which eat Captain Atherton. Canton theorizes that the creatures are an extreme evolution of the Ottoia, which drain their victims of their bodily fluids and then eject the carcasses. The creatures attack and the survivors flee; Mason is grabbed by the creature and kills himself by detonating a grenade. Mulligan elects to stay behind in the crew's galley in a last stand, until a rescue party would arrive. While arguing with the others, a creature slipped in through the hood fan, and Mulligan scares it off, but is ambushed and devoured by another. In a running battle with the creature, Trillian saves Finnegan's life and the group of survivors find themselves being herded towards the bow of ship, where they find a "feeding ground" full of bloody skeletal remains. Canton, attempting to rid himself of any witnesses to collect the insurance, misleads the others to the bow while he moves towards an exit route. The creatures break through the hull, causing more flooding of the lower decks and separating the survivors. Hanover shoots Joey and leaves him as bait to save himself, but instead gets grabbed by the creature and devoured. Finnegan and Trillian spot an island from a distance and make it back to Finnegan's boat, but having lost the engine parts, it is useless as a means of escape. Joey returns to the boat and does what he can to effect repairs. Finnegan sets the boat's autopilot to crash into the Argonautica and detonate torpedoes. Trillian returns to the cruise boat and locates a jet ski with fuel they can use to reach the island, but Canton arrives armed with a flare gun. Canton encourages Trillian to join him or hand over the keys but she flees and he chases her. Finnegan also returns to the cruise boat, pursues Canton to the ballroom on the main deck and manages to save Trillian. The tentacles smash through the main deck and are revealed to be part of a single giant creature called the Octalus. The monster grabs Finnegan who frees himself by blinding the monster in one eye with a shotgun blast. Finnegan discovers Joey has gone missing, and he and Trillian are chased by the creature but eventually escape on a jet ski. Canton jumps onto Finnegan's boat, breaking his leg, but unable to disable the autopilot, his ride is a short and painful one. The boat crashes into the Argonautica. Its exploding torpedoes destroy both ships and kill both Canton and the creature. Finnegan and Trillian reach the island and safety. Joey swims ashore and they are reunited. As the three relax, a loud roar echoes from the forest, and something huge crashes toward them through the trees. As the camera pulls back, the island is revealed to be primordial. Finnegan is heard saying his movie catchphrase, "Now what?", as the film ends.

Benny & Joon_1993

tt0106387

<script> <scene> <stage_direction>SCENE</stage_direction> <scene_description>In Benny 's garage .</scene_description> <character>Randy</character> <dialogue>So were planning our next vacation right. I want Australia, she wants Italy. I like snorkelling. She likes garlic. All of a sudden, out of nowhere, she says to me do I need her? Jesus Benny, what kind of question is that? I mean need, what does it mean to really need somebody?</dialogue> <character>Eric</character> <dialogue>Benny, fuel line.</dialogue> <character>Benny</character> <dialogue>Hey Waldo, could you answer that phone?</dialogue> <character>Waldo</character> <dialogue>Yeah, Hello?</dialogue> <character>Postman</character> <dialogue>I need a check Benny, C.O.D.</dialogue> <character>Benny</character> <dialogue>In a minute, meet me in the office.</dialogue> <character>Postman</character> <parenthetical>( quietly . )</parenthetical> <dialogue>all right</dialogue> <character>Benny</character> <dialogue>Whoa, put that out, I got a fuel line broke.</dialogue> <character>Waldo</character> <dialogue>Hey Benny, it's Joon on the phone again</dialogue> <character>Benny</character> <dialogue>Well tell her I'll call her back, ask her what she wants</dialogue> <character>Waldo</character> <dialogue>Its an emergency, she says your running low on peanut butter super chunks</dialogue> <character>Benny</character> <parenthetical>( quietly . )</parenthetical> <dialogue>Emergency</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>In the garage office</scene_description> <character>Benny</character> <parenthetical>( On phone . )</parenthetical> <dialogue>all right, the issue is jelly, you only like two kinds. You either like grape or poison berry, which? All right. Yeah, yeah peanut butter, I know, super kind, all right, see you at 6. Ok, bye.</dialogue> <parenthetical>( Hangs up phone . )</parenthetical> <dialogue>Hi, thanks for waiting m' am. Erm, im afraid that the best deal we can do for you is going to be, erm, $ 7750. But I think if you check around you'll see that that is a really good deal.</dialogue> <character>Girl</character> <dialogue>Yeah?</dialogue> <character>Eric</character> <dialogue>That really is a very good deal m' am. A little too good...</dialogue> <character>Girl</character> <dialogue>Let's do it.Outside Benny and Joon's house, then inside.</dialogue> <scene_description>-LRB- Benny is walking home from work , he hears shouting inside -RRB-</scene_description> <character>Joon</character> <dialogue>Get out of my sight!</dialogue> <character>Smeal</character> <dialogue>you would n't dare Joon.</dialogue> <scene_description>-LRB- Joon screams and throws plate across room . -RRB-</scene_description> <character>Benny</character> <dialogue>what is going on here?</dialogue> <parenthetical>( He rushes in . )</parenthetical> <dialogue>Joon! Mrs Smeal! Mrs Smeal, please.</dialogue> <character>Smeal</character> <dialogue>Beware the winds of reason shall blow stern.</dialogue> <character>Benny</character> <dialogue>What?</dialogue> <character>Smeal</character> <dialogue>I am done Mr Pearl, I am done. The mules turned to glue, she left the house unescorted, she has sudden outbursts. She is simply unmanageable</dialogue> <character>Benny</character> <dialogue>Mrs Smeal! Please, wait, please. Let me talk to her. I can talk to her, you cant quit on such short notice.</dialogue> <character>Smeal</character> <dialogue>oh, well I'm sorry sir. In Ireland we have a saying when a boat runs ashore, the sea has spoken.</dialogue> <scene_description>-LRB- Mrs Smeal leaves -RRB-</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>In the kitchen , Benny is cooking and on the phone to Eric .</scene_description> <character>Benny</character> <dialogue>Listen, if she is going to be alone every day until I find another housekeeper, I'm not leaving her alone at night too.</dialogue> <character>Eric</character> <dialogue>Listen bring her, what's she going to do? She paints and she reads.</dialogue> <character>Benny</character> <dialogue>Yeah, she paints, she reads, she lights things on fire.</dialogue> <character>Eric</character> <dialogue>that happened once. Look I got a fire extinguisher, just bring her. Now get your ass over here, and do n't forget the Louie Prang record. Remember, always play for keeps.</dialogue> <character>Benny</character> <dialogue>all right, all right, all right, I'll be there.</dialogue> <character>Benny</character> <dialogue>Joon Dinner! Spaghetti and salad.</dialogue> <character>Joon</character> <dialogue>in that order?</dialogue> <character>Benny</character> <dialogue>what happened between you and Mrs Smeal?</dialogue> <character>Joon</character> <dialogue>she was given the fits of semi - precious metaphors.</dialogue> <character>Benny</character> <dialogue>the woman's a house keeper Joon, not an English professor.</dialogue> <character>Joon</character> <dialogue>she moved things.</dialogue> <character>Benny</character> <dialogue>she said you wandered off. Did you leave the house alone?</dialogue> <character>Joon</character> <dialogue>define alone</dialogue> <character>Benny</character> <dialogue>you know full well what I'm talking about. Listen, while im at work I cant be worried about whether or not your knocking another house keeper into early retirement. First it was Mrs Larkburg.</dialogue> <character>Joon</character> <dialogue>a woman deeply and hygienically disturbed. Her hair smelled.</dialogue> <character>Benny</character> <dialogue>but then it was Mrs Piltz.</dialogue> <character>Joon</character> <dialogue>Piltz, the answers in the question. Let's face it Benjamin, hiring house keepers is not your forte.</dialogue> <character>Benny</character> <dialogue>Oh yeah, well until I do find another house keeper, you are going to stick close to the house, you understand? Now have some salad. Oh by the way, I want you to come with me to my poker game</dialogue> <character>Joon</character> <dialogue>Benny...</dialogue> <character>Benny</character> <dialogue>come on, you'll have a good time</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>They travel to the poker game and Joon sees Sam in the tree . They arrive at the poker game</scene_description> <character>Man</character> <dialogue>erm, wet belt buckle</dialogue> <character>Mike</character> <dialogue>classical Greek martini shaker</dialogue> <character>Benny</character> <dialogue>6 turkey feather darts</dialogue> <character>Thomas</character> <dialogue>I'll see you with the Diana Durban album</dialogue> <character>Benny</character> <dialogue>come on</dialogue> <character>Thomas</character> <dialogue>and I'll raise you with the stethoscope</dialogue> <character>Mike</character> <dialogue>does it have little plastic ear pieces on the end?</dialogue> <character>Thomas</character> <dialogue>what do you care? You never win mike!</dialogue> <character>Mike</character> <dialogue>well if I do, I do n't want the, stabbing my ear drums. Steering wheel knob</dialogue> <character>Eric</character> <dialogue>Salad shooter</dialogue> <character>Benny</character> <dialogue>56 debenture iron</dialogue> <character>Thomas</character> <dialogue>foldo</dialogue> <character>Mike</character> <dialogue>well you must have a good hand, huh</dialogue> <character>Benny</character> <dialogue>no, I'm bluffing</dialogue> <character>Mike</character> <dialogue>really</dialogue> <character>Benny</character> <dialogue>come on, you got to play to find out, come on</dialogue> <character>Mike</character> <dialogue>ok, 150ft of coaxial cable. Show them</dialogue> <character>Benny</character> <dialogue>full house, Jacks over four's</dialogue> <character>Eric</character> <parenthetical>( laughing . )</parenthetical> <dialogue>oh shit</dialogue> <character>Mike</character> <dialogue>I thought he was bluffing</dialogue> <character>Thomas</character> <dialogue>well some one get some air to his brain. He was bluffing about bluffing</dialogue> <character>Mike</character> <dialogue>you're a real pal Benny, I tell you what, I got a solution to your house keeper problems, you can have my room mates.</dialogue> <character>Joon</character> <dialogue>oh that's a terrific offer Benjamin. To save you from the retched chore of Smeal shopping. Those places are such drudgery are n't they? Montgomery and Smeal, Smeals and Roebuck, Smeals ` r' us...</dialogue> <character>Benny</character> <dialogue>Joon. You got a roommate? When did you get a roommate?</dialogue> <character>Mike</character> <dialogue>since last week. My cousin landed in town and my life has gone from heaven to hell in 7 days.</dialogue> <character>Thomas</character> <dialogue>Just like the good lord intended</dialogue> <character>Mike</character> <dialogue>yeah, 20 years old and he ca n't even read. He spends all day polishing my plastic forks.</dialogue> <character>Eric</character> <dialogue>what do you mean when you say he ca n't read? You mean words?</dialogue> <character>Mike</character> <dialogue>yeah, and he keeps me up all night watching stupid old movies. My works starting to suffer.</dialogue> <character>Joon</character> <dialogue>you installed cable TV.</dialogue> <character>Benny</character> <dialogue>Joon, would you please glue your sequins</dialogue> <character>Joon</character> <dialogue>have we an internal sequin issue to deal with Benjamin?</dialogue> <character>Benny</character> <dialogue>can we make this the last hand? Come on, come on, play cards.</dialogue> <character>Eric</character> <dialogue>2 tickets to tomorrow nights baseball game</dialogue> <character>Benny</character> <dialogue>1 pocket fisherman</dialogue> <character>Thomas</character> <dialogue>fold</dialogue> <character>Benny</character> <dialogue>do you ever stay in?</dialogue> <character>Mike</character> <dialogue>a snorkel mask.</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Next morning in Benny and Joon 's house . Joon is wearing a snorkel mask and makes a smoothie . She goes outside and holds up the traffic .</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>In the social workers office</scene_description> <character>SW</character> <dialogue>she really knows how to rattle the day help</dialogue> <character>Benny</character> <dialogue>you know, I think we need to find someone more understanding than Mrs Smeal</dialogue> <character>SW</character> <dialogue>now let me tell you something. How are you two getting along?</dialogue> <character>Benny</character> <dialogue>us? Fine, normal, you know fine. Why?</dialogue> <character>SW</character> <dialogue>I'll level with you. I think its time you gave serious consideration into a group home</dialogue> <character>Benny</character> <dialogue>she already has a home</dialogue> <character>SW</character> <dialogue>Benny, she needs to be with her peers</dialogue> <character>Benny</character> <dialogue>yeah, she hates her peers. She has already quit the two day centres to prove it. Look all we need right now is a new housekeeper</dialogue> <character>SW</character> <dialogue>well I know of no one else. You've been up and down the list. Now you might want to entertain the possibilities that there are some people more capable of handling these episodes than you. I am beginning to that that you living together may not be the best thing any more</dialogue> <character>Benny</character> <dialogue>I'm her brother and her only family. And we've done just fine the two of us for 12 years.</dialogue> <character>SW</character> <dialogue>yes but her stress level is always a factor in her display of symptoms. Her agitation should be kept to a minimum</dialogue> <character>Benny</character> <dialogue>everybody gets agitated sometimes it's the only option</dialogue> <character>SW</character> <dialogue>Benny, do n't get me wrong I'm impressed that you've managed this long. But a group home would give her a chance to develop other relationships. Also we do n't know this but what if she was capable of a part time job? They would encourage her in that direction. These are very nice place's, nurturing, supportive</dialogue> <character>Benny</character> <dialogue>I'm not farming her out.</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Joon has held up the traffic and the drivers are getting angry and shouting at her . A police man arrives</scene_description> <character>Joon</character> <dialogue>I have every right to be outside officer. I have ever right.</dialogue> <character>Police</character> <dialogue>yes m' am. May I see some ID please? In Benny's garage</dialogue> <character>Benny</character> <dialogue>hey Waldo, did you start that brake job yet?</dialogue> <character>Waldo</character> <dialogue>Joon called. She says that you've run out of tapioca.</dialogue> <character>Benny</character> <dialogue>she what?</dialogue> <character>Waldo</character> <dialogue>oh, and the police will cooperate</dialogue> <character>Benny</character> <dialogue>holy shit. Listen Jack, you want to go to the baseball game tonight,</dialogue> <character>Jack</character> <dialogue>hey thanks Benny.</dialogue> <character>Benny</character> <dialogue>box seats. Hello, Joon? Back at the house. Joon is painting.</dialogue> <character>Benny</character> <dialogue>time for your medicine Joon</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Benny in his bedroom</scene_description> <character>Benny</character> <dialogue>night Steve</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>At the garage</scene_description> <character>Benny</character> <dialogue>oh hello, how's it going?</dialogue> <character>Girl</character> <dialogue>I appreciate the deal on the engine</dialogue> <character>Benny</character> <dialogue>oh yeah, no problem. Is it running alright?</dialogue> <character>Girl</character> <dialogue>yeah, it's running great</dialogue> <character>Benny</character> <dialogue>oh, good</dialogue> <character>Girl</character> <dialogue>so can I erm, make it up to you with some dinner.</dialogue> <character>Benny</character> <dialogue>some dinner? Erm you serious?</dialogue> <character>Girl</character> <dialogue>yeah, dinner with you</dialogue> <character>Benny</character> <dialogue>Erm, you know what I ca n't. I mean I'd like to but I ca n't</dialogue> <character>Girl</character> <dialogue>ok</dialogue> <character>Benny</character> <dialogue>ok</dialogue> <character>Eric</character> <dialogue>stupid, stupid</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>At the house playing table tennis</scene_description> <character>Benny</character> <dialogue>18:15</dialogue> <character>Joon</character> <dialogue>17:16</dialogue> <character>Benny</character> <dialogue>18:15</dialogue> <character>Joon</character> <dialogue>it caught the corner.</dialogue> <character>Benny</character> <dialogue>it was a foot off the table</dialogue> <character>Joon</character> <dialogue>it was not</dialogue> <character>Benny</character> <dialogue>Juniper</dialogue> <character>Joon</character> <dialogue>Benjamin. Do n't underestimate the mentally ill. We know how to count</dialogue> <character>Benny</character> <dialogue>ok, fine 17:16</dialogue> <character>Joon</character> <dialogue>you ca n't give me what was already mine. You're trying to cheat</dialogue> <character>Benny</character> <dialogue>I'm not cheating</dialogue> <character>Joon</character> <dialogue>cheating</dialogue> <character>Benny</character> <dialogue>Joon, I do n't cheat. You're the one who's cheating</dialogue> <character>Joon</character> <dialogue>You're all trying to cheat me, you're trying to cheat. Joon throws the racket and smashes a lamp. She then runs upstairs</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>At the hospital</scene_description> <character>Thomas</character> <parenthetical>( On the phone at the hospital . )</parenthetical> <dialogue>yeah, alright I spoke to some of the guys from the staff Benny. Nobody wants to be your house keeper. I will keep trying but I got to tell you I do n't think so</dialogue> <character>Benny</character> <parenthetical>( on the phone at home . )</parenthetical> <dialogue>yeah, ok thanks. Bye</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Joon is playing with a fan and some paper . She lets go of the paper and it flies into a candle setting alight . Benny puts it out and goes upstairs . He sits on the bed</scene_description> <character>Benny</character> <dialogue>ok Stevie</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>He goes to feed his fish , but it is dead . He takes it to the bathroom and flushes it down the toilet .</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Outside Eric 's house</scene_description> <character>Benny</character> <dialogue>I mean I cant even keep a goldfish alive. What chance do I have with Joon? If something bad happened to her I'd, I'd never ever be able to forgive myself</dialogue> <character>Eric</character> <dialogue>a group home is the right thing for her Benny.</dialogue> <character>Benny</character> <dialogue>yeah, this is defiantly for her own good</dialogue> <character>Eric</character> <dialogue>hey, it's for both your own good. How much longer can you do this to your self? You're life is literally passing you by</dialogue> <character>Benny</character> <dialogue>you're right. You're right. What am I doing with myself? I spend my life working on cars and taking care of my sister. I cant even have a relationship without having to worry how Joon is going to fit in.</dialogue> <character>Eric</character> <dialogue>you know, once you get settled in you can actually take a vacation. Travel a little. I can hold down the fort no problem.</dialogue> <character>Benny</character> <dialogue>travel? Travel?</dialogue> <character>Eric</character> <dialogue>Benny, there is a whole world out there man, I mean picture yourself on the open road, wind in the hair in the Alcamino. Highway stretching out b - what's that? Up ahead? A lovely motorist. Stranded. Carburettor trouble. Better investigate.</dialogue> <character>Benny</character> <dialogue>yeah right, I'm going to be stopping at a pay phone every 15 minutes to call Joon to see how she's doing.At another poker game</dialogue> <character>Mike</character> <dialogue>Ok lets see, Black Sabbath over there</dialogue> <character>Thomas</character> <dialogue>you got that flash light?</dialogue> <character>Mike</character> <dialogue>its not a flashlight. it turns out its a brush kind of thing. Hat</dialogue> <character>Thomas</character> <dialogue>Where's the batteries?</dialogue> <character>Mike</character> <dialogue>you did n't win any batteries. what are you talking about?</dialogue> <character>Thomas</character> <dialogue>who gets the ice shaker? it goes on mine</dialogue> <character>Mike</character> <dialogue>ok guys come one, hurry it up huh or we'll start without you</dialogue> <character>Joon</character> <dialogue>I've been known to play a little cards</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>They start to play cards</scene_description> <character>Mike</character> <dialogue>box of 30 odd 6 cartridges</dialogue> <character>Joon</character> <dialogue>medium sized green haired troll</dialogue> <character>Thomas</character> <dialogue>soap on a rope, slightly used. Cards?</dialogue> <character>Mike</character> <dialogue>three</dialogue> <character>Thomas</character> <dialogue>cards?</dialogue> <character>Joon</character> <dialogue>two</dialogue> <character>Thomas</character> <dialogue>the dealer takes three</dialogue> <character>Mike</character> <dialogue>pass</dialogue> <character>Joon</character> <dialogue>re - grout my shower, blue grout</dialogue> <character>Thomas</character> <dialogue>I fold</dialogue> <character>Mike</character> <dialogue>shampoo my dog, lava lamp</dialogue> <character>Joon</character> <dialogue>scrape and paint the exterior of my house</dialogue> <character>Thomas</character> <dialogue>hey hey come on slow it down you guys. these are supposed to be reasonable stakes</dialogue> <character>Joon</character> <dialogue>that's a see and a raise, you follow me?</dialogue> <character>Mike</character> <dialogue>you take my cousin off my hands</dialogue> <character>Thomas</character> <dialogue>hey wait, wait, just stop, all right? Benny's going to strangle you guys</dialogue> <character>Joon</character> <dialogue>chill out Thomas</dialogue> <character>Benny</character> <dialogue>Joon, we've got ta go</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Joon shows her cards</scene_description> <character>Mike</character> <dialogue>a flush.</dialogue> <parenthetical>( Mike shows his cards . )</parenthetical> <dialogue>Full house. yes, yes, oh Benny, tonight's your lucky night</dialogue> <character>Thomas</character> <dialogue>Mike warned it was for keeps Benny</dialogue> <character>Benny</character> <dialogue>what, what's for keeps?</dialogue> <character>Joon</character> <dialogue>I lost</dialogue> <character>Benny</character> <dialogue>what in the pot?</dialogue> <character>Joon</character> <dialogue>a cousin</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Benny and Joon are walking out of the house followed by Mike</scene_description> <character>Mike</character> <dialogue>hey guys, rules are rules, without them there's no order in the universe</dialogue> <character>Benny</character> <dialogue>oh do n't give me that crap. you took advantage</dialogue> <character>Joon</character> <dialogue>of your sick sister. a heart flush is a perfectly respectable hand</dialogue> <character>Mike</character> <dialogue>Not respectable enough</dialogue> <character>Benny</character> <dialogue>hey shut up Mike. I am not taking this guy home</dialogue> <character>Mike</character> <dialogue>you have to man. remember the bet I lost last year. I had to re - plant your socket set. I did n't back out did I?</dialogue> <character>Benny</character> <dialogue>you cant bet a human being!</dialogue> <character>Mike</character> <dialogue>oh, well if your going to be a baby about it</dialogue> <character>Benny</character> <dialogue>all right Mike. You want to play like that? I'll take him home. i may not be responsible for what I'm going to do to him but I'll take him.</dialogue> <character>Mike</character> <dialogue>oh man, what are you doing you stupid jerk?</dialogue> <character>Sam</character> <dialogue>Oh there's something wrong with your car</dialogue> <character>Mike</character> <dialogue>what did you do with my hob caps?</dialogue> <character>Sam</character> <dialogue>I do n't know. I'm Sam</dialogue> <character>Benny</character> <dialogue>so I here. I'm Benny</dialogue> <character>Sam</character> <dialogue>with an N?</dialogue> <character>Benny</character> <dialogue>yeah two of ` em. This is Joon</dialogue> <character>Sam</character> <dialogue>with an N?</dialogue> <character>Joon</character> <dialogue>one. You're out of you're tree</dialogue> <character>Sam</character> <dialogue>its not my tree</dialogue> <character>Benny</character> <dialogue>I think I need a beer</dialogue> <character>Mike</character> <dialogue>hey Benny, wait a minute. Where are you going? Come here man, give me a job. Hey! You're going with them</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>At Diner</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam dances with some rolls of bread</scene_description> <character>Benny</character> <dialogue>oh god bless you.</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam knocks the tray out of the waitress 's hands and catches it . He hands it to the customers but switches them over .</scene_description> <character>Ruthie</character> <dialogue>hey pal, we're trying to work here if you do n't mind</dialogue> <character>Sam</character> <dialogue>oh my god. I've just been looking for my boyfriend. Have you seen him? He's a cute guy with a little mole on his right cheek.</dialogue> <character>Man</character> <dialogue>Ruthie one of your ghosts come back to haunt you?</dialogue> <character>Sam</character> <parenthetical>( screaming . )</parenthetical> <dialogue>oh Brad, Brad, Brad please do n't be dead. I never got a chance to tell you what you mean to me. Oh Brad please. Its you you're you, Ruthie Melanie. Co - star of the prom queen mutilator with Dick Beebe.</dialogue> <character>Ruthie</character> <dialogue>you saw that?</dialogue> <character>Sam</character> <dialogue>he was mine, he was mine. No Sindy you're sick. Sindy you need help, no Sindy, no, no, no!</dialogue> <parenthetical>( pretends to stab himself . )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Benny and Joon 's house</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam looks around the room and sees Joon 's paintings . He puts his finger in the wet paint and lick 's him finger .</scene_description> <character>Joon</character> <dialogue>do n't touch it</dialogue> <character>Sam</character> <dialogue>its paint</dialogue> <character>Joon</character> <dialogue>yes</dialogue> <character>Sam</character> <dialogue>Kirk Douglas, Van Gough ear.</dialogue> <parenthetical>( makes a scissor action with his hand . )</parenthetical> <dialogue /> <character>Benny</character> <dialogue>these are yours. You'll sleep here all right? Come on its late. Lets brush you're teeth and hair.</dialogue> <character>Joon</character> <dialogue>I can brush my own teeth Benjamin</dialogue> <character>Benny</character> <dialogue>fine</dialogue> <character>Joon</character> <dialogue>hair too</dialogue> <character>Benny</character> <dialogue>perfect. Come on</dialogue> <character>Sam</character> <dialogue>oh, oh Benny. Hey Benny. Thanks for the couch. Erm Mike made me sleep under the sink.</dialogue> <character>Benny</character> <dialogue>oh you're welcome. Good night</dialogue> <character>Sam</character> <dialogue>good night</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Next Morning</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam is sleeping and Joon is drawing him . He moves so Joon quickly pits them away .</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>In the bathroom</scene_description> <character>Sam</character> <dialogue>mentally ill. Really?</dialogue> <character>Benny</character> <dialogue>yeah. Benny : but I mean do n't worry about it. Just let her go about her routine, you know. Her routine is everyday therapy. Oh and do n't hang around her room while she's painting. She hates that.</dialogue> <character>Sam</character> <dialogue>no</dialogue> <character>Benny</character> <dialogue>she runs hot and cold on you, just ignore it. That's just the way it works. Oh listen erm, she starts talking to herself, do n't worry about it but do n't answer.</dialogue> <character>Sam</character> <dialogue>ok</dialogue> <character>Benny</character> <dialogue>she sometimes hears voices in her head. That comes with the territory too. And erm just make sure that nothing and I mean nothing happens to her</dialogue> <character>Sam</character> <dialogue>ok</dialogue> <character>Benny</character> <dialogue>ok</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Benny goes out to work and leaves Joon and Sam . Joon is making a breakfast smoothie and Sam is watching as he walks in .</scene_description> <character>Joon</character> <dialogue>having a Boo Radley moment are we?</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>She hands Sam a glass of smoothie .</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>At garage</scene_description> <character>Benny</character> <dialogue>good morning</dialogue> <character>Eric</character> <dialogue>hey</dialogue> <character>Benny</character> <dialogue>this today?</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Eric . Yeah . So erm what did you do with the cousin ? The bus station ? The river ? What ? You throw him in the river ?</scene_description> <character>Benny</character> <parenthetical>( laughs . )</parenthetical> <dialogue>no, I took him home</dialogue> <character>Eric</character> <dialogue>you took him home?</dialogue> <character>Benny</character> <dialogue>yeah</dialogue> <character>Eric</character> <dialogue>to your house?</dialogue> <character>Benny</character> <dialogue>yeah to my house</dialogue> <character>Eric</character> <dialogue>what are you crazy?</dialogue> <character>Benny</character> <dialogue>hey believe me its only temporary</dialogue> <character>Eric</character> <dialogue>great, maybe he can tell Joon about the group home</dialogue> <character>Benny</character> <dialogue>listen, if I'm going to do this group home thing I've got to figure out the best way to tell her, you know what I mean. Where's Waldo? Is he not here yet?</dialogue> <character>Eric</character> <dialogue>no</dialogue> <character>Benny</character> <dialogue>all right that's it I'm going to have a talk with him</dialogue> <character>Eric</character> <dialogue>no your not</dialogue> <character>Benny</character> <dialogue>yes I am. I'm calling him right now. What's his phone number?</dialogue> <character>Eric</character> <dialogue>5550944</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Benny and Joon 's house</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam is cleaning and Joon is in the garden . She hears the loud music that Sam is playing and runs inside .</scene_description> <character>Joon</character> <dialogue>aah, too loud.</dialogue> <character>Sam</character> <dialogue>aah, what?</dialogue> <parenthetical>( Joon points to the radio . )</parenthetical> <dialogue>oh.</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>He switches the radio off and Joon takes it away .</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Benny walks home as he walks in he sees Joon alone at the table</scene_description> <character>Benny</character> <dialogue>hey where's Sam?</dialogue> <character>Joon</character> <dialogue>I did n't mean to kick him out. I mean I did n't kick him out he just left.</dialogue> <character>Benny</character> <dialogue>whoa, whoa, whoa what, what happened? Did something happen?</dialogue> <character>Joon</character> <dialogue>he just he just left. He was, he was in the air and, and, and with a thing and it was really loud. It was really loud. And all, I just kept seeing. He did n't mean to do it.</dialogue> <character>Benny</character> <dialogue>do it? What? What, did he, what did he do?</dialogue> <character>Joon</character> <dialogue>he cleaned the house</dialogue> <character>Benny</character> <dialogue>and you kicked him out for that?</dialogue> <character>Joon</character> <parenthetical>( laughs . )</parenthetical> <dialogue /> <character>Benny</character> <parenthetical>( laughs . )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>There is a knock on the door and a jack - in - the - box is left on the floor . Joon picks it up . They both look up and see Sam sat on the mail box .</scene_description> <character>Joon</character> <dialogue>maybe I should invite him back in</dialogue> <character>Benny</character> <dialogue>yeah before someone sticks a stamp on his head and mails him to Guam.</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Back in the house</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam is making grilled cheese sandwiches with an iron</scene_description> <character>Joon</character> <dialogue>some cultures are defined by their relationship to cheese</dialogue> <character>Benny</character> <dialogue>is that a fact?</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Joon is in bed and Benny walks in</scene_description> <character>Joon</character> <dialogue>he can really cook cant he?</dialogue> <character>Benny</character> <dialogue>uh - uh yeah. All for the grilled cheese I might of used the wool setting.</dialogue> <character>Joon</character> <dialogue>that's what I told him</dialogue> <character>Benny</character> <dialogue>really? What did he use?</dialogue> <character>Joon</character> <dialogue>rayon. Silk would have been too soggy. Cotton would</dialogue> <character>Benny</character> <dialogue>would of burned it</dialogue> <character>Joon</character> <dialogue>right. Fortunately he consulted me before giving it steam. I was four square against it. I wish he could be my new smeal.</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Joon hums a tune and they both start singing the words . It flashbacks to when they were kids and their parents died in a car crash .</scene_description> <character>Benny</character> <dialogue>good night</dialogue> <character>Joon</character> <dialogue>good night</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>The next morning and Sam is writing a letter to him mum</scene_description> <character>Joon</character> <dialogue>you need some help? Dear mum, I have departed Mikes with love and gratitude and am not living with Benny and Joon pearl, two magnificently devoted new friends. Benny's pre - disposition to hyper tense Irish monologue is sub standing and he has given me a job as a domestic engineer and is pleased with my performance so far. Love Sam</dialogue> <character>Sam</character> <dialogue>wow, I did n't know how to talk like that</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>They go outside and post the letter</scene_description> <character>Sam</character> <dialogue>tapioca?</dialogue> <character>Joon</character> <dialogue>oh, yes</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>In the diner</scene_description> <character>Ruthie</character> <dialogue>ok</dialogue> <character>Sam</character> <dialogue>thank you Ruthie</dialogue> <character>Ruthie</character> <dialogue>you're welcome Sam. Let me know if you need anything ok?</dialogue> <character>Sam</character> <dialogue>you do n't like raisins?</dialogue> <character>Joon</character> <dialogue>not really</dialogue> <character>Sam</character> <dialogue>why?</dialogue> <character>Joon</character> <dialogue>they used to be fat and juicy and now they're twisted like they had their life stolen. They taste sweet but really they are just humiliated grapes. I cant say I'm a big supporter of the raisin council.</dialogue> <character>Sam</character> <dialogue>did you see those raisins on TV? The ones that sing and dance and stuff</dialogue> <character>Joon</character> <dialogue>they scare me</dialogue> <character>Sam</character> <dialogue>yeah me too</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Joon ; its sick , commercial people make them sing and dance so people will eat them</scene_description> <character>Sam</character> <dialogue>it's a shame about raisins</dialogue> <character>Joon</character> <dialogue>cannibals</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam ; yeah . Do you like avocadoes ?</scene_description> <character>Joon</character> <dialogue>they're a fruit you know.</dialogue> <character>Sam</character> <dialogue>Ruthie, do you got any avocadoes?</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>At Benny and Joon 's house</scene_description> <character>Benny</character> <dialogue>Joon</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>He looks outside and sees a car pull up . Ruthie , Sam and Joon get out of the car .</scene_description> <character>Joon</character> <dialogue>you're very pretty when you're off work Ruthie</dialogue> <character>Ruthie</character> <dialogue>thank you. Maybe I should quit my job huh?</dialogue> <character>Benny</character> <dialogue>where the hell have you two been?</dialogue> <character>Ruthie</character> <dialogue>oh do n't worry, they were with me. We were just running some errands.</dialogue> <character>Benny</character> <dialogue>oh how you doing?</dialogue> <character>Ruthie</character> <dialogue>Hi</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Benny ; running errands ? You ran an errand ?</scene_description> <character>Joon</character> <dialogue>yes I did, I ran an errand.</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Joon hands Benny two new fish</scene_description> <character>Benny</character> <dialogue>oh look</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Joon ; they are both named Steven . One with a V and one with a PH.</scene_description> <character>Sam</character> <dialogue>look, look, look Ruthie's movie</dialogue> <character>Joon</character> <dialogue>yes and she's staying for dinner too</dialogue> <character>Benny</character> <dialogue>come on in, come on in</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>By the river</scene_description> <character>Benny</character> <dialogue>so why did you leave?</dialogue> <character>Ruthie</character> <dialogue>LA? I was n't that good of an actress</dialogue> <character>Benny</character> <dialogue>well that's not how Sam tells it. He's raving about you</dialogue> <character>Ruthie</character> <dialogue>yeah well, he's sweeter than he is judgemental. How long have you known him?</dialogue> <character>Benny</character> <dialogue>Sam? Erm 72 hours</dialogue> <character>Ruthie</character> <dialogue>be serious</dialogue> <character>Benny</character> <dialogue>I am, serious</dialogue> <character>Ruthie</character> <dialogue>really</dialogue> <character>Benny</character> <dialogue>I'm always serious, I'm too serious. Did you ever get to the point in your life when nothing makes any sense?</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Inside watching the movie</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam is talking along with the movie</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Outside trying to start Ruthie 's car</scene_description> <character>Benny</character> <dialogue>try it again. Now there's only two reasons a car wont start. Either you're not getting fuel or you're not getting fuel. You've got fire. I think you'd better let me drive you home. Sorry</dialogue> <character>Ruthie</character> <dialogue>thanks</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Pulling up outside Ruthie 's house</scene_description> <character>Ruthie</character> <dialogue>here it is, right here</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Benny ; 2nd job huh /</scene_description> <character>Ruthie</character> <dialogue>yeah got to make those ends meet you know</dialogue> <character>Benny</character> <dialogue>this is just how I imagined your place. Well...</dialogue> <character>Ruthie</character> <dialogue>you want to come in? Or you want to...</dialogue> <character>Benny</character> <dialogue>oh no I'll come in, for a minute. Whoa! What is this? Nice porch.</dialogue> <character>Ruthie</character> <dialogue>pretty nice fish Joon gave you</dialogue> <character>Benny</character> <dialogue>oh yeah, those fish. Yeah I was shocked I was... Nice fish, I mean yeah</dialogue> <character>Ruthie</character> <dialogue>I never had a fish</dialogue> <character>Benny</character> <dialogue>what? Not even as a kid?</dialogue> <character>Ruthie</character> <dialogue>no, under privileged childhood I guess</dialogue> <character>Benny</character> <dialogue>down right un - American if you ask me</dialogue> <character>Ruthie</character> <dialogue>yeah</dialogue> <character>Benny</character> <dialogue>you can have one of mine if you want</dialogue> <character>Ruthie</character> <dialogue>no I could n't possibly. They were a gift</dialogue> <character>Benny</character> <dialogue>but you know you could borrow it. But you know we could share it. Like joint custody. You could take it on the weekends you know. What is this?</dialogue> <character>Ruthie</character> <dialogue>sit down son, you're making me nervous</dialogue> <character>Benny</character> <dialogue>oh</dialogue> <character>Ruthie</character> <dialogue>want a beer?</dialogue> <character>Benny</character> <dialogue>yeah, you know what I'd better not. I got ta' get goin'. I better get goin' ok?</dialogue> <character>Ruthie</character> <dialogue>yeah ok</dialogue> <character>Benny</character> <dialogue>I'll take a rain check on the beer</dialogue> <character>Ruthie</character> <dialogue>ok I got the doors</dialogue> <character>Benny</character> <dialogue>want to go to dinner?</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Ruthie ; ever been married ?</scene_description> <character>Benny</character> <dialogue>no</dialogue> <character>Ruthie</character> <dialogue>yeah</dialogue> <character>Benny</character> <dialogue>yeah? Great. See you</dialogue> <character>Ruthie</character> <dialogue>see you</dialogue> <character>Benny</character> <dialogue>see you</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Benny and Joon 's house</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam and Joon kiss . Sam blows up a balloon and lets the air out of it slowly so it makes a tune . It pops and they laugh</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>At the social workers office</scene_description> <character>SW</character> <dialogue>see you next week</dialogue> <character>Joon</character> <dialogue>right thank you</dialogue> <character>SW</character> <dialogue>Benny, would you come inside a minute?</dialogue> <character>Benny</character> <dialogue>sure</dialogue> <character>SW</character> <dialogue>who's the new house keeper?</dialogue> <character>Benny</character> <dialogue>the new... oh! This... friend just came to stay with us for a while but...</dialogue> <character>SW</character> <dialogue>Joon tells me he's a man</dialogue> <character>Benny</character> <dialogue>well you know Joon, how flowery she gets with words</dialogue> <character>SW</character> <dialogue>she she's lying? I mean is it a man or is n't it?</dialogue> <character>Benny</character> <dialogue>well yes technically. He's really just a guy, a friend.</dialogue> <character>SW</character> <dialogue>so where does this leave the group home decision? I take it you havent talked to her about it yet</dialogue> <character>Benny</character> <dialogue>no I erm</dialogue> <character>SW</character> <dialogue>the admission date is less than a week away</dialogue> <character>Benny</character> <dialogue>but you see the thing is she's really doing fine. She seems content and everything. Lets just leave it at that for now</dialogue> <character>SW</character> <dialogue>let me know when you want to talk to her about it</dialogue> <character>Benny</character> <dialogue>I'll let you know. Ok bye</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam walks into the video store and takes the help wanted sign off the window</scene_description> <character>Owner</character> <dialogue>hello</dialogue> <character>Sam</character> <dialogue>I wan na help</dialogue> <character>Owner</character> <dialogue>ah wonderful ok. If you'd like to fill out this application I'll be right with you.</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam picks up the pen and writes his name . He folds up the application and walks out of the shop .</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Benny and Joon are back at the house . Joon is scrubbing Benny 's finger nails .</scene_description> <character>Benny</character> <dialogue>not so hard</dialogue> <character>Joon</character> <dialogue>wow, you actually have cuticles</dialogue> <character>Benny</character> <dialogue>I know its amazing. What the hell is he doing?</dialogue> <character>Joon</character> <dialogue>Mashed potatoes. So are you and Ruthie considering item hood? Are you? Benjamin and Ruthie sitting in a tree k - i - s - s - i - n - g. First comes love, then come marriage</dialogue> <character>Benny</character> <dialogue>get out of here</dialogue> <character>Joon</character> <dialogue>then comes little Ruthamins and Benjamins and babys...</dialogue> <character>Benny</character> <dialogue>I'm just taking her out to dinner</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam is downstairs making mashed potatoes with a tennis racket</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Benny and Ruthie are coming home from their date</scene_description> <character>Ruthie</character> <parenthetical>( laughing . )</parenthetical> <dialogue>That's a good joke</dialogue> <character>Benny</character> <dialogue>you like that?</dialogue> <character>Ruthie</character> <dialogue>uh - uh. What time you got?</dialogue> <character>Benny</character> <dialogue>its eleven.</dialogue> <character>Ruthie</character> <dialogue>on the nose?</dialogue> <character>Benny</character> <dialogue>right exactly</dialogue> <character>Ruthie</character> <dialogue>do n't think I've ever asked anybody the time before and it be right on the nose</dialogue> <character>Benny</character> <parenthetical>( laughs . )</parenthetical> <dialogue>that's weird is n't it? Its right on the nose</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Ruthie leans over and kissed Benny</scene_description> <character>Ruthie</character> <dialogue>do you, do you want to come in for a while? I erm, I got that beer waiting for you</dialogue> <character>Benny</character> <dialogue>erm you know what? I should probably go</dialogue> <character>Ruthie</character> <dialogue>ok</dialogue> <character>Benny</character> <dialogue>listen erm can I tell you something?</dialogue> <character>Ruthie</character> <dialogue>what?</dialogue> <character>Benny</character> <dialogue>erm you see my life is just real complicated and</dialogue> <character>Ruthie</character> <dialogue>give me a break Benny I just offered you a bear ok</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>She gets out of the car and runs inside</scene_description> <character>Benny</character> <dialogue>no</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>In the park the next day . Sam , Benny and Joon are sat on a rug .</scene_description> <character>Joon</character> <dialogue>why do n't we pick up Ruthie and get some ice cream?</dialogue> <character>Sam</character> <dialogue>yeah lets get her</dialogue> <character>Benny</character> <dialogue>no</dialogue> <character>Sam</character> <dialogue>why?</dialogue> <character>Benny</character> <dialogue>cos, she does n't want to talk to me</dialogue> <character>Sam</character> <dialogue>oh</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>He tries to put his hat on his head but it just pops off again . He does it to Joon and tries to do it to Benny .</scene_description> <character>Benny</character> <dialogue>come on we should go. Knock it off.</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>He knocks the hat out of Sam 's hand and it goes flying . Sam does an acrobatic show for the people in the park</scene_description> <character>Benny</character> <dialogue>he is, he's incredible. He's amazing</dialogue> <character>Joon</character> <dialogue>did you have to go to school for that?</dialogue> <character>Sam</character> <dialogue>no no I got thrown out of school for that</dialogue> <character>Joon</character> <dialogue>really?</dialogue> <character>Sam</character> <dialogue>oh yeah</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>He stands on a bench and walks over it</scene_description> <character>Benny</character> <dialogue>hey listen why do n't you guys go on ahead? I'm going to hang around here for a while. Ok?</dialogue> <character>Joon</character> <dialogue>really?</dialogue> <character>Benny</character> <dialogue>yeah go ahead. I'll see you at home later. all right?</dialogue> <character>Sam</character> <dialogue>ok</dialogue> <character>Joon</character> <dialogue>ok</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Benny ; that was , that was great .</scene_description> <character>Sam</character> <dialogue>no no</dialogue> <character>Benny</character> <dialogue>thank you</dialogue> <character>Sam</character> <dialogue>no thank you. bye bye</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Benny tries to do the trick with the bench that Sam did .</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Back at the house</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam and Joon are sat on the sofa and kiss .</scene_description> <character>Sam</character> <dialogue>Joon</dialogue> <character>Joon</character> <dialogue>what?</dialogue> <character>Sam</character> <dialogue>I, I love you</dialogue> <character>Joon</character> <dialogue>me too. do n't tell Benny</dialogue> <character>Sam</character> <dialogue>Ok</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Joon hears Benny coming in so gets up and goes to her bedroom</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Next morning , Benny is in the shower</scene_description> <character>Benny</character> <dialogue>did you see the way you had everybody in the palm of you're hand? Huh? You've got this gift and you should n't ignore it you should be out there doing something with it.</dialogue> <character>Sam</character> <dialogue>like what?</dialogue> <character>Benny</character> <dialogue>I do n't know all I know is that they were saying this guy is something else. You're special. You're not some regular schmoe like the rest of us who do it because we have to do it. You're blessed</dialogue> <character>Sam</character> <dialogue>Benny,</dialogue> <character>Benny</character> <dialogue>what?</dialogue> <character>Sam</character> <dialogue>how sick is she?</dialogue> <character>Benny</character> <dialogue>plenty sick. Now listen to me, I've been doing some thinking</dialogue> <character>Sam</character> <dialogue>because it seems to me that, well except from being a little mentally ill, she's pretty normal you know?</dialogue> <character>Benny</character> <dialogue>do you realise you could be the next Buster Keeton?</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam is sat outside the video store contemplating whether to go in</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam goes in and talks to the owner . He has the job .</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>In the garage</scene_description> <character>Benny</character> <dialogue>I'm telling you, Randy listen to me, you've got to see this guy. Tell him Eric</dialogue> <character>Eric</character> <dialogue>he's funny</dialogue> <character>Benny</character> <dialogue>he's truly amazing. Will you see him?</dialogue> <character>Randy</character> <dialogue>yeah I'll see him</dialogue> <character>Benny</character> <dialogue>you'll see him?</dialogue> <character>Randy</character> <dialogue>yeah you never know, you know most of these guys work locally but some of them, the better ones, you can book in the out of town clubs</dialogue> <character>Benny</character> <dialogue>you book them out of town?</dialogue> <character>Randy</character> <dialogue>I book them all over. Detroit, Boston, sometimes LA</dialogue> <character>Benny</character> <dialogue>Whoa! Randy can you see him tonight?</dialogue> <character>Randy</character> <dialogue>I'd love to see him tonight</dialogue> <character>Benny</character> <dialogue>hi</dialogue> <character>Ruthie</character> <dialogue>is my car ready?</dialogue> <character>Benny</character> <dialogue>how you doing? Oh come on in, come on in. Erm listen erm I want to apologise for the other night. It came out all wrong</dialogue> <character>Ruthie</character> <dialogue>no no its ok</dialogue> <character>Benny</character> <dialogue>no I do</dialogue> <character>Ruthie</character> <dialogue>how's my car?</dialogue> <character>Benny</character> <dialogue>oh its running great. Your fuel pump was shot so I threw in a new one. Its running great</dialogue> <character>Ruthie</character> <dialogue>how much do I owe you?</dialogue> <character>Benny</character> <dialogue>I'll tell you what. Just gibe me $ 30 for the part and I'm not going to charge you for the labour. All right? Ok?</dialogue> <character>Ruthie</character> <dialogue>yes</dialogue> <character>Benny</character> <dialogue>listen if you're not doin' anything later I just lined up this thing for Sam</dialogue> <character>Ruthie</character> <dialogue>what thing?</dialogue> <character>Benny</character> <dialogue>well its like an audition. Maybe his chance to make a living at all this crazy stuff that he does. Who knows? Maybe he could travel, play clubs. I do n't know, you know? So if you're not doing anything later and you feel like...</dialogue> <character>Ruthie</character> <dialogue>I do n't know Benny. I got food to deliver, apartments to rent. My life's pretty complicated right now, you know? Thanks. Bye</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>At Benny and Joon 's house</scene_description> <character>Benny</character> <dialogue>we'll lay out the whole routine right after dinner. You know what you could start with? Remember the role thing you were doing at the diner?</dialogue> <character>Joon</character> <dialogue>who died and made you Ed McMahon?</dialogue> <character>Benny</character> <dialogue>what's your problem? This is his chance to do something, be somebody</dialogue> <character>Joon</character> <dialogue>he is somebody</dialogue> <character>Benny</character> <dialogue>yeah I know, but he wants to be more</dialogue> <character>Joon</character> <dialogue>you do n't know what he wants</dialogue> <character>Benny</character> <dialogue>I know he does n't want to be a house keeper for the rest of his life. If you're worried about getting a new Smeal we'll get you a new Smeal</dialogue> <character>Joon</character> <dialogue>he's not my Smeal</dialogue> <character>Benny</character> <dialogue>house keeper, whatever</dialogue> <character>Joon</character> <dialogue>we have to tell him</dialogue> <character>Benny</character> <dialogue>what? Tell me what?</dialogue> <character>Sam</character> <dialogue>err Benny... Joon... and... and I... are... you know.</dialogue> <character>Benny</character> <dialogue>bullshit! You...</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>He gets up and drags Sam from the table</scene_description> <character>Sam</character> <dialogue>no, no</dialogue> <character>Joon</character> <dialogue>do n't</dialogue> <character>Benny</character> <dialogue>get the fuck out!</dialogue> <character>Joon</character> <dialogue>you cant throw him out. I won him</dialogue> <character>Benny</character> <dialogue>just settle down, just settle down</dialogue> <character>Joon</character> <dialogue>I love him!</dialogue> <character>Benny</character> <dialogue>yeah? Well you're crazy!</dialogue> <character>Joon</character> <dialogue>I am not crazy</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Benny ; you see what we 've come to ? You see ?</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>He gets out the group home leaflet</scene_description> <character>Joon</character> <dialogue>I hate you, I hate you, I hate you, I hate you, I hate you, I hate you</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>In Joon 's bedroom</scene_description> <character>Benny</character> <dialogue>can I get you anything?</dialogue> <character>Joon</character> <dialogue>tapioca</dialogue> <character>Benny</character> <dialogue>tapioca? Ok. Anything on it?</dialogue> <character>Joon</character> <dialogue>raisins</dialogue> <character>Benny</character> <dialogue>ok</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>He goes downstairs and checks the fridge . There is none left so he goes out to get some . Sam is sat in the tree outside and Joon burns a picture of her and benny when they were children . Sam goes to the door and Joon goes out to him</scene_description> <character>Joon</character> <dialogue>Hi</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Benny arrives at Ruthie 's house</scene_description> <character>Benny</character> <dialogue>hi. How you doin'?</dialogue> <character>Ruthie</character> <dialogue>you're out late</dialogue> <character>Benny</character> <dialogue>yeah. Listen... do you have any tapioca?</dialogue> <character>Ruthie</character> <dialogue>jeez Benny, I've heard a lot of lines in my time but...</dialogue> <character>Benny</character> <dialogue>no, no, no its not for me. Its for Joon</dialogue> <character>Ruthie</character> <dialogue>come on in</dialogue> <character>Benny</character> <dialogue>yeah?</dialogue> <character>Ruthie</character> <dialogue>yeah</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam and Joon get on the bus with two bags . They sit down and Joon starts to talk to herself</scene_description> <character>Joon</character> <dialogue>I cant hear you</dialogue> <character>Sam</character> <dialogue>Joon. Ok?</dialogue> <character>Joon</character> <dialogue>yeah</dialogue> <character>Sam</character> <dialogue>good good good</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>He tries to calm her down</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Joon ; I 'm not no , no I 'm not</scene_description> <character>Sam</character> <dialogue>ok? All right? Hold tight ok? Shh. Its ok. Its ok</dialogue> <character>Joon</character> <dialogue>I am not, I am not, I am not</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Joon starts to cry and Sam is still trying to calm her down</scene_description> <character>Joon</character> <dialogue>shut up!</dialogue> <character>Sam</character> <dialogue>no, no, no, no. Shh. Shh. Joon. Please. Come on</dialogue> <character>Joon</character> <dialogue>no its not all in my head</dialogue> <character>Sam</character> <dialogue>sir? Sir! Stop the bus! Please stop the bus!</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Benny is driving back from Ruthie 's and he sees the bus stopped . An ambulance arrives and the crew climb aboard the bus</scene_description> <character>Joon</character> <dialogue>I do n't want to talk to you</dialogue> <character>Sam</character> <dialogue>Joon</dialogue> <character>AM1</character> <dialogue>all righty. You want to step out?</dialogue> <character>Sam</character> <dialogue>yeah ok, ok</dialogue> <character>AM1</character> <dialogue>how you doin' hon?</dialogue> <character>Joon</character> <dialogue>you think I do n't know who you are. I know just who you are. So just leave, leave. Leave! do n't touch me! do n't touch me!</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>They grab her and put her in the ambulance . Benny runs to the front of the crowd of people</scene_description> <character>Benny</character> <dialogue>Joon, Joon!</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>He sees Sam sat in the ambulance</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>At the mental hospital</scene_description> <character>Benny</character> <dialogue>look I a going to see my sister. Would you please tell me her room number?</dialogue> <character>Woman</character> <dialogue>please sir, just come back in the morning</dialogue> <character>Benny</character> <dialogue>let me talk to her god damn doctor</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>In the social workers room</scene_description> <character>SW</character> <dialogue>I'm sorry. She does n't want any visitors. Not you or anyone else</dialogue> <character>Benny</character> <dialogue>she does n't want to see me?</dialogue> <character>SW</character> <dialogue>no and she does n't want to leave. Benny why do n't you go home? Get some sleep. I promise I'll keep in touch</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>He goes out of the room and sees Sam in the waiting room</scene_description> <character>Benny</character> <dialogue>I hope your happy. I hope you're happy with what you have done to her.</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>He grabs Sam</scene_description> <character>Benny</character> <dialogue>you just stay the hell away from my sister</dialogue> <character>Sam</character> <dialogue>no, no</dialogue> <character>Benny</character> <dialogue>want to know why everybody laughs at you Sam? Because you're an idiot. You're a first class moron</dialogue> <character>Sam</character> <dialogue>you're scared</dialogue> <character>Benny</character> <dialogue>I'm what?</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam you 're scared . I can see it . And you know why ? I used to look up to you but know I cant look at you at all .</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>It flashes to Joon in bed and Benny walking by the trains . It shows Joon again but awake by the window and Sam at Ruthie 's . Benny is playing with a jack - in - the - box back at the house and Sam is outside the hospital .</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>At the video store</scene_description> <character>Sam</character> <dialogue>I think that Fred Astatine is the way to go</dialogue> <character>Lady</character> <dialogue>yeah?</dialogue> <character>Sam</character> <dialogue>that's a good choice</dialogue> <character>Lady</character> <dialogue>who's that woman who starred in the roman...</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam looks up and sees Benny</scene_description> <character>Sam</character> <dialogue>Audrey hepburn</dialogue> <character>Lady</character> <dialogue>yeah Sam. Thanks a lot</dialogue> <character>Sam</character> <dialogue>have a nice day. Can I help you?</dialogue> <character>Benny</character> <dialogue>yeah I hope so.</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>At the mental hospital</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam and Benny are in a room . Thomas walks in</scene_description> <character>Benny</character> <dialogue>Thomas, how is she? Tell me the truth</dialogue> <character>Thomas</character> <dialogue>she's been better Benny</dialogue> <character>Benny</character> <dialogue>well you've got to tell me what room number she's in</dialogue> <character>Thomas</character> <dialogue>335. But do n't even think about it Benny. it's a closed ward. No visitors</dialogue> <character>Sam</character> <dialogue>no we've got to find Joon. Please</dialogue> <character>Benny</character> <dialogue>Thomas you've got to get us in there, to see her</dialogue> <character>Thomas</character> <dialogue>its impossible Benny</dialogue> <character>Benny</character> <dialogue>what do you mean its impossible? Listen I just need 2 minutes with her</dialogue> <character>Thomas</character> <dialogue>I'll be fired</dialogue> <character>Benny</character> <dialogue>Thomas, I'm begging you as a friend</dialogue> <character>Thomas</character> <dialogue>I'd love to help out but Garvey's going to be in there to check on her soon. My hands are tied. My hands are tied!</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Thomas leaves</scene_description> <character>Benny</character> <dialogue>what room did he say?</dialogue> <character>Sam</character> <dialogue>335</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>At the waiting room they sit down . The door opens to the closed ward and Sam throws his hat in the way of the door do it does n't close . They go through and as they are walking through the corridors they hear some men coming the other way .</scene_description> <character>Benny</character> <dialogue>shit. What are you doing?</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam slides down the hall towards the men</scene_description> <character>Sam</character> <dialogue>Mommy?</dialogue> <character>Man1</character> <dialogue>what are you doing here?</dialogue> <character>Man2</character> <dialogue>I do n't think you are supposed to be here</dialogue> <character>Man3</character> <dialogue>what room did you come out of?</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>The pick him up and carry him back through the door .</scene_description> <character>Man1</character> <dialogue>get the door</dialogue> <character>Man3</character> <dialogue>how did he get past security?</dialogue> <character>Man1</character> <dialogue>hey, watch the door</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>The coast is clear so Benny continues until he find Joon 's room .</scene_description> <character>Benny</character> <dialogue>Joon, look, I know you want to be left alone but you do not belong in here. Not how would you like to try living in you're own apartment?</dialogue> <character>Joon</character> <dialogue>an apartment?</dialogue> <character>Benny</character> <dialogue>yeah! There's an apartment available in Ruthie's building</dialogue> <character>Joon</character> <dialogue>you'd let me live in an apartment?</dialogue> <character>Benny</character> <dialogue>that's up to you. I'm through making those decisions for you. Listen I... I'm sorry I was such a jerk. And about Sam. I was wrong, dead wrong.</dialogue> <character>Joon</character> <dialogue>I scared him away</dialogue> <character>Benny</character> <dialogue>no you did n't. he's here</dialogue> <character>Joon</character> <dialogue>he is not</dialogue> <character>Benny</character> <dialogue>he is. He got me in here. He's somewhere in the building.</dialogue> <character>Joon</character> <dialogue>he is not. You'd never let me have him. God. Why do you hate me so much?</dialogue> <character>Benny</character> <dialogue>I do n't hate you</dialogue> <character>Joon</character> <dialogue>you just need me to be sick</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>The social worker enters the waiting room and goes over to the desk .</scene_description> <character>SW</character> <dialogue>Juniper Pearl's chart please. Thank you</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Thomas sees the men carrying Sam away</scene_description> <character>Thomas</character> <dialogue>hey wait! Wally! Wait! Wait! Wally put him down. He's mine. I've been looking for him</dialogue> <character>Man1</character> <dialogue>you sure?</dialogue> <character>Thomas</character> <dialogue>yeah I'll take care of him. Sam you cant be in here</dialogue> <character>Sam</character> <dialogue>where's Joon's room?</dialogue> <character>Thomas</character> <dialogue>come on</dialogue> <character>Sam</character> <dialogue>I've got to see her</dialogue> <character>Thomas</character> <dialogue>come on, come on</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>The social worker is walking down the hall to Joon 's room and sees Benny</scene_description> <character>SW</character> <dialogue>can you give me any reason why I should n't have you arrested?</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam and Thomas are outside</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Thomas points to Joon 's room</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Thomas ; that 's the one</scene_description> <character>Sam</character> <dialogue>yeah</dialogue> <character>Thomas</character> <dialogue>see?</dialogue> <character>Sam</character> <dialogue>ok</dialogue> <character>Thomas</character> <dialogue>Sam, where are you going?</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>In Joon 's room</scene_description> <character>SW</character> <dialogue>Benny, this is exactly what we were trying to avoid. By now Joon would be in a caring and controlled environment. Is n't it obvious that you two need some distance?</dialogue> <character>Benny</character> <dialogue>what do n't we ask Joon what she wants?</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Outside</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam is climbing up the building</scene_description> <character>Thomas</character> <dialogue>Sam what are you doing? Hey Sam come on! Get down right now!</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>In Joon 's room</scene_description> <character>Joon</character> <dialogue>I do n't know exactly what I want. I do know... that I am tired of everyone telling me what to do</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Outside</scene_description> <character>Thomas</character> <dialogue>Sam come down. do n't touch that</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Sam winds up the window cleaners hoist</scene_description> <character>Thomas</character> <dialogue>Sam leave that. I'm begging you.</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>In Joon 's room</scene_description> <character>SW</character> <dialogue>Joon, we want what's best for you</dialogue> <character>Joon</character> <dialogue>I know that</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>She sees Sam swinging across the window</scene_description> <character>Joon</character> <dialogue>I...</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Outside</scene_description> <character>Thomas</character> <dialogue>Sam come down now. Sam you're going to get in trouble</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Inside</scene_description> <character>Joon</character> <dialogue>I think I want to try living in my own apartment</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Benny looks outside and sees Sam . The social worker looks outside but does n't see anything</scene_description> <character>SW</character> <dialogue>hmm, I do n't know</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Outside</scene_description> <character>Thomas</character> <dialogue>Sam stop swinging</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>The line of the hoist starts to come loose</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Inside</scene_description> <character>SW</character> <dialogue>but I'm willing to let you try. I'll prepare the papers for her release</dialogue> <character>Benny</character> <dialogue>thanks doctor Garvey</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Outside</scene_description> <character>Thomas</character> <dialogue>come down Sam!</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>The hoist breaks and Sam falls down</scene_description> <character>Thomas</character> <dialogue>whoa! Whoa! Are you ok?</dialogue> <character>Sam</character> <dialogue>ouch, ouch</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>In the hospital</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Joon tries to say something but cant get the word out</scene_description> <character>Benny</character> <dialogue>I know, me too. I'm going to go and check you out. Ok?</dialogue> <character>Joon</character> <dialogue>ok</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Joon goes out and Sam is waiting for her in a wheel chair . He gets up and they hug</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>At Joon 's apartment</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>Benny pulls up outside and Ruthie is sat on her porch . He hands her some white roses</scene_description> <character>Ruthie</character> <dialogue>have n't we tried this before</dialogue> <character>Benny</character> <dialogue>yeah but my life's a lot less complicated now. Is Joon inside?</dialogue> <character>Ruthie</character> <dialogue>yeah</dialogue> <character>Benny</character> <dialogue>ok</dialogue> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>He looks in her room and sees Sam and Joon making grilled cheese with an iron . He leaves her some roses at her door .</scene_description> </scene> <scene> <stage_direction>SCENE</stage_direction> <scene_description>THE END</scene_description> </scene> </script>

Benjamin "Benny" Pearl and his mentally ill sister Juniper "Joon" Pearl, live together following the accidental death of their parents. Benny's friend Mike has his cousin Sam staying with him. Joon joins a poker game at Mike's and loses a bet that commits Sam to live with the Pearls. Benny is at first angry, but after an evening with Sam at the local diner and then coming home the next day to find Sam has cleaned the house, Benny decides Sam should stay. Joon aids an illiterate Sam when he is struggling with writing to his mother, and the two go to the local diner where Ruthie is working. She takes them on an errand, and then takes them home. After Ruthie stays for dinner, her car won't start, and Benny drives her home, where they set a dinner date. Meanwhile, left alone, Joon and Sam kiss. Benny and Ruthie have a fun date, but it ends abruptly because Benny wants to get home to Joon. Sam goes to a video store to try and apply for a job there. Benny, Joon, and Sam go to a park where Sam starts doing tricks with his hat, attracting an appreciative crowd. Benny stays at the park to reflect and sends Joon home with Sam, where they make love. Sam then tells Joon he loves her which Joon reciprocates. When Benny makes suggestions to Sam about his comedy routines, Joon becomes agitated and makes Sam explain that he and Joon are romantically involved. An angry Benny throws Sam out, yells at Joon, and shows her a pamphlet about a group home that would be a better home for her. Joon starts hitting Benny and screaming, and he pushes her away. Feeling bad, Benny leaves to get her some tapioca. While Benny is away, Sam arrives. They pack suitcases and get on a bus, but Joon soon begins to hear voices in her head and argues with them, in great distress. Sam tries to soothe her, but she becomes more agitated. The bus is stopped, and two paramedics restrain Joon. When Benny arrives at the hospital, the doctor tells him Joon doesn't want to see him. He finds Sam in the waiting room, and they argue. Sam goes to stay with Ruthie. Meanwhile, Benny begins to feel guilty about his treatment of Joon. Benny finds Sam, now working at the video store, and asks for his help. They go to the hospital. Benny apologizes to Joon, persuades her to consider getting her own apartment, and tells her that Sam has come back for her. Joon tells the doctor that she would like to try living in her own apartment. Benny and Joon reconcile and Sam and Joon are reunited. Later, Benny brings roses to Ruthie. He takes another bouquet to Joon's apartment but leaves the flowers in the doorway when he sees Sam and Joon making grilled cheese sandwiches with a clothes iron.

Superfights_1995

tt0114582

<script> <scene> <character>SUPERFIGHTS</character> <dialogue>by</dialogue> <scene_description>Keith W. Strandberg FADE IN: TIGHT ON HAND It PULLS away from the CAMERA.</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - DAY</stage_direction> <scene_description>An old Chinese man, GRANDFATHER, going through a beautiful Tai Zhi Quan form. It is very peaceful and graceful. The form ends with a palm strike towards camera, blacking out the frame. (for possible INTERCUT use)</scene_description> </scene> <scene> <stage_direction>INT. SUPERFIGHT ARENA - NIGHT</stage_direction> <scene_description>Spotlights cut through the murky darkness while rock music PULSES. The sound of the crowd, barely visible in the darkness, is a RUMBLE in the dark, not unlike the sound of an enraged animal. They are yelling for blood! QUICK CUTS of other fighters in the ring, including Punks, Sumo wrestlers, Kickboxers, Shootfighters, and others. It's a spectacle, and we see bits and snippets of it all - the knockout blows, the colorful fighters, the incredible techniques, the bloodshed, the brutality. DARKCLOUD and NIGHT STALKER face off in the ring. (ONE FIGHT) Darkcloud is slamming Night Stalker in the head over and over. With the second blow, the man's mouthpiece goes flying into the crowd. Soon, the blood starts to spray, but the man doesn't stop hitting. In the front row, right next to the ring, is JACK CODY, an 18 year old dreamer. Drinking it all in, he is yelling his lungs out for the fighters. A WOMAN standing next to Jack cringes at the brutality and covers her eyes.</scene_description> <character>WOMAN</character> <dialogue>How can you watch this?</dialogue> <character>JACK</character> <dialogue>It's great, isn't it? I love it!</dialogue> <scene_description>The woman looks at Jack uncomprehendingly, then shakes her head and steps over him to get out, then walks up the stairs to the exit. Though the woman is very beautiful, Jack doesn't even watch her go. He is too intent on the action in the ring. Now, one of the women fighters, ANGEL, dressed in a sexy outfit that shows off her body, but also displays her finely defined muscles, is fighting another SuperFighter. She is brutalizing the other fighter, yet both are covered in blood. The towel has now been thrown in, but Angel STILL doesn't stop. Angel has her opponent by the throat and is motioning to the crowd, thumbs up or thumbs down. "NO MERCY" cries the crowd, and Jack is yelling louder than anyone.</scene_description> <character>JACK</character> <dialogue>Take it to her, Angel! Yeah!</dialogue> <scene_description>Angel spins and hook kicks her opponent in the head, then spins the other way and side kicks her into the ropes. The other fighter FLIES off the ropes and lands face down in the center of the ring. It's brutal and barbaric. And Jack loves every minute of it. A spotlight lights up the stage, and two bizarre FIGHTERS stand in the middle, facing each other.</scene_description> <character>ANNOUNCER</character> <dialogue>In the red corner, Budokai!</dialogue> <scene_description>BUDOKAI is dressed in a gold lame uniform, his belt black. His face is painted like a kabuki actor, a mixture of black and white and gold, and his outfit emphasizes his massive muscles.</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>And in the blue corner, the Enforcer!</dialogue> <scene_description>THE ENFORCER, dressed like a street punk, with chains and leather, spikes and chrome, comes into the ring. He is the bad guy here, and everyone knows it. He raises his muscled arms over his head and smiles at the crowd, then brings them down into a fighting stance.</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>SuperFight!</dialogue> <scene_description>The two fighters face off in fighting positions. The rock music increases its BEAT, and the fighters rush each other, the ring echoing with the fury of their techniques. Budokai is a martial artist, while the Enforcer is a thug. But a well trained thug, nonetheless. Using a mixture of professional wrestling, boxing and street fighting, the Enforcer HAMMERS Budokai in a beautifully choreographed fight. Budokai beaten, the Enforcer stands before the crowd, seemingly asking them for a decision. The crowd ROARS.</scene_description> <character>ANNOUNCER</character> <dialogue>What'll it be? Mercy?</dialogue> <scene_description>The crowd YELLS out "NO MERCY!" Everyone except Jack that is, who likes Budokai, after all. The Enforcer listens to what they want, then smiles and launches a huge roundhouse right. Budokai goes sailing out of the ring. Jack sees this and runs to where Budokai is going to land, thinking to break his fall. He does, sort of, but Budokai still lands HARD. They stand up together, both a little stunned. The Enforcer is now out of the ring and coming towards Budokai, and Jack is caught in the middle. Jack, in the heat of the moment, turns to face off with the Enforcer! He throws a couple of kicks and punches, which have no effect - except to further enrage the Enforcer. The Enforcer goes crazy and attacks Jack. Budokai grabs Jack and throws him up into the sky, and then knocks the Enforcer out, and Jack lands on top of the Enforcer (like a pin in wrestling), counting him out. The ref comes out of the ring and holds up Budokai's hand, and Budokai reaches down and pulls Jack up to a standing position, holding his hand up.</scene_description> <character>BUDOKAI</character> <dialogue>NO MERCY! EVER!</dialogue> <scene_description>Budokai looks at Jack, who is beaming with pride, as the crowd goes crazy. Budokai winks at Jack.</scene_description> <character>BUDOKAI</character> <dialogue>Thanks, man. Couldn't have done it without you...</dialogue> <scene_description>Jack is in heaven.</scene_description> </scene> <scene> <stage_direction>EXT. LOADING DOCK - DAWN</stage_direction> <scene_description>A loading dock is closed up, shut down tight. The streets around it are almost empty. A JOGGER runs by in front, getting a workout in before a busy day starts.</scene_description> </scene> <scene> <stage_direction>INT. LOADING DOCK - SAME DAY</stage_direction> <scene_description>In the loading dock, we MOVE THROUGH the assembled goods, boxes and various things. In the b.g. can be heard the sound of labored breathing, and solid THUNKS and THWOCKS . We MOVE through a door that is ajar, into an area of the warehouse separate from the storage area. On the walls are posters from "SuperFights", martial arts training posters, pictures of Bruce Lee, Chuck Norris, Jean Claude Van Damme (from "No Retreat No Surrender"), movie posters, professional wrestlers, etc. Pictures of a fighter named MIKE ROCCO are featured prominently. Rocco, in the pictures, is wearing a special necklace (Open Hand?). There is a magazine with his picture on it, and the legend reads "Rocco: Where is he now?" There is also a picture of Rocco with his arm around a young fighter - a younger Jack. We see a SHADOW of what looks like two people fighting over the picture of Rocco. The sounds of violent training are closer, more immediate. A counter is piled high with training books, and a TV/VCR combination sits next to them, a pile of martial arts training videos sitting on top. A tape is in the machine, and it is paused on one particular instructor, Mike Rocco, demonstrating a technique. Standing next to the counter are mannequins in various positions, all dressed in sporting goods equipment - at first they look like real fighters. We see Jack moving among them, doing flips (with the aid of an unseen trampoline). Some of the mannequins are wearing protective equipment, others swimsuits, still others in martial arts uniforms. Smoothly, we TURN AROUND to see Jack, in a muscle shirt and workout pants, working on a mannequin, and we realize that they are just mannequins, not real people. He is very athletic, and has obviously been training for some time. He is not a master, but he is strong and effective, with a great deal of raw talent. When he hits and kicks the heavy bag, hanging in the middle of the room, it SHAKES the entire room. Jack is wearing the special necklace that Rocco had on in the pictures. After one particularly grueling combination, Jack stops, drinks from a sport bottle nearby. He then grabs the TV remote and pushes a button. ANGLE ON TV The tape continues, the instructor (Mike Rocco) moving on to another combination. Jack watches it carefully, then rewinds it, and plays it again. He then presses "pause" and puts the remote back. He starts hitting the heavy bag again, mimicking the combination the instructor showed on the tape. As he is working this combination, an alarm on his watch goes off and Jack stops. He gathers himself for a moment, then bows to the mannequin.</scene_description> <character>JACK</character> <dialogue>Time for the SuperFight.</dialogue> <scene_description>He moves to the area of the room where the mannequins are set up. He moves into the middle of them, then raises his arms like Budokai did last night. He goes into action, throwing kicks and punches at the mannequins, breaking them into pieces, throwing them into all the corners of the room. When he is done, he stands panting in the center of the mess, then raises his arms again. One mannequin is still standing.</scene_description> <character>JACK</character> <dialogue>No mercy.</dialogue> <scene_description>He jumps off the trampoline (we see it now) and drives a spinning wheel kick at the lone mannequin and hits it, but sends himself sprawling at the same time. The fantasy is disrupted by reality. Jack smiles and puts his head in his hands, resting.</scene_description> <character>FRANKIE</character> <dialogue>Cody? That you?</dialogue> <scene_description>Jack doesn't answer right away.</scene_description> <character>FRANKIE (O.S.)</character> <dialogue>Yo, Jean Claude Van Dunce? You there?</dialogue> <character>JACK</character> <dialogue>Yeah, Frankie. Just finishing up!</dialogue> <scene_description>FRANKIE comes into view.</scene_description> <character>FRANKIE</character> <dialogue>Man, are you wasting your time with this stuff again? Hey, don't leave a mess again, OK? Hurry up, we gotta get these orders out!</dialogue> <character>JACK</character> <parenthetical>(cheerfully)</parenthetical> <dialogue>OK! I'll be right down.</dialogue> <scene_description>Jack gets off the ground and starts to clean up the pieces of mannequin around the room. He assembles the mannequins again for his next workout, then pauses at the "SuperFights" and "Mike Rocco" posters.</scene_description> <character>JACK</character> <dialogue>Someday...</dialogue> <scene_description>The CAMERA PULLS OUT, past the tapes, books and posters.</scene_description> </scene> <scene> <stage_direction>EXT. JACK HOUSE - EVENING</stage_direction> <scene_description>Establishing shot of a run down tract house in a "poor white trash" suburb of the city. The house is much cleaner than the others in the area. Obviously, some care has been taken with the house. Jack's battered Jeep pulls up to the house, and he gets out. He pauses for a moment in the front yard, then shakes his head, picks up some trash from the neighbor's yard, and moves inside.</scene_description> </scene> <scene> <stage_direction>INT. JACK HOUSE - SAME NIGHT</stage_direction> <scene_description>Jack walks into the house, weary from a long day of work, and hangs up his jacket.</scene_description> <character>JACK</character> <dialogue>Mom, I'm home!</dialogue> <character>MOTHER</character> <dialogue>What? No UltraFights tonight?</dialogue> <character>JACK</character> <parenthetical>(smiling wearily)</parenthetical> <dialogue>It's SuperFights, and they were last night.</dialogue> <character>MOTHER</character> <dialogue>What time did you get home?</dialogue> <character>JACK</character> <dialogue>I got to work on time, nobody got hurt, what difference does it make, Mom?</dialogue> <scene_description>Jack's MOTHER comes around the corner and confronts Jack. This is a road they've been over many times, but that won't stop his Mother from trying to make a point.</scene_description> <character>MOTHER</character> <dialogue>What about you? I think it's hurting you.</dialogue> <character>JACK</character> <dialogue>I'm not in the ring... yet. When I'm one of the fighters, then you can worry. OK?</dialogue> <character>MOTHER</character> <dialogue>You won't be one of them, Jack, not while I'm around.</dialogue> <character>JACK</character> <dialogue>When they have another try out, I'm going to be first in line.</dialogue> <character>MOTHER</character> <dialogue>No you won't. Your father wouldn't have wanted...</dialogue> <character>JACK</character> <dialogue>Let's not do this again, Mom. I gotta go...</dialogue> <character>MOTHER</character> <dialogue>I have dinner ready for you, just like you like it. Where are you going, Jack?</dialogue> <character>JACK</character> <dialogue>Out, that's all.</dialogue> <character>MOTHER</character> <dialogue>Jack, don't walk away from me! I'm talking to you!</dialogue> <scene_description>Jack doesn't stop walking as he grabs his jacket, and then goes out the door. He can be seen walking to his Jeep through the ripped and patched screen door.</scene_description> <character>MOTHER</character> <dialogue>You come right back here, John Jacob Cody! This minute!</dialogue> <scene_description>Jack is gone, and his Mother stands there for a moment, waiting. The Jeep STARTS UP, O.S., and we see the headlights FLARE on Jack's Mother's face.</scene_description> <character>MOTHER</character> <parenthetical>(to herself)</parenthetical> <dialogue>Over my dead body!</dialogue> <scene_description>FADE OUT:</scene_description> </scene> <scene> <stage_direction>EXT. CITY BANK - SAME NIGHT</stage_direction> <scene_description>A deserted parking lot of a city bank. A young, very attractive Chinese woman, SALLY WONG, walks to the Cash machine outside the bank, on her way home from work. She looks around to make sure no one else is there, then proceeds to the machine. She puts in her card, presses several buttons and completes her transaction. Her cash is counted out into a money drawer, and she reaches in and pulls it out. Just as she turns to go, a voice behind her calls out menacingly</scene_description> <character>LEADER</character> <dialogue>We'll take that, sister.</dialogue> <scene_description>Sally whirls around to see three GANG MEMBERS moving towards her. They have taken away her escape route. She makes a fist with one hand, as if she is trying to decide whether it's worth a fight. Just then a Jeep pulls into the parking lot of the bank, making a cut through to another street. It's Jack's Jeep, and he pauses for a moment, taking in the scene. The LEADER turns to look at Jack.</scene_description> <character>LEADER</character> <dialogue>Keep moving, asshole.</dialogue> <scene_description>Jack looks for a moment longer, then pulls out. Sally starts to raise her hands to fight, and the Leader senses what she is doing and pulls out a wicked looking knife to dissuade her.</scene_description> <character>LEADER</character> <dialogue>It's not worth it.</dialogue> <character>LEADER</character> <dialogue>Remember, it's only money, and you didn't have it long enough to get attached to it.</dialogue> <scene_description>Sally looks at the knife, then up at the Leader. She takes a quick glance around, noting the surveillance camera up in one corner of the building.</scene_description> <character>LEADER</character> <dialogue>No time, sugar. We'll be long gone, and you'll be all cut up.</dialogue> <parenthetical>(beat)</parenthetical> <character>NOW.</character> <dialogue>The Jeep pulls into the parking lot again, and this time it stops right in the middle of the lot, its lights pointed straight at the group. The High Beams of the Jeep flick on, momentarily blinding everyone, and the horn BLOWS.</dialogue> <dialogue>The Leader, one hand over his eyes, motions to one of his boys to get rid of whoever it is.</dialogue> <character>LEADER</character> <dialogue>Take care of that guy!</dialogue> <scene_description>The Gang Member goes up to the Jeep, and is surprised to find it EMPTY. Running, lights on, but empty.</scene_description> <character>GANG MEMBER</character> <dialogue>Ain't nobody here!</dialogue> <scene_description>The Leader, who was moving in on Sally, turns to the Gang Member.</scene_description> <character>LEADER</character> <dialogue>What?</dialogue> <scene_description>Just then, from behind one of the bank pillars, STORMS Jack, taking the Leader and the other gang members completely by surprise. Using a variety of kicks, punches, strikes and wrestling moves, he takes them out with little resistance. He wades through them like they were the mannequins he trains on at work.</scene_description> <character>JACK</character> <dialogue>Oh, yeah! This is just what I needed!</dialogue> <scene_description>When he's done, Jack turns to Sally and smiles, then motions for her to join him. Sally gets in Jack's Jeep, and he pulls quickly out of the lot. The gang members are still on the ground, some of them starting to moan and move around a little bit.</scene_description> </scene> <scene> <stage_direction>INT. JACK'S JEEP - SAME NIGHT</stage_direction> <scene_description>Jack is driving along, and Sally is sitting very primly in Jack's Jeep. Jack steals looks at her, and she looks at him sideways. Jack is intrigued by this beautiful Chinese girl.</scene_description> <character>SALLY</character> <dialogue>Turn right here. This is my house.</dialogue> <scene_description>The Jeep comes to a stop. Sally opens the door and starts to get out..</scene_description> <character>SALLY</character> <parenthetical>(after a beat)</parenthetical> <dialogue>Want to come in?</dialogue> <parenthetical>(very softly)</parenthetical> <dialogue>I'd like you to meet my grandfather.</dialogue> <scene_description>Jack turns the engine off.</scene_description> <character>JACK</character> <dialogue>Meet your grandfather? Sounds like real fun...</dialogue> <scene_description>They get out of the Jeep.</scene_description> </scene> <scene> <stage_direction>EXT. SALLY HOUSE - SAME NIGHT</stage_direction> <scene_description>Sally leads him into her house.</scene_description> <character>SALLY</character> <dialogue>He's kind of an old codger... just take him with a grain of salt.</dialogue> <character>JACK</character> <dialogue>Don't worry, I love old codgers.</dialogue> <scene_description>Through the window, we see a SHADOW looking at them. Then it disappears. They go inside.</scene_description> </scene> <scene> <stage_direction>INT. SALLY HOUSE - SAME NIGHT</stage_direction> <scene_description>A meat cleaver THWACKS down into a wooden cutting board and sticks straight up. PULL BACK TO REVEAL Sally's Grandfather, who was cooking dinner when they came in. He is at least 75 years old, and is wearing a dark blue Chinese silk jacket.</scene_description> <character>GRANDFATHER</character> <dialogue>You fought them over money?!? Are you a COMPLETE moron?</dialogue> <scene_description>Jack looks at Sally for help.</scene_description> <character>GRANDFATHER</character> <dialogue>You could have gotten her killed.</dialogue> <character>SALLY</character> <dialogue>They might not have stopped at the money, Grandfather.</dialogue> <character>GRANDFATHER</character> <dialogue>You don't KNOW that. Do you?</dialogue> <character>JACK</character> <dialogue>Gee, correct me if I'm wrong, but most relatives...</dialogue> <character>GRANDFATHER</character> <dialogue>You are wrong. Don't speak unless spoken to.</dialogue> <character>SALLY</character> <dialogue>Grandfather!</dialogue> <scene_description>The Grandfather looks at Sally, sighs, and then examines Jack closely.</scene_description> <character>GRANDFATHER</character> <dialogue>You are a fighter? What style?</dialogue> <character>JACK</character> <dialogue>All different styles.</dialogue> <character>GRANDFATHER</character> <dialogue>Which style? Do not attempt to con me.</dialogue> <character>JACK</character> <dialogue>I use what works, from karate, kung fu, kickboxing, whatever.</dialogue> <character>GRANDFATHER</character> <dialogue>Bullshit!</dialogue> <character>JACK</character> <dialogue>Hey, it worked tonight.</dialogue> <character>GRANDFATHER</character> <dialogue>Let me see your hands, 'fighter'.</dialogue> <scene_description>Jack holds out his hands and Grandfather holds them, looking at them and squeezing them. Jack squeezes back, but it has no effect on Grandfather.</scene_description> <character>GRANDFATHER</character> <dialogue>You have never trained.</dialogue> <character>JACK</character> <dialogue>I can handle myself.</dialogue> <character>SALLY</character> <dialogue>Grandfather, what are you doing? I invited Jack in to thank him.</dialogue> <character>GRANDFATHER</character> <dialogue>Maybe he set the attack up himself, so he would look good.</dialogue> <character>JACK</character> <dialogue>I've had about enough...</dialogue> <scene_description>Jack tries to pull his hands away, but he cannot. Jack continues to try to pull away, but Grandfather has his hands in a vice grip.</scene_description> <character>GRANDFATHER</character> <dialogue>Not yet.</dialogue> <scene_description>Grandfather takes Jack's hands and forces them into the flour on the counter top.</scene_description> <character>JACK</character> <dialogue>What the hell?</dialogue> <character>GRANDFATHER</character> <dialogue>OK, fighter, let's see how good you really are. All you have to do is touch me and I will give you the credit you think you deserve. OK?</dialogue> <character>JACK</character> <dialogue>This is ridiculous. Does he do this to every guy you bring home?</dialogue> <character>SALLY</character> <dialogue>I... Grandfather?</dialogue> <character>GRANDFATHER</character> <dialogue>Only the ones claiming to be heroes. C'mon, just one touch...</dialogue> <scene_description>Jack, thinking he is going to catch Grandfather unaware, lunges for him, but he's no longer there. Jack moves again, trying to touch him, but Grandfather is a ghost. No matter how he tries, and with what techniques, he can't lay a finger on him. Finally, Jack is so frustrated he gives up. He grabs a towel and starts to wipe the flour off his hands.</scene_description> <character>JACK</character> <dialogue>I gotta get outta here. Sally, I'll call you.</dialogue> <scene_description>He walks past Grandfather, who is smiling in success. Before he completely passes him, however, Jack tries one more time to touch him. Grandfather, with eyes in the back of his head, moves subtly out of the way, and all Jack touches is air.</scene_description> <character>SALLY</character> <dialogue>Jack, don't go!</dialogue> <scene_description>Jack is already at the door and opening it. He tosses the towel back into the room. Sally runs after him, giving Grandfather a very dirty look. He just smiles an innocent smile that says, "Just protecting you, my dear."</scene_description> </scene> <scene> <stage_direction>EXT. SALLY HOUSE - SAME NIGHT</stage_direction> <scene_description>Sally pushes open the door of her house, but Jack is already in his Jeep and driving away. She watches him drive away, then raises her face to the stars.</scene_description> <character>SALLY</character> <dialogue>Just once why can't he mind his own business and stay out of my life?</dialogue> </scene> <scene> <stage_direction>EXT. STREETS - SAME NIGHT</stage_direction> <scene_description>Jack's Jeep, driving on a deserted highway.</scene_description> </scene> <scene> <stage_direction>INT. JEEP - SAME NIGHT</stage_direction> <scene_description>Jack, still a little angry, driving and thinking.</scene_description> </scene> <scene> <stage_direction>EXT. JACK HOUSE - SAME NIGHT</stage_direction> <scene_description>Jack drives up to his house, and is surprised to see his house all lit up, with tons of people milling around. There are Reporters, Camera Crews, Neighbors and more. Jack pulls his Jeep into the driveway, and gets out. The entire group explodes in applause, but Jack still can't figure out what is going on. He spots a policeman and yells</scene_description> <character>JACK</character> <dialogue>Is my Mom OK?</dialogue> <scene_description>He nods and motions that she is inside the house. Jack heads for the house, but is stopped by a TV REPORTER and her camera crew.</scene_description> <character>TV REPORTER</character> <dialogue>How does it feel to be a hero?</dialogue> <character>JACK</character> <dialogue>What hero? What are you talking about?</dialogue> <scene_description>Jack pushes his way through the crowd and towards his house, still concerned about his mother. In the b.g. we hear the TV Reporter finishing her report.</scene_description> <character>TV REPORTER</character> <dialogue>Modest and unassuming, untouched by stardom, Jack Cody might be a hero in the truest sense of the world. Just someone who, despite the odds, does the right thing. This is Carol Hartman, Channel 8, live at the Cody house. Back to you, Bob.</dialogue> <scene_description>Jack gets to his front door and throws it open.</scene_description> <character>JACK</character> <dialogue>Mom, are you all right?</dialogue> <scene_description>He goes in.</scene_description> </scene> <scene> <stage_direction>INT. JACK HOUSE - SAME NIGHT</stage_direction> <scene_description>He walks into the living room, and sees his Mom getting up from in front of the TV.</scene_description> <character>JACK</character> <dialogue>Mom! Are you OK? What's with all the people outside?</dialogue> <scene_description>Jack's Mother runs to Jack, hugging him.</scene_description> <character>MOTHER</character> <dialogue>Jack, I'm so proud of you! You're a hero!</dialogue> <character>JACK</character> <dialogue>What are you talking about?</dialogue> <character>MOTHER</character> <dialogue>Watch! I taped it for you!</dialogue> <scene_description>She pushes the "play" button the VCR and a news report unfolds. TIGHT ON TV, INSET PICTURE OF SUPERFIGHTER "PUNISHER"</scene_description> <character>NEWS ANCHOR</character> <dialogue>... Punisher found dead - a violent end for a violent fighter.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And now for some good news: Take a look at some extraordinary footage from Fulton Bank...</dialogue> <scene_description>The screen shifts to grainy color security video, which records the rescue scene where Jack came to the aid of Sally. Jack beats the three guys, and then hustles Sally into his Jeep.</scene_description> <character>NEWS ANCHOR</character> <dialogue>We traced the license plate of the Jeep to Jack Cody, an employee of GoodSports, a sporting goods distributor...</dialogue> <scene_description>Jack turns off the VCR and turns to his mother.</scene_description> <character>MOTHER</character> <dialogue>They've been waiting hours for you, Jack. You saved that girl! You should go out and talk to them, Jack!</dialogue> <character>JACK</character> <dialogue>I don't really want to, Mom.</dialogue> <character>MOTHER</character> <dialogue>This is your chance, Jack. You're break.</dialogue> <character>JACK</character> <dialogue>Don't make that much out of it, Mom. I just did what had to be done.</dialogue> <scene_description>Mother leads Jack to the front door and opens it. Immediately, the crowd on the lawn surges forward to the door.</scene_description> <character>MOTHER</character> <dialogue>This is good news, Jack. There isn't enough good news on the TV. You know what I mean?</dialogue> <scene_description>Jack nods and opens the front door. The questions start coming, and the lights of the cameras and the flash of cameras WHITE OUT the picture as we... CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ROBERT OFFICE - SAME NIGHT</stage_direction> <scene_description>TIGHT ON TV IMAGE OF JACK, blinded by the lights of the TV cameras. He is bombarded with questions, attention which he takes with his characteristic good humor. ANGLE ON ROBERT SAWYER, PROMOTER OF SUPERFIGHTS. He is watching the TV with interest, the lights from the TV illuminating his face. He presses the "Mute" button on the remote, and the scene unfolds on the TV without any sound.</scene_description> <character>ROBERT</character> <dialogue>He's perfect.</dialogue> <scene_description>Robert goes behind his desk and pushes the intercom on his phone.</scene_description> <character>ROBERT</character> <dialogue>Lonnie, get me...</dialogue> <scene_description>The name "Jack Cody" flashes onto the screen, underneath Jack's image talking to reporters.</scene_description> <character>ROBERT</character> <dialogue>Jack Cody. He's on Channel 8 right now. Set up a meeting for tomorrow, here.</dialogue> <character>RECEPTIONIST</character> <dialogue>Yes, Sir.</dialogue> <character>ROBERT</character> <dialogue>Oh, and Lonnie? Make sure he comes alone. No agents, no lawyers. Thanks.</dialogue> <scene_description>He hangs up the phone and then presses "Mute" again. It's Jack talking on the TV.</scene_description> <character>JACK</character> <dialogue>I just did what I had to do. Anybody else would have done the same.</dialogue> <character>ROBERT</character> <dialogue>An All American Hero. Perfect.</dialogue> </scene> <scene> <stage_direction>EXT. CITY STREETS - DAY</stage_direction> <scene_description>Jack is out for his training run, and he is spotted by people walking and working on the street. He runs by a crew of WORKMEN working on the construction of a house.</scene_description> <character>WORKMEN</character> <dialogue>Way to go, Jack!</dialogue> <scene_description>He heads downtown on his run, and a schoolbus goes by and a group of SCHOOLCHILDREN spot him.</scene_description> <character>KIDS</character> <dialogue>It's him, it's the hero. Hey, Jack! Can we have your autograph?</dialogue> <scene_description>Jack waves back, feeling really good. He turns down a city street, and two beautiful WOMEN RUNNERS are coming towards him. One of the RUNNERS nudges the other and points to Jack. She smiles at him as he runs past.</scene_description> <character>RUNNER</character> <dialogue>Want to run my way, Jack?</dialogue> <scene_description>Jack continues running, but his pace definitely slows.</scene_description> </scene> <scene> <stage_direction>INT. JACK HOUSE - SAME DAY</stage_direction> <scene_description>Jack is rushing around, trying to get ready for his meeting with Robert. His mother is following him, haranguing him for even considering becoming a fighter.</scene_description> <character>MOTHER</character> <dialogue>I don't want you to go to this meeting, Jack.</dialogue> <character>JACK</character> <dialogue>You're the one who wanted me to talk to the reporters, and Mr. Sawyer called me because he saw me on TV.</dialogue> <character>MOTHER</character> <dialogue>You want to be a professional wrestler your whole life?</dialogue> <character>JACK</character> <dialogue>No, but being a SuperFighter is a lot different from being a pro wrestler, and a couple of years doing it would be fun. I had my 15 minutes of fame, Mom. Now is the time to capitalize on it.</dialogue> <scene_description>He starts to tie his neck tie, and is having trouble.</scene_description> <character>JACK</character> <dialogue>Mom, can you help me out here? I could die trying to tie this thing.</dialogue> <character>MOTHER</character> <parenthetical>(after a beat)</parenthetical> <dialogue>No. I won't help you with this.</dialogue> <scene_description>She walks out of his room, leaving Jack to fend for himself. He stares at himself in the mirror.</scene_description> <character>JACK</character> <dialogue>Great, just great. I hope he's more interested in my fighting than my wardrobe.</dialogue> <scene_description>He does a sloppy job tying his tie, then grabs a notebook and heads for the door.</scene_description> <character>JACK</character> <dialogue>Mom?!? I'm going. Wish me luck?</dialogue> <scene_description>No answer.</scene_description> <character>JACK</character> <dialogue>Thanks a lot!</dialogue> <scene_description>He goes out the door, and only when he is completely gone does his mother come into the room, a worried look on her face.</scene_description> </scene> <scene> <stage_direction>EXT. OFFICE BUILDING - DAY</stage_direction> <scene_description>Robert's office building, with the legend "SuperFights" over the front door. Jack walks up to the front of the building, admires the sign, then walks in.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE BUILDING - SAME DAY</stage_direction> <scene_description>The elevator door opens and Jack walks up to a very impressive solid wood door, with "SuperFights" engraved into it. He grabs one of the huge brass doorknobs and pulls the door open.</scene_description> </scene> <scene> <stage_direction>INT. SUPERFIGHT LOBBY - SAME DAY</stage_direction> <scene_description>Jack walks up to the RECEPTIONIST, who is seated at a state of the art computer workstation. Her face lights up when she sees him.</scene_description> <character>RECEPTIONIST</character> <dialogue>Jack Cody, right?</dialogue> <character>RECEPTIONIST</character> <dialogue>Let me just say I'm a big fan. I think it's great that you're going to be working with us!</dialogue> <scene_description>Jack doesn't know what to say. Working with the SuperFighters?</scene_description> <character>RECEPTIONIST</character> <dialogue>Mr. Sawyer is expecting you, Mr. Cody. He's just finishing up a meeting.</dialogue> <scene_description>As she says this, the door to Robert's office opens, and out steps three SUPERFIGHTERS: Darkcloud, Night Stalker and Budokai. They aren't dressed like SuperFighters, however. They are dressed all in black: leathers, sweatshirts, parachute pants, etc. Behind them walks Robert, and together they notice Jack, who has tried to move out of the way (and to close his open mouth as he watches his heroes come towards him).</scene_description> <character>ROBERT</character> <dialogue>Jack! Robert Sawyer! Let me introduce you to some friends of mine.</dialogue> <character>BUDOKAI</character> <dialogue>Hey, I remember you! Man, welcome to the team! You're my hero now, Jack!</dialogue> <scene_description>Jack can't believe he is actually talking to the SuperFighters.</scene_description> <character>DARKCLOUD</character> <dialogue>I'm Darkcloud, but call me Chuck, OK? Can I call you Jack?</dialogue> <character>JACK</character> <dialogue>Uh... Sure.</dialogue> <character>NIGHT STALKER</character> <dialogue>I'm Cliff, better known as Night Stalker. It's an honor to shake your hand, Mr. Cody.</dialogue> <character>JACK</character> <dialogue>Honor? C'mon, you guys are...</dialogue> <character>BUDOKAI</character> <dialogue>You're gonna love it here!</dialogue> <character>DARKCLOUD</character> <dialogue>You sure are. Just make sure you ask for enough money from Robert here.</dialogue> <character>DARKCLOUD</character> <dialogue>He can squeeze pennies so hard they bleed, man.</dialogue> <character>ROBERT</character> <dialogue>That's enough, gentlemen. Jack and I have some matters to discuss. Where's your lawyer, Jack? Sharpening his pencil?</dialogue> <character>JACK</character> <dialogue>No, I...</dialogue> <character>ROBERT</character> <dialogue>Don't worry about it, c'mon in! You guys be careful out there tonight, you hear?</dialogue> <character>SUPERFIGHTERS</character> <parenthetical>(together)</parenthetical> <dialogue>Yes, Sir! See ya around, Jack!</dialogue> <scene_description>Robert leads Jack into his office, and then closes the door behind him, smiling at the SuperFighters.</scene_description> </scene> <scene> <stage_direction>INT. ROBERT OFFICE - SAME DAY</stage_direction> <character>ROBERT</character> <dialogue>Have a seat, Jack. Can I get you something to drink?</dialogue> <character>JACK</character> <dialogue>No, thanks, Mr. Sawyer. Thanks for inviting me over. It was great to meet those guys.</dialogue> <character>ROBERT</character> <dialogue>Those guys are friends of yours, Jack. And, thank you for coming here tonight. I know you have a lot of demands on your time now. You're a popular man.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I want to get right to the point, Jack. I want you to be a SuperFighter. Is that something that you'd like?</dialogue> <character>JACK</character> <dialogue>Are you kidding? I'd kill to be one of the SuperFighters!</dialogue> <character>ROBERT</character> <dialogue>I'm not asking for that... yet.</dialogue> <parenthetical>(smile)</parenthetical> <dialogue>All I want to do is make you an offer.</dialogue> <character>JACK</character> <dialogue>The answer's yes.</dialogue> <character>ROBERT</character> <dialogue>I haven't made the offer yet, Jack. Do you have an agent?</dialogue> <character>JACK</character> <dialogue>No. Should I?</dialogue> <character>ROBERT</character> <dialogue>Not necessarily. Most of the fighters don't, in fact. I'll walk you through the contract, and I think we'll come to a fair agreement, don't you?</dialogue> <character>JACK</character> <dialogue>You bet!</dialogue> <character>ROBERT</character> <dialogue>Before we do that, however, I want to introduce you to my favorite SuperFighter, Angel.</dialogue> <scene_description>A side door to the office opens up, and Angel, the female SuperFighter from the opening scene, walks in. She is dressed in her very revealing, very sexy outfit, and she comes over to Jack.</scene_description> <character>ANGEL</character> <dialogue>I saw you on the news. I can't believe I'm actually meeting you!</dialogue> <scene_description>Jack is almost speechless.</scene_description> <character>JACK</character> <dialogue>I saw you fight the other night...</dialogue> <character>ANGEL</character> <dialogue>I wish I had seen you...</dialogue> <character>ROBERT</character> <dialogue>If we can come to terms, Jack, I'd like Angel to train you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>If that's OK.</dialogue> <character>JACK</character> <parenthetical>(swallowing hard)</parenthetical> <dialogue>Yeah, that'd be great.</dialogue> <character>ANGEL</character> <dialogue>I'm a real slave driver, Jack.</dialogue> <character>ANGEL</character> <dialogue>You have to listen to me about... everything. I think you've got great potential, and with a little hard training, you can be a great SuperFighter!</dialogue> <character>JACK</character> <dialogue>I can't wait.</dialogue> <character>ROBERT</character> <dialogue>Angel, can you excuse us for a little while? Jack and I have to cross the t's and dot the i's.</dialogue> <character>ANGEL</character> <dialogue>Don't take too long, OK? I'm hungry.</dialogue> <character>ROBERT</character> <dialogue>We'll all go out to dinner after, OK, Jack?</dialogue> <scene_description>Jack nods, watching Angel leave the room. Robert pulls out a thick contract and puts it down on the table.</scene_description> <character>ROBERT</character> <dialogue>Here's the contract. I advise you to read it carefully, but it's tough going. I'll go over the main points with you. OK?</dialogue> <scene_description>Angel is now at the door, and she stops and catches Jack's eye, then winks.</scene_description> <character>JACK</character> <dialogue>I want to warn you, Robert, I'm a pretty tough negotiator. I'm no pushover.</dialogue> <scene_description>Robert smiles and sits down, ready to put the hammer to Jack.</scene_description> <character>ROBERT</character> <dialogue>I saw that the minute we met, Jack.</dialogue> </scene> <scene> <stage_direction>EXT. WAREHOUSE - NIGHT</stage_direction> <scene_description>Establishing shot of the exterior of the warehouse. Two bodyguards stand outside.</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - NIGHT</stage_direction> <scene_description>A "Death Match" is going on, with THE BEAST against a Citizen. The crowd is wild and unruly, and betting is going on throughout the scene. The Beast beats the Citizen handily, and then KILLS him brutally. It's quite a difference from the SuperFights.</scene_description> </scene> <scene> <stage_direction>EXT. STREETS - NIGHT</stage_direction> <scene_description>A STREET GANG made up of punks and toughs, along with the occasional girlfriend, is hanging out in an alley, smoking cigarettes and killing time. (6 to 8 GANG MEMBERS - Black, Hispanic, White) Suddenly, one of the street gang's LOOKOUTS is propelled into the alley. He SLAMS into the wall on the other side and collapses in a heap, MOANS once, then is silent. The gang is up and on their feet, ready for action.</scene_description> <character>GANG LEADER</character> <dialogue>What the hell...?</dialogue> <scene_description>The SUPERFIGHTERS (Budokai, Night Stalker, Darkcloud) come out of three doorways into the alley, immediately surrounding the street gang. The Leader starts to go for his weapon, but a movement by Darkcloud stops him.</scene_description> <character>DARKCLOUD</character> <dialogue>I wouldn't do that, Bubba.</dialogue> <character>GANG LEADER</character> <dialogue>Name's not Bubba.</dialogue> <character>DARKCLOUD</character> <dialogue>It is if I say it is, Bubba.</dialogue> <scene_description>One of the gang members moves towards Darkcloud, and he is immediately taken out, brutally, hit and kicked and SLAMMED into the wall. INSERT shot of THUGS raising guns, preparing for action.</scene_description> <character>GANG LEADER</character> <dialogue>What do you want, man?</dialogue> <character>DARKCLOUD</character> <dialogue>30% of the action.</dialogue> <character>GANG LEADER</character> <dialogue>What the hell for?</dialogue> <character>DARKCLOUD</character> <dialogue>So that doesn't happen to you.</dialogue> <character>GANG LEADER</character> <dialogue>No thanks, man.</dialogue> <character>DARKCLOUD</character> <dialogue>You got a nice operation, Bubba.</dialogue> <character>DARKCLOUD</character> <dialogue>Drugs, grand theft auto, extortion - we want in.</dialogue> <character>GANG LEADER</character> <dialogue>And if I say no?</dialogue> <character>DARKCLOUD</character> <dialogue>You know you can't say no, Bubba. Oh, by the way, it's up to 40% now. Want to try for 50% by complaining some more?</dialogue> <character>GANG LEADER</character> <dialogue>Screw you, man.</dialogue> <character>DARKCLOUD</character> <dialogue>Wrong answer, Bubba.</dialogue> <scene_description>The SuperFighters JUMP into action in the alley. They are all trained fighters, and the gang members are no match for them. It's over quickly, with brutal efficiency, the SuperFighters dispatch the gang members. When it's over, Darkcloud stands the Leader of the gang up by applying a very painful joint lock.</scene_description> <character>DARKCLOUD</character> <dialogue>50-50 now, Bubba. Pick ups once a week. Try to cheat me, you get dead. Comprende?</dialogue> <scene_description>The Leader nods, in a world of pain. About eight miscellaneous TOUGHS, who are aiming guns, come out from the darkness. Darkcloud turns towards them and smiles, motioning to the Gang Members on the ground.</scene_description> <character>DARKCLOUD</character> <dialogue>See, I told you we wouldn't need you guys. They said we couldn't beat some sense into your thick skull!</dialogue> <scene_description>He laughs and drops the Leader, motioning for his SuperFighters to follow him out of the alley. The gang members stay on the ground, too hurt to move.</scene_description> </scene> <scene> <stage_direction>INT. TRAINING GYM - DAY</stage_direction> <scene_description>Jack walks through the door into the training gym, which is very high tech, all marble, machines and red and blue floors. Only the best for the SuperFighters. Jack is astonished by the room, and he walks around looking at it in awe. As he looks around, in walks Angel.</scene_description> <character>ANGEL</character> <dialogue>Good morning, Jack. It's nice to see you're on time.</dialogue> <character>JACK</character> <dialogue>I'm all yours.</dialogue> <character>ANGEL</character> <dialogue>How true. You got a clean bill of health from our doctors. Let's see what you can do, OK?</dialogue> <scene_description>She pushes a button on a keyboard located on a pedestal, and three TVs in the marble wall are revealed.</scene_description> <character>ANGEL</character> <dialogue>This is the main training area for the fighters. Usually, you all train together, but we'll be training alone for the first couple of weeks, however.</dialogue> <character>JACK</character> <dialogue>Why?</dialogue> <scene_description>They walk over to the two beams of light streaming down against one wall.</scene_description> <character>ANGEL</character> <dialogue>Jack, don't ask too many questions, OK? When I call out a kick or a punch, you hit through the lights. They measure speed and power. Got that?</dialogue> <character>JACK</character> <dialogue>You bet.</dialogue> <character>ANGEL</character> <dialogue>Stepping side.</dialogue> <scene_description>Jack does it. A power read out registers on the computer display.</scene_description> <character>ANGEL</character> <dialogue>Backfist, straight punch.</dialogue> <scene_description>Jack does it.</scene_description> <character>ANGEL</character> <dialogue>Spinning hook, roundhouse, front kick.</dialogue> <scene_description>Jack performs them, hitting the beams of light each time.</scene_description> <character>ANGEL</character> <dialogue>Left hook. Right jab. Left uppercut.</dialogue> <scene_description>Jack does them all, and is performing very well. A series of QUICK CUTS shows Jack hitting the bags and targets, with each hit scoring "power points" on the computer read out.</scene_description> <character>ANGEL</character> <dialogue>Now I want to measure your reaction time. Enter the chamber, please.</dialogue> <scene_description>She walks over to the keyboard and punches in several commands. Jack stands in the middle of the chamber, and suddenly the poles on each side of the chamber come flying out. Jack tries to avoid the poles, but still gets hit a few times while doing it. We see the computer screen measuring the result of the training.</scene_description> <character>ANGEL</character> <dialogue>OK! Take a break for a minute, Jack.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Not bad. Your numbers are pretty good.</dialogue> <character>JACK</character> <dialogue>Thanks. Is the test done?</dialogue> <character>ANGEL</character> <dialogue>Not quite yet, Jack.</dialogue> <scene_description>Angel moves up close to Jack, body to body.</scene_description> <character>JACK</character> <dialogue>What... are you doing, Angel?</dialogue> <character>ANGEL</character> <dialogue>Checking vital signs...</dialogue> <scene_description>She presses her finger against the vein in his neck, feeling his pulse.</scene_description> <character>ANGEL</character> <dialogue>Not too fast, that's good.</dialogue> <scene_description>She runs her hands over his body, gently, caressing. She checks the vein in his arm.</scene_description> <character>ANGEL</character> <dialogue>A little faster now - you enjoying yourself, Jack? That's good, too...</dialogue> <scene_description>Her hands goes farther down, caressing his buttocks, then moving towards the front.</scene_description> <character>JACK</character> <dialogue>Angel...?</dialogue> <scene_description>Jack jumps a little, and Angel snaps.</scene_description> <character>ANGEL</character> <dialogue>Stand still!</dialogue> <scene_description>She presses her right hand between his thighs.</scene_description> <character>ANGEL</character> <dialogue>Best indicator of heart rate activity. Your heart's pumping to beat the band, Jack...</dialogue> <scene_description>She smiles at Jack, then pulls her hand back, taking care to brush up against the front of his workout pants as she goes. Angel growls a little.</scene_description> <character>ANGEL</character> <dialogue>My favorite vital sign... Oh, the things you'll see, Jack. We're going to have so much fun training together.</dialogue> <character>JACK</character> <parenthetical>(forced, throaty, embarrassed)</parenthetical> <dialogue>Should we be doing this?</dialogue> <character>ANGEL</character> <dialogue>You'll do whatever I say.</dialogue> <character>JACK</character> <dialogue>Here? Now?</dialogue> <scene_description>Angel laughs, then starts to walk away.</scene_description> <character>ANGEL</character> <dialogue>We have all the time in the world, Jack. We start for real, training, I mean, tomorrow. Get a good night's sleep, Jack, you'll need it.</dialogue> <scene_description>She tosses him a bottle of pills. He catches it.</scene_description> <character>JACK</character> <dialogue>What are these?</dialogue> <character>ANGEL</character> <dialogue>Vitamins. Special for the SuperFighters.</dialogue> <character>JACK</character> <dialogue>I don't like pills.</dialogue> <character>ANGEL</character> <dialogue>They're vitamins, Jack. Take them.</dialogue> <scene_description>Jack watches as Angel exits, leaving Jack tortured and all alone.</scene_description> </scene> <scene> <stage_direction>INT. ROBERT OFFICE - DAY</stage_direction> <scene_description>Robert is in his office, kissing with Lonnie, his receptionist, when the door flies open and OATES comes in flanked by two BODYGUARDS. They have knives drawn, and they PULL Robert and Lonnie apart, Oates holding Lonnie, the Bodyguards holding Robert, knives at both their throats. Robert looks at him and smiles.</scene_description> <character>ROBERT</character> <dialogue>Mr. Oates. What a pleasant surprise.</dialogue> <scene_description>Oates moves the knife closer to Lonnie's throat, and she tries to pull away, terrified.</scene_description> <character>OATES</character> <dialogue>If I was calling the shots, you'd be already dead. Understand me, Sawyer?</dialogue> <scene_description>Robert just nods.</scene_description> <character>OATES</character> <dialogue>Instead, my people want to send you a message. You don't agree, we kill the girl.</dialogue> <character>ROBERT</character> <dialogue>The girl?</dialogue> <scene_description>Oates indicates Lonnie.</scene_description> <character>ROBERT</character> <dialogue>Oh, her.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Go ahead.</dialogue> <character>OATES</character> <dialogue>Excuse me.</dialogue> <character>ROBERT</character> <dialogue>Go ahead. You got what it takes?</dialogue> <character>OATES</character> <dialogue>I kill her, you're next.</dialogue> <character>ROBERT</character> <dialogue>You have to do her first.</dialogue> <scene_description>Lonnie looks at Robert, stunned at what he is saying. That he would sacrifice her. Robert is still smiling, until he moves, and when he moves he is incredibly quick, and brutal. He strikes the two bodyguards, and they go down immediately. When they are down, he turns to Oates, who still has the knife at Lonnie's throat.</scene_description> <character>ROBERT</character> <dialogue>Your turn. I'm calling your bluff.</dialogue> <scene_description>Oates doesn't move, but he is terrified by this unfeeling maniac. Robert moves and HITS Oates, knocking him away from Lonnie. INSERT: LONNIE'S THROAT SLASHED Robert doesn't even see that Lonnie has been hurt. He closes on Oates.</scene_description> <character>ROBERT</character> <dialogue>Let me get this straight... You thought you'd tell me what to do? Strongarm me? Is that how your pea brain works?</dialogue> <character>OATES</character> <dialogue>What's the big deal?</dialogue> <character>ROBERT</character> <dialogue>I'm the big deal.</dialogue> <character>OATES</character> <dialogue>Hey, I won't do it again, if that's what you want.</dialogue> <character>ROBERT</character> <dialogue>That's only part of what I want.</dialogue> <scene_description>Robert attacks Oates, and he is brutal and ruthless. He hits him with a strike to the stomach, which doubles him over.</scene_description> <character>ROBERT</character> <dialogue>That hurt? Straighten up.</dialogue> <scene_description>With difficulty, Oates straightens up and tries to hit Robert. As soon as he comes all the way back up, Robert blocks his strike and hits him again, with a different technique this time. Oates goes farther down, and seems to hurt much more.</scene_description> <character>ROBERT</character> <dialogue>That hurt more, I could tell. Interesting...</dialogue> <character>OATES</character> <parenthetical>(between gasps)</parenthetical> <dialogue>C'mon, I said I'd stop.</dialogue> <scene_description>He grabs Oates by the hair and stands him up. Oates tries to swing on Robert, but he blocks it easily and drives a strike into the arm, breaking it.</scene_description> <character>ROBERT</character> <dialogue>I never knew that was so effective.</dialogue> <scene_description>Oates' arm hangs limply by his side, and his face is a mask of agony. Robert hits him a couple more times, analyzing the reaction.</scene_description> <character>ROBERT</character> <dialogue>Hmmm... Lonnie, you should leave now.</dialogue> <scene_description>Robert drives a knife hand into Oates' collar bone, breaking it with an audible CRACK. Oates' screams again, and now both of his arms hang useless at his sides.</scene_description> <character>ROBERT</character> <dialogue>How bad is the pain? Can you describe it?</dialogue> <scene_description>No answer from Oates, who is in incredible pain. He pulls back and gets himself set, then drives forward with a special technique, striking Oates in the chest, right where the heart is. Oates' eyes go wide, and his mouth opens in a silent scream, then he drops over dead. Robert stands over Oates and studies his hand.</scene_description> <character>ROBERT</character> <dialogue>It works. And, you'll never threaten me again. It's just a win-win day.</dialogue> <scene_description>He exits the room without looking back.</scene_description> </scene> <scene> <stage_direction>EXT. APARTMENT BUILDING - DAY</stage_direction> <scene_description>An exclusive, gated community - expensive townhouses and security guards. A limousine pulls up and into a parking place, and out step Angel and Jack. She leads him into one of the units.</scene_description> </scene> <scene> <stage_direction>INT. JACK APARTMENT - SAME DAY</stage_direction> <scene_description>It's an incredible apartment, complete with vaulted ceilings, fireplace, open staircase, eat in kitchen, exercise room and much more. Angel gives him a guided tour, and we tag along. In the master bedroom, Angel lays on the bed and motions for Jack to join her. Jack shakes his head and moves on to another room.</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT - NIGHT</stage_direction> <scene_description>VARIOUS SHOTS of Jack eating dinner at an expensive restaurant with other SuperFighters (Budokai, Night Stalker, DarkCloud, etc.), Angel, beautiful women, etc. At the end of the obviously expensive meal, Jack pulls out his wallet and, over protestations from the rest of the group, produces a wad of bills to pay the tab.</scene_description> </scene> <scene> <stage_direction>EXT. JACK APARTMENT - DAY</stage_direction> <scene_description>Jack comes out of his apartment carrying his workout bag, late for his workout with Angel. He runs up to his Jeep, only this time it's not his beat up Jeep, but a beautiful, new Jeep Cherokee Sport. He hops in and drives off.</scene_description> </scene> <scene> <stage_direction>INT. TRAINING GYM - DAY</stage_direction> <scene_description>Jack is training with Angel. Before they begin, she hands him a cup of water, and he takes the pill. They start training, and Angel is a slave driver. Jack has never worked so hard.</scene_description> <character>ANGEL</character> <dialogue>This is our newest training device, designed by SuperFights for close quarter combat.</dialogue> </scene> <scene> <stage_direction>EXT. CITY STREETS - DAY</stage_direction> <scene_description>Jack drives past the warehouse where he used to work, and the irony is lost on him. Frankie is outside, and he spots Jack.</scene_description> <character>FRANKIE</character> <dialogue>Hey, Jack! Way to go, man! Hey, can you stop for a second? Yo, Jack!</dialogue> <scene_description>Jack smiles and drives on. Jack passes by an area of the city in his new car, and Sally is on her way to work, a working girl with a briefcase. She stops at a light, next to a workman carrying a mirror. We see Jack's Jeep first in the mirror, then Sally sees him. She tries to say hello, but he doesn't see her.</scene_description> </scene> <scene> <stage_direction>EXT. CAPITOL BUILDING - DAY</stage_direction> <scene_description>Jack is running stairs, with Angel watching, holding a stop watch.</scene_description> </scene> <scene> <stage_direction>EXT. RIVER - DAY</stage_direction> <scene_description>Jack and Angel are standing in the river, throwing kicks.</scene_description> </scene> <scene> <stage_direction>INT. TRAINING GYM - DAY</stage_direction> <scene_description>Angel is drilling Jack with Muay Thai bags. Jack is kicking hard, sweating up a storm.</scene_description> </scene> <scene> <stage_direction>EXT. PARK - DAY</stage_direction> <scene_description>Jack and Angel are running together. They start to sprint, and Angel is staying right with him.</scene_description> </scene> <scene> <stage_direction>INT. JACK APARTMENT - DAY</stage_direction> <scene_description>Jack is heading for the door for a workout. He stops at the sink and takes his "vitamin".</scene_description> </scene> <scene> <stage_direction>INT. TRAINING GYM - DAY</stage_direction> <scene_description>Jack is lifting weights, with Angel as his coach. He is working very hard, and Angel is urging him to work even harder.</scene_description> </scene> <scene> <stage_direction>INT. LOCKER ROOM - NIGHT</stage_direction> <scene_description>Jack is lying in the whirlpool, the bubbles flying around him, the steam rising, taking the pain out of his tired muscles. The door to the locker room opens and Jack barely acknowledges it, he is so exhausted. We get the impression of a HUGE, HULKING BEAST who appears in the steam behind Jack, who is totally unaware. The Beast comes closer, big hands and arms reaching for Jack, when a muffled order is BARKED. Jack sits up straight in the whirlpool, looking around for someone, something.</scene_description> <character>JACK</character> <dialogue>Who's there?</dialogue> <scene_description>No one answers. The Beast recedes into the anonymity of the steam, leaving Jack searching in the steam for the something he thought he saw.</scene_description> <character>JACK</character> <dialogue>This is a rookie thing, right, guys? Ha, good one! You guys got me a good one!</dialogue> <scene_description>He sits back down in the whirlpool, but doesn't quite relax the way he was before.</scene_description> </scene> <scene> <stage_direction>INT. TRAINING GYM - NIGHT</stage_direction> <scene_description>Jack, after his whirlpool, comes out of the locker room. He goes past the Women's locker room, and there is Angel, in full view, almost completely naked. Jack doesn't want to look, but he stops anyway. Angel knows that Jack is watching, and she consciously gives him a little show.</scene_description> </scene> <scene> <stage_direction>INT. SUPERFIGHT ARENA - NIGHT</stage_direction> <scene_description>TIGHT ON RING, where a SuperFights bout is going on. Two flamboyant fighters are going at each other, in a series of great techniques. It's RASPUTIN against THE MERCENARY. Rasputin is dressed like a Red Army General crossed with a mad monk. The Mercenary is dressed like an American soldier in this "patriotic" battle. Angel and Jack are sitting with Robert in the crowd. Jack is in street clothes, watching the action (his first fight is not for a little while). The crowd is loud and ready for blood and violence, and the SuperFights are ready to give it to them. INSERT: Underground betting is going on here.</scene_description> <character>ROBERT</character> <dialogue>You ready for this craziness?</dialogue> <character>JACK</character> <parenthetical>(looking at Angel)</parenthetical> <dialogue>You bet. Just say the word.</dialogue> <character>ROBERT</character> <dialogue>It's Angel's call.</dialogue> <character>ANGEL</character> <dialogue>Soon.</dialogue> <scene_description>The fight continues, and The Mercenary is really taking the fight to him, but the things that The Mercenary is doing aren't having any effect on Rasputin. In fact, Rasputin looks really angry. The Mercenary hits him with a roundhouse right, and there is NO reaction. Nothing. The Mercenary stops fighting and stares at Rasputin, unbelieving.</scene_description> <character>THE MERCENARY</character> <dialogue>C'mon, man. Let's do it.</dialogue> <scene_description>At that moment, Rasputin attacks, and tears into The Mercenary. The Mercenary is not ready for the onslaught, and he is getting really hurt. The crowd is going wild, and everyone is on their feet. Robert is concerned. He looks at Angel.</scene_description> <character>ROBERT</character> <dialogue>What's going on?</dialogue> <scene_description>Angel shrugs, and looks back at the ring.</scene_description> <character>ROBERT</character> <dialogue>FIND OUT!</dialogue> <scene_description>Angel nods and rushes off. Robert forces a smile to Jack, then concentrates on the fight again. ANGLE ON RING The Mercenary is a bloody mess, and Rasputin is raging at everyone and everything. Darkcloud is yelling at Rasputin to let The Mercenary go.</scene_description> <character>DARKCLOUD</character> <dialogue>C'mon, man, he's hurt. Let me come get him...</dialogue> <character>RASPUTIN</character> <dialogue>He's mine!</dialogue> <scene_description>The other SuperFighters, including Night Stalker and Darkcloud, are debating whether to go inside to get Rasputin. They are about to go in, when one of the Doctors shows up with a tranquilizer gun. He takes aim at Rasputin, who is still putting a hurt on The Mercenary. He slaps his neck where the tranquilizer goes in, and SCREAMS at the assemblage, then falls into a heap on the ground. The Mercenary falls unconscious next to him. Jack is still watching from the stands. In the Ring both fighters are being carted out by paramedics.</scene_description> <character>ANNOUNCER</character> <dialogue>What a fight! Don't want to meet the Mad Russian in some dark alley later, I'll tell you that... Next up, Darkcloud takes on the Dynamic Duo. It's two against one! &lt;BEAT&gt; I've just been informed that we have our newest SuperFighter in the crowd - Jack Cody,</dialogue> <scene_description>A spotlight illuminates Jack, and he puts his hand up to see through the glare. The crowd erupts in applause when Jack stands up. It's his moment in the sun, and the bright light wipes out the image of the fight before.</scene_description> </scene> <scene> <stage_direction>INT. TRAINING GYM - DAY</stage_direction> <scene_description>Jack and Angel are working out. They are trading kicks, warming up. Angel is an incredible martial artist. Both of them are wearing protective gear, which is very futuristic and high tech. They start to speed up, and Jack begins to wonder if he could take her. He tries to score some points on her, and catches her off guard. He scores a kick to the body, and smiles a little. Angel stops and looks at him, hands on her hips.</scene_description> <character>ANGEL</character> <parenthetical>(smiling)</parenthetical> <dialogue>You want to go?</dialogue> <character>JACK</character> <parenthetical>(beat)</parenthetical> <dialogue>Sure. You?</dialogue> <character>ANGEL</character> <dialogue>You think you're ready?</dialogue> <character>JACK</character> <dialogue>Ready as ever.</dialogue> <character>ANGEL</character> <dialogue>OK. Go for it.</dialogue> <scene_description>They bow to each other and then touch fists. Jack gets into a fighting stance, and starts to throw a combination, but before he can even move, Angel is all over him. She is throwing all sorts of techniques, feet and hands, and she is scoring at will. Her movements are like lightning, and Jack is getting an old fashioned ass whupping. Angel spots Robert off to the side, watching. Angel, in order to make Jack look good, starts to lose. They go at it, and Jack is very impressive. Angel leaves herself open for an attack, and Jack responds with a flying spin kick, hitting her. Robert comes out of the background now, applauding a little.</scene_description> <character>ROBERT</character> <dialogue>Is he ready?</dialogue> <character>ANGEL</character> <dialogue>Yes.</dialogue> <scene_description>Robert exits the room, and he and Angel slap hands, excited. Angel then pulls him into an embrace, one that starts as a celebration and quickly moves to something else. Jack catches himself and pulls away from her.</scene_description> <character>ANGEL</character> <dialogue>You better get some rest, Jack. We can, you know, finish this later...</dialogue> <character>JACK</character> <dialogue>Right.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Hey, I read where the police found Rasputin's body. What happened to him?</dialogue> <character>ANGEL</character> <dialogue>Random killing, I guess. It's a violent world, Jack...</dialogue> <character>JACK</character> <dialogue>How'd he get so out of control?</dialogue> <character>ANGEL</character> <dialogue>I told you about asking questions, Jack. 'Sides, the SuperFights await.</dialogue> <character>JACK</character> <dialogue>What's it like?</dialogue> <character>ANGEL</character> <dialogue>Nothing you've ever seen before...</dialogue> <scene_description>She walks away.</scene_description> </scene> <scene> <stage_direction>EXT. SALLY HOUSE - DAY</stage_direction> <scene_description>Sally comes walking up to her house, a piece of paper in her hand. It is a playbill advertising the next SuperFights. Jack, as the "All American Hero," is featured prominently in the ad, which is selling tickets and the pay-per-view coverage. Sally looks at the playbill for a long time, remembering Jack and the way her Grandfather treated him. Just then, the door to their house opens, and Grandfather, an expert in ancient Chinese healing arts, is showing an injured PATIENT out of the house. Sally sees her grandfather and quickly folds the playbill into the smallest possible size, then hides it in her purse. She then walks into her house.</scene_description> </scene> <scene> <stage_direction>EXT. SUPERFIGHT ARENA - NIGHT</stage_direction> <scene_description>"SuperFights Tonight" lights up the arena marquee.</scene_description> </scene> <scene> <stage_direction>INT. SUPERFIGHT ARENA - SAME NIGHT</stage_direction> <scene_description>The crowd is jumping, and the arena is packed. In the center is the SuperFights ring/cage, and all the spotlights are on it. A martial arts demonstration is going on in the center, and the crowd is cheering as three children use various martial arts weapons in a demonstration. They finish and bow to the crowd.</scene_description> </scene> <scene> <stage_direction>INT. ARENA LOCKER ROOM - SAME NIGHT</stage_direction> <scene_description>Jack is sitting at his locker, his uniform on. It is a mixture of traditional martial arts and patriotic glitz - all in all, however, the effect isn't bad. He's nervous, tapping his feet and taking deep breaths. Budokai and Darkcloud come over to him and clap him on the shoulder.</scene_description> <character>BUDOKAI</character> <dialogue>Don't worry! The first one's a piece of cake!</dialogue> <character>DARKCLOUD</character> <dialogue>You're being groomed for the big time, man. No way you'll lose!</dialogue> <character>JACK</character> <dialogue>You think so? You think I'm ready?</dialogue> <character>DARKCLOUD</character> <dialogue>Sure! Who you going up against?</dialogue> <character>JACK</character> <dialogue>The Enforcer.</dialogue> <scene_description>Budokai and Darkcloud share a look, their smiles gone. Then, quickly, they smile again.</scene_description> <character>BUDOKAI</character> <dialogue>Nothing to worry about. The guy's a punk.</dialogue> <character>JACK</character> <parenthetical>(wanting to believe)</parenthetical> <dialogue>Great. Thanks. I feel much better...</dialogue> <scene_description>SMASH CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SUPERFIGHT ARENA - SAME NIGHT</stage_direction> <scene_description>Jack getting SLAMMED in the face by The Enforcer, a huge, very angry fighter. He gets HAMMERED again, and thrown to the canvas floor! ANGLE ON ANGEL, WHO IS WORKING HIS CORNER, SHE WINCES AS HE HITS</scene_description> <character>ANGEL</character> <dialogue>Take the fall, Jack! Absorb it!</dialogue> <scene_description>The Enforcer stands Jack up, and puts him into a hold that looks very painful, but really isn't.</scene_description> <character>THE ENFORCER</character> <dialogue>We met before, didn't we? C'mon, Jack. I thought you were supposed to be the All American Hero. Show me something.</dialogue> <scene_description>ANGLE ON JACK'S MOTHER She is in the audience, and is very concerned about Jack. The Enforcer smiles and takes him down with an elaborate Judo throw, then LANDS right on top of him. Jack's wind comes completely out of him, and he is just about out. He looks through the ropes, trying to find Angel, but instead he spots Sally, who is sitting near the side of the ring. She motions for him to get up, and surprisingly, he starts to get off the canvas. Jack stands completely up and turns to The Enforcer, who is urging on the crowd in the center of the ring, his back to Jack, not even looking at him. Jack goes over and taps on The Enforcer's shoulder. The Enforcer turns, face curious, only to get BLASTED with a right cross! He stumbles back and Jack starts a series of beautiful movements (ones that Angel taught him). The Enforcer is defenseless, and he gets rocked over and over again. Finally, The Enforcer is out on his feet, and Jack sizes him up. He launches and connects with a flying spinning hook kick, knocking The Enforcer out! Jack's mother, relieved, gets up and walks out. She is not happy, but she is glad that Jack is safe. Jack lands on his feet after the kick and the crowd goes crazy! Jack raises his hands in the air and quickly goes to the side of the ring where he saw Sally, looking for her in the crowd. She is on her way to the ring. Jack sees that her seat is empty, and before he can look anywhere else, Angel grabs him and pulls him into a deep kiss. Sally sees this kiss and stops in her tracks, stunned. She turns and walks the other way.</scene_description> <character>ANGEL</character> <dialogue>You did it!</dialogue> <character>JACK</character> <dialogue>We did it!</dialogue> <scene_description>Jack is still looking for Sally.</scene_description> </scene> <scene> <stage_direction>INT. TRAINING GYM - DAY</stage_direction> <scene_description>Jack is training, and now all the other SuperFighters are in the gym training too. They are sparring, they are lifting weights, some are working out on treadmills or exercise bikes. It is a flurry of activity. Jack is stretching to one side, taking it all in. He pushes his rear end forward, holding that stretch.</scene_description> <character>ANGEL</character> <dialogue>I think I remember that position from somewhere... I just can't seem to put my finger on it...</dialogue> <scene_description>Angel puts her hand on his buttocks, and Jack jumps.</scene_description> <character>JACK</character> <dialogue>C'mon, Angel. Cut it out!</dialogue> <character>ANGEL</character> <dialogue>You seem a little jumpy, you OK?</dialogue> <scene_description>Angel smiles and walks up, and Jack continues his stretching. Budokai comes up to him, holding a kicking bag.</scene_description> <character>BUDOKAI</character> <dialogue>Hold this for me, will ya?</dialogue> <character>JACK</character> <dialogue>You bet.</dialogue> <scene_description>He steadies himself for the kick. Budokai does a stepping side kick into the bag, propelling Jack into the wall behind him, where he hits a bunch of pads and other training apparatus. It all falls down around Jack.</scene_description> <character>JACK</character> <dialogue>Nice kick, man.</dialogue> <scene_description>Budokai watches him for a moment, and looks like he's about to erupt in laughter. Then, he thinks better of it and goes over to where Jack is and helps him up.</scene_description> <character>BUDOKAI</character> <dialogue>You must have slipped, Jack.</dialogue> <character>JACK</character> <dialogue>Right, yeah, I slipped.</dialogue> </scene> <scene> <stage_direction>INT. SUPERFIGHT ARENA - NIGHT</stage_direction> <scene_description>QUICK SHOT OF JACK IN THE RING, FACING OFF AGAINST ANOTHER FIGHTER We just catch the tail end, as Jack prepares to knock him out.</scene_description> <character>CROWD</character> <dialogue>No mercy!</dialogue> <scene_description>Jack takes him out with another flashy kick. This time, Jack hasn't gotten hurt at all - he's the All American Hero, after all. Sally is in the audience again, watching and cheering for Jack.</scene_description> </scene> <scene> <stage_direction>EXT. STREETS - DAY</stage_direction> <scene_description>Jack, dressed in an expensive leather coat, exits the restaurant with Angel on his arm. A line of FANS, mostly KIDS, are waiting outside with things for him to autograph. Jack loves the attention, and he stops and signs for them. One especially cute KID waits at the end of the line. Jack smiles at Angel and kneels down in front of him. The Kid holds the piece of paper out to Jack, then looks at him very seriously.</scene_description> <character>KID</character> <dialogue>You're my favorite in the whole world!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Are you really a hero?</dialogue> <scene_description>Jack smiles and takes the paper, then turns and looks at Angel and smiles.</scene_description> <character>JACK</character> <dialogue>I try my best, kid. I try my best.</dialogue> <scene_description>He signs the autograph and they walk on.</scene_description> </scene> <scene> <stage_direction>EXT. STREETS - NIGHT</stage_direction> <scene_description>An expensive limousine drives down the street. Suddenly, a car careens out of control through the intersection, sliding to a stop right in front of the limo. The LIMO DRIVER leans on the horn, but nobody gets out of the car. The Limo Driver gets out and walks up to the car to see if someone is hurt, or if anyone needs help. From out of nowhere FLIES Budokai, KICKING the Limo Driver in the head, sending him down the ground. Out of the shadows of the street come two other SuperFighters, Night Stalker and Darkcloud, and they jump into the front seat of the limo.</scene_description> </scene> <scene> <stage_direction>INT. LIMO - SAME NIGHT</stage_direction> <scene_description>A short, thin man, GERACIOTI, is sitting on the back seat, two beautiful women in various stages of undress are sitting next to him. On the floor is a satchel.</scene_description> <character>NIGHT STALKER</character> <dialogue>Sorry to cause coitus interruptus, but I think you have something for us.</dialogue> <scene_description>The man indicates the bag on the floor.</scene_description> <character>NIGHT STALKER</character> <dialogue>I'll take that.</dialogue> <character>DARKCLOUD</character> <parenthetical>(reaching out for one of the women)</parenthetical> <dialogue>And I'll take you!</dialogue> <scene_description>Night Stalker slaps Darkcloud on the arm and motions for him to get out of the car.</scene_description> <character>DARKCLOUD</character> <dialogue>Maybe some other time, my sweet!</dialogue> <scene_description>They exit the car.</scene_description> </scene> <scene> <stage_direction>INT. SUPERFIGHT ARENA - NIGHT</stage_direction> <scene_description>Jack is in the ring, facing off against a bigger, faster, better opponent, The Mercenary, this time. However, Jack wins again, using his impressive and very distinctive style to beat him. In the audience sits Sally, cheering Jack on, anxious for him to catch a glimpse of her. The Grandfather is sitting with her.</scene_description> </scene> <scene> <stage_direction>INT. JACK APARTMENT - SAME NIGHT</stage_direction> <scene_description>Jack is in the bathroom, washing up. He is staring at himself in the mirror, examining his face and his body. He is wearing only bikini briefs.</scene_description> <character>JACK</character> <dialogue>Did you think that fight tonight went awful fast? I mean, I barely hit him and he went down.</dialogue> <character>ANGEL</character> <dialogue>You were great, Jack! They loved you!</dialogue> <character>JACK</character> <dialogue>Yeah, but was I that great? Am I that good?</dialogue> <character>ANGEL</character> <dialogue>Don't ask me, I'm not exactly impartial...</dialogue> <character>JACK</character> <dialogue>Yeah, but do you think they're taking it easy on me because I'm new? I don't want anything given to me...</dialogue> <scene_description>Jack grabs a robe and walks out of the bathroom, comes around the corner towards the bedroom, and there stands Angel, dressed only in a dress shirt and panties. She is in a fighting stance, her hands up.</scene_description> <character>ANGEL</character> <dialogue>I want you to give it up to me!</dialogue> <character>JACK</character> <parenthetical>(after a beat)</parenthetical> <dialogue>C'mon, Angel. What are you doing?</dialogue> <character>ANGEL</character> <dialogue>You want a fight, you got one.</dialogue> <character>JACK</character> <parenthetical>(smiling)</parenthetical> <dialogue>I've never fought anyone in lace panties before.</dialogue> <character>ANGEL</character> <dialogue>Enjoy it while you can.</dialogue> <character>JACK</character> <dialogue>Angel...</dialogue> <scene_description>She attacks, and they trade playful techniques, and then Jack SWEEPS her to the bed, landing next to her in an embrace.</scene_description> <character>ANGEL</character> <dialogue>Oh, Jack Cody, you sweep me off my feet.</dialogue> <scene_description>She pulls him into a kiss, laughing. Jack returns the kiss for a moment, then pulls away.</scene_description> <character>ANGEL</character> <dialogue>C'mon, Jack. Just one time? It doesn't have to mean anything.</dialogue> <character>JACK</character> <dialogue>Yes, it does. Besides, you're my trainer, and my friend.</dialogue> <character>ANGEL</character> <dialogue>What are friends for?</dialogue> <scene_description>Jack doesn't say anything, so she gets up.</scene_description> <character>ANGEL</character> <dialogue>You don't know what you're missing.</dialogue> <scene_description>She leaves, but not before giving Jack a good look at her body.</scene_description> <character>JACK</character> <dialogue>I'm getting a sneak preview...</dialogue> </scene> <scene> <stage_direction>INT. GANG APARTMENT - NIGHT</stage_direction> <scene_description>Geracioti is sitting with his wise guys in the apartment, talking and bitching about the way things are, and the way things ought to be. Geracioti is talking to his two bodyguards, MUSCLE 1 and A large metal ceiling fan is spinning fast above their heads.</scene_description> <character>GERACIOTI</character> <dialogue>Those guys think they got us, think we're gonna just roll over - they got another think coming.</dialogue> <scene_description>The Gang Leader stands up and walks, posturing.</scene_description> <character>GERACIOTI</character> <dialogue>They gonna get the message when they open that briefcase, you know what I'm saying? We control too much to just give it away.</dialogue> <scene_description>Suddenly, the lights go OFF, plunging the apartment into complete darkness. A second later, the emergency lights come on.</scene_description> <character>GERACIOTI</character> <dialogue>What the hell?</dialogue> <character>MUSCLE 1</character> <dialogue>I'm there, checkin'...</dialogue> <scene_description>The door to the room SMASHES open! The Beast BLASTS through the room, hitting everything in his way. He knocks out both of the Muscles, then GRABS Geracioti by the throat and lifts him off the ground. They are right under the fast moving ceiling fan. Geracioti is screaming, and sounds of running and shouting can be heard out in the halls. Robert walks through the shattered door, flanked by Darkcloud and Night Stalker.</scene_description> <character>ROBERT</character> <dialogue>We opened the case.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Wake one of them up! I want a witness when he dies.</dialogue> <scene_description>Darkcloud JERKS one of the Muscles up off the ground, and SLAPS him in the face to bring him around. Robert walks over to Leader and smiles. He looks up at the ceiling fan.</scene_description> <character>GERACIOTI</character> <dialogue>C'mon, man! DON'T!!</dialogue> <scene_description>Robert ignores him and turns to the Muscle.</scene_description> <character>ROBERT</character> <dialogue>You see this? This is what happens. DO YOU SEE?</dialogue> <scene_description>The Muscle nods his head, scared that he's next. Robert, after a BEAT, turns back to the Beast and nods.</scene_description> <character>ROBERT</character> <dialogue>No one steals from me. No one.</dialogue> <scene_description>Robert motions to the Beast and he raises Geracioti up. Geracioti's head hits the fan, and blood SPRAYS all over the room.</scene_description> <character>ROBERT</character> <dialogue>This must be what they mean when they say the shit hits the fan.</dialogue> <scene_description>Robert watches for a moment, then turns to the Muscle. He comes right up to him, face to sweating face.</scene_description> <character>ROBERT</character> <dialogue>Spread the word. Fear me.</dialogue> <scene_description>He exits without another word.</scene_description> </scene> <scene> <stage_direction>EXT. PARK - MORNING</stage_direction> <scene_description>Jack is running and training outside, throwing punches while he works on his endurance. It is foggy out, and as Jack turns on one of the paths, he sees a hulking Figure. He stops for a moment, spooked, and looks for the Figure, but it's gone.</scene_description> <character>JACK</character> <dialogue>Who's there?</dialogue> <scene_description>He continues running, but suddenly, he is attacked by a Masked Man. They fight, and the Masked Man is a much better fighter than Jack. Jack is trying to block him, but he cannot.</scene_description> <character>MASKED MAN</character> <dialogue>You're not winning the fights, they're losing them.</dialogue> <character>JACK</character> <dialogue>Bullshit! I'm a great fighter.</dialogue> <scene_description>The Masked Man SLAMS Jack HARD, sending him to the ground.</scene_description> <character>JACK</character> <dialogue>What do you want?</dialogue> <character>MASKED MAN</character> <dialogue>Robert's not just a promoter, and you're not just a fighter. It goes way beyond that. Illegal death matches, fixing fights, gambling, drugs, organized crime, murder - he's into it all. You've got to get out while you can.</dialogue> <character>JACK</character> <dialogue>I haven't seen any of that...</dialogue> <character>MASKED MAN</character> <dialogue>Not yet. But you will. You're a product, and once you are the fighter he wants you to be, you'll become a killer too. Like the rest...</dialogue> <character>JACK</character> <dialogue>I won those fights...</dialogue> <character>MASKED MAN</character> <dialogue>We both know you didn't. Pull out while you still can. And, Jack, don't take the pills. They aren't vitamins...</dialogue> <character>JACK</character> <dialogue>Wait! How do I do that?</dialogue> <scene_description>The Masked Man is walking away, but he pauses right before he exits.</scene_description> <character>MASKED MAN</character> <dialogue>Just say no.</dialogue> <scene_description>He is gone, leaving Jack standing in the park all alone. Suddenly, the life of a SuperFighter doesn't seem quite so glamorous.</scene_description> </scene> <scene> <stage_direction>EXT. RIVERFRONT - DAY</stage_direction> <scene_description>Jack is walking along the riverfront, his hands in his pockets, He is absently watching the traffic on the river, and the people walking around him. Jack walks a little bit more, then notices a man off to one side, in a little park, going through a martial arts routine. It's soft style Tai Zhi Quan, and the man is obviously an expert. Jack comes a little closer for a better look, and realizes that the man in Sally's Grandfather. Jack smiles and watches the man move. Very athletic, very graceful, with an underlying strength. The man finishes up a particularly intricate set, then goes and drinks some water out of a bottle.</scene_description> <character>GRANDFATHER</character> <parenthetical>(his back to Jack)</parenthetical> <dialogue>You haven't come to see my granddaughter again.</dialogue> <character>JACK</character> <dialogue>I didn't feel particularly welcome.</dialogue> <character>GRANDFATHER</character> <dialogue>You give up on everything so easily?</dialogue> <scene_description>Jack thinks about that one for a moment.</scene_description> <character>JACK</character> <dialogue>No, but I...</dialogue> <character>GRANDFATHER</character> <dialogue>She is a rare jewel, a wonderful girl... woman.</dialogue> <character>JACK</character> <dialogue>Yes, she is.</dialogue> <character>GRANDFATHER</character> <dialogue>Yet you don't come to see her?</dialogue> <character>JACK</character> <parenthetical>(after a beat)</parenthetical> <dialogue>I have no answer for that.</dialogue> <character>GRANDFATHER</character> <dialogue>I see you in the TV ads. You're a famous fighter now.</dialogue> <character>JACK</character> <dialogue>Yeah. Famous.</dialogue> <character>GRANDFATHER</character> <dialogue>You are troubled by something?</dialogue> <character>JACK</character> <dialogue>You could say that.</dialogue> <character>GRANDFATHER</character> <dialogue>I began training my daughter in the martial arts. Will you do me a favor?</dialogue> <character>JACK</character> <dialogue>What?</dialogue> <character>GRANDFATHER</character> <dialogue>Come to her training tomorrow morning, 6:30 am, sharp! It will be a happy surprise for her.</dialogue> <scene_description>Jack thinks for a moment, then smiles.</scene_description> <character>JACK</character> <dialogue>For us both. Can you teach me to move like you?</dialogue> <scene_description>Grandfather scribbles an address on a piece of paper.</scene_description> <character>GRANDFATHER</character> <dialogue>I'm not a miracle worker. &lt;Smile&gt; Here's the address. It's not much, but it serves our purpose.</dialogue> <character>JACK</character> <dialogue>See you tomorrow morning.</dialogue> <scene_description>Grandfather starts in on another form.</scene_description> <character>JACK</character> <dialogue>Is that Tai Zhi?</dialogue> <scene_description>No answer from Grandfather. Jack smiles and walks on, feeling better than he's felt in a long time.</scene_description> </scene> <scene> <stage_direction>EXT. WAREHOUSE - MORNING</stage_direction> <scene_description>It is deserted when Grandfather and Sally drive up in his beaten up pick up truck. They get out and Grandfather looks around for Jack. There is a homeless person sleeping under a paper box near some trash barrels, but no Jack. Grandfather shakes his head, angry at Jack, and at himself.</scene_description> <character>GRANDFATHER</character> <dialogue>Damn it!</dialogue> <character>SALLY</character> <dialogue>What's the matter, Grandfather?</dialogue> <character>GRANDFATHER</character> <dialogue>Life is filled with disappointments, Granddaughter. Let's go inside.</dialogue> <scene_description>As they head for the door to the warehouse, the figure under the paper box stirs, and then stands up. It's Jack!</scene_description> <character>SALLY</character> <dialogue>Jack!</dialogue> <scene_description>Jack turns towards her and smiles.</scene_description> <character>JACK</character> <dialogue>Where have you guys been?</dialogue> <scene_description>Grandfather is sincerely pleased that Jack is there, but he is doing his best to hide it. Jack and Sally embrace, but that is quickly broken up by Grandfather.</scene_description> <character>GRANDFATHER</character> <dialogue>We are here to train, not kissie kissie.</dialogue> <scene_description>Jack and Sally come apart, reluctantly, and line up.</scene_description> <character>JACK</character> <dialogue>Time's a wasting, Grandfather!</dialogue> <scene_description>They go inside.</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - SAME MORNING</stage_direction> <scene_description>Jack and Sally are lined up in the middle of the warehouse, which has some old Chinese training devices in it, as well as miscellaneous boxes, etc.</scene_description> <character>GRANDFATHER</character> <dialogue>The martial arts are about controlling your body, your mind... and your emotions.</dialogue> <scene_description>Jack and Sally look at each other and smile.</scene_description> <character>GRANDFATHER</character> <dialogue>Horse stance!</dialogue> <scene_description>They both get into a horse stance, and what follows is a MONTAGE OF TRAINING SEQUENCES: Grandfather repositions Jack's hands. Sally SLAMMING Jack in the chest with a palm heel. Grandfather working on footwork and movement with Jack. Jack kicking, and Grandfather coming up and showing him a slightly different way. Jack and Sally stretching together. They are sweaty and tired, but there is a spark there. The workout is over, and Jack is riding a high that he's never felt before. He yanks his jacket off the floor, and his keys fall out, and so does one of the pills.</scene_description> <character>GRANDFATHER</character> <parenthetical>(picking up the pill)</parenthetical> <dialogue>What is this?</dialogue> <character>JACK</character> <dialogue>They said they were vitamins.</dialogue> <character>GRANDFATHER</character> <dialogue>I don't think so. Don't take any more until I check it out.</dialogue> <character>JACK</character> <dialogue>Sure. Thanks for having me.</dialogue> <character>GRANDFATHER</character> <dialogue>You will come back tomorrow?</dialogue> <scene_description>Sally smiles and looks at Jack.</scene_description> <character>JACK</character> <dialogue>Bright and early.</dialogue> <parenthetical>(to Sally)</parenthetical> <dialogue>You want to have dinner tonight?</dialogue> <scene_description>Sally smiles and is about to say yes. Before she can say it, however,</scene_description> <character>GRANDFATHER</character> <dialogue>Jack!</dialogue> <scene_description>Both Jack and Sally, surprised, turn towards the Grandfather. Jack is steeling himself for another scolding.</scene_description> <character>GRANDFATHER</character> <dialogue>You have her home by 11:00 pm, no later! You hear!</dialogue> <character>JACK</character> <dialogue>You bet, Grandfather.</dialogue> <scene_description>Grandfather smiles.</scene_description> <character>JACK</character> <dialogue>See you tonight!</dialogue> <scene_description>He exits.</scene_description> </scene> <scene> <stage_direction>EXT. RESTAURANT - NIGHT</stage_direction> <scene_description>Jack and Sally are eating at a very nice restaurant. We can see them through the front plate glass window. A couple of people come up for autographs, but then they are alone.</scene_description> </scene> <scene> <stage_direction>INT. TRAINING GYM - SAME DAY</stage_direction> <scene_description>Jack is lifting weights, around the other SuperFighters. At a certain time, all of them are provided with pills and cups of water to drink them with. Jack takes his, and makes like he is drinking them. After he drinks, Darkcloud winks at Jack.</scene_description> <character>DARKCLOUD</character> <dialogue>Breakfast of champions, eh, Jack?</dialogue> <scene_description>Jack smiles and then coughs into his fist. The pills he put in his mouth are shot into his hand, and he stuffs them into the pocket of his workout shorts.</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - DAY</stage_direction> <scene_description>Jack and Sally are training together, doing a little sparring. After they have warmed up a little, Grandfather puts them through the paces. He runs Jack through an agility drill, then holds the pads for him to hit.</scene_description> <character>GRANDFATHER</character> <dialogue>I had the pill checked out, Jack. Steroids, growth hormone and some other chemical.</dialogue> <character>JACK</character> <dialogue>Which one?</dialogue> <character>GRANDFATHER</character> <dialogue>Don't remember. The pharmacist said something about mind control.</dialogue> <character>JACK</character> <dialogue>I stopped taking the pills, but they'll know something's going on if I'm not getting any stronger.</dialogue> <character>GRANDFATHER</character> <dialogue>You will.</dialogue> <character>JACK</character> <dialogue>What do you have in mind?</dialogue> <character>GRANDFATHER</character> <dialogue>Qi training.</dialogue> <scene_description>He places an aluminum can in front of Jack.</scene_description> <character>GRANDFATHER</character> <dialogue>Hit this.</dialogue> <scene_description>Jack goes to punch the can, but Grandfather moves it so that Jack is punching at air.</scene_description> <character>GRANDFATHER</character> <dialogue>With your qi. Qi is inner energy. Your life force. Everyone has qi, you just have to learn how to use it. Watch!</dialogue> <scene_description>Grandfather puts his hand out and stops it about 6 inches from the can. He closes his eyes and concentrates, an amber glow surrounds his hand (SFX), and then the can MOVES ABOUT SIX INCHES! All by itself!</scene_description> <character>JACK</character> <dialogue>What the hell?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Do that again!</dialogue> <character>GRANDFATHER</character> <parenthetical>(fire in his eyes)</parenthetical> <dialogue>It's not a magic trick! You do it!</dialogue> <scene_description>Jack puts the can up on the table and put his hand out, mimicking Grandfather, looking stupid. He concentrates but the can refuses to move. Jack smiles. He thinks it's a trick.</scene_description> <character>JACK</character> <dialogue>That's qi? Qi.</dialogue> <parenthetical>(mispronounces the word)</parenthetical> <dialogue>Sounds like you are sneezing.</dialogue> <character>GRANDFATHER</character> <dialogue>Qi.</dialogue> <character>JACK</character> <dialogue>Bless you.</dialogue> <scene_description>Grandfather walks over to Jack and puts his hand on his shoulder.</scene_description> <character>GRANDFATHER</character> <dialogue>It's Chinese for inner energy, Jack. QI!</dialogue> <scene_description>He then flexes his palm on Jack's shoulder, and Jack goes flying across the room, SLAMMING against the wall and sliding down. Jack nods, then pronounces the word correctly.</scene_description> <character>JACK</character> <dialogue>Q-Q-Q-Q-Q-Qi.</dialogue> <character>GRANDFATHER</character> <dialogue>Qi can be used for protection, and for attack. It requires much practice, and meditation. Breathing and qi are connected. Each breath brings in power and strength...</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - SAME DAY</stage_direction> <scene_description>Jack is sitting and meditating with his eyes closed. Sitting next to him is Grandfather, who has his eyes OPEN! Sally is behind them both, her eyes closed. Jack is having real trouble concentrating. He is shifting in his position, rolling his head on his shoulders, trying to get comfortable. He opens his eyes and looks around, and sees that Grandfather has his eyes open. He looks at Sally, then back to Grandfather. He then puts his hand out in front of Grandfather, to see if he can see the hand. No reaction. He does a few more things, then decides he is going to attack Grandfather. He prepares a backfist, then lets it fly towards Grandfather's head. Before it can land, however, Grandfather blocks it with one hand, and SLAPS the back of Jack's head with the other.</scene_description> <character>GRANDFATHER</character> <dialogue>This meditation is more advanced. It trains you to distinguish the false from the true. Now, clear your mind and continue.</dialogue> <scene_description>Grandfather and Jack continue to meditate.</scene_description> </scene> <scene> <stage_direction>EXT. SALLY HOUSE - SAME NIGHT</stage_direction> <scene_description>They are saying good-bye outside the house.</scene_description> <character>JACK</character> <dialogue>Your grandfather's a great guy.</dialogue> <character>SALLY</character> <dialogue>Didn't start out that way...</dialogue> <character>JACK</character> <dialogue>He was just looking out for you.</dialogue> <character>SALLY</character> <dialogue>I got news for you, he's still looking out for me.</dialogue> <scene_description>She pulls him into a kiss, and it's a major league, passionate one.</scene_description> </scene> <scene> <stage_direction>INT. TRAINING GYM - DAY</stage_direction> <scene_description>Jack is training with Angel. He's working on the heavy bag, and she's watching him, charting his progress.</scene_description> <character>ANGEL</character> <dialogue>You're not getting much stronger, Jack. I don't get it. We normally see 25% increase by this time, and you're way behind schedule. What gives?</dialogue> <character>JACK</character> <dialogue>Got me, Coach.</dialogue> <scene_description>Just then, Robert walks in, briefcase in hand, and motions for Darkcloud and Night Stalker to join him. They break off from their training and follow him.</scene_description> <character>JACK</character> <dialogue>I gotta take a leak... I mean, I have to use the facilities, Ma'am. May I?</dialogue> <character>ANGEL</character> <dialogue>I'll be right here.</dialogue> <scene_description>Jack grabs and towels and heads down the hallway to the bathroom, and walks right by the room where Robert, Darkcloud and Night Stalker went. Jack pauses outside the door for a moment, and sees Robert put the briefcase down on the desk and open it. Jack gets a glimpse of money in the suitcase, lots of money, before the door is closed. Jack continues on to the restroom.</scene_description> </scene> <scene> <stage_direction>INT. ROBERT OFFICE - SAME NIGHT</stage_direction> <scene_description>Robert and Angel are getting dressed, after having made love in his office. Robert treats Angel like his property, and Angel is starting not to like it.</scene_description> <character>ROBERT</character> <dialogue>So, what's up with Jack? He checking out, strength and speed and all that?</dialogue> <character>ANGEL</character> <parenthetical>(after a slight hesitation)</parenthetical> <dialogue>He's right on schedule.</dialogue> <character>ROBERT</character> <dialogue>Do you think I can trust him? I look at a lot of fighters, Angel, and I can't afford to get burnt. Do you think it's time we took him out with us?</dialogue> <character>ANGEL</character> <dialogue>Not yet. Hell, he still thinks he's winning his fights, fair and square.</dialogue> <character>ROBERT</character> <dialogue>Good. Keep it that way. It's good for business, and he's become quite a star, hasn't he? He's young, and we've got all the time in the world.</dialogue> <scene_description>Robert watches Angel as she continues dressing. He GRABS her by the hair and pulls her to him, yanking her hair back, lifting her face to his.</scene_description> <character>ROBERT</character> <dialogue>You're not getting star struck, are you?</dialogue> <scene_description>Angel tries to shake her head, but Robert has her held too tightly.</scene_description> <character>ROBERT</character> <dialogue>You don't forget who trained you, and Darkcloud, Night Stalker and the others, do you?</dialogue> <scene_description>Again, she tries to shake her head, but cannot.</scene_description> <character>ROBERT</character> <dialogue>Good!</dialogue> <scene_description>He kisses her brutally, then lets her go, pushing her back to her clothes.</scene_description> <character>ROBERT</character> <dialogue>Let yourself out. I have a meeting.</dialogue> <scene_description>He exits the room, and Angel wipes her mouth with the back of her hand, trying to get the taste of him off her. There is real anger in her eyes as she continues dressing.</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - NIGHT</stage_direction> <scene_description>Grandfather is drilling Jack in qi cultivation. They are doing sticking hands, and Grandfather talks while they drill.</scene_description> <character>GRANDFATHER</character> <dialogue>The key to using qi is your waist and legs. You can use your opponent's energy against him, by sensing the attack and reacting immediately, before he hits you.</dialogue> <character>JACK</character> <dialogue>What do you mean?</dialogue> <character>GRANDFATHER</character> <dialogue>Attack me.</dialogue> <scene_description>Grandfather closes his eyes, and Jack throws a punch at him. It looks like it is going to hit him, but at the last minute, Grandfather avoids the punch, redirects the force, then comes back at Jack, throwing him back about 3 feet.</scene_description> <character>GRANDFATHER</character> <dialogue>I am talking about spontaneous reaction. Your body has a field around it, and when an attack comes, you feel it.</dialogue> <scene_description>Jack looks at Grandfather, and he knows Jack doesn't understand.</scene_description> <character>GRANDFATHER</character> <dialogue>Hold out your hand.</dialogue> <scene_description>Grandfather looks at the hand, then thrusts a pin into it. Before it can go in too far, Jack YELPS and pulls his hand away.</scene_description> <character>GRANDFATHER</character> <dialogue>Spontaneous reaction. See?</dialogue> <character>JACK</character> <dialogue>Yeah, I see.</dialogue> <scene_description>They start sticking hands training again.</scene_description> </scene> <scene> <stage_direction>EXT. STREETS - NIGHT</stage_direction> <scene_description>Three SuperFighters, Budokai, Night Stalker and Darkcloud are duking it out with an Asian gang (5). They beat them handily.</scene_description> <character>BUDOKAI</character> <dialogue>You're out of business.</dialogue> </scene> <scene> <stage_direction>INT. SUPERFIGHT ARENA - NIGHT</stage_direction> <scene_description>Jack is fighting in the ring, and at one critical moment in the fight, he tries to use the qi training he is learning. It doesn't work, however, and Jack is SLAMMED by the other fighter, Night Stalker. Surprised, Jack moves away from him, trying to recover. Finally, he finishes off Night Stalker, then raises his hands to the crowd. The applause is deafening. Jack turns to all corners of the crowd, and smiles at Sally. Angel watches him closely, and sees the look he gives Sally.</scene_description> </scene> <scene> <stage_direction>INT. TRAINING GYM - DAY</stage_direction> <scene_description>Jack is lifting weights with the other SuperFighters. Several CLOSEUPS of SuperFighters training (men and women), their rage apparent. They are so big, and so emotionally on edge.</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - NIGHT</stage_direction> <scene_description>Jack working on his qi training with Grandfather. He is frustrated by Jack's inability to concentrate, so he gets a machine out. This machine generates lights and sounds, allowing Jack to concentrate. Jack puts on glasses, and does his meditation.</scene_description> </scene> <scene> <stage_direction>EXT. PARK - DAY</stage_direction> <scene_description>Jack, in the early morning rays of the sun, is doing a soft style Tai Zhi form. It's beautiful.</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE - DAY</stage_direction> <scene_description>Sticking hands. More Machine Jack working on moving the can. More machine. Grandfather turns off the machine and attacks Jack, who still has the eye piece on. Jack is able to defend himself. He doesn't even notice that he cannot see anything.</scene_description> </scene> <scene> <stage_direction>EXT. CHINESE RESTAURANT - DAY</stage_direction> <scene_description>Jack is eating dim sum in Chinatown with Sally and Grandfather. Grandfather and Sally are busy ordering, in Chinese, and so Jack is very bored. Jack is sitting there trying to move a can of soda. An amber glow appears for a split second (SFX), and the can jiggles a little. Jack is elated.</scene_description> <character>JACK</character> <dialogue>It moved! It moved!</dialogue> <scene_description>Grandfather looks at the waiter and shrugs.</scene_description> <character>GRANDFATHER</character> <dialogue>You bumped the table.</dialogue> <character>JACK</character> <dialogue>I'm telling you it moved!</dialogue> <character>GRANDFATHER</character> <dialogue>All right, all right. It moved. We're in a restaurant, Jack.</dialogue> </scene> <scene> <stage_direction>INT. SUPERFIGHT ARENA - NIGHT</stage_direction> <scene_description>The crowd is going crazy, ready for the next SuperFight.</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>Next up... Darkcloud against The All American Hero!</dialogue> </scene> <scene> <stage_direction>INT. ARENA LOCKER ROOM - NIGHT</stage_direction> <scene_description>Jack is all dressed and ready to go for his next fight. He is standing near the door, waiting for his introduction. There is a light sheen of sweat over his skin, and he can't wait to get into the ring. Robert and Angel appear at Jack's side.</scene_description> <character>JACK</character> <dialogue>Mr. Sawyer! How are you?</dialogue> <character>ROBERT</character> <dialogue>Jack, I want you to lose this fight.</dialogue> <scene_description>Jack smiles and nods, then does a double take. He stares at Robert, looks at Angel, then decides that he's joking.</scene_description> <character>JACK</character> <dialogue>Good one, Mr. Sawyer.</dialogue> <character>ROBERT</character> <dialogue>The decision has been made, Jack. You don't win this fight. I'm setting you up for a huge title match later. You lose to Darkcloud tonight.</dialogue> <scene_description>The crowd is chanting Jack's name. INSERT: Underground betting is going on here.</scene_description> <character>CROWD</character> <dialogue>Jack Cody! Jack Cody!</dialogue> <scene_description>Robert starts to walk away, leaving Angel standing there. Jack looks at Angel, but she cannot meet his gaze.</scene_description> <character>JACK</character> <dialogue>Mr. Sawyer?</dialogue> <scene_description>Robert doesn't listen and continues to walk away.</scene_description> <character>ANNOUNCER</character> <dialogue>Give it up for a fighter who needs no introduction, the ALLLLL AMERICAN HERO!</dialogue> <scene_description>The spotlight swivels around to find Jack, standing at the entrance to the locker room. It lights him up and the crowd ROARS, but he is still looking off towards Robert. Stunned. Finally, Angel edges him towards the ring, and he goes, in a sort of fog.</scene_description> </scene> <scene> <stage_direction>INT. SUPERFIGHTER ARENA - SAME NIGHT</stage_direction> <scene_description>Jack is inside the ring, facing off with Darkcloud. Jack is losing, as he is supposed to. He is still in kind of a daze. Robert is in the crowd, and he looks a little concerned. Darkcloud clinches with Jack, and whispers in his ear.</scene_description> <character>DARKCLOUD</character> <dialogue>Jack, man, you gotta make it look good. You gotta be beating me before you take the dive.</dialogue> <character>JACK</character> <dialogue>Why do I take a dive?</dialogue> <character>DARKCLOUD</character> <dialogue>It's in the script.</dialogue> <scene_description>Jack breaks the clinch and still he is being beaten up. He gets taken down, and is in real trouble. Jack looks into the crowd and sees Sally, who has a very concerned look on her face. Jack is filled with confusion, and gets back up slowly. They start fighting again, and now Jack begins to show some spark. Robert, seeing the change, is relieved. The fight continues for a little bit, with Jack having the upper hand now. The fighters clinch again.</scene_description> <character>DARKCLOUD</character> <dialogue>Good man. Let me catch my breath, then I'm gonna take you out.</dialogue> <character>JACK</character> <dialogue>You and what army?</dialogue> <character>DARKCLOUD</character> <dialogue>Don't try it, Jack, man. It ain't worth it.</dialogue> <character>JACK</character> <dialogue>I'm not going down.</dialogue> <scene_description>They break, and now Darkcloud is pissed. This was supposed to be his win. He charges Jack, intent on really taking him out. Jack sidesteps the attack, and mounts his own. It's fast and furious, and very dangerous. Jack uses some of the techniques that Grandfather has been teaching him. ANGLE ON ANGEL She knows what Jack is supposed to do, and sees what he is doing. She's not sure if she should be angry, or cheer his rebellion. Jack avoids Darkcloud's brutal attacks, and continues to score. He finally sets Darkcloud up for the knockout blow. He pauses for a moment, looking first at Angel and then into the crowd for Robert. TIGHT ON ROBERT</scene_description> <character>ROBERT</character> <dialogue>Don't do it.</dialogue> <scene_description>He smiles, then the CAMERA PULLS OUT and Jack KNOCKS Darkcloud into oblivion. ANGLE ON ROBERT Who is furious.</scene_description> </scene> <scene> <stage_direction>INT. ROBERT OFFICE - DAY</stage_direction> <scene_description>ANGLE ON TABLE Jack's contract SLAMS down on the table.</scene_description> <character>ROBERT</character> <dialogue>See this contract? You signed it! You don't decide that you are going to win a match. I tell you to do something, and you do it. You hear me?</dialogue> <character>JACK</character> <dialogue>I...</dialogue> <character>ROBERT</character> <dialogue>Nobody asked you to talk! Was I clear when I told you to lose the match?</dialogue> <character>JACK</character> <dialogue>Mr. Sawyer, let me explain...</dialogue> <character>ROBERT</character> <dialogue>WAS I CLEAR?</dialogue> <character>JACK</character> <dialogue>Yes.</dialogue> <character>ROBERT</character> <dialogue>Before I decided to train you, you were a box boy at a sporting goods store, for crying out loud. Now, you're a hero and you're famous. A pretty good deal, I think, and all I ask is for you to follow orders. Can you do that?</dialogue> <character>JACK</character> <dialogue>I think I can...</dialogue> <character>ROBERT</character> <dialogue>Don't think, Jack.</dialogue> <character>JACK</character> <dialogue>You can count on me, Mr. Sawyer.</dialogue> <character>ROBERT</character> <parenthetical>(softening up)</parenthetical> <dialogue>Jack, maybe we started off wrong. This is entertainment, and we want to give the audience a good show. Sometimes, that means we have to play with the outcome, make a fight better than it otherwise would be, right?</dialogue> <character>JACK</character> <dialogue>Right.</dialogue> <character>ROBERT</character> <dialogue>Good. Night Stalker and Darkcloud are leading a little expedition tonight, and I want you to go along, help out. OK?</dialogue> <character>JACK</character> <dialogue>OK. I'm there.</dialogue> <character>ROBERT</character> <dialogue>Good. And Jack?</dialogue> <character>JACK</character> <dialogue>Yes, Mr. Sawyer?</dialogue> <character>ROBERT</character> <dialogue>No one disobeys me twice.</dialogue> <character>JACK</character> <dialogue>Yes, sir.</dialogue> <scene_description>Jack exits the room.</scene_description> </scene> <scene> <stage_direction>EXT. CHINATOWN - SAME NIGHT</stage_direction> <scene_description>A restaurant sits on the corner of the street. It is closing up for the night. A van pulls up to the front of the store, and the SuperFighters, Jack in tow, pile out and go into the restaurant.</scene_description> </scene> <scene> <stage_direction>INT. CHINESE RESTAURANT - SAME NIGHT</stage_direction> <scene_description>The group, led by Darkcloud, Budokai and Night Stalker, walk into the restaurant.</scene_description> <character>DARKCLOUD</character> <dialogue>Don't sweat it, Jack. It was a lucky shot, anyway! Don't ever do that again. You won't live to see the sun. You understand?</dialogue> <character>NIGHT STALKER</character> <dialogue>It's humiliating to get reamed out, man, but at least you're still alive, bro.</dialogue> <character>JACK</character> <dialogue>Yeah. What are we doing here?</dialogue> <character>BUDOKAI</character> <dialogue>The dirty work. You develop a taste for it, though.</dialogue> <character>JACK</character> <dialogue>Chinese food?</dialogue> <character>NIGHT STALKER</character> <dialogue>Yeah, right.</dialogue> <scene_description>Darkcloud goes up to the main counter and SLAMS his fist down on the glass, SHATTERING it into a thousand pieces.</scene_description> <character>DARKCLOUD</character> <dialogue>Wang, you've been a bad boy.</dialogue> <character>BUDOKAI</character> <parenthetical>(to Jack)</parenthetical> <dialogue>Wang is the head of the Tong down here, and he owes Robert a percentage. We're collecting.</dialogue> <character>JACK</character> <dialogue>I've eaten here before...</dialogue> <scene_description>WANG, a 40ish Chinese man, comes out of the back.</scene_description> <character>WANG</character> <dialogue>I already sent it to you.</dialogue> <character>DARKCLOUD</character> <dialogue>Give it up, or we trash your place.</dialogue> <character>WANG</character> <dialogue>Trash?</dialogue> <scene_description>Darkcloud, in answer, KICKS the front of the display case, SHATTERING it as well.</scene_description> <character>DARKCLOUD</character> <dialogue>TRASH!</dialogue> <scene_description>Out of the back come three WAITERS, and they attack the SuperFighters, Jack included. Jack is forced to fight alongside the SuperFighters, even though he knows that it's not right. But, on the other hand, these are Chinese criminals, so... They quickly win the fight, the Waiters aren't very good fighters and corner Wang. Darkcloud holds Wang, while Night Stalker savages him. He is hitting him over and over, and blood is everywhere. Jack turns away, not wanting to look at what they are doing to Wang. Budokai grabs him and turns him back, forcing him to look.</scene_description> <character>WANG</character> <dialogue>OK, OK, I pay you, I pay you.</dialogue> <scene_description>Wang opens his cash register and pulls out all the money. He hands it to Jack.</scene_description> <character>WANG</character> <dialogue>You are a customer here - why do you do this?</dialogue> <scene_description>Jack has no answer.</scene_description> <character>WANG</character> <dialogue>Take it all, I don't care. What do I tell the Tong when they come for protection?</dialogue> <scene_description>ANGLE ON JACK Who is stunned by the man's words. He turns on Budokai.</scene_description> <character>JACK</character> <dialogue>I thought you said he was the head of the Chinese Mafia?</dialogue> <character>BUDOKAI</character> <dialogue>So, I may have overstated a little. It's no big deal. You have to go along anyway, you have no choice.</dialogue> <scene_description>They take all the money and then leave the restaurant.</scene_description> </scene> <scene> <stage_direction>EXT. CHINESE RESTAURANT - NIGHT</stage_direction> <scene_description>The SuperFighters get back into the van, the destruction done.</scene_description> </scene> <scene> <stage_direction>EXT. OFFICE BUILDING - SAME NIGHT</stage_direction> <scene_description>The van that took the SuperFighters on the raid to Chinatown pulls up in front of the office building, and Jack gets out.</scene_description> <character>DARKCLOUD</character> <dialogue>Sweet dreams, Jack.</dialogue> <scene_description>The van door slides shut and the van takes off. Jack, still shaken by the attack in Chinatown, walks slowly into the parking garage.</scene_description> </scene> <scene> <stage_direction>INT. PARKING GARAGE - NIGHT</stage_direction> <scene_description>Jack is getting into his Jeep, when he hears the sound of footsteps and SHOUTS. Jack ducks behind his Jeep and watches as several of Robert's HENCHMEN SPRINT through the parking garage.</scene_description> <character>HENCHMAN 1</character> <dialogue>Where'd he go?</dialogue> <character>HENCHMAN 2</character> <dialogue>Over here! We've got him cornered!</dialogue> <scene_description>They run off, and Jack is too curious not to follow them. He slowly moves around the corner and looks. And is stunned. There, surrounded by Jack's Henchmen is the Beast. Crazed and wild. One of the Henchmen tries to grab onto him, and the Beast destroys him, SLAMMING him and then discarding him.</scene_description> <character>ROBERT</character> <dialogue>Back away!</dialogue> <scene_description>Jack, alarmed at the sound of Robert's voice, pulls back against the wall. Robert comes walking up with a man in a lab coat, who is carrying a case. Robert pulls a keypad from his pocket and points it at the Beast. He pushes a button, and the collar around the Beast's neck glows. Pain fills the Beast.</scene_description> <character>ROBERT</character> <dialogue>Rock, don't do this to me, man!</dialogue> <scene_description>He motions for the doctor, who opens the case and hands Robert a tranquilizer gun. Robert takes the gun, loads it and aims at the Beast.</scene_description> <character>ROBERT</character> <dialogue>Sweet dreams.</dialogue> <scene_description>He fires, and the dart sinks into the Beast's neck. Almost immediately, the Beast calms down and starts to sink towards the floor. Robert comes close to the Beast then, and kneels down next to him.</scene_description> <character>ROBERT</character> <dialogue>I'm close, Rock. I'm really close. A couple more and I control it all.</dialogue> <scene_description>The Beast shakes his head and roars.</scene_description> <character>ROBERT</character> <dialogue>Yes! I say yes, and you will do it!</dialogue> <scene_description>ANGLE ON JACK Who reacts to the tortured cries of the beast.</scene_description> <character>ROBERT</character> <dialogue>I need you, Rock. And you need me.</dialogue> <scene_description>Robert stands up and motions for the Henchmen to come get the Beast. Jack, sickened by the entire night, makes his way back to his Jeep. He gets in and sits there, breathing deeply.</scene_description> </scene> <scene> <stage_direction>INT. JACK APARTMENT - SAME NIGHT</stage_direction> <scene_description>Jack opens the door to his apartment, and he is immediately attacked. It is the Masked Man again, and this time Jack is not such an easy mark. They fight for a little while, and Jack is incredibly improved. The Masked Man is losing. Jack manages to take the Masked Man down to the ground, and rips off his mask. It is Budokai!</scene_description> <character>JACK</character> <dialogue>BUDOKAI!</dialogue> <character>BUDOKAI</character> <dialogue>You've improved.</dialogue> <character>JACK</character> <dialogue>What the hell are you doing?</dialogue> <character>BUDOKAI</character> <dialogue>You've seen, haven't you? You know what's going on?</dialogue> <character>JACK</character> <dialogue>Yeah, I have. You were right.</dialogue> <character>BUDOKAI</character> <dialogue>You have to do something about it.</dialogue> <character>JACK</character> <dialogue>What, quit?</dialogue> <character>BUDOKAI</character> <dialogue>No, help me get him.</dialogue> <character>JACK</character> <dialogue>Get Robert Sawyer? How are we going to do that?</dialogue> <character>BUDOKAI</character> <dialogue>I'm getting proof, and I need your help.</dialogue> <character>JACK</character> <dialogue>I just want out. I saw a Monster tonight.</dialogue> <character>BUDOKAI</character> <dialogue>You know who that is?</dialogue> <scene_description>Jack shakes his head.</scene_description> <character>BUDOKAI</character> <dialogue>Mike Rocco.</dialogue> <character>JACK</character> <dialogue>No.</dialogue> <scene_description>Budokai nods his head.</scene_description> <character>BUDOKAI</character> <dialogue>Sawyer's got us all on a mixture of steroids and mind control drugs. I know you're not taking yours, and I stopped taking mine, a little too late. Rocco was the first, but that's the future for all of us.</dialogue> <scene_description>Jack pulls out his necklace.</scene_description> <character>JACK</character> <dialogue>This was Rocco's - he gave it to me when I was a boy. He was my hero, my inspiration.</dialogue> <character>BUDOKAI</character> <dialogue>And he's now Robert's personal killing machine.</dialogue> <scene_description>Jack looks out the window for a long moment.</scene_description> <character>JACK</character> <dialogue>What do you want me to do?</dialogue> <character>BUDOKAI</character> <dialogue>Good man. We need proof - papers and testimony by both of us. Rousting some criminals isn't enough...</dialogue> <scene_description>PAN AWAY FROM THEM. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT SHOWER - MORNING</stage_direction> <scene_description>PAN DOWN FROM SHOWERHEAD. Jack is in the shower, and we hear the rest of Budokai's dialogue, while Jack thinks about what to do.</scene_description> <character>BUDOKAI</character> <dialogue>... we need the murders, the death matches and the drug dealing - the proof...</dialogue> </scene> <scene> <stage_direction>INT. JACK APARTMENT - NIGHT</stage_direction> <scene_description>Jack is meditating. He is having trouble concentrating. FLASHBACKS HERE: Jack's Mother, Wang from the restaurant, Budokai, Sally, Grandfather, Angel, Rocco, Robert, etc. SPECIAL FLASHBACK: The young boy from earlier in the movie (maybe several times, one right after the other)</scene_description> <character>BOY</character> <dialogue>Are you really a hero?</dialogue> <scene_description>Finally, Jack opens his eyes and yell, throwing one very powerful punch, smashing a large vase on the table to bits. He knows what he has to do.</scene_description> </scene> <scene> <stage_direction>INT. ROBERT OFFICE - DAY</stage_direction> <scene_description>Jack is in Robert's office, and Robert looks very pleased.</scene_description> <character>ROBERT</character> <dialogue>I'm glad to hear you're with us. You are the elite. If Nietzsche were alive, he'd call you a Superman. A guy like you needs that excitement, that adventure. I need warriors I can count on.</dialogue> <character>JACK</character> <dialogue>You can count on me. When can we go out again, the whole team?</dialogue> <character>ROBERT</character> <dialogue>Soon. I'll let you know.</dialogue> <character>JACK</character> <dialogue>Good-bye, Mr. Sawyer.</dialogue> <scene_description>Jack exits the office.</scene_description> </scene> <scene> <stage_direction>EXT. JACK HOUSE - DAY</stage_direction> <scene_description>Jack pulls up in his new Jeep and walks up the sidewalk to his Mother's door. He knocks on the door, and his Mother comes to it. Over Jack's shoulder, we watch as Mother opens the door and sees Jack. She registers shock, and then starts to close it. Jack stops the door gently with one hand.</scene_description> <character>JACK</character> <dialogue>Mom. I need to talk to you - you...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>were right. They're trouble, and I'm trying to stop it.</dialogue> <scene_description>His Mother looks up at him, even more shocked. She wants to be happy to hear this, but she's also worried about her son.</scene_description> <character>MOTHER</character> <dialogue>Are you in danger, Jack?</dialogue> <character>JACK</character> <dialogue>Not just yet, Mom. We're gonna bring them down, though. Can I come in?</dialogue> <scene_description>His Mother smiles and opens the door wide, and Jack goes in, hugging her. His Mother starts to close the door, but Jack stops it and leans out of the door.</scene_description> <character>JACK</character> <dialogue>There's someone I want you to meet...</dialogue> <scene_description>He motions to Sally, who is waiting in the Jeep. She gets out and runs to the house.</scene_description> </scene> <scene> <stage_direction>INT. ROBERT OFFICE - SAME DAY</stage_direction> <scene_description>Robert is sitting at a table with DarkCloud and Night Stalker.</scene_description> <character>DARKCLOUD</character> <dialogue>We made quite an impression on Jack the other night. He wants in, as badly as we did.</dialogue> <character>ROBERT</character> <dialogue>We've got a problem.</dialogue> <character>NIGHT STALKER</character> <dialogue>We own the Italians, the Chinese, the Koreans, the Jamaican posse - what now?</dialogue> <character>ROBERT</character> <dialogue>Someone from inside, feeding information to the cops...</dialogue> <scene_description>Looks of surprise from Darkcloud and Night Stalker. Could he mean us?</scene_description> <character>DARKCLOUD</character> <dialogue>You know who?</dialogue> <scene_description>Robert steeples his fingers and smiles.</scene_description> </scene> <scene> <stage_direction>INT. JACK HOUSE - SAME DAY</stage_direction> <scene_description>Jack, his Mother and Sally are sitting in the living room, talking and getting along famously. The cellular phone in Jack's pocket rings, and he excuses himself.</scene_description> <character>JACK</character> <dialogue>Hello?</dialogue> <character>ROBERT</character> <dialogue>I need you tonight. Special exhibition, 7 pm.</dialogue> <character>JACK</character> <dialogue>The Arena?</dialogue> <character>ROBERT</character> <dialogue>No, it's a private affair. Come to Warehouse 14, off Columbia Avenue, not far from the office.</dialogue> <character>JACK</character> <dialogue>I know...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>... that area a little bit, I'll find it.</dialogue> <character>ROBERT</character> <dialogue>See you tonight.</dialogue> <scene_description>He hangs up and Jack stands there looking at the phone.</scene_description> <character>SALLY</character> <dialogue>What's up?</dialogue> <character>JACK</character> <dialogue>I won't know until 7 tonight...</dialogue> <scene_description>He goes back in and sits down in the living room, a little worried now.</scene_description> </scene> <scene> <stage_direction>EXT. WAREHOUSE DISTRICT - NIGHT</stage_direction> <scene_description>There are cars all around Warehouse 14, and people are going inside. There is a ring/cage set up inside, which is glimpsed briefly as people pass through the heavy curtains at the door. Jack pulls up in his Jeep, and parks. As he is walking into the warehouse, he spies Angel and goes over to her.</scene_description> <character>JACK</character> <dialogue>Angel! What's happening?</dialogue> <character>ANGEL</character> <dialogue>What's happening to you, Jack? Why are you getting involved with that son of a bitch...</dialogue> <character>JACK</character> <dialogue>Aren't you?</dialogue> <character>ANGEL</character> <dialogue>We all are, I guess.</dialogue> <character>JACK</character> <dialogue>What's going on tonight?</dialogue> <character>ANGEL</character> <dialogue>A cage fight, for the high rollers.</dialogue> <scene_description>She motions to the door, where huge FIGHTERS are checking credentials and invitations. One of the guys doesn't have the right ID, and one of the Fighters THROWS him away from the door.</scene_description> <character>ANGEL</character> <dialogue>Robert wanted me to make sure you got inside...</dialogue> <character>JACK</character> <dialogue>What's that mean, Angel?</dialogue> <scene_description>Angel doesn't say anything, but walks towards the door, and Jack watches her go, thinking that he might be in trouble. If he is, and he goes in, he's dead. If he's not, and he takes off, the party's over. He shrugs and starts after her.</scene_description> <character>JACK</character> <dialogue>Hey, Angel, wait up!</dialogue> <scene_description>She turns and waits for him, unable to stop a smile from appearing as he jogs over to her. They go through the door arm in arm.</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE 14 - SAME NIGHT</stage_direction> <scene_description>Jack and Angel walk in. There are people everywhere, and bets are being made. Jack spots Robert on the other side of the arena.</scene_description> <character>JACK</character> <dialogue>Who's fighting tonight?</dialogue> <character>ANGEL</character> <dialogue>I don't know.</dialogue> <scene_description>They find a seat. The lights around the ring/cage go low, and special lights around the rim of the ring/cage go on. They go very bright, lighting up the whole ring. Robert is in the center of the ring, playing the part of the announcer.</scene_description> <character>ROBERT</character> <dialogue>Ladies and Gentlemen! Welcome to the famous 'Cage Match' - where only one man leaves alive. Tonight's bout pits Budokai...</dialogue> <scene_description>Budokai comes out towards the ring, and the crowd erupts in applause.</scene_description> <character>ROBERT</character> <dialogue>Against the Beast!</dialogue> <scene_description>Jack and the crowd watches in awe as the Beast is wheeled in restraints towards the ring/cage. ANGLE ON BUDOKAI He knows this fight is going to be the real thing. He walks toward the ring/cage, escorted by Darkcloud and Night Stalker. ANGLE ON JACK, WHO IS WORRIED ABOUT HIS FRIEND</scene_description> <character>JACK</character> <dialogue>Who's gonna win?</dialogue> <character>ANGEL</character> <dialogue>This one is for real, Jack. I really don't know.</dialogue> <scene_description>The fight starts, and the Beast is let out of the cage to attack Budokai. The Beast gets hit on the way in, but that doesn't seem to phase it. Budokai circles, trying to stay out of the Beast's range. The Beast is so quick, however, and so strong, that soon Budokai is trapped in a corner of the cage. Budokai mounts a furious assault on the Beast, but the Beast shrugs it off and attacks. The attack is brutal, sadistic and bloody. Budokai is being slaughtered, and the crowd is going crazy. This is what they pay to see, and they are getting their money's worth. Jack is watching, and he knows he has to act. He gets up and goes over to where Robert is watching.</scene_description> <character>JACK</character> <dialogue>You gotta do something! He's getting hurt!</dialogue> <character>ROBERT</character> <dialogue>That's the reality of our business. It's brutal.</dialogue> <character>JACK</character> <dialogue>C'mon, Mr. Sawyer. He could get killed.</dialogue> <character>ROBERT</character> <dialogue>Yes, he could.</dialogue> <scene_description>At that moment, in the ring, the Beast RIPS off a hunk of Budokai's shoulder, and stuffs it in his mouth. Jack REACTS to this, and the crowd, and Robert smiling. Jack's head is spinning, and he knows that Budokai will be killed if he doesn't do something. He runs over to where Angel is sitting and YANKS her to her feet.</scene_description> <character>JACK</character> <dialogue>Help me!</dialogue> <character>ANGEL</character> <dialogue>What?</dialogue> <character>JACK</character> <dialogue>Wait for me get into the ring, then kill the lights.</dialogue> <character>ANGEL</character> <dialogue>Why are you doing this, Jack? You're throwing it all away!</dialogue> <character>JACK</character> <dialogue>They're killers, Angel. I have to help him!</dialogue> <scene_description>Angel HOLDS for a moment, then nods her head and goes towards the office. Jack, meanwhile, makes his way ringside. The Beast is on top of Budokai, and Budokai isn't even moving. Jack jumps into the ring and SLAMS into the Beast, knocking him off of Budokai and out of the ring. The Beast lands in the crowd, and starts ravaging the people in the crowd. The lights go out, and the warehouse is in chaos. Budokai is a bloody mess, and Jack HEAVES him up onto his shoulder and starts out of the ring. The Beast jumps back into the ring and moves to cut them off. Jack faces off with the Beast, with Budokai over his shoulders.</scene_description> <character>JACK</character> <dialogue>Rocco!</dialogue> <scene_description>The Beast stops at the mention of his name. Jack pulls out the necklace that he always wears.</scene_description> <character>JACK</character> <dialogue>Rocco! I gotta get him some help. OK, Mike? He's done fighting. You won.</dialogue> <scene_description>The Beast lowers his arms, and Jack climbs back over the ropes and heads towards the exits. Robert is trying to see what is happening over the pandemonium, and he catches a glimpse of Jack leaving with Budokai.</scene_description> <character>ROBERT</character> <dialogue>Rocco! Get him!</dialogue> <scene_description>The Beast turns to Robert and stares at him. He punches a button on the keypad, and the collar around the Beast's neck glows.</scene_description> <character>ROBERT</character> <dialogue>Get Jack! Now!</dialogue> <scene_description>The Beast still doesn't move. More power to the collar, and now the Beast is in agony. He still doesn't go for Jack, however.</scene_description> <character>ROBERT</character> <dialogue>Do it.</dialogue> <scene_description>Instead of charging after Jack, the Beast comes for Robert.</scene_description> <character>ROBERT</character> <dialogue>You won't hurt me.</dialogue> <scene_description>The Beast comes on, but Robert hits another button, putting the collar up to the limit. The Beast stops his charge and goes down on his knees in total pain. Robert walks up to him and shakes his head. He hits the Beast and kills him immediately.</scene_description> <character>ROBERT</character> <dialogue>Told you.</dialogue> <scene_description>Robert is furious.</scene_description> </scene> <scene> <stage_direction>INT. SALLY HOUSE - SAME NIGHT</stage_direction> <scene_description>Budokai, bruised, broken and bloody, is laying on a bed in Sally's house. Sally is trying to clean him up, but a great deal of damage has been done. Grandfather pushes her off to the side and lays his hands on Budokai's chest. An amber glow comes off his hands as he tries to apply his Qi (SFX), but it won't penetrate.</scene_description> <character>GRANDFATHER</character> <dialogue>He's almost gone, Jack.</dialogue> <scene_description>Jack comes to the bed and sits next to Budokai.</scene_description> <character>BUDOKAI</character> <dialogue>Well, you got your proof. Take him down, you got that?</dialogue> <character>JACK</character> <dialogue>You're gonna get better.</dialogue> <character>BUDOKAI</character> <dialogue>We both know that's a lie...</dialogue> <scene_description>He starts to cough, and blood comes out of his mouth.</scene_description> <character>BUDOKAI</character> <dialogue>You get him, Jack.</dialogue> <scene_description>Grandfather takes Jack and Sally out of the room.</scene_description> <character>GRANDFATHER</character> <dialogue>We have to help him. Focus your qi.</dialogue> <scene_description>Jack shakes his head, trying to concentrate.</scene_description> <character>JACK</character> <dialogue>I gotta get my Mom. They know where I live.</dialogue> <character>SALLY</character> <dialogue>I'll get her. You stay here and help Budokai.</dialogue> <scene_description>Jack nods and concentrates. Soon, he is completely drained, and he sits down heavily, leaning his head back and closing his eyes.</scene_description> </scene> <scene> <stage_direction>INT. SALLY HOUSE - NIGHT</stage_direction> <scene_description>Jack is sleeping on the couch in the living room, and somewhere a phone is ringing (O.S.). Jack starts to wake up, and the phone keeps ringing.</scene_description> <character>JACK</character> <parenthetical>(sleepy)</parenthetical> <dialogue>Somebody get that!</dialogue> <scene_description>The phone keeps ringing, and Jack finally comes awake and realizes that it's his cellular phone. He pulls it out of his pocket.</scene_description> <character>JACK</character> <dialogue>Hello?</dialogue> <scene_description>We now INTERCUT between Jack and Robert.</scene_description> </scene> <scene> <stage_direction>INT. ROBERT OFFICE - SAME NIGHT</stage_direction> <scene_description>Robert is sitting at his desk, talking on the phone.</scene_description> <character>ROBERT</character> <dialogue>Hello, Jack. Quite a show you put on.</dialogue> </scene> <scene> <stage_direction>INT. SALLY HOUSE - SAME NIGHT</stage_direction> <scene_description>Jack sits bolt upright, completely wide awake.</scene_description> <character>JACK</character> <dialogue>He was going to die, Robert.</dialogue> </scene> <scene> <stage_direction>INT. ROBERT OFFICE - SAME NIGHT</stage_direction> <character>ROBERT</character> <dialogue>That was the whole point! I had such plans for you, Jack, and now you've gone and thrown them all away.</dialogue> </scene> <scene> <stage_direction>INT. SALLY HOUSE - SAME NIGHT</stage_direction> <character>JACK</character> <dialogue>What do we do now?</dialogue> </scene> <scene> <stage_direction>INT. ROBERT OFFICE - SAME NIGHT</stage_direction> <character>ROBERT</character> <dialogue>Well, I could let you talk to your girlfriend, and your Mother, but they're a little tied up now.</dialogue> <scene_description>PULL BACK TO REVEAL Sally and Jack's Mother sitting in chairs in Robert's office, tied to them.</scene_description> </scene> <scene> <stage_direction>INT. SALLY HOUSE - SAME NIGHT</stage_direction> <scene_description>ANGLE ON JACK, EVERY FIBER OF HIS BEING CONCENTRATED</scene_description> <character>JACK</character> <dialogue>Let them go.</dialogue> </scene> <scene> <stage_direction>INT. ROBERT OFFICE - SAME NIGHT</stage_direction> <character>ROBERT</character> <dialogue>I don't think so. I'm staging another fight in one hour, Jack, and you're the main attraction. Show up alone, or they're gone. Got that?</dialogue> <character>JACK</character> <dialogue>Yeah.</dialogue> </scene> <scene> <stage_direction>INT. ROBERT OFFICE - SAME NIGHT</stage_direction> <character>ROBERT</character> <dialogue>See you soon, Jack.</dialogue> <scene_description>Robert hangs up and smiles at Sally and Jack's Mother.</scene_description> <character>ROBERT</character> <dialogue>That's some guy you have there. He really wants to be a hero.</dialogue> </scene> <scene> <stage_direction>INT. SALLY HOUSE - SAME NIGHT</stage_direction> <scene_description>ANGLE ON JACK, WHO HANGS UP HIS END OF THE CONNECTION He walks into where Budokai is lying and checks on him. He is barely conscious.</scene_description> <character>JACK</character> <dialogue>You doing OK?</dialogue> <scene_description>Budokai nods.</scene_description> <character>BUDOKAI</character> <dialogue>He went for medicine.</dialogue> <character>JACK</character> <dialogue>Tell him they have Sally and my mother. I'm going into the ring with Robert.</dialogue> <character>BUDOKAI</character> <dialogue>Give him hell.</dialogue> <scene_description>They clasp hands, then Jack leaves.</scene_description> </scene> <scene> <stage_direction>EXT. WAREHOUSE 14 - NIGHT</stage_direction> <scene_description>The Warehouse is deserted now</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE 14 - SAME NIGHT</stage_direction> <scene_description>As Jack walks into the Warehouse proper, the loudspeaker system is running a tape.</scene_description> <character>ANNOUNCER</character> <dialogue>... The All American Hero!</dialogue> <scene_description>The taped crowd erupts.</scene_description> <character>ANNOUNCER</character> <dialogue>... against the man who started it all, Robert Sawyer!</dialogue> <scene_description>More cheers from the taped crowd. Jack makes his way to the ring, and he notices that Sally and his mother are the only "crowd," and they are being guarded by Darkcloud, Night Stalker, and Angel. Robert is already there, warming up and watching him.</scene_description> <character>JACK</character> <dialogue>I'm here. Let them go.</dialogue> <character>ROBERT</character> <dialogue>You beat me, they go free.</dialogue> <character>JACK</character> <dialogue>You wanted me, you got me.</dialogue> <scene_description>Jack climbs into the ring, and a bell is RUNG. The fight is on. Jack circles Robert warily, not wanting to commit. Robert is itching to get his hands on Jack. Jack is having a hard time concentrating, because he is concerned about his mother and Sally. They attack each other, and it's clear almost immediately that Jack is really no match for Robert's technique. They continue to fight, and soon Jack is bleeding from several different wounds, and the Robert doesn't even looked winded.</scene_description> <character>ROBERT</character> <dialogue>You betrayed me!</dialogue> <scene_description>Jack is losing.</scene_description> <character>ROBERT</character> <dialogue>I trusted you. I gave you a future!</dialogue> <scene_description>Jack looks over at Sally and his mother. ANGLE ON SALLY AND MOTHER Angel is guarding them, but they all have the same look on their faces. They know Jack is losing, and they can't do anything about it. Robert sees that Jack is not completely focused, and that makes him very angry.</scene_description> <character>ROBERT</character> <dialogue>Goddamn it! Fight me!</dialogue> <character>JACK</character> <dialogue>How can I? You gotta let them go!</dialogue> <character>ROBERT</character> <dialogue>I don't think so.</dialogue> <scene_description>Robert is hitting Jack almost at will. Nothing Jack does works, and he is getting slaughtered. Jack has to do something to save his mother and Sally, so he manuevers Robert into one corner and manages to hit him hard enough to send him pitching back against a pile of junk. When Robert's back hits the boxes, wire and boxes come falling down on top of him. Jack takes this opportunity and SPRINTS to where his mother and Sally are being held. He attacks both Darkcloud and Night Stalker, and, taking them by surprise, quickly defeats them. Meanwhile, Robert is struggling to get free. He starts to free his mother and Sally, and Angel tries to help him. Jack turns to look at her, and she stops. ANGLE ON ANGEL, CONFLICTED Just then, Robert gets free and launches himself at Jack. Jack doesn't see him, but Angel does. She jumps at Robert, to put herself in between them, to save Jack. Robert strikes Angel just as she lands an incredible kick on Robert, while at the same time he hits Sally and Mother away from Angel. Robert staggers a little, but not before he hits Angel several more times. Critically. Angel falls back to one side, while Robert falls to the other. Angel is hurt very badly, and Jack goes to her. She is dying.</scene_description> <character>ANGEL</character> <dialogue>I always wanted to do the right thing, Jack.</dialogue> <character>JACK</character> <dialogue>I know, Angel. You're a hero.</dialogue> <scene_description>She's gone, and Jack holds her for a moment longer. Robert is struggling to clear his head, and Jack stands up to face him one last time.</scene_description> <character>ROBERT</character> <dialogue>I made you a star, now I'm going to destroy you!</dialogue> <scene_description>Robert SWEEPS him to the ground, then stands over him.</scene_description> <character>ROBERT</character> <dialogue>I told you no one disobeys me twice.</dialogue> <scene_description>He is preparing for the killing blow. ANGLE ON SALLY AND MOTHER Sally, dazed, shakes her head to clear it, then runs to the junction box. flipping it on and off, blinking the lights, like during Jack's meditation practice.</scene_description> <character>SALLY</character> <dialogue>Concentrate, Jack.</dialogue> <scene_description>Unbelievably, Jack CLOSES HIS EYES! Robert, shocked, stops for a moment, watching Jack. He then smiles, sensing an easy target. He rears back, ready to let go with the killing blow. He launches the deadly strike and Jack BLOCKS IT! Without even opening up his eyes! Jack holds Robert's arm in front of his face, then SNAPS his eyes open. We know Robert is in trouble now.</scene_description> <character>JACK</character> <dialogue>I'm gonna kick your ass.</dialogue> <scene_description>Jack then accepts Robert's force and SLAMS Robert with a technique that ROCKS him back to the other side of the ring. Jack then attacks, hitting him with everything he has: strikes, kicks, punches, knees, elbows. Robert is out on his feet, ready to be put away. Jack glances down at Angel's unmoving form on the canvas, then turns back to Robert. He spins and leaps into the air, connecting with a beautiful jump, spinning hook kick that sends Robert flying. Sally and his Mother come to Jack. Sally hugs him, and his Mother puts an arm around him. Suddenly the SOUND of police sirens can be heard, O.S. Grandfather and a heavily bandaged Budokai appear there with a whole squad of police officers. Budokai stands at the door and raises his arm in a fist salute to Jack, while Grandfather runs down to where Jack is. Jack returns the salute, with Sally and his mother draped on him. They start walking away from the cage. As they walk by a pile of resin at cageside, Jack puts his hand in it. He then smiles and hits Grandfather in the middle of the back. Jack's handprint stands out in stark relief on Grandfather's black silk jacket. Grandfather smiles, thinking Jack is congratulating him. Freeze Frame on huge white hand print. CREDITS ROLL FADE OUT: THE END</scene_description> </scene> </script>

Jack Cody is an avid fan of the Superfights, a pay-per-view event that meshes martial arts and professional wrestling. During an event, Jack earns the favor of No Mercy Budokai, who is nearly blindsided with a steel chair by the heel known as The Enforcer. Jack blocks the chair shot and Budokai thanks him before winning his match against the Enforcer. Jack works in a local warehouse, where he often spends time practicing his martial arts, drawing ridicule from his supervisor. He also laments the mysterious disappearance of his favorite Superfighter, Mike Rocco, who once gave Jack a souvenir pendant when he was a child. Jack aspires to become a Superfighter himself, although his mother strongly disapproves. Late one night, he prevents a young woman named Sally Wong from being robbed at an ATM. Sally invites him to meet her grandfather, an old martial arts master who is skeptical of Jack's heroism. Wishing to test Jack's fighting skill, the grandfather challenges Jack to touch him with his hands covered in flour. Jack fails the test and leaves the house in humilation. Upon returning home, Jack finds several news crews waiting to interview him for his heroic act, which was captured on surveillance video. Jack becomes a national celebrity and gains the attention of Robert Sawyer, the owner of the Superfights, who wants to make Jack an offer. Despite his mother's reservations, Jack meets with Sawyer and accepts the offer to join the Superfights. He is nicknamed "The All-American Hero" and given his own fully furnished apartment. Sawyer also assigns him to train with Angel, one of the top female Superfighters, who begins to flirt with Jack and provides him with pills which she says are vitamins. After many weeks of intense training, Sawyer declares that he is ready for his first Superfight. Prior to the fight, Jack befriends fellow Superfighters Budokai and Dark Cloud in the locker room. With his mother and Sally in attendance, Jack is pitted against the Enforcer in his first bout, but struggles to defeat him. In response, Sally begins a "Jack Cody" chant, which motivates Jack to win his debut match. He soon goes on a winning streak but, after a match with The Mercenary, he begins to suspect that the veterans are going easy on him, although Angel assures him otherwise. When she attempts to seduce him, Jack turns her down, unwilling to start a romance with his friend and trainer. On a morning jog, Jack is confronted by a mysterious ninja who taunts and subdues him after a brief fight. The ninja informs him that he is not truly winning the matches and that the Superfighters are involved in various illegal activities across the city, ranging from drug dealing to murder. He advises Jack to get out while he still can, and also warns him not to take the pills. Later, Jack runs into Sally's grandfather at the park, who asks why he has not come to visit Sally in some time. He senses that Jack is troubled by his previous encounter and invites him to come and train with Sally in the art of Tai Chi. Jack incorporates this new training into his matches to improve his fighting style. When Grandfather finds the "vitamins", he asks to hold on to them to have them analyzed. It is revealed that the pills are actually a combination of steroids and mind control drugs. As the Superfighters carry out a series of criminal acts, Robert Sawyer is revealed to be an organized crime boss. When one of his drug deals goes sour, he sends in his greatest fighter "The Beast" to kill the crooked dealer. When Sawyer and Angel are ambushed by the dealer's brother the next morning, Sawyer proves to be a highly skilled martial artist who easily defeats all three assailants, using a pair of rings with sharp protruding hooks on each fist to kill the dealer's brother. Jack is told to throw a match against Dark Cloud as part of his contract with Superfights, but he refuses and wins the fight instead. A furious Sawyer berates Jack for his disobedience, but decides to give him a second chance. He is forced to join Budokai, Night Stalker, and Dark Cloud to extort money from a local Chinese restaurant; Jack is disturbed when the owner recognizes and shames him. Afterwards, Jack secretly witnesses the Beast going berserk on Sawyer's men in a parking garage before being subdued by a tranquilizer dart. When Jack returns home, the ninja reappears and attacks him. However, Jack gets the upper hand and unmasks the ninja; it is Budokai, who has been cooperating with the police undercover to take down Sawyer. Budokai also explains that the Beast is Mike Rocco, Jack's childhood hero who has been forced to become Sawyer's top enforcer. Jack agrees to join Budokai in his endeavor. Jack gets a call from Sawyer to go to a local nightclub, where Sawyer has set up a fight to the death between the Beast and Budokai, whose cover has been blown. The Beast nearly kills Budokai until Jack intervenes and shows the Beast the pendant that was given to him as a child. When Sawyer orders the Beast to kill Jack, the Beast turns on Sawyer, who retaliates and kills the Beast with a stomp to the neck. Back at home, Grandfather suggests that he and Jack focus their "chi" on Budokai to heal his injuries. Afterwards, they are contacted by Sawyer who has kidnapped Sally and Jack's mother and challenges Jack to a final fight. Jack goes to the Superfights training grounds, where he takes on Sawyer in a cage match with a swinging pendulum wrapped in barbed wire. Jack escapes the cage and manages to incapacitate Sawyer, but finds himself facing off against Dark Cloud and Night Stalker, eventually defeating them. Conflicted by her loyalty to Sawyer, Angel poises to fight Jack, but relents and allows him to free Sally and his mother. As the trio are about to leave, Sawyer launches a sneak attack and moves to finish off Jack, but Angel intercepts and fights Sawyer, who fatally injures her with a kick to the throat. As Jack and Sawyer resume their fight, Sally turns off the lights and yells for Jack to concentrate. Jack utilizes his Tai Chi training to deflect Sawyer's attacks before dropkicking him back into the cage, where he is impaled on the barbed wire pendulum. Angel gives her last words to Jack as she dies. The police arrive as does Grandfather and a somewhat recuperated Budokai. Grandfather hails Jack as a true American hero.

The Sandlot_1993

tt0108037

<script> <scene> <stage_direction>THE SANDLOT KIDS</stage_direction> <scene_description>A FADED KODACHROME PHOTO Of the 9 best -LRB- 11 - year - old -RRB- buddies that ever lived . On a makeshift baseball diamond - a sandlot . circa 1962 : SCOTTY SMALLS , studious - looking ; ALAN `` YEAH - YEAH '' McCLENNAN , little , hyper ; HAMILTON `` HAM '' PORTER , tubby with a huge smile ; KENNY DeNUNEZ , handsome bean pole ; TOMMY `` REPEAT '' TIMMONS and his brother TIMMY ; BERTRAM GROVER WEEKS , wearing inch - thick horn rims ; JEFF `` SQUINTS '' PALLEDOROUS , a transistor radio plug wedged in his ear ; and BENNY RODRIGUEZ , leaning on Scotty 's shoulder , sporting the world 's all - time hottest sneakers . P.F. Flyers . One palm up , together like the 9 musketeers they 're holding forward a baseball . with a mysterious smudge .</scene_description> <character>NARRATOR</character> <dialogue>Everyone's got that one summer when they were a kid. a summer so perfect, that it stays with them forever. It stays caught in time, like Camelot. pause That summer is like a book with a million blank pages that you get to fill with the greatest story you could ever dream up.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>This is a story about a legend. And for us, that summer was the one when the legend got made.</dialogue> <scene_description>WE CLOSE IN TIGHT on the black smudge , which becomes : A SERIES OF B&amp;W PHOTOS &amp; STOCK FOOTAGE GEORGE WASHINGTON crossing the Delaware . DANIEL BOONE in frontier buckskins . ABE LINCOLN giving the Gettysburg address . FREDERICK DOUGLAS orating from a podium . SITTING BULL in his splendor . THE WRIGHT BROTHERS at Kitty Hawk - this photo blends to news reel stock footage of the actual launch . The following also blend to stock : JOE LOUIS clobbering MAX SCHMELLING . JESSE OWENS in the '32 olympics . ALBERT EINSTEIN scrawling on a chalkboard . CHARLES LINDBERG and his Spirit of St. Louis land in Paris . As the waiting throngs cheer</scene_description> <character>NARRATOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Everybody sometime in their life has met a real live hero. They're not exactly a dime a dozen, but there's plenty of people who've done real great things. But hardly anyone has ever met a certified Legend, because most of them are dead before they get voted one.</dialogue> <scene_description>CHUCK YEAGER in the X - 1 breaking the sound barrier . MACARTHUR stepping ashore , pipe clenched . JIM THORPE playing football . ELVIS PRESELY on stage in hep - cat duds . NEIL ARMSTRONG setting foot on the moon .</scene_description> <character>NARRATOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>So, to actually be there at the moment one gets made. well, forget about it. It never happens. Almost never. To understand how it all got started, you have to go back.</dialogue> <scene_description>WE PULL BACK FROM THE MOON - like a baseball in the sky .</scene_description> <character>NARRATOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>to the all - time, hands down, complete and undisputed Legend that ever lived.</dialogue> <scene_description>A BASEBALL in someone 's hand . WE PULL BACK FROM IT .</scene_description> <character>NARRATOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>In any language, in any country, in any world. The Sultan of Swat. The King of Clout. The Great Bambino. You have to go back to.</dialogue> <scene_description>BABE RUTH is holding the baseball .</scene_description> <character>NARRATOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>The Babe.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>There's never been anyone greater than The Babe. And when he called his famous full count homerun in the 1932 world series, he made sure he'd live forever.</dialogue> <scene_description>THE BABE hits a homerun . Settles into his signature , locomotive basepath chug .</scene_description> <character>NARRATOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And it's a good thing he became immortal, because without him, what happened that summer, absolutely never would've happened. Weird thing was, before I moved to the neighborhood, I had no idea who he was. And he played a game I knew nothing about.</dialogue> <scene_description>SLO - MO - THE BABE 'S CLEATS send up chalky dust at each STEP . His foot hits home plate - taking us 30 years into the future . The Babe 's antiquated leather cleat becomes .</scene_description> </scene> <scene> <stage_direction>EXT. DODGER STADIUM - 1962 - DAY - STOCK</stage_direction> <scene_description>the cleat of basepath speedster MAURY WILLS .</scene_description> <character>NARRATOR</character> <dialogue>Fourteen years later, after The Babe was gone, there was another guy who had something to do with the legend getting made too. A guy who set a record that summer that was so awesome, some people still do n't believe it.</dialogue> <scene_description>WILLS TAKES OFF , STEALING 3RD so fast that no one knows he 's gone . The Pitcher fires to rd. . The 3rd BASEMAN gloves the dirt . The UMPIRE wings the air .</scene_description> <character>UMPIRE</character> <dialogue>Safe!</dialogue> <scene_description>WILLS ' CLEAT becomes THE P.F. FLYER SNEAKER of .</scene_description> </scene> <scene> <stage_direction>EXT. ELEMENTARY SCHOOL - PLAYGROUND - 1962 - DAY</stage_direction> <scene_description>BENNY RODRIGUEZ , as he steps up to the plate . THE PITCHER fires . BENNY cranks one deep to right . He tears around the bases like lightning -LRB- this kid is real fast -RRB- . He rounds 3rd . The ball comes in home - cutting him off . He 's caught in a pickle . FROM BEHIND THE CHAIN - LINK BACKSTOP YEAH - YEAH , HAM , DeNUNEZ , REPEAT , TIMMY , BERTRAM and SQUINTS come unglued and crowd the basepath .</scene_description> <character>HAM</character> <dialogue>PICKLE!</dialogue> <scene_description>BENNY pickles the CATCHER and 3RD BASEMAN . He feints n ' rubba - legs them out of position . He sprints for home . Safe ! Just as he crosses home plate SQUINTS pulls his transistor radio ear plug out .</scene_description> <character>SQUINTS</character> <dialogue>Thirty - one! Maury Wills just stole number thirty - one!</dialogue> <scene_description>THE ON - FIELD TEAM throws their gloves 9 different ways in disgust .</scene_description> <character>OTHER TEAM</character> <parenthetical>( ABOUT BENNY . )</parenthetical> <dialogue>Crap! Ca n't beat that guy! Ya dufuses, why'd ya get him in a pickle for?! Ya know he's the damn pickle king! Rubba legs for sure! Truly rubba legs.</dialogue> <scene_description>BENNY JOINS THE GANG They imitate the big leaguers ; skinning five , spittin ' ` zooka chaw - juice . Yeah - Yeah hands Benny his glove . Squints jots the stats in his pee - chee folder .</scene_description> <character>SQUINTS</character> <dialogue>Game over. Sixteen zip. Murderers' Row remains undefeated.</dialogue> <character>OPPONENT</character> <dialogue>Hey! We never got our ups!</dialogue> <scene_description>The lunch bell RINGS . The gang heads across the playground back to the bungalows .</scene_description> <character>OPPONENT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>All your moms wear boxers!</dialogue> <scene_description>Without looking back , eight `` birds '' hit the air . Nervous , NEW - KID SCOTTY SMALLS has been watching nearby .</scene_description> </scene> <scene> <stage_direction>EXT. ELEMENTARY SCHOOL - DRINKING FOUNTAIN - DAY</stage_direction> <scene_description>Just as Ham , Squints and Benny go for the 3 spigots , Yeah - Yeah taps each rapidfire :</scene_description> <character>YEAH-YEAH</character> <dialogue>Milk - milk - pee.</dialogue> <character>HAM</character> <dialogue>Great, I'm dyin' a thirst and you pee me out!</dialogue> <character>BENNY</character> <dialogue>Ham, it ai n't really.</dialogue> <character>HAM</character> <dialogue>Then switch with me.</dialogue> <character>BENNY</character> <dialogue>Do I look stupid?</dialogue> <scene_description>Everyone drinks from the 2 `` un - cursed '' spigots . Ham last . As they turn to leave , Scotty goes for the fountain . The guys hang - waiting for doom . Scotty drinks from the pee spigot ! The guys GAG and FAUX - BARF . Scotty has no idea why they 're laughing at him .</scene_description> <character>NARRATOR</character> <dialogue>I moved to the neighborhood about a month before school let out. I was from another state, and did n't have a single friend in a thousand miles.</dialogue> </scene> <scene> <stage_direction>INT. CLASSROOM - DAY</stage_direction> <scene_description>Benny , Ham , Scotty -LRB- sitting by himself -RRB- and the other STUDENTS are clock watching . The BELL RINGS . Summer vacation ! The classroom empties . papers circle to the floor from 35 departing cyclones .</scene_description> </scene> <scene> <stage_direction>INT. ELEMENTARY SCHOOL - HALLWAYS / ENTRANCE - DAY</stage_direction> <scene_description>Streams of excited KIDS spill into the corridors - a river of scrambling tennis shoes and clashing lunch boxes at the entrance gate . SCOTTY 'S caught in the mayhem . HE SPIES the 8 guys forging ahead . He follows them .</scene_description> <character>NARRATOR</character> <dialogue>It was a lousy way to end up the 5th grade,'cause I had zip time to make friends before summer. And that's about where it all started.</dialogue> </scene> <scene> <stage_direction>EXT. OLD REDWOOD FENCE - FOILAGE - DAY</stage_direction> <scene_description>Scotty sneaks close around some dense bushes , clutching books and `` John Glenn - Freedom 7 '' lunchbox . He steps through the barrier -LRB- a secret doorway in the fence -RRB- onto the distant OUTFIELD OF</scene_description> </scene> <scene> <stage_direction>EXT. THE SANDLOT - DAY</stage_direction> <scene_description>The gang 's homemade baseball diamond . They 're : CLEANING THE BLEACHERS with broken brooms . RAKING THE INFIELD with halves of tools . LAYING NEW CHALK LINES with a holed box of detergent powder . CLEARING THE OUTFIELD of leaves , trash and sticks . RE - ERECTING A PIECE OF RAGGED PLYWOOD in left field - painted green and lettered `` The Green Monster . '' SCOTTY maintains cover and PERUSES THE LAYOUT a row of houses , whose backyards are all chain link fenced . The fencing is trimmed individually in wood , bamboo etc . One has the world 's coolest treehouse . Next to it . is the last house . This owner has cordoned his backyard - tall panels of that green `` tropical - look '' privacy fiberglass lashed to the fence . SCOTTY remains undercover , but he 's bustin ' to join in . THE GANG never notices him . As they work :</scene_description> <character>HAM</character> <dialogue>Fifth grade's history, man. A hundred days, man. A Hundred days of baseball. All Day, everyday, as much as we can. That's the best.</dialogue> <character>TIMMY</character> <dialogue>We got all summer.</dialogue> <character>REPEAT</character> <dialogue>We got all summer.</dialogue> <character>BENNY</character> <dialogue>Let's play.</dialogue> <character>YEAH-YEAH</character> <dialogue>Yeah - Yeah. let's play.</dialogue> <scene_description>The guys round up in the infield . As they play catch , they spread farther and farther apart . until they 've each taken up the position they most like to play . They fit the paltry little diamond ; scrappy , happy kids .</scene_description> </scene> <scene> <stage_direction>EXT. THE BLOCK - DUSK</stage_direction> <scene_description>Tract homes - everybody 's got a different thing going in the front yard . The guys -LRB- sans Timmons ' -RRB- split up toward their homes - slappin ' gloves , `` so - longing '' for the night .</scene_description> <character>NARRATOR</character> <dialogue>Everyone but the Timmons twins lived on my new block.</dialogue> <scene_description>FROM HIS DRIVEWAY Scotty , shuttling moving boxes to his garage , watches them go .</scene_description> <character>NARRATOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>They lived in a house by the sandlot and had the world's greatest tree house, because their dad was a contractor.</dialogue> <scene_description>FROM BENNY 'S PORCH Benny is the last to go in . He sees Scotty watching . So , he nods . just a little . THE BLOCK clears to empty . The street lamps arc on , drawing soft white circles on the sidewalks . FROM THIS HEIGHT , they look like baseballs dotting the neighborhood .</scene_description> <character>NARRATOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Even before I knew any of them I envied that tree house.</dialogue> </scene> <scene> <stage_direction>INT. BENNY'S ROOM - NIGHT</stage_direction> <scene_description>A shrine to the pastime . Pennants , magazine pictures , game programs , baseball cards , a whole section of Maury Wills , radiating from a picture of Wills caught in a pickle .</scene_description> <character>NARRATOR</character> <dialogue>later, it would become second only to Cape Canaveral as a command post for history.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>When I moved in that summer, I'd never played baseball, but it was n't too tough figuring out who these guys' heroes were. So, after a week of watching. I figured baseball seemed like the best way to get in with them.</dialogue> <scene_description>BENNY 'S in bed , oiling his glove , staring out his window at Scotty 's house . Taped to his footboard is the most important picture of all . a picture of The Babe .</scene_description> </scene> <scene> <stage_direction>INT. SCOTTY'S ROOM - NIGHT</stage_direction> <scene_description>Jr. . Chemistry set . Heath Kit gadgets . An unbelievable Erector Set contraption with little motors and stuff . An autographed picture of Mr. Wizard . Scotty 's pj 'd at his erector set table , bothered and unhappy . This stuff is too damn easy for him . He whips on a last bolt and connects the itty - bitty motor . SWITCHES ON THE CONTRAPTION a tiny scoopelvator snatches up a white marble . Drops it on a roller coaster track . The marble whips around corners and loop - da - loops . lands in a mini - catapult . Another motor draws it back via a winding string . Boy Scout camping - knife scissors ratchet in - snip the string - the catapult fires . THE MARBLE leaps a little green fence and WONK ! Ouuuhhh ! beans HIS MOTHER -LRB- HAVING JUST COME IN -RRB- right in the forehead . BEDROOM Scotty winces at the shot .</scene_description> <character>SCOTTY</character> <dialogue>Sorry, Mom.</dialogue> <character>MOM</character> <dialogue>I thought we agreed we'd take this apart. and not spend so much time in here.</dialogue> <character>SCOTTY</character> <parenthetical>( FEELING LOW . )</parenthetical> <dialogue>I know - but it's just nighttime.</dialogue> <character>MOM</character> <dialogue>Scotty, have you made any friends yet?</dialogue> <character>SCOTTY</character> <dialogue>No.</dialogue> <character>MOM</character> <dialogue>Why not, honey?</dialogue> <character>SCOTTY</character> <dialogue>'Cause I'm still `` new.''</dialogue> <character>MOM</character> <dialogue>Honey, I do n't want you sitting in here all summer fiddling with this stuff, like you did last summer. and the one before that.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Scotty, look at me. I know you're smart, and I'm proud of you. But you have to get outside, you have to. play.</dialogue> <scene_description>She sits across from him , trying to get through .</scene_description> <character>MOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I want you to get out in the fresh air and make friends. Run around and scrape your knees. Get dirty. Climb trees and hop fences. Get in trouble for crying out loud.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Not too much, but some. You have my permission. Now how many mothers do you think say that to their sons?</dialogue> <character>SCOTTY</character> <dialogue>None mothers I guess.</dialogue> <character>MOM</character> <dialogue>I want you to make friends this summer, Scotty. Lots of them.</dialogue> <character>SCOTTY</character> <dialogue>I know, but I do n't - I'm no good at anything. Face it, Mom, I'm just an EGGHEAD -</dialogue> <character>MOM</character> <dialogue>- and you'll always be just an egghead with an attitude like that. So promise me, alright?</dialogue> <character>SCOTTY</character> <dialogue>` Kay.</dialogue> <character>MOM</character> <dialogue>Maybe tomorrow you'll make some friends.</dialogue> <character>SCOTTY</character> <dialogue>Yeah, maybe tomorrow.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Mom? Do you think Bill - I mean Dad - will teach me to play catch?</dialogue> <character>MOM</character> <dialogue>Are you kidding, he'd love it, you know what an athlete he wasIn high school.</dialogue> <parenthetical>( ALTERMNATE LINE . )</parenthetical> <dialogue>You know what a pitcher he was in high college.</dialogue> </scene> <scene> <stage_direction>INT. SCOTTY'S HOUSE - KITCHEN - NIGHT</stage_direction> <scene_description>Scotty slurps a glass of chocolate Quick . Rinses the glass too carefully . Gathers courage for something . Breathes deep - starts across the house .</scene_description> </scene> <scene> <stage_direction>INT. SCOTTY'S HOUSE - HALLWAY - NIGHT</stage_direction> <scene_description>Scotty peeks through a slightly open door . BILL moves around inside , unpacking boxes . Scotty reaches to knock . Stops . Almost walks away . Then musters the gumption . KNOCKS .</scene_description> <character>BILL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yeah.</dialogue> <scene_description>Scotty takes a few cautious steps into .</scene_description> </scene> <scene> <stage_direction>INT. BILL'S DEN - NIGHT</stage_direction> <scene_description>a trophy room . Ribbons , plaques , trophies . Bill must 've been some athlete ; but he limps now . Scotty lingers . gathering more courage .</scene_description> <character>NARRATOR</character> <dialogue>My real dad died when I was just a little kid. My mom married Bill a year before we moved to the neighborhood.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>At the time, he and I were still getting used to each other.</dialogue> <character>SCOTTY</character> <dialogue>Um, Dad - sorry, I mean Bill, remember you promised you'd teach me to play catch?</dialogue> <character>BILL</character> <dialogue>Um hum.</dialogue> <scene_description>He dusts a batting trophy .</scene_description> <character>SCOTTY</character> <dialogue>Well, could you teach me?</dialogue> <character>BILL</character> <dialogue>Sure.</dialogue> <scene_description>He places a pitching plaque . Scotty waits awkwardly . Waits for more words . They do n't come .</scene_description> <character>SCOTTY</character> <dialogue>Okay. Great. Thanks.</dialogue> <character>BILL</character> <dialogue>Um hum.</dialogue> <scene_description>Scotty leaves , bringing the door with him on his way out . Through the cracked portal he sees Bill set a silver pedestal on the main shelf . On this he sets a baseball . just a baseball .</scene_description> </scene> <scene> <stage_direction>INT. SCOTTY'S ROOM - THE NEXT MORNING</stage_direction> <scene_description>Scotty wakes up . Checks his -LRB- Theme -RRB- clock . 8:30 . He bolts out of bed . Dashes through the house to the front door . Throws it open and runs down to .</scene_description> </scene> <scene> <stage_direction>EXT. SCOTTY'S HOUSE - DAY</stage_direction> <scene_description>the sidewalk . Fan sprinklers water all the lawns . Way far down the block HE GLIMPSES Ham , at the HELMS BAKERY TRUCK , buying a donut , then scrambling around the far corner .</scene_description> <character>HAM</character> <dialogue>Hey - hey, come on! Wait up - wait up!</dialogue> <scene_description>SCOTTY panics . Runs back inside and .</scene_description> </scene> <scene> <stage_direction>INT. SCOTTY'S ROOM - DAY</stage_direction> <scene_description>strips off his cowboy pj 's . Redresses . Digs through his CLOSET finding a vinyl , `` toy '' baseball glove . It 's still in the package , with a note attached : `` To Scotty Boy - Love , Grandma ! '' It 's all he 's got . He shovels through a pair of Mickey Mouse ears - a cowboy hat - finds the closest thing he 's got to a baseball cap . a long , duck - billed fishing cap with a big embroidered trout .</scene_description> </scene> <scene> <stage_direction>EXT. ENROUTE TO THE SANDLOT - DAY</stage_direction> <scene_description>Scotty runs by -LRB- soon familiar places -RRB- : A 5 &amp; DIME A BOYS CLUB A LITTLE LEAGUE FIELD , where he slows momentarily , envious of the crisply uniformed kids . wow . Moving on down</scene_description> </scene> <scene> <stage_direction>EXT. THE BLOCK OF SANDLOT COMMON HOUSES - DAY</stage_direction> <scene_description>whose backyards we already know . Scotty flat out stops at THE HOUSE with the fiberglass panels out back . Scary place .</scene_description> </scene> <scene> <stage_direction>EXT. THE SANDLOT - DAY</stage_direction> <scene_description>Scotty slips quietly through the secret fence doorway , emerging IN DEEP LEFT FIELD where he hugs the perimeter , moving slowly toward the sandlot common houses . Winded , Scotty finds THE GANG 'S already playing `` over the line . ''</scene_description> <character>NARRATOR</character> <dialogue>They never kept score. They never chose sides. They never even really stopped playing the game. it just went on forever. Everyday they picked up right where they left off the day before. It was an endless `` dream game.''</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>There was only 8 of them, so they did n't have a whole team. It did n't matter though. Benny was so good he took everyone's position when it was there ups.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>I did n't know any of that then. I just knew they were having the time of their lives and I wanted to be a part of it.</dialogue> <scene_description>SCOTTY watches and listens -LRB- as he goes -RRB- to the SHARP , satisfying sound of the hardball , SNAPPING CLEANLY in the oily leather of their gloves . HE LOOKS AT his own toy glove . how embarrassing . SCOTTY continues around the perimeter , trying to be seen and become invisible . He goes unwittingly CLOSER TO those green fiberglass panels . DENUNEZ winds up and pitches to BENNY who connects big . CRACK ! SCOTTY 'S come too close to the green fence . Something has overcome him . fear ! He stares with serious woollies at A HOLE IN THE FIBERGLASS and sees only dust rising in time with some great , SOUNDS OF EXHALATION . And then , before he can draw any conclusions . disaster .</scene_description> <character>GANG</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hey! Look out!</dialogue> <scene_description>SCOTTY whips a look up and sees THE FLY BALL coming right at him . SCOTTY tracks it , frozen stiff . Scared shitless . At the past possible moment , he throws his arms over his face and ducks . social suicide . THE BALL beans him at the glove covering his noggin . SCOTTY hits his butt . The ball rolls a bit . Comes to an `` I - dare - you '' stop : right up against the diseased fiberglass panels of that preternatural fence . Scotty pulls his arms away from his face . THE GANG LAUGHS uproariously .</scene_description> <character>TIMMY</character> <dialogue>Nice catch!</dialogue> <character>REPEAT</character> <dialogue>Nice catch!</dialogue> <character>HAM</character> <dialogue>Hey! Throw the ball back!</dialogue> <character>YEAH-YEAH</character> <dialogue>Yeah - yeah, hurry up!</dialogue> <character>BERTRAM</character> <dialogue>We got ta a game here, man!</dialogue> <scene_description>SCOTTY moves for the ball . As he goes , he sweats :</scene_description> <character>SCOTTY</character> <dialogue>` Kay, I'll get it!</dialogue> <parenthetical>( TO HIMSELF . )</parenthetical> <dialogue>Do n't be a goofus - do n't be a goofus - do n't be a goofus.</dialogue> <scene_description>He reaches the fence and the ball and stops . It 's hard to move . The force emanating from the backyard has got him : DUST THROUGH THE HOLE IN THE FIBERGLASS keeps perfect time with the monster - breathing . AN OLENADER BUSH moves . It scares the living kapok out of SCOTTY who snatches up the ball and back - pedals 10 feet .</scene_description> <character>SQUINTS</character> <dialogue>WE'RE WAITING.</dialogue> <scene_description>He throws back the ball . And his chances of getting in with these guys are over . Because Scotty . throws like a girl ! THE BALL droops forward in the air . Lands 6 feet from him . Rolls slowly up to the gang , finally coming to a dainty stop at DeNunez ' feet . THE GANG looks from the ball to Scotty . they CRACK UP ! SCOTTY walks away . crying .</scene_description> <character>SCOTTY</character> <parenthetical>( TO HIMSELF . )</parenthetical> <dialogue>My life is over.</dialogue> <scene_description>BENNY is the only one that is n't laughing . He stares the others down .</scene_description> <character>DENUNEZ</character> <dialogue>Come on, Benny - man, did n't you see that throw?</dialogue> <scene_description>He imitates it , `` flipping '' his glove to Ham . The gang BUSTS UP again .</scene_description> <character>HAM</character> <parenthetical>( TRULY STUNNED . )</parenthetical> <dialogue>That kid's got the gaw ` damn panty - waistiest arm I ever saw in my whole life.</dialogue> <character>SQUINTS</character> <dialogue>I seen a guy once that threw like that. I mean not that bad, but at least so bad that he hadda move in the fourth grade'cause they nicknamed him `` Bloomers.''</dialogue> <scene_description>Benny 's look stifles the bunch .</scene_description> <character>BENNY</character> <dialogue>I bet not one of you knows how The Babe got his nickname.</dialogue> <character>HAM</character> <dialogue>Easy,'cause of the way he looked like a little kid face.</dialogue> <character>BERTRAM</character> <dialogue>Bull, it's just'cause he liked kids and stuff.</dialogue> <character>SQUINTS</character> <dialogue>Wrong. The Babe was called The Babe, because he was like the child of Yankee Stadium.</dialogue> <character>BENNY</character> <dialogue>I knew it. You're all full of crap. George Herman Ruth got his nickname because his mom died when he was just a little kid, and he hadda go live in an orphanage.</dialogue> <scene_description>Silence . None of the other guys has heard this before .</scene_description> <character>BENNY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Nobody liked him there. The bigger guys picked on him all the time. And when they messed with him he could n't fight back,'cause he was just. like scared. So when they messed with him, he cried about it.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>He cried. so they called him The Babe.</dialogue> <scene_description>This hits home real good .</scene_description> <character>BENNY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>How ya think that kid just felt?</dialogue> <scene_description>Benny exits the sandlot , leaving the others with a lesson learned .</scene_description> <character>NARRATOR</character> <dialogue>Everyone knew Benny was different. Nobody ever voted or anything, but he was the leader.</dialogue> </scene> <scene> <stage_direction>EXT. THE BLOCK - DUSK</stage_direction> <scene_description>As Benny goes into his house , the other 's round the corner far behind him . THE MOON is up . Full . Like a big baseball .</scene_description> <character>NARRATOR</character> <dialogue>Even though he seemed like a regular guy, he was n't. Benny was special, and he was loyal.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>When they'd all tried out for youth league, they'd all made it. But when they found out they'd have to play on different teams, Benny told'em that if they could n't play together, they should n't play at all. So, they stayed together.</dialogue> </scene> <scene> <stage_direction>EXT./INT. BENNY'S ROOM - NIGHT</stage_direction> <scene_description>Benny 's at the window , clutching a baseball , staring over at Scotty 's house .</scene_description> <character>NARRATOR</character> <dialogue>So, the only person that ever felt sorry for me'cause I was such a weenie was Benjamin Franklin Rodriguez.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Even though neither of us knew it at the time, we were connected. Like I had been born for just that one moment, when I would perform the world's all - time boner, and Benny would bail me out.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Connected as friends. born to meet for just that one moment.</dialogue> <scene_description>We DRIFT OFF Benny to his PICTURE OF MAURY WILLS in a pickle .</scene_description> </scene> <scene> <stage_direction>INT. SCOTTY'S HOUSE - DINING ROOM - DAY</stage_direction> <scene_description>A PICTURE OF MAURY WILLS on a Post Super Sugar Crisp box . BILL &amp; SCOTTY at the table . Bill sifting through mounds of paperwork . Scotty eating breakfast . Scotty 's spoon CLANGS one too many times . Bill looks up at him .</scene_description> <character>SCOTTY</character> <dialogue>Sorry.</dialogue> <scene_description>Scotty picks up his bowl and cereal , goes into</scene_description> </scene> <scene> <stage_direction>INT. SCOTTY'S HOUSE - THE KITCHEN - DAY</stage_direction> <scene_description>where his mom is making coffee .</scene_description> <character>MOM</character> <parenthetical>( QUIETLY . )</parenthetical> <dialogue>Well?</dialogue> <character>SCOTTY</character> <dialogue>He's too busy, Mom.</dialogue> <character>MOM</character> <parenthetical>( ENCOURAGING . )</parenthetical> <dialogue>Go back in there and ask. He'll take the time. Go on.</dialogue> </scene> <scene> <stage_direction>INT. SCOTTY'S HOUSE - DINING ROOM - DAY</stage_direction> <scene_description>Scotty comes back in . Stops mutely near Bill . Long , agonizing seconds pass . Finally :</scene_description> <character>SCOTTY</character> <dialogue>Um, Da -</dialogue> <scene_description>Quick look toward the kitchen , then :</scene_description> <character>SCOTTY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( so Mom wo n't hear . )</parenthetical> <dialogue>- I mean, Bill. Could we. I mean could you, like you said - teach me to catch today?</dialogue> <character>BILL</character> <dialogue>Um, yeah, but later, okay? I got ta get this done.</dialogue> <scene_description>It ai n't much , but it 's something .</scene_description> <character>SCOTTY</character> <dialogue>Okay, thanks.</dialogue> <scene_description>Mom comes in behind Scotty .</scene_description> <character>MOM</character> <dialogue>Bill, ca n't you take a break and teach him now?</dialogue> <character>SCOTTY</character> <dialogue>Mom, it's okay -.</dialogue> <parenthetical>( NOBODY 'S LISTENING . )</parenthetical> <dialogue /> <character>BILL</character> <dialogue>Honey, I said I would and I will. I'm just under the gun here, ya know?</dialogue> <character>SCOTTY</character> <dialogue>Mom, really -</dialogue> <character>MOM</character> <dialogue>- How long could it take? You ca n't spare a half hour to show him?</dialogue> <scene_description>Bill drops his pen . Checks his watch . A lost battle here .</scene_description> <character>BILL</character> <parenthetical>( ANNOYED . )</parenthetical> <dialogue>Fine. Alright. I'll get my glove. Come on.</dialogue> <scene_description>Bill exits past them . Scotty 's been `` Mom - embarrassed . '' She looks at him :</scene_description> <character>MOM</character> <parenthetical>( CLUELESS . )</parenthetical> <dialogue>There. See. Told you so.</dialogue> <scene_description>Scotty shuffles out back , shaking his head .</scene_description> </scene> <scene> <stage_direction>EXT. SCOTTY'S HOUSE - BACKYARD - DAY</stage_direction> <scene_description>Bill slides his hand into his glove . He warms up the cradle , POPPING the `` hardball '' into the palm . SCOTTY stands ready to `` learn '' on the other side of the yard . Appropriately pitiful in `` trout '' cap and toy glove . BACKYARD</scene_description> <character>BILL</character> <dialogue>Keep your eye on the ball. Put the glove up where it goes. Okay?</dialogue> <character>SCOTTY</character> <dialogue>Yeah, okay, I think so.</dialogue> <scene_description>Bill throws one to Scotty . The toy glove goes up to the right . The ball sails by to the left .</scene_description> <character>SCOTTY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Darn. Sorry.</dialogue> <scene_description>Bill 's a little amazed at that one . He checks his watch .</scene_description> <character>BILL</character> <dialogue>That's alright, just throw it back.</dialogue> <scene_description>Scotty eagerly retrieves it . Turns to throw - deja vu - he runs over , hands Bill the ball .</scene_description> <character>SCOTTY</character> <dialogue>Here.</dialogue> <scene_description>He runs back across the yard . Turns ` round again . Holds his glove up stiffly .</scene_description> <character>SCOTTY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Okay. I'm ready.</dialogue> <scene_description>Bill can not believe this . Checks his watch again .</scene_description> <character>BILL</character> <dialogue>Keep your eye on the ball. Put the glove up where the ball goes.</dialogue> <scene_description>He throws again . The ball bounces off the toy glove - breaks the webbing .</scene_description> <character>SCOTTY</character> <dialogue>Darn. My glove got -</dialogue> <character>BILL</character> <dialogue>- not bad. Right side at least. Now, just throw it back this time.</dialogue> <character>SCOTTY</character> <dialogue>But my glove -</dialogue> <scene_description>Bill 's looking at his watch again . Scotty fetches the ball - gulps - `` flips '' it back .</scene_description> <character>BILL</character> <parenthetical>( DISBELIEF . )</parenthetical> <dialogue>Oh, my God.</dialogue> </scene> <scene> <stage_direction>EXT. THE BLOCK - SCOTTY'S HOUSE - DAY</stage_direction> <scene_description>Benny comes out of his house . From the sidewalk BENNY 'S POV up the side of Scotty 's house into the backyard . He can see Scotty . Only Scotty . Standing there game as hell , trying to catch balls that seem to be coming too fast . The ball comes . Scotty ducks . The ball hits the block wall behind him , caroming back toward where we assume Bill is throwing from . BENNY 'S drawing the wrong conclusion .</scene_description> </scene> <scene> <stage_direction>EXT. SCOTTY'S HOUSE - BACKYARD - DAY</stage_direction> <scene_description>Scotty 's still game . Bill 's at ropes end . Check his watch again .</scene_description> <character>BILL</character> <dialogue>Alright, Scott, listen, this one's gon na come right at you, easy, okay?</dialogue> <character>SCOTTY</character> <dialogue>` Kay.</dialogue> <character>BILL</character> <dialogue>Just keep your eye on the ball and put your glove up. You'll catch it.</dialogue> <character>SCOTTY</character> <dialogue>Okay.</dialogue> <scene_description>BILL throws . THE BALL comes slowly forward . SCOTTY sticks his glove up . SCOTTY 'S EYES widen . THE BALL hits dead center glove . Rips the `` toy '' webbing . Flies through AND CLOUTS SCOTTY right in the eye . BILL</scene_description> <character>BILL</character> <dialogue>Oh my -</dialogue> </scene> <scene> <stage_direction>EXT. THE BLOCK - SCOTTY'S HOUSE - DAY</stage_direction> <character>BENNY</character> <dialogue>- God, whadda jerk!</dialogue> </scene> <scene> <stage_direction>INT. SCOTTY'S HOUSE - KITCHEN - DAY</stage_direction> <scene_description>Scotty 's mom comes unglued .</scene_description> <character>MOM</character> <dialogue>Bill! What happened?!</dialogue> <character>BILL</character> <dialogue>Well, he -</dialogue> <character>SCOTTY</character> <parenthetical>( PRIDE 'S SAKE . )</parenthetical> <dialogue>- just took my eye off the ball, Mom.</dialogue> <scene_description>Scotty 's mom pulls his hand away from his eye . Great shiner . Bill grabs a steak from the fridge , FLOPS it over Scotty 's eye .</scene_description> <character>BILL</character> <dialogue>There. Keep that on for an hour. It'll still be black, but it wo n't swell.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Sorry. We'll try again soon.</dialogue> </scene> <scene> <stage_direction>EXT. SCOTTY'S HOUSE - DAY</stage_direction> <scene_description>Scotty emerges . Sits on the porch . Pitiful and forlorn . Chin in his hands , he looks across the street . He starts . His hand moves to cover his black eye . but he thinks the better of it . BENNY 'S on the curb across the street . A moment goes by . Benny raises a hand . SCOTTY slowly waves back . BOTH Benny comes over to Scotty 's sidewalk .</scene_description> <character>BENNY</character> <dialogue>Gon na go play some ball. Need a extra guy. Wan na go?</dialogue> <character>SCOTTY</character> <dialogue>Naw. Thanks.</dialogue> <character>BENNY</character> <dialogue>Why not? Doncha like baseball?</dialogue> <character>SCOTTY</character> <dialogue>Oh. Yeah. But, ah.</dialogue> <character>BENNY</character> <dialogue>But what?</dialogue> <scene_description>Scotty searches for a quick way out of this . Gets it :</scene_description> <character>SCOTTY</character> <dialogue>But my glove's busted. So, ya know, I ca n't go. Thanks, though.</dialogue> <scene_description>Benny reaches behind his back . Takes something out of his jeans - like he 's going for a gun . Smiles a little .</scene_description> <character>BENNY</character> <dialogue>That's okay.</dialogue> <scene_description>He offers it to Scotty . a `` real '' glove .</scene_description> <character>BENNY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I got a extra one.</dialogue> <scene_description>Scotty SHOUTS over his shoulder :</scene_description> <character>SCOTTY</character> <dialogue>Mom! I'm gon na go play some ball!</dialogue> <scene_description>As they move away down the block .</scene_description> <character>SCOTTY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Thanks. Cool glove.</dialogue> <character>BENNY</character> <dialogue>Yeah. Cool shiner. We got ta stop by the 5 &amp; 10 first. Need a new ball. And chaw and stuff, ya know?</dialogue> <character>SCOTTY</character> <dialogue>Yeah.</dialogue> <character>BENNY</character> <dialogue>You dip chaw?</dialogue> <character>SCOTTY</character> <parenthetical>( COMPLETELY CLUELESS . )</parenthetical> <dialogue>Sure. A'course.</dialogue> </scene> <scene> <stage_direction>EXT. FIVE &amp; DIME - DAY</stage_direction> <scene_description>Benny &amp; Scotty go inside .</scene_description> </scene> <scene> <stage_direction>INT. FIVE &amp; DIME - DAY</stage_direction> <scene_description>Benny grabs a new baseball on the stride , and handful of bazooka from a jar on the soda fountain counter . He leaves the money and exits . Scotty follows .</scene_description> </scene> <scene> <stage_direction>EXT. REAR OF FIVE &amp; DIME - DAY</stage_direction> <scene_description>Benny and Scotty come upon the gang -LRB- all their mouths are full a ' bazooka -RRB- as Ham 's chompin ' on a candy cigar doing a</scene_description> <character>HAM</character> <dialogue>Hey! Check me out! I'm the Great Bambino!</dialogue> <scene_description>The gang laughs .</scene_description> <character>SCOTTY</character> <parenthetical>( OVER EAGER . )</parenthetical> <dialogue>Who's that?</dialogue> <scene_description>The gang stifles . They 're none - to - pleased . Ham sees why . The new kid . `` flipper . '' Eight pairs of eyes burn holes in his little soul .</scene_description> <character>HAM</character> <dialogue>What?</dialogue> <parenthetical>( BEYOND HIM . )</parenthetical> <dialogue>What did he say?</dialogue> <character>BERTRAM</character> <dialogue>Were you born in a barn, man?</dialogue> <character>YEAH-YEAH</character> <dialogue>Yeah - yeah, what planet are you from?</dialogue> <character>SQUINTS</character> <dialogue>You never heard of The Sultan of Swat?!</dialogue> <character>DENUNEZ</character> <dialogue>The Titan of Terror!</dialogue> <character>TIMMY</character> <dialogue>The Colossus of Clout!</dialogue> <character>REPEAT</character> <dialogue>The Colossus of Clout!</dialogue> <character>BENNY</character> <parenthetical>( even he 's amazed . )</parenthetical> <dialogue>The King of Krash!</dialogue> <character>NARRATOR</character> <dialogue>I had no idea who they were talking about. But there was no way I could let them know that. so, I lied.</dialogue> <character>SCOTTY</character> <dialogue>Oh! The Great Bambino! Of course. I thought you said The Great Bambi.</dialogue> <character>HAM</character> <parenthetical>( SHIVERING . )</parenthetical> <dialogue>That wimpy deer?</dialogue> <character>SCOTTY</character> <dialogue>Ah, yeah - I guess. Sorry.</dialogue> <scene_description>The gang goes SILENT . They spit - they 're tough . Scotty dribbles - he 's wimpy .</scene_description> <character>BENNY</character> <parenthetical>( W/MOUHTFUL . )</parenthetical> <dialogue>So, Scott, this is Ken DeNunez ; Alan McClennan, we call him Yeah - Yeah ; Hamilton Porter, we call him Ham ; Tommy and Timmy Timmons, Bertram Grover Weeks, and Mike `` Squints'' Palledorus.</dialogue> <parenthetical>( TO GANG . )</parenthetical> <dialogue>He's Scott Smalls.</dialogue> <character>SCOTTY</character> <dialogue>Hi.</dialogue> <scene_description>The gang just stares .</scene_description> <character>BENNY</character> <dialogue>He's gon na play with us. He makes nine. Now we got a team.</dialogue> </scene> <scene> <stage_direction>EXT. SANDLOT - DAY</stage_direction> <scene_description>The pack follows Benny onto the diamond . Scotty trails after them .</scene_description> <character>BERTRAM</character> <dialogue>Why'd you bring him for, Benny?</dialogue> <character>BENNY</character> <dialogue>'Cause there's eight of us, and he makes nine.</dialogue> <character>BERTRAM</character> <dialogue>Yeah, so would my sister, but I did n't bring her!</dialogue> <character>BENNY</character> <dialogue>With nine Guys we got a whole team.</dialogue> <character>HAM</character> <dialogue>No, with Elswenger we had a whole team, and Elswenger could throw!</dialogue> <character>DENUNEZ</character> <dialogue>He ai n't game, Benny. He ca n't throw for nothin'.</dialogue> <scene_description>Scotty drifts off by himself . He can hear what 's exchanged .</scene_description> <character>TIMMY</character> <dialogue>Benny, you already play all the empty positions since Elswenger moved to Arizona.</dialogue> <character>BENNY</character> <dialogue>And now I get to rotate 8 positions instead of 7. I need the practice.</dialogue> <character>SQUINTS</character> <dialogue>No you do n't. It's stupid, Benny. The kid's an L - 7 weenie.</dialogue> <character>YEAH-YEAH</character> <dialogue>Yeah - yeah, Oscar Mayer even.</dialogue> <character>BENNY</character> <dialogue>Oh yeah, Squints, and you're Willie freakin' Mays. You catch like a dork - anybody ever bust your chops about that?</dialogue> <character>SQUINTS</character> <parenthetical>( PALTRY EXCUSE . )</parenthetical> <dialogue>No, but I'm - ya know, I'm -</dialogue> <character>BENNY</character> <dialogue>- and you run like a duck, Yeah - Yeah.</dialogue> <character>YEAH-YEAH</character> <parenthetical>( IT 'S TRUE . )</parenthetical> <dialogue>` Kay - ` kay. But I'm -</dialogue> <character>BENNY</character> <dialogue>- part - a the game.</dialogue> <character>SQUINTS</character> <parenthetical>( DEFENSIVE . )</parenthetical> <dialogue>Right.</dialogue> <character>YEAH-YEAH</character> <dialogue>Yeah - yeah.</dialogue> <character>BENNY</character> <dialogue>How come he do n't get to be?</dialogue> <scene_description>Nobody 's got an answer for that one . Base up you blockheads . -RRB- THE GANG hits the field . Their suspicious glares are n't lost on SCOTTY standing off by himself , kinda lost . Benny comes over .</scene_description> <character>BENNY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You take right field, Smalls.</dialogue> <character>SCOTTY</character> <parenthetical>( EAGER . )</parenthetical> <dialogue>Right. Okay. Ah. where exactly is that?</dialogue> <character>BENNY</character> <parenthetical>( SURPRISED . )</parenthetical> <dialogue>Uh, over there.</dialogue> <scene_description>Scotty runs `` over there '' anxiously . BENNY takes home plate worried : `` Maybe the kid is a weenie . '' INFIELD DeNunez at the mound . Benny 's up .</scene_description> <character>BENNY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Get two.</dialogue> <scene_description>Repeat at 3rd , stabs it effortlessly and fires to 2nd . Timmy snatches it down and drag - tags the invisible base runner , then fires to Bertram at 1st . SNAP ! Outta there . Bertram throws back to DeNunez . Benny 's ready :</scene_description> <character>BENNY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Smalls! Get one!</dialogue> <scene_description>CRACK ! THE BALL arcs up . comes down right at SCOTTY who raises the glove , and skippers around , as if he were tracking a falling leaf . The ball lands 5 feet behind him . THE GANG shakes its collective head , exasperated . SCOTTY runs to the ball , is about to throw . runs it in to DeNunez instead .</scene_description> <character>SCOTTY</character> <dialogue>Here. Sorry, sorry.</dialogue> <scene_description>THE GANG is stunned . SCOTTY runs back to right field . Ready again - a game kid . BENNY trots out after him .</scene_description> <character>BENNY</character> <dialogue>Hey, you can throw it ya know.</dialogue> <character>SCOTTY</character> <dialogue>No, I ca n't. I do n't know how.</dialogue> <parenthetical>( LUMPY THROAT . )</parenthetical> <dialogue>Um, thanks for taking me here. but I think better go.</dialogue> <scene_description>Scotty turns to leave . Benny grabs his arm .</scene_description> <character>BENNY</character> <dialogue>You think too much. I bet you get straight A's and shit, huh?</dialogue> <character>SCOTTY</character> <dialogue>No, I got a B once. Actually it was an A minus.</dialogue> <parenthetical>( QUICK . )</parenthetical> <dialogue>But it shoulda been a B.</dialogue> <character>BENNY</character> <dialogue>This is baseball, you're not supposed to think, you're just supposed to play.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>You ever have a paper route?</dialogue> <character>SCOTTY</character> <dialogue>Uh, I helped a guy one time.</dialogue> <character>BENNY</character> <dialogue>Throw it like you chuck a paper. When your arm gets here. just let go of it.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>Just let go.</dialogue> <scene_description>Scotty nods . Benny starts back .</scene_description> <character>SCOTTY</character> <dialogue>Wait - how do I catch it?</dialogue> <character>BENNY</character> <dialogue>Do n't worry. Just stand there and stick your glove in the air. I'll take care of it.</dialogue> <scene_description>HOME PLATE Benny mentally calculates the distance . Puts a little rub on the ball . Flips it into the air .</scene_description> <character>BENNY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Smalls, get one!</dialogue> <scene_description>and swings through deliberately . CRACK ! SCOTTY sees it coming . Stands there stiffly . Sticks his glove up , closes his eyes .</scene_description> <character>SCOTTY</character> <dialogue>Please, catch it. Please, catch it. Please, ca -</dialogue> <scene_description>SNAP ! His glove swings down . He opens his eyes . Looks into his glove . The ball is there . He takes it out and chucks the ball like a folded paper . BERTRAM catches it good and solid at 1st .</scene_description> <character>BERTRAM</character> <dialogue>Okay! Hey, let's play ball!</dialogue> <scene_description>SCOTTY loosens up . From home plate BENNY gives him a `` Thumbs Up . '' The significance of this is only outweighed by his sudden fear , when . SCOTTY glimpses something . SCOTTY 'S POV of some great , lumbering thing moving past a crack in those green fiberglass panels .</scene_description> </scene> <scene> <stage_direction>EXT. THE BLOCK - DUSK</stage_direction> <scene_description>In good spirits , the guys break off to their houses . SCOTTY &amp; BENNY split up in the middle of the street between their homes .</scene_description> <character>SCOTTY</character> <dialogue>Thanks.</dialogue> <scene_description>Already at his door , Benny just raises his glove in answer .</scene_description> <character>SCOTTY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Wait, here - your glove.</dialogue> <character>BENNY</character> <dialogue>Keep it.</dialogue> </scene> <scene> <stage_direction>INT. SCOTTY'S ROOM - NIGHT</stage_direction> <scene_description>Scotty opens a new writing tablet , and titles the page : `` Baseball Stuff to Remember . '' He writes : `` 1 . The Great Bambino ? '' He has n't got a clue .</scene_description> </scene> <scene> <stage_direction>EXT. VACANT LOT - DAY</stage_direction> <scene_description>Benny coaches Scotty . Correct batting stance and swing . Benny thumb - flicks bottle caps at Scotty from a coffee can full . They 're tough to hit . But soon Scotty 's tagging every one of them . THE SUN SETS .</scene_description> </scene> <scene> <stage_direction>EXT. SANDLOT - DAY</stage_direction> <scene_description>DeNunez fires - fastball . CRUNCH ! SCOTTY tags it . The ball sails over SQUINTS ' Head in center . From left field BENNY gives Scotty another `` Thumbs Up . '' The kid 's in .</scene_description> </scene> <scene> <stage_direction>EXT. SANDLOT - DAY - LATER</stage_direction> <scene_description>Squints arrives with a box of baseball cards .</scene_description> <character>NARRATOR</character> <dialogue>Everyday, first thing, we'd all pick a card from what we called `` The Dugout.''</dialogue> <scene_description>Squints shakes it up . Everybody picks one .</scene_description> <character>NARRATOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It was just a shoe box, but whoever we picked, we got to be when it was our ups. One day, when Ham took his pick a little too seriously, the guys let me in on the world's most terrifying secret.</dialogue> <character>BENNY</character> <dialogue>Bingo! Maury Wills!</dialogue> <character>SCOTTY</character> <dialogue>Mickey Mou - ah, Mantle.</dialogue> <character>YEAH-YEAH</character> <dialogue>Say hey, Willie Mays.</dialogue> <character>DENUNEZ</character> <dialogue>Stan Musial.</dialogue> <character>TIMMY</character> <dialogue>Lou Brock.</dialogue> <character>REPEAT</character> <dialogue>Lou Brock - I mean, Luis Aparicio.</dialogue> <character>BERTRAM</character> <dialogue>Frank Robinson.</dialogue> <character>SQUINTS</character> <dialogue>Oh. Bob Uecker.</dialogue> <character>HAM</character> <dialogue>Hank Aaron. I'm up.</dialogue> </scene> <scene> <stage_direction>EXT. SANDLOT - DAY - MINUTES LATER</stage_direction> <scene_description>The gang `` peppers '' HAM -LRB- at home plate -RRB- mercilessly . DENUNEZ pitches - strike . Pitches again - strike . Delivers and HAM takes a Ruthian cut at it . CONNECTS to deep right . SCOTTY tracks it . THE BALL comes down . SCOTTY runs beneath it - glove up . THE BALL drops into a backyard . The one with the green fiberglass panels . SCOTTY stops short . Looks back to THE GANG who 're already packing up in slumped dejection . SCOTTY makes a decision . Swallows against fear of the fence . He takes one step toward that fence .</scene_description> <character>SCOTTY</character> <dialogue>Wait a sec, I'll get it!</dialogue> <scene_description>THE GANG comes unglued .</scene_description> <character>GANG</character> <dialogue>NOOOOOOOOOO! STOPPPPPP!</dialogue> <scene_description>They rush over - grab Scotty - pull him back 10 feet into the `` Fear - Free '' zone .</scene_description> <character>SQUINTS</character> <dialogue>Holy crap, you coulda been killed!</dialogue> <character>YEAH-YEAH</character> <dialogue>Yeah - yeah - truly! Whadda you doin'?!</dialogue> <character>SCOTTY</character> <dialogue>Well, you were all leavin', so I thought I'd just -</dialogue> <character>SQUINTS</character> <dialogue>- if you were thinkin' you would n't a thought that!</dialogue> <character>BENNY</character> <dialogue>You ca n't go back there, Smalls.</dialogue> <character>SCOTTY</character> <dialogue>Then how do we get the ball?</dialogue> <character>TIMMY</character> <dialogue>We do n't.</dialogue> <character>REPEAT</character> <dialogue>We do n't.</dialogue> <character>BERTRAM</character> <dialogue>It's gone.</dialogue> <character>HAM</character> <dialogue>Forever even.</dialogue> <character>DENUNEZ</character> <dialogue>Forget it, it's a memory.</dialogue> <character>BENNY</character> <dialogue>Game's over. We'll get a new one tomorrow. Just forget it. We'll never see it again.</dialogue> <character>SCOTTY</character> <dialogue>Why not?</dialogue> <character>GANG</character> <parenthetical>( HUSHED . )</parenthetical> <dialogue>The Beast.</dialogue> <scene_description>Scotty stares at them ; all heads hung .</scene_description> <character>BENNY</character> <dialogue>Go over there, real slow, and be quiet. Do n't touch the fence, just peek through that hole in the green stuff. go on.</dialogue> <scene_description>As Scotty goes forward , the gang steps back . SCOTTY draws his eye close to the hole in the fence . WE SEE</scene_description> </scene> <scene> <stage_direction>EXT. MR. MERTLE'S BACKYARD - DAY</stage_direction> <scene_description>A LIMITED VIEW of 3 feet square . WE SEE nothing but the ball . in the small crater it 's made in the dirt . There are oddly similar craters in the immediate vicinity . Those craters are empty . A MAMMOTH , HAIRY PAW comes down from out of nowhere . As it CLEARS FRAME , the baseball is gone . Only the crater remains .</scene_description> </scene> <scene> <stage_direction>EXT. SANDLOT - DAY</stage_direction> <scene_description>Scotty snaps his head away from the hole - runs over to</scene_description> <character>SCOTTY</character> <dialogue>Something got the ball!</dialogue> <parenthetical>( UNNERVED . )</parenthetical> <dialogue>What was that thing?!</dialogue> <scene_description>Considered looks are exchanged , then , in unison :</scene_description> <character>GANG</character> <dialogue>Campout.</dialogue> </scene> <scene> <stage_direction>EXT. TIMMONS' BACKYARD - NIGHT</stage_direction> <scene_description>Aglow . -LRB- NOTE : Same as Sc . 80 -RRB-</scene_description> </scene> <scene> <stage_direction>INT. TREE HOUSE - NIGHT</stage_direction> <scene_description>A Boy Scout lantern . Professionally built structure . The gang 's got sleeping bags . They 're roasting marshmallows over a Cub Scout camping stove . Ham 's brought personal s'mores supplies .</scene_description> <character>HAM</character> <dialogue>Wan na s ` more?</dialogue> <character>SCOTTY</character> <dialogue>Some more of what?</dialogue> <character>HAM</character> <dialogue>No. You wan na s ` more?</dialogue> <character>SCOTTY</character> <dialogue>I have n't had anything yet, so how can I have any more of nothing?</dialogue> <character>HAM</character> <dialogue>You kill me Smalls. Look, these are s'mores stuff. Pay attention :.</dialogue> <parenthetical>( CONCOCTING . )</parenthetical> <dialogue>First you take the graham - you put the chocolate on the graham, Hershey's of course - you hold the chocolate on the graham while you roast the mallow -</dialogue> <scene_description>He does . The mallow flames to life .</scene_description> <character>HAM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>- then when the mallow's flamin', ya stuff it on the chocolate and cover it with the other end.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Then, you scarf.</dialogue> <scene_description>Ham does . The junk squirts half way down his shirt .</scene_description> <character>HAM</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( BARELY INTELLIGIBLE . )</parenthetical> <dialogue>Kinda messy. Good though.</dialogue> <scene_description>Squints turns the lantern down low .</scene_description> <character>SQUINTS</character> <dialogue>Alright, listen up.</dialogue> <parenthetical>( TO SCOTTY . )</parenthetical> <dialogue>First time DeNunez heard this story he FAINTED -</dialogue> <character>DENUNEZ</character> <dialogue>- Bull, Squints!</dialogue> <character>BENNY</character> <dialogue>You did, man.</dialogue> <scene_description>DeNunez shuts up . It 's true .</scene_description> <character>SQUINTS</character> <dialogue>When Yeah - Yeah heard it he peed his pants.</dialogue> <character>YEAH-YEAH</character> <dialogue>Shut up, Squints - did not!</dialogue> <character>HAM</character> <dialogue>You did, man.</dialogue> <character>SQUINTS</character> <dialogue>And when The Ham heard it he barfed up two bags of marshmallows.</dialogue> <character>HAM</character> <dialogue>Liar! It was only one.</dialogue> <character>SQUINTS</character> <dialogue>So stay away from the door. you might fall out. And do n't sit on your sleeping bag. you could shit your pants.</dialogue> <parenthetical>( SOLEMN . )</parenthetical> <dialogue>Now, quiet.</dialogue> <scene_description>Absolute silence . Kid - reverence equals fright .</scene_description> <character>SQUINTS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>The legend of The Beast goes back a long time. before any of us could pick up a baseball. Back to a place called Mertle's Acres.</dialogue> </scene> <scene> <stage_direction>EXT. "MERTLE'S ACRES" - DAY</stage_direction> <scene_description>A legendary place . benefitting from years of kid - embellishment : a gothic , scrapyard fortress oddly designed to keep something in not out .</scene_description> <character>SQUINTS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The Beast belongs to Mr. Mertle, the guy that used to own Mertle's Acres Junkyard. And nobody's ever seen him since the day it happened.</dialogue> </scene> <scene> <stage_direction>INT. MERTLE'S ACRES - DAY</stage_direction> <scene_description>Blurbling pockets of super - heated muck . BURNED - OUT SHELLS of twisted vehicles - strewn carcasses . A battlefield . OLD APPLIANCES that form tortured faces in the shadowy recesses .</scene_description> <character>SQUINTS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Mertle's Acres was a bitchin' place, that had everything you could ever imagine.</dialogue> <scene_description>OTHER STUFF like savaged shopping carts . A school bus graveyard . Scrap motorbikes . Cargo ship buoy balls . The gutted shell of a fighter plane .</scene_description> <character>SQUINTS</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>And the stuff was worth a fortune. So, one day Mr. Mertle got him this new pup from the pound. They were glad to get rid of him, on account of while he'd been there, he'd killed three dogs bigger than he was.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>That was exactly what Mr. Mertle figured he needed to protect his junkyard,'cause people kept stealing stuff at night, when he was n't around.</dialogue> <scene_description>WE DRIFT THROUGH a maze of dark , grimy junk - passageways .</scene_description> <character>SQUINTS</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>So he bought The Beast, and set him loose in Mertle's Acres.</dialogue> <scene_description>SOMETHING LOPES BY at the end of a passage . -LRB- NOTE : We never fully see The Beast . -RRB-</scene_description> <character>SQUINTS</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>The Beast was still just a pup of six months, but he already weighed a 150 pounds. and he kept gettin' bigger.</dialogue> <scene_description>A TRASH BAG full of meat hits the ground - disappears . SLIFFTHT ! It spits back INTO FRAME . empty and tattered .</scene_description> <character>SQUINTS</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>He threw The Beast a trash bag full of meat every night, and just left him alone. All alone in the whole place by himself. to grow.</dialogue> <scene_description>AN EYEBALL among a pile of broken headlights . As big as the headlights . FLEETING GLIMPSES OF MORE STUFF like Mannequins , with bite - chunks missing . Plastic flamingoes , brutally mangled . A decapitated `` lawn jockey . '' A plastic cow , legs gnawed off . And BREATHING . amongst the artificial `` life '' forms . A GARGANTUAN FOOTPRINT in the center of an old truck tire . THE BEAST 'S SHOULDERS moving powerfully - as tall as a burned - out VW .</scene_description> <character>SQUINTS</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>And so, in a few months, the pup grew into The Beast. And he grew big as a car. And he grew mean,'cause nobody liked him, and he did n't like nobody either.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>And so he only had one thing on his mind. to kill.</dialogue> </scene> <scene> <stage_direction>INT. MERTLE'S ACRES - NIGHT</stage_direction> <scene_description>TWO THIEVES in ski - masks . Suddenly , a HEATED WIND strips their masks . Two elephantine feet come down on their faces . They SCREAM .</scene_description> <character>SQUINTS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>And he did. And he liked it.</dialogue> <scene_description>ANOTHER THIEF suddenly enveloped by a shadow . He 's dragged into darkness . he SCREAMS . TWO OTHER THIEVES load their van and take off . They skid . CRUNCH ! The van caves in . The Thieves are dragged out , BLATHERING in horror . FROM HIGH ABOVE MERTLE 'S ACRES The Beast moves like a murderous phantom . WE HEAR ROARING , and primordial bloodlust . VARIOUS OTHER THEIVES are tossed hither and yon . mixed in with fake flamingoes , and a flying plastic cow .</scene_description> </scene> <scene> <stage_direction>EXT. MERTLE'S ACRES - DAY</stage_direction> <scene_description>Police cars . DETECTIVES speak with MR. MERTLE ; his shoulders slumped , his eyes moist . They show him file photos of -LRB- THEIVES in ski masks . -RRB-</scene_description> <character>SQUINTS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The Beast was the most perfect junkyard dog that ever lived. a true killing machine.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>After awhile, the police started getting phone calls from people, reporting all the missing thieves. The ones The Beast had killed. it added up to about 37 guys.</dialogue> <scene_description>Mr. Mertle solemnly heads inside the junkyard .</scene_description> <character>SQUINTS</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>But they never found a single body. not one. Some people say they all got away, and were just so scared that they ended up in insane asylums and stuff.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>But we know what really happened.</dialogue> <scene_description>Mr. Mertle emerges from the junkyard . Cops take cover behind their cars . Guns are leveled toward Mr. Mertle and what follows him at the end of a rusty tow chain .</scene_description> <character>SQUINTS</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>The Beast. ate them.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>He ate them bones and all.</dialogue> </scene> <scene> <stage_direction>EXT. THE BLOCK OF SANDLOT COMMON HOUSES - DAY</stage_direction> <scene_description>PEOPLE slam their windows - draw their curtains . LITTLE KIDS are snatched up by PARENTS , who run inside and lock their doors . MR. MERTLE leads the The Beast on a huge chain . -LRB- NOTE : We only see bits of The Beast . -RRB-</scene_description> <character>SQUINTS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The Beast was good at his guarddog job. Too good. So the cops said he had to be retired. But he did n't have to be killed or nothin', on account of there was no evidence. no bones. no teeth for dental records.</dialogue> </scene> <scene> <stage_direction>EXT. MR. MERTLE'S BACKYARD - DAY</stage_direction> <scene_description>The green fiberglass panels are brand new here in the past .</scene_description> <character>SQUINTS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The police told Mr. Mertle that if wanted to keep The Beast, he hadda lock him in his backyard, so he could never get out.</dialogue> <scene_description>A CRANE lowers a giant bathtub into the backyard . FIREMEN fill it with water .</scene_description> <character>SQUINTS</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>And that he hadda chain him up, so's in case he tried to get out to eat children and stuff, he could n't.</dialogue> <scene_description>CONSTRUCTION WORKERS sink an I - Beam girder . Cement fills the chasm . MR. MERTLE contructs a huge lean - to from old bullet - holed , tin - ad signs . A WELDER Braises chain to the girder . MR. MERTLE `` collars '' The Beast with the other end . THE BEAST disappears beneath the lean - to . DUST EXPLODES from underneath as he lies down .</scene_description> <character>SQUINTS</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>Mr. Mertle asked the cops how long he had to keep his pup chained up like a slave.</dialogue> </scene> <scene> <stage_direction>EXT. MR. MERTLE'S FRONT PORCH - DAY</stage_direction> <scene_description>A POLICEMAN `` mouths '' the word , `` F - O - R - E - V - E - R. ''</scene_description> <character>SQUINTS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>They said. until forever.</dialogue> </scene> <scene> <stage_direction>INT. TREE HOUSE - NIGHT</stage_direction> <scene_description>Ham drools mallow goop . His hands are fisted tight . ` mallows squirt out twixt his clenched fingers . REPEAT &amp; TIMMY have their pillows ` round their heads like bonnets . DENUNEZ &amp; YEAH - YEAH stare and shake . BERTRAM 'S eyes are shut tight , his bottom lip shudders . BENNY gulps . SCOTTY 'S sitting shattered . He checks his pants to see if he 's peed them . His mallow 's a briquette . It SPUTTERS and flames out . SQUINTS is proud of his story prowess .</scene_description> <character>SQUINTS</character> <dialogue>And so. The Beast sits there under that lean - to, dreaming about the time when he can break the chain and get out. dreaming of the time when he can chase and kill again.</dialogue> <scene_description>THE GANG</scene_description> <character>BERTRAM</character> <dialogue>See, man. That's why you ca n't go over there. Nobody ever has. Nobody ever will.</dialogue> <character>HAM</character> <dialogue>One kid did, but nobody ever seen him again.</dialogue> <character>DENUNEZ</character> <dialogue>That ai n't true -</dialogue> <character>HAM</character> <dialogue>- yeah it is! He got eaten!</dialogue> <character>YEAH-YEAH</character> <dialogue>Yeah - yeah - that kid who went to get his kite. what was his name?</dialogue> <character>DENUNEZ</character> <dialogue>`` Boogers'' Fleming?</dialogue> <character>TIMMY</character> <dialogue>No. It was that guy with the warts on his face.</dialogue> <character>REPEAT</character> <dialogue>Davy `` The Toad.''</dialogue> <character>TIMMY</character> <dialogue>That's what I said.</dialogue> <scene_description>Solemnity spreads among them . Kid - reverence .</scene_description> <character>SQUINTS</character> <dialogue>Davy `` The Toad'' Stodenrous.</dialogue> <character>BERTRAM</character> <dialogue>Yeah, The Toad.</dialogue> <character>YEAH-YEAH</character> <dialogue>Yeah - yeah, poor Toad.</dialogue> <character>SCOTTY</character> <parenthetical>( WEAK . )</parenthetical> <dialogue>Nuh - uh. none of that's true. You guys are just -</dialogue> <character>SQUINTS</character> <dialogue>- oh, yeah? Come here. Stick your head out the window and look down.</dialogue> <scene_description>Scotty goes slowly . He sticks his head out guillotinely , through the small square opening .</scene_description> </scene> <scene> <stage_direction>EXT. TREE HOUSE - NIGHT</stage_direction> <scene_description>Scotty 's head comes out turtle - like . The tree house overhangs the common wall . HE LOOKS DOWN INTO Mr. Mertle 's backyard and SEES an old footed bathtub filled with murky water . A steel pole , cemented into the center of the yard . A tow chain , snaking away from the pole and vanishing under the lean - to . Dust rises and falls from ` neath the lean - to . SCOTTY hears the ORGANIC EXHAUST that accompanies the dust . rising and falling . in POWERFUL EXHALATIONS .</scene_description> </scene> <scene> <stage_direction>INT. TREE HOUSE - NIGHT</stage_direction> <scene_description>Scotty pulls his head back , scared shitless .</scene_description> <character>SCOTTY</character> <parenthetical>( HUSHED . )</parenthetical> <dialogue>He's down there!</dialogue> <character>SQUINTS</character> <dialogue>You bet he is.</dialogue> <character>HAM</character> <dialogue>Whatever goes over that fence. stays there.</dialogue> <character>SQUINTS</character> <dialogue>It becomes the property of The Beast. Forever.</dialogue> </scene> <scene> <stage_direction>EXT. TREE HOUSE - NIGHT</stage_direction> <scene_description>-LRB- NOTE : Same as Sc . 54 -RRB- FROM THE SANDLOT . a FULL MOON hangs ominously over the tree house ; a glowing little box of debate in the scary night .</scene_description> <character>NARRATOR</character> <dialogue>I learned that more than a 150 baseballs had gone over that fence. and not one of them was ever seen again. Even when some brave kid worked up enough courage to peek over the fence.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Because, when they went over, they vanished.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>I knew it was true, because when I looked down in there, I did n't see a single. solitary. one.</dialogue> </scene> <scene> <stage_direction>EXT. FIVE &amp; DIME - MORNING</stage_direction> <scene_description>Squints and Yeah - Yeah come out of the store in a big hurry , with a new baseball in a box . They stop momentarily - open it and chuck the box . Yeah - Yeah rams his mouth full of ` zooka WHILE SQUINTS spits into his palm and rubs the ball to get the shine off . His eyes go suddenly wide and he stares , and oggles , and gawks : SLO - MO - A BEAUTIFUL BLONDE GIRL about 19 - years - old walks by into the store . She smiles at Squints . SQUINTS can only manage a totally embarrassing goofy grin .</scene_description> </scene> <scene> <stage_direction>EXT. THE SANDLOT - MORNING</stage_direction> <scene_description>The guys are waiting anxiously as Yeah - Yeah and Squints run over . Yeah - Yeah tosses Benny the ball . He rubs it up . Passes it along . They all take a turn .</scene_description> <character>BENNY</character> <dialogue>What took you so long?! We been here forever already!</dialogue> <character>YEAH-YEAH</character> <dialogue>Squints was pervin' a dish.</dialogue> <character>SQUINTS</character> <dialogue>Shut up, I was n't!</dialogue> <character>YEAH-YEAH</character> <dialogue>Yeah - Yeah you were! Yer tongue was hangin' outta yer head and you was swoonin'!</dialogue> <parenthetical>( SWOONIN ' . )</parenthetical> <dialogue>Oh - oh Wendy Peffercorn my darling lover girl.</dialogue> <scene_description>Squints goes for Yeah - Yeah . Ham holds him back .</scene_description> <character>SQUINTS</character> <dialogue>Hold me back! Hold me back!</dialogue> <character>HAM</character> <dialogue>I am holdin' you back Squints.</dialogue> <character>SQUINTS</character> <dialogue>Oh, yeah. Well, lem me go then.</dialogue> <parenthetical>( CALMS . )</parenthetical> <dialogue /> <character>DENUNEZ</character> <dialogue>So, where'd you get the money this time Yeah - Yeah?</dialogue> <character>YEAH-YEAH</character> <dialogue>Oh, yeah - yeah! It was great! So I went around pretended like I was selling perscriptions to magazines. And the people asked if they should pay me now. So I said yeah - yeah, pay me now! And they did!</dialogue> <scene_description>The guys are astonished .</scene_description> <character>HAM</character> <dialogue>Sonavabitch!</dialogue> <character>YEAH-YEAH</character> <dialogue>What - what?! I'll take it back. I know it was crappy, but I did n't have no money, I -</dialogue> <character>BENNY</character> <dialogue>- naw, do n't, man. He's just mad he did n't think of it.</dialogue> <character>HAM</character> <dialogue>Yeah, you know how many lawns I hadda mow when it was my turn?! Geez. Let's play.</dialogue> <scene_description>THE SUN crests the sandlot . it 's gon na be a hot one .</scene_description> </scene> <scene> <stage_direction>EXT. SANDLOT - LATER</stage_direction> <scene_description>A real hot one . Ham sweats uncontrollably . His lunch bag drips PB&amp;J . DENUNEZ spits a ` zooka sploink that SIZZLES when it hits . THE GANG simultaneously heads for the bleachers . Everybody but Benny .</scene_description> <character>HAM</character> <dialogue>I ca n't take it no more, Benny. I'm bakin' like a toasted cheeser!</dialogue> <character>TIMMY</character> <dialogue>It's hotter than the fires of hell.</dialogue> <character>REPEAT</character> <dialogue>It's hotter than a fish in a fryin' pan.</dialogue> <scene_description>The brothers `` look '' at each other on the miscue .</scene_description> <character>BENNY</character> <dialogue>Come on, do n't be wimpy.</dialogue> <character>SQUINTS</character> <dialogue>Face it, Benny. It's not a fit day out for man nor beast. We got ta call it for the day.</dialogue> <character>BENNY</character> <dialogue>Vote then. Everyone that wants to be a ca n't - hack - it panty waist, and wear their momma's bra, raise your hand.</dialogue> <scene_description>They all raise their hands . Grinning .</scene_description> <character>BENNY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Fine. Be like that. So what're we gon na do then?</dialogue> <scene_description>They look at each other , as if Benny 's gone quite mad . it 's</scene_description> <character>GANG</character> <dialogue>Scam Pool Honeys!</dialogue> </scene> <scene> <stage_direction>EXT. PUBLIC POOL - DAY</stage_direction> <scene_description>TEENAGE POOL HONEYS arranged particularly on their beach towels along the deck , soak up the rays in their polka - dot bikinis . THE GANG rushes out in cut - off shorts , and banzais the shallow end . Ham leaps over the water like a graceful Manatee .</scene_description> <character>HAM</character> <dialogue>Hamonball!</dialogue> <scene_description>KERSPLASH ! A Ham - tsunami SLOSHES the Coppertone 'd bods of POOL HONEYS They 're up and SCREAMING at him .</scene_description> <character>NARRATOR</character> <dialogue>Benny would've played ball all day and all night. rain shine, tidal wave, whatever, it did n't matter. Baseball was the only thing he cared about and everything else was just a waste of time.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>But, of all the things we ever did besides baseball, goin' to the pool was what he tolerated best. Even though none of us had ever seen a Playboy magazine - which we constantly lied about - we figured the pool was the next best thing to being there.</dialogue> <scene_description>THE GANG dunks each other , play `` attack - sub , '' etc .</scene_description> <character>NARRATOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It was n't the Pool Honeys like we said,'cause if any one of them had come up to any one of us, we'd of peed our pants.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>We went for. the Lifeguard.</dialogue> <scene_description>THE LIFEGUARD is unbelievable . In fact , it 's WENDY PEFFERCORN . She slides Coppertone up and down her legs . THE GANG one by one , stop foolin ' around . Chest deep in the shallow end , they 're a detached and frozen pocket of leering dopes . The OTHER 80 KIDS in the pool play on around them . SQUINTS is suddenly afflicted .</scene_description> <character>NARRATOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And one day, it became too much for Michael `` Squints'' Palledorous. And he did the most desperate thing any of us had ever seen.</dialogue> <scene_description>THE LIFEGUARD oils up and down . THE GANG gawks on . -LRB- Cool Hand Luke scene -RRB- :</scene_description> <character>BENNY</character> <dialogue>Oh, man.</dialogue> <character>YEAH-YEAH</character> <dialogue>Yeah - yeah, too cruel.</dialogue> <character>TIMMY</character> <dialogue>She do n't know what she's doing.</dialogue> <character>REPEAT</character> <dialogue>She do n't know what she's doing.</dialogue> <character>BENNY</character> <dialogue>Yeah she does. She knows exactly what she's doing.</dialogue> <character>SQUINTS</character> <dialogue>I've swum here every summer of my adult life. and every summer there she is.</dialogue> <parenthetical>( LOSING IT . )</parenthetical> <dialogue>Lotioning. oiling. smiling.</dialogue> <parenthetical>( TEETH CLENCHED . )</parenthetical> <dialogue>I - ca n't - take - this - no - more!</dialogue> <scene_description>THE GANG WATCHES AS SQUINTS pushes through the water , pulls himself out , and walks really fast to the diving board -LRB- taking off his glasses to impress her as he passes . -RRB-</scene_description> <character>SCOTTY</character> <dialogue>What's wrong with him?</dialogue> <character>YEAH-YEAH</character> <parenthetical>( WORRIED . )</parenthetical> <dialogue>Do n't - know, but that's the deep end, and Squints ca n't swim!</dialogue> <scene_description>SQUINTS walks the plank to the end . Looks wantingly toward THE LIFEGUARD who smiles back at him . SQUINTS holds his nose . Takes the deep leap . Hits the water and . UNDERWATER . sinks like a stone . Squints grins as he founders . THE GANG lines the edge of the deep section .</scene_description> <character>BERTRAM</character> <dialogue>Squints!</dialogue> <character>HAM</character> <dialogue>Oh my God! He's drowning!</dialogue> <scene_description>THE LIFEGUARD to the rescue . Seconds pass . she surfaces and lays a limp SQUINTS ON THE DECK Everybody at the pool gathers ` round . The Lifeguard lays Squints flat . She administers mouth - to - mouth . The gang watches on tense as hell . Squints peeks at them through a secretly opened eye . As the Lifeguard is `` saving '' his sneaky life , Squints can no longer restrain himself , he grabs her - gives her a sloppy SMOOCH ! She tears away . Stands up over his wimpy little form :</scene_description> <character>LIFEGUARD</character> <dialogue>You little pervert!</dialogue> <scene_description>She grabs Squints by the scruff of the neck . Run - walks him toward the exit , and .</scene_description> </scene> <scene> <stage_direction>EXT. PUBLIC POOL - DAY</stage_direction> <scene_description>chucks his boney butt into the hedges . The guys scramble out , dragging their clothes after them . They help Squints up .</scene_description> <character>HAM</character> <dialogue>Did you plan that?!</dialogue> <character>SQUINTS</character> <dialogue>A'course I did. Been plannin' it for years.</dialogue> <scene_description>They let Squints walk out front :</scene_description> <character>NARRATOR</character> <dialogue>Michael `` Squints'' Palledorous walked a little taller that day. And we had to tip our hats to him. He was lucky she had n't beat the crap out of him. We would n't have blamed her. What he'd done was sneaky, rotten and low.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>And cool.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Not another one among us would've ever, even for a million dollars, had the guts to put the move on the Lifeguard. He did. He had kissed a woman. And he kissed her long and good.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>We got banned from the pool forever that day. but every time we walked by after that, the Lifeguard looked down from her watchtower, right over at Squints. and smiled.</dialogue> </scene> <scene> <stage_direction>INT. SCOTTY'S ROOM - NIGHT</stage_direction> <scene_description>Scotty pours over his `` Baseball Stuff To Remember '' list : 2 . Maury Wills , 3 . Mickey Mantle , 4 . Willie Mays , 5 . Hank Aaron , 6 . Stan Musial , 7 . Lou Brock , 8 . Luis Aparicio , 9 . Brooks Robinson , 10 . Frank Robinson , 11 . Bob Uecker . Right Field is near the green fence . Left Field is in the left . Double play gets two outs . Triple play is impossible . Single is good . Double is better . Home run is best . And , ominously , `` Do n't get in a pickle or you 're dead ! '' And one entry that 's double question marked : 1 . The Great Bambino ?</scene_description> </scene> <scene> <stage_direction>EXT. SANDLOT - SUNSET</stage_direction> <scene_description>The Guys play in magic hour . CRACK ! BENNY jolts a high fly to SCOTTY in right field . No problem now . He backpedals , judging . CLOSER TO MR. MERTLE 'S FENCE then , SNATCH ! Scotty makes a clean catch . BENNY gives Scotty `` Thumbs Up . '' Just as SCOTTY 'S gon na throw the ball back , he shivers , noticing that the sun has fallen to a precise declination ; its rays focused behind the glowing green fiberglass of MR. MERTLE 'S FENCE against which a hulking black form rises in the backyard . blocking out the sun against the panels . A gargantuan shadow . THE SUN GOES DOWN The shadow vanishes . TRIBAL DRUMS SOUND far in the distance . The oleander bushes rustle menacingly , like .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - B&amp;W - NIGHT - (ORIGINAL "KING KONG," 1932 - STOCK)</stage_direction> <scene_description>a wall of tropical foliage . Frightening . Primordial . -LRB- NOTE : the scene with NATIVES atop the wall when Kong grabs Fay Wray . -RRB-</scene_description> </scene> <scene> <stage_direction>INT. BOYS CLUB AUDITORIUM - NIGHT</stage_direction> <scene_description>ON THE PROJECTOR SCREEN King Kong rips through the jungle . THE GANG 'S here with 100 OTHER BOYS at the afternoon show .</scene_description> </scene> <scene> <stage_direction>EXT. BOYS CLUB AUDITORIUM - NIGHT</stage_direction> <scene_description>The gang gathers . Ham bursts out behind the gang as Kong !</scene_description> <character>HAM</character> <dialogue>Eee! Eee! Eee! Oh! Oh! Oh!</dialogue> <scene_description>The guys SCREAM - spin to face the Ham . He BUSTS UP .</scene_description> <character>HAM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hey, check me out! I'm the mighty King Kong!</dialogue> <parenthetical>( DODGING BLOWS . )</parenthetical> <dialogue>Hey! C'mon! It was a joke, ya dopes! Do I _ look _ like a monkey?!</dialogue> <scene_description>A GROUP of other kids comes out behind them . LITTLE LEAGUERS . Matching caps and shirts . The gang straightens up .</scene_description> <character>LEAGUER PUNK 1</character> <dialogue>Yeah. Ya smell like one too. Hey guys, it's the sandlot babies!</dialogue> <character>LEAGUER PUNK 2</character> <dialogue>Skin yer knees lately sliding on rocks?!</dialogue> <character>HAM</character> <dialogue>Shut up, blockhead.</dialogue> <character>LEAGUER PUNK 2</character> <dialogue>What're you gon na do, Porter, sit on me?!</dialogue> <character>LEAGUER PUNK 1</character> <dialogue>Rodriquez, why do hang around with these rejects, man? You could be playin' with us on a official American Youth League certified big time diamond. You'd make the Allstar team easy.</dialogue> <character>BENNY</character> <dialogue>Play us and you'll find out why, Phillips.</dialogue> <character>LEAGUER PUNK 1</character> <dialogue>Forget it, we play real ball, not with toy bats and sneakers!</dialogue> <scene_description>The punks head off , LAUGHING as they go . Benny glares at them .</scene_description> <character>SQUINTS</character> <dialogue>Benny, man, are we gon na let'em get away with that?!</dialogue> <character>BENNY</character> <dialogue>Yeah. For now. Let's go.</dialogue> </scene> <scene> <stage_direction>EXT. NEIGHBORHOOD SIDEWALK - NIGHT</stage_direction> <scene_description>The guys ` round a corner and continue on . They fall serious .</scene_description> <character>SCOTTY</character> <dialogue>You think he really died in the end?</dialogue> <character>BENNY</character> <dialogue>Who?</dialogue> <character>SCOTTY</character> <dialogue>King Kong.</dialogue> <character>SQUINTS</character> <dialogue>Not possible. He's so big that fallin' off the Empire State's just like us fallin' off a roof. he's alive.</dialogue> <character>SCOTTY</character> <dialogue>So whadda you think happened to him?</dialogue> <scene_description>Heads are scratched . Chins are rubbed . Thoughts are thunk .</scene_description> <character>TIMMY</character> <dialogue>Most likely.</dialogue> <character>SCOTTY</character> <dialogue>Hey, guys? Has anyone ever really seen The Beast?</dialogue> <scene_description>THE GANG STOPS except Scotty , he goes forward - turns back .</scene_description> <character>SQUINTS</character> <dialogue>Look, Smalls. You ever seen King Kong for real? In person, I mean?</dialogue> <character>SCOTTY</character> <dialogue>No. But -</dialogue> <character>SQUINTS</character> <dialogue>- well, he's real right?</dialogue> <character>SCOTTY</character> <dialogue>Yeah, a ` course.</dialogue> <character>SQUINTS</character> <dialogue>And he's still out there somewhere right?</dialogue> <character>SCOTTY</character> <dialogue>Yeah.</dialogue> <character>SQUINTS</character> <dialogue>See, there's just somethings that are. Ya know, stuff that it's better not to talk about.'cause thinkin' about it just makes it worse.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Nobody has to see The Beast to know he's there.</dialogue> <character>SCOTTY</character> <parenthetical>( HORRIFIED THOUGHT . )</parenthetical> <dialogue>You do n't think that The Beast is really.</dialogue> <scene_description>Motionless silence . No one 's ever considered this . They suddenly realize where they are :</scene_description> </scene> <scene> <stage_direction>EXT. MR. MERTLE'S HOUSE - DAY</stage_direction> <scene_description>Denial kicks in as they carry on :</scene_description> <character>GANG</character> <dialogue>King Kong? Naw! God is that stupid! No stinkin' way! Oh boy, had me feelin' like a douf there for a minute! Whew, what a relief!</dialogue> </scene> <scene> <stage_direction>EXT. THE SANDLOT ALLEYWAY - NIGHT</stage_direction> <scene_description>FROM THIS HEIGHT WE SEE them round the corner , and carry on past the sandlot . Little debating specks , far away from us , and the cares of the world .</scene_description> <character>HAM</character> <dialogue>Hey, who d'ya think'd win in a fight, King Kong or Godzilla?</dialogue> <character>GANG</character> <dialogue>Godzilla. King Kong. ` Zilla! Kong! ` ZILLA! KONG!</dialogue> <character>YEAH-YEAH</character> <dialogue>Yeah - yeah, wait a sec, maybe they'll do a movie someday and we'll find out.</dialogue> <character>GANG</character> <dialogue>Yeah. That would be cool. I'd see that. Kong would kick his ass. No way, ` Zilla's got that fire breath stuff, he'd fry the monkey!</dialogue> </scene> <scene> <stage_direction>EXT. DODGER STADIUM - ESTABLISHING - 1962 - DAY</stage_direction> <scene_description>The gang heads toward hallowed halls .</scene_description> </scene> <scene> <stage_direction>INT. DODGER STADIUM - TUNNEL - DAY</stage_direction> <scene_description>Footsteps echo as the gang walks along , alone , in awe .</scene_description> </scene> <scene> <stage_direction>EXT. DODGER STADIUM - INFIELD - DAY</stage_direction> <scene_description>The '62 DODGERS -LRB- and our gang 's Home Team -RRB- are taking batting practice . THE GANG and a bunch of kids at the infield railing . Autograph signing . Benny sticks his glove through the crowd up to a certain player .</scene_description> <character>NARRATOR</character> <dialogue>Besides The Great Bambino, who I still had no clue about, Benny had one living hero.</dialogue> <scene_description>MAURY WILLS autographs Benny 's glove . Hands it back to .</scene_description> </scene> <scene> <stage_direction>INT. BENNY'S HOUSE - LIVING ROOM - DAY</stage_direction> <scene_description>Benny who 's suddenly here watching a baseball game . The gang 's with him .</scene_description> <character>YEAH-YEAH</character> <dialogue>Yeah - yeah, here he comes. He's gon na steal second.</dialogue> <character>BENNY</character> <dialogue>Naw he ai n't, not yet.</dialogue> <scene_description>TELEVISION - STOCK '62 DODGER GAME Maury Wills on 1st . Taunting the pitcher . Big lead off .</scene_description> <character>NARRATOR</character> <dialogue>A guy that would break the stolen bases record that year that had stood for as many years as there were baseball's lost to The Beast.</dialogue> <scene_description>THE GANG ca n't wait for Wills to go .</scene_description> <character>GANG</character> <dialogue>He's gon na go, Benny. Here he goes, man. Right now, watch, watch. There, there!</dialogue> <scene_description>BENNY leans forward seriously .</scene_description> <character>BENNY</character> <dialogue>No. not yet.</dialogue> <scene_description>TELEVISION - STOCK '62 DODGER GAME Maury Wills gets ready to steal .</scene_description> <character>NARRATOR</character> <dialogue>Maury Wills became a hero for what he did.</dialogue> <scene_description>BENNY watches intensely .</scene_description> <character>BENNY</character> <dialogue>He's. gon na. go. riiiight. now.</dialogue> <scene_description>TELEVISION - STOCK '62 DODGER GAME Maury Wills steals second . BENNY smiles to himself .</scene_description> <character>GANG</character> <parenthetical>( CLUELESS . )</parenthetical> <dialogue>How'd you know that? How'd you guess? How'd ya know?</dialogue> <character>NARRATOR</character> <dialogue>Benny. would become a Legend.</dialogue> </scene> <scene> <stage_direction>INT. SCOTTY'S HOUSE - DUSK</stage_direction> <scene_description>Scotty opens the front door , BENNY 'S THERE . 4th of July party inside . All ADULTS .</scene_description> <character>BENNY</character> <parenthetical>( URGENT . )</parenthetical> <dialogue>Get your glove, c'mon.</dialogue> <character>SCOTTY</character> <dialogue>What's the big deal?</dialogue> <character>BENNY</character> <dialogue>Nightgame!</dialogue> </scene> <scene> <stage_direction>EXT. NEIGHBORHOOD HORIZON - DUSK</stage_direction> <scene_description>The sun is setting .</scene_description> </scene> <scene> <stage_direction>EXT. NEIGHBORHOOD STREET ON WAY TO SANDLOT - DUSK</stage_direction> <scene_description>THE GANG hurries along with their ball gear , through a Block party of bubble - topped BBQ 's attended by APRONED DADS grillin ' dogs n ' burgers . KIDS clutching `` Red Devil '' fireworks , timing the sinking sun . MOMS pouring iced tea . HAM pilfers dog makin 's from various Q 's . Concocts a two - fisted doglog ! He catches up to THE GANG marching away into the SETTING SUN . A LONG LINE OF FIREWORKS in the street . MATCH HEADS are lit . YELLOW MATCH FLAMES The SAME SIZE IN FRAME as our guys at the end of the block , are set to fuses . DADS AND KIDS rush for the curbs . and THE FIRECONES FLOW INTO THE SKY in kaleidoscopic columns of star - hot colors .</scene_description> </scene> <scene> <stage_direction>EXT. SANDLOT - NIGHT</stage_direction> <scene_description>BURSTING FIREWORKS IN THE SKY down from which WE TILT TO THE GANG playing hard beneath them . Snap throws . Basket catches . Snatching grounders .</scene_description> <character>NARRATOR</character> <dialogue>There was only one nightgame a year. On the Fourth of July, the whole sky would brighten up with fireworks, giving us just enough light for a game.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>We played better then too. Because I guess, we all felt like Big Leaguers under the lights at some great stadium.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Benny felt like that all the time.</dialogue> <scene_description>BENNY Knocks dirt from his p.f. flyers . Twirls the bat . Cocks it back . Coils up ` round his back leg . DENUNEZ delivers . Fastball . CRUNCH ! Ash meets cowhide . FIREWORKS EXPLODE high above them . THE GANG stops play and marvels up at the colors . SCOTTY 'S a little kid with a too - big mitt and floppy cap , goggling up at the fireworks . The ball lands by him . He retrieves it . Is about to throw - stops . EVERYONE 'S staring at Benny up at HOME PLATE bat slung second - naturedly over his shoulder . a real ball player .</scene_description> <character>NARRATOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We all knew Benny was different. We knew that he was gon na go on to bigger and better games.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Because everytime we stopped to watch the sky that night like regular kids, Benny was there to call us back.</dialogue> <scene_description>DENUNEZ pitches . BENNY cranks one to kingdom come .</scene_description> <character>NARRATOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>For him, baseball was n't just a game. For Benjamin Franklin Rodriguez.</dialogue> <scene_description>A FINAL FIREWORK EXPLODES in a beautiful burst above them .</scene_description> <character>NARRATOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>baseball was life.</dialogue> </scene> <scene> <stage_direction>EXT. THE SANDLOT - DAY</stage_direction> <scene_description>The gang is still in the same positions . As if having never left . HAM fires to 3rd from home . INFIELD Ham and Repeat catch Benny in a pickle . Benny feints , dodges and rubba - legs them . He crosses home easily .</scene_description> <character>TIMMY</character> <dialogue>Truly rubba legs.</dialogue> <character>REPEAT</character> <dialogue>Truly rubba legs.</dialogue> <scene_description>THE LITTLE LEAGUERS show up on their bikes .</scene_description> <character>LEAGUER PUNK 2</character> <dialogue>It's easy when you play with rejects and fat kids, Rodriquez.</dialogue> <scene_description>BENNY marches over . The gang follows .</scene_description> <character>BENNY</character> <dialogue>What ` id you say, crapface?</dialogue> <character>LEAGUER PUNK 1</character> <dialogue>He said, they should n't be allowed to even touch a baseball. They're an insult to the game.</dialogue> <scene_description>That did it ! Ham rushes the punk . The gang holds him back .</scene_description> <character>HAM</character> <dialogue>Come on! We'll take you on right here, right now! Come on! Right now!</dialogue> <character>LEAGUER PUNK 1</character> <dialogue>We play on a real diamond, Porter. And you ai n't good enough to lick the dirt off our cleats.</dialogue> <character>HAM</character> <dialogue>Watch yer mouth, jerk!</dialogue> <character>LEAGUER PUNK 1</character> <dialogue>Shut up, dipshit!</dialogue> <character>HAM</character> <dialogue>Asshole!</dialogue> <character>LEAGUER PUNK 1</character> <dialogue>Scab eater!</dialogue> <character>HAM</character> <dialogue>Butt sniffer!</dialogue> <character>LEAGUER PUNK 1</character> <dialogue>Pus licker!</dialogue> <character>HAM</character> <dialogue>Fart smeller!</dialogue> <character>LEAGUER PUNK 1</character> <dialogue>Dog crap for breakfast eatin' geek!</dialogue> <character>HAM</character> <dialogue>You mix yer Wheaties with your momma's toe jam!</dialogue> <character>LEAGUER PUNK 1</character> <dialogue>You bob for apples in your toilet, and you like it!</dialogue> <scene_description>The teams GASP . Then :</scene_description> <character>HAM</character> <dialogue>YOU PLAY BALL LIKE A GIRL!</dialogue> <scene_description>THUNDERING SILENCE . The ultimate baseball insult .</scene_description> <character>LEAGUER PUNK 1</character> <dialogue>What did you say?</dialogue> <character>HAM</character> <dialogue>You heard me.</dialogue> <character>LEAGUER PUNK 1</character> <dialogue>Tomorrow. Sun - up. At our field. Be there, buffalo - butt breath.</dialogue> <character>HAM</character> <dialogue>Count on it, pee drinkin' craphead.</dialogue> </scene> <scene> <stage_direction>EXT. LITTLE LEAGUE FIELD - DAWN</stage_direction> <scene_description>Ham raises his catcher 's mask :</scene_description> <character>HAM</character> <dialogue>PLAAAAAAAY BALLLLLLLL!</dialogue> <scene_description>DENUNEZ STRIKES OUT BATTER 1 Whif . Whif . Whif . BATTER 2 GROUNDS TO YEAH - YEAH at short . He stabs it . Fires to FIRST BASE outta there . BATTER 3 hits a lazy fly ball to RIGHT CENTER FIELD where Scotty and Bertram run for it - watching the ball , not</scene_description> <character>SCOTTY/BERTRAM</character> <dialogue>I got it. I got it.</dialogue> <scene_description>They stop - the ball drops between them .</scene_description> <character>SCOTTY/BERTRAM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I thought you had it.</dialogue> <scene_description>BATTER 3 rounds 2nd base .</scene_description> <character>BENNY</character> <dialogue>Somebody get it!</dialogue> <scene_description>SCOTTY picks it up and fires for home for all he 's worth . BATTER 3 rounds 3rd . THE BALL rockets toward Home . BATTER 3 slides in a cloud of dust . THE BALL BLASTS INTO HAM 'S MITT and Ham drags the baseline . THE DUST CLEARS Ham 's got him tagged . Ham goes Jackie Gleasonaic :</scene_description> <character>HAM</character> <dialogue>You - are - out - of - here! Out! Gone! Dead! To the moon! Roger, Wilco, Over and OUT!</dialogue> <scene_description>Ham abruptly stops Cramdoning because EVERYBODY 'S LOOKING at him .</scene_description> <character>HAM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Ah, you're out.</dialogue> </scene> <scene> <stage_direction>EXT. LITTLE LEAGUE FIELD - DAY</stage_direction> <scene_description>Benny 's at bat . BANG ! Single to left . Throw to 1st - too late . Throw to 2nd - too late . Throw to 3rd - he 's on his way home . Throw to home - safe ! THE LEAGUERS gawk ; an inside the park home run .</scene_description> <character>BENNY</character> <parenthetical>( TO CATCHER . )</parenthetical> <dialogue>That's one. Get used to it.</dialogue> <scene_description>HIGH ABOVE FIELD , A SERIES OF ECU 'S OF the gang belting shot after shot . Rounding base after base . Crossing home .</scene_description> </scene> <scene> <stage_direction>EXT. VACANT LOT - DAY</stage_direction> <scene_description>-LRB- Bob B. Soxx &amp; The Blue Jeans `` Zip - A - Dee - Do - Dah '' scene . -RRB- The guys strut along , air - batting , mime - catching . Benny RIPS a momentous victory slide .</scene_description> </scene> <scene> <stage_direction>EXT. CARNIVAL - NIGHT</stage_direction> <scene_description>The gang comes down the midway and stops at a ticket booth for a ride we do n't yet see . As they buy their tickets :</scene_description> <character>BENNY</character> <dialogue>Crack! Boom! Outta here! You see the looks on their faces? Did ya? It was like, `` Duh. so that's how you play baseball.''</dialogue> <character>BERTRAM</character> <dialogue>Crap! I almost forgot. Chaw!</dialogue> <scene_description>He holds up a pounch of chewin ' ` baccy . THE GANG gathers ` round .</scene_description> <character>BERTRAM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I was savin' it for a good time.</dialogue> <character>SCOTTY</character> <dialogue>What is it?</dialogue> <character>HAM</character> <dialogue>Geez, Smalls. I s ` pose you do n't who The Babe is either. It's chaw. Plug. Wad. Chewing Tobacco!</dialogue> <scene_description>Bertram passes it around . Everybody sniffs .</scene_description> <character>SCOTTY</character> <dialogue>Whadda you do with it?</dialogue> <character>HAM</character> <dialogue>You're killin' me, Smalls. You chew it, of course.</dialogue> <character>DENUNEZ</character> <dialogue>All the pros do.</dialogue> <character>YEAH-YEAH</character> <dialogue>Yeah - yeah, gives ya tons of energy.</dialogue> <character>TIMMY</character> <dialogue>Let's dip.</dialogue> <character>REPEAT</character> <dialogue>Let's dip.</dialogue> <scene_description>Bertram pinches a too - huge wad . Stuffs it in his mouth . The bag goes around . All cud up .</scene_description> <character>BENNY</character> <dialogue>Smooth.</dialogue> <character>HAM</character> <dialogue>Juicy.</dialogue> <character>SQUINTS</character> <dialogue>Tangy.</dialogue> <character>SCOTTY</character> <dialogue>Kinda tastes like an ashtray smells.</dialogue> <character>DENUNEZ</character> <dialogue>Supposed to.</dialogue> <character>SQUINTS</character> <dialogue>Let's ride.</dialogue> <scene_description>The gang gets on the ride : THE ANTI - GRAV !</scene_description> </scene> <scene> <stage_direction>EXT. CARNIVAL - ABOARD ANTI-GRAV - NIGHT</stage_direction> <scene_description>As they ride , and spin round and round and round . the brown glop falls from their mouths . They all watch BERTRAM who turns salmon . yellow . green . Then , presumably</scene_description> </scene> <scene> <stage_direction>EXT. ANTI-GRAV - NIGHT</stage_direction> <scene_description>yawns breakfast , lunch , and dinner like a firehose . At least that 's what WE HEAR as the ride spins vertical - that , and a host of blood curddling SCREAMS from vom - victims . As the RIDERS DISEMBARK A BARF CHAIN REACTION ensues . They all running SCREAMING from the ride and lose it .</scene_description> </scene> <scene> <stage_direction>EXT. THE SANDLOT ALLEYWAY - NIGHT</stage_direction> <scene_description>The gang wobbles , MOANING as they go . Ham is strangely unaffected he unpockets a fistful of some digusting glorp : The guys lose it . WE DRIFT off them and their predicament to THE HOLE in the green fiberglass fence . An EYEBALL - big , bloodshot and amused . GUTTURAL PANTING . The Beast is LAUGHING at them .</scene_description> </scene> <scene> <stage_direction>EXT. SCOTTY'S HOUSE - DAY</stage_direction> <scene_description>Scotty 's cod belly white and jelly fish limp , from a long bout of the chuckies . Bill tosses his luggage in the car trunk . Scotty 's mom leans out the driver 's window .</scene_description> <character>MOM</character> <dialogue>I'll be back in an hour, Scotty, I'm taking Dad to the airport.</dialogue> <character>SCOTTY</character> <parenthetical>( STILL WOOZY . )</parenthetical> <dialogue>` Kay. Where you goin'?</dialogue> <character>BILL</character> <dialogue>Chicago, on business for a week. Listen, Scott, while I'm gone, you're the man of the house. Understand?</dialogue> <character>SCOTTY</character> <dialogue>Yeah, I guess so.</dialogue> <character>BILL</character> <dialogue>We'll take another stab at catch when I get back, okay? So, take care of things while I'm gone. I'm counting on you.</dialogue> <scene_description>He offers his hand to Scotty . They shake .</scene_description> <character>SCOTTY</character> <parenthetical>( PERKING UP . )</parenthetical> <dialogue>Okay. I will.</dialogue> </scene> <scene> <stage_direction>EXT. FIVE &amp; DIME - DAY</stage_direction> <scene_description>The gang comes out with a new boxed baseball . Each has a pack of Topps . A bag of Bazooka .</scene_description> <character>NARRATOR</character> <dialogue>Once we got over trying to be big shots, we just stuck to what we could handle, and swore off the hard stuff forever. When we finally got back together for some baseball, something amazing happened.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>It was an omen. one that was meant just for Benjamin Franklin Rodriguez.</dialogue> </scene> <scene> <stage_direction>EXT. THE SANDLOT - DAY</stage_direction> <scene_description>They tear open their packs of baseball cards . First things first - they eat the gum sticks . Then , shuffle through the cards looking for gold .</scene_description> <character>SQUINTS</character> <dialogue>Whad ` ya get, Ham?</dialogue> <character>HAM</character> <dialogue>A Mickey Mantle and 7 guys I never heard of. How ` bout you?</dialogue> <character>SQUINTS</character> <dialogue>A Brooks Robinson and a Koufax. Pretty good.</dialogue> <character>BERTRAM</character> <dialogue>I got junk.</dialogue> <character>DENUNEZ</character> <dialogue>One Drysdale, a bunch a duds.</dialogue> <character>YEAH-YEAH</character> <dialogue>Yeah - yeah, me too. Four bombs, but one Whitey Ford.</dialogue> <character>SQUINTS</character> <dialogue>Benny, whad -</dialogue> <scene_description>The guys notice BENNY staring down at the cards in his hands . He slowly shuffles them top to bottom . top to bottom . THE GANG moves over , concerned .</scene_description> <character>HAM</character> <dialogue>Hey, Benny, whatsa matter?</dialogue> <character>BERTRAM</character> <dialogue>You okay, man?</dialogue> <scene_description>Benny slowly raises his eyes . Slowly holds the cards out to Squints , who takes them cautiously . Squints shuffles them forwards and backwards . He passes the eight cards amongst them all .</scene_description> <character>SQUINTS</character> <dialogue>Oh, my God.</dialogue> <character>TIMMY</character> <dialogue>Imfuckingpossible.</dialogue> <parenthetical>( ALTERNATE LINE , same BELOW . )</parenthetical> <dialogue>Unstinkinbelievable!</dialogue> <character>REPEAT</character> <dialogue>Imfuckingpossible. Do n't tell mom I said that tim.</dialogue> <character>TIMMY</character> <dialogue>I wo n't.</dialogue> <character>HAM</character> <dialogue>This ca n't happen. can it?</dialogue> <character>BERTRAM</character> <dialogue>It just did.</dialogue> <character>YEAH-YEAH</character> <dialogue>Yeah - yeah, it's an omen.</dialogue> <scene_description>Squints hands the cards back to the Benny , who takes home plate alone . EIGHT IDENTICAL MAURY WILLS CARDS THE GANG can only stare at him . Suddenly , Squints clutches his ear</scene_description> <character>SQUINTS</character> <dialogue>Oh geez. Oh geez. I - I do n't believe it. Maury Wills just stole 80 bases!</dialogue> <scene_description>The guys are boggled . BENNY picks up a bat .</scene_description> <character>BENNY</character> <dialogue>We got ta play. I got ta play right now, guys. Right now.</dialogue> <scene_description>THE GANG obeys . They hurry into the field . As they go :</scene_description> <character>SCOTTY</character> <dialogue>What's it mean?</dialogue> <character>SQUINTS</character> <dialogue>It's a miracle, Smalls. A damn miracle.</dialogue> <character>NARRATOR</character> <dialogue>We all expected something to happen right then. during that game. What we had just witnessed was bordering on the supernatural. we knew that greater hands than ours were at work.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>And it happened alright.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>It happened right in front of our noses. and we did n't even know it.</dialogue> <scene_description>DENUNEZ delivers . CRACK ! Magic dust EXPLODES from Benny 's bat . The red lacing BURSTS ! THE BASEBALL dermis flays . The string - wound innards fly into YEAH - YEAH 'S GLOVE in left field . The cowhide `` figure 8 's '' lay there in THE INFIELD like huge swatted moths . The guys gather ` round .</scene_description> <character>BERTRAM</character> <dialogue>Bitchin'.</dialogue> <character>BENNY</character> <dialogue>Naw, it ai n't.</dialogue> <character>SQUINTS</character> <dialogue>C'mon, Benny, maybe two, three guys in history have ever busted the guts out of a ball. That's what the omen was.</dialogue> <character>GANG</character> <dialogue>Truly. Sure. Absolutely. Yeah - yeah, Benny. It must be so.</dialogue> <character>BENNY</character> <dialogue>All's it means is that we ca n't play no more. It's only noon, and I just blew the whole day for us.</dialogue> <character>DENUNEZ</character> <dialogue>No, you did n't. It's the most amazing thing I ever seen.</dialogue> <character>BENNY</character> <dialogue>Anybody got any money?</dialogue> <parenthetical>( NO ANSWER . )</parenthetical> <dialogue>Then it ai n't okay,'cause now we ca n't play no more.</dialogue> <character>SCOTTY</character> <dialogue>Yeah, we can.</dialogue> <character>BENNY</character> <dialogue>What, you got 98 extra cents just layin' around at home, Smalls?</dialogue> <character>SCOTTY</character> <dialogue>No, but I got a ball.</dialogue> </scene> <scene> <stage_direction>INT. BILL'S DEN - DAY</stage_direction> <scene_description>A BASEBALL on a silver pedestal -LRB- Bill 's baseball -RRB- . Scotty 's HAND ENTERS FRAME . His indecisive FINGERS almost touch the ball . then , SNATCH !</scene_description> </scene> <scene> <stage_direction>EXT. THE SANDLOT - DAY</stage_direction> <scene_description>Scotty dashes across the schoolyard .</scene_description> <character>SCOTTY</character> <parenthetical>( out of breath . )</parenthetical> <dialogue>I got it! Let's play!</dialogue> <scene_description>He tosses the ball to BENNY who catches it .</scene_description> <character>BENNY</character> <dialogue>Bitchin'. Your ball, your ups.</dialogue> <scene_description>Benny hands Scotty the bat , heads to right field , leaving SCOTTY alone at home plate with Ham -LRB- the catcher -RRB- . BENNY tosses DeNunez the ball on his way by . DENUNEZ almost misses it . He rounds up , throws to BERTRAM at 1st . Bertram throws to TIMMY at 2nd . Timmy almost drops it . There 's a smudge on the ball . Timmy tosses to REPEAT at 3rd . Repeat fires to YEAH - YEAH in left . The ball caroms off Yeah - Yeah 's glove , comes down fast ! Yeah - Yeah barehands it . Safe . He launches to SQUINTS in center . It 's gon na be short ! Squints sprints - Willy Mays basket catch . He throws to DeNunez . SCOTTY digs in .</scene_description> <character>HAM</character> <dialogue>Batter up!</dialogue> <scene_description>DENUNEZ fires . Scotty swings - WHIFF . Again - whif . Once more . BOOM ! Goodnight , Irene ! Scotty drops the bat . Trots for first base in `` home run '' fashion . BENNY backpeddles . SCOTTY watches him , slowing , worrying . THE BALL drops over the green fiberglass fence . SCOTTY stops dead in the base path . THE GANG</scene_description> <character>TIMMY</character> <dialogue>Nice crank, Smalls.</dialogue> <character>DENUNEZ</character> <dialogue>Decent cut.</dialogue> <character>BENNY</character> <dialogue>It's outta here! Who's got the big bat now, boys!</dialogue> <character>GANG</character> <dialogue>Smalls. Smalls. Smalls. Smalls.</dialogue> <scene_description>SCOTTY is drawn to the fence with mounting terror . THE GANG starts over .</scene_description> <character>HAM</character> <dialogue>What the hell's he doing?</dialogue> <character>BERTRAM</character> <dialogue>Maybe the shock of his first homer was just too much for him.</dialogue> <scene_description>AT THE GREEN FIBERGLASS FENCE Scotty runs right up to it - clutches desperately . Panting . Trembling . The guys arrive . Scotty turns back to them . he has aged 25 years .</scene_description> <character>SCOTTY</character> <dialogue>We got ta get that ball back.</dialogue> <character>HAM</character> <dialogue>Right! Good one, Smalls.</dialogue> <character>SQUINTS</character> <dialogue>Sure. We'll just hop over and say, excuse me Mr. Beast sir, could we have our ball back, oh, and please do n't kill us while we're here!</dialogue> <character>BENNY</character> <dialogue>It was a great shot, but forget about it. game's over. We'll get another ball.</dialogue> <character>SCOTTY</character> <dialogue>You do n't understand!</dialogue> <character>BENNY</character> <dialogue>Sure we do. You feel bad'cause you belted a homer, and now we ca n't play no more.</dialogue> <character>SCOTTY</character> <dialogue>No! You do n't understand! THAT WAS N'T MY BALL!</dialogue> <scene_description>THE GANG 'S POV of something moving in the backyard . Just a rippling shadow and trailing dust accompanying it over the fence top . THE GANG 'S eyes go to Scotty .</scene_description> <character>SQUINTS</character> <dialogue>Whadda you mean it was n't your ball?</dialogue> <character>SCOTTY</character> <dialogue>It's my stepdad's. I stole it from his trophy room. It was a present or soemthing - somebody gave it to him. We have to get it back. He's gon na kill me!</dialogue> <character>SQUINTS</character> <dialogue>Smalls. listen to me. This is a matter of life and death.</dialogue> <parenthetical>( THINKS . )</parenthetical> <dialogue>Where did your old man get that ball?</dialogue> <character>SCOTTY</character> <dialogue>I dunno. I think some lady gave it to him.</dialogue> <character>SQUINTS</character> <dialogue>Some lady?</dialogue> <character>SCOTTY</character> <dialogue>Yeah, she even signed her name on it.</dialogue> <parenthetical>( THE END . )</parenthetical> <dialogue>Some lady named Ruth. Baby Ruth.</dialogue> <scene_description>EYEBALLS pop from their sockets .</scene_description> <character>GANG</character> <dialogue>BAAAYYYBE RUUUUUTH?!</dialogue> <scene_description>THE GANG sprints for the fence . Scramble up it . Just their eyes peer over the top . WHAT THEY SEE a baseball in a little impact crater . A ball that has most clearly been autographed by . BABE RUTH . A long , hideous forelimb thrusts from ` neath the lean - to . A massive paw - thing comes down on the ball . Drags it slowly away . leaving a baseball - deep furrow in the dirt . The CANINE `` LAUGHTER '' comes again . THE GANG drops from the fence - turn to face Scotty .</scene_description> <character>DENUNEZ</character> <dialogue>The Beast got it.</dialogue> <character>TIMMY</character> <dialogue>You're dead as a doornail, Smalls.</dialogue> <character>REPEAT</character> <dialogue>You're dead as a doornail, Smalls.</dialogue> <character>TIMMY</character> <dialogue>Nice knowing you.</dialogue> <character>REPEAT</character> <dialogue>Nice knowing -</dialogue> <character>TIMMY</character> <dialogue>- shut up, Tommy.</dialogue> <parenthetical>( STUNNED . )</parenthetical> <dialogue>Smalls, you mean to tell me you went home and swiped a ball that was signed by Babe Ruth, and brought it out here and actually played with it?</dialogue> <character>REPEAT</character> <dialogue>And actually played with it?!</dialogue> <character>SCOTTY</character> <dialogue>Yeah, but I was gon na put it back.</dialogue> <character>SQUINTS</character> <dialogue>But it was signed by Babe Ruth!</dialogue> <character>SCOTTY</character> <dialogue>Well, who is she?!</dialogue> <character>HAM</character> <dialogue>What?! What?!</dialogue> <parenthetical>( OVERCOME . )</parenthetical> <dialogue>What did he say?!</dialogue> <character>DENUNEZ</character> <dialogue>The Sultan of Swat!</dialogue> <character>BERTRAM</character> <dialogue>The King of Krash!</dialogue> <character>REPEAT/TIMMY</character> <dialogue>The Colossus of Clout!</dialogue> <character>GANG</character> <dialogue>BABE RUTH!</dialogue> <character>HAM</character> <parenthetical>( for good measure . )</parenthetical> <dialogue>The Great Bambino!</dialogue> <character>SCOTTY</character> <parenthetical>( that did it . )</parenthetical> <dialogue>OH, MY GOD! THAT'S THE SAME GUY?!</dialogue> <character>BENNY</character> <dialogue>Yeah. Smalls, Babe Ruth is the greatest baseball player that ever lived. People say he was less than a God, but more than a man. Ya know. like Hercules or somethin'.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>The ball that you just aced to The Beast is worth. well, more than your whole life.</dialogue> <scene_description>Scotty falls to his knees . Grabs his stomach .</scene_description> <character>SCOTTY</character> <dialogue>I do n't feel so good.</dialogue> <scene_description>They all step back , expecting the worst . Then , they fan him with their baseball caps .</scene_description> <character>SCOTTY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( HEARTFELT . )</parenthetical> <dialogue>We got ta get that ball back.</dialogue> <character>BENNY</character> <dialogue>When does your old man get home from work?</dialogue> <character>SCOTTY</character> <dialogue>He's gone on business for a week.</dialogue> <character>BENNY</character> <dialogue>Okay, we need 98 cents. So, everybody spread out and find some soda bottles and cash'em in. We need a new baseball.</dialogue> <scene_description>A BRAND NEW BASEBALL Benny 's hand signs B A B E R U T H across the leather in ridiculous chicken scrawl .</scene_description> </scene> <scene> <stage_direction>EXT. FIVE &amp; DIME - DAY</stage_direction> <scene_description>Forgery in progress . Benny does the honors .</scene_description> <character>DENUNEZ</character> <dialogue>I dunno, Benny - man.</dialogue> <character>YEAH-YEAH</character> <dialogue>Yeah - yeah, it's pretty crappy.</dialogue> <character>SQUINTS</character> <dialogue>He ai n't gon na buy that, Benny. It does n't look anything like the Babe's signature.</dialogue> <character>BENNY</character> <dialogue>It does n't matter what it looks like. His mom's never gon na know the difference. This'll just buy us some time, ya dorks.</dialogue> </scene> <scene> <stage_direction>INT. BILL'S DEN - DAY</stage_direction> <scene_description>Scotty 's HAND ENTERS FRAME . Little anxious FINGERS wrapped around the phony `` Babe Ruth '' baseball . The second the ball is back on its pedestal :</scene_description> <character>MOM</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Scotty?</dialogue> <scene_description>DEN Scotty whips ` round like he 's been slapped by a wet mackerel - Mom 's in the doorway .</scene_description> <character>SCOTTY</character> <dialogue>Huh?!</dialogue> <character>MOM</character> <dialogue>Honey, what are you doing in here?</dialogue> <character>SCOTTY</character> <dialogue>Ah. just looking at Bill's - I mean Dad's baseball.</dialogue> <scene_description>Scotty hurries away from the `` autographed '' ball .</scene_description> <character>MOM</character> <dialogue>You know he does n't like you touching his things.</dialogue> <character>SCOTTY</character> <dialogue>Yeah, I know. Sorry, Mom.</dialogue> <character>MOM</character> <dialogue>Has he ever told you about that ball?</dialogue> <character>SCOTTY</character> <dialogue>Uh - no, not really, I do n't think so - no, he has n't at all - I do n't know _ anything _ about it.</dialogue> <character>MOM</character> <dialogue>It's signed by Babe Ruth.</dialogue> <scene_description>Sweet mother of - Mom knows ! Scotty may collapse .</scene_description> <character>MOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>the greatest baseball player that ever lived.</dialogue> <character>SCOTTY</character> <dialogue>Um. really?</dialogue> <character>MOM</character> <dialogue>It sure is. Dad's father gave it to him. Maybe someday, he'll give it to you.</dialogue> <character>SCOTTY</character> <parenthetical>( DAZED . )</parenthetical> <dialogue>Uh. neat.</dialogue> <character>NARRATOR</character> <dialogue>It was salt in an open wound. Even my own mom, who was only a grown - up girl, knew who Babe Ruth was.</dialogue> </scene> <scene> <stage_direction>INT. TREE HOUSE - DAY</stage_direction> <scene_description>The gang 's all here . Big plans . War conference .</scene_description> <character>SCOTTY</character> <dialogue>So, how do we get it back?</dialogue> <character>SQUINTS</character> <dialogue>I have no idea.</dialogue> <character>NARRATOR</character> <dialogue>I was dead meat. I knew it. They knew it. We had thought that those cards Benny had gotten meant that something great was going to happen. Now I figured that they'd just meant my life was over.</dialogue> <character>SCOTTY</character> <dialogue>Ca n't we just hop the fence and get it?</dialogue> <character>HAM</character> <dialogue>Remember Davy Stodenrous.</dialogue> <character>TIMMY/REPEAT</character> <dialogue>Poor Toad.</dialogue> <character>SCOTTY</character> <dialogue>Oh, yeah. I forgot.</dialogue> <parenthetical>( A THOUGHT . )</parenthetical> <dialogue>Hey? Why do n't we just go over there and knock on the door, and ask Mr. Mertle to get it for us?</dialogue> <scene_description>Everyone looks at Scotty - the kid just sprouted a dunce cap .</scene_description> <character>SQUINTS</character> <dialogue>Are you outta your mind?! Mr. Mertle is the meanest old man that ever lived! He's the one that sicked The Beast on The Toad!</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>That's not an option, Smalls. Forget about it.</dialogue> <character>SCOTTY</character> <dialogue>Oh. Okay. I will.</dialogue> <scene_description>Silent moments . not a single blinking idea between them . Then , suddenly :</scene_description> <character>SQUINTS</character> <dialogue>We need to assess the situation!</dialogue> <character>GANG</character> <parenthetical>( better than nothing . )</parenthetical> <dialogue>Of course! Right! Good one, Squints! Access.</dialogue> <parenthetical>( sic . )</parenthetical> <dialogue>the situation! Okay!</dialogue> <character>BERTRAM</character> <dialogue>Um, Squints? How do we do that?</dialogue> <character>SQUINTS</character> <dialogue>First we survey the enemy's environment, then we make note of the surrounding terrain.</dialogue> <character>HAM</character> <dialogue>What?</dialogue> <character>SQUINTS</character> <parenthetical>( COPPING . )</parenthetical> <dialogue>I heard that on `` Combat.'' Let's just look out the window.</dialogue> </scene> <scene> <stage_direction>EXT. TREE HOUSE - DAY</stage_direction> <scene_description>The gang pokes their heads - only through the window . They look down into :</scene_description> </scene> <scene> <stage_direction>EXT. THE BADLANDS (MR. MERTLE'S BACKYARD) - DAY</stage_direction> <scene_description>The house is a godforsaken stucco 'd corpse . THE YARD is the final resting place for : melted frisbees , withered kickballs , skeletons of heat - crumbled paper kites , an airforce of exposure - splintered balsa wood gliders , and a fleet of model rockets - their drag - chutes turning to dust . And hundreds of little empty craters - that used to cradle baseballs . THE RUSTY TOW CHAIN snakes through the dirt - buried then exposed . It terminates ` NEATH THE LEAN - TO from under which rises hazy twirls of dust . The dust is kept from ever settling by some enormous ORGANIC EXHAUST . A GIANT PAW - THING emerges from under the lean - to , pushing the Babe Ruth autographed cowhide into full view - `` I dare you . ''</scene_description> </scene> <scene> <stage_direction>INT. TREE HOUSE - DAY</stage_direction> <scene_description>The guys jerk their heads back inside .</scene_description> <character>TIMMY</character> <dialogue>He's darin' us!</dialogue> <character>REPEAT</character> <dialogue>He's darin' us!</dialogue> <character>DENUNEZ</character> <dialogue>He's waitin' for us, man. Just like he did with The Toad.</dialogue> <character>GANG</character> <parenthetical>( REVERENT . )</parenthetical> <dialogue>Poor Toad.</dialogue> <character>HAM</character> <dialogue>We're on his territory now.</dialogue> <character>BERTRAM</character> <dialogue>Think he's pissed?</dialogue> <character>BENNY</character> <dialogue>Is Doby Gillis a dork? Anybody got any bright ideas?</dialogue> <scene_description>A tree house debate . Much shouting . Much disagreement . Many hands miming mechanical contraptions .</scene_description> <character>NARRATOR</character> <dialogue>We had absolutely no idea what the hell we were gon na do. So things started primitively.</dialogue> </scene> <scene> <stage_direction>EXT. THE SANDLOT - MR. MERTLE'S FENCE - DAY</stage_direction> <scene_description>The gang hurries out from the Timmons ' yard carrying a broom stick . They wriggle it under the fiberglass fence . Squints peers through the peep hole motioning directions to Ham . Suddenly - SNAP ! Ham pulls the stick back . ` Tis toothpick 'd .</scene_description> </scene> <scene> <stage_direction>EXT. TIMMONS' BACKYARD - DAY</stage_direction> <scene_description>The guys fell the clothes line pole with a hack saw . 6 feet of inch thick pipe . They heft it up - go out to</scene_description> </scene> <scene> <stage_direction>EXT. THE SANDLOT - MR. MERTLE'S FENCE - DAY</stage_direction> <scene_description>and shove the pipe under the green fiberglass . HORRIBLE SOUNDS ERUPT from the Badlands . Dust mushrooms over the fence . The pipe draws under in FEROCIOUS JERKS . Gone . Moments . The pole sails back over the fence - bounces on the asphalt with ANGRY CLANGS . ` Tis pretzel 'd .</scene_description> </scene> <scene> <stage_direction>INT. TREE HOUSE - DAY</stage_direction> <scene_description>Bertram arrives . Hands `` it '' over . How embarrassing :</scene_description> <character>BERTRAM</character> <dialogue>It ai n't mine. I told you, it's my little sister's!</dialogue> <scene_description>A Cootie Toy . They ASSEMBLE THE INSECT putting a hunk of chewed ` zooka on each Cootie foot . Attach it to a plastic parachute - ah - ha ! Genius . An airborne assault !</scene_description> </scene> <scene> <stage_direction>EXT. THE SANDLOT - MR. MERTLE'S FENCE - DAY</stage_direction> <scene_description>Squints indicates `` go . ''</scene_description> </scene> <scene> <stage_direction>INT./EXT. TREE HOUSE - THE BADLANDS - DAY</stage_direction> <scene_description>THE GANG DRIFTS THE COOTIE N ' CHUTE out the tree house window . It floats silently toward the baseball . The Cootie lands right on the Babe Ruth . The gum sticks . THE GANG hauls it in . THE BALL slowly rises . Suddenly THE BEAST 'S JAWS erupt from ` neath the lean - to and CHOMP the Cootie whole . The string snaps . THE GANG pulls up the frayed end .</scene_description> </scene> <scene> <stage_direction>INT. TREE HOUSE - NIGHT</stage_direction> <scene_description>Now a War Room . Map of the Badlands : crazed trajectories , distances to The Beast , etc. . Coffee can PBX system . Cardboard periscope . X 's on a calendar counting down `` Bill 's Return . '' The new retreival system : THREE EUREKA CANISTER VACS all connected . Ham 's catcher 's mask bolted to the end pipe for ball securing .</scene_description> </scene> <scene> <stage_direction>EXT. TREE HOUSE - OVER THE BADLANDS - NIGHT</stage_direction> <scene_description>Toy flashlights and BSOA lanterns hang from the structure , semi - illuminating the Badlands . OUT THE WINDOW goes the vacuumtraption , 30 feet of wobbly pipe .</scene_description> </scene> <scene> <stage_direction>EXT. THE SANDLOT - MR. MERTLE'S FENCE - NIGHT</stage_direction> <scene_description>Squints directs the operation , looking THROUGH THE CARDBOARD PERISCOPE WE SEE the vacupipe - mask . 12 inches from the baseball .</scene_description> <character>SQUINTS</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( coffee can muffled . )</parenthetical> <dialogue>A - okay. Roger, affirmative. Initiate retreival suction.</dialogue> </scene> <scene> <stage_direction>INT. TREE HOUSE - DAY</stage_direction> <scene_description>They throw eureka switch one . WEOHH !</scene_description> </scene> <scene> <stage_direction>EXT. THE BADLANDS - NIGHT</stage_direction> <scene_description>The baseball moves itty - bittily .</scene_description> </scene> <scene> <stage_direction>INT. TREE HOUSE - NIGHT</stage_direction> <scene_description>They throw eureka switch two . WEEOOOHHH !</scene_description> </scene> <scene> <stage_direction>EXT. BADLANDS - NIGHT</stage_direction> <scene_description>THE BASEBALL moves a lot !</scene_description> </scene> <scene> <stage_direction>INT. TREE HOUSE - NIGHT</stage_direction> <scene_description>They throw eureka switch three ! RRRWWEEEOOOHHH !</scene_description> </scene> <scene> <stage_direction>EXT. THE BADLANDS - NIGHT</stage_direction> <scene_description>The baseball leaps from the ground - sticks in the catcher 's mask collection basket .</scene_description> </scene> <scene> <stage_direction>EXT. THE SANDLOT - MR. MERTLE'S FENCE - NIGHT</stage_direction> <character>SQUINTS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>We have suction! Pull it up! PULL IT UP!</dialogue> </scene> <scene> <stage_direction>INT. TREE HOUSE - NIGHT</stage_direction> <scene_description>The gang reels it in . Suddenly , the whole apparatus JOLTS .</scene_description> </scene> <scene> <stage_direction>EXT. THE BADLANDS - NIGHT</stage_direction> <scene_description>A great beef - paw yanks the end pipe under the tree . STEEL TEETH pinch the metal tube shut .</scene_description> </scene> <scene> <stage_direction>INT./EXT. TREE HOUSE - NIGHT</stage_direction> <scene_description>The vacuums build pressure fast . WHINE crazily . THE GANG leaps from tree house . SQUINTS lingers in the trap doorway a second too long :</scene_description> </scene> <scene> <stage_direction>EXT. TREEHOUSE - NIGHT</stage_direction> <scene_description>The gang -LRB- minus Squints -RRB- is face down in the dirt - arms over heads . The vacuums explode . Foggy clouds of dust pour out of the treehouse . Squints appears . He 's battleship grey . Takes his glasses off . Only his eyes show white .</scene_description> <character>SQUINTS</character> <dialogue>We've been going about this all wrong. I blame myself. We need total surprise. Therefore, we tunnel. The Beast will never expect it.</dialogue> </scene> <scene> <stage_direction>EXT. TIMMONS' BACKYARD - DAY</stage_direction> <scene_description>The guys all wield a shovel , and have flashlights taped to their baseball caps like coal miners .</scene_description> </scene> <scene> <stage_direction>INT. UNDERGROUND TUNNEL - DAY (DARK)</stage_direction> <scene_description>Flashlight beam at the fore , Scotty crawls with a safety rope ` round his waist . He pokes the cardboard periscope up through the dirt . THROUGH THE PERISCOPE the Badlands from ULTRA LOW ground level . WE SCAN 360 degrees . Suddenly , the scan stops . The name B A B E R U T H , FILLS the periscope 's lens .</scene_description> </scene> <scene> <stage_direction>EXT. THE BADLANDS - DAY</stage_direction> <scene_description>Scotty 's hand feels for the Babe Ruth . He grabs it . It 's slimey .</scene_description> <character>SCOTTY</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( SUBTERRANEAN . )</parenthetical> <dialogue>I got it! I got it!</dialogue> <scene_description>The ball SQUIRTS out of his fingers . THE BALL ROLLS beneath the lean - to . It hits THE BEAST in the nose . With a SEISMIC ROAR The Beast leaps out . WE DO N'T SEE MUCH . He 's too big . We 're too close .</scene_description> </scene> <scene> <stage_direction>EXT. TREE HOUSE - DAY</stage_direction> <scene_description>Yeah - Yeah SHOUTS to Ham at the tunnel entrance .</scene_description> <character>YEAH-YEAH</character> <dialogue>It's huge - oh, my God! It's huge - pull him out! It's huge! PULL HIM OUT!</dialogue> </scene> <scene> <stage_direction>EXT. BADLANDS - DAY</stage_direction> <scene_description>THE BEAST 'S JAWS dive toward Scotty 's hand . They get within an inch of Scotty 's hand , and his fingers vanish - THWOOOP !</scene_description> </scene> <scene> <stage_direction>EXT. TIMMONS' BACKYARD - DAY</stage_direction> <scene_description>The gang pulls Scotty out of the hole . Yeah - Yeah is unconscious on the grass . The guys turn a hose on him . He comes ` round SCREAMING :</scene_description> <character>YEAH-YEAH</character> <dialogue>It's huge - pull him out! Oh God, it's like a dinosaur! Wh - Wh - Where am I?!</dialogue> <character>SQUINTS</character> <dialogue>Yeah - Yeah! Get hold of yourself! What'd you see?!</dialogue> <character>YEAH-YEAH</character> <parenthetical>( accelerating to lunacy . )</parenthetical> <dialogue>Oh - oh, it was like hugeness and darkness and like the world was ending and the devil came up through the ground and the - and the - and the -</dialogue> <character>HAM</character> <dialogue>- somebody slap him quick! We're losin' him!</dialogue> <scene_description>WHAP - WHAP ! Squints administers . Yeah - Yeah snaps out of it .</scene_description> <character>YEAH-YEAH</character> <dialogue>Thanks. I needed that.</dialogue> </scene> <scene> <stage_direction>EXT. TIMMONS' BACKYARD - DAY</stage_direction> <scene_description>Construction completes . A kid crane . A tricycle , block 'n tackle , fishing - pole n ' body harness . In a line , the guys step on and off a scale . Everybody stares at Yeah - Yeah .</scene_description> <character>YEAH-YEAH</character> <dialogue>Yeah - yeah, I know - I'm lightest. But I ai n't goin' over there! NO WAY!</dialogue> <scene_description>All eyes to the ground .</scene_description> <character>BENNY</character> <dialogue>Sorry, Smalls. It was a good idea anyway.</dialogue> <character>DENUNEZ</character> <dialogue>Yeah, tough luck, Smalls.</dialogue> <character>HAM</character> <dialogue>It wo n't be that bad, Smalls. Your dad'll probably only shoot you or something.</dialogue> <character>YEAH-YEAH</character> <dialogue>Hey - hey, do n't blame me! I did n't hit the ball over there, man!</dialogue> <scene_description>Silence . Yeah - Yeah considers .</scene_description> <character>YEAH-YEAH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yeah - yeah, okay. But if I say pull me up, you guys better PULL ME UP!</dialogue> <scene_description>Benny takes Yeah - Yeah aside . Hands him all over Ham 's catcher 's gear .</scene_description> <character>BENNY</character> <dialogue>Here. Put these on.</dialogue> <character>YEAH-YEAH</character> <dialogue>Wha -? Why? Whadda I need All this stuff for Benny? I mean, why a mask and a gonad Protector?</dialogue> <character>BENNY</character> <dialogue>Oh, ah, nuthin', ya know, just For, ah. Altitude leveling And stuff. Put it on.</dialogue> <scene_description>Benny hurries off as Timmy and Repeat approach with a frightening looking harnass assembly . Yeah - Yeah backs away :</scene_description> <character>TIMMY</character> <dialogue>Do n't worry. We're professionals.</dialogue> <character>REPEAT</character> <dialogue>Our Dad's a contractor.</dialogue> </scene> <scene> <stage_direction>EXT./INT. OVER THE BADLANDS - INSIDE THE TREE HOUSE - DAY</stage_direction> <scene_description>HAM 'S strapped in at the tricycle winch . YEAH - YEAH 'S dangling over the lean - to .</scene_description> <character>YEAH-YEAH</character> <parenthetical>( into can phone . )</parenthetical> <dialogue>Okay - okay, I'm right over it. Let me down - slow!</dialogue> <scene_description>HAM lets go . Oops . WHIZZZZ ! YEAH - YEAH plummets .</scene_description> <character>YEAH-YEAH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Ahhhh! Stop! STOP!</dialogue> <scene_description>HAM back - cranks . YEAH - YEAH comes to a twirling halt four feet off the ground . YEAH - YEAH 'S POV into the lean - to . Blackness and dust .</scene_description> <character>YEAH-YEAH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>` Kay - ` kay, tip me, hurry up. I'm gettin' the woollies.</dialogue> <scene_description>Yeah - Yeah reaches . Gets it !</scene_description> <character>YEAH-YEAH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Okay get me outta here!</dialogue> <scene_description>HAM struggles .</scene_description> <character>HAM</character> <dialogue>HELP! I'M LOSIN' HIM!</dialogue> <scene_description>YEAH - YEAH looks down from the guys on the tree house - back to level - `` 4 foot '' eye - level with : THE BEAST 'S MOUTH !</scene_description> <character>YEAH-YEAH</character> <parenthetical>( QUAKING . )</parenthetical> <dialogue>H - h - help! Help! HELP - HELP - HELP!</dialogue> <parenthetical>( TRYING ANYTHING . )</parenthetical> <dialogue>Hail Mary Father who art star light twinkle twinkle hey diddle diddle -</dialogue> <scene_description>INSIDE THE TREE HOUSE hands crank the trike wheel . Yeah - Yeah 's to window level in seconds . He 's got the ball ! THE BEAST 'S JAWS leap into view . THE TOW CHAIN goes taut . The jaws abruptly disappear .</scene_description> </scene> <scene> <stage_direction>EXT. THE BADLANDS - DAY</stage_direction> <scene_description>The Beast 's shadowy form RUSTLES contentedly under the lean - to . Yeah - Yeah dropped the ball .</scene_description> </scene> <scene> <stage_direction>EXT. TIMMONS' BACKYARD - DAY</stage_direction> <scene_description>Yeah - Yeah 's shattered . Balling . The guys sniff . Oh no , bad news . He shoves them away :</scene_description> <character>YEAH-YEAH</character> <dialogue>Yeah - yeah, I did it! SO WHAT?! You jerks, I told you to pull me back faster!</dialogue> <parenthetical>( starin ' them down . )</parenthetical> <dialogue>You - you penises.</dialogue> <scene_description>Yeah - Yeah waddles away . The guys rush to hold the fence door up for him . He goes through stiff - legged -LRB- ca n't bend over -RRB- .</scene_description> </scene> <scene> <stage_direction>EXT. THE SANDLOT - DAY</stage_direction> <scene_description>Yeah - Yeah heads across the field . waddle - waddle .</scene_description> <character>NARRATOR</character> <dialogue>Yeah - Yeah grew two feet in our eyes after that. There was no stinkin' way any of us would've showed back up, if we'd loaded our drawers.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Yeah - Yeah did. He showed back up and got right to work, like nothing ever happened.</dialogue> </scene> <scene> <stage_direction>EXT. THE SANDLOT/TREEHOUSE - MORNING</stage_direction> <scene_description>-LRB- LOCK OFF . Same as Sc . 157 -RRB- - Yeah - Yeah returns across the sandlot and goes up into the treehouse .</scene_description> </scene> <scene> <stage_direction>INT. TREE HOUSE - DAY</stage_direction> <scene_description>According to the calendar - 1 day till Bill 's back . Scotty 's got the conch .</scene_description> <character>SCOTTY</character> <dialogue>I think I know how to get it.</dialogue> <parenthetical>( they 're all ears . )</parenthetical> <dialogue>Anybody got an Erector Set?</dialogue> <scene_description>Eyes dart . Brows feint .</scene_description> <character>SQUINTS</character> <dialogue>That thing with the nuts and bolts and tiny wrenches that you can build junk out of?</dialogue> <character>SCOTTY</character> <dialogue>Exactly.</dialogue> <character>SQUINTS</character> <dialogue>Never heard of it.</dialogue> <character>HAM</character> <dialogue>I used to have one when I was like I dunno, a little kid.</dialogue> <character>GANG</character> <parenthetical>( LIARS . )</parenthetical> <dialogue>Might have some pieces. Gee, I do n't think so. I'd have to look. Maybe in the attic. Not in our room though.</dialogue> </scene> <scene> <stage_direction>INT. TREE HOUSE - DAY - 20 MINUTES LATER</stage_direction> <scene_description>The guys re - arrive . Each holding huge arm loads of Erector Set stuff .</scene_description> <character>GANG</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Guess I had more than I thought. Forgot my grandma got me some for my birthday. It's my little brother's.</dialogue> <scene_description>Scotty 's brought his `` Set . '' A footlocker full of neatly arranged pieces . Nut and bolt compartments . Electric motor sections .</scene_description> <character>BERTRAM</character> <dialogue>Bitchin'.</dialogue> <character>SCOTTY</character> <dialogue>I really like Erector Set.</dialogue> <character>GANG</character> <parenthetical>( ATTITUDINAL 360 'S . )</parenthetical> <dialogue>Me too. I was just thinkin' the same thing. Could n't agree more, Smalls. I play with mine all the time.</dialogue> <character>SCOTTY</character> <dialogue>Let's get to work. Here's the plans -</dialogue> <scene_description>FURLSNAP ! Holy cow ! Scotty unfolds them - amazing crayola blueprints drawn on taped - together grocery bags .</scene_description> </scene> <scene> <stage_direction>INT./EXT. TREE HOUSE - DAY</stage_direction> <scene_description>The guys swarm the tree house . Scotty supervises from the backyard , wearing a plastic hardhat . They build . Scotty hooks up electric motors . Throws one toggle , and .</scene_description> </scene> <scene> <stage_direction>EXT. TREE HOUSE - DAY</stage_direction> <scene_description>it comes to life . A 35 foot hollow erector - beam and electric catapult - car assembly . They tilt - n ' - tip it over the fence . Scotty pilots the little car from the treehouse deck .</scene_description> </scene> <scene> <stage_direction>EXT. THE SANDLOT - DAY</stage_direction> <scene_description>Benny 's got his glove - waiting .</scene_description> </scene> <scene> <stage_direction>EXT. TREE HOUSE - TIMMON'S BACKYARD - THE SANDLOT - THE BADLANDS - DAY</stage_direction> <scene_description>Scotty on controls . Squints on periscope , with Bertram on the Yuban - comm for him . Others at support points . THE CAR drives down . THE BEAST strirs . THE CAR rolls out the end . THE CATAPULT BUCKET scoops the ball .</scene_description> <character>SQUINTS</character> <parenthetical>( CLEANLY . )</parenthetical> <dialogue>Fire!</dialogue> <scene_description>GIANT SLEEPY EYEBALLS roll open . A THUNDERROAR ! SCOTTY flips the toggle . THE `` RAT - TRAP '' CATAPULT fires . THE BASEBALL is airborne . BENNY runs for it .</scene_description> <character>BENNY</character> <dialogue>I got it! I got it!</dialogue> <scene_description>THE AIRBORNE BEAST blocks out the sun . CLUNCHEENK ! The Beast 's FRONT TEETH SNATCH the Babe Ruth ball delicately out of the air . THE UNSEEN BEAST crash lands beyond the fiberglass paneling , right on top of THE ERECTOR CONTRAPTION wrenching it viciously . THE STRUCTURE comes tumbling down - bending into flimsy knots as it CRASHES !</scene_description> </scene> <scene> <stage_direction>EXT. TIMMONS' BACKYARD - DAY</stage_direction> <scene_description>Scotty stands alone on the tree house roof . staring down into the Badlands . A little , wrecked shell of a kid , who is now dead meat . The guys look up at him sorrowfully .</scene_description> <character>NARRATOR</character> <dialogue>My life was over. Just as Bill had finally warmed up to me, and asked me to be the man of the house, I had to knock a priceless chunk of history into the clutches of a monster. Great.</dialogue> <scene_description>END THE BIG MONTAGE .</scene_description> </scene> <scene> <stage_direction>EXT. THE BLOCK - DUSK</stage_direction> <scene_description>The gang , minus Timmy and Repeat , shuffle along home without a word exchanged . FROM HIS PORCH Benny watches a dejected Scotty slowly head inside across the street .</scene_description> </scene> <scene> <stage_direction>INT. SCOTTY'S ROOM - NIGHT</stage_direction> <scene_description>Scotty stares up at the ceiling in oceans of worry .</scene_description> </scene> <scene> <stage_direction>INT. BENNY'S ROOM - NIGHT</stage_direction> <scene_description>The room is dark . Benny 's in bed . He clicks on a `` baseball - bat '' flashlight . Shines the beam toward his footboard . illuminating the photo of The Babe .</scene_description> <character>BENNY</character> <dialogue>We ca n't get it back, Babe.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>I'm sorry.</dialogue> <scene_description>Suddenly , a RACKET from inside Benny 's closet . A bright LIGHT GOES ON in there . Then , smoke comes out . Benny jumps up on his bed - flattens against the wall . Has n't done this in years :</scene_description> <character>BENNY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>M - M - Mom?</dialogue> <scene_description>The closet door CREAKS open . by itself . Everything inside is oddly devoid of color .</scene_description> <character>BENNY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Who's there?!</dialogue> <scene_description>BABE RUTH steps out of the closet . He exists in the only way any kid from 1962 has ever seen him : BLACK &amp; WHITE .</scene_description> <character>THE BABE</character> <dialogue>Now do n't go peeing your pants or nuthin', I'm just here to give ya a hand.</dialogue> <scene_description>The Great Bambino PUFFS on a massive stogie . the source of all the smoke .</scene_description> <character>BENNY</character> <dialogue>B - B - But, you're.</dialogue> <character>THE BABE</character> <dialogue>dead? Legends never die, kid.</dialogue> <scene_description>Benny comes off the wall . The enormous Ruth towers over him .</scene_description> <character>BENNY</character> <dialogue>You're really him. You're The Babe. The Sultan of Swat. The King -</dialogue> <character>THE BABE</character> <dialogue>- of Krash and a hundred other dopey names. Forget about that, we ai n't got much time. I'm here'cause you're in some kinda pickle, right?</dialogue> <character>BENNY</character> <dialogue>Yeah.</dialogue> <character>THE BABE</character> <dialogue>A baseball with my John Hancock on it went over a fence, and you ca n't get it back. Right?</dialogue> <character>BENNY</character> <dialogue>Yeah, right.</dialogue> <character>THE BABE</character> <parenthetical>( clear and simple . )</parenthetical> <dialogue>Then just hop over there and get it. There ya go. Problem solved.</dialogue> <parenthetical>( tips his cap . )</parenthetical> <dialogue>See ya, kid.</dialogue> <scene_description>The Babe turns to go back to wherever he came from . Benny grabs his arm - shocked that he actually feels something `` real . ''</scene_description> <character>BENNY</character> <dialogue>Wait! I ca n't.</dialogue> <character>THE BABE</character> <dialogue>Ca n't what?</dialogue> <character>BENNY</character> <dialogue>Go into that backyard.</dialogue> <character>THE BABE</character> <dialogue>Why not?</dialogue> <character>BENNY</character> <dialogue>There's a Beast back there.</dialogue> <character>THE BABE</character> <dialogue>What kind?</dialogue> <character>BENNY</character> <dialogue>A giant gorilla - dog - thing that ate one kid already.</dialogue> <character>THE BABE</character> <dialogue>Is that a fact? Listen to me, kid. Everybody gets one chance to do something great. Most people either never take the chance'cause they're too scared, or they do n't recognize it when it spits on their shoes.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>This is your `` big chance,'' and ya should n't let it go by.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>Remember those cards you got the other day?</dialogue> <character>BENNY</character> <dialogue>Sure, yeah, five Maury Wills all in the same pack.</dialogue> <character>THE BABE</character> <dialogue>What're the odds on that?</dialogue> <character>BENNY</character> <dialogue>About a zillion to one.</dialogue> <character>THE BABE</character> <dialogue>More even. Someone's tellin' you somethin', kid. And if I was you. I'd listen.</dialogue> <character>BENNY</character> <dialogue>Yeah, but what?</dialogue> <character>THE BABE</character> <dialogue>You're the one with the rubba legs. Figure it out.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>You got ta do what your heart tells you, else you'll spend the rest of your life wishin' you had.</dialogue> <character>BENNY</character> <dialogue>You mean, I should hop that fence - and pickle with THE BEAST?!</dialogue> <character>THE BABE</character> <dialogue>Lem me tell you something. you remember that called shot homer I hit?</dialogue> <character>BENNY</character> <dialogue>Sure, the greatest most famous and legendary home run of all time.</dialogue> <character>THE BABE</character> <dialogue>Yeah, right, well said.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Well, you think I knew I was gon na swat that?</dialogue> <character>BENNY</character> <dialogue>Sure ya did, Babe.</dialogue> <character>THE BABE</character> <dialogue>Not a chance. Matter of fact, all the way down to first I kept sayin' to myself, `` you lucky bum.''</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Think about that, kid. I'll see ya later.</dialogue> <scene_description>The Babe disappears back into the closet , then :</scene_description> <character>THE BABE'S VOICE</character> <dialogue>Remember, kid. There's heroes and there's Legends. Heroes get remembered. but Legends never die.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Follow your heart, kid, and you'll never go wrong.</dialogue> <scene_description>A RACKET in the closet matching :</scene_description> </scene> <scene> <stage_direction>INT. SCOTTY'S ROOM - DAY</stage_direction> <scene_description>KNUCKLES on glass . Scotty hurries sleepy - eyed to the window and opens it . Benny stands outside , holding a shoe box .</scene_description> <character>BENNY</character> <parenthetical>( WITH PURPOSE . )</parenthetical> <dialogue>I had a dream. Get dressed. We're goin' to the sandlot.</dialogue> </scene> <scene> <stage_direction>EXT. THE SANDLOT - DAY</stage_direction> <scene_description>The guys march toward the rising sun - across the sandlot behind Benny . Toward destiny . THE GREEN FIBERGLASS FENCE They stop here . Benny steps forward . He opens the shoe box . Laces on brand new P.F. Flyers . Moves for the fence . Scotty grabs his arm .</scene_description> <character>SCOTTY</character> <dialogue>Benny - wait. It's okay, it was my fault. I'll just take whatever I get. You do n't have to do this.</dialogue> <scene_description>A look in Benny 's eyes . Kismet .</scene_description> <character>BENNY</character> <parenthetical>( PREDESTINED . )</parenthetical> <dialogue>Yeah I do, Smalls. I have to.</dialogue> <scene_description>Benny turns from him - swallows hard . Swings himself onto THE TOP OF THE FENCE and balances - deciding .</scene_description> <character>THE BABE'S VOICE</character> <parenthetical>( in Benny 's head . )</parenthetical> <dialogue>. Follow your heart, kid, and you'll never go wrong.</dialogue> <scene_description>Benny turns back one last time . Gives Scotty `` Thumbs Up . '' With a pearl diver 's breath - he plunges into .</scene_description> </scene> <scene> <stage_direction>EXT. BADLANDS - DAY</stage_direction> <scene_description>here . He stands fixed , staring hard ` neath the lean - to . DUST RISES from thereunder . ORGANIC EXHAUST . The LAZY CLINKS of heavy chain links . The Beast is rising to its feet . IT MATERIALIZES piece by piece : fore feet the size of a catcher 's mitt , bulking head and shoulders , hulking flank and haunches . BENNY 'S mouth hangs open . He 's frozen , staring at THE BEAST and it 's worse than Squints recounted . because it 's real . This is the biggest dog that ever lived ! 300 lbs . 4 1/2 feet tall . And ugly . This was a bad idea . The Beast lingers 8 feet away with slack in the chain . THWOOOP ! It spits something out , which rolls in the dirt . STOPS EXACTLY BETWEEN THEM A goo - slobbered ball . Dirty Beast - foam drips off , revealing the smeared signature , B A B E R U T H. `` G'head kid , I dare you ! '' A PICKLE Benny measures The Beast . Times its ballooning chest . The Beast 's eyes glue to Benny . Flopping , hot - water - bottle tongue PANTS . Licks chops . Leather 'd nose twitches - smelling for movement . THE TOE of Benny 's P.F. Flyer digs into the cracked earth . CLINK the Beast leans forward - one chain link lifts from the ground . SHTHUFT ! Benny spits , blowing his tanks . THE BEAST bristles . BENNY 'S EYES widen , focusing . WAR BREAKS OUT ! Benny goes for the ball . THE BEAST 'S knotted muscles quaver and UNCOIL . BENNY 'S P.F. Flyers leave behind tiny dust roosters . THE BEAST 'S claws dig deep furrows . FOG BANKS of dust spread out behind it . Forelegs gallop at flared , over - anxious angles . BENNY leaves scrambling footprints . He slides - grabs the ball - `` Pops - Up '' Maury Wills fashion - heads back for the fence . The ball slips from Benny 's fingers . Re - grabs it - shoves the ball in his teeth , freeing his hands for the leap up the fence . THE BEAST gains . SHNAPP ! Jaws SHUT like a tripped bear trap . BENNY springs off the ground . He 's on the fence . THE BEAST reaches chain 's end - it goes taught . Breaks ! The two foot length still attached to The Beast 's neck bullwhips - the chain catches Benny in the butt .</scene_description> <character>BENNY</character> <dialogue>YOWWWWW!</dialogue> <scene_description>He vaults over the fence .</scene_description> </scene> <scene> <stage_direction>EXT. SANDLOT - DAY</stage_direction> <scene_description>The gang looks up . A great shadow envelopes them . THE BEAST IS LOOSE ! The guys turn to stone . Benny takes off .</scene_description> <character>BENNY</character> <dialogue>OOOOH SSSSHIT!</dialogue> <scene_description>The Beast tears by the guys after Benny . The two vanish out of the sandlot .</scene_description> <character>SCOTTY</character> <dialogue>What're we waitin' for?! Let's go after'em!</dialogue> </scene> <scene> <stage_direction>EXT. SIDEWALK - NEIGHBORHOOD - DAY</stage_direction> <scene_description>Benny runs . The Beast is gaining . In its wake : dichondra lawns RIPPED to shreds . Scotty and the guys make tracks a block behind .</scene_description> </scene> <scene> <stage_direction>EXT. FIVE &amp; DIME - DAY</stage_direction> <scene_description>On display : Pinwheels , Mailbox Propellers and Puddle - Jumpers . Benny flies by . The Beast follows . As they pass , contact : the whirly - gigs take off !</scene_description> </scene> <scene> <stage_direction>INT. CAR - TRAVELING - DAY</stage_direction> <scene_description>A MOTHER drives . In the passenger seat , her TODDLER fingers a `` scooter - pie '' in marshmallowy strings .</scene_description> <character>TODDLER</character> <parenthetical>( BEAMING . )</parenthetical> <dialogue>Mommy, mommy - wook! Ah, ah - goggy!</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Big goggy.</dialogue> <scene_description>The Mother looks out the passenger window . ON THE SIDEWALK Benny and The Beast run even . Then pull ahead .</scene_description> </scene> <scene> <stage_direction>EXT. "SNELGROVE'S" ICE CREAM - DAY</stage_direction> <scene_description>Gag per storyboards - t.b.d.</scene_description> </scene> <scene> <stage_direction>EXT. ALLEYWAY - DAY</stage_direction> <scene_description>Benny 's cookin ' . The Beast follows - TRASHCANS SCATTER like bowling pins . Scotty and the guys follow . All slow to check out the garbage bins . so many crushed beer cans . Benny darts in the rear entrance to a `` random '' building . The Beast tears after him - KNOCKING the door off its hinges .</scene_description> </scene> <scene> <stage_direction>INT. BOYS CLUB AUDITORIUM - DAY</stage_direction> <scene_description>ON THE MOVIE SCREEN Kong does battle with T Rex . BENNY comes sliding AT US across the waxed stage floor - from under the movie screen . He slides off the stage - into midair - lands on his feet . Splits up the aisle between the rows of folding chairs and blasts out the door . KIDS ' HEADS turn to watch him . KONG ROARS ! They look back at THE MOVIE SCREEN where , just as Kong proclaims himself king over the dead T Rex , THE BEAST Leaps through the center of the silver screen - leaves a 6 foot hole - lands 20 feet down the aisle - CRASHES through the doors and disappears . Moments pass . Our guys follow .</scene_description> </scene> <scene> <stage_direction>EXT. SIDEWALK - DAY</stage_direction> <scene_description>Hot - rubber SQUEAKS from Benny 's P.F. Flyers . The Beast 's claws leave jagged scars in the concrete . CATS HISS in terror and faint .</scene_description> </scene> <scene> <stage_direction>EXT. PUBLIC POOL DECK - DAY</stage_direction> <scene_description>POOL HONEYS lounge , all bedecked with rock - hard , Annette Funicello hairdo 's . Benny blasts out of the pool building , `` tire stepping '' over the Honeys . They 're up and RANTING at him . Until , The Beast comes . sliding across the water - slippy deck like an out - of - control anvil . He `` bowling pins '' the Pool Honeys . The Honeys HIT THE WATER . Benny cuts back through the pool building . The Beast follows - parting our guys and the other Kids .</scene_description> </scene> <scene> <stage_direction>EXT. LITTLE LEAGUE FIELD - DAY</stage_direction> <scene_description>Game in progress . From outta nowhere , Benny jams across the diamond . The game stops . EVERYONE gapes at : Some huge dog - beast charging after a kid .</scene_description> </scene> <scene> <stage_direction>EXT. CITY PARK - PICNIC AREA - DAY</stage_direction> <scene_description>Big banner : `` FOUNDER 'S DAY ! '' Perfectly arranged picnic blankets covered with wonderful spreads of goodies . BENNY zips under the banner - runs through - grabs a Coke like a long distance runner . THE BEAST rages after him , through : A DEADEND ! MIDWAY of neatly arranged display booths . -LRB- This is pie n ' cake booth gag per storyboards - allow 2 pages . -RRB-</scene_description> </scene> <scene> <stage_direction>EXT. TOWN SQUARE - NEARBY - DAY</stage_direction> <scene_description>Founder 's Day parade -LRB- et al -RRB- . BENNY rips into the square . He rubba - leg zigzags , nimbly avoiding everything and everyone . THE BEAST Is a runaway freight train . He PLOWS through CLOWNS . CHILDREN are snatched from the dog 's path by terrified parents . The Beast tears through the concession stands : VATS &amp; DISPENSERS EXPLODE ! The VOLUNTEERS dash out SCREAMING - `` tar n ' featherd '' with baked beans and potato chips . BENNY zips through the MARCHING BAND - ducking trombone slides - leaping glockenspiels . THE BEAST ai n't so graceful . He `` barn - doors '' the band . CRASH ! An instrument tangled heap . THE ONLOOKERS pour into the street , knocking the MAYOR from his convertible , and the FOUNDER 'S DAY QUEEN from her float . FROM THIS HEIGHT this all looks like the end of a `` Dr. Suess '' book ! SCOTTY AND THE GANG search through the confusion . _ They 've lost Benny _ ! Suddenly , doubling back on them BENNY</scene_description> <character>BENNY</character> <dialogue>Sandlot!</dialogue> <scene_description>Benny 's gone . Seconds later - The Beast follows .</scene_description> <character>SQUINTS</character> <dialogue>This way! Shortcut!</dialogue> <scene_description>THE GANG forges through the disaster .</scene_description> </scene> <scene> <stage_direction>EXT. THE SANDLOT - MR. MERTLE'S FENCE - DAY</stage_direction> <scene_description>The gang 's GASPING for BREATH . And then , unbelievably BENNY &amp; THE BEAST Are coming right at them ! They race across the sandlot . Kill - anxious beast - drool splashes the seat of Benny 's pants . THE BEAST 'S muscles flex . BENNY just runs . He runs as if a big dog was chasing him . He lurches a step - RIP ! A pants pocket flaps from an incisor .</scene_description> <character>BENNY</character> <dialogue>LOOK OUT!</dialogue> <scene_description>He lays down the world 's all - time most perfect SLIDE . He careens toward the bottom of MR. MERTLE 'S FENCE hits it and , defying gravity , RUNS STRAIGHT UP THE GREEN FIBERGLASS PANELS ! BENNY jets upward , leaving smashed green fiberglass footsteps - standing out from the fence 90 degrees - the Donald O'Connor `` Singin ' In The Rain '' trick ! THE BEAST sucks air - ROARS - EXPLODES from the ground - soars , gaping maw first , right for BENNY who pushes off the top of the fence . THE BEAST GNASHES up at Benny 's heels - misses by an inch . He plummets toward the Badlands . Then , the unspeakable happens , BENNY DROPS THE BABE RUTH AUTOGRAPH and comes tumbling down after the ball .</scene_description> <character>BENNY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh noooooo!</dialogue> </scene> <scene> <stage_direction>EXT. THE BADLANDS - DAY</stage_direction> <scene_description>Benny HITS the dirt with a gut twisting THUD ! Dust everywhere .</scene_description> </scene> <scene> <stage_direction>EXT. THE SANDLOT - DAY</stage_direction> <scene_description>The gang climbs the fence . They look down into</scene_description> </scene> <scene> <stage_direction>EXT. THE BADLANDS - DAY</stage_direction> <scene_description>where , when the dust clears , they see BENNY holding the Babe Ruth Autograph up high like a trophy .</scene_description> <character>BENNY</character> <dialogue>I GOT IT!</dialogue> <scene_description>THE GANG hops down and races over . Suddenly , from the FENCETOP His shirt snagged :</scene_description> <character>SCOTTY</character> <dialogue>Help him! I'm stuck! I'm stuck! Help him!</dialogue> <scene_description>THE BEAST is hanging from the fence . His chain has caught . He struggles - choking to death - right below Scotty . THE GANG petrifies where they stand . SCOTTY tears his shirt loose . Scrambles to where The Beast hangs . Tries to lift the tow chain free - too heavy ! He 'll die in seconds .</scene_description> <character>SCOTTY</character> <dialogue>Pick him up! Scoot him up so I can let him off!</dialogue> <parenthetical>( DESPERATE . )</parenthetical> <dialogue>COME ON!</dialogue> <scene_description>NOBODY moves . They wan na but they ca n't ! SCOTTY goes for broke . He reaches out and puts his hand on The Beast 's head .</scene_description> <character>SCOTTY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( CONTACT . )</parenthetical> <dialogue>Easy. Easy, boy.</dialogue> <scene_description>THE BEAST whimpers . Scotty balances atop the fence . Grabs the tow chain . Lifts with all his might . his fingers bleed . The Beast goes limp . An inch . That did it ! The beast falls . SCOTTY goes with him - 8 feet to the dirt . The FENCE COMES DOWN - breaking the barrier to the sandlot . He lands on the ground NOSE TO NOSE with The Beast . SCOTTY leaps to his feet . THE BEAST rises with him . SCOTTY freezes solid . THE GANG watches in horror . THE BEAST scans them instinctively - He might kill them all where they stand . SCOTTY 'S about to load up his fruit o ' da looms . THE BEAST sticks his mammoth head right in Scotty 's face . SNIFFS . That 's it ! The kid is lunch ! His jowls part - hot BEAST - BREATH BLOWS Scotty 's hair back . SCOTTY closes his eyes . THE GANG SLAP their hands to their eyesockets . THE BEAST leans closer . Mouth opens . Cold - leather nose presses against Scotty 's forehead . Then . He licks Scotty 's face . SCOTTY wipes away the Beast slob . He does n't even have to kneel down to read the name on The Beast 's `` doggy tag . '' It says . Hercules . This time Scotty gives Benny `` Thumbs Up . '' UNDER THE LEAN - TO Hercules digs , then stands away . THE GANG steps closer . Look into the hole . Their faces light up with wonder . In THE HOLE Are 150 baseballs . THE GANG 'S BLOWN AWAY</scene_description> <character>BENNY</character> <dialogue>We can play forever now.</dialogue> <scene_description>SCOTTY takes The Beast by the collar . He and Benny go to MR. MERTLE 'S BACK DOOR Scotty KNOCKS . MR. MERTLE answers the door . An old man with dark glasses . He comes out on the porch .</scene_description> <character>MR. MERTLE</character> <dialogue>Hello?</dialogue> <character>SCOTTY</character> <dialogue>Um, we brought your dog home.</dialogue> <character>MR. MERTLE</character> <dialogue>Hercules? How'd he get out?</dialogue> <character>SCOTTY</character> <dialogue>Well, sir. um, we kind of, well, what happened was -</dialogue> <character>BENNY</character> <dialogue>- we hit a baseball into your yard. Then we tried to get it and -</dialogue> <character>MR. MERTLE</character> <dialogue>- why did n't you just come to the door. I'd have gotten it for you.</dialogue> <scene_description>Squints , Yeah - Yeah , Ham , DeNunez , Repeat , Timmy and Bertram faint .</scene_description> <character>MR. MERTLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Well, thanks for bringin' him back.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Why do n't you boys come in. we can talk about baseball.</dialogue> </scene> <scene> <stage_direction>INT. MR. MERTLE'S HOUSE - DAY</stage_direction> <scene_description>Fairly spartan , except for one room , where it seems that Mr. Mertle spends most of his time . He leads Benny and Scotty INTO THE BASEBALL ROOM Mr. Mertle sits at a table . Benny and Scotty stare at the tabletop . It holds a scale model Baseball Diamond : green felt field and little bases , outfield wall and miniature player figures . A picture on the wall of Mr. Mertle and Babe Ruth .</scene_description> <character>SCOTTY</character> <dialogue>You knew Babe Ruth?</dialogue> <character>MR. MERTLE</character> <dialogue>Yeah. And he knew me too.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>They never let us play together, but we were friends. Good friends. He was almost as great a hitter as I was. But, he'd of told you he was better.</dialogue> <scene_description>The picture is signed : `` To Thelonius Johnson Mertle , the second greatest slugger I ever saw . Babe Ruth . '' A baseball game on the RADIO . As each play is CALLED , Mr. Mertle 's hands deftly put his tiny players in the correct positions . Mr. Mertle is blind .</scene_description> <character>MR. MERTLE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( HOLDING BALL . )</parenthetical> <dialogue>This the one that went over my fence?</dialogue> <character>BENNY</character> <dialogue>Yeah.</dialogue> <scene_description>Mr. Mertle brushes his fingers over the leather .</scene_description> <character>MR. MERTLE</character> <dialogue>This is an old ball, boys. Really old.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>Hercules gave it a good chewing, did n't he?</dialogue> <character>SCOTTY</character> <parenthetical>( WEAK . )</parenthetical> <dialogue>Yes, sir.</dialogue> <character>MR. MERTLE</character> <dialogue>You sound upset, son - what's wrong?</dialogue> <character>SCOTTY</character> <dialogue>Well, you see. that ball belongs to my stepdad. and, uh - it was signed by Babe Ruth.</dialogue> <scene_description>Mr. Mertle shakes his head . hands the ball to Scotty .</scene_description> <character>MR. MERTLE</character> <dialogue>Hmm. Well, I'm sure your dad will understand.</dialogue> <character>SCOTTY</character> <dialogue>I do n't think so.</dialogue> <scene_description>On the RADIO , Wills steals second .</scene_description> <character>MR. MERTLE</character> <parenthetical>( TO BENNY . )</parenthetical> <dialogue>Son, move Maury Wills to second base for me, will ya?</dialogue> <scene_description>Benny moves the little figure to second base .</scene_description> <character>MR. MERTLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>If he steals third that'll be number 100.</dialogue> <parenthetical>( TO SCOTTY . )</parenthetical> <dialogue>Helluva pickle you're in, boy.</dialogue> <character>SCOTTY</character> <dialogue>Yes, sir.</dialogue> <scene_description>Mr. Mertle retrieves something from a glass case . A baseball .</scene_description> <character>MR. MERTLE</character> <dialogue>I'll make you a deal. If you boys come over once a week and talk baseball with me, I'll trade you balls.</dialogue> <character>BENNY</character> <dialogue>Well, that's really nice of you. but this ball really is signed by The Babe.</dialogue> <character>MR. MERTLE</character> <parenthetical>( CHUCKLES . )</parenthetical> <dialogue>This one really is too. and all the rest of the'27 Yankees.</dialogue> <scene_description>He hands his baseball to Scotty . Benny stares at it in disbelief .</scene_description> <character>BENNY</character> <dialogue>Oh my God - Murderers' Row.</dialogue> <scene_description>As they ogle the ball :</scene_description> <character>BENNY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( AWED . )</parenthetical> <dialogue>Lou Gehrig.</dialogue> <character>SCOTTY</character> <dialogue>Babe Ruth.</dialogue> <character>MR. MERTLE</character> <parenthetical>( SMILING . )</parenthetical> <dialogue>They're all there.</dialogue> <scene_description>Scotty hands Mr. Mertle the chewed up Babe Ruth ball . Shakes his hand .</scene_description> <character>SCOTTY</character> <dialogue>Deal.</dialogue> <scene_description>On the RADIO , Maury Wills steals 3rd for his 100th stolen base . Scotty notices the wall clock :</scene_description> </scene> <scene> <stage_direction>EXT. SCOTTY'S HOUSE - DAY</stage_direction> <scene_description>Mom 's car is in the driveway . Scotty goes up the walkway slowly . Benny just behind him . The gang lingers at the sidewalk . Scotty sets one foot on the PORCH and Bill comes out . He looks none - too - pleased . He towers over Scotty . The gang hangs their heads .</scene_description> <character>BILL</character> <dialogue>This better be good.</dialogue> <scene_description>Benny unpockets a little felt bag . Hands it to Scotty . He holds the bag up to a perplexed Bill , who opens it . He looks from Scotty to Benny and back again . Then . stares down at the `` Murderers ' Row '' ball .</scene_description> </scene> <scene> <stage_direction>EXT. SCOTTY'S HOUSE - BACKYARD - DAY</stage_direction> <scene_description>A BASEBALL sailing through the air . SMACK ! it 's caught in a brand new glove . Scotty 's new glove . Scotty snap throws the ball back to Bill . He and Scotty are having a great game of catch .</scene_description> <character>NARRATOR</character> <dialogue>It was weird that Benny said Babe Ruth was like the Hercules of baseball, and then The Beast's name turned out to be Hercules.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>It was also strange that Mr. Mertle had a Murderers' Row ball to replace the one signed by The Babe.</dialogue> <scene_description>Bill and Scotty smile as they fire the cowhide back and forth .</scene_description> <character>NARRATOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Some people might say that it was all a coincidence. but looking back at it now, it seems like everything was connected, just like me and Benny.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>It was like we were a part of the same myth as The Babe. the Myth of Baseball.</dialogue> <scene_description>Scotty 's mom sticks her head out the back door . She smiles , watching her `` two boys '' toss the ball around .</scene_description> <character>MOM</character> <dialogue>Guys, supper's ready.</dialogue> <character>DAD</character> <parenthetical>( FORMERLY BILL . )</parenthetical> <dialogue>Give us another ten minutes. I'm helpin' my boy break in his new glove.</dialogue> </scene> <scene> <stage_direction>INT. MR. MERTLE'S BASEBALL ROOM - DAY</stage_direction> <scene_description>Mr. Mertle sits contentedly behind his little `` diamond . '' The RADIO ANNOUNCER calls Maury Wills ' 104th steal of 1962 . MR. MERTLE 'S DIAMOND HIS HAND moves a wooden figure from 1st to 2nd . This tactile `` playing field '' becomes .</scene_description> </scene> <scene> <stage_direction>EXT. THE SANDLOT - DAY</stage_direction> <scene_description>this one , where the guys are playing ball . There 's a new addition to their team . A mascot . A big mascot . HERCULES in a t - shirt and cap . THE GUYS all play as if , somehow , this may be the last time they ever get to be a team . As they play , they 're `` sponged '' from the PICTURE in this order : Yeah - Yeah , Repeat and Timmy , Ham , DeNunez , Bertram , Squints , Hercules , Scotty , Benny .</scene_description> <character>NARRATOR</character> <dialogue>That was the last summer that we all got to play together. But it would stay with us forever.</dialogue> <parenthetical>( as they all dissolve : . )</parenthetical> <dialogue>Yeah - Yeah's parents shipped him off to military school. Timmy and Tommy grew up to build skyscrapers. Ham went to college and became a pediatrician. DeNunez played triple A ball and never got to the majors. Bertram got really into the sixities and no one ever saw him again. Squints grew up and married Wendy Peffercorn ; they bought the Five &amp; Dime and they still own it to this day. Hercules lived to be 199 years old. in human years.</dialogue> <scene_description>Everyone but Benny has vanished from the Sandlot .</scene_description> <character>NARRATOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>After Benny pickled the Beast, his reputation spread all over town. From then on he was known as Benny `` The Juet'' Rodriguez.</dialogue> <scene_description>BENNY 'S P.F. FLYER comes down on home plate and vanishes , leaving THE SANDLOT empty .</scene_description> <character>NARRATOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>The nickname stuck with him the rest of his life.</dialogue> </scene> <scene> <stage_direction>EXT. CHAVEZ RAVINE - PRESENT - DAY</stage_direction> <scene_description>Dodger stadium . A ROAR goes up inside the ballpark .</scene_description> <character>ANNOUNCER</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( FAMILIAR . )</parenthetical> <dialogue>That's a triple, and that'll put the winning run on third, with two out in the bottom of the ninth. What a shot!</dialogue> </scene> <scene> <stage_direction>EXT. DODGER STADIUM - INFIELD - DAY</stage_direction> <scene_description>From the dugout , TOMMY LASORDA calls for a pinch runner . A PLAYER comes out of the dugout , stripping off his warm - up jacket .</scene_description> <character>ANNOUNCER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Lasorda's sending in a pinch runner - and it'll be.</dialogue> <parenthetical>( DRAMATIC PAUSE . )</parenthetical> <dialogue>I do n't believe it! Lasorda's calling up the `` Old Man'' to pinch - run in the biggest clutch situation this season! They say the veteran's lost a step or two. But if I were you, I'd get ready for some fireworks.</dialogue> <scene_description>THE CROWD is on its feet as 40 - year - old BENNY `` THE JET '' RODRIGUEZ takes over third base from the PLAYER already there . They shake hands on the exchange . The 3rd base COACH walks over to The Jet . Pats him on the back .</scene_description> <character>COACH</character> <parenthetical>( GRINNING . )</parenthetical> <dialogue>Give'em hell, Jet.</dialogue> <character>THE JET</character> <dialogue>I'll do my best, Maury.</dialogue> <scene_description>The Coach moves into the coaching box . turning his back to us . Emblazoned across his jersey , is the name W I L L S . THE PITCHER takes the signal . THE JET leads off 3rd base - ten steps ! The Pitcher fires to 3rd . The Jet hand tags . THE PITCHER settles . THE JET leads off . Eleven steps . THE PITCHER fires to 3rd again . The Jet gets back . THE JET leads off again . Twelve steps . The pitch - strike . The CATCHER tosses it back . Just then . The Jet moves . So fast that no one knows he 's gone till it 's too damn late . The Pitcher awkwardly throws home . The Catcher wipes the baseline . Too late . the dust clears . The UMPIRE eagle - wings the air .</scene_description> <character>UMPIRE</character> <dialogue>SAFE! SAFE! SAFE!</dialogue> <scene_description>The tag missed by two feet . It 's all over . The Crowd jumps to its feet . The Dodger dugout is all over The Jet .</scene_description> <character>ANNOUNCER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The Dodgers win the pennant! The Dodgers win the pennant!</dialogue> <scene_description>The Jet breaks through his adoring teammates just long enough to give `` Thumbs Up '' to .</scene_description> <character>ANNOUNCER</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>I do n't believe it, the Old Man stole home! The Old Man -</dialogue> </scene> <scene> <stage_direction>INT. ANNOUNCER'S BOX - DAY</stage_direction> <scene_description>39 - year - old SCOTT SMALLS - The Announcer - who returns `` Thumbs Up . ''</scene_description> <character>SCOTT</character> <parenthetical>( after a pause . )</parenthetical> <dialogue>The Jet stole home! The Jet stole home!</dialogue> </scene> <scene> <stage_direction>EXT. DODGER STADIUM - INFIELD - DAY</stage_direction> <scene_description>The Jet signs autographs for swarming KIDS . As the CROWD 'S CHEERING CONTINUES and ECHOES into the past , we A FADED KODACHROME PHOTO of the 9 best -LRB- 11 - year - old -RRB- buddies that ever lived . On a makeshit baseball diamond - a sandlot . circa 1962 . They 're all holding something forward - displaying - one palm up , hand beneath another - together like the nine musketeers : A baseball . A baseball with a familiar smudge . END TITLES . FADE OUT . THE END</scene_description> </scene> </script>

In the summer of 1962, brainy, reserved fifth grader Scotty Smalls moves with his parents to the San Fernando Valley, where he has difficulty making friends. He tries to join a group of boys who play baseball daily in a local sandlot, but is embarrassed by his inability to catch or throw the ball. An attempt to learn to play catch with his stepfather, Bill, results in a black eye. Nevertheless, he is invited to join the team by their leader and best player, Benny Rodriguez, who mentors him. When catcher Hamilton "Ham" Porter hits a home run into a backyard, Scotty attempts to retrieve the ball but is stopped by the other boys, who tell him of "the Beast", a junkyard dog supposedly so large and savage that it has become a neighborhood legend. Many baseballs hit into the yard over the years have all been claimed by the Beast, which is kept chained up by its owner, Mr. Mertle. One particularly hot day, the boys visit the community pool. Michael "Squints" Palledorous has a crush on lifeguard Wendy Peffercorn, and fakes drowning in order to get her to administer mouth-to-mouth resuscitation. The sandlot team is banned from the pool, but Squints' reputation is boosted. On the Fourth of July the team plays a night game by the light of the fireworks, and Scotty observes that although to the rest of them baseball is just a game, it is Benny's true passion. Later, they are challenged to play against a rival Little League team whom they handily defeat. To celebrate, they visit a fair where they try chewing tobacco and ride a spinning carnival ride; the combination causes them to vomit all over themselves and others. One day, Benny hits the team's only baseball so hard that he knocks the cover off. With Bill away on business, Scotty borrows a baseball from his trophy room that is autographed by legendary player Babe Ruth. Being ignorant of baseball history, Scotty does not realize the ball's value, and hits his first home run, sending it into the Beast's yard. When the other boys learn of the autograph, they tell Scotty its value and make several attempts to get the ball out of the yard using makeshift retrieval devices, but each is destroyed by the Beast. Benny has a dream in which the spirit of Babe Ruth advises him to retrieve the ball himself, and that this will be the moment that makes him a legend. Benny goes over the fence and "pickles" the Beast to retrieve the ball, but the English Mastiff breaks its chain and leaps over the fence in pursuit. It chases Benny through town, resulting in several comedic situations, and eventually back to the sandlot. Benny jumps back into Mr. Mertle's yard, but the Beast crashes through the fence, which falls down on top of it. Scotty and Benny lift the fence to free the dog, who shows gratitude by leading them to its stash of baseballs. They meet Mr. Mertle, who turns out to be a former baseball player who played with Babe Ruth but went blind after being struck by a baseball. He kindly trades them the chewed-up ball for one autographed by all of the 1927 New York Yankees. Scotty gives this ball to Bill, and their father-and-son relationship improves. The boys continue to play baseball on the sandlot, with the Beast—whose real name is Hercules—as their mascot. Over the next few years, the sandlot kids go their separate ways. Benny's exploit with the Beast earns him the nickname "the Jet", and he goes on to play for the Los Angeles Dodgers. Scotty becomes a sports commentator, and covers a game against the San Francisco Giants in which Benny successfully steals home. Celebrating his victory, the two exchange thumbs up.

A Clockwork Orange_1971

tt0066921

<script> <scene> <character>A CLOCKWORK ORANGE</character> <dialogue>Screenplay</dialogue> <scene_description>by Stanley Kubrick Based on the novel by Anthony Burgess FADE IN:</scene_description> </scene> <scene> <stage_direction>INT. KOROVA MILKBAR - NIGHT</stage_direction> <scene_description>Tables, chairs made of nude fibreglass figures. Hypnotic atmosphere. Alex, Pete, Georgie and Dim, teenagers stoned on their milk-plus, thier feet resting on faces, crotches, lips of the sculptured furniture.</scene_description> <character>ALEX (V.O.)</character> <dialogue>There was me, that is Alex, and my three droogs, that is Pete, Georgie and Dim and we sat in the Korova milkbar trying to make up our rassoodocks what to do with the evening. The Korova Milk Bar sold milkplus, milk plus vellocet or synthemesc or drencrom which is what we were drinking. This would sharpen you up and make you ready for a bit of the old ultra- violence. Our pockets were full of money so there was no need on that score, but, as they say, money isn't everything.</dialogue> </scene> <scene> <stage_direction>INT. PEDESTRIAN UNDERPASS TUNNEL - NIGHT</stage_direction> <scene_description>A Tramp lying in tunnel, singing.</scene_description> <character>TRAMP</character> <dialogue>In Dublin's fair city Where the girls are so pretty I first set my eyes on sweet Molly Malone As she wheeled her wheelbarrow Through streets wide and narrow...</dialogue> <scene_description>Shadows of the boys approaching fall across Tramp.</scene_description> <character>TRAMP</character> <dialogue>Crying cockless and mussels alive, Alive O... Alive, alive O... Alive, alive O... Crying cockless and mussels alive, Alive O...</dialogue> <character>ALEX (V.O.)</character> <dialogue>One thing I could never stand is to see a filthy, dirty old drunkie, howling away at the filthy songs of his fathers and going blerp, blerp in between as it might be a filthy old orchestra in his stinking rotten guts. I could never stand to see anyone like that, whatever his age might be, but more especially when he was real old like this one was.</dialogue> <scene_description>The boys stop and applaud him.</scene_description> <character>TRAMP</character> <dialogue>Can you... can you spare some cutter, me brothers?</dialogue> <scene_description>Alex rams his stick into the Tramp's stomach. The boys laugh.</scene_description> <character>TRAMP</character> <dialogue>Oh-hhh!!! Go on, do me in you bastard cowards. I don't want to live anyway, not in a stinking world like this.</dialogue> <character>ALEX</character> <dialogue>Oh - and what's so stinking about it?</dialogue> <character>TRAMP</character> <dialogue>It's a stinking world because there's no law and order any more. It's a stinking world because it lets the young get onto the old like you done. It's no world for an old man any more. What sort of a world is it at all? Men on the moon and men spinning around the earth and there's not no attention paid to earthly law and order no more.</dialogue> <scene_description>The Tramp starts singing again.</scene_description> <character>TRAMP</character> <dialogue>Oh dear land, I fought for thee and brought you peace and victory.</dialogue> <scene_description>Alex and gang move in and start beating up on old Tramp.</scene_description> </scene> <scene> <stage_direction>INT. DERELICT CASINO - NIGHT</stage_direction> <scene_description>Billyboy gang on stage tearing clothes off a screaming Girl.</scene_description> <character>ALEX (V.O.)</character> <dialogue>It was around by the derelict casino that we came across Billyboy and his four droogs. They were getting ready to perform a little of the old in-out, in-out on a weepy young devotchka they had there.</dialogue> <scene_description>Alex and gang step out of the shadows.</scene_description> <character>ALEX</character> <dialogue>Ho, Ho, Ho... Well, if it isn't stinking Billygoat Billyboy in poison. How are thou, thou globby bottle of cheap stinking chip oil? Come and get one in the yarbles, if you have any yarbles, you eunuch jelly thou.</dialogue> <scene_description>Billyboy snaps open a switchblade knife.</scene_description> <character>BILLY BOY</character> <dialogue>Let's get 'em boys.</dialogue> <scene_description>The fight begins, chains, knives, kicking boots. Police siren.</scene_description> <character>ALEX</character> <dialogue>The Police... come on, let's go... come on.</dialogue> <scene_description>Alex and the boys rush out of casino.</scene_description> </scene> <scene> <stage_direction>EXT. / INT. CAR - NIGHT - FAST DRIVING SHOTS</stage_direction> <scene_description>Swerving car, forcing other cars off the road, trying to hit pedestrians, etc.</scene_description> <character>ALEX (V.O.)</character> <dialogue>The Durango-95 purred away real horrorshow - a nice, warm vibraty feeling all through your guttiwuts. Soon it was trees and dark, my brothers, with real country dark. We fillied around for a while with other travelers of the night, playing hogs of the road. Then we headed west, what we were after now was the old surprise visit, that was a real kick and good for laughs and lashing of the ultra-violent.</dialogue> </scene> <scene> <stage_direction>EXT. "HOME" - NIGHT</stage_direction> <scene_description>A cottage on its own, on outskirts of a village. Bright moonlight. Cheery light inside. Car pulls to stop. Alex shushes his giggling boys and gets out of the car.</scene_description> </scene> <scene> <stage_direction>INT. "HOME" - NIGHT</stage_direction> <scene_description>Mr. Alexander typing. Bell rings.</scene_description> <character>MR. ALEXANDER</character> <dialogue>Who on earth could that be?</dialogue> <character>MRS. ALEXANDER</character> <dialogue>I'll see.</dialogue> <scene_description>Mrs. Alexander, a good-looking red head in a red jumper suit.</scene_description> <character>MRS. ALEXANDER</character> <dialogue>Yes? Who is it?</dialogue> <character>ALEX</character> <dialogue>Excuse me, Mrs... will you please help, there's been a terrible accident.</dialogue> <scene_description>She opens the door on the chain and peeps out.</scene_description> <character>ALEX</character> <dialogue>My friend's lying in the middle of the road bleeding to death. Could I please use your telephone for an ambulance?</dialogue> <character>MRS. ALEXANDER</character> <dialogue>I'm sorry, but we don't have a telephone. You'll have to go somewhere else.</dialogue> <character>ALEX</character> <dialogue>But Mrs... it's a matter of life and death.</dialogue> <scene_description>From inside the sound of clack clacky clack clack clackity clackclack of Alexander typing stops.</scene_description> <character>MR. ALEXANDER</character> <dialogue>Who is it, dear?</dialogue> <character>MRS. ALEXANDER</character> <dialogue>There's a young man here. He says there's been an accident. He wants to use the telephone.</dialogue> <character>MR. ALEXANDER</character> <dialogue>Then you'd better let him in.</dialogue> <character>MRS. ALEXANDER</character> <dialogue>Wait a minute.</dialogue> <character>ALEX</character> <dialogue>Thank you, Mrs.</dialogue> <scene_description>Mrs. Alexander opens door, saying...</scene_description> <character>MRS. ALEXANDER</character> <dialogue>I'm sorry, we don't usually let people in in the middle of the night.</dialogue> <scene_description>Alex and boys have put on their masks and rush into house, carrying and dragging Mrs. Alexander along with them.</scene_description> </scene> <scene> <stage_direction>INT. HOME - NIGHT</stage_direction> <scene_description>They go roaring in. Mr. Alexander is kicked in the face and goes down. Georgie leaps on him. Pete jumps up and down and the settee. Dim grabs hold of Mrs. Alexander. Alex whistles piercingly.</scene_description> <character>ALEX</character> <dialogue>Right, Pete. Check the rest of the house.</dialogue> <scene_description>Alex turns to Dim who holds the struggling Mrs. Alexander.</scene_description> <character>ALEX</character> <dialogue>Dim...</dialogue> <scene_description>Dim sets her down but holds her firmly. Alex starts to sing - "Singin' in the Rain", accompanying it with a kind of tap dance.</scene_description> <character>ALEX</character> <parenthetical>(singing)</parenthetical> <dialogue>I'm singing in the rain...</dialogue> <scene_description>He kicks Mr. Alexander accenting the lyrics.</scene_description> <character>ALEX</character> <parenthetical>(singing)</parenthetical> <dialogue>Just singing in the rain...</dialogue> <scene_description>He clubs Mr. Alexander with stick, in the time to the music.</scene_description> <character>ALEX</character> <parenthetical>(singing)</parenthetical> <dialogue>What a glorious feeling, I'm happy again.</dialogue> <scene_description>He pushes a rubber ball into Mrs. Alexander's mouth and binds it with sellotape.</scene_description> <character>ALEX</character> <parenthetical>(singing)</parenthetical> <dialogue>I'm laughing at clouds so dark up above. The sun's in my heart and I'm ready for love. Let the stormy clouds chase...</dialogue> <scene_description>He kicks Mr. Alexander again.</scene_description> <character>ALEX</character> <parenthetical>(singing)</parenthetical> <dialogue>... everyone from the place. Come on with the rain...</dialogue> <scene_description>He puts ball in Mr. Alexander's mouth and sellotapes it.</scene_description> <character>ALEX</character> <parenthetical>(singing)</parenthetical> <dialogue>... I've a smile on my face. I'll walk down the lane... to a happy refrain. I'm singing... just singin' in the rain.</dialogue> <scene_description>He knocks down the book cases and moves to Mrs. Alexander being held by Dim. Starts to repeat on song as he cuts slowly up each leg of her cat suit, until she is naked. This coincidences with the song finishing. He turns to Mr. Alexander.</scene_description> <character>ALEX</character> <dialogue>Viddy well, my little Brother. Viddy well.</dialogue> </scene> <scene> <stage_direction>INT. KOROVA MILKBAR - NIGHT</stage_direction> <scene_description>The boys enter yawning..</scene_description> <character>ALEX (V.O.)</character> <dialogue>We were all feeling a bit shagged and fagged and fashed, it having been an evening of some small energy expenditure, O my brothers, so we got rid of the auto and stopped off at the Korova for a nightcap.</dialogue> <scene_description>Dim moves over to milk machine and speaks to the statue of the nude girl.</scene_description> <character>DIM</character> <dialogue>Hello Lucy, had a busy night?</dialogue> <scene_description>Puts money in machine.</scene_description> <character>DIM</character> <dialogue>We've been working hard too.</dialogue> <scene_description>Takes glass.</scene_description> <character>DIM</character> <dialogue>Pardon me. Luce.</dialogue> <scene_description>He raises glass to breast, pulls red handle between her legs. Milk spurts into glass. Dim joins the others. Alex looks at a party of tourists.</scene_description> <character>ALEX (V.O.)</character> <dialogue>There was some sophistos from the TV studios around the corner, laughing an govoreeting. The Devotchka was smecking away, and not caring about the wicked world one bit. Then the disc on the stereo twanged off and out, and in the short silence before the next one came on, she suddenly came with a burst of singing, and it was like for a moment, O my brothers, some great bird had flown into the milkbar and I felt all the malenky little hairs on my plott standing endwise, and the shivers crawling up like slow malenky lizards and then down again. Because I knew what she sang. It was a bit from the glorious 9th, by Ludwig van.</dialogue> <scene_description>Dim makes a lip-trump followed by a dog howl, followed by two fingers pronging twice in the air, followed by a clowny guffaw. Alex brings his stick down smartly on Dim's legs.</scene_description> <character>DIM</character> <dialogue>What did you do that for?</dialogue> <character>ALEX</character> <dialogue>For being a bastard with no manners and not a dook of an idea how to comport yourself publicwise, O my Brother.</dialogue> <character>DIM</character> <dialogue>I don't like you should do what you done. And I'm not your brother no more and wouldn't want to be.</dialogue> <character>ALEX</character> <dialogue>Watch that... Do watch that, O Dim, if to continue to be on live thou dost wish.</dialogue> <character>DIM</character> <dialogue>Yarbles, great bolshy yarblockos to you I'll meet you with chain, or nozh or britva, any time, not having you aiming tolchocks at me reasonless. It stands to reason, I won't have it.</dialogue> <character>ALEX</character> <dialogue>A nozh scrap any time you say.</dialogue> <scene_description>Dim weakens.</scene_description> <character>DIM</character> <dialogue>Doobidoob... a bit tired maybe, everybody is. A long night for growing malchicks... best not to say more. Bedways is rigthways now, so best we go homeways and get a bit of spatchka. Right, right.</dialogue> </scene> <scene> <stage_direction>INT. ALEX'S FLATBLOCK - MAIN LOBBY ENTRANCE - NIGHT</stage_direction> <scene_description>Alex passes a mural in the hall. Nude men and women. Their massive stylized bodies embellished and decorated by handy pencil and ballpoint. The elevator door is buckled.</scene_description> </scene> <scene> <stage_direction>INT. ALEX'S FLAT - NIGHT</stage_direction> <scene_description>Alex pees in toilet. Alex goes into his room. Tosses his loot into a drawer, full of money, wristwatches, cameras, etc. Fifty small loudspeakers cover one wall. He puts his pet boa constrictor on tree branch mounted on the wall, above four Christ figures who have their arms intertwined like a chorus line. He puts a cassette into the tape player. A heavy shockwave of sound - Beethoven's 9th.</scene_description> <character>ALEX (V.O.)</character> <dialogue>It had been a wonderful evening and what I needed now to give it the perfect ending was a bit of the old Ludwig van.</dialogue> <scene_description>Music starts.</scene_description> <character>ALEX (V.O.)</character> <dialogue>Then, brothers, it came. O bliss, bliss and heaven, oh it was gorgeousness and georgeosity made flesh. The trombones crunched redgold under my bed, and behind my gulliver the trumpets three-wise, silver-flamed and there by the door the timps rolling through my guts and out again, crunched like candy thunder. It was like a bird of rarest spun heaven metal or like silvery wine flowing in a space ship, gravity all nonsense now. As I slooshied, I knew such lovely pictures. There were veeks and ptitsas laying on the ground screaming for mercy and I was smecking all over my rot and grinding my boot into their tortured litsos and there were naked devotchkas ripped and creeching against walls and I plunging like a shlaga into them.</dialogue> </scene> <scene> <stage_direction>INT. ALEX'S FLAT - DAY</stage_direction> <scene_description>He is asleep. The boa curled up at his feet. There is a knock on the door.</scene_description> <character>ALEX</character> <dialogue>What d'you want?</dialogue> <character>EM</character> <dialogue>It's past eight, Alex, you don't want to be late for school, son.</dialogue> <character>ALEX</character> <dialogue>Bit of pain in the gulliver, Mum. Leave us be and I'll try to sleep it off... then I'll be as right as dodgers for this after.</dialogue> <character>EM</character> <dialogue>You've not been to school all week, son.</dialogue> <character>ALEX</character> <dialogue>I've got to rest, Mum... got to get fit, otherwise I'm liable to miss a lot more school.</dialogue> <character>EM</character> <dialogue>Eeee... I'll put your breakfast in the oven. I've got to be off myself now.</dialogue> <character>ALEX</character> <dialogue>Alright, Mum... have a nice day at the factory.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN - DAY</stage_direction> <scene_description>Pee sitting at breakfast table. Em enters.</scene_description> <character>EM</character> <dialogue>He's not feeling too good again this morning, Dad.</dialogue> <character>PEE</character> <dialogue>Yes, I heard. D'you know what time he got in last night?</dialogue> <character>EM</character> <dialogue>No I don't know, luv, I'd taken my sleepers.</dialogue> <character>PEE</character> <dialogue>I wonder where exactly is it he goes to work of evenings.</dialogue> <character>EM</character> <dialogue>Well, like he says, it's mostly odd things he does, helping like... here and there, as it might be.</dialogue> </scene> <scene> <stage_direction>INT. EM'S BEDROOM - DAY</stage_direction> <scene_description>Alex comes out of his room and finds P.R. Deltoid sitting on bed in parent's room.</scene_description> <character>ALEX</character> <dialogue>Hi, hi, hi there, Mr. Deltoid, funny surprise to see you here.</dialogue> <character>DELTOID</character> <dialogue>Ah, Alex boy, awake at last, yes? I met your mother on the way to work, yes? She gave me the key. She said something about a pain somewhere... hence not at school , yes?</dialogue> <character>ALEX</character> <dialogue>A rather intolerable pain in the head, brother, sir. I think it should be clear by this afterlunch.</dialogue> <character>DELTOID</character> <dialogue>Oh, or certainly by this evening, yes? The evening's a great time, isn't it, Alex boy?</dialogue> <character>ALEX</character> <dialogue>A cup of the old chai, sir?</dialogue> <character>DELTOID</character> <dialogue>No time, no time, yes. Sit, sit, sit.</dialogue> <scene_description>Alex sits next to him.</scene_description> <character>ALEX</character> <dialogue>To what do I owe this extreme pleasure, sir? Anything wrong, sir?</dialogue> <scene_description>Deltoid "playfully" grabs Alex's hair.</scene_description> <character>DELTOID</character> <dialogue>Wrong? Why should you think of anything being wrong, have you been doing something you shouldn't. Yes?</dialogue> <scene_description>He shakes Alex's hair.</scene_description> <character>ALEX</character> <dialogue>Just a manner of speech, sir.</dialogue> <character>DELTOID</character> <dialogue>Well, yes, it's just a manner of speech from your Post Corrective Advisor to you that you watch out, little Alex.</dialogue> <scene_description>He puts his arm round Alex's shoulder.</scene_description> <character>DELTOID</character> <dialogue>Because next time it's going to be the barry place and all my work ruined. If you've no respect for your horrible self, you at least might have some for me who'se sweated over you.</dialogue> <scene_description>He slaps Alex on the knee.</scene_description> <character>DELTOID</character> <dialogue>A big black mark I tell you for every one we don't reclaim. A confession of failure for every one of you who ends up in the stripy hole.</dialogue> <character>ALEX</character> <dialogue>I've been doing nothing I shouldn't, sir. The millicents have nothing on me, brother, sir, I mean.</dialogue> <scene_description>Deltiod pulls Alex down on the bed.</scene_description> <character>DELTOID</character> <dialogue>Cut out all this clever talk about milicents. Just because the Police haven't picked you up lately doesn't, as you very well know, mean that you've not been up to some nastiness. There was a bit of a nastiness last night, yes. Some very extreme nastiness, yes. A few of a certain Billyboy's friends were ambluenced off late last night, yes. Your name was mentioned, the word's got thru to me by the usual channels. Certain friends of yours were named also. Oh, nobody can prove anything about anybody as usual, but I'm warning you, little Alex, being a good friend to you as always, the one man in this sore and sick community who wants to save you from yourself.</dialogue> <scene_description>Deltoid makes a grab for Alex's joint but finds his hand instead. Alex laughs. Derisively and rises. Deltoid distractedly reaches for a glass of water on the night table, and fails to notice a set of false teeth soaking in them. He drinks from the glass. The clink of the teeth sounding like ice-cubes.</scene_description> <character>DELTOID</character> <dialogue>What gets into you all? We study the problem. We've been studying it for damn well near a century, yes, but we get no further with our studies. You've got a good home here, good loving parents, you've got not too bad of a brain. Is it some devil that crawls inside of you?</dialogue> <character>ALEX</character> <dialogue>Nobody's got anything on me, brother, sir. I've been out of the rookers of the milicents for a long time now.</dialogue> <character>DELTOID</character> <dialogue>That's just worries me. A bit too long to long to be reasonable. You're about due now by my reckoning, that's why I'm warning you, little Alex, to keep your handsome young proboscis out of the dirt. Do I make myself clear?</dialogue> <character>ALEX</character> <dialogue>As an unmuddied lake, sir. Clear as an azure sky of deepest summer. You can rely on me, sir.</dialogue> <scene_description>Deltoid drinks again but this time sees the teeth in the glass. He groans and retches.</scene_description> </scene> <scene> <stage_direction>INT. MUSIC BOOTICK - DAY</stage_direction> <scene_description>Alex enters. Two pretty micro-boppers, Marty and Sonietta, sucking phallic ice sticks.</scene_description> <character>ALEX</character> <dialogue>Pardon me, brother. I ordered this two weeks ago. Could you see if it's arrived.</dialogue> <character>CLERK</character> <dialogue>OK. I'll see if it's in.</dialogue> <scene_description>Clerk exits. Alex turns to the girls.</scene_description> <character>ALEX</character> <dialogue>Pardon me, ladies</dialogue> <scene_description>He steps in between them and goes through the motions, looking through.</scene_description> <character>ALEX</character> <dialogue>Enjoying it then, my darling?... A bit cold and pointless isn't it, my lovely... What's happened to yours, my little sister?</dialogue> <scene_description>Marty giggles.</scene_description> <character>MARTY</character> <dialogue>Who you getten bratty, Goggly Gogol? Johnny Zhivago? The Heaven Seventeen?</dialogue> <character>ALEX</character> <dialogue>What you got back home, little sister, to play your fuzzy warbles on? I bet you got little save pitiful portable picnic players. Come with Uncle and hear all proper. Hear angel trumpets and devil trombones. You are invited.</dialogue> </scene> <scene> <stage_direction>INT. ALEX'S BEDROOM - DAY</stage_direction> <scene_description>The two girls, naked, jumping up and down on Alex's still unmade bed zonked by the booming, all engulfing sound of Alex's incredible Hi-Fi.</scene_description> </scene> <scene> <stage_direction>INT. ALEX'S FLATBLOCK - LOBBY HALL - DAY</stage_direction> <scene_description>Alex finds the gang waiting for him.</scene_description> <character>ALEX</character> <dialogue>Hi, hi, hi, there</dialogue> <character>ALL THREE</character> <dialogue>Well, hello.</dialogue> <character>DIM</character> <dialogue>He are here! He have arrived! Hooray!</dialogue> <character>ALEX</character> <dialogue>Welly, welly, welly, welly, welly, welly, well. To what do I owe the extreme pleasure of this surprising visit?</dialogue> <scene_description>Georgie rises.</scene_description> <character>GEORGIE</character> <dialogue>We got worried. There we were waiting and drinking away at the old knify Moloko and you had not turned up and we thought you might have been like offended by something or other, so around we come to your abode.</dialogue> <character>ALEX</character> <dialogue>Appy polly loggies. I had something of a pain in the guliver so had to sleep. I was not awakened when I gave orders for awakening.</dialogue> <character>DIM</character> <dialogue>Sorry about the pain. Using the guliver to much like, eh? Giving orders and disciplining and that perhaps, eh? You sure the pain's gone? You sure you'll not be happier back up in bed.</dialogue> <character>ALEX</character> <dialogue>Lets get things nice and sparkling clear. This sarcasm, if I may call it such, does not become you, O my brothers. As I am your droog and leader, I am entitled to know what goes on, eh? Now then, Dim, what does that great big horsy gape of a grin portend?</dialogue> <character>GEORGIE</character> <dialogue>All right, no more picking on Dim, brother. That's part of the new way.</dialogue> <character>ALEX</character> <dialogue>New way? What's this about a new way? There's been some very large talk behind my sleeping back, and no error. Let me hear more.</dialogue> <character>GEORGIE</character> <dialogue>Well, we go round shop crasting and the like, coming out with a pitiful rookerful of money each.</dialogue> <character>DIM</character> <dialogue>Pitiful rookerful...</dialogue> <character>GEORGIE</character> <dialogue>And there's Will the English in the Muscleman coffee mesto saying he can fence anything that anything that any malchick tries to crast.</dialogue> <character>DIM</character> <dialogue>Yeah... Pete the English.</dialogue> <character>GEORGIE</character> <dialogue>The shiny stuff. The Ice. The big, big, big money is available's what Will the English says.</dialogue> <character>DIM</character> <dialogue>Big, big money.</dialogue> <character>ALEX</character> <dialogue>And what will you do with the big, big, money? Have you not everything you need? If you need a motor-car, you pluck it from the trees. If you need pretty polly, you take it.</dialogue> <character>GEORGIE</character> <dialogue>Brother, you think and talk sometimes like a little child. Tonight we pull a mansize crast.</dialogue> <character>ALEX</character> <dialogue>Good. Real horrorshow. Initiative comes to them as waits. I've taught you much, my little droogies. Now tell me what you have in mind, Georgie Boy.</dialogue> <character>GEORGIE</character> <dialogue>Oh, the old moloko-plus first, would you not say</dialogue> <character>DIM</character> <dialogue>Moloko-plus.</dialogue> <character>GEORGIE</character> <dialogue>Something to sharpen us up, you especially. We have the start.</dialogue> </scene> <scene> <stage_direction>EXT. FLATBLOCK MARINE - DAY</stage_direction> <scene_description>The gang come out of the flatblock and walk along the marina.</scene_description> <character>ALEX (V.O.)</character> <dialogue>As we walked along the flatblock marina, I was calm on the outside but thinking all the time, so now it was to be Georgie the General, saying what we should do and what not to do, and Dim as his mindless, grinning bulldog. But, suddenly, I viddied that thinking was for the gloopy ones and that the oomny ones use like inspiration and what Bog sends, for now it was lovely music that came to my aid and I viddied at once what to do. There was a window open with the stereo on.</dialogue> <scene_description>IN SLOW MOTION Alex clubs Georgie into water with his stick. Dim swings chain. Alex ducks. Dim goes into water. Alex kneels, hands behind back, takes knife from sword stick, offers hand to help Dim, and slashes Dim when he gets it. Dim falls back into the water. Alex laughs.</scene_description> </scene> <scene> <stage_direction>INT. DUKE OF NEW YORK PUB</stage_direction> <scene_description>The four boys sit round table.</scene_description> <character>ALEX (V.O.)</character> <dialogue>I had not put into any of Dim's main cables and so, with the help of a clean tashtook, the red, red kroovy stopped, and it did not take long to quieten the two wounded soldiers, down in the snug in the Duke of New York. Now they knew who was Master and Leader. Sheep, thought I, but a real leader knows always when like to give and show generous to his unders.</dialogue> <character>ALEX</character> <dialogue>Well, now we're back to where we were. Yes? Just like before and all forgotten? Right, right, right.</dialogue> <character>ALL BOYS</character> <dialogue>Right. Right. Right.</dialogue> <character>ALEX</character> <dialogue>Well, Georgie Boy. This idea you've got for tonight. Well, tell us all about it then.</dialogue> <character>GEORGIE</character> <dialogue>Not tonight - not this nochy.</dialogue> <character>ALEX</character> <dialogue>Come, come, come, Georgie Boy. You're a big strong chelloveck like us all. We're not little children, are we, Georgie Boy? What, then, didst thou in thy mind have?</dialogue> <scene_description>Confrontation. Georgie backs down.</scene_description> <character>GEORGIE</character> <dialogue>It's this Health Farm. A bit out of the town. Isolated. It's owned by this like very rich ptitsa who lives there with her cats. The place is shut down for a week and she's completely on her own, and it's full up with like gold and silver and like jewels.</dialogue> <character>ALEX</character> <dialogue>Tell me more, Georgie Boy.</dialogue> </scene> <scene> <stage_direction>INT. CATLADY'S HOUSE</stage_direction> <scene_description>Catlady doing yoga exercises. Room is full of cats. Doorbell rings.</scene_description> <character>CATLADY</character> <parenthetical>(softly to herself)</parenthetical> <dialogue>Oh shit.</dialogue> <scene_description>She goes to the door.</scene_description> </scene> <scene> <stage_direction>EXT. CATLADY'S HOUSE</stage_direction> <character>CATLADY</character> <dialogue>Who's there?</dialogue> <character>ALEX</character> <dialogue>Excuse me, missus, can you please help? There's been a terrible accident. Can I please use your telephone for an ambulance?</dialogue> <character>CATLADY</character> <dialogue>I'm frightfully sorry. There is a telephone in the Public House about a mile down the road. I suggest you use that.</dialogue> <character>ALEX</character> <dialogue>But, missus, this is an emergency. It's a matter of life and death. Me friend's lying in the middle of the road bleeding to death.</dialogue> <character>CATLADY</character> <dialogue>I... I'm very sorry, but I never open. I'm very sorry but I never open the door to strangers after dark.</dialogue> <character>ALEX</character> <dialogue>Very well, madam. I suppose you can't be blamed for being suspicious with so many scoundrels and rouges of the night about.</dialogue> <scene_description>Alex walks away from door, then ducks into the bushes where the others are hiding. They put on their maskies and follow Alex round to the rear of the house.</scene_description> <character>ALEX</character> <dialogue>Dim, bend down.</dialogue> <parenthetical>(Alex points to an upstairs window)</parenthetical> <dialogue>I'm gonna get in that window and open the front door.</dialogue> <scene_description>He climbs up drain-pipe to the bathroom window.</scene_description> </scene> <scene> <stage_direction>INT. CADLADY'S HOUSE</stage_direction> <scene_description>The Catlady enters and dials a number.</scene_description> <character>CATLADY</character> <dialogue>Hullo, Radlett Police Station. Good evening. It's Miss Weathers at Woodmere Health Farm. Look, I'm frightfully sorry to bother you but something rather odd has just happened... Well, it's probably nothing at all, but you never know... Well, a young man rang the bell asking to use the telephone... He said there had been some kind of accident. The thing that caught my attention was what he said - the words he used, sounded exactly like what was quoted in the papers this morning in connection with the writer and his wife who were assaulted last night... Well, just a few minutes ago... Well, if you think that's necessary, but, well, I'm quite sure he's gone away now. Oh... alright. Fine. Thank you very much. Thank you.</dialogue> <scene_description>She puts phone down, turns and nearly jumps out of her leotard when she sees Alex in the doorway.</scene_description> <character>ALEX</character> <dialogue>Hi, hi, hi there, at last we meet.</dialogue> <character>CATLADY</character> <dialogue>What the bloody hell d'you think you're doing?</dialogue> <character>ALEX</character> <dialogue>Our brief govereet thru the letter hole was not, shall we say, satisfactory, yes?</dialogue> <character>CATLADY</character> <dialogue>Now listen here, you little bastard, just you turn around and walk out of here the same way as you came in.</dialogue> <scene_description>Alex eyes a giant white, fibreglass phallic sculpture on the table beside him.</scene_description> <character>ALEX</character> <dialogue>Naughty, naughty, naughty, you filthy old soomaka.</dialogue> <character>CATLADY</character> <dialogue>No! No! Don't touch it. That's a very important work of art. What the bloody hell do you want?</dialogue> <character>ALEX</character> <dialogue>You see, madam, I am part of an international student's contest to see who can get the most points for selling magazines.</dialogue> <character>CATLADY</character> <dialogue>Cut the shit, sonny, and get out of here before you get yourself in some very serious trouble.</dialogue> <scene_description>He rocks the giant phallus which has a special weight swinging inside causing it to swing up and down an eccentric motion.</scene_description> <character>CATLADY</character> <dialogue>I told you to leave it alone. Now get out of here before I throw you out, wretched slummy bedbug. I'll teach you breaking into real people's houses. Get out!</dialogue> <scene_description>She grabs up a bust of Beethoven and rushes at Alex. He grabs the giant phallic sculpture. Circling, Alex fends off her mad rushes with skilful jabs of the giant phallus. She ducks under and clobbers him with the heavy bust of Beethoven. He goes down, pulling her off balance and they both wind up the floor. In the struggle, Alex bashes her with the phallus. Distant Police sirens. He exits.</scene_description> </scene> <scene> <stage_direction>EXT. CATLDAY'S HOUSE - NIGHT</stage_direction> <scene_description>Alex rushes out. Dim and the others are waiting.</scene_description> <character>ALEX</character> <dialogue>Come on. Let's go, the police are coming.</dialogue> <character>DIM</character> <dialogue>One minoota, droogie.</dialogue> <scene_description>Dim smashes Alex in the face with a full milk bottle. He goes down. The others run away, laughing.</scene_description> <character>ALEX</character> <parenthetical>(screaming)</parenthetical> <dialogue>You bastards... bastards.</dialogue> </scene> <scene> <stage_direction>INT. POLICE HQ - NIGHT</stage_direction> <scene_description>Inspector takes out cigarette and lights up.</scene_description> <character>INSPECTOR</character> <dialogue>Right. Right , Tom, we'll have to our little friend, Alex, here that we know the law, too, but that knowing the law isn't everything.</dialogue> <scene_description>He nods to Fatneck.</scene_description> <character>FATNECK</character> <dialogue>That's a nasty cut you've got there, little Alex. Spoils... all your beauty. Who gave you that then... eh... eh...</dialogue> <scene_description>He presses Alex's nose, inflicting great pain. Alex sinks to his knees.</scene_description> <character>ALEX</character> <dialogue>Ow... what's that for, you bastard?</dialogue> <character>FATNECK</character> <dialogue>That was for your lady victim. You ghastly wretched scoundrel.</dialogue> <scene_description>Alex grabs his balls. Alex is beaten by the other Cop. Inspector exits to outside office where Sergeant sits, sipping a cup of tea. Deltoid has just entered.</scene_description> <character>INSPECTOR</character> <dialogue>Sergeant.</dialogue> <character>SERGEANT</character> <dialogue>Sir.</dialogue> <character>INSPECTOR</character> <dialogue>Ah, good evening, Mr. Deltoid.</dialogue> <character>DELTOID</character> <dialogue>Evening, Inspector.</dialogue> <character>SERGEANT</character> <dialogue>Would you like your tea now, sir?</dialogue> <character>INSPECTOR</character> <dialogue>No, thank you, Sergeant. We'll have it later. May I have some paper towels, please.</dialogue> <character>SERGEANT</character> <dialogue>Yes, sir.</dialogue> <character>INSPECTOR</character> <dialogue>We're interrogating the prisoner now. Perhaps you'd care to come inside.</dialogue> <character>DELTOID</character> <dialogue>Thank you very much</dialogue> <scene_description>They move into Interrogation Room. Alex is on the floor in the corner covered with blood.</scene_description> <character>DELTOID</character> <dialogue>Evening, Sergeant. Evening, all. Dear, dear, this boy does look a mess, doesn't he? Just look at the state of him.</dialogue> <character>FATNECK</character> <dialogue>Love's young nightmare like.</dialogue> <character>INSPECTOR</character> <dialogue>Violence makes violence. He resisted his lawful arrestors.</dialogue> <character>DELTOID</character> <dialogue>Well, it's happened, Alex boy, yes. Just as I thought it would, yes. Dear, dear, dear. Well, this is the end of the line for me... the end of the line, yes.</dialogue> <character>ALEX</character> <dialogue>It wasn't me, brother, sir. Speak up for me, sir, for I'm not so bad. I was led on by the treachery of others, sir.</dialogue> <character>INSPECTOR</character> <dialogue>Sings the roof off lovely, he does that.</dialogue> <character>ALEX</character> <dialogue>And where are my stinking traitorous droogs. Get them before the get away. It was all their idea, brothers. They forced me to do it. I'm innocent.</dialogue> <character>DELTOID</character> <dialogue>You are now a murderer, little Alex. A murderer, yes.</dialogue> <character>ALEX</character> <dialogue>Not true, sir. It was only a slight tolchock. She was breathing, I swear it.</dialogue> <character>DELTOID</character> <dialogue>I've just come back from the hospital. Your victim has died.</dialogue> <character>ALEX</character> <dialogue>You try to frighten me, sir, admit so, sir. This is some new form of torture. Say it, brother, sir.</dialogue> <character>DELTOID</character> <dialogue>It will be your own torture. I hope to God it will torture you to madness.</dialogue> <character>FATNECK</character> <dialogue>If you'd care to give him a bash in the chops, sir. Don't mind us. We'll hold him down. He must be a great disappointment to you, sir.</dialogue> <scene_description>Deltoid spits in Alex's face. HELICOPTER VIEWS OF PRISON</scene_description> <character>ALEX (V.O.)</character> <dialogue>This is the real weepy and like tragic part of the story beginning, O my brothers and only friends. After a trial with judges and a jury, and some very hard words spoken against your friend and humble narrator, he was sentenced to 14 years in Staja No. 84F among smelly perverts and hardened prestoopnicks, the shock sending my dadda beating his bruised and kroovy rookas against unfair Bog in his Heaven, and my mom, boohoohooing in her mother's grief as her only child and son of her bosom, like letting everybody down real horrorshow.</dialogue> </scene> <scene> <stage_direction>INT. PRISON CHECK-IN ROOM - DAY</stage_direction> <scene_description>A bell rings and a Warder goes and unlocks first a wooden door and then a barred door.</scene_description> <character>GUARD</character> <dialogue>Morning. One up from Thames, Mister.</dialogue> <character>WARDER</character> <dialogue>One in from Thames, sir.</dialogue> <character>CHIEF GUARD</character> <dialogue>Right. Open up, Mister.</dialogue> <character>WARDER</character> <dialogue>Yes, sir.</dialogue> <scene_description>He opens door and steps back. Alex and another Warden move to Reception desk.</scene_description> <character>WARDER</character> <dialogue>Good morning, sir. Committal sheet.</dialogue> <character>CHIEF GUARD</character> <parenthetical>(who shouts everything)</parenthetical> <dialogue>Thank you, Mister.</dialogue> <scene_description>He signs sheet.</scene_description> <character>GUARD</character> <dialogue>Name?</dialogue> <character>ALEX</character> <dialogue>Alexander de Large.</dialogue> <character>CHIEF GUARD</character> <dialogue>You are now in H.M. Prison Parkmoor and from this moment you will address all prison officers as sir! Name?</dialogue> <character>ALEX</character> <dialogue>Alexander de Large, sir.</dialogue> <character>CHIEF GUARD</character> <dialogue>Crime?</dialogue> <character>ALEX</character> <dialogue>Murder, sir.</dialogue> <character>CHIEF GUARD</character> <dialogue>Right. Take the cuffs off him, Mister.</dialogue> <scene_description>The cuffs are removed.</scene_description> <character>CHIEF GUARD</character> <dialogue>You are now 655321 and it is your duty to memorise that number.</dialogue> <scene_description>He hands clipboard back to Warder.</scene_description> <character>CHIEF GUARD</character> <dialogue>Thank you Mister. Well done.</dialogue> <character>WARDER</character> <dialogue>Thank you, chief.</dialogue> <character>CHIEF GUARD</character> <dialogue>Let the officer out.</dialogue> <scene_description>Officer exits.</scene_description> <character>CHIEF GUARD</character> <dialogue>Right. Empty your pockets!</dialogue> <scene_description>Alex moves to desk and leans forward.</scene_description> <character>CHIEF GUARD</character> <dialogue>Are you able to see that white line painted on the floor directly behind you, 655321?</dialogue> <character>ALEX</character> <dialogue>Yes, sir.</dialogue> <character>CHIEF GUARD</character> <dialogue>Then your toes belong on the other side of it!!!</dialogue> <character>ALEX</character> <dialogue>Yes sir.</dialogue> <character>CHIEF GUARD</character> <dialogue>Right carry on.</dialogue> <scene_description>Alex tosses a bar of chocolate on the desk.</scene_description> <character>CHIEF GUARD</character> <dialogue>Pick that up and put it down properly.</dialogue> <scene_description>Alex does so, and continues to empty his pockets.</scene_description> <character>CHIEF GUARD</character> <dialogue>One half bar of chocolate. One bunch of keys on white metal ring. One packet of cigarettes. Two plastic ball pens - one black, one red. One pocket comb - black plastic. One address book - imitation red leather. One ten penny piece. One white metal wristlet watch, "Timawrist" on a white metal expanding bracelet. Anything else in your pockets?</dialogue> <character>ALEX</character> <dialogue>No, sir.</dialogue> <character>CHIEF GUARD</character> <dialogue>Right. Sign here for your valuable property.</dialogue> <scene_description>Alex signs.</scene_description> <character>CHIEF GUARD</character> <dialogue>The chocolate and cigarettes you brought in - you lose that as you are now convicted. Now go over to the table and get undressed.</dialogue> <scene_description>Alex walks to table and undresses. Chief Guard moves to table with his clipboard.</scene_description> <character>CHIEF GUARD</character> <dialogue>Now then, were you in Police custody this morning?</dialogue> <character>ALEX</character> <dialogue>No, sir.</dialogue> <character>CHECK-IN</character> <dialogue>One jacket - blue pinstripe.</dialogue> <character>CHIEF GUARD</character> <dialogue>Prison custody?</dialogue> <character>ALEX</character> <dialogue>Yes, sir On remnd, sir.</dialogue> <character>CHECK-IN</character> <dialogue>One neck tie - blue.</dialogue> <character>CHIEF GUARD</character> <dialogue>Religion?</dialogue> <character>ALEX</character> <dialogue>C of E, sir.</dialogue> <character>CHIEF GUARD</character> <dialogue>Do you mean Church of England?</dialogue> <character>ALEX</character> <dialogue>Yes, sir, Church of England, sir.</dialogue> <character>CHIEF GUARD</character> <dialogue>Brown hair, is it?</dialogue> <character>ALEX</character> <dialogue>Fair hair, sir.</dialogue> <character>CHIEF GUARD</character> <dialogue>Blue eyes?</dialogue> <character>ALEX</character> <dialogue>Blue eyes, yes, sir.</dialogue> <character>CHIEF GUARD</character> <dialogue>Do you wear eye glasses or contact lenses?</dialogue> <character>ALEX</character> <dialogue>No, sir.</dialogue> <character>CHECK-IN</character> <dialogue>One shirt - blue, collar attached.</dialogue> <character>CHIEF GUARD</character> <dialogue>Have you been receiving medical treatment for any serious illness?</dialogue> <character>ALEX</character> <dialogue>No, sir.</dialogue> <character>CHECK-IN</character> <dialogue>One pair of boots - black leather, zippered, worn.</dialogue> <character>CHIEF GUARD</character> <dialogue>Have you ever had any mental illness?</dialogue> <character>ALEX</character> <dialogue>No, sir.</dialogue> <character>CHIEF GUARD</character> <dialogue>Do you wear any false teeth or false limbs?</dialogue> <character>ALEX</character> <dialogue>No, sir.</dialogue> <character>CHECK-IN</character> <dialogue>One pair of trousers - blue pinstriped.</dialogue> <character>CHIEF GUARD</character> <dialogue>Have you ever had any attacks of fainting or dizziness?</dialogue> <character>ALEX</character> <dialogue>No, sir.</dialogue> <character>CHECK-IN</character> <dialogue>One pair of socks - black.</dialogue> <character>CHIEF GUARD</character> <dialogue>Are you an Epileptic?</dialogue> <character>ALEX</character> <dialogue>No, sir.</dialogue> <character>CHECK-IN</character> <dialogue>One pair of underpants - white with blue waistband.</dialogue> <character>CHIEF GUARD</character> <dialogue>Are you now, or ever have been, a homosexual?</dialogue> <character>ALEX</character> <dialogue>No, sir.</dialogue> <character>CHIEF GUARD</character> <dialogue>Right. The mothballs, Mister.</dialogue> <character>CHECK-IN</character> <dialogue>Mothballs, sir.</dialogue> <character>CHIEF GUARD</character> <dialogue>Now then. Face the wall. Bend over and touch your toes.</dialogue> <scene_description>Chief Guard inspects Alex's anus with a penlight.</scene_description> <character>CHIEF GUARD</character> <dialogue>Mmmmmmm... any venereal disease?</dialogue> <character>ALEX</character> <dialogue>No, sir.</dialogue> <character>CHIEF GUARD</character> <dialogue>Crabs?</dialogue> <character>ALEX</character> <dialogue>No, sir.</dialogue> <character>CHIEF GUARD</character> <dialogue>Lice?</dialogue> <character>ALEX</character> <dialogue>No, sir.</dialogue> <character>CHIEF GUARD</character> <dialogue>Through there for a bath.</dialogue> <character>ALEX</character> <dialogue>Yes, sir.</dialogue> </scene> <scene> <stage_direction>INT. PRISON CHAPEL - DAY</stage_direction> <scene_description>Priest in pulpit big rough state-proper type. Convict audience. Alex sits apart tending an overhead projector.</scene_description> <character>PRIEST</character> <dialogue>I ask you friends. What's it going to be then? Is it going to be in and out of institutions like this?Or more in then out for most of you? Or are you going to attend the divine word and realise the punishment that awaits unrepentant sinners in the next world as well as this. A lot of Idiots you are, selling your birthright for a saucer of cold porridge. The urge to live easy. I ask you friends, is it worth it? When we have undeniable proof - yes, my friends, incontrovertible evidence that Hell exists. I know, I know, my friends. I have been informed in visions that there is a place darker than any prison, hotter than any human flame of fire, where unrepentant criminals, sinners like yourselves...</dialogue> <scene_description>A convict burps. All laugh.</scene_description> <character>PRIEST</character> <dialogue>Don't you laugh, damn you, don't you laugh. I say like yourselves - scream in endless and unendurable agony. Their nostrils choked with the smell of filth, their mouths crammed with burning ordure. Their skins rotting and peeling. A fireball spinning in their screaming guts. I know... oh yes, I know.</dialogue> <scene_description>A convict lets rip some lip music - prrrrrrrp. There is laughter. Chief Guard moves forward - points.</scene_description> <character>CHIEF GUARD</character> <dialogue>I saw you, 920537. I saw you.</dialogue> <character>CONVICT</character> <dialogue>Up yours, mate.</dialogue> <character>CHIEF GUARD</character> <dialogue>Just you wait, 744678. One on the turnip coming up for you.</dialogue> <character>PRIEST</character> <dialogue>Quiet, my friends. Quiet. Quiet, I say. We will now sing Hymn 258 in the Prisoner's Hymnal.</dialogue> <scene_description>Piano starts up and Alex starts up overhead projector which displays the words of the hymn.</scene_description> <character>CHIEF GUARD</character> <dialogue>Show a little reverence, you bastards. Quiet!</dialogue> <scene_description>Convicts and all start to sing.</scene_description> <character>SINGING</character> <dialogue>I was a wandering sheep. I did not love...</dialogue> <character>CHIEF GUARD</character> <dialogue>Sing up damn you. Louder, sing up.</dialogue> <character>SINGING</character> <dialogue>... the fold I did not love my shepherd's voice. I would not be controlled.</dialogue> <character>CHIEF GUARD</character> <dialogue>Come on, sing up, damn you.</dialogue> <character>SINGING</character> <dialogue>I was a wayward child I did not love my home I did not love my father's voice I loved afar to roam.</dialogue> <character>ALEX (V.O.)</character> <dialogue>It had not been edifying, indeed not, being in this hell hole and human zoo for two years now, being kicked and tolchocked by brutal warders, and meeting leering criminals and perverts ready to dribble all over a lucious young malchick like your story-teller.</dialogue> </scene> <scene> <stage_direction>INT. PRIEST'S LIBRARY - DAY</stage_direction> <scene_description>Alex reading the Bible.</scene_description> <character>ALEX (V.O.)</character> <dialogue>It was my rabbit to help the prison charlie with the Sunday service. He was a bolshy great burly bastard, but he was very fond of myself, me being very young, and also now very interested in the big book.</dialogue> <scene_description>Priest walks by and nods pleasantly.</scene_description> <character>ALEX (V.O.)</character> <dialogue>It had been arranged by the prison charlie, as part of my further education to read him the Bible. I didn't so much like the latter part of the book which is more like all preachy talking, than fighting and the old in-out. I liked the parts where these old yahoodies tolchock each other and then drink their Hebrew vino and, then getting on to the bed with their wives' handmaidens. That kept me going.</dialogue> <scene_description>BIBLE FANTASY - FIGHTING - DAY Biblical fighting shot. Alex slashing away. Blood spurting. HANDMAIDEN FANTASY IN TENT - DAY Alex lying with three semi-nude handmaidens.</scene_description> </scene> <scene> <stage_direction>EXT. BIBLICAL STREET</stage_direction> <scene_description>Christ being whipped on by Alex, dressed as a Legionary.</scene_description> <character>ALEX</character> <dialogue>Move on there. Move on.</dialogue> <character>ALEX (V.O.)</character> <dialogue>I read all about the scourging and the crowning with thorns and all that, and I could viddy myself helping in and even taking charge of the tolchocking and the nailing in, being dressed in the height of Roman fashion.</dialogue> <scene_description>BACK TO THE LIBRARY Alex sits with his eyes closed. Priest comes over and squeezes his shoulder. Alex looks up at him and smiles.</scene_description> <character>PRIEST</character> <parenthetical>(reading from Alex's Bible)</parenthetical> <dialogue>Seek not to be like evil men, neither desire to be with them, because their minds studieth robberies and their lips speak deceits.</dialogue> <character>ALEX</character> <dialogue>If thou lose hope being weary in the days of distress, thy strength shall be diminished.</dialogue> <character>PRIEST</character> <dialogue>Fine, my boy, fine, fine.</dialogue> <character>ALEX</character> <dialogue>Father, I have tried, have I not?</dialogue> <character>PRIEST</character> <dialogue>You have, my son.</dialogue> <character>ALEX</character> <dialogue>I've done my best, have I not?</dialogue> <character>PRIEST</character> <dialogue>Indeed.</dialogue> <character>ALEX</character> <dialogue>And, Father, I've never been guilty of any institutional infractions, have I?</dialogue> <character>PRIEST</character> <dialogue>You certainly have not, 655321. You've been very helpful, and you've shown a genuine desire to reform.</dialogue> <character>ALEX</character> <dialogue>Father - may I ask you a question in private?</dialogue> <character>PRIEST</character> <dialogue>Certainly, my son, certainly. Is there something troubling you, my son? Don't be shy to speak up. Remember, I know all the urges that can trouble young men deprived of the society of women.</dialogue> <character>ALEX</character> <dialogue>No Father. It's nothing like that, Father. It's about this new thing they're all talking about. About this new treatment that you out of prison in no time at all and makes sure you never get back in again.</dialogue> <character>PRIEST</character> <dialogue>Where did you hear about this? Whose been talking about these things?</dialogue> <character>ALEX</character> <dialogue>These things get around, Father. Two Warders talk as it might be, and somebody can't help overhearing what they say. Then somebody picks up a scrap of newspaper in the workshops and the newspaper tells all about it. How about putting me in for this new treatment, Father?</dialogue> <character>PRIEST</character> <dialogue>I take it you are referring to the Ludovico Technique?</dialogue> <character>ALEX</character> <dialogue>I don't know what it's called, Father, all I know is that it gets you out quickly and makes sure that you never get in again.</dialogue> <character>PRIEST</character> <dialogue>That's not proven, 655321. In fact, it is only in the experimental stage at this moment.</dialogue> <character>ALEX</character> <dialogue>But it is being used, isn't it, Father?</dialogue> <character>PRIEST</character> <dialogue>It has not been used yet in this prison. The Governor has grave doubts about it and I have heard that there are very serious dangers involved.</dialogue> <character>ALEX</character> <dialogue>I don't care about the danger, Father. I just want to be good. I want for the rest of my life to be one act of goodness.</dialogue> <character>PRIEST</character> <dialogue>The question is weather or not this technique really makes a man good. Goodness comes from within. Goodness is chosen. When a man cannot chose, he ceases to be a man.</dialogue> <character>ALEX</character> <dialogue>I don't understand about the whys and wherefores, Father. I only know I want to be good.</dialogue> <character>PRIEST</character> <dialogue>Be patient, my son, and put your trust in the Lord.</dialogue> <character>ALEX</character> <dialogue>Instruct thy son and he shall refresh thee and shall give delight to thy soul.</dialogue> <character>PRIEST</character> <dialogue>Amen.</dialogue> <scene_description>They cross themselves.</scene_description> </scene> <scene> <stage_direction>EXT. PRISON YARD - DAY</stage_direction> <scene_description>Prisoners walking in circles.</scene_description> </scene> <scene> <stage_direction>INT. PRISON CORRIDOR</stage_direction> <scene_description>Guards stand either side of cell doors. Chief Guard with Governor, Minister and entourage.</scene_description> <character>CHIEF GUARD</character> <dialogue>Mister.</dialogue> <character>GUARD</character> <dialogue>All present and correct, sir.</dialogue> <character>CHIEF GUARD</character> <dialogue>Right. All present and correct, sir.</dialogue> <character>GOVERNOR</character> <dialogue>Very good, Chief.</dialogue> <scene_description>They inspect cells.</scene_description> <character>CHIEF GUARD</character> <dialogue>Leave to carry on, sir, please?</dialogue> <character>GOVERNOR</character> <dialogue>Carry on, Chief.</dialogue> <character>CHIEF GUARD</character> <dialogue>Sir.</dialogue> </scene> <scene> <stage_direction>EXT. PRISON YARD</stage_direction> <scene_description>Chief Guard comes out of door.</scene_description> <character>CHIEF GUARD</character> <dialogue>Right, pay attention. I want you in two lines. Up against that wall facing this way. Go on move! Hurry up about it and stop talking.</dialogue> <scene_description>The men line up. Chief Guard moves back to door and comes to attention.</scene_description> <character>CHIEF GUARD</character> <dialogue>Ready for inspection, sir.</dialogue> <scene_description>He stands back and salutes as Governor, Minister and entourage enter and walk along line of men.</scene_description> <character>MINISTER</character> <dialogue>How many to a cell?</dialogue> <character>GOVERNOR</character> <dialogue>Four in this block, sir.</dialogue> <character>MINISTER</character> <dialogue>Cram criminals together and what do you get - concentrated criminality... crime in the midst of punishment.</dialogue> <character>GOVERNOR</character> <dialogue>I agree, sir. What we need are larger prisons. More money.</dialogue> <character>MINISTER</character> <dialogue>Not a chance, my dear fellow. The Ggovernment can't be concerned any longer with outmoded penological theories. Soon we may be needing all of out prison space for political offenders. Common criminals like these are best dealt with on a purely curative basis. Kill the criminal reflex that's all. Full implementation in a year's time. Punishment means nothing to them, you can see that... they enjoy their so-called punishment.</dialogue> <scene_description>Alex seizes his chance as they pass by.</scene_description> <character>ALEX</character> <dialogue>You're absolutely right, sir.</dialogue> <character>CHIEF GUARD</character> <dialogue>Shut your bleedin' hole!!!</dialogue> <character>MINISTER</character> <dialogue>Who said that?</dialogue> <character>ALEX</character> <dialogue>I did, sir.</dialogue> <character>MINISTER</character> <dialogue>What crime did you commit.</dialogue> <character>ALEX</character> <dialogue>The accidental killing of a person, sir.</dialogue> <character>CHIEF GUARD</character> <dialogue>He brutally murdered a woman, sir, in furtherence of theft. 14 years... sir!</dialogue> <character>MINISTER</character> <dialogue>Excellent. He's enterprising, aggressive, outgoing. Young. Bold. Viscous. He'll do.</dialogue> <character>GOVERNOR</character> <dialogue>Well, fine... we could still look at C- Block.</dialogue> <character>MINISTER</character> <dialogue>No, no, no. That's enough. He's perfect. I want his records sent to me. This vicious young hoodlum will be transformed out of all recognition.</dialogue> <character>ALEX</character> <dialogue>Thank you very much for this chance, sir.</dialogue> <character>MINISTER</character> <dialogue>Let's hope you make the most of it, my boy.</dialogue> <character>GOVERNOR</character> <dialogue>Shall we go to my office?</dialogue> <character>MINISTER</character> <dialogue>Thank you.</dialogue> </scene> <scene> <stage_direction>INT. GOVERNOR'S OFFICE - DAY</stage_direction> <scene_description>Governor seated at his desk. There is a knock on the door.</scene_description> <character>GOVERNOR</character> <dialogue>Come in.</dialogue> <scene_description>Door opens. Chief Guard enters with Alex.</scene_description> <character>CHIEF GUARD</character> <dialogue>Sir, 655321, sir.</dialogue> <character>GOVERNOR</character> <dialogue>Very good, Chief.</dialogue> <scene_description>Chief Guard turns to Alex.</scene_description> <character>CHIEF GUARD</character> <dialogue>Forward to the white line, toes behind it. Full name and number to the Governor.</dialogue> <scene_description>Chief Guard closes door.</scene_description> <character>ALEX</character> <dialogue>Alexander de Large, sir. 655321, sir.</dialogue> <scene_description>The Governor takes off his glasses.</scene_description> <character>GOVERNOR</character> <dialogue>I don't suppose you know who that was this morning, do you? That was no less a personage than the Minister of the Interior and what they call a very new broom. Well, these new ridiculous ideas have come at last, and orders are orders, though I may say to you in confidence that I do not approve. An eye for an eye, I say, if someone hits you, you hit back, do you not? Why then should not the State very severely hit by you brutal offenders not hit back also? But the new view is to say no. The new view is that we turn the bad into good. All of which seems to be grossly unjust. Hmmmmmm.</dialogue> <character>ALEX</character> <dialogue>Sir...</dialogue> <character>CHIEF GUARD</character> <dialogue>Shut your filthy hole, you scum!!!</dialogue> <character>GOVERNOR</character> <dialogue>You are to be reformed. Tomorrow you go to this man, Brodsky. You will be leaving here. You will be transferred to the Ludovico Medical Facility. It is believed that you will be able to leave State custody in a little over a fortnight. I suppose that prospect pleases you?</dialogue> <character>CHIEF GUARD</character> <dialogue>Answer when the Governor asks you a question you filthy young swine!</dialogue> <character>ALEX</character> <dialogue>Oh yes, sir. Thank you very much, sir. I've done my best here I really have, sir. I'm very grateful to all concerned.</dialogue> <character>GOVERNOR</character> <dialogue>Sign this - where it's marked.</dialogue> <scene_description>Alex turns the paper to read it.</scene_description> <character>CHIEF GUARD</character> <dialogue>Don't read it - sign it!</dialogue> <character>GOVERNOR</character> <dialogue>It says that you are willing to have the residue of your sentence commuted to the Ludovico treatment.</dialogue> <scene_description>Alex signs. Governor gathers up papers. Alex dots the last "i" and smiles.</scene_description> </scene> <scene> <stage_direction>INT. LUDOVICO CENTRE RECEPTION DESK - DAY</stage_direction> <character>ALEX (V.O.)</character> <dialogue>The next morning I was taken to the Ludovico Medical Facility, outside the town centre, and I felt a malenky bit sad having to say goodbye to the old Staja, as you always will when you leave a place you've like gotten used to.</dialogue> <scene_description>Chief Guard briskly leads the way for Alex and escort. They move into reception hall where the Doctor stands.</scene_description> <character>CHIEF GUARD</character> <parenthetical>(shouting like an RSM)</parenthetical> <dialogue>Right. Halt the prisoner. Good morning, sir, I'm Chief Officer Barnes. I've got 655321 on a transfer from Parkmoor to the Ludovico Centre, sir!</dialogue> <character>DOCTOR</character> <dialogue>Good morning, we've been expecting you. I'm Dr. Alcott.</dialogue> <scene_description>Chief Guard checks the name from his clipboard.</scene_description> <character>CHIEF GUARD</character> <dialogue>Yes, Dr. Alcott. Are you prepared to accept the prisoner, sir?</dialogue> <character>DOCTOR</character> <dialogue>Yes, of course.</dialogue> <character>CHIEF GUARD</character> <dialogue>Well, I wonder if you'd mind signing these transfer documents, sir.</dialogue> <scene_description>Doctor signs.</scene_description> <character>CHIEF GUARD</character> <dialogue>Thank you, sir. There, sir... there, and there, sir... and there. Thank you, sir. Prison escort move forward. Halt. Excuse me, sir. Is that the officer that is to take charge of the prisoner, sir?</dialogue> <scene_description>Doctor nods. Officer steps forward.</scene_description> <character>CHIEF GUARD</character> <dialogue>If I might offer a word of advice, Doc. You'll have to watch this one. A right brutal bastard he has been, and will be again. In spite all his sucking up to the prison Chaplain and reading the Bible.</dialogue> <character>DOCTOR</character> <dialogue>Oh, I think we can manage things. Charlie, will you show the young man to his room now.</dialogue> <character>CHARLIE</character> <dialogue>Right, sir. Come this way, please.</dialogue> <scene_description>Alex exits with Officer.</scene_description> </scene> <scene> <stage_direction>INT. ALEX'S ROOM - LUDOVICO CENTRE - DAY</stage_direction> <scene_description>Alex finishing breakfast tray in bed. Room bright and cheery. Dr. Branom, a tall woman in her fifties, enters with nurse carrying a sterile tray.</scene_description> <character>DR. BRANOM</character> <parenthetical>(very briskly)</parenthetical> <dialogue>Good morning, Alex, my name is Dr. Branom. I'm Doctor Brodsky's assistant.</dialogue> <character>ALEX</character> <dialogue>Good Morning, Missus. Lovely day, isn't it?</dialogue> <character>DR. BRANOM</character> <dialogue>Indeed it is. May I take this</dialogue> <scene_description>She removes his tray.</scene_description> <character>DR. BRANOM</character> <dialogue>How're you feeling this morning?</dialogue> <character>ALEX</character> <dialogue>Fine... fine.</dialogue> <character>DR. BRANOM</character> <dialogue>Good. In a few minutes, you'll meeting Dr. Brodsky and we'll begin your treatment. You're a very lucky boy to have been chosen.</dialogue> <character>ALEX</character> <dialogue>I realise all that, Missus, and I'm very grateful to all concerned.</dialogue> <character>DR. BRANOM</character> <dialogue>We're going to friends now, sir.</dialogue> <character>ALEX</character> <dialogue>I hope so, Missus.</dialogue> <scene_description>She inserts a needle into the medicine vial.</scene_description> <character>ALEX</character> <dialogue>What's the hypo for then? Going to send me to sleep?</dialogue> <character>DR. BRANOM</character> <dialogue>Oh no, nothing of the sort.</dialogue> <character>ALEX</character> <dialogue>Vitamins will it be then?</dialogue> <character>DR. BRANOM</character> <dialogue>Something like that. You are a little undernourished, so after each meal were going to give you a shot. Roll over on your right side please, loosen your pajama pants and pull them half-way down.</dialogue> <scene_description>He does, somewhat reluctanly. She gives him a shot in the bum.</scene_description> <character>ALEX</character> <dialogue>What exactly is the treatment here going to be then?</dialogue> <character>DR. BRANOM</character> <dialogue>It's quite simple really. Were just going to show you some films.</dialogue> <character>ALEX</character> <dialogue>You mean like going to the pictures?</dialogue> <character>DR. BRANOM</character> <dialogue>Something like that.</dialogue> <character>ALEX</character> <dialogue>Well, that's good. I like to viddy the old films now and again.</dialogue> </scene> <scene> <stage_direction>INT. AUDIO VISUAL LUDOVICO CENTRE - DAY</stage_direction> <scene_description>Auditorium setting. Alex is bound in a examination chair in front of a large video screen. A white-coated Technician is strapping Alex's head to a medical device. He then carefully attaches the eyelid locking to Alex's eyes.</scene_description> <character>ALEX (V.O.)</character> <dialogue>And viddy films I would. Where I was taken to, brothers, was like no cine I'd been in before. I was bound up in a straight- jacket and my guliver was strapped to a headrest with like wires running away from it. Then they clamped like lidlocks on my eyes so I could not shut them no matter how hard I tried. It seemed a bit crazy to me, but I let them get on with what they wanted to get on with. If I was to be a free young malchick in a fortnight's time, I would put up with much in the meantime, my brothers.</dialogue> <scene_description>At the back of the auditorium are ten or fifteen solemn medical Professionals in white coats watching the proceedings and occasionally taking notes. A film begins showing on the screen. The Technician drops eyedrops into Alex's eyes. VIOLENCE FILM Man being beaten by four toughs wearing white. Punches, kicks, grunts, blood.</scene_description> <character>ALEX (V.O.)</character> <dialogue>So far the first film was a very good professional piece of cine, looked like it was done in Hollywood.</dialogue> <scene_description>Screams, moans, kicks, punches.</scene_description> <character>ALEX (V.O.)</character> <dialogue>The sounds were real horroshow. You could slooshy the screams and moans very realistic and you could even get the heavy breathing and panting of the tolchocking malchicks at the same time. And then, what do you know, soon our dear old friend, the red, red vino on tap. The same in all places like it's put out by the same big firm, began to flow. It was beautiful. It's funny how the colors of the real world only seem really real when you viddy them on a screen.</dialogue> <scene_description>More kicks, punches, groans, thumps. Girl being beaten, raped by six toughs. Screams, music, laughing, grunts, heavy breathing.</scene_description> <character>ALEX (V.O.)</character> <dialogue>Now all the time I was watching this, I was beginning to get very aware of like not feeling all that well, but I tried to forget this, concentrating on the next film, which jumped right away on a young devotchka, who was being given the old in- out, in-out, first by one malchick, then another, then another. This seemed real, very real, though if you thought about it properly you couldn't imagine lewdies actually agreeing to having all this done to them in a film, and if these films were made by the good, or the State, you couldn't imagine them being allowed to take these films, without like interfering with what was going on.</dialogue> <scene_description>Girl being raped.</scene_description> <character>ALEX (V.O.)</character> <dialogue>When it came to the sixth or seventh malchick, leering and smecking and then going into it, I began to feel really sick. But I could not shut my glazzies and even if I tried to move my glazballs about I still not get out of the line of fire of this picture.</dialogue> <scene_description>Alex squirming and retching. Dr. Brodsky clears his throat and quietly addresses his collegues seated in the back of the room.</scene_description> <character>DR. BRODSKY</character> <dialogue>Very soon now the drug will cause the subject to experience a death-like paralysis together with deep feelings of terror and helplessness. One of our earlier test subjects described it as being like death, a sense of stifling and drowning, and it is during this period we have found the subject will make his most rewarding associations between his catastrophic experience and environment and the violence he sees.</dialogue> <scene_description>Alex retching violently and struggling against his strait jacket.</scene_description> <character>ALEX</character> <dialogue>Let me be sick... I want to get up. Get me something to be sick in... Stop the film... Please stop it... I can't stand it any more. Stop it please... please.</dialogue> </scene> <scene> <stage_direction>INT. ALEX'S ROOM - LUDOVICO - DAY</stage_direction> <character>DR. BRANOM</character> <dialogue>Well, that was a very promising start. By my calculations, you should be starting to feel alright again. Yes? Dr. Brodsky's pleased with you. Now tomorrow there'll be two sessions, of course, morning and afternoon.</dialogue> <character>ALEX</character> <dialogue>You mean, I have to viddy two sessions in one day?</dialogue> <character>DR. BRANOM</character> <dialogue>I imagine you'll be feeling a little bit limp by the end of the day. But we have to be hard on you. You have to be cured.</dialogue> <character>ALEX</character> <dialogue>But it was horrible.</dialogue> <character>DR. BRANOM</character> <dialogue>Well, of course, it was horrible. Violence is a very horrible thing. That's what you're learning now. Your body is learning it.</dialogue> <character>ALEX</character> <dialogue>I just don't understand about feeling sick the way I did. I never used to feel sick before. I used to feel like the very opposite. I mean, doing it or watching it, I used to feel real horrorshow. I just don't understand why, how or what.</dialogue> <character>DR. BRANOM</character> <dialogue>You felt ill this afternoon because you're getting better. You see, when we're healthy we respond to the presence of the hateful with fear and nausea. You're becoming healthy that's all. By this time tomorrow you'll be healthier still.</dialogue> </scene> <scene> <stage_direction>INT. AUDIO VISUAL LUDOVICO CENTRE - DAY</stage_direction> <scene_description>Alex retching and screaming - restrained again by a straight- jacket.</scene_description> <character>ALEX (V.O.)</character> <dialogue>It was the next day, brothers, and I had truly done my best, morning and afternoon, to play it their way and sit like a horrorshow co-operative malchick in the chair of torture, while they flashed nasty bits of ultra-violence on the screen.; though not on the soundtrack, my brothers. The only sound being music. Then I noticed in all my pain and sickness what music it was that like cracked and boomed. It was Ludwig van - 9th symphony, 4th movement.</dialogue> <character>ALEX</character> <dialogue>Stop it... stop it, please!!! I beg of you!!! It's a sin!!! It's a sin!!! It's a sin, please!!!</dialogue> <scene_description>Brodsky leans forward and turns down the sound.</scene_description> <character>DR. BRODSKY</character> <dialogue>What's all this about sin?</dialogue> <character>ALEX</character> <dialogue>That!... Using Ludwig van like that! He did no harm to anyone. Beethoven just wrote music.</dialogue> <character>DR. BRANOM</character> <dialogue>Are you referring to the background score?</dialogue> <character>ALEX</character> <dialogue>Yes!!!</dialogue> <character>DR. BRANOM</character> <dialogue>You've heard Beethoven before?</dialogue> <character>ALEX</character> <dialogue>Yes!!!</dialogue> <character>DR. BRODSKY</character> <dialogue>You're keen on music?</dialogue> <character>ALEX</character> <dialogue>Yes!!!</dialogue> <character>DR. BRANOM</character> <parenthetical>(quietly)</parenthetical> <dialogue>What do you think about that, Dr. Brodsky?</dialogue> <character>DR. BRODSKY</character> <parenthetical>(softly)</parenthetical> <dialogue>It can't be helped. Here's your punishment element perhaps. The Governor ought to be pleased... I'm sorry, Alex, this is for your own good, you'll have to bear with us for a while.</dialogue> <character>ALEX</character> <dialogue>You needn't take it any further, sir. You've proved to me that all this ultra- violence and killing is wrong and terribly wrong. I've learned my lesson, sir. I see now what I've never seen before I'm cured, praise Bog!</dialogue> <character>DR. BRODSKY</character> <dialogue>You're not cured yet, my boy.</dialogue> <character>DR. BRODSKY</character> <dialogue>You must take your chance boy. The choice has been all yours.</dialogue> <character>ALEX</character> <dialogue>But, Sir... Missus... I see that it's wrong! It's wrong because it's like against like society. It's wrong because everybody has the right to live and be happy without being tolchocked and knifed.</dialogue> <character>DR. BRODSKY</character> <dialogue>No, no, boy. You really must leave it to us, but be cheerful about it. In less than a fortnight now, you'll be a free man.</dialogue> </scene> <scene> <stage_direction>INT. AUDITORIUM - DAY</stage_direction> <scene_description>VIP audience including Minister, Junior Minister, Prison Governor, Priest, Dr. Branom, Dr. Brodsky. Dressed in street clothes Alex enters led by a white-coated Technician. He is led onto stage and left standing there, blinking into lights. The Minister rises and walks to the front of the auditorium.</scene_description> <character>MINISTER</character> <dialogue>Ladies and Gentlemen, at this point, we introduce the subject himself. He is, as you will perceive, fit and well nourished. He comes straight from as night's sleep and a good breakfast, undrugged, unhypnotized. Tomorrow, we send him with confidence out into the world again, as decent a lad as you would meet on a May morning. What a change is here, Ladies and Gentlemen, from the wretched hoodlum the state committed to unprofitable punishment some two years ago, unchanged after two years. Unchanged, do I say - not quite. Prison taught him a false smile, the rubbed hands of hypocrisy, the fawning, greased, obsequious leer. Other vices prison taught him as well as confirming him in those he had long practiced before. Our party promised to restore law and order and to make the streets safe for the ordinary peace loving citizen. This pledge is now about to become a reality. Ladies and Gentlemen, this is an historic moment. The problem of criminal violence is soon to be a thing of the past. But enough of words - actions speak louder than. Action now. Observe all.</dialogue> <scene_description>He returns to his seat and leans close to his Junior Minister.</scene_description> <character>JUNIOR MINISTER</character> <dialogue>Our necks are out a long way on this, Minister.</dialogue> <character>MINISTER</character> <dialogue>I have complete faith in Brodsky. If the polls are right, we have nothing to lose.</dialogue> <scene_description>Lights are dimmed. Enter Lardface, an elegantly dressed fag.</scene_description> <character>LARDFACE</character> <dialogue>Hello, heap of dirt. Pooh, you don't wash much do you, judging by the horrible smell.</dialogue> <character>ALEX</character> <dialogue>Why do you say that, brother? I had a shower this morning.</dialogue> <character>LARDFACE</character> <dialogue>Oh, he had a shower this morning. You trying to call me a liar?</dialogue> <character>ALEX</character> <dialogue>No, brother. What d'you want?</dialogue> <character>LARDFACE</character> <dialogue>What do I want?</dialogue> <character>ALEX</character> <dialogue>Sorry, brother. I didn't mean any offence.</dialogue> <character>LARDFACE</character> <dialogue>Oh. Oh, you're sorry are you, well you must think I'm awfully stupid.</dialogue> <scene_description>He slaps Alex in the face.</scene_description> <character>ALEX</character> <dialogue>Why did you do that, brither? I've never done wrong to you.</dialogue> <character>LARDFACE</character> <dialogue>You want to know why I did that, well you see - I do that...</dialogue> <scene_description>He stamps on Alex's foot.</scene_description> <character>LARDFACE</character> <dialogue>... and this...</dialogue> <scene_description>He pulls Alex's nose.</scene_description> <character>LARDFACE</character> <dialogue>... and that...</dialogue> <scene_description>He pulls Alex's ear, pushes him off balance and plants his foot on his chest.</scene_description> <character>LARDFACE</character> <dialogue>... because I don't like you horrible type, do I, and if you want to start something... if you want to start... go on... well, you just start. Please do.</dialogue> <scene_description>Alex retching.</scene_description> <character>ALEX</character> <dialogue>I'm gonna be sick.</dialogue> <character>LARDFACE</character> <dialogue>You're gonna be sick are you?</dialogue> <character>ALEX</character> <dialogue>I wanna be sick.</dialogue> <character>LARDFACE</character> <dialogue>You wanna be sick?</dialogue> <character>ALEX</character> <dialogue>Let me get up.</dialogue> <character>LARDFACE</character> <dialogue>You wanna get up? Well, you've gotta you see... well I want you to lick it. Go on... Lick it.</dialogue> <scene_description>Alex, gagging and coughing, licks the sole of his shoe.</scene_description> <character>LARDFACE</character> <dialogue>... And again... Go on!!! Again! There's a good boy.</dialogue> <character>ALEX (V.O.)</character> <dialogue>And, O my brothers, would you believe your faithful friend and long suffering narrator pushed out his red yahzik a mile and a half to lick the grahzny, vonny boots. The horrible killing sickness had wooshed up and turned the like joy of battle into a feeling I was going to snuff it.</dialogue> <scene_description>Minister rises.</scene_description> <character>MINISTER</character> <dialogue>Enough! That will do very well. Thank you.</dialogue> <scene_description>Lardface does leading-man-bows. A smattering of applause.</scene_description> <character>LARDFACE</character> <dialogue>Thank you very much, Ladies and Gentlemen... Thank you.</dialogue> <scene_description>Alex on floor - still retching. A beautiful nude Girl enters. Alex looks up slowly.</scene_description> <character>ALEX (V.O.)</character> <dialogue>She came towards me with the light like it was the like light of heavenly grace, and the first thing that flashed into my gulliver was that I would like to have her right down there on the floor with the old in-out, real savage. But quick as a shot came the sickness, like a detective that had been watching around the corner and now followed to make his arrest.</dialogue> <scene_description>Alex retching. Minister rises.</scene_description> <character>MINISTER</character> <dialogue>Thank you very much. Thank you my dear.</dialogue> <scene_description>Girl bows and exits to loud applause.</scene_description> <character>MINISTER</character> <dialogue>Not feeling too bad now are you?</dialogue> <character>ALEX</character> <parenthetical>(pullimg himself together)</parenthetical> <dialogue>No, sir, I feel really great.</dialogue> <character>MINISTER</character> <dialogue>Good.</dialogue> <character>ALEX</character> <dialogue>Was I alright, sir? Did I do well, sir?</dialogue> <character>MINISTER</character> <dialogue>Fine. Absolutely fine. You see, Ladies and Gentlemen our subject is, you see, impelled towards good by paradoxically being impelled toward evil. The intention to act violently is accompanied by strong feelings of physical distress. To counter these, the subject has to switch to a diametrically opposed attitude. Any questions?</dialogue> <scene_description>Priest rises and moves to Alex.</scene_description> <character>PRIEST</character> <dialogue>Choice! The boy has no real choice, has he? Self interest, fear of physical pain drove him to that grotesque act of self abasement. Its insincerity was clearly to be seen. He ceases also to be a creature capable of moral choice.</dialogue> <character>MINISTER</character> <dialogue>Padre, these are subtleties. We are not concerned with motive, with the higher ethics; we are concerned only with cutting down crime. And with relieving the ghastly congestion in our prisons... He will be your true Christian, ready to turn the other cheek. Ready to be crucified rather than crucify, sick to the very heart at the thought even of killing a fly. Reclamation, joy before the angels of God. The point is that it works!</dialogue> <scene_description>Applause.</scene_description> </scene> <scene> <stage_direction>EXT. FLATBLOCK</stage_direction> <scene_description>Alex walking carrying his prison parcel wrapped in brown paper.</scene_description> </scene> <scene> <stage_direction>INT. ALEX'S FLAT</stage_direction> <scene_description>Ma, Pa and Joe the Lodger reading newspapers. Headlines - all Alex. Alex enters quietly. Loud radio music from sitting room prevents anyone from hearing him. He enters his won room which is the first off the hall.</scene_description> <character>ALEX</character> <dialogue>Hi. Hi. Hi, there my Pee and Em.</dialogue> <scene_description>All three look up startled.</scene_description> <character>EM</character> <dialogue>Alex.</dialogue> <character>ALEX</character> <parenthetical>(to his mother)</parenthetical> <dialogue>Hullo love, how are you?</dialogue> <parenthetical>(kisses her)</parenthetical> <dialogue>Nice to see you, Dad.</dialogue> <character>PEE</character> <dialogue>Hullo lad. What a surprise, good to see you.</dialogue> <character>ALEX</character> <dialogue>Keeping fit then?</dialogue> <character>PEE</character> <parenthetical>(very ill at ease)</parenthetical> <dialogue>Fine, fine.</dialogue> <character>ALEX</character> <dialogue>Well, how are you then?</dialogue> <character>PEE</character> <dialogue>Oh fine, fine. Keeping out of trouble, you know.</dialogue> <character>ALEX</character> <dialogue>Well - I'm back.</dialogue> <character>PEE</character> <parenthetical>(with feigned enthusiasm)</parenthetical> <dialogue>Aye. Glad to see you back, lad.</dialogue> <character>EM</character> <dialogue>Why didn't you let us know what was happening, son?</dialogue> <character>ALEX</character> <dialogue>Sorry, Em, I wanted it to be like... a big surprise for you and pee.</dialogue> <character>PEE</character> <dialogue>Well, it's a surprise all right, a bit bewildering too.</dialogue> <character>EM</character> <dialogue>We've only just read about it in the morning papers.</dialogue> <character>PEE</character> <dialogue>Aye. You should have let us know, lad, not that we're not very pleased to see you again. All cured too, eh?</dialogue> <character>ALEX</character> <dialogue>That's right, Dad they did a great job on my gulliver, I'm completely reformed.</dialogue> <character>PEE</character> <dialogue>Aye.</dialogue> <character>ALEX</character> <parenthetical>(looks in the kitchen)</parenthetical> <dialogue>Well, still the same old place then, eh?</dialogue> <character>PEE</character> <dialogue>Oh, aye, aye.</dialogue> <character>ALEX</character> <parenthetical>(fake whisper)</parenthetical> <dialogue>Hey, Dad, there's a strange fella sitting on the sofa there munchy-wunching lomticks of toast.</dialogue> <character>PEE</character> <dialogue>Aye, that's Joe. He... ummmm, lives here now. The lodger. That's what he is... he... he rents your room.</dialogue> <scene_description>Alex confronts Joe.</scene_description> <character>ALEX</character> <dialogue>How do you do, Joe? Find the room comfortable, do you? No complaints?</dialogue> <character>JOE</character> <dialogue>I've heard about you. I know what you've done. Breaking the hearts of your poor grieving parents. So you're back? You're back to make a life of misery for your lovely parents, is that it? Well, over my dead corpse you will, because you see, they've let me be more like a son to them than like a lodger.</dialogue> <scene_description>Alex cocks his fist and starts to retch violently, almost at the same moment Joe drops back on the couch next to Em.</scene_description> <character>EM</character> <dialogue>Joe! Joe! Don't fight here boys!</dialogue> <scene_description>Alex burps and retches.</scene_description> <character>JOE</character> <dialogue>Oh, please. Do put your hand over your mouth, it's bloody revolting.</dialogue> <scene_description>Alex violently ill.</scene_description> <character>PEE</character> <dialogue>Well, what's the matter lad, are you feeling alright?</dialogue> <character>EM</character> <dialogue>Dad... It's the treatment.</dialogue> <scene_description>More retching.</scene_description> <character>JOE</character> <dialogue>Well, it's disgusting. It puts you off your food.</dialogue> <character>EM</character> <dialogue>Leave him be, Joe. It's the treatment.</dialogue> <character>PEE</character> <dialogue>D'you think we should do something?</dialogue> <character>EM</character> <dialogue>Would you like me to make you a nice cup of tea, son?</dialogue> <character>ALEX</character> <dialogue>No thanks, Mum. It'll pass in a minute...</dialogue> <parenthetical>(after a pause)</parenthetical> <dialogue>... What have you done with all my own personal things?</dialogue> <character>PEE</character> <dialogue>Well. That was all took away, son, by the Police. New regulation about compensation for the victim.</dialogue> <character>ALEX</character> <dialogue>What about Basil? Where's my snake?</dialogue> <character>PEE</character> <dialogue>Oh well, he met with like an accident. He passed away.</dialogue> <scene_description>Alex becomes a bit weepy.</scene_description> <character>ALEX</character> <dialogue>What's gonna happen to me then? I mean that's my room he's in - there's no denying that. This is my home also. What suggestions have you, my Pee and Em, to make?</dialogue> <character>PEE</character> <dialogue>Well, all this needs thinking about, son. I mean we can't very well just kick Joe out... Not just like that, can we? I mean Joe is here doing a job. A contract it is, two years. Well, we made like an arrangement, didn't we Joe? You see, son, Joe's paid next month's rent already so, well, whatever we do in the future, we cant just say to Joe to get out, now can we?</dialogue> <character>JOE</character> <dialogue>No, there's much more than that, though. I mean I've got you two to think of. I mean you're more like a mother and father to me. Well, it wouldn't be fair now, would it, for me to go off and leave you two to the tender mercies of this young monster who's been like no real son at all. Look, let him go off and find a room somewhere. Let him learn the errors of his way, and that a bad boy like he's been don't deserve such a good mum and dad as he's had.</dialogue> <character>ALEX</character> <dialogue>Alright. I see how things are now. I've suffered and I've suffered, and I've suffered and everybody wants me to go on suffering.</dialogue> <character>JOE</character> <dialogue>You've made others suffer. It's only fair that you should suffer proper. You know I've been told everything you've done, sitting here at night round the family table, pretty shocking it was to listen to. It made me real sick, a lot of it did. Now look what you've gone and done to your mother.</dialogue> <scene_description>Em bursts into tears.</scene_description> <character>ALEX</character> <dialogue>So that's the way it is then, eh? That's the way it is. Right, I'm leaving now, you won't ever viddy me no more. I'll make my own way. Thank you very much. Let it lie heavy on your consciences.</dialogue> <scene_description>Alex exits.</scene_description> <character>PEE</character> <parenthetical>(shouting after him)</parenthetical> <dialogue>Now don't take it like that son.</dialogue> <scene_description>Em boohoohoos, Joe comforts her.</scene_description> </scene> <scene> <stage_direction>EXT. AMBANKMENT - DAY</stage_direction> <scene_description>Alex walks along the Thames embankment still holding his paper parcel. Tramp enters. The same man beaten by Alex and his gang earlier in the film.</scene_description> <character>TRAMP</character> <dialogue>Can you spare me some cutter, me brother? Can you spare some cutter, me brother?</dialogue> <scene_description>Alex, without looking at him, reaches in his pocket and gives him some money.</scene_description> <character>TRAMP</character> <dialogue>Oh, thankyou, your honour.</dialogue> <scene_description>The Tramp takes a second look at Alex.</scene_description> <character>TRAMP</character> <dialogue>Jamey Mack! Be the hokey fly! Holy Mother of God! All the Holy Angels and blessed saints in Heaven preserve us.</dialogue> <scene_description>Alex breaks away but the Tramp toddles alongside him.</scene_description> <character>TRAMP</character> <dialogue>I never forget a face! I never forget any face, be God!</dialogue> <character>ALEX</character> <dialogue>Leave me alone, brother. I've never seen you before.</dialogue> <scene_description>Tramp shouts to other Meths drinkers and Tramps.</scene_description> <character>TRAMP</character> <dialogue>This is the poisonous young swine that near done me in. Him and his friends beat me and kicked me and thumped me.</dialogue> <scene_description>Alex breaks away again.</scene_description> <character>TRAMP</character> <dialogue>Stop him! Stop him!</dialogue> <scene_description>A leg is stuck out and Alex goes down. The tramp swarm all over him.</scene_description> <character>TRAMP</character> <dialogue>They laughed at me blood and me moans. This murderous young pig is a prize specimen of the cowardly brutal young. He is in our midst and at our mercy. Give it to him. That's it.</dialogue> <scene_description>Old Tramps begin to beat at Alex.</scene_description> <character>ALEX (V.O.)</character> <dialogue>Then there was like a sea of dirty, smelly old men trying to get at your humble Narrator, with their feeble rookers and horny old claws. It was Old Age having a go at Youth and I daren't do a single solitary thing, O my brothers, it being better to be hit at like that, than want to be sick and feel that horrible pain.</dialogue> <scene_description>The Tramp crowd round Alex, shouting.</scene_description> <character>TRAMPS</character> <dialogue>Young hooligan... Vagabound... Kill him... Villain... Toad... Bastard... Kick his teeth in... Near killed poor old Jack, he did.</dialogue> <scene_description>Police move in and push off crowd.</scene_description> <character>FIRST POLICEMAN</character> <dialogue>Alright, stop it now.</dialogue> <character>SECOND POLICEMAN</character> <dialogue>Alright, stop it now. Alright! Come on. Stop breaking the State peace. You naughty boys. Alright, that's enough.</dialogue> <scene_description>Alex looks up.</scene_description> <character>ALEX</character> <dialogue>Oh, no.</dialogue> <character>DIM</character> <dialogue>Well, well, well, well, well, well, well, if it isn't little Alex. Long time no viddy, droog. How goes? Surprised are you?</dialogue> <character>ALEX</character> <dialogue>Impossible... I don't believe it.</dialogue> <character>GEORGIE</character> <dialogue>Evidence of the old glazzies. Nothing up our sleeves. No magic, little Alex? A job for two, who are now of job age. The police.</dialogue> </scene> <scene> <stage_direction>EXT. COUNTRY ROAD - DAY</stage_direction> <scene_description>Police Landrover drives up. Alex is pulled out by Georgie and Dim and hustled up a deserted lane.</scene_description> <character>DIM</character> <dialogue>Come on, Alex. Come for walkies. Hahahahaha.</dialogue> <character>ALEX</character> <dialogue>Come, come, my little droogies. I just don't get this at all. The old days are dead and gone. For what I did in the past I've been punished.</dialogue> <character>DIM</character> <dialogue>Been punished, yeah?</dialogue> <character>ALEX</character> <dialogue>I've been cured.</dialogue> <character>DIM</character> <dialogue>Been cured, yeah, that was read out to us. The Inspector read all that out to us. He said it was a very good way.</dialogue> <character>ALEX</character> <dialogue>I just don't get this all. It was them that went for me, brothers. You're not on their side and can't be. You can't be Dim. It was someone we fillied with back in the old days... Trying to get his own malenky bit of revenge after all this time. You remember, Dim?</dialogue> <character>DIM</character> <dialogue>Long time, is right. I don't remember them days too horrorshow. Don't call me Dim no more, either. Officer, call me.</dialogue> <character>GEORGIE</character> <dialogue>Enough is remembered though, little Alex.</dialogue> <scene_description>Dim and Georgie laugh. They drag Alex to a low water through.</scene_description> <character>DIM</character> <dialogue>This is to make sure you stay cured.</dialogue> <scene_description>Georgie hits Alex in the stomach with his blackjack. Then, they push his head under the water and methodically start to beat him with their blackjacks. After a full minute of this, they drag him out, halt-drowned,</scene_description> <character>DIM</character> <parenthetical>(laughing)</parenthetical> <dialogue>Be viddying you some more, some time Alex.</dialogue> </scene> <scene> <stage_direction>EXT. "HOME" - NIGHT - HEAVY RAIN</stage_direction> <scene_description>Alex stumbles up the road to the entrance gate.</scene_description> <character>ALEX (V.O.)</character> <dialogue>Where was I to go, who had no home and no money. I cried for meself, Home, Home, Home. It was Home I was wanting and it was Home I came to, brothers, not realising in the state I was in, where I was and had been before.</dialogue> <scene_description>Alex stumbles and crawls to the door.</scene_description> </scene> <scene> <stage_direction>INT. "HOME" - NIGHT</stage_direction> <scene_description>Mr. Alexander at his typewriter. Julian a 6'4" - heavyweight weight-lifter lies across an exercise bench working with bar-bells. The door bell rings.</scene_description> <character>MR. ALEXANDER</character> <dialogue>Who on earth could that be?</dialogue> <character>JULIAN</character> <dialogue>I'll see who it is.</dialogue> <scene_description>He goes to the door.</scene_description> <character>JULIAN</character> <dialogue>Yes, what is it?</dialogue> <scene_description>No reply. He opens the door. Alex falls into the hall.</scene_description> <character>ALEX</character> <parenthetical>(barely audible)</parenthetical> <dialogue>Help. Help me... Help me... Police.</dialogue> <scene_description>Julian picks him up like a child and carries him into the living room.</scene_description> </scene> <scene> <stage_direction>INT. "HOME" - LIVING ROOM - NIGHT</stage_direction> <character>ALEX (V.O.)</character> <dialogue>And would you believe it, O my brothers and only friends, there was your faithful Narrator being held helpless, like a babe in arms, and suddenly realising where I was and why HOME on the gate had looked so familiar. But I knew I was safe. I knew he would not rememeber me for, in those carefree days, I and my so-called droogs wore our maskies which were like real horrorshow disguises.</dialogue> <character>JULIAN</character> <dialogue>Frank, I think this young man needs help.</dialogue> <character>MR. ALEXANDER</character> <dialogue>Dear, dear, dear. Whatever happened to you, my boy?</dialogue> <scene_description>Mr. Alexander, now confined to a wheelchair, pushes himself away from his desk, and rolls up to Julian. The water drips off Alex's clothes. They look at each other.</scene_description> <character>ALEX</character> <dialogue>The police... The horrible ghastly Police. They beat me up, sir. The Police beat me up, sir.</dialogue> <scene_description>Mr. Alexander stares at him. It becomes aparent he is insane.</scene_description> <character>MR. ALEXANDER</character> <dialogue>I know who you are! Isn't it your picture in the newspapers? Didn't I see you this morning on the video? Are you not the poor victim of this horrible new technique?</dialogue> <character>ALEX</character> <dialogue>Yes, sir, that's exactly who I am, sir... and what I am... a victim, sir.</dialogue> <scene_description>Mr. Alexander becomes frenzied as the speech progresses.</scene_description> <character>MR. ALEXANDER</character> <dialogue>Then, by God, you have been sent here by providence. Tortured in prison, then thrown out to be tortured by the Police. My heart goes out to you, poor, poor boy. Oh, you are not the first to come here in distress. The Police are fond of bringing their victims to the outskirts of this village. But it is providential that you, who are also another kind of victim, should come here. But you're cold and shivering. Julian, draw a bath for this young man.</dialogue> <character>JULIAN</character> <dialogue>Certainly, Frank.</dialogue> <scene_description>He carries Alex off.</scene_description> <character>ALEX</character> <dialogue>Thank you very much, sir. God bless you, sir.</dialogue> <scene_description>Alexander bites his hand.</scene_description> </scene> <scene> <stage_direction>INT. "HOME" - BATHROOM</stage_direction> <scene_description>Alex soaks, eyes closed, in a hot tub. After a while he begins softly singing to himself: "Singin' in the Rain".</scene_description> </scene> <scene> <stage_direction>INT. "HOME" - LIVING ROOM - DAY</stage_direction> <scene_description>Mr. Alexander is hunched over the phone, talking in hoarse whipsers. The door to the bathroom is right behind him. While he speaks Mr. Alexander throws nervous glances over his shoulder.</scene_description> <character>MR. ALEXANDER</character> <dialogue>I tell you, sir, they have turned this young man into something other than a human being. He has no power of choice any more. He's committed to socially acceptable acts, a little machine capable only of good... He can be the most potent weapon imaginable to ensure that the Government is not returned at the next election. The Government's great boast, as you know sir, is the way they have dealt with crime in the last few months. Recruiting brutal young roughs into the police, proposing debilitation and will- sapping techniques of conditioning. Oh, we've seen it all before in other countries The thin end of the wedge. Before we know where we are we shall have the full apparatus of totalitarianism. This young boy is a living witness to these diabolical proposals. The people - the common people - must know... must see! There are rare traditions of liberty to defend. The tradition of liberty means all. The common people will let it go! Oh, yes - they will sell liberty for a quieter life. That is why they must be led, sir, driven... pushed!!! Thank you very much, sir. He'll be here.</dialogue> <scene_description>Trembling with excitement and madness, Mr. Alexander hangs up the phone. His eyes, shiny with anticipation. Then, suddenly, he becomes aware of Alex's voice coming from the other side of the door.</scene_description> </scene> <scene> <stage_direction>INT. "HOME" - BATHROOM</stage_direction> <scene_description>Alex in bath, singing.</scene_description> <character>ALEX</character> <dialogue>I'm singing in the rain, Just singing in the rain...</dialogue> <scene_description>MR. ALEXANDER His face horribly distorted in a Homeric rage.</scene_description> </scene> <scene> <stage_direction>INT. "HOME" - NIGHT</stage_direction> <scene_description>Alex, alone, in complete silence. Eating a large plate of spaghetti. The giant, Julian, appears, carrying Mr. Alexander in his wheelchair. He deposits him at the table.</scene_description> <character>ALEX</character> <dialogue>Good evening, sir.</dialogue> <character>MR. ALEXANDER</character> <parenthetical>(very weird)</parenthetical> <dialogue>Good evening.</dialogue> <character>ALEX</character> <dialogue>It was very kind of you to leave this out for me, sir. There was no-one around when I finished my bath, so I started. I hope that's alright, sir.</dialogue> <character>MR. ALEXANDER</character> <parenthetical>(too loud - voice out of control)</parenthetical> <dialogue>Of course. Food alright?</dialogue> <character>ALEX</character> <dialogue>Great, sir. Great.</dialogue> <character>MR. ALEXANDER</character> <dialogue>Try the wine!</dialogue> <character>ALEX</character> <dialogue>Thank you very much, sir. Cheers</dialogue> <scene_description>Suddenly the thought occurs to Alex that the wine may be drugged or poisoned.</scene_description> <character>ALEX</character> <dialogue>Won't you join me, sir?</dialogue> <character>MR. ALEXANDER</character> <dialogue>No, my health doesn't allow it.</dialogue> <character>ALEX</character> <parenthetical>(to Julian)</parenthetical> <dialogue>And you, sir?</dialogue> <character>JULIAN</character> <dialogue>No thank you.</dialogue> <scene_description>Alex, stalling for time, reaches for bottle and reads the label.</scene_description> <character>ALEX</character> <dialogue>1960, Chateau, Saint Estephe, Medoc, very good brand, sir.</dialogue> <scene_description>He doesn't get a penny's change for his remarks from Alexander and Julian. He holds the glass up to the light.</scene_description> <character>ALEX</character> <dialogue>Very good colour, sir. Smells mice, too.Very good number, sir. Very good. Here's to it.</dialogue> <scene_description>He downs the glass.</scene_description> <character>ALEX</character> <dialogue>Very refreshing, sir, very refreshing.</dialogue> <character>MR. ALEXANDER</character> <parenthetical>(very arch)</parenthetical> <dialogue>I'm so pleased you appreciate good wine. Have another glass!</dialogue> <character>ALEX</character> <dialogue>Thank you, sir.</dialogue> <character>MR. ALEXANDER</character> <dialogue>My wife...</dialogue> <scene_description>Alex freezes.</scene_description> <character>MR. ALEXANDER</character> <dialogue>... used to do everything for me and leave me to my writing.</dialogue> <character>ALEX</character> <dialogue>Your wife, sir? Has she gone away?</dialogue> <character>MR. ALEXANDER</character> <dialogue>No. She's dead!</dialogue> <character>ALEX</character> <dialogue>I'm sorry to hear about that, sir.</dialogue> <scene_description>His face contorted in rage.</scene_description> <character>MR. ALEXANDER</character> <dialogue>She was very badly raped, you see. We were assaulted by a gang of vicious young hooligans in this house, in this very room you're sitting in now. I was left a helpless cripple. The doctors said it was Pneumonia, because it happened some months later during the 'flu epidemic. The doctors told me it was Pneumonia, but I knew what it was. A victim of the modern age, poor, poor girl.</dialogue> <scene_description>Suddenly his mood changes. He wheels right up to Alex.</scene_description> <character>MR. ALEXANDER</character> <dialogue>And now you, another victim of the modern age. But you can be helped. I phoned some friends while you were having a bath.</dialogue> <character>ALEX</character> <dialogue>Phoned some friends, sir?</dialogue> <character>MR. ALEXANDER</character> <dialogue>Yes. They want to help.</dialogue> <character>ALEX</character> <dialogue>Help me, sir?</dialogue> <character>MR. ALEXANDER</character> <dialogue>Help you.</dialogue> <character>ALEX</character> <dialogue>Who are they, sir?</dialogue> <character>MR. ALEXANDER</character> <dialogue>They're very, very important people and they're interested in you.</dialogue> <scene_description>Bell rings. Julian rises,</scene_description> <character>MR. ALEXANDER</character> <dialogue>Julian. This will be these people now.</dialogue> <scene_description>Alex gets up.</scene_description> <character>ALEX</character> <dialogue>Look, sir. I'm sorry to have troubled you. I think I ought to be going, sir.</dialogue> <scene_description>Julian bars the way.</scene_description> <character>MR. ALEXANDER</character> <dialogue>No, no my boy. No trouble at all.</dialogue> <scene_description>Alex slowly sits.</scene_description> <character>MR. ALEXANDER</character> <dialogue>Have another glass of wine.</dialogue> <scene_description>He pours. Alex picks up glass and takes a drink.</scene_description> </scene> <scene> <stage_direction>INT. "HOME" - NIGHT</stage_direction> <scene_description>Dolin and Rubinstein enter with Julian.</scene_description> <character>DOLIN</character> <parenthetical>(genial)</parenthetical> <dialogue>Hullo, Frank.</dialogue> <character>MR. ALEXANDER</character> <dialogue>Good evening, sir.</dialogue> <character>RUBINSTEIN</character> <dialogue>Frank.</dialogue> <character>DOLIN</character> <dialogue>So this is the young man?</dialogue> <character>ALEX</character> <dialogue>How do you do, sir?</dialogue> <character>DOLIN</character> <dialogue>Hullo.</dialogue> <character>ALEX</character> <dialogue>Missus. Very pleased to meet you.</dialogue> <character>RUBINSTEIN</character> <dialogue>Hullo.</dialogue> <character>DOLIN</character> <dialogue>I hope you forgive us for coming over at this ungodly hour, but we heard from Frank that you were in some trouble so we came over to see if we could be of any help.</dialogue> <character>ALEX</character> <dialogue>Very kind of you, sir. Thank you very much.</dialogue> <character>DOLIN</character> <dialogue>I understand that you had a rather unfortunate encounter with the Police tonight.</dialogue> <character>ALEX</character> <dialogue>Yes, sir. I suppose you might call it that, sir.</dialogue> <character>DOLIN</character> <dialogue>Hahaha, and how are you feeling now?</dialogue> <character>ALEX</character> <dialogue>Much better, thank you, sir.</dialogue> <character>DOLIN</character> <dialogue>Feel like talking to us. Answering a few questions?</dialogue> <character>ALEX</character> <dialogue>Fine, sir, fine.</dialogue> <character>DOLIN</character> <dialogue>Well, as I've said, we've heard about you. We are interested in your case. We want to help you.</dialogue> <character>ALEX</character> <dialogue>Thank you very much, sir.</dialogue> <character>DOLIN</character> <dialogue>But first we'd like to find out a few things about you.</dialogue> <character>ALEX</character> <dialogue>What would you like to know, sir?</dialogue> <character>DOLIN</character> <dialogue>Well, shall we get down to it?</dialogue> <character>ALEX</character> <dialogue>Yes, sir.</dialogue> <scene_description>Rubinstein takes out a notebook.</scene_description> <character>RUBINSTEIN</character> <dialogue>The newspapers mentioned that in addition to your being conditioned against acts of sex and violence, you've inadvertently been conditioned against music.</dialogue> <character>ALEX</character> <dialogue>Well, er, I think that was something that they hadn't planned for, you see, Missus, I'm very fond of music and always have been, especially Beethoven, Ludwig van... Beethoven. B... E... E...</dialogue> <scene_description>He leans over and looks at her writing in notebook.</scene_description> <character>RUBINSTEIN</character> <dialogue>It's alright, thank you.</dialogue> <character>ALEX</character> <dialogue>And it just so happened that while they were showing me a particularly bad film, of like a concentration camp, the background music was playing Beethoven.</dialogue> <character>RUBINSTEIN</character> <dialogue>So now you have the same reaction to music as you do to sex and violence?</dialogue> <character>ALEX</character> <dialogue>Oh well, it's... it's not all music you see, Missus. It's just the 9th.</dialogue> <character>RUBINSTEIN</character> <dialogue>You mean Beethoven's 9th Symphony?</dialogue> <character>ALEX</character> <dialogue>That's right. Er... I can't listen to the 9th any more at all. When I hear the 9th, I get like this funny feeling.</dialogue> <character>RUBINSTEIN</character> <dialogue>When you say this funny feeling, you mean the state of mind brought on by the treatment they gave you?</dialogue> <character>ALEX</character> <dialogue>That is correct, sir. And then all I can think about is like trying to snuff it.</dialogue> <character>RUBINSTEIN</character> <dialogue>I beg your pardon?</dialogue> <character>ALEX</character> <dialogue>Snuff it, sir... um... death, I mean, missus... Er... I just want to die peacefully like with no... pain.</dialogue> <character>RUBINSTEIN</character> <dialogue>Do you feel that way now?</dialogue> <character>ALEX</character> <dialogue>Um... oh no, sir, not exactly, I still feel very miserable, very much down in spirits.</dialogue> <character>RUBINSTEIN</character> <dialogue>Do you still feel suicidal?</dialogue> <character>ALEX</character> <dialogue>Um... well, put it this way... I feel very low in myself. I can't see much in the future, and I feel that any second something terrible is going to happen to me.</dialogue> <scene_description>He pitches forward, face into the plate of spaghetti.</scene_description> <character>RUBINSTEIN</character> <dialogue>Well done, Frank. Julian, get the car, will you please?</dialogue> </scene> <scene> <stage_direction>INT. HI-FI ROOM - DAWN</stage_direction> <scene_description>Alexander sits looking up. Rubinstein, Julian and Dolin also listening to Beethoven played loudly on tape recorder.</scene_description> </scene> <scene> <stage_direction>INT. DOLIN'S HOUSE - PRISONER BEDROOM - DAY</stage_direction> <scene_description>The 9th Symphony booming up through the floor. Alex slowly regains consciousness.</scene_description> <character>ALEX (V.O.)</character> <dialogue>I woke up. The pain and sickness all over me like an animal. Then I realised what it was. The music coming up from the floor was our old friend, Ludwig van and the dreaded 9th Symphony.</dialogue> <scene_description>He staggers to the door. It is locked. He kicks and tugs the door.</scene_description> <character>ALEX</character> <dialogue>Open the door... turn it off... turn it off.</dialogue> <scene_description>CUT TO: THE BILLIARD ROOM BELOW Hi-Fi gear laid out on the table. Large speakers facing upwards. Mr. Alexander trembles and twitches. He is now completely mad. The others merely wait, coolly.</scene_description> </scene> <scene> <stage_direction>INT. DOLIN'S HOUSE - PRISONER BEDROOM - DAY</stage_direction> <scene_description>Alex on his knees. His hands cupped over his ears, banging his head on the floor. Then he stops and slowly straightens up, staring at the window.</scene_description> <character>ALEX (V.O.)</character> <dialogue>Suddenly I viddied what I had to do, and what I had wanted to do - and that was to do myself in, to snuff it, to blast off forever out of this wicked cruel world. One moment of pain perhaps and then sleep - forever and ever and ever.</dialogue> </scene> <scene> <stage_direction>EXT. WINDOW - DAWC</stage_direction> <scene_description>Alex leaps out of the window.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL WARD</stage_direction> <scene_description>Alex in bed. Camera slowly tracks along length of his body. Everything is bandages and plaster splints, wire cages, blood drips.</scene_description> <character>ALEX (V.O.)</character> <dialogue>I jumped, O my brothers, and I fell hard but I did not snuff it, oh no. if I had snuffed it, I would not be here to tell what I have told. I came back to life, after a long, black, black gap of what might have been a million years.</dialogue> <scene_description>We hear Alex moan, and then another moan. Alex and the other - a few times. Suddenly, some curtains which have been drawn around another bed in the ward are parted, and a nurse hurries to Alex, hastily buttoning up her uniform. She is trailed by a young Intern fumbling with his trousers.</scene_description> <character>NURSE</character> <dialogue>Oh, he's recovered conscienceness, Doctor.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL - DAY</stage_direction> <scene_description>Em and Pee sitting around the bed.</scene_description> <character>PEE</character> <dialogue>Hullo, lad.</dialogue> <character>EM</character> <dialogue>Hullo, son, how are you?</dialogue> <character>PEE</character> <dialogue>Are you feeling better?</dialogue> <character>ALEX</character> <dialogue>What gives, O myee P and Em, what makes you think you are welcome?</dialogue> <scene_description>Em sobs. Pee comforts her.</scene_description> <character>PEE</character> <dialogue>There, there mother, it's alright. He doesn't mean it. You were in the papers again, son. It said they had done great wrong to you. It said how the Government drove you to try and do yourself in... and when you think about it, son... maybe it was our fault too in a way... your home's your home when it's all said and done, son.</dialogue> <scene_description>Em sobs.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL</stage_direction> <scene_description>Psychiatrist wheels trolley to Alex's bed. He is sitting up.</scene_description> <character>ALEX</character> <dialogue>Good morning, Missus.</dialogue> <character>DR. TAYLOR</character> <dialogue>How are you feeling today?</dialogue> <character>ALEX</character> <dialogue>Fine. Fine.</dialogue> <character>DR. TAYLOR</character> <dialogue>Good. I'm doctor Taylor.</dialogue> <character>ALEX</character> <dialogue>I haven't seen you before.</dialogue> <character>DR. TAYLOR</character> <dialogue>I'm your Psychiatrist.</dialogue> <character>ALEX</character> <dialogue>Psychiatrist? Huh, do I need one?</dialogue> <character>DR. TAYLOR</character> <dialogue>Just part of hospital routine.</dialogue> <character>ALEX</character> <dialogue>What are we going to do? Talk about me sex life?</dialogue> <character>DR. TAYLOR</character> <dialogue>No... I'm going to show you some slides and you are going to tell me what you think about them Alright?</dialogue> <character>ALEX</character> <dialogue>Ohhh... jolly good. Perhaps you can explain me something to me first.</dialogue> <character>DR. TAYLOR</character> <dialogue>Yes?</dialogue> <character>ALEX</character> <dialogue>Well, when I was all like ashamed up and half awake and unconscious like, I kept having this dream like all these doctors were playing around with me gulliver. You know... like the inside of me brain. I seemed to have this dream over and over again. D'you think it means anything?</dialogue> <character>DR. TAYLOR</character> <dialogue>Patients who've sustained the kind of injuries you have often have dreams of this sort. It's all part of the recovery process.</dialogue> <character>ALEX</character> <dialogue>Oh.</dialogue> <character>DR. TAYLOR</character> <dialogue>Now then, each of these slides needs a reply from one of the people in the picture. You'll tell me what you think the person would say. Alright?</dialogue> <character>ALEX</character> <dialogue>Righty, right.</dialogue> <scene_description>The doctor reads aloud the dialogue printed in the cartoon balloon - a peacock.</scene_description> <character>DR. TAYLOR</character> <dialogue>Isn't the plumage beautiful?</dialogue> <character>ALEX</character> <dialogue>I just say what the other person would say?</dialogue> <character>DR. TAYLOR</character> <dialogue>Yes. Yes, well don't think about it too long, just say the first thing that pops into your mind.</dialogue> <character>ALEX</character> <dialogue>Right... Knickers... Cabbages... It doesn't have a beak.</dialogue> <scene_description>Alex laughs. Slide of woman speaking to boy.</scene_description> <character>DR. TAYLOR</character> <dialogue>Good. The boy you alway quarrelled with is seriously ill.</dialogue> <character>ALEX</character> <dialogue>That's right and I'll smash your face for you, yarblockos.</dialogue> <scene_description>Slide of watch shop.</scene_description> <character>DR. TAYLOR</character> <dialogue>Good. It wa your fault... you sold me a crummy watch. I want my money back.</dialogue> <character>ALEX</character> <dialogue>Bollocks. You know what you can do with that watch? You can stick it up your arse.</dialogue> <scene_description>Slide of nude woman in bed, a man at the window.</scene_description> <character>DR. TAYLOR</character> <dialogue>Good. What do you want?</dialogue> <character>ALEX</character> <dialogue>Excuse me, missus. No time for the old in- out, I've just come to read the meter.</dialogue> <scene_description>Slide of bird's nest with eggs.</scene_description> <character>DR. TAYLOR</character> <dialogue>Good. You can do whatever you like with these.</dialogue> <character>ALEX</character> <dialogue>Eggiwegs. I would like to smash 'em. Pick up th elot and f... owww...</dialogue> <scene_description>He slams his hand down and cries out with pain.</scene_description> <character>ALEX</character> <dialogue>Fucking hell...</dialogue> <character>DR. TAYLOR</character> <dialogue>Fine. Well, that's all there is to it. Are you alright?</dialogue> <character>ALEX</character> <dialogue>I hope so. Is that the end then?</dialogue> <character>DR. TAYLOR</character> <dialogue>Yes.</dialogue> <character>ALEX</character> <dialogue>I was quite enjoying that.</dialogue> <character>DR. TAYLOR</character> <dialogue>Good. I'm glad</dialogue> <character>ALEX</character> <dialogue>How many did I get right?</dialogue> <character>DR. TAYLOR</character> <dialogue>It's not that kind of a test. But you seem well on the way to a complete recovery.</dialogue> <character>ALEX</character> <dialogue>And when do I get out of here then?</dialogue> <character>DR. TAYLOR</character> <dialogue>I'm sure it won't be long now.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL - DAY</stage_direction> <scene_description>Alex sitting up, being fed by Nurse.</scene_description> <character>ALEX (V.O.)</character> <dialogue>So I waited and, O my brothers, I got a lot better munching away at eggiwegs, and lomticks of toast and lovely steakiweaks and then, one day, they said I was going to have a very special visitor.</dialogue> <scene_description>Doctor enters followed by Minister and Matron.</scene_description> <character>MINISTER</character> <dialogue>Good evening, my boy.</dialogue> <character>ALEX</character> <dialogue>Hi, hi, hi there, my little droogies.</dialogue> <character>DOCTOR</character> <dialogue>Well, how are you getting on today, young man?</dialogue> <character>ALEX</character> <dialogue>Great, sir. Great.</dialogue> <character>DOCTOR</character> <dialogue>Can I do anything more for you , Minister?</dialogue> <character>MINISTER</character> <dialogue>I don't think so, Sir Leslie. Thank you very much.</dialogue> <character>DR. TAYLOR</character> <dialogue>Then I'll leave you to it. Nurse.</dialogue> <scene_description>They exit. Minister moves to Alex.</scene_description> <character>MINISTER</character> <dialogue>You seem to have a whole ward to yourself, my boy.</dialogue> <character>ALEX</character> <dialogue>Yes, sir, and a very lovely place it is too, sir, when I wake up in the middle of the night with my pain.</dialogue> <character>MINISTER</character> <dialogue>Yes... well good to see you on the mend. I've kept in constant touch with the hospital, of course, and now I've come to see you personally to see how you're getting along.</dialogue> <character>ALEX</character> <dialogue>I've suffered the tortures of the damned. The tortures of the damned, sir.</dialogue> <character>MINISTER</character> <dialogue>Yes I can... Oh look, let me do that for you, shall I?</dialogue> <character>ALEX</character> <dialogue>Thank you, sir.</dialogue> <character>MINISTER</character> <dialogue>I can tell you that I... and the Government of which I am a member are deeply sorry about this, my boy. Deeply sorry. We tried to help you. We followed recommendations had been made to us that turned out to be wrong. An enquiry will place the responsibility where it belongs. We want you to regard us as friends. We've put you right, you're getting the best of treatments. We never wished you harm, but there are some that did and do, and I think you know who those are. There are certain people who wanted to use you for political ends. People who would have been glad to have you dead because then they would have been able to blame it all on the Governement. I think you know who those are. There is also a certain man - a writer of subversive literature - who has been howling for your blood. He's been mad with desire to stick a knife into you, but you're safe from him now, we've put him away. He found out that you had done wrong to him - at least he believed you had done wrong. He had formed this idea in his head that you had been responsible for the death of someone near and dear to him. We put him away for his own protection... I'm sorry, I thought you were ready.</dialogue> <character>ALEX</character> <dialogue>Where is he now, sir?</dialogue> <character>MINISTER</character> <dialogue>We put him away where he can do you no harm. You see we are looking after your interests. We are interested in you, and when you leave here you will have no further worries. We shall see to everything... a good job on a good salary.</dialogue> <character>ALEX</character> <dialogue>What job and how much?</dialogue> <character>MINISTER</character> <dialogue>You must have an interesting job at a salary which you would regard as adequate. Not only for the job which you are going to do and in compensation for what you believe you have suffered, but also because you are helping us.</dialogue> <character>ALEX</character> <dialogue>Helping you, sir?</dialogue> <character>MINISTER</character> <dialogue>We always help our friends, don't we?</dialogue> <parenthetical>(smiles)</parenthetical> <dialogue>It is no secret that the Government has lost a lot of popularity because of you, my boy. There are some that think that at the next election we shall be out. The press has chosen to take a very unfavorable view of what we tried to do.</dialogue> <character>ALEX</character> <dialogue>Well, who can bame them, sir?</dialogue> <character>MINISTER</character> <dialogue>Mmmm, possibly. Yes. But public opinion has a way of changing and you, Alex, if I may call you, Alex?</dialogue> <character>ALEX</character> <dialogue>Certainly, sir. What do they call you at home?</dialogue> <character>MINISTER</character> <dialogue>My name is Frederick. As I was saying, Alex, you can be instrumental in changing the public verdict. Do you understand, Alex? Have I made myself clear?</dialogue> <character>ALEX</character> <dialogue>As an unmuddied lake, Fred. As clear as an azurw sky of deepest summer. You can rely on me, Fred.</dialogue> <character>MINISTER</character> <dialogue>Good... good boy. Oh yes, I understand you're fond of music. I have arranged a little surprise for you.</dialogue> <character>ALEX</character> <dialogue>Surprise?</dialogue> <character>MINISTER</character> <dialogue>One I think you will like... as a, how shall I put it, as a symbol of our new understanding. An understanding between two friends.</dialogue> <character>ALEX</character> <dialogue>Thank you, Fred. Thank you.</dialogue> <scene_description>Minister turns and signals. Door opens and a crowd of cameramen and reporters rush in. Aides push two 6-foot loudspeakers and a Hi-Fi on a trolley.</scene_description> <character>ALEX (V.O.)</character> <dialogue>And what do you know, my brothers and only friends, it was the 9th, the glorious 9th of Ludwig van. Oh, it was gorgeosity and yummy yum yum. I was cured.</dialogue> <scene_description>CLOSE SHOT ALEX</scene_description> <character>ALEX (V.O.)</character> <dialogue>As the music came to ist climax, I could viddy myself very clear, running and running on like very light and mysterious feet, carving the whole face of the creeching world with my cut throat britva. I was cured all right.</dialogue> <scene_description>THE END</scene_description> </scene> </script>

In a futuristic Britain, Alex DeLarge is the leader of a gang of "droogs": Georgie, Dim and Pete. One night, after getting intoxicated on drug-laden "milk-plus", they engage in an evening of "ultra-violence", which includes a fight with a rival gang. They drive to the country home of writer Frank Alexander and trick his wife into letting them inside. They beat Alexander to the point of crippling him, and Alex violently rapes Alexander's wife while singing "Singin' in the Rain". The next day, while truant from school, Alex is approached by his probation officer, PR Deltoid, who is aware of Alex's activities and cautions him. Alex's droogs express discontent with petty crime and want more equality and high-yield thefts, but Alex asserts his authority by attacking them. Later, Alex invades the home of a wealthy "cat-lady" and bludgeons her with a phallic sculpture while his droogs remain outside. On hearing sirens, Alex tries to flee, but Dim smashes a bottle in his face, stunning Alex and leaving him to be arrested. Deltoid brings word that the woman has died of her injuries, and Alex is convicted of murder and sentenced to 14 years in prison. Two years into the sentence, Alex eagerly takes up an offer to be a test subject for the Minister of the Interior's new Ludovico technique, an experimental aversion therapy for rehabilitating criminals within two weeks. Alex is strapped to a chair, his eyes are clamped open, and he is injected with drugs. He is then forced to watch films of sex and violence, some of which are accompanied by the music of his favourite composer, Ludwig van Beethoven. Alex becomes nauseated by the films and, fearing the technique will make him sick upon hearing Beethoven, begs for an end to the treatment. Two weeks later, the Minister demonstrates Alex's rehabilitation to a gathering of officials. Alex is unable to fight back against an actor who taunts and attacks him and becomes ill upon seeing a topless woman. The prison chaplain complains that Alex has been robbed of his free will; the Minister asserts that the Ludovico technique will cut crime and alleviate crowding in prisons. Alex is released from prison, only to find that the police have sold his possessions to provide compensation to his victims and his parents have let out his room. Alex encounters an elderly vagrant whom he attacked years earlier, and the vagrant and his friends attack him. Alex is saved by two policemen but is shocked to find they are his former droogs Dim and Georgie. They drive him to the countryside, beat him, and nearly drown him before abandoning him. Alex barely makes it to the doorstep of a nearby home before collapsing. Alex wakes up to find himself in the home of Mr Alexander, who is now using a wheelchair. Alexander does not recognise Alex from the previous attack, but knows of him and the Ludovico technique from the newspapers. He sees Alex as a political weapon and prepares to present him to his colleagues. While bathing, Alex breaks into "Singin' in the Rain", causing Alexander to realise that Alex was the person who assaulted his wife and him. With help from his colleagues, Alexander drugs Alex and locks him in an upstairs bedroom. He then plays Beethoven's Ninth Symphony loudly from the floor below. Unable to withstand the sickening pain, Alex attempts suicide by jumping out of the window. Alex survives the attempt and wakes up in hospital with multiple injuries. While being given a series of psychological tests, he finds that he no longer has aversions to violence and sex. The Minister arrives and apologises to Alex. He informs Alex that the government has had Mr Alexander institutionalised. He offers to take care of Alex and get him a job in return for his co-operation with his election campaign and public relations counter-offensive. As a sign of goodwill, the Minister brings in a stereo system playing Beethoven's Ninth. Alex then contemplates violence and has vivid thoughts of having sex with a woman in front of an approving crowd, thinking to himself, "I was cured, all right!"

Motherless Brooklyn_2019

tt0385887

<script> <scene> <character>MOTHERLESS BROOKLYN</character> <dialogue>Written for the Screen by</dialogue> <scene_description>Edward Norton From the Novel by Jonathan Lethem White 1-30-18 Blue Revisions Current Pink Revisions OVER BLACK</scene_description> <character>LIONEL (V.O.)</character> <dialogue>Frank always used to say: "Tell your story walking, pal...'</dialogue> </scene> <scene> <stage_direction>INT/EXT LIONEL CAR - HARLEM ST - DAY</stage_direction> <scene_description>A beat up '54 Dodge sits on a cold Harlem street. Two guys in the front.</scene_description> <character>LIONEL (V.O.) CONT</character> <dialogue>He was more philosophical than your average gumshoe, but he liked to do his talking on the move so... Here's how it all went down.</dialogue> <scene_description>Close on the TWO GUYS: LIONEL ESSROG and GILBERT CONEY. CONEY is a big lug in a porkpie hat. LIONEL medium build, wiry. Both late 30's. They don't look like P.I.'s but that's what they are. Lionel sits shotgun. He's a hypnotizing array of Tourettic twitches and tics.</scene_description> <character>LIONEL (V.O.)</character> <dialogue>I got something wrong with my head, that's the first thing to know</dialogue> <character>LIONEL</character> <parenthetical>(yelps)</parenthetical> <character>IF!</character> <dialogue>LIONEL (V.O.)</dialogue> <scene_description>It's like having glass in the brain. I can't stop picking things apart, twisting em around, words and sounds especially. It's like an itch that has to be scratched. C.U. A LOOSE THREAD...hanging off the sleeve of a sweater. An arm and a wrist resting on a seated knee. The knee starts to jiggle and then...FINGERS pluck at the thread, try to snap it off then smooth it down.</scene_description> <character>CONEY</character> <dialogue>Quit pullin' at it. You're gonna make a fuckin' mess outta things.</dialogue> <character>LIONEL</character> <dialogue>I got threads in my heads! I got threads in my HEADS! I GOT THREADS IN MY HEADS, MAN!</dialogue> <scene_description>This is LIONEL. Words are the fuel for the boiling pressure- cooker of his obsessive-compulsive brain. CONEY ignores the outburst, used to it. He stuffs little White Castles in his mouth and watches Lionel, deadpan. Lionel's head twitches.</scene_description> <character>LIONEL (V.O.)</character> <dialogue>And I twitch a lot. It's hard to miss. Makes me look like a goddam spastic but if I try to hold it back it just makes it worse.</dialogue> <scene_description>He's pulling it out further, more thread unravelling. A disaster...Lionel's pulled a foot of thread off his cuff before Coney reaches for his pocketknife...</scene_description> <character>CONEY</character> <dialogue>Like I said, a fucking mess.</dialogue> <parenthetical>(cuts it off)</parenthetical> <dialogue>Jesus, freakshow. Ruin another sweater.</dialogue> <character>LIONEL (V.O.)</character> <dialogue>Fucking mess is right. The nuns said my soul wasn't at peace with God and I should do penance. Frank said anyone teaching God's love while they hit you with a stick should be ignored on every subject.</dialogue> <scene_description>Lionel's eyes are down the street, watchful and sharp. Black kids playing football in the cold. LIONEL's POV: way off down the block a figure approaching. Lionel: sharpens up. A flicker of a grin.</scene_description> <character>LIONEL (V.O.)</character> <dialogue>Frank Minna. If you had to pick just one guy to be on your side, he's the one you'd want. It's Minna's game. We're all just in the lineup.</dialogue> <scene_description>TAP TAP TAP... at the window. A trim black trench-coat. A smiling face under a cool hat , upturned collar against the cold. Now that's what a P.I. looks like and this one is: FRANK MINNA. Lionel rolls the window down.</scene_description> <character>MINNA</character> <dialogue>Boys.</dialogue> <character>CONEY</character> <dialogue>Boss.</dialogue> <character>LIONEL</character> <dialogue>Heya, Frank. FRANKLY FRANKADY FRANKO!</dialogue> <scene_description>Lionel reaches out and taps Minna twice on the shoulder. An affectionate compulsion. Frank doesn't even notice it anymore. He lights a cigarette.</scene_description> <character>MINNA</character> <dialogue>Okay listen...here's the shot... I'll be third floor. Lionel go to the payphone on the corner in 20 minutes. When they come.. probably three or four of em...when they come, you call me here...</dialogue> <parenthetical>(hands him a number)</parenthetical> <dialogue>I'll buzz em in. Coney waits on the door, I buzz him in and he stays right inside. Lionel's listening sharp on the line. If you hear me say "Then we have a problem" hustle over, Coney lets you in, two of you come upstairs and back me up quick, okay?</dialogue> <character>CONEY</character> <dialogue>What's going down here, Frank?</dialogue> <character>MINNA</character> <parenthetical>(pause)</parenthetical> <dialogue>I gotta keep this one under my hat, boys.</dialogue> <character>LIONEL</character> <dialogue>Fat cats in HATS!</dialogue> <character>MINNA</character> <dialogue>Them's the ones, pal. Let's catch a big score and get outta this game, get fat ourselves.</dialogue> <scene_description>He winks at Lionel. Lionel notices a little sweat on Minna's brow despite the cold.</scene_description> <character>CONEY</character> <dialogue>Boss, we're not carrying.</dialogue> <character>MINNA</character> <dialogue>What?</dialogue> <character>CONEY</character> <dialogue>A piece. I don't have a piece.</dialogue> <character>MINNA</character> <dialogue>A piece? Say 'gun', Gilbert.</dialogue> <character>CONEY</character> <dialogue>I got no gun.</dialogue> <character>MINNA</character> <dialogue>That's what I count on. That's how I sleep at night, you with no gun. I've got a gun. You just show up. I wouldn't want you chuckleheads coming up a stairway for me with a hairpin. With a harmonica.</dialogue> <character>LIONEL</character> <dialogue>Hairy chin. Harmony harp. Don't wind me up.</dialogue> <character>MINNA</character> <parenthetical>(smiling at Lionel)</parenthetical> <dialogue>With an unlit cigar. With a fucking chicken wing. Right, Brooklyn?</dialogue> <character>LIONEL</character> <dialogue>Chicky wing ding!</dialogue> <parenthetical>(grins)</parenthetical> <dialogue>Quit winding me up! You'll throw me off. Just give us the rest of it.</dialogue> <character>MINNA</character> <dialogue>Right. Now, if I say "Lemme use the can." it means we're coming out. Get Gil, get in the car and get ready to follow. And stay tight, I might need to give someone the slip, got it?</dialogue> <character>LIONEL</character> <dialogue>'Problem'- up the stairs, 'use the can'- start the car. Got it. Get, gotten, got, GOTCHA!</dialogue> <character>MINNA</character> <dialogue>Lionel's got it. Just follow his lead.</dialogue> <character>CONEY</character> <parenthetical>(protesting)</parenthetical> <dialogue>You gotta be kidding me...</dialogue> <character>MINNA</character> <dialogue>Coney what did I say when I came into the office last Tuesday?</dialogue> <character>CONEY</character> <dialogue>Huh?</dialogue> <character>MINNA</character> <dialogue>Lionel?</dialogue> <character>LIONEL</character> <parenthetical>(rapid fire)</parenthetical> <dialogue>Took your coat off, put your hat on the 3rd hook, said "I just stood next to a girl on the ferry and the smile she gave me will get me through this winter" Threw Danny your notebook. "How's a guy supposed to keep a marriage together when 22 is on the menu?"</dialogue> <character>MINNA</character> <dialogue>(nods) Like I said, Lionel's on point.</dialogue> <scene_description>And he heads across the street</scene_description> <character>LIONEL</character> <dialogue>Sit on it, Bailey! IF!</dialogue> </scene> <scene> <stage_direction>INT/EXT SAME CAR - 20 MINUTES LATER</stage_direction> <scene_description>Coney is reading the paper, Lionel is locked on the street and the door. Lionel is carefully folding a stick of gum exactly in half before putting it in his mouth.</scene_description> <character>LIONEL (V.O.)</character> <dialogue>Fucking Bailey. Bailey is what my head calls me. It calls me out if I try to resist it. There's things that calm it down: gum, weed, sometimes something stronger if I'm in bad shape. But if I try to put a lid on it it gets worse. If I get nervous it gets worse. If I get excited it gets worse. It's the argument I can't win.</dialogue> <scene_description>The kids playing thump a football against Coney's door.</scene_description> <character>CONEY</character> <dialogue>Hey, watch it! (grumbling) Another Minna Classic. Freezin' our asses off, don't even know the score.</dialogue> <character>LIONEL</character> <dialogue>What you got big plans this weekend, Coney? Coney Island! Coney Island hot dogs! Get your Coney Island hot dogs right here!!</dialogue> <character>CONEY</character> <dialogue>Alright, Freakshow, just a little quieter please...</dialogue> <scene_description>Lionel looks at his watch. Second hand hits the 12 and he hits Coney in the arm.</scene_description> <character>LIONEL</character> <dialogue>We're on. Get ready.</dialogue> <scene_description>Lionel hops out of the car and heads for a payphone.</scene_description> </scene> <scene> <stage_direction>INT. HARLEM APT/EXT HARLEM ST/PAYPHONE (INTERCUT) - DAY</stage_direction> <scene_description>C.U.: A PHONE, ringing on top of a dresser... MINNA'S HAND reaches in and picks it up and off the screen.</scene_description> <character>MINNA</character> <dialogue>Yeah.</dialogue> <character>LIONEL</character> <dialogue>Hey, boss.</dialogue> <parenthetical>(muted)</parenthetical> <dialogue>Boss, bossy, BITCH!</dialogue> <character>MINNA</character> <dialogue>You keeping it together, Brooklyn?</dialogue> <character>LIONEL</character> <dialogue>Yeah...it's under control. I got my gum. I got ya covered.</dialogue> <character>MINNA</character> <dialogue>I know it. Okay, like we said, stay tuned in, pal. I'm might need that head of yours later.</dialogue> <scene_description>LIONEL SEES: TWO BIG BLACK CARS PULL UP DOWN THE STREET Two men get out of each and converge on the sidewalk in front of the building. One of them is A GIANT MAN IN A DARK COAT...easily 7'0".</scene_description> <character>LIONEL</character> <dialogue>Hey. I think your friends are here.</dialogue> <scene_description>In the apartment A DOOR BUZZER SOUNDS. LIONEL (cont'd) (reacting to the GIANT) Jesus look at the size of that guy. They got serious muscle with em...Everything cool, Boss?</scene_description> <character>MINNA</character> <dialogue>Cool as can be. Just a little chat.</dialogue> <scene_description>CLOSE ON: THE DRESSER as Minna opens the top drawer and puts the phone down inside with the receiver still off the cradle. LEAVES THE DRAWER OPEN A CRACK so Lionel can listen in... ON LIONEL: Looking over to...THE DOOR. The four guys get buzzed in.</scene_description> <character>LIONEL (V.O.)</character> <dialogue>'Here Lies Frank Minna. Cool as can be.' They'll carve that on his fucking tombstone. I don't know if it was growing up in Greenpoint or fighting the Japanese, but he was cool under pressure in a way you can't teach.</dialogue> <scene_description>LIONEL leans out and waves to CONEY who hustles out of the car and to the door, buzzes, enters, gives thumbs up.</scene_description> <character>LIONEL (V.O.)</character> <dialogue>I was just happy to have job on his team. And if there's one thing my pain in the ass brain does know how to do...it's listen and remember things.</dialogue> <scene_description>Lionel folds up a handkerchief and rubber bands it to the phone mouthpiece. He closes his eyes to focus and listen. (We see the meeting in the apartment AS IMAGINED BY LIONEL, and the action on the street around him and over all this there's NO SOUND but what Lionel hears through that phone receiver in the dresser.) Muffled and broken, HE HEARS: FOOTSTEPS and a DOOR OPEN</scene_description> <character>MINNA</character> <dialogue>Gentlemen...thanks for coming.</dialogue> <scene_description>CU -- Ice dropping in a glass just above the phone. MINNA (cont'd) Drink?</scene_description> <character>LOU</character> <dialogue>When I want a drink I'll find a bar and a blonde, now explain this crap.</dialogue> <scene_description>SOUND -- a FILE SLAPPING DOWN ON A TABLE LIONEL'S POV: Kids playing on the street.</scene_description> <character>MINNA</character> <dialogue>Well, which part didn't you understand?</dialogue> <character>LOU</character> <dialogue>How about the part where you got the idea to go poke around after some colored broad for starters.</dialogue> <scene_description>CU: Lionel mouths 'colored broad' silently to himself then--</scene_description> <character>LIONEL</character> <parenthetical>(into his sleeve)</parenthetical> <dialogue>Cold wig on a rod !</dialogue> <character>MINNA</character> <dialogue>She works for the committee.</dialogue> <character>LOU</character> <dialogue>She's a fucking secretary. We told you to dig on Horowitz...find something we can shut them down with.</dialogue> <scene_description>CU: Lionel mouths "Horowitz"</scene_description> <character>MINNA</character> <dialogue>There's nothing there. Unless you're dumb enough to try to wave that old Red flag of yours one more time.</dialogue> <parenthetical>(silence)</parenthetical> <dialogue>Yeah, right.</dialogue> <character>MINNA</character> <dialogue>So, if you want to know what's going in that report, that 'colored broad' is doing most of the legwork on Hamilton for 'em. And what she's sniffing around I'm sure is of concern to you gentlemen, so I put some time into that too.</dialogue> <scene_description>CU: Lionel mouths 'Hamilton report'</scene_description> <character>LIEBERMAN</character> <dialogue>You looked in some funny places.</dialogue> <character>MINNA</character> <dialogue>What can I tell ya? I'm a snoop, that's what I do. It's called being thorough, Lou.</dialogue> <character>LOU</character> <dialogue>It's called wasting our time. This is fucking Chinese.</dialogue> <character>MINNA</character> <dialogue>If you need a road map to wipe your ass I can't help you, Lou. These gentlemen understand it or they wouldn't be here.</dialogue> <character>LIEBERMAN</character> <parenthetical>(quiet - the leader)</parenthetical> <dialogue>Walk us through it, Mr. Minna, just to be sure we're very clear.</dialogue> <character>MINNA</character> <parenthetical>(picks up something)</parenthetical> <dialogue>It's right here in ink, Mo---</dialogue> <scene_description>A COP CAR POPS ITS SIREN TO CLEAR THE KIDS AND THEN SIRENS OUT ONTO THE AVENUE. LIONEL, clutches the phone to his chest, desperate to muffle the sound. An agonizing 10 seconds lost. Exasperated, LIONEL finally gets back on... MINNA (CONT'D) (cont'd) ...anybody like to offer a different interpretation? A long silence.</scene_description> <character>LIEBERMAN</character> <dialogue>None of this can be proved.</dialogue> <character>MINNA</character> <dialogue>That signature is the real deal.</dialogue> <character>LIEBERMAN</character> <dialogue>If you knew the man, you'd know why that seems highly implausible to me.</dialogue> <character>MINNA</character> <dialogue>I checked it against others. It's his John Hancock. And the paper trail backs it up. Lay that on top of the rest of what I've included here and I think we can all agree you're sitting on a powder keg.</dialogue> <character>LIEBERMAN</character> <dialogue>And you think Horowitz knows all of this?</dialogue> <character>MINNA</character> <dialogue>Nope. Or you'd already be eating shit. It've been in the paper the next day.</dialogue> <character>LIEBERMAN</character> <dialogue>The girl: she married, got family?</dialogue> <character>MINNA</character> <dialogue>It's all in my file...her mother's dead. No brother or sisters.</dialogue> <character>LIEBERMAN</character> <dialogue>What about her father?</dialogue> <character>MINNA</character> <parenthetical>(laughs)</parenthetical> <dialogue>Lou you're Mr Straight Talk. Why don't you go ask him and see what he says.</dialogue> <character>LOU</character> <dialogue>You think this is funny?</dialogue> <character>MINNA</character> <dialogue>No, Lou, just ironic. There's a difference. Look it up. Father's a busted up vet. He runs a jazz club up here. Drinks too much.</dialogue> <scene_description>A pause.</scene_description> <character>LIEBERMAN</character> <dialogue>Mr Minna, I'll assume you're aware of what occurs a week from Thursday?</dialogue> <character>MINNA</character> <dialogue>I am.</dialogue> <character>LIEBERMAN</character> <dialogue>So then you understand our firm determination to keep such information out of the hands of our detractors?</dialogue> <character>MINNA</character> <dialogue>Sure. Nature of the game.</dialogue> <character>LIEBERMAN</character> <dialogue>These are all photos. May I hope you're in possession of the originals?</dialogue> <character>MINNA</character> <dialogue>I am.</dialogue> <character>LIEBERMAN</character> <dialogue>Excellent. We'll need to get those from you.</dialogue> <character>MINNA</character> <dialogue>I figured as much. I thought we might talk about terms.</dialogue> <character>LIEBERMAN</character> <dialogue>Terms?</dialogue> <character>MINNA</character> <dialogue>I think it's fair to say that the initiative involved in securing these...assets...goes a good bit beyond the original scope of work in our arrangement.</dialogue> <character>LOU</character> <dialogue>...the fuck are you talkin'?</dialogue> <character>MINNA</character> <dialogue>I'm thinking a bonus...for taking a wild card off the table before it got in the game.</dialogue> <character>LIEBERMAN</character> <dialogue>I see. And what do you have in mind?</dialogue> <dialogue>A small sound -- a piece of paper being unfolded?</dialogue> <dialogue>Lionel can't hear...he's nervous.</dialogue> <dialogue>LIONEL'S POV: Cop car way down the street; a BLACK GUY (BILLY ROSE) walking by lights a smoke, looks across the street and moves on; Coney in the door</dialogue> <character>LOU</character> <dialogue>Have you lost your mind?</dialogue> <character>MINNA</character> <dialogue>Let's not kid each other fellas. You got the biggest gravy train this century pulling out. I'm asking for a seat in the rear here.</dialogue> <character>LIEBERMAN</character> <dialogue>That's quite impossible.</dialogue> <character>MINNA</character> <dialogue>I'd double this at any paper in town.</dialogue> <scene_description>There is a sudden deadly silence. Lionel senses it.</scene_description> <character>LOU</character> <dialogue>I'm gonna pretend you didn't say what you just said and we're gonna-</dialogue> <character>MINNA</character> <dialogue>Just an observation. I'm here in good faith. Just assessing the value...</dialogue> <character>LOU</character> <dialogue>You can forget it--</dialogue> <character>MINNA</character> <dialogue>Jeez Lou, what's your beef with a guy getting paid for good work? I mean you get paid for doing nothing as far as I can--- UHHNH!</dialogue> <scene_description>A THUD. LIONEL FREEZES.</scene_description> <character>DEEP VOICE (GIANT)</character> <dialogue>Watch it.</dialogue> <character>LOU</character> <dialogue>Are you fuckin' packin'!?</dialogue> <character>MINNA</character> <parenthetical>(winded)</parenthetical> <dialogue>Jesus, take it easy...Had it since the war. Remember that thing some of us fought in?</dialogue> <scene_description>A SCUFFLE</scene_description> <character>LIEBERMAN</character> <dialogue>Enough! Lou...a word...</dialogue> <scene_description>It goes quiet...whispered conference that Lionel strains to hear.</scene_description> <character>MINNA</character> <dialogue>Oh come on fellas, don't get in a twist, it's just busi...</dialogue> <character>LIEBERMAN</character> <parenthetical>(evenly)</parenthetical> <dialogue>Mr. Minna, we do appreciate the service you've rendered. These gentlemen will take you to get the originals and if all is in order we'll arrange an appropriate resolution for you.</dialogue> <character>MINNA</character> <parenthetical>(accommodating)</parenthetical> <dialogue>Sure, of course...like I said, good faith. Just lemme use the can first...</dialogue> <scene_description>LIONEL hears the signal and goes into high gear. He hangs up the phone and turns to exit, then turns back and hangs it up again, then dashes out... EXT HARLEM STREET / INT LIONEL CAR - DAY</scene_description> </scene> <scene> <stage_direction>..and runs across street, signaling at CONEY in the door, who sees him coming, gets the message and hustles out and over to...</stage_direction> <scene_description>THE CAR... They both tumble in.</scene_description> <character>LIONEL</character> <dialogue>PURPLE HITTER!!</dialogue> <character>CONEY</character> <dialogue>What?</dialogue> <character>LIONEL</character> <dialogue>They hit him! It sounded like they hit him!</dialogue> <character>CONEY</character> <dialogue>For chrissake, freakshow! What are we doing here?</dialogue> <scene_description>He starts to get out but Lionel stops him.</scene_description> <character>LIONEL</character> <dialogue>No. He said "lemme use the can" We're supposed to follow him. CAN THE MAN!</dialogue> <scene_description>They look across to...THE DOORWAY MINNA and the FOUR MEN come out. THE GIANT and MINNA move a step or two off while a SMALLER MAN (LOU) confers briefly with the other two, whose faces are obscured. LOU nods and they all split. The TWO MEN, still not clearly seen, turn and hurry off the opposite direction into a waiting car. The GIANT and LOU move Minna toward the front car. Minna looks okay...is he holding his side a little? He's definitely being escorted to the car. He moves as if to turn toward them but THE GIANT takes him by the elbow and herds him forward. MINNA shakes off the guy's hand. ON LIONEL AND CONEY</scene_description> <character>CONEY</character> <dialogue>I don't like it...</dialogue> <character>LIONEL</character> <dialogue>Me neither, let's go.</dialogue> <scene_description>They pile out of the car, Gil has to wait as the SECOND BLACK CAR goes by, losing a step on... LIONEL, moving up the sidewalk fast, now directly across the street as Frank gets pushed into the back seat of the FIRST BLACK CAR C.U. - LIONEL staring across at...FRANK, who sees him and stares back. Is he nodding? Does he want help? What is that look on his face? Hard to tell...he could be shaking his head to back off...And then the other guy gets in, blocking him, the car pulls out and he's gone... LIONEL AND CONEY scramble into the car, Gil at the wheel. He revs it, clips the fender of the car parked in front of them.</scene_description> <character>CONEY</character> <dialogue>This fucking guy!</dialogue> <character>LIONEL</character> <dialogue>EAT ME MISTER DICKEY-WEED!</dialogue> <scene_description>That gets even Coney to look over for a second as they squeal out into...</scene_description> </scene> <scene> <stage_direction>EXT HARLEM SIDE STREET / INT LIONEL CAR - CONTINUOUS - DAY</stage_direction> <scene_description>WIDE as the car blasts recklessly down the block Inside the car: with Lionel and Coney as they race, trying to catch up. Lionel now highly agitated, looking to spot the other car, looks left up the Avenue</scene_description> <character>LIONEL</character> <dialogue>LEFT! LEFT! Lefty Louie Lick Me!</dialogue> <scene_description>Coney rips the wheel...</scene_description> </scene> <scene> <stage_direction>EXT HARLEM AVE INTERSECTION / INT CAR - CONTINUOUS - DAY</stage_direction> <scene_description>WIDE: their car fishtails, screeching onto the northbound avenue...the BLACK CAR visible up the block now. INSIDE: cars whipping by as Coney weaves to get up alongside, Lionel looks past Coney out the driver's side window</scene_description> <character>LIONEL</character> <dialogue>Slow down...slow down.</dialogue> <scene_description>And suddenly they are easing directly alongside the other car LIONEL / CONEY POV: FRANK sitting between the men, GLANCES OVER LIONEL (cont'd)</scene_description> <character>LOOK OUT!!</character> <dialogue>CONEY snaps forward and SLAMS ON THE BRAKES, THROWING LIONEL INTO THE DASH as the other car whips ahead and ... WIDE: Their car skids to a stop an inch from the bumper of a cab stopped at a light. MINNA'S CAR is forced to a stop too at the red light, cars crossing in front</dialogue> <dialogue>INSIDE: LIONEL rips open the door...</dialogue> </scene> <scene> <stage_direction>EXT HARLEM AVENUE - STOPLIGHT</stage_direction> <scene_description>Lionel runs past the car in front of them and cuts across in front of it, RIGHT INTO THE PATH OF AN ONCOMING CAR THAT SLAMS ON ITS BRAKES, ALMOST BOUNCING HIM OFF ITS HOOD, but he never stops, cutting up the lane toward...THE BLACK CAR. But just as LIONEL gets within a few strides of it... THE LIGHT GOES GREEN AND THE BLACK CAR SURGES FORWARD He curses even as the CAR THAT ALMOST HIT HIM BLARES AT HIM, forcing past...but HERE'S CONEY PULLING UP. LIONEL RIPS OPEN THE DOOR AND WE SMASH CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT AVENUE LEADING TO BRIDGE / INT LIONEL'S CAR - DAY</stage_direction> <scene_description>Racing up the avenue in the left lane, they can't see the BLACK CAR anywhere up ahead.</scene_description> <character>LIONEL</character> <dialogue>We lost him!</dialogue> <scene_description>Hidden beyond a TRUCK in the right lane up ahead, THE BLACK CAR suddenly appears, making a HARD RIGHT and racing off UNDER the structure of a massive bridge... CONEY almost blasts past, but rips the turn from the middle lane, forcing another car to brake, horn blaring. And now they can see the car up ahead, whipping under the bridge toward a dark turn ahead...</scene_description> <character>CONEY</character> <dialogue>Where's he going?</dialogue> <character>LIONEL</character> <dialogue>The ramp... he's going to Queens. QueenieConeyQueenieConeyQueenie!</dialogue> <scene_description>They follow fast and rip down into the dark...</scene_description> </scene> <scene> <stage_direction>EXT. ON RAMP TO THE TRIBOROUGH BRIDGE - CONTINUOUS</stage_direction> <scene_description>Lionel and Coney's car careens up the curve of an on-ramp</scene_description> </scene> <scene> <stage_direction>EXT. TRIBOROUGH BRIDGE TOLL BOOTHS - CONTINUOUS</stage_direction> <scene_description>...cars backed up in three open lanes and they roll to a stop. Lionel again rips open his door as they stop, standing up next to the car in time to see...two lanes over to the right, THE BLACK CAR BREAKS RIGHT OUT OF THE LANES and heads for an empty lane marked 'AUTHORIZED VEHICLES ONLY', as a TOLL OFFICER STEPS INTO THAT BOOTH. The driver of the BLACK CAR flashes something at the guard and THE CAR IS WAVED THROUGH.</scene_description> <character>LIONEL</character> <dialogue>Son of a bitch!</dialogue> <scene_description>He goes back inside but they're boxed in and being channeled into a booth. LIONEL hits CONEY in the arm. LIONEL (cont'd)</scene_description> <character>QUACKER! QUOTER! QUARTER!</character> <dialogue>CONEY</dialogue> <scene_description>What?!</scene_description> <character>LIONEL</character> <dialogue>We need a quarter! Get a fuckin' quarter out!</dialogue> <scene_description>They scramble for the toll. Coney finds one and practically throws it at the guy, barreling through the booth.</scene_description> </scene> <scene> <stage_direction>EXT. TRIBOROUGH BRIDGE / INT. LIONEL'S CAR - DAY</stage_direction> <scene_description>AERIAL VIEW: Their car blasts around slower moving cars on the bridge, revealing THE EAST RIVER AND THE NEW YORK SKYLINE with the late afternoon sun in our eyes. LIONEL'S EYES: Frantically searching, desperate... Lionel is tapping Coney's shoulder manically.</scene_description> <character>LIONEL</character> <dialogue>Don't lose em! Jesus, Coney, come on!</dialogue> <character>CONEY</character> <dialogue>What can I do?! Guy had a fucking pass!</dialogue> <scene_description>POV: the BLACK CAR far ahead now, exiting onto an off-ramp. HORNS GOING OFF EVERYWHERE as they weave and force their way through cars, putting Lionel's TICS AND SHOUTS into overdrive.</scene_description> <character>LIONEL</character> </scene> <scene> <stage_direction>EXT. INDUSTRIAL STREETS - QUEENS - LATE AFTERNOON</stage_direction> <scene_description>Bridge looming above, the car barrels straight at us down a side street LIONEL'S EYES FIND -- TIRE MARKS, turning LEFT.</scene_description> <character>LIONEL</character> <dialogue>There, go left! LEFTY LOOSY LIONEL!</dialogue> <scene_description>THE CAR rips a left turn onto wider industrial avenue. The streets are pretty desolate over here...a lot of warehouses THEIR CAR MOVES DOWN THE STREET, LIONEL LOOKING RIGHT, CONEY LEFT...</scene_description> <character>CONEY</character> <dialogue>They gotta be somewhere.</dialogue> <character>LIONEL</character> <dialogue>I'd say they're somewhere, Gil, yes! Where?</dialogue> <scene_description>POV: Industrial warehouses, side-streets WHIPPING BY ...and as they cross one, all in a flash, LIONEL SEES --</scene_description> </scene> <scene> <stage_direction>EXT. INDUSTRIAL STREETS / INT CAR - QUEENS</stage_direction> <scene_description>LIONEL POV: FRANK. RUNNING TOWARD THEM...hand outstretched... BEHIND HIM -- THE GIANT, out of the car, AIMING A GUN-- THEY WHIP PAST this view and hear: BANG! BANG! Gunshots</scene_description> <character>LIONEL</character> <scene_description>CONEY JAMS ON THE BRAKES. REVERSES, GRINDS GEARS... The street comes back into view... As they turn into it they see... THE GIANT, striding toward a pile of trash, raising a .45 in his GLOVED HAND, pointing down. He looks up as CONEY squeals to a stop 20 yards away. LIONEL jerks open the door and shouts... THE GIANT whips the gun up and pops off a SHOT and LIONEL DUCKS AS IT THUNKS INTO THE EDGE OF HIS DOOR. ANGLE ON: TWO WORKERS poking their heads around the corner and seeing what's going on. One bolts</scene_description> <character>LOU</character> <parenthetical>(seeing this - to GIANT)</parenthetical> <character>C'MON!!</character> <dialogue>The GIANT DROPS THE GUN ON THE STREET, jumps into the BLACK CAR, tires squealing as it races off and disappears around a corner...</dialogue> <dialogue>LIONEL pops up and scans the alley...</dialogue> <dialogue>POV: A PILE OF TRASH with a LEG sticking out</dialogue> <character>LIONEL</character> <dialogue>FRANK!</dialogue> <scene_description>He dashes around the nose of the car and over to find... MINNA: SHOT THROUGH THE BACK AND THE GUT, BLEEDING ON THE GROUND, FACE ASHEN, HAT FALLEN OFF... LIONEL (cont'd) Jesus, Frank.</scene_description> <character>MINNA</character> <dialogue>Wanna help me outta here please?</dialogue> <scene_description>Lionel tries to prop him up. Coney pulls the car up, looking out his window</scene_description> <character>CONEY</character> <dialogue>Oh, shit...</dialogue> <character>LIONEL</character> <dialogue>Help me.</dialogue> <scene_description>Coney piles out and opens the rear door. Lionel lifts Frank under the arms, Coney his legs but he drops one of his feet</scene_description> <character>MINNA</character> <dialogue>AAH! Jesus Coney, you lug wrench!</dialogue> <scene_description>Lionel climbs in, pulling Minna across the back seat MINNA (cont'd) Don't leave my hat!</scene_description> <character>CONEY</character> <dialogue>Frank, forget--</dialogue> <character>MINNA</character> <dialogue>JUST GET MY HAT YOU BIG OAF!! Get my gun too!</dialogue> <scene_description>Coney turns back and grabs the HAT, throws it into the car, slams the rear door and jumps into the driver seat, leaving the door open. He rolls forward, scooping up Frank's GUN on the move, slams the door and GUNS IT.</scene_description> </scene> <scene> <stage_direction>INT. LIONEL CAR / EXT QUEENS STREETS - LATE AFTERNOON</stage_direction> <scene_description>Blasting down the streets</scene_description> <character>LIONEL</character> <dialogue>Head for the hospital. Hospitable HERPETOLOGIST!</dialogue> <character>CONEY</character> <dialogue>I don't know around here!</dialogue> <character>MINNA</character> <dialogue>Mercy Hospital! Straight up McGuinness, you cabbageheads!</dialogue> <scene_description>Frank is bleeding into his shirt but seems reasonably okay. Lionel BARKS three times loudly. Minna smiles. MINNA (cont'd) Easy, pal...Hey, take my wallet and watch and leave em in the car. Don't want em stolen at the hospital.</scene_description> <character>CONEY</character> <dialogue>Fuck happened, Frank?</dialogue> <character>MINNA</character> <dialogue>Took em on a goose chase and tried to slip em...</dialogue> <character>LIONEL</character> <dialogue>We shoulda jumped in sooner, I thought you were signaling...</dialogue> <character>MINNA</character> <dialogue>Nah, not your fault...almost made it. Forgot they had my gun.</dialogue> <character>MINNA</character> <dialogue>Rookie move.</dialogue> <parenthetical>(laughs, rueful)</parenthetical> <dialogue>Got through Guadalcanal without a scratch and I get shot with my own gun in Queens.</dialogue> <character>CONEY</character> <dialogue>You gonna be okay?</dialogue> <character>MINNA</character> <dialogue>Yeah, yeah. Clipped me in the side. Gotta get a new belt but they didn't hit nothing important.</dialogue> <scene_description>Minna winks at Lionel and smiles again.</scene_description> <character>LIONEL</character> <dialogue>Who? Who were they?</dialogue> <scene_description>Minna shakes his head.</scene_description> <character>MINNA</character> <dialogue>Don't worry about it. Talk to me, Brooklyn. I need a joke. You got one you been saving?</dialogue> <character>LIONEL</character> <dialogue>Huh? Okay. Guy walks into a bar...</dialogue> <character>MINNA</character> <parenthetical>(laughs and winces)</parenthetical> <dialogue>Bar joke. All the best ones, right?</dialogue> <character>LIONEL</character> <dialogue>Guy walks into a bar with an octopus. Says to the bartender "I'll bet a hundred this octopus can play any instrument in the joint."</dialogue> <character>MINNA</character> <dialogue>Funny already. An octopus. Already in the black here.</dialogue> <character>LIONEL</character> <dialogue>REACTOPUS! Bartender points to a piano. Guy puts the octopus up on the stool-- PIANOPUS! Octopus plays a few scales and then lays out a little etude...</dialogue> <character>MINNA</character> <dialogue>Getting fancy, huh? Showin' off a little?</dialogue> <scene_description>THE CAR SLAMS OVER A BUMP! MINNA cries out. LIONEL is desperate.</scene_description> <character>LIONEL</character> <dialogue>EAT ME BAILEY! Bartender pulls out a guitar. Octopus tunes the E string, closes its eyes and whips out a sweet little fandango--</dialogue> <character>MINNA</character> <dialogue>He's milking it.</dialogue> <character>LIONEL</character> <dialogue>FANDAFAG!-- Guys says, "Pay up." Bartender say, "Hang on." Rummages around and finds an old set of bagpipes. Plops em on the bar. Guy brings the octopus over-- OCTAPIPES! FUUU---</dialogue> <character>MINNA</character> <parenthetical>(smiles)</parenthetical> <dialogue>Don't blow the punch, Lionel.</dialogue> <character>LIONEL</character> <dialogue>Octopus looks em over. Squints at em, takes another look. Bartender says, "Pay up! He can't play it!" And the Octopus says, "Play it? If I can figure out how to get its pajamas off I'm gonna fuck it!" FUCK ME IN TRUCK, BAILEY!</dialogue> <scene_description>Minna smiles but his eyes are closed. He coughs with a gurgling sound. Coney looks at Lionel, worried. LIONEL (cont'd)</scene_description> <character>WATCH OUT!</character> <dialogue>ACROSS CONEY: as he blows through a light and out his window a DELIVERY TRUCK HURTLES INTO THE INTERSECTION</dialogue> <scene_description>DIRECTLY AT THEM. HE SWERVES VIOLENTLY. WIDE ON THE INTERSECTION: the SKIDDING TRUCK, HORN BLARING, MISSES THE REAR BUMPER OF THEIR FISH-TAILING CAR BY AN INCH</scene_description> <character>MINNA</character> <parenthetical>(weak)</parenthetical> <dialogue>Jesus, what are we doing?</dialogue> <character>CONEY</character> <dialogue>Almost there...</dialogue> <character>LIONEL</character> <dialogue>Hang on, Boss. Tell us who did it.</dialogue> <character>MINNA</character> <dialogue>Shouldn'ta messed with em. Stupid.</dialogue> <character>CONEY</character> <dialogue>They plugged you and left you in the goddam garbage, Frank! Now who was it?</dialogue> <character>MINNA</character> <dialogue>I'll tell ya later. Just drive, meatloaf!</dialogue> <character>LIONEL</character> <dialogue>MEAT MONGER! LOAF-A-LOPE!</dialogue> <character>MINNA</character> <dialogue>A whole fuckin' herd of em.</dialogue> </scene> <scene> <stage_direction>INT. LIONEL CAR / EXT. HOSPITAL EMERGENCY ROOM - DUSK</stage_direction> <scene_description>The ambulance ramp has a "DO NOT ENTER" sign but THE CAR PLOWS PAST and races up to a screeching stop by the ER doors An ORDERLY bursts out the ER doors as Coney jumps from the driver seat and throws open the back door</scene_description> <character>ORDERLY</character> <dialogue>Get this car out of here!</dialogue> <character>CONEY</character> <dialogue>We're an ambulance today, pal.</dialogue> <scene_description>The orderly sees the mess that is Frank and blanches.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL HALLWAY - CONTINUOUS</stage_direction> <scene_description>Minna on a gurney, a Nurse and two orderlies racing it down a hall with LIONEL hanging by Frank's side. He holds Minna's hand and taps his shoulder compulsively as they enter the...</scene_description> </scene> <scene> <stage_direction>INT. SURGERY ROOM</stage_direction> <scene_description>The doctors swarm. A nurse pulls his hat from his head and throws it aside. Minna reaches for it...agitated.</scene_description> <character>MINNA</character> <dialogue>No...</dialogue> <scene_description>They start cutting away his shirt. Lionel has to look away from it and into Minna's face.</scene_description> <character>NURSE</character> <dialogue>Sir...</dialogue> <character>LIONEL</character> <dialogue>Boss, who was in that room?</dialogue> <character>MINNA</character> <dialogue>Ah shit, Brooklyn, she's in trouble now.</dialogue> <character>LIONEL</character> <dialogue>Who, Frank? What went down in there?!</dialogue> <character>MINNA</character> <parenthetical>(shakes his head)</parenthetical> <dialogue>Played outta my league...shoulda kept it...</dialogue> <scene_description>He reaches for his head, getting manic. He coughs up blood. They're putting something in his arm.</scene_description> <character>LIONEL</character> <dialogue>Blood Bag, Bailey!</dialogue> <character>NURSE</character> <dialogue>Sir, you can't be in here!</dialogue> <scene_description>Minna grabs Lionel's arm.</scene_description> <character>MINNA</character> <parenthetical>(really spacey now)</parenthetical> <dialogue>Hey, Brooklyn...</dialogue> <character>LIONEL</character> <dialogue>I'm here, Frank.</dialogue> <character>MINNA</character> <dialogue>You're no freak. Okay?</dialogue> <character>LIONEL</character> <dialogue>Okay. Who did it, Frank?</dialogue> <scene_description>Minna's eyes are scared now. He's trying to say something. LIONEL (cont'd) You were working for those guys? Minna shakes his head. Tries to whisper something. LIONEL (cont'd) (leaning down) What? What Frank?</scene_description> <character>MINNA</character> <parenthetical>(barely audible)</parenthetical> <dialogue>Formosa...</dialogue> <character>LIONEL</character> <dialogue>Formosa? What is that?</dialogue> <character>MINNA</character> <parenthetical>(mouthing)</parenthetical> <dialogue>For..mos..</dialogue> <scene_description>Minna's head goes back. A DOCTOR reacts and moves in, shoving Lionel out of the way.</scene_description> <character>DOCTOR</character> <dialogue>Move!</dialogue> <character>NURSE</character> <dialogue>Sir!!</dialogue> <scene_description>She pushes Lionel back and away. He goes and picks FRANK'S HAT up off the floor and backs out the SWINGING DOORS. LIONEL'S FACE: Peering through the glass. POV: a circle of white around the table with Minna's black wingtips sticking out. A Doctor's shoulders going up and down, and then... SLOW MOTION: the shoulders stop and sag. A head shakes. The doctor turns toward the door pulling his mask down.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL HALLWAY</stage_direction> <scene_description>Doors open: the doctor comes into the hall. Lionel stands, holding Frank's hat and twitching violently.</scene_description> <character>LIONEL</character> <dialogue>Guy walks into a bar...</dialogue> <character>DOCTOR</character> <dialogue>Are you his friend?</dialogue> <scene_description>Lionel taps him on the shoulder, nodding.</scene_description> <character>LIONEL</character> <dialogue>Guy walks into a bar...</dialogue> <character>DOCTOR</character> <dialogue>He didn't make it.</dialogue> <character>LIONEL</character> <dialogue>Oh no... A guy walks--</dialogue> <character>DOCTOR</character> <dialogue>--I'm very sorry--</dialogue> <character>LIONEL</character> <dialogue>--into a bar! SO SORRY, BAILEY!</dialogue> <scene_description>LIONEL pushes past the doctor like a drowning man. He's out of control. He needs air. CONEY sees him coming and knows. He bows his head and tries to slow Lionel down but Lionel blows past...</scene_description> </scene> <scene> <stage_direction>EXT. HOSPITAL EMERGENCY ROOM - MAGIC HOUR</stage_direction> <scene_description>Lionel explodes out of the building in despair. He looks up at the sky, clutching Frank's hat, ticc-ing and shouting. FROM ABOVE: Coney walks out and stands with his hand on Lionel's shoulder...and we CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE BROOKLYN BRIDGE &amp; NEW YORK SKYLINE - NIGHT</stage_direction> <scene_description>MAIN TITLE: MOTHERLESS BROOKLYN</scene_description> </scene> <scene> <stage_direction>INT. THE L&amp;L AGENCY OFFICE - NIGHT</stage_direction> <scene_description>A low-rent office. A few desks in an open room; chairs on rollers; filing cabinets. One door with frosted glass leads to Minna's office. Another to a darkroom. LIONEL sits slumped in a chair, his bloody coat, Frank's hat and other stuff on the desk in front of him. Coney leans against the wall smoking a cigarette. TONY VERMONTE and DANNY FANTL sit on desks. TONY is slick. A clothes horse, impatient to get to something better: the leader of these four. DANNY's early 40's, skinny and a little haunted...but solid, wise. A listener.</scene_description> <character>TONY</character> <dialogue>...the fuck you let him get in that car for, Freakshow?</dialogue> <character>LIONEL</character> <dialogue>He gave us the cue to follow. We made a move to get in...but he signaled me off...I think...</dialogue> <character>TONY</character> <dialogue>You think? You said they roughed him up in the room though.</dialogue> <character>LIONEL</character> <dialogue>I'm not sure. They mighta. Anyway he said "use the can" after that. Can the loose man.</dialogue> <character>TONY</character> <dialogue>So he's takin' em to something they want and they off him? It doesn't track.</dialogue> <character>LIONEL</character> <dialogue>I told you he tried to give em the slip...I don't know, it happened fast and we didn't see it.</dialogue> <character>TONY</character> <dialogue>How the fuck'd you drop so far off him?</dialogue> <character>LIONEL</character> <parenthetical>(exploding)</parenthetical> <dialogue>I told you three times, Tony... We lost him at the bridge, they had some fucking badge! The fuck were we supposed to do?!</dialogue> <character>CONEY</character> <dialogue>Freakshow's right. It was a mess.</dialogue> <character>DANNY</character> <dialogue>So who were they?</dialogue> <character>CONEY</character> <dialogue>He wouldn't say. Even in the car after.</dialogue> <character>TONY</character> <parenthetical>(pissed)</parenthetical> <dialogue>Right. That's great, Frank.</dialogue> <scene_description>He throws a pen at Frank's door and turns away exasperated. A long glum silence.</scene_description> <character>DANNY</character> <dialogue>We gotta tell Julia.</dialogue> <scene_description>Coney flicks a tiny look to Tony. Lionel sees it.</scene_description> <character>TONY</character> <dialogue>I told her already.</dialogue> <character>DANNY</character> <dialogue>When?</dialogue> <character>TONY</character> <dialogue>She called looking for Frank.</dialogue> <character>LIONEL</character> <dialogue>Timbuktuk-it. How'd she take it?</dialogue> <character>TONY</character> <dialogue>How'd you think she took it, Freak- -</dialogue> <scene_description>Lionel kicks a chair at him hard.</scene_description> <character>LIONEL</character> <dialogue>Don't say it again, I ain't in the mood!</dialogue> <character>TONY</character> <dialogue>Alright take it easy...I'm just saying...you know how she can be.</dialogue> <scene_description>Silence.</scene_description> <character>DANNY</character> <dialogue>Someone should take her his things.</dialogue> <scene_description>An awkward pause. Nobody wants it.</scene_description> <character>LIONEL</character> <dialogue>I'll do it.</dialogue> <scene_description>He stands and reaches for his coat but realizes it's covered in blood, his sweater too. Danny hops up, reaches into Minna's office door and grabs Frank's old NAVY PEA COAT. He hands it to Lionel, who balks but Danny pushes it on him</scene_description> <character>DANNY</character> <dialogue>Go on, take it. You can't go walk around like that.</dialogue> <parenthetical>(as Lionel shrugs it on)</parenthetical> <dialogue>You sure you wanna do this?</dialogue> <character>LIONEL</character> <dialogue>I was with him. Maybe she'll want to know what happened at the end.</dialogue> <scene_description>He heads for the door.</scene_description> <character>TONY</character> <dialogue>He say anything about her?</dialogue> <character>LIONEL</character> <dialogue>No.</dialogue> <character>TONY</character> <dialogue>Then help him out one last time and lie a little.</dialogue> </scene> <scene> <stage_direction>INT. FRANK &amp; JULIA'S APARTMENT - NIGHT</stage_direction> <scene_description>LIONEL comes in through the foyer of a brownstone to the first floor apartment. The door opens on JULIA, Frank's wife. Early forties, blonde. Still really good-looking. But hard...out for herself mostly. She has a look on her face like she's expecting someone and when she sees Lionel, it falls a little.</scene_description> <character>JULIA</character> <dialogue>Oh...Lionel.</dialogue> <character>LIONEL</character> <parenthetical>(awkward)</parenthetical> <dialogue>Hi Julia...</dialogue> <character>JULIA</character> <dialogue>Don't bother. The hospital already called.</dialogue> <scene_description>A strange little lie...</scene_description> <character>LIONEL</character> <dialogue>No...I brought you Frank's things.</dialogue> <character>JULIA</character> <dialogue>Oh. I thought you were gonna break the news to me again.</dialogue> <scene_description>He enters and puts the clothes on the table. She goes to light a cigarette.</scene_description> <character>LIONEL</character> <dialogue>Julia, I'm really...</dialogue> <character>JULIA</character> <dialogue>Yeah, nice twist huh? Didn't see that one coming, I gotta say.</dialogue> <character>LIONEL</character> <dialogue>Twisty twinky. Sorry.</dialogue> <scene_description>Lionel is trying hard not to twitch around her but the effort almost makes it worse. Lionel clearly makes her a little uncomfortable.</scene_description> <character>JULIA</character> <dialogue>Look, I just wanna be alone, okay?</dialogue> <character>LIONEL</character> <dialogue>Sure.</dialogue> <scene_description>He flips Frank's hat onto the side table and dumps out of it: a watch, a matchbook, some change, an address book, Frank's wallet...</scene_description> <character>JULIA</character> <dialogue>Gimme the watch I guess. I don't want all the rest of that stuff.</dialogue> <scene_description>He hands it to her...</scene_description> <character>LIONEL</character> <dialogue>I'm gonna keep his gun, if that's okay with you.</dialogue> <parenthetical>(she nods)</parenthetical> <dialogue>You want his hat?</dialogue> <character>JULIA</character> <dialogue>What for? Is there money in that wallet?</dialogue> <scene_description>Lionel takes the money out of the wallet to hand to her JULIA (cont'd) Jesus, it has blood on it, for chrissakes! I don't wanna see that. Ain't you got any sense? Emotion is rising in her...Lionel scoops up the cash and gun with the loose stuff and pockets what he can. He pauses on one item: Frank's wedding ring. She takes it and turns it over and this actually gets her to tear up a little. She sits on the couch. JULIA (cont'd) Ah jeez...Was somebody with him anyway? When he...?</scene_description> <character>LIONEL</character> <dialogue>I was.</dialogue> <character>JULIA</character> <dialogue>That's good. He really liked you, you know?</dialogue> <character>LIONEL</character> <dialogue>Yeah. (beat) He was talking about you...wanted me to tell you he...</dialogue> <character>JULIA</character> <parenthetical>(bitter)</parenthetical> <dialogue>Yeah, don't bullshit me. Goddam it, I'm pissed at him!</dialogue> <character>LIONEL</character> <dialogue>Don't be.</dialogue> <character>JULIA</character> <parenthetical>(snaps)</parenthetical> <dialogue>Well I am!</dialogue> <scene_description>He lets out a yelp and she stares at him. She's seen it plenty of times but it's still weird to her. He picks up Frank's hat and turns to go then pauses...</scene_description> <character>LIONEL</character> <dialogue>Julia...Frank say anything to you about what he was working on?</dialogue> <character>JULIA</character> <dialogue>He never told me what he was mixed up in. You got no idea who did it?</dialogue> <character>LIONEL</character> <parenthetical>(shakes his head)</parenthetical> <dialogue>But if I figure it out, I'm gonna make 'em regret it. I promise you that.</dialogue> <character>JULIA</character> <dialogue>Don't promise me. It makes no difference to me one way or the other.</dialogue> </scene> <scene> <stage_direction>EXT. FRANK &amp; JULIA'S APARTMENT / STREET - NIGHT</stage_direction> <scene_description>Lionel comes down their stoop and walks up the cold dark street. A sad figure. His twitching is becoming pronounced.</scene_description> </scene> <scene> <stage_direction>EXT. ESTABLISHING - LIONEL'S APARTMENT BUILDING - NIGHT</stage_direction> </scene> <scene> <stage_direction>INT. LIONEL'S BUILDING - STAIRWELL - NIGHT</stage_direction> <scene_description>Lionel mounts the stairs, tired, and turns on the landing. He stops and sits down, almost out of sight behind the bannister but we can see him put his head down and weep.</scene_description> </scene> <scene> <stage_direction>INT. LIONEL'S APARTMENT - NIGHT</stage_direction> <scene_description>Lionel enters takes off his coat and hat. He hangs Minna's hat up next to his on the wall... His weeping has turned into twitches and small shouts that seem to be building... A MIRROR reflects his bed. In it we see him sit only partly visible on the edge of the bed, get something out of a drawer (a small pipe) and then a match flares and we see him inhaling something. He sets it down and takes a photo off the side table PHOTO: Much younger and cooler looking Frank Minna with his arm around a young Lionel, skinny...both smiling. ON LIONEL: eyes glazing, he smiles a little and lets himself fall back onto the bed...</scene_description> </scene> <scene> <stage_direction>INT. LIONEL'S DREAM/SWIMMING POOL</stage_direction> <scene_description>As he hits the sheets they ripple TURNING INTO AMBER COLORED WATER. Lionel sinks slowly, happily, eyes open We see him sinking fully clothed in a limitless pool of water with amber light dancing around him and as he sinks... ...a SHADOWY FIGURE swims past on the surface above him. CLOSE ON LIONEL'S EYES: disturbed LIONEL'S POV: from down below looking up through the water, dancing with amber light, A MAN SWIMS HARD ON THE SURFACE, PASSING OVER HIM.</scene_description> </scene> <scene> <stage_direction>INT. INDOOR POOL - EARLY MORNING</stage_direction> <scene_description>A HUGE PUBLIC INDOOR POOL of the kind they don't build anymore. Stained glass, beautiful tile, etc. It's early morning, dawn light cracking in, and the steam and the light dance on the water. A LONE FIGURE swims powerful laps. Back and forth without pause. A YOUNG AIDE in a suit sits on a bench in the shadows with a valise full of papers in his lap waiting. Finally the swimmer climbs straight up out of the water, his back to us. He's powerfully built. A BLACK POOL ATTENDANT emerges out of the shadows to put a robe around him and the YOUNG AIDE in the suit hurries to catch up as THE MAN exits.</scene_description> </scene> <scene> <stage_direction>EXT. PUBLIC ATHLETIC CLUB - MORNING</stage_direction> <scene_description>A SMALL FLAG with an unfamiliar insignia decorates one corner of a BIG BLACK CAR's hood. THE LICENSE PLATE reads "BA 1". WIDE: by the doors of the MEN's side of the public bathhouse. About a dozen people wait in the cold and spitting RAIN to be let in to swim. The doors burst open and an umbrella is thrown up by the DRIVER for THE MAN, shielding his face from view as he descends the stairs.</scene_description> <character>MAN (MOSES RANDOLPH)</character> <dialogue>Let em in, Charlie.</dialogue> <scene_description>With his entourage, he heads down the steps to the car in the pre-dawn grey. His aide takes the umbrella and hands over the valise as the MAN climbs in and the car pulls away, leaving him standing in the rain.</scene_description> </scene> <scene> <stage_direction>INT. CITY HALL ROTUNDA - MORNING</stage_direction> <scene_description>Huge marble rotunda, set up for A SEATED CROWD. A VOICE BOOMS OVER A MIC. THE END OF A SPEECH</scene_description> <character>VOICE (MAYOR)</character> <dialogue>...limited only by our own vision, our own audacity, we will build the legacy of our time. A legacy for future generations to look upon and say "Here was Boldness. Here is the greatest of what Man can create."</dialogue> <scene_description>Newly elected, this is the end of THE NEW MAYOR'S inaugural address. The crowd APPLAUDS. OVER THE SHOULDER of someone standing off to the side, by a column. It's THE MAN FROM THE POOL, but we still can't see his face as he stares at the ceiling, impatient. A glimpse of a strong jaw, as others applaud he looks at his watch.</scene_description> </scene> <scene> <stage_direction>INT. GRAND MARBLE HALL - ROTUNDA - A MOMENT LATER</stage_direction> <scene_description>MAYOR ON THE DAIS, swearing in his Appointees handing the rolled appointment papers and shaking hands, watched by... THREE REFORM ADVOCATES (Two men and a woman (GABBY HOROWITZ), among the seated guests. One nudges the others as THE MAYOR gets handed the rolled appointment forms for the next appointee. THE MAYOR looks up as THE MAN steps in front of him, face unseen to us. THE MAYOR hitches for a second, and then fixes a politic smile on his face.</scene_description> <character>MAYOR</character> <dialogue>Ah, Mo...splendid!</dialogue> <scene_description>THE MAN raises his right hand. MAYOR (cont'd) Do you solemnly swear to serve the people of New York and uphold the integrity of the office of Commissioner of the City's Parks?</scene_description> <character>THE MAN (MOSES RANDOLPH)</character> <dialogue>I do.</dialogue> <scene_description>The Mayor smiles and hands him the paper.</scene_description> <character>MAYOR</character> <dialogue>Do you solemnly swear to serve the people of New York and uphold the integrity of the office of Commissioner of Building and Construction?</dialogue> <character>THE MAN (MOSES RANDOLPH)</character> <dialogue>I do.</dialogue> <scene_description>The Mayor hands him the paper and starts the applause. THE MAN stands still, waiting.</scene_description> <character>MAYOR</character> <dialogue>Good to have you aboard, Mo. Keep up the good work.</dialogue> <scene_description>He puts out his hand but... THE MAN STORMS OFF. The Mayor beckons to the next appointee and cuts his eyes to THE TRIO IN THE SECOND ROW, watching the moment avidly. One raises a small smile and gives an impressed nod to the Mayor</scene_description> <character>WOMAN REFORMER (GABBY HOROWITZ)</character> <dialogue>I'll be damned, he did it.</dialogue> <character>REFORMER #2</character> <dialogue>I told you. He's no pushover this one.</dialogue> <scene_description>THE WOMAN's EYES GO TO: The mysterious man disappearing down a hall.</scene_description> <character>WOMAN REFORMER (GABBY HOROWITZ)</character> <dialogue>$10 it won't last past noon.</dialogue> <scene_description>They shake as THE MAYOR POSES FOR PHOTOGRAPHERS and FLASHES takes us to:</scene_description> </scene> <scene> <stage_direction>INT. MAYOR'S OFFICE/HALLWAY/OTHER OFFICE</stage_direction> <scene_description>ON THE MAYOR: laughing and celebrating with his men when... THE SOUND OF DOORS BURSTING OPEN makes them turn. THE MAYOR'S FACE FLUSHES as THE MAN steps in on him.</scene_description> <character>THE MAN (MOSES RANDOLPH)</character> <dialogue>What is this shit? What about City Planning?!</dialogue> <character>MAYOR</character> <parenthetical>(stammers)</parenthetical> <dialogue>Sorry, what's all this now, Mo?</dialogue> <character>THE MAN (MOSES RANDOLPH)</character> <dialogue>Don't play games with me, you mutt! I get City Planning or I quit the other two. Right now. The reporters are still here.</dialogue> <character>MAYOR</character> <parenthetical>(nervous, bluffing)</parenthetical> <dialogue>Easy now, it's nothing to get hot about. Probably just an oversight. They didn't give me the blank. Give us a day to get settled in and I'll see to it.</dialogue> <scene_description>But THE MAN has already turned and charged out. MAYOR'S POV: the powerful figure strides out through the open double doors to the clerk's desk in the hall where, without hesitation he swipes a form from a terrified clerk, bends to write on it hastily... The MAYOR looks at his men. 'What do I do?' but THE MAN IS CHARGING BACK ACROSS THE HALL STRAIGHT AT US Powerful strides bring him into full view for the first time as he bears down; tall and strong, jaw thrust out, flashing eyes and big hawkish nose, coming like a juggernaut until HE'S RIGHT ON US, SLAPPING THE FORM DOWN, FURIOUS</scene_description> <character>THE MAN (MOSES RANDOLPH)</character> <scene_description>THIS IS MOSES RANDOLPH. THE MAYOR: stares for a beat...then pulls the form toward him and, on his first day in office, he does as he's told.</scene_description> <character>RANDOLPH</character> <dialogue>Right! Bunch of fucking amateurs.</dialogue> <scene_description>He snatches up the form and leaves. Awkward silence.</scene_description> <character>MAYOR</character> <dialogue>Close that damn door and keep it closed!</dialogue> </scene> <scene> <stage_direction>INT. LIONEL'S APARTMENT - MORNING</stage_direction> <scene_description>A RADIO PLAYS.</scene_description> <character>NEWS ANNOUNCER (O.S.)</character> <dialogue>...new life in talks between the City and Dodgers owner Walter O'Malley who wants a site and financing for a new stadium to keep the boys in Brooklyn...</dialogue> <scene_description>LIONEL shuts it off. Coat on. Goes to take his cap. TWO HATS on the wall. He stares a beat, then takes... MINNA'S HAT. He holds it a moment. He puts it on his head to check the size. Pretty good fit. He checks it in the mirror, straightens the brim and goes. (for the rest of the story Lionel wears Minna's hat)</scene_description> </scene> <scene> <stage_direction>EXT. BROOKLYN STREET - SAME MORNING</stage_direction> <scene_description>A bundle of World Telegram Suns slaps down and has the cord cut off. "MEET THE NEW BOSS: Mayor's Full Inaugural " LIONEL walks past and down the block, nursing a coffee, past boys hawking papers...</scene_description> <character>PAPERBOY</character> <dialogue>Dodgers can stay if City will give em a Yard!</dialogue> <scene_description>He passes volunteers for the Committee Against Discrimination in Housing tacking flyers up to a telephone pole.</scene_description> </scene> <scene> <stage_direction>INT. THE L&amp;L OFFICE - MORNING</stage_direction> <scene_description>Lionel enters to find... THE OFFICE HAS BEEN TRASHED, turned upside down. The other guys are already there and Julia is sitting in a chair, crying a little, shaken. Tony's comforting her.</scene_description> <character>JULIA</character> <dialogue>...asking all kinds a questions...I told em "Christ he's dead, what are you gonna arrest him?"</dialogue> <character>CONEY</character> <parenthetical>(to Lionel)</parenthetical> <dialogue>..the fuck you been? Called you all morning.</dialogue> <character>LIONEL</character> <dialogue>What the hell happened?</dialogue> <character>CONEY</character> <dialogue>Danny had a early run out to Belmont. Came in and found it like this.</dialogue> <character>DANNY</character> <parenthetical>(lower)</parenthetical> <dialogue>Cops were at Frank's place too... going through everything.</dialogue> <character>JULIA</character> <dialogue>...assholes. Picking in my underwear drawer and grinning at me.</dialogue> <character>TONY</character> <dialogue>We're gonna find out who did this and get to the bottom of it, right boys?</dialogue> <character>JULIA</character> <dialogue>I don't even wanna know. Always with his cryptic shit, telling me he was into something big this time...gonna change our situation. Gets himself whacked and leaves me $4000 in a savings and loan, a drafty shack in Lookout Point and this...thriving operation. Ace moves, Frank...</dialogue> <scene_description>She weeps a little more...for Frank or for herself? Tony pats her back as Danny shoots Lionel a look. She gets herself together. JULIA (cont'd) Look I know the car service was mostly for the books but he never talked about how he ran the snoop work and I ain't interested. So I'm putting Tony in charge. He'll handle the business of it and keep me in the loop. (pause) I know you all go way back with him, longer than me, but that's just the way it is for now I guess.</scene_description> <character>TONY</character> <dialogue>Sure, doll. It's the right thing.</dialogue> <character>CONEY AND DANNY</character> <dialogue>'Course. Sure.</dialogue> <scene_description>Lionel nods.</scene_description> <character>TONY</character> <dialogue>You want me to take you home?</dialogue> <scene_description>She looks at him a beat, considering, then gets up...</scene_description> <character>JULIA</character> <dialogue>No thanks. I'm gonna go stay with my sister for a while...think about my future. But call me...you know.. with an update?</dialogue> <scene_description>Tony goes to open the door. She shakes hands with Coney and Danny, who kisses her on the cheek. Lionel rises and goes to shake her hand but he has to tap her shoulder twice. She reacts, annoyed. JULIA (cont'd) Can't you ever cut that out?! For once!</scene_description> <character>LIONEL</character> <dialogue>Sorry...</dialogue> <scene_description>Tony rolls his eyes and leads her out the door.</scene_description> <character>CONEY</character> <dialogue>Jesus, Freakshow.</dialogue> <character>LIONEL</character> <parenthetical>(embarrassed)</parenthetical> <dialogue>Touch it, Bailey!</dialogue> <scene_description>Danny and Lionel start picking up papers and files.</scene_description> <character>DANNY</character> <dialogue>Assholes even pulled the tank off the john.</dialogue> <scene_description>Tony enters.</scene_description> <character>TONY</character> <dialogue>Alright, forget that, do it later. Right now, just the four of us: Does anybody know what Frank was into on this?</dialogue> <scene_description>Nobody.</scene_description> <character>CONEY</character> <dialogue>He just told us to meet him for a sit. He didn't even make like it was a big thing.</dialogue> <character>LIONEL</character> <dialogue>He was nervous though.</dialogue> <character>TONY</character> <dialogue>Nervous how?</dialogue> <character>CONEY</character> <dialogue>He wasn't nervous.</dialogue> <character>LIONEL</character> <dialogue>Were you on that line, dumbshit? I'm telling you he was nervous. Nervous Nellie! I could hear it. He was making some kind of a play. There's something big going down a week from Thursday and whatever he found they weren't happy about it.</dialogue> <character>CONEY</character> <dialogue>Obviously. They whacked him for it.</dialogue> <character>LIONEL</character> <dialogue>CRACK WACKER! I don't think they meant to...I think when they shot him the they messed up and now they're stuck looking for whatever he found.</dialogue> <character>TONY</character> <dialogue>Some fuckin' riddle. Jesus H.</dialogue> <parenthetical>(weighing it)</parenthetical> <dialogue>I'm gonna say this: I loved the guy. When we were in that fucking hell hole he saw something in us and threw us a line...taught us how to operate. But he never cut us in all the way. He played his own games and I'm not gonna stick my nose around his dead cards and risk ending up on a slab for it.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I say we got bills to pay and we better get at it.</dialogue> <scene_description>Coney and Danny nod.</scene_description> <character>LIONEL</character> <dialogue>You owe him more'n that, T.</dialogue> <character>TONY</character> <dialogue>Yeah? Well you figure out what the fuck it was all about, let us know. Meantime, I'm finishing up on the rabbi's wife. She's banging a butcher who ain't kosher so I think he's really gonna give her the boot this time and that's gonna be the last of that ride.</dialogue> <character>TONY</character> <dialogue>I want Gil sitting on the Gunderson fraud thing...</dialogue> <character>LIONEL</character> <dialogue>I'm on Gunderson.</dialogue> <character>TONY</character> <dialogue>I want Gil on it...When we bust him the insurance company might want us in there to show the pictures to his lawyer and I wanna make a good impression and Frank ain't here to cover for you.</dialogue> <character>LIONEL</character> <dialogue>Fraud fag!</dialogue> <character>TONY</character> <dialogue>Like I said. Gil, you're on it. Danny'll back me on nights and Lionel you pick up the car slack for him until something else comes in.</dialogue> <scene_description>Lionel stares at Tony. So this is how it's going to be. TONY (cont'd) It's cold. There'll be a lot of calls and we need that business. Now let's clean up! Lionel shrugs, his mind still on Minna.</scene_description> </scene> <scene> <stage_direction>INT. THE L&amp;L OFFICE (1 HOUR LATER) - DAY</stage_direction> <scene_description>FINGERS PULLING THE THREAD LIONEL sits by the window, holding Minna's hat, staring out at the street. He has fixed up the office -- immaculate...compulsively ordered.</scene_description> <character>LIONEL (V.O.)</character> <dialogue>Tony and Coney and Danny and me. Before we were Minna's men we were all just dead end kids at the Catholic orphanage.</dialogue> <scene_description>His eyes go to... "FRANK MINNA: HEAD INVESTIGATOR" stenciled on the frosted glass door</scene_description> <character>LIONEL</character> <dialogue>Invest-ahead.</dialogue> <scene_description>RING! Phone. LIONEL (cont'd)</scene_description> <character>L&amp;L.</character> <parenthetical>(beat)</parenthetical> <dialogue>We have cars available, where would you... Chevy, ma'm. Yes ma'm, this year's model...</dialogue> <character>LIONEL (V.O.)</character> <dialogue>I was worse in there. Total freakshow. Nobody knew what to do with me. The nuns thought they could beat it out of me. One in particular. Until Tony grabbed the paddle out of her hand and told her if she hit me again he'd give it to her twice as hard. Coney and Danny were standing behind him and she knew they weren't bluffing. After that, I was in their crew.</dialogue> <scene_description>Hangs up. He writes down words, mind turning NOTES: colored girl, committee, Horowitz, report, Hamilton, signature, father club, one week. RING!</scene_description> <character>LIONEL</character> <dialogue>L&amp;L Agency.</dialogue> <character>VOICE</character> <dialogue>Tony Vermonte in?</dialogue> <character>LIONEL</character> <dialogue>He's out on a case, how can I help you?</dialogue> <character>VOICE</character> <dialogue>Who am I speaking to?</dialogue> <scene_description>Feels it coming and puts the phone on his chest.</scene_description> <character>LIONEL</character> <dialogue>ASSROG!</dialogue> <parenthetical>(back in the phone)</parenthetical> <dialogue>Lionel Essrog, associate invest--</dialogue> <scene_description>The phone clicks and goes dead. He stares at it a beat and hangs it up slowly. Looks back at the notes. He writes: FORMOSA Then: FORMOSAS Then: FOR MOSA Then: FORM OSA Then: FORMO SA</scene_description> <character>LIONEL</character> <parenthetical>(frustrated)</parenthetical> <character>FORM MY ASS, BAILEY!</character> <dialogue>He pops fresh gum, jumps up and goes into...</dialogue> </scene> <scene> <stage_direction>INT. L&amp;L OFFICE - FRANK'S OFFICE - CONTINUOUS</stage_direction> <scene_description>Pictures of Frank and the guys. Licenses. Frank's BLACK TRENCH-COAT. He puts on the coat and MINNA'S HAT, sits in Frank's chair and stares.</scene_description> <character>LIONEL (V.O.)</character> <dialogue>Frank was just from the neighborhood. He was smart. Everybody knew he was going places. Everybody liked him. He was friends with one of the priests and heard I had a thing for remembering numbers and words. He had uses for that. He was the one who taught me how to use my head, get it under control, make it work for me. He took all us is under his wing eventually. Gave us a place in this shitty world.</dialogue> <scene_description>He starts rubbing his temples and things SLOW DOWN...</scene_description> </scene> <scene> <stage_direction>EXT. HARLEM SIDE STREET / QUEENS STREET- DAY (FLASHBACKS)</stage_direction> <scene_description>FRANK'S FACE LOOKING AT HIM AS THE CAR DOOR CLOSES FRANK REACHING OUT TO THEM AS THEY WHIP BY... BANG!</scene_description> </scene> <scene> <stage_direction>INT. L&amp;L OFFICE - FRANK'S OFFICE - CONTINUOUS</stage_direction> <character>DANNY</character> <dialogue>Lionel?</dialogue> <character>LIONEL</character> <parenthetical>(popping up)</parenthetical> <character>IF!</character> <dialogue>DANNY</dialogue> <scene_description>Jesus Christ...through the glass. Thought I was seeing a ghost. What are you doing?</scene_description> <character>LIONEL</character> <dialogue>Spinning. You back already?</dialogue> <character>DANNY</character> <dialogue>Nah, a round trip. Gotta go back in a bit.</dialogue> <scene_description>Lionel nods, staring into space. DANNY (cont'd) You alright?</scene_description> <character>LIONEL</character> <parenthetical>(tortured)</parenthetical> <dialogue>I shoulda never let him get in that car. I think I blew it, Danny.</dialogue> <character>DANNY</character> <dialogue>I had a Sergeant during the Bulge...He told me "Sometimes you do everything you're supposed to and it still goes to shit." It ain't on you, bud.</dialogue> <character>LIONEL</character> <dialogue>Yeah. Thanks, D.</dialogue> <character>DANNY</character> <dialogue>Any calls?</dialogue> <character>LIONEL</character> <dialogue>What? Oh yeah...shit. What time is it? Gotta pickup at 2:30.</dialogue> <scene_description>CLOCK: 2:15 He jumps up and takes Minna's coat and hat off, grabs the pea coat and heads to the door. LIONEL (cont'd) IF! Hey. You ever hear Frank say anything about "Formosa"?</scene_description> <character>DANNY</character> <dialogue>What like the Jap island?</dialogue> <parenthetical>(thinks)</parenthetical> <character>DANNY</character> <dialogue>Nope. He was wounded and out before that.</dialogue> <scene_description>Lionel shrugs and starts out again. DANNY (cont'd) You know there's that joint Formosa in mid-town. I tried to take Linda there to hear Chet Baker once.</scene_description> </scene> <scene> <stage_direction>EXT. FORMOSA LOUNGE (MID-TOWN STREET) - DAY</stage_direction> <scene_description>His car slides up on a club marquee. "THE FORMOSA".</scene_description> <character>LIONEL (V.O.)</character> <dialogue>Frank didn't have to cover for me, he just never put me out into situations that were going to punch my buttons. Talking to people, getting information out of em, that's the bread and butter of the trade but never my strong suit...</dialogue> </scene> <scene> <stage_direction>INT. FORMOSA LOUNGE - DAY</stage_direction> <scene_description>50's supper club. Classy. Lionel comes in and looks around. It's afternoon empty. Latin guys setting the floor tables. There's a HOSTESS cleaning up candles from tables</scene_description> <character>LIONEL (V.O.)</character> <dialogue>...especially if a girl shows up in the mix. And in this line of work, they usually do.</dialogue> <scene_description>BARTENDER comes over as Lionel eases onto a stool.</scene_description> <character>BARTENDER</character> <dialogue>Music's at seven.</dialogue> <character>LIONEL</character> <dialogue>Can I get an early one? Whiskey ginger.</dialogue> <scene_description>Bartender nods. Lionel pulls a bill and a matchbook out of his pocket, puts them on the bar. Takes Minna's detective license out of his coat. LIONEL (cont'd) Say pal, you in here regular?</scene_description> <character>BARTENDER</character> <dialogue>Most of my life.</dialogue> <character>LIONEL</character> <dialogue>You know a guy named Minna? Frank. That's him.</dialogue> <scene_description>The bartender looks a beat. Shakes his head</scene_description> <character>BARTENDER</character> <dialogue>Everybody looks like everybody to me. But I don't think so. She's good with faces.</dialogue> <scene_description>The HOSTESS slides up, overhearing, and indicates to let her see the photo. Studies it then shakes her head but takes in Lionel: kinda cute. She smiles, flirts.</scene_description> <character>HOSTESS</character> <dialogue>Nice face.</dialogue> <character>LIONEL</character> <parenthetical>(nervous)</parenthetical> <dialogue>Nice yourself.</dialogue> <character>HOSTESS</character> <dialogue>Got a light?</dialogue> <scene_description>Lionel opens the matchbook. Lights one and starts to hold it for her as she leans -- then blows it out.</scene_description> <character>HOSTESS</character> <dialogue>Ooh. You a tease?</dialogue> <scene_description>He lights another one, blows it out as she leans again. Her eyebrows raise...</scene_description> <character>LIONEL</character> <dialogue>Sorry...</dialogue> <scene_description>Fast now, lights a third, trying to keep it together. Compulsively blows it out.</scene_description> <character>HOSTESS</character> <parenthetical>(rolls her eyes)</parenthetical> <dialogue>Jeez, forget I asked.</dialogue> <scene_description>And she's gone. Lionel doesn't even sigh. This is his isolation and he's used to it. The bartender is laughing though...</scene_description> <character>BARTENDER</character> <dialogue>You got something against blondes?</dialogue> <character>LIONEL</character> <dialogue>Nah, it's...it has to sound right or I can't stop doing it.</dialogue> <scene_description>He lights two more matches and on the last one he's good.</scene_description> <character>BARTENDER</character> <dialogue>Must be inconvenient.</dialogue> <character>LIONEL</character> <dialogue>Buddy, you don't know the half of it.</dialogue> <scene_description>Starts to pocket the matches and change...</scene_description> <character>BARTENDER</character> <dialogue>That uptown shit's the real deal, huh? You get up there much?</dialogue> <scene_description>Lionel stops -- no idea what he's talking about. The guy points at the matchbook BARTENDER (cont'd) King Rooster. Lionel turns the matchbook over. A ROOSTER WITH A CROWN ON A RED BACKGROUND. LIONEL -- staring. Where'd he get this? Opens it. "B.A. - 2:30" written in a familiar hand. Realizes...It was in Minna's pants.</scene_description> <character>LIONEL</character> <dialogue>I don't know it.</dialogue> <character>BARTENDER</character> <dialogue>Jazz joint in Harlem. Lucky's is a good time too but the all the guys playing Hard are at the Rooster.</dialogue> <scene_description>LIONEL -- "a jazz club in Harlem". He's moving.</scene_description> </scene> <scene> <stage_direction>INT. LIONEL'S CAR #2 / EXT. HARLEM SIDE STREET - DAY</stage_direction> <scene_description>He drives along the block where Minna's mysterious meeting took place.</scene_description> </scene> <scene> <stage_direction>EXT. KING ROOSTER JAZZ CLUB - DAY</stage_direction> <scene_description>A RED NEON SIGN WITH THE CROWNED ROOSTER ON IT. Lionel pulls up.</scene_description> </scene> <scene> <stage_direction>INT. KING ROOSTER JAZZ CLUB - DAY</stage_direction> <scene_description>A small dark Harlem joint. Bar, tables and a little space for the band in a paneled corner that's hardly even a stage. Black bartender setting up. THREE BLACK GUYS at a back table talking low. One with his back to the bar. LIONEL enters and quick looks check him out. One guy, 50's very dark black skin, looks at Lionel in the mirror long and hard, watchful.</scene_description> <character>BARTENDER</character> <dialogue>We ain't open yet.</dialogue> <character>LIONEL</character> <dialogue>Can I get an early one? I'm freezing here. Whiskey neat.</dialogue> <scene_description>He slaps a bill up. The bartender'll take that. LIONEL (cont'd) (fishing) Say, you the manager?</scene_description> <character>BARTENDER</character> <dialogue>I look like the manager?</dialogue> <character>LIONEL</character> <dialogue>Who's playing tonight?</dialogue> <character>BARTENDER</character> <parenthetical>(at the THREE GUYS)</parenthetical> <dialogue>Hey, Billy...</dialogue> <scene_description>The DARK-SKINNED GUY with his back to the bar looks over. Lionel meets eyes with him in the mirror behind the bar. BARTENDER (cont'd) Who's on tonight?</scene_description> <character>BILLY</character> <dialogue>Mr Big Shot.</dialogue> <scene_description>His eyes locked on Lionel, he puts a cigarette in his mouth with his left hand and then using the same hand to snap open a lighter and light it...highlighting that his RIGHT ARM HANGS LIMP AND USELESS. Lionel still staring. Does he know that face?</scene_description> <character>BARTENDER</character> <dialogue>I hope they don't think they drinking free.</dialogue> <character>BARTENDER</character> <parenthetical>(to Lionel re poster)</parenthetical> <dialogue>You caught this cat? I seen cool. This brother rewriting cool.</dialogue> <scene_description>He tries to make it seem like a sneeze. He's getting excited and that winds up his tics. He's got to get out.</scene_description> <character>LIONEL</character> <dialogue>Catch him another time. If!</dialogue> <character>BARTENDER</character> <dialogue>Don't wait long. Them French girls keep loving him up he's gonna move over there for good, you know what I'm saying?</dialogue> <character>LIONEL</character> <dialogue>French Kissing Cats! Thanks pal.</dialogue> <scene_description>Lionel's out the door and we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LIONEL'S APARTMENT - NIGHT</stage_direction> <scene_description>A RECORD SPINNING, a standard playing, sad but soothing. Camera pans over to find LIONEL in a chair by the radiator with a joint. His head is moving as though he can't get a kink out of his neck. Or can't shake his brain.</scene_description> <character>LIONEL (V.O.)</character> <dialogue>On my average day the weed will handle my twitching and shouting but it makes my thinking fuzzy.</dialogue> <scene_description>A CAT, comes over and climbs up in his lap. He pets her and this contact seems to calm him as he looks out the window at the lights on the street.</scene_description> <character>LIONEL (V.O.)</character> <dialogue>In my dreams I'm calm and clear like I was when I was a kid. Even after my head started messing with me, my mother could settle it down. She'd sing soft songs and stroke the back of my neck and it would leave me for a while. We'd lie on the bed and talk about all of the places we were gonna go.</dialogue> <scene_description>The sad trumpet carries us over into....</scene_description> </scene> <scene> <stage_direction>EXT. BROOKLYN STREET - MORNING</stage_direction> <scene_description>It's cold and clear. Lionel's got a coffee. People are hustling for the subway. Lionel comes past a telephone pole close to camera, flicks his eyes at the flyers on it and EXITS... PIECES OF PAPER posted to the pole rustle in the cold... ...and Lionel comes back into frame, looking closer at one of the flyers, reading: SAVE OUR NEIGHBORHOODS! SAVE FT. GREENE! COME TO A PUBLIC HEARING ON PROPOSED HAMILTON HOUSING PLAN Sponsored by: Committee against Racial Discrimination in Housing HAMILTON. COMMITTEE. Lionel takes it down and continues on to:</scene_description> </scene> <scene> <stage_direction>INT. L&amp;L OFFICE/ EXT. COFFEE SHOP PAYPHONE - MORNING</stage_direction> <scene_description>Lionel enters Danny's reading the paper. Tony's on the phone, pissed...</scene_description> <character>TONY</character> <dialogue>Well, Christ, Coney, did you get the shot or not?...doing what?...Getting the paper ain't worth shit! The fuck does that have to do with his back?... Bending over, my ass, we gotta have him lifting the lawnmower out the car or playing tennis or spinning around the room with some broad sittin' up on his tentpole and his arms out wide. I don't care so long as it involves his back!...I know he's fakin' all the time, that's why he's won three claims! Wait him out or set him up!... I know it's cold, that's why they call it winter!</dialogue> <scene_description>He hangs up. Sees Lionel looking at him. That was his case. TONY (cont'd) I'm giving him the rest of the week.</scene_description> <character>DANNY</character> <parenthetical>(not looking up)</parenthetical> <dialogue>If the guy lifted a cow into a truck, Coney'd still miss the shot. He still can't remember to wind the film. Thinks it's a Tommy- gun. I tell him 'click-advance- click-advance"...</dialogue> <character>TONY</character> <dialogue>Can it. I'm giving it a week.</dialogue> <scene_description>Lionel goes to hang up his coat. Phone rings. Tony grabs it... TONY (cont'd) Gimme a break, will ya Gil-- wha? Excuse me, yeah, L&amp;L...</scene_description> <character>LIONEL</character> <parenthetical>(to Danny)</parenthetical> <dialogue>We got pickups?</dialogue> <character>DANNY</character> <dialogue>Nobody ever needs a ride on Tuesday, you notice that? Never. Why is that?</dialogue> <character>TONY</character> <dialogue>...speaking...</dialogue> <parenthetical>(beat - his eyes flick to the guys)</parenthetical> <dialogue>Yeah fine...</dialogue> <parenthetical>(writing)</parenthetical> <dialogue>...yeah I got it.</dialogue> <scene_description>He hangs up and puts the number in his pocket.</scene_description> <character>DANNY</character> <dialogue>Job?</dialogue> <character>TONY</character> <dialogue>Nah. For me.</dialogue> <character>DANNY</character> <dialogue>Don't go getting mysterious on us, T. You ain't no Minna.</dialogue> <character>TONY</character> <dialogue>Yet! I gotta get a prescription for my mother, clambrain. You need all the details? I'm going for coffee, you want?</dialogue> <character>DANNY</character> <dialogue>Cream and sugar.</dialogue> <scene_description>Tony makes a pansy flick with his wrist, throws on his scarf and hustles out.</scene_description> <character>LIONEL</character> <dialogue>Hey, D... You up for something?</dialogue> <character>DANNY</character> <dialogue>Like what?</dialogue> <character>LIONEL</character> <dialogue>Sit on a joint for me.</dialogue> <character>DANNY</character> <dialogue>For you?</dialogue> <scene_description>Lionel tosses him the matchbook.</scene_description> <character>LIONEL</character> <dialogue>Club up in Harlem. I think Frank was there that day or the day before...it was in his pants, almost full. Fullsie Pants!</dialogue> <character>DANNY</character> <parenthetical>(skeptical)</parenthetical> <dialogue>Maybe he stopped in for a book of matches.</dialogue> <scene_description>LIONEL glances out the window as they talk and sees... TONY, across the street outside the coffee shop stopping at the payphone.</scene_description> <character>LIONEL</character> <dialogue>In the room he was talking about a girl, a colored chick. Something she knew had em pretty unhappy, wondering who else knew. Frank said her father is a busted up vet who runs a club...this joint is three blocks from that meet.</dialogue> <character>DANNY</character> <dialogue>You went there?</dialogue> <character>LIONEL</character> <parenthetical>(nods)</parenthetical> <dialogue>Manager is a guy named Billy with a bum arm.</dialogue> <scene_description>LIONEL POV: Tony pulls the number he wrote down and dials.</scene_description> <character>DANNY</character> <dialogue>So what am I supposed to do?</dialogue> <character>LIONEL</character> <dialogue>Get in there see if you can get her name out of him. Do your liquor board bit. Lick Broader!</dialogue> <character>DANNY</character> <parenthetical>(laughs at that one)</parenthetical> <dialogue>Yeah, that's what she said. That's it, get her name?</dialogue> <scene_description>LIONEL'S POV: Tony is talking to someone and making notes.</scene_description> <character>LIONEL</character> <dialogue>Well if you got nothing better to do... sit on it a while, see if she shows.</dialogue> <character>DANNY</character> <dialogue>If a colored chick shows up to a jazz joint? Lemme make a prediction...</dialogue> <character>LIONEL</character> <dialogue>No, I'm working another angle. We'll pin her down.</dialogue> <scene_description>LIONEL'S POV: Tony on his way back.</scene_description> <character>DANNY</character> <dialogue>Okay but tell me something... What are we doing this for?</dialogue> <character>LIONEL</character> <dialogue>Cause he'd a done it for us.</dialogue> <character>DANNY</character> <dialogue>Right. It's fuckin' cold for a sit.</dialogue> <character>LIONEL</character> <dialogue>Take the Bel Air, heater'll roast you like a brisket. Bet on the bris!</dialogue> <character>DANNY</character> <dialogue>You're a rabbi too now, huh?</dialogue> <character>LIONEL</character> <dialogue>You don't want me handling your bris, believe me.</dialogue> <scene_description>They both laugh.</scene_description> </scene> <scene> <stage_direction>INT. LIONEL'S CAR - DAY</stage_direction> <scene_description>He drifts through Brooklyn.</scene_description> </scene> <scene> <stage_direction>EXT. HOUSING COMMITTEE OFFICE - DAY</stage_direction> <scene_description>Lionel crosses the street heading for a nondescript office building. Checks the address and enters.</scene_description> </scene> <scene> <stage_direction>INT. HOUSING COMMITTEE OFFICE - A HALLWAY - DAY</stage_direction> <scene_description>Lionel finds a door with just a number on it. Checks his info again, takes out a piece of gum, folds it exactly in half and pops it in his mouth and then enters into...</scene_description> </scene> <scene> <stage_direction>INT. HOUSING COMMITTEE OFFICE - CONTINUOUS</stage_direction> <scene_description>An open space with desks pushed up against one another. Low budget informality. A few private offices with doors at the far end and right in front by the door... Lionel enters and goes to close the door but has to re-open it and close it twice more to make it sound right. He's good at stakeouts, not at this part. HIS EYES flick around... People busy at work on phones, typing, filling out forms, conferring with each other. A few middle-aged Jewish men and women, and, Lionel immediately notices, FOUR YOUNG BLACK WOMEN, working in different parts of the room: one typing, one walking papers back to one of the offices... One at a reception desk, looking up at Lionel.</scene_description> <character>LIONEL</character> <parenthetical>(pretends it's a sneeze)</parenthetical> <dialogue>If!</dialogue> <character>RECEPTIONIST (BETTY)</character> <dialogue>Bless you.</dialogue> <character>LIONEL</character> <dialogue>Thank you.</dialogue> <character>RECEPTIONIST (BETTY)</character> <dialogue>Can I help you?</dialogue> <character>LIONEL</character> <dialogue>Yes, I'm here to see Mildred?</dialogue> <character>RECEPTIONIST (BETTY)</character> <dialogue>Mildred? There's nobody by that name here.</dialogue> <character>LIONEL</character> <dialogue>I think it was Mildred...</dialogue> <character>RECEPTIONIST (BETTY)</character> <dialogue>Myrna...?</dialogue> <scene_description>She points at an older Jewish lady.</scene_description> <character>LIONEL</character> <dialogue>My myna bird, Myrna!.</dialogue> <parenthetical>(covers)</parenthetical> <dialogue>No I believe she was a colored girl.</dialogue> <character>RECEPTIONIST (BETTY)</character> <dialogue>Josephine or Laura?</dialogue> <scene_description>She points at each as she says their names and Lionel makes note of their faces.</scene_description> <character>LIONEL</character> <dialogue>No I'm sure it was Mildred. She spoke to me on the phone about my application. What's your name?</dialogue> <character>RECEPTIONIST (BETTY)</character> <dialogue>Betty. What sort of application.</dialogue> <character>LIONEL</character> <dialogue>My vendor's license.</dialogue> <scene_description>Blank stare LIONEL (cont'd) Is this not the licensing office?</scene_description> <character>RECEPTIONIST (BETTY)</character> <dialogue>It's the Committee on Racial Discrimination in Housing.</dialogue> <character>LIONEL</character> <dialogue>Then you can't very well help me sell hot dogs can you!</dialogue> <parenthetical>(laughs too loud)</parenthetical> <dialogue>I'm sorry to have bothered you.</dialogue> <scene_description>He tips his hat and starts to head out the door. On a hunch turns back and takes a flyer... LIONEL (cont'd) Is Mr. Horowitz in by any chance?</scene_description> <character>RECEPTIONIST (BETTY)</character> <dialogue>You mean Mrs. Horowitz?</dialogue> <character>LIONEL</character> <dialogue>Either one'll do.</dialogue> <character>RECEPTIONIST (BETTY)</character> <parenthetical>(really confused now)</parenthetical> <dialogue>She's in the back...oh there she is...</dialogue> <scene_description>They look and see Gabby Horowitz, director of the Committee, just stepping from her office with LAURA, one of the black girls. They see Betty pointing and look up. Lionel waves and points as though to say "I'll see you outside" and quickly exits... Gabby and LAURA look at each other. Who the hell was that?</scene_description> </scene> <scene> <stage_direction>INT. LIONEL'S CAR/EXT. HOUSING COMMITTEE OFFICE - DAY</stage_direction> <scene_description>A CAMERA LENS REFLECTING THE OLD INDUSTRIAL BUILDING Lionel sits in the car across the street and checks the focus. PLUCKS AT HIS CUFF. Looks through the lens and perks up THROUGH THE CAMERA we see... LAURA emerge, STRIKINGLY PRETTY with LIGHT BROWN SKIN; CLICK. CLICK. LIONEL KEEPS WATCHING, muttering to himself.</scene_description> <character>LIONEL</character> <dialogue>Horse-a-whip, Whore-a-witch, Horowitz.</dialogue> <scene_description>He watches her walk away the flicks back to the door A BUNCH OF PEOPLE FROM THE OFFICE, including Horowitz and THE OTHER THREE BLACK GIRLS. CLICK. CLICK. CLICK. He's popping off shots of them all expertly, like a marksman. This he's good at. She steps to the curb and hails a CAB. LIONEL starts his car. Mission accomplished.</scene_description> </scene> <scene> <stage_direction>INT. L &amp; L OFFICE - DARKROOM - NIGHT</stage_direction> <scene_description>WHITE PAPER, SWISHING IN LIQUID A picture emerges... the girl named LAURA. Very beautiful. Lionel pulls it out of the tray and stares at it, then lets it dry with the others already printed.</scene_description> <character>TONY (O.S.)</character> <dialogue>Holy shit, what happened?!</dialogue> <scene_description>Lionel rushes out into...</scene_description> </scene> <scene> <stage_direction>INT. L &amp; L OFFICE - NIGHT</stage_direction> <scene_description>DANNY stands slumped against the door frame with TONY rushing to support him. DANNY HAS BEEN BEATEN UP. He is very shaken, out of breath. Tony moves Danny to a chair and loosens his tie. Danny motions that he needs a drink and CONEY quickly pours him a shot from a bottle in a desk. Danny downs it with a shaky hand.</scene_description> <character>CONEY</character> <dialogue>Who was it, D?</dialogue> <character>DANNY</character> <dialogue>Couple of em. One was a giant.</dialogue> <character>TONY</character> <dialogue>A what?</dialogue> <character>DANNY</character> <dialogue>A fuckin' giant, I'm telling you. Biggest guy I ever saw.</dialogue> <scene_description>Coney and Lionel look at each other, knowing. DANNY (cont'd) Worked me over good. Smashed up the camera.</scene_description> <character>LIONEL</character> <dialogue>They say anything?</dialogue> <character>DANNY</character> <dialogue>Yeah, "Stay outta Minna's garbage. Tell your crew the same." Had a big nasty knife on my throat for that part.</dialogue> <scene_description>That sits like a bomb for a second. Tony's jaw tenses.</scene_description> <character>CONEY</character> <dialogue>Son of a...</dialogue> <scene_description>Danny reaches into his pocket...</scene_description> <character>DANNY</character> <parenthetical>(to LIONEL)</parenthetical> <dialogue>Didn't get this though...assholes.</dialogue> <scene_description>Tosses Lionel a ROLL OF FILM.</scene_description> <character>TONY</character> <dialogue>...the fuck is that? What are you two into?</dialogue> <scene_description>Danny looks at Lionel...and we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. L &amp; L OFFICE - HALF HOUR LATER</stage_direction> <scene_description>Danny is cleaned up a little, butterfly bandage over his swelling shiner, holding ice to his lip. The RED LIGHT of the dark room goes out. Lionel emerges with some still wet photos: Danny's roll... He hustles to Danny takes three of his own photos, one of each of the young black women, and lays them out on a desk to compare with Danny's. Danny looks over his shoulder, can't help being curious. Lionel starts to flip through them.... DANNY'S PHOTOS: - The outside of the King Rooster club - The guy, BILLY, emerging from the club - A man in a hat, face unseen, asking Billy for a light - Over the man's shoulder on Billy looking away</scene_description> <character>DANNY</character> <dialogue>Forget all that, she didn't show up until later...tail end of the roll.</dialogue> <scene_description>He grabs a few photos off the stack and moves them to the back... - A black woman entering the club but too much from the back Danny flips that one back... DANNY (cont'd) Here...they came out together. - BILLY and the girl named LAURA from the office talking - LAURA kissing BILLY on the cheek as they part LIONEL compares these to his own and quickly finds the match.</scene_description> <character>LIONEL</character> <dialogue>Match me, Bailey! That's it. She's the one. Her name was Laura.</dialogue> <character>DANNY</character> <dialogue>Laura Rose then maybe. That's Billy Rose. If he's her father...</dialogue> <character>CONEY</character> <dialogue>How the hell you know that?</dialogue> <character>LIONEL</character> <parenthetical>(ignores him)</parenthetical> <dialogue>You tailed her?</dialogue> <character>DANNY</character> <dialogue>Didn't have to...she lives right next to the club on the corner. They musta made me earlier. Soon as I got out the car to follow her they were on me...</dialogue> <scene_description>He stops. It really shook him up. Lionel is excited though. Tony's paying attention.</scene_description> <character>LIONEL</character> <dialogue>I'm telling you this is the colored broad Frank was tailing.</dialogue> <character>TONY</character> <dialogue>Okay, I'm with you but it's still pretty thin.</dialogue> <character>CONEY</character> <dialogue>Skeletal.</dialogue> <character>LIONEL</character> <dialogue>We only just started!</dialogue> <scene_description>They look at each other for a beat. Tony seems to be calculating something. His attitude has changed.</scene_description> <character>TONY</character> <dialogue>Whatever they want so bad's gotta be worth something, right? I'll tell you what, Freakshow, me and Gil'll stay on the money work, keep us floating...you and Danny keep sniffing it and we'll see where we get.</dialogue> <character>LIONEL</character> <dialogue>I ain't looking to make a deal with these fucks but yeah, okay.</dialogue> <character>CONEY</character> <dialogue>Whatever. Hell yeah, I hope those mugs poke around again. I'll have something for em.</dialogue> <scene_description>Danny stares at the floor.</scene_description> <character>TONY</character> <dialogue>Whaddya say, D?</dialogue> <character>DANNY</character> <dialogue>Fellas, I loved the guy but...I mean I'll handle the cars, hustle some domestic shit, you know, but I got Linda and...</dialogue> <scene_description>He can't say more, doesn't have to.</scene_description> <character>LIONEL</character> <dialogue>Sure, Danny. Right thing.</dialogue> <character>TONY</character> <dialogue>No doubt. Get on home, get a steak on that eye.</dialogue> <character>CONEY</character> <dialogue>C'mon, I'll give you a lift.</dialogue> <scene_description>They leave. Tony and Lionel measure each other.</scene_description> <character>TONY</character> <dialogue>Look all I'm saying...maybe we can get something outta it, for Julia maybe...</dialogue> <character>LIONEL</character> <dialogue>For Julia? She can go twist.</dialogue> <character>TONY</character> <dialogue>Okay whatever. But don't go holding out on shit with me though. We work together, okay Lionel? I'll take anything we can scratch up to Mr. Capodanno and see what those boys know. We pin it on someone, we'll square accounts. My word on it.</dialogue> <scene_description>Lionel looks at him and nods, then gets up. TONY (cont'd) You wanna get a beer?</scene_description> <character>LIONEL</character> <dialogue>Nah, I'm going home. I'll see ya later.</dialogue> <scene_description>Tony taps him on the shoulder in Lionel's rhythm, teasing.</scene_description> <character>TONY</character> <dialogue>C'mon...let's get a beer.</dialogue> <scene_description>Lionel laughs at their old gag but shakes his head.</scene_description> <character>TONY</character> <dialogue>Okay but don't stay up too late, Kemosabe.</dialogue> <scene_description>He exits. Lionel stares at the photo of Laura and as we push in on her image we CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. LAURA'S BUILDING - MORNING</stage_direction> <scene_description>A passerby crosses the street in the cold passing through a small PARK where we find: LIONEL, sipping coffee, twitching a little and mumbling to himself. He seems happier when he's alone, less anxious about his tics. Almost seems to enjoy turning words over...</scene_description> <character>LIONEL</character> <dialogue>Laura Rose. Rose is a rose is a rose... Larosa!</dialogue> <scene_description>And then he sees...LAURA comes out of her building, and he's out and moving to follow her... She walks along in the cold, LIONEL sliding into view behind her as she makes her way to...</scene_description> </scene> <scene> <stage_direction>EXT. SUBWAY ENTRANCE - MORNING</stage_direction> <scene_description>Laura heads down the steps...Lionel follows.</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY CAR - MORNING</stage_direction> <scene_description>Laura boards the train and moves toward an empty seat only to have a WHITE GUY move his bag onto the seat and stare at her as the train begins to move. She stares at the man with no expression and he back at her, daring her. She turns her back to him leans against a pole, facing directly at LIONEL, which makes him feel a tic coming that he comically struggles to suppress. She takes a book from her bag, some sort of textbook and begins to read, studying and with this he turns away to release a tic and shout. A WOMAN WITH A SMALL GIRL reacts to this and moves the child away from him. This makes Laura look up over her book for a moment, just as he turns back around and they meet each others gaze for just a second. She is composed and lovely.</scene_description> </scene> <scene> <stage_direction>EXT. FORT GREENE ROW-HOUSE STREET - DAY</stage_direction> <scene_description>Laura walks down a block with Lionel tailing behind. The neighborhood is edgy, run down, with many boarded up row houses, uncollected trash and abandoned furnishings. LAURA goes up a stoop and rings a bell. A BLACK LADY answers, wary. Laura talks for a moment and removes some papers from her bag, handing them to the woman. The woman glances at them, nods and closes the door. ANOTHER DOOR. She buzzes. A FACE IN THE SECOND FLOOR WINDOW... a wave. ANOTHER BLACK LADY smiles and hands Laura a sheaf of the same forms and they talk. Lionel can see that the woman is indignant and that Laura is TAKING NOTES. ANOTHER DOOR...this building so bombed out it looks abandoned but AN OLD BLACK MAN WRAPPED IN A BLANKET OPENS and this time Laura goes inside. Lionel glimpses her in the window of the first floor. LIONEL turns around for a closer look at a row-house behind him, its front door and second story windows boarded up. He looks up AT THE FRONT DOOR A SIGN: CONDEMNED: PROPERTY OF: BELMONT DEVELOPERS... A SOUND SURPRISES HIM and he jumps. To his surprise a WOMAN WITH TWO KIDS COME OUT from the garden level door under the stoop. He thought it was abandoned but clearly there are people squatting here. The WOMAN eyes him fearfully and hustles her kids away.</scene_description> </scene> <scene> <stage_direction>EXT. INWOOD RESIDENTIAL SERVICES - DAY</stage_direction> <scene_description>TIGHT ON: A PUDDLE OF WATER. Stark trees, fire escapes &amp; sky reflected in it as LAURA steps across it, rippling the surface and we tilt up to find LIONEL tailing her. He watches as she heads for a nondescript storefront/office: Inwood Residential Services. She goes to the door and tries it but it's locked. She turns and faces the street, clearly exasperated as a CAR pulls up and GABBY gets out of the driver side. She and Laura confer and Laura moves to get in the car. LIONEL spots a cab and hails it but hustles over to the storefront for a quick look at the sign on the door: "INWOOD: Your Happy Home is Our Business!". HOURS: 9-5 Lionel looks at his watch: 3:21 Should be open. But he hustles to his cab.</scene_description> </scene> <scene> <stage_direction>INT. CAB / EXT. ROADSIDE/OVERPASS - LATE AFTERNOON</stage_direction> <scene_description>The cab pulls over on the shoulder, a distance from the other car which is pulled up under an overpass, with hazard lights on. Lionel's POV: the women getting out.</scene_description> <character>LIONEL</character> <dialogue>Get out and pop your hood and check the oil.</dialogue> <character>CABBIE</character> <dialogue>Buddy, come on...</dialogue> <character>LIONEL</character> <dialogue>Keep the meter going.</dialogue> <scene_description>He lifts his binoculars as the cabbie grudgingly complies. Lionel's POV: Gabby shading her eyes, looking up at... LAURA, who has climbed up the slope to the overpass above and is lowering a tape measure. We PAN DOWN with the tape measure to Gabby, who records the height of the overpass. ON LIONEL: no idea what they're doing. SMASH CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. TOWN HALL BUILDING - CONTINUOUS</stage_direction> <scene_description>FACES IN A BUZZING SEATED CROWD as we tilt up to see GABBY &amp; LAURA, hustling down the center aisle of a packed auditorium to where their staff members hold seats near a standing mic. A group of men at two long tables on stage with mics. Among the men, THE MAYOR and LIEBERMAN. LIONEL enters in the back and takes in the scene. He notes a guy in the back rows with 'PRESS' cards in his hat band and slides into a seat behind him. Lionel leans over his shoulder and takes out his notebook to play at being a fellow reporter</scene_description> <character>LIONEL</character> <dialogue>This ain't my beat. What's the story?</dialogue> <character>REPORTER(JACOB GLEASON)</character> <dialogue>Stories of injustice and despair, nodding heads and assurances, back to business as usual. The American Way. Although this one could make it interesting.</dialogue> <scene_description>He indicates GABBY down the aisle conferring with Laura. He sees Gabby catch sight of: a TALL THIN MAN entering and taking his seat. Slightly frayed but hawk-like eyes focused intently on the proceedings. He nods at Gabby. Lionel deftly slips one of the reporter's cards from his hatband and pockets it with practiced ease. A man onstage kicks things off. WILLIAM LIEBERMAN, one of Moses Randolph's sub-bosses.</scene_description> <character>LIEBERMAN</character> <dialogue>We'll commence this public comment. State your name, address and affiliation please. I'm William Lieberman, Mayor's Commission on Slum Clearance, resident of E.65th St, Manhattan</dialogue> <character>LADY AT MICROPHONE</character> <dialogue>Cindy Fleming, homemaker, Yonkers...but formerly East Tremont. My family was forced to move when they seized our building for the Bronx Expressway, and I want people to know that--</dialogue> <scene_description>He cuts her off and speaks to Gabby.</scene_description> <character>LIEBERMAN</character> <dialogue>Mrs. Horowitz, you may not hijack these proceedings to air out old complaints against...</dialogue> <character>GABBY</character> <parenthetical>(rapidly, following rule)</parenthetical> <dialogue>Gabby Horowitz-Committee on Racial Discrimination in Housing- 552 Clinton Ave, BROOKLYN. I thought this was a community hearing?</dialogue> <character>LIEBERMAN</character> <dialogue>On housing not highways...</dialogue> <scene_description>Lionel focuses on him... his VOICE familiar...</scene_description> <character>GABBY</character> <dialogue>You're making the same promises to Ft Greene that you made in Tremont, where your so-called 'relocation services' vanished into thin air and left families like the Flemings utterly adrift. People have a right to know what they're in for!</dialogue> <scene_description>Lionel watches LAURA, slipping Gabby notes.</scene_description> <character>LIEBERMAN</character> <dialogue>We are totally committed to the welfare of families displaced by necessary community improvement programs. The past has been instructive and our new contractors will ensure ALL find adequate homes...</dialogue> <scene_description>As she speaks MOSES RANDOLPH enters late from the side, tuning in and already impatient. Gabby notes his arrival.</scene_description> <character>GABBY</character> <dialogue>This isn't Long Island you know... It's not just a blank canvas you can paint on anywhere you like. There are people here, established communities.</dialogue> <scene_description>Randolph shoots an impatient look at the Mayor as he SITS...The Mayor snaps up obediently...</scene_description> <character>MAYOR</character> <dialogue>I hope you all know my name. I'm the Mayor, newly residing at Gracie Mansion, Manhattan.</dialogue> <parenthetical>(a few laughs)</parenthetical> <dialogue>Mrs Horowitz, thank you for work and your passion. Surely we can all agree that even in a City as great as ours we have slums. And that a slum is not something to romanticize or preserve. You tear it down and improve quality of--</dialogue> <character>GABBY</character> <dialogue>A neighborhood is not a slum because poor people and minorities live there, Mr. Mayor. East Tremont wasn't a slum, Third Avenue wasn't a slum and Fort Greene is not a slum either, these are working class communities.</dialogue> <parenthetical>(to Randolph)</parenthetical> <dialogue>Your developers are making it a slum!</dialogue> <scene_description>This brings Randolph lunging forward.</scene_description> <character>RANDOLPH</character> <dialogue>That is unsubstantiated, unmitigated bunk!</dialogue> <scene_description>Laura hands her reams of paper which she holds aloft...</scene_description> <character>GABBY</character> <dialogue>We have it on paper, we have twenty people here tonight and scores behind them who can testify to a scandalous fraud under way...which way would you like it first?</dialogue> <scene_description>Randolph slaps the table with his flat palm violently, rising out of his chair and overlapping her.</scene_description> <character>RANDOLPH</character> <dialogue>We are embarking on the most ambitious slum clearance program in American history Mrs. Horowitz and you are gumming it up with your molasses! A Niagara of molasses!</dialogue> <scene_description>Suddenly a voice in the audience shouts:</scene_description> <character>VOICE (PAUL)</character> <dialogue>MAKE HIM SAY HIS NAME!</dialogue> <scene_description>Heads turn. Lionel turns. Concern on Gabby's face. ANGLE ON: THE TALL THIN MAN, still seated.</scene_description> <character>MAN (PAUL)</character> <dialogue>Name and place of residence, like everyone else!</dialogue> <scene_description>A smattering of applause. The energy is winding Lionel up, his arm and head jerk spasmodically. RANDOLPH stares out seeking the source of the voice, eyes narrowing, glaring. He crosses his arms defiantly. He looks at the Mayor: "Handle it." The MAYOR rises.</scene_description> <character>MAYOR</character> <dialogue>Now see here, we all know perfectly well who this is... Mo Randolph is one our greatest public servants. He's a living legend.</dialogue> <character>MAN (PAUL)</character> <dialogue>Name and residence like everybody else!</dialogue> <scene_description>The audience cheers, really behind it now. Some start to call out "Make him say it! Make him say it!" Gabby smiles discreetly. Lionel yelps-</scene_description> <character>LIONEL</character> <dialogue>Every Chevy shelf!</dialogue> <scene_description>Randolph glares at the Mayor who is starting to sweat.</scene_description> <character>MAYOR</character> <parenthetical>(trying to stay light)</parenthetical> <dialogue>He's led the Parks Department for over 30 years...he's Commissioner of Construction, well, he's got too many jobs to name!</dialogue> <parenthetical>(knowing laughter)</parenthetical> <dialogue>And he lives right across the street from me on East 88th, now let's stick to--</dialogue> <scene_description>Cat calls... a few yells...many people rising to their feet The MAN rises to his feet now, raging..</scene_description> <character>MAN (PAUL)</character> <dialogue>Make him say it!!</dialogue> <character>MAYOR</character> <dialogue>See here now, if we can't keep this civil we'll have to ask you to...</dialogue> <character>MAN (PAUL)</character> <dialogue>SAY IT!</dialogue> <scene_description>The crowd chants "Say it!" This is too much for Lionel... Lieberman nods to some plainclothes SECURITY MEN along the sides of the room who quickly descend on the MAN. And now the crowd is on its feet indignant. As they sweep behind LIONEL with the MAN (Paul) it's too much him and he leaps up shrieking</scene_description> <character>LIONEL</character> <dialogue>Two fucking pigs in a blanket!</dialogue> <scene_description>So they grab him too and hustle him out with the MAN (Paul) LIONEL (cont'd) Say it, Hammy Ham House Heads!! SMASH CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. TOWN HALL MEETING/BROOKLYN STREET - NIGHT</stage_direction> <scene_description>Lionel and the MAN shrug off the final SHOVES of the cops and stand looking at each other in the street. THE MAN is neatly dressed but his clothes are visibly worn and shabby. Gaunt and graying, he could be taken for a bum but his eyes are fierce and sharp, hawkish. We will come to know him as Paul. He regards Lionel with curiosity...</scene_description> <character>PAUL</character> <dialogue>'Hammy Ham House Head', huh? That's good. I'll have to remember that one.</dialogue> <character>LIONEL</character> <parenthetical>(still ticcing)</parenthetical> <dialogue>IF! Sorry... IF!</dialogue> <character>PAUL</character> <dialogue>Yeah, that's the rub in life alright... 'if'... 'if only'...</dialogue> <scene_description>He shakes his head and starts to walk away muttering to himself unintelligibly. Lionel stuffs gum, getting under control, calls out</scene_description> <character>LIONEL</character> <dialogue>Hey, hold on... tell me something. That guy Lieberman, he's in charge of this Hamilton deal?</dialogue> <character>PAUL</character> <dialogue>In charge? No, he's not in charge...More in charge than that guy calling himself Mayor but...</dialogue> <parenthetical>(laughs, turns away)</parenthetical> <dialogue>They all work formosa...</dialogue> <scene_description>CU: Lionel's face as he barely hears that last word. He runs after Paul and grabs him by the arm... PAUL (cont'd) Hey...!</scene_description> <character>LIONEL</character> <dialogue>You said "Formosa"...what's that?</dialogue> <character>PAUL</character> <dialogue>What? Let me go! You nuts?!</dialogue> <character>LIONEL</character> <dialogue>You said "They're all working Formosa." What's that mean?</dialogue> <character>PAUL</character> <dialogue>What's 'Formosa'? Let go of me.</dialogue> <parenthetical>(realizing)</parenthetical> <dialogue>"For Moses." Jesus. I said they're working for Moses. Moses Randolph.</dialogue> <scene_description>Lionel realizes: that's what Frank said to him as he lay dying -- "For Moses"...</scene_description> <character>LIONEL</character> <dialogue>Mo Randolph? That guy who came in?</dialogue> <character>PAUL</character> <dialogue>Yeah...'He who will not speak his name like one of the rabble'. What do you care?</dialogue> <scene_description>Lionel quickly pulls out the reporter's card.</scene_description> <character>LIONEL</character> <dialogue>Jacob Gleason, the Post. Let me buy you a cup of coffee.</dialogue> <character>PAUL</character> <dialogue>I'm hungry. You can buy me dinner.</dialogue> </scene> <scene> <stage_direction>INT. DINER - NIGHT</stage_direction> <scene_description>Paul digs in like a guy who eats too rarely. Lionel pops gum and nurses a tea... Paul talks like a firehose...disgorging so much information, even as he chews, that it's hard to keep up with the thread. Huge pent up frustration venting in urgent torrents with hardly a pause between thoughts...</scene_description> <character>PAUL</character> <parenthetical>(appalled)</parenthetical> <dialogue>The Mayor?! That clown is so green he doesn't even know what he doesn't know yet. He'll be out the door before he even realizes that every person he turns to for advice is on Randolph's payroll.</dialogue> <character>LIONEL</character> <dialogue>I thought he was Commissioner of Parks?</dialogue> <character>PAUL</character> <dialogue>He is.</dialogue> <character>LIONEL</character> <dialogue>But they called him Construction Commissioner.</dialogue> <character>PAUL</character> <dialogue>He's that too now. They never even had that position until the Feds decided to get in the housing game. It had no defined powers so he defined 'em and the Feds approved and now how much control of that money has the City got? Zero. He's got it all. You know what 'eminent domain' means? If he says it's a slum, it goes. He used to have to fight to put his highways and parks where he wanted, now he can go anywhere, tear anything down. He can condemn a whole section of the city, evict everyone who lives there and put up what he wants. And he'll go at it with an axe.</dialogue> <character>LIONEL</character> <dialogue>SMACKS AXE. He'll piss too many people off. He'll be the most hated man in NY.</dialogue> <character>PAUL</character> <dialogue>No, they love him! That's what makes me so... He flies above it. They revere him.</dialogue> <character>LIONEL</character> <dialogue>Why?</dialogue> <character>PAUL</character> <dialogue>Because he built the parks! As long as you're the guy who brings people parks, you walk with the angels, you can't lose. The day Rockaway Beach opened, Moses Randolph became a folk hero in this town. But people don't realize how much he hates them. "The Hero of the Public Who Hates People". There's your headline. And you know who he hates especially? (mouths 'Negroes') He's going to seize every neighborhood in this city that's not white and turn it over to his hand-picked private Developers.</dialogue> <character>LIONEL</character> <dialogue>So he's getting rich. Paid off.</dialogue> <character>PAUL</character> <dialogue>Nah, he doesn't want money...he wants control and he brokers money to get it and guard it. Some men aren't satisfied unless they have filet mignon. Moses would be happy with a pastrami sandwich and power.</dialogue> <parenthetical>(to a waitress)</parenthetical> <dialogue>Can I get a piece of cheesecake? And warm it up. Yeah, I want it warm!</dialogue> <parenthetical>(leans in)</parenthetical> <dialogue>Half the city is getting a ride on one of his horses. $3.5 billion since the war! He cuts people in on one piece of it or another but he's the broker of all of it.</dialogue> <parenthetical>(almost to himself, muted)</parenthetical> <dialogue>Bridge and Tunnel and now Title 1 ...for chrissake, he controls every fuckin' construction job in the city.</dialogue> <character>LIONEL</character> <dialogue>But you said they just created the position...so how...?</dialogue> <character>PAUL</character> <dialogue>Oh, christ...Construction-Parks- Slums...he's got 14 appointments! That's all just ink on a glass door, none of it matters, it's all the BA.</dialogue> <character>LIONEL</character> <dialogue>BA?</dialogue> <scene_description>This actually stops Paul and makes him narrow his eyes.</scene_description> <character>PAUL</character> <dialogue>The Borough Authority, jeezus. Where do you come from, Iowa? Call yourself a reporter...on what, the Arts beat? You read Emerson?</dialogue> <character>LIONEL</character> <parenthetical>(shakes no)</parenthetical> <dialogue>Should I?</dialogue> <character>PAUL</character> <dialogue>Yes, you fucking should! Emerson said "an institution is the lengthened shadow of one man"...</dialogue> </scene> <scene> <stage_direction>EXT. BOROUGH AUTHORITY HEADQUARTERS - NIGHT</stage_direction> <scene_description>Headlights of the waiting CAR light up the front of the massive stone face and steps of the edifice where Moses works.</scene_description> <character>PAUL (O.S.)</character> <dialogue>This town is run by the Borough Authority and the Borough Authority is Moses Randolph.</dialogue> <scene_description>As the tall shadowy figure descends the stairs toward the cars his SHADOW THROWS HIGH OVER THE FACE OF THE BUILDING.</scene_description> </scene> <scene> <stage_direction>INT. ENTRANCE LOBBY OF NY PUBLIC LIBRARY - DAY</stage_direction> <scene_description>Lionel walks through the grand marble lobby.</scene_description> </scene> <scene> <stage_direction>INT. PUBLIC LIBRARY - GRAND READING ROOM - DAY</stage_direction> <scene_description>Lionel walks into the huge room carrying a few huge bound volumes of newspapers and sits at a table C.U. - Articles on Moses Randolph. One after another announcing his accomplishments "West River Park Opens", "Hudson Highway", "A Grand New Beach for Gotham", "Bronx Expressway to Liberate Manhattan from Traffic Snarl". And effusions of Randolph: "Servant of the People"; "A Reformer becomes a Builder: 'to build is to dream' says Moses Randolph" PICTURES: the Triborough Bridge under construction. Moses smiling and shaking hands with one Mayor after another: LaGuardia; O'Dwyer; Impellitieri; the new Mayor... Lionel stops on one: "The Men of the B.A." - a photo shows Randolph seated and smiling broadly, surrounded by men in Suits. Their names captioned: William Lieberman, George Spaulding, Tom Brooks... LIONEL FOCUSES ON: William Lieberman. He was the man in the apartment with Minna. The one in charge...</scene_description> <character>LIONEL</character> <parenthetical>(whispered)</parenthetical> <dialogue>Lieberman. Leering man.</dialogue> <scene_description>CLOSE ON: another article..."The Private Life of a Public Man...many of his closest colleagues were surprised to learn he has a brother." PICTURE: a YOUNGER MOSES RANDOLPH and A MAN WHO LOOKS VERY FAMILIAR...both in black tie attire and smiling...Randolph leans affectionately on his brother's shoulder CAPTION: "Moses Randolph and Paul Randolph: 1927" LIONEL's FACE: recognizing Paul Randolph as the man he bought dinner for.</scene_description> <character>LIONEL (V.O.)</character> <dialogue>That quack in the diner with pork chop and peas in his beard was one of the most talented engineers of his generation. Ivy League. Big awards. Walking right next to his brother toward being someone important. Then sometime right after the Crash, just nothing. Like he got erased.</dialogue> <scene_description>He takes out his pen-knife and quietly cuts out this photo and pockets it.</scene_description> </scene> <scene> <stage_direction>INT. PUBLIC LIBRARY - READING ROOM - LATER</stage_direction> <character>LIONEL (V.O.)</character> <dialogue>Maybe bad luck. Maybe booze. There was all kinds of casualties in those days.</dialogue> <scene_description>TIME CUT: Lionel is handing the box of papers back to a clerk when he sees the clerk's paper lying open and a small HEADLINE: "BUILDER'S ASSOC TO HONOR Moses Randolph....Plaza Hotel"</scene_description> </scene> <scene> <stage_direction>EXT. THE PLAZA HOTEL - NIGHT - ESTABLISHING</stage_direction> </scene> <scene> <stage_direction>INT. PLAZA HOTEL - CONCOURSE OUTSIDE BALLROOM/BALLROOM</stage_direction> <scene_description>Black tie crowd. Working class, union bosses, wives...but dressed up and slicked for their one big night. Martini glasses and cigarettes. Union security at the doors to the Banquet with pins on their lapels. LIONEL steps out of elevators behind a few late arrivals who hustle in. Inside beyond the check in table the vast floor of banquet tables and stage can be seen. Not in a tux and with no invite he clearly can't go in the normal way. A BELL, signals the start of the program and people flow back in. Lionel moves across to another door...more to the side, and slides up to the UNION SECURITY APE. He pulls the edge of an envelope from inside his jacket...</scene_description> <character>LIONEL</character> <dialogue>Gotta get this to Bill Lieberman.</dialogue> <scene_description>The pea-brain UNION APE knows that name well enough to have to think... LIONEL (cont'd) He's gonna want to see this before Randolph sits back down with him... Too many big names to risk it. The guy waves him in and we begin to hear...</scene_description> <character>SPEAKER</character> <dialogue>Ladies and gentlemen, settle please and give me your serious attention. Our celebration is made special by tonight's Guest of Honor...</dialogue> </scene> <scene> <stage_direction>INT. PLAZA HOTEL - BALLROOM - CONTINUOUS</stage_direction> <character>SPEAKER</character> <dialogue>...A Brother to our Trade who would rightly be hailed this country's Master Builder. Or...the 'Great Dirt Mover', as he likes to be called!</dialogue> <scene_description>LIONEL: slides into a back corner, waiters flowing in and out past him. He looks left and spots... JACOB GLEASON, the reporter from the public hearing, in a tux. He sees Lionel and thumbs his nose in solidarity. Lionel slides up next to him. Gleason nods, impressed Lionel got in without a tux.</scene_description> <character>LIONEL</character> <dialogue>Gleason, right?</dialogue> <character>GLEASON</character> <dialogue>Don't let em see you take out a notebook. Tonight is: 'Press: fuggedaboudit'.</dialogue> <character>SPEAKER</character> <dialogue>We'd have to look to the Caesars and Pharaohs to find men with a scale of vision to compare with his and yet none of it bears his name, so fully does he forbear the credit, allowing the people to say "we built this ourselves." A great man, a man of history, serving the people of this City for over 25 years...Moses Randolph!</dialogue> <scene_description>A ERUPTION OF APPLAUSE: As Randolph takes the stage. He tries to speak and they won't let him. Shouting as though for a general after a triumph...</scene_description> <character>LIONEL</character> <dialogue>You'd think Patton showed up.</dialogue> <character>GLEASON</character> <dialogue>He pays one and half times union rate as base on all his jobs. They'd pave over their mothers for him.</dialogue> <scene_description>Lionel's eyes cast around...spotting faces: Lieberman and the others from the papers. POV: in the shadows against a column...Paul. Clutching a large, full envelope. Staring, inscrutable. He snags two rolls from a passing tray, munches one and stuffs the other into his suit pocket. Randolph begins speaking...</scene_description> <character>RANDOLPH</character> <dialogue>Tonight, over 300 years since the founding of this great city, we recommit ourselves to the ancient truth...that it is not knowledge but Action...Enterprise...which is the engine and objective of life. Clever men come and go but for every dozen men with a bright idea there is at most one who can execute them.</dialogue> <character>RANDOLPH</character> <dialogue>I look around this room and I don't see a lot of Bright Boys or Goodie Goodie progressives with their paralyzing ideals!</dialogue> <parenthetical>(huge laughter)</parenthetical> <dialogue>I see men of my tribe. Men who know how to Get Things Done! The Doers who make this country great. And an honor by you is all the affirmation or payment I'll ever seek. I thank you and celebrate you.</dialogue> <scene_description>Wild applause...the crowd comes to its feet again. LIONEL watches: Randolph descends the stage. He's mobbed by the bosses high and low...all pressing up to pay respects. Eventually Moses has to break away. Lionel's eyes flick to: Paul...realizing that Randolph will not be exiting past him, moves urgently to cross the room toward him. His envelope under his arm, hunting for a line to cut Randolph off before he leaves. But the crowd surges and Paul is blocked. RANDOLPH spots Paul though. They LOCK EYES for just a second...Randolph frowns, surprised. But something in Paul's face makes him pause...something both insistent and pleading. He sees what Paul is holding and his eyes narrow, weighing. A small nod...a crack opens that Paul sees and almost palpably steps toward...But Randolph's face seems to say 'Not here.' LIEBERMAN whispers something to him and with a final look at Paul he turns and is led out the side exit. Paul's jaw clenches but his eyes are alight and he hustles for an exit...and LIONEL FOLLOWS...</scene_description> </scene> <scene> <stage_direction>EXT. UPPER EAST SIDE AVENUE - NIGHT</stage_direction> <scene_description>LIONEL follows Paul and then peeks around a corner to find Paul pacing in the dark along a nice apartment building, near the edge of the light from the canopied doorway. He's waiting, not hiding. THE BIG BLACK CAR pulls up...Paul straightens his hat and smooths his jacket as.....RANDOLPH GETS OUT. Paul steps out of the dark, blocking the path to the doorway. RANDOLPH stops and they stand facing each other in a BEAM OF LIGHT FROM THE DOORWAY. Lionel leans around the corner to listen and we can see it playing out behind Lionel like a shadow play that we hear bits of.</scene_description> <character>RANDOLPH</character> <dialogue>You finished it.</dialogue> <character>PAUL</character> <dialogue>Best work I've ever done. A total modernization of the state's electrical grid. And it's a scale only you can get done.</dialogue> <scene_description>Randolph weighs this. Takes it and moves inside.</scene_description> <character>RANDOLPH</character> <dialogue>Clean yourself up for Chrissake...</dialogue> <character>PAUL</character> <dialogue>With what!?</dialogue> <character>RANDOLPH</character> <dialogue>Not fucking word out of you about any of that! Bring that up to me ever again I'll close you out...</dialogue> <character>PAUL</character> <dialogue>Close me out?! I'm so far out I'm doing piece work for kids fresh out of school!</dialogue> <character>RANDOLPH</character> <dialogue>Whip up a crowd against me like that ever again and I'll take your big idea and throw it on the scrap heap! That what you want?</dialogue> <character>PAUL</character> <parenthetical>(desperate)</parenthetical> <dialogue>No! NO!! Alright, I'm sorry. None of that matters. Just...read it please.</dialogue> <character>RANDOLPH</character> <parenthetical>(beat)</parenthetical> <dialogue>I'll read it.</dialogue> <scene_description>He turns and goes inside. Paul stands, staring into the light after his brother, his thin coat blowing around him but his head up high. For a moment he seems straightened up by hope. Then he turns and walks into the dark.</scene_description> <character>LIONEL (V.O.)</character> <dialogue>What makes a person go against their own brother? All my life I never had family so I never could understand people who did and let it get ugly.</dialogue> <scene_description>Lionel watches a beat...then turns away into dark.</scene_description> </scene> <scene> <stage_direction>EXT. BROOKLYN STREET - MORNING</stage_direction> <scene_description>LIONEL hustling through the crowd in the cold.</scene_description> <character>LIONEL (V.O.)</character> <dialogue>My crazy brain was telling me to pull on that thread, but whatever Frank found, he found it following the girl. So I just kept chasing his footsteps.</dialogue> </scene> <scene> <stage_direction>INT. LIONEL'S CAR #2/EXT. FORT GREENE STREET/BROWNSTONES</stage_direction> <scene_description>Lionel drives down a street looking for an address. Even more desolate and run down than the first place he followed Laura, a once happy lower-middle class neighborhood of brownstones, now ravaged, boarded up windows everywhere. A tense atmosphere... Suddenly he spots LAURA coming down a stoop with a young BLACK MAN. He is talking fast, ANGRY. Lionel parks and watches in the rear view mirror as they go up into another dilapidated brownstone. Lionel gets out and approaches the stoop. Spies that the ground floor door under the stoop is swinging open. Knocks, waits, looks around...and enters into...</scene_description> </scene> <scene> <stage_direction>INT. DILAPIDATED BROWNSTONE - DAY</stage_direction> <scene_description>Darker inside...gloomy. He can hear voices upstairs. Daylight cutting through in hard shafts. We can see that this was a nice middle class home, but it looks like it's been strip-mined. An empty space where the fridge should be, fixtures ripped away, nice walls cut open to remove sections of copper pipe, now dripping.</scene_description> </scene> <scene> <stage_direction>INT. DILAPIDATED BROWNSTONE - BATHROOM - DAY</stage_direction> <scene_description>Lionel pokes into a bathroom and clicks the light on...it still works, dimly sputtering. Nice tiles broken to get at pipes, sink fixtures gone. He looks at himself in the mirror, watching impassively as his own head TWITCHES and SPASMS mildly.</scene_description> <character>LIONEL</character> <parenthetical>(to himself)</parenthetical> <dialogue>Keep it together, freakshow.</dialogue> <scene_description>He reaches for the vanity mirror and opens it to see what's inside only to find... POV: he's looking clear into the next room. The wall behind the mirror has been opened and pipes stripped out. Then... A BLACK GUY STEPS INTO THE FRAME OUT OF NOWHERE, looking at Lionel who jolts and with a yelp steps back into... The ANGRY GUY LAURA was with, now blocking the door.</scene_description> <character>ANGRY GUY</character> <dialogue>Looking for somethin'?</dialogue> <character>LIONEL</character> <dialogue>Scared the hell...HELP, BAILEY!</dialogue> <scene_description>They look round for who he's calling out to...</scene_description> <character>ANGRY GUY</character> <dialogue>You think you can just walk into people's homes?</dialogue> <character>LIONEL</character> <dialogue>Looking for a friend. Didn't look like anyone lived down here...</dialogue> <character>ANGRY GUY</character> <dialogue>Oh, someone live here. My momma live here. Least she tryin' to. Who you with? I hope you with Belmont.</dialogue> <scene_description>Sounds like an angle, so Lionel nods.</scene_description> <character>LIONEL</character> <dialogue>Yeah...course. Belmont. Who else, right?</dialogue> <scene_description>He looks back to the other guy...and the FIST IS ALREADY CRASHING INTO HIS FACE BLACK OUT.</scene_description> </scene> <scene> <stage_direction>INT. DILAPIDATED BROWNSTONE - PARLOR ROOM</stage_direction> <scene_description>Muted sounds of argument and feet. The sharp sound of heels. FADE UP SLOWLY... WOOZY POV: Faces out of focus.</scene_description> <character>LAURA</character> <dialogue>How hard did you hit him?</dialogue> <character>ANGRY GUY</character> <dialogue>I barely tapped him. Fool slipped and hit his own head!</dialogue> <scene_description>Lionel sits up a little and focuses, his nose slightly bloody</scene_description> <character>LIONEL</character> <dialogue>IF!!</dialogue> <character>LAURA</character> <dialogue>'If' what? I'll tell you what 'if', you better explain who you are if you want to walk out of--</dialogue> <parenthetical>(pauses)</parenthetical> <dialogue>Have I seen you before?</dialogue> <character>LIONEL</character> <parenthetical>(nods - seizing the angle)</parenthetical> <dialogue>My name's Jake Gleason. I'm a reporter. I saw you at the Hamilton housing hearing. I called the committee. Came out here looking for you.</dialogue> <scene_description>She glares at the YOUNG MAN. He looks chagrined.</scene_description> <character>ANGRY GUY</character> <dialogue>He the one said he's with them racketeering sons a bitches! They stole her damn fridge and her copper pipe! What you expect?!</dialogue> </scene> <scene> <stage_direction>EXT. FORT GREENE STREET/INT. MYSTERY CAR - LATER</stage_direction> <scene_description>Lionel has tissue up his nose as they walk.</scene_description> <character>LAURA</character> <dialogue>First they put up a notice says the house will be condemned. It's not true but that scares out about half and they sell for cheap. Then they come in and take the nice old family homes and chop em into 4 and rent em up. Folks who don't leave they harass... turn the heat off, come in to do repairs and steal copper pipe instead. They re-possessed all the refrigerators, even if people bought them themselves, then resold them out of shopfronts next neighborhood over. City sold em property worth $15 million for $500,000 to take the 'risk' of having to build the Federal projects. They haven't even submitted plans...just milked it until it really is a slum.</dialogue> <character>LIONEL</character> <dialogue>Slammer for Slum Lords, Bailey!</dialogue> <character>LAURA</character> <parenthetical>(bristling)</parenthetical> <dialogue>Oh what, you another one that thinks we're just 'agitating'... making it up like some Negro propaganda conspiracy...</dialogue> <character>LIONEL</character> <parenthetical>(stopping her)</parenthetical> <dialogue>No, no. Look I got a condition, I say funny things sometimes but I'm not trying to be funny, okay? I'm listening. Where's everybody go?</dialogue> <character>LAURA</character> <dialogue>Mostly just disappear. Fade away. Go into real slums or other neighborhoods. Some are renting a room in a house they used to own. 200,000 in 2 years just from this part of Brooklyn. Mostly Negro. Latino.</dialogue> <character>LIONEL</character> <dialogue>But Horowitz said they did it in Tremont too.</dialogue> <character>LAURA</character> <dialogue>Yeah they did it to a few Jews too but not systematic like this. You know how many parks have been built in this city since he's been Commissioner? 255. How many of those in Harlem you think? 1. You build a new beach for the 'people', but the ones with no cars, the poor ones, the black and brown ones?...how are they going get to the parks and beaches? Public bus. Guess how high they just built the overpasses on the new parkway? One foot too low for a bus to clear.</dialogue> <scene_description>Lionel gives an incredulous look...</scene_description> <character>LAURA</character> <dialogue>Look forget whether it's discrimination...the Federal government and the City are being scammed! There's supposed to be relocation services, company's got a $2 million dollar contract to handle it but nobody even answers the phone. Call the city, they say these folks are on the list for the new public housing. But then it never gets built.</dialogue> <scene_description>They have come to Lionel's car. He stops.</scene_description> <character>LIONEL</character> <dialogue>You know more'n any secretary I ever met.</dialogue> <character>LAURA</character> <parenthetical>(indignant)</parenthetical> <dialogue>Secretary? Who told you that? I've got a law degree you know? I'll pass the Bar first time I sit too.</dialogue> <scene_description>He's staring at her now...she's beautiful to him. She catches it and blushes...then sharpens her look, suspicious. LAURA (cont'd) How are you gonna write about it all when you don't even take a note?</scene_description> <character>LIONEL</character> <dialogue>"2 million for relocation; bridges a foot too low for buses; 1 out of 255 parks; $15 mil for $500k; 200,000 people in Ft Greene alone". I never forget anything, believe me. Not a single word.</dialogue> <scene_description>She nods, impressed. He's strange but he really looks at her and listens. He can't help it and has to tap her twice on the shoulder. LIONEL (cont'd) Sorry...I really can't help it.</scene_description> <character>LAURA</character> <parenthetical>(softens)</parenthetical> <dialogue>It's okay. Just write about it, okay? What happens to poor people in this city wasn't news yesterday and it won't be tomorrow. But you'd think somebody'd care what happens to Brooklyn. It's only the biggest city on Earth.</dialogue> <scene_description>She sighs and looks away.</scene_description> <character>LIONEL</character> <dialogue>Where do you live?</dialogue> <character>LAURA</character> <dialogue>Harlem.</dialogue> <character>LIONEL</character> <dialogue>I can give you a ride. Trains'll be mobbed.</dialogue> <scene_description>That surprises her but she looks at him and then nods. POV: SOMEBODY IN A CAR WATCHES THEM GET IN AND STARTS HIS ENGINE ALONG WITH THEM.</scene_description> </scene> <scene> <stage_direction>INT. LIONEL'S CAR #2 - LATE AFTERNOON INTO NIGHT</stage_direction> <scene_description>She puts on the radio and finds a Jazz station as... MONTAGE: Lionel drives them through the city They don't say much of anything at all but some faster 'bop' on the radio activates his tics which he tries to hide which only makes it worse.</scene_description> <character>LIONEL</character> <dialogue>Bebop, Bailey in the Metropolitan BOPera House! Shit. Sorry.</dialogue> <character>LAURA</character> <dialogue>Don't be sorry, it's kinda funny.</dialogue> <character>LIONEL</character> <dialogue>Yeah. Hang around a little longer.</dialogue> <scene_description>She can see that it weighs on him. Notices the twitching now</scene_description> <character>LAURA</character> <dialogue>What is all that anyway?</dialogue> <character>LIONEL</character> <dialogue>I don't know. It's like a piece of my head split off and got a life of its own but then decided to keep joyriding me for kicks. Kicks and ticks! Licks and ticks! Sorry. It's like living with a fucking anarchist. But the flip side is its gotta have everything in its right place, everything has to sound just right or it'll tie me into knots until I fix it. Like I'm talking to you but that piece of my head? It's worrying that the bills in my wallet aren't all facing the same direction. It's not fair.</dialogue> <character>LAURA</character> <dialogue>Hey, I guess we all got our daily battles, right?</dialogue> <scene_description>This makes him stop and take her in, remembers what she must deal with.</scene_description> <character>LIONEL</character> <dialogue>Yeah, fair enough. Kiss her face all night, Bailey!</dialogue> <scene_description>He's mortified by that one but she laughs hard...</scene_description> <character>LIONEL</character> <dialogue>I really am sorry, I don't mean nothing by it</dialogue> <character>LAURA</character> <dialogue>It's alright. Really it's alright</dialogue> <scene_description>She changes the music to a cool ballad and they drive on, crossing the bridge into Manhattan and on up to Harlem as night falls.</scene_description> </scene> <scene> <stage_direction>EXT. KING ROOSTER JAZZ CLUB/INT. MYSTERY CAR - NIGHT</stage_direction> <scene_description>POV: Someone in a car is watching them park</scene_description> </scene> <scene> <stage_direction>INT. LIONEL'S CAR/EXT. KING ROOSTER - CONTINUOUS</stage_direction> <scene_description>The exterior of the little club is hopping. People hustling inside, some folks having a smoke. A cool little kid in a full suit and hat on the sidewalk acting like a doorman waves at Laura through the window. Laura points to the building next to the club</scene_description> <character>LAURA</character> <dialogue>This is me.</dialogue> <character>LIONEL</character> <dialogue>That must keep you up nights.</dialogue> <character>LAURA</character> <dialogue>My father owns this place. I grew up falling asleep in the back of clubs.</dialogue> <character>LIONEL</character> <dialogue>Pretty hopping on a Monday night.</dialogue> <character>LAURA</character> <dialogue>Yeah, hottest band in the world, all week. I gotta check on one or two things, but...look, are you really interested...in what I was telling you?</dialogue> <character>LIONEL</character> <dialogue>I came looking for you didn't I?</dialogue> <character>LAURA</character> <dialogue>If you want to come in I can give you a lot more.</dialogue> <scene_description>He looks at the club: it's exactly the kind of scene that spells disaster for him usually. She smiles LAURA (cont'd) You can't exactly disturb the peace in a small club with a hot band. She indicates 'C'mon'. He gives in and they get out into..</scene_description> </scene> <scene> <stage_direction>INT. KING ROOSTER JAZZ CLUB - NIGHT</stage_direction> <scene_description>This place is for real. No mid-town mainstream joint. A lot of energy...buzz of anticipation over who's playing...a few white Beat kids from Columbia trying to blend in... Almost immediately it starts to infect Lionel. His head jerks and he pops gum right away...Laura points him at a table against the wall and boots two young cats out of it with one look. She heads for the end of the bar and the cash register, bringing the BARTENDER to her with a look. She clearly has the run of the place... As Lionel sits he takes it all in...sees eyes on him. Cocks Minna's hat back and watches as a WHITE KID comes up nervously to the TRUMPET PLAYER having a drink before his band's set with his FRENCH GIRLFRIEND and his Piano player.</scene_description> <character>BEATNIK</character> <dialogue>Excuse me, sir...?</dialogue> <scene_description>The TRUMPET PLAYER and his friend flick a look up. BEATNIK (cont'd) Sorry...I'm a trumpet player too and I really admire your tremolo...I just wondered how you developed that?</scene_description> <character>TRUMPET</character> <dialogue>Suckin' off little white boys like you. Get the fuck outta here...</dialogue> <scene_description>The TRUMPET PLAYER turns back to his laughing friend, shaking his head.</scene_description> <character>LIONEL</character> <dialogue>SO WHAT, Whitey White Suck Stick!</dialogue> <scene_description>This makes the TRUMPET PLAYER turn in surprise laughing...</scene_description> <character>TRUMPET</character> <dialogue>Whitey White Suck stick! 'So what' is right...</dialogue> <scene_description>LIONEL'S POV: Laura drilling the BARTENDER over something to do with the register count. He's giving her back talk and she's not having it. She SLAPS THE BAR HARD TWICE, shutting him up and dresses him down. The TRUMPET PLAYER laughs at this and wags his finger at the bartender then takes the stage.</scene_description> <character>TRUMPET</character> <dialogue>How y'all doing tonight? It's good to be home. We been traveling the world, learning new languages. With new language comes new ideas. We gonna try a few of them on y'all tonight. So strap in.</dialogue> <scene_description>Lionel gets up and moves to the end of the bar to get a drink, watching her and meeting her eye...she starts walking toward him and SMILES and it makes things slow down for a second...and then right as she takes the stool next to him...the MUSIC kicks in... A HARD FAST SNARE RIFF: and then it's ON. It hits Lionel like a shot and he WHOOPS loud...but so does half the joint...and for once he doesn't seem so weird. Laura laughs and we JUMP CUT INTO:</scene_description> </scene> <scene> <stage_direction>INT. KING ROOSTER JAZZ CLUB - NIGHT</stage_direction> <scene_description>A SEQUENCE: Lionel is getting drunk and starting to get totally flipped out on the HARD JAZZ, ticcing and shouting with abandon, self-consciousness gone because it seems to egg on the band... BILLY ROSE: in the door. A young dude leaning in to whisper to him but Billy's eyes are LOCKED ON-- LIONEL and LAURA, leaning together drinking and laughing. BILLY whispering back to the guy and indicating... Suddenly the guy is at Laura's elbow pulling on her and whispering. Lionel is too into the music to notice...he's on his feet and jerking spasmodically...but LAURA is having none of it. She knows this guy and is telling him to beat it. SONG ENDS to clapping and shouts. LIONEL hooting and whistling. THE TRUMPET PLAYER is picking up the vibe off Laura and intervenes on the mic....</scene_description> <character>TRUMPET</character> <dialogue>Uh oh, there's my favorite baby girl, looking pretty as a Rose...</dialogue> <scene_description>Everybody looks over and this makes the GUY back off Laura, who shakes his hand off her arm hard. BILLY, his eyes fierce on Lionel and jaw tight. LAURA GRABS a clueless LIONEL and pulls him on the floor to dance...TRUMPET PLAYER gets her cue... TRUMPET (cont'd) This one's for you Laura... He slides into the SLOW SAD THEME WE HEARD AFTER MINNA DIED...and Laura steps up to Lionel, other couples standing with them. LIONEL is immediately uncomfortable with being up in front of people in the suddenly intimate and quiet moment. He starts to twitch and whispers to her urgently</scene_description> <character>LIONEL</character> <dialogue>This isn't a good idea. I don't think I can do this.</dialogue> <scene_description>LAURA's focus comes back to him and she realizes he's in real distress. She smiles as if to say 'It's okay' but his twitches and suppresses a shout. She instinctively touches the back of his neck sympathetically. To his surprise, her touch settles him, he breathes easier and dances with her, holding still... BILLY whispers urgently, angry to two more YOUNG CATS who nod. They dance slow until the song ends...it can't last forever. The crowd claps as Lionel stares at her not wanting to let go but she's seeing something over his shoulder and she touches his face a second and then, annoyed, breaks away...</scene_description> <character>TRUMPET</character> <dialogue>Don't get too cozy. That was your last break.</dialogue> <scene_description>He snaps and the band counts off into the hot chaotic "Jump Monk".</scene_description> </scene> <scene> <stage_direction>INT. KING ROOSTER JAZZ CLUB</stage_direction> <scene_description>LIONEL SPINS and gets SWEPT INTO THE MUSIC AGAIN JUMP CUT: LIONEL HAS LOST HIS JACKET, HIS TIE IS LOOSE AND HE'S IN A FRENZY. SCATTING AND BOPPING WITH THE BAND, DRUNK and HAPPY. THE PLAYERS ARE DOING A CALL AND RESPONSE WITH HIS CRAZY TOURETTIC SHOUTS...</scene_description> </scene> <scene> <stage_direction>..AND THEN SUDDENLY SOMEONE HAS HIM BY THE COLLAR. HE</stage_direction> <scene_description>TURNS TO LOOK FOR LAURA BUT SHE'S GONE and he is being BUM RUSHED OUT THE BACK AND INTO...</scene_description> </scene> <scene> <stage_direction>EXT. KING ROOSTER JAZZ CLUB - BACK ALLEY - NIGHT</stage_direction> <scene_description>...where he gets THROWN DOWN HARD. THREE YOUNG GUYS looming over him. One gives him a good kick to the ribs. LIONEL'S on the ground looking up, woozy and short of breath. BILLY'S THERE...looking down on him. Billy grabs him up by the collar, USING ONLY HIS LEFT ARM...THE RIGHT HANGING LIMP.</scene_description> <character>BILLY</character> <dialogue>You think I don't know who you work for, cracker?</dialogue> <character>LIONEL</character> <dialogue>You got it wrong--Scaredy Cat! Cracker Jack! Blackie Black!</dialogue> <scene_description>This pisses Billy off even more...He hauls Lionel up harder with his one powerful arm.</scene_description> <character>BILLY</character> <dialogue>I made it through Iwo Jima, motherfucker! You think your boss scares me? You tell him I see any you suits round her again I'll kill you one at a time, then I'll mail what he's lookin' for to the Post for free!</dialogue> <scene_description>His guys start pulling him off...freaked out a bit. POV: from down the alley around the edge of a corner, someone is watching Billy and his boys over Lionel...and listening... LIONEL'S POV: drunk and blurry, BILLY leaning over BILLY (cont'd)</scene_description> <character>YOU HEAR ME! I'M GONNA MAIL IT TO</character> <dialogue>THE POST!!</dialogue> <scene_description>LIONEL'S POV: on his back looking up at fire escape...voices "C'mon Billy...". His gaze falls sideways into the alley where, blurry, a silhouetted figure seems to be watching. In the backlight the edge of a scarf blows, then is gone.</scene_description> </scene> <scene> <stage_direction>EXT. KING ROOSTER JAZZ CLUB - BACK ALLEY - LATER</stage_direction> <scene_description>SOUND OF FEET, shuffling. A match...someone snorts and spits. LIONEL's POV: fading in...woozy....the TRUMPET PLAYER sitting over him, smoking...something in his hand.</scene_description> <character>LIONEL</character> <dialogue>Help...Hep! Hep!</dialogue> <character>TRUMPET</character> <parenthetical>(laughs)</parenthetical> <dialogue>You was pretty hep in there my man.</dialogue> <scene_description>Lionel is out of control...can't stop jerking, agonizing. C.U.- In the Trumpet Player's hand is a pipe...he was prepping a smoke of something...something more than weed. Lionel fixates on it...reaching for it... TRUMPET (cont'd) Your head need fixin'? Lionel nods. Trumpet hands it to him and lights a match. He leans in, inhales and The FLAME BLOOMS IN LIONEL's FACE and as a TRUMPET STARTS UP, everything GOES GOLDEN and we FADE INTO....</scene_description> </scene> <scene> <stage_direction>EXT. BROOKLYN BRIDGE - LIONEL'S DREAM</stage_direction> <scene_description>THE GEOMETRIC PATTERNS OF THE WIRES AND TOWERS ABOVE... A FIGURE, walking away into the backlit arch of the bridge...he turns...it's MINNA.</scene_description> <character>MINNA</character> <parenthetical>(cryptic)</parenthetical> <dialogue>Remember what I said.</dialogue> <scene_description>A final wistful sad smile and then the sun rises behind him turning him into a dark silhouette that resolves into...</scene_description> </scene> <scene> <stage_direction>INT. TRUMPET PLAYER'S APARTMENT - HARLEM - MORNING</stage_direction> <scene_description>SUNLIGHT BEHIND A SMOOTH HEAD. A trumpet playing soft...noodling around a melody. LIONEL's EYES blinking at...Minna!? He wakes up...and sits up and the MUSIC STOPS. He looks over at... THE TRUMPET PLAYER...sitting in the window sill by the fire escape, watching him and smoking a joint. After a beat...</scene_description> <character>LIONEL</character> <dialogue>Shit...sorry. I don't even know what happened.</dialogue> <character>TRUMPET</character> <dialogue>You had a good time, that's what happened. We had a party. Different mix of people than the usual. The 'etrange melange' she calls it.</dialogue> <scene_description>Lionel's eyes flick to the kitchen where the French girlfriend is making coffee.</scene_description> <character>TRUMPET</character> <dialogue>Figured you could use a little rest so we let you be.</dialogue> <character>LIONEL</character> <dialogue>I remember that guy's footprint on my ribs. Thanks for bailing me out of there.</dialogue> <character>TRUMPET</character> <dialogue>Sarge is a good man...but you gotta watch it round a man's family...you know?</dialogue> <character>LIONEL</character> <dialogue>Sarge?</dialogue> <character>TRUMPET</character> <dialogue>Billy.</dialogue> <character>LIONEL</character> <dialogue>Why you call him 'Sarge'?</dialogue> <character>TRUMPET</character> <dialogue>How you think his arm got so fucked up? Colored Marine unit. Carrying ammo 'til he picked up a gun and helped stop some Jap suicide attack. Got hit though.</dialogue> <character>TRUMPET</character> <dialogue>Damn shame too cause he could really play. Trombone. Jammed with us at Minton's a lot in '40. Came back from the war sour as hell. I told him switch to trumpet...said I'd get him a left-hander made. Said he lost his mojo. Got himself a club.</dialogue> <scene_description>Lionel's head is clearing...he's remembering and wants to know things...</scene_description> <character>LIONEL</character> <dialogue>You ever meet his wife?</dialogue> <character>TRUMPET</character> <dialogue>Nah, Sarge never married.</dialogue> <character>LIONEL</character> <dialogue>Laura's mother...?</dialogue> <character>TRUMPET</character> <dialogue>I don't know about any of that. It was always just him and Laura, she was just a little thing hanging out in the kitchen and reading while we played.</dialogue> <parenthetical>(beat - regards him)</parenthetical> <dialogue>You play?</dialogue> <character>LIONEL</character> <dialogue>Music? No.</dialogue> <character>TRUMPET</character> <dialogue>I'm not to keen on people being vocal while we playing, but you were scatting on the line. I could hear it.</dialogue> <character>LIONEL</character> <parenthetical>(twitches bad)</parenthetical> <dialogue>On the line, Lionel! Lionel's on the line! Shit. I'm sorry about that. I have something wrong with my head. The music really set it off. I'm sorry.</dialogue> <character>TRUMPET</character> <dialogue>Don't be sorry. You got a head just like mine. Always boiling over, turning things around. That's music...runs you more'n you run it when it gets up in you.</dialogue> <character>TRUMPET</character> <dialogue>Some people call it a gift but it's a brain affliction just the same.</dialogue> <character>LIONEL</character> <dialogue>Yeah, but I just twitch and shout. At least you got a horn to push it through, make it sound pretty.</dialogue> <character>TRUMPET</character> <dialogue>Yeah but there's a lotta other hours in the day though, you know what I'm sayin'? Too many!</dialogue> <scene_description>He tokes. Lionel nods and they let that understanding sit between them. Lionel stands and scribbles a number on a matchbook.</scene_description> <character>LIONEL</character> <dialogue>Thanks for helping me out. You ever need a ride anywhere or help with anything, give me a call.</dialogue> <scene_description>TRUMPET PLAYER takes it and nods as Lionel exits.</scene_description> </scene> <scene> <stage_direction>EXT. HOUSING COMMITTEE OFFICE - DAY</stage_direction> <scene_description>Lionel is heading across the street to the steps when he sees...Gabby Horowitz...coming down them. He stops...</scene_description> <character>LIONEL</character> <dialogue>Mrs. Horowitz...?</dialogue> <scene_description>She looks up...he extends his hand. LIONEL (cont'd) Jacob Gleason, reporter with the Post... She looks at him quizzically</scene_description> <character>GABBY</character> <dialogue>I know Jake Gleason, you're not...</dialogue> <scene_description>Caught, he switches it up mid-sentence...</scene_description> <character>LIONEL</character> <dialogue>Sorry, Jake, brought me to the Hamilton Housing hearing.</dialogue> <parenthetical>(extends a hand)</parenthetical> <character>LIONEL</character> <dialogue>I'm a new writer for the Times and I'm very interested in this story.</dialogue> <scene_description>She shakes his hand...not totally convinced yet. LIONEL (cont'd) I met your secr-- your aide, Laura Rose. Rose is a rose! She gave me a very illuminating tour of what's going on in Ft. Greene. I wanted to follow up with her... This piques Gabby's interest...</scene_description> <character>GABBY</character> <dialogue>Really. I thought being the press office for the Borough Authority was more the business of the Times than exposing them. Seeing as your publisher is an investor in the bank that gets to float the Authority's bonds at preferred rates.</dialogue> <scene_description>Lionel is flummoxed. Smiles big...</scene_description> <character>LIONEL</character> <dialogue>I'm not saying I can get it A-1 but if I don't do the legwork, I can't try can I?</dialogue> <scene_description>This seems to impress her enough...</scene_description> <character>GABBY</character> <dialogue>Well, someone's going to win a Pulitzer off Title 1, so maybe it'll be you.</dialogue> <character>LIONEL</character> <dialogue>IF!</dialogue> <character>GABBY</character> <dialogue>Yes, it's a big 'if'. Laura's gone ahead to the protest, you can come with me if you want.</dialogue> <scene_description>She looks at him and as they walk to the curb we CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. WASHINGTON SQUARE PARK - DAY</stage_direction> <scene_description>ON THE CURB: GABBY'S CAR pulls up to where Laura and another staff member stand waiting. Gabby jumps out and Laura grabs her hand</scene_description> <character>GABBY</character> <dialogue>I brought the New York Times!</dialogue> <scene_description>But they leave Lionel behind and we rush with them across and through the center of the Arch, revealing REFORMER #2 speaking to the crowd of a large protest. Hundreds have gathered: placards, real citizens of every stripe out in force, energized and angry. The Reformer is warming up the crowd for Gabby.</scene_description> <character>REFORMER #2</character> <dialogue>I want you to give it up for our next speaker. She wears granny glasses but don't be fooled! She is a PIT BULL for the people! And she taught me more about fighting the good fight than anyone. Let's not mince words because the moment we are living in calls for naming things as they are! This is not a program of slum removal, it is a program of Negro removal! Now let's hear from Gabby Horowitz!</dialogue> <scene_description>The crowd takes up a chant: 'Relocate Randolph!' CLOSE ON: Lionel sliding into a spot at the back of the crowd. He scans the scene... LIONEL POV: Laura handing Gabby notes as she gets ready; some men around the edges who seem to be photographing the crowd; and Paul: standing back in the fringes, clapping as Gabby steps up to the podium to cheers</scene_description> <character>GABBY</character> <dialogue>What is a City? Is it a place where people slave for the Lords of steel and concrete? A corral for the Druids of Finance to fleece mankind in? NO! The City is its people, it is its Communities! The City is built to serve US!</dialogue> <scene_description>Lionel's gaze shifts past her to: THE BIG BLACK BA-1 CAR: sliding innocuously in to park on the curb beyond the trees. GABBY (cont'd) Who's going to stand up for the City?! (crowd roars "We Are!") GABBY (cont'd) Who's going to remind the politicians and the power brokers and the profiteers that the City belongs to the PEOPLE who live in it?! The CROWD ROARS...and we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MOSES'S BLACK CAR/EXT. WASHINGTON SQ PARK - SAME</stage_direction> <scene_description>Lieberman and Moses Randolph sit in the back seat, watching as they talk...</scene_description> <character>LIEBERMAN</character> <dialogue>We may have an issue with our friend from Brooklyn.</dialogue> <character>RANDOLPH</character> <dialogue>How so?</dialogue> <character>LIEBERMAN</character> <dialogue>He's not here for this meshugas, he's not that brave...but he still might not go along with the vote. Says his constituency is up in arms...</dialogue> <character>RANDOLPH</character> <dialogue>We made him Borough President, we put him on the Board of Estimate. We're his constituency. Don't tell me he won't go along...</dialogue> <scene_description>He pulls a file out of the valise the Aide gave him and hands it over to Lieberman, casually as a man hands over a Kleenex. RANDOLPH (cont'd) Show him that the day before the vote. He'll go along. He's a louse. Sound of the CROWD, ROARING... RANDOLPH (cont'd) (smiling at it) I've never seen so much horseshit in my life. The he starts to really laugh... RANDOLPH POV: from inside the car we can see that the crowd has hoisted an effigy of a man with a sign saying "Moses Randolph" hung on its neck and they are setting it to flame.</scene_description> <character>RANDOLPH</character> <dialogue>Let's go have lunch.</dialogue> </scene> <scene> <stage_direction>EXT. WASHINGTON SQUARE PARK - LATER</stage_direction> <scene_description>The protest is over, Lionel pushes through crowd by the marble arch...</scene_description> <character>LAURA (O.S.)</character> <dialogue>Jake! Hey Jake!!</dialogue> <scene_description>She enters chasing him and grabs his arm...he turns</scene_description> <character>LIONEL</character> <dialogue>Ah the disappearing lady...</dialogue> <character>LAURA</character> <dialogue>I'm so sorry...I own you an explanation..</dialogue> <character>LIONEL</character> <dialogue>Nah, you don't owe me nothing. I'm used to it.</dialogue> <character>LAURA</character> <dialogue>No I want to explain.</dialogue> <scene_description>From O.S., Gabby yells for her</scene_description> <character>LIONEL</character> <dialogue>You gotta go.</dialogue> <character>LAURA</character> <dialogue>I'll be up at the club tonight later. Meet me there.</dialogue> <character>LIONEL</character> <dialogue>I'll see if I can</dialogue> <character>LAURA</character> <dialogue>Come.</dialogue> <scene_description>Gabby calls again and she hustles off, Lionel watches her a beat. Then catches sight of someone and rushes out after... PAUL: shambling away, pulling up his thin coat against the cold. Lionel hustles up from behind to catch up with him. Paul perceives him and, after a moment of fear, realizes who it is... (as before Paul's speech is like a fire-hose, a manic blitz of information)</scene_description> <character>PAUL</character> <dialogue>The reporter who never reports...</dialogue> <character>LIONEL</character> <dialogue>I'm still putting the pieces together.</dialogue> <character>PAUL</character> <dialogue>You need me to write it for you? Jeez you're not too ambitious are you? Okay here's your next headline: "New Expressway Will be the World's Biggest Parking Lot."</dialogue> <character>LIONEL</character> <dialogue>Why?</dialogue> <character>PAUL</character> <dialogue>Because cars are a cancer and roads make them metastasize not shrink. We need trains but he's killing the trains.</dialogue> <character>LIONEL</character> <dialogue>Why?</dialogue> <character>PAUL</character> <dialogue>Always with the 'why?' Because he doesn't control the revenue from trains, he controls the tolls on bridges and roads. Borough Authority. You know what an Authority is? Neither did anybody else. He invented it. A 4th branch of government...a shadow branch... with independent revenue that is the only reliable financing for public works, all controlled by him meaning he controls everything and yet nobody ever voted for him and they can't vote him out.</dialogue> <character>LIONEL</character> <dialogue>What could stop him?</dialogue> <character>PAUL</character> <dialogue>Almost nothing. And he's more dangerous now than ever.</dialogue> <character>LIONEL</character> <dialogue>Why now?</dialogue> <character>PAUL</character> <dialogue>Because the Board of Estimate votes on his highway and slum clearance plans this week! So he's breaking out all his dirt on people. Bullying everyone into submission.</dialogue> <parenthetical>(stops and turns)</parenthetical> <dialogue>He is the most powerful person in the history of this City! He is a autocratic Caesar. And nobody realizes it. They're all walking around calm as Hindu cows, thinking they live in a Democracy so what could go wrong?. Now are you going to write it or what?!</dialogue> <character>LIONEL</character> <dialogue>If you've got the goods why don't you take him down?</dialogue> <character>PAUL</character> <parenthetical>(snapping)</parenthetical> <dialogue>'Cause it can't be me!</dialogue> <character>LIONEL</character> <dialogue>Cause you're his brother?</dialogue> <scene_description>This is the first thing that stops Paul's torrent and makes him look stricken and vulnerable...</scene_description> <character>PAUL</character> <dialogue>'Cause I've still got dreams. That's why. Dreams I'm this close to realizing. My contribution to society...my legacy! I won't risk it.</dialogue> <parenthetical>(whispering - paranoid)</parenthetical> <dialogue>Okay here, look at Belmont Developers and Inwood Residential.</dialogue> <character>LIONEL</character> <dialogue>What's that?</dialogue> <character>PAUL</character> <parenthetical>(sharp-resentful)</parenthetical> <dialogue>Christ, I'm giving you the goods! A map to the scoop of the decade...Do your own damn job! Do the job! I got enough problems...</dialogue> <scene_description>And with that he's leaving...waving off Lionel and muttering to himself...and we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THE NEW YORK HALL OF RECORDS - CLERK'S DESK - LATER</stage_direction> <scene_description>SAME DAY A CLERK leads Lionel to an open table where he puts down a big metal file of records...Lionel moves to slide it toward a chair but the Clerk stops him.</scene_description> <character>CLERK</character> <dialogue>Oh sorry, I'll need your name and social security number.</dialogue> <character>LIONEL</character> <dialogue>I'm not checking it out, I'm gonna look at it right here...</dialogue> <character>CLERK</character> <dialogue>Sure, yeah...but, um...see... parties wishing to review incorporation materials of city contractors have to register with Construction Commissioner's office.</dialogue> <character>LIONEL</character> <dialogue>That can't be legal. Eagle! Beagle! Bagel!</dialogue> <character>CLERK</character> <dialogue>Not really a law, more of a rule, Mr....</dialogue> <scene_description>Lionel hands over the NY POST PRESS PASS of Jake Gleason.</scene_description> <character>LIONEL</character> <dialogue>Gleason.</dialogue> </scene> <scene> <stage_direction>INT. THE NEW YORK HALL OF RECORDS - LATER</stage_direction> <scene_description>Lionel sits at the table with the documents, poring through them. CLOSE ON: documents of incorporation for "Belmont Developers", "Inwood Residential Services"...applications for City contracts... Details captured as Lionel writes in his notebook: the companies were incorporated in 1952; prior contracts with city - NONE; references of note - NONE; Then he sees: Officers: WILLIAM LIEBERMAN, GEORGE SPAULDING, TOM BROOKS. Both companies...SAME NAMES, SAME PARTNERS He double checks it in disbelief:</scene_description> <character>LIONEL</character> <parenthetical>(getting worked up)</parenthetical> <character>IF! IF!</character> <dialogue>He tries to muffle it but he looks up and the CLERK is scowling at him and we CUT TO:</dialogue> </scene> <scene> <stage_direction>EXT. INWOOD RESIDENTIAL SERVICES - NIGHT</stage_direction> <scene_description>The early evening dark of winter. LIONEL hustles to the door.</scene_description> </scene> <scene> <stage_direction>INT. INWOOD RESIDENTIAL SERVICES - CONTINUOUS</stage_direction> <scene_description>A tiny single room with a single reception desk. Absurdly spare. A LONE SECRETARY who looks up from a book.</scene_description> <character>SECRETARY</character> <dialogue>May I help you?</dialogue> <character>LIONEL</character> <dialogue>You have the applications for relocation?</dialogue> <character>SECRETARY</character> <dialogue>Yeah, just there!</dialogue> <scene_description>She points at a huge stack on the counter to his left.</scene_description> <character>LIONEL</character> <dialogue>And I can mail those in?</dialogue> <character>SECRETARY</character> <dialogue>In person applications only, just there.</dialogue> <scene_description>She points again at an even bigger pile...two or three boxes of completed forms against a wall.</scene_description> <character>LIONEL</character> <dialogue>So they have you running this whole operation all by yourself, do they?</dialogue> <scene_description>She smiles flirtatiously and drops her book revealing a tight pink sweater and Vargas girl rack...</scene_description> <character>LIONEL</character> <dialogue>PINK TITS! (sighs) You have a good evening.</dialogue> <scene_description>He leaves. Disappointed she watches him go.</scene_description> </scene> <scene> <stage_direction>EXT. INWOOD RESIDENTIAL SERVICES - A FEW MINUTES LATER</stage_direction> <scene_description>Lionel watches as... THE SECRETARY opens the door, braces it open, hauls out a box, closes the door and locks it. She then hefts the box, walks over to a bunch of trash cans and lifts the metal lid and tips the box in. She dusts her hands and walks off for the night. LIONEL HUSTLES ACROSS THE STREET, straight to the cans. He opens the lid and the clang of it echoes in the dark. He reaches in and pulls up...a handful of the forms. He seizes a few to hold up into the light and examine when the SCRAPE OF A SHOE IN GRAVEL makes him turn into... The FLASH of movement of an ARM....THONK. LIONEL's POV: the world spins upward as he goes down and we can hear him groan...backlit by the street lamp, figure in a hat leans down...LOU bending over him, the leather sap still in his hand.</scene_description> <character>LOU</character> <dialogue>People's trash remains private property until its collected. Anybody ever tell you that?</dialogue> <scene_description>Behind the smaller man...THE GIANT STEPS INTO VIEW, looming almost out of frame... LOU (cont'd) I think we've seen each other before, ain't we? (to the Giant) Ain't we? The GIANT NODS. Sounds: a match. Flames whoosh OS, lighting LOU's face, as the Giant burns the evidence. LOU (cont'd) Keep sticking your nose in people's trash and we'll be seeing each other again. They step out of frame and the streetlight FLARES in our eyes and we hear their footsteps start away when...</scene_description> <character>LIONEL (O.S.)</character> <dialogue>Giant Faggot Munchkin Meat!</dialogue> <scene_description>The footsteps stop and start back... LIONEL (O.S.) (cont'd) Goddam it... LOU leans in again...closer</scene_description> <character>LOU</character> <dialogue>Jeez, I was told to go easy and I did. But now you made me go and do this.</dialogue> <scene_description>HIS FOOT rises up and comes down into our face with a nasty CRACKING THUD. BLACK. And then we FADE UP INTO:</scene_description> </scene> <scene> <stage_direction>INT. THE L&amp;L OFFICE - NIGHT</stage_direction> <scene_description>LIONEL is holding an ice bag against the back of his head and has a bruise starting to color under one eye. He's going over it all with TONY...CONEY and DANNY listen and try to follow.</scene_description> <character>LIONEL</character> <dialogue>They're not even pretending, they're just collecting the checks and then throwing these people's lives in the trash. These guys make Tammany look like AA ball, I'm telling you.</dialogue> <character>CONEY</character> <dialogue>We coulda used youse in Korea, Lionel...</dialogue> <character>LIONEL</character> <dialogue>Why's that?</dialogue> <character>CONEY</character> <dialogue>Cause ya talk Chinese better'n half the chinks in the city...</dialogue> <character>LIONEL</character> <dialogue>Chinky, Chunky Chowder! Go to hell, Coney. Lunk-a-loaf, Beef Brain!</dialogue> <scene_description>Coney laughs and looks at Tony like "Am I right?" But Tony is not paying attention to Lionel's tics for once...</scene_description> <character>TONY</character> <dialogue>Go get him an aspirin, Gil...</dialogue> <parenthetical>(to Lionel)</parenthetical> <dialogue>Coney folds a straight if the cards aren't all the same color. Don't pay no attention to him. Look, people cut deals with the pols for contracts, what else is new? Kicking up the chain, it's the nature of things...</dialogue> <character>LIONEL</character> <dialogue>They're not making deals with politicians, they're making deals with themselves! They own the companies they're giving contracts to! It ain't kickbacks, it's Grand Larceny... Land a Farce on me! Don't fart on my land, Man!</dialogue> <scene_description>He's really wound up, twitching bad.</scene_description> <character>TONY</character> <dialogue>Calm down...</dialogue> <parenthetical>(to Danny)</parenthetical> <dialogue>You got any weed? Give 'im a smoke.</dialogue> <scene_description>Danny pulls a joint out and starts it up hands it to Lionel who goes ahead and takes a deep pull.</scene_description> <character>LIONEL</character> <dialogue>Minna said this was the biggest gravy train of the century and it all goes down in two days.</dialogue> <character>DANNY</character> <dialogue>Okay...so it's big stuff but how was Frank mixed up in it?</dialogue> <character>LIONEL</character> <dialogue>Every one of the officers of the Borough Authority is gonna make millions on this deal. But none of it ties to him.</dialogue> <character>TONY</character> <dialogue>To Frank?</dialogue> <character>LIONEL</character> <dialogue>To Randolph!</dialogue> <character>TONY</character> <parenthetical>(incredulous)</parenthetical> <dialogue>The Parks Commissioner?</dialogue> <character>LIONEL</character> <dialogue>It's all about him. The girl has the line on the scam, she's been digging into those companies for Horowitz. I think she found something that ties Randolph right to the money. Frank was following her and he figured it out and he took it in to Lieberman and his goons and showed em he had a signature. I'm telling you, Frank had something that nails Randolph.</dialogue> <scene_description>The guys look unsure.</scene_description> <character>LIONEL</character> <dialogue>C'mon! Where did we lose em? On the Borough Bridge, for chrissake! They had a pass! Those guys were BA! The Borough Authority killed Frank!</dialogue> <scene_description>Worked up and exhausted, he sucks hard on the joint. Tony is listening very attentively to him...</scene_description> <character>TONY</character> <dialogue>Alright...alright, calm down. Fuckin' Lionel...I think you're on the sniff. I do. But what's the angle on the guy at the club? Her father. What was Frank doing talking to him?</dialogue> <character>LIONEL</character> <dialogue>I got no idea...part makes no sense to me. But he knows something.</dialogue> <scene_description>Tony nods.</scene_description> <character>TONY</character> <dialogue>Go home. Let me do some calling around.</dialogue> <scene_description>Lionel looks at him...confused...getting high...</scene_description> <character>LIONEL</character> <dialogue>Who you gonna call?</dialogue> <character>TONY</character> <dialogue>Will you just trust me and let me run with it?</dialogue> <scene_description>Lionel doesn't know what that means but he's too stoned now to sort it. He nods.</scene_description> </scene> <scene> <stage_direction>INT. LIONEL'S APARTMENT - NIGHT</stage_direction> <scene_description>Lionel enters, stoned and sore.</scene_description> <character>LIONEL (V.O.)</character> <dialogue>Frank was the only person I knew who thought the way we won the war was gonna cause us problems. He said after the Crash we were digging ourselves out by taking care of each other. But now that we'd seen what we could do with our brute strength, there was no going back. He said 'From here on out, the game's gonna be about Power, from top to bottom.'</dialogue> <scene_description>TIGHT ON: Minna's hat, as he hangs it on the wall next to his own He flops on the bed and the cat appears and he strokes it. He has just closed his eyes when the RINGING PHONE JOLTS HIM LIKE A SHOCK. He answers it...</scene_description> <character>LIONEL</character> <dialogue>Yeah...</dialogue> <character>BILLY'S VOICE</character> <dialogue>I know who you are.</dialogue> <character>LIONEL</character> <dialogue>Who's this?</dialogue> <character>BILLY'S VOICE</character> <dialogue>You're one of Minna's boys...</dialogue> <character>LIONEL</character> <dialogue>Who's Minna?</dialogue> <character>BILLY'S VOICE</character> <dialogue>Don't bullshit me, motherfucker. You gave your number to the man with the horn. You know who this is now?</dialogue> <character>LIONEL</character> <dialogue>Yeah. Okay. So what?</dialogue> <character>BILLY'S VOICE</character> <dialogue>Sorry for roughing you up. Thought you was one of them BA goons. Where's the envelope?</dialogue> <character>LIONEL</character> <dialogue>I don't know.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What's in it?</dialogue> <character>BILLY'S VOICE</character> <dialogue>Hold on...</dialogue> <scene_description>Sounds of Billy doing something.... BILLY'S VOICE (cont'd) We can't talk about it like this. It ain't safe. Meet me up at the club. Park up the block and come in the back, I'll let you in there.</scene_description> <character>LIONEL</character> <dialogue>What, now?</dialogue> <character>BILLY'S VOICE</character> <dialogue>Yeah now!</dialogue> <scene_description>CLICK. Lionel looks at the phone a beat. Then he sits up and goes to a desk drawer and opens it and pulls out MINNA's AUTOMATIC PISTOL. He drops the mag out and checks it and shoves it back in and on the SNAP we...CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. KING ROOSTER JAZZ CLUB - BACK ALLEY - NIGHT</stage_direction> <scene_description>Lionel pauses at the opening of the alley, checks around him when...BANG!...a muffled report snaps his head around. Was that a shot? Hard to tell where it came from. Lionel walks cautiously down the alley, past trash cans where Billy yelled at him, reaching the back door of the club. He prods the door open slowly with his foot.</scene_description> <character>LIONEL</character> <parenthetical>(calls quietly)</parenthetical> <dialogue>Billy?</dialogue> <scene_description>SOUNDS OF VOICES CURSING SOFTLY, FEET MOVING. He cautiously enters the back door...</scene_description> </scene> <scene> <stage_direction>INT. THE KING ROOSTER JAZZ CLUB - CONTINUOUS</stage_direction> <scene_description>Over Lionel's shoulder as he works his way into the club by the back hall and emerges into the back of the stage revealing... THE FIGURE OF BILLY SITTING IN A CHAIR ON THE BANDSTAND, the light from the street silhouetting him</scene_description> <character>LIONEL</character> <dialogue>Billy...? You hear that?</dialogue> <scene_description>LIONEL STOPS COLD...BILLY is holding a gun down by his side with SMOKE STILL CURLING FROM THE BARREL. He seems to be staring forward toward the front where the door is creaking open as though someone has left fast...but something is odd... And then as Lionel comes around him he can see... BILLY ROSE IS DEAD IN THE CHAIR...blood running down his white shirt from a gunshot wound through the chest and a belt tied around his chest to hold himself up. A suicide? LIONEL (cont'd) Ah shit... Then he stops cold, hairs on his neck rising...THE GUN IS HANGING IN BILLY'S USELESS RIGHT HAND. LIONEL RIPS HIS GUN OUT, SPINS TOWARD THE FRONT. SOUND OF A CAR STARTING ON THE STREET. He hustles to the front cubicle and bursts out onto...</scene_description> </scene> <scene> <stage_direction>EXT. KING ROOSTER JAZZ CLUB - NIGHT - CONTINUOUS</stage_direction> <scene_description>LIONEL BURSTS ONTO THE STREET in time to see...a BLACK CAR turning the corner, smooth and quiet...spooky...and gone.</scene_description> </scene> <scene> <stage_direction>EXT. KING ROOSTER JAZZ CLUB - NIGHT - A BIT LATER</stage_direction> <scene_description>Cop cars...patrolmen guarding the door. A DETECTIVE is interviewing Lionel...not your average 3rd Class Dick...this guy has rank...</scene_description> <character>DETECTIVE</character> <parenthetical>(spinning it already)</parenthetical> <dialogue>So he told you to come and then bumped himself so you could find him before staff came in probably.</dialogue> <character>LIONEL</character> <parenthetical>(exasperated)</parenthetical> <dialogue>I already told you, I didn't just find him...I heard it happen. He didn't shoot himself...SHOOT MY SHIT, BAILEY!... Somebody shot him and set it up to look like he punched out. I heard 'em leave.</dialogue> <character>DETECTIVE</character> <dialogue>Uh huh. Powder burn on his shirt. Point blank. Neighbors telling us he had money problems...Seems pretty straightforward, friend.</dialogue> <character>LIONEL</character> <dialogue>The gun's in his right hand.</dialogue> <character>DETECTIVE</character> <dialogue>So.</dialogue> <character>LIONEL</character> <dialogue>He's got a dead right arm, ace. War wound. He can't lift a Zippo with it let alone a .38. You wanna show me how he shot himself in the heart with his left hand and then handed it off to his right before he punched out?</dialogue> <character>DETECTIVE</character> <dialogue>Guy went out in his own joint, center stage with the lights and all. Gotta give him credit. I respect his style.</dialogue> <scene_description>THE BODY IS BEING BROUGHT OUT ON A STRETCHER. Lionel glances at the COP, something not right...</scene_description> <character>LIONEL</character> <dialogue>They usually put Division dicks on dawn patrol in Harlem?</dialogue> <character>DETECTIVE</character> <dialogue>Oh, we go wherever we're needed. We done?</dialogue> <scene_description>He winks as over his shoulder LIONEL sees... LAURA RUNNING DOWN THE SIDEWALK. HE SPRINTS TOWARD HER TO STOP HER...</scene_description> <character>LAURA</character> <dialogue>Oh no...Oh NOOOOO!</dialogue> <scene_description>She pushes past him to Billy's body, distraught. WIDE: the sad tableau of her bent over BILLY'S BODY with Lionel hanging behind...and music floats in as we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LAURA'S HALLWAY / APARTMENT DOOR - NIGHT</stage_direction> <scene_description>He escorts her up the stairs of the tenement apartment to her door. She inserts the key but stops with her hand on it. Her head falls and she starts weeping. He reaches down gently and pulls her hand off the key, turns it himself and opens the door. She stands in the doorway with tears falling silently down her face.</scene_description> <character>LAURA</character> <dialogue>I can't think of the last time I saw him smile...But...why would he do that...to himself...?</dialogue> <scene_description>Her voice breaks...he lifts her face up...</scene_description> <character>LIONEL</character> <dialogue>He didn't. Someone wanted it to look that way.</dialogue> <scene_description>She shakes her head...</scene_description> <character>LAURA</character> <dialogue>Man was angry as long as I can remember. But nobody hated him like that...nobody.</dialogue> <scene_description>He reflexively touches her shoulder three times in a row. She accepts it...too upset to care. LAURA (cont'd) Who would do such a thing?</scene_description> <character>LIONEL</character> <dialogue>Same people did it to a friend of mine.</dialogue> <scene_description>She looks up, confused...but too sad to try to understand. LIONEL (cont'd) You got somebody you can call? She shakes her head and weeps... LIONEL (cont'd) You're all alone?</scene_description> <character>LAURA</character> <dialogue>You got no idea...</dialogue> <scene_description>She weeps. He kisses her forehead but pulls back, awkward. LAURA (cont'd) Could you...stay with me a while?</scene_description> <character>LIONEL</character> <dialogue>You want me to?</dialogue> <scene_description>She nods and we...FADE TO:</scene_description> </scene> <scene> <stage_direction>INT. LAURA'S APARTMENT - THE NEXT MORNING</stage_direction> <scene_description>WIDE ON THE ROOM: In the spill of morning light, Laura is asleep on her side on the bed, facing us, with Lionel's coat draped over her. Lionel has fallen asleep in his clothes, beside her, awkwardly against the headboard. TWO SHOT ON THE BED: as Laura wakes with a sharp inhale and turns over staring at the ceiling, processing that it's all real, numb. Realizing Lionel is still there, she sits up slightly next to him...Her movement brings him awake and he's immediately uncomfortable about having fallen asleep next to her.</scene_description> <character>LIONEL</character> <dialogue>IF! Ah, sorry... I don't know what happened...didn't mean to fall asleep. Sorry.</dialogue> <character>LAURA</character> <dialogue>It's okay...I appreciate you staying.</dialogue> <character>LIONEL</character> <dialogue>Listen, I know how you're feeling, I really do. Pretty soon you're gonna hear his voice in your head telling you to pull yourself together and get moving. And when you do, you'll feel him smiling again.</dialogue> <scene_description>This triggers her and she weeps. He sits with it until she recovers.</scene_description> <character>LAURA</character> <dialogue>Why you being so nice to me?</dialogue> <character>LIONEL</character> <dialogue>Cause I think you're a good person. You actually care about what happens to other people. And you try to make a difference. That's a good way to be.</dialogue> <character>LAURA</character> <dialogue>You're sweet.</dialogue> <scene_description>She takes his hand, winds her fingers into his.</scene_description> <character>LIONEL</character> <dialogue>Well, that isn't how most people describe me when they meet me, but I'm glad if you think so. IF!</dialogue> <character>LAURA</character> <parenthetical>(smiles)</parenthetical> <dialogue>Anybody ever told you you talk in your sleep?</dialogue> <character>LIONEL</character> <dialogue>I never slept with anybody.</dialogue> <character>LAURA</character> <dialogue>You never slept with anybody?</dialogue> <character>LIONEL</character> <dialogue>I been with girls...just, not the kind that stay to sleep.</dialogue> <scene_description>She's touched by the loneliness in this</scene_description> <character>LAURA</character> <dialogue>Who's Frank?</dialogue> <scene_description>His expression changes...a little suspicious</scene_description> <character>LIONEL</character> <dialogue>What?</dialogue> <character>LAURA</character> <dialogue>You said that name in your sleep. You seemed...upset. (realizes) Was he your friend who got...?</dialogue> <scene_description>Lionel nods...She looks at him, searching...</scene_description> <character>LIONEL</character> <dialogue>I worked with him...I worked for him. I knew him since I was 12. I was at that Catholic Home for Boys on DeKalb.</dialogue> <character>LIONEL</character> <dialogue>They threw me in there when I was 6, after my mother died. Frank kinda..took me under his wing.</dialogue> <scene_description>She absorbs this...</scene_description> <character>LIONEL (CONT'D)</character> <dialogue>He never called me by my name. He called me "Brooklyn". He'd say 'Look at you, Motherless Brooklyn. Got no one looking out for you.'</dialogue> <character>LAURA</character> <dialogue>We all need someone looking out for us.</dialogue> <scene_description>She kisses him softly, lingering a second. She rolls off the bed and out of frame...He watches her go, affected by her. ANGLE ON: a PHOTO IN A FRAME on the shelf near the bed...A BEAUTIFUL YOUNG BLACK WOMAN in a 20's-style dress, smiling. Her skin very dark, eyes white and shining...happy. Holding a LITTLE BABY, wrapped up.</scene_description> <character>LIONEL</character> <dialogue>That your mother?</dialogue> <parenthetical>(off her nod)</parenthetical> <dialogue>She was beautiful.</dialogue> <character>LAURA</character> <dialogue>She died a long time ago. I don't remember her. I guess we both got nobody now.</dialogue> <scene_description>He studies her...</scene_description> <character>LIONEL</character> <dialogue>Listen...I gotta ask you... Are you holding something out?</dialogue> <character>LAURA</character> <dialogue>What?</dialogue> <character>LIONEL</character> <dialogue>On Hamilton...you and Horowitz. These BA goons are scared of something big. Something that ties all this fraud you been digging around right to the top man. Do you know what it is?</dialogue> <scene_description>She sits up...brain spinning</scene_description> <character>LAURA</character> <dialogue>No...I mean, somebody's getting rich but...no...</dialogue> <character>LIONEL</character> <dialogue>If you're holding some card and you're waiting to play it to block that vote, you're playing a dangerous game. They already killed Frank and your father for it...</dialogue> <character>LAURA</character> <dialogue>What's Billy got to do with it?</dialogue> <character>LIONEL</character> <dialogue>Billy knew something about it. He and my friend together...</dialogue> <character>LAURA</character> <parenthetical>(totally perplexed)</parenthetical> <dialogue>That's not possible...he doesn't even...he didn't even know what I'm working on. I got an uncle knows Gabby that got me that job.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You're not a reporter are you?</dialogue> <character>LIONEL</character> <parenthetical>(shakes his head)</parenthetical> <dialogue>No, and my name's not Jake,it's Lionel...look...Frank was an investigator. They hired him to keep tabs on your committee. He was following you. I started poking around it to figure out who did to him, now...I've just got glass in my brain. I don't even know what I'm after.</dialogue> <scene_description>She seems thrown. LIONEL (cont'd) I'm sorry for lying to ya but believe me, you gotta take this seriously. Can you stay around here today?</scene_description> <character>LAURA</character> <dialogue>Gabby's expecting me. We're preparing her testimony before the vote...it's important but...</dialogue> <parenthetical>(flustered)</parenthetical> <character>LAURA</character> <dialogue>I need to make arrangements, a funeral...</dialogue> <character>LIONEL</character> <dialogue>All that can wait cause if I'm right the Coroner's office won't release the body to you yet. Get one of the guys from the club to take you down there. Then stay around people you know until I come and get you, alright?</dialogue> <scene_description>She nods, fearful. THE SIZZLE AND POP OF AN EDGY RIFF COMES UP AND WE CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. LAURA'S BUILDING - MOMENTS LATER - MORNING</stage_direction> <scene_description>Lionel exits her building and immediately LARGE MEN ARE ON EITHER SIDE OF HIM, plucking the GUN from his holster before he can even make a move, MOVING HIM TOWARD A CAR. NOT COPS...but they have that familiar PIN on their lapels...and, like MINNA on the day he was killed, Lionel is pushed INTO A BLACK CAR AND AWAY IT GOES...as we CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. BOROUGH AUTHORITY HEADQUARTERS - MORNING</stage_direction> <scene_description>LIONEL is escorted in. INT BOROUGH AUTHORITY HEADQUARTERS - WAITING ROOM - CONT Lionel stands in the antechamber of an office off a grand lobby...every detail says that this is the SEAT of POWER. The two MUSCLES IN SUITS stand totally silent blocking the exit. Not threatening...just there. Impassive. THE INNER DOOR OPENS REVEALING: William Lieberman. He looks at Lionel with the cold scrutiny of a practiced strategist, sizing him up. Then he nods and opens the door wider nodding Lionel into...</scene_description> </scene> <scene> <stage_direction>INT. MOSES RANDOLPH'S OFFICE - CONTINUOUS</stage_direction> <scene_description>Big. A commanding view of the East River on both sides, flowing around the island on which they sit, under the Triborough Bridge which can be seen looming above as well. The office of a kingpin... In the center is a massive table with a model of the whole of New York's FIVE BOROUGHS...the pieces all movable. Bridges and elevated highways and huge apartment towers all placed...infrastructure that will not exist for more than a decade...a glimpse of New York City in the future... ...and on the other end of the room, waiting by his desk with his arms crossed is Moses Randolph. He looks up as Lionel enters, gestures that he come join him by the MODEL OF THE CITY. Without a word, Lieberman slides to a chair on the periphery and lights a cigarette, which he smokes through the scene, languid and cool. RANDOLPH stands regarding Lionel who nervously hides his small tics in fake adjustments of his neck such...</scene_description> <character>RANDOLPH</character> <dialogue>You know who I am?</dialogue> <character>LIONEL</character> <dialogue>I been asking around about that but everybody seems to have a different answer.</dialogue> <scene_description>RANDOLPH laughs loud and sharp.</scene_description> <character>RANDOLPH</character> <dialogue>Ha! Spoken like a true snoop!</dialogue> <scene_description>His loud laugh makes Lionel 'YELP' involuntarily but he hides it as a sneeze. Now Randolph is smiling big and we see what a magnetic presence he can have. An Emperor in a good mood...</scene_description> <character>LIONEL</character> <dialogue>What's your take on it?</dialogue> <character>RANDOLPH</character> <parenthetical>(beat)</parenthetical> <dialogue>Easy. I'm a builder.</dialogue> <scene_description>Lionel looks at the enormous model of the City...</scene_description> <character>LIONEL</character> <dialogue>I can see that...</dialogue> <scene_description>Randolph references Manhattan island...</scene_description> <character>RANDOLPH</character> <dialogue>When I was a boy you know how many bridges there were on and off Manhattan Island? Two. A shitty old train trestle here and...</dialogue> <parenthetical>(he puts a finger on..)</parenthetical> <dialogue>The Brooklyn Bridge. And when you walked across that you were stepping in horse dung most of the way. You mostly scuttled into New York off a dock...like a rat. I built that...</dialogue> <parenthetical>(indicating bridges roads and parks)</parenthetical> <dialogue>and that...and that and that...and now you vault over rivers on the spans and parkways of Olympus.</dialogue> <character>LIONEL</character> <dialogue>They're nice bridges, I'll give you that.</dialogue> <scene_description>Randolph turns to him with a smile.</scene_description> <character>RANDOLPH</character> <dialogue>Thank you. And I want you to give me something else...if you find it. Have you found it?</dialogue> <scene_description>There's no smile in this. Lionel answers with a question.</scene_description> <character>LIONEL</character> <dialogue>What's in it?</dialogue> <character>RANDOLPH</character> <dialogue>Slander. Falsehood. Forgery, most likely.</dialogue> <character>LIONEL</character> <dialogue>Then you got nothing to worry about, the law's on your side.</dialogue> <character>RANDOLPH</character> <dialogue>Very little that I have achieved in my life has relied on legality. I don't intend to lean on that slender branch now when things matter most.</dialogue> <character>LIONEL</character> <dialogue>You're above the law?</dialogue> <character>RANDOLPH</character> <dialogue>No, no...I'm ahead of it.</dialogue> <character>LIONEL</character> <dialogue>What's the difference?</dialogue> <scene_description>Randolph looks at his vision of the City...</scene_description> <character>RANDOLPH</character> <dialogue>Law's just a rule book we make for the world we find ourselves in. You rebuild a city, you have to push ahead into a new world that most people can't even envision yet... then the law follows along and adapts to what you've done.</dialogue> <character>LIONEL</character> <dialogue>Who you rebuilding it for?</dialogue> <character>RANDOLPH</character> <parenthetical>(obviously)</parenthetical> <dialogue>The future. The people to come.</dialogue> <parenthetical>(gestures)</parenthetical> <dialogue>In 50, 100 years, what do you think will matter out of what we do now? What do you think will help people make the world of science fiction real? The laws from today?! Or roads and bridges and tunnels for commerce to move swiftly on, parks and beaches to let people escape the rat race and inspire the mind, palaces of culture where hellish slums used to be...</dialogue> <character>LIONEL</character> <dialogue>Sounds great unless you're a person who's in the way now.</dialogue> <scene_description>Randolph laughs and points at the City map...</scene_description> <character>RANDOLPH</character> <dialogue>Central Park: Greatest urban park in the world. They started building it when there wasn't even a city past 57th St. They kicked out farmers and tenant squatters, sheep herders out of muddy fields and filth. They moved some trees. And people protested the loss of goddam 'countryside'. But if one man hadn't been able to SEE AHEAD to what we'd need, this city'd be unlivable today, wouldn't it? Yes it would.</dialogue> <character>RANDOLPH</character> <dialogue>People don't even know Fred Olmsted's name but they should thank him every day. I do.</dialogue> <parenthetical>(with teeth)</parenthetical> <dialogue>The important thing in life is to Get Things Done. Those who can, build. Those who can't, criticize. But I won't obstruct the great work of the world because some chipmunks start screeching about having to relocate their nuts.</dialogue> <scene_description>Those words are more than Lionel's head can take..</scene_description> <character>LIONEL</character> <dialogue>Screech-a-munk-nut-chip!</dialogue> <scene_description>His arm SNAPS out twice with this exclamation... Lieberman pauses mid-smoke...his eyes widening... Randolph stares at Lionel, measuring this... He seems to grasp that this is an affliction...not an offense. He puts a hand on Lionel's shoulder with fatherly aspect, towering over him...pulling him into this vision...</scene_description> <character>RANDOLPH</character> <dialogue>Talent and brains get rewarded in this building, Lionel. Work with us on this and I'll see to it personally that your gifts are appreciated.</dialogue> <scene_description>He exhales smoke. RANDOLPH (cont'd) (without turning) But that's the offer today. Let us know where you stand by tonight. He turns and walks to the window. Meeting over. INT BA HEADQUARTERS - WAITING ROOM - A MOMENT LATER Lieberman escorts Lionel out to his two 'body men' and nods. They hand him back FRANK'S GUN. As Lionel holsters it. Lieberman regards Lionel curiously...</scene_description> <character>LIEBERMAN</character> <dialogue>It's funny...We read it wrong.</dialogue> <character>LIONEL</character> <dialogue>How's that?</dialogue> <character>LIEBERMAN</character> <dialogue>We didn't make you for the Ace in Minna's deck.</dialogue> <scene_description>He nods at the two BIG MEN and turns away. Lionel processes that as THE BIG DOOR CLOSES and we CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. NEW YORK SKYLINE</stage_direction> <scene_description>Seen from across the river...an impossible dark maze.</scene_description> </scene> <scene> <stage_direction>INT. THE L&amp;L OFFICE - AFTERNOON</stage_direction> <scene_description>Lionel storms in and DANNY looks up as he goes over to his desk.</scene_description> <character>DANNY</character> <dialogue>You good?</dialogue> <character>LIONEL</character> <dialogue>No. Loosey Goose Thready Head Fucks!!</dialogue> <character>DANNY</character> <dialogue>Jesus, calm down...what's up?</dialogue> <scene_description>Lionel is spreading out everything... CLOSE ON: his notes, the words "Formosa", "Signature", the newspaper PHOTO of Moses and Paul Randolph, King Rooster matchbook; the PHOTOS of LAURA and BILLY... Lionel fixates on it all, muttering to himself, trying to see what he's been missing...</scene_description> <character>LIONEL</character> <dialogue>There's a loose thread, Danny. It's making my brain hurt...I can't...</dialogue> <scene_description>He picks up the photos of Laura and Billy, scanning them each again...there are only 4 or 5... He looks up suddenly...to DANNY... LIONEL (cont'd) Where's the rest?</scene_description> <character>DANNY</character> <dialogue>Huh?</dialogue> <character>LIONEL</character> <dialogue>SHUTTER BUG SHIT! You said you took a whole roll...where's the rest?</dialogue> <character>DANNY</character> <dialogue>In the darkroom...That's all the ones of her. Everything else was before she showed...</dialogue> <scene_description>LIONEL is moving...pushing into the photo room... DANNY (cont'd) I checked em good. You saw some of 'em...There's nothing. Her old man came out for a smoke was all... Lionel, jeez... Danny comes after him but Lionel is back out the door, almost hitting Danny with it in his charge to the desk...A SMALL STACK OF PHOTOS IN HIS HAND. He drops them on the desk and starts to scan them. PHOTOS: The King Rooster; some guys going in; BILLY walking toward the club; Billy entering; emerging again... DANNY (cont'd) See then he comes out for a smoke...gave a bum some money... PHOTOS: a blurry one of a FIGURE IN A HAT walking up to Billy DANNY (cont'd) I was just getting my focus set up... PHOTO: focus sharp now...Billy talking to someone, he looks nervous... LIONEL'S FACE: as he flips to the next photo and FREEZES, EYES GOING WIDE... PHOTOS: BILLY IS TALKING TO Paul RANDOLPH...Paul is obviously saying something angry to Billy and Billy looks scared. LAST FRAMES...Billy gives Paul a few bucks and Paul SHUFFLES OFF.</scene_description> <character>LIONEL</character> <dialogue>DAMMIT!!</dialogue> <scene_description>PHOTOS IN HAND, LIONEL IS CHARGING FOR THE DOOR, shoving pictures and clippings in his pockets...Reaching for car keys...</scene_description> <character>DANNY</character> <dialogue>You said to ID the girl!!!</dialogue> <character>LIONEL</character> <dialogue>Where are the cars?!</dialogue> <character>DANNY</character> <dialogue>Coney and Tony got em both...</dialogue> <scene_description>But Lionel is out the door...</scene_description> <character>DANNY</character> <dialogue>What'd I miss?!</dialogue> </scene> <scene> <stage_direction>INT. HOUSING COMMITTEE OFFICE - AFTERNOON</stage_direction> <scene_description>Lionel is hustling Laura out into the reception area, looking for a private place to talk...a few of the staff glance over as he pulls her urgently by the arm...his face is grim and angry. She looks flustered...</scene_description> <character>LAURA</character> <dialogue>Where are we goin---</dialogue> <scene_description>He pulls her into...</scene_description> </scene> <scene> <stage_direction>INT. HOUSING COMMITTEE OFFICE - MEN'S BATHROOM</stage_direction> <scene_description>He pulls her in, locks the door and shoves the PHOTO in her face.</scene_description> <character>LIONEL</character> <dialogue>Who is that? With your father?</dialogue> <character>LAURA</character> <dialogue>Where did you--?</dialogue> <character>LIONEL</character> <dialogue>Answer the question. Do you know who that is?</dialogue> <character>LAURA</character> <parenthetical>(soft)</parenthetical> <dialogue>Paul. Paul Morris.</dialogue> <character>LIONEL</character> <dialogue>Paul 'Morris'? Is that the 'uncle' who got you this job?</dialogue> <scene_description>She shakes her head but clearly he's hit the mark... LIONEL (cont'd) Don't shine me! You think I don't know who that is? Her face registers shock...how could he know...she stammers.. They start overlapping, not hearing each other...</scene_description> <character>LAURA</character> <dialogue>My father...</dialogue> <character>LIONEL</character> <dialogue>Your father and your 'Uncle Paul' are into this together..</dialogue> <character>LAURA</character> <dialogue>No...</dialogue> <character>LIONEL</character> <dialogue>Yes, goddam it. Are you in it too...?</dialogue> <character>LAURA</character> <dialogue>No...that's not my father with my uncle Paul... It's my Uncle Billy with my father...Paul.</dialogue> <scene_description>He stares at her in shock. LAURA (cont'd) You remember that picture of my mother? Now look at Billy. Now look at me. (Re: her light skin) You see? Rest of the world might look past me without seeing, but I don't. They never said so, but it doesn't take much to put it together. Why else he take such an interest in me? Take care of me when Billy was in the war? Pay for law school when he's got nothing?</scene_description> <character>LIONEL</character> <dialogue>He's using you. He's using you to get back at his brother.</dialogue> <character>LAURA</character> <dialogue>I don't think he's got family.</dialogue> <scene_description>Lionel pulls the old newspaper clip....hands it to her.</scene_description> <character>LIONEL</character> <dialogue>His name's not Morris...it's Randolph. Moses Randolph is his brother. He's using you to blackmail him...</dialogue> <scene_description>She stares at the photo, blinking...</scene_description> <character>LAURA</character> <dialogue>That's not...</dialogue> <character>LIONEL</character> <dialogue>Stay here until I come to find you.</dialogue> <scene_description>He's heading out the door and has to push past Gabby and some others gathering in concern...</scene_description> <character>LAURA</character> <dialogue>That's not possible...!</dialogue> </scene> <scene> <stage_direction>INT. PAUL RANDOLPH'S APARTMENT - AFTERNOON</stage_direction> <scene_description>Paul is answering the door...his flophouse studio is a spare freezing single room, but neatly ordered. LIONEL BURSTS IN...He sticks the photo in Paul's FACE. Paul grabs it and his color drains...</scene_description> <character>LIONEL</character> <dialogue>You know what that tells me? You and Billy set this up with Minna to try to blackmail Moses...</dialogue> <character>PAUL</character> <dialogue>Hang on--</dialogue> <character>LIONEL</character> <parenthetical>(a torrent of accusation)</parenthetical> <dialogue>It's you who found whatever they're scared of. You've finally got something bad enough to sink your brother so you gave it to Minna to put it in play cause you thought if you hid behind Frank you could do the damage and still get your engineering plan picked. And you made it look like it came from Laura so you could hide behind her too! But people are getting killed if you didn't notice!</dialogue> <character>LIONEL</character> <dialogue>She's your own daughter and her life's at stake now because of--</dialogue> <scene_description>PAUL SHOVES HIM UP AGAINST THE WALL IN A RAGE</scene_description> <character>PAUL</character> <dialogue>You don't know what the fuck you're talking about!! You know how many times I could have sunk him?! He sunk me! HE SUNK ME!!</dialogue> <character>LIONEL</character> <dialogue>SINK A SONG OF SUNK MEN!!!</dialogue> <scene_description>Paul falls off him in despair...</scene_description> <character>PAUL</character> <dialogue>'Hide behind her'? I gave up everything for her...everything I could have accomplished...my whole goddam life...</dialogue> <scene_description>He breaks down weeping with the frustration of years...</scene_description> <character>LIONEL</character> <dialogue>Is that what it was about between you and him? You were with her mother and he hates colored--</dialogue> <character>PAUL</character> <dialogue>I will NOT discuss such things with you! I knew you weren't a reporter. Load 'a shit. You're Minna's guy.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'm sorry for you but it was NOT me. Frank put it all together...he and Billy thought they could get something out of it. Foolish greed. I tried to stop them. I told them it would put her at risk. All of them...now look. Frank gets killed, Billy panics and calls me...that's your picture!</dialogue> <scene_description>Paul looks up, suddenly very concerned... PAUL (cont'd) You're into something you don't understand. If you just stand up to him on principles, like I did, he'll ruin you for spite. PAUL (cont'd) But if you threaten his work, he will destroy you. Destroy. End. (grave) Find Minna's file. SLAM CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. A TAXI CAB - AFTERNOON</stage_direction> <scene_description>JAZZ on the radio... discordant, harsh... Lionel sits in the back, head spinning...LOW WINTER SUN flaring in his eyes...He tips FRANK'S HAT forward to shield them and leans back...</scene_description> <character>LIONEL</character> <dialogue>Frank Frankady Franko! What's it about, Frank?</dialogue> <scene_description>SOUND goes MUFFLED an EERIE...sounds of music over horns FLASHBACK TO AN IMAGE: MINNA in the DREAM ON THE BRIDGE, TAPPING his forehead and mouthing words we can't hear but might make out or remember ("kept it under my hat.") And this throws Lionel's mind to... ANOTHER IMAGE: Lionel's POV from the car in the first scene, sound coming in now like a dream...MINNA LEANING IN THE WINDOW GRINNING</scene_description> <character>MINNA</character> <dialogue>I gotta keep this one under my hat, boys.</dialogue> <scene_description>MINNA WINKS and.... LIONEL'S EYES POP OPEN IN THE CAB...</scene_description> <character>LIONEL</character> <dialogue>IF!</dialogue> <scene_description>Not breathing, he tips MINNA'S HAT back and slowly pulls it off his head...staring at it... LIONEL (cont'd) Frankady Frankly Franko Frank... He puts his fingers inside the HAT'S INNER BAND and slowly runs them from front to the back where they STOP...FEELING SOMETHING...AND THEN HE PULLS OUT A FOLDED PIECE OF PAPER...WRAPPED AROUND...A KEY. SHAKING, HIS FINGERS START TO UNFOLD THE PAPER... LIONEL'S FACE AS HE READS IT.... LIONEL (cont'd) Take me to Penn Station...</scene_description> </scene> <scene> <stage_direction>INT. PENN STATION - LATE AFTERNOON</stage_direction> <scene_description>The OLD PENN STATION...the now-destroyed masterpiece of vaulted iron...the grandest terminal ever built... LIONEL moves through the drifting crowd and beams of low yellow winter sunset, heading toward... A bank of LUGGAGE LOCKERS... He searches for a number, finds it and INSERTS THE KEY... THE DOOR OPENS. He reaches inside and pulls out...MINNA'S ENVELOPE. He sits on a bench and opens it TIGHT ON: The items spilling out...documents and a woman's watch. LIONEL FLIPS THROUGH THEM, STUDYING... TIGHT ON DETAILS: numerous HOTEL REGISTRY CARDS with the name "Moses Randolph" on them and his signature; Employment records for the same hotel for a "Bella Rose"; a fine watch inscribed "To Bella"; and last... A BIRTH CERTIFICATE...of LAURA ROSE. 1927. The mother's name is listed "Bella Rose" and signed. The witness is "Billy Rose", signed. The father's name: "Moses Randolph"...and it's signed. Lionel flips to the hotel registries. The signature is the same... LIONEL's FACE: registering the impossible. CU: under all the 'evidence', a folded document with note written on it -- "For Lionel, if you find this... F" ON LIONEL: as he unfolds it and reads, puzzled at first, then he reacts, containing emotion</scene_description> <character>LIONEL</character> <parenthetical>(whispered)</parenthetical> <dialogue>Ah Frank...Frank Frankady Franko.</dialogue> <scene_description>He folds that document and puts it in his coat pocket, puts all the rest back in the envelope, puts it back in the locker, locks it up, looks around and exits....and we hold on that door and it's nondescript number...then turn to see Lionel blending into the crowd and we... RISE HIGH OVER THE GRANDEUR OF THE TERMINAL WITH THE SECRET LOCKED UP IN A SMALL CORNER AND THE WORLD GOING BY. And then we CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. PAUL'S BUILDING - MAGIC HOUR</stage_direction> <scene_description>SOMEONE's POV: watching Lionel enter Paul's building... SOUND OF A BUZZER takes us into...</scene_description> </scene> <scene> <stage_direction>INT. PAUL'S APARTMENT - SAME</stage_direction> <scene_description>The door has been left open and LIONEL enters to find PAUL sitting at his humble table by the street windows, still glowing in the fading light. PAUL looks up.</scene_description> <character>PAUL</character> <dialogue>You found it.</dialogue> <character>LIONEL</character> <parenthetical>(nods)</parenthetical> <dialogue>There's only one way I can make sense of it.</dialogue> <scene_description>Paul waits for it... LIONEL (cont'd) He didn't sign her birth certificate. You did. He sits. Paul sighs...a secret held for so long...ready to confess. He puts his face in his hands.</scene_description> <character>PAUL</character> <dialogue>Yes. I signed it.</dialogue> <parenthetical>(looks up)</parenthetical> <dialogue>Billy brought her to our family's home. Our servants tried to send them away and Billy started yelling. We were at dinner with our mother, for godsake. I followed Mo to the door. He scorned them, refused to acknowledge, but I saw the truth in her face. And his. The way he looked at her.</dialogue> <character>PAUL</character> <dialogue>Even 6 months gone, she was beautiful. He sent them away with threats. But I followed them. I got them to take some money...later got a doctor.</dialogue> <character>LIONEL</character> <dialogue>You confronted him about it.</dialogue> <character>PAUL</character> <dialogue>I begged him. I invoked every principle and value we had been raised to champion. I was...in anguish. You can't</dialogue> <dialogue>understand...Our whole young life, he was my hero. We wrote our Creed. We were going to fix the world together... but to serve people, you have to love people. Mo tried but he was so brilliant that he resented lesser minds and he became hard. Obsessed with winning and addicted to power. Totally contemptuous of...ideals.</dialogue> <parenthetical>(real hate)</parenthetical> <dialogue>This phony 'man of the people'... The Jews call a man who's not what he seems to be an 'apicoris'. That's a dangerous thing, when people aren't seen for what they really are...a very dangerous thing.</dialogue> <parenthetical>(to himself)</parenthetical> <dialogue>...or a sad thing, right?</dialogue> <character>LIONEL</character> <dialogue>Apicorpricot! Apple core it!</dialogue> <character>PAUL</character> <dialogue>Right.</dialogue> <character>LIONEL</character> <dialogue>Nobody else knows who she is?</dialogue> <character>PAUL</character> <dialogue>Not even Horowitz.</dialogue> <character>LIONEL</character> <dialogue>Why?</dialogue> <character>PAUL</character> <dialogue>She'd have used it. And used it to good effect.</dialogue> <parenthetical>(beat)</parenthetical> <character>PAUL</character> <dialogue>But it would devastate Laura. Totally. Satisfaction won't unburden a tortured heart...so I can hold it...and so can you...please.</dialogue> <scene_description>Lionel pulls the key from his pocket and holds it up before placing it in Paul's hand.</scene_description> <character>LIONEL</character> <dialogue>It's in a Penn Station locker. If anything happens to me, mail it to Jacob Gleason at the Post.</dialogue> <character>PAUL</character> <dialogue>The Post is a rag...</dialogue> <character>LIONEL</character> <dialogue>Yeah but the Times is in Randolph's pocket too. I gotta go get her out of town until after that vote.</dialogue> </scene> <scene> <stage_direction>EXT. PAUL'S BUILDING/STREET - NIGHT</stage_direction> <scene_description>Lionel exits and turns the corner under the Elevated track POV: SOMEONE CLOSING ON HIM FAST FROM BEHIND...hand reaching out to grab him. LIONEL spins fast...fist up to see: TONY</scene_description> <character>TONY</character> <dialogue>Heya, Lionel.</dialogue> <character>LIONEL</character> <dialogue>What are you doing here, Tony?</dialogue> <character>TONY</character> <dialogue>Watching your back. Whaddya say we get a drink?</dialogue> </scene> <scene> <stage_direction>INT. BROOKLYN BAR - NIGHT</stage_direction> <scene_description>An old school bar. Lionel and Tony sit at a small table.</scene_description> <character>LIONEL</character> <dialogue>How long you been following me?</dialogue> <character>TONY</character> <dialogue>I wasn't. They put me on his building. I saw you come along.</dialogue> <character>LIONEL</character> <dialogue>'They'?</dialogue> <character>TONY</character> <dialogue>Let's don't bullshit each other, you been talking to em too.</dialogue> <character>LIONEL</character> <dialogue>Not working for em. Were you following me when Billy said he'd mail it? You tell em that? They killed him and he didn't even have it. But why try to figure any of it out? You're just moving up, right?</dialogue> <scene_description>He's agitated, twitching. A waitress comes up...</scene_description> <character>TONY</character> <dialogue>Seven and Seven. Have a drink, Lionel.</dialogue> <character>LIONEL</character> <dialogue>Hot water. Tea bag on the side. Sugar and Milk on the side. Very hot. HOT SUGAR TITS MILKY TEA FACE!</dialogue> <scene_description>The waitress reacts...</scene_description> <character>TONY</character> <dialogue>Don't pay him no mind, doll. There's something wrong with his head.</dialogue> <scene_description>She shrugs...goes off...</scene_description> <character>LIONEL</character> <dialogue>There's nothing wrong with my head.</dialogue> <character>TONY</character> <dialogue>Coulda fooled me.</dialogue> <character>LIONEL</character> <dialogue>How long you been fucking Julia?</dialogue> <parenthetical>(no response)</parenthetical> <dialogue>After all he did for you? You can't find someone else to bang?</dialogue> <scene_description>Tony doesn't flinch at that...</scene_description> <character>TONY</character> <dialogue>Everybody's got a find their own way in the world, Lionel. You think I was going to hang in Frank's shadow all my life? Okay for you, not for me. Not for her.</dialogue> <scene_description>The waitress brings the drinks.</scene_description> <character>WAITRESS</character> <dialogue>Careful...</dialogue> <scene_description>She departs again.</scene_description> <character>TONY</character> <parenthetical>(re: the tea)</parenthetical> <dialogue>C'mon, let's have a real drink, Lionel. What's the big fuckin' deal? We help em get what they want and get on a new ride. An easier ride for once. After all the shit we had to survive just to grow up? We're due an easy gig. You especially. C'mon I know you got a talent and I'll make sure there's a place for you. Be real partners.</dialogue> <scene_description>Lionel pulls the mug over toward him and starts dipping the tea bag slowly up and down in it.</scene_description> <character>LIONEL</character> <dialogue>I'll think about it after tomorrow. I got something I gotta go take care--</dialogue> <character>TONY</character> <dialogue>Don't go up to Harlem tonight, Freakshow.</dialogue> <scene_description>Lionel freezes...staring... TONY (cont'd) See I ain't quite as far outta the loop as you think. (beat) We're closing it up tonight.</scene_description> <character>LIONEL</character> <parenthetical>(desperate)</parenthetical> <dialogue>No. No, I found it. I've got what they want. Tony, call em off.</dialogue> <character>TONY</character> <dialogue>It's the last loose end and it's outta my hands anyway. Now let's just have a drink--</dialogue> <scene_description>AND LIONEL FLINGS THE BOILING WATER RIGHT IN HIS FACE. TONY SHOUTS, GRABBING HIS FACE AND LIONEL IS EXPLODING OUT OF THE SEAT AND HEADING FOR THE DOOR BUT TONY LUNGES, KNOCKING OVER THEIR TABLE, SEIZING HIM IN A WRESTLERS TACKLE, SPINNING HIM AROUND AND SLAMMING HIM TO THE FLOOR, CRASHING ON TOP OF HIM AND IMMEDIATELY SEIZING HIS THROAT IN A MURDEROUS CHOKE LIONEL TRIES DESPERATELY TO BREAK HIS HANDS AWAY, THEN GOES FOR THE GUN STRAPPED TO HIM BUT TONY SLAMS HIS KNEE INTO LIONEL'S CHEST, BLOCKING HIM...LIONEL IS GETTING DESPERATE, CLOSE ON: HIS HAND SEARCHING FOR ANYTHING, FINDING THE HEAVY GLASS SUGAR SHAKER ROLLING ON THE GROUND. AND HE BRINGS THE HEAVY GLASS SHAKER UP AGAINST TONY'S TEMPLE...HARD...WITH A NASTY CRUNCH. TONY GOES OVER AND OFF HIM WITH A GRUNT, STUNNED, LIONEL SCRAMBLES TO HIS KNEES AND HITS HIM AGAIN ABOVE THE EYE. AND TONY IS OUT FOR THE COUNT. That's all the opening Lionel needs. He is up, choking, out the door and into:</scene_description> </scene> <scene> <stage_direction>EXT. STREET BY BAR - NIGHT</stage_direction> <scene_description>LIONEL IS SPRINTING, BREATH EXPLODING IN THE COLD AIR. Turning a corner and stopping at...A PAYPHONE. Dialing fast...</scene_description> <character>LIONEL</character> <dialogue>Laura Rose please...What? Where'd she go? when? WHEN?!</dialogue> <character>BETTY'S VOICE (O.S.)</character> <dialogue>I'm sorry she's gone for the day. Oh, I think she went home. Who is th--? About 15 minutes ago. Who--</dialogue> <scene_description>He hangs up and he's off...and we start CUTTING BETWEEN:</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY CAR - NIGHT</stage_direction> <scene_description>LAURA boards the train. She is fighting back tears.</scene_description> </scene> <scene> <stage_direction>INT. TAXI CAB - SAME MOMENT</stage_direction> <scene_description>Lionel leans forward to the cabbie...</scene_description> <character>LIONEL</character> <dialogue>149th and St Nicholas. Harlem. Floor it, I got money!</dialogue> </scene> <scene> <stage_direction>INT. SUBWAY CAR/TAXI CAB (INTERCUTTING) - NIGHT</stage_direction> <scene_description>Laura moves from one car to another and a MAN seems to be following her. THE CAB, racing uptown, beating a yellow light going red... IN THE TRAIN: an announcement that the train will go no further due to a breakdown. Laura groans and prepares to get out with other passengers LIONEL coming out of his skin in the back.</scene_description> </scene> <scene> <stage_direction>EXT. HARLEM STREET - NIGHT</stage_direction> <scene_description>Laura walking in the cold, farther from home than normal</scene_description> </scene> <scene> <stage_direction>EXT./INT. TAXI CAB - CONTINUOUS</stage_direction> <scene_description>Lionel looking out the window: The KING ROOSTER and LAURA's BUILDING coming into view POV: Laura a few steps from her corner He cranks the window down and SCREAMS HER NAME, but as he does a LARGE TRUCK passes drowning him out. It clears and she's rounding the corner, unaware. He's not going to catch her...He hurls money at the cabbie and leaps out practically still rolling.</scene_description> </scene> <scene> <stage_direction>EXT. STREET / KING ROOSTER JAZZ CLUB - CONTINUOUS</stage_direction> <scene_description>He immediately looks up at: LAURA'S APT WINDOW. A light in the window SUDDENLY GOES OUT. SOMEONE IS WAITING IN HER APARTMENT and Lionel explodes across the street. HIGH-TEMPO MUSIC SNAPS IN...COMING FROM THE CLUB. He hits the sidewalk, past the ROOSTER. The TRUMPET PLAYER looks up from his cigarette at Lionel flying by.</scene_description> </scene> <scene> <stage_direction>EXT. LAURA'S APARTMENT BUILDING / SIDE STREET - NIGHT</stage_direction> <scene_description>A car is parked in the shadows across the street. Over the shoulder of the driver we see LIONEL BURST AROUND THE CORNER...the DRIVER (LOU) reacts in shock</scene_description> <character>LOU</character> <dialogue>Son of a bitch!</dialogue> <scene_description>He piles out of the car, moving into the street as Lionel enters the vestibule and desperately HITS EVERY BUZZER. Someone buzzes him in and as he pushes frantically in and closes the door, he sees something in the reflection and looks back to see LOU: EMERGING FROM SHADOW INTO THE MIDDLE OF THE STREET. They lock eyes for a split second before Lionel SLAMS THE DOOR and sprints for the stairs.</scene_description> </scene> <scene> <stage_direction>INT. STAIRWELL OF LAURA'S APARTMENT - CONTINUOUS</stage_direction> <scene_description>Lionel taking the stairs three at a time, not daring to yell to her but PULLING FRANK's GUN AS HE RUNS.</scene_description> </scene> <scene> <stage_direction>INT. LAURA'S HALLWAY/APARTMENT DOOR - CONTINUOUS</stage_direction> <scene_description>ON LAURA: reaching her landing and moving to her apartment at the end of the hall to put her key in the lock when the sound of feet coming fast makes her pause and turn...</scene_description> </scene> <scene> <stage_direction>..AND THERE IS LIONEL ALMOST ON HER, EYES WIDE, GUN OUT</stage_direction> <scene_description>She OPENS HER MOUTH TO EXCLAIM...BUT HE'S ON HER, CLAMPING HIS HAND OVER HER MOUTH AND SILENCING HER WITH A GESTURE. HE LOOKS TOWARD HER DOOR...HER EYES GO THERE, NOW TERRIFIED...</scene_description> </scene> <scene> <stage_direction>..Her hand is still on the key in the lock...gently he puts his hand over hers and carefully, eases her shaking hand off the key</stage_direction> <scene_description>THE DOOR JERKS OPEN and THE GIANT LOOMS OVER THEM. LAURA SCREAMS and LIONEL SHOVES HER BACK AND DUCKS, BARELY EVADING THE SWIPE OF A KNIFE THAT SPEARS MINNA'S HAT OFF HIS HEAD AND STICKS INTO THE WOODEN DOOR FRAME LIONEL TRIES TO RAISE FRANK'S .45 BUT THE GIANT'S HUGE HAND TOMAHAWKS DOWN, HITTING LIONEL'S GUN HAND BOOM! THE .45 FIRES STRAIGHT DOWN INTO THE GIANT'S RIGHT FOOT. HE GRUNTS AND DROPS, SMASHING THE GUN OUT OF LIONEL'S HAND AND TO THE FLOOR AND KNOCKING LIONEL DOWN TOO. AS LIONEL CRABS BACK, THE GIANT LIFTS FRANK'S GUN AND AIMS POINT BLANK AT LIONEL. LIONEL FLINCHES AND LAURA SCREAMS AS CLICK. THE GUN JAMS. LIONEL IS UP AND MOVING AS THE GIANT TRIES TO WORK THE SLIDE AND FIRE. CLICK. LAURA IS HEADING FOR THE STAIRS BUT LIONEL GRABS HER AND SHOVES HER TOWARD THE END OF THE HALL AS THE GIANT TRIES AGAIN. CLICK. THE GIANT TOSSES THE JAMMED GUN ASIDE AND RISES PAINFULLY, HIS FOOT BLEEDING HEAVILY. HE YANKS HIS KNIFE FROM THE DOORFRAME AND STARTS TO LIMP TOWARD THEM LIONEL IS HURLING OPEN THE WINDOW AT THE END OF THE HALL Laura scrambles out the window onto the fire escape with Lionel right behind her...ONE LAST LOOK AT the GIANT STRIDING TOWARD THEM FASTER.</scene_description> </scene> <scene> <stage_direction>EXT. LAURA'S BUILDING - FIRE ESCAPE - NIGHT - CONTINUOUS</stage_direction> <scene_description>HOT, FAST MUSIC coming from THE ROOSTER nearby...They are 4 STORIES UP on a 5 story building and the FIRE ESCAPE is old and rickety... Laura goes left fast, putting her hand on the railing only to have it BREAK COMPLETELY AWAY FROM THE BRICK WALL, ALMOST SENDING HER INTO SPACE. SHE SCREAMS AS LIONEL GRABS HER ARM AND PRACTICALLY THROWS HER UP THE LADDER. JUST AS HE STARTS TO CLIMB BEHIND HER-- SMASH! THE WHOLE WINDOW FRAME EXPLODES IN GLASS AND SPLINTERS AS THE GIANT COMES STRAIGHT THROUGH IT LIKE IT WAS PAPER... LAURA'S SCREAM CUTS THROUGH THE DARK...and the MUSIC JAM STOPS SUDDENLY. Lionel desperately climbs but he's running into Laura and then A HUGE HAND HAS HIM BY THE ANKLE...HE GRABS THE RAILINGS AND HAULS HIS WHOLE BODY UP AGAINST THE IMMOVABLE WEIGHT...it's just enough to stretch the Giant's arm enough that he can't swing his KNIFE HAND up as high... LIONEL's ELBOWS are locked around posts of the railing, trying to resist...being pulled down...but it's too much and HE'S SLIPPING...he DROPS TWO STEPS FAST, CLAWING TO GET A NEW GRIP...but the KNIFE IS MOVING IN when... CRASH! Something HITS the Giant RIGHT IN THE FOREHEAD, OPENING A CUT LIKE A BOXER, AS LIONEL TWISTS AWAY... THE GIANT looks up at...LAURA ON THE PLATFORM ABOVE, HOLDING A SECOND FLOWER POT WHICH SHE THROWS DOWN HARD. THE GIANT THROWS UP HIS KNIFE HAND TO BLOCK IT BUT THE IMPACT KNOCKS THE KNIFE OUT OF HIS HAND AND AS HIS MOVEMENT STANDS HIM UP A LITTLE TOO STRAIGHT ON THE LADDER... LIONEL PUTS A FOOT AGAINST THE MAN'S CHEST AND KICKS HARD. THE GIANT LURCHES BACK...ARMS PINWHEELING, TIPPING BACK AND CRASHING INTO THE BROKEN RAILING WHICH FLIES OFF THE WALL, PITCHING HIM OUT INTO OPEN SPACE. BUT HIS FLAILING HAND MANAGES TO GRAB THE SILL OF A WINDOW. LAURA: RUNS ACROSS THE PLATFORM ABOVE LIONEL TO THE FAR RAIL AND LOOKS DOWN. FOR A FROZEN SECOND SHE AND THE GIANT LOOK RIGHT AT EACH OTHER...AND THEN HE SILENTLY FALLS, a horrible drop...CRASHING ON HIS BACK ONTO A LOW DIVIDING WALL IN THE ALLEY WITH A SICKENING CRACK. LIONEL appears next to her. He looks down at the broken body, unmoving. Laura is SHAKING HARD. He grabs her shoulders and finds her eyes.</scene_description> <character>LIONEL</character> <dialogue>There's another one downstairs. Come on...</dialogue> <scene_description>And he starts up the final ladder to the roof...</scene_description> </scene> <scene> <stage_direction>EXT. LAURA'S BUILDING - ROOF - CONTINUOUS</stage_direction> <scene_description>LIONEL bursts onto the roof and shouts into the dark...</scene_description> <character>LIONEL</character> <dialogue>She doesn't know! SHE DOESN'T KNOW!</dialogue> <scene_description>Voices of concern shouting from other apartments can be heard as Lionel turns back to help a shaking Laura onto the roof. LIONEL (cont'd) It's okay...we're okay. But we gotta move. She nods and they start toward the ROOFTOP DOOR to a STAIRWELL...they are half way across when OUT OF THE SHADOW STEPS... LOU...cold and precise, he LIFTS A SILENCED REVOLVER. Lionel steps in front of Laura... LIONEL (cont'd) Tell him she doesn't know. I have what they want. Tell him...</scene_description> <character>LOU</character> <dialogue>That offer expired.</dialogue> <parenthetical>(laughs)</parenthetical> <dialogue>And they said you were smart...</dialogue> <scene_description>He pulls the hammer back and levels it... LIONEL: something behind Lou catching his eye... CLANG! LOU DROPS LIKE A LOG, revealing... THE TRUMPETER...WIELDING HIS HORN LIKE AN BASEBALL BAT...THE INSTRUMENT BADLY BENT from the impact with Lou's head... The SAX PLAYER and BILLY'S FRIEND from the club step out behind him.</scene_description> <character>TRUMPETER</character> <dialogue>Motherfucker, smoked my best horn.</dialogue> </scene> <scene> <stage_direction>INT. TRUMPET MAN'S APARTMENT - NIGHT - LATER</stage_direction> <scene_description>LAURA is on a sofa, staring into nothing...The MUSICIANS are posted up by the windows and doors... Lionel is on a phone...</scene_description> <character>LIONEL</character> <dialogue>I want to see him alone. Yeah, right now.</dialogue> <parenthetical>(writes something down)</parenthetical> <dialogue>Try anything funny and tomorrow will be the worst day you've had in a long time.</dialogue> <scene_description>He hangs up...looks at Laura. She looks shell-shocked. He looks at THE TRUMPETER who nods at him. Under control. LIONEL takes THE FOLDED DOCUMENT that MINNA LEFT HIM WITH THE FILE out of his coat pocket...shows the TRUMPETER something on it. LIONEL (cont'd) You know where this is? Can you take her there?</scene_description> <character>TRUMPET</character> <dialogue>I always like a night drive.</dialogue> <character>LIONEL</character> <parenthetical>(to Laura)</parenthetical> <dialogue>Go with them. You'll be safe at this place tonight.</dialogue> <character>LAURA</character> <dialogue>What don't I know?</dialogue> <scene_description>He stops and looks at her.</scene_description> <character>LIONEL (V.O.)</character> <dialogue>It wasn't the story she wanted to hear. And no good would come from telling it, so I wanted to say 'It doesn't matter. It's got nothing to do with you.' But there's no upside in lying to a woman who's smarter than you, so I told her the truth...</dialogue> <scene_description>We see him telling her the dark truth and her head drops and we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. PUBLIC ATHLETIC CLUB - POOL - NIGHT</stage_direction> <scene_description>We've been here before...the HUGE PRIVATE POOL with its canopy of glass...but now more dimly lit inside and steamy</scene_description> <character>LIONEL (V.O.)</character> <dialogue>Frank told me once if you're up against someone bigger than you, someone you can't beat toe to toe: make em think you respect their size and cut a deal that lets you walk out in one piece. Then figure out a way to stick it to em later without leaving your prints on the knife. Even walking in there I wasn't sure exactly how to play it. I just hoped in all the steam he wouldn't see me sweating.</dialogue> <scene_description>Lionel is admitted through a door He moves to a bench and sits to wait as A FIGURE SWIMS IN THE DARK, churning the water with powerful strokes. MOSES RANDOLPH: swimming powerfully from the far end toward him. He exits the pool, puts on a robe and stands over Lionel, IMPOSING and FIERCE. LIONEL is ticcing badly...not able to control his nerves. He YELPS TWICE...almost a BARK...then..</scene_description> <character>LIONEL</character> <dialogue>Who's the fucking Boss now, Bailey! Who's the boss!</dialogue> <scene_description>RANDOLPH regards him cooly...interested.</scene_description> <character>RANDOLPH</character> <dialogue>So what is it with you?</dialogue> <character>LIONEL</character> <dialogue>I got somethin' wrong with my head. Didn't your goons fill you in yet?</dialogue> <character>RANDOLPH</character> <dialogue>I don't care about your fucking affliction. I mean what's your angle in this? What do you want for that file?</dialogue> <character>LIONEL</character> <dialogue>I want to hear your version of it.</dialogue> <character>RANDOLPH</character> <dialogue>Why?</dialogue> <character>LIONEL</character> <dialogue>Let's just say an unfinished puzzle makes my head hurt, more'n most people.</dialogue> <scene_description>Randolph turns this over...assessing it.</scene_description> <character>RANDOLPH</character> <dialogue>I smooth it all out for your pain in the ass brain...we putting this to bed tonight?</dialogue> <character>LIONEL</character> <dialogue>It's you best shot.</dialogue> <scene_description>Randolph SITS DOWN NEXT TO HIM</scene_description> <character>RANDOLPH</character> <dialogue>I was young. I was the Get Things Done man for the greatest governor in the history of this state.</dialogue> <parenthetical>(remembering)</parenthetical> <dialogue>We had a party, it was the good years, before the Crash. The Tammany parties were like nothing before or since. We had a whole fucking hotel. I saw her there, working.</dialogue> <character>RANDOLPH</character> <dialogue>She was...I'd never felt...lust... like that. Like a fist in my crotch. You know 25 years later when I think of her it still makes my blood move.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I followed her into a service hall, she knew I had. She looked back at me and then went into a supply room.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I went in there and I took her against the spare towels.</dialogue> <character>LIONEL</character> <dialogue>You raped her?</dialogue> <character>RANDOLPH</character> <dialogue>I moved on her that first time. But I treated her well...gave her things. I saw to it that the Party used that hotel a lot for a few years.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>She could have disappeared any time. Stopped working there. But she didn't. She was shy but she knew how things worked and she was always grateful.</dialogue> <parenthetical>(scoffs)</parenthetical> <dialogue>Rape. Do you have the first inkling of what power is? Power is feeling...knowing...that you can do anything you want to and there's not a fucking person who can stop you. And if somebody else has a dumb idea that you don't like, that's the end of that idea, or the end of that person if you want.</dialogue> <parenthetical>(low, dangerous)</parenthetical> <dialogue>And if I can build highways when the rest of the country is broke, I'll punch through any neighborhood I damn well want to. And if some Negro slum is where I want to put my Federal project, or an off ramp for my bridge then all the goodie goodies in the world can shriek and moan as loud as they want. And if some chump thinks he can blackjack me by threatening to move our baseball team?</dialogue> <character>RANDOLPH</character> <dialogue>Then buddy the Dodgers can take it on the arches to the fucking coast and I'll get a new team that plays ball with ME, in MY stadium.</dialogue> <parenthetical>(turns to Lionel)</parenthetical> <dialogue>And if I want to fuck a colored girl in a hotel room now and then because I'm feeling like a wrecking ball then, pal, I'm gonna do it. And if you think I'm gonna let some little chip who never should have been born, or your small time boss or my brother and his ideals and his forgeries in my name slow down what I'm GETTING DONE in this city, you gotta lot to learn about how power works. Cause all those people are invisible...they don't even exist.</dialogue> <character>LIONEL</character> <dialogue>See if you feel that way tomorrow when they blow up your big vote.</dialogue> <character>RANDOLPH</character> <dialogue>She know?</dialogue> <scene_description>Lionel's look says no. Randolph calculates... RANDOLPH (cont'd) Interesting. So it's you and Paul. I know what he wants. If he had any balls he'd have used this before to box me in and take it from me. I'd have respected that actually, but he thinks the way you do things matters. It's why he'll never be anybody. You an idealist too? You gonna trade me that file to save the block you grew up on? Make me draw my lines somewhere else for some committee of childless women, howling about their negro adoptees? Or you just another blackmailing gumshoe who wants to transact with me? Name it!</scene_description> <character>LIONEL</character> <dialogue>Name it! CLAIM it! Shame it!</dialogue> <parenthetical>(beat - calms)</parenthetical> <dialogue>That blackmailing gumshoe was my friend and that girl is the only reason you're still breathing.</dialogue> <character>LIONEL</character> <dialogue>Do what you want to the city. Build your pyramids on the Nile. But you leave her alone. Anything happens to her, it gets mailed.</dialogue> <scene_description>Randolph narrows his eyes...reading into this, countering...</scene_description> <character>RANDOLPH</character> <dialogue>Make no mistake, you or Paul messes with what I intend to get done and I'll make her life even worse than I made his. You tell him I said that.</dialogue> <character>LIONEL</character> <dialogue>I guess we've got a deal. So I'll give you one for free.</dialogue> <parenthetical>(turns)</parenthetical> <dialogue>You man Lieberman is gonna cause you problems.</dialogue> <character>RANDOLPH</character> <dialogue>How so?</dialogue> <character>LIONEL</character> <dialogue>He owns a piece of half the companies doing contracts with slum clearance. And I'm guessing he hasn't told you about that. So when you 'handle' him...tell him it was me that told you and that that's for Frank.</dialogue> <character>RANDOLPH</character> <parenthetical>(actually surprised)</parenthetical> <dialogue>Son of a bitch. You come off weird, but you're smart. You should've taken my offer. You could've made em all get on their knees and apologize.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Although if she's anything like her mother, I can understand the pull.</dialogue> <scene_description>On that Lionel stands and turns to go. Randolph looks up RANDOLPH (cont'd) Oh, and tell my brother... I read his masterwork. It's as brilliant as everyone says. RANDOLPH (cont'd) Nobody else could have done it and it's good for absolutely everyone, including me. There's not one reason to deny it. Tell him I'll send him my thoughts in the morning. Lionel nods, and walks away into the steam. Randolph looks down on the bench to see: Lionel has left MINNA'S HAT BEHIND. He stares off...</scene_description> <character>RANDOLPH</character> <dialogue>SON OF A BITCH!</dialogue> <scene_description>The echoes and we CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. DAWN ON THE CITY / LIONEL DRIVING - MONTAGE</stage_direction> <scene_description>Images of the city interspersed with Lionel driving, getting somewhere beyond it all. Long Island.</scene_description> </scene> <scene> <stage_direction>EXT. PAUL'S APARTMENT BUILDING - EARLY MORNING</stage_direction> <scene_description>Paul can be seen in the entryway, pulling his mail out of the box with some urgency...expectant. He sifts it, his focus is on one envelope that has arrived. He comes out into the cold stares at the envelope a beat then looks up into the morning sun, takes a breath and opens it...reads the letter... CU: Personal stationary with 'MR' at the top and one large hand-written word: 'DENIED.' WIDE ON: Paul's sad figure, shoulders sagging The letter falls out of his hand and blows away in the cold wind. As he turns and shambles away down the street, disappearing into shadow... We are back with LIONEL IN THE CAR, CROSSING BRIDGES, FAR OUT OF THE CITY NOW</scene_description> <character>LIONEL (V.O.)</character> <dialogue>Growing up, I always thought Frank was a hero but he was no crusader in the end. He was just a gumshoe trying to make a buck like everyone else. But he didn't have to go to that war.</dialogue> <character>LIONEL (V.O.)</character> <dialogue>He was old enough to have skipped it and he went anyway because he actually thought this country was worth fighting for. I never had anything I cared about enough to look past my own problems. But Laura did. There was a story she wanted told and I figured it was time to get off my ass and pick a side.</dialogue> </scene> <scene> <stage_direction>INT. NY POST NEWSROOM - MORNING - CONTINUOUS</stage_direction> <scene_description>JAKE GLEASON, the Reporter, sits at his desk with his feet up reviewing his notes. A NEWSBOY blows past the desk dropping an envelope on it</scene_description> <character>NEWSBOY</character> <dialogue>Gleason...for you</dialogue> <scene_description>GLEASON sits forward and picks it up, eyes scanning AUDIO FLASHBACK: we hear Lionel and Gleason from when they first met...LIONEL: "Hey pal, what's the story here?" GLEASON: "Stories of injustice and despair...the American Way." And we see, CU: on the envelope is written "STORIES OF INJUSTICE AND DESPAIR" OR...A BETTER STORY FOR A REAL REPORTER. LET'S MAKE THINGS INTERESTING....A FRIEND" GLEASON'S brow furrows, remembering...curious. He opens the envelope and reacts at LIONEL HAS RETURNED HIS PRESS CARD, CLIPPED TO A NOTE "THANKS FOR THE LOAN. PAY YOU BACK WITH A PULITZER" Now GLEASON is really intrigued and, as the music rises, he looks at the document and we see that LIONEL HAS STOLEN THE DOCUMENTS FROM THE HALL OF RECORDS THAT SHOW THAT EXPOSE LIEBERMAN AND THE BA OFFICERS...LIEBERMAN'S NAME IS CIRCLED ON GLEASON'S FACE, as his jaw drops in shock. As what he's got washes over him, a smile breaks across his face and he starts laughing with delight and we CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. A BEACH HOUSE - MORNING</stage_direction> <scene_description>Lionel's car pulls up on the edge of a sand-swept road and he gets out and sees. LAURA sitting wrapped in blankets on the porch of a weathered little house. He stops at the bottom step and stands facing her.</scene_description> <character>LIONEL</character> <dialogue>You crazy? It's freezing out.</dialogue> <scene_description>He sits next to her...She is shaken. A tear falls on her face.</scene_description> <character>LAURA</character> <dialogue>What is this place?</dialogue> <character>LIONEL</character> <dialogue>It was Frank's.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Looks like it's mine now.</dialogue> <scene_description>She reacts. He pulls out the document Frank left him, which we realize now must be a will or a title deed. She looks at it, then up at him tenderly</scene_description> <character>LAURA</character> <dialogue>Still looking out for you after all.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Funny how things turn out.</dialogue> <scene_description>He nods and stares outward at something...puzzling at a memory.</scene_description> <character>LIONEL</character> <dialogue>"Brooklyn's big, but there's things even bigger."</dialogue> <character>LAURA</character> <dialogue>What's that?</dialogue> <character>LIONEL</character> <dialogue>I think it's something Frank said to me but I can't remember when.</dialogue> <character>LAURA</character> <dialogue>Maybe this is what he meant.</dialogue> <scene_description>AND WE CUT BEHIND THEM and see the enormous COLD, BLUE OCEAN, WAVES POUNDING ONTO MILES OF FROZEN EMPTY WHITE SAND.</scene_description> <character>LIONEL</character> <dialogue>If! IF!</dialogue> <scene_description>She puts her hand gently on his back and he settles. She leans into him, he closes his eyes and sighs and, AS THEIR LONELY SONG SWELLS UP, we....CUT TO BLACK.</scene_description> </scene> </script>

In 1950s New York City, Lionel Essrog works at a detective agency alongside Gilbert Coney, Danny Fantl, and Tony Vermonte. Their boss, Frank Minna, rescued them as children from an abusive orphanage. Nicknamed "Motherless Brooklyn" by Frank, Lionel has Tourette syndrome and OCD, often alienating him from people, but his strong verbal and photographic memory make him a good detective. Working a secret case, Frank asks Lionel and Gilbert to shadow him to a meeting. Lionel listens over the phone as Frank presents documents that threaten a business deal for a man named William Lieberman, who's there with his assistant Lou and an extremely large henchman. When Frank tries to negotiate a high price, the men force him to take them to the originals. Lionel and Gilbert follow in their car, arriving just as Frank is shot. They take him to the hospital, but Frank dies. Frank's widow Julia leaves Tony in charge of the office. Lionel begins wearing Frank's hat and coat, and a matchbook in Frank's pocket leads Lionel to an African-American owned jazz bar in Harlem. He realizes that Frank's findings involve Laura Rose, who works for Gabby Horowitz fighting urban renewal; poor and minority neighborhoods are being bought out and demolished, forcing out their residents. Lionel goes to a public meeting where Moses Randolph, a commissioner of several development authorities, is loudly contested by Horowitz and the audience. Stealing a reporter's credentials, Lionel talks to a man named Paul who was raging against Moses at the meeting and tells him Moses is the real power in the city government, even beyond the mayor. Under the guise of reporting on the urban renewal story, Lionel gets to know Laura. She takes him to a club Frank was investigating, where her father Billy – assuming Lionel is one of Moses' men – has him beaten unconscious. Lionel is rescued by a trumpet player, and discovers that Paul is Moses' brother and an engineer. He realizes Lieberman is receiving kickbacks on many of the housing deals, and that the housing relocation programs are scams. Paul presents Moses with a huge renovation plan to improve the city. Billy calls Lionel, apologizing for the attack and offering to meet with information. However, Lionel arrives to find Billy murdered – with his death staged as a suicide. Staying the night with a distraught Laura at her house, Lionel admits his true identity and that he believes she is in danger. Finding photos of Paul meeting with Billy on his own, Lionel confronts Laura, who explains that her "Uncle" Paul is her real father. Paul denies this to Lionel, and explains that Frank and Billy planned to get more money out of Randolph's goons, against Paul's protests. He begs Lionel to find the evidence. Lionel is brought to Moses, who invites him to join his team and stop snooping, with 24 hours to decide. Inside Frank's hat, Lionel finds the key to a Pennsylvania Station storage locker, containing a property deed and Laura's birth certificate, which reveals Moses is her father. Lionel gives the key to Paul and runs into Tony, who has been working surveillance for Randolph. Tony admits he has been sleeping with Julia, and tells Lionel to take Moses’ deal since Laura will soon be killed. Lionel races to save Laura, stopping her before she enters her apartment, and they flee. Laura knocks the large henchman off the fire escape, and Lou corners them with a gun but is hit in the head with a trumpet by the trumpet player, who drives Laura out of town. Lionel meets Moses, who reveals that he raped Laura's mother, a hotel employee. Paul forged Moses' signature on the birth certificate and exposure of this secret threatened Moses. Lionel warns Moses to leave Laura alone or he will release the information. He informs Moses that Lieberman is on the take and asks that when Moses has Lieberman killed, to tell him it is for Frank. Moses tells Lionel to tell Paul that his plans for the city will proceed. The next day Paul learns that Moses denied his plans out of spite while Lionel mails the information about Lieberman to the reporter whose credentials he stole. Lionel drives to the seaside property Frank left to him where Laura is waiting for him.

The Mask_1994

tt0110475

<script> <scene> <stage_direction>EXT. HIGH SEAS - DAY</stage_direction> <scene_description>The dragonhead prow of an ancient Viking ship cuts through the thick fog of the rough North Atlantic Sea . MUSIC EXPLODES : WAGNER 'S `` GOTTERDAMMERUNG '' -LRB- Twilight of the Gods -RRB- SUPERIMPOSE : THE TENTH CENTURY A.D.</scene_description> </scene> <scene> <stage_direction>EXT. BOW OF THE SHIP - DAY</stage_direction> <scene_description>Viking explorer LEIF ERICSON carefully studies his fob compass as he dangles it above a parchment map . His SAILORS steal nervous looks at a large , diabolical - looking IRON BOX in the hold . OLAF , a fierce , one - eyed Viking warrior approaches Ericson . NOTE : Dialog is in OLD NORSE , with SUBTITLES -RRB-</scene_description> <character>OLAF</character> <dialogue>Leif, let's do the deed before another night falls. The crew's near mutiny.</dialogue> <scene_description>Ericson draws his broadsword with a flourish .</scene_description> <character>LEIF ERICSON</character> <dialogue>Know this! The first man to turn will taste my steel in his guts.</dialogue> <character>OLAF</character> <dialogue>But we've surely gone far enough.</dialogue> <character>ERICSON</character> <dialogue>That accursed box must be thrown off the edge of the world. We will go until we can go no more.</dialogue> <scene_description>Suddenly there is an ear - splitting SCREECH and the entire boat rocks violently as it runs aground . The LOOKOUT is thrown from his crow 's nest . and CRASHES straight through the deck right in front of Ericson . His pained voice floats up from the black hole .</scene_description> <character>LOOKOUT</character> <dialogue>Land ho.</dialogue> <scene_description>Ericson wheels about just as the fog parts off the starboard bow . ERICSON 'S P.O.V. . A beautiful rustic coastline stretching off as far as the eye can see .</scene_description> <character>LEIF</character> <parenthetical>( gasps . )</parenthetical> <dialogue>By Odin's beard.</dialogue> </scene> <scene> <stage_direction>EXT. THE NEW WORLD - A HARBOR - SUNSET</stage_direction> <scene_description>Olaf finishes digging a hole in the sand . He backs away , terrified , as burly Vikings , led by Ericson , muscle the IRON BOX over to the hole and quickly bury it . Ericson turns to an exotic - looking Eurasian WITCH .</scene_description> <character>ERICSON</character> <dialogue>Be quick, Witch. Let the deed be done.</dialogue> <scene_description>The Witch unravels a scroll and recites :</scene_description> <character>WITCH</character> <dialogue>Oh Loki, ancient one. Thy mischief dwell now in waters, base and bland. And in waves and sand thy magic forever sleep.</dialogue> <scene_description>As the Witch speaks , a strong wind kicks up and a black wall of clouds appears . The sky explodes in THUNDER and LIGHTNING . The men look about fearfully .</scene_description> <character>ERICSON</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Back to the ship men, hurry.</dialogue> <character>OLAF</character> <dialogue>Captain, you've discovered a new world. It is your right to name it.</dialogue> <character>ERICSON</character> <dialogue>Leave that to the Italians. We're never coming back here. Never. This land is now cursed.</dialogue> <scene_description>A SIGN : ` BEACH CLOSED - RAW SEWAGE - NO SWIMMING '</scene_description> </scene> <scene> <stage_direction>EXT. BEACH - PRESENT DAY</stage_direction> <scene_description>Hot , smoggy and packed . Cityscape of towering skyscrapers stands in the haze just beyond the crowded beach . SUPER : EDGE CITY - THE PRESENT A caffeine - driven D.J 's voice booms over the beach - goers ' radios .</scene_description> <character>D.J.</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Yessiree, it's a four - alarm sizzler out there today with highs in the upper nineties and no relief in sight. We have a third stage smog advisory and a metro traffic gridlock alert. Flourocarbons are up, the Dow Jones is down and we're expecting another Spike Lee movie any second. In other words folks, it's just another bee - youtiful day in Edge City.</dialogue> <scene_description>Camera ENDFRAMES on an industrial barge marked `` Department of Sanitation . '' A crane 's cable line disappears underwater .</scene_description> </scene> <scene> <stage_direction>EXT. UNDERWATER - SAME TIME</stage_direction> <scene_description>SCUBA WELDERS repair a cracked , scum spewing pipe . One diver hits something hard with his dredger . He unearths . THE ANCIENT IRON BOX Rust and barnacles partially obscure the engraved images of Norse gods and demons . THE DIVER wedges his scuba knife under the corroded lock . Erie ` MASK ' theme SFX rise as he tries to pry open the lid . Suddenly the PIPELINE BREAKS FREE , crushing the diver and cracking open the box . SOMETHING -LRB- seen only in rippling shadow -RRB- explodes out of the box on a cloud of bubbles and shoots toward the surface .</scene_description> </scene> <scene> <stage_direction>EXT. WATER</stage_direction> <scene_description>The Mask surfaces in the f.g. as lightening EXPLODES across the distant cityscape .</scene_description> </scene> <scene> <stage_direction>EXT. EDGE CITY BANK</stage_direction> <scene_description>A banner displays their proud motto : `` WE BANK ON TOMORROW . ''</scene_description> </scene> <scene> <stage_direction>EXT./INT. EDGE CITY BANK</stage_direction> <scene_description>CHARLIE SCHUMACHER -LRB- 30 's -RRB- gazes out the window from his cluttered desk as the crack of THUNDER echos through the urban canyons .</scene_description> <character>CHARLIE</character> <dialogue>Look at those clouds rollin' in, man. Freaky weather.</dialogue> <scene_description>STANLEY IPKISS , a bright0eyed amiable young account exec pauses by Charlie 's desk and drops off a print - out .</scene_description> <character>STANLEY</character> <dialogue>Hey Charlie, can you go over these stats? We're supposed to have a complete report before lunch.</dialogue> <scene_description>Charlie takes one looks at the complex print - outs and tosses them back .</scene_description> <character>CHARLIE</character> <dialogue>Woah. Sorry Stanley, I just had my weave tightened and my head is killing me. Be a pal and take those over to Hinkleman, will ya?</dialogue> <scene_description>MAGGIE , a cute young blonde now strolls by .</scene_description> <character>MAGGIE</character> <dialogue>Hi guys. Did you have any luck with those concert tickets Stanley?</dialogue> <scene_description>Stanley perks up at the sight of her .</scene_description> <character>STANLEY</character> <dialogue>I sure did. Friday night, just like you wanted.</dialogue> <character>MAGGIE</character> <dialogue>Oh, Stanley, that's wonderful.</dialogue> <character>STANLEY</character> <dialogue>What time should I pick you up?</dialogue> <character>MAGGIE</character> <dialogue>Gee, I do n't know. My best girlfriend just got into town and I know she'd love to go. Can we get an extra ticket for her?</dialogue> <character>STANLEY</character> <dialogue>Well. uh, actually it's sold out. I was kinda lucky to get these.</dialogue> <character>MAGGIE</character> <dialogue>She's only going to be in town a couple of days and I just ca n't let her sit at home all alone. Are you sure there is n't something we can do?</dialogue> <scene_description>Stanley considers the situation for a moment , then pulls the tickets out of his pocket .</scene_description> <character>STANLEY</character> <dialogue>You know what? Here. You two go.</dialogue> <character>MAGGIE</character> <dialogue>Oh Stanley, I could n't do that.</dialogue> <character>STANLEY</character> <dialogue>No really. Go ahead. It's okay. I hate concerts anyway. All that, you know. music floating around.</dialogue> <scene_description>Maggie snatches the tickets from Stanley 's hand .</scene_description> <character>MAGGIE</character> <dialogue>That is so sweet. Sheila's just going to love this.</dialogue> <character>STANLEY</character> <dialogue>So maybe you and I can get together over the weekend?</dialogue> <character>MAGGIE</character> <dialogue>I'm not sure what's going on, but just give me a call. You know I like to be spontaneous.</dialogue> <character>STANLEY</character> <dialogue>Oh, sure. Me too.</dialogue> <character>MAGGIE</character> <dialogue>Stanley Ipkiss, you are the nicest guy.</dialogue> <scene_description>Maggie gives him a quick air - kiss and hurries off to her teller 's window .</scene_description> <character>CHARLIE</character> <dialogue>That's it.</dialogue> <character>STANLEY</character> <dialogue>What?</dialogue> <character>CHARLIE</character> <dialogue>The kiss of death. As soon as they use the `` N'' word it's all over.</dialogue> <character>STANLEY</character> <dialogue>So maybe I am a nice guy. So what?</dialogue> <character>CHARLIE</character> <dialogue>You are a rug. I am talking astro - turf here. You're letting these women sharpen their cleats on you.</dialogue> <character>STANLEY</character> <dialogue>Hey, I'm a gentleman. If they ca n't appreciate that, it's their problem.</dialogue> <character>CHARLIE</character> <dialogue>You spend too much time being `` nice'' to a girl, you'll wind up sittin' around listening to her complain about the son of a bitch she really loves.</dialogue> <character>STANLEY</character> <dialogue>Charlie, you are a very sick puppy.</dialogue> <character>CHARLIE</character> <dialogue>Wake up, Stanley! These are the nineties. We're dealing with an entire generation of dysfunctional love junkies. You ca n't romance'em. You got ta confuse'em. It's the only thing that gets their attention.</dialogue> <parenthetical>( pauses . )</parenthetical> <dialogue>Let me demonstrate. You see that girl over there?</dialogue> <scene_description>Stanley looks over at the coffee service where an attractive young WOMAN is pouring herself a cup of coffee .</scene_description> <character>CHARLIE</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Hi Lisa.</dialogue> <character>LISA</character> <parenthetical>( forgets his name . )</parenthetical> <dialogue>Oh, hi.</dialogue> <character>CHARLIE</character> <dialogue>Charlie.</dialogue> <character>LISA</character> <dialogue>That's right. Sorry.</dialogue> <character>CHARLIE</character> <dialogue>Lisa, this may seem a little odd, but my friend over there and I were having this discusion and I thought maybe you could settle it for us.</dialogue> <character>LISA</character> <dialogue>I'll help out if I can.</dialogue> <character>CHARLIE</character> <parenthetical>( sheepishly . )</parenthetical> <dialogue>Actually, I do n't know. this is kind of a personal question.</dialogue> <character>LISA</character> <dialogue>That's okay. Go ahead.</dialogue> <character>CHARLIE</character> <dialogue>Alright. Just for the sake of argument, if I was n't a happily married man. am I the kind of guy you'd go out with?</dialogue> <character>LISA</character> <dialogue>Oh, um. I do n't know.</dialogue> <parenthetical>( pauses . )</parenthetical> <dialogue>Well. yeah. I guess I would.</dialogue> <character>CHARLIE</character> <dialogue>Lisa, I have terrific news for you.</dialogue> <character>LISA</character> <dialogue>What?</dialogue> <character>CHARLIE</character> <dialogue>I'm not married! Is this perfect or what? Listen, there's not a lot of women willing to come right out like that and admit they're attracted to a guy, but.</dialogue> <scene_description>Lisa SLAPS Charlie , turns on her heel , and marches off .</scene_description> <character>CHARLIE</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Jeez. make up your mind.</dialogue> <scene_description>Stanley gives Charlie the fish eye as he returns .</scene_description> <character>CHARLIE</character> <dialogue>Okay. Bad example. Some of these women got so much baggage they need an emotional sky cap. I'll tell you what Stanley, tonight I'm gon na take you on a love safari, deep into the darkest heart of the urban jungle.</dialogue> <character>STANLEY</character> <dialogue>And where's that?</dialogue> <character>CHARLIE</character> <dialogue>The Monkey's Paw. Hottest new club in town. It's a guaranteed skirt alert and no dead beats allowed.</dialogue> <character>STANLEY</character> <dialogue>So how are we gon na get in?</dialogue> <character>CHARLIE</character> <dialogue>Woah, do I detect a little self - image problem there, buddy? You just leave everything to me. This, my friend is going to be the perfect night on the town.</dialogue> <scene_description>Suddenly a resounding peal of THUNDER rings out like the crack of doom . Sheets of rain pour down on the bank 's windows .</scene_description> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>Pedestrians scramble for cover in the sudden downpour .</scene_description> </scene> <scene> <stage_direction>INT. BANK - FOYER</stage_direction> <scene_description>A young woman scurries into the bank holding a newspaper over her head . She 's soaking wet and pauses in the foyer to straighten herself out . Charlie immediately notices her .</scene_description> <character>CHARLIE</character> <dialogue>Hold the phone. Killer at three o'clock.</dialogue> <scene_description>Stanley follows his gaze . STANLEY 'S P.O.V. CAMERA does a classic CHEESECAKE TILT - UP starting with the woman 's million dollar legs as she squeezes some of the water out of her skirt . up past her body , which through her damp summer clothes is undeniable proof that there is a God . up . up . to her face as that newspaper is tossed aside . She 's a heart - stopping woman/child with a Cupid 's bow mouth and ice blue eyes . In other words she 's trouble . Big trouble , also known as TINA CARLYLE . Charlie may as well have just seen the Virgin of Guadalupe .</scene_description> <character>CHARLIE</character> <parenthetical>( hushed reverence . )</parenthetical> <dialogue>Oh my god. A perfect dime. The dame of dames. The Moby of my dick.</dialogue> <character>STANLEY</character> <dialogue>Easy Charlie. You'll sprain your eyes.</dialogue> <scene_description>Tina now enters and walks towards Stanley and Charlie .</scene_description> <character>TINA</character> <dialogue>Excuse me, where can I open a new account?</dialogue> <scene_description>Charlie flashes his best 100 watt smile .</scene_description> <character>CHARLIE</character> <dialogue>You've come to the right place, ma'am. Just step right this way and pull up a chair.</dialogue> <scene_description>Charlie tries to steer Tina to his desk , but she 's still preoccupied with her damp clothing .</scene_description> <character>TINA</character> <dialogue>Oh, I'm sorry. I'm a complete wreck. Will you hold this please?</dialogue> <scene_description>She hands her shoulder bag to Stanley and peels off her wet blazer , creating another awe - inspiring visual moment .</scene_description> <character>CHARLIE</character> <dialogue>Here, let me take that for you.</dialogue> <scene_description>Charlie clutches her jacket with white knuckles .</scene_description> <character>TINA</character> <dialogue>Thanks.</dialogue> <scene_description>But Tina turns and sits at Stanley 's desk ; Charlie is stunned at his near miss , but there 's not a thing he can do about it .</scene_description> <character>STANLEY</character> <dialogue>So, uh, what kind of account did you have in mind?</dialogue> <character>TINA</character> <parenthetical>( smiles sweetly . )</parenthetical> <dialogue>Well, I'm not sure exactly. I'm just terrible with things like that. That's an interesting tie Mr?</dialogue> <character>STANLEY</character> <dialogue>Ipkiss. Stanley Ipkiss.</dialogue> <scene_description>Tina extends her hand .</scene_description> <character>TINA</character> <dialogue>Tina Carlyle. Pleased to meet you.</dialogue> <character>STANLEY</character> <dialogue>The, uh. pleasure's all mine.</dialogue> <scene_description>Tina notices a box of Kleenex on Stanley 's desk .</scene_description> <character>TINA</character> <dialogue>May I? I'm such a mess.</dialogue> <character>STANLEY</character> <dialogue>Oh. of course.</dialogue> <scene_description>Tina takes out a compact and daintily blots the moisture from her face .</scene_description> <character>TINA</character> <dialogue>As I was saying about that tie. It's like one of those, what do you call them, ink blot tests.</dialogue> <character>STANLEY</character> <dialogue>A Rorschach test.</dialogue> <scene_description>She twists open a tube of lip gloss andbegins to run it across her incredibly lush liips .</scene_description> <character>TINA</character> <dialogue>That's it. It looks like. um. A young woman riding bareback. You know, like a Lady Godiva or something.</dialogue> <character>STANLEY</character> <dialogue>Really? I do n't think I can.</dialogue> <scene_description>She slowly runs a finger along Stanley 's tie .</scene_description> <character>TINA</character> <dialogue>Or. if that's not a horse it could be two lovers. A man and a woman. That would be the woman on top, of course.</dialogue> <character>STANLEY</character> <parenthetical>( mesmerized . )</parenthetical> <dialogue>. Of course.</dialogue> <scene_description>She licks her lips and blots them on the Kleenex , leaving a perfect kiss impression and drops it on Stanley 's desk .</scene_description> <character>TINA</character> <dialogue>What do you see, Mr. Ipkiss?</dialogue> <scene_description>Stanley starts to get uncomfortable under her gaze .</scene_description> <character>STANLEY</character> <dialogue>I do n't know. Bold colors. It's a power tie, y' know? They're supposed to make you feel. powerful.</dialogue> <character>TINA</character> <dialogue>Does it work?</dialogue> <character>STANLEY</character> <dialogue>Sort of. It's just a tie. Now, about that account.</dialogue> <scene_description>CLOSE - UP as Tina drops her compact back in her shoulder bag and we see her flick a red L.E.D. light on . She carefully adjusts the bag , aiming a tiny CAMERA LENS neatly concealed within it . Tina 's pointing the bag at the open bank vault that stands a short distance from Stanley 's desk . C.U. - VIDEO MONITOR displaying the shot of the vault that Tina is broadcasting . WIDER - : SC : INT . MONKEY 'S PAW NIGHT CLUB DORIAN TYREL - a slick nouveau - mobster complete with diamond ear stud and Matsuda jacket watches the video broadcast from his inner sanctum ; an eclectic post - modern playroom with an array of electronic toys and minimalist gun racks . Dorian sips nervously on a Yoo - Hoo as he watches the show .</scene_description> <character>DORIAN</character> <dialogue>That's it sweetheart. A little to the right.</dialogue> <scene_description>His two gunsels , SWEET EDDY and CHUN WOO are busy at the back of the room playing air - hockey . Serious firepower is visible in their shoulder holsters .</scene_description> <character>DORIAN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Hey, will you guys keep it down back there?</dialogue> <scene_description>Dorian 's safe cracking expert , a black hip - hop artist named DOCTOR FREEZE scribbles notes as he watches the screen with a practiced eye .</scene_description> <character>DR. FREEZE</character> <dialogue>That's cool, man. Freeze it right there.</dialogue> <scene_description>Dorian punches a button and the image freezes .</scene_description> <character>DORIAN</character> <dialogue>What do you think, Doctor?</dialogue> <character>DR. FREEZE</character> <dialogue>Layout's not bad. We got us a sweet little Perkins/Jenning time lock. But them motion detectors are putting the chill on my thrill.</dialogue> <character>DORIAN</character> <dialogue>Can you pull it off?</dialogue> <character>DR. FREEZE</character> <dialogue>Hey, you're talkin' with the Doctah, man. It's all about time and money.</dialogue> <character>DORIAN</character> <dialogue>Yeah, well the meter's runnin' on this one. We got less than a week.</dialogue> <character>DR. FREEZE</character> <dialogue>Not cool. What about the coin?</dialogue> <character>DORIAN</character> <dialogue>There's plenty. And I'll be happy to invest your share.</dialogue> <character>DR. FREEZE</character> <dialogue>What you talkin' about, man?</dialogue> <character>DORIAN</character> <dialogue>This is n't about the lousy couple hundred thou' that's sitting in that vault, Freeze. That's chump change.</dialogue> <character>DR. FREEZE</character> <dialogue>Yeah? Then I'm chump number one, man.</dialogue> <character>DORIAN</character> <dialogue>We got ta expand your horizons Doctor. Take a look.</dialogue> <scene_description>Dorian pulls back a curtain . An amazingly gaudy building stands on a pier across the river from Dorian 's club . A huge sign across it 's archway reads : `` Opening Soon Valhalla Casino '' .</scene_description> <character>DORIAN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>The Valhalla Casino. Twenty mil of glass, neon, booze and dice. World class sucker bait. The grand opening is Saturday night and it will drive this two bit club of mine out of existence. But I say if you ca n't beat'em, take'em over.</dialogue> <character>DR. FREEZE</character> <dialogue>Yeah? That's Arnie the Swede's place, man and he is one ice cold meatball eatin' motha fucker.</dialogue> <character>DORIAN</character> <dialogue>Leave him to me. You pull off this heist and I promise you, it'll be all tits and champagne from here on in.</dialogue> </scene> <scene> <stage_direction>EXT. RIVER - CULVERT - SUNSET</stage_direction> <scene_description>The Mask lies tangled in a rat 's nest of seaweed and garbage that 's washed up in a culvert under a bridge . A large WHARF RAT now creeps out along the garbage sniffing curiously at its timeworn wooden surface . It takes a tentative nibble . CLOSER - THE MASK begins to SHIMMER . to vibrate with its own magical inner life . The rat SQUEAKS and jumps back , disturbing the pile of garbage . WIDER The Mask is dislodged and floats back out into the river . Camera TILTS UP with the Mask as it follows the current into the dark heart of the city .</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREET - EARLY EVENING</stage_direction> <scene_description>Stanley and Charlie are riding along at breakneck speed in a taxi cab .</scene_description> <character>STANLEY</character> <dialogue>Hold it up right here, please.</dialogue> <scene_description>A gun port suddenly SLAMS open and the wild - eyed Albanian TAXI DRIVER wheels about and cocks a huge .45 from his side of the bullet riddled partition as the cab continues to barrel through traffic .</scene_description> <character>DRIVER</character> <dialogue>Hold up?! No hold up! I keel you very well! I splatter your guts big time, Mr. Cowboy Man!</dialogue> <scene_description>Stanley dives for cover .</scene_description> <character>CHARLIE</character> <dialogue>No! No! He only wants you to stop the cab!</dialogue> <scene_description>The driver instantly SLAMS on the brakes , throwing his passengers forward mercilessly .</scene_description> <character>DRIVER</character> <parenthetical>( now totally calm . )</parenthetical> <dialogue>Hokay. Pardon you very much.</dialogue> <scene_description>Charlie helps Stanley sit back up .</scene_description> <character>CHARLIE</character> <dialogue>It's alright, Stanley.</dialogue> <character>STANLEY</character> <parenthetical>( softly . )</parenthetical> <dialogue>I hate this town. I really hate this town.</dialogue> <character>CHARLIE</character> <dialogue>Why are you getting out here?</dialogue> <character>STANLEY</character> <dialogue>I got ta pick up my car.</dialogue> <character>CHARLIE</character> <dialogue>Fine. Now do n't forget. Ten o'clock at the Monkey's Paw. I've already got us lined up with a couple of authentic dimes.</dialogue> <scene_description>Stanley steps out of the cab .</scene_description> <character>STANLEY</character> <dialogue>Charlie, please. The last time you said that you showed up with two lesbian mud - wrestlers.</dialogue> <character>CHARLIE</character> <dialogue>Well, I ca n't promise we'll get that lucky again. Later!</dialogue> <scene_description>With a SCREAM of tires the cab peels back out into traffic .</scene_description> </scene> <scene> <stage_direction>INT. RIPLEY'S AUTO FINISHING - EARLY EVENING</stage_direction> <scene_description>Stanley enters the grease spattered , cluttered garage and scans the area for signs of life . We can hear the CLANK - CLANK - CRASH of some less than light - fingered automotive work in progress . Stanley DINGS a little service bell sitting on a counter plastered with naked playmate decoupage and Mrs. Power Tool '93 calendars .</scene_description> <character>STANLEY</character> <dialogue>Hello?</dialogue> <scene_description>IRV , a lumbering unshaven behemoth of a man with permanently low - slung refrigerator repairman pants , makes his way past half rebuilt car carcasses towards Stanley .</scene_description> <character>IRV</character> <dialogue>Hang on. Hong on. Do n't get your panties in a twist.</dialogue> <scene_description>BURT , a thinner version of Irv with Coke bottle glasses and a mop of greasy hair , pops up from beneath a car , RIPS out of chunk of motor and wiring and holds it up to Irv .</scene_description> <character>BURT</character> <parenthetical>( examining part . )</parenthetical> <dialogue>Hey Irv, what the hell is this?</dialogue> <character>IRV</character> <parenthetical>( eyes it carefully . )</parenthetical> <dialogue>Ohh. I dunno. About seven hundred bucks.</dialogue> <scene_description>They both laugh evilly as Irv slaps Burt on the back . Irv makes his way over to Stanley , still chuckling to himself .</scene_description> <character>IRV</character> <dialogue>Now what can I do for you, Bub?</dialogue> <character>STANLEY</character> <dialogue>I'm here for the Civic.</dialogue> <character>IRV</character> <dialogue>Japanese car, right? Kind of a nasty pea soup green?</dialogue> <character>STANLEY</character> <dialogue>Well, they call it Emeral Forest, actually.</dialogue> <scene_description>Irv turns back to Burt .</scene_description> <character>IRV</character> <dialogue>Burt! Pea green Civic!</dialogue> <scene_description>Burt pops back up from beneath the hood .</scene_description> <character>BURT</character> <dialogue>Green Civic. Green Civic. Oh yeah! Brake drums are still on order and I'm only halfway through rebuilding the trans.</dialogue> <character>STANLEY</character> <dialogue>But I just brought it in for an oil change!</dialogue> <character>IRV</character> <dialogue>Yeah? Well you're lucky we caught those other problems before they caused some serious trouble.</dialogue> <character>STANLEY</character> <dialogue>Alright. Alright. When will it be ready?</dialogue> <scene_description>Irv looks over at Burt , who gives him a `` Make something up '' look .</scene_description> <character>IRV</character> <dialogue>Come back tomorro.</dialogue> <parenthetical>( Burt shakes his head `` no '' . )</parenthetical> <dialogue>. First thing next wee.</dialogue> <parenthetical>( Burt shakes again . )</parenthetical> <dialogue>. next month?</dialogue> <parenthetical>( Burt shakes an enthusiastic `` yes '' . )</parenthetical> <dialogue>Yeah, first thing next month. That's if we can get the parts.</dialogue> <character>STANLEY</character> <dialogue>What am I going to do in the meantime? I ca n't afford to keep taking cabs all over town.</dialogue> <scene_description>Irv smiles a rotten - toothed smile .</scene_description> <character>IRV</character> <dialogue>Oh, hell. we can take care of that!</dialogue> <parenthetical>( to Burt archly . )</parenthetical> <dialogue>Hey Burt, bring around the loaner.</dialogue> <parenthetical>( to Stanley . )</parenthetical> <dialogue>And for you little buddy, only ten bucks a day.</dialogue> </scene> <scene> <stage_direction>EXT. MONKEY'S PAW - NIGHT</stage_direction> <scene_description>The joint is jumping with musclehead BOUNCERS picking and choosing from the crowd of terminally trendy WANNABE 'S gathered around the entrance . A light drizzle is falling . A parade of swanky cars pulls up one by one as CAR HOPS scurry to keep up with the flow ; A glistening pearlescent Rolls Royce . A fire engine red Ferrari . A classic two tone Corniche in tan and burgundy . And finally a broken down Citroen in rust bucket red and spackle gray RUMBLES up to the front of the club with a disgruntled Stanley behind the wheel . A car hop attempts to open the door , but it 's rusted shut . Stanley throws his shoulder into it and the door finally pops open with a SCREECH of metal . Stanley nearly tumbles out into the street . He smiles nervously at a high class couple looking with disdain at the eyesore - mobile . He pats the hood .</scene_description> <character>STANLEY</character> <dialogue>It's a classic.</dialogue> <scene_description>The car hop jumps in and tries to throw the car into gear with a horrible GRINDING . He finally waves over two other car hops who quickly push it off down the street .</scene_description> <character>CHARLIE</character> <dialogue>Hey, Stanley. Nice wheels. What is that, a Rolls Canardley?</dialogue> <character>STANLEY</character> <dialogue>A what?</dialogue> <character>CHARLIE</character> <dialogue>You know, a Rolls Canardley. Rolls down one hill canardley roll up the next.</dialogue> <parenthetical>( he cracks up . )</parenthetical> <dialogue /> <character>STANLEY</character> <dialogue>We are not discussing the car, okay?</dialogue> <character>CHARLIE</character> <dialogue>Whatever you say, man.</dialogue> <scene_description>Charlie gestures expansively towards the club .</scene_description> <character>CHARLIE</character> <dialogue>What do you think? Pretty terrific, huh? This place make Sodom and Gomorrah look like Mayberry.</dialogue> <scene_description>Stanley now notices a life - sized poster of Tina Carlyle standing by the main entrance that reads `` Featuring the Musical Stylings of Miss Tina Carlyle . ''</scene_description> <character>STANLEY</character> <dialogue>Hey, is n't that.</dialogue> <character>CHARLIE</character> <dialogue>Right. The wet dream from the bank.</dialogue> <parenthetical>( pauses . )</parenthetical> <dialogue>Hold on. I think I see my future ex - wife.</dialogue> <scene_description>Two rather tacky looking GIRLS beckon Charlie from the crowd .</scene_description> <character>GIRLS</character> <dialogue>Hey Charlie! Charlie!</dialogue> <character>CHARLIE</character> <parenthetical>( waves . )</parenthetical> <dialogue>We're in luck. It's Barbie and Pebbles.</dialogue> <character>STANLEY</character> <dialogue>Does n't it bother you that all the women you know are named after cartoon characters?</dialogue> <scene_description>Barbie and Pebbles hurry over through the crowd .</scene_description> <character>BARBIE</character> <dialogue>We've been waiting out here for hours. Can you get us in?</dialogue> <character>CHARLIE</character> <dialogue>No, problemo. Ladies, this is my pal Stanley Ipkiss.</dialogue> <parenthetical>( leans closer . )</parenthetical> <dialogue>Stanley's very influential in the banking business.</dialogue> <scene_description>Charlie is truly in his element as he elbows his way through the crowd dragging his entourage with him .</scene_description> </scene> <scene> <stage_direction>EXT. THE FRONT DOOR</stage_direction> <scene_description>Charlie finally makes through the crush of badies at the entry way 's velvet ropes and calls to one of the two hulking BOUNCERS that guard the door .</scene_description> <character>CHARLIE</character> <dialogue>Hey Bobby! Bobby, buddy. What's happening man?</dialogue> <scene_description>Bobby completely ignores Charlie as he ushers a pasty faced ROCK STAR and his underage TARTLET past the ropes .</scene_description> <character>CHARLIE</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( to the girls . )</parenthetical> <dialogue>This will just take a second.</dialogue> <parenthetical>( to the other bouncer . )</parenthetical> <dialogue>Yo Nick! It's me. Charlie!</dialogue> <scene_description>Nick is also completely oblivious .</scene_description> <character>STANLEY</character> <dialogue>Forget it, Charlie. I refuse to stand here waiting to be judged by these power - mad steroid jockeys.</dialogue> <character>CHARLIE</character> <dialogue>How much cash you got on you?</dialogue> <character>STANLEY</character> <dialogue>What?</dialogue> <character>CHARLIE</character> <dialogue>You heard me. How much you got?</dialogue> <character>STANLEY</character> <dialogue>I dunno, fifty or sixty bucks.</dialogue> <character>CHARLIE</character> <dialogue>Hand it over.</dialogue> <character>STANLEY</character> <dialogue>No way.</dialogue> <character>CHARLIE</character> <dialogue>Hey, I'll pay you back! I'm only carrying plastic. C'mon man, you want to stand out here all night?</dialogue> <scene_description>Stanley begrudgingly starts to count out some cash . Charlie snatches the whole wad and elbows his way back around to the ropes .</scene_description> <character>CHARLIE</character> <parenthetical>( subtly flashing bills . )</parenthetical> <dialogue>Hey Bobby!</dialogue> <scene_description>Bobby 's uncanny tip radar suddenly lights up .</scene_description> <character>BOBBY</character> <dialogue>Charlie, how you doin' man? Long time no see.</dialogue> <scene_description>Bobby unsnaps the rope for Charlie and gets the cash handshake he longs for . The crowd surges around Charlie , Barbie and Pebbles as they step by , briefly cutting Stanley off . He catches up just as the all - important rope is SNAPPED closed .</scene_description> <character>STANLEY</character> <dialogue>Hey, wait a minute! Charlie!</dialogue> <scene_description>But Charlie and the girls have already been whisked inside . Dorian now steps out of the club and begins to check Bobby 's list .</scene_description> <character>STANLEY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>I'm with them! Hey, Bobby!</dialogue> <scene_description>But Bobby is back into his deaf and dumb routine . Stanley unsnaps the rope himself and starts throgh . Bobby and BOUNCER # 2 immediately grab Stanley and quickly subdue him .</scene_description> <character>STANLEY</character> <dialogue>Hey! Leggo. awk!</dialogue> <scene_description>Dorian glares at Stanley .</scene_description> <character>DORIAN</character> <dialogue>Lose him.</dialogue> <scene_description>The bouncers drag Stanley through the crowd and unceremoniously toss him out into the rain - slick street . ANGLE ON THE STREET Stanley slowly rises , smoothing out his disheveled clothing . A horn BLARES and Stanley scrambles to one side as a limo swings into the club 's alleyway , splattering him with a wave of muddy water . Stanley wipes the mud from his eyes just in time to see Tina Carlyle escorted from the back of the limo by a CHAUFFEUR carrying an umbrella . She 's shoe - horned into a heart - stopping red dress that 's fighting a losing battle to restrain her decolletage . Their EYES MEET . Tina pauses as she recognizes him .</scene_description> <character>TINA</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Oh. Stanley. Hi.</dialogue> <scene_description>Stanley realizes he looks ridiculous but gives a pathetic little wave hello anyway .</scene_description> <character>TINA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Are you okay?</dialogue> <scene_description>Stanley gestures `` no problem '' and tries to strike a casual pose against a street lamp , but slips and nearly falls . With a SQUEAL of grinding gears and the KA - POW of a backfire , the car hop pulls Stanley 's battered loaner right up behind him . Stanley flashes a last nervous smile at Tina , and digs for the car hop 's tip money . nothing . He shrugs apologetically to the disgusted car hop and climbs in . The car RATTLES , COUGHS the finally ROARS off in a cloud of noxious exhaust fumes .</scene_description> </scene> <scene> <stage_direction>EXT. TAHOOCHIE BRIDGE - NIGHT</stage_direction> <scene_description>A forlorn looking spot on the outskirts of Edge City . We can hear Stanley 's car SPUTTERING and POPPING along before it actually pulls into sight on the dark rain - slick street .</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Stanley drives along in a miserable daze . Suddenly the engine starts KNOCKING violently and the car dies .</scene_description> </scene> <scene> <stage_direction>EXT. BRIDGE</stage_direction> <scene_description>Steam HISSES from the radiator as the car slowly rolls to a stop . Stanley GRINDS the ignition key again and again trying futilely to restart the engine . Finally , Stanley fights his way out of the rusted door with a SQUEAL of metal , turns and kicks the bumper . which promptly falls off with a resounding CLUNK . Beat . The front axle collapses , the tires fall off and the driver 's side door CLATTERS to the ground . Stanley stands there staring at the steaming heap of useless metal . his mind a complete blank . He slowly turns , looking down at the black brackish water swirling along beneath the Tahoochie Bridge . A wave of melancholy sweeps over him . Stanley plucks a button from his coat and watches as it drops down . down to the river below . Suddenly , something catches Stanley 's eye . a BODY , floating along in the darkness . He snaps back to reality .</scene_description> <character>STANLEY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Hey. Hey mister!</dialogue> </scene> <scene> <stage_direction>EXT. RIVER BANK</stage_direction> <scene_description>Stanley rushes down the slippery embankment beneath the bridge . He spots the body dead ahead , floating along in the moonlight and hurries as fast as he can . CAMERA DOLLIES with Stanley as he scrambles down the slope ; a black cat YOWLS as it races past him . He steps on and shatters a discarded mirror , and he ducks under an old ladder that leans against the bridge 's foundation as he finally reaches the shore . Stanley splashes into the waist deep water just in time to catch the body as it floats by . CLOSER - BODY As Stanley grabs it , the `` body '' falls to pieces . revealing that it 's nothing but a trash bag , an old tire and some floating bits of garbage all clinging to the `` head '' : an old wooden Mask . Stanley shakes his head in disgust . some lifesaver . Stanley inspects the Mask more closely ; strange ritualistic symbols carved into a puckish face with a leering grin and eerie empty eye holes . The faintest sound of a haunting `` Mask SFX Theme '' rises as Stanley turns the Mask around and inspects the inside . slowly bringing it closer and closer to his face . The surface of the Mask begins to SHIMMER . But then . RIBET ! A frog jumps out of it , right into Stanley 's face . Stanley nearly loses his footing on the slippery river bottom . Suddenly a blinding SPOTLIGHT shines down from the bridge and an amplified voice calls out from a squad car .</scene_description> <character>POLICEMAN</character> <dialogue>Hey, you! What are you doing down there?</dialogue> <scene_description>Stanley squints into the light , trying to think of a reasonable answer .</scene_description> <character>STANLEY</character> <dialogue>I was just looking for.</dialogue> <parenthetical>( holds up Mask . )</parenthetical> <dialogue>My mask.</dialogue> </scene> <scene> <stage_direction>INT. MONKEY'S PAW - NIGHT</stage_direction> <scene_description>The club is closing up . WAITERS stack chairs on top of tables in the B.G. as Tina gathers her sheet music from her PIANIST .</scene_description> <character>TINA</character> <dialogue>Thanks Reno, you're the greatest.</dialogue> <character>RENO</character> <dialogue>G'night, doll.</dialogue> <scene_description>Tina crosses to the bar area where Dorian lounges with DR. FREEZE , SWEET EDDY and CHUN WOO . Dorian toasts her as she pulls up a bar stool .</scene_description> <character>DORIAN</character> <dialogue>That was a great performance, baby. But not as great as the one you pulled off at the bank.</dialogue> <character>TINA</character> <dialogue>Yeah, well do n't get used to it. I'm not going to start running cons for you again, Dorian. I'm a singer now and that's it.</dialogue> <scene_description>Dorian rolls his eyes at Freeze , `` Get her '' .</scene_description> <character>DORIAN</character> <dialogue>Oh, really? And you had such a red hot career before you latched on to me?</dialogue> <scene_description>Tina pours herself a drink .</scene_description> <character>TINA</character> <dialogue>Who latched on to who?</dialogue> <character>DORIAN</character> <dialogue>Get real, Tina. You'll do what I say or I'll drop you back where I found you, slingin' hash and dodgin' horny peterbuilt drivers.</dialogue> <character>TINA</character> <parenthetical>( downs a shot . )</parenthetical> <dialogue>Do n't push me, Nicky. I might just take a walk I should have taken a long time ago.</dialogue> <character>DORIAN</character> <parenthetical>( chuckles . )</parenthetical> <dialogue>Easy, baby. Easy.</dialogue> <parenthetical>( to his men . )</parenthetical> <dialogue>I love it when she gets pissed.</dialogue> <scene_description>Dorian scoots over and puts an arm around Tina . She remains cool .</scene_description> <character>DORIAN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>C'mere. You take a hike and who's gon na kiss you like Dorian Tyrel.</dialogue> <scene_description>Tina pours another shot .</scene_description> <character>DORIAN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>C'mon. Who?</dialogue> <scene_description>Tina finally cracks a smile .</scene_description> <character>TINA</character> <dialogue>Nobody.</dialogue> <character>DORIAN</character> <parenthetical>( pulls her close . )</parenthetical> <dialogue>That's right, baby. C'mere.</dialogue> <scene_description>Tina slowly leans in for a kiss , her lips softly parted . but raises a finger to Dorian 's lips , stopping him cold . She glances over at Freeze .</scene_description> <character>TINA</character> <dialogue>Sorry. I never get personal in front of the help.</dialogue> <scene_description>Tina abruptly stands and exits as Freeze glares at her . Dorian breaks into laughter .</scene_description> <character>DORIAN</character> <dialogue>That broad kills me.</dialogue> <character>DR. FREEZE</character> <dialogue>She just might, man. The bitch is trouble.</dialogue> <scene_description>Dorian pours them all a drink .</scene_description> <character>DORIAN</character> <dialogue>C'mon Doctor, lighten up.</dialogue> <parenthetical>( raises his glass . )</parenthetical> <dialogue>Here's to Edge City Bank. May it crack like an egg on Easter Sunday.</dialogue> <scene_description>Their glasses CLINK .</scene_description> </scene> <scene> <stage_direction>EXT. APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>The police car pulls up in front of Stanley 's brownstone and he wearily climbs out .</scene_description> <character>OFFICER</character> <dialogue>Okay, Mr. Ipkiss. Try to be a little more careful next time.</dialogue> <character>STANLEY</character> <dialogue>Thanks Officer.</dialogue> <scene_description>The black and white pulls away and Stanley starts across the empty street .</scene_description> <character>VOICE</character> <dialogue>Hey, mister.</dialogue> <scene_description>Stanley turns . A razor - cut DEATH 'S HEAD PUNKER hops down from a fire escape in a darkened alleyway .</scene_description> <character>DEATH'S HEAD</character> <dialogue>You a cop or something?</dialogue> <scene_description>A half dozen other DEATH 'S HEADS appear out of the shadows all decked out in nipple chains , tattoos and other self - mutilation - as - fashion oddments .</scene_description> <character>STANLEY</character> <dialogue>Uh. no. They just gave me a lift.</dialogue> <character>DEATH'S HEAD</character> <dialogue>A cop chauffeur? I never seen that before. How about you boys?</dialogue> <scene_description>The other Death 's Heads pipe up with `` Not Me , '' `` Nope , '' `` Pretty special , '' etc. as they slowly surround Stanley .</scene_description> <character>STANLEY</character> <dialogue>Alright, you guys. It's been a tough night. I have n't got any money. I have n't got a car. All I have is this and you're welcome to it.</dialogue> <scene_description>Stanley tosses Death 's Head # 1 the Mask . He briefly inspects the funky looking antique , still slick with river slime , then tosses it back . He approaches Stanley .</scene_description> <character>DEATH'S HEAD</character> <dialogue>Hey, man. You got us all wrong. We do n't want any trouble. I was just going to ask you for the time. That's all. You got the time?</dialogue> <character>STANLEY</character> <dialogue>Uh. yeah.</dialogue> <scene_description>As Stanley pulls back his sleeve to check his watch , the Death 's Head flicks out a butterfly knife . With a FLASH of steel , he slices straight through Stanley 's watch band and snatches the watch .</scene_description> <character>DEATH'S HEAD</character> <parenthetical>( holding up his prize . )</parenthetical> <dialogue>See, I only wanted the time! Heh, he, heh.</dialogue> <scene_description>All the punkers laugh like the half - wits they are as Death 's Head # 1 shoves Stanley into Death 's Head # 2 . # 2 pushes him back across to # 3 and so on . Stanley is roughly bounced back and forth more and more violently within the circle of giggling street toughs . He finally breaks free and scrambles to his front door , still reeling with dizziness . He fumbles with the key and SLAMS the door behind him as the Death 's Heads roar with laughter .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Stanley 's wet shoes SQUEAK as he tiptoes past - APARTMENT `` A '' - MANAGER A sign that reads `` Quiet Please '' hangs from the doorknob . Stanley continues past it to Apartment `` B '' . Just as he removes his keys - the Manager 's door flies open and MRS. PEENMAN appears . She 's an old dragon in hair curlers who will probably live forever just to spite her relatives .</scene_description> <character>MRS. PEENMAN</character> <dialogue>Ipkiss! Do you have any idea what time it is?</dialogue> <scene_description>Reflexively , he looks at his -LRB- now empty -RRB- wrist .</scene_description> <character>STANLEY</character> <dialogue>Actually, no.</dialogue> <character>MRS. PEENMAN</character> <dialogue>It's three o'clock in the morning! First, you wake up the entire building laughing it up with your pals. Then, you come in and start squeak -.</dialogue> <parenthetical>( sees puddles . )</parenthetical> <dialogue>My new carpet! Just look at that! This is coming out of your cleaning deposit Ipkiss!</dialogue> <scene_description>Stanley , battered , bruised and soaking wet is deep in urban shell - shock .</scene_description> <character>STANLEY</character> <parenthetical>( softly . )</parenthetical> <dialogue>Are you done?</dialogue> <character>MRS. PEENMAN</character> <dialogue>Yes.</dialogue> <character>STANLEY</character> <dialogue>I think I'll be going to bed now.</dialogue> <scene_description>Mrs. Peenman SLAMS her door .</scene_description> </scene> <scene> <stage_direction>INT. STANLEY'S APARTMENT - CONTINUES</stage_direction> <scene_description>Small , full of books but very neat . A few cherished animation cels from 1940s cartoons are framed on the wall . As Stanley locks the door behind him - he 's greeted by MILO , a happy little terrie sized mutt with a big heart .</scene_description> <character>STANLEY</character> <dialogue>Hello, Milo.</dialogue> <scene_description>Milo gets so excited he starts GAGGING and COUGHING .</scene_description> <character>STANLEY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Easy, buddy. I missed you too.</dialogue> <scene_description>Stanley pats Milo on the rump , crosses his tiny kitchenette and heads straight into . THE BEDROOM Stanley 's prized collection of `` golden Age '' Looney Tunes tapes are neatly displayed on a simple bookshelf . He tosses the Mask down on his bedside table , pops one of his cherished Tex Avery cartoons into the V.C.R. , plops down on his bed and starts to strip off his shoes and socks . MILO enters , holding a Frisbee in his mouth .</scene_description> <character>STANLEY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>C'mon, Milo. I'm beat.</dialogue> <parenthetical>( to the dog YIPS . )</parenthetical> <dialogue>Okay, okay. One throw.</dialogue> <scene_description>Stanley tosses the Frisbee into the air . The disk sails . OUT OF THE BEDROOM AND INTO THE HALLWAY Milo runs it down , leaps up , and makes a perfect catch . He trots back to the bedroom , and drops it in Stanley 's lap .</scene_description> <character>STANLEY</character> <dialogue>Easy. This is the best part.</dialogue> <scene_description>On the screen a cartoon dog ZZZIPS into frame and drops a frizzing stick of dynamite down a bad guy 's pants . KA - BOOM ! The dog LAUGHS maniacally . Suddenly there is a POUNDING on the wall that rattles Stanley 's framed cartoon cels .</scene_description> <character>STANLEY</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( calls out . )</parenthetical> <dialogue>Sorry Mrs. Peenman.</dialogue> <scene_description>With a sigh , he ejects the tape and a much quieter talk show POPS on . Larry King and a guest . Stanley rises and crosses into the bathroom to wash up . ANGLE ON T.V. King 's guest , Dr. Arthur Neuman , is replying to a caller .</scene_description> <character>DR. NEUMAN</character> <dialogue>That's correct. The truth is we all wear masks, metaphorically speaking. We repress the Id. our darkest desires and hide behind a more socially acceptable image of ourselves in order to cope with the frustrations of our day to day lives.</dialogue> <scene_description>Stanley 's only half listening though the open bathroom door as he brushes his teeth .</scene_description> <character>STANLEY</character> <dialogue>Think I'm repressed, Milo?</dialogue> <scene_description>Stanley tries a couple of fierce expressions in the bathroom mirror , his mouth foaming with toothpaste . Milo does that doggie - head - cocked - sideways `` What the hell ? '' look .</scene_description> <character>STANLEY</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( half - heartedly . )</parenthetical> <dialogue>Nah.</dialogue> <scene_description>He spits and rinses . ANGLE ON T.V. as King wraps it up , displaying the doctor 's book .</scene_description> <character>LARRY KING</character> <dialogue>The book is `` The Masks We Wear,'' by Dr. Arthur Neuman. Thank you Dr. Neuman.</dialogue> <scene_description>Stanley pops off the T.V.with his remote .</scene_description> <character>STANLEY</character> <dialogue>No thank you, Dr. Neuman.</dialogue> <scene_description>As he buttons up his P.J.s , Stanley notices Milo warily sniffing at the strange Mask , which is still lying on the bedside table . A subtle SHIMMER crosses its surface . Milo WHIMPERS and quickly hops off the bed . We now begin to hear the `` Mask Theme '' . echoes of the POUNDING Viking drums . growing louder . Haunting whispery VOICES seem to call to Stanley as he slowly crosses to the bedside . He picks up the Mask and turns it over in his hands running his fingers across the time work wood . The music builds . He turns back to the bathroom mirror and slowly raises the Mask to his face . Milo watches apprehensively from beneath the bed . For an instant - the MASK SHRINK WRAPS like a vacuum over Stanley 's head . We hear the PIERCING MASK SFX . Then , a beat later , the Mask is off with a POP . The SFX STOP .</scene_description> <character>STANLEY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Whoa.</dialogue> <scene_description>Stanley studies the old mask , then his own face in the mirror . Everything 's status quo . It must have been his imagination .</scene_description> <character>STANLEY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Naw.</dialogue> <scene_description>He puts the Mask on again - firmly this time . Milo dives under the bed as . RUBBERY WOODEN WHIPS shoot out of the Mask and wrap around Stanley 's head - locking the Mask in place . STANLEY 'S PAJAMAS magically reweave themselves . growing in all directions . HIS HEAD THROBS AND EXPANDS , turning lime green as it unites with the Mask . STANLEY GRABS HIS HEAD - His body begins to move uncontrollably . Spinning faster and faster like a gyroscope . The SFX get loonier and loonier as he becomes . A HUMAN TORNADO . Stanley 's words are almost unintelligible as his voice jumps one , two , five octaves .</scene_description> <character>STANLEY</character> <dialogue>Hellllllllppppmmmmmmmeeeeeeeee.</dialogue> <scene_description>A HAND reaches out of the twister and locks onto the bedpost . The whirlwind SCREECHES to a halt , causing sparks and smoke to rise from the singed carpet . The smoke clears revealing . THE MASK CREATURE He 's dressed in a snazzy zoot suit - a distortion of the paisley material of Stanley 's pajamas . The head is no longer Stanley 's . It 's large , bald and bright green . The huge bug - eyes glow with mischief . The nose is small , bony and beaked . The mouth and teeth are enormous and gleaming white as he breaks into a learning grin . The overall effect is devilishly loony , but not altogether unhuman . In fact , there 's something downright charming about him . The Mask checks himself out in the mirror and likes what he sees .</scene_description> <character>THE MASK</character> <dialogue>S - s - s - nazzy!</dialogue> <scene_description>He SNAPS his bow tie with a crazy gleam in his eyes .</scene_description> <character>THE MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>It's party time!</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY - NIGHT</stage_direction> <scene_description>Trying to ber VERY , VERY quiet , the Mask tiptoes down the darkened corridor . The floor makes a barely audible CREEEEK as the Mask steps with exaggerated care pst APARTMENT `` A '' with it 's little `` Quiet Please '' sign . He raises a finger to his lip , making the `` SHUSH '' sign . Suddenly - and unexplicably - a ringing ALARM CLOCK leaps out of Stanley/Mask 's pocket and starts jittering down the hall .</scene_description> <character>STANLEY/MASK</character> <dialogue>O, jeepers -!</dialogue> <scene_description>Stanley/Mask tries to snag the clock , but it bounces away every time . Frustrated , he pulls a full sized SLEDGEHAMMER from his pocket and starts POUNDING the floor in an effort to stop the clock . Glancing blows shatter the clock face and most of the works , but those bells just keep ringing . The hammer , of course , slams craters the size of manhole covers into the floor and reverberates through the building like THUNDERBOLTS . The door bursts open and Mrs. Peenman 's angry face pops out covered in blue mud pack and framed in curlers . She gets one look at the Mask with his oversized carnival mallet raised over his head and SCREAMS bloody murder . The Mask SCREAMS in response , his eyes bugging out on stalks and his mouth expanding to the size of a tuba in mock horror . Mrs. Peenman 's door SLAMS shut and reopens a beat later as she appears cocking an enormous shotgun .</scene_description> <character>MASK</character> <dialogue>Easy lady! I was just killin' time!</dialogue> <scene_description>The Mask starts ricocheting off the walls HOOTING maniacal laughter as Mrs. Peenman lets loose with both barrels . KA - BOOM . The Mask bounces off walls as Mrs. Peenman continues to blast away , and finally leaps straight out the window . KEE - RASH .</scene_description> </scene> <scene> <stage_direction>EXT. APARTMENT - NIGHT</stage_direction> <scene_description>Sending his body SAILING our through the air towards the street seven stories below .</scene_description> <character>STANLEY/MASK</character> <dialogue>Ahhhhhhhhhhhhhhhh -</dialogue> </scene> <scene> <stage_direction>EXT. CITY STREET - NIGHT</stage_direction> <scene_description>SPLAT . Stanley/Mask lands face up in the middle of the street . He slow . painfully starts to rise as a STREET CLEANING machine turns a corner and RUNS DIRECTLY OVER HIM . The machine disappears down the street as we HOLD on Stanley/Mask 's flattened body . He raises one arm , grabs himself by the head and peels himself off the street . He shakes himself out with one sharp CRACK and straightens his zoot suit . He 's shocked to find a tiny SPOT on his sleeve .</scene_description> <character>STANLEY/MASK</character> <dialogue>Hey! You missed a spot!</dialogue> <scene_description>As if on cue , a SECOND street cleaning machine SLAMS into him and RUNS OVER HIM AGAIN . This time he reinflates himself back into 3 - D by blowing into his thumb and hops up .</scene_description> <character>STANLEY/MASK</character> <dialogue>And next time, no starch!</dialogue> <scene_description>Fully recovered , Stanley/Mask starts down the street , strutting like a prize fighter .</scene_description> <character>VOICE</character> <dialogue>Hey mister.</dialogue> <scene_description>Death 's Head punker # 1 hops down from his fire esscape behind the Mask .</scene_description> <character>DEATH'S HEAD #1</character> <parenthetical>( grins evilly . )</parenthetical> <dialogue>. You got the time?</dialogue> <scene_description>The Mask turns to see he is surrounded by the Death 's Head punkers . He seems to be delighted by their presence , but now that they see his face , they 're totally freaked .</scene_description> <character>MASK</character> <parenthetical>( wiggles eyebrows . )</parenthetical> <dialogue>Why of course, Cubbie. I got all the time in the world!</dialogue> <scene_description>He whips out his forearm -LRB- which grows large for emphasis cartoon - style -RRB- . It 's covered with crazily spinning watches , CHIMING cuckoo clocks and sun dials .</scene_description> <character>MASK</character> <dialogue>London, Paris, Rome, standard, substandard and no standards at all! And for our English friends we have. Big Ben!</dialogue> <character>DEATH'S HEAD #1</character> <dialogue>Big Ben?</dialogue> <scene_description>Stanley/Mask KICKS a nearby street post , snapping it in half and sending a large decorative street clock PLUMMETING into the sidewalk . KA - BONG ! It completely obliterates Death 's Head # 1 . The other gang members jump back in shock as the Mask races around the corner .</scene_description> <character>DEATH'S HEAD #2</character> <dialogue>Get him!</dialogue> <scene_description>The Death 's Heads pull out nasty homemade weapons and race around the corner into the alleyway .</scene_description> </scene> <scene> <stage_direction>INT. ALLEY</stage_direction> <scene_description>They come to a screeching halt as they discover Stanley/Mask dressed as a carnival barker . Multicolored lights and Calliope music come from out of nowhere .</scene_description> <character>MASK</character> <dialogue>And for my next trick.</dialogue> <scene_description>Long pink and blue balloons appear in Stanley/Mask 's hands and he instantly goes into a frenzy of twisting and knotting them into an elaborate balloon sculpture . SQUEAK . SQUEAK . SCREECH . The Death 's Heads are too stunned by the severe weirdness of all this to do anything but stand there and stare . -LRB- These guys were no rocket scientists in the first place . -RRB-</scene_description> <character>MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>And viola! We have a giraffe!</dialogue> <scene_description>Sure enough , he 's created a first rate balloon sculpture . He hands it to the biggest , dumbest Death 's Head , who grins like a little kid upon receiving it . The Mask instantly goes into another flurry of motion , sculpting more balloons . SCREECH POP .</scene_description> <character>MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>A few more twists of the wrist and for you, Cubbie.</dialogue> <scene_description>He hands this next prize to Death 's Head # 3 .</scene_description> <character>MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>A French poodle! And finally my favorite.</dialogue> <scene_description>He goes into another flurry of motion . E.C.U. - BALLOON As the Mask pulls the ends of the knotted balloon , it straightens out and MORPHS into .</scene_description> <character>MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>A Tommy gun!</dialogue> <scene_description>A real one ! He immediately sprays the Death 's Heads with hot lead . RATATATATATAT ! The greasy punkers dive for cover and scramble out of the alley under a hail of bullets . Stanley/Mask tosses the gun aside , intoxicated with his newfound powers .</scene_description> <character>MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Wait a minute. This is incredible! Why, with these powers I could be a superhero! I could fight crime. Work for world peace.</dialogue> <scene_description>C.U. - THE MASK</scene_description> <character>MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>But first!</dialogue> </scene> <scene> <stage_direction>EXT. RIPLEY'S AUTO FINISHING - NIGHT</stage_direction> <scene_description>It 's late , but there 's still a light on inside .</scene_description> </scene> <scene> <stage_direction>INT. GARAGE - NIGHT</stage_direction> <scene_description>Burt and Irv , both woozy from drink , attempt to finish a card game . A dozen empty beer bottles and two half eaten chili dogs adorn the table . Irv takes a big bite of his chili dog and pauses to regard it like a true connoisseur .</scene_description> <character>IRV</character> <dialogue>Now these are serious chili dogs.</dialogue> <character>BURT</character> <dialogue>I know. Here's the proof.</dialogue> <parenthetical>( lets out a long BUUURP . )</parenthetical> <dialogue>Aaah. Even tastier the second time around.</dialogue> <scene_description>Irv leans forward and sticks out his index finger .</scene_description> <character>IRV</character> <dialogue>Hey Burt, pull on my finger.</dialogue> <character>BURT</character> <dialogue>No way, man.</dialogue> <character>IRV</character> <dialogue>No, really. Go ahead.</dialogue> <character>BURT</character> <dialogue>Irv, do n't.</dialogue> <scene_description>Irv raises a leg anyway and rips off a nasty fart . BRAAAP !</scene_description> <character>IRV</character> <parenthetical>( proudly . )</parenthetical> <dialogue>That, my friend is the sweet smell of success.</dialogue> <character>BURT</character> <parenthetical>( shrugs . )</parenthetical> <dialogue>No style. I give it a five tops.</dialogue> <character>IRV</character> <dialogue>Okay, how about. Soprano.</dialogue> <scene_description>Irv shifts his weight and hits an amazing high note . PWEEEEEP ! Burt is impressed in spite of himself .</scene_description> <character>BURT</character> <dialogue>Fine muscle control.</dialogue> <character>IRV</character> <dialogue>And now for my grand finale, THX. The audience is listening!</dialogue> <scene_description>Irv lets one loose in perfect sensurround . Suddenly the front door EXPLODES inward . Stanley/Mask stands there SILHOUETTED like a gunfighter from a Clint Eastwood movie . Irv squints into the light , unable to make out the mysterious figure .</scene_description> <character>IRV</character> <dialogue>Hey, 40 watt. we're closed! Nobody's here.</dialogue> <character>MASK</character> <dialogue>Ah. but you're here.</dialogue> <scene_description>Irv rises .</scene_description> <character>IRV</character> <dialogue>What I mean is.</dialogue> <scene_description>He lets loose a sneaker to help make his point . POOOOT .</scene_description> <character>IRV</character> <dialogue>Nobody's here that wants to help you.</dialogue> <scene_description>Stanley/Mask now steps into the light .</scene_description> <character>MASK</character> <dialogue>But I'm here to help you.</dialogue> <scene_description>Burt and Irv 's eyes go wide as they get a better look at their nemesis . Fear loosens Irv 's sphincter and a last feeble bit of gas escapes with a FWEEP ! Stanley/Mask whirls about with a flourish and pulls two gleaming mufflers from the wall .</scene_description> <character>MASK</character> <dialogue>Sounds like you have a little exhaust problem there!</dialogue> <scene_description>There 's a mad gleam in his eyes as he spins the mufflers like two huge pistols and SNAPS them to a halt .</scene_description> <character>MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>We better do a few touch ups before you have some serious trouble.</dialogue> <scene_description>The Mask TWIRLS out of frame like a human tornado . Camera PUSHES IN past Burt and Irv 's shocked expressions into an E.C.U. of the garage 's bare light bulb as it JIGGLES on its wire . We ca n't see the mayhem , but we can hear wacky/bizarre sound F.X. as the Mask whirls about the garage . WHIZ ! SCREECH ! BANG ! AHOOGA !</scene_description> <character>BURT AND IRV</character> <dialogue>No! Wait! Eeeeeyaah!</dialogue> <scene_description>As that light bulb becomes the morning SUN peaking over Edge City 's skyline . CAMERA PULLS BACK through Stanley 's bedroom window .</scene_description> </scene> <scene> <stage_direction>INT. STANLEY'S APARTMENT - BEDROOM - DAWN</stage_direction> <scene_description>Stanley slowly awakens . He grabs his head and moans , looking and feeling completely hung over . Then suddenly he remembers - and jumps out of bed with a start . He looks in the mirror , touching his face . It 's the same old Stanley . He looks at his paisley PJ 's . Same old PJ 's . He picks up the mask . Same old mask .</scene_description> <character>STANLEY</character> <dialogue>A dream. It was only a dream.</dialogue> <scene_description>Stanley starts to relax . There 's a KNOCK at the door .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - DAWN</stage_direction> <scene_description>Stanley 's greeted by LT. KELLAWAY -LRB- 50 -RRB- . This hound - dog of a cop ca n't help but stare at Stanley 's garish pajamas .</scene_description> <character>LT. KELLAWAY</character> <dialogue>Nice PJ's pal.</dialogue> <character>STANLEY</character> <dialogue>Can I help you?</dialogue> <character>LT. KELLAWAY</character> <dialogue>You're Ipkiss? Stanley Ipkiss?</dialogue> <character>STANLEY</character> <dialogue>That's right.</dialogue> <character>LT. KELLAWAY</character> <dialogue>Some kind of prowler broke in and attacked Mrs. Peenman.</dialogue> <character>STANLEY</character> <parenthetical>( swallows hard . )</parenthetical> <dialogue>Really? I did n't hear a thing.</dialogue> <character>LT. KELLAWAY</character> <dialogue>Then you must be a pretty sound sleeper, Ipkiss'cause she unloaded a couple rounds of 20 ott buckshot five feet from your door.</dialogue> <scene_description>Kellaway swings Stanley 's door open wider to give him a better view of the damage . Mrs. Peenman stands there in the hall tearfully speaking to anither OFFICER . Stanley is flabbergasted to see : QUICK CUTS C.U. - The shotgun blasts in the walls . C.U. - The pot holes left from the mallet . C.U. - The shattered remains of the wacky alarm clock . All flashbacks from last night !</scene_description> <character>STANLEY</character> <parenthetical>( gasps . )</parenthetical> <dialogue>That's. impossible!</dialogue> <character>LT. KELLAWAY</character> <dialogue>Excuse me?</dialogue> <scene_description>Stanley quickly pulls himself together .</scene_description> <character>STANLEY</character> <dialogue>That's. a, possible. See, I have this inner ear problem.</dialogue> <parenthetical>( wiggles a finger in his ear vigorously . )</parenthetical> <dialogue>Sometimes I ca n't hear a thing.</dialogue> <character>KELLAWAY</character> <parenthetical>( skeptical . )</parenthetical> <dialogue>Is that a fact?</dialogue> <character>STANLEY</character> <dialogue>What?</dialogue> <scene_description>Kellaway leans closer to speak more loudly , but catches himself and shoots Stanley a dirty look .</scene_description> <character>KELLAWAY</character> <dialogue>Forget it.</dialogue> <scene_description>He hands Stanley his card .</scene_description> <character>KELLAWAY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Here. You remember anything unusual about last night, anything at all, call me.</dialogue> <character>STANLEY</character> <dialogue>Sure. thanks.</dialogue> <scene_description>Stanley SLAMS the door and throws his body against it , his heart pounding in his chest . Milo gives him that curious dog - head - cocked - sideways look .</scene_description> <character>STANLEY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Milo, it was real! How could it all be. real?</dialogue> <scene_description>Stanley suddenly notices the clock on the wall .</scene_description> <character>STANLEY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Oh my god. I'm late!</dialogue> <scene_description>He races into the bedroom .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY</stage_direction> <scene_description>Kellaway is taking notes as patiently as he can from Mrs. Peenman .</scene_description> <character>KELLAWAY</character> <dialogue>Look, Mrs. Peenman, you got ta admit your description is pretty tough to swallow.</dialogue> <character>MRS. PEENMAN</character> <dialogue>Then you can choke on it for all I care. I saw what I saw.</dialogue> <character>KELLAWAY</character> <dialogue>Right.</dialogue> <parenthetical>( refers to notes . )</parenthetical> <dialogue>A green head the size of a pumpkin, purple zoot suit and spats. That's a pretty serious fashion risk for any self - respecting second story man.</dialogue> <scene_description>An OFFICER now hurries up the steps all out of breath .</scene_description> <character>OFFICER</character> <dialogue>Lt., we just got an emergency call from a mechanic on 67th Street.</dialogue> <character>KELLAWAY</character> <dialogue>What?</dialogue> <character>POLICEMAN</character> <dialogue>Some kind of assault and battery. Sound pretty bad.</dialogue> <character>KELLAWAY</character> <parenthetical>( sighs . )</parenthetical> <dialogue>Alright. Dont' worry Mrs. Peenman, we'll find this guy for you. Officer Deluca here has a few forms you'll have to fill out.</dialogue> </scene> <scene> <stage_direction>INT. STANLEY'S APARTMENT</stage_direction> <scene_description>Stanley rushes around the apartment , but he ca n't find his keys anywhere . He finishes tying his tie as he searches .</scene_description> <character>STANLEY</character> <dialogue>Milo! Keys! Keys!</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - SAME TIME</stage_direction> <scene_description>Milo 's ears prick . He leaps up and immediately starts sniffing around . He pulls a cushion off the sofa and emerges with the keys just as Stanley comes out , briefcaase in hand .</scene_description> <character>STANLEY</character> <dialogue>Good boy.</dialogue> <scene_description>He pets his dog , takes his keys and starts out the door . but he pauses to take a last look at the mask . It 's eerie black eye holes and devilish grin seem to mock him . On sudden impulse , he grabs it , hurls it out the balcony 's sliding glass door and exits . SLOW - MO - THE MASK Sailing end over end through the air .</scene_description> </scene> <scene> <stage_direction>EXT. BUILDING</stage_direction> <scene_description>As the mask flies out into the sir , a sudden wind kicks up . The mask arcs back toward the building like a boomerang and lands balanced precariously on a narrow ledge . Its mocking grin seems to glow with triumph .</scene_description> </scene> <scene> <stage_direction>EXT. RIPLEY'S AUTO FINISHING - DAY</stage_direction> <scene_description>The place looks like it 's been hit by cartoon graffiti guerrillas : Everything 's printed in polka - dots , checks , tartan , etc. . The `` Ripley Auto Finishing '' sign hangs askew over the doorway . Letters have been sprayed out to read `` Rip Off ! '' Several REPORTERS and curious ONLOOKERS stand nearby as Kellaway and his men take it all in . PARAMEDICS appear wheeling Burt and Irv out of the building on two gurneys . They 're both in severe discomfort and look more like cars than men : Bodies spray painted metallic colors , hood ornaments glued to their foreheads , wire rims under each limb , and gleaming four foot long mufflers sticking out of their rear ends . They wince in pain at each tiny bump of the gurney .</scene_description> <character>BURT AND IRV</character> <dialogue>Ah! Eeeh! Ooh!</dialogue> <scene_description>Paramedic # 3 speaks into his emergency radio - phone as Burt and Irv are loaded into the van .</scene_description> <character>PARAMEDIC #3</character> <dialogue>I want a proctologist standing by! Yeah, you heard me! The best one you can find.</dialogue> <scene_description>An OFFICER steps out of the building and approaches Kellaway .</scene_description> <character>OFFICER</character> <dialogue>We were able to get a description Lt., but it's pretty weird.</dialogue> <character>KELLAWAY</character> <parenthetical>( sighs . )</parenthetical> <dialogue>Let me guess. Big green head. Zoot suit.</dialogue> <character>OFFICER</character> <dialogue>How did you.</dialogue> <character>KELLWAY</character> <dialogue>Whoever this guy is, he's a world class twisto.</dialogue> <scene_description>PEGGY BRANDT , an attractive young woman in her mid twenties , appears besides the other reporters and approaches Kellaway , notepad in hand .</scene_description> <character>PEGGY</character> <dialogue>Excuse me, Lt., I'm with the Evening Star. Can you tell me what happened here?</dialogue> <character>KELLAWAY</character> <dialogue>Sorry. Too early to comment.</dialogue> <character>PEGGY</character> <dialogue>It looks like some kind of mob scare tactic.</dialogue> <character>KELLAWAY</character> <dialogue>I said no comment. Now break it up. This is a crime scene.</dialogue> <scene_description>As the officers disperse the reporters and other onlookers , Peggy slips away from the group . Even though it 's closed off with yellow police tape , Peggy slips inside the garage .</scene_description> </scene> <scene> <stage_direction>INT. MECHANIC'S OFFICE - DAY</stage_direction> <scene_description>The empty garage has been turned into a topsy - turvy nightmare . The same cartoon paint job covers the walls . Peggy looks around , sifting through some papers scattered all over the floor . Nothing . Then she spies the COMPLAINT BOX . Peggy opens it and pulls out a HANDFUL of pink `` comment '' slips . She looks at them . Almost all of them are from one customer - STANLEY IPKISS .</scene_description> </scene> <scene> <stage_direction>INT. BANK - DAY</stage_direction> <scene_description>Stanley , still looking rumpled and unshaven , hurriedly takes off his coat and powers up his computer . Charlie steps over to his desk carrying a newspaper .</scene_description> <character>CHARLIE</character> <dialogue>What happened to you last night? The girls and I were looking all over for you.</dialogue> <character>STANLEY</character> <dialogue>I uh, did n't feel so good. I decided to go home early.</dialogue> <character>CHARLIE</character> <dialogue>As a matter of fact, you do n't look so good. You got to take better care of yourself, man.</dialogue> <character>STANLEY</character> <dialogue>How was the club?</dialogue> <character>CHARLIE</character> <dialogue>Are you kidding? It was hotter than a pistol. Did you see the paper?</dialogue> <character>STANLEY</character> <dialogue>No.</dialogue> <character>CHARLIE</character> <dialogue>Your girlfriend got a great review.</dialogue> <scene_description>Chralie flips open the Entertainment section of the Evening Star . There 's a great close - up of Tina singing her heart out with the headline `` Bombshell Explodes at Monnkey 's Paw . '' MR. DICKEY , the smarmy office manager who is younger than Stanley , now appears .</scene_description> <character>DICKEY</character> <dialogue>Ipkiss! You're forty minutes late! Every time you do that you're robbing this bank of its time and money!</dialogue> <character>STANLEY</character> <dialogue>Sorry, Mr. Dicky. It wo n't happen again.</dialogue> <character>DICKEY</character> <parenthetical>( snatches newspaper . )</parenthetical> <dialogue>If you were n't so busy ogling girlie pictures you'd get some work done around here.</dialogue> <character>CHARLIE</character> <dialogue>Ah. She's a prospective client of Stanley's, sir.</dialogue> <character>DICKEY</character> <parenthetical>( sudden attitude change . )</parenthetical> <dialogue>She is? Well. Next time she comes in see that you send her directly to my office.</dialogue> <character>STANLEY</character> <dialogue>Yes sir, Mr. Dickey.</dialogue> <scene_description>Dickey tosses the paper back on Stanley 's desk and marches off through the bank .</scene_description> <character>CHARLIE</character> <dialogue>Look at that little creep. If it was n't for his daddy he'd be out somewhere shakin' down school kids for lunch money.</dialogue> <scene_description>Stanley toys with the Kleenex that bears Tina 's lipstick `` kiss '' .</scene_description> <character>STANLEY</character> <dialogue>You think she ever will come back, Charlie?</dialogue> <character>CHARLIE</character> <dialogue>Who knows? Forget about her, Stanley. A dame like that is always looking for the B.B.D.. The bigger better deal. Ask her what her sign is and she'll say dollar.</dialogue> <character>STANLEY</character> <dialogue>You do n't know that. She's an artist. Maybe she's sensitive.</dialogue> <character>CHARLIE</character> <dialogue>Yeah. She can sense a guy's credit line at two hundred yards. Stanley, you need a girl you can depend on. Someone a little more down to earth. someone like.</dialogue> <scene_description>ANGLE ACROSS THE BANK as Peggy Brandt stops by a teller 's window , looking sharp and pretty in a blazer and jeans .</scene_description> <character>PEGGY</character> <dialogue>Excuse me, can you tell me where I can find Stanley Ipkiss?</dialogue> <scene_description>BACK TO CHARLIE</scene_description> <character>CHARLIE</character> <dialogue>Like her! Someone like her.</dialogue> <parenthetical>( straightens tie . )</parenthetical> <dialogue>As a matter of fact I could use someone like her myself.</dialogue> <parenthetical>( rises as Peggy approaches . )</parenthetical> <dialogue>Hel - lo there. May I be of some assistance?</dialogue> <character>PEGGY</character> <dialogue>Stanley Ipkiss?</dialogue> <scene_description>Charlie begrudgingly points to Stanley .</scene_description> <character>PEGGY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Hi. I'm Peggy Brandt. I'm with the Evening Star.</dialogue> <character>STANLEY</character> <dialogue>Oh, hi. I already have a subscription, thanks.</dialogue> <character>PEGGY</character> <dialogue>Oh no, actually I just wanted to ask you a few questions.</dialogue> <character>STANLEY</character> <dialogue>Really? About what?</dialogue> <character>PEGGY</character> <dialogue>Ripley Auto Finishing. You're a customer of theirs are n't you?</dialogue> <character>STANLEY</character> <dialogue>I. uh. No. I think you must have made a mistake.</dialogue> <scene_description>Peggy produces one of the complaint slips .</scene_description> <character>PEGGY</character> <dialogue>Is n't this a form of theirs you filled out?</dialogue> <character>STANLEY</character> <parenthetical>( nervous chuckle . )</parenthetical> <dialogue>Oh, that Ripley Auto. I guess I have stopped in there once or twice, Miss. what did you say your name was?</dialogue> <character>PEGGY</character> <dialogue>Peggy Brandt.</dialogue> <character>STANLEY</character> <dialogue>Wait a minute. Peggy Brandt of `` Ask Peggy''?</dialogue> <character>PEGGY</character> <dialogue>That's right.</dialogue> <character>STANLEY</character> <parenthetical>( brightens up . )</parenthetical> <dialogue>You printed my letter last year, remember? `` Nice Guys Finish Last.''</dialogue> <character>PEGGY</character> <dialogue>You're Mr. Nice Guy? Stanley do you realize how much mail we got about that letter? There's hundreds of women out there who are looking for a man just like you.</dialogue> <character>STANLEY</character> <dialogue>Are you serious?</dialogue> <character>PEGGY</character> <dialogue>Of course. DO you know how hard it is to find a decent man in this town? Most of them think monogamy is some kind of wood.</dialogue> <character>STANLEY</character> <dialogue>Why are you covering this story?</dialogue> <character>PEGGY</character> <dialogue>They cut my salary. I just ca n't make it by on `` Dear Peggy'' anymore. The truth is, I want to be a real reporter and if I can break this story I know they'll let me.</dialogue> <parenthetical>( sits closer . )</parenthetical> <dialogue>Look Stanley, I know Ripley Auto is a crooked operation. They may even have had ties to the Mob. I'm not out to get you. I just want the truth.</dialogue> <character>STANLEY</character> <dialogue>I wish I knew the truth, Peggy. I really do.</dialogue> </scene> <scene> <stage_direction>EXT. MONKEY'S PAW ENTRANCE - AFTERNOON</stage_direction> <scene_description>A well dressed MAN checks from beneath his sunglasses to see nobody 's watching and RAPS on the door . It opens and he quickly disappears inside .</scene_description> </scene> <scene> <stage_direction>INT. DORIAN'S OFFICE</stage_direction> <scene_description>Sweet Eddy escorts him inside . The man removes his glasses and glances about nervously . Dorian sits at his desk . Dr. Freeze and Chun Woo are going over an array of high tech burglary equipment laid out on the air hockey table .</scene_description> <character>DORIAN</character> <dialogue>Good afternoon, Councilman Snell. Nice of you to drop by.</dialogue> <character>SNELL</character> <dialogue>Cut the crap. Dorian. What's so important that I had to come here in person?</dialogue> <scene_description>Dorian gazes out the window to the Valhalla Casino .</scene_description> <character>DORIAN</character> <dialogue>I got a little job for you, Tom. I want you to pull the Swede's gambling license.</dialogue> <character>SNELL</character> <dialogue>That's impossible. He was approved six months ago.</dialogue> <character>DORIAN</character> <dialogue>Pull a few strings. Find something in the fine print. I do n't care how you do it, but do it. You owe me.</dialogue> <character>SNELL</character> <parenthetical>( chuckles . )</parenthetical> <dialogue>I owe you nothing, you little piece of shit. I got your liquor license when nobody else would touch.</dialogue> <scene_description>Dorian suddenly EXPLODES , overturning his desk and sending Snell tumbling backwards . In less than a heartbeat , he grabs Snell by his shirt ffront , SLAMS him up against the wall , SMASHES a whiskey bottle and presses the jagged edge to his throat . Snell hangs there whimpering . Dorian has a crazed look in his eyes as he gazes at the Councilman 's lapel .</scene_description> <character>DORIAN</character> <parenthetical>( softly . )</parenthetical> <dialogue>That's pretty. What is that, a carnation?</dialogue> <scene_description>Snell nods . Dorian takes a deep whiff .</scene_description> <character>DORIAN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Nice. Hey, Eddy. call my florist. Two dozen pink carnations to Mrs. Snell with my regrets over her husband's untimely accident.</dialogue> <scene_description>Tears begin to well up in Snell 's eyes .</scene_description> <character>SNELL</character> <parenthetical>( gasping . )</parenthetical> <dialogue>No. please. I can do it. I can make it happen.</dialogue> <scene_description>Dorian eases back . brushes off Snell 's coat .</scene_description> <character>DORIAN</character> <dialogue>That's smart. You're a very smart man. Now pull yourself together. Look at you.</dialogue> <scene_description>Dorian picks up an Uzi from Dr. Freeze 's equipment .</scene_description> <character>DORIAN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Shut the Swede down, Snell. We'll buy him out cheap with a little collateral the bank is about to provide us.</dialogue> <parenthetical>( looks at his men . )</parenthetical> <dialogue>And Gentlemen. we are going to be in the casino business.</dialogue> </scene> <scene> <stage_direction>EXT. STANLEY'S BROWNSTONE - NIGHT</stage_direction> <scene_description>Distant sirens can be heard over the occasional sound of a gunshot . It 's a reasonably peaceful night in Edge City .</scene_description> </scene> <scene> <stage_direction>INT. STANLEY'S BEDROOM - NIGHT</stage_direction> <scene_description>CAMERA SLOWLY PANS off of Tina 's picture , which is now taped to Stanley 's dresser mirror . to Stanley himself as he tosses and turns in a fitful sleep . Milo lies curled up at the foot of the bed . He looks concerned over the little noises Stanley is making in his sleep . CAMERA PUSHES INTO AN E.C.U. of Stanley as we STANLEY 'S DREAM - a 1940s noir - style montage : Huge soft - lit faces loom over him , one dissolving into the next . Tina , luminous and breathtaking speaks under heavily lidded eyes .</scene_description> <character>TINA</character> <dialogue>Or it could be two lovers. That would be the woman on top, of course.</dialogue> <scene_description>Charlie looms up out of the darkness .</scene_description> <character>CHARLIE</character> <dialogue>Forget her, Stanley. Ask her what her sign is and she'll say dollar.</dialogue> <scene_description>Mr. Dickey appears , glaring down angrily at Stanley .</scene_description> <character>DICKEY</character> <dialogue>Every time you're late Ipkiss, you're robbing this bank!</dialogue> <scene_description>The shrink from the `` larry King Show '' floats by on a cloud of pipe smoke .</scene_description> <character>DR. NEUMAN</character> <dialogue>We must repress our Id. our deepest darkest desires.</dialogue> <scene_description>Finally Tina again standing beside the limo as she was that night in the Monkey 's Paw alley :</scene_description> <character>TINA</character> <dialogue>Hey, are you okay.</dialogue> <scene_description>Stanley stands at the curb , but this time he 's not splattered with mud . He 's decked out in first class Armani and looks suave as hell . He looks straight into her eyes .</scene_description> <character>STANLEY</character> <dialogue>I am now. C'mere, baby.</dialogue> <character>TINA</character> <parenthetical>( swoons . )</parenthetical> <dialogue>Oh, Stanley!</dialogue> <scene_description>She runs to his arms and they embrace in a passionate kiss . But Tina suddenly pulls back and begins rapidly licking Stanley 's ear . which is kinda weird . E.C.U. - STANLEY</scene_description> <character>STANLEY</character> <dialogue>Tina?</dialogue> <scene_description>Stanley suddenly realizes Milo is licking his ear . and he 's just woken up .</scene_description> <character>STANLEY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Milo, down.</dialogue> <scene_description>He pushes Milo away , tosses back the covers and rises out of bed . It 's still the dead of night and Stanley is all in a huff from his dream . He spots Tina 's clipping on his dresser mirror and rips it off , upset with himself .</scene_description> <character>STANLEY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Stupid, stupid. She'd never.</dialogue> <scene_description>Stanley wheels about and to his complete surprise sees . THE MASK Through his bedroom window , propped up on the fourth story ledge . Its leering grin seems to beckon Stanley as we begin to hear the POUNDING beat of the Mask F.X. theme . STANLEY stands transfixed , staring at the moonlit face . He can almost hear echos of faint whispered VOICES calling his name . A deadly siren song above the pounding drums .</scene_description> <character>STANLEY</character> <parenthetical>( softly . )</parenthetical> <dialogue>No.</dialogue> <scene_description>He backs away from the window . E.C.U. - THE MASK shimmers as the WHISPERS grow louder . STANLEY takes a last look at the crumpled picture of Tina in his hand and finally loses control . He bolts from the room .</scene_description> </scene> <scene> <stage_direction>EXT. BALCONY - NIGHT</stage_direction> <scene_description>Stanley is a driven man as he makes his way out onto the narrow ledge . Milo tugs at his pajama leg , but Stanley kicks him away and climbs out over the ledge . THE LEDGE Stanley wavers precariously on the crumbling masonry , then catches his balance . His face is bathed in sweat as he gazes at the leering face . F.X. music THUNDERS in his head .</scene_description> <character>THE MASK</character> <parenthetical>( faint echos . )</parenthetical> <dialogue>Stanley. Stanley.</dialogue> <scene_description>Stanley tries to steady himself , his eyes transfixed on his prize .</scene_description> <character>STANLEY</character> <dialogue>Just. one. last. time.</dialogue> <scene_description>He lurches back out and makes his way one shaky step at a time towards the mask . MILO watches from the apratment window , whimpering softly . C.U. - THE LEDGE Narrow masonry begins to crumble . STANLEY carefully reaches down , his fingers just brushing the mask as he teeters out over nothingness . Night traffic whizzes by down below . THE MASONRY cracks away . STANLEY SCREAMS as he begins to fall , jamming the mask to his face .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT</stage_direction> <scene_description>The window suddenly EXPLODES inwards as the whirling Stanley/Mask tornado bursts into the room . Milo dives for cover . The tornado scorches the rug as it wheels around the room , then SCREECHES to a halt , revealing the Mask in his full glory . He strikes a grand entrance pose with his arms held high .</scene_description> <character>MASK</character> <parenthetical>( sings . )</parenthetical> <dialogue>I got ta be me! I just got ta be me!</dialogue> <scene_description>He ZZZIPS into the bathroom</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM</stage_direction> <scene_description>The Mask sticks the picture of Tina on the bathroom mirror and blows her a kiss .</scene_description> <character>MASK</character> <parenthetical>( a ` la Big Bopper . )</parenthetical> <dialogue>Oooooh Bay - bee. I knoooooows what you likah!</dialogue> <scene_description>He sprouts a couple of extra arms as he madly brushes his teeth , sprays on cologne and bats himself with a powder puff all at once . He ZZZIPS into the bedroom .</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM</stage_direction> <scene_description>The Mask stands before a full length mirror and checks himself out . With a magical `` hands are quicker than the eye '' move , he changes wardrobe instantly . now posing in an effete fashion victim Don Johnson - style suit .</scene_description> <character>MASK</character> <dialogue>The G.Q. look? Naw.</dialogue> <scene_description>In a TWINKLING he 's changed again : now in MTV Rapper - style over - sized jeans and backwards baseball cap .</scene_description> <character>MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>501's?</dialogue> <parenthetical>( shakes his head . )</parenthetical> <dialogue>For buttonheads only.</dialogue> <scene_description>He changes again in a flash . This time he 's naked except for his Calvin Klein underwear -LRB- his stomach muscles appear super - cut washboard - style -RRB- .</scene_description> <character>MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Marky Mark, eat your heart out.</dialogue> <scene_description>He changes one last time and appears in a wild banana yellow zoot suit complete with a snap brim fedora . That 's the ticket !</scene_description> <character>MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>S - s - s - mokin! Now let's see.</dialogue> <scene_description>The Mask quickly searches his pockets . He pulls his pants pockets inside out and a moth flutters out .</scene_description> <character>MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>What? Seems to be a minor cash flow problem here! I do n't like to keep a lady waiting, but.</dialogue> <parenthetical>( points a finger in the air . )</parenthetical> <dialogue>First things first!</dialogue> <scene_description>The Mask ZZZIPS out of frame .</scene_description> </scene> <scene> <stage_direction>EXT EDGE CITY BANK - NIGHT</stage_direction> <scene_description>The street is quiet and empty , except for a Dipsy Doodle Diaper delivery van parked across from the bank .</scene_description> </scene> <scene> <stage_direction>INT. TRUCK</stage_direction> <scene_description>Crowded with Dorian 's men , it 's been set up as a makeshift control room for the robbery . Dr. Freeze SLAPS a clip in his 9mm and looks down through the van 's false bottom to Sweet Eddy , who is standing in an open manhole working on a bundle of underground wiring .</scene_description> <character>DR. FREEZE</character> <dialogue>What's the E.T.A?</dialogue> <character>SWEET EDDY</character> <dialogue>Another five minutes.</dialogue> <scene_description>Freeze synchronizes his watch .</scene_description> <character>DR. FREEZE</character> <dialogue>Counting down. now.</dialogue> <scene_description>Freeze presses a button on the side of a miniaturized headset he 's wearing</scene_description> <character>DR. FREEZE</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( into headset . )</parenthetical> <dialogue>Lookin' good here, my man.</dialogue> <scene_description>INTERCUT - DORIAN 'S OFFICE He sits at his desk , speaking into a high tech walkie talkie . In the B.G. Dorian 's wall - mounted video monitors display live shots of the club in full swing .</scene_description> <character>DORIAN</character> <dialogue>Nice work, Freeze. You boy are on your own now. I've got to make sure I'm seen downstairs.</dialogue> <character>DR. FREEZE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Do it, man. The Doctah is about to operate.</dialogue> </scene> <scene> <stage_direction>INT. VAN</stage_direction> <scene_description>Freeze turns to his men .</scene_description> <character>DR. FREEZE</character> <dialogue>Gentlemen.</dialogue> <parenthetical>( cocks his gun . )</parenthetical> <dialogue>Let's do our duty and grab the booty.</dialogue> <scene_description>The burglars gather their gear when suddenly the bank alarm starts RINGING . Freeze looks down the hole to Sweet Eddy .</scene_description> <character>DR. FREEZE</character> <parenthetical>( CONT . )</parenthetical> <dialogue>What the hell you doin', fool?</dialogue> <character>SWEET EDDY</character> <dialogue>Nothing! I did n't do nothing!</dialogue> <character>FREEZE</character> <parenthetical>( to the others . )</parenthetical> <dialogue>C'mon! You keep that motor runnin'!</dialogue> </scene> <scene> <stage_direction>EXT. BANK</stage_direction> <scene_description>Freeze and company race across the street with guns drawn . ANGLE ON THE BANK DOORS Freeze and Chun Woo flatten themselves on either side of the door as Burglar # 4 drops to one knee and quickly picks the lock . Suddenly the glass doors EXPLODE wide open as a HUMAN WHIRLWIND bursts out of the bank , shoots right past them and zig - zags up the street . Twenty dollar bills slowly drift down onto the stunned robbers in its wake . In an instant the whirlwind does a U - turn , zig - zag races back up to them and SCREECHES to a halt . The Mask , still in his banana yellow zoot suit and carrying huge sacks of money like Santa Claus , plucks those stray twenties from the air , one , two , three .</scene_description> <character>MASK</character> <dialogue>Sorry, fellas. Waste not want not!</dialogue> <scene_description>And ZZZOOM , he 's off again . HOOTING laughter like a maniac . Freeze pulls his gun .</scene_description> <character>DR. FREEZE</character> <dialogue>Get that sucker!</dialogue> <scene_description>Two cop cars now SQUEAL around the corner , their sirens blaring and ROAR up the street at the bank robbers .</scene_description> <character>DR. FREEZE</character> <dialogue>Oh, shit!</dialogue> <scene_description>The robbers race back to the van , dive inside and PEEL OUT . The police open fire as they roar after them in hot pursuit . Bullets tear into the van , blowing out the rear windows .</scene_description> </scene> <scene> <stage_direction>EXT. MONKEY'S PAW</stage_direction> <scene_description>The die - hard crowd of TRENDIES is piled up outside as usual clamoring to get in . But a buzz of excitement begins to travel through the crowd as one by one they notice . A LIMOUSINE But not just any limousine . As it slowly pulls up by the front of the club we realized it 's long . longer . the longest limousine we ` vve ever seen . Finally the passenger door rolls into sight and the limo comes to a halt . The door bursts open and out leaps the Mask .</scene_description> <character>THE MASK</character> <dialogue>Ah. my public!</dialogue> <scene_description>The crowd parts like the Red Sea as the Mask sashays to the front door . Bobby the Bouncer gets one look at the Mask and actually loses his cool .</scene_description> <character>BOBBY</character> <dialogue>Er, uh. Are you on the list?</dialogue> <character>THE MASK</character> <dialogue>No, but I believe my friends are.</dialogue> <parenthetical>( fans a wad of cash . )</parenthetical> <dialogue>Jackson, Lincoln and Roosevelt.</dialogue> <scene_description>He tosses a handful of loot in the air and struts into the club as the crowd scrambles for the cash .</scene_description> </scene> <scene> <stage_direction>INT. MONKEY'S PAW</stage_direction> <scene_description>This is the first time we 've gotten a good look at the place and it 's a real eyeful . CAMERA BOOMS DOWN TO REVEAL its wild tropical decor complete with live exotic birds in huge indoor Banyon trees . WAITRESSES in leopard skin leotards make their way across the crowded dance floor with trays full of oversized tropical drinks . CAMERA ENDFRAMES as the hostess seats Dorian at his favorite ringside table and removes the `` reserved '' sign . The lights dim an all eyes go to the bandstand . ANGLE OF THE BANDSTAND A spotlight hits the stage and tropical ferns part like a gigantic fan revealing . TINA CARLYLE in a glittering gown that 's made of little more than sequins and mesh . If there were such a thing as fashion police this dress would be arrested for disturbing the peace . She talks/sings the intro of her number a capella .</scene_description> <character>TINA</character> <dialogue>There's all kinds of men In this old world That seek the affections Of a beautiful girl.</dialogue> <scene_description>But of the men from Which to choose There 's only one type That I . ap . aprooove . And now the band slides in , in classic torch song style as Tina sings `` Checks Appeal '' . She works the room throughout the song , driving the men crazy as she lingers by each table .</scene_description> <character>TINA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>You can keep your cowboys on the farm The gigolos do n't make me warm It's mink my fingers crave to feel I need a man with checks appeal.</dialogue> <scene_description>ANOTHER ANGLE The Mask is seated at a table on the other side of the club and immediately reacts when he lays eyes on Tina . His eyes BUG OUT on stalks , an AHOOGA horn sounds and his heart starts POUNDING wildly , shooting two feet out of his chest with each beat . Customers at nearby tables are astonished .</scene_description> <character>TINA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Pretty boys are such a bore There's manly macho types galore But you'll always know The diamond's real If you've got a man with checks appeal.</dialogue> <scene_description>The Mask snatches a bottle off a passing WAITRESS ' tray and sucks it down in one gulp . His head VIBRATES like an electric paint shaker . WWWOOOING ! He CLAPS both hands on his head to hold it still . DORIAN 'S TABLE Sweet Eddy looks nervous as hell as he appears beside Dorian .</scene_description> <character>DORIAN</character> <dialogue>What the hell are you doing here?</dialogue> <character>EDDY</character> <dialogue>We got trouble. You better come upstairs.</dialogue> <scene_description>Dorian immediately rises and hurries through the corwd towards his office . ANGLE ON THE MASK as he continues to ogle Tina . His face now elongates into a wolf 's . He HOWLS , WHISTLES , pounds his fist on the table and stomps his foot on the floor .</scene_description> <character>TINA</character> <dialogue>Do n't want to see too fanatic But dollar signs are so romantic I want a love That's deep and real Just with a man that's got.</dialogue> <parenthetical>( big finish . )</parenthetical> <dialogue>Checks ap - peaaal.</dialogue> <scene_description>The audience goes crazy . Tina takes a bow . Suddenly the Mask ZZZIPS around the perimiter of the club , leaps up on top of the piano and SNAPS his fingers . A spotlight hits him .</scene_description> <character>THE MASK</character> <dialogue>Let's rock this joint!</dialogue> <scene_description>He grabs the stuffy , tuxedoed PIANIST 'S stool and spins it hard . When the pianist stops twirling , he been transformed into a hip , beatnik BE - BOPPER who immediately starts pounding out a mean BOOGIE - WOOGIE . The Mask produces a conductor 's baton from thin air , spins around and magically whips the rest of the band into a frenzy , WAILING out a driving rock 'n roll tune . Satisfied with the music , the Mask leaps down onto the dance floor , grabs the astonished Tina and drags her off her feet into a wild special FX JITTERBUG . THE CROWD watches amazed as . THE MASK AND TINA put Fred and Ginger to shame . Jiving away at warp speed , the Mask movves like a combination of Gumby and Barishnikov . He SHOOTS Tina beneath his legs , SNAPS her back into midair , SPINS her like a baton and hits the floor in the splits without missing a beat .</scene_description> <character>THE MASK</character> <dialogue>S - s - s - smokin!</dialogue> </scene> <scene> <stage_direction>INT. DORIAN'S OFFICE</stage_direction> <scene_description>Dorian and Sweet Eddy enter to find Dr. Freeze , sitting there , gasping in pain with a bar towel pressed against a bloody wound in his side .</scene_description> <character>DORIAN</character> <dialogue>What the hell happened to you?</dialogue> <character>FREEZE</character> <dialogue>I'll be okay. Nobody puts the chill on Freeze.</dialogue> <character>DORIAN</character> <dialogue>Where's the money?</dialogue> <character>FREEZE</character> <dialogue>Deal went south, Bro'. Someone else hit the place before we did.</dialogue> <character>DORIAN</character> <dialogue>Who?</dialogue> <character>FREEZE</character> <dialogue>Do n't know. Dude looked like a freakin' goblin or something. Next thing we know there's cops all over us, man.</dialogue> <character>DORIAN</character> <dialogue>Where's Chun Woo?</dialogue> <character>FREEZE</character> <dialogue>Takin' a dirt nap. It was bad, man. Real bad.</dialogue> <parenthetical>( swallows hard . )</parenthetical> <dialogue>I need a smoke.</dialogue> <character>DORIAN</character> <dialogue>Yeah. sure.</dialogue> <scene_description>Dorian taps out a cigarette , places it between Dr. Freeze 's lips and lights it . but the flame does n't draw . Beat . The cigarette tumbles from Freeze 's mouth . Dorian glances back up and sees that Dr. Freeze 's eyes are glazed over in death . Dorian leaps to his feat and hurls his chair across the room in anger . It SMASHES the mirror over his bar .</scene_description> <character>DORIAN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Son of a bitch! Who did this Eddy? Who?</dialogue> <scene_description>Eddy is staring at Dorian 's T.V. monitor . On it the Mask can still be seen in the midst of his wild dance with Tina .</scene_description> <character>EDDY</character> <dialogue>That's him. That's the guy!</dialogue> <scene_description>Dorian grabs a .45 from his desk , checks the barrel and jams it in his coat .</scene_description> <character>DORIAN</character> <dialogue>Come on!</dialogue> </scene> <scene> <stage_direction>INT. DANCE FLOOR</stage_direction> <scene_description>The Mask spins Tina all around him like a top and then SHOOTS her straight up into the air . Amazingly , she continues somersaulting at the apex of her ascent , suspended in mid - air by her magical momentum . THE MASK stands there nonchalantly filing his nails , whistling to himself . Tina continues to SPIN in place high above him . THE MASK casually checks his watch . Without looking up he holds out one hand for the catch . TINA perfect timing . A final somesault and she drops right back down into his arms . They go straight back into a rockin ' hitterbug without missing a beat . THE WINDING STAIRCASE Dorian and Eddy race down the steps , guns drawn . Dorian calls to Bobby by the hostess ' stand .</scene_description> <character>DORIAN</character> <dialogue>Clear the club. Now!</dialogue> <scene_description>DANCE FLOOR The dance 's grand finale . The Mask spins Tina around and around his body like a baton in one of those awful Hawaiian fire dances . As the band bangs out the final bars of the tune , the Mask SCREECHES Tina to a halt , bends her over backwards and nails her with a Valentino kiss that literally blows her shoes off ; SSSMACK ! KAPOW ! She hangs onto the Mask 's tie for support when BANG the tie is shot in half . Tina falls on her cute behind . C.U. - TIE The shot - away piece of the Mask 's tie flutters to the floor and MORPHS back into a piece of Stanley 's pajamas . DORIAN stands at the edge of the dance floor , his smoking gun trained on the Mask .</scene_description> <character>THE MASK</character> <parenthetical>( gasps in mock horror . )</parenthetical> <dialogue>Gee willickers! Does this mean we wo n't make the Star Search finals?</dialogue> <character>DORIAN</character> <dialogue>This means you wo n't make it out of this club alive if you do n't tell me where my money is.</dialogue> <character>THE MASK</character> <dialogue>Okay.</dialogue> <scene_description>The Mask immediately whips out an old fashioned pull handle calculator , snaps on a green visor and starts tabulating . KA - CHING .</scene_description> <character>THE MASK</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( fast talking . )</parenthetical> <dialogue>You got a 27.5 % in T - Bills amortized over the fiscal yeah 16 - 3/4 % in stocks and bonds /.</dialogue> <parenthetical>( KA - CHING , KA - CHING . )</parenthetical> <dialogue>Carry the nine and divide by the Gross National Product.</dialogue> <character>DORIAN</character> <dialogue>Now cut that out!</dialogue> <parenthetical>( turns to Eddy . )</parenthetical> <dialogue>Ventilate this goon!</dialogue> <scene_description>Eddy pulls out his .38 and starts blasting BLAM . BLAM . The Mask dodges the bullets by contorting his cartoon - flexible body . BLAM . The Mask SPINS once and freezes in a pirouette , now dressed in a tutu . BLAM . The Mask SPINS again and stops dressed as a matador , the bullet whizzes under his cape . BLAM BLAM BLAM A hockey goalie bats the bullet away . A Russian Dancer leaps over the shot . A Cowboy DING ! takes the hit . The Mask staggers back . the forwards in a classic Western death scene . He throws an arm around Sweet Eddy for support .</scene_description> <character>MASK</character> <dialogue>Ak. you got me Pahdnuh.</dialogue> <parenthetical>( cough .</parenthetical> <parenthetical>cough . )</parenthetical> <dialogue /> <scene_description>Eddy seems touched by the Mask 's dying words as he holds him in his arms .</scene_description> <character>MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Hold me close, Red. It's a gettin' dark.</dialogue> <parenthetical>( cough . )</parenthetical> <dialogue>Tell Auntie Em to let Old Yeller out.</dialogue> <parenthetical>( cough .</parenthetical> <parenthetical>cough . )</parenthetical> <dialogue>Tell Tint Tim I wo n't be makin' it home for Christmas.</dialogue> <parenthetical>( cough . )</parenthetical> <dialogue>Tell Scarlet I do give a damn.</dialogue> <scene_description>I . I . UUG ! And the Mask gives up the ghost , his pink tongue flops out the side of his mouth . Eddy bursts into tears . Suddenly a huge cartoon AUDIENCE pops up silhouetted in the foreground , applauding wildly . An off - camera ARM shoots into frame handing the Mask an Oscar . The Mask leaps to his feet and starts taking bows .</scene_description> <character>THE MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Thank you! You love me! You really love me!</dialogue> <scene_description>Dorian pulls out his own .45 and opens fire . The Mask starts HOOTING laughter and ricochets off the dance floor . Dorian gives chase , but suddenly the nightclub doors are KICKED OPEN and Kellaway and a squad of police burst into the room with their guns drawn .</scene_description> <character>KELLAWAY</character> <dialogue>Drop it, Tyrel!</dialogue> <scene_description>Dorian lets his .45 CLATTER to the ground . Kellaway retrieves it .</scene_description> <character>DORIAN</character> <dialogue>Hello, Kellaway. You got a warrant or did you just drop by for a night cap?</dialogue> <character>KELLAWAY</character> <dialogue>I got probable cause. A couple of your boys were spotted knocking over Edge City Bank.</dialogue> <scene_description>One of his men begins to roughly frisk Dorian</scene_description> <character>DORIAN</character> <dialogue>Easy, junior. You're givin' me a woodey.</dialogue> <character>KELLWAY</character> <dialogue>One of them was wearin' some kind of big green mask.</dialogue> <character>DORIAN</character> <dialogue>For once you're on the right track, but that's not one of my men. Maybe you ought to try a little actual police work instead of this harassment bullshit.</dialogue> <character>KELLAWAY</character> <dialogue>This is n't harassment. You want to see some harassment?</dialogue> <parenthetical>( to his men . )</parenthetical> <dialogue>Search the place, boys.</dialogue> <scene_description>His men begin to tear the club apart .</scene_description> <character>DORIAN</character> <dialogue>Ever wonder why you did n't make Captain, asshole? I got friends so high up they'd give you a nose bleed.</dialogue> <scene_description>Kellaway hauls off and CRACKS him in the face with a solid right cross .</scene_description> <character>KELLAWAY</character> <dialogue>Well what d'ya know? I guess they gave you one too.</dialogue> <scene_description>Dorian shakes it off and glares at him .</scene_description> <character>DORIAN</character> <parenthetical>( softly . )</parenthetical> <dialogue>You're a dead man.</dialogue> <scene_description>One of the officers now appears on the stairway .</scene_description> <character>OFFICER</character> <dialogue>Lt., we got a stiff upstairs. One of the guys from the heist.</dialogue> <character>KELLAWAY</character> <parenthetical>( cuffs him . )</parenthetical> <dialogue>Better call that high - priced lawyer of yours, Tyrel. You're comin' downtown.</dialogue> <character>DORIAN</character> <dialogue>I'll be back on the streets before sunrise and you know it.</dialogue> <character>KELLAWAY</character> <dialogue>Then just think of this as the city's way of showing you a little hospitality.</dialogue> <parenthetical>( pats him on the cheek . )</parenthetical> <dialogue>I'll stop by to tuck you in myself.</dialogue> <scene_description>As the police drag Dorian outside , Kellaway notices someting on the dance floor . CLOSER Kellaway picks up the slice of pajama fabric that was once the Mask 's tie and inspects it closely . It 's the same fabric Kellaway saw Stalney wearing that morning .</scene_description> </scene> <scene> <stage_direction>EXT. CLUB</stage_direction> <scene_description>Kellaway exits and walks right past the poster of Tina . Flattened into the poster , with his arm around her , is a cartoon of the Mask . The eyes follow Kellaway as he speaks to TWO COPS guarding the door .</scene_description> <character>KELLAWAY</character> <dialogue>You're on your own, boys.</dialogue> <character>COP</character> <dialogue>Do n't worry, Lt. If he's in there, well get him.</dialogue> <scene_description>Kellaway slips the pajamas fabric in his pocket .</scene_description> <character>KELLAWAY</character> <dialogue>And if he's not, I got a feeling I know where to find him.</dialogue> <scene_description>As Kellaway heads for his car , the Mask slips out of the poster -LRB- still flat as a pancake -RRB- , slides along the wall behind unsuspecting policemen and around the corner to safety .</scene_description> </scene> <scene> <stage_direction>INT. STANLEY'S BEDROOM - DAWN</stage_direction> <scene_description>Milo GROWLS , Frisbee in mouth . Stanley wakes up with a massive headache and dark rings under his eyes . The Mask , which lies on the pillow next to him is taking a greater and greater toll . There 's a BANGING on the door .</scene_description> <character>LT. KELLAWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Police. Open up.</dialogue> <scene_description>Stanley runs to the closet to hide the Mask . The instant he opens the door , an avalanche of CASH pours out , suffocating him .</scene_description> <character>STANLEY</character> <dialogue>Oh my god!</dialogue> <character>LT. KELLAWAY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Ipkiss! I know you're in there.</dialogue> <scene_description>Stanley grabs the Frisbee and starts shoveling the money back into the closet . Now the doorbell starts RINGING .</scene_description> <character>STANLEY</character> <dialogue>All right, I'm coming!</dialogue> <scene_description>Stanley tosses the Mask and the Frisbee into the closet and SLAMS it shut . He scoops up a few stray dollars and throws them under the bed . He hurries to the door and opens it , an easy smile on his face .</scene_description> <character>STANLEY</character> <dialogue>Lieutenant, what a surprise! What can I do for you?</dialogue> <character>LT. KELLAWAY</character> <dialogue>You can answer a few questions.</dialogue> <character>STANLEY</character> <dialogue>I've got to get ready for work.</dialogue> <character>LT. KELLAWAY</character> <dialogue>Trust me. Your bank's opening late today.</dialogue> <scene_description>Kellaway steps into the apartment , without waiting for an invitation . Stanley glances nervously back at the closet . Milo is scratching at the door .</scene_description> <character>LT. KELLAWAY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Where were you last night?</dialogue> <character>STANLEY</character> <dialogue>Here. mostly. Is something wrong?</dialogue> <character>LT. KELLAWAY</character> <dialogue>Maybe, yes. Maybe, no. Maybe it's all just a crazy coincidence that this so called `` Mask'' character always seems to be wherever you are.</dialogue> <character>STANLEY</character> <dialogue>Mask - who?</dialogue> <character>LT. KELLAWAY</character> <dialogue>Do n't insult my intelligence, Ipkiss. First, he's spotted in your building, then the bank where you work and now I find this at the Monkey's Paw.</dialogue> <scene_description>He displays the TORN PIECE OF FABRIC . It matches the piece missing in Stanley 's pajamas . Stanley wilts . Milo YAPS and leaps up , trying to open the closet door .</scene_description> <character>STANLEY</character> <dialogue>Milo. No!</dialogue> <parenthetical>( moves the dog away . )</parenthetical> <dialogue>Okay, so I went out on the town last night. A guy's got to have a little fun.</dialogue> <character>LT. KELLAWAY</character> <dialogue>In your jammies?</dialogue> <scene_description>Milo is back at the closet door . He 's just about got it open as Stanley turns the detective to the door .</scene_description> <character>STANLEY</character> <dialogue>Naw, I just took'em with me in case I did n't make it home. I do n't know about you, Lieutenant. But I've got a pretty good track record with the ladies.</dialogue> <scene_description>Kellaway pulls away from Stanley and begins suspiciously SNIFFING the air around him .</scene_description> <character>LT. KELLAWAY</character> <dialogue>Wait a second. you smell that?</dialogue> <character>STANLEY</character> <dialogue>What?</dialogue> <character>KELLAWAY</character> <parenthetical>( sniffs . )</parenthetical> <dialogue>Bullshit. I hate the smell of bullshit. Do n't even think about leaving town, Ipkiss. I'll be in touch.</dialogue> <scene_description>Kellaway SLAMS the front door , just as the closet door falls open - spilling all the cash . Milo happily snatches his Frisbee . Stanley sinks back down on his bed .</scene_description> <character>STANLEY</character> <dialogue>What are we gon na do, Milo? What are we gon na do?</dialogue> <scene_description>C.U. - VIDEO MONITOR A replay of the bank robbery , from the bank 's grainy videocams . A blurred image of the Mask is visible as he zig - zags around the bank at high speed . WIDER Kellaway sips a cup of brackish coffee as Oliveras FREEZE - FRAMES the best image of the Mask . There 's a wild - eyed look of glee on his face as he stuffs sacks full of money .</scene_description> <character>DEPUTY OLIVERAS</character> <dialogue>I do n't know, boss. That's one helluva rubber mask.</dialogue> <character>LT. KELLAWAY</character> <dialogue>Where's the lab report?</dialogue> <scene_description>Oliveras hands it over .</scene_description> <character>DEPUTY OLIVERAS</character> <dialogue>We got fingerprints on some of the currency, but nothing matches Tyrel's men. Looks like this guy beat'em to the punch.</dialogue> <character>LT. KELLAWAY</character> <dialogue>Get the bank's employee files and run down the prints on a guy named Ipkiss.</dialogue> <character>DEPUTY OLIVERAS</character> <dialogue>You figure it was an inside job?</dialogue> <character>LT. KELLAWAY</character> <dialogue>Yeah, and all I need is a couple of prints to lock this wack job up'till doomsday.</dialogue> </scene> <scene> <stage_direction>INT. DORIAN'S OFFICE - DAY</stage_direction> <scene_description>Dorian 's assembled a war council . At the table are Sweet Eddy and assorted Button Men from the city 's underworld . An open attache case filled with stacks of money sits before Dorian .</scene_description> <character>DORIAN</character> <dialogue>A fifty thousand dollar reward to the man who finds this `` Mask'' character before the cops do. Get the word out to every street hustler and low life in this town.</dialogue> <parenthetical>( pounds his fist . )</parenthetical> <dialogue>I want him here. In my office. Alive. By tomorrow! Now get going!</dialogue> <scene_description>Everybody scrambles out of their seats . Tina sits in the corner of the room , painting her nails . She glances up at Dorian .</scene_description> <character>DORIAN</character> <dialogue>What are you looking at?</dialogue> <character>TINA</character> <dialogue>You. You're losing it Dorian.</dialogue> <character>DORIAN</character> <dialogue>I'm losing nothing. Except maybe some extra baggage I do n't need around here.</dialogue> <character>TINA</character> <dialogue>What's that supposed to mean?</dialogue> <character>DORIAN</character> <dialogue>You were n't putting up much of a fight when that green goon kissed you last night.</dialogue> <character>TINA</character> <dialogue>C'mon, did it look to you like I had a choice?</dialogue> <character>DORIAN</character> <dialogue>Maybe you did and maybe you did n't, but I know this, one day real soon I'm gon na run this town and when I do there's gon na be payback for anyone who crossed me.</dialogue> <parenthetical>( glares at her . )</parenthetical> <dialogue>I mean anyone.</dialogue> </scene> <scene> <stage_direction>INT. BANK - DAY</stage_direction> <scene_description>The place is in general disarray but still functioning , jammed with worried depositors . Stanley makes his way to his desk , his face pale and unshaven . Dark circles ring his eyes .</scene_description> <character>MR. DICKEY</character> <dialogue>Ipkiss! We have a crisis on our hands here and you stroll in over an hour late. If I have to put up with your slovenly.</dialogue> <scene_description>Stanley develops an odd facial TWITCH , then .</scene_description> <character>STANLEY</character> <parenthetical>( explodes . )</parenthetical> <dialogue>Back off Monkey - Boy, before I tell your daddy how you're running this branch like it's your own personal piggy bank! If the I.R.S. saw some of those files we could arrange a little vacation for you at Club Fed!</dialogue> <scene_description>Dickey is absolutely shocked into silence by this outburst , then .</scene_description> <character>MR. DICKEY</character> <dialogue>That will be all, Ipkiss.</dialogue> <scene_description>Dickey turns on his heels and exits . Charlie Schumacher now appears glowing with new respect for Stanley .</scene_description> <character>CHARLIE</character> <dialogue>Woah! What side of who's bed did you wake up on?</dialogue> <character>STANLEY</character> <dialogue>I'm not sure.</dialogue> <parenthetical>( twitches . )</parenthetical> <dialogue>I have n't exactly been myself lately.</dialogue> <scene_description>For a split second , Stanley 's entire face CONTORTS into an alarming Mask - like expression .</scene_description> <character>CHARLIE</character> <parenthetical>( warily . )</parenthetical> <dialogue>Yeah, well you look like you could use a little R and R there buddy. and as a matter of fact I've got just the ticket. Or should I say tickets?</dialogue> <character>STANLEY</character> <dialogue>I'm afraid to ask.</dialogue> <scene_description>Charlie flashes two tickets .</scene_description> <character>CHARLIE</character> <dialogue>Saturday night. Grand opening of the Valhalla Casino. Serious skirt alert. Everybody who's anybody will be there. What do you say?</dialogue> <character>STANELY</character> <dialogue>I do n't know Charlie, I.</dialogue> <scene_description>Stanley suddenly spots Tina making her way across the room to his desk .</scene_description> <character>STANLEY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Excuse me a second.</dialogue> <scene_description>ANGLE ON STANLEY 'S DESK</scene_description> <character>STANLEY</character> <dialogue>Tina. What are you doing here?</dialogue> <character>TINA</character> <dialogue>I heard about the robbery. I guess I just wanted to make sure you were okay.</dialogue> <character>STANLEY</character> <dialogue>Oh, do n't worry about me.</dialogue> <parenthetical>( twitches . )</parenthetical> <dialogue>I'm fine.</dialogue> <character>TINA</character> <dialogue>Are you sure? You look a little.</dialogue> <character>STANLEY</character> <dialogue>I'm just having a little trouble sleeping is all.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I guess you wo n't want to open that account after all this.</dialogue> <character>TINA</character> <dialogue>I'm not so sure I'll have much to open an account with anymore.</dialogue> <character>STANLEY</character> <dialogue>What about the nightclub? I thought you were doing great.</dialogue> <character>TINA</character> <dialogue>I do n't know how much longer I can stay there Stanley. Things are getting a little intense.</dialogue> <character>STANLEY</character> <dialogue>Well, there must be plenty of other places you could sing. Maybe even get a record deal.</dialogue> <character>TINA</character> <dialogue>I wish it was that easy. There's thousands of girls out there just like me who.</dialogue> <character>STANLEY</character> <dialogue>Not just like you. You've got a voice like. like an angel.</dialogue> <character>TINA</character> <parenthetical>( lights a cigarette . )</parenthetical> <dialogue>An angel huh? That's the first time I've heard that one.</dialogue> <character>STANLEY</character> <dialogue>No, I mean it. You really do.</dialogue> <character>TINA</character> <dialogue>I can vamp my way through a tune. But that's not really singing.</dialogue> <character>STANLEY</character> <dialogue>What is it with you, Tina? Why do n't you believe in yourself?</dialogue> <character>TINA</character> <parenthetical>( sighs . )</parenthetical> <dialogue>I guess I've just heard a lot of promises from a lot of guys. In the end they all wanted the same thing and it was n't a song.</dialogue> <character>STANLEY</character> <dialogue>So maybe you've been singing for the wrong guys.</dialogue> <character>TINA</character> <dialogue>I'm not so sure there's any other kind. Not for me, anyway.</dialogue> <parenthetical>( rises . )</parenthetical> <dialogue>Well, I'm glad nobody got hurt.</dialogue> <character>STANLEY</character> <dialogue>Yeah.</dialogue> <character>TINA</character> <dialogue>What about this guy, the Mask? Do the cops have a line on him?</dialogue> <character>STANLEY</character> <dialogue>I'm not sure. Why are you interested?</dialogue> <character>TINA</character> <dialogue>Promise you wo n't say anything?</dialogue> <character>STANLEY</character> <dialogue>Sure.</dialogue> <character>TINA</character> <dialogue>He came to the club last night and he was just so. well, different. I have n't been able to get him off my mind.</dialogue> <character>STANLEY</character> <dialogue>Really? They say he's pretty weird looking.</dialogue> <character>TINA</character> <dialogue>Yeah. He's ugly. but he's kinda cool. y' know, like Mick Jagger.</dialogue> <character>STANLEY</character> <dialogue>You really think so?</dialogue> <character>TINA</character> <dialogue>Yeah. If you hear anything about him, would you call me at the club?</dialogue> <scene_description>Stanley nods - unsure of what to say . Tina opens the door , but before she exits .</scene_description> <character>STANLEY</character> <dialogue>Actually. I sort of know the guy.</dialogue> <character>TINA</character> <dialogue>What?</dialogue> <character>STANLEY</character> <dialogue>The Mask. We're - old college buddies him and I.</dialogue> <character>TINA</character> <dialogue>Are you serious?</dialogue> <character>STANLEY</character> <dialogue>Oh yeah. To tell you the truth, I'm sorta covering for him on this bank thing. He's not such a bad guy, really. He just gets a little carried away.</dialogue> <character>TINA</character> <dialogue>I'll say. Do you think you could give him a message?</dialogue> <character>STANLEY</character> <dialogue>I suppose so.</dialogue> <character>TINA</character> <dialogue>Tell him I want to see him again</dialogue> <character>STANLEY</character> <dialogue>When? I mean, I'd need to tell him exactly.</dialogue> <character>TINA</character> <dialogue>How about seven o'clock tonight at Peninsula Park.</dialogue> <character>STANLEY</character> <dialogue>I'll be. I mean, I'll make sure he's there.</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT BUILDING - GARAGE - AFTERNOON</stage_direction> <scene_description>Peggy parks her car in her space , locks it up and beeps on the car horn . When she turns , she notices a shadowy FIGURE watching her from a bark corner of the garage . She hurries down the row of parked cars , clutching her purse to her side . The figure follows at a slow but relentless pace . Peggy fumbles for her keys , finally finds the correct one and enters the building .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT HALL</stage_direction> <scene_description>Peggy is relieved as she reaches her apartment door and slips the key in the lock . but the lock is jammed . She tries and tries again . nothing . Suddenly , a hand enters frame and SLAPS an eviction notice on her door .</scene_description> <character>LANDLORD</character> <dialogue>Sorry, doll. I had the locks changed this afternoon.</dialogue> <character>PEGGY</character> <dialogue>You what? You ca n't do that!</dialogue> <character>LANDLORD</character> <dialogue>You've known we're going condo for six months, Peggy. I ca n't stall the owner a minute longer. Either you pony up the downpayment or you're out.</dialogue> <character>PEGGY</character> <dialogue>Just a couple more days, Phil. The paper's ready to give me a full time job.</dialogue> <character>LANDLORD</character> <dialogue>I've heard that one before.</dialogue> <character>PEGGY</character> <dialogue>C'mon, at least let me get a few of my things.</dialogue> <scene_description>Phil considers this a beat , then unlocks the door for her .</scene_description> <character>LANDLORD</character> <dialogue>Do n't make me regret this. We get a certified check by noon tomorrow or a Sheriff will escort you out of here.</dialogue> <character>PEGGY</character> <dialogue>Thanks Phil. You're a sweetheart.</dialogue> <scene_description>Phil exits . Peggy picks up her things when she hears an off - camera `` Pssst . '' She turns . THE FIGURE stands in the shadows by the fire escape . He 's got a voice that sounds like he 's been gargling glass .</scene_description> <character>THE FIGURE</character> <dialogue>I heard you were lookin' for a story.</dialogue> <character>PEGGY</character> <dialogue>Who. Who are you?</dialogue> <character>THE FIGURE</character> <dialogue>Just a guy with a little information lookin' to make a buck. But maybe I heard wrong. You do n't look like much of a reporter to me.</dialogue> <scene_description>Peggy gulps back her fear , determined to live up to her job .</scene_description> <character>PEGGY</character> <dialogue>You give me something worth printing and I'll get you your money. What's this about?</dialogue> <character>FIGURE</character> <dialogue>The guy they call the Mask and why Dorian Tyrel's willing to pay fifty large to get him.</dialogue> <character>PEGGY</character> <dialogue>How do I find this Tyrel?</dialogue> <character>FIGURE</character> <dialogue>Careful, sweet meat. You break this story and he just might find you.</dialogue> <scene_description>C.U. DORIAN as he enters .</scene_description> </scene> <scene> <stage_direction>EXT. JORGENSON'S SMORGASBORD - AFTERNOON</stage_direction> <scene_description>Dorian and Sweet Eddy casually step through the front door of the restaurant 's ersatz chalet facade .</scene_description> </scene> <scene> <stage_direction>INT. SMORGASBORD</stage_direction> <scene_description>Sweet Eddy takes a position by the door as Dorian greets Artie the Swede at a large oak table in the festeively decorated smorgasbord The Swede is flanked by his gunsels as he 's served by a big blonde waitress in a classic peasant girl costume .</scene_description> <character>SWEDE</character> <dialogue>Dorian. thanks for coming by, kid.</dialogue> <character>DORIAN</character> <dialogue>My pleasure, Swede. It's been too long. I was worried you were still pissed about that little thing with Harry the Hat.</dialogue> <character>SWEDE</character> <dialogue>That? It was nothing. He was a pain in my ass anyway. Here, sit down, sit down.</dialogue> <character>DORIAN</character> <dialogue>Congratulations on the new casino.</dialogue> <character>SWEDE</character> <dialogue>Thanks, but it might be a little early to celebrate. As a matter of fact that's why I asked you to stop by.</dialogue> <character>DORIAN</character> <dialogue>Is that right?</dialogue> <character>SWEDE</character> <dialogue>Here. have a little something to eat. That's Svenska meatballs, kid. The real thing.</dialogue> <character>DORIAN</character> <dialogue>Thanks.</dialogue> <scene_description>Dorian starts to eat .</scene_description> <character>SWEDE</character> <dialogue>So, I tell you Dorian, it's a terrible shame. I put all my hard work into this beautiful casino and what do you think? All the sudden I got all kinda problems with the city. Big problems. The whole deal could fold.</dialogue> <character>DORIAN</character> <dialogue>Maybe I can help you out. I'm expecting to come into a little investment capital shortly. If worse comes to worse and you really need to bail out.</dialogue> <character>SWEDE</character> <dialogue>What a sweet guy. Is n't this guy a sweetheart? Thanks for the offer Dorian, but I think maybe I can solve this myself.</dialogue> <character>DORIAN</character> <dialogue>Is that right?</dialogue> <character>SWEDE</character> <dialogue>That's right. You know that Councilman you got in your pocket?</dialogue> <scene_description>Dorian freezes with a forkful of meatballs halfway to his mouth . He notices a PINK CARNATION squashed into the gravy .</scene_description> <character>SWEDE</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Well now you've got ` im in your mouth. How you like that?</dialogue> <scene_description>The Swede and his men have a good laugh as Dorian spits out his meatball . The Swede pulls a gun and jams it under Dorian 's chin . Sweet Eddy goes for his gun , but one of the Swede 's men pops up , jamming a barrel to his temple .</scene_description> <character>SWEDE</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( to Dorian . )</parenthetical> <dialogue>Now listen close scumbag! You want to bw in business with me? Okay, we're partners now. I'm takin' fifty per cent off the Monkey's Paw. You screw with me again and I'll send you straight down to Hell with your scumbag councilman. You can apologize for eatin' him for lunch.</dialogue> <character>DORIAN</character> <dialogue>Sure, Swede. Take it easy.</dialogue> <character>SWEDE</character> <dialogue>Good. Now get out of my sight.</dialogue> <scene_description>Dorian rises .</scene_description> <character>SWEDE</character> <dialogue>Oh Dorian, here's a couple tickets to my grand opening. Stop by. And try to dress up nice. It's good for business.</dialogue> <scene_description>CLOSE ON : NEWSPAPER HEADLINE `` The Mask Robs Bank - Police Scour The City . '' It 's accompanied by a grainy blow - up of the Mask from the bank video . A HAND jams a quarter in the slot , opens the machine and pulls out the entire stack of papers . WIDER to reveal Stanley , still looking pale and desperate as he dumps the entire stack of papers in a nearby garbage can . He starts to turn away when he notices an ad on the back of the paper for a book . `` The Masks We Wear '' by Dr. Arthur Neuman , the same man we saw interviewed on `` The Larry King Show . '' The byline reads `` The Mysterious Powers of the Identities Within Us . '' Stanley rips out the ad and hurries off down the street .</scene_description> </scene> <scene> <stage_direction>INT. PSYCHIATRIST'S OFFICE - DAY</stage_direction> <scene_description>C.U. - MASKS . Dozens of them line one wall . Tribal masks . Victorian masks . Ceramic masks . Masks from all countries and cultures . WIDER Stanley paces the plush office like a caged animal while Dr. Neuman sits nearby toying with his pipe .</scene_description> <character>DR. NEUMAN</character> <dialogue>This is extremely unusual, Mr. Ipkiss. Barging in without an appointment or.</dialogue> <character>STANLEY</character> <dialogue>Look, you're the big expert on masks, right? Well, I've got an emergency here!</dialogue> <parenthetical>( his face TWITCHES . )</parenthetical> <dialogue /> <character>DR. NEUMAN</character> <dialogue>Try to calm yourself. Now this woman you were telling me about, I'm not sure I understand the problem.</dialogue> <character>STANELY</character> <dialogue>I've got a date with the girl of my dreams, only she does n't know it's me.</dialogue> <scene_description>Stanley suddenly reaches into his briefcase and pulls out the mask .</scene_description> <character>STANELY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>It's this thing!</dialogue> <character>DR. NEUMAN</character> <parenthetical>( takes the mask . )</parenthetical> <dialogue>Very interesting. looks like tenth or eleventh century Scandinavian. Where did you get this?</dialogue> <character>STANLEY</character> <parenthetical>( snatches it back . )</parenthetical> <dialogue>I found it. or it found me. I'm not sure. The problem is it's ruining my life!</dialogue> <character>DR. NEUMAN</character> <dialogue>So you believe this actually changes you into a different person?</dialogue> <character>STANLEY</character> <dialogue>Yes!</dialogue> <parenthetical>( face twitches . )</parenthetical> <dialogue>It's turning me into some kind of lunatic!</dialogue> <parenthetical>( briefly CONTORTS into a Mask expression . )</parenthetical> <dialogue /> <character>DR. NEUMAN</character> <dialogue>Mr. Ipkiss, please. This is just obsessional dellusion. What you have here is nothing more than a piece of wood.</dialogue> <character>STANELY</character> <dialogue>But your book says masks.</dialogue> <character>DR. NEUMAN</character> <dialogue>My book uses masks as a metaphor for our complex personalities. The masks we must present to the outside world. to suppress the id. To protect our innermost desires.</dialogue> <character>STANELY</character> <dialogue>Yeah, well this one works in reverse.</dialogue> <character>DR. NEUMAN</character> <dialogue>You're going to have to be willing to work on this delusion or.</dialogue> <character>STANLEY</character> <dialogue>It's not a delusion! Alright, I'll prove it to you if I have to, but I wo n't be responsible for the consequences.</dialogue> <character>DR. NEUMAN</character> <dialogue>Mr. Ipkiss please! There is no such thing as a magical mask.</dialogue> <character>STANLEY</character> <parenthetical>( holds up mask . )</parenthetical> <dialogue>Last chance to hide all dangerous objects.</dialogue> <character>DR. NEUMAN</character> <dialogue>Alright then, go on. You're not going to frighten me.</dialogue> <scene_description>Stanley takes a deep breath and shoves the mask onto his face .</scene_description> <character>STANLEY</character> <dialogue>Whooooooooaaaaa.</dialogue> <scene_description>He starts spinning around .</scene_description> <character>DR. NEUMAN</character> <dialogue>Whoa, what?</dialogue> <scene_description>Stanley just stands there like an idiot . Nothing happened . He tries it again . Same result .</scene_description> <character>STANLEY</character> <dialogue>It did n't work?</dialogue> <character>DR. NEUMAN</character> <dialogue>Does that surprise you? The mask is nothing but a reflection of you - the inner you.</dialogue> <scene_description>Stanley is n't listening . He 's thinking out load .</scene_description> <character>STANLEY</character> <dialogue>It worked last night. And the night before. Maybe it only works at night. What kind of mask did you say this was.</dialogue> <character>DR. NEUMAN</character> <dialogue>Scandinavian. It looks like a representation of Loki, the Norse God of Mischief. He supposedly caused so much trouble that Odin banished him from Valhalla forever.</dialogue> <character>STANLEY</character> <parenthetical>( gasps . )</parenthetical> <dialogue>What if he banished him. into a mask?</dialogue> <character>DR. NEUMAN</character> <parenthetical>( sighs . )</parenthetical> <dialogue>I'm sorry, Mr. Ipkiss, we're out of time.</dialogue> <character>STANLEY</character> <dialogue>But what should I do about my date?</dialogue> <character>DR. NEUMAN</character> <dialogue>Your date?</dialogue> <character>STANLEY</character> <dialogue>You know. Tonight. The park. Tina. Do I go as myself of the Mask?</dialogue> <scene_description>Dr. Neuman puts an arm around Stanley and leads him to the door .</scene_description> <character>DR. NEUMAN</character> <dialogue>Mr. Ipkiss, please. Have n't you been listening to anything I've been saying? Go as yourself. And as the Mask.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>Because they are the one and the same, beautiful person</dialogue> <scene_description>Stanley sees this is a losing battle . He turns and walks out .</scene_description> </scene> <scene> <stage_direction>INT. FORD TAURUS - DAY</stage_direction> <scene_description>Lt. Kellaway sits in this unmarked police car , finishing up lunch . The police band comes on . Kellaway grabs it .</scene_description> <character>LT. KELLAWAY</character> <dialogue>Yeah?</dialogue> <character>OLIVERAS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I've got that cross - check from the bank files.</dialogue> <character>LT. KELLAWAY</character> <dialogue>And?</dialogue> <character>OLIVERAS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>It's Ipkiss, Alright. Stanley Ipkiss.</dialogue> <scene_description>Kellaway smiles to himself . At that moment - STANLEY comes out of Dr. Neuman 's office building . He gets in his car and drives off .</scene_description> <character>OLIVERAS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You want us to pick him up?</dialogue> <character>LT. KELLAWAY</character> <dialogue>Do n't do a thing until I tell you. Just keep the SWAT team standing by. If this guy's half as bad as he's supposed to be we'll need all the help we can get.</dialogue> <scene_description>LT. KELLAWAY fires up his engine and pulls away .</scene_description> </scene> <scene> <stage_direction>EXT. PARK - SUNSET</stage_direction> <scene_description>Topiaried ivy reads : `` Welcome to Peninsula Park . '' A small sign below that reads : `` No dumping . '' Carrying his briefcase , Stanley enters the park .</scene_description> </scene> <scene> <stage_direction>EXT. BENCH</stage_direction> <scene_description>Stanley passes through a stand of trees and nearly bumps into Tina .</scene_description> <character>TINA</character> <dialogue>Stanley, what are you doing here?</dialogue> <character>STANLEY</character> <dialogue>Oh, Tina. Hi. You're early.</dialogue> <character>TINA</character> <dialogue>A little.</dialogue> <character>STANLEY</character> <dialogue>I just. wanted to make sure you two got together okay.</dialogue> <character>TINA</character> <dialogue>That's nice.</dialogue> <parenthetical>( sits down . )</parenthetical> <dialogue>You know, I hardly ever stop by here. It's hard to believe it was just a garbage heap.</dialogue> <character>STANLEY</character> <parenthetical>( looking at the sky . )</parenthetical> <dialogue>It's always beautiful at sunset. Those methane emissions really pick up the colors.</dialogue> <character>TINA</character> <dialogue>Wow. They really do. All those pinks and greens.</dialogue> <character>STANLEY</character> <dialogue>Well. I'm sure my cousin will be along any minute. He never shows up anywhere'till after sundown. He's sort of strange that way.</dialogue> <parenthetical>( rises . )</parenthetical> <dialogue>I guess I'll get going.</dialogue> <character>TINA</character> <dialogue>No, Stanley. Stay for a second. I was thinking about what you said and I, uh, I want you to know I appreciate it. Maybe you're right. If I believed in myself a little more I would n't rely on guys like Dorian.</dialogue> <character>STANLEY</character> <dialogue>Dorian. You mean Dorian Tyrel?</dialogue> <character>TINA</character> <dialogue>Yeah. He's sort of my manager.</dialogue> <character>STANLEY</character> <dialogue>Tina, you've got to be careful of that guy. He's a dangerous criminal.</dialogue> <character>TINA</character> <dialogue>You really mean that, do n't you?</dialogue> <character>STANLEY</character> <dialogue>Absolutely. You ought to hear the stories.</dialogue> <character>TINA</character> <dialogue>No, I mean, you're really worried about me. That's. real sweet, Stanley.</dialogue> <character>STANLEY</character> <dialogue>C'mon, Tina this is serious. How involved are you with this guy?</dialogue> <character>TINA</character> <dialogue>I can take care of myself, Stanley. I always have.</dialogue> <character>STANLEY</character> <dialogue>Oh, really? People close to Tyrel have a nasty habit of turning up dead, or have n't you noticed?</dialogue> <character>TINA</character> <dialogue>Look, this may sound a little cold but I do what I have to do to get by, okay? I'm nobody in this town without Dorian.</dialogue> <character>STANLEY</character> <dialogue>And who are you with him Tina? I'm not exactly sure who I am anymore but at least I'm trying to find out. If you really had any faith in yourself, you would n't be hanging on to some kind of free ride.</dialogue> <scene_description>That last bit stung , and Stanley knows it . A shadow falls over them as the last rays of the sun disappear behind the clouds .</scene_description> <character>STANLEY</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( sighs . )</parenthetical> <dialogue>I'm sorry Tina. I guess I better get going.</dialogue> <scene_description>Stanley gets up and hurries off through the trees .</scene_description> <character>TINA</character> <parenthetical>( rises . )</parenthetical> <dialogue>Stanley. wait!</dialogue> <scene_description>But he 's already disappeared . Tina starts to follow after when she hears a strange WHOOOSH . A whirlwind begins to kick up the leaves all around her . The Mask leaps out from behind a stand of trees in all his glory and literally sweeps her off her feet . With his lower lip thrust out he romances Tina in a deep syrupy French voice .</scene_description> <character>THE MASK</character> <dialogue>Cher! Ce moi! Je ` taime, Je' taime, Je any old tame! At last we are together mon petite bon bon!</dialogue> <scene_description>ANGLE ON THE BUSHES Kellaway , Doyle , and two other officers are watching from a distance . He speaks into his walkie talkie in hushed tones .</scene_description> <character>KELLAWAY</character> <dialogue>This is Kellaway. I need back up and I need it now! Every available man down to Peninsula Park.</dialogue> </scene> <scene> <stage_direction>INT. NEWSROOM - BULLPEN</stage_direction> <scene_description>MURRAY , an old timer newshound hurries into the room , grabs his notebook and pulls on his coat .</scene_description> <character>MURRAY</character> <dialogue>Looks like it's gon na be a long night. My wife is gon na kill me.</dialogue> <character>PEGGY</character> <dialogue>What is it, Murray?</dialogue> <character>MURRAY</character> <dialogue>The cops got your pal Ipkiss staked out at Peninsula Park. We just picked it up over the police band.</dialogue> <character>PEGGY</character> <dialogue>Let me cover it, Murray! You go on home to Claire.</dialogue> <character>MURRAY</character> <dialogue>I do n't know, Peggy. Ramsey said.</dialogue> <character>PEGGY</character> <parenthetical>( grabs her coat . )</parenthetical> <dialogue>I'll take care of Ramsey. Thanks a million. I owe you one.</dialogue> <scene_description>She gives Murray a quick peck on the cheek and runs out the door .</scene_description> </scene> <scene> <stage_direction>EXT. PENINSULA PARK</stage_direction> <scene_description>The Mask is all over Tina like a cheap suit , stroking her hair grabbing her bod . She 's definitely having second thoughts about him as he backs her up to the bench .</scene_description> <character>THE MASK</character> <dialogue>Our love is like a red red rose, and I'm feeling so thorny already, I'd like to nip you in the bud!</dialogue> <scene_description>She ducks his grab , but he recovers smoothly , flipping out a pack of cigarettes . He pops one in her mouth .</scene_description> <character>THE MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Cigarette?</dialogue> <scene_description>His hand is a blur of motion as he sticks dozens of cigarettes in her mouth .</scene_description> <character>THE MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Regular? Menthol? Filter? Cigar? Cigarette? Tiparillo?</dialogue> <scene_description>He produces a huge blow torch from within his jacket and pops on the flame .</scene_description> <character>THE MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Let me get that for you!</dialogue> <scene_description>He grabs the gigantic wad of cigarettes as if they were one , puts them in his own mouth and applies the blow torch . With one mighty SSSUCK he smokes them all down to gray ash . Beat . The ash tumbles away .</scene_description> <character>THE MASK</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( exhales a huge cloud of smoke . )</parenthetical> <dialogue>Aaaaaah. And now. amore!</dialogue> <scene_description>He throws his arms wide and lunges at Tina .</scene_description> <character>KELLAWAY</character> <dialogue>Freeze!</dialogue> <scene_description>The Mask freezes in mid - air , arms outstretched and feet suspended off the ground .</scene_description> <character>KELLAWAY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Put your hands up!</dialogue> <scene_description>The Mask 's lips barely move as he speaks in a tiny voice out the side of his mouth .</scene_description> <character>THE MASK</character> <dialogue>But eu ` tol me ` oo freeze!</dialogue> <character>KELLAWAY</character> <dialogue>Alright, alright. Unfreeze! You're under arrest!</dialogue> <scene_description>The Mask instantly drops to the ground and throws himself into wildly exaggerated expressions of remorse and pain .</scene_description> <character>THE MASK</character> <dialogue>Under arrest! My god! The Law! I knew I'd forgotten something!</dialogue> <parenthetical>( tears . )</parenthetical> <dialogue>I was so young! So foolish! So full of life!</dialogue> <scene_description>Tears are gushing from Stanley/Mask 's eyes like twin water taps . He puts his hands out and Kellaway slaps on the cuffs .</scene_description> <character>THE MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>What. What'll they do with me, Sarge?</dialogue> <character>KELLAWAY</character> <dialogue>Sorry, son. That's not my department. Search him!</dialogue> <scene_description>Doyle reaches into the Mask 's zoot suit and starts tossing stuff on the ground .</scene_description> <character>DOYLE</character> <dialogue>Comb - Flintstones vitamins - Sousaphone - Bazooka -.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>picture of Kellaway's wife.</dialogue> <scene_description>Kellaway looks down at the photo . It really IS a picture of his wife with a handwritten note : `` Call me , lover - 555 - 1234 ! ''</scene_description> <character>KELLAWAY</character> <dialogue>What the -?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Margaret!</dialogue> <scene_description>Furious , Kellaway LUNGES at Stanley/Mask 's neck . Two other officers restrain him .</scene_description> <character>KELLAWAY</character> <dialogue>You son of a bitch -!</dialogue> <character>STANLEY/MASK</character> <dialogue>Jeez, I figured you had a sense of humor!</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>After all, you married her!</dialogue> <scene_description>Stanley/Mask honks Kellaway 's nose which makes a loud AHOOGA noise and runs for it . Kellaway starts to follow , but discovers he 's now handcuffed to Doyle .</scene_description> <character>KELLAWAY</character> <dialogue>Get him!</dialogue> <scene_description>The other police officers draw their guns and give chase as Stanley RICOCHETS off through the trees hooting laughter .</scene_description> </scene> <scene> <stage_direction>EXT. PARK ENTRANCE</stage_direction> <scene_description>A twelve foot high stone wall surrounds the park . Stanley/Mask races through the entryway , SLAMMING the park 's huge wooden gates behind him . CLOSER - THE GATE The Mask throws an iron bolt , SNAPS on a huge padlock , SLAMS down a steel plate ZZZIPS up a gigantic zipper , HAMMERS in dozens of nails at high speed and throws himself against the gate panting . But then his eyes BUG OUT on stalks as he sees what lies on the opposite side of the gate . STANLEY 'S P.O.V. COPS . more COPS than seems humanly possible . They 're in cars , armed antipersonnel carriers , hanging from trees , parachuting from helicopters . And they 're all aiming serious looking guns at HIM .</scene_description> <character>BULLHORN VOICE</character> <dialogue>It's all over! Put your hands over your head or we'll open fire.</dialogue> <scene_description>Stanley/Mask looks around , like he 's trying to figure a way out of this mess - then -</scene_description> <character>STANLEY/MASK</character> <dialogue>Hit it!</dialogue> <scene_description>With that , a police SPOTLIGHT SNAPS on , and the brightly lit park entry - way becomes a beautifully lit stage . Stanley/Mask strikes a pose , now wearing a straw hat `` boater '' and weilding a cane . Pedestrians with radios and ghetto blasters look down in shock as a RUMBA begins playing from every speaker in town . Stanley/Mask SWAYS seductively in time to the music . A FEMALE COP steps forward , a look of surprise spreaading over her face as , against her will , she opens her mouth in song .</scene_description> <character>FEMALE COP</character> <dialogue>They rave about Sloppy Joe - the Latin lothario - but Havana - has a new sensation.</dialogue> <scene_description>It 's `` Cuban Pete RUMBA '' by Desi Arnaz ! -LRB- Yes , this is a real song ! -RRB-</scene_description> <character>FEMALE COP</character> <parenthetical>( CONT . )</parenthetical> <dialogue>He's really a modest guy - although he's the hottest guy - in HavAAAAna - and here's what he has to saaaay -</dialogue> <scene_description>Stanley/Mask steps up to the `` stage '' and tilts the boater over his eyes , casting a sly glance toward the crowd .</scene_description> <character>STANLEY/MASK</character> <parenthetical>( `` Latin '' voice . )</parenthetical> <dialogue>They call me Cuban Pete - I'm King of the Rumba beat - every time I play the maracas I go chick chick chickie boom!</dialogue> <scene_description>Gene Kelly on acid , Stanley/Mask punctuates his number with any number of sly gestures - winking , nodding , sliding seductively down a street lamp post , doing repeated `` splits '' on the sidewalk - it 's his big number ! The cops watch this with open mouthed astonishment . ANGLE ON STONE WALL Kellaway climbs over two of his men to scale the wall . He ca n't believe his eyes . Doyle clamors up beside him .</scene_description> <character>DOYLE</character> <dialogue>Hey, he's not bad.</dialogue> <scene_description>Kellaway shoots him a dirty look . STANLEY/MASK waltzes into the street , prancing just inches from the heavily armed cops . His legs twine around each other like spaghetti , then his upper torso SPINS until they 're straightened out again .</scene_description> <character>STANLEY/MASK</character> <parenthetical>( still singing . )</parenthetical> <dialogue>Yessir, I'm Cuban Pete! The craze of my native street! When I start to dance everything goes chick chick chickie boom!</dialogue> <scene_description>Like some weird , loony case of mass hypnosis , Stanley/Mask waits for the `` musical break '' to coax the armed cops into JOINING him on the number - as the rough and tumble equivalent of CHORUS GIRLS ! ANGLE - LOOKING DOWN FROM HELICOPTER The street takes the look of a Busby Berkeley musical as the cops HIGH STEP in time to the infectious RUMBA beat .</scene_description> </scene> <scene> <stage_direction>EXT. STONE WALL - NIGHT</stage_direction> <scene_description>Kellaway leaps/tumbles down from the wall into some bushes and scrambles to his feet . He ca n't believe his eyes . His cops , his tac squad , his friggin ' SWAT team - they 're ALL in the street , dancing with this crazy maniac ! Stanley/Mask sidles up to a heavily armed female SWAT officer , `` dirty dancing '' her across the street -</scene_description> <character>STANLEY/MASK</character> <dialogue>The senoritas they sing, and how they sling their sombreros -!</dialogue> <parenthetical>( It 's very nice !</parenthetical> <parenthetical>So full of spiiiiice - . )</parenthetical> <parenthetical>( dip ! )</parenthetical> <dialogue>And when they're dancing they bring a happy ring to their vaqueros - they sing their song, all the day loonnnggg -</dialogue> <scene_description>Doyle crash lands beside Kellaway and starts out to join the others , but Kellaway grabs him by the back of his jacket .</scene_description> <character>KELLAWAY</character> <dialogue>You go out there and I'll blow your brains out!</dialogue> <scene_description>Furious , Kellaway yanks open the door of an abandoned squad car , pulls out a tear gas gun and fires into the air . The sharp REPORT and stinging gas seems to break the spell of THE MASK . The music suddenly STOPS and the high stepping cops stagger away from the chorus line , looking confused .</scene_description> <character>LT. KELLAWAY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Goddamn it! Arrest that thing!</dialogue> <scene_description>The cops - shaken back to reality - fumble for their weapons . THROUGH THE SMOKE The Mask takes off - dashing into the crowd . KELLAWAY spots the Mask and races after him , calling his men .</scene_description> <character>KELLAWAY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>This way!</dialogue> <scene_description>THE MASK bumps into an OLD LADY who SCREAMS at his hideousness . The Mask realizes how obvious he is . He turns away and brings his arms to his head . There 's a RIPPPING sound . And when he turns around , the Mask has now transformed back into . STANLEY Carrying the mask , Stanley tries to blend in with the crowd . KELLAWAY followed by a handfull of officers bears down on him .</scene_description> <character>KELLAWAY</character> <dialogue>Halt! Halt or we'll shoot!</dialogue> <scene_description>Stanley quickly cuts down . A NARROW ALLEY Stanley races down the lane - cops hot on his trail . Bullets EXPLODE all around him . Just as he reaches the next street . A CAR screeches to a halt - almost running Stanley over . The window rolls down revealing . PEGGY BRANDT</scene_description> <character>PEGGY</character> <dialogue>Stanley! Get in!</dialogue> <scene_description>Stanley jumps into the passenger seat .</scene_description> </scene> <scene> <stage_direction>INT. PEGGY'S CAR - MOVING - NIGHT</stage_direction> <scene_description>Peggy rips around the bend , easily outdistancing the cops .</scene_description> <character>STANLEY</character> <dialogue>Thanks. Where are we going?</dialogue> <character>PEGGY</character> <dialogue>Someplace where we'll be safe.</dialogue> </scene> <scene> <stage_direction>EXT. DAILY TRIBUNE BUILDING - NIGHT</stage_direction> <scene_description>The streets are empty .</scene_description> </scene> <scene> <stage_direction>INT. NEWS SHIPPING ROOM - NIGHT</stage_direction> <scene_description>Stanley and Peggy sit on stacks of bound newspapers in the vast shadowy shipping room . In the b.g. , a huge machine spews out hundreds of newspapers on an assembly line . Everything 's mechanized : printing , folding , wrapping . Peggy hands Stanley a cup of coffee . He 's a complete wreck , clothes disheveled , rings under his eyes .</scene_description> <character>PEGGY</character> <dialogue>I saw it. I saw the whole thing. What's happening to you, Stanley?</dialogue> <character>STANLEY</character> <dialogue>It's crazy. I've lost all control. When I put on this mask I can do anything. be anything, but it's ruining my life.</dialogue> <character>PEGGY</character> <dialogue>Stanley, I do n't know what's happening to you, but I do know this. That letter you sent my column was from a guy with more guts and heart than any of the creeps I've met in Edge City. Whatever this mask is, you do n't need it. You. Stanley Ipkiss, are already all you ever need to be.</dialogue> <character>STANLEY</character> <dialogue>Gosh, Peggy. Do you really mean that?</dialogue> <character>PEGGY</character> <parenthetical>( pauses . )</parenthetical> <dialogue>Actually. no.</dialogue> <character>STANLEY</character> <dialogue>What?</dialogue> <scene_description>We now hear a door open and footsteps .</scene_description> <character>PEGGY</character> <parenthetical>( rises . )</parenthetical> <dialogue>What took you guys so long? I've been vamping here for twenty minutes.</dialogue> <scene_description>Dorian and three of his men stand there with their guns trained on Stanley .</scene_description> <character>DORIAN</character> <dialogue>This is him?</dialogue> <character>PEGGY</character> <dialogue>You have the fifty thou?</dialogue> <scene_description>Sweet Eddy FLICKS open a briefcase lined with cash .</scene_description> <character>PEGGY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Right. When he puts on the mask he becomes that green thingamajig.</dialogue> <character>STANLEY</character> <parenthetical>( still dumbfounded . )</parenthetical> <dialogue>Peggy, what are you doing?</dialogue> <character>PEGGY</character> <dialogue>Sorry, Stanley. You really are a great guy, but I just ca n't lose my condo. You know how hard it is to find an apartment in this city.</dialogue> <scene_description>Sweet Eddy and a second thug grab Stanley and hang him over the steel maw of the whirring news press .</scene_description> <character>DORIAN</character> <dialogue>Okay Ipkiss. Where's the money from the heist?</dialogue> <character>STANLEY</character> <dialogue>My aparment. It's in my apartment!</dialogue> <character>DORIAN</character> <dialogue>Thanks. Now I believe you have a pressing engagement.</dialogue> <character>PEGGY</character> <dialogue>Hey, you said you would n't hurt him!</dialogue> <scene_description>Dorian toys with the wooden mask , enjoying his control over the situation .</scene_description> <character>DORIAN</character> <dialogue>You're right. Easy boys. One thing at a time. Tell me about this mask, Ipkiss. How does it work?</dialogue> <character>STANLEY</character> <dialogue>I do n't know. You just put it on!</dialogue> <scene_description>The Mask FX theme builds , Dorian raises the mask to his face .</scene_description> <character>SWEET EDDY</character> <dialogue>Better be careful, boss.</dialogue> <scene_description>With a CRACK of thunder a whirlwind of light and power swirls around Dorian 's figure . Unlike Stanley 's transformation , Dorian 's is much more diabolical . He grows and changes within a nimbus of ROARING light . Finally the light dies away and Dorian/Mask rises from a circle of swirling smoke . C.U. DORIAN/MASK While Stanley was a zoot suited bee - bopper in hyper - drive , Dorian/Mask is more like a hulking evil GENIE , fresh out of the lamp and pissed at the world . His diamond earring and touches of his neuvo - gangster look is still apparent , but his huge grin stretches out like a Tyrannosaurus Rex 's under eyes that glow green with wicked power . His voice is a deep inhuman RUMBLE .</scene_description> <character>DORIAN</character> <dialogue>What a rush.</dialogue> <character>SWEET EDDY</character> <dialogue>Whoa, boss. are you okay?</dialogue> <character>DORIAN/MASK</character> <dialogue>I'm better than ever, you idiot. Now stop the presses. There'll be a new headline tonight.</dialogue> <scene_description>Sweet Eddy stands there looking disappointed with Ipkiss still held dangling above the churning presses .</scene_description> <character>SWEET EDDY</character> <dialogue>But what about him?</dialogue> <scene_description>Dorian/Mask wheels about and ROARS at Sweet Eddy .</scene_description> <character>DORIAN/MASK</character> <dialogue>DO AS I SAY! I have other plans for Ipkiss. Everything's become so clear to me now!</dialogue> <scene_description>Peggy sheepishly reaches for the suitcase .</scene_description> <character>PEGGY</character> <dialogue>Ah. excuse me. If you do n't mind, I'll just take my money and be going. You guys make yourselves at home.</dialogue> <scene_description>Dorian/Mask slides up to Peggy threateningly .</scene_description> <character>DORIAN/MASK</character> <dialogue>Must you go? What a shame. You and I could make beautiful headlines together.</dialogue> <scene_description>Peggy removes his arm from her shoulder .</scene_description> <character>PEGGY</character> <dialogue>Thanks, anyway. That was n't part of the deal.</dialogue> <scene_description>Peggy snatches the briefcase , but Dorian/Mask blocks her exit .</scene_description> <character>DORIAN/MASK</character> <dialogue>Of course. You only want what's coming to you, do n't you?</dialogue> <scene_description>Peggy whips out a snub - nose .38 out from beneath her coat .</scene_description> <character>PEGGY</character> <dialogue>Back off Freakazoid. I was n't born yesterday.</dialogue> <character>DORIAN/MASK</character> <dialogue>Ah. But you might die today!</dialogue> <scene_description>Dorian throws the switch and the presses CHURN to life . In a flash he snatches Peggy off her feet .</scene_description> <character>DORIAN/MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>A girl like you deserves to have her face plastered all over page one.</dialogue> <scene_description>He tosses her into the grinding mill of steel and paper . CAMERA BOOMS DOWN as Peggy 's feet disappear between the presses ' huge rollers and continues down , down past the whirling gears and hydraulics to finally ENDFRAME on the chute where the newspapers roll out on a conveyor belt . Headlines in blood red ink now read : `` Reporter Killed in Freak Accident '' next to a picture of a slightly flattened - looking Peggy , her mouth open in a silent scream .</scene_description> <character>SWEET EDDY</character> <dialogue>What do we do with Ipkiss?</dialogue> <character>DORIAN/MASK</character> <dialogue>The police are looking for the Mask. We shall give them the Mask. And Eddy.</dialogue> <character>SWEET EDDY</character> <dialogue>Yeah, Dorian?</dialogue> <character>DORIAN/MASK</character> <dialogue>Get the boys ready. The Swedes' expecting us at the casino opening tomorrow night. We would n't want to disappoint him, would we?</dialogue> <scene_description>Dorian/Mask throws his head back and lets loose a deep BOOMING LAUGH . It 's unnerving even to Eddy , but he laughs nervously in response and elbows the other thugs to join in .</scene_description> </scene> <scene> <stage_direction>INT. STANLEY'S APARTMENT - NIGHT</stage_direction> <scene_description>The door is kicked open and two of Dorian 's henchmen burst into the room . Milo leaps off the couch and scrables behind the curtains . They yank open the closet door and start scooping the cash into plastic garbage bags .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - CAR</stage_direction> <scene_description>Stanley lies in the back seat , gagged , bound hand and foot and half hidden under a blanket . A thug in the driver 's seat pokes his .45 under Stanley 's nose .</scene_description> <character>THUG</character> <dialogue>That money better be where you said it was, Ipkiss or you can Ipkiss your ass goodbye.</dialogue> <scene_description>He chuckles at his own little joke .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT</stage_direction> <scene_description>Milo peeks out from behind the curtain as the henchmen finish their job . He ducks behind the curtain and looks out the window . MILO 'S P.O.V. of the henchmen 's car . Stanley can barely be seen peeking out the car window . The henchmen pushes him back down . MILO His ears perk up . The boss is in trouble ! He checks back outside the curtain . THE HENCHMEN finish up and start out the door carrying the trash bags . Milo races right by them , just out of sight .</scene_description> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>The henchmen hop in and start the engine . As the car peels out into traffic , Milo appears , valiantly racing along the sidewalk , dodging pedestrians and cross - traffic to keep the car in sight .</scene_description> </scene> <scene> <stage_direction>EXT. POLICE STATION - NIGHT</stage_direction> <scene_description>Dejected , Lt. Kellaway heads up the steps with Sgt. Doyle .</scene_description> <character>LT. KELLAWAY</character> <dialogue>I still ca n't believe it. Hardened cops dancin' in the streets. and broadcast all over the ten o'clock news.</dialogue> <character>DOYLE</character> <dialogue>The SWAT team got an offer to open for Wayne Newton.</dialogue> <character>LT. KELLAWAY</character> <dialogue>I'm history. The Captain's going to have my badge for breakfast. With a little pension on top.</dialogue> <character>DOYLE</character> <dialogue>C'mon Lieutenant, it was n't your fault. Something will turn up.</dialogue> <character>LT. KELLAWAY</character> <dialogue>Sure. Stanley Ipkiss is going to fall right into my lap.</dialogue> <scene_description>A car SCREECHES BY . The door flies open and a BODY comes tumbling out - knocking Kellaway down . He looks up at the body sitting in his lap -</scene_description> <character>LT. KELLAWAY</character> <dialogue>Ipkiss!</dialogue> <character>STANLEY</character> <dialogue>I can explain everything.</dialogue> <character>DOYLE</character> <dialogue>Do n't bother.</dialogue> <scene_description>Doyle pulls a GREEN RUBBER MASK out of Stanley 's pocket . Kellaway starts hauling him up the precinct steps .</scene_description> <character>LT. KELLAWAY</character> <dialogue>You have the right to remain silent, you freakin' Looney Tune. Anymore of your half - baked wisecracks can and will be used against you by me, personally.</dialogue> <character>STANLEY</character> <dialogue>You've got to listen to me!</dialogue> <scene_description>Kellaway and Doyle drag Stanley into the precinct - just as MILO charges up . But the dog is shut out of the station .</scene_description> </scene> <scene> <stage_direction>INT. JAIL CELL - NIGHT</stage_direction> <scene_description>Bruised , beaten and exhuasted - Stanley 's thrown into a small cell . The KEY - GUARD locks the cell up - then walks away . Stanley looks around his dismal quarters . A filthy toilet . The cot even worse . There 's a YOWLING . He climbs up on the cot and looks out the small , barred window . STANLEY 'S P.O.V. : There 's a dumpster below the window , overflowing with trash . Next to the trash heap - is MILO . The dog looks up at Stanley and YIPS happily . Stanley forces a smile .</scene_description> <character>STANLEY</character> <dialogue>Go find yourself a new home, Milo. It looks like I'm going to be here for a long long time.</dialogue> <scene_description>Milo watches Stanley recede back into the cell .</scene_description> </scene> <scene> <stage_direction>INT. JAIL CELL - DAWN</stage_direction> <scene_description>Stanley lies on his cot - staring at the ceiling . The Guard bangs on the door .</scene_description> <character>GUARD</character> <dialogue>Wake up. You got ta visitor.</dialogue> <character>STANLEY</character> <dialogue>About time you found me a lawyer.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>. Tina?</dialogue> <character>TINA</character> <dialogue>Hello, Stanley.</dialogue> <character>STANLEY</character> <dialogue>What's wrong? Your boyfriend kick you out for not delivering me on schedule?</dialogue> <character>TINA</character> <dialogue>Is that what you think - that I set you up?</dialogue> <character>STANLEY</character> <dialogue>I do n't know. But I've got plenty of time to figure it out.</dialogue> <character>TINA</character> <dialogue>You're just going to have to trust me on this.</dialogue> <character>STANLEY</character> <dialogue>Now is not the best time for me on trusting women.</dialogue> <character>TINA</character> <dialogue>I ran out on Dorian last night, Stanley. I just came to tell you I'm sorry. Sorry about everything.</dialogue> <character>STANLEY</character> <dialogue>You ran out on him?</dialogue> <character>TINA</character> <dialogue>That magic mask of yours turned him into some kind of monster.</dialogue> <character>STANLEY</character> <dialogue>He was n't exactly Mother Theresa in the first place.</dialogue> <character>TINA</character> <dialogue>He's going to the casino opening tonight and he's planning to do something terrible.</dialogue> <character>STANLEY</character> <dialogue>A real change of pace for him.</dialogue> <character>TINA</character> <dialogue>Half this town will be there Stanley. I tried to tell the cops, but they would n't listen to me.</dialogue> <character>STANLEY</character> <dialogue>As long as he's got the mask, there's nothing they can do to stop him anyway. There's nothing anyone can do.</dialogue> <character>TINA</character> <dialogue>There must be some way. How does it work?</dialogue> <character>STANLEY</character> <parenthetical>( pauses . )</parenthetical> <dialogue>It's like it brings you innermost desires to life. If deep down inside you're a little repressed and. a hopeless romantic, you become sort of a love - crazy wild man.</dialogue> <character>TINA</character> <dialogue>And if you've got a black heart?</dialogue> <character>STANLEY</character> <dialogue>Then the world's going to be a very dark place. And if I were you, I'd get out of town. Fast.</dialogue> <scene_description>Tina takes a beat and absorbs this information .</scene_description> <character>TINA</character> <dialogue>Thanks.</dialogue> <character>STANLEY</character> <dialogue>For what?</dialogue> <character>TINA</character> <dialogue>Lots of things. For really believing in me when I could n't. For sharing a sunset with me. For being the first guy to treat me like I was a person instead of a slab of meat.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>And for being any kind of romantic. Even a hopeless one.</dialogue> <character>STANLEY</character> <parenthetical>( softening . )</parenthetical> <dialogue>You're welcome.</dialogue> <character>TINA</character> <dialogue>You know, that night at the club I knew I met someone special. Someone like nobody I'd ever met before.</dialogue> <character>STANLEY</character> <dialogue>The Mask.</dialogue> <character>TINA</character> <dialogue>No. the guy that was inside the Mask all the time. You. Stanley Ip -</dialogue> <scene_description>They draw closer . The iron bars scrunch up their faces .</scene_description> <character>TINA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>- kiss.</dialogue> <scene_description>They KISS . A sweet , soft and romantic kiss . Then . the KEY - GUARD pulls her away .</scene_description> <character>KEY-GUARD</character> <dialogue>Time's up, lady.</dialogue> <character>TINA</character> <dialogue>I've got to disappear for awhile Stanley. I'm not sure where I'll go but I'll let you know as soon as I can.</dialogue> <scene_description>Stanley takes a long last look at Tina as she 's escorted out .</scene_description> </scene> <scene> <stage_direction>EXT. STATION - DAY</stage_direction> <scene_description>Warily , Tina slips out of the precinct . She 's about to cross the street , but spots a SUSPICIOUS LIMO , engine idling . Quickly , she doubles back and heads - INTO THE ALLEY Behind the station . She looks over her shoulder . No one 's there . Tina hurries toward the next street and - A BIG SEDAN roars up , cutting her off . She turns and runs back the way she came - but freezes when THE LIMO screeches up , blocking her . Sweet Eddy and Hicks jump out of the limo . She SCREAMS .</scene_description> </scene> <scene> <stage_direction>INT. STANLEY'S CELL - AT THE WINDOW - SAME TIME</stage_direction> <scene_description>Stanley watches helplessly as Tina is dragged into the limo . Frantic , Stanley runs to the cell door .</scene_description> <character>STANLEY</character> <parenthetical>( to the Key - Guard . )</parenthetical> <dialogue>Hey! A girl's being kidnapped out there! Do something!</dialogue> <scene_description>THE GUARD tunrs up the volume on JEOPARDY , drowning Stanley out .</scene_description> </scene> <scene> <stage_direction>EXT. DORIAN'S HOUSE - DAY</stage_direction> <scene_description>A slick/modern house on the hills overlooking Edge City . Sweet Eddy pulls Tina from the limo .</scene_description> </scene> <scene> <stage_direction>INT. DORIAN'S HOUSE</stage_direction> <scene_description>Sweet Eddy and Huey enter and push Tina roughly into the room . Dorian rises to meet her .</scene_description> <character>DORIAN</character> <parenthetical>( sarcastically . )</parenthetical> <dialogue>Baby, there you are.</dialogue> <parenthetical>( he embraces her . )</parenthetical> <dialogue>I was gettin' all worried about you.</dialogue> <character>TINA</character> <dialogue>I just went out for a little while Dorian.</dialogue> <scene_description>Sweet Eddy holds up a small suitcase and an overstuffed shoulder bag he got from her car .</scene_description> <character>DORIAN</character> <dialogue>Looks like maybe a long little while, right baby?</dialogue> <scene_description>Dorian grabs her by the throat and SLAMS her against the wall . The pictures rattle .</scene_description> <character>DORIAN</character> <dialogue>You know what happened to the last bitch that ran out on me? Do you?!</dialogue> <character>TINA</character> <parenthetical>( choking . )</parenthetical> <dialogue>No.</dialogue> <character>DORIAN</character> <dialogue>Nobody else does either. Nobody ever will.</dialogue> <scene_description>He tosses her onto the bed . She lies there gasping for breath .</scene_description> <character>DORIAN</character> <dialogue>Now fix yourself up, baby. And pick out something pretty to wear tonight.</dialogue> <scene_description>Dorian picks up the mask and admires it .</scene_description> <character>DORIAN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>We're going to make a big splash at that opening. One this town will never forget.</dialogue> </scene> <scene> <stage_direction>INT. JAIL CELL - DAY</stage_direction> <scene_description>Agitated , Stanley paces around the room . Stanley 's eyes pop open . An IDEA ! He stands up , clunking his heaad on the upper bunk . Stanley peers down the hall and sees THE KEY GUARD watching a TV boxing match . He 's CHEWING on the leather key - chain strap . There 's a half eaten sausage and a wedge of cheese on the desk . STANLEY climbs up on the cot and looks out the window .</scene_description> <character>STANLEY</character> <parenthetical>( stage whisper . )</parenthetical> <dialogue>Milo!</dialogue> </scene> <scene> <stage_direction>EXT. THE ALLEY - SAME TIME</stage_direction> <scene_description>Just a pile of trash . The dog 's gone . Then . a RUSTLE . A filthy blanket moves . and MILO emerges from it - tail waggling as he sees Stanley . The little dog jumps up , helplessly trying to reach the window .</scene_description> <character>STANLEY</character> <dialogue>Come on, boy!</dialogue> <scene_description>Milo gets an idea . He jumps on boxes and trash bags , using them as steps . He climbs higher and higher until he 's reached the top of the dumpster .</scene_description> <character>STANLEY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Come on, Milo!</dialogue> <scene_description>Milo jumps from the dumpster . He almost reaches the window , but falls back down again into the trash heap . The dog leaps a second time . On this jump , Stanley grabs him and brings him through the bars .</scene_description> </scene> <scene> <stage_direction>INT. JAIL CELL - CONTINUOUS</stage_direction> <scene_description>Stanley gathers Milo up in his arms . The dog licks his face and YELPS joyously . Stanley muzzles him and peeks - DOWN THE HALL The Key - Guard 's SNORING in his chair . The chewed leather key - chain strap is still in his MOUTH . His half - eaten sausage and cheese still lies before him . STANLEY shows Milo the guard , then whispers in the dog 's ear .</scene_description> <character>STANLEY</character> <dialogue>Keys, Milo. Get the keys!</dialogue> <scene_description>Milo cocks his head at the sound of the word KEYS . He zips out through the bars .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - CONTINUOUS</stage_direction> <scene_description>Milo trots down the hall and approaches the key - guard 's station . The dog stares and sniffs at the SNORING man .</scene_description> </scene> <scene> <stage_direction>INT. STANLEY'S CELL - A MOMENT LATER</stage_direction> <scene_description>Milo returns , slipping back into the cell .</scene_description> <character>STANLEY</character> <dialogue>Good boy.</dialogue> <scene_description>He pulls the wedge of cheese out of the dog 's mouth .</scene_description> <character>STANLEY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>I said `` keys'' not `` cheese''! Keys. K - E - Y - S. keys!</dialogue> <scene_description>Stanley pushes the dog back out the cell . FOLLOWING MILO He approaches the guard and stops - staring at the keys dangling from the man 's mouth . Milo jumps up on the desk and bites down on the key - chain . He starts to pull when . The guard stirs and almost wakes up . Milo freezes . A moment later , the guard starts SNORING again . Milo grabs the keys and trots back to Stanley 's cell .</scene_description> <character>STANLEY</character> <dialogue>Atta boy, Milo. Now let's see if we can get out of here.</dialogue> </scene> <scene> <stage_direction>EXT. VALHALLA CASINO - SUNSET</stage_direction> <scene_description>Built on pilings at the edge of the marina , the extravagant Vegas - like structure looks like a stylized Viking castle . -LRB- Production note : Key mater shots will be matte paintings . -RRB- REPORTERS and tuxedoed GUESTS crowd around as the Swede and town DIGNITARIES prepare to cut a huge red ribbon and officially open the casino . Two statuesque BLONDES in scanty Valkyrie -LRB- Viking goddess -RRB- costumes present the Swede with a gigantic pair of SCISSORS . The crowd applaudes and flashbulbs POP .</scene_description> <character>THE SWEDE</character> <dialogue>So, ladies and gentlemen with a special thanks to Mayor Tilton and everyone else who made this possible, I give you. the Valhalla Casino.</dialogue> <scene_description>With a mighty SNAP of the scissors the Swede cuts the ribbon and the doors of the casino open wide .</scene_description> </scene> <scene> <stage_direction>EXT. STREETS - SUNSET</stage_direction> <scene_description>Dorian 's limo barrels through the streets of Edge City followed by two sedans full of his men . C.U. - THE SUN as it disappears behind the clouds . CAMERA PULLS BACK as the limo 's moon roof slides shut . We tilt down to discover Dorian and Tina , dressed to the nines for the opening . Dorian holds the mask in his lap .</scene_description> <character>DORIAN</character> <dialogue>It's almost time.</dialogue> <scene_description>Tina nervously starts to light a cigarette . Dorian snatches the lighter away from her .</scene_description> <character>DORIAN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>I would n't do that, Sweetie. We do n't want to start the celebration early.</dialogue> <scene_description>Dorian flips back a blanket covering four compact wooden crates marked `` C - 7 - Caution U.S.M.C. Demolition Materials . ''</scene_description> <character>DORIAN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Now sit back and try to relax. I've got to change for the party.</dialogue> <scene_description>Dorian slowly raises the mask to his face as Tina watches in horror .</scene_description> </scene> <scene> <stage_direction>EXT. LIMO</stage_direction> <scene_description>The tinted glass LIGHTS UP from inside like muted fireworks as Dorian 's transformation begins .</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION - C.U. - SLEEPING GUARD</stage_direction> <scene_description>CAMERA PANS from his snoring mouth down to his gun as a hand carefully lifts it out of his holster . WIDER Gun in hand , Stanley silently backs away with Milo at his side . The Guard chokes off a snore and begins to wake up . He sees Stanley 's cell door standing open and goes for his gun . but grasps air . STANLEY puts one hand over his eyes and slams the butt of the gun down as hard as he can on the Guard 's head . THONK . The Guard drops back down on his chair unconscious . Stanley peeks from beneath his hand and regards his work . Not bad . Milo yips happily .</scene_description> <character>STANLEY</character> <dialogue>Come on.</dialogue> <scene_description>Stanley turns and starts for the door when he bumps straight into Lt. Kellaway .</scene_description> <character>KELLAWAY</character> <dialogue>Ipkiss!</dialogue> <scene_description>Stanley is shocked , but quickly realizes he 's got the gun . He points it at Kellaway with greater authority .</scene_description> <character>STANLEY</character> <dialogue>Hold it! I warn you! I'm seriously stressed out here!</dialogue> <scene_description>Kellaway Easy , Ipkiss . Do n't be an idiot . You 're in the middle of a police station . There 's no way you 're just going to walk out of here .</scene_description> <character>STANLEY</character> <parenthetical>( pauses . )</parenthetical> <dialogue>You're right.</dialogue> <scene_description>Stanley pockets Kellaway 's gun while keeping him covered with the Guard 's gun . He pulls the handcuffs from Kellaway 's belt and begins to handcuff the two of them together .</scene_description> <character>KELLAWAY</character> <dialogue>Now what are you doing?</dialogue> <character>STANLEY</character> <dialogue>Putting myself in your custody.</dialogue> <character>KELLAWAY</character> <dialogue>You are certifiable.</dialogue> <scene_description>Stanley unbuttons his shirt and holds it open .</scene_description> <character>STANLEY</character> <dialogue>Milo!</dialogue> <scene_description>Milo immediately jumps inside and Stanley buttons up . He now looks like he has a pretty nasty pot belly , but otherwise okay .</scene_description> <character>STANLEY</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Okay. Now we have to hurry or we'll miss the party.</dialogue> <character>KELLAWAY</character> <dialogue>Of course. We would n't want to keep Alice and the white rabbit waiting.</dialogue> <scene_description>Keeping the gun jammed in Kellaway 's ribs , Stanley folds his jacket over his gun hand . We hear it cock beneath the jacket . KA - LATCH .</scene_description> <character>STANLEY</character> <dialogue>Now move.</dialogue> </scene> <scene> <stage_direction>EXT. CASINO</stage_direction> <scene_description>The opening is in full swing as the limo and two sedans pull up to the front doors . CLOSER - LIMO as the CAR HOP attempts to open the passenger door , it EXPLODES off and shoots ten feet from the car taking the unfortunate Car Hop with it . Dorian/Mask steps out of swirling mists within the limo in all his wicked green glory .</scene_description> <character>DORIAN/MASK</character> <dialogue>Do n't be shy, Tina. I know how you like to make an entrance.</dialogue> <scene_description>He pulls her out of the limo .</scene_description> <character>DORIAN/MASK</character> <dialogue>And I must say, that's a dress to die for. Or should I say in?</dialogue> <scene_description>Dorian 's men scramble , hauling the C - 7 out of the limo and racing off into the darkness with their automatic weapons .</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION</stage_direction> <scene_description>Lt. Kellaway and Stanley march past POLICEMEN , FELONS and CITIZENS in the front desk area looking stiff and unnatural as hell . Doyle waves hello from the coffee service as he munches on a chocolate doughnut .</scene_description> <character>DOYLE</character> <dialogue>Hi Lieutenant. Where are you taking Ipkiss?</dialogue> <character>KELLAWAY</character> <dialogue>Ixnay! Ehay's otgay an ungay. ouch!</dialogue> <scene_description>Stanley jams him in the ribs with that hidden gun .</scene_description> <character>DOYLE</character> <dialogue>What did you say?</dialogue> <scene_description>Milo pokes his head up out of Stanley 's shirt , but Stanley instantly pushes it back down . Doyle does a double - take wondering what 's wrong with this picture as they continue their stiff - legged walk out the door . Doyle gives an uncertain wave with his half - eaten doughnut .</scene_description> <character>DOYLE</character> <parenthetical>( CONT . )</parenthetical> <dialogue>See ya.</dialogue> </scene> <scene> <stage_direction>INT. CASINO</stage_direction> <scene_description>CAMERA BOOMS DOWN . The casino is a true Caesar 's Palace style show place featuring a dragon - prowed Viking ship that 's the centerpiece of the room . The gaming floor is packed with happy PARTY GOERS . CAMERA ENDFRAMES on Charlie Schumacher as he snatches a drink off a passing WAITRESS ' tray and turns to a gorgeous Valkyrie change girl whose helmet has two large horns sticking out of it .</scene_description> <character>CHARLIE</character> <dialogue>Hello tall, Nordic and beautiful. One look at you and I know how your hat feels.</dialogue> <scene_description>Suddenly Mrs. Peenman appears , pushing her way past Charlie with a paper bag filled with quarters .</scene_description> <character>MRS. PEENMAN</character> <dialogue>Out of my way, Buster. Mama feels lucky tonight.</dialogue> <scene_description>She jams a quarter in a slot machine right behind Charlie and throws her weight behind the handle . ANGLE ON THE FRONT DOORS as they suddenly EXPLODE inward , blowing Security Man off their feet . Dorian/Mask steps through the smoking ruin dragging Tina after him . He 's flanked by a half dozen of his heavily armed men .</scene_description> <character>DORIAN/MASK</character> <dialogue>Now. let the games begin!</dialogue> <scene_description>Armed Security pull their weapons , but are immediately blown away by the thugs . The crowd is thrown into a panic .</scene_description> </scene> <scene> <stage_direction>INT./EXT. POLICE CAR</stage_direction> <scene_description>As it tears through the streets of Edge City with its siren BLARING . Kellaway sits in the rear of the car with his hands cuffed behind his back . Stanley 's at the wheel with Milo at his side . Kellaway is livid .</scene_description> <character>KELLAWAY</character> <dialogue>Ipkiss, I'll have you locked up for this so long sex will be safe again!</dialogue> <scene_description>Kellaway is thrown into the door as Stanley SCREECHES around a corner .</scene_description> </scene> <scene> <stage_direction>INT. CASINO</stage_direction> <scene_description>The frightened crowd mills about in terror as Dorian 's thugs seal off the exits . They frisk down their captives for loot and jewelry . Orlando runs up to Dorian/Mask with canvas sacks filled with money .</scene_description> <character>ORLANDO</character> <dialogue>We scored over half a mil from the safe!</dialogue> <scene_description>A SECURITY GUARD now pops out from behind a mock - stone pillar and opens fire on Dorian . BLAM . BLAM . BLAM . Orlando dives for cover . The bullets seem to have no effect as Dorian rips a Viking spear off a wall display and hurls it straight across the room with supernatural force . The spear SKEWERS the Security Guard , sends him flying back and PINS him to a slot machine which immediately rings TILT and spills out quarters .</scene_description> <character>DORIAN/MASK</character> <dialogue>You can come out now, Orlando. I think he got the point.</dialogue> <scene_description>Dorian hauls Tina over to the Vikin ship where his men are wiring up boxes of C - 7 and sticks of dynamite . He slams her up against the prow as his men lash her in place with coils of rope .</scene_description> <character>TINA</character> <dialogue>Let me go you bastard!</dialogue> <character>DORIAN/MASK</character> <dialogue>What's wrong darling? This is your big production number. You of all people know how important it is to go out with a bang.</dialogue> <scene_description>Dorian pulls his walkie talkie out .</scene_description> <character>DORIAN/MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Eddy. How goes it?</dialogue> </scene> <scene> <stage_direction>EXT. PIER - PILINGS</stage_direction> <scene_description>Sweet Eddy and two other Thugs are busy wiring explosives to the pillars that support the pier the casino rests on .</scene_description> <character>SWEET EDDY</character> <dialogue>All set boss.</dialogue> </scene> <scene> <stage_direction>INT. CASINO</stage_direction> <scene_description>Dorian plugs the timer into the nexus of all the wiring .</scene_description> <character>DORIAN/MASK</character> <dialogue>Excellent. The real party starts now and ends in.</dialogue> <parenthetical>( sets timer . )</parenthetical> <dialogue>Thirty minutes.</dialogue> </scene> <scene> <stage_direction>EXT. CASINO - PARKING LOT</stage_direction> <scene_description>Stanley SCREECHES to a halt in the cop car .</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>He turns to Kellaway , brandishing his gun .</scene_description> <character>STANLEY</character> <dialogue>Okay. When I push the red button the safety is off, right?</dialogue> <character>KELLAWAY</character> <dialogue>I'm not helping you, Ipkiss.</dialogue> <character>STANLEY</character> <dialogue>Alright, suit yourself.</dialogue> <parenthetical>( to Milo . )</parenthetical> <dialogue>You stay and be a good boy.</dialogue> <scene_description>As soon as Stanley shuts the door Milo starts pawing at the handle .</scene_description> </scene> <scene> <stage_direction>INT. CASINO</stage_direction> <scene_description>The Swede scrambles under a crap table to escape the mayhem and bumps into Mayor Tilton .</scene_description> <character>TILTON</character> <dialogue>Hey, watch it! Oh, Arnie.</dialogue> <scene_description>Suddenly the entire table is lifted away as if it were a child 's toy and they look up into the evil grinning of Dorian/Mask .</scene_description> <character>DORIAN/MASK</character> <dialogue>Swede. my dear, dear business partner. And Mayor Tilton! What a surprise. We have just enough time left to play my favorite game!</dialogue> </scene> <scene> <stage_direction>INT. CASINO KITCHEN</stage_direction> <scene_description>As Stanley sneaks in an employee 's door , the coast looks clear . He snaps off the kitchen lights . Stanley spots a THUG standing guard outside the kitchen 's double doors . He ducks back down behind a barrel and gets an idea . The label on the barrel reads `` Olive Oil '' .</scene_description> </scene> <scene> <stage_direction>INT. CASINO</stage_direction> <scene_description>The Thug seems to be enjoying the mayhem when he hears an off camera WHISTLE . He pulls out his .45 and cautiously enters the kitchen to investigate .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>The Thug enters , brandishing his gun and cautiously makes his way into the kitchen . C.U. - FOOT He steps into a large slick of olive oil and his legs shoot right out from under him . SLAM . THUG 'S P.O.V. as he slides across the kitchen floor at high speed .</scene_description> <character>THUG</character> <dialogue>Whoaaaaa!</dialogue> <scene_description>Suddenly Stanley pops up from behind the overturned barrel with a huge frying pan and slams it right into camera . CLANG . STANLEY plucks the gun from the unconscious Guard and sneaks into the casino .</scene_description> </scene> <scene> <stage_direction>INT. CASINO</stage_direction> <scene_description>Stanley appears out of the kitchen doors and gets the attention of the nearest captive party - goers .</scene_description> <character>STANLEY</character> <dialogue>Pssst. You guys. Over here.</dialogue> <scene_description>Charlie turns around .</scene_description> <character>CHARLIE</character> <dialogue>Stanley! What are you doing here?</dialogue> <scene_description>He motions them over to the kitchen and hands Charlie the gun .</scene_description> <character>STANLEY</character> <dialogue>Start sneaking people out the back. Watch out for the oil.</dialogue> <scene_description>Stanley now makes his way deeper into the casino .</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT - POLICE CAR</stage_direction> <scene_description>Milo finally manages to pop the lock and the car door opens . He scurries off towards the casino .</scene_description> </scene> <scene> <stage_direction>INT. CASINO</stage_direction> <scene_description>The Swede struggles desperately as he 's tied to a spoke of a huge wooden NUMBERS WHEEL , a kind of upright roulette wheel that 's one of the casino 's attractions . Mayor Tilton and two other town dignitaries are tied to the other three spokes .</scene_description> <character>SWEDE</character> <dialogue>Let me offa this thing, you lousy scumbag!</dialogue> <scene_description>Dorian/Mask pulls three Viking hand axes off a wall display and casually begins to juggle them .</scene_description> <character>DORIAN/MASK</character> <dialogue>Sorry Swede. I've got an ax to grind with you. In fact I got a couple and I'm afraid they may give you a splitting headache!</dialogue> <scene_description>He nods to one of his men who gives the wheel a big spin . As the captives SCREAM Dorian prepares to throw his first ax .</scene_description> <character>DORIAN/MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Round and round she goes. Who dies first, nobody knows!</dialogue> <scene_description>ANGLE ON THE VIKING SHIP Stanley pops up behind the dragon - prow and starts untying Tina .</scene_description> <character>TINA</character> <dialogue>Stanley!</dialogue> <character>STANLEY</character> <dialogue>Hang on, Tina.</dialogue> <character>TINA</character> <dialogue>Stanley, look out!</dialogue> <scene_description>Stanley ducks just as a Viking ax splits the dragonhead right next to him in half . Dorian ROARS with rage as he rushes across the room to the boat . Stanley pops back up firing his gun . BLAM . BLAM . BLAM . Dorian takes the direct hits . He grins horridly at Stanley and he extends his slimy tongue . C.U. - TONGUE The bullets all stand there on end in a neat little semi - circle . Dorian now sucks in a mighty breath . Stanley grabs a Viking shield and protects Tina and himself . Dorian blows the bullets back at Stanley . RAT - TAT - TAT - TAT . They batter the shield . Stanley 's knocked backwards from the impact . A HUGE GREEN CLAW drags Stanley out and SLAMS up against the prow next to Tina . One of his men immediately begins tying Stanley in place .</scene_description> <character>DORIAN/MASK</character> <dialogue>How touching! The two love birds. Just to show you there's no hard feelings, I'm going to let you spend the rest of your lives together.</dialogue> <character>TINA</character> <dialogue>You've got it all wrong! I could care less about this creep. Nobody could replace you, Dorian. Nobody!</dialogue> <character>DORIAN/MASK</character> <dialogue>If you think a line like that's going to save your life, you're dumber than he is.</dialogue> <character>TINA</character> <parenthetical>( softly . )</parenthetical> <dialogue>Okay. Maybe it's too late. Then all I want is. a kiss.</dialogue> <character>DORIAN/MASK</character> <dialogue>A kiss?</dialogue> <character>TINA</character> <dialogue>One last kiss.</dialogue> <character>DORIAN/MASK</character> <parenthetical>( a beat . )</parenthetical> <dialogue>Sure, why not.</dialogue> <scene_description>Dorian/Mask sticks out his slimy TWO - FOOT TONGUE , and stick his eyebrows back . Hiss massive lips flutter as he puckers up . But Tina turns her head way .</scene_description> <character>TINA</character> <dialogue>No! From the real Dorian. The guy I used to love.</dialogue> <parenthetical>( breathy . )</parenthetical> <dialogue>Nobody ever kissed me like Dorian Tyrel.</dialogue> <character>ORLANDO</character> <dialogue>No time, boss. This building's going down any minute.</dialogue> <character>DORIAN/MASK</character> <dialogue>I make the decisions! And I've decided.</dialogue> <scene_description>Tina stares at him dreamily . Ego gets the better of him . He reaches up and RIPS the mask off . SSSSHUPP ! DORIAN/MASK TRANSFORMS BACK INTO DORIAN</scene_description> <character>DORIAN</character> <dialogue>to give the girl one last thrill.</dialogue> <scene_description>He plants his mouth on Tina 's - kissing her roughly . Tina really gets into it . But Stanley watches as Tina slyly positions the leg that he freed up . And . TINA DROP - KICKS THE MASK right out of Dorian 's hand . It flies into the air . A SERIES OF SLO - MO SHOTS AS . THE MASK SOARS THROUGH THE AIR . DORIAN , ORLANDO and SWEET EDDY ON THE RUN . THE MASK REACHES ITS SUMMIT THEN TUMBLES DOWN THROUGH THE AIR . HANDS REACH HIGH . FINGERTIPS GRAZE IT . But then suddenly . shockingly . A SNOUT , FLAPPING TONGUE AND BARE TEETH soar straight up through thr human hands and . MILO GRABS THE MASK as though it were a Frisbee . Everyone 's stunned . REAL TIME The dog lands back on the ground - the mask firmly in his mouth . He starts to run away but . Dorian grabs his hind leg .</scene_description> <character>DORIAN</character> <dialogue>C'mere, you ugly little mutt.</dialogue> <scene_description>MILO legs pumping frantically , is losing ground . At the last second , he drops the mask and jams his muzzle into it . Lightning FLASHES . DORIAN 'S eyes widen as MILO TRANSFORMS INTO - DOG/MASK ! His pint - sized doggy body now has a giant - sized GREEN HEAD with a double - row of JAGGED CANINE TEETH . The plain collar now sparkles with GLEAMING STUDS . RAZOR - TOENAILS distend . The eyes glow hell fire green .</scene_description> <character>DORIAN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Whoa!</dialogue> <scene_description>Reflexively , Dorian lets go . Dog/Mask unleashes an incredibly loud SONIC WOOF that explodes glass front slot machines all around them .</scene_description> <character>DORIAN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Do n't let it get away!</dialogue> <scene_description>Sweet Eddy lunges at the Dog/Mask . But the canine - creature runs between his legs and CHOMPS DOWN on his butt . The tiny dog picks big Sweet Eddy up and shakes him back and forth , like a rag doll . STANLEY watches this , then takes a look at the TICKING DETONATOR . Less than a minute to go . He strains at his bonds - forcing the rope into a FLAMING VIKING WALL TORCH . Tina winces as Stanley 's hand - rope begins to burn . DOG/MASK uses Eddy as a club - knocking other Thugs down .</scene_description> <character>SWEET EDDY</character> <dialogue>Get him off me!</dialogue> <scene_description>Dorian raises his Uzi and SPRAYS THE AREA WITH GUNFIRE ! Dog/Mask leaps away in the nick of time .</scene_description> <character>ORLANDO</character> <dialogue>C'mon! We've got the money. Let's get the hell out of here!</dialogue> <character>DORIAN</character> <dialogue>I got ta have that mask!</dialogue> <scene_description>Dorian chases Dog/Mask into the maze of slot machines . STANLEY burns through his ropes . He frees himself and races to the detonator . 15 - 14 - 13 - 12 IN THE MAZE OF SLOT MACHINES Dorian stalks Dog/Mask , whistling for him to come . A stream of WATER now trickles down on him from above . Dog/Mask is in the chandelier taking a whiz and snorting doggie laughter . Dorian sprays the ceiling with gunfire , but . DOG/MASK pounces on Dorian , knocking him flat , then races out of sight . VIKING SHIP Stanley yanks one wire after another , but the timer still ticks down - 5 - 4 - 3 - 2 - Stanley pulls the last wire . The timer stops . Tina exhales , relieved , as Stanley unties her .</scene_description> <character>TINA</character> <parenthetical>( kissing him . )</parenthetical> <dialogue>You did it.</dialogue> <scene_description>C.U. - TIMER as it TICKS back to life . 2 - 1 - 0 ! A muffled EXPLOSION rumbles from beneath the floorboards .</scene_description> </scene> <scene> <stage_direction>EXT. THE PIER - NIGHT</stage_direction> <scene_description>The two front support pilings BLOW UP .</scene_description> </scene> <scene> <stage_direction>INT. CASINO - SAME TIME</stage_direction> <scene_description>The entire floor TILTS . Gaming tables and slot machines start to slide by . Stanley grabs Tina and hangs onto the prow of the boat .</scene_description> <character>STANLEY</character> <dialogue>Milo! Milo, come!</dialogue> <scene_description>Dog/Mask appears racing up the tilting floor and leaps into the boat as . THE LAST TWO PILINGS BLOW UP ! The entire casino floor drops straight down . THE SHIP SLIDES straight across the gaming floor towards the huge front doors . DORIAN SCREAMS as the boat slides right over him .</scene_description> </scene> <scene> <stage_direction>EXT. HARBOR - NIGHT</stage_direction> <scene_description>The Viking ship CRASHES through the doors and SPLASHES down in the marina as the entire casino sinks into the water .</scene_description> </scene> <scene> <stage_direction>EXT. VIKING SHIP - NIGHT</stage_direction> <scene_description>It bobs for a moment , then floats ! Stanley , Tina and the dog emerge from their hiding place , under one of the dining tables . They ca n't quite believe they 're alive . Their faces reflect romantically from the light of the Viking torch sconces .</scene_description> <character>TINA</character> <dialogue>Stanley. we made it. We're alive!</dialogue> <scene_description>Milo lets loose a happy `` Whoof ! '' and leaps into Stanley 's arms . Stanley removes the mask with a SCHWOOP and Milo transforms back into a regular dog .</scene_description> <character>DORIAN</character> <dialogue>I'll take that.</dialogue> <scene_description>They turn as DORIAN clamors over the side of the boat . He 's got a gun pointed right at them . Stanley slides an iron grappling hook through the mask 's eye holes and holds it overboard .</scene_description> <character>STANLEY</character> <dialogue>Hold it right there or you'll be looking for this on the bottom of the harbor.</dialogue> <scene_description>Dorian stops in his tracks .</scene_description> <character>DORIAN</character> <dialogue>Drop it and I'll kill you all.</dialogue> <character>STANLEY</character> <dialogue>You can have it. But she gets to go.</dialogue> <character>DORIAN</character> <dialogue>Fine.</dialogue> <character>TINA</character> <dialogue>Go where?</dialogue> <character>STANLEY</character> <dialogue>Swimming. We're still close to shore.</dialogue> <character>DORIAN</character> <dialogue>Five seconds, Ipkiss.</dialogue> <scene_description>Stanley tosses a wooden barrel overboard and turns to Tina .</scene_description> <character>STANLEY</character> <dialogue>Go ahead. Hurry.</dialogue> <scene_description>Tina takes the dog and slips overboard . Dorian moves in .</scene_description> <character>DORIAN</character> <dialogue>Okay. Put it down. Right over there.</dialogue> <scene_description>Dorian waves his gun at the nearest dining table . Stanley starts to put down the mask . But at the last instant - he tosses it INTO THE PILE OF TNT As Dorian turns to see where it lands , Stanley jumps him . Dorian FIRES but misses . Stanley jumps Dorian - knocking his gun away . Dorian falls into one of the WALL TORCHES - toppling it . The TWO MEN slug it out as a FIRE STARTS . It burns closer and closer to the dynamite - the mask in the middle of the pile . IN THE WATER Tina and Milo cling to the floating barrel .</scene_description> <character>TINA</character> <parenthetical>( sees fire . )</parenthetical> <dialogue>Stanley! The dynamite!</dialogue> <scene_description>BACK ON BOARD Dorian pummels Stanley with a flurry of jabs to the head as the FIRE SEARS toward the explosives . But Stanley counters with a solid right that rocks Dorian back . Dorian grabs him by the collar to retaliate but sees . The FIRE licking at the dynamite casing on which the mask lies . Dorian lunges for the mask . Stanley jumps overboard . The dynamite explodes ! FROM THE WATER Tina and Milo watch as the ship blows up . The fireball burns bright , smoke everywhere .</scene_description> <character>TINA</character> <dialogue>Stanley?</dialogue> <scene_description>Beat . Stanley surfaces gasping for breath . Tina pulls him over to the barrel and Milo licks his face . And then the smoke parts revealing . DORIAN/MASK standing on the remains of the boat . Like Wile E. Coyote , he 's charred pitch black , with singed hair and clothes . But like a cartoon - he just shakes off the soot and stands there in all his fearsome Dorian/Mask glory .</scene_description> <character>DORIAN/MASK</character> <dialogue>What a BLAST! This mask makes me a god!</dialogue> <scene_description>He picks up the last fizzing , but UNDETONATED STICK OF TNT and laughs .</scene_description> <character>DORIAN/MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>I'm immortal.</dialogue> <scene_description>He raises his arms and thunders to the heavens . At that moment - the SUN peaks over the horizon .</scene_description> <character>DORIAN/MASK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Do you hear? I'm immortal!</dialogue> <scene_description>The sun 's rays hit the Mask . In an instant , he transforms back to regular Dorian . The mask pops off Dorian 's face - useless . Dorian stares dumbfounded at the TNT stick in his hand as it - KA - BOOM ! Dorian is blown to smithereens .</scene_description> </scene> <scene> <stage_direction>EXT. MARINA - DAWN</stage_direction> <scene_description>There are cops everywhere . Lt. Kellaway wraps Tina in a dry blanket . Stanley holds out his arms .</scene_description> <character>STANLEY</character> <dialogue>Back to jail, Lieutenant?</dialogue> <character>LT. KELLAWAY</character> <dialogue>Ipkiss, I'd like to lock you up for the rest of my life. But the mayor and a hundred other witnesses say Dorian Tyrel's the bad guy and you're the good guy. So no jail. Just a downtown parade at noon.</dialogue> <parenthetical>( resigned . )</parenthetical> <dialogue>And I've got to be your escort.</dialogue> <scene_description>Stanley smiles and puts his arms around Tina . They head down the beach . The two young lovers and Milo walk past - CHARLIE SCHUMACHER standing near the crowd of post - party VICTIMS being helped by the POLICE and MEDICAL PERSONNEL . He 's still hitting on that statuesque Valkyrie change girl .</scene_description> <character>CHARLIE</character> <dialogue>So I deck this thug, grab his gun and tell Stanley, `` Take cover, Buddy. I'll get these folks out sae and sound.'' Y' know we should go back to my place so I can tell you the rest of the story.</dialogue> <scene_description>ANGLE ON SHORELINE Mrs. Peenman is walking along grumbling to herself when she notices the mask floating to shore with some of the wreckage from the boat .</scene_description> <character>MRS. PEENMAN</character> <dialogue>Just look at this mess.</dialogue> <scene_description>She picks it up out of the surf and The Mask FX theme begins to pound in her head . Back to Charlie and his Valkyrie .</scene_description> <character>CHARLIE</character> <dialogue>So what do you say, sweetheart? Let's you and me go back to my place and scramble some eggs.</dialogue> <scene_description>Suddenly Mrs. Peenman/Mask ZZZIPS up and sweeps Charlie off his feet . She 's the most whacked - out Mask creature yet with a huge green Witch Hazel face and Bride of Frankenstein hair .</scene_description> <character>MRS. PEENMAN/MASK</character> <dialogue>Hello short, dark and handsome! C'mere and give Momma a kissy - poo!</dialogue> <scene_description>She starts SMACKING her king - sized lips horribly .</scene_description> <character>CHARLIE</character> <parenthetical>( terrified . )</parenthetical> <dialogue>Yah! Put me down!</dialogue> <scene_description>She jams a hand down the front of Charlie 's pants .</scene_description> <character>MRS.PEENMAN/MASK</character> <dialogue>Let's see what caliber pistol you're packing there, soldier boy!</dialogue> <scene_description>She gets a grip and squeezes . AHOOGA ! AHOOGA ! Charlie SCREAMS , ttears himself from her grasp and starts running for his life . CAMERA PANS with Mrs. Peenman as she RICOCHETS after him hooting laughter . We ENDFRAME on Stanley and Tina as they watch the bizarre spectacle pass them by . They turn and embrace for a well deserved kiss as Milo yips happily and squirms up between them . THE END</scene_description> </scene> </script>

Stanley Ipkiss (Jim Carrey), an insecure bank clerk working at the local Edge City bank, is frequently ridiculed by everyone around him except for his co-worker and best friend Charlie Schumaker (Richard Jeni). Meanwhile, gangster Dorian Tyrell (Peter Greene), owner of the Coco Bongo nightclub, plots to overthrow his boss Niko (Orestes Matacena). One day, Tyrell sends his dazzling singer girlfriend Tina Carlyle (Cameron Diaz) into Stanley's bank to record its layout, in preparation for a robbery. Stanley is attracted to Tina, and she seems to reciprocate. Unable to enter the Coco Bongo to watch Tina perform, Stanley finds a wooden mask near the city's harbor. Placing it on his face transforms him into a green-faced, zoot-suited trickster known as "The Mask", who is able to cartoonishly alter himself and his surroundings at will. As The Mask, Stanley indulges in a comical rampage through the city, humiliating several of his tormentors. The next morning, Stanley encounters detective Mitch Kellaway (Peter Riegert) and newspaper reporter Peggy Brandt (Amy Yasbeck), both of whom are investigating The Mask's activity of the previous night. To obtain the funds necessary to attend Tina's performance, he again dons the mask and raids the bank, inadvertently foiling Tyrell's plan in the process. At the Coco Bongo, Stanley dances exuberantly with Tina, whom he ends up kissing. Following a confrontation with Tyrell for disrupting the robbery and stealing his girlfriend, Stanley flees, leaving behind a scrap of cloth from his suit. Tyrell and his men are arrested by Kellaway and his partner Doyle (Jim Doughan). Based on the piece of cloth—which has reverted to a piece of Stanley's distinctive pajamas—Kellaway suspects Stanley to be the bank robber. Stanley later consults a psychiatrist (Ben Stein) who has recently published a book on masks and discovers that the object may be a creation of Loki, the Norse god of darkness, and mischief. The same night, Stanley meets Tina at a local park as the Mask, but the meeting is interrupted by Kellaway, who attempts to capture him. Stanley flees with Peggy after distracting the police with a mass performance of the Desi Arnaz song "Cuban Pete"; she then betrays him to Tyrell for a $50,000 bounty. Using the mask, Tyrell becomes a malevolent green-faced monster. Tyrell's henchmen force Stanley to reveal the location of the stolen money, before turning him in to the police. When Tina visits Stanley in the station, he urges her to flee the city. Tina thanks Stanley for showing her kindness and warmth she wasn't used to and tells him he didn't need the mask to be special to her. She attempts to leave the city, but is captured by Tyrell's men and forcibly taken to a charity ball at the Coco Bongo, hosted by Niko and attended by the city's elite, including Mayor Tilton (Ivory Ocean). Upon arrival, the masked Tyrell kills Niko and prepares to destroy both the club and Tina with dynamite. Milo, Stanley's dog, helps Stanley escape from the station by retrieving the keys from a guard. Stanley then takes Kellaway hostage in a desperate attempt to stop Tyrell. After locking Kellaway in his car, Stanley enters the club and manages to enlist the help of Charlie, but is soon after discovered and captured. Tina tricks Tyrell into taking off the mask, which is recovered and donned by Milo. Milo battles his way through Tyrell's men as Stanley fights Tyrell alone. After recovering the mask, Stanley uses its powers to rescue Tina, swallowing Tyrell's bomb and flushing Tyrell down the drain of the club's ornamental fountain. The police arrive and arrest Tyrell's remaining henchmen. Kellaway attempts to arrest Stanley once again, but Tilton tells Kellaway to release Stanley, believing Tyrell to be the original Mask. Tilton calls Stanley a hero for his actions and states that he will have a "meeting" with Kellaway at dawn. As the sun rises the following day, all charges against Stanley are dropped. Not wanting to get involved with the police again, Stanley decides to discard the mask at the harbor. Tina throws the mask into the water as she and Stanley start to make out. Charlie then jumps in the water to retrieve the mask for himself, only to find Milo swimming away with it.

TRON: Legacy_2010

tt1104001

<script> <scene> <stage_direction>INT. CYBERSPACE</stage_direction> <scene_description>Electric - neon netherworld . Pulsing chromatics over jet black . CONSTRUCTION CREW toils to complete a vast SWITCHING NEXUS . CYPER - TECH CREWMEN and MACHINERY branded `` X - NET '' . 3D lattice of routers , refractors , reassemblers . New , unused data OPTIK HIGHWAY routes radiate from all sides , crossing cyberspace . X - Net Tactical Corps troops -LRB- herein X - Takks -RRB- patrol every inch .</scene_description> </scene> <scene> <stage_direction>INT. X-NET NEXUS - UNDER CONSTRUCTION</stage_direction> <scene_description>DATA `` TRAIN '' enters . Sliver of RED DATA ENERGY shunt off , shooting into RANDOM MEMORY BUFFER - geometrically perfect lattice of PLASMA BEAMS and WHITE HOT intersection points . X - Takks notice , moving to investigate . Red data `` uploads '' into solid form . A RED FIGURE . We see from the back - infrared strobing DISK , etched metallic detail , lethal EDGES - Then slowly he - IT - turns . Hardly a face , only data - hungry eyes , riveted to a TASK - TRON 2.0 . Seriously upgraded , over - clocked , armed for trouble . The friendly hero we once knew has been re - programmed into a ruthless cyber - ninja . X - Takks search ten story gantries . TRON springs into the lattice , dodging PLASMA BEAMS , avoiding detection . Slips into :</scene_description> </scene> <scene> <stage_direction>INT. NEXUS MAIN SHAFT</stage_direction> <scene_description>X - Takks on high alert . TRON slips down main shaft , freezes , confirms data . Darts behind MAIN POWER SUPPLY . Pulls his DISK . DISK opens , extends oscillating DATA KEY . TRON inserts key in and ENCRYPTION PANEL . Circuits energize . Shockwave quakes system . POWER SUPPLY OVERLOADS , SHORTING OUT . X - Takks spot TRON .</scene_description> <character>X-TAKKS</character> <dialogue>Intruder! Fix coordinates!</dialogue> <scene_description>POLICE POUNCE , FIRING . Tron pulls hyper - disk off his back and HURLS IT - DISK strikes cop , fries his circuits . Disk ricochets , brutally accurate , takes out three more Police - TRON flips into the air - His DISK boomerangs straight for him . Certain death . But his timing is inhumanly accurate . DISK docks on his back midair , lands and bolts . ALARMS WAIL - POWER SUPPLY VERGES on MELTDOWN , CIRCUITS FRY , PLASMA SPEWS . X - NET CRISIS TEAM rushes in , inserts MASTER KEY . POWER SUPPLY STABILIZES . Catastrophe averted . TRON flips away , chased by firing X - Takks - Arriving on the scene - split - second response : Elite team of X - NET SECURITY AGENTS , lead by : RX23 SECURITY LEADER -LRB- Cyber - twin of our real - world hero RUSH -RRB- . TRON jumps down MAIN SHAFT - a thousand stories . Riding his DISK as a heat shield dodges X - Net fire , swerves into a DATA CHANNEL - RX23 and a pair of his AGENTS hop on PULSE RIDER vehicles , hotly pursuing TRON . TRON PLUNGES onto a DATA HIGHWAY - speed out of NEXUS , hurls across cyberspace .</scene_description> <character>AGENT 1</character> <dialogue>This is the first time an Intruder has broken into X - Net!</dialogue> <character>RX23 LEADER</character> <dialogue>And it's the last. Follow him! Shut him down!</dialogue> <scene_description>They speed onto the OPTIK HIGHWAY .</scene_description> </scene> <scene> <stage_direction>INT. X-NET OPTIK HIGHWAY</stage_direction> <scene_description>Broadband , light - speed OPTIK HIGHWAY . Empty , except for : TRON - accelerating , escaping . Rx23 and AGENTS catch up fast on Pulse Rider Vehicles . TRON throws his disk . Blings off Agents - triggers CRASH . PLASMA BLAST rips open highway wall . Rx23 emerges unscathed , pursuing .</scene_description> </scene> <scene> <stage_direction>EXT. CYBERSPACE - ANCIENT SYSTEM ZONE</stage_direction> <scene_description>TRON leaps out blast hole , recovers his disk , vanishes into ANCIENT SYSTEM ZONE . Rx23 roars after him , riding hard , joined by : Airborne SEARCH ENGINE vehicle , piloted by a dumpy nerd program called KROD .</scene_description> <character>KROD</character> <dialogue>I got a lock. Coordinate 32937!</dialogue> <character>RX23</character> <dialogue>I'm on him!</dialogue> <scene_description>RX23 chases Tron into a dark canyon . Hairpin turns and blind curves . RX23 arrives a junction . Tron has vanished .</scene_description> <character>RX23</character> <dialogue>Which way did he go?!</dialogue> </scene> <scene> <stage_direction>INT. ENCOM CORPORATION BETA TEST LAB - DAY</stage_direction> <scene_description>Rabbit warren of computer programmers in crisis mode . A head shoots up from a cubicle . It 's Rush Nortebi , 23 , computer security expert . Real world version of the RX23 program . His cubicle is jammed with racks of vintage and bleeding - edge computer gear .</scene_description> <character>RUSH</character> <dialogue>I said WHICH WAY DID HE GO?</dialogue> <scene_description>Dozens of programmers work feverishly to track the system intruder . Everybody 's stumped . Dangling from desk lamps , the company toy : Conical pyramid with a square stuck on top , labeled `` X - NET RULES ! ''</scene_description> <character>RUSH</character> <dialogue>Come on guys! Nobody hacks X - Net. You gon na let him get away?!</dialogue> <character>MILES</character> <dialogue>Rush, I think I found him!</dialogue> <scene_description>In the adjacent cubicle : Overweight ultra - nerd MILES RABBISH - real world version of cyberworld Krod .</scene_description> <character>MILES</character> <dialogue>Check the old game grid!</dialogue> <scene_description>Rush jockeys an old Apple LISA computer . On screen : a crude old vector graphics game grid . A RED FIGURE steps appears the grid .</scene_description> <character>RUSH</character> <dialogue>You get a cookie, Miles!</dialogue> <scene_description>Programmers gather to watch Rush in action .</scene_description> </scene> <scene> <stage_direction>EXT. CYBERSPACE - THE OLD GAME GRID</stage_direction> <scene_description>Vast , low - rez , uncool , largely forgotten . TRON pulls a LIGHT WAND from his legging , grips it . A TURBO - CHARGED LIGHT - CYCLE rezzes up beneath him . He fires his LIGHTCYCLE . ZIP , he 's gone . Onto the grid blasts RX23 , speeding on his Pulse rider . He skids and swerves , learning the funky surface . Search Engine flies onto the scene , hovering overhead .</scene_description> <character>KROD</character> <dialogue>Coordinate 6532.02! There he goes!</dialogue> <scene_description>The chase is on . TRON escapes across the vast grid - plane , head down , eyes hollow . He gains speed , retreating to somewhere . RX23 surges on his Pulse Rider , closing the gap .</scene_description> </scene> <scene> <stage_direction>INT. REAL WORLD - ENCOM BETA TEST LAB - DAY</stage_direction> <scene_description>Rush gets the hang of this old game .</scene_description> <character>RUSH</character> <dialogue>I have n't played this since I was 4. But I was mighty awesome.</dialogue> <scene_description>RED LIGHTCYCLE turns hard 90 degrees , Rush maneuvers to counter . Co - workers lean over the cubicle walls from all sides :</scene_description> <character>RUSH</character> <dialogue>Score an ID on this leech?</dialogue> <character>MILES</character> <dialogue>Negative. He's nobody.</dialogue> <character>KELTER</character> <dialogue>Rush, you've got ta nail him.</dialogue> <character>PHLEGMAN</character> <dialogue>Or you know we're all fired.</dialogue> <scene_description>Rush baits the RED LIGHTCYCLE . It anticipates his every move , goading him , tailing him .</scene_description> <character>MILES</character> <dialogue>Whoa, Rush! I groked a pattern in his moves! Fake left, go right!</dialogue> </scene> <scene> <stage_direction>INT. CYBERSPACE - GAME GRID</stage_direction> <scene_description>Search Engine flies overhead - Krod locks on Tron . RX23 's Pulse Rider pulls the move , surges up beside red lightcycle . Tron pulls away , baiting his opponent .</scene_description> </scene> <scene> <stage_direction>INT. ENCOM CORPORATION BETA TEST LAB - DAY</stage_direction> <character>MILES</character> <dialogue>You got him on the run, dude!</dialogue> <character>OTHERS</character> <dialogue>Crash him! Rush RUSH RUSH.</dialogue> <scene_description>RUSH hits keys , jockeys mouse . Feeling good . Shifts drive status to : `` TURBOJECT '' .</scene_description> </scene> <scene> <stage_direction>INT. CYBERSPACE - GAME GRID</stage_direction> <scene_description>RX23 's Pulse Rider SCREAMS , gaining on Tron . Neck - and - neck . But Tron suddenly brakes , quitting the chase . RX23 is puzzled . Looks forward . Eyes spring wide .</scene_description> </scene> <scene> <stage_direction>INT. REAL WORLD - ENCOM CORPORATION BETA TEST LAB - DAY</stage_direction> <scene_description>Rush 's screen : His Pulse Rider speeds straight for the rocks .</scene_description> <character>RUSH</character> <dialogue>Yikes!</dialogue> <scene_description>CYBERSPACE - GAME GRID Pulse Rider smashes into rocks , RX23 pulverizes to neon bits . Electro SHOCKWAVE sears across game grid . Search Engine freezes overhead , glitches and CRASHES like a blimp . All goes white - snow crash .</scene_description> </scene> <scene> <stage_direction>INT. REAL WORLD - ENCOM BETA TEST LAB - DAY</stage_direction> <character>RUSH</character> <dialogue>He crashed me!</dialogue> <character>NERDS</character> <dialogue>FUBAR! Bad Thing! Flame War!</dialogue> <character>RUSH</character> <dialogue>Miles. Did you get a trace on him?!</dialogue> <scene_description>Miles stares at his blank screen . Blinking . Every screen in the lab is blank .</scene_description> <character>PHLEGMAN</character> <dialogue>We are so screwed.</dialogue> <character>KELTER</character> <dialogue>Who tells the boss?</dialogue> <scene_description>All eyes land on Rush .</scene_description> <character>RUSH</character> <dialogue>Get the system back up! Now! Move!</dialogue> </scene> <scene> <stage_direction>EXT. LAWN OF ENCOM CORPORATE CAMPUS - DAY</stage_direction> <scene_description>PRESS CREWS camp a block away . X - Net PR TEAM preps a media extravaganza . Shirt logo : `` X - NET = TOTAL DATA SECURITY '' Banners , video projections , music . X - NET PUBLIC RELATIONS VP leads entourage on a preview .</scene_description> <character>PR VP</character> <dialogue>Weather is holding. Dress rehearsal on for 6PM. In the morning, we let the press in for a 7AM tech set - up, then you go live worldwide 9 AM sharp.</dialogue> <scene_description>Staff defers to : GORDON SINCLAIR -LRB- 45 -RRB- , boyish , ruthless , brilliant CEO of Encom Corporation .</scene_description> <character>SINCLAIR</character> <dialogue>Delay the press until 8:30. I'll taking the stage at 8:50. Force a network break - in. Then it's news.</dialogue> <scene_description>He catches something on a video screen , snaps his fingers .</scene_description> <character>SINCLAIR</character> <dialogue>Play that again.</dialogue> <scene_description>Crew murmurs on headsets . Promo video replays :</scene_description> <character>VIDEO PLAYBACK</character> <dialogue>X - Net deploys radical software design, constructs proprietary white - hot firewalls, unleashes virus killer apps. Creating the most secure data network in history. Your data can never again be hacked, corrupted, stolen or destroyed. X - Net is the final solution, totally guaranteed 99.999 % secure data transmission -</dialogue> <character>SINCLAIR</character> <dialogue>Who changed that? Who put `` 99.999''?</dialogue> <scene_description>X - Net executives chill .</scene_description> <character>PR VP</character> <dialogue>Um, that would be. Legal.</dialogue> <scene_description>Eyes land on withering LEGAL VP .</scene_description> <character>SINCLAIR</character> <dialogue>Change it back to the way I wrote it. With the launch of X - Net, this company guarantees one hundred percent secure data transmission. If we ca n't deliver on that promise, we deserve to be out of business.</dialogue> <scene_description>Rush appears from a building . Signals Sinclair aside .</scene_description> <character>SINCLAIR</character> <dialogue>What ca n't wait, Rush?</dialogue> <character>RUSH</character> <dialogue>Um. X - Net was just breached by a hacker.</dialogue> <scene_description>SINCLAIR goes pale .</scene_description> <character>RUSH</character> <dialogue>System's back up, no permanent damage, but. But whoever's behind this, they're good, and they're still out there.</dialogue> </scene> <scene> <stage_direction>INT. SINCLAIR'S OFFICE - DAY</stage_direction> <scene_description>Sprawling , big bucks , basketball hoop . Sinclair enters , alone . Closes door . Uses a retinal scan ID to access his computer . Secure connection opens . As he speaks , text instantly appears :</scene_description> <character>SINCLAIR</character> <dialogue>Identify the intruder.</dialogue> </scene> <scene> <stage_direction>EXT. CYBERSPACE</stage_direction> <scene_description>Flashing circuitry , machine code bit - storm . We follow Sinclair 's text message data stream Min - blowing cyberspace fly - over . DATA BEAM penetrates a towering shaft , reaching deep inside the MASSIVELY FORTIFIED X - NET CENTRAL SERVER .</scene_description> </scene> <scene> <stage_direction>INT. CYBERSPACE - X-NET CENTRAL SERVER / INNER SANCTUM</stage_direction> <scene_description>LONE FIGURE stands clothed in flashy cyber - armor : Fluid photons , oozing high - rez circuitry . It 's PLEXOR , cyber - twin of real - world Sinclair . He crosses into an round inner sanctum . DATA STREAM radiates from above . PLEXOR stands in the center , pulls his DISK off his back , raises it above his head . Data stream converges onto disk , becomes a tight RUBY RED COMMUNICATION BEAM . Plexor 's eyes decode transmission . Text races across his eyes : IDENTIFY THE INTRUDER .</scene_description> <character>PLEXOR</character> <dialogue>Identity not captured.</dialogue> </scene> <scene> <stage_direction>INT. REAL WORLD - SINCLAIR'S OFFICE - DAY</stage_direction> <scene_description>Other side of the link . Real - world Sinclair reads text as it appear on his office screen : IDENTITY NOT CAPTURED .</scene_description> <character>SINCLAIR</character> <dialogue>How did he enter X - Net?</dialogue> <scene_description>His text inputs . Answer comes : `` Path untraceable ''</scene_description> <character>SINCLAIR</character> <dialogue>How could you let this happen?</dialogue> </scene> <scene> <stage_direction>INT. CYBERSPACE - PLEXOR'S INNER SANCTUM</stage_direction> <scene_description>Plexor processes the input - remains emotionless .</scene_description> <character>PLEXOR</character> <dialogue>I do what you programmed me to do. I am constructing X - Net.</dialogue> </scene> <scene> <stage_direction>INT. ENCOM CORPORATION - SINCLAIR'S OFFICE - DAY</stage_direction> <character>SINCLAIR</character> <dialogue>New instructions - find and destroy the intruder!</dialogue> <scene_description>Text reply : `` Resource allocation reconfiguration required . Estimated delay to X - Net construction : 46.4 hours . ''</scene_description> <character>SINCLAIR</character> <dialogue>No. We ca n't delay the opening of X - Net. Disregard my last command. Maintain construction priority.</dialogue> <scene_description>Sinclair cuts off the contact , pressure mounting .</scene_description> </scene> <scene> <stage_direction>INT. CYBERSPACE - PLEXOR'S INNER SANCTUM</stage_direction> <scene_description>Ruby beam goes dark . Plexor lowers his disk . His eyes are cold , his confidence supreme .</scene_description> </scene> <scene> <stage_direction>INT. ENCOM CORPORATION CONFERENCE ROOM - DAY</stage_direction> <scene_description>Crisis management team assembles . Nervous X - Net Senior Staff . Rush arrives late , out of breath , determined . Joins Phlegman and Kelter .</scene_description> <character>RUSH</character> <dialogue>System is stable again, keep you fingers crossed.</dialogue> <character>PHLEGMAN</character> <dialogue>Any luck finding the intruder?</dialogue> <character>RUSH</character> <dialogue>Do n't ask.</dialogue> <scene_description>RUSH notices across the room : Brilliant , beautiful MEGAN RANDALL , his age . Her security ID : `` LEVEL BLACK '' .</scene_description> <character>RUSH</character> <dialogue>What's she doing here? This is an operations meeting.</dialogue> <character>KELTER</character> <dialogue>You and Meg still, eh. At it?</dialogue> <character>RUSH</character> <dialogue>There was never anything between us.</dialogue> <scene_description>Kelter and Phlegman trade a look . Sure .</scene_description> <character>RUSH</character> <dialogue>She's Advanced Projects. This has nothing to do with her.</dialogue> <scene_description>Sinclair storms in . Room falls silent .</scene_description> <character>SINCLAIR</character> <dialogue>This company's existence depends on the flawless launch of X - Net in twenty - two hours, fifty - one minutes. Now somebody - some hacker, some competitor, somebody - just proved they're smarter than us. Breaking into X - Net is theoretically impossible.</dialogue> <scene_description>Everybody looks at Rush .</scene_description> <character>RUSH</character> <dialogue>This creep's the best I've ever seen. He crosses platforms, cracks 128 bit encryption, cloaks every move, never leaves a trace.</dialogue> <character>SINCLAIR</character> <dialogue>When you find him, I'll be sure to hire him.</dialogue> <scene_description>Chuckles around the room . Mood chills : Sinclair 's not laughing .</scene_description> <character>SINCLAIR</character> <dialogue>Boys and girls, we can not sell a secure network that is not secure.</dialogue> <character>PR VP</character> <dialogue>We delay the launch.</dialogue> <character>SINCLAIR</character> <dialogue>And the world assumes we've got a faulty product. And they'd be right.</dialogue> <character>KELTER</character> <dialogue>We ramp up our encryption schemes -</dialogue> <character>PHLEGMAN</character> <dialogue>Thicken all firewalls -</dialogue> <character>RUSH</character> <dialogue>We ca n't win playing defense. And it's a bigger job than just swatting an intruder program. Somewhere, there's a human mind behind this thing. We have to get to that User and shut him - or her - down, or the game never ends.</dialogue> <scene_description>Meg listens quietly . Studies Rush .</scene_description> <character>SINCLAIR</character> <dialogue>What do you need, Rush?</dialogue> <character>RUSH</character> <dialogue>20 guys for 20 days -</dialogue> <character>SINCLAIR</character> <dialogue>We do n't have 20 hours. This problem needs to be gone before tomorrow 9AM. Come on people, this company's future is at stake! It's time to think without a box!</dialogue> <scene_description>Minds ponder grimly . Finally , a lone VP rises . It 's RUDY , the company Archivist .</scene_description> <character>RUDY</character> <dialogue>At a time like this, let's seek inspiration in the past. We should ask ourselves : What solution would spring from the inspired mind of our departed leader, Flynn.</dialogue> <scene_description>He 's got an obituary photo of FLYNN , Encom 's legendary previous - and deceased - CEO . Groans around the table . Execs rolls their eyes , disses Rudy 's idea . Flynn has become a stale company joke . Rudy sheepishly sits . But Sinclair stops behind Rudy , eyes fixed on the photo of Flynn . An idea takes hold . He looks to Meg .</scene_description> <character>SINCLAIR</character> <dialogue>Is the QF - 401 is operational?</dialogue> <character>MEG</character> <dialogue>Um. Midway into phase one testing.</dialogue> <scene_description>Confusion among execs . Nobody knows what a `` QF - 401 '' is . Not even Rush .</scene_description> <character>SINCLAIR</character> <dialogue>If we ca n't fight this intruder from the outside, then maybe we need to fight him from the inside.</dialogue> <scene_description>Meg 's mind races .</scene_description> <character>MEG</character> <dialogue>I'm ready to do my part.</dialogue> <character>SINCLAIR</character> <dialogue>This company needs a hero. Who among you is the smartest, most resourceful and courageous?</dialogue> <scene_description>Looks trade around the table . Meg slowly rises , indicating her choice .</scene_description> <character>MEG</character> <dialogue>Who else could it be?</dialogue> <scene_description>She 's singled out Rush .</scene_description> </scene> <scene> <stage_direction>INT. ENCOM CORP CORRIDOR - SECURE ELEVATOR - DAY</stage_direction> <scene_description>Meg leads Sinclair and Rush to a SECURE ELEVATOR . Her retinal scan ID opens the door . They step in .</scene_description> </scene> <scene> <stage_direction>INT. ENCOM SECURE ELEVATOR - GOING DOWN - MOMENTS LATER</stage_direction> <character>RUSH</character> <dialogue>Somebody going to tell me what I've been volunteered for?</dialogue> <character>SINCLAIR</character> <dialogue>Rush, you're the only one I can trust to eliminate the intruder. But you wo n't be doing it the way you thought. Meg's been working on something down here that's, well. Beyond Top Secret.</dialogue> <scene_description>Rush drills a look at Meg , but she keeps it all business .</scene_description> </scene> <scene> <stage_direction>INT. ENCOM ADVANCED RESEARCH LAB - MOMENTS LATER</stage_direction> <scene_description>Out the elevator , Meg leads them into a maze of ultra - tech gear .</scene_description> <character>MEG</character> <dialogue>This is where Flynn worked. And where he died.</dialogue> <scene_description>Amid sleek new equipment , there 's a glass cabinet housing a CHARRED REMNANT of strange machinery .</scene_description> <character>SINCLAIR</character> <dialogue>Meg has reconstructed Flynn's last project. This time it works.</dialogue> <scene_description>Mega signals lab assistant DEWEY . He pokes buttons : A MASSIVE TECHNICAL DEVICE unfolds and boots up .</scene_description> <character>RUSH</character> <dialogue>You did n't pick this up at Circuit City. What is it?</dialogue> <character>MEG</character> <dialogue>A Quantum Digitizer. Prototype, only one of its kind. Flynn designed it to break down physical objects into high resolution data. Luckily, we salvaged his key components and back - engineered the system.</dialogue> <scene_description>She opens a cage , places her LAB RAT -LRB- Jo - Jo -RRB- on a target stage . Dewey boots controls , presses commands . Beam array scans the rat into the computer , forming a 3D rat - image on screens , dematerializing the physical rat . Device revs down . Rush runs his hand over the empty target stage .</scene_description> <character>RUSH</character> <dialogue>That's. Not possible.</dialogue> <scene_description>Lab rat has vanished from the physical world . Its digitized image rotates on monitors .</scene_description> <character>MEG</character> <dialogue>Flynn was trying to take it one step further. He wanted to transport a human being into cyberspace.</dialogue> <character>RUSH</character> <dialogue>You mean the urban legends? A computer sucked Flynn into cyberspace a long time ago.</dialogue> <character>SINCLAIR</character> <dialogue>We think it happened.</dialogue> <scene_description>Meg agrees . Rush gets a chill .</scene_description> <character>SINCLAIR</character> <dialogue>It was a fluke. But Flynn worked for years, down here, trying to make it happen again. One day a test went bad. A plasma reaction destroyed this lab. Flynn was reduced to ash.</dialogue> <scene_description>Rush views the charred remains in the glass case . Photos of the destroyed lab . Spooky evidence of a hellish death scene .</scene_description> <character>RUSH</character> <dialogue>I was never told how he died. It was all just weird, you know, because Flynn's the guy who hired me. But he was strange, kept to himself, I did n't know what job I was supposed to be doing.</dialogue> <parenthetical>( to Sinclair . )</parenthetical> <dialogue>Then you came onboard, the company woke up, we had a direction. It was kind of pathetic, because by the time Flynn died, everybody was too busy to care.</dialogue> <character>SINCLAIR</character> <dialogue>He was brilliant in his way, but genius without discipline leads to nothing. His reckless habits nearly ruined this company. And for sure got him killed.</dialogue> <scene_description>A last look at the charred remains of Flynn 's machine .</scene_description> <character>MEG</character> <dialogue>That kind of accident ca n't happen again. We've upgraded the system in ways Flynn never could. The chips did n't exist until now.</dialogue> <scene_description>She presses commands . Beams re - materialize the lab rat on the target stage . Jo - jo is as good as new .</scene_description> <character>MEG</character> <dialogue>Hey, Jo - Jo. Have good trip?</dialogue> <scene_description>She puts the rat in on her shoulder , feeds it a tidbit . Then she scrutinizes Rush . Rush considers Meg , then turns to Sinclair .</scene_description> <character>RUSH</character> <dialogue>You want her to send me into cyberspace to catch that jerk who hacked us?</dialogue> <character>SINCLAIR</character> <dialogue>The future of this company depends on it.</dialogue> <scene_description>Rush looks to Meg . She offers a reassuring nod .</scene_description> <character>RUSH</character> <dialogue>You can bring me back okay?</dialogue> <character>MEG</character> <dialogue>Ask Jo - Jo.</dialogue> <scene_description>Lab rat is perched happily on her shoulder .</scene_description> <character>SINCLAIR</character> <dialogue>Destroy the intruder by 9AM tomorrow, Rush. I know if anyone can, it's you. I've had my eye on you for a long time. Score this hit and I'll make you my full partner in this company.</dialogue> <scene_description>Rush is awe - struck . Ready , willing , able . He shakes Sinclair 's hand , sealing the deal .</scene_description> <character>RUSH</character> <dialogue>I wo n't let you down. Let's do it.</dialogue> <scene_description>Meg removes target stage , swings a custom TARGET CHAIR in place . Rush lowers in place . Meg buckles him in . Last chance for a private word :</scene_description> <character>MEG</character> <dialogue>I promise I'll get you back safely by 9AM tomorrow. But you have to promise me something too -</dialogue> <character>RUSH</character> <dialogue>You're a piece of work. You dumped me because you said I was too much about the company's needs and not enough about yours. Well here we are, the company needs their best guy, and you just ca n't admit how much to hurts to nominate me.</dialogue> <character>MEG</character> <dialogue>This bigger than us, Rush. Listen to me. I do n't know what you're going to find in there, but whatever it is, promise you'll follow your heart and do the right thing.</dialogue> <scene_description>Rush stares at here , in shock .</scene_description> <character>RUSH</character> <dialogue>Oh. So you think I have a heart?</dialogue> <scene_description>Meg breaks away , retreating to the controls with Sinclair . Rush 's trails her with his eyes - he ca n't stop looking .</scene_description> <character>RUSH</character> <parenthetical>( under his breath . )</parenthetical> <dialogue>I promise.</dialogue> <scene_description>Meg initiates Quantum Digitizer sequence . Rush watches PULSING CHROMATIC LIGHT build down the unit 's column , coming toward him . Plasma strobes CYAN/MAGENTA . Unit HUMS . Then GROANS WILDLY . Flashes randomize . Something 's off balance - Meg worries . Moves for the `` abort '' button .</scene_description> <character>DEWEY</character> <dialogue>It's overloading!</dialogue> <scene_description>Unit sparks . Ceramic components STRESS and CRACK . Rush clenches his seat , terrified .</scene_description> <character>RUSH</character> <dialogue>What's happening?!</dialogue> <character>MEG</character> <dialogue>System is losing stability!</dialogue> <scene_description>Sinclair sees : Monitor sounds company - wide alert : `` X - NET BREECH ! INTRUDER DETECTED ! ''</scene_description> <character>SINCLAIR</character> <dialogue>There's been another breech!</dialogue> <character>RUSH</character> <dialogue>It's the Intruder again!</dialogue> <character>MEG</character> <dialogue>We have to abort!</dialogue> <character>SINCLAIR</character> <dialogue>We might not get another chance!</dialogue> <character>RUSH</character> <dialogue>DO IT!</dialogue> <scene_description>Sinclair pulls Meg 's hand from the `` abort '' button and slams his hand on `` DIGITIZE '' . BEAM ARRAY scans Rush 's body , reducing it to bits - Meg worries - Sinclair dives for cover - PLASMA BALL engulfs Quantum Digitizer . FINAL BITS of Rush scan away . Plasma ball FRIES the unit . Breakers trip . Power fades . Meg and Sinclair come up to find : Quantum Digitizer : In a smoking heap . Target chair : Empty .</scene_description> </scene> <scene> <stage_direction>EXT. CYBERSPACE TRANSITION</stage_direction> <scene_description>Light - speed thrill - ride , hurling into digital chaos . Rush 's electrified body hurtles across the void , eyes filled with TERROR and AWE .</scene_description> </scene> <scene> <stage_direction>EXT. CYBERSPACE - X-NET CENTRAL SERVER</stage_direction> <scene_description>Shimmering bits morph into an awesome cyberscape . Rush enters this bizarre world - CRASH/FLASH - stranger in a strange land . Data energy ZAPS off his body , interacting with the landscape circuitry around him . He fights it , tries to control it . Rush stands , beholds the place . Looks at his hands and arms , clad in circuitry . He finds he had landed outside : Fortress - like X - NET CENTRAL SERVER . ALARMS SOUNDING inside . He turns , looks up a FIREWALL . Hundreds of X - Takk Troops hurry to look down . FIRING WEAPONS . A FIGURE comes at him , down the wall , STREAKING RED . BLAMMO ! TRON lands on a plateau above Rush , gazing down . They face each other , equally perplexed . Rush is no longer human , but not quite a program either . Energy zaps off his body , infusing the surrounding circuitry . Tron stares , unblinking - Cyber - Ninja .</scene_description> <character>RUSH</character> <dialogue>It's YOU! The intruder!</dialogue> <scene_description>Rush 's body circuits PULSE with anger - data surges out his feet , across floor circuitry , up to the plateau . Energy interacts with Tron 's body circuits , siphoning off bits of code . Code races across Rush 's eyes . Identification data .</scene_description> <character>RUSH</character> <dialogue>You are. TRON?!?</dialogue> <scene_description>X - Takks hustle onto the scene . Tron leaps off the plateau , cutting the data connection . He whips his disk off his back and THROWS . Disk SLAMS Rush in the gut , knocks him flat .</scene_description> <character>RUSH</character> <dialogue>ARRRGHH!</dialogue> <scene_description>X - Takks pursue Tron - Tron recovers his disk - vanishes in an OUTBOUND DATA STREAM , losing his pursuers . X - Takks pull Rush to his feet , shocked .</scene_description> <character>X-TAKK 1</character> <dialogue>RX23?!</dialogue> <character>X-TAKK 2</character> <dialogue>But. You crashed irrecoverably!</dialogue> <character>RUSH</character> <dialogue>Uh, well, I'm not exactly -</dialogue> <character>X-TAKK 3</character> <dialogue>RX23 has been rebooted!</dialogue> <character>VOICE</character> <dialogue>RX23 reboot was not authorized!</dialogue> <scene_description>Pushing through Police : A sleek , smart cyber - babe MEGA . -LRB- She 's Meg 's cyber - twin : Twice the edge , half the patience , all the curves . -RRB- Rush is awed by the sight of her .</scene_description> <character>RUSH</character> <dialogue>Yow. I know who programmed you.</dialogue> <character>MEGA</character> <dialogue>I am Mega, X - Net Intelligence.</dialogue> <character>RUSH</character> <dialogue>Mega. Cool. I am -</dialogue> <character>MEGA</character> <dialogue>A spy? Posing as RX23? Under which register were you rebooted?</dialogue> <character>RUSH</character> <dialogue>I'm a User.</dialogue> <scene_description>Mega and X - Takks look at him like he 's crazy .</scene_description> <character>MEGA</character> <dialogue>Detain this impostor.</dialogue> <scene_description>X - Takks move to seize Rush .</scene_description> <character>RUSH</character> <dialogue>No wait, look. We're on the same side here. I got an ID on the intruder!</dialogue> <scene_description>Mega touches Rush , exciting his energy flow . She reads data streaming in his eyes - TRON 'S ID info .</scene_description> <character>MEGA</character> <dialogue>`` Tron''?</dialogue> <character>X-TAKK 2</character> <dialogue>How did he get that?</dialogue> <character>MEGA</character> <dialogue>Plexor must know of this!</dialogue> </scene> <scene> <stage_direction>EXT. CENTRAL CONTROL SERVER</stage_direction> <scene_description>Mega and X - Takks escort Rush across bridges , in security portals . Firewalls cool and part , allowing them to pass . Down a grand corridor , past towering energy columns and throbbing green memory banks . They cross a bridge . View includes : Vast square concentric security rings surround a massive cubic POWER SUPPLY CORE .</scene_description> </scene> <scene> <stage_direction>INT. PLEXOR CPU</stage_direction> <scene_description>Plexor toils over the latest security breech , failing to decipher recordings of the Intruder . Rush is brought in buy Mega . He double - takes on Plexor , the cyber - twin of Sinclair .</scene_description> <character>MEGA</character> <dialogue>Plexor. This is the one.</dialogue> <scene_description>Plexor steps closer , scanning Rush .</scene_description> <character>PLEXOR</character> <dialogue>You are not RX23.</dialogue> <character>RUSH</character> <dialogue>My name is Rush. I'm a - Look, I got an ID on the Intruder. Do you know the program they used to call Tron?</dialogue> <scene_description>Plexor activates memory banks . Accesses archive files of the original low - rez Tron : So harmless , so many years ago . Bears little resemblance to the upgraded Tron .</scene_description> <character>PLEXOR</character> <dialogue>You are in error. Zero match.</dialogue> <character>RUSH</character> <dialogue>Exactly. That's how he's getting past you. You do n't see him for what he is. He's one of your own, gone bad. Tron was a crude security program from Encom's old days. Strictly low - rez, right? Archived and forgotten. But his source code contains all the architecture of every Encom system, including X - net. That's why some smart User dusted him off and upgraded him -</dialogue> <character>PLEXOR</character> <dialogue>`` User''?</dialogue> <character>RUSH</character> <dialogue>People. Like me. From the outside. People who write all of your instructions.</dialogue> <scene_description>Plexor and Mega trade a look .</scene_description> <character>MEGA</character> <dialogue>He displays random instability.</dialogue> <character>PLEXOR</character> <dialogue>Users do not exist.</dialogue> <character>RUSH</character> <dialogue>How do we contact Sinclair? He'll explain.</dialogue> <character>PLEXOR</character> <dialogue>Define `` Sinclair''.</dialogue> <character>RUSH</character> <dialogue>You do n't know? Oh geez. There must be a way to link him into this.</dialogue> <scene_description>Rush touches Plexor 's command console , but his energy OVERLOADS the system - X - Takks pull Rush away .</scene_description> <character>MEGA</character> <dialogue>Zero match for a `` Sinclair''.</dialogue> <character>RUSH</character> <dialogue>He's your boss. Everybody's boss. Outside, in the real world.</dialogue> <character>PLEXOR</character> <dialogue>Assuming the existence of a world beyond this, is a fatal error.</dialogue> <character>MEGA</character> <dialogue>Plexor issues all commands.</dialogue> <character>X-TAKKS</character> <dialogue>Grep grep.</dialogue> <scene_description>Rush considers his predicament .</scene_description> <character>RUSH</character> <dialogue>Okay. Sorry. I'm a program, guess I got a piece of my code corrupted. Whatever it is, it's given me power over Tron.</dialogue> <parenthetical>( to X - Takks and Mega . )</parenthetical> <dialogue>They saw me read his circuits. Can any other program do that?</dialogue> <scene_description>Plexor looks to Mega .</scene_description> <character>MEGA</character> <dialogue>He creates alternative data channels at will.</dialogue> <character>PLEXOR</character> <dialogue>Chaos.</dialogue> <character>RUSH</character> <dialogue>Yeah, I'm a little unstable. But I can find Tron for you.</dialogue> <scene_description>Plexor processes . His eyes stream barcode data to X - Takks :</scene_description> <character>PLEXOR</character> <dialogue>Release him.</dialogue> <scene_description>X - Takk Troops read Plexor 's barcode command with their eyes . They let go of Rush . Plexor turns to Mega . Issues more barcode .</scene_description> <character>PLEXOR</character> <dialogue>Interface with this one. Exploit his ability. Locate the program `` Tron'' and destroy him on sight.</dialogue> <character>MEGA</character> <dialogue>Instructions received, Plexor.</dialogue> <scene_description>Mega exits with Rush . Plexor 's gaze lingers on Rush .</scene_description> </scene> <scene> <stage_direction>EXT. CENTRAL CONTROL SERVER</stage_direction> <scene_description>Security PORTAL opens . Ultra sleek STRAITHE vehicle glides out , accesses a shiny new , EMPTY X - NET DATA OPTIK HIGHWAY .</scene_description> </scene> <scene> <stage_direction>INT. STRAITHE VEHICLE - RACING DOWN X-NET OPTIK HIGHWAY</stage_direction> <scene_description>Mega at the controls . Rush rides , beholding the lightshow wonder of Cyberspace .</scene_description> <character>RUSH</character> <dialogue>I need to find a program called KROD. He's a specialist in pattern recognition. He snagged the last known position on Tron for me.</dialogue> <scene_description>Mega scans data , gets a fix on `` KROD '' .</scene_description> <character>MEGA</character> <dialogue>This is a waste of X - Net resources. You're strictly random. We will never find the intruder this way.</dialogue> <character>RUSH</character> <dialogue>Plexor ordered us to work together. You ca n't doubt his instructions, right?</dialogue> <character>MEGA</character> <dialogue>Of course not. But I am programmed to predict all possible errors. You contain an infinite quantity.</dialogue> <character>RUSH</character> <dialogue>Meg for sure programmed you.</dialogue> <character>MEGA</character> <dialogue>I have no data on `` Meg''.</dialogue> <character>RUSH</character> <dialogue>Never mind. I'm being random.</dialogue> <scene_description>Mega speeds along empty X - Net OPTIK HIGHWAY . Wide , secure , newly constructed . High above the tangle of chaotic , clogged OLD DATA ARTERIES .</scene_description> <character>RUSH</character> <dialogue>X - Net is amazing. It's going to change everything. Unless one rogue program called Tron brings it down. Do you believe he could?</dialogue> <character>MEGA</character> <dialogue>I calculated the probability.</dialogue> <parenthetical>( soberly . )</parenthetical> <dialogue>He could crash it all.</dialogue> <character>RUSH</character> <dialogue>So we're working together on this?</dialogue> <character>MEGA</character> <dialogue>As instructed, I will interface.</dialogue> <scene_description>Mega pulls STRAITHE into :</scene_description> </scene> <scene> <stage_direction>INT. X-NET SWITCHING NEXUS/HUB CITY</stage_direction> <scene_description>Construction nearly complete . High security . Mega leads Rush to secured encryption gates . Her eyes light with data , the gate opens .</scene_description> <character>MEGA</character> <dialogue>The program `` KROD'' is over there.</dialogue> <scene_description>Across a bridge : An old - network HUB CITY . Like Hong Kong in wilder days . Jammed with Programs , colorful data , loud data transfer screams .</scene_description> <character>RUSH</character> <dialogue>What a dump.</dialogue> <scene_description>He heads across , but Mega hesitates .</scene_description> <character>RUSH</character> <dialogue>Hey. Interface.</dialogue> <scene_description>Mega grudgingly follows . Portal closes .</scene_description> </scene> <scene> <stage_direction>EXT. HUB CITY</stage_direction> <scene_description>Electro - pop overload . Rush and Mega squeeze through crowds , past screaming data pipes and sizzling circuitry . City is dominated by mugshots of TRON : `` ENEMY OF THE FUTURE '' Mega locates a gleaming X - NET KIOSK . A PROMOTER -LRB- KROD -RRB- extoles the virtues of the X - Net system :</scene_description> <character>KROD</character> <dialogue>Three more hub cities have been attacked by viruses!</dialogue> <parenthetical>( crowd gets scared . )</parenthetical> <dialogue>But X - Net opens soon! You will travel in total security!</dialogue> <scene_description>Crowd buzzes . They ca n't wait .</scene_description> <character>MEGA</character> <dialogue>This is the one you seek?</dialogue> <scene_description>Rush approaches Krod . Looks like Miles Rabbish . There 's a bizarre moment of recognition between them .</scene_description> <character>RUSH</character> <dialogue>It's got ta be -</dialogue> <character>KROD</character> <dialogue>Krod!</dialogue> <character>RUSH</character> <dialogue>Krod!</dialogue> <character>KROD</character> <dialogue>Yeah, yeah - Heeey!</dialogue> <character>RUSH</character> <dialogue>The best pattern recognition program ever.</dialogue> <parenthetical>( to Mega . )</parenthetical> <dialogue>This guy can filter a river of junk data and pull out the good stuff.</dialogue> <character>KROD</character> <dialogue>You know it, dude!</dialogue> <scene_description>Krod smiles big at Mega , refers to Rush :</scene_description> <character>KROD</character> <dialogue>Who is this guy?</dialogue> <scene_description>Rush pulls Krod aside .</scene_description> <character>RUSH</character> <dialogue>Miles - I mean Krod, you flew the search engine. You ran a trace on a hotshot lightcycle rider. The red guy. Remember?</dialogue> <character>KROD</character> <dialogue>Well. Eh. I'd like to help you, but truth is, I just got rebooted from a big crash. There's nothing left in my memory from before.</dialogue> <scene_description>He taps his head .</scene_description> <character>MEGA</character> <dialogue>This will yield zero.</dialogue> <character>RUSH</character> <dialogue>Hang on.</dialogue> <scene_description>Rush thinks , touches a surface . Concentrates . Circuitry zaps from data coming off his hands . Connections illuminate , data races around walls and floors . Programs stop what they 're doing , amazed by the feat . Mega is astonished - and privately worried . Rush 's data flow illuminates surfaces with images from HIS memory - the opening light cycle race .</scene_description> <character>RUSH</character> <dialogue>Remember, Krod? You were watching this lightcycle duel, a red guy and a green guy, head - to - head.</dialogue> <scene_description>Krod gawks at the image , but he 's stumped .</scene_description> <character>RUSH</character> <dialogue>The green guy faked out the red guy, but the red guy double - faked the green guy.</dialogue> <scene_description>Bingo .</scene_description> <character>KROD</character> <dialogue>Okay! YES! And the green guy splattered big time! It was awesome! How could I forget that?!</dialogue> <scene_description>Splat happens in Rush 's memory image . All goes white .</scene_description> <character>RUSH</character> <dialogue>Where did the red guy go after that? You did n't crash right away.</dialogue> <character>KROD</character> <dialogue>He escaped out this hidden exit -</dialogue> <scene_description>Krod 's points to another screen . `` Wanted '' image of Tron .</scene_description> <character>KROD</character> <dialogue>THAT GUY! The RED GUY!</dialogue> <character>RUSH</character> <dialogue>Did you jack his coordinate?</dialogue> <character>KROD</character> <dialogue>Tr165444.018!</dialogue> <scene_description>They slap high fives . Krod double - takes on Rush .</scene_description> <character>KROD</character> <dialogue>And the green guy was YOU! You got rebooted?! They called you, um - Do n't tell me, I got it, eh -</dialogue> <character>RUSH</character> <dialogue>Call me Rush.</dialogue> <character>KROD</character> <dialogue>Yeah! Whatever. You're good. How'd you do that thing with your hands?</dialogue> <character>RUSH</character> <dialogue>It's complicated. You're coming with us to the old game grid. We're going to find Tron and shut him down.</dialogue> <character>KROD</character> <dialogue>Beats working.</dialogue> <scene_description>They head out . Krod falls in beside Mega , impressed by her .</scene_description> <character>KROD</character> <dialogue>Hey babe. Did I ever know you?</dialogue> </scene> <scene> <stage_direction>EXT. ANCIENT COMPUTER SYSTEM I/O PORT</stage_direction> <scene_description>Rush , Krod and Mega head deep into an obsolete , abandoned region of low - rez circuitry .</scene_description> <character>KROD</character> <dialogue>The old game grid is this way -</dialogue> <scene_description>He spins . Rush and Mega are n't behind him . They 've climbed inside a defunct I/O Port : Like a retro - tech temple .</scene_description> <character>RUSH</character> <dialogue>How do I uplink to the real world?</dialogue> <character>MEGA</character> <dialogue>The real world does n't exist. Nobody can uplink. These ports were for simulation only.</dialogue> <character>RUSH</character> <dialogue>Right. But how did those poor misguided fools boot up the link?</dialogue> <character>MEGA</character> <dialogue>They stood in the center. Held their disk above their head.</dialogue> <scene_description>Rush pulls his disk off his back , aims it skyward . Concentrates . Energy flows off his feet , interacts with the I/O Port floor . RUBY COMMUNICATION BEAM shoots skyward .</scene_description> </scene> <scene> <stage_direction>INT. REAL WORLD - SINCLAIR'S OFFICE - DAY</stage_direction> <scene_description>Kelter and Phlegman report to Sinclair :</scene_description> <character>KELTER &amp; PHLEGMAN</character> <dialogue>Intruder attempted another break - in. We patched the firewall, but our manpower getting is maxed out.</dialogue> <character>SINCLAIR</character> <dialogue>Stay on it! Nobody sleeps!</dialogue> <scene_description>Guys hustle out . Sinclair wheels , as Meg storms in .</scene_description> <character>MEG</character> <dialogue>There's a message on your secure link!</dialogue> <scene_description>Sinclair enters retinal ID . Text forms : INTRUDER IDENTIFIED .</scene_description> <character>SINCLAIR</character> <dialogue>Where is this coming from -?</dialogue> <scene_description>Meg hurries to the screen .</scene_description> <character>MEG</character> <dialogue>It's HIM.</dialogue> <scene_description>Text appears : I AM RUSH .</scene_description> <character>SINCLAIR</character> <dialogue>My God, he's there.</dialogue> <character>MEG</character> <dialogue>Rush, it's Sinclair and Meg.</dialogue> <scene_description>Her words transform into text .</scene_description> </scene> <scene> <stage_direction>EXT. CYBERSPACE - ANCIENT I/O PORT</stage_direction> <scene_description>Rush raises his disk , beaming data into the great unknown . Smiles as he downloads the response . Mega and Krod watch nearby .</scene_description> <character>RUSH</character> <dialogue>I identified the intruder.</dialogue> <scene_description>I/O PORT walls ZAP ENERGY , STRESSING Rush 's CONNECTION -</scene_description> </scene> <scene> <stage_direction>INT. REAL WORLD - SINCLAIR'S OFFICE - DAY</stage_direction> <scene_description>Text appears : INTRUDER IS UPGRADED VERSION OF TRON .</scene_description> <character>SINCLAIR</character> <dialogue>Tron? Was n't Tron one of our programs?</dialogue> <scene_description>Sinclair and Meg trade baffled looks .</scene_description> </scene> <scene> <stage_direction>INT. CYBERSPACE - X-NET NEXUS</stage_direction> <scene_description>Plexor oversees construction . X - Takk Commander points to something in the distance . Beyond the horizon , the RUBY RED BEAM reaches to the heavens . Plexor sees it , alarmed .</scene_description> </scene> <scene> <stage_direction>EXT. CYBERSPACE - ANCIENT I/O PORT - MORNING</stage_direction> <scene_description>Text forms in magenta circuitry - GOOD WORK PARTNER .</scene_description> <character>RUSH</character> <dialogue>I have a plan to crash Tron.</dialogue> <scene_description>Mega turns with alarm .</scene_description> <character>MEGA</character> <dialogue>ABORT!</dialogue> <scene_description>Walls THUNDER and CRASH IN - Rush leaps clear with his disk - MASSIVE ROMBALL -LRB- data reformatting orb -RRB- hurtles around the I/O Port , ZAPPING all it touches , de - rezzing data structures into neutral gray `` blank matter '' . ROMBALL loops skyward . GIANT D - REZZ PROGRAM crashes down from above , retrieves ROMBALL - He 's ENORMOUS , TOUGH , SINGLE - MINDED .</scene_description> </scene> <scene> <stage_direction>INT. ENCOM CORPORATION - SINCLAIR'S OFFICE - DAY</stage_direction> <scene_description>Sinclair and Meg hang on the broken transmission :</scene_description> <character>MEG</character> <dialogue>Rush?</dialogue> <scene_description>Words appear : END OF LINE .</scene_description> <character>SINCLAIR</character> <dialogue>He'd better not fail.</dialogue> </scene> <scene> <stage_direction>EXT. ANCIENT COMPUTER SYSTEM I/O PORT</stage_direction> <scene_description>D - Rezz screams like a modem , hurls ROMBALL - Mega and Krod dive clear - ROMBALL misses them , but BLAZES DOWN two more I/O Ports . D - rezz retrieves ROMBALL , bears down on Mega and Krod .</scene_description> <character>RUSH</character> <dialogue>Hey! Double points if you nail me! Bring it on!</dialogue> <scene_description>D - Rezz turns his ugly sights on Rush , baited away from Mega and Krod . D - rezz flexes and ROARS , revealing an X - NET LOGO on his chest .</scene_description> <character>RUSH</character> <dialogue>Stop! End your routine!</dialogue> <scene_description>D - rezz corners Rush , hurls his ROMBALL - Ball fires every circuit in its path , bleaching away data energy . Rush dodges -</scene_description> <character>RUSH</character> <dialogue>Cease! Desist! We're on the same team!</dialogue> <scene_description>Mega throws her disk , plings D - rezz on the skull . D - rezz turns on her - Rush runs , LEAPS on D - Rezz 's back . Like riding a gorilla - D - Rezz flips Rush to the ground , pins him with one mighty hand , raises his ROMBALL for the kill .</scene_description> <character>RUSH</character> <dialogue>I'm X - Net too!</dialogue> <scene_description>Data flows from Rush 's body , up D - Rezz 's clamping arm . Radiant energy between predator and prey . Digits race in D - rezz 's eyes . A code unlocks . He looks down , finally registering the X - Net markings on Rush 's outfit . D - Rezz lets go of Rush , slumps back on his haunches . Lowers his head in shame .</scene_description> <character>RUSH</character> <dialogue>No, hey, hey big guy, do n't take it so hard. We all have bad days.</dialogue> <scene_description>RUSH rolls the BIG ROMBALL over : A peace offering . Mega and Krod cautiously approach .</scene_description> <character>MEGA</character> <dialogue>He was carrying out his programming. All I/O Ports are scheduled for de - rezz.</dialogue> <scene_description>D - rezz hears this , happy to be understood . -LRB- He never talks . -RRB-</scene_description> <character>KROD</character> <dialogue>Easy, big guy. No harm, no foul.</dialogue> <character>RUSH</character> <dialogue>D - Rezz, we can use a guy with your raw power. You ready to be a hero for X - Net?</dialogue> <scene_description>D - Rezz stands , clutches his ROMBALL . Reporting for duty .</scene_description> <character>KROD</character> <dialogue>Cool. Now I've got somebody I can boss around.</dialogue> <scene_description>D - rezz modem - growls at Krod .</scene_description> <character>KROD</character> <dialogue>Or not.</dialogue> <character>RUSH</character> <dialogue>Let's get to the game grid.</dialogue> <scene_description>Rush leads them up an incline .</scene_description> <character>MEGA</character> <parenthetical>( grudgingly , to Rush . )</parenthetical> <dialogue>You have a skill for manipulating other programs.</dialogue> <character>RUSH</character> <dialogue>When do I get a shot at hacking your code?</dialogue> <character>MEGA</character> <dialogue>Never. Our operating systems are incompatible.</dialogue> <character>RUSH</character> <dialogue>You act like I've got a virus.</dialogue> <scene_description>They come to a spectacular vista of the OLD GAME GRID . Low resolution , uncool , largely forgotten .</scene_description> <character>KROD</character> <dialogue>There it is.</dialogue> <character>RUSH</character> <dialogue>The place we nail Tron.</dialogue> </scene> <scene> <stage_direction>EXT. GAME PORTAL OUTPOST</stage_direction> <scene_description>Obsolete , abandoned computer game entry portal , guarding entry to the old game grid beyond . An electro - tech carnival zone gone dark . No life in sight . Then : Beam of DATA ENERGY sling - shots at ground level , solidifying to become : A slender , jumpy Program called I - BEEM . He wears the X - Net logo and a cracked disk on his back . He 's highly unstable and way unplugged from the system -LRB- like one of those Japanese soldiers still fighting alone in the hills 10 years after WWII was over -RRB- . I - Beem sees something - he PANICS , zapping away in characteristic streaks of airborne data . He reassembles in a hiding place , skittish , observing : Rush , Mega , Krod and D - Rezz arrive . See GIANT PILE of GAME VEHICLE PARTS blocking access to the grid . Rush picks up an old LIGHT WAND . Krod finds one too .</scene_description> <character>RUSH</character> <dialogue>D - rezz. Cut a path.</dialogue> <scene_description>D - Rezz hurls his Romball , ZAPS into VEHICLE PARTS . A dent .</scene_description> <character>KROD</character> <dialogue>That's good. Keep doing it.</dialogue> <scene_description>D - rezz retrieves Romball for another whack - ZAP - DATA ENERGY BEAM snaps in front of them , becoming I - Beem . He grips his rickety disk , challenging them .</scene_description> <character>I-BEEM</character> <dialogue>Violation! Go away! Access denied!</dialogue> <character>RUSH</character> <dialogue>Relax, buddy -</dialogue> <scene_description>Mega scans I - beem . He freaks , drops his disk , grabs for it .</scene_description> <character>KROD</character> <dialogue>Pound him to bits, D - rezz.</dialogue> <scene_description>D - Rezz raises his Romball to pulverize I - Beem . I - Beem freaks , ZAPS away in his data beam as Romball crashes down . I - Beem reforms further way , then beside them - He snatches his pancake disk , the zaps away again , emerging then high on the pile of parts .</scene_description> <character>RUSH</character> <dialogue>He's wireless.</dialogue> <character>KROD</character> <dialogue>Freaky.</dialogue> <character>MEGA</character> <dialogue>Searching data bank. `` I - Beem''. Security Specialist, damaged in service, rated unstable.</dialogue> <character>I-BEEM</character> <parenthetical>( ranting from above . )</parenthetical> <dialogue>`` Unstable''! Like they are n't?! They booted me off X - Net! I'll show them! I'm doing my subroutine out here! Nobody gets through this portal!</dialogue> <scene_description>He kicks parts - avalanche fills the gap D - rezz blasted .</scene_description> <character>KROD</character> <dialogue>D - rezz, take out this blip.</dialogue> <scene_description>D - rezz cocks Romball . I - Beem freaks , sling - shots all over the place via his data beam , tossing his wobbly disk . Rush catches I - Beem 's disk . Holds off D - Rezz .</scene_description> <character>RUSH</character> <dialogue>Hang on. I - Beem. We're from X - Net CPU. You're doing a great job out here. Everybody knows it.</dialogue> <scene_description>Mega throws Rush a look . I - beem comes up , grateful .</scene_description> <character>I-BEEM</character> <dialogue>They do?!</dialogue> <character>RUSH</character> <dialogue>That's right. Now, have you seen a rogue Program around here? He's red. Super fast. Known as `` Tron''.</dialogue> <scene_description>Data zags to Rush , forming into : I - Beem . Wide - eyed .</scene_description> <character>I-BEEM</character> <dialogue>The red one! That illegal function! He blasts through here and JUMPS OVER THE TOP! I tell him access denied - he JUMPS RIGHT OVER like I was never there!</dialogue> <character>RUSH</character> <dialogue>When did he come through last?</dialogue> <character>I-BEEM</character> <dialogue>Right before you got here.</dialogue> <scene_description>Rush trades looks with Mega , Krod and D - Rezz . Trail is hot .</scene_description> <character>RUSH</character> <dialogue>I - beem, we've got a plan to shut down that red violator. You're going to help us.</dialogue> <character>I-BEEM</character> <dialogue>Let me at him!</dialogue> <character>RUSH</character> <dialogue>First, you've got to let us onto the game grid.</dialogue> <scene_description>I - Beem stiffens , reflexively vigilant . He scans the four of them again , finally softening . He zaps to a wall near his giant barrier , then proudly pushes aside a thin panel . Beyond a corridor of game gear , view expanses to reveal :</scene_description> </scene> <scene> <stage_direction>EXT. OLD GAME GRID</stage_direction> <scene_description>Rush steps across the vast vector - graphic grid surface . Eerie . Quiet . Pure . Mega , I - Beem , Krod and D - rezz follow .</scene_description> <character>MEGA</character> <dialogue>This region is obsolete.</dialogue> <scene_description>Rush kneels , touches grid lines . Circuits energize , as his energy surges in all directions . He draws in data .</scene_description> <character>RUSH</character> <dialogue>There's bits of Tron's code all over. Krod, give D - Rezz and I - beem the escape coordinate Tron used on me.</dialogue> <scene_description>Krod 's eyes flash data to I - Beem and D - rezz . `` Tr165444 .018 '' .</scene_description> <character>I-BEEM</character> <dialogue>Coordinate captured.</dialogue> <scene_description>D - Rezz nods , palming his Romball .</scene_description> <character>RUSH</character> <dialogue>That's where Tron will bail out. We'll make sure he needs to. Go set up the trap.</dialogue> <parenthetical>( to D - rezz . )</parenthetical> <dialogue>You only get one shot at this, big guy. Stop him but do n't destroy him, right? He's got data I need.</dialogue> <scene_description>D - rezz grips Romball , grunts affirmation . He and I - beem head for the perimeter of the grid .</scene_description> <character>MEGA</character> <dialogue>If this is Tron's territory, he'll know we're here. He'll hide.</dialogue> <character>RUSH</character> <dialogue>He ca n't resist a grudge match. He'll take risks trying to beat me. That's how we trip him up.</dialogue> <parenthetical>( to Krod . )</parenthetical> <dialogue>Whip it out.</dialogue> <scene_description>Rush unsheathes his LIGHT WAND . Krod pulls out his own LIGHT WAND . They both look at Mega . She 's got no light wand .</scene_description> <character>KROD</character> <dialogue>You did n't bring one?</dialogue> <character>MEGA</character> <dialogue>I do n't have one.</dialogue> <character>KROD</character> <dialogue>Hey, not a problem -</dialogue> <scene_description>Krod holds his light wand forward , activates it . LIGHT CYCLE up - rezzes under him . He revs it , ready to go .</scene_description> <character>KROD</character> <parenthetical>( to Mega . )</parenthetical> <dialogue>- Hop on!</dialogue> <character>RUSH</character> <dialogue>Hang on, Krod.</dialogue> <scene_description>Rush activates his light wand . LIGHT CYCLE up - rezzes under him , with a special two tier seat for a second rider .</scene_description> <character>RUSH</character> <dialogue>I upgraded my unit.</dialogue> <character>KROD</character> <dialogue>You are awesome, man. I hate you.</dialogue> <scene_description>Mega considers . There 's more on her mind she 's not talking about . She smiles at Rush , climbs on back of his light cycle .</scene_description> <character>MEGA</character> <dialogue>Mmmm. Hack me.</dialogue> <scene_description>A nod between Rush and Rush - they TAKE OFF . LIGHT CYCLES shoot across grid surface . Mega screams and clutches Rush , throwing her body against his , clamping her arms around him . Krod and Rush turn 90 degrees , rallying , passing each other , getting warmed up . It 's familiar territory . Light cycles race toward each other on the same line . Mega holds Rush tight , eyes filling with terror .</scene_description> <character>MEGA</character> <dialogue>Resource conflict! Fatal crash imminent!</dialogue> <scene_description>But Krod and Rush slow their light cycles with expert skill , rolling safely to a halt , nose - to - nose . Directly over : A BIG RED DOT . The only dot on the grid . Grid Center . Mega , Rush and Krod raise up to scan the horizon . It 's all clear flat grid to the horizon .</scene_description> <character>RUSH</character> <dialogue>Any sign of him?</dialogue> <character>KROD</character> <dialogue>Everything looks the same to me. Everything looks the same. The same. The same.</dialogue> <character>RUSH</character> <dialogue>Krod, snap out of it.</dialogue> <character>MEGA</character> <dialogue>Tron will never expose himself.</dialogue> <scene_description>They watch , wait , pivot .</scene_description> <character>KROD</character> <dialogue>The same.</dialogue> </scene> <scene> <stage_direction>EXT. EDGE OF GAME GRID</stage_direction> <scene_description>D - rezz and I - beem search grid edge , along the rocky boundary . I - beem zaps himself further along , finding : Glowing code numbers mark the end of each grid line . D - rezz grunts , points . One lights up `` Tr165444 .018 '' They follow the line off the grid , where it leads into a narrow rocky pass .</scene_description> <character>I-BEEM</character> <dialogue>Yes, I see. Perfect trap. This is going to be good. Climb, climb!</dialogue> </scene> <scene> <stage_direction>EXT. GAME GRID / CENTER SPOT</stage_direction> <scene_description>Rush , Mega and Krod wait on their light cycles .</scene_description> <character>MEGA</character> <dialogue>Its futile.</dialogue> <character>RUSH</character> <dialogue>Look.</dialogue> <scene_description>SPECK moves on the horizon , turns a corner , stays on the horizon . Another corner . It 's a light cycle , making a huge box around them .</scene_description> <character>RUSH</character> <dialogue>Remember the plan, Krod. Do n't bail out until the last millisecond.</dialogue> <scene_description>Lightcycle turns toward them , coming fast .</scene_description> <character>RUSH</character> <dialogue>Hang on tight, Mega.</dialogue> <scene_description>Mega hugs Rush .</scene_description> <character>KROD</character> <dialogue>Mmmm.</dialogue> <scene_description>They SPEED AWAY . Approaching cycle comes at 90 degree angle , turns hard , closes the distance . It 's TRON . Heartless eyes , ruthless moves . Rush turns quick , baiting Tron . Tron turns to follow , coming alongside . Krod runs interference , cuts sharp in front of Tron . It 's a high - stakes speed - chase , narrowly missing side walls and rock outcroppings .</scene_description> </scene> <scene> <stage_direction>EXT. EDGE OF GAME GRID</stage_direction> <scene_description>I - beem zaps onto the grid , tracks horizon dots .</scene_description> <character>I-BEEM</character> <dialogue>Here they come!</dialogue> <scene_description>He zaps back to the edge , signals upward . D - rezz straddles the rock passage above , ready to hurl his Romball .</scene_description> </scene> <scene> <stage_direction>EXT. GAME GRID</stage_direction> <scene_description>Tron takes the lead in a three - way heat . Revs to breath - taking speed . Rush and Krod gain , coming up on either side of Tron . Tron looks to each opponent . His eyes lock on Mega . Mega stares into Tron 's cold eyes , almost like she 's trying to signal him . But Tron returns his gaze forward , as the ROCKY EDGE looms closer .</scene_description> <character>RUSH</character> <dialogue>Wuss! You call that speed!?</dialogue> <scene_description>Rush kicks in a hyper - burner , surging forward . Krod does the same . Tron responds with more speed . Rush and Krod have Tron sandwiched , heading for the rock edge . Tron pulls ahead , aiming for the hidden crevasse . Mega worries . Clings to Rush .</scene_description> </scene> <scene> <stage_direction>EXT. EDGE OF GAME GRID</stage_direction> <scene_description>D - rezz , astride the crevasse , sees light cycles speeding his way . He 's got the Rom - ball poised to intercept Tron . I - beem de - rezzes into the grid , clearing the path . Rush and Krod taunt Tron into the trap . But , out of nowhere , Mega reaches to Rush 's handlebars and turns 90 degrees too soon .</scene_description> <character>KROD</character> <dialogue>Hey, what are you -?</dialogue> <scene_description>Tron sees the bail - out , knows something 's wrong . He looks ahead , sees D - rezz astride his crevasse escape root , rom - ball poised in the air . Tron bails out 90 degrees , cutting behind Krod . Krod turns twice , ending up in Tron 's lane . To the side , Rush 's light cycle screams toward solid rock , vibrating out of control . Rush grabs Mega and JUMPS OFF . They slide on the grid , holding each other . Krod 's lightcycle heads for the rock escape passage .</scene_description> <character>KROD</character> <dialogue>No! It's ME!</dialogue> <scene_description>Rush and Mega slide to a halt , in time to see : Their light cycle SMASHES rocks , explodes in a million bits .</scene_description> <character>RUSH</character> <dialogue>WHY DID YOU DO THAT?!</dialogue> <character>MEGA</character> <dialogue>I - I GOT SCARED!</dialogue> <scene_description>Krod shoots gap . D - rezz is ready to smash him with his Romball .</scene_description> <character>I-BEEM</character> <dialogue>No! It's Krod! Tron is OVER THERE!</dialogue> <scene_description>D - rezz makes mental switch , hurls Romball . Romball bounces down solid rock , onto game grid , rolls with ferocious speed , DIAGONALLY across the grid . Romball curves to track Tron - like a great bowling shot . Romball clips rear wheel of Tron 's lightcycle . Lightcycle vaporizes . Tron skids and tumbles . I - beem zaps beside Rush and Mega . Krod and D - rezz join them .</scene_description> <character>KROD</character> <dialogue>There he goes!</dialogue> <scene_description>Tron climbs over rocks , escaping through a TUNNEL .</scene_description> <character>RUSH</character> <dialogue>We've got him now. Let's go!</dialogue> <scene_description>WHOOSH ! Electro - fire Romball careens across grid , bearing down on them . Group DIVES CLEAR . D - rezz swings in a foot , stopping the Romball - inches short of mowing down Krod .</scene_description> <character>KROD</character> <dialogue>I could have done that.</dialogue> <scene_description>He strobes , freezes , hits the deck .</scene_description> </scene> <scene> <stage_direction>INT. ANCIENT COMPUTER SYSTEM TUNNEL</stage_direction> <scene_description>Stalking their prey : Rush , Krod , I - beem and D - rezz .</scene_description> <character>MEGA</character> <dialogue>We ca n't go any further.</dialogue> <scene_description>Ahead , vast old circuitry has been `` eaten through '' by dull throbbing greenish MEMORY LEAKAGE . Paths of unaffected material are narrow and maze - like .</scene_description> <character>RUSH</character> <dialogue>What is it?</dialogue> <character>KROD</character> <dialogue>Do n't ask, dude.</dialogue> <character>MEGA</character> <dialogue>It's a memory leak, once it starts, it infects everything.</dialogue> <character>I-BEEM</character> <dialogue>Touch it and you crash forever. We can not risk it.</dialogue> <character>MEGA</character> <dialogue>I agree.</dialogue> <scene_description>D - rezz grunts .</scene_description> <character>KROD</character> <dialogue>Then it's settled.</dialogue> <scene_description>Krod turns to head home .</scene_description> <character>RUSH</character> <dialogue>Stop. Listen to me. You might not believe there's a world outside of this one, but let's just say a guy named Sinclair is depending on me. If Tron got through here, then I can too. Who's with me?</dialogue> <scene_description>D - rezz steps forward , then I - Beem . Shamed , Krod joins them . Finally , Mega makes it unanimous .</scene_description> <character>RUSH</character> <dialogue>Good. I - beem, take D - rezz, see what's up ahead. We'll guard this portal until you come back.</dialogue> <scene_description>I - beem and D - rezz buddy up and depart on a recon mission . Krod pulls off his disk , nervously practices boomerang throws .</scene_description> <character>RUSH</character> <dialogue>Better show me how to use mine.</dialogue> <character>KROD</character> <dialogue>No problem. It's all in the velocity - vector ratio.</dialogue> <scene_description>Rush pulls the disk off his own back . He throws - disk flies wild - he runs to retrieve it . Mega retreats to a side area , partially eroded by memory leakage . She finds the remnants of COM CIRCUITRY and stares data beams into its transducer .</scene_description> </scene> <scene> <stage_direction>EXT. X-NET NEXUS UNDER CONSTRUCTION - PLEXOR'S VEHICLE</stage_direction> <scene_description>Plexor 's vehicle circuitry forms image of Mega .</scene_description> <character>PLEXOR</character> <dialogue>Report.</dialogue> <character>MEGA</character> <dialogue>We interfaced with Tron. He escaped into a dark zone.</dialogue> </scene> <scene> <stage_direction>INT. ANCIENT COMPUTER SYSTEM TUNNEL</stage_direction> <scene_description>Around a corner , Rush comes to retrieve his disk . He pauses to eavesdrop on Mega 's communication :</scene_description> <character>PLEXOR</character> <dialogue>The Random One has proven effective?</dialogue> <character>MEGA</character> <dialogue>He is all glitches and bad data. He virtually got us de - rezzed. I recommend we terminate this mission.</dialogue> <scene_description>Rush listens , hurt and angry .</scene_description> <character>PLEXOR</character> <dialogue>No. Proceed. If you keep Tron on the run, he can not attack X - Net.</dialogue> <character>MEGA</character> <dialogue>It's a poor allocation of resources.</dialogue> <character>PLEXOR</character> <dialogue>You have your instructions.</dialogue> <scene_description>Circuits go dark . Mega turns , running smack into :</scene_description> <character>RUSH</character> <dialogue>`` All glitches and bad data.'' What's up with you? Ever since I got here, you've been working against me.</dialogue> <character>MEGA</character> <dialogue>I act as Plexor programs me.</dialogue> <character>RUSH</character> <dialogue>Blah blah blah. You've got you own processor. I can feel it working overtime. Did Meg program you to mess with me?</dialogue> <character>MEGA</character> <dialogue>I have no match for `` Meg'' -</dialogue> <character>RUSH</character> <dialogue>First, you do n't want to come with me, then you're all over me on the light cycle - so you can dump us over and blow the plan. We would have nailed Tron by now if it was n't for you. What's your malfunction?</dialogue> <character>MEGA</character> <dialogue>Do n't troubleshoot me!</dialogue> <scene_description>Angry silence . Eyes locked .</scene_description> <character>MEGA</character> <dialogue>The most effective alternative is to return to the main CPU and anticipate Tron's next attack.</dialogue> <scene_description>She moves to exit past him . He snags her arm , pulls her back and KISSES HER . Energy ZAPS between them , racing through their body circuits . Rush downloads the spiky sensation . Mega remains cold and bewildered . Outside , Krod tosses his disk , moving to track as it arcs through the air . He notices Rush and Mega kissing . Digs it vicariously .</scene_description> <character>KROD</character> <dialogue>You ram hog!</dialogue> <scene_description>His disk clunks him on the head . Mega breaks the kiss , backing off , conflicted . Arcs of energy stretch between them , then snap loose .</scene_description> <character>RUSH</character> <dialogue>It's what I'm programmed to do.</dialogue> <scene_description>Mega tries to ignore the kiss . She exits past the guys .</scene_description> <character>KROD</character> <dialogue>What were you doing with her?</dialogue> <character>RUSH</character> <dialogue>Nothing. She had a glitch. I was just pinging her EPROM.</dialogue> <character>KROD</character> <dialogue>She let you?</dialogue> <character>I-BEEM</character> <parenthetical>( O.S . )</parenthetical> <dialogue>There's a way through!</dialogue> <scene_description>Rush , Krod and Mega hurry to see : I - beem zap - zap - zaps toward them , scared to death -</scene_description> <character>I-BEEM</character> <dialogue>Tron attacked us! D - rezz has him cornered!</dialogue> <scene_description>Rush stows his disk on his back -</scene_description> <character>RUSH</character> <dialogue>We've got him now.</dialogue> </scene> <scene> <stage_direction>INT. ANCIENT COMPUTER SYSTEM LABYRINTH</stage_direction> <scene_description>Eaten away by memory leaks , like swiss cheese . Rush , Mega , Krod follow I - beem along narrow paths of unaffected material . Krod trips , his LIGHT WAND tumbles and skates into memory leakage . It FRIES and de - rezzes , sucked into the molten silicon swamp .</scene_description> <character>D-REZZ</character> <dialogue>Akakakaka - Agggggggg -</dialogue> <scene_description>Sounds like a modem , but it 's a BATTLE - CRY . Rush comes to a point above - and cut off from - the fight . D - rezz advances along a narrow gantry , spinning his Romball , ready to hurl at : TRON . Tron flips over memory leakage , gains position and throws his disk - Disk HITS D - rezz . Plasma - ball GASH , but D - rezz is tough . He takes the damage , cocks his Romball -</scene_description> <character>RUSH</character> <dialogue>Guys! Go around - behind Tron!</dialogue> <scene_description>Rush darts down to help D - rezz . Mega , Rush hurry ahead . I - beem zaps , zags and reforms , scared out of his mind . D - rezz hurls his Romball - Romball pings off two walls , comes at Tron from behind . Tron spins - milliseconds to spare - and flips clear . Retrieves his disk on the way down . Romball slams off a wall , heads back to D - rezz , but Tron 's disk HITS IT , knocking it off course . D - rezz dives for ROMBALL - but it falls into the memory leak and FRIES TO BITS . Tron plants for a clear shot at D - rezz . Rush JUMPS down from above , right in front of D - rezz .</scene_description> <character>RUSH</character> <dialogue>Ouch!</dialogue> <scene_description>His ankle . He straightens , standing in front of D - rezz . Lays eyes on Tron .</scene_description> <character>RUSH</character> <dialogue>Hey! Pick on somebody your own size!</dialogue> <scene_description>D - rezz is twice as big as either of them . Tron 's eyes are cold , lifeless , calculating . Scanning his new opponent without success .</scene_description> <character>RUSH</character> <dialogue>You've got no data on me.</dialogue> <scene_description>Rush pulls his disk off his back , poised for a duel . Tron moves with calculation , grips his hyper - etched disk . Circling his prey . Throws again - BRRANGG - Rush DUCKS - Tron 's disk slams D - rezz . D - rezz tries to catch the disk , but he 's just too slow . Rush throws his disk . Beginner 's luck - it banks off a wall and nearly smacks Tron . Rush snags it on the way back , before it tumbles into memory leakage . Tron jumps up two levels . Retrieves his disk .</scene_description> <character>RUSH</character> <dialogue>D - rezz, pull me up!</dialogue> <scene_description>D - rezz hoists Rush up . Fingers grab upper deck . Tron jockeys for position . Throws disk - Disk strikes D - rezz in the ribs . Blast damage . D - rezz loses footing . Rush grabs upper level . D - rezz slips toward memory leakage . Rush grabs D - rezz 's hand - he weighs a ton . Mega , Krod and I - beem ca n't get here to help -</scene_description> <character>RUSH</character> <dialogue>Hang on, man! HANG ON!</dialogue> <scene_description>But D - rezz 's big hand slips out of Rush 's . D - rezz PLUMMETS into memory leakage , zapping away in a blaze of glory -</scene_description> <character>RUSH</character> <dialogue>NOOOO!</dialogue> <scene_description>He comes to his feet , facing Tron . Determined .</scene_description> <character>RUSH</character> <dialogue>I know who you are. Encom security program Tr856 - TRON!</dialogue> <scene_description>Tron pauses . Processes .</scene_description> <character>RUSH</character> <dialogue>Who is your User?</dialogue> <scene_description>Tron glitches at the question .</scene_description> <character>RUSH</character> <dialogue>Who programmed you? I know your encryption code. Tell me your User or I shut you down.</dialogue> <scene_description>Tron throws his disk . Rush dodges . He sends waves of data energy through floor circuits , reaching into Tron 's body .</scene_description> <character>RUSH</character> <dialogue>I can shut you down with a nine digit code. WHO IS YOUR USER? 392 -</dialogue> <scene_description>Tron 's body animates painfully , as the first three code digits click into place . Tron FLIPS away , breaking contact with floor . Data transfer stops . Tron steals away through a tunnel . Rush pursues . Krod , Mega and I - beem clamber for a way to follow .</scene_description> </scene> <scene> <stage_direction>INT. OBSOLETE COMPUTER GAME ARENA</stage_direction> <scene_description>Circular , riddled with memory leaks . Rush hurries to the center . No sign of Tron .</scene_description> <character>RUSH</character> <dialogue>Tell me, Tron! Who programmed you? Here's your encryption code! 3 - 6 - 2 - 6 - 6 - 8 -</dialogue> <scene_description>Rush sends data coursing into floor circuits . It radiates up walls , across bridges . And finds TRON in hiding . Data races into Tron 's body . Six code numbers engage ; he glitches . He LEAPS to breaks the contact , flinging his disk - Tron 's disk SLAMS Rush . Rush tumbles off a ledge , dangling over a memory leak . Tron pounces in . Snags his disk . Tron steps on Rush 's hand . Pain energy jolts Rush 's circuits .</scene_description> <character>RUSH</character> <dialogue>ARRGGHHH! 3 - 6 - 2 - 6 - 6 - 8 - 7 -</dialogue> <scene_description>Rush slips , grabs a slim protrusion . Feet zapping an inch from the memory leakage . Tron throws his disk for a final time . It arcs wide , coming around directly at Rush . Tron leans down , gazing into Rush 's eyes .</scene_description> <character>RUSH</character> <dialogue>362668766!</dialogue> <scene_description>Burst of SEARING DATA surges off Rush 's hands , radiating up circuitry , loading into Tron 's body . All nine code numbers LOCK in . Tron 's body seizes . He fights the data intrusion , but his circuits sequentially SHUT DOWN . Tron 's airborne disk wobbles and darkens . Tron tumbles off the edge , plummets past Rush . Disk misses Rush , skates into darkness . Mega , Krod and I - beem hurry in and see : Rush , climbing to safety . And below : Tron 's body slips into the memory leakage , zapping away to bits .</scene_description> <character>KROD</character> <dialogue>You got him!</dialogue> <scene_description>But Mega looks dreadfully worried . She slips away . Krod and I - beem climb down and help Rush to his feet .</scene_description> <character>KROD</character> <dialogue>Game over, dude.</dialogue> <character>I-BEEM</character> <dialogue>You crashed him!</dialogue> <scene_description>Rush gazes off the precipice . Remains of Tron is consumed by the swamp of memory leakage .</scene_description> <character>RUSH</character> <dialogue>It's more than I wanted. Now I'll never know who his User is.</dialogue> <character>KROD</character> <dialogue>We're heroes!</dialogue> <character>I-BEEM</character> <dialogue>I will be upgraded!</dialogue> <character>KROD</character> <dialogue>They'll give us a slot in the main server!</dialogue> <character>I-BEEM</character> <dialogue>I will be upgraded! I will be -</dialogue> <scene_description>Krod slams him , makes him stop .</scene_description> <character>KROD</character> <dialogue>Rush, now you can finish pinging Mega's EPROM!</dialogue> <scene_description>Rush looks around .</scene_description> <character>RUSH</character> <dialogue>Where is Mega?</dialogue> <character>I-BEEM</character> <dialogue>She was just here.</dialogue> <character>KROD</character> <dialogue>Right behind me.</dialogue> <character>RUSH</character> <dialogue>MEGA?</dialogue> <scene_description>Rush searches . He finds Tron 's disk , picks it up . It 's dark and lifeless , circuits gray .</scene_description> <character>RUSH</character> <dialogue>Mega.</dialogue> <scene_description>SOUNDS echo around them . Coming fast . Electro - metallic footsteps . Rush , Krod and I - beem bunch together and pivot . Black - clad FINITY FIGHTERS appear , blocking all exits . Disks ready for attack . Rush double - takes on faces among them : QUANTZ , tall silent , hardcore -LRB- looks like real - world Phlegman -RRB- And BOOLE , rotund , seen it all -LRB- like real - world Kelter -RRB- .</scene_description> <character>KROD</character> <dialogue>I recognize. Trouble.</dialogue> <character>I-BEEM</character> <dialogue>They're scanning us.</dialogue> <character>RUSH</character> <dialogue>I - beem, go for help. Zap your butt out of here.</dialogue> <scene_description>But I - beem freezes , terrified . Fighters tighten perimeter . A hush . Footsteps . Clunk - zap . Clunk - zap .</scene_description> <character>DARK FIGURE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>It had to happen. But why now of all times?</dialogue> <scene_description>Rush and Krod turn . Fighters defer to : A DARK FIGURE , limping forward , one leg badly deformed by data corruption .</scene_description> <character>DARK FIGURE</character> <dialogue>A User shows up.</dialogue> <scene_description>Rush is surprised , then pleased . Somebody finally gets it .</scene_description> <character>RUSH</character> <dialogue>Yeah, I'm a User. A superior being. The first to enter this realm. And you are -?</dialogue> <scene_description>Figure 's circuitry lights . Finally , we see the face . It is FLYNN .</scene_description> <character>FLYNN</character> <dialogue>The first.</dialogue> <character>RUSH</character> <dialogue>Flynn. How can you be here?</dialogue> <character>KROD</character> <dialogue>You know this dude?</dialogue> <character>RUSH</character> <dialogue>Yeah, he's a lunatic!</dialogue> <scene_description>I - beem panics , zaps away in an energy beam . He reforms further along for a `` breath '' , then zaps further away . Three FINITY FIGHTERS chase him . Rush is amazed to find him self in the presence of Encom 's former leader . Flynn comes closer , recognizing Rush .</scene_description> <character>FLYNN</character> <dialogue>Rush Nortebi. I remember hiring you.</dialogue> <scene_description>They are equally dumbfounded .</scene_description> <character>KROD</character> <dialogue>Somebody tipped these guys off about us.</dialogue> <character>MEGA</character> <dialogue>Not soon enough.</dialogue> <scene_description>Fighters step aside , Mega enters , furious at Rush .</scene_description> <character>MEGA</character> <dialogue>You were n't supposed to beat Tron. I thought for sure he'd finish you.</dialogue> <character>RUSH</character> <dialogue>Thanks.</dialogue> <character>MEGA</character> <dialogue>You destroyed our last hope!</dialogue> <character>KROD</character> <dialogue>I detect a pattern in her behavior.</dialogue> <character>RUSH</character> <dialogue>She's a spy.</dialogue> <scene_description>Mega and Rush ooze mutual contempt . Rush turns on Flynn .</scene_description> <character>RUSH</character> <dialogue>No wonder I could n't figure it out. I assumed Tron User was on the outside! If I'd known this, I would blown past him and come straight for you.</dialogue> <scene_description>Flynn yanks Tron 's disk from Rush , peers over the precipice . Below , the last of Tron is consumed by memory leakage . Flynn ponders Tron 's lifeless disk . He falters on his bad leg . Mega throws an arm around to help him stand . Melancholy energy courses between them .</scene_description> <character>MEGA</character> <dialogue>I failed our cause.</dialogue> <character>FLYNN</character> <dialogue>You did everything you could.</dialogue> <scene_description>They know each other well . Rush registers jealousy , but larger concerns prevail :</scene_description> <character>RUSH</character> <dialogue>Flynn never died.</dialogue> <parenthetical>( dawning . )</parenthetical> <dialogue>Because your Quantum Digitizer worked. That's how you got here. I know - that's how I got here too.</dialogue> <scene_description>Flynn studies Rush , anger rising .</scene_description> <character>FLYNN</character> <dialogue>The day after I hired you, you start sucking up to Sinclair. You thought I did n't know. Bet he offered your a partnership for this, right? You have no idea the damage you've done.</dialogue> <character>RUSH</character> <dialogue>I'm only getting started. Man, you were the company joke. Now I see why. You melted down your lab to take this little joyride. You got stuck here so all you can do is wreck other people's hard work.</dialogue> <character>FLYNN</character> <dialogue>Open your eyes, geek. My lab was rigged. My `` death'' was no accident. I pushed the button just in time to escape. Almost in time.</dialogue> <scene_description>He indicates his deformed leg . Mega , Krod and the others listen with awed bewilderment . These two guys speak of a world unknown to them .</scene_description> <character>RUSH</character> <dialogue>You're paranoid. Who would want you dead?</dialogue> <character>FLYNN</character> <dialogue>The same guy I programmed Tron to shut down. Same one you've been sucking up to. Sinclair. And his cyber - henchman, Plexor.</dialogue> <scene_description>Malicious grumbles from Fighters .</scene_description> <character>RUSH</character> <dialogue>Too many of your brain cells have gotten zapped in here, old man.</dialogue> <character>FLYNN</character> <dialogue>Rush, you lamer! You've been working for the bad guy.</dialogue> <scene_description>Three Fighters return from the I - beem pursuit . Empty - handed .</scene_description> <character>FIGHTER ONE</character> <dialogue>He got away.</dialogue> <scene_description>Flynn scowls at Rush . Sin number two . Flynn slips Tron 's dead disk in a special case .</scene_description> <character>FLYNN</character> <dialogue>Let's move. X - Net goons will soon be all over this place.</dialogue> </scene> <scene> <stage_direction>EXT. GAME GRID</stage_direction> <scene_description>Energy zaps across grid , forming into I - beem . He 's on the run , de - rezzing , zapping , reforming , bolting for :</scene_description> </scene> <scene> <stage_direction>EXT. ANCIENT COMPUTER SYSTEM - DEMOLISHED I/O PORTS</stage_direction> <scene_description>I - beem de - rezzes , reforms , zaps himself toward the nearest X - Net OPTIK HIGHWAY .</scene_description> </scene> <scene> <stage_direction>EXT. ANCIENT COMPUTER SYSTEM</stage_direction> <scene_description>Fighters thread secret buffers and gates . Flynn carries Tron 's disk , helped along by Mega . Rush and Krod are held prisoner , prodded by Quantz and Boole . They cross a DATA BRIDGE , drawn to the sounds of SHREIKING PANIC .</scene_description> </scene> <scene> <stage_direction>EXT. OLD DATA METROPLEX</stage_direction> <scene_description>Vast , retro , multi - level . Diverse and beautiful energy flows . Circular architecture . Flynn , Mega , Rush , Krod and Fighters come to a stunning view : GLEAMING NEW X - NET DATA OPTIK HIGHWAY is being constructed right through the heart of the city .</scene_description> <character>FLYNN</character> <parenthetical>( to Rush . )</parenthetical> <dialogue>I hired Sinclair as Encom's business guy, so I could do the dreaming. Right off, he wanted to `` capture the market'' on data transmission. Had this plan called `` X - Net'', based on flawless efficiency, hyperlock security, encryption protocol uniformity. Blah blah. I was the boss, I told him to forget it. I knew it could go bad. But the guy had trouble taking no for an answer. He arranged for my lab to melt down. Sinclair took over my company and put X - Net on a fast - track. And here's where it's brought us.</dialogue> <scene_description>City descends into panic . X - Takk Troops evict Programs , seize prisoners and mercilessly hunt down resistors . X - Net Construction Crews build the Optik Highway with relentless precision , blasting aside the old city 's splendid structures .</scene_description> <character>RUSH</character> <dialogue>What are they doing?</dialogue> <character>FLYNN</character> <dialogue>Beating the competition.</dialogue> <scene_description>X - Takk Troops storm closer - by the hundreds .</scene_description> <character>MEGA</character> <dialogue>They've got us outnumbered.</dialogue> <character>FLYNN</character> <dialogue>We've got to choose our battles wisely. This way!</dialogue> <scene_description>He leads them down a secret portal , into :</scene_description> </scene> <scene> <stage_direction>INT. DOWNWARD PASSAGE - SECRET X-NET PROCESSOR</stage_direction> <scene_description>Group moves along a catwalk , coming to a view of : X - Takks herd Captured Resistor Programs , lining them up for execution .</scene_description> <character>KROD</character> <dialogue>Rush, why is X - Net doing this?!</dialogue> <scene_description>A Kid Program runs to this Captured Father Program .</scene_description> <character>KID PROGRAM</character> <dialogue>No! Let my daddy go!</dialogue> <scene_description>X - Takks haul Kid Program clear , then BLAST the Captives with de - rezz weapons . Captives glitch , thrash and expire .</scene_description> <character>RUSH</character> <dialogue>How long has this been going on?</dialogue> <character>FLYNN</character> <dialogue>For years.</dialogue> </scene> <scene> <stage_direction>EXT. REAL WORLD CITY - DUSK</stage_direction> <scene_description>Like any other day . Except a high - rise building 's lights flicker off . A subway escalator stops . A traffic light turns red on both sides . Cars honk , tempers flare . A TV store : All TVs in the window flip to one channel , which happens to be running a commercial for X - Net - theme : Total Data Security '' .</scene_description> </scene> <scene> <stage_direction>INT. CYBERSPACE - SECRET X-NET PROCESSOR</stage_direction> <scene_description>X - Takk Troops line up more Captive Programs .</scene_description> <character>RUSH</character> <dialogue>Sinclair never told us about this. X - Net is creating the very terror that makes people want the security of X - net!</dialogue> <character>FLYNN</character> <dialogue>No more glitches, freeze - ups or shut - downs. Once X - Net is open, Plexor will destroy all other systems. All data flow will be controlled by his Master User -</dialogue> <character>RUSH</character> <dialogue>Sinclair.</dialogue> <character>FLYNN</character> <dialogue>All data flow - Sinclair's to control and abuse. Bank accounts, medical histories, your Blockbuster account, your buying patterns, your e - mail. And to think, Rush - all this time, you've been working 24/7, trying to impress a him.</dialogue> <scene_description>X - Takk troops blast Captive Programs .</scene_description> </scene> <scene> <stage_direction>EXT. REAL WORLD - BANK - DUSK</stage_direction> <scene_description>ATM machine goes berserk .</scene_description> </scene> <scene> <stage_direction>EXT. REAL WORLD - STREET - DUSK</stage_direction> <scene_description>Block full of Pedestrians suddenly - and simultaneously - ca n't get their cell phones to work .</scene_description> </scene> <scene> <stage_direction>INT. /EXT. REAL WORLD - SUV MOVING - DUSK</stage_direction> <scene_description>GPS navigation system map flips around .</scene_description> <character>GPS VOICE</character> <dialogue>Turn left now. Turn right now. Left. Right. NOW!</dialogue> <scene_description>SUV Driver panics , pulls a hard turn and SMASHES a BUS . CYBERSPACE - SECRET X - NET PROCESSOR</scene_description> <character>RUSH</character> <dialogue>Sinclair betrayed me.</dialogue> <character>FLYNN</character> <dialogue>Finally you get it.</dialogue> <character>MEGA</character> <dialogue>Tron was our late hope.</dialogue> <character>RUSH</character> <dialogue>We've got to stop this!</dialogue> <scene_description>X - Takks hear Rush 's shouts . An overwhelming force . Flynn and Mega shove Rush into a tunnel , closing the portal -</scene_description> </scene> <scene> <stage_direction>INT. SECRET PASSAGE - CONTINUOUS</stage_direction> <scene_description>Flynn hastens their journey .</scene_description> <character>MEGA</character> <dialogue>Rush was trying to expose us!</dialogue> <character>FLYNN</character> <dialogue>They did n't see us. Keep moving!</dialogue> <scene_description>Mega , Boole and Quantz move along , shoving Krod and Rush .</scene_description> <character>RUSH</character> <dialogue>We've got to tell people on the outside -</dialogue> <character>FLYNN</character> <dialogue>Plexor shut down all the I/O ports. Only HE communicates with the outside. Sinclair holds all the cards.</dialogue> <scene_description>Flynn turns on Rush - one of Sinclair 's cards .</scene_description> <character>FLYNN</character> <dialogue>How did you get here?!</dialogue> <character>RUSH</character> <dialogue>Megan Randall sent me.</dialogue> <parenthetical>( points out Mega . )</parenthetical> <dialogue>Her User. She fixed your lab and sent me here to take out Tron.</dialogue> <character>FLYNN</character> <dialogue>Megan Randall? I remember her. Smart, wise beyond her years. I ca n't believe she'd fall for Sinclair's lies.</dialogue> <scene_description>He glances at Mega , then shoves Rush along .</scene_description> </scene> <scene> <stage_direction>INT. FIGHTER HIDE-OUT</stage_direction> <scene_description>Flynn , Mega , Fighters bring Rush and Krod into the clandestine Fighter base . Like a wartime casualty center , with corrupted Fighter Programs lining corridors .</scene_description> <character>RUSH</character> <dialogue>What happened to them?</dialogue> <character>MEGA</character> <dialogue>Try to attack Plexor head - on, this is what happens. Because of you, there will be millions more.</dialogue> <scene_description>They arrive at a laser - barred JAIL BLOCK , where a dozen BIG X - Takk Troops are held prisoner .</scene_description> <character>FLYNN</character> <dialogue>Lock up these two. We'll hold them for ransom. Or use them for target practice.</dialogue> <scene_description>Flynn and Mega turn to go . Boole and Quantz use PROD LANCES to herd Rush and Krod .</scene_description> <character>RUSH</character> <dialogue>Flynn. You think I'm Sinclair's flunky, but I'm not.</dialogue> <scene_description>Flynn pauses . Rush speaks low , so X - Net Captives ca n't hear .</scene_description> <character>RUSH</character> <dialogue>I'm sorry about Tron.</dialogue> <character>KROD</character> <dialogue>Yeah, we're - Sorry?</dialogue> <character>RUSH</character> <dialogue>We were just doing a job, we had no way of knowing the truth.</dialogue> <character>KROD</character> <dialogue>No way at all.</dialogue> <character>RUSH</character> <dialogue>Flynn, I was wrong about you. You've been doing the right thing in here. Plexor has to be shut down. Sinclair has to be exposed.</dialogue> <character>KROD</character> <dialogue>Like he said.</dialogue> <character>RUSH</character> <dialogue>Krod and I are ready to help.</dialogue> <character>KROD</character> <dialogue>We are?</dialogue> <scene_description>Flynn puzzles over Rush .</scene_description> <character>FLYNN</character> <dialogue>Mega, what do you read in him?</dialogue> <scene_description>Mega circles Rush , scanning his circuits .</scene_description> <character>MEGA</character> <dialogue>Independent operating instructions. He will act as necessary to increase probability of his own survival.</dialogue> <character>RUSH</character> <dialogue>You do n't know me.</dialogue> <character>MEGA</character> <dialogue>He can not to be trusted.</dialogue> <character>RUSH</character> <dialogue>Trust?! You're the one who's been lying to me the whole time!</dialogue> <scene_description>Rush points a finger at Mega - BOLT of ATTRACTION ENERGY shoots off his finger , ZAPS her on the nose . Mega 's circuits OVERLOAD , she flies back - Rush , startled , looks at his finger . Fighters muscle Rush and Krod away . Flynn holds Mega , anger re - ignited .</scene_description> <character>FLYNN</character> <dialogue>Mega's been risking her existence for our cause, lamer. That's more than you'll ever do.</dialogue> <parenthetical>( to Fighters . )</parenthetical> <dialogue>Lock them away!</dialogue> <scene_description>Fighters toss Rush and Krod in the JAIL BLOCK with the BIG X - TAKK soldiers . Does finger - signs , body circuit language .</scene_description> <character>KROD</character> <dialogue>Yo, s ` up? Eh. X - Net rules, man.</dialogue> <character>RUSH</character> <dialogue>Hey Krod. Shut down.</dialogue> <scene_description>Rush peers out of his cage , watching Mega go . She turns for a final scowl , then exits .</scene_description> </scene> <scene> <stage_direction>EXT. X-NET CENTRAL SERVER - EVENING</stage_direction> <scene_description>X - Takk Troops sound alert . Outside the main portal , energy zaps and splinters above ground circuits , collecting to become : I - beem , reforming , running , stumbling . Some body parts out of sync , catching up .</scene_description> <character>X-TAKK</character> <dialogue>Halt! State encryption code!</dialogue> <character>I-BEEM</character> <dialogue>027591748594303 -</dialogue> <scene_description>Breathless , he loses count . Zaps beside himself . Again :</scene_description> <character>I-BEEM</character> <dialogue>027591748594303071852!</dialogue> <scene_description>Portal opens .</scene_description> </scene> <scene> <stage_direction>INT. PLEXOR'S CPU</stage_direction> <character>PLEXOR</character> <dialogue>You are positive Tron was destroyed?</dialogue> <character>I-BEEM</character> <dialogue>I observed it directly! Rush turned Tron into vaporware!</dialogue> <scene_description>X - Takk Troops trade looks , impressed .</scene_description> <character>I-BEEM</character> <dialogue>Rush claims to be a User! He must be! He is awesomely skilled!</dialogue> <scene_description>Plexor hardens .</scene_description> <character>X-TAKK COMMANDER</character> <dialogue>Users do not exist.</dialogue> <character>PLEXOR</character> <dialogue>He is but a randomized Program, he got lucky. To our benefit.</dialogue> <character>I-BEEM</character> <dialogue>Rush and Krod were surrounded by stealth fighters! They were led by another User called Flynn!</dialogue> <character>PLEXOR</character> <dialogue>Flynn?</dialogue> <scene_description>Plexor 's circuitry strobes in dark troubled hues . An image appears on his archive screen : Flynn .</scene_description> <character>I-BEEM</character> <dialogue>Yeah, that's the one!</dialogue> <character>PLEXOR</character> <dialogue>Flynn. is here? He is the one behind this scheme to crash X - Net?</dialogue> <character>I-BEEM</character> <dialogue>I know where they are! Rush and Krod need our help!</dialogue> <character>PLEXOR</character> <dialogue>And what of Mega?</dialogue> <character>I-BEEM</character> <dialogue>We could n't find her. I'm certain they captured her too!</dialogue> <scene_description>Plexor processes - his cranial circuits burn deep amber .</scene_description> <character>PLEXOR</character> <dialogue>Tron is gone, but his User lives?</dialogue> <scene_description>Plexor turns to I - beem , grateful . Removes I - beem 's flimsy broken disk , studies it gently .</scene_description> <character>PLEXOR</character> <dialogue>Good work does not go unrewarded at X - Net. Would you like to be upgraded?</dialogue> <character>I-BEEM</character> <dialogue>Yes, Plexor, very much so.</dialogue> <scene_description>Plexor energizes a REWARD PORTAL . Shimmering golden light beckons I - beem . He eagerly enters - and gets ZAPPED . I - beem emerges out the other side , a zombie - like X - Net Drone , joining a security crew .</scene_description> </scene> <scene> <stage_direction>INT. PLEXOR'S INNER SANCTUM</stage_direction> <scene_description>Plexor enters , raises his disk . RUBY RED BEAM connects .</scene_description> </scene> <scene> <stage_direction>INT. REAL WORLD - SINCLAIR'S OFFICE - NIGHT</stage_direction> <scene_description>Sinclair paces amid a buzz of manic activity . TVs show news of escalating global data crashes . In comes a MARKETING VP .</scene_description> <character>MARKETING VP</character> <dialogue>You're not going to believe this!</dialogue> <character>SINCLAIR</character> <dialogue>Convince me.</dialogue> <character>MARKETING VP</character> <dialogue>Sales office has been flooded with calls. Major banks, airlines, city governments, the presidents of 26 nations - They all want to sign up for X - Net now. We're not even on - line yet and we're a hit!</dialogue> <scene_description>Sinclair absorbs his good fortune . Smirks .</scene_description> <character>SINCLAIR</character> <dialogue>We're the only port in the storm.</dialogue> <scene_description>Execs cheer , trade high - fives . Sinclair notices a blip on his private data screen . The office clears , doors shut . Sinclair , alone now , interacts with his screen . Text : INTRUDER HAS BEEN ELIMINATED .</scene_description> <character>SINCLAIR</character> <dialogue>Brilliant.</dialogue> <scene_description>But : THERE REMAINS AN AREA OF UNCERTAINTY .</scene_description> <character>SINCLAIR</character> <dialogue>What uncertainy?</dialogue> </scene> <scene> <stage_direction>INT. CYBERSPACE - PLEXOR'S INNER SANCTUM</stage_direction> <character>PLEXOR</character> <dialogue>The User called Flynn is here.</dialogue> <scene_description>Sinclair reads the text , blind - sided . Sees a photo of Flynn .</scene_description> <character>SINCLAIR</character> <dialogue>That's impossible.</dialogue> <character>PLEXOR</character> <dialogue>Flynn commanded the intruder Tron.</dialogue> <character>SINCLAIR</character> <dialogue>You've got to be wrong about this.</dialogue> <character>PLEXOR</character> <dialogue>I was programmed error - free. By you.</dialogue> <scene_description>Sinclair ponders the unimaginable .</scene_description> <character>SINCLAIR</character> <dialogue>Flynn. escaped?!</dialogue> <character>PLEXOR</character> <dialogue>He leads a group who seek to prevent the opening of X - Net. The one called Rush has joined them.</dialogue> <character>SINCLAIR</character> <dialogue>Rush? My guy? What lies has Flynn filled him with?</dialogue> <character>PLEXOR</character> <dialogue>Or what truths?</dialogue> <scene_description>Sinclair peers at the screen text , agitation growing . A news article pops up , recounting the lab accident and Flynn 's `` death '' . X - Net launch countdown ticks .</scene_description> <character>SINCLAIR</character> <dialogue>This world can never know all I have done. You have a plan to contain Flynn?</dialogue> <character>PLEXOR</character> <dialogue>Of course.</dialogue> <character>SINCLAIR</character> <dialogue>Do n't just contain him. Destroy him.</dialogue> <character>PLEXOR</character> <dialogue>Instructions received. And the one called Rush?</dialogue> <scene_description>Sinclair mulls for two seconds , then :</scene_description> <character>SINCLAIR</character> <dialogue>He knows too much. Get rid of him.</dialogue> <character>PLEXOR</character> <dialogue>Instructions received.</dialogue> </scene> <scene> <stage_direction>INT. JAIL BLOCK</stage_direction> <scene_description>Rush and Krod get chummy with cell - mate X - Takks . They mock - fight together , getting insider tips .</scene_description> <character>X-TAKK 1</character> <dialogue>And whatever you do, do n't let them hit you here.</dialogue> <scene_description>Indicates a CIRCUIT NEXUS on his lower SPINE .</scene_description> <character>X-TAKK 1</character> <dialogue>All X - Net Programs have a weak spot there.</dialogue> <character>RUSH</character> <dialogue>Hear that, Krod? Never let them get to your weak spot.</dialogue> <scene_description>Krod twists around , playing with his spinal nexus .</scene_description> <character>KROD</character> <dialogue>Gurfle! I never knew that.</dialogue> <scene_description>Pull back to see : Flynn secretly observes Rush . Pondering . Boole arrives behind him .</scene_description> <character>BOOLE</character> <dialogue>We're ready for you now.</dialogue> <scene_description>They head upstairs .</scene_description> </scene> <scene> <stage_direction>INT. FIGHTER HIDE-OUT</stage_direction> <scene_description>Flynn reviews Fighter training . Troops throw disks , battle in pairs , repair weapons , tweak armor circuitry . Flynn carries Tron 's dark disk , contemplating it . He moves past a line - up of his finest Fighters .</scene_description> <character>FLYNN</character> <dialogue>If X - Net is allowed to open it's the beginning of the end of a free and open cyberspace. We ca n't let Plexor get away with this. Our game plan has not changed. Tron was specially programmed to break into X - Net and shut down power supplies. We would then exploit these weak points and cripple the system. Tron's role was essential One of you must take his place.</dialogue> <scene_description>He holds up Tron 's disk .</scene_description> <character>FLYNN</character> <dialogue>Who among you can power Tron's disk and carry out his mission?</dialogue> <scene_description>All Fighters take a step forward .</scene_description> <character>FLYNN</character> <dialogue>It's the most dangerous job. If you're not up for it, nobody's going to blame you.</dialogue> <scene_description>All stand firm . Flynn lays Tron 's disk in the first Fighter 's hands . Fighter summons his will , causing the disk to glow faintly . But it soon goes dark again . Next Fighter holds the disk , bearing down , animating the circuits . But he buckles and the disk falls dims . Mega worries : One - by - one , Fighters fail to power Tron 's disk . Flynn reaches the end of the line . Mega puts her hands out to receive the disk . Flynn hesitates , then hands her Tron 's disk . Mega clenches it , concentrating deeply . Her energy infuses the disk , animating its circuits stronger than anyone . Bur soon , her eyes strobe , her body circuits overload . She lets go . Tron 's disk thunks the floor , goes dark . Mega hardens her resolve .</scene_description> <character>MEGA</character> <dialogue>There are other ways to crash Plexor. I will return to him, he still trusts me. I will get close and crash him with direct contact -</dialogue> <character>FLYNN</character> <dialogue>It's futile. Plexor's personal defense measures are massive.</dialogue> <scene_description>Other Fighters chime in , but they do n't know what to do . A FIGHTER SENTRY dashes in .</scene_description> <character>FIGHTER SENTRY</character> <dialogue>Enemy scouts, headed this way!</dialogue> </scene> <scene> <stage_direction>INT. JAIL BLOCK</stage_direction> <scene_description>Rush , Krod and X - Tekk Prisoners heard COMMOTION in the main hideout area above .</scene_description> </scene> <scene> <stage_direction>EXT. ANCIENT COMPUTER SYSTEM</stage_direction> <scene_description>Phalanx of X - NET SECURITY CRUISERS moves in , mashing circuitry - X - TEKK TROOPS rowst Civilian Programs . Plexor commands LEAD CRUISER .</scene_description> <character>PLEXOR</character> <dialogue>Disperse to all sectors!</dialogue> <scene_description>CRUISERS with X - Takks split in several directions . X - Takk Squads crash fleeing programs .</scene_description> </scene> <scene> <stage_direction>EXT. ANCIENT COMPUTER SYSTEM / OLD GAME GRID</stage_direction> <scene_description>CRUISERS with X - Takk Troops ravage grid , moving into :</scene_description> </scene> <scene> <stage_direction>EXT. MEMORY LEAK TUNNELS</stage_direction> <scene_description>X - Net CRUISERS crash through . ASSEMBLER UNITS spew freshly programmed BRIDGES over memory leak swamps . X - Takk troops hustle deeper .</scene_description> </scene> <scene> <stage_direction>INT. ANCIENT COMPUTER SYSTEM LABYRINTH</stage_direction> <scene_description>X - Takks storm in . Specialized units scan memory leaks , detect code fragments - schematic images of Tron .</scene_description> <character>X-TAKK SPECIALIST</character> <dialogue>The invader Tron crashed here.</dialogue> <scene_description>Plexor surveys the place .</scene_description> <character>PLEXOR</character> <dialogue>This was a preferred gaming arena for the User called Flynn. His moves are predictable, recursive, easily traced.</dialogue> <scene_description>Plexor activates a Q - MINATOR . Device emits a PLANE of coherent pulsing energy , which scans the area , illuminates the RACING DATA BIT PATTERNS within all circuits , programs and surfaces . -LRB- An x - ray - like device that reveals all computer machine code underlying every cyberspace object . -RRB- A trail of code BURNS HOT NEON GREEN .</scene_description> <character>PLEXOR</character> <dialogue>That way!</dialogue> </scene> <scene> <stage_direction>EXT. CLASSIC DATA HUB CITY</stage_direction> <scene_description>X - Net Cruisers crash the city . Programs scatter . Plexor commands Lead Cruiser , sweeps Q - MINATOR . Running Civilian Programs are rendered `` naked '' by the beam , bodies revealed as volumes of buzzing data bits `` 1010011101010110 . ''</scene_description> <character>PLEXOR</character> <dialogue>Down there.</dialogue> <scene_description>Cruisers deploy DE - REZZ BEAMS , slicing open structures . Flashing bitstorm , screaming Civilian Programs - The wrath of X - Net is unleashed upon the city .</scene_description> </scene> <scene> <stage_direction>INT. FIGHTER HIDE-OUT</stage_direction> <scene_description>CRASH ! Walls slice and crumble - X - NET CRUISERS blast their way in , coming to a stop in precise formation . Plexor emerges from Lead Cruiser . Stops . Looks . The place is empty . Not a fighter in sight .</scene_description> <character>PLEXOR</character> <dialogue>Fan out! Search every buffer and cache!</dialogue> <character>RUSH</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hey! Down here!</dialogue> <character>KROD</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Get us out of here!</dialogue> </scene> <scene> <stage_direction>INT. JAIL BLOCK AREA</stage_direction> <scene_description>Plexor and X - Takks hustle down , finding : Rush , Krod and the X - Takk Prisoners , behind bars . X - Takk Specialists hack the system , power down jail bars . Prisoners step forth and retrieve their impounded disks .</scene_description> <character>KROD</character> <dialogue>Dude, are we glad to see you!</dialogue> <character>PLEXOR</character> <dialogue>You destroyed Tron.</dialogue> <character>RUSH</character> <dialogue>Yes. Where is Mega?</dialogue> <character>PLEXOR</character> <dialogue>She's not with you?</dialogue> <character>KROD</character> <dialogue>She's with Flynn! I mean, totally WITH Flynn -!</dialogue> <character>RUSH</character> <parenthetical>( cuts off Krod , covers . )</parenthetical> <dialogue>Flynn was smart enough to interrogate her first.</dialogue> <character>KROD</character> <dialogue>Right.</dialogue> <character>PLEXOR</character> <parenthetical>( duped . )</parenthetical> <dialogue>She contains sensitive data. Flynn can not be allowed to hack her.</dialogue> <scene_description>Rush and Krod notice : Behind Plexor and his Soldiers , BOOLE , QUANTZ and FINITY FIGHTERS move into position . They signal Rush and Krod not to blow their cover . Rush makes Krod comply . An ambush is ready to spring .</scene_description> <character>RUSH</character> <dialogue>Yeah, only - We kicked Flynn's butt, too.</dialogue> <character>KROD</character> <dialogue>You should have seen it. Flynn wo n't be a problem.</dialogue> <scene_description>X - Takk Prisoners are confused .</scene_description> <character>PLEXOR</character> <dialogue>Then. Why were you imprisoned?</dialogue> <character>X-TAKK</character> <dialogue>Ambush!</dialogue> <scene_description>Fighters POUNCE , throwing disks - Rush grabs a PROD LANCE , nails two X - Takks on their spinal nexus . They go down hard .</scene_description> <character>PLEXOR</character> <dialogue>Delete them all!</dialogue> <scene_description>Plexor hurls an ENERGY BALL - Rush DUCKS , grazed by its FRACTAL comet trail . Fighters beat back Plexor . His concerns shift . He ducks into an ascension shaft - Rush and Krod are left fighting back - to - back , out - manned three - to - one .</scene_description> </scene> <scene> <stage_direction>INT. FIGHTER HIDE-OUT ASCENSION SHAFT</stage_direction> <scene_description>Plexor races upward , but is blocked by a unit of Fighters . Plexor pulls off his special TRIANGULAR DEATH DISK - FLINGS it . Disk ricochets off three Fighters , knocking them out . Another lethal fling and the remains Fighters fall . Plexor retrieves his death - disk with heart - stopping accuracy , darts into :</scene_description> </scene> <scene> <stage_direction>INT. FIGHTER HIDE-OUT MAIN ARENA</stage_direction> <character>PLEXOR</character> <dialogue>It's a TRAP!</dialogue> <scene_description>X - Takk Troops react , bolting for their Cruisers . Floor circuits ACTIVATE - X - Takks ZAP and FREEZE . Fighters appear from all directions . Disks fly - X - Takks wield stout MAZER weapons - Even the corrupted Fighter Programs pitch in , working in clever teams , chipping away at Plexor 's forces . But X - Takks have tougher armor and more awesome weapons . X - Takk Mazer cuts down Fighters by the dozen , leaving them corrupted or shut down . Flynn struggles to help wounded Fighters - He captures a Mazer and uses it against X - Takks . But Flynn ca n't move well on his bad leg . He watches his troops getting trounced .</scene_description> <character>FLYNN</character> <dialogue>Retreat! Over that way! Move around their flank!</dialogue> <scene_description>ZAP ! A Mazer blast strikes Flynn 's bad leg .</scene_description> <character>FLYNN</character> <dialogue>Arrrgghhh!</dialogue> <scene_description>Mega appears , throws her disk with deadly accuracy . The offending X - Takk Soldier crashes . Millions of bits spray over main arena - fractal fireworks . Mega grabs Flynn from falling . They make for a bridge . Flynn slaps a wall panel . Trigger circuit activates , surging down into .</scene_description> </scene> <scene> <stage_direction>INT. FIGHTER HIDE-OUT MAIN ARENA</stage_direction> <scene_description>Circuit energizes a sector of floor circuits , which overload and BLAZE - frying twenty X - Takks .</scene_description> </scene> <scene> <stage_direction>INT. JAIL BLOCK AREA</stage_direction> <scene_description>Rush and Krod use puny PROD LANCES against fearsome X - Takks . Rush charges an X - Takk dude , Krod gets cornered by another . Rush dodges his death blow , spine - zapping his foe . Krod prepares to die , as X - Takk Bully pins him with a Mazer and squeezes the trigger . X - Takk Bully seizes , freezes , crashes . Mazer barrel falls away from Krod - he 's lucky to be alive . Rush stows Zap Wand , grabs Mazer and yanks Krod to his feet .</scene_description> <character>KROD</character> <dialogue>Thanks.</dialogue> <character>RUSH</character> <dialogue>I'll never let you forget it.</dialogue> <character>KROD</character> <dialogue>Rush, we're screwed! Now everybody's after us!</dialogue> <character>RUSH</character> <dialogue>Nah, we're cool. We're with them!</dialogue> <scene_description>Boole and Quantz sweep past , gathering Rush and Krod into their unit . They charge up the ascension shaft .</scene_description> </scene> <scene> <stage_direction>INT. FIGHTER HIDE-OUT / MAIN HALL</stage_direction> <scene_description>Plexor hurls DEATH DISK , takes out Fighters . He spins , looks up : Glimpses Flynn and Mega running along a ledge . He heads after them , working his way upward .</scene_description> </scene> <scene> <stage_direction>INT. FIGHTER HIDE-OUT / MAIN HALL</stage_direction> <scene_description>Rush and Krod emerge behind an X - Takk Cruiser . They knock out two X - Takk Soldiers , steal their MAZER WEAPONS . Fighter Specialists hustle in , attach ENCRYPTION PODS to the Cruiser . Data meltdown radiates from the key , `` burning '' through the Cruiser like paper . Cruiser implodes .</scene_description> <character>KROD</character> <dialogue>Awesome! Can I do one?</dialogue> <scene_description>Rush spots Plexor heading to upper levels . He pursues .</scene_description> </scene> <scene> <stage_direction>INT. FIGHTER HIDE-OUT / UPPER LEDGE</stage_direction> <scene_description>Flynn and Mega help corrupted Fighters toward the bridge .</scene_description> <character>MEGA</character> <dialogue>Quick. This way.</dialogue> <scene_description>WHAM ! A wounded Fighter is struck down . Triangular DEATH DISK swings wide , takes out another , then the last . Mega and Flynn spin to see : Plexor steps forward , retrieving his Death Disk . Blocking their exit .</scene_description> <character>PLEXOR</character> <dialogue>Mega, move aside! I will finish him!</dialogue> <scene_description>Instead , she shields Flynn 's body .</scene_description> <character>MEGA</character> <dialogue>Strike us down. There will always be more to oppose you.</dialogue> <scene_description>Sinclair 's circuits snap with rage .</scene_description> <character>PLEXOR</character> <dialogue>What programming has he installed in you?</dialogue> <character>MEGA</character> <dialogue>Flynn! Go with the others! Run!</dialogue> <character>FLYNN</character> <dialogue>I'm not leaving you with this phreak.</dialogue> <scene_description>Plexor brings back his DEATH DISK . In the shadows : Rush , creeping along the periphery , gaining position on Plexor .</scene_description> <character>FLYNN</character> <dialogue>Plexor, get over the control thing.</dialogue> <scene_description>Plexor readies his disk to FIRE -</scene_description> <character>RUSH</character> <dialogue>Drop the disk!</dialogue> <scene_description>He pivots , hurls Death Disk at Rush . Rush dives clear , sends his data energy into surrounding circuits . Circuits activate around Plexor , surging PAIN DATA into his body .</scene_description> <character>FLYNN</character> <dialogue>I'll be damned.</dialogue> <character>MEGA</character> <dialogue>Rush?!</dialogue> <scene_description>But Plexor resists Rush 's data infusion , freezing the circuits around his feet . Cutting off the flow . Death Disk slices walls , arcing back toward Plexor - Rush LEAPS at Plexor . BLANG ! Plexor is solid - state , like a cast iron statue . Rush flips airborne , goes down hard .</scene_description> <character>RUSH</character> <dialogue>ARRGH!</dialogue> <scene_description>Plexor considers Rush , astonished by his audacity .</scene_description> <character>RUSH</character> <parenthetical>( sucks air . )</parenthetical> <dialogue>Is that all you've got?</dialogue> <scene_description>It 's a millisecond 's distraction - Death Disk returns to Plexor 's hand , but swings wide and GRAZES his ARM , leaving a swath of painful CORRUPTION .</scene_description> <character>PLEXOR</character> <dialogue>Raagghh!</dialogue> <scene_description>X - Takks hustle in with hefty NEGABYTE BLASTERS .</scene_description> <character>FLYNN</character> <dialogue>Rush! This way!</dialogue> <scene_description>Flynn , Mega and Flynn dash across the bridge .</scene_description> <character>PLEXOR</character> <dialogue>Delete them!</dialogue> <scene_description>NEGABYTE BEAMS slice walls , erasing all data in their path . Rush , Flynn and Mega dive into a tunnel , escaping by inches .</scene_description> </scene> <scene> <stage_direction>EXT. FIGHTER HIDE-OUT / DATA PIPE</stage_direction> <scene_description>Rush , Mega and Flynn , pursued , rendezvous with Krod , Boole and Quantz .</scene_description> <character>BOOLE</character> <dialogue>This way! Down the pipe!</dialogue> <scene_description>Rush helps Krod , Quantz and Boole into a data pipe . One by one , they WHIRL away in the flow of chromatic data . Flynn and Mega have a breathless moment to consider Rush .</scene_description> <character>MEGA</character> <dialogue>He's better than I thought.</dialogue> <character>FLYNN</character> <dialogue>He's been sent for a reason.</dialogue> <character>MEGA</character> <dialogue>What reason?</dialogue> <character>FLYNN</character> <dialogue>Do n't know yet. Sometimes we have to trust the bigger plan.</dialogue> <scene_description>Mega struggles to compute . Rush turns to help Flynn down the pipe . Mega assists . Flynn 's wounded leg gives out , he slips . Rush holds him , but loses his balance , slides down .</scene_description> <character>RUSH</character> <dialogue>Mega! Quick! Jump!</dialogue> <scene_description>But she hesitates - VELCRONIC BEAMS snag her from behind - pulling her back onto the ledge . Rush tumbles down the flume , glancing back to see : Mega , hauled away by X - Takk Troops .</scene_description> <character>RUSH</character> <dialogue>MEGA!</dialogue> <scene_description>Fighters , Krod , Rush and Flynn surf down the data WHIRL , accelerating away from the hot zone . X - Takks jump in after them , but are all swallowed by the flow - gone .</scene_description> </scene> <scene> <stage_direction>INT. FIGHTER HIDE-OUT / MAIN HALL</stage_direction> <scene_description>Bashed and ruined , littered with fallen Fighters . Plexor nurses his injured arm , commanding the mop - up . X - Takks bring Mega to their leader .</scene_description> <character>X-TAKK 1</character> <dialogue>We got her!</dialogue> <scene_description>Mega stands defiant . Plexor regards her sternly . Extends his hand to her shoulder , cupping the back of her neck .</scene_description> <character>PLEXOR</character> <dialogue>You committed a fatal error.</dialogue> <scene_description>DATA ENERGY SURGES from his eyes , flushing her body circuits . She fights intensifying input , but soon weakens . She glitches and shuts down , falling into the arms of X - Takks .</scene_description> <character>PLEXOR</character> <dialogue>Their strategies and tactics lie encrypted in her memory. Bring her! I will hack from her what I need.</dialogue> </scene> <scene> <stage_direction>INT. DATA PIPE NETWORK</stage_direction> <scene_description>Flynn leads the way , surfing the chromatic hyper - speed flow with Quantz and Boole . Rush and Krod struggle to master the technique , rolling , slipping , recovering , grabbing each other .</scene_description> <character>RUSH</character> <dialogue>I got it, I got it, I got it.</dialogue> <scene_description>Boole surfs around them , heading into a squirrely curve .</scene_description> <character>KROD</character> <dialogue>AWWWWWWW!</dialogue> <scene_description>Krod swings high , out of control . Dumps in front of Rush , who flips him upright .</scene_description> <character>RUSH</character> <dialogue>Shove it! Go!</dialogue> <scene_description>Rush and Krod swerve and gathers speed , shooting past Quantz , Boole and Flynn - pivoting to surf BACKWARDS !</scene_description> <character>KROD</character> <dialogue>I remember now! Nothing to it!</dialogue> <character>RUSH</character> <dialogue>Check it out!</dialogue> <scene_description>Rush flips up and surfs on his hands . Krod attempts to match the move .</scene_description> <character>BOOLE</character> <dialogue>Look out!</dialogue> <character>RUSH</character> <dialogue>What?</dialogue> <character>FLYNN</character> <dialogue>TURN AROUND!</dialogue> <scene_description>Rush and Krod crane around to see : DATA PIPE spills into a massive DATA FLUME .</scene_description> <character>RUSH &amp; KROD</character> <dialogue>AHHHHHHHH!</dialogue> </scene> <scene> <stage_direction>EXT. DATA FLUME</stage_direction> <scene_description>Rush and Krod plummet into surging hot data , out of control . Flynn and Fighters expertly surf huge waves .</scene_description> </scene> <scene> <stage_direction>EXT. DATA BUFFER SHORE</stage_direction> <scene_description>Flynn , Boole and Quantz drag Rush and Krod from data shallows . Everyone 's circuits are hot and overloaded .</scene_description> <character>KROD</character> <dialogue>I'm cool. Not a problem.</dialogue> <scene_description>They let him go him go . Krod glitches , collapses . Rush gets to his feet , head spinning .</scene_description> <character>RUSH</character> <dialogue>They took Mega.</dialogue> <character>FLYNN</character> <dialogue>She can handle herself for a while.</dialogue> <character>RUSH</character> <dialogue>How do we attack Plexor next?</dialogue> <scene_description>Flynn sizes up his new convert .</scene_description> <character>QUANTZ</character> <dialogue>You're with us now?</dialogue> <character>BOOLE</character> <dialogue>Do you know hard it is? Opposing the power of Plexor?</dialogue> <character>RUSH</character> <dialogue>It's like the forty - sixth level of ConquerDome 6.1, while winning a side game of Tetras Ultra, doing six Instant messages and debugging a demo.</dialogue> <scene_description>Boole , Quantz and Krod are confused , but Flynn gets it .</scene_description> <character>FLYNN</character> <dialogue>All at the same time.</dialogue> <character>RUSH</character> <dialogue>I'm there. Krod too.</dialogue> <character>KROD</character> <dialogue>Say what?</dialogue> <scene_description>Flynn accepts a handshake from Rush .</scene_description> <character>FLYNN</character> <dialogue>We're going to need all the help we can get. Boole, can we make it to the dark zone from here?</dialogue> <character>BOOLE</character> <dialogue>There is one possible route.</dialogue> <character>FLYNN</character> <dialogue>We'll meet up with the code monkeys and combine forces.</dialogue> </scene> <scene> <stage_direction>EXT. TRANSITION INTO DARK ZONE</stage_direction> <scene_description>Group sets out across a vast region of unpowered circuitry .</scene_description> </scene> <scene> <stage_direction>EXT. SECRET X-NET PROCESSOR</stage_direction> <scene_description>Hordes of Captured Programs are lined up for termination . Among them : Wounded Fighters from the hide - out raid .</scene_description> <character>FIGHTER 1</character> <dialogue>We gave it everything.</dialogue> <character>FIGHTER 2</character> <dialogue>Interface. We can resist.</dialogue> <character>FIGHTER 3</character> <dialogue>Interface.</dialogue> <scene_description>They move close , holding each other . X - Takks FIRE . De - rezz beams zap them to bits .</scene_description> </scene> <scene> <stage_direction>INT. REAL WORLD - NIGHT</stage_direction> <scene_description>Computer Users react with frustration , as their programs crash -LRB- Users correspond in appearance to the Programs who just got zapped . -RRB- Web ads sell the virtues of X - Net .</scene_description> </scene> <scene> <stage_direction>INT. REAL WORLD - FACTORY FLOOR - NIGHT</stage_direction> <scene_description>Fire sprinklers fire off for no reason . Workers rush away , sprayed from above . Assembly line full of partially - assembled video recorders get dowsed with water .</scene_description> </scene> <scene> <stage_direction>INT. REAL WORLD - AIRLINER COCKPIT - NIGHT</stage_direction> <scene_description>Pilots react : Navigational instruments glitch and fail .</scene_description> </scene> <scene> <stage_direction>INT. REAL WORLD - SINCLAIR'S OFFICE - NIGHT</stage_direction> <scene_description>X - Net sales rise higher , as TV news grows bleaker . Sinclair is distracted by a data file : News stories about the death of Flynn . The laboratory `` accident '' .</scene_description> </scene> <scene> <stage_direction>EXT. CYBERSPACE X-NET MAIN HIGHWAY - UNDER CONSTRUCTION</stage_direction> <scene_description>Plexor . Lording over the grand - scale construction . Sterile design , sleek lines , enormous capacity . X - Net Drone Workers assemble beams , girders , circuitry . X - Net OPTIK HIGHWAY NETWORK blasts through old systems and extends across cyberspace with alarming speed .</scene_description> <character>PLEXOR</character> <dialogue>Is completion on schedule?</dialogue> <character>X-NET BUILDER BOSS</character> <dialogue>On schedule.</dialogue> <scene_description>Plexor boards his Cruiser , which SPEEDS onto a completed stretch of X - Net OPTIK HIGHWAY . He 's the only vehicle in sight , hogging a thousand brand - new lanes of data expressway . Plexor accelerates , relishing the thrill of unchecked power -</scene_description> </scene> <scene> <stage_direction>EXT. X-NET ARTERIES - VARIOUS</stage_direction> <scene_description>Plexor 's Cruiser speeds through a new , as - yet unused X - Net switching station . It 's heavily secured . X - Takk troops defer to their supreme leader . Plexor veers onto a proprietary side - route , bound for :</scene_description> </scene> <scene> <stage_direction>EXT. X-NET CENTRAL SERVER</stage_direction> <scene_description>Firewall apertures cool , anticipating Plexor 's arrival . Encryption portal opens . Plexor 's Cruiser glides in . Portal closes . Firewalls reactivate , blazing red - hot , sealing the fortress .</scene_description> </scene> <scene> <stage_direction>INT. X-NET CENTRAL SERVER</stage_direction> <scene_description>Towering corridors . Powerful armored X - Takk Guards stand in pairs at every portal , corner and column . Plexor strides past , steps into a special GATE . Data beams react with his circuitry . Encryption key resolves . Gate opens .</scene_description> </scene> <scene> <stage_direction>INT. PROGRAMMING CHAMBER</stage_direction> <scene_description>Plexor strides across the spare , sleek space . On a slab lies Mega , radiated from above by READER BEAMS . Plexor considers her glowing body circuits . Studies emerging data patterns . Satisfied , he halts the process . Beams go dark .</scene_description> <character>PLEXOR</character> <dialogue>Boot up.</dialogue> <scene_description>Mega awakens , sits up . She sees the device , then Plexor .</scene_description> <character>MEGA</character> <dialogue>You treat me like I've been corrupted.</dialogue> <character>PLEXOR</character> <dialogue>I can not predict the random effects Flynn might have caused in you.</dialogue> <character>MEGA</character> <dialogue>You programmed me to gather intelligence. That's all I've ever done.</dialogue> <character>PLEXOR</character> <dialogue>How long have you known Flynn?</dialogue> <character>MEGA</character> <dialogue>Enough time to gain his trust.</dialogue> <character>PLEXOR</character> <dialogue>Your behavior was highly authentic.</dialogue> <character>MEGA</character> <dialogue>To him. It had to be.</dialogue> <character>PLEXOR</character> <dialogue>Have you allowed Flynn to complete a full interface with you?</dialogue> <character>MEGA</character> <dialogue>I am programmed to allow such access only to you, Plexor.</dialogue> <scene_description>Her eyes lock on him . He is satisfied .</scene_description> <character>PLEXOR</character> <dialogue>Flynn claims to be a User. As did the one called Rush.</dialogue> <character>MEGA</character> <dialogue>Users do not exist.</dialogue> <character>PLEXOR</character> <dialogue>You have seen nothing to make you doubt this?</dialogue> <character>MEGA</character> <dialogue>Nothing.</dialogue> <character>PLEXOR</character> <dialogue>They possess no powers beyond those of routine Programs?</dialogue> <character>MEGA</character> <dialogue>I have no knowledge of such powers.</dialogue> <scene_description>She steps down . They walk out of the chamber .</scene_description> <character>PLEXOR</character> <dialogue>Still, there is something about them I can not compute. Flynn plans to attack me, does n't he?</dialogue> <character>MEGA</character> <dialogue>Yes. And Rush will fight by his side.</dialogue> <character>PLEXOR</character> <dialogue>Where will they strike?</dialogue> <character>MEGA</character> <dialogue>Flynn does not decide until the hour of his attack. But he trusts me completely. When he knows the place, I will know it as well.</dialogue> <character>PLEXOR</character> <dialogue>Perfect. They will be met with a final thrashing. Yes, let them come.</dialogue> <scene_description>They pass through the gate , arrive in the corridor .</scene_description> <character>MEGA</character> <dialogue>Have you further instructions for me?</dialogue> <character>PLEXOR</character> <dialogue>None for now. But stay close.</dialogue> <scene_description>They lock gazes . Barcode data surges between them .</scene_description> <character>PLEXOR</character> <dialogue>You came to me full of glitches and random routines. Look at you now. What an extraordinary piece of programming I have made of you. I created X - Net to the same standard of flawless beauty. Soon, its perfection will become all that is, and all that ever will be.</dialogue> <character>MEGA</character> <dialogue>All events remain under your control.</dialogue> <scene_description>With a smirk and a final jolt of data , Plexor leaves her .</scene_description> </scene> <scene> <stage_direction>INT. PLEXOR'S CPU</stage_direction> <scene_description>Plexor crosses into his inner sanctum . Raises his disk , initiates RUBY BEAM link with Sinclair . Mega appears on a balcony above , in the shadows , secretly observing Plexor .</scene_description> </scene> <scene> <stage_direction>EXT. DARK ZONE</stage_direction> <scene_description>Howling , barren , dim . Circuitry left unpowered for eons . Rush and Krod follow Flynn and Fighters , into treacherous canyons , across vast planes . Rush hears something and pulls the group behind cover .</scene_description> <character>RUSH</character> <dialogue>Over there!</dialogue> <scene_description>Three massive X - NET X - PORTER VEHICLES rumble by . Imprisoned in the rear are hundreds of Programs . Cruisers blast a path through mountains and speed away .</scene_description> <character>KROD</character> <dialogue>Those Programs think they're just being transferred!</dialogue> <character>RUSH</character> <dialogue>Can we take out those X - Net guys?</dialogue> <character>FLYNN</character> <dialogue>Our forces are too thin. We ca n't risk a battle that would reveal this position.</dialogue> <scene_description>From another direction appear two Code Monkey Programs .</scene_description> <character>CODE MONK B3T</character> <dialogue>Flynn! Down here!</dialogue> <character>FLYNN</character> <dialogue>BT! JR!</dialogue> <character>CODE MONK J2R</character> <dialogue>Flynn! Enter. We configured a base.</dialogue> <character>FLYNN</character> <dialogue>Good to see you guys. When did the X - Net goons start patrolling all the way out here?</dialogue> <character>CODE MONK B3T</character> <dialogue>They're everywhere now. Taking all Programs by force.</dialogue> <character>CODE MONK J2R</character> <dialogue>Come. There is much to report!</dialogue> <scene_description>They head down into :</scene_description> </scene> <scene> <stage_direction>INT. LAST FIGHTER CACHE</stage_direction> <scene_description>Deteriorating silicon lattice . Flynn , Rush , Krod and Fighters arrive to a meager encampment .</scene_description> <character>CODE MONK N1J</character> <dialogue>Greetings.</dialogue> <character>FLYNN</character> <dialogue>Hey guys. This is Rush and his main man Krod. They defected from Plexor's forces to fight with us.</dialogue> <scene_description>A buzz of hope penetrates gloom . Nobody has defected from Plexor before .</scene_description> <character>CODE MONK N1J</character> <dialogue>We made progress decoding X - Net's power supply encryption.</dialogue> <character>FLYNN</character> <dialogue>Excellent. Let's see.</dialogue> <scene_description>In a make - shift lab , CODE MONKEYS demonstrate , working at mind - boggling speed , assembling a small intricate HOLOGON DEVICE -LRB- conical pyramid - shaped encryption key -RRB- .</scene_description> <character>KROD</character> <dialogue>I've seen that somewhere.</dialogue> <character>RUSH</character> <dialogue>It's the encryption pattern on Plexor's disk.</dialogue> <character>FLYNN</character> <dialogue>Good eyes. We've got Mole Programs who score chunks of Plexor's personal code anywhere they can find it. These guys fit the pieces together. It can take a quadrillion combinations.</dialogue> <character>CODE MONK J2R</character> <dialogue>We just snagged the last piece, but the battle cost us big time.</dialogue> <character>FLYNN</character> <dialogue>How many of you crashed?</dialogue> <scene_description>Heads shake somberly .</scene_description> <character>FLYNN</character> <dialogue>The Teraflop Boys? Algebrat?</dialogue> <character>CODE MONK J2R</character> <dialogue>All that survive, you see standing here.</dialogue> <character>FLYNN</character> <dialogue>Oh Geez.</dialogue> <scene_description>Flynn falters on his bad leg . Quantz and Boole support him .</scene_description> <character>FLYNN</character> <dialogue>Time is running out!</dialogue> <scene_description>Rush approaches Code monkeys as they toil blur - speed , trying to fit the final code piece - a flat square . Pyramidal HOLOGON looks exactly like the X - Net desk toy we saw in Rush 's cubicle .</scene_description> <character>KROD</character> <dialogue>Yow. I get tired just watching these dudes.</dialogue> <scene_description>Rush sees : Compilers try to fit the square inside the pyramid .</scene_description> <character>RUSH</character> <dialogue>Just for laughs, try putting the circle on top of the pyramid.</dialogue> <character>CODE MONKS</character> <parenthetical>( unison . )</parenthetical> <dialogue>That's incongruous.</dialogue> <character>RUSH</character> <dialogue>If I'm wrong, ding me.</dialogue> <character>FLYNN</character> <dialogue>What have we got to lose? Try it.</dialogue> <scene_description>Code Monkeys place the square on top of the pyramid . Bingo . Square spins into a circle , latches and LIGHTS the entire Hologon lattice . Intricate 3D code patterns ANIMATES .</scene_description> <character>FLYNN</character> <dialogue>Not bad.</dialogue> <character>KROD</character> <dialogue>Good thing you did n't terminate us.</dialogue> <character>RUSH</character> <dialogue>How do we use this thing to shut down Plexor?</dialogue> <character>FLYNN</character> <parenthetical>( picks up hologon . )</parenthetical> <dialogue>It's a copy of Plexor's master key. We can break into any X - Net facility and fry the power supply.</dialogue> <character>RUSH</character> <dialogue>But once Plexor knows we have it, he'll change the code.</dialogue> <character>FLYNN</character> <dialogue>Yep. We've got one shot.</dialogue> <character>RUSH</character> <dialogue>Then we should take out the power supply to Plexor's main server.</dialogue> <character>GROUP</character> <dialogue>Yes! Take out Plexor's central server!</dialogue> <character>FLYNN</character> <dialogue>Hang on, guys, that's not as easy as it sounds -</dialogue> <character>RUSH</character> <dialogue>I was inside the main server, I saw how it's laid out.</dialogue> <character>KROD</character> <dialogue>I used to work there! I'll recognize where everything is!</dialogue> <character>CODE MONK N1J</character> <dialogue>We can take it!</dialogue> <character>CODE MONK J2R</character> <dialogue>Hit Plexor where he lives!</dialogue> <character>FLYNN</character> <dialogue>Even with this key, it wo n't -</dialogue> <character>QUANTZ</character> <dialogue>We can pull it off, ca n't we Flynn? One final assault on Plexor's central server?</dialogue> <character>BOOLE</character> <dialogue>Shut him down forever?</dialogue> <scene_description>All eyes on Flynn . Rush 's naivete has ignited false hope in the Fighters .</scene_description> <character>RUSH</character> <dialogue>Of course we can.</dialogue> <scene_description>Flynn forces a smile .</scene_description> <character>FLYNN</character> <dialogue>Hey, the future depends on us. How could we fail?</dialogue> </scene> <scene> <stage_direction>INT. ENCOM ADVANCED RESEARCH LAB - MOMENTS LATER</stage_direction> <scene_description>Sinclair comes off the secured elevator , finds Meg and Dewey at work on Quantum Digitizer .</scene_description> <character>MEG</character> <dialogue>It's almost fixed. I'll be able to bring back Rush soon -</dialogue> <character>SINCLAIR</character> <dialogue>Excellent work. Unfortunately, I'm shutting down this project.</dialogue> <character>MEG</character> <dialogue>What?</dialogue> <character>SINCLAIR</character> <dialogue>Something came up. The company is at stake. I ca n't go into details.</dialogue> <character>MEG</character> <dialogue>But Rush would have no way to return!</dialogue> <character>SINCLAIR</character> <dialogue>Meg. I will never hold you responsible. This is a tough call, but it's mine. Dismantle and destroy all of this equipment and software. Immediately.</dialogue> <character>MEG</character> <dialogue>Well -</dialogue> <character>SINCLAIR</character> <dialogue>Meg. I'm not asking.</dialogue> <character>MEG</character> <dialogue>I understand.</dialogue> <scene_description>He shoots a look and exits .</scene_description> </scene> <scene> <stage_direction>EXT. CYBERSPACE - X-NET OPTIK HIGHWAY OVER DARK ZONE</stage_direction> <scene_description>Compiler Crews work at megahertz speed . OPTIK HIGHWAYS extend and converge . Switching stations assemble . Crews shift to new assignments . Pull wide to see dismal ground below . Dark zone , emitting woeful blips of random energy . Pillars descend from X - Net crews above and SMASH into the old silicon , planting themselves deep and impervious . Rush stands on a vista point , aghast as X - Net construction dominates the landscape .</scene_description> <character>FLYNN</character> <dialogue>It's a bummer being on the losing team, huh Rush?</dialogue> <scene_description>Flynn sits nearby , trying to patch his corrupted leg .</scene_description> <character>RUSH</character> <dialogue>We'll trash X - Net. Then we'll go back to the our world and expose what Sinclair's done.</dialogue> <scene_description>He looks at Krod , Boole , Quantz and Code Monkeys in the distance , preparing for battle .</scene_description> <character>RUSH</character> <dialogue>Do they have any idea our world exists? Do they understand what a User is?</dialogue> <character>FLYNN</character> <dialogue>Programs once connected freely with their Users. But Plexor shut down the I/O ports, severing all links. He controls all contact with the world we once knew. Programs operate on his instructions or none at all.</dialogue> <character>RUSH</character> <dialogue>Or yours.</dialogue> <character>FLYNN</character> <dialogue>It's nothing to brag about. We're getting our butts kicked.</dialogue> <character>RUSH</character> <dialogue>It there a way to contact Meg? She can transport us back to our world. Maybe it's better if we fight Sinclair on his own turf.</dialogue> <scene_description>Flynn lays a somber gaze on his eager Fighters .</scene_description> <character>FLYNN</character> <dialogue>I gave up the idea of going back a long time ago. You should too.</dialogue> <character>RUSH</character> <dialogue>What do you mean?</dialogue> <character>FLYNN</character> <dialogue>Sinclair did n't get where he is by being dumb. Even if we survive Plexor's forces in here, Sinclair will make sure we never get back home.</dialogue> <character>RUSH</character> <dialogue>But. Meg said -</dialogue> <character>FLYNN</character> <dialogue>I'm sure she'll do everything she can. It might not be enough.</dialogue> <scene_description>Flynn removes a cover - plate from his leg , trying to hide the damage from Rush . Suspicious , Rush pulls the plate aside .</scene_description> <character>RUSH</character> <dialogue>Oh, man.</dialogue> <scene_description>Flynn 's data corruption has worsened . His leg throbs with the drab glow of irreversible MEMORY DRAIN .</scene_description> <character>RUSH</character> <dialogue>Why did n't you tell anyone it was this bad?</dialogue> <scene_description>Flynn looks at his leg . Then at Rush .</scene_description> <character>FLYNN</character> <dialogue>Rush. I think Meg suspects the truth about Sinclair. That's why she sent you here. She knew you're the one guy who could find out.</dialogue> <character>RUSH</character> <dialogue>I thought she hated me.</dialogue> <character>FLYNN</character> <dialogue>She believed in you more than you believed in yourself.</dialogue> <scene_description>It sinks in . Wow .</scene_description> <character>RUSH</character> <dialogue>Do we really have a shot at winning against Plexor?</dialogue> <character>FLYNN</character> <dialogue>We have his master key. And we have Mega working on the inside.</dialogue> <character>RUSH</character> <dialogue>Mega. Are you sure about her? I get the feeling she plays both sides.</dialogue> <character>FLYNN</character> <dialogue>Plexor programmed her to perform his will. He's a control freak. I'm not. I programmed her to have a will of her own. Whatever she decides, it's up to her.</dialogue> <character>RUSH</character> <dialogue>Sounds dangerous.</dialogue> <character>FLYNN</character> <dialogue>Sometimes you've got to trust the bigger plan.</dialogue> <scene_description>Krod and Fighters approach .</scene_description> <character>CODE MONK J2R</character> <dialogue>Ready to rock and roll.</dialogue> <character>FLYNN</character> <dialogue>Guys. Rush is right about our final attack. If we've only got one shot, we should go for Plexor's central server. If we insert the hologon key in the main power supply, we can trigger a meltdown. Plexor will be have his best troops standing in our way. Getting past them was the ultimate task I programmed Tron to carry out.</dialogue> <scene_description>He takes up Tron 's dark disk .</scene_description> <character>FLYNN</character> <dialogue>I turbo - charged him to burn hot and burn fast. Who else could handle the operating code in this disk?</dialogue> <scene_description>He extends the disk to Rush .</scene_description> <character>FLYNN</character> <dialogue>You.</dialogue> <character>RUSH</character> <dialogue>Uhhh, I do n't think so.</dialogue> <character>BOOLE</character> <dialogue>It could mean the difference between winning and losing.</dialogue> <character>KROD</character> <dialogue>Hey, I'll try.</dialogue> <scene_description>Rush holds off Krod , takes the disk .</scene_description> <character>RUSH</character> <dialogue>What do I do -?</dialogue> <scene_description>Waves of Rush 's DATA ENERGY surge into disk circuitry .</scene_description> <character>RUSH</character> <dialogue>Yow!</dialogue> <scene_description>He buckles and shakes . Hands zapping . Knees trembling .</scene_description> <character>FLYNN</character> <dialogue>Steady. It's all about giving as much as you get. Let it become a part of you.</dialogue> <scene_description>Rush clenches teeth , concentrates . Grips the disk . Energy surges back and forth , up Rush 's arms , around the disk . He holds tight , ready to scream -</scene_description> <character>KROD</character> <dialogue>Awesome, dude! Do n't let go!</dialogue> <scene_description>Fighters are amazed , as TRON 'S DISK POWERS UP - And RUSH 'S body circuits DAZZLE in the ruby circuitry patterns of TRON .</scene_description> <character>KROD</character> <dialogue>HE DID IT!</dialogue> <character>FLYNN</character> <dialogue>Damn, look at that. He did it.</dialogue> <scene_description>Rush looks at his arms , astounded . His circuitry strobes in hues of brilliant red . Disk animates and unfolds , revealing infinite surface variations . Rush feels new power surging inside his body . His eyes harden , keen like Tron 's . Rush LEAPS BACKWARD , goes airborne , lands on a ledge high above . Amazing balance .</scene_description> <character>KROD &amp; FIGHTERS</character> <dialogue>YES! Excellent move, dude!</dialogue> <character>RUSH</character> <dialogue>It feels. Awesome.</dialogue> <scene_description>Rush 's voice is a little deeper , with a digital edge . It surprises him . He cocks his disk and THROWS . Disk rockets across the landscape , a mile away and STRIKES an X - NET SURVEY POST , blasting it to bits . Disk arcs high , shoots back toward Rush . Rush looks worried for a second , ready to duck -</scene_description> <character>FLYNN</character> <dialogue>Do n't flinch, Rush! It's your disk now.</dialogue> <scene_description>Disk snaps back into Rush 's hand , painlessly . Throbbing with energy .</scene_description> <character>RUSH</character> <dialogue>Oh man, this is good.</dialogue> <scene_description>Rush pulls a new LIGHT WAND from a thigh bracket . It extends into a hundred - foot vaulting pole . Rush VAULTS across the canyon , lands with precision . Light pole retracts into the wand in a nanosecond .</scene_description> <character>KROD</character> <dialogue>Awwwww! Where can I get one of those?</dialogue> <scene_description>Another two vaults and a leap - Rush tosses his disk into a spiral , steps off it mid - air -LRB- like stairs -RRB- , and lands perfectly - rejoining the group . Cheers from Krod , Quantz , Boole and Code Monkeys . Flynn shakes Rush 's hand - energy surges between them .</scene_description> <character>BOOLE</character> <dialogue>It's for real, Quantz.</dialogue> <character>QUANTZ</character> <dialogue>We've got a chance to take down Plexor.</dialogue> </scene> <scene> <stage_direction>INT. X-NET CENTRAL SERVER - MAIN HALL</stage_direction> <scene_description>Plexor reviews a line of elite X - Takks . All are decked in thick battle gear , gripping an array of menacing ultra - tech weapons .</scene_description> <character>PLEXOR</character> <dialogue>Perfect. Any three of you could crash an army of Flynn's best. But I've prepare for his random acts by designing massive redundancy.</dialogue> <scene_description>Widen to reveal : BATTALION of X - Takks , lined in precise rows , filling the vast hall . Since Adolf Hitler , no one has displayed such an awesome military machine .</scene_description> </scene> <scene> <stage_direction>INT. PLEXOR'S INNER SANCTUM</stage_direction> <scene_description>Mega sneaks in , alone . She pulls her disk off her back and raises it above her head . Data energizes around her . She clenches hard , trying to make the connection . A RUBY BEAM converges off her disk , reaching skyward .</scene_description> </scene> <scene> <stage_direction>INT. REAL WORLD - ENCOM ADVANCED RESEARCH LAB - NIGHT</stage_direction> <scene_description>Meg and Dewey work to dismantle the lab . Meg walks past , stops . Comes back . Reads fresh text on a computer screen : DOES MEG EXIST ?</scene_description> <character>MEG</character> <dialogue>Dewey. This your idea of a joke?</dialogue> </scene> <scene> <stage_direction>INT. CYBERSPACE - X-NET CENTRAL SERVER - MAIN HALL</stage_direction> <character>PLEXOR</character> <dialogue>Cybavor programming complete?</dialogue> <character>X-NET SPECIALIST</character> <dialogue>Yes.</dialogue> <character>PLEXOR</character> <dialogue>Demonstrate.</dialogue> <scene_description>X - Net Specialists drops the sides on a cubic cage . A frozen dog - like CYBAVOR CREATURE stands like a statue . Plexor nods . X - Net Specialist activates . Cybavor comes alive . Circuits RAGING . Eyes pulsing . Plexor summons an X - Net Worker Drone .</scene_description> <character>PLEXOR</character> <dialogue>Install yourself over there.</dialogue> <scene_description>Worker Drone does as he 's told . He freezes in place .</scene_description> <character>PLEXOR</character> <dialogue>Attack!</dialogue> <scene_description>Cybavor leaps like a hyena , bounds the length of the hall . DIVES at the Worker Drone . And DEVOURS HIM mercilessly . Energy sparks fly , circuits zap , as the Cybavor digest the energy , GROWS LARGER , then SPLITS DOWN THE MIDDLE -LRB- like DNA -RRB- , then regrows the missing halves . Now the Cybavor is a PAIR of nasty , snarling Cybavors .</scene_description> <character>PLEXOR</character> <dialogue>End routine.</dialogue> <scene_description>Cybavors sit .</scene_description> <character>PLEXOR</character> <dialogue>Elegant.</dialogue> <scene_description>Surveying his perfect defenses , he notices one thing missing .</scene_description> <character>PLEXOR</character> <dialogue>Where is Mega?</dialogue> <character>X-NET SECURITY LEADER</character> <dialogue>Only you are authorized to monitor her coordinates.</dialogue> <character>PLEXOR</character> <dialogue>Download forces. Await my command.</dialogue> <character>X-NET SECURITY LEADER</character> <dialogue>Download!</dialogue> <scene_description>X - Takks file out in perfect lines , turn perfect corners , dispersing into the compound . Each one moves in exactly the same way . Plexor turns sharply to exit , encountering . Mega . Standing there obediently .</scene_description> </scene> <scene> <stage_direction>EXT. X-NET CENTRAL SERVER</stage_direction> <scene_description>On the fortress perimeter , X - Takks stand watch at the base of a deep security moat . They turn , eyes scanning . Behind them , a LIGHT POLE extends into the canyon , then swings across . It 's `` tronified '' Rush , using his vaulting pole to ferry Fighters across the moat edges . He returns to the far side , landing momentarily on a lone central pinnacle to make the distance . Rush vaults back to gather Krod , who 's the last to cross .</scene_description> <character>RUSH</character> <dialogue>Do n't take this the wrong way.</dialogue> <character>KROD</character> <dialogue>Do n't drop me.</dialogue> <scene_description>He hugs Krod and vaults them across . Krod clings and struggles , then YELPS - X - Takks hear and scan the pinnacle and moat edges . On top of the pinnacle , Rush and Krod hunker . Flynn signals from the far side `` stay down ! '' X - Takks patrol below , pausing to gaze up . Atop the pinnacle , Krod 's circuits energy - zap with fear . Rush holds him down . At last , X - Takks move on . Rush extends his light pole to the moat floor - vaults to the far side with Krod . Krod stabilizes , looks around .</scene_description> <character>KROD</character> <dialogue>Yeah, I recognize this place. I know where everything is!</dialogue> <scene_description>He heads off , encounters a dead end . Quantz pulls him the right way .</scene_description> </scene> <scene> <stage_direction>EXT. DATA NEXUS / CENTRAL SERVER PERIPHERY</stage_direction> <scene_description>Boole and Code Monk B3t help Flynn to a secluded data buffer .</scene_description> <character>FLYNN</character> <dialogue>Rush, up there. See it?</dialogue> <scene_description>Rush leaps to a high circuitry nexus .</scene_description> <character>RUSH</character> <dialogue>I hope you're right about Mega.</dialogue> <scene_description>Rush touches circuitry , energizing it with data . Mega 's image appears in circuitry energy patterns .</scene_description> <character>MEGA</character> <dialogue>You. Where is Flynn?</dialogue> <character>RUSH</character> <dialogue>We're all here.</dialogue> <character>MEGA</character> <dialogue>I arranged for your entry. An encryption portal has been left unlocked. Path 4786324BXY. Do you know the way?</dialogue> <scene_description>Rush looks down to Code Monk J2r . He gives a high sign .</scene_description> </scene> <scene> <stage_direction>INT. X-NET CENTRAL SERVER / CIRCUITRY</stage_direction> <scene_description>Mega watches glowing circuity image of Rush .</scene_description> <character>RUSH</character> <dialogue>We got it.</dialogue> <character>MEGA</character> <dialogue>Hurry.</dialogue> <scene_description>She deactivates . Rush 's image vanishes . Mega thinks for a moment - we 're not sure what - then walks around a corner . Bumps smack into : Plexor . Flanked by his two snarling Cybavors .</scene_description> <character>PLEXOR</character> <dialogue>You contacted them.</dialogue> <character>MEGA</character> <dialogue>Yes.</dialogue> <character>PLEXOR</character> <dialogue>And?</dialogue> <character>MEGA</character> <dialogue>I gave them the portal address. They will attempt entry soon.</dialogue> <character>PLEXOR</character> <dialogue>Perfect. We will be waiting.</dialogue> </scene> <scene> <stage_direction>EXT. X-NET CENTRAL SERVER</stage_direction> <scene_description>Patrols of X - Takks pass . Rush leaps to a vantage point them . Scouts a route , signals Flynn , Krod , Boole , Quantz and the Code Monkeys . Fighter team scales a narrow ledge near the BLAZING FIREWALL . It 's like a sheet of molten lead , pouring endlessly before them . A lethal barrier .</scene_description> <character>FLYNN</character> <dialogue>This is all yours, Rush.</dialogue> <scene_description>Rush pulls his disk , holds it over his head and steps under the molten data flow . He struggles against raw power , disk HEATS UP WHITE , splashing aside the molten data .</scene_description> <character>FLYNN</character> <dialogue>Go! Quick!</dialogue> <scene_description>Code Monkeys , Flynn and Krod , Quantz and Boole dive between Rush 's legs , emerging on the other side . Barrier overcome . Rush leaps out of the firewall , clutching his white - hot disk .</scene_description> <character>RUSH</character> <dialogue>No sweat.</dialogue> <parenthetical>( to himself . )</parenthetical> <dialogue>OUCH.</dialogue> <character>CODE MONK N1J</character> <dialogue>That way to the portal!</dialogue> <character>RUSH</character> <dialogue>Let's do it.</dialogue> <scene_description>They head for the fortress along a surreptitious route , avoiding X - Takk patrols .</scene_description> </scene> <scene> <stage_direction>INT. X-NET CENTRAL SERVER</stage_direction> <scene_description>Plexor - with Mega and the Cybavors two paces behind - leads an army of X - Takks . A Cybavor growls at Mega . She growls back .</scene_description> <character>MEGA</character> <dialogue>There it is. That's the portal.</dialogue> <scene_description>Plexor masses his forces around a closed ENCRYPTION PORTAL . It is a dark semispheric aperture , left unlocked -LRB- but closed -RRB- .</scene_description> <character>PLEXOR</character> <dialogue>Converge on all levels! Outside patrols close in behind these coordinates!</dialogue> <scene_description>X - Takks come from all directions , all levels .</scene_description> </scene> <scene> <stage_direction>EXT. X-NET CENTRAL SERVER</stage_direction> <scene_description>Flynn pauses to see X - Net Patrols in motion , across bridges , through tunnels . All around .</scene_description> <character>FLYNN</character> <dialogue>Something's up.</dialogue> <character>RUSH</character> <dialogue>Keep moving.</dialogue> <scene_description>They come to a dark encryption portal , seen from their exterior view .</scene_description> <character>BOOLE</character> <dialogue>Portal 4786324BXY. This is it.</dialogue> <scene_description>Flynn withdraws the HOLOGON .</scene_description> <character>FLYNN</character> <dialogue>The sooner Rush gets this into the main power supply, the sooner X - Net shuts down. And the more of us come out of here to tell about it.</dialogue> <scene_description>Rush takes the hologon , stows it . Pumped looks between Code Monkeys , Boole and Quantz . Krod trembles .</scene_description> <character>KROD</character> <dialogue>Oh man, I think I'm leaking.</dialogue> <character>RUSH</character> <dialogue>Krod. You'll do great.</dialogue> <character>KROD</character> <dialogue>Think so?</dialogue> <character>RUSH</character> <dialogue>Your recognize patterns better than any of us. You'll know Plexor's moves before he does.</dialogue> <character>KROD</character> <dialogue>I hope you're right. Rush?</dialogue> <character>RUSH</character> <dialogue>Yeah man?</dialogue> <character>KROD</character> <dialogue>Are you really a `` User''? Is there such a thing? Is that what makes you so good?</dialogue> <scene_description>All Programs hang on Rush 's answer . Flynn too .</scene_description> <character>RUSH</character> <dialogue>Flynn and I come from a realm no better or worse than here. One thing I know, neither place works unless you're looking out for the other guy. And we've got a word for what all of you are.</dialogue> <character>BOOLE</character> <dialogue>Obsolete?</dialogue> <character>RUSH</character> <dialogue>Heroes.</dialogue> <character>KROD</character> <dialogue>Cool.</dialogue> <character>CODE MONK B3T</character> <dialogue>I'm ready.</dialogue> <character>QUANTZ</character> <dialogue>Let's do it.</dialogue> <scene_description>Fighters hustle under the shadow of the portal . Approaching the closed semispheric aperture .</scene_description> </scene> <scene> <stage_direction>INT. X-NET CENTRAL SERVER</stage_direction> <scene_description>X - Takks stand thick , weapons pointed at the closed aperture . Plexor marks time . Cybavors poise to attack . Mega , emotions rising , takes a step back .</scene_description> </scene> <scene> <stage_direction>EXT. DARK PORTAL</stage_direction> <scene_description>Flynn falters on his wounded leg . Fighters steady him . Rush steps forward , places a hand on the semispheric aperture . Mechanism activates .</scene_description> </scene> <scene> <stage_direction>INT. PORTAL</stage_direction> <scene_description>Plexor tenses , eager for the slaughter . X - Takks cock weapons , take careful aim .</scene_description> </scene> <scene> <stage_direction>INT. DARK PORTAL</stage_direction> <scene_description>Flynn , Code Monkeys , Quantz , Boole , Krod . Gathering near Rush - PORTAL OPENS AROUND THEM , revealing a stunning view of : The inside of the fortress . Not an X - Takk in sight .</scene_description> <character>KROD</character> <dialogue>Nothing to it.</dialogue> <scene_description>Rush leads group inside .</scene_description> </scene> <scene> <stage_direction>INT. "EXECUTION PORTAL"</stage_direction> <scene_description>Plexor grows impatient . Senses trouble .</scene_description> <character>PLEXOR</character> <dialogue>OPEN IT! OPEN FIRE!</dialogue> <scene_description>X - Net Specialist activates portal . Semispheric aperture irises open to reveal : X - Takk Patrol . Charging in from outside . No fighters in sight . Inside - X - Takks and outside - X - Takks take orders literally : They FIRE at EACH OTHER . Many crash , zap and fizzle . Cybavors leap in , devouring corrupted X - Takks . The two Cybavors use energy `` food '' to bifurcate into FOUR .</scene_description> <character>PLEXOR</character> <dialogue>CEASE FIRE!</dialogue> <scene_description>They do so , instantly . Plexor fumes .</scene_description> <character>PLEXOR</character> <dialogue>You've been tricked!</dialogue> <scene_description>He spins to find Mega gone .</scene_description> <character>PLEXOR</character> <dialogue>Mega has betrayed me for the last time! She is with the fighters! Find them! CRASH THEM ALL!</dialogue> </scene> <scene> <stage_direction>INT. X-NET CENTRAL SERVER</stage_direction> <scene_description>Mega RUNS from the scene . Around a corner , she collides with Rush , Flynn , Krod &amp; Fighters . Breathless :</scene_description> <character>MEGA</character> <dialogue>Flynn! Keep moving! This way!</dialogue> <character>FLYNN</character> <dialogue>I'm proud of you, Mega.</dialogue> <character>MEGA</character> <dialogue>I linked with MEG. Users exist. She instructed me.</dialogue> <character>RUSH</character> <dialogue>Go, Meg!</dialogue> <scene_description>She glances over the new `` tronified '' Rush . Despite herself , she 's impressed . But there 's no time for talk .</scene_description> <character>RUSH</character> <dialogue>Which way to the power supply?!</dialogue> <character>KROD</character> <parenthetical>( scanning . )</parenthetical> <dialogue>Ummmm. That way!</dialogue> <scene_description>Rush leaps to a high ledge to confirm : Massive throbbing power supply CORE CUBE lies at the center of the fortress 's concentric squares . High sign to Krod .</scene_description> <character>TRON</character> <dialogue>You're right! There it is!</dialogue> <character>KROD</character> <dialogue>And here they come!</dialogue> <scene_description>Rumble precedes : ARMY of X - Takks , coming to get them .</scene_description> <character>CODE MONK J2R</character> <dialogue>Break out the toys!</dialogue> <scene_description>X - Takks are upon them , and the battle is joined . X - Net disks fly by the hundreds . Krod and Code Monkeys fire a SQRAM projectile , which opens mid - air into a super - wide circular magnetic field `` net '' . SQRAM field sucks in X - Net disk and zaps them to ash . X - Takks charge . Rush flips down from above , throws tron - disk - Disk ricochets of ten X - Takks , mows them down . Rush retrieves his disk , lands near Krod and Fighters .</scene_description> <character>RUSH</character> <dialogue>Block this choke point, slow them down. Can you guys do it?</dialogue> <character>QUANTZ</character> <dialogue>Not a problem.</dialogue> <scene_description>He throws his disk behind his back , takes out an approaching X - Net goon . Rush hurries away with Mega and Flynn . Krod , Quantz , Boole and Code Monkeys are besieged by a hundred X - Takks .</scene_description> <character>KROD</character> <dialogue>Whoa! Retreat! That way! Keep firing! RUN! AHHH!</dialogue> <scene_description>Plexor enters the battle arena with his four CYBAVORS . He scans keenly , then heads off another direction .</scene_description> </scene> <scene> <stage_direction>INT. X-NET GANTRY / MAIN POWER SUPPLY</stage_direction> <scene_description>Flynn hobbles , helped by Mega . Rush leads them around a corner , in sight of : MAIN POWER SUPPLY . Massive reactive CORE CONTAINMENT CUBE . Rush comes to the edge of a deep , narrow moat . Bottom is a channel of ROILING , MOLTEN CHROMATIC DATA . No bridges .</scene_description> <character>RUSH</character> <dialogue>We have to get across.</dialogue> <scene_description>RAAAA ! Six X - Takks are upon them , disks flying , NegaByte eraser beams swinging . Flynn Takes a hit in the chest .</scene_description> <character>FLYNN</character> <dialogue>ARRGGHH!</dialogue> <scene_description>Rush and Mega dodge , fling their disks with lethal accuracy - X - Takks crash and fall , tumbling into the moat abyss , flashing as they hit the molten bottom .</scene_description> </scene> <scene> <stage_direction>INT. X-NET CENTRAL SERVER CORRIDORS</stage_direction> <scene_description>Krod , Boole and Quantz bait a phalanx of X - Takks , Code Monkeys spring a DEGAUSSING CHARGE , which cuts off a column at the base . Column tumbles , crashing X - Takks , blocking the way . High fives among Krod and Fighters . One Small X - Takk breaks through , ZAPPING through the air , reforming , ZAPPING CLOSER . Fighters turn to blast him . But Krod recognizes the pattern :</scene_description> <character>KROD</character> <dialogue>Wait! I know that dude!</dialogue> <scene_description>Quantz stuns an X - Takk Soldier - Code Monkeys hack his X - Net Armor . Armor powers down , revealing :</scene_description> <character>KROD</character> <dialogue>I - beem!</dialogue> <scene_description>I - beem shakes off his brainwashing .</scene_description> <character>I-BEEM</character> <dialogue>Krod my friend! Who are these guys?!</dialogue> <character>KROD</character> <dialogue>We're taking out Plexor. You with us or them?</dialogue> <scene_description>X - Takks attack the group , including I - beem . I - beem zaps away , reappearing next to an X - Takk . He steals the X - Takk 's NEGABYTE BLASTER and mows down three X - Takks , saving trapped Boole .</scene_description> <character>I-BEEM</character> <dialogue>With you!</dialogue> <scene_description>I - beem joins Fighters as they press deeper , engaging the next X - Takk onslaught .</scene_description> </scene> <scene> <stage_direction>INT. X-NET POWER SUPPLY OUTER GANTRY - CONTINUOUS</stage_direction> <scene_description>Rush and Mega haul Flynn along a narrow ledge .</scene_description> <character>FLYNN</character> <dialogue>There. You can make it across!</dialogue> <scene_description>He points to a thin ledge on the other side , far below . Rush extends his Light Pole to the ledge , moves to gather Flynn for a vault - crossing .</scene_description> <character>FLYNN</character> <dialogue>No, take Mega! I'll stay here and run interference.</dialogue> <character>RUSH</character> <dialogue>You have n't got a chance by yourself.</dialogue> <character>FLYNN</character> <dialogue>Ah, these guys are wimps.</dialogue> <scene_description>It 's bravado : They know his odds are dismal . Flynn slumps into an alcove , which is only big enough for him . He pulls a supply of SPIKED MINI - DISKS , ready to defend himself .</scene_description> <character>MEGA</character> <dialogue>We're not leaving you.</dialogue> <character>FLYNN</character> <dialogue>My body is weak, but my will is strong. I promise, no matter what they do to me, I'll survive this. Trust the bigger plan.</dialogue> <scene_description>He 's fading fast .</scene_description> <character>MEGA</character> <dialogue>But Flynn -</dialogue> <scene_description>X - Takks attack along the ledge .</scene_description> <character>FLYNN</character> <dialogue>GO! NOW!</dialogue> <scene_description>Rush throws his arm around Mega and VAULTS across the moat , landing on the far side - gaining a slim foot - hold below a core ENTRY POINT . Flynn chooses his moment , leans out and throws . His mini disks take out X - Takks on the ledge . Their bodies tumble into the moat , flashing as they hit . Flynn spins , the wall behind him opens . At the end of a square corridor stands : PLEXOR . Flanked by his four snarling Cybavor beasts .</scene_description> <character>PLEXOR</character> <dialogue>Flynn. Your moment of obsolescence is upon you.</dialogue> <scene_description>Across the moat , Rush and Mega climb to the entry point . Flynn plays for time , stalling Plexor so he does n't catch sight of them .</scene_description> <character>FLYNN</character> <dialogue>Freedom, Plexor. It's the better idea. That's why Mega chose my side.</dialogue> <character>PLEXOR</character> <dialogue>If an idea is erased from all memory banks, it can be neither good nor bad. When each alternative has been removed, X - Net will simply BE.</dialogue> <scene_description>With a hand signal , he commands his Cybavors . They raise up , poised to attack Flynn .</scene_description> <character>FLYNN</character> <dialogue>Crash me. Hack me. Do what you want. The yearning for freedom will last forever.</dialogue> <character>PLEXOR</character> <dialogue>Nice speech. USER!</dialogue> <scene_description>He flicks a finger . Cybavors gallop at Flynn .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN POWER SUPPLY CORE - LEDGE</stage_direction> <scene_description>Rush and Mega gain footing at the entry point . They turn at the sound of DIGITAL SNARLING . Across the moat , a gut - wrenching sight : All four Cybavors pounce on Flynn , hurling him off the ledge , mauling him as they go down , dividing into eight - Plummeting toward the MOLTEN DATA far below . Plexor steps out of his corridor , relishing the view : Remains of fallen bodies FLASH into the inferno .</scene_description> <character>MEGA</character> <dialogue>Noooooo!</dialogue> <scene_description>Plexor sees Mega and Rush on the other side .</scene_description> <character>PLEXOR</character> <dialogue>Over there! Surround them!</dialogue> <scene_description>Bridges instantly extend from outer square to CORE CUBE . X - Takks stream across , firing -</scene_description> </scene> <scene> <stage_direction>INT. POWER SUPPLY CORE CUBE</stage_direction> <scene_description>Rush and Mega duck inside entry point , pelted by disks . Before them : A vast , brilliant , energized LATTICE . Power surges in rings , drawing down huge columns . Every piece of geometry is based on perfect squares , made of mirror - finished rare earth elements . Rush pulls the HOLOGON KEY into view . Facets resonate with energy patterns like those in the core .</scene_description> <character>RUSH</character> <dialogue>We plug this into the control cell, X - Net is history.</dialogue> <character>MEGA</character> <dialogue>Let's do it for Flynn.</dialogue> <scene_description>They share a heartbeat of solidarity . Rivalry gone . X - Takks stream in , firing . Rush and Mega charge the center , throwing disks , fighting back - to - back . Problem is , ENERGY RINGS move continuously down the columns - and the columns are spaced close - leaving just enough time between ring - passes to jump through .</scene_description> <character>RUSH</character> <dialogue>NOW!</dialogue> <scene_description>He and Mega JUMP , nearly raked by down - flowing ENERGY RINGS . X - Takks fire NEGABYTE BLASTERS - but many of the beams are caught in the energy flow and sucked away . That 's how intense this place is . X - Takk Soldier is grazed , stumbles into ENERGY COLUMN . RING rakes down and ZAPS him nasty - reducing him to bits , sucking his energy to the levels below . Rush and Mega encounter oncoming X - Takks - they must split up . They fling disks , taking out X - Takks , dodging fire - working their way deeper . Meg and Rush throw their disks simultaneously . Both disks score hits , then arc to return . Rush and Mega catch each other 's disk . They each look at the strange disks - it 's just not the same . The do a quick swap and keep fighting .</scene_description> <character>MEGA</character> <dialogue>Over there!</dialogue> <scene_description>The CONTROL CELL . Dead center .</scene_description> </scene> <scene> <stage_direction>INT. CONTROL CELL CHAMBER</stage_direction> <scene_description>Rush and Mega battle off three X - Takks - the way is clear . Rush leaps , crashes planes of silicon . Stows his disk , pulls out the HOLOGON . Spots the control cell 's key receptacle - SHAPES MATCH . Rush moves to insert the hologon . A DISK STRIKES his arm - HOLOGON flies wild .</scene_description> <character>RUSH</character> <dialogue>AAARRGGGHHH!</dialogue> <scene_description>PLEXOR drops from above , riding an OPTIK SHAFT .</scene_description> <character>PLEXOR</character> <dialogue>Where did you get that?! No one knows this code but me!</dialogue> <character>RUSH</character> <dialogue>Your software has the biggest flaw there is, Plexor. You ca n't see you own mistakes.</dialogue> <scene_description>Plexor snatches his Death - disk , corners Rush for the kill . Mega 's disk crashes silicon , comes at Plexor - But his defense field repels it . He slams it aside and it 's raked away by downward flowing energy rings . Rush DIVES at PLEXOR . He 's like a statue . But this time RUSH holds him and infuses tron - energy , breaking down Plexor 's defense field , eating into his body circuits . It 's fractal zapping fireworks - evenly matched foes battling face - to - face .</scene_description> <character>RUSH</character> <dialogue>Do it Mega!</dialogue> <scene_description>Mega scoops HOLOGON off floor , makes for CONTROL CELL - Plexor 's hand shoots out , GRABS HER , stops her like iron . Plexor exerts his power , holds Rush and Mega by the throats with his two hands , backing them toward a surface ripping with HOT ENERGY RINGS . Rush and Mega struggle , an inch from death - ZAAAAAA - Plexor stops , annoyed . Turns and sees : Krod , Fighters and I - beem have arrived , firing blasters at Plexor 's SPINAL NEXUS . It hardly makes a dent , but it creates a fleeting opportunity for Rush - Rush ducks forward , SHOOTS his disk off his back , smacking Plexor in the throat . Mega falls clear - Rush hurls Plexor against energy rings - Energy rakes down his body , but he fights the effects an DOES NOT MELT DOWN . He step away , shakes off the damage , retrieves his disk into a hand . Mega snags the hologon -</scene_description> <character>MEGA</character> <dialogue>RUSH!</dialogue> <scene_description>She tosses it to Rush , who 's already airborne - Rush catches hologon , sails to the control unit - Jams hologon into its receptacle . Plexor cocks his death disk , EYES FLASH ELECTRO - PSYCHOSIS - Hologon REACTS with CENTRAL CELL - Shockwaves RADIATE - Energy rings go dim , then dark - Silicon shatters to ash - X - Takks power down . X - Net armor de - rezzes , leaving innocent civilian Programs . They shake off the mind - control and rise unshackled . And Plexor , like all things X - Net , chatters and glitches . His code erodes , his bits darken , the fiber of his being erodes from inside .</scene_description> <character>MEGA</character> <dialogue>Now who's obsolete?</dialogue> <scene_description>Rush executes a final leap , extending his feet for the final blow , straight at Plexor - CRASH - shattering him to bits . Rush finally breathes . Sees I - beem , Krod , Quantz , Boole , Code Monkeys .</scene_description> <character>RUSH</character> <dialogue>Thanks guys.</dialogue> <character>KROD</character> <dialogue>I'll never let you forget it.</dialogue> <scene_description>Boole tosses Rush his tron - disk .</scene_description> </scene> <scene> <stage_direction>EXT. CYBERSPACE VISTA POINT</stage_direction> <scene_description>Rush , Mega , Krod , I - beem , Fighters and liberated Programs stow disks and step to a high vantage point . Before them expands a vista of cyberspace . Power - down of X - Net radiates in all directions , leaving everything else intact . Beautiful , exotic old data networks instantly begin to regenerate into the open space .</scene_description> <character>MEGA</character> <dialogue>We're free. At last we're free.</dialogue> </scene> <scene> <stage_direction>EXT. X-NET GRAND OPENING CEREMONY - MORNING</stage_direction> <scene_description>Sinclair commands the podium :</scene_description> <character>SINCLAIR</character> <dialogue>In a world exposed to increasing data corruption, I hereby switch on the first global network offering 100 % guaranteed data security. Flawless performance, zero downtime. The world works hard, the world deserves.</dialogue> <scene_description>He throws a switch . HUGE monitors blaze with X - Net logos and graphic portals . Countdown 3,2,1 .</scene_description> <character>SINCLAIR</character> <dialogue>X - NET!</dialogue> <scene_description>CROWD CHEERS . MEDIA BUZZES . X - Net instantly CRASHES . All screens jam , glitch and DIE . Crowd is stunned . Sinclair is mortified .</scene_description> </scene> <scene> <stage_direction>EXT. CYBERSPACE VISTA POINT</stage_direction> <scene_description>Krod , I - beem , Boole , Quantz and Code Monkeys CHEER . Mega embraces Rush . Energy sizzles between them .</scene_description> <character>MEGA</character> <dialogue>I underestimated you. Thanks.</dialogue> <scene_description>She presses her lips to his . It 's electric .</scene_description> <character>KROD</character> <parenthetical>( to I - beem . )</parenthetical> <dialogue>You knew she always liked him.</dialogue> <character>CODE MONK B3T</character> <dialogue>Is she pinging his EPROM?</dialogue> <character>CODE MONK J2R</character> <dialogue>I ca n't see from here.</dialogue> <scene_description>But out of triumph , a sudden concern - Rush 's body shoots DATA ENERGY into Mega , into ground circuits . Lightshow overload intensifies and spreads . Mega backs away in pain .</scene_description> <character>RUSH</character> <dialogue>Whoa, ouch, what? Ahhhhh!</dialogue> <character>MEGA</character> <dialogue>Rush, what is it?</dialogue> <scene_description>Rush 's body DRAINS AWAY into the energized circuitry .</scene_description> <character>RUSH</character> <dialogue>Guys! Mega! NOOO!</dialogue> <scene_description>He reaches a hand to Mega . PAIN ENERGY ZAPS her , but she clasps his hand anyway .</scene_description> <character>KROD</character> <dialogue>Help him!</dialogue> <scene_description>Code Monkeys attempt desperate measures , but soon it 's over . Bits of Rush dissipate into surrounding circuitry , then BEAM SKYWARD in blazing curtain , like a quantum aurora borealis . Mega is left with a handful of nothing .</scene_description> <character>QUANTZ</character> <dialogue>It's the way it should be.</dialogue> <character>BOOLE</character> <dialogue>He's going back to the place he belongs.</dialogue> </scene> <scene> <stage_direction>EXT. CYBERSPACE TRANSITION</stage_direction> <scene_description>Rush 's energy body hurls across cyberspace . Bits streak , light bends -</scene_description> </scene> <scene> <stage_direction>INT. ENCOM ADVANCED RESEARCH LAB - NIGHT</stage_direction> <scene_description>Rush materializes in the target chair . Human flesh , real clothes . Same as the moment he left . He bolts up , realizes where he is . Looks at his hands . Sees Jo - jo the rat staring at him . Meg and Dewey hurry over to unstrap Rush . Meg holds his hands , checks the integrity of his body .</scene_description> <character>MEG</character> <dialogue>Rush. You made it!</dialogue> <character>RUSH</character> <dialogue>Like a bad cold, I'm always coming back.</dialogue> <character>VOICES</character> <dialogue>He made it! Rush! You okay?!</dialogue> <scene_description>Rush looks around . Miles -LRB- `` Krod '' -RRB- and a group of oddly - familiar Co - WORKERS . People who look just like I - beem , Quantz , Boole and the Code Monkeys .</scene_description> <character>RUSH</character> <parenthetical>( double - takes on Meg . )</parenthetical> <dialogue>I met a program you wrote. She's just as incredibly beautiful and confusing as you.</dialogue> <character>MEG</character> <dialogue>I know. Mega told me all about what you did in there.</dialogue> <character>RUSH</character> <dialogue>She gave you my coordinates. That's how you uploaded me?</dialogue> <character>MEG</character> <dialogue>Yes. Your coordinates. and his.</dialogue> <scene_description>They look across the room . At the control console stands a MAN with his back to us . He 's curiously examining Meg 's equipment .</scene_description> <character>THE GUY</character> <dialogue>She's done an amazing job here, Rush.</dialogue> <scene_description>He turns . It 's FLYNN . In the flesh . Leg healed .</scene_description> <character>RUSH</character> <dialogue>Flynn!</dialogue> <character>FLYNN</character> <dialogue>I told you to trust the bigger plan.</dialogue> <character>MEG</character> <dialogue>I'd come to suspect Flynn was alive, inside. But I had no way to know for sure.</dialogue> <character>FLYNN</character> <dialogue>You picked the right guy to send in.</dialogue> <character>MEG</character> <dialogue>Working down here, I became convinced someone tried to murder Flynn. But the only person I could confide in was the guy I suspected most.</dialogue> <scene_description>Elevator opens . Sinclair charges in , furious . Trailed by SECURITY MEN .</scene_description> <character>SINCLAIR</character> <dialogue>What are you people doing down here!?! Get back to work! X - Net has CRASHED! We'll all be ruined!</dialogue> <character>FLYNN</character> <dialogue>Speak for yourself, Sinclair.</dialogue> <scene_description>Sinclair wheels to see Flynn : Alive , standing in front of him . Trapped by the ugly truth , Sinclair turns rage on Meg .</scene_description> <character>SINCLAIR</character> <dialogue>I ordered you to destroy this equipment!</dialogue> <scene_description>Rush gets in Sinclair 's face .</scene_description> <character>RUSH</character> <dialogue>Hey, jerk, she does n't do your dirty work. Neither do I. Not anymore. You lied to me, to all of us. You want to deal with somebody? I'm the guy who crashed X - Net.</dialogue> <scene_description>Sinclair goes for Rush . Rush delivers a solid punch . Sinclair grabs his bloody nose .</scene_description> <character>SINCLAIR</character> <dialogue>You're fired, everybody get out.</dialogue> <character>FLYNN</character> <dialogue>No, Sinclair. I'm back. And I'm the boss again. You're fired. Not only are you fired, you're going to have a lot of explaining to do to the SEC, the Justice Department and the FBI.</dialogue> <parenthetical>( to SECURITY MEN . )</parenthetical> <dialogue>Hold him until the police get here.</dialogue> <character>SECURITY MAN 1</character> <dialogue>Yes Sir, Mr. Flynn.</dialogue> <scene_description>SECURITY MEN haul out Sinclair . Flynn addresses the group .</scene_description> <character>FLYNN</character> <dialogue>X - Net is dead. But Encom lives. We're going to bring this company back to its place as the leader in finding the next big thing. I'll need to be free to do the dreaming. So, effective immediately, I'm appointing two bold, bright, courageous people to head worldwide operations.</dialogue> <scene_description>He presents Rush and Meg . They 're stunned .</scene_description> <character>FLYNN</character> <dialogue>You both earned it.</dialogue> <character>RUSH</character> <dialogue>Cool.</dialogue> <character>MEG</character> <dialogue>I love it.</dialogue> <character>RUSH</character> <dialogue>We'll take it.</dialogue> <parenthetical>( to Miles - `` Krod '' . )</parenthetical> <dialogue>You get a division to run.</dialogue> <character>MILES</character> <dialogue>Yes.</dialogue> <parenthetical>( to Phlegman . )</parenthetical> <dialogue>Does that mean a bigger cubicle?</dialogue> <scene_description>Cheers all around . Flynn approaches Rush and Meg .</scene_description> <character>FLYNN</character> <dialogue>Put on some coffee. You two are going to be putting in a lot of overtime together.</dialogue> <scene_description>Meg turns to Rush .</scene_description> <character>MEG</character> <dialogue>Do you remember how, along time ago, you used to give me a professional congratulatory peck on the cheek?</dialogue> <scene_description>Rush goes for the lips . THE END</scene_description> </scene> </script>

In 1989, seven years after the events of the first film, Kevin Flynn, who has been recently promoted CEO of ENCOM International, disappears. Twenty years later, his son Sam, now ENCOM's primary shareholder, takes little interest in the company beyond playing an annual prank on its board of directors. In his most recent stunt, he releases a free version of the company's signature operating system for free online. Alan Bradley, an ENCOM executive and Flynn's old friend, quietly applauds the action, believing that the newest version is an attempt to gouge customers and that the early release is aligned with Kevin Flynn's ideals of free and open software. Sam escapes the ENCOM building by parachuting off the roof, but is arrested on the ground for trespassing. Alan posts bail for Sam to release him from police custody and meets with him to discuss a strange pager message originating from Flynn's shuttered video arcade. Sam investigates the arcade and discovers a large computer in a hidden basement, which suddenly digitizes and downloads him into the Grid, a virtual reality created by Flynn that exists as an independent system. He is quickly captured and sent to "the Games," where he is forced to fight a masked program named Rinzler. When Sam is injured and bleeds, Rinzler realizes that Sam is human, or a "User" and takes him before Clu, the Grid's corrupt ruling program who resembles a young Kevin Flynn. Clu nearly kills Sam in a Light Cycle match, but Sam is rescued by Quorra, an "apprentice" of Flynn, who conveys him to his father's hideout outside Clu's territory. Flynn reveals to Sam that he had been working to create a "perfect" computer system and had appointed Clu and Tron (a security program created by Alan) its co-creators. During this construction, the trio discovered a species of naturally occurring "isomorphic algorithms" (ISOs) not conceived by Flynn, bearing the potential to resolve various mysteries in science, religion and medicine. Clu, considering them an aberration, betrayed Flynn, seemingly killed Tron, and destroyed the ISOs. Meanwhile, the "Portal" permitting travel between the two worlds had closed, leaving Flynn trapped in the system. Having gained complete control, Clu sent the message to Alan in order to lure Sam onto the Grid and reopen the Portal for a limited time. As Flynn's "identity disc" is the master key to the Grid and the only way to traverse the Portal, Clu expects Sam to bring Flynn to the Portal so he can take Flynn's disc, go through the Portal himself, and impose his idea of perfection on the human world. Against his father's wishes, Sam returns to Clu's territory on Quorra's tip-off to find Zuse, a program who can provide safe passage to the Portal. At the End of Line Club, its owner Castor reveals himself to be Zuse, then betrays Sam to Clu's guards. In the resulting fight, Flynn rescues his son, but Quorra is injured and Zuse gains possession of Flynn's disc. Zuse attempts to bargain with Clu for the disc, but Clu simply takes the disc and destroys the club along with Zuse. Flynn and Sam stow away aboard a "solar sailer" transport program, where Flynn restores Quorra and reveals her to be the last surviving ISO. The transport is intercepted by Clu's warship; as a diversion, Quorra allows herself to be captured by Rinzler, who Flynn recognizes as Tron, reprogrammed by Clu. Sam reclaims Flynn's disc and rescues Quorra, while Flynn takes control of a Light Fighter on the flight deck. Clu, Rinzler, and several guards pursue the trio in Light Jets. Upon making eye contact with Flynn, Rinzler remembers his past and deliberately collides with Clu's Light Jet, but Clu uses Tron's spare baton to escape while Tron falls into the Sea of Simulation below. Clu confronts the others at the Portal, where Flynn reintegrates with his digital duplicate, destroying Clu along with himself. Quorra, having switched discs with Flynn, gives Flynn's disc to Sam and they escape together to the real world, rematerializing themselves. In Flynn's arcade, Sam backs up and deactivates the system. He then finds a waiting Alan and tells him he plans to retake control of ENCOM, naming Alan chairman of the board. He departs on his motorcycle with Quorra, and she witnesses her first real sunrise.

Sparkle_2012

tt1876451

<script> <scene> <character>SPARKLE</character> <dialogue>Written by</dialogue> <scene_description>Mara Brock Akil Based on the Original Screenplay by Joel Schumacher</scene_description> <character>\[PRODUCTION DRAFT LOCKED WHITE PAGES\]</character> <dialogue>September 20, 2011</dialogue> <scene_description>A soulful voice, crooning. All of a sudden the voice and \* music disappears with dramatic punctuation. Cut to: \*</scene_description> </scene> <scene> <stage_direction>INT. DISCOVERY CLUB - NIGHT 1 \*</stage_direction> <scene_description>A tight CLOSE UP of a sweaty, overweight young male vocalist (think Cee Lo), who is holding his expression for dramatic affect. Then he suddenly belts out the hook a cappella. The captured CROWD erupts. We are in:</scene_description> <character>MUSICAL PERFORMANCE #1</character> <dialogue>This is a cramped, storefront club where the young folks go. The stage is simple, barely enough space for the HOUSE BAND \* and the man at the mic, BLACK, who continues to rip through \* his song, having fun with the crowd. \*</dialogue> </scene> <scene> <stage_direction>INT. DISCOVERY CLUB - BACKSTAGE AREA/KITCHEN - NIGHT 2 \*</stage_direction> <scene_description>TAMMY "SISTER" ANDERSON (28), a beautiful woman who exudes sexy, has her hand on her hip and her lips pursed-- some call this black woman sass. And she is giving all of this attitude to her younger sister, SPARKLE ANDERSON (19), who is equally beautiful, but hides herself in modesty.</scene_description> <character>SPARKLE</character> <dialogue>Sister, please.</dialogue> <character>SISTER</character> <dialogue>No. I am not going on after a troll who just sang himself cute.</dialogue> <character>SPARKLE</character> <dialogue>Pretty please.</dialogue> <character>SISTER</character> <dialogue>I don't know why I even let you talk me into coming down here. I think I'm the oldest sardine in this can.</dialogue> <character>SPARKLE</character> <dialogue>You don't look it.</dialogue> <character>SISTER</character> <dialogue>That's true. But it's your song, you go out there and sing it.</dialogue> <character>SPARKLE</character> <dialogue>You're the singer in our family.</dialogue> <character>9/20/2011</character> <dialogue>You sing.</dialogue> <character>SPARKLE</character> <dialogue>Yeah, but you know how to keep people's attention.</dialogue> <scene_description>Just then they both see a GOOFY GUY just staring at Sister.</scene_description> <character>SPARKLE</character> <dialogue>See? People want to see you talk. Imagine how you will blow them away when you sing.</dialogue> <scene_description>Just then Black finishes to a rousing APPLAUSE. Then cutting through the applause, we hear the announcer, RED.</scene_description> <character>RED (V.O.)</character> <dialogue>Black, ladies and gentleman. We'll keep the applause going. Next up--</dialogue> <character>SPARKLE</character> <dialogue>Please, I just want to hear my song.</dialogue> <character>RED (V.O.)</character> <dialogue>Sister Anderson. This is her first time at the Discovery Club, so make her feel welcome.</dialogue> <character>SPARKLE</character> <dialogue>Please. I went over everything with the band.</dialogue> <scene_description>Black walks into the backstage area. \*</scene_description> <character>BLACK</character> <parenthetical>(smiling at Sister)</parenthetical> <dialogue>You really want to do this?</dialogue> <scene_description>Sister smiles back, slips her arms out of her sweater and \* spins it around, now showing ample cleavage. The smile on \* Sisters face says it all, what competition their was is over. \* Black swallows hard. \* \*: STAGE Sister steps on the stage and pulls the mic close to her \* lips. \*</scene_description> <character>SISTER</character> <parenthetical>(to crowd)</parenthetical> <dialogue>Thank you.</dialogue> <character>9/20/2011</character> <dialogue>the attention of the crowd and JEREMIAH "STIX" WARREN (25), a charming, young lady killer who has big dreams and a bigger smile. Sister nods to the pianist. The band starts to play. Sparkle carves out a good place to watch. She catches Stix's attention too. They smile at each other. Sister's first note commands that all eyes and smiles are on her.</dialogue> <scene_description>MUSICAL PERFORMANCE #2 Sister sings a song about a woman choosing a guy to love in the vain of Solange's "I Decided." It's an upbeat, catchy Motown-style song. Sister has the attention of the crowd, but she wants more:</scene_description> <character>SISTER</character> <dialogue>Alright, we got that part down.</dialogue> <parenthetical>(starts clapping)</parenthetical> <dialogue>Now give me a soul clap.</dialogue> <scene_description>Sparkle is horrified until she sees the entire place starting to clap.</scene_description> <character>SISTER</character> <dialogue>Don't lose my beat. I need my beat. That's it.</dialogue> <scene_description>Sister jumps back into the song. The added touch with her vocals instantly picks up the energy in the song and the vibe in the room. Sparkle joins in, relieved. And Stix loves watching the crowd enjoy Sister. He makes his way toward the: MAKESHIFT BACKSTAGE/KITCHEN AREA \* Stix stands next to Black.</scene_description> <character>BLACK</character> <dialogue>So what you think, Mr. Manager? We gone do some business?</dialogue> <character>STIX</character> <dialogue>You got to lose some weight.</dialogue> <character>BLACK</character> <dialogue>My belly helps me sing.</dialogue> <character>STIX</character> <dialogue>TVs are getting bigger and clothes are getting smaller. You were made for radio.</dialogue> <character>BLACK</character> <dialogue>Man you cold.</dialogue> <character>9/20/2011</character> <dialogue>Sister finishes her song to great APPLAUSE. Sister winks at Sparkle.</dialogue> <character>RED</character> <dialogue>Give it up for Sister Anderson.</dialogue> <scene_description>Red is mesmerized by her butt in a pencil skirt.</scene_description> <character>RED</character> <dialogue>Oh, sorry about that, I got lost.</dialogue> <parenthetical>(the crowd laughs)</parenthetical> <dialogue>Next up on stage is a pretty talented drummer from Harlem trying to make it here in Motown... \*</dialogue> <scene_description>Sparkle heads to the: MAKESHIFT BACKSTAGE AREA Sister steps off stage and smiles at Black. He smiles back and bows his head as if addressing the Queen.</scene_description> <character>BLACK</character> <dialogue>Feminine, lets say... \*</dialogue> <scene_description>Black glances down at Sisters cleavage. \*</scene_description> <character>BLACK (CONT'D) \*</character> <dialogue>Charm. Mandatory group \* participation. Nice touches. See \* you next week?</dialogue> <character>SISTER</character> <dialogue>Maybe, maybe not.</dialogue> <scene_description>Sparkle runs up and hugs Sister hard.</scene_description> <character>SPARKLE</character> <dialogue>You were great!</dialogue> <parenthetical>(breaks hug)</parenthetical> <dialogue>But we have to go. We have five minutes to catch the last bus.</dialogue> <character>STIX</character> <parenthetical>(to Sister)</parenthetical> <dialogue>Excuse me.</dialogue> <character>SISTER</character> <dialogue>I don't date younger men.</dialogue> <character>STIX</character> <dialogue>No, I'm not--</dialogue> <character>9/20/2011</character> <dialogue>I'm sorry but we have to go.</dialogue> <scene_description>Sparkle snatches Sister and heads out of the club. Stix looks up to find Black smiling at him.</scene_description> <character>BLACK \*</character> <dialogue>Bird in hand. \*</dialogue> <character>ANGLE:STAGE \*</character> <dialogue>The Harlem Drummer is making musical magic. He hits a cymbal \* and the sound turns into.. \*</dialogue> <scene_description>3 OMITTED 3 \*</scene_description> </scene> <scene> <stage_direction>INT. BUS - DETROIT DOWNTOWN - DRIVING - NIGHT</stage_direction> <scene_description>... The sound of the bus door opening to let the girls on. \* Sparkle collapses in the seat. This is when she allows herself to truly reflect on the evening. She starts \* laughing.</scene_description> <character>SISTER</character> <dialogue>What are you laughing about?</dialogue> <character>SPARKLE</character> <dialogue>They loved my song.</dialogue> <character>SISTER</character> <dialogue>They loved me.</dialogue> <character>SPARKLE</character> <dialogue>Of course they did.</dialogue> <parenthetical>(Sister is touched)</parenthetical> <dialogue>Because you were singing my song.</dialogue> <scene_description>Sparkle laughs and Sister playfully shoves her away.</scene_description> <character>SPARKLE</character> <dialogue>That was fun.</dialogue> <character>SISTER</character> <dialogue>Yes it was.</dialogue> <character>SPARKLE</character> <dialogue>Next time though, get through the first verse and hook before you do your soul clap, because--</dialogue> <character>9/20/2011</character> <dialogue>Uh, Miss Thing, 'next time'?</dialogue> <character>SPARKLE</character> <dialogue>Yeah, I have a lot more songs.</dialogue> <character>SISTER</character> <dialogue>Well, then you better get a lot more confidence and sing them yourself. Because slavery is over.</dialogue> <character>SPARKLE</character> <dialogue>Really? You're not going to sing anymore?</dialogue> <character>SISTER</character> <dialogue>No. Now assume the position.</dialogue> <scene_description>Sparkle, a bit disappointed, positions her body to block the view of any other passengers so Sister can change out of her clothes into more casual attire. After a beat, Sparkle, \* looks out of the window and sees the Legend Theater marquee \* lit up with Marvin Gaye's name shining brightly. Thinking \* "one day" she smiles to herself. \*</scene_description> </scene> <scene> <stage_direction>EXT. ANDERSON HOUSE - MORNINGSIDE NEIGHBORHOOD - NIGHT</stage_direction> <scene_description>It's a red brick Tudor that sits on a wide, tree-lined \* street, typical of this middle-to-upper-middle-class neighborhood. Sparkle and Sister run up to the side of the house, shoes in hand, and tap on the side door. After a \* beat, it opens. DOLORES "DEE" ANDERSON (24), their darker \* half-sister, is there dressed for bed, including curlers. \*</scene_description> <character>DOLORES</character> <dialogue>Y'all late... and she's up.</dialogue> <scene_description>The girls walk softly through the door, and quickly up the \* stairs. \*</scene_description> </scene> <scene> <stage_direction>INT. ANDERSON HOUSE - DOLORES'S ROOM - NIGHT</stage_direction> <scene_description>The girls hear their mother coming and cut into Dee's room. \* The girls muffle their laughter. Then nanoseconds later their mother EMMA ANDERSON (late 40s), who is also dressed \* for bed with curlers, taps on the door.</scene_description> <character>EMMA (O.S.) \*</character> <dialogue>What are y'all doing in--</dialogue> <scene_description>She walks in just as Sparkle and Sister slip under the covers of Dolores's bed, hiding their street clothes.</scene_description> <character>9/20/2011</character> <dialogue>Dolores's full size bed.</dialogue> <character>EMMA (CONT'D) \*</character> <dialogue>My babies.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>But y'all don't love each other that much. Sparkle, Sister, curl your hair and get to bed. We have church in the morning.</dialogue> <scene_description>She leaves then comes right back in:</scene_description> <character>EMMA (CONT'D) \*</character> <dialogue>And Dolores, shut that window. My heater ain't on for the fun of it.</dialogue> <scene_description>She leaves again. Sparkle and Sister muffle more giggles.</scene_description> <character>DOLORES</character> <dialogue>Y'all heifers sneak out and I get fussed at?</dialogue> <scene_description>They muffle more laughter. Dolores shakes her head.</scene_description> </scene> <scene> <stage_direction>INT. NEW HOPE BAPTIST CHURCH - SUNDAY MORNING 7 \*</stage_direction> <scene_description>The fifty-plus choir marches center aisle to their seats as \* the organist plays a soulful gospel song and REVEREND BRYCE \* leads his congregation into their morning prayer. Sitting in \* one of the back pews is Stix. He taps his cousin, LEVISON "LEVI" WARREN (28), to look up. They talk in whispers. \*</scene_description> <character>STIX</character> <dialogue>Six churches, six Sundays and six dollars later I find her.</dialogue> <scene_description>Stix points out Sister to Levi as she passes by. Levi smiles.</scene_description> <character>LEVI</character> <dialogue>Man, that's who you've been talking about? That's Tammy Anderson, she \* got two fine sisters too, and they \* all can sing. \*</dialogue> <character>STIX \*</character> <dialogue>Is that right? \*</dialogue> <character>LEVI \*</character> <dialogue>But their mama is crazy... \*</dialogue> <character>9/20/2011</character> <dialogue>back in the pew counting his new found blessings. Levi keeps \* his eyes locked on Sister. The Choir loads into their seats, \* but remain standing until Emma, their choir director, motions \* for them to sit. \*</dialogue> </scene> <scene> <stage_direction>EXT. NEW HOPE BAPTIST CHURCH - DETROIT STREETS - DAY</stage_direction> <scene_description>The congregation pours out of the front doors of the church right onto the heart of Detroit's black epicenter. Emma's walking with SISTER CLORA (40s) and her sparring buddy \* and best girlfriend MS. SARA WATERS. \*</scene_description> <character>SISTER CLORA</character> <dialogue>How's the new house?</dialogue> <character>EMMA \*</character> <dialogue>Lovely. We're all settled in now.</dialogue> <character>MS. WATERS</character> <parenthetical>(teasing to Sister Clora)</parenthetical> <dialogue>Well, we sure are glad to see those white folks haven't changed her, huh Clora?</dialogue> <character>SISTER CLORA</character> <dialogue>Or have they? Heard you got a new color TV too. \*</dialogue> <scene_description>Emma smiles at their teasing. \*</scene_description> <character>MS. WATERS</character> <dialogue>Must be nice, our lives are still in black and white.</dialogue> <character>EMMA \*</character> <dialogue>Going to stay that way if you keep \* letting that girl of yours eat up \* your pay check. \*</dialogue> <scene_description>Emma and Clora share a laugh while Ms. Waters gives Emma a \* look, then something catches Emma's attention. Her eagle-eye \* finds Stix approaching Sparkle. ANGLE ON: Stix and Sparkle. He makes her nervous... in a good way.</scene_description> <character>STIX</character> <dialogue>You were at Discovery a few weeks ago?</dialogue> <character>9/20/2011</character> <dialogue>Shhh.</dialogue> <scene_description>She nervously looks around.</scene_description> <character>STIX</character> <parenthetical>(catching on, covering)</parenthetical> <dialogue>Bible study is at your house this week, right?</dialogue> <character>SPARKLE</character> <parenthetical>(stiff)</parenthetical> <dialogue>Right.</dialogue> <character>STIX</character> <parenthetical>(teasing)</parenthetical> <dialogue>You're bad at this. Just act natural.</dialogue> <parenthetical>(then reaching out to shake her hand)</parenthetical> <dialogue>Stix.</dialogue> <parenthetical>(off her look)</parenthetical> <dialogue>I don't know you well enough to tell you my real name, so it's Stix.</dialogue> <character>SPARKLE</character> <dialogue>Sparkle.</dialogue> <character>STIX</character> <dialogue>Touche.</dialogue> <character>SPARKLE</character> <dialogue>No, that's my name.</dialogue> <character>STIX</character> <parenthetical>(wicked smile)</parenthetical> <dialogue>Well then, I'll see you at Bible study, Sparkle.</dialogue> <scene_description>He walks away, as Sparkle smiles to herself. ANGLE ON: Emma and Ms. Waters. Emma keeps her eye on Sparkle. \*</scene_description> <character>EMMA \*</character> <dialogue>Sara, who's that talking to my baby?</dialogue> <scene_description>Sara turns around to look.</scene_description> <character>MS. WATERS</character> <dialogue>Nineteen ain't a baby anymore, Emma. \*</dialogue> <scene_description>(off Emma's look) \*</scene_description> <character>9/20/2011</character> <dialogue>the truth. It's in my contract as your friend. And I'm telling you, you hold on too tight to this one, she'll be unmarried and back on your doorstep just like Sister. \*</dialogue> <character>EMMA \*</character> <dialogue>It's just temporary.</dialogue> <character>MS. WATERS</character> <dialogue>New York just spit her right on back out, huh? \*</dialogue> <character>EMMA \*</character> <dialogue>How about you worry about marrying off your big-butt daughter and I'll worry about mine.</dialogue> <scene_description>Just then Sparkle walks up with TUNE ANN, an overweight and lively young lady about Sparkle's age.</scene_description> <character>TUNE ANN</character> <dialogue>Mama, I need some money. They selling plate dinners in the church basement and they're going fast.</dialogue> <scene_description>Emma holds in her laugh. \*</scene_description> <character>MS. WATERS</character> <dialogue>(to Emma) \*</dialogue> <scene_description>Don't. Just don't. Ms. Waters walks off with Tune Ann. As Emma lets out a laugh \* Dolores pulls the car up front. Sister walks up just as they \* are loading into the car. Emma takes over driving. \*</scene_description> </scene> <scene> <stage_direction>INT. CAR - DETROIT STREETS - DRIVING - DAY</stage_direction> <scene_description>They pull off and stop at the red light. Stix walks across \* the street in front of them. Sparkle notices him and Sister \* notices her.</scene_description> <character>SISTER</character> <dialogue>He's cute.</dialogue> <scene_description>Sparkle smiles. As the light turns green and they drive off, \* Sparkle looks back at Stix.</scene_description> </scene> <scene> <stage_direction>INT. ANDERSON HOUSE - LIVING ROOM - EVENING</stage_direction> <character>9/20/2011</character> <dialogue>On The Smothers Brothers Show is the famous black comedian, SATIN STRUTHERS. He is mid-rant about how stupid black people are rioting their own neighborhoods and how, although he looks like a black person, his personality is white. We hear group laughter from the room before we turn around to see that we are in: the Anderson Living Room.</dialogue> <dialogue>Gathered in the living room of well-appointed furniture and a new Sony Triniton color TV are a few of the YOUNG ADULTS from church, including Sparkle, Dolores, Stix, Levi and Tune Ann. During one of the group laughs, Sparkle catches Stix's eyes</dialogue> <dialogue>and he gives her a smile back. Emma sits closest to the TV. \*</dialogue> <character>LEVI</character> <dialogue>(to Emma) \*</dialogue> <scene_description>Excuse me, Ms. Anderson. Where is your bathroom?</scene_description> <character>EMMA \*</character> <dialogue>Down the hall, second door on your right.</dialogue> <character>LEVI</character> <dialogue>Thank you.</dialogue> <scene_description>Levi heads down the: HALL But he passes the second door on the right and finds Sister sitting near the open door of her bedroom-- the third door on the left.</scene_description> <character>LEVI</character> <dialogue>You're not coming to Bible study?</dialogue> <character>SISTER</character> <dialogue>Haven't you heard? I'm a heathen. Don't want to sit in there and be a hypocrite.</dialogue> <character>EMMA (O.S.) \*</character> <dialogue>The other door to the right.</dialogue> <scene_description>Levi turns around to see a stern-faced Emma, and disappears \* into the bathroom. Emma goes back to the: \* LIVING ROOM She finds everyone now watching the British rock band, CREAM, perform "Sunshine of Your Love" on the Smothers Brothers \* Show. Sparkle is blown away by these funky white boys.</scene_description> <character>9/20/2011</character> <dialogue>That's "funky," huh? Makes you want to dance.</dialogue> <scene_description>Emma starts dancing and the group starts snickering. Sparkle \* is embarrassed. Dolores is amused.</scene_description> <character>DOLORES</character> <dialogue>Get it, Mama.</dialogue> <character>EMMA \*</character> <parenthetical>(still dancing)</parenthetical> <dialogue>Oh yeah, I'm going to get it. And you will too. Because you start off dancing and the next thing you know you have a baby you can't feed.</dialogue> <scene_description>They laugh.</scene_description> <character>EMMA (CONT'D) \*</character> <dialogue>I know you don't believe me. But I can tell you when he said "I'll soon be with you, my love, to give you my dawn surprise" he wasn't talking about making her french toast.</dialogue> <scene_description>They laugh again.</scene_description> <character>EMMA (CONT'D) \*</character> <dialogue>I'm just telling you the truth. This kind of music is going to lead you to a bad end. Now open up your \* Bibles.</dialogue> <scene_description>She cuts off the TV. The crowd moans in disappointment. \*</scene_description> <character>EMMA (CONT'D) \*</character> <dialogue>Hey now, the deal was color \* television for an hour Bible study. \* I lived up to my end of the bargain \* now it's your turn. \*</dialogue> <scene_description>As they open their Bibles, Sister walks into the room. \*</scene_description> <character>SISTER</character> <dialogue>Reverend Bryce is on the phone and says that they need you to come check the books. They're not adding up.</dialogue> <scene_description>Emma exits to the back. Sister turns the TV back on. \*</scene_description> <character>9/20/2011</character> <dialogue>CREAM is still performing "Sunshine of Your Love." Emma \* rushes back in with her coat and purse.</dialogue> <character>EMMA \*</character> <dialogue>Oh no. All these hormones can't be in here unattended.</dialogue> <parenthetical>(turns TV off)</parenthetical> <dialogue>Everybody out.</dialogue> <scene_description>As everyone starts to leave, Stix is slow to move. Sparkle hangs back, hoping Stix will approach her. He doesn't make a move. She smiles awkwardly, hoping he will get the message. Stix's smile is corny and oblivious.</scene_description> <character>SPARKLE</character> <parenthetical>(finally getting up)</parenthetical> <dialogue>Well, good night.</dialogue> <character>STIX</character> <dialogue>Good night.</dialogue> <scene_description>She shyly exits to the back of the house, leaving Stix with Sister. She shakes her head.</scene_description> <character>STIX</character> <dialogue>What?</dialogue> <character>SISTER</character> <parenthetical>(exiting to back of house)</parenthetical> <dialogue>Why are all the cute ones stupid?</dialogue> <character>STIX</character> <dialogue>Wait, I was hoping I could talk to you.</dialogue> <scene_description>Stix looks at the last few people heading out the door, then back to Sister who is headed down the hall. Emma turns her \* head and Stix ducks out of sight. Emma checks the room one \* last time-- it's empty.</scene_description> <character>EMMA \*</character> <parenthetical>(calling out)</parenthetical> <dialogue>Okay girls, I'm gone. Sparkle, do the dishes. Dolores, study. Sister, pretend you're grateful to be back and clean something.</dialogue> <scene_description>Emma exits. After a beat, Stix re-emerges. He starts down \* the: HALLWAY</scene_description> <character>9/20/2011</character> <dialogue>MELODY. He follows the sound to the:</dialogue> </scene> <scene> <stage_direction>INT. ANDERSON HOUSE - PIANO ROOM - EVENING</stage_direction> <character>MUSICAL PERFORMANCE #3 \*</character> <dialogue>He finds Sparkle behind the keys of a beautiful, black baby grand piano. He watches her SING and lose herself in her SONG about what it feels like to have feelings for someone \* and not knowing what to do with them. It's entitled "Hooked On Your Love." She glances at the pages of her journal that sit on the piano. She sees Stix and stops. \*</dialogue> <character>SPARKLE</character> <dialogue>What are you still doing here?</dialogue> <character>STIX</character> <dialogue>That was beautiful.</dialogue> <scene_description>She's stunned and happy to see him. She removes her glasses, \* subconsciously adjusting her clothes and hair. \*</scene_description> <character>SPARKLE</character> <dialogue>It still needs a lot of work.</dialogue> <character>STIX</character> <dialogue>That's your song? You wrote that?</dialogue> <character>SPARKLE</character> <dialogue>Only if you thought it was good.</dialogue> <character>STIX</character> <dialogue>It's phenomenal.</dialogue> <character>SPARKLE</character> <dialogue>Then I wrote it.</dialogue> <scene_description>They share a slight laugh/smile.</scene_description> <character>STIX</character> <dialogue>Did you write the song your sister sang at Discovery Club a few weeks back?</dialogue> <character>SPARKLE</character> <dialogue>Yeah. She kind of made it her own. But--</dialogue> <character>STIX</character> <parenthetical>(excited)</parenthetical> <dialogue>Wait a minute, wait a minute. You wrote that song?</dialogue> <character>9/20/2011</character> <dialogue>singing? And you wrote the ones that are in here?</dialogue> <scene_description>Stix looks in her journal. Sparkle closes it.</scene_description> <character>SPARKLE</character> <dialogue>Yes. \*</dialogue> <character>STIX</character> <dialogue>What are you guys doing with your music?</dialogue> <character>SPARKLE</character> <dialogue>Nothing.</dialogue> <character>STIX</character> <dialogue>Why not?</dialogue> <character>SPARKLE</character> <dialogue>Because my mom would never let me. Plus I'm not the singer in the family-- Sister is, then Dee. I just sing in the choir because I don't want to sit by myself in church.</dialogue> <character>STIX</character> <dialogue>No offense, but I'm just hearing a bunch of excuses.</dialogue> <character>SPARKLE</character> <dialogue>Excuse me?</dialogue> <character>STIX</character> <dialogue>I don't mean to be rude. I'm passionate. Especially when it comes to music. That's why I'm here. I'm staying with my cousin Levi. I'm from Kansas City. We have a nice jazz scene down there, and I was managing a few acts around town.</dialogue> <parenthetical>(then smiling)</parenthetical> <dialogue>But the money is in Motown. I want to be the next Berry Gordy. I figured his stomach doesn't growl like mine anymore and maybe he's leaving a lot of steak and potatoes out there.</dialogue> <character>SPARKLE</character> <parenthetical>(laughs)</parenthetical> <dialogue>You're making me hungry.</dialogue> <character>9/20/2011</character> <dialogue>STIX</dialogue> <scene_description>Do you mind if I hear the song again?</scene_description> <character>SPARKLE</character> <dialogue>I've never really performed for anybody.</dialogue> <character>SISTER (O.S.)</character> <dialogue>What are you doing here?</dialogue> <scene_description>Sister, her attitude and Dolores have entered the room. \*</scene_description> <character>STIX</character> <parenthetical>(to Sparkle)</parenthetical> <dialogue>Does she know the song?</dialogue> <character>SISTER</character> <dialogue>I don't tap dance for nobody. \* Besides I'm a model. \*</dialogue> <scene_description>Dolores laughs. \*</scene_description> <character>SISTER</character> <dialogue>What?</dialogue> <character>DOLORES</character> <dialogue>You have to be paid to model, to be called a model.</dialogue> <character>SISTER</character> <dialogue>You're just mad because your hair is nappy.</dialogue> <character>SPARKLE</character> <dialogue>You guys, don't do this. \*</dialogue> <character>DOLORES</character> <dialogue>I'd rather have nappy hair and a brain than have to depend on what's between my legs to survive.</dialogue> <scene_description>Without warning, Sister lunges after Dolores. They start wildly swinging at each other. It's kind of comical. Stix laughs. Sparkle, upset, pushes him.</scene_description> <character>SPARKLE</character> <dialogue>Don't laugh, help me.</dialogue> <scene_description>Sparkle and Stix pull them apart.</scene_description> <character>9/20/2011</character> <dialogue>Stop it!</dialogue> <character>STIX</character> <dialogue>You guys are sisters. Act like it. Now Dolores, you apologize to her.</dialogue> <character>DOLORES</character> <dialogue>Man I don't even know you and you \* trying tell me... \*</dialogue> <character>STIX</character> <dialogue>Just do it and save your lip.</dialogue> <character>SISTER</character> <dialogue>She got a lot of it.</dialogue> <character>STIX</character> <parenthetical>(then to Sister)</parenthetical> <dialogue>Hey. Just because you're light and bright don't make you right. Your sister is beautiful. All of you are. And you have something special. Something real special. You're fighting and you should be together, singing, making music. Girl groups are hotter than ever right now. You could take over and you're up here tearing each other down.</dialogue> <scene_description>The girls absorb his words.</scene_description> <character>STIX</character> <parenthetical>(then smiling)</parenthetical> <dialogue>Now kiss and make up.</dialogue> <scene_description>Yuck.</scene_description> <character>SISTER</character> <dialogue>Men always turn everything into \* sex.</dialogue> <character>DOLORES</character> <dialogue>You would know.</dialogue> <parenthetical>(everybody cuts her a look)</parenthetical> <dialogue>Okay, okay, I'm sorry. You just leave yourself wide open-- Oh God, I did it again.</dialogue> <scene_description>Sparkle covers Dee's mouth, then smiling to Stix: \* SFX: DOOR SLAM</scene_description> <character>9/20/2011</character> <dialogue>CUT TO:</dialogue> <character>EMMA \*</character> <dialogue>Walking through the house.</dialogue> <scene_description>12 OMITTED 12 \*</scene_description> </scene> <scene> <stage_direction>INT. ANDERSON HOUSE - SITTING ROOM - NIGHT</stage_direction> <scene_description>Stix manages to fall out a nearby window just as Emma enters \* to find Sparkle and Dee sitting at the piano. \* \*:</scene_description> <character>EMMA \*</character> <dialogue>Dolores, I figured if you can do \* calculus you can balance the church's books. Come on, get your coat.</dialogue> <scene_description>Emma walks over to the open window that Stix jumped out of, \* Sparkle looks like she's going to faint. \*</scene_description> <character>EMMA (CONT'D) \*</character> <dialogue>What is with you girls letting out \* my heat? \*</dialogue> <scene_description>Emma closes the window and walks out, Dolores follows her \* back out of the house.</scene_description> <character>EMMA (CONT'D) \*</character> <parenthetical>(then calling out)</parenthetical> <dialogue>My house isn't clean! I want it clean when I get back.</dialogue> <scene_description>Sparkle, reflecting on Stix, smiles to herself and gently \* closes the lid on the piano keys.</scene_description> </scene> <scene> <stage_direction>A14 EXT. ANDERSON HOUSE - NIGHT A14 \*</stage_direction> <scene_description>Stix hides himself and watches as Dee and Emma get into the \* car and pull off. \*</scene_description> <character>9/20/2011</character> <dialogue>This is really Sparkle's room. You can tell by the younger, more innocent decor. Sister, who recently moved back by evidence of her still living out of her suitcases, brushes her hair. Sparkle, who is already in bed, watches.</dialogue> <character>SPARKLE</character> <dialogue>Why won't you unpack?</dialogue> <scene_description>Sister doesn't answer.</scene_description> <character>SPARKLE</character> <dialogue>If you want, I'll move in with Dolores so you can have your room \* back. \*</dialogue> <character>SISTER</character> <dialogue>No. I really don't plan on being here that long.</dialogue> <character>SPARKLE</character> <dialogue>You said that two months ago.</dialogue> <scene_description>That stung a little bit, but Sister doesn't comment. Instead she turns out the light and gets in bed with Sparkle.</scene_description> <character>SPARKLE</character> <dialogue>I'm sorry.</dialogue> <character>SISTER</character> <dialogue>Don't ever be sorry for telling the truth, Spark.</dialogue> <character>SPARKLE</character> <dialogue>Why won't you tell me about New York?</dialogue> <character>SISTER \*</character> <dialogue>Good night Spark. \*</dialogue> <scene_description>Sparkle knows not to push. \*</scene_description> <character>SPARKLE</character> <dialogue>Good night.</dialogue> <scene_description>After a beat, there's a TAP on the window.</scene_description> <character>SPARKLE</character> <parenthetical>(scared)</parenthetical> <dialogue>Did you hear that?</dialogue> <scene_description>The girls jump up. They quickly realize it's Stix throwing \* rocks at the window.. \*</scene_description> <character>9/20/2011</character> <dialogue>Your Romeo is out there.</dialogue> <scene_description>Sister gets back in bed while Sparkle opens the window. She can't help but blush even while scolding him.</scene_description> <character>SPARKLE</character> <dialogue>You can't come throwing rocks at my \* window. My mother has a gun.</dialogue> <character>STIX \*</character> <dialogue>There's an underground club tonight. The kind songwriters don't want to miss. You have to hear the music they play-- stuff that's not making it on the radio. \* Come with me.</dialogue> <parenthetical>(sees her worry)</parenthetical> <dialogue>I promise I'll get you back home safe and sound. \*</dialogue> <scene_description>Sparkle turns to Sister.</scene_description> <character>SPARKLE</character> <dialogue>He wants me to go hear music with him.</dialogue> <character>SISTER</character> <dialogue>You've snuck out of the house for \* less.</dialogue> </scene> <scene> <stage_direction>INT. UNDERGROUND CLUB - NIGHT</stage_direction> <scene_description>The music hits our ears first, it fills this dark, sweaty box \* full of YOUNG PEOPLE. The perfect storm for girls and boys \* to dance real close together and very suggestively. In the middle of dance floor are Sparkle and Stix. He pulls her hips in his direction, but she's shy about letting loose. Her eyes dart around the room-- she's in awe of all the young couples embracing, grinding, kissing and feeling each other up as they dance to the sexually charged music. \*</scene_description> <character>STIX</character> <dialogue>I'm not going to bite.</dialogue> <character>SPARKLE</character> <dialogue>How do I know that? \*</dialogue> <character>STIX</character> <dialogue>Guess you just going to have to \* trust me. \*</dialogue> <character>9/20/2011</character> <dialogue>let their bodies lead them to where they want to go.</dialogue> </scene> <scene> <stage_direction>EXT. UNDERGROUND CLUB - NIGHT</stage_direction> <scene_description>Stix and Sparkle pour out of the club drenched from dancing up a sweat. They both notice that steam is escaping their bodies and head. They share a laugh.</scene_description> <character>STIX</character> <dialogue>I better dry you off before getting you home.</dialogue> <scene_description>He reaches out for her hand and she takes his, smiling.</scene_description> </scene> <scene> <stage_direction>EXT. DETROIT DOWNTOWN - VESPA SCOOTER - DRIVING - NIGHT 17 \*</stage_direction> <scene_description>Sparkle rides on the back of Stix's Vespa scooter. She conservatively holds Stix around his waist. She takes in the thriving downtown scene-- it's all too perfect. She sees her \* and Stix's reflection in his rearview mirror, squeezes him \* tighter around his waist and a smile creeps across her face... and his. \* 18 OMITTED 18 \*</scene_description> </scene> <scene> <stage_direction>EXT. ANDERSON HOUSE - A FEW HOUSES DOWN - NIGHT 19 \*</stage_direction> <scene_description>It's late, the kind of late when you don't want to let go of \* a magical night. Stix and Sparkle are a few houses down \* sitting on the curb bathed in moonlight, actually Sparkle is \* sitting on Stix's jacket. They're mid-discussion. \* \*:</scene_description> <character>STIX</character> <dialogue>I think your lyrics are too safe. Unlike the music we heard tonight. You dug it, because it was in your face, real, telling you the truth. Times are changing. I don't think the metaphorical lyrics are going to fly anymore.</dialogue> <parenthetical>(off her reaction)</parenthetical> <dialogue>You were impressed by my big word, weren't you?</dialogue> <character>SPARKLE</character> <parenthetical>(smiling)</parenthetical> <dialogue>I was.</dialogue> <character>9/20/2011</character> <dialogue>In the spirit of telling the truth, may I tell you another truth?</dialogue> <character>SPARKLE</character> <dialogue>I wouldn't want you to lie to me.</dialogue> <character>STIX</character> <dialogue>Then why do you lie to yourself? \* About not wanting to sing? \* If you're writing these songs and you can sing, why aren't you singing them?</dialogue> <character>SPARKLE</character> <dialogue>I'm no Diana or Aretha.</dialogue> <character>STIX</character> <dialogue>You're right, you're Sparkle.</dialogue> <character>SPARKLE \*</character> <dialogue>Look, my mother used to sing professionally. She tried to break \* out on her own and it almost killed \* her. So thank you, but I know the \* realities of this business. I'm just doing this for fun. \*</dialogue> <character>STIX</character> <dialogue>What are you afraid of? Your mama \* or your own voice?</dialogue> <parenthetical>(that hit a nerve)</parenthetical> <dialogue>Okay, maybe you'll be just like your mother and never reach your goal, but don't fall short of it because you can't even admit you want it.</dialogue> <scene_description>Sparkle takes a beat:</scene_description> <character>SPARKLE</character> <dialogue>Okay, I want to be better than Diana. I want to be a star.</dialogue> <scene_description>She's never said that out loud and it feels scary and exhilarating at the same time. She chuckles, embarrassed.</scene_description> <character>SPARKLE</character> <dialogue>But you don't say that in this town because you end up sounding like everyone else.</dialogue> <character>9/20/2011</character> <dialogue>Only if you believe you're like everyone else.</dialogue> <scene_description>Sparkle looks at Stix differently. She really likes him. A \* car passes which reminds her of the time; she gets up and so \* does he. \*</scene_description> <character>SPARKLE</character> <dialogue>Thank you. I had a great time tonight. And in case I never make it back out of that house, thank you for making me tell the truth.</dialogue> <character>STIX</character> <dialogue>You're welcome.</dialogue> <scene_description>Awkward pause. He goes in to kiss her. Sparkle is clearly nervous. They kiss. It's sweet. He looks lovingly into her \* eyes as he tenderly breaks the kiss. \*</scene_description> <character>STIX</character> <dialogue>Can I make you a star?</dialogue> <character>SPARKLE</character> <dialogue>What?</dialogue> <character>STIX</character> <dialogue>Do you want to be a star?</dialogue> <character>SPARKLE</character> <dialogue>Yes. I want to be a star.</dialogue> <character>STIX</character> <dialogue>I don't believe you. Say it again.</dialogue> <character>SPARKLE</character> <parenthetical>(laughing)</parenthetical> <dialogue>Yes. I want to be a star.</dialogue> <character>STIX</character> <dialogue>Okay, the first thing you have to \* do is write another song for your sister.</dialogue> <scene_description>Sparkle's smile slips.</scene_description> <character>STIX</character> <dialogue>Something where she can work the crowd. And you have to get over \* your fear of singing because you and Dee have to back her up. Everybody loves a good girl group.</dialogue> <character>9/20/2011</character> <dialogue>it. He's doing what he does best-- getting what he wants.</dialogue> <character>STIX</character> <dialogue>Of course, you're going to tweak \* your lyrics. Make them raw, more relatable.</dialogue> <parenthetical>(then excited)</parenthetical> <dialogue>Legend Theater here we come. But \* first you have to win Cliff Bells. \*</dialogue> <character>SPARKLE</character> <dialogue>Cliff Bells? You have to be \* invited to compete in their talent contests.</dialogue> <character>STIX</character> <dialogue>I'll work on that. Then after we \* win Cliff Bells, we work the rest \* of the high-brow clubs, build your name and make them pay. They love you more when you make them pay. Then the next time a big act needs an opening act at The Legend, \* they'll call up the clubs and ask who's at the top of the list-- and there you and your sisters will be. And when you're backstage at The Legend, you'll see Mr. Gordy and \* other record execs-- and boom, you get a record deal.</dialogue> <character>SPARKLE</character> <dialogue>You got it all figured out.</dialogue> <character>STIX</character> <dialogue>Yep. Now you go get your sisters and I'll go get Cliff Bells. \*</dialogue> <character>SPARKLE</character> <dialogue>And you'll be our manager?</dialogue> <character>STIX</character> <dialogue>Yep.</dialogue> <character>SPARKLE</character> <dialogue>Then you manage to get my sisters. \*</dialogue> <character>STIX</character> <parenthetical>(grabs her hand)</parenthetical> <dialogue>Do I have you?</dialogue> <character>9/20/2011</character> <dialogue>I don't think it really matters until you get my sister. Good night.</dialogue> <scene_description>Sparkle walks toward her house and never looks back. Stix is flummoxed, but not enough to stop her. He picks up his \* jacket, watches her take off her shoes and disappear down the \* block.</scene_description> </scene> <scene> <stage_direction>INT. NEW HOPE BAPTIST CHURCH - CHOIR ROOM - SUNDAY MORNING</stage_direction> <scene_description>The sun shines brightly through the room where the choir disrobes. Stix is there talking to Sister and Dee. Sparkle is nearby disrobing and listening.</scene_description> <character>SISTER</character> <dialogue>Cliff Bells? I'm not getting up \* there embarrassing myself. And didn't Marvin get booed out of there?</dialogue> <character>STIX</character> <dialogue>It made him better. And now he's traveling the world and making millions.</dialogue> <character>SISTER</character> <dialogue>Mr. Gordy is making millions--</dialogue> <character>STIX</character> <dialogue>However much it is, it's enough to get him out of his mama's house.</dialogue> <scene_description>That got Sister's attention.</scene_description> <character>SISTER</character> <dialogue>You don't have to be rude about it.</dialogue> <character>DOLORES</character> <dialogue>I don't really know if you were asking me. You never really looked my way, so our eyes never got to dance, but I'm in. Just to be clear, I'm in it for the money. Medical school is expensive, so no, you won't be getting twenty percent. Fifteen max. When I get accepted into Meharry Medical School, you will have to replace me.</dialogue> <character>9/20/2011</character> <dialogue>going forward, I will turn my sisters against you. Other than that, sounds like fun.</dialogue> <scene_description>Sister glances over at Sparkle who is exiting the room.</scene_description> <character>SPARKLE</character> <dialogue>I'll wait for you guys outside.</dialogue> <scene_description>Sister turns back to Stix.</scene_description> <character>SISTER</character> <dialogue>I'll let you know. My first day at \* Freeman's is tomorrow. \*</dialogue> <character>STIX</character> <dialogue>That ain't going to make you no-- Fine, let me know.</dialogue> <scene_description>Stix rushes out and catches Sparkle in the</scene_description> <character>HALL</character> <dialogue>STIX</dialogue> <scene_description>What's your problem?</scene_description> <character>SPARKLE</character> <dialogue>You used me to get to my sister.</dialogue> <character>STIX</character> <dialogue>Sparkle, c'mon, you're not ready. Everything I said the other night, I believe. But you said it yourself that Sister's the better performer.</dialogue> <character>SPARKLE</character> <dialogue>Well, let me know what she says.</dialogue> <scene_description>Sparkle walks off.</scene_description> </scene> <scene> <stage_direction>EXT. LAFAYETTE'S CONEY ISLAND - 1 WEEK LATER - LATE NIGHT 21 \*</stage_direction> <scene_description>Sister and Levi sit at a table. It's quiet at Coney Island, \* just them, the waiters, another couple and a small black and \* white TV droning on in the background. \*</scene_description> <character>LEVI \*</character> <dialogue>How did you like the movie? \*</dialogue> <character>9/20/2011</character> <dialogue>Who doesn't like Sidney Poitier? \* But next time you talk about \* picking someone up make sure you \* have a car. \*</dialogue> <scene_description>\*:</scene_description> <character>LEVI</character> <dialogue>I'm saving up for the right one. \*</dialogue> <character>SISTER</character> <dialogue>How you call yourself picking up someone from work and don't have a car Levi? \*</dialogue> <scene_description>Sister laughs to herself.</scene_description> <character>SISTER (CONT'D) \*</character> <dialogue>Taking me out on a date on a bus, \* lucky I like you. \*</dialogue> <scene_description>Sister pulls her cigarettes out of her purse and lights up. \*</scene_description> <character>LEVI</character> <dialogue>Look, I don't know how else to be than myself-- I'm a straight \* shooter. I like you and I want to be your man.</dialogue> <scene_description>She laughs.</scene_description> <character>LEVI</character> <dialogue>I'm not like all the other guys who just want to do you.</dialogue> <scene_description>(off her look) \* I heard about your reputation, even before you went to New York. But I think it's what guys say when they see something so beautiful and they know they can't have it-- it's easier to make it something they wouldn't want by trying to tear it down. Even though she never looks his way, she's listening. \*</scene_description> <character>LEVI</character> <dialogue>I see your beauty-- in and out. And I want to earn it. So just tell me what you need to fall in love with me, I'll do it. 'Cause really, whether you believe me or not, I'm already in love with you.</dialogue> <character>9/20/2011</character> <dialogue>SISTER</dialogue> <scene_description>I've heard so much, it all sounds like BS to me.</scene_description> <character>LEVI</character> <parenthetical>(smiles)</parenthetical> <dialogue>Then I better roll up my sleeves a little higher then.</dialogue> <character>SISTER</character> <parenthetical>(looks down at his pants)</parenthetical> <dialogue>Hopefully not as high as your pants.</dialogue> <character>LEVI</character> <dialogue>That's the style.</dialogue> <character>SISTER</character> <dialogue>Change it.</dialogue> <scene_description>As they share a laugh, the waiter delivers their food. Levi \* waits until he leaves, then pulls a ring box out of his \* jacket and puts it on the table. \*</scene_description> <character>SISTER (CONT'D) \*</character> <dialogue>What's this? \*</dialogue> <character>LEVI \*</character> <dialogue>Take a look. \*</dialogue> <scene_description>Sister opens the ring box and finds a folded piece of paper. \* She looks at Levi, shakes her head, smiles and unfolds the \* paper. Its a magazine tear of a beautiful diamond ring. \*</scene_description> <character>LEVI (CONT'D) \*</character> <dialogue>One day, that's going to be yours. \* I promise. \*</dialogue> <scene_description>From out of the quiet of this romantic moment they hear one \* pair of hands clapping. They turn and see the famous \* comedian, SATIN STRUTHERS, dressed in his tailor-fitted suit, \* cuff links and a Leica camera hanging casually around his \* neck. Also with him are a couple of BEAUTIFUL WOMEN and his \* right hand man HAM. \*</scene_description> <character>SISTER \*</character> <dialogue>Oh my God, it's-- \*</dialogue> <scene_description>She pulls herself together. Levi is pretty jazzed too. \*</scene_description> <character>9/20/2011</character> <dialogue>Brother that is some of the \* smoothest shit I've seen in a long \* time. You see this cat Ham? What's \* your name brother? \*</dialogue> <character>LEVI \*</character> <dialogue>Levi. \*</dialogue> <character>SATIN \*</character> <dialogue>Here I been buying these women the \* real deal when all I had to do is \* put a picture in a box. I'm bout to \* get me some scissors and some \* magazines and be like my boy Levi \* here... \*</dialogue> <scene_description>Satin turns his fingers into scissors. \*</scene_description> <character>SATIN (CONT'D) \*</character> <dialogue>Clip, clip, clip, Hussies! \*</dialogue> <scene_description>Satin and his hangers on begin to laugh, Levi does not find \* him funny at all. Satin walks over to Levi and Sister. \*</scene_description> <character>SATIN (CONT'D) \*</character> <dialogue>Can I see. \*</dialogue> <scene_description>Sister hands him the photo, we can see that Satin is clearly \* more interested in Sister than he is the picture and so can \* Levi. \*</scene_description> <character>SATIN (CONT'D) \*</character> <dialogue>That's nice, real nice. You got a \* good man here. \*</dialogue> <scene_description>He hands the picture back to Sister then looks at Levi. \*</scene_description> <character>SATIN (CONT'D) \*</character> <dialogue>I used to come here too when I was \* struggling back in the day. Good \* cheap food. Nice meeting you Levi. \*</dialogue> <scene_description>Satin walks back over to his entourage, we can see by the \* look on his face that Levi's moment has been crushed. \*</scene_description> <character>LEVI \*</character> <dialogue>I better get you home. \*</dialogue> <character>9/20/2011</character> <dialogue>Sister turns back to look at Satin and flashes her \* mischievous smile. Satin lifts his camera and snaps a photo, \* freezing the moment in time. OFF THIS PHOTO: \*</dialogue> <scene_description>22 OMITTED 22 \*</scene_description> </scene> <scene> <stage_direction>INT. EMMA'S DRESS SHOP - DAY 23 \*</stage_direction> <scene_description>CLOSE ON A PHOTO of EMMA dolled up as a sexy background \* singer. Definitely a different time.</scene_description> <character>SPARKLE (O.S.)</character> <dialogue>She was so pretty.</dialogue> <character>MS. WATERS (O.S.)</character> <dialogue>Hard to believe it's the same woman, huh?</dialogue> <scene_description>PULL OUT to see we are in: EMMA's Dress Shop \* It's a small storefront that sells very ladylike dresses. The CUSTOMERS are mostly women from the church. Given the few SEAMSTRESSES busy working, it's clear the dresses are designed and made on site. Sparkle looks at pictures with Ms. Waters across the checkout counter.</scene_description> <character>SPARKLE</character> <dialogue>I mean, she's still pretty.</dialogue> <character>MS. WATERS</character> <dialogue>No she's not. She's mad all the time. Can't be pretty and mad at the same time.</dialogue> <scene_description>Sparkle points out a HANDSOME CHOCOLATE MAN holding a trumpet.</scene_description> <character>SPARKLE</character> <dialogue>Oh, there's Dee's daddy.</dialogue> <character>MS. WATERS</character> <dialogue>Here's a good one of you and Sister's daddy.</dialogue> <scene_description>She shows Sparkle another picture. It's of a YOUNG EMMA \* hugged up with a SUAVE LADY'S MAN who looks white. He has \* drum sticks in his hand.</scene_description> <character>9/20/2011</character> <dialogue>Cute, but no good.</dialogue> <parenthetical>(then lifting Sparkle's chin)</parenthetical> <dialogue>Got to watch out for those cute ones. They make a lot of promises.</dialogue> <scene_description>This last statement settles on Sparkle, just as EMMA walks up \* with the top half of a black mannequin. \*</scene_description> <character>EMMA \*</character> <dialogue>Going to be the first store in \* Detroit to have these. \*</dialogue> <character>SPARKLE \*</character> <dialogue>She's pretty mama. \*</dialogue> <character>MS. WATERS</character> <parenthetical>(teasing; holds up picture)</parenthetical> <dialogue>Look what I found. The other, \* nicer you.</dialogue> <character>EMMA \*</character> <parenthetical>(snatches it)</parenthetical> <dialogue>Sparkle, go on to lunch.</dialogue> <parenthetical>(then to Ms. Waters)</parenthetical> <dialogue>And you come on so I can stretch some fabric across your ever- expanding behind.</dialogue> <scene_description>Sparkle grabs her purse from behind the counter and exits.</scene_description> </scene> <scene> <stage_direction>INT. RECORD STORE - SAME TIME - DAY</stage_direction> <scene_description>It's packed with DREAMERS, LOVERS OF MUSIC and YOUNG PEOPLE just wanting to hang out and hook up. It's alive with the creative spirit. It's part of the reason everyone is saying Detroit is the place to be. James Brown's "I Got That Feeling" is playing. Stix enters and starts browsing through the stacks of records. He picks out a couple records that he likes and heads to a listening booth. He spots Sparkle in the fourth booth down, smiles to himself and walks over. He taps on the glass, flashes a smile and waves. Part of her is happy to see him, while part of her is still mad. She returns to what she was doing without smiling or waving back. \* Stix tries to open the booth but it's locked, he speaks \* through the glass. \*</scene_description> <character>STIX \*</character> <dialogue>Come on. Talk to me. \*</dialogue> <scene_description>Sparkle continues to ignore him. \*</scene_description> <character>9/20/2011</character> <dialogue>I got Cliff Bells. \*</dialogue> </scene> <scene> <stage_direction>EXT. RECORD STORE - STREET - DAY</stage_direction> <scene_description>Sparkle exits the record store and Stix is two clicks behind her. She unwraps a sandwich and starts to shove it down her \* throat. \*</scene_description> <character>STIX</character> <dialogue>What are you doing?</dialogue> <character>SPARKLE</character> <parenthetical>(stuffing her mouth)</parenthetical> <dialogue>I only get an hour for lunch.</dialogue> <character>STIX</character> <dialogue>Sparkle, I know I hurt your feelings. And I'm sorry. But I'm only trying to do what's best for us.</dialogue> <scene_description>He takes the remaining half of sandwich.</scene_description> <character>STIX</character> <dialogue>And hopefully you'll be performing in a few nights, so you won't be needing the other half of this.</dialogue> <character>SPARKLE</character> <dialogue>So now I'm fat? You really have a way with words.</dialogue> <scene_description>Sparkle snatches the rest of her sandwich from him and walks \* away. He smiles, then calls after her:</scene_description> <character>STIX</character> <dialogue>I signed you up for this Thursday night. Eight o'clock. I'll be waiting.</dialogue> <parenthetical>(then to himself)</parenthetical> <dialogue>Hope you make it.</dialogue> <scene_description>Stix walks away defeated.</scene_description> </scene> <scene> <stage_direction>INT. ANDERSON HOUSE - SPARKLE'S ROOM - NIGHT 26 \*</stage_direction> <scene_description>Sparkle writes in her journal while Dolores, already in hair \* rollers, hot combs her hair. Sister enters, smiling and \* holding an envelope.</scene_description> <character>9/20/2011</character> <dialogue>I got my first check.</dialogue> <character>SPARKLE</character> <dialogue>Let me see.</dialogue> <scene_description>Sparkle looks at the check.</scene_description> <character>SPARKLE</character> <dialogue>Ninety-six dollars? For two weeks of standing on your feet, kissing rich white women's butts?</dialogue> <scene_description>Sister collapses in a chair. \*</scene_description> <character>SISTER \*</character> <dialogue>I'm never going to get out of here.</dialogue> <scene_description>Sparkle looks at her hopeless sister. She looks at Dolores \* mischievously, Dolores quietly eggs her on. They see their \* opening.</scene_description> <character>SPARKLE</character> <dialogue>Stix said we could make anywhere from five hundred to a thousand dollars a night if we won Cliff \* Bells' talent contest. \*</dialogue> <scene_description>Sister thinks for a beat, then bites. \*</scene_description> <character>SISTER</character> <dialogue>Are you sure that's what you want to do?</dialogue> <character>SPARKLE</character> <dialogue>Yes.</dialogue> <character>SISTER</character> <dialogue>Okay, I'll do it.</dialogue> <scene_description>Sparkle excited, moves suddenly and the hot comb burns her. \*</scene_description> <character>SPARKLE \*</character> <dialogue>Ow! Thank you. \*</dialogue> <character>SISTER</character> <dialogue>That's all well and good, but how are all of us at the same time going to get past Mama for at least three hours?</dialogue> <scene_description>27 OMITTED 27 \* 28 OMITTED 28 \*</scene_description> <character>9/20/2011</character> <dialogue>The sisters, made up a bit and with coats on, hover over their passed out mother. Sparkle leans in to check if she's still breathing.</dialogue> <character>SPARKLE</character> <parenthetical>(to Dolores)</parenthetical> <dialogue>How much did you give her?</dialogue> <character>SISTER</character> <dialogue>Look, I know me and Mama don't get along, but did you kill her?</dialogue> <character>DOLORES</character> <parenthetical>(not sure)</parenthetical> <dialogue>I'm darn near a doctor. I did it right. She's fine. But let's go and get back. It's supposed to wear off in three hours.</dialogue> <character>SPARKLE</character> <dialogue>Oh God, help us.</dialogue> <scene_description>They exit.</scene_description> </scene> <scene> <stage_direction>EXT. ANDERSON HOUSE - MOMENTS LATER - NIGHT</stage_direction> <scene_description>Levi is waiting for them. He smiles big when he sees Sister, who reciprocates coyly. The girls get in the car. Levi puts \* EMMA's car in neutral and lets it roll out of the driveway, \* then starts the car and pulls away from the house. \*</scene_description> </scene> <scene> <stage_direction>EXT. CLIFF BELLS - A LITTLE LATER - NIGHT 31 \*</stage_direction> <scene_description>Stix is out front with half of black Detroit. This is clearly the place to be tonight. He checks his watch. It's 8. He looks up and sees Sparkle, her sisters and Levi approaching. He smiles. Sparkle sees him and smiles back.</scene_description> <character>SPARKLE</character> <dialogue>Surprised?</dialogue> <character>STIX</character> <dialogue>Not at all.</dialogue> <scene_description>They all enter. Stix pulls up the rear and says a silent "thank you" to God.</scene_description> <character>9/20/2011</character> <dialogue>Once inside, Sparkle absorbs the new world like a sponge. On stage is another GIRL GROUP performing.</dialogue> <character>SISTER</character> <dialogue>We come a dime a dozen, don't we?</dialogue> <character>STIX</character> <parenthetical>(to Levi)</parenthetical> <dialogue>I'm going to get the girls signed in and backstage.</dialogue> <character>LEVI</character> <dialogue>Go get 'em, baby.</dialogue> <scene_description>Sister flashes a seductive smile at Levi and follows Stix and her sisters through the club. Levi hangs back and soaks up the scene. He smiles, happy. After a moment, Satin, with his ever present camera, a COUPLE OF FINE WOMEN and Ham walk over. Levi's mood changes as Satin notices him.</scene_description> <character>SATIN</character> <dialogue>You're picture in a box brother, \* right? I don't forget a face. I'll forget your name in a minute--</dialogue> <character>LEVI</character> <dialogue>Levi.</dialogue> <character>SATIN</character> <dialogue>Fellas, this is-- see I forgot already.</dialogue> <scene_description>Satin and his cronies laugh. Levi knows he's fucking with him, but laughs along. Stix walks up.</scene_description> <character>STIX</character> <dialogue>They're all set.</dialogue> <character>LEVI</character> <dialogue>I'd like you to meet Satin Struthers.</dialogue> <character>STIX</character> <parenthetical>(shaking his hand)</parenthetical> <dialogue>You're a funny man.</dialogue> <character>SATIN</character> <dialogue>Thank you.</dialogue> <character>9/20/2011</character> <dialogue>This is my cousin. He manages my girlfriend and her sisters. They're performing tonight.</dialogue> <character>SATIN</character> <dialogue>I hope they're good. I'm looking for a group to open up my next show.</dialogue> <scene_description>The club owner, MR. DANIELS, approaches Satin.</scene_description> <character>MR. DANIELS</character> <dialogue>Satin, it's a pleasure to see you again. We have a nice table for you up front.</dialogue> <character>SATIN</character> <dialogue>Come sit with us.</dialogue> <parenthetical>(Levi and Stix follow; then to Levi)</parenthetical> <dialogue>I only have one extra seat. It's probably best I talk to the manager than the boyfriend.</dialogue> <scene_description>Stix heads to the table with the group and Levi stands back and seethes. This man has won twice. ON STAGE The Girl Group performs. They have the crowd captivated. Sister notices the lead singer using all of her womanly ways to work over the crowd. They finish to roaring APPLAUSE. A black Master of Ceremonies by the name of BUDDY comes on stage.</scene_description> <character>BUDDY</character> <dialogue>Whoa, they were amazing. It's my birthday tonight and I'm going to wish for that thick one's attention and a quick divorce.</dialogue> <parenthetical>(crowd laughs)</parenthetical> <dialogue>Oh hey, I see we have Mr. Satin Struthers in the audience tonight.</dialogue> <scene_description>The people in the club murmur and stretch their necks to get a look at him. Stix is happy to be in the mix. Satin snaps a picture of Buddy, then:</scene_description> <character>BUDDY</character> <dialogue>Coming next to the stage is another girl group. Everybody wants to be the Supremes.</dialogue> <character>9/20/2011</character> <dialogue>sisters can give Diana and the other two a run for their money.</dialogue> <scene_description>In the wings, the sisters remove their coats, revealing their best church dresses in a similar shade of blue. Except for \* Sister who is wearing a sexy slinky dress that she clearly \* got when she was in New York. \*</scene_description> <character>DOLORES</character> <dialogue>What the hell is that? \*</dialogue> <character>SISTER</character> <dialogue>You want to win this money don't \* you? \*</dialogue> <character>BUDDY</character> <dialogue>Please welcome Sister and her Sisters!</dialogue> <character>SISTER \*</character> <dialogue>Now go on out there and sing the \* hook a couple times. \*</dialogue> <character>SPARKLE \*</character> <dialogue>What? Sister this ain't what we \* rehearsed! \*</dialogue> <character>SISTER \*</character> <dialogue>I know what I'm doing, just go. \*</dialogue> <scene_description>MUSICAL PERFORMANCE #4 \* The band begins playing the intro to Sparkle's "Hooked On \* Your Love." Sparkle and Dolores do as they were told, \* singing the hook. The crowd is not impressed and begin to \* heckle.</scene_description> <character>HECKLER</character> <dialogue>Where'd y'all get them dresses? This ain't Sunday school.</dialogue> <scene_description>People LAUGH. Although the girls press on, you can see the panic in their eyes. Stix drops his head in his hands as a laughing Satin looks on:</scene_description> <character>SATIN</character> <dialogue>Get this man a drink. He's gonna need it to get through this.</dialogue> <scene_description>From backstage Sister looks on, waiting one more beat to make \* her entrance. She spots Satin in the audience and smiles. \*</scene_description> <character>9/20/2011</character> <dialogue>motion slows down, sound seems to evaporate from the \* building. Sister steps to the mic and the sound from her \* mouth feels like a thousand feathers landing softly on bare \* skin. \*</dialogue> <character>\*</character> <dialogue>Although it's the same song Sparkle sang for Stix in her \* house, this time around it's Sister's own raw and sexy version. The crowd loves it. Sparkle and Dolores love it. \* They follow wherever their sister leads. We see them enjoy the effect they're having on the crowd-- okay, the effect Sister is having on the crowd. Sister seduces the men to fall in love with her and the women to want to be her. She plays with Satin and Levi, almost foreshadowing what's to come of them. Satin lifts his camera to take a photo, but finds himself too intrigued by Sister to follow through. He's already hooked on her. The club is going crazy and singing along, especially Stix. Levi is the only one in the building not happy.</dialogue> </scene> <scene> <stage_direction>INT. CLIFF BELLS - STAGE - LATER - NIGHT 33 \*</stage_direction> <scene_description>ALL of THE ACTS, are on stage with Buddy.</scene_description> <character>BUDDY</character> <dialogue>And the winner of Cliff Bells's \* talent contest is...</dialogue> <scene_description>Sparkle and Stix both look like they are going to faint.</scene_description> <character>BUDDY</character> <dialogue>Sister and Her Sisters!</dialogue> <scene_description>The sisters embrace. Stix runs on stage to congratulate them. When Sparkle sees Stix, she hugs him tightly and says:</scene_description> <character>SPARKLE</character> <dialogue>You were right. She's amazing. I could never do that.</dialogue> <scene_description>They share a kiss while everyone celebrates around them, then suddenly we hear the SONG "Jump" which bleeds over the next several scenes.</scene_description> <character>BEGIN MUSICAL PERFORMANCE #5 MONTAGE: \*</character> <dialogue>9/20/2011</dialogue> <scene_description>The girls are getting in the car. Levi is driving. Stix, like a coach, excitedly follows them and reminds them what they need to do.</scene_description> <character>STIX</character> <dialogue>This was nothing. I'm telling you I can have you booked all over this city. Diana better watch out. Sister, you were amazing. Amazing!</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Sparkle, we need more of your \* songs. The kind we talked about.</dialogue> <character>SPARKLE</character> <dialogue>Okay.</dialogue> <character>STIX</character> <dialogue>We need something hot. Something to make the people pay to see us. Can you do that?</dialogue> <character>SPARKLE</character> <dialogue>I can do that.</dialogue> <character>STIX</character> <dialogue>We need--</dialogue> <character>SISTER \*</character> <dialogue>We need some new dresses Mr. \* Manager. \*</dialogue> <character>DOLORES</character> <dialogue>We need to get home before Mama wakes up. I'm not trying to die.</dialogue> <scene_description>Stix taps the car.</scene_description> <character>STIX</character> <dialogue>Levi, be careful driving. You have my future in this car.</dialogue> <scene_description>Sparkle beams as they drive off. "Jump" drives us to: 35 OMITTED 35 \* 36 OMITTED 36 \* 37 OMITTED 37 \*</scene_description> <character>9/20/2011</character> <dialogue>Stix is talking fast and running game in the pool hall. \*</dialogue> <character>STIX \*</character> <dialogue>Daddy don't need a new pair of \* shoes-- got those. Daddy need \* three new pretty dresses-- six ball \* corner pocket. \*</dialogue> <scene_description>He sinks it. He grabs the money on the table. His opponent \* is not happy. "Jump" is now heard LIVE at: \*</scene_description> </scene> <scene> <stage_direction>INT. CLIFF BELLS - NIGHT 39 \*</stage_direction> <scene_description>We now see the girls in beautiful, new, sexy dresses \* PERFORMING "Jump." They have the crowd's attention. Their \* CHEERS and excitement give Sister permission to work the \* crowd with her brick house of a body. As the camera moves \* past the back of the crowd it seamlessly reveals the girls \* still singing "Jump," but their dresses, while still sexy, \* have changed completely. \*</scene_description> </scene> <scene> <stage_direction>A40 INT. POOL HALL - NIGHT A40 \*</stage_direction> <scene_description>Stix is playing the same opponent and still talking mess. \*</scene_description> <character>STIX \*</character> <dialogue>I want to thank you for your \* involuntary contribution to the \* Stix incorporated wardrobe fund. \*</dialogue> <scene_description>Stix sinks the eight ball. \*</scene_description> <character>STIX (CONT'D) \*</character> <dialogue>You were impressed with my big \* words weren't you. \*</dialogue> <scene_description>Stix's opponent throws his pool cue down in anger as Stix \* picks up his money. \*</scene_description> </scene> <scene> <stage_direction>B40 INT. CLIFF BELLS - NIGHT B40 \*</stage_direction> <scene_description>The girls perform "Jump" in their new and more revealing \* dresses. They are even better and more polished than before. \* The club is standing room only and now a fire hazard. \* 40 OMITTED 40 \*</scene_description> <character>9/20/2011</character> <dialogue>Stix is back talking mess and running game.</dialogue> <character>STIX \*</character> <dialogue>Eight ball side pocket. Enough \* said! \*</dialogue> <character>\*</character> <dialogue>He sinks it. He grabs the money on the table. His opponent swings on him. Stix deftly whips his butt.</dialogue> </scene> <scene> <stage_direction>INT. CLIFF BELLS - NIGHT 42 \*</stage_direction> <scene_description>The sisters are on stage in dresses even sexier than the ones \* before. We catch them at the tail end of their performance \* of "Jump." These sisters are so polished they could be the \* next Supremes. They end "Jump" to a thunderous APPLAUSE. \*</scene_description> </scene> <scene> <stage_direction>INT. CLIFF BELLS - DRESSING ROOM - NIGHT 43 \*</stage_direction> <scene_description>The girls are there with Stix.</scene_description> <character>DOLORES</character> <dialogue>We need more money. Or Mr. Manager, you need to book us at a better club.</dialogue> <character>STIX</character> <dialogue>Just relax, I'll talk to him.</dialogue> <scene_description>Just then Levi enters, flowers in hand. He goes straight to Sister.</scene_description> <character>LEVI</character> <dialogue>Tonight was the best I've ever seen you.</dialogue> <parenthetical>(remembers Dolores and Sparkle)</parenthetical> <dialogue>All of you.</dialogue> <parenthetical>(back to Sister)</parenthetical> <dialogue>But you were amazing.</dialogue> <scene_description>He leans in to kiss her, she pulls back coyly.</scene_description> <character>SISTER</character> <dialogue>You'll mess up my lipstick.</dialogue> <scene_description>He's not offended. He hands her the flowers, she smells them.</scene_description> <character>9/20/2011</character> <dialogue>As much as I would love to mess it up, I have to get to work.</dialogue> <character>STIX</character> <dialogue>Since when did you have a graveyard shift?</dialogue> <character>LEVI</character> <dialogue>Since I got a woman that needs things.</dialogue> <scene_description>Sister returns his smile. Levi opens the door to find Satin there about to knock.</scene_description> <character>STIX</character> <dialogue>Satin, I didn't know you were in the house tonight. Sparkle, Dolores, this is Satin Struthers.</dialogue> <character>SATIN</character> <dialogue>Pleased to meet you.</dialogue> <character>SPARKLE</character> <dialogue>Pleased to meet you.</dialogue> <character>DOLORES</character> <parenthetical>(not as impressed)</parenthetical> <dialogue>Hi.</dialogue> <character>STIX</character> <dialogue>And this is--</dialogue> <character>SISTER</character> <dialogue>We know each other.</dialogue> <scene_description>Levi doesn't like the flirtatious eyes Sister and Satin are making.</scene_description> <character>STIX</character> <dialogue>Great, y'all catch up. I got some business to tend to.</dialogue> <scene_description>Stix exits.</scene_description> <character>SATIN</character> <dialogue>First I want to say I enjoyed your performance.</dialogue> <character>SISTER</character> <dialogue>Thank you.</dialogue> <character>9/20/2011</character> <dialogue>And secondly, I wanted to give you \* this. \*</dialogue> <scene_description>He hands her a jewelry box and she unconsciously hands the flowers back to Levi. \*</scene_description> <character>LEVI</character> <dialogue>Wait a minute, brother--</dialogue> <character>SISTER</character> <dialogue>Oh my God.</dialogue> <scene_description>Levi looks down and sees the ring. He's not sure, but it \* looks like the one he showed Sister the picture of, or maybe \* better. He looks at the flowers in his hands. Everyone but \* Sister and Satin are uncomfortable.</scene_description> <character>SATIN</character> <dialogue>Some friends of mine are having a party tonight. Thought you might like to go along with me. We could celebrate your success and get better acquainted.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Of course, that invitation extends to all of you.</dialogue> <character>SISTER</character> <dialogue>Levi's on his way to work and my sisters have to get home.</dialogue> <scene_description>Levi, crushed hands the flowers to Sparkle. As Levi exits the \* club in anger it's almost like the band is playing traveling \* music for him. \*</scene_description> <character>SATIN \*</character> <dialogue>I'll wait for you outside. \*</dialogue> <scene_description>Satin exits. \*</scene_description> <character>SPARKLE</character> <dialogue>How could you do that to Levi?</dialogue> <character>SISTER</character> <dialogue>Levi's a grown man. He didn't say \* nothing, why should I? \*</dialogue> <character>DOLORES</character> <dialogue>Don't listen to her, she's darn near thirty and not married.</dialogue> <character>SISTER</character> <dialogue>Shut up.</dialogue> <character>9/20/2011</character> <dialogue>But Levi loves you.</dialogue> <character>SISTER</character> <dialogue>Spark, when you see a train that's finally going to get you where you trying to go, you can't wait to live. You have to jump on it. \*</dialogue> <scene_description>44 OMITTED 44 \*</scene_description> </scene> <scene> <stage_direction>INT. ANDERSON HOUSE - DINING ROOM - DAY</stage_direction> <scene_description>The TV show Julia fills the screen. It's Sunday dinner. \* Sparkle sets the table while REV. BRYCE sits at the end with the best view of the TV, so he wastes no time when dinner's \* served.</scene_description> <character>REV. BRYCE</character> <dialogue>You sang lovely today, Sparkle. It's like you were singing with a brand new voice.</dialogue> <character>SPARKLE</character> <dialogue>Thank you, Reverend Bryce. But if you don't mind me asking, how can you hear me? I've never had a solo.</dialogue> <character>REV.</character> <dialogue>You can always angel's sing. at Cliff Bells</dialogue> <character>BRYCE</character> <dialogue>hear one of God's In the choir... and too.</dialogue> <scene_description>Sparkle is about to pee her pants. EMMA enters to see the \* fork shaking in Sparkle's hand.</scene_description> <character>EMMA \*</character> <dialogue>What are you doing, having a seizure over there? Set the table. Reverend Bryce has to get back to the church.</dialogue> <scene_description>EMMA exits back to the kitchen. \*</scene_description> <character>REV. BRYCE</character> <dialogue>I won't tell your mama if you can get me a table for my birthday.</dialogue> <character>9/20/2011</character> <dialogue>dish on the table.</dialogue> <character>DOLORES</character> <dialogue>You'll have a nice table for four at the front.</dialogue> <character>REV. BRYCE</character> <dialogue>More like the middle so I blend in.</dialogue> <scene_description>Rev. Bryce smiles triumphantly as Emma re-enters with Ms. \* Waters and the final dish.</scene_description> <character>EMMA \*</character> <dialogue>Dinner's ready. Reverend, will you please bless the food?</dialogue> <character>SPARKLE</character> <dialogue>Sister's not here yet. She said she was coming.</dialogue> <character>EMMA \*</character> <dialogue>Those who do, do.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Reverend?</dialogue> <character>REV. BRYCE</character> <dialogue>Please bow your heads.</dialogue> <scene_description>They, including Tune Ann and Ms. Waters, settle in their seats and hold hands to pray.</scene_description> <character>REV. BRYCE</character> <dialogue>Our Father in Heaven, for this meal you have given, we want to say thank you. Bless the ones who prepared it. And Lord as we share it, will you stay with us and be our guest of Honor. Not just at this meal, but God in our waking, God in our speaking, God in our playing, God in our digesting, God in our working, God in our resting. In a world where so many are hungry, may we eat this food with humble hearts. In a world where so many are lonely, may we share this friendship with joyful hearts.</dialogue> <scene_description>Tune Ann, believing the prayer is over, breaks the chain of hands and says a soft Amen, while reaching for the biscuits. She realizes that Rev. Bryce is not done. She rolls her eyes and rejoins the prayer.</scene_description> <character>9/20/2011</character> <dialogue>May this food so fresh and fragrant, call forth reverence for you in our souls. As you give this strength to our perishable limbs, so give us grace for our immortal lives. And let's not forget the blessings on this family. For all the days they've had together and all the days to come. For the joys and sorrows that bind us all ever closer. Lord, we thank you. Amen.</dialogue> <character>EVERYONE</character> <dialogue>Amen.</dialogue> <character>SATIN (O.S.)</character> <dialogue>No wonder black folks can't get ahead--</dialogue> <scene_description>Everyone looks up to find Sister who looks gorgeous hand-in- \* hand with Satin.</scene_description> <character>SATIN</character> <dialogue>It's not because we're lazy-- It's because we're so busy praying over a new horse and buggy, by the time black folks get to Amen the horse is dog food and the buggy is now a car we can't afford because we're too busy praying.</dialogue> <scene_description>No one laughs. After what seems like forever, Sister recovers. \*</scene_description> <character>SISTER \*</character> <dialogue>Mom, this is Satin. \*</dialogue> <character>EMMA \*</character> <dialogue>Pleasure. \*</dialogue> <character>SATIN \*</character> <dialogue>All mine, Ms. Anderson. All mine. \*</dialogue> <scene_description>Dolores leans into to Sparkle and whispers. \*</scene_description> <character>DOLORES \*</character> <dialogue>Two dollars say he doesn't make it \* to dessert. \*</dialogue> <character>SPARKLE \*</character> <dialogue>Five says he doesn't even get food \* on his plate. Look at Mama's face. \*</dialogue> <character>9/20/2011</character> <dialogue>Sister, you and Mr. Struthers have \* a seat, you're late. \*</dialogue> <scene_description>As they head to their seats, Sister introduces Satin to \* everyone else, including Sparkle and Dee who play along. \*</scene_description> <character>SISTER \*</character> <dialogue>...And this is Reverend Bryce. \*</dialogue> <character>SATIN \*</character> <dialogue>Nice to meet you Reverend. \*</dialogue> <character>REV. BRYCE \*</character> <dialogue>Saw you on the TV. You were pretty \* hard on the folk here in Detroit \* after the riots. \*</dialogue> <character>SATIN \*</character> <dialogue>I was just telling the truth. Shows \* a lack of intelligence to burn down \* and loot their own neighborhood. \* That just makes no sense. \*</dialogue> <character>REV. BRYCE \*</character> <dialogue>People are angry. \*</dialogue> <character>SATIN \*</character> <dialogue>At white people. So go tear up \* their shit. Sorry, excuse me. \* Hail Mary. \*</dialogue> <character>DOLORES \*</character> <dialogue>That's Catholic. \*</dialogue> <character>SATIN \*</character> <dialogue>It's still Christian, right? Look I \* understand, but I'm just trying to \* get black folk to look at it from a \* different perspective that's all. \*</dialogue> <character>REV. BRYCE \*</character> <dialogue>Burning and looting your own \* neighborhood may be misguided, but \* at least those people out there are \* trying to fight to change the \* system. With all due respect, \* you're just trying to make a dollar \* off their pain, brother. \*</dialogue> <scene_description>Satin's anger is subtle but present. CRUNCH. \*</scene_description> <character>9/20/2011</character> <dialogue>Well, you would know better than I \* about making money off of people's \* pain-- you pack them in every \* Sunday and give them a show. The \* difference between me and you is \* that you collect your fee in the \* pews and I make sure I get mine at \* the door. \*</dialogue> <scene_description>The room falls silent with discomfort. CRUNCH. Ms. Waters \* cuts Tune Ann a look to stop, but she only chews quieter. \* Emma cuts Sister a look. Sparkle leans into Dolores. \*</scene_description> <character>SPARKLE \*</character> <dialogue>Definitely not making it to \* dessert. \*</dialogue> <character>SATIN \*</character> <dialogue>Food looks delicious Ms. Anderson. \*</dialogue> <scene_description>(off her non-response) \* Well, I guess now is as good a time \* as any to ask for your daughter's \* hand in marriage. \* Emma looks to Sister. \*</scene_description> <character>SISTER \*</character> <dialogue>Surprise. \*</dialogue> <scene_description>(blushing) \* He asked me last night. Got on one \* knee, said he couldn't live without \* me. \*</scene_description> <character>EMMA \*</character> <dialogue>You want to get married to this \* man? The way he's disrespecting \* our house? The Reverend? \*</dialogue> <character>SISTER \*</character> <dialogue>He's a comedian. He was trying to \* make us laugh. Mama, he's a good \* guy. He even goes to church \* sometimes. \*</dialogue> <character>SATIN \*</character> <dialogue>Granted it's to get material, but \* I'm there. \*</dialogue> <character>SISTER \*</character> <dialogue>(to Satin) \*</dialogue> <scene_description>Stop. \* (then to Emma) \* He tithes. \*</scene_description> <character>9/20/2011</character> <dialogue>I think enough of you to introduce \* you to doctors and dentists and \* accountants, but no, you want to ho \* yourself out to a coon. \*</dialogue> <character>SPARKLE \*</character> <dialogue>Mom! \*</dialogue> <scene_description>Satin cuts Emma a look-- he wants to slap the shit out of \* her. But on a dime, smiles. \*</scene_description> <character>SATIN \*</character> <dialogue>I'm probably more of a Sambo. I do \* coon it from time to time. But \* Sambo is my go-to. \*</dialogue> <character>EMMA \*</character> <dialogue>(to Sister) \*</dialogue> <scene_description>Think better of yourself. \* I know you're getting older and \* worried about who's going to marry \* you. But honey, get older, don't \* get desperate. \*</scene_description> <character>SISTER \*</character> <dialogue>Desperate? I'm doing a whole lot \* better than you ever did. Oh wait, \* just keeping a man would be a whole \* lot better than you did. \*</dialogue> <character>REVEREND BRYCE \*</character> <dialogue>Okay ladies, that's enough. \*</dialogue> <character>DOLORES \*</character> <dialogue>Maybe this is a conversation-- \*</dialogue> <character>SISTER \*</character> <dialogue>No Dee. Me getting a good husband \* is not about me, it's about her. \* It's not my fault she got knocked \* up at sixteen and still wants folks \* to think that she's the perfect \* mother-- raised some good girls. \*</dialogue> <scene_description>(then looking Emma dead in \* her eye) \* Sparkle's gonna follow up behind \* you and be a little church mouse \* and make dresses, and if she's \* lucky, be a preacher's wife. You \* are going to be a doctor and I'm \* just supposed to marry one. \*</scene_description> <character>9/20/2011</character> <dialogue>snagged one had she sent me to \* school like you two, but I was \* raising her kids and picking her up \* out of her own vomit. \*</dialogue> <scene_description>Emma boils. \*</scene_description> <character>SISTER (CONT'D) \*</character> <dialogue>I was desperate years ago. Right \* now I'm just trying to get the hell \* up out of here and get something \* besides a color TV and half a room. \*</dialogue> <scene_description>The two women stare each other down. The room is silent, \* then: \*</scene_description> <character>TUNE ANN \*</character> <dialogue>Foods getting cold. \*</dialogue> <scene_description>Sister wipes away the tear that escaped. \*</scene_description> <character>SATIN \*</character> <dialogue>We should probably go. Thank you \* Ms. Anderson for what looks like \* would have been a really good \* dinner. \*</dialogue> <character>EMMA \*</character> <dialogue>(to Sister) \*</dialogue> <scene_description>You leave my house, there's no \* coming back. \* Sister gets up and exits. Sparkle follows. \*</scene_description> <character>SATIN \*</character> <dialogue>For those who care to come, we're \* having a June wedding. \*</dialogue> <scene_description>Satin gets up from the table. \* 46 OMITTED 46 \*</scene_description> </scene> <scene> <stage_direction>INT. ANDERSON HOUSE - SPARKLE &amp; SISTER'S BEDROOM - DAY</stage_direction> <scene_description>Sister packs up her suitcases in minutes. Sparkle uncomfortably watches for a beat, then:</scene_description> <character>SPARKLE</character> <dialogue>Are you still going to be a part of the group?</dialogue> <character>9/20/2011</character> <dialogue>Not what was on my mind, Spark, but yeah. Yeah, sure.</dialogue> <scene_description>Sister marches right back out with her bags. Sparkle on her heels to the:</scene_description> <character>HALLWAY</character> <dialogue>Where Dee is there to meet them.</dialogue> <character>SPARKLE</character> <dialogue>Dee? Don't just stand there. Say something.</dialogue> <scene_description>Dee hugs Sister.</scene_description> <character>DOLORES</character> <dialogue>Congratulations.</dialogue> <scene_description>Sister breaks and cries a little with Dee, then quickly regains her composure and kisses Dee's forehead, then Sparkle's. And with that Sister leaves with Satin. We watch the tears swell in Sparkle's eyes. 48 OMITTED 48 \*</scene_description> </scene> <scene> <stage_direction>EXT. ANDERSON HOUSE - A FEW HOUSES DOWN - NIGHT</stage_direction> <scene_description>Sparkle sneaks out of the house and makes her way down the \* street. Stix is waiting on his scooter when Sparkle runs up \* and hugs him. He kisses her on the top of her head.</scene_description> <character>STIX</character> <dialogue>Where you want to go?</dialogue> <character>SPARKLE</character> <dialogue>Anywhere.</dialogue> <scene_description>Marvin Gaye and Tammi Terrell's "You're All I Need To Get By" creeps in as they take off down the street.</scene_description> </scene> <scene> <stage_direction>EXT. DETROIT DOWNTOWN - VESPA - DRIVING - NIGHT</stage_direction> <scene_description>The SONG continues to score this romantic and soulful moment. While the city lights pass in the background, Sparkle holds on to Stix tightly. She lays her head on his back and the two of them fall deeper in love.</scene_description> <character>9/20/2011</character> <dialogue>Satin sits at the table with his eyes closed. Sister \* carefully carries something over to him that we don't see.</dialogue> <character>SISTER</character> <dialogue>Okay, open them.</dialogue> <scene_description>He opens them to see a simple cup of coffee.</scene_description> <character>SISTER</character> <parenthetical>(proud)</parenthetical> <dialogue>Your cup of coffee, sir.</dialogue> <scene_description>They laugh. She straddles him in the chair.</scene_description> <character>SISTER</character> <dialogue>I take care of my man.</dialogue> <scene_description>He kisses her.</scene_description> <character>SATIN</character> <dialogue>I appreciate it, baby. But papa needs to wake up a little faster and a little stronger.</dialogue> <scene_description>He pulls out his cocaine. He opens her hand and lays a line in it. He snorts right out of her hand.</scene_description> <character>SATIN</character> <dialogue>Stick out your tongue.</dialogue> <scene_description>She does and he takes her residue hand and slowly drags it across her tongue.</scene_description> <character>SATIN</character> <dialogue>Wait 'til you see what it does when we make love.</dialogue> <scene_description>They begin to make out right at the breakfast table.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - DAY</stage_direction> <scene_description>Stix, still clothed, is laying across the bed. He fluffs a few pillows, then:</scene_description> <character>STIX</character> <dialogue>What are you doing in there? Hurry up.</dialogue> <scene_description>Then through the closed bathroom door, we hear:</scene_description> <character>9/20/2011</character> <dialogue>Stop rushing me, please.</dialogue> <scene_description>The door opens and Sparkle steps out in a beautiful dress. \* More fabulous than the others. She's beaming. Stix enjoys \* the sight of her.</scene_description> <character>STIX</character> <dialogue>Beautiful.</dialogue> <character>SPARKLE</character> <dialogue>Not too sexy?</dialogue> <character>STIX</character> <dialogue>Well, let me see. Model it for me.</dialogue> <scene_description>She works the room back and forth like a model, then gets shy and starts to act silly. They share a laugh. \*:</scene_description> <character>STIX</character> <dialogue>Now take it off. \*</dialogue> <character>SPARKLE</character> <dialogue>Someone once told me that they love you more when you make them pay. Your currency is time and I need more of it.</dialogue> <character>STIX</character> <dialogue>Look at you putting me in my place. But I still need you to take the dress off.</dialogue> <character>SPARKLE</character> <dialogue>Stix, for real. Don't pressure me.</dialogue> <character>STIX</character> <parenthetical>(laughs)</parenthetical> <dialogue>Girl, you got mad quick. I need you \* to take it off, so you can keep it nice. I thought you could wear it when you and your sisters...</dialogue> <parenthetical>(then big and full of excitement)</parenthetical> <dialogue>Open up for Aretha Franklin at The Legend!!!! \*</dialogue> <character>SPARKLE</character> <dialogue>What?!</dialogue> <character>STIX</character> <dialogue>Baby, you're opening up for Aretha!!</dialogue> <character>9/20/2011</character> <dialogue>Don't lie to me Stix!</dialogue> <character>STIX</character> <dialogue>I ain't lying!</dialogue> <scene_description>Sparkle lets out a scream. And they jump up and down and scream in celebration. Someone in another room knocks on the \* wall. \*</scene_description> <character>MAN #1 (V.O.) \*</character> <dialogue>Give it a break will ya! \*</dialogue> <scene_description>Sparkle falls into his arms, they laugh. \*</scene_description> <character>STIX</character> <dialogue>You are really going to have to dig deep and pull out the best song you've ever written.</dialogue> <character>SPARKLE</character> <dialogue>I have it already. I wrote it the night you first kissed me.</dialogue> <character>STIX</character> <dialogue>I can't wait to hear it. \*</dialogue> <character>SPARKLE</character> <dialogue>You will the night I open up for \* Aretha Franklin. \*</dialogue> <scene_description>She sits on his lap and gives Stix a loving kiss. \*</scene_description> </scene> <scene> <stage_direction>INT. SATIN'S HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>The girls practice their routine. They are working hard on the dance steps. Sparkle bumps into Dolores and the three sisters share a laugh. Sister sniffs as though she's catching \* a cold. \*</scene_description> <character>DOLORES \*</character> <dialogue>You catching a cold? \*</dialogue> <scene_description>Sister is about to tell a lie but before she can, Satin pokes \* his conk-askew head out the bedroom door.</scene_description> <character>SATIN</character> <dialogue>Y'all ain't got to go home, but you know the rest.</dialogue> <scene_description>The mood changes instantly. Satin crosses to the bar to pour himself a drink. They make "oops" faces to each other.</scene_description> <character>9/20/2011</character> <dialogue>They were just leaving.</dialogue> <scene_description>Sparkle and Dee gather their things.</scene_description> <character>SISTER</character> <parenthetical>(to Satin)</parenthetical> <dialogue>Baby, can you give them some cab fare?</dialogue> <character>SATIN</character> <dialogue>You the one with all the money. About to open up for Aretha Franklin. If I had any sense, I'd be living off of you.</dialogue> <scene_description>Feeling awkward, Sparkle laughs out of needing to lighten the mood.</scene_description> <character>SATIN</character> <dialogue>You think I'm funny?</dialogue> <character>SPARKLE</character> <dialogue>Yeah.</dialogue> <character>SATIN</character> <dialogue>So you're laughing along with those white folks I "coon" for?</dialogue> <character>SPARKLE</character> <dialogue>No.</dialogue> <character>SISTER</character> <dialogue>Satin.</dialogue> <character>SATIN</character> <parenthetical>(stays on point)</parenthetical> <dialogue>Well you should. That's how I pay for all this heat you're sucking up around here.</dialogue> <character>SPARKLE</character> <dialogue>Satin, I'm--</dialogue> <character>SISTER</character> <dialogue>Just go.</dialogue> <scene_description>Satin exits. Once gone, Sister gets money out of her purse.</scene_description> <character>SISTER</character> <dialogue>Here.</dialogue> <character>DOLORES</character> <dialogue>Everything okay?</dialogue> <character>9/20/2011</character> <dialogue>Fine. Men are just like babies, cranky when they're hungry and sleepy. Which is exactly what we need. Sleep. We have to open up for Ms. Franklin tomorrow.</dialogue> <scene_description>Sister gives them one of her confident smiles, making them smile too. They say their goodbyes and leave. Sister closes the door and her smile fades.</scene_description> </scene> <scene> <stage_direction>INT. ANDERSON HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>Sparkle and Dee sit with Emma watching TV. Emma drinks from \* a coffee mug.</scene_description> <character>DOLORES</character> <dialogue>You want some more tea, Mama?</dialogue> <parenthetical>(no response)</parenthetical> <dialogue>Mama?</dialogue> <scene_description>They take a closer look and she's knocked out. The girls tip toe down the hallway, leaving Emma on the couch with the TV \* on.</scene_description> </scene> <scene> <stage_direction>INT. LEGEND THEATER - DRESSING ROOM - NIGHT 55 \*</stage_direction> <scene_description>Sparkle and Dolores are dressing as Sister enters.</scene_description> <character>DOLORES</character> <dialogue>Uh, hello? Today ain't the day to be fashionably late.</dialogue> <character>SPARKLE</character> <dialogue>You have time. Stix says Ms. Franklin's running late. Not even here yet.</dialogue> <scene_description>Sister drops her coat and sits at the makeup mirror.</scene_description> <character>SPARKLE</character> <dialogue>I'm a little worried though, because that's going to cut it too close getting back home...</dialogue> <scene_description>Sister removes her hat. There is a huge welt and black and blue marks on the side of her face.</scene_description> <character>SPARKLE</character> <dialogue>What happened to your face?</dialogue> <character>9/20/2011</character> <dialogue>It ain't nothing.</dialogue> <character>DOLORES</character> <dialogue>Did he do that to you?</dialogue> <character>SISTER</character> <dialogue>I had an accident.</dialogue> <character>DOLORES</character> <dialogue>Oh, so what? You tripped and hit his fist?</dialogue> <character>SISTER</character> <dialogue>Get out of here.</dialogue> <character>DOLORES</character> <dialogue>What?</dialogue> <character>SISTER</character> <dialogue>You heard me. Get out of my face.</dialogue> <character>DOLORES</character> <dialogue>He's beating you and you're mad at me?</dialogue> <character>SISTER</character> <dialogue>Get out!</dialogue> <scene_description>Dolores leaves. Sister sits down again and reaches for her makeup. Sparkle watches her sister carefully unfold a dollar bill. Inside is a small heap of white powder. She scoops the white powder onto the open matchbook, brings it to her nose and sniffs hard. She rubs what's left on her finger across her gums.</scene_description> <character>SPARKLE</character> <dialogue>What are you doing? Sister, please tell me that's not--</dialogue> <character>SISTER</character> <dialogue>We got to open up for Aretha Franklin tonight, right?</dialogue> <character>SPARKLE</character> <dialogue>Right.</dialogue> <character>SISTER</character> <dialogue>Yeah well, Sister can't fly on one wing.</dialogue> <character>9/20/2011</character> <dialogue>Emma wakes up from her deep sleep, a bit disoriented. \*</dialogue> <dialogue>She looks for the girls and sees they are gone.</dialogue> </scene> <scene> <stage_direction>INT. ANDERSON HOUSE - SPARKLE &amp; SISTER'S BEDROOM - NIGHT</stage_direction> <scene_description>Emma snoops and eventually finds some of Sparkle's \* performance dresses sandwiched between her mattresses.</scene_description> </scene> <scene> <stage_direction>INT. ANDERSON HOUSE - LIVING ROOM - MOMENTS LATER - NIGHT</stage_direction> <scene_description>Emma dials the phone. \*</scene_description> <character>EMMA \*</character> <dialogue>Sara, tell that daughter of yours to stop eating and tell you where my daughters are performing tonight.</dialogue> </scene> <scene> <stage_direction>INT. MS. WATERS KITCHEN - NIGHT</stage_direction> <scene_description>Ms. Waters is on the phone and, as predicted, Tune Ann is eating.</scene_description> <character>MS. WATERS</character> <dialogue>Where are the Anderson sisters performing tonight?</dialogue> <scene_description>Tune Ann has no way out.</scene_description> <character>HOST (V.O.)</character> <dialogue>Ladies and gentlemen, live at the Legend Theater, please help me \* welcome, Sister and Her Sisters!</dialogue> </scene> <scene> <stage_direction>INT. ANDERSON HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>Emma doesn't need the info anymore because there they are \* right there on her TV.</scene_description> <character>EMMA \*</character> <dialogue>I'll be damned.</dialogue> <character>9/20/2011</character> <dialogue>MUSICAL PERFORMANCE #6 \*</dialogue> <dialogue>The dresses, the heels, the way the girls move their bodies to the music makes mouths drop open. But when they open their mouth to sing "Giving Him Something He Can Feel," it shocks sexual electricity through The Legend Theater. Not \* because they are singing upbeat, but because their lyrics drip with passion. Stix has to loosen his tie. He sees that Sparkle is singing directly at him. She's shed a skin and is becoming a woman right before his eyes. He laughs to himself- - she wrote the hell out of this song. It's so palpable it feels almost better than having sex. Clearly the sisters are getting everyone in the mood, especially Sister as she commands the stage. Satin, who has a scar on his face, watches intensely as Sister seductively works the crowd like we've never seen her before. Everyone there knows this is a life changing moment for the girls and they love bearing witness to it. Standing ovation.</dialogue> </scene> <scene> <stage_direction>INT. LEGEND THEATER - BACKSTAGE LOUNGE/BAR - LATER - NIGHT 62 \*</stage_direction> <scene_description>The after party is in full swing. PERFORMERS, WANNABEES and BEAUTIFUL PEOPLE mingle and try to get close to the girls to say "Congratulations." The girls greet people with excitement, but there's a cloud present. Stix enters with LARRY ROBINSON.</scene_description> <character>STIX</character> <dialogue>Ladies, I want you to meet Larry Robinson of Columbia Records. \*</dialogue> <scene_description>The girls say "Hi."</scene_description> <character>LARRY</character> <dialogue>Oh look at that, they say 'hi' in harmony.</dialogue> <character>DOLORES</character> <parenthetical>(to Stix)</parenthetical> <dialogue>Didn't you say something about Berry Gordy? No offense, Mr. Robinson.</dialogue> <character>LARRY</character> <parenthetical>(smiles)</parenthetical> <dialogue>None taken.</dialogue> <character>STIX</character> <dialogue>Dee, Mr. Robinson is a senior A and R at Columbia in Los Angeles. \*</dialogue> <character>9/20/2011</character> <dialogue>some talent. He wants to talk to us about a record--</dialogue> <character>LARRY</character> <dialogue>Can I share it? Will you let it be my news?</dialogue> <character>STIX</character> <dialogue>By all means.</dialogue> <character>LARRY</character> <parenthetical>(to girls)</parenthetical> <dialogue>You were fantastic. Fan-tas-tic. I want to sign you. I'm going to sign you. Let me go back to my first thought-- want to sign you. But because I'm an impulsive guy, I can't. I have to stop and count to twenty. Not literally, but here's the deal, I got to see what you look like waking up next to me in the morning.</dialogue> <character>DOLORES</character> <dialogue>Stix, what is this?</dialogue> <character>LARRY</character> <dialogue>It's an expression-- I need to see you in the light of day-- another expression. Look, the point is I need to see you again before I sign you. It'll be fun. You'll get dolled up, prepare a new song, I'll invite some of my colleagues and you wow us.</dialogue> <parenthetical>(then to Sister)</parenthetical> <dialogue>It's all your fault. I'm not sure if you guys can really sing or if I just couldn't keep my eyes off you.</dialogue> <scene_description>He tries to get a closer look at her, but Sister turns her face.</scene_description> <character>LARRY</character> <dialogue>Oh you're a coy one, I like that. It works on many levels.</dialogue> <parenthetical>(then to Stix)</parenthetical> <dialogue>Great, so I'll see you next week.</dialogue> <scene_description>Larry turns around to exit and bumps into Satin.</scene_description> <character>9/20/2011</character> <dialogue>Wow, there's a line to get in here. Excuse me.</dialogue> <scene_description>Stix crosses over to shake Satin's hand.</scene_description> <character>STIX</character> <dialogue>Your lady was once again-- incredible.</dialogue> <character>SATIN</character> <dialogue>You all were. Congratulations.</dialogue> <scene_description>Sparkle and Dolores don't respond. Stix notices the tension but the fresh scar on Satin's face distracts him.</scene_description> <character>STIX</character> <dialogue>You been fighting?</dialogue> <character>SATIN</character> <dialogue>I got a new cat.</dialogue> <character>STIX</character> <dialogue>That's a big ass cat.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>You guys better get out of here. Your cab is out front.</dialogue> <parenthetical>(whispers in Sparkle's ear)</parenthetical> <dialogue>I saw you up there singing to me, teasing me.</dialogue> <character>SPARKLE</character> <dialogue>You said you wanted better songs, something hot.</dialogue> <character>STIX</character> <dialogue>Girl, you better stop.</dialogue> <parenthetical>(kisses Sparkle, then)</parenthetical> <dialogue>You guys were incredible but I have to run and see if I can talk to Berry and get us a bidding war. Satin.</dialogue> <character>SATIN</character> <dialogue>Stix.</dialogue> <scene_description>Stix exits, leaving the girls there with Satin.</scene_description> <character>SATIN</character> <dialogue>Come on baby, let's go celebrate.</dialogue> <scene_description>Sister starts to get up, but Sparkle and Dolores stand up between them.</scene_description> <character>9/20/2011</character> <parenthetical>(laughs)</parenthetical> <dialogue>What? Y'all her bodyguards now?</dialogue> <character>DOLORES</character> <dialogue>We're big ass cats.</dialogue> <scene_description>This time Satin doesn't laugh, he looks Dolores right in the eyes.</scene_description> <character>SATIN</character> <dialogue>I'll step outside so you all can talk.</dialogue> <scene_description>Satin exits.</scene_description> <character>DOLORES</character> <dialogue>Come on, let's get out of here. Mom will let you back in the house.</dialogue> <character>SISTER</character> <dialogue>You guys, really. I fell.</dialogue> <character>DOLORES</character> <dialogue>You said Mom used to fall a lot too. You even picked her up a few times.</dialogue> <character>SISTER</character> <dialogue>It was one time.</dialogue> <character>SPARKLE</character> <dialogue>Too many. Sister, look at me.</dialogue> <parenthetical>(Sister doesn't)</parenthetical> <dialogue>Tammy.</dialogue> <scene_description>Sister looks up.</scene_description> <character>SISTER</character> <dialogue>Don't call me that.</dialogue> <character>SPARKLE</character> <dialogue>You told me one time that you don't have to make the right decision all the time, but you have to make the right decision at the right time.</dialogue> <scene_description>Sparkle holds out her hand.</scene_description> <character>SPARKLE</character> <dialogue>Walk out here with us.</dialogue> <scene_description>Sparkle holds it out for a long time and eventually Sister takes Sparkle's hand. They walk out of the dressing room.</scene_description> <character>9/20/2011</character> <dialogue>Sister looks across the room and sees Satin holding court. After a beat he feels Sister looking at him. He raises his glass of champagne in a subtle toast to her and smiles. Sister smiles back.</dialogue> <dialogue>CLOSE ON: SISTER AND SPARKLE'S HANDS. We see Sister's hand slip gently out of Sparkle's.</dialogue> <dialogue>Time stands still as Sparkle and Dolores watch their sister disappear into the crowd and head over to Satin.</dialogue> </scene> <scene> <stage_direction>INT. ANDERSON HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>Sparkle and Dolores sneak into the house barefoot, only to find their bags packed and their mother on the couch.</scene_description> <character>DOLORES</character> <dialogue>Mama, I'm sorry.</dialogue> <character>SPARKLE</character> <dialogue>I'm sorry, too.</dialogue> <character>EMMA \*</character> <dialogue>Was my life not enough of a cautionary tale for you? You think I'm just a mean Mama, I won't let you follow your dreams. Well, then I'll be mean because I will never encourage you to drive your life right into hell.</dialogue> <character>DOLORES</character> <dialogue>To be honest, I can take it or leave it. But we are close to getting a record deal. They're saying Sister could be like Diana Ross and Sparkle is a good songwriter.</dialogue> <character>EMMA \*</character> <dialogue>I made it real simple in this house. Respect, education and having a relationship with the Lord. You can't do that, it's time to go.</dialogue> <scene_description>The girls are silent, then almost a whisper:</scene_description> <character>9/20/2011</character> <dialogue>Why would the Lord give me this gift if I wasn't supposed to use it?</dialogue> <character>EMMA \*</character> <dialogue>What?</dialogue> <character>SPARKLE</character> <dialogue>All I think about is music. Everything I hear, see, feel turns into a song. Sometimes I try to turn it off, but I can't. And I know the Lord loves me and He wouldn't torture me with something I want to do, can't help but do. So I figured--</dialogue> <character>EMMA \*</character> <dialogue>That I was wrong?</dialogue> <character>SPARKLE</character> <dialogue>That I had a gift.</dialogue> <character>EMMA \*</character> <dialogue>You can have a gift. It's how you use it. You want to promote good or promote more fast-tailed girls having illegitimate children?</dialogue> <parenthetical>(she then reads from Sparkle's journal)</parenthetical> <dialogue>Giving him something he can feel. To let him know this love is real.</dialogue> <character>SPARKLE</character> <dialogue>Mama, that's private.</dialogue> <character>EMMA \*</character> <parenthetical>(tossing it in a nearby trash can)</parenthetical> <dialogue>No, it's trash.</dialogue> <scene_description>Sparkle gets it out of the trash.</scene_description> <character>SPARKLE</character> <dialogue>No, it's not.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>We were wrong for disrespecting you and the rules of your house. So if you want me to go, I'll go. But I can't stop now, Mama. I'm too close.</dialogue> <character>9/20/2011</character> <dialogue>takes a moment to look at her two daughters in disgust, then gets up.</dialogue> <character>EMMA \*</character> <dialogue>You go. You get the record deal, you would move out anyway. But if you don't get it, and you want to live here? This little dream of yours is over, you hear?</dialogue> <scene_description>Sparkle nods "yes." Emma exits. Tears drop down Sparkle's \* face. Dolores gently puts her hand over Sparkle's to make it stop shaking.</scene_description> <character>DOLORES</character> <dialogue>I'm proud of you.</dialogue> </scene> <scene> <stage_direction>INT. SATIN'S HOUSE - BEDROOM - MORNING</stage_direction> <scene_description>Sister stirs awake in the big king sized bed. When she looks up, she sees Satin sitting on the floor (conk askew) taking a photo. He smiles at her.</scene_description> <character>SISTER</character> <dialogue>What are you doing?</dialogue> <character>SATIN</character> <dialogue>I always do this. You look like an angel.</dialogue> <character>SISTER</character> <dialogue>Thank you.</dialogue> <character>SATIN</character> <parenthetical>(hands her his notebook)</parenthetical> <dialogue>Will you please read this for me? Tell me what you think.</dialogue> <character>SISTER</character> <parenthetical>(smiling)</parenthetical> <dialogue>This is some new material?</dialogue> <character>SATIN</character> <dialogue>Things are changing. More black folks can come into the theaters. White folks don't mind it so much. I ain't trying to lose that white money, but I think this will help me bridge the gap. Get some of my black audience back.</dialogue> <character>9/20/2011</character> <dialogue>those black clubs to try this out. I need to know if it's any good.</dialogue> <character>SISTER</character> <dialogue>I'm honored.</dialogue> <scene_description>She slides out of the bed and into his arms. She starts kissing him. With each kiss she says:</scene_description> <character>SISTER</character> <dialogue>Elated. Happy. Thrilled. Horny.</dialogue> <scene_description>They go at it passionately, then Satin pulls back laughing and handing her the book.</scene_description> <character>SATIN</character> <dialogue>Now, please. You know I want what I want, when I want it.</dialogue> <character>SISTER</character> <parenthetical>(getting up)</parenthetical> <dialogue>Okay.</dialogue> <character>SATIN</character> <parenthetical>(smacks her butt)</parenthetical> <dialogue>That's how I got you.</dialogue> <scene_description>She turns back to him, picks up his camera and takes his picture then flashes her beautiful smile.</scene_description> <character>SATIN</character> <dialogue>Tell me the truth, okay?</dialogue> <scene_description>Satin watches her walk out of the room.</scene_description> </scene> <scene> <stage_direction>INT. COMEDY CLUB - NIGHT</stage_direction> <scene_description>Satin is on the stage performing the new material and bombing. Sister laughs the loudest and often alone. Satin presses on and just as he is about to give the punch line on the next joke, we hear someone loudly call out:</scene_description> <character>LEVI (O.S.)</character> <dialogue>Insert joke here! Because this joke ain't got none!</dialogue> <scene_description>The place roars with laughter. We see who it is. It's Levi sitting in a big booth with a couple of SEXY WOMEN and his ENTOURAGE. He's clearly the man now. Levi catches Sister's eye. She looks away to Satin, and Satin looks at Levi laughing at him. Satin drops the mic and charges after Levi.</scene_description> <character>9/20/2011</character> <dialogue>stands up and reach for their guns. Levi never flinches.</dialogue> <character>LEVI</character> <dialogue>What? You like my powder, but not my sense of humor? Nice seeing you, Tammy. How bout some traveling music for Mr. Satin Struthers?</dialogue> <scene_description>The band kicks into high gear, people laugh, Satin pulls away from him and exits with Sister.</scene_description> </scene> <scene> <stage_direction>INT. SATIN'S HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>The club music continues as we watch Satin chase Sister around the thrashed apartment with a belt. She throws a glass at his head and nearly misses. He climbs across the table to get to her.</scene_description> </scene> <scene> <stage_direction>INT. COLUMBIA RECORDS - RECORDING STUDIO - DAY 67 \*</stage_direction> <scene_description>Stix is up pacing the floor. He goes to check his watch but sees Dolores instead. She's sporting a new, short cropped Afro. The look on his face is priceless.</scene_description> <character>STIX</character> <dialogue>What the hell is going on with your head?</dialogue> <character>DOLORES</character> <dialogue>The man said he wanted us dolled up. Plus I need something low maintenance when I go to medical school. Haven't gotten off the wait list yet, but I have to think in the affirmative.</dialogue> <character>STIX</character> <dialogue>Not today, Dee, not today.</dialogue> <scene_description>A flustered Sparkle enters as Stix is running out.</scene_description> <character>STIX</character> <dialogue>Thank God you're here.</dialogue> <character>SPARKLE</character> <dialogue>Where are you going?</dialogue> <character>STIX</character> <dialogue>I'll be right back. Wait here for Sister.</dialogue> <character>9/20/2011</character> <dialogue>DOLORES</dialogue> <scene_description>So, what do you think?</scene_description> <character>SPARKLE</character> <dialogue>We were taught that if you don't have anything nice to say, don't say anything at all.</dialogue> <character>DOLORES</character> <dialogue>No, I want to hear it.</dialogue> <character>SPARKLE</character> <dialogue>I have to go to the bathroom.</dialogue> <character>DOLORES</character> <dialogue>Don't avoid me. Tell me what you think.</dialogue> <character>SPARKLE \*</character> <dialogue>I'll be back.</dialogue> <character>DOLORES</character> <dialogue>I'll come with you.</dialogue> <character>SPARKLE</character> <dialogue>I'm just going to the bathroom.</dialogue> <character>DOLORES</character> <dialogue>Great, then I'll watch you pee. You're not going to disown me.</dialogue> </scene> <scene> <stage_direction>INT/EXT COLUMBIA RECORDS LOBBY - DAY 68 \*</stage_direction> <scene_description>Stix runs up to a WOMAN WEARING A WIG, we can tell its \* raining outside. \*</scene_description> <character>STIX</character> <dialogue>This is going to sound really bad, but you'll have the opportunity to save my life.</dialogue> <character>WOMAN WITH WIG</character> <dialogue>Okay.</dialogue> <character>STIX</character> <dialogue>I'll give you fifty dollars for your wig.</dialogue> <character>WOMAN WITH WIG</character> <dialogue>How do you know this is a wig?</dialogue> <character>9/20/2011</character> <dialogue>Haven't I been rude enough?</dialogue> </scene> <scene> <stage_direction>INT. COLUMBIA RECORDS - WOMEN'S LOUNGE - DAY 69 \*</stage_direction> <scene_description>Dolores walks in to find Sister already there, applying make up to her bruised and battered face. It's worse this time. Dolores and Sister stare at each other through the mirror.</scene_description> <character>SISTER</character> <dialogue>I told you not to bring her.</dialogue> <character>SPARKLE</character> <dialogue>I tried--</dialogue> <character>SISTER</character> <dialogue>Not hard enough.</dialogue> <character>SPARKLE</character> <dialogue>I'm sorry--</dialogue> <character>SISTER</character> <dialogue>Lock the door.</dialogue> <scene_description>Sparkle, very nervous, locks it.</scene_description> <character>DOLORES</character> <dialogue>What's going on in here?</dialogue> <scene_description>Sister doesn't respond. Dolores takes a closer look at her face and notices Sister is out of it.</scene_description> <character>DOLORES</character> <dialogue>What else is he pushing into you besides his fists?</dialogue> <character>SISTER</character> <dialogue>Just stay out of my business. I'm fine.</dialogue> <character>DOLORES</character> <dialogue>You're just going to let him kill you?</dialogue> <character>SISTER</character> <dialogue>It's not that bad. It's nothing make up can't cover up. Sparkle, did you get that face powder I needed?</dialogue> <scene_description>Sparkle goes into her coat pocket and pulls out a small package.</scene_description> <character>9/20/2011</character> <dialogue>You give that to her and you're going to wind up looking just like her.</dialogue> <scene_description>Sparkle tries to put the package back in her pocket. Sister reaches for it.</scene_description> <character>SISTER</character> <dialogue>If we're going to sing for this man, I need my make up.</dialogue> <character>SPARKLE</character> <parenthetical>(to Dee)</parenthetical> <dialogue>I didn't know what to do. She's sick with it and she's sick without it.</dialogue> <character>SISTER</character> <dialogue>Aww hell. Just give it to me.</dialogue> <character>DOLORES</character> <parenthetical>(to Sparkle)</parenthetical> <dialogue>All you're worried about is getting that record deal. You're not thinking about her right now because you're so busy using her like everybody else.</dialogue> <character>SPARKLE</character> <dialogue>That's not true. That's my sister. I love her.</dialogue> <character>DOLORES</character> <dialogue>Then flush it down the toilet.</dialogue> <scene_description>Sparkle hesitates. Disgusted, Dolores goes to take it from Sparkle, but Sister snatches it.</scene_description> <character>SISTER</character> <dialogue>Don't. Give me that!</dialogue> <scene_description>The girls struggle but the package falls to the floor. A small glass vial breaks and white powder spills out. Sister drops to the floor after it. She scoops what she can, sniffs it, then looks to her sisters. They watch. Stunned. KNOCKS on the door rattle them, except Sister.</scene_description> <character>STIX (O.S.)</character> <dialogue>What are you guys doing in there?</dialogue> <character>SISTER</character> <dialogue>Don't open it.</dialogue> <character>9/20/2011</character> <dialogue>Stix is there with the lady's wig in his hand.</dialogue> <character>SPARKLE (O.S.)</character> <dialogue>We'll be out in a second.</dialogue> <scene_description>Larry walks up with the RECEPTIONIST.</scene_description> <character>CAPITOL RECEPTIONIST</character> <dialogue>They're in there.</dialogue> <character>LARRY</character> <dialogue>Use the key.</dialogue> <scene_description>The Receptionist steps past Stix to unlock the door.</scene_description> <character>STIX</character> <dialogue>What's going on?</dialogue> <character>LARRY</character> <dialogue>You tell me. My receptionist says your lead singer is beat up and drugged up in the bathroom.</dialogue> <character>STIX</character> <dialogue>Sister? She's not even here yet.</dialogue> <scene_description>The Receptionist opens the door to the:</scene_description> <character>BATHROOM</character> <dialogue>They find Sister disheveled being held up by Dolores, while Sparkle is trying to clean up the mess with paper towels.</dialogue> <character>LARRY</character> <dialogue>Like I said, I need to see them in the light of day.</dialogue> <scene_description>It's over and they all know it. After a beat, they hear a woman's blood-curdling SCREAM. Everyone comes to attention, then we see a SECRETARY (white woman) running through the office distraught.</scene_description> <character>SECRETARY</character> <dialogue>They shot him. Oh my God, he's dead!</dialogue> </scene> <scene> <stage_direction>INT. ANDERSON HOUSE - LIVING ROOM - DAY</stage_direction> <scene_description>Several church members are present, glued to the TV to see the coverage of Dr. King's death. There are a lot of tears.</scene_description> </scene> <scene> <stage_direction>INT. ANDERSON HOUSE - SPARKLE &amp; SISTER'S BEDROOM - NIGHT</stage_direction> <scene_description>Sparkle is asleep. She's stirred awake by the tapping on her window. Sparkle wakes, looks out the window and sees a soaked Stix.</scene_description> </scene> <scene> <stage_direction>EXT. ANDERSON HOUSE - SIDE ENTRANCE - NIGHT 73 \*</stage_direction> <scene_description>Sparkle, now with a coat over her nightgown and an umbrella for cover, walks up to Stix. She shares her umbrella.</scene_description> <character>SPARKLE</character> <dialogue>Stix, what's going on?</dialogue> <character>STIX</character> <dialogue>I'm leaving.</dialogue> <scene_description>Her chest heaves.</scene_description> <character>STIX</character> <dialogue>And I want you to come with me. We can go to the courthouse, get married, then leave if it makes it easier.</dialogue> <character>SPARKLE</character> <dialogue>I hope that wasn't your proposal, 'cause I imagined something different.</dialogue> <character>STIX</character> <dialogue>Baby, we got to get out of here. People are trying to destroy what we've built. You and me started this thing.</dialogue> <character>SPARKLE</character> <dialogue>We'll put the group back together when Sister gets well. They wanted us once, they'll want us again.</dialogue> <character>STIX</character> <dialogue>It's over.</dialogue> <character>SPARKLE</character> <dialogue>One minute we couldn't have the group without her. Now that she's sick, just toss her out?</dialogue> <character>9/20/2011</character> <dialogue>I'm saying you can't just replace the lead. That's like the Supremes getting rid of Diana. We have to start over. And not here. Detroit is dying. All these riots. Heard Motown is even moving to California.</dialogue> <character>SPARKLE</character> <dialogue>You're talking about going to California?</dialogue> <character>STIX</character> <dialogue>I'm talking about anywhere we can live our dreams. So yeah, why not California?</dialogue> <character>SPARKLE</character> <dialogue>I can't leave, Stix.</dialogue> <character>STIX</character> <dialogue>Would she stay and do the same for you?</dialogue> <character>SPARKLE</character> <parenthetical>(fighting back)</parenthetical> <dialogue>I guess that's what makes me, me.</dialogue> <scene_description>Stix thinks for a moment. It's hard, but necessary.</scene_description> <character>STIX</character> <dialogue>Then you stay.</dialogue> <character>SPARKLE</character> <dialogue>Don't make me choose between my family and you, Stix.</dialogue> <character>STIX</character> <dialogue>I'm not making you do anything.</dialogue> <scene_description>Stix starts to walk away.</scene_description> <character>SPARKLE</character> <dialogue>Stix, don't leave me.</dialogue> <character>STIX</character> <dialogue>I asked you to come with me.</dialogue> <scene_description>Sparkle can't seem to move her feet.</scene_description> <character>STIX</character> <dialogue>You coming?</dialogue> <character>9/20/2011</character> <dialogue>STIX</dialogue> <scene_description>Your mother really did a number on you. He turns and walks down the street, leaving Sparkle standing in the rain.</scene_description> </scene> <scene> <stage_direction>INT. ANDERSON HOUSE - SPARKLE &amp; SISTER'S BEDROOM - NIGHT</stage_direction> <scene_description>Sparkle lies awake. A lot is on her mind. You can still see the raindrops in her hair. There's a soft knock at the door. It's Dee.</scene_description> <character>DOLORES</character> <dialogue>You up?</dialogue> <character>SPARKLE</character> <dialogue>Yeah.</dialogue> <scene_description>Dolores takes a seat on the edge of the bed.</scene_description> <character>DOLORES</character> <dialogue>I can't sleep either, thinking about her. You too?</dialogue> <character>SPARKLE</character> <parenthetical>(lying)</parenthetical> <dialogue>Yeah.</dialogue> <character>DOLORES</character> <dialogue>We have to get her out of there.</dialogue> <character>SPARKLE</character> <dialogue>Yeah.</dialogue> </scene> <scene> <stage_direction>INT. SATIN'S HOUSE - BEDROOM - DAY</stage_direction> <character>QUICK CUTS OF:</character> <dialogue>Dresser drawers full of lingerie flying open.</dialogue> <dialogue>Dresses being snagged from the closet.</dialogue> <dialogue>Jewelry being dumped into a suitcase.</dialogue> <dialogue>Sister sits on the edge of the bed smoking a cigarette, seemingly not fazed.</dialogue> <character>9/20/2011</character> <dialogue>You two are funny. You can pack the bed if you want, but I'm not going anywhere.</dialogue> <scene_description>We quickly discern that Sparkle and Dolores are taking their sister by force. Sparkle returns out of the closet with Sister's performance dresses.</scene_description> <character>DOLORES</character> <dialogue>She doesn't need those dresses. She needs clothes.</dialogue> <scene_description>Sparkle rushes back into the closet. Sister laughs and takes a drink from her glass. Sparkle throws some dresses in the suitcase and closes it. Dolores snatches Sister up by her arm and Sister bites her. Dolores screams.</scene_description> <character>DOLORES</character> <dialogue>Did you just bite me? You're crazy!</dialogue> <scene_description>Dolores dexterously flips Sister around, twists her arm behind her back and begins to walk her towards the door.</scene_description> <character>SPARKLE</character> <dialogue>Don't hurt her.</dialogue> <character>DOLORES</character> <dialogue>You didn't say anything when she bit me. Just get the rest of her stuff and come on.</dialogue> <scene_description>Just as Sparkle runs back into the closet, Satin enters the room. Satin assesses the situation. He then tosses some drugs on the bed.</scene_description> <character>SISTER</character> <dialogue>They call themselves saving me. I told them I wasn't going anywhere.</dialogue> <character>SATIN</character> <parenthetical>(calm)</parenthetical> <dialogue>Y'all better get the hell out of my house.</dialogue> <character>SPARKLE</character> <parenthetical>(to Satin)</parenthetical> <dialogue>We're sorry we brought this chaos into your home. But our sister is sick. We just want to help her get well.</dialogue> <character>9/20/2011</character> <dialogue>maybe if you told her to go, she would--</dialogue> <scene_description>And the next thing we know Sparkle is flying across the room because Satin has slapped the you know what out of her. Everyone takes a beat to absorb what just happened. For the first time Sister can see this man for the sick person he really is. With a blink of an eye Sister charges Satin. Dolores is a nanosecond behind her and even Sparkle finds her legs and tries to help. As they fight their way through the apartment to the: LIVING ROOM It looks like the girls are getting the best of him until he \* charges the girls and they scatter around the room. They \* fight like hell until it all comes to an abrupt end. Mid- \* swing, Satin falls to the floor. Sparkle and Sister look up \* to see that Dolores has a bloody fireplace poker in hand. They watch as Satin takes his last breath. \*</scene_description> <character>SPARKLE</character> <parenthetical>(first to thaw out)</parenthetical> <dialogue>Oh my God, oh my God.</dialogue> <scene_description>Dolores is frozen speechless just holding the poker.</scene_description> <character>SPARKLE</character> <dialogue>Is he dead?</dialogue> <scene_description>Sister gently takes the poker from Dolores.</scene_description> <character>SISTER</character> <dialogue>You guys get out of here.</dialogue> <character>SPARKLE</character> <dialogue>No, we should--</dialogue> <character>SISTER</character> <dialogue>Get out!</dialogue> <scene_description>That scares an already frightened Sparkle and springs Dolores into action-- with the expertise of a trained doctor, she drops and start to pump the chest of a lifeless Satin.</scene_description> <character>SISTER</character> <dialogue>Dee, he's dead!</dialogue> <scene_description>Dolores starts to give him mouth-to-mouth.</scene_description> <character>SISTER</character> <dialogue>Dee, stop it!</dialogue> <character>9/20/2011</character> <dialogue>He's not dead!</dialogue> <scene_description>Dolores resumes mouth-to-mouth. Sister gets down on the floor with Dee and pulls Dee's chin to make her face her.</scene_description> <character>SISTER</character> <dialogue>He's dead. Now what I need you to do is go.</dialogue> <scene_description>A tear drops out of Dee's eye. She knows the gift that her sister is giving her. Dee's hands slip from Satin. She then gathers Sparkle and starts to walk out... Then Sparkle starts to break.</scene_description> <character>SPARKLE</character> <dialogue>Mama was right. If I hadn't been too scared to sing by myself, we would have never been a group. He would've never gone after you, and you wouldn't be here, or--</dialogue> <scene_description>Sparkle breaks completely.</scene_description> <character>SISTER</character> <dialogue>I would love to hug you right now and help you understand that this is not your fault, but I can't. You have to go. Get her out of here, Dee.</dialogue> <scene_description>Dee and Sparkle walk gently out of the apartment, as Sister picks herself off the floor.</scene_description> <character>BEGIN MUSICAL PERFORMANCE #7 MONTAGE \*</character> </scene> <scene> <stage_direction>INT. SATIN'S HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>Sister sits on the edge of the couch sipping on a drink and dragging on a cigarette. She looks through some photos Satin had taken of her in their short time together (from performing on stage to their private moments). You can tell he loved her because she's beautiful in every frame. Detectives walk through the house, Satin's body is still \* lying on the floor. A slow soulful voice fills our ears with \* Gospel. Emma's voice scores the moment with the her choir, \* over the following MONTAGE: Sister being handcuffed.</scene_description> <character>9/20/2011</character> </scene> <scene> <stage_direction>EXT. SATIN'S HOUSE - NIGHT</stage_direction> <scene_description>Sister being put in the back of a SQUAD CAR. Her affluent NEIGHBORS look on. 78 OMITTED 78 \*</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION - BOOKING AREA - NIGHT</stage_direction> <scene_description>Sister is being finger printed. \* Sister takes a different kind of photo now, her mug shot. 80 OMITTED 80 \*</scene_description> </scene> <scene> <stage_direction>INT. NEW HOPE BAPTIST CHURCH - CONTINUOUS - DAY</stage_direction> <scene_description>Emma stands alone singing, this is how she expresses her \* emotions, her voice makes her pain palpable. The choir makes \* it real. \* 82 OMITTED 82 \*</scene_description> </scene> <scene> <stage_direction>INT. ANDERSON HOUSE - LIVING ROOM - DAY</stage_direction> <scene_description>Emma and Sparkle return from a long day at church and see \* suitcases. Emma looks up to find Dolores sitting next to \* them. Emma's heart is in her throat. Sparkle smiles and \* hugs Dee.</scene_description> <character>SPARKLE</character> <dialogue>I love you. I'll let you two talk.</dialogue> <scene_description>Sparkle exits, leaving Emma and Dee alone. \*</scene_description> <character>DOLORES</character> <dialogue>With all that's been going on I couldn't find the right time to tell you, Mama.</dialogue> <scene_description>Emma takes a seat to absorb the blow. \*</scene_description> <character>9/20/2011</character> <dialogue>I got accepted to Meharry's Medical School. A lot of it is covered by scholarships, but I have to go early to do some research to get it. I found out the day Dr. King died and now I have to be there tomorrow.</dialogue> <character>EMMA \*</character> <parenthetical>(finds a smile)</parenthetical> <dialogue>The haircut worked, huh?</dialogue> <character>DOLORES</character> <dialogue>I guess it did.</dialogue> <character>EMMA \*</character> <parenthetical>(laughing)</parenthetical> <dialogue>Maybe I'll get one of those Afros and get some good luck of my own.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Congratulations.</dialogue> <character>DOLORES</character> <dialogue>Thank you.</dialogue> <scene_description>Tears are in Emma's eyes. \*</scene_description> <character>DOLORES</character> <dialogue>Don't cry. We've done enough of that.</dialogue> <character>EMMA \*</character> <dialogue>These are happy tears-- happy that maybe I did something right.</dialogue> <character>DOLORES</character> <dialogue>I always complained about how you never let us do anything. Thank you for that kind of love. And sorry I called it something else. I love you.</dialogue> <scene_description>They hug.</scene_description> </scene> <scene> <stage_direction>INT. ANDERSON HOUSE - SPARKLE &amp; SISTER'S BEDROOM - DAY</stage_direction> <scene_description>Sparkle lays on the edge of the bed on her stomach twirling a gardenia in her hand, the same kind Sister would wear during her performances. She hears a CAR DOOR SHUT, looks out the window and sees...</scene_description> <character>9/20/2011</character> <dialogue>Dee sits in the back of the taxi while the driver puts her bags in the trunk. The taxi backs out of the driveway. Sparkle sees Dee in the back of the taxi before it pulls off and disappears down the street.</dialogue> </scene> <scene> <stage_direction>INT. JAIL - VISITATION - DAY</stage_direction> <scene_description>Sparkle and Sister across from each other, for the first time \* ever Sister does not look good. She's lost weight, her hair \* is a mess and she's clearly weak from withdrawals. \*</scene_description> <character>SISTER</character> <dialogue>So Dee left? That's good.</dialogue> <character>SPARKLE</character> <dialogue>Yeah.</dialogue> <character>SISTER</character> <parenthetical>(smiles to herself)</parenthetical> <dialogue>You know it's funny, we always knew we would have to replace one singer in the group. Now you have to replace two. I know Stix is fit to be tied.</dialogue> <character>SPARKLE</character> <dialogue>Stix is gone.</dialogue> <character>SISTER</character> <dialogue>You two broke up?</dialogue> <character>SPARKLE</character> <dialogue>Yeah. He's in California.</dialogue> <character>SISTER</character> <dialogue>When did this happen?</dialogue> <character>SPARKLE</character> <dialogue>The day we lost the record deal.</dialogue> <scene_description>Sister computes that for a moment.</scene_description> <character>SISTER</character> <dialogue>Don't come back here.</dialogue> <character>SPARKLE</character> <dialogue>Stop being dramatic, of course I'm coming back.</dialogue> <character>9/20/2011</character> <dialogue>You do, I won't come out. It'll be a wasted trip. Because I'm not going to let you crawl up in here and die with me.</dialogue> <character>SPARKLE</character> <dialogue>I'm the only one who comes to visit you and I'm not going to leave you in here by yourself.</dialogue> <character>SISTER</character> <dialogue>I got in here by myself.</dialogue> <character>SPARKLE</character> <dialogue>No you didn't--</dialogue> <character>SISTER</character> <dialogue>Yes I did. This certainly ain't the time for me to be lying to myself. Don't you think I did enough of that already?</dialogue> <scene_description>Sparkle has no rebuttal. Sister gets up.</scene_description> <character>SISTER</character> <dialogue>Please don't come back here.</dialogue> <parenthetical>(then calling out)</parenthetical> <dialogue>Guard.</dialogue> <parenthetical>(back to Sparkle)</parenthetical> <dialogue>I hope you hear me trying to save your life. Don't come back here, Sparkle.</dialogue> <scene_description>Sister follows the Guard, leaving Sparkle completely \* frustrated. \* 87 OMITTED 87 \*</scene_description> </scene> <scene> <stage_direction>INT. RECORD STORE - DAY 88 \*</stage_direction> <scene_description>It's a new day, Sparkle is where she feels most at home, \* listening to music in the record store booth. Sparkle looks \* up and sees a tanned Stix in front of her. He steps into the \* booth. \*</scene_description> <character>STIX</character> <dialogue>I'm looking for a singer.</dialogue> <scene_description>She takes a beat to digest his presence. \*</scene_description> <character>9/20/2011</character> <dialogue>My family is fresh out. \*</dialogue> <character>STIX</character> <dialogue>Sparkle--</dialogue> <character>SPARKLE</character> <dialogue>When did you get back?</dialogue> <character>STIX</character> <dialogue>A few days ago.</dialogue> <character>SPARKLE</character> <dialogue>A few days ago? I must've been out when you called. Or when you came by to say you're sorry to hear about Sister.</dialogue> <scene_description>Sparkle begins to pack up her stuff. \*</scene_description> <character>STIX</character> <dialogue>I've never been good with sorrys... or saying goodbye.</dialogue> <character>SPARKLE</character> <parenthetical>(chuckles to herself)</parenthetical> <dialogue>You want to hear something funny? When you first left I didn't think I would be able to live without you. Used to look out my window and wonder, "Will I get through this second?" Can you imagine a person so unhappy they don't know if they're going to live through the next second?</dialogue> <scene_description>Stix tries to touch her. She catches his hand and looks him right in the eye.</scene_description> <character>SPARKLE</character> <dialogue>Well, I got through the seconds and the minutes and the days and the weeks and the months and now I'm doing just fine without you.</dialogue> <scene_description>Sparkle exits the booth and makes her way to the exit, Stix \* follows. \*</scene_description> <character>STIX</character> <dialogue>You don't get to be this mad. I asked you to come with me-- as my wife.</dialogue> <character>9/20/2011</character> <dialogue>No. You don't get to think that was romantic!</dialogue> <scene_description>Stix looks around and can see people noticing. \*</scene_description> <character>STIX \*</character> <dialogue>Sparkle, you want to lower your \* voice. \*</dialogue> <character>SPARKLE \*</character> <dialogue>No, I don't. I've been lowering my \* voice for way too damn long Stix. \*</dialogue> <scene_description>\*:</scene_description> <character>SPARKLE (CONT'D) \*</character> <dialogue>You don't just ask a girl to up and leave when you want her to. We talk about it, we decide to together, then we go-- you don't give me five minutes to leave my life to run up behind you.</dialogue> <character>STIX</character> <dialogue>Listen, I'm sorry.</dialogue> <character>SPARKLE</character> <dialogue>Now you want to say you're sorry?</dialogue> <character>STIX</character> <dialogue>I'm not talking about going to California. Remember that night I made you admit you wanted to be a star?</dialogue> <parenthetical>(she does)</parenthetical> <dialogue>Then I told you that you needed your sister in order to do so. I knew I was hurting you, but I was so hungry to get something going, I took the easy way. Put a pretty girl group together-- let Sister do her thing. I should've believed in you, Sparkle. Look, I saved up some seed money to develop you the right way and I came back to see if you would sing again?</dialogue> <character>SPARKLE</character> <dialogue>And what do I have to sing about? \*</dialogue> <scene_description>She walks off, leaving him behind this time.</scene_description> <character>9/20/2011</character> <dialogue>Sparkle watches The Ed Sullivan Show. Diana Ross and The Supremes are performing "Love Child." It's the first time we have seen Sparkle smile in a while. After a beat, Emma \* enters the room in her robe, walks by the TV and just turns it off mid-performance.</dialogue> <character>EMMA \*</character> <dialogue>Curl your hair, get to bed. We have church in the morning.</dialogue> <scene_description>Emma exits and Sparkle just sits there, numb. \*</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT BUILDING - HALLWAY - DAY</stage_direction> <scene_description>It's a building that saw better days a long time ago. The LANDLORD, an older white man, leads a wide-eyed Sparkle up some dark, run-down stairs.</scene_description> <character>LANDLORD</character> <dialogue>I have another building not far from here more suited for someone like you, but this is what you can afford.</dialogue> <scene_description>He opens up the door to a one-room apartment with dingy walls and one set of windows. Sparkle smiles.</scene_description> <character>SPARKLE</character> <dialogue>I'll take it.</dialogue> </scene> <scene> <stage_direction>INT. SPARKLE'S APARTMENT - NIGHT</stage_direction> <scene_description>Sparkle has decorated it sweetly with flea market finds. She fills a tea kettle and places it on her hot plate. A mismatched china tea cup sits nearby waiting to make itself useful. She returns to unpacking and opens up another box. It is filled with her used journals. She opens one up and turns to the last song entry. The date was: APRIL 7, 1968. The title is "Flying On One Wing." She reads her notes... then almost unconsciously HUMS A NEW LYRIC. She blindly searches for a pen in a nearby drawer, while still reading, then she starts writing some new lyrics. We watch her write, scratch out, write some more and smile to herself... until the TEA KETTLE WHISTLE scares her out of her moment. She laughs out loud-- one for being so scared, two for having rediscovered a lost love.</scene_description> <character>9/20/2011</character> <dialogue>Sparkle enters the lobby full of confidence in a cute skirt and blouse with Sister's flower in her hair. She approaches the receptionist's desk.</dialogue> <character>CAPITOL RECEPTIONIST</character> <dialogue>Hi, how may I help you?</dialogue> <character>SPARKLE</character> <dialogue>I'm here to see Larry Robinson.</dialogue> <character>CAPITOL RECEPTIONIST</character> <dialogue>Do you have an appointment?</dialogue> <character>SPARKLE</character> <dialogue>No.</dialogue> <character>CAPITOL RECEPTIONIST</character> <dialogue>I'm sorry, you need an appointment.</dialogue> <character>SPARKLE</character> <dialogue>Okay, may I speak with his secretary?</dialogue> <character>CAPITOL RECEPTIONIST</character> <dialogue>I'm sorry, she's busy right now.</dialogue> <character>SPARKLE</character> <dialogue>Okay, I'll wait.</dialogue> <scene_description>Sparkle goes over to the waiting area and takes a seat. The \* perfect song scores the following moments. \*</scene_description> </scene> <scene> <stage_direction>INT. COLUMBIA RECORDS - LOBBY - DAY 93 \*</stage_direction> <scene_description>Sparkle sits in a new outfit, same flower hairpin and a \* different seat. She's nonplussed.</scene_description> </scene> <scene> <stage_direction>INT. COLUMBIA RECORDS - LOBBY - ANOTHER DAY 94 \*</stage_direction> <scene_description>Sparkle, in a new outfit sitting on the same bench, but \* different spot reading a magazine. \*</scene_description> <character>TIME DISSOLVE TO:</character> <dialogue>9/20/2011</dialogue> <scene_description>Another outfit. She finishes reading another magazine. \*</scene_description> </scene> <scene> <stage_direction>INT. COLUMBIA RECORDS - LOBBY - ANOTHER DAY 96 \*</stage_direction> <scene_description>Sparkle is there back in her original blouse, but worn differently. She's asleep. Then:</scene_description> <character>CAPITOL RECEPTIONIST (O.S.)</character> <dialogue>Mr. Robinson will see you now.</dialogue> <scene_description>When she opens her eyes she sees the attitudinal receptionist standing over her. Sparkle smiles.</scene_description> </scene> <scene> <stage_direction>INT. COLUMBIA RECORDS - LARRY'S OFFICE - DAY 97 \*</stage_direction> <scene_description>Larry is on the phone when Sparkle enters. She takes a seat and listens to him drone on about an artist's album.</scene_description> <character>LARRY</character> <dialogue>Hey, hey. Let's just admit we wasted a lot of money. Salvage what we can salvage and make jambalaya out of the rest. Great, talk to you soon.</dialogue> <scene_description>He hangs up.</scene_description> <character>LARRY</character> <dialogue>I have two minutes-- go.</dialogue> <character>SPARKLE</character> <dialogue>Okay then let me not waste them on \* why I need you, that's obvious. Let me tell you why you need me.</dialogue> <character>LARRY</character> <dialogue>That's a big set-up, I hope you can deliver.</dialogue> <scene_description>Sparkle rattles off confidently:</scene_description> <character>SPARKLE</character> <dialogue>I'm beautiful. I can sing. And I write hits. Sometimes two and three a day. I've been kissed-- twenty songs about that alone. I've been in love-- another twenty- two.</dialogue> <character>9/20/2011</character> <dialogue>Plus I'm a virgin so I have about eighty on what making love will be like.</dialogue> <scene_description>Larry swallows hard and smiles.</scene_description> <character>SPARKLE</character> <dialogue>I don't know my daddy, I have a complicated relationship with my mother-- tack on another fifty. I think the war sucks, flowers are pretty in the rain and it's really hard to follow your dreams. But you have to follow them because you just might write a song that will save somebody's life. I've got a great song about that-- because right now, I'm trying to save my own.</dialogue> <parenthetical>(catches her breath)</parenthetical> <dialogue>So can we do business?</dialogue> <scene_description>He's impressed.</scene_description> </scene> <scene> <stage_direction>INT. YMCA - A LITTLE LATER - DAY</stage_direction> <scene_description>Sparkle enters and all the MEN hanging out give her their full attention. She walks humbly to a YMCA WORKER at the desk.</scene_description> <character>SPARKLE</character> <dialogue>I've come to see Jeremiah Warren.</dialogue> <character>YMCA WORKER</character> <dialogue>No women are allowed upstairs.</dialogue> <character>SPARKLE</character> <dialogue>Can you call him down?</dialogue> </scene> <scene> <stage_direction>A99 INT. YMCA - STAIRS A99 \*</stage_direction> <scene_description>Stix descends the stairs and sees Sparkle. He lights up. He walks over to her.</scene_description> <character>STIX</character> <dialogue>Hi.</dialogue> <character>9/20/2011</character> <dialogue>I met with Larry Robinson today. \* Says he's willing to come see my \* show, but I don't have a show. He \* says I have one shot at this. \*</dialogue> <scene_description>A beat, then Stix smiles. \*</scene_description> <character>STIX</character> <dialogue>Then we better make it count. \*</dialogue> <scene_description>Sparkle returns the smile. \* 99 OMITTED 99 \*</scene_description> </scene> <scene> <stage_direction>INT. LEGEND THEATER - STAGE - DAY 100 \*</stage_direction> <scene_description>Stix is there talking with the LEGEND MANAGER. He looks back \* at all the seats.</scene_description> <character>STIX</character> <dialogue>So five thousand and fifty seats. And the last showcase charged five dollars a ticket?</dialogue> <character>LEGEND MANAGER \*</character> <dialogue>Yeah, but there were a lot more acts, who all came with their own cheering section. You'll be lucky to get anybody to spend the time, let alone the money, to come out and see the third member of a group. But hey, it's still fifteen thousand.</dialogue> <character>STIX</character> <dialogue>I'm talking about renting on a night that you guys are dark. You weren't going to make any money anyway.</dialogue> <character>LEGEND MANAGER \*</character> <dialogue>Still have to turn the lights on.</dialogue> <character>STIX</character> <dialogue>And the light switcher costs--</dialogue> <character>LEGEND MANAGER \*</character> <dialogue>Fifteen thousand.</dialogue> <scene_description>He's not budging and Stix knows it.</scene_description> <character>9/20/2011</character> <dialogue>Levi, dressed in a nice suit, is eating a meal for a king when Stix is escorted to his table. The two old buddies hug.</dialogue> <character>STIX</character> <dialogue>You were meant for the good life.</dialogue> <scene_description>Levi laughs to himself and points for him to have a seat.</scene_description> <character>LEVI</character> <dialogue>I'm sorry I had to go on and eat. Something's come up, so let's skip the "how you doings" and get to it.</dialogue> <character>STIX</character> <dialogue>I would like to borrow twenty- thousand dollars to produce a concert for Sparkle.</dialogue> <character>LEVI</character> <dialogue>Twenty-thousand dollars? You better put her in a park somewhere.</dialogue> <character>STIX</character> <dialogue>More like The Legend. They're \* willing to give me one of the dark nights in the theater. I make most of my money up-front by pre-selling the tickets. If I sell five thousand fifty seats at five dollars I have your money plus twenty percent interest.</dialogue> <character>LEVI</character> <parenthetical>(waves down their waiter)</parenthetical> <dialogue>And when you don't?</dialogue> <character>STIX</character> <dialogue>I give you what we do make and then I'll get the rest to you when she signs her record deal. She's going to get that.</dialogue> <character>LEVI</character> <dialogue>You mean like they did the last time?</dialogue> <scene_description>Ouch. The WAITER approaches the table.</scene_description> <character>LEVI</character> <dialogue>My friend would like a steak, medium.</dialogue> <character>9/20/2011</character> <dialogue>Well done.</dialogue> <character>LEVI</character> <dialogue>Medium.</dialogue> <parenthetical>(then to Stix)</parenthetical> <dialogue>Burnt is not a flavor. \*</dialogue> <character>STIX</character> <dialogue>I'm telling you, Sparkle has more \* talent than anybody I have ever seen.</dialogue> <character>LEVI</character> <dialogue>Agree to disagree.</dialogue> <character>STIX</character> <dialogue>I'm not begging. Okay, maybe I am. She's good, Levi.</dialogue> <character>LEVI</character> <dialogue>Any remaining money after the concert night is at forty percent interest and within six months.</dialogue> <character>STIX</character> <dialogue>That's bookie terms.</dialogue> <character>LEVI</character> <dialogue>Trust me, that was cousin terms.</dialogue> <scene_description>Stix holds up his water glass.</scene_description> <character>STIX</character> <dialogue>To Sparkle.</dialogue> <scene_description>They toast to seal the deal. Stix flashes his smile and it kicks in the perfect song that scores the moment of what he \* is feeling and propels us through the MONTAGE:</scene_description> </scene> <scene> <stage_direction>INT. SPARKLE'S APARTMENT - NIGHT</stage_direction> <scene_description>Sparkle, her glasses on, is engrossed in writing music. \*</scene_description> </scene> <scene> <stage_direction>INT. RECORD STORE - DAY</stage_direction> <scene_description>Stix passes out concert handbills and talks up any and everybody to come to Sparkle's show.</scene_description> <character>9/20/2011</character> <dialogue>Stix passes out concert handbills and talks up any and everybody to come to Sparkle's show.</dialogue> </scene> <scene> <stage_direction>INT. NEW HOPE BAPTIST CHURCH - SANCTUARY - EVENING</stage_direction> <scene_description>It's clearly choir rehearsal. Stix is addressing the attentive group of fifty plus. When he's done, he passes out \* concert handbills. 106 OMITTED 106 \*</scene_description> </scene> <scene> <stage_direction>INT. ANDERSON HOUSE - LIVING ROOM - DAY</stage_direction> <scene_description>Emma and Ms. Waters watch TV when they hear the DOORBELL. \* Emma gets up to answer the door. It's Sparkle on the other \* side of the screen door standing in her waitress uniform.</scene_description> <character>SPARKLE</character> <dialogue>Hi Mom.</dialogue> <character>EMMA \*</character> <dialogue>Hi.</dialogue> <scene_description>After an awkward beat:</scene_description> <character>SPARKLE</character> <dialogue>May I come in?</dialogue> <scene_description>Emma turns back into the house, leaving the door open. \* Sparkle takes that as a "yes" and steps in the house and into the:</scene_description> <character>LIVING ROOM</character> <dialogue>Ms. Waters is happy to see Sparkle and gets up to hug her.</dialogue> <character>MS. WATERS</character> <dialogue>Hey Sparkle. You look good. A little skinny, but good. How are you doing?</dialogue> <character>SPARKLE</character> <dialogue>Fine, and you?</dialogue> <character>MS. WATERS</character> <dialogue>I'm always good.</dialogue> <character>9/20/2011</character> <dialogue>I came by to let you know I'm performing at The Legend Theater \* this Tuesday night.</dialogue> <character>MS. WATERS</character> <dialogue>Well you know, I know. Tune Ann is singing back up for you.</dialogue> <character>SPARKLE</character> <dialogue>I was talking to my mother, Ms. Waters.</dialogue> <character>MS. WATERS</character> <dialogue>Did you hear her, Emma? \*</dialogue> <scene_description>Emma doesn't respond, she keeps her eyes on the TV. \*</scene_description> <character>SPARKLE</character> <dialogue>I have a flyer for my show.</dialogue> <scene_description>She shows her mother the handbill. Sparkle sets it down on the coffee table.</scene_description> <character>SPARKLE</character> <dialogue>It's my own concert. I'm not opening up for anybody. Just me.</dialogue> <parenthetical>(no reaction)</parenthetical> <dialogue>I would really love it if you would come.</dialogue> <scene_description>Emma laughs at something on the TV, completely ignoring \* Sparkle.</scene_description> <character>SPARKLE</character> <parenthetical>(leaving)</parenthetical> <dialogue>Bye.</dialogue> <scene_description>Sparkle exits the house and can be seen out of the front window walking down the walkway. \*</scene_description> <character>MS. WATERS</character> <dialogue>How many times you going to keep making the same mistake?</dialogue> <scene_description>Emma continues to watch Sparkle through the front window. \* 108 OMITTED 108 \*</scene_description> <character>9/20/2011</character> <dialogue>Sister peeps through the small glass window in the door as \* she waits for the GUARD to unlock it. She sees Emma sitting \* by herself at a table. Sister approaches her and quietly</dialogue> <dialogue>takes a seat. The two women study each other. Emma sees the \* peeled skinned around Sister's fingernails. She's either been biting them or more fighting or both. Sister sees her mother's tired eyes.</dialogue> <character>SISTER</character> <dialogue>You look tired.</dialogue> <character>EMMA \*</character> <dialogue>I am.</dialogue> <character>SISTER</character> <dialogue>I'm in the middle of a card game and I'm winning. What do you want? Because I know it's not to see me.</dialogue> <scene_description>They stare at each other, then softening:</scene_description> <character>EMMA \*</character> <dialogue>Was I really that bad?</dialogue> <scene_description>Instead of answering right away, Sister lights a cigarette, takes a drag and then blows out the smoke. It's too much time to sit in judgement, Emma starts to cry-- tears streak \* her face. Sister looks at her mom lovingly, smiling even.</scene_description> <character>SISTER</character> <dialogue>I always hated to see you cry. But I never tried to stop you, because I thought that's when you were the most beautiful.</dialogue> <character>EMMA \*</character> <parenthetical>(cries harder, snorts)</parenthetical> <dialogue>Now you just lying to me.</dialogue> <character>SISTER</character> <dialogue>Well, not when you cry like that.</dialogue> <scene_description>They share an awkward laugh. But Emma never meets Sister's \* eyes. She's too vulnerable. Sister cups her mother's face, then gently wipes away a few tears.</scene_description> <character>SISTER</character> <dialogue>One day you're going to stop worrying about what people think about you and finally see all the love there is for you.</dialogue> <character>9/20/2011</character> <dialogue>EMMA \*</dialogue> <scene_description>You should get in the habit of taking your own advice. Sister's eyes swell with tears. The two women share another look and see themselves in each other.</scene_description> </scene> <scene> <stage_direction>INT. LEGEND THEATER - MONDAY NIGHT - NIGHT 110 \*</stage_direction> <scene_description>Just the stage light is on, Sparkle stands near it in the \* middle of the stage. It's quiet, Stix is sitting alone in the \* house seats. \* \*:</scene_description> <character>SPARKLE</character> <dialogue>We can't do this, Stix. \*</dialogue> <character>STIX</character> <dialogue>Hey now, come on, have a little \* faith. \*</dialogue> <character>SPARKLE \*</character> <dialogue>It's all to much, I mean look at \* this place Stix. We can't pull this \* off. \*</dialogue> <scene_description>Stix can see Sparkle's hand shaking. He jumps up on the stage \* and gently puts his hand over hers. \*</scene_description> <character>STIX</character> <dialogue>You're going to be fine.</dialogue> <character>SPARKLE</character> <dialogue>What if I'm not? If I stay on the other side of this dream, I will always have hope and wonder, but if I walk out here tomorrow and fall on my face, what do I do then?</dialogue> <character>STIX</character> <dialogue>Close your eyes.</dialogue> <character>SPARKLE</character> <dialogue>Stix, I'm not trying to be dramatic, I'm trying to be real with myself... \*</dialogue> <scene_description>He interrupts her. \*</scene_description> <character>STIX</character> <dialogue>Close your eyes. \*</dialogue> <character>9/20/2011</character> <dialogue>verse from "Your All I Need To Get By" softly in between his \* dialogue. \*</dialogue> <character>STIX</character> <dialogue>You got to meet God halfway on this one. See what He has already given you. See the place filled with people standing on their feet begging you for an encore. See the sweat on your brow, feel hot from the blood rushing through your body, your heart pumping. See the smile on your face.</dialogue> <scene_description>We stay tight on Sparkle as she stands there and visualizes. A smile slips across her face.</scene_description> <character>STIX</character> <dialogue>Now open your eyes.</dialogue> <scene_description>She does and sees Stix standing there with a small lit \* birthday cake. She melts upon sight and beams. \*</scene_description> <character>STIX</character> <dialogue>Make a wish.</dialogue> <scene_description>Sparkle closes her eyes and takes a minute to make a wish, then blows out the sparkler candle. \*</scene_description> <character>SPARKLE</character> <dialogue>Ask me what I wished for. \*</dialogue> <character>STIX</character> <dialogue>What did you wish for?</dialogue> <character>SPARKLE</character> <dialogue>That you would ask me to marry you again. But a lot better. And with a ring.</dialogue> <character>STIX</character> <dialogue>Did you peek?</dialogue> <character>SPARKLE</character> <dialogue>What?</dialogue> <character>STIX</character> <dialogue>At your gift?</dialogue> <scene_description>He hands her a box. She opens it and finds a candy ring.</scene_description> <character>9/20/2011</character> <dialogue>Tomorrow our lives are going to change for better or for worse. And whatever it is, I just want to be with you. Of course if it's better, you get a better ring. And if it's worse, this ring will be dinner for the next few nights.</dialogue> <scene_description>They share a laugh, then:</scene_description> <character>SPARKLE</character> <dialogue>See, even you aren't so sure.</dialogue> <character>STIX</character> <dialogue>I'm sure.</dialogue> <scene_description>They share a kiss. Then as soon as it's done, Sparkle re- lights her candles.</scene_description> <character>STIX</character> <dialogue>What are you doing?</dialogue> <character>SPARKLE</character> <dialogue>Making another wish.</dialogue> <scene_description>She makes a wish then blows the candles out again.</scene_description> <character>STIX</character> <dialogue>What did you wish for?</dialogue> <character>SPARKLE</character> <dialogue>This one has to stay a secret. \*</dialogue> <scene_description>111 OMITTED 111 \*</scene_description> </scene> <scene> <stage_direction>INT. LEGEND THEATER - DRESSING ROOM - NIGHT 112 \*</stage_direction> <scene_description>A happy Sparkle is now dressed and admires herself in the mirror. She turns to Tune Ann.</scene_description> <character>SPARKLE</character> <dialogue>What do you think?</dialogue> <character>TUNE ANN</character> <dialogue>I think I'm proud of you. I think I'm happy to share this moment with you. And I think you look--</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Oh Lord, are you bleeding?</dialogue> <character>9/20/2011</character> <dialogue>bleeding and it's soiled her dress. \*</dialogue> <character>SPARKLE</character> <dialogue>Oh God, look at my dress! \*</dialogue> <scene_description>Tune Ann yells out the door:</scene_description> <character>TUNE ANN</character> <dialogue>Somebody get me a warm towel!</dialogue> <parenthetical>(then to Sparkle)</parenthetical> <dialogue>Honey, we need to get your head back.</dialogue> <character>SPARKLE</character> <dialogue>Look at it, it's ruined. \*</dialogue> <character>TUNE ANN</character> <dialogue>We have to stop the bleeding. \*</dialogue> <character>EMMA (O.S.) \*</character> <dialogue>Well, then maybe you can wear this one.</dialogue> <scene_description>Sparkle turns at the sound of her mother's voice.</scene_description> <character>SPARKLE</character> <dialogue>Mama?</dialogue> <character>TUNE ANN</character> <dialogue>I'ma go check on that towel.</dialogue> <scene_description>Tune Ann exits, leaving mother and daughter a bit awkward.</scene_description> <character>EMMA \*</character> <dialogue>I don't want to get all mushy, okay?</dialogue> <character>SPARKLE</character> <parenthetical>(tears falling)</parenthetical> <dialogue>Okay.</dialogue> <character>EMMA \*</character> <dialogue>I just want to help you get dressed.</dialogue> <character>SPARKLE</character> <dialogue>Okay.</dialogue> <scene_description>Emma moves to Sparkle. \*</scene_description> <character>EMMA \*</character> <dialogue>Dolores always said lean forward and pinch.</dialogue> <character>9/20/2011</character> <dialogue>pinches Sparkle's nose with it. As Emma counts to twenty, we \* hear Stix as he counts to twenty-four. \*</dialogue> </scene> <scene> <stage_direction>EXT. LEGEND THEATER - NIGHT 113 \*</stage_direction> <scene_description>The camera floats down past the marquee that reads "One Night \* Only SPARKLE" and finds Stix in front of the Box office \* talking to the house manager as people make their way in. He \* hears a voice calling out and sees Levi in his CITROEN. \* \*:</scene_description> </scene> <scene> <stage_direction>INT. LEVI'S CITROEN - NIGHT</stage_direction> <scene_description>Stix is sitting in the back of the car with Levi. \*</scene_description> <character>STIX \*</character> <dialogue>Brother, I know you ain't never \* made this much money in such a \* short period of time for doing \* nothing. \*</dialogue> <character>LEVI \*</character> <dialogue>I got to admit, looks like you were \* right. \*</dialogue> <character>STIX \*</character> <dialogue>Looks like? \*</dialogue> <scene_description>They share a laugh, Levi is clearly impressed. \*</scene_description> <character>LEVI \*</character> <dialogue>Okay, okay. Man how you get all \* them people come see a no name \* singer? \*</dialogue> <character>STIX \*</character> <dialogue>You can always count on church folk \* Levi. There's bout two hundred and \* twenty seven in the choirs and you \* can times that by ten, cause every \* everybody wants to buy a ticket to \* see their child, grandchild, \* sister, brother, girlfriend or \* boyfriend sing on the Legend stage. \*</dialogue> <scene_description>Levi shakes his head and smiles. \*</scene_description> <character>LEVI \*</character> <dialogue>Congratulations. \*</dialogue> <character>9/20/2011</character> <dialogue>Thanks for taking a chance on us \* man. \*</dialogue> <character>LEVI \*</character> <dialogue>No problem. That's what family is \* all about, helping each other. \* Right? \*</dialogue> <character>STIX \*</character> <dialogue>Right. \*</dialogue> <character>LEVI \*</character> <dialogue>Look man I'm not gone beat round \* the bush. I got myself in a bit of \* a jam and could use your help. \*</dialogue> <scene_description>\*:</scene_description> <character>STIX \*</character> <dialogue>I owe you.</dialogue> <character>LEVI</character> <dialogue>I'm glad you think that way because I need to legitimize my money, so I can start spending more of it. I'm looking to get half of Sparkle.</dialogue> <scene_description>Stix takes a moment to let this digest.</scene_description> <character>STIX</character> <dialogue>Sparkle's not for sale, man.</dialogue> <character>LEVI</character> <dialogue>But you already put her up for sale when you asked for my money.</dialogue> <character>STIX</character> <dialogue>You want more interest?</dialogue> <character>LEVI</character> <dialogue>No, in fact I want you to keep the money. See it as an investment in her future.</dialogue> <character>STIX</character> <dialogue>Look man, I made a deal with you and I'm going to pay you back. Ask for front row seats, don't ask a man for his balls and you expect him to hand them over.</dialogue> <scene_description>Stix goes to get out of the car, but it is locked by one of Levi's HENCHMAN.</scene_description> <character>9/20/2011</character> <dialogue>Let's go for a ride.</dialogue> <character>STIX</character> <dialogue>Really Levi? You're doing this?</dialogue> <scene_description>The car takes off.</scene_description> </scene> <scene> <stage_direction>INT. LEGEND THEATER - DRESSING ROOM - NIGHT 115 \*</stage_direction> <scene_description>Sparkle's nosebleed is gone. Her make up is repaired and she's wearing her mother's dress, that's quite revealing in the cleavage area as well as the high split on the side.</scene_description> <character>EMMA \*</character> <dialogue>Beautiful.</dialogue> <character>SPARKLE</character> <parenthetical>(looking at herself in the mirror)</parenthetical> <dialogue>You don't think it's too much? I mean, not enough?</dialogue> <character>EMMA \*</character> <dialogue>If you're going to go out there, you have to give them something they can feel-- or at least imagine feeling. Plus, Sister said to make it sexy so you can't run and hide.</dialogue> <character>SPARKLE</character> <dialogue>You went by to see her?</dialogue> <scene_description>Emma's smile is subtle but present, Sparkle can see that \* she's near tears.</scene_description> <character>SPARKLE</character> <dialogue>What's wrong?</dialogue> <character>EMMA \*</character> <dialogue>Nothing.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>You know, you were right, you do have a gift. And it's not just singing. You believed in yourself when I have tried to stop you at every turn. And that takes a lot of faith.</dialogue> <character>SPARKLE</character> <dialogue>Thank you.</dialogue> <scene_description>Sparkle hugs her mother.</scene_description> <character>9/20/2011</character> <dialogue>Don't ever lose that. Some of us are still trying to find it.</dialogue> <character>SPARKLE</character> <dialogue>Promise.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>You're staying, right?</dialogue> <parenthetical>(Emma doesn't want to \* disappoint her)</parenthetical> <dialogue>You have to stay.</dialogue> <scene_description>Just then Tune Ann barges in.</scene_description> <character>TUNE ANN</character> <dialogue>Did you change the music order?</dialogue> <character>SPARKLE</character> <dialogue>What?</dialogue> <scene_description>Emma slips out. \*</scene_description> <character>TUNE ANN</character> <dialogue>The conductor asked me if we were starting with "Giving Him Something He Can Feel" and I said I didn't know. Ask Stix. He said he couldn't find him so he was asking me.</dialogue> <character>SPARKLE</character> <dialogue>We discussed it, but I didn't say we were doing it.</dialogue> <character>TUNE ANN</character> <dialogue>You don't want to open with your new stuff?</dialogue> <character>SPARKLE</character> <parenthetical>(flustered)</parenthetical> <dialogue>Where's Stix?</dialogue> <character>TUNE ANN</character> <dialogue>Haven't seen him.</dialogue> <character>SPARKLE</character> <dialogue>Where did my mom go?</dialogue> <character>TUNE ANN</character> <parenthetical>(noticing Sparkle)</parenthetical> <dialogue>You look great, girl. A little cold, but great.</dialogue> <scene_description>The STAGE MANAGER enters.</scene_description> <character>9/20/2011</character> <dialogue>We're ready for you.</dialogue> <character>SPARKLE</character> <dialogue>Oh my God! Where is Stix?!</dialogue> <character>TUNE ANN</character> <dialogue>What are we singing?</dialogue> </scene> <scene> <stage_direction>INT. LEGEND THEATER - STAGE - MOMENTS LATER - NIGHT 116 \*</stage_direction> <scene_description>Buddy from Cliff Bells is on stage. \*</scene_description> <character>BUDDY</character> <dialogue>Good evening, ladies and gentleman, and welcome to...</dialogue> <parenthetical>(pauses dramatically)</parenthetical> <character>AN EVENING WITH SPARKLE!</character> <dialogue>CHEERS, APPLAUSE and WHISTLING.</dialogue> </scene> <scene> <stage_direction>INT. LEGEND THEATER - WINGS OF BACKSTAGE - NIGHT 117 \*</stage_direction> <scene_description>Sparkle, Tune Ann and the two back up singers adjust themselves as they wait to be called to stage.</scene_description> <character>SPARKLE</character> <dialogue>Did you find Stix?</dialogue> <character>TUNE ANN</character> <dialogue>Will you stop worrying me? You're not the only one who has to go out there and sing.</dialogue> <character>SPARKLE</character> <dialogue>I can't do this without him.</dialogue> <character>TUNE ANN</character> <dialogue>You're going to have to, the curtain is going up.</dialogue> <scene_description>Panic is all over Sparkle's face, then:</scene_description> <character>STAGE MANAGER</character> <dialogue>Places please.</dialogue> <character>TUNE ANN</character> <dialogue>What are we singing?</dialogue> <character>STAGE MANAGER</character> <dialogue>Five, four, three, two--</dialogue> <character>9/20/2011</character> <dialogue>The curtain rises and Sparkle is sitting at the piano. No fanfare. Just her. She looks like a scared rabbit, then she notices all the familiar faces in the crowd including Reverend Bryce, Ms. Waters, Bible Study group, Red, and more. \* Sparkle is overwhelmed. \*</dialogue> <character>SPARKLE</character> <dialogue>Always make a wish before blowing \* out your birthday candles because wishes do come true. My mother was able to make it out tonight. Thank \* you Mommy. \*</dialogue> <scene_description>We discover that Emma has found a seat to enjoy her \* daughter's show. She's mushy now. \*</scene_description> <character>SPARKLE</character> <dialogue>This is for Sister. It's called \* "Flying On One Wing."</dialogue> <character>MUSICAL PERFORMANCE #8 \*</character> <dialogue>Sparkle plays a piano intro, then begins to sing a raw and soulful ballad akin to Adele's "One And Only." It's just her piano and her voice. It is beautiful and the audience melts. She's got them in the palm of her hands. The rest of the band kicks in to boost the song, but never overpowering her.</dialogue> </scene> <scene> <stage_direction>EXT. ALLEY - LEVI'S CITROEN - NIGHT 119 \*</stage_direction> <scene_description>Sparkle's voice floats soulfully over the night as Levi pulls a gun to Stix's head. Stix, although sweating, shakes his head no. Levi clicks the gun. The bullet wasn't in that chamber.</scene_description> </scene> <scene> <stage_direction>INT. LEGEND THEATER - NIGHT 120 \*</stage_direction> <scene_description>Sparkle still sings her song. And with a dramatic flair, Tune Ann and the back up singers emerge out of the darkness. They kick the song up a notch. The audience likes musical drama. Sparkle pulls them in like a vocal mystic, converting souls.</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY - LEVI'S CITROEN - NIGHT 121 \*</stage_direction> <scene_description>Levi is about to click the gun.</scene_description> <character>LEVI</character> <dialogue>This is just business.</dialogue> <character>9/20/2011</character> <dialogue>Not for me, so stop playing around and just kill me.</dialogue> <character>LEVI</character> <dialogue>You're willing to die over some chick?</dialogue> <character>STIX</character> <dialogue>If anybody understands the love a man has for a woman, it should be you. It makes us do some stupid things, doesn't it?</dialogue> <parenthetical>(then reaching for door handle)</parenthetical> <dialogue>I'm going to go see my baby sing.</dialogue> <scene_description>Stix goes to exit and one of Levi's goons reaches for him. Stix turns and glares at him.</scene_description> <character>LEVI</character> <dialogue>Let him go.</dialogue> <scene_description>Stix gets out of the car, walks cool for a minute, then starts running.</scene_description> </scene> <scene> <stage_direction>INT. LEGEND THEATER - AUDIENCE - SAME - NIGHT 122 \*</stage_direction> <scene_description>As Sparkle, her back-up singers, band and string orchestra continue to hypnotize the audience with her new sound, the New Hope Baptist Choir, two hundred strong, emerges from the darkness and shakes the building with the power of their voices. The Legend Theater goes wild. But the choir doesn't \* take over, it's Sparkle who continues to drive this song with her raw and beautiful voice. They love her. She ends the song to a more than enthusiastic crowd. Sparkle absorbs the moment and looks to the wings and sees Stix smiling and clapping.</scene_description> <character>SPARKLE</character> <dialogue>There he is.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Y'all want to meet my man?</dialogue> <scene_description>Crowd HOOTS and HOLLERS. She gestures for Stix to step on stage. He does.</scene_description> <character>SPARKLE</character> <dialogue>He's a good man. I recommend every woman get her one.</dialogue> <scene_description>LAUGHTER and APPLAUSE.</scene_description> <character>9/20/2011</character> <dialogue>back into the:</dialogue> <scene_description>WINGS Stix runs right into Larry Robinson.</scene_description> <character>LARRY</character> <dialogue>Let's meet tomorrow. I want to sign her.</dialogue> <character>STIX</character> <dialogue>Sure, we'll come by after our meeting at Motown in the morning.</dialogue> <character>LARRY</character> <parenthetical>(smiles)</parenthetical> <dialogue>Why put off tomorrow what you can do over dinner tonight?</dialogue> <scene_description>STAGE Sparkle then gets up from behind the piano and moves to center stage and puts her microphone on it's stand.</scene_description> <character>SPARKLE</character> <dialogue>Okay, now it's time to get to know the other side of me.</dialogue> <scene_description>MUSICAL PERFORMANCE #9 \* The band kicks up the music and Sparkle begins singing her next SONG-- an upbeat hit in the vain of Cee Lo's "Fool For You." She lets herself go and sings it with a power, energy and sexual intensity that begins to infect the audience. As she settles her voice into the new material, there is no question that Sparkle was right-- times and music are changing. And it's obvious that the audience is willing to change with her. The audience is on their feet. Emma is \* also on her feet, cheering. We fade out on her amazing performance and night.</scene_description> <character>THE END \*</character> <dialogue>9/20/2011</dialogue> </scene> </script>

In Detroit, Michigan in 1968, the three Anderson sisters—19-year-old Sparkle, middle sister Delores aka Dee, and eldest Tammy aka "Sister"—are approached by aspiring record label executive Stix to form a music group after he sees Sister perform a song that Sparkle wrote at a nightclub. The girls are raised by their mother Emma, who disapproves of her daughters singing outside of church. Dee agrees to join the girl group, reasoning she will perform until she has earned enough money to pay for medical school. Though Sister is initially undecided, Sparkle convinces her that if the group wins a local talent show, she could use the prize money to finally move out of Emma's home. Stix becomes romantically involved with Sparkle, and his cousin Levi also becomes involved with Sister. With Stix as their manager, the three sisters enter the talent competition and wow the crowd with their performance of "Hooked on Your Love". The sisters become a popular act and are invited to perform at clubs throughout Detroit. Sister gains the attention of stand-up comedian Satin Struthers, whom Sister dumps Levi for. When a newly engaged Sister brings Satin over for a family dinner, an argument erupts after Satin makes insulting remarks and Emma makes her dislike for him known to everyone at the table. In response, Sister lashes out at Emma, criticizing her for having her as a teen, which left Sister to raise her younger siblings as Emma was out drinking and trying to pursue a music career. Sister leaves with Satin and Emma banishes her from returning home. As the girls' fame continues to rise, Sister's relationship with Satin becomes physically abusive and she spirals into drug abuse. This becomes apparent to Dee and Sparkle when, in preparation to open for Aretha Franklin on a television show, Sister walks into the dressing room with a black eye and bruises. Sparkle, Sister and Dee manage to perform "Something He Can Feel". Emma catches a glimpse of their performance on television but is resentful that her daughters have gone against her wishes to pursue singing. Stix introduces the girls to Larry Robinson, a Columbia Records executive who offers to sign them as a group. Dee and Sparkle try to get Sister to leave Satin and come back home with them, but are unsuccessful. At home, Sparkle's relationship with Emma becomes increasingly strained as she is pressured into abandoning her love of singing. A meeting with Columbia Records is derailed when Dee and Sparkle find Sister in a back room looking for a cocaine fix. At Satin and Sister's home, Dee and Sparkle plead for Sister to leave and get help for her drug problem. When Satin shows up and punches Sparkle, the three sisters fight Satin in self-defense. Satin is struck by Dee with a fireplace poker and falls unconscious. Though Dee tries to administer CPR, the sisters realize he is dead. Sister orders Sparkle and Dee to leave the house and accepts blame when police arrive. Hearing that Sister has been arrested and charged with manslaughter, Emma leads her church choir in a performance of "His Eye is on the Sparrow". She arrives home to find Dee packing up to leave, with Dee revealing she was accepted to Meharry Medical College and must enroll promptly to receive her scholarship money. Emma proudly hugs Dee before she departs. Sparkle visits Sister in prison, confiding she turned down a marriage proposal from Stix and broke up with him. Later, Sparkle moves out of Emma's home and rents her own apartment. She secures a meeting with Larry at Columbia and convinces him to give her a shot at a solo career, on the condition that she first put on a musical showcase. Sparkle reaches out to Stix to help her set up the showcase, and the couple eventually rekindle their relationship. Sparkle also extends an invitation to her mother to see the show, but Emma seems uninterested. Emma goes to visit Sister in prison and the two reconcile. While getting ready for her showcase, Sparkle suffers a nose bleed in the dressing room, ruining her dress. To Sparkle's surprise, Emma walks in with a new dress for her and expresses pride in Sparkle for following her dreams. Sparkle goes on stage and performs "One Wing", a song which she dedicates to Sister. A proud Emma watches in the audience while Stix and Larry watch from the side. Larry informs Stix that he wants to sign Sparkle. The closing credits show Sparkle continuing her set with the performance of "Love Will".

The Naked City_1948

tt0040636

<script> <scene> <stage_direction>EXT. LONG SHOT OF LOWER MANHATTAN A MOONLIT - NIGHT</stage_direction> <character>NARRATOR</character> <parenthetical>( an easy , conversational tone . )</parenthetical> <dialogue>A city has many faces -</dialogue> </scene> <scene> <stage_direction>EXT. MIDTOWN MANHATTAN - NIGHT</stage_direction> <character>NARRATOR</character> <dialogue>It's one o'clock in the morning now -</dialogue> </scene> <scene> <stage_direction>EXT. WALL STREET - NIGHT DESERTED</stage_direction> <character>NARRATOR</character> <dialogue>And this is the face of New York City -</dialogue> </scene> <scene> <stage_direction>EXT. STATUE OF PROMETHEUS IN THE CENTER OF THE RADIO CITY BUILDINGS - NIGHT</stage_direction> <character>NARRATOR</character> <dialogue>- when it's asleep -</dialogue> <scene_description>The fountain beneath the statue bubbles quietly .</scene_description> <character>NARRATOR</character> <dialogue>- on a hot summer night -</dialogue> </scene> <scene> <stage_direction>INT. THE MAIN FLOOR OF A LARGE BANK - NIGHT DESERTED</stage_direction> <character>NARRATOR</character> <dialogue>Does money ever sleep, I wonder?</dialogue> </scene> <scene> <stage_direction>INT. A LARGE CLOTHING FACTORY - NIGHT</stage_direction> <scene_description>Night lights cast shadows over the silent machines .</scene_description> <character>NARRATOR</character> <dialogue>Does a machine become tired?</dialogue> </scene> <scene> <stage_direction>INT. STAGE OF THE METROPOLITAN OPERA - NIGHT</stage_direction> <scene_description>Scenery on the empty stage is lit by a few night lights .</scene_description> <character>NARRATOR</character> <dialogue>Or a song?</dialogue> </scene> <scene> <stage_direction>EXT. EMPIRE STATE BUILDING - NIGHT</stage_direction> <scene_description>We see the flat , monumental surface of stone rising to the sky .</scene_description> <character>NARRATOR</character> <dialogue>Does stone ever feel weariness?</dialogue> </scene> <scene> <stage_direction>INT. A MODEST APARTMENT BEDROOM - NIGHT</stage_direction> <scene_description>Windows open , a fan humming . A man lies asleep , face down , sprawled out ; his hair is tousled , his pajama top open and twisted , the sheet thrown back .</scene_description> <character>MAN'S VOICE</character> <parenthetical>( wearily . )</parenthetical> <dialogue>Some people think it's easy to be a bank teller. Oh brother!</dialogue> </scene> <scene> <stage_direction>EXT. AN EAST-SIDE TENEMENT FIRE ESCAPE - NIGHT</stage_direction> <scene_description>A husband and wife are sleeping on bad clothes on the fire escape .</scene_description> <character>MAN'S VOICE</character> <parenthetical>( reflectively . )</parenthetical> <dialogue>I wonder how many stitches in a dress? I'll have to count'em sometime.</dialogue> <scene_description>There is a SOUND : of a caterwauling cat . The woman turns over . CAMERA HOLDS on sleeping couple .</scene_description> <character>WOMAN'S VOICE</character> <parenthetical>( amused . )</parenthetical> <dialogue>I wonder how many meals I've cooked in my life? And how many dishes I've washed?</dialogue> </scene> <scene> <stage_direction>EXT. CAT - NIGHT</stage_direction> <scene_description>digging into an open garbage pail . Nearby another cat sits patiently .</scene_description> <character>NARRATOR</character> <dialogue>A city asleep -</dialogue> </scene> <scene> <stage_direction>EXT. THE SKY - NIGHT</stage_direction> <scene_description>We see the silhouette of a plane with its lights winking for a landing .</scene_description> <character>NARRATOR</character> <dialogue>- or as nearly asleep -</dialogue> </scene> <scene> <stage_direction>EXT. THE CITY AS SEEN FROM THE PLANE - NIGHT</stage_direction> <scene_description>We see the outline of the boroughs , the lighted bridges that link them , the lighted arteries and veins , the upthrust fingers of stone .</scene_description> <character>NARRATOR</character> <dialogue>- as any city ever is.</dialogue> </scene> <scene> <stage_direction>EXT. SINGLE ELEVATED TRAIN MOVING SLOWLY ON ITS TRACKS NIGHT</stage_direction> <scene_description>SOUND : Train wheels .</scene_description> <character>NARRATOR</character> <dialogue>The pulse of a city like the pulse of a man -</dialogue> </scene> <scene> <stage_direction>EXT. TUGBOAT ON THE HUDSON TOWING TWO BARGES LOADED WITH FREIGHT - NIGHT</stage_direction> <scene_description>SOUND : Boat whistle .</scene_description> <character>NARRATOR</character> <dialogue>- can be felt in sleep, slow and steady -</dialogue> </scene> <scene> <stage_direction>INT. ATTENDANT IN AN ELECTRIC CO. SUB STATION - NIGHT</stage_direction> <scene_description>SOUND : Hum of dynamos .</scene_description> <character>NARRATOR</character> <dialogue>For some men earn their bread at night.</dialogue> </scene> <scene> <stage_direction>INT. A DISC JOCKEY PUTTING A RECORD ON A TURNTABLE IN A RADIO STATION</stage_direction> <scene_description>SOUND : A hot jive recording that blends into the click of linotype keys .</scene_description> <character>JOCKEY'S VOICE</character> <parenthetical>( fast . )</parenthetical> <dialogue>It starts hot and it ends gutty. Let's go.</dialogue> </scene> <scene> <stage_direction>INT. A LINOTYPE OPERATOR AT HIS MACHINE IN A NEWSPAPER PRESS ROOM - NIGHT</stage_direction> <character>OPERATOR'S VOICE</character> <dialogue>Wonder what the ol' lady made me for lunch tonight? If it's liverwurst again she's got a divorce.</dialogue> </scene> <scene> <stage_direction>INT. A CLEANING WOMAN VACUUMING A CARPET IN THE LOBBY OF THE RADIO CITY MUSIC HALL - NIGHT</stage_direction> <scene_description>SOUND : Low hum of the vacuum cleaner .</scene_description> <character>WOMAN'S VOICE</character> <parenthetical>( wearily , over vacuum sound . )</parenthetical> <dialogue>From where I stand this world's made up of nothin' but dirty feet.</dialogue> </scene> <scene> <stage_direction>INT. A DRUNKEN, UNSHAVEN BUM IS WATCHING A WINDOW DRESSER IN A SMART FIFTH AVENUE DRESS SHOP - NIGHT</stage_direction> <scene_description>The Dresser is having difficulty in pulling a girdle down over the length of a dummy figure . A sign over the shop reads : Madge Livingston .</scene_description> <character>BUM'S VOICE</character> <parenthetical>( Hoarse . )</parenthetical> <dialogue>Hey, buddy, do they pay you for that or -.</dialogue> <parenthetical>( as girdle slips into place over hips . )</parenthetical> <dialogue>- whoops!</dialogue> </scene> <scene> <stage_direction>INT. WELL-FURNISHED APARTMENT - NIGHT</stage_direction> <scene_description>A group of well - dressed , middle - aged men and women are playing bridge and drinking . Among them are Dr. and Mrs. Lawrence Stoneman . SOUND : Rhumba music .</scene_description> <character>NARRATOR</character> <dialogue>And while some people work and most sleep, others are at the close of an evening of relaxation -</dialogue> </scene> <scene> <stage_direction>INT. NIGHT CLUB - NIGHT</stage_direction> <scene_description>Focusing on a ringside table where a couple - Ruth Young and Robert Niles - are watching floor show . On the bass drum of the orchestra are the words : Trinidad Club . SOUND : Music swells to a more and more intense beat and then is suddenly cut off .</scene_description> </scene> <scene> <stage_direction>INT. A WELL-FURNISHED BEDROOM - NIGHT</stage_direction> <scene_description>The only light is from the moon through the half - raised shade . We dimly perceive an act of murder : a woman on a bed is being chloroformed by two men . She is in a nightgown . One man , Garza , holds her from behind . The other , Backalis , holds a handkerchief over her face . Her body twists spasmodically , uselessly . There is no sound except the creaking of the bed and the heavy breathing of the men .</scene_description> <character>NARRATOR</character> <parenthetical>( voice sharp , intense . )</parenthetical> <dialogue>And still another - is at the close of her life.</dialogue> <scene_description>The woman 's struggles cease . She slumps back . The men hold her still , the handkerchief over her face . Both men are wearing gloves . We ca n't see the faces of either man . One of them -LRB- Backalis -RRB- is wearing a distinctive jacket .</scene_description> <character>BACKALIS</character> <parenthetical>( nervous whisper . )</parenthetical> <dialogue>Let's go.</dialogue> <character>GARZA</character> <parenthetical>( angry whisper . )</parenthetical> <dialogue>Do n't be a fool. This has to be sure. Lift her up.</dialogue> <scene_description>The men lift the body .</scene_description> <character>BACKALIS</character> <parenthetical>( nervously . )</parenthetical> <dialogue>Whatcha gon na do?</dialogue> <character>GARZA</character> <parenthetical>( slight laugh . )</parenthetical> <dialogue>It's a hot night. We'll give her a bath.</dialogue> <scene_description>They carry the woman into the adjoining bathroom . They lower her into tub . CAMERA FOLLOWS A HAND as it turns on the faucet and the water rushes out .</scene_description> </scene> <scene> <stage_direction>EXT. A STREET - DAWN</stage_direction> <scene_description>CLOSE SHOT WATER RUSHING OUT Water is flowing from a spigot on a street - washing machine that is proceeding slowly down a street in the East Sixties . First faint morning light .</scene_description> <character>NARRATOR</character> <parenthetical>( quietly . )</parenthetical> <dialogue>A hot night working its way toward dawn. And everything is as usual -</dialogue> </scene> <scene> <stage_direction>EXT. A TRUCK LADEN WITH GREEN VEGETABLES EMERGING FROM THE HOLLAND TUNNEL - DAWN</stage_direction> <character>NARRATOR</character> <dialogue>Jersey lettuce for New York markets -</dialogue> </scene> <scene> <stage_direction>EXT. WEST WASHINGTON POULTRY MARKET - DAWN</stage_direction> <scene_description>A chicken escapes from a crate and a man runs after it .</scene_description> <character>NARRATOR</character> <dialogue>Tonight's fricassee is somewhat reluctant -</dialogue> </scene> <scene> <stage_direction>INT. FIRE HOUSE - DAWN</stage_direction> <scene_description>CAMERA is shooting from open doorway at interior . A man at desk , the fire trucks , a sleeping dalmatian dog .</scene_description> <character>NARRATOR</character> <dialogue>Everything as usual -</dialogue> </scene> <scene> <stage_direction>EXT. EAST SIDE PIER IN SHADOWS - DAWN</stage_direction> <scene_description>Two men are walking to edge of pier .</scene_description> <character>NARRATOR</character> <dialogue>- and even this, too, can be called routine in a city of eight million people -</dialogue> <scene_description>CLOSE SHOT BACKALIS AND GARZA Backalis , holding a bottle of whiskey , is drunk . Garza watches him carefully . Both men are in shadows . As Backalis talks , he sits down on edge of pier and looks out over water . He turns so that we see his face . We do n't see Garza 's face in entire scene .</scene_description> <character>BACKALIS</character> <parenthetical>( drunkenly - tragically . )</parenthetical> <dialogue>I done a lot of things but I never killed nobody. Gon na stay drunk for a long time. Do n't know what I'm gon na say to God when my time comes. He's got a big heart, I'm told, but He do n't like -</dialogue> <scene_description>Backalis never finishes . Garza swings his fist from behind and hits Backalis a blow behind the ear . There is a dull thud as Backalis topples over , his head striking the pier . Garza kneels , pulls the bottle of whiskey out of his hand .</scene_description> <character>GARZA</character> <parenthetical>( angrily . )</parenthetical> <dialogue>I thought you were off the liquor?</dialogue> <parenthetical>( angrily - during action . )</parenthetical> <dialogue>Liquor is bad. Weakens your character - fuzzes your brain - turns you soft. How can a man like me trust a liar like you? I ca n't!</dialogue> <scene_description>Garza angrily throws the whiskey bottle over the pier . We HEAR a splash . Quickly he thrusts his hand into Backalis 's pocket , takes out a chamois bag , puts it in his own . He removes Backalis 's wallet , tosses it over . He looks around swiftly , then lifts Backalis with his powerful arms . Garza heaves Backalis over edge of pier . A low splash . Garza rises , spits angrily into water , starts off .</scene_description> </scene> <scene> <stage_direction>EXT. THE SKY - DAWN</stage_direction> <scene_description>IT IS STREAKED BY MORNING LIGHT</scene_description> <character>NARRATOR</character> <parenthetical>( softly . )</parenthetical> <dialogue>How many things this sky has seen -</dialogue> </scene> <scene> <stage_direction>EXT. SKY OVER MIDTOWN - DAWN</stage_direction> <scene_description>BUILDINGS IN SHOT . SKY IS GROWING LIGHT</scene_description> <character>NARRATOR</character> <parenthetical>( softly . )</parenthetical> <dialogue>- that man has done to man.</dialogue> </scene> <scene> <stage_direction>EXT. SKY - DAY</stage_direction> <character>NARRATOR</character> <dialogue>And now it's morning.</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM - DAY</stage_direction> <scene_description>A baby in a crib is howling . Mother enters shot , putting on robe . Lifts baby . Smiles fondly , looking at it as it yowls . She kisses baby .</scene_description> <character>MOTHER'S VOICE</character> <dialogue>Some babies are eight o'clock babies. Some babies are seven o'clock babies. Why do you have to be a six o'clock baby?</dialogue> </scene> <scene> <stage_direction>EXT. THE BOWERY - DAY</stage_direction> <scene_description>A drunk is sleeping in a doorway . The sunlight streams down through the elevated tracks onto his face . He stirs and blinks - and turns over for another snooze . SOUND : EARLY MORNING TRAFFIC</scene_description> <character>NARRATOR</character> <dialogue>We wake up variously -</dialogue> </scene> <scene> <stage_direction>EXT. TENEMENT FIRE ESCAPE WE SAW EARLIER - DAY</stage_direction> <scene_description>An alarm on window sill goes off . Woman and man awaken . Man shuts off alarm , leans on elbow , yawns .</scene_description> <character>NARRATOR</character> <dialogue>- each to his taste.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN OF SMALL HOUSE - DAY</stage_direction> <scene_description>An Italian family . A father and two grown sons are eating breakfast . The mother is making sandwiches for three lunch pails that stand with tops open .</scene_description> <character>NARRATOR</character> <parenthetical>( conversationally . )</parenthetical> <dialogue>We've washed and we've shaven and it's breakfast time.</dialogue> </scene> <scene> <stage_direction>INT. A MASTER DINING ROOM IN A FIFTH AVENUE MANSION - DAY</stage_direction> <scene_description>An old man , looking very unhappy , sits at one end of a long , bare table , staring at a glass of milk . A butler hovers near him .</scene_description> <character>OLD MAN'S VOICE</character> <parenthetical>( in complaint . )</parenthetical> <dialogue>Milk! Is n't there anything else for ulcers except milk?</dialogue> </scene> <scene> <stage_direction>INT. MODEST KITCHEN - DAY</stage_direction> <scene_description>Mulvey is making breakfast . He has a toaster going . On stove two eggs are boiling . He is watching a three - minute sand glass that will tell him when the eggs are ready . He goes to front door , still humming , opens it , reaches down for a bottle of coffee cream . He returns , pours coffee . Puts cream in it . CLOSE SHOT COFFEE Cream is sour . It curdles . MULVEY He stops humming , makes a face . He pours coffee in sink . Starts to hum again as he takes eggs off .</scene_description> <character>MULVEY</character> <parenthetical>( singing and humming lightly . )</parenthetical> <dialogue>After the ball was over, After the ball was done, da - da - da - da -, da - da - da.</dialogue> <parenthetical>( continues . )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>EXT. TIMES SQUARE ORANGE DRINK STAND - DAY</stage_direction> <scene_description>A customer , eye on wrist watch , gulping coffee , runs .</scene_description> <character>NARRATOR</character> <dialogue>And it's time to go to work.</dialogue> </scene> <scene> <stage_direction>EXT. HALLORAN, WIFE AND FOUR-YEAR-OLD BOY ON FRONT STEPS OF A TWO-FAMILY HOUSE IN QUEENS - DAY</stage_direction> <character>HALLORAN</character> <parenthetical>( straight - faced . )</parenthetical> <dialogue>Goodbye, Mrs. Halloran.</dialogue> <character>MRS. HALLORAN</character> <dialogue>Goodbye, Mr. Halloran.</dialogue> <scene_description>They shake hands , then kiss . Halloran ruffles boy 's hair .</scene_description> <character>HALLORAN</character> <parenthetical>( mock rough . )</parenthetical> <dialogue>See you tonight, Mac.</dialogue> <character>BOY</character> <parenthetical>( imitating him . )</parenthetical> <dialogue>So long, bud.</dialogue> <scene_description>Halloran goes off with a smile and a wave .</scene_description> </scene> <scene> <stage_direction>EXT. SUBWAY ENTRANCE - DAY</stage_direction> <scene_description>People walking down .</scene_description> <character>MAN'S VOICE</character> <dialogue>Gon na be a scorcher today.</dialogue> <character>GIRL'S VOICE</character> <parenthetical>( nasal . )</parenthetical> <dialogue>If it's as bad as yesterday, I'll die, I'll be prostrate.</dialogue> </scene> <scene> <stage_direction>INT. SUBWAY STATION - DAY</stage_direction> <scene_description>People crowding platform . SOUND : Approaching train .</scene_description> <character>FIRST GIRL'S VOICE</character> <dialogue>I went to Jones Beach last night. Had a picnic.</dialogue> <character>SECOND GIRL'S VOICE</character> <dialogue>With the boy friend?</dialogue> <character>FIRST GIRL'S VOICE</character> <parenthetical>( dreamily . )</parenthetical> <dialogue>Yeah.</dialogue> <character>SECOND GIRL'S VOICE</character> <dialogue>Did he get fresh again?</dialogue> <character>FIRST GIRL'S VOICE</character> <parenthetical>( dreamily . )</parenthetical> <dialogue>Yeah.</dialogue> <character>SECOND GIRL'S VOICE</character> <dialogue>Gee - you was born with a silver spoon.</dialogue> </scene> <scene> <stage_direction>EXT. AN APARTMENT HOUSE - DAY</stage_direction> <scene_description>A woman nods to a doorman as she enters an apartment house .</scene_description> <character>NARRATOR</character> <dialogue>For this woman, the day will not be ordinary -</dialogue> </scene> <scene> <stage_direction>INT. FOYER OF APARTMENT HOUSE - DAY</stage_direction> <character>NARRATOR</character> <dialogue>Martha Swenson, forty - two years old, a widow -</dialogue> <scene_description>CAMERA FOLLOWS woman to elevator . She rings elevator bell . Door opens . She enters .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - DAY</stage_direction> <scene_description>Elevator opens . Martha comes out , crosses to apartment opposite , opens door .</scene_description> <character>NARRATOR</character> <dialogue>- lives a quiet life as a house worker -</dialogue> </scene> <scene> <stage_direction>INT. JEAN DEXTER'S APARTMENT - DAY</stage_direction> <scene_description>CAMERA is shooting from Martha 's POV as she enters living room . The blinds are drawn so that the light is dim . Martha hesitates at doorway , then enters quietly . The room is attractively furnished . Martha puts her purse down , crosses to bedroom door , listens . She knocks softly , knocks again . She opens door , peeks in . Bedroom is dark , blinds drawn . She sees that bed is unoccupied . She goes in .</scene_description> <character>MARTHA</character> <dialogue>Miss Dexter?</dialogue> <scene_description>She crosses to blind and then notices an overturned , smashed lamp . As she crosses to it we hear a SOUND from open bathroom door of water dropping from a tap that has not been completely shut . Martha looks toward bathtub . With her , we see that the tub is almost ready to overflow . CLOSE SHOT ON MARTHA 'S FACE as she walks into bathroom . Her face is suddenly convulsed by horror . Her mouth opens in a soundless scream . Then she turns and runs .</scene_description> <character>MARTHA</character> <parenthetical>( shouting . )</parenthetical> <dialogue>Help me. Someone help me.</dialogue> </scene> <scene> <stage_direction>EXT. NEW YORK CITY POLICE HEADQUARTERS ON CENTRE STREET DAY</stage_direction> <scene_description>POLICE HEADQUARTERS TELEGRAPH BUREAU . SOUND in BG : A mixture of clicking teletype machines and voices of telephone operators .</scene_description> </scene> <scene> <stage_direction>INT. PANEL OF HUGE TELEPHONE SWITCHBOARDS - DAY</stage_direction> <scene_description>A ROW OF FAST - WORKING WOMEN OPERATORS ARE AT THE SWITCHBOARD CAMERA MOVES IN to CLOSEUP of a WOMAN OPERATOR as she takes a call .</scene_description> <character>OPERATOR</character> <parenthetical>( writing on pad . )</parenthetical> <dialogue>Yes, sir. What's your name, please? Thank you.</dialogue> <parenthetical>( reaches for telephone plug . )</parenthetical> <dialogue /> <scene_description>INSERT TELEPHONE PLUG being inserted into board under label : POLYCLINIC HOSPITAL .</scene_description> </scene> <scene> <stage_direction>EXT. POLYCLINIC HOSPITAL - DAY</stage_direction> <scene_description>as ambulance starts into street .</scene_description> </scene> <scene> <stage_direction>INT. WOMAN TELEPHONE OPERATOR - DAY</stage_direction> <character>OPERATOR</character> <parenthetical>( into mouthpiece . )</parenthetical> <dialogue>One - nine - eight West Six - nine Street. Apartment 4 - D.</dialogue> </scene> <scene> <stage_direction>INT. RADIO ROOM - DAY</stage_direction> <scene_description>A shirt - sleeved patrolman is speaking into a telephone .</scene_description> <character>FIRST PATROLMAN</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Apartment 4 - D. Got it.</dialogue> <scene_description>He writes on a slip of paper , gets up , and walks over to a series of tables .</scene_description> </scene> <scene> <stage_direction>INT. PATROLMEN AT PLOTTING TABLES - DAY</stage_direction> <scene_description>These plotting tables have sectional maps of Manhattan on top . On the maps are little round numbered metallic discs indicating location of police patrol cars .</scene_description> </scene> <scene> <stage_direction>INT. PATROLMEN - DAY</stage_direction> <character>FIRST PATROLMAN</character> <parenthetical>( handing paper to man at table . )</parenthetical> <dialogue>20th Precinct. What's out?</dialogue> <scene_description>INSERT SECTION OF TABLE - TOP MAP SHOWING TWO METALLIC DISCS NUMBERED 206 AND 159</scene_description> <character>SECOND PATROLMAN'S VOICE</character> <dialogue>Two - oh - six and one - five - nine.</dialogue> </scene> <scene> <stage_direction>INT. TWO PATROLMEN - DAY</stage_direction> <scene_description>First patrolman writes on a slip of paper , and brings it over to a radio operator at a microphone . The operator glances at the paper .</scene_description> </scene> <scene> <stage_direction>INT. RADIO OPERATOR AT MICROPHONE - DAY</stage_direction> <scene_description>The call letters on the microphone are W - E - P - G.</scene_description> <character>OPERATOR</character> <parenthetical>( into microphone . )</parenthetical> <dialogue>Cars two - oh - six - and one - five - nine - Cars two - oh - six - and one - five - nine - Proceed to one - nine - eight - West -</dialogue> <scene_description>INSERT TELEPHONE OPERATOR plugging in another call .</scene_description> <character>MEDICAL EXAMINER</character> <dialogue /> </scene> <scene> <stage_direction>INT. AUTOPSY ROOM AT MORGUE - DAY</stage_direction> <scene_description>The medical examiner , Dr. Simeon Hoffman , is a paunchy , grey - haired man wearing a surgeon 's gown . He is speaking into phone . He puts down phone and starts to write a note . TECHNICAL RESEARCH LABORATORY as plug is inserted .</scene_description> </scene> <scene> <stage_direction>INT. TECHNICAL RESEARCH LABORATORY - DAY</stage_direction> <scene_description>LAB TABLES AND MICROSCOPES ARE EVIDENT IN BG NICK , a dark - haired man of thirty - five , puts down phone . He takes a puff on a lighted cigarette , writes on a pad , rips off the sheet of paper , and starts to assemble equipment . MANHATTAN HOMICIDE SQUAD .</scene_description> </scene> <scene> <stage_direction>EXT. 10TH PRECINCT STATION HOUSE -- 230 W. 20TH STREET</stage_direction> </scene> <scene> <stage_direction>INT. STATION HOUSE - DAY</stage_direction> <scene_description>showing sergeant at desk and a few uniformed patrolmen nearby . CAMERA MOVES UP to a sign near a stairway . Sign reads : MANHATTAN HOMICIDE SQUAD THIRD FLOOR .</scene_description> </scene> <scene> <stage_direction>INT. THIRD FLOOR CORRIDOR - DAY</stage_direction> <scene_description>CAPTAIN SAM DONAHUE LIEUTENANT DANIEL MULVEY .</scene_description> </scene> <scene> <stage_direction>INT. DONAHUE'S OFFICE - DAY</stage_direction> <scene_description>CAPTAIN SAM DONAHUE is at his desk , looking at a folder . He is a husky man of sixty with a wide , pleasant smile and an intelligent face . Seated in a chair nearby is Lieutenant Dan Mulvey , whom we saw , earlier , at breakfast . He is a short , middle - aged man , who might pass for a bookkeeper . His speech contains a bit of Irish and a lot of Brooklyn . He is smoking a pipe . He has a second folder in his lap . There is nothing in the manner , dress or speech of either man to suggest the accepted notion of policeman or detective .</scene_description> <character>DONAHUE</character> <parenthetical>( looking up from folder . )</parenthetical> <dialogue>I do n't understand this boy Del Vecchio.</dialogue> <character>MULVEY</character> <parenthetical>( slowly . )</parenthetical> <dialogue>I do, Sam. I think.</dialogue> <character>DONAHUE</character> <dialogue>Do you make any sense out of what he did?</dialogue> <character>MULVEY</character> <dialogue>No - but I see eighteen years of feeling lonely and beaten. So he -.</dialogue> <parenthetical>( gestures . )</parenthetical> <dialogue>exploded.</dialogue> <character>DONAHUE</character> <parenthetical>( thoughtfully . )</parenthetical> <dialogue>Maybe. Sometimes I wonder what the human heart's made out of.</dialogue> <character>MULVEY</character> <dialogue>My wife, rest her soul, always said she'd rather look into a man's heart than into his head - that you could tell more about him.</dialogue> <scene_description>Donahue turns as BEN MILLER , a chunky police stenographer in plain clothes , enters . He hands a slip of paper to Donahue .</scene_description> <character>MILLER</character> <dialogue>This just came in, Captain.</dialogue> <parenthetical>( to Mulvey , as he goes out . )</parenthetical> <dialogue>Morning, Lieutenant.</dialogue> <character>MULVEY</character> <dialogue>Morning, Ben.</dialogue> <character>DONAHUE</character> <parenthetical>( reading paper . )</parenthetical> <dialogue>You're free, are n't you, Dan?</dialogue> <character>MULVEY</character> <dialogue>I have n't had a hard day's work since yesterday.</dialogue> <character>DONAHUE</character> <parenthetical>( handing him paper . )</parenthetical> <dialogue>Woman drowned in a bathtub. Your assignment.</dialogue> <scene_description>Mulvey nods , gets up , looking at paper .</scene_description> <character>MULVEY</character> <dialogue>Who's to do my leg work?</dialogue> <character>DONAHUE</character> <dialogue>How about young Halloran again?</dialogue> <character>MULVEY</character> <parenthetical>( going toward door . )</parenthetical> <dialogue>All right. I like the boy.</dialogue> <character>DONAHUE</character> <dialogue>How's he doing?</dialogue> <character>MULVEY</character> <dialogue>He's makin' the same mistakes I made at his age.</dialogue> <character>DONAHUE</character> <dialogue>Too bad. I thought he showed promise.</dialogue> <scene_description>Mulvey reacts , goes out .</scene_description> </scene> <scene> <stage_direction>INT. MANHATTAN HOMICIDE SQUAD OFFICE - DAY</stage_direction> <scene_description>A large office with several desks and chairs behind a wooden railing . Through an open door can be seen some of the cots of the dormitory where men on night duty sleep . On a bench talking to Ben Miller is Detective James Halloran , the tall , pleasant - looking young man whom we saw saying good - bye earlier to his wife . Mulvey takes his hat off a hat rack . He comes up behind the bench and pauses a foot away to listen to Halloran , who is talking seriously , with great interest in what he 's saying .</scene_description> <character>HALLORAN</character> <dialogue>- but that's the point, Ben. In the first six months of a baby's life, the father ca n't get to know it unless he takes care of it physically. The idea is to do things for the kid - like bathing it.</dialogue> <character>MILLER</character> <dialogue>But I'm scared to bathe mine. Looks like it'll break.</dialogue> <character>HALLORAN</character> <dialogue>Then learn how to change it. Is it a bottle baby?</dialogue> <character>MILLER</character> <parenthetical>( boastfully . )</parenthetical> <dialogue>Not mine, he's.</dialogue> <character>MULVEY</character> <dialogue>Begging your pardon - is this the Board of Directors of the Diaper Institute?</dialogue> <character>HALLORAN</character> <parenthetical>( rising . )</parenthetical> <dialogue>Hi, Dan.</dialogue> <character>MULVEY</character> <dialogue>We're on a case, you baby experts.</dialogue> <character>HALLORAN</character> <parenthetical>( eagerly . )</parenthetical> <dialogue>What sort of a case? Something hot?</dialogue> <character>MULVEY</character> <parenthetical>( as they go . )</parenthetical> <dialogue>Dead woman in a bathtub. Something cold.</dialogue> <scene_description>They go out .</scene_description> </scene> <scene> <stage_direction>EXT. APARTMENT HOUSE ON WEST 69TH STREET - DAY</stage_direction> <scene_description>The ambulance , seen earlier , and two police cars are parked in front . A small crowd of people is gathered around the entrance . A dark police sedan drives up . Mulvey , Halloran , Miller step out .</scene_description> </scene> <scene> <stage_direction>EXT. ENTRANCE TO APARTMENT HOUSE - DAY</stage_direction> <scene_description>CAMERA IS SHOOTING from POV of watching crowd .</scene_description> <character>PATROLMAN</character> <parenthetical>( to Mulvey , with a slight hand salute . )</parenthetical> <dialogue>This way, Lieutenant.</dialogue> <scene_description>Mulvey , Halloran , and Miller pin their badges on their coat lapels as they follow the patrolman .</scene_description> </scene> <scene> <stage_direction>EXT. TO ONE SIDE OF ENTRANCE MIDDLE-AGED GENTLEMAN, NURSEMAID, GIRL - DAY</stage_direction> <scene_description>as they look after detectives . The middle - aged gentleman is tall , thin , shabby , but with pretense to elegance . He carries a walking stick , wears pince - nez spectacles . The nursemaid is thirtyish , bovine , in uniform . The girl is five .</scene_description> <character>MIDDLE-AGED GENTLEMAN</character> <parenthetical>( to nursemaid . )</parenthetical> <dialogue>Detectives! You see! I told you it was a murder. I knew!</dialogue> <character>LITTLE GIRL</character> <parenthetical>( pulling nursemaid 's hand . )</parenthetical> <dialogue>I wan na go to the park. I wan na see the seals.</dialogue> <character>MIDDLE-AGED GENTLEMAN</character> <parenthetical>( to nursemaid . )</parenthetical> <dialogue>I have the finest crime library in the world. with pictures.</dialogue> <character>LITTLE GIRL</character> <parenthetical>( wailing . )</parenthetical> <dialogue>I wan na see the seals.</dialogue> <character>NURSEMAID</character> <parenthetical>( angrily . )</parenthetical> <dialogue>You saw the seals yesterday. This is a murder. It'll educate you.</dialogue> </scene> <scene> <stage_direction>INT. IN FRONT OF JEAN DEXTER'S APARTMENT - DAY</stage_direction> <scene_description>A patrolman at door gives a half salute , admits detectives .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>Two plainclothes detectives are standing in the room . The maid , Martha Swenson , is seated in an easy chair . She is distraught and evidently has been crying . Near her is NED HARVEY , the apartment superintendent , a thin , middle - aged man , wearing work pants and a grey sweater . Throughout scene Miller takes shorthand notes of what is said .</scene_description> <character>MULVEY</character> <dialogue>Who's in charge here?</dialogue> <scene_description>One of the plainclothes detectives steps forward .</scene_description> <character>DETECTIVE</character> <dialogue>Me, sir - Detective Sergeant Shaeffer, 20th Precinct.</dialogue> <character>MULVEY</character> <dialogue>What's the story?</dialogue> <character>SHAEFFER</character> <parenthetical>( consulting notebook . )</parenthetical> <dialogue>The dead woman's name is Jean Dexter. Twenty - six years old, unmarried. She used to be a dress model at Madge Livingston's, on Fifth Avenue. Her parents live in Lakewood, New Jersey. Their name is Batory - that's Polish. Her name used to be Mary Batory until she came to New York. The ambulance doctor says she died of drowning. that's all I have.</dialogue> <character>MULVEY</character> <parenthetical>( to Miller . )</parenthetical> <dialogue>Got it?</dialogue> <scene_description>Miller nods , scribbling . Puffing on his pipe , Mulvey walks over to an end table and squats down a little to look at a framed photograph without touching it . INSERT BEAUTIFUL BLONDE GIRL IN EVENING DRESS</scene_description> <character>MULVEY'S VOICE</character> <dialogue>This her?</dialogue> <character>SHAEFFER'S VOICE</character> <dialogue>Yeah.</dialogue> </scene> <scene> <stage_direction>INT. BACK TO SCENE - DAY</stage_direction> <scene_description>Mulvey looks inquiringly at Martha Swenson .</scene_description> <character>SHAEFFER</character> <dialogue>Martha Swenson, the woman's housekeeper. She found the body.</dialogue> <parenthetical>( indicating Harvey . )</parenthetical> <dialogue>Mr. Harvey, the house superintendent. He called headquarters.</dialogue> <character>MULVEY</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Where's the body?</dialogue> <character>SHAEFFER</character> <parenthetical>( pointing . )</parenthetical> <dialogue>In there.</dialogue> <scene_description>Mulvey starts toward bedroom followed by Halloran and Miller .</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - DAY</stage_direction> <scene_description>On the bed is a body covered by a sheet . Standing by the bed is a uniformed patrolman . A white - coated ambulance doctor is filling out a paper form . The door to the bathroom is open , with part of the tub visible . As Mulvey sees the body on the bed , he stops .</scene_description> <character>MULVEY</character> <parenthetical>( quiet .</parenthetical> <parenthetical>but angry . )</parenthetical> <dialogue>Did n't this woman drown in a bathtub, doctor?</dialogue> <character>DOCTOR</character> <dialogue>She was on the bed when I got here.</dialogue> <scene_description>Mulvey goes toward living room angrily .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>as Mulvey comes into doorway .</scene_description> <character>MULVEY</character> <dialogue>Who moved the body?</dialogue> <character>MARTHA</character> <parenthetical>( rising ; upset . )</parenthetical> <dialogue>When I came in and. saw her like that in the tub. I called Mr. Harvey, here. He - helped me.</dialogue> <character>MULVEY</character> <parenthetical>( sharply . )</parenthetical> <dialogue>You should've waited for the police! Both of you should have known better.</dialogue> <character>MARTHA</character> <parenthetical>( wringing hands . )</parenthetical> <dialogue>I was so upset.</dialogue> <character>HALLORAN</character> <parenthetical>( entering . )</parenthetical> <dialogue>There's a bottle of pills under the bed, Dan. Looks like sleeping pills.</dialogue> <character>MULVEY</character> <parenthetical>( holding out hand . )</parenthetical> <dialogue>Let me see'em.</dialogue> <character>HALLORAN</character> <parenthetical>( startled . )</parenthetical> <dialogue>I left'em there.</dialogue> <character>MULVEY</character> <dialogue>Why, thank you for that, Jimmy.</dialogue> <parenthetical>( looks at Martha and Harvey . )</parenthetical> <dialogue>This is moving day around here. I thought maybe you caught the fever.</dialogue> <character>HALLORAN</character> <dialogue>About those pills. maybe the dame took an overdose?</dialogue> <character>MULVEY</character> <parenthetical>( patiently . )</parenthetical> <dialogue>Jimmy, it's our obligation to wait for the medical examiner. He's a learned physician employed by the city to determine the causes of mysterious deaths. Let the good man earn his money.</dialogue> <scene_description>Halloran grins with slight embarrassment .</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM GROUP (FAVORING DR. HOFFMAN) - DAY</stage_direction> <scene_description>Standing by the bed is the medical examiner , whom we saw earlier ; Mulvey , Halloran are with him . Ben Miller is taking notes in the background . Nick , whom we saw earlier in the Technical Laboratory , is standing by with his spray equipment for fingerprints .</scene_description> <character>DR. HOFFMAN</character> <dialogue>No accident and no suicide. There are bruises on her throat, shoulders and arms. Those slight burns around her mouth and nose were caused by chloroform. She was chloroformed after a struggle, then dumped into the tub alive.</dialogue> <character>HALLORAN</character> <parenthetical>( eagerly . )</parenthetical> <dialogue>How can you tell that, Doctor?</dialogue> <character>HOFFMAN</character> <dialogue>By the white foam around her mouth. It's proof she drowned.</dialogue> <parenthetical>( to Mulvey ; indicating Halloran . )</parenthetical> <dialogue>New?</dialogue> <character>MULVEY</character> <parenthetical>( nodding . )</parenthetical> <dialogue>New.</dialogue> </scene> <scene> <stage_direction>INT. ANOTHER ANGLE THE GROUP - DAY</stage_direction> <scene_description>A police photographer has set up his lighting equipment and large 8 - by - 10 camera .</scene_description> <character>PHOTOGRAPHER</character> <parenthetical>( to Mulvey . )</parenthetical> <dialogue>Okay, Lieutenant?</dialogue> <character>MULVEY</character> <parenthetical>( to Hoffman . )</parenthetical> <dialogue>Okay, Doctor?</dialogue> <character>DR. HOFFMAN</character> <parenthetical>( putting instruments away . )</parenthetical> <dialogue>The body's yours.</dialogue> <character>MULVEY</character> <dialogue>Start working, gentlemen.</dialogue> <scene_description>The room becomes very active . Halloran goes into bathroom . Photographer begins taking flashlight pictures of room , bed , etc. . Nick begins to spray a glass on a night table with a colored powder from an atomizer , seeking fingerprints . Mulvey writes a note , looks at bed , writes another note . Halloran comes out of bathroom with a pair of men 's silk pajamas .</scene_description> <character>HALLORAN</character> <dialogue>Dan. these were in the laundry hamper. No laundry marks and no label.</dialogue> <scene_description>Mulvey takes the pajamas , feels the material .</scene_description> <character>MULVEY</character> <dialogue>Real fancy. You do n't get these for three ninety - five.</dialogue> <parenthetical>( to Nick . )</parenthetical> <dialogue>Pick up these pajamas on your way out, Nick. I want'em under your X - ray machine.</dialogue> <character>NICK</character> <dialogue>Right.</dialogue> <scene_description>Mulvey , followed by Halloran and Miller , goes into living room .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>Martha Swenson and Harvey are seated on a couch as Mulvey , Shaeffer , and Halloran enter the room . Patrolman stands at door . Throughout this scene we get flashes of light from the busy photographer in the bedroom .</scene_description> <character>MULVEY</character> <dialogue>Who belongs to these?</dialogue> <character>MARTHA</character> <dialogue>I - I do n't know, sir.</dialogue> <parenthetical>( wringing hands . )</parenthetical> <dialogue>I'm so unstrung.</dialogue> <character>MULVEY</character> <parenthetical>( quietly . )</parenthetical> <dialogue>I know you are. But I think you'd like to help us.</dialogue> <character>MARTHA</character> <dialogue>I would - I would. Such a sweet girl, she was. A little wild, by my standards maybe, but live and let live, I say. Always treated me swell.</dialogue> <character>MULVEY</character> <dialogue>The pajamas, Martha.</dialogue> <character>MARTHA</character> <dialogue>I'm all in pieces. I.</dialogue> <scene_description>Mulvey holds out the pajamas .</scene_description> <character>MARTHA</character> <parenthetical>( hesitantly . )</parenthetical> <dialogue>They could belong to Mr. Henderson.</dialogue> <parenthetical>( wringing hands . )</parenthetical> <dialogue>This is awful. I might be getting someone in trouble.</dialogue> <character>MULVEY</character> <dialogue>We do n't want to get the wrong person in trouble either. What's his first name?</dialogue> <character>MARTHA</character> <parenthetical>( in a rush . )</parenthetical> <dialogue>Philip, I think. He lives in Baltimore. That's what she told me. I only saw him once or twice. I only know he was an admirer of Miss Dexter's.</dialogue> <character>MULVEY</character> <parenthetical>( fingering pajamas . )</parenthetical> <dialogue>Seems likely.</dialogue> <character>MARTHA</character> <dialogue>Oh, I'm all in little pieces. What a nightmare!</dialogue> <character>MULVEY</character> <dialogue>You're being a big help to us, Martha. How old would you say Mr. Henderson is?</dialogue> <character>MARTHA</character> <dialogue>Oh. fifty about.</dialogue> <character>MULVEY</character> <dialogue>What does he look like?</dialogue> <character>MARTHA</character> <dialogue>Oh - he's real distinguished, real. About as tall as him.</dialogue> <parenthetical>( points to Halloran . )</parenthetical> <dialogue>Got grey hair. And strong - looking for his age. No corporation on him, if you know what I mean.</dialogue> <character>MULVEY</character> <dialogue>Uh - huh.</dialogue> <parenthetical>( to Miller . )</parenthetical> <dialogue>Got it?</dialogue> <parenthetical>( Miller nods .</parenthetical> <parenthetical>to Harvey . )</parenthetical> <dialogue>Do you know Henderson?</dialogue> <character>HARVEY</character> <dialogue>Never saw him.</dialogue> <character>MULVEY</character> <parenthetical>( to Miller . )</parenthetical> <dialogue>Shoot a wire on this to Baltimore.</dialogue> <scene_description>Miller nods . Hoffman comes into living room , carrying medical case .</scene_description> <character>HOFFMAN</character> <dialogue>Here's the ring she was wearing.</dialogue> <parenthetical>( Mulvey takes ring . )</parenthetical> <dialogue>I'll phone you after the autopsy. Have fun.</dialogue> <character>MULVEY</character> <parenthetical>( looking at ring . )</parenthetical> <dialogue>Likewise.</dialogue> <scene_description>Hoffman goes out .</scene_description> <character>MARTHA</character> <parenthetical>( eagerly . )</parenthetical> <dialogue>Sir. that ring. it's a black star sapphire. very rare. She said her brother sent it from India.</dialogue> <character>MULVEY</character> <dialogue>Did she have any other jewelry?</dialogue> <character>MARTHA</character> <dialogue>Oh - a lot. Valuable. She kept it in a jewel box, locked.</dialogue> <character>MULVEY</character> <dialogue>Let's go get it.</dialogue> <parenthetical>( as Martha hesitates . )</parenthetical> <dialogue>Please.</dialogue> <scene_description>Hesitantly Martha goes into bedroom , the others following . At the moment of their entrance , Nick is spraying the surface of the vanity table with iodine vapor . The photographer , lying on his side , is making a photograph of the floor beneath the bed .</scene_description> <character>PHOTOGRAPHER</character> <parenthetical>( to Nick . )</parenthetical> <dialogue>Okay. You can pick up that bottle under the bed now.</dialogue> <character>NICK</character> <parenthetical>( spraying . )</parenthetical> <dialogue>Check.</dialogue> <character>MULVEY</character> <dialogue>Nick - can we open a drawer in that table?</dialogue> <character>NICK</character> <dialogue>Yeah. I've gone over them.</dialogue> <character>MARTHA</character> <parenthetical>( horrified . )</parenthetical> <dialogue>What are you doing to the furniture?</dialogue> <character>NICK</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Investigating it.</dialogue> <scene_description>During the ensuing scene , Nick puts down the atomizer , crawls under bed and gets the bottle out by means of looping a string over the neck of it .</scene_description> <character>MULVEY</character> <dialogue>Come on, Martha.</dialogue> <scene_description>Martha opens a drawer . A startled look comes to her face . She frantically pulls open the other drawer .</scene_description> <character>MARTHA</character> <dialogue>She had bracelets and rings. diamond rings. They're all gone. It must have been thieves that killed her.</dialogue> <character>MULVEY</character> <parenthetical>( Softly , to Halloran . )</parenthetical> <dialogue>Another detective.</dialogue> <parenthetical>( to Martha . )</parenthetical> <dialogue>Could you describe the jewelry?</dialogue> <character>MARTHA</character> <dialogue>Most of it, I think.</dialogue> <character>MULVEY</character> <dialogue>Fine. Go in and rest yourself now.</dialogue> <scene_description>As Martha goes out , Nick stands up , holding the bottle of pills by the looped string .</scene_description> <character>NICK</character> <dialogue>Looks like Seconal.</dialogue> <character>MULVEY</character> <parenthetical>( Peering at it . )</parenthetical> <dialogue>Jimmy - I want to start questioning those two in there. You start your leg work. Get the number of this prescription, see the druggist. From him go to the doctor. Then go to the dress shop she worked at.</dialogue> <character>HALLORAN</character> <dialogue>Right.</dialogue> <scene_description>He writes down druggist 's name and prescription number . The policeman comes to door of living room .</scene_description> <character>POLICEMAN</character> <dialogue>Lieutenant - the newspaper men are here.</dialogue> <character>MULVEY</character> <dialogue>Okay, I'm coming.</dialogue> <parenthetical>( to Nick . )</parenthetical> <dialogue>Getting any fingerprints, Nick?</dialogue> <character>NICK</character> <dialogue>Nothing good so far. Half prints, quarter prints - that's all.</dialogue> <character>MULVEY</character> <parenthetical>( going toward living room .</parenthetical> <parenthetical>soberly - to Halloran . )</parenthetical> <dialogue>Looks to me like a heavy case - a heavy case.</dialogue> </scene> <scene> <stage_direction>EXT. MADISON AVE. - DAY</stage_direction> <scene_description>SOUND : STREET NOISES Halloran moves to one side to avoid a fat man with an English bulldog on leash . An itinerant bootblack gestures toward his shoes but he shakes his head . He pauses at the entrance to a drugstore on the corner , checks the address against his memo book , goes in .</scene_description> <character>NARRATOR</character> <parenthetical>( conversationally , heard above street noises . )</parenthetical> <dialogue>An investigation for murder is under way now in the city of New York. It will advance methodically, by trial and error, by leg and brain work, by asking a thousand questions to get one answer. Ever look for a needle in a dark house? You can find it - if you're patient enough. Just get down on your knees, examine every inch of every floor of every room - and you'll find it. The Homicide Squad, my friends, is made up of patient men. Ever work a jigsaw puzzle? Ever try to find a murderer? Ever play button - button?</dialogue> </scene> <scene> <stage_direction>INT. DRUGSTORE - DAY</stage_direction> <scene_description>There is no one at the prescription counter . He rings a little bell placed there for that purpose . The druggist appears , a short , bald , stout man . Halloran shows him his badge in the palm of his hand , speaks to him , reads from his memo book . Druggist disappears for an instant , returns with his prescription book , turns the pages until he finds the Dexter prescription . DRUGGIST AND HALLORAN</scene_description> <character>DRUGGIST</character> <dialogue>Dr. Lawrence Stoneman - office in the Squibb Building.</dialogue> <parenthetical>( leans forward . )</parenthetical> <dialogue>Confidentially - a doctor in the dough - high class.</dialogue> <character>HALLORAN</character> <parenthetical>( writing . )</parenthetical> <dialogue>Do you happen to remember Miss Dexter?</dialogue> <character>DRUGGIST</character> <parenthetical>( shaking head . )</parenthetical> <dialogue>A one - shot customer.</dialogue> <character>HALLORAN</character> <dialogue>Not even by the fact you made up sleeping pills for her?</dialogue> <scene_description>Druggist laughs , leans forward .</scene_description> <character>DRUGGIST</character> <dialogue>Confidentially, half the people in this city ca n't sleep without pills. Hurry up. hurry up. too much hurry up.</dialogue> <character>HALLORAN</character> <dialogue>Thanks. You've been a help.</dialogue> <scene_description>As Halloran starts out of drugstore CAMERA FOLLOWS HIM .</scene_description> <character>NARRATOR</character> <dialogue>Ask a question, get an answer, write it down.</dialogue> </scene> <scene> <stage_direction>INT. DEXTER'S LIVING ROOM - DAY</stage_direction> <scene_description>Patrolman at door . Martha Swenson on couch . Mulvey , puffing his pipe , has memo book in hand . Mulvey has his coat off .</scene_description> <character>MULVEY</character> <dialogue>Did she have any other men friends?</dialogue> <character>MARTHA</character> <dialogue>None I know of, sir. Just this Niles man. Robert Niles - a lovely man.</dialogue> <scene_description>Mulvey scribbles in memo book , rubs his nose thoughtfully , rises , crosses living room to bedroom door , opens it .</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - DAY</stage_direction> <scene_description>The bedroom lights have been switched off . Nick is operating a portable ultra - violet lamp . It casts a beam of intense violet light . He is using it like a searchlight to explore every inch of the walls . The bedroom has been transformed since we last saw it - ripped apart . The bed has been taken down , wallpaper stained in various spots , lamps taken apart , etc. .</scene_description> <character>MULVEY</character> <parenthetical>( softly . )</parenthetical> <dialogue>How are you doing, Nick?</dialogue> <character>NICK</character> <parenthetical>( softly . )</parenthetical> <dialogue>Not too bad. Found two grey hairs on the rug.</dialogue> <character>MULVEY</character> <dialogue>Grey, eh? How about fingerprints?</dialogue> <character>NICK</character> <dialogue>No good ones yet.</dialogue> <scene_description>Mulvey closes door , crosses to Martha , looks closely at her hair . Martha draws back in alarm .</scene_description> <character>MULVEY</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Do n't you mind me. Just admirin' your hair.</dialogue> <scene_description>Martha smiles a little , flattered .</scene_description> </scene> <scene> <stage_direction>EXT. A STREET - DAY</stage_direction> <scene_description>Halloran is wiping his sweaty face as he walks . He stops , looks up .</scene_description> <character>NARRATOR</character> <parenthetical>( leisurely . )</parenthetical> <dialogue>Ask a question and take a walk. Hop a bus and ask a question. Jimmy Halloran's an expert with his feet. He pounded a beat in the Bronx for a year as a cop. during the war he walked halfway across Europe with a rifle in his hand. Ever play button - button in a city of eight million people -</dialogue> </scene> <scene> <stage_direction>EXT. SQUIBB BUILDING - DAY</stage_direction> <scene_description>stretching to sky .</scene_description> </scene> <scene> <stage_direction>EXT. AT THE ENTRANCE - DAY</stage_direction> <scene_description>Halloran is entering building .</scene_description> </scene> <scene> <stage_direction>INT. DR. STONEMAN'S RECEPTION ROOM - DAY</stage_direction> <scene_description>A medium - sized room , tastefully furnished . Two patients waiting , both women in their middle years , well dressed . An elderly nurse at desk . Nurse looks up as Halloran enters . He approaches desk , speaks quietly .</scene_description> <character>HALLORAN</character> <dialogue>Is Dr. Stoneman in?</dialogue> <character>NURSE</character> <parenthetical>( dubiously . )</parenthetical> <dialogue>Do you have an appointment?</dialogue> <character>HALLORAN</character> <dialogue>I'm from the Police Department. It's quite important.</dialogue> <parenthetical>( shows his badge . )</parenthetical> <dialogue /> <character>NURSE</character> <dialogue>Just a moment.</dialogue> <scene_description>She goes out of room . Halloran walks to a large window that looks out over the city .</scene_description> </scene> <scene> <stage_direction>INT. THE CITY FROM HALLORAN'S POV - DAY</stage_direction> <character>NARRATOR</character> <dialogue>There's the layout, Jim. The man who killed Jean Dexter is somewhere down there. Ca n't blame him for hiding, can you?</dialogue> <character>NURSE'S VOICE</character> <dialogue>Dr. Stoneman'll see you.</dialogue> </scene> <scene> <stage_direction>INT. WAITING ROOM - DAY</stage_direction> <scene_description>Halloran follows nurse through door into a corridor , then into an office .</scene_description> </scene> <scene> <stage_direction>INT. STONEMAN'S PRIVATE OFFICE - DAY</stage_direction> <scene_description>Dr. Stoneman , in a white gown , is just coming through another door from an examination room . He is a handsome , keen - looking man of fifty , with iron - grey hair . We saw him playing bridge at 1:00 A.M.</scene_description> <character>DR. STONEMAN</character> <dialogue>Yes sir. What can I do for you? Have a seat.</dialogue> <character>HALLORAN</character> <parenthetical>( sitting . )</parenthetical> <dialogue>I want to ask you about a patient of yours - Jean Dexter.</dialogue> <scene_description>Stoneman , who has been walking around to his swivel chair , pauses , turns .</scene_description> <character>DR. STONEMAN</character> <dialogue>Dexter? Are you sure she's my patient?</dialogue> <character>HALLORAN</character> <dialogue>You wrote a prescription for her two weeks ago - Seconal.</dialogue> <scene_description>Stoneman thinks , then nods .</scene_description> <character>STONEMAN</character> <dialogue>Yes, a blonde girl. Very handsome, I remember now. Dexter.</dialogue> <parenthetical>( sits ; starts going through card file . )</parenthetical> <dialogue>What department are you from, Officer?</dialogue> <character>HALLORAN</character> <dialogue>Homicide.</dialogue> <character>STONEMAN</character> <parenthetical>( stiffening . )</parenthetical> <dialogue>Oh? Do n't tell me that girl murdered someone?</dialogue> <character>HALLORAN</character> <dialogue>Someone murdered her.</dialogue> <character>STONEMAN</character> <dialogue>What?</dialogue> <parenthetical>( a pause - very distressed . )</parenthetical> <dialogue>My goodness. when.</dialogue> <character>HALLORAN</character> <dialogue>Last night sometime.</dialogue> <scene_description>A pause . Stoneman shakes his head . Pulls card out of file .</scene_description> <character>STONEMAN</character> <dialogue>What do you want to know?</dialogue> <character>HALLORAN</character> <dialogue>Whatever you can tell me about her.</dialogue> <character>STONEMAN</character> <parenthetical>( angrily . )</parenthetical> <dialogue>She needed a good spanking. Took Benzedrine by day, needed sleeping pills at night. I told her to slow up - but no. Life was too short for her.</dialogue> <parenthetical>( shakes head again . )</parenthetical> <dialogue>Burned out now. All her fresh, young beauty on a scrap heap. Excuse me, Officer, but I'm a doctor because I'm interested in people. I hate to see human beings waste themselves.</dialogue> <parenthetical>( shrugs , falls silent . )</parenthetical> <dialogue /> <character>HALLORAN</character> <dialogue>Can you tell me anything else about her? Her life - her friends?</dialogue> <character>STONEMAN</character> <dialogue>No. Nothing. I only saw her that one visit.</dialogue> <character>HALLORAN</character> <dialogue>I guess that's all, Doctor. Thank you.</dialogue> <parenthetical>( stands . )</parenthetical> <dialogue /> <scene_description>Stoneman nods and tosses the card on the desk . Halloran leaves .</scene_description> </scene> <scene> <stage_direction>EXT. MADGE LIVINGSTON'S DRESS SHOP ON FIFTH AVENUE - DAY</stage_direction> <scene_description>This is the same shop we saw in the early morning . Two young , shabbily dressed girls are staring at a glittering evening dress on dummy in window .</scene_description> <character>FIRST GIRL</character> <dialogue>Imagine me in that!</dialogue> <character>SECOND GIRL</character> <dialogue>I ca n't imagine.</dialogue> <character>FIRST GIRL</character> <dialogue>In the Sert Room of the Waldorf Astoria. With Frankie singing.</dialogue> <character>SECOND GIRL</character> <dialogue>I ca n't imagine.</dialogue> <character>FIRST GIRL</character> <dialogue>Gosh, I'd commit murder for a dress like that. It's a pome by Shakespeare, that's what it is. Lookit that feller. What do you suppose he's buying?</dialogue> <scene_description>HALLORAN FROM POV OF THE GIRLS - DAY He is talking to a woman .</scene_description> <character>SECOND GIRL'S VOICE</character> <dialogue>I ca n't imagine.</dialogue> <character>FIRST GIRL'S VOICE</character> <dialogue>Oh, you - you're so uncooperative I could slam you.</dialogue> </scene> <scene> <stage_direction>INT. MADGE LIVINGSTON'S DRESS SHOP - DAY</stage_direction> <scene_description>Mrs. Livingston is handsome , middle - aged , well tailored , with a fancy way of speaking .</scene_description> <character>MRS. LIVINGSTON</character> <parenthetical>( seriously . )</parenthetical> <dialogue>. and somewhere in the back of her pretty head there was a fixed notion that she could n't be happy without being rich. I do n't think Jean ever would have married unless the man had money - real money.</dialogue> <character>HALLORAN</character> <dialogue>Why did you fire her?</dialogue> <character>MRS. LIVINGSTON</character> <parenthetical>( shrugs . )</parenthetical> <dialogue>Gentlemen sometimes come here with their wives. When Jean Dexter modeled, many of them left my shop a little too interested in her. Their wives did n't like it - and neither did I.</dialogue> <character>HALLORAN</character> <dialogue>I see. Can I talk to her friend now - the model you spoke about?</dialogue> <character>MRS. LIVINGSTON</character> <parenthetical>( rising . )</parenthetical> <dialogue>Ruth Young? Yes. I'll call her.</dialogue> <scene_description>She leaves .</scene_description> </scene> <scene> <stage_direction>EXT. AT SHOP WINDOW - DAY</stage_direction> <character>FIRST GIRL</character> <dialogue>You see - he's gon na buy something. Oh, I ca n't bear it.</dialogue> <character>SECOND GIRL</character> <dialogue>It's getting late. We better go.</dialogue> <character>FIRST GIRL</character> <dialogue>So what if we're late?</dialogue> <character>SECOND GIRL</character> <dialogue>The boss'll holler.</dialogue> <character>FIRST GIRL</character> <dialogue>Let him holler. Strengthen his lungs. Oh, lookit.</dialogue> </scene> <scene> <stage_direction>EXT. HALLORAN FROM POV OF THE GIRLS - DAY</stage_direction> <scene_description>Madge Livingston and Ruth Young approaching him . Ruth Young is a lovely girl in her early twenties . She is wearing a striking evening gown . As the two girls talk , we see Mrs. Livingston introduce Halloran and Ruth and leave them .</scene_description> <character>FIRST GIRL</character> <dialogue>Oh, I ca n't bear it. Oh, I'm going. What a dress. It's a pome.</dialogue> <character>SECOND GIRL</character> <dialogue>A pome. By you everything's a pome.</dialogue> <character>FIRST GIRL</character> <parenthetical>( leaving . )</parenthetical> <dialogue>Oh, Millie - you got no imagination.</dialogue> <scene_description>She leaves . Other follows , looking offended .</scene_description> </scene> <scene> <stage_direction>INT. DRESS SHOP - DAY</stage_direction> <scene_description>Ruth has a quiet , attractive manner , good speech .</scene_description> <character>HALLORAN</character> <dialogue>Miss Young - I understand you modeled with Jean Dexter?</dialogue> <character>RUTH</character> <parenthetical>( nodding . )</parenthetical> <dialogue>We're friends, too.</dialogue> <parenthetical>( hesitates . )</parenthetical> <dialogue>Is she in trouble, Mr. Halloran?</dialogue> <character>HALLORAN</character> <dialogue>Well. She is kind of wild, is n't she?</dialogue> <character>RUTH</character> <dialogue>Oh, no. Maybe Mrs. Livingston would call her wild, but I would n't. She's full of fun. wonderful company.</dialogue> <character>HALLORAN</character> <dialogue>Do you know anybody who has cause to dislike her?</dialogue> <character>RUTH</character> <dialogue>No.</dialogue> <character>HALLORAN</character> <dialogue>How about Mrs. Henderson?</dialogue> <character>RUTH</character> <dialogue>Who's she?</dialogue> <character>HALLORAN</character> <dialogue>Well, Miss Dexter and Mr. Henderson are very friendly, are n't they?</dialogue> <character>RUTH</character> <dialogue>She never told me about a man named Henderson.</dialogue> <character>HALLORAN</character> <parenthetical>( disappointed . )</parenthetical> <dialogue>Are you sure?</dialogue> <character>RUTH</character> <dialogue>Really, Mr. Halloran - Jean's my friend - I do n't think I want to answer any more questions unless you tell me why you're asking them.</dialogue> <character>HALLORAN</character> <parenthetical>( watching her . )</parenthetical> <dialogue>She was found dead this morning.</dialogue> <scene_description>Ruth gasps . Her face goes white . She looks as though she will collapse . Halloran grabs her arm , pulls a chair up .</scene_description> <character>HALLORAN</character> <parenthetical>( gently . )</parenthetical> <dialogue>Sit down. Rest a moment.</dialogue> <parenthetical>( Ruth obeys . )</parenthetical> <dialogue>I'm sorry.</dialogue> <scene_description>Halloran walks over to a water cooler for a glass of water .</scene_description> <character>NARRATOR</character> <dialogue>Learn anything, Halloran? How does it add up? Button, button, where's the button?</dialogue> </scene> <scene> <stage_direction>EXT. 10TH PRECINCT STATION HOUSE - DAY</stage_direction> <scene_description>An elderly fireman has opened a hydrant on this hot summer day for the neighborhood kids . A half dozen kids in bathing suits , trunks and underwear shorts are reveling in the water . A boy of ten , lying on the street , puts his face in the water , blows bubbles .</scene_description> <character>BOY</character> <dialogue>I'm a whale. Lookit.</dialogue> <parenthetical>( blows bubbles . )</parenthetical> <dialogue>Lookit me. I'm a whale.</dialogue> <scene_description>A tough little girl of twelve sneaks up behind him , pushes his head under water , runs off . During this , two men have come along street - Niles and Perelli . Boy gets up , gasping .</scene_description> <character>BOY</character> <dialogue>I'll moider you. I'll cut your head off.</dialogue> <character>FIREMAN</character> <parenthetical>( reprovingly . )</parenthetical> <dialogue>Such language.</dialogue> <scene_description>One of the two men - Robert Niles - laughs .</scene_description> <character>NILES</character> <parenthetical>( to fireman - in passing . )</parenthetical> <dialogue>In front of a police station, too.</dialogue> <scene_description>CAMERA HOLDS on two men going up station steps .</scene_description> </scene> <scene> <stage_direction>INT. MULVEY'S OFFICE - DAY</stage_direction> <scene_description>A smaller office than Donahue 's . Simply furnished . On Mulvey 's desk there is a photograph of a pleasant - looking woman in her late twenties , with two little girls . They are dressed in the fashion of 1920 . Mulvey is at his desk , Miller in a chair . Miller is reading from notebook .</scene_description> <character>MILLER</character> <dialogue>The janitor's story of his whereabouts last night is being checked. Ditto the maid. No report yet on fingerprints. Constentino is on his way to Lakewood to see the girl's parents.</dialogue> <scene_description>Door opens . One of the two men we saw on the street a moment earlier comes in . He is Detective Perelli , forty , husky , hard - faced .</scene_description> <character>PERELLI</character> <dialogue>Got Robert Niles, Lieutenant.</dialogue> <character>MULVEY</character> <dialogue>Have him in.</dialogue> <parenthetical>( rises , starts cleaning pipe . )</parenthetical> <dialogue /> <scene_description>NILES enters , a man in his early thirties . He is tall , unusually handsome , with a straightforward , attractive quality about him . He wears a Service Discharge emblem . Perelli shuts door , sits down in corner .</scene_description> <character>MULVEY</character> <dialogue>Thank you for coming down, Mr. Niles. I'm Lieutenant Mulvey.</dialogue> <parenthetical>( gestures . )</parenthetical> <dialogue>Make yourself comfortable. This is Sergeant Miller.</dialogue> <character>NILES</character> <parenthetical>( sitting down - smiling . )</parenthetical> <dialogue>How do you do.</dialogue> <parenthetical>( looks around . )</parenthetical> <dialogue>I've never been in a police station. Why'd you want to see me, Lieutenant?</dialogue> <character>MULVEY</character> <parenthetical>( cleaning pipe . )</parenthetical> <dialogue>Just a routine check on something. Did you ever run across a girl named.</dialogue> <parenthetical>( looks at paper as though he had forgotten name . )</parenthetical> <dialogue>. Dexter?</dialogue> <character>NILES</character> <dialogue>Jean Dexter? Why, yes. we're good friends.</dialogue> <character>MULVEY</character> <dialogue>How long have you known her?</dialogue> <character>NILES</character> <dialogue>A little over a year. She helps me out in my business occasionally. She's a model.</dialogue> <character>MULVEY</character> <dialogue>What business is that?</dialogue> <character>NILES</character> <dialogue>Merchandising consultant.</dialogue> <parenthetical>( hands Mulvey a card . )</parenthetical> <dialogue>I help out - of - town buyers get woolens, dress goods. Anything in the textile line.</dialogue> <character>MULVEY</character> <dialogue>Do you pay Miss Dexter a salary?</dialogue> <character>NILES</character> <dialogue>No. just a. bonus from time to time when she does something.</dialogue> <character>MULVEY</character> <dialogue>Like what?</dialogue> <character>NILES</character> <parenthetical>( shrugs . )</parenthetical> <dialogue>Modeling. entertaining somebody for me.</dialogue> <character>MULVEY</character> <dialogue>When did you see her last?</dialogue> <character>NILES</character> <dialogue>Yesterday. We had lunch together. Why?</dialogue> <character>MULVEY</character> <dialogue>You have n't seen her since?</dialogue> <character>NILES</character> <dialogue>No. Is anything the matter?</dialogue> <parenthetical>( leans forward . )</parenthetical> <dialogue /> <character>MULVEY</character> <parenthetical>( softly . )</parenthetical> <dialogue>She's dead. Murdered.</dialogue> <scene_description>Niles sinks back , shocked , incredulous . Mulvey watches him . Perelli leaves quietly .</scene_description> </scene> <scene> <stage_direction>INT. OUTER OFFICE OF HOMICIDE SQUAD - DAY</stage_direction> <scene_description>Halloran and Ruth come in . Ruth has changed to street clothes . Halloran motions for her to wait , crosses to a detective at a desk - a man of fifty - five , HENRY FOWLER .</scene_description> <character>HALLORAN</character> <parenthetical>( low - voiced . )</parenthetical> <dialogue>Mulvey back yet?</dialogue> <character>FOWLER</character> <dialogue>Inside. Talking to a guy.</dialogue> <scene_description>Halloran presses buzzer on desk and picks up phone .</scene_description> <character>HALLORAN</character> <parenthetical>( into phone - low - voiced . )</parenthetical> <dialogue>Dan? Jimmy. Got a girl here - Ruth Young. Friend of Dexter's. Model at Livingston's.</dialogue> </scene> <scene> <stage_direction>INT. MULVEY'S OFFICE - DAY</stage_direction> <character>MULVEY</character> <parenthetical>( into phone ; writing a memo . )</parenthetical> <dialogue>Hold it. I'll buzz.</dialogue> <scene_description>As Mulvey puts down phone , Niles looks at him , shakes his head .</scene_description> <character>NILES</character> <dialogue>This is terrible. I feel sick over it.</dialogue> <scene_description>Niles raises his hands , looks at them . They are trembling .</scene_description> <character>NILES</character> <parenthetical>( continuing . )</parenthetical> <dialogue>My hands have n't trembled like this since I was in the South Pacific.</dialogue> <character>MULVEY</character> <parenthetical>( conversationally . )</parenthetical> <dialogue>What happened to you there?</dialogue> <character>NILES</character> <parenthetical>( tossing it off . )</parenthetical> <dialogue>Oh. my first time in combat.</dialogue> <character>MULVEY</character> <dialogue>What outfit were you in?</dialogue> <character>NILES</character> <dialogue>Seventy - seventh.</dialogue> </scene> <scene> <stage_direction>INT. CLOSE SHOT OF MILLER - DAY</stage_direction> <scene_description>writing down a memo .</scene_description> <character>MULVEY'S VOICE</character> <dialogue>I think I had a cousin in that one. It's a New York division, is n't it?</dialogue> <character>NILES'S VOICE</character> <dialogue>Yes.</dialogue> </scene> <scene> <stage_direction>INT. BACK TO SCENE - DAY</stage_direction> <character>MULVEY</character> <dialogue>Corporal James Dennis.</dialogue> <character>NILES</character> <dialogue>Do n't remember him. I was a Captain.</dialogue> <scene_description>Mulvey , starting to stuff his pipe , looks across the room at Miller . Miller rises quietly , goes out .</scene_description> <character>MULVEY</character> <dialogue>We want to find the person who murdered Jean Dexter, Mr. Niles.</dialogue> <character>NILES</character> <parenthetical>( leaning forward - passionately . )</parenthetical> <dialogue>Anything I can tell you!</dialogue> <character>MULVEY</character> <dialogue>Anyone you know who might've had a reason to kill her?</dialogue> <character>NILES</character> <parenthetical>( shaking head . )</parenthetical> <dialogue>Everyone liked Jean.</dialogue> <character>MULVEY</character> <parenthetical>( glancing at memo book . )</parenthetical> <dialogue>Do you happen to know a friend of Miss Dexter's called Ruth Young?</dialogue> <character>NILES</character> <parenthetical>( hesitating . )</parenthetical> <dialogue>Ruth Young? No, I. Oh, yes. a model, is n't she?</dialogue> <character>MULVEY</character> <dialogue>I think so. How well do you know her?</dialogue> <character>NILES</character> <dialogue>I've met her once or twice at parties Jean gave.</dialogue> <scene_description>Mulvey presses buzzer twice .</scene_description> <character>MULVEY</character> <dialogue>And how long did you know Miss Dexter?</dialogue> <character>NILES</character> <dialogue>About a year.</dialogue> <character>MULVEY</character> <dialogue>See her often?</dialogue> <character>NILES</character> <dialogue>Why, yes, I.</dialogue> <scene_description>The door opens . Halloran appears with Ruth Young . Ruth sees Niles , who has turned .</scene_description> <character>RUTH</character> <parenthetical>( running to him . )</parenthetical> <dialogue>Robert, why are you here?</dialogue> <character>NILES</character> <parenthetical>( awkwardly . )</parenthetical> <dialogue>Why, hello, Ruth.</dialogue> <scene_description>Ruth catches hold of his arm , turns to Mulvey angrily .</scene_description> <character>RUTH</character> <dialogue>You do n't think he could've been involved in Jean's death? He hardly knew her.</dialogue> <character>MULVEY</character> <parenthetical>( flatly . )</parenthetical> <dialogue>How do you know?</dialogue> <character>RUTH</character> <dialogue>Well, of course I know! Robert and I are engaged.</dialogue> <character>MULVEY</character> <dialogue>Congratulations.</dialogue> <scene_description>He looks steadily at Niles , who shifts very uneasily .</scene_description> </scene> <scene> <stage_direction>INT. TECHNICAL RESEARCH LAB - DAY</stage_direction> <scene_description>Nick and an assistant are carefully examining Henderson 's pajamas under an X - ray machine .</scene_description> <character>NARRATOR</character> <dialogue>The items that make up this murder are being compiled now.</dialogue> </scene> <scene> <stage_direction>INT. AUTOPSY ROOM OF THE MORGUE - DAY</stage_direction> <scene_description>Dr. Hoffman , in a surgical gown and mask , wipes the perspiration off his forehead . His assistant hands him a surgical instrument .</scene_description> <character>NARRATOR</character> <dialogue>They'll be listed in a folder marked Dexter, Jean. along with some questions.</dialogue> </scene> <scene> <stage_direction>EXT. PENNSYLVANIA STATION - DAY</stage_direction> <scene_description>as a detective approaches a taxicab dispatcher . The two men exchange a few words , and the dispatcher makes a notation in his notebook .</scene_description> <character>NARRATOR</character> <dialogue>Is Henderson the murderer? Did a taxicab take him to the Pennsylvania Railroad Station?</dialogue> </scene> <scene> <stage_direction>INT. BALTIMORE POLICE STATION - DAY</stage_direction> <scene_description>CLOSE SHOT BULLETIN BOARD MARKED : 18TH PRECINCT STATION , BALTIMORE , MD. . A hand reaches in , pins a notice on board .</scene_description> <character>NARRATOR</character> <dialogue>Who is Henderson? Where does he live? Who knows him?</dialogue> <scene_description>`` Police Chief , Baltimore , MD. . Please ascertain info about resident your city name Philip Henderson age about 50 , grey hair , tall build . Confidential . Quick reply urgent . Mulvey , New York '' CAMERA PULLS BACK to SHOW several detectives moving in to read it .</scene_description> </scene> <scene> <stage_direction>INT. OFFICE BUILDING HALLWAY - DAY</stage_direction> <scene_description>as janitor admits Perelli to office . Sign on door reads : ROBERT NILES BUSINESS CONSULTANT .</scene_description> </scene> <scene> <stage_direction>INT. NILES'S OFFICE - DAY</stage_direction> <character>PERELLI</character> <parenthetical>( as they enter . )</parenthetical> <dialogue>Do you know Niles?</dialogue> <scene_description>The janitor smiles smugly , waves his hand . He is a small man , bald .</scene_description> <character>JANITOR</character> <dialogue>Sure. I keep tabs on everybody. I'm sharp.</dialogue> <character>PERELLI</character> <dialogue>What kind of a business does he run?</dialogue> <character>JANITOR</character> <dialogue>He do n't run any.</dialogue> <scene_description>They are looking around the office now . It is sparsely furnished .</scene_description> <character>PERELLI</character> <dialogue>How do you know?</dialogue> <character>JANITOR</character> <dialogue>I'm sharp. Nobody comes to see him. No secretary. Nothing to clean out of his waste basket. Do n't spend much time here himself. He's a bust.</dialogue> <scene_description>Perelli goes to desk , opens side drawers . The first one is empty . The second has a bottle of whiskey . The third has an autographed photo of Jean Dexter . TO SWEETHEART FROM JEAN Perelli closes drawers , tries middle drawer . It is empty except for a book : The Campaigns of the South Pacific . Perelli closes drawer , starts out .</scene_description> <character>JANITOR</character> <parenthetical>( smugly . )</parenthetical> <dialogue>See. told you I was sharp.</dialogue> </scene> <scene> <stage_direction>INT. OUTER OFFICE OF HOMICIDE SQUAD - DAY</stage_direction> <scene_description>Mulvey is escorting Ruth Young to the door .</scene_description> <character>MULVEY</character> <dialogue>I might be wanting to see you again.</dialogue> <character>RUTH</character> <dialogue>Any time you say.</dialogue> <parenthetical>( quietly . )</parenthetical> <dialogue>Jean was my friend.</dialogue> <character>MULVEY</character> <dialogue>You wo n't leave town without letting me know?</dialogue> <parenthetical>( opening door . )</parenthetical> <dialogue /> <character>RUTH</character> <dialogue>Oh? All right. Good - bye.</dialogue> <character>MULVEY</character> <dialogue>` Bye.</dialogue> <parenthetical>( closes door - turns to Fowler . )</parenthetical> <dialogue>Lovely girl, is n't she? Lovely.</dialogue> <character>FOWLER</character> <dialogue>Yeah!</dialogue> <character>MULVEY</character> <dialogue>Lovely long legs.</dialogue> <character>FOWLER</character> <dialogue>Yeah - yeah.</dialogue> <character>MULVEY</character> <dialogue>Keep looking at'em.</dialogue> <character>FOWLER</character> <dialogue>A pleasure.</dialogue> <scene_description>Fowler rises , grabs Panama hat , leaves . As Mulvey crosses back to office , Miller holds up his hand to intercept him . Miller is talking on the phone , seated at a desk . He is scribbling a note .</scene_description> <character>MILLER</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Thanks.</dialogue> <scene_description>He hangs up , rises , speaks to Mulvey .</scene_description> <character>MILLER</character> <dialogue>Couple of things. One : Medical examiner called in. Dexter died between one and two A.M.</dialogue> <character>MULVEY</character> <dialogue>I see.</dialogue> <character>MILLER</character> <parenthetical>( handing him memo . )</parenthetical> <dialogue>And here are a few interesting items on our friend inside.</dialogue> <scene_description>Mulvey reads the memo , exchanges a look with Miller , then goes into his office , followed by Miller .</scene_description> </scene> <scene> <stage_direction>INT. MULVEY'S OFFICE - DAY</stage_direction> <scene_description>as Mulvey and Miller enter . Niles is seated , smoking comfortably . Halloran is sitting behind him .</scene_description> <character>MULVEY</character> <parenthetical>( with a smile . )</parenthetical> <dialogue>Mr. Niles.</dialogue> <character>NILES</character> <parenthetical>( returning smile - gracefully . )</parenthetical> <dialogue>These things happen, Lieutenant. I told you I did n't know Ruth Young very well. Now you know we're engaged.</dialogue> <parenthetical>( grins . )</parenthetical> <dialogue>Ca n't blame a man for wanting to keep his fiancée out of a murder case, can you?</dialogue> <character>MULVEY</character> <parenthetical>( pleasantly . )</parenthetical> <dialogue>I never had a fiancée in a murder case.</dialogue> <parenthetical>( ingratiatingly . )</parenthetical> <dialogue>And just between ourselves. you never told your fiancée what good friends you and Miss Dexter were - did you?</dialogue> <character>NILES</character> <dialogue>Ruth's a bit jealous, Lieutenant.</dialogue> <parenthetical>( frankly . )</parenthetical> <dialogue>You understand.</dialogue> <character>MULVEY</character> <dialogue>Uh huh. I wonder now. is there anything else you told me that is n't. strictly true?</dialogue> <character>NILES</character> <parenthetical>( earnestly . )</parenthetical> <dialogue>I have no reason to lie to you, Lieutenant.</dialogue> <character>MULVEY</character> <parenthetical>( softly . )</parenthetical> <dialogue>I've got a report in front of me says you never were in the South Pacific, Mr. Niles. You were n't in the 77th Division. You were n't an officer. You were n't in the Army.</dialogue> <scene_description>Niles 's smile has faded . He looks wretched .</scene_description> <character>NILES</character> <parenthetical>( miserably . )</parenthetical> <dialogue>I suppose you think I'm a heel.</dialogue> <parenthetical>( passionately . )</parenthetical> <dialogue>I did n't even wait for the draft. I tried to enlist. They would n't take me. I've got a trick knee from college football. I just could n't get in.</dialogue> <character>MULVEY</character> <dialogue>That's all right with me. but why lie about it?</dialogue> <character>NILES</character> <dialogue>I do n't know. Stupid pride, I suppose.</dialogue> <character>MULVEY</character> <dialogue>How did you spend the war years, Mr. Niles?</dialogue> <character>NILES</character> <dialogue>I was in Chicago. Same business I have now.</dialogue> <character>MULVEY</character> <dialogue>Been at it long?</dialogue> <character>NILES</character> <dialogue>Six or seven years. Since college.</dialogue> <character>MULVEY</character> <dialogue>Doing pretty well?</dialogue> <character>NILES</character> <dialogue>Very good these days.</dialogue> <scene_description>Mulvey picks up phone , buzzes at same time .</scene_description> <character>MULVEY</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Is Perelli back?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Send him in.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue /> <scene_description>Mulvey smiles at Niles . Niles smiles back . Door opens , Perelli enters .</scene_description> <character>MULVEY</character> <dialogue>What can you tell us about Mr. Niles's business?</dialogue> <scene_description>Niles stiffens .</scene_description> <character>PERELLI</character> <dialogue>He ai n't got a business. It's a dodge. No credit rating. Dropped from his university club for nonpayment of dues. Still owes a food and liquor bill of $ 110.83.</dialogue> <scene_description>A pause . Niles looks very crestfallen .</scene_description> <character>MULVEY</character> <parenthetical>( genially . )</parenthetical> <dialogue>I've been thirty - eight years on the force, Mr. Niles. I've been a cop on the beat, I've been with the Safe and Loft Squad, I've been twenty - two years in the Homicide Division. But in a lifetime of interrogatin' an' investigation', you are probably the biggest an' most willing liar I ever met.</dialogue> <character>NILES</character> <parenthetical>( bursting out . )</parenthetical> <dialogue>All right, I'm a liar. I'm a circus character altogether. But I did n't kill Jean Dexter. I told you where I was last night. Why do n't you check on that?</dialogue> <character>MULVEY</character> <dialogue>We're doing that right now.</dialogue> <character>NILES</character> <parenthetical>( angrily . )</parenthetical> <dialogue>Okay then. That's fine.</dialogue> <parenthetical>( suddenly - a change of mood . )</parenthetical> <dialogue>I'm sorry. I'm not angry at you, Lieutenant. You're just doing your job. The truth is I'm ashamed of myself.</dialogue> <parenthetical>( frankly . )</parenthetical> <dialogue>My family used to have money and position. Since I got out of college, I have n't been much of a success. I'm trying to keep up a front.</dialogue> <parenthetical>( earnestly . )</parenthetical> <dialogue>But I'm only a small - time liar, Lieutenant. Believe me. On important things I'm straight as a die.</dialogue> <character>MULVEY</character> <parenthetical>( softly . )</parenthetical> <dialogue>Every man to his taste.</dialogue> <character>NILES</character> <dialogue>Ask me anything you want. Jean was my friend. I want to help you.</dialogue> <character>MULVEY</character> <parenthetical>( consulting notebook . )</parenthetical> <dialogue>You spent close to fifty dollars last night at the Trinidad Club. Where'd you get the money?</dialogue> <scene_description>Niles hesitates , then speaks frankly , with obvious shame .</scene_description> <character>NILES</character> <dialogue>I play a sharp game of bridge with Park Avenue friends. I take a flier on the stock market. On inside tips. When I'm hard up, I borrow money. That's the truth.</dialogue> <character>MULVEY</character> <dialogue>Thank you.</dialogue> <parenthetical>( consulting notebook . )</parenthetical> <dialogue>Now about this man Henderson. You say you only met him once in Miss Dexter's apartment. Would you describe him to me?</dialogue> <character>NILES</character> <dialogue>Well. medium height ; husky ; blonde hair ; wore glasses. looked to be about thirty - five.</dialogue> <character>MULVEY</character> <dialogue>Uh. huh.</dialogue> <scene_description>Phone RINGS .</scene_description> <character>MULVEY</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Lieutenant Mulvey.</dialogue> <parenthetical>( listens with interest . )</parenthetical> <dialogue>Yes. Yes.</dialogue> <parenthetical>( face falls . )</parenthetical> <dialogue>Oh. All right.</dialogue> <parenthetical>( hangs up ; to Niles . )</parenthetical> <dialogue>Well, Mr. Niles, after telling me a lot of stories about a lot of things, you apparently told me an accurate story of where you were last night. Four witnesses put you at the Trinidad Club at the time Jean Dexter died.</dialogue> <parenthetical>( a gesture . )</parenthetical> <dialogue>I guess you're in the clear, Mr. Niles.</dialogue> <character>NILES</character> <parenthetical>( wearily . )</parenthetical> <dialogue>I told you I never lie about important things. Any more questions?</dialogue> <character>MULVEY</character> <dialogue>I guess not.</dialogue> <scene_description>Niles rises , starts to go , stops .</scene_description> <character>NILES</character> <dialogue>You know - I'm not as much of a heel as I sound. I'm trying to catch on to a good job in industry. One of these days I will.</dialogue> <character>MULVEY</character> <parenthetical>( softly . )</parenthetical> <dialogue>I wish you the best.</dialogue> <character>NILES</character> <dialogue>Good - bye, then.</dialogue> <character>MULVEY</character> <dialogue>Good luck.</dialogue> <scene_description>Niles leaves . Door closes .</scene_description> <character>MULVEY</character> <parenthetical>( continuing - softly to Perelli . )</parenthetical> <dialogue>Keep two men on him in three shifts.</dialogue> <scene_description>Perelli nods , leaves .</scene_description> <character>MULVEY</character> <parenthetical>( to Miller . )</parenthetical> <dialogue>I do n't want a thing said to the newspapers about Niles. He's not even in this case.</dialogue> <scene_description>Miller nods .</scene_description> <character>MULVEY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Spent fifty dollars last night, he said. On that much a week I supported a wife and raised two kids.</dialogue> <character>HALLORAN</character> <dialogue>Sure, but you were brought up on the wrong side of the tracks.</dialogue> <scene_description>Mulvey smiles slightly .</scene_description> </scene> <scene> <stage_direction>EXT. HOMICIDE SQUAD BUILDING - DAY</stage_direction> <scene_description>Niles exits , putting on his coat . He trudges wearily down the street . Two detectives come out of building , start slowly after Niles .</scene_description> </scene> <scene> <stage_direction>EXT. THE SAME STREET - DAY</stage_direction> <scene_description>Garza is standing near a hot dog and ice cream wagon that travels the streets . He is sucking a popsicle and watching Niles . He turns and goes the other way .</scene_description> </scene> <scene> <stage_direction>INT. MULVEY'S OFFICE - DAY</stage_direction> <scene_description>CAMERA PULLS BACK to REVEAL Mulvey , Miller , Halloran - in consultation . Present as a special audience is Donahue . There is a portable blackboard in office , on which are written the following names : MARTHA SWENSON NED HARVEY RUTH YOUNG ROBERT NILES PHILIP HENDERSON Miller is talking , reading from his notebook .</scene_description> <character>MILLER</character> <dialogue>The only good fingerprints we got were of the maid and Jean Dexter. The Baltimore police say they ca n't locate anyone so far who answers Henderson's description. The pajamas in Dexter's apartment show nothing under the X - ray. They're an English import and never been washed. All stores that carry the line are being checked.</dialogue> <parenthetical>( looks up - to Donahue . )</parenthetical> <dialogue>That's it, Captain.</dialogue> <character>DONAHUE</character> <parenthetical>( to Mulvey . )</parenthetical> <dialogue>Very little to go on. This man Niles. how's his alibi for last night?</dialogue> <character>MULVEY</character> <dialogue>He seems in the clear. So does everybody else we've connected with so far.</dialogue> <character>HALLORAN</character> <dialogue>So Henderson's our only suspect.</dialogue> <character>MULVEY</character> <dialogue>How about this man?</dialogue> <scene_description>Mulvey crosses to the blackboard , picks up chalk . Underneath Henderson 's name he writes : JOSEPH P. MCGILLICUDDY</scene_description> <character>HALLORAN</character> <dialogue>Who's he?</dialogue> <character>DONAHUE</character> <parenthetical>( smiling . )</parenthetical> <dialogue>McGillicuddy is Dan's name for any unknown party in a case.</dialogue> <character>HALLORAN</character> <dialogue>You mean two men did the murder?</dialogue> <character>MULVEY</character> <dialogue>Maybe there were five. All I know is there was more than one.</dialogue> <character>HALLORAN</character> <dialogue>How do you know?</dialogue> <scene_description>Mulvey looks around the room , then sits on his desk . He pats it .</scene_description> <character>MULVEY</character> <dialogue>This is a bed. For a moment, I'm an attractive little lady.</dialogue> <parenthetical>( smiles to Halloran . )</parenthetical> <dialogue>How would you chloroform me, Mr. Henderson?</dialogue> <scene_description>Halloran studies the question , takes a handkerchief out of his pocket .</scene_description> <character>HALLORAN</character> <dialogue>I guess the best way'd be if I stood behind you.</dialogue> <scene_description>He goes behind Mulvey and gestures how he would lock his forearm over Mulvey 's throat , and use the other hand to apply the chloroform .</scene_description> <character>MULVEY</character> <dialogue>Correct - that's the way one man would do it.</dialogue> <scene_description>He jumps down , opens drawer , brings out a pile of 8 by 10 photos , shuffles them , selects one . Meanwhile , he keeps talking .</scene_description> <character>MULVEY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>We just got the photographs. They show finger marks on both arms.</dialogue> <scene_description>He tosses a photo on desk . All crowd around it . INSERT PHOTO It shows chin , neck , shoulders only . Visible are some blue marks .</scene_description> <character>MULVEY'S VOICE</character> <parenthetical>( over close shot . )</parenthetical> <dialogue>That means a man stood behind her and held her arms with both hands, while Henderson or someone else chloroformed her. A strong man, with thick, strong fingers.</dialogue> </scene> <scene> <stage_direction>INT. BACK TO SCENE - DAY</stage_direction> <scene_description>All look up from photo , gaze at Mulvey with excitement .</scene_description> <character>MULVEY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>And that man was my old, old friend, Joseph P. McGillicuddy.</dialogue> <scene_description>A pause .</scene_description> <character>DONAHUE</character> <dialogue>You're right, Dan.</dialogue> <character>HALLORAN</character> <dialogue>Now we have to find two men.</dialogue> <character>DONAHUE</character> <dialogue>You have to find them. I'm busy on half a dozen other cases. Good night, gentlemen.</dialogue> <character>ALL</character> <dialogue>Good night.</dialogue> <scene_description>Donahue leaves .</scene_description> <character>MILLER</character> <dialogue>Need me any more?</dialogue> <scene_description>Mulvey waves him good night . Miller goes . Mulvey looks at blackboard .</scene_description> <character>MULVEY</character> <dialogue>A heavy case.</dialogue> <parenthetical>( thinks . )</parenthetical> <dialogue>Why is Niles such a liar?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>What's in his heart? Is he just a blowhard or?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>A heavy case.</dialogue> <scene_description>The door opens , Miller appears , wearing hat .</scene_description> <character>MILLER</character> <parenthetical>( excitedly . )</parenthetical> <dialogue>Say. there's an old dame outside says she can crack the Dexter case.</dialogue> <scene_description>Mulvey gestures for her to be brought in . Miller steps out , ushers in a sweet - faced old lady of sixty - five . She is dressed in an old - fashioned manner and , in spite of the heat , wears a feather boa around her neck . She has a folded newspaper under her arm . She speaks with a Southern accent .</scene_description> <character>OLD LADY</character> <dialogue>Are you the officer in charge of the bathtub murder?</dialogue> <character>MULVEY</character> <dialogue>Yes, M'am.</dialogue> <character>OLD LADY</character> <parenthetical>( approaching . )</parenthetical> <dialogue>This one?</dialogue> <scene_description>She spreads the newspaper on the desk . Blonde Model Slain In Brutal Bathtub Killing .</scene_description> <character>MULVEY'S VOICE</character> <dialogue>Yes, M'am.</dialogue> </scene> <scene> <stage_direction>INT. BACK TO SCENE - DAY</stage_direction> <character>OLD LADY</character> <dialogue>I can help you solve it.</dialogue> <character>MULVEY</character> <dialogue>Yes?</dialogue> <character>OLD LADY</character> <dialogue>My gran ` daddy is Sheriff of Tuckahue County, Mississippi. He's.</dialogue> <character>HALLORAN</character> <parenthetical>( gasping . )</parenthetical> <dialogue>Your gran ` daddy?</dialogue> <scene_description>Mulvey puts his hand out and touches Halloran warningly .</scene_description> <character>OLD LADY</character> <parenthetical>( explaining . )</parenthetical> <dialogue>Yes. I'm only in my twenties, you know.</dialogue> <character>MULVEY</character> <parenthetical>( gently . )</parenthetical> <dialogue>And very handsome you are, too.</dialogue> <character>OLD LADY</character> <parenthetical>( candidly . )</parenthetical> <dialogue>Yes, I know. So many men are crazy about me, I do n't know what to do.</dialogue> <parenthetical>( starts to leave . )</parenthetical> <dialogue>` Bye now.</dialogue> <parenthetical>( stops - hesitates . )</parenthetical> <dialogue>Oh yes - about the murder. I almost forgot. We'll have to get a front tooth from a hound dog.</dialogue> <character>MULVEY</character> <dialogue>Yes, M'am.</dialogue> <character>OLD LADY</character> <dialogue>Bury it fifty feet from the grave. On the third day after the first full moon, the murderer will confess.</dialogue> <character>MULVEY</character> <dialogue>Thank you, M'am.</dialogue> <character>OLD LADY</character> <parenthetical>( starts off - then stops . )</parenthetical> <dialogue>Prices are awfully high these days, are n't they?</dialogue> <character>MULVEY</character> <dialogue>Yes, M'am.</dialogue> <character>OLD LADY</character> <dialogue>I had to decide whether to spend a nickel on an apple for my supper - or spend it on the subway to come up here.</dialogue> <scene_description>Mulvey fishes in his pocket , comes up with a dime , gives it to her .</scene_description> <character>MULVEY</character> <dialogue>Please.</dialogue> <character>OLD LADY</character> <dialogue>You're sweet. I'll put you down in my diary tonight. ` Bye now.</dialogue> <character>MULVEY</character> <dialogue>` Bye.</dialogue> <scene_description>The old lady leaves . Miller gives them a look , also leaves . Mulvey and Halloran look at each other .</scene_description> <character>HALLORAN</character> <dialogue>How much of that have you had in thirty - eight years?</dialogue> <character>MULVEY</character> <dialogue>I could n't count it. Every time there's a headline case. We'll be lucky if there is n't a lot more.</dialogue> <character>HALLORAN</character> <dialogue>` Bye now.</dialogue> <character>MULVEY</character> <parenthetical>( grinning . )</parenthetical> <dialogue>` Bye.</dialogue> <scene_description>Halloran leaves . Mulvey turns to blackboard , looks at names . He erases all the names except those of Henderson , Niles , McGillicuddy . He stares at them .</scene_description> </scene> <scene> <stage_direction>EXT. 14TH ST. - DAY</stage_direction> <scene_description>Hurrying people are exiting from a department store .</scene_description> <character>NARRATOR</character> <dialogue>The day's work is over now.</dialogue> </scene> <scene> <stage_direction>EXT. ANOTHER STREET - DAY</stage_direction> <scene_description>Office workers are exiting from factory building at 99 Hudson Street .</scene_description> <character>NARRATOR</character> <dialogue>and several million people.</dialogue> </scene> <scene> <stage_direction>EXT. QUEENSBORO BRIDGE - DAY</stage_direction> <scene_description>A subway train is going over bridge .</scene_description> <character>NARRATOR</character> <dialogue>are on their way home.</dialogue> </scene> <scene> <stage_direction>INT. SUBWAY CAR - DAY FULL SHOT PEOPLE</stage_direction> <character>NARRATOR</character> <dialogue>tired and hot.</dialogue> <scene_description>INSERT A SITTING MAN eyes closed , face sweaty .</scene_description> <character>NARRATOR</character> <dialogue>Six A.M. tomorrow will come awfully soon.</dialogue> <scene_description>INSERT A SITTING GIRL young . She is staring , fascinated , at a tabloid and biting her fingernail .</scene_description> <character>NARRATOR</character> <dialogue>Must've been a hard day behind that counter, honey.</dialogue> <scene_description>INSERT TABLOID There is a lurid drawing of the murder being committed in the bathtub . Very wild . `` Artist 's Conception Of How Model Died . ''</scene_description> <character>NARRATOR</character> <dialogue>but do n't bite your nails. Harry wo n't like it. And besides, this is n't how the murder was really committed.</dialogue> </scene> <scene> <stage_direction>INT. BACK TO SCENE - DAY</stage_direction> <scene_description>Halloran , hanging onto a strap , is reading a paper . Behind him are a stout girl and a young man . The stout girl is short and is peering at Halloran 's paper from under his arm .</scene_description> <character>STOUT GIRL</character> <dialogue>Read about that bathtub murder?</dialogue> <character>YOUNG MAN</character> <dialogue>I'll say. Some figger that dame had. I wouldna minded being the wash rag in her bathtub. Haw! Haw!</dialogue> </scene> <scene> <stage_direction>EXT. AT A BILLBOARD - DAY</stage_direction> <scene_description>A newsboy has walked away from his stand to pencil a moustache on the face of an actress in a movie advertisement . Passersby on street .</scene_description> <character>NEWSBOY</character> <parenthetical>( mechanically , as he draws .</parenthetical> <parenthetical>in double talk . )</parenthetical> <dialogue>Evening paper. Sensational. Tibet Report. Bathtub murder. Hitler reported hiding in. Artist's Model. Get your paper.</dialogue> <scene_description>Garza comes up , takes a paper , drops a nickel , walks off . A well - dressed man takes a paper . As he is fishing for change he observes newsboy with back turned . He walks off quickly without paying , a pleased smirk on his face .</scene_description> </scene> <scene> <stage_direction>EXT. HALLORAN'S HOME - DAY</stage_direction> <scene_description>as he opens door of his two - family home and enters .</scene_description> <character>HALLORAN</character> <parenthetical>( calling . )</parenthetical> <dialogue>Anybody home?</dialogue> <scene_description>He throws his hat and newspaper on the couch and starts taking off coat . The room is combination living - room , dining - room with standard Grand Rapids furniture . The small table is set for dinner . In answer to his call , a voice comes from the kitchen .</scene_description> <character>JANEY'S VOICE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hello, honey.</dialogue> <scene_description>She appears at kitchen door and comes toward him . She has on a playsuit with bare mid - riff and an apron . She is pretty in a quiet way , has a straightforward manner . Halloran pulls off tie and starts unbuttoning shirt .</scene_description> <character>JANEY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Bet it was hot in Manhattan today.</dialogue> <character>HALLORAN</character> <dialogue>I was too busy to be hot. On a new case.</dialogue> <parenthetical>( as he takes off shirt . )</parenthetical> <dialogue>The subway was a furnace, though.</dialogue> <character>JANEY</character> <dialogue>You too warm to say hello?</dialogue> <character>HALLORAN</character> <dialogue>Yup.</dialogue> <scene_description>He puts his arms around her , kisses her .</scene_description> <character>JANEY</character> <dialogue>Got you a nice, cool supper. Jellied tongue.</dialogue> <character>HALLORAN</character> <parenthetical>( holding her . )</parenthetical> <dialogue>Swell. I'm hungry. Stop holding on to me. Let's go, I'm starved.</dialogue> <scene_description>She laughs . He kisses her , lets her go .</scene_description> <character>HALLORAN</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Where's Billy?</dialogue> <character>JANEY</character> <dialogue>I put him to bed. Listen, dear, I'm sorry to tell you but you've got a nasty job to do before supper.</dialogue> <scene_description>Halloran takes off the hip belt on which his gun holster hangs and puts it up on the closet shelf . Janey continues meanwhile .</scene_description> <character>JANEY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Billy has to have a whipping.</dialogue> <character>HALLORAN</character> <dialogue>Why?</dialogue> <character>JANEY</character> <dialogue>He walked right out of the yard, crossed Stillman Avenue all by himself and went to the park.</dialogue> <character>HALLORAN</character> <dialogue>Well. I'll give him a real talking to.</dialogue> <character>JANEY</character> <dialogue>No you wo n't, you'll give him a real whipping, with a strap.</dialogue> <character>HALLORAN</character> <dialogue>Just a minute, honey.</dialogue> <character>JANEY</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>I know - I know - you do n't believe in whipping a child. Neither have I until now. But do you want Billy run over by a truck?</dialogue> <scene_description>Halloran is silent .</scene_description> <character>JANEY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>I've reasoned with him, I've pleaded with him, I've threatened him. But the minute my back is turned, he's off.</dialogue> <character>HALLORAN</character> <dialogue>Well. he's a spunky kid, Janey.</dialogue> <character>JANEY</character> <dialogue>I do n't want him to be a dead kid.</dialogue> <character>HALLORAN</character> <parenthetical>( yielding . )</parenthetical> <dialogue>No.</dialogue> <character>JANEY</character> <dialogue>Go ahead then. Get it over with.</dialogue> <character>HALLORAN</character> <dialogue>Yeah, I guess I will. right after supper.</dialogue> <character>JANEY</character> <dialogue>Jimmy -.</dialogue> <parenthetical>( points . )</parenthetical> <dialogue /> <character>HALLORAN</character> <dialogue>I ca n't just go in there and take a strap to that boy. I've got to work up to it a little bit.</dialogue> <character>JANEY</character> <dialogue>You'd think I was asking you to kill him.</dialogue> <scene_description>Phone RINGS .</scene_description> <character>HALLORAN</character> <dialogue>If you think it's so easy, you whip him.</dialogue> <parenthetical>( goes to phone . )</parenthetical> <dialogue /> <character>JANEY</character> <dialogue>Me? That's not a woman's job.</dialogue> <character>HALLORAN</character> <parenthetical>( at phone . )</parenthetical> <dialogue>Why does it have to be a man's job?</dialogue> <character>JANEY</character> <dialogue>It's always the man's job.</dialogue> <character>HALLORAN</character> <parenthetical>( raising phone . )</parenthetical> <dialogue>Who says so? Hello.</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>Oh. sure, Dan. yeah, right away.</dialogue> <scene_description>He hangs up , crosses to closet for gun .</scene_description> <character>HALLORAN</character> <dialogue>Got a call. I have to meet Mulvey right away.</dialogue> <character>JANEY</character> <dialogue>Without any supper?</dialogue> <character>HALLORAN</character> <dialogue>Save it for me. I'll grab a hamburger meanwhile.</dialogue> <character>JANEY</character> <dialogue>I wish you were an ice cream salesman or something. I do n't like this night work and I do n't like it every time you strap on that gun.</dialogue> <scene_description>Halloran is now putting on his shirt and tie . Janey takes off her apron .</scene_description> <character>HALLORAN</character> <dialogue>If I were an ice cream salesman, I'd get fat. Then you would n't like me.</dialogue> <character>JANEY</character> <dialogue>I do n't like you now.</dialogue> <character>HALLORAN</character> <parenthetical>( singing it . )</parenthetical> <dialogue>Oh, yes you do.</dialogue> <character>JANEY</character> <dialogue>Remember - you've got a job before you leave this house.</dialogue> <character>HALLORAN</character> <dialogue>What?</dialogue> <character>JANEY</character> <dialogue>Billy.</dialogue> <character>HALLORAN</character> <dialogue>I ca n't stop for that now.</dialogue> <character>JANEY</character> <parenthetical>( jumping up . )</parenthetical> <dialogue>Halloran - you're a coward.</dialogue> <character>HALLORAN</character> <parenthetical>( kissing her . )</parenthetical> <dialogue>` Bye now.</dialogue> <scene_description>He grabs coat and starts off .</scene_description> <character>JANEY</character> <dialogue>Jimmy.</dialogue> <scene_description>He stops . She goes up and catches his arm , kisses him .</scene_description> <character>JANEY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>I'll wait up for you.</dialogue> <character>HALLORAN</character> <dialogue>Good deal.</dialogue> <scene_description>He runs his finger across her bare midriff . She wiggles a little .</scene_description> <character>JANEY</character> <dialogue>Where you going?</dialogue> <character>HALLORAN</character> <dialogue>To see a pretty girl.</dialogue> <scene_description>He runs his finger across her midriff again . She wiggles .</scene_description> <character>JANEY</character> <dialogue>Some place exciting, huh?</dialogue> <character>HALLORAN</character> <dialogue>Yes, dear. To the morgue.</dialogue> <scene_description>He pokes her with his finger , starts out .</scene_description> </scene> <scene> <stage_direction>EXT. BUILDING MARKED: CITY MORTUARY - NIGHT</stage_direction> <scene_description>as Detective Constentino approaches with a plainly dressed , middle - aged couple , the Batorys . The man and woman stare at the sign for a moment and then follow Constentino inside .</scene_description> </scene> <scene> <stage_direction>INT. ANTEROOM OF MORTUARY - NIGHT</stage_direction> <scene_description>MULVEY , HALLORAN AND UNIFORMED NURSE are seated , but rise when Constentino enters with the man and woman . Constentino is forty - five , husky , dark , competent appearing . Mr. Batory is fifty , thin , looking both strong and work - worn , with a neat little grey moustache and a bald head . Mrs. Batory is the same age , stocky , with a face and figure that show signs of an earlier peasant beauty . Mr. Batory looks stunned , grief - stricken , shocked beyond understanding . Mrs. Batory seems at the point of hysteria , her eyes red , her hands plucking at her dress , her hair , her face .</scene_description> <character>CONSTENTINO</character> <dialogue>This is Lieutenant Mulvey.</dialogue> <parenthetical>( to Mulvey . )</parenthetical> <dialogue>Mr. and Mrs. Batory, the girl's parents.</dialogue> <scene_description>Before Mulvey can say anything , Mrs. Batory bursts out in an angry , injured , bitter tone .</scene_description> <character>MRS. BATORY</character> <dialogue>I told her! I knew she'd turn out no good. All these young girls. so crazy to be with the bright lights. There's no bright lights for her now, is there?</dialogue> <parenthetical>( she stops , plucks at her dress . )</parenthetical> <dialogue /> <character>MULVEY</character> <parenthetical>( gently . )</parenthetical> <dialogue>She's at rest now, Mrs. Batory.</dialogue> <character>MRS. BATORY</character> <parenthetical>( bitterly . )</parenthetical> <dialogue>No - her kind of dead do n't rest! And how ` bout us? The scandal - God in Heaven! My husband's a gardener. He works for a banker, a highly respectable gentleman. He'll get fired now. Oh, I hate her, I hate her.</dialogue> <character>MR. BATORY</character> <parenthetical>( miserably . )</parenthetical> <dialogue>Paula.</dialogue> <character>MRS. BATORY</character> <dialogue>Never mind. I hate her. I say it out straight. So fancy she was. Even had to change her name. Hah!</dialogue> <character>MULVEY</character> <parenthetical>( uncomfortably . )</parenthetical> <dialogue>We'd better go in now. If you'll please follow the nurse.</dialogue> <scene_description>FOLLOW SHOT as nurse leads the way down a short hallway and into a room . The group follows . CAMERA is CLOSE on MRS. BATORY , who keeps muttering as she walks .</scene_description> <character>MRS. BATORY</character> <dialogue>I do hate her, I do. I warned her. A million times I warned her.</dialogue> </scene> <scene> <stage_direction>INT. MORTUARY - NIGHT</stage_direction> <scene_description>as group enters room . In the center is a table on which lies a covered body , the face out of CAMERA range . The Batorys stop dead . Mrs. Batory continues to mutter .</scene_description> <character>MRS. BATORY</character> <dialogue>I hate her. I hate her for what she done to us.</dialogue> <scene_description>Mulvey gestures to nurse . She walks toward body to raise sheet from face .</scene_description> <character>MULVEY</character> <parenthetical>( to Batorys . )</parenthetical> <dialogue>Please tell me if she's your daughter.</dialogue> <scene_description>CLOSE SHOT BATORYS Mrs. Batory falls silent . An instant later we see by the reaction on both their faces that the face of the dead girl has been exposed . Mr. Batory seems to shrink back , become smaller . Mrs. Batory 's lips quiver .</scene_description> <character>MR. BATORY</character> <parenthetical>( dully . )</parenthetical> <dialogue>That's her.</dialogue> <scene_description>Mrs. Batory stands with trembling lips . Her hand plucks at her dress , her face . A sudden , hysterical scream bursts from her lips .</scene_description> <character>MRS. BATORY</character> <dialogue>My baby! Oh, my baby!</dialogue> <scene_description>She runs forward .</scene_description> </scene> <scene> <stage_direction>INT. AT THE TABLE - NIGHT</stage_direction> <scene_description>Mrs. Batory throws herself on foot of table , sobbing brokenly . The nurse is replacing the sheet .</scene_description> </scene> <scene> <stage_direction>EXT. DEAD END STREET OVERLOOKING RIVER - NIGHT</stage_direction> <scene_description>as Mr. and Mrs. Batory come up to bench . She sits down , he sits beside her . Behind them are Mulvey and Halloran . Mulvey pauses near them , begins stuffing a pipe . Halloran leans against a lamppost , smokes a cigarette . A police sedan , with Constentino and a driver , pauses a bit down the street .</scene_description> <character>MRS. BATORY</character> <parenthetical>( low - voiced . )</parenthetical> <dialogue>I feel better now. The walk was good for me.</dialogue> <character>MULVEY</character> <dialogue>Are you sure you want to go home tonight? We can get you a hotel room.</dialogue> <scene_description>Batory looks at his wife , then shakes his head .</scene_description> <character>MR. BATORY</character> <dialogue>We'll go home. We do n't like this place.</dialogue> <parenthetical>( bitterly . )</parenthetical> <dialogue>. this fine city.</dialogue> <character>MRS. BATORY</character> <parenthetical>( diffidently - to Mulvey . )</parenthetical> <dialogue>You do n't know. who done it, huh?</dialogue> <character>MULVEY</character> <dialogue>Not yet.</dialogue> <scene_description>He fishes in his pocket , brings out the black star sapphire ring that was on Jean Dexter 's hand . He steps closer to them , shows it .</scene_description> <character>MULVEY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Did you ever see this?</dialogue> <scene_description>The Batorys look at it , shake their heads .</scene_description> <character>MULVEY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Your daughter told someone it came from her brother, in India.</dialogue> <character>MR. BATORY</character> <parenthetical>( confused . )</parenthetical> <dialogue>We only had her - no other kids - no boy.</dialogue> <scene_description>Mulvey looks at Halloran , puts ring in pocket .</scene_description> <character>MULVEY</character> <dialogue>I see. And did your daughter ever mention a man named Henderson?</dialogue> <character>MRS. BATORY</character> <parenthetical>( bitterly . )</parenthetical> <dialogue>We do n't know any Henderson. We have n't seen Mary even for six months. She was too busy to come see us. Who knows what she ran around with?</dialogue> <character>MR. BATORY</character> <parenthetical>( to his wife . )</parenthetical> <dialogue>She's dead, momma, do n't.</dialogue> <parenthetical>( to Mulvey , passionately . )</parenthetical> <dialogue>A good girl, I swear it! It's my fault maybe I did n't do better for her. When she was fifteen she was working already, the five and ten cent store. Oh it was hard, depression time, hard.</dialogue> <character>MRS. BATORY</character> <parenthetical>( to her husband . )</parenthetical> <dialogue>So what? She's the only one did n't have it easy? Other people had it worse! Was that a reason to leave home - to change your name?</dialogue> <parenthetical>( to Mulvey . )</parenthetical> <dialogue>Wanting too much, that's why she went wrong. Bright lights and theaters and furs and night clubs. That's why she's dead now. Dear God, why was n't she born ugly?</dialogue> <parenthetical>( begins to weep quietly . )</parenthetical> <dialogue>What a heartache! You nurse a child, raise it, pet it, love it. and it ends like this.</dialogue> <character>MULVEY</character> <dialogue>I've had my own children, Mrs. Batory. They turned out all right, thank goodness, but who's to know why or how? I've seen a lot of human misery in my work. I do n't know where people start to go wrong.</dialogue> <character>MRS. BATORY</character> <parenthetical>( defensively . )</parenthetical> <dialogue>We did our best. It was n't our fault.</dialogue> <character>MULVEY</character> <dialogue>Of course it was n't. And maybe not even hers. When you think it over, I guess it was everybody's fault. People get so pounded and pounded in this life.</dialogue> <parenthetical>( shakes his head - softly . )</parenthetical> <dialogue>It's a jungle, a city like this. Eight million people struggling for life, for food, for air, for a bit of happiness. Seems like there ai n't enough of everything to go around. and so sometimes it breaks out in. violence.</dialogue> <scene_description>A boat whistle blows mournfully from the river . Mulvey looks out over the water .</scene_description> <character>MULVEY</character> <parenthetical>( continuing in a murmur . )</parenthetical> <dialogue>. an' we call it homicide.</dialogue> </scene> <scene> <stage_direction>EXT. TALL BUILDINGS - DAY</stage_direction> <scene_description>SUNRISE STREAMING OVER THE TOWERS OF LOWER MANHATTAN</scene_description> <character>NARRATOR</character> <dialogue>Six A.M. - Summer day - work day.</dialogue> </scene> <scene> <stage_direction>EXT. THE SKY - DAY</stage_direction> <scene_description>A flight of birds across CAMERA .</scene_description> <character>NARRATOR</character> <dialogue>This time yesterday, Jean Dexter was just another name in the phone book.</dialogue> </scene> <scene> <stage_direction>INT. A CAFETERIA - DAY A MAN</stage_direction> <scene_description>is reading a tabloid . Shoves toast in his mouth .</scene_description> <character>NARRATOR</character> <dialogue>but now she's the marmalade on ten thousand pieces of toast. all around the town.</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT DOOR - DAY</stage_direction> <scene_description>In front of door is a folded newspaper , and a bottle of coffee cream standing on a piece of note paper . The door opens . We hear a voice , half humming , half singing . Mulvey appears , in trousers , slippers , no shirt , suspenders hanging . He picks up newspaper , bottle , note .</scene_description> <character>MULVEY</character> <dialogue>East Side, West Side, all around the town.</dialogue> </scene> <scene> <stage_direction>INT. MULVEY'S APARTMENT - DAY</stage_direction> <scene_description>Still humming , he carries things back to table . He opens note . INSERT : NOTE : Dear Mr. Mulvey : Sorry the cream was sour yesterday . About this new case you 're on - I figure it 's the janitor - a sex crime . Do you want any buttermilk ? Your Milkman .</scene_description> </scene> <scene> <stage_direction>INT. MULVEY - DAY</stage_direction> <scene_description>He hums , grins , pours cream in coffee .</scene_description> </scene> <scene> <stage_direction>INT. DRUGSTORE - DAY</stage_direction> <scene_description>The druggist is serving grapefruit and coffee to a man at the counter .</scene_description> <character>DRUGGIST</character> <dialogue>So I says to that detective : ` Confidentially,' I says, ` that Dexter girl used to come in here night after night and pour her heart out to me - ask my advice.' That'll be twenty - five cents, please. And I told her ` marry and settle down, have a couple kids,' I said! But it's too late now.</dialogue> <parenthetical>( leans forward . )</parenthetical> <dialogue>Keep it confidential, bud, willya?</dialogue> </scene> <scene> <stage_direction>INT. STONEMAN DINING ROOM - DAY</stage_direction> <scene_description>Dr. Stoneman and his wife , eating breakfast . He is dressed , she is in negligee , a woman of fifty . Both are reading newspapers .</scene_description> <character>MRS. STONEMAN</character> <parenthetical>( suddenly . )</parenthetical> <dialogue>Lawrence!</dialogue> <character>STONEMAN</character> <parenthetical>( reading . )</parenthetical> <dialogue>Uh - huh?</dialogue> <character>MRS. STONEMAN</character> <dialogue>This Dexter murder case! It says she was your patient.</dialogue> <character>STONEMAN</character> <dialogue>Not really. I only saw her once.</dialogue> <character>MRS. STONEMAN</character> <dialogue>She was beautiful, was n't she?</dialogue> <character>STONEMAN</character> <dialogue>Quite.</dialogue> <character>MRS. STONEMAN</character> <dialogue>What was she like?</dialogue> <character>STONEMAN</character> <dialogue>Just one of those sad creatures who want more than life can give them.</dialogue> <parenthetical>( raising coffee urn . )</parenthetical> <dialogue>Coffee?</dialogue> </scene> <scene> <stage_direction>INT. EDITORIAL OFFICE OF A NEWSPAPER - DAY</stage_direction> <scene_description>Publisher , managing editor .</scene_description> <character>PUBLISHER</character> <dialogue>This Dexter case. Give it an editorial today. ` What's the matter with the police? What's the matter with the Mayor?' Slam into'em. Pin their ears back.</dialogue> <character>MANAGING EDITOR</character> <dialogue>How about saying the whole city's in the grip of a crime wave?</dialogue> <character>PUBLISHER</character> <dialogue>Listen - as long as this administration's in office, we're suffering from a perpetual crime wave.</dialogue> <character>MANAGING EDITOR</character> <dialogue>Check.</dialogue> </scene> <scene> <stage_direction>INT. ANOTHER NEWSPAPER OFFICE - DAY</stage_direction> <scene_description>Another managing editor , another publisher .</scene_description> <character>MANAGING EDITOR</character> <dialogue>How do you want me to handle the Dexter case editorially?</dialogue> <character>PUBLISHER</character> <dialogue>You know our policy. Watch how the Tabloid handles it. You do the opposite.</dialogue> <character>MANAGING EDITOR</character> <dialogue>Check.</dialogue> </scene> <scene> <stage_direction>EXT. JEAN DEXTER'S APARTMENT HOUSE - DAY</stage_direction> <scene_description>A small crowd of people is gawking in front . A policeman stands at door . A vendor with a peanut , ice - cream and hotdog stand is at the curb , doing business .</scene_description> <character>FIRST MAN'S VOICE</character> <dialogue>Hey, Mac - what's doin', why all the people here?</dialogue> <character>SECOND MAN'S VOICE</character> <parenthetical>( genially . )</parenthetical> <dialogue>What's doin? Whatsamatter, you live in Canarsie or somethin'? This is the dump where that model was killed.</dialogue> <character>FIRST MAN'S VOICE</character> <dialogue>You do n't mean it! The bathtub girl, eh? So why did n't she take showers?</dialogue> <scene_description>Both men laugh .</scene_description> </scene> <scene> <stage_direction>EXT. CITY HALL - DAY</stage_direction> </scene> <scene> <stage_direction>INT. OFFICE CORRIDOR - DAY</stage_direction> <scene_description>OFFICE OF THE MAYOR .</scene_description> </scene> <scene> <stage_direction>INT. MAYOR'S OFFICE - DAY</stage_direction> <character>THE MAYOR</character> <parenthetical>( to reporters . )</parenthetical> <dialogue>That's all for this morning, gentlemen. Any questions?</dialogue> <character>A REPORTER</character> <dialogue>Since Commissioner Wallander's here, do you have any statement on the Jean Dexter case?</dialogue> <character>THE MAYOR</character> <dialogue>I do n't. Do you, Commissioner?</dialogue> <character>COMMISSIONER WALLANDER</character> <parenthetical>( genially . )</parenthetical> <dialogue>A case is a case. If it happens to lend itself to sensationalism, that's your good luck. But to the Homicide Squad, it's just another job.</dialogue> <character>THE MAYOR</character> <dialogue>I'll tell you this : As Mayor of New York I expect criticism - not only of me but of the Police Department. But as an ex - cop, I know a tough case when I see one. Not many murders go unsolved - but it takes more than twenty - four hours to handle a case like this.</dialogue> <character>COMMISSIONER WALLANDER</character> <parenthetical>( to Mayor . )</parenthetical> <dialogue>For that - thanks.</dialogue> <character>THE MAYOR</character> <dialogue>Do n't mention it.</dialogue> <parenthetical>( smiles . )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>EXT. MADISON AVE. - DAY</stage_direction> <scene_description>Niles , wearing the phony ruptured duck in the lapel of a Panama suit , comes down the street , enters a jewelry store .</scene_description> <character>NARRATOR</character> <dialogue>The sun is n't too hot as yet. And it's pleasant to walk along Madison Ave.</dialogue> </scene> <scene> <stage_direction>EXT. TWO MEN ON MADISON AVE. - DAY</stage_direction> <scene_description>CAMERA IS SHOOTING ACROSS AND DOWN THE STREET The two men are looking toward CAMERA . They step into a doorway .</scene_description> <character>NARRATOR</character> <dialogue>there are shady doorways to rest in. for patient men who are not in a hurry.</dialogue> </scene> <scene> <stage_direction>EXT. EAST SIDE ST. - DAY</stage_direction> <scene_description>A hurdy gurdy player . SOUND : He is grinding out `` After the Ball is Over . ''</scene_description> <character>NARRATOR</character> <dialogue>It's pleasant on an early summer morning to listen to an old song.</dialogue> <scene_description>A coin bounces down on side - walk , rolls . A passerby picks it up , gives it to hurdy gurdy man - walks off . The passerby is Garza .</scene_description> <character>NARRATOR</character> <dialogue>it whiles away the time.</dialogue> </scene> <scene> <stage_direction>EXT. AN EAST SIDE PIER - DAY</stage_direction> <scene_description>where several adolescent boys are stripping off their clothes for a swim . They wear tights underneath . The first boy , undressed , steps up to the edge of the pier , ready to dive . Suddenly he yells out and points .</scene_description> <character>NARRATOR</character> <dialogue>So pleasant to dive into the East River even though sometimes the water is littered with a city's trash : a half - eaten apple. a chip of wood. a lady's hat.</dialogue> <character>BOY</character> <dialogue>Look! Hey, look!</dialogue> <scene_description>The other boys run up , look down into water .</scene_description> <character>NARRATOR</character> <parenthetical>( softly . )</parenthetical> <dialogue>. a chip of wood. a lady's hat. and other things.</dialogue> </scene> <scene> <stage_direction>EXT. A MAN'S BODY IN WATER - DAY</stage_direction> <scene_description>floating face downward .</scene_description> </scene> <scene> <stage_direction>INT. OUTER OFFICE OF PRECINCT HEADQUARTERS - DAY</stage_direction> <scene_description>Perelli . He goes toward door marked ` Lieutenant Mulvey ' , enters .</scene_description> </scene> <scene> <stage_direction>INT. MULVEY'S OFFICE - DAY</stage_direction> <scene_description>Mulvey , at desk , Constentino , Halloran . Mulvey is talking .</scene_description> <character>MULVEY</character> <dialogue>This is Dexter's address book. Contact every name listed in it. Keep asking if they heard her talk about Henderson.</dialogue> <scene_description>Constentino nods , takes the address book , leaves . Mulvey nods to Perelli .</scene_description> <character>MULVEY</character> <parenthetical>( to Halloran . )</parenthetical> <dialogue>Start in on this ring of Dexter's.</dialogue> <parenthetical>( takes out black star sapphire . )</parenthetical> <dialogue>Canvass every expensive jewelry shop in the city. maybe Henderson bought it for her.</dialogue> <character>HALLORAN</character> <parenthetical>( grinning . )</parenthetical> <dialogue>Oh, my poor feet.</dialogue> <character>MULVEY</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Be glad you're not a horseback cop.</dialogue> <scene_description>Halloran leaves .</scene_description> <character>MULVEY</character> <parenthetical>( to Perelli . )</parenthetical> <dialogue>What's with you?</dialogue> <character>PERELLI</character> <parenthetical>( takes a man 's diamond - studded cigarette case out of his pocket . )</parenthetical> <dialogue>Niles sold this about an hour ago to a jeweler on Madison Avenue. Got six hundred dollars for it.</dialogue> <character>MULVEY</character> <parenthetical>( excited . )</parenthetical> <dialogue>Well! Where's the list of stuff that was stolen from Dexter?</dialogue> <scene_description>He opens a desk drawer , pulls out a typewritten sheet of paper . He examines cigarette case , looks down list .</scene_description> <character>MULVEY</character> <parenthetical>( disappointed . )</parenthetical> <dialogue>It is n't on here. It's a man's item anyway.</dialogue> <scene_description>Perelli grimaces in disappointment .</scene_description> <character>MULVEY</character> <parenthetical>( slowly . )</parenthetical> <dialogue>That's an interesting man, that Niles. He operates very strange.</dialogue> <character>PERELLI</character> <dialogue>Say - how about I check this cigarette case with the Department list of all jewelry stolen in the last year or so?</dialogue> <character>MULVEY</character> <dialogue>All right. I do n't think you'll get anything, though. He'd be crazy to pawn a stolen item in the middle of a hot case like this.</dialogue> <character>PERELLI</character> <dialogue>Maybe he is crazy.</dialogue> <parenthetical>( rises . )</parenthetical> <dialogue /> <character>MULVEY</character> <dialogue>Not that one.</dialogue> <scene_description>Perelli leaves . Mulvey sits thinking , stuffs a pipe .</scene_description> <character>NARRATOR</character> <parenthetical>( softly . )</parenthetical> <dialogue>Button, button, who's got the button?</dialogue> </scene> <scene> <stage_direction>EXT. A BEAUTY SHOP ON LEXINGTON AVENUE - DAY</stage_direction> <scene_description>Constentino stops outside , checks number .</scene_description> <character>NARRATOR</character> <dialogue>Relax, Constentino, your wife does this, too.</dialogue> <scene_description>He steps inside and blinks a little at the spectacle of eight women in a row sitting under dryers . All of the women , naturally , turn as one to stare at him . An operator walks up to him . They talk for a moment . The operator shakes her head several times . Constentino leaves .</scene_description> <character>NARRATOR</character> <dialogue>How about a permanent, bud? How about a mud - pack for your complexion? Ever have your eyebrows plucked? What? Do n't you even get your nails manicured? Hey, Constentino, wait! You could get to like it here.</dialogue> </scene> <scene> <stage_direction>INT. FASHIONABLE JEWELRY SHOP - DAY</stage_direction> <scene_description>Jeweler and Halloran - Jeweler is looking at the black star sapphire ring .</scene_description> <character>JEWELER</character> <dialogue>No, I never saw this ring. It's an odd one. Hard to forget.</dialogue> <character>HALLORAN</character> <dialogue>Thanks. You've been a help.</dialogue> </scene> <scene> <stage_direction>EXT. OUTSIDE JEWELRY SHOP - DAY</stage_direction> <scene_description>Halloran emerges , looks at list of stores on paper . He starts off .</scene_description> <character>NARRATOR</character> <dialogue>How are the feet, Halloran? Would you care for some arch supporters? Would you be interested in knowing that there was a confession in this case only ten minutes ago?</dialogue> </scene> <scene> <stage_direction>EXT. FIFTY-SEVENTH STREET - DAY</stage_direction> <scene_description>A police car is racing through traffic , siren wide open .</scene_description> <character>NARRATOR</character> <dialogue>What's your hurry, Mulvey? You're supposed to be a patient man. Why get so excited?</dialogue> </scene> <scene> <stage_direction>INT. MEN'S HABERDASHERY SHOP ON LEXINGTON AVENUE - DAY</stage_direction> <scene_description>A detective is standing with the proprietor , who is examining Henderson 's pajamas .</scene_description> <character>NARRATOR</character> <dialogue>Calling all members of the Homicide Squad, Officer. There was a confession in the Dexter case at 11:50 A.M.</dialogue> </scene> <scene> <stage_direction>EXT. TOOTS SHOR'S RESTAURANT - DAY</stage_direction> <scene_description>Constentino is consulting address book . He starts in .</scene_description> <character>NARRATOR</character> <dialogue>Hey, Constentino - why do n't you throw that address book away? This case is all washed up - it's finished - got a confession -</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM OF DEXTER'S APARTMENT - DAY</stage_direction> <scene_description>Sitting down , head in his hands , is BISBEE , a tall , gaunt young man who speaks in a reedy voice . A policeman is opening the door . Mulvey and Miller burst in .</scene_description> <character>POLICEMAN</character> <parenthetical>( excitedly . )</parenthetical> <dialogue>Here he is, Lieutenant. I caught him trying to get in the kitchen by the back door. He's a grocery boy in the neighborhood.</dialogue> <scene_description>Bisbee jumps up .</scene_description> <character>BISBEE</character> <dialogue>Yes, I did it - I killed her. I want to be punished. I'm guilty. My hands are stained with her blood.</dialogue> <character>MULVEY</character> <dialogue>Why did you kill her?</dialogue> <character>BISBEE</character> <dialogue>She deserved it. For months I've been watching her. I'd come up with packages and there she'd be - in her negligee - beautiful - but no soul - immoral. So I did it. I rid the world of her.</dialogue> <character>MULVEY</character> <parenthetical>( quickly . )</parenthetical> <dialogue>The knife you stabbed her with. What did you do with it?</dialogue> <character>BISBEE</character> <dialogue>You'll never find it - never. I buried it - I buried it.</dialogue> <character>MULVEY</character> <parenthetical>( to Cop . )</parenthetical> <dialogue>Call Bellevue Hospital. Psychiatric Department.</dialogue> <parenthetical>( starts out . )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>INT. MULVEY'S OFFICE - NIGHT</stage_direction> <scene_description>MULVEY , DONAHUE , MILLER Miller is cleaning his fingernails with a penknife . Donahue is looking over various reports that Mulvey is handing him from a folder .</scene_description> <character>NARRATOR</character> <dialogue>It's seven - thirty in the evening now. It's been a great day on the Dexter case : Developments - none ; new clues - none ; progress - none. Ever try to catch a murderer? It has its depressing moments.</dialogue> <scene_description>Donahue now returns the last report to Mulvey . Mulvey closes the folder . Donahue rubs his forefinger thoughtfully up and down the length of his nose .</scene_description> <character>DONAHUE</character> <dialogue>I ca n't see you've missed anything.</dialogue> <character>MULVEY</character> <parenthetical>( wryly . )</parenthetical> <dialogue>Boss, I can always trust you to comfort a man.</dialogue> <scene_description>Pause .</scene_description> <character>DONAHUE</character> <dialogue>Any word today from Baltimore?</dialogue> <character>MULVEY</character> <dialogue>No. and Henderson's pajamas were bought last week in a store on 34th Street - but not by Henderson - by Jean Dexter.</dialogue> <scene_description>Pause . Donahue shakes his head .</scene_description> <character>DONAHUE</character> <dialogue>A heavy case.</dialogue> <character>MULVEY</character> <dialogue>It's that.</dialogue> <scene_description>The door opens . Perelli appears , looking very pleased . He takes the cigarette case sold by Niles out of his pocket .</scene_description> <character>PERELLI</character> <dialogue>This cigarette case Niles sold this morning - it's hot. It was stolen from Dr. Lawrence Stoneman.</dialogue> <character>DONAHUE</character> <dialogue>Dexter's physician?</dialogue> <character>PERELLI</character> <dialogue>Yeah. He reported a robbery in his apartment in March. Twenty - eight hundred dollars worth of stuff. None of it has ever shown up. Here's the Department list of stolen jewelry for the past year.</dialogue> <scene_description>He hands some typewritten sheets to Mulvey . Mulvey 's eyes are gleaming . The atmosphere of the office has completely altered , from defeat to excitement .</scene_description> <character>PERELLI</character> <parenthetical>( continuing . )</parenthetical> <dialogue>That's not all - Niles bought a plane ticket for Mexico City - one way.</dialogue> <character>MULVEY</character> <dialogue>Leaving when?</dialogue> <character>PERELLI</character> <dialogue>Tomorrow noon. Want me to pick him up?</dialogue> <character>MULVEY</character> <dialogue>No. What else did he do today?</dialogue> <character>PERELLI</character> <dialogue>Had lunch with Ruth Young. They held hands for an hour. She went back to her shop - he went to the Park Central and had a swim. He's at Toots Shor's now.</dialogue> <character>DONAHUE</character> <parenthetical>( amused . )</parenthetical> <dialogue>Buying a plane ticket - pawning a stolen cigarette case - that's not smart. What is this man - an amachoor or something?</dialogue> <character>MULVEY</character> <parenthetical>( slaps the palm of his hand on the table . )</parenthetical> <dialogue>That's what's in his heart! Now I know! He's had no experience at being a crook. He's a scared college boy way out in deep water. He's starting to thrash around now, he's in a panic.</dialogue> <character>DONAHUE</character> <dialogue>A panic over what?</dialogue> <character>MULVEY</character> <dialogue>I do n't know, yet, Sam.</dialogue> <character>DONAHUE</character> <parenthetical>( excitedly . )</parenthetical> <dialogue>And how does this Stoneman figure? Why should Niles pawn a cigarette case belonging to him?</dialogue> <scene_description>Door opens suddenly . Halloran strides in , excited .</scene_description> <character>HALLORAN</character> <dialogue>Dan - I got something, maybe.</dialogue> <character>MULVEY</character> <dialogue>About what?</dialogue> <character>HALLORAN</character> <dialogue>The black star sapphire Dexter was wearing when she was killed - it did n't belong to her. She did n't buy it, Henderson did n't buy it for her. It belongs to a Mrs. Hylton, 482 Park Ave. I found a jeweler who repaired it for her.</dialogue> <scene_description>Excitedly Mulvey picks up the Department list of stolen jewelry . Perelli looks over his shoulder . Mulvey turns a page , then another .</scene_description> <character>DONAHUE</character> <parenthetical>( muttering . )</parenthetical> <dialogue>We started in a murder case and we're up to our necks in stolen jewelry.</dialogue> <character>PERELLI</character> <parenthetical>( suddenly .</parenthetical> <parenthetical>pointing . )</parenthetical> <dialogue>Mrs. Edgar Hylton - there it is.</dialogue> <character>MULVEY</character> <parenthetical>( excitedly . )</parenthetical> <dialogue>Black star sapphire - part of a sixty - two - hundred - dollar robbery of her apartment.</dialogue> <parenthetical>( to Halloran . )</parenthetical> <dialogue>Did you see this Mrs. Hylton?</dialogue> <character>HALLORAN</character> <dialogue>I thought you might want to see her.</dialogue> <character>MULVEY</character> <dialogue>Now that was considerate of you, Jimmy. We'll telephone the lady and we'll both go to see her.</dialogue> <scene_description>He turns to Donahue with gleaming eyes .</scene_description> <character>MULVEY</character> <dialogue>Have a beer on me, Sam. An' throw a pinch of salt over your shoulder. This case is starting to move.</dialogue> </scene> <scene> <stage_direction>EXT. IN FRONT OF 482 PARK AVENUE - NIGHT</stage_direction> <character>NARRATOR</character> <dialogue>Ever watch a hound dog tracking A police sedan stops at the curb. Mulvey and Halloran get out, walk toward entrance. down a rabbit? It sniffs - and sniffs - and suddenly it begins to run.</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT HOUSE CORRIDOR - NIGHT</stage_direction> <scene_description>Mulvey and Halloran are entering an apartment . A maid has opened the door .</scene_description> </scene> <scene> <stage_direction>INT. FOYER OF HYLTON APARTMENT - NIGHT</stage_direction> <scene_description>A rhumba record is being played in an adjacent room .</scene_description> <character>MAID</character> <dialogue>Mrs. Hylton's waiting for you.</dialogue> <scene_description>She leads the way to a sitting room , separated from the foyer by heavy brocade curtains .</scene_description> </scene> <scene> <stage_direction>INT. SITTING ROOM - NIGHT</stage_direction> <scene_description>as they enter . Rhumba music is coming over the radio . MRS. HYLTON is sitting by the radio , her head cocked to one side , listening to the music with obvious delight . She gestures for them to come in but continues to listen to the music , which is approaching the end of a tune . One foot is tapping out the rhythm . Mulvey and Halloran exchange amused glances , wait . The music ends , Mrs. Hylton switches off the radio , then jumps up and comes toward them , beaming . She is a woman in her late forties , no more than five feet tall , very slim , bright - eyed . Her speech , her gestures , her walk , are all very quick , vigorous ; she is as close to being a hummingbird as any woman can be . She is dressed in an attractive , expensive house - coat and is wearing diamond rings on both hands , a diamond bracelet , a diamond clip in her grey hair .</scene_description> <character>MAID</character> <dialogue>Lieutenant Mulvey, M'am.</dialogue> <parenthetical>( she leaves . )</parenthetical> <dialogue /> <character>MRS. HYLTON</character> <parenthetical>( gayly . )</parenthetical> <dialogue>As you see, I'm crazy about rhumba music. Imagine, at my age!</dialogue> <parenthetical>( to Halloran . )</parenthetical> <dialogue>My, what a nice - looking young man!</dialogue> <parenthetical>( to Mulvey . )</parenthetical> <dialogue>You're the Lieutenant who telephoned me, are n't you? Did you get my jewels back?</dialogue> <scene_description>Mulvey produces the black star sapphire .</scene_description> <character>MULVEY</character> <dialogue>Is this one of'em?</dialogue> <character>MRS. HYLTON</character> <parenthetical>( with a shriek of delight . )</parenthetical> <dialogue>Yes it is! Oh, wonderful, you wonderful men. Where's the rest?</dialogue> <character>MULVEY</character> <dialogue>This is all we have.</dialogue> <character>MRS. HYLTON</character> <dialogue>I'm so disappointed! But this is wonderful. I gave it to my daughter when she graduated from college. She was heart - broken when -.</dialogue> <parenthetical>( stops talking .</parenthetical> <parenthetical>holds ring up to light . )</parenthetical> <dialogue>Is n't it precious?</dialogue> <parenthetical>( laughs .</parenthetical> <parenthetical>holds out hands . )</parenthetical> <dialogue>I love to glitter. It's a fixation.</dialogue> <parenthetical>( to Halloran . )</parenthetical> <dialogue>My, you're nice looking.</dialogue> <parenthetical>( gesturing . )</parenthetical> <dialogue>Sit down, gentlemen, get comfortable.</dialogue> <scene_description>Mulvey and Halloran sit . Both of them look a bit bewildered .</scene_description> <character>MULVEY</character> <dialogue>Mrs. Hylton - is your daughter here? I'd like to talk to her.</dialogue> <character>MRS. HYLTON</character> <parenthetical>( looking at wrist watch . )</parenthetical> <dialogue>She's due any minute for dinner - it's her night with Momma.</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>One of those career girls - has her own apartment - works. That's what you get when you send them to Vassar.</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue /> <character>MULVEY</character> <dialogue>If she does n't live with you, how is it her ring was stolen from here?</dialogue> <character>MRS. HYLTON</character> <dialogue>That was last December. She was living with me then.</dialogue> <character>MULVEY</character> <dialogue>I see. Now. ah. I wonder if by any chance.</dialogue> <character>GIRL'S VOICE</character> <dialogue>Mother? I'm here.</dialogue> <scene_description>Ruth Young appears in the doorway . Halloran bounds to his feet .</scene_description> <character>HALLORAN</character> <dialogue>Niles - he's the connection!</dialogue> <character>MULVEY</character> <dialogue>Easy, lad.</dialogue> <parenthetical>( crossing to Ruth . )</parenthetical> <dialogue>You told me your name was Ruth Young - not Hylton.</dialogue> <character>MRS. HYLTON</character> <dialogue>Ruth's my daughter by a first marriage. She kept her father's name.</dialogue> <parenthetical>( to Ruth . )</parenthetical> <dialogue>How do you know these men?</dialogue> <character>RUTH</character> <dialogue>They're investigating Jean Dexter's murder. Jean modeled with me at the shop, Mother.</dialogue> <character>MRS. HYLTON</character> <dialogue>Imagine!</dialogue> <parenthetical>( suddenly . )</parenthetical> <dialogue>Look, darling.</dialogue> <parenthetical>( displays sapphire . )</parenthetical> <dialogue /> <character>RUTH</character> <dialogue>My ring!</dialogue> <character>MRS. HYLTON</character> <dialogue>They brought it. Are n't they wonderful?</dialogue> <character>RUTH</character> <dialogue>How did you get it?</dialogue> <character>MULVEY</character> <dialogue>Your friend was wearing it when she was murdered.</dialogue> <character>RUTH</character> <parenthetical>( bewildered . )</parenthetical> <dialogue>Jean?</dialogue> <character>MRS. HYLTON</character> <dialogue>How did she get it?</dialogue> <character>MULVEY</character> <dialogue>I was hoping your daughter would tell us that.</dialogue> <character>RUTH</character> <dialogue>I have no idea. It was stolen with the other things.</dialogue> <parenthetical>( suddenly , to Halloran . )</parenthetical> <dialogue>What did you mean before when you said, ` Niles - he's the connection?'</dialogue> <scene_description>Halloran shifts awkwardly , says nothing .</scene_description> <character>RUTH</character> <parenthetical>( continuing . )</parenthetical> <dialogue>What did you mean? Please.</dialogue> <character>MULVEY</character> <dialogue>He was just wondering, Miss. how your ring came to be on her finger.</dialogue> <character>RUTH</character> <dialogue>You do n't think Robert?</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>But that's silly. He hardly knew Jean.</dialogue> <character>MULVEY</character> <dialogue>That ring on your hand now. is it your engagement ring?</dialogue> <character>RUTH</character> <dialogue>Yes.</dialogue> <character>MULVEY</character> <dialogue>Might I see it?</dialogue> <scene_description>Ruth takes it off , gives it to him .</scene_description> <character>MULVEY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>A pearl in an old - fashioned setting. Unusual.</dialogue> <scene_description>Mulvey gives ring and a list from his pocket to Halloran .</scene_description> <character>MULVEY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Jimmy -</dialogue> <scene_description>Halloran nods , moves off a little , sits .</scene_description> <character>RUTH</character> <parenthetical>( composed . )</parenthetical> <dialogue>What are you doing?</dialogue> <character>MULVEY</character> <parenthetical>( gently . )</parenthetical> <dialogue>I'm sorry, Miss.. We're checking your ring to see if it was stolen.</dialogue> <character>RUTH</character> <parenthetical>( trying to be nice about it . )</parenthetical> <dialogue>You do n't mind if I feel rather insulted, do you?</dialogue> <character>MULVEY</character> <parenthetical>( gently . )</parenthetical> <dialogue>I'd expect you to.</dialogue> <character>MRS. HYLTON</character> <dialogue>I'm sure you have to question everyone who knew Miss Dexter - but this is fantastic.</dialogue> <character>RUTH</character> <dialogue>Do you honestly think either Robert or I had anything to do with her murder?</dialogue> <character>MULVEY</character> <dialogue>Just earning my salary, Miss..</dialogue> <scene_description>Halloran suddenly steps up to Ruth .</scene_description> <character>HALLORAN</character> <dialogue>When did Niles give you this ring?</dialogue> <character>RUTH</character> <dialogue>About six weeks ago.</dialogue> <character>HALLORAN</character> <dialogue>On January 8th, Mrs. Charles Franklyn, 382 Fern Ave., New Rochelle, reported the loss of this ring in a robbery.</dialogue> <scene_description>Ruth is stricken . She stares at him in horror . Mrs. Hylton looks stunned . A pause .</scene_description> <character>RUTH</character> <parenthetical>( rising .</parenthetical> <parenthetical>anguished . )</parenthetical> <dialogue>Mother, if you do n't mind, I wo n't have supper with you tonight.</dialogue> <character>MRS. HYLTON</character> <dialogue>Of course, dear.</dialogue> <parenthetical>( vaguely , to Mulvey . )</parenthetical> <dialogue>Robert, a thief? But he's so educated. He studied philosophy in college.</dialogue> <scene_description>Mulvey , however , is paying no attention to Mrs. Hylton . He calls sharply to Ruth Young , who has started out of the room .</scene_description> <character>MULVEY</character> <dialogue>Miss Young.</dialogue> <scene_description>She pauses .</scene_description> <character>MULVEY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Where are you going?</dialogue> <character>RUTH</character> <parenthetical>( in a whisper . )</parenthetical> <dialogue>Whatever you're thinking, I know the sort of man Robert is. There's some explanation of this, and he'll give it to me.</dialogue> <character>MULVEY</character> <dialogue>Okay - but we'll have to go with you.</dialogue> <character>RUTH</character> <dialogue>Oh!</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>That's quite all right. Good - bye, Mother. I'll call you.</dialogue> <scene_description>Her mother is too stricken to reply .</scene_description> <character>MULVEY</character> <parenthetical>( on way out . )</parenthetical> <dialogue>Good night, M'am.</dialogue> <scene_description>Mrs. Hylton stands , looking very distracted . The others leave . Her hand goes to her face , plucks at her lip .</scene_description> <character>MRS. HYLTON</character> <parenthetical>( to herself . )</parenthetical> <dialogue>Upsetting. everything's always so upsetting.</dialogue> <scene_description>Maid appears at entrance .</scene_description> <character>MAID</character> <dialogue>Is n't Miss Ruth staying to supper?</dialogue> <character>MRS. HYLTON</character> <dialogue>No. no, she is n't. I'll eat alone.</dialogue> <parenthetical>( starts out , pauses . )</parenthetical> <dialogue>Put on some music, Margaret. a rhumba.</dialogue> </scene> <scene> <stage_direction>EXT. A STREET IN EAST EIGHTIES - NIGHT</stage_direction> <scene_description>A taxi comes slowly down the street , stops . Mulvey steps out , looks around . A figure comes out of the shadow of a building , joins him . It is Perelli .</scene_description> </scene> <scene> <stage_direction>EXT. MULVEY, PERELLI - NIGHT</stage_direction> <scene_description>In BG in taxi , are Ruth Young and Halloran . Ruth is twisting a handkerchief in her hands .</scene_description> <character>MULVEY</character> <parenthetical>( low - voiced . )</parenthetical> <dialogue>Is Niles in?</dialogue> <character>PERELLI</character> <dialogue>Went in about half an hour ago.</dialogue> <character>MULVEY</character> <dialogue>Alone?</dialogue> <character>PERELLI</character> <dialogue>Yeah.</dialogue> <scene_description>Reaches in pocket , hands him a key .</scene_description> <character>PERELLI</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Apartment 7 E. Building on the corner.</dialogue> <character>MULVEY</character> <dialogue>You can go home now.</dialogue> <character>PERELLI</character> <dialogue>Thanks. I'm dead. S'long.</dialogue> <character>MULVEY</character> <dialogue>Good night.</dialogue> <scene_description>Perelli leaves . Mulvey beckons to Halloran . He and Ruth get out of the car as Mulvey pays hackie . They start across the street , on the diagonal , toward the corner apartment house .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT HOUSE CORRIDOR - NIGHT</stage_direction> <scene_description>Mulvey , Halloran , Ruth stop at a door . A spill of light underneath . Halloran rings the bell . They wait . He rings the bell again . They wait .</scene_description> <character>MULVEY</character> <parenthetical>( calling . )</parenthetical> <dialogue>Niles!</dialogue> <scene_description>There is no reply . Mulvey takes the key out of his pocket . Halloran takes out his gun .</scene_description> <character>MULVEY</character> <parenthetical>( sharply , to Ruth . )</parenthetical> <dialogue>Stand back.</dialogue> <scene_description>He pushes her to one side . He opens door , flings it back and lets Halloran rush in .</scene_description> </scene> <scene> <stage_direction>INT. NILES APARTMENT - NIGHT</stage_direction> <scene_description>as Halloran , Mulvey , with Ruth following , burst in . Niles is on the floor , unconscious . A chair is overturned , the contents of a suitcase are strewn all over a divan .</scene_description> <character>MULVEY</character> <dialogue>The window!</dialogue> <scene_description>Halloran races across the room to an open window , climbs out .</scene_description> </scene> <scene> <stage_direction>EXT. FIRE ESCAPE - NIGHT</stage_direction> <scene_description>as Halloran jumps out , looks down . Four stories below he sees a shadowy , bulky figure , racing down . The sound of pounding feet on the iron grid work comes up . Halloran snaps up his gun , leans out , shoots . There is an instant metallic ping as the bullet hits the fire escape somewhere down below , then ricochets with a shattering of glass through a window in the house . Halloran starts to run down as a yell comes from below . Above the pounding of Halloran 's feet we hear an angry man 's voice .</scene_description> <character>MAN'S VOICE</character> <dialogue>What's going on here?</dialogue> </scene> <scene> <stage_direction>EXT. HALLORAN'S FACE - NIGHT</stage_direction> <scene_description>tense , breaking out with sweat , as he runs . We hear him panting for breath . A light switches on in a window as he runs past it . A window bangs up .</scene_description> <character>A WOMAN'S VOICE</character> <parenthetical>( screaming . )</parenthetical> <dialogue>Police - somebody call the police.</dialogue> <parenthetical>( she repeats it several times . )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>EXT. FIRE ESCAPE - NIGHT</stage_direction> <scene_description>We see the two running figures from the sidewalk below . Halloran is now at the fifth floor ; the man escaping is just at the edge of the ladder which forms the last section of fire escape . He swings down onto it ; it slides down to the ground .</scene_description> </scene> <scene> <stage_direction>EXT. GARZA - NIGHT</stage_direction> <scene_description>face bathed in sweat , eyes gleaming , chest heaving . He fires twice at Halloran ; the bullets slam into the grid work , ricochet . Garza starts to run out of the alley .</scene_description> </scene> <scene> <stage_direction>EXT. GARZA - NIGHT</stage_direction> <scene_description>from Halloran 's POV . Halloran stops running , leans out , shoots . Garza keeps running , disappears into alley . Halloran runs again .</scene_description> </scene> <scene> <stage_direction>EXT. HALLORAN - NIGHT</stage_direction> <scene_description>Seen from below . Lights are going on all over the house . There is a babble of talk and shouts . Halloran comes to the last section . He swings with it to the pavement . He runs down the alley out into the deserted street . As he looks down one way a voice yells to him . It is from a man in pajamas in the window of a house opposite .</scene_description> <character>MAN</character> <parenthetical>( yelling . )</parenthetical> <dialogue>What's going on there? What's the matter?</dialogue> <character>HALLORAN</character> <parenthetical>( yelling . )</parenthetical> <dialogue>Police! Did you see a man run out of here?</dialogue> <character>MAN</character> <dialogue>That way! Around the corner!</dialogue> <scene_description>Halloran runs around the corner . At the opposite corner is a subway entrance . He pounds down the street , runs down the subway steps .</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY PLATFORM (SHOOTING UP) - NIGHT</stage_direction> <scene_description>as Halloran leaps down the last few stairs , gun in hand . CAMERA PANS WITH HIM as he vaults over the turnstiles . A train is pulling out of the station . The platform is deserted except for two elderly women coming out of the exit . They cling together , stare at Halloran in horror as he hurries through turnstile over to an elderly station attendant who has not moved out of his booth .</scene_description> <character>HALLORAN</character> <parenthetical>( excitedly . )</parenthetical> <dialogue>Police emergency! Is there any way of stopping that train at the next station - keeping the doors locked?</dialogue> <character>ATTENDANT</character> <dialogue>The train that just pulled out?</dialogue> <parenthetical>( Halloran nods . )</parenthetical> <dialogue>Well, yes, I - I guess there is.</dialogue> <parenthetical>( eager to help , but very ineffectual . )</parenthetical> <dialogue>Let's see now. I'd have to call the main office first.</dialogue> <parenthetical>( reaches for phone . )</parenthetical> <dialogue>. or maybe I better call the 86th Street station. Which do you think?</dialogue> <character>HALLORAN</character> <parenthetical>( wearily . )</parenthetical> <dialogue>Never mind. Thanks just the same.</dialogue> <parenthetical>( puts away his gun ; starts out . )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>INT. NILES APARTMENT - NIGHT</stage_direction> <scene_description>Niles is still on the floor , but there is a pillow under his head and his collar and tie have been opened . Ruth , on her knees , is bathing his face with a wet towel . A basin of water stands nearby . Mulvey is just crossing to the window as we hear shouts from the outside .</scene_description> <character>A WOMAN'S VOICE</character> <dialogue>Is n't anybody going to call the police?</dialogue> <character>A MAN'S VOICE</character> <dialogue>What for? Somebody found somebody else in the wrong apartment, that's all.</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue /> <character>MULVEY</character> <parenthetical>( shouting out window . )</parenthetical> <dialogue>Listen to me, everybody - this is Lieutenant Mulvey of the Police Department talking. The trouble's all over. Get quiet now and go back to sleep.</dialogue> <scene_description>He shuts window , returns to Ruth and Niles .</scene_description> <character>RUTH</character> <parenthetical>( muttering . )</parenthetical> <dialogue>Darling, darling. Robert, Robert.</dialogue> <parenthetical>( to Mulvey . )</parenthetical> <dialogue>Maybe some whiskey would help.</dialogue> <character>MULVEY</character> <parenthetical>( calmly . )</parenthetical> <dialogue>Whiskey's not the thing to mix with chloroform. Suppose you go into the kitchen and see if there's a spot of coffee on the stove. It'll do fine, even if it's cold.</dialogue> <scene_description>Ruth jumps up , runs out . Mulvey bends down , raises Niles 's head with one hand . He proceeds to slap him smartly on both sides of the face .</scene_description> <character>MULVEY</character> <parenthetical>( muttering . )</parenthetical> <dialogue>Come on now, my sleepin' beauty. wake up.</dialogue> <parenthetical>( slapping him . )</parenthetical> <dialogue>That's the sweet lad.</dialogue> <parenthetical>( slaps him . )</parenthetical> <dialogue /> <scene_description>Niles groans , his eyelids flutter , his head turns . Mulvey slaps him again , then reaches for the basin of water . He pours the water over Niles 's face . Niles 's eyes open in a bewildered stare . Ruth comes into room carrying a cup .</scene_description> <character>RUTH</character> <dialogue>I found some cold tea.</dialogue> <character>MULVEY</character> <dialogue>That'll do fine. He's waking up now.</dialogue> <scene_description>She runs to Niles , kneels .</scene_description> <character>RUTH</character> <dialogue>Robert, darling.</dialogue> <character>NILES</character> <parenthetical>( still dazed . )</parenthetical> <dialogue>Hello, Ruth.</dialogue> <scene_description>She kisses him , holds , him , cradles him , kisses him again .</scene_description> <character>MULVEY</character> <parenthetical>( muttering . )</parenthetical> <dialogue>A touching scene.</dialogue> <parenthetical>( to Ruth . )</parenthetical> <dialogue>The cold tea'll do him more good.</dialogue> <scene_description>The door opens , Halloran comes in . Mulvey joins him . They whisper . Halloran 's face is wet with sweat .</scene_description> <character>HALLORAN</character> <dialogue>He got away. On the subway, I think.</dialogue> <character>MULVEY</character> <dialogue>Get a look at him?</dialogue> <character>HALLORAN</character> <dialogue>No. He was a big man - that's all I got. What do I smell in here?</dialogue> <character>MULVEY</character> <dialogue>Chloroform. I think this is our friend McGillicuddy again.</dialogue> <character>HALLORAN</character> <dialogue>Oh!</dialogue> <scene_description>They both move into room . Niles is sitting up now , drinking the tea with Ruth 's help .</scene_description> <character>MULVEY</character> <dialogue>You awake?</dialogue> <scene_description>Niles nods . He starts to get up , groans .</scene_description> <character>NILES</character> <dialogue>I've got a head like a beehive.</dialogue> <scene_description>He feels the back of his head over one ear , winces . Halloran takes him under both arms from behind , lifts him . On wobbly knees Niles makes a chair , sinks down into it .</scene_description> <character>NILES</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Is that towel wet?</dialogue> <character>RUTH</character> <parenthetical>( giving it to him . )</parenthetical> <dialogue>Want any more tea, darling?</dialogue> <character>NILES</character> <dialogue>No.</dialogue> <scene_description>He looks at Mulvey , rubs his face with the towel .</scene_description> <character>MULVEY</character> <dialogue>While you're thinking up a nice story about what did n't happen - suppose you tell us what did?</dialogue> <character>NILES</character> <parenthetical>( slowly . )</parenthetical> <dialogue>I do n't know.</dialogue> <parenthetical>( rubs his face with towel . )</parenthetical> <dialogue /> <character>MULVEY</character> <parenthetical>( sarcastically . )</parenthetical> <dialogue>Complete blackout, eh?</dialogue> <character>NILES</character> <dialogue>I was packing a bag and. I thought I heard a noise. Just as I started to turn I got hit -.</dialogue> <parenthetical>( indicates back of head . )</parenthetical> <dialogue>. I remember falling to my knees - and. that's all.</dialogue> <parenthetical>( rubs face with towel . )</parenthetical> <dialogue /> <character>MULVEY</character> <dialogue>Listen, Niles - you came very close to not waking up at all. The party that killed Jean Dexter tried the same business on you. Who was it?</dialogue> <character>NILES</character> <parenthetical>( resentfully . )</parenthetical> <dialogue>How on earth would I know?</dialogue> <character>MULVEY</character> <dialogue>If you're afraid, I'll guarantee you police protection.</dialogue> <character>NILES</character> <dialogue>If I knew, I'd tell you. I'm not a fool. Do you think I enjoyed this?</dialogue> <parenthetical>( rubs face . )</parenthetical> <dialogue /> <character>MULVEY</character> <dialogue>Got any guess who it was?</dialogue> <character>NILES</character> <dialogue>It must've been a burglar. Came in by the fire escape, I suppose.</dialogue> <character>MULVEY</character> <dialogue>A burglar? Maybe he stole something.</dialogue> <scene_description>Niles stiffens . He gets up as quickly as his condition permits , goes to divan , searches anxiously through the suitcase and among the things strewn about . It is clear that he is searching for something he ca n't find . Then he stops , turns .</scene_description> <character>MULVEY</character> <dialogue>He got it - did n't he?</dialogue> <character>NILES</character> <dialogue>No. no. there's nothing missing.</dialogue> <parenthetical>( quickly . )</parenthetical> <dialogue>I do n't have any valuables.</dialogue> <character>MULVEY</character> <dialogue>What were you just looking for so hard - your B.V.D.'s?</dialogue> <character>NILES</character> <dialogue>I thought. I forgot this was in my pocket.</dialogue> <scene_description>He takes out a jewel - studded cigarette lighter .</scene_description> <character>NILES</character> <parenthetical>( continuing . )</parenthetical> <dialogue>It's my one valuable - I only got it two weeks ago - it's expensive.</dialogue> <character>MULVEY</character> <dialogue>Jimmy -</dialogue> <scene_description>Halloran takes it from Niles , pulls Department list of stolen jewelry out of his pocket . Ruth watches with terrified apprehension . Niles seems bewildered .</scene_description> <character>NILES</character> <dialogue>What are you doing?</dialogue> <scene_description>Silence . Halloran is busy with the list .</scene_description> <character>NILES</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Why'd you come down here anyway?</dialogue> <scene_description>Silence .</scene_description> <character>NILES</character> <parenthetical>( continuing excitedly . )</parenthetical> <dialogue>You want to know something, Lieutenant? You're going to have a lawsuit on your hands. You can -</dialogue> <character>HALLORAN</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Forrest C. Broughton, 85 West 68th Street, reported the loss of this cigarette lighter three weeks ago. Night robbery.</dialogue> <scene_description>Silence . All look at Niles . Ruth 's face is sick .</scene_description> <character>NILES</character> <dialogue>What kind of a deal is this?</dialogue> <character>MULVEY</character> <dialogue>You tell us.</dialogue> <character>NILES</character> <dialogue>If you think I'm a thief, you're crazy.</dialogue> <parenthetical>( to Ruth . )</parenthetical> <dialogue>Honey, this is the craziest thing I ever heard of.</dialogue> <character>RUTH</character> <parenthetical>( tortured at asking . )</parenthetical> <dialogue>Sweetheart - this is a terrible thing to ask you right now, but. my engagement ring - where'd you buy it?</dialogue> <character>NILES</character> <parenthetical>( stunned . )</parenthetical> <dialogue>What?</dialogue> <character>RUTH</character> <dialogue>Robert, darling - please - where'd you buy it?</dialogue> <character>NILES</character> <dialogue>It was from a private party.</dialogue> <character>RUTH</character> <parenthetical>( relieved . )</parenthetical> <dialogue>Who, Robert?</dialogue> <character>NILES</character> <dialogue>I ca n't tell you.</dialogue> <character>RUTH</character> <dialogue>Please, sweetheart, you must. Do n't you understand? -</dialogue> <character>MULVEY</character> <parenthetical>( sharply ; interrupting . )</parenthetical> <dialogue>Where'd you get the cigarette case you sold this morning?</dialogue> <character>ROBERT</character> <parenthetical>( pressed to wall . )</parenthetical> <dialogue>What?</dialogue> <character>MULVEY</character> <dialogue>How'd you get this cigarette lighter?</dialogue> <scene_description>Silence .</scene_description> <character>RUTH</character> <parenthetical>( hysterically . )</parenthetical> <dialogue>Robert - tell them - please, tell them.</dialogue> <character>MULVEY</character> <dialogue>Why'd you buy a plane ticket for Mexico City?</dialogue> <character>NILES</character> <parenthetical>( stunned . )</parenthetical> <dialogue>Why, I -</dialogue> <character>RUTH</character> <dialogue>What ticket? When?</dialogue> <character>MULVEY</character> <dialogue>He was supposed to leave tomorrow noon.</dialogue> <character>RUTH</character> <dialogue>Is that true?</dialogue> <scene_description>Silence .</scene_description> <character>RUTH</character> <dialogue>Robert - is it true?</dialogue> <character>NILES</character> <dialogue>A business trip -</dialogue> <character>RUTH</character> <dialogue>We had lunch today. Why did n't you?</dialogue> <character>NILES</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Something came up this afternoon.</dialogue> <character>MULVEY</character> <dialogue>You're lying - you bought the ticket in the morning.</dialogue> <scene_description>Niles suddenly straightens , looks at Mulvey coolly .</scene_description> <character>NILES</character> <dialogue>You've got the wrong man if you think I stole those things. I would n't steal a piece of bread if I was starving. That is n't how I was brought up. I come from a decent family.</dialogue> <character>MULVEY</character> <dialogue>Congratulations.</dialogue> <character>NILES</character> <dialogue>I got this lighter as a present. You ca n't send me to prison for that.</dialogue> <character>MULVEY</character> <dialogue>Who gave it to you?</dialogue> <character>NILES</character> <parenthetical>( with quiet triumph . )</parenthetical> <dialogue>Jean Dexter. Now you prove she did n't.</dialogue> <character>MULVEY</character> <dialogue>And the cigarette case you sold this morning?</dialogue> <character>NILES</character> <dialogue>The same.</dialogue> <character>RUTH</character> <dialogue>And my engagement ring?</dialogue> <character>NILES</character> <dialogue>Sure - Jean gave me that too.</dialogue> <character>RUTH</character> <dialogue>My engagement ring?</dialogue> <character>NILES</character> <dialogue>You heard me.</dialogue> <character>RUTH</character> <parenthetical>( approaching him . )</parenthetical> <dialogue>No, no, darling, do n't say a thing like that. That would be horrible. And I know it's a lie. You hardly knew Jean -</dialogue> <character>NILES</character> <parenthetical>( coolly . )</parenthetical> <dialogue>I'm sorry, Ruth.</dialogue> <character>RUTH</character> <dialogue>I do n't believe you. Robert, I love you. I'll marry you now - tonight. But say you're lying about Jean. If you're a thief, I'll stand by you, I'll -</dialogue> <character>NILES</character> <parenthetical>( hysterically . )</parenthetical> <dialogue>And go to prison? In a pig's eye I will. Those things were presents - presents - your ring was a present - from Jean -</dialogue> <character>RUTH</character> <dialogue>Robert -</dialogue> <scene_description>He is silent .</scene_description> <character>RUTH</character> <dialogue>You're lying.</dialogue> <parenthetical>( hits him hard . )</parenthetical> <dialogue>You're lying.</dialogue> <parenthetical>( hits him . )</parenthetical> <dialogue>You're lying.</dialogue> <parenthetical>( hits him . )</parenthetical> <dialogue /> <scene_description>Sobbing hysterically , Ruth continues to hit him . Niles backs off , raising his hands against her blows . Halloran catches hold of Ruth , restrains her . She breaks down in sobs .</scene_description> <character>MULVEY</character> <dialogue>Niles - you're under arrest.</dialogue> <character>NILES</character> <parenthetical>( hysterically . )</parenthetical> <dialogue>Arrest me all you like. But try to prove something against me - try it - just try it.</dialogue> </scene> <scene> <stage_direction>EXT. THE STREET IN FRONT OF THE POLICE STATION - DAY</stage_direction> <scene_description>Girls are jumping rope . Two girls swing the rope , a third jumps . One of the girls recites in a loud voice .</scene_description> <character>GIRL</character> <dialogue>Mother, Mother, I am ill ; Call the doctor over the hill ;</dialogue> </scene> <scene> <stage_direction>EXT. MULVEY - DAY</stage_direction> <scene_description>looking down from third story window with a smile .</scene_description> <character>GIRL'S VOICE</character> <dialogue>In came the doctor, in came the nurse, In came the lady with the alligator purse -</dialogue> </scene> <scene> <stage_direction>EXT. CHILDREN - DAY</stage_direction> <scene_description>FROM MULVEY 'S POV</scene_description> <character>GIRL</character> <dialogue>I do n't want the doctor, I do n't want the nurse. I do n't want the lady with the alligator purse.</dialogue> <character>HALLORAN'S VOICE</character> <dialogue>Dan.</dialogue> </scene> <scene> <stage_direction>INT. MULVEY'S OFFICE - DAY</stage_direction> <scene_description>Mulvey turns .</scene_description> <character>HALLORAN</character> <parenthetical>( hesitantly . )</parenthetical> <dialogue>I'm not sure but I think maybe I've found a connection between these jewel robberies and the Dexter murder.</dialogue> <character>MULVEY</character> <parenthetical>( with interest . )</parenthetical> <dialogue>Oh?</dialogue> <parenthetical>( shuts window . )</parenthetical> <dialogue /> <character>GIRL'S VOICE</character> <parenthetical>( from outside - not clear . )</parenthetical> <dialogue>Out went the doctor, Out went the nurse, Out went the lady with the alligator purse.</dialogue> <character>HALLORAN</character> <dialogue>Have you read this autopsy report on Peter Backalis?</dialogue> <parenthetical>( indicates paper . )</parenthetical> <dialogue /> <character>MULVEY</character> <dialogue>Not yet.</dialogue> <character>HALLORAN</character> <dialogue>Yesterday morning some kids swimming in the East River found a body. Medical examiner says he died of drowning - had a head injury and was full of whiskey. His verdict is accidental death.</dialogue> <character>MULVEY</character> <dialogue>Well?</dialogue> <character>HALLORAN</character> <dialogue>But look at this : Jean Dexter died between one and two A.M. Monday morning. This guy Backalis died between three and six A.M. the same morning.</dialogue> <character>MULVEY</character> <dialogue>Show me that it's more than a coincidence.</dialogue> <character>HALLORAN</character> <dialogue>I ca n't show you, Dan. but the man had a record. He served two years in Sing Sing for stealing jewelry.</dialogue> <character>MULVEY</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Now look - Niles and Dexter were dealing in stolen jewelry, sure. But it was society stuff. What does Backalis's record show?</dialogue> <character>HALLORAN</character> <parenthetical>( chagrined . )</parenthetical> <dialogue>I did n't think of that. It was small time - a pawn shop robbery in Queens.</dialogue> <character>MULVEY</character> <dialogue>Y ` see? I'm afraid these two cases are miles apart. If we drag every petty jewelry thief into this, we'll go crazy.</dialogue> <parenthetical>( looks at him . )</parenthetical> <dialogue>But you're not convinced, are you?</dialogue> <character>HALLORAN</character> <dialogue>I do n't know, Dan. Trouble is, where are we on the Dexter case?</dialogue> <character>MULVEY</character> <dialogue>This morning I sent out photos of Niles and Dexter to every Police Department on the East Coast. They'll check all jewelers.</dialogue> <character>HALLORAN</character> <dialogue>Where can that lead?</dialogue> <character>MULVEY</character> <dialogue>That's how you run a case, lad. from step to step.</dialogue> <character>HALLORAN</character> <dialogue>Do me a favor, Dan. Let me waste some time on this Backalis angle.</dialogue> <scene_description>A pause . Mulvey thinks it over .</scene_description> <character>MULVEY</character> <dialogue>Okay, lad. Phone in once a day.</dialogue> <character>HALLORAN</character> <dialogue>Thanks.</dialogue> <character>MULVEY</character> <dialogue>By the way.</dialogue> <scene_description>Halloran pauses .</scene_description> <character>MULVEY</character> <parenthetical>( softly . )</parenthetical> <dialogue>This is only the third day now on the Dexter murder. The Department never calls a case unsolved in less than twenty years. Do n't get impatient.</dialogue> <character>HALLORAN</character> <dialogue>Good deal. Twenty years from now, I'll put my kid on it.</dialogue> <scene_description>He leaves , smiling . Mulvey grins .</scene_description> </scene> <scene> <stage_direction>EXT. POLICE HEADQUARTERS CENTRE STREET - DAY</stage_direction> <scene_description>People going in and out .</scene_description> <character>NARRATOR</character> <dialogue>Button, button, who's got the button?</dialogue> </scene> <scene> <stage_direction>INT. A FILE ROOM - DAY</stage_direction> <scene_description>Halloran waits while a clerk looks in a file . Clerk takes out a card .</scene_description> <character>CLERK</character> <dialogue>Backalis's parole officer was Charles Freed. County Courthouse in the Bronx.</dialogue> <scene_description>Halloran turns , starts out .</scene_description> </scene> <scene> <stage_direction>EXT. BRONX COUNTY COURTHOUSE - DAY</stage_direction> <scene_description>as Halloran enters .</scene_description> </scene> <scene> <stage_direction>INT. AN OFFICE BRONX COUNTY COURTHOUSE - DAY</stage_direction> <scene_description>Halloran is sitting with a parole officer , CHARLES FREED , a man of fifty , bald .</scene_description> <character>HALLORAN</character> <dialogue>Well, tell me this, Mr. Freed. Do you think Backalis could get so drunk he'd fall down on a pier, hurt himself and topple into the river?</dialogue> <character>FREED</character> <parenthetical>( thinking . )</parenthetical> <dialogue>I doubt it. He seemed like one of those steady, all - day drinkers - always with a load on, but never wobbly.</dialogue> <character>HALLORAN</character> <dialogue>Who was the arresting officer?</dialogue> <character>FREED</character> <dialogue>Patrolman Albert Hicks - Queensboro Precinct Station, Long Island City.</dialogue> <character>HALLORAN</character> <dialogue>Right on my doorstep! What do you know.</dialogue> </scene> <scene> <stage_direction>EXT. BRIDGE ABOVE LONG ISLAND CITY RAILROAD YARDS - NIGHT</stage_direction> </scene> <scene> <stage_direction>EXT. HALLORAN AND HICKS - NIGHT</stage_direction> <scene_description>a Negro patrolman .</scene_description> <character>HALLORAN</character> <dialogue>About two and a half years ago you arrested Peter Backalis on a pawnshop entry.</dialogue> <character>HICKS</character> <dialogue>That's right.</dialogue> <character>HALLORAN</character> <dialogue>Did he do that job alone?</dialogue> <character>HICKS</character> <dialogue>No - there was another guy with him - a feller he called Willie.</dialogue> <character>HALLORAN</character> <dialogue>What happened to him?</dialogue> <character>HICKS</character> <dialogue>He got away by the neatest trick I've ever seen. I nailed Backalis in the back alley. He yelled `` Beat it, Willie,'' and this other customer throws a chair through a plate glass window - dives right after it - and comes up on his feet like an acrobat. Then he's off like a streak.</dialogue> <character>HALLORAN</character> <dialogue>How was this fellow built?</dialogue> <character>HICKS</character> <dialogue>Big - like an all - American fullback. And listen. something funny about him. One of the things the owner reported missing was a harmonica. Now there's no resale value in a thing like that. So I always figured he must've liked to play one.</dialogue> <character>HALLORAN</character> <dialogue>Maybe you're right. Much obliged.</dialogue> </scene> <scene> <stage_direction>INT. MULVEY'S BEDROOM - NIGHT</stage_direction> <scene_description>Mulvey is on telephone . Light is on . A newspaper on bed indicates he 's been reading .</scene_description> <character>MULVEY</character> <parenthetical>( thoughtfully . )</parenthetical> <dialogue>A big man who's an acrobat, eh?</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>Jimmy, I do n't know where you're going - but I'm gon na start in and help you. I'm giving you Fowler and Constentino, starting tomorrow morning.</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>Right.</dialogue> </scene> <scene> <stage_direction>INT. HALLORAN LIVING ROOM - NIGHT</stage_direction> <character>HALLORAN</character> <parenthetical>( at phone . )</parenthetical> <dialogue>` Bye, Dan.</dialogue> <scene_description>Hangs up , yawns . Starts taking off coat .</scene_description> </scene> <scene> <stage_direction>EXT. TIMES SQUARE - DAY</stage_direction> <scene_description>Halloran , Constentino , Fowler are talking . The three men separate , go in different directions .</scene_description> <character>NARRATOR</character> <dialogue>His name is Willie - maybe. He might've been a professional acrobat - maybe. He might be the man we're looking for. maybe. Oh, yes - he's a big man. Only half a million big men in New York.</dialogue> </scene> <scene> <stage_direction>INT. OFFICE - DAY</stage_direction> <scene_description>A bald , thin , acidulous - looking man is talking to Halloran . On wall , autographed photos from vaudeville actors .</scene_description> <character>BOOKING AGENT</character> <dialogue>Not that I can remember. I been booking vaudeville acts, circus acts, night club acts, for thirty years. Lot of queer eggs among'em - but a acrobat who played the harmonica? That queer I never saw one.</dialogue> <character>HALLORAN</character> <parenthetical>( disappointed . )</parenthetical> <dialogue>Okay. thanks.</dialogue> </scene> <scene> <stage_direction>INT. STILLMAN'S GYMNASIUM - DAY</stage_direction> <scene_description>Men are working out in ring . Off to one side Fowler talks to Stillman .</scene_description> <character>STILLMAN</character> <dialogue>A harmonica player? No, sir, brother. A character like that I would n't even let work out here.</dialogue> </scene> <scene> <stage_direction>INT. A GYMNASIUM WHERE WRESTLERS PRACTICE - DAY</stage_direction> <scene_description>Two wrestlers are intertwined on a mat ; both are heavyweights . A trainer and another wrestler are watching . Constentino comes in .</scene_description> <character>CONSTENTINO</character> <dialogue>Who runs this joint?</dialogue> <character>TRAINER</character> <dialogue>I do. What do you want?</dialogue> <character>CONSTENTINO</character> <parenthetical>( showing badge . )</parenthetical> <dialogue>Police.</dialogue> <scene_description>Instantly the two wrestlers freeze in an intertwined position , look up .</scene_description> <character>CONSTENTINO</character> <dialogue>Any of you guys ever know a wrestler who liked to play the harmonica?</dialogue> <character>TRAINER</character> <dialogue>Sure - Willie the harmonica player - Willie Garza - I teached him to wrastle.</dialogue> <scene_description>One of the wrestlers on mat looks up .</scene_description> <character>WRESTLER</character> <dialogue>You did n't teach him so good. I kokalized him in Scranton five years ago.</dialogue> <character>CONSTENTINO</character> <dialogue>Where's he now?</dialogue> <character>TRAINER</character> <dialogue>Do n't know - do n't care. He borrowed thirty - eight bucks from me once, never paid it back. A lousola.</dialogue> <character>CONSTENTINO</character> <dialogue>Where'd he used to live?</dialogue> <character>TRAINER</character> <dialogue>Do n't know.</dialogue> <character>WRESTLER</character> <dialogue>In Staten Island - with his brother.</dialogue> <character>CONSTENTINO</character> <dialogue>What's his brother's name?</dialogue> <character>WRESTLER</character> <dialogue>Garza. All brothers got the same names.</dialogue> <character>CONSTENTINO</character> <dialogue>I mean his first name.</dialogue> <character>WRESTLER</character> <dialogue>I dunno.</dialogue> <character>CONSTENTINO</character> <dialogue>Okay.</dialogue> <parenthetical>( leaves . )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>EXT. TOP FLOOR OF A BUILDING UNDER CONSTRUCTION - DAY</stage_direction> <scene_description>Halloran , Constentino and a foreman are walking up to a welder at work .</scene_description> <character>FOREMAN</character> <dialogue>Hey, Garza - Eddie -</dialogue> <scene_description>Garza turns .</scene_description> <character>FOREMAN</character> <dialogue>These guys are police - want to talk to you.</dialogue> <character>EDDIE GARZA</character> <parenthetical>( apprehensive . )</parenthetical> <dialogue>Something happen to my wife?</dialogue> <character>HALLORAN</character> <dialogue>Oh, no. We just saw her. That's how we found out where you work.</dialogue> <character>EDDIE GARZA</character> <dialogue>What is it?</dialogue> <character>HALLORAN</character> <dialogue>We're looking for your brother - Willie.</dialogue> <character>EDDIE GARZA</character> <dialogue>Me an' my brother Willie ai n't got nothing to do with each other. He's no good.</dialogue> <character>CONSTENTINO</character> <dialogue>When'd you see him last?</dialogue> <character>EDDIE GARZA</character> <dialogue>Three months ago about.</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>Tried to sell me a diamond ring for my wife. I told him to go blow.</dialogue> <character>HALLORAN</character> <dialogue>Any idea at all where he lives?</dialogue> <character>EDDIE GARZA</character> <dialogue>He had a room somewhere around the Williamsburg Bridge. That's all I know.</dialogue> <character>CONSTENTINO</character> <dialogue>You got a picture of him?</dialogue> <character>EDDIE GARZA</character> <dialogue>No. But when he was wrestlin' the newspapers printed his mug a few times.</dialogue> <character>HALLORAN</character> <dialogue>Okay.</dialogue> <scene_description>They start off .</scene_description> <character>EDDIE GARZA</character> <dialogue>If you send him up, do me a favor. throw the keys away.</dialogue> </scene> <scene> <stage_direction>EXT. EAST SIDE TENEMENTS OVERSHADOWED BY THE WILLIAMSBURG BRIDGE - NIGHT</stage_direction> </scene> <scene> <stage_direction>INT. CAFETERIA - NIGHT</stage_direction> <scene_description>Halloran , Fowler , and Constentino at a table . They have finished eating and each is studying a sectional map of the district .</scene_description> <character>HALLORAN</character> <dialogue>The first guy to get a lead report to Mulvey.</dialogue> <scene_description>The others nod . Halloran gives them each a photo of Garza , a wrestling pose , full - length .</scene_description> </scene> <scene> <stage_direction>EXT. A STREET CORNER - NIGHT</stage_direction> <scene_description>Fowler goes up to an old woman pretzel seller . He shows her the photo .</scene_description> <character>NARRATOR</character> <dialogue>Lady - did you ever see a man looked like this?</dialogue> <scene_description>Woman shakes her head .</scene_description> </scene> <scene> <stage_direction>EXT. A CHEAP MOVIE THEATER - NIGHT</stage_direction> <scene_description>Constentino is showing photo to ticket taker . He shakes head .</scene_description> <character>NARRATOR</character> <dialogue>Hey, buddy, ever see a man looked like this?</dialogue> </scene> <scene> <stage_direction>INT. A CHEAP BAR - NIGHT</stage_direction> <scene_description>Halloran is showing photo to a bartender .</scene_description> <character>NARRATOR</character> <dialogue>How's your memory for faces, Mac?</dialogue> </scene> <scene> <stage_direction>INT. PRECINCT HEADQUARTERS - NIGHT</stage_direction> <scene_description>A large squad of patrolmen is lined up , ready to go out on its beat . Fowler is showing them the photo .</scene_description> <character>NARRATOR</character> <dialogue>Here's a chance to get a promotion, men. Just spot this guy out of half a million people.</dialogue> </scene> <scene> <stage_direction>EXT. TENEMENTS, WILLIAMSBURG BRIDGE - DAY</stage_direction> <character>NARRATOR</character> <dialogue>Another day.</dialogue> </scene> <scene> <stage_direction>EXT. EAST SIDE STREET - NIGHT</stage_direction> <scene_description>Constentino comes up to pushcart peddler , shows him photo .</scene_description> <character>NARRATOR</character> <dialogue>work day.</dialogue> </scene> <scene> <stage_direction>INT. TAILOR SHOP - DAY</stage_direction> <scene_description>as Fowler shows photo to a worker at a steaming pressing machine .</scene_description> <character>NARRATOR</character> <dialogue>hot summer day.</dialogue> </scene> <scene> <stage_direction>INT. DRUG STORE PHONE BOOTH - DAY</stage_direction> <scene_description>Halloran has the receiver to his ear , is waiting . While he waits , he blocks out a street on his sectional map . A whole series of streets have already been blocked out . He looks tired , drawn .</scene_description> <character>HALLORAN</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Hello, Dan. Jimmy.</dialogue> <parenthetical>( voice is tired . )</parenthetical> <dialogue>No. nothing so far.</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>Sure, I'll keep going. What's doing at your end?</dialogue> </scene> <scene> <stage_direction>INT. MULVEY'S OFFICE - DAY</stage_direction> <scene_description>In the office are Mulvey , Niles , Miller , Perelli .</scene_description> <character>MULVEY</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Doing fine here. I'm talking to that clean - cut young American beauty again.</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>I think he's going to tell us something this morning.</dialogue> <parenthetical>( Niles fidgets . )</parenthetical> <dialogue>Okay - report in.</dialogue> <parenthetical>( hangs up . )</parenthetical> <dialogue /> <character>NILES</character> <dialogue>I've told you everything I know.</dialogue> <character>MULVEY</character> <parenthetical>( pleasantly . )</parenthetical> <dialogue>No, you have n't, sonny.</dialogue> <parenthetical>( rises , starts for door . )</parenthetical> <dialogue>But you will.</dialogue> <scene_description>Mulvey opens door .</scene_description> <character>MULVEY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Come in, Mr. McCormick.</dialogue> <scene_description>Niles jumps to his feet as a stout , middle - aged man enters .</scene_description> <character>MULVEY</character> <parenthetical>( continuing - to McCormick . )</parenthetical> <dialogue>Recognize this man?</dialogue> <character>MCCORMICK</character> <dialogue>I certainly do.</dialogue> <scene_description>With surprising agility , McCormick lunges at Niles and punches him in the jaw . Niles crumples under the weight of the blow and sags to the floor . Perelli grabs McCormick .</scene_description> <character>MULVEY</character> <dialogue>Sit down. If there's any more of that, you'll get yourself in trouble.</dialogue> <parenthetical>( to Niles . )</parenthetical> <dialogue>Getting quite a slapping around these days, are n't you?</dialogue> <scene_description>McCormick sits . Niles has gotten up . He holds a handkerchief to his mouth .</scene_description> <character>MCCORMICK</character> <dialogue>I came all the way down from Boston to do that. That smooth - talking crook came to me with an introduction I had to honor. He gave me a song and dance - his sister was terribly sick - needed an operation - he was trying to sell her jewels. I paid him over three thousand dollars. Now it turns out to be stolen property.</dialogue> <character>NILES</character> <dialogue>Are you paying him to say that, Mulvey? You still ca n't prove anything.</dialogue> <character>MCCORMICK</character> <dialogue>I can.</dialogue> <parenthetical>( pulls a letter from his pocket . )</parenthetical> <dialogue>I run my business with great care. This is the letter of introduction he brought with him.</dialogue> <scene_description>Niles stiffens . Mulvey takes the letter , looks at it .</scene_description> <character>MULVEY</character> <dialogue>Dr. Lawrence Stoneman!</dialogue> <character>MCCORMICK</character> <dialogue>He treated my mother some years ago. I had to honor his letter.</dialogue> <scene_description>Mulvey 's eyes are now riveted on Niles .</scene_description> <character>MULVEY</character> <dialogue>Will you wait outside, Mr. McCormick?</dialogue> <scene_description>McCormick goes out . Perelli shuts door . Silence . Mulvey , Perelli and Miller are all staring at Niles .</scene_description> <character>MULVEY</character> <dialogue>How do you get a letter of introduction from a man like Stoneman?</dialogue> <parenthetical>( silence . )</parenthetical> <dialogue>You're going to the penitentiary, Niles.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>But from now on in, the length of your sentence depends on you.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Stealing jewelry is one thing - but murder is different.</dialogue> <character>NILES</character> <parenthetical>( stubbornly . )</parenthetical> <dialogue>You know I did n't kill her! I was at the Trinidad Club. There are witnesses.</dialogue> <character>MULVEY</character> <dialogue>Then who did kill her?</dialogue> <character>NILES</character> <dialogue>I do n't know.</dialogue> <character>MULVEY</character> <dialogue>Who's Henderson?</dialogue> <character>NILES</character> <dialogue>I do n't know.</dialogue> <character>MULVEY</character> <dialogue>Listen, young fellow. you'll get five years for stealing jewelry. But you'll get another ten years for obstructing justice. and ten years more for being an accessory after the fact. Now that's the way it is, sonny boy. and you know I'm not bluffing.</dialogue> <parenthetical>( jumping up . )</parenthetical> <dialogue>Who's Henderson? Who's Henderson?</dialogue> <character>NILES</character> <dialogue>Stoneman. He's Dr. Stoneman.</dialogue> <scene_description>Mulvey looks at the others in triumph .</scene_description> </scene> <scene> <stage_direction>EXT. EAST SIDE STREET - DAY</stage_direction> <scene_description>A street sign : RIVINGTON STREET CAMERA MOVES DOWN to take in Halloran , looking at sign . He crosses a bit wearily to a corner soda fountain that opens onto the street . He leans on counter , blocks off another street on his sectional map . The proprietress moves over , a middle - aged woman , stout , workworn , wearing glasses .</scene_description> <character>HALLORAN</character> <dialogue>You got any cold root beer?</dialogue> <character>PROPRIETRESS</character> <dialogue>Like ice.</dialogue> <scene_description>As woman fills order , Halloran holds out a photo of Garza .</scene_description> <character>HALLORAN</character> <dialogue>Ever see this man?</dialogue> <scene_description>The proprietress takes the photo , looks at it .</scene_description> <character>PROPRIETRESS</character> <dialogue>He's a box fighter?</dialogue> <character>HALLORAN</character> <dialogue>A wrestler.</dialogue> <character>PROPRIETRESS</character> <parenthetical>( laughs . )</parenthetical> <dialogue>Boxing, wrestling, what do I know?</dialogue> <parenthetical>( returns photo . )</parenthetical> <dialogue>Five cents, pleez.</dialogue> <scene_description>Halloran takes out coin , gives it to her . The woman 's brow furrows suddenly . She picks up photo again .</scene_description> <character>PROPRIETRESS</character> <dialogue>Pleez.</dialogue> <scene_description>She studies photo , puts her hand across it to block out all but the face .</scene_description> <character>PROPRIETRESS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>He's a feller likes to play the whatchamacallit?</dialogue> <scene_description>She gestures playing the harmonica . Halloran almost jumps out of his skin .</scene_description> <character>HALLORAN</character> <dialogue>The harmonica! Yes!</dialogue> <character>PROPRIETRESS</character> <dialogue>Sure, I know him - Willie!</dialogue> <character>HALLORAN</character> <dialogue>Where does he live?</dialogue> <character>PROPRIETRESS</character> <dialogue>This street someplace.</dialogue> <character>HALLORAN</character> <dialogue>What house?</dialogue> <character>PROPRIETRESS</character> <dialogue>Down the street someplace. I dunno.</dialogue> <scene_description>Halloran walks quickly around counter into store . He crosses to phone , dials . The proprietress comes up to him with an anxious look .</scene_description> <character>PROPRIETRESS</character> <dialogue>Who you, Mista?</dialogue> <scene_description>Halloran does n't answer .</scene_description> <character>PROPRIETRESS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>You from a collection agency, maybe?</dialogue> <character>HALLORAN</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Ben? This is Jimmy. Dan there?</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>When he gets back, tell him I've located Garza. Somewhere on Rivington between Delancey and Essex. ` Bye.</dialogue> <scene_description>He hangs up . The proprietress timidly plucks his sleeve .</scene_description> <character>PROPRIETRESS</character> <dialogue>Pleez, Mista - by me Willie's a nice feller. A man likes kids, he's nice. Any little kid asks him, Willie plays his whatchamacallit. I do n't want I should make trouble for him.</dialogue> <character>HALLORAN</character> <parenthetical>( showing badge . )</parenthetical> <dialogue>Do n't worry, lady.</dialogue> <scene_description>Halloran leaves .</scene_description> <character>PROPRIETRESS</character> <parenthetical>( calling after him . )</parenthetical> <dialogue>You do n't want your root beer, Mista?</dialogue> </scene> <scene> <stage_direction>EXT. SQUIBB BUILDING - DAY</stage_direction> <scene_description>Mulvey , Perelli , Niles and another detective are on their way into the building . A police sedan is parked at curb .</scene_description> </scene> <scene> <stage_direction>EXT. RIVINGTON STREET - DAY</stage_direction> <scene_description>Halloran walks up to a thin , stooped woman who is sitting on steps with a baby in her arms</scene_description> <character>HALLORAN</character> <dialogue>Does Willie Garza live here?</dialogue> <parenthetical>( shows photo . )</parenthetical> <dialogue /> <scene_description>The woman looks at photo , speaks with an Italian accent .</scene_description> <character>WOMAN</character> <dialogue>He ` sa not live here.</dialogue> <character>HALLORAN</character> <dialogue>You sure?</dialogue> <character>WOMAN</character> <dialogue>My hoosband he ` sa janitor. I'm positive.</dialogue> <character>HALLORAN</character> <dialogue>Thanks.</dialogue> <scene_description>He moves on .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR OF SQUIBB BUILDING - DAY</stage_direction> <scene_description>Mulvey and his party are walking along a series of offices . The windows are marked `` Dr. Stoneman . '' An arrow points to an entrance further on . Mulvey gestures to a detective we have n't seen before , to cover Stoneman 's last door .</scene_description> <character>MULVEY</character> <dialogue>Nobody gets by you.</dialogue> <scene_description>The party goes on , enters reception room . There are three patients waiting . Mulvey goes up to nurse , shows badge , whispers .</scene_description> <character>MULVEY</character> <dialogue>I'm Lieutenant Mulvey of the Police Department. Is Dr. Stoneman in?</dialogue> <character>NURSE</character> <dialogue>He's with a patient.</dialogue> <character>MULVEY</character> <dialogue>I want you to do exactly as I say, Miss.. Tell the patients who are waiting that they have to leave.</dialogue> <character>NURSE</character> <dialogue>But -</dialogue> <character>MULVEY</character> <dialogue>Do what I say, Miss -</dialogue> <scene_description>The nurse looks at him , rises .</scene_description> </scene> <scene> <stage_direction>EXT. RIVINGTON STREET - DAY</stage_direction> <scene_description>Halloran walks up to two little girls who are playing jacks on the steps of a house .</scene_description> <character>HALLORAN</character> <dialogue>Do you kids know a man who lives on this street by the name of Willie Garza?</dialogue> <scene_description>The girls look at each other blankly .</scene_description> <character>HALLORAN</character> <parenthetical>( continuing . )</parenthetical> <dialogue>He plays the harmonica.</dialogue> <scene_description>One of the girls smiles .</scene_description> <character>GIRL</character> <dialogue>I know him. Willie.</dialogue> <character>HALLORAN</character> <dialogue>Where does he live?</dialogue> <character>GIRL</character> <dialogue>Across the street - corner house, I think - or the next one.</dialogue> <character>HALLORAN</character> <dialogue>Good girl.</dialogue> <scene_description>Leaves .</scene_description> </scene> <scene> <stage_direction>INT. STONEMAN'S OFFICE - DAY</stage_direction> <scene_description>The nurse is just closing the door on the last of the patients . She turns on Mulvey angrily .</scene_description> <character>NURSE</character> <dialogue>This is really unheard of.</dialogue> <character>MULVEY</character> <dialogue>I know, M'am.</dialogue> <parenthetical>( to Niles . )</parenthetical> <dialogue>Sit there. Do n't say anything.</dialogue> <scene_description>He points to a chair directly opposite the entrance to Stoneman 's office . Niles obeys .</scene_description> <character>MULVEY</character> <parenthetical>( continuing - to nurse . )</parenthetical> <dialogue>Tell Dr. Stoneman somebody out here has to see him. Tell him to leave his patient and come out right now. And do n't tell him anything else.</dialogue> <character>NURSE</character> <parenthetical>( almost weeping . )</parenthetical> <dialogue>I'll lose my job over this.</dialogue> <parenthetical>( picks up phone - waits . )</parenthetical> <dialogue>Doctor -.</dialogue> <parenthetical>( beginning to sob . )</parenthetical> <dialogue>There's someone here. He has to see you. You have to come right out.</dialogue> <parenthetical>( listens - sobbing . )</parenthetical> <dialogue>You must, doctor, right now, you must.</dialogue> <scene_description>The nurse hangs up with a bang and bursts into tears . Mulvey and Perelli move quickly into a small recess in the office behind the nurse 's desk . The door opens . Stoneman comes out , looking very irritated . He stops dead when he sees Niles .</scene_description> <character>STONEMAN</character> <parenthetical>( icily . )</parenthetical> <dialogue>What are you doing here?</dialogue> <scene_description>Niles says nothing . He is looking at Mulvey . Stoneman turns .</scene_description> <character>STONEMAN</character> <dialogue>Who are you?</dialogue> <character>MULVEY</character> <dialogue>Lieutenant Mulvey of the Homicide Squad. Do you go by the name of Henderson?</dialogue> <scene_description>Slowly Stoneman seems to cave in .</scene_description> <character>STONEMAN</character> <dialogue>Yes.</dialogue> <character>MULVEY</character> <dialogue>You're under arrest for the murder of Jean Dexter.</dialogue> <character>STONEMAN</character> <parenthetical>( with a low cry of horror . )</parenthetical> <dialogue>No! I could n't do anything like that.</dialogue> <parenthetical>( swinging on Niles . )</parenthetical> <dialogue>If anyone did it, it was him!</dialogue> <parenthetical>( buries head in hands , sinks into chair . )</parenthetical> <dialogue>Finished - I'm finished now.</dialogue> <character>MULVEY</character> <dialogue>What was your relationship to Niles and Dexter?</dialogue> <character>STONEMAN</character> <parenthetical>( with a low cry of shame , ripped from his gut . )</parenthetical> <dialogue>A lamb led to slaughter! An idiot robbed of self - respect, of manhood, of decency!</dialogue> <parenthetical>( half sobs ; in a low voice . )</parenthetical> <dialogue>I loved that girl the way a sick man loves alcohol or a narcotic. There was nothing right about it or good about it, only a sick hunger. I saw her a year ago in that dress shop. And from then on I was drunk with her, lost.</dialogue> <parenthetical>( turns on Niles . )</parenthetical> <dialogue>For six months now I've known they've been using me. I was their tipster - me - Stoneman.</dialogue> <character>MULVEY</character> <dialogue>What do you mean?</dialogue> <character>STONEMAN</character> <dialogue>It was n't enough I poured money out on her. Jean was twisted inside, too, like me.</dialogue> <parenthetical>( with a bewildered cry . )</parenthetical> <dialogue>What does life do to people that it can set up such unnatural hungers in them - me for a woman like her - and she for money?</dialogue> <parenthetical>( gestures . )</parenthetical> <dialogue>She was a common thief.</dialogue> <parenthetical>( looking at Niles . )</parenthetical> <dialogue>Both of them. They used my social connections. My wife is a partygiver. Jean'd find out from me who was to be there. And it was only after months that I realized that when someone came to my house, his apartment was robbed the same night.</dialogue> <character>MULVEY</character> <dialogue>Why did n't you go to the police?</dialogue> <scene_description>Stoneman gestures despairingly .</scene_description> <character>STONEMAN</character> <dialogue>Why does n't a drug addict stop taking drugs? She kept promising me each time was the last. I believed her because I wanted to believe her. I believed her because I was afraid to go to the police - afraid of the scandal. You can read about sick people like me in medical literature. Here I am. Look at me. I'm contemptible.</dialogue> <character>MULVEY</character> <dialogue>Did you arrange the robbery of your own apartment?</dialogue> <character>STONEMAN</character> <dialogue>Yes. I even came to that. I was frightened and I had to wallow in my own filth.</dialogue> <parenthetical>( jumps up . )</parenthetical> <dialogue>Oh, I'm so glad you came. Prison is much better than insanity - and I'm half mad already.</dialogue> <parenthetical>( with a groan . )</parenthetical> <dialogue>Oh, Stoneman, what have you become?</dialogue> <character>MULVEY</character> <dialogue>What proof have you that you did n't kill Dexter?</dialogue> <character>STONEMAN</character> <dialogue>Proof?</dialogue> <parenthetical>( rubs hand over brow . )</parenthetical> <dialogue>I was someplace else - Miss Owen - my date book - yes - a birthday party - at the Broughtons.</dialogue> <character>MULVEY</character> <dialogue>Will you testify in court that Niles and Dexter did these robberies?</dialogue> <character>NILES</character> <parenthetical>( with a cry . )</parenthetical> <dialogue>I never did!</dialogue> <character>MULVEY</character> <dialogue>Shut up.</dialogue> <character>STONEMAN</character> <dialogue>No, they were the fixers, the smart ones. They used me one way - they hired other men for the actual robberies.</dialogue> <character>MULVEY</character> <dialogue>Who?</dialogue> <scene_description>Stoneman rubs hand over brow .</scene_description> <character>STONEMAN</character> <dialogue>I do n't know.</dialogue> <parenthetical>( to Nurse . )</parenthetical> <dialogue>Miss Owen - my practice - Oh, do n't cry.</dialogue> <parenthetical>( groans . )</parenthetical> <dialogue>You'll call Dr. Grenard.</dialogue> <parenthetical>( to Mulvey - beseechingly . )</parenthetical> <dialogue>Only do n't let me have to see anyone. Not my wife. no friends. no lawyer. Just lock me up and hide me away.</dialogue> <parenthetical>( suddenly stiffens , looks around . )</parenthetical> <dialogue>Me? Stoneman?</dialogue> <parenthetical>( with a cry . )</parenthetical> <dialogue>It's impossible. I wo n't have it.</dialogue> <scene_description>Suddenly , with a distorted face , he hurtles himself across the room toward the large window that faces the city .</scene_description> <character>STONEMAN</character> <parenthetical>( continuing . )</parenthetical> <dialogue>I wo n't have it!</dialogue> <character>MULVEY</character> <dialogue>Grab him!</dialogue> <scene_description>Perelli and another officer make a lunge for Stoneman , but Niles is closest . Niles leaps for the doctor , tackling him just as the doctor hits the window pane . The glass is shattered , but the doctor - a pitiful and forlorn figure - is pulled back into a chair . He puts his head in his hands , sobs brokenly .</scene_description> <character>MULVEY</character> <parenthetical>( quietly . )</parenthetical> <dialogue>I do n't know much about medicine, doctor - but I'm pretty sure that's one prescription never cured anything.</dialogue> <parenthetical>( to Niles . )</parenthetical> <dialogue>Thanks, Niles. And as long as you finally made up your mind to cooperate, why not go all the way? You're not stupid. You're hooked now, and you know it. So why not spill the rest?</dialogue> <parenthetical>( quiet intensity . )</parenthetical> <dialogue>Who did the jobs for you? Who was it?</dialogue> <scene_description>There is a strained silence for a moment . Then -</scene_description> <character>NILES</character> <dialogue>Willie Garza. He and Backalis. They wanted more of a cut from the robberies. Garza killed Jean ; then later that night he killed Backalis.</dialogue> <parenthetical>( leans forward . )</parenthetical> <dialogue>I loved Jean. I did n't have anything to do with it. It was Garza. Garza. Garza.</dialogue> </scene> <scene> <stage_direction>INT. TENEMENT HOUSE - DAY</stage_direction> <scene_description>Halloran is walking up a flight of stairs . There is the SOUND of someone practicing scales on the violin . He reaches the landing , crosses to a door in the search for a number . As he leaves door we hear a voice from within :</scene_description> <character>MAN'S VOICE</character> <dialogue>You must practice more - practice -</dialogue> <scene_description>Halloran crosses to another door , listens , knocks . A deep , hearty voice answers .</scene_description> <character>GARZA'S VOICE</character> <dialogue>Come on in!</dialogue> <scene_description>Halloran enters .</scene_description> </scene> <scene> <stage_direction>INT. GARZA'S APARTMENT - DAY</stage_direction> <scene_description>A cheaply furnished , two - room apartment . Garza is lying on the floor doing a wrestler 's bridge by way of exercise . He is a very muscular man in fine condition . At the moment he is wearing only sneakers and tights . He swivels his head a little to one side to see who has come in , but he does n't change his position . He has a face that combines toughness and shrewdness ; he appears to be about thirty - five . Throughout the scene we faintly hear the practicing of violin scales from the other apartment .</scene_description> <character>GARZA</character> <parenthetical>( genially . )</parenthetical> <dialogue>I thought it was the janitor for the rent. Who're you? Do n't mind me. Just having a little work - out.</dialogue> <scene_description>As Garza says this , he swivels at the neck and turns his body and feet and head over , so that he is face down . His torso and legs have not touched the floor in the course of the stunt .</scene_description> <character>HALLORAN</character> <dialogue>My name's Hawkey - I work up at Bellevue Hospital. Are you Willie Garza?</dialogue> <character>GARZA</character> <dialogue>That's me. Ever see me wrestle? I was n't so bad.</dialogue> <parenthetical>( swivels body over . )</parenthetical> <dialogue /> <character>HALLORAN</character> <dialogue>No, I never did. There's a patient at the hospital gave me your address - asked me to see you.</dialogue> <character>GARZA</character> <dialogue>Yeah. Who?</dialogue> <scene_description>He works his body up and down , exercising his abdominal muscles .</scene_description> <character>HALLORAN</character> <dialogue>Backalis his name is.</dialogue> <scene_description>Garza seems to pause for a second . Then he swivels over , face down .</scene_description> <character>GARZA</character> <dialogue>Pete? What's he doin' in the hospital?</dialogue> <character>HALLORAN</character> <dialogue>He almost got drowned. Fell in the river when he was plastered. Some guy on a tug boat fished him out.</dialogue> <character>GARZA</character> <dialogue>You do n't say?</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>Oh, that Pete. Ca n't let the booze alone. So what does he want from me?</dialogue> <parenthetical>( swivels around . )</parenthetical> <dialogue /> <character>HALLORAN</character> <dialogue>He says he wants to see you.</dialogue> <character>GARZA</character> <dialogue>You know what he wants?</dialogue> <parenthetical>( lowers body to floor . )</parenthetical> <dialogue>He wants money.</dialogue> <scene_description>Now Garza raises legs high , then does a snap up . He lands feet on floor .</scene_description> <character>GARZA</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Some condition I'm in, hey, brother?</dialogue> <parenthetical>( crosses to a chair for a towel . )</parenthetical> <dialogue>Do n't smoke, do n't drink.</dialogue> <parenthetical>( rubs body with towel . )</parenthetical> <dialogue>So Pete wants money again?</dialogue> <parenthetical>( shakes head .</parenthetical> <parenthetical>coming closer . )</parenthetical> <dialogue>You know what you can tell him, buddy?</dialogue> <scene_description>Now , from several feet away , Garza suddenly leaps like a cat . The heavy Turkish towel goes over Halloran 's head . Garza grabs him , trips him , slams him savagely to the floor . In another second his legs have scissored over Halloran 's and one hand holds Halloran 's arm in a hammer lock .</scene_description> <character>GARZA</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Lay still or I'll snap your arm like a wishbone.</dialogue> <scene_description>His free hand explores Halloran 's pockets , then finds the gun around his hip . He removes gun , presses it into Halloran 's ribs . Then he disengages himself , gets up . Halloran slowly rises .</scene_description> <character>GARZA</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Copper, ai n't you?</dialogue> <character>HALLORAN</character> <dialogue>Yeah.</dialogue> <character>GARZA</character> <dialogue>Just because I'm big, everybody thinks I'm dumb. I'm not dumb, I'm smart. Now how did I know you were a copper? Because nobody knows where I live - not even Pete Backalis.</dialogue> <character>HALLORAN</character> <dialogue>If you're smart, you'll come down to headquarters with me.</dialogue> <character>GARZA</character> <dialogue>Ha - ha - that would n't be smart. You know why?'Cause Backalis ai n't in Bellevue, he's in the morgue.</dialogue> <parenthetical>( dangerously . )</parenthetical> <dialogue>Turn around.</dialogue> <character>HALLORAN</character> <parenthetical>( obeying . )</parenthetical> <dialogue>Do n't be a fool.</dialogue> <scene_description>From now on CAMERA becomes Halloran 's eyes . We see only what Halloran sees - a stretch of dirty wallpaper and a cheap reproduction of da Vinci 's Last Supper thumbtacked to the wall .</scene_description> <character>GARZA'S VOICE</character> <dialogue>I'll prove I'm smart, copper. You know how? You're scared right now I'm gon na rub you out. But I ai n't -'cause I'm smart. Ai n't nobody can prove I rubbed out Backalis. So why should I knock you off? Rub out a cop an' you'll really get the chair. All I need to do is put you to sleep. Then I'm off. Try an' find me. This is a great big, beautiful city. Just try an' find me.</dialogue> <scene_description>There is a grunt from Garza , the sound of a fist striking flesh . The picture of the Last Supper suddenly blurs violently as the CAMERA shakes . Then the CAMERA starts tilting towards the floor .</scene_description> <character>GARZA'S VOICE</character> <dialogue>That was a rabbit punch, Copper. It's strictly illegal.</dialogue> <scene_description>Again there is the crack of a fist . The screen goes black .</scene_description> </scene> <scene> <stage_direction>INT. STONEMAN'S RECEPTION ROOM - DAY</stage_direction> <scene_description>Mulvey is at the phone . Perelli , Niles , and Dr. Stoneman are on their way out of the office .</scene_description> <character>MULVEY</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Yeah, he signed it. Wait a minute, Ben.</dialogue> <parenthetical>( to Perelli ; calling . )</parenthetical> <dialogue>Keep Niles away from the newspaper men.</dialogue> <parenthetical>( into phone . )</parenthetical> <dialogue>And listen, Ben - when Halloran calls in - or Fowler or Constentino - tell'em that Willie Garza may be the gimmick in this case. So -.</dialogue> <parenthetical>( stops talking , listens ; suddenly snaps up . )</parenthetical> <dialogue>When did Halloran call in? Was he alone?</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>Now get this - send out an emergency! Rush every available squad car. Block off the street. Surround it.</dialogue> <scene_description>He hangs up . Jumps to his feet . Starts running out .</scene_description> </scene> <scene> <stage_direction>INT. POLICE HEADQUARTERS RADIO ROOM - DAY</stage_direction> <scene_description>A patrolman is crossing quickly from plotting table to radio operator at microphone . He gives operator a paper .</scene_description> <character>PATROLMAN</character> <dialogue>Emergency!</dialogue> <character>OPERATOR</character> <parenthetical>( into microphone . )</parenthetical> <dialogue>Emergency. All squad cars on the East Side of 14th Street to the Williamsburg Bridge, from 1st Street to 5th Avenue, proceed immediately to Rivington Street between Essex and Delancey. Block off and surround both sides of the street. Institute immediate house - to - house search for -</dialogue> </scene> <scene> <stage_direction>INT. SQUAD CAR (PROCESS) - DAY</stage_direction> <scene_description>swinging around in middle of street and then racing down Third Avenue with siren screaming . The operator 's voice continued .</scene_description> <character>OPERATOR'S VOICE</character> <dialogue>- two men - Detective James Halloran and William Garza. Halloran is twenty - eight years old.</dialogue> </scene> <scene> <stage_direction>INT. GARZA'S ROOM - DAY</stage_direction> <scene_description>Halloran is stretched out near wall , unconscious . Garza has put on a sport shirt and trousers . He still wears sneakers . The butts of two guns show above his belt , at waist line . He is stuffing four small chamois bags into both side pockets . He grabs up a sports jacket , puts it on . He opens a cupboard drawer , takes out a harmonica , puts it in a side pocket of his jacket . Then he goes out . The instant the door shuts Halloran sits up . The sudden movement makes him gasp with nausea . He remains still a second , then slowly pushes himself to his feet . On wobbly legs he starts for the door .</scene_description> </scene> <scene> <stage_direction>INT. STAIRCASE - DAY</stage_direction> <scene_description>Garza is coming rapidly downstairs .</scene_description> </scene> <scene> <stage_direction>INT. GARZA - DAY</stage_direction> <scene_description>as seen down stairwell by Halloran . Halloran starts down slowly , on shaky legs , holding to banister .</scene_description> </scene> <scene> <stage_direction>INT. FIRST-FLOOR LANDING - DAY</stage_direction> <scene_description>CAMERA IS SHOOTING UP as Garza comes down . SOUND : A police siren ; a second , a third , approaching . Garza freezes for a second , then races down the last steps to the landing . He runs to the front door , flattens himself against the wall and glances out through the glass .</scene_description> </scene> <scene> <stage_direction>EXT. TENEMENT ACROSS FROM GARZA - DAY</stage_direction> <scene_description>CAMERA IS GARZA 'S EYES . A black police sedan is moving slowly along . A detective is questioning the two little girls who are playing jacks . One of them points toward Garza 's tenement . CAMERA SWINGS to show cops and plainclothesmen leaping out of cars . CAMERA SWINGS other way to show Mulvey and others starting across street at a run .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - DAY</stage_direction> <scene_description>Garza turns , starts running toward back of hall . As he does so , he sees Halloran coming down last flight of stairs . Garza pulls out a gun but keeps running . Halloran hurtles down , swings out and around , trips and falls . At the same instant of his falling , Garza has swung around while opening the back door . He fires ; the bullet shatters the window of the front door . Garza leaps outside . Halloran gets up , runs towards the back door . The front door swings open . Mulvey rushes in , gun in hand .</scene_description> <character>MULVEY</character> <parenthetical>( yelling . )</parenthetical> <dialogue>Jimmy!</dialogue> <character>HALLORAN</character> <parenthetical>( without stopping . )</parenthetical> <dialogue>This way.</dialogue> <scene_description>Mulvey runs after him .</scene_description> </scene> <scene> <stage_direction>EXT. BACK YARD TENEMENT HOUSE - DAY</stage_direction> <scene_description>It is a mass of clotheslines , with wet wash hanging from every line . Garza is about to climb the fence at one end , when he spots Halloran in pursuit . He stops and fires another shot . Halloran falls flat on the pavement ; then gets up untouched . He follows Garza over the fence . Mulvey appears at Halloran starts over . He changes course , runs out down a side alley .</scene_description> </scene> <scene> <stage_direction>EXT. ALLEYWAY - DAY</stage_direction> <scene_description>On the other side of the fence is a long alleyway , with ash cans and piles of junk in evidence . Garza runs down the alleyway with Halloran still in pursuit . Garza stops and fires again . Halloran drops behind an ash can as the bullet ricochets off it .</scene_description> </scene> <scene> <stage_direction>EXT. END OF ALLEYWAY - DAY</stage_direction> <scene_description>Garza climbs another fence , finds himself in back of a butcher store . He dashes into the store , with Halloran following a few seconds later .</scene_description> </scene> <scene> <stage_direction>INT. BUTCHER STORE - DAY</stage_direction> <scene_description>as Garza runs through with gun in hand , followed by Halloran . The clerks and customers stare in horror .</scene_description> </scene> <scene> <stage_direction>EXT. STREET IN FRONT OF BUTCHER STORE - DAY</stage_direction> <scene_description>This is Delancey Street , a business thoroughfare . Across the street stands the approach to the huge Williamsburg Bridge which crosses the East River to Brooklyn . The street is crowded with automobiles . Garza races across . Halloran follows . Coming up behind Halloran is Qualen , the detective we saw earlier at Stoneman 's .</scene_description> </scene> <scene> <stage_direction>EXT. DELANCEY STREET - DAY</stage_direction> <scene_description>as Garza disregards traffic and runs across . A truck swerves to escape hitting him . Another car jams on brakes . A third car crashes into the second . A traffic cop blows his whistle furiously . Halloran keeps after Garza . Qualen has caught up with Halloran now . Garza starts up the stone steps to the footwalk on the bridge . Qualen fires , misses . Garza turns , fires . Both Qualen and Halloran hurl themselves to sidewalk . Garza runs . They follow .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>Mulvey , detectives , run up . Traffic is now stationary . Mulvey runs toward cop .</scene_description> <character>MULVEY</character> <parenthetical>( yelling . )</parenthetical> <dialogue>Hold all bridge traffic.</dialogue> <parenthetical>( to a cop . )</parenthetical> <dialogue>Stop traffic on the Brooklyn end.</dialogue> <scene_description>He runs to a radio car which swings into scene . Jumps in .</scene_description> </scene> <scene> <stage_direction>EXT. BRIDGE FOOTWALK - DAY</stage_direction> <scene_description>CAMERA FRAMES the city . Suddenly frame is filled by sweaty , distorted face of Garza as he climbs onto footwalk . He turns violently .</scene_description> </scene> <scene> <stage_direction>EXT. QUALEN AND HALLORAN - DAY</stage_direction> <scene_description>from Garza 's angle . Garza fires , Qualen falls back down steps into Halloran 's arms , almost hurling Halloran down . Garza turns , runs .</scene_description> </scene> <scene> <stage_direction>EXT. ENTRANCE TO MANHATTAN SIDE OF BRIDGE - DAY</stage_direction> <scene_description>as traffic cop stops all traffic , as instructed by Mulvey .</scene_description> </scene> <scene> <stage_direction>EXT. BROOKLYN SIDE OF BRIDGE - DAY</stage_direction> <scene_description>as traffic cop steps away from police call box and starts to stop traffic .</scene_description> </scene> <scene> <stage_direction>EXT. LONG SHOT OF BRIDGE SHOOTING DOWN - DAY</stage_direction> <scene_description>showing bridge traffic disappearing . CAMERA picks out running men : Garza , Halloran , several cops . Then it picks out the squad car in which Mulvey is . The car races ahead of Garza , then stops . Men tumble out . Garza , seeing himself trapped , breaks for the subway tracks in order to cross to the other side . As he is climbing the fence , one of the squad car policemen stops running , kneels , aims a rifle . He shoots . Garza is hit , knocked over the fence and forward by the impact of the bullet . He staggers , trips over a rail , falls to his knees , slumps over - and hits the third rail . There is a shower of sparks , his body leaps convulsively - then is still . A siren WAILS , higher and higher . CAMERA TILTS toward buildings of Manhattan , showing sky above . Siren fades out .</scene_description> </scene> <scene> <stage_direction>EXT. SKY - NIGHT MOON RIDING THROUGH FAST CLOUDS</stage_direction> <character>NARRATOR</character> <dialogue>It's two o'clock in the morning now.</dialogue> </scene> <scene> <stage_direction>EXT. ROCKEFELLER CENTER - NIGHT</stage_direction> <character>NARRATOR</character> <dialogue>This is the city.</dialogue> </scene> <scene> <stage_direction>EXT. BROADWAY AND TIMES SQUARE - NIGHT</stage_direction> <character>NARRATOR</character> <dialogue>these are the lights.</dialogue> </scene> <scene> <stage_direction>EXT. A NIGHTCLUB - NIGHT</stage_direction> <scene_description>A couple stepping into a taxicab . The two are young , handsome . The girl is laughing , her face excited , alive , joyous .</scene_description> <character>NARRATOR</character> <dialogue>that a child born to the name of Batory hungered for. Her passion has been played out now.</dialogue> </scene> <scene> <stage_direction>EXT. NEWSBOYS - NIGHT</stage_direction> <scene_description>getting newspapers from truck in front of Times Building .</scene_description> <character>NARRATOR</character> <dialogue>her name, her face, her history, were worth five cents a day for six days.</dialogue> </scene> <scene> <stage_direction>EXT. STREET CLEANER - NIGHT</stage_direction> <scene_description>sweeping up newspapers .</scene_description> <character>NARRATOR</character> <dialogue>and tomorrow will be sold by the bale.</dialogue> </scene> <scene> <stage_direction>EXT. HALLORAN AND WIFE - NIGHT</stage_direction> <scene_description>standing on a subway platform . He looks down . Between the tracks is a newspaper with a picture of Jean Dexter . A train comes in , the rush of wind blows away the paper . Halloran puts his arm around his wife .</scene_description> <character>NARRATOR</character> <dialogue>She is not quite forgotten, however.</dialogue> </scene> <scene> <stage_direction>INT. RUTH YOUNG - NIGHT</stage_direction> <scene_description>Riverside Drive apartment . She is gazing out of her bedroom window , at the Hudson flowing in moonlight . Her face is somber . She is in a dressing robe .</scene_description> <character>NARRATOR</character> <dialogue>not altogether.</dialogue> </scene> <scene> <stage_direction>EXT. THE BATORYS - NIGHT</stage_direction> <scene_description>Mrs. Batory is rocking slowly on the porch of a small frame house . Her face is impassive . Mr. Batory lies on a couch behind her . His face is in shadow .</scene_description> <character>NARRATOR</character> <dialogue>not entirely.</dialogue> </scene> <scene> <stage_direction>EXT. PRESBYTERIAN HOSPITAL -- 168TH STREET - NIGHT</stage_direction> <character>NARRATOR</character> <dialogue>and now there is violence once again in the city.</dialogue> </scene> <scene> <stage_direction>INT. DELIVERY ROOM - NIGHT</stage_direction> <scene_description>Doctor , nurses - around delivery table</scene_description> <character>NARRATOR</character> <dialogue>but of another sort.</dialogue> </scene> <scene> <stage_direction>INT. DOCTOR - NIGHT</stage_direction> <scene_description>walks away from table with newborn baby .</scene_description> <character>NARRATOR</character> <dialogue>naked and innocent he comes into this world.</dialogue> </scene> <scene> <stage_direction>INT. DOCTOR - NIGHT</stage_direction> <scene_description>holds baby upside down by feet , slaps its buttocks sharply . Baby wails .</scene_description> <character>NARRATOR</character> <dialogue>comes to meet the city. naked into a naked city.</dialogue> </scene> <scene> <stage_direction>INT. NURSE - NIGHT</stage_direction> <scene_description>takes baby from doctor , carries it to basket . Baby is wailing .</scene_description> <character>NARRATOR</character> <dialogue>What will he be at twenty?</dialogue> </scene> <scene> <stage_direction>INT. MOTHER'S FACE - NIGHT</stage_direction> <scene_description>Quiet , tired .</scene_description> <character>NARRATOR</character> <dialogue>What will her boy be.</dialogue> </scene> <scene> <stage_direction>INT. NILES - NIGHT</stage_direction> <scene_description>on a cot in a cell , staring up at ceiling .</scene_description> <character>NARRATOR</character> <dialogue>who was born at two o'clock in the morning.</dialogue> </scene> <scene> <stage_direction>EXT. TREES IN CENTRAL PARK - NIGHT</stage_direction> <character>NARRATOR</character> <dialogue>on a hot summer night.</dialogue> </scene> <scene> <stage_direction>EXT. MULVEY - NIGHT</stage_direction> <scene_description>sitting with his back to a tree , smoking , looking up at sky .</scene_description> <character>NARRATOR</character> <dialogue>at the time of a shooting star?</dialogue> </scene> <scene> <stage_direction>EXT. SKY - NIGHT</stage_direction> <scene_description>A star is falling . THE END</scene_description> </scene> </script>

In the late hours of a hot New York summer night, a pair of men subdue and kill Jean Dexter, an ex-model, by knocking her out with chloroform and drowning her in her bathtub. When one of the murderers gets conscience-stricken while drunk, the other kills him and throws his body into the East River. Homicide Detective Lt. Dan Muldoon and his young associate, Det. Jimmy Halloran, are assigned to Jean's case, which the medical examination has determined was murder. Muldoon has been a homicide cop for 22 years, Halloran for three months. At the scene, the police interrogate Martha Swenson, Jean's housekeeper, about Jean's boyfriends, and she tells them about a "Mr. Henderson". They also discover a bottle of sleeping pills and her address book. Halloran questions the doctor who prescribed the pills, Lawrence Stoneman, and Ruth Morrison, another model and Jean's friend. Back at the police station, Muldoon questions Frank Niles, Jean's ex-boyfriend, who lies about everything, claiming only a business relationship with Jean and denying knowing Ruth. Later, Muldoon deduces from the bruises on Jean's neck that she was killed by at least two men. That evening, Jean's estranged parents, Mr. and Mrs. Batory, arrive in New York to formally identify the body and tell the detectives that they have no knowledge of Jean's acquaintances. The next morning, the detectives learn that Frank sold a gold cigarette case stolen from Stoneman, then purchased a one-way airline ticket to Mexico. They also discover that one of Jean's rings was stolen from the home of a wealthy Mrs. Hylton. At Mrs. Hylton's Park Avenue apartment, the police learn that the ring actually belonged to her daughter, who, to their surprise, turns out to be Ruth. Learning that Ruth's engagement ring is also stolen property, and that she is engaged to Frank, Muldoon and Halloran take Ruth to Frank's apartment, where they coincidentally interrupt someone trying to murder him. The killer takes a shot at the cops and escapes down the fire escape onto the nearby elevated train. When questioned about the stolen jewelry, Frank claims that they were all presents from Jean, which reveals his true relationship with her, much to Ruth's chagrin. Frank is then arrested for the jewel thefts, but the murder case remains open. Halloran learns that a body recovered from the East River, that of small-time burglar Peter Backalis, died within hours of the Dexter murder, and believes the two incidents are connected. Muldoon, although skeptical, lets him pursue the lead and assigns two veteran detectives on the squad to help Halloran with the legwork. Through further methodical but tedious investigation, Halloran discovers that Backalis's accomplice on a jewelry store burglary was Willie Garzah, a former wrestler with a penchant for playing the harmonica. While Halloran and his team canvass the Lower East Side of New York using an old publicity photograph of Garzah, Muldoon compels Frank Niles to identify Jean's mystery boyfriend. Dr. Stoneman is "Henderson". At Stoneman's office, Muldoon uses Frank to trap the married physician into confessing that he fell in love with Jean, only to learn that she and Frank were using him in order to rob his society friends. Frank then confesses that Garzah killed Jean and Backalis. Halloran and Muldoon, using different approaches, have come up with the same killer. Meanwhile, Halloran finally locates Garzah and, pretending that Backalis is in the hospital, tries to trick Garzah into accompanying him, but Garzah (knowing he killed Backalis) sees through the ruse. The ex-wrestler rabbit punches the rookie detective, momentarily knocking him unconscious. Garzah attempts to disappear in the crowded city, but as police descend upon the neighborhood, he panics and draws attention to himself when he shoots and kills a blind man's guide dog on the pedestrian walk of the Williamsburg Bridge. Garzah attempts to flee over the bridge but, as police approach from both directions, he starts climbing one of the towers and is shot and wounded. High on the tower, Garzah refuses to surrender; gunfire is exchanged, and he is hit again and falls to his death. As aerial and street shots of New York are shown, the narration concludes by saying "There are eight million stories in the naked city. This has been one of them."

The 40-Year-Old Virgin_2005

tt0405422

<script> <scene> <character>THE 40 YEAR-OLD VIRGIN</character> <dialogue>by</dialogue> <scene_description>,Judd Apatow and Steve Carell • For Purpos~s Only ESTABLISHING SHOT</scene_description> </scene> <scene> <stage_direction>EXT. APARTMENT COMPLEX - MORNING</stage_direction> <scene_description>We reveal a nondescript apartment complex in North Hollywood California. It is not nice or ugly. It looks like every other pleasant-looking apartment complex in the valley.</scene_description> <character>INT.</character> <dialogue>APARTMENT - MORNING</dialogue> <scene_description>ANDY STITZER, a boyish looking forty year old man, is asleep. His clock radio goes off. It is playing oldies, which now consists of rock 'n 1 roll from the mid eighties. MUSIC UP: "Heat Of the Moment" by Asia. Andy sits up in bed. Not happy, not unhappy, just another day.</scene_description> <character>INT.</character> <dialogue>LIVING ROOM - MORNING</dialogue> <scene_description>Andy is doing his morning workout. He is doing bench presses. He lifts an enormous amount of weight. His face is very kind, and vulnerable, almost emotionless, but his body is ripped. On a book shelf Andy has an impressive array of action figures and comic books, all in their original packaging. None of his vintage toys have been opened.</scene_description> <character>EXT. APARTMENT BUILDING</character> <dialogue>MORNING</dialogue> <scene_description>Andy steps out of his apartment and unlocks his bicycle. His neighbors, JOE and SARA, in their mid-eighties, wave to him as he pedals off.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - MORNING</stage_direction> <scene_description>Andy, dressed in khaki slacks and a white dress shirt, rides his bicycle to work. ESTABLISHING SHOT</scene_description> </scene> <scene> <stage_direction>EXT. CIRCUIT CITY - MORNING</stage_direction> <scene_description>Andy rides his bike into the parking loc of a mini-mall. The mini-mall consists of a dozen stores on two stories. • V There is a Barnes and Noble book store, a Daily Grill restaurant, a nail salon, a children's gym and a video store, but the centerpiece is an enormous Circuit City.</scene_description> <character>INT.</character> <dialogue>CIRCUIT</dialogue> <scene_description>Andy walks inside. He says hello to people as he heads toward the stock room. Everyone politely says hello back but it is clear he has no close relationships here. He takes his place at a desk which is in an opening between the showroom and the stock room. People come ·to him with their receipts to get their items pulled from the stock room and delivered to their cars.</scene_description> <character>INT.</character> <dialogue>CURCUIT CITY</dialogue> <scene_description>Andy is stamping a female CUSTOMER'S receipt. PUNJAB, an Indian salesman, is standing nearby.</scene_description> <character>PUNJAB</character> <dialogue>It has been an honor doing business with you. Enjoy your new television. Watch River Runs Through It, it looks amazing on this thing.</dialogue> <character>ANDY</character> <dialogue>Cal will you please help this woman bring her stereo to her car.</dialogue> <scene_description>CAL, a pudgy twenty two year-old white man walks out of the stock room.</scene_description> <character>CAL</character> <parenthetical>(not meaning it)</parenthetical> <dialogue>I'd love to.</dialogue> <scene_description>He picks up the customer's television and walks with the woman to her car.</scene_description> <character>INT.</character> <dialogue>CIRCUIT</dialogue> <scene_description>Andy is walking across the showroom floor, headed for the bathroom. He is stopped by JAY, a tall, handsome 25 year-old salesman, who is working a 40 year-old black female customer. l •</scene_description> <character>JAY</character> <dialogue>Andy knows all about this stuff. What is the main reason a flat- screen is better than a rear- projection?</dialogue> <character>ANDY</character> <dialogue>The viewing angle is far better on a flat-screen. Due to the liquid crystal display, you can watch it from any part of the room, and it's a much better resolution.</dialogue> <character>JAY</character> <dialogue>So sure, you'll save a couple bucks with rear-projection, but you have more than two people over, they're gonna have to sit on your lap to watch TV. But maybe you like that!</dialogue> <scene_description>The woman laughs. Andy keeps walking. A very attractive young woman steps in his path. He looks terrified.</scene_description> <character>ATTRACTIVE WOMAN</character> <dialogue>Could you help me?</dialogue> <character>ANDY</character> <dialogue>No.</dialogue> <character>ATTRACTIVE WOMAN</character> <dialogue>But you work here.</dialogue> <character>ANDY</character> <dialogue>Yes. I'm not a salesman. I stamp invoices.</dialogue> <character>ATTRACTIVE WOMAN</character> <dialogue>I just have a quick question about CD players.</dialogue> <character>ANDY</character> <parenthetical>(quickly)</parenthetical> <dialogue>Punjab or Abujay will be happy to help you. They're very nice. I'm on a bathroom break.</dialogue> <scene_description>DAVID, a young, shorter salesman quickly runs up to the woman.</scene_description> <character>DAVID</character> <dialogue>May I help you?</dialogue> <scene_description>\... •</scene_description> </scene> <scene> <stage_direction>........ ATTRACTIVE WOMAN</stage_direction> <scene_description>Are you Punjab? Punjab walks over.</scene_description> <character>PUNJAB</character> <dialogue>I am Punjab. I am here to serve you.</dialogue> <character>DAVID</character> <dialogue>I was talking to her.</dialogue> <character>PUNJAB</character> <dialogue>I am Punjab, I am here to serve you.</dialogue> <scene_description>Andy keeps walking. David and Punjab get into it.</scene_description> <character>INT.</character> <dialogue>BATHROOM</dialogue> <scene_description>Andy breathes deeply, recovering from the interaction with this pretty woman.</scene_description> <character>INT.</character> <dialogue>CIRCUIT</dialogue> <scene_description>Andy is at his post. David, Jay, and Cal are a few feet away, having a conversation.</scene_description> <character>CAL</character> <dialogue>What about Andy?</dialogue> <character>JAY</character> <dialogue>He doesn't have any money.</dialogue> <character>DAVID</character> <dialogue>Well, we can't play poker without at least four guys.</dialogue> <character>JAY</character> <dialogue>Al1 right. But he's gotta bring at least 50 bucks, or it's not worth it.</dialogue> <parenthetical>(to Andy)</parenthetical> <dialogue>Hey Andy, are you busy tonight?</dialogue> <scene_description>Andy is taken aback at the question. Although he's friendly with them, they never invite him out to social engagements-</scene_description> <character>ANDY</character> <dialogue>Do we have to break down the Sony truck?</dialogue> <scene_description>\... •</scene_description> <character>DAVID</character> <dialogue>No, we 1 re gonna play poker. You wanna play poker?</dialogue> <character>ANDY</character> <dialogue>Uh, yeah, sure, that'd be cool.</dialogue> <character>JAY</character> <dialogue>You know how to play?</dialogue> <character>ANDY</character> <dialogue>I play on-line.</dialogue> <character>DAVID</character> <dialogue>Well it's just like that, except with real people.</dialogue> <character>ANDY</character> <parenthetical>(trying to be hip)</parenthetical> <dialogue>So, uh, where's this gOing down?</dialogue> <character>DAVID</character> <dialogue>My house. I'll get you the address.</dialogue> <character>ANDY</character> <dialogue>Cool, very cool. Should I bring some stogies? Some liquor?</dialogue> <character>DAVID</character> <dialogue>Could you stop off at Boston Market and pick us up some chicken? Three extra crispy, one original, two with fries, and two with mashed potatoes, extra gravy. Each one with corn on the cob.</dialogue> <character>ANDY</character> <dialogue>Okay.</dialogue> <character>DAVID</character> <dialogue>I'm just fucking with you.</dialogue> <character>ANDY</character> <dialogue>I know. You think I'll pick up you losers chicken? I'll see you guys at the game .... but do you need food?</dialogue> <character>DAVID</character> <dialogue>No.</dialogue> <scene_description>\.,, • tt .. I hope he</scene_description> <character>JAY</character> <dialogue>has money.</dialogue> <character>INT.</character> <dialogue>DAVID'S</dialogue> <scene_description>The four are playing poker. Most of the chips are in front of Andy, who is a little too dressed up for this event.</scene_description> <character>JAY</character> <dialogue>How much fuckin' online poker do you play?</dialogue> <character>ANDY</character> <dialogue>Just an hour or two a night. When I'm not on Sims.</dialogue> <scene_description>CUT TO:</scene_description> <character>INT.</character> <dialogue>DAVID'S</dialogue> <character>DAVID</character> <dialogue>(throws down ONE chip} Well, Andy, at least I feel like I 1 ve gotten to know you better, since you spent the last three hours fucking me in the ass.</dialogue> <scene_description>They all laugh.</scene_description> <character>ANDY</character> <dialogue>(giggling} I didn't fuck you in the ass. Guys, this has been fun. Give me a call anytime, I'm wide open. CAL</dialogue> <scene_description>You know what a gentleman does after he beats other gentleman? He takes them out for liquor.</scene_description> <character>ANDY</character> <dialogue>I'm game.</dialogue> <character>JAY</character> <dialogue>I have to get out of here. I'm meeting Ellen.</dialogue> <character>CAL</character> <dialogue>A little late night action.</dialogue> <scene_description>\.,, • • (.\_\_ So you just night</scene_description> <character>DAVID</character> <dialogue>go to her place</dialogue> <scene_description>and bone her and leave? at And she has no problem with that?</scene_description> <character>JAY</character> <dialogue>No, she loves it.</dialogue> <character>DAVID</character> <dialogue>How come I can't get one of those?</dialogue> <character>JAY</character> <dialogue>Do you really want me to explain it to you? Because I will.</dialogue> <character>DAVID</character> <dialogue>Shut up.</dialogue> <character>JAY</character> <dialogue>This girl is the best. She will do anything. There is no filter between what she wants and doing it. Everything is on the table. She-is-game.</dialogue> <character>ANDY</character> <dialogue>Sign me up for that. I 1 m in!</dialogue> <character>CAL</character> <dialogue>I have got to get laid. It's been too long.</dialogue> <character>JAY</character> <dialogue>How long?</dialogue> <character>CAL</character> <dialogue>Like four months.</dialogue> <character>DAVID</character> <dialogue>Who was the last one?</dialogue> <character>CAL</character> <dialogue>Jill. She was awesome. She had these huge titties. Oh, I used to love to bite them. I didn't even want to have sex, I could bite those titties all night.</dialogue> <character>DAVID</character> <dialogue>What happened to her?</dialogue> <scene_description>\., •</scene_description> <character>CAL</character> <dialogue>She was an asshole. She was mean. She was a miserable person, but I so regret breaking up with her.</dialogue> <character>DAVID</character> <dialogue>Why did you break up with her?</dialogue> <character>CAL</character> <dialogue>I felt like we were in different places in our lives.</dialogue> <character>JAY</character> <dialogue>Yeah, you were in this place where you were having trouble getting a job and she was in this place where she hated your fat ass!</dialogue> <character>CAL</character> <dialogue>Basically. I miss those titties.</dialogue> <character>ANDY</character> <dialogue>Titties are the best.</dialogue> <character>DAVID</character> <dialogue>I had this girlfriend, she loved the fellatio. Anywhere we went, she would want to do it.</dialogue> <character>CAL</character> <dialogue>Why didn't you marry her?</dialogue> <character>DAVID</character> <dialogue>We went to see Ace Ventura: Pet Detective. And she's going for it, and the guy who worked there saw us, but he didn't stop it, he just watched. It was so gross. And then I couldn't finish ...</dialogue> <character>JAY</character> <dialogue>wait a second, was that Ace one or Ace two?</dialogue> <character>DAVID</character> <dialogue>It was the first one.</dialogue> <character>JAY</character> <dialogue>This story is over ten years old. You don't have a sex story that happened in this millennium.</dialogue> <scene_description>~ • •'"'" Fuck That you. is</scene_description> <character>DAVID</character> <dialogue>CAL</dialogue> <scene_description>lame.</scene_description> <character>ANDY</character> <dialogue>Ah, unbelievable. So lame.</dialogue> <character>DAVID</character> <dialogue>Then you give us a good sex story, Andy.</dialogue> <scene_description>Andy is stopped in his tracks.</scene_description> <character>ANDY</character> <dialogue>I don't kiss and tell.</dialogue> <character>JAY</character> <dialogue>Come on, give us a good, dirty one. The dirtiest thing you've ever done.</dialogue> <character>ANDY</character> <dialogue>I can't. I'm a gentleman.</dialogue> <character>CAL</character> <dialogue>Give me a break. You're a freak. I can tell.</dialogue> <character>DAVID</character> <dialogue>Lay one on us.</dialogue> <character>ANDY</character> <parenthetical>(after a breath)</parenthetical> <dialogue>Ok ... well .... I went with this girl, she loved having sex. She was so into it. We would have sex and she'd be screaming, "I love it . " It was so dirty. We had sex in every room in the house. The bathroom. It was like you guys were saying. She wanted to do it on the kitchen table. I came home and she was on the kitchen table naked</dialogue> <scene_description>'cause she just wanted me to nail her ...</scene_description> <character>DAVID</character> <dialogue>And did you nail her?</dialogue> <scene_description>~ •</scene_description> <character>ANDY</character> <dialogue>I nailed her so bad. We were swinging from the chandelier. She was crazy. It was never enough with her. Never enough.</dialogue> <character>JAY</character> <dialogue>What was her name?</dialogue> <character>ANDY</character> <dialogue>Tan-dra. Man it was so crazy.</dialogue> <character>CAL</character> <dialogue>Sounds crazy.</dialogue> <character>ANDY</character> <dialogue>I am embarrassed to even talk about it. God, I was really into it, too. It was so much fun.</dialogue> <character>DAVID</character> <dialogue>Did you like to talk during sex?</dialogue> <character>ANDY</character> <dialogue>She was talking the whole time. I was hitting it big time. Just hitting it. She could barely walk the next day. Me so horny.</dialogue> <scene_description>They all laugh, and look at each other, realizing Andy is full of shit.</scene_description> <character>JAY</character> <dialogue>So you really used to do her?</dialogue> <character>ANDY</character> <dialogue>Oh, I did her so bad.</dialogue> <character>JAY</character> <dialogue>What were her tits like?</dialogue> <character>ANDY</character> <dialogue>They were good. Good tits.</dialogue> <character>CAL</character> <dialogue>Her nipples?</dialogue> <character>ANDY</character> <dialogue>Yeah. Nipples.</dialogue> <character>DAVID</character> <dialogue>What were they like?</dialogue> <scene_description>~ • tt.. They were</scene_description> <character>ANDY</character> <dialogue>good ones.</dialogue> <character>JAY</character> <dialogue>Give us some details. Were they long nips? Flat nips? Dark areolas? Were they big silver dollar nips?</dialogue> <character>ANDY</character> <dialogue>They were like a dollar. Like ten dollars.</dialogue> <character>DAVID</character> <dialogue>What?</dialogue> <character>CAL</character> <dialogue>Huh?</dialogue> <character>ANDY</character> <dialogue>Like ten times a night.</dialogue> <character>DAVID</character> <dialogue>Ten times.</dialogue> <character>ANDY</character> <dialogue>Maybe twenty.</dialogue> <character>JAY</character> <dialogue>Do you last a long time?</dialogue> <character>ANDY</character> <dialogue>Oh yeah.</dialogue> <character>CAL</character> <dialogue>How long?</dialogue> <character>ANDY</character> <dialogue>An hour.</dialogue> <character>DAVID</character> <dialogue>Of screwing.</dialogue> <character>ANDY</character> <dialogue>Yeah. Sometimes a little less.</dialogue> <character>JAY</character> <dialogue>So ten times would take at least</dialogue> <scene_description>ten hours. Do you rest in between?</scene_description> <character>ANDY</character> <dialogue>No. I don't need to.</dialogue> <scene_description>4...- •</scene_description> <character>DAVID</character> <dialogue>You start right up.</dialogue> <character>ANDY</character> <dialogue>Why not. Why waste time?</dialogue> <character>CAL</character> <dialogue>So sex with you could take a whole day.</dialogue> <character>ANDY</character> <dialogue>Yeah. More even.</dialogue> <character>DAVID</character> <dialogue>Do you use protection?</dialogue> <character>ANDY</character> <dialogue>Sometimes. I don't really need to.</dialogue> <character>CAL</character> <dialogue>Do you use a rubber, or a sponge?</dialogue> <character>ANDY</character> <dialogue>I always use a sponge. Sometimes two at a time. What do you guys use?</dialogue> <character>ALL</character> <dialogue>Sponge.</dialogue> <character>JAY</character> <dialogue>Did you get a lot of back door action?</dialogue> <character>DAVID</character> <dialogue>Come on, that's enough.</dialogue> <character>ANDY</character> <dialogue>That's cool. We did back door. Side door. We were doing all the doors.</dialogue> <parenthetical>(joking)</parenthetical> <dialogue>And a couple of windows.</dialogue> <character>JAY</character> <dialogue>You have no idea what we're talking about.</dialogue> <character>ANDY</character> <dialogue>Sure I do.</dialogue> <scene_description>\., •</scene_description> <character>JAY</character> <parenthetical>(laughing)</parenthetical> <dialogue>Oh my God.</dialogue> <character>ANDY</character> <dialogue>What?</dialogue> <character>JAY</character> <dialogue>You're a fucking virgin.</dialogue> <character>ANDY</character> <dialogue>What? Shut up. Yeah, okay. Tell Tandra that. If.I'm a virgin Tandra's a virgin, too.</dialogue> <character>JAY</character> <dialogue>You are.</dialogue> <character>ANDY</character> <dialogue>Not since I was ten, my friend.</dialogue> <character>JAY</character> <dialogue>Unbelievable.</dialogue> <character>ANDY</character> <dialogue>Ha. That's funny. This is fun. When did you guys lose your virginity?</dialogue> <character>JAY</character> <dialogue>No, no, no. You've never popped your cherry.</dialogue> <character>DAVID</character> <dialogue>Leave him alone.</dialogue> <character>JAY</character> <dialogue>What?</dialogue> <character>DAVID</character> <dialogue>Don't be mean.</dialogue> <character>JAY</character> <dialogue>I m not</dialogue> <scene_description>being mean. He's a virgin. I want to help him. I want to get him laid.</scene_description> <character>CAL</character> <dialogue>Yes. Let's get Andy laid.</dialogue> <character>ANDY</character> <dialogue>Come on guys. Very funny.</dialogue> <scene_description>•""</scene_description> <character>JAY</character> <dialogue>I am gonna make it my mission to get you laid.</dialogue> <character>DAVID</character> <dialogue>Be cool.</dialogue> <character>JAY</character> <dialogue>I am gonna be Andy's best friend. I'm Andy's pimp. We're gonna change your life.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ANDY'S APARTMENT</stage_direction> <scene_description>He is pacing around furiously. It looks like he is talking to his unwrapped action figures.</scene_description> <character>ANDY</character> <dialogue>They know, they know, they know. They'll forget by tomorrow. They were just screwing around.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Oh no! Dammit. Oh no. Oh no.</dialogue> <character>INT.</character> <dialogue>CIRCUIT CITY - NEXT DAY</dialogue> <scene_description>Andy walks in, hoping nobody remembers.</scene_description> <character>ANDY</character> <dialogue>Good morning, David.</dialogue> <character>DAVID</character> <dialogue>Morning, Andy.</dialogue> <character>11.NDY</character> <dialogue>Good morning, Cal.</dialogue> <character>CAL</character> <dialogue>Good morning.</dialogue> <scene_description>He sees Jay. Oh no.</scene_description> <character>ANDY</character> <dialogue>Jay.</dialogue> <character>JAY</character> <dialogue>Morning, Andy.</dialogue> <scene_description>\.., • Andy smiles. They forgot. It is in the past. Haziz walks up to Andy.</scene_description> <character>ANDY</character> <dialogue>Morning, Haziz.</dialogue> <character>HAZIZ</character> <dialogue>We've got to get you some pussy.</dialogue> <parenthetical>(turns to female salesman)</parenthetical> <dialogue>This boy needs to get laid.</dialogue> <character>ANDY</character> <dialogue>Good morning, Debra.</dialogue> <scene_description>Andy runs to the stockroom, and closes the door, and breathes deeply, almost hyperventilating. Jay walks in.</scene_description> <character>JAY</character> <dialogue>Tonight, after work, you're coming out with us. And it's gonna happen.</dialogue> <scene_description>He exits. Andy is white as a ghost.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>Andy is running down the street at full speed. We see David is chasing him. He finally catches up to him on the median strip of Ventura Blvd.</scene_description> <character>DAVID</character> <dialogue>Andy, stop. Just talk to me. You're gonna get killed out here.</dialogue> <scene_description>They sit on the center divider.</scene_description> <character>ANDY</character> <dialogue>I don't want to go out with you guys.</dialogue> <character>DAVID</character> <dialogue>Just relax, you don't have to do anything.</dialogue> <character>ANDY</character> <dialogue>I'm busy tonight. I have plans.</dialogue> <character>DAVID</character> <dialogue>You don't have to go out with us tonight if you don't want to.</dialogue> <scene_description>\.., •</scene_description> <character>ANDY</character> <dialogue>I'm forty years old, you can't tell me what to do.</dialogue> <character>DAVID</character> <dialogue>Andy. Just relax.</dialogue> <character>ANDY</character> <dialogue>This is bullshit. This is total bullshit, man.</dialogue> <character>DAVID</character> <dialogue>I'm sorry.</dialogue> <character>ANDY</character> <dialogue>You've invaded my privacy. This isn't funny. It's my life. I'm fine. My life is fine.</dialogue> <character>DAVID</character> <dialogue>Okay. It's fine. We just thought, maybe you needed a little push.</dialogue> <character>ANDY</character> <dialogue>I don't need a push. You ever think that some people find sex sacred? It's not a game. This is a choice.</dialogue> <character>DAVID</character> <dialogue>To be a virgin. I'm sorry. I didn't realize you were so religious.</dialogue> <character>ANDY</character> <dialogue>Well, I am. Okay I'm not. But it's my own personal choice.</dialogue> <character>DAVID</character> <dialogue>Okay, but why would you make that choice?</dialogue> <scene_description>Andy starts crying, his is mouth open in a silent scream, but no noise come out.</scene_description> <character>DAVID</character> <dialogue>Breathe Andy, breathe.</dialogue> <character>ANDY</character> <dialogue>There 1 s more to life than sex. I don 1 t need sex. Why is that so</dialogue> <scene_description>...., important big deal? to everyone? What's the • ~-- DAVID If you're happy with the way your life is, then fine, but you have to ask yourself, are you happy? Don't you ever wonder if there's something more out there?</scene_description> <character>ANDY</character> <dialogue>I lead a pretty full life.</dialogue> <character>QUICK FLASHES OF ANDY'S LIFE</character> <dialogue>--Running</dialogue> <dialogue>--Working out</dialogue> <dialogue>--Buying action figures</dialogue> <dialogue>--Building an elaborate model</dialogue> <dialogue>--Going to sleep. The clock says 9:15 PM.</dialogue> <character>BACK TO SCENE</character> <dialogue>ANDY</dialogue> <scene_description>What am I missing?</scene_description> <character>DAVID</character> <dialogue>I don't know. You're not just missing out on sex, you're missing out on relationships. How often do you even leave your apartment? What about friends and love and taking chances? And most of all, you're missing out on sex. What are you crazy, that's the best thing on earth. You can't live your entire life and not experience that. Hiding from that is shutting you down from everything else.</dialogue> <character>ANDY</character> <dialogue>You know, we've been working together for three years, and I think this is the first time we've ever had a conversation that lasted longer than fifteen seconds.</dialogue> <character>DAVID</character> <dialogue>See, good things are happening already.</dialogue> <scene_description>'-- •</scene_description> <character>ANDY</character> <dialogue>So what can I do?</dialogue> <character>DAVID</character> <dialogue>Corne out with us tonight. No pressure. We'll just have some fun.</dialogue> <character>ANDY</character> <dialogue>I don't want to have sex with anyone tonight.</dialogue> <character>DAVID</character> <dialogue>Don't worry. You won't have sex with anyone tonight.</dialogue> <character>EXT.</character> <dialogue>CITY STREET</dialogue> <scene_description>Andy is walking home. Everything he sees seems sexual. It is as if he has seen all of this for his entire life but never noticed it before. He sees- A normal looking middle aged WOMANwalking down the street. He looks away as if she is pure sex. A gorgeous eighteen year old GIRL with no bra and a low cut T- shirt. He turns away and tries to hide at a newsstand. He looks down. QUICK CUTS--every cover is of a gorgeous, busty woman. He walks away and stops at a bus stop, just wanting to get home. The bus pulls up and on the side of it is a billboard of a perfume ad with a naked man and a naked woman. We only see their bodies, no faces. It could not be dirtier. Andy panics and starts running down the street. As he runs the bus pulls out and is driving at the same rate of speed as Andy. He can not escape this dirty billboard no matter how fast he runs. Finally the bus stops at the next light and he loses it, but immediately a new bus drives parallel to him with an even dirtier billboard of a couple, bodies naked and intertwined, clearly doing something he's never done. Andy cuts right and starts running through a neighborhood. He cuts through houses and lawns. He sees two DOGS having furious sex on a lawn. He cuts into the woods and runs and runs . • 4,,,,</scene_description> <character>INT.</character> <dialogue>ANDY'S APARTMENT</dialogue> <scene_description>Andy runs in and closes the door. He lies down on his bed and turns on the TV. He channel surfs. Every commercial and program has something filthy on it. -A soap opera with people kissing. -A commercial for Viagra. Paris Hilton almost naked on Entertainment Tonight. -Teenagers making out on MTV. -A dirty rap video with tons of barely dressed women and a ripped rapper. He shuts the TV and closes his eyes as tightly as humanly possible. Suddenly we hear the sounds of his elderly neighbors laughing, then having very loud sex. The wall behind Andy bangs and shakes. Then stops. Then bangs and shakes even louder. Andy runs into the bathroom.</scene_description> <character>INT.</character> <dialogue>Andy turns on the water, in his ears and closes</dialogue> <character>BATHROOM - CONTINUOUS</character> <dialogue>flushes his eyes.</dialogue> <character>ANDY</character> <parenthetical>( to himself.)</parenthetical> <dialogue>Everything's gonna be ok. Everything is gonna be ok.</dialogue> <character>INT.</character> <dialogue>BAR - NIGHT</dialogue> <scene_description>Jay, David, and Cal are talking to an overdressed Andy.</scene_description> <character>JAY</character> <dialogue>David told me to be sensitive, so I am going to be sensitive with you. It is important that you lose your virginity, you are forty years old. Enough is enough. This is a hump you just need to get over. Are you ready to try?</dialogue> <scene_description>• ~-</scene_description> <character>ANDY</character> <dialogue>David said I didn't have to have sex tonight.</dialogue> <character>JAY</character> <dialogue>David was wrong. You do.</dialogue> <character>DAVID</character> <dialogue>Come on, Jay.</dialogue> <character>ANDY</character> <dialogue>Tonight? No.</dialogue> <character>JAY</character> <dialogue>Yes, tonight. What's the difference between tonight and any other night?</dialogue> <character>ANDY</character> <dialogue>Ok, I'll try, but ...</dialogue> <character>CAL</character> <dialogue>It's easy. Just do what I do. Only hit on drunk chicks.</dialogue> <character>ANDY</character> <dialogue>I can't take advantage of someone when they're drunk.</dialogue> <character>CAL</character> <dialogue>It's not taking advantage of them. People drink so that they have an excuse to do the things they really want to do.</dialogue> <character>DAVID</character> <dialogue>That's why I drink ... and smoke pot ...</dialogue> <character>ANDY</character> <dialogue>I don't know. This doesn't feel right.</dialogue> <character>JAY</character> <dialogue>Yes, you do know. You've got to get this behind you. And it all starts now.</dialogue> <character>CUT</character> <dialogue>TO:</dialogue> <scene_description>l. •</scene_description> <character>INT.</character> <dialogue>BAR - LATER</dialogue> <scene_description>Andy, Jay, David and Cal are huddled. Jay hands Andy a beer.</scene_description> <character>JAY</character> <dialogue>Just walk up to a woman, but if she's not drunk, just move on. It's not worth wasting your time.</dialogue> <scene_description>Andy walks around the bar, scoping out women.</scene_description> <character>ANGLE ON</character> <dialogue>A table filled with pretty, young women.</dialogue> <scene_description>WOMAN#l I just need to get laid tonight. It's as simple as that.</scene_description> <character>WOMAN#2</character> <dialogue>You've been working so hard at work, you deserve to just have some fun. You never do anything wild.</dialogue> <scene_description>WOMAN#l L Tonight nice I'm going guy that gonna take wild. even talks him home and The first to me 1 I'm rock his world.</scene_description> <character>WOMAN#2</character> <dialogue>You go, girl.</dialogue> <scene_description>Andy walks up to the table.</scene_description> <character>ANDY</character> <dialogue>Good evening, ladies.</dialogue> <character>LADIES</character> <dialogue>Good evening. Hi.</dialogue> <scene_description>The other woman move off so Woman #1 can talk to Andy. They give her the eye like "this is the one."</scene_description> <character>ANDY</character> <dialogue>How are you doing tonight?</dialogue> <scene_description>WOMAN#l Great. And you?</scene_description> </scene> <scene> <stage_direction>..,</stage_direction> <character>ANDY</character> <dialogue>Never better. Can I buy you a few drinks?</dialogue> <scene_description>WOMAN#l I'm not really much of a drinker. But why don't you sit down?</scene_description> <character>ANDY</character> <dialogue>No thanks. It was nice to meet you though. Have a good night.</dialogue> <scene_description>He walks away. She doesn't understand what just happened.</scene_description> <character>ANDY</character> <parenthetical>(to David)</parenthetical> <dialogue>She wasn't drunk. Man, this is gonna be hard.</dialogue> <scene_description>CUT TO:</scene_description> <character>INT.</character> <dialogue>BAR·</dialogue> <scene_description>CLOSE UP: ANDY</scene_description> <character>ANDY</character> <dialogue>I like what I do, I just don't know if managing a stock room is what I dreamed of doing when i was in high school.</dialogue> <scene_description>We pull out and reveal that he is talking to a DRUNK WOMAN who is passed out, face down on the bar. David walks over.</scene_description> <character>DAVID</character> <parenthetical>(looks at the girl)</parenthetical> <dialogue>That I</dialogue> <scene_description>s drunk.</scene_description> <character>ANDY</character> <dialogue>Oh, ok.</dialogue> <character>DAVID</character> <dialogue>Come hang out with us. We're partying with these girls who are having a bachelorette party.</dialogue> <character>ANDY</character> <dialogue>Are men allowed at those?</dialogue> <scene_description>~ •</scene_description> <character>DAVID</character> <dialogue>Shut up. Come on.</dialogue> <scene_description>As Andy walks away, he turns to the drunk woman.</scene_description> <character>ANDY</character> <dialogue>It was nice talking to you. Have a good night.</dialogue> <character>INT.</character> <dialogue>BAR - LATER</dialogue> <scene_description>The guys are hanging out with eight drunk women, who are throwing their friend JILL a bachelorette party. The table is littered with empty glasses and filthy adult novelty items. Jay is playing with one of the vibrators. He talks into it like it is a phone.</scene_description> <character>JAY</character> <dialogue>Mr. President. We have a situation in the erection room.</dialogue> <scene_description>Everyone is laughing hysterically. Cal has edible underwear on his face and he is eating through it.</scene_description> <character>CAL</character> <dialogue>It tastes like chicken.</dialogue> <scene_description>They are laughing so hard, as only drunken people can laugh at semi-humorous jokes.</scene_description> <character>DAVID</character> <dialogue>This guy will eat underwear that's not even edible.</dialogue> <scene_description>They laugh. Andy puts a huge fake penis on his head, trying to join in on the fun.</scene_description> <character>ANDY</character> <dialogue>Hey, look at me. I have a huge penis on my head.</dialogue> <scene_description>They give him a look and a little chuckle, then go back to their business. ~ •</scene_description> </scene> <scene> <stage_direction>INT. BAR - LATER</stage_direction> <scene_description>It is a little quieter now. Everyone is a little drunk, except Andy who holds the same beer which he has not taken a sip out of. Andy is talking to a pretty blonde, NICKY.</scene_description> <character>NICKY</character> <parenthetical>(drunk)</parenthetical> <dialogue>The guy Robin's marrying, Jimmy, is such a good guy. I hated him for</dialogue> <scene_description>two years cause he cheated on this other friend of mine. But he's really changed. He's a good guy now.</scene_description> <character>ANDY</character> <dialogue>That's good that she's marrying a good guy.</dialogue> <character>NICKY</character> <dialogue>She deserves it. We all do. We've all been friends since we were six. Isn't that sick?</dialogue> <character>ANDY</character> <dialogue>That's nice to have good friends you've known for a long time.</dialogue> <character>NICKY</character> <dialogue>You have kind eyes.</dialogue> <character>ANDY</character> <dialogue>Thank you. You have--</dialogue> <scene_description>She kisses him hard on the mouth. Lots of tongue. When it ends, Andy looks like he doesn't know where he is.</scene_description> <character>NICKY</character> <dialogue>This is getting lame. Let's get out of here.</dialogue> <scene_description>Before Andy can say anything, she pulls him up and is walking him towards the exit. Andy looks back at his friends, who are so excited that they are high fiving and giving him the thumbs up.</scene_description> </scene> <scene> <stage_direction>EXT. BAR</stage_direction> <scene_description>ANDY and NICKY are getting into NICKY'S car.</scene_description> <character>NICKY</character> <dialogue>Are you drunk?</dialogue> <character>ANDY</character> <dialogue>No, not really.</dialogue> <character>NICK</character> <dialogue>Blow into this.</dialogue> <scene_description>NICKY holds up a rubber hose that is somehow attached to the dashboard.</scene_description> <character>ANDY</character> <parenthetical>(Not understanding.)</parenthetical> <dialogue>... Sure, OK.</dialogue> <scene_description>ANDY blows into the rubber tube. NICKY puts the keys in the ignition and starts the car.</scene_description> <character>NICKY</character> <dialogue>Thanks!</dialogue> <scene_description>Off of ANDY's confused look we cut to:</scene_description> <character>INT.</character> <dialogue>CAR</dialogue> <scene_description>NICKY is driving.</scene_description> <character>NICKY</character> <parenthetical>(mid-conversation)</parenthetical> <dialogue>.. . He's like, "You are such a 8-I-T- C-H," pardon my French, and I'm like, "Shut up, you loser.,, "I hate your guts." "I hate your fucking guts. 11 Pardon my French. You know what I mean? God, I hate people who are stupid assholes. They are such assholes. You know?</dialogue> <character>ANDY</character> <dialogue>Yeah, I hate that. Ass ...</dialogue> <character>NICKY</character> <dialogue>Who's your name again?</dialogue> <scene_description>NICKY .1,.s clearly drunk.</scene_description> <character>ANDY</character> <dialogue>Andy.</dialogue> <scene_description>'--- • •L Andy, Don't let</scene_description> <character>NICKY</character> <dialogue>me tell you something.</dialogue> <scene_description>ever be named Dan. Because Dan is a jerk name.</scene_description> <character>ANDY</character> <dialogue>Okay.</dialogue> <character>NICKY</character> <dialogue>I am Total Cereal. Dan is a bad person name. Dan rhymes with man and men jerk off, and he was a jerk off. You know what I mean?</dialogue> <character>ANDY</character> <dialogue>I think so.</dialogue> <scene_description>NICKY'S driving becomes increasingly erratic.</scene_description> <character>ANDY</character> <parenthetical>(noticeably uncomfortable)</parenthetical> <dialogue>So where do you live?</dialogue> <character>NICKY</character> <dialogue>Not with jerk-o. No fuckin' way, baby. I did my time. He's someone else's problem now ... Do you think I'm pretty?</dialogue> <scene_description>She turns to ask the question and runs through a red light. Two cars narrowly avoid a crash. ANDY is quickly appreciating the danger of this situation.</scene_description> <character>ANDY</character> <parenthetical>(reaction to near miss)</parenthetical> <dialogue>Oh, God. Yes. Crap.</dialogue> <character>NICKY</character> <dialogue>Look at me. You're not looking at me. Come on. Look at my face. Do you think I am pretty?</dialogue> <scene_description>NICKY is looking at ANDY. Her eyes don't even glance at the road. ANDY'S eyes are glued to the road, filled with abject terror.</scene_description> <character>NICKY</character> <parenthetical>(screaming)</parenthetical> <scene_description>L • •L ANDY ( screaming)</scene_description> <character>YOU'RE PRETTY. YOU'RE SO PRETTY.</character> <scene_description>I:</scene_description> <character>NICKY</character> <dialogue>Thank you. You know if you men would just offer up a nice compliment like that every once in a while, there would be no poverty.</dialogue> <scene_description>ANDY looks puzzled.</scene_description> <character>NICKY</character> <dialogue>You're cute. Kiss my mouth.</dialogue> <scene_description>ANDY doesn't move</scene_description> <character>NICKY</character> <dialogue>Get over here.</dialogue> <scene_description>NICKY forcefully pulls him to her. ANDY is now practically sitting on NICKY'S lap. He looks down the road, she looks at him.</scene_description> <character>NICKY</character> <dialogue>I like you. You're not a jag ...</dialogue> <scene_description>She pauses to vomit a little in her mouth.</scene_description> <character>NICKY</character> <dialogue>... Off.</dialogue> <scene_description>NICKY kisses him.</scene_description> <character>ANDY</character> <dialogue>Maybe I should drive.</dialogue> <character>NICKY</character> <parenthetical>(playfully)</parenthetical> <dialogue>You don't know where I live.</dialogue> <character>ANDY</character> <dialogue>You could tell me.</dialogue> <character>NICKY</character> <dialogue>Hey, that's awfully forward of you.</dialogue> <scene_description>NICKY begins tonguing ANDY'S ear.</scene_description> <character>ANDY</character> <parenthetical>(laughing)</parenthetical> <dialogue>That tickles!</dialogue> <scene_description>ANDY is now trying to help NICKY steer the car. She is giggling while tonguing, he alternates between laughter and paralyzing fear as the car narrowly avoids striking pedestrians, other cars, trees etc. Finally, NICKY looks up.</scene_description> <character>NICKY</character> <parenthetical>(casually)</parenthetical> <dialogue>Oh, this is me.</dialogue> <scene_description>NICKY pulls the steering wheel hard and the car does a complete 360 and comes screeching to a halt between two parked cars, in front of a nondescript apartment building.</scene_description> <character>NICKY</character> <dialogue>We're here.</dialogue> <scene_description>NICKY looks deep into ANDY's eyes.</scene_description> <character>NICKY</character> <dialogue>My Mom's staying over tonight, so let's just do it here.</dialogue> <scene_description>NICKY starts to take off her shirt.</scene_description> <character>ANDY</character> <dialogue>Maybe I should be moseying home.</dialogue> <scene_description>NICKY starts to cry. She then abruptly begins to laugh. Then she vomits on ANDY.</scene_description> <character>NICKY</character> <dialogue>I am so sorry. I think I ate some bad shellfish sandwich.</dialogue> <scene_description>NICKY continues to take off her clothes and kiss Andy.</scene_description> <character>NICKY</character> <dialogue>Hurry up, then we can get breakfast.</dialogue> <scene_description>ANDY is clearly repulsed and traumatized.</scene_description> <character>ANDY</character> <dialogue>I really need to get going.</dialogue> <scene_description>We see that NICKY has vomit on her cheek. ~ •</scene_description> <character>NICKY</character> <dialogue>Ok, fine, your loss.</dialogue> <character>ANDY</character> <dialogue>I'm just gonna go, I think. Thank you. I had a really nice time.</dialogue> <character>NICKY</character> <dialogue>I'll give you a lift.</dialogue> <scene_description>NICKY puts the car in drive and smashes into the parked car three feet in front. The second car hits a fire hydrant which then blasts water through the open window of a nearby apartment.</scene_description> <character>NICKY</character> <dialogue>Oh my God! I can't believe that I smashed my neighbor's car, and that his car ran over the fire hydrant, and that the fire hydrant ruined the inside of that apartment ... not again. You have to switch places with me.</dialogue> <character>ANDY</character> <dialogue>What?</dialogue> <character>NICKY</character> <dialogue>If this goes on my record, I'll lose my licence, I won't be able to get to work, I'll lose my job.</dialogue> <scene_description>NICKY starts to cry again.</scene_description> <character>NICKY</character> <dialogue>Please . .. PLEASE l PLEASE. . . Mr. \\Not Dan Guy. 11</dialogue> <scene_description>In the distance, we hear sirens and see the glow of flashing lights.</scene_description> <character>NICKY</character> <dialogue>Just change seats with me. Please,</dialogue> <scene_description>"Not Dan Guy. "</scene_description> <character>ANDY</character> <dialogue>I don't want to get into trouble.</dialogue> <character>NICKY</character> <dialogue>You won't "Not Dan, 11</dialogue> <scene_description>you won't. Do you have a record? ~ • • ~ No ...</scene_description> <character>NICKY</character> <dialogue>Then you'll be fine, believe me, I know how this works. They'll act all serious and scary, and then they'll let you off with a warning.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And don't act suspicious, there's a gun under your seat. It's my ex's.</dialogue> <scene_description>They quickly switch seats. A POLICE OFFICER leans his head into the car.</scene_description> <character>ANDY</character> <dialogue>Good evening, Officer.</dialogue> <character>POLICE OFFICE</character> <dialogue>Everyone alright here?</dialogue> <character>NICKY</character> <dialogue>He was driving the car. He said he was fine to drive.</dialogue> <parenthetical>(to Andy)</parenthetical> <dialogue>Liarl</dialogue> <scene_description>Off of Andy's shocked look we ...</scene_description> <character>INT.</character> <dialogue>HOLDING CELL - NIGHT</dialogue> <scene_description>The cell is small and is packed with at least thirty hardcore- looking criminals. We hear them cursing at each other. It sounds like a gang fight is about to explode. The camera pans across the faces and finally finds Andy, looking terrified and slightly bruised.</scene_description> <character>INT.</character> <dialogue>CIRCUIT</dialogue> <scene_description>Andy is in a rage as he complains to David, Jay and Cal--who can't stop laughing.</scene_description> <character>ANDY</character> <dialogue>It's not funny.</dialogue> <character>DAVID</character> <dialogue>Tf it wasn't you, you would admit</dialogue> <scene_description>..., it was funny. • L,\_</scene_description> </scene> <scene> <stage_direction>. ANDY</stage_direction> <scene_description>You know why it happened? You don't hit on drunk girls. Karma. It's not right.</scene_description> <character>CAL</character> <dialogue>It's so right.</dialogue> <character>ANDY</character> <dialogue>There's got to be a better way that works.</dialogue> <character>CAL</character> <dialogue>I haven't found it.</dialogue> <character>JAY</character> <dialogue>we didn't tell you to switch seats with her when the cops came.</dialogue> <character>ANDY</character> <dialogue>I was trying to be a gentleman.</dialogue> <character>DAVID</character> <dialogue>Why did you even let her drive in the first place?</dialogue> <character>ANDY</character> <dialogue>Because I wasn't thinking straight. You got me so revved up about</dialogue> <parenthetical>(whispers)</parenthetical> <dialogue>Having sex</dialogue> <parenthetical>(normal voice)</parenthetical> <dialogue>That I didn't use my brain.</dialogue> <character>CAL</character> <dialogue>Sounds like you didn't use anything else. Did anything eventful happen?</dialogue> <character>ANDY</character> <dialogue>She threw up on me.</dialogue> <scene_description>They explode with laughter.</scene_description> <character>ANDY</character> <dialogue>Keep laughing, because this is over.</dialogue> <character>JAY</character> <dialogue>Easy. No it's not. We just need a new approach.</dialogue> </scene> <scene> <stage_direction>,,,</stage_direction> <scene_description>•L-. DAVID How about ... and I know this sounds crazy .. we set him up with girls that haven't been drinking heavily?</scene_description> <character>JAY</character> <dialogue>I don't. know.</dialogue> <character>ANDY</character> <dialogue>Well I do. I want to meet a nice girl. Maybe even someone I actually like. I am not an animal. I do not want to prey on people. I want to find someone who will like me for who I am.</dialogue> <character>JAY</character> <dialogue>First of all I think that's a mistake. But if that's what you want, then we are gonna have to make some changes with you. Some real changes.</dialogue> <scene_description>MUSIC UP: MONTAGEOF ANDY GETTING A MAKEOVER</scene_description> <character>INT.</character> <dialogue>HAIR SALON - DAY</dialogue> <scene_description>Andy is getting a haircut. When he looks at his haircut, it is meant to be short and a little European, but the coolness of the haircut makes him look silly. The guys look at it and smile. Andy looks happy with it.</scene_description> <character>INT.</character> <dialogue>HAIR WAXING STATION - DAY</dialogue> <scene_description>Andy lays on his stomach on a table. A WOMANpours hot wax on his back, lets it dry for a moment, then RIPS it off -- leaving a huge strip of whiter-than-white skin in the middle of his hairy back. QUICK CUTS \*She strips off several more hunks of hair from his back and chest. \*We see tears of pain coming down Andy 1 s face. This could not hurt more. .., \*Finally about to Andy 1 red faced pull off a huge and miserable, strip. stops her as she is He gets up and starts putting on his shirt. Only two thirds of his body hair has been removed, and he looks insane.</scene_description> <character>INT.</character> <dialogue>CHESS KING MEN'S STORE - DAY</dialogue> <scene_description>Andy comes out of the dressing room wearing a Eurotrash shirt. The guys like it. He is a new man. CUT TO:</scene_description> <character>EXT. MINI MALL - DAY</character> <dialogue>Jay, Andy and David are walking to get coffees.</dialogue> <character>JAY</character> <dialogue>You look good.</dialogue> <character>DAVID</character> <dialogue>Better than good. Oddly good.</dialogue> <character>JAY</character> <dialogue>Now you need to learn how to talk to women.</dialogue> <character>ANDY</character> <dialogue>I get nervous and I lock up. I never know what to say.</dialogue> <character>JAY</character> <dialogue>The key is, you don't say anything. Make them talk.</dialogue> <character>ANDY</character> <dialogue>How do you do that?</dialogue> <character>JAY</character> <dialogue>Just ask them questions. Girls love talking. Let them.</dialogue> <character>ANDY</character> <dialogue>What if they ask me a question?</dialogue> <character>JAY</character> <dialogue>Then answer their question with a question.</dialogue> <character>DAVID</character> <dialogue>It makes you seem mysterious. You talk too much about yourself, you look needy. Put them on the spot.</dialogue> </scene> <scene> <stage_direction>..,</stage_direction> <scene_description>They walk by Brentano's book store. There is a pretty BLONDE in her mid-twenties putting books on a shelf.</scene_description> <character>JAY</character> <dialogue>Go give it a test run.</dialogue> <scene_description>Andy hesitates. David pushes him. Andy relents.</scene_description> <character>INT.</character> <dialogue>BRENTANO'S</dialogue> <scene_description>Andy walks inside and approaches the blonde woman. He looks at her .badge, which says BETH on it. She turns and sees Andy. He acts very confident.</scene_description> <character>BETH</character> <dialogue>Can I help you?</dialogue> <character>ANDY</character> <dialogue>I don't know. Can you?</dialogue> <scene_description>She smiles.</scene_description> <character>BETH</character> <dialogue>Are you looking for something?</dialogue> <character>ANDY</character> <dialogue>Is there something I should be looking for?</dialogue> <scene_description>She is instantly on the spot. For the first time, he actually has the upper hand.</scene_description> <character>BETH</character> <dialogue>We got a lot of great new books in. It depends on what you like?</dialogue> <character>ANDY</character> <dialogue>What do you like?</dialogue> <character>BETH</character> <dialogue>Me? I don't know.</dialogue> <character>ANDY</character> <dialogue>Do you know?</dialogue> <character>BETH</character> <dialogue>To tell you the truth, I don't read much. So I can recommend a book, but I would just be ... bullshitting.</dialogue> <scene_description>•"" •"'-· Thanks for</scene_description> <character>ANDY</character> <dialogue>not bullshitting me ... ?</dialogue> <character>BETH</character> <dialogue>Beth. And what's your name?</dialogue> <character>ANDY</character> <dialogue>It's Andrew.</dialogue> <character>BETH</character> <dialogue>Don't tell on me, Andrew.</dialogue> <character>ANDY</character> <dialogue>I won't. Unless you want to be told on?</dialogue> <scene_description>She smiles. He walks out, cock of the walk. His friends, who have been listening, walk out after him.</scene_description> <character>EXT. MINI MALL - MOMENTS LATER</character> <dialogue>JAY</dialogue> <scene_description>That was incredible.</scene_description> <character>ANDY</character> <dialogue>It felt good, not having to talk much.</dialogue> <character>DAVID</character> <dialogue>That's the key. Make them feel weird so you don't have to.</dialogue> <character>JAY</character> <dialogue>You like her?</dialogue> <character>ANDY</character> <dialogue>Yeah, but ... she can't be the one.</dialogue> <character>DAVID</character> <dialogue>Why not?</dialogue> <character>ANDY</character> <dialogue>'Cause it will be bad with the</dialogue> <scene_description>first one. What if I want to ... make her my girlfriend? She won't do that if it's ... terrible.</scene_description> <character>JAY</character> <dialogue>Now he wants a girlfriend? I like</dialogue> <scene_description>this. We're making some progress.</scene_description> </scene> <scene> <stage_direction>.,</stage_direction> <scene_description>• li.,.</scene_description> </scene> <scene> <stage_direction>.</stage_direction> <character>INT.</character> <dialogue>Andy is</dialogue> <character>ANDY'S HOME - DUSK</character> <dialogue>cleaning up the already clean apartment when the</dialogue> <scene_description>doorbell rings. He answers it. It is David.</scene_description> <character>ANDY</character> <dialogue>Hey. How did you know where I lived?</dialogue> <character>DAVID</character> <dialogue>It's on the staff list at work. What, you're not going to invite me in?</dialogue> <scene_description>Andy lets David in. David is carrying a plastic bag.</scene_description> <character>DAVID</character> <dialogue>I just came by because I was thinking, it seems like you have kind of shut yourself down ... sexually speaking, and I wanted to help you open yourself up again.</dialogue> <character>ANDY</character> <dialogue>I don't know. I am not into that.</dialogue> <character>DAVID</character> <dialogue>What? No. Are you serious?</dialogue> <character>ANDY</character> <dialogue>What?</dialogue> <character>DAVID</character> <dialogue>What did you mean?</dialogue> <character>ANDY</character> <dialogue>Nothing.</dialogue> <character>DAVID</character> <dialogue>I just brought some movies and stuff over that I thought would help you ... re-energize that side of yourself.</dialogue> <character>INT.</character> <dialogue>They are opposite</dialogue> <character>ANDY'S APARTMENT - DUSK</character> <dialogue>watching sides.</dialogue> <scene_description>•"' ON THE TV The dirty scene from The Blue Lagoon.</scene_description> <character>DAVID</character> <dialogue>This is good, huh?</dialogue> <scene_description>Andy looks really uncomfortable. CUT TO: ON THE TV The Brittany Spears "Slave" video. The Christina Aguilera "Dirty" video. Michael Douglas and Sharon Stone have sex in 'Basic Instinct.' Michael Douglas and Glenn Close have sex in 'Fatal Attraction.' Michael Douglas and Demi Moore have sex in 'Disclosure.' ANGLE ON ANDY AND DAVID</scene_description> <character>DAVID</character> <dialogue>This has got to be working for you. Do you feel the animal in you coming back to life? Is the bear waking up from his hibernation?</dialogue> <scene_description>Andy can't handle it anymore. He takes the tape out and hands it to Andy.</scene_description> <character>ANDY</character> <dialogue>I think you should go now. I am getting very uncomfortable.</dialogue> <character>DAVID</character> <dialogue>Don't act like I am the weird one. This is how God created us. To be horny. You are denying his wishes.</dialogue> <character>ANDY</character> <dialogue>I am not denying anything, I just think you should go now.</dialogue> <character>DAVID</character> <dialogue>Andy, you are ·1ike all of these action figures you collect.</dialogue> <scene_description>•" • L,. He pulls box. a GI Joe off</scene_description> <character>DAVID</character> <dialogue>of the wall. It is in its original</dialogue> <scene_description>You are all sealed up, in the original packaging. You've never let your true self out. David opens up the box. Andy squeals.</scene_description> <character>ANDY</character> <dialogue>You are not supposed to open that.</dialogue> <character>DAVID</character> <dialogue>Yes you are, so you can play with it.</dialogue> <scene_description>David pulls GI Joe's pants down, revealing a smooth flat crotch area.</scene_description> <character>DAVID</character> <dialogue>Don't wind up like Joe here. You stay in the box too long and your dick falls off.</dialogue> <character>ANDY</character> <dialogue>He never had a dick!</dialogue> <scene_description>David exits.</scene_description> <character>DAVID</character> <dialogue>You did. Once. What happened?</dialogue> <scene_description>Andy closes the door on him. He paces around his house. FLASHBACK We see Andy as a TEENAGER. He lays on a bed as a gorgeous young GIRL takes her top off and then jumps on him.</scene_description> <character>GIRL</character> <dialogue>I can't believe you haven't done this yet. You are gonna love it.</dialogue> <scene_description>She stops and suddenly looks disappointed and a little annoyed.</scene_description> <character>GIRL</character> <dialogue>Jesus Andy, what's the matter with you?</dialogue> <scene_description>•" • L- ANDY Nothing, I just got excited. Wait, it'll happen again.</scene_description> <character>GIRL</character> <dialogue>Not with me. I am not gonna have sex with someone who is done before I take my shirt off.</dialogue> <character>ANDY</character> <dialogue>I'm sorry.</dialogue> <character>GIRL</character> <dialogue>You should be. I was gonna fuck your brains out.</dialogue> <scene_description>PRESENT DAY Andy paces around. He realizes that David left some of his tapes there. He puts one in. ON THE TV The film 9 1/2 Weeks. ANGLE ON ANDY It is clear what he is about to do. ANGLE ON THE TV The sex scene with all the food plays out. CLOSE UP OF ANDY'S FACE He smiles, totally relaxed and relieved. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. APARTMENT - NIGHT</stage_direction> <scene_description>David is knocking on Andy's door. The door opens and Andy is standing there looking like he just had the greatest orgasm of his life. His face looks completely relaxed, he walks as if he has no energy left in his body.</scene_description> <character>DAVID</character> <parenthetical>(looks at him)</parenthetical> <dialogue>My God, I have been gone for one minute. I just got to my car and realized I forgot some of my movies.</dialogue> <scene_description>~ • • ~- I'll get</scene_description> <character>ANDY</character> <dialogue>them for you.</dialogue> <character>DAVID</character> <dialogue>No. You can keep them.</dialogue> <character>ANDY</character> <dialogue>I'm sorry.</dialogue> <character>DAVID</character> <dialogue>Nothing to be sorry about. Mission accomplished. You are alive!!!</dialogue> </scene> <scene> <stage_direction>EXT. ALL STAR SPORTS BAR - PARKING LOT</stage_direction> <scene_description>Andy, Jay, Cal and David are walking from their cars to the restaurant. There is a huge banner hanging on the building which says, "WELCOMESPEED DATERS."</scene_description> <character>ANDY</character> <dialogue>Speed dating? I don't know.</dialogue> <character>JAY</character> <dialogue>It 1 s just like regular dating, but you eliminate all of the fat. The talking and the waiting for the lights to come on to see if she's good looking.</dialogue> <character>DAVID</character> <dialogue>You get two minutes with each girl. You meet twenty girls in forty five minutes. It would take you a year to meet that many women.</dialogue> <character>CAL</character> <dialogue>More like a decade.</dialogue> <scene_description>He laughs and lifts his hand for a high five. Nobody high fives him.</scene_description> <character>CAL</character> <dialogue>That wasn't so bad.</dialogue> <character>ANDY</character> <dialogue>I'm scared. I don't do well under pressure.</dialogue> <character>JAY</character> <dialogue>Just do what I told you to do. l,.Bk</dialogue> <scene_description>... them spot . questions. Put them on the • ~- them to like feeling themselves.</scene_description> <character>JAY</character> <dialogue>You have a better</dialogue> <scene_description>awkward chance you if they and insecure of getting are about</scene_description> <character>CAL</character> <dialogue>All I need is for one girl in twenty to dig me. I can work with these odds.</dialogue> <character>DAVID</character> <dialogue>When it's over you tell them which girls you like, they tell you if any of those girls want to get to know you better. And if there are any matches you guys exchange phone numbers. Or emails. I'm not sure.</dialogue> <character>ANDY</character> <dialogue>Do you think this will work?</dialogue> <character>DAVID</character> <dialogue>Any girl who does this must be desperate, so we are in luck.</dialogue> <character>ANDY</character> <parenthetical>( to Jay)</parenthetical> <dialogue>Don 1 t you have a girlfriend?</dialogue> <character>JAY</character> <dialogue>Not today.</dialogue> </scene> <scene> <stage_direction>INT. ALL STAR SPORTS BAR - MOMENTSLATER</stage_direction> <scene_description>All of our guys are sitting at different tables. There are twenty tables and a man and a woman sit at each table. A BUZZER GOES OFF ON ANDY'S TABLE Andy is talking to a BITTER WO~,AN.</scene_description> <character>ANDY</character> <dialogue>Hi, my name is Andy. What's your name?</dialogue> <character>BITTER WOMAN</character> <dialogue>My last boyfriend was a cheating asshole. I hope you're not like that.</dialogue> <character>ANDY</character> <dialogue>I don't think I am.</dialogue> <character>BITTER WOMAN</character> <dialogue>I am just sick of the bullshit.</dialogue> <character>ANDY</character> <dialogue>I'm sick of the bullshit.</dialogue> <character>BITTER WOMAN</character> <dialogue>Fucking men.</dialogue> <character>ANDY</character> <dialogue>You are preaching to the converted.</dialogue> <scene_description>BUZZER GOES OFF All of the people move one table over, switching partners. Andy looks over to his friends, terrified.</scene_description> <character>CAL</character> <dialogue>{to Andy)</dialogue> <scene_description>Isn't this awesome?!</scene_description> <character>ANDY</character> <dialogue>No!</dialogue> <character>ON JAY'S</character> <dialogue>TABLE</dialogue> <scene_description>Jay talks to a gorgeous BORING GIRL.</scene_description> <character>BORING GIRL</character> <dialogue>But I don't see myself as a model, I am much more creative than that. But I like to travel and it gives me time to focus on my writing. I am writing a book about modeling.</dialogue> <scene_description>Jay stares at her body.</scene_description> <character>JAY</character> <dialogue>You are fascinating.</dialogue> <scene_description>She smiles. BUZZER</scene_description> <character>ON CAL'S</character> <dialogue>TABLE</dialogue> <scene_description>Cal is talking to an unattractive FIFTY YEAR OLD WOMAN who looks like a butch lesbian\_ He looks miserable. •"'</scene_description> <character>BU'I'CH LESBIAN</character> <dialogue>So I said to myself, maybe I do like guys. How will I know if I don't ever give it a shot? Maybe it's not as gross as I thought it was.</dialogue> <character>ON DAVID'S</character> <dialogue>TABLE</dialogue> <scene_description>David is talking to a BLACK WOMAN. For some reason he is talking like a gangster.</scene_description> <character>DAVID</character> <parenthetical>( like a Wigger)</parenthetical> <dialogue>And I don't play that shit, dog. I'm all about the benjamins. Treating my woman real good. Giving her the sweet bling bling. I don't mess with no ho's either. No bitches for this player. I love ladies with a capitol Lizz-el. What up with you?</dialogue> <scene_description>When the black woman replies she speaks in a normal, educated fashion.</scene_description> <character>BLACK WOMAN</character> <dialogue>Well, I see what you are saying, and I appreciate your candor, but I have one question. What the fuck are you talking about?!</dialogue> <character>BUZZER</character> <dialogue>ON CAL'S TABLE</dialogue> <dialogue>Cal is talking to a VERY YOUNG WOMAN. They are getting along great.</dialogue> <character>CAL</character> <dialogue>You are so sweet. We should go out some time.</dialogue> <character>VERY YOUNG GIRL</character> <dialogue>I would love to, but not on a school night. This is my junior year of high school and I need to keep my grades up if I want to get inco a good college.</dialogue> </scene> <scene> <stage_direction>...,</stage_direction> <scene_description>• ~- How old are</scene_description> <character>CAL</character> <dialogue>you?</dialogue> <character>VERY YOUNG GIRL</character> <dialogue>Sixteen.</dialogue> <parenthetical>(whispers)</parenthetical> <dialogue>I snuck in here, but don't tell anyone.</dialogue> <scene_description>Cal thinks for a beat, then reluctantly gets up and gets one of the people running the event.</scene_description> <character>CAL</character> <dialogue>I'm sorry, but this young lady should go. She's sixteen.</dialogue> <character>VERY YOUNG GIRL</character> <dialogue>What?!! What are you, a faggot?!</dialogue> <scene_description>She storms out. Cal looks bummed. BUZZER ON ANDY'S TABLES Andy is talking to a woman with tons of scary looking TATTOOS.</scene_description> <character>ANDY</character> <dialogue>I find tattoos to be beautiful. I like art.</dialogue> <character>TATTOO WOMAN</character> <dialogue>I guess you could say I am addicted. Guys like to kiss me, but they get really into kissing Sat.an.</dialogue> <scene_description>She reveals a tattoo of the devil on her upper chest.</scene_description> <character>CUT TO</character> <dialogue>QUICK CUTS of Andy's short dates. Each one cut off by the buzzer. There are transition shots of him changing tables.</dialogue> <character>GIRL</character> <dialogue>Do you like oral sex?</dialogue> <character>ANDY</character> <dialogue>By oral do you mean ... phone sex?</dialogue> <scene_description>•~ Buzzer .</scene_description> <character>ANDY</character> <dialogue>I guess I love Jesus. I don't not love him.</dialogue> <scene_description>Buzzer.</scene_description> <character>ANDY</character> <dialogue>I think I am kind. I am not mean. Oh, you want me to be mean?</dialogue> <scene_description>Buzzer.</scene_description> <character>ANDY</character> <dialogue>I think marijuana is fine. If you like it. I am not a regular smoker. I smoked it two times, about eleven years ago. Actually someone forced me to smoke it. By force.</dialogue> <scene_description>Buzzer.</scene_description> <character>ANDY</character> <dialogue>No, I have not had sex with two girls at the same time. Not two.</dialogue> <scene_description>Buzzer.</scene_description> <character>ANDY</character> <dialogue>I don't care if you have been to prison. As long as you learned your lesson.</dialogue> <scene_description>Buzzer.</scene_description> <character>ANDY</character> <dialogue>I like to cuddle. I think.</dialogue> <scene_description>Buzzer.</scene_description> <character>ANDY</character> <dialogue>I went to college. Jr. college. I did not get a degree. There were no degrees. Actually it was a technical college. Technically it was an arts and crafts class at summer camp.</dialogue> <scene_description>Buzzer.</scene_description> <character>ANDY</character> <dialogue>I never cheat on women. I am quite monogamous. To myself even .</dialogue> <scene_description>~ • • ~- Buzzer.·</scene_description> <character>ANDY</character> <dialogue>Do I think I could love you? It's hard to know now ...</dialogue> <scene_description>Buzzer.</scene_description> <character>ANDY</character> <dialogue>Do I snore? I don't know. How would you know?</dialogue> <scene_description>Buzzer.</scene_description> <character>ANDY</character> <dialogue>I like riding bikes. I ride my bike to work. (beat) I don't have a car.</dialogue> <scene_description>The woman gets up and leaves.</scene_description> <character>ANDY</character> <parenthetical>(genuinely concerned)</parenthetical> <dialogue>Are you okay?</dialogue> <scene_description>Buzzer.</scene_description> <character>ANDY</character> <dialogue>How much do I have in the bank? Are you allowed to ask me that? Ok, eleven thousand dollars.</dialogue> <scene_description>Buzzer ..</scene_description> <character>ANDY</character> <dialogue>Do I think women should work? If they want to. You don't want to work? Ever?</dialogue> <scene_description>Buzzer.</scene_description> <character>ANDY</character> <dialogue>I don't hit people, even if they do like it. I would feel weird about that. But I am not judging.</dialogue> <scene_description>Buzzer. ON DAVID'S TABLE David sits down at a table and sees his ex girlfriend, AMY. ... She looks pissed . 4t..</scene_description> <character>DAVID</character> <dialogue>I am just here to help out a friend.</dialogue> <character>AMY</character> <dialogue>Bullshit. You are so gross! I am so glad I broke up with you.</dialogue> <character>DAVID</character> <dialogue>I'm gross?! You're here. You're gross!</dialogue> <character>AMY</character> <dialogue>I am not here to get laid. I am here to find a nice man.</dialogue> <character>DAVID</character> <dialogue>At speed dating?!</dialogue> <character>AMY</character> <dialogue>This just makes me realize I made the right decision.</dialogue> <character>DAVID</character> <dialogue>And I made the right decision accepting your decision. Skank.</dialogue> <character>AMY</character> <dialogue>Pinky dick.</dialogue> <scene_description>The buzzer goes off. They switch tables. Suddenly Amy is sitting across from Andy. She looks enraged.</scene_description> <character>ANDY</character> <parenthetical>(sensing danger)</parenthetical> <dialogue>Hi 1 I'm Andy.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'm gonna be quiet now.</dialogue> <scene_description>The buzzer goes off and they walk off.</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT</stage_direction> <scene_description>The guys are walking to their cars, going over their scorecards.</scene_description> <character>JAY</character> <dialogue>At least four I think would do me right now.</dialogue> <scene_description>... Which four? •</scene_description> <character>DAVID</character> <dialogue>That was a good group. Eleven had big boobs. Four had good boobs. And five had small boobs. overall, a nice turnout. What did you think, Andy?</dialogue> <scene_description>Andy can barely talk he is so flustered from this experience.</scene_description> <character>DAVID</character> <dialogue>Andy, are you okay?</dialogue> <character>ANDY</character> <dialogue>That was ... too much. Too fast. Very fast. Didn't like. I'm gonna go home.</dialogue> <character>INT.</character> <dialogue>CIRCUIT CITY - DAY</dialogue> <scene_description>Jay walks over to Andy.</scene_description> <character>JAY</character> <dialogue>Come out to the floor.</dialogue> <scene_description>Andy walks out on the floor. Cal and David are there. Also standing there is the FLOOR MANAGER, PAUL.</scene_description> <character>PAUL</character> <dialogue>Andy, I am short a man today, so I need you to be a salesman this afternoon.</dialogue> <character>ANDY</character> <dialogue>What? I am not a salesman.</dialogue> <character>PAUL</character> <dialogue>Nobody knows the equipment like you. I have been thinking about it, and I think your destiny is on the floor.</dialogue> <scene_description>The Indian salesman, Aboojay, walks over.</scene_description> <character>ABOOJAY</character> <dialogue>What?!! We need no salesman. I sell. This is bullshit.</dialogue> <character>PAUL</character> <dialogue>This is not bullshit. And I recommend you show some respect or you will be selling ... something</dialogue> <scene_description>~ else ... somewhere else . • •...\_ He's right.</scene_description> <character>ANDY</character> <dialogue>I haven't earned the</dialogue> <scene_description>right.</scene_description> <character>PAUL</character> <dialogue>What are you talking about? You have worked here longer than me. Longer than anyone. It would be fair if you were my boss.</dialogue> <character>ANDY</character> <dialogue>Thank you, but no thank you.</dialogue> <character>PAUL</character> <parenthetical>(gets annoyed)</parenthetical> <dialogue>Andy, I am trying to get you laid. The guys said you needed to get women. There is no better singles bar than that floor. It is a chick magnet. So accept my kind invitation before I rescind it.</dialogue> <character>ANDY</character> <dialogue>Thank you.</dialogue> <character>PAUL</character> <dialogue>Enjoy.</dialogue> <scene_description>Paul walks away.</scene_description> <character>ANDY</character> <dialogue>Guys. I appreciate you doing this, but I have to admit, I am really scared. I am not good at talking with women. It was hard enough when they were drunk. And that didn't even turn out well.</dialogue> <character>DAVID</character> <dialogue>Come on. Fear the fear and do it anyway.</dialogue> <character>ANDY</character> <dialogue>You are right.</dialogue> <character>JAY</character> <dialogue>The floor is hopping. Look, we've got a gorgeous young blonde at nine o'clock. A red head at twelve. And a brunette goth hotty at three. Take your pick.</dialogue> <scene_description>•"" • l. This is</scene_description> <character>ABOOJAY</character> <dialogue>wrong.</dialogue> <character>CAL</character> <dialogue>Very wrong.</dialogue> <scene_description>Come on, he needs to be with a woman.</scene_description> <character>ABOOJAY</character> <dialogue>I don't care about that. Just don't fuck with my customers. My customers are my customers, not your customers. You fuck with them, I fuck with you.</dialogue> <scene_description>Jay pushes him away as if he is five years old.</scene_description> <character>JAY</character> <dialogue>Aboojay, get the fuck out of here. Go have a hamburger.</dialogue> <parenthetical>(to Andy)</parenthetical> <dialogue>Ready.</dialogue> <scene_description>Andy takes a deep breath, nods and heads out onto the floor. He sees the GORGEOUS BLONDE. He walks toward her with a look of determination. As he gets within five feet he starts walking faster, turns a corner and walks up to an OLD MAN.</scene_description> <character>ANDY</character> <parenthetical>(to the old man)</parenthetical> <dialogue>Good afternoon. And how may I help you?</dialogue> <character>OLD MAN</character> <dialogue>I am looking for a TV.</dialogue> <character>ANDY</character> <dialogue>Well, you are talking to the right guy.</dialogue> <scene_description>Jay, David and Cal watch with disappointment.</scene_description> <character>DAVID</character> <dialogue>When he's done with him we'll get him to talk to a girl.</dialogue> <character>DISSOLVE</character> <dialogue>TO:</dialogue> <character>INT.</character> <dialogue>Andy is in front</dialogue> <character>CIRCUIT CITY - AN HOUR LATER</character> <dialogue>talking of</dialogue> <scene_description>l • • ~-- He's hour. been</scene_description> <character>CAL</character> <dialogue>working that guy for an</dialogue> <character>DAVID</character> <dialogue>He filibustering so he doesn 1</dialogue> <scene_description>t have to talk to a girl. DISSOLVE TO:</scene_description> <character>INT.</character> <dialogue>CIRCUIT CITY - ANOTHER HOUR LATER</dialogue> <scene_description>Andy is walking with the old man to the stock room where Andy takes his ticket.</scene_description> <character>ANDY</character> <dialogue>This man is getting a DVD player, VCR, Tivo, surround sound speakers and a flat screen television with high definition capabilities.</dialogue> <character>OLD MAN</character> <dialogue>Thank you, young man. You are the best salesman I have ever met. You were such a help.</dialogue> <character>ANDY</character> <dialogue>You 1 re sure you don't need anything else? Possibly a car stereo.</dialogue> <character>OLD MAN</character> <dialogue>Not today. But thank you. I'll be back.</dialogue> <scene_description>The old man walks off. Andy looks relieved. Right then a very pretty forty five year old WOMANwalks up to him.</scene_description> <character>WOMAN</character> <dialogue>Excuse me, can you help me?</dialogue> <scene_description>Andy is flummoxed.</scene_description> <character>ANDY</character> <dialogue>Help? You? Uhm. I was about to take my break.</dialogue> <character>WOMAN</character> <dialogue>It won't take long.</dialogue> <character>ANDY</character> <dialogue>Okay.</dialogue> <scene_description>~ • • ~ Hi, I'm</scene_description> <character>TRISH</character> <dialogue>Trish.</dialogue> <character>ANDY</character> <dialogue>Andy ... is my name.</dialogue> <scene_description>CUT TO:</scene_description> <character>INT.</character> <dialogue>CIRCUIT</dialogue> <scene_description>Andy is nervously helping Trish.</scene_description> <character>ANDY</character> <dialogue>You don't want this VCR.</dialogue> <character>TRISH</character> <dialogue>Really? I heard this was the best one.</dialogue> <character>ANDY</character> <dialogue>It's not, really. VCR technology is very simple. Basically, no VCR is that much better than another VCR. The expensive ones don't give you a better picture, they just look cooler, and have more buttons which you would never use.</dialogue> <scene_description>Andy points out a standard looking VCR.</scene_description> <character>ANDY</character> <dialogue>This one has the features you need and it is a third less than the cool-looking one. Unless you really want a cool-looking one. Then you should get this one.</dialogue> <scene_description>'Cause it does look cool. It's black. Has a lot of lights.</scene_description> <character>TRISH</character> <dialogue>Looks are not a factor.</dialogue> <character>ANDY</character> <dialogue>Great. Then we have found what you need.</dialogue> <scene_description>The old man that Andy was helping previously walks over to Andy.</scene_description> <character>OLD MAN</character> <dialogue>Excuse me. Is there anyone who can</dialogue> <scene_description>..., help me set up what I bought?</scene_description> <character>OLD MAN</character> <dialogue>I am not very technically minded. And quite frankly, I can barely see my own hand.</dialogue> <character>ANDY</character> <dialogue>Where do you live?</dialogue> <character>OLD MAN</character> <dialogue>Right down the street on Moorepark.</dialogue> <character>ANDY</character> <dialogue>I can swing by on my way home from work and set it all up if you like.</dialogue> <character>OLD MAN</character> <dialogue>How much would that cost me?</dialogue> <character>ANDY</character> <dialogue>Nothing. It would be my pleasure. I would enjoy it.</dialogue> <character>OLD MAN</character> <dialogue>That's very kind of you.</dialogue> <character>ANDY</character> <dialogue>You're doing me the favor. I like hooking up TVs and stereos. It's like solving a big puzzle.</dialogue> <scene_description>OLD Ml\N Thank you. Maybe I could bring in something for you to eat. l\NDY And maybe I will gladly eat it. Just give your address to the man at the stock room. The old man walks off. Trish looks at Andy. Andy looks at Trish. She stares at him for a moment, trying to figure him out. She likes something about him. l\s she figures out what to do about it, Andy gets nervous.</scene_description> <character>ANDY</character> <dialogue>Well, have a good day.</dialogue> <character>TRISH</character> <dialogue>Andy. It's Andy, right?</dialogue> <character>ANDY</character> <dialogue>Last time I checked.</dialogue> <parenthetical>(nervous laugh)</parenthetical> </scene> <scene> <stage_direction>..,,</stage_direction> <scene_description>• ~- Do you want</scene_description> <character>TRISH</character> <dialogue>to go out some time?</dialogue> <character>ANDY</character> <parenthetical>(swallows)</parenthetical> <dialogue>Excuse me?</dialogue> <character>TRISH</character> <dialogue>I don't mean to be forward. I'm sorry.</dialogue> <character>ANDY</character> <dialogue>No. Don't be sorry.</dialogue> <character>TRISH</character> <dialogue>I just ... I don't know, I thought it might be fun. You seem like a good guy.</dialogue> <character>ANDY</character> <dialogue>I would love to. That seems like something I would like, and ... yeah. In fact, I was just about to ask you.</dialogue> <character>TRISH</character> <dialogue>I beat you to it.</dialogue> <character>ANDY</character> <parenthetical>(nervous laughter)</parenthetical> <dialogue>Yes you did.</dialogue> <character>TRISH</character> <dialogue>Great. This'll be fun. And don't worry, I'm not going to ask you to set up my VCR.</dialogue> <character>ANDY</character> <dialogue>I would do it.</dialogue> <character>TRISH</character> <dialogue>I was joking.</dialogue> <character>ANDY</character> <dialogue>Oh. Okay.</dialogue> <parenthetical>(not getting it)</parenthetical> <dialogue>But I would do it.</dialogue> <scene_description>They smile at each other.</scene_description> <character>INT.</character> <dialogue>CIRCUIT</dialogue> <scene_description>Andy is telling David and Jay what happened.</scene_description> <character>DAVID</character> <dialogue>See, I told you this was the move.</dialogue> <character>JAY</character> <dialogue>Who's the girl?</dialogue> <scene_description>Andy points to Trish who is paying for her VCR.</scene_description> <character>JAY</character> <dialogue>Her. Oh man, you hit the jackpot. She is a waitress next store. I went out with her two years ago 1 and she is ready to go.</dialogue> <character>ANDY</character> <dialogue>Now I don't want to go out with her.</dialogue> <character>JAY</character> <dialogue>I didn't do anything. We just had one kiss.</dialogue> <character>ANDY</character> <dialogue>Oh, okay.</dialogue> <scene_description>When Andy looks the other way Jay gestures with his hips that he had sex with Trish. When Andy turns back he stops.</scene_description> <character>JAY</character> <dialogue>Good for you, man. This is good.</dialogue> <character>INT.</character> <dialogue>RESTAURANT - NIGHT</dialogue> <scene_description>Andy and Trish are eating dinner.</scene_description> <character>TRISH</character> <dialogue>That's so funny that we work in the same mini mall and we have never seen each other.</dialogue> <character>ANDY</character> <dialogue>I've seen you. I eat at the restaurant you work at on Monday's.</dialogue> <character>TRISH</character> <dialogue>Really? Every Monday?</dialogue> <scene_description>~ •</scene_description> <character>ANDY</character> <dialogue>Yeah. I would eat there more, I just don't want to get sick of it.</dialogue> <character>TRISH</character> <dialogue>Have I ever waited on you?</dialogue> <character>ANDY</character> <dialogue>Maybe a couple of times.</dialogue> <scene_description>It is clearly way more than a couple of times.</scene_description> <character>TRISH</character> <dialogue>How long have you worked at Circuit City?</dialogue> <character>ANDY</character> <dialogue>Nine years.</dialogue> <character>TRISH</character> <dialogue>Wow. Do you like it?</dialogue> <character>ANDY</character> <dialogue>Not really. But it's a good job.</dialogue> <character>TRISH</character> <dialogue>What would you like to be doing?</dialogue> <character>ANDY</character> <dialogue>I have a collection of antique toys. I would like to open a store that sells those kinds of things. Maybe some comic books. I don't know if I'll ever be able to do it.</dialogue> <character>TRISH</character> <dialogue>Sure you will. You could do anything.</dialogue> <character>ANDY</character> <dialogue>That's nice of you to say. What about you?</dialogue> <character>TRISH</character> <dialogue>I want to work at that restaurant for the rest of my life. I have no goals or dreams. They've all been drained out of me.</dialogue> <character>ANDY</character> <dialogue>That's not true .</dialogue> </scene> <scene> <stage_direction>....</stage_direction> <scene_description>•</scene_description> <character>TRISH</character> <dialogue>I just want to be happy. I don't care what I do, I just don't want it to be too hard. Less hours. I guess what I am saying is I want to retire.</dialogue> <scene_description>Andy laughs.</scene_description> <character>TRISH</character> <parenthetical>(sweetly)</parenthetical> <dialogue>What is with you?</dialogue> <character>ANDY</character> <dialogue>What?</dialogue> <character>TRISH</character> <dialogue>There is something about you. I can't tell what it is.</dialogue> <character>ANDY</character> <dialogue>Is it bad?</dialogue> <character>TRISH</character> <dialogue>I think it's good. But I don't know. Are you for real?</dialogue> <character>ANDY</character> <dialogue>I'm real.</dialogue> <character>TRISH</character> <dialogue>Good.</dialogue> </scene> <scene> <stage_direction>INT. TRISH'S APARTMENT - DAY</stage_direction> <scene_description>Andy and Trish walk in the apartment.</scene_description> <character>TRISH</character> <dialogue>Can I get you a cocktail?</dialogue> <character>ANDY</character> <dialogue>Sure. Do you have orange soda? It's okay if you don't. Most people don't buy orange soda on a regular basis. I don't know why. It's really good.</dialogue> <scene_description>Out of t.he blue, she kisses him hard on the mouth. The kiso lasts a long time. At first he doesn't know what to do, but after about ten seconds, he actually participates. When she stops kissing and looks at him, he could not be redder. He is stunned, but there is happiness in there.</scene_description> <character>TRISH</character> <dialogue>Let's go in the other room.</dialogue> <character>INT.</character> <dialogue>Trish reaches</dialogue> <character>BEDROOM - MOMENTS LATER</character> <dialogue>jumps under under the</dialogue> <character>TRISH</character> <dialogue>Come on.</dialogue> <character>ANDY</character> <dialogue>Oh. Okay.</dialogue> <scene_description>Andy gets under the covers with all his clothes on and kisses Trish, who is now completely nude. He seems to be getting the hang of it. There is a lot of pent-up energy there.</scene_description> <character>TRISH</character> <dialogue>Wow, you really like kissing.</dialogue> <character>ANDY</character> <dialogue>I do.</dialogue> <character>TRISH</character> <dialogue>Take off your clothes.</dialogue> <character>ANDY</character> <dialogue>Really?</dialogue> <character>TRISH</character> <dialogue>Is this too fast? I never do this.</dialogue> <character>ANDY</character> <dialogue>No.</dialogue> <scene_description>Andy takes his pants off, but strangely, leaves on his shirt. Probably to cover his bad wax job. Trish shuts the lights. They kiss passionately. she takes off his shirt.</scene_description> <character>TRISH</character> <dialogue>Do you have protection?</dialogue> <character>ANDY</character> <dialogue>I don't like guns.</dialogue> <scene_description>She laughs. L • •L Don 1 t worry,</scene_description> <character>TRISH</character> <dialogue>You have a silly sense</dialogue> <scene_description>I think of humor. I have something. She rea.ches into the drawer in the end table and pulls out a small whicker basket filled with condoms. She clearly has sex often enough to need this basket. Andy does not pick up on this.</scene_description> <character>TRISH</character> <dialogue>Put one of these on.</dialogue> <scene_description>Andy st.ares at the basket, not sure what to do. He has never worn a condom. He slowly takes one out. He reaches under the sheets, and we can 1 t see what he is doing but it is obvious that he is tearing the wrapper open and attempting to put the condom on. Something goes wrong. He struggles.</scene_description> <character>ANDY</character> <dialogue>It tore. I need another one.</dialogue> <scene_description>He grabs another one. The same thing happens. For reasons which are not clear, he can not figure out how to get this condom on properly. Andy attempts this many more times. In quick cuts we see him struggle with at least a dozen condoms as he gets more and more frustrated with this process. Each time he fails, he tosses the condom and the wrapper on the floor next to him. Finally he gets one on.</scene_description> <character>ANDY</character> <dialogue>There you go. Sorry about that. I always have trouble with those things. I haven't used 'em much.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>My last girlfriend took pills.</dialogue> <character>TRISH</character> <dialogue>I'm sure it will be worth the wait.</dialogue> <scene_description>Now they go at it more passionately. It seems like it is going to happen when- THE DOOR OPENS - THE LIGHTS GO ON</scene_description> <character>MARLA</character> <dialogue>What is going on in here?!</dialogue> <scene_description>•Lr- We reveal Trish's sixteen next to her is her boyfriend year old daughter, MARLA.: Standing</scene_description> <character>TRISH</character> <dialogue>What are you doing?</dialogue> <scene_description>ANGLE ON A stack of condoms and torn wrappers. ANGLE ON MARLA - STARING AT THEM</scene_description> <character>MARLA</character> <dialogue>What are you doing? I can 1 t believe you are allowed to have sex but I'm not! That is sooo unfair!!!</dialogue> <scene_description>She slams the door and exits.</scene_description> <character>ANDY</character> <dialogue>I should go.</dialogue> <character>TRISH</character> <dialogue>No, it's okay. I just need to talk to her.</dialogue> <character>ANDY</character> <dialogue>No, I should.</dialogue> <scene_description>He kisses her then quickly gets out of bed and begins putting his clothes on. We see his insanely bad wax job has left random strips of hair on his body. He puts his clothes on and exits.</scene_description> <character>TRISH</character> <dialogue>I'm sorry.</dialogue> <character>ANDY</character> <dialogue>Don't be.</dialogue> <scene_description>He runs out. Traumatized again.</scene_description> <character>EXT. STREET - DAY</character> <dialogue>Andy rides his bike to work. He looks confused and consumed. Everywhere he looks he sees sexual images; billboards, people walking down the street, etc. He drives into the parking lot of the mini mall where Circuit</dialogue> <scene_description>... City is the girl located. As he is from the bookstore, locking walking his bike, he sees Beth, from her car to work. • \.., BETH Good morning. Andy thinks. He remembers what he is supposed to do with her. Ask questions.</scene_description> <character>ANDY</character> <parenthetical>(after a beat)</parenthetical> <dialogue>Is it a good morning?</dialogue> <character>BETH</character> <dialogue>I hope it is.</dialogue> <character>ANDY</character> <dialogue>Hmmm.</dialogue> <character>BETH</character> <dialogue>Some days I am just not in the mood to work.</dialogue> <character>ANDY</character> <dialogue>What are you in the mood to do?</dialogue> <character>BETH</character> <parenthetical>( f 1 ummoxed)</parenthetical> <dialogue>Oh, I don' t know ...</dialogue> <character>ANDY</character> <dialogue>You don't know? Or do you know?</dialogue> <scene_description>She thinks he is being sexy, but he has no idea what he is saying.</scene_description> <character>BETH</character> <dialogue>You're bad.</dialogue> <character>ANDY</character> <dialogue>Are you bad?</dialogue> <scene_description>Andy walks off. She looks like she is about to have an orgasm. As she walks toward the bookstore where she works she almost trips.</scene_description> <character>INT.</character> <dialogue>CIRCUIT</dialogue> <scene_description>Andy is selling a stereo to an UNATTRACTIVE MAN. There are pretty girls in the store, but Andy has let the other salesmen handle them. Jay walks over to Andy.</scene_description> <character>JAY</character> <dialogue>Don't worry about what happened last night.</dialogue> <scene_description>'- • • ~ Tonight Holiday Inn.</scene_description> <character>JAY</character> <dialogue>I am having</dialogue> <scene_description>be earth-shattering. Are you free? a party Room 313. It's Be there. at the gonna</scene_description> <character>ANDY</character> <dialogue>I think so.</dialogue> <character>JAY</character> <dialogue>I was kidding. I know you're free.</dialogue> <scene_description>Jay walks off.</scene_description> </scene> <scene> <stage_direction>EXT. HOLIDAY INN - NIGHT</stage_direction> <scene_description>Andy rides his bike up to the front of the hotel.</scene_description> <character>INT.</character> <dialogue>HOLIDAY INN HALLWAY - MOMENTS LATER</dialogue> <scene_description>Andy walks down the hallway looking for the room. When he finds it, the door is cracked open. He enters.</scene_description> <character>INT.</character> <dialogue>HOTEL ROOM - NIGHT</dialogue> <scene_description>Andy looks around the suite. There is nobody in sight.</scene_description> <character>ANDY</character> <dialogue>Hello.</dialogue> <scene_description>He turns to leave. A BEAUTIFUL YOUNG WOMANcomes out of the bedroom.</scene_description> <character>BEAUTIFUL WOMAN</character> <dialogue>Hello.</dialogue> <character>ANDY</character> <dialogue>Are you here for Jay's party?</dialogue> <character>BEAUTIFUL WOMAN</character> <dialogue>Yes.</dialogue> <character>ANDY</character> <dialogue>Where is everybody? Are we early?</dialogue> <character>BEAUTIFUL WOMAN</character> <dialogue>No, we're right on time.</dialogue> <character>ANDY</character> <dialogue>Then everyone is late. That 1</dialogue> <scene_description>s not very polite. •~. Andy sits Come sit on the couch.</scene_description> <character>BEAUTIFUL WOMAN</character> <dialogue>down.</dialogue> <scene_description>She sits down right next to him. Andy does not know what to make of this.</scene_description> <character>ANDY</character> <dialogue>So where do you know Jay from?</dialogue> <character>BEAUTIFUL WOMAN</character> <dialogue>We just met the other night. You're handsome.</dialogue> <character>ANDY</character> <dialogue>Thank you. You're pretty.</dialogue> <scene_description>She puts her hand on his knee.</scene_description> <character>ANDY</character> <dialogue>What's going on?</dialogue> <character>BEAUTIFUL WOMAN</character> <dialogue>The party is getting started.</dialogue> <character>ANDY</character> <dialogue>Nobody else is coming?</dialogue> <character>BEAUTIFUL WOMAN</character> <dialogue>I'm all the party you need.</dialogue> <character>ANDY</character> <dialogue>Oh my God.</dialogue> <character>BEAUTIFUL WOMAN</character> <dialogue>Don't be nervous. I'll take good care of you.</dialogue> <character>ANDY</character> <dialogue>Are you a ... prostitute?</dialogue> <character>BEAUTIFUL WOMAN</character> <dialogue>I'm whoever you want me to be. I can be a prostitute, or I can be that sweet innocent girl you had a crush on in high school. You know, the cute one who never looked at you but now she realizes she made a mistake and wants to make up for it by sucking your cock.</dialogue> <scene_description>Andy backs away to the other side of the couch. She follows him . • 4., • L.- Oh God.</scene_description> <character>ANDY</character> <dialogue>Did Jay do this?</dialogue> <character>BEAUTIFUL WOMAN</character> <dialogue>They're good friends. They just want you to have a good time. Don't worry, I've been with virgins before. It's okay that you know nothing, because at the end of tonight you are going to know everything. You're gonna do everything. Nothing is off limits. They paid extra for that.</dialogue> <character>ANDY</character> <dialogue>How much are they paying you?</dialogue> <character>BEAUTIFUL WOMAN</character> <dialogue>Five hundred for two hours.</dialogue> <character>ANDY</character> <dialogue>I will give you six hundred dollars to leave now. Or we can find someone else that you can have sex with. I'm sure we can find someone to use that credit on.</dialogue> <character>BEAUTIFUL WOMAN</character> <dialogue>You don't have to have sex with me. I've been paid. If you want I can just go home now. No skin off my apple.</dialogue> <character>ANDY</character> <parenthetical>(feels bad)</parenthetical> <dialogue>No, no, no. I'm sorry. I've insulted you. Maybe I'll want to have sex. Let 1 s just slow down. Maybe there is something else we can do for a minute.</dialogue> <scene_description>CUT TO:</scene_description> <character>INT.</character> <dialogue>HOTEL ROOM - MOMENTSLATER</dialogue> <scene_description>They are laying on the bed watching "Lord Of The Rings" on pay per view.</scene_description> <character>ANDY</character> <dialogue>This is better. This way we can</dialogue> </scene> <scene> <stage_direction>....</stage_direction> <scene_description>watch the movie . •L Get then How long to maybe</scene_description> <character>ANDY</character> <dialogue>know each other</dialogue> <scene_description>we can</scene_description> <character>BEAUTIFUL WOMAN</character> <dialogue>is this</dialogue> <scene_description>a little, do something. movie? I only have two hours.</scene_description> <character>ANDY</character> <dialogue>It's three and a half hours.</dialogue> <scene_description>The prostitute know what this means, and rel-axes. There will be no sex tonight. She starts watching the movie.</scene_description> <character>BEAUTIFUL WOMAN</character> <dialogue>Who's that guy?</dialogue> <character>ANDY</character> <parenthetical>(more relaxed)</parenthetical> <dialogue>That's the hero of the story. He doesn't know it, but it's his</dialogue> <scene_description>responsibility to save the world. They start watching the movie.</scene_description> <character>INT.</character> <dialogue>HOTEL ROOM - THREE AND A HALF HOURS LATER</dialogue> <scene_description>The prostitute is asleep. The credits are rolling on the TV. Andy gets off the bed and looks at her. She looks sweet when she is asleep. He gently kisses her on the cheek, looks at her again, then walks out the door.</scene_description> <character>INT.</character> <dialogue>Andy is</dialogue> <character>CIRCUIT CITY - NEXT MORNING</character> <dialogue>talking</dialogue> <character>CAL</character> <dialogue>And then what did you do to her?</dialogue> <character>ANDY</character> <dialogue>I was like, if this is paid for then I am gonna get my money's worth!</dialogue> <character>DAVID</character> <dialogue>That's my man!</dialogue> </scene> <scene> <stage_direction>..,</stage_direction> <scene_description>• ~- ANDY So I took her from the took her from the back. front. I I took her from the side.</scene_description> <character>JAY</character> <dialogue>You did the side.</dialogue> <character>ANDY</character> <dialogue>Both sides! She was screaming. She was like, "I want to have more sex with you. Let's continue to do this dirty sex."</dialogue> <character>CAL</character> <dialogue>How was her ass?</dialogue> <character>ANDY</character> <dialogue>It was so ... perfectly in proportion. And when I took off her panties ... they were all filled with baby powder and--</dialogue> <character>JAY</character> <dialogue>Oh Goddammitt! Nothing happened!</dialogue> <character>ANDY</character> <dialogue>I did her. Did her ... big time did her.</dialogue> <character>CAL</character> <dialogue>That cost us five hundred bucks.</dialogue> <character>DAVID</character> <dialogue>Shut up, you kicked in twenty bucks.</dialogue> <character>CAL</character> <dialogue>Sorry if I'm not as rich as you.</dialogue> <character>JAY</character> <dialogue>This is bullshit. I give up. There's no helping you.</dialogue> <character>ANDY</character> <dialogue>Buying a streetwalker is not helping me. I told you I wanted to meet a nice girl. Someone I might even like. I am not a pig like you guys.</dialogue> </scene> <scene> <stage_direction>..,</stage_direction> <character>JAY</character> <dialogue>No, you are certainly not. You are pure as the driven snow, and you plan on staying that way.</dialogue> <character>DAVID</character> <dialogue>Lay off, Jay.</dialogue> <character>JAY</character> <dialogue>No, I tried to do him a favor. You know how hard it was to find her. Someone I thought he might like. That took work. And does he appreciate it? No.</dialogue> <character>CAL</character> <dialogue>Does she owe us one? I mean she took the money.</dialogue> <character>DAVID</character> <dialogue>No.</dialogue> <character>CAL</character> <dialogue>Shit.</dialogue> <character>ANDY</character> <dialogue>I'd appreciate it if you took your nose out of my business!</dialogue> <scene_description>Beth is walking outside of the store with a FRIEND from work. She sees the guys arguing, but does not hear the words. From her point of view it looks like Andy is bossing them around, and she finds it very attractive.</scene_description> <character>ANDY</character> <dialogue>I may be a virgin, but you're the ones who need to grow up! Life isn't about sex, it's about being a good person. And I would rather treat people well than stick my wiener in 'em. And I say that proudly. And if you don't like it, then I'll get some new friends. That is if I ever really was your friend.</dialogue> <scene_description>A FEMALE CUSTOMER walks up.</scene_description> <character>FEMALE CUSTOMER</character> <dialogue>Can anyone help me?</dialogue> <character>ANDY</character> <dialogue>I'd be glad to .</dialogue> <scene_description>• 4,,,,., • L,\_. Andy walks Beth turns off. The guys to her friend.</scene_description> <character>BETH</character> <dialogue>look depressed. Outside the</dialogue> <scene_description>store That guy is so hot. I could eat him up.</scene_description> </scene> <scene> <stage_direction>INT. ANDY'S APARTMENT - EVENING</stage_direction> <scene_description>Andy walks in, pets his cat, then checks his messages.</scene_description> <character>ANSWERING MACHINE</character> <dialogue>Hi, this is Trish. I hope you don't mind me calling you. Your friends at work gave me your number. I feel bad about what happened the other night and wondered if you would let me make it up to you.</dialogue> <character>INT.</character> <dialogue>RESTAURANT - NIGHT</dialogue> <scene_description>Andy and Trish are having dinner.</scene_description> <character>TRISH</character> <dialogue>I am sorry I didn't tell you I had kids.</dialogue> <character>ANDY</character> <dialogue>Why didn't you tell me?</dialogue> <character>TRISH</character> <dialogue>Most guys don't want to go out with a "mother."</dialogue> <character>ANDY</character> <dialogue>Why not?</dialogue> <character>TRISH</character> <dialogue>Are you serious?</dialogue> <character>ANDY</character> <dialogue>Yeah.</dialogue> <character>TRISH</character> <dialogue>Then I won't tell you. No need to put ideas in your head.</dialogue> <character>ANDY</character> <dialogue>How many kids do you have?</dialogue> <scene_description>•" • L- Two. (pause)</scene_description> <character>ANDY</character> <dialogue>How old are they?</dialogue> <character>TRISH</character> <dialogue>Six, twelve and ... twenty six.</dialogue> <character>ANDY</character> <dialogue>That's three.</dialogue> <character>TRISH</character> <dialogue>Oh. Is it?</dialogue> <scene_description>They laugh.</scene_description> <character>ANDY</character> <dialogue>You must have been really young why you had the twenty six year old.</dialogue> <character>TRISH</character> <dialogue>Why do you say that?</dialogue> <character>ANDY</character> <dialogue>Because you are so young now.</dialogue> <character>TRISH</character> <dialogue>Are you full of shit or is this real?</dialogue> <character>ANDY</character> <dialogue>Why do you keep saying that?</dialogue> <character>TRISH</character> <parenthetical>(kind of kidding)</parenthetical> <dialogue>Because if you're for real, I'm gonna fall in love with you.</dialogue> <scene_description>Andy blushes.</scene_description> <character>TRISH</character> <dialogue>I'm sorry. I'm just goofing with</dialogue> <scene_description>you.</scene_description> <character>ANDY</character> <dialogue>I know.</dialogue> <scene_description>It is clear she is not goofing.</scene_description> </scene> <scene> <stage_direction>..,</stage_direction> <scene_description>•L- more, that</scene_description> <character>TRISH</character> <dialogue>I was thinking, if we go out</dialogue> <scene_description>we shouldn't have any sex.</scene_description> <character>ANDY</character> <dialogue>Uh-huh.</dialogue> <character>TRISH</character> <dialogue>I just think it complicates things too much, and then you never get to really know someone because that is always confusing things.</dialogue> <character>ANDY</character> <dialogue>It's very confusing.</dialogue> <character>TRISH</character> <dialogue>Does that bother you?</dialogue> <character>ANDY</character> <dialogue>Hmmm. Let me think about that. I see what you are saying. Obviously I want to</dialogue> <parenthetical>(whispers)</parenthetical> <dialogue>Do it.</dialogue> <parenthetical>(normal voice)</parenthetical> <dialogue>But I can see your point. If we don't have sex, we can really get to know each other.</dialogue> <character>TRISH</character> <dialogue>And if that works out, then we can have sex. Like really have sex.</dialogue> <scene_description>They laugh.</scene_description> <character>ANDY</character> <dialogue>Just tons and tons of sex.</dialogue> <scene_description>They both laugh. Andy could not be more relieved to have the pressure taken away.</scene_description> <character>TRISH</character> <parenthetical>(charmed)</parenthetical> <dialogue>You're doing it again.</dialogue> <character>ANDY</character> <dialogue>What?</dialogue> </scene> <scene> <stage_direction>..,</stage_direction> <character>INT.</character> <dialogue>TRISH'S</dialogue> <scene_description>Andy and Trish are watching television. Her daughter, Marla, comes inside with Trish's six year-old daughter JULIA.</scene_description> <character>MARLA</character> <dialogue>{covers eyes)</dialogue> <scene_description>Is it safe to come in or are you doing it?</scene_description> <character>TRISH</character> <dialogue>It's safe. Marla, Julia. This is Andy.</dialogue> <character>MARLA</character> <parenthetical>(uninterested)</parenthetical> <dialogue>Hello.</dialogue> <scene_description>Julia nods shyly.</scene_description> <character>ANDY</character> <dialogue>Hi.</dialogue> <character>MARLA</character> <dialogue>We came home because we got bored and couldn't think of anything else to do.</dialogue> <character>JULIA</character> <dialogue>Can we watch TV?</dialogue> <character>TRISH</character> <dialogue>No. You 1 ve watched enough television for today. Why don't you guys read?</dialogue> <character>!"ARLA</character> <dialogue>I am so sick of reading. That's all we do all day at school.</dialogue> <character>ANDY</character> <dialogue>Hey. Let me show you something. Do you have a quarter?</dialogue> <scene_description>Marla digs out a quarter. Andy puts it in his palm and shows the two of them. Then he closes his palm and opens it. It is gone.</scene_description> <character>MARLA</character> <dialogue>You 1 re not doing magic, are you?</dialogue> </scene> <scene> <stage_direction>.....</stage_direction> <scene_description>•</scene_description> <character>JULIA</character> <dialogue>I love magic. Where did it go?</dialogue> <scene_description>Andy puts his hands out again, opens them and it is back. Then he puts it in one palm, closes it, and it is two quarters. Julia squeals with delight.</scene_description> <character>JULIA</character> <dialogue>How did you do that?</dialogue> <character>ANDY</character> <dialogue>I don't know, it 1</dialogue> <scene_description>s, uh ... magic. Andy closes his hand, opens it and they are gone, then opens the other hand and there are three quarters. Then he closes his hands, opens them, and the quarters are gone but the other hand has a dollar bill in it.</scene_description> <character>JULIA</character> <dialogue>That's crazy. How did you learn how to do that?</dialogue> <character>ANDY</character> <dialogue>I have a lot of free time.</dialogue> <scene_description>Trish smiles. He is great with her kids.</scene_description> <character>JULIA</character> <dialogue>Can you show me how to do it?</dialogue> <character>ANDY</character> <dialogue>The magicians code says I am not allowed to say how tricks are performed.</dialogue> <scene_description>Julia frowns.</scene_description> <character>ANDY</character> <dialogue>But who cares about magicians? They're creepy anyway. If they get mad, I'll punch them in the nose.</dialogue> <scene_description>Julia laughs and Andy starts showing her how to do the trick. Marla c\_an' t help but like him. Trish beams.</scene_description> <character>EXT.</character> <dialogue>TRISH'S</dialogue> <scene_description>Andy is saying goodnight to Marla.</scene_description> <character>TRISH</character> <dialogue>Aren't you glad we didn't do it?</dialogue> <scene_description>"- • •L So glad.</scene_description> <character>ANDY</character> <dialogue>Let's never do it.</dialogue> <scene_description>She laughs.</scene_description> <character>TRISH</character> <dialogue>Okay.</dialogue> <character>ANDY</character> <dialogue>Do you want to go out again?</dialogue> <character>TRISH</character> <dialogue>Uh ...</dialogue> <scene_description>(quickly} YES. ANDY Like in, I don't know, fifteen minutes?</scene_description> <character>TRISH</character> <dialogue>Or tomorrow.</dialogue> <character>ANDY</character> <dialogue>Tomorrow it is.</dialogue> <scene_description>Andy leans in, and for the first time in the film, he is the instigator of a kiss. It is short but sweet and heartfelt. Andy walks off. He looks happy. CUT TO:</scene_description> <character>EXT. CITY STREETS</character> <dialogue>NIGHT</dialogue> <scene_description>Andy drives his bike home. He can not wipe the smile from his face. He occasionally giggles. CUT TO:</scene_description> <character>INT.</character> <dialogue>CIRCUIT</dialogue> <scene_description>Andy is talking with David, Jay and Cal by the water cooler.</scene_description> <character>JAY</character> <dialogue>This is a huge mistake.</dialogue> <character>ANDY</character> <dialogue>Why?</dialogue> </scene> <scene> <stage_direction>.....</stage_direction> <scene_description>• • L- She has</scene_description> <character>JAY</character> <dialogue>three</dialogue> <character>ANDY</character> <dialogue>kids.</dialogue> <scene_description>So?</scene_description> <character>CAL</character> <dialogue>At least we know she's had sex.</dialogue> <character>DAVID</character> <dialogue>At least three times.</dialogue> <scene_description>They laugh.</scene_description> <character>ANDY</character> <dialogue>I don't care. I like her.</dialogue> <character>JAY</character> <dialogue>What about Beth from the bookstore?</dialogue> <character>ANDY</character> <dialogue>I don't know. I want to see what happens with Trish. I am only one man. I can't go out with everyone.</dialogue> <character>DAVID</character> <dialogue>I love this guy. He's already got more women than he can handle.</dialogue> <character>JAY</character> <dialogue>I don't mean to ruin this for you, but I had sex with her. On a first date.</dialogue> <scene_description>Andy stares angrily at him.</scene_description> <character>ANDY</character> <dialogue>So? What is that supposed to make me not like her--because she made one terrible mistake?</dialogue> <scene_description>David and Cal crack up.</scene_description> <character>CAL</character> <dialogue>Ooooh! Andy is burning you.</dialogue> <scene_description>The store manager, Paul, walks over.</scene_description> <character>PAUL</character> <dialogue>Andy, I just got back the numbers from the last few weeks. You are our number one salesman by far.</dialogue> <scene_description>•" • L.,\_. Really? been having</scene_description> <character>ANDY</character> <dialogue>That's great.</dialogue> <scene_description>a great time. Well, I"ve</scene_description> <character>PAUL</character> <dialogue>Maybe you will have an even better time now that I have made you the floor manager.</dialogue> <character>ANDY</character> <dialogue>Me?</dialogue> <character>PAUL</character> <dialogue>That's right. Now all these jackasses are working under you. Enjoy.</dialogue> <character>ANDY</character> <dialogue>Thank you.</dialogue> <scene_description>Paul exits.</scene_description> <character>ANDY</character> <parenthetical>(looks at them)</parenthetical> <dialogue>Well, what are you sitting around for? Get out there and make some sales.</dialogue> <scene_description>Jay glares at him. David and Cal smile. Punjab walks by them.</scene_description> <character>PUNJAB</character> <dialogue>This the bullshit of all bullshits.</dialogue> <character>ANDY</character> <dialogue>No backtalk or you're gonna be gone ...</dialogue> <parenthetical>(nervous)</parenthetical> <dialogue>My friend.</dialogue> <character>PUNJAB</character> <dialogue>I am sorry ... sir.</dialogue> <scene_description>Punjab heads out onto the floor. Andy is feeling good.</scene_description> <character>JAY</character> <dialogue>You're getting in too deep.</dialogue> <character>ANDY</character> <dialogue>You have no idea what you are</dialogue> <scene_description>talking about.</scene_description> </scene> <scene> <stage_direction>.. CUT TO:</stage_direction> <scene_description>• ~. IN TOO DEEP MONTAGE</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>Andy rides his bike with Trish. They are having a blast.</scene_description> <character>INT.</character> <dialogue>TRISH'S</dialogue> <scene_description>Andy makes the family homemade ice cream. They are all eating it out of the ice cream maker, happily. We meet Kim, Trish 1 s twenty six year-old daughter.</scene_description> <character>ANDY</character> <dialogue>I can't believe you are her daughter. You look like sisters.</dialogue> <character>KIM</character> <dialogue>One of us should be insulted. I think it's me.</dialogue> <character>ANDY</character> <dialogue>I didn't mean ...</dialogue> <character>KIM</character> <dialogue>No, I'm kidding. My mom is gorgeous!</dialogue> <scene_description>Trish hugs Kim. They are very close.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>Andy is riding a huge grown up tricycle with Trish's six year- old daughter, Julia. She likes Andy.</scene_description> <character>INT.</character> <dialogue>LIVING ROOM - DAY</dialogue> <scene_description>Andy is showing Trish's kids some collectible action figures. We see him hesitate, then take a scissor and open up the never before opened boxes they are housed in. He hands one to each of them.</scene_description> </scene> <scene> <stage_direction>EXT. MOUNTAIN TRAILS - DAY</stage_direction> <scene_description>Andy is riding mountain bikes with Trish's sixteen year-old daughter Marla. She is impressed by how good he is at the sport.</scene_description> <character>INT.</character> <dialogue>BEDROOM - NIGHT</dialogue> <scene_description>Andy and Trish are kissing.</scene_description> <character>TRISH</character> <dialogue>I love kissing you because you are so in the moment. It's like you enjoy it so much, you don't want to do anything else.</dialogue> <character>ANDY</character> <dialogue>I don't.</dialogue> <character>TRISH</character> <dialogue>You are so sweet~</dialogue> <character>EXT. STREET - DAY</character> <dialogue>Andy, Trish, Julia, Marla and Kim are riding down the street.</dialogue> <character>ANDY</character> <dialogue>Let's race!</dialogue> <scene_description>They all ride directly at camera as fast as they can. Andy is the winner. ~--·</scene_description> <character>INT.</character> <dialogue>CIRCUIT</dialogue> <scene_description>Jay looks upset as he speaks to an ANNOYING MALE CUSTOMER.</scene_description> <character>ANNOYING CUSTOMER</character> <dialogue>If I buy it, will you throw in a CD carrying case?</dialogue> <character>JAY</character> <dialogue>Uh ... okay, fine. So, I will write this up for you and--</dialogue> <character>ANNOYING CUSTOMER</character> <dialogue>Hold on. I think I'm gonna need you to throw in an extended warranty. On the house.</dialogue> <character>JAY</character> <dialogue>I can't do that.</dialogue> <character>ANNOYING CUSTOMER</character> <dialogue>Then I am going to have to take my business elsewhere.</dialogue> <scene_description>{., • • Iii,.- Fine. Beat</scene_description> <character>JAY</character> <dialogue>it.</dialogue> <character>ANNOYING CUSTOMER</character> <dialogue>Okay, I will take it.</dialogue> <character>JAY</character> <dialogue>Now you can 1</dialogue> <scene_description>t have it. Any of it. Sorry.</scene_description> <character>ANNOYING CUSTOMER</character> <dialogue>What? That's not fair.</dialogue> <character>JAY</character> <dialogue>Oh yeah. Well life isn't fair. I just added a hundred dollars to the price. I can do anything.</dialogue> <character>ANNOYING CUSTOMER</character> <dialogue>You're an asshole.</dialogue> <character>JAY</character> <dialogue>Now the stereo costs ten thousand dollars. Will that be Visa or American Express?</dialogue> <character>ANDY</character> <dialogue>Is there a problem here?</dialogue> <character>CUSTOMER</character> <dialogue>Yeah. This jack off is trying to charge me ten thousand dollars for this stereo.</dialogue> <character>ANDY</character> <dialogue>Is that true?</dialogue> <character>JAY</character> <dialogue>Yes it is. Actually not. It's a million dollars. Not fair huh? Life can be like that.</dialogue> <character>ANNOYING CUSTOMER</character> <dialogue>Fuck this.</dialogue> <character>JAY</character> <dialogue>No, fuck you. You can't always get what you want. Next time you won't think you get to make the rules because in this house I make the rules, bitch!</dialogue> <scene_description>..,, Andy walks Jay into the stock room. • l..,. INT. STOCK ROOM - DAY</scene_description> <character>ANDY</character> <dialogue>What's going on?</dialogue> <character>JAY</character> <dialogue>Jill broke up with me.</dialogue> <character>ANDY</character> <dialogue>I'm so sorry. What happened?</dialogue> <character>JAY</character> <dialogue>She just lost her mind.</dialogue> <scene_description>He starts crying.</scene_description> <character>JAY</character> <dialogue>It's so unfair.</dialogue> <character>ANDY</character> <dialogue>I'm so sorry.</dialogue> <character>JAY</character> <dialogue>She caught me with this girl and she lost her mind. It wasn't that big a deal. It's so unfair. To throw out six years over some skank.</dialogue> <scene_description>Cal walks in. Jay instantly acts like he is not crying, even though there are tears pouring out of his eyes.</scene_description> <character>JAY</character> <dialogue>I just think that we should be pushing the Bose speakers more because they are clearly of a higher quality.</dialogue> <scene_description>Cal realizes something is wrong and exits.</scene_description> <character>JAY</character> <parenthetical>(the moment Cal is gone)</parenthetical> <dialogue>Oh, fuck me, fuck me! Now I know why people kill themselves. I really understand.</dialogue> <character>ANDY</character> <dialogue>Well maybe you shouldn't have cheated on her .</dialogue> </scene> <scene> <stage_direction>..</stage_direction> <scene_description>•'-" I know. unfair learn</scene_description> <character>JAY</character> <dialogue>I know.</dialogue> <scene_description>for her to that lesson. But not it is allow so me to David walks in to get something. Again Jay acts like nothing is wrong, his face covered in tears.</scene_description> <character>JAY</character> <dialogue>I just think I am stronger when you put me in afternoon shifts. I get groggy in the morning.</dialogue> <scene_description>David exits.</scene_description> <character>JAY</character> <dialogue>I have nowhere to go. We were living together, but she dumped all my stuff on the street.</dialogue> <character>ANDY</character> <dialogue>You can stay with me.</dialogue> <character>JAY</character> <dialogue>Thank you, Andy. You are a great man.</dialogue> <scene_description>Jay hugs Andy.</scene_description> <character>JAY</character> <dialogue>I am sorry I ever gave you a hard time. You were right about everything. You should never let sex run your life. Never.</dialogue> <scene_description>Punjab walks in and sees them.</scene_description> <character>PUNJAB</character> <dialogue>This is why I am getting all the shit shifts. This is the bullshit of all bullshits.</dialogue> <scene_description>He storms out.</scene_description> <character>INT.</character> <dialogue>TRISH'S</dialogue> <scene_description>Andy knocks on the door and enters. Trish hurries over to him.</scene_description> <character>TRISH</character> <dialogue>I'm so glad you're here. I need your help.</dialogue> <scene_description>•"' • ~. Sure. What</scene_description> <character>ANDY</character> <dialogue>TRISH</dialogue> <scene_description>is it? Can you take Marla to Planned Parenthood? She wants to go on the pill.</scene_description> <character>ANDY</character> <dialogue>Me?</dialogue> <character>TRISH</character> <dialogue>Her father is dead set against it. I am too. But I thought maybe you could bring her down there just to get some information. Maybe we could delay her for a little bit while we figure out what to do.</dialogue> <character>ANDY</character> <dialogue>Isn't she a little young to go on the pill?</dialogue> <character>TRISH</character> <dialogue>She's sixteen. And she won't listen to me. I told her she should wait till she's much older to have sex, but it's hard for me to say that when I had a kid at seventeen. So I thought maybe she would listen to you.</dialogue> <character>ANDY</character> <dialogue>I don't know if I am the right person to do this.</dialogue> <character>TRISH</character> <dialogue>Yes you are. She has no issues with you. She likes you. Gosh, this was so much easier when we were young.</dialogue> <character>ANDY</character> <dialogue>Yeah.</dialogue> <character>TRISH</character> <dialogue>When we were kids, you just did it. It was fun. It was no big deal. There weren't all these horrible diseases. Now the whole thing is terrifying.</dialogue> </scene> <scene> <stage_direction>.,</stage_direction> <character>ANDY</character> <dialogue>Truly terrifying.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Not like when we were young.</dialogue> <character>TRISH</character> <dialogue>I lost my virginity at fourteen.</dialogue> <character>ANDY</character> <dialogue>Me too. Fourteen years old. So young. So very young.</dialogue> <character>TRISH</character> <dialogue>Now I wish she held onto it till she was like, fifty.</dialogue> <character>ANDY</character> <dialogue>That's crazy talk.</dialogue> <character>TRISH</character> <dialogue>You'd really be coming through for me if you did this. I wouldn't forget it.</dialogue> <character>ANDY</character> <dialogue>Won't she be uncomfortable?</dialogue> <character>TRISH</character> <dialogue>No.</dialogue> <character>ANDY</character> <dialogue>I would think it would be very uncomfortable.</dialogue> <character>TRISH</character> <dialogue>I don't know where else to turn. I don 1 t want her to ruin her life. It' 11 be fine .</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. CAR - DAY</stage_direction> <scene_description>Andy is driving a sullen-looking Marla to Planned Parenthood.</scene_description> <character>MARLA</character> <dialogue>This is so gross.</dialogue> <character>ANDY</character> <dialogue>What?</dialogue> <scene_description>• ~ You taking</scene_description> <character>MARLA</character> <dialogue>me here.</dialogue> <character>ANDY</character> <dialogue>I don't mean it to be gross. Your mother thought you needed someone to talk to.</dialogue> <character>MARLA</character> <dialogue>Andy, you're a nice guy, but you're practically a stranger. I don't want to talk about sex with you.</dialogue> <character>ANDY</character> <dialogue>Either do I. I know it's embarrassing, but you need to inform yourself. I think that is very important before you make a life-changing decision. 'Cause once you have sex, there is no turning back. You will never be the same again, and what if you want to go back? But you can't. There are no time machines. The pandora's box will be open.</dialogue> <character>MARLA</character> <dialogue>Okay, I get it. Stop trying to freak me out. I'll listen.</dialogue> <scene_description>CUT TO:</scene_description> <character>INT.</character> <dialogue>PLANNED PARENTHOOD - DAY</dialogue> <scene_description>Andy and Marla sit across from JUDITH, a counselor.</scene_description> <character>JUDITH</character> <dialogue>Coming here was a very smart thing to do. A lot of young people act without thinking. Carefully considering your options is a very responsible way to act. You should be proud of yourself.</dialogue> <character>MARLA</character> <dialogue>Would it be weird if I just asked you for the pill right now?</dialogue> <character>JUDITH</character> <dialogue>A sense of humor is an effective weapon in high school. I'm sure it</dialogue> <scene_description>..., serves you well. •I..- I was trying is no reason engage</scene_description> <character>ANDY</character> <dialogue>to tell that</dialogue> <scene_description>in sexual her that she needs activity to there at such a young age.</scene_description> <character>JUDITH</character> <dialogue>That's true. Your virginity is a gift. A gift you shouldn't be so quick to give away.</dialogue> <character>ANDY</character> <dialogue>I completely agree.</dialogue> <character>JUDITH</character> <dialogue>There are plenty of activities you can engage in without having sex that can be fun and safe.</dialogue> <character>ANDY</character> <parenthetical>( interested)</parenthetical> <dialogue>What kind of activities? I'm sure she 1 s interested in knowing.</dialogue> <character>JUDITH</character> <dialogue>Well, instead of having intercourse, you might want to try outercourse.</dialogue> <character>MARLA</character> <dialogue>Outercurse. Uch. What's that?</dialogue> <character>ANDY</character> <dialogue>Yeah, what's that?</dialogue> <scene_description>Andy is leaning forward in his chair, way more interested than Marla.</scene_description> <character>JUDITH</character> <dialogue>Outercourse is anything that isn't vaginal intercourse. It can be just having fun in a non-sexual way with your friend. Or it can be kissing.</dialogue> <character>ANDY</character> <dialogue>Kissing is nice.</dialogue> <character>JUDITH</character> <dialogue>And there are many ways to be sexual without intercourse - such</dialogue> <scene_description>... as body rubbing, call "dry humping." which you might • •... See, you</scene_description> <character>ANDY</character> <dialogue>can do that.</dialogue> <character>JUDITH</character> <dialogue>Masturbation, mutual masturbation.</dialogue> <character>ANDY</character> <dialogue>What's that?</dialogue> <character>JUDITH</character> <dialogue>That's when you both masturbate at the same time.</dialogue> <character>ANDY</character> <parenthetical>(to Marla)</parenthetical> <dialogue>You could do that instead.</dialogue> <character>JUDITH</character> <dialogue>There's deep kissing, erotic massage, oral sex play, role- playing, and sharing fantasies with a partner.</dialogue> <character>ANDY</character> <dialogue>So there are a lot of things you can do instead of sex.</dialogue> <character>JUDITH</character> <dialogue>It's only limited by your imagination.</dialogue> <character>MARLA</character> <dialogue>I think I'm gonna vomit.</dialogue> <character>JUDITH</character> <dialogue>That's very funny, but this is serious business. Outercourse offers nearly 100 percent protection against pregnancy.</dialogue> <character>ANDY</character> <dialogue>That's a plus. I didn't know that.</dialogue> <character>JUDITH</character> <dialogue>Outercourse can also greatly reduce the risk of HIV/AIDS and many other sexually transmitted infections - unless body fluids are exchanged through oral or anal intercourse. But some infections, like herpes and HPV, can be passed by skin-to- skin contact.</dialogue> </scene> <scene> <stage_direction>,,,,</stage_direction> <scene_description>• 86 . ~ .. ANDY This is fantastic. What would someone do about performance anxiety? 'Cause I am sure Marla and her friend are worried that their sex won't be satisfying, and then the unsatisfied partner might fly into a rage and break it off with the inadequate partner.</scene_description> <character>JUDITH</character> <dialogue>Sex takes practice, but there are many techniques to extend the amount of time that a man can maintain his erection. Including visualization techniques and a personal favorite of mine, which is called pinching. What a woman does is, right when her man is about to ejaculate she pinches his---</dialogue> <character>MARLA</character> <dialogue>I've got to get out of here.</dialogue> <scene_description>•• Marla! She runs out to the car.</scene_description> <character>ANDY</character> <dialogue>Can't you just let her finish?!</dialogue> <parenthetical>(to Judith)</parenthetical> <dialogue>I'm sorry. You have a lot of this information on your web site, right?</dialogue> <character>INT.</character> <dialogue>CAR - DAY</dialogue> <scene_description>Andy and Marla are driving home.</scene_description> <character>ANDY</character> <dialogue>I thought that was very informative.</dialogue> <character>MARLA</character> <dialogue>Can we not talk? I think I'm gonna be sick.</dialogue> <character>ANDY</character> <dialogue>Well, what do you think?</dialogue> </scene> <scene> <stage_direction>..,</stage_direction> <scene_description>•L I think ever.</scene_description> <character>MARLA</character> <dialogue>I don't want to have sex</dialogue> <character>ANDY</character> <dialogue>I'm with you.</dialogue> <character>INT.</character> <dialogue>TRISH'S</dialogue> <scene_description>Andy is talking to Trish.</scene_description> <character>TRISH</character> <dialogue>I don't know what you did, but she has completely changed her tune.</dialogue> <character>ANDY</character> <dialogue>It wasn't really me. She is a smart kid. Once she got all the right information, she knew what to do.</dialogue> <character>TRISH</character> <dialogue>Thank you. You'd make a great dad.</dialogue> <character>ANDY</character> <dialogue>You think so.</dialogue> <character>TRISH</character> <dialogue>I know so. I've seen it.</dialogue> <character>ANDY</character> <parenthetical>(nervously)</parenthetical> <dialogue>Well, I better get going. It's been a long day.</dialogue> <character>TRISH</character> <dialogue>Stay.</dialogue> <character>ANDY</character> <dialogue>I can't. I've got to ... go to work in the morning.</dialogue> <character>TRISH</character> <dialogue>I'll make it worth your while.</dialogue> <character>ANDY</character> <parenthetical>(shocked)</parenthetical> <dialogue>Trish.</dialogue> <character>TRISH</character> <dialogue>She's not allowed to do it, but we are.</dialogue> <scene_description>•'-- • L,\_. Andy to is do it, cornered. He isn't and he doesn't</scene_description> <character>ANDY</character> <dialogue>sure</dialogue> <scene_description>want to what to do. debate it. He doesn't He thinks, want then-- You crazy chick. I'm gonna have to give you one of their pamphlets. He giggles nervously at his own joke and exits before she can react.</scene_description> <character>INT.</character> <dialogue>Andy is with a FEMALE customer. have ever seen him.</dialogue> <character>CIRCUIT</character> <dialogue>He is</dialogue> <character>ANDY</character> <dialogue>You could go that way, but for the extra money you are getting a product that will be the centerpiece of your home.</dialogue> <character>FEMALE CUSTOMER</character> <dialogue>I don't know.</dialogue> <character>ANDY</character> <dialogue>Well, don't decide today. As I always say, there is nothing wrong with delaying an important decision. ·</dialogue> <character>FEMALE CUSTOMER</character> <dialogue>You know what, I'm gonna go for it.</dialogue> <character>ANDY</character> <dialogue>Great. I will write it up for you.</dialogue> <scene_description>He walks to the register. Trish walks over to him.</scene_description> <character>TRISH</character> <dialogue>Hi, honey.</dialogue> <scene_description>We reveal David, Jay and Cal watching this exchange.</scene_description> <character>ANDY</character> <dialogue>Oh, hi. What are you doing here?</dialogue> <character>TRISH</character> <dialogue>I knew you were working a long shift today, so I brought you a healthy lunch, and look. I found you the cutest sweater.</dialogue> <scene_description>•"' • t.i,\_. She holds it I love up. It it. is</scene_description> <character>ANDY</character> <dialogue>in</dialogue> <scene_description>Thank fact you. a cute sweater. He gives her a quick kiss.</scene_description> <character>TRISH</character> <dialogue>Well, I have a lot of errands to</dialogue> <scene_description>run. Marla and I are going shopping for prom dresses. I'll see you for dinner.</scene_description> <character>ANDY</character> <dialogue>Not if I see you first.</dialogue> <scene_description>He laughs at his bad joke. She exits. The guys walk up to him.</scene_description> <character>DAVID</character> <dialogue>How's that healthy lunch?</dialogue> <scene_description>David and Cal laugh.</scene_description> <character>CAL</character> <dialogue>Yeah. Is it healthy?</dialogue> <character>DAVID</character> <dialogue>You need to stay healthy if you want to fit into that cute sweater.</dialogue> <character>ANDY</character> <dialogue>Guys. Come on.</dialogue> <character>DAVID</character> <dialogue>You are in deep.</dialogue> <character>JAY</character> <dialogue>So? Maybe he likes it.</dialogue> <character>CAL</character> <dialogue>Do you even know what you have done? You are dating a woman with two kids.</dialogue> <character>ANDY</character> <dialogue>Three. One is twenty six. Lives in Ohio. Has a one year-old boy. Jackson.</dialogue> <character>CAL</character> <dialogue>So she's a grandmother.</dialogue> <scene_description>•"' • L.--- I didn't</scene_description> <character>CAL</character> <dialogue>ANDY</dialogue> <scene_description>say that. She has a kid. That makes Trish a grandmother.</scene_description> <character>JAY</character> <dialogue>Lay off him. He has fallen for this woman. And he is happy. That's all that matters.</dialogue> <character>CAL</character> <dialogue>Don't get all soft because your girl dumped you.</dialogue> <character>JAY</character> <dialogue>She didn't dump me. We are giving each other some space.</dialogue> <character>DAVID</character> <dialogue>I'm not saying it's wrong, but I am saying, you better make sure this is what you want. As soon as the Tupperware and the sweaters come out, it is over. You are as good as married.</dialogue> <character>ANDY</character> <dialogue>Maybe that's what I want.</dialogue> <character>CAL</character> <dialogue>Well, getting married would be a good way to avoid sex.</dialogue> <scene_description>They all laugh.</scene_description> <character>CAL</character> <dialogue>I read that in a "Cathy" cartoon.</dialogue> <character>JAY</character> <dialogue>You are such a fag.</dialogue> <character>CAL</character> <dialogue>Cathy is funny!</dialogue> <character>INT. ANDY'S LIVING ROOM - NIGHT</character> <dialogue>Andy and Trish are watching the very end of a film.</dialogue> </scene> <scene> <stage_direction>..</stage_direction> <character>ANDY</character> <dialogue>That was a good movie--</dialogue> <scene_description>• ~- Trish starts kissing Let's do it him.</scene_description> <character>TRISH</character> <dialogue>right now.</dialogue> <character>ANDY</character> <dialogue>Do what?</dialogue> <character>TRISH</character> <dialogue>Have sex.</dialogue> <character>ANDY</character> <dialogue>Oh, that goes against our agreement.</dialogue> <character>TRISH</character> <dialogue>Fuck that agreement, I want you right now. I can't take it any longer.</dialogue> <scene_description>She puts her hand on his crotch.</scene_description> <character>ANDY</character> <dialogue>Maybe we shouldn't have intercourse.</dialogue> <character>TRISH</character> <dialogue>Huh?</dialogue> <character>ANDY</character> <dialogue>We're just letting our hormones think for us. Let's have outercourse.</dialogue> <character>TRISH</character> <dialogue>What is outercourse?</dialogue> <character>ANDY</character> <dialogue>Mutual masturbation. Rubbing on each other with our clothes on. Fooling around without exchanging fluids. It's fun and it's responsible.</dialogue> <character>TRISH</character> <dialogue>What the fuck are you talking about? Are you high?</dialogue> <character>ANDY</character> <dialogue>No, I am respecting you .</dialogue> </scene> <scene> <stage_direction>..</stage_direction> <character>TRISH</character> <dialogue>I knew there was something about you. You're too mellow. Are you on oxycotin?</dialogue> <character>ANDY</character> <dialogue>No!</dialogue> <character>TRISH</character> <dialogue>Do you think I'm unattractive? Old? What the hell's the matter with me? What the hell's the matter with you?</dialogue> <character>ANDY</character> <dialogue>Nothing. We had an agreement.</dialogue> <character>TRISH</character> <dialogue>Not forever.</dialogue> <character>ANDY</character> <dialogue>Well you can't just break the agreement without talking to me about it.</dialogue> <character>TRISH</character> <dialogue>I am talking to you about it now.</dialogue> <character>ANDY</character> <dialogue>Well I am saying I want to think about it.</dialogue> <character>TRISH</character> <dialogue>For how long?</dialogue> <character>ANDY</character> <dialogue>A couple of weeks. What's the rush?</dialogue> <character>TRISH</character> <dialogue>Because I am in love with you.</dialogue> <scene_description>She waits for him to reply in kind, but he is stunned. He is mainly thinking "if I say I love her, which I do, she will want to.have sex with me. What to do?"</scene_description> <character>TRISH</character> <parenthetical>(she counts)</parenthetical> <dialogue>Two, three, four, five. Fuck!</dialogue> <character>ANDY</character> <dialogue>What?</dialogue> <scene_description>•....\_ If five someone seconds, Anything</scene_description> <character>TRISH</character> <dialogue>doesn't</dialogue> <scene_description>after there's that say it back trouble. is bullshit. in</scene_description> <character>ANDY</character> <dialogue>You can't put that kind of pressure on someone.</dialogue> <character>TRISH</character> <dialogue>If you love someone, there is no pressure. I knew I shouldn't have said that.</dialogue> <character>ANDY</character> <dialogue>That's not true.</dialogue> <character>TRISH</character> <dialogue>Wow, you still haven't said it.</dialogue> <character>ANDY</character> <dialogue>What is going on? Where is this coming from?</dialogue> <character>TRISH</character> <dialogue>You fucker. Don't play head games with me.</dialogue> <character>ANDY</character> <dialogue>What? I'm not playing.</dialogue> <character>TRISH</character> <dialogue>You are not just playing with me. I am part of a family. If that sucks, tough shit, that's just how it is.</dialogue> <character>ANDY</character> <dialogue>Who's complaining?</dialogue> <character>TRISH</character> <dialogue>Get out. Just get out. You liar.</dialogue> <character>ANDY</character> <dialogue>I didn't lie.</dialogue> <character>TRISH</character> <dialogue>Yes you did. You're not who you said you were.</dialogue> <character>ANDY</character> <dialogue>... Who did I say I was? •</dialogue> <scene_description>1...- TRISH You said you were the one. one would have passion would want me. for me. Would love me. But the He wouldn't always be moving away just a little when I touched him. It's cruel. So, just get out! Andy is pushed out the door.</scene_description> <character>INT.</character> <dialogue>ANDY'S APARTMENT - NIGHT</dialogue> <scene_description>Andy enters his apartment. Jay is there packing up his things ..</scene_description> <character>ANDY</character> <dialogue>What happened?</dialogue> <character>JAY</character> <dialogue>Me and Jill are getting back together. She's pregnant.</dialogue> <character>ANDY</character> <dialogue>With your kid?</dialogue> <character>JAY</character> <dialogue>Yeah, with my kid. That's why she broke up with me. Because she found out she was pregnant, and she didn't know if I would be a good dad in light of the fact that I cheat on her all the time.</dialogue> <character>ANDY</character> <dialogue>so this is good?</dialogue> <character>JAY</character> <dialogue>It's the best. I love her sooo much. This was meant to happen. I was meant to be with her and to be the father to this child. I will never screw around again. I am so lucky.</dialogue> <character>ANDY</character> <parenthetical>(sadly)</parenthetical> <dialogue>I am so happy for you.</dialogue> <character>JAY</character> <dialogue>Did something happen?</dialogue> </scene> <scene> <stage_direction>,,</stage_direction> <scene_description>• ~ I'm sorry.</scene_description> <character>ANDY</character> <dialogue>your good news. \cause Trish</dialogue> <scene_description>I don't mean to ruin I'm just sad wants to have sex.</scene_description> <character>JAY</character> <dialogue>That's what you wanted.</dialogue> <character>ANDY</character> <dialogue>No, she really wants to have sex. Like right now. What do I do? If she finds out I am a virgin she won't like me anymore. She will think I am a loser.</dialogue> <character>JAY</character> <dialogue>No, she won't.</dialogue> <character>ANDY</character> <dialogue>She will. What kind of man doesn't have sex for forty years? And I am about to turn forty one. If I turn forty one without having sex, that's really pathetic.</dialogue> <character>JAY</character> <dialogue>Then don't tell her. Just have sex with her. Give it to her really good.</dialogue> <character>ANDY</character> <dialogue>I don't know how to do that.</dialogue> <character>JAY</character> <dialogue>You might get lucky. You might be good.</dialogue> <character>ANDY</character> <dialogue>Really?</dialogue> <character>JAY</character> <dialogue>Well ... since you have forty years of sexual energy stored up, there is a chance that it might not last very long.</dialogue> <character>ANDY</character> <dialogue>This is what I was worried about. If I am honest, she'll think I am defective. If I have sex it will be bad and she won't want to be with me. I'll never get a second chance.</dialogue> <scene_description>~ • •L JAY Hold on, relax. you some advice want you to just I am going to give right now. take it because And I</scene_description> <character>I</character> <dialogue>know what I am talking about. I took my girlfriend for granted. I didn't appreciate her. I didn't accept that she was the best person could ever dream of. And because of that, I almost lost her. But now that I have been honest with her, we are going to have a long life together. And a child.</dialogue> <scene_description>J!.!,ffi'RE) So you think I should just tell her everything.</scene_description> <character>JAY</character> <dialogue>No. I think you should get it on with that girl Beth from the bookstore. Pay attention. Learn as much as you can, then use that knowledge with Trish.</dialogue> <character>ANDY</character> <dialogue>That doesn't sound ethical.</dialogue> <character>JAY</character> <dialogue>What, she likes you. She wants you. You would be giving her something she wants. What's unethical about that. You aren't asking her to marry you so you can steal her fortune.</dialogue> <character>ANDY</character> <dialogue>That makes sense.</dialogue> <character>JAY</character> <dialogue>I think it is what Trish would</dialogue> <scene_description>want.</scene_description> <character>ANDY</character> <dialogue>Thank you, Jay. I know I have been tough on you, but without your advice I wouldn't have gotten this far.</dialogue> <character>JAY</character> <dialogue>Thanks. That means a a lot to me. Now go get that girl.</dialogue> <scene_description>fi.,. •</scene_description> <character>JAY</character> <dialogue>And when you're done--go get your girl and do her!</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BOOKSTORE - DAY</stage_direction> <scene_description>Andy walks over to where Beth is putting away books.</scene_description> <character>ANDY</character> <dialogue>Hey.</dialogue> <character>BETH</character> <dialogue>Hey.</dialogue> <character>ANDY</character> <dialogue>I was going to ask you to hang out after work tonight, but I heard you were busy.</dialogue> <character>BETH</character> <dialogue>Busy with what?</dialogue> <character>ANDY</character> <dialogue>Busy hanging out with me after work.</dialogue> <scene_description>She is not sure what this means, but she smiles. She likes him.</scene_description> </scene> <scene> <stage_direction>INT. TRISH'S APARTMENT - DAY</stage_direction> <scene_description>Trish, Marla and Julia are decorating the house. A banner reads "HAPPY FORTY FIRST BIRTHDAY ANDY." Trish starts putting frosting on a cake.</scene_description> <character>TRISH</character> <dialogue>Come on, hurry up. I want everything to be perfect when he gets here.</dialogue> <character>JULIA</character> <dialogue>He is gonna be so surprised.</dialogue> <scene_description>• ~-</scene_description> </scene> <scene> <stage_direction>INT. ANDY'S BATHROOM- DUSK</stage_direction> <scene_description>Andy is preparing for his date. Quick Cuts: \*Andy irons his socks and underwear. \*Using a hand mirror to see his back, he waxes some stray strips of hair. \*Andy puts deodorant on his underarms, and his palms. \*Andy trims his nose hair. Then plucks his uni-brow. \*Andy opens his mouth. He is wearing the teeth whitening strips made by Crest. He takes them off, then smiles at the results. Then he scrapes his tongue. \*Andy pulls a Biori strip off his nose. He looks at it, then grimaces in disgust. \*We reveal that Andy's entire face is covered with Biori strips. He starts peeling them off. \*Andy opens a very large box of condoms and puts one in his wallet. He has to discard lots of other business and credit cards to make room for it. CUT TO:</scene_description> <character>INT.</character> <dialogue>TRISH'S</dialogue> <scene_description>Trish, Julia and Marla are sitting at the kitchen table waiting for Andy.</scene_description> <character>TRISH</character> <dialogue>This is so unlike him. He always comes straight over from work.</dialogue> <scene_description>They hear a noise at the door.</scene_description> <character>TRISH</character> <dialogue>Shhhh. That's him. Come on.</dialogue> <scene_description>They al.l walk to the door. Trish throws it open.</scene_description> <character>EVERYONE</character> <dialogue>Happy Birthday!!!!</dialogue> <scene_description>•" • II,-· We reveal Chinese that restaurant it is in an ASIAN MAN who is their</scene_description> <character>DELIVERY MAN</character> <dialogue>mail slot.</dialogue> <scene_description>putting a menu for a Thank you. You three weeks late. CUT TO:</scene_description> <character>INT.</character> <dialogue>Andy</dialogue> <character>RESTAURANT - NIGHT</character> <dialogue>sits</dialogue> <character>ANDY</character> <dialogue>Do you like working at the bookstore?</dialogue> <character>BETH</character> <dialogue>Yeah. It's really quiet. We don't have that many customers and the ones we do have are really mellow. Which is good because I used to work at a restaurant, and it was really busy and hectic, and I could never get the orders right, so I kind of got fired.</dialogue> <character>ANDY</character> <dialogue>You must love reading?</dialogue> <character>BETH</character> <dialogue>Not really. I'm not much of a reader. I'm more of a do-er. But they have a great magazine rack, so I like to read those. I know they're not books, but some of them are pretty long.</dialogue> <scene_description>Andy is trying to stay interested in Beth, but. it is difficult.</scene_description> <character>CUT</character> <dialogue>TO:</dialogue> <character>INT.</character> <dialogue>TRISH'S</dialogue> <scene_description>Trish is putting on her jacket. Marla and Julia watch.</scene_description> <character>MARLA</character> <dialogue>Where do you think he is?</dialogue> <scene_description>•..,. I don't nervous.</scene_description> <character>TRISH</character> <dialogue>know, but I'm getting</dialogue> <scene_description>Maybe someone hit him when he was riding his bicycle over. I'm gonna go drive the route from his house and see if I can find him. Trish runs out. CUT TO:</scene_description> <character>INT.</character> <dialogue>BETH'S</dialogue> <scene_description>Andy and Beth are walking in to the apartment.</scene_description> <character>BETH</character> <dialogue>Thank you for dinner.</dialogue> <character>ANDY</character> <dialogue>It was my pleasure.</dialogue> <character>BETH</character> <dialogue>Care for a drink?</dialogue> <character>ANDY</character> <dialogue>Sure.</dialogue> <scene_description>She gets two glasses of wine. She hands one to Andy. He drinks the entire glass down when she turns away.</scene_description> <character>BETH</character> <dialogue>I have wanted you to ask me out for a long time.</dialogue> <character>ANDY</character> <dialogue>I've wanted to go out with you for a long time.</dialogue> <character>BETH</character> <dialogue>You are so handsome.</dialogue> <scene_description>She stares into Andy's eyes. She is clearly waiting for a kiss. Andy locks up. This makes it appear like he is giving her a white hot sexual stare, but he is just terrified and not sure what to do.</scene_description> <character>BETH</character> <dialogue>You melt me .</dialogue> </scene> <scene> <stage_direction>..</stage_direction> <scene_description>• ~- Good. (long ANDY beat)</scene_description> <character>BETH</character> <dialogue>I am gonna run a bath. Would you care to join me?</dialogue> <character>ANDY</character> <dialogue>For a bath?</dialogue> <character>BETH</character> <dialogue>We can do more than bathe. We can get dirty.</dialogue> <character>ANDY</character> <parenthetical>(not quite understanding)</parenthetical> <dialogue>In the bath.</dialogue> <character>BETH</character> <dialogue>I am gonna eat you up.</dialogue> <scene_description>She kisses him on the mouth, then walks to the bathroom, smiles at him, then closes the door.</scene_description> <character>INT.</character> <dialogue>CAR - NIGHT</dialogue> <scene_description>Marla is on her cell phone talking to Jay.</scene_description> <character>MARLA</character> <dialogue>So you have no idea where he is?</dialogue> <character>JAY</character> <parenthetical>(on phone-clearly lying)</parenthetical> <dialogue>No. I can 1 t imagine where he would go.</dialogue> <character>MARLA</character> <dialogue>Well, if you hear anything, please call me.</dialogue> <character>JAY</character> <dialogue>I will.</dialogue> <character>INT.</character> <dialogue>JAY'S</dialogue> <scene_description>Jay is sitting with his girlfriend, who we have never seen before .</scene_description> </scene> <scene> <stage_direction>....</stage_direction> <scene_description>•</scene_description> <character>JAY</character> <dialogue>I've got to go.</dialogue> <character>JILL</character> <dialogue>If you are cheating on me, I'll rip your balls off.</dialogue> <character>JAY</character> <dialogue>I'm not going to cheat on you.</dialogue> <character>JILL</character> <dialogue>I am pregnant. If you did that, it would be sick.</dialogue> <character>JAY</character> <dialogue>I'm not. I have to go help a friend.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BETH'S APARTMENT/BATHROOM - NIGHT</stage_direction> <scene_description>Andy is waiting in the living room.</scene_description> <character>BETH</character> <parenthetical>(from behind the bathroom door)</parenthetical> <dialogue>Come on in.</dialogue> <scene_description>Andy walks into the bathroom, and Beth is completely naked. Andy takes a breath.</scene_description> <character>BETH</character> <dialogue>Do you like?</dialogue> <character>ANDY</character> <dialogue>I like.</dialogue> <scene_description>She walks over to him and takes off his shirt.</scene_description> <character>BETH</character> <dialogue>Let me help you with that.</dialogue> <scene_description>She takes off his pants. He gets pale. She leans down and takes off his underwear. (The nudity is mainly tastefully hidden.)</scene_description> <character>ANDY</character> <dialogue>I could have gotten that, but thank you.</dialogue> <scene_description>•l She kiss stares her. When he does, at This him. she is it. puts He takes her a deep finger breath, on his lips. then leans in to</scene_description> <character>BETH</character> <dialogue>Before we start I want to show you what gives me pleasure.</dialogue> <scene_description>She gets in the tub. Her hand moves down her body. CLOSE UP OF ANDY For the next full minute we are on a medium shot of Andy s face as Beth pleasures herself. We do not hear a lot of noise. A little breathing and the occasional splash. Andy's face goes through a kaleidoscope of emotions: interested, happy, shocked, ashamed, frightened. ANGLE ON THE BATH We see Beth for a moment from an angle which disguises what she is doing, but we see her ecstatic face. ANGLE ON WHERE ANDY WAS Andy is now gone. He must have run out in the four seconds the camera was off of him.</scene_description> <character>CUT</character> <dialogue>TO:</dialogue> <character>EXT. BETH'S</character> <dialogue>Andy walks out about to knock</dialogue> <character>APARTMENT - NIGHT</character> <dialogue>the front door on the door.</dialogue> <character>JAY</character> <dialogue>Don't do it.</dialogue> <scene_description>Jl.NDY What? In the background we hear the quiet sounds of Beth moaning. As the scene plays out she gets louder and louder.</scene_description> <character>JAY</character> <dialogue>Have sex with Beth. If you love Trish, then it'll all wurk uuL. I'm sorry for giving you stupid advice.</dialogue> <scene_description>• ~. Don't don't worry,</scene_description> <character>ANDY</character> <dialogue>I didn't. But if you</dialogue> <scene_description>get out of my way, she might come out here and force me to do it.</scene_description> <character>JAY</character> <dialogue>Well, hurry. Trish is looking for you. She's really worried.</dialogue> <character>ANDY</character> <dialogue>Okay. I'll get in touch with her right away.</dialogue> <scene_description>They both hear the moaning.</scene_description> <character>JAY</character> <dialogue>What is going on in there? Is someone else in there?</dialogue> <character>ANDY</character> <dialogue>Just Beth.</dialogue> <character>JAY</character> <dialogue>Maybe I should go in there.</dialogue> <character>ANDY</character> <dialogue>I wouldn't.</dialogue> <character>JAY</character> <dialogue>Yeah, you're right. That was stupid.</dialogue> <scene_description>They listen for another beat as Beth reaches her peak, then both run off--for different reasons.</scene_description> </scene> <scene> <stage_direction>EXT. STREETS - NIGHT</stage_direction> <scene_description>Andy rides his bicycle home, anxious to call Trish and tell her how much he cares for her.</scene_description> <character>EXT./INT.</character> <dialogue>ANDY'S APARTMENT - NIGHT</dialogue> <scene_description>Andy locks his bike, and enters his home. When he enters, he sees Trish looking very upset.</scene_description> <character>ANDY</character> <parenthetical>(attempting nonchalance)</parenthetical> <dialogue>Trish. What's going on?</dialogue> <scene_description>•... Maybe you</scene_description> <character>TRISH</character> <dialogue>should tell me.</dialogue> <character>ANDY</character> <dialogue>Okay, here's the thing. I realize I made a mistake. The reason I went out--</dialogue> <character>TRISH</character> <dialogue>What's this?</dialogue> <scene_description>Trish holds up a stack on movies: 'The Blue Lagoon,' '9 1/2 Weeks,' several Michael Douglas films and several pornos. Andy realizes this isn't about his date with Beth.</scene_description> <character>ANDY</character> <dialogue>Those are David's.</dialogue> <character>TRISH</character> <dialogue>And this?</dialogue> <scene_description>She holds up his speed dating "rating card." On it, in his handwriting, is the names of women and his comments. We see •. phrases like, "she seems nice \\very nice, 11 I like her, sh~ was nice, 11 "Nol! She scared me, 11 "nice, smelled like my grandma .. '1</scene_description> <character>ANDY</character> <dialogue>I did that before I met you. It was silly.</dialogue> <character>TRISH</character> <parenthetical>(points to the computer)</parenthetical> <dialogue>Your picture is on Match.com. And you have all these books about how to have sex. A lot of them have disturbing pictures in them.</dialogue> <character>ANDY</character> <dialogue>Well, when I bought those I didn't realize the pictures would be so--</dialogue> <character>TRISH</character> <dialogue>Why do you have them?! What kind of sick pervert are you? Are you some kind of sex maniac? Everything in your apartment is about sex. Is that all you think about? Is that all you care about?</dialogue> <scene_description>• No. even Of course tried to</scene_description> <character>ANDY</character> <dialogue>not. I have</dialogue> <scene_description>have sex with never you.</scene_description> <character>TRISH</character> <dialogue>Well, then what the hell are you trying to do? What are you buttering me up for?</dialogue> <scene_description>She takes a beat.</scene_description> <character>TRISH</character> <dialogue>You're not going to kill me are you?</dialogue> <character>ANDY</character> <dialogue>No, I, I, I ... I love you.</dialogue> <scene_description>She stares at him, contemplates what he said then runs out the door. Andy runs after her.</scene_description> <character>ANDY</character> <dialogue>Trish, wait!</dialogue> </scene> <scene> <stage_direction>EXT. ANDY'S APARTMENT - CONT.</stage_direction> <scene_description>Trish runs to her car. Andy follows. She drives off. Andy chases her with his bike. After pedaling hard he reaches her window and drives along next to her.</scene_description> <character>ANDY</character> <dialogue>Trish, stop!</dialogue> <character>TRISH</character> <dialogue>Get away before you get hurt!</dialogue> <character>ANDY</character> <dialogue>I love you. I swear. That is why I never tried to make love to you. I was scared.</dialogue> <character>TRISH</character> <dialogue>Why would you be scared?</dialogue> <character>ANDY</character> <dialogue>Because ... because, I've never done it before.</dialogue> <scene_description>• You said fourteen.</scene_description> <character>TRISH</character> <dialogue>you lost your virginity at</dialogue> <character>ANDY</character> <dialogue>I lied. I am a virgin. I always have been.</dialogue> <character>TRISH</character> <dialogue>But, you're forty one years old.</dialogue> <character>ANDY</character> <dialogue>You don't need to point that out. I am well aware of that fact.</dialogue> <scene_description>'.flll©lll!:</scene_description> <character>)</character> <dialogue>I don't know what to believe. But I am pretty sure I don't believe you.</dialogue> <scene_description>She drives off. She slows down for a red, then it turns green a\_nd she takes off. Before she can Andy drives his bike in front of her car, and drives from side to side so she can't get past him.</scene_description> <character>ANDY</character> <dialogue>Look at me. I collect action figures. Look how I walk. I ride a bicycle to work. And I date the most wonderful, beautiful woman in the world and I don't just grab her and ravage her.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Because I'm a virgin.</dialogue> <character>TRISH</character> <dialogue>Why?</dialogue> <character>ANDY</character> <dialogue>It almost happened a bunch of times when I was younger, but it didn't work out, then when I got older there were some close calls that went kind of bad. Then I got scared. Then I gave up. Then I got more scared. Then I met you.</dialogue> <scene_description>Trish stops the car. She stays in the car as he speaks to her.</scene_description> <character>ANDY</character> <dialogue>I'm sorry I didn't tell you right away.</dialogue> <scene_description>• ~ So? Don't (beat) (beat) leave</scene_description> <character>ANDY</character> <dialogue>me hanging here. What</dialogue> <scene_description>do you think? Am I defective? Am I abnormal? Trish kisses him hard on the lips. It is very passionate. They kiss for a long time.</scene_description> <character>TRISH</character> <dialogue>Andy, the most important thing in my life is my family. I know that from the outside my situation may not seem like a bed of roses, but it is.</dialogue> <character>ANDY</character> <dialogue>I know. And I want to be a part of it.</dialogue> <character>TRISH</character> <dialogue>I love you, Andy.</dialogue> <character>ANDY</character> <dialogue>I love you, Trish.</dialogue> <character>TRISH</character> <dialogue>Now what do we do?</dialogue> <scene_description>Andy thinks about this.</scene_description> <character>CUT</character> <dialogue>TO:</dialogue> </scene> <scene> <stage_direction>EXT. A BEAUTIFUL HILLSIDE OVERLOOKING THE OCEAN - DAY</stage_direction> <scene_description>Andy and Trish are getting married. Everyone is there, all her kids even the twenty six year old and her daughter, everyone from work, Jay is there with Jill, David is back together with his ex-girlfriend, Cal is there with the tattooed woman from speed dating. Aboojay from work is there with his date, Beth.</scene_description> <character>PRIEST</character> <dialogue>You may now kiss the bride.</dialogue> <scene_description>Andy and Trish kiss. The crowd explodes with cheers. They run down the path as children throw flowers at them. CUT TO:</scene_description> </scene> <scene> <stage_direction>€�~ INT. HOTEL BEDROOM - NIGHT</stage_direction> <scene_description>Andy and Trish are in bed, under the covers.</scene_description> <character>TRISH</character> <dialogue>Are you ready?</dialogue> <character>ANDY</character> <dialogue>Yeah. Definitely.</dialogue> <character>TRISH</character> <dialogue>Okay.</dialogue> <character>ANDY</character> <dialogue>Wait! I need another second.</dialogue> <scene_description>He take·s a deep breath.</scene_description> <character>ANDY</character> <dialogue>Now I'm ready.</dialogue> <character>TRISH</character> <dialogue>Here we go.</dialogue> <scene_description>•.. The screen GRAPHIC UP: fades</scene_description> <character>"THE END"</character> <dialogue>to black.</dialogue> <scene_description>CREDITS ROLL OVER CREDITS WE SEE:</scene_description> </scene> <scene> <stage_direction>EXT. FANCY BEACH FRONT HOTEL - MORNING</stage_direction> <scene_description>Andy walks out of his room. MUSIC UP: "THE AGE OF AQUARIUS" Andy is overjoyed. He breaks into a very elaborate dance. The employees of the hotel join him in the happiest dance sequence ever filmed. Trish comes out and joins in. It is like the Central Park scene from "Hair.'' It is a new day for Andy. FADE OUT</scene_description> </scene> </script>

Andy Stitzer is a shy 40-year-old introvert who works as a stock supervisor at electronics store Smart Tech. He gave up trying to have sex after various failed attempts and lives alone in an apartment with a collection of action figures and video games. When a conversation at a poker game with his co-workers David, Jay, and Cal turns to past sexual exploits, they learn that he secretly is still a virgin. Andy is mortified upon discovering the next day that everyone else at work has learned about the secret, including their boss Paula, who is attracted to him and later privately offers to take his virginity. He almost quits work in humiliation before David consoles him and recommends trying again to have sex. David, Jay, and Cal become determined to help Andy achieve this. They all give differing advice on how to interact with women. David invites him to join them for a speed dating event and unsuccessfully tries to reconnect with his ex-girlfriend Amy there. Jay drags Andy to various social events, books a painful chest waxing appointment, and sets him up with a prostitute, which all end with embarrassing results. Cal advises Andy to simply be confident and ask women questions instead of talking about himself. He practices this on a bookstore clerk named Beth, who quickly becomes intrigued by him. David gives Andy his pornography collection, encouraging him to masturbate. Andy eventually gets a date with a customer named Trish Piedmont. At the end of their first date, they almost have sex but are interrupted by her teenage daughter Marla. Trish suggests they postpone having sex, and Andy enthusiastically agrees; they decide to abstain until their twentieth date. Their relationship flourishes over the following weeks. She encourages Andy's dream of starting a business and helps fund it by selling his collectibles. After Marla argues with Trish over wanting birth control, Andy takes her to a group information session at a sexual health clinic, where she is mocked for being a virgin. Andy admits his own virginity to defend her, earning him Marla's respect. Meanwhile, David suffers an emotional breakdown at work over his obsession with Amy and takes a vow of celibacy, which leads to Paula giving his sales duties to Andy for the day and later promoting him to floor manager due to his high sales quota. As Cal takes on Andy's previous role, he hires a woman named Bernadette to work at the store, hoping to match her with David, so he can move on from Amy. After Jay's girlfriend Jill breaks up with him due to his infidelity, he concedes to Andy that sex can ruin a relationship. Following a reconciliation with Jill, Jay later invites Andy and the others to a nightclub to celebrate her pregnancy. Trish tries to initiate sex with Andy on their twentieth date and becomes upset when he resists. They argue, and Andy leaves to meet his friends at a nightclub. He gets drunk and leaves with Beth to have sex at her apartment. Cal gets David and Bernadette to hook up, while Marla convinces Trish to reconcile with Andy. At Beth's, Andy sobers up and decides to leave without having sex, just as his friends arrive and encourage him to go back to Trish. Andy returns to his apartment to find Trish waiting for him. She has found David's porn collection; he tries to explain, but she flees in alarm and disgust, fearing Andy may be a sexual deviant. While pursuing her on his bike, Andy collides with her car, flying through the side of a billboard truck. She rushes to his side, and Andy finally confesses that he is a virgin. Trish is relieved and accepting, and they profess their love for each other. They eventually marry in a lavish ceremony with everyone in attendance, having generated roughly $500,000 from the sales of his action figures to pay for it, before having sex for the first time. The film ends with a musical sequence where all the characters sing and dance to "Aquarius/Let the Sunshine In".

The Lost World: Jurassic Park_1997

tt0119567

<script> <scene> <stage_direction>EXT. TROPICAL LAGOON - DAY</stage_direction> <scene_description>A 135 - foot - luxury yacht is anchored just offshore in a tropical lagoon . The beach is a stunning crescent of white sand at the jungle fringe , utterly deserted . ISLA SORNA , 87 miles southeast of Nublar . Two SHIP HANDS , dressed in white uniforms , have set up a picnic table with three chairs on the sand and are carefully laying out luncheon service - fine china , silver , crystal decanters with red and white wine . PAUL BOWMAN , fortyish , sits in a chair off to the side , reading . MRS. BOWMAN , painfully thin , with the perpetually surprised look of a woman who 's had her eyes done more than once , supervises the settings of the table . She looks up and sees a little girl , CATHY , seven or eight years old , wandering off down the beach .</scene_description> <character>MRS. BOWMAN</character> <dialogue>Cathy! Do n't wander off!</dialogue> <scene_description>Cathy keeps wandering .</scene_description> <character>MRS. BOWMAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Cathy, come back! You can look for shells right here!</dialogue> <scene_description>Cathy gestures , pretending she ca n't hear .</scene_description> <character>BOWMAN</character> <parenthetical>( eyes still in his book . )</parenthetical> <dialogue>Leave her alone.</dialogue> <character>MRS. BOWMAN</character> <dialogue>What about snakes?</dialogue> <character>BOWMAN</character> <dialogue>There's no snakes on a beach. Let her have fun, for once.</dialogue> <scene_description>FURTHER DOWN THE BEACH , Cathy keeps wandering away , MUTTERING to herself as her parents ' quarreling voices fade in the distance .</scene_description> <character>CATHY</character> <dialogue>Please be quiet, please be quiet please be quiet.</dialogue> <scene_description>Rounding a curve in the beach , her parents disappear from view behind her . A RUSTLING sound draws her attention , and she turns , toward where the thick jungle foliage gives way to the sand . A large bush , maybe twelve feet tall , is moving , its branches swaying and shaking . Curious , Cathy walks up to the bush , which abruptly stops moving . A small , lizard - like animal , dark green with brown stripes along its back , steps out from the bush . Only about a foot tall , it stands on its hind legs , balancing on its thick tail . It walks upright , bobbing its head like a chicken .</scene_description> <character>CATHY</character> <dialogue>Well, hello there!</dialogue> <scene_description>The animal -LRB- a COMPSOGNATHUS -RRB- just stares at her . Cathy squats down on her haunches .</scene_description> <character>CATHY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What are you? A little bird or something?</dialogue> <scene_description>She opens her hand . She 's got a handful of goldfish crackers .</scene_description> <character>CATHY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Are you hungry? You want a goldfish?</dialogue> <scene_description>The compy bobs forward a few steps , cautiously .</scene_description> <character>CATHY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Come on. I wo n't hurt you.</dialogue> <scene_description>The compy draws closer . Cathy holds the cracker in the palm of her hand . The compy gets closer still - - and hops numbly up onto Cathy 's palm . Her arm dips a bit under the weight , but it 's not that heavy , and she holds it up easily . It bobs its head , scarfs up the goldfish , and eats it . Enchanted , Cathy breaks into an enormous grin and returns her hand , calling back over her shoulder .</scene_description> <character>CATHY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Mom! Dad! You got ta come see this! I found something!</dialogue> <scene_description>She turns back . Thirty more compys have come out onto the sand . They 're standing there , bobbing anxiously , staring at her from a few feet away . Cathy 's smile fades . She turns her head slowly to the right . TWENTY MORE COMPYS have come in from that side , forming a semi - circle , bobbing and CHIPPING as they surround her .</scene_description> <character>CATHY</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( terrified . )</parenthetical> <dialogue>What do you guys want?</dialogue> <scene_description>BACK ON THE BEACH , the table is set . Mrs. Bowman calls out .</scene_description> <character>MRS. BOWMAN</character> <dialogue>Cathy, sweetheart! Lunch is ready!</dialogue> <scene_description>From around the curve of the beach , a flock of birds bolts from the jungle trees as Cathy 's shrill SCREAMS suddenly pierce the air .</scene_description> <character>MRS. BOWMAN</character> <dialogue>PAUL!</dialogue> <scene_description>She takes off , running down the beach , Mr. Bowman leaps out of his chair and follows , and all available deck hands race off to help , kicking up geysers of sand behind them . DOWN THE BEACH , Mrs. Bowman stops dead in her tracks when she rounds the bend in the beach . We do n't see what she sees , but we hear the frenzied SQUEAKING of the strange compys . Mr. Bowman and the Hands race past her to help Cathy as Mrs. Bowman lets loose a horrified , slack - jawed SCREAM , her mouth a perfect oval .</scene_description> </scene> <scene> <stage_direction>INT. BOARD ROOM - DAY</stage_direction> <scene_description>Mrs. Bowman 's screaming face dissolves slowly over the YAWNING face of a bored CORPORATE EXECUTIVE , TWENTY OTHER EXECUTIVES sit around a conference table in the boardroom of a monied corporation . All are in expensive suits , most are over sixty . There are rows of BACKBENCHERS too , whispering in their lawyers who sit behind their clients , whispering in their ears . Empty coffee cups and fast food containers on the table hint that everyone 's been here a long time . A familiar VOICE resounds through the boardroom as we move down the long table , pat the grim faces of the board members .</scene_description> <character>VOICE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>The hurricane seemed like a disaster at the time, but now I think it was a blessing, nature's way of freeing those animals from their human confines. Of giving them another chance to survive, but this time as they were meant to, without man's interference.</dialogue> <scene_description>The source of the voice is JOHN HAMMOND , the founder of InGen and creator of Jurassic Park . But he 's not in the room . His image is on a closed circuit TV screen , which has been wheeled up to the end of the table . And he does n't look good . He 's terribly infirmed , propped up in bed , his face pale and drawn , medical equipment BEEPING around him .</scene_description> <character>HAMMOND</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>There are some corporate issues that are not about the bottom line. We have so much still to learn about those creatures. A whole world of intricate, interlocking behaviors, vanished everywhere - except for Site B. Please. Let's not do what is good for more men at the expense at what is best for all mankind.</dialogue> <scene_description>The CHAIRMAN , seventyish , nods awkwardly to the television .</scene_description> <character>CHAIRMAN</character> <dialogue>Thank you, John. Mr. Ludlow?</dialogue> <scene_description>He turns to PETER LUDLOW , late thirties , a man with the anxious look of someone who insists the buck stop on his desk . Ludlow flips open a file , pulls out a stack of black and white eight by tens , and tosses them on the table .</scene_description> <character>LUDLOW</character> <parenthetical>( an accent similar to Hammond 's . )</parenthetical> <dialogue>These pictures were taken in a hospital in Costa Rica forty - eight hours ago, after an American family on a yacht cruise stumbled onto Site B. The little girl will be fine, but her parents are wealthy, angry, and very fond of lawsuits. But that's hardly new to us, is it?</dialogue> <parenthetical>( takes a paper from the file . )</parenthetical> <dialogue>Wrongful death settlements, partial list : family of Donald Gennaro, 36.5 million dollars ; family of Robert Muldoon, 12.6 million. Damaged or destroyed equipment, 17.3 million. Demolition, de - construction, and disposal of Isla Nublar facilities, organic and inorganic, one hundred and twenty - six million dollars. The list goes on, gentlemen - research funding, media payoffs. Silence is expensive.</dialogue> <scene_description>He 's warming up . Not a bad performer .</scene_description> <character>LUDLOW</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>This corporation has been bleeding from the throat for four years. You, our board of directors, have set patiently and listened to ecology lectures while Mr. Hammond signed your checks and spent your money. You have watched your stock drop from seventy - eight and a quarter to nineteen flat with no good and in sight. And all along, we have held a significant product asset that we could have safely harvested and displayed for profit. Enormous profit.</dialogue> <scene_description>He reaches out to a model on the table and gives it a shove , sending it sliding down the length of the table in front of them . It 's a mini - mall version of a zoo . Cages hold tiny replicas of various kinds of dinosaurs while Boy Scout troops and Tourists look on in wonder .</scene_description> <character>LUDLOW</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Enough money to wipe out four years of lawsuits and damage control and unpleasant infighting, enough to not only send our stock back to where it was but to double it. And the one thing, the only thing standing between us and this asset is a born - again naturalist who happens to be our own CEO. Well, I do n't work for Mother Nature. I work for you.</dialogue> <scene_description>Two of his Backbenchers distribute documents from a stack . Ludlow takes one and reads from it .</scene_description> <character>LUDLOW</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>`` Whereas the Chief Executive Officer has engaged in wasteful and negligent business practices to further his own personal environmental beliefs - Whereas these practices have affected the financial performance of the company by incurring significant losses - Whereas the shareholders have been materially harmed by these losses - Thereby, be it resolved that John Parker Hammond should be resolved from the office of Chief Executive Officer, affective immediately.'' Mr. Chairman, I move the resolution be put to an immediate vote. Do I have a second?</dialogue> <character>BOARD MEMBER</character> <dialogue>I second the motion, Mr. Chairman, Please poll the members by a show of hands.</dialogue> <scene_description>The CHAIRMAN signs heavily , feeling like a traitor . He ca n't bear to look at Hammond on the TV monitor .</scene_description> <character>CHAIRMAN</character> <dialogue>All those in favor of InGen Corporate Resolution 213C, please signify your approval by raising your right hand.</dialogue> <scene_description>It starts slowly , guiltily , but every hand in the room goes up . Ludlow sits back , victorious . Hammond , furious , raises his right hand , which holds a remote control , and points it at the TV screen . It goes blank .</scene_description> </scene> <scene> <stage_direction>EXT. WELDER'S YARD - NIGHT</stage_direction> <scene_description>Sparks fly out the windows and doors of a shed in the middle of a welder 's yard . Scrap iron and steel lies everywhere . Somewhere inside the shed , a phone RINGS . The WHOOSH of the arc welder shuts off . DIETER STARK , a big barrel - chested man of forty or so , his face streaked with soot and grime , steps outside with a cordless phone , a cigarette dangling from his lips .</scene_description> <character>DIETER</character> <dialogue>Yeah.</dialogue> <scene_description>He takes a deep drag while someone talks on the other end . He smiles and blows out a cloud of smoke .</scene_description> </scene> <scene> <stage_direction>INT. NEW YORK SUBWAY - NIGHT</stage_direction> <scene_description>Smoke turns into steam as a subway THUNDER into a station underneath Manhattan . The door WHOOSH open , spit out some COMMUTERS and suck up a few more . A tall man hurries down the platform , limping heavily , moving as fast as he can . The subway doors begin to close , but just before they meet - - the man jams a cane in between , stopping them . The man is IAN MALCOLM , fortyish , dressed in black from head to toe . There 's a hard wisdom in Malcolm 's eyes that may not have been there 's a few years ago - he know what you think , and he does n't care .</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY CAR - NIGHT</stage_direction> <scene_description>MALCOLM finds a seat on the crowded subway car and sits down . He looks awful . Tired . Weathered . He notices a CURIOUS MAN across from his is staring at his . Malcolm looks away . The Curious Man still stares . Nervy , the Curious Man gets up and approaches .</scene_description> <character>MALCOLM</character> <parenthetical>( under his breath . )</parenthetical> <dialogue>Shit.</dialogue> <scene_description>The Curious Man sits down next to Malcolm , grinning .</scene_description> <character>MAN</character> <dialogue>You're him, are n't you?</dialogue> <character>MALCOLM</character> <dialogue>Excuse me?</dialogue> <character>MAN</character> <dialogue>The guy. The scientist. I saw you on TV.</dialogue> <parenthetical>( conspiratorially . )</parenthetical> <dialogue>I believed you.</dialogue> <scene_description>No response from Malcolm . The guy leans in even closer .</scene_description> <character>MAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Roooooarr.</dialogue> <character>MALCOLM</character> <parenthetical>( a withering look . )</parenthetical> <dialogue>I was misquoted. I was merely speculating on the evolutionary scenario of a Lost World. I never said I was in any such place.</dialogue> <scene_description>He gets up and moves to another seat on the car , away from the Curious Man . As he sits down , he notices two other COMMUTERS across from him are staring at him . He looks at them . They looks away . He pulls the collar of his coat up tight around him . Nowhere to hide .</scene_description> </scene> <scene> <stage_direction>INT. JOHN HAMMOND'S APARTMENT - NIGHT</stage_direction> <scene_description>A UNIFORMED BUTLER has a question :</scene_description> <character>BUTLER</character> <dialogue>Whom shall I tell Mr. Hammond is calling?</dialogue> <scene_description>MALCOLM stands in the foyer of an expensively decorated Park Avenue apartment .</scene_description> <character>MALCOLM</character> <dialogue>Ian Malcolm</dialogue> <scene_description>A door opens and a little dog comes YAPPING out of the back . It bounds straight at Malcolm , GROWLING , jaws SNAPPING . It lunges - - and Malcolm BATS it away with one swift swing of his cane . The dog rolls across the floor and slinks away , WHINING . The Butler looks at Malcolm disapprovingly .</scene_description> <character>BUTLER</character> <dialogue>Not an animal lover?</dialogue> <character>MALCOLM</character> <dialogue>Not really.</dialogue> </scene> <scene> <stage_direction>INT. HAMMOND'S BEDROOM - NIGHT</stage_direction> <scene_description>MALCOLM enters a darkened bedroom . JOHN HAMMOND lies in the bed we saw earlier , on the other side of the room ; Medical equipment has been disguised as well as possible among the furniture and flowers , but the sheer abundance of it tells us that whatever has stricken him is going to win this battle .</scene_description> <character>HAMMOND</character> <dialogue>Ian! Do n't linger in the doorway like an ingenue, come in, come in!</dialogue> <scene_description>Malcolm steps further into the room .</scene_description> <character>HAMMOND</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>It's good to see you. It really is. How's the leg?</dialogue> <character>MALCOLM</character> <dialogue>Resentful.</dialogue> <character>HAMMOND</character> <dialogue>When you have a lot of time to think, it's funny who you remember. It's the people who challenged you. It is the quality of our opponents that gives our accomplishments meaning. I never told you how sorry I was about what happened after we returned.</dialogue> <scene_description>Noticing Hammond 's deteriorated condition , Malcolm finds it hard to sustain anger .</scene_description> <character>MALCOLM</character> <dialogue>I did n't know you - were n't well.</dialogue> <character>HAMMOND</character> <dialogue>It's the lawyers. The lawyers are finally killing me.</dialogue> <character>MALCOLM</character> <dialogue>They do have motives. Why did you want to see me? Your message said it was urgent.</dialogue> <character>HAMMOND</character> <dialogue>You were right - and I was wrong. There! Did you ever think you'd hear me say that? Spectacularly wrong. Instead of observing those animals, I tried to control them. I squandered an opportunity and we still know next to nothing about their lives. Not their lives as man would have them, behind electric fences, but in the wild. Behavior in their natural habitat, the impossible dream of any paleontologist. I could have had it, but I let it slip away.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Thank God for Site B.</dialogue> <scene_description>Malcolm just looks at him for a long moment .</scene_description> <character>MALCOLM</character> <dialogue>What?</dialogue> <character>HAMMOND</character> <parenthetical>( a spark in his eye . )</parenthetical> <dialogue>Well? Did n't it all seem a trifle compact to you?</dialogue> <character>MALCOLM</character> <dialogue>What are you talking about?</dialogue> <character>HAMMOND</character> <dialogue>The hatchery, in particular? You know my initial yields had to be low, far less than one percent, that's a thousand embryos for every single live birth. Genetic engineering on that scale implies a giant operation, not the spotless little laboratory I showed you.</dialogue> <character>MALCOLM</character> <dialogue>I do n't believe you.</dialogue> <character>HAMMOND</character> <dialogue>Isla Nublar was just a showroom, Ian, something for the tourists, Site B was the factory floor. We built it first, on Isla Sorna, eight - some miles from Nublar.</dialogue> <character>MALCOLM</character> <dialogue>No, no, no, no, no, no.</dialogue> <character>HAMMOND</character> <dialogue>After the accident at the park, a hurricane wiped out our facility on Site B. We had to evacuate and leave the animals to fend for themselves. And they did. For four years I've fought to keep them safe from human meddling, now I want you to go there and document them.</dialogue> <character>MALCOLM</character> <dialogue>Are you out of your mind? I still have nightmares, my reputation's a joke, my leg is shot - you think I need more of that?</dialogue> <character>HAMMOND</character> <dialogue>It would be the most extraordinary living fossil record the world has ever seen.</dialogue> <character>MALCOLM</character> <dialogue>So what?</dialogue> <scene_description>Hammonnd picks up a thick file folder from the night table near to him and open it on his lap . Inside , there are memos , charts , maps and photographs .</scene_description> <character>HAMMOND</character> <dialogue>I've been putting this together for over a year. I have personal suggestions for your entire team, phone numbers, contact people. They wo n't believe you about what they're going to see, so do n't bother trying to convince them. Just use my checkbook to get them there. I'll fund your expedition through my personal accounts, as such money and equipment as you need, but only if you leave immediately. If we hesitate, all will be lost.</dialogue> <character>MALCOLM</character> <dialogue>John.</dialogue> <character>HAMMOND</character> <dialogue>You'll need an animal behaviorist, someone with unimpeachable credentials. I believe you already know Sarah Harding. She's got theories about parenting and nurturing among hunter/scavengers I bet she'd be dying to prove on a scale like this. If you convince her to go, it'll be a major coup. When she publishes, the scientific community must take it seriously.</dialogue> <scene_description>Malcolm just shakes his head , flipping through the file sadly .</scene_description> <character>HAMMOND</character> <dialogue>Your documentation, you should use forensic photographic methods, Hasselbladt still cameras, high definition video. When the trick photography analysts take your evidence apart, make it impossible for them to say there was enhancement or computer graphic imaging. Oh, this is very important - avoid the island interior at all costs. Stick to the outer rim. Everything you need to know can be found there. Vindication lies on the outer rim.</dialogue> <scene_description>Malcolm gently closes the file and pushes it back to Hammond .</scene_description> <character>MALCOLM</character> <dialogue>I'm not going, John.</dialogue> <character>HAMMOND</character> <parenthetical>( fatigue returning . )</parenthetical> <dialogue>Ian, you are my last chance to give something of real value to the world. I ca n't walk so far and leave no footprints ; die and leave nothing with my name on it. I will not be known only for my failures. And you will not allow yourself to go down in history as a lunatic. You're too smart. You'e too proud. Dr. Malcolm. Please. This is a chance at redemption. For both of us. There's no time to equivocate, we must seize it now, before -</dialogue> <scene_description>He stops , staring over Malcom 's shoulder . Malcom turns . PETER LUDLOW , still in his overcoat , is standing in the doorway to the bedroom . He looks back and forth from Hammond to Malcolm suspiciously .</scene_description> <character>LUDLOW</character> <dialogue>Hello, Uncle John. Dr. Malcolm.</dialogue> <scene_description>Malcolm does n't answer . He seems to know Ludlow , and dislikes him .</scene_description> <character>LUDLOW</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Did I interrupt something?</dialogue> <scene_description>Malcolm turns back to Hammond .</scene_description> <character>MALCOLM</character> <dialogue>Find someone else.</dialogue> </scene> <scene> <stage_direction>INT. HAMMOND'S APARTMENT/FOYER - NIGHT</stage_direction> <scene_description>In the foyer , LUDLOW hands MALCOLM his coat , just a trifle rudely , and shepherds him to the door .</scene_description> <character>LUDLOW</character> <dialogue>So, you two were just, uh, telling old campfire stories, were you?</dialogue> <character>MALCOLM</character> <dialogue>Do me a favor. Do n't pretend for a second that you and I do n't know the truth. You can convince Time magazine and the Skeptical Inquirer of whatever you want, but I was there.</dialogue> <character>LUDLOW</character> <dialogue>You signed a non - disclosure agreement before you went to the island that expressly forbade you from discussing anything you saw. You violated that agreement.</dialogue> <character>MALCOLM</character> <dialogue>You cost me my livelihood. That on which I relied to support my children.</dialogue> <character>LUDLOW</character> <dialogue>If your university felt you were causing it embarrassment by selling wild stories to Hard Copy, I hardly see how I am to -</dialogue> <character>MALCOLM</character> <dialogue>I did n't tell anything, I told the truth.</dialogue> <character>LUDLOW</character> <dialogue>You version of it.</dialogue> <character>MALCOLM</character> <dialogue>There are no versions of the truth! This is n't a corporate maneuver, it's my life.</dialogue> <character>LUDLOW</character> <dialogue>We made a generous compensatory offer for your injuries.</dialogue> <character>MALCOLM</character> <dialogue>It was a payoff and an insult. InGen never -</dialogue> <character>LUDLOW</character> <dialogue>InGen is my livelihood, Dr. Malcolm, and I will jealously defend its interests. People will know what I want them to know when I want them to know it.</dialogue> <scene_description>Ludlow tosses something to Malcolm , hard . It sails across the foyer , upright , and Malcolm reaches out and catches it with one hand . It 's his cane .</scene_description> <character>LUDLOW</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Do n't forget that.</dialogue> <scene_description>Malcolm stares at him for a long moment . Finally , he turns and walks away . But he does not out of the apartment . Instead , he walks directly past Ludlow , crosses the living room , and steps back into Hammond 's bedroom , closing the door behind him with a determined CLICK .</scene_description> </scene> <scene> <stage_direction>INT. HAMMOND'S BEDROOM - NIGHT</stage_direction> <scene_description>HAMMOND looks up , hopeful , as MALCOLM comes back into the room and walks over to his bed . He reaches down - - and picks up the file folder .</scene_description> <character>MALCOLM</character> <dialogue>Do you have a satellite phone?</dialogue> </scene> <scene> <stage_direction>INT. MOMBASSA BAR - DAY</stage_direction> <scene_description>ROLAND TEMBO , late sixties , skin like leather and the diamond hard look of a cobra , sits at a table in the middle of an African cafe/bar in Mombassa . It 's daytime and the place is half full , mostly with locals , but there are a few obnoxious TOURISTS too , Americans on safari who somehow found the local handout . They 're a noisy bunch , but Roland tunes them out , calmly eating his lunch and drinking a beer while he reads a book , eyeglasses hanging low on his nose . Roland suddenly stops reading and furrows his brow . He looks up . He SNIFFS the air once , then smiles and calls out a person 's name .</scene_description> <character>ROLAND</character> <dialogue>Ajay?</dialogue> <scene_description>He turns around . AJAY -LRB- AH - jay -RRB- SIDHU , a wiry East Indian in his late forties , is standing behind him , caught trying to sneak up .</scene_description> <character>AJAY</character> <parenthetical>( delighted . )</parenthetical> <dialogue>How did you know?</dialogue> <character>ROLAND</character> <parenthetical>( taps his nose . )</parenthetical> <dialogue>That cheap aftershave I send you every Christmas, you actually wear it. I'm touched. Sit down, sit down, what brings you to Mombassa?</dialogue> <character>AJAY</character> <dialogue>You. Tell me, Roland, when was the last time you answered your phone?</dialogue> <character>ROLAND</character> <dialogue>Last time I plugged it in, I suppose. Why?</dialogue> <scene_description>Behind them , the group of TOURISTS , all men , laughs loudly . One of them , the MOST OBNOXIOUS TOURISTS , berates the WAITRESS .</scene_description> <character>AJAY</character> <dialogue>I got a call from a gentleman who's going to Costa Rica, or thereabouts. If he's to be believed, it's a most, uh, unique expedition. And very well - funded.</dialogue> <character>ROLAND</character> <dialogue>Well, I'm a very well - funded old son of a bitch. You go.</dialogue> <scene_description>The Most Obnoxious Tourist bellows for the Waitress . His buddies LAUGHS . Roland throws a glance , annoyed .</scene_description> <character>AJAY</character> <dialogue>But alone? We always had great success together, you and I.</dialogue> <character>ROLAND</character> <dialogue>Just a little bit too much, I think.</dialogue> <character>AJAY</character> <dialogue>How do you mean?</dialogue> <character>ROLAND</character> <dialogue>A true hunter does n't mind if the animal wins. If it escapes. But there were n't enough escapes from you and me, Ajay. I've decided to spend a bit less time in the company of death. Maybe I just feel too close to it my -</dialogue> <scene_description>The Waitress comes to the Tourists ' table and the Most Obnoxious Tourist actually paws her ass . Roland is out of his chair in a second .</scene_description> <character>ROLAND</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( to Ajay . )</parenthetical> <dialogue>Excuse me.</dialogue> <scene_description>Romand walks over to the Tourists ' table , says something to the Waitress in the local dialect , and she walks away , behind him . He stares down at the Most Obnoxious Tourist .</scene_description> <character>ROLAND</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You, sir - are no gentleman.</dialogue> <character>TOURIST</character> <dialogue>Is that supposed to be an insult?</dialogue> <character>ROLAND</character> <dialogue>I can think of none greater.</dialogue> <scene_description>The Tourist looks at his Buddies and laughs .</scene_description> <character>TOURIST</character> <dialogue>Buzz off, you silly old bastard.</dialogue> <character>ROLAND</character> <dialogue>What do I have to do to pick a fight with you, bring your mother into it?</dialogue> <character>TOURIST</character> <dialogue>Are you kidding? I could take you with one arm tied down.</dialogue> <character>ROLAND</character> <dialogue>Really?</dialogue> <scene_description>IN THE MIDDLE OF THE FLOOR , the Waiter finishes tying a man 's wrist to his belt in the back of his pants with a napkin . He pulls the knot tight and the man turns around . It 's Roland , with his arm tied down . The Tourist stands across from him .</scene_description> <character>TOURIST</character> <dialogue>I mean my arm.</dialogue> <scene_description>POW ! Roland punches him square in the jaw . The Tourist reels , stunned . Enraged , he lunges at Roland , swinging with both arms . Roland bobs , neatly ducking the punches , waits for the Tourist to turn around , and POPS him thrice in the face . The Tourist spins and goes down to the floor , face first . A cloud of sawdust and a loud CHEER from the locals rise up in the bar . BACK AT HIS TABLE , Roland drops the napkin on the table and sits back down with Ajay . In the background , the Tourist 's Buddies hurriedly carry their fallen cohort out of the bar .</scene_description> <character>ROLAND</character> <dialogue>Sorry. We were saying?</dialogue> <character>AJAY</character> <dialogue>You broke that idiot's jaw for no reason other than your boredom. Tell the truth, Roland. Are n't you even interested in knowing this expedition's quarry?</dialogue> <character>ROLAND</character> <dialogue>Ajay. Go on up to my ranch, take a look around the trophy room, and tell me what kind of quarry you think could possibly be of any interest to me.</dialogue> <scene_description>Ajay just smiles .</scene_description> </scene> <scene> <stage_direction>EXT. AFRICAN SAVANNAH - NIGHT</stage_direction> <scene_description>The African savannah appears in shades of fluorescent green , seen through night - vision goggles . An ANIMAL YELP comes from the left and the green vista sweeps abruptly toward it . The world blurs momentarily , then comes into focus on a field of long grass . The grass ripples in a complex pattern as animals move stealthily through it . One animal head pops up above the grass for a split - second , teeth bared , a white stripe between its eyes . SARAH HARDING pulls the goggles away from her face .</scene_description> <character>SARAH</character> <dialogue>Hyenas. Ace Face is the striped snout.</dialogue> <scene_description>Sarah is thirty , with a compact , athletic body built for the outdoors . She loos through the goggles again , sweeping ahead of the hyenas to their prey . It 's a herd of African buffalo , standing belly - deep in the grass , agitated , bellowing and stamping their feet . Sarah turns to MAKENA , her African assistant .</scene_description> <character>SARAH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>They'll try to take down a calf. Come on.</dialogue> <character>MAKENA</character> <dialogue>Closer?</dialogue> <scene_description>Sarah scurries up and over a rock face . Makena follows . Closer now , they watch as the hyenas rush the herd , running through it , trying to break it up .</scene_description> <character>MAKENA</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You know, we could see everything from up on the edge of that cliff.</dialogue> <character>SARAH</character> <dialogue>No way.</dialogue> <character>MAKENA</character> <dialogue>But the view would -</dialogue> <character>SARAH</character> <dialogue>No cliffs.</dialogue> <parenthetical>( into a pocket recorder . )</parenthetical> <dialogue>F1 headed sough, F2 and F5 flanking, twenty yards. F3 center. F6 circling wide east. Ca n't see F7.</dialogue> <scene_description>While she talks , breathless , fascinated by the drama before her , Sarah continues to creep closer and closer to the action . Makena follows , with growing unease .</scene_description> <character>MAKENA</character> <dialogue>Sarah.</dialogue> <character>SARAH</character> <dialogue>F8 circling north. F1 straight through, disrupting. Herd moving, stamping. There's F7. Straight through. F8 angling through from the north.</dialogue> <scene_description>She 's practically on top of the animals now .</scene_description> <character>MAKENA</character> <dialogue>Dr. Harding.</dialogue> <scene_description>Makena has a hold of Sarah 's sweatshirt and is tugging her back , at least trying to slow down her progress as Sarah , wide - eyed with fascination , creeps even closer . Suddenly there is a tremendous BELLOWING and the grass right in front of them rips apart , trampled under the feet of the hyenas as they cluster around a fallen buffalo calf . They yelp and jump , their muzzles bloody . The adults move aside , making room as the hyena pups come forward , squealing to get at the kill . Sarah 's eyes shine with excitement and she moves even closer , whispering into the tape recorder .</scene_description> <character>SARAH</character> <dialogue>Brooding behavior in evidence at the kill site, pups are ushered forward and adults help them eat, pulling flesh away from the carcass and -</dialogue> <scene_description>A telephone rings . Sarah stops in mid - sentence , unsure if she heard what she thought she heard . It rings again , the unmistakable CHIRPING of a cellular phone . Sarah and Makena both move at once , pawing at a backpack .</scene_description> <character>SARAH</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( a frantic whisper . )</parenthetical> <dialogue>I thought you turned it off!</dialogue> <scene_description>Two hyenas look inquisitively in the direction of the phone . Sarah comes up with it and jabs at a button in irritation .</scene_description> <character>SARAH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Yes?!</dialogue> <scene_description>Someone speaks on the other end . Sarah rolls her eyes .</scene_description> <character>SARAH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Ian. This better be important.</dialogue> <scene_description>Sarah does n't say anything for a long moment , just listens as the voice on the other end talks . And talks .</scene_description> <character>SARAH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>When?</dialogue> </scene> <scene> <stage_direction>INT. MOBILE FIELD SYSTEMS - DAY</stage_direction> <scene_description>Ian Malcolm 's leg , badly scarred , is bared and draped over the end of a bench . Two sandbags are fastened to his ankle and MALCOLM is lifting them , painfully rehabbing his injury while talking on a satellite phone .</scene_description> <character>MALCOLM</character> <dialogue>We leave in twenty - four hours. Five member team.</dialogue> <scene_description>Behind them , the SPARKS of a acetylene torch fly as WORKMEN make modifications on several vehicles , including a dark - green Mercedes Benz AAV -LRB- all - activity vehicle -RRB- . The hood of the AAV is up and the V - 6 engine has been pulled out ; a new , smaller engine is lowered in its place . To one side are two long trailers , connected by an accordion - like passageway , like on a subway car , allowing one to be towed behind the other .</scene_description> <character>MALCOLM</character> <dialogue>Eddie Carr's handling all our equipment and he'll be there to maintain it. He's designing special field trailers now, top of the line mobile research units.</dialogue> <scene_description>EDDIE CARR , fortyish , is barking out orders to the Workmen .</scene_description> <character>EDDIE</character> <dialogue>No, no, look at the plans, Henry, you ca n't place that strut laterally, it has to be crosswise, LOOK AT THE PLANS!</dialogue> <scene_description>From the ceiling , a large metal age CRASHES down , landing next to them on the floor with a deafening CLANG . They leap back and look up . A WORKMAN waves from a scaffolding .</scene_description> <character>WORKMAN</character> <dialogue>Sorry, Eddie! Specs say it ca n't deform at 12,000 PSI, we had to test it</dialogue> <scene_description>Eddie bends down to inspect the cage , which is rectangular , constructed of inch - thick titanium - alloy bars . Malcolm hangs up the phone and walks up , joining him .</scene_description> <character>MALCOLM</character> <dialogue>Any damage?</dialogue> <character>EDDIE</character> <dialogue>Minimal.</dialogue> <character>MALCOLM</character> <dialogue>`` Minimal'' is too much. It has to be light, it has to be strong -</dialogue> <character>EDDIE</character> <dialogue>Light and strong, light and strong, sure, why not, it's only impossible. God save me from academics.</dialogue> <character>MALCOLM</character> <dialogue>You are an academic.</dialogue> <character>EDDIE</character> <dialogue>Former academic. Now I actually make things. I do n't just talk.</dialogue> <character>MALCOLM</character> <dialogue>You think I'm all talk, Eddie?</dialogue> <character>EDDIE</character> <parenthetical>( does n't look at him . )</parenthetical> <dialogue>It does n't matter what I think.</dialogue> <character>MALCOLM</character> <dialogue>Is there anything we've forgotten? Anything at all?</dialogue> <scene_description>Behind them , someone CLEARS THEIR THROAT . Eddie and Malcolm turn around . KELLY MALCOLM , an African - American girl around twelve years old , stands in the doorway to the garage , a duffel bag slung over one shoulder . She looks at Malcolm and breaks into a wide grin .</scene_description> <character>KELLY</character> <dialogue>Hi, Dad.</dialogue> <character>MALCOLM</character> <dialogue>Kelly! What are you doing here?</dialogue> <scene_description>She drops the bag on the floor , and wraps her arms around him in a warm embrace . He responds stiffly .</scene_description> <character>KELLY</character> <dialogue>Vacation. I'm all yours. You did n't forget, did you?</dialogue> <scene_description>She pulls back and looks at him .</scene_description> <character>KELLY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Did you?</dialogue> </scene> <scene> <stage_direction>INT. EDDIE'S OFFICE - DAY</stage_direction> <scene_description>KELLY is slumped in a chair in Eddie 's office next to the construction floor . Outside the glass windows work on the vehicles continues unabated . MALCOLM hangs up the phone .</scene_description> <character>MALCOLM</character> <dialogue>Okay, Karen is expecting you in half an hour. You only have to stay with her one night, she'll put you on a bus in the morning and your mother will be at the station when you get there.</dialogue> <character>KELLY</character> <dialogue>I do n't even know this woman.</dialogue> <character>MALCOLM</character> <dialogue>Well, I do, and she's fantastic. She'll take you to the museum, maybe to a movie if you play your cards right. You're going to have a fantastic time.</dialogue> <character>KELLY</character> <dialogue>Stop saying fantastic. Where are you going?</dialogue> <character>MALCOLM</character> <dialogue>I ca n't tell you. But I'll be back within a week.</dialogue> <character>KELLY</character> <dialogue>My vacation is over in a week.</dialogue> <character>MALCOLM</character> <dialogue>I'll make it up to you this summer. I promise.</dialogue> <character>KELLY</character> <dialogue>I'm your daughter all the time, you know. Not just when it's convenient.</dialogue> <character>MALCOLM</character> <dialogue>Very hurtful. Your mother tell you to say that?</dialogue> <character>KELLY</character> <dialogue>No, Dad. I have thoughts of my own once in a while.</dialogue> <scene_description>From the construction floor , EDDIE calls out .</scene_description> <character>EDDIE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Dr. Malcolm!</dialogue> <scene_description>Malcolm looks at her , trying to make peace . Quickly .</scene_description> <character>MALCOLM</character> <dialogue>Is that kid still bothering you?</dialogue> <character>KELLY</character> <dialogue>Which one?</dialogue> <character>MALCOLM</character> <dialogue>You know, at the bus stop. With the hair?</dialogue> <character>KELLY</character> <dialogue>That was about a year ago.</dialogue> <character>MALCOLM</character> <dialogue>Well, is he?</dialogue> <character>KELLY</character> <dialogue>No. Richard talked to his parents.</dialogue> <character>MALCOLM</character> <dialogue>That Richard.</dialogue> <character>EDDIE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Ian, come here a minute!</dialogue> <character>KELLY</character> <parenthetical>( to Malcolm . )</parenthetical> <dialogue>I could come with you.</dialogue> <character>MALCOLM</character> <dialogue>Out of the question. You'd miss the gymnastics trials. You've been training for that for a year.</dialogue> <character>KELLY</character> <dialogue>I do n't care about the trials, I want to be with you. I could be your research assistant, like I was in Austin.</dialogue> <character>MALCOLM</character> <dialogue>This is nothing like Austin. Forget about it.</dialogue> <character>KELLY</character> <dialogue>You like to have kids, you just do n't want to be with them, do you?</dialogue> <scene_description>He looks at her , hurt . Eddie calls out a third time , impatient now . Grateful for the escape , Malcolm gets up and heads for the door . He pauses guiltily .</scene_description> <character>MALCOLM</character> <dialogue>I'm not like you wan me to be. I've what I can be.</dialogue> <scene_description>He leaves .</scene_description> </scene> <scene> <stage_direction>INT. MAIN FLOOR - DAY</stage_direction> <scene_description>While MALCOLM and EDDIE argue over something in the background , KELLY circles around the trailers and looks up at the windows . They 're all made of tempered glass , fine wire mesh inside it . She looks around , to see if anybody 's watching . They 're not , so she quickly slips inside the front trailer .</scene_description> </scene> <scene> <stage_direction>INT. TRAILER - DAY</stage_direction> <scene_description>Inside , the trailer is a miracle of planning and design . It 's divided into sections , for different laboratory functions . The main area is a biological lab , with specimen trays , dissecting pans , and microscopes that connect to video monitors . Next to it there 's an extensive computer section , a bank of processors , and a communications section . All the lab equipment is miniaturized and built into small tables that slides into the walls . Everything is bolted down . She notices a large map on the wall . Off the coat of Costa Rica , there is an area that has been circled in heavy black ink . Kelly puts a finger on the map , crossing westward , through the Pacific Ocean . Thegre are dozen s of islands out here , but in the highlighted region , there is a semi - circle of five . Matanceros . Muerte . Tacano . Pena . And Sorna . Underneath the whole island chain , there is a bold legend . `` The Five Deaths , '' it says . Slowly , an ocean barge starts to chug its way across the face of the map , leaving a wake that rolls the printed letters of those three ominous words .</scene_description> </scene> <scene> <stage_direction>EXT. OPEN SEA - DAY</stage_direction> <scene_description>The map dissolves slowly away as the barge SPALASEHS through five foot ocean swells in the open sea . The barge is crammed with equipment , the AAV , trailers , a jeep , and the members of Malcolm 's team . ON THE BOAT , MALCOLM stands in the bow , riding the choppy seas . Next to him , DR. JUTTSON , fortyish , holds onto the railing , seasick . He SHOUTS over the DRONE of the boat 's engines .</scene_description> <character>JUTTISON</character> <parenthetical>( as the waves pound the boat . )</parenthetical> <dialogue>Could n't - we just - airlift - into the - island?</dialogue> <character>MALCOLM</character> <dialogue>Dr. Harding insisted we go by sea! Helicopters are too disruptive. These are n't piles of bones you'll be studying this time, Dr. Juttson, they live, they breathe, and they react!</dialogue> <scene_description>Juttson looks at him skeptically - - and throws up . AT THE BACK OF THE BOAT , NICK VAN OWEN , a good - looking American in his late twenties , is sitting amid a pile of video cameras and other photographic equipment , playing with a Game Bow . SARAH HARDING , dressed in field gear , sits down next to him .</scene_description> <character>SARAH</character> <dialogue>So what's your story, Nick?</dialogue> <character>NICK</character> <dialogue>I was a cameraman for Nightline for six years, been freelance since' 91. Do a lot of work for Greenpeace.</dialogue> <character>SARAH</character> <dialogue>That must be interesting. What drew you there?</dialogue> <character>NICK</character> <dialogue>Women. ` Bout eighty percent female in Greenpeace.</dialogue> <character>SARAH</character> <dialogue>Very noble of you.</dialogue> <parenthetical>( of the noisy Game Boy . )</parenthetical> <dialogue>You do n't think you're bringing that thing onto the island, do you?</dialogue> <scene_description>Nick grins and shuts it off .</scene_description> <character>NICK</character> <dialogue>Hey, I would n't want to spook the woolly mammoths.</dialogue> <character>SARAH</character> <dialogue>You think this is all a joke?</dialogue> <character>NICK</character> <dialogue>Oh, please. How am I supposed to keep a straight face when -.</dialogue> <parenthetical>( gestures to the black - clad Malcolm . )</parenthetical> <dialogue>- Johnny Cash here tells me I'm going to Skull Island?</dialogue> <character>SARAH</character> <parenthetical>( not amused . )</parenthetical> <dialogue>Ian's a very good friend of mine.</dialogue> <character>NICK</character> <dialogue>He does n't need a friend, he needs a shrink.</dialogue> <character>SARAH</character> <dialogue>I believe in him.</dialogue> <scene_description>But her face says even she has her doubts .</scene_description> <character>NICK</character> <dialogue>Come on, there's only one reason any of us are here. His check cleared.</dialogue> <scene_description>She looks at him .</scene_description> <character>SARAH</character> <dialogue>Drop the cynical pose. You ca n't pull it off while playing Donkey Kong.</dialogue> <scene_description>The boat 's CAPTAIN , a Costa Rican , points ahead and SHOUTS to them .</scene_description> <character>CAPTAIN</character> <dialogue>There it is!</dialogue> <scene_description>They all turn and look out over the bow . Up ahead , shear , reddish - gray cliffs of volcanic rock rise dramatically out of the fog - heavy ocean .</scene_description> <character>CAPTAIN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Isla Sorna!</dialogue> <scene_description>The boat ROARS ahead , plowing into a heavy wreath of fog . The mist swirls and encircles it .</scene_description> </scene> <scene> <stage_direction>EXT. ISLAND FIORD - DAY</stage_direction> <scene_description>A narrow inlet cuts through the steep cliffs , leading to the island interior . The barge bursts through the fog at the mouth of the fiord and heads deeper into the island .</scene_description> </scene> <scene> <stage_direction>EXT. LAGOON - DAY</stage_direction> <scene_description>Lush green plants drip everywhere in this verdant lagoon . Sulfurous yellow steam issues from the ground , bleaching the nearby foliage white . In the distance one can hear the cries of JUNGLE BIRDS . The boat is now beached and the CREW flips the tarps off the AAV , the jeep , and the trailers . The trucks back down a narrow ramp and onto the soft clay shore at the edge of the lagoon . There is a large three - toad animal imprint in the clay at the water 's edge , and the AAV backs right over it , swapping its track for the animal 's . MALCOLM is at the edge of the water with the CAPTAIN .</scene_description> <character>MALCOLM</character> <dialogue>Be back in three days, but keep the satellite phone on and your radio tuned to the frequency I specified in case we need you sooner.</dialogue> <character>CAPTAIN</character> <dialogue>Do n't worry. I've lived around here all my life, these islands are completely -</dialogue> <scene_description>In the distance , they hear the faint , strange ROAR of a very large animal . The Captain looks at Malcolm , eyes wide .</scene_description> <character>CAPTAIN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>- safe.</dialogue> </scene> <scene> <stage_direction>EXT. GRASSY PLAIN - DAY</stage_direction> <scene_description>The jeep tows the double trailer to the edge of a grassy plain just beyond the lagoon , overlooking the interior of the island . The noon sun is high overhead ; below , the valley shimmers in midday heat . EDDIE connects a flexible cable to the jeep 's power winch and flicks it on . The cable turns slowly in the sunlight . Moving along the length of it , we see the cable leads to a pile of aluminum , some kind of strut assembly painted a camouflage color . As the winch pulls the cable tight , the jumble of thin struts begins to move , slowly rising into the air . The emerging structure climbs , spidery , struts unfolding , fifteen feet into the air . The light house at the top -LRB- the cage that was tested back at Eddie 's workshop -RRB- is now just beneath the lowest branches of the nearby trees , which almost conceal it from view . NICK lights a cigarette and carelessly tosses the match on the ground . Malcolm notices .</scene_description> <character>MALCOLM</character> <dialogue>Listen. I know you all have probably concluded that I'm out of my mind.</dialogue> <scene_description>Is it our imagination , or did the trees behind Malcolm just sway slightly ?</scene_description> <character>MALCOLM</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>That's all right, for now. But just humor me and be careful.</dialogue> <scene_description>No , it 's not our imagination , there they go again . Whole trees shivering and swaying from left to right and back again .</scene_description> <character>MALCOLM</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Even if you think I'm harmless and deluded, I promise -</dialogue> <scene_description>Now the trees CREAKS and GROAN as they sway . Everyone has seen it , and now Malcolm turns around too .</scene_description> <character>MALCOLM</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>- this place is for real.</dialogue> </scene> <scene> <stage_direction>INT. DOUBLE TRAILERS - DAY</stage_direction> <scene_description>It 's quiet inside the trailers that serve as their command post/living quarters . The books are lined up neatly on the shelves . The computers sit , booted up and awaiting data input . All the way in the back , past the spare tires and life preservers and canned food and bottled water , up in one storage bin all the way on top , there 's a RUSTLING SOUND . A plastic student ID card pops out in the cracks under the bin 's door . A photograph in the lower right hand corner of the card is visible - it 's Kelly , Malcolm 's twelve - year - old daughter . The card wriggles against the lock and , with a soft CLICK , the door pops open . KELLY herself tumbles out , wrapped in several blankets and carrying a mason jar half full of a yellowish liquid . We can guess . She leaps to her feet , blinks the light out of her eyes , and bolts to the back of the trailer as fast as she possibly can . She races through a narrow door and SLAMS it shut . A sign on the door says `` RESTROOM . '' Inside , a SIGH of relief is heard .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE TRAIL - DAY</stage_direction> <scene_description>Along a stream bed , the jungle trees still shiver . NICK loads a three quarter inch tape into his heavy video camera and chews anxiously on a piece of gum . SARAH and DR. JUTTSON are beside him as the group nervously follows the GROANING forest trees to their right . At the rear , EDDIE and MALCOLM walk side by side . Eddie is carrying a heavy silver rifle , an aluminum canister hanging beneath the barrel . He shows it to Malcolm , his voice low and urgent .</scene_description> <character>EDDIE</character> <dialogue>Lindstradt air rifle. Fires a subsonic Fluger impact - delivery dart.</dialogue> <scene_description>He cracks open the cartridge bank , revealing a row of plastic containers filled with straw - colored liquid . Each is tipped with a three inch needle and carries a bright yellow warning tag - `` EXTREME DANGER ! LETHAL TOXICITY ! ''</scene_description> <character>EDDIE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I loaded the enhanced venom of Conus purpurascens, the South Sea cone shell. Most powerful neurotoxin in the world. Acts within a two - thousandth of a second. Faster than the nerve - conduction velocity. The animal's down before it feels the prick of the dart.</dialogue> <scene_description>From their right , the shaking trees seen closer now . By walking down the stream bed , the humans are tracking right along with the animals as they move in the foliage .</scene_description> <character>MALCOLM</character> <parenthetical>( to Eddie . )</parenthetical> <dialogue>Is there an antidote?</dialogue> <character>EDDIE</character> <dialogue>Like if you shoot yourself in the foot? Would n't matter. You'd be dead before you realized you'd accidentally pulled the trigger.</dialogue> <scene_description>Ahead of them , thick foliage blocks the path of the dried up stream bed to the height of about fifteen feet . But around them , the CRASHING sounds get louder and closer , the swaying trees shiver right beside them . Eddie raises the rifle in defense as the trees right at the edge of the stream bed sway and part . Above the foliage , they see the sudden movement - - of a row of STEGOSAUR fins . The spade - shaped fins run along a ridge down the middle of the animal 's back , about three feet tall each . The group freezes , amazed , and as the stegosaur continues on , they get a good look at it through a break in the foliage . It 's a large dinosaur with a small head , a thick neck , and a huge lumbering body . A double row of plates runs along the crest of its back , and it has a dragging trail with long spikes in it . The gum drops out of Nick 's mouth , FLOPS onto his shirt , and sticks there .</scene_description> <character>NICK</character> <dialogue>Oh -</dialogue> <character>JUTTSON</character> <dialogue>- my -</dialogue> <character>EDDIE</character> <dialogue>- God!</dialogue> <character>SARAH</character> <dialogue>It's beautiful!</dialogue> <scene_description>A second stegosaur , a baby about a quarter the size of the first animal , breaks through the foliage , following the adult . While the group is reaching to that , the earth vibrates and a third stego , by far the biggest of the three , walks out of the foliage right behind them , crossing within ten feet . Apparently unconcerned about these little creatures in their environment , the stegos continue on across the stream bed . Sarah raises a still camera and shoots pictures . Her shutter is muted , so that a muffled CLICK is all that 's audible . Juttson raises a pocket recorder to his lips and whispers into it breathlessly .</scene_description> <character>JUTTSON</character> <dialogue>Stegosaurus, family Stegosauridae, infraorder Stegosauria, suborder Thyreophora. Length, adult male, estimate twenty - five to thirty feet.</dialogue> <scene_description>His breathy words turn into almost helpless laughter , of all things , as he ca n't contain his astonishment . Eddie covers his mouth , trying to keep him quiet .</scene_description> <character>SARAH</character> <parenthetical>( to Juttsn . )</parenthetical> <dialogue>That was a pair bond! A family group, even, long after that infant was nestbound!</dialogue> <character>JUTTSON</character> <dialogue>I want to see the nesting ground!</dialogue> <scene_description>Nick turns to Malcolm , eyes like saucers , and makes a futile , wordless , boy - was - I - wrong - on - this - one gesture . Malcolm smiles , leans over , and TAPS softly on Nick 's video camera . Nick raises it to his shoulder and flicks it on as the group continues on into the bush after the animals . IN THE BUSH , the baby wanders away from the group and ambles over near where Sarah crouches in the bushes . Sarah raises her camera again and silently SNAPS a picture . She WHISPERS to Juttson , who is beside her .</scene_description> <character>SARAH</character> <dialogue>Lone nest - not colonial. I do n't see an egg clutch.</dialogue> <scene_description>She gestures and Juttson peers through a pair of field glasses .</scene_description> <character>JUTTSON</character> <parenthetical>( whispering back . )</parenthetical> <dialogue>The empty shells are crushed and trampled. The young stay in the birth environment, that's conclusive!</dialogue> <character>SARAH</character> <dialogue>Not without a shot of the nest.</dialogue> <scene_description>She sees an opportunity . As the baby heads back to its parents , Sarah scoots right along with it , moving behind it , using its body as a shield to block her from the view of the other two . Nick and Eddie 's faces whiten in alarm . Nick reaches out to stop her , but he barely gets hold of the sole of her boot before she pulls away from him and duckwalks out into the clearing . IN THE CLEARING , Sarah slinks along behind the baby stego as it walks back , toward the nest , chewing the branches it carries in its south . She raises up sightly , squeezing off pictures of the herd , ever better as she gets closer . BACK AT THE HILL , the others can only watch her , aghast .</scene_description> <character>NICK</character> <dialogue>She's gutty.</dialogue> <character>MALCOLM</character> <dialogue>She's nuts.</dialogue> <scene_description>IN THE CLEARING , Sarah keeps moving closer . The baby passes a small grouping of rocks and Sarah ducks behind them . She 's now in a perfect position to photograph the nest , and she squeezes off picture after picture from this ideal vantage point . She shoots the last picture on the roll - - and the camera 's autowinder WHIRS to life . Sarah looks down in horror as the camera 's motor WHINES loudly in her hands . Th noise startles the animals . The male turns toward her the plates on its back bristling . Sarah gets to her feet and starts to move away , slowly . The male turns away from her and swings its tail , spikes extended . It WHIZZES through the air , right at her , but Sarah leaps back at the last second - - and the tail 's spikes THUD into the dirt where she was . Sarah CRUNCHES to the ground and the three stegosaurs dart away , disappearing into the bush , moving surprisingly quickly for animals their size . The others run to Sarah , help her to her feet , and pull her back , against a massive tree trunk . But the tree trunk lifts right up off the ground . It 's no tree , it 's a DINOSAUR 'S LEG , a massive one , six feet across , God knows how many feet high . The Group gasps and looks up as a MAKENCHIASAURUS , an enormous saurupod over a hundred feet from nose to tail , lumbers away from them . The Group stares in wonder as the mamenchiasaur stops and HONKS furtively , its long neck stretched out above them . Now a second mamenchiasaur neck cranes out of the surrounding forest trees and wraps around the first . The first mamenchiasaur THUNDERS around in a semi - circle , getting into position behind the second . Nick swings his video camera straight up and the group suddenly finds itself in the middle of a mamenchiasaur mating . The mighty tails swing and SNAP around them as the two animals come together , and trees start snapping and falling , CRASHING to the jungle floor . The group panics and bolts for cover toward the only place where the trees are not falling - which is directly underneath the animals ! Amid HONKS and BLEATS , the swinging tails continue to deforest the jungle around them . The noise and chaos is deafening , drowning out the LAUGHTER and SCREAMS of the fascinated and terrified group . There is a momentary lull and the group dashes out from underneath the animals , disappearing into the thick forest . A SHORT DISTANCE AWAY , the Group collapses to the ground , breathless , chests heaving with wild , frightened laughter . Sarah goes to Malcolm and throws her arms around him , exhilarated .</scene_description> <character>SARAH</character> <dialogue>Ian, you're not insane! I'm so glad!</dialogue> <character>JUTTSON</character> <parenthetical>( out of breath . )</parenthetical> <dialogue>Dr. Malcolm - the world - owes you an apology.</dialogue> </scene> <scene> <stage_direction>EXT. JUNGLE TRAIL - DAY</stage_direction> <scene_description>Suddenly , the Gathereres are taking their expedition a lot more seriously . They march quickly back to base camp , their energy and excitement palpable . NICK strikes a match and raises it to a cigarette with a shaking hand , but SARAH leans in and blows it out .</scene_description> <character>SARAH</character> <dialogue>No more smoking. We leave no scent of any kind. No hair tonics, no cologne, seal all our food in plastic bags. We will observe and document, but we will not interact.</dialogue> <character>MALCOLM</character> <dialogue>That's a scientific impossibility, you know. Heisenberg uncertainty principle. Whatever you study, you also change.</dialogue> <scene_description>Nick ejects the used videotape from his camera and pulls out a sharpie , to label it .</scene_description> <character>NICK</character> <dialogue>What should I call this? `` Jurassic Pork?''</dialogue> <scene_description>Eddie , next to him , laughs .</scene_description> <character>SARAH</character> <parenthetical>( still to Malcolm . )</parenthetical> <dialogue>And let's forget about the high hide. We ca n't do this kind of work up in a tower, we need to be out in the field, as close to the animals as possible.</dialogue> <character>JUTTSON</character> <dialogue>I'm not surprised stegosaur lived in a family group, but there's never been anything in the fossil record to prove the carnivores did.</dialogue> <character>SARAH</character> <dialogue>Why would n't they? Look at hyenas, jackals, nearly all species of predator birds -</dialogue> <character>JUTTSON</character> <dialogue>That does n't say a thing about T - rex, they could have been rogues. Robert Burke certainly thinks they were.</dialogue> <character>SARAH</character> <dialogue>We've got to see one to find out. Is there any -</dialogue> <character>MALCOLM</character> <dialogue>No way.</dialogue> <character>NICK</character> <dialogue>Oh, my God.</dialogue> <character>SARAH</character> <dialogue>- way we could safely -</dialogue> <character>NICK</character> <dialogue>Oh, no!</dialogue> <scene_description>He takes off , running as fast as he can , down the trail , toward base camp . They look ahead , in the direction Nick is running . A plume of black smoke is rising up over the trees .</scene_description> <character>EDDIE</character> <dialogue>Fire!</dialogue> </scene> <scene> <stage_direction>EXT. BASE CAMP - DAY</stage_direction> <scene_description>NICK bursts out of the trees and races toward the thick plume of smoke . In the middle of the base camp , someone has neatly built a campfire surrounded by stones . Flames burn in the middle . Nick races over to it and stomps it out as the OTHERS emerge from the trees behind him .</scene_description> <character>MALCOLM</character> <dialogue>A campfire?!</dialogue> <scene_description>Nick grabs a jug of water , but Sarah steps in .</scene_description> <character>SARAH</character> <dialogue>No! Water mixes the smoke billow, use dirt!</dialogue> <scene_description>They start to kick and rake dirt onto the fire with their hands and feet . Eddie and Dr. Juttson jump in and help out .</scene_description> <character>MALCOLM</character> <dialogue>Who the hell started a campfire?!</dialogue> <character>VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>It was just to make lunch.</dialogue> <scene_description>Malcolm turns toward the source of the voice . KELLY stands in the doorway of the trailer , sheepish .</scene_description> <character>KELLY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I wanted it ready when you got back.</dialogue> <scene_description>The whole group stares , stunned , none more so than Malcolm himself .</scene_description> <character>MALCOLM</character> <dialogue>Oh. man.</dialogue> </scene> <scene> <stage_direction>EXT. BASE CAMP - LATER</stage_direction> <scene_description>Later , and base camp is a blur of activity . SARAH , JUTTSON , NICK , and EDDIE are hard at work , burying the remains of the fire , sealing their food in plastic bags , loading camera equipment , packing up specimen containers and other information - gathering equipment . MALCOLM , meanwhile , is lecturing Kelly .</scene_description> <character>MALCOLM</character> <dialogue>You know you were putting yourself in a potentially dangerous situation, but you did n't bother to find out how dangerous before you leapt in. You do n't have the faintest idea what's going on on this island!</dialogue> <character>SARAH</character> <parenthetical>( loading a backpack . )</parenthetical> <dialogue>What do you want to do, Ian, lock her up for curiosity? Where do you think she gets it?</dialogue> <character>JUTTSON</character> <parenthetical>( to Nick . )</parenthetical> <dialogue>Do you have chromium tapes? The others fog in high -</dialogue> <character>NICK</character> <dialogue>- humidity, I know.</dialogue> <parenthetical>( waving a tape . )</parenthetical> <dialogue>Highest lead density on the market.</dialogue> <character>EDDIE</character> <parenthetical>( to Malcolm . )</parenthetical> <dialogue>We've got a lot of heavy marching ahead of us. I'm not carrying anybody.</dialogue> <character>KELLY</character> <dialogue>I can keep up.</dialogue> <character>MALCOLM</character> <dialogue>You're going home. I'm sending a radio call for the boats. We'll all go down to the lagoon and wait for them.</dialogue> <character>SARAH</character> <dialogue>Lighten up, Ian, you sound like a high school vice - principal.</dialogue> <character>MALCOLM</character> <dialogue>I'm her father.</dialogue> <character>KELLY</character> <dialogue>Sure, now.</dialogue> <scene_description>Nick leans over and whispers to Eddie , gesturing to Malcolm and Kelly .</scene_description> <character>NICK</character> <dialogue>Do you see any family resemblance here?</dialogue> <character>MALCOLM</character> <dialogue>You ca n't stay, Kelly, that's it. It's too dangerous.</dialogue> <character>SARAH</character> <dialogue>If it's so dangerous, why'd you bring any of us?</dialogue> <character>KELLY</character> <dialogue>You're wrong, Dad. I do know what's going on on this island.</dialogue> <character>MALCOLM</character> <dialogue>How could you possibly?</dialogue> <character>KELLY</character> <dialogue>Because you said so. Maybe nobody else believed you, but I always did.</dialogue> <scene_description>He looks at her , touched . Nick mutters to Eddie again .</scene_description> <character>NICK</character> <dialogue>The kid scores with cheap sentiment.</dialogue> <character>SARAH</character> <dialogue>Ian, if we recall the boat now, we've made two invasive landings in one day. That'll have to go in any paper I write, and it will leave room for people to say our findings were contaminated. You know the academic world as well as I do, once they smell blood in the water, you're dead. Our presence has got to be one hundred percent antiseptic. That means if we bend a blade of grass, we bend it right back the way it -</dialogue> <scene_description>A low sound has been rising while she speaks , and now it comes BOOMING over the jungle around them , a THUNDEROUS racket that shakes the very ground beneath them . Suddenly , three C - 130 military cargo planes THUNDER overhead and ROAR toward the island interior , flying very low . The planes are enormous , fat - assed creatures , their rear cargo doors hanging open . AT A RIDGE , the members of the gatherer expedition hit the dirt and peer over a ledge , watching as the airplanes bank and circle over a specific spot . Eddie raises a pair of field glasses . DOWN BELOW , huge metal equipment containers are shoved out the back of the cargo bays . They SNAP off trees like matchsticks , CRUSH flat anything foolish enough to exist where they want to land . Now MEN pour out the rear of the planes , their low - altitude parachutes billowing open behind them . UP ON THE RIDGE , Nick looks at Sarah .</scene_description> <character>NICK</character> <dialogue>You were saying something about antiseptic?</dialogue> </scene> <scene> <stage_direction>EXT. HUNTERS' CAMP - DAY</stage_direction> <scene_description>Metal container doors CLANG to the ground , jeep engines ROAR to life in a cloud of thick black diesel smoke , blue laser barriers SIZZLE and BURN through foliage as this group of HUNTERS establishes a perimeter around their new camp . PETER LUDLOW , dressed in brand new Banana Republic safari wear , steps into the center of the camp and surveys the surroundings . He turns to DR. ROBERT BURKE , a ragged , pony - tailed man in wire - rimmed glasses .</scene_description> <character>LUDLOW</character> <dialogue>Welcome to your dream come true, Dr. Burke.</dialogue> <scene_description>Burke has a detailed set of satellite recon photographs that he spreads out on the hood of a jeep .</scene_description> <character>BURKE</character> <dialogue>I believe the large herbivores forage in open plains, like bison, which would explain the great variety of heat dots we're reading in the flatlands around this waterhole. Right - here.</dialogue> <character>LUDLOW</character> <dialogue>Then that's where we're going.</dialogue> <scene_description>Burke flips open a manifest that he will carry with him at all times . Inside , there are dozens of sketches of various kinds underneath . As each vehicle ROARS out of the equipment container , Burke slips a waterproof eight by ten card with an icon of the various dinosaurs on the island into a slot in the dashboard .</scene_description> <character>BURKE</character> <parenthetical>( calling them off . )</parenthetical> <dialogue>Hadrosaurus! Carinthosaurus! Maiasaurus!</dialogue> <scene_description>As the procession goes on , Ludlow turns to DIETER STARK , the man we saw welding earlier .</scene_description> <character>LUDLOW</character> <dialogue>This is as good a place as any for base camp. First priority is the laser barriers, I want them all up and running in thirty minutes. Half an hour, understand?</dialogue> <scene_description>Dieter nods and turns to some of the HUNTERS , who number about twenty in all , that are working nearby . But someone steps in front of Dieter , cutting him off . It 's ROLAND TEMBO , the hunter from the bar in Mombassa .</scene_description> <character>ROLAND</character> <dialogue>Cancel that, Dieter.</dialogue> <character>LUDLOW</character> <dialogue>What? Why?</dialogue> <scene_description>Roland points to a stream running nearby .</scene_description> <character>ROLAND</character> <dialogue>Carnivores hunt near stream beds. Do you want to set up base camp or an all - you - can - eat people bar?</dialogue> <character>LUDLOW</character> <parenthetical>( thinks . )</parenthetical> <dialogue>You heard his, Dieter. Find a new spot. And remember, we're after herbivores only - no unnecessary risks.</dialogue> <scene_description>Dieter SIGHS and goes to work . Roland puts an arm around Ludlow and pulls him aside .</scene_description> <character>ROLAND</character> <dialogue>Peter, if you want me to run your little camping trip, there are two conditions. First - I'm in charge, and when I'm not around, Dieter is. Your job is to sign the checks, tell us we're doing a good job, and open your case of scotch when we have a good day. Second condition - my fee. You can keep it. All I want in exchange for my services is the right to hunt one of the tyrannosaurs. A male. Buck only. Why and how are my business. If you do n't like either of those conditions, you're on your own. Go ahead and set up your camp right here, or in a swamp, or in the middle of a rex nest, for all I care. But I've been on too many safaris with rich dentists to listen to any more suicidal ideas. Okay?</dialogue> <character>LUDLOW</character> <parenthetical>( what else can he say ? )</parenthetical> <dialogue>Okay.</dialogue> <character>ROLAND</character> <dialogue>Good lad.</dialogue> </scene> <scene> <stage_direction>EXT. JUNGLE</stage_direction> <scene_description>The jungle foliage shivers , quakes , and finally falls as the Hunters ' convoy ROARS into the hart of the jungle . DIETER STARK stands in the front of the lead vehicle , the `` speedbird , '' waving the convoy forward , his Driver -LRB- CARTER -RRB- at the wheel beside him . LUDLOW is in the back seat of the speedbird next to DR. BURKE . ROLAND and AJAY , his tracker , are in the second jeep . They look up as the brakelights on the speedbird flash and the car stops , forcing the rest of the convoy to halt as well . In the front , the speedbird flashes its lights at something in front of it . Dieter climbs out , plainly irritated . He walks around the front of the car and sees - - four PACHYCEPHALOSAURS eating grass in the middle of the jungle trail . They 're about five feet tall , thick , heavy - set animals whose distinctive feature is an enormous skull casing , a tall , impressive crown that rises on the tops of their heads . Dieter does n't seem impressed . He looks back at Ludlow , who look at Dr. Burke . Burke stands up in his seat , a look of wonder on his face .</scene_description> <character>BURKE</character> <dialogue>Pachycephalosaurus!</dialogue> <character>LUDLOW</character> <dialogue>Carnivore?</dialogue> <character>BURKE</character> <parenthetical>( enchanted . )</parenthetical> <dialogue>Huh? No! No, herbivore, late Cretaceous. Very unusual plant eater, see that distinctive domed skull? That's nine inches of solid bone.</dialogue> <character>LUDLOW</character> <parenthetical>( who cares ? )</parenthetical> <dialogue>Just get them out of the way, Dieter.</dialogue> <character>DIETER</character> <dialogue>COME ON, MOVE IT!</dialogue> <scene_description>The pachys look up at him sluggishly , still eating , like cows chewing their cuds . As unimpressive with him as he is with them , they go back to their grass .</scene_description> <character>DIETER</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Oh, for God's -</dialogue> <scene_description>He slings his rifle off his shoulder and aims it at the closest animal . Behind him , Roland has climbed out of the second jeep .</scene_description> <character>ROLAND</character> <dialogue>Dieter. This is a round - up, not a war. Use your powers of persuasion.</dialogue> <scene_description>Dieter gestures to the speedbird to pull ahead , which it does , slowly , toward the animals . The pachys look up , alert , but do not move . Dieter walks toward them .</scene_description> <character>DIETER</character> <dialogue>Come on, come on, do n't have all day!</dialogue> <character>BURKE</character> <parenthetical>( going on to no one in particular . )</parenthetical> <dialogue>See, the pachy's neck attaches at the bottom of its skull instead of the back of its head, as with reptiles.</dialogue> <scene_description>The speedbird draws closer . The first pachy stares at it intently . The lead vehicle gets closer , closer - - and BANGS into the pachy , knocking it back a few feet , out of the way .</scene_description> <character>BURKE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>So when it lowers its head, its neck lines up directly with its backbone -</dialogue> <scene_description>BEHIND DIETER , Ajay is staring at something on the ground at his feet . He takes a few steps further into the foliage , then turns back toward Roland .</scene_description> <character>AJAY</character> <dialogue>Roland.</dialogue> <scene_description>UP AT THE FRONT , the pachys turn and hop away . Dieter turns and heads back to the speedbird . As he reaches for the door , a VOICE calls `` look out ! '' from behind him . Dieter spins around , just in time to see - - the first pachy in full charge . It SLAMS headfirst into the speedbird , SMASHING the headlights and denting the grill .</scene_description> <character>BURKE</character> <parenthetical>( concluding his lecture . )</parenthetical> <dialogue>Which is perfect for absorbing impact.</dialogue> <scene_description>Dieter turns and runs around to the front of the car . The pachy has backed up for another run and is now CHARGING RIGHT AT HIM . Dieter retreats , quickly , and rips open the passenger door to protect himself . SLAM ! The pachy clobbers the door , sending Dieter flying against the car , knocking the wind out of him . In the other jeeps , the rest of the HUNTERS stand up or lean out the window for a better look , laughing . POW ! The pachy head - butts the tire next to Dieter . It bounces off , tumbles to the ground , and rolls to its feet as Dieter gets to his knees and crawls toward the back of the speedbird . But the pachy is quicker and lunges at Dieter again . He 's forced to hit the dirt and crawls quickly underneath the speedbird , just as the animal SLAMS into the rear of the vehicle . Now the other three animals join the jun. . Ludlow and the Driver have to cover their heads as the animals lunge at the car again and again , SMASHING the steel - meshed windows and MANGLING the quarter panels . The rest of the group watches , vastly amused . A FEW STEPS INTO THE JUNGLE , Ajay and Roland are staring at something on the ground - an animal footprint , three - toed , enormous .</scene_description> <character>AJAY</character> <dialogue>It matches the pictures.</dialogue> <character>ROLAND</character> <dialogue>It certainly does.</dialogue> <scene_description>Roland gets up and goes back to his vehicle , ignoring the pachy demolition derby that continues up at the speedbird . Roland opens a case in the back of the jeep , revealing - - his gun . It 's an antique elephant gun , a double barreled .600 Nitro Express . Nearly a hundred years old , it 's still in immaculate condition , its rosewood stock buttery smooth , bisons delicately engraved along its silver breach . The barrels are twenty - four inches long , topped with an ivory bead foresight at the business end . Roland scoops up the gun , breaks the breach , and pulls two rounds of ammunition from his shirt pocket . Four inches long and three - quarters of an inch in diameter , these are the largest full metal jacket cartridges ever made . He slips one into each barrel and heads back into the bush . Roland pauses before he goes , as if noticing the animals trashing the speedbird for the first time .</scene_description> <character>ROLAND</character> <dialogue>HEY!</dialogue> <scene_description>The pachys all freeze , staring at him . Roland waves one hand , HISSES sharply between his teeth - - and the pachys scatter , back into the jungle . Takes care of that problem . Roland turns and heads back into the jungle , calling out over his shoulder to Ludlow .</scene_description> <character>ROLAND</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Do n't worry about us. We'll catch up.</dialogue> <character>LUDLOW</character> <dialogue>Where do you think you're going?!</dialogue> <character>ROLAND</character> <dialogue>To collect my fee.</dialogue> <scene_description>And with that he disappears into the foliage . The Driver of the Speedbird drops it into gear and the battered car GROANS forward . As it moves ahead , it reveals DIETER , lying underneath it , ego bruised worse than body . IN THE JUNGLE , Ajay takes a step into the bush , but at a ninety degree angle away from the direction in which the animals tracks lead .</scene_description> <character>ROLAND</character> <dialogue>Ajay.</dialogue> <scene_description>Ajay turns . Roland points in the direction in which the footprints lead .</scene_description> <character>ROLAND</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I'm no tracker, but even I can read this spoor.</dialogue> <character>AJAY</character> <dialogue>Do you wish to go where the animal has been, or where the animal is?</dialogue> <scene_description>Roland smiles . Ajay sets off in his direction and Roland follows .</scene_description> </scene> <scene> <stage_direction>EXT. ISLAND RIDGE - DAY</stage_direction> <scene_description>Seen from a ridge above them , the hunters ' convoy continues to plow through the jungle . But how the hunters themselves are being tracked , followed by the GATHERERS . They scurry along as fast as they can , trying to keep pace with the moving vehicle below .</scene_description> <character>EDDIE</character> <dialogue>Why did n't you tell us about these guys, Ian?!</dialogue> <character>MALCOLM</character> <dialogue>Because I did n't know! I do n't have the faintest idea what they're doing here.</dialogue> <character>NICK</character> <parenthetical>( angry . )</parenthetical> <dialogue>Ruining everything, that's what they're doing. You could choke on the diesel smoke already!</dialogue> <character>SARAH</character> <dialogue>Ian, nothing we observe will be valid if we're trailing along in the wake of an army.</dialogue> <scene_description>Kelly has a pair of binoculars and is studying the vehicles as they move below .</scene_description> <character>KELLY</character> <dialogue>`` InGen.'' What's InGen?</dialogue> <character>MALCOLM</character> <dialogue>Where does it say that?</dialogue> <character>KELLY</character> <dialogue>On the side of that one truck.</dialogue> <scene_description>Malcolm takes the binoculars and stares down there himself .</scene_description> <character>JUTTSON</character> <dialogue>InGen is a genetics corporation, is n't it?</dialogue> <character>NICK</character> <parenthetical>( to Malcolm . )</parenthetical> <dialogue>Is that who we're really working for?! Gene splicers?!</dialogue> <character>MALCOLM</character> <dialogue>No! We're an independently funded expedition.</dialogue> <character>SARAH</character> <dialogue>Funded by whom?</dialogue> <character>MALCOLM</character> <dialogue>John Hammond.</dialogue> <character>JUTTSON</character> <dialogue>But he's the head of InGen!</dialogue> <character>NICK</character> <dialogue>You got ta be kidding.</dialogue> <parenthetical>( to Malcolm . )</parenthetical> <dialogue>You dragged me out of Greenpeace to be a corporate stooge? You could n't get anybody else?</dialogue> <character>KELLY</character> <dialogue>Yeah, what have you done, Dad?</dialogue> <character>SARAH</character> <dialogue>We'd better keep moving, or we'll lose them.</dialogue> <scene_description>The group moves on ahead , but Malcolm lingers , angry , staring through the binoculars .</scene_description> <character>MALCOLM</character> <dialogue>What are you doing to me, John?</dialogue> </scene> <scene> <stage_direction>EXT. THE CAVES - DAY</stage_direction> <scene_description>AJAY and ROLAND make their way through the foliage and come into a small clearing , where a cluster of caves is carved into the rock . Ajay freezes , gesturing ahead , to the cave on the far left . Roland pulls up a handful of grass and releases it on the breeze . It floats back between his legs . That 's good . He proceeds toward the cave , carefully , Ajay behind him . They can see nothing beyond the yawning mouth of the cave , only a black interior . Roland pauses , looking down . On the ground to his right he sees the partially eastern leg of a creature . It 's old , crawling with white maggots and flies . Roland continues on . Closer to the cave , he now passes the skull of a large animal , some of the flesh and green skin still adhering to the bone . It , too , is covered with flies . Still he continues on . A short rise leads into the cave , and they edge up it . From inside the cave , they can hear an odd SQUEAKING sound , very high - pitched . Crawling now , Roland and Ajay scale a four - foot circular rampart of dried mud , and peer into - - the tyrannosaur nest . It 's flattered inside , about ten feet in diameter , completely encircled by earthen walls . A BABY TYRANNOSAUR , about four and a half feet long , is in the center of the nest . It has a large head , very large eyes , and its body is covered with a fluffy red down , which gives it a scraggly appearance . It SQUEAKS repeatedly , tearing awkwardly at the remains of a chunk of animal flesh , biting decisively with tiny , sharp teeth . The cave itself is a foul boneyard . ANIMAL CARCASSES litter the edges , flies BUZZ in the captive air . Roland raises a bandana to his nose to cover the stench . He turns to Ajay and WHISPERS .</scene_description> <character>ROLAND</character> <dialogue>It's the rex nest.</dialogue> <scene_description>Ajay nods . The baby tyrannosaur hears the whisper and looks up , cocking its head in curiosity .</scene_description> <character>AJAY</character> <dialogue>Make a blind here? Wait for the buck to return?</dialogue> <character>ROLAND</character> <parenthetical>( shakes his head no . )</parenthetical> <dialogue>If the nest is upwind, so are we. When he comes back, he'll know we're here before we have a chance. The truck -</dialogue> <scene_description>In the nest below , the baby SQUEAKS angrily at the intruders .</scene_description> <character>ROLAND</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>- is to get him to come where we want him.</dialogue> <scene_description>The baby SQUEAKS again , indignant . Roland turns and looks down at it . Thinking .</scene_description> </scene> <scene> <stage_direction>EXT. RIDGE - DUSK</stage_direction> <scene_description>As the sun glows bright orange on the horizon , NICK raises a pair of binoculars to his eyes and peers down at the vista below the ridge . In the lenses of the binoculars , we can clearly see a mixed herd of midsized herbivores - HARDOSAURS , PACHYCEPHALOSAURS , and CALLIMIMUSES - racing across the plain below . MALCOLM , also staring through binoculars , lies on the ridge beside him . SARAH is several feet behind them , her back pressed against a tree , unwilling to go to the lip of the ridge . THROUGH NICK 'S BINOCULARS We see a shaky point of view of the herd running . The binoculars whip to the right - - revealing a jeep chasing the herd Not just one jeep , in fact , but a whole FLEET OF HUNTER PURSUIT VEHICLES ! There are two herding jeeps , one motorcycle , as speedier mini - jeep , and , further behind , a container truck and a wrangler 's pickup truck . Although there 's a great deal of commotion below , up here it 's almost eerily silent . ON THE RIDGE , Nick lowers the binoculars , angry . When he raises them again , the sun FLARES off the lens -</scene_description> </scene> <scene> <stage_direction>EXT. THE PLAIN - DUSK</stage_direction> <scene_description>- and when the brilliant flare clears , we 're right down in the middle of the roundup . Engines ROAR , wheels spin and dig in the dirt , men SHOUT and radios SQUAWK as the hunter vehicles pursue the fleeting herd they 're flushed . The HUNTER SHOUT and SHRIEK with glee , incredulous and thrilled by the spectacular animals they 're pursuing .</scene_description> <character>HUNTER</character> <dialogue>LOOK AT THESE THINGS!</dialogue> <character>HUNTER 2</character> <dialogue>THEY'RE BEAUTIFUL, MAN, THEY'RE BEAUTIFUL!</dialogue> <scene_description>One of the pursuit vehicles -LRB- a `` snagger '' -RRB- , pulls ahead of the others . DIETER STARK stands in the passenger seat , holding a long pole with a noose dangling from the end of it . He swings the pole out over the side of the jeep and SHOUTS to the driver .</scene_description> <character>DIETER</character> <dialogue>FASTER!</dialogue> <scene_description>The Driver hits the gas and the snagger leaps forward , gaining on the herd . Aware of the danger behind them , the herd veers to the right , toward the cover of thick jungle - - but the motorcycle ROARS in from the right side , cutting them off , herding them back out into the open . BACK IN THE CONTAINER TRUCK , PETER LUDLOW stands in a `` conning tower , '' a command post in the heaviest pursuit vehicle . He BARKS into a walkie - talkie .</scene_description> <character>LUDLOW</character> <dialogue>Alive, Dieter, and uninjured!</dialogue> <scene_description>BACK ON THE SNAGGER , the Driver can barely keep up with the twists and feints thrown by the herd ahead of him . Dieter CURSES and throws the lasso pole into the back of the jeep . Ludlow 's voice continues over the radio in Dieter 's jeep .</scene_description> <character>LUDLOW</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Those are very expensive animals! Can you hear me?!</dialogue> <character>DIETER</character> <parenthetical>( to the Driver . )</parenthetical> <dialogue>Turn that off!</dialogue> <scene_description>The Driver SNAPS off the radio as Dieter grabs a long - barreled rifle from the back of the vehicle . THE MOTORCYCLE guns it again , forcing the herd back into the middle of the plain . From the trees to the left , two heads on enormous necks rise up in alarm . Two APATOSAURS are startled from the bush and lumber out across the middle of the plain . The herd does n't even break stride , but keeps running , scampering after the giants and stampeding right between their massive legs . One smaller pachycephalosaur bolts loose , but the motorcycle cuts it off and herds it back into the middle , which now takes the motorcycle right through the rising and falling legs of the apotosaurs . The bike chases the pachy out the other side , and as the apatosaurs disappear into the distance , the cycle isolates the juvenile . Another truck , a `` scissor rig , '' spots the isolated animal . High in the back of the truck , a HUNTER mans a tranquilizer cannon , drawing a bead on the pachy as the cycle runs it down . He FIRES and the tranquilizer dart hits the animal in the neck . Its pace slows and another HUNTER from the truck tosses a lasso around its neck . They crank a winch , reeling in the animal . As the truck gain on it , two six - foot padded arms with what look like heavy airbags on the insides open up on the front of the truck . As the animal is pulled in , the scissors close with a hydraulic WHIR , trapping the animal between its airbags . Now a pick - up rig ROARS up and drops its back gate . The scissor rig rolls forward , depositing the squirming pachy in this dino - contaiment vehicle . Two HUNTERS throw levers on the side of the scissor bars and the scissor rig backs away , leaving the animal , still pinched between the bars , imprisoned in the back of the pick - up rig . The Hunters quickly fit new scissor bars onto the scissor rig and it takes off , back into the hunt . BACK ON THE SNAGGER , Dieter , rifle in hand , drops down into the passenger seat , whips a harness over himself and CLICKS it into place . He jabs his thumb into a flashing red button in the dashboard . Immediately , a motor underneath the seat HUMS to life and the seat itself telescopes , extending a good four feet out to Dieter raises the gun , picks a CARINTHOSAUR , a red - crested herbivore , from the rear of the fleeting herd , and takes aim . BANG ! The carinthosaur staggers as a tranquilizer dart sticks in its left hindquarter . UP ON THE RIDGE , there is utter quiet . Nick and the others stare wordlessly at the spectacle below . DOWN ON THE PLAIN , the snagger SHUDDERS to a halt in the dirt , kicking up a huge cloud of dust and dirt . The motorcycle spins to a stop beside it , its DRIVER pushing his mask up to reveal his sweat and dirt - streaked face . The wrangler truck backs up and drops its rear door , which CLANGS heavily to the ground . FOUR WRANGLERS carrying wire noose poles and chains race down the ramp and out of the truck . Dieter jumps off the snagger . He puts down his tranquilizer gun , picks up a long steel rod , and walks forward slowly . Ahead of him , the carinthosaur is still on its feet . The sedated animal staggers , fighting to retain its balance while it is surrounded by the wary Wranglers .</scene_description> <character>DIETER</character> <dialogue>Easy - easy - not too close! Full extension!</dialogue> <scene_description>The Wranglers adjust their poles , extending them another three feet , which allows them to stay further from the reeling , ten foot tall animal .</scene_description> <character>DIETER</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Now!</dialogue> <scene_description>Almost as one , the Wranglers flip their noose over the stunned animal 's neck . It thrashes , but the Wranglers hold their poles tightly , surrounding and immobilizing it . UP ON THE RIDGE , Nick turns away . He ca n't watch . DOWN ON THE PLAIN , a bolero - type device , a rope with a round weight at either end , whips around the carinthosaur 's legs . The animal THUDS to the dirt with a SNORT of a defeat . Ludlow steps up next to Dieter and both of them stare down at the helpless animal . Ludlow 's breathing heavily , eyes glowing . The animal is still thrashing , pumping its legs crazily . Dieter turns a knob on the side of the steel rod he 's holding and thrusts it into the defenseless animal 's neck . A blue arc of electricity CRACKS and dances over the carinthosaur 's body . The animal convulses in pain , a horrible , high - pitched SQUEALING rips the air . DR. BURKE , their paleontologist , hurries forward with a syringe . He draws a certain amount of tranquilizer from a bottle and injects it into the animal 's thigh . CARTER , Dieter 's Driver , steps up with a can of spray paint and quickly tags the animal with an ID number in day - glo orange . Dieter pulls the card with an icon of a carinthosaur from the dashboard of the jeep and marks a black X over the drawing of the animal .</scene_description> <character>DIETER</character> <dialogue>Next case.</dialogue> </scene> <scene> <stage_direction>EXT. RIDGE - NIGHT</stage_direction> <scene_description>Night has fallen over the island . The hunters have established base camp in an area they have trampled and cleared just below the ridge . Blue laser fences encircle the perimeter . Inside , half a dozen tents are set up around a central campfire . The vehicles are all parked at one end , away from the tents . At the other end , there is a row of at least a dozen `` capture containers , '' cages that hold the imprisoned dinosaurs they have already rounded up . SARAH , MALCOLM , and NICK stand at the edge of the ridge above , looking down at the scene . Sarah stands a bit further back from the others , not wanting to get too close to the edge . VOICES waft up to them , raucous , LAUGHING , some even SINGING . DR. JUTTSON has a pair of night - vision binoculars trained on the cages .</scene_description> <character>JUTTSON</character> <dialogue>Carinthosaurus - compsognathus - triceratops - pachycephalosaurus - or small scavengers only.</dialogue> <scene_description>Malcolm , also with binoculars , furrows his brow , seeing something below . THROUGH MALCOLM 'S BINOCULARS , he sees PETER LUDLOW , standing in the middle of the camp , pointing , giving orders . ON THE RIDGE , Malcolm drops the binoculars .</scene_description> <character>MALCOLM</character> <dialogue>Ludlow. That's why Hammond was in such a hurry for me to get here. He knew they were coming.</dialogue> <scene_description>He gives the binoculars to Sarah , who moves forward gingerly .</scene_description> <character>MALCOLM</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You okay?</dialogue> <character>SARAH</character> <parenthetical>( irritated . )</parenthetical> <dialogue>Heights, I ca n't help it. Put your arm here, will you?</dialogue> <scene_description>She puts his arm around her waits , to steady her while she is close to the cliff edge .</scene_description> <character>JUTTSON</character> <dialogue>What do they want?</dialogue> <character>MALCOLM</character> <dialogue>They want their money back. To InGen, this island is nothing more than a bed investment.</dialogue> <character>JUTTSON</character> <dialogue>We should get back to base camp. Eddie's waiting for us.</dialogue> <character>MALCOLM</character> <dialogue>I ca n't believe Peter Ludlow's running all this.</dialogue> <character>SARAH</character> <dialogue>He is n't. Check out the guy walking past the fire.</dialogue> <scene_description>She hands the binoculars to Malcolm . THROUGH THE BINOCULARS , Malcolm sees ROLAND , who 's walking with AJAY , weapons and equipment slung over their shoulders .</scene_description> <character>SARAH</character> <parenthetical>( o.s . )</parenthetical> <dialogue>I've seen him before. In Brazil. He and that guy with him were spearhunting jaguars. Said it was immoral to go after them any other way. He's not just a hunter, he's a philosopher. Kind of guy who beats you up with your own argument.</dialogue> <scene_description>BACK ON THE RIDGE ,</scene_description> <character>SARAH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>He's the one in charge.</dialogue> <character>MALCOLM</character> <dialogue>Well, if that's true - the man in charge just left camp.</dialogue> <scene_description>Nick , who has been quietly fuming next to them , now steps forward .</scene_description> <character>NICK</character> <dialogue>Then this is our chance.</dialogue> <character>MALCOLM</character> <dialogue>Our chance to do what?</dialogue> <character>NICK</character> <dialogue>I do n't know these guys, but I know'em. I've seen'em on Japanese whalers, French barges trying to dump barrels of nuclear waste in the North Atlantic. They're all the same. They spray us with water cannon when we try to stop'em, sink our boats, and then call us crazy.</dialogue> <scene_description>He rummages through his pack , coming up with various tools . A hunting knife . A bolt cutter .</scene_description> <character>NICK</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Nobody has to come with me. I've done this before.</dialogue> <character>SARAH</character> <dialogue>Why, Nick. You are a tree - hugger.</dialogue> <scene_description>He looks at her , hurt .</scene_description> <character>NICK</character> <dialogue>There' no reason for name calling.</dialogue> <character>MALCOLM</character> <dialogue>Dr. Juttson, please take Kelly back to camp right away. Leave the other car for us and we'll meet you there in an hour or so.</dialogue> <character>KELLY</character> <dialogue>What are you guys gon na do?</dialogue> <character>MALCOLM</character> <parenthetical>( signs . )</parenthetical> <dialogue>Exactly what John Hammond wanted us to do.</dialogue> </scene> <scene> <stage_direction>INT. TENT - HUNTER'S CAMP - NIGHT</stage_direction> <scene_description>In the hunters ' supply tent , a case of twelve - year - old scotch sits open amid crate after crate of weapons and ammunition . PETER LUDLOW reaches in and pulls a bottle out .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - NIGHT</stage_direction> <scene_description>In the jungle , LUDLOW approaches a small clearing . ROLAND is bent over a small stake in the ground , chaining something to it . As Ludlow approaches and walks around him , he sees what protest . Roland looks up .</scene_description> <character>ROLAND</character> <dialogue>Offering a little incentive.</dialogue> <scene_description>Ludlow laughs and shakes his head . He takes a drink and offers Roland one . Roland accepts . Ludlow notices Roland 's gun leaning against a tree .</scene_description> <character>LUDLOW</character> <dialogue>What kind of gun is that?</dialogue> <character>ROLAND</character> <dialogue>My father's.600 Nitro Express. Made in 1904. Karimojo Bell gave it to him after he took down his last elephant. 8700 foot pound striking force.</dialogue> <character>LUDLOW</character> <dialogue>How close do you have to be?</dialogue> <character>ROLAND</character> <dialogue>Forty yards. Less, maybe. I assume it'll take a slug in the brain case to bring him down.</dialogue> <character>LUDLOW</character> <dialogue>Why not just use a scope and a poison dart and snipe him from a hill?</dialogue> <scene_description>Roland just looks at him .</scene_description> <character>ROLAND</character> <dialogue>Or a laser beam from a satellite?</dialogue> <scene_description>Ludlow leans down , close to the baby rex , and examines it while it thrashes on its chain . Its mouth has been bound shut with a leather strap .</scene_description> <character>LUDLOW</character> <dialogue>You rally think this'll draw the parent?</dialogue> <character>ROLAND</character> <dialogue>I once saw a bull elephant die charging a jeep. All the jeep had done was startle the bull's calves. I saw a lioness carry wounded prey four and a half miles, all the way back to its den, just to teach its cubs how to finish off a kill.</dialogue> <character>LUDLOW</character> <dialogue>Killing lessons? Heartwarming.</dialogue> <character>ROLAND</character> <dialogue>Rex wo n't be any different. It'll come.</dialogue> <character>LUDLOW</character> <dialogue>You're kidding yourself. An adult T - rex cares about one thing - filling its own belly. It acts the way people wish they could, that's why everyone's fascinated by it. If people had the chance to see one dinosaur and one only, ninety - nine percent would -</dialogue> <scene_description>He stops , an idea on his face .</scene_description> <character>LUDLOW</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Wait. Why not? Sedatives. growth inhibitors.</dialogue> <character>ROLAND</character> <dialogue>What?</dialogue> <character>LUDLOW</character> <dialogue>I had n't planned on bringing carnivores back because of the liability risk, but I only thought of adults, it never occurred to me -.</dialogue> <parenthetical>( close to the animal . )</parenthetical> <dialogue>You are a billion dollar idea, my little f -</dialogue> <scene_description>CRACK ! The tyrannosaur , even with its jaws clamped shut , lunges at Ludlow 's face , head - butting him right across the bridge of the nose . Ludlow staggers back , WAITING in pain , clutching his bleeding face . Roland laughs . Ludlow , like an enraged child , snatches up Roland 's gun and brings the butt down viciously on the rex 's leg . The bone breaks with a dry SNAP and the animal HOWLS in pain . Roland lunges and throws Ludlow to the ground , but the damage is done .</scene_description> <character>ROLAND</character> <dialogue>What the hell you do that for?!</dialogue> <scene_description>As his pain eases , Ludlow feels a bit foolish , but he attempts to cover .</scene_description> <character>LUDLOW</character> <dialogue>Had to. To keep him still for the trip.</dialogue> <character>ROLAND</character> <dialogue>You've broken its leg!</dialogue> <character>LUDLOW</character> <dialogue>We've got to transport it seven thousand miles. Would you prefer it bit off the leg of a crew member?</dialogue> <scene_description>He gets up , brushes himself off , and heads back to the camp , trying to salvage his dignity . Roland watches him go .</scene_description> </scene> <scene> <stage_direction>EXT. EDGE OF HUNTERS' CAMP - NIGHT</stage_direction> <scene_description>At the edge of the hunters ' camp , NICK , SARAH , and MALCOLM scramble down a hillside and stop at the edge of the laser barriers . There are three beams , each about two feet apart , the tallest almost six feet off the ground . Nick reaches the edge and crouches . Sarah , helped by Malcolm , steps up onto his back and jumps over the top , landing with a CRUNCH . Nick is next , given a boost by Malcolm , who is then left alone on the other side . He backs up a few steps , jogs right at the lasers , then springs off his good leg - - and does the Fosburry Flop right over the top . He lands with a THUD , to the silent admiration of the other two . FURTHER IN THE CAMP , the three of them creep along , hiding behind a stack of fuel barrels . They lean around the edge for a look . They 're directly behind the row of vehicle . They move , into the open , covering the ground between them and the jeeps . Reaching them , Nick hits the dirt and wriggles under the first one . Malcolm and Sarah stand lookout . UNDER THE JEEP , Nick pulls the bolt cutter from his back pocket . He squirms along until he finds the jeep 's fuel line - - and he snips it . He ducks out of the way just as the stream of fuel begins to pour into the dirt . MALCOLM AND SARAH move slowly down the line , standing watch as Nick crawls out from under the first jeep and proceeds to the second . They hear another SNIP , then keep moving , to cover him as he moves to the third . From in the distance , Malcolm hears a sound , a faint , high - pitched SCREECHING . He turns and looks to that direction .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE CLEARING - NIGHT</stage_direction> <scene_description>It 's the baby T - rex , still SCREENING . Up in a nearby tree , ROLAND and AJAY have spread some broken branches crosswise to form a high hide of their own about ten feet off the ground . They wait . Roland raises his binoculars . The light of the camp spills all the way out here , illuminating some of the jungle . He scans it , searching for any sign of movement .</scene_description> </scene> <scene> <stage_direction>EXT. HUNTERS' CAMP - NIGHT</stage_direction> <scene_description>Back in the camp , Sarah , Malcolm , and Nick have finished with all of the vehicles except the badly battered one , which is parked some distance away , undergoing repairs . The motor pool area is now a soggy lake of spilled gasoline . The saboteurs walk casually across the camp , unnoticed in the drunken revelry . They pass several tents , the shadows of the partiers visible as they move inside . They continue across the camp and arrive at the other side - - to face the caged animals . The carinthosaur that was tranquilized earlier stands there dully , eyes heavy and glassy , still under the effects . They pass a stegosaur , its row of fine bristling . And finally they reach the largest cage , which houses a triceratops the size of a pickup truck , Nick pulls out his trusty bolt cutters . He looks at them , a glint in his eye .</scene_description> <character>NICK</character> <dialogue>Hang on. We may encounter some turbulence.</dialogue> </scene> <scene> <stage_direction>INT. HUNTERS' CAMP - NIGHT</stage_direction> <scene_description>In one of the hunter tents , PETER LUDLOW leans over the satellite recon pictures of the island , planning the next day 's assault with DIETER and DR. BURKE , their paleontologist . There are small wooden dinosaur models scattered around the photos , indicating where certain species can be found .</scene_description> <character>BURKE</character> <dialogue>If you're really interested in infants, we'll have better luck at the seaside, because the sands offer a cushioning surface where the egg clutches can - can -</dialogue> <scene_description>He trails off . A low RUMBLING sound can be heard outside , and the little wooden dinosaurs start shaking on the board . They look at each other . The RUMBLING gets louder . Outside , someone SHOUTS ; on the board , the little dinosaurs start hopping and bouncing from the vibrations , the SHOUTS outside turn to SCREAMS , they turn and look at the back of the tent - - and the triceratops bursts right through the canvas !</scene_description> </scene> <scene> <stage_direction>EXT. CAMP - NIGHT</stage_direction> <scene_description>HUNTERS go flying as the tent - covered triceratops , its horns tearing through the canvas , RUMBLES across the camp . Men SHOUT in alarm , the triceratops BELLOWS in anger and confusion , chaos reigns . In the crush of PEOPLE running every which way , MALCOLM and SARAH are swept off in one direction while NICK is buffeted in another . They SHOUT , but can not be heard over the frey . The triceratops , blinded by the canvas shroud , stomps right through the fire in the middle of the camp AND THE TENT BURSTS INTO FLAME . Now really upset , the animal panics and lashes out in all directions , blasting through tents , demolishing and/or setting ablaze anything that gets in its way . Its considerable hindquarters SLAM into a parked jeep , sending it rolling across the camp . The jeep flattens the largest tent and SLAMS down on its side . Its broken gas line SPRAYS gas over the ground , the gas hits one of the dozens of small blazes the triceratops has left in its wake , and the flame shoots up the ribbon of gas . The jeep explodes . OUT IN THE JUNGLE CLEARING , Roland and Ajay , up in the tree , leap to their feet as a fireball rises up from the camp in the distance .</scene_description> <character>ROLAND</character> <dialogue>What in God's -!</dialogue> <scene_description>BACK IN THE CAMP , the rest of the newly - freed animals now storm through the camp . The blue laser barriers bounce crazily and go out as the sending units are trampled underfoot by the fleeing animals . AT THE RIDGE OF CAMP , Nick takes advantage of the downed lasers to slip part the bordere of the camp and disappear into the jungle in one direction , while Malcolm and Sarah vanish in the other . The burning tent , which was the equipment tent , now detonates in a series of smaller EXPLOSIONS . Dieter and several others are knocked to the ground by the series of concessive blasts . He drags himself up onto all fours , charred and bruised . A burning tire rolls slowly past him , spinning to a stop - - at ROLAND 's feet . Dieter looks up at him .</scene_description> <character>ROLAND</character> <dialogue>Last time I leave you in charge.</dialogue> <scene_description>OUT IN THE JUNGLE , Nick breaks out into the jungle clearing , the same one where Ajay and Roland had their blind . He sees the baby tyrannosaur chained to the stake .</scene_description> <character>NICK</character> <dialogue>Sick bastards.</dialogue> <scene_description>He goes to the animal , which now BLEATS in pain , its broken leg hanging at an odd angle . With one strong tug , Nick pulls the stake out of the ground . BACK IN THE CAMP , Roland surveys the destruction . The fire has spread and several tents are now tongues of flame flapping in the air , the animals are gone or going , and their personnel are scattered and terrified . PETER LUDLOW , breathless , face smeared with dirt , and smoke , staggers up to Roland .</scene_description> <character>LUDLOW</character> <dialogue>What in Christ's name is going on?!</dialogue> <character>ROLAND</character> <dialogue>Is n't it obvious?</dialogue> <scene_description>He holds up the sniped padlock from one of the animal cages .</scene_description> <character>NICK</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>We're not alone on this island.</dialogue> </scene> <scene> <stage_direction>EXT. JUNGLE - NIGHT</stage_direction> <scene_description>MALCOLM and SARAH race back up onto the ridge trail , where the green AAV is parked . NICK bursts around from the other side of the car .</scene_description> <character>SARAH</character> <dialogue>Nick, thank God, we did n't know if -</dialogue> <scene_description>Malcolm opens the rear door .</scene_description> <character>NICK</character> <dialogue>Wait, do n't -</dialogue> <scene_description>With a piercing SHRIEK , the BABY TYRANNOSAUR , now in the back of the AAV , flings itself at the open doorway , jaws SNAPPING just short of Malcolm 's nose .</scene_description> <character>MALCOLM</character> <dialogue>HOLY SHIT!</dialogue> <scene_description>He SLAMS the door . DOWN IN THE HUNTERS ' CAMP , Roland hears the commotion up on the ridge and looks up .</scene_description> <character>ROLAND</character> <dialogue>Do we have anyone up there?</dialogue> <scene_description>BACK UP ON THE RIDGE , Malcolm is confronting Nick .</scene_description> <character>MALCOLM</character> <dialogue /> <character>NICK</character> <dialogue>It has a broken leg!</dialogue> <character>MALCOLM</character> <dialogue>So do it a favor and put it out of its misery!</dialogue> <character>NICK</character> <dialogue>No! Get in the car before they hear us!</dialogue> <scene_description>He runs around and leaps in the driver 's seat . Sarah slips into the passenger seat , quickly , leaving Malcolm no choice but the rear .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - NIGHT</stage_direction> <scene_description>The AAV SLAPS through the jungle foliage . From inside the car , we can hear the baby tyrannosaur SCREAMING in anger .</scene_description> </scene> <scene> <stage_direction>INT. AAV - NIGHT</stage_direction> <scene_description>The baby writhes on the base seat next to Malcolm , who has flattened himself against the door , as far away from the animal as possible .</scene_description> <character>SARAH</character> <dialogue>Ian, close the window, it's going to wake every predator in the jungle!</dialogue> <scene_description>Malcolm leans over the enraged animal and cranks up its window . The tyrannosaur SLASHES with one of its powerful hind legs , ripping the flesh of his forearm . He SHOUTS in pain . Outside , the listening jungle whizzes by .</scene_description> </scene> <scene> <stage_direction>EXT. HIGH HIDE - NIGHT</stage_direction> <scene_description>Up in the high hide , EDDIE , DR. JUTTSON , and KELLY are standing watch , scanning the jungle for any sign of their returning comrades . Juttson yanks the night - vision binoculars away from his face as he spots the AAV , pulling up to the base camp a couple hundred yards away .</scene_description> <character>JUTTSON</character> <dialogue>There they are!</dialogue> <scene_description>They all turn and look , but Eddie furrows his brow , watching them pull the wounded animal from the back seat .</scene_description> <character>EDDIE</character> <dialogue>What is that they have with them?</dialogue> </scene> <scene> <stage_direction>EXT. CAMP - NIGHT</stage_direction> <scene_description>SARAH and NICK carry the SCREECHING baby tyrannosaur in their arms , headed for the trailer . MALCOLM , holding his bleeding arm , is n't far behind .</scene_description> </scene> <scene> <stage_direction>INT. TRAILER - NIGHT</stage_direction> <scene_description>SARAH and NICK bring the SCREAMING infant to the metal dining table and hold it down . MALCOLM is right behind them .</scene_description> <character>MALCOLM</character> <dialogue>This is exceedingly unwise.</dialogue> <scene_description>Sarah turns away from a drawer of medical supplies , holding a small syringe . Her shirt is streaked with blood from the baby 's injured leg .</scene_description> <character>SARAH</character> <dialogue>Too late to worry about that! Hold him together, Nick!</dialogue> <scene_description>Nick tightens his grip on the animal and Sarah makes an injection into its thigh , over its loudly voiced objections .</scene_description> <character>MALCOLM</character> <dialogue>Just do whatever you have to do and get it out of here as quickly as possible.</dialogue> <scene_description>Sarah picks up a small ultrasound transducer and runs it over the animal 's leg . A green and white skeletal image appears on a monitor next to the table .</scene_description> <character>SARAH</character> <dialogue>Okay, there's the metatarsals - tibia, fibula - there it is! See it? That's a fracture, just above the epiphysis.</dialogue> <scene_description>They peer closely at the monitor .</scene_description> <character>NICK</character> <dialogue>That little black line?</dialogue> <character>SARAH</character> <dialogue>That little black line means death for this infant. The fibula wo n't heal straight, so the ankle joint ca n't pivot when he stands on his hind feet. The baby wo n't be able to run, and probably ca n't even walk. It'll be crippled, and a predator will pick it off before it gets more than a few weeks old.</dialogue> <character>MALCOLM</character> <dialogue>Can you set up?</dialogue> <character>SARAH</character> <parenthetical>( thinking . )</parenthetical> <dialogue>It has to be temporary, something that'll break apart and fall off as the animal grows.</dialogue> <character>MALCOLM</character> <dialogue>Think fast, Sarah.</dialogue> <scene_description>The tyrannosaur , still in pain , SHRIEKS again .</scene_description> </scene> <scene> <stage_direction>EXT. HIGH HIDE - NIGHT</stage_direction> <scene_description>Through their binoculars , the rest of the group watches the trailer carefully . Even inside , the animal 's SCREECHES are clearly audible . Kelly is getting scared .</scene_description> <character>KELLY</character> <dialogue>What are they doing? Why do n't they hurry?!</dialogue> <character>EDDIE</character> <dialogue>Give me the radio.</dialogue> <scene_description>From the trailer , the baby lets out a long , plaintive SHRIEK - One by one , Eddie , Kelly , and Juttson turn around and stare into the night jungle .</scene_description> </scene> <scene> <stage_direction>INT. TRAILER - NIGHT</stage_direction> <scene_description>NICK holds the animal while SARAH fits an aluminum foil cuff around its injured leg and paints it with a coating of resin . MALCOLM , at the window , stares out anxiously . The animal thrashes again .</scene_description> <character>NICK</character> <dialogue>Give it more morphine!</dialogue> <character>SARAH</character> <dialogue>We'll kill it with too much, we'll put it into respiratory arrest! I'm almost done. Damn it, I need another adhesive, something pliable I can -</dialogue> <scene_description>Her eyes fall on Nick . She holds out her hand , urgently .</scene_description> <character>SARAH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Spit!</dialogue> <scene_description>He spits his bubblegum into the palm of her hand . The baby rex CRIES OUT again .</scene_description> </scene> <scene> <stage_direction>EXT. HIGH HIDE - NIGHT</stage_direction> <scene_description>From the swaying jungle , there is another answering ROAR . And this one 's closer . In the high hide , the rest of the group stares , trembling . In the distance , a flock of birds SHRIEKS and takes flight as the tops of some trees move , a whole section of forest suddenly coming alive , as if brushed by wind . But it 's not the wind . They hear noises , THUDS in the jungle . And then another section of forest trembles . Closer . Another flock of birds bursts out of the treetops and swarms past the high hide .</scene_description> <character>KELLY</character> <dialogue>What is it?</dialogue> <scene_description>Dr. Juttson puts an arm around Kelly , instinctively pulling her closer to him . Eddie WHISPERS urgently into the walkie - talkie .</scene_description> <character>EDDIE</character> <dialogue>Sarah, come in!</dialogue> <character>JUTTSON</character> <dialogue>It's moving. Fast.</dialogue> </scene> <scene> <stage_direction>INT. TRAILER - NIGHT</stage_direction> <scene_description>There is a radio box mounted on the far wall of the trailer . The speaker BUZZES urgently with Eddie 's VOICE .</scene_description> <character>EDDIE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Sarah, Malcolm, can you hear me?!</dialogue> <scene_description>On the table , Sarah is frantically molding Nick 's bubblegum into place on the makeshift splint . But the baby rex , regaining its strength , is thrashing again .</scene_description> <character>SARAH</character> <dialogue>Hold it down, Nick!</dialogue> <character>NICK</character> <dialogue>I'm trying!</dialogue> <character>EDDIE</character> <parenthetical>( o.s . )</parenthetical> <parenthetical>( from the radio . )</parenthetical> <dialogue>Is anybody there?!</dialogue> <scene_description>Malcolm moves to answer the radio , but Sarah SHOUTS to him .</scene_description> <character>SARAH</character> <dialogue>Ian, get the bottle of amoxicillin and fill a syringe! Quick injection of antibiotics and I can get it out of here!</dialogue> <scene_description>Forsaking the radio , Malcolm moves to the medicine drawer and comes up with what she wants . Working fast , he draws twenty cc 's of the pink liquid .</scene_description> <character>EDDIE</character> <parenthetical>( o.s . )</parenthetical> <parenthetical>( still from the radio , now desperate . )</parenthetical> <dialogue>SARAH OR IAN, ANSWER ME!</dialogue> <scene_description>They ignore him as Sarah grabs the syringe and makes the injection .</scene_description> <character>EDDIE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>WHATEVER YOU BROUGHT INTO THE TRAILER, GET IT OUT NOW!</dialogue> </scene> <scene> <stage_direction>EXT. HIGH HIDE - NIGHT</stage_direction> <scene_description>Eddie has given up on whispering as he clutches the radio desperately .</scene_description> <character>EDDIE</character> <dialogue>WE ESTIMATE TWO LARGE ADULTS HEADED IN YOUR DIRECTION! I REPEAT -</dialogue> </scene> <scene> <stage_direction>INT. TRAILER - NIGHT</stage_direction> <scene_description>Nick , Sarah , and Malcolm spin around at hearing that terrible piece of information .</scene_description> <character>MALCOLM</character> <dialogue>Oh, Christ.</dialogue> <scene_description>He bolts over to the wall speaker and hits the button .</scene_description> <character>MALCOLM</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Let me talk to Kelly, is she -</dialogue> <scene_description>A deafening ROAR sound from just outside the trailer , followed immediately by a CRASHING sound . They whirl and look to the window , just in time to see - - the AAV tumbling by , rolling on its side ! There is another ROAR , and the baby , on the table , ROARS in response . Outside the window , the head of a full - grown TYRANNOSAURUS REX lowers and peers inside . Malcolm , Sarah , and Nick all freeze in absolute terror . The rex outside GURGLES , making material cooing noises . The baby rex , calm for the first time , GURGLES back . But across the trailer , in the opposite window , ANOTHER T - REX HEAD SUDDENLY APPEARS . This one ROARS , deeply , a roar so low and loud it rattles anything in the trailer that is n't tied down .</scene_description> <character>NICK</character> <dialogue>What do they want?!</dialogue> <character>MALCOLM</character> <dialogue>What do you think they want?!</dialogue> <character>SARAH</character> <dialogue>That's impossible, they ca n't have the sensory equipment to track it all the way here!</dialogue> <character>MALCOLM</character> <dialogue>Current evidence seems to be to the contrary, would n't you say?! GIVE IT TO THEM!</dialogue> <scene_description>Nick , hands shaking , grabs the shoulder video camera he used earlier . He whips out the cassette that 's in there , hurls it into an open duffel bag with half a dozen others , SLAMS a fresh cassette in , and flicks the `` ON '' switch . Sarah and Malcolm , meanwhile , hurry to the other end of the trailer , carrying the baby rex . Outside , the two adult rexes stay with them , walking in the same direction , watching them through the window .</scene_description> </scene> <scene> <stage_direction>EXT. TRAILER - NIGHT</stage_direction> <scene_description>Seen from outside , the light inside the trailers clearly illuminates Sarah and Malcolm as they carry the bay rex . The adult rexes tower over the trailer , twice as tall and nearly as long . They walk slowly alongside it , hunched over , watching their infant .</scene_description> </scene> <scene> <stage_direction>INT. TRAILER - NIGHT</stage_direction> <scene_description>At the door to the trailer , Sarah un - muzzles the frantic baby .</scene_description> <character>SARAH</character> <dialogue>Ready?</dialogue> <scene_description>Malcolm reaches for the door handle .</scene_description> <character>NICK</character> <dialogue>Wait!</dialogue> <scene_description>He dives down on the floor under them , pointing the video camera up at the door , getting the best shot . Malcolm takes a breath , turns the knob , and throws open the door . Outside , the enormous rex heads pause for a moment , staring , surprised . Although terrified , Sarah actually starts to sing .</scene_description> <character>SARAH</character> <parenthetical>( softly . )</parenthetical> <dialogue>Born free, as free as the wind blows. As free as the grass grows -</dialogue> <character>MALCOLM</character> <dialogue>Are you insane?!</dialogue> <character>SARAH</character> <dialogue>I swear to God, it works with lions sometimes! There we are - your baby is free -</dialogue> <scene_description>The baby , excited , wriggles free of them and lands on the ground outside . Not wasting a second , Malcolm SLAMS the door shut . The three of them freeze , not daring to breath . Outside , they can hear the SNUFFLING and COOING of the animals as they inspect their young - - and then the soft THUD of their footsteps , growing fainter as they move away . From the wall , EDDIE 'S VOICE comes over the radio , relieved .</scene_description> <character>EDDIE</character> <dialogue>They're going back into the jungle.</dialogue> </scene> <scene> <stage_direction>EXT. HIGH HIDE - NIGHT</stage_direction> <scene_description>EDDIE , JUTTSON , and KELLY sag back against the railings of the high hide .</scene_description> <character>EDDIE</character> <dialogue>Thank God. Thank God.</dialogue> <scene_description>MALCOLM 'S VOICE comes over the radio .</scene_description> <character>MALCOLM</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Kelly? Are you all right?</dialogue> <scene_description>She takes the radio , her voice shaky .</scene_description> <character>KELLY</character> <dialogue>Uh huh.</dialogue> </scene> <scene> <stage_direction>INT. TRAILER - NIGHT</stage_direction> <scene_description>MALCOLM is at the radio .</scene_description> <character>MALCOLM</character> <dialogue>Wait there. I'll come up in a minute. Do n't move, understand?</dialogue> <character>KELLY</character> <parenthetical>( o.s . )</parenthetical> <dialogue>I understand.</dialogue> <scene_description>Malcolm slump against the wall of the trailer . SARAH and NICK sit on the floor leaning against the opposite wall , completely drained . Sarah pulls out her pocket recorder and speaks shakily into it .</scene_description> <character>SARAH</character> <dialogue>Note to Dr. Juttson - Tyrannosaurus rex does nurture its young.</dialogue> <scene_description>They laugh weakly .</scene_description> <character>NICK</character> <dialogue>There's, uh - there's an unwritten rule when a news crew is in a war zone. You stop the van every two miles and decide whether or not to go on. Whether or not you feel lucky. One `` no'' from anybody in the group and you turn around right there, no question asked, nobody embarrassed.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Well? Do we go on?</dialogue> <scene_description>Immediately :</scene_description> <character>SARAH</character> <dialogue>No.</dialogue> <character>MALCOLM</character> <dialogue>No.</dialogue> <character>NICK</character> <dialogue>No way.</dialogue> <scene_description>They all laugh .</scene_description> <character>MALCOLM</character> <dialogue>All right. I'm satisfied with the evidence we have right now. I feel vindicated. John Hammond will too.</dialogue> <parenthetical>( to Sarah . )</parenthetical> <dialogue>Do you have enough to publish?</dialogue> <character>SARAH</character> <dialogue>They will come after me. But I can collect some stool samples, for DNA with that, Nick's tapes, and the rest of you to back me up, it should stand when we get back.</dialogue> <character>MALCOLM</character> <parenthetical>( getting up . )</parenthetical> <dialogue>Then the only thing left to do is make sure we do get back. I'll call the mainland on the satellite phone and have them send the boat right now. This expedition is over.</dialogue> <scene_description>He goes to the desk and picks up the heavy gray satellite phone that 's resting in a battery pack . The front panel lights up , a brilliant green . But from the wall speaker , the radio CRACKLES and EDDIE 'S VOICE breaks through , soft and empty .</scene_description> <character>EDDIE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Oh, God. I am so sorry.</dialogue> <scene_description>Malcolm and Sarah look at the speaker box .</scene_description> <character>MALCOLM</character> <dialogue>What the hell is he sorry f -</dialogue> <scene_description>A low RATTLE sneaks into the trailer . Malcolm , Sarah , and Nick takes a step forward from the walls , looking around . The RATTLE gets louder , the trailer shakes and vibrates , everything in it starts to BANG against the walls - - and something huge SMASHES into the side of the trailer . They 're all thrown against the far wall , there is an earsplitting CRACK of electricity , the entire trailer rocks and sparks a brilliant blue , and then everything goes black . The satellite phone flies out of Malcolm 's hands and SMACKS against the wall . It lands on the floor , its number pad still glowing green . Nick crawls over and looks out one of the windows . Outside , the flank of one of the tyrannosaurs wipes past the window , revealing the second tyrannosaur , charging straight at the trailer !</scene_description> <character>NICK</character> <dialogue>HANG ON TO SOMETHING!</dialogue> <scene_description>They hurl themselves at the nearest solid object and hang on for dear life . The charging rex SLAM into the side of the trailer , which rocks up on one side , BANGS back down , and is quickly RAMMED again by the furious animal . This time the entire trailer rolls over , completely upside down . Sarah , Nick , and Malcolm let go of their precarious handholds and drop onto the ceiling . The tables , chairs , lab equipment , everything that 's bolted down clings to the floor above them ; everything that is n't RAINS DOWN ON THEM . But the rexes are n't done . The trailer JOLTS INTO MOTION , sliding forwards . SEEN FROM OUTSIDE , the upside down trailer , which is the rear of the two trailers , slides along the muddy ground , pushing up earth in front of it . IN THE TRAILER ,</scene_description> <character>SARAH</character> <dialogue>They're pushing us!</dialogue> <scene_description>Malcolm , frantic , crawls up to a window to get a look outside . He looks down and sees a T - rex footprint in the earth outside as they move past it . He cranks his head to get a look at the direction in which they are being pushed . His eyes widen at something he sees outside the window .</scene_description> <character>MALCOLM</character> <dialogue>Oh, God.</dialogue> <character>SARAH</character> <dialogue>What?!</dialogue> <character>MALCOLM</character> <dialogue>They're pushing us over the cliff.</dialogue> <scene_description>Sure enough , out the back window , we see a few more feet of muddy earth , and then nothing but inky black . The three of them look at each other for a moment - - and then crawl like hell toward the other end of the trailer . The opposite end reaches the edge of the cliff and starts up to tip ever - so - slightly downward . They reach the accordion - like connector and Malcolm crawls into it . THROUGH THE WINDSHIELD OF THE FRONT TRAILER , which is right - side - up , Malcolm can see the two rexes hard at it , pushing the front end of the trailer . IN THE REAR TRAILER , Nick has a pretty good grip at the top of the trailer , but Sarah can only cling to an air vent in the ceiling as stuff starts to roll and tumble past her , headed downhill . The angle increases , the trailer dips , and now stuff starts to freefall , right past her , some SMASHING her in the head . Malcolm , still in the connecting tube , grabs hold . Sarah , starting to be pulled downward , paws at the refrigerator , getting a g rip on the handle . The door , held by a safety latch , does n't open . Below Sarah , debris falls to the rear window of the trailer . Through the CRACKING glass , we can see the surf , CRASHING five hundred feet below . The refrigerator bolts suddenly CRUNCH free of the wall . The box strains on its power cord . Still clinging to the handle , Sarah swings wildly as it starts to come loose , swaying above her . The safety latch on the door gives , it swings open , and a shower of food BANGS off of her as gravity empties the contents . Sarah loses her grip and plummets through the now - vertical trailer . She SCREAMS , covers her head , and SMASHES into the rear window . The glass spiderwebs , but does not break . FIVE HUNDRED FEET BELOW , an enormous wave POUNDS the rocky shore . Above , Sarah is a tiny figure , sprawled out on the glass , held invisibly by the breaking window . IN THE TRAILER , Nick SHOUTS to her .</scene_description> <character>NICK</character> <dialogue>SARAH! DO N'T MOVE!</dialogue> <scene_description>Sarah , stunned by the fall , blinks a few times , regaining her senses . She looks down , at the crashing surf so far below . For a person with a fear of heights , this is a real drag . As she stares , the rocks seem to move even farther away from her . She blanches ; the world spins around her .</scene_description> <character>SARAH</character> <dialogue>OH. GOD. please.</dialogue> <scene_description>Her breath fogs the cracked glass . Slowly , she tries to get up , caaaaaarefully pulling herself up to her hands and knees . But as she puts pressures on her hands , the glass CRACKS even more , tiny spiderwebs shooting out around her fingers . The whole glass panel sags , bowing out around the bottom of the trailer . UP ABOVE HER , Malcolm looks down and sees the satellite phone precariously balanced on one leg of the kitchen table , its number pad still glowing green . Nick is closest to it .</scene_description> <character>MALCOLM</character> <dialogue>Nick! Grab the phone!</dialogue> <scene_description>SARAH looks to her right , at a metal grating that runs along the wall of the trailer . She shifts her weight , leaning on one hand to reach for the grating with the other . NICK reaches for the satellite phone , its antenna just six inches from his outstretched fingers . SARAH leans toward the metal grating , all hairline cracks shoot out around her pivot hand , shaking through the glass . The splintered glass spread like a disease , it reaches the edge of the frame - - and her hand CRACKS right through the glass . She GASPS and pulls her hand out , but now she knees SMASH through the glass . NICK has two fingers on the phone , but suddenly the whole trailer shudders and the heavy phone tips off the table leg and falls .</scene_description> <character>NICK</character> <dialogue>SARAH LOOK OUT!</dialogue> <scene_description>SARAH lunges for the metal grating and clings to it just as the heavy phone whizzes past her head and SMASHES into the glass , opening up a huge hole in the center of the back window . UNDERNEATH THE TRAILER , glass , food , lab equipment , and the precious satellite phone fall out the broken window and SMASH on the rocks far below . IN THE CLEANING , the trailers are split , like an L , the rear trailer hanging straight down , the forward one resting on the edge of the cliff . Satisfied with their work , the T - rexes turn and lumber back into the jungle . IN THE TRAILER , Sarah climbs carefully up the metal grating . Above her , Nick lowers himself as far as he can , reaching for her . ON THE CLIFFSIDE , we realize the hanging trailer halted its descent because one corner of it is wedged in the branches of a tree that grows out from the muddy cliff . But now those branches SPLINTER . IN THE TRAILER , Malcolm sees the bellows , the connector between the trailers , stretch as the lower trailer JERKS and dips lower . BELOW HIM , Sarah mountain - climbs through the trailer 's kitchen , inadvertently kicking the faucet on as she struggles for purchase . OUTSIDE , the tree branch SNAPS and the trailer jerks , stretching down again . The bellows expands to its full length , stretching like a Slinky . INSIDE , Nick knows he has to hurry . He climbs down , bouncing off the built - in furniture , moving ever closer to Sarah . But Sarah slips and loses her grip , dropping a few feet . She gabs hold of the sink , the flowing water spraying her face .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - NIGHT</stage_direction> <scene_description>EDDIE CARR is in the driver 's seat of the jeep , racing through the jungle as fast as he can .</scene_description> <character>EDDIE</character> <dialogue>Hang on - hang on -</dialogue> <scene_description>The foliage SMACKS the windshield , then clears suddenly , revealing the endangered trailers on the cliffside ahead of him . The jeep bounces through the deep footprints left by the rex and SKIDS to a halt .</scene_description> </scene> <scene> <stage_direction>INT. TRAILER - NIGHT</stage_direction> <scene_description>Sarah loses her grip on the sink and falls , SMASHING into the frame of the half - broken rear window again . OUTSIDE , Eddie bolts out of the car and runs to the front trailer . He SHOUTS in through the broken front window .</scene_description> <character>EDDIE</character> <dialogue>HEY! HELLO?!</dialogue> <scene_description>IN THE REAR TRAILER , The three look up from their precarious positions .</scene_description> <character>MALCOLM</character> <dialogue>WE'RE IN HERE! GET SOME ROPE!</dialogue> <scene_description>OUTSIDE , Eddie turns and run back to the jeep . He grabs a coil of rope , secures one end around a tree , and hurries back to the trailer . IN THE REAR TRAILER , Eddie dashes over the mess in the front trailer and crawls out into the extended connector . He peers over the edge , down into the second trailer , and tosses the rope .</scene_description> <character>EDDIE</character> <dialogue>Catch!</dialogue> <scene_description>The rope falls through the center of the trailer , its end dangling all the way out the smashed rear window . But the trailer SHUDDERS , starting to move again .</scene_description> <character>SARAH</character> <dialogue>We're sliding!</dialogue> <character>EDDIE</character> <dialogue>Climbs up if you can!</dialogue> <scene_description>OUTSIDE , Eddie runs out of the trailer in time to see the wheels dragging forward through the mud as the weight of the dangling trailer pulls the whole thing toward the edge of the cliff . He runs for the jeep and grabs hold of the power winch on the front grill . Behind him , the trailer rolls closer to the edge of the cliff . Eddie races back to the trailer , pulling out a length of cable behind him . He runs up to the still - moving trailer , dives for its towing hook , the cable goes taut - - and he falls short . Just by six inches , but he 's out of cable .</scene_description> <character>EDDIE</character> <dialogue>Damn it!</dialogue> <scene_description>INSIDE THE TRAILER , Nick and Sarah are now together , clinging to the rope near the bottom of the trailer as it shifts around them . Malcolm is further up , also clinging to the rope . OUTSIDE , dirt and rocks pile up around the wheels and spill over the edge of the cliff . Eddie , back at the jeep , reels out more winch cable . He turns and races back to the trailer just as gravity starts to LIFT THE FRONT END OFF THE GROUND ! Eddie dives again , and this time the cable hook CLICKS securely into the trailer 's towing hook . The trailer lurches toward the edge of the cliff and stops . But the jeep is jerked forward by the sudden pressure . IN THE TRAILER , Malcolm clings to the rope in the middle of the trailer while Nick and Sarah try to struggle up it , but a sudden dig knocks them back , and their hands slide down the line . SCREAMING , they slide through the trailer and their feet SMASH through the remains of the rear window . Regaining hold of the rope at the very end , the two of them now find themselves hanging out of the rear end of the trailer , dangling over the rocky shore below . IN THE JEEP , Eddie hits the gas and the tires slosh in the mud , trying to get a grip . The jeep pulls just enough to lower the front trailer back to earth . But the tires spin , fighting to hold it there . ON THE CLIFFSIDE Sarah and Nick dangle , desperate . IN THE JEEP Eddie CHUNKS the shifter into four wheel drive and GUNS the engine . As the motor ROARS , the sound is topped by another ROAR , in the distance . And this one 's not a machine . But Eddie does n't hear it . He GUNS the engine again . There is another ROAR from the jungle . Eddie hears this one . He darts a look at the side view mirror . In it , he sees one of the TYRANNOSAURS bolt out of the jungle behind him . He GASPS and looks at the other side view . In it , he sees the OTHER REX racing toward him . The tyrannosaurs STOMP forward to confront the ROARING jeep . The first rex bends over , CHOMPS down on the rear tire , and lifts the car to its teeth . But the spinning tire LINGS in the rex 's mouth , burning it . Surprised by the fight in this foe , the rex loses its grip and the jeep BANGS back down onto the ground . Eddie , horrified , dives down under the steering wheel , to get away . The gas pedal pops up - - which makes the trailer pitch over the side of the cliff . But the rex STOMPS down on the jeep to prevent its escape . The trailers stop . Now the rexes lean down , over the jeep , and focus on Eddie , who still covers under the steering wheel . The first rex SNAPS at him , hitting the steering column with it , leaving Eddie fully exposed . He SCREAMS and the second rex lashes in , seizing him in its teeth and tossing him out of the car . Eddie pops up into the air between the two rexes , both their heads flash at him at the same time , and in a split - second , he disappears between their teeth . Now completely ignored , the jeep rolls freely forward and the trailers drop over the edge of the cliff . INSIDE THE TRAILER , Nick , Sarah and Malcolm cling to each other and the rope as the trailers fall around them . The windows flash by as the trailers plummet , equipment BANGS and SCRAPES them , but they hold on to the rope , still tied to the tree , for dear life . ON THE CLIFFSIDE , the trailers slide the rest of the way , exposing the three , who pop out the space where the front windshield was . Dangling from the rope , they look up and see the jeep , which is now rolling to the edge of the cliff . It falls , past them , and the whole mess EXPLODES on the rocks below . Finally , it is silent , except for the sound of the surf .</scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - NIGHT</stage_direction> <scene_description>It 's quiet up here too , the rexes nowhere to be seen . At the cliff , a hand appears from over the edge . Then another . SARAH pulls herself up , back onto solid ground , then comes NICK , then both of them reach over and help MALCOLM up over the edge . They collapse there , in the mud , completely exhausted .</scene_description> <character>MALCOLM</character> <parenthetical>( softly . )</parenthetical> <dialogue>Eddie?</dialogue> <scene_description>He looks at the other two . They glance around , then drop their heads . Sarah hears a SOUND in the distance .</scene_description> <character>SARAH</character> <dialogue>Oh, God. Now what?</dialogue> <scene_description>From the edge of the jungle , a cris - cross of flashlight beams moves toward them . But rather than the three or four that would signify their own group , there are nearly twenty of them . The HUNTERS , PETER LUDLOW is in the lead , ROLAND and AJAY with him . DIETER is there too , shepherding KELLY and DR. JUTTSON along in front of him . Malcolm sees Kelly , they call out to each other , and race together . Malcolm falls to his knees and hugs her as tightly as he possibly can .</scene_description> <character>MALCOLM</character> <dialogue>Are you all right?! Anything broken?</dialogue> <character>KELLY</character> <dialogue>I'm fine, I'm fine, I was scared, I thought you, are you okay?!</dialogue> <character>MALCOLM</character> <dialogue>I'm fine. I'm fine.</dialogue> <scene_description>Roland looks around , at the mess that was their base camp .</scene_description> <character>ROLAND</character> <parenthetical>( mostly to himself . )</parenthetical> <dialogue>That's what you think.</dialogue> </scene> <scene> <stage_direction>EXT. RUINED BASE CAMP - NIGHT</stage_direction> <scene_description>In the ruins of the first team 's base camp , the survivors of the night 's two separate catastrophes stand face to face , in a heated argument . MALCOLM sits off to the side , still holding Kelly in his arms , just looking down at the ground and shaking his head . There 's something about his posture of defeat that is far more ominous than any of the hot tempers that are flaring . LUDLOW rants to SARAH while DIETER looms menacingly over NICK .</scene_description> <character>LUDLOW</character> <dialogue>Trespassing, sabotage - you could go to jail just for being here, did you know that?</dialogue> <character>SARAH</character> <dialogue>Do n't start a legal argument with me, this island is n't your property, and neither are these animals!</dialogue> <scene_description>DR. JUTTSON has encountered DR. BURKE .</scene_description> <character>JUTTSON</character> <dialogue>What are you doing here, Burke? There's no TV cameras, what's the point?</dialogue> <character>BURKE</character> <dialogue>Dr. Juttson, you exist outside the classroom. I am amazed.</dialogue> <scene_description>Dieter continues to get in Nick 's face .</scene_description> <character>NICK</character> <dialogue>Are you looking for a problem?</dialogue> <character>JUTTSON</character> <parenthetical>( an urgent whisper . )</parenthetical> <dialogue>Everyone, keep your voices down!</dialogue> <character>ROLAND</character> <dialogue>Back off, Dieter.</dialogue> <character>JUTTSON</character> <dialogue>Listen to me, by moving the baby rex into our camp, we changed the adults' perceived territory!</dialogue> <character>LUDLOW</character> <dialogue>Their what?</dialogue> <character>SARAH</character> <parenthetical>( she understands . )</parenthetical> <dialogue>Oh, God.</dialogue> <character>JUTTSON</character> <dialogue>That's why they persisted in destroying the trailers, they now feel they have to defend this entire area! We're not safe here.</dialogue> <character>LUDLOW</character> <parenthetical>( of Sarah and Nick . )</parenthetical> <dialogue>Thanks to you people.</dialogue> <character>SARAH</character> <dialogue>Hey, we came here to observe, you came here to strip - mine the place! It's a looter mentality, all you care about is what you can take.</dialogue> <character>ROLAND</character> <dialogue>None of that matters. Our communications equipment's been destroyed. If your radio and satellite phone were in those trailers that went off the cliff, and I'm guessing by the look on his face -</dialogue> <scene_description>He points at Malcolm , who is still off to the side , sitting in stunned silence . Malcolm looks up and nods , slowly . The grimness of their situation sinks in .</scene_description> <character>ROLAND</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>We are stuck here, ladies and gentlemen. And we're stuck together.</dialogue> </scene> <scene> <stage_direction>EXT. HUNTERS' CAMP - NIGHT</stage_direction> <scene_description>Back in the hunters ' now - demolished camp , members of the two groups combine their diminished supplies . They have half a dozen large plastic containers of water , thirty - seven containers of food , ranging from Ziploc bags to aluminum tins , a variety of weapons , mot of them borne on the hips or shoulders of the HUNTER team , the charred and scraggly remnants of several pieces of now - useless electrical equipment , a flare gun and several flares , somebody 's tattered paperback -LRB- `` Crime and Punishment '' -RRB- , a box of Hershey bars , and a cartoon of Marlboros . ROLAND supervises the assembling of the resources , which are displayed in front of him . LUDLOW , NICK , SARAH , JUTTSON , and MALCOLM , who is still holding KELLY close to him , are with him . They hold their discussion in quiet tones .</scene_description> <character>ROLAND</character> <dialogue>If we ca n't stay in the rex's territory, we have to move tonight.</dialogue> <character>SARAH</character> <dialogue>Move where? Our boat's not coming for two days, your airlift is waiting for an order you have no way to send -</dialogue> <scene_description>Ludlow refers to the charred and trampled satellite photographs of the island , which are still mostly legible .</scene_description> <character>LUDLOW</character> <dialogue>There's a communication center, here, in the old worker village. Hammond put in some kind of renewable power source replenishing. It may still work. If we could get there, we could send a radio call for the airlift.</dialogue> <character>NICK</character> <dialogue>How far is the village?</dialogue> <character>LUDLOW</character> <dialogue>I said if we could get there.</dialogue> <character>NICK</character> <dialogue>Well, how far is it?</dialogue> <character>LUDLOW</character> <dialogue>A day's walk, maybe more. That's not the problem.</dialogue> <character>ROLAND</character> <dialogue>What is?</dialogue> <character>LUDLOW</character> <dialogue>The velociraptors.</dialogue> <scene_description>Malcolm looks up sharply .</scene_description> <character>LUDLOW</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Our infrareds show their nesting sites are concentrated in the island interior. That's why we planned on keeping to the outer rim.</dialogue> <scene_description>Malcolm shepherds Kelly away from the conversation and mutters something to her quietly in the background .</scene_description> <character>DIETER</character> <dialogue>What are velociraptors?</dialogue> <character>JUTTSON</character> <dialogue>Carnivores. Pack hunters. About six feet long, three or four hundred pounds, and very, very fast.</dialogue> <scene_description>Dieter brandishes his weapon .</scene_description> <character>DIETER</character> <dialogue>I think we can handle ourselves against them.</dialogue> <scene_description>Malcolm rejoins the conversation , alone . He keeps his voice low .</scene_description> <character>MALCOLM</character> <dialogue>No. I'm quite certain you ca n't.</dialogue> <character>ROLAND</character> <dialogue>Look, we have two choices. We can hike back down to the lagoon, where we can sit for two days, in the open, next to a heavily used water source while we're waiting for your boat to arrive, or we can head for the village, where we might find some shelter and we can call for help.</dialogue> <character>MALCOLM</character> <dialogue>We'd never make it past the raptors. Trust me, I have some experience in this matter.</dialogue> <scene_description>Roland looks at him .</scene_description> <character>ROLAND</character> <dialogue>That may be. But you were n't with me at the time.</dialogue> <scene_description>Malcolm just shakes his head , then turns and walks back to Kelly . Roland turns to the others .</scene_description> <character>ROLAND</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Load up. Let's get this moveable feast underway.</dialogue> </scene> <scene> <stage_direction>EXT. ISLAND - NIGHT</stage_direction> <scene_description>The SURVIVORS set forth , marching through the jungle in a column . Two HUNTERS strap on small shoulder - mounted servo - flashlights . Wires run from the lights end in sensor pads which they stick to the skin of their necks . Thus attached , when the hunters turn their heads , the servo - lights turn with them , illuminating whatever direction they look in . MALCOLM screws the barrel into the Lindstradt rifle and slings it over his shoulder as he marches , limping heavily . He looks down at KELLY , who is marching alongside him . His face shows the deepest of regret . He shakes his head , cursing himself .</scene_description> <character>MALCOLM</character> <dialogue>Damn it.</dialogue> <scene_description>He looks away as Kelly looks up at him , questioning . ROLAND falls into step with Malcolm and notices his limp .</scene_description> <character>ROLAND</character> <dialogue>You all right?</dialogue> <scene_description>Malcolm looks at him , then looks away without answering .</scene_description> <character>ROLAND</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Wrong question?</dialogue> <character>MALCOLM</character> <dialogue>You ever heard of Gambler's Ruin?</dialogue> <character>ROLAND</character> <dialogue>What's that?</dialogue> <character>MALCOLM</character> <dialogue>A statistical phenomenon. Says everything in the world goes in streaks. It's real, you see it everywhere - in weather, in river flooding, in baseball, in blackjack, in stock markets. Once things go bad, they tend to stay bad. Bad things cluster. They go to hell together.</dialogue> <character>ROLAND</character> <dialogue>Feeling a bit blue, are we?</dialogue> <scene_description>Malcolm glances at Kelly , who has taken a slightly faster pace and is a few steps ahead of them now .</scene_description> <character>MALCOLM</character> <dialogue>Just - flawed. Very deeply flawed.</dialogue> <character>ROLAND</character> <dialogue>Why did you come here?</dialogue> <character>MALCOLM</character> <dialogue>So that others would know about this place?</dialogue> <character>ROLAND</character> <dialogue>Why should they?</dialogue> <character>MALCOLM</character> <dialogue>Because it exists.</dialogue> <character>ROLAND</character> <dialogue>It'll still exit if they go on not knowing, wo n't it?</dialogue> <character>MALCOLM</character> <dialogue>Yes. And people will live in the absence of truth.</dialogue> <character>ROLAND</character> <dialogue>So the truth is more important to you than your life?</dialogue> <character>MALCOLM</character> <parenthetical>( lowers is voice . )</parenthetical> <dialogue>I do n't care about my life. But if I'd ever thought for a second that she would be in danger -</dialogue> <scene_description>Roland follows his gaze forward , to Kelly , who 's about ten yards ahead now .</scene_description> <character>ROLAND</character> <dialogue>She yours?</dialogue> <scene_description>AHEAD OF THEM , Kelly can hear their voices , faint , but clear . They are not as far away as they think they are .</scene_description> <character>MALCOLM</character> <parenthetical>( o.s . )</parenthetical> <dialogue>I'm afraid so. I do n't know what the hell I'm doing with kids. I never should have had her.</dialogue> <scene_description>Kelly 's face shows she heard that part . BEHIND HER , Malcolm , unaware , continues with Roland .</scene_description> <character>MALCOLM</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Why are you here?</dialogue> <character>ROLAND</character> <dialogue>Somewhere on this island, there exits the greatest predator that ever lived. And the second greatest predator must take him down.</dialogue> <character>MALCOLM</character> <dialogue>But why?</dialogue> <character>ROLAND</character> <dialogue>You remember that guy, about twenty years ago, I forget his name, but he climbed Everest without any oxygen, came down almost dead. And they asked him, `` why did you go up there to die?'' And he said `` I did n't. I went up there to live.''</dialogue> <character>MALCOLM</character> <parenthetical>( nods . )</parenthetical> <dialogue>It's called self - testing. But in your case, it sounds more like self - destruction. A uniquely human characteristic. In fact, human beings destroy things so well that I sometimes think that's our function. Maybe every few sons, some animal comes along that kills off the rest of the world, clears the decks, and lets evolution proceed to his next phase. Maybe death and destruction are our job, maybe we're supposed to destroy ourselves and every other living thing that -</dialogue> <scene_description>Every person on the trail within earshot has stopped and is staring at Malcolm , shaken by his words . Roland grabs Malcolm by the shirt collar and pulls him close , GROWLING in his ear .</scene_description> <character>ROLAND</character> <dialogue>Tell you what. You can see whatever you want to, to me, but you will not spew any more nihilist rants at anyone else in the group. I'm fighting panic, and you push the wrong buttons. Understand?</dialogue> <scene_description>Malcolm just blinks . This guy 's in charge .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - DAWN</stage_direction> <scene_description>As a purple dawn dissolves the night sky , the SURVIVORS stagger on , exhausted . Some are starting to tire , and there are spaces in the column . MALCOLM 's limp seems to be getting worse . NICK reaches out , to take Malcolm 's pack , but Malcolm swats his hand away . KELLY , still ahead of him , falls into step with SARAH .</scene_description> <character>KELLY</character> <dialogue>I do n't think - my dad does n't think we're going to make it.</dialogue> <scene_description>Sarah looks at her .</scene_description> <character>SARAH</character> <dialogue>Your dad is wrong. About a lot more than he knows.</dialogue> <scene_description>She puts an arm around her . Kelly looks up at her , grateful . The long march continues . UP AT THE FRONT , NICK catches up to ROLAND .</scene_description> <character>NICK</character> <dialogue>I think you should call a break.</dialogue> <character>ROLAND</character> <dialogue>Another half hour.</dialogue> <character>NICK</character> <dialogue>Some of them wo n't make another half hour. We did n't come this far to start dropping in the middle of the jungle. If you do n't call it, I will.</dialogue> <scene_description>Roland looks at him , steely , then SHOUTS to the group .</scene_description> <character>ROLAND</character> <dialogue>FIVE MINUTES BREAK!</dialogue> <scene_description>Immediately , the marchers drop where they stood , absolutely drained . AT THE REAR OF THE GROUP , DRS. BURKE and JUTTSON are bickering .</scene_description> <character>JUTTSON</character> <dialogue>I ca n't believe you're still angry about that.</dialogue> <character>BURKE</character> <dialogue>You know, it's very easy to criticize the first person who studies something.</dialogue> <character>JUTTSON</character> <dialogue>No, it's easy to criticize sloppy research and hasty conclusions.</dialogue> <scene_description>NEARBY , MALCOLM checks Nick 's bag of videotapes , making sure they 're still dry and undamaged . Sarah comes up , watching him .</scene_description> <character>SARAH</character> <dialogue>You know, even if we do get those tapes back, people are going to say it's just another hoax. Ian Malcolm's alien autopsy.</dialogue> <character>MALCOLM</character> <dialogue>Maybe. Maybe not.</dialogue> <character>SARAH</character> <dialogue>Ian, they will misplace our evidence, shoot holes in our testimony, and say some special effects genius created the animals. The only way people will ever believe that dinosaurs exist is if you dump a T - rex in the middle of times Square.</dialogue> <scene_description>He does n't look at her . She sits down beside her .</scene_description> <character>SARAH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>There's something more important that you should be thinking about instead.</dialogue> <scene_description>BEHIND THEM , Dr. Burke , furious , has stalked away from Juttson and sits down on a rock . H does a double take , noticing something behind the rock . He leans over and picks it up . It 's an oval shape about eight inches long , with a pebbled exterior . A dinosaur egg . Burke 's face lights up , fascinated , and he carefully pieces the egg in a satchel he wears over one shoulder . AT THE REAR OF THE GROUP , DIETER STARK pulls a wad of toilet paper from his pack , drops the pack on the ground , and turns to the Hunter nearest him - CARTER , his driver , who has his back turned .</scene_description> <character>DIETER</character> <dialogue>Wait here for me, would ya Carter?</dialogue> <scene_description>He steps off the path , into the jungle . But as we come around the front of Carter , we see he 's wearing a Walkman , the headphone BLARING tinnily in his ears . And he did n't hear a word .</scene_description> </scene> <scene> <stage_direction>EXT. THICK OF THE JUNGLE - DAY</stage_direction> <scene_description>Only a few feet off the path , it 's primary forest , the growth so thick that almost all sunlight is obscured . DIETER claws forward until he finds a suitable spot to relieve himself . He clears away a bunch of leaves and debris and raises his hand to his belt buckle . He freezes , hearing something we did n't . He glances around , head darting , alert to any danger . Nothing there . Just a few distant ANIMAL CALLS - - and s SCURRYING around to his left . Dieter snaps his head in that direction . At first , he sees nothing , but as he moves closer , gun extended in front of him , he sees a small dinosaur , a COMPSOGRATHUS , the same chicken - sized animal Cathy saw on the beach so long ago .</scene_description> <character>DIETER</character> <dialogue>It's not polite to -</dialogue> <scene_description>He pulls the steel rod out of a loop in his belt and touches it to the compy 's back . The blue bolt of electricity CRACKS and dances over the compy 's body and it convulses in pain .</scene_description> <character>DIETER</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>- sneak up on people.</dialogue> <scene_description>The wounded compsognathus scurries back into the jungle , whimpering . Dieter clambers through the foliage ten or twelve paces , pushes aside two large palm fronds , and steps out into - - more jungle . He stops , puzzled , not sure if he went back or forward . He looks behind him . He pauses , recalculating the path he took coming into the jungle , MUTTERING to himself , gesturing with his hands , retracing his steps . He adjusts his angle slightly to the right and heads off in that direction . But after five or six hard - fought steps , he stops again . Still nothing but jungle .</scene_description> <character>DIETER</character> <dialogue>HEY! CARTER! YELL OR SOMETHING, I GOT TURNED AROUND IN HERE!</dialogue> <scene_description>ON THE TRAIL , Dieter 's cries are faint , but audible . The only Marchers hear enough to hear him is CARTER , but the Walkman is blaring in his ears .</scene_description> <character>DIETER</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Carter. me?</dialogue> <scene_description>IN THE JUNGLE , Dieter hears that SCURRYING sound again , this time from his right . He adjusts his angle again and SCRAPES through the foliage , moving faster and faster . Panicking , he ties to run , but the roots rise high out of the ground in the jungle , and he trips on one and falls flat on his face . He looks up . The SCURRYING sound comes again , this time ten times louder than before , like a hundred feet coming at him . Dieter GASPS as something rushes in at him . He whirls to his right . Whatever it is rushes in from that side as well . And the left . And behind him . Dieter scrambles up into a sitting position - - and laughs . He is surrounded by at least forty compys now , the same as the one he wounded . For a long moment , they just stare at him . Slowly , he brings his gun around , to point it at them .</scene_description> <character>DIETER</character> <dialogue>Easy - wait - one more sec -</dialogue> <scene_description>As one , the compys SHRIEK and hurl themselves forward , covering Dieter 's body . Their teeth and claws FLASH as they each try to grab a scrap of his flesh , tearing savagely . Dieter SCREAMS and flails , waving his arms and legs wildly . Some of the tiny animals lose their grip and sail off , SMASHING into trees or the ground . But dozens of others hang on , and Dieter falls over backwards , now lying on his back on the ground . Hysterical , he fights like hell to get to his feet , SCREAMING , shaking , swatting the compys loose . He spins , and that tactic seems to work , as the compys themselves begin to panic and drop off of him . But he also loses his grip on his weapon , which goes flying , landing in the thick foliage five or six feet from him . Losing the attack , the compys turn and dart away en masse , stopping ten yards away from him . But they turn and regroup , facing him in a line , hopping up and down , CHIRPING and SHRIEKING . Dieter bounds into the foliage , looking for his gun . But the compys follow him in and he 's forced to flee , abandoning his lost weapon . Ten feet on , he stops , knowing he 's screwed without the gun . He turns to face the pursuing compys . They stop . Dieter charges them , SHOUTING , waving his arms . The compys turn and run . Dieter stops . The compys stop . They stare back at him . There is a moment of quiet , then they start to hop again , CHIRPING and SQUEALING . Dieter , tired of this game , turns and runs away . The compys follow .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - DAY</stage_direction> <scene_description>From the front of the convoy , ROLAND SHOUTS out .</scene_description> <character>ROLAND</character> <dialogue>Break's over, move on!</dialogue> <scene_description>The exhausted marchers drag themselves back to their feet and start to march again . At the rear of the group , someone taps Carter , who is still listening to his music . Carter gets up , hoists his backpack , and marches away . Behind him , Dieter 's pack is left , forgotten , on the jungle trail .</scene_description> </scene> <scene> <stage_direction>EXT. DEEP IN THE JUNGLE - DAY</stage_direction> <scene_description>DIETER stumbles along , exhausted . He reaches the edge of a stream that runs under the foliage , and his feet slip on the stones . He falls , into the rocky stream . Behind him , the army of compys pours over the little hill he just crested . They disappear for a moment , down an incline - - And then swarm over his body . In a frenzy of splashing , Dieter shrugs them off and crawls away , through the stream . He gets to his feet but falls again , this time over a log . A geyser of water splashes up in the air behind the log as Dieter drops out of sight . The compys leap over the log and disappear from view too , throwing up their own splashes of water . SCREECHING , CHIRPING , and the sound of TEARING flesh mixes with Dieter 's SCREAMS . Now , as more compys leap over the log and splash into the water below , the geysers that shoot up into our field of view are pink . And then they 're a deep , deep red .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - DAY</stage_direction> <scene_description>The group has stopped again . Near the rear , SARAH , NICK , MALCOLM , LUDLOW , and ROLAND are in a tense conversation with CARTER .</scene_description> <character>ROLAND</character> <dialogue>How long ago was this?</dialogue> <character>CARTER</character> <dialogue>Seven, eight minutes.</dialogue> <scene_description>Roland looks at them , thinking . Finally :</scene_description> <character>ROLAND</character> <dialogue>Then he's dead. Nobody tells the little girl. Last thing we need is screaming hysterics.</dialogue> <scene_description>He turns and heads back to the front of the column .</scene_description> <character>SARAH</character> <dialogue>We have to send someone to look for him!</dialogue> <character>ROLAND</character> <dialogue>You go if you like, but we're not waiting for you. MOVE IT OUT!</dialogue> <scene_description>They look at each other , appalled , but the column starts to move . Numbed , shocked , but left with no choice , they move on , one by one .</scene_description> </scene> <scene> <stage_direction>EXT. ISLAND RIDGE - DUSK</stage_direction> <scene_description>The column of MARCHERS has finally reached the island ridge , where they are silhouetted against the setting sun . They 're taking a break , sprawled out on rocks or over the ground . MALCOLM sits next to KELLY , who 's sitting on a log .</scene_description> <character>MALCOLM</character> <dialogue>You okay?</dialogue> <scene_description>She does n't look at him , just gets up and walks away , going to sit over next to SARAH . Malcolm watches , pained , but Sarah puts an arm around her and makes a `` she 's okay '' gesture to Malcolm . AT THE RIDGE , ROLAND steps up to the very edge and peers into the island interior . From his vantage point , he 's able to see all the way to the far side of the island , a rim of herd black cliff , miles away . Between here and the cliffs there is nothing but gently undulating jungle . He refers to one of the satellite recon photos .</scene_description> <character>ROLAND</character> <dialogue>Looks like the worker village is down in there, about a mile and a half northeast from the base of these cliffs.</dialogue> <scene_description>MALCOLM is next to him .</scene_description> <character>MALCOLM</character> <dialogue>There must be a game trail, some kind of path that goes down there.</dialogue> <scene_description>Roland looks around at the exhausted MARCHERS .</scene_description> <character>ROLAND</character> <dialogue>They'll have to rest before we look for it. Eat. Sleep. Two hours. Then we hit it.</dialogue> </scene> <scene> <stage_direction>EXT. CAMPSITE - NIGHT</stage_direction> <scene_description>The group has made camp in the jungle . The mood is somber , most of the MARCHERS asleep already . Three or four tents have been put up . IN ONE TENT , KELLY sits quietly in a corner , her eyes wide , knees hugged up to his chest . SARAH comes in .</scene_description> <character>SARAH</character> <dialogue>There you are. Your dad's looking for you.</dialogue> <character>KELLY</character> <dialogue>I doubt that.</dialogue> <scene_description>Sarah takes off her outer shirt and hangs it over a bar to dry the broad red smear across its front .</scene_description> <character>SARAH</character> <dialogue>Oh, come on. Go talk to him.</dialogue> <character>KELLY</character> <dialogue>Why? He likes to be alone. I can stay with you.</dialogue> <scene_description>IN THE CAMPSITE , all is still . The nocturnal jungle HOOTS and BUZZES around the sleeping marchers . In his tent , ROLAND abruptly sits up . As if he heard something . He looks out the open flap . In the middle of the campsite , he sees AJAY stop in his tracks , head cocked . Roland gets up and goes outside , joining Ajay in the middle of the camp .</scene_description> <character>ROLAND</character> <dialogue>You hear something?</dialogue> <character>AJAY</character> <dialogue>No. I feel something.</dialogue> <scene_description>Roland looks at him . This is n't so good . He looks out at the shifting jungle . He notices a thin plume of smoke rising up over the trees just barely outside the edge of camp .</scene_description> <character>ROLAND</character> <dialogue>Oh, no.</dialogue> <scene_description>IN SARAH 'S TENT , Kelly and Sarah have laid down on top of sleeping bags , trying to get a few minutes ' rest . Sarah 's shirt hangs over them , swaying in the gentle breeze coming through the open flap . As the shirt dangles there , swinging softly from side to side , we notice the broad red smear across the front . Oh , that 's right - it 's blood . The baby T - rex 's blood . AT THE RIDGE OF CAMP , the thin plume of smoke leads down to a tiny cooking fire that 's been lit by DR. BURKE . He 's set a small frying pan on top of it , and now he CRACKS the dinosaur egg he picked up earlier into the pan . Roland and Ajay run up behind him .</scene_description> <character>ROLAND</character> <parenthetical>( hisses . )</parenthetical> <dialogue>ARE YOU OUT OF YOUR MIND?!</dialogue> <scene_description>Burke leaps out of the way as Roland kicks dirt on the fire . BMBB ! Roland , Ajay , and Burke all freeze . What was that ? IN SARAH 'S TENT , Sarah and Kelly sit up . They felt it too . BMBB ! AT THE COCKING FIRE ,</scene_description> <character>ROLAND</character> <dialogue>Get my weapon.</dialogue> <scene_description>Ajay turns and trots away a few steps , then stops cold , staring down at the ground . BMBB ! A recent rain has all left puddles scattered around the camp , and impact tremors now create ripples in the puddles - concentric circles spreading to the outer edges . BMBB ! IN SARAH 'S TENT , Sarah and Kelly are frantically sealing up any opened food into Ziploc bags . BMBB ! Now they leap into Sarah 's sleeping bag , to seal themselves , and draw the zipper up , all the way around . Outside , the silhouette of the rex 's head passes by the tent . Sarah works faster , her fingers struggling to close the last few inches , but - - the rex head pokes through the flap of the tent . It sniffs , SNORTING the air in and out . It looks around the tent . It sniffs Sarah 's hanging shirt , the one that is stained with the blood of the baby tyrannosaur . The adult tyrannosaur GURGLES again , COOING and cocking its head curiously . In the sleeping bag , Sarah and Kelly 's eyes are barely visible , wide in panic . The rex sniffs and nudges the bag , trying to figure out what this thing is . It rolls the bag over once , decides it 's uninteresting , and then rises , straights up - - taking the whole tent with it ! The stakes pop out of the ground as the tent rises high up into the air and flutters away , leaving the sleeping bag fully exposed on the ground beneath it . IN THE CAMPSITE , the SECOND TYRANNOSAUR now steps out of the jungle , joining the first . Panic hits the camp as the sleeping HUNTERS wake up . Many of them start to run . Roland scrambles toward his tent , where he can see his weapon lying near the open flap . As he draws close , an enormous T - rex foot stomps down on the tent , driving the rifle deep into the mud . Roland , weaponless , stands frozen , watching as the panicked Hunters flee in all directions .</scene_description> <character>ROLAND</character> <dialogue>FOR CHRIST'S SAKE, DO N'T RUN!</dialogue> <scene_description>But they ignore him , sweeping him up in the wave of flushed prey that pours across the campsite . Some toss random and ill - aimed GUNSHOTS back at the rexes . ACROSS THE CAMPSITE , NICK bursts out of the crowd , sees Kelly and Sarah struggling to get out of the sleeping bag , and grabs each by an arm . He rips them to their feet and sweeps them off ahead of him , into the jungle . IN THE MIDDLE OF THE CROWD , MALCOLM , blinking back sleep , stands a good head above the rest of the panicking crowd . Frantically , he scans the group .</scene_description> <character>MALCOLM</character> <dialogue>KELLY? KEEEEELLLY?!</dialogue> <scene_description>But he ca n't see her . AT THE EDGE OF CAMP , the two rexes join forces , herding the fleeing Hunters into a narrow ravine . UP ON A ROCK RACE , Roland scrambles up a steep rock face . No way in hell he 's going down that ravine . He sees Malcolm , still in the middle of the camp , start to head for the ravine .</scene_description> <character>ROLAND</character> <dialogue>MALCOLM! OVER HERE!</dialogue> <scene_description>Malcolm runs over and hurls himself at the rock face , scrambling to climb up the smooth , steep boulders . Behind him , one of the rexes spots him and lunges across the camp toward him .</scene_description> <character>ROLAND</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>FASTER!</dialogue> <scene_description>Malcolm gives it everything he 's got , clawing his way up the rock face - - and rex draws closer and pounces at his legs - - and Roland reaches down , grabs Malcolm by the hair and pulls him up , out of the rex 's grasp . The rex falls short , but he 's close enough that we can hear his teeth SNAP together , closing around nothing but air . It turns , sees easier prey in the fleeing Hunters , and takes off after them . Malcolm lands on top of the rock ledge with a CRUNCH . Roland unceremoniously dumps a fistful of hair in his lap . IN THE RAVINE , Kelly , in the middle of the fleeing crowd with Sarah and Nick , hears her father screaming her name and looks up . Malcolm and Roland are on the rock ridge above them , keeping pace .</scene_description> <character>MALCOLM</character> <parenthetical>( shouting . )</parenthetical> <dialogue>KELLY, UP HERE!</dialogue> <scene_description>But Kelly continues to flee , as the rexes are in the ravine now , and drawing closer to the group . Some Hunters try to leap up and scale the rocks , but the ravine is deepening , there 's no way out . One rex grabs hold of a Hunter in its teeth and hurls him against the rock face . The second rex picks up another Hunter and snaps its massive head left and right quickly , to break its victim 's neck . The Hunter goes flying forward and crashes into - - CARTER , Dieter 's driver , who stumbles and falls . The rest of the fleeing humans run around or over him , but when the rex lifts its foot , we see Carter is actually stuck to the bottom of it - - and when the animal takes its next step it CRUSHES him into the earth . UP ON TH ROCK FACE , Malcolm is frantic .</scene_description> <character>MALCOLM</character> <dialogue>I got ta get down there!</dialogue> <scene_description>DOWN IN THE RAVINE , it 's obvious no one is going to outrun the rexes , and Nick knows it . He bursts ahead of Sarah and Kelly and spots something off to his left . It 's a waterfall , apparently right in front of a sheer rock face . But there 's something about the way the water is falling that tells him something .</scene_description> <character>NICK</character> <dialogue>SARAH KELLY COME HERE!</dialogue> <scene_description>He grabs each of them and hauls them forward , running straight at the waterfall . Apparently , he intends to jump right into the rock , and he 's dragging them along with him .</scene_description> <character>SARAH</character> <dialogue>WHAT ARE YOU -</dialogue> <character>NICK</character> <dialogue>JUMP!</dialogue> <scene_description>The three of them spring right at the waterfall and disappear THROUGH the water . DR. BURKE , fleeing along with everyone else , is watching as they vanish . BEHIND THE WATERFALL , there is a small recess , which is what Nick had hoped for . It 's small , only four or five feet deep , but it 's just enough for him , Sarah , and Kelly to cover behind the flowing water . Breathless , terrified , they can hear the mayhem outside .</scene_description> <character>NICK</character> <dialogue>Shhhh. shhhh.</dialogue> <scene_description>With an enormous SPLASH , something bursts through the cascading water and crashes into them . Dr. Burke .</scene_description> <character>BURKE</character> <dialogue>Get out of the way!</dialogue> <scene_description>He pulls his way up against the far wall , as far away from the water as he can . FOOOOM ! Now another shape bursts through the watery curtain . A Tyrannosaur head . Burke gave away the hiding spot . The four SCREAM as the rex 's jaws SNAP left and right , searching for them , falling just inches short . They squeeze as far back against the wall as they can get . The rex ca n't quite get its head all the way through the opening - - so it uses its tongue . A long , dark blue shape slithers out of its mouth and touches the humans , trying to wrap around them , to pull them out of the cave . Burke , blind with panic , forces himself even further into the cave , which pushes Kelly further out .</scene_description> <character>SARAH</character> <dialogue>STOP IT YOU'RE PUSHED HER OUT STOP IT!</dialogue> <scene_description>But Burke does n't listen , throwing elbows to make room for himself . His movements dislodge a portion of muddy earth , and a flurry of enormous cockroaches , eight or nine inches long each , pour out of the wall and swarm over his face and neck . Burke SCREAMS and instinctively leaps away , toward the flowing water . And that 's all the leverage the rex needs . It curls its tongue , wrapping Burke up in it and pulling him between its teeth . SCREAMING hideously , he is dragged out , through the waterfall , and disappears . Sarah , Nick , and Kelly stare in horror as the white screen of water turn pink . UP ON THE ROCK FACE , Malcolm and Roland see the rex walk away from the waterfall with Burke , leaving the hiding place unmolested . Malcolm is nearly hysterical .</scene_description> <character>ROLAND</character> <dialogue>She's okay! They'll stay in there, she's okay!</dialogue> <scene_description>IN A JUNGLE CLEARING , routed Hunters emerge from the gully at the edge of he jungle . Ahead of them , there is a large open plain covered by long `` elephant '' grass . AJAY , running along with them , stops abruptly at the edge of the grass , SHOUTING to the others .</scene_description> <character>AWAY</character> <dialogue>NO! DO N'T GO INTO THE LONG GRASS!</dialogue> <scene_description>Not in the frenzy , they ignore him . Behind Ajay , the enormous shadows of the two pursuing tyrannosaurs stop as well , holding up at the edge of the jungle . Ajay , torn between a sense of responsibility and his better judgement , opts for the former and races into the grass after the other Hunters , waving his arms . UP ABOVE THEM , Roland and Malcolm come out onto a rocky ledge that has a view of the plain below . Roland can see the Hunters leaving trails as they plow through the grass .</scene_description> <character>ROLAND</character> <dialogue>Elephant grass!</dialogue> <scene_description>ON THE PLAIN , the groups of Hunters wades into the middle of the long grass . One of them stops and turns , looking back at the jungle trees .</scene_description> <character>HUNTER</character> <dialogue>They gave up! They're not chasing us!</dialogue> <scene_description>There are CHEERS , SIGHS OF relief . In the distance , AJAY 'S VOICE can be heard , faintly calling to them to come back . Up on the rock in the distance , they can see Roland , waving his arms madly . But in the giddiness of their escape , they pay it no mind . They continue plowing into the high grass , anything to get further away from the tyrannosaurs . ABOUT FIFTY YARDS AWAY , the tops of three animal heads rise up slowly , backlit by the full moon . In the distance , the heads can seethe Hunter party . The heads descend , back into the grass . BACK WITH THE HUNTERS , they continue forward , oblivious . Now behind them , four more heads rise up in the grass . As then descend . On all sides of the Hunters , the grass ripples as animals move forward toward them , undetected , inexorable as torpedoes . And these torpedoes are on target . One Hunter is suddenly dragged down , yanked silently below the surface of the tall grass . In his place , a long , lizard - like tail rises up as the animal drops its head to make the kill . Behind him , two more Hunters are taken down , and two more animal tails rise up in their place . A Hunter ahead hears the RUSTLING and turns . His face turns white as , behind him - - a VELOCIRAPTOR springs out of the grass . Velociraptor runs upright on its powerfully muscled hind legs , the second tow of each foot bearing an extra - large curved claw , carried in a retracted position , with which it slashes on attack . Like now . This raptor SNARLS and SLAMS into the body of the Hunter , taking him down . A feeding frenzy ensues . The Hunters run in all directions , but are pulled down and vanish into the twitching long grass . Another raptor enters from the right , leaps high into the air , past the full moon , SLAMS into the chest of more human prey , and takes him down , into the grass . Behind them , Ajay 's face falls , defeated . He looks around , realizing he too is now stranded in the middle of the long grass . Around him , four torpedo trails head straight for him . Ajay simply closes his eyes . UP ON THE ROCK , Roland turns away from the carnage , pained .</scene_description> </scene> <scene> <stage_direction>EXT. RUINED CAMPSITE - NIGHT</stage_direction> <scene_description>SARAH , MALCOLM , KELLY , NICK , ROLAND , DR. JUTTSON , and PETER LUDLOW stand in the ruins of their campsite , their ranks decimated , spirits shattered . Roland is at the hole in the ground where his tent once was . He has pulled his .800 Nitro Express from the mud and more or less cleaned it , now he 's checking the loads . Kelly , nearly catatonic with fear , clings to Sarah , and it does n't look as if she 'll ever let go . Malcolm , who is on his knees picking through the wreckage of a tent , looks over at them , but Sarah waves him off - `` she 's okay . '' Roland appears , standing over the group . He looks at Malcolm , who has found the Lindstradt rifle , intact .</scene_description> <character>ROLAND</character> <dialogue>How many rounds did you find for that weapon?</dialogue> <character>MALCOLM</character> <dialogue>Four, counting the one in the chamber.</dialogue> <character>ROLAND</character> <dialogue>Do n't let it out of your hands again.</dialogue> <parenthetical>( to Sara , but looking at Kelly . )</parenthetical> <dialogue>Can the kid walk?</dialogue> <character>SARAH</character> <dialogue>Ask her.</dialogue> <character>ROLAND</character> <dialogue>Can the kid walk?</dialogue> <character>KELLY</character> <dialogue>I can. I can walk.</dialogue> <scene_description>While he addresses the group , Roland straps on one of the servo - lights , the shoulder - mounted flashlights that follow your gaze .</scene_description> <character>ROLAND</character> <dialogue>We're going to find a path down into the interior of the island. Load up whatever you think you need, and I mean need. If you ca n't carry it indefinitely, do n't bring it. We'll hit the worker village in a couple hours and be out of here before dawn.</dialogue> <scene_description>AT THE EDGE OF CAMP , Roland bends over one of the three - toed footprints left by the rex . Behind him , the rest of the group is packing up , slinging the remnants of their equipment over their shoulders . Roland bends over and SNIFFS the footprint . It 's filled with a liquid of some kind . He takes his canteen , dumps the remaining water into the ground , and plunges the canteen into the footprint , filling it . Ludlow hovers over his shoulder .</scene_description> <character>LUDLOW</character> <dialogue>What is that?</dialogue> <character>ROLAND</character> <dialogue>Piss.</dialogue> <scene_description>Ludlow does n't ask . NOW AT THE FIRE , Roland stares down at the ashes of the cooking fire that led to such disaster . He grabs a handful of the ash and shoves it in his pants pocket .</scene_description> </scene> <scene> <stage_direction>EXT. VALLEY OF DEATH - NIGHT</stage_direction> <scene_description>ROLAND and LUDLOW -LRB- who , along with Sarah and Malcolm , is also wearing a servo - light now -RRB- maneuver down a rugged hillside and come out in a flattened area . Ludlow GASPS , looking ahead in wonderment . MALCOLM breaks through the hillside 's foliage a moment later . He too stares in amazement . SARAH and KELLY come next , then NICK , then JUTTSON . One by one , they all stop and stare .</scene_description> <character>SARAH</character> <dialogue>God help us.</dialogue> <scene_description>They 're standing in a flat , sandy area lined with boulders at the sides . The flat area stretches fifty yards from side to side and as far as they can see ahead . But that 's not what amazes them so . Everywhere , the sand is dotted with dinosaur skeletons . Some are huge , apatosaurs , sixty feet from head to tail tip . Others are smaller , herbivores of many different kinds . The more intact skeletons lie on their sides , their ribcages arcs of pale bone . but just as many have been ripped apart , bits of carcass tossed in every direction .</scene_description> <character>NICK</character> <dialogue>I do not feel lucky.</dialogue> <character>ROLAND</character> <dialogue>Keep moving.</dialogue> <scene_description>They march on , tiny figures moving among the mountainous skeletons by the light of the full moon . Roland notices one carcass in particular , a recent kill . It 's an enormous HADROSAUR with fresh bites taken out of it . He bends down , studying the soft earth around it for footprints . FURTHER ON , Malcolm looks up , noticing the bony shapes around them , which fall in heavy shadows like cell bars , seem to be changing . He turns , and his servo - light shines on the bones . But they 're not bones any more at all , they 're pipes , the animal graveyard now given over to the lifeless skeletons of manmade objects - twisted , rotting machinery .</scene_description> <character>LUDLOW</character> <dialogue>We made it!</dialogue> <scene_description>They hurry over a small rise -</scene_description> </scene> <scene> <stage_direction>EXT. WORKER VILLAGE - NIGHT</stage_direction> <scene_description>- and find themselves at the edge of what was once Isla Sorna 's worker village . The size of a football field , the town is divided by a main street that 's dotted on both sides by stores , residences , cafes , a gas station . All the way at the far end is a large , blocky , four - story building . But the town is a mess . The hurricane that hit here must have been ferocious , for everywhere things are smashed , broken , upended . And the jungle has stepped into the breath , growing up , around , and over everything . Huge root systems snake through the street , making it almost impassable .</scene_description> <character>MALCOLM</character> <dialogue>The jungle. It's always ready to return.</dialogue> <scene_description>Roland catches up and looks at Ludlow .</scene_description> <character>ROLAND</character> <dialogue>Where's the power and radio setup?</dialogue> <character>LUDLOW</character> <dialogue>Operations building. Far end of the street.</dialogue> <scene_description>A light rain falls as they start down the street , carefully , silently , Roland and Malcolm with their weapons at the ready . They pass the skeleton of a fallen water tower . An empty gas station , its vine - snarled pumps now useless . The only sound is the low mechanical HUM of the servo - lights as they follow the group 's gazes obediently . Every few feet , the group encounters strange , grayish lumps that lies in random places in the middle of the street . Malcolm , curious , stops and taps one of them . It 's a rock - hard . Nick looks over his shoulder .</scene_description> <character>NICK</character> <dialogue>Lava?</dialogue> <character>MALCOLM</character> <dialogue>No.</dialogue> <character>NICK</character> <dialogue>What are they?</dialogue> <character>MALCOLM</character> <dialogue>I do n't know.</dialogue> <scene_description>Finally , they reach the operation building , at the far end of the town .</scene_description> <character>LUDLOW</character> <dialogue>The radio rig is inside. It runs directly from the geothermal generator, so power should n't be a problem.</dialogue> <character>ROLAND</character> <dialogue>Good.</dialogue> <scene_description>He pulls out his canteen . Ludlow watches as he screws the top off , moves toward the building , and starts splashing the contents on the outside of it . The rest of the group just stares at him .</scene_description> <character>MALCOLM</character> <dialogue>What's he got in there?</dialogue> <character>LUDLOW</character> <dialogue>Piss.</dialogue> <character>SARAH</character> <dialogue>What?</dialogue> <character>LUDLOW</character> <dialogue>Do n't ask me. The guy's completely out to lunch.</dialogue> <character>NICK</character> <dialogue>What in God's name would he want with -</dialogue> <scene_description>Roland rejoins them .</scene_description> <character>ROLAND</character> <dialogue>Tyrannosaur urine. I do n't want anything to do with it, and neither does any other animal on this island. This building is now demarcated as the rex's territory. As long as you stay in that building, you'll all be safe until the helicopter comes.</dialogue> <scene_description>He drops his pack , swings his gun off his shoulder , and checks the load . Dr. Juttson looks fearful .</scene_description> <character>JUTTSON</character> <dialogue>Where are you going?</dialogue> <character>ROLAND</character> <dialogue>After the rex. I saw a fresh kill back in the valley with tyrannosaur tracks all around it. If I'm not back in time, do n't wait for me.</dialogue> <character>SARAH</character> <dialogue>You've got to be kidding.</dialogue> <character>ROLAND</character> <dialogue>Runs against my nature to hole up in a cave and wait.</dialogue> <character>LUDLOW</character> <dialogue>Do you think the rex might have the infant with it?</dialogue> <character>ROLAND</character> <dialogue>Possible.</dialogue> <scene_description>Ludlow takes off his hat and turns to Nick .</scene_description> <character>LUDLOW</character> <dialogue>You know how to work a radio, do n't you?</dialogue> <character>SARAH</character> <dialogue>You're going too?</dialogue> <character>LUDLOW</character> <dialogue>I lost everything I came after on this trip, but one T - rex in one theme park could single - handedly bail InGen out of Chapter 11.</dialogue> <scene_description>He takes a slip of paper from the brim of his hat and hands it to Nick .</scene_description> <character>LUDLOW</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>This is the broadcast frequency. ID yourself as `` Harvest Leader.'' You know what to tell'em.</dialogue> <character>MALCOLM</character> <dialogue>You gentlemen feel you have to do this now?</dialogue> <character>ROLAND</character> <dialogue>Now's the perfect time. The animal just fed, so it wo n't stalk us for food. Predators do n't hurt when they're not hungry.</dialogue> <scene_description>Ludlow double checks the clip on his semi - automatic rifle -</scene_description> <character>NICK</character> <dialogue>No.</dialogue> <scene_description>- and SMACKS it back into the belly of the gun .</scene_description> <character>NICK</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Only humans do.</dialogue> </scene> <scene> <stage_direction>INT. COMMUNICATIONS ROOM - NIGHT</stage_direction> <scene_description>The console of a sophisticated radio set - up glows brightly , all green , red , and yellow . NICK tunes the dial to a specific frequency . The radio WHINES and HISSES tuning in .</scene_description> <character>NICK</character> <parenthetical>( into microphone . )</parenthetical> <dialogue>CQ, CQ. This is InGen Operation Harvest Leader to Harvest Base. Come in, please.</dialogue> <scene_description>The remaining SURVIVORS , minus Ludlow and Roland , shine their flashlights around the dusty , vine - hung interior of the communications room . On the wall a row of chrome letters says `` We Make The Future , '' but the words are obscured by a tangle of vines . Mushrooms and fungi sprout from the carpet . On one wall , there is a mural of what the completed Jurassic Park would have looked like . Big hotels , Ford Explorers with tourists leaning out the windows taking pictures , big crowds at the fences around the animal exhibits . But none of it came true , and now even the mural is runny and dust - covered . There is a pause , filed only with radio static . Sarah looks at Nick tensely , waiting . Finally , a VOICE comes over the radio , clean as can be .</scene_description> <character>VOICE</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Go ahead, Harvest Leader.</dialogue> <scene_description>They all breath a sign of relief .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN STREET - NIGHT</stage_direction> <scene_description>With Roland and Ludlow gone on the hunt and the rest of the group inside the operations building , main street stands deserted and silent . Nearly deserted , anyway . Moonlight shadows lengthen at one end of the street - - and FIVE VELOCIRAPTORS STROLL INTO TOWN .</scene_description> </scene> <scene> <stage_direction>EXT. VALLEY OF DEATH - NIGHT</stage_direction> <scene_description>ROLAND AND LUDLOW are back in the valley of death , standing amid the giant skeletons of long - dead animals . Roland bends down , checking the carcass of the freshly - chewed HADROSAUR he saw earlier . A set of giant three - toed rex tracks leads away from the carcass , down the stream bed . Roland follows them . Ludlow follows Roland . As they near a bend in the stream , Roland looks down , at the surface of the water . A pattern of ripples moves toward them , washing over their ankles . Roland follows the ripples with his eyes . From up head , around the bend , he can hear the sound of an animal eating and drinking . A very large animal . He reaches into his pocket and pulls out a pinch of the ashes from the cooking fire that he scooped up earlier and releases that on the wind . They float there for a second , suspended , then blow back at him .</scene_description> <character>LUDLOW</character> <dialogue>We're downwind. Good.</dialogue> <scene_description>Roland darts a contemptuous look at him . He puts a finger to his lips , gesturing for silence , then steps up , onto the shore . Ludlow follows . They creep forward , toward the sounds . They round the bend and Roland hits his belly , edging up over a small rise . Over the rise , he sees the TYRANNOSAUR , about a hundred yards ahead . It 's stooped over the stream bed , drinking . Like a bird , it dips its head in the water and then straightens up , to let the water fall down its throat . A dozen COMPYS are at the water as well , drinking . Roland gently FLICKS the safety on his gun to `` off . '' Ludlow edges toward the cover of a low - hanging branch . As he puts his weight on one knee , it presses down hard on the middle of a small stick , which CRACKS in half . Roland turns , eyes blazing . Out in the open , the tyrannosaur snaps its head sharply as well , staring in the direction of the sound . But since Roland 's own head is turned , he does n't see the dinosaur 's reaction . Roland holds a warning finger out to Ludlow . Roland turns his head back . The tyrannosaur is gone . FURTHER ON , the trail of three - toed tyrannosaur footprints stops abruptly . Roland stops too , gesturing for Ludlow to freeze behind him . Roland glances both ways , looking for any sign of the track . To the right , the ground gives way to hard black volcanic rock . A short distance behind them , the rock is solid , a massive , green , pebbled boulder ten feet high . Roland frowns and WHISPERS in Ludlow 's ear again .</scene_description> <character>ROLAND</character> <dialogue>We took to the rock.</dialogue> <character>LUDLOW</character> <dialogue>Why?</dialogue> <scene_description>In front of Roland , a palm frond sways gently in the night breeze . Roland 's eyes widen . He pulls out another pinch of campfire ash and releases it on the wind . This time , the ash blows off , straight away from him .</scene_description> <character>ROLAND</character> <dialogue>Wind shift.</dialogue> <scene_description>They freeze , terrified . Behind them , the enormous green pebbled boulder - - opens an eye . That 's no boulder , that 's the MALE TYRANNOSAUR , standing rock - solid still , its natural camouflage blending into the surrounding foliage perfectly . Very slowly and almost silently , the rex brings its head all the way around until it is staring directly down at them from about ten feet away . Roland and Ludlow stand frozen , their back to the rex , unaware of its presence . Until it exhales . The soft SNORT of its breath is n't quite audible , but it brushes the hair on the backs of their necks ever so slightly . Their hearts drop into their stomachs . Ludlow speaks , his voice a queasy HISS .</scene_description> <character>LUDLOW</character> <dialogue>It's. behind. us.</dialogue> <character>ROLAND</character> <parenthetical>( the very softest whisper . )</parenthetical> <dialogue>It's just fed. It wo n't attack unless it's threatened. Do n't move.</dialogue> <scene_description>As the rex silently cocks its head , sizing up the danger from these intruders , it breathes again . A few strands of Ludlow 's hair flap in the exhalation . He closes his eyes , near tears . He ca n't take it . His eyes dart , glancing down at the weapon he holds in his hands . Unfortunately , it 's extended in front of him , away from the rex . He risks another HISS .</scene_description> <character>LUDLOW</character> <dialogue>If I do n't move, I ca n't shoot it.</dialogue> <character>ROLAND</character> <dialogue>Let it go, Peter. The animal won.</dialogue> <scene_description>Behind them , the rex appears satisfied . It starts to swing its massive head around , back toward the jungle . It lifts one great leg and takes a step into the trees . Roland signs and closes his eyes , relieved . But Ludlow seizes the opportunity . He whips his weapon around and drops to one knee .</scene_description> <character>ROLAND</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>NO!</dialogue> <scene_description>The rex is infinitely quicker . Ludlow just has time to squeeze off a short burst of semi - automatic gunfire when the animal whirls , takes one elegant step forward , and POUNCES . Ludlow 's bullets rip harmlessly through the foliage between the rex 's legs as its big head snaps forward and comes down , jaws wide . They close around Ludlow 's body , lift his straight up into the air , and toss him once , readjusting their grip so it is firmly around his midsection . The whole combination of movements takes but half a second . By the time Roland turns around , the animal has pivoted and darted back into the jungle , carrying Ludlow , still SCREAMING and writhing in its mouth . Roland raises his gun , to draw a bead on the animal , but through the shivering trees , he can only see that the tyrannosaur is gone .</scene_description> </scene> <scene> <stage_direction>INT. COMMUNICATIONS ROOM - NIGHT</stage_direction> <scene_description>MALCOLM SARAH , NICK , KELLY , and DR. JUTTSON wait nervously in the communications room . An empty can of Dr. Pepper sitting on one of the countertops begins to RATTLE . They look over at it , confused , as the lightweight aluminum can CHATTERS on the formica counter . Other objects in the lab begin to rattle too . Glass jars CLANK against one another , books start to drop off the shelves , a stool shudders across the floor .</scene_description> <character>KELLY</character> <dialogue>What's going on?!</dialogue> <scene_description>Above them , the rotting wooden roof of the building starts to actually tear away , chunks of moldy timber flying up into the night . They look up , a deafening ROAR fills the room - - and a helicopter 's searchlight floods in ! As the chopper dips lower , looking for a place to land , the violent prop wash rips away huge chunks of the roof over their heads .</scene_description> </scene> <scene> <stage_direction>INT. HELICOPTER - NIGHT</stage_direction> <scene_description>Up above the operations building , the helicopter circles . The roof of the building is all arches and rotten timber , impossible to land open . Below , the PILOTS see the SURVIVORS through the torn roof of the building . They wave frantically , their flashlight beams piercing the night sky .</scene_description> <character>PILOT</character> <dialogue>There they are!</dialogue> <scene_description>The Co - Pilot scans the street below , but it 's choked with overturned cars and fallen trees .</scene_description> <character>CO-PILOT</character> <dialogue>No LZ in the street, too much debris!</dialogue> <character>PILOT</character> <dialogue>Check the other buildings!</dialogue> <scene_description>The Co - Pilot nods and they peel off , swooping over the rest of the village . At the far end of the street , the Co - Pilot brings the searchlight to bear on the large , flat roof of a three story building . The Pilot gives him a thumbs - up .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN STREET - NIGHT</stage_direction> <scene_description>MALCOLM , SARAH , KELLY , NICK and finally DR. JUTTSON run out the front of the operations building . At the end of the street , they can see the helicopter as it descends slowly over the building , to land on its roof .</scene_description> <character>MALCOLM</character> <dialogue>There it is!</dialogue> <scene_description>Happily , the group double - times it down the street , headed for the chopper . Again , those strange rock formations are everywhere . Some seem to be on the sides of buildings , as if they once dripped there and then turned to stone . This time Sarah pauses at one that is dripping over to the side of a car like solidified lava . Her face falls as a thought occurs to her .</scene_description> <character>SARAH</character> <dialogue>Ian. It's guano.</dialogue> <character>MALCOLM</character> <dialogue>What?</dialogue> <character>SARAH</character> <dialogue>These formations. They're dried -</dialogue> <character>MALCOLM</character> <dialogue>Birdshit?</dialogue> <scene_description>A VELOCIRAPTORS jumps onto a fallen tree trunk behind them . They do n't see it .</scene_description> <character>NICK</character> <dialogue>Who cares? Let's go!</dialogue> <scene_description>Unaware of the raptor 's presence , they resume their trot toward the helicopter . Behind them , the raptor crouches and SNARLS , but the sound is lost under the WHINE of the helicopter 's engines . It springs , covering the distance between them quickly . The animal SLAMS into JUTTSON , the last person in the group , and takes him down . Juttson is thrown forward , into the others , who fall like dominoes . Juttson SCREAMS , his voice an unnatural , high - pitched SQUEAL , as the raptor flips him over and lowers its jaws into him . Sarah looks up , panicked . Her eyes widen at the sight of a SECOND RAPTOR , this one running straight at hr at top speed . She buries her face in the dirt , covering her head with her hands - - and the raptor 's foot SLAMS into the ground between her legs as it bounds over her and dives onto Juttson , joining the first raptor in the kill . Panicked , the group scatters in all directions . Kelly jumps up and scrambles into the middle of the street , where she hits the dirt and crawls under a fallen shed in the middle of the road . Malcolm rolls over to the space where Kelly was , but she 's gone now . He looks around frantically .</scene_description> <character>MALCOLM</character> <dialogue>Kelly?! KELLY?!</dialogue> <scene_description>Sarah rolls onto her feet and sprints toward the building nearest her . Behind her , a THIRD RAPTOR gives chase , bounding after her with horrifying speed . Sarah runs flat - out , but her speed is nothing compared to the raptor 's , and it gains on her rapidly . The walls of a structure of some kind close in around Sarah , and as she leaps across a leather seat and SLAMS a door behind her , we realize she 's crawled into the back seat of an abandoned car . But the car door is thin protection against the charging raptor , which SLAMS into the window , head first . The window spinderwebs , but does not yield . The raptor crumples to the ground . Sarah looks up , through a three inch hole in the middle of the web . The raptor leaps back to its feet and plunges its nose into the tiny hole , thrashing , widening it . Sarah SCREAMS and the animal forces its entire head through the hole , SNAPPING its jaws just short of her face . She hurls herself over the seat and into the front as the animal penetrates even further into the car , but its torso will not fit through the window opening . It pulls away . In the front seat , Sarah gets some very bad news . There 's no windshield . The raptor springs up onto the hood , its claws CLATTERING on the sheet metal , and tosses its body through the opening - - just as Sarah hurls herself out the door . While the raptor struggles to right itself in the front seat , Sarah runs to the nearest building , ducks inside , and SLAMS the heavy wooden door .</scene_description> </scene> <scene> <stage_direction>EXT. GAS STATION - NIGHT</stage_direction> <scene_description>MALCOLM races between the idled gas pumps and into the gas station building , closing the door behind him . A moment later , a raptor bounds after him , SLAMMING into the door . Meeting resistance , it bounces off , notices the plate glass window next to the door , and pounces at that . The window SHATTERS and the raptor clings to the ledge , staring inside , its tail hanging out . Just as it gets inside , Malcolm opens the door and comes back out , keeping the place of wall between them . He pulls the Lindstradt rifle off his back and tries to take aim - - but the raptor whirls and springs , forcing him back inside , through the door again . Willing to play along , the raptor turns and jumps through the window again .</scene_description> </scene> <scene> <stage_direction>INT. GAS STATION - NIGHT</stage_direction> <scene_description>Balancing on the window frame , the raptor HISSES and crouches , ready to spring at Malcolm . Malcolm takes cover behind the door , which is hanging open between them . He raises the rifle . Th raptor springs into the door , BLASTING it off its hinges , knocking Malcolm right through a window behind him . But the door SMACKS up against the wall , covering the window , preventing the raptor from following Malcolm out that way . For the moment .</scene_description> </scene> <scene> <stage_direction>EXT. GAS STATION - NIGHT</stage_direction> <scene_description>Malcolm flies through the window and CRUNCHES to the ground . He GROANS in agony and rolls off his bad leg , which is twisted unnaturally beneath him , and claws in the mud for the gun . ROUGH HANDS reach down , grab him by the shirt , and haul him to his feet . It 's NICK . He drags Malcolm away , but in the commotion Nick 's duffel slips off his shoulder and lands in the street , spilling some of the precious videotapes . Malcolm scoops them up .</scene_description> <character>NICK</character> <dialogue>Come on!</dialogue> <character>MALCOLM</character> <dialogue>Where's Kelly?</dialogue> <character>NICK</character> <dialogue>She's with Sarah!</dialogue> <scene_description>They race off , down the street .</scene_description> </scene> <scene> <stage_direction>INT. KILN HOUSE - NIGHT</stage_direction> <scene_description>High above SARAH , we see she is standing alone in a three story kiln house , a windowless shed used for firing pottery and other construction projects . Catwalks lined with heavy chains hang above her , and onto the floor below , she turns in circles , wondering what to do now . From outside the kiln house , she hears SCRATCHING , digging sounds . From the other side of the door comes an animal SNORT , and a small puff of dust and dirt billows up through the crack along the ground . ON THE OTHER SIDE OF THE DOOR , the claws of one of the raptors dig furiously , trying to tunnel underneath . INSIDE , Sarah runs to the opposite wall , falls to her knees , and starts digging a tunnel of her own , clawing frantically at the ganging tools always and CLANKS as it tears at the earth below it . Sarah digs faster . So does the raptor . With about eight inches of space under the wall , Sarah grabs hold of the bottom of one of the plans and pries it up as hard as she can . It snaps off with a loud CRACK . At the door , the raptor stops digging . It 's silent for a moment . Sarah has a good foot and a half of space under her wall now . She starts to lower her body into it - - JUST AS THE RAPTOR 'S CLAWS FLASH THROUGH FROM THE OTHER SIDE ! Sarah falls back , SCREAMING , leaps to her feet , and jumps up , grabbing hold of one of the catwalks above . She starts to climb , up , anywhere up , as the RAPTOR now squirms and thrashes its way inside , coming in through her hole . Sarah climbs , hauling herself up , leaping from one catwalk to another . The raptor leaps up onto a catwalk as well and follows her .</scene_description> </scene> <scene> <stage_direction>EXT. KILM HOUSE - NIGHT</stage_direction> <scene_description>A window in the slanted roof of the kiln house EXPLODES in a shower of glass as SARAH kicks through it and climbs outside .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN STREET - NIGHT</stage_direction> <scene_description>Nick drags a badly limping MALCOLM down the main street . They can see helicopter at the far end , engine ROARING and searchlight playing over them as they draw closer . They approach a rusted , abandoned pickup in the middle of the street - - and a RAPTOR leaps on top of it . Its claws CLACK on the roof as it goes into its pre - attack crouch . They do n't stick around to negotiate . Nick hauls Malcolm off into the nearest building .</scene_description> </scene> <scene> <stage_direction>INT. WORKER HOTEL - NIGHT</stage_direction> <scene_description>NICK and MALCOLM hurry inside and SLAM the door behind them . They 're standing in the lobby of a hotel of some kind , probably used for overnight guests and day workers who had to spend the night . The room and staircase wind around a large , open - aired central area four stories tall . They SHOUT at each other , frantic .</scene_description> <character>MALCOLM</character> <dialogue>We ca n't stay in here!</dialogue> <character>NICK</character> <dialogue>We're sure as hell not going back out there''</dialogue> <character>MALCOLM</character> <dialogue>This is single - wall construction! It's just a shack!</dialogue> <character>NICK</character> <dialogue>It'll hold!</dialogue> <character>MALCOLM</character> <dialogue>For sixty seconds, maybe! Look at this!</dialogue> <parenthetical>( RAPS on the door with his knuckles . )</parenthetical> <dialogue>You could -</dialogue> <scene_description>With a CRASH , the wood SPRINTERS around the lock and the door swings open violently . Malcolm is thrown aside , landing hard on the floor . A VELOCIRAPTOR stands HISSING in the doorway . Nick throws his weight against the door . SLAMMING it hard against the raptor . Malcolm rolls over and paws the gun off his back . SLAM ! The raptor charges the door again , this time BLASTING it off its hinges , knocking Nick to the floor beneath it . The raptor turns and SNARLS at Malcolm . Malcolm swings the gun around - - the raptor lunges at him - - Malcolm 's finger closes on the trigger - - and the raptor lands on top of him . The weight of the animal CRUSHES him into the floor , but the gun barrel now stands between them . The raptor CHOMPS down hard on the barrel , its teeth GRINDING on the metal , and SNAPS its head , to tear it from Malcolm 's hands . Malcolm pulls the trigger . The raptor 's eyes pop wide as the dart SLAMS into the back of its throat . It makes a GURGLING sound , then convulses violently and rolls off of Malcolm , yanking the gun from his hands as it falls and dies . Nick scrambles out from under the door . Malcolm tries to wrench the gun from the raptor 's clenched jaws , but it wo n't budge .</scene_description> <character>NICK</character> <parenthetical>( helping him out . )</parenthetical> <dialogue>Head for the roof!</dialogue> <character>MALCOLM</character> <dialogue>I have to find Kelly!</dialogue> <character>NICK</character> <dialogue>I think she's with Sarah!</dialogue> <character>MALCOLM</character> <dialogue>DAMN IT, BE SURE!</dialogue> </scene> <scene> <stage_direction>EXT. MAIN STREET - NIGHT</stage_direction> <scene_description>KELLY remains huddled under the fallen shed , trembling with fear . She holds her breath and freezes , as just outside , only two feet from where she 's hiding - - a RAPTOR 'S FEET pick their way past her , down the middle of the street . Kelly closes her eyes and suppresses a scream .</scene_description> </scene> <scene> <stage_direction>EXT. ROOFTOP - NIGHT</stage_direction> <scene_description>NICK and MALCOLM burst onto the roof of the now - burning hotel and SLAM the door behind them . The helicopter is now only three rooftops away . They turn and head for it , Nick in the lead , but there 's an eight foot gap between the buildings .</scene_description> <character>MALCOLM</character> <dialogue>It's too wide!</dialogue> <scene_description>Nick looks around , desperate . A fallen power pole leans against the building they 're standing on , its lines gone slack .</scene_description> <character>NICK</character> <dialogue>Help me push this!</dialogue> <scene_description>Malcolm understands . He and Nick throw a shoulder into the pole and give it a mighty push , tipping it over in the other direction . One good hard shove and it falls to the far building , THUDDING against it solidly . Its power lines are not taut , a lifeline from this rooftop to the next . Nick grabs hold and starts to pull himself across the gap , hand over hand . Behind them , the door of the building SPLINTERS and CRASHES open as a raptor throws all its weight into it . Malcolm leaps onto the power line without hesitation and starts pulling himself across . But even with the door wide open , the raptor on the other side hesitates . It SNARLS and backs away , refusing to come out onto the roof . ON THE OTHER ROOFTOP , Malcolm lands next to Nick on the second rooftop . They look back at the frightened animal , which takes tow steps out onto the roof , SNARLS , and backs into the doorway again .</scene_description> <character>NICK</character> <dialogue>It's afraid to come onto the roof!</dialogue> <scene_description>Malcolm looks around , at the rooftop . Strange bits of scrap and debris seem to have been arranged there , in an odd , concentric pattern .</scene_description> <character>MALCOLM</character> <dialogue>Something's wrong.</dialogue> <character>NICK</character> <dialogue>Look! Sarah!</dialogue> <scene_description>He points to the roof of the kilm house , in the distance . Malcolm turns , and sees SARAH crawling across the tile . His face turns white .</scene_description> <character>MALCOLM</character> <dialogue>SHE'S ALONE!</dialogue> </scene> <scene> <stage_direction>EXT. KILM HOUSE ROOF - NIGHT</stage_direction> <scene_description>SARAH has problems . Still on top of the kilm house , she reaches the edge and pushes off the roof , leaping to the roof of the next building . She lands at the peak of the intersection of the two sides of sloping roof . As she pulls herself up - - a RAPTOR appears on the rooftop behind her . In full stride , it leaps , sails over her , and lands on the roof ahead of her . Sarah swings to her left and starts to crawl down the slope , away from the raptor . Suddenly the roof board under her SPRINTERS and CRACKS under her weight . The whole section pulls up and starts to slide off the roof . Sarah , clinging to it , rides the roof planks down , away from the raptor . She looks over her shoulder , down - - and sees ANOTHER RAPTOR , waiting for her on the roof of the building below . Sarah quickly rolls off the sliding section of roof , which keeps sliding , falling . The raptor below jumps up , just in time to get WHACKED in the head by the falling roof section . Sarah tries to cling to the Spanish tile roof , fingers and nails slipping on the slick ceramic surface . She slides all the way to the edge , grabs hold of the gutter , and dangles there , suspended above one raptor and trapped below another . The raptor above works its way down . The one below leaps up , at her dangling legs . She has left them in time with its jumps , to avoid losing her feet . This ca n't go on for long . Desperate , she pulls one of the Spanish tiles up from the roof and hurls it at the raptor below . It hits the animal in the head , for all the good that does . But Sarah keeps on , pulling and throwing more tiles . She edges to the right , toward a fresh supply . The raptor above edges even closer , claws CLICKING on the slick roof . Something interesting is happening . As Sarah pulls the loose tiles free , the ones above slide down , to take their place . Sarah sees this and pulls more free , knocking them out of the way as fast as she can . Suddenly an avalanche of loose tiles breaks loose and the footing underneath the raptor above disintegrates . The animal 's feet flail and grasp , it slides towards the edge amid the tumbling tiles . Sarah , seeing it coming , swings in close to the building , hugging it as closely as she can . The raptor falls off the roof , right past her - - and CRUNCHES into the raptor below . Both animals SNARK and attack one another . Now Sarah , her grip exhausted , falls too , landing right next to the enraged animals . They fight and roll , RIGHT OVER HER . She GROANS and hugs the wood below her , the raptors continue to thrash and bite , they roll back , toward her , she rolls out of their way - - and plunges through a hole in the roof .</scene_description> </scene> <scene> <stage_direction>INT. LAB - NIGHT</stage_direction> <scene_description>Sarah falls through the roof of a deserted laboratory and lands in the tray of an old - fashioned hanging fluorescent light fixture . One end of the fixture 's support SNAPS , it drops at a 45 degree angle , Sarah slides out the other end and CRASHES through a window .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Sarah lands in the mud in the street below .</scene_description> </scene> <scene> <stage_direction>EXT. BETWEEN TWO BUILDING - NIGHT</stage_direction> <scene_description>With a THUD , MALCOLM lands in the mud between two other building , one of which he has just climbed off of . Panicked , he leaps to his feet and starts to SHOUT .</scene_description> <character>MALCOLM</character> <dialogue>Kelly! KELLY!</dialogue> </scene> <scene> <stage_direction>EXT. MAIN STREET - NIGHT</stage_direction> <scene_description>SARAH sprints down the main street as fast as she can , toward the building on which sits the helicopter . Above her , she can see NICK has now reached the helicopter and is waving to her . Sarah reaches the fallen water tower , which is next to the helicopter building , and starts to climb it . ELSEWHERE IN THE STREET , KELLY is still covering underneath the fallen shed . In the distance , she can see the helicopter . But she is trembling with fear , unable to move . The whole shed suddenly RATTLES as something heavy hits it outside . Kelly 's mouth drops open to scream , but her terror is so complex that no sound comes out . She raises her hands in self - defense , whatever 's outside ROARS with effort , the entire shed is suddenly RIPPED right up off of her , and she looks up - - into her father 's eyes .</scene_description> <character>KELLY</character> <dialogue>Dad!</dialogue> <character>MALCOLM</character> <dialogue>Come on!</dialogue> <scene_description>He grabs her by the hand and they take off down the street . ON THE ROOFTOP , Sarah emerges at the top of the water tower structure and leaps onto the roof , into Nick 's arms .</scene_description> <character>NICK</character> <dialogue>Where's Kelly?</dialogue> <character>SARAH</character> <dialogue>Where's Ian?</dialogue> <scene_description>Eyes wide with panic , they both turn and look down at the street below , where they see KELLY and MALCOLM , racing at top speed down the middle of the street - - WITH A VELOCIRAPTOR CHASING THEM . DOWN IN THE STREET , Malcolm and Kelly have a twenty yard advantage on the animal . They 're pretty fast , but it 's faster . Above them , Nick and Sarah are at the edge of the roof , SHOUTING and urging them on . They push it , faster . They reach the base of the fallen water tower , the jumble of struts and metal poles that Sarah climbed .</scene_description> <character>MALCOLM</character> <dialogue>CLIMB!</dialogue> <scene_description>Kelly leaps ahead of him and grabs hold of one of the poles , pulling herself neatly up to her feet and reaching for the next one . Malcolm stretches and makes the same effort , but for him it 's much harder . Below them , the raptor springs and SLAMS into the struts , shaking the whole structure . It pulls itself up . Higher up , Kelly climbs fast , hands gliding over the poles . She breaks out into the open , where a long , narrow pole runs on a slight incline up to the roof . She scampers across it , running the balance beam . She reaches the other side , on a ledge below the roofline , and looks back . Malcolm is at the other end , hesitating , drained , breathing hard .</scene_description> <character>KELLY</character> <dialogue>DAD, COME ON!</dialogue> <scene_description>Below him , the raptor closes in . Malcolm sets out across the beam , his legs shaking . He places his feet carefully , he does n't have nearly the balance Kelly did . The raptor draws closer .</scene_description> <character>KELLY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>FASTER!</dialogue> <scene_description>Malcolm slips . One foot twists right off the bar and he spins , arms flailing , trying to regain his tenuous balance . But he overcompensates and his whole body , wrenches out from under him . He falls , the bar SMACKS him hard in the chest , knocking the wind out of him , and he drops , flipping right off the bar and bouncing painfully through the maze of bars below . He drops right past the pursuing velociraptor , CRUNCHING to a halt in a nest of bars ten feet off the ground , probably cracking a rib . Kelly SCREAMS from above him .</scene_description> <character>KELLY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>DAD!</dialogue> <scene_description>She stares down in horror at her father . Wrenched in among the bars , Malcolm is helpless as the animal crouches only six feet above him now , with an open attack route . The animal SNARKS and goes into its pre - attack crouch . Up above , Kelly wipes the palms of her hands on her jeans and leaps out into space , grabbing hold of one of the bars . The raptor springs . Kelly spins around , over the top of the bar , and , at the very peak of her trajectory , she lets go . The raptor sails through down from above , feet first , SLAMMING both of them squarely into the raptor 's side , sending it hurtling into space . She lands hard and awkwardly , CLANGING into the spidery scaffolding next to Malcolm as the raptor SMASHES to the ground below . But Kelly manages to hold on .</scene_description> <character>KELLY</character> <dialogue>GET UP!</dialogue> <scene_description>She grabs hold of Malcolm and pulls him to his feet . ON THE ROOF , Kelly and Malcolm appear over the roofline . The PILOTS SHOUTS from inside .</scene_description> <character>PILOT</character> <dialogue>LET'S GO LET'S GO LET'S GO!</dialogue> <scene_description>Malcolm and Kelly scramble toward the helicopter . But at the opposite side of the roof , a RAPTOR claws its way over the edge as well . Malcolm sees it and they lunge for the helicopter , but the animal is far faster . It 's only ten feet away , then five , they 're surely done for this time , when - - KA - BOOM ! There comes the loudest single gunshot anyone has ever heard , and the raptor flies off its feet and lands ten feet across the roof , dead . They look up , to the source of the gunshot . It 's ROLAND , standing at the edge of the roof , holding his smoking .600 Nitro Express . But there 's no time for celebration , as suddenly the helicopter 's left skid CRACKS right through the surface of the roof .</scene_description> <character>PILOT</character> <dialogue>HURRY! THE ROOF'S GIVING WAY!</dialogue> <scene_description>The skid dips even further , ripping right through the thatch - and - wood construction . Kelly , who had one foot in the helicopter , loses her balance - - as the roof caves in beneath her .</scene_description> <character>MALCOLM</character> <dialogue>KELLY!</dialogue> <scene_description>She falls , SCREAMING , through the hole and down , into the building below . ONE FLOOR DOWN , Kelly lands with a CRUNCH on the floor immediately below the roof , about nine feet down . But her landing is cushioned by an inordinate amount of straw and leaves that have been arranged there . She lifts one hand , and a yellowy , viscous substance drips off of it . It 's yolk . She looks around , noticing half a dozen large , oblong shapes . Eggs . Above her , Malcolm is scrambling , climbing down to her through the wreckage of the CREAKING , crumbling roof .</scene_description> <character>MALCOLM</character> <dialogue>Kelly! I'm coming!</dialogue> <scene_description>Kelly climbs to her knees , but behind her , a large , dark shape is moving . Rising . Unfolding , in a way . IT 'S A PTERANODON . Yep , flying dinosaur . The enormous animal raises its head , a brilliant blue crest extending two feet behind its long , saber - like beak . It SQUAWKS at Kelly in fury . She can only stare , spellbound . Malcolm reaches her and grabs hold as the angry animal unfurls its massive twenty - two foot wingspread . ON THE ROOF , the helicopter lurches as it sinks further into the crumbling roof , and now the skids are getting tangled in the debris . Roland races over to the hole , climbs in a few feet , and starts kicking at it , making it larger .</scene_description> <character>ROLAND</character> <dialogue>Give me a ladder!</dialogue> <scene_description>IN THE PTERANODON NEST , Malcolm tries to haul Kelly back up the way he came , but a SECOND PTERANODON now appears from the depths of the building , SCREECHING in fury at these invaders who have landed in the middle of their clutch of eggs . An emergency rescue ladder drops through the hole in the roof . Malcolm grabs Kelly with one arm and the ladder with the other and they start to climb out of the nest . ON THE ROOF , Malcolm and Kelly climb the ladder and are pulled into the belly of the chopper just as two enormous beaks break through the surface of the roof around them . The pteranodons are emerging .</scene_description> <character>MALCOLM</character> <dialogue>GO GO GO GO GOG GO!</dialogue> <scene_description>The helicopter lurches up a few feet , but it yanked to an abrupt stop . The engines WHINE , the chopper just hovers there .</scene_description> <character>PILOT</character> <dialogue>We're snagged on something!</dialogue> <scene_description>They loos down . BOTH PTERANODONS have come out through the hole in the roof and are clinging to the skids of the helicopter . They flap their gigantic wings in unison , and drag the helicopter off , into the air , away from the nest - - and let go . Freed , the helicopter gains altitude quickly . IN THE HELICOPTER , the PILOTS gape as the pteranodons coast along , right next to the helicopter .</scene_description> <character>PILOT</character> <dialogue>Hang on! If I tip it hard, I can cut'em with the rotors!</dialogue> <character>SARAH</character> <dialogue>NO! Do n't! They're not attacking!</dialogue> <scene_description>They look out the windows , where , indeed , the magnificent animals are merely accompanying them , flying escort as the chopper gains altitude .</scene_description> <character>SARAH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>They're protecting their nest. That's all. That's all they're doing.</dialogue> <scene_description>Kelly , completely drained , sits between Sarah and Malcolm , each of whom has a protective arm around her . She sags against her father 's chest , nothing left . He holds her tight and WHISPERS in her ear .</scene_description> <character>MALCOLM</character> <dialogue>Thank you. Kelly, thank God. Thank God for you.</dialogue> <scene_description>IN THE NIGHT SKY , over the island , the helicopter steadily gains altitude . A hundred feet . Three hundred . A thousand . As the helicopter is clearly leaving the island , the pteranodons now peel off , their job done . One of them banks sharply , right in front of the moon . The moonlight silhouettes it , shining right through its membranous wings , lighting it up like a Halloween skeleton . Below , the tiny green island melts away into the vastness of the wine - dark sea .</scene_description> </scene> <scene> <stage_direction>EXT. TYRANNOSAUR NEST - NIGHT</stage_direction> <scene_description>Elsewhere in the forest , it 's not such a happy story . PETER LUDLOW , still alive , drops through the air and CRUNCHES to the muddy ground . Dizzy , bleeding , the breath knocked out of him , he opens his eyes and sees a sloping bank of dried mud . From behind him , he hears a CHIRPING sound . He turns . He 's in the tyrannosaur nest . The BABY TYRANNOSAUR faces him , still with a strange aluminum - foil cast on its leg . The baby SQUEAKS with excitement as it toddles toward him . Ludlow scrambles to his feet , unsure what to do . Both ADULT TYRANNOSAURS stand outside the nest , staring down at him . The baby runs toward Ludlow , so he turns and runs away . But in an instant , the male brings its head down , knocking Ludlow to the ground . Then it raises its head again . Watching . Waiting . Ludlow gets up again and tries to run , but now the female rex strikes , knocking him over again . Ludlow tries to crawl away , on all fours . The male bends down and closes its jaws around one of his legs , holding it tightly . Ludlow SCREAMS - - and the rex bits down decisively . The bone breaks with a dry SNAP . Ludlow HOWLS in pain , unable to move , and the baby toddles forward eagerly . Ludlow can only stare as it leaps up , onto his chest , and opens its jaws wide . Peter Ludlow SCREAMS .</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY - DAY</stage_direction> <scene_description>Snow falls in a gray midwinter sky . In a cemetery , a group of fifty MOURNERS is grouped around a gravesite next to a coffin that is festooned with cascades of flowers . On a table , there is an array of framed photographs - - of JOHN HAMMOND . A MINISTER reads from the Bible while the Mourners wipe away tears . IAN MALCOLM stands a respectful distance from the group , KELLY right beside him . Malcolm 's face is blank , tired , his sunburn out of place with the white winter setting around him . At gravesite , a Young Woman turns , looking back over her shoulder . About sixteen , she 's lovely , with long blonde hair and an honest , open face . She notices Malcolm , recognizes him . She nudges a Young Man next to her , about thirteen years old . The Young Man turns and breaks into a smile just as welcoming . As the ceremony breaks up , they walk over to him .</scene_description> <character>MALCOLM</character> <dialogue>Hello, Lex. Tim.</dialogue> <scene_description>LEX stands on her tiptoes and kisses Malcolm on the cheek . TIM extends a hand and Malcolm shakes it .</scene_description> <character>MALCOLM</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>This is Kelly. My daughter.</dialogue> <scene_description>They nod their hellos .</scene_description> <character>LEX</character> <dialogue>I'm glad you came, Dr. Malcolm</dialogue> <character>MALCOLM</character> <dialogue>I'm sorry about your grandfather.</dialogue> <character>TIM</character> <dialogue>Thank you.</dialogue> <character>LEX</character> <dialogue>We were going to call you, in a few days. Tim and I have been thinking, and we've decided we want people to know about the island. About what we all saw.</dialogue> <character>TIM</character> <dialogue>We think it's something our grandfather would want us to do.</dialogue> <character>MALCOLM</character> <parenthetical>( pause . )</parenthetical> <dialogue>Why?</dialogue> <character>LEX</character> <dialogue>Because it's true.</dialogue> <scene_description>Malcolm looks at her for a long moment .</scene_description> <character>MALCOLM</character> <dialogue>I know, Lex. But even if we're the only ones who ever know, it'll still be true. You see, I've decided that if the world found out about what your grandfather created, it would n't be around for very long.</dialogue> <character>LEX</character> <dialogue>But - it was real. You ca n't let people go on saying it's not.</dialogue> <character>MALCOLM</character> <dialogue>That's the thing about reality.</dialogue> <scene_description>He looks down at Kelly .</scene_description> <character>MALCOLM</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Even when people stop believing in it, it does n't go away.</dialogue> <scene_description>Kelly smiles and takes his hand , her slender fingers interlocking with his .</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE - DAY</stage_direction> <scene_description>Back on Isla Sorna , we float over the deserted worker village , moving lightly , as in a dream .</scene_description> <character>MALCOLM</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Do you feel the cold wind blowing on your face? That's real.</dialogue> <scene_description>We sweep low , landing on the roof the helicopter took off from , the nest below now careful rebuilt with straw and scrap , a dozen unblemished eggs in the middle of it .</scene_description> <character>MALCOLM</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Do you see the four of us, standing here together, alive? That's real.</dialogue> <scene_description>A PTERANODON land gently on the nest . Ever so carefully , it positions itself over the eggs , lowers itself to roosting position , and folds its giant wings around its body .</scene_description> <character>MALCOLM</character> <parenthetical>( V.O . )</parenthetical> <dialogue>And maybe that's still that matters.</dialogue> <scene_description>The animal raises its head , opens its beak , and SQUAWKS approvingly up at the heavens . FADE OUT</scene_description> </scene> </script>

John Hammond invites mathematician Dr. Ian Malcolm to discuss a recent incident, four years after the chaos on Isla Nublar. Malcolm learns that InGen, now headed by Hammond's nephew Peter Ludlow, created the dinosaurs for Jurassic Park on Isla Sorna, which has recently been discovered by a wealthy family. To prevent Ludlow from exploiting the creatures in order to save InGen's future, Hammond asks Malcolm to lead a team who will document the dinosaurs in order to attract support against human interference. Malcolm reluctantly agrees when he learns that his girlfriend, paleontologist Dr. Sarah Harding, was hired and went on ahead, but states his intention to retrieve her. Malcolm travels to Isla Sorna with Eddie Carr, an equipment specialist and engineer, and Nick Van Owen, a video documentarian and activist, but is shocked to find his daughter Kelly stowed away with them on their mobile base. Shortly after finding Sarah, the group reveal that Ludlow is also on the island with a team of hunters and mercenaries, including big game hunters Roland Tembo and Ajay Sidhu; Roland's second-in-command, Dieter Stark; and paleontologist Dr. Robert Burke. Overseeing their camp at night, the group reveal that Ludlow is planning to ship the captured specimens to a theme park in San Diego. Nick and Sarah free the captured dinosaurs who soon proceed to wreak havoc across the camp. Before returning to their base, Nick retrieves an injured Tyrannosaurus rex infant that Roland hoped to use to hunt its male parent, and Nick and Sarah treat the animal with a broken leg. Despite their good intentions when the parents find the infant, the Tyrannosaurus destroy the base and devour Carr as he tries to save the others. After the dinosaurs leave, the group find themselves rescued by Ludlow's team, both of whom are forced to work together after losing all their equipment. With the parents pursuing them, both teams focus on reaching an abandoned InGen site to call for help. However, the journey proves disastrous - Dieter is separated and killed by a pack of Compsognathus; the parents catch up with the group, causing most to panic into a field of long grass, where both they and Ajay are slaughtered by Velociraptors; and Burke is devoured by the female Tyrannosaurus while trying to hide with some of the group in a waterfall cave. While Roland and Ludlow go missing, Malcolm, Sarah, Kelly and Nick manage to reach the InGen base despite being pursued by Velociraptors, and call for help. After being rescued, Nick reveals that he stole Roland's ammunition to prevent him killing his intended trophy, but witness that Roland and Ludlow survived and secured the male Tyrannosaurus with tranquilizers. As Ludlow congratulates the hunter on his success, while InGen personnel arrive on the island to secure it and its infant for transportation, Roland declines a job offer at the San Diego park, questioning the cost of Ludlow's scheme. Later, Malcolm and Sarah attempt to meet with Ludlow in San Diego to convince him to abandon his plans, only for the ship carrying the male Tyrannosaurus to suddenly crash into the docks. Unaware of the danger when the crew is found to have been killed, the male is accidentally released and goes on a rampage in the city. To end its rampage, Malcolm and Sarah secure the infant, after learning from Ludlow that it was taken to the San Diego park, and use it to lure the parent back to the docks. Ludlow pursues after them when they lead the parent to the ship, whereupon he chases after the infant when it is left in the hold, and is promptly killed by both it and its parent. Police soon secure the site, after Sarah tranquilizes the male, and Malcolm seals it and the infant in the ship's hold. In the aftermath of chaos, with both dinosaurs returned to Isla Sorna, Hammond reveals in a televised news interview that the American and Costa Rican governments have declared the island as a nature preserve, finishing the interview with same words Malcolm once said to him before - "life will find a way".

State and Main_2000

tt0120202

<script> <scene> <stage_direction>EXT. FIREHOUSE - DAY</stage_direction> <scene_description>Ann is walking down the street . The firedog runs out of the firehouse , she gives the dog a biscuit , and pats him on the head . The fireman is out front with a cup of coffee . Ann hands him a poster .</scene_description> </scene> <scene> <stage_direction>EXT. STATE AND MAIN - INTERSECTION - DAY</stage_direction> <scene_description>Morris and Spud , two codgers , are about to cross the street when they hear a beeping and stop . As they cross , we see the tail end of a van , and the group nods in that direction .</scene_description> <character>MORRIS</character> <dialogue>You hear that?</dialogue> <character>SPUD</character> <dialogue>Yes, I hear it.</dialogue> <character>MORRIS</character> <dialogue>Drive a man to drink. Took me near half an - hour, get across the street yesterday.</dialogue> <character>SPUD</character> <dialogue>I saw Budgie Gagnon, leaning on the bank of the building. Said, `` What are you doin'?'' He said, `` I'm waitin' for the ` leven o'clock crossing.''</dialogue> <scene_description>As Morris and Spud speak a car is coming down the street , and bounces in the pothole .</scene_description> <character>MORRIS</character> <dialogue>Y' wan na fix something, you should fix the pothole. Yessir, they should be trussed up, thrown off some high building.</dialogue> <scene_description>DOUG MACKENZIE , a young Republican type , walks up to join them .</scene_description> <character>DOUG</character> <dialogue>Who's that?</dialogue> <character>MORRIS</character> <dialogue>Whoever spent ten, f ` teen thousand dollars, a new traffic light, you could grow old, paint your house before it lets you cross the street, and then, not fix the pothole.</dialogue> <character>SPUD</character> <dialogue>What was wrong with the old traffic light?</dialogue> </scene> <scene> <stage_direction>INT. COFFEE CORNER - DAY</stage_direction> <scene_description>They enter the Coffee Corner . Carla is serving the folk , and Jack the owner is behind the counter .</scene_description> <character>DOUG</character> <dialogue>I'm glad you asked. I'll tell you what was wrong with it. And what was wrong with it was it was behind the times. Now : You want to bring business into this town? You have to plan for a Waterford that Does Not Exist. Not at the moment, no.</dialogue> <character>ANN</character> <dialogue>Morning, darling.</dialogue> <character>DOUG</character> <dialogue>Morning.</dialogue> <character>CARLA</character> <dialogue>Hi, Annie.</dialogue> <scene_description>Ann hands Carla a poster .</scene_description> <character>ANN</character> <dialogue>Morning, Carla.</dialogue> <scene_description>Doug and the two codgers move to a table by the window where Carla , the nubile waitress , brings them coffee . Ann talks to a woman at the counter .</scene_description> <character>MORRIS</character> <dialogue>the damn thing.</dialogue> <character>SPUD</character> <dialogue>No, I'm serious, election's coming up, a lot of people are pretty upset.</dialogue> <character>DOUG</character> <dialogue>They are, yes. I'm sure they are.</dialogue> <character>WOMAN AT COUNTER</character> <dialogue>Annie, I'm going to be a lil' late for the rehearsal, tonight.</dialogue> <character>ANN</character> <dialogue>S'Okay, Maude. You know your lines?</dialogue> <character>DOUG</character> <dialogue>I'm sure that people are upset.</dialogue> <character>MAUDE</character> <dialogue>I know'em, I do n't know what order they come in.</dialogue> <character>ANN</character> <dialogue>We'll work it out.</dialogue> <character>JACK</character> <dialogue>What're they talking about?</dialogue> <character>ANN</character> <dialogue>Traffic light.</dialogue> <character>JACK</character> <dialogue>Waal, no, th ` traffic light's Doug's thing. That's his thing, fine.</dialogue> <character>DOUG</character> <dialogue>Thank you, Jack, and.</dialogue> <character>JACK</character> <dialogue>But we got to talk about the pothole.</dialogue> <character>DOUG</character> <dialogue>Jack.</dialogue> <character>JACK</character> <dialogue>A public office is a public trust. This is why this is America. Question is : who owns the street.</dialogue> <scene_description>Outside the front booth , on the street , the airport van cruises by .</scene_description> </scene> <scene> <stage_direction>EXT. STATE AND MAIN - DAY</stage_direction> <scene_description>As they walk out we hear a high pitched beeping sound at the traffic light . We see DOC WILSON crossing the street , holding his doctor 's bag . An ELDERLY MAN approaches Doc at the crossing . As Walt and Bill walk , the airport van follows them .</scene_description> <character>TOWNSMAN</character> <dialogue>Doc, those pills, y' gave me for my back? I'm not sure that they work.</dialogue> <character>DOC WILSON</character> <dialogue>Well, I'm not sure either, but y ` do n't hear me complain. come by th ` office, end of th ` afternoon.</dialogue> <character>TOWNSMAN</character> <dialogue>Thanks, Doc.</dialogue> <character>BILL</character> <dialogue>This is your movie, this is small town America.</dialogue> <character>WALT</character> <dialogue>Town in New Hampshire was small town America, too. Forty thousand dollars a day, to shoot on the street. And then they kicked us out.</dialogue> <scene_description>They stop in front of a rack of fifty `` factory seconds . '' Black and red hunting jackets , in front of the sporting goods store . The sign reads `` FACTORY SECONDS , FIVE DOLLARS . ''</scene_description> <character>BILL</character> <dialogue>A jacket for five dollars. I can buy this town for fifty bucks.</dialogue> <character>WALT</character> <dialogue>You told me that about the last town.</dialogue> <character>BILL</character> <dialogue>Yeah, but they never made a movie here.</dialogue> <character>WALT</character> <dialogue>I'm bleeding, Bill, I'm bleeding.</dialogue> <character>BILL</character> <dialogue>why am I here?</dialogue> <character>WALT</character> <dialogue>What, what, what, what do they got that can pass for the Old Mill?</dialogue> <scene_description>Bill shows Walt a brochure from Waterford , which shows a picture of the Old Mill . Walt reads .</scene_description> <character>WALT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>`` The Waterford Mill, built in 1825, and long a tourist attraction.'' Wake up Uberto</dialogue> </scene> <scene> <stage_direction>INT. THE AIRPORT VAN - CONTINUOUS</stage_direction> <scene_description>UBERTO is asleep . Bill wakes him up .</scene_description> <character>UBERTO</character> <dialogue>Where are we?</dialogue> <character>WALT</character> <dialogue>Givvem a cigarette.</dialogue> <scene_description>Uberto comes out of the car and squints around .</scene_description> <character>UBERTO</character> <dialogue>they ship our Old Mill from New Hampshire?</dialogue> <character>BILL</character> <dialogue>They're holding our Old Mill for ransom.</dialogue> <character>UBERTO</character> <dialogue>We build it?</dialogue> <character>BILL</character> <dialogue>We do n't have to build it.</dialogue> <scene_description>He shows Uberto the brochure .</scene_description> <character>UBERTO</character> <dialogue>We build the fire hut?</dialogue> <scene_description>Walt shows Uberto the Firehouse . Uberto looks through the viewfinder .</scene_description> <character>UBERTO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We have to lose the window.</dialogue> <character>WALT</character> <dialogue>we ca n't lose the wind.</dialogue> <character>UBERTO</character> <parenthetical>( pulling out storyboards . )</parenthetical> <dialogue>Then I ca n't do this shot. you wants me to push in - I ca n't push in through the window. we go back to New Hampshire?</dialogue> <character>BILL</character> <dialogue>NO, we ca n't ever go back to New Hampshire.</dialogue> <scene_description>A pick - up truck with two calves in it stops , the driver seen from the back is a farmer smoking a pipe .</scene_description> <character>WALT</character> <dialogue>NO, we're gon na stay here. This is what my people died for. The right to make a movie in this town.</dialogue> </scene> <scene> <stage_direction>INT. TAVERN INN LOBBY - DAY</stage_direction> <scene_description>A desk clerk , SCOTT , looks up . Behind the desk a display of several souvenir plates , `` Souvenir of Waterford , VT '' , with a picture of the Old Mill on them . Walt picks one up and hands it to Bill .</scene_description> <character>SCOTT</character> <dialogue>May I help you?</dialogue> <character>WALT</character> <parenthetical>( followed Bill . )</parenthetical> <dialogue>I want to talk to the manager.</dialogue> <scene_description>Walt talks into his cell phone as he talks to Scott .</scene_description> <character>SCOTT</character> <dialogue>Would you like a room?</dialogue> <character>BILL</character> <dialogue>Na, we wan na rent the whole hotel.</dialogue> <character>WALT</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Hello, Tracy, we got ta new town. We're. where are we?</dialogue> <scene_description>BEAT . Bill looks around , sees a sign on a desk . Consults his tourist folder . As they talk they walk into deserted ballroom and play shuffleboard and archery .</scene_description> <character>BILL</character> <parenthetical>( carrying Waterford plate . )</parenthetical> <dialogue>Waterford, Vermont.</dialogue> <character>WALT</character> <dialogue>you got to get me that street for nothing.</dialogue> <character>BILL</character> <dialogue>I will.</dialogue> <character>WALT</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Waterford, Vermont. Where is it? That's where it is.</dialogue> <scene_description>Walt carries the shuffleboard stick over his shoulder .</scene_description> </scene> <scene> <stage_direction>INT. WALT'S OFFICE - NIGHT</stage_direction> <scene_description>Walt is talking on a cellphone . A male P.A. is bringing in bags of equipment . Bill is still sitting perched on a desk , typing into his computer . Uberto is sitting on a couch , smoking . We see the shuffleboard stick on the desk , and the Old Mill plate on the wall .</scene_description> <character>WALT</character> <parenthetical>( to phone . )</parenthetical> <dialogue>Because, because. we do n't have to build an Old Mill. They have an Old Mill. Yeah. It's on a stream - that's where you put a mill.</dialogue> <character>BILL</character> <dialogue>they run on water.</dialogue> <character>WALT</character> <parenthetical>( to phone . )</parenthetical> <dialogue>Now : I'm looking at the.</dialogue> <scene_description>He gestures for Bill who hands him the storyboards .</scene_description> <character>WALT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I've got scene twelve.</dialogue> <parenthetical>( to Carla . )</parenthetical> <dialogue>Should n't you be in school?</dialogue> <character>CARLA</character> <dialogue>It's night.</dialogue> <character>WALT</character> <parenthetical>( to phone as he shows the Old Mill storyboards to camera . )</parenthetical> <dialogue>Scene twelve. arrival at the mill.</dialogue> <scene_description>ANGLE Scott enters .</scene_description> <character>SCOTT</character> <dialogue>Mr. Price, Mr. Price?</dialogue> <parenthetical>( he hands Walt flowers . )</parenthetical> <dialogue /> <character>BILL</character> <dialogue>What?</dialogue> <scene_description>They go back to the flowers . Walt takes the card , reads .</scene_description> <character>WALT</character> <dialogue>`` Bring it in on time and there's more where these came from. Marty. P.S. I want to talk to you about a product tie in.''</dialogue> <character>SCOTT</character> <dialogue>I'll put the, in your r.</dialogue> <character>WALT</character> <dialogue>Somebody make a note. I want Li., for the broad. what does she like? Lilacs. Okay. A truck of lilacs when the broad comes. And get something for Bab Barrenger, get him, what does he like?</dialogue> <character>SCOTT</character> <dialogue>Bob Barrenger. Bob. Bob Barrenger's in this movie?</dialogue> <character>WALT</character> <dialogue>That's cor.</dialogue> <character>SCOTT</character> <parenthetical>( awed . )</parenthetical> <dialogue>He's staying here? Bob Barrenger is staying he?</dialogue> <character>WALT</character> <dialogue>Put something in his room. What does he like?</dialogue> <character>BILL</character> <dialogue>14 - year old girls.</dialogue> <character>WALT</character> <dialogue>Well, get him something else and let's get out of here in one piece. Get him a half of a 28 - year old girl.</dialogue> </scene> <scene> <stage_direction>INT. PROD. OFFICE - WAITING ROOM - DAY</stage_direction> <scene_description>INSERT FRONT PAGE `` Burlington Banner '' . Picture of movie star Bob Barrenger , and Banner headline : `` Waterford chosen as sight of new Bob Barrenger film . A story of small town life based on . '' Carla knocks on the door to the back room , voices from inside . Outside , on two chairs , the MAYOR , GEORGE BAILEY , a man in his fifties , and JOE WHITE , the writer , dressed in an army field jacket and jeans , waiting to be admitted . Joe is reading an old `` Welcome to Waterford '' tourist folder . The door to the room opens , and Joe stands , looks inside , squints . Takes off his reading glasses and puts on another pair .</scene_description> <character>JOE</character> <parenthetical>( to the open door . )</parenthetical> <dialogue>I, I'm sor.</dialogue> <parenthetical>( as the door closes , to a passing aide . )</parenthetical> <dialogue>. I lost my typewriter.</dialogue> <scene_description>Carla brushes past them .</scene_description> <character>CARLA</character> <dialogue>Hi, Mr. Bailey.</dialogue> <character>MAYOR</character> <dialogue>Carla, would you tell them that I'm.</dialogue> <character>WALT</character> <parenthetical>( from inside . )</parenthetical> <dialogue>What? What is it?</dialogue> <scene_description>Carla enters the back room . As she does so , she passes the First A.D. , who is on the phone .</scene_description> <character>FIRST A.D.</character> <dialogue>Could I speak to my wife, please?</dialogue> <scene_description>CAMERA takes us with Carla into the back room . Past the A.D.</scene_description> <character>SECRETARY</character> <parenthetical>( to A.D . )</parenthetical> <dialogue>You've got a call.</dialogue> </scene> <scene> <stage_direction>INT. PROD. OFFICE - WALT'S OFFICE - DAY</stage_direction> <scene_description>Inside the room , production boards being carried in , blackboards , schedules taped to the wall , sketches of Main Street , a large `` days till shoot . 4 '' sign . The Old Mill plate is on the desk . The PRODUCTION DESIGNER is bent over a worktable , he holds a compass and refers to blueprints and a scale model of the Firehouse and the Old Mill , which are on the table . Walt is holding glossy photographs , and leafs through them as the Production Designer talks . They leaf through storyboards . We see that Walt is leafing through glossy photos of horses . Walt has shuffleboard stick over his shoulder . ANGLE ON Storyboards of firehouse scene .</scene_description> <character>BILL</character> <dialogue>And Uberto tells me he ca n't take this shot, unless they let him take out the firehouse window.</dialogue> <character>COSTUME DESIGNER</character> <dialogue>Walt, I've got to talk to you about the nude scene.</dialogue> <scene_description>Carla enters .</scene_description> <character>WALT</character> <dialogue>Are n't you ever in school?</dialogue> <character>CARLA</character> <dialogue>There's other things to be learned.</dialogue> <character>WALT</character> <dialogue>Izzat so?</dialogue> <character>CARLA</character> <dialogue>The Mayor's outside.</dialogue> <character>WALT</character> <dialogue>What's his name?</dialogue> <character>CARLA</character> <dialogue>Mr. Bailey.</dialogue> <scene_description>Walt goes to the door , opens it and looks around .</scene_description> </scene> <scene> <stage_direction>EXT. WALT'S OFFICE - DAY</stage_direction> <scene_description>Joe reading the Burlington Banner . He stands up .</scene_description> <character>WALT</character> <dialogue>Mr. Bailey. Mr. Bailey?</dialogue> <scene_description>Walt and Mr. Bailey enter Walt 's office .</scene_description> <character>JOE</character> <parenthetical>( to passing secretary . )</parenthetical> <dialogue>I lost my typewriter?</dialogue> <character>A.D.</character> <parenthetical>( passing . )</parenthetical> <dialogue>Yes, could I please speak to my wife?</dialogue> <scene_description>ANGLE Interior Walt 's office .</scene_description> <character>WALT</character> <dialogue>I have to tell you, I can not express to you how happy.</dialogue> <character>MAYOR</character> <dialogue>And we're glad to have you here.</dialogue> <character>WALT</character> <dialogue>My golly, you know? All my life I grew up in the city, but every summer. would you like a cigar?</dialogue> <character>MAYOR</character> <parenthetical>( of cigars . )</parenthetical> <dialogue>Are n't these illegal?</dialogue> <character>WALT</character> <dialogue>Why would they be illegal?</dialogue> <character>BILL</character> <dialogue>there's a trade embargo against Cuba.</dialogue> <scene_description>Pause .</scene_description> <character>MAYOR</character> <dialogue>Well, you know, Walt, I just wanted to say that anything I could do.</dialogue> <character>WALT</character> <dialogue>That's very kind of. as a matter - of fact, one, I hate to bother you with.</dialogue> <character>MAYOR</character> <dialogue>not at all.</dialogue> <character>WALT</character> <dialogue>we need the shooting permit for Main Street.</dialogue> <character>MAYOR</character> <dialogue>Whatever you need. The City Council, of course, has to pass on your.</dialogue> <character>WALT</character> <dialogue>the city council.</dialogue> <character>MAYOR</character> <dialogue>On your `` permit,'' but that is less than a formality.</dialogue> <character>WALT</character> <dialogue>it is?</dialogue> <character>MAYOR</character> <dialogue>I am the City Council. We meet Friday, and I.</dialogue> <character>WALT</character> <dialogue>George, that is so kind of you.</dialogue> <character>MAYOR</character> <dialogue>And, my wife wanted to, wanted me to ask you, we'd like to welcome you, we'd, she'd like to have you to dinner at our home.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I do n't mean to be.</dialogue> <scene_description>He hands an invitation to Walt .</scene_description> <character>WALT</character> <dialogue>Are you kidding me? We would be delighted.</dialogue> <scene_description>Phone rings . Walt motions to an aide , who writes in green on a production board . `` Tuesday 12th , dinner , Mayor . ''</scene_description> <character>MAYOR</character> <dialogue>Well, I wo n't take more of your time.</dialogue> <character>BILL</character> <dialogue>Walt, it's Marty on the Coast.</dialogue> <character>MAYOR</character> <dialogue>We'll see you Tuesday, then.</dialogue> <scene_description>Walt starts for the phone .</scene_description> <character>WALT</character> <dialogue>It's one of the great, great pleasures meeting you.</dialogue> <scene_description>Mayor leaves the office .</scene_description> <character>BILL</character> <dialogue>It's Marty on the Coast.</dialogue> <character>WALT</character> <dialogue>On the coast? Of course he's on the coast, where's he gon na be, the Hague?</dialogue> <scene_description>Walt goes to the phone .</scene_description> <character>WALT</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( into phone . )</parenthetical> <dialogue>What? Marty?! Hi. We're.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>The new town is cheaper than the other town. We're going to save a for. because. because we do n't have to rebuild the Old Mill, they've got an Old Mill. they've got a firehouse. they.</dialogue> <scene_description>A production assistant comes in , installing a piece of equipment . She brushes past the drywipe board , where we see she wipes out `` Dinner with the Mayor . ''</scene_description> <character>WALT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Baby, baby, I want to save the money just as much as you do. no, no it's not coming out of my pocket. It's going into my pock. my. my and your pock. yeah? Okay. A product placement - tell me ab. he's going through a tunnel.</dialogue> <parenthetical>( to Production Assistant . )</parenthetical> <dialogue>Whoa, whoa, whoa, you wiped out the board. DINNER WITH THE MAYOR, TUESDAY NIGHT, write it in red. That's all we need, to miss Dinner with.</dialogue> <scene_description>First A.D. sticks his head into the room .</scene_description> <character>FIRST A.D.</character> <dialogue>We ca n't shoot in the Old Mill.</dialogue> <character>WALT</character> <parenthetical>( to phone . )</parenthetical> <dialogue>Wait a sec, Marty. Call us back. Two minutes.</dialogue> <scene_description>He hangs up . Pause .</scene_description> <character>FIRST A.D.</character> <dialogue>We ca n't shoot in the Old Mill.</dialogue> <character>WALT</character> <dialogue>I just saw the Mayor, he said anything we want.</dialogue> <character>FIRST A.D.</character> <dialogue>It burnt down.</dialogue> <character>BILL</character> <dialogue>When did it burn down?</dialogue> <scene_description>First A.D. takes out a book , `` The History of Waterford '' and reads .</scene_description> <character>FIRST A.D.</character> <dialogue>Nineteen - sixty. `` Part of a spate of suspicious fires, the Old Mill, the.''</dialogue> <scene_description>He hands Polaroids of the burnt Old Mill around . All look at them . ANGLE IN Debris by some water .</scene_description> <character>WALT</character> <dialogue>You told me they had on Old Mill here.</dialogue> <character>FIRST A.D.</character> <dialogue>`` Suspicions of arson, these fires, believed set by a disturbed teenager were, in fact, the inspiration for the formation of.''</dialogue> <scene_description>He puts the Polaroids down by the model of the Old Mill . BEAT Joe White , the WRITER , enters .</scene_description> <character>BILL</character> <dialogue>But, does it have to be an Old Mill?</dialogue> <character>JOE</character> <dialogue>Hi.</dialogue> <character>WALT</character> <dialogue>Does it have to be an Old Mill? Where have you been?</dialogue> <character>JOE</character> <dialogue>I was in New Hampshire. I was at the Old Location.</dialogue> <character>WALT</character> <dialogue>We ca n't shoot the Old Mill.</dialogue> <character>JOE</character> <parenthetical>( laughs . )</parenthetical> <dialogue>You know, they told me there were gon na be some jokes. Kid the New Guy.</dialogue> <character>BILL</character> <dialogue>The Mill burnt down.</dialogue> <scene_description>He shows the Polaroids - they show the debris , and Bill standing by them .</scene_description> <character>BILL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Wonderful scr.</dialogue> <character>JOE</character> <parenthetical>( pause . )</parenthetical> <dialogue>Ca n't. ca n't you build the Old Mill?</dialogue> <character>WALT</character> <dialogue>We're out of money.</dialogue> <character>JOE</character> <dialogue>You built an Old Mill in New Hampshire.</dialogue> <character>BI</character> <dialogue>They're holding it for ransom.</dialogue> <character>JOE</character> <dialogue>Uh - why did we have to leave New Hampshire?</dialogue> <scene_description>PAUSE The phone rings .</scene_description> <character>WALT</character> <dialogue>Halo? Marty?</dialogue> <parenthetical>( to Joe . )</parenthetical> <dialogue>What would they have used instead of an old mill? We need it tonight.</dialogue> <parenthetical>( to phone . )</parenthetical> <dialogue>Marty? Yeah you were saying?</dialogue> <character>JOE</character> <dialogue>I ca n't write it.</dialogue> <scene_description>PAUSE</scene_description> <character>JOE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I lost my typewriter.</dialogue> <character>WALT</character> <dialogue>Grace : get Mr. White a typewriter.</dialogue> <character>JOE</character> <dialogue>I can only write on a manual.</dialogue> <character>WALT</character> <dialogue>I know the feeling.</dialogue> <character>JOE</character> <dialogue>Well, you know, you know, that's a lie, I, I.</dialogue> <character>WALT</character> <dialogue>Grace.</dialogue> <character>JOE</character> <dialogue>That's a real fault, I.</dialogue> <character>WALT</character> <dialogue>Grace. Get Mr. White a manual typewriter.</dialogue> <parenthetical>( to Joe . )</parenthetical> <dialogue>It's not a lie, it's a gift for fiction. And somebody find me my lucky pillow.</dialogue> <scene_description>He nods at Joe , who leaves the office . Hold on Walt as he looks at horse pictures .</scene_description> <character>WALT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>How big is this horse?</dialogue> <character>BILL</character> <parenthetical>( looking at the resume . )</parenthetical> <dialogue>Fifteen hands.</dialogue> <character>WALT</character> <dialogue>What is that in fingers? Just kidding, get me this horse.</dialogue> <character>BILL</character> <dialogue>This horse is booked.</dialogue> <character>WALT</character> <dialogue>Tell the guy, get me the horse, I'll give him an associate producer credit.</dialogue> <scene_description>ANGLE ON Joe , outside Walt 's door , looking at his script and shaking his head . ANGLE HIS POV INSERT THE SCRIPT We see for the first time that the name of the script is `` The Old Mill , '' by Joseph Turner White . We hear raucous laughter from Walt , et al , in the B.G.</scene_description> </scene> <scene> <stage_direction>INT. TAVERN INN LOBBY - DAY</stage_direction> <scene_description>Joe passes the First A.D. on the telephone , sees Bill . The P.A. 's are humping mounds of luggage .</scene_description> <character>FIRST A.D.</character> <dialogue>Well, no, the labor with a first child can sometimes be prolonged, as much as.</dialogue> <character>BILL</character> <parenthetical>( to P.A . )</parenthetical> <dialogue>Find Walt's lucky pillow.</dialogue> <character>JOE</character> <dialogue>What's an associate producer credit?</dialogue> <character>BILL</character> <dialogue>It's what you give to your secretary instead of a raise.</dialogue> <scene_description>Scott in an argument with an electrician .</scene_description> <character>ELECTRICIAN</character> <dialogue>put a VHS and an air - conditioner and a refrigerator in that room, she's going to blow.</dialogue> <scene_description>A delivery man appears with an invoice and a crate . Scott checks the invoice against a list .</scene_description> <character>SCOTT</character> <dialogue>This is n't Evian Water.</dialogue> <character>DELIVERY MAN</character> <dialogue>It's water.</dialogue> <character>SCOTT</character> <dialogue>I ca n't sign for it, I'm.</dialogue> <character>ELECTRICIAN</character> <dialogue>she's going to blow.</dialogue> <character>SCOTT</character> <dialogue>Well, you re - wire.</dialogue> <character>ELECTRICIAN</character> <dialogue>I rewire it, I'm going to have to tear out half the, look, what do they need with fifty - four telephone lines?</dialogue> <character>SCOTT</character> <dialogue>Freddy, Freddy, I work for these people, you. it is to be done, you see that it's done.</dialogue> <scene_description>The GIRL P.A. arrives with a huge bouquet .</scene_description> <character>GIRL P.A.</character> <dialogue>I found lilacs!</dialogue> <character>SCOTT</character> <dialogue>Wonderful, that's.</dialogue> <scene_description>Joe the writer enters , goes up to the desk .</scene_description> <character>JOE</character> <dialogue>Did they find.</dialogue> <scene_description>The Scott 's eyes turn toward the door . Everyone 's eyes turn towards the door .</scene_description> <character>JOE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( as he writes in his notebook . )</parenthetical> <dialogue>Did they find my typewriter.</dialogue> <scene_description>ANGLE POV Bob Barrenger , the star , screamingly fit , leather jacket , jeans , carrying a gym bag . He smiles , goes up to the desk . As he goes up to the desk , teenagers , who have been waiting in the lobby , crowd to him .</scene_description> <character>SCOTT</character> <dialogue>I told you! All of you get back! Get back! This man is a guest here!</dialogue> <scene_description>The teenagers retreat .</scene_description> <character>BOB</character> <dialogue>Hello, I'm.</dialogue> <character>SCOTT</character> <dialogue>Oh, sir, I know who you are.</dialogue> <character>BOB</character> <dialogue>Bob Barrenger, I'm with the mo.</dialogue> <character>SCOTT</character> <dialogue>Sir, sir, we're so, we're.</dialogue> <parenthetical>( he hits the bell . )</parenthetical> <dialogue>Front! Front! We are so, I've seen, I know everybody says this, but I've seen every every one of your.</dialogue> <parenthetical>( to Electrician . )</parenthetical> <dialogue>Freddy, take Mr.</dialogue> <character>ELECTRICIAN</character> <dialogue>I'm working.</dialogue> <character>SCOTT</character> <dialogue>Your room is 414 through seventeen. I'm Scott Larkin. Anything you need, this is my private.</dialogue> <parenthetical>( hands him a card . )</parenthetical> <dialogue /> <character>BOB</character> <dialogue>Glad to meet you, Scottie. I'm just here to do a job, just like the rest of these.</dialogue> <scene_description>First A.D. walks through the lobby .</scene_description> <character>FIRST A.D.</character> <parenthetical>( to Joe . )</parenthetical> <dialogue>Have you got the new pages on the Old Mill? Hey, Bob.</dialogue> <character>BOB</character> <dialogue>Hey, Tommy. Heard your wife's having a baby.</dialogue> <character>FIRST A.D.</character> <dialogue>That's right.</dialogue> <character>BOB</character> <dialogue>You know who the father is?</dialogue> <character>FIRST A.D.</character> <dialogue>They think it's your first wife.</dialogue> <character>BOB</character> <dialogue>That could be.</dialogue> <scene_description>An old man , the BELLHOP , is sitting by the front door , eating his lunch out of an old galvanized tin lunch bucket . He puts it down , and gets up and takes the bags . The lobby is filled with gawkers CHUCKIE , a young boy holding a bat and ball , comes over with an autograph pad .</scene_description> <character>FIRST A.D.</character> <parenthetical>( to Scott . )</parenthetical> <dialogue>I'm going to give you a list of Mr. Barrenger's dietary requirements.</dialogue> <character>CHUCKIE</character> <dialogue>Mr. Barrenger, I.</dialogue> <character>SCOTT</character> <dialogue>Not today, not today, Chuckie. Mr. Barrenger has just.</dialogue> <scene_description>Barrenger brushes him aside .</scene_description> <character>BOB</character> <parenthetical>( to Chuckie . )</parenthetical> <dialogue>How do you spell that, son? With an I.E? Chuck? What're your hobbies?</dialogue> <character>CHUCKIE</character> <dialogue>Baseball.</dialogue> <character>BOB</character> <dialogue>Baseball! That's the national sport. Gim me that!</dialogue> <scene_description>He takes Chuckie 's ball and autographs it : `` CHUCKIE ! From your pal , Bob Barrenger . ''</scene_description> <character>BOB</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Chuckie.</dialogue> <scene_description>CAMERA PANS off Bob as he talks to Chuckie , and onto Joe , who is wandering around the lobby . The First A.D. comes up to Joe .</scene_description> <character>FIRST A.D.</character> <dialogue>How you doin' with the Old Mill pages?</dialogue> <character>JOE</character> <dialogue>I need my typewriter. Did they find my?</dialogue> </scene> <scene> <stage_direction>INT. COFFEE CORNER - DAY</stage_direction> <scene_description>ANGLE INS . PAN OFF `` Trials of the Heart '' theatrical poster . Two old codgers , Morris and Spud , and Jack sitting in the same window booth chatting . Phone rings . Carla answers it .</scene_description> <character>CARLA</character> <dialogue>Coffee Corner.</dialogue> <character>JACK</character> <dialogue>Fellow gets a calf, it's forty below, calf gets out, he hears that animal, he's going to, get up, pull on his jeans.</dialogue> <scene_description>The Mayor is taking a pack of Camels from Carla 's father . ANGLE ON Carla , at the counter , reading `` The Old Mill '' surreptitiously .</scene_description> <character>MORRIS</character> <dialogue>He's going to get that calf.</dialogue> <character>SPUD</character> <dialogue>Mmm.</dialogue> <character>CARLA</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Thank you.</dialogue> <parenthetical>( hangs up , to her father who is behind the grill . )</parenthetical> <dialogue>Vanilla Frappe. Two tuna B.L.T.'s.</dialogue> <character>JACK</character> <dialogue>What's a Tuna B.L.T?</dialogue> <character>CARLA</character> <dialogue>Oh, Dad, did n't you read in People Magazine.</dialogue> <character>ANN</character> <dialogue>Well, I for one, am glad of a little diversion and I'm glad they're here.</dialogue> <character>DOUG</character> <dialogue>What I am saying, is, we have to Look Out For Our Own. Now : they want to close down Main Street.</dialogue> <character>JACK</character> <dialogue>Y' wan na talk about Main Street, why n't cha fix the pothole?</dialogue> <character>ANN</character> <dialogue>Doug, it's, what did you? Three days, three, four days. We'll have a record of our wonderful life.</dialogue> <character>DOUG</character> <dialogue>Annie : you stick to the Amateur Theatricals. This is n't quite the same thing, you see? This is Big Business, in which, our Life.</dialogue> <parenthetical>( to Mayor . )</parenthetical> <dialogue>s ` no less a commodity than. than our.</dialogue> <character>ANN</character> <dialogue>Water or mineral deposits.</dialogue> <character>DOUG</character> <dialogue>Waal, that's what I'm saying.</dialogue> <character>JACK</character> <dialogue>Communist Country, he hears that Calf it's two a.m., four feet of snow, what does he say? `` That's the State's Calf out there.'' He rolls over. `` Wake me at Ten.''</dialogue> <scene_description>Carla , who has been waiting for the order to be prepared , takes it from her father , starts out the door .</scene_description> <character>CARLA</character> <dialogue>I think that they're nice.</dialogue> <character>ANN</character> <dialogue>I'm sure they are.</dialogue> <character>JACK</character> <dialogue>That's the difference, Communism and you know.</dialogue> <character>SPUD</character> <dialogue>Communism's over.</dialogue> <character>JACK</character> <dialogue>That's what they said about Warner Brothers, 1985, but if you look at their price - per - share.</dialogue> <character>CARLA</character> <dialogue>Dad, I've got to go to Terry's house to study tonight.</dialogue> <character>JACK</character> <dialogue>I want you home by Nine.</dialogue> <character>DOUG</character> <dialogue>I want to tell you something, Ann : you stay soft all your life, people despise you ; it awakens Avarice in them, they take advantage of you, and that's Human Nature.</dialogue> <scene_description>She gets up . She starts to exit the Coffee Corner . Jack picks up a copy of ` People ' magazine . INSERT An article of Bob Barrenger . Carla has gone over it with a highlighter . The article is called `` Bob Barrenger 's Little Problem . '' ANGLE Interior Coffee Corner .</scene_description> <character>DOUG</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We on for tomorrow night?</dialogue> <character>ANN</character> <dialogue>After Drama Group.</dialogue> <character>DOUG</character> <dialogue>Drama Group? and Thursdays. But after Play Practice, I'm yours.</dialogue> <character>DOUG</character> <dialogue>Go you Huskies.</dialogue> <scene_description>He starts to exit and turns back .</scene_description> <character>DOUG</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And I might have something important to tell you.</dialogue> <character>ANN</character> <dialogue>What is it, a surprise?</dialogue> <character>DOUG</character> <dialogue>That's right.</dialogue> <scene_description>They exit .</scene_description> <character>MORRIS</character> <dialogue>She coulda done better than him.</dialogue> <character>SPUD</character> <dialogue>It takes all kinds.</dialogue> <character>MORRIS</character> <dialogue>Zat what it takes? I always wondered what it took.</dialogue> <scene_description>We hear the TRAFFIC LIGHT beeping from the street .</scene_description> </scene> <scene> <stage_direction>EXT. BOOKSHOP - DAY</stage_direction> <scene_description>Joe , pacing in front of the window . Theatrical sign in the window . Sign in the window : `` Out ! Will return at . '' Ann comes up to the door . Starts opening it with a key .</scene_description> <character>JOE</character> <dialogue>I, excuse me, the sign says you'll be back at two. It's quarter to three.</dialogue> <scene_description>She looks up at the sign , changes the hand to read a quarter to three . She opens the door . Goes inside . He follows . Camera follows .</scene_description> </scene> <scene> <stage_direction>INT. BOOKSTORE - DAY</stage_direction> <scene_description>Old Bookstore and stationary store . Several old typewriters for sale .</scene_description> <character>JOE</character> <parenthetical>( off the sign . )</parenthetical> <dialogue>You're doing a play.</dialogue> <character>ANN</character> <dialogue>Local Drama Group.</dialogue> <parenthetical>( she answers the phone . )</parenthetical> <dialogue>Northern Books. No, it has n't come in yet. As soon as it does. Yup, you too, Marge.</dialogue> <scene_description>She hangs up .</scene_description> <character>JOE</character> <dialogue>small town. I suppose. You have to make your own fun.</dialogue> <character>ANN</character> <dialogue>Everybody makes their own fun.</dialogue> <parenthetical>( she answers another phone call . )</parenthetical> <dialogue>F'you do n't make it yourself, it ai n't fun, it's entertainment.</dialogue> <scene_description>She picks up half - knitted sweater off computer .</scene_description> <character>ANN</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( to phone while knitting . )</parenthetical> <dialogue>Northern Books.</dialogue> <parenthetical>( to Joe . )</parenthetical> <dialogue>What can I do for you?</dialogue> <character>JOE</character> <dialogue>I need a.</dialogue> <character>ANN</character> <dialogue>We got'em.</dialogue> <parenthetical>( to phone . )</parenthetical> <dialogue>North. No, Henry James was the novelist, Frank James was the criminal.</dialogue> <parenthetical>( to Joe , of the typewriter . )</parenthetical> <dialogue>Yep, you came to the right place.</dialogue> <parenthetical>( to the phone . )</parenthetical> <dialogue>Jessie James was the Brother. Of the novelist. That's right. That's alright, Susie. See you tomorrow, Susie.</dialogue> <scene_description>He has picked up a typewriter , old , manual .</scene_description> <character>JOE</character> <dialogue>I want to rent this one.</dialogue> <character>ANN</character> <dialogue>Why do n't you buy it, only forty bucks.</dialogue> <character>JOE</character> <dialogue>I have one, but they lost it.</dialogue> <character>ANN</character> <dialogue>Who?</dialogue> <character>JOE</character> <dialogue>The people in New Hampshire.</dialogue> <character>ANN</character> <parenthetical>( shrugs . )</parenthetical> <dialogue>That's why they have state borders. why n't you get a replacement?</dialogue> <character>JOE</character> <dialogue>Well, it had sentimental value.</dialogue> <character>ANN</character> <dialogue>You buy the typewriter, I'll get it all spruced up, good as new. Better than new. It has some history.</dialogue> <character>JOE</character> <dialogue>Other one has history, too. I wrote my play on it.</dialogue> <character>ANN</character> <dialogue>You wrote a play on it? What play is that?</dialogue> <character>JOE</character> <dialogue>You have n't heard of it.</dialogue> <character>ANN</character> <dialogue>What's it called?</dialogue> <character>JOE</character> <dialogue>`` Anguish.''</dialogue> <scene_description>Little kids enter to get candy . As Joe speaks , he takes off his regular glasses and puts on his reading glasses and inserts a piece of paper into the typewriter and types , `` Everyone makes their own fun - if you do n't make it yourself , it 's not fun , it 's entertainment . ''</scene_description> <character>ANN</character> <dialogue>`` Anguish'' by Joseph Turner White?</dialogue> <scene_description>He looks up .</scene_description> <character>ANN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You're Joseph Turner White?</dialogue> <scene_description>He switches glasses to look at her . A very OLD WOMAN comes in , goes back to the coffee machine .</scene_description> <character>MAUDE</character> <dialogue>Afternoon, Ann.</dialogue> <scene_description>Ann takes down a book from a shelf .</scene_description> <character>ANN</character> <dialogue>Maude, this man wrote this play!</dialogue> <character>MAUDE</character> <dialogue>That a fact. Now, is it a good play?</dialogue> <character>ANN</character> <dialogue>Yes, Maude, it is. It is a very good play.</dialogue> <character>MAUDE</character> <dialogue>Well, then, what's he doing here?</dialogue> <character>ANN</character> <dialogue>What're you doing here?</dialogue> <character>JOE</character> <dialogue>Writing the movie.</dialogue> <character>MAUDE</character> <dialogue>You're writing a movie.</dialogue> <character>JOE</character> <dialogue>Yes.</dialogue> <character>MAUDE</character> <dialogue>What's it about?</dialogue> <character>JOE</character> <dialogue>It's about the quest for purity.</dialogue> </scene> <scene> <stage_direction>INT. WALT'S ROOM - DAY</stage_direction> <scene_description>Walt , Bob Barrenger and the SCRIPT SUPERVISOR are savaging the script .</scene_description> <character>BOB</character> <dialogue>because he would n't say that : Look :.</dialogue> <parenthetical>( flips through the script , reads . )</parenthetical> <dialogue>`` Sister, I've just come from a fire. There's some things I want to think out.'' now, come one, come on. `` Leave me alone.'' a gesture? Alright?</dialogue> <scene_description>Walt opens a case and extracts his lucky pillow which is embroidered `` Shoot first . Ask questions afterward . ''</scene_description> <character>WALT</character> <dialogue>What else?</dialogue> <character>BOB</character> <dialogue>Page. three. Now : `` It's a nice evening.''</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I'm not gon na say that. `` It's a nice.''</dialogue> <scene_description>Knock on the door .</scene_description> <character>WALT</character> <dialogue>Come in.</dialogue> <scene_description>Joe enters .</scene_description> <character>WALT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hey, Joe. Good. You know B.</dialogue> <character>JOE</character> <dialogue>I grew up on your mov.</dialogue> <character>BOB</character> <dialogue>Do you mind if we do n't go through the usual bullshit about how I loved it?</dialogue> <scene_description>Knock on the door . Carla enters with another brown bag .</scene_description> <character>BOB</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I mean, okay, fine, but it's a motion Picture.</dialogue> <character>WALT</character> <dialogue>Thanks, honey, but next time, bring two, save yourself a trip.</dialogue> <character>BOB</character> <dialogue>The people came to see a motion Picture.</dialogue> <parenthetical>( to Carla , who starts to leave . )</parenthetical> <dialogue>Hold on.</dialogue> <character>WALT</character> <dialogue>He's saying, what are you saying, Bobby?</dialogue> <character>BOB</character> <dialogue>Tell it with.</dialogue> <character>WALT</character> <dialogue>Tell it with pictures.</dialogue> <character>BOB</character> <dialogue>Tell it with pictures. What I'm saying.</dialogue> <character>WALT</character> <dialogue>We've got four days to.</dialogue> <scene_description>As Bob talks , he exchanges glances with Carla .</scene_description> <character>BOB</character> <dialogue>You look at : girl comes in the room, an apron, a brown bag, what is she? She's a?</dialogue> <character>WALT</character> <dialogue>She's a.</dialogue> <character>BOB</character> <dialogue>She's a waitress.</dialogue> <character>WALT</character> <dialogue>What.</dialogue> <character>BOB</character> <dialogue>What I.</dialogue> <character>WALT</character> <dialogue>Hold on. What Bob is saying, you do n't need.</dialogue> <character>BOB</character> <dialogue>You do n't need, `` Hi, I've just come from the restaurant.''</dialogue> <character>WALT</character> <parenthetical>( to Carla . )</parenthetical> <dialogue>You can go.</dialogue> <character>BOB</character> <dialogue>Alright : Let's.</dialogue> <parenthetical>( he takes out a list , Carla exits . )</parenthetical> <dialogue>Page five, the fucking horse dies.</dialogue> <parenthetical>( of Carla . )</parenthetical> <dialogue>You know, she could be in the movie, she could, she's got a good face, she could be the Doctor's. uh, why does it have to be his, uh, wife? It could be his.</dialogue> <character>WALT</character> <dialogue>Bob, Bob, stick to the business, will you?</dialogue> <character>BOB</character> <dialogue>No, you're absolutely.</dialogue> <character>WALT</character> <dialogue>And you go start with that stuff in this town.</dialogue> <character>BOB</character> <dialogue>Everybody needs a hobby. Okay, look Page.</dialogue> <scene_description>Knock at door . CLAIRE WELLESLEY enters , the FEMALE STAR . Very sexual . Very serious . Around thirty . She looks in .</scene_description> <character>WALT</character> <parenthetical>( rising . )</parenthetical> <dialogue>Claire, when did you.</dialogue> <character>CLAIRE</character> <dialogue>I just.</dialogue> <character>WALT</character> <dialogue>Claire, Bob Bar.</dialogue> <character>BOB</character> <dialogue>I saw Desert Sun, I wan na tell you.</dialogue> <character>CLAIRE</character> <dialogue>No, I was, I was, I was just learning on, it's a.</dialogue> <character>BOB</character> <dialogue>How'd you like working with Richard Hill?</dialogue> <character>CLAIRE</character> <dialogue>I loved it, he.</dialogue> <character>BOB</character> <dialogue>Is n't he.</dialogue> <character>CLAIRE</character> <dialogue>It's.</dialogue> <character>WALT</character> <dialogue>We're just talking about the.</dialogue> <character>CLAIRE</character> <dialogue>Do n't let me dis. I'll just.</dialogue> <character>WALT</character> <dialogue>No, no. please.</dialogue> <character>BOB</character> <dialogue>I'm looking at Page Five : `` It's.''</dialogue> <character>JOE</character> <dialogue>`` It's a nice evening.''</dialogue> <character>WALT</character> <dialogue>This is Joe White.</dialogue> <character>CLAIRE</character> <dialogue>How can I thank you? How can I repay you for this part? It's a. what a, thank you for this part. The first scene at the Old Mill.</dialogue> <scene_description>Pause .</scene_description> <character>WALT</character> <dialogue>Joe's been having some thoughts about the Old Mill Scene, Claire.</dialogue> <scene_description>PAUSE</scene_description> <character>CLAIRE</character> <dialogue>What, what's there to think about?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>The scene's perfect. I, I get to say.</dialogue> <character>WALT</character> <dialogue>Yes, but, Joe, Joe's been, well, he's just been having a few, uh, `` thoughts,'' about.</dialogue> <character>CLAIRE</character> <dialogue>How many times in your life do you get a speech like that?</dialogue> <character>WALT</character> <dialogue>Yeah.</dialogue> <character>CLAIRE</character> <dialogue>This scene is why I'm doing the movie. `` Look at the mill, Frank - look at the way it goes around. half of the time the darned wheel's under water, but.''</dialogue> <character>WALT</character> <dialogue>Yes, yes, but.</dialogue> <character>CLAIRE</character> <dialogue>. but still it rises up. It rises up, Frank, high as it can go.''</dialogue> <character>WALT</character> <dialogue>Yeah. Joe? Would you, uh, tell Claire the, uh, the `` thoughts'' you've been.</dialogue> <scene_description>PAUSE</scene_description> </scene> <scene> <stage_direction>EXT. STATE AND MAIN - DAY</stage_direction> <scene_description>ANGLE ON Anne , who is putting up posters of the play . She sighs and walks forward , into Joe , who is waiting at the traffic light , his bag on the ground beside him .</scene_description> <character>ANN</character> <parenthetical>( of typewriter . )</parenthetical> <dialogue>All ready to go?</dialogue> <scene_description>He nods . Looks down at her posterior .</scene_description> <character>JOE</character> <dialogue>So young, so unlined, so full of promise.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>So innocent.</dialogue> <character>ANN</character> <dialogue>I beg your pardon?</dialogue> <scene_description>He extracts the book of his she had in her back pocket . He looks at his photo on the back cover . They start to cross the street .</scene_description> <character>JOE</character> <dialogue>I quit.</dialogue> <character>ANN</character> <dialogue>You quit.</dialogue> <character>JOE</character> <dialogue>I quit the movie.</dialogue> <character>ANN</character> <dialogue>Why did you quit?</dialogue> <character>JOE</character> <dialogue>Actually, I'm not sure if I quit. I think that I got fired. I'm such a liar. I never could tell the truth.</dialogue> <character>ANN</character> <dialogue>Do n't be so hard on yourself.</dialogue> <character>JOE</character> <dialogue>I just got kicked off my first movie.</dialogue> <character>ANN</character> <dialogue>Well. Everybody has reversals. If you were never down how would you know when you were up?</dialogue> <character>JOE</character> <dialogue>That's good. That's really good. You have a gift for words.</dialogue> <character>ANN</character> <dialogue>It's in your play.</dialogue> <scene_description>She holds up `` Anguish . ''</scene_description> <character>JOE</character> <dialogue>You like my play.</dialogue> <character>ANN</character> <dialogue>Yes.</dialogue> <character>JOE</character> <dialogue>Why?</dialogue> <character>ANN</character> <dialogue>It's about life.</dialogue> <character>JOE</character> <dialogue>Could you tell me when's the next train?</dialogue> <character>ANN</character> <dialogue>N'about ten minutes. What was your movie about?</dialogue> <scene_description>They stop by the park bench .</scene_description> <character>ANN</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( off his pause . )</parenthetical> <dialogue>No, of course, you do n't want to talk about it.</dialogue> <character>JOE</character> <parenthetical>( hands her the script . )</parenthetical> <dialogue>It's about a man who gets a second chance.</dialogue> <scene_description>The cop , CAL , passes .</scene_description> <character>CAL</character> <dialogue>Evening, Annie.</dialogue> <character>ANN</character> <dialogue>Evening, Cal.</dialogue> <parenthetical>( to Joe . )</parenthetical> <dialogue>Would you tell me about it?</dialogue> <character>JOE</character> <dialogue>I.</dialogue> <character>ANN</character> <dialogue>No, of course, you want to get out of town.</dialogue> <character>JOE</character> <dialogue>It's.</dialogue> <scene_description>He starts to walk , she puts the typewriter down on the ground . Joe hesitates . He puts the script under the typewriter . He shakes his hand .</scene_description> <character>ANN</character> <dialogue>It's okay.</dialogue> <scene_description>They walk on .</scene_description> </scene> <scene> <stage_direction>EXT. SPORTING GOODS STORE - DAY</stage_direction> <scene_description>The OWNER is closing up .</scene_description> <character>OWNER</character> <dialogue>Evening, Annie. See you at rehearsal.</dialogue> <character>ANN</character> <dialogue>You know your line?</dialogue> <character>OWNER</character> <dialogue>`` Rise, one need not bend the knee before the throne of justice.''</dialogue> <character>ANN</character> <dialogue>Go you Huskies.</dialogue> <scene_description>He walks away .</scene_description> <character>JOE</character> <parenthetical>( of the clothing on the rack . )</parenthetical> <dialogue>They leave it out all night?</dialogue> <scene_description>He tries on a jacket . One sleeve is one foot shorter than the other .</scene_description> <character>ANN</character> <dialogue>Not worth stealing. Only thing in town worth something. Stained glass window.</dialogue> <scene_description>She gestures at the Firehouse .</scene_description> <character>JOE</character> <dialogue>Ever wonder why the dalmation's the symbol of the firehouse?</dialogue> <character>ANN</character> <dialogue>First organized fire department was on the border of Dalmatia and Sardinia in the year 642.</dialogue> <character>JOE</character> <dialogue>But why the dalmation?</dialogue> <character>ANN</character> <dialogue>It was either that, or a sardine.</dialogue> <scene_description>He nods , a BEAT . He looks down at the jacket with one sleeve too short .</scene_description> <character>ANN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You get what you pay for.</dialogue> <character>JOE</character> <dialogue>That's true. You grow up here?</dialogue> <character>ANN</character> <dialogue>Central High,'n' matinees, the Bijou Theatre.</dialogue> <scene_description>They walk past the firehouse . She gives the dog biscuit to the firedog who runs out of the firehouse to her .</scene_description> <character>JOE</character> <dialogue>Nice town.</dialogue> <scene_description>BEAT . He gets a bit choked up .</scene_description> <character>ANN</character> <dialogue>You want to talk about it?</dialogue> <scene_description>Joe shakes his head . They walk off .</scene_description> </scene> <scene> <stage_direction>EXT. RAILROAD CROSSING - DAY</stage_direction> <character>JOE</character> <dialogue>that. that he prayed for a second chance. But. do you see?</dialogue> <character>ANN</character> <dialogue>Yes.</dialogue> <character>JOE</character> <dialogue>That, he says, there are no second chances. that he's been presented what he prayed for. and : he's ruined it.</dialogue> <character>ANN</character> <dialogue>Yes.</dialogue> <character>JOE</character> <dialogue>But, but but but.</dialogue> <character>ANN</character> <dialogue>No, no, I see.</dialogue> <character>JOE</character> <dialogue>That : in an act of.</dialogue> <character>ANN</character> <dialogue>Yes.</dialogue> <character>JOE</character> <dialogue>Of mercy. off.</dialogue> <character>ANN</character> <dialogue>I understand.</dialogue> <character>JOE</character> <dialogue>that. he sees that.</dialogue> <character>ANN</character> <dialogue>As the Old Mill goes around.</dialogue> <character>JOE</character> <dialogue>Of course, of course that's what I'm saying. As the Old Mill goes around, he sees.</dialogue> <character>ANN</character> <dialogue>Of course.</dialogue> <character>JOE</character> <dialogue>that it has been vouchsafed to him.</dialogue> <character>ANN</character> <dialogue>That's that's that's that's beautiful.</dialogue> <character>JOE</character> <dialogue>And you're the only one who'll ever hear that speech. Just you.</dialogue> <scene_description>BEAT . They stop and look at each other . BEAT . A railroad crossing bar comes down behind them , as we hear the DINGING and realize we are at a railroad crossing .</scene_description> <character>ANN</character> <dialogue>Well. It was a pleasure meeting you.</dialogue> <character>JOE</character> <dialogue>And likewise.</dialogue> <character>ANN</character> <dialogue>Goodbye.</dialogue> <character>JOE</character> <dialogue>Goodbye.</dialogue> <scene_description>PAUSE . We see the train pass in the b.g. . We hear the train whistling . It 's way off .</scene_description> <character>ANN</character> <parenthetical>( pause . )</parenthetical> <dialogue>Next train in ` nt for two hours.</dialogue> <scene_description>They walk on away from the station . In the b.g. we see the stationmaster . He and Ann wave . They walk past the shingle for Doc Wilson .</scene_description> <character>ANN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>So that the Old Mill, the Old Mill represents. the wheel of fate is that too.</dialogue> <character>JOE</character> <dialogue>No, no. Of course, that's exactly what it represents.</dialogue> <character>ANN</character> <dialogue>That whole.</dialogue> <scene_description>They walk on together and find themselves on a residential street .</scene_description> </scene> <scene> <stage_direction>EXT. ANN'S HOUSE - DUSK</stage_direction> <scene_description>They are walking . They stop in front of an old picket fence with a porch swing .</scene_description> <character>JOE</character> <dialogue>The, the, the, the sanctity of everyday things.</dialogue> <character>ANN</character> <dialogue>Everyday things. yes.</dialogue> <character>JOE</character> <dialogue>For example, he's just come back from a fire and he. um.</dialogue> <parenthetical>( he shakes his head . )</parenthetical> <dialogue>That's a fine house. You look at that, and you know, there's nice people that live there.</dialogue> <character>ANN</character> <dialogue>I live there.</dialogue> <character>JOE</character> <dialogue>Really. With the porch swing and everything.</dialogue> <character>ANN</character> <dialogue>Surest thing you know.</dialogue> <scene_description>PAUSE</scene_description> <character>JOE</character> <dialogue>I do n't mean to impose, but. do you think we might.</dialogue> <character>ANN</character> <dialogue>That's what the swing is there fore.</dialogue> <scene_description>They walk onto the porch and sit on the swing .</scene_description> <character>JOE</character> <parenthetical>( to himself . )</parenthetical> <dialogue>. that's what the swing is there fore. that its purpose, is n't it.</dialogue> <character>ANN</character> <dialogue>I always thought so.</dialogue> <scene_description>They swing back and forth . The swing creaks .</scene_description> <character>JOE</character> <dialogue>such a pleasant sound.</dialogue> <character>ANN</character> <dialogue>Mmm.</dialogue> <character>JOE</character> <dialogue>Cause, cause, it's. it's the simple things that.</dialogue> <character>ANN</character> <dialogue>Yes.</dialogue> <character>JOE</character> <dialogue>that.</dialogue> <scene_description>Doug walks up .</scene_description> <character>DOUG</character> <dialogue>Waal, there you are, and Have I Got Some News for you.</dialogue> <character>ANN</character> <dialogue>Doug, this is Joe White, and this is, this, this is my fiance, Doug Mac.</dialogue> <character>JOE</character> <dialogue>Sa pleasure.</dialogue> <character>DOUG</character> <dialogue>Guess who is THIS CLOSE to a nomination to State Senate. which is this close to one stop from Congress!</dialogue> <character>ANN</character> <dialogue>who?</dialogue> <character>JOE</character> <dialogue>Well, I guess I'll. get down to the station. It was lovely meeting.</dialogue> <character>ANN</character> <dialogue>Mister White is.</dialogue> <scene_description>Doug , as he takes Ann toward the door .</scene_description> <character>DOUG</character> <dialogue>Nice meeting you. they were, let me tell you, they were a bit coy at first, I told them : Look : the people are tired, they're going to vote their pocketbook, yes, but.</dialogue> <scene_description>Joe walks off and exchanges glances with Ann , who lingers behind . She pushes the porch swing and exits . As it swings , Joe watches .</scene_description> </scene> <scene> <stage_direction>INT. TRAIN STATION - NIGHT</stage_direction> <scene_description>Joe enters with his bag . He stands looking at the long poster reading : `` Waterford , Home of the Huskies - Division Champions - 1971 , 1972 , 1974 , 1975 , 1976 . '' BEAT . Joe is looking at the banner when the old stationmaster enters .</scene_description> <character>JOE</character> <dialogue>What happened in 1973?</dialogue> <scene_description>BEAT . The stationmaster looks around , and leans in to Joe , confidentially . The DOOR opens . It is Walt . The stationmaster retreats . Walt comes forward .</scene_description> <character>WALT</character> <dialogue>Do n't run off. Do n't run off, we need you. You know why? You're why we're here. Your script is why we're here.</dialogue> <parenthetical>( of bag . )</parenthetical> <dialogue>Gim me that. Big deal. We fight a little bit? You show me a family that does n't. But we got something special. What is it? We're here to make a movie. Ca n't use the Old Mill. Well, that happens. What you got to do, you find the essence - what was it, that brought us here. It was n't a building, Joe, it was an idea. It was an essence - what is the essence of your story? Joe?</dialogue> <scene_description>PAUSE</scene_description> <character>JOE</character> <dialogue>It's about a man who gets a second chance.</dialogue> <character>WALT</character> <dialogue>Then, you write that. And then this is our second chance. That's why we're here.</dialogue> <scene_description>PAUSE</scene_description> <character>JOE</character> <dialogue>I want to make a good film.</dialogue> <character>WALT</character> <dialogue>I know you do.</dialogue> <character>JOE</character> <dialogue>And maybe it will be a better movie without the old mill, I.</dialogue> <character>WALT</character> <dialogue>Hey, it's with the G - ds. We do n't have the money, we have to write it out. The best or not.</dialogue> <parenthetical>( shrugs . )</parenthetical> <dialogue>And that's a lesson. You get your typewriter yet?</dialogue> <character>JOE</character> <dialogue>Um, no.</dialogue> <scene_description>Walt picks up a cell phone , dials . Lights of train go by outside . Stationmaster enters and calls the train .</scene_description> <character>WALT</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Grace, get on the other phone. Call that girl : well, call her, and have whatsername send up some nosh. what do you like to drink?</dialogue> <character>JOE</character> <dialogue>I do n't drink.</dialogue> <character>WALT</character> <dialogue>Did my matzohs come? Get some for everybody.</dialogue> <parenthetical>( into phone . )</parenthetical> <dialogue>Thank you.</dialogue> <parenthetical>( hangs up . )</parenthetical> <dialogue>Lem me tell you about my first movie.</dialogue> </scene> <scene> <stage_direction>EXT. BOOKSTORE - DAY</stage_direction> <scene_description>The production assistant is stapling a casting notice for `` The Old Mill '' half over the notice of the amateur theatricals poster . Doug shows up , looks in the window . Looks at poster , takes it down , looks around . ANGLE ON The park bench . Ann , her feet up on the old typewriter , is sitting , reading the script . Doug comes up .</scene_description> <character>DOUG</character> <dialogue>What, what what are you doing here?</dialogue> <character>ANN</character> <dialogue>Yes, that's right.</dialogue> <character>DOUG</character> <dialogue>Look at this. Do you know what they're offering? Look at this. They treat us like we're their backyard. Do you know what they're offering for three days to close down Main Street?</dialogue> <character>ANN</character> <dialogue>What are they offering?</dialogue> <character>DOUG</character> <dialogue>Ten thousand dollars.</dialogue> <character>ANN</character> <dialogue>That's so beautiful.</dialogue> <character>DOUG</character> <dialogue>I beg your pardon?</dialogue> <scene_description>Ann gestures at the script .</scene_description> <character>ANN</character> <dialogue>`` The mill grinds the grain, but the grain is not destroyed. Although it is altered.''</dialogue> <character>DOUG</character> <dialogue>Sure, but. ten thousand dollars. Do you know what they. this movie is budgeted at fifty million dol. they're coming up here, offer us a meal.</dialogue> </scene> <scene> <stage_direction>INT. MAYOR'S HOME - DAY</stage_direction> <scene_description>The Mayor 's Wife comes into the room . Her hands are full of lists , giving instructions to a handyman .</scene_description> <character>SHERRY</character> <parenthetical>( MAYOR 'S WIFE . )</parenthetical> <dialogue>The chairs go, the Lazyboy goes.</dialogue> <character>MAYOR</character> <dialogue>not the Lazyboy.</dialogue> <scene_description>Cal , the policeman , enters , carrying an old spinning wheel .</scene_description> <character>CAL</character> <dialogue>Hi, Sherry.</dialogue> <character>SHERRY</character> <dialogue>put it in the living room. And we have thirteen at the table.</dialogue> <character>MAYOR</character> <dialogue>we do n't have thirteen at table.</dialogue> <character>SHERRY</character> <dialogue>Bob Barrenger, Claire Wellesley, the director.</dialogue> <character>MAYOR</character> <dialogue>Waal, then, invite someone else, then.</dialogue> <character>SHERRY</character> <dialogue>I do n't want to invite someone else because this is the most exclusive.</dialogue> <character>MAYOR</character> <dialogue>Waal, then, you know, you do whatever would make you happy. Sher. This is your party, and whatever.</dialogue> <scene_description>Doug enters . Cal exits carrying a pinball machine .</scene_description> <character>CAL</character> <dialogue>Hi Doug.</dialogue> <character>DOUG</character> <dialogue>Cal. I want a city council meeting.</dialogue> <character>MAYOR</character> <dialogue>little woman has gone crazy about our dinner party. City Council? What's the trouble?</dialogue> <character>DOUG</character> <dialogue>Main Street.</dialogue> <character>MAYOR</character> <parenthetical>( sighs . )</parenthetical> <dialogue>Doug, the traffic light.</dialogue> <character>DOUG</character> <dialogue>Fuck the traffic light. I'm talking about three percent of the adjusted gross of a Major Motion Picture.</dialogue> </scene> <scene> <stage_direction>EXT. PARK - DAY</stage_direction> <scene_description>Joe walks up . Ann is standing there .</scene_description> <character>JOE</character> <dialogue>Hi.</dialogue> <character>ANN</character> <parenthetical>( simultaneously . )</parenthetical> <dialogue>What are you doing?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>I love your script.</dialogue> <character>JOE</character> <parenthetical>( simultaneously . )</parenthetical> <dialogue>They decided, I decided to, to. you love what?</dialogue> <character>ANN</character> <dialogue>You're still here.</dialogue> <character>JOE</character> <dialogue>I. I decided to give it another ch.</dialogue> <character>ANN</character> <dialogue>I love your script.</dialogue> <scene_description>PAUSE</scene_description> <character>JOE</character> <dialogue>What?</dialogue> <character>POSTMAN</character> <parenthetical>( as he delivers mail to Ann . )</parenthetical> <dialogue>Mornin', Annie.</dialogue> <character>ANN</character> <dialogue>See you at rehearsal tonight?</dialogue> <character>POSTMAN</character> <dialogue>`` In the name of justice, sir, I bid you pause ; for she is our Queen.''</dialogue> <scene_description>Postman exits .</scene_description> <character>JOE</character> <dialogue>In fact, in fact, in fact, I'm not sure if I'm giving them a second chance, or they're giving it to me. That's the truth. The truth's best, do n't you think?</dialogue> <character>ANN</character> <dialogue>You'd know better'n me.</dialogue> <character>JOE</character> <dialogue>How can you say that?</dialogue> <character>ANN</character> <dialogue>It's in your script. it's about getting a second chance. Innit? `` You can go back.''</dialogue> <character>JOE</character> <dialogue>I can?</dialogue> <character>ANN</character> <dialogue>You bet your life.</dialogue> <parenthetical>( refers to script . )</parenthetical> <dialogue>`` The mill wheel goes around. some times it's even under water - then it rises up, as high as it can go.''</dialogue> <character>JOE</character> <dialogue>But how do I. how do I do a film called `` The Old Mill'' when I do n't have an old mill?</dialogue> <character>ANN</character> <dialogue>Well, first, you got to change the title.</dialogue> </scene> <scene> <stage_direction>INT. PROD. OFFICE - DAY</stage_direction> <scene_description>Sign reads THREE DAYS till shoot . Walt is on the phone . Covers the phone . Crossed sticks on the wall , Walt plays with a shuffleboard discus . Girl P.A. brings cup of coffee to Walt . Her T - shirt reads : `` DOES IT HAVE TO BE AN OLD MILL ? ''</scene_description> <character>WALT</character> <parenthetical>( to A.D . )</parenthetical> <dialogue>No, he does n't want to work out with Waterford Huskies. Because he's Bob Barrenger. Call up his girl in Aspen, have'em ship his weight. Yeah, well, fine, he's not gon na do the Pond scene unless he can work out. Call up his girl in Aspen, and have her ship the weights out.</dialogue> <scene_description>Walt hangs up the phone . Secretary enters with folders that she hands to Walt .</scene_description> <character>WALT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Who designed these costumes? Who designed these costumes? It looks like Edith Head puked and that puke designed these costumes. Get Madge.</dialogue> <character>SECRETARY</character> <parenthetical>( to A.D . )</parenthetical> <dialogue>Your wife is on the phone.</dialogue> <character>WALT</character> <dialogue>I have no wife.</dialogue> <scene_description>A P.A. comes in with a big bakery box . They open it to show it is a huge loaf of bread , and on it is written , in bread , `` Waterford Welcomes The Old Mill . ''</scene_description> <character>WALT</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( calling out . )</parenthetical> <dialogue>We need a new name for the movie. Where's the writer?</dialogue> <character>UBERTO</character> <parenthetical>( entering with storyboards . )</parenthetical> <dialogue>Wally, I got to takes out the window from the dog. I ca n't shoot through.</dialogue> <scene_description>CAMERA MOVES on past the production board , where we see `` Dinner With Mayor '' in red . And the costume designer comes up .</scene_description> <character>COSTUME DESIGNER</character> <dialogue>Claire's got a problem.</dialogue> <character>UBERTO</character> <dialogue>Wally, if I hafes a moment of your time, look at these storyboards. THIS SHOOT, I ca n't shoot this shot, you want.</dialogue> <character>WALT</character> <dialogue>Why?</dialogue> <character>UBERTO</character> <dialogue>Because they gots a window with a dogs in it. You want me to `` push in.'' Or can I lose the shot.</dialogue> <character>WALT</character> <dialogue>No you ca n't lose the shot. The meaning of the film is in that shot.</dialogue> <character>UBERTO</character> <dialogue>But, Wally, the window of the firehut.</dialogue> <character>WALT</character> <dialogue>I do n't care. Fix it.</dialogue> <scene_description>He goes into comfab with the costume designer .</scene_description> <character>WALT</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( of sketches . )</parenthetical> <dialogue>You show Claire these sketches?</dialogue> <character>COSTUME DESIGNER</character> <dialogue>Yes.</dialogue> <character>WALT</character> <dialogue>Did she throw up?</dialogue> <character>COSTUME DESIGNER</character> <dialogue>That is n't very nice.</dialogue> <character>WALT</character> <dialogue>Oh, really, then why do n't you sue me in the World Court. Did she like the costumes?</dialogue> <character>COSTUME DESIGNER</character> <dialogue>I ca n't tell.</dialogue> <character>WALT</character> <dialogue>Why not?</dialogue> <character>COSTUME DESIGNER</character> <dialogue>She wo n't stop crying.</dialogue> <character>WALT</character> <parenthetical>( to an A.D . )</parenthetical> <dialogue>Find out when Marty Rossen's arriving, get him a bunch of Lilacs to send to the broad.</dialogue> <character>FIRST A.D.</character> <dialogue>Towns out of Lilacs.</dialogue> <character>WALT</character> <dialogue>You go in her room, take the Lilacs from the water, dry them. Go buy some cellophane, wrap'em up, and get a card from Marty.</dialogue> <parenthetical>( to costume designer . )</parenthetical> <dialogue>What's her problem?</dialogue> <character>COSTUME DESIGNER</character> <dialogue>She does n't want to bare her breasts.</dialogue> <character>WALT</character> <dialogue>She does n't want to bare her breasts. what, in the `` nude scene?'' What are we paying her three mil for?</dialogue> <character>COSTUME DESIGNER</character> <dialogue>She's got `` religion.''</dialogue> <character>WALT</character> <dialogue>Her religion bars her from fulfilling her contr.</dialogue> <scene_description>CAMERA FOLLOWS Walt to the sound of crying . We HEAR CRYING from the next room . Walt opens the door quietly .</scene_description> <character>WALT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Claire? Claire?</dialogue> <parenthetical>( to Uberto . )</parenthetical> <dialogue>Just figure out how to take the shot. Claire. Claire? It's Wally.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>May I come in?</dialogue> <scene_description>BEAT . He motions his entourage to stand back .</scene_description> </scene> <scene> <stage_direction>INT. PROD. OFFICE - WASH ROOM - CONTINUOUS</stage_direction> <scene_description>He enters the room . CAMERA FOLLOWS .</scene_description> <character>WALT</character> <parenthetical>( softly . )</parenthetical> <dialogue>What is it, Pal?</dialogue> <scene_description>PAUSE . Claire MUMBLES .</scene_description> <character>WALT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What?</dialogue> <character>CLAIRE</character> <dialogue>I ca n't do it, Walt.</dialogue> <character>WALT</character> <dialogue>You ca n't do what?</dialogue> <character>CLAIRE</character> <dialogue>It is n't right. I ca n't. I. I know I si. I, they, I do n't know if they told me it was in the con.</dialogue> <character>WALT</character> <dialogue>Forget the contract. Claire. What is it?</dialogue> <character>CLAIRE</character> <dialogue>I do n't want to take my shirt off in that con. what are these things that they're asking of me? Wha. wha. wha. I try to be good. The only thing I care about is.</dialogue> <character>WALT</character> <dialogue>I know that.</dialogue> <character>CLAIRE</character> <dialogue>Is. is the MOVIE!</dialogue> <scene_description>As they talk , the A.D. 's come in and hand him sheets to approve .</scene_description> <character>WALT</character> <dialogue>I know that, Claire. I, we all know.</dialogue> <character>CLAIRE</character> <dialogue>Everybody, they, they, they treat me like a.</dialogue> <character>WALT</character> <dialogue>no, they do n't.</dialogue> <character>CLAIRE</character> <dialogue>they treat me like a child. I, I. to bare my body.</dialogue> <character>WALT</character> <dialogue>Now, look. Claire : Listen to me.</dialogue> <parenthetical>( he takes her hand in his . )</parenthetical> <dialogue>I want to tell you a story.</dialogue> <scene_description>The door to her room opens . A P.A. brings in a bunch of Lilacs , hands them to Walt .</scene_description> <character>WALT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Fuck flowers, we are n't talking about flowers, we're talking about a human being.</dialogue> <character>CLAIRE</character> <dialogue>I. I.</dialogue> <character>WALT</character> <dialogue>Who are these from?</dialogue> <character>PROD. ASST.</character> <dialogue>ASST. says. Marty.</dialogue> <character>WALT</character> <dialogue>Well that's very thoughtful of him. Elanora Duse.</dialogue> <character>CLAIRE</character> <dialogue>I ca n't do it, Wally.</dialogue> <character>WALT</character> <dialogue>Listen to me. Elanora Duse was playing Hamlet in London in 1905, and Royalty could not get a ticket. She said, `` I'm not doing the seven shows a week I signed for.'' She said, `` I can not bare my soul seven times a week. I am an artist. I'll do four shows a week.''</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>The greatest actress of her time. You know what her Producer said?</dialogue> <character>CLAIRE</character> <parenthetical>( pause ; softly . )</parenthetical> <dialogue>What?</dialogue> <character>WALT</character> <dialogue>Nothing. He held her and he wept. Because he.</dialogue> <character>CLAIRE</character> <dialogue>I.</dialogue> <character>WALT</character> <dialogue>Because he understood. That was her life's blood on the stage.</dialogue> <scene_description>Claire nods , breaks into sobs .</scene_description> <character>WALT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I know. I know.</dialogue> <character>CLAIRE</character> <parenthetical>( pause . )</parenthetical> <dialogue>. and, and, and did she? And she did the seven shows?</dialogue> <character>WALT</character> <dialogue>No, she did n't Claire. But I think you should do the scene.</dialogue> <scene_description>Secretary comes in with memos and Walt deals with them while comforting Claire . BEAT . She sobs . She shakes her head . She brings herself under control .</scene_description> <character>CLAIRE</character> <dialogue>Wally.</dialogue> <character>WALT</character> <dialogue>I know, I know.</dialogue> <scene_description>He puts his arm around her , starts walking toward the door .</scene_description> <character>WALT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I know, it's the hardest thing in the world. And it seems everybody wants.</dialogue> <character>CLAIRE</character> <dialogue>Yes.</dialogue> <character>WALT</character> <dialogue>wants a piece.</dialogue> <character>CLAIRE</character> <dialogue>Yes.</dialogue> <character>WALT</character> <dialogue>And you know what?</dialogue> <character>CLAIRE</character> <dialogue>We, we have to give it.</dialogue> <character>WALT</character> <parenthetical>( nods . )</parenthetical> <dialogue>. and my heart goes out to you, because I know.</dialogue> </scene> <scene> <stage_direction>INT. PROD. OFFICE - BACK ROOM - DAY</stage_direction> <scene_description>He opens the door . We HEAR the First A.D. and the Costume Designer chatting outside the door as they walk out .</scene_description> <character>WALT</character> <dialogue>That, that's your life's blood on the st.</dialogue> <character>FIRST A.D.</character> <dialogue>I do n't know what she's bitching about, she's flashed her tits in the last five movies, she'd bare her breasts to do voice over.</dialogue> <scene_description>CAMERA FOLLOWS the two out . A tableau of the four of them . The First A.D. drinking coffee , sees he has been overheard . BEAT Claire starts soundlessly heaving , sobbing . She goes `` Oh ! '' as if she has just been hit in the stomach , falls back into the room , closes the door . Sobbing sounds emanate .</scene_description> <character>FIRST A.D.</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I.</dialogue> <character>WALT</character> <dialogue>Get Mitch Cohn on the phone in New York, tell him she's breaking her contract and we're very up.</dialogue> <character>FIRST A.D.</character> <dialogue>I.</dialogue> <character>WALT</character> <dialogue>We're very upset with her. Get someone to double for her, her tits, the tits scene. Call L.A. I want to see some pictures of the women's tits. Of their tits.</dialogue> <character>FIRST A.D.</character> <dialogue>I'm very sorry I.</dialogue> <character>WALT</character> <dialogue>You're very sorry, you passive aggressive, son - of - a - bitch! Can we replace him?</dialogue> <character>BILL</character> <dialogue>We start shooting in three days.</dialogue> <character>COSTUME DESIGNER</character> <dialogue>You want to see the fireman's costumes? Cause I found this Moleskin for the collar, it's not black, but it looks black. it's not brown, but.</dialogue> <character>SECRETARY</character> <dialogue>Marty Rossen's touched down.</dialogue> </scene> <scene> <stage_direction>EXT. PARK BENCH - DAY</stage_direction> <scene_description>Ann and Joe sit on a bench . He is looking at her as she finishes the script . Tears in her eyes . She closes the cover .</scene_description> <character>JOE</character> <parenthetical>( beat . )</parenthetical> <dialogue>What I need to say.</dialogue> <character>ANN</character> <dialogue>Yes.</dialogue> <character>JOE</character> <dialogue>About conflict.</dialogue> <character>ANN</character> <dialogue>That's why you did n't want to take the Mill out. you've.</dialogue> <character>JOE</character> <dialogue>the, the, the symbol of the fire.</dialogue> <character>ANN</character> <dialogue>The Firehouse.</dialogue> <character>JOE</character> <dialogue>I.</dialogue> <character>ANN</character> <dialogue>But but but but but it's better without.</dialogue> <character>JOE</character> <dialogue>How?</dialogue> <character>ANN</character> <dialogue>Wait wait wait wait wait he get's a second chance, do you see? And you get a second chance!</dialogue> <character>JOE</character> <dialogue>No, I do n't.</dialogue> <character>ANN</character> <parenthetical>( as she holds the script . )</parenthetical> <dialogue>He does n't go back to the mill, he gets a second chance to go back to the firehouse.</dialogue> <scene_description>Joe takes off one pair of glasses and changes them for another .</scene_description> <character>ANN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You do n't need the Mill. This is what.</dialogue> <parenthetical>( she gestures at the script . )</parenthetical> <dialogue>you see : this is what you are. This is what the script is saying.</dialogue> <parenthetical>( a person walks by . )</parenthetical> <dialogue>Hi, Emma, see you tonight?</dialogue> <scene_description>Emma waves and nods .</scene_description> <character>ANN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>This is, look :.</dialogue> <parenthetical>( to Emma . )</parenthetical> <dialogue>Go you Huskies.</dialogue> <parenthetical>( to Joe . )</parenthetical> <dialogue>. what I see you saying, is : you have the two elements, Fire and Water. The Firehouse, and the Old Mill. do you know, you could.</dialogue> <character>JOE</character> <dialogue>What are you doing tonight?</dialogue> <character>ANN</character> <dialogue>Me?</dialogue> <character>JOE</character> <dialogue>Yes.</dialogue> <scene_description>Joe and Ann walk down the street . As they do so they are passed by the airport van .</scene_description> <character>ANN</character> <dialogue>Tonight, tonight, I. I have play practice.</dialogue> <character>JOE</character> <dialogue>oh. oh. Well. That's very important.</dialogue> </scene> <scene> <stage_direction>EXT. HOTEL STEPS - DAY</stage_direction> <scene_description>Walt and the A.D. come down the steps to meet the arriving airport van . It stops . MARTY ROSSEN gets out . Walt hands his bags to a P.A.</scene_description> <character>WALT</character> <dialogue>Marteleh, vos macht a yid?</dialogue> <scene_description>He hands Marty the breadloaf . Marty takes a bite .</scene_description> <character>MARTY</character> <dialogue>You cool the broad out?</dialogue> <character>WALT</character> <dialogue>I left that for you.</dialogue> <character>MARTY</character> <dialogue>That's thoughtful.</dialogue> <parenthetical>( of the bread . )</parenthetical> <dialogue>Ziz good, you try this?</dialogue> <scene_description>As they speak , a P.A. is unloading Marty 's high - end luggage from the van .</scene_description> <character>WALT</character> <dialogue>Oh yeah, I'm really gon na eat carbohydrates.</dialogue> <character>MARTY</character> <parenthetical>( of the town . )</parenthetical> <dialogue>What'd you do, build this?</dialogue> <character>WALT</character> <dialogue>How was your flight?</dialogue> <character>MARTY</character> <dialogue>We're flying over pigs, we're flying over sheep.</dialogue> <character>WALT</character> <dialogue>Did you bring Bob's weights</dialogue> <character>MARTY</character> <dialogue>They're coming Fed Ex.</dialogue> <character>WALT</character> <parenthetical>( of the bags . )</parenthetical> <dialogue>What's in all the bags?</dialogue> <character>MARTY</character> <dialogue>My undies, cause, you ca n't get this picture off on time I'm gon na wet myself.</dialogue> <character>WALT</character> <dialogue>I'm gon na bring it off.</dialogue> <character>MARTY</character> <dialogue>55 days and I take home the camera. I got an idea for a product placement.</dialogue> <scene_description>They start up the stairs when Doc Wilson walks by . Girl on a scooter scooting the other way , her arm in a cast . Marty and Walt turn back to watch on the steps , under the awning . Carla walks through carrying food bags .</scene_description> <character>DOC WILSON</character> <dialogue>Hiya Sally.</dialogue> <character>GIRL ON A SCOOTER</character> <dialogue>Hiya Doc.</dialogue> <character>DOC WILSON</character> <dialogue>How's the arm?</dialogue> <character>GIRL ON A SCOOTER</character> <dialogue>Still itchin'.</dialogue> <character>DOC WILSON</character> <dialogue>Good! A sign it's getting well.</dialogue> <character>MARTY</character> <parenthetical>( of scene . )</parenthetical> <dialogue>Stop.</dialogue> <character>WALT</character> <dialogue>That's what I said.</dialogue> <character>MARTY</character> <dialogue>How are you getting on with these fine people?</dialogue> <character>WALT</character> <dialogue>Like dykes and dogs.</dialogue> </scene> <scene> <stage_direction>INT. BOB'S ROOM - DAY</stage_direction> <scene_description>Bob is doing Tai Chi . Knock on the door . He goes to open it . Carla is bringing him his dinner .</scene_description> <character>BOB</character> <dialogue>Yeah. Come in.</dialogue> <scene_description>She comes in .</scene_description> <character>BOB</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm just.</dialogue> <scene_description>She puts his dinner down on the coffee table . He takes out money from his pants to pay her .</scene_description> <character>CARLA</character> <dialogue>The prices are going up.</dialogue> <character>BOB</character> <dialogue>But, that's the way of the world, huh? Everybody's got ta eat. Way of the world.</dialogue> <scene_description>He sits before his dinner , hands her some money . Remembers himself .</scene_description> <character>BOB</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Well, I'm pretty impolite. Would you like some?</dialogue> <character>CARLA</character> <dialogue>I do n't eat vegetables.</dialogue> <character>BOB</character> <dialogue>Well, I can offer you something to drink?</dialogue> <character>CARLA</character> <dialogue>Sure, what have you got?</dialogue> <character>BOB</character> <dialogue>What do you drink?</dialogue> <character>CARLA</character> <dialogue>Bourbon and milk.</dialogue> <character>BOB</character> <dialogue>How old are you?</dialogue> <scene_description>Carla WHISPERS her age to him . He makes her a drink out of his fridge , hands it to her .</scene_description> <character>BOB</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Then I hope you would n't tell anyone I gave you this.</dialogue> <character>CARLA</character> <dialogue>I would n't tell anyone anything that happened between me and somebody who was my friend.</dialogue> <scene_description>PAUSE</scene_description> <character>BOB</character> <dialogue>Nice town that you've got here.</dialogue> <character>CARLA</character> <dialogue>You want to see it better, we could go out on the roof.</dialogue> <character>BOB</character> <dialogue>would n't that be dangerous?</dialogue> <character>CARLA</character> <dialogue>not if you've got something to hold on to.</dialogue> </scene> <scene> <stage_direction>EXT. MAIN STREET - DUSK</stage_direction> <scene_description>Joe is walking down the street . A script in his hand , scribbling . Uberto walks next to him .</scene_description> <character>UBERTO</character> <dialogue>Because if you can not tells me what is it, how I, how does I take a pictures of it? Wally wants me, push in through the weendow.</dialogue> <scene_description>Joe , as he is scribbling in the script .</scene_description> <character>JOE</character> <dialogue>Yeah, no, can I. if you'd excuse me, I've just got to.</dialogue> <scene_description>He walks away and the CAMERA takes him into a backyard , by a bunch of clotheslines . His glasses fall apart as he changes them . He looks up as the wind blows the sheet . He sees Ann , sitting on the backstairs of what , as we draw closer , we see is the playhouse . In back of her we see the `` Trials of the Heart '' flats , seen from the back . ANGLE JOE 'S POV</scene_description> <character>ANN</character> <dialogue>Hello.</dialogue> <character>JOE</character> <dialogue>I thought you had Play Practice.</dialogue> <character>ANN</character> <dialogue>Do n't look good for `` Trial of the Heart.''</dialogue> <character>JOE</character> <dialogue>Well, then, it do n't look good for the Huskies.</dialogue> <character>ANN</character> <dialogue>That's for sure.</dialogue> <scene_description>They walk down the street . As they walk down the street , the dog comes over and Annie throws him his bone over her shoulder .</scene_description> <character>JOE</character> <dialogue>What happened?</dialogue> <character>ANN</character> <dialogue>Cast stood me up.</dialogue> <character>JOE</character> <dialogue>Uh huh.</dialogue> <character>ANN</character> <dialogue>They're all preparing for the auditions - your movie.</dialogue> <scene_description>He gets an idea , and trades glasses , one pair for the other . He kneels .</scene_description> <character>ANN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>`` Rise, one need not bend the knee before the throne of justice.''</dialogue> <character>JOE</character> <dialogue>What?</dialogue> <character>ANN</character> <dialogue>What are you doing down there?</dialogue> <character>JOE</character> <dialogue>My glasses fell apart. I lost the.</dialogue> <character>ANN</character> <dialogue>lost the screw.</dialogue> <character>JOE</character> <dialogue>You got a paperclip?</dialogue> <scene_description>A little kid is walking by , carrying a fishing rod .</scene_description> <character>LITTLE KID</character> <dialogue>Evening, Annie.</dialogue> <character>ANN</character> <dialogue>Evenin', sweetheart.</dialogue> <character>LITTLE KID</character> <dialogue>Go you Huskies.</dialogue> <character>ANN</character> <dialogue>You said it.</dialogue> <character>JOE</character> <dialogue>You like kids?</dialogue> <character>ANN</character> <dialogue>Never saw the point of'em.</dialogue> <character>JOE</character> <dialogue>Me, too. You have a paperclip?</dialogue> <character>ANN</character> <dialogue>Paperclip?</dialogue> <character>JOE</character> <dialogue>Fix my glasses.</dialogue> <character>ANN</character> <dialogue>Better idea.</dialogue> <scene_description>She ducks under the sheet hanging by the door , she and Joe come upon the fishergirl , who is standing by the bank about to make a cast . We see Annie take some leader from the little girl and burn one end to make a hinge .</scene_description> <character>JOE</character> <dialogue>Gon na be good as new.</dialogue> <character>ANN</character> <dialogue>Better'n new, cause it's got a story. Want to do the other part?</dialogue> <scene_description>Joe takes the hinge , and a match and tries to fix the hinge , and burns his finger .</scene_description> <character>JOE</character> <dialogue>Ow.</dialogue> <scene_description>He grabs for the nearest object . PAUSE .</scene_description> <character>ANN</character> <dialogue>What?</dialogue> <scene_description>Joe shows her .</scene_description> <character>ANN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Y' know what you got there? You got a fishhook in your finger.</dialogue> </scene> <scene> <stage_direction>EXT. BOOKSTORE - DUSK</stage_direction> <scene_description>Doug standing , holding a bunch of flowers . The A.D. walks by . Looks in the window .</scene_description> <character>FIRST A.D.</character> <dialogue>I'm looking for the writer.</dialogue> <character>DOUG</character> <dialogue>What the hell are you so down about?</dialogue> <character>FIRST A.D.</character> <parenthetical>( pause . )</parenthetical> <dialogue>My wife's going to have a baby.</dialogue> <character>DOUG</character> <dialogue>How about that.</dialogue> <character>FIRST A.D.</character> <dialogue>Mmmm.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>You have children?</dialogue> <character>DOUG</character> <dialogue>No.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>No, but we're planning to.</dialogue> <character>FIRST A.D.</character> <parenthetical>( pause . )</parenthetical> <dialogue>Could you tell me where a fellow goes to get a drink in this town?</dialogue> <character>DOUG</character> <dialogue>Yes.</dialogue> </scene> <scene> <stage_direction>INT. WALT'S HOTEL ROOM - NIGHT</stage_direction> <scene_description>Marty and Walt et al studying various documents . Claire sitting there .</scene_description> <character>MARTY</character> <dialogue>I want to tell you something, Wally, he's a pussycat. My thing is to see everybody does what they said they would and I have to do that. Now : what is this you want Eight hundred Thousand Dollars to do what you're being paid to, you already signed you'd do?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>What is that?</dialogue> <character>CLAIRE</character> <dialogue>I think I should talk to my agent, Marty, you and I should, we should really not discuss.</dialogue> <character>MARTY</character> <dialogue>Who is her agent?</dialogue> <character>BILL</character> <dialogue>Mitch Cohn.</dialogue> <character>CLAIRE</character> <dialogue>He's.</dialogue> <character>MARTY</character> <dialogue>Get him on the phone.</dialogue> <character>CLAIRE</character> <dialogue>He's on the Island, he'll be back on.</dialogue> <character>MARTY</character> <dialogue>Get him on the.</dialogue> <scene_description>Claire starts back to her room .</scene_description> <character>MARTY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I want you to hear this.</dialogue> <character>CLAIRE</character> <dialogue>I really think that business. matters should be discussed between you t.</dialogue> <character>MARTY</character> <dialogue>Well, I'm going to discuss'em between you, babe, cause it's your idea, and you think you're going to sign to do a, then hold us up in the wilds sweetheart, you are in error.</dialogue> <scene_description>Bill hands him the phone .</scene_description> <character>BILL</character> <dialogue>He's on the ph.</dialogue> <character>MARTY</character> <parenthetical>( takes phone . )</parenthetical> <dialogue>Mitch, th ` Marty Rossen, I'm here in.</dialogue> <character>BILL</character> <dialogue>Wat.</dialogue> <character>MARTY</character> <dialogue>I'm somewhere in the, I'm on location eh : This. well I'm going to solve it here, or this Bimbo you sent me's going to be doing a fuckin' donkey act in Akron, I'm talking about Restraint of Trade, Breach of. IT'S VERY SIMPLE!</dialogue> <scene_description>Joe enters . His finger BANDAGED .</scene_description> <character>JOE</character> <parenthetical>( tentatively . )</parenthetical> <dialogue>Hi!</dialogue> <character>MARTY</character> <dialogue>Her tits! Her tits! How, that she signed IN HER CONTRACT, we hired her'cause of ten years at the Actors Studio? The way she played Medea? Her last two pictures laid there on the screen like my first wife.</dialogue> <character>CLAIRE</character> <parenthetical>( starts to cry . )</parenthetical> <dialogue>You have no right to.</dialogue> <character>MARTY</character> <dialogue>Cool it babe, you started this.</dialogue> <character>JOE</character> <dialogue>What's the.</dialogue> <character>WALT</character> <dialogue>Where have you been?</dialogue> <character>MARTY</character> <parenthetical>( on phone . )</parenthetical> <dialogue>You tell me : you tell me now, I've got to shoot on Wednesday and I will not pay your Blood Money and P.S., pal, I put the word out on the street and Betty Boop can look for work in squigglevision.</dialogue> <scene_description>Claire starts to get up .</scene_description> <character>MARTY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Siddown!</dialogue> <character>JOE</character> <dialogue>I really do n't think you should be talking this way to a lady.</dialogue> <character>MARTY</character> <dialogue>would you excuse me, please.</dialogue> <character>CLAIRE</character> <dialogue>You ca n't treat me like this. I'm not a child!</dialogue> <character>JOE</character> <dialogue>She's absolutely r.</dialogue> <character>CLAIRE</character> <dialogue>I'm not a child. I have feelings. Do n't you. do n't, do n't. do n't.</dialogue> <scene_description>Claire exits , crying .</scene_description> <character>MARTY</character> <parenthetical>( his suitcase next to him - into phone . )</parenthetical> <dialogue>Well, you call him, and call me back, but this is it, pal. You fuck with me, and I'm going to tear out your heart and piss on your lungs through the hole in your chest. And the best to Marion.</dialogue> <parenthetical>( beat ; hangs up ; to Joe . )</parenthetical> <dialogue>Where have you been?</dialogue> <character>JOE</character> <dialogue>I.</dialogue> <character>MARTY</character> <dialogue>He says they're looking for you all day, you're on salary, he needs pages, what are you, you been ` haying?' Now :</dialogue> <character>WALT</character> <dialogue>Marty.</dialogue> <character>MARTY</character> <dialogue>Later for that, Walt, let's get this : we need the `` pages'' for the new `` Old Mill''. alright? We need a new title, we need a.</dialogue> <character>BILL</character> <dialogue>Rewrites that Bob Barrenger requested. the `` dead horse scene,'' the.</dialogue> <character>MARTY</character> <dialogue>Whatever it is. Go do it. How you doing on the permit?</dialogue> <character>WALT</character> <dialogue>It's just a formality.</dialogue> <character>MARTY</character> <dialogue>That's why I want it.</dialogue> <parenthetical>( to Joe . )</parenthetical> <dialogue>Type it up and get it back to me in.</dialogue> <character>JOE</character> <dialogue>I ca n't.</dialogue> <character>WALT</character> <dialogue>Why?</dialogue> <character>MARTY</character> <dialogue>You ca n't write it?</dialogue> <character>JOE</character> <dialogue>I can write it. I ca n't type it.</dialogue> <character>WALT</character> <dialogue>Why?</dialogue> <character>JOE</character> <dialogue>I hurt my fingers.</dialogue> <character>WALT</character> <dialogue>Get a typist. Get ` im a typist. Get outta here.</dialogue> <scene_description>Joe exits . They turn to survey the board .</scene_description> <character>MARTY</character> <dialogue>Eight - hundred grand to show her tits.</dialogue> <character>WALT</character> <dialogue>Pay her.</dialogue> <character>MARTY</character> <dialogue>I do n't got the money.</dialogue> <character>WALT</character> <dialogue>Find the money.</dialogue> <character>MARTY</character> <dialogue>I got a company. give us a million dollars, put their product in the film.</dialogue> <character>WALT</character> <parenthetical>( looking at a paper Marty hands him . )</parenthetical> <dialogue>No no no no no no no no find me the money.</dialogue> </scene> <scene> <stage_direction>INT. JOE'S ROOM - NIGHT</stage_direction> <scene_description>Joe takes out paper , looks around . Sighs . Picks up phone , calls back .</scene_description> <character>JOE</character> <parenthetical>( into phone . )</parenthetical> <dialogue>This is Joe White. in six ten, they're sending up a typist?</dialogue> <scene_description>He takes out a sheet of foolscap and a pencil . Starts to write . A knock at the door .</scene_description> <character>JOE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( into phone . )</parenthetical> <dialogue>Okay, I thank you. It's here.</dialogue> <scene_description>He hangs up the phone , goes to the door , opens it . It is Claire .</scene_description> <character>CLAIRE</character> <dialogue>You said, `` You ca n't talk that way to a lady.'' You stood up for me.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>What do you have to drink?</dialogue> <scene_description>She looks around , sees a gift basket containing a bottle of Stolichnaya and a box of matzoh , wrapped with a `` Welcome Back '' ribbon .</scene_description> <character>CLAIRE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Matzoh! Are you Jewish?</dialogue> <character>JOE</character> <dialogue>I, actually, yes.</dialogue> <character>CLAIRE</character> <dialogue>I love Jewish men.</dialogue> <character>JOE</character> <dialogue>Why?</dialogue> <character>CLAIRE</character> <dialogue>You know. where's your bathroom?</dialogue> <scene_description>She goes into the bathroom .</scene_description> <character>JOE</character> <dialogue>You liked the script, huh?</dialogue> </scene> <scene> <stage_direction>EXT. MAIN STREET - NIGHT</stage_direction> <scene_description>Ann Black sitting on the park bench , holding the lure .</scene_description> <character>DOUG</character> <parenthetical>( still carrying bouquet of flowers . )</parenthetical> <dialogue>Where have you been?</dialogue> <scene_description>He gives her the bouquet .</scene_description> <character>ANN</character> <dialogue>Hi!</dialogue> <character>DOUG</character> <dialogue>We had a date.</dialogue> <character>ANN</character> <dialogue>We did?</dialogue> <character>DOUG</character> <dialogue>Where have you been?</dialogue> <character>ANN</character> <dialogue>I've been thinking.</dialogue> <character>DOUG</character> <dialogue>Where have you been, we had a date for three. where have you been?</dialogue> <character>ANN</character> <dialogue>I have to tell you something.</dialogue> <character>DOUG</character> <dialogue>Well, I know, because they told me you were with that writer from the, you see, this is what I mean, the whole town has been warped by the, by the, by the presence of the movie company, they holler, and we jump, you have a date, they call, you're doing business nine o'clock at night. It is n't.</dialogue> <character>ANN</character> <dialogue>I was n't doing business.</dialogue> <character>DOUG</character> <dialogue>Oh. What were you doing, then, that's so important that you should n't call your fian.</dialogue> <character>ANN</character> <dialogue>It's all over between us, Doug, I'm sorry, but that's the truth. I've found someone else, and, it's very serious and it's the end. I'm sorry.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>It is n't you, j.</dialogue> <character>DOUG</character> <dialogue>Wai. It's so serious you could n't call to tell me you'd be. what? What did you say?</dialogue> <character>ANN</character> <dialogue>It's all over between us.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>I've found someone else.</dialogue> <character>DOUG</character> <parenthetical>( pause . )</parenthetical> <dialogue>Let me review here : You're. what are you. you've. it's all over between us?</dialogue> <character>ANN</character> <dialogue>I'm sorry.</dialogue> <character>DOUG</character> <dialogue>Who is this person that you've found?</dialogue> <character>ANN</character> <parenthetical>( pause . )</parenthetical> <dialogue>He works on the movie.</dialogue> <character>DOUG</character> <dialogue>No. Do n't tell me that.</dialogue> <character>ANN</character> <dialogue>I'm sorry.</dialogue> <character>DOUG</character> <dialogue>Why, you whore!</dialogue> <scene_description>Doug starts to cry . First A.D. shows up .</scene_description> <character>FIRST A.D.</character> <dialogue>Can you type?</dialogue> <character>ANN</character> <dialogue>Never admit you can type.</dialogue> <character>FIRST A.D.</character> <dialogue>If you can type, they need you over at the hotel.</dialogue> </scene> <scene> <stage_direction>INT. JOE'S ROOM - NIGHT</stage_direction> <scene_description>Joe is standing by the side of the bed , holding Claire 's clothes , trying to induce her to put them on . She is sitting on the side of the bed , naked .</scene_description> <character>JOE</character> <dialogue>Look.</dialogue> <character>CLAIRE</character> <dialogue>I feel so close to you.</dialogue> <character>JOE</character> <dialogue>Look, look, I like you very much.</dialogue> <character>CLAIRE</character> <dialogue>I like you, too.</dialogue> <character>JOE</character> <dialogue>But not that way.</dialogue> <character>CLAIRE</character> <dialogue>But we.</dialogue> <character>JOE</character> <dialogue>Look, look there's someone else.</dialogue> <scene_description>Sound of a KNOCK at the door .</scene_description> <character>JOE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Great. Who is it?</dialogue> <character>ANN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>`` Room Service!''</dialogue> <character>JOE</character> <parenthetical>( to Claire . )</parenthetical> <dialogue>Would you go in.</dialogue> <scene_description>He gestures to the bathroom , he hands her her clothes .</scene_description> <character>JOE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Would you put on your cl.</dialogue> <parenthetical>( to door . )</parenthetical> <dialogue>Just leave it outside</dialogue> <character>ANN</character> <dialogue>You have to sign for it.</dialogue> </scene> <scene> <stage_direction>INT. HALL - NIGHT</stage_direction> <scene_description>Ann hurriedly arranging the flowers in the `` platen '' of the typewriter . From inside the room we hear Joe 's voice : `` Alright , one moment ! '' He opens the door .</scene_description> <character>ANN</character> <dialogue>I'm gon na be your typist for this evening.</dialogue> <character>JOE</character> <dialogue>Oh, G - d.</dialogue> <character>ANN</character> <dialogue>And here's some hydrogen peroxide.</dialogue> <character>JOE</character> <dialogue>I do n't drink.</dialogue> <character>ANN</character> <dialogue>It's for your finger.</dialogue> <character>JOE</character> <dialogue>One moment.</dialogue> <scene_description>He closes the door .</scene_description> </scene> <scene> <stage_direction>INT. JOE'S ROOM - CONTINUOUS</stage_direction> <scene_description>Claire is still sitting on the bed , has a lit cigarette . Poured herself a drink . Joe goes over to her , thrusts her clothes on the floor .</scene_description> <character>JOE</character> <dialogue>You have to hide.</dialogue> <character>CLAIRE</character> <dialogue>Who is that?</dialogue> <character>JOE</character> <dialogue>That's my.</dialogue> <character>CLAIRE</character> <dialogue>Oh.</dialogue> <character>JOE</character> <dialogue>Will you help me out?</dialogue> <character>CLAIRE</character> <dialogue>I.</dialogue> <scene_description>Joe hustles back to the door . Opens the door . Ann is still standing there with the typewriter .</scene_description> <character>JOE</character> <dialogue>Hi.</dialogue> <character>ANN</character> <dialogue>You going to ask me in?</dialogue> <scene_description>Joe looks back over his shoulder .</scene_description> <character>ANN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Thought you might like this.</dialogue> <scene_description>She hands him a bouquet .</scene_description> <character>JOE</character> <parenthetical>( takes flowers . )</parenthetical> <dialogue>Thank you.</dialogue> <character>ANN</character> <dialogue>Read the card.</dialogue> <character>JOE</character> <parenthetical>( reading card . )</parenthetical> <dialogue>`` To the love of my life, Love, Doug.''</dialogue> <character>ANN</character> <dialogue>The other side.</dialogue> <character>JOE</character> <dialogue>Oh.</dialogue> <scene_description>He turns the card over .</scene_description> <character>ANN</character> <dialogue>Do n't you think you should put them in water.</dialogue> <character>JOE</character> <dialogue>Why?</dialogue> <character>ANN</character> <dialogue>because if you do n't, they die.</dialogue> <scene_description>She goes into the bathroom , fills up the vase . Comes out .</scene_description> <character>ANN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Should n't we start?</dialogue> <scene_description>PAUSE</scene_description> <character>JOE</character> <dialogue>Start? This is n't a good time.</dialogue> <character>ANN</character> <dialogue>Oh. That's alright. Then I'll come back at a better time. What would be a better time.</dialogue> <character>JOE</character> <dialogue>Later on.</dialogue> <character>ANN</character> <dialogue>Then I'll come back, then.</dialogue> <character>JOE</character> <dialogue>You, um, you, um, you going out with your fiance?</dialogue> <character>ANN</character> <dialogue>No, I just broke up with him. I'll see you tomorrow.</dialogue> <scene_description>She starts to exit .</scene_description> </scene> <scene> <stage_direction>INT. TAVERN INN HALLWAY - NIGHT</stage_direction> <scene_description>Ann digs in pocket , takes out the lure we previously saw in Joe 's finger . She re - enters the room .</scene_description> <character>ANN</character> <dialogue>It occurred to me, you'd wan na have this : sort of a memento of our.</dialogue> <scene_description>ANGLE ON ROOM Claire is standing there , basically naked . PAUSE .</scene_description> <character>CLAIRE</character> <dialogue>Hi. I hope I'm not disturbing.</dialogue> <character>JOE</character> <dialogue>She came in here, wait, she. I was giving her a massage. wait. wait! She came in here. she.</dialogue> <parenthetical>( to Claire . )</parenthetical> <dialogue>. with respect. she took off her clothes, and she got in bed, I told her I could not - we do n't know each other, you see.</dialogue> <character>CLAIRE</character> <dialogue>We had a script conference.</dialogue> <character>JOE</character> <dialogue>I told her thank you very much, but it was inconvenient because, uh, because.</dialogue> <character>ANN</character> <dialogue>You can do it.</dialogue> <character>JOE</character> <dialogue>Because I'd met someone else.</dialogue> <character>ANN</character> <parenthetical>( very simply . )</parenthetical> <dialogue>Oh, okay.</dialogue> <character>JOE</character> <dialogue>You believe that?</dialogue> <character>ANN</character> <dialogue>I do if you do.</dialogue> <scene_description>PAUSE</scene_description> <character>JOE</character> <dialogue>But it's absurd.</dialogue> <character>ANN</character> <dialogue>So is our electoral process. But we still vote.</dialogue> <character>JOE</character> <dialogue>Do you truly believe the electoral process is absurd?</dialogue> <character>ANN</character> <dialogue>I used to go out with a politician.</dialogue> <character>JOE</character> <dialogue>You used to go out with him, you broke up with him?</dialogue> <character>ANN</character> <dialogue>Sure did.</dialogue> <character>JOE</character> <dialogue>Why?</dialogue> <character>ANN</character> <dialogue>Time for a change. Keep your margins straight.</dialogue> <character>JOE</character> <dialogue>Yes.</dialogue> <character>ANN</character> <dialogue>Go you Huskies!</dialogue> </scene> <scene> <stage_direction>INT. HALL - NIGHT</stage_direction> <scene_description>Ann puts down the typewriter and types into it , `` The truth may not always set you free , but it is always the truth - Joseph Turner White , ` Anguish . ' '' She affixes the lure to it and leaves them on the typewriter . She starts down the hall , humming . Behind her we see the door to Bob Barrenger 's room open . Bob comes out , looks down the hall . The coast is clear . Carla comes out . They kiss chastely , say goodnight . She starts down the hall , humming .</scene_description> </scene> <scene> <stage_direction>EXT. MAYOR'S PORCH - DAY</stage_direction> <scene_description>The postman walk sup . We see two workmen putting up a sign over the door ' 1835 . ' One has a copy of `` The Hollywood Reporter '' in his back pocket .</scene_description> <character>MAYOR</character> <dialogue>And do n't you worry about that permit.</dialogue> <character>MARTY</character> <dialogue>Why, that's right fine.</dialogue> <character>POSTMAN</character> <dialogue>Mornin' George.</dialogue> <character>MAYOR</character> <dialogue>Hey, Chunky.</dialogue> <parenthetical>( to Marty . )</parenthetical> <dialogue>Well, we're glad to have you here. My wife, Sherry, SHER, YOUR BROTHER'S HERE.</dialogue> <parenthetical>( to Marty . )</parenthetical> <dialogue>We're having a party, matofact, Tuesday night, for Walt and Bob Barrenger.</dialogue> <character>MARTY</character> <dialogue>Mmm.</dialogue> <character>MAYOR</character> <dialogue>Havin''em over, home - cooked meal, if you'd.</dialogue> <character>MAYOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Well, I'd be awfully.</dialogue> <scene_description>A paint truck pulls up outside the Mayor 's house . Painters come out . Sherry comes outside the house .</scene_description> <character>SHERRY</character> <dialogue>Where the hell have you been? It's.</dialogue> <character>MAYOR</character> <dialogue>Sherry, this.</dialogue> <character>POSTMAN</character> <parenthetical>( come back out of house with cup of coffee . )</parenthetical> <dialogue>Mornin' Sherry.</dialogue> <character>SHERRY</character> <dialogue>It's a quarter after nine, I've been on the phone to.</dialogue> <character>PAINTER</character> <dialogue>Morning, Mrs. Baily, Mista Bailey.</dialogue> <scene_description>He and his assistant go into the house with wallpaper .</scene_description> <character>SHERRY</character> <dialogue>I've got two days to get this house.</dialogue> <character>MAYOR</character> <dialogue>Dear, this is Mr. Rossen, he is the producer.</dialogue> <character>SHERRY</character> <dialogue>I am so glad to meet you. We are so glad to have you here, and welcome you to our. I, you know, they had c. I'm, yearly I redecorate our, to restore it to the, 1835.</dialogue> <character>MARTY</character> <dialogue>What is that?</dialogue> <character>SHERRY</character> <dialogue>The house, the 1835. The original kitchen, of course, burned in 1960, as part of a spate of fires.</dialogue> <character>MARTY</character> <dialogue>It's lovely.</dialogue> <character>SHERRY</character> <dialogue>A spate of suspicious fires which were in fact the inspiration for the formation of the Waterford Huskies.</dialogue> <character>MARTY</character> <dialogue>My oh my.</dialogue> <character>SHERRY</character> <dialogue>I'm. Tuesday evening we're having an informal dinner, I did n't know you'd be ` on set,' but if you'd like to join your.</dialogue> <scene_description>Doug comes up the walk , a bit rabid .</scene_description> <character>DOUG</character> <dialogue>I have to talk to you.</dialogue> <character>MAYOR</character> <dialogue>Doug, this is Mr.</dialogue> <character>SHERRY</character> <dialogue>Oh, how thoughtless of me. Would you like a cup of tea.</dialogue> <scene_description>Sherry disappears into the house .</scene_description> <character>MAYOR</character> <dialogue>he's the producer of the movie.</dialogue> <character>DOUG</character> <parenthetical>( to Marty . )</parenthetical> <dialogue>I want you to hear this, pal.</dialogue> <parenthetical>( consults notebook . )</parenthetical> <dialogue>Forget the overages, forget Ten Thousand Dollars, for three days to two weeks. You know what it would cost for them to build this set?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Two Million Dollars! Now :</dialogue> <character>MAYOR</character> <dialogue>Doug.</dialogue> <character>DOUG</character> <dialogue>Now : The Waterford Merchant's Association, of who I am Council.</dialogue> <scene_description>In the B.G. we see Sherry and the painter .</scene_description> <character>SHERRY</character> <dialogue>Do n't tell me you're out of Wallpaper.</dialogue> <character>PAINTER</character> <dialogue>I told you, we could have it by Wednesday.</dialogue> <character>SHERRY</character> <dialogue>Wednesday, do n't tell me Wednesday, the biggest grossing box office star in the world is coming for dinner Tuesday.</dialogue> <character>PAINTER</character> <dialogue>Waal, if you ordered something common.</dialogue> <character>SHERRY</character> <dialogue>Something common? I'm going to give you something common. I'm going to give you an injunction, is what I. Mister Mayor.</dialogue> <character>DOUG</character> <dialogue>Huh. Well, the Waterford Merchant's Association demands, through me as their council, five percent of the profits of the movie, as figured by and.</dialogue> <parenthetical>( checks his notebook . )</parenthetical> <dialogue>geared to the most favorable definition of profits of either A. -RRB- the Producer.</dialogue> <scene_description>From INSIDE THE HOUSE , we hear the Mayor 's wife screaming . Mayor runs inside , Doug and Marty follow .</scene_description> <character>DOUG</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Why, you little sheeny.</dialogue> </scene> <scene> <stage_direction>INT. COFFEE CORNER - DAY</stage_direction> <scene_description>Geezers are at the front table in the window . Carla 's father , JACK , behind the counter trying to assemble an espresso machine , reading from the instructions .</scene_description> <character>MORRIS</character> <dialogue>`` Assembly of Death'' did 95 million dollars the first weekend.</dialogue> <character>SPUD</character> <dialogue>Yeaup, but those grosses are inflated.</dialogue> <character>MORRIS</character> <dialogue>You think so?</dialogue> <character>SPUD</character> <dialogue>Waal, what was the per - screen average?</dialogue> <scene_description>Joe enters and exchanges greetings with the locals . He changes his glasses and takes out a notebook . He is shaking his head as he does so .</scene_description> <character>JOE</character> <dialogue>Cuppa coffee, and a.</dialogue> <character>JACK</character> <dialogue>With you inna moment. I'm a little short - handed.</dialogue> <character>MORRIS</character> <dialogue>Where's Carla?</dialogue> <scene_description>Ann enters .</scene_description> <character>SPUD</character> <dialogue>Hiya, Annie.</dialogue> <scene_description>A crowd has gathered around the table as he tells the story .</scene_description> <character>MORRIS</character> <dialogue>Annie, sorry I ai n't been to a meetin' of the Drama Club.</dialogue> <scene_description>Ann shows a sniped `` canceled '' poster of her play .</scene_description> <character>MORRIS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh, good.</dialogue> <scene_description>He resumes talking to his companion .</scene_description> <character>ANN</character> <dialogue>Good morning to you. whatsa matter?</dialogue> <character>JOE</character> <dialogue>I ca n't get it to come out right.</dialogue> <character>ANN</character> <dialogue>What's the scene.</dialogue> <character>JOE</character> <dialogue>It used to be the Old Mill.</dialogue> <character>ANN</character> <dialogue>What've you got?</dialogue> <character>JOE</character> <dialogue>They meet on Main Street. Her horse has just died. He's coming from the fire.</dialogue> <scene_description>He shuffles through his pages , he goes in his pocket for a note , he brings out the old lure . He smiles at her , she smiles back .</scene_description> <character>JACK</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Annie, you want something to eat?</dialogue> <character>ANN</character> <dialogue>What's the scene about?</dialogue> <character>JOE</character> <dialogue>It's good to see you, too.</dialogue> <character>JACK</character> <dialogue>Annie?</dialogue> <character>ANN</character> <dialogue>What about. what about. it's so presumptuous of me, to be, to be telling you how to wr.</dialogue> <character>JOE</character> <dialogue>Please.</dialogue> <character>ANN</character> <dialogue>How about, he sees her on the street, he wipes the soot from his eyes. He goes up to her. `` What happened to the horse?'' She looks at him. She takes his hand.</dialogue> <scene_description>She takes Joe 's hand , and he winces .</scene_description> <character>JOE</character> <dialogue>Ah, ah, ah.</dialogue> <character>ANN</character> <dialogue>I hurt you?</dialogue> <character>MORRIS</character> <dialogue>What happened to his finger?</dialogue> <character>ANN</character> <dialogue>It was burnt.</dialogue> <character>MORRIS</character> <dialogue>Mmm.</dialogue> <character>ANN</character> <dialogue>And then it was really hurt.</dialogue> <character>JOE</character> <dialogue>Ah, ah, ah. That's what she says, that's what she says. He says, `` Sister, I've come from a fire.'' But she, but she, she says it was not the fire which hurt you. it.</dialogue> <character>MORRIS</character> <dialogue>how was it hurt?</dialogue> <character>ANN</character> <dialogue>he stuck a fishhook in it.</dialogue> <parenthetical>( Morris nods . )</parenthetical> <dialogue /> <character>JOE</character> <dialogue>She realizes - it was not the fire which hurt him. that the true hurt was her. Was her.</dialogue> <character>ANN</character> <dialogue>yes.</dialogue> <character>JOE</character> <dialogue>her unbridled sexuality. That he.</dialogue> <character>ANN</character> <dialogue>yes.</dialogue> <character>JOE</character> <dialogue>Has been wounded by her heat. by her infidelities.</dialogue> <character>JACK</character> <dialogue>Anybody here seen Carla?</dialogue> <character>JOE</character> <dialogue>Because, because, because if it's about purity, it's. it's. and then, then, you do n't need the nude scene.</dialogue> <character>ANN</character> <dialogue>Because it's about purity.</dialogue> <character>JOE</character> <dialogue>That's. that's exactly what it's about. Take.</dialogue> <character>ANN</character> <dialogue>That's right.</dialogue> <character>JOE</character> <dialogue>take any two people.</dialogue> <character>JACK</character> <dialogue>anybody seen my daughter?</dialogue> <character>JOE</character> <dialogue>take you and me.</dialogue> <scene_description>He runs out .</scene_description> </scene> <scene> <stage_direction>INT. WALT'S OFFICE - DAY</stage_direction> <scene_description>Uberto looking at storyboards and spinning the discuss and shaking his head . Walt on the phone . First A.D. shows up .</scene_description> <character>WALT</character> <parenthetical>( on phone . )</parenthetical> <dialogue>. the finest people you could ever hope to work with.</dialogue> <parenthetical>( to First A.D . )</parenthetical> <dialogue>You have the new Old Mill pages?</dialogue> <character>FIRST A.D.</character> <dialogue>I ca n't find the writer.</dialogue> <character>WALT</character> <parenthetical>( on phone . )</parenthetical> <dialogue>. totally false. totally false. He is the, I would say the most responsible human being I have ever.</dialogue> <character>FIRST A.D.</character> <dialogue>I have to talk to you. My wife.</dialogue> <character>WALT</character> <dialogue>Not now.</dialogue> <character>FIRST A.D.</character> <dialogue>My wife is going to have a baby, and.</dialogue> <character>WALT</character> <dialogue>Oh, that's great. Let's bring more people into this overcrowded world.</dialogue> <scene_description>Girl P.A. walks through the b.g. in `` Does it have to be an Old Mill ? '' T - shirt .</scene_description> <character>WALT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Take it off. Take that stupid fucking shirt off right now.</dialogue> <parenthetical>( into phone . )</parenthetical> <dialogue>Well, if I had to say one thing, I would say it's purity.</dialogue> <scene_description>Claire shows up , dressed in traveling clothes , her luggage behind her , followed by production assistant .</scene_description> <character>WALT</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( to P.A . )</parenthetical> <dialogue>Not now, I'm talking to the press. Claire!</dialogue> <character>CLAIRE</character> <dialogue>What? I have a five - o'clock plane to catch.</dialogue> <character>WALT</character> <dialogue>I, uh.</dialogue> <parenthetical>( into phone . )</parenthetical> <dialogue>I've always thought so.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Well, you just get an idea, and try to find the best way to express it in pictorial form.</dialogue> <parenthetical>( to Claire . )</parenthetical> <dialogue>I've written a letter to the studio and to SAG protesting.</dialogue> <parenthetical>( opens door . )</parenthetical> <dialogue>Bill : get a copy of that letter!</dialogue> <parenthetical>( closes door . )</parenthetical> <dialogue>I just wanted to tell you that I am past chagrined, I'm mortified at the way you were spoken to.</dialogue> <character>CLAIRE</character> <dialogue>I.</dialogue> <character>WALT</character> <dialogue>An artist of your caliber.</dialogue> <character>CLAIRE</character> <dialogue>I'm only trying to.</dialogue> <character>WALT</character> <dialogue>I know what you are, I am so sorry that you. when I read that script I said there's only one person to play that part.</dialogue> <character>CLAIRE</character> <dialogue>The minute I read that script I said.</dialogue> <character>WALT</character> <dialogue>I know.</dialogue> <character>CLAIRE</character> <dialogue>she works with animals, she.</dialogue> <character>WALT</character> <dialogue>yes.</dialogue> <character>CLAIRE</character> <dialogue>she has a home.</dialogue> <character>WALT</character> <dialogue>I know, I'm so. because I said : yes, a woman who. the. the community respects her.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Please do n't go.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Please do n't go. What can I do but beseech you? Trauma, toil. when are we free of them?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>When?</dialogue> <character>CLAIRE</character> <dialogue>He treated me as if I were a child.</dialogue> <character>WALT</character> <dialogue>Claire :.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>As an interpretive artist to a creative artist :.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Stay with me.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>I need you.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>We start to shoot tomorrow and then it belongs to us. Stay.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Stay. Tonight. when.</dialogue> <parenthetical>( gestures outside . )</parenthetical> <dialogue>When they've gone. Let's talk. Let's really talk. We could, we'll have dinner, we'll. a bottle of some bad red wine, we'll get spaghetti, and we'll.</dialogue> <character>CLAIRE</character> <dialogue>I'm sorry, Walt - it's gone beyond that.</dialogue> <scene_description>Claire exits .</scene_description> <character>WALT</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Well, I've enjoyed it, too. Any. any. any time.</dialogue> <parenthetical>( hangs up the phone . )</parenthetical> <dialogue>What does the woman want from life?</dialogue> <character>MARTY</character> <dialogue>She wants eight - hundred thousand dollars to show her tits.</dialogue> <character>WALT</character> <dialogue>Pay her off.</dialogue> <character>MARTY</character> <dialogue>We do n't have the money.</dialogue> <character>WALT</character> <dialogue>Find it.</dialogue> <character>MARTY</character> <dialogue>If you do the product placement.</dialogue> <character>WALT</character> <dialogue>It's a computer company. IT'S A COMPUTER COMPANY - BAZOOMER - COM?!</dialogue> <character>MARTY</character> <dialogue>`` Bazoomer dot com.''</dialogue> <character>WALT</character> <dialogue>I ca n't put a computer in a movie shot in 1895. you wan na tell me how I'm gon na do that?</dialogue> <character>MARTY</character> <dialogue>Actually, the art department had some ideas on.</dialogue> <character>WALT</character> <dialogue>NO NO NO NO NO, PAY HER OFF. DID YOU HEAR ME?!</dialogue> <character>MARTY</character> <parenthetical>( picks up the phone and dials . )</parenthetical> <dialogue>Gim me Howie Gold. Howie? Thizz. I neee. I NEED EIGHT - HUNDRED GRAND. I. I do n't care where it comes from.</dialogue> <parenthetical>( to Walt . )</parenthetical> <dialogue>It comes out of our end.</dialogue> <parenthetical>( Walt gestures do it . )</parenthetical> <dialogue>I. I need. JUST GET ME THE MONEY. I JUST GET ME THE GODDAMN MONEY. Look :</dialogue> <scene_description>Joe barges in .</scene_description> <character>JOE</character> <dialogue>She does n't show her tits! She does n't show her tits. The breasts symbolize motherhood, the audience.</dialogue> <character>MARTY</character> <dialogue>The breasts symbolize motherhood.</dialogue> </scene> <scene> <stage_direction>INT. WALT'S OFFICE - DAY</stage_direction> <scene_description>Joe holding forth to Bill , Walt and Marty . Joe consults his notes , changes his glasses , reads on :</scene_description> <character>JOE</character> <dialogue>The movie's about purity. So we do n't show her breasts. We show them to him. She keeps her back to the camera.</dialogue> <character>WALT</character> <dialogue>she keeps her back to the camera?</dialogue> <character>BILL</character> <dialogue>It'll hurt the box - office.</dialogue> <character>JOE</character> <dialogue>They know what her tits look like.</dialogue> <character>WALT</character> <dialogue>Know? They could draw them from memory. You're fantastic. What a find you are. Get outta here. We need the Dead Horse scene.</dialogue> <character>JOE</character> <dialogue>I'm gon na nail it.</dialogue> <character>WALT</character> <dialogue>I know you are. Go you Huskies.</dialogue> <scene_description>Joe exits . We see the notation , `` Dinner at the Mayor 's House . '' We see Marty walk up to a P.A. in the next room . The P.A. hands Marty a slip of paper . Walt goes to them .</scene_description> <character>MARTY</character> <dialogue>We got the permit.</dialogue> <character>WALT</character> <dialogue>Is that one hell of a kid?</dialogue> <character>MARTY</character> <dialogue>He just saved us eight - hundred thousand bucks.</dialogue> <character>WALT</character> <dialogue>He's got a gift for fiction.</dialogue> <character>MARTY</character> <dialogue>We got to do something nice for him.</dialogue> <scene_description>He takes out his cardcase .</scene_description> <character>MARTY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Gim me a pencil. Get him a bottle of. get him some maple syrup. Stick this card on it, and put it in his room.</dialogue> <character>PROD. ASST.</character> <dialogue>ASST. says. Maple syrup.</dialogue> <scene_description>Marty writes on the card .</scene_description> <character>MARTY</character> <dialogue>Yeah.</dialogue> <scene_description>ANGLE ON CARD It reads : `` Your gift for fiction everything sweet . '' ANGLE ON WALT As he walks back into the other room , holding the permit .</scene_description> <character>MARTY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( in b.g. as he takes back the card . )</parenthetical> <dialogue>Hold on, I wan na add to that.</dialogue> <scene_description>We see him take the card , write `` Over '' on it and draw an arrow .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN STREET - NIGHT</stage_direction> <scene_description>Joe , happy as a clam , sauntering down the street . Smoking a huge cigar . He passes two old codgers , Morris and Spud .</scene_description> <character>SPUD</character> <dialogue>You see where Tom Miller's playin' the Old Farmer?</dialogue> <character>MORRIS</character> <dialogue>He's been playin' Old Farmer nigh on sixty years.</dialogue> <character>SPUD</character> <dialogue>I read for that part. Did pretty good, too.</dialogue> <character>MORRIS</character> <dialogue>Bet you did.</dialogue> <character>SPUD</character> <dialogue>But I could n't r ` member all the words. Ast them would they gim me a second chance.</dialogue> <character>MORRIS</character> <dialogue>Ai n't no second chances in life.</dialogue> <character>SPUD</character> <dialogue>Zat true?</dialogue> <character>MORRIS</character> <dialogue>Only second chance we git, z ` ta make the same mistake twice.</dialogue> <scene_description>ANGLE ON Joe , as he nods to himself , takes out a pad , starts to jot a note , fumbles with his glasses . Joe saunters on , writing , we hear the beeping from the traffic light . Joe hears a screeching of tires . He looks up , a film station wagon comes barreling around the corner , hits the pothole , goes out of control , careens , turns over , knocks down the control box of the traffic light . Joe holds a beat , runs over to the car , to driver 's side . Battered driver , bleeding , upside down . Joe drags him from the car . It is Bob Barrenger .</scene_description> <character>BOB</character> <dialogue>Get the.</dialogue> <character>JOE</character> <dialogue>Are you al?</dialogue> <scene_description>Barrenger points to the other side . Joe looks . ANGLE POV Carla is the passenger , she is dazed but unhurt . ANGLE ON The car .</scene_description> <character>BOB</character> <dialogue>We got ta get her out of here.</dialogue> <scene_description>Carla has extracted herself from the wreck , stands , woozily , on the sidewalk .</scene_description> <character>BOB</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( to Carla . )</parenthetical> <dialogue>Are you alright?</dialogue> <character>CARLA</character> <parenthetical>( nodding . )</parenthetical> <dialogue>I.</dialogue> <character>BOB</character> <dialogue>You got to get out of here.</dialogue> <scene_description>BEAT . She nods , understanding . A light comes on in the apartment over the store . She looks up , starts away down the street . BEAT . Bob rocks back and forth .</scene_description> <character>BOB</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh G - d, oh G - d, oh G - d. do you have a cig.</dialogue> </scene> <scene> <stage_direction>INT. BOB'S HOTEL ROOM - NIGHT</stage_direction> <scene_description>Bob is being bandaged by Doc Wilson . Marty on the phone . Walt , the First A.D. , and Joe also in the room .</scene_description> <character>MARTY</character> <dialogue>He's fine. it's a.</dialogue> <character>DOC WILSON</character> <dialogue>You're going to be fine. I'll stop by tomorrow.</dialogue> <character>WALT</character> <parenthetical>( to Doc . )</parenthetical> <dialogue>Thank you.</dialogue> <scene_description>Doc exits .</scene_description> <character>DOC WILSON</character> <dialogue>Yessir.</dialogue> <character>MARTY</character> <parenthetical>( into phone . )</parenthetical> <dialogue>He's. you wan na talk to?</dialogue> <scene_description>Bob goes over to the phone , his head bandaged . Walt , smoking , stands by the window .</scene_description> <character>BOB</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Hello, Jerry. I'm fine. I'll be ready Wednes. I'm here to make a movie, Bob. Now do n't you worry your, hey, Pal, when have I ever let you down bef. Okay, Babe, you, too.</dialogue> <scene_description>He hangs up .</scene_description> <character>WALT</character> <dialogue>Are you okay?</dialogue> <character>BOB</character> <dialogue>Well, yeah, I'm fine, I reached over to, the girl had to be home, I do n't know, it's a schoolnight, something.</dialogue> <character>WALT</character> <dialogue>Bobby.</dialogue> <character>BOB</character> <dialogue>Everybody needs a hob.</dialogue> <character>FIRST A.D.</character> <dialogue>Walt, I wonder if I could take a minute of your time. I need a day off.</dialogue> <scene_description>There is an abrupt knocking at the door .</scene_description> <character>WALT</character> <dialogue>Who is it?</dialogue> <character>CAL</character> <dialogue>Thiz the police. Is Mr. Barrenger in there?</dialogue> <scene_description>The boys in the room go into a whisper conference .</scene_description> <character>MARTY</character> <dialogue>Okay, look, you, what is she, 19, twenty. oh Christ.</dialogue> <character>BOB</character> <dialogue>Uh, look.</dialogue> <character>MARTY</character> <dialogue>Look : okay. Okay. Look : look you're driving, countryside, so on, you picked her up, she was hitch.</dialogue> <character>WALT</character> <dialogue>No, hey, hey. al, she hid in the back of the car! Happens all the.</dialogue> <scene_description>The knock is repeated .</scene_description> <character>CAL</character> <parenthetical>( outside the door . )</parenthetical> <dialogue>Is Mr. Barrenger there?</dialogue> <character>MARTY</character> <dialogue>No, wait a, wait a, wait a. we ca n't put her in the car, she gets it in her head to sue, or rape, or some goddamn, she was n't in.</dialogue> <character>WALT</character> <dialogue>She was n't in. you were al.</dialogue> <character>MARTY</character> <dialogue>There's no witnesses.</dialogue> <character>WALT</character> <dialogue>No, just the. there's no witnesses, right?</dialogue> <character>BOB</character> <dialogue>No, I just. just Joe, just Joe.</dialogue> <character>WALT</character> <dialogue>Joe, the writer?</dialogue> <character>BOB</character> <dialogue>Just him and me.</dialogue> <scene_description>Knocking was repeated .</scene_description> <character>MARTY</character> <dialogue>Then she was n't in the car. Say it.</dialogue> <character>BOB</character> <dialogue>She was n't in the.</dialogue> <character>MARTY</character> <dialogue>Nobody knows it but us. Alright? It says here.</dialogue> <parenthetical>( to group . )</parenthetical> <dialogue>Are we together on this?</dialogue> <parenthetical>( beat , each nods . )</parenthetical> <dialogue>Because it's sink or swim here, pals.</dialogue> <scene_description>They murmur their assent . Knocking is repeated . Walt goes to the door .</scene_description> <character>MARTY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( to First A.D. and Joe . )</parenthetical> <dialogue>You guys had better leave us a.</dialogue> <character>CAL</character> <dialogue>Mr. Barrenger.</dialogue> <scene_description>Marty ushers Joe and the First A.D. out the room .</scene_description> <character>MARTY</character> <dialogue>Yes?</dialogue> <scene_description>The cop comes in the room .</scene_description> <character>CAL</character> <dialogue>I'm very sorry to.</dialogue> <character>MARTY</character> <dialogue>Well. What seems to be the?</dialogue> <character>CAL</character> <dialogue>I have to ask you these. um. You have a valid drivers' license?</dialogue> <character>MARTY</character> <dialogue>Of course he.</dialogue> <character>CAL</character> <dialogue>Could I see it, please?</dialogue> <scene_description>Bob gestures to his wallet which is on the desk .</scene_description> <character>CAL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Were you under the inf.</dialogue> <character>BOB</character> <dialogue>No.</dialogue> <character>CAL</character> <dialogue>And who was driving the.</dialogue> <character>BOB</character> <dialogue>I was alone in the car. I was driving.</dialogue> <scene_description>The cop is writing down these statements .</scene_description> <character>CAL</character> <dialogue>Well, now, Mr. Barrenger, I'm very sorry, in fact, I'm as sorry as I could be, but.</dialogue> <character>MARTY</character> <dialogue>I'm an attorney, if there's anything you have to say to.</dialogue> <character>CAL</character> <dialogue>I have to give you this ticket for damage to city property. I'm really sorry, Sir, it's a formality, I hope you'll excuse.</dialogue> <character>MARTY</character> <parenthetical>( beat . )</parenthetical> <dialogue>You have to what?</dialogue> <scene_description>Cal reaches in back of him , on his belt , and takes out not the cuffs , but the summons book , he starts to write a summons .</scene_description> <character>CAL</character> <dialogue>It's a formality. Any case of damage to city prop. you hit the control box of the new stop light, and.</dialogue> <parenthetical>( apologetically he hands the ticket to Bob . )</parenthetical> <dialogue>They'll, uh, these things happen, I hope you're alright, and that you're feeling.</dialogue> <character>MARTY</character> <dialogue>Well, officer, do n't worry ab.</dialogue> <character>CAL</character> <dialogue>If there's anything I.</dialogue> <scene_description>Marty walks him out into the hall . Photographers and onlookers in the hall . Phone rings . Walt answers it .</scene_description> <character>WALT</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Yeah. Hello, Mr. Mayor. Walt Price! No, no, sir, he's fine. Well, he's right here! Would you like to?</dialogue> <parenthetical>( covering phone . )</parenthetical> <dialogue>You are not to see that girl again. do you.</dialogue> <scene_description>Door to hall opens . Claire comes in .</scene_description> <character>CLAIRE</character> <dialogue>Hello.</dialogue> <character>WALT</character> <parenthetical>( into phone . )</parenthetical> <dialogue>. he's right here, Mr. Mayor.</dialogue> <character>CLAIRE</character> <parenthetical>( to Bob . )</parenthetical> <dialogue>Bob, are you alright?</dialogue> </scene> <scene> <stage_direction>EXT. FIRESTATION TO PRINTSHOP - NIGHT</stage_direction> <scene_description>The firetruck is being backed into the firestation . Outside a couple of passerbys are running in the rain , putting their collars up . We see Joe is in the firestation writing in his book . As the firetruck backs up we see the firedog bark , and Joe looks up . ANGLE JOE 'S POV Ann is walking past the firestation . Joe comes out to look at her .</scene_description> <character>JOE</character> <dialogue>Hi.</dialogue> <character>ANN</character> <dialogue>Hi.</dialogue> <character>JOE</character> <dialogue>Where you going?</dialogue> <character>ANN</character> <dialogue>Going home.</dialogue> <scene_description>They start to walk down the street in the rain .</scene_description> <character>JOE</character> <dialogue>Going home, yeah. I told them what you said.</dialogue> <character>ANN</character> <parenthetical>( over a clap of thunder . )</parenthetical> <dialogue>What?</dialogue> <character>JOE</character> <dialogue>I told them what you said about the script.</dialogue> <scene_description>They take refuge under the awning of the printshop .</scene_description> <character>ANN</character> <dialogue>I did n't say anything special, I was just talking out loud.</dialogue> <character>JOE</character> <dialogue>how else can you talk?</dialogue> <character>ANN</character> <dialogue>No, that's true.</dialogue> <character>JOE</character> <dialogue>No. You, I told them, you ca n't betray with the picture what you're saying with the words. And, I do n't know, the movies, I do n't know. They should be socially uplifting, why does she have to show her br. what is this?</dialogue> <scene_description>They look in the window of the old printshop , the awning under which they have sheltered .</scene_description> <character>ANN</character> <dialogue>Yessuh. Joseph Knights printshop. Vacant for thirty years.</dialogue> <character>JOE</character> <dialogue>Is it.</dialogue> <character>ANN</character> <dialogue>Yep, n'it's for sale.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>One of the few things money can buy.</dialogue> <scene_description>Joe looks in the window of the printshop .</scene_description> <character>JOE</character> <dialogue>I told them what you said about the script.</dialogue> <scene_description>They take refuge under the awning of the printshop .</scene_description> <character>ANN</character> <dialogue>Would you like to see it? I've got the key back at my store.</dialogue> <character>JOE</character> <dialogue>I'd love to.</dialogue> <scene_description>ANGLE ON Ann , runs out into the rain , Joe runs along side her . In the b.g. , we see the fireman closing the doors of the firehouse , and the firedog being restrained , on a leash , by him and shut up inside the firehouse .</scene_description> </scene> <scene> <stage_direction>EXT. BOOKSHOP - NIGHT</stage_direction> <character>ANN</character> <dialogue>How's your star?</dialogue> <character>JOE</character> <dialogue>Gosh, you look nice.</dialogue> <character>ANN</character> <dialogue>what?</dialogue> <scene_description>There 's a huge flash of lightning and a clap of thunder and the lights on the street flicker , and come back on . BEAT . ANGLE ON Bookshop .</scene_description> <character>JOE</character> <dialogue>What would you do with it, the printshop.</dialogue> <character>ANN</character> <dialogue>Start back up the Waterford Sentinel. Town newspaper. Show you the plans.</dialogue> <scene_description>She goes into the washroom area , and comes out with two towels . She throws one to Joe , and begins toweling her hair with the other . She hands him some plans , which show photos of the old printshop , and copies of the Old Waterford Sentinel , circa 1900 .</scene_description> <character>JOE</character> <dialogue>Yes, it's a lovely idea.</dialogue> <scene_description>She emerges from the back room . She has stripped off her wet jacket and shirt , and put on a light stockboy 's jacket .</scene_description> <character>ANN</character> <dialogue>Print it right here.</dialogue> <scene_description>There 's another clap of thunder , and all the lights go out . PAUSE .</scene_description> <character>ANN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh, my.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Life in the country. One second.</dialogue> <scene_description>Ann takes a small match from the drawer , and lights a small kerosene barn lantern .</scene_description> <character>ANN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Well. There you go.</dialogue> <scene_description>She sits down on the couch , and spreads the plan on a small table .</scene_description> <character>ANN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Press still works.</dialogue> <character>JOE</character> <dialogue>It does?</dialogue> <character>ANN</character> <dialogue>Did as of last week.</dialogue> <scene_description>She shows him the poster for `` Trials of the Heart . ''</scene_description> <character>ANN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Best way I know to get ink on your hands.</dialogue> <character>JOE</character> <dialogue>You'd do the newspaper right here.</dialogue> <character>ANN</character> <dialogue>That's something a man could do?</dialogue> <character>JOE</character> <dialogue>You know what else a man can do?</dialogue> <character>ANN</character> <dialogue>What?</dialogue> <scene_description>He moves closer to her . He is about to kiss her when the firedog appears on the couch between them .</scene_description> <character>ANN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>One moment.</dialogue> <scene_description>She goes in the pocket of her jacket . The dog follows her . She can not find a dog biscuit . BEAT Joe pats the dog on the head . Leads him to the front door , puts him out . The door blows in the rain .</scene_description> <character>JOE</character> <dialogue>Pelting down out there.</dialogue> <character>ANN</character> <dialogue>People might be better off. They thought about it, spent the evening back in the.</dialogue> <scene_description>She comes close to him . The dog reappears between them . Joe looks around , and goes back to a window , and shuts the window . Ann crosses to her desk . Takes out a box of dog biscuits . The box is empty . The two of them lead the dog out , and pet it on the head . They turn back and the door is slammed .</scene_description> </scene> <scene> <stage_direction>EXT. BOOKSHOP - NIGHT</stage_direction> <scene_description>BEAT They start back to find the door locked .</scene_description> <character>ANN</character> <dialogue>Left the keys inside, in my jacket.</dialogue> <scene_description>Joe nods .</scene_description> <character>JOE</character> <dialogue>Well.'S ` pose I should be getting home. look.</dialogue> <scene_description>They turn and Cal , the policeman , is standing next to them . In raingear .</scene_description> <character>ANN</character> <dialogue>Cal.</dialogue> <character>CAL</character> <dialogue>Annie, got an umbrella?</dialogue> <character>ANN</character> <dialogue>Nope.</dialogue> <character>CAL</character> <dialogue>I'll walk you home, you can have my coat.</dialogue> <scene_description>He starts taking off his slicker .</scene_description> <character>ANN</character> <dialogue>Then you'll be wet.</dialogue> <character>CAL</character> <dialogue>I'm goin' off - shift. Come on. I'll walk you home.</dialogue> <scene_description>He covers her with his slicker , and they walk away . WE SEE in the b.g. Uberto and his helper at the firehouse . Uberto swings a shuffleboard disk , and the dalmation window shatters and falls in the street . Some falls on his head .</scene_description> </scene> <scene> <stage_direction>INT. COFFEE CORNER - DAY</stage_direction> <scene_description>Doug talking to Postman .</scene_description> <character>DOUG</character> <dialogue>Ten dollars apiece for outdated textbooks you or I could buy retail for a dollar ninety - five.</dialogue> <scene_description>Carla is serving breakfast , her wrist in a cast and a small bandage on her forehead .</scene_description> <character>DOC WILSON</character> <dialogue>Mornin', Carla. how's the itching?</dialogue> <character>CARLA</character> <dialogue>Okay, Doc.</dialogue> <character>DOUG</character> <dialogue>Bear with me, now - because what're we getting for our money? See the cat and dog? See what I'm saying? Nice to take this opportunity to mount an investigation of.</dialogue> <scene_description>She assembles a tray , starts out the door as Maude comes in .</scene_description> <character>MAUDE</character> <dialogue>Morning, Carla, what happened to you?</dialogue> <character>DOC WILSON</character> <dialogue>She went to fetch a pail of water.</dialogue> <scene_description>Carla goes out the door .</scene_description> <character>DOUG</character> <parenthetical>( to merchant . )</parenthetical> <dialogue>You see what I'm saying, take this opportunity to mount an investigation of the price of school textbooks. Bear with me now : both the cost, and the content of. look here.</dialogue> <scene_description>He produces some first grade spelling text .</scene_description> <character>DOUG</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>because what're we getting for our money? `` See the nice dog. See the nice cat?''</dialogue> <scene_description>They move out of earshot . Ann goes into the Real Estate Office NEXT DOOR to the Coffee Corner . Pausing long enough to look in the window at the placard advertising the Old Printshop . ANGLE INSIDE POV The placard `` Old Printshop . 78 thousand dollars '' `` Under Agreement . ''</scene_description> </scene> <scene> <stage_direction>INT. WALT'S ROOM - DAY</stage_direction> <scene_description>Walt , Marty , Bob , Claire , Joe , coffee urns . They work on the script .</scene_description> <character>WALT</character> <dialogue>So you see what I'm saying. the movie is about purity.</dialogue> <character>BOB</character> <dialogue>I've always seen that.</dialogue> <character>WALT</character> <dialogue>We do n't show her breasts, we just show your reaction.</dialogue> <character>CLAIRE</character> <dialogue>I'm so comfortable with that, Walt, I ca n't tell you.</dialogue> <character>WALT</character> <dialogue>Well, Joe said it, and he's right.</dialogue> <scene_description>Knock at the door . Marty goes to the door . ANGLE Carla outside the door , talking to Marty . Marty takes tray . Carla has bandage on her head and a small cast on her wrist .</scene_description> <character>CARLA</character> <dialogue>And I have Mr. Barrenger's Tuna B.</dialogue> <character>MARTY</character> <parenthetical>( hands her a bill . )</parenthetical> <dialogue>Thank you.</dialogue> <character>CARLA</character> <dialogue>I, well, you know, I tried to take him, in his room.</dialogue> <character>MARTY</character> <dialogue>I think he's moved.</dialogue> <character>CARLA</character> <dialogue>I, uh.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Um.</dialogue> <scene_description>ANGLE Inside the room . Marty closing her out . Bob and Claire talking .</scene_description> <character>BOB</character> <dialogue>That makes a lot of sense, Claire, that makes a lot of. list. listen, cause the audience is n't coming to see your breasts. They are coming to see you act. What are you doin' this evening?</dialogue> <character>CLAIRE</character> <dialogue>I'm having dinner with W.</dialogue> <character>WALT</character> <dialogue>We're going to discuss the scr. you wan na come along?</dialogue> <character>BOB</character> <dialogue>You mind?</dialogue> <character>CLAIRE</character> <dialogue>No, are you kidding me, Bob, not at all.</dialogue> <character>WALT</character> <dialogue>Marty.</dialogue> <character>MARTY</character> <dialogue>Yeah?</dialogue> <character>WALT</character> <dialogue>Would you, tell the guy, get the A.D., someone, somewhere where we can get away, something, I want, you know, last day before the shooting, get away, forget it, have some local food.</dialogue> <parenthetical>( to Joe . )</parenthetical> <dialogue>You want.</dialogue> <character>JOE</character> <dialogue>I've got a date.</dialogue> <character>WALT</character> <dialogue>He's got a date. He's got a date, is this guy fantastic? Already he learned how to write a movie, and he found a girl to get his toes curled, what a guy, what a. what a literary find!</dialogue> <scene_description>First A.D. walks in , talking on a cellphone .</scene_description> <character>FIRST A.D.</character> <parenthetical>( on phone ; sotto . )</parenthetical> <dialogue>I'm trying, honey. I'm. look, is your Ma, when is your mom coming? Oh.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>What did the midwife?</dialogue> <character>WALT</character> <dialogue>Did you, where are we going tonight?</dialogue> <character>FIRST A.D.</character> <dialogue>I?</dialogue> <character>WALT</character> <dialogue>Some, you were, you were going to make a reservation for us? Where's my schedule? Where are we booked tonight?</dialogue> <character>FIRST A.D.</character> <dialogue>My wife's having a baby.</dialogue> <character>WALT</character> <dialogue>You what? Is that on the call sheet, is that on the callsheet, or is that personal business? Ah, Christ. Marty. are we paying you?</dialogue> <character>FIRST A.D.</character> <dialogue>I.</dialogue> </scene> <scene> <stage_direction>INT. BAR - MORNING</stage_direction> <scene_description>The bartender is looking down studying a vast book `` State Statutes of Vermont '' . Doug is drinking .</scene_description> <character>DOUG</character> <dialogue>She did n't even finish knitting me the sweater.</dialogue> <scene_description>First A.D. walks in . Doc Wilson walks in .</scene_description> <character>BARTENDER</character> <dialogue>Mornin', Doc.</dialogue> <character>DOC WILSON</character> <dialogue>You doin' here, Doug? Thought you started out the day with that pernicious caffeine.</dialogue> <character>DOUG</character> <dialogue>Kiss my ass.</dialogue> <character>DOC WILSON</character> <dialogue>Well.</dialogue> <character>BARTENDER</character> <dialogue>He had a hard day. Ann's deserted him for some guy on the movie.</dialogue> <character>DOC WILSON</character> <dialogue>Well, they do n't always leave with the ones they came in with.</dialogue> <character>BARTENDER</character> <dialogue>Big day last night.</dialogue> <character>DOC WILSON</character> <dialogue>Hope to tell you. Did n't I pick the fragments of glass out of Bob Barrenger's actual head myself.</dialogue> <scene_description>ANGLE IN THE B.G. . We see Carla entering with bags of food and checks for bar patrons .</scene_description> <character>BARTENDER</character> <dialogue>Mornin', Carla.</dialogue> <character>CARLA</character> <dialogue>Mornin', Uncle Ron.</dialogue> <character>DOC WILSON</character> <dialogue>Cluster of events. Do n't see something, ten years, allasudden, three times inna night.</dialogue> <character>BARTENDER</character> <dialogue>That's what they call an events cluster. Some guy orders a Manhattan, fifteen, twenty years, allasudden, three times inna night.</dialogue> <character>DOUG</character> <dialogue>Who got their heads cut?</dialogue> <character>BARTENDER</character> <dialogue>some fella. Orders a Manhattan.</dialogue> <character>DOC WILSON</character> <dialogue>What?</dialogue> <character>DOUG</character> <dialogue>Who got their heads cut?</dialogue> <character>DOC WILSON</character> <dialogue>Uh, Bob Barrenger, fella, Cameraman.</dialogue> <character>DOUG</character> <dialogue>You said three.</dialogue> <character>DOC WILSON</character> <dialogue>Did I? I think you're mistaken.</dialogue> <scene_description>ANGLE ON Doug , looking over at Carla , with a small cast on her wrist and her head beneath a babushka , in the lobby . Doug looks up .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR TAVERN MOTEL - DAY</stage_direction> <scene_description>Carla , being led by the hand , by Doug . Following them , her Father Jack and Cal the trooper .</scene_description> <character>CARLA</character> <dialogue>I was n't in the car.</dialogue> <character>DOUG</character> <dialogue>We're going to s.</dialogue> <character>JACK</character> <dialogue>Doug, she says that she was n't in the c.</dialogue> <scene_description>They stop at a room , knock on the door . A PAUNCHY SALESMAN opens the door .</scene_description> <character>SALESMAN</character> <dialogue>Yeah?</dialogue> <character>DOUG</character> <parenthetical>( beat . )</parenthetical> <dialogue>I've got the wrong room.</dialogue> <scene_description>The Procession reverses , starts down the hall , runs into Marty coming out of his room .</scene_description> <character>DOUG</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( to Cal . )</parenthetical> <dialogue>Arrest him.</dialogue> <character>MARTY</character> <dialogue>What is the?</dialogue> <character>DOUG</character> <dialogue>Arrest him.</dialogue> <character>CAL</character> <dialogue>For what?</dialogue> <character>DOUG</character> <parenthetical>( beat . )</parenthetical> <dialogue>Conspiracy in Statutory Rape.</dialogue> <character>MARTY</character> <dialogue>Conspiracy in Statutory Rape? Okay. Of whom?</dialogue> <character>DOUG</character> <dialogue>This young woman.</dialogue> <character>CARLA</character> <dialogue>Nobody touched me, I was at home.</dialogue> <character>MARTY</character> <parenthetical>( to Carla . )</parenthetical> <dialogue>Who is it raped you?</dialogue> <character>CARLA</character> <dialogue>Nobody.</dialogue> <character>MARTY</character> <dialogue>Well, what's the beef?</dialogue> <character>DOUG</character> <dialogue>She was in the car with Bob Barrenger last night. And she was injured coming home from a love tryst, so.</dialogue> <character>MARTY</character> <dialogue>You were in the car with Bob?</dialogue> <character>CARLA</character> <dialogue>No.</dialogue> <character>MARTY</character> <dialogue>Then what is the?</dialogue> <scene_description>He steps back into a linen closet , takes Doug with him by the lapels .</scene_description> </scene> <scene> <stage_direction>INT. LINEN CLOSET - HOTEL HALLWAY - DAY</stage_direction> <character>MARTY</character> <dialogue>Now what is this, you sonofabitch! Because if you have n't heard about the laws of Malicious Prosecution, you're about to. DO N'T FLINCH WHILE I'M TALKING TO YOU, YOU TWO BIT SPEEDTRAP FRAUD : There's an old saying, two scariest things in the world, a black man with a knife and a Jew with a lawyer. Now, I am a lawyer, and I am the Jew, and you continue ONE MOMENT with this slanderous shit here in this public place, I'm going to have your ass over my mantleplace. THE KID WAS NOT IN THE CAR, SHE SAYS THAT SHE WAS N'T IN THE CAR, NO ONE SAYS SHE WAS N'T IN THE CAR, NO ONE SAYS THAT SHE WAS IN THE CAR, YOU HAVE NO CORPUS AND YOU HAVE NO CASE, AND YOU KNOW IT. SO I'M NOT PAYING PATSY WITH YOU HERE, YOU MOTHERFUCKER. Look in my eyes : I made eleven million bucks last year and I do n't like being trifled with. Now I think that the better part of valor, though we've got your back up here. the better part of valor is to step away. Or, before G - d, I will see you disbarred.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Now, what do you think?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>We all have a movie to make. Now, can we stay together here?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>What do you say? Have a cigar.</dialogue> <scene_description>He puts a cigar into Doug 's pocket .</scene_description> </scene> <scene> <stage_direction>INT. HALL - CONTINUOUS</stage_direction> <scene_description>The two come out of the linen closet , Marty with his arm around Doug .</scene_description> <character>MARTY</character> <dialogue>It's a mistake. It's all over.</dialogue> <parenthetical>( to Carla . )</parenthetical> <dialogue>I'm sorry that we've inconvenienced you.</dialogue> <character>CARLA</character> <dialogue>I was n't in the car.</dialogue> <character>MARTY</character> <dialogue>We know that you were n't.</dialogue> <scene_description>They walk down the hall . Before them , Claire , half - clothed , backing out of a motel room .</scene_description> <character>CLAIRE</character> <dialogue>because you treat me like a child. you treat me like a child. that's why I ca n't come.</dialogue> <scene_description>The procession has reached the open door . They look to see whom it is Claire is addressing . Carla looks in the door . ANGLE CARLA 'S POV Bob Barrenger , clutching a towel to his naked self , smoking a cigarette . ANGLE The group in the hall . Carla points into the open door .</scene_description> <character>CARLA</character> <dialogue>He took advantage of me.</dialogue> </scene> <scene> <stage_direction>INT. PROD. OFFICE - DUSK</stage_direction> <scene_description>Cal , Bob Barrenger , Walt , Doug , Carla and Jack .</scene_description> <character>MARTY</character> <dialogue>upset and impressionable.</dialogue> <parenthetical>( to the A.D . )</parenthetical> <dialogue>Get me the Mayor.</dialogue> <character>BOB</character> <parenthetical>( to Carla . )</parenthetical> <dialogue>. I was just talking to that girl in the other room.</dialogue> <character>MARTY</character> <dialogue>overcome by the events around her, the presence of a high - powered.</dialogue> <character>BOB</character> <parenthetical>( to Carla . )</parenthetical> <dialogue>I never touched her. My mother's gr.</dialogue> <character>MARTY</character> <dialogue>And a fantasy object.</dialogue> <character>DOUG</character> <parenthetical>( to Cal . )</parenthetical> <dialogue>Tell him to get dressed.</dialogue> <character>CAL</character> <dialogue>Uh, sir.</dialogue> <scene_description>The First A.D. enters with lawbooks , marked as to page .</scene_description> <character>MARTY</character> <parenthetical>( takes lawbooks . )</parenthetical> <dialogue>Wally?</dialogue> <character>WALT</character> <dialogue>Look, Carla, this is a hard time for you. Many young people go to Hollywood. I did. and we all dream of it, and here, here Hollywood has come to you.</dialogue> <character>CAL</character> <dialogue>Mr. Barrenger, I'm very sorry, but.</dialogue> <character>WALT</character> <dialogue>Here this dream world has come to you. Now, you obviously have an active, a vivid imagination.</dialogue> <character>CARLA</character> <dialogue>Her.</dialogue> <character>BOB</character> <dialogue>I swear that that woman in my room.</dialogue> <character>WALT</character> <dialogue>Be quiet, Bob. A fertile mind. Now we can use that kind of people in our work. Yes, we can. Now, and this is what occurs to me. There's a part in the film. is n't that right, Marty?</dialogue> <scene_description>Marty is perusing the lawbooks .</scene_description> <character>MARTY</character> <dialogue>Mmm.</dialogue> <character>WALT</character> <dialogue>That we could use you in and I think that's quite a fine trade - off all around and an ill wind that blows somebody good.</dialogue> <character>MARTY</character> <parenthetical>( of the book . )</parenthetical> <dialogue>Here it is : Statutory r. blah, blah, blah, blah. `` statutory''. `` unsupported testimony by the.''.</dialogue> <parenthetical>( he shows the book to Doug . )</parenthetical> <dialogue>Hold on, Bobby.</dialogue> <parenthetical>( to Doug . )</parenthetical> <dialogue>You've got nothing and you know it. By G - d, you know it. Harassment. You need a. even if this was true, you need a witness. You need someone puts her in the car. And you've got nothing. Now we all have. yes, give her that part in the film.</dialogue> <parenthetical>( to Carla . )</parenthetical> <dialogue>Yes, we'd love to have you. Now : we all have more important things to do, is n't that right?</dialogue> <scene_description>Marty starts ushering everyone out of the room .</scene_description> <character>MARTY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Is n't that right? I'm sorry that you all went to this.</dialogue> <character>JACK</character> <dialogue>I knew she was n't in the car.</dialogue> <character>MARTY</character> <dialogue>This has been just an unfortunate.</dialogue> <scene_description>He ushers them out , the phone is ringing . Walt picks it up .</scene_description> <character>WALT</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Yes? Hello, Mr. Mayor. Nothing, just an, an unfortunate.</dialogue> <parenthetical>( he covers the phone . )</parenthetical> <dialogue>It's the Mayor, he's saying.</dialogue> <character>MARTY</character> <dialogue>Is he cool or angry?</dialogue> </scene> <scene> <stage_direction>INT. MAYOR'S HOUSE - CONTINUOUS</stage_direction> <scene_description>Mayor on the phone . Sherry in the b.g.</scene_description> <character>MAYOR</character> <dialogue>Well, these things happen. Purpose of my call, my wife wanted to know what brand of cigarettes Mr. Barrenger smokes, so she could lay some out tonight. we got the list of his dietary requirements.</dialogue> </scene> <scene> <stage_direction>INT. PROD. OFFICE - CONTINUOUS</stage_direction> <character>WALT</character> <parenthetical>( hangs up phone . )</parenthetical> <dialogue>So we just got lucky.</dialogue> <character>BILL</character> <dialogue>Marty, it's Howie Gold on the coast. He needs your confirmation on a request for money?</dialogue> <character>MARTY</character> <dialogue>And I need a drink.</dialogue> <scene_description>Marty exits .</scene_description> <character>WALT</character> <parenthetical>( to Bob . )</parenthetical> <dialogue>If your memory was as long as your dick, you'd be in good shape. How long since you almost went to jail for this shit?</dialogue> <character>BOB</character> <dialogue>How could she turn on me like that? I thought she liked me.</dialogue> <character>WALT</character> <dialogue>Can we try to keep our pants buttoned and get out of this town in one piece?</dialogue> <character>BOB</character> <dialogue>I'm ready!</dialogue> <character>WALT</character> <dialogue>Stay ready. Stay by yourself in your room.</dialogue> <character>BOB</character> <dialogue>What'll I do for fun?</dialogue> <character>MARTY</character> <dialogue>Why n't you learn your lines?</dialogue> <character>BOB</character> <dialogue>I know my lines.</dialogue> <character>WALT</character> <dialogue>You do?</dialogue> <character>BOB</character> <dialogue>I just do n't know what order they come in.</dialogue> <scene_description>Walt walks away from Bob , shaking his head . ANGLE ON Walt , as he walks down the stairs .</scene_description> <character>WALT</character> <dialogue>I tell you what, let's ditch these cockamamie locals. I need to get outta here. Go to some roadhouse tonight, just us. Claire, Bob, siddown, have a bottle of wine. Tell me where we're going, and let's go.</dialogue> <scene_description>They walk by the bullpen , wherein we see P.A.s refilling Evian bottles from a ratty old watering can . P.A.s take us , with their Evian bottles , into Walt 's office , where we see the `` Dinner with the Mayor '' sign .</scene_description> </scene> <scene> <stage_direction>INT. MAYOR'S HOME - NIGHT</stage_direction> <scene_description>Twelve overdressed people , including the Postman , the Gunstore Owner , etc. sitting , still around the Mayor 's laden dining table . BEAT . Sherry looks over her shoulder . ANGLE ON Next room , the Mayor on the phone . Hushed .</scene_description> <character>MAYOR</character> <dialogue>Well, you must, where did they. where. I.</dialogue> <scene_description>PAUSE Very angry , he HANGS UP and looks out the window . ANGLE POV The Mayor lets the shade drop , walks back to the table . Silence .</scene_description> </scene> <scene> <stage_direction>INT. BAR - NIGHT</stage_direction> <scene_description>Doug , in his cups , at the end of the bar with the First A.D.</scene_description> <character>DOUG</character> <dialogue>Hey, you've got ta eat a peck of dirt.</dialogue> <character>FIRST A.D.</character> <dialogue>My wife just went into labor.</dialogue> <scene_description>The bartender studies his state statutes book . BARTENDER 'S POV Inside the book , the storyboards show the movie 's heroes copulating .</scene_description> <character>DOUG</character> <dialogue>Half a buck I'd close it down. It's per. you know. it's perfidy, you got your Barrenger, molesting little girls.</dialogue> <character>FIRST A.D.</character> <dialogue>He should be put in jail.</dialogue> <character>DOUG</character> <dialogue>Half a buck I'd put him in jail.</dialogue> <character>FIRST A.D.</character> <dialogue>You should.</dialogue> <character>DOUG</character> <dialogue>I had a witness, I would.</dialogue> <character>FIRST A.D.</character> <dialogue>A witness to what?</dialogue> <character>DOUG</character> <dialogue>You know, the rape, to. even to the accident.</dialogue> <character>FIRST A.D.</character> <dialogue>You mean with White?</dialogue> <character>DOUG</character> <dialogue>What?</dialogue> <character>FIRST A.D.</character> <dialogue>You mean you need a witness in addition to White?</dialogue> <character>DOUG</character> <dialogue>Who's White?</dialogue> <character>FIRST A.D.</character> <dialogue>The writer.</dialogue> <character>DOUG</character> <parenthetical>( beat . )</parenthetical> <dialogue>He saw the accident?</dialogue> <character>FIRST A.D.</character> <dialogue>Sure.</dialogue> <character>DOUG</character> <dialogue>He saw the girl in the car.</dialogue> <character>FIRST A.D.</character> <dialogue>You bet he did.</dialogue> </scene> <scene> <stage_direction>INT. MAYOR'S HOME - NIGHT</stage_direction> <scene_description>The Mayor and his wife alone at the table . The maid emptying trays of food , untouched , into a galvanized steel garbage pail placed in the middle of the room . One of the guests leaving , putting on her coat . Dips back into the dining room to try to pick up a tray of pate .</scene_description> <character>SHERRY</character> <dialogue>Do n't you touch that. I want them gone.</dialogue> <character>MAYOR</character> <dialogue>I signed the permit. I do n't know how I can.</dialogue> <character>SHERRY</character> <dialogue>I want them thrown in jail.</dialogue> <character>MAYOR</character> <dialogue>Sherry, Sherry.</dialogue> <scene_description>She empties it into the trash . BEAT . The guest , chagrined , leaves . The Mayor , sitting and drinking booze out of a large glass . The phone RINGS . BEAT . He goes to answer it .</scene_description> <character>MAYOR</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( into phone . )</parenthetical> <dialogue>What?</dialogue> <parenthetical>( he jiggles the receiver . )</parenthetical> <dialogue>Get me the State Police.</dialogue> </scene> <scene> <stage_direction>EXT. PRINT SHOP - DAY</stage_direction> <scene_description>A sign in the window , `` Sold '' is stamped over and reads `` Under Agreement . '' Early summer morning . Joe , holding a cup of coffee , looking at the print shop . Ann walks up .</scene_description> <character>JOE</character> <dialogue>Good morning.</dialogue> <character>ANN</character> <dialogue>Sleep well?</dialogue> <character>JOE</character> <dialogue>Yeah, you?</dialogue> <character>ANN</character> <dialogue>Oh yeah.</dialogue> <character>JOE</character> <dialogue>We could live up here, live up in the country.</dialogue> <character>ANN</character> <dialogue>Now you're talking.</dialogue> <character>JOE</character> <dialogue>And we could get up every morning.</dialogue> <character>ANN</character> <dialogue>well, we do that anyway.</dialogue> <character>JOE</character> <dialogue>And come to the printshop. You know why?</dialogue> <character>JOE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>To print the newspaper. And I'd come to write. To write. To write. Right here in the office.</dialogue> <character>ANN</character> <dialogue>Not without a rolltop desk.</dialogue> <character>JOE</character> <dialogue>Well, I could get a rolltop desk.</dialogue> <character>ANN</character> <dialogue>Happen to know where there's one for sale.</dialogue> <character>JOE</character> <dialogue>Well ai n't you amazing.</dialogue> <scene_description>They walk on , onto the scene of various filmfolk setting up .</scene_description> </scene> <scene> <stage_direction>EXT. STATE AND MAIN - INTERSECTION - CONTINUOUS</stage_direction> <character>ANN</character> <dialogue>Lookit that, up already.</dialogue> <character>JOE</character> <dialogue>That's why we filmfolk get along so well with you farmers. Both up with the chickens.</dialogue> <scene_description>They push through the mass . The street is closed off by Police Cars . They come upon a TV REPORTER doing a standup in front of the firehouse where we see , in front , both the old firetruck and state trooper cars .</scene_description> <character>TV REPORTER</character> <dialogue>Where Movie Star Bob Barrenger, fresh from his troubles with the law last year.</dialogue> <scene_description>ANGLE ON Ann and Joe , as they look on . ANGLE ON A state trooper and Doug , as they walk through the crowd . Marty walks up to the TV REPORTER .</scene_description> <character>TV REPORTER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>is once again in hot water. Involved in a car crash last night with a young, a very young woman, Mr. Barrenger is being arrested today for.</dialogue> <character>MARTY</character> <dialogue>You better make sure you got your facts straight, pal, cause, you step off the line and I'm going to sue you personally for.</dialogue> <scene_description>The trooper , Doug , and Bob Barrenger walk up to Marty .</scene_description> <character>TROOPER</character> <dialogue>We're looking for a Joseph Turner White.</dialogue> <character>MARTY</character> <dialogue>Oh, good, yes. Good morning. Where are you taking Mr. Barrenger?</dialogue> <character>TROOPER</character> <dialogue>We are looking for a Mr. Joseph Turner White?</dialogue> <character>MARTY</character> <dialogue>What are you doing with Mr. Barrenger?</dialogue> <character>DOUG</character> <dialogue>He's under arrest.</dialogue> <scene_description>Doug hands the arrest warrant to Marty .</scene_description> <character>MARTY</character> <dialogue>Oh, good. I'm his lawyer. and you must be Perry Mason. Guess what, you're about one - half step from a world of hurt. how diverting. the Mayor's gon na have your ass. Can I watch?</dialogue> <scene_description>CAMERA takes the group , the trooper , Doug , Bob , in handcuffs , Marty talking with them , through the crowd , on the back of which we see Ann and Joe .</scene_description> <character>DOUG</character> <dialogue>Well, you guess what. The Mayor sent me. I have your Mr. Barrenger with a history of.</dialogue> <character>MARTY</character> <dialogue>a history of nothing, he was acquitted.</dialogue> <character>DOUG</character> <dialogue>Moral turp. you're on my home court, friend. I have the Mayor and the town behind me, and forget making your movie : I may own the studio when I get through with you : I got a civil suit, I got rape, I got collusion.</dialogue> <character>MARTY</character> <dialogue>You've got nothing, you do n't have a witness.</dialogue> <character>DOUG</character> <dialogue>And I've got a witness! Your Mr. White saw the crime.</dialogue> <character>MARTY</character> <dialogue>He told you that!?</dialogue> <character>DOUG</character> <dialogue>He did n't have to tell.</dialogue> <character>MARTY</character> <dialogue>I want to talk to him. Would you ex.</dialogue> <character>DOUG</character> <dialogue>Oh, you're his attorney, too?</dialogue> <character>MARTY</character> <dialogue>Later for you, pal.</dialogue> <character>DOUG</character> <dialogue>Okay.</dialogue> <scene_description>He motions the cop to take out Barrenger . Marty sees Joe in the back .</scene_description> <character>MARTY</character> <dialogue>Bobby, do n't say anything.</dialogue> <character>BOB</character> <dialogue>Nothing happened.</dialogue> <character>DOUG</character> <dialogue>We'll see about that at the inquest.</dialogue> <scene_description>ANGLE ON Marty , as he leads Joe down into an alleyway , and into a backyard , hung with washing on the lines .</scene_description> <character>MARTY</character> <dialogue>Yeah, hi, pal. I need to talk to you.</dialogue> </scene> <scene> <stage_direction>INT. BOOKSHOP - DAY</stage_direction> <scene_description>Ann , Joe and Marty . Cal has followed them into the bookstore . He speaks privately with Ann and exits .</scene_description> <character>ANN</character> <dialogue>What is it all about?</dialogue> <character>JOE</character> <dialogue>I saw.</dialogue> <character>MARTY</character> <dialogue>How do they know that, you told them?</dialogue> <character>JOE</character> <dialogue>No.</dialogue> <character>MARTY</character> <dialogue>What did you say to them?</dialogue> <character>JOE</character> <dialogue>I did n't say anything to them.</dialogue> <character>MARTY</character> <dialogue>How do you know you saw it?</dialogue> <character>JOE</character> <dialogue>I do n't know.</dialogue> <character>MARTY</character> <dialogue>Well, then, you did n't see it, right?</dialogue> <character>JOE</character> <dialogue>I do n't.</dialogue> <character>MARTY</character> <dialogue>You did n't see it.</dialogue> <character>JOE</character> <dialogue>I? I saw it. I was there.</dialogue> <character>MARTY</character> <dialogue>You were there. At. at 10:35?</dialogue> <scene_description>Joe takes the arrest warrant . Looks at it . Changes his glasses .</scene_description> <character>JOE</character> <parenthetical>( as he reads . )</parenthetical> <dialogue>I was walking down the street. I remember, I was writing a.</dialogue> <character>MARTY</character> <dialogue>What glasses were you wearing?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Were you wearing your reading glasses?</dialogue> <character>JOE</character> <dialogue>I.</dialogue> <character>MARTY</character> <dialogue>You told me you were writing. Do n't you wear your reading glasses to write?</dialogue> <scene_description>Marty 's cellphone rings and he answers it . After a pause , he hangs up .</scene_description> <character>MARTY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I've got to go to the jail.</dialogue> <scene_description>He exits , leaving Walt alone with Ann and Joe . ANGLE ON Ann . She sees something down the other street . We see Cal , the policeman , enter and start toward Joe . We see Ann restrain him , and speak to him in the b.g. for several moments . He shakes his head , and she reasons with him , and there is a pause and he looks at Joe , and exits . BEAT</scene_description> <character>ANN</character> <dialogue>he's going to give you a couple of minutes.</dialogue> <scene_description>PAUSE Joe walks Ann off to the closed back door of `` The Waterford Players . ''</scene_description> <character>JOE</character> <dialogue>What am I gon na do?</dialogue> <character>ANN</character> <dialogue>You got to tell'em that you saw the accident. Do n't you?</dialogue> <character>JOE</character> <dialogue>I ca n't do that.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>If I tell them, they'll, if I tell them, they'll try Bob for rape, they'll. it'll ruin his career.</dialogue> <character>ANN</character> <dialogue>But that's what happened.</dialogue> <character>JOE</character> <dialogue>But it'll stop the movie.</dialogue> <character>ANN</character> <dialogue>Maybe they'll be other movies.</dialogue> <character>JOE</character> <dialogue>They'll. they'll blackball me.</dialogue> <character>ANN</character> <dialogue>Carla was in the car, right?</dialogue> <character>JOE</character> <dialogue>I. I think that's right.</dialogue> <character>ANN</character> <dialogue>you think that's right.</dialogue> <scene_description>PAUSE</scene_description> <character>JOE</character> <dialogue>What'm I gon na do?</dialogue> <scene_description>Ann picks up a copy of the old Waterford Sentinel , which was left on the coffee table . Ann hands the paper to Joe . ANGLE ON Joe , holding the paper . ANGLE INS . The masthead reads , `` Waterford Sentinel , All the News of the Mountains , ` You Shall Not Bear False Witness . ' '' ANGLE ON Ann , who has also picked up the `` For Sale '' sign , showing the printshop . She stands looking at Joe . BEAT . Cal enters . They look towards him .</scene_description> <character>CAL</character> <dialogue>Lotta hubbub on the street. I'm taking you the back way.</dialogue> </scene> <scene> <stage_direction>EXT. BACKYARD OF THE BOOKSHOP - DAY</stage_direction> <scene_description>Cal walks with Joe , still holding the newspaper . As they round a housecorner , Walt appears and walks with Joe .</scene_description> <character>WALT</character> <parenthetical>( checks watch . )</parenthetical> <dialogue>Let's speak English. You've got to help the side.</dialogue> <character>JOE</character> <dialogue>You want me to lie.</dialogue> <character>WALT</character> <dialogue>To the contrary. I want you to tell the truth.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>The truth is, you ca n't tell me, to a certainty, that you saw the thing. You do n't remember, a gun to your head, which glasses you have on. And you have a fertile imagination. Imagination wants to fill in the blanks. Now. IF you are n't sure, then they have nothing. Bob walks free. As he should.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Joe : was n't long ago they buried actors at the crossroads with a stake through their heart, you know? The people who are talking to you about the way we live though we may praise them, we fear them. And they fear us. Because we tell the truth. About our lives. Now, this is a damn roost, and everyone knows it ; the guy is looking for a case, he wants to make a name for himself. If we let him do that, if we let him do that, then we're being false to our community. to our community, you understand? To our world. Cause you are a part of that world, now. You have to take off the steel Rolex and put on the Gold Rolex.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>And be part of your world. I got a five picture deal with the studio. And you stick with me. You write one, two more, you stick with me, and you'll direct the third one. You are a part of this world. You have to do the right thing : we're out in the Provinces, the Sheriff, literally is at our door. You have to stand with the troops, Joe. That's the bottom line. You have to. if you had the leisure to think it through, you'd see it for yourself. The girl was n't in the car.</dialogue> <scene_description>Cal takes Joe to a side door of the courthouse .</scene_description> </scene> <scene> <stage_direction>INT. SMALL COURTROOM - DAY</stage_direction> <scene_description>Joe coming in through the side entrance of the courtroom . Various law books and dusty forms on the shelves . Cal leads him into the courtroom , empty , save for the court reporter , Maude and the BAILIFF . Cal motions Joe forward .</scene_description> <character>CAL</character> <dialogue>Joseph Turner White.</dialogue> <character>BAILIFF</character> <dialogue>Hear ye, hear ye. Sixth District Court. And for the county of Kadona, State of Vermont, the honorable James Addison Flynn presiding. All those having business before this court, draw forward and you will be heard.</dialogue> <scene_description>Judge enters .</scene_description> <character>BAILIFF</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>All rise.</dialogue> <character>JUDGE</character> <dialogue>Please. Mr. White? This is a simple matter of.</dialogue> <scene_description>Scott hands him a sheet of paper .</scene_description> <character>JUDGE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Uh huh, all we need's a simple fact or to. you're going to give your recollection of the accident last evening, at the corner, State and Main. Would you please swear him in.</dialogue> <character>BAILIFF</character> <dialogue>Do you swear to tell the truth.</dialogue> </scene> <scene> <stage_direction>EXT. MAIN STREET - DAY</stage_direction> <scene_description>A crowd , moving along , with the TV Reporter .</scene_description> <character>TV REPORTER</character> <parenthetical>( talking into camera . )</parenthetical> <dialogue>. the arraignment, as we said of Bob Barrenger, The Bob Barrenger, star of `` The Old Mill,'' about to begin shooting here, in picaresque and sleepy.</dialogue> <parenthetical>( sound of shouting , and reporter looks around . )</parenthetical> <dialogue>we should say, formerly sleepy. Yes, yes, it's. yes, it's Claire Wellesley, and we're going to try to get a look at.</dialogue> <scene_description>The crowd moves away , revealing Ann , standing in front of the realtors , looking at a card in her hand . She looks up to see Joe coming toward her . ANGLE ON Extreme close up , she smiles . ANGLE ON Extreme close up , Joe . He looks toward Ann , sheepishly . ANGLE BACK ON Ann , as she looks down at the card in her hands . ANGLE INSERT It is the real estate placard for the printshop , marked `` under agreement . '' ANGLE ON Ann , as she rips it up .</scene_description> </scene> <scene> <stage_direction>INT. LOBBY OF THE HOTEL - DAY</stage_direction> <scene_description>Joe , coming in , a hangdog look on his face .</scene_description> <character>P.A.</character> <parenthetical>( to Joe . )</parenthetical> <dialogue>They need those rewrites on the `` Old Mill'' scene.</dialogue> <scene_description>Joe nods . Continues through the lobby . ANGLE ON Various reporters , Scott being interviewed .</scene_description> <character>SCOTT</character> <dialogue>about his personal life, though I can tell you a few things about.</dialogue> <scene_description>Joe walks past .</scene_description> <character>JOE</character> <dialogue>Would you please hold all calls to my room?</dialogue> <character>SCOTT</character> <dialogue>Though I can tell you a few things about his dietary requirements.</dialogue> <scene_description>The old bellhop is packing up his lunchbox and changing into his streetclothes .</scene_description> </scene> <scene> <stage_direction>INT. JOE'S ROOM - DAY</stage_direction> <scene_description>Joe enters and takes out his pad and pencil . He sits on the bed . On the pillow , he sees and picks up a black and red hunting jacket , onto which the one foot short sleeve has been knitted in baby blue . There is a card in the picket that reads `` Better than new - it 's got a story ! '' He puts it down . He picks up his notebook , in which he has written : `` The Purpose of the Second Chance is to allow you to make the same mistake twice . '' He stops by the mirror on the chiffonier into which he puts the lure , which still has the attached card reading `` The truth may not always set you free , but it 's always the truth - Joseph Turner White . '' Joe goes to the bed . On the bed is a small package tied with ribbon . Joe opens it . ANGLE INS . It is a small thing of maple syrup . Attached to it is a card reading : `` It is your invention which makes everything sweet . '' He takes off his jacket , and picks up his notebook . Out of his jacket pocket falls the old copy of the Waterford Sentinel . He picks it up . ANGLE JOE 'S POV The masthead : Waterford Sentinel `` The Voice of the Mountains , You Shall Not Bear False Witness . '' He puts the newspaper down . Picks up the maple sugar card again , and looks at it . He sees an arrow and turns it over ANGLE INS . The back of the card reads : `` How about an Associate Producer credit ? '' He takes the paper , balls it up and throws them into the trash . He picks up the fishing lure which is resting on the typewriter . Puts it into his pocket , thinks again , throws it in the trash . Shakes his head , and picks up his suitcase and starts packing .</scene_description> </scene> <scene> <stage_direction>EXT. ANN'S STREET - DAY</stage_direction> <scene_description>On Doc Wilson , as he walks down the street . A little kid , on a scooter is going in the other direction .</scene_description> <character>KID ON SCOOTER</character> <dialogue>Mornin', Doc.</dialogue> <character>DOC WILSON</character> <dialogue>Mornin', Billy, where ya goin' in such a hurry?</dialogue> <character>KID ON SCOOTER</character> <dialogue>Down the corner, see the ruckus.</dialogue> <character>DOC WILSON</character> <dialogue>Watch the curbs, now.</dialogue> <scene_description>ANGLE ON Joe , as he stands across from Ann 's house , looking at it . He holds his suitcase .</scene_description> <character>DOC WILSON</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( of his suitcase . )</parenthetical> <dialogue>Where you off to?</dialogue> <character>JOE</character> <dialogue>I, uh. I'm leaving.</dialogue> <character>DOC WILSON</character> <dialogue>Why?</dialogue> <character>JOE</character> <dialogue>I perjured myself.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>I told a lie, and I ruined my life. That's what I did.</dialogue> <parenthetical>( shrugs . )</parenthetical> <dialogue>I do n't suppose you could help me with that, could you? Turn back the clock, or something? Give me back my, give me back my purity, I do n't suppose you could just wave your magic wand and do that, could you? But what is truth? Eh? Ai n't that the thing? What is true?</dialogue> <character>DOC WILSON</character> <dialogue>It's the truth that you should never trust anybody, wears a bowtie. Cravat's s ` posed to point down to accentuate the genitals, why'd you wan na trust somebody, s ` tie points out to accentuate his ears?</dialogue> <scene_description>Joe turns to see Doc swigging from his flask . In the b.g. , we see the bellhop walking . BEAT</scene_description> <character>JOE</character> <dialogue>Are n't you supposed to set an example for people?</dialogue> <character>DOC WILSON</character> <dialogue>Nope. I'm just supposed to hold people's hands while they die. What'd you say your problem was?</dialogue> <character>JOE</character> <dialogue>I just swore my life away, back in that.</dialogue> <character>DOC WILSON</character> <parenthetical>( as he sees an older woman off on a porch to the side . )</parenthetical> <dialogue>Mornin', Chessy, how's the back?</dialogue> <scene_description>Doc walks off to his office .</scene_description> </scene> <scene> <stage_direction>EXT. RAILROAD STATION - DAY</stage_direction> <character>JOE</character> <dialogue>I ruined my life. Is n't that funny, that you can actually do it in one moment just like they say. I ruined my life back in that courthouse.</dialogue> <scene_description>Bellhop , who has walked up beside him .</scene_description> <character>BELLHOP</character> <dialogue>What courthouse?</dialogue> <character>JOE</character> <dialogue>Courthouse back in town.</dialogue> <character>BELLHOP</character> <dialogue>Town ai n't got no courthouse.</dialogue> <character>JOE</character> <dialogue>What?</dialogue> <character>BELLHOP</character> <dialogue>Ai n't got no courthouse. Courthouse burnt down, 1960.</dialogue> <scene_description>The train is arriving . The stationmaster puts out the steps to help the people down .</scene_description> <character>JOE</character> <dialogue>Well, where do they hold court?</dialogue> <character>BELLHOP</character> <dialogue>Hold court, they have to, science lab, the high school.</dialogue> <scene_description>An ELDERLY LOOKING JUDGE FELLOW descends from the train , followed by the CADDY with his golf bag .</scene_description> <character>STATION MASTER</character> <dialogue>Mornin', judge, what brings you here?</dialogue> <character>JUDGE</character> <dialogue>I'm s ` posed to hear some deposition, some fool saw the accident last night.</dialogue> <character>JOE</character> <dialogue>the courthouse burnt down?</dialogue> <character>STATION MASTER</character> <dialogue>Yep. Courthouse burnt down, 1960. Part of a spate of fires, Old Mill, Courthouse. S'posed to've been set by some deranged teenager.</dialogue> <scene_description>Joe looks around . ANGLE JOE 'S POV The old bellhop walking down the tracks . ANGLE ON Joe , as he turns back into town . ANGLE CLOSE UP On the Station Master .</scene_description> <character>STATION MASTER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yep, never did discover who set'em.</dialogue> <scene_description>He smiles , and lights his cigar .</scene_description> </scene> <scene> <stage_direction>EXT. COURT HOUSE BUILDING - DAY</stage_direction> <scene_description>We see the crowd has moved down the street and the `` Courthouse '' building is empty .</scene_description> </scene> <scene> <stage_direction>INT. COURT HOUSE BUILDING - DAY</stage_direction> <scene_description>Joe enters , and the camera takes him into the deserted building , through the courtroom and , in back , he sees Ann standing alone . He walks back to her , through the doors which appear to be the Judge 's chambers . ANGLE REVERSED We show that the walls of the Courtroom are the set , and we are back in the `` Trials of the Heart '' set . Ann is sitting there . Reading her play by Joe White . He looks at her for an explanation . Maude , the court reporter woman , is sitting in the b.g. Ann is knitting in pink wool .</scene_description> <character>ANN</character> <dialogue>I thought you needed to get it out of your system.</dialogue> <scene_description>Ann moves to embrace Joe . They hear screaming . They turn .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN STREET - DAY</stage_direction> <scene_description>ANGLE THEIR POV At the end of the alleyway , in Main Street . We see Sherry , the Mayor 's wife , leading a crowd .</scene_description> <character>SHERRY</character> <dialogue>a blight, a blight and an obscenity. that's good English, is n't it? How's that for entertainment?</dialogue> <scene_description>ANGLE At the mouth of the alleyway , on Main Street . We see : ANGLE INS . The baseball on which is written `` To Chucky from your best friend , Bob Barrenger . '' ANGLE XCU The distorted face of Chucky , heaving the baseball . ANGLE ON Bob Barrenger being led through the crowd , a baseball hitting him in the back of the head , as troopers hustle him toward the courthouse . In the b.g. , Ann and Joe emerging in the alleyway . ANGLE ON Ann and Joe , who starts to cross the street . We see the airport van .</scene_description> <character>ANN</character> <dialogue>What are you going to do?</dialogue> <character>JOE</character> <dialogue>I'm going to tell the truth.</dialogue> <scene_description>They start to cross the street . In the b.g. , a little man with a bag -LRB- HOWIE -RRB- gets out of the airport van . Joe and Ann walk toward the crowd at the mouth end of the high school .</scene_description> </scene> <scene> <stage_direction>INT. HIGH SCHOOL CORRIDOR - DAY</stage_direction> <scene_description>A crowd of people , TV technicians , and a view of Doug on a TV monitor .</scene_description> <character>DOUG</character> <dialogue>and to exterminate this vermin, yes, I use that term, who have abused, who have desecrated, yes, the license granted to them by a gracious nation.</dialogue> <scene_description>ANGLE ON Marty and Walt , standing near the monitor , looking on . Shaking their heads . ANGLE ON The monitor . Doug , seen through the monitor .</scene_description> <character>DOUG</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>who spew filth and degradation.</dialogue> <parenthetical>( begins to wipe his head . )</parenthetical> <dialogue /> <scene_description>As he does so , a makeup person comes in and sponges him .</scene_description> <character>DOUG</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>thank you.</dialogue> <character>TV REPORTER</character> <dialogue>you want to clean up?</dialogue> <scene_description>ANGLE ON Doug , seen `` live '' in the next room , starting to wipe his brow .</scene_description> <character>DOUG</character> <dialogue>Yes, thank you.</dialogue> <scene_description>ANGLE ON Marty and Walt watching Doug , as he walks down the hall .</scene_description> <character>TECHNICIAN</character> <dialogue>Five minutes, and we're going live to the network.</dialogue> <character>DOUG</character> <parenthetical>( to himself . )</parenthetical> <dialogue>. foreign, and un - American perversions of the Democratic process. By those we have entrusted with our dreams.</dialogue> <scene_description>ANGLE ON Marty and Walt , looking on .</scene_description> <character>WALT</character> <dialogue>Do something.</dialogue> <character>MARTY</character> <dialogue>You tell me what to do, I'll do it.</dialogue> <scene_description>They look on to the preparations for the TV .</scene_description> <character>WALT</character> <dialogue>and I was just paying off my house in Malibu.</dialogue> <scene_description>Ann and Joe push through the crowd .</scene_description> <character>WALT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Thank G - d, it's up to you, Pal. Sup to you.</dialogue> <character>JOE</character> <dialogue>I'm out.</dialogue> <character>WALT</character> <dialogue>I do n't getcha.</dialogue> <character>JOE</character> <dialogue>The girl was in the car.</dialogue> <character>WALT</character> <dialogue>I treated you like a son or nephew.</dialogue> <character>JOE</character> <dialogue>It's no you, it's.</dialogue> <character>WALT</character> <dialogue>No, what is it?</dialogue> <character>JOE</character> <dialogue>I have to tell the truth.</dialogue> <character>WALT</character> <dialogue>that's just so narrow.</dialogue> <character>JOE</character> <dialogue>The girl was in the car.</dialogue> <character>WALT</character> <dialogue>Then you're finished in show business.</dialogue> <character>JOE</character> <dialogue>So be it.</dialogue> <character>WALT</character> <dialogue>And my company sues your ass for sixty million dollars.</dialogue> <character>JOE</character> <dialogue>For what cause?</dialogue> <character>WALT</character> <dialogue>I do n't need a cause, just a lawyer.</dialogue> <scene_description>HOWIE GOLD shows up holding his bag .</scene_description> <character>HOWIE</character> <dialogue>I'm a lawyer.</dialogue> <character>MARTY</character> <dialogue>Howie.</dialogue> <character>HOWIE</character> <dialogue>Yeah?</dialogue> <character>MARTY</character> <dialogue>What are you doing here?</dialogue> <character>HOWIE</character> <dialogue>What am I doing here is I just flew seven hours cause you asked me here.</dialogue> <character>WALT</character> <dialogue>What for?</dialogue> <character>HOWIE</character> <parenthetical>( presenting the bag . )</parenthetical> <dialogue>For this. I hope you need it, cause it's coming outta your budget.</dialogue> <scene_description>ANGLE INS. : The Bag , as Marty opens it - it 's full of MONEY .</scene_description> </scene> <scene> <stage_direction>INT. LAVATORY HIGH SCHOOL - DAY</stage_direction> <scene_description>Doug is mopping his face up . He looks up . Marty is standing there .</scene_description> <character>MARTY</character> <dialogue>Hi.</dialogue> <character>DOUG</character> <dialogue>I'd prefer it if you did n't speak to me.</dialogue> <character>MARTY</character> <dialogue>I.</dialogue> <character>DOUG</character> <dialogue>you know, there's nothing you could say, that could possibly make a difference, so, why do n't you just save your breath.</dialogue> <scene_description>Marty puts the case up on the washstand .</scene_description> <character>DOUG</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What's in the case?</dialogue> <character>MARTY</character> <dialogue>Eight - hundred thousand dollars in cash.</dialogue> <scene_description>PAUSE</scene_description> <character>DOUG</character> <dialogue>And what was it you wanted to say?</dialogue> <character>MARTY</character> <dialogue>Gut Yuntif.</dialogue> </scene> <scene> <stage_direction>INT. HIGH SCHOOL CORRIDOR - DAY</stage_direction> <scene_description>Ann and Joe passing through . They stop and Joe comes up to a State Trooper . As we press forward the Mob begins to reverse direction and passes back towards Joe . Leaving the Hall empty , save for the Judge who comes out , putting his robs into his golf bag .</scene_description> <character>JOE</character> <parenthetical>( to Judge . )</parenthetical> <dialogue>I've come to give myself up.</dialogue> <character>JUDGE</character> <dialogue>Well give yourself up to someone else. I'm gon na get in some golf. Hiya, Annie. Give yourself up to her.</dialogue> <scene_description>And we see Joe has moved up to the TV monitor , where we see Doug , in the Science Lab , talking to the press , and holding his money bag in his arms .</scene_description> <character>DOUG</character> <dialogue>I have learned a lesson. And the lesson is this. that everybody needs a second chance. You, me, and these fine, film people here. You know, they have a high profile, but that does n't mean they are n't deserving of our trust, and of our respect. You know, I think there is a lesson here, and the lesson is this : it is a lesson of Tolerance. and, as we look at this industry, at this clean, American industry, and as I begin my campaign for congress.</dialogue> <scene_description>DISSOLVE</scene_description> </scene> <scene> <stage_direction>EXT. MAIN STREET - DAY</stage_direction> <scene_description>Walt on the scene , talking with the cinematographer , and the Camera Operator , preparing the first shot . The First A.D. instructing the extras .</scene_description> <character>FIRST A.D.</character> <dialogue>Okay. Are we getting set up here. are we getting set up. People? Can we settle. can we settle now?</dialogue> </scene> <scene> <stage_direction>EXT. MAIN STREET - CONTINUOUS</stage_direction> <scene_description>ANGLE ON Ann . As she , holding the placard starts to cross the street . An old farmer smoking a pipe , driving a pick up is stopped by a P.A. talking on a walkie . We see that it is the `` Judge '' who listened to Walt 's testimony . Ann waves to him , and proceeds to the Old Firehouse , where they are about to make a movie .</scene_description> <character>FIRST A.D.</character> <dialogue>Okay, this is picture.</dialogue> <scene_description>Ann stops at the back of the crowd of onlookers . She waves to someone . ANGLE ANN 'S POV It is Joe , sitting near the director , who waves back . ANGLE ON Ann , who is next to Cal , the policeman , now in leather jacket and leaning on his Harley motorcycle .</scene_description> <character>FIRST A.D.</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Quiet, please.</dialogue> <scene_description>ANGLE ON The slate , which reads `` The Fires Of Home . ''</scene_description> </scene> <scene> <stage_direction>EXT. MAIN STREET - FIRESTATION - CONTINUOUS</stage_direction> <scene_description>Where they are filming the characters in turn of the century garb . Bob Barrenger , dressed as a fireman , is polishing the old fire engine . The actor playing Doc Morton walks past .</scene_description> <character>DOC MORTON</character> <dialogue>Mornin', Harry. Heard you had a little fire last night.</dialogue> <character>FIREMAN</character> <dialogue>Waal, you did n't have nothin' to do, Doc, would n't life be dull?</dialogue> <scene_description>Two nuns walk by .</scene_description> <character>BOB</character> <dialogue>Mornin', sister.</dialogue> <character>CLAIRE</character> <parenthetical>( in nun garb . )</parenthetical> <dialogue>We missed you in Church today, Frank.</dialogue> <character>BOB</character> <dialogue>Sister, I've just come from a fire.</dialogue> <scene_description>ANGLE ON Joe , sitting near the camera , looking through the script . Reading along , mouthing the words . He wears the plaid jacket , one sleeve is pink , knitted . ANGLE ON The on - lookers . Ann , Cal , next to her , lounging on his motorcycle . Grace and Maude , Spud and Morris , the Postman , the fake Judge , who is also the man smoking the pipe in the first sequence and is smoking a pipe now , Scott from the hotel , etc. . ANGLE ON Crew , and the film within the film . We see the lively stable across the way . On its side are painted various ads . Among them , one which says : `` Stefan P. Bazoomercom '' and Marty is standing next to it . Looking on at the scene being filmed . An A.D. brings him a cup of coffee . The A.D. is passing out pink bubblegum cigars , the bands of which read `` It 's a Girl ! '' ANGLE ON Film within the film , the group at the camera watching , transfixed .</scene_description> <character>SISTER</character> <dialogue>to come by next Sunday, and we'll give you a second chance.</dialogue> <character>BOB</character> <dialogue>Only second chance I know, chance t ` make the same mistake twice.</dialogue> <character>SISTER</character> <dialogue>Well, time will tell.</dialogue> <scene_description>She walks past the `` Bazoomer.com '' ad .</scene_description> <character>FIRST A.D.</character> <parenthetical>( holding cellphone to his ear . )</parenthetical> <dialogue>That's a cut!</dialogue> <scene_description>ANGLE ON Ann and Cal , as they talk , the firedog comes over and Ann gives him a biscuit . In the b.g. , we see the man with the pipe get into his pickup and drive off . The Postman goes off continuing his rounds . ANGLE ON Ann and Cal as they talk . Next to them Morris and Spud congratulate each other . Next to them , we see the fake judge and the bailiff .</scene_description> <character>CAL</character> <dialogue>Mom's expecting you for dinner tonight.</dialogue> <character>ANN</character> <dialogue>I'll be there.</dialogue> <character>CAL</character> <dialogue>You bringing your new friend?</dialogue> <character>ANN</character> <dialogue>Sure plan to</dialogue> <character>CAL</character> <parenthetical>( pause . )</parenthetical> <dialogue>He have any special delivery requirements?</dialogue> <character>ANN</character> <dialogue>He'll eat potroast and like it.</dialogue> <character>CAL</character> <dialogue>Go you Huskies?</dialogue> <character>ANN</character> <dialogue>You bet your life.</dialogue> <scene_description>ANGLE ON Joe , as he looks over at Ann and smiles . ANGLE ON Ann , giving him a `` thumbs up '' sign as the Firedog comes and sits next to her . In the b.g. , we see the pickup hit the pothole and bounce . FADE TO BLACK . THE END .</scene_description> </scene> </script>

Havoc is wrought on the inhabitants of a small New England town by a troubled film production. After the leading man's penchant for underage girls gets them banished from their New Hampshire location, the crew relocates to the small town of Waterford, Vermont, to finish shooting The Old Mill. As its title suggests, the film depends on the presence of a genuine mill, something the town is reported to possess. Unfortunately, with only days before principal photography begins, it becomes apparent that the mill in fact burned down decades ago. Unfazed, the film's director, Walt Price (William H. Macy), places his faith in the ability of first-time screenwriter Joseph Turner White (Philip Seymour Hoffman) to alter the script. What he doesn't count on is White's apparently bottomless reserve of angst-fueled writer's block. A local bookseller, Annie Black (Rebecca Pidgeon), tries to provide White with inspiration. The film's leading lady (Sarah Jessica Parker) refuses to do her contracted nude scene unless she's paid an additional $800,000, while the foreign cinematographer offends the locals by messing with a historic firehouse. Meanwhile, the leading man, Bob Barrenger (Alec Baldwin), dallies with Carla (Julia Stiles), a crafty local teen. Everything comes to a head after Barrenger and Carla are injured in a car accident, which leads White (the only witness) to another emotional quandary and into the arms of Annie. Meanwhile, a powerful movie producer (David Paymer) comes to town to help Price with the ensuing mess.

Sylvie's Love_2020

tt9827834

<script> <scene> <character>SYLVIE'S LOVE</character> <dialogue>Screenplay by</dialogue> <character>EUGENE ASHE</character> <dialogue>Blue Rev. (12/17/2018) Pink Rev. (12/20/2018) Yellow Rev. (1/9/2019) Green Rev. (2/2/2019)</dialogue> <scene_description>Goldenrod Rev. (2/12/2019) iAm21 Entertainment, LLC info@iam21.com (310) 614-7734 No portion of this material may be performed, reproduced or used by any means, or quoted or published in any medium without the written consent of iAm21. Distribution to unauthorized persons is prohibited. DO NOT DUPLICATE But that is love, to give away everything, to sacrifice everything, without the slightest desire to get anything in return. -- Albert Camus</scene_description> </scene> <scene> <stage_direction>INT./EXT. CONCERT HALL - NEW YORK CITY (1962) - MAGIC</stage_direction> <character>HOUR/NIGHT</character> <dialogue>CLOSEUP ornate elevator doors. SEE the elevator arrive on the first floor, the doors open and out steps a middle-aged black THEATER USHER. FOLLOW the Usher to the brass theater doors. The USHER opens the door and props it open. GUESTS begin to fill the frame and hand him their tickets as they enter. HEAR Nancy Wilson's "The Nearness Of You" begin.</dialogue> </scene> <scene> <stage_direction>EXT. CONCERT HALL - CLOSEUP A WHITE COUPLE</stage_direction> <scene_description>A WHITE COUPLE, in the foreground, leave the frame revealing SYLVIE PARKER, 28, a beautiful black woman wearing a Tiffany blue cocktail dress, with gloves and a georgette stole. She checks her tiny platinum watch as CONCERT-GOERS continue to enter the theater. END SONG.</scene_description> </scene> <scene> <stage_direction>INT. NYC RECORDING STUDIO - CONTROL BOOTH - NIGHT</stage_direction> <scene_description>SID SCHUUR, 35, stands over a RECORDING ENGINEER who sits at the faders. Sid leans in and presses the intercom.</scene_description> <character>SID</character> <dialogue>Alright guys -- let's take it from \* the head. \*</dialogue> </scene> <scene> <stage_direction>INT. NYC RECORDING STUDIO - NIGHT - WIDE SHOT - THE DICKIE</stage_direction> <character>BREWSTER QUARTET</character> <dialogue>The piano player is DICKIE BREWSTER, 35, the leader of the band; the bass player, BUZZY WALCOTT, is 28 and slightly overweight with glasses; the 30-year-old light-skinned drummer is CHICO SWEETNEY; and the handsome tenor saxophone player is ROBERT HALLOWAY, 30. Robert lifts his sax to his mouth and begins to play B-LOVED (Pre-Recorded).</dialogue> </scene> <scene> <stage_direction>EXT. CONCERT HALL - NIGHT - CLOSEUP SYLVIE</stage_direction> <scene_description>She checks her watch again as CONCERT-GOERS enter the theater. SONG CONTINUES.</scene_description> </scene> <scene> <stage_direction>INT. NYC RECORDING STUDIO - NIGHT - CLOSEUP - ROBERT</stage_direction> <scene_description>Now deeply into his saxophone playing. INTERCUT - CLOSEUPS OF: Sylvie in front of the CONCERT HALL/Robert in the STUDIO playing sax.</scene_description> </scene> <scene> <stage_direction>EXT. CONCERT HALL - NIGHT - CLOSEUP SYLVIE</stage_direction> <scene_description>Waiting in front of the concert hall. FADE MUSIC DOWN.</scene_description> </scene> <scene> <stage_direction>EXT. MR. JAY'S RECORD STORE, HARLEM (SUMMER 1957) -</stage_direction> </scene> <scene> <stage_direction>INT. MR. JAY'S RECORD STORE - DAY</stage_direction> <scene_description>The DOOR CHIMES as a CUSTOMER exits, MR. JAY, 55, turns on an old fan. A YOUNGER SYLVIE is behind the counter watching a TV that sits on top of another TV with a blank screen.</scene_description> <character>MR. JAY</character> <dialogue>See, there's nothin' wrong with this fan.</dialogue> <scene_description>The fan stops. Mr. Jay switches it on and off several times.</scene_description> <character>MR. JAY</character> <dialogue>Come on fan.</dialogue> <character>SYLVIE</character> <dialogue>Daddy, it's broken, that's why it was out on the street.</dialogue> <character>MR. JAY</character> <dialogue>That's what you said when I found that TV set you're watchin' too; and it had a perfect picture.</dialogue> <character>SYLVIE</character> <dialogue>And no sound...</dialogue> <character>MR. JAY</character> <dialogue>And what did I do?</dialogue> <character>MR. JAY</character> <dialogue>Found another TV that only had sound.</dialogue> <character>SYLVIE</character> <dialogue>"Found another TV that only had sound."</dialogue> <character>MR. JAY</character> <dialogue>That's called "ingenuity."</dialogue> <character>SYLVIE</character> <dialogue>That's called "cheap."</dialogue> <scene_description>Mr. Jay waves her off as he turns off the top TV, sound comes from the bottom one; he turns that one off too.</scene_description> <character>MR. JAY</character> <dialogue>Sylvie, it's a beautiful summer day, wouldn't you rather be outside with Mona or something?</dialogue> <character>SYLVIE</character> <dialogue>No daddy, I wanna spend time with you.</dialogue> <scene_description>Sylvie turns both TVs back on and gets lost in a program again. Mr. Jay shakes his head, and walks away.</scene_description> </scene> <scene> <stage_direction>INT. DICKIE'S APARTMENT - KITCHEN - BRONX, NY - DAY</stage_direction> <scene_description>CARMEN, Hispanic, 28, cooks a pan full of eggs.</scene_description> <character>CARMEN</character> <parenthetical>(yelling)</parenthetical> <dialogue>Breakfast is "Soived!"</dialogue> <scene_description>Carmen puts plates of ham and eggs on the table as a YOUNGER ROBERT files in with Chico and Buzzy and the three sit at the table. Dickie joins wearing a stocking cap. He kisses Carmen \* and pours a cup of coffee from the percolator. \*</scene_description> <character>DICKIE</character> <dialogue>Gentlemen, Gentlemen -- Morning.</dialogue> <character>ROBERT</character> <dialogue>What time's the gig tonight?</dialogue> <character>DICKIE</character> <dialogue>Nine o'clock.</dialogue> <character>ROBERT</character> <dialogue>I need to find a record store and pick up Monk's new side; Newk is on it.</dialogue> <character>DICKIE</character> <dialogue>Who's the rest of the personnel?</dialogue> <character>ROBERT</character> <dialogue>Uh, Paul Chambers, Clark Terry...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Chico -- Max Roach is on it.</dialogue> <character>CARMEN</character> <parenthetical>(drinking coffee)</parenthetical> <dialogue>Nothing around here, but there're a \* bunch of record stores in Harlem...</dialogue> <character>CHICO</character> <dialogue>Mind if I tag along? I need to cop me some new kicks. These soles are so thin if I stepped on a sandwich, I could feel the mayonnaise.</dialogue> </scene> <scene> <stage_direction>EXT. HARLEM STREET - DAY</stage_direction> <scene_description>Robert and Chico walk along the street window shopping, Chico twirls his drumsticks as a YOUNG LADY walks by.</scene_description> <character>CHICO</character> <dialogue>Great googa mooga -- look at all that sugah!</dialogue> <parenthetical>(follows after her)</parenthetical> <character>CHICO</character> <dialogue>How you doin'? You know the lighter the roast, the stronger the coffee?</dialogue> </scene> <scene> <stage_direction>EXT. MR. JAY'S RECORD STORE - DAY - ROBERT'S POV - SEE</stage_direction> <scene_description>SYLVIE, behind the counter watching TV. Robert watches her for a moment as she laughs at the TV and he smiles to himself before noticing a HELP WANTED SIGN in the window. He enters the store.</scene_description> </scene> <scene> <stage_direction>INT./EXT. MR. JAY'S RECORD STORE - DAY</stage_direction> <scene_description>As Robert enters, he snatches the help wanted sign from the window, and walks up to Sylvie, who is glued the TVs watching "The Goldbergs."</scene_description> <character>ROBERT</character> <dialogue>Excuse me Miss... Do you have Thelonious Monk's "Brilliant Corners"?</dialogue> <character>SYLVIE</character> <parenthetical>(Not looking up; pointing at the racks)</parenthetical> <dialogue>Bebop section, between Charlie Mingus and James Moody.</dialogue> <character>ROBERT</character> <dialogue>Thanks.</dialogue> <scene_description>Robert thumbs through the LPs, slides out Monk's "Brilliant Corners" then walks back over and sets it on the counter.</scene_description> <character>SYLVIE</character> <dialogue>That'll be three dollars.</dialogue> <character>ROBERT</character> <dialogue>Um -- how much is the discount if you work here?</dialogue> <character>SYLVIE \*</character> <dialogue>We're not hiring. \*</dialogue> <scene_description>Robert holds up the "Help Wanted" sign.</scene_description> <character>SYLVIE (CONT'D) \*</character> <dialogue>See... \*</dialogue> <scene_description>(sighs) \* My fiancé is away in Korea, and my \* mother won't allow television in \* the house, so I have to come here \* to daddy's store everyday to watch \* my shows until Lacy... \*</scene_description> <character>ROBERT \*</character> <dialogue>Your fiancé? \*</dialogue> <scene_description>Sylvie nods in agreement. \*</scene_description> <character>SYLVIE</character> <dialogue>...gets home, and we get married, \* and I can finally have a tv of my \* own. \*</dialogue> <scene_description>Robert takes a pamphlet from a display case on top of the \* counter. \*</scene_description> <character>SYLVIE</character> <dialogue>But, my mother... Eunice Johnson, \* of the... \*</dialogue> <character>ROBERT \*</character> <dialogue>(reading the pamphlet) \*</dialogue> <scene_description>"Eunice Johnson School of etiquette \* and manners?" \*</scene_description> <character>SYLVIE \*</character> <dialogue>Mm-hmm. \*</dialogue> <scene_description>Robert leans back on the record shelf. \*</scene_description> <character>SYLVIE</character> <dialogue>She has some of the finest young \* ladies, from the best families in Harlem, attend her school -- So, she has a certain image to uphold and therefore...</dialogue> <character>SYLVIE</character> <dialogue>Doesn't want people to think that \* I'm here because daddy can't afford \* to hire help. \*</dialogue> <scene_description>(beat) \* So -- that's why we keep that sign \* in the window even though we don't \* need anyone. \*</scene_description> <character>MR. JAY (O.S.)</character> <dialogue>Sylvie?!</dialogue> <character>SYLVIE</character> <parenthetical>(yelling)</parenthetical> <dialogue>Yes daddy?</dialogue> <character>MR. JAY</character> <dialogue>What's going on out there?!</dialogue> <character>SYLVIE</character> <parenthetical>(screaming)</parenthetical> <dialogue>Just someone about the sign again.</dialogue> <scene_description>Mr. Jay joins, and looks Robert up and down.</scene_description> <character>MR. JAY</character> <dialogue>What's your name boy?</dialogue> <character>ROBERT</character> <dialogue>Robert, Robert Halloway.</dialogue> <scene_description>Mr. Jay grabs the sign from Robert and RIPS it in half.</scene_description> <character>MR. JAY</character> <dialogue>Well Robert Halloway you're hired. Come back tomorrow, ten a.m.</dialogue> <parenthetical>(to Sylvie)</parenthetical> <dialogue>Would you please find something to \* do with your summer 'sides watchin' \* those TV's all day? \*</dialogue> <scene_description>Mr. Jay exits. Robert holds up the LP again.</scene_description> <character>ROBERT</character> <dialogue>So... um, how much is this with my discount?</dialogue> <character>EXT. BLUE MOROCCO NIGHT CLUB - NIGHT - PUBLICITY PHOTO OF THE</character> <dialogue>QUARTET.</dialogue> <dialogue>SEE PATRONS enter past a large guy wearing a turban.</dialogue> </scene> <scene> <stage_direction>INT. BLUE MOROCCO NIGHT CLUB - NIGHT</stage_direction> <scene_description>The guys perform B-BOP (Prerecorded). They play well, but don't look very polished.</scene_description> </scene> <scene> <stage_direction>INT. BLUE MOROCCO - BAR - NIGHT</stage_direction> <scene_description>After the show Robert and Dickie sit at the bar. SONNY, the bartender, wearing a blue fez, approaches.</scene_description> <character>DICKIE</character> <dialogue>Ay Sonny -- two J.W. Dants.</dialogue> <scene_description>Sonny sits a glass in front of each guy and pours the shots.</scene_description> <character>SONNY</character> <dialogue>These are on the Countess.</dialogue> <character>DICKIE</character> <dialogue>Who, "Miss Ann" over there?</dialogue> <character>SONNY</character> <dialogue>Yeah.</dialogue> <scene_description>Dickie tosses back his whiskey and gets up.</scene_description> <character>DICKIE</character> <parenthetical>(to Robert)</parenthetical> <dialogue>C'mon.</dialogue> </scene> <scene> <stage_direction>INT. BLUE MOROCCO - COUNTESS'S TABLE - NIGHT</stage_direction> <scene_description>Dickie and Robert approach the COUNTESS, White, 45 and sophisticated, who sits alone at a table.</scene_description> <character>DICKIE</character> <dialogue>Hey, uh, thanks for the drinks. I'm Dickie Brewster, and this here's Bobby Halloway.</dialogue> <character>COUNTESS</character> <dialogue>You guys really let go on that last one; it was quite impressive.</dialogue> <parenthetical>(extending a gloved hand)</parenthetical> <dialogue>Genevieve, but friends call me "Genie."</dialogue> <character>DICKIE</character> <parenthetical>(kissing her gloved hand)</parenthetical> <dialogue>Genie huh? Do you grant wishes too?</dialogue> <character>COUNTESS</character> <dialogue>Of course...</dialogue> <parenthetical>(slightly risqué)</parenthetical> <dialogue>...but only if you rub my lamp just right.</dialogue> <scene_description>She lifts a cigarette to her mouth and Dickie lights it.</scene_description> <character>COUNTESS</character> <dialogue>Do sit down.</dialogue> <scene_description>The guys sit.</scene_description> <character>COUNTESS</character> <parenthetical>(to Robert)</parenthetical> <dialogue>So "B-flat," you're the genuine article aren't you? I noticed you were playing quintuples in 5/4 time; what an innovative way to experiment with a non-common time signature.</dialogue> <character>ROBERT</character> <dialogue>Thanks.</dialogue> <character>COUNTESS</character> <dialogue>I'm having some friends over at my place on Friday night, sort of an impromptu jam session -- I'd love for you all to drop by.</dialogue> <scene_description>Countess hands Robert a business card, but Dickie grabs it.</scene_description> <character>DICKIE</character> <parenthetical>(standing)</parenthetical> <dialogue>We'll be there.</dialogue> <character>ROBERT</character> <parenthetical>(standing)</parenthetical> <dialogue>We actually have a late set on Friday.</dialogue> <character>COUNTESS</character> <dialogue>We're a nocturnal bunch, I'm sure we'll just be getting started.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Well -- until then.</dialogue> <scene_description>Dickie and Robert head back to the bar.</scene_description> <character>DICKIE</character> <dialogue>Man, do you know who that was?!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>That's the "Countess von Bismarck." She's rumored to be the estranged Great-grand-daughter of Prince Otto von Bismarck "The Iron Chancellor."</dialogue> <character>ROBERT</character> <dialogue>Yeah, she's "a strange" alright.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>'What an innovative way to experiment with a non-common time signature'? What a bunch of applesauce.</dialogue> <character>DICKIE</character> <dialogue>Well, she's loaded and likes to sponsor young musicians; word is, you get with that chick -- doors start to open.</dialogue> </scene> <scene> <stage_direction>EXT. ROOFTOP "TAR BEACH" - DAY</stage_direction> <scene_description>Sylvie and her cousin MONA, 21, lay on a blanket on the roof sunbathing. Mona bops her head to MUSIC from a transistor radio.</scene_description> <character>MONA</character> <dialogue>Favorite song from a movie?</dialogue> <character>SYLVIE</character> <dialogue>"The Man That Got Away" from "A Star Is Born..." Favorite song from... Senior year of High School?</dialogue> <character>MONA</character> <parenthetical>(thinking)</parenthetical> <dialogue>"C'est si bon" Eartha Kitt...</dialogue> <parenthetical>(mischievously)</parenthetical> <dialogue>Favorite song to... mess around to?</dialogue> <character>SYLVIE</character> <dialogue>I'm not answering that.</dialogue> <character>MONA</character> <dialogue>Mine is "My Sugar Is So Refined" Johnny Mercer.</dialogue> <character>SYLVIE</character> <dialogue>You know -- You'll never get a good man to marry you, if you keep "messin' aroun'" with every Tom, Dick and Harry you meet.</dialogue> <character>MONA</character> <dialogue>Speaking of "Dicks..." tell me about this new guy at the store, is he cute?</dialogue> <character>SYLVIE</character> <dialogue>I didn't notice. \*</dialogue> </scene> <scene> <stage_direction>INT. MR. JAY'S RECORD STORE - BASEMENT - DAY</stage_direction> <scene_description>Robert carries a big box, Mr. Jay holds the door for him, as he descends the stairs to the basement.</scene_description> <character>MR. JAY</character> <dialogue>This basement door is tricky; be careful not to shut it all the way, else you'll be locked down here.</dialogue> <character>ROBERT</character> <dialogue>Yes sir.</dialogue> <character>MR. JAY</character> <dialogue>Just put that down over there.</dialogue> <scene_description>Robert puts the box down.</scene_description> <character>MR. JAY</character> <dialogue>So, what else you do Robert?</dialogue> <character>ROBERT</character> <dialogue>Play the sax.</dialogue> <character>MR. JAY</character> <dialogue>You don't say? I used to be a sax- soff-fonnist myself... You ever hear of the "Scooty-Scooty Blues?"</dialogue> <character>ROBERT</character> <dialogue>I don't think I know that one.</dialogue> <character>MR. JAY</character> <parenthetical>(singing)</parenthetical> <dialogue>"T'was a long-legged beauty... gave me the Scooty-Scooty blues." I wrote that, back in Orangeburg, South Cacki-Lacki; "Geechie Jay" that's what they called me.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Tenor or Alto?</dialogue> <character>ROBERT</character> <dialogue>Tenor.</dialogue> <character>MR. JAY</character> <dialogue>What kinda axe you swing?</dialogue> <character>ROBERT</character> <dialogue>I play a Selmer Super Action.</dialogue> <character>MR. JAY</character> <dialogue>Nice.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I had me a Conn "New Wonder" with a Snakeskin case... I was a real "Honker" like Illinois Jacquet.</dialogue> <character>ROBERT</character> <dialogue>You still play?</dialogue> <character>MR. JAY</character> <dialogue>Naw, once I started a family, I gave that all up; this record store's my only tie to music now.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I tried to teach Sylvie, but she's got it in her head that she's gonna make TV shows one day. Can you imagine, a colored girl making TV shows?</dialogue> <scene_description>Mr. Jay laughs, then coughs, then rubs his chest.</scene_description> <character>ROBERT</character> <dialogue>You okay?</dialogue> <character>MR. JAY</character> <dialogue>Yeah, just a little heartburn... one too many slices of "Streak-o- lean" for breakfast, nothing a little Bromo seltzer won't cure.</dialogue> </scene> <scene> <stage_direction>EXT. UPPER EAST SIDE STREET - NIGHT</stage_direction> <scene_description>The GUYS walk to the Countess's party.</scene_description> <character>ROBERT</character> <dialogue>Listen, I can't stay too late.</dialogue> <character>DICKIE</character> <dialogue>What you got goin'?</dialogue> <character>CHICO</character> <dialogue>Bobby took a day job at a record store so he could put the make on this babe -- and she's engaged.</dialogue> <character>ROBERT</character> <dialogue>I took it because we ain't making no dough at the Blue Morocco.</dialogue> <scene_description>Dickie stops in front of an elegant Beaux Arts townhouse.</scene_description> <character>DICKIE</character> <dialogue>Well, that's all about to change.</dialogue> <parenthetical>(whistles)</parenthetical> <dialogue>This is it.</dialogue> <scene_description>Dickie opens the door to a full blown party.</scene_description> <character>DICKIE</character> <dialogue>Gentlemen, gentlemen -- We have arrived.</dialogue> </scene> <scene> <stage_direction>INT./EXT. COUNTESS'S MANSION - NIGHT - ON COUNTESS</stage_direction> <scene_description>Standing by the piano. The PIANO PLAYER begins the Bill Evans tune "Monicas Vals" (prerecorded). \*</scene_description> <character>COUNTESS</character> <parenthetical>(singing; in Swedish)</parenthetical> <dialogue>"Enkel, vacker, om ... och den paminner mig om hundratals dar Som jag varit med dig..."</dialogue> <scene_description>The Countess is actually very good; she does a sexy little dance while she sings and Dickie digs it. When the piano player takes a solo, the Countess heads into the crowd and grabs Robert. First he resists but the crowd eggs him on and finally he straps on his saxophone and plays until the song ends and there is thunderous applause.</scene_description> </scene> <scene> <stage_direction>INT. COUNTESS'S MANSION - NIGHT - LATER</stage_direction> <scene_description>The last of the guests file out. Countess sits with Dickie on a sofa.</scene_description> <character>COUNTESS</character> <dialogue>So, who's your manager?</dialogue> <character>DICKIE</character> <dialogue>We don't have one... not yet.</dialogue> <character>COUNTESS</character> <dialogue>How much "Dust" is the Blue Morocco paying you for the summer?</dialogue> <character>DICKIE</character> <dialogue>Two hundred.</dialogue> <character>COUNTESS</character> <dialogue>Dollars? For the whole summer? See, a good manager would never let them pay you pennies for a Picasso, and that sax player of yours, he's the Demoiselles d'Avignon.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Well, the first thing is, if you want to be New York musicians, you need to look the part.</dialogue> <scene_description>Countess opens her purse and takes out a stack of hundreds.</scene_description> <character>COUNTESS</character> <dialogue>Five hundred should cover new suits for the four of you.</dialogue> <scene_description>Dickie reaches for the money, and the Countess pulls it away.</scene_description> <character>COUNTESS</character> <dialogue>Uh, uh, uh -- not so fast. Next time someone asks who your manager is... What do you say?</dialogue> <character>DICKIE</character> <dialogue>You are?</dialogue> <scene_description>The Countess hands Dickie the five hundreds.</scene_description> <character>COUNTESS</character> <dialogue>Attaboy.</dialogue> <scene_description>The Countess takes back one of the hundreds.</scene_description> <character>DICKIE</character> <dialogue>Hey, what's the big idea?</dialogue> <character>COUNTESS</character> <dialogue>I get twenty percent.</dialogue> </scene> <scene> <stage_direction>INT./EXT. MR. JAY'S RECORD STORE - DAY</stage_direction> <scene_description>Mr. Jay tinkers with an electric fan as Sylvie fans herself \* while watching tv. Mr. Jay plugs in the fan. \*</scene_description> <character>MR. JAY</character> <dialogue>Alright, try it.</dialogue> <scene_description>Sylvie turns on the fan. SEE a spark shoot out from the outlet. Mr. Jay jumps.</scene_description> <character>SYLVIE</character> <dialogue>DADDY! You almost got electrocuted.</dialogue> <scene_description>Mr. Jay throws the fan in the garbage can.</scene_description> <character>MR. JAY</character> <dialogue>Once Robert's finished downstairs, go on and close up early; I'm gonna go find us an air conditioner.</dialogue> <scene_description>Mr. Jay exits.</scene_description> <character>SYLVIE</character> <parenthetical>(yelling after him)</parenthetical> <dialogue>Why don't you just buy one?!</dialogue> <character>CLOSEUP - RECORD PLAYER</character> <dialogue>SEE a 45 rpm Record drop with a label that reads: "See You Later, Alligator" - Bill Haley and His Comets. The Needle advances and falls down on the spinning disk.</dialogue> <scene_description>BILL HALEY (on the record) "Well, I saw my baby walkin'... With another man today. Well, I saw my baby walkin' With another man today... (beat) "When I asked her what's the matter -- This is what I heard her say..." Sylvie starts to sing and dance around the store.</scene_description> <character>SYLVIE</character> <parenthetical>(singing along)</parenthetical> <dialogue>"See you later alligator... After 'while crocodile...."</dialogue> </scene> <scene> <stage_direction>INT. MR. JAY'S RECORD STORE - BASEMENT - DAY</stage_direction> <scene_description>Robert cuts and breaks down empty boxes in his tank top, he HEARS MUSIC coming from upstairs, puts the knife in his back pocket and heads up the stairs. UPSTAIRS - CONTINUOUS Sylvie still sings and dances around to the song.</scene_description> <character>SYLVIE</character> <dialogue>"See you later alligator... After 'while crocodile. Can't you see you're in my way now Don't you know you cramp my style!"</dialogue> <scene_description>When the record is over Robert, who stands leaning in the basement doorway, CLAPS at her performance.</scene_description> <character>SYLVIE</character> <dialogue>OH! I was just... Daddy said we could close up early.</dialogue> <character>ROBERT</character> <parenthetical>(chuckles)</parenthetical> <dialogue>Let me just finish up downstairs.</dialogue> <scene_description>ROBERT starts down the stairs and SYLVIE FOLLOWS.</scene_description> <character>SYLVIE</character> <dialogue>I'll help you.</dialogue> <character>ROBERT</character> <dialogue>Hey! Careful not to...</dialogue> </scene> <scene> <stage_direction>INT. MR. JAY'S RECORD STORE - BASEMENT - CONTINUOUS</stage_direction> <scene_description>The door shuts and locks. Robert takes out a pocket knife and tries the door; it doesn't work.</scene_description> <character>SYLVIE</character> <dialogue>Shoot! Now we're stuck down here 'til daddy gets back.</dialogue> <scene_description>Robert sits on the stairs and takes out a cigarette.</scene_description> <character>SYLVIE</character> <dialogue>Can I have one?</dialogue> <scene_description>Robert lights two, and hands her one as she sits down.</scene_description> <character>SYLVIE</character> <dialogue>Hey, you have a "French light."</dialogue> <character>ROBERT</character> <dialogue>A French what?</dialogue> <character>SYLVIE</character> <dialogue>A "French light," it's when you light a cigarette, and it only lights half way -- it's supposed to mean you're gonna fall in love.</dialogue> <character>ROBERT</character> <dialogue>Well, you have one too, so what's that s'pose 'ta mean?</dialogue> <character>SYLVIE</character> <parenthetical>(sizing him up)</parenthetical> <dialogue>Daddy says you play the saxophone.</dialogue> <character>ROBERT</character> <dialogue>Yeah, I'm here with my band from Detroit for the summer, we're over at the Blue Morocco.</dialogue> <character>SYLVIE</character> <dialogue>Are you any good?</dialogue> <character>ROBERT</character> <dialogue>Depends on what you like; it's not Bill Haley and the Comets.</dialogue> <character>SYLVIE</character> <dialogue>Oh, I like all kinds of music. You have to, working in a record store and all -- you know, so you can suggest music to the customers...</dialogue> <parenthetical>(leans back to think)</parenthetical> <dialogue>For instance, you bought Monk's "Brilliant Corners" and you're a saxophone player, so, I'm guessin' you like Sonny Rollins, right?</dialogue> <character>ROBERT</character> <dialogue>Uh-huh.</dialogue> <character>SYLVIE</character> <dialogue>So, I would recommend his latest album "Way Out West," where he leads a trio with him on sax, and a bassist and a drummer; unless, of course, you have it already.</dialogue> <character>ROBERT</character> <dialogue>I don't.</dialogue> <character>SYLVIE</character> <dialogue>Well, it's a gasser and a must have for any real "Newk" fan.</dialogue> <parenthetical>(shrugs her shoulders)</parenthetical> <dialogue>See?</dialogue> <character>ROBERT</character> <parenthetical>(impressed)</parenthetical> <dialogue>Yeah.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>So -- what about your fiancé, what kind of music does he like?</dialogue> <character>SYLVIE</character> <parenthetical>(embarrassed to say)</parenthetical> <dialogue>...Little Richard.</dialogue> <scene_description>They laugh, then stare at each other intently, without realizing it her hand is resting on his thigh. Robert raises his hand toward her face; it seems like they may kiss, but he simply removes a bobby pin from her hair. Robert stands and fiddles around with the lock... it opens.</scene_description> </scene> <scene> <stage_direction>EXT. MR. JAY'S RECORD STORE - DUSK</stage_direction> <scene_description>Sylvie locks up the store. Robert waits nearby.</scene_description> <character>SYLVIE</character> <dialogue>Oh, here...</dialogue> <scene_description>Sylvie hands him Sonny Rollin's "Way Out West."</scene_description> <character>ROBERT</character> <parenthetical>(takes it and looks at it)</parenthetical> <dialogue>Thanks, really.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Listen, my band's playing tomorrow night at nine; I can put you on the guest list if you want?</dialogue> <character>SYLVIE</character> <dialogue>Can I bring my cousin?</dialogue> <character>ROBERT</character> <dialogue>Sure.</dialogue> <character>SYLVIE</character> <dialogue>Well -- see you tomorrow.</dialogue> <scene_description>Sylvie begins to walk away.</scene_description> <character>ROBERT</character> <dialogue>Hey?</dialogue> <scene_description>Sylvie turns around.</scene_description> <character>ROBERT</character> <dialogue>See you later alligator...</dialogue> <scene_description>Sylvie watches as Robert darts off down the street.</scene_description> </scene> <scene> <stage_direction>INT. BLUE MOROCCO - NIGHT</stage_direction> <scene_description>On stage is a White SAMMY DAVIS JR. IMPERSONATOR slinging a 45 Colt revolver and then holstering it. HEAR APPLAUSE.</scene_description> <character>WHITE SAMMY</character> <dialogue>Ladies and Gentlemen -- let's give a warm, Blue Morocco welcome to "The Dickie Brewster Quartet."</dialogue> <scene_description>HEAR APPLAUSE. The GUYS take the stage wearing brand new suits, They begin B-BLUE (Prerecorded). THE Countess sits at a table with a MIDDLE-AGED WHITE GUY.</scene_description> </scene> <scene> <stage_direction>INT. BLUE MOROCCO - FRONT DOOR - NIGHT</stage_direction> <scene_description>Sylvie and Mona are led to their seats by the MAITRE D. One by one, THREE BURLESQUE GIRLS start to dance down the middle of the aisle and line up in front of the stage. Mona shimmies like the girls and Sylvie yanks her away by the arm. The band finishes B-BLUE (Prerecorded).</scene_description> <character>DICKIE</character> <dialogue>This next number is something we call "B-Loved."</dialogue> <scene_description>They begin B-LOVED (Prerecorded). Robert steps to the front and plays a beautiful melody. Sylvie and Mona are seated.</scene_description> <character>MONA</character> <dialogue>Is that him?</dialogue> <character>SYLVIE</character> <dialogue>Shhh.</dialogue> <scene_description>Sylvie is instantly mesmerized by Robert's playing. INTERCUT between CLOSE-UPS of Sylvie and Robert throughout the song. The SONG ENDS and the AUDIENCE CLAPS, but Sylvie remains hypnotized for a moment before snapping out of her trance and clapping.</scene_description> </scene> <scene> <stage_direction>INT. BLUE MOROCCO - DRESSING ROOM - NIGHT</stage_direction> <scene_description>Robert and the guys pack up backstage after the show. Dickie combs down his hair and looks at his watch.</scene_description> <character>DICKIE</character> <dialogue>I think I can just about catch this Poker game 'round the corner.</dialogue> <character>ROBERT</character> <dialogue>Carmen's birthday is tomorrow -- don't gamble away all your extras.</dialogue> <scene_description>The Countess enters with ANTOINE, French, 40.</scene_description> <character>COUNTESS</character> <dialogue>Guys, I'd like you to meet Monsieur Antoine Fournier.</dialogue> <character>ANTOINE</character> <dialogue>Hello gentlemen.</dialogue> <scene_description>The guys all shake Antoine's hand.</scene_description> <character>COUNTESS</character> <dialogue>Antoine books several clubs in Paris; he's known as the Patron saint of America's Jazz expatriates.</dialogue> <character>ANTOINE</character> <dialogue>I'm hardly a Saint, but I do think you guys would be a hit in Paris; there are many American Negroes there, the French call them "Am- Am."</dialogue> <character>DICKIE</character> <dialogue>Shit, when "Am-Am" we leavin'?</dialogue> <character>ANTOINE</character> <dialogue>Well, as it happens, I have a spot I need to book in one month's time at Le Sous Sol, one of the top Jazz clubs in Paris.</dialogue> <character>ROBERT</character> <dialogue>We still have two months left on this gig.</dialogue> <character>COUNTESS</character> <dialogue>Leave that to me B-flat -- That's what managers are for.</dialogue> </scene> <scene> <stage_direction>INT. BLUE MOROCCO - NIGHT</stage_direction> <scene_description>Robert and Chico exit and into the main room.</scene_description> <character>ROBERT</character> <dialogue>How' we gonna go to Paris, man?! Dickie's still on parole; he's not even supposed to leave Detroit.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And when did she become our manager?</dialogue> <character>CHICO</character> <dialogue>I don't know man; but I sure wouldn't mind meeting me some'a those "mad-uh-mwah-zells."</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Speaking of which...</dialogue> <scene_description>SEE Sylvie and Mona approach.</scene_description> <character>ROBERT</character> <parenthetical>(to Sylvie)</parenthetical> <dialogue>Hey, you came.</dialogue> <scene_description>Mona clears her throat.</scene_description> <character>SYLVIE</character> <dialogue>Oh, this is my cousin Mona.</dialogue> <character>MONA</character> <parenthetical>(curtsies)</parenthetical> <dialogue>Mona-lisa -- Like the paintin'.</dialogue> <character>ROBERT</character> <dialogue>Nice to meet you.</dialogue> <scene_description>Chico elbows Robert as he stares at Mona.</scene_description> <character>ROBERT</character> <dialogue>This here is...</dialogue> <character>CHICO</character> <parenthetical>(interjecting)</parenthetical> <dialogue>Chicago Sweetney, at your service.</dialogue> <scene_description>Chico kisses Mona's hand.</scene_description> <character>MONA</character> <dialogue>Charmed, I'm sure.</dialogue> </scene> <scene> <stage_direction>INT. BLUE MOROCCO - NIGHT</stage_direction> <scene_description>The four sit in a booth. Charlie Parker's "My Little Suede Shoes" comes on the jukebox. Chico stands, does a kick and turn and begins to Mambo.</scene_description> <character>CHICO</character> <parenthetical>(dancing; to Mona)</parenthetical> <dialogue>Mambo?</dialogue> <scene_description>Mona gets up and mambos away from the booth with Chico.</scene_description> <character>ROBERT</character> <dialogue>So, what's the verdict -- am I any good?</dialogue> <character>SYLVIE</character> <dialogue>Well, you were right... you're no "Bill Haley." But -- I do think you're about as good as any tenor I've ever heard, except for maybe John William Coltrane, but you're gaining on him.</dialogue> <character>ROBERT</character> <dialogue>I don't think I'll ever catch the 'Trane, but thank you.</dialogue> <scene_description>The DANCERS are leaving for the night, as they pass the table CONNIE, the pretty one with bleach blonde hair leans in.</scene_description> <character>CONNIE</character> <parenthetical>(to Robert)</parenthetical> <dialogue>We're all going around the corner to Freddie's if you want to stop by when you're done baby-sitting.</dialogue> <scene_description>The DANCERS all giggle as they sashay out.</scene_description> <character>SYLVIE</character> <dialogue>Friend of yours?</dialogue> <character>ROBERT</character> <dialogue>Connie? We just work together...</dialogue> <scene_description>Mona and Chico mambo by.</scene_description> <character>ROBERT</character> <dialogue>Kinda like we do... only she's not engaged.</dialogue> <scene_description>HEAR a SLOW SONG begin. Sylvie and Robert sit in silence. In the background the PORTER stacks chairs on the empty tables. Mona and Chico dance a little close for people who just met.</scene_description> <character>SYLVIE</character> <dialogue>It's late, I should go.</dialogue> <character>ROBERT</character> <dialogue>Well, before you do, may I have the pleasure of this dance Miss Johnson?</dialogue> <character>SYLVIE</character> <dialogue>I really shouldn't.</dialogue> <character>ROBERT</character> <dialogue>You mean to tell me you're gonna turn down a dance with the next "John Coltrane?"</dialogue> <scene_description>Sylvie laughs and Robert stands and extends his hand. Sylvie takes it and stands and they exit to the dance floor. MED. SHOT - SYLVIE AND ROBERT - NIGHT Sylvie holds her arms out waltz-like, but Robert pulls her in close; she doesn't resist. They dance and gaze deeply into each other's eyes. THE MUSIC STOPS and the LIGHTS TURN ON. MIKKI, 40, the owner of the club, stands holding the unplugged jukebox cord.</scene_description> <character>MIKKI</character> <dialogue>You don't have to go home, but you can't stay here.</dialogue> <scene_description>Mona and Chico quickly walk up to Robert and Sylvie.</scene_description> <character>CHICO</character> <dialogue>Hey man, me and uh... uh...</dialogue> <character>MONA</character> <dialogue>Mona.</dialogue> <character>CHICO</character> <dialogue>Yeah, we're gonna split.</dialogue> <character>MONA</character> <dialogue>Make sure she gets home okay.</dialogue> <parenthetical>(rushing out)</parenthetical> <dialogue>Call you tomorrow Sylvie.</dialogue> <character>SYLVIE</character> <dialogue>Mona?!</dialogue> </scene> <scene> <stage_direction>EXT. HARLEM STREET - NIGHT</stage_direction> <scene_description>Robert walks Sylvie to her house in Harlem.</scene_description> <character>SYLVIE \*</character> <dialogue>So, have you listened to Brilliant \* Corners yet? \*</dialogue> <character>ROBERT \*</character> <dialogue>Only about a hundred times. \*</dialogue> <character>SYLVIE \*</character> <dialogue>Do you know that the song "Ba-Lue- \* Bolivar Ba-Lues-Are" is written \* about Pannonica Koenigswarter? \*</dialogue> <scene_description>(beat) \* She's the lady who was with Charlie \* Parker when he died. \*</scene_description> <character>ROBERT \*</character> <dialogue>You know, I... I never met a girl \* who knew as much about music as you \* do. \*</dialogue> <scene_description>(beat) \* I bet the only thing you know more \* about than music, is television. \*</scene_description> <character>SYLVIE \*</character> <dialogue>Well, I've never met anyone who \* could play music like you. \*</dialogue> <scene_description>(beat) \* Tell me, what's the one thing you \* love most about it? \*</scene_description> <character>ROBERT \*</character> <dialogue>You just said it... playing it. \* I've never found anything that \* makes me feel the way I feel when \* I'm playing music; it's the only \* thing that matters, you know? \*</dialogue> <character>SYLVIE \*</character> <dialogue>Yeah. \*</dialogue> <scene_description>A beat. \*</scene_description> <character>ROBERT</character> <dialogue>So, how'd you meet your fiancé?</dialogue> <character>SYLVIE</character> <dialogue>At a cotillion, at the Renaissance ballroom.</dialogue> <character>ROBERT</character> <dialogue>At a what?</dialogue> <character>SYLVIE</character> <dialogue>A cotillion: it's a formal ball, where debutantes are presented to society and introduced to young men from prominent families.</dialogue> <character>ROBERT</character> <dialogue>Ohhh. So, Lacy -- he's from one of those prominent families?</dialogue> <character>SYLVIE</character> <dialogue>Yeah, his father's a doctor and has one of the most successful medical practices in the country; Negro or otherwise.</dialogue> <character>ROBERT</character> <dialogue>So not just prominent, but rich?</dialogue> <character>SYLVIE</character> <dialogue>Terribly. \*</dialogue> <scene_description>Sylvie stops in front of a BROWNSTONE. \*</scene_description> <character>SYLVIE</character> <dialogue>Well, thanks for walking me home.</dialogue> <scene_description>(beat) \* You were really terrific tonight. \* Sylvie shakes Robert's hand and starts up the stairs.</scene_description> <character>ROBERT</character> <dialogue>You know, where I'm from, when a fella walks a gal home from a date there's usually a good night kiss involved.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But, I guess this wasn't really a date, huh?</dialogue> <character>SYLVIE</character> <dialogue>Well, no -- not officially.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But, you did ask, and I came -- so, I guess it kinda was a date.</dialogue> <scene_description>Robert leaps up the stairs. They kiss each other softly, then more passionately and lean against the doorway.</scene_description> <character>EUNICE(O.S.)</character> <dialogue>Sylvie?! Is that you?</dialogue> <scene_description>Sylvie puts her finger to her mouth for Robert to be quiet.</scene_description> <character>SYLVIE</character> <dialogue>Yes, momma -- I'll be right up.</dialogue> <parenthetical>(whispering)</parenthetical> <dialogue>See you tomorrow.</dialogue> <scene_description>Sylvie enters her house. Robert stands watching her for a second before running off.</scene_description> </scene> <scene> <stage_direction>INT. JOHNSON BROWNSTONE - NIGHT - THROUGH THE WINDOW</stage_direction> <scene_description>Eunice watches Robert dart off down the street.</scene_description> </scene> <scene> <stage_direction>INT. MR. JAY'S RECORD STORE - DAY</stage_direction> <scene_description>Robert unpacks albums from a box while Sylvie finishes ringing up a CUSTOMER. The CUSTOMER pays and LEAVES.</scene_description> <character>ROBERT</character> <dialogue>Hey -- what are you doin' tonight?</dialogue> <scene_description>HEAR DOOR CHIME. EUNICE JOHNSON, Sylvie's 50ish, stern looking, but beautiful mother enters.</scene_description> <character>SYLVIE</character> <dialogue>Hi momma.</dialogue> <scene_description>Eunice looks over at Robert.</scene_description> <character>SYLVIE</character> <dialogue>Mother, meet Robert Halloway; Robert, this is my mother, Eunice Johnson.</dialogue> <scene_description>Robert wipes his hands on his pants and shakes her hand.</scene_description> <character>ROBERT</character> <dialogue>Pleasure to meet you Ma'am.</dialogue> <character>EUNICE</character> <parenthetical>(shaking hands)</parenthetical> <dialogue>So, my husband tells me you're a musician... did you attend a conservatory?</dialogue> <character>ROBERT</character> <dialogue>No ma'am, I'm mostly self taught.</dialogue> <character>SYLVIE</character> <dialogue>Robert's really, really talented momma.</dialogue> <character>EUNICE</character> <dialogue>Is that so?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Well, I do hope Mr. Johnson hasn't bored you with too many tales from his own music days.</dialogue> <character>ROBERT</character> <dialogue>Oh no, I like Mr. Jay's... I mean, Mr. Johnson's stories.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Well, I should get back to work...</dialogue> <scene_description>Robert picks up the box he was unpacking and carries it down to the basement. Eunice watches until he's out of sight.</scene_description> <character>EUNICE</character> <dialogue>You know dear, a lady should never lavish gushing praise on a young man, especially one who's beneath her station; it might give the wrong impression, and you wouldn't want to do that, would you?</dialogue> <character>SYLVIE</character> <dialogue>No ma'am. \*</dialogue> </scene> <scene> <stage_direction>INT. MR. JAY'S RECORD STORE - LATER</stage_direction> <scene_description>Robert sweeps up as the last CUSTOMERS EXIT. Sylvie locks the door. Robert walks over carrying his broom and leans on it.</scene_description> <character>ROBERT</character> <dialogue>So I was about to ask you earlier, if you were busy tonight? I wanted to invite you to a...</dialogue> <character>SYLVIE</character> <parenthetical>(interrupting)</parenthetical> <dialogue>Listen, Robert... What happened last night, was a mistake -- a momentary lapse in judgement and, well, it can't happen again, okay?</dialogue> <character>ROBERT</character> <parenthetical>(reluctant smile)</parenthetical> <dialogue>Okay.</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT BUILDING - HALLWAY - NIGHT</stage_direction> <scene_description>Mona and Sylvie reach the fourth floor of a walk-up building and Mona KNOCKS on a DOOR.</scene_description> <character>SYLVIE</character> <dialogue>Who's party is this again?</dialogue> <character>MONA</character> <dialogue>Didn't I tell you...? David Rockerfeller and Brooke Astor.</dialogue> <scene_description>The DOOR SWINGS OPEN, Chico grabs Mona, kisses her and drags her into the apartment. Sylvie stands at the doorway alone. See Robert standing in the hallway talking to some PARTY GUESTS. He looks over and SEES Sylvie. She waves.</scene_description> <character>ROBERT</character> <parenthetical>(to guests)</parenthetical> <dialogue>Excuse me.</dialogue> <scene_description>Robert gives Sylvie another reluctant smile then walks in the opposite direction, into the apartment. Connie and the other DANCERS from the Blue Morocco arrive and bump Sylvie as they enter the apartment. Connie looks back and looks Sylvie up and down.</scene_description> </scene> <scene> <stage_direction>INT. DICKIE'S APARTMENT - LIVING ROOM - NIGHT</stage_direction> <scene_description>THE CROWD begins singing "Happy Birthday" as Dickie carries out a lit birthday cake and sits it on a table, Carmen blows out the candles. Sylvie joins Robert.</scene_description> <character>SYLVIE</character> <dialogue>Are you gonna give me the cold shoulder all night?</dialogue> <scene_description>Robert doesn't respond.</scene_description> <character>SYLVIE</character> <dialogue>Look, I came with Mona, I didn't know you'd be here.</dialogue> <character>ROBERT</character> <dialogue>Oh, so, if you knew I'd be here, you wouldn't have come?</dialogue> <character>SYLVIE</character> <dialogue>That's not what I meant.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Look -- the bottom line is, you shouldn't have kissed me last night -- I'm engaged.</dialogue> <character>ROBERT</character> <dialogue>You don't have to keep reminding me that you're engaged, it's all you ever talk about -- which is a shame, because it's actually the least interesting thing about you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But, for the record, it wasn't just me doin' the kissin' last night.</dialogue> <scene_description>Robert walks away. Carmen notices Sylvie and walks over.</scene_description> <character>CARMEN</character> <dialogue>Carmen Brewster.</dialogue> <character>SYLVIE</character> <parenthetical>(shakes her hand)</parenthetical> <dialogue>Sylvie Johnson. Oh, happy birthday.</dialogue> <character>CARMEN</character> <dialogue>Thank you. So, how long have you and Robert been dating?</dialogue> <character>SYLVIE</character> <dialogue>Oh, we're just friends.</dialogue> <character>CARMEN</character> <dialogue>Oh, okay, well any friend of Robert's has got to be a friend of mine.</dialogue> </scene> <scene> <stage_direction>INT. DICKIE'S APARTMENT - LIVING ROOM - NIGHT</stage_direction> <scene_description>HEAR The Schoolboys' "Please Say You Want Me" a doo-wop ballad. Couples slow dance in the dark room; Mona and Chico, Carmen and Dickie are among them dancing. Robert stands at the doorway, Sylvie sits on a couch. A GUY asks Sylvie to dance and she shakes her head "No." Robert and Sylvie look at each other, then quickly turn away. Connie, joins Robert.</scene_description> <character>CONNIE</character> <dialogue>Someone paying you to keep that wall from falling down?</dialogue> <scene_description>Robert looks over at Sylvie then grabs Connie's hand.</scene_description> <character>ROBERT</character> <dialogue>C'mon.</dialogue> <scene_description>He leads Connie onto the floor and begins to dance with her. Connie moves Robert's hands off of her waist DOWN TO HER ASS, then LOOKS AT Sylvie. Sylvie tries hard not to watch, but can't control herself. Connie gives her a sly little smirk, just enough to push it over the edge. Sylvie gets up and walks over to Mona who is dancing and making out with Chico and taps her on the shoulder.</scene_description> <character>SYLVIE</character> <dialogue>Mona... let's go.</dialogue> <scene_description>Mona keeps making out with Chico, not paying attention as Sylvie pokes her again.</scene_description> <character>SYLVIE</character> <dialogue>Mona, I'm ready to leave.</dialogue> <scene_description>Mona keeps kissing Chico. Sylvie, frustrated, EXITS THE ROOM. Robert notices her leaving.</scene_description> </scene> <scene> <stage_direction>EXT. BRONX STREET - MOMENTS LATER - NIGHT - FOLLOW SYLVIE</stage_direction> <scene_description>As she storms off down the street. Behind her, in the distance, SEE Robert exit the building and follow her.</scene_description> <character>ROBERT</character> <dialogue>Sylvie?!</dialogue> <scene_description>Sylvie keeps walking as Robert follows a few paces behind.</scene_description> <character>ROBERT</character> <dialogue>Where are you going?</dialogue> <character>SYLVIE</character> <dialogue>Home.</dialogue> <character>ROBERT</character> <dialogue>It's late, let me take you.</dialogue> <character>SYLVIE</character> <dialogue>No, thank you.</dialogue> <character>ROBERT</character> <dialogue>Can I ask you a question? If last night was such a mistake, then why'd you get so bent out of shape about me dancing with somebody else?</dialogue> <scene_description>Sylvie STOPS walking and turns around.</scene_description> <character>SYLVIE</character> <dialogue>Because mistake or not, when a girl gets kissed by a guy, she'd like to think she's the only girl that particular guy has been kissing. So you carrying on with what's her face back there, didn't make me feel very special.</dialogue> <scene_description>Robert catches up to her.</scene_description> <character>ROBERT</character> <dialogue>Well, the only reason I was "carryin' on" with her in the first place, is because you telling me that this was all a big mistake didn't exactly make me feel special either -- as a matter a fact, it made me feel pretty ordinary.</dialogue> <scene_description>A beat.</scene_description> <character>SYLVIE</character> <parenthetical>(considering his point)</parenthetical> <dialogue>Well, you're not... ordinary.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You're one of the most ex- traordinary people I've ever met.</dialogue> <scene_description>HEAR The Valentines "Don't Say Goodnight" echo in the street from the window of the party. They both look back at the window for a moment before...</scene_description> <character>ROBERT</character> <dialogue>You know, we never did get to finish our dance last night...</dialogue> <scene_description>Robert holds his arms out waltz-like and she slowly walks closer to him. They begin a SLOW WALTZ to the song. HIGH ANGLE - SYLVIE and ROBERT DANCING IN THE STREET. \*</scene_description> </scene> <scene> <stage_direction>A41 INT. MR. JAY'S ROCORD STORE - DAY A41 \*</stage_direction> <scene_description>Hear The Drifters "Fools Fall In Love." SERIES OF SHOTS of \* Sylvie and Robert working together at the store, becoming \* friends and getting to know each other. \* Sylvie and Robert watch "Our Miss Brooks" on television \* together and Sylvie is very excited; Robert is more \* enthusiastic about her reactions than the show itself. \*</scene_description> </scene> <scene> <stage_direction>INT. JOHNSON BROWNSTONE - LIVINGROOM - DAY 42 \*</stage_direction> <scene_description>Eunice demonstrates perfect posture on Sylvie, who has a book resting on top of her head as TEN YOUNG GIRLS sit watching.</scene_description> <character>EUNICE</character> <dialogue>Ears should be back and over the shoulders, while the chin remains parallel to the floor...</dialogue> <parenthetical>(whispering to Sylvie)</parenthetical> <dialogue>You have two new letters from Lacy.</dialogue> <character>SYLVIE</character> <dialogue>I saw them.</dialogue> <scene_description>Eunice pushes Sylvie's shoulders down.</scene_description> <character>EUNICE</character> <dialogue>Shoulders down and relaxed, rib cage elevated...</dialogue> <parenthetical>(whispering to Sylvie)</parenthetical> <dialogue>You've got a man, half way across the world who finds the time to write you letters the least you could do is read them.</dialogue> <character>SYLVIE</character> <dialogue>I've had something else on my mind.</dialogue> <character>EUNICE</character> <dialogue>Stomach pulled in and taut! Pelvis tucked in and tilted slightly forward.</dialogue> <parenthetical>(whispering)</parenthetical> <dialogue>Is that something else the reason you aren't wearing your engagement ring?</dialogue> <character>SYLVIE</character> <dialogue>I took it off last night and couldn't get it back on; my fingers must be swollen from the heat.</dialogue> <character>EUNICE</character> <dialogue>Then perhaps you should cool yourself down dear.</dialogue> <parenthetical>(to the class)</parenthetical> <dialogue>Weight rests on the center of the feet... those are the key foundations of perfect posture.</dialogue> </scene> <scene> <stage_direction>EXT. ROOFTOP "TAR BEACH" - DAY</stage_direction> <scene_description>Robert, Sylvie, Mona and Chico sit on a blanket on the roof in bathing suits. Mona rubs mineral oil on Chico's back.</scene_description> <character>MONA</character> <dialogue>Did anyone ever tell you, you look just like Harry Belafonte?</dialogue> <scene_description>DAY-OH!:</scene_description> <character>MONA</character> <dialogue>Oooh... I like that.</dialogue> <character>CHICO</character> <dialogue>And I like that leopard swimsuit...</dialogue> <character>MONA</character> <dialogue>Thank you; the woman at Lerner's said it's the exact one Elizabeth Taylor has.</dialogue> <character>CHICO</character> <dialogue>You ain't gonna bite me now are you?</dialogue> <character>MONA</character> <dialogue>Not on purpose... Rawr.</dialogue> <scene_description>Sylvie applies lotion and struggles to reach her back.</scene_description> <character>ROBERT</character> <dialogue>Here, um, let me...</dialogue> <scene_description>Sylvie hands Robert the lotion and he applies it to her back. Mona looks at her over her sunglasses. LATER THAT NIGHT The four sit on the blanket listening to the radio.</scene_description> <character>CHICO</character> <dialogue>Hey, how come you don't just go to a real beach?</dialogue> <character>MONA</character> <dialogue>Because she's afraid of the ocean.</dialogue> <scene_description>MONA?!!!:</scene_description> <character>MONA</character> <parenthetical>(to Chico)</parenthetical> <dialogue>But you know -- even though there's no water...</dialogue> <parenthetical>(standing)</parenthetical> <dialogue>You can still go skinny-dippin'.</dialogue> <scene_description>Mona takes Chico's hand and they run off. Robert and Sylvie share a bit of awkward silence while staring at the stars.</scene_description> <character>ROBERT</character> <dialogue>"It is not in the stars to hold our destiny, but in ourselves."</dialogue> <character>SYLVIE</character> <dialogue>Is that Shakespeare?</dialogue> <character>ROBERT</character> <dialogue>I don't know; maybe.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It's something my mother used to say.</dialogue> <character>SYLVIE</character> <dialogue>Is she back in Detroit?</dialogue> <character>ROBERT</character> <dialogue>No, she passed away a couple of years back.</dialogue> <character>SYLVIE</character> <dialogue>I'm sorry.</dialogue> <character>ROBERT</character> <dialogue>She's the reason I'm here, really. I always fantasized about being a musician, you know?</dialogue> <character>ROBERT</character> <dialogue>But, after High School, reality set in and I took a job on the assembly line. But when my mother died, it made me realize that life is too short to waste time on things you don't absolutely love... so, I quit the auto plant, joined a band, and the rest, as they say, is history.</dialogue> <character>SYLVIE</character> <dialogue>How do you know?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>If you love something; absolutely, I mean?</dialogue> <character>ROBERT</character> <dialogue>I don't know -- I guess when \* it's... \*</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>...the only thing that matters. \*</dialogue> <scene_description>Sylvie rubs her arms. Robert takes his sweater off.</scene_description> <character>ROBERT</character> <dialogue>Here...</dialogue> <scene_description>Robert puts his sweater around Sylvie's shoulders. He leaves his arm around her. Sylvie looks at his arm then at him. They stare at each other, then kiss. They lay down and start to make-out. Things get hot and heavy. He puts his hand up her dress and starts to undo his belt buckle, but Sylvie sits up abruptly.</scene_description> <character>ROBERT</character> <dialogue>What's wrong?</dialogue> <character>SYLVIE</character> <dialogue>Nothing, I just...</dialogue> <parenthetical>(exhales)</parenthetical> <dialogue>...don't want to do anything that I'll regret.</dialogue> <character>ROBERT</character> <dialogue>I don't want you to do that either.</dialogue> <character>SYLVIE</character> <dialogue>Well, the problem is... if we don't do anything, I think I might regret that even more.</dialogue> <scene_description>They stare at each other for a second before they kiss again and they lay down on the roof.</scene_description> </scene> <scene> <stage_direction>INT. JOHNSON BROWNSTONE - STAIRWAY - MORNING</stage_direction> <scene_description>Sylvie tiptoes up the stairs, holding her shoes in her hands. Eunice comes out of her room holding a yardstick.</scene_description> <character>EUNICE</character> <dialogue>Were you out with that boy from the store all night long?!</dialogue> <scene_description>Sylvie doesn't answer. Eunice whacks her with the yardstick.</scene_description> <character>EUNICE</character> <dialogue>Answer me!</dialogue> <character>SYLVIE</character> <dialogue>It won't happen again.</dialogue> <character>EUNICE</character> <dialogue>That's right it won't happen again, because I'm going to have your father fire him -- Today!</dialogue> <character>SYLVIE</character> <dialogue>Momma please don't.</dialogue> <character>EUNICE</character> <dialogue>I forbid you to see him again, you hear me?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I really hope you didn't do anything stupid last night.</dialogue> </scene> <scene> <stage_direction>EXT. ROOFTOP - DUSK</stage_direction> <scene_description>Sylvie starts to hang a sheet on the clothes line, but then begins to dance with it instead as Mona joins.</scene_description> <character>MONA</character> <dialogue>Someone's in a good mood.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Oh, my goodness... Look at me.</dialogue> <scene_description>Sylvie guiltily looks away and starts to hang the sheet.</scene_description> <character>MONA</character> <dialogue>You didn't?</dialogue> <character>SYLVIE</character> <parenthetical>(smiles)</parenthetical> <dialogue>I did.</dialogue> <character>MONA</character> <dialogue>Tell me everything! How was it?</dialogue> <character>SYLVIE</character> <dialogue>It was...</dialogue> <parenthetical>(twirls around; grabs Mona)</parenthetical> <dialogue>"Extraordinary."</dialogue> <character>MONA</character> <dialogue>Damn! I've done it plenty of times, and it ain't never been "extra- ordinary."</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Extraordinary?</dialogue> <character>SYLVIE</character> <parenthetical>(dreamy)</parenthetical> <dialogue>Yeah.</dialogue> </scene> <scene> <stage_direction>INT. BLUE MOROCCO - BAR - DAY</stage_direction> <scene_description>MIKKI the club owner sits at the bar thumbing through a \* magazine when the Countess enters the club. The place is closed and the chairs are still up on the tables.</scene_description> <character>MIKKI</character> <dialogue>Miss Von Bismarck, to what do I owe the pleasure of this visit?</dialogue> <character>COUNTESS</character> <dialogue>I want to buy the quartet out of the rest of their contract.</dialogue> <character>MIKKI</character> <dialogue>I figured as much... the way you've been sniffing around those boys like a bitch in heat.</dialogue> <character>COUNTESS</character> <dialogue>On that note, shall we discuss this as bitches... or as ladies?</dialogue> <character>MIKKI</character> <dialogue>Well, that depends on how much you're willing to pay.</dialogue> <character>COUNTESS</character> <dialogue>They only have a few weeks left on their contract, but, I'll give you what you paid them for the entire summer.</dialogue> <character>MIKKI</character> <dialogue>Oh, it's gonna cost a lot more than that -- but I'm sure we can work something out.</dialogue> <scene_description>Mikki places her hand on the Countess's hand on the bar.</scene_description> <character>COUNTESS</character> <dialogue>So... bitches it is.</dialogue> </scene> <scene> <stage_direction>INT. DICKIE'S APARTMENT - KITCHEN - DAY</stage_direction> <scene_description>Robert hangs up the telephone as Chico enters the kitchen and opens the refrigerator.</scene_description> <character>CHICO</character> <dialogue>Hey man, ain't you 'spose ta be slavin' at the wax museum?</dialogue> <character>ROBERT</character> <dialogue>I was, but that was just Mr. Jay, he said he had to let me go.</dialogue> <scene_description>AT THAT MOMENT Dickie enters the kitchen.</scene_description> <character>DICKIE</character> <dialogue>That's it! The Countess got us out of our contract!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We're headin' to Paris at the end of the month! I'm gonna go tell Carmen.</dialogue> <parenthetical>(singing; as he exits)</parenthetical> <dialogue>"Frère Jacques, frère Jacques, Dormez-vous? Dormez-vous?"</dialogue> <scene_description>Dickie exits. Robert has a worried look on his face.</scene_description> </scene> <scene> <stage_direction>INT. JOHNSON BROWNSTONE - LIVING ROOM - DAY</stage_direction> <scene_description>Eunice, demonstrates on Sylvie, who stands with a book on top of her head as the DAINTY YOUNG GIRLS sit watching.</scene_description> <character>EUNICE</character> <parenthetical>(circling Sylvie)</parenthetical> <dialogue>To walk gracefully, one must... Glide smoothly -- holding one's head high...</dialogue> <scene_description>Sylvie, begins to walk across the room. She is sweating.</scene_description> <character>EUNICE</character> <dialogue>Remain vertical from the hips up, swinging out from the hips smoothly... while pointing the feet in a straight line.</dialogue> <scene_description>Sylvie reaches the end of the room and turns around, the book slides off of her head and SHE FAINTS. The GIRLS gasp.</scene_description> </scene> <scene> <stage_direction>INT. JOHNSON BROWNSTONE - SYLVIE'S BEDROOM - LATER</stage_direction> <scene_description>Sylvie lays in bed with a thermometer in her mouth, Eunice stands in the doorway. DR. MAURICE PARKER, Lacy's dad, glasses and a kind face, sits on the bed taking her blood pressure. He removes the stethoscope from his ears.</scene_description> <character>DR. PARKER</character> <dialogue>Your blood pressure's a bit low.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Eunice, may I trouble you for a glass of water?</dialogue> <character>EUNICE</character> <dialogue>Sure.</dialogue> <scene_description>As Eunice leaves the room, Dr. Parker removes the thermometer from Sylvie's mouth and reads it.</scene_description> <character>DR. PARKER</character> <dialogue>And... your temperature's 99.6, which is a little high, but, not exactly a fever. I'd say it's most likely a mild case of heatstroke.</dialogue> <character>SYLVIE</character> <dialogue>Thank you Dr. Parker.</dialogue> <character>DR. PARKER</character> <dialogue>You're going to be my daughter-in- law soon, you'll have to start calling me "Dad".</dialogue> </scene> <scene> <stage_direction>A50 INT. JOHNSON BROWNSTONE - LIVING ROOM - DAY A50</stage_direction> <scene_description>Eunice starts up the stair holding a glass of water as the phone rings. She picks it up.</scene_description> </scene> <scene> <stage_direction>B50 INT. DICKIE'S APARTMENT - KITCHEN - DAY B50</stage_direction> <scene_description>SEE Robert on the phone.</scene_description> <character>ROBERT</character> <dialogue>Hello, may I speak to Sylvie please?</dialogue> </scene> <scene> <stage_direction>C50 INT. JOHNSON BROWNSTONE - LIVING ROOM - DAY C50</stage_direction> <scene_description>Eunice listens for a second and then hangs up the phone.</scene_description> </scene> <scene> <stage_direction>INT. JOHNSON BROWNSTONE - SYLVIE'S BEDROOM - NIGHT</stage_direction> <scene_description>Sylvie lays in bed, wide awake. On top of the night stand are several unopened letters. HEAR FAINT SOLO SAX B-LOVED (Prerecorded) coming from outside. She stands and looks out of the window. SEE Robert down on the street, standing and softly blowing his sax like the Pied Piper. Sylvie waves to him and holds her finger to her mouth for him to stop playing.</scene_description> </scene> <scene> <stage_direction>EXT. JOHNSON BROWNSTONE - NIGHT</stage_direction> <scene_description>SEE Robert close his saxophone case as Sylvie comes outside, runs down the stairs and into his arms and kisses him.</scene_description> <character>SYLVIE</character> <dialogue>Robert, what if my mother heard you.</dialogue> <character>ROBERT</character> <dialogue>I don't care if she does hear me; I had to do something -- I've been trying to call you ever since I got \* fired, but she keeps hangin' up on \* me.</dialogue> <parenthetical>(beat)</parenthetical> <character>ROBERT</character> <dialogue>I have something really important to tell you...</dialogue> <character>ROBERT</character> <parenthetical>(beat)</parenthetical> <dialogue>I'm leaving.</dialogue> <character>SYLVIE</character> <dialogue>What, when?</dialogue> <character>ROBERT</character> <dialogue>The band got offered a gig at one of the best clubs in Paris and</dialogue> <dialogue>we're leaving in two weeks. That's \* why I had to see you...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Come with me.</dialogue> <character>SYLVIE</character> <dialogue>To Paris?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Robert I can't go to Paris with you...</dialogue> <character>ROBERT</character> <dialogue>Why not?</dialogue> <character>SYLVIE</character> <dialogue>We hardly know each other; what if things don't work out between us?</dialogue> <character>ROBERT</character> <dialogue>That won't happen.</dialogue> <character>SYLVIE</character> <dialogue>How do you know that?</dialogue> <character>ROBERT</character> <dialogue>Because the only thing that \* matters...</dialogue> <character>SYLVIE \*</character> <dialogue>(finishing his sentence) \*</dialogue> <scene_description>...is us. \*</scene_description> <character>ROBERT</character> <dialogue>Just promise me you'll think about it?</dialogue> <character>SYLVIE</character> <dialogue>Robert...</dialogue> <character>ROBERT</character> <dialogue>Promise me.</dialogue> <character>SYLVIE</character> <dialogue>Okay, I'll think about it.</dialogue> <parenthetical>(looks up at her window)</parenthetical> <character>SYLVIE</character> <dialogue>Now, you really should go before my mother sees you.</dialogue> <dialogue>He picks up his sax case and darts down the street.</dialogue> <character>ROBERT</character> <parenthetical>(yelling back)</parenthetical> <dialogue>See you later alligator!</dialogue> </scene> <scene> <stage_direction>A52 INT./EXT. BATHROOM - DAY A52</stage_direction> <scene_description>Sylvie is on her knees, HUGGING THE TOILET BOWL, THROWING UP. Eunice KNOCKS on the door.</scene_description> <character>EUNICE (O.S.)</character> <dialogue>Sylvie, you okay?</dialogue> <scene_description>B52 HALLWAY OUTSIDE OF BATHROOM - SAME B52 Eunice stands outside the bathroom with Mona.</scene_description> <character>EUNICE</character> <dialogue>Sweetie, Mona's here.</dialogue> <scene_description>Sylvie cracks the door and lets Mona in.</scene_description> <character>INSIDE</character> <dialogue>Sylvie throws up again and Mona rushes over and holds her hair back for her.</dialogue> <character>MONA</character> <dialogue>How long have you been sick?</dialogue> <character>SYLVIE</character> <dialogue>Well, I fainted last month and Dr. Parker said it was probably just heat stroke... But I haven't been feeling so good.</dialogue> <character>MONA</character> <dialogue>Last month? Sylvie, when's the last time you got your period?</dialogue> <character>SYLVIE</character> <dialogue>I... can't remember. \*</dialogue> <character>MONA</character> <parenthetical>(looks back at the door; whispering)</parenthetical> <dialogue>Did you use anything when the two of you...?</dialogue> <scene_description>Sylvie shakes her head "No."</scene_description> <character>MONA</character> <dialogue>Sylvie -- do you think you might \* be...? \*</dialogue> <scene_description>Sylvie sits on the floor against the wall and rests her arm on the toilet seat.</scene_description> <character>SYLVIE</character> <parenthetical>(sighs)</parenthetical> <dialogue>Yeah. \*</dialogue> <scene_description>Mona sits on the edge of the tub.</scene_description> <character>MONA</character> <dialogue>You've gotta tell Robert.</dialogue> <scene_description>53 OMITTED 53 \*</scene_description> </scene> <scene> <stage_direction>EXT. DICKIE'S APARTMENT BUILDING - (FEW DAYS LATER) - DAY</stage_direction> <scene_description>Chico loads suitcases into the trunk of a car. Robert smokes and nervously looks at his watch. Dickie puts his suitcase into the OTHER car.</scene_description> <character>DICKIE</character> <dialogue>Plane leaves in an hour -- we'd better get a move on.</dialogue> <scene_description>Robert puts his cigarette out. Everyone gets into the cars and as they start to drive off -- HEAR A CAR HONK its HORN. Sylvie and Mona drive up. Chico stops the car and Robert gets out. Sylvie gets out of Mona's car and her and Robert meet in the middle of the street and he hugs her tightly.</scene_description> <character>ROBERT</character> <dialogue>I almost thought you weren't coming.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Let me get your suitcase...</dialogue> <scene_description>Robert starts toward Mona's car.</scene_description> <character>SYLVIE</character> <dialogue>Robert...</dialogue> <scene_description>Robert turns around. Sylvie gives him a sad smile.</scene_description> <character>ROBERT</character> <dialogue>There isn't any suitcase is there?</dialogue> <character>SYLVIE</character> <dialogue>No, but... I couldn't let you leave without saying goodbye and letting you know that I...</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>...think you really could be the \* next John Coltrane.</dialogue> <character>ROBERT</character> <dialogue>And what are you gonna be?</dialogue> <character>SYLVIE</character> <dialogue>Your number one fan.</dialogue> <character>CHICO</character> <dialogue>Bobby we gotta go, or we're gonna miss our plane.</dialogue> <scene_description>THEY HUG each other.</scene_description> <character>ROBERT</character> <parenthetical>(whispers in her ear)</parenthetical> <dialogue>See you later alligator.</dialogue> <scene_description>Robert reluctantly lets go, runs off and gets into the car. Sylvie watches as the car drives away.</scene_description> <character>SYLVIE</character> <parenthetical>(under her breath)</parenthetical> <dialogue>After a while crocodile.</dialogue> <scene_description>54A HIGH ANGLE SHOT - ROBERT DRIVING AWAY/SYLVIE STANDING 54A</scene_description> </scene> <scene> <stage_direction>EXT. CONCERT HALL - 1962 - NIGHT</stage_direction> <scene_description>Older Sylvie stands in front of the theater alone. She looks at her watch again. The usher starts to close the door.</scene_description> <character>SYLVIE</character> <parenthetical>(to usher)</parenthetical> <dialogue>Is the concert starting?</dialogue> <character>USHER</character> <dialogue>You have about ten minutes.</dialogue> <character>SYLVIE</character> <dialogue>Mona... where are you?</dialogue> <character>INT. RECORDING STUDIO - CONTROL ROOM - NIGHT - ON SID SCHUUR</character> <dialogue>Listening to the playback. HEAR B-LOVED (prerecorded edit) The Countess is in the booth with Sid and the engineer. END SONG. Sid presses the intercom.</dialogue> <character>SID</character> <dialogue>I think we got it; really great work today guys.</dialogue> <character>BAND MEMBERS</character> <parenthetical>(through the intercom)</parenthetical> <dialogue>Thanks Sid/Yeah/Thanks/Okay.</dialogue> </scene> <scene> <stage_direction>INT. RECORDING STUDIO - LATER - NIGHT</stage_direction> <scene_description>As Robert packs up his sax, Dickie walks over from the piano.</scene_description> <character>DICKIE</character> <dialogue>You really blew your heart out today. A lot of cats can play the notes on the page. But, when you start to share your pain and anguish, 'til you'd have to break down and cry, or kill a muh'fucka if you ain't let it out through your horn... Well, then you're really sayin' something.</dialogue> <character>ROBERT</character> <dialogue>Did it seem a little loose? Maybe I need to be more in control when it goes to that "sharp nine."</dialogue> <character>DICKIE</character> <dialogue>Man, I don't want you to be in control -- I'm in control; Ya dig?</dialogue> <character>ROBERT</character> <dialogue>Yeah, I dig what you're sayin'.</dialogue> <scene_description>Chico joins, and puts his arm around Robert.</scene_description> <character>CHICO</character> <dialogue>Seemed like you were kinda blue on that last take.</dialogue> <character>DICKIE</character> <dialogue>Blue? Shit, muh'fucka was every color in the rainbow on that cut; cat even had some lilac up on it.</dialogue> <character>CHICO</character> <dialogue>You wanna grab a taste?</dialogue> <character>ROBERT</character> <dialogue>No man, I'm gonna head back to the hotel and go over a couple'f parts for the session tomorrow.</dialogue> <character>DICKIE</character> <dialogue>Just don't overthink it, man.</dialogue> <scene_description>The BAND heads out of the studio.</scene_description> <character>DICKIE</character> <dialogue>I wanna see some more of that Magenta, Ecru, Chartreuse,</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Periwinkle...</dialogue> </scene> <scene> <stage_direction>A57 EXT. RECORDING STUDIO BUILDING - NIGHT A57</stage_direction> <scene_description>Robert exits the studio building, carrying his sax case.</scene_description> </scene> <scene> <stage_direction>EXT. CONCERT HALL - NEW YORK CITY - NIGHT</stage_direction> <scene_description>Sylvie looks at her watch, then starts into the theater as Robert walks by. She does a double-take.</scene_description> <character>SYLVIE</character> <dialogue>Robert? Robert Halloway?!</dialogue> <scene_description>Robert stops, turns around.</scene_description> <character>SYLVIE</character> <dialogue>My goodness, why, you haven't changed one bit.</dialogue> <character>ROBERT</character> <parenthetical>(playfully)</parenthetical> <dialogue>Maybe not on the outside.</dialogue> <scene_description>Robert walks over and he and Sylvie kiss each other hello on the cheek.</scene_description> <character>SYLVIE</character> <dialogue>What are you doing in New York?</dialogue> <character>ROBERT</character> <dialogue>Recording an album.</dialogue> <character>SYLVIE</character> <dialogue>Oh Robert, that's so great, congratulations.</dialogue> <character>ROBERT</character> <dialogue>And what are you up to?</dialogue> <character>SYLVIE</character> <dialogue>Well, I'm supposed to be going to this concert with my cousin Mona; you remember Mona, right?</dialogue> <character>ROBERT</character> <dialogue>Mona-Lisa, yes, how is she?</dialogue> <character>SYLVIE</character> <dialogue>She's fine, but I'm afraid she's stood me up.</dialogue> <scene_description>The usher unlatches the door to close it.</scene_description> <character>USHER</character> <dialogue>The show's about to start.</dialogue> <character>ROBERT</character> <dialogue>Looks like you'd better get inside.</dialogue> <character>SYLVIE</character> <dialogue>It really was great to see you.</dialogue> <scene_description>Sylvie starts into the theater. Sylvie looks down at her two tickets then turns back to Robert.</scene_description> <character>SYLVIE</character> <dialogue>Robert?</dialogue> <scene_description>Robert, who has just started to walk away, turns around.</scene_description> <character>SYLVIE</character> <dialogue>Do... you like Nancy Wilson?</dialogue> </scene> <scene> <stage_direction>INT. CONCERT HALL - NIGHT</stage_direction> <scene_description>Robert and Sylvie sit waiting for the concert to begin. The house lights go dark, and the stage lights go on as the BAND walks out onto the stage.</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>Ladies and Gentlemen please welcome to the stage, Miss Nancy Wilson!</dialogue> <scene_description>HEAR APPLAUSE as Nancy Wilson takes the stage and performs "All My Tomorrows." Robert and Sylvie clap, and Robert notices Sylvie's wedding ring. Sylvie stares at Robert's handsome profile and smiles. Throughout the song Sylvie continues to stare at Robert, and Robert stares back at her, it's obvious they still have feelings for each other. FADE SONG.</scene_description> </scene> <scene> <stage_direction>EXT. CONCERT HALL - LATER THAT NIGHT</stage_direction> <scene_description>AUDIENCE exits the theater; Robert and Sylvie are among them.</scene_description> <character>SYLVIE</character> <dialogue>So...</dialogue> <character>ROBERT</character> <dialogue>So...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Shall we grab a drink?</dialogue> <character>SYLVIE</character> <dialogue>After all those love songs, I'm not sure that's such a good idea.</dialogue> <character>ROBERT</character> <dialogue>Don't worry, I'll be on my best behavior.</dialogue> <character>SYLVIE</character> <dialogue>Huh well, you're not the one I'm worried about.</dialogue> <character>ROBERT</character> <dialogue>Well, then I guess this is goodbye... again.</dialogue> <character>SYLVIE</character> <dialogue>Yeah.</dialogue> <scene_description>Sylvie holds up her hand and a TAXI PULLS UP. Robert opens the door for her.</scene_description> <character>SYLVIE</character> <dialogue>I'm going uptown, is there somewhere I can drop you?</dialogue> <character>ROBERT</character> <dialogue>No, I'm just around the corner at the Plaza.</dialogue> <scene_description>Sylvie gets into the cab and Robert closes the door.</scene_description> <character>SYLVIE</character> <dialogue>You know, it just dawned on me, this might possibly be the last time I get to see you without having to buy a ticket.</dialogue> <character>ROBERT</character> <dialogue>Imagine that.</dialogue> <scene_description>Sylvie waves as the cab drives away. Robert watches for a moment before snapping out of it and walking away.</scene_description> </scene> <scene> <stage_direction>INT. TAXI - SAME</stage_direction> <scene_description>Sylvie looks back at Robert through the window.</scene_description> </scene> <scene> <stage_direction>INT. PLAZA HOTEL - ROBERT'S ROOM - NIGHT</stage_direction> <scene_description>Robert sits on the edge of the bed, on the phone.</scene_description> <character>ROBERT</character> <dialogue>Room service?</dialogue> <parenthetical>(reading from a menu)</parenthetical> <dialogue>I'll have the Monte Cristo sandwich... any way to get pommes fri... I mean French fries, instead of potato chips? Great.</dialogue> <scene_description>Robert hangs up the phone and picks up his sax, he noodles around on it for a while before HEARING a KNOCK at the door. He puts down his sax down on a chair and stands.</scene_description> <character>ROBERT</character> <dialogue>That was fast.</dialogue> <scene_description>Robert opens the door to find Sylvie standing.</scene_description> <character>SYLVIE</character> <dialogue>You know, where I'm from, when a gal asks a fella on a date there's usually a goodnight kiss involved.</dialogue> <scene_description>Robert grabs Sylvie and kisses her. They make-out furiously, Sylvie kicks the door shut and they peel each other's clothes off, throwing them on the floor, as they make their way to the bed. They slow down and make five years worth of love.</scene_description> </scene> <scene> <stage_direction>INT. PLAZA HOTEL - ROBERT'S ROOM - LATER THAT NIGHT</stage_direction> <scene_description>Sylvie and Robert sit up in bed, under the covers, sharing the Monte Cristo sandwich Robert ordered from room service.</scene_description> <character>ROBERT</character> <dialogue>The French have a word for this... "Retrouvailles."</dialogue> <character>SYLVIE</character> <dialogue>"Retro-vi?"</dialogue> <character>ROBERT</character> <dialogue>Yeah. It means "The joy of meeting again after a long time."</dialogue> <scene_description>Robert kisses her hand, then looks at her.</scene_description> <character>ROBERT</character> <dialogue>We're about to start a tour of the country to promote the album, come with me and we can pick right back up where we left off.</dialogue> <character>SYLVIE</character> <dialogue>Unfortunately, I can't do that.</dialogue> <character>ROBERT</character> <dialogue>Because of him?</dialogue> <character>SYLVIE</character> <dialogue>No...</dialogue> <scene_description>Sylvie reaches over into her clutch and pulls out a photo.</scene_description> <character>SYLVIE</character> <dialogue>Because of her.</dialogue> <character>ROBERT</character> <parenthetical>(taking the photo)</parenthetical> <dialogue>Ah... the sauce thickens.</dialogue> <parenthetical>(looks at it)</parenthetical> <dialogue>What's her name?</dialogue> <character>SYLVIE</character> <dialogue>Michelle.</dialogue> <character>ROBERT</character> <dialogue>She's beautiful.</dialogue> <scene_description>Robert hands the photo back and puts on his boxers. He stands and walks across the hotel room to the wet bar.</scene_description> <character>ROBERT</character> <parenthetical>(to an imaginary person)</parenthetical> <dialogue>Bartender, I'll have another...</dialogue> <scene_description>Robert pours himself a whiskey and gestures with the bottle to Sylvie -- Sylvie shakes her head "No" as she sits up and fastens her bra and starts to put her slip back on.</scene_description> <character>SYLVIE</character> <dialogue>So -- there isn't a Mrs. Halloway in Paris somewhere, running around the Champs-Élysées?</dialogue> <scene_description>Robert leans against the bar with his drink.</scene_description> <character>ROBERT</character> <dialogue>No -- as it turns out, you're a tough act to follow.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>'Sides, I'm always on the road, which doesn't exactly make me the marrying kind.</dialogue> <scene_description>Sylvie walks over to him, and takes a sip of his drink.</scene_description> <character>SYLVIE</character> <dialogue>Doesn't that get lonely?</dialogue> <character>ROBERT</character> <dialogue>Everybody gets lonely; that's why there are so many songs about it.</dialogue> <scene_description>She sits the whiskey down, and kisses Robert softly on the mouth. She kisses his chest, then his neck...</scene_description> <character>ROBERT</character> <dialogue>Shouldn't you be getting home? The concert ended hours ago.</dialogue> <character>SYLVIE</character> <dialogue>Well, my parents are watching Michelle tonight and Lacy's away on business so, I guess that means you're stuck with me.</dialogue> <scene_description>Sylvie puts her arms around his neck.</scene_description> <character>SYLVIE</character> <dialogue>What do you wanna do about it?</dialogue> <scene_description>A strong lingering gaze draws them back into a passionate kiss, Robert lifts her up and carries her back to the bed.</scene_description> </scene> <scene> <stage_direction>INT. WNAT-TV STATION - TELEPHONE SWITCHBOARD ROOM - DAY</stage_direction> <scene_description>Sylvie sits in front of a PBX switchboard wearing a headset, patching calls along with TWO WHITE WOMEN.</scene_description> <character>SYLVIE</character> <parenthetical>(answering a call)</parenthetical> <dialogue>WNAT Television... Mr. Schiller? Certainly.</dialogue> <scene_description>Sylvie pulls out a PBX cord and patches the call. ANOTHER RING...</scene_description> <character>SYLVIE</character> <dialogue>WNAT Television... Kate Spencer? Who may I say is calling?</dialogue> <character>WOMAN'S VOICE (THROUGH PHONE)</character> <dialogue>Beverly Marshall, I'm calling about the Assistant to Producer position, for Bon Appetit with Lucy Wolper?</dialogue> <character>SYLVIE</character> <dialogue>One moment please.</dialogue> <scene_description>Sylvie patches the call, then scribbles the name "Kate Spencer" on a piece of paper.</scene_description> </scene> <scene> <stage_direction>INT. PARKER HOME - LIVING HOME - CONTINUOUS</stage_direction> <scene_description>HEAR PHONE RING. Sylvie reaches the bottom of the stairs and picks up the phone.</scene_description> <character>SYLVIE</character> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>INT. PHONE BOOTH - NIGHT</stage_direction> <scene_description>LACY PARKER, 30, white collar black guy, stands in a phone booth. In the background SEE a STRIPPER on stage.</scene_description> <character>LACY</character> <dialogue>Hey.</dialogue> <scene_description>DAN EVANS, 40, bangs on the phone booth window, Lacy covers the mouthpiece and opens the door, Dan hands him a drink. INTERCUT - Sylvie &amp; Lacy ON PHONE</scene_description> <character>SYLVIE</character> <dialogue>Will you be home soon?</dialogue> <character>LACY</character> <dialogue>No, it's gonna be a late night, I've gotta butter up Dan Evans and try to get this account.</dialogue> <character>SYLVIE</character> <dialogue>Well, should I leave a plate out for you?</dialogue> <scene_description>A STRIPPER walks by.</scene_description> <character>LACY</character> <parenthetical>(distracted)</parenthetical> <dialogue>No, I'll just grab something downtown -- don't wait up.</dialogue> <scene_description>Lacy hangs up and chases after the woman. Sylvie hangs up, gets into bed and grabs a book from her night stand.</scene_description> </scene> <scene> <stage_direction>INT. PARKER HOME - LIVING ROOM - MORNING</stage_direction> <scene_description>Sylvie vacuums the living room while Michelle sits on the couch holding "Lamb Chop" a popular kids TV puppet and watching "The Shari Lewis Show" on TV. HEAR the PHONE RING. Sylvie stops the vacuum and answers the phone.</scene_description> </scene> <scene> <stage_direction>A67 INT. SOUTHERN REGIONAL COUNCIL OFFICE, GEORGIA - DAY A67</stage_direction> <scene_description>Mona sits on the edge of a desk, with TWO YOUNG WOMEN (One Black, One White) on the phone at desks behind her.</scene_description> <character>INTERCUT - SYLVIE/MONA</character> <dialogue>SYLVIE</dialogue> <scene_description>Hello?</scene_description> <character>MONA</character> <dialogue>Hey kiddo.</dialogue> <character>SYLVIE</character> <dialogue>Hey Mo. What happened the other night?</dialogue> <character>OPERATOR (VO)</character> <dialogue>Please deposit twenty-five cents for the next ten minutes please...</dialogue> <character>SYLVIE</character> <dialogue>Where are you?</dialogue> <character>MONA</character> <dialogue>Atlanta. \*</dialogue> <character>SYLVIE</character> <dialogue>Georgia?! \*</dialogue> <character>MONA</character> <dialogue>Yep -- that's why I couldn't make \* it on Friday.</dialogue> <character>MONA</character> <dialogue>We've expanded the voter education project into Southwest Georgia and your's truly was tapped to be the representative from CORE, so I had to leave right after work on Friday.</dialogue> <character>SYLVIE \*</character> <dialogue>Georgia? Well, when are you coming \* back? \*</dialogue> <character>MONA</character> <dialogue>It looks like I'll be here at least \* through the summer.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Anyway, that's why I couldn't make \* it on Friday -- I'm sorry you had \* to go alone. \*</dialogue> <character>SYLVIE</character> <dialogue>Actually, I didn't go alone... \*</dialogue> <scene_description>Sylvie begins to wrap up the vacuum cleaner chord.</scene_description> <character>SYLVIE</character> <parenthetical>(nonchalantly)</parenthetical> <dialogue>...I went with Robert.</dialogue> <character>MONA</character> <dialogue>WHAT?! "Robert" Robert?!</dialogue> <character>SYLVIE</character> <dialogue>Mm-hm.</dialogue> <scene_description>Sylvie looks over at Michelle watching TV, then DRAGS the phone off to the side.</scene_description> <character>SYLVIE</character> <dialogue>I was waiting for you outside of the theater and he just... walked by -- out of the blue.</dialogue> <character>MONA</character> <dialogue>And?</dialogue> <character>SYLVIE</character> <dialogue>And I asked if he wanted to come to the concert with me... and he did. And then afterwards, he asked if I wanted to have a drink with him, and I said that I didn't think that was such a good idea, so I got in a cab and left.</dialogue> <character>MONA</character> <parenthetical>(disappointed)</parenthetical> <dialogue>And that was it?</dialogue> <scene_description>Sylvie lights a cigarette.</scene_description> <character>SYLVIE</character> <parenthetical>(exhaling)</parenthetical> <dialogue>Well...</dialogue> <parenthetical>(beat)</parenthetical> <character>SYLVIE</character> <dialogue>See, before I left, he told me he was staying at the Plaza hotel, so, I got to thinking and... I told the cab driver to turn around and take me there.</dialogue> <character>MONA</character> <dialogue>You didn't?!</dialogue> <character>SYLVIE</character> <dialogue>I did.</dialogue> <character>MONA</character> <dialogue>But the two of you didn't...?</dialogue> <character>SYLVIE</character> <dialogue>We did.</dialogue> <character>MONA</character> <dialogue>What?!</dialogue> <character>SYLVIE</character> <dialogue>Look, it was a one-time thing; he's going out on the road, I'll probably never see him again.</dialogue> <character>MONA</character> <dialogue>Did you tell him about Michelle?</dialogue> <character>SYLVIE</character> <dialogue>No, I did show him a photograph though; he said she was beautiful.</dialogue> <character>MONA</character> <dialogue>Wow... I wonder how Chico's doin'.</dialogue> </scene> <scene> <stage_direction>INT. KATE SPENCER'S OFFICE - DAY</stage_direction> <scene_description>SYLVIE is led into the office by EVELYN, secretary to: KATE SPENCER, African-American, thirty-five and sophisticated, who sits behind the desk as Sylvie enters.</scene_description> <character>KATE</character> <parenthetical>(extends her hand)</parenthetical> <dialogue>Kate Spencer.</dialogue> <character>SYLVIE</character> <parenthetical>(shaking)</parenthetical> <dialogue>Sylvia Parker.</dialogue> <scene_description>Kate sits, so does Sylvie. Kate looks over Sylvie's resume.</scene_description> <character>KATE</character> <dialogue>So, you're a part-time switchboard operator... Have you ever worked in production?</dialogue> <character>SYLVIE</character> <dialogue>No, I haven't.</dialogue> <character>KATE</character> <dialogue>Are you familiar with the "Lucy Wolper Cooking Show?"</dialogue> <character>SYLVIE</character> <dialogue>Yes, ma'am -- I am.</dialogue> <character>KATE</character> <parenthetical>(not looking up)</parenthetical> <dialogue>Are you married? Any kids?</dialogue> <character>SYLVIE</character> <dialogue>Yes ma'am -- both.</dialogue> <character>KATE</character> <dialogue>Producer's assistants work long hours, generally speaking, it's not the best job for a housewife.</dialogue> <character>SYLVIE</character> <dialogue>Long hours, huh? I guess that's code for: The producer would rather you hire a gal who doesn't mind being chased around his office all night long? Well, thank you for your time.</dialogue> <scene_description>Sylvie stands, and begins to exit.</scene_description> <character>KATE</character> <dialogue>Are you quite finished?</dialogue> <scene_description>Sylvie stops, with her back turned to Kate.</scene_description> <character>KATE</character> <dialogue>"I" am the producer of the Lucy Wolper cooking show; so you'd be working for me. And I assure you, I have no desire to chase you around my office all night, so why don't you sit back down and tell me why I should hire someone with absolutely no experience to be my assistant?</dialogue> <scene_description>Sylvie collects herself, and slowly turns around.</scene_description> <character>SYLVIE</character> <dialogue>Well, because... until five seconds ago, I didn't even know there existed a Negro woman television producer, and all my life, that is \* all I've ever wanted to be.</dialogue> </scene> <scene> <stage_direction>INT. PARKER HOME - NIGHT</stage_direction> <scene_description>Sylvie comes home in a great mood.</scene_description> <character>SYLVIE</character> <dialogue>You won't believe what happened to me today...</dialogue> <scene_description>Lacy grabs her and kisses her.</scene_description> <character>LACY</character> <dialogue>That makes two of us -- Dan Evans called, I got the account! He wants to get together and discuss the details, so he and his wife are coming over for dinner tomorrow night.</dialogue> <character>SYLVIE</character> <dialogue>Here? Tomorrow night?!</dialogue> <character>LACY</character> <dialogue>Yeah.</dialogue> <character>SYLVIE</character> <dialogue>Lacy, I was about to tell you, I'm starting a new position at the station tomorrow, as a producer's assistant; I won't have time to cook -- can't you make it for another night?</dialogue> <character>LACY</character> <dialogue>They've already confirmed and your mother's watching Michelle. It's not until 8 o'clock; just throw something together.</dialogue> </scene> <scene> <stage_direction>INT. LUCY WOLPER SET - DAY</stage_direction> <scene_description>Sylvie arrives for work. Kate is busy setting up.</scene_description> <character>KATE</character> <dialogue>Good, you're early.</dialogue> <scene_description>Kate hands Sylvie a list.</scene_description> <character>KATE</character> <dialogue>You'll need to go to Melman's on 14th for the meat; we need a blade cut rib roast and don't let them give you anything frozen -- we don't have time to defrost. Here's a ten, get receipts for everything. Well, what are you waiting for?</dialogue> <scene_description>LATER THAT MORNING Sylvie joins carrying several bags. Kate looks at her watch.</scene_description> <character>KATE</character> <dialogue>You're late.</dialogue> <scene_description>Kate takes the bags, and sits them down. She hands Sylvie a striped apron.</scene_description> <character>KATE</character> <dialogue>Run over to wardrobe and get me some solid aprons. Striped ones moiré on screen, we're trying to teach the viewers how to cook, not hypnotize them.</dialogue> <scene_description>Sylvie takes the apron and runs off.</scene_description> </scene> <scene> <stage_direction>INT. LUCY WOLPER SET - NIGHT</stage_direction> <scene_description>LUCY WOLPER, the thirty-year-old peppy white female host of the show, takes a casserole out of the oven.</scene_description> <character>LUCY</character> <parenthetical>(in a Mid-Atlantic accent)</parenthetical> <dialogue>And here we have our finished Boeuf Bourguignon. Join us tomorrow, when we shall make Duck a l'Orange.</dialogue> <scene_description>Lucy holds up a can of cleanser. Kate mouths the words as Lucy speaks.</scene_description> <character>LUCY (O.S.)</character> <parenthetical>(continuing)</parenthetical> <dialogue>And remember to clean your tough kitchen jobs with "Bab-O," the world's sudsiest cleanser, I'm Lucy Wolper, Bon Appetit!</dialogue> <character>KATE</character> <dialogue>That's it.</dialogue> <scene_description>Lucy walks off the set and lights a cigarette. Sylvie stands nearby. Lucy looks over at her.</scene_description> <character>LUCY</character> <parenthetical>(drops the accent)</parenthetical> <dialogue>You must be the new girl...</dialogue> <parenthetical>(extends her hand)</parenthetical> <dialogue>Lucy Wolper.</dialogue> <character>SYLVIE</character> <parenthetical>(shaking)</parenthetical> <dialogue>Sylvie Parker.</dialogue> <character>LUCY</character> <dialogue>Welcome to the show.</dialogue> <scene_description>Sylvie looks at her watch.</scene_description> <character>SYLVIE</character> <dialogue>Oh my gosh!</dialogue> <scene_description>Lucy What is it?!</scene_description> <character>SYLVIE</character> <dialogue>It's 7 o'clock, and my husband has a client coming to our house for a home cooked meal in an hour.</dialogue> <scene_description>Lucy lifts up the casserole of boeuf bourguignon.</scene_description> <character>LUCY</character> <dialogue>Will the star of today's show do?</dialogue> <character>SYLVIE</character> <dialogue>Really? You are a lifesaver.</dialogue> </scene> <scene> <stage_direction>INT. PARKER HOME - NIGHT</stage_direction> <scene_description>Sylvie and Lacy sit at the table with Dan Evans and his thirty-year-old pretty blond wife SARAH. They have just finished their meal.</scene_description> <character>SARAH</character> <parenthetical>(to Sylvie)</parenthetical> <dialogue>Where ever did you learn to make Boeuf bourguignon like that?</dialogue> <character>SYLVIE</character> <dialogue>The Lucy Wolper show.</dialogue> <character>SARAH</character> <dialogue>Well, I simply must have our girl Viola call you for the recipe.</dialogue> <character>DAN</character> <dialogue>Cigar Parker? I snagged a couple dozen petit Upmanns before the trade embargo.</dialogue> <character>LACY</character> <dialogue>Absolutely, let's go out on the patio, I've got a bottle of Haig &amp; Haig Pinch that'll go nicely with those Cubans.</dialogue> <scene_description>The men get up, and exit. Sylvie sits with Sarah.</scene_description> <character>SARAH</character> <dialogue>So, your husband's a shoe-in for the account.</dialogue> <character>SYLVIE</character> <dialogue>That should make him happy.</dialogue> <character>SARAH</character> <dialogue>Hopefully everyone will be happy: Dan, your husband, the NAACP...</dialogue> <character>SYLVIE</character> <dialogue>The NAACP?</dialogue> <character>SARAH</character> <dialogue>It's nothing really, Dan's company was targeted by the NAACP for having discriminatory hiring Practices; can you imagine?</dialogue> <character>SYLVIE</character> <dialogue>I see, so that's why he's giving such a big account to a Negro owned business.</dialogue> <character>SARAH</character> <dialogue>Of course I didn't mean to imply that that was your husband's only qualification. Why, just today I remarked to my Danny -- That I couldn't even tell your husband was a Negro on the telephone, he has such good diction.</dialogue> </scene> <scene> <stage_direction>INT. PARKER HOME - KITCHEN - NIGHT</stage_direction> <scene_description>Sylvie loads the dishwasher. Lacy joins with a couple of empty rocks glasses, he pours himself the last of the Scotch.</scene_description> <character>LACY</character> <dialogue>Nice folks, huh?</dialogue> <character>SYLVIE</character> <dialogue>Nice folks?</dialogue> <character>LACY</character> <dialogue>Sure, what was wrong with them? They were perfectly gracious.</dialogue> <character>SYLVIE</character> <dialogue>And that's the worst kind of bigot: perfectly gracious on the outside -- But, boy oh boy, you should see 'em on the inside.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You do realize he's in trouble with the NAACP don't you?</dialogue> <character>LACY</character> <dialogue>So what?! I don't care if he's in trouble with the ASPCA, the PTA, and the YMCA too; this account's worth half a million dollars.</dialogue> </scene> <scene> <stage_direction>INT. RECORDING STUDIO - DAY</stage_direction> <scene_description>The guys finish a take of B-YOND (prerecorded), the Countess joins.</scene_description> <character>COUNTESS</character> <dialogue>Miles Davis is in Studio A. He told me to tell you guys, that he saw you in Paris.</dialogue> <parenthetical>(beat)</parenthetical> <character>COUNTESS</character> <dialogue>He's only got a minute, but, he wants to meet the genius behind the band.</dialogue> <character>DICKIE</character> <parenthetical>(from the piano)</parenthetical> <dialogue>Hey, you hear that fellas? Miles is a fan...</dialogue> <scene_description>Dickie stands, fixes his tie, and starts toward the Countess.</scene_description> <character>COUNTESS</character> <dialogue>Come on B-flat.</dialogue> <scene_description>Robert looks surprised and Dickie looks disappointed. As Robert and the Countess exit the studio Sid walks by and Robert grabs him by the arm.</scene_description> <character>ROBERT</character> <dialogue>Hey Sid, are there any comp tickets for the show this Friday?</dialogue> <character>SID</character> <dialogue>Sure, how many do you need?</dialogue> <character>ROBERT</character> <dialogue>Just one.</dialogue> <parenthetical>(pulls out a piece of paper)</parenthetical> <dialogue>Can you send it to this address please?</dialogue> </scene> <scene> <stage_direction>INT. LUCY WOLPER SET - DAY</stage_direction> <scene_description>Lucy stands behind a counter wearing an apron, chopping onions. HEAR a 1960's-Style TV THEME (prerecorded) begin.</scene_description> <character>ANNOUNCER</character> <dialogue>It's time for "Bon Appetit with Lucy Wolper."</dialogue> <character>LUCY</character> <dialogue>We're making "Soupe à l'oignon gratinée" or as you may already know it "French Onion Soup" today. Welcome to Bon Appetit, and I am your host, Lucy Wolper.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Of course when you make French onion soup, you'll need an awful lot of onions and if you're prone to tearing, one trick is to put a bowl of salted water nearby...</dialogue> <scene_description>SEE Sylvie sitting on the floor below Lucy behind the counter, hand Lucy a bowl of salted water. LATER Evelyn joins Sylvie on set.</scene_description> <character>EVELYN</character> <dialogue>Mrs. Parker -- A courier delivered this for you today.</dialogue> <scene_description>She hands Sylvie an envelope. Sylvie opens it, it's a ticket. INSERT - TICKET Which reads: The Dickie Brewster Quartet - FRIDAY, AUGUST 24th 1962 8:30PM 7th ANNUAL JAZZ FESTIVAL at RANDALL'S ISLAND</scene_description> </scene> <scene> <stage_direction>INT. PARKER HOME - LIVING ROOM - NIGHT</stage_direction> <scene_description>Sylvie sits on the couch with Michelle when Lacy enters.</scene_description> <character>LACY</character> <dialogue>How're my girls?</dialogue> <parenthetical>(picks up Michelle)</parenthetical> <dialogue>Daddy's got a surprise for you.</dialogue> <scene_description>He reaches in his pocket and pulls out Mouseketeer ears, and puts them on Michelle's head.</scene_description> <character>MICHELLE</character> <dialogue>DISNEYLAND?!</dialogue> <character>LACY</character> <dialogue>That's right, we leave in two weeks.</dialogue> <parenthetical>(to Sylvie)</parenthetical> <dialogue>The check cleared for the Evans account!</dialogue> <scene_description>Lacy puts her down.</scene_description> <character>SYLVIE</character> <dialogue>I gathered.</dialogue> <parenthetical>(to Michelle)</parenthetical> <dialogue>Okay, go put on your jammies, and I'll be right up to tuck you in.</dialogue> <scene_description>Michelle runs upstairs.</scene_description> <character>SYLVIE</character> <dialogue>Lacy, I can't take a vacation yet, I only started this job two weeks ago.</dialogue> <character>LACY</character> <dialogue>Then quit.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>With this money there's no reason for you to work... at all. Let's have another baby -- don't you want Michelle to have a little brother or sister?</dialogue> <character>SYLVIE</character> <dialogue>Lacy, I'm not quitting my job.</dialogue> <character>LACY</character> <dialogue>What do you say we go out for a fancy dinner on Friday and celebrate, we can discuss it then?</dialogue> <character>SYLVIE</character> <dialogue>Lacy I can't -- not this Friday; I have to work late.</dialogue> <character>LACY</character> <dialogue>What am I supposed to do about dinner?</dialogue> <character>SYLVIE</character> <dialogue>I don't know, why don't you just... "Grab something downtown?"</dialogue> </scene> <scene> <stage_direction>INT. LUCY WOLPER SET - THAT FRIDAY - NIGHT</stage_direction> <scene_description>Lucy talks to the CAMERA CREW. Sylvie eavesdrops.</scene_description> <character>LUCY</character> <dialogue>So, a couple gets a flat during a \* snow storm... The guy goes out to change the tire, but he's got no gloves, see? So after a while his hands get cold and he comes back to the car. 'Put your hands in between my legs, that'll warm'm' the gal says, so he does. His hands warm up and he goes back out to continue. A while later, his hands get cold again and once more he comes in and asks if can put them between her legs, and she says 'Aren't your ears cold yet?'</dialogue> <scene_description>The CREW cracks up. Kate joins Sylvie.</scene_description> <character>SYLVIE</character> <dialogue>You ever think of just letting her be herself?</dialogue> <character>KATE</character> <dialogue>Oh God no... Could you imagine?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I did want to tell you, however, what an excellent job you've been doing.</dialogue> <character>SYLVIE</character> <dialogue>Thank you Kate.</dialogue> <character>KATE</character> <dialogue>You have a great weekend.</dialogue> <character>SYLVIE</character> <dialogue>You too, thanks.</dialogue> </scene> <scene> <stage_direction>INT. MR. JAY'S RECORD STORE - NIGHT</stage_direction> <scene_description>Sylvie enters the store as Mr. Jay downs a Bromo Seltzer.</scene_description> <character>SYLVIE</character> <dialogue>You should really see Lacy's dad about your heartburn.</dialogue> <character>MR. JAY</character> <parenthetical>(waving her off)</parenthetical> <dialogue>I don't need a Doctor.</dialogue> <character>SYLVIE</character> <dialogue>Anyway, thanks again for loaning me your car.</dialogue> <character>MR. JAY</character> <dialogue>Yeah, about that -- She's been actin' a little finicky lately.</dialogue> <character>SYLVIE</character> <parenthetical>(skeptical)</parenthetical> <dialogue>What's wrong with "her"?</dialogue> <character>MR. JAY</character> <dialogue>The radiator had some trouble, but I think I finally fixed it.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Listen, promise me you'll talk to Robert about Michelle...</dialogue> <character>SYLVIE</character> <dialogue>Daddy please, don't start.</dialogue> <scene_description>Mr. Jay hands her the keys.</scene_description> </scene> <scene> <stage_direction>INT. DOWNING STADIUM - BACKSTAGE - NIGHT</stage_direction> <scene_description>Robert adjusts the reed on his sax, to get ready for his gig. HEAR B-YOND (prerecorded).</scene_description> </scene> <scene> <stage_direction>INT. WNAT-TV STUDIOS - KATE'S OFFICE - NIGHT</stage_direction> <scene_description>Kate looks over a script, then rummages around her desk before picking up the phone. SONG CONTINUES.</scene_description> <character>KATE</character> <parenthetical>(over intercom)</parenthetical> <dialogue>Evelyn, do you know if Mrs. Parker's left for the day?</dialogue> <scene_description>Evelyn (over phone) I'm sorry Miss Spencer, she has.</scene_description> <character>KATE</character> <dialogue>Oh, okay.</dialogue> <parenthetical>(starts to hang up)</parenthetical> <dialogue>Actually, would you ring her at home for me please?</dialogue> </scene> <scene> <stage_direction>A82 EXT. ROAD - NIGHT A82</stage_direction> <scene_description>SEE Sylvie standing by Mr. Jay's car, with the hood up -- steams pours out of the car. SONG CONTINUES.</scene_description> </scene> <scene> <stage_direction>EXT. DOWNING STADIUM - BACK GATE - LATER THAT NIGHT</stage_direction> <scene_description>The guys exit the amphitheater. Robert looks around for Sylvie as he and Dickie exit the stadium. They stop in front of their limousines to sign autographs. Robert looks through the crowd for Sylvie. SONG CONTINUES.</scene_description> <character>DICKIE</character> <dialogue>Hey, I have a surprise for you.</dialogue> <character>ROBERT</character> <parenthetical>(signing an autograph)</parenthetical> <dialogue>Oh yeah?</dialogue> <scene_description>Dickie opens the limo door. Connie, our old dancer friend jumps out, wearing a trench coat.</scene_description> <character>DICKIE</character> <dialogue>You remember Connie, right?</dialogue> <character>CONNIE</character> <dialogue>Hi Bobby.</dialogue> <character>DICKIE</character> <dialogue>I'll let you two get reacquainted.</dialogue> <scene_description>Dickie walks off.</scene_description> <character>CONNIE</character> <dialogue>I don't have anything on under this coat.</dialogue> <scene_description>Robert opens the limousine door for Connie.</scene_description> <character>ROBERT</character> <dialogue>Maybe you should get back in the car 'fore you catch cold then.</dialogue> <scene_description>Connie grabs Robert and kisses him passionately before getting back into the limo. SONG CONTINUES. Sylvie finally reaches the stadium. When Sylvie reaches the back gate, she sees Robert signing autographs. Sylvie walks over to him as he signs his last autograph. Robert looks up at her.</scene_description> <character>SYLVIE</character> <dialogue>Robert, I'm so sorry, I had car trouble and... and...</dialogue> <character>ROBERT</character> <dialogue>You missed the show?</dialogue> <character>SYLVIE</character> <dialogue>I did; I'm sorry Robert.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Listen, is there some place we can go and talk?</dialogue> <scene_description>AT THAT MOMENT - Connie ROLLS THE LIMOUSINE window DOWN.</scene_description> <character>CONNIE</character> <dialogue>Bobby baby, are you gonna be much longer?</dialogue> <parenthetical>(noticing Sylvie)</parenthetical> <dialogue>Oh hi!</dialogue> <scene_description>Sylvie looks at Connie in the car and the whole situation.</scene_description> <character>SYLVIE</character> <dialogue>I can see that you're busy so, I think I should go.</dialogue> <scene_description>Sylvie starts to walk away Robert grabs her by the arm.</scene_description> <character>ROBERT</character> <dialogue>Sylvie, I didn't know she was gonna...</dialogue> <character>SYLVIE</character> <parenthetical>(interrupting)</parenthetical> <dialogue>Look, I really am sorry I missed your show, like I said... I'm your number one fan.</dialogue> <scene_description>Sylvie walks away. Robert stands there watching Sylvie walk away, then gets into his limo and closes the door. THE LIMOUSINE DRIVES OUT OF SIGHT -- Sylvie takes off her heels and walks off through the parking lot. SONG CONTINUES.</scene_description> </scene> <scene> <stage_direction>INT. PARKER HOME - NIGHT</stage_direction> <scene_description>As Sylvie enters the house, Lacy exits the kitchen drinking a Scotch and walks by her without saying a word.</scene_description> <character>SYLVIE</character> <dialogue>Hey?</dialogue> <parenthetical>(grabs his arm)</parenthetical> <dialogue>We can celebrate tomorrow night, okay?</dialogue> <character>LACY</character> <parenthetical>(pulling away)</parenthetical> <dialogue>Your boss called.</dialogue> <scene_description>Sylvie doesn't say anything.</scene_description> <character>LACY</character> <dialogue>I know his band played tonight, it was all over the damn radio.</dialogue> <character>LACY</character> <parenthetical>(beat)</parenthetical> <dialogue>You went to see him, didn't you?</dialogue> <character>SYLVIE</character> <dialogue>Lacy...</dialogue> <character>LACY</character> <parenthetical>(interrupting)</parenthetical> <dialogue>I could've had any girl in Harlem, you know that?</dialogue> <scene_description>Lacy shakes his head in disappointment as he walks away to get some distance from Sylvie. Sylvie walks over to him, puts her hand on his face and kisses him. HEAR B-LOVED (prerecorded).</scene_description> <character>SYLVIE</character> <dialogue>...I know.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL ROOM - NIGHT</stage_direction> <scene_description>Robert lays in his hotel bed, eyes open, Connie lays asleep next to him. SONG ENDS.</scene_description> </scene> <scene> <stage_direction>INT. DICKIE'S DETROIT APARTMENT - NEW YEAR'S EVE (1963) -</stage_direction> <scene_description>NIGHT - EXTREME CLOSEUP - CARMEN with a spotlight on her face in front of red velvet curtains HEAR a Cuban music intro.</scene_description> <character>CARMEN</character> <parenthetical>(singing)</parenthetical> <dialogue>"Siempre que te pregunto \* que cuándo, cómo y dónde... \* tu siempre -- me respondes \* Quizás, quizás, quizás" \*</dialogue> <scene_description>WIDEN TO REVEAL TWO DANCERS dressed as matadors, and the curtains are actually their red bullfighting capes.</scene_description> <character>CARMEN</character> <parenthetical>(singing &amp; dancing)</parenthetical> <dialogue>"Y así pasan los días, Y yo \* desesperando, Y tu, tu contestando, \* Quizás, quizás, quizás"</dialogue> <scene_description>Carmen performs "Quizás, Quizás, Quizás" (prerecorded) backed up by the two matador dancers. The apartment is decorated with mid-century furniture. Bubbles and balloons fill the place. It is obvious that Dickie is making money. The party is intimate, but still has many JET-SETTERS who all enjoy the impromptu show.</scene_description> <character>CARMEN</character> <parenthetical>(singing)</parenthetical> <dialogue>"Estas perdiendo el tiempo Pensando, pensando... Por lo que mas tu quieras Hasta cuándo, hasta cuándo</dialogue> <parenthetical>(big finish)</parenthetical> <character>CARMEN</character> <dialogue>Quizás, quizás, quizás Quizás, quizás, quizás!" \*</dialogue> <scene_description>Carmen curtsies to APPLAUSE &amp; CHEERING BY THE GUESTS. Carmen looks at her watch.</scene_description> <character>CARMEN</character> <parenthetical>(slightly out of breath)</parenthetical> <dialogue>Alright everyone, Ten, Nine...</dialogue> <character>EVERYONE</character> <dialogue>...Eight, Seven, Six, five, Four, Three, Two, One! HAPPY NEW YEAR!</dialogue> <scene_description>EVERYONE blows horns, and hug and kiss. HEAR the New Year's classic "Auld Lange Syne" as Dickie runs through the crowd dressed as "Baby New Year" -- wearing a diaper with a 1963 banner draped across his chest. LATER Robert stands with Connie talking to Sid from the record company. HEAR Sarah Vaughan's "One Mint Julep."</scene_description> <character>SID</character> <parenthetical>(looking around)</parenthetical> <dialogue>This place is something else, huh?</dialogue> <character>CONNIE</character> <dialogue>I'll say.</dialogue> <parenthetical>(to Robert)</parenthetical> <dialogue>Bobby, when are we gonna get a place like this?</dialogue> <scene_description>A WAITER walks by with hors d'oeuvres.</scene_description> <character>CONNIE</character> <parenthetical>(Chasing after him)</parenthetical> <dialogue>Garçon!</dialogue> <scene_description>Connie runs off, Carmen joins holding a magazine.</scene_description> <character>CARMEN</character> <dialogue>Have you fellas seen Don DeMichael's review of the album in Downbeat yet?!</dialogue> <character>SID</character> <dialogue>Not yet... Good?</dialogue> <character>CARMEN</character> <dialogue>Good? It's fantastic!</dialogue> <parenthetical>(reading)</parenthetical> <character>CARMEN</character> <dialogue>"'B-Sides,' The auspicious debut from the Dickie Brewster Quartet, is nothing short of genius..."</dialogue> <parenthetical>(taps Robert)</parenthetical> <dialogue>"Particularly, the intrepid and earnest investigations of Tenor Robert Halloway..."</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I've gotta show this to Dickie...</dialogue> <scene_description>Carmen dances away.</scene_description> <character>ROBERT</character> <dialogue>Hey Sid, the record's a big hit right?</dialogue> <character>SID</character> <dialogue>Yeah...</dialogue> <character>ROBERT</character> <dialogue>So how is it that Dickie can afford a swell place like this over here in Lafayette Park -- while the rest of us are still living on the North End?</dialogue> <character>SID</character> <dialogue>They're all Dickie's tunes, so he got an advance on the publishing.</dialogue> <character>ROBERT</character> <dialogue>They may have started out as his ideas, but I've been working on those tunes with him for years.</dialogue> <character>SID</character> <dialogue>Well, he owns the copyrights.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Listen, if you wanna make the big bucks you've gotta own the tunes. Look, you're a talented cat -- when you're ready to record as a leader, you let me know, okay?</dialogue> <scene_description>Carmen returns still holding the Downbeat issue.</scene_description> <character>CARMEN</character> <dialogue>I cannot find my husband.</dialogue> <character>SID</character> <dialogue>I think he said he was going to get more booze.</dialogue> <scene_description>Sid pats Robert on the back and walks off into the party.</scene_description> <character>CARMEN</character> <parenthetical>(digs in her clutch)</parenthetical> <dialogue>Oh, I almost forgot...</dialogue> <parenthetical>(hands him a yellow slip)</parenthetical> <dialogue>There was a message for you from the answering service.</dialogue> <character>ROBERT</character> <parenthetical>(looking at the message)</parenthetical> <dialogue>Thanks.</dialogue> </scene> <scene> <stage_direction>INT. WNAT-TV STATION - OFFICES - NIGHT</stage_direction> <scene_description>The station is having their annual New Year's Party. Sylvie and Lacy arrive and join Kate and MELVIN, her boyfriend, 50. The ladies wear black cocktail dresses.</scene_description> <character>SYLVIE</character> <dialogue>Sorry we're late, my father has a New Year's party at his record store every year, so we had to stop by, then of course we got stuck in traffic at Times Square.</dialogue> <character>KATE</character> <dialogue>Well, you didn't miss anything here; maybe I should have gone to your father's party.</dialogue> <character>LACY</character> <parenthetical>(extends a hand to Melvin)</parenthetical> <dialogue>Lacy Parker.</dialogue> <character>MELVIN</character> <dialogue>Melvin Carmichael III... Esquire.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You wouldn't happen to be related to Dr. Maurice Parker would you?</dialogue> <character>LACY</character> <dialogue>He's my father -- So, what kind of law do you practice?</dialogue> <character>MELVIN</character> <dialogue>Mostly family law -- divorce, annulment; that sort of thing.</dialogue> </scene> <scene> <stage_direction>INT. DICKIE'S DETROIT APARTMENT - FOYER - NIGHT</stage_direction> <scene_description>Robert stands by the door holding the phone. He dials the operator.</scene_description> <character>ROBERT</character> <dialogue>Hello operator? Yes, long distance please...</dialogue> <character>ROBERT</character> <dialogue>person to person in New York City, it's uh, Mr. Jay's Record Store in Harlem... for Mr. Herbert Johnson.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Yes, I'll hold.</dialogue> <scene_description>AT THAT MOMENT Dickie and the Countess enter laughing, not seeing Robert behind the door. Dickie grabs the Countess by the waist and kisses her neck.</scene_description> <character>COUNTESS</character> <parenthetical>(pulling away)</parenthetical> <dialogue>Uh, uh, uh -- we wouldn't want the misses to see that now would we?</dialogue> <character>DICKIE</character> <dialogue>I don't care; I want some of that sweet German Spritzkuchen.</dialogue> <character>COUNTESS</character> <dialogue>I'm only half-German, and you just had some...</dialogue> <character>DICKIE</character> <dialogue>Well I want some more...</dialogue> <character>COUNTESS</character> <dialogue>That's the first rule of show business, dear... "Always leave'm wanting more."</dialogue> <scene_description>Countess walks back into the party straightening her dress. Dickie notices Robert.</scene_description> <character>DICKIE</character> <dialogue>"Beee-flaaaat." Happy New Year Mon Frére.</dialogue> <scene_description>Goes in for the hug...</scene_description> <character>ROBERT</character> <dialogue>Your fly's open.</dialogue> <character>DICKIE</character> <dialogue>Oops.</dialogue> <scene_description>Dickie zips his pants zipper and rejoins the party.</scene_description> </scene> <scene> <stage_direction>INT. WNAT-TV STUDIOS - NIGHT - LATER</stage_direction> <scene_description>Lacy stands talking to a couple of WHITE MALE EXECUTIVES from the station. He is noticeably intoxicated and boorish.</scene_description> <character>LACY</character> <dialogue>We quantify our daily lives, right?</dialogue> <parenthetical>(hits one guy on the chest)</parenthetical> <dialogue>You quantify the amount of hours you put in at work...</dialogue> <scene_description>A WAITER walks by with a tray of champagne and Lacy grabs one and downs it. Sylvie stands in the distance talking to some other workers and notices Lacy; she's seen this pitch before and realizes the higher-ups are uncomfortable.</scene_description> <character>LACY</character> <dialogue>You even quantify "X" number of hours commuting, am I right...? So why not quantify death? What is your death worth monetarily to those you love?</dialogue> <scene_description>Sylvie JOINS and softly grabs Lacy by the elbow.</scene_description> <character>SYLVIE</character> <dialogue>Come on dear, I'm not sure a New Year's party is the best setting to remind people of their mortality.</dialogue> <character>LACY</character> <parenthetical>(snatching his arm away)</parenthetical> <dialogue>It's the perfect setting!</dialogue> <parenthetical>(turns back to the execs)</parenthetical> <dialogue>Every year that goes by, we get closer to our own inevitable...</dialogue> <scene_description>But the TWO EXECS have WALKED AWAY.</scene_description> <character>LACY</character> <dialogue>...end.</dialogue> <parenthetical>(points a finger at Sylvie)</parenthetical> <dialogue>Don't interrupt me when I'm talking business, you understand me?</dialogue> <character>SYLVIE</character> <dialogue>I just don't think this is an appropriate time to...</dialogue> <character>LACY</character> <dialogue>Don't tell me what to do when it comes to my business... my business, is what keeps a roof over your head and food on the table.</dialogue> <scene_description>A WAITRESS walks by, and Lacy grabs her arm.</scene_description> <character>LACY</character> <dialogue>Hey sweetheart, where do they keep the Scotch in this place?</dialogue> <scene_description>The WAITRESS points in a direction and Lacy walks that way, leaving Sylvie alone.</scene_description> </scene> <scene> <stage_direction>INT. WNAT-TV STUDIOS - WOMEN'S BATHROOM - NIGHT - LATER</stage_direction> <scene_description>Sylvie stands at the mirror fixing her makeup as Kate ENTERS.</scene_description> <character>KATE</character> <dialogue>There you are -- So, I almost forgot to tell you; you're looking at the future Mrs. Melvin Carmichael, Esquire.</dialogue> <scene_description>Kate shows Sylvie her engagement ring. They hug.</scene_description> <character>SYLVIE</character> <dialogue>Oh Kate -- Congratulations.</dialogue> <character>KATE</character> <dialogue>It's time for me to see how the other half lives, so -- I just told the brass I won't be renewing my contract for the new year.</dialogue> <character>SYLVIE</character> <dialogue>Well, this place will sure be colorless without the two of us.</dialogue> <character>KATE</character> <dialogue>What do you mean, the two of us?</dialogue> <character>SYLVIE</character> <dialogue>It's only natural that the new producer'll want to bring in her own assistant. Once you're gone, it'll just be a matter of time.</dialogue> <character>KATE</character> <dialogue>Well, why don't you just ask her.</dialogue> <character>SYLVIE</character> <dialogue>They've already found someone new?</dialogue> <character>KATE</character> <dialogue>Yep.</dialogue> <scene_description>Kate ushers Sylvie back over to the mirror. Sylvie looks at herself in the mirror, with Kate standing behind her.</scene_description> <character>KATE</character> <dialogue>And she comes highly recommended.</dialogue> </scene> <scene> <stage_direction>A90 INT. DICKIE'S APARTMENT - FOYER A90</stage_direction> <scene_description>Robert looks disturbed as he hangs up the phone. HEAR Doris Day's "Fly Me To The Moon" begin.</scene_description> </scene> <scene> <stage_direction>INT. WNAT-TV STATION - OFFICES - LATER</stage_direction> <scene_description>Sylvie walks through the office floor looking for Lacy, DRUNKEN EXECUTIVES leave with their SECRETARIES. Sylvie sees Evelyn, with her coat on, about to leave. CONTINUE "Fly Me To The Moon."</scene_description> <character>SYLVIE</character> <dialogue>Evelyn, have you seen Mr. Parker?</dialogue> <scene_description>Evelyn points to the right and continues out.</scene_description> <character>SYLVIE</character> <dialogue>Oh, and Evelyn... Happy New Year.</dialogue> <character>EVELYN</character> <dialogue>Happy New Year Sylvie.</dialogue> </scene> <scene> <stage_direction>INT. KATE SPENCER'S OFFICE - MOMENTS LATER</stage_direction> <scene_description>Sylvie enters the office and finds Lacy asleep on the office couch. She begins to wake him up, but then looks over at what will soon be her desk. She walks over and sits in the chair and spins around to look out of the window. END SONG.</scene_description> </scene> <scene> <stage_direction>INT. PARKER HOME - LIVING ROOM - DAWN</stage_direction> <scene_description>Sylvie holds drunken Lacy up as they enter to find Dr. Parker \* and MRS. PARKER, Lacy's mother, sitting at the table having coffee.</scene_description> <character>LACY</character> <dialogue>(groggy) \*</dialogue> <scene_description>Mom, dad -- what're you doing here?</scene_description> <character>MRS. PARKER</character> <parenthetical>(to Lacy)</parenthetical> <dialogue>Let me get you some coffee.</dialogue> <scene_description>MRS. PARKER stands and exits to the kitchen.</scene_description> <character>SYLVIE</character> <dialogue>What's going on?</dialogue> <character>DR. PARKER</character> <dialogue>Why don't you have a seat, dear. \*</dialogue> <character>SYLVIE</character> <dialogue>What happened? Is Michelle okay?</dialogue> <character>DR. PARKER</character> <dialogue>She's fine, she's upstairs asleep in her room.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It's Herbert...</dialogue> <character>SYLVIE</character> <dialogue>What about daddy?</dialogue> <character>DR. PARKER</character> <dialogue>He had a heart attack tonight at the party after you left.</dialogue> <character>SYLVIE</character> <dialogue>What?! Where is he?</dialogue> <character>DR. PARKER</character> <dialogue>Richard Friedman, the head of Cardiology at Mt. Sinai is a friend, so, I promise he had the very best care possible, but...</dialogue> <parenthetical>(shaking his head)</parenthetical> <dialogue>I'm sorry dear.</dialogue> <scene_description>Sylvie GASPS and covers her mouth in disbelief. Lacy hugs her.</scene_description> <character>SYLVIE</character> <dialogue>I should call momma.</dialogue> <character>DR. PARKER</character> <dialogue>I gave Eunice a sedative, so she'll be asleep for a while.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I really am sorry.</dialogue> <scene_description>Sylvie sits at the dining room table. Mrs. Parker puts her arm around her and rubs her back as Sylvie has a good cry.</scene_description> </scene> <scene> <stage_direction>INT. PARKER HOME - DAY</stage_direction> <scene_description>The is a repast at Sylvie's house. SEE Eunice, wiping tears away as people give their condolences.</scene_description> <character>EUNICE</character> <dialogue>I'm just glad we finally got a warm enough patch for the ground to thaw and finally put Herbert to rest.</dialogue> </scene> <scene> <stage_direction>INT. PARKER HOME - STUDY - SAME</stage_direction> <scene_description>Sylvie sits at the desk working on a script still in her funeral dress. Lacy ENTERS.</scene_description> <character>LACY</character> <dialogue>Hey, you're ignoring our guests.</dialogue> <scene_description>Sylvie continues working. Lacy walks over to the desk and puts his hand on the script and takes her arm.</scene_description> <character>LACY</character> <dialogue>Come on, that can wait.</dialogue> <character>SYLVIE</character> <parenthetical>(pulling away)</parenthetical> <dialogue>You know the expression "The show must go on"?</dialogue> <character>SYLVIE</character> <dialogue>Well, I'm the producer of that show, and I still have to be at work tomorrow, so please, just let me finish.</dialogue> <character>LACY</character> <dialogue>I'm sure the TV station'll understand you taking a few days off.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Now come on, you're not being a very good hostess; what'll people say?</dialogue> <character>SYLVIE</character> <dialogue>I really don't care what people say.</dialogue> <character>LACY</character> <dialogue>Sylvie, you're being irrational; now come on.</dialogue> <scene_description>Lacy grabs her by the arm and she snatches her arm away.</scene_description> <character>SYLVIE</character> <dialogue>I'm not being irrational at all. As a matter of fact, this is the most rational I've been in a very long time, because while I was waiting to bury my father, I had plenty of time to think about what is, and isn't important in my life. And you wanna know what I realized?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Life is too short to waste time on things you don't absolutely love.</dialogue> <character>LACY</character> <dialogue>What's that supposed to mean?</dialogue> <character>SYLVIE</character> <dialogue>It means... I'm tired of being someone I'm not.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You marrying me even though I was pregnant, that was a really noble thing to do, and I wanted to show my gratitude, so I tried to be the person you wanted me to be. But I can't try to be the woman of your dreams any more Lacy, it's exhausting... I need to be the woman of my own dreams.</dialogue> <character>LACY</character> <dialogue>I think we should talk about this later, when you calm down.</dialogue> <character>SYLVIE</character> <dialogue>And I think I need to start living my life for myself.</dialogue> <scene_description>Lacy nods, finally coming to terms with all this.</scene_description> <character>LACY</character> <dialogue>And where does that leave me?</dialogue> <character>SYLVIE</character> <dialogue>I don't know.</dialogue> <character>LACY</character> <dialogue>Well -- I guess I'll let you get back to work then.</dialogue> <scene_description>Lacy heads out of the room, then stops and turns around.</scene_description> <character>LACY</character> <dialogue>For what it's worth -- I didn't marry you because it was the noble thing to do, I did it because I love you. And, I never wanted you to try to be the woman of my dreams... I just wanted to be the man of yours...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But -- we both know that position's already been filled.</dialogue> <scene_description>Lacy exits the study. Sylvie goes back to her work for a few moments before breaking down and weeping onto her script.</scene_description> </scene> <scene> <stage_direction>INT. DETROIT REHEARSAL STUDIO - DAY</stage_direction> <scene_description>Robert, Dickie, Chico, and Buzzy finish B-Back In Five \* (prerecorded). \*</scene_description> <character>DICKIE</character> <dialogue>Alright fellas, that's it for the day.</dialogue> <character>ROBERT</character> <dialogue>It's still a little loose; let's run it one more time.</dialogue> <character>DICKIE</character> <dialogue>Man, we're gonna "run it" into the ground; I said let's cool it.</dialogue> <character>ROBERT</character> <dialogue>And I said let's run it again.</dialogue> <scene_description>Dickie stands and closes the piano's fallboard.</scene_description> <character>DICKIE</character> <dialogue>Hah -- well, to the best of my knowledge, this is still the Dickie Brewster Quartet... And, since I'm the only muh'fucka here named Dickie Brewster -- That makes me the "Head Nigger in charge" so if I say "that's it..." then, that's it.</dialogue> <character>CHICO</character> <dialogue>Come on y'all, simmer down.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Bobby, Dickie's right, we've been at it all day, we're all beat.</dialogue> <character>ROBERT</character> <parenthetical>(to all)</parenthetical> <dialogue>You know there's this crazy idea that practice makes perfect -- It just might catch on one day.</dialogue> <scene_description>Robert unhooks the strap on his sax, and exits the studio.</scene_description> </scene> <scene> <stage_direction>INT. DETROIT REHEARSAL STUDIO - HALLWAY - DAY</stage_direction> <scene_description>Robert lights a cigarette as Dickie comes out. Connie sits in the distance.</scene_description> <character>DICKIE</character> <dialogue>You got a problem man?</dialogue> <character>ROBERT</character> <dialogue>Yeah I got a problem, how 'bout the fact that the only ones making any dough are you and the Dragon Lady.</dialogue> <character>DICKIE</character> <dialogue>Man, what you bellyachin' about? The Countess just booked us a gig that pays $500 bucks a night.</dialogue> <character>ROBERT</character> <dialogue>Yeah and of that $500... she takes 20% as our manager -- and another 20% as our booking agent. That's more than a 3rd off the top.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You might be a little more concerned with the fact that she's screwin' all of us -- if you weren't busy screwin' her...</dialogue> <character>DICKIE</character> <dialogue>And maybe if you paid more attention to that fine little girl you got over there, you wouldn't be so concerned with my business.</dialogue> <character>ROBERT</character> <dialogue>Carmen's a stand up person, she deserves better.</dialogue> <scene_description>Robert puts his cigarette out, and walks away. 98 OMITTED 98 \* \*:</scene_description> </scene> <scene> <stage_direction>EXT. FLAME SHOW BAR - NIGHT</stage_direction> <scene_description>Robert enters as TANK, a big, boisterous, twenty-eight year old, with a gold window on his front tooth exits the bar.</scene_description> <character>TANK</character> <parenthetical>(pretending not to know Robert)</parenthetical> <dialogue>Hey brother, you got a light?</dialogue> <character>ROBERT</character> <dialogue>Hey, Big Tank!</dialogue> <parenthetical>(Shakes his hand)</parenthetical> <dialogue>How's it goin'?</dialogue> <character>TANK</character> <dialogue>Everything's peaches man. I'm over at Motown now. I heard your stuff on the radio; nice man, real nice.</dialogue> <character>ROBERT</character> <dialogue>Well, the whole world's listenin' to "The Sound of Young America."</dialogue> <character>TANK</character> <dialogue>Not bad for a coupl'a cats from the Brewster-Douglas projects, huh?</dialogue> <parenthetical>(in confidence)</parenthetical> <dialogue>Hey, seein' how great of friends we are, if you ever wanna join the hit parade -- I'm sure I could put in a good word to Berry for you. I'm like, his right hand man so to speak.</dialogue> </scene> <scene> <stage_direction>INT. FLAME SHOW BAR - POOL TABLE AREA - LATER THAT NIGHT</stage_direction> <scene_description>Robert and Chico play pool, in the back. HEAR Martha And The Vandella's "Come And Get These Memories."</scene_description> <character>ROBERT</character> <dialogue>Four ball -- Corner pocket.</dialogue> <character>CHICO</character> <dialogue>Hey man, you'll never guess who I saw the other night? Mona-Lisa -- you know, Sylvie's cousin from back in New York?</dialogue> <character>ROBERT</character> <dialogue>Oh yeah?</dialogue> <scene_description>Robert takes the shot and misses. Chico chalks his cue and walks around the table surveying his shot.</scene_description> <character>CHICO</character> <dialogue>Yeah, she was in town for that, uh, Walk to Freedom they had, over there on Woodward.</dialogue> <character>ROBERT</character> <dialogue>Yeah I heard about that...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>How's she doing?</dialogue> <character>CHICO</character> <dialogue>Oh, she's good man... real good.</dialogue> <parenthetical>(smiles)</parenthetical> <dialogue>Twelve ball side pocket.</dialogue> <scene_description>Chico takes the shot and makes it.</scene_description> <character>CHICO</character> <dialogue>She did make mention though, that uh, Sylvie, she and her old man split up.</dialogue> <character>ROBERT</character> <parenthetical>(nonchalantly)</parenthetical> <dialogue>Is that a fact?</dialogue> <character>CHICO</character> <dialogue>Yeah, you know, she ain't got no reason to be jivin' me...</dialogue> <parenthetical>(surveying the table)</parenthetical> <dialogue>Eight ball corner pocket.</dialogue> <scene_description>Chico sinks the eight ball.</scene_description> <character>CHICO</character> <dialogue>One more?</dialogue> <character>ROBERT</character> <dialogue>Naw, I'm gonna head out.</dialogue> <scene_description>Buzzy is asleep in a chair. Robert wakes him.</scene_description> <character>ROBERT</character> <dialogue>Hey Buzz, d'you see Connie?</dialogue> <character>BUZZY</character> <dialogue>I think she left with Carmen and Dickie.</dialogue> </scene> <scene> <stage_direction>EXT. FLAME SHOW BAR - DETROIT STREET - NIGHT</stage_direction> <scene_description>The guys approach a parked 1962 Chevy Impala.</scene_description> <character>BUZZY</character> <dialogue>Well, Dickie's car is still here.</dialogue> <scene_description>The guys get closer to Dickie's car and see him sitting in the driver's seat with his head back and eyes closed.</scene_description> <character>CHICO</character> <dialogue>Looks like Dickie passed out, the girls must've caught a taxi.</dialogue> <scene_description>Robert reaches the car, and knocks on the windshield.</scene_description> <character>ROBERT</character> <dialogue>Hey, wake up!</dialogue> <scene_description>Dickie makes a face like he's having a sexual climax. Connie's head pops up from Dickie's lap. She sees Robert and runs out of the car. Dickie exits the car.</scene_description> <character>DICKIE</character> <parenthetical>(zipping his pants)</parenthetical> <dialogue>Okay, okay, now before you get all bent out of shape, she came to me cryin' about how you ain't been givin' it to her, so I just...</dialogue> <scene_description>Robert decks Dickie. Dickie, rubs his jaw and spits.</scene_description> <character>DICKIE</character> <dialogue>If that's as hard as you can hit, no wonder she's coming to me.</dialogue> <scene_description>Dickie decks Robert. Robert gets Dickie in a headlock, and slams his head into the hood of the car. Dickie pulls out a switchblade, and slashes at Robert.</scene_description> <character>CHICO</character> <dialogue>Dickie, put that knife away man!</dialogue> <scene_description>Dickie laughs as he moves toward Robert, slashing at the air.</scene_description> <character>DICKIE</character> <dialogue>Oh, you not so bad now?</dialogue> <character>ROBERT</character> <dialogue>You put that blade away, I'll show you how bad I am.</dialogue> <scene_description>Robert punches Dickie, but Dickie cuts Robert's arm. SEE THE BARTENDER, a rough looking Black dude, poke his head out of the front door of the bar.</scene_description> </scene> <scene> <stage_direction>INT. FLAME SHOW BAR - MOMENTS LATER</stage_direction> <scene_description>The BARTENDER is behind the bar on the phone.</scene_description> <character>BARTENDER</character> <dialogue>Yeah, send a squad car quick! to 4264 John R Street; corner of Canfield.</dialogue> <scene_description>BACK OUTSIDE</scene_description> <character>DICKIE</character> <dialogue>Come on mothafucka!</dialogue> <scene_description>Robert punches Dickie, and Dickie cuts Robert's arm again. A POLICE CAR screeches up and COPS get out, GUNS DRAWN as Dickie still holds the knife in his hand.</scene_description> <character>COP</character> <dialogue>HANDS IN THE AIR! Everybody!</dialogue> </scene> <scene> <stage_direction>EXT. POLICE PRECINCT - DAWN</stage_direction> <scene_description>Robert, Chico and Buzzy exit, wearing last night's clothes. Robert's arm is wrapped in gauze. The Countess is with them; it's safe to assume she bailed them out.</scene_description> <character>COUNTESS</character> <dialogue>Well, that's it for Dickie; unfortunately, in addition to the knife, the police found a .22 caliber pistol on him too.</dialogue> <character>CHICO</character> <dialogue>With his record? He'gon' be in there for a while.</dialogue> <character>COUNTESS</character> <dialogue>So -- How's your arm B-flat; it won't affect your playing will it?</dialogue> <character>ROBERT</character> <dialogue>It's over Countess.</dialogue> <character>COUNTESS</character> <dialogue>It's not over, everyone's replaceable; we'll just find another pianist that's all.</dialogue> <character>ROBERT</character> <dialogue>I meant, it's over between us -- I'm through.</dialogue> <character>COUNTESS</character> <dialogue>Should I remind you, you're still under contract?</dialogue> <character>ROBERT</character> <dialogue>You know Dickie's not as dumb as you think he is... you go ahead and read that contract... everyone's replaceable alright... everyone except Dickie.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>No Dickie, no Dickie Brewster Quartet.</dialogue> <character>COUNTESS</character> <dialogue>So what, you've always been the real leader anyway... We'll call it the "Robert Halloway Quartet" believe me, no one will even care.</dialogue> <character>ROBERT</character> <dialogue>I will.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>See -- I've never been too keen on you being our manager, so I'm gonna take this opportunity to say...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>"Auf wiedersehen."</dialogue> <scene_description>Robert walks off.</scene_description> <character>COUNTESS</character> <dialogue>Where is he going?</dialogue> <scene_description>Buzzy and Chico shrug their shoulders.</scene_description> <character>COUNTESS</character> <parenthetical>(yelling)</parenthetical> </scene> <scene> <stage_direction>INT. LUCY WOLPER SET - DAY</stage_direction> <scene_description>The set has been modernized, has an updated THEME SONG, and Lucy has ditched her accent. END THEME SONG.</scene_description> <character>LUCY</character> <dialogue>So I say to my husband, you wanna invite your boss over for dinner? Go Ahead, the TV Dinners are in the Fridgidaire! Speaking of which, I'd like to welcome a new sponsor to the show "Swanson's TV brand dinners -- Trust Swanson, for the best in frozen dinners!"</dialogue> </scene> <scene> <stage_direction>INT. LUCY WOLPER SHOW - OFF SET - DAY</stage_direction> <scene_description>Sylvie stands with Evelyn.</scene_description> <character>EVELYN</character> <dialogue>I never knew she was so funny.</dialogue> <character>SYLVIE</character> <dialogue>I just let her be herself.</dialogue> </scene> <scene> <stage_direction>INT. PARKER HOME - LIVING ROOM - NIGHT</stage_direction> <scene_description>Sylvie arrives home. Michelle sits on the couch in pajamas, \* watching Mr. ED on tv with Eunice. Sylvie takes off her coat \* and kisses Michelle and her mother hello. \*</scene_description> <character>SYLVIE \*</character> <dialogue>(turns off the tv) \*</dialogue> <scene_description>Michelle, kiss Grandma Eunice good \* night; I'll be there shortly to \* tuck you in. \* Michelle kisses Eunice good night and heads to her room. \* Eunice stands. \*</scene_description> <character>SYLVIE</character> <dialogue>Sorry I'm so late, I had a meeting \* with a new sponsor that would not \* end. \*</dialogue> <scene_description>Eunice picks up the phone and dials. \*</scene_description> <character>EUNICE \*</character> <dialogue>Don't worry about it; I'm happy to \* help. \*</dialogue> <scene_description>(to phone) \* Hi, I need a taxi at 4756 Liberty, \* going to 415 Edgecombe Avenue in \* Manhattan please... Thank you. \* Eunice hangs up the phone. \*</scene_description> <character>SYLVIE \*</character> <dialogue>Mother, it's late, why don't you \* just stay here tonight? \*</dialogue> <character>EUNICE</character> <dialogue>No, I've got a class to teach in \* the morning. \*</dialogue> <scene_description>Eunice puts her coat on. \*</scene_description> <character>SYLVIE \*</character> <dialogue>Yes -- you must prepare the next \* generation of debutantes for duty. \*</dialogue> <character>EUNICE \*</character> <dialogue>What do you think about coming back \* to the school one day and talking \* to my young ladies? \*</dialogue> <character>SYLVIE \*</character> <dialogue>What, exactly, would I talk to them \* about? \*</dialogue> <character>EUNICE \*</character> <dialogue>Well -- they've already been taught \* how to be successful with a young \* man -- so, maybe now they should \* know that they can also be \* successful without one. \*</dialogue> <scene_description>HEAR a Taxi pull up outside. \*</scene_description> <character>SYLVIE \*</character> <dialogue>I think I'd like that. \*</dialogue> <character>EUNICE \*</character> <dialogue>Me too. \*</dialogue> <scene_description>Eunice kisses Sylvie goodbye and exits. \*</scene_description> </scene> <scene> <stage_direction>INT./EXT. ROBERT'S CAR - LATER THAT NIGHT 108 \*</stage_direction> <scene_description>Robert pulls up and parks his car in front of Sylvie's house and checks directions on a AAA ROAD MAP. HEAR Doris Day's "Fly Me To The Moon."</scene_description> </scene> <scene> <stage_direction>INT./EXT. PARKER HOME - LIVING ROOM - NIGHT</stage_direction> <scene_description>Sylvie sits on the couch, wearing a bathrobe, with rollers in her hair, reading Betty Friedan's "The Feminine Mystique." HEAR a car in the driveway. Sylvie puts the book down, walks over to the window and looks outside. Sylvie sees Robert getting out of his car. SONG CONTINUES. Sylvie opens the door. See Robert headed toward the doorway. He stops and gives a small shrug.</scene_description> </scene> <scene> <stage_direction>INT. PARKER HOME - FRONT DOOR/LIVING ROOM - NIGHT</stage_direction> <scene_description>Sylvie leads Robert into the living room. She passes a mirror, and realizes she still has rollers in her hair.</scene_description> <character>SYLVIE</character> <dialogue>Don't you dare move! I'll be right back.</dialogue> <character>ROBERT</character> <dialogue>Alright.</dialogue> <character>SYLVIE</character> <dialogue>Don't leave!</dialogue> <scene_description>Sylvie heads to her bedroom. Robert looks around the living \* room, he looks at a picture of Michelle on the mantle, picks it up and then sits on the couch staring at it.</scene_description> </scene> <scene> <stage_direction>INT. PARKER HOME - LIVING ROOM - NIGHT</stage_direction> <scene_description>Sylvie comes back into the livingroom, hair pulled back, \* wearing red Japanese silk pajamas, trying to be a little more composed. SONG CONTINUES softly in the background.</scene_description> <character>SYLVIE</character> <dialogue>So, what brings you to New York, are you here with the guys?</dialogue> <character>ROBERT</character> <dialogue>No, we kinda broke up.</dialogue> <parenthetical>(changing the subject)</parenthetical> <dialogue>A little bird told me that you and your husband were goin' through some changes.</dialogue> <character>SYLVIE</character> <dialogue>Yeah, that little bird was right.</dialogue> <character>ROBERT</character> <dialogue>Well, I've been thinking about you and... I just really wanted to see you that's all. So, now I've seen you, and it's late, so maybe I should drive into town and get a hotel room.</dialogue> <character>SYLVIE</character> <dialogue>You'll do no such thing; you're staying right here, and I won't take "no" for an answer. I'll make up the couch for you.</dialogue> <character>ROBERT</character> <dialogue>Well, I am pretty beat from driving for the past sixteen hours, so... okay.</dialogue> <scene_description>Sylvie digs into a cabinet behind the couch and pulls out a pillow and a blanket and sets it on the couch next to Robert.</scene_description> <character>ROBERT</character> <dialogue>Listen, I really am sorry about the way things ended the last time we saw each other...</dialogue> <character>SYLVIE</character> <dialogue>Me too.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - MORNING</stage_direction> <scene_description>Robert wakes up on the couch and Michelle is standing over him.</scene_description> <character>MICHELLE</character> <dialogue>Hello.</dialogue> <character>ROBERT</character> <dialogue>Hello.</dialogue> <character>MICHELLE</character> <dialogue>Are you hungry?</dialogue> <character>ROBERT</character> <dialogue>Yes, I am.</dialogue> <scene_description>Michelle hands him a pancake.</scene_description> </scene> <scene> <stage_direction>INT. PARKER HOME - KITCHEN - MORNING</stage_direction> <scene_description>Robert sits at the table eating breakfast with Sylvie, his bandage is visible.</scene_description> <character>SYLVIE</character> <parenthetical>(touching his arm)</parenthetical> <dialogue>What happened to your arm?</dialogue> <character>ROBERT</character> <dialogue>Just an accident.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Hey, thanks for the, uh, use of your couch last night, but I think I'm gonna stick around for a while, and I don't want to be burden, so after breakfast I'm gonna head into the city and get a room.</dialogue> <character>SYLVIE</character> <dialogue>Don't be silly, I have plenty of room and it's just Michelle and I.</dialogue> <character>ROBERT</character> <dialogue>Are you sure?</dialogue> <character>SYLVIE</character> <dialogue>Absolutely.</dialogue> <character>ROBERT</character> <dialogue>Okay, but you'll have to let me buy you dinner tonight.</dialogue> <character>SYLVIE</character> <parenthetical>(shakes his hand)</parenthetical> <dialogue>It's a deal; you can pick me up from work, I'm off at seven.</dialogue> </scene> <scene> <stage_direction>INT. LUCY WOLPER SET - NIGHT</stage_direction> <scene_description>Sylvie wears a headset and holds a clipboard. Lucy stands at the counter cracking eggs into a bowl. EVELYN sits behind the counter, out of view from the camera, holding a pie pan for Lucy to discard the eggshells.</scene_description> <character>SYLVIE</character> <parenthetical>(into headset)</parenthetical> <dialogue>Camera 1, ready on your close-up.</dialogue> <scene_description>Lucy (to Camera) We want six egg yolks, so you'll have to separate the whites... Robert stands off set watching. Sylvie waves to him.</scene_description> </scene> <scene> <stage_direction>INT. SHANGHAI GARDENS RESTAURANT - NIGHT</stage_direction> <scene_description>Robert and Sylvie sit across from each other at a Chinese restaurant.</scene_description> <character>ROBERT</character> <dialogue>So, I'm really impressed.</dialogue> <character>SYLVIE</character> <dialogue>Yeah, Lucy's great isn't she?</dialogue> <character>ROBERT</character> <dialogue>I was talking about you; I've been around my share of television studios, you really know your stuff.</dialogue> <character>SYLVIE</character> <dialogue>Yeah, I guess I do.</dialogue> <character>ROBERT</character> <parenthetical>(staring at Sylvie)</parenthetical> <dialogue>You know, you're just...</dialogue> <parenthetical>(enamored)</parenthetical> <dialogue>You're really something, you know that?</dialogue> <scene_description>Robert tries to use the chopsticks and they clumsily fall out of his hands.</scene_description> <character>SYLVIE</character> <dialogue>Here, let me show you...</dialogue> <scene_description>She picks up his chopsticks...</scene_description> <character>ROBERT</character> <dialogue>I can use chopsticks; it's my hands I'm having trouble with...</dialogue> <scene_description>She takes his hands...</scene_description> <character>SYLVIE</character> <dialogue>You're shaking.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Are you nervous?</dialogue> <character>ROBERT</character> <dialogue>No.</dialogue> <character>SYLVIE</character> <dialogue>You don't have to be embarrassed; I think it's sweet.</dialogue> <character>ROBERT</character> <parenthetical>(a bit shy)</parenthetical> <dialogue>Yeah?</dialogue> <character>SYLVIE</character> <dialogue>Yeah.</dialogue> <scene_description>Sylvie picks up the chopsticks and feeds Robert some Chinese food. Then Robert picks up his chopsticks and feeds her back. HEAR Sarah Vaughan's "Fly Me To The Moon". SEE a SERIES OF SHOTS of the two enjoying dinner and each other's company.</scene_description> <character>LATER</character> <dialogue>FOLLOW an ASIAN WAITRESS carrying a tray with tea, fortune cookies and the check through the restaurant, we see the chairs are up and it is closing. The WAITRESS puts the check down on the table. SONG CONTINUES. Robert STANDS and extends his hand.</dialogue> <character>ROBERT</character> <dialogue>May I have the pleasure of this dance Miss Johnson?</dialogue> <scene_description>Sylvie STANDS. CLOSEUP - ROBERT AND SYLVIE - SLOW DANCING - Sylvie rests her head on ROBERT's shoulder. LONG SHOT - Sylvie and Robert dancing in an empty restaurant as BUSBOYS put up the CHAIRS around them.</scene_description> </scene> <scene> <stage_direction>EXT. ORCHARD BEACH - FEW DAYS LATER</stage_direction> <scene_description>FADE MUSIC DOWN. Robert and Sylvie carry a cooler with Michelle sitting on top of it. HEAR Nat King Coles "What to do." LATER Sylvie sits on a blanket watching as Michelle buries Robert in the sand.</scene_description> </scene> <scene> <stage_direction>EXT. ORCHARD BEACH - NIGHT</stage_direction> <scene_description>Sylvie stands by the water staring out at the ocean, holding sleeping Michelle. Robert joins and takes over carrying Michelle. They BOTH STARE out at the ocean. END SONG.</scene_description> <character>SYLVIE</character> <dialogue>You know what scares me most about the ocean? Fear of the unknown: if I jump in, maybe it'll all be fine... but then maybe out of nowhere, a big shark'll come, and it's curtains for me, buster.</dialogue> <character>ROBERT</character> <dialogue>No one knows what's gonna happen next; that's just life...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But sometimes you have to surrender to something larger than yourself; even if it terrifies you.</dialogue> <character>SYLVIE</character> <dialogue>And what about you, what are you afraid of?</dialogue> <character>ROBERT</character> <dialogue>Losing you.</dialogue> </scene> <scene> <stage_direction>INT. PARKER HOME - RECREATION ROOM - NIGHT</stage_direction> <scene_description>Robert joins Sylvie in the rec/storage room, she's is digging through an old trunk.</scene_description> <character>ROBERT</character> <dialogue>So, Michelle is tucked in and fast asleep.</dialogue> <character>SYLVIE</character> <dialogue>Nicely done.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Here it is...</dialogue> <scene_description>Sylvie produces Mr. Jay's old RED GATOR-SKIN SAXOPHONE CASE.</scene_description> <character>SYLVIE</character> <dialogue>I've got something for you...</dialogue> <scene_description>Sylvie stands and walks over to Robert, who now sits on a recliner by the sliding glass doors. She sits the saxophone case on his lap.</scene_description> <character>SYLVIE</character> <dialogue>I noticed you didn't have your saxophone with you, and I remember once, you told me the thing you loved most about music, was playing it... and this old thing was just gatherin' dust, so I thought you might be able to put it to some good use.</dialogue> <scene_description>Robert opens the case, it's a mint condition CONN NEW WONDER SAXOPHONE. He stares at it for a beat.</scene_description> <character>ROBERT</character> <dialogue>It's a nice thought, but -- after splitting up with the band, I think I'm gonna take a break from music right now...</dialogue> <scene_description>Sets the case on the floor and pulls Sylvie onto his lap.</scene_description> <character>ROBERT</character> <dialogue>...and focus on more important things.</dialogue> <scene_description>Robert and Sylvie kiss.</scene_description> <character>SYLVIE</character> <dialogue>While I was looking for that saxophone, I also found this...</dialogue> <scene_description>Sylvie holds up the airline ticket he gave her years ago.</scene_description> <character>SYLVIE</character> <dialogue>You know, every once in a while I like to look at this, and imagine what my life would have been like if I had been there with you.</dialogue> <scene_description>Robert kisses Sylvie softly on the lips again.</scene_description> <character>ROBERT</character> <dialogue>You were there with me.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Wherever I go, whatever I do -- there's only one thing on my mind...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>...Sylvie.</dialogue> <character>SYLVIE</character> <dialogue>Say my name again...</dialogue> <character>ROBERT</character> <dialogue>Sylvie.</dialogue> <scene_description>Sylvie kisses him again and they stand up.</scene_description> <character>SYLVIE</character> <parenthetical>(kisses him)</parenthetical> <dialogue>Again...</dialogue> <character>ROBERT</character> <parenthetical>(kisses her back)</parenthetical> <dialogue>Sylvie...</dialogue> <scene_description>While still kissing and Sylvie turns pulls a cord that turns the ceiling light off. MED. SHOT Robert and Sylvie kissing in the dark. Robert unzips the back of Sylvie's dress. Sylvie's dress falls to the floor. LATER HEAR FAINT SAX MUSIC. Sylvie, asleep on an old couch in the room, wakes up and listens for awhile, then sits up. Robert sits by the patio window softly playing Mr. Jay's old saxophone. Sylvie leans over the back of the couch, and watches as he plays the same melodic line over and over. He stops playing and turns around.</scene_description> <character>SYLVIE</character> <dialogue>Did you write that?</dialogue> <character>ROBERT</character> <dialogue>Yeah, it just came to me.</dialogue> <scene_description>Sylvie wraps a throw around herself, and walks over to him.</scene_description> <character>SYLVIE</character> <dialogue>Well, it's very beautiful.</dialogue> <character>ROBERT</character> <dialogue>I guess beauty inspires beauty.</dialogue> <character>SYLVIE</character> <dialogue>Moi?</dialogue> <character>ROBERT</character> <dialogue>Oui.</dialogue> <scene_description>Sylvie puts her arms around his shoulders and kisses his neck.</scene_description> <character>SYLVIE</character> <dialogue>Well, how 'bout a little more inspiration, Mr. Halloway? \*</dialogue> <scene_description>Robert and Sylvie kiss again. Robert puts the sax down and pulls Sylvie onto his lap and they keep kissing. SERIES OF SHOTS Robert and Sylvie ride a tandem bike with a picnic basket attached to the back. They have a picnic; They kiss while laying on a picnic blanket; Robert writes sheet music, while Sylvie works on a script for the show. END SERIES on them riding the bike back home.</scene_description> </scene> <scene> <stage_direction>INT. PARKER HOME - LIVING ROOM - NIGHT</stage_direction> <scene_description>Sylvie comes home. On the table is a bucket with a bottle of champagne in it and the lights are low. HEAR Ruby &amp; The Romantics' "Our Day Will Come," a medium up tempo song. Robert dances over to her hands her a glass.</scene_description> <character>SYLVIE</character> <parenthetical>(taking it)</parenthetical> <dialogue>Champagne? What's the occasion?</dialogue> <scene_description>Robert dances over to the bucket and POPS open the BOTTLE OF CHAMPAGNE, dances back over and pours. He sits the bottle down and dances with Sylvie a bit; he's in a great mood.</scene_description> <character>ROBERT</character> <dialogue>Well, six years ago today, I walked into a record store and met the most beautiful debutante in all of Harlem.</dialogue> <character>SYLVIE</character> <dialogue>Well, then that is cause for champagne.</dialogue> <character>ROBERT</character> <dialogue>And if I'm very lucky, maybe I'll get to meet her again one day...</dialogue> <scene_description>Sylvie gently socks his arm.</scene_description> <character>ROBERT</character> <parenthetical>(raises his glass)</parenthetical> <dialogue>Happy anniversary.</dialogue> <character>SYLVIE</character> <dialogue>Happy anniversary.</dialogue> <scene_description>Robert and Sylvie CLINK their glasses then kiss.</scene_description> <character>ROBERT</character> <dialogue>Here, sit down...</dialogue> <scene_description>He leads her over to the couch and she sits down, then turns down the radio.</scene_description> <character>ROBERT</character> <dialogue>Listen, I've been thinking and -- what do you think about us getting a place of our own?</dialogue> <character>SYLVIE</character> <dialogue>Well, it wouldn't just be us -- remember, I'm a package deal. Are you really ready to take on the \* responsibility of a child? \*</dialogue> <character>ROBERT</character> <dialogue>I'm ready to take responsibility \* for mine.</dialogue> <scene_description>Sylvie downs her glass of champagne, stands and goes across the room to refill it.</scene_description> <character>SYLVIE</character> <parenthetical>(with her back to Robert)</parenthetical> <dialogue>How long have you known?</dialogue> <character>ROBERT</character> <dialogue>Mr. Jay called me, right before he died.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I thought about comin' back a thousand times, but then I thought with me being on the road all the time, I don't know -- I guess I just wanted you to be happy, even if I couldn't be a part of it.</dialogue> <scene_description>Robert walks over and takes her by the hand.</scene_description> <character>ROBERT</character> <dialogue>But once I found out about you and \* Lacy, all I could think about was us being a family. \*</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But this house belongs to you and him, so if we're really gonna be a family, we need to find a place of our own.</dialogue> </scene> <scene> <stage_direction>INT. RECORDING STUDIO - CONTROL BOOTH - AFTERNOON</stage_direction> <scene_description>Robert talks to Sid, who sits at the mixer. Sid lights a cigarette and offers Robert one, but he declines.</scene_description> <character>SID</character> <dialogue>Tough break about Dickie. So, what can I do for you?</dialogue> <character>ROBERT</character> <dialogue>You said when I was ready to record as a leader to let you know; well, I'm ready.</dialogue> <parenthetical>(digging in his briefcase)</parenthetical> <dialogue>I've got a bunch of new tunes...</dialogue> <character>SID</character> <dialogue>Bobby let me stop you right there for a minute.</dialogue> <scene_description>Sid leans back in his chair as he exhales.</scene_description> <character>SID</character> <dialogue>You know what the number one song in America is, right now?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>"Fingertips" by little Stevie Wonder, a blind kid from your hometown, who plays the harmonica.</dialogue> <character>ROBERT</character> <dialogue>I don't follow...</dialogue> <character>SID</character> <dialogue>It's not just that Jazz ain't cool anymore... It's ice cold, man -- like Pluto.</dialogue> <parenthetical>(beat)</parenthetical> <character>SID</character> <dialogue>Kids today aren't listenin' to Monk -- they're doing "The Monkey".</dialogue> <character>ROBERT</character> <dialogue>Well I've got a kid of my own I have to support.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>There's gotta be something you can do for me?</dialogue> <character>SID</character> <dialogue>I'm sorry Bobby, but... "The times they are a changin'."</dialogue> </scene> <scene> <stage_direction>INT. CHICO'S STUDIO APARTMENT - DETROIT - DAY</stage_direction> <scene_description>Chico packs some things into a suitcase that lays open on his bed as HEAR PHONE RING. Chico walks over to phone and answers.</scene_description> <character>CHICO</character> <dialogue>Chicago Sweetney.</dialogue> </scene> <scene> <stage_direction>INT. PARKER HOME - LIVING ROOM - SAME</stage_direction> <scene_description>Robert holds the phone watching Michelle play in background.</scene_description> <character>ROBERT</character> <dialogue>Hey "Cheek."</dialogue> <character>INTERCUT - ROBERT &amp; CHICO</character> <dialogue>CHICO</dialogue> <scene_description>Well, if it isn't Bob Halloway. (beat) How the hell are you? Chico sits at a table, parks the headset between his head and shoulder and lights a cigarette.</scene_description> <character>ROBERT</character> <dialogue>I am okay, man. Sorry I haven't been in touch.</dialogue> <character>CHICO</character> <dialogue>Yeah, well that last scene was pretty bad; you back in New York?</dialogue> <character>ROBERT</character> <dialogue>Yeah. Listen -- I've been thinking about what the Countess said about putting together my own outfit, so I wanted to see if you and Buzz might be interested.</dialogue> <character>CHICO</character> <dialogue>I'll tell you Bobby, your timing couldn't be worse, what with Dickie locked up and you running off the way you did, Buzzy and I had to take a gig with Sarah Vaughan, we're headed back to Europe tomorrow for three months.</dialogue> <parenthetical>(silence from Robert)</parenthetical> <dialogue>Bob, you still there?</dialogue> <character>ROBERT</character> <dialogue>Yeah, yeah, I'm just... Congratulations.</dialogue> <character>CHICO</character> <dialogue>Thanks, man.</dialogue> <character>ROBERT</character> <dialogue>Hey, I'm sure you've got a lot to do before you split, so I won't keep you.</dialogue> <character>CHICO</character> <dialogue>Well, it's good to hear from you.</dialogue> <parenthetical>(concerned)</parenthetical> <dialogue>Is everything okay?</dialogue> <character>ROBERT</character> <dialogue>Everything's peaches, man. You travel safely.</dialogue> </scene> <scene> <stage_direction>EXT. PARKER HOME - MAGIC HOUR</stage_direction> <scene_description>Sylvie arrives to find Robert sitting on the patio steps smoking a cigarette.</scene_description> <character>SYLVIE</character> <dialogue>What are you doin' out here all by your lonesome?</dialogue> <character>ROBERT</character> <dialogue>Thinkin'.</dialogue> <character>SYLVIE</character> <parenthetical>(sitting next to him)</parenthetical> <dialogue>Oh yeah, whatcha thinkin' 'bout Mr. Halloway?</dialogue> <character>ROBERT</character> <dialogue>I went to my old record company today, to play my new stuff for the guy who signed our band.</dialogue> <character>SYLVIE</character> <dialogue>And...?</dialogue> <character>ROBERT</character> <dialogue>I didn't even get a chance to play it for him -- he all but said jazz is dead;</dialogue> <character>ROBERT</character> <dialogue>he said "The times they are a changin'" and he's right you know? Even Chico and Buzzy have moved on.</dialogue> <character>SYLVIE</character> <dialogue>That's only one opinion Robert, you just have to keep trying.</dialogue> <character>ROBERT</character> <dialogue>I busted my hide for years to make it the first time. I can't do that again, I need to work now if we're gonna to get a place of our own.</dialogue> <character>SYLVIE</character> <dialogue>I can take care of things for a while until something pans out.</dialogue> <character>ROBERT</character> <dialogue>And what kind of man would that make me?</dialogue> <scene_description>Sylvie puts her hand on his face.</scene_description> <character>SYLVIE</character> <dialogue>One with a woman who believes in him.</dialogue> <scene_description>Robert nods, then stands and walks into the house.</scene_description> </scene> <scene> <stage_direction>INT. PARKER HOUSE - LIVING ROOM - DAY</stage_direction> <scene_description>Robert takes a piece of paper out of his wallet and lifts the handset from its cradle -- He dials the operator.</scene_description> <character>ROBERT</character> <dialogue>Hello operator? Yes, long distance please... DEtroit 8, TRemont 1- 3360.</dialogue> <character>OPERATOR</character> <dialogue>Please hold for your party.</dialogue> <character>ROBERT</character> <dialogue>Hello? Hey Big Tank -- it's Bobby Halloway... yeah.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Hey listen, you still think you can put in a word for me at Motown?</dialogue> </scene> <scene> <stage_direction>INT. PARKER HOME - LIVING ROOM - NIGHT</stage_direction> <scene_description>Sylvie comes home from work. Robert sits on the couch waiting for her. Sylvie takes Robert by the hand.</scene_description> <character>SYLVIE</character> <dialogue>Listen -- when I said I'd take care of things until something pans out for you, I never meant to imply that you couldn't provide for us, I only meant that we could find a solution together, okay?</dialogue> <character>ROBERT</character> <dialogue>I may have already found one; I got a hold of a buddy of mine back in Detroit and he's gonna get me a job with the Motown band. I mean, it's not the kind of music I play, but, a job is a job, right?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'm gonna go down and set things up, and when I get back, I'd like for us to move to Detroit -- as a family.</dialogue> <scene_description>Sylvie doesn't say anything. He takes her hand.</scene_description> <character>ROBERT</character> <dialogue>I know how important your job is to you, so just think about it...</dialogue> <character>SYLVIE</character> <parenthetical>(breaking in)</parenthetical> <dialogue>Yes.</dialogue> <character>ROBERT</character> <dialogue>Yes?</dialogue> <character>SYLVIE</character> <dialogue>Absolutely.</dialogue> </scene> <scene> <stage_direction>EXT. PARKER HOME - DAY</stage_direction> <scene_description>Robert throws his bag into the back seat of his car. Sylvie stands with Michelle at the doorway. Robert walks back over.</scene_description> <character>MICHELLE</character> <dialogue>Can you bring me a present?</dialogue> <character>ROBERT</character> <parenthetical>(crouches to her level)</parenthetical> <dialogue>What would you like? Now think carefully...</dialogue> <character>MICHELLE</character> <parenthetical>(thinking)</parenthetical> <dialogue>Ummm... a puppy?</dialogue> <character>ROBERT</character> <dialogue>A puppy, huh? Well, I'll see what I can do.</dialogue> <scene_description>Robert kisses her on the forehead. Robert stands to face Sylvie. She straightens his jacket.</scene_description> <character>SYLVIE</character> <dialogue>When you meet Smokey Robinson, you tell him there's no need to "Shop Around" 'cause you're the only man for the job... Okay?</dialogue> <character>ROBERT</character> <dialogue>Okay.</dialogue> <scene_description>They kiss goodbye. Robert walks back over to his car and gets in. As HE STARTS THE CAR, Sylvie whispers in Michelle's ear.</scene_description> <character>MICHELLE</character> <parenthetical>(calling out)</parenthetical> <dialogue>See you later alligator...</dialogue> </scene> <scene> <stage_direction>EXT. DETROIT STREET - TOY STORE - DAY</stage_direction> <scene_description>Robert walks down a commercial street in Detroit, carrying his saxophone. He passes a toy store, where he SEES a stuffed poodle wearing a beret in the window.</scene_description> </scene> <scene> <stage_direction>EXT. HITSVILLE U.S.A. - DETROIT - DAY</stage_direction> <scene_description>As Robert approaches the house, holding his saxophone case with the stuffed dog tucked under his arm -- Tank exits holding an arm full of red sequined jackets.</scene_description> <character>ROBERT</character> <dialogue>Hey, Big Tank.</dialogue> <character>TANK</character> <parenthetical>(nervously)</parenthetical> <dialogue>Bobby? What you doin' here man?</dialogue> <character>ROBERT</character> <dialogue>What do you mean what am I doin' here? Stop jokin' around.</dialogue> <scene_description>The slick-looking studio manager, DEWITT, comes out.</scene_description> <character>DEWITT</character> <parenthetical>(to Tank)</parenthetical> <dialogue>Sherman! I told you to get those suits to the cleaners an hour ago!</dialogue> <character>TANK</character> <dialogue>Yes sir. Bobby, I ain't got time to talk right now.</dialogue> <scene_description>Tank walks down the street carrying the jackets. Robert follows him.</scene_description> <character>ROBERT</character> <dialogue>Hey Tank, man? What gives? I came back to Detroit 'cause you said you could get me a job with the band.</dialogue> <character>TANK</character> <dialogue>Man, I ain't think you was really gonna come; everybody in Detroit knows I'm fulla shit. I was just jivin' you man, tryin' to be a big shot. All I do is run errands for them. Get you a job? Shoot, I can't even get myself a ticket to a Motortown review.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I gotta get these suits to the cleaners.</dialogue> <scene_description>Tank crosses the street and Robert stands -- dumbfounded.</scene_description> </scene> <scene> <stage_direction>INT. FLAME SHOW BAR - DAY</stage_direction> <scene_description>Robert sits at the bar drinking a Scotch, he sits the stuffed French poodle on the bar -- he finishes his drink and HOLDS HIS HAND UP to the BARTENDER for another. CLOSE ON STUFFED POODLE staring right at Robert.</scene_description> <character>ROBERT</character> <parenthetical>(to stuffed dog)</parenthetical> <dialogue>What are you looking at?</dialogue> <scene_description>The Bartender puts the shot in front of Robert. Robert downs his drink, stands and exits the bar, leaving the poodle behind. CLOSE ON - POODLE ON THE BAR, SEE Robert in the distance exiting the bar.</scene_description> </scene> <scene> <stage_direction>INT. LUCY WOLPER SET - EVENING</stage_direction> <scene_description>Sylvie watches the monitor as an episode of the Lucy Wolper Show is in progress. Robert quietly joins the set and stands out of view. He watches Sylvie laugh as she watches the taping on the monitor. He smiles to himself as he flashes back in his mind to the first time he saw her through the window of Mr. Jay's store, watching TV and laughing, and realizes just how much she loves her job and what a sacrifice it would be for her to leave.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIE'S OFFICE - LATER THAT NIGHT</stage_direction> <scene_description>Sylvie enters her office. Robert sits on the sofa.</scene_description> <character>SYLVIE</character> <dialogue>Hey, you're back early, I wasn't expecting you for a few days.</dialogue> <scene_description>Robert stands and Sylvie kisses him hello.</scene_description> <character>SYLVIE</character> <dialogue>So, you'll never guess who I spoke to today -- "Kate", my old boss I told you about, Kate Spencer. Well, as it turns out, she knows the head honcho at our Detroit affiliate...</dialogue> <character>SYLVIE</character> <dialogue>personally. And she already told him what a cracker jack producer I am, and she said, that he said, that all I have to do is simply \* walk through the door, and I'm as good as hired.</dialogue> <scene_description>Sylvie sits her clipboard on top of her desk.</scene_description> <character>SYLVIE</character> <dialogue>Of course I'll have to work my way up again, but, a job is a job, right?</dialogue> <character>ROBERT</character> <dialogue>Sylvie...</dialogue> <character>SYLVIE</character> <dialogue>And with us both working we'll need to find a suitable nanny for Michelle, until she starts school in the fall, which reminds me, we need to start looking at schools for Michelle...</dialogue> <scene_description>Robert stops Sylvie from talking by taking her hand.</scene_description> <character>SYLVIE (CONT'D) \*</character> <dialogue>Was I rambling? I do that when I'm nervous, or excited, or both.</dialogue> <character>ROBERT</character> <dialogue>Why don't you sit down?</dialogue> <scene_description>Sylvie sits on the edge of the desk.</scene_description> <character>SYLVIE</character> <parenthetical>(saluting)</parenthetical> <dialogue>Aye-aye Captain, you have my full attention.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>So... How'd it go?</dialogue> <scene_description>A beat, followed by a serious look from Robert.</scene_description> <character>SYLVIE</character> <parenthetical>(concerned)</parenthetical> <dialogue>What is it?</dialogue> <character>ROBERT</character> <dialogue>I have to go back to Detroit... alone.</dialogue> <character>SYLVIE</character> <dialogue>Do they need you to start right away or something?</dialogue> <character>ROBERT</character> <dialogue>No, Sylvie.</dialogue> <character>SYLVIE</character> <dialogue>Then, I'm not quite sure I understand.</dialogue> <character>ROBERT</character> <dialogue>I don't think this is such a good idea.</dialogue> <character>SYLVIE</character> <dialogue>What isn't a good idea?</dialogue> <character>ROBERT</character> <dialogue>This... Us.</dialogue> <scene_description>Sylvie stands and puts her arms around Robert's waist.</scene_description> <character>SYLVIE</character> <dialogue>Look, I know it's a lot -- but we've already been through a lot, haven't we? And you know what? We still care about each other; even after all this time.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>The first time I let you walk out of my life, I thought I'd never see you again, and look what happened? We ran into each other, on a rainy night and here we are, right now, right in front of each other... about to spend the rest of our lives together.</dialogue> <parenthetical>(pep talking)</parenthetical> <dialogue>So don't tell me that "this" is not a good idea, or that "we" aren't a good idea, because "We", are a spectacular idea.</dialogue> <scene_description>A beat before Robert breaks the hold.</scene_description> <character>ROBERT</character> <dialogue>Sylvie, I don't want you to come.</dialogue> <character>SYLVIE</character> <dialogue>What do you mean you don't want me to come? \*</dialogue> <scene_description>(beat) \* Please, don't do this.</scene_description> <character>ROBERT</character> <dialogue>I've already made up my mind. \*</dialogue> <character>ROBERT</character> <dialogue>Sylvie, I'm a musician, not a \* family man... I need to focus on my music right now, without any distractions.</dialogue> <character>SYLVIE</character> <dialogue>Without any distractions?</dialogue> <scene_description>(getting pissed) \* Is that what I am now, a distraction?</scene_description> <character>ROBERT</character> <parenthetical>(shrugs)</parenthetical> <dialogue>It all is.</dialogue> <character>SYLVIE</character> <dialogue>What really happened in Detroit that made you miraculously realize you weren't exactly "Family Man" material, huh? Did you run into Connie, is that it? \*</dialogue> <scene_description>Sylvie shakes her head and walks back over to the desk. Sylvie GRABS a tissue from the desk, wipes away the tears from her eyes, then blows her nose.</scene_description> <character>ROBERT</character> <dialogue>There's no one else Sylvie; you know that.</dialogue> <character>SYLVIE</character> <dialogue>No Robert, I don't know that -- all I know is that after my father died and Lacy moved out, Michelle cried herself to sleep for months -- and then you show up, and just like that, no more tears.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Well, you know what? I can't watch her go through that again, so...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>If you're gonna go, then go; I don't want you there when we get home tonight.</dialogue> <character>ROBERT</character> <dialogue>Can I at least say goodbye to her?</dialogue> <scene_description>Sylvie smirks and walks over to the couch and picks up Robert's jacket...</scene_description> <character>SYLVIE</character> <dialogue>I said -- GET...</dialogue> <scene_description>She THROWS his jacket at him and starts to cry again.</scene_description> <character>SYLVIE</character> <dialogue>...OUUUTT!</dialogue> <scene_description>Sylvie starts shoving him towards the door.</scene_description> <character>ROBERT</character> <dialogue>Sylvie...?!</dialogue> <scene_description>Robert takes her arm, but SHE PULLS AWAY and... SMACKS HIM. AT THAT MOMENT There's a KNOCK at the door, Evelyn the secretary cracks it and pokes her head in.</scene_description> <character>EVELYN</character> <dialogue>Um, sorry to interrupt, Lucy's ready to do her pick-ups...</dialogue> <character>SYLVIE</character> <parenthetical>(turning her face away)</parenthetical> <dialogue>I'll be right there.</dialogue> <scene_description>Evelyn ducks back out, closing the door. Sylvie walks towards the door, then turns around.</scene_description> <character>SYLVIE</character> <dialogue>One day, you're gonna realize that the only bad idea, was leaving someone who truly loves you -- and when that day comes, and you decide to come back...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Don't.</dialogue> <scene_description>Sylvie walks out of her office leaving Robert alone.</scene_description> </scene> <scene> <stage_direction>A134 INT. AUTO PLANT - DAY A134</stage_direction> <scene_description>SEE a MAN operating a blow torch. HEAR LUNCH WHISTLE BLOW. The man lifts his welding mask and it is Robert.</scene_description> </scene> <scene> <stage_direction>EXT. AUTO PLANT - DETROIT (A FEW MONTHS LATER) - DAY</stage_direction> <scene_description>Robert sits having lunch with ED BEASLEY, a black co-worker about his age.</scene_description> <character>ED</character> <dialogue>Hey Bobby, did you ever run into Charlie Parker back in New York?</dialogue> <character>ROBERT</character> <dialogue>No, I never did meet Bird, he passed away in '55, right before I got there... I did meet Miles one time though.</dialogue> <character>ED</character> <dialogue>Is that so?</dialogue> <scene_description>At that moment a few other BLACK WORKERS walk by.</scene_description> <character>ED</character> <dialogue>Hey Fellas, Bobby was just tellin' me about the time he met Miles Davis...</dialogue> <scene_description>The guys hover around Robert, and more join them -- Robert somehow has a small crowd of about nine or ten guys, so he regales them with a few tales from his music days.</scene_description> </scene> <scene> <stage_direction>INT. SYLVIE'S OFFICE - DAY</stage_direction> <scene_description>Sylvie sits at her desk going over a script. EVELYN (on intercom) Miss Johnson, call on one.</scene_description> <character>SYLVIE</character> <parenthetical>(picking up)</parenthetical> <dialogue>Sylvia Johnson... MONA?! Oh my gosh, where are you?!</dialogue> </scene> <scene> <stage_direction>INT. WILLARD HOTEL - WASHINGTON DC - MONA'S ROOM - DAY</stage_direction> <scene_description>Mona looks out of the window at The Washington Monument.</scene_description> <character>MONA</character> <dialogue>Washington, for the "March for Jobs &amp; Freedom."</dialogue> <scene_description>INTERCUT - SYLVIE'S OFFICE/MONA'S HOTEL ROOM</scene_description> <character>SYLVIE</character> <dialogue>I sure do miss you.</dialogue> <character>MONA</character> <dialogue>I miss you too kiddo, that's why I called; why don't you drive down and come to the march on Wednesday?</dialogue> <character>SYLVIE</character> <dialogue>Mo, I don't think I can, the show shoots on Wednesdays.</dialogue> <character>MONA</character> <dialogue>Then at least come for the weekend... we can drive down to the beach at Sandy Pointe.</dialogue> <character>SYLVIE</character> <dialogue>If momma can watch Michelle...</dialogue> <character>HEAR PHONE BUZZ.</character> <dialogue>SYLVIE</dialogue> <scene_description>Hold a sec, Mona.</scene_description> <character>EVELYN (O.S.)</character> <dialogue>Miss Johnson, Melvin Carmichael is here for you.</dialogue> <character>SYLVIE</character> <dialogue>Mona, I've gotta go, call me at home tonight and I'll let you know.</dialogue> <parenthetical>(pushes the intercom)</parenthetical> <dialogue>Send him in.</dialogue> <scene_description>Melvin enters, and Sylvie stands and kisses him on the cheek.</scene_description> <character>SYLVIE</character> <dialogue>Hey Mel.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I really appreciate this.</dialogue> <character>MELVIN</character> <dialogue>We're almost at the finish line.</dialogue> <scene_description>Melvin takes some papers out of his briefcase, and lays them on the desk.</scene_description> <character>MELVIN</character> <dialogue>Just sign here... and here -- And your divorce is final.</dialogue> </scene> <scene> <stage_direction>INT. WILLARD HOTEL ELEVATOR HALLWAY - (WASHINGTON D.C.) -</stage_direction> <character>DAY</character> <dialogue>The elevator doors open, as Sylvie is about to get off, Carmen gets on the elevator and the two make eye contact.</dialogue> <character>SYLVIE</character> <dialogue>Carmen?</dialogue> <character>CARMEN</character> <dialogue>Sylvie?! Look at you.</dialogue> <parenthetical>(hugging Sylvie)</parenthetical> <dialogue>Buzzy and Chico are playing a gig with Sarah Vaughan after the March on Wednesday -- Robert was supposed to come too, but he couldn't get time off from the plant.</dialogue> <character>SYLVIE</character> <dialogue>"The Plant" is that what they call the Motown studio?</dialogue> <character>CARMEN</character> <dialogue>No, the auto plant, where he works.</dialogue> <scene_description>Sylvie looks confused.</scene_description> <character>CARMEN</character> <dialogue>Anyway, great to see you.</dialogue> <character>SYLVIE</character> <dialogue>Likewise -- please give the guys my best.</dialogue> <scene_description>Carmen and Sylvie kiss each other goodbye, Carmen enters the elevator and the doors close. HALLWAY Sylvie continues down the hallway looking at the numbers on the room doors. Sylvie knocks on a room door, a couple of BLACK FOLKS pass her before Mona SWINGS THE DOOR OPEN.</scene_description> <character>MONA</character> <dialogue>AAH!</dialogue> <character>SYLVIE</character> <dialogue>EEAAH!</dialogue> <scene_description>The two make the noises that friends make when they haven't seen each other in a long time.</scene_description> </scene> <scene> <stage_direction>EXT. SANDY POINTE BEACH - MARYLAND - MAGIC HOUR</stage_direction> <scene_description>Mona and Sylvie sit looking out at the water; They drink bottles of National Bohemian beer. Mona pokes Sylvie to get \* her attention. \*</scene_description> <character>MONA \*</character> <dialogue>Hey. \*</dialogue> <scene_description>Sylvie looks over at her. \*</scene_description> <character>MONA</character> <parenthetical>(smiles mischievously)</parenthetical> <dialogue>Favorite song from Summer?</dialogue> <character>SYLVIE</character> <dialogue>"Don't Say Goodnight" by The Valentines...</dialogue> <character>MONA</character> <dialogue>1957, now that was a great summer.</dialogue> <character>SYLVIE</character> <dialogue>Yeah.</dialogue> <scene_description>Sylvie takes a swig of beer. \*</scene_description> <character>SYLVIE (CONT'D) \*</character> <dialogue>Why wouldn't he just tell me that \* he didn't get the job? I would have gone with him anyway.</dialogue> <character>MONA</character> <dialogue>I think that's exactly why he didn't tell you; kinda like you not telling him about being pregnant. Maybe he didn't want you to throw away everything you worked so hard for.</dialogue> <scene_description>Sylvie looks out at the water, considering Mona's theory.</scene_description> <character>MONA</character> <dialogue>You know most people never find that kind of love... not even for a summer.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It's, well... extraordinary.</dialogue> <scene_description>Mona holds up her beer bottle breaking Sylvie's trance.</scene_description> <character>MONA</character> <dialogue>To "extraordinary love."</dialogue> <character>SYLVIE</character> <parenthetical>(holds up her bottle)</parenthetical> <dialogue>To extraordinary love.</dialogue> <scene_description>They toast and each take a swig. Sylvie takes one more swig, then stands up and starts removing her clothes.</scene_description> <character>MONA</character> <dialogue>What are you doing?</dialogue> <scene_description>Sylvie shimmies out of her skirt. HEAR Brenda Holoway's \* "Every Little Bit Hurts." \*</scene_description> <character>SYLVIE</character> <dialogue>Surrendering to something larger than myself.</dialogue> <scene_description>Sylvie runs into the water wearing just a bra and slip. She dives under. SEE Sylvie splashing and wading around in the water. BACK ON SHORE Mona STANDS, CHEERING her on.</scene_description> <character>MONA</character> </scene> <scene> <stage_direction>INT.</stage_direction> <character>FLAME SHOW BAR - DETROIT - NIGHT - ON ROBERT ON STAGE</character> <dialogue>Holding Mr. Jay's sax. The club is very smoky and very empty. He is backed by a DRUMMER and a BASSIST.</dialogue> <character>ROBERT</character> <dialogue>This next tune was inspired by someone very special to me; It's called "Retrouvailles."</dialogue> <scene_description>SEE A FEW PEOPLE get up and leave. Robert looks up at them, then starts to perform a melancholy version of the song.</scene_description> </scene> <scene> <stage_direction>INT. FLAME SHOW BAR - DRESSING ROOM - LATER THAT NIGHT</stage_direction> <scene_description>Robert packs up his saxophone. END SONG. HEAR a KNOCK at the door. Robert looks up; Dickie stands in the doorway.</scene_description> <character>DICKIE</character> <dialogue>I caught your set tonight.</dialogue> <character>ROBERT</character> <dialogue>If you came here to tell me I'm nothin' without you -- you're too late; the audience already did it for you.</dialogue> <character>DICKIE</character> <dialogue>I came here -- because I' got something that belongs to you...</dialogue> <scene_description>Dickie reaches into his inside jacket pocket, removes an envelope, and lays it on top of the saxophone case.</scene_description> <character>ROBERT</character> <dialogue>What's that?</dialogue> <character>DICKIE</character> <dialogue>Your share of the royalties.</dialogue> <scene_description>Robert picks up the envelope and removes a check.</scene_description> <character>DICKIE</character> <dialogue>You can thank Carmen for that; everything I own is in her name, so she threatened to take it all and move back to Puerto Rico if I didn't make things right by you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But -- you deserve it; hell, we both know those tunes are as much yours as they are mine.</dialogue> <character>DICKIE</character> <dialogue>Speaking of tunes, that last one you played, sounds like you still have something to say with your horn.</dialogue> <character>ROBERT</character> <dialogue>What difference does it make? Nobody's tryin' to listen.</dialogue> <character>DICKIE</character> <dialogue>If you have somethin' to say with your horn, it doesn't matter who listens, it only matters who hears.</dialogue> </scene> <scene> <stage_direction>INT./EXT. MONA'S HOTEL ROOM - HALLWAY - MORNING</stage_direction> <scene_description>Mona stands at the door with Sylvie. Sylvie hugs Mona.</scene_description> <character>SYLVIE</character> <dialogue>Let's not let so much time go by without bein' in touch, okay?</dialogue> <character>MONA</character> <dialogue>Okay.</dialogue> <scene_description>Sylvie walks down the hall carrying a small suitcase. Just before she reaches the elevator, she turns around...</scene_description> <character>SYLVIE</character> <dialogue>Hey -- favorite song for this moment?</dialogue> <character>MONA</character> <parenthetical>(a beat before; earnestly)</parenthetical> <dialogue>"The Best Is Yet To Come."</dialogue> <character>SYLVIE</character> <parenthetical>(nodding in approval)</parenthetical> <dialogue>Yeah...</dialogue> <scene_description>The elevator arrives and Sylvie gets on.</scene_description> <character>MONA</character> <dialogue>See ya kiddo.</dialogue> <scene_description>Sylvie waves goodbye as the doors close.</scene_description> <character>CLOSE SHOT - MONA</character> <dialogue>Halfway out of her hotel room doorway still looking toward the elevator, then she goes back into her room and shuts the door.</dialogue> </scene> <scene> <stage_direction>EXT. AUTO PLANT - DAY</stage_direction> <scene_description>As Robert exits the factory, he removes his cap and wipes his forehead, then shoves his cap in his back pocket. Robert's work friend Ed sidles up and walks with him.</scene_description> <character>ED</character> <dialogue>Hey, you catch that Tigers game last night?</dialogue> <character>ROBERT</character> <dialogue>No, who'd they play?</dialogue> <character>ED</character> <parenthetical>(looking behind Robert)</parenthetical> <dialogue>Kansas Cit...</dialogue> <scene_description>Robert looks over his shoulder. HEAR SYLVIE'S THEME BEGIN. SEE Sylvie, standing about fifteen feet away.</scene_description> <character>ROBERT</character> <dialogue>Hey uh, Ed -- I'll catch you later.</dialogue> </scene> <scene> <stage_direction>EXT. AUTO PLANT - PARKING LOT - DAY - CLOSEUP - SYLVIE</stage_direction> <scene_description>Standing by her car, smiling lovingly at Robert. They walk toward each other, and meet in the middle. MUSIC CONTINUES SOFTLY.</scene_description> <character>SYLVIE</character> <parenthetical>(surveying his uniform)</parenthetical> <dialogue>So, I guess you never did get to meet Smokey, huh?</dialogue> <character>ROBERT</character> <dialogue>Not exactly.</dialogue> <scene_description>A beat.</scene_description> <character>SYLVIE</character> <dialogue>You know that thing you said about wanting me to be happy -- even if it meant you couldn't be a part of my life?</dialogue> <scene_description>Sylvie puts her arms around him.</scene_description> <character>SYLVIE</character> <dialogue>Well -- what if I can't be happy, unless you're a part of my life?</dialogue> <scene_description>A beat.</scene_description> <character>ROBERT</character> <dialogue>Then...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I guess that means we're stuck with \* each other. \*</dialogue> <scene_description>Sylvie puts her arms around his waist. \*</scene_description> <character>SYLVIE \*</character> <dialogue>What do you wanna do about it?</dialogue> <scene_description>THEME MUSIC INTENSIFIES. \* HIGH ANGLE - ROBERT &amp; SYLVIE outside of the factory as \* workers exit for the day. \* FADE OUT.:</scene_description> <character>THE END.</character> </scene> </script>

In New York City, 1962, Sylvie is waiting outside Town Hall, while Robert is in a recording studio playing the saxophone. Moments later, Sylvie recognizes Robert on the sidewalk outside a theater. Five years earlier, Sylvie's father hires Robert to work at his record store in Harlem. Robert is the saxophonist for The Dickie Brewster Quartet, an up-and-coming jazz band from Detroit. Sylvie and Robert bond over their shared love for music; Robert eventually invites Sylvie and her cousin Mona to a gig. Mona has a fling with Robert's bandmate Chico while Sylvie, despite her engagement to a wealthy man named Lacy who is fighting in the Korean War, eventually starts a passionate affair with Robert. Some time later, the Dickie Brewster Quartet's manager, a woman who calls herself the Countess, books them a job in Paris. Robert asks Sylvie to come with him. Sylvie refuses but bids him goodbye before his departure, hiding the fact the she is pregnant with his child from him as not to derail his career. Back in 1962, Sylvie invites Robert to watch the concert with her. She learns that the band is doing well and is back in New York City to record an album. That night, Sylvie and Robert sleep together before she returns home to Lacy, now a successful businessman, and her daughter Michelle. Sylvie gets a job as a production assistant on a major cooking show produced by a black woman, Kate Spencer, a job Sylvie enjoys despite Lacy's concerns that it will interfere with her duties as a wife. Robert sends Sylvie a ticket to his show, but she sees him in the parking lot with another woman afterwards and leaves. Sylvie and Robert attend separate New Year's Eve parties. Kate informs Sylvie that she is quitting to get married and is promoting Sylvie to take her place. Tensions spring up around the band; Sid, the record company executive who monitors the band, offers Robert a chance to record his own material. That night, Sylvie's father has a heart attack and passes away; while in the hospital he calls Robert and tells him that Michelle is his daughter. During the funeral, Sylvie and Lacy agree to split up. Robert approaches Sylvie about Michelle's paternity; eventually, she lets him meet Michelle, and Robert moves into her house. Some time later, Robert approaches Sid about his offer, but Sid turns him down as he believes jazz is dying. Sylvie assures him that she can provide for them while Robert sorts things out. Robert tells Sylvie that he is thinking of contacting an old friend who had offered to put him in touch with Motown musicians, but if the job is successful, they will have to move to Detroit. The job offer turns out to be a fluke; upon returning to New York, Robert realizes that Sylvie loves her career too much for them to move. He tells Sylvie he got the job, but that he will move to Detroit alone. Sylvie tells him to leave. Robert returns to Detroit and gets a job at an auto plant. The week of the March on Washington for Jobs and Freedom, Sylvie comes to D.C. to visit Mona, and runs into Dickie's wife Carmen at the hotel. Carmen informs her that Robert is working at a plant. Mona muses that Robert did not tell her about the auto plant job for the same reason Sylvie did not tell him about the pregnancy: they did not want to destroy the other person's career. Sylvie travels to Detroit and meets Robert at the plant. She tells him she can't be happy without him in her life; the two reconcile. The end credits intersperse scenes of Robert, Sylvie, and Michelle at the beach with scenes showing that Robert inherited Sylvie's father's saxophone and eventually started performing again, while Sylvie continued to work in production.

Being the Ricardos_2021

tt4995540

<script> <scene> <scene_description>BEING THE RICARDOS Written by Aaron Sorkin FADE IN: WE MEET--INDIVIDUALLY--THREE PEOPLE WHO ARE THE OLDER VERSIONS OF THREE CHARACTERS WE'LL MEET SHORTLY. THEY'RE SPEAKING TO AN OFF-CAMERA INTERVIEWER IN THREE DIFFERENT LOCATIONS THAT HAVE BEEN CHOSEN, DRESSED AND LIT FOR A DOCUMENTARY.:</scene_description> </scene> <scene> <stage_direction>INT. SOUNDSTAGE BLEACHERS - DAY</stage_direction> <scene_description>JESS is sitting in the bleachers of a television soundstage.</scene_description> <character>OLDER JESS</character> <dialogue>It was a scary week, 'cause here's what you gotta understand. You gotta understand a hit television show--today--a big hit television show, what does it get? Ten-million viewers.</dialogue> <scene_description>We ID the man with a chyron-- Jess Oppenheimer Executive Producer and Head Writer</scene_description> <character>OLDER JESS</character> <dialogue>Let's go crazy and say fifteen. Fifteen-million viewers 'cause this is a big, giant hit. Here's what you gotta understand. I Love Lucy? Sixty-million. Households.</dialogue> </scene> <scene> <stage_direction>INT. NIGHTCLUB - DAY</stage_direction> <scene_description>The tables are all set for dinner but the place is empty. BOB is sitting at a table near where a small orchestra would play.</scene_description> <character>OLDER BOB</character> <dialogue>Oh yeah. It's been a long time, but I remember that week.</dialogue> <scene_description>Bob Carroll Writer</scene_description> <character>OLDER BOB</character> <dialogue>That was a scary week. It was a very scary week.</dialogue> <scene_description>Continued: 3</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL POOL - DAY</stage_direction> <character>OLDER MADELYN</character> <dialogue>Those guys scare too easy. I'm from the Midwest. I lived through the depression and the dust bowl so I don't scare that easy.</dialogue> <scene_description>Madelyn Pugh Writer</scene_description> <character>OLDER MADELYN</character> <dialogue>But yeah, it was a scary goddamn week.</dialogue> </scene> <scene> <stage_direction>INT. SOUNDSTAGE BLEACHERS - DAY</stage_direction> <character>OLDER JESS</character> <dialogue>Now here's what you gotta understand. Audience share. That's the percentage of television sets that are turned on--what percentage are tuned to you. That's audience share.</dialogue> </scene> <scene> <stage_direction>INT. NIGHTCLUB - DAY</stage_direction> <character>OLDER BOB</character> <dialogue>Out of the blue.</dialogue> </scene> <scene> <stage_direction>EXT. HOTEL POOL - DAY</stage_direction> <character>OLDER MADELYN</character> <dialogue>Everyone almost lost their jobs. And Lucy and Desi, they almost lost their lives.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>No exaggeration.</dialogue> </scene> <scene> <stage_direction>INT. NIGHTCLUB - DAY</stage_direction> <character>OLDER BOB</character> <dialogue>Out of thin air.</dialogue> <scene_description>Continued: 8</scene_description> </scene> <scene> <stage_direction>INT. SOUNDSTAGE BLEACHERS - DAY</stage_direction> <character>OLDER JESS</character> <dialogue>So we're getting our 60-million households at a time when the population of the United States was 155-million, many of whom did not own television sets. Our audience share was consistently in the 70's. Today? Population 330-million. Your big hit show with the 15-million viewers, maybe 20 if someone's getting married or killed, audience share? EIGHT!</dialogue> </scene> <scene> <stage_direction>INT. NIGHTCLUB - DAY</stage_direction> <character>OLDER BOB</character> <dialogue>Just like that.</dialogue> </scene> <scene> <stage_direction>EXT. HOTEL POOL - DAY</stage_direction> <character>OLDER MADELYN</character> <dialogue>You're asking when did they find out? At the same time as everyone else, they were listening to Walter Winchell.</dialogue> </scene> <scene> <stage_direction>INT. NIGHTCLUB - DAY</stage_direction> <character>OLDER BOB</character> <dialogue>I'm minding my own business, listening to Walter Winchell, and bam--</dialogue> </scene> <scene> <stage_direction>EXT. HOTEL POOL - DAY</stage_direction> <character>OLDER MADELYN</character> <dialogue>At the end of the broadcast--</dialogue> </scene> <scene> <stage_direction>INT. SOUNDSTAGE BLEACHERS - DAY</stage_direction> <character>OLDER JESS</character> <dialogue>Department stores used to be open late Monday nights, then they switched to Thursday nights, you know why? 'Cause nobody was leaving home during I Love Lucy on Mondays.</dialogue> <scene_description>Continued: 13</scene_description> <character>OLDER JESS</character> <dialogue>There was a significant drop-off in the number of people using water between 9 and 9:30 on Monday nights. My point is, and this is what you gotta understand, it wasn't small potatoes when Winchell ended his broadcast by saying--</dialogue> </scene> <scene> <stage_direction>INT. NIGHTCLUB - DAY</stage_direction> <character>OLDER BOB</character> <dialogue>Lucille Ball is a communist.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Just like that. Lucille Ball is a member of the Communist Party.</dialogue> </scene> <scene> <stage_direction>INT. SOUNDSTAGE BLEACHERS - DAY</stage_direction> <character>OLDER JESS</character> <dialogue>Yeah.</dialogue> </scene> <scene> <stage_direction>EXT. HOTEL POOL - DAY</stage_direction> <character>OLDER MADELYN</character> <dialogue>And she'd already seen the magazine story about Desi when Winchell came on. The magazine came out on Mondays but her publicist brought her a copy Sunday night.</dialogue> </scene> <scene> <stage_direction>INT. NIGHTCLUB - DAY</stage_direction> <character>OLDER BOB</character> <dialogue>What were they doing when they first heard the news?</dialogue> </scene> <scene> <stage_direction>INT. SOUNDSTAGE BLEACHERS - DAY</stage_direction> <character>OLDER JESS</character> <dialogue>What were they doing?</dialogue> <scene_description>Continued: 19</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL POOL - DAY</stage_direction> <character>OLDER MADELYN</character> <dialogue>I don't know what Lucy and Desi were doing, but it was Lucy and Desi, so they were either tearing each other's heads off or tearing each other's clothes off.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ARNAZ HOME/LIVING ROOM - NIGHT</stage_direction> <scene_description>In the foreground--though out of focus--is the back of LUCILLE BALL, sitting on a couch with her bare feet up on a coffee table. She has a drink next to her and lights a cigarette. In the background--in clear focus-is an RCA RADIO/TURNTABLE CONSOLE as we HEAR an announcer--</scene_description> <character>ANNOUNCER (FROM THE RADIO)</character> <dialogue>It's time America...time for Walter Winchell. Presented to you by Gruen, the precision watch. Gruen, the finest watch you can wear. Gruen, the finest watch you can give, brings you the man who gives America the news...Walter Winchell of the New York Daily Mirror and the Washington Post.</dialogue> <scene_description>The broadcast continues as we HEAR the front door open. For the next minute or so we'll see no faces--just out-of-focus arms and legs and other shards of the moment as they pass through the frame, which remains on the radio--the only thing in focus.</scene_description> <character>DESI (O.S.)</character> <parenthetical>(calling)</parenthetical> <dialogue>Lucy, I'm home!</dialogue> <character>LUCY (O.S.)</character> <dialogue>Where the hell have you been ya Cuban dimwit?</dialogue> <character>DESI (O.S.)</character> <dialogue>Whoa, easy does it.</dialogue> <character>LUCY (O.S.)</character> <dialogue>You philandering bongo player.</dialogue> <scene_description>Continued: 20</scene_description> <character>DESI (O.S.)</character> <dialogue>I was playing cards with--</dialogue> <scene_description>We HEAR his face being SLAPPED--</scene_description> <character>DESI (O.S.)</character> <dialogue>Ow! Hey! I was playing cards with--</dialogue> <scene_description>SLAP--</scene_description> <character>DESI (O.S.)</character> <dialogue>Ow, Goddammit!</dialogue> <character>LUCY (O.S.)</character> <dialogue>Tell me when it starts to hurt.</dialogue> <scene_description>20A A FEW MINUTES LATER-- 20A We're on the radio again but from a different angle as the Winchell broadcast continues. Again, we won't see faces--just the occasional slice of someone coming into or out of the frame.</scene_description> <character>WALTER WINCHELL (FROM THE RADIO)</character> <dialogue>William L. Markey, Jr., Eisenhower's top backer in Buffalo, is being divorced very quietly. His wife--</dialogue> <character>LUCY (O.S.)</character> <dialogue>The boat?</dialogue> <character>DESI (O.S.)</character> <dialogue>We were playing cards on the boat.</dialogue> <character>LUCY (O.S.)</character> <dialogue>Since last night?! Since 27 hours ago?!</dialogue> <character>DESI (O.S.)</character> <dialogue>Yes!</dialogue> <character>LUCY (O.S.)</character> <dialogue>And you couldn't get to a phone?</dialogue> <character>DESI (O.S.)</character> <dialogue>No.</dialogue> <character>LUCY (O.S.)</character> <dialogue>Why?</dialogue> <scene_description>Continued: 20A</scene_description> <character>DESI (O.S.)</character> <dialogue>I was passed out a lot of that time!</dialogue> <scene_description>20B A FEW MINUTES LATER-- 20B We're on the radio but from still a different angle and still no faces. The Winchell broadcast continues--</scene_description> <character>WALTER WINCHELL (FROM THE RADIO)</character> <dialogue>The Vice President, in a magnificent speech this week, told the American Legion why we--</dialogue> <scene_description>A copy of a magazine flies across the room and lands on the radio console. It's Confidential Magazine. There's a photo of Desi with a woman. "Desi's Wild Night Out" reads the headline.</scene_description> <character>LUCY (O.S.)</character> <dialogue>That's tomorrow's Confidential.</dialogue> <character>DESI (O.S.)</character> <dialogue>Why do you even read that magazine?</dialogue> <character>LUCY (O.S.)</character> <dialogue>Why do I even--In this case it's 'cause my husband's on the cover with another woman so it caught my eye. The story chronicles a night on the town with you and--</dialogue> <character>DESI (O.S.)</character> <dialogue>That's somebody's niece.</dialogue> <character>LUCY (O.S.)</character> <dialogue>What the hell do I care if--</dialogue> <character>DESI (O.S.)</character> <dialogue>From Westinghouse. That's the Westinghouse corporate--you were there--that's the guy's niece. That picture was taken last summer.</dialogue> <character>LUCY (O.S.)</character> <dialogue>The story's about last Wednesday night.</dialogue> <character>DESI (O.S.)</character> <dialogue>Last Wednesday night I was on the boat.</dialogue> <scene_description>Continued: 20A</scene_description> <character>LUCY (O.S.)</character> <dialogue>Like last night?</dialogue> <character>DESI (O.S.)</character> <dialogue>Yes!</dialogue> <character>WALTER WINCHELL (FROM THE RADIO)</character> <dialogue>--with the hall coming to its feet at the conclusion of his address.</dialogue> <scene_description>We see LUCY's hand pick up the magazine...</scene_description> <character>LUCY (O.S.)</character> <parenthetical>(pause)</parenthetical> <dialogue>You're right. This was taken at the Westinghouse corporate retreat.</dialogue> <character>DESI (O.S.)</character> <dialogue>Yes.</dialogue> <character>LUCY (O.S.)</character> <parenthetical>(beat)</parenthetical> <dialogue>I apologize.</dialogue> <character>DESI (O.S.)</character> <dialogue>Say, "Desi, I apologize for doubting you."</dialogue> <character>LUCY (O.S.)</character> <dialogue>No.</dialogue> <character>DESI (O.S.)</character> <dialogue>"For I see now that this picture was taken--not last Wednesday night- -but six months ago at the Westinghouse corporate retreat and I'll never doubt your love for me again." Say that.</dialogue> <character>LUCY (O.S.)</character> <dialogue>No. And you're doing it again. You're pronouncing it Westin-gouse.</dialogue> <character>DESI (O.S.)</character> <dialogue>It is Westin-gouse.</dialogue> <character>LUCY (O.S.)</character> <dialogue>Westinghouse.</dialogue> <character>DESI (O.S.)</character> <dialogue>Say g-h-o-s-t.</dialogue> <character>LUCY (O.S.)</character> <dialogue>Ghost.</dialogue> <scene_description>Continued: 20A</scene_description> <character>DESI (O.S.)</character> <dialogue>You don't pronounce an "H' after a "G". Westin-gouse.</dialogue> <scene_description>20C A FEW MINUTES LATER-- 20C We're on the radio from still a different angle. DESI and LUCY are pulling and tugging at each other's clothes on the couch.</scene_description> <character>WALTER WINCHELL (FROM RADIO)</character> <dialogue>When the G-Men captured the fugitives in the High Sierras last week--</dialogue> <character>LUCY (O.S.)</character> <dialogue>So everything in the magazine was made up?</dialogue> <character>DESI (O.S.)</character> <dialogue>I haven't read the magazine, but unless the story's about me playing cards on the boat--</dialogue> <character>LUCY (O.S.)</character> <dialogue>It's not.</dialogue> <character>DESI (O.S.)</character> <dialogue>--then yes, it's made up. Get it through your head--you're the only thing I want.</dialogue> <character>LUCY (O.S.)</character> <dialogue>Well then you're an idiot.</dialogue> <character>DESI (O.S.)</character> <dialogue>I'm trying to get this off but I think it's been welded.</dialogue> <character>WALTER WINCHELL (FROM RADIO)</character> <dialogue>The House Committee on Un-American Activities is holding secret sessions in California. The most popular of all television stars was confronted with her membership in the Communist Party. And that, Mr. And Mrs. 48, winds up another edition until next Sunday night at the very same--</dialogue> <character>LUCY (O.S.)</character> <dialogue>Wait.</dialogue> <scene_description>Continued: 20A</scene_description> <character>DESI (O.S.)</character> <dialogue>Wait.</dialogue> <character>LUCY (O.S.)</character> <dialogue>Wait.</dialogue> <scene_description>And now we finally move up to see their faces--LUCILLE BALL and DESI ARNAZ like we've never seen them. LUCY, half-dressed with her red hair down and flying around her face and shoulders, DESI with his shirt ripped open, both of their faces flush and glistening with sweat. Their breathing is still heavy...</scene_description> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>What did he say?</dialogue> <character>DESI</character> <dialogue>He said the most popular of all television stars was--</dialogue> <character>LUCY</character> <dialogue>--was confronted with her membership in the Communist Party.</dialogue> <scene_description>The two of them just stare at the radio...</scene_description> <character>DESI</character> <parenthetical>(pause)</parenthetical> <dialogue>Yeah.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>He coulda been talkin' about Imogene Coca.</dialogue> <character>LUCY</character> <dialogue>Fuck you, he was not talking about Imogene Coca.</dialogue> <scene_description>OMITTED BLACK TITLE: Being the Ricardos DISSOLVE TO: Monday Continued: Table Read CUT TO: FADE IN:</scene_description> </scene> <scene> <stage_direction>INT. SOUNDSTAGE - DAY</stage_direction> <scene_description>20-odd people sit at a horseshoe of folding tables. They're the cast and staff of I Love Lucy and behind them is the iconic set from the show. The group is largely silent. They smoke their cigarettes, tap their scripts or just wait quietly and nervously. Two seats at the head of the table-- reserved with a card for Lucille Ball and Desi Arnaz, are conspicuously empty. A woman finally speaks up. The card in front of her reads "Vivian Vance". We may notice that Vivian is considerably more attractive in real life than she is when she's playing Ethel Mertz.</scene_description> <character>VIVIAN</character> <dialogue>This is nonsense.</dialogue> <scene_description>She lights a cigarette.</scene_description> <character>VIVIAN</character> <dialogue>It's nonsense and it will get worse before it gets better. Little Rusty Hamer? When he signed his contract-- or the guardian, whoever signs the contract for him--he had to sign a loyalty pledge. Did anyone know that?</dialogue> <scene_description>Nobody answers...</scene_description> <character>VIVIAN</character> <dialogue>Bill?</dialogue> <scene_description>She's talking to WILLIAM FRAWLEY.</scene_description> <character>VIVIAN</character> <dialogue>Bill.</dialogue> <character>FRAWLEY</character> <dialogue>Is she talking to me?</dialogue> <scene_description>Two of the elderly witnesses we saw in the opening, BOB and MADELYN, are now in their 20's.</scene_description> <character>MADELYN</character> <dialogue>Yes.</dialogue> <character>FRAWLEY</character> <dialogue>So she knows I'm here, she can see me?</dialogue> <character>MADELYN</character> <dialogue>Yeah.</dialogue> <character>VIVIAN</character> <dialogue>Did you know little Rusty had to sign a loyalty pledge?</dialogue> <character>FRAWLEY</character> <dialogue>I don't know who the fuck little Rusty is.</dialogue> <character>VIVIAN</character> <dialogue>Rusty Hamer from The Danny Thomas Show.</dialogue> <character>FRAWLEY</character> <dialogue>That's not his name.</dialogue> <character>VIVIAN</character> <dialogue>It is his name.</dialogue> <character>FRAWLEY</character> <dialogue>The littlest kid on Danny's show?</dialogue> <character>VIVIAN</character> <dialogue>Yes.</dialogue> <character>FRAWLEY</character> <dialogue>The character's named Rusty, not the actor.</dialogue> <character>VIVIAN</character> <dialogue>They're both named Rusty. Rusty Williams is played by Rusty Hamer.</dialogue> <character>FRAWLEY</character> <dialogue>And Hamer's a Communist?</dialogue> <character>VIVIAN</character> <dialogue>He's 7-years old.</dialogue> <character>FRAWLEY</character> <dialogue>And he's interested in politics?</dialogue> <character>VIVIAN</character> <dialogue>No imbecile! I'm saying he's 7- years old and they made him sign a loyalty pledge.</dialogue> <character>FRAWLEY</character> <dialogue>Uh-huh.</dialogue> <character>VIVIAN</character> <dialogue>This is getting out of hand was my point.</dialogue> <character>FRAWLEY</character> <dialogue>Why isn't Danny Thomas's kid named Rusty Thomas?</dialogue> <character>VIVIAN</character> <dialogue>Are you drunk?</dialogue> <character>FRAWLEY</character> <dialogue>It's 10am, Vivian, so...you know...of course.</dialogue> <character>MADELYN</character> <dialogue>Bob and Jess and I were up all weekend working on the script you're about to read and on behalf of all of us I want to say how much we appreciate your respect.</dialogue> <character>FRAWLEY</character> <dialogue>Believe me, you do not want me to read this sober.</dialogue> <character>BOB</character> <dialogue>I'm starting to get a little tired of your casual insults.</dialogue> <character>FRAWLEY</character> <dialogue>Well my insults don't feel like putting on a fuckin' tuxedo for you, kid. Jess, why don't you tell your young writers that I don't work for them.</dialogue> <character>MADELYN</character> <dialogue>Jess, why don't you tell your supporting cast that we don't work for him either.</dialogue> <scene_description>And now we finally hear from the younger version of JESS--</scene_description> <character>JESS</character> <dialogue>You all work for me!</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Look, what you all have to understand is this. Here's what you have to understand. We're all tense.</dialogue> <scene_description>Continued: 22 There's a long silence in the room before--</scene_description> <character>MADELYN</character> <parenthetical>(pause)</parenthetical> <dialogue>Seriously, that was it?</dialogue> <character>JESS</character> <dialogue>We're all tense, and the cure for that is to just do the show. Normal production week.</dialogue> <character>FRAWLEY</character> <dialogue>We're going to need someone to play Lucy and Ricky, those are critical roles.</dialogue> <character>JESS</character> <dialogue>The two of them are in Desi's office meeting with the network and the sponsor right now. I'm sure there's an explanation and that this'll be over by show night.</dialogue> <character>FRAWLEY</character> <dialogue>One way or the other.</dialogue> <character>JESS</character> <dialogue>Yeah. No. I mean--let me be clear-- I said this'll all be over by show night and Bill said, "One way or the other." Gallows humor. I said, "Yeah", but I didn't mean--</dialogue> <character>MADELYN</character> <dialogue>The sooner you stop talking--</dialogue> <character>JESS</character> <dialogue>Yeah.</dialogue> </scene> <scene> <stage_direction>INT. DESI'S OFFICE - DAY</stage_direction> <scene_description>It's an office befitting the president of Desilu and right now it's filled with a half-dozen men plus Lucy and Desi. DESI's sitting at his desk and LUCY's leaning against it.</scene_description> <character>DESI</character> <dialogue>I think everyone's acquainted but let's go around. Joe?</dialogue> <character>JOE</character> <dialogue>Joe Strickland, CBS.</dialogue> <character>HOWARD</character> <dialogue>Howard Wenke, also CBS.</dialogue> <character>ROGER</character> <dialogue>Roger Otter, Philip Morris.</dialogue> <character>IRWIN</character> <dialogue>Irwin Gotlieb, attorney for Desilu.</dialogue> <character>SAM</character> <dialogue>Sam Stein, attorney for Lucille Ball.</dialogue> <character>TIP</character> <dialogue>Tip Tribby, V.P. of Public Relations for Phillip Morris.</dialogue> <character>DESI</character> <dialogue>Tip? If Winchell had it cold he'd have used her name, it woulda been at the top of the show and not the bottom and this morning we'd be reading about it on the front page of every paper, am I right?</dialogue> <character>TIP</character> <dialogue>Yes.</dialogue> <character>DESI</character> <dialogue>They don't have it.</dialogue> <character>HOWARD</character> <dialogue>Can you see where CBS might be concerned that there's an "it" to "have", do you see that?</dialogue> <character>DESI</character> <dialogue>Couldn't follow you.</dialogue> <character>HOWARD</character> <dialogue>Lucy, you need to tell me right here and now what the hell is going on.</dialogue> <character>DESI</character> <dialogue>You don't want to talk to my wife like that, amigo.</dialogue> <character>HOWARD</character> <dialogue>Or what, Des, you're gonna beat me up?</dialogue> <character>DESI</character> <dialogue>She will.</dialogue> <character>LUCY</character> <dialogue>So we're done with the introductions?</dialogue> <scene_description>LUCY's quieted the room...</scene_description> <character>LUCY</character> <dialogue>I'm not a Communist, I've never been a Communist except technically, yeah I am.</dialogue> <character>JOE</character> <dialogue>Jesus Christ, do you get what's happening and do you know that this isn't funny?</dialogue> <character>LUCY</character> <dialogue>Yes, I do get what's happening and yes, I know that it isn't funny.</dialogue> <character>HOWARD</character> <dialogue>Lucy--</dialogue> <character>LUCY</character> <dialogue>My father died when I was very young and I was raised by my mother and my grandfather, a man named Fred C. Hunt.</dialogue> <character>DESI</character> <dialogue>I'd like everyone but Howard to leave the room.</dialogue> <character>ROGER</character> <dialogue>Philip Morris pays for this show.</dialogue> <character>DESI</character> <dialogue>And they get their money's worth so give us a minute, would you?</dialogue> <scene_description>LUCY's taken a cigarette out--</scene_description> <character>ROGER</character> <dialogue>She's smoking a Chesterfield, could she at least smoke one of the seven brands that Philip-Morris--</dialogue> <character>DESI</character> <dialogue>Got it.</dialogue> <scene_description>Everyone's gone but LUCY, DESI and HOWARD...</scene_description> <character>LUCY</character> <dialogue>Fred C. Hunt, my grandfather, was a member of the party. This was in the early 30's and I was in my early 20's. He never used the word "communist" but he cared about workers, the working man. He raised my little brother and me and I wanted to please him so I checked the box. Back then it wasn't considered much worse than being a Republican.</dialogue> <character>HOWARD</character> <dialogue>Have you been to a meeting?</dialogue> <character>LUCY</character> <dialogue>No.</dialogue> <character>HOWARD</character> <dialogue>Never.</dialogue> <character>LUCY</character> <dialogue>No.</dialogue> <character>HOWARD</character> <dialogue>You were at a cocktail party and later you found out--</dialogue> <character>LUCY</character> <dialogue>No.</dialogue> <character>HOWARD</character> <dialogue>Have you ever--</dialogue> <character>LUCY</character> <dialogue>My entire relationship with communism is twenty years ago I checked a box.</dialogue> <character>HOWARD</character> <dialogue>Why is this coming out now?</dialogue> <character>DESI</character> <dialogue>The committee investigated her and cleared her. But then last week William Wheeler convened a special session out here--a private session- -called her in again and that's why we're sitting here.</dialogue> <character>HOWARD</character> <parenthetical>(pause)</parenthetical> <dialogue>And nobody's picked it up.</dialogue> <character>DESI</character> <dialogue>Nobody's picked up the story, not a single paper. Not a single news network, including your own.</dialogue> <character>HOWARD</character> <dialogue>Maybe. Maybe we're outa this. We just don't know yet.</dialogue> <character>LUCY</character> <dialogue>When will we?</dialogue> <character>HOWARD</character> <dialogue>If you tape a show Friday night it means you still have a show.</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>Okay.</dialogue> <character>HOWARD</character> <parenthetical>(pause)</parenthetical> <dialogue>Okay.</dialogue> <scene_description>HOWARD exits...</scene_description> <character>DESI</character> <dialogue>You and me, we've been through worse than this.</dialogue> <character>LUCY</character> <parenthetical>(beat)</parenthetical> <dialogue>We have?</dialogue> <character>DESI</character> <dialogue>No.</dialogue> <character>LUCY</character> <dialogue>That's what I thought.</dialogue> <character>LUCY</character> <dialogue>Hey.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>The whole piece was invented out of thin air?</dialogue> <character>DESI</character> <parenthetical>(beat)</parenthetical> <dialogue>Huh?</dialogue> <character>LUCY</character> <dialogue>Four pages, fifteen-hundred words--</dialogue> <character>DESI</character> <dialogue>Are you being funny right now?</dialogue> <character>LUCY</character> <dialogue>That's the second time someone's asked me that this morning. I'm Lucille Ball, when I'm being funny you'll know it. They invented the whole thing?</dialogue> <character>DESI</character> <dialogue>You don't think we got bigger fish to fry?</dialogue> <scene_description>Continued: 23</scene_description> <character>LUCY</character> <dialogue>They invented--</dialogue> <character>DESI</character> <parenthetical>(over)</parenthetical> <dialogue>Yes, they invented the whole thing! I was on the boat playing cards. They invented the whole thing and I'm angry at them and I'll do something about it but right now--</dialogue> <character>LUCY</character> <dialogue>Yeah. Got it. Priorities. You're right.</dialogue> <character>DESI</character> <dialogue>Say that again. "Desi, you're right."</dialogue> <character>LUCY</character> <dialogue>No.</dialogue> <scene_description>DESI takes LUCY in his arms--</scene_description> <character>DESI</character> <dialogue>Everything's gonna be fine. Nothing's gonna happen to you. I won't allow it. I just won't.</dialogue> <scene_description>LUCY kisses DESI...then she takes the handkerchief from Desi's jacket pocket and wipes the lipstick off his lips...</scene_description> <character>DESI</character> <dialogue>You've never done that before.</dialogue> <character>LUCY</character> <dialogue>I know. I've seen other people do it in movies I've been in.</dialogue> </scene> <scene> <stage_direction>INT. SOUNDSTAGE - DAY</stage_direction> <scene_description>The group is still waiting at the shoehorn of tables.</scene_description> <character>VIVIAN</character> <dialogue>For the love of God, old man, this isn't hard! Rusty Hamer plays Rusty Williams on the Danny Thomas show. He's in second grade and he had to sign a loyalty oath when he signed his contract which I think is ugly. That's it. I don't know why this is tripping you up. It wasn't confusing.</dialogue> <character>FRAWLEY</character> <parenthetical>(pause)</parenthetical> <dialogue>There's no such thing as the Danny Thomas show, it's called "Make Room for Daddy", don't tell me comedy, and if Rusty is a communist then I'm going to beat the shit out of a 7-year old, I have no problem with that.</dialogue> <character>VIVIAN</character> <dialogue>I'm done.</dialogue> <character>MADELYN</character> <parenthetical>(to BOB)</parenthetical> <dialogue>That? Right there? Was funnier than anything you've written so far this year.</dialogue> <character>BOB</character> <dialogue>That's not--I've written plenty of--</dialogue> <character>MADELYN</character> <dialogue>No.</dialogue> <scene_description>A heavy door opens and LUCY and DESI walk in--</scene_description> <character>DESI</character> <parenthetical>(calling out)</parenthetical> <dialogue>Good morning!</dialogue> <scene_description>LUCY sees someone at the table--DONALD GLASS, this week's director--and stops DESI to whisper--</scene_description> <character>LUCY</character> <parenthetical>(quietly)</parenthetical> <dialogue>Don Glass is directing this week?</dialogue> <scene_description>DESI knows it's the wrong week for a director Lucy doesn't like...</scene_description> <character>DESI</character> <parenthetical>(beat)</parenthetical> <dialogue>We'll be fine.</dialogue> <parenthetical>(to the GROUP)</parenthetical> <dialogue>You're wondering what's goin' on.</dialogue> <character>JESS</character> <dialogue>No matter what's going on, we all support you a thousand percent.</dialogue> <character>FRAWLEY</character> <dialogue>I'd like to find out what's going on before I make that commitment.</dialogue> <character>DESI</character> <dialogue>Here it is. A long time ago Lucy accidentally checked the wrong box on her voter registration. That's the first act of a new episode right there.</dialogue> <character>BOB</character> <dialogue>"Lucy Gets Blacklisted".</dialogue> <character>DESI</character> <dialogue>That's not a joke, Bob.</dialogue> <character>BOB</character> <parenthetical>(chastised)</parenthetical> <dialogue>You made the joke, I just put the button--</dialogue> <character>DESI</character> <parenthetical>(over BOB)</parenthetical> <dialogue>Last week she testified in a closed session. She was cleared. Yeah? She was cleared. I don't know where Winchell got his information but it was wrong. And as you can see, it was not picked up by any newspaper. So let's do our show. Yeah? Let's just do our show. Jess, it's your stage.</dialogue> <character>JESS</character> <dialogue>I Love Lucy, Episode two-oh-four. Season 2, Episode 4. "Ethel and Fred Fight". Teleplay by Bob Carroll, Madelyn Pugh and myself.</dialogue> <character>FRAWLEY</character> <dialogue>It took three of you to write this one?</dialogue> <character>JESS</character> <dialogue>And directing this week, Donald Glass is back with us so let's give him a hand.</dialogue> <scene_description>Everyone CLAPS...</scene_description> <character>DONALD</character> <dialogue>It's good to be back.</dialogue> <character>JESS</character> <dialogue>Act I, "Interior, the Ricardo's living room, night."</dialogue> <character>LUCY</character> <dialogue>Excuse me. Donald?</dialogue> <character>DONALD</character> <dialogue>Yes.</dialogue> <character>LUCY</character> <dialogue>Good morning, I'm Lucille Ball.</dialogue> <character>DONALD</character> <dialogue>I sure know that, Lucy.</dialogue> <character>LUCY</character> <dialogue>I wanted to make sure 'cause you haven't been here in a while. Is it because you've been going through puberty?</dialogue> <character>DONALD</character> <dialogue>I look young, yes, but I went through it a long time ago and I haven't been here because I've been directing at Danny Thomas.</dialogue> <character>FRAWLEY</character> <dialogue>With the communist kid? Fuck off.</dialogue> <character>VIVIAN</character> <dialogue>Jesus Christ.</dialogue> <character>LUCY</character> <dialogue>You don't have to fuck off, but you do have to know that Danny does jokes and few people do it better. I do physical comedy.</dialogue> <character>DONALD</character> <dialogue>I've seen every episode of the show.</dialogue> <character>LUCY</character> <dialogue>So have 60-million other people--</dialogue> <parenthetical>(to JESS)</parenthetical> <dialogue>--are none of them professional television directors?!</dialogue> <character>DESI</character> <dialogue>She's kidding.</dialogue> <character>DONALD</character> <dialogue>I can tell.</dialogue> <character>LUCY</character> <dialogue>I'm hazing you a little, Donald. It's just my way of saying I have no confidence in you at all.</dialogue> <character>DESI</character> <dialogue>Alright, we haven't gotten off to a great start this morning I think-- and I have no idea what the fuck you were talkin' about, Bill--</dialogue> <character>VIVIAN</character> <dialogue>Ah, Des, I'm beggin' you, don't ask.</dialogue> <character>DESI</character> <dialogue>No problem. I just wanted to say that this show is made by Desilu Productions, whose president is speaking to you right now. And for the next 30 minutes I don't want to hear a word that isn't in this script.</dialogue> <parenthetical>(to JESS)</parenthetical> <dialogue>It's your stage.</dialogue> <character>JESS</character> <dialogue>Thank you. "Lucy's putting the finishing touches on a fancy dinner table--good china, silver, etc."</dialogue> <character>MADELYN</character> <dialogue>The table's set for four but there are only three chairs, I should've put that in the stage direction.</dialogue> <character>BOB</character> <dialogue>It's two chairs and a piano bench.</dialogue> <character>MADELYN</character> <dialogue>For a total of?</dialogue> <character>BOB</character> <dialogue>Three chairs.</dialogue> <scene_description>We're going to start to go in and out of LUCY's head as the reading goes on. She's imagining what each beat will be like in its final form the way a chess master can see the board twelve moves ahead. She can also see and hear what the audience is going to laugh at.</scene_description> <character>JESS</character> <dialogue>Table's set for four but there are only three chairs. "The door opens and Ricky enters. Lucy doesn't hear him. Ricky puts his coat down quietly and tip-toes in back of--"'</dialogue> <scene_description>QUICK CUT TO: Continued: 25</scene_description> </scene> <scene> <stage_direction>INT. I LOVE LUCY SET/LIVING ROOM - NIGHT (BLACK AND WHITE)</stage_direction> <scene_description>LUCY RICARDO is setting the table as RICKY RICARDO enters, puts his coat down and tip-toes up to LUCY-- CUT BACK TO: Continued: 26</scene_description> </scene> <scene> <stage_direction>INT. SOUNDSTAGE - SAME TIME</stage_direction> <character>LUCY</character> <dialogue>Why not?</dialogue> <character>JESS</character> <dialogue>Sorry?</dialogue> <character>LUCY</character> <dialogue>Why doesn't Lucy hear him?</dialogue> <character>JESS</character> <dialogue>Well he's about to do the thing where you cover someone's eyes and say "Guess who?"</dialogue> <character>LUCY</character> <dialogue>I understand that it's a set-up, I understand why we need Lucy to not hear him, I just don't understand why--in an apartment this size-- Lucy doesn't hear--or for that matter, see--the front door open when she's standing 12-feet from it.</dialogue> <character>JESS</character> <dialogue>We'll work on that.</dialogue> <character>LUCY</character> <dialogue>Thanks.</dialogue> <character>JESS</character> <dialogue>"Ricky puts his coat down quietly, tip-toes in back of her and reaches around and covers her eyes with his hands."</dialogue> <scene_description>\*NOTE: All dialogue for I LOVE LUCY will be in italics.</scene_description> <character>RICKY</character> <dialogue>Guess who it is?</dialogue> <character>LUCY</character> <dialogue>Bill--Sam--Pat--Ralph?</dialogue> <character>JESS</character> <dialogue>"Ricky reacts to this"</dialogue> <scene_description>QUICK CUT TO: Continued: 27</scene_description> </scene> <scene> <stage_direction>INT. I LOVE LUCY SET/LIVING ROOM - NIGHT (BLACK AND WHITE)</stage_direction> <character>RICKY</character> <dialogue>No!</dialogue> <character>LUCY</character> <dialogue>George--Julius--Stephen--</dialogue> <scene_description>CUT BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. SOUNDSTAGE - SAME TIME</stage_direction> <character>LUCY</character> <dialogue>Hang on. Are we supposed to believe that Ricky believes that Lucy really doesn't know it's him? That Ricky believes that Lucy is not only unfamiliar with his voice-- which let's not forget has a Cuban accent--but that he really believes there are at least seven other men who routinely walk into their apartment?</dialogue> <character>DESI</character> <dialogue>She has a pretty good point. She has four or five pretty good points.</dialogue> <character>JESS</character> <dialogue>We'll write a better joke or Ricky will know that Lucy is joking.</dialogue> <character>BOB</character> <dialogue>We can change the names. Pedro, Pablo, Jose.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Because they're Spanish names. I mean Latin names. They're Cuban names.</dialogue> <character>MADELYN</character> <dialogue>Thanks for clearin' that up, professor.</dialogue> <character>BOB</character> <dialogue>I'm just, you know--</dialogue> <character>JESS</character> <dialogue>"Ricky takes his hands away and turns her around."</dialogue> <scene_description>Continued: 28</scene_description> <character>DESI</character> <dialogue>No! It's me.</dialogue> <character>LUCY</character> <dialogue>Oh yes of course. Uh...uh...</dialogue> <character>JESS</character> <dialogue>"She snaps her fingers and pretends she can't remember his name."</dialogue> <character>DESI</character> <dialogue>Very funny.</dialogue> <character>JESS</character> <dialogue>"Ricky kisses her and then notices the table set-up."</dialogue> <scene_description>QUICK CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. I LOVE LUCY SET/LIVING ROOM - NIGHT (BLACK AND WHITE)</stage_direction> <character>RICKY</character> <dialogue>Hey--company for dinner?</dialogue> <character>LUCY</character> <dialogue>Uh-huh.</dialogue> <character>RICKY</character> <dialogue>Who is it?</dialogue> </scene> <scene> <stage_direction>INT. SOUNDSTAGE - SAME TIME</stage_direction> <character>JESS</character> <dialogue>"Lucy elaborately ignores him."</dialogue> </scene> <scene> <stage_direction>INT. I LOVE LUCY SET/LIVING ROOM - NIGHT (BLACK AND WHITE)</stage_direction> <character>LUCY</character> <dialogue>How do you like the water glasses?</dialogue> <character>RICKY</character> <dialogue>Who's coming to dinner, Lucy?</dialogue> <character>LUCY</character> <dialogue>Doesn't the table look beautiful tonight?</dialogue> <scene_description>Continued: 32</scene_description> </scene> <scene> <stage_direction>INT. SOUNDSTAGE - SAME TIME</stage_direction> <character>JESS</character> <dialogue>"She tries to make her way past him on her way to the kitchen but he holds out his hands and blocks the way."</dialogue> </scene> <scene> <stage_direction>INT. I LOVE LUCY SET/LIVING ROOM -NIGHT (BLACK AND WHITE)</stage_direction> <character>RICKY</character> <dialogue>Lucy, who is it?</dialogue> <character>LUCY</character> <dialogue>Some people.</dialogue> <character>RICKY</character> <dialogue>Whom--whom is coming for dinner here tonight?</dialogue> <character>LUCY</character> <dialogue>Whom? You mean besides meem and youm?</dialogue> <character>RICKY</character> <dialogue>Never mind that. What are their names?</dialogue> <character>LUCY</character> <dialogue>Fred and Ethel Mertz.</dialogue> <character>RICKY</character> <dialogue>Wait a minute. What about that big fight Fred and Ethel had? I thought they were mad at each other.</dialogue> <character>LUCY</character> <dialogue>They are.</dialogue> <character>RICKY</character> <dialogue>I thought they weren't speaking to each other.</dialogue> <character>LUCY</character> <dialogue>They aren't.</dialogue> <character>RICKY</character> <dialogue>I thought he was staying at the Y.</dialogue> <character>LUCY</character> <dialogue>He is.</dialogue> <scene_description>Continued: 33</scene_description> <character>RICKY</character> <dialogue>And she wouldn't let him in the house.</dialogue> <character>LUCY</character> <dialogue>She won't.</dialogue> <character>RICKY</character> <dialogue>Well if they are and they aren't and he is and she won't--how come?</dialogue> </scene> <scene> <stage_direction>INT. SOUNDSTAGE - SAME TIME</stage_direction> <character>LUCY</character> <parenthetical>(guilty)</parenthetical> <dialogue>Well--</dialogue> <character>DESI</character> <parenthetical>(scolding)</parenthetical> <dialogue>Lucy McGillicuddy Ricardo.</dialogue> <character>LUCY</character> <dialogue>Ooooooh. That's nice, but was the rhythm getting old too early?</dialogue> <character>JESS</character> <dialogue>We'll work on it.</dialogue> <character>MADELYN</character> <dialogue>Because we want to live up to the quality of the writing you were used to at RKO.</dialogue> <scene_description>There's an awkward silence in the room...</scene_description> <character>DESI</character> <parenthetical>(pause)</parenthetical> <dialogue>That was gutsy.</dialogue> <character>MADELYN</character> <parenthetical>(pause)</parenthetical> <dialogue>That was--it was a joke about the writing at RKO and--</dialogue> <character>DESI</character> <dialogue>Yeah?</dialogue> <character>MADELYN</character> <dialogue>--not--obviously not an insult aimed at Lucy.</dialogue> <scene_description>Continued: 34 LUCY takes a moment before she laughs a little and we CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL POOL - DAY</stage_direction> <character>OLDER MADELYN</character> <dialogue>Looking back it may have been an insult aimed at Lucy. Which was very unusual, Lucy and I were close. But Jesus...we always did notes after the table read, after the CBS execs and sponsors had left. Let us hear the whole script, we're hearing the same things you are, we have a week, we'll fix it.</dialogue> </scene> <scene> <stage_direction>INT. NIGHTCLUB - DAY</stage_direction> <character>OLDER BOB</character> <dialogue>There was a Broadway show called Too Many Girls and it was terrible.</dialogue> </scene> <scene> <stage_direction>36A EXT. HOTEL POOL - DAY 36A</stage_direction> <character>OLDER MADELYN</character> <dialogue>Look, she was always tough on the writing, she pressed down hard on each beat, but that week it was like her life depended on whether a joke was a "B" or "B-plus".</dialogue> </scene> <scene> <stage_direction>INT. SOUNDSTAGE BLEACHERS - DAY</stage_direction> <character>OLDER JESS</character> <dialogue>One of the stars of Too Many Girls was Desi. He sang a big rumba number with a drum strapped over his shoulder.</dialogue> </scene> <scene> <stage_direction>EXT. HOTEL POOL - DAY</stage_direction> <character>OLDER MADELYN</character> <parenthetical>(shaking her head)</parenthetical> <dialogue>Too Many Girls. RKO decided to make this very bad Broadway show into-- and I still can't believe it--an even worse movie.</dialogue> <scene_description>Continued: 38</scene_description> <character>OLDER MADELYN</character> <dialogue>They kept Desi in the cast but the second female lead was replaced by the queen of the "B" movies-- Lucille Ball.</dialogue> </scene> <scene> <stage_direction>INT. SOUNDSTAGE BLEACHERS - DAY</stage_direction> <character>OLDER JESS</character> <dialogue>A couple of days before shooting started, Desi was on a soundstage working with a piano and a drum and Ann Miller. Here's what you have to understand--A more handsome and charming man than Desi you've never met. So all the chorus girls were standing around gawking.</dialogue> </scene> <scene> <stage_direction>EXT. HOTEL POOL - DAY</stage_direction> <character>OLDER MADELYN</character> <dialogue>And standing off away from the pack of chorus girls is Lucy, who was unrecognizable because she was still in the middle of shooting Dance, Girl, Dance where she was playing a burlesque girl who'd just been beaten up by her pimp.</dialogue> </scene> <scene> <stage_direction>INT. NIGHT CLUB - DAY</stage_direction> <character>OLDER BOB</character> <dialogue>So she was unrecognizable.</dialogue> </scene> <scene> <stage_direction>INT. SOUNDSTAGE BLEACHERS - DAY</stage_direction> <character>OLDER JESS</character> <dialogue>That's how they met.</dialogue> </scene> <scene> <stage_direction>INT. A DIFFERENT SOUNDSTAGE - DAY</stage_direction> <scene_description>DESI is standing by the piano singing "She Could Shake the Maracas" as ANN MILLER improvises some steps and then builds on it. CHORUS GIRLS are standing around watching and in the back is LUCY--her face beaten and her hair all over the place. Unrecognizable. The music stops and there's a smattering of applause from the group. A few CHORUS GIRLS step up to say hello to Desi.</scene_description> <character>ANGIE</character> <dialogue>Mr. Arnaz?</dialogue> <character>DESI</character> <dialogue>My name's Desidorio Alberto Arnaz y de Acha III, but just my mother calls me that. Desi.</dialogue> <character>ANGIE</character> <dialogue>I'm Angie, I'm in the chorus and I wanted to say I'm looking forward to working with you.</dialogue> <character>DESI</character> <dialogue>I'm looking forward too, Angie.</dialogue> <character>PATTY</character> <dialogue>Patty.</dialogue> <character>DESI</character> <dialogue>Short for Patricia?</dialogue> <character>PATTY</character> <dialogue>Yes.</dialogue> <character>DESI</character> <dialogue>Also in the chorus?</dialogue> <character>PATTY</character> <dialogue>Dancing chorus.</dialogue> <scene_description>LUCY steps in...</scene_description> <character>DESI</character> <dialogue>And who's this?</dialogue> <character>LUCY</character> <dialogue>"Do you remember the first time we met? You were rudely attentive but now you're obnoxiously indifferent."</dialogue> <character>DESI</character> <parenthetical>(pause)</parenthetical> <dialogue>What?</dialogue> <character>LUCY</character> <dialogue>It's a line from our movie, dumb- dumb.</dialogue> <character>DESI</character> <dialogue>Do we know each other?</dialogue> <scene_description>Continued: 43</scene_description> <character>LUCY</character> <dialogue>No.</dialogue> <scene_description>Another chorus girl steps in--</scene_description> <character>DAISY</character> <dialogue>Desi--I'm Daisy. People are gonna get confused.</dialogue> <character>DESI</character> <dialogue>I don't see no one confusing you with anyone, Daisy.</dialogue> <scene_description>The schmoozing continues as LUCY disappears...</scene_description> </scene> <scene> <stage_direction>INT. SOUNDSTAGE - LATER</stage_direction> <scene_description>The stage is empty except for DESI and the PIANIST. DESI's playing a lullaby on his guitar and singing in Spanish. LUCY's standing in the giant doorway, framed by the setting sunlight. She looks beautiful now. She enjoys the song for a moment before DESI looks up and immediately stops--stunned by this woman.</scene_description> <character>LUCY</character> <dialogue>"Do you remember the first time we met?"</dialogue> <character>DESI</character> <dialogue>If we'd met, I'd remember.</dialogue> <character>LUCY</character> <dialogue>"You were rudely attentive but now you're obnoxiously--</dialogue> <character>DESI</character> <dialogue>Wait! That was you?!</dialogue> <character>LUCY</character> <dialogue>--indifferent", that was me, yeah.</dialogue> <character>DESI</character> <dialogue>This studio has talented make-up artists.</dialogue> <scene_description>Continued: 44</scene_description> <character>LUCY</character> <dialogue>"I'm Angie, I'm in the chorus, and I just wanted to say that when I drink I take my clothes off." I'm so curious I have to ask--how did you know that Patty was short for Patricia?</dialogue> <character>DESI</character> <dialogue>I'm Desidorio Alberto--</dialogue> <character>LUCY</character> <dialogue>I don't have that kinda time.</dialogue> <character>DESI</character> <dialogue>And you're Lucille Ball.</dialogue> <character>LUCY</character> <dialogue>Use a line on me you've never road- tested on anyone else. I dare you.</dialogue> <character>DESI</character> <dialogue>Would you like to learn how to rumba?</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>Alright nice, and yes I would, but there's absolutely no chance you haven't used that before.</dialogue> </scene> <scene> <stage_direction>INT. CIRO'S - NIGHT</stage_direction> <scene_description>A small Latin band is blaring away, the dance floor is packed and DESI's showing LUCY how to rumba, which she's pretty good at.</scene_description> <character>DESI</character> <parenthetical>(talking over the noise)</parenthetical> <dialogue>I want you to know I'm not trying to be forward. I'm showing you this because it'll come in handy for your rumba number in the movie.</dialogue> <character>LUCY</character> <dialogue>I don't have a rumba number in the movie.</dialogue> <character>DESI</character> <dialogue>No rumba?</dialogue> <character>LUCY</character> <dialogue>No.</dialogue> <scene_description>Continued: 45</scene_description> <character>DESI</character> <dialogue>That's a sign of a poorly written screenplay.</dialogue> <character>LUCY</character> <dialogue>Well we should dance to something else.</dialogue> </scene> <scene> <stage_direction>INT. CIRO'S - LATER</stage_direction> <scene_description>The band is playing a slow number and LUCY and DESI are dancing close.</scene_description> <character>DESI</character> <dialogue>Why did you come to Hollywood?</dialogue> <character>LUCY</character> <dialogue>I got kicked out of New York.</dialogue> <character>DESI</character> <dialogue>Seriously.</dialogue> <character>LUCY</character> <dialogue>I mean it. I got kicked out of my acting school for not being good enough.</dialogue> <character>DESI</character> <dialogue>Get outa here.</dialogue> <character>LUCY</character> <dialogue>I won't. I got some modeling work, I was hired and fired as a Ziegfeld Girl but hired as a Goldwyn Girl and that's what took me out here. Why did you come to Hollywood?</dialogue> <character>DESI</character> <dialogue>The Bolsheviks burned my house down.</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>So...a different reason.</dialogue> <character>DESI</character> <dialogue>Yeah.</dialogue> </scene> <scene> <stage_direction>INT. CIRO'S - LATER</stage_direction> <scene_description>The place is almost empty. LUCY and DESI are sitting at a table. Continued: 47</scene_description> <character>LUCY</character> <dialogue>I'm older than you are.</dialogue> <character>DESI</character> <dialogue>How do you know?</dialogue> <character>LUCY</character> <dialogue>I asked. Please don't do the same. But I'm a full-grown woman. I'm not married. I don't have children. On my best days I get cast as the second female lead in forgettable pictures. I don't mean to insult you, I know this one's your Hollywood debut, but Too Many Girls is not...going to be part of the Oscar conversation.</dialogue> <character>DESI</character> <dialogue>You never know.</dialogue> <character>LUCY</character> <dialogue>No, plenty of times you do. Anyway...I'm several years older than you are.</dialogue> </scene> <scene> <stage_direction>INT. DESI'S HOTEL SUITE/LIVING ROOM - NIGHT</stage_direction> <scene_description>The doors to the terrace are open and we can see the lights of Hollywood in the distance. DESI's sitting in a chair in the room with a guitar on his lap. He's trying unsuccessfully to write a song.</scene_description> <character>DESI</character> <parenthetical>(singing and playing)</parenthetical> <dialogue>"Lucille...</dialogue> <parenthetical>(beat--singing)</parenthetical> <dialogue>...there's not much that rhymes with Lucille...</dialogue> <parenthetical>(beat--singing)</parenthetical> <dialogue>Bastille...but who'd write a song about that?"</dialogue> <scene_description>LUCY comes out of the bathroom wearing Desi's white dinner jacket over her bra and underwear. She walks by DESI without looking at him--</scene_description> <character>LUCY</character> <dialogue>I borrowed part of your tuxedo.</dialogue> <scene_description>--and steps out on the terrace. Continued: 48 DESI stares as she walks by, then stands up, sending the guitar clanging to the floor. DESI joins LUCY out on the--</scene_description> </scene> <scene> <stage_direction>INT. DESI'S HOTEL SUITE/TERRACE - CONTINUOUS</stage_direction> <character>DESI</character> <dialogue>It comes with pants, but I'm wearing them.</dialogue> <character>LUCY</character> <dialogue>Not for long, pal.</dialogue> <character>DESI</character> <dialogue>So...</dialogue> <character>LUCY</character> <dialogue>Yes.</dialogue> <character>DESI</character> <dialogue>Can I call you Lucy?</dialogue> <character>LUCY</character> <parenthetical>(beat)</parenthetical> <dialogue>No, I think we should keep this professional, don't you?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I was kidding.</dialogue> <character>DESI</character> <dialogue>So was I.</dialogue> <character>LUCY</character> <dialogue>Oh. That was a nice, dry delivery.</dialogue> <character>DESI</character> <dialogue>What's your ambition?</dialogue> <character>LUCY</character> <dialogue>My ambition? For tonight? I wasn't making that clear?</dialogue> <character>DESI</character> <dialogue>I don't mean ambition. What do I mean?</dialogue> <character>LUCY</character> <dialogue>Goals?</dialogue> <character>DESI</character> <dialogue>No. Future. Dreams.</dialogue> <character>LUCY</character> <dialogue>What are my future dreams?</dialogue> <character>DESI</character> <dialogue>I should've stuck with ambition.</dialogue> <character>LUCY</character> <dialogue>Are you interviewing me?</dialogue> <character>DESI</character> <dialogue>Yeah.</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>Okay. I live in a small house.</dialogue> <character>DESI</character> <dialogue>And your ambition is to live in a bigger house.</dialogue> <character>LUCY</character> <dialogue>My ambition is to live in a home.</dialogue> <character>DESI</character> <parenthetical>(pause)</parenthetical> <dialogue>Like for old folks?</dialogue> <character>LUCY</character> <dialogue>Not a home, not an institution, a home. With a family and dinner time.</dialogue> <character>DESI</character> <dialogue>Can I ask an impertinent question?</dialogue> <character>LUCY</character> <dialogue>Are you going to ask me why I'm not married?</dialogue> <character>DESI</character> <dialogue>No, I was going to ask you why you're not a movie star. Why are you playing the second female lead in Too Many Girls?</dialogue> <character>LUCY</character> <dialogue>I'm a contract player at RKO. I play the roles I'm told to play. My career's gone as far as it's gonna go, it's hit its cruising altitude. I'm at peace with that. So I'd like to be at peace. I want a home.</dialogue> <character>DESI</character> <dialogue>You have a lot more talent than the roles you play have allowed you to exhibit.</dialogue> <character>LUCY</character> <dialogue>Now how would you know I have talent?</dialogue> <character>DESI</character> <dialogue>Because I have talent. You could be a serious actress, you should be a star by now. But--</dialogue> <character>LUCY</character> <parenthetical>(beat)</parenthetical> <dialogue>But what?</dialogue> <character>DESI</character> <dialogue>There's also something about your physicality. You're--</dialogue> <character>LUCY</character> <dialogue>--half naked?</dialogue> <character>DESI</character> <dialogue>Sure, but...</dialogue> <character>LUCY</character> <dialogue>But?</dialogue> <character>DESI</character> <dialogue>There isn't an English word.</dialogue> <parenthetical>(in Spanish)</parenthetical> <dialogue>Dotada cineticamente.</dialogue> <character>LUCY</character> <dialogue>What does that mean?</dialogue> <scene_description>Continued: 49</scene_description> <character>DESI</character> <dialogue>It means you're "kinetically gifted."</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>No one's noticed that?</dialogue> </scene> <scene> <stage_direction>INT. DESI'S HOTEL SUITE/BEDROOM - LATER</stage_direction> <scene_description>LUCY and DESI are drenched in sweat as they devour each other on the bed.</scene_description> </scene> <scene> <stage_direction>INT. DESI'S HOTEL ROOM - MORNING</stage_direction> <scene_description>DESI's in bed asleep. LUCY's standing on the terrace thinking. She comes back inside and taps DESI on the shoulder to wake him up.</scene_description> <character>LUCY</character> <parenthetical>(quietly)</parenthetical> <dialogue>Hi. Sorry. I need to use the phone to call my fiance.</dialogue> <character>DESI</character> <dialogue>Sure.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Wait, what?</dialogue> <character>LUCY</character> <dialogue>It'll just take a second.</dialogue> <scene_description>LUCY dials the operator--</scene_description> <character>DESI</character> <dialogue>Your fiance?</dialogue> <character>LUCY</character> <parenthetical>(into the phone)</parenthetical> <dialogue>Outside line please.</dialogue> <character>DESI</character> <dialogue>Not that I haven't--it's just that I got the sense that we--</dialogue> <character>LUCY</character> <parenthetical>(to DESI)</parenthetical> <dialogue>One sec.</dialogue> <character>DESI</character> <dialogue>I thought last night--</dialogue> <scene_description>Continued: 51</scene_description> <character>LUCY</character> <parenthetical>(into phone)</parenthetical> <dialogue>It's me. Hey, you don't love me, I don't love you, you cheat on me every chance you get and I pretend I'm stupid. So I'm moving out. I'll send someone to pick up my clothes. Okay? Love you. But, you know, not really.</dialogue> <scene_description>She hangs up the phone.</scene_description> <character>LUCY</character> <dialogue>I interrupted you, what were you saying?</dialogue> </scene> <scene> <stage_direction>INT. SOUNDSTAGE - DAY</stage_direction> <scene_description>The table read is ending--</scene_description> <character>JESS</character> <dialogue>And we fade to black. End of show.</dialogue> <scene_description>There's light applause around the table--</scene_description> <character>JESS</character> <dialogue>Thank you. Notes upstairs.</dialogue> <character>ASSISTANT DIRECTOR</character> <dialogue>Back on stage in an hour.</dialogue> <scene_description>Everyone gets up and exits except DESI and FRAWLEY, who stay sitting at the table...</scene_description> <character>FRAWLEY</character> <parenthetical>(pause)</parenthetical> <dialogue>It's madness.</dialogue> <character>DESI</character> <dialogue>Yeah? I thought you'd be the first one to refuse to work with her.</dialogue> <scene_description>DESI gets up to leave--</scene_description> <character>FRAWLEY</character> <dialogue>You mean that?</dialogue> <character>DESI</character> <dialogue>You're not fond of Communists.</dialogue> <character>FRAWLEY</character> <dialogue>I'm less fond of the Committee.</dialogue> <scene_description>DESI nods and starts to go on his way...</scene_description> <character>FRAWLEY</character> <dialogue>Des. When the soldiers came. For your family. How scary was it?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>You're giving me that look that says, "I don't get scared a nothin'."</dialogue> <character>DESI</character> <parenthetical>(pause)</parenthetical> <dialogue>They killed all the animals. Not for food, they just killed all the animals. I still don't know why they did that.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Continued: 52</dialogue> <character>DESI</character> <dialogue>It's six-to-five and pick-em we've already done the last episode of this show. This show, everyone who works here, Desilu, Lucy's whole career--mine too--it may have ended Sunday night and we just don't know it yet. Are you outa your mind, I get plenty scared.</dialogue> <scene_description>DESI heads off...</scene_description> <character>FRAWLEY</character> <parenthetical>(more to himself)</parenthetical> <dialogue>Fuckin' madness.</dialogue> </scene> <scene> <stage_direction>INT. LUCY'S DRESSING ROOM - DAY</stage_direction> <scene_description>LUCY's sitting in silence on the couch, looking at a newspaper. There's a KNOCK at the door--</scene_description> <character>DESI (O.S.)</character> <dialogue>Lucy?</dialogue> <character>LUCY</character> <dialogue>Yeah.</dialogue> <scene_description>DESI steps in.</scene_description> <character>DESI</character> <dialogue>Madelyn was way outa line and I'll talk to Jess.</dialogue> <character>LUCY</character> <dialogue>No, I don't care about that.</dialogue> <character>DESI</character> <dialogue>I care about it.</dialogue> <character>LUCY</character> <dialogue>You told them I checked the wrong box?</dialogue> <character>DESI</character> <dialogue>Who?</dialogue> <character>LUCY</character> <dialogue>Before the table read. You told them I checked the wrong box.</dialogue> <character>DESI</character> <parenthetical>(pause)</parenthetical> <dialogue>It takes fewer words to say that than the truth.</dialogue> <character>LUCY</character> <dialogue>But it makes me sound like a simpleton who's ill-equipped to participate in democracy.</dialogue> <scene_description>Continued: 53</scene_description> <character>DESI</character> <dialogue>It was simpler and it's nobody's goddam business.</dialogue> <character>LUCY</character> <dialogue>Well, no, pretty obviously it's everybody's goddam business.</dialogue> <character>DESI</character> <dialogue>You don't have to keep checking the papers. I've got people who'll let me know the moment an editor thinks about it. There's something wrong with the story, they know it, and that's why no one's reporting on Winchell.</dialogue> <character>LUCY</character> <dialogue>No. The Confidential story. That's getting picked up.</dialogue> <scene_description>LUCY puts the newspaper in DESI's hands as she walks out of the room. DESI looks at the gossip column headline-- "Does Desi Really Love Lucy?" BLACK TITLE: Tuesday Blocking Rehearsal</scene_description> </scene> <scene> <stage_direction>INT. WARDROBE ROOM - DAY</stage_direction> <scene_description>VIVIAN's being fitted for a dress. It's more flattering than what we're used to seeing Ethel in.</scene_description> <character>VIVIAN</character> <dialogue>I like this a lot, Tommy.</dialogue> <character>TOMMY</character> <dialogue>It's a great color for you.</dialogue> <character>VIVIAN</character> <dialogue>I really like this.</dialogue> <character>TOMMY</character> <dialogue>And I can cinch the back a little. I can lower the neckline.</dialogue> <character>VIVIAN</character> <dialogue>Not on CBS you can't, but still, now we're talkin'. Now we're cookin' with gas.</dialogue> <character>TOMMY</character> <dialogue>Should I bring out some shoes?</dialogue> <character>VIVIAN</character> <dialogue>Yes please.</dialogue> <scene_description>TOMMY disappears. VIVIAN checks herself out in the full- length mirror. LUCY appears in the reflection. She whistles her approval.</scene_description> <character>VIVIAN</character> <dialogue>Yeah?</dialogue> <character>LUCY</character> <dialogue>That's a nice dress.</dialogue> <character>VIVIAN</character> <dialogue>I thought so too.</dialogue> <character>LUCY</character> <dialogue>Are you borrowing it from wardrobe for a cocktail party?</dialogue> <character>VIVIAN</character> <parenthetical>(beat)</parenthetical> <dialogue>A dinner party.</dialogue> <character>LUCY</character> <dialogue>Where?</dialogue> <character>VIVIAN</character> <dialogue>The apartment of Ricky and Lucy Ricardo.</dialogue> <character>LUCY</character> <dialogue>This is for the show?</dialogue> <character>VIVIAN</character> <dialogue>Lucy's invited--</dialogue> <character>LUCY</character> <dialogue>Viv--</dialogue> <character>VIVIAN</character> <dialogue>I know, but listen. I'm thinking Lucy's invited her to dinner, she thinks she's being fixed up with an eligible guy.</dialogue> <character>VIVIAN</character> <dialogue>She'd want to look nice, it's something new for the character.</dialogue> <character>LUCY</character> <dialogue>But the character's still Ethel Mertz, right?</dialogue> <character>VIVIAN</character> <parenthetical>(pause)</parenthetical> <dialogue>Yeah.</dialogue> <scene_description>TOMMY's come back in with the shoes but heads right to where a newspaper's sitting on a table. LUCY's hand casually gets there first.</scene_description> <character>VIVIAN</character> <dialogue>Hey. Don't.</dialogue> <scene_description>LUCY looks at the paper and shows it to VIVIAN--</scene_description> <character>LUCY</character> <dialogue>"Does Desi Love Lucy Loosely?" They took time on that.</dialogue> <character>VIVIAN</character> <dialogue>Isn't there enough going on with-- I'd be more concerned about--</dialogue> <character>LUCY</character> <parenthetical>(reading)</parenthetical> <dialogue>"If neighbors hear screams of rage followed by the sound of breaking crockery coming from the Arnaz house this month, they'll know what is happening without having to investigate. The red-haired Missus has just finished reading Confidential's report on--"</dialogue> <character>VIVIAN</character> <dialogue>In your life have you ever taken this stuff seriously?</dialogue> <character>LUCY</character> <dialogue>I take my marriage seriously.</dialogue> <character>VIVIAN</character> <dialogue>And Desi said?</dialogue> <character>LUCY</character> <parenthetical>(in DESI's voice)</parenthetical> <dialogue>"Lucy, I ain't been with no girls since the moment I saw you."</dialogue> <character>VIVIAN</character> <dialogue>Then believe him.</dialogue> <character>LUCY</character> <dialogue>I do believe him. It's an old picture, we were there together and he was playing cards on the boat Wednesday. You'd be more concerned with what?</dialogue> <character>VIVIAN</character> <dialogue>What?</dialogue> <character>LUCY</character> <dialogue>You said, "I'd be more concerned with--" and I cut you off. The Winchell broadcast.</dialogue> <character>VIVIAN</character> <dialogue>Yeah.</dialogue> <character>LUCY</character> <dialogue>I don't get to choose just one, I'm concerned with both.</dialogue> <character>VIVIAN</character> <dialogue>Understood. What about the third? What'd they say?</dialogue> <character>LUCY</character> <dialogue>We didn't think yesterday was the best day to tell 'em about the third.</dialogue> <character>VIVIAN</character> <dialogue>Right.</dialogue> <character>LUCY</character> <dialogue>We're doing it now. Jess first, then the network and Philip Morris.</dialogue> <character>VIVIAN</character> <dialogue>Could be worse.</dialogue> <character>LUCY</character> <dialogue>How?</dialogue> <character>VIVIAN</character> <dialogue>You could be playing Ethel.</dialogue> <character>LUCY</character> <dialogue>Got it.</dialogue> <scene_description>Continued: 54 LUCY exits and we CUT TO: OMITTED</scene_description> </scene> <scene> <stage_direction>INT. WRITER'S ROOM - DAY</stage_direction> <scene_description>JESS, MADELYN and BOB are working at a large table with a writer's assistant, MARY PAT, taking notes. On the wall are ideas for future episodes.</scene_description> <character>MADELYN</character> <dialogue>Is Lucy on the phone too long at the top? We only hear one side of the call, are we staying too long at the fair?</dialogue> <character>BOB</character> <parenthetical>(to MARY PAT)</parenthetical> <dialogue>You don't need to write down everything we say in here.</dialogue> <scene_description>MARY PAT writes that down.</scene_description> <character>JESS</character> <dialogue>We'll know when it's on its feet.</dialogue> <scene_description>DESI knocks on the open door and he and LUCY walk in--</scene_description> <character>DESI</character> <dialogue>Good morning.</dialogue> <character>JESS</character> <dialogue>'Morning guys.</dialogue> <character>DESI</character> <parenthetical>(to the Writers' Assistant)</parenthetical> <dialogue>Mary Pat, would you mind giving us the room for a moment?</dialogue> <character>MARY PAT</character> <dialogue>Of course, Mr. Arnaz.</dialogue> <scene_description>She closes up her notebook, exits and closes the door behind her.</scene_description> <character>MADELYN</character> <dialogue>"Of course, Mr. Arnaz."</dialogue> <character>BOB</character> <parenthetical>(to MADELYN)</parenthetical> <dialogue>She's nice.</dialogue> <character>DESI</character> <parenthetical>(to MADELYN)</parenthetical> <dialogue>You're in enough trouble.</dialogue> <character>LUCY</character> <dialogue>You're not in trouble.</dialogue> <character>DESI</character> <dialogue>We need to talk.</dialogue> <character>BOB</character> <dialogue>No, don't tell me--</dialogue> <character>DESI</character> <dialogue>No, we're still okay. No one's picked up the story.</dialogue> <character>JESS</character> <dialogue>Alright. Looking at Lucy's face I thought for sure--</dialogue> <character>LUCY</character> <dialogue>I'm pregnant.</dialogue> <character>JESS</character> <parenthetical>(pause)</parenthetical> <dialogue>That's not at all what I was gonna say.</dialogue> <character>DESI</character> <dialogue>That's what we came to talk about. We were gonna have this conversation yesterday but other things--</dialogue> <character>JESS</character> <dialogue>Sure.</dialogue> <character>BOB</character> <dialogue>Well this is a one-two punch.</dialogue> <character>LUCY</character> <dialogue>It's not a punch, I'm having a baby.</dialogue> <character>MADELYN</character> <dialogue>What do we do now?</dialogue> <scene_description>There's a long silence before LUCY turns to DESI...</scene_description> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>I know it seems like no one said congratulations, but that can not be, as these are three of our closest friends and colleagues.</dialogue> <character>JESS</character> <dialogue>Of course. Mazel Tov.</dialogue> <scene_description>And they all begin congratulating Lucy and Desi at once--</scene_description> <character>ALL</character> <dialogue>Congratulations, Des./That's wonderful news./ Congratulations./etc.</dialogue> <scene_description>The congratulating quiets down into silence...</scene_description> <character>JESS</character> <dialogue>So---</dialogue> <character>LUCY</character> <dialogue>Yeah. With Lucie I was the size of a phone booth. You've got about seven weeks before you have to start hiding me behind boxes and chairs and another seven weeks after that before I won't fit in the frame.</dialogue> <character>JESS</character> <dialogue>What do you want to do?</dialogue> <character>LUCY</character> <dialogue>Do? Whatever there was to do we've done it.</dialogue> <character>JESS</character> <dialogue>Where does that leave us?</dialogue> <character>DESI</character> <dialogue>Without a choice. Lucy Ricardo's gonna have a baby on television.</dialogue> <character>JESS</character> <parenthetical>(pause)</parenthetical> <dialogue>Des--</dialogue> <character>DESI</character> <dialogue>How many scripts in the bank?</dialogue> <character>JESS</character> <dialogue>We're five ahead of production. We're shooting 4 and writing 9.</dialogue> <character>DESI</character> <dialogue>Four. No harm done. But whatever script you're working on now, Episode 9, scratch it. Episode 9 is now "Lucy Tells Desi She's Pregnant" and we work from there.</dialogue> <parenthetical>(pointing to a story idea on the wall)</parenthetical> <dialogue>What's that one?</dialogue> <character>JESS</character> <dialogue>Which one?</dialogue> <character>LUCY</character> <dialogue>"Lucy Goes to Italy".</dialogue> <character>JESS</character> <dialogue>We want to send the four of you to Italy.</dialogue> <character>LUCY</character> <dialogue>Why?</dialogue> <character>MADELYN</character> <dialogue>We think it'd be nice to get off our set.</dialogue> <character>LUCY</character> <dialogue>No, why do the Ricardos and Mertzes go to Italy?</dialogue> <character>JESS</character> <dialogue>A vacation.</dialogue> <character>DESI</character> <dialogue>They don't vacation in Europe, they go to the Grand Canyon, they go to Niagara Falls.</dialogue> <character>BOB</character> <dialogue>Work. Ricky's got a gig at a club in Rome.</dialogue> <character>DESI</character> <dialogue>And what does Lucy do?</dialogue> <character>MADELYN</character> <dialogue>She stomps grapes. Lucy and Ethel go to an Italian Vineyard--</dialogue> <character>DESI</character> <dialogue>Why?</dialogue> <character>MADELYN</character> <dialogue>We don't know yet--and they stomp grapes.</dialogue> <scene_description>We start to SLOWLY PUSH-IN on LUCY who's thinking about how that might work and be funny...</scene_description> <character>DESI (O.S.)</character> <dialogue>This vineyard is located in the 19th Century?</dialogue> <scene_description>Continued: 56</scene_description> <character>JESS (O.S.)</character> <dialogue>They don't stomp grapes anymore?</dialogue> <character>DESI (O.S.)</character> <dialogue>No.</dialogue> <character>MADELYN (O.S.)</character> <dialogue>Okay, so they find the one vineyard where they still stomp grapes.</dialogue> <scene_description>In LUCY's head, we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ITALIAN HOTEL ROOM SET - DAY (BLACK AND WHITE)</stage_direction> <character>LUCY</character> <dialogue>Come in.</dialogue> <scene_description>An ITALIAN BELLMAN opens the door--</scene_description> <character>BELLMAN</character> <dialogue>Si, signora, you sent for me.</dialogue> <character>LUCY</character> <dialogue>Yes, I'd like some information please. Are there any grape vineyards around here? I want to see how they make the wine. How they pick the grapes--you know-- press the juice out with their feet.</dialogue> <character>BELLMAN</character> <dialogue>There is one little town called Turo where they still make the wine that way.</dialogue> <scene_description>CUT BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. WRITERS' ROOM - DAY</stage_direction> <character>MADELYN</character> <dialogue>Easy.</dialogue> <character>DESI</character> <dialogue>And why does she want to go to a vineyard?</dialogue> <character>MADELYN</character> <dialogue>We don't know yet.</dialogue> <scene_description>Continued: 58</scene_description> <character>BOB</character> <dialogue>She has an audition for an Italian movie.</dialogue> <character>MADELYN</character> <dialogue>What does that have to do with stomping grapes?</dialogue> <character>BOB</character> <dialogue>The part.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. EUROPEAN TRAIN COMPARTMENT SET - DAY(BLACK AND WHITE)</stage_direction> <scene_description>An Italian director is talking to the two couples--</scene_description> <character>VITTORIO</character> <dialogue>I should not have been staring at Mrs. Ricardo, but she happens to be just the type I need for a part in my new picture.</dialogue> <character>LUCY</character> <dialogue>Who me?!</dialogue> <character>VITTORIO</character> <dialogue>Yes. The role of a beautiful Italian red head who--como si dice-- steps on the grapes.</dialogue> <scene_description>CUT BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. WRITERS' ROOM - DAY</stage_direction> <character>JESS</character> <dialogue>We'll get there. The point is, Lucy in a vat of grapes for five minutes.</dialogue> <character>LUCY</character> <dialogue>I can see it.</dialogue> </scene> <scene> <stage_direction>INT. VINEYARD SET - DAY (BLACK AND WHITE)</stage_direction> <scene_description>And we see LUCY, dressed in Italian peasant clothing, performing the famous grape-stomping scene and it's accompanied by AUDIENCE LAUGHTER-- First a WOMAN climbs into the vat and starts stomping on grapes. Continued: 61 LUCY looks over the edge and gives us her squeamish face. The WOMAN indicates with a wave of her arm that LUCY should come in. LUCY cautiously climbs in and gingerly puts her foot on the grapes. Her face reflects that this is a very weird sensation. The Italian WOMAN is stomping vigorously and LUCY looks like she's walking on eggs. And now we see LUCY's POV--the bright lights, the cameras and crew and the STUDIO AUDIENCE LAUGHING... CUT BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. WRITERS' ROOM - DAY</stage_direction> <character>BOB</character> <dialogue>What can happen in the vat of grapes, what can she do?</dialogue> <character>JESS</character> <dialogue>It doesn't matter right now, we need to get back to--Des, the network isn't gonna allow it and neither will Phillip Morris.</dialogue> <scene_description>LUCY's still thinking about the grapes--</scene_description> <character>JESS</character> <dialogue>Lucy--</dialogue> <character>LUCY</character> <dialogue>Just hang on.</dialogue> </scene> <scene> <stage_direction>INT. ITALIAN VINEYARD SET - DAY (BLACK AND WHITE)</stage_direction> <scene_description>But now LUCY's standing in the vat of grapes by herself, breathing heavy. She's out of ideas. The AUDIENCE IS SILENT. CUT BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. WRITERS' ROOM - DAY</stage_direction> <character>LUCY</character> <dialogue>She loses her earring.</dialogue> <character>BOB</character> <dialogue>Yes.</dialogue> <character>MADELYN</character> <dialogue>There it is.</dialogue> <scene_description>Continued: 64</scene_description> <character>JESS</character> <dialogue>What are you talking about?!</dialogue> <character>LUCY</character> <dialogue>In the grapes.</dialogue> </scene> <scene> <stage_direction>INT. ITALIAN VINEYARD SET - DAY (BLACK AND WHITE)</stage_direction> <scene_description>LUCY reaches up to check her earring, which is loose, and she tightens it. Then she checks the other ear and feels that her earring's missing. She looks alarmed as she realizes it's down in the grapes. The AUDIENCE HOWLS-- CUT BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. WRITERS' ROOM - DAY</stage_direction> <character>DESI</character> <dialogue>Push it to next year, they're not going to Italy while she's pregnant.</dialogue> <character>JESS</character> <dialogue>I'll bet you my next paycheck against your next paycheck that CBS won't even allow us to use the word pregnant.</dialogue> <character>LUCY</character> <parenthetical>(pointing to another card)</parenthetical> <dialogue>"Lucy Tells the Truth"</dialogue> <character>BOB</character> <dialogue>That one's Madelyn's idea. She got it just seconds after I pitched it.</dialogue> <character>JESS</character> <dialogue>Folks?</dialogue> <character>MADELYN</character> <dialogue>Ricky bets Lucy that she can't go two days without lying and we put her in situations where it's hard not to lie.</dialogue> <scene_description>In LUCY's head, we CUT TO: Continued: 67</scene_description> </scene> <scene> <stage_direction>INT. RICARDO'S LIVING ROOM - NIGHT (BLACK AND WHITE)</stage_direction> <character>LUCY</character> <dialogue>There! It's started. For the next 48 hours.</dialogue> <character>ETHEL</character> <dialogue>I can hardly wait to hear you tomorrow afternoon, Lucy.</dialogue> <character>LUCY</character> <dialogue>Why?</dialogue> <character>ETHEL</character> <dialogue>We're going over to Carolyn's to play bridge, remember?</dialogue> <character>LUCY</character> <dialogue>Oh no! Oh no! I can't spend the afternoon with three women and tell the truth. I'll call Carolyn and tell her I'm sick.</dialogue> </scene> <scene> <stage_direction>INT. WRITERS' ROOM - SAME TIME</stage_direction> <character>MADELYN</character> <dialogue>After 41 hours she's winning, but in the final hour--</dialogue> <character>BOB</character> <dialogue>Here it is.</dialogue> <character>MADELYN</character> <dialogue>--Ricky gets a visit from the IRS and the guy wants to ask about some questionable things Ricky's claiming on his deductions. Lucy's sitting in the living room too and of course when she's asked by the IRS agent to corroborate, she can't tell a lie, so--</dialogue> <character>LUCY</character> <dialogue>That's a funny premise.</dialogue> <character>JESS</character> <dialogue>Yes it is.</dialogue> <character>DESI</character> <dialogue>But lose the IRS scene.</dialogue> <character>BOB</character> <dialogue>It could be a good scene.</dialogue> <character>MADELYN</character> <dialogue>He's correct. Once I write it it could be good.</dialogue> <character>DESI</character> <dialogue>Ricky Ricardo loves America. He loves being an American. He's grateful to this country and he'd never cheat on his taxes.</dialogue> <character>BOB</character> <dialogue>It's very relatable. Everyone does.</dialogue> <character>DESI</character> <dialogue>I don't. Neither does Ricky. Especially when his wife is accused of being un-American. Look for something else and start working on the first pregnancy show.</dialogue> <character>JESS</character> <dialogue>Listen to me!</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>They're not going to let us do it.</dialogue> <character>DESI</character> <dialogue>Let that be my problem.</dialogue> <character>JESS</character> <dialogue>I wish I could, Des, but it's very much my problem. So instead of talking about goddamn grapes--Look, what you got to understand is--</dialogue> <character>LUCY</character> <dialogue>Jess? They're free to take us off the air for the rest of the year while continuing to pay our contracts and answering questions about why motherhood is too salacious to put on CBS, but something tells me they're not gonna go that route. Instead, I think Broadcast Standards and Practices will give you a list of insane restrictions, which might even include you winning your bet with Desi, and which I have no doubt the three of you will navigate beautifully.</dialogue> <parenthetical>(to DESI)</parenthetical> <dialogue>You told me to be nice. Good?</dialogue> <character>DESI</character> <dialogue>Yeah.</dialogue> <scene_description>LUCY exits...</scene_description> <character>DESI</character> <dialogue>I don't care what your first thoughts out of the gate were, but your first words out of the gate were no good.</dialogue> <parenthetical>(to MADELYN)</parenthetical> <dialogue>And what was with you at the table read?</dialogue> <character>MADELYN</character> <dialogue>I'm sorry, she was jumping on every stage direction.</dialogue> <character>DESI</character> <dialogue>It's her process.</dialogue> <character>MADELYN</character> <dialogue>But that process usually happens in private. And following your advice, maybe every once in a while, the first words out of her mouth could be "good script."</dialogue> <character>DESI</character> <dialogue>Is this the right week for this shit?</dialogue> <character>JESS</character> <dialogue>Hey--</dialogue> <character>MADELYN</character> <dialogue>We do seem to be having some success, no?</dialogue> <character>JESS</character> <parenthetical>(to DESI)</parenthetical> <dialogue>Look, we're all tired from working on this week's script.</dialogue> <character>DESI</character> <dialogue>Are you sleepy? You need a nap?</dialogue> <character>JESS</character> <dialogue>Can I talk to you a second, boss?</dialogue> <character>DESI</character> <dialogue>Sure.</dialogue> <scene_description>They step into-- Continued: 69</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - CONTINUOUS</stage_direction> <scene_description>--where JESS closes the office door. They speak quietly.</scene_description> <character>JESS</character> <dialogue>I'm the executive producer of this show. You can't manhandle me like that in front of people, you just can't do it. My show. And Madelyn was a hundred percent right.</dialogue> <character>DESI</character> <dialogue>Ricky pays his taxes.</dialogue> <character>JESS</character> <dialogue>I get it.</dialogue> <character>DESI</character> <dialogue>And we're having the baby on the show.</dialogue> <character>JESS</character> <dialogue>There's no chance they say yes.</dialogue> <character>DESI</character> <dialogue>There's no chance they say yes to you.</dialogue> <scene_description>DESI heads off and we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SOUNDSTAGE/I LOVE LUCY SET - DAY</stage_direction> <scene_description>We're in the Ricardo's living room set where the cast and DONALD the director are in the middle of rehearsal. The actors hold their scripts.</scene_description> <character>DONALD</character> <dialogue>Back to right before Vivian's entrance. "When do we eat?" Settle, and action.</dialogue> <character>FRAWLEY</character> <dialogue>When do we eat? I've been living on peanut butter sandwiches.</dialogue> <character>DONALD</character> <dialogue>Bill, that line's gotta take you over to the table.</dialogue> <character>FRAWLEY</character> <dialogue>Hm?</dialogue> <character>DONALD</character> <dialogue>You need to cross to the table on that.</dialogue> <character>FRAWLEY</character> <dialogue>Why?</dialogue> <character>LUCY</character> <dialogue>So you can see the table, notice that a fourth place is set and say your next line.</dialogue> <character>FRAWLEY</character> <dialogue>Somebody else coming?</dialogue> <character>LUCY</character> <dialogue>Well Fred, I took the liberty of asking a young lady to be your dinner companion.</dialogue> <character>FRAWLEY</character> <dialogue>A young lady?</dialogue> <character>LUCY</character> <dialogue>A cute young chick.</dialogue> <character>FRAWLEY</character> <dialogue>Oh boy, bring her on.</dialogue> <character>LUCY</character> <dialogue>Hang on, let's go back. After I say "I took the liberty of asking a young lady to be your dinner companion", Ricky should take a sip from a glass of water on the table to keep from laughing. Then when I say, "A cute young chick", Ricky can choke on his water a little.</dialogue> <character>DESI</character> <dialogue>I like that.</dialogue> <character>VIVIAN</character> <dialogue>I like it too. The very idea that Ethel's a cute young chick should make Desi choke.</dialogue> <character>ASSISTANT DIRECTOR</character> <parenthetical>(to the DIRECTOR)</parenthetical> <dialogue>That's 15.</dialogue> <character>DONALD</character> <dialogue>Okay.</dialogue> <scene_description>Continued: 70</scene_description> <character>ASSISTANT DIRECTOR</character> <parenthetical>(calling out)</parenthetical> <dialogue>That's 15 minutes!</dialogue> <character>LUCY</character> <dialogue>I'll be funny by Friday.</dialogue> <character>FRAWLEY</character> <parenthetical>(to VIVIAN)</parenthetical> <dialogue>And when can we expect you to be funny?</dialogue> <scene_description>VIVIAN says nothing as we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LUCY'S DRESSING ROOM - DAY</stage_direction> <scene_description>LUCY and DESI walk in and DESI closes the door behind him and LUCY starts in right away with an opening paragraph she's committed to memory--</scene_description> <character>LUCY</character> <dialogue>"Exactly what makes a husband leave home is something that has been baffling wives since Adam and Eve-- "</dialogue> <character>DESI</character> <dialogue>Enough.</dialogue> <character>LUCY</character> <dialogue>"For an outstanding example, let's take one of the nation's most famous husbands--"</dialogue> <character>DESI</character> <dialogue>You've memorized it?</dialogue> <character>LUCY</character> <dialogue>I've memorized worse writing than this.</dialogue> <character>DESI</character> <dialogue>Yes, it's a tabloid.</dialogue> <character>LUCY</character> <dialogue>"With a curvy, red-haired tidbit like Lucy waiting for him at home, would Desi--"</dialogue> <character>DESI</character> <dialogue>Stop it.</dialogue> <character>LUCY</character> <dialogue>"--be foolish enough to prowl Hollywood like a bachelor wolf and, if so, why?"</dialogue> <character>DESI</character> <dialogue>It's made--</dialogue> <character>LUCY</character> <dialogue>Twenty-million readers want to know.</dialogue> <character>DESI</character> <dialogue>Lucy--</dialogue> <character>LUCY</character> <dialogue>Twenty-million and one.</dialogue> <character>DESI</character> <dialogue>How many times I gotta 'splain where I was and what I was doing?</dialogue> <character>LUCY</character> <dialogue>How many times you gotta 'splain?</dialogue> <character>DESI</character> <dialogue>I can't get enough of that joke.</dialogue> <character>LUCY</character> <dialogue>They document an entire night. Someone in your gang's a rat.</dialogue> <character>DESI</character> <dialogue>My gang. The night they're talkin' about I was with Red Skelton and Xavier Cugat. Which one of 'em you think squealed?</dialogue> <character>LUCY</character> <dialogue>They made it up from nothing.</dialogue> <character>DESI</character> <dialogue>I heard on Winchell the other night that you were a Communist.</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>That was true, you idiot!</dialogue> <character>DESI</character> <dialogue>Yeah. That was a bad example.</dialogue> <character>LUCY</character> <dialogue>And I didn't check the wrong box.</dialogue> <scene_description>Continued: 71</scene_description> <character>DESI</character> <dialogue>Okay, I'm sorry about that.</dialogue> <character>LUCY</character> <dialogue>I believe you, I was just messin' around.</dialogue> <character>DESI</character> <dialogue>Good.</dialogue> <character>LUCY</character> <dialogue>No, that gets you outa the woods but it puts you into other woods.</dialogue> <character>DESI</character> <dialogue>What are the other woods.</dialogue> <character>LUCY</character> <dialogue>You don't come home anymore, did you know that?</dialogue> <character>DESI</character> <dialogue>You change subjects faster than--</dialogue> <character>LUCY</character> <dialogue>Keep up, it's not hard. I asked did you know you don't come home anymore?</dialogue> <character>DESI</character> <dialogue>Of course I come home. Sometimes I go to the boat and play cards. We drink, it goes late, it's easier to sleep on the boat.</dialogue> <character>LUCY</character> <dialogue>That used to be once a week. Then twice and now it's four or five times. I go home after work and you go to the boat.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You once asked me what my ambition was, you remember? And you liked my answer.</dialogue> </scene> <scene> <stage_direction>EXT. HOTEL POOL - DAY</stage_direction> <character>OLDER MADELYN</character> <dialogue>She used the word "home" a lot. She talked about having a home. Lucy owned three houses, but sometimes, when she fell into a funk, she'd say she didn't have a home.</dialogue> <scene_description>Continued: 72</scene_description> <character>OLDER MADELYN</character> <dialogue>But she wasn't in a funk that week. She was on fire.</dialogue> </scene> <scene> <stage_direction>INT. NIGHT CLUB - DAY</stage_direction> <character>OLDER BOB</character> <dialogue>They eloped, they bought a ranch in Chatsworth, they were deeply in love and deliriously happy.</dialogue> </scene> <scene> <stage_direction>INT. SOUNDSTAGE BLEACHERS - DAY</stage_direction> <character>OLDER JESS</character> <dialogue>What you gotta understand is, they weren't very happy.</dialogue> </scene> <scene> <stage_direction>EXT. HOTEL POOL - DAY</stage_direction> <character>OLDER MADELYN</character> <dialogue>They never saw each other. Desi and his orchestra were booked at Ciro's and Lucy was under contract at RKO, playing the same role in every movie--none of which left much of a footprint on American cinema. Desi would be done with work around 4AM and Lucy needed to be in hair and make-up at 5AM so they'd meet at the top of Mulholland.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. CIRO'S - NIGHT</stage_direction> <scene_description>DESI's singing "Babalu", backed up by his orchestra. The women are particularly enjoying it. He finishes with a flourish and to healthy applause.</scene_description> </scene> <scene> <stage_direction>EXT. CIRO'S/BACK ENTRANCE - NIGHT</stage_direction> <scene_description>A group of ATTRACTIVE WOMEN are waiting at the back door, sitting on the hoods of their cars and passing around a few bottles of champagne with a few of the musicians. DESI comes out and they start cheering--</scene_description> <character>DESI</character> <dialogue>What do we have here?</dialogue> <scene_description>Continued: 77</scene_description> <character>MUSICIAN</character> <dialogue>A lot of choices.</dialogue> <character>DESI</character> <dialogue>There's only one choice for me and she's got a powerful right hook.</dialogue> <scene_description>DESI's handed a bottle of champagne--</scene_description> <character>WOMAN</character> <dialogue>My friend and I saw the midnight show and the 2AM.</dialogue> </scene> <scene> <stage_direction>EXT. MULHOLLAND DRIVE - DAWN</stage_direction> <scene_description>LUCY's leaning against her car, waiting with the engine running and the headlights on. After a moment a pair of headlights appear from the opposite direction. DESI pulls up and gets out in his white dinner jacket and untied bow-tie.</scene_description> <character>DESI</character> <dialogue>Good morning.</dialogue> <character>LUCY</character> <dialogue>I did the calculation. In the course of one week, I see you 1/20th as much as your second trombone player.</dialogue> <character>DESI</character> <dialogue>Learn to play the trombone and I'll give you his job.</dialogue> <character>LUCY</character> <dialogue>Well...how hard is the trombone?</dialogue> <character>DESI</character> <dialogue>Maybe it'd be better if we didn't spend the little time we have arguing about why we don't have more time.</dialogue> <character>LUCY</character> <dialogue>Don't make me feel like a bitch because I want to see my husband.</dialogue> <character>DESI</character> <dialogue>I could stay home and be kept by my wife. That'd really complete the picture Americans have of Cuban men.</dialogue> <scene_description>Continued: 78</scene_description> <character>LUCY</character> <dialogue>What home are you talking about?</dialogue> <character>DESI</character> <dialogue>Or you could quit the film business and just be my wife, but you ain't gonna do that, right?</dialogue> <character>LUCY</character> <dialogue>No.</dialogue> <character>DESI</character> <dialogue>How 'bout you come to the club more to watch the show?</dialogue> <character>LUCY</character> <dialogue>I had a new picture open five days ago--you really want me to come down to the club?</dialogue> <character>DESI</character> <dialogue>Why not?</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>Okay.</dialogue> </scene> <scene> <stage_direction>INT. CIRO'S - NIGHT</stage_direction> <scene_description>DESI's back on stage performing "Cuban Pete" this time. LUCY's sitting at a ringside table and DESI can see that PHOTOGRAPHERS keep coming and kneeling in front of her to get her picture.</scene_description> </scene> <scene> <stage_direction>EXT. CIRO'S/BACK ENTRANCE - NIGHT</stage_direction> <scene_description>The fans are waiting. After a moment, DESI comes out the door with LUCY and all the fans immediately react to LUCY. They want her autograph and LUCY hands her purse to DESI. DESI clocks this turn of events as we go to BLACK TITLE: Wednesday Camera Blocking Continued: 81</scene_description> </scene> <scene> <stage_direction>INT. VIVIAN'S DRESSING ROOM - DAY</stage_direction> <scene_description>VIVIAN, a dancer by training, is stretching on the floor. There's a knock on the door--</scene_description> <character>VIVIAN</character> <dialogue>Come on in.</dialogue> <scene_description>MADELYN enters with a plate of food on a tray.</scene_description> <character>MADELYN</character> <dialogue>Good morning.</dialogue> <character>VIVIAN</character> <dialogue>Hey Maddy.</dialogue> <character>MADELYN</character> <dialogue>Some week, huh? Lucille Ball's a threat to the American way of life? She's a threat to writers, camera operators and Desi, but it really stops there. Have you ever had a week like this?</dialogue> <character>VIVIAN</character> <dialogue>No. But we work in Hollywood and something tells me we're all gonna have weeks like this before that committee's done.</dialogue> <character>MADELYN</character> <parenthetical>(meaning the stretch)</parenthetical> <dialogue>Look what you can still do.</dialogue> <character>VIVIAN</character> <dialogue>Still?</dialogue> <character>MADELYN</character> <dialogue>I regretted it even before I said it. I can't do that and I'm just impressed.</dialogue> <character>VIVIAN</character> <dialogue>What's in your hand?</dialogue> <character>MADELYN</character> <dialogue>I brought you some breakfast from the commissary. They told me you didn't have any.</dialogue> <character>VIVIAN</character> <dialogue>I did. I had a cup of coffee and half a grapefruit.</dialogue> <character>MADELYN</character> <dialogue>Well I have French toast, bacon, eggs and potatoes.</dialogue> <character>VIVIAN</character> <dialogue>Enjoy it.</dialogue> <character>MADELYN</character> <dialogue>It's for you.</dialogue> <character>VIVIAN</character> <dialogue>That was very sweet but no thank you.</dialogue> <character>MADELYN</character> <dialogue>Is it me or have you lost a little weight?</dialogue> <character>VIVIAN</character> <dialogue>I have.</dialogue> <character>MADELYN</character> <dialogue>Well you look great.</dialogue> <character>VIVIAN</character> <dialogue>Thank you.</dialogue> <character>MADELYN</character> <dialogue>I'll see you on stage.</dialogue> <character>VIVIAN</character> <dialogue>Madelyn?</dialogue> <character>MADELYN</character> <dialogue>Yeah.</dialogue> <character>VIVIAN</character> <dialogue>Who told you I didn't have any breakfast?</dialogue> <character>MADELYN</character> <dialogue>I'm sorry?</dialogue> <character>VIVIAN</character> <dialogue>You said, "They told me you didn't have any."</dialogue> <character>MADELYN</character> <parenthetical>(beat--shakes her head)</parenthetical> <dialogue>I don't know. I think-- It was Tino. The tall waiter.</dialogue> <scene_description>Continued: 81</scene_description> <character>VIVIAN</character> <parenthetical>(pause)</parenthetical> <dialogue>Okay.</dialogue> <scene_description>MADELYN leaves. VIVIAN sits a moment before--</scene_description> <character>VIVIAN</character> <parenthetical>(pause--to herself)</parenthetical> <dialogue>Jesus Christ.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DESI'S OFFICE - DAY</stage_direction> <scene_description>JOE, HOWARD, ROGER, TIP--the CBS and Philip Morris executives we met earlier, are seated where they were before with DESI leaning against the edge of his desk and LUCY sitting in his chair.</scene_description> <character>JOE</character> <dialogue>Day 3 and still no pick-up on the Winchell story. Fellas, I think we might be outta this.</dialogue> <character>ROGER</character> <dialogue>Might be.</dialogue> <character>TIP</character> <dialogue>Might be. Howard?</dialogue> <character>HOWARD</character> <dialogue>There's another shoe and none of us are getting outa this alive.</dialogue> <character>JOE</character> <dialogue>Howard--</dialogue> <character>HOWARD</character> <dialogue>They're uncovering something new, they're chasing the original testimony, something, but there's another shoe.</dialogue> <character>LUCY</character> <dialogue>There's nothing to uncover, there are no more shoes.</dialogue> <character>DESI</character> <dialogue>Lucy's pregnant.</dialogue> <character>LUCY</character> <dialogue>Well that.</dialogue> <scene_description>There's a long silence...</scene_description> <character>JOE</character> <parenthetical>(pause)</parenthetical> <dialogue>What?</dialogue> <character>DESI</character> <dialogue>Lucy's pregnant.</dialogue> <character>JOE</character> <parenthetical>(pause--then to LUCY)</parenthetical> <dialogue>With a baby?</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>Mm-hm.</dialogue> <character>ROGER</character> <dialogue>How, uh...I'm not sure what words to use...how much pregnant are you?</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>Why did you think you didn't know what words to use?</dialogue> <character>HOWARD</character> <dialogue>He means how far...as a percentage of nine months--where are we on the timeline of--</dialogue> <character>LUCY</character> <dialogue>Someone should point a goddam camera at this.</dialogue> <character>DESI</character> <dialogue>She's twelve weeks pregnant.</dialogue> <character>JOE</character> <parenthetical>(trying to do the math)</parenthetical> <dialogue>So that means...</dialogue> <character>LUCY</character> <dialogue>Twelve weeks ago I fucked my husband.</dialogue> <character>JOE/HOWARD/ROGER/TIP</character> <parenthetical>(simultaneously)</parenthetical> <dialogue>No, no, no, etc./That's not what we were asking, etc./We don't need to talk about the details of, etc.</dialogue> <character>DESI</character> <dialogue>She'll start showing in about six weeks and a month after that there won't be any hiding it.</dialogue> <character>ROGER</character> <dialogue>This isn't a problem.</dialogue> <character>DESI</character> <dialogue>It's not.</dialogue> <character>ROGER</character> <dialogue>This has happened before, I won't say names, but it's been dealt with.</dialogue> <character>LUCY</character> <parenthetical>(to DESI)</parenthetical> <dialogue>Is he talking about having me killed?</dialogue> <character>ROGER</character> <dialogue>No. You carry a basket of laundry, stand behind chairs, sit with a pillow on your lap--</dialogue> <character>DESI</character> <dialogue>And those are great ideas-- especially having Lucy carry a basket of laundry in every scene--</dialogue> <character>ROGER</character> <dialogue>Or stand behind chairs.</dialogue> <character>DESI</character> <dialogue>Where in the Ricardo's living room are the giant chairs you're talking about?</dialogue> <character>JOE</character> <dialogue>Lucy and Ricky redecorate. The writers can get some fun out of it. And maybe they also get some large ficus trees.</dialogue> <character>LUCY</character> <dialogue>They would have to be California Redwoods and I'd have to stand behind them anytime I wasn't doing the wash.</dialogue> <character>HOWARD</character> <dialogue>Well what do you propose?</dialogue> <character>DESI</character> <dialogue>That the Ricardos have a baby.</dialogue> <character>HOWARD</character> <parenthetical>(beat)</parenthetical> <dialogue>What do you mean?</dialogue> <character>LUCY</character> <parenthetical>(to DESI)</parenthetical> <dialogue>I told you it was gonna be like this.</dialogue> <character>DESI</character> <dialogue>Lucy Ricardo will be pregnant on the show. An 8-episode arc starting with Lucy telling Ricky the happy news and ending with the birth of the baby.</dialogue> <character>ROGER</character> <dialogue>Noooo, no, no, no.</dialogue> <character>HOWARD</character> <dialogue>We can't have a pregnant woman on television.</dialogue> <character>DESI</character> <dialogue>Why not?</dialogue> <character>HOWARD</character> <dialogue>Because it's television. We come into people's homes.</dialogue> <character>JOE</character> <dialogue>Pregnant women often vomit.</dialogue> <character>LUCY</character> <dialogue>I know I could any second.</dialogue> <character>ROGER</character> <dialogue>May I say something?</dialogue> <character>LUCY</character> <dialogue>Frankly, I can't wait.</dialogue> <character>ROGER</character> <dialogue>If Lucy Ricardo's pregnant, the audience's mind immediately goes to how did she get that way. Lucy and Ricky sleep in separate beds.</dialogue> <character>DESI</character> <dialogue>We'll be pushing the beds together too.</dialogue> <character>ROGER</character> <dialogue>Oh noooo, no, no.</dialogue> <character>HOWARD</character> <dialogue>I'm sorry, Des, we've gotta put our foot down on this one. You can't do it. End of discussion.</dialogue> <scene_description>DESI pushes the intercom button on his desk--</scene_description> <character>DESI</character> <parenthetical>(into intercom)</parenthetical> <dialogue>Miss Rosen, would you come in please with a pad and pen.</dialogue> <parenthetical>(to the others)</parenthetical> <dialogue>My secretary.</dialogue> <scene_description>MISS ROSEN steps in with a pad and pen--</scene_description> <character>HOWARD</character> <dialogue>What are you doing?</dialogue> <character>DESI</character> <parenthetical>(to MISS ROSEN)</parenthetical> <dialogue>To Mr. Alfred Lyons, Chairman of the Board of Philip Morris.</dialogue> <character>HOWARD</character> <dialogue>We don't want to bring Mr. Lyons into this.</dialogue> <character>DESI</character> <dialogue>"Mr. Lyons, I guess it all comes down to you. You are the man who is paying the money for this show and I will do whatever you decide."</dialogue> <character>HOWARD</character> <dialogue>Mr. Lyons doesn't get involved at this level.</dialogue> <character>DESI</character> <dialogue>"There's only one thing I want to make certain that you understand."</dialogue> <character>HOWARD</character> <dialogue>Desi--</dialogue> <character>DESI</character> <dialogue>"We've given you the number one show on television and up until now the creative decisions have been in our hands. They are now telling us that Lucy and Ricky can't have a baby on the show."</dialogue> <scene_description>Continued: 82</scene_description> <character>HOWARD</character> <dialogue>That's not exactly what we said.</dialogue> <character>DESI</character> <dialogue>"All I ask from you, if you agree with them, is that you inform them that we will not accept them telling us what not to do unless, beginning with our next episode, they also tell us what to do.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Sincerely, etc. Thank you and send it by telegram please.</dialogue> <character>MISS ROSEN</character> <dialogue>Yes sir.</dialogue> <scene_description>MISS ROSEN exits.</scene_description> <character>LUCY</character> <dialogue>And that wasn't even why I married him.</dialogue> <scene_description>LUCY gets up and before she walks out the door with DESI, she pulls him to her and gives him a passionate kiss for the benefit of the executives.</scene_description> <character>LUCY</character> <dialogue>That was.</dialogue> <scene_description>LUCY exits and DESI gives a small "What can I say?" shrug to the execs before heading out the door and we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. "I LOVE LUCY" SET/RICARDO'S LIVING ROOM - DAY</stage_direction> <scene_description>FRAWLEY and VIVIAN ("FRED" and "ETHEL") are locked in a coat. Each has one arm in a sleeve and Lucy's tied the coat closed with a scarf. We're in the middle of camera rehearsal.</scene_description> <character>ETHEL</character> <dialogue>Lucy, let me out of here!</dialogue> <character>FRAWLEY</character> <dialogue>Untie this coat!</dialogue> <character>LUCY</character> <dialogue>I'm not letting you out until you kiss and make up.</dialogue> <character>ETHEL</character> <dialogue>I'll never make up with him after the things he said.</dialogue> <character>FRAWLEY</character> <dialogue>How about the things you said to me? You said my mother looked like a weasel.</dialogue> <character>LUCY</character> <dialogue>Apologize, Ethel. Tell him you're sorry.</dialogue> <character>ETHEL</character> <dialogue>Alright. I'm sorry your mother looks like a weasel.</dialogue> <character>LUCY</character> <dialogue>Now Ethel.</dialogue> <character>ETHEL</character> <dialogue>Well I can't help it. He should have more consideration. After all, I gave him the best years of my life.</dialogue> <character>FRAWLEY</character> <dialogue>These were the best?</dialogue> <character>DESI</character> <dialogue>Alright, now you're even.</dialogue> <parenthetical>(to "ETHEL")</parenthetical> <dialogue>What are your conditions for making up?</dialogue> <character>LUCY</character> <dialogue>We should really go back to the dinner table.</dialogue> <character>DONALD</character> <dialogue>What was that?</dialogue> <character>LUCY</character> <dialogue>We should go back to the dinner table.</dialogue> <character>DONALD</character> <dialogue>I think given the time we should move on. It was good.</dialogue> <character>LUCY</character> <dialogue>Yeah, except no it wasn't.</dialogue> <character>DONALD</character> <dialogue>What.</dialogue> <character>LUCY</character> <dialogue>Good. It wasn't good.</dialogue> <character>DESI</character> <dialogue>Let's go back.</dialogue> <character>FRAWLEY</character> <dialogue>What's happening?</dialogue> <character>VIVIAN</character> <dialogue>She wants to go back.</dialogue> <character>FRAWLEY</character> <dialogue>To where?</dialogue> <character>VIVIAN</character> <dialogue>The dinner scene.</dialogue> <character>FRAWLEY</character> <dialogue>What?</dialogue> <character>VIVIAN</character> <parenthetical>(shouting)</parenthetical> <dialogue>The dinner scene, ya drunken yontz!</dialogue> <character>FRAWLEY</character> <dialogue>Have we hired someone to play Ethel yet?</dialogue> <character>DESI</character> <dialogue>Alright, let's go.</dialogue> <character>DONALD</character> <dialogue>Go forward or go back to the dinner scene?</dialogue> <character>LUCY</character> <dialogue>Back.</dialogue> <character>DONALD</character> <dialogue>Page 15. This is still Scene A. From, "You're right, he's not going to do me out of dinner." Cameras re- set. Props re-set.</dialogue> <scene_description>As the cameras re-set and some crew members re-set props over to a beautifully laid-out dinner table--</scene_description> <character>VIVIAN</character> <dialogue>Someone's going to need to tell us what was wrong with the scene in the first place.</dialogue> <character>FRAWLEY</character> <dialogue>You were in it.</dialogue> <character>DESI</character> <parenthetical>(knock it off)</parenthetical> <dialogue>Bill.</dialogue> <character>LUCY</character> <dialogue>Something fundamental was wrong and I'll figure out what.</dialogue> <character>DONALD</character> <dialogue>I can figure out what, let's all do our individual jobs.</dialogue> <scene_description>LUCY speaks to DESI quietly and confidentially for a moment...</scene_description> <character>LUCY</character> <parenthetical>(whispering)</parenthetical> <dialogue>I hit him in the face till he's bleeding, does our insurance cover that?</dialogue> <character>DESI</character> <parenthetical>(whispering)</parenthetical> <dialogue>Yeah, I got the platinum plan.</dialogue> <character>LUCY</character> <parenthetical>(whispering)</parenthetical> <dialogue>Good job.</dialogue> <character>DONALD</character> <dialogue>Ready, ready.</dialogue> <character>ASSISTANT DIRECTOR</character> <dialogue>Quiet please, reahearsal's up.</dialogue> <character>DONALD</character> <dialogue>From "You're right, he's not going to do me out of dinner." Settle and...Action.</dialogue> <character>VIVIAN</character> <dialogue>You're right. He's not going to do me out of dinner.</dialogue> <character>LUCY</character> <dialogue>Good.</dialogue> <scene_description>LUCY puts a roast down on the table, then takes a small piano bench and puts it on the downstage side of the table. The table now has four place settings but three chairs--one on each end and one in the middle with its back to the audience. LUCY sits at one end and motions "RICKY" to quickly sit at the other end.</scene_description> <character>LUCY</character> <dialogue>Well sit down everyone.</dialogue> <scene_description>"FRED" and "ETHEL" both come over and start to take the one chair.</scene_description> <character>LUCY</character> <dialogue>Oh, we don't have anymore chairs. You don't mind sharing that one do you?</dialogue> <scene_description>They both sit down gingerly on the piano bench. They indulge in a little jockeying for position. "RICKY" cuts a slice of roast beef--</scene_description> <character>LUCY</character> <dialogue>The roast beef should be pre-cut.</dialogue> <character>DONALD</character> <dialogue>It will be dear.</dialogue> <character>DESI</character> <dialogue>How is that, Ethel? Not too much fat, is there, Ethel?</dialogue> <scene_description>"ETHEL" looks at "FRED'S" behind--</scene_description> <character>ETHEL</character> <dialogue>There sure is.</dialogue> <character>LUCY</character> <dialogue>He means the meat.</dialogue> <character>ETHEL</character> <dialogue>Oh no, the meat is fine.</dialogue> <scene_description>"RICKY" gives "FRED" a serving and "FRED" and "ETHEL" start to eat while "RICKY" serves LUCY's plate and his own. "ETHEL" and "FRED" are having trouble eating in such close quarters and that's where the comedy is supposed to come from. They jab each other with their elbows and vie for more room on the chair until they both fall off.</scene_description> <character>DONALD</character> <dialogue>Perfect.</dialogue> <character>LUCY</character> <dialogue>Yeah?</dialogue> <character>DONALD</character> <dialogue>Moving on.</dialogue> <character>LUCY</character> <dialogue>Staying put.</dialogue> <character>DONALD</character> <dialogue>Why?</dialogue> <character>LUCY</character> <dialogue>We need to work out the moves at the table.</dialogue> <character>VIVIAN</character> <dialogue>Bill and I can work out the moves.</dialogue> <character>LUCY</character> <dialogue>Viv, it's not that I'm not confident that you can--</dialogue> <character>DONALD</character> <dialogue>This is camera blocking. We can work out the stage business during tomorrow's run-throughs.</dialogue> <character>LUCY</character> <dialogue>I'd strongly prefer we do it now.</dialogue> <character>DONALD</character> <dialogue>I have to exercise my directorial authority.</dialogue> <character>LUCY</character> <parenthetical>(beat)</parenthetical> <dialogue>You have to do what?!</dialogue> <character>DESI</character> <dialogue>Let's take a break.</dialogue> <character>DONALD</character> <dialogue>It's not time for a break.</dialogue> <character>DESI</character> <dialogue>Good then, that's 10 minutes.</dialogue> <character>ASSISTANT DIRECTOR</character> <parenthetical>(calling out)</parenthetical> <dialogue>10 minutes, we come back to Scene A.</dialogue> <character>DONALD</character> <dialogue>No we don't.</dialogue> <character>ASSISTANT DIRECTOR</character> <dialogue>Maybe we don't, it's hard to say</dialogue> <scene_description>People start to scatter...DESI speaks privately to LUCY.</scene_description> <character>DESI</character> <dialogue>Tell me what's happening?</dialogue> <character>LUCY</character> <dialogue>Hm?</dialogue> <character>DESI</character> <dialogue>What's happening right now?</dialogue> <character>LUCY</character> <dialogue>You know what occurs to me? At the top, it should be clear that I'm setting a nice table, right? There should be flowers in a vase.</dialogue> <scene_description>QUICK CUT TO: Continued: 84</scene_description> </scene> <scene> <stage_direction>INT. I LOVE LUCY SET/LIVING ROOM - NIGHT (BLACK AND WHITE)</stage_direction> <scene_description>LUCY arranges flowers in a vase that's sitting on a well-set table with three chairs. CUT BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. I LOVE LUCY SET/LIVING ROOM - DAY</stage_direction> <character>LUCY</character> <dialogue>And I'm trying to get them just right. And I cut one of the stems but now it's too short--</dialogue> </scene> <scene> <stage_direction>INT. I LOVE LUCY SET/LIVING ROOM - NIGHT (BLACK AND WHITE)</stage_direction> <scene_description>LUCY cuts a stem but now it's too short, so she cuts the others-- CUT BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. I LOVE LUCY SET/LIVING ROOM - DAY</stage_direction> <character>LUCY</character> <dialogue>--so I cut the others but now they're too short and--</dialogue> <character>DESI</character> <dialogue>I get it.</dialogue> <character>LUCY</character> <dialogue>What do you think?</dialogue> <character>DESI</character> <dialogue>I think you're having a little bit of a breakdown.</dialogue> <character>LUCY</character> <dialogue>I meant about the flowers.</dialogue> <character>DESI</character> <dialogue>Tell me what's happening?</dialogue> <character>LUCY</character> <dialogue>Why is this hard to understand? The dinner table isn't working and we need it to. Right there are the building blocks of drama.</dialogue> <scene_description>LUCY heads off. We FOLLOW her backstage and into-- Continued: 88</scene_description> </scene> <scene> <stage_direction>INT. DRESSING ROOM CORRIDOR - CONTINUOUS</stage_direction> <scene_description>LUCY walks down the corridor toward her dressing room and walks past Vivian's open dressing room door. She stops, thinks, turns around and sticks her head in the door.</scene_description> <character>LUCY</character> <dialogue>Viv.</dialogue> <scene_description>VIVIAN looks up from her dressing table.</scene_description> <character>LUCY</character> <dialogue>It's not you or Bill. The dinner scene. It's Donald Glass.</dialogue> <character>VIVIAN</character> <dialogue>Well...it'll be funny.</dialogue> <character>LUCY</character> <dialogue>I'm sure of that.</dialogue> <character>VIVIAN</character> <dialogue>Can't get better till it gets bad.</dialogue> <character>LUCY</character> <dialogue>Cross Step One off the list.</dialogue> <character>VIVIAN</character> <parenthetical>(laughing a little)</parenthetical> <dialogue>Yeah.</dialogue> <character>LUCY</character> <dialogue>Okay.</dialogue> <character>VIVIAN</character> <dialogue>You hangin' in there?</dialogue> <character>LUCY</character> <dialogue>Look, we've made 37 episodes. You do 37 of anything and one of 'em's gonna be your 37th best. Ours was directed by Donald Glass.</dialogue> <character>VIVIAN</character> <dialogue>Honey...the committee...they're not gonna base their findings on how this week's show--</dialogue> <character>LUCY</character> <dialogue>Fuck the committee. I said that. I'm talkin' about the show. And unless you count his wardrobe, Don Glass doesn't understand the moving parts of physical comedy.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>That's all. My point is, you're not the problem.</dialogue> <scene_description>LUCY starts to leave--</scene_description> <character>VIVIAN</character> <dialogue>Luce?</dialogue> <scene_description>LUCY turns back.</scene_description> <character>LUCY</character> <dialogue>Yeah.</dialogue> <character>VIVIAN</character> <dialogue>Madelyn brought me breakfast this morning. French toast, bacon and potatoes. She said someone noticed I hadn't had breakfast. She said it looked like I'd lost some weight.</dialogue> <character>LUCY</character> <dialogue>She's right, you look great.</dialogue> <character>VIVIAN</character> <dialogue>Madelyn's a staff writer. She doesn't bring people their breakfast.</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>I'm not sure what you're asking. It sounds like she was just--</dialogue> <character>VIVIAN</character> <dialogue>How would she know I hadn't had breakfast?</dialogue> <character>LUCY</character> <parenthetical>(beat)</parenthetical> <dialogue>I really don't know.</dialogue> <character>VIVIAN</character> <dialogue>It was you, right?</dialogue> <character>LUCY</character> <dialogue>Yes. You have to give me credit. When I lie, I give up on it pretty quick.</dialogue> <character>VIVIAN</character> <dialogue>It's admirable.</dialogue> <character>LUCY</character> <dialogue>Thanks.</dialogue> <character>VIVIAN</character> <dialogue>You told her to bring me breakfast and remark on my weight loss.</dialogue> <character>LUCY</character> <dialogue>Let me explain why.</dialogue> <character>VIVIAN</character> <dialogue>Why?</dialogue> <character>LUCY</character> <dialogue>Because I think you should get off this looney diet you're on.</dialogue> <character>VIVIAN</character> <dialogue>It's working.</dialogue> <character>LUCY</character> <dialogue>It's not good for you.</dialogue> <character>VIVIAN</character> <dialogue>I feel great.</dialogue> <character>LUCY</character> <dialogue>It's not good for Ethel.</dialogue> <character>VIVIAN</character> <dialogue>It's not.</dialogue> <character>LUCY</character> <dialogue>We're best friends, Viv, I don't want to fight. I just sent over some breakfast.</dialogue> <character>VIVIAN</character> <dialogue>You didn't just send it over, you sent it over with Madelyn and a message. And now a new message, which is that I look too good.</dialogue> <character>LUCY</character> <dialogue>We just want you at the weight you were when we cast you.</dialogue> <character>VIVIAN</character> <dialogue>Otherwise it'll be bad for Ethel?</dialogue> <character>LUCY</character> <dialogue>Yes.</dialogue> <character>VIVIAN</character> <dialogue>Or bad for you?</dialogue> <character>LUCY</character> <dialogue>Alright--</dialogue> <character>VIVIAN</character> <dialogue>No one's gonna stop loving Lucy when you're pregnant. GI's don't have your picture in their barracks.</dialogue> <character>LUCY</character> <dialogue>Thanks for that, Viv.</dialogue> <character>VIVIAN</character> <dialogue>I'm saying take it easy, that's all. Everyone here stands shoulder to shoulder with you and no one feels funny 'cause we're scared to death and you're not helping by jumping up and down on everyone who works here and doing it in front of- -</dialogue> <character>LUCY</character> <dialogue>Goddamit, Viv, most American women look like you, not me, and they want to see themselves on television!</dialogue> <scene_description>There's a tense silence before FRAWLEY opens his dressing room door--</scene_description> <character>FRAWLEY</character> <dialogue>What the hell are the two of you screaming about?!</dialogue> <character>LUCY</character> <dialogue>Nothing.</dialogue> <character>VIVIAN</character> <dialogue>Nothing.</dialogue> <character>FRAWLEY</character> <dialogue>I'm in my room taking my mid- morning nap.</dialogue> <character>VIVIAN</character> <dialogue>Don't you usually do that while we're rehearsing?</dialogue> <character>FRAWLEY</character> <dialogue>I'd love to see more of that Moss Hart wit on the show.</dialogue> <character>VIVIAN</character> <parenthetical>(to LUCY)</parenthetical> <dialogue>Don't worry about it. The weight always comes back. I can't keep it off anymore.</dialogue> <character>LUCY</character> <parenthetical>(beat)</parenthetical> <dialogue>This conversation went poorly.</dialogue> <character>VIVIAN</character> <dialogue>I thought it was great. I definitely feel like performing for tens of millions of people now.</dialogue> <character>LUCY</character> <dialogue>Alright, so...okay.</dialogue> <scene_description>LUCY steps out into-- Continued: 88A</scene_description> </scene> <scene> <stage_direction>88A INT. CORRIDOR - CONTINUOUS 88A</stage_direction> <scene_description>LUCY starts to head down the hall--</scene_description> <character>FRAWLEY</character> <dialogue>Lucille.</dialogue> <character>LUCY</character> <dialogue>Yeah.</dialogue> <character>FRAWLEY</character> <dialogue>Come with me for a drink.</dialogue> <character>LUCY</character> <dialogue>It's 10am.</dialogue> <character>FRAWLEY</character> <dialogue>I'm sure it's 10:15 somewhere.</dialogue> <character>LUCY</character> <dialogue>We have to be back on stage.</dialogue> <character>FRAWLEY</character> <dialogue>I wonder if they'll wait for you.</dialogue> <character>LUCY</character> <dialogue>Bill--</dialogue> <scene_description>A young P.A., Scott, is walking by--</scene_description> <character>FRAWLEY</character> <dialogue>Kid. Tell the stage Mrs. Arnaz is taking some personal time and she'll be back when she's back.</dialogue> <character>SCOTT</character> <dialogue>Copy that.</dialogue> <character>LUCY</character> <parenthetical>(to Scott)</parenthetical> <dialogue>Probably 15 minutes.</dialogue> <character>SCOTT</character> <dialogue>Yes ma'am.</dialogue> <character>LUCY</character> <dialogue>And you should remind props that I'll need garden shears for the opening scene.</dialogue> <character>SCOTT</character> <dialogue>Copy.</dialogue> <scene_description>Continued: 88A</scene_description> <character>FRAWLEY</character> <dialogue>Let's go.</dialogue> <scene_description>Continued: 88A</scene_description> <character>LUCY</character> <parenthetical>(still to Scott)</parenthetical> <dialogue>We have to establish right away that I'm setting a fancy table.</dialogue> <character>FRAWLEY</character> <dialogue>You don't need to explain it to him.</dialogue> <character>LUCY</character> <parenthetical>(still to Scott)</parenthetical> <dialogue>We'll have flowers in a vase and I'll cut one of the flowers--</dialogue> <character>FRAWLEY</character> <dialogue>He doesn't care.</dialogue> <character>LUCY</character> <dialogue>--it'll be too short. So I'll cut the other flowers and then they'll be too short and so on.</dialogue> <character>SCOTT</character> <dialogue>Got it.</dialogue> <character>LUCY</character> <dialogue>So I need garden shears.</dialogue> <character>SCOTT</character> <dialogue>Copy.</dialogue> <character>LUCY</character> <dialogue>Regular scissors aren't strong enough to cut through the stems.</dialogue> <character>FRAWLEY</character> <dialogue>He's thinking a lot about killing you now.</dialogue> <character>LUCY</character> <dialogue>Fine.</dialogue> <character>FRAWLEY</character> <parenthetical>(to Scott)</parenthetical> <dialogue>Go.</dialogue> <character>SCOTT</character> <dialogue>Yep.</dialogue> <scene_description>SCOTT takes off.</scene_description> <character>LUCY</character> <dialogue>Where are we drinking?</dialogue> <scene_description>Continued: 88A</scene_description> <character>FRAWLEY</character> <dialogue>Across the street.</dialogue> <scene_description>Continued: 89</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY/STREET - DAY</stage_direction> <scene_description>LUCY and FRAWLEY walk through the alley and across the street.</scene_description> <character>FRAWLEY</character> <dialogue>It's raining. Is your hair gonna be alright?</dialogue> <character>LUCY</character> <dialogue>I'm fine. Since I started doing this show, rain bounces off my hair.</dialogue> <character>FRAWLEY</character> <dialogue>That's helpful.</dialogue> <character>LUCY</character> <dialogue>I honestly had no idea this place was here.</dialogue> <character>FRAWLEY</character> <dialogue>They like to keep a low profile.</dialogue> <character>LUCY</character> <dialogue>It's hard to imagine why.</dialogue> <character>FRAWLEY</character> <dialogue>After you.</dialogue> <character>LUCY</character> <dialogue>What kind of people go to a bar on a Wednesday morning?</dialogue> <character>FRAWLEY</character> <dialogue>It's an eclectic group.</dialogue> <scene_description>They walk into--</scene_description> </scene> <scene> <stage_direction>INT. DIVE BAR - CONTINUOUS</stage_direction> <scene_description>The place is empty except for maybe three people scattered around. LUCY and FRAWLEY head to the bar where they're met by a BARTENDER.</scene_description> <character>FRAWLEY</character> <dialogue>What are you having?</dialogue> <character>LUCY</character> <dialogue>I'll take a tetanus shot.</dialogue> <character>FRAWLEY</character> <dialogue>Jim Beam. Two times.</dialogue> <character>LUCY</character> <dialogue>I thought you and Desi had a deal. You don't drink at work.</dialogue> <character>FRAWLEY</character> <dialogue>Desi and I have a deal that I won't be drunk at work. Have you ever seen me drunk at work?</dialogue> <character>LUCY</character> <dialogue>Would I know?</dialogue> <character>FRAWLEY</character> <dialogue>No.</dialogue> <parenthetical>(raising his glass)</parenthetical> <dialogue>Here's to your new baby.</dialogue> <character>LUCY</character> <dialogue>Alright then.</dialogue> <scene_description>They drink.</scene_description> <character>LUCY</character> <dialogue>Are they being polite or do they not recognize us?</dialogue> <character>FRAWLEY</character> <dialogue>They don't own television sets.</dialogue> <character>LUCY</character> <dialogue>Why didn't I think of that?</dialogue> <character>FRAWLEY</character> <dialogue>Honey, I read seven newspapers every day.</dialogue> <character>LUCY</character> <dialogue>Seven?</dialogue> <character>FRAWLEY</character> <dialogue>Yeah.</dialogue> <character>LUCY</character> <dialogue>When do you have time to do that?</dialogue> <character>FRAWLEY</character> <dialogue>It's 30 minutes between races at Santa Anita, it takes me a minute and a half to pick a horse.</dialogue> <character>LUCY</character> <dialogue>Aren't you at work?</dialogue> <character>FRAWLEY</character> <dialogue>Yeah we have bookies now and telephones.</dialogue> <character>LUCY</character> <dialogue>Know all about that. Did a Damon Runyon picture.</dialogue> <character>FRAWLEY</character> <dialogue>In none of those seven newspapers have I read anything about Lucille Ball being a Communist. I don't hear anyone talking about it.</dialogue> <character>LUCY</character> <dialogue>Since when do you talk to anyone?</dialogue> <character>FRAWLEY</character> <dialogue>I got news for you, the less you talk, the more things you hear and I haven't heard anything. So...problems at home?</dialogue> <character>LUCY</character> <dialogue>Problems at home?</dialogue> <character>FRAWLEY</character> <dialogue>Yeah.</dialogue> <character>LUCY</character> <dialogue>No, I'd like very much to have problems at home but my problem's not home that much. A few times a week.</dialogue> <character>FRAWLEY</character> <dialogue>He was playing cards on the boat Wednesday night.</dialogue> <character>LUCY</character> <dialogue>I know. The picture's six months old and I was there when it was taken. I'm saying why wasn't he home? Where I and our daughter were?</dialogue> <character>FRAWLEY</character> <dialogue>Your husband, Ricky--</dialogue> <character>LUCY</character> <dialogue>Desi.</dialogue> <character>FRAWLEY</character> <dialogue>Desi--is in love with America like no man I've ever known since George M. Cohan, who loved America so much he wrote the same song five times. Okay? Desi loves America as much as that guy. But that doesn't mean he's not Cuban.</dialogue> <character>LUCY</character> <dialogue>I know that.</dialogue> <character>FRAWLEY</character> <dialogue>The world he's from has a very narrow definition of manhood.</dialogue> <character>LUCY</character> <dialogue>I know that too.</dialogue> <character>FRAWLEY</character> <dialogue>The man is the man.</dialogue> <character>LUCY</character> <dialogue>Mm.</dialogue> <character>FRAWLEY</character> <dialogue>And you know what? Not for nothin', but the women are happy.</dialogue> <character>LUCY</character> <dialogue>You've asked them?</dialogue> <character>FRAWLEY</character> <dialogue>They look happy.</dialogue> <character>LUCY</character> <dialogue>I see.</dialogue> <character>FRAWLEY</character> <dialogue>But that's neither here nor there.</dialogue> <character>LUCY</character> <dialogue>It really isn't.</dialogue> <character>FRAWLEY</character> <dialogue>He's mesmerized by you, Lucille. And he misses you when you're in two different places, he does, I'm a witness.</dialogue> <character>LUCY</character> <dialogue>He doesn't have to, we live in the same house.</dialogue> <character>FRAWLEY</character> <dialogue>He does have to, that's what I'm saying. He has to spend time away from you so that he can feel like he's not--</dialogue> <character>LUCY</character> <dialogue>--second banana. I navigate male egos for a living, bud.</dialogue> <character>FRAWLEY</character> <dialogue>Then why are you running the set?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Why are you running rehearsals? You're doing it right in front of him.</dialogue> <character>LUCY</character> <dialogue>I can't prioritize the director's feelings over the health of the show.</dialogue> <character>FRAWLEY</character> <dialogue>No, not--I couldn't care any less about Donald's feelings if I tried hard. He's a hack but we'll overcome that because, frankly, we're not doing Uncle Vanya.</dialogue> <character>LUCY</character> <dialogue>Got it.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But the business at the dinner table has to be precise.</dialogue> <character>FRAWLEY</character> <dialogue>Really? I was only in vaudeville 40 years so I wouldn't know about these things of which you speak.</dialogue> <character>LUCY</character> <dialogue>I know you know! So why do you care if--</dialogue> <character>FRAWLEY</character> <parenthetical>(over)</parenthetical> <dialogue>You did it in front of Desi...is my point.</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>Lemme tell you something about Desi. He runs this show. Every creative decision goes through him. Every business decision--the network, Philip Morris--and if that wasn't enough, he's camera ready on Monday. It takes me five days to get a laugh and he's killing at the table read and that man, believe me, is nobody's second banana.</dialogue> <character>FRAWLEY</character> <dialogue>How many people know that?</dialogue> <scene_description>Continued: 90</scene_description> <character>LUCY</character> <dialogue>Know what?</dialogue> <character>FRAWLEY</character> <dialogue>That Desi runs the show. How many people know that?</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>There's me. And I just told you.</dialogue> <character>FRAWLEY</character> <dialogue>You get the picture?</dialogue> </scene> <scene> <stage_direction>EXT. HOTEL POOL - DAY</stage_direction> <character>OLDER MADELYN</character> <dialogue>There was a minute there when Lucy was gonna be a serious actress in serious movies. She was gonna compete for roles with Crawford and Hayworth. It might've been Lucy in All About Eve and you know what-- she'd have blown the doors off the place. It was almost like that. For a minute there.</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. LUCY AND DESI'S BACKYARD/POOL - DAY</stage_direction> <scene_description>DESI's sitting by the pool reading a book, and, after a moment, the back door flies open and LUCY runs out with her shoes in one hand and a bottle of champagne in the other. She's disheveled desperately gasping for breath.</scene_description> <character>DESI</character> <dialogue>Lucy?</dialogue> <scene_description>LUCY tries to say something but doesn't have the air yet.</scene_description> <character>DESI</character> <dialogue>What happened?</dialogue> <character>LUCY</character> <parenthetical>(barely audible--breathing heavy)</parenthetical> <dialogue>Flat tire. 'Bout a quarter mile back.</dialogue> <character>DESI</character> <dialogue>You abandoned the car there?</dialogue> <character>LUCY</character> <dialogue>Sprinted the last five-hundred yards.</dialogue> <character>DESI</character> <dialogue>What's going on? Also you ran with a bottle of champagne in your hand?</dialogue> <character>LUCY</character> <dialogue>Bringing it...more festive. I got it. I got the part.</dialogue> <character>DESI</character> <dialogue>Which part?</dialogue> <character>LUCY</character> <dialogue>I got the part, Des. The Big Street.</dialogue> <character>DESI</character> <parenthetical>(pause)</parenthetical> <dialogue>You said it was going to Rita Hayworth.</dialogue> <character>LUCY</character> <dialogue>Scheduling problems. Then they went to Judy Holliday. Scheduling problems. I've got the female lead in The Big Street.</dialogue> <character>DESI</character> <dialogue>That's tremedous.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>That's tremendous.</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>I'm opposite Henry Fonda.</dialogue> <character>DESI</character> <dialogue>When does it start photography?</dialogue> <character>LUCY</character> <dialogue>Two weeks. Still can't catch my breath.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>It's Damon Runyon.</dialogue> <character>DESI</character> <dialogue>I know, I read the script and I'm very--I'm very happy, I was just looking forward to you coming out on tour.</dialogue> <character>LUCY</character> <dialogue>Rita Hayworth had scheduling problems.</dialogue> <character>DESI</character> <dialogue>So did you.</dialogue> <scene_description>LUCY takes a moment...then tosses her shoes aside--</scene_description> <character>LUCY</character> <dialogue>You don't think I want to be in the same city at the same time as my husband? What do I talk about every- -</dialogue> <character>DESI</character> <dialogue>I know, I know that.</dialogue> <character>LUCY</character> <dialogue>Every decision I make is based on being near you. Every single decision.</dialogue> <character>DESI</character> <dialogue>Well, yeah. But obviously not every single decision.</dialogue> <character>LUCY</character> <dialogue>You know how many years I've spent sticking my head in the frame, saying something bitchy and going away? Crappy little roles in pictures I wouldn't pay a nickel to see if the theater had the only available air conditioning. If The Big Street is a hit I'll be getting the roles that go to Rita and Judy and Betty.</dialogue> <character>DESI</character> <dialogue>Which Judy?</dialogue> <character>LUCY</character> <dialogue>Holiday. Who's the baseball player you talk about? The one that sat down and let Lou Gehrig--</dialogue> <character>DESI</character> <dialogue>Wally Pipp.</dialogue> <character>LUCY</character> <dialogue>--start that streak? Gehrig was his understudy.</dialogue> <character>DESI</character> <dialogue>Backup.</dialogue> <character>LUCY</character> <dialogue>And the guy took a rest one day and Gehrig came in and didn't come out for forty years?</dialogue> <character>DESI</character> <dialogue>Fourteen years and it was Wally Pipp.</dialogue> <character>LUCY</character> <dialogue>Okay, well, imagine if Wally Pipp had scheduling problems and Lou Gehrig, instead of grabbing his glove, toured with his husband's Latin orchestra. It would've changed the course of baseball.</dialogue> <character>DESI</character> <dialogue>And the course of Latin music.</dialogue> <character>LUCY</character> <dialogue>Rita Hayworth is Wally Pipp. I'm Lou Gehrig. The Big Street is the Yankees.</dialogue> <character>DESI</character> <dialogue>I understood the metaphor so long ago.</dialogue> <character>LUCY</character> <dialogue>You don't have to tour. You could stay in town.</dialogue> <character>DESI</character> <dialogue>And do what?</dialogue> <character>LUCY</character> <dialogue>Sell out Ciro's every night.</dialogue> <character>DESI</character> <dialogue>We're not a house band. I'd like to sell out New York, Chicago and Miami too.</dialogue> <character>LUCY</character> <dialogue>I know. Eight weeks. I'll come to wherever you are on the weekends. So it'll be important that you not fall in love with someone else Mondays thru Fridays.</dialogue> <character>DESI</character> <dialogue>Agreed. And it'll be helpful if you don't sleep with Henry Fonda or Joseph Cotton.</dialogue> <character>LUCY</character> <dialogue>How did Joseph Cotton get into the conversation?</dialogue> <character>DESI</character> <dialogue>I've heard rumors.</dialogue> <character>LUCY</character> <dialogue>You really want to compare rumors?</dialogue> <character>DESI</character> <dialogue>No.</dialogue> <character>LUCY</character> <dialogue>Yeah.</dialogue> <character>DESI</character> <dialogue>Hey, look at me.</dialogue> <character>LUCY</character> <dialogue>I already am.</dialogue> <character>DESI</character> <dialogue>They're rumors. I have never, and will never, have an interest in being with anyone but you.</dialogue> <character>LUCY</character> <dialogue>Should we open the champagne, take our clothes off and go skinny dipping in the pool?</dialogue> <character>DESI</character> <dialogue>That bottle of champagne is basically a grenade now but all your other ideas were good.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Lucy, Jesus. You're gonna be a movie star.</dialogue> <character>LUCY</character> <dialogue>You comfortable with that?</dialogue> <scene_description>DESI takes LUCY by the shoulders...</scene_description> <character>DESI</character> <dialogue>Am I comfortable with that?</dialogue> <scene_description>And the champagne bottle, which is laying on its side, EXPLODES, with the cork shattering a wine glass. LUCY and DESI stare at it...</scene_description> <character>LUCY</character> <dialogue>That bottle has comic timing.</dialogue> <scene_description>Continued: 94</scene_description> </scene> <scene> <stage_direction>INT. CHARLES KOERNER'S OFFICE - DAY</stage_direction> <scene_description>LUCY sits on a couch in the waiting area. She takes in the framed posters of classy hit movies and smiles a little to herself. The SECRETARY notices. Continued: 94</scene_description> <character>LUCY</character> <dialogue>I've been at the studio for almost ten years and I've never been in the president's office.</dialogue> <character>SECRETARY</character> <dialogue>Mr. Koerner isn't the president, he's the head of production.</dialogue> <character>LUCY</character> <dialogue>Second in command. Still. Higher than I've ever gotten.</dialogue> <scene_description>The SECRETARY's phone buzzes and she picks it up--</scene_description> <character>SECRETARY</character> <dialogue>Yes sir.</dialogue> <parenthetical>(to LUCY)</parenthetical> <dialogue>You can go on in.</dialogue> <scene_description>LUCY gets up, straightens herself out and walks into</scene_description> </scene> <scene> <stage_direction>INT. CHARLES KOERNER'S OFFICE - CONTINUOUS</stage_direction> <character>KOERNER</character> <dialogue>Lucille. Charles Koerner.</dialogue> <character>LUCY</character> <dialogue>Lucille Ball.</dialogue> <character>KOERNER</character> <dialogue>Do you like Lucille or Lucy?</dialogue> <character>LUCY</character> <dialogue>Lucy's fine. I mean either's fine. Lucy.</dialogue> <character>KOERNER</character> <dialogue>Alright.</dialogue> <character>LUCY</character> <dialogue>And do I call you Charlie?</dialogue> <character>KOERNER</character> <dialogue>Anyone as brilliant as you were in The Big Street can call me Betsy and I wouldn't care.</dialogue> <character>LUCY</character> <dialogue>Thank you.</dialogue> <character>KOERNER</character> <dialogue>Sit. Please. Right there.</dialogue> <character>LUCY</character> <dialogue>Thank you.</dialogue> <scene_description>They sit.</scene_description> <character>KOERNER</character> <dialogue>That was a whole new side of you we've never seen. Where has that been?</dialogue> <character>LUCY</character> <dialogue>It's been buried under bad movies.</dialogue> <character>KOERNER</character> <dialogue>I've heard you make some form of that joke before.</dialogue> <character>LUCY</character> <dialogue>Keep putting me in pictures like Big Street and you won't hear it again.</dialogue> <character>KOERNER</character> <dialogue>We're dropping your contract, Lucy.</dialogue> <scene_description>LUCY laughs...</scene_description> <character>KOERNER</character> <dialogue>No, it's not a joke. RKO's dropping your contract.</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>I don't understand.</dialogue> <character>KOERNER</character> <dialogue>We don't have anything for you.</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>I don't--This is happening fast. The Big Street was a hit.</dialogue> <character>KOERNER</character> <dialogue>It was a critical hit.</dialogue> <character>LUCY</character> <dialogue>I get there wasn't a stampede to the box office, but you didn't lose money, did you?</dialogue> <character>KOERNER</character> <dialogue>No.</dialogue> <character>LUCY</character> <dialogue>Do you understand the conditions under which this picture was finished?</dialogue> <character>KOERNER</character> <dialogue>It has nothing to do with--</dialogue> <character>LUCY</character> <dialogue>Damon Runyon left town before principal photography, our director joined the army during post- production and our editor died. He just flat-out died.</dialogue> <character>KOERNER</character> <dialogue>There were a number of obstacles.</dialogue> <character>LUCY</character> <dialogue>That's accurate. Did you read the reviews?</dialogue> <character>KOERNER</character> <dialogue>They were very impressive.</dialogue> <character>LUCY</character> <dialogue>They were more than impressive.</dialogue> <character>KOERNER</character> <dialogue>Lucy--</dialogue> <character>LUCY</character> <dialogue>I blew Henry Fonda off the screen.</dialogue> <character>KOERNER</character> <dialogue>This has nothing--</dialogue> <character>LUCY</character> <dialogue>Henry Fonda, who is very much under contract here at RKO.</dialogue> <character>KOERNER</character> <dialogue>As a matter of fact you blew him off the screen 'cause it was his last picture he owed at RKO and your director couldn't get him to give a damn.</dialogue> <character>LUCY</character> <dialogue>Making my job that much harder.</dialogue> <character>KOERNER</character> <dialogue>This has nothing to do with your performance in The Big Street.</dialogue> <character>LUCY</character> <dialogue>But it should have everything to do with my performance in The Big Street. I showed what I can do and that's just the beginning of what I can do. That's just the beginning of it. I can do comedy too. Are you sure this isn't a joke?</dialogue> <character>KOERNER</character> <dialogue>It's a tough business.</dialogue> <character>LUCY</character> <dialogue>I know that! I've been in it since I was fourteen!</dialogue> <character>KOERNER</character> <dialogue>But you're 35 now.</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>And that's the problem?</dialogue> <character>KOERNER</character> <dialogue>No, the problem is that you're really 39, aren't you?</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>Mm-hm. 39-year olds don't go to your movies? They don't like seeing stories about themselves?</dialogue> <character>KOERNER</character> <dialogue>You came through for us when Judy Holliday and Rita Hayworth were on other pictures and we didn't want to lose Fonda. This studio has a handshake understanding with Metro and Warner and they'll loan us Holliday or Hayworth so we just don't have enough for you that would warrant keeping you under contract.</dialogue> <character>LUCY</character> <dialogue>Judy Holliday does one thing very well but it's just one thing.</dialogue> <character>KOERNER</character> <dialogue>I know how you're feeling right now, I've had to have this conversation a hundred times.</dialogue> <scene_description>Continued: 95</scene_description> <character>LUCY</character> <dialogue>I'm surprised, 'cause you're terrible at it.</dialogue> <character>KOERNER</character> <dialogue>Can I make a suggestion?</dialogue> <character>LUCY</character> <dialogue>Be younger?</dialogue> <character>KOERNER</character> <dialogue>Radio.</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>The hell did you just say to me?</dialogue> <character>KOERNER</character> <dialogue>You've got the voice for it. I've noticed there's a lot you can do with your voice. You should think about radio.</dialogue> <character>LUCY</character> <dialogue>You should go fuck yourself, Betsy.</dialogue> <scene_description>LUCY gets up to leave and we CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. LUCY AND DESI'S BACKYARD - NIGHT</stage_direction> <scene_description>LUCY's sitting by the pool, reading a script by a hanging lantern and smoking a cigarette. She has a glass of wine and there's an almost-empty bottle sitting next to her. After a moment, DESI appears at the door...</scene_description> <character>DESI</character> <dialogue>Lucy?</dialogue> <character>LUCY</character> <dialogue>Yep?</dialogue> <character>DESI</character> <dialogue>What are you doing?</dialogue> <character>LUCY</character> <dialogue>I'm reading scripts.</dialogue> <character>DESI</character> <dialogue>It's three o'clock in the morning.</dialogue> <character>LUCY</character> <dialogue>I know. I'm drunk too.</dialogue> <scene_description>DESI walks over to her...</scene_description> <character>LUCY</character> <dialogue>I know why you like drinking. I didn't get it until about two hours ago.</dialogue> <character>DESI</character> <dialogue>You read any good movies?</dialogue> <character>LUCY</character> <dialogue>These are radio pilots.</dialogue> <character>DESI</character> <dialogue>Oh yeah?</dialogue> <character>LUCY</character> <dialogue>Yeah.</dialogue> <character>DESI</character> <parenthetical>(pause)</parenthetical> <dialogue>You know there's nothing wrong with radio. I do it all the time.</dialogue> <character>LUCY</character> <dialogue>You're a bandleader.</dialogue> <scene_description>DESI takes that in, nods, gets up and heads back to the house. He turns and calls back--</scene_description> <character>DESI</character> <dialogue>You know Bataan was a hit too.</dialogue> <character>LUCY</character> <dialogue>I didn't hear you.</dialogue> <character>DESI</character> <dialogue>Bataan was a hit. And I was good. The reviews were Valentines. I didn't bang a drum. It would've led to better parts except I had to go-- what do you call it--fight World War II. Now those crappy little parts in pictures you wouldn't pay a nickel to see if it was the only available air conditioning in the --</dialogue> <character>LUCY</character> <dialogue>Des--</dialogue> <character>DESI</character> <dialogue>I can't get 'em.</dialogue> <scene_description>DESI heads into the house. We stay on LUCY a moment before we BLACKOUT TITLE: Continued: 96 Thursday Run Throughs</scene_description> </scene> <scene> <stage_direction>INT. RICRADO'S LIVING ROOM SET - DAY</stage_direction> <scene_description>We're in the middle of a dress rehearsal. JESS, MADELYN, BOB and others are sitting in the bleachers. "RICKY" is helping "LUCY" through the front door. "LUCY" is wrapped in bandages.</scene_description> <character>DESI</character> <dialogue>Honey--are you sure you're alright? Are the bandages really fake?</dialogue> <character>LUCY</character> <dialogue>Oh I'm fine. Thank goodness the Mertz's had their awnings up.</dialogue> <character>DESI</character> <dialogue>The whole thing was my fault.</dialogue> <character>LUCY</character> <dialogue>No, it was my fault. Weren't we silly?</dialogue> <character>DESI</character> <dialogue>Yeah. We'll never fight again.</dialogue> <scene_description>They kiss. "FRED" comes in the door looking very sad.</scene_description> <character>FRAWLEY</character> <dialogue>You okay, Lucy?</dialogue> <character>LUCY</character> <dialogue>Oh, I'm fine.</dialogue> <character>FRAWLEY</character> <dialogue>Are you sure?</dialogue> <character>LUCY</character> <dialogue>Yeah. Don't look so sad. I'm really alright.</dialogue> <character>FRAWLEY</character> <dialogue>I wasn't sad about that. I just saw Ethel and she's so mad about what we did, she's gone home to her mother!</dialogue> <character>LUCY</character> <dialogue>Oh no!</dialogue> <character>DONALD</character> <dialogue>And we cut. Good. Is that lunch?</dialogue> <character>ASSISTANT DIRECTOR</character> <parenthetical>(calling out)</parenthetical> <dialogue>That's one hour for lunch.</dialogue> <character>DONALD</character> <dialogue>We'll do notes on stage after and go again.</dialogue> <scene_description>Everyone starts to leave--</scene_description> <character>LUCY</character> <parenthetical>(stopping everyone)</parenthetical> <dialogue>One quick thing?</dialogue> <scene_description>Everyone stops...</scene_description> <character>DONALD</character> <parenthetical>(beat)</parenthetical> <dialogue>The table scene's getting good.</dialogue> <character>LUCY</character> <dialogue>Yeah, it's not, but I wanted to circle back and express again my serious concern about Ricky's entrance at the top. I brought it up at the table read Monday and there haven't been new pages.</dialogue> <character>JESS</character> <dialogue>Because it's gonna work.</dialogue> <character>LUCY</character> <dialogue>Hear me out.</dialogue> <character>JESS</character> <dialogue>Okay.</dialogue> <character>LUCY</character> <dialogue>Right now Lucy's trimming the flowers on the table when the front door opens and Ricky comes in.</dialogue> <character>JESS</character> <dialogue>We're gonna have to cut the flowers. I don't mean "cut the flowers", I mean cut the flowers.</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>I couldn't understand the difference between those two line readings.</dialogue> <character>JESS</character> <dialogue>We're running long. We have to cut the bit with the flowers.</dialogue> <character>DESI</character> <dialogue>How long?</dialogue> <character>JESS</character> <dialogue>About a minute.</dialogue> <character>LUCY</character> <dialogue>Alright, we'll get back to the flowers. The door opens, Ricky comes in and Lucy doesn't see or hear him, which is unusual because the front door is--you know--right there, and in previous episodes we've established that Lucy's eyes and ears are connected to her brain.</dialogue> <character>JESS</character> <dialogue>We buy the conceit.</dialogue> <character>LUCY</character> <dialogue>I'm sorry?</dialogue> <character>JESS</character> <dialogue>We buy it. Lucy's so focused on making the table nice she doesn't even notice Ricky coming in the door.</dialogue> <character>LUCY</character> <dialogue>Okay, I'll run with that. Ricky walks up to her quietly, puts his hands over her eyes and says--</dialogue> <scene_description>She points to DESI--</scene_description> <character>DESI</character> <dialogue>"Guess who it is."</dialogue> <character>LUCY</character> <dialogue>And Lucy says, "Bill?, Sam?, Pat?, Ralph?"</dialogue> <character>JESS</character> <dialogue>She's teasing him.</dialogue> <character>LUCY</character> <dialogue>Yes. She's teasing him. That's clear. But then Ricky responds--</dialogue> <scene_description>She points to DESI--</scene_description> <character>DESI</character> <dialogue>"No!"</dialogue> <character>LUCY</character> <dialogue>No! And there's a stage direction for Ricky that says, "Burning". No! He's upset. Lucy continues the teasing--George, Julius, Stephen, Ivan?</dialogue> <character>BOB</character> <dialogue>We changed that to "Pedro? Julio? Juan? Guillermo?"</dialogue> <character>MADELYN</character> <parenthetical>(imitating BOB)</parenthetical> <dialogue>"Because those are Spanish names. I mean Mexican. Cuban. Latin. They're Brazilian names! Turkish!"</dialogue> <character>BOB</character> <dialogue>You good?</dialogue> <character>MADELYN</character> <dialogue>Yeah.</dialogue> <character>ASSISTANT DIRECTOR</character> <dialogue>We're moving into a meal penalty.</dialogue> <character>LUCY</character> <dialogue>Lucy guesses some names.</dialogue> <character>JESS</character> <dialogue>Teasingly.</dialogue> <character>LUCY</character> <dialogue>And the script indicates that Ricky then takes his hands away from Lucy's eyes, turns her around and says--</dialogue> <scene_description>She points to DESI--</scene_description> <character>DESI</character> <dialogue>"No! It's me!"</dialogue> <character>LUCY</character> <dialogue>So my question again, Jess, is does Ricky honestly, truly believe that there might be eight different men who routinely walk into their apartment--all of whom sound exactly like Desi Arnaz?</dialogue> <character>JESS</character> <dialogue>You think we're saying Ricky's stupid?</dialogue> <character>LUCY</character> <dialogue>I think we're saying the audience is. And that's something for which they won't soon forgive you.</dialogue> <character>JESS</character> <dialogue>Do you charge for these lessons?</dialogue> <character>LUCY</character> <dialogue>A ton.</dialogue> <character>JESS</character> <dialogue>For the sake of the joke, the audience will take the leap with us.</dialogue> <character>LUCY</character> <dialogue>They will, but they'll need a busload of orthopedists when they land.</dialogue> <character>ASSISTANT DIRECTOR</character> <dialogue>Jess--</dialogue> <character>JESS</character> <dialogue>Let's talk about it after lunch.</dialogue> <character>LUCY</character> <dialogue>I have an idea.</dialogue> <character>JESS</character> <dialogue>I've got a crew here. We're about to run into a penalty.</dialogue> <character>LUCY</character> <dialogue>Lucy's working on the flowers.</dialogue> <character>JESS</character> <dialogue>We're cutting the flowers for time. I don't mean literally cutting the flowers--</dialogue> <character>LUCY</character> <dialogue>I can not go through that again. Ricky opens the door, comes in, shuts the door the way we've seen him do in thirty-seven episodes. Lucy doesn't acknowledge him.</dialogue> <character>JESS</character> <dialogue>So far you're describing the script.</dialogue> <character>LUCY</character> <dialogue>Right. But instead of playing the hands-over-the-eyes guessing game, Ricky just stands there.</dialogue> <character>LUCY</character> <dialogue>He can't understand why Lucy didn't notice him come home anymore than we can. He stands there for a full beat, and then another, and then merrily and in a slightly exaggerated manner says--as we've seen him say a hundred times--</dialogue> <scene_description>She points to DESI--</scene_description> <character>DESI</character> <dialogue>"Lucy, I'm home!"</dialogue> <scene_description>Everyone LAUGHS, and once the laughter dies down...</scene_description> <character>LUCY</character> <dialogue>For Ricky is funny.</dialogue> <character>JESS</character> <dialogue>Luce? Let's talk about it after lunch.</dialogue> <parenthetical>(to the A.D.)</parenthetical> <dialogue>Scott.</dialogue> <character>ASSISTANT DIRECTOR</character> <parenthetical>(calling out)</parenthetical> <dialogue>That's lunch. One hour. Back on stage for notes.</dialogue> <scene_description>People begin to head off their separate ways. FRAWLEY catches LUCY's eye and shrugs his shoulders as if to say, "What did we just talk about yesterday?"</scene_description> <character>LUCY</character> <parenthetical>(calling out)</parenthetical> <dialogue>Hang on!</dialogue> <scene_description>Everyone stops...</scene_description> <character>LUCY</character> <dialogue>Des. Did that work for you?</dialogue> <character>DESI</character> <dialogue>Works perfect.</dialogue> <character>LUCY</character> <parenthetical>(to JESS)</parenthetical> <dialogue>We'll talk about it after lunch.</dialogue> <scene_description>People start leaving again. As LUCY walks past FRAWLEY she quietly says--</scene_description> <character>LUCY</character> <dialogue>It needed to be fixed.</dialogue> <scene_description>Continued: 98</scene_description> </scene> <scene> <stage_direction>INT. WRITERS' ROOM - DAY</stage_direction> <scene_description>JESS, MADELYN, BOB and MARY PAT are sitting around the table.</scene_description> <character>BOB</character> <dialogue>I think we can get more out of "hypocrite".</dialogue> <character>MADELYN</character> <dialogue>Yeah.</dialogue> <character>JESS</character> <dialogue>Like what?</dialogue> <character>BOB</character> <dialogue>Like Lucy says, "Well it's nice to know I'm married to a hypocrite" and Desi gets his back up and says--</dialogue> <character>MADELYN</character> <dialogue>"Hypocrite!" then turns to Fred and says, "What's a hypocrite?"</dialogue> <character>BOB</character> <dialogue>Fred tells him-- "It's a person who says one thing but does another" and Desi says, "Thank you" and turns back to Lucy and says--</dialogue> <character>MADELYN</character> <dialogue>"Oh yeah?!"</dialogue> <character>JESS</character> <dialogue>Good.</dialogue> <character>BOB</character> <dialogue>Yeah, that's exactly what I was going to pitch.</dialogue> <character>MADELYN</character> <dialogue>But I pitched it faster.</dialogue> <character>BOB</character> <dialogue>By interrupting me.</dialogue> <character>MADELYN</character> <dialogue>How do you think I got to be a woman in a comedy room?</dialogue> <scene_description>There's a KNOCK on the door and LUCY sticks her head in--</scene_description> <character>LUCY</character> <dialogue>Hey.</dialogue> <parenthetical>(to JESS)</parenthetical> <dialogue>Is now a good time?</dialogue> <scene_description>Continued: 98</scene_description> <character>JESS</character> <dialogue>Madelyn had a good idea. We shoot it both ways and see which one gets the bigger laugh.</dialogue> <character>BOB</character> <dialogue>That was my idea.</dialogue> <character>LUCY</character> <dialogue>It's a bad idea.</dialogue> <character>MADELYN</character> <parenthetical>(to BOB)</parenthetical> <dialogue>It's just not your day.</dialogue> <character>LUCY</character> <parenthetical>(to JESS)</parenthetical> <dialogue>Can I have a minute in your office?</dialogue> <character>JESS</character> <dialogue>Sure.</dialogue> <scene_description>JESS gets up and walks out into--</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - CONTINUOUS</stage_direction> <character>JESS</character> <dialogue>What's wrong with shooting it both ways?</dialogue> <character>LUCY</character> <dialogue>Well you'll be on the floor during the show, right?</dialogue> <character>JESS</character> <dialogue>I'll be where I always am.</dialogue> <scene_description>They step across the hall into--</scene_description> </scene> <scene> <stage_direction>INT. JESS'S OFFICE - CONTINUOUS</stage_direction> <character>LUCY</character> <dialogue>In full view of the audience.</dialogue> <character>JESS</character> <dialogue>I suppose.</dialogue> <character>LUCY</character> <dialogue>Since we're doing it both ways, how about we do it once with your pants on and once with your pants off?</dialogue> <character>JESS</character> <dialogue>It's not the same.</dialogue> <character>LUCY</character> <dialogue>It is, and I don't want to do the version with my pants off in front of two-hundred people. But I need to talk to you about something else.</dialogue> <scene_description>LUCY closes the door.</scene_description> <character>JESS</character> <dialogue>You're not gonna tell me you're pregnant again, are you?</dialogue> <character>LUCY</character> <dialogue>No. I'm still pregnant from before, but no. Jess, you know how much I value you.</dialogue> <character>JESS</character> <dialogue>I think I do.</dialogue> <character>LUCY</character> <dialogue>You know you do.</dialogue> <character>JESS</character> <dialogue>Okay.</dialogue> <character>LUCY</character> <dialogue>And you also know what it is Desi does around here.</dialogue> <character>JESS</character> <dialogue>Sure.</dialogue> <character>LUCY</character> <dialogue>I mean every business decision goes through Desi. In fact most business decisions are made by Desi.</dialogue> <character>JESS</character> <dialogue>You married a very bright man.</dialogue> <character>LUCY</character> <dialogue>I did. He also makes a lot of creative decisions.</dialogue> <character>JESS</character> <parenthetical>(pause)</parenthetical> <dialogue>I'm not sure I'd say a lot.</dialogue> <character>LUCY</character> <dialogue>Well...I would. I'd say a lot. He devised the camera system we use. He's the reason the east coast isn't seeing the show on a foggy kinescope.</dialogue> <character>JESS</character> <dialogue>Yeah.</dialogue> <character>LUCY</character> <dialogue>And even though we use three cameras, the studio audience can see every scene, that's him too. And the cast, the four of us, we can see the audience.</dialogue> <character>JESS</character> <dialogue>I give him a lot of credit for that.</dialogue> <character>LUCY</character> <dialogue>He's the one who thought up Lucy being pregnant on the show.</dialogue> <character>JESS</character> <dialogue>That's never gonna happen 'cause no matter what CBS says, Philip Morris is never gonna let it happen, but, like I said, I give him credit.</dialogue> <character>LUCY</character> <dialogue>That's the thing though. You don't.</dialogue> <character>JESS</character> <dialogue>What do you mean?</dialogue> <character>LUCY</character> <dialogue>He doesn't get credit as an executive producer, which, let's face it, is what he is. You get sole credit.</dialogue> <character>JESS</character> <dialogue>I didn't win my credit in a raffle, I earn it. I'm the show runner, not to mention being the creator of the show.</dialogue> <character>LUCY</character> <dialogue>I don't see how we could do the show without you.</dialogue> <character>JESS</character> <dialogue>You absolutely could not.</dialogue> <scene_description>Continued: 100</scene_description> <character>LUCY</character> <dialogue>I don't see how we could do it without Desi either.</dialogue> <character>JESS</character> <dialogue>Because he plays Ricky which he does get a screen credit for.</dialogue> <character>LUCY</character> <dialogue>Jess--</dialogue> <character>JESS</character> <dialogue>Is this something our agents should be talking about?</dialogue> <character>LUCY</character> <dialogue>No.</dialogue> <character>JESS</character> <dialogue>Because I'm not at all comfortable with this conversation.</dialogue> <character>LUCY</character> <dialogue>I'm about to make you less comfortable. I need you to help me save my marriage.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I need you to help me save my marriage.</dialogue> </scene> <scene> <stage_direction>INT. WRITERS' ROOM - DAY</stage_direction> <scene_description>MADELYN and BOB are waiting along with MARY PAT...</scene_description> <character>BOB</character> <parenthetical>(pause)</parenthetical> <dialogue>What do you think they're talking about in there?</dialogue> <character>MADELYN</character> <dialogue>I think they're talking about you. I think they want to pay you less because you're not as funny as I am.</dialogue> <scene_description>JESS and LUCY step out of JESS's office--</scene_description> <character>JESS</character> <dialogue>Mary Pat, would you ask Desi if I can come see him?</dialogue> <character>MARY PAT</character> <dialogue>Sure.</dialogue> <scene_description>Continued: 101 LUCY starts to head off and JESS slams his office door behind him a lttle too hard. LUCY clocks that and then calls into the writers room--</scene_description> <character>LUCY</character> <dialogue>Madelyn?</dialogue> <scene_description>LUCY motions for MADELYN to step outside.</scene_description> <character>MADELYN</character> <dialogue>Yeah.</dialogue> <scene_description>MADELYN steps into--</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - CONTINUOUS</stage_direction> <scene_description>--and she and LUCY take a few steps away for privacy. They speak quietly.</scene_description> <character>MADELYN</character> <dialogue>Was everything alright in there?</dialogue> <character>LUCY</character> <dialogue>Yeah. So listen, it has to be coherent. If it's anything goes then nothing's funny</dialogue> <character>MADELYN</character> <dialogue>Anything Goes was a hit.</dialogue> <character>LUCY</character> <dialogue>Not Cole Porter's Anything Goes, I mean--</dialogue> <character>MADELYN</character> <dialogue>I know. Why are you telling me?</dialogue> <character>LUCY</character> <dialogue>The opening, Ricky's entrance with his hands over my eyes, that was Jess, right?</dialogue> <scene_description>MADELYN takes a moment before--</scene_description> <character>MADELYN</character> <dialogue>Outside of that room we make it a point not to talk about who wrote what.</dialogue> <character>LUCY</character> <dialogue>It wasn't Jess?</dialogue> <character>MADELYN</character> <parenthetical>(beat)</parenthetical> <dialogue>Again--</dialogue> <character>LUCY</character> <dialogue>You know I'm right about the logic. Why aren't you backing me up instead of endorsing some plan to shoot it both ways.</dialogue> <character>MADELYN</character> <dialogue>Listen, why don't we get together for a drink or a swim this weekend and we can put it on the agenda.</dialogue> <character>LUCY</character> <dialogue>The show's tomorrow and I'm fine talking about it now.</dialogue> <character>MADELYN</character> <dialogue>By all means, let's unnecessarily add more to what you're worried about this week.</dialogue> <character>LUCY</character> <dialogue>I'm not worried--</dialogue> <character>MADELYN</character> <dialogue>Shhh.</dialogue> <character>LUCY</character> <parenthetical>(quieter)</parenthetical> <dialogue>I'm not worried. I'm saying that I count on you to be the firewall--to be--to make sure--just--logic, okay?</dialogue> <character>MADELYN</character> <dialogue>I won't say who wrote what, but I can tell you that I'm the lady in there trying to make Lucy smarter.</dialogue> <character>LUCY</character> <parenthetical>(beat)</parenthetical> <dialogue>'Scuse me?</dialogue> <character>MADELYN</character> <dialogue>I'm the one trying, every week, to make--</dialogue> <character>LUCY</character> <dialogue>Lucy's dumb?</dialogue> <character>MADELYN</character> <parenthetical>(beat)</parenthetical> <dialogue>I didn't say that.</dialogue> <character>LUCY</character> <dialogue>But you're trying--struggling, it sounds like--to make Lucy smarter.</dialogue> <character>MADELYN</character> <dialogue>I created this character with you.</dialogue> <character>LUCY</character> <dialogue>And she needs to be smarter.</dialogue> <character>MADELYN</character> <dialogue>She sometimes, for the sake of comedy, is infantilized.</dialogue> <scene_description>LUCY says nothing...</scene_description> <character>MADELYN</character> <dialogue>This is a crazy week, time and place to be having this conversation. This is important to--</dialogue> <character>LUCY</character> <dialogue>How is she infant--</dialogue> <character>MADELYN</character> <dialogue>She literally says "Waaah".</dialogue> <character>LUCY</character> <dialogue>'Cause when she does, 60-million people laugh--just like for Lou Costello and Stan Laurel--and you get paid.</dialogue> <character>MADELYN</character> <dialogue>When those two grown men play slow- witted five-year olds, I cringe.</dialogue> <character>LUCY</character> <dialogue>Then I question your comedy IQ.</dialogue> <character>MADELYN</character> <dialogue>No you don't, you think I'm the funniest writer in the room and that's why you're talking to me and not Jess.</dialogue> <character>LUCY</character> <dialogue>Many people regard Lucy as clever. She always has a plan to overcome an obstacle.</dialogue> <character>MADELYN</character> <dialogue>Yeah, but oftentimes that obstacle is her husband's permission.</dialogue> <character>LUCY</character> <dialogue>You really think this week, right now, is the best time to talk about this?</dialogue> <character>MADELYN</character> <dialogue>No! I specifically said that 30- seconds ago.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Look, it's just a female perspective from another generation.</dialogue> <character>LUCY</character> <dialogue>Another generation? You're on a roll.</dialogue> <character>MADELYN</character> <dialogue>Bette Davis, Bacall, Hepburn--</dialogue> <character>LUCY</character> <dialogue>Funny women.</dialogue> <character>MADELYN</character> <dialogue>--Judy Holliday--</dialogue> <character>LUCY</character> <dialogue>Judy Holliday? Go to hell.</dialogue> <character>MADELYN</character> <dialogue>They are funny women and they're smart and tough and they outsmart the men. Why do you and Gracie Allen feel like you have to--</dialogue> <character>LUCY</character> <dialogue>Okay, stop. Stop stop stop. Maddie, I love you. You're like, I guess, a great-granddaughter to me from another generation. And it's my fervent wish for you that one day you're half as funny as Gracie Allen. In the meantime, please remember that Lucy and Ricky and Fred and Ethel, if they live past tomorrow, have to live in a reality that accepts the physical laws of the universe. Ricky knows that Lucy doesn't think there are possibly eight other men in the apartment.</dialogue> <character>MADELYN</character> <dialogue>Understood.</dialogue> <scene_description>JESS comes out of his office and calls into the writers room-- Continued: 102</scene_description> <character>JESS</character> <dialogue>Let's go.</dialogue> <character>MADELYN</character> <parenthetical>(to LUCY)</parenthetical> <dialogue>But I don't make that decision.</dialogue> <character>JESS</character> <dialogue>Mary Pat, cut the flowers. And to be clear, by "cut the flowers"--</dialogue> <character>BOB</character> <dialogue>She knows exactly what you mean.</dialogue> <scene_description>MARY PAT nods that she does. As JESS and BOB walk past MADELYN--</scene_description> <character>JESS</character> <parenthetical>(to MADELYN)</parenthetical> <dialogue>Let's go.</dialogue> <scene_description>LUCY's left standing there...</scene_description> <character>LUCY</character> <parenthetical>(under her breath)</parenthetical> <dialogue>Judy Holliday. This isn't happening.</dialogue> </scene> <scene> <stage_direction>INT. DESI'S OFFICE ROOM - DAY</stage_direction> <scene_description>DESI's pacing a little with a script in his hands, going through his lines. He tosses the script on the couch and lights a cigarette. Then paces a little bit. There's a knock on the door--</scene_description> <character>DESI</character> <dialogue>Come on in.</dialogue> <scene_description>MISS ROSEN opens the door--</scene_description> <character>MISS ROSEN</character> <dialogue>Mr. Oppenheimer is here to see you with Mr. Carroll and Miss Pugh.</dialogue> <character>DESI</character> <dialogue>Nothing from Mr. Lyons yet?</dialogue> <character>MISS ROSEN</character> <dialogue>No.</dialogue> <scene_description>Continued: 103</scene_description> <character>DESI</character> <dialogue>Anyone at Philip Morris?</dialogue> <character>MISS ROSEN</character> <dialogue>No.</dialogue> <character>DESI</character> <dialogue>You think they know something we don't know yet?</dialogue> <character>MISS ROSEN</character> <dialogue>I think if they did, our offices would be empty by now.</dialogue> <character>DESI</character> <dialogue>Okay.</dialogue> <scene_description>DESI calls out--</scene_description> <character>DESI</character> <dialogue>Camina conmigo al escenario!</dialogue> <scene_description>--as he heads out into--</scene_description> </scene> <scene> <stage_direction>103A INT. CORRIDOR - CONTINUOUS 103A</stage_direction> <character>DESI</character> <dialogue>Walk me to the stage. We're an hour behind.</dialogue> <character>JESS</character> <dialogue>Madelyn's got a new joke for the second act.</dialogue> <character>MADELYN</character> <dialogue>I just this minute told Lucy that we don't talk about who wrote what.</dialogue> <character>BOB</character> <dialogue>And Madelyn came up with the joke only seconds after I did.</dialogue> <character>MADELYN</character> <dialogue>Isn't it possible that two comedy writers working on the same script came up with the same joke at the same time?</dialogue> <character>BOB</character> <dialogue>It's possible.</dialogue> <character>MADELYN</character> <dialogue>Thank you.</dialogue> <scene_description>Continued: 103A</scene_description> <character>BOB</character> <dialogue>It's just not what happened.</dialogue> <character>DESI</character> <dialogue>Do I need to be here for any of this?</dialogue> <scene_description>JESS hands DESI a piece of paper. DESI looks it over...</scene_description> <character>DESI</character> <dialogue>"Hypocrite?! What's a hypocrite?"</dialogue> <scene_description>They turn onto--</scene_description> </scene> <scene> <stage_direction>103B INT. NEW CORRIDOR - CONTINUOUS 103B</stage_direction> <character>MADELYN</character> <dialogue>That's to Fred.</dialogue> <scene_description>DESI reads the rest of the new joke...</scene_description> <character>DESI</character> <dialogue>Got it. Good. Was that what you wanted me for?</dialogue> <character>JESS</character> <dialogue>The hypocrite joke is for Episode 9, that's the script we're working on. If Lucy's going to be pregnant-- Lucy Ricardo--we have to introduce it in 9 according to your timetable.</dialogue> <character>DESI</character> <dialogue>Yeah.</dialogue> <character>JESS</character> <dialogue>So I just wanted to confirm with you that there's no chance we're doing that.</dialogue> <character>DESI</character> <dialogue>We are doing that.</dialogue> <scene_description>They walk through a door and onto--</scene_description> </scene> <scene> <stage_direction>103C INT. STAGE - CONTINUOUS 103C</stage_direction> <scene_description>--where a piece of the set is being worked on by a couple of of stagehands, lights are being re-focused and a camera is being built. Continued: 103C</scene_description> <character>JESS</character> <dialogue>You know Phillip Morris won't let us and even if they did--</dialogue> <character>DESI</character> <dialogue>What.</dialogue> <character>JESS</character> <dialogue>We don't want to see this girl pregnant. We don't want to know that she's pregnant. We don't want to know how she got pregnant.</dialogue> <character>DESI</character> <dialogue>Do we have viewers who don't know how women get pregnant?</dialogue> <character>JESS</character> <dialogue>Yes, they're called children.</dialogue> <character>DESI</character> <dialogue>Do any of these children have younger brothers or sisters?</dialogue> <character>JESS</character> <dialogue>You know what else a lot of our viewers are? Christian.</dialogue> <character>DESI</character> <dialogue>I'm way ahead of you. I'm gonna have a priest, a minister and a rabbi review every script.</dialogue> <character>MADELYN</character> <dialogue>I'm gonna be re-written by a priest, a minister and a rabbi?</dialogue> <character>BOB</character> <dialogue>There's a joke in there somewhere.</dialogue> <character>MADELYN</character> <dialogue>Good, because after being re- written by a priest, a minister and a rabbi there aren't gonna be many left in the script.</dialogue> <character>DESI</character> <dialogue>Good one.</dialogue> <character>JESS</character> <dialogue>Des--</dialogue> <scene_description>Continued: 103C</scene_description> <character>DESI</character> <dialogue>Enough. I sent a telegram Tuesday to Alfred Lyons.</dialogue> <character>JESS</character> <dialogue>You did.</dialogue> <character>DESI</character> <dialogue>I've put the decision is his hands.</dialogue> <character>JESS</character> <dialogue>Okay. Okay good. Okay.</dialogue> <character>DESI</character> <dialogue>You're that sure he's gonna say no.</dialogue> <character>JESS</character> <dialogue>I am.</dialogue> <character>DESI</character> <dialogue>That it?</dialogue> <character>JESS</character> <dialogue>Yeah.</dialogue> <scene_description>But everyone stands there awkwardly for a moment...</scene_description> <character>JESS</character> <dialogue>Oh, Bob, tell Desi that thing you were saying before.</dialogue> <scene_description>BOB's now on the spot. He doesn't want to do this.</scene_description> <character>BOB</character> <parenthetical>(pause)</parenthetical> <dialogue>Me?</dialogue> <character>JESS</character> <dialogue>Yeah.</dialogue> <character>BOB</character> <dialogue>Really?</dialogue> <character>DESI</character> <dialogue>Guys?</dialogue> <character>JESS</character> <dialogue>It was interesting. Bob was saying that you're really the title character of the show. Because you're the "I" in I Love Lucy.</dialogue> <scene_description>Continued: 103C</scene_description> <character>DESI</character> <parenthetical>(pause)</parenthetical> <dialogue>Hm.</dialogue> <character>JESS</character> <dialogue>So strictly speaking, you have top billing.</dialogue> <character>DESI</character> <parenthetical>(pause)</parenthetical> <dialogue>I'm the "I" in I Love Lucy.</dialogue> <character>JESS</character> <dialogue>Yeah.</dialogue> <character>DESI</character> <dialogue>I never thought of it that way.</dialogue> <character>JESS</character> <dialogue>You like that?</dialogue> <character>DESI</character> <dialogue>I like that.</dialogue> <character>JESS</character> <dialogue>Alright.</dialogue> <character>DESI</character> <dialogue>Jess?</dialogue> <character>JESS</character> <dialogue>Yeah.</dialogue> <character>DESI</character> <parenthetical>(confidentially)</parenthetical> <dialogue>Patronize me again and I'll stick my hand down your throat and pull your fuckin' lungs out.</dialogue> <character>JESS</character> <parenthetical>(pause)</parenthetical> <dialogue>Look--</dialogue> <scene_description>MISS ROSEN, Desi's secretary, comes in with a telegram.</scene_description> <character>MISS ROSEN</character> <dialogue>Excuse me.</dialogue> <character>JESS</character> <dialogue>What is it?</dialogue> <character>MISS ROSEN</character> <dialogue>It's a telegram for Mr. Arnaz. It's from Mr. Lyons and Philip Morris.</dialogue> <scene_description>Continued: 103C</scene_description> <character>DESI</character> <dialogue>Thank you.</dialogue> <scene_description>DESI opens the telegram, reads it and hands it to JESS. DESI walks away as he calls out--</scene_description> <character>DESI</character> <parenthetical>(calling out)</parenthetical> <dialogue>Let's go, please, we're an hour behind!</dialogue> <character>MADELYN</character> <dialogue>What does it say?</dialogue> <character>JESS</character> <dialogue>"To all Philip Morris and CBS employees: Don't fuck with the Cuban."</dialogue> </scene> <scene> <stage_direction>EXT./EST. LUCY AND DESI'S HOUSE - NIGHT</stage_direction> <scene_description>The house is mostly dark with only a few lights on.</scene_description> </scene> <scene> <stage_direction>INT. LAUNDRY ROOM - NIGHT</stage_direction> <scene_description>LUCY has a basket of laundry in front of her. She's separating whites and colors while working on her lines.</scene_description> <character>LUCY</character> <parenthetical>(as "LUCY")</parenthetical> <dialogue>"Well he didn't come home and he hasn't called...</dialogue> <parenthetical>("choking up")</parenthetical> <dialogue>...not that it makes any difference to me."</dialogue> <parenthetical>(as "ETHEL")</parenthetical> <dialogue>"Oh I can see that it doesn't make any difference to you. Why don't you call Ricky and tell him you're sorry."</dialogue> <parenthetical>(as "LUCY")</parenthetical> <dialogue>"What?! You think I'd allow my pride--"</dialogue> <scene_description>LUCY checks her script--</scene_description> <character>LUCY</character> <parenthetical>(reading)</parenthetical> <dialogue>"Do you think I'd swallow--</dialogue> <parenthetical>(as "LUCY")</parenthetical> <dialogue>"What?! Do you think I'd swallow my pride like that?"</dialogue> <scene_description>DESI appears in the doorway, holding their sleeping TWO YEAR- OLD GIRL on his shoulders.</scene_description> <character>DESI</character> <parenthetical>(quietly)</parenthetical> <dialogue>Never.</dialogue> <character>LUCY</character> <dialogue>Oh, what are you doing up?</dialogue> <character>DESI</character> <dialogue>I woke up and you weren't there. So I went to the nursery to see if everything was okay. She'd kicked her blanket off so I fixed it. That woke her up.</dialogue> <character>LUCY</character> <dialogue>Yeah.</dialogue> <character>DESI</character> <dialogue>But as you can see, I got her back to sleep and we went searching for mama. You know we pay a housekeeper to do the laundry.</dialogue> <character>LUCY</character> <dialogue>I like doing laundry and I never get a chance. Don't you love the smell?</dialogue> <character>DESI</character> <dialogue>I do. They should make a cologne that smells like soap.</dialogue> <character>LUCY</character> <dialogue>They do. It's soap.</dialogue> <character>DESI</character> <dialogue>I'm gonna put her back in her little apartment now. You should come to bed.</dialogue> <character>LUCY</character> <dialogue>I will.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>This was a nice date.</dialogue> <scene_description>DESI smiles and nods...</scene_description> <character>DESI</character> <dialogue>Come back to bed soon.</dialogue> <scene_description>DESI exits. Continued: 105 LUCY resumes sorting the laundry and running lines...</scene_description> <character>LUCY</character> <dialogue>"Do you think I'd call him and go crawling back?"</dialogue> <parenthetical>(again)</parenthetical> <dialogue>"What?! Do you think I'd swallow my pride?! Do you think I'd call him and go crawling--"</dialogue> <scene_description>LUCY notices something in the laundry basket...</scene_description> <character>LUCY</character> <parenthetical>(mindlessly, as "LUCY")</parenthetical> <dialogue>"What? Do you think I'd swallow my pride like that?"</dialogue> <scene_description>She's looking at a handkerchief that was in the laundry basket. We can't see what's caught her attention but something's bothering her.</scene_description> </scene> <scene> <stage_direction>EXT. LUCY AND DESI'S HOUSE - NIGHT</stage_direction> <scene_description>It's raining. LUCY walks out the back door, down past the pool and leans against the gate, looking back at her house. She stares.</scene_description> </scene> <scene> <stage_direction>INT. SOUNDSTAGE - NIGHT</stage_direction> <scene_description>A cigarette is lit and from the light of the flame we see LUCY sitting in the Ricardo's living room. After a moment, the heavy elephant door opens and headlights from a car stream into the soundstage. We can see from the headlights that it's still raining. The headlights are turned off and we hear a car door open and then close.</scene_description> <character>FRAWLEY</character> <parenthetical>(calling)</parenthetical> <dialogue>Lucy?!</dialogue> <character>LUCY</character> <dialogue>Over here.</dialogue> <character>FRAWLEY</character> <parenthetical>(to the SECURITY GUARD)</parenthetical> <dialogue>Thanks, Bobby.</dialogue> <character>SECURITY GUARD (BOBBY)</character> <dialogue>Everything alright in there?</dialogue> <character>FRAWLEY</character> <dialogue>We're fine, thanks.</dialogue> <scene_description>The SECURITY GUARD takes off as FRAWLEY makes his way to the set.</scene_description> <character>FRAWLEY</character> <dialogue>What the hell?</dialogue> <character>LUCY</character> <dialogue>Thanks for coming down.</dialogue> <character>FRAWLEY</character> <dialogue>It's two in the morning.</dialogue> <character>LUCY</character> <dialogue>Sorry about that.</dialogue> <character>FRAWLEY</character> <dialogue>Kid, what's goin' on?</dialogue> <character>LUCY</character> <dialogue>I'm gonna re-stage the dinner scene.</dialogue> <character>FRAWLEY</character> <dialogue>Let's go to my dressing room and call Desi.</dialogue> <character>LUCY</character> <dialogue>No, Desi's home with the baby, we can do this.</dialogue> <character>FRAWLEY</character> <dialogue>Does he know you're here?</dialogue> <character>LUCY</character> <dialogue>He's sleeping.</dialogue> <character>FRAWLEY</character> <dialogue>Let me take you home.</dialogue> <scene_description>Another pair of headlights pull up to the open elephant door.</scene_description> <character>FRAWLEY</character> <dialogue>Is that him?</dialogue> <character>LUCY</character> <dialogue>That's Viv.</dialogue> <character>FRAWLEY</character> <dialogue>You called her too?</dialogue> <character>LUCY</character> <dialogue>I'm re-staging the dinner scene. This isn't for beginners, you know, this isn't school.</dialogue> <character>FRAWLEY</character> <dialogue>I don't hire the directors.</dialogue> <character>LUCY</character> <dialogue>I know, I'm just sayin'.</dialogue> <character>VIVIAN</character> <dialogue>What's happening here?</dialogue> <character>LUCY</character> <dialogue>Thanks for coming, Viv.</dialogue> <character>VIVIAN</character> <dialogue>Is everything alright?</dialogue> <character>FRAWLEY</character> <dialogue>The three of us are on an empty soundstage at two in the morning, she's drunk, I'm not, so, yeah, everything's good, why do you ask?</dialogue> <character>VIVIAN</character> <dialogue>Your call just said to come to the stage, that it was an emergency. So I thought--</dialogue> <character>LUCY</character> <dialogue>We need to re-block the dinner scene, it's not gonna take long.</dialogue> <character>VIVIAN</character> <dialogue>What?</dialogue> <character>FRAWLEY</character> <dialogue>You heard her right.</dialogue> <character>LUCY</character> <dialogue>It won't take long, we're just gonna make an adjustment.</dialogue> <scene_description>LUCY pulls the drop cloth off the dining table.</scene_description> <character>LUCY</character> <dialogue>Two people who are fighting have to share a seat at a dinner table.</dialogue> <scene_description>LUCY grabs the downstage piano bench-- Continued: 107</scene_description> <character>LUCY</character> <dialogue>First thing, why don't we take this and move it upstage so the camera can see you.</dialogue> <character>VIVIAN</character> <dialogue>Are we really doing this?</dialogue> <character>FRAWLEY</character> <dialogue>As a matter of fact, putting the chair upstage makes sense.</dialogue> <character>LUCY</character> <dialogue>Sit please.</dialogue> <character>VIVIAN</character> <dialogue>Which one of us?</dialogue> <character>LUCY</character> <dialogue>Both of you. In the chair.</dialogue> <scene_description>VIVIAN and FRAWLEY each take half the piano bench.</scene_description> <character>LUCY</character> <dialogue>Now it can't just be a mish-mash of pushing, it can't just be a scrum, each move has to be articulate. So Ethel elbows Fred.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Elbow him.</dialogue> <scene_description>QUICK CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. I LOVE LUCY SET/LIVING ROOM - NIGHT (BLACK AND WHITE)</stage_direction> <scene_description>"ETHEL" elbows "FRED" as the AUDIENCE LAUGHS. CUT BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. SOUNDSTAGE/I LOVE LUCY SET - SAME TIME</stage_direction> <character>LUCY</character> <dialogue>Fred elbows Ethel a little harder.</dialogue> <scene_description>QUICK CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. I LOVE LUCY SET/LIVING ROOM - NIGHT (BLACK AND WHITE)</stage_direction> <scene_description>"FRED" elbows "ETHEL" back. Continued: 110</scene_description> <character>VIVIAN</character> <dialogue>Ow.</dialogue> <scene_description>CUT BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. SOUNDSTAGE/I LOVE LUCY SET - SAME TIME</stage_direction> <character>LUCY</character> <dialogue>Ethel elbows Fred harder--</dialogue> <scene_description>She does--</scene_description> <character>FRAWLEY</character> <dialogue>Hey--</dialogue> <character>LUCY</character> <dialogue>Then Fred--</dialogue> <scene_description>He does--</scene_description> <character>LUCY</character> <dialogue>Now hit each other at the same time and fall off the piano bench.</dialogue> <scene_description>QUICK CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. I LOVE LUCY SET/LIVING ROOM - NIGHT (BLACK AND WHITE)</stage_direction> <scene_description>"FRED" AND "ETHEL" elbow each other and fall to the floor as the AUDIENCE HOWLS WITH LAUGHTER. CUT BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. SOUNDSTAGE/I LOVE LUCY SET - SAME TIME</stage_direction> <character>LUCY</character> <dialogue>And that's that. Let's run it a couple of times at speed.</dialogue> <character>VIVIAN</character> <dialogue>Did something happen?</dialogue> <character>LUCY</character> <dialogue>I'm sorry?</dialogue> <character>VIVIAN</character> <dialogue>At home. Did something just happen?</dialogue> <character>LUCY</character> <dialogue>No. I was--no. I was doing some laundry and--no.</dialogue> <character>LUCY</character> <dialogue>Yeah, I just wanted to fix this beat. I couldn't sleep. It's like when you're not sure if you left the oven unlocked. Door unlocked. Nothing, I wanted to fix this beat. Let's do it again.</dialogue> <scene_description>FRAWLEY and VIVIAN stand there quietly...</scene_description> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>You know I did this show so Desi and I could be together? I had no idea it was gonna be a hit. I just thought...well, the construction department's gonna build us a little apartment and that's where we'll live most of the time. You know? And it worked out. This is where--</dialogue> <scene_description>LUCY draws the set in the air with her finger...</scene_description> <character>LUCY</character> <dialogue>It's like a story you'd read a little girl. A witch puts a curse on a woman. She'll be adored by the man she loves, but only as long as she stays on this patch of ground.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It's still a lot more than most people get. Let's run it at speed.</dialogue> <character>FRAWLEY</character> <dialogue>I'm gonna drive you home.</dialogue> <character>LUCY</character> <dialogue>I'm the biggest asset in the portfolio of the Columbia Broadcasting System. The biggest asset in the portfolio of Philip Morris Tobacco, Westinghouse...I get paid a fortune to do exactly what I love doing, I work side by side with my husband who's genuinely impressed by me, and all I have to do to keep it is kill every week for thirty-six weeks in a row. And then do it again the next year. Kill. So let's do it again.</dialogue> <scene_description>Continued: 114</scene_description> </scene> <scene> <stage_direction>INT. SOUNDSTAGE BLEACHERS - DAY</stage_direction> <character>OLDER JESS</character> <dialogue>I thought he'd like the idea that he was the title character. That he was the "I" in I Love Lucy. I thought he'd get a kick out of it.</dialogue> </scene> <scene> <stage_direction>INT. NIGHT CLUB - DAY</stage_direction> <character>OLDER BOB</character> <dialogue>No, I knew that wasn't gonna go well. None of us heard what Desi said to Jess. I still don't know what he said.</dialogue> </scene> <scene> <stage_direction>EXT. HOTEL POOL - DAY</stage_direction> <character>OLDER MADELYN</character> <dialogue>After RKO dropped Lucy's contract, MGM had her in for a Technicolor test, which she didn't know yet would be one of the most important moments in her life. A man named Sydney Guilaroff was Metro's chief hair stylist. He looked at Lucy and said, "The hair is brown but the soul is on fire" and he dyed her hair a new color.</dialogue> </scene> <scene> <stage_direction>INT. RADIO STUDIO - NIGHT</stage_direction> <scene_description>A live studio audience is watching the radio broadcast of My Favorite Husband. An "On the Air" light flicks to red.</scene_description> <character>ANNOUNCER</character> <dialogue>It's time for My Favorite Husband, starring Lucille Ball.</dialogue> <scene_description>And for the first time, LUCY's hair is red.</scene_description> <character>LUCY</character> <parenthetical>(as "LIZ")</parenthetical> <dialogue>Jell-O, everybody!</dialogue> <scene_description>APPLAUSE THEME MUSIC</scene_description> <character>ANNOUNCER</character> <dialogue>Yes, it's the gay family series, starring Lucille Ball, with Richard Denning, transcribed and brought to you by the Jell-O family of desserts.</dialogue> <character>SINGERS</character> <dialogue>J-E-L-L-Ooooh! The big red letters stand for the Jell-O family. Oh, the big red letters stand for the Jell-o family. That's Jell-O!</dialogue> <character>WOMAN</character> <dialogue>Yum, yum, yum.</dialogue> <character>SINGERS</character> <dialogue>Jell-O puddings!</dialogue> <character>MAN</character> <dialogue>Yum, yum, yum.</dialogue> <character>ANNOUNCER</character> <dialogue>And now, Lucille Ball with Richard Denning as Liz and George Cooper-- two people who live together and like it. As we look in on the Coopers, it's a beautiful spring day and Liz is just going to the kitchen to talk to Katy, the maid.</dialogue> <character>LUCY</character> <parenthetical>(as "LIZ")</parenthetical> <dialogue>Oh Katy?</dialogue> <character>KATY</character> <dialogue>Yes, Mrs. Cooper?</dialogue> <character>LUCY</character> <parenthetical>(as "LIZ")</parenthetical> <dialogue>Katy, I've got some good news for you.</dialogue> <character>KATY</character> <dialogue>Uh-oh.</dialogue> <character>LUCY</character> <parenthetical>(as "LIZ")</parenthetical> <dialogue>"Uh-oh". What do you mean, "Uh-oh." I say I've got good news and you say, "Uh-oh"?</dialogue> <scene_description>THE AUDIENCE LAUGHS-- Continued: 117</scene_description> <character>KATY</character> <dialogue>Everytime you say you've got good news it's usually good for you and bad for me.</dialogue> <character>LUCY</character> <parenthetical>(as "LIZ")</parenthetical> <dialogue>Oooooh well...maybe that's a little true.</dialogue> <scene_description>ANOTHER LAUGH, and we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LUCY'S RADIO DRESSING ROOM - NIGHT</stage_direction> <scene_description>LUCY's changing into street clothes. There's a knock on the door.`</scene_description> <character>LUCY</character> <dialogue>Come on in.</dialogue> <scene_description>JESS sticks his head in the door--</scene_description> <character>LUCY</character> <dialogue>That was a good show.</dialogue> <character>JESS</character> <dialogue>I thought so too.</dialogue> <character>LUCY</character> <dialogue>Pass it on to Maddie and Bob, would you? Great job this week.</dialogue> <character>JESS</character> <dialogue>I've got two gentlemen out here who'd like to see you and you're gonna want to hear what they have to say.</dialogue> <character>LUCY</character> <parenthetical>(beat)</parenthetical> <dialogue>Did it need to sound ominous, can't they just come in?</dialogue> <scene_description>JESS walks in with two executives--LEVY and HART.</scene_description> <character>LEVY</character> <dialogue>Lucille Ball.</dialogue> <character>LUCY</character> <dialogue>Yes sir.</dialogue> <character>LEVY</character> <dialogue>David Levy, head of comedy development, CBS.</dialogue> <character>HART</character> <dialogue>David Hart, head of current programming, CBS.</dialogue> <character>LUCY</character> <dialogue>Uhh, well, David...and David, I've been working here at CBS for a year and I've never heard of either of you.</dialogue> <character>LEVY</character> <dialogue>CBS Television.</dialogue> <character>LUCY</character> <parenthetical>(beat)</parenthetical> <dialogue>CBS does television?</dialogue> <scene_description>The two executives look at each other...</scene_description> <character>HART</character> <dialogue>Yeah. Edward R. Murrow--</dialogue> <character>LUCY</character> <dialogue>I'm kidding.</dialogue> <character>HART</character> <dialogue>Understood.</dialogue> <character>LEVY</character> <dialogue>That was funny.</dialogue> <character>LUCY</character> <dialogue>Thank you.</dialogue> <character>JESS</character> <dialogue>These men have an interesting idea.</dialogue> <character>LUCY</character> <dialogue>Would you like to sit?</dialogue> <character>HART</character> <dialogue>Thank you.</dialogue> <character>LEVY</character> <dialogue>Lucy, we've been here to the show a few times now, and we noticed-- well, David noticed--</dialogue> <character>HART</character> <dialogue>You noticed too.</dialogue> <scene_description>Continued: 118</scene_description> <character>LEVY</character> <dialogue>We both noticed. We noticed that when you do the show, you use gestures and expressions.</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>You mean the acting?</dialogue> <character>LEVY</character> <dialogue>Yeah.</dialogue> <character>LUCY</character> <dialogue>My face, my body and my voice, that's all I get to work with.</dialogue> <character>HART</character> <dialogue>It's just unusual because it's radio.</dialogue> <character>LUCY</character> <dialogue>I watched Jack Benny. He plays it for the studio audience and it works pretty well for him.</dialogue> <character>LEVY</character> <dialogue>It does, and it works pretty well for you too. Very well. And we think it's a shame that no one gets to see it.</dialogue> <character>LUCY</character> <dialogue>Invent a way to see what's on the radio.</dialogue> <character>HART</character> <dialogue>We did, it's television.</dialogue> <character>LUCY</character> <dialogue>Are you here to sell me one?</dialogue> <character>JESS</character> <dialogue>Lucy--they want to put My Favorite Husband on TV.</dialogue> </scene> <scene> <stage_direction>INT. CBS COMMISSARY - DAY</stage_direction> <scene_description>LUCY's having lunch with LEVY, HART and JESS, along with HOWARD and ROGER, the two executives we met earlier. \*</scene_description> <character>LUCY</character> <dialogue>I'm very interested.</dialogue> <scene_description>Continued: 119</scene_description> <character>ROGER</character> <dialogue>That's great.</dialogue> <character>LEVY \*</character> <dialogue>Is it too early to raise a glass?</dialogue> <character>HOWARD</character> <dialogue>To My Favorite Husband.</dialogue> <character>LUCY</character> <dialogue>Yes! Except I don't want to do My \* Favorite Husband.</dialogue> <character>HOWARD \*</character> <parenthetical>(pause)</parenthetical> <dialogue>I'm confused.</dialogue> <character>JESS</character> <dialogue>Yeah, me too.</dialogue> <character>LUCY</character> <dialogue>Don't panic. It's simple. I'm interested in your idea of doing My Favorite Husband on television, I just want it to be a different show.</dialogue> <character>JESS</character> <dialogue>What show do you want it to be?</dialogue> <character>LUCY</character> <dialogue>One where Desi plays my husband.</dialogue> </scene> <scene> <stage_direction>INT. CBS CONFERENCE ROOM - DAY</stage_direction> <scene_description>LUCY, JESS and the executives from lunch have now been joined by more executives, including MACY, an even bigger wig than the big-wigs she's been meeting with. They're all sitting around a very long table with LUCY at one end and MACY on the other.</scene_description> <character>MACY</character> <dialogue>I understand there's a casting issue.</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>Was that to me?</dialogue> <character>MACY</character> <dialogue>Yes.</dialogue> <character>LUCY</character> <dialogue>I wasn't sure, you're quite a ways away.</dialogue> <character>HART</character> <dialogue>Our casting department has come up with a list of very exciting names we think you'll like. Could you pass this down to Lucy.</dialogue> <character>LEVY</character> <dialogue>These are all very funny men.</dialogue> <character>HART</character> <dialogue>I think we have mimeos for everyone.</dialogue> <scene_description>The casting list starts getting handed out--</scene_description> <character>LEVY</character> <dialogue>It's one of the best lists I've seen in a while.</dialogue> <character>LUCY</character> <dialogue>Number 12 died last week.</dialogue> <character>HART</character> <dialogue>That's my fault.</dialogue> <character>LUCY</character> <dialogue>There's no issue.</dialogue> <character>HOWARD</character> <dialogue>What was that?</dialogue> <character>LUCY</character> <parenthetical>(louder)</parenthetical> <dialogue>I was answering Mr. Macy. There's no casting issue. I am ready and eager to do a half-hour domestic comedy for CBS if the role of my husband--let's call him Shmezy--is played by Desi.</dialogue> <character>HOWARD \*</character> <dialogue>Can I remark on this? \*</dialogue> <character>ROGER</character> <dialogue>Please.</dialogue> <character>HOWARD \*</character> <dialogue>On My Favorite Husband, your husband is the 5th Vice President of a bank.</dialogue> <character>LUCY</character> <dialogue>Yes.</dialogue> <character>HOWARD \*</character> <dialogue>Can I ask you, in all candor, do you see Desi as the 5th Vice President of a bank?</dialogue> <character>LUCY</character> <dialogue>I can't see him being the 5th Vice President of anything. I can see him owning the bank.</dialogue> <character>ROGER</character> <dialogue>You see the problem?</dialogue> <character>LUCY</character> <dialogue>I see what you think is the problem.</dialogue> <character>MACY</character> <dialogue>Lucy.</dialogue> <character>LUCY</character> <dialogue>Yes.</dialogue> <character>MACY</character> <dialogue>I don't ordinarily come to meetings like this. I don't pay attention to casting issues. This meeting is several floors below my general interest. I'm here to deliver a hard truth. We can't have an all- American girl married to a man who isn't American.</dialogue> <character>LUCY</character> <dialogue>He is American. He was a sergeant in the U.S. Army and he served in the war.</dialogue> <character>MACY</character> <dialogue>You know exactly what I mean, Lucy, he's Spanish.</dialogue> <character>LUCY</character> <dialogue>Still no. He's never been to Spain in his life. He speaks Spanish. He was born in Cuba. His father was the Mayor of Santiago, Cuba's second largest city.</dialogue> <character>MACY</character> <dialogue>You know exactly--</dialogue> <scene_description>Continued: 120</scene_description> <character>LUCY</character> <dialogue>--what you mean, yes I do. Look, I'm not here trying to get a job for my nephew. Desi Arnaz is a phenomenally talented man. Not just a world-class musician but a very good actor who would be a movie star if there was such a thing as a Cuban movie star. Moreover we work very well together. I go out and meet him when he's touring and he brings me up for some sketches and it works. Jess?</dialogue> <character>JESS</character> <dialogue>It works.</dialogue> <character>LUCY</character> <dialogue>Any cultural differences will make for good comedy, am I right Jess?</dialogue> <character>JESS</character> <dialogue>You're not wrong.</dialogue> <character>LUCY</character> <dialogue>Now I don't want to have another meeting like this because I don't know how many more people will fit around a table. My position's not going to change. You want me on television and there's only one television show I'm willing to do, so what's it gonna be?</dialogue> <scene_description>There's silence around the table for a moment, and then-- The I LOVE LUCY THEME MUSIC crashes in. TITLE: Friday Show Night</scene_description> </scene> <scene> <stage_direction>INT. I LOVE LUCY SET - NIGHT</stage_direction> <scene_description>A live orchestra is playing the theme music. The bleachers are filled with an excited audience and there's pre-show activity from the crew. Continued: 121 We see eight empty seats in the back row with reserved signs being taped on them.</scene_description> </scene> <scene> <stage_direction>INT. LUCY'S DRESSING ROOM - SAME TIME</stage_direction> <scene_description>LUCY, who's hair and make-up are now done up as "Lucy", is finishing putting her costume on with the help of a dresser. P.A. SCOTT pops his head in--</scene_description> <character>SCOTT</character> <dialogue>We think it's about 15 minutes.</dialogue> <character>LUCY</character> <dialogue>We think?</dialogue> <character>SCOTT</character> <dialogue>We're holding for something, I'm not sure what.</dialogue> <character>LUCY</character> <dialogue>Okay, thanks.</dialogue> <scene_description>P.A. SCOTT pops back out.</scene_description> <character>LUCY</character> <dialogue>Holding?</dialogue> <scene_description>JESS taps on the open door.</scene_description> <character>LUCY</character> <dialogue>Yeah, come in.</dialogue> <parenthetical>(to the DRESSER)</parenthetical> <dialogue>Can I have a second?</dialogue> <character>DRESSER</character> <dialogue>Sure.</dialogue> <scene_description>The DRESSER exits.</scene_description> <character>JESS</character> <dialogue>I think I know why you want to see me.</dialogue> <character>LUCY</character> <dialogue>Do you?</dialogue> <character>JESS</character> <dialogue>Hear me out.</dialogue> <character>LUCY</character> <dialogue>I asked you a favor, Jess. I asked you to give him an E.P. credit.</dialogue> <character>LUCY</character> <dialogue>Instead, you tried to convince him he was the title character or some--</dialogue> <character>JESS</character> <dialogue>Listen--</dialogue> <character>LUCY</character> <dialogue>--bullshit. What the hell was that?</dialogue> <character>JESS</character> <dialogue>I'm sorry if he was insulted. I mean, I know he's insulted so I'm sorry.</dialogue> <character>LUCY</character> <dialogue>He wasn't insulted, he was laughing about it. But yeah, he's insulted. No, he's offended, I'm insulted. I asked you to do a small favor--</dialogue> <character>JESS</character> <dialogue>Yeah.</dialogue> <character>LUCY</character> <dialogue>--and it's not like you don't owe me a couple.</dialogue> <scene_description>JESS takes a deep breath before--</scene_description> <character>JESS</character> <dialogue>It wasn't a small favor and I don't know what you think I owe you.</dialogue> <character>LUCY</character> <dialogue>Really?</dialogue> <character>JESS</character> <dialogue>It wasn't a small favor, you asked me to save your marriage.</dialogue> <character>LUCY</character> <dialogue>No, I--</dialogue> <character>JESS</character> <dialogue>And it's not the first time you've asked me to do that, is it?</dialogue> <character>LUCY</character> <dialogue>I asked you to give him an E.P. credit, that's all.</dialogue> <character>JESS</character> <dialogue>No problem. Can my wife play Lucy once in a while?</dialogue> <character>LUCY</character> <dialogue>If your wife played Lucy once in a while, I'd think it would be appropriate that she be so credited. And what do you mean it's not the first time I asked you to save--</dialogue> <character>JESS</character> <dialogue>"Jess, Jessie, we'll have Desi play my husband. It'll save my marriage."</dialogue> <character>LUCY</character> <dialogue>Was that supposed to be me?</dialogue> <character>JESS</character> <dialogue>Yes.</dialogue> <character>LUCY</character> <dialogue>Don't do voices.</dialogue> <character>JESS</character> <dialogue>You're insulted? Desi's offended? You asked me to give away my job title like it was a parking spot.</dialogue> <character>LUCY</character> <dialogue>You're right, I'm sorry.</dialogue> <character>JESS</character> <dialogue>Jesus Christ, Lucy, sometimes I think, wait, what?</dialogue> <character>LUCY</character> <dialogue>You're right. And I'm sorry. I was dead wrong.</dialogue> <character>JESS</character> <parenthetical>(pause)</parenthetical> <dialogue>I wasn't expecting that.</dialogue> <character>LUCY</character> <dialogue>I know.</dialogue> <character>JESS</character> <dialogue>Have you ever said that to me before?</dialogue> <character>LUCY</character> <dialogue>I doubt it. But I've thought it if that means anything.</dialogue> <character>JESS</character> <dialogue>It does.</dialogue> <character>LUCY</character> <dialogue>It's just been a compound fracture of a week.</dialogue> <character>JESS</character> <dialogue>You want to hear something stupid? I think I've been mad at you this week because you're not Jewish. If it had been me, I'd have been fired two minutes after the words came out of Winchell's mouth.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I told you it was stupid.</dialogue> <scene_description>LUCY takes that in...and then decides to make a joke...</scene_description> <character>LUCY</character> <dialogue>And you didn't disappoint.</dialogue> <scene_description>JESS smiles--</scene_description> <character>JESS</character> <dialogue>Good show tonight.</dialogue> <character>LUCY</character> <dialogue>Good show.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Hey, why are we holding?</dialogue> <character>JESS</character> <dialogue>I'm not sure.</dialogue> <character>LUCY</character> <dialogue>We're holding, someone must know why.</dialogue> <scene_description>There's a KNOCK on the door.</scene_description> <character>LUCY</character> <dialogue>Come in.</dialogue> <scene_description>P.A. SCOTT sticks his head in--</scene_description> <character>SCOTT</character> <dialogue>Desi's asking to see you in his office.</dialogue> <character>LUCY</character> <dialogue>You mean his dressing room?</dialogue> <scene_description>Continued: 122</scene_description> <character>SCOTT</character> <dialogue>No, he's in his office with some CBS executives and some men from Philip-Morris.</dialogue> <scene_description>SCOTT exits...</scene_description> <character>JESS</character> <dialogue>Why's he in his office at show time?</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>Because the evening editions just came out.</dialogue> <scene_description>LUCY looks at JESS...They both know this can only mean trouble.</scene_description> <character>JESS</character> <parenthetical>(pause)</parenthetical> <dialogue>Listen to me. Memorize this. "It's none of your fuckin' business."</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>There. Let that be the best thing I ever wrote.</dialogue> <scene_description>LUCY smiles...nods...then says--</scene_description> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>Nah. It's still "vitameatavegamin."</dialogue> <scene_description>LUCY heads out and JESS follows her.</scene_description> </scene> <scene> <stage_direction>INT. DESI'S OFFICE - NIGHT</stage_direction> <scene_description>DESI stands behind his desk and the men are all silent. LUCY and JESS come in.</scene_description> <character>DESI</character> <dialogue>The evening edition.</dialogue> <scene_description>DESI shows LUCY the front page of the Los Angeles Herald- Express. There's a four-inch headline in red ink: LUCILLE BALL A RED. LUCY let's it sink in and then has an involuntary sharp intake of breath. DESI takes her hand--</scene_description> <character>DESI</character> <dialogue>It's alright.</dialogue> <character>LUCY</character> <dialogue>It's in four-inch type.</dialogue> <character>DESI</character> <dialogue>I'm gonna fix this.</dialogue> <character>LUCY</character> <dialogue>That's Hindenburg type.</dialogue> <character>DESI</character> <dialogue>I've already made the calls.</dialogue> <character>LUCY</character> <dialogue>And they used red ink.</dialogue> <character>DESI</character> <dialogue>Yeah.</dialogue> <character>LUCY</character> <dialogue>I didn't even know newspapers had red ink.</dialogue> <character>DESI</character> <dialogue>I guess they do.</dialogue> <character>LUCY</character> <dialogue>I was cleared.</dialogue> <character>DESI</character> <dialogue>Somehow the city editor, a woman named Agnes Underwood, has a photostatic copy of the affidavit showing you registered in 1936 as a voter intending to affiliate with the Communist Party.</dialogue> <character>LUCY</character> <dialogue>But I was cleared. After the testimony they stamped "canceled" on the card, I saw the card.</dialogue> <character>DESI</character> <dialogue>Other papers are showing the canceled card and they're running a caption that says, "Note the cancellation at left", but the Herald-Express took the word "canceled" out of the document altogether.</dialogue> <character>LUCY</character> <dialogue>Other papers?</dialogue> <character>DESI</character> <dialogue>Yes, but I've made calls and we're taking care of this.</dialogue> <parenthetical>(calling)</parenthetical> <dialogue>Miss Rosen!</dialogue> <character>LUCY</character> <dialogue>Calls to who?</dialogue> <character>DESI</character> <dialogue>Every reporter within 20 minutes of this soundstage. That's why we're holding.</dialogue> <character>LUCY</character> <dialogue>You're saying the reporters are coming here?</dialogue> <scene_description>MISS ROSEN steps in and waits for instructions.</scene_description> <character>DESI</character> <dialogue>We'll seat them in the back of the bleachers.</dialogue> <character>LUCY</character> <dialogue>You think we're still filming a show?</dialogue> <parenthetical>(to the EXECUTIVES)</parenthetical> <dialogue>Why are none of you talking?</dialogue> <character>ROGER</character> <dialogue>It's Desi's idea.</dialogue> <character>DESI</character> <dialogue>I'm gonna warm up the audience the way I always do, except instead of Cuban Pete and the joke about the turtle, I'm going to tell them what happened. I'm going to explain that you checked the wrong box, I'm going to show them the cancelled document, and then I'm going to bring you out so the press sees them give you a round of applause.</dialogue> <character>LUCY</character> <dialogue>Fellas, could we have the room for just a moment?</dialogue> <scene_description>Everyone steps out but LUCY and DESI. They're silent for a moment before...</scene_description> <character>LUCY</character> <dialogue>You're not telling these people I checked the wrong box.</dialogue> <character>DESI</character> <dialogue>This is a critical moment.</dialogue> <character>LUCY</character> <dialogue>If I'm gonna die--</dialogue> <character>DESI</character> <dialogue>You're not.</dialogue> <character>LUCY</character> <dialogue>I'd rather die standing up.</dialogue> <character>DESI</character> <dialogue>I don't have any idea what that--</dialogue> <character>LUCY</character> <dialogue>I'm not an idiot, I didn't check the wrong--</dialogue> <character>DESI</character> <dialogue>You saw the headline.</dialogue> <character>LUCY</character> <dialogue>You can see that headline from outer space.</dialogue> <character>DESI</character> <dialogue>Then please--</dialogue> <character>LUCY</character> <dialogue>Grandpa Fred raised me from age eleven. He cared about the little guy, he cared about workers' rights. It was a tribute to him and to say I checked the wrong--</dialogue> <character>DESI</character> <dialogue>Grandpa Fred, Grandpa Fred, Grandpa Fred was wrong, Lucy! 'Cause he didn't tell you the part where they throw your father in prison for the crime of being the mayor of a city. I was chased to this country! Believe me, you checked the wrong box.</dialogue> <scene_description>LUCY takes a long moment...</scene_description> <character>LUCY</character> <dialogue>And what if they don't applaud?</dialogue> <character>DESI</character> <dialogue>They will. And the press will write that they did.</dialogue> <character>LUCY</character> <dialogue>You're going to tell them that I was accused of--sixteen years ago--</dialogue> <character>DESI</character> <dialogue>They're going to read it in the morning anyway. We have a sample population of two-hundred people on our stage.</dialogue> <parenthetical>(calling out)</parenthetical> <dialogue>Miss Rosen!</dialogue> <character>LUCY</character> <dialogue>If they boo me--</dialogue> <scene_description>Continued: 123</scene_description> <character>DESI</character> <dialogue>If they boo you we're done here tonight.</dialogue> <scene_description>MISS ROSEN comes back in-- DESI's gotten a small black address book out of his desk and opened to a page. He shows it to his secretary and points to a name--</scene_description> <character>DESI</character> <dialogue>Call this man. Tell them it's for me, they'll find him, he's expecting my call. Tell me when you have him.</dialogue> <scene_description>MISS ROSEN takes the phone book and walks out.</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY BEHIND THE SOUNDSTAGE - NIGHT</stage_direction> <scene_description>LUCY is leaning against a wall in a private spot, smoking a cigarette. We can see the lit "Desilu" sign in the distance. She takes a deep breath to settle herself. After a moment, a heavy steel door opens. VIVIAN looks in one direction and then the other and sees LUCY. She steps out--</scene_description> <character>VIVIAN</character> <dialogue>Someone said they spotted you going out here.</dialogue> <character>LUCY</character> <dialogue>This was our pre-show spot, you and me. All last season, you remember?</dialogue> <character>VIVIAN</character> <dialogue>Yeah. We should do that again, I liked that tradition.</dialogue> <scene_description>LUCY nods...</scene_description> <character>VIVIAN</character> <dialogue>I was just told. Jesus, Lulu. Four- inch type?</dialogue> <character>LUCY</character> <dialogue>Red ink.</dialogue> <character>VIVIAN</character> <dialogue>How did they get it wrong?</dialogue> <character>LUCY</character> <dialogue>Well...I mean...they didn't.</dialogue> <character>VIVIAN</character> <dialogue>Grandpa Fred?</dialogue> <scene_description>LUCY nods...</scene_description> <character>VIVIAN</character> <dialogue>You're the most beloved woman in America. You're not gonna get blacklisted.</dialogue> <character>LUCY</character> <dialogue>Aww, Viv. You know how many brands Philip Morris owns? All it takes is someone calling for a boycott of Marlboros.</dialogue> <character>VIVIAN</character> <parenthetical>(pause)</parenthetical> <dialogue>I shouldn't have piled on this week. It just--</dialogue> <scene_description>VIVIAN shakes her head and waves it off...</scene_description> <character>LUCY</character> <dialogue>What?</dialogue> <character>VIVIAN</character> <dialogue>None of that matters right now.</dialogue> <character>LUCY</character> <dialogue>It may be the last time we're out here. Say it.</dialogue> <character>VIVIAN</character> <dialogue>Lucy Ricardo's married to a man six years younger than she is and Ethel's married to her grandfather. And it's understood, as the underlying premise for a running joke, that I'm not pretty enough for him. It got to me and at the world's worst time.</dialogue> <scene_description>LUCY nods her head, she understands...</scene_description> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>That was a knockout dress.</dialogue> <scene_description>The heavy steel door opens and FRAWLEY steps out with MADELYN...</scene_description> <character>FRAWLEY</character> <dialogue>Oh. You two wanna be alone?</dialogue> <character>VIVIAN/LUCY</character> <dialogue>Yes./No.</dialogue> <scene_description>MADELYN hurries over to LUCY and speaks to her privately.</scene_description> <character>MADELYN</character> <parenthetical>(quietly)</parenthetical> <dialogue>You're my hero.</dialogue> <character>LUCY</character> <parenthetical>(pause)</parenthetical> <dialogue>I care about what works, Maddie. I care about what's funny. I don't see myself caring about a woman's perspective from a new generation. I care about you.</dialogue> <scene_description>After a moment...</scene_description> <character>FRAWLEY</character> <dialogue>I'd love for someone to bring me breakfast.</dialogue> <character>MADELYN</character> <dialogue>That's not what we were talking about.</dialogue> <character>LUCY</character> <dialogue>Doesn't a P.A. bring you breakfast every day?</dialogue> <character>FRAWLEY</character> <dialogue>Yes.</dialogue> <character>LUCY</character> <dialogue>Okay.</dialogue> <character>FRAWLEY</character> <dialogue>Never French toast.</dialogue> <character>LUCY</character> <dialogue>We'll look into that.</dialogue> <character>FRAWLEY</character> <dialogue>I came out to try to distract you with nonsense but I assume these two beat me to it.</dialogue> <character>LUCY</character> <dialogue>Viv doesn't like the jokes about Ethel being unappealing.</dialogue> <character>FRAWLEY</character> <dialogue>Yeah, there's no one within the sound of her voice who doesn't know that.</dialogue> <character>VIVIAN</character> <dialogue>I said what I felt.</dialogue> <character>FRAWLEY</character> <dialogue>You've been saying what you felt since the first day of work, it's not like you've finally given voice to your feelings. You know what, sweet ladies? Something dies inside a man--it just dies--the first time he hears a girl call him old. So on the subject of Jess, Bob and Madelyn writing "Ethel" jokes, I'm indifferent.</dialogue> <character>LUCY</character> <dialogue>The two of you...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>...are good actors. It's a privilege doing this show with you.</dialogue> <scene_description>There's a long silence before...</scene_description> <character>FRAWLEY</character> <dialogue>Now you're scaring the shit outa me.</dialogue> <character>VIVIAN</character> <parenthetical>(over)</parenthetical> <dialogue>I was just gonna say.</dialogue> <character>LUCY</character> <dialogue>Desi's gonna tell the audience. He's invited press. He's betting the audience will accept the truth, give their approval and the press will write about it.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'd take the other side of that bet.</dialogue> <scene_description>The steel door opens and P.A. SCOTT sticks his head out--</scene_description> <character>SCOTT</character> <dialogue>Excuse me. Sorry. Mr. Arnaz is ready to do the warm-up. They told me you wanted to know.</dialogue> <character>LUCY</character> <dialogue>Thank you.</dialogue> <scene_description>Continued: 124</scene_description> <character>VIVIAN</character> <parenthetical>(pause)</parenthetical> <dialogue>Alright, I'll see you out there. Good show.</dialogue> <character>FRAWLEY</character> <dialogue>Good show.</dialogue> <character>MADELYN</character> <dialogue>Good show.</dialogue> <scene_description>VIVIAN and MADELYN go inside. LUCY starts to head in but FRAWLEY puts a hand out to stop her...</scene_description> <character>FRAWLEY</character> <parenthetical>(pause)</parenthetical> <dialogue>The dinner scene is inarguably better.</dialogue> <scene_description>LUCY smiles...then heads inside.</scene_description> </scene> <scene> <stage_direction>INT. SOUNDSTAGE/I LOVE LUCY SET - NIGHT</stage_direction> <scene_description>The orchestra's finishing a number as we see an USHER seating a few members of the press in the last row where other members of the press are sitting. DESI watches the press being seated from backstage. The audience APPLAUDS at the end of the number...</scene_description> <character>ANNOUNCER</character> <dialogue>Now ladies and gentlemen, give a warm welcome to one of the stars of I Love Lucy. You know him as Ricky Ricardo--here's Desi Arnaz!</dialogue> <scene_description>A healthy round of applause greets DESI as he walks onto the set carrying a folded newspaper.</scene_description> <character>DESI</character> <dialogue>Thank you, thank you very much.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Usually, right now, I'd be doing the final audience warm-up. I'd tell you an old joke about a turtle. I'd point out our groundbreaking camera system that allows the studio audience to watch the show unobstructed and I'd introduce you to the rest of the cast.</dialogue> <scene_description>We see LUCY watching from an off-stage vantage point. At various times we'll see FRAWLEY or VIVIAN, JESS, MADELYN, BOB, MARY PAT, the network guys or A P.A. watching from various places around the stage.</scene_description> <character>DESI</character> <dialogue>I'm not doing that tonight and here's why. Last week, my wife, Lucille Ball, was asked to testify in front of a closed session of the House Un-American Activities Committee.</dialogue> <scene_description>There's a murmur in the audience...</scene_description> <character>DESI</character> <dialogue>Yeah, the congressmen who investigate Communism. After hours of testimony, the committee concluded, unambiguously, that Lucy was and is in no way involved with the Communist Party. So everything's swell, right? No. Because this is the evening edition headline in the Herald-Express.</dialogue> <scene_description>DESI opens the paper and shows them the headline. The AUDIENCE GASPS...</scene_description> <character>DESI</character> <dialogue>So I made some phone calls. I called the editor of the Herald- Express. I called the chairman of the committee. I called all the members of the committee. And I made one more call to someone and I believe he's still on the line.</dialogue> <scene_description>DESI is handed a phone by MISS ROSEN. He'll speak into the phone and then hold the receiver up to the microphone so the audience can hear.</scene_description> <character>DESI</character> <parenthetical>(into the phone)</parenthetical> <dialogue>Are you still with me, sir?</dialogue> <character>MAN (V.O.)</character> <dialogue>Yes.</dialogue> <character>DESI</character> <parenthetical>(into the phone)</parenthetical> <dialogue>I'm now standing in front of a studio audience in Hollywood, California, and we're joined by a number of members of the press.</dialogue> <character>MAN (V.O.)</character> <dialogue>That's fine.</dialogue> <character>DESI</character> <parenthetical>(into the phone)</parenthetical> <dialogue>We want to know, sir, does the FBI have any case against Lucy? Does the FBI have any evidence of wrongdoing? Does the FBI have any reason to believe that Lucille Ball is a Communist?</dialogue> <character>MAN (V.O.)</character> <dialogue>No. Absolutely nothing. She is one- hundred percent clear.</dialogue> <character>DESI</character> <parenthetical>(into phone)</parenthetical> <dialogue>Thank you, sir. One more question. Would you tell us your name please?</dialogue> <character>MAN (V.O.)</character> <dialogue>This is J. Edgar Hoover.</dialogue> <scene_description>An impressed reaction from the AUDIENCE...</scene_description> <character>DESI</character> <dialogue>Thank you, sir, enjoy your evening.</dialogue> <parenthetical>(he hangs up)</parenthetical> <dialogue>Ladies and gentlemen, please welcome my wife and the star of I Love Lucy, Lucille Ball.</dialogue> <scene_description>The audience breaks into THUNDEROUS APPLAUSE and CHEERING. Backstage, LUCY breathes a sigh of relief, takes a moment, and walks onto the set. The audience gives her a STANDING OVATION. DESI looks up to the last row where he sees the reporters feverishly writing all this down. He cathes the eye of one reporter who's taking it all in but not writing it down and he pantomimes, "Write it the hell down." Backstage, people are shaking hands. LUCY gives a final wave to the audience and walks off. DESI shouts over the SUSTAINED APPLAUSE</scene_description> <character>DESI</character> <parenthetical>(shouting)</parenthetical> <dialogue>So enjoy the show.</dialogue> <scene_description>Continued: 125 The orchestra crashes into a new number as DESI heads offstage a moment later and takes us--</scene_description> </scene> <scene> <stage_direction>INT. BEHIND THE SET - CONTINUOUS</stage_direction> <scene_description>--where he takes LUCY in his arms. They have to speak up to be heard over the orchestra--</scene_description> <character>DESI</character> <dialogue>It's all over.</dialogue> <character>LUCY</character> <dialogue>Thank you.</dialogue> <character>DESI</character> <dialogue>It's over now.</dialogue> <character>LUCY</character> <dialogue>Thank you.</dialogue> <character>DESI</character> <dialogue>They love you.</dialogue> <character>LUCY</character> <dialogue>I love you.</dialogue> <character>DESI</character> <dialogue>No one's gonna mess with you. Ever.</dialogue> <character>LUCY</character> <dialogue>I thought they were gonna boo.</dialogue> <character>DESI</character> <dialogue>You wanna do a show?</dialogue> <character>LUCY</character> <parenthetical>(louder)</parenthetical> <dialogue>Have you been cheating on me?</dialogue> <character>DESI</character> <parenthetical>(pause)</parenthetical> <dialogue>What?</dialogue> <character>LUCY</character> <dialogue>Have you been cheating on me?</dialogue> <character>DESI</character> <dialogue>Is this a bit?</dialogue> <character>LUCY</character> <dialogue>No.</dialogue> <character>DESI</character> <parenthetical>(pause)</parenthetical> <dialogue>No, I haven't been.</dialogue> <character>LUCY</character> <dialogue>When you stay out all night you're on the boat playing cards?</dialogue> <character>DESI</character> <dialogue>Yes.</dialogue> <character>LUCY</character> <dialogue>You haven't been with anyone else?</dialogue> <character>DESI</character> <dialogue>What's going on with you?</dialogue> <character>LUCY</character> <dialogue>Don't gaslight me.</dialogue> <character>DESI</character> <dialogue>Where did this come from? They just cheered for you.</dialogue> <character>LUCY</character> <dialogue>They got it right, didn't they?</dialogue> <character>DESI</character> <dialogue>Lucy--</dialogue> <character>LUCY</character> <dialogue>They only got the picture wrong. Did they get it right? Did they get it exactly right?</dialogue> <character>DESI</character> <dialogue>Jesus Christ, I just proved that the Herald-Express got it wrong, you think Confidential Magazine-- we're about to do a show.</dialogue> <character>LUCY</character> <dialogue>Just tell me.</dialogue> <character>DESI</character> <dialogue>Tell me why you think--other than this garbage--tell me why you think I've--</dialogue> <scene_description>LUCY takes out a white handkerchief that has a lipstick smudge on it. DESI takes a long moment...</scene_description> <character>DESI</character> <parenthetical>(pause)</parenthetical> <dialogue>That's your lipstick. Remember? At the beginning of the week you kissed me, then took my handkerchief and wiped the lipstick off and put it back in my pocket. And you said you'd never done that before.</dialogue> <character>LUCY</character> <dialogue>I hadn't.</dialogue> <character>DESI</character> <dialogue>Then what the hell are we talking about?</dialogue> <scene_description>LUCY takes out another handkerchief that also has a lipstick smudge...</scene_description> <character>LUCY</character> <dialogue>This is my lipstick.</dialogue> <scene_description>There's a long silence while DESI makes up his mind...</scene_description> <character>DESI</character> <parenthetical>(pause)</parenthetical> <dialogue>They were just call girls. They're hookers. It doesn't mean anything.</dialogue> <scene_description>LUCY nods...</scene_description> <character>DESI</character> <dialogue>Look--</dialogue> <character>LUCY</character> <dialogue>Let's do the show. Yeah? We'll just forget this for a half-hour. Yeah?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Let's do the show.</dialogue> <scene_description>LUCY turns to a stagehand with a walkie-talkie--</scene_description> <character>LUCY</character> <dialogue>Jim, let's go. It's not gonna get better than this.</dialogue> <scene_description>We see and/or hear the show revving up--"Quiet Please!" "Picture's Up!" "Roll Sound!" "Camera's Rolling!" "Sound speed!" The three camera's slate.</scene_description> <character>DONALD</character> <dialogue>And...action.</dialogue> <scene_description>Continued: 127</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL POOL - DAY</stage_direction> <character>OLDER MADELYN</character> <dialogue>It ended up being a good show that night. We did both versions of the opening but it was the original version that made it on the air. The one with the names. You must've gotten a hold of the B-negative 'cause your original question--</dialogue> </scene> <scene> <stage_direction>127A INT. SOUNDSTAGE BLEACHERS - DAY 127A</stage_direction> <character>OLDER JESS</character> <dialogue>For the record, I won my bet with Desi. CBS wouldn't let us use the word "pregnant". But more people watched the birth of Little Ricky than had ever watched a television program before. Your original question--</dialogue> <scene_description>Continued: 128</scene_description> </scene> <scene> <stage_direction>INT. NIGHT CLUB - DAY</stage_direction> <character>OLDER BOB</character> <dialogue>You asked about why Lucy stopped when we were doing the alt. The alternate version.</dialogue> </scene> <scene> <stage_direction>EXT. HOTEL POOL - DAY</stage_direction> <character>OLDER MADELYN</character> <dialogue>We were doing Lucy's version of Ricky's entrance first, but Lucy stopped and now I can't remember why.</dialogue> </scene> <scene> <stage_direction>INT. SOUNDSTAGE BLEACHERS - DAY</stage_direction> <character>OLDER JESS</character> <dialogue>Honestly, I'm not sure. In all the excitement, with all that drama, I never asked.</dialogue> </scene> <scene> <stage_direction>INT. NIGHT CLUB - DAY</stage_direction> <character>OLDER BOB</character> <dialogue>What happened--she went out, she was cutting the flowers--</dialogue> </scene> <scene> <stage_direction>INT. SOUNDSTAGE BLEACHERS- DAY</stage_direction> <character>OLDER JESS</character> <dialogue>She was doing the bit with the flowers, which we couldn't use 'cause we were running long--</dialogue> </scene> <scene> <stage_direction>EXT. HOTEL POOL - DAY</stage_direction> <character>OLDER MADELYN</character> <dialogue>It seemed like she just got lost in her own head for second.</dialogue> </scene> <scene> <stage_direction>INT. I LOVE LUCY SET/- NIGHT (BACK AND WHITE)</stage_direction> <scene_description>LUCY trims the stem of one of the flowers. Continued: 135</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL POOL - DAY</stage_direction> <character>OLDER MADELYN</character> <dialogue>It may have been the only time she went up on a line.</dialogue> </scene> <scene> <stage_direction>INT. I LOVE LUCY SET - NIGHT (BLACK AND WHITE)</stage_direction> <scene_description>LUCY clips another stem, puts it back and now all the flowers disappear into the vase to a HUGE LAUGH.</scene_description> </scene> <scene> <stage_direction>INT. NIGHT CLUB - DAY</stage_direction> <character>OLDER BOB</character> <dialogue>She takes the water glass and pours more water into the vase--</dialogue> </scene> <scene> <stage_direction>INT. SOUNDSTAGE BLEACHERS - DAY</stage_direction> <character>OLDER JESS</character> <dialogue>--which makes all of the flowers come up to the surface--</dialogue> </scene> <scene> <stage_direction>INT. I LOVE LUCY SET - NIGHT (BLACK AND WHITE)</stage_direction> <scene_description>The flowers come up to the surface which gets a big LAUGH from the audience.</scene_description> </scene> <scene> <stage_direction>INT. NIGHT CLUB - DAY</stage_direction> <character>OLDER BOB</character> <dialogue>And then--I can't remember the first line but we had to stop and go again.</dialogue> </scene> <scene> <stage_direction>INT. SOUNDSTAGE BLEACHERS - DAY</stage_direction> <character>OLDER JESS</character> <dialogue>I can't remember what her cue was, only that Lucy had her back to the audience and from where I was standing I thought I saw her--it was a long time ago, but I thought I saw her smile or even laugh a little and then just get lost.</dialogue> <scene_description>Continued: 142</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL POOL - DAY</stage_direction> <character>OLDER MADELYN</character> <parenthetical>(remembering)</parenthetical> <dialogue>It was Desi's line. It was the new bit Lucy put in but that version never made it into the show.</dialogue> <parenthetical>(trying to remember)</parenthetical> <dialogue>What was his line?</dialogue> </scene> <scene> <stage_direction>INT. I LOVE LUCY SET - NIGHT</stage_direction> <scene_description>DESI enters. He stands there, unnoticed by Lucy...then--</scene_description> <character>DESI</character> <dialogue>Lucy, I'm home!</dialogue> <scene_description>And LUCY hears that, smiles and revels in it for a quick moment and laughs a little...there's an awkward silence.</scene_description> <character>LUCY</character> <dialogue>Sorry about that, I got lost for a second.</dialogue> </scene> <scene> <stage_direction>143A EXT. HOTEL POOL - DAY 143A</stage_direction> <character>OLDER MADELYN</character> <dialogue>We never went back to do another take of the alternate opening. Lucy just wanted to move on.</dialogue> </scene> <scene> <stage_direction>143B INT. I LOVE LUCY SET/LIVING ROOM 143B</stage_direction> <scene_description>As the show re-starts, with the audience loving every moment, we start to slowly PULL BACK and PULL UP. The show continues semi-MOS as we pull back further and higher, so that what we're looking at is obviously a set. A small set. Three flats and no ceiling. Stagehands are smoking and talking to each other backstage with LUCY commanding her small, fictional world. We're up above the light grid now-- OMITTED Continued: 143B DISSOLVE TO: TITLE: The morning after Lucy and Desi shot their final show together, Lucy filed for divorce. The show plays for a moment longer before we SNAP TO BLACK</scene_description> </scene> </script>

The film is told from three perspectives: "present-day" interviews with I Love Lucy's lead writers Jess Oppenheimer, Madelyn Pugh, and Bob Carroll Jr.; flashbacks throughout Lucille Ball and Desi Arnaz's relationship; and preparations for filming an episode of the show in 1953. In 1939, Ball is an actress contracted to RKO Pictures, earning the moniker "Queen of the B-Movies". Cast in the failed comedy Too Many Girls, she falls in love with her costar, Cuban singer Arnaz. He assures her of her talent as a physical comedian, and she confides her dream of simply making a home with someone. They marry and buy a house in Hollywood, but struggle to spend time together, with Arnaz busy fronting his Desi Arnaz Orchestra while Ball continues her film career with little success. After serving in World War II, Arnaz resumes touring with his orchestra, and Ball lands a starring role in 1942's The Big Street. She meets with RKO President Charles Koerner, expecting to become an established star like Rita Hayworth and Judy Holliday. Instead, he terminates her contract, largely due to her age, and suggests she use her voice for radio. In 1948, she is cast in the radio show My Favorite Husband, which becomes a massive success. CBS suggests turning My Favorite Husband into a television show, sponsored by cigarette company Philip Morris. Hoping to bring her and Arnaz closer together, Ball agrees on the condition that he plays her on-screen husband; the executives initially refuse to have an "all-American" star with a Cuban husband, but are forced to concede. By 1953, the show is renamed I Love Lucy and becomes a smash hit with nearly 60 million viewers each week. Ball and Arnaz produce the show in Los Angeles through their company Desilu Productions, with a three-camera system designed by Arnaz allowing East Coast viewers to watch live without static, while accommodating a studio audience. Dealing with friction between her costars William Frawley, who is often drunk, and Vivian Vance, who resents Ball's attempts to make her less attractive, Ball clashes with the directors and writers over her exacting demands. Walter Winchell's radio program claims to have evidence of Ball's Communist ties, alarming I Love Lucy's crew that their show will be shut down. Ball admits to registering with the party when she was young and influenced by a relative, and Arnaz frustrates her by announcing that she innocently marked the wrong box. They inform the writers she is pregnant with their second child, planning to integrate this into future episodes, but executives refuse to allow even the word "pregnant" on the air. Ball confronts her husband for often staying out late, but he proves that a tabloid photo of him with another woman was taken months ago. After Frawley suggests that Arnaz's behavior stems from feeling emasculated by Ball taking over many of the show's business and creative decisions, she asks Oppenheimer, the official showrunner, to help save her marriage. Instead of offering him a producer credit, Oppenheimer assures Arnaz he has top billing as the "I" in I Love Lucy, but he rejects the patronizing gesture. Arnaz reaches out to the head of Philip Morris directly, securing permission to introduce Ball's pregnancy into the show. The night of filming a new episode, a newspaper article declares Ball a Communist, though she was cleared during an HUAC hearing. Arnaz addresses the studio audience about the accusations and takes a live call with FBI Director J. Edgar Hoover, who confirms that Lucy was cleared of all charges. Celebrating backstage, Ball confronts Arnaz with a lipstick-stained handkerchief, which he claims is hers, but she shows him another handkerchief with her own lipstick, and he finally admits to his infidelity. As filming begins, Ball momentarily loses her concentration, triggered by Arnaz's catchphrase — "Lucy, I'm home". An epilogue reveals that Ball filed for divorce after the taping of their last show in 1960.

Bean_1997

tt0118689

<script> <scene> <stage_direction>INT. NATIONAL GALLERY. BOARDROOM - DAY</stage_direction> <scene_description>A very grand room , with lots of wood and some very famous portraits round the walls . A group of grave gentlemen and gentlewomen . They are the trustees of the National Gallery . LORD WALTON , a very grand man , sits at the table head . To his right sits his assistant , GARETH . All are deep in thought . LORD WALTON fidgets with a pencil on the table . He raises his head as though about to speak . Everyone looks up expectantly . And . LORD WALTON goes back to fidgeting . So does everyone else . CREDIT . POLYGRAM &amp; WORKING TITLE PRESENT .</scene_description> </scene> <scene> <stage_direction>INT. NATIONAL GALLERY. BOARD ROOM - DAY</stage_direction> <scene_description>The scene is as silent and static as we left it Last . then :</scene_description> <character>GARETH</character> <dialogue>I suppose we could just sack him.</dialogue> </scene> <scene> <stage_direction>EXT. MR BEAN'S STREET. DAY</stage_direction> <scene_description>Mr BEAN comes out of his house , ready to face the world - He walks up the street , tutting slightly at a ` NO PARKING ' sign he passes . The street is totally car - free except for a very visible lime green mini . A policeman strolls by and glances down at a pair of legs sticking out from under it , next to a toolbox . He moves on , satisfied that someone is mending their car . BEAN approaches the car and whips out the fake legs he left there . He then unlocks the big padlock that secures the car door , pops the fake legs inside , fiddles with something else in the back seat , and drives away at a frightening speed with a smug look on his face . The Theme Music - big and dramatic - begins , as do the rest of the credits . BEAN gaily motors on - then unexpectedly the sweeping theme tune jumps , as if it has hit a scratch : the cinema audience should be worried there 's a sound fault . BEAN comes to a street full of sleeping policemen ~ he goes at them at quite a lick - and every time he shoots over one of the bumps , the theme tune jumps violently . BEAN looks a little annoyed into the back seat - we now see the cause of the problem . Instead of having a car radio , BEAN has an old record player strapped into the back seat , playing the theme tune . On he drives , through empty streets - then JOLT - he 's reached the glorious familiarity of Central London , Big Ben and all - but heels now in dreadful traffic . Heels not happy . He looks to the left and sees a very thin alleyway . He takes out a metal comb from his pocket and , using it like a bomber 's sight - line - checker , measures the front of his car and the width of the alley . He 'S satisfied - does a 90 - degree turn - and shoots down the alley . It is such a perfect fit that sparks fly from the door handles as they graze the walls . But at the end of the alley , the traffic 's just as bad . BEAN notices he 's outside Harrods . There 's a tail - coated Security Guard at the ` front door . BEAN watches him stroll a bit down the street - and takes his chance . He turns and drives straight through the double doors , into the store .</scene_description> </scene> <scene> <stage_direction>INT. HARRODS. DAY.</stage_direction> <scene_description>BEAN and his car whizz through the ground floor , past perfume counters and leather glove racks . CUT TO a Security Guard . As he passes one of the counters , BEAN 's little car just shoots behind him . The Guard continues through the Children 's section there are giant elephants and teddies , children 's size cars , then two huge plastic tractors - and then , stock still , strangely in harmony actually , the Lime Green Mini with BEAN in it . The Guard walks straight past . The moment he is gone , BEAN shoots off again - but , damn ! , spies another Guard and is forced to turn and drive down some very steep stairs indeed . The theme song goes CRAZY as the record player jumps . 6 people waiting at a gilded lift . They hear a strange sound , and turn to see what it is . In fact , it 's coming from inside the lift . When the lift doors open , out shoots the Mini through the double doors and back into the street .</scene_description> </scene> <scene> <stage_direction>EXT. KNIGHTSBRIDGE. DAY.</stage_direction> <scene_description>Out in the street , BEAN is faced by an accident . There are flashing lights , a crumpled car , suggestions of hurt passengers . BEAN looks concerned .</scene_description> </scene> <scene> <stage_direction>EXT. THE STRAND. DAY.</stage_direction> <scene_description>An Ambulance roars through the traffic . It reaches its hospital , turns off , and there , right smack behind it is the Mini . Cut in to see BEAN , smiling broadly . He whizzes into Trafalgar Square , maybe even across it , sending pigeons and tourists flying , and parks directly outside the statuesque National Gallery . Of course , there 's not another car there . Just the Gallery and the mini .</scene_description> </scene> <scene> <stage_direction>EXT. NATIONAL GALLERY - DAY</stage_direction> <scene_description>BEAN gets out of the car , takes out his bag - thinks a little , opens it and takes out a `` Doctor on Call ' sign . To re - enforce it , he puts a bone in the back window and a skull of the front seat . Happy with the arrangement , he re - locks the padlock and sets off smiling up the big , stairs to work . As he does so , pan up the building , and into the window of the room where that Board meeting was taking place .</scene_description> </scene> <scene> <stage_direction>INT. NATIONAL GALLERY. BOARDROOM - DAY</stage_direction> <character>GARETH</character> <dialogue>Look, I do n't hate the man but.</dialogue> <character>LORD WALTON</character> <dialogue>I know, Gareth. It's the mental strain he inflicts on us all. How is Professor Bradbury</dialogue> <scene_description>A grand gentleman , MR MORRISON , pipes up .</scene_description> <character>MORRISON</character> <dialogue>Heels got the feeling back in his fingers - but his hands are still stapled together.</dialogue> <character>LORD WALTON</character> <dialogue>Mmmm, and how far are we with the computer, Hubert?</dialogue> <character>HUBERT</character> <dialogue>Timothy is loading the final catalogue data as we speak, Milord. An awful thing to say, but when the program's up and running our, Mr. Bean will become a little less than. useful?</dialogue> <scene_description>A glimmer of hope .</scene_description> </scene> <scene> <stage_direction>INT. NATIONAL GALLERY. PORTRAIT SECTION - DAY</stage_direction> <scene_description>BEAN wanders past three or four portraits and mimics the characters in them . He passes a guard .</scene_description> <character>GUARD</character> <parenthetical>( not looking up from his book . )</parenthetical> <dialogue>Morning, Bean.</dialogue> <scene_description>The GUARD sighs with boredom . He gets this from BEAN every day . As Bean moves on , he treads on the heel of a tourist 's shoe . It comes off - BEAN moves on blithely .</scene_description> </scene> <scene> <stage_direction>INT. NATIONAL GALLERY. CARTOON ROOM ENTRANCE - DAY</stage_direction> <scene_description>BEAN is passing the very special room where Leonardo Da Vinci 's cartoon , ` The Virgin and Child ' , hangs , preserved by a very dim artificial light . There are silhouettes of a few tourists in the room reverently studying the work , listening to a female GALLERY GUIDE . BEAN dips into his pocket for his identity badge and in so doing brings out a coin . The coin drops and rolls into the special room . BEAN follows it into the darkness .</scene_description> <character>GALLERY GUIDE</character> <parenthetical>( hushed . )</parenthetical> <dialogue>. by Leonardo Da Vinci. As you can see, the special light in here goes some way to protect the drawing from photodisintegration caused by gamma.</dialogue> <scene_description>The camera stays outside the room with the picture in view . We hear the squeak of a tiny door open , then a click . The room is suddenly flooded in blazing white light . The onlookers gasp in horror . BEAN re - emerges from the room with his precious coin . As an afterthought he pops his hand round the doorway and turns off the light . He scuttles away . The GALLERY GUIDE shakes her head in total exasperation .</scene_description> </scene> <scene> <stage_direction>INT. NATIONAL GALLERY. BOARDROOM - DAY</stage_direction> <character>GARETH</character> <dialogue>Maybe it would be simpler to pack all our paintings onto trucks and move the entire National Gallery somewhere else. And not tell him.</dialogue> <character>HUBERT</character> <dialogue>Seconded. We could all move to France.</dialogue> <character>GEORGE</character> <dialogue>All those in favour.</dialogue> <scene_description>They all raise their hands wildly .</scene_description> <character>LORD WALTON</character> <dialogue>Come on - settle down everyone.</dialogue> </scene> <scene> <stage_direction>INT. NATIONAL GALLERY. ELEVATOR - DAY</stage_direction> <scene_description>BEAN stands in the elevator silently with four other people . He gives himself a long squirt of breathfreshener . Then offers it to the others , who politely refuse him . So he stands still again . Pause . BEAN then smells something unpleasant . He leans and has a little sniff of the person to his left . All right there . Then he sniffs to his right , and reels at what he smells . He again takes out the breath freshener , and forces it upon VINCENT , an elderly gentleman , who is mortified . At this moment the elevator stops - BEAN and VINCENT get out and the camera follows VINCENT as he heads for the boardroom door and enters . He is another trustee . This dialogue is heard from behind the closed door .</scene_description> <character>VINCENT</character> <dialogue>I'm sorry I'm late.</dialogue> <character>GARETH</character> <dialogue>Why ca n't we just give him the boot for crying out loud?!</dialogue> <character>VINCENT</character> <dialogue>Steady on, old man. I only.</dialogue> <character>GARETH</character> <dialogue>Not you, you idiot.</dialogue> </scene> <scene> <stage_direction>INT. NATIONAL GALLERY. CORRIDOR - DAY</stage_direction> <scene_description>BEAN , with cup of tea , walks along a corridor . He ca n't not interfere for tidiness sake . One empty room he switches off the light . Another he shuts the door . He passes a computer room , with an open door where a big man is busily typing in a programme - BEAN looks at him snootily and heads on . He approaches the door to his office . A sign reads : ` STORAGE &amp; CATALOGUE ' . There is a huge padlock on the door . BEAN takes out a big key and enters his domain .</scene_description> </scene> <scene> <stage_direction>INT. NATIONAL GALLERY. STORAGE OFFICE - DAY.</stage_direction> <scene_description>BEAN enters . He 's been here for years and made it his own . It 's an odd little world . There 's a framed picture of Shirley Bassey on his desk and Airfix planes hang from the ceiling . Also a large cosy armchair and a T.V. . A pleasant Man in a suit , around 40 , breezes in .</scene_description> <character>SUIT MAN</character> <dialogue>Ah Bean, I'm looking for a painting by Van Hocht. Still Life. Circa 1670. Can do?</dialogue> <scene_description>BEAN nods . This is what BEAN likes to do best . The camera follows as he turns sees the extraordinary sight behind him . His office is just a tiny corner of a massive storage room , hundreds of feet high and long , the walls completely full of rack after rack of stored paintings . At the end of the room , we can see hundreds of sculptures : busts , modern abstracts , men on horses , classical maidens , Rodins , the lot . It 's like the giant storehouse at the end of ` Raiders of the Lost Ark. . BEAN sets off into it in his own eccentric way . He knows exactly where heels going . He climbs a ladder , like you find in a library - then pushes himself off , and whizzes the entire length of the room on slippery wooden runners . He has now reached the sculpture area , but the painting heels looking for is on the other side . He crosses the room by using the sculptures as a kind of artistic obstacle course . In front of him is the Burghers of Calais , a Rodin statue of 5 prisoners in chains . He simply walks across their 5 heads , like stones in a stream . He then comes to an abstract modern piece , which he uses as a slide and at the end of which , he crawls through the hole in the next modern thing . He then begins to climb up various famous ancient statues , using the mouths as footholes , breasts as support , codpieces as steps and empty eyes as finger holes . After a problem getting his . foot caught in the jaw of a sculptured dog , he walks flat along a modern sculpture , then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina , one step on to the bottom of a horse , two steps onto the head of the person riding the horse , three steps and now he 's on the other side of the hall . He then triumphantly pulls out a painting . It 's the one !</scene_description> <character>SUIT MAN</character> <dialogue>What would we do without you! The entire inventory of British Art stored in that one, curious brain of yours.</dialogue> <scene_description>BEAN beams .</scene_description> </scene> <scene> <stage_direction>INT. NATIONAL GALLERY. BOARDROOM - DAY</stage_direction> <character>GARETH</character> <dialogue>Then we are agreed, gentlemen. He goes.</dialogue> <character>VINCENT</character> <dialogue>Only if we're positive that the new catalogue database will render Mr. Bean's hitherto ` talents' obsolete.</dialogue> <character>HUBERT</character> <dialogue>There's no question.</dialogue> <character>LORD WALTON</character> <dialogue>Very well. Mr Bean is. art history. We can all stop taking the pills.</dialogue> <scene_description>A reserved smatter of laughter , from relief more than anything . LORD W. talks into an intercom on the table .</scene_description> <character>LORD WALTON</character> <dialogue>Miss Hutchinson, would you send Mr. Bean up to the boardroom, please.</dialogue> <character>MISS HUTCHINSON</character> <parenthetical>( V/O . )</parenthetical> <dialogue>Yes sir. oh, and Lord Walton, the Grierson Gallery called again.</dialogue> <character>LORD WALTON</character> <dialogue>Thank you.</dialogue> <parenthetical>( To the room . )</parenthetical> <dialogue>One final thing. Once again we have been invited by the Grierson Gallery of Southern California to second one of our staff for a short visit. The Grierson has a fairly modest collection - but it does include the most famous American painting of all, ` Whistler's Mother'. Any thoughts?</dialogue> <scene_description>Cut to the trustees - they shake their heads and wrinkle , their noses , not very interested . A 106 year old SIR RUPERT puts up his hand .</scene_description> <character>LORD WALTON</character> <dialogue>Yes. Sir Rupert. And may I say sir, how honoured we are that you still grace us with all your time, wisdom, and infinite knowledge. Your invaluable thoughts, sir?</dialogue> <character>SIR RUPERT</character> <dialogue>Could you speak up please. I did n't catch the question.</dialogue> </scene> <scene> <stage_direction>INT. NATIONAL GALLERY. STORAGE OFFICE - DAY</stage_direction> <scene_description>Back in his office area BEAN ceremoniously hands SUIT MAN the Van Hocht painting . He 's very proud of himself .</scene_description> <character>SUIT MAN</character> <dialogue>Thank you, Bean. You're a genius.</dialogue> <scene_description>BEAN laughs - delighted . SUIT MAN exits and MISS HUTCHINSON enters , warily .</scene_description> <character>MISS HUTCHINSON</character> <dialogue>Mr. Bean. Lord Walton would like to see you in the boardroom.</dialogue> <scene_description>BEAN gives a little pleasured squeak . How exciting for him . He follows MISS HUTCHINSON out into the corridor .</scene_description> </scene> <scene> <stage_direction>INT. NATIONAL GALLERY. CORRIDOR. DAY</stage_direction> <scene_description>BEAN walks along the same corridor as before . Turns off another light . Then comes to the room where he saw the Programmer . The computer , showing a Van Gogh portrait , is on and no - one 's there . BEAN , who hates wasted electricity , goes in to switch it off . We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located . BEAN is clearly going to be replaced by this programme . Or not . BEAN searches for the plug , but it 's under acres of desk - so he simply pulls a cable out of the back the computer . The entire system clicks off . At which moment the Programmer comes back in .</scene_description> <character>PROGRAMMER</character> <dialogue>What's happening here?</dialogue> <character>BEAN</character> <dialogue>Ahm.</dialogue> <scene_description>With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess . And a disastrous one . There is a ugly electrical fizzle . The screens come on white , then pop out completely .</scene_description> <character>BEAN</character> <dialogue>Ah. Ahm.</dialogue> <scene_description>BEAN realises that he has done something wrong and quickly shoves the cable into another circuit . The Van Gogh appears happily on the screen . BEAN and PROGRAMMER both give out a sigh of relief . BEAN smiles and leaves quickly . But a second later the computer screen disintegrates and the Van Gogh slides down the screen like a water - colour in the rain . The PROG difficult to breathe .</scene_description> </scene> <scene> <stage_direction>INT. NATIONAL GALLERY. BOARDROOM - DAY</stage_direction> <character>LORD WALTON</character> <dialogue>You have your voting slips, gentlemen. Please remember the Americans are looking for something quite high powered. A doctorate preferably.</dialogue> <scene_description>There is a knock at the door . BEAN enters . LORD WALTON smiles . The rest of the faces in the room are looking dangerously close to smug . BEAN is very nervous indeed .</scene_description> <character>LORD WALTON</character> <parenthetical>( gravely . )</parenthetical> <dialogue>Ah, Mr. Bean. Please take a seat for a moment. I have some news which will not, I'm afraid.</dialogue> <scene_description>The phone rings . LORD WALTON answers . BEAN sits next to VINCENT and sniffs at him . VINCENT 's breath has n't improved .</scene_description> <character>LORD WALTON</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Yes? Put him on. Timothy. The computer. Yes. When? How? All of it? Absolutely all of it? Did you back it up? How long will it? Another six months. Fair enough. Come up here will you, dear boy.</dialogue> <scene_description>He slowly hangs up . Everyone has got the gist of what has just occurred with the new computer - The energy drains from them all as they contemplate another six months with BEAN still on the staff . LORD WALTON coughs politely .</scene_description> <character>LORD WALTON</character> <dialogue>As I was saying, gentlemen. The Grierson Gallery. South California. Great opportunity. Thousands - of miles - away though it is. Doctorate or.</dialogue> <parenthetical>( IMPISHLY . )</parenthetical> <dialogue>no doctorate, perhaps</dialogue> <scene_description>All get the message at the same moment and hurriedly scribble on their voting slips . The slips get handed down the line to LORD WALTON . We see that every single slip has ` BEAN ' on it .</scene_description> <character>LORD WALTON</character> <dialogue>Mr. Bean. Wonderful news. You are going to America.</dialogue> <character>MR. BEAN</character> <parenthetical>( overwhelmed . )</parenthetical> <dialogue>Ooooh, how lovely.</dialogue> <scene_description>There is a knock at the door . The fat , bespectacled , PROGRAMMER puts his head round it .</scene_description> <character>LORD WALTON</character> <parenthetical>( beaming . )</parenthetical> <dialogue>Ah, Timothy. You're sacked.</dialogue> </scene> <scene> <stage_direction>INT. NATIONAL GALLERY. CORRIDOR - DAY</stage_direction> <scene_description>BEAN rounds a corner and walks towards us , imitating a bowlegged cowboy . The Theme from Bonanza plays . He whips out his pair of imaginary six shooters , spins them on his fingers and returns them to - their imaginary holsters , making gun sound effects . He 's very happy . - He passes the Security Guard - he draws his gun on him - zero reaction the Guard just raises his eyebrows and yawns . BEAN heads on through the gallery merrily - but suddenly , his good mood is broken , when he notices 3 schoolgirls entering a new exhibition , called The Ultra - Human Form . This worries him - and we soon see why - BEAN heads in to the room where all the paintings are very graphic nudes , and the 3 girls are having a good giggle . BEAN quickly rushes over and with his hand covers the breasts of the painting they 're inspecting . Two girls then move on to the next painting - which unfortunately also has breasts . BEAN stretches and just manages to cover them with his other hand . Now the third girl heads on , so BEAN can drop the hand on the first painting - but now has to try to cover the breasts on the third painting , which is a real long stretch away . He ca n't quite make it , so he takes off his shoes , which gives him the extra 3 inches . Again , safe . Just . Now , all three girls leave the paintings - but , to BEAN 's chagrin , head over to a classical nude sculpture in the middle of the room . It 's like the 3 Graces , 3 naked women back to back . BEAN thinks fast . He quickly whips off his Belt and rushes over to the statue , where he succeeds in looping it round to cover all six nipples . Unfortunately the girls have already lost interest and head over to the other side of the gallery . To BEAN 's horror . Because at that moment we reveal what is on the other side of the room . A epic painting in the style of the others - with literally 40 graphically naked people . BEAN sprints across the room , stands on a chair , and desperately tries to cover a particularly lurid example of a gentleman 's manhood . At which moment the teacher of the party and 40 other schoolgirls appear and scream in chorus . BEAN thinks that it is the painting that has caused offence and is in outraged agreement with them . He turns . Cut wide to reveal that they are screaming because he 's beltless trousers have fallen down .</scene_description> </scene> <scene> <stage_direction>EXT. GRIERSON GALLERY. AMERICA - DAY.</stage_direction> <scene_description>8.30 am California time . A modern building with plenty of glass . Large , modern sculptures are spotted around its grounds , including a dramatic one of two huge old cars , head down in the ground , backs protruding into the air . THOMAS GRIERSON , owner of the gallery , wearing a slick expensive suit , walks with DAVE LEARY and BERNIE , both in casual jackets and ties . GRIERSON is a vain , slightly pedantic and pompous man - maybe short - always just trying to show he 's Boss . The three are strolling towards the main entrance . Huge sign : ` THE GRIERSON GALLERY ' with a silhouette of Whistler 's Mother taken from the painting , as an incorporated logo .</scene_description> <character>GRIERSON</character> <dialogue>Lord Walton assures me this guy's one of the very top scholars in the English art world. Has a couple of doctorates no less.</dialogue> <character>BERNIE</character> <dialogue>Great news.</dialogue> <scene_description>BERNIE is smooth and smiley . DAVID LEARY , Vice President , is a very pleasant , but slightly worried man , knocking on 40 . Too nice for his own good . The three pass a lone MIME ARTIST wearing a cheap vac - form PRESIDENT CLINTON face mask . David ca n't help being just a little nice to him and finds himself left behind . He scampers to catch up . First , catching under the handle - then the couch , then Four other chairs - and finally the deep freeze . No - one 's going to get in through that door . BACK IN THE HALL BEAN pushes the string back inside the letter box and slaps his hand in satisfaction . He locks the door 's enormous padlock , looks about carefully to make sure no one 's around , and then hides the key under a garden gnome on the floor , standing amongst a row of pathetic pot plants .</scene_description> </scene> <scene> <stage_direction>INT. AIRPORT. RECEPTION DESK. NIGHT</stage_direction> <scene_description>The lady checking in BEAN looks puzzled as she holds his passport . So he pulls the shockingly stupid face . 0h yes , she sees , that 's the guy in the picture . She hands him his ticket .</scene_description> <character>CHECK-IN LADY</character> <dialogue>Here we go, sir. You've been moved to l st. class. Apparently your friends at the Gallery were so delighted that you're finally on your way.</dialogue> <scene_description>BEAN is very touched .</scene_description> </scene> <scene> <stage_direction>INT. AIRPORT LOUNGE - NIGHT</stage_direction> <scene_description>BEAN enters the first class lounge . It 's fairly empty , but BEAN still squeezes himself between an old lady drinking a cup of tea , and a very grand looking American military man in a business suit . The Grand Man lights up a cigar . This does n't please Mr `` No Smoking BEAN . First , he waves the smoke away , in small , then big , then huge wafting motions . Then he tries , miming , to cut it up into segments and move them aside . The man pays no attention at all . BEAN puts a plastic mug over his face , like a gas mask and breathes heavily . The man looks at him - but does n't give a damn BEAN now takes a paper bag - catches some of the smoke , and take it over and empties it into the dust bin . The Grand Man goes on smoking stubbornly . He then sees a magazine rack and leaves his cigar as he goes to get one .</scene_description> <character>DAVID</character> <dialogue>Sounds like a real coup, sir. getting this Doctor of.</dialogue> <character>GRIERSON</character> <dialogue>Various things. Thank you. However, as you know, this is not an inexpensive venture, and, financially speaking, we're in very serious crap right now.</dialogue> <scene_description>He ca n't quite hide his tackiness . -RRB- DAVID holds the door for GRIERSON - then sees an old woman coming towards him . He waits for her to go through , and due to his sweetness , is again left behind . He rushes to catch up . They are now passing the reception counter cum gallery shop . DAVID exchanges smiles with the cashier , ANNIE . Very bubbly , not very bright . The shop is full of Whistler 's Mother memorabilia - posters , cards , porcelain statuettes .</scene_description> <character>GRIERSON</character> <dialogue>So. I'm wondering if one of you would have this guy stay in your home instead of some expensive hotel.</dialogue> <character>BERNIE</character> <dialogue>Love to, sir, but no can do. No spare room. Period.</dialogue> <character>GRIERSON</character> <dialogue>David?</dialogue> <character>DAVID</character> <dialogue>Oh, look, I mean, it's kind of the last thing. I mean, I'd really like to, but. things at home are kind of sensitive, so I could n't really er.</dialogue> <character>GRIERSON</character> <dialogue>I thought perhaps as Vice - President, and in view of the unfortunate attendance's for the summer show this year. the MASSIVE financial LOSS.</dialogue> <character>DAVID</character> <dialogue>on the other hand. maybe a breath of fresh air is just what my family needs. Yes. Great news. Fabulous. Triumphant. Course it might need a little smoothing over. When's he due?</dialogue> <scene_description>GRIERSON hands DAVID a piece of paper .</scene_description> <character>GRIERSON</character> <dialogue>Tomorrow. You have a problem with that?</dialogue> <scene_description>PAUSE</scene_description> <character>DAVID</character> <dialogue>No. Perfect. Looking forward to it.</dialogue> </scene> <scene> <stage_direction>INT. LONDON. PHOTO BOOTH. DAY.</stage_direction> <scene_description>The camera faces Mr BEAN sitting in a Photo booth . His face is totally impassive for 1 , 2 , then 3 flashes . And then , just before the 4th flash , he pulls the biggest , maddest face you 've ever seen . Flash ! He gives a little Satisfied giggle .</scene_description> </scene> <scene> <stage_direction>EXT. THE LEARY HOUSE - DAY</stage_direction> <scene_description>7 p.m. California time . A pleasant suburban house . DAVID 's car pulls into the drive . JENNIFER , his slightly Gothic 16 year old daughter , is kissing BRAD , her scruffy boyfriend . He sits astride a motor scooter . He has a bum - fluff moustache . DAVID gets out of his car and approaches them .</scene_description> <character>DAVID</character> <dialogue>Hi, Jennifer. How was school?</dialogue> <parenthetical>( she does n't break the kiss with Brad . )</parenthetical> <dialogue>oh really? That's good, great. Fantastic. We'll talk some more.</dialogue> <scene_description>The two continue kissing as DAVID moves on . He 's just about to head for the house when a swish convertible draws up at the curb . DAVID 's wife , ALISON , has been given a lift home by her young attractive boss , CHARLES . They are laughing in the car as DAVID walks up . He is slightly disturbed to see ALISON kiss CHARLES on the cheek before getting out with her port folio . CHARLES smiles pleasantly on seeing DAVID .</scene_description> <character>CHARLES</character> <dialogue>Hello, David.</dialogue> <character>DAVID</character> <dialogue>Hi, Charles.</dialogue> <parenthetical>( To Alison . )</parenthetical> <dialogue>Wow - late!</dialogue> <character>ALISON</character> <parenthetical>( brightly . )</parenthetical> <dialogue>I had to do some last minute stuff.</dialogue> <character>CHARLES</character> <dialogue>My fault. We've got a heavy load on at present. How about you, gallery going well?</dialogue> <character>DAVID</character> <dialogue>Ahm, well, you know ~ that's a tough question - on one' level I think it.</dialogue> <character>ALISON</character> <dialogue>Do n't ask him about work, Charlie. Life's too short.</dialogue> <scene_description>Alison is the same age as DAVID , but seems to have lasted the course better - she 's confident , in good shape . The atmosphere is awkward . JENNIFER screams out . Her 8 year old brother , KEVIN has sprung from the shrubbery and lassoed her and BRAD . ALISON goes over to sort them out .</scene_description> <character>ALISON</character> <dialogue>Kevin! You stop that right now!</dialogue> <character>CHARLES</character> <dialogue>Great kids. Good looking too.</dialogue> <character>DAVID</character> <dialogue>You think so? Well I ` spose they're pretty, you know. okay, looks - wise.</dialogue> <character>CHARLES</character> <dialogue>Take after their mother, huh?</dialogue> <character>DAVID</character> <dialogue>Ah. absolutely.</dialogue> <scene_description>DAVID is not very happy here .</scene_description> </scene> <scene> <stage_direction>INT. THE LEARY HOUSE. KITCHEN - DAY</stage_direction> <scene_description>It is open plan and leads through into the lounge . DAVID and ALISON enter . ALISON puts her port folio on the table and leads DAVID onto a sofa . She puts her arms round him .</scene_description> <character>ALISON</character> <dialogue>Let's take a break, David. This weekend, why do n't we just get into the car and drive to the coast. Find a motel. Like before the kids were born. Go to a fairground. Win me another Bambi.</dialogue> <scene_description>She reaches across and picks up a little ceramic Bambi on a table next to the couch .</scene_description> <character>ALISON</character> <dialogue>Jennifer can stay and look after Kevin</dialogue> <character>DAVID</character> <dialogue>Sounds great. Excellent. Though -, Ahm. there's this guy who's coming to work at the Gallery, from England.</dialogue> <character>ALISON</character> <parenthetical>( SUSPICIOUSLY . )</parenthetical> <dialogue>Yeeees?</dialogue> <character>DAVID</character> <dialogue>And they asked me if we'd like to. you know. put him up for a while.</dialogue> <character>ALISON</character> <dialogue>There are n't hotels?</dialogue> <character>DAVID</character> <dialogue>Yes, there are hotels. They just thought maybe it'd be nice for him to stay with a real American family. Popcorn, waffles, all that stuff.</dialogue> <character>ALISON</character> <parenthetical>( POINTEDLY . )</parenthetical> <dialogue>And what did you say?</dialogue> <character>DAVID</character> <dialogue>I said I'd check with you.</dialogue> <scene_description>She looks at him piercingly . This clearly happens a lot . She knows when he 's telling the truth . Pause .</scene_description> <character>DAVID</character> <dialogue>Then I said ` yes'.</dialogue> <scene_description>She puts Bambi carefully back on the table , gets up and moves to the kitchen . DAVID follows .</scene_description> <character>ALISON</character> <dialogue>Do we know anything about him?</dialogue> <character>DAVID</character> <dialogue>Ahm - he's male. He's English. He's a doctor of er. at least 2 things. I think they would have mentioned if he was a blind dwarf. Or one of those guys who kills lots of people all the time. I think we're looking at someone moderately normal here.</dialogue> <character>ALISON</character> <dialogue>David - are you ever going to learn to say ` no'?</dialogue> <character>DAVID</character> <dialogue>Yes. Yes.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Sometime.</dialogue> <scene_description>She shakes her head .</scene_description> <character>ALISON</character> <dialogue>It's the last thing we need.</dialogue> <character>DAVID</character> <dialogue>That's exactly what I said. before I said - Great, it's a sensational idea.''</dialogue> <scene_description>He knows he 's made a mess here . Enter KEVIN , their smart young son , strolling through .</scene_description> <character>KEVIN</character> <dialogue>Hiya Dad ~ I'll need you upstairs for homework in about.</dialogue> <parenthetical>( checks watch . )</parenthetical> <dialogue>oh, 20 minutes.</dialogue> <character>DAVID</character> <dialogue>Great, good.</dialogue> <scene_description>And KEVIN exits .</scene_description> <character>DAVID</character> <dialogue>Did n't kids do their own homework, like way back? Years ago? No. Course not. Just imagining it.</dialogue> <scene_description>ALISON is n't really listening . Much tension .</scene_description> </scene> <scene> <stage_direction>EXT. MR. BEAN'S BED-SIT - NIGHT</stage_direction> <scene_description>9.30 p.m. U.K. time . A black London taxi is parked outside a terraced house with its motor idling . Its driver looks fed up waiting . BEAN appears at a downstairs window , motioning to his watch that he will not be long .</scene_description> </scene> <scene> <stage_direction>INT. MR. BEAN'S BED-SIT - DAY</stage_direction> <scene_description>MR. BEAN is ready to leave his room . Battered old suitcase in hand , he checks the room from the doorway . Every conceivable thing that can be opened - cupboards , drawers , fridge - sports an oversized padlock . Even Bean 's old G.P.O. phone has one on its dial . BEAN looks across to his TEDDY , who is lounging on a miniature chair , inside an up - sided cardboard box . The box is sits on an armchair . A hand - written sign , taped to its roof reads : ` TEDDY HOTEL ' followed by three stars . A smaller sign informs us that the hotel is : ` FULL ' . BEAN is just about to leave but stops to consider . Taking a felt tipped pen , he adds two more stars on the hotel hoarding , as a treat . He then , slightly , incomprehensibly , begins to tie string it around various objects in the flat . The fridge - the corner of a chair , a couch leg .</scene_description> </scene> <scene> <stage_direction>INT. MR. BEAN'S RESIDENCE'S HALLWAY ~ DAY</stage_direction> <scene_description>BEAN leaves his flat . lee notice a large official sign stuck on the door saying ` NO SMOKING '' . He now turns his attention to the pieces of string hanging out the letter box in his door . Grabbing the bunch of them , he pulls . CUT TO back inside the flat . we now understand the string - as all the furniture starts to move across the flat . It works incredibly neatly the chair reaches the door BEAN acts fast . He takes the cigar - and quickly dunks it in the old woman 's cup of tea . He sits there , guiltlessly , as the Grand Man returns . Simultaneously , the man tries to suck the wet cigar , and the Old woman drinks the disgusting tea . A horrid experience for both .</scene_description> </scene> <scene> <stage_direction>INT. AEROPLANE - DAY.</stage_direction> <scene_description>Boarding time . BEAN enters the plane and turns right , into the body of the plane . After walking right down the plane , he is directed by a hostess back up to first . As he walks back , we notice the ' ridiculous contrast , from totally cramped accommodation with hundreds of children and muzak , to the elegance , and space of First class . BEAN could n't be more thrilled . There follows a sequence of short moments from this nightmare flight . 1 / The Old Tea - Drinking Lady is being helped with her , luggage . A hostess slides it into the compartment above her head .</scene_description> <character>OLD LADY</character> <dialogue>Be careful. It's for my Grand - daughter.</dialogue> <scene_description>The next instant BEAN comes up with his case . He opens the same locker , and tries to fit his case in . Does n't quite go - so he pushes it violently . We hear crunching cracking sounds . Finally , it 's almost there - BEAN slams the locker door . One final definitive , though muffled , smash . The OLD LADY looks at BEAN suspiciously . 2 / BEAN sits down - and who should be his next door neighbour ? The Grand Man , whose name is REYNOLDS . BEAN smiles merrily . The affection is not mutual . Champagne comes round instantly . BEAN takes it , along with a small bowl of nuts , and clinks glasses with his unsmiling partner . BEAN tries to impress him by throwing nuts up into the air and catching them in his mouth -LRB- a well practised art -RRB- . No response . BEAN then switches on the noisy overhead air blower . Then ca n't turn it down again . It 's very stuck . He manages however to push it away from his face - straight into REYNOLDS ' . REYNOLDS looks annoyed , BEAN guiltless . Then ` BEAN has an idea . He takes a tissue out of his pocket , puts in his mouth , chews it into a spitball And rams it into the blower . Both of them are relieved . REYNOLDS picks up his champagne to have his first proper sip . And whapp ! The spitball , under high pressure , shoots into it , sending champagne spraying all over REYNOLDS . Not a good start . 3 / - BEAN is reading the in - flight magazine . There 's an annoying sound . He looks sideways - it is the headphones of the YOUNG BOY in the seat across the aisle . He 's fallen asleep with his headphones on . BEAN looks annoyed . Then suddenly decides to cut his fingernails with a little pair of scissors he carries . He holds out his hand to snip the nail - and accidentally on purpose simply cuts the wire of the boy 's headset . That 's better . 4 / Night . Wide shot of the plane - everyone is asleep except one pool of light . It 's Mr BEAN still up , reading . But even he is wilting . His eyes close , and his body starts to waver towards sleep . Next to him , REYNOLDS is in a total lying position - and unfortunately , as BEAN slowly tips over , his mouth comes into direct contact with REYNOLDS ' flies . From across the compartment , a hostess sees what 's happening . She 's shocked , comes over and taps BEAN on the , , shoulder . He shoots up , and nearly strangles her in shock . She calms him down , shows him how to put his chair back - and leaves him to sleep . CUT ON . 5 / REYNOLDS still asleep . With BEAN asleep completely on top of him . Completely . His hand is spread on REYNOLDS ' face . REYNOLDS ' eyes open . He sees what 's happened . His arm goes up and rings for the Hostess . 6 / Morning has broken . REYNOLDS is still trying to sleep - BEAN is wide awake . The Hostess approaches , and the MOTHER of the YOUNG BOY says her son is n't very well . BEAN decides to cheer him up . He mimes an aeroplane which makes the boy feel more ill . Then does a rather good lizard impersonation by sticking bits of paper to his tongue and eye - lids and fluttering them . He then brings out a scrunched up bag of Dolly Mixtures and does his trick of throwing a sweet in the air and catching it in his mouth . The boy is too ill to be impressed . BEAN tries to cheer him up with his imaginary gun pretending to be a cowboy and then a tough American Cop . Nothing . Then he has an extremely fun idea . He empties the Dolly Mixtures from the paper bag and pockets them . He then blows up the empty bag and is about to pop it to wake REYNOLDS , when he sees it 's got a hole in it . No fun . Meanwhile , the Boy has taken out his sick - bag . BEAN is delighted - yes , that 's perfect . He turns away for a split second to scrunch up the useless bag , while , unseen to him , the boy vomits into his bag . BEAN turns , grabs the bag from him - blows into it , puts it right into REYNOLDS ' face at arms length , and smacks his hands together . CUT at just the right moment .</scene_description> </scene> <scene> <stage_direction>INT. AMERICAN AIRPORT. ARRIVALS - NIGHT</stage_direction> <scene_description>The traditional exit area . A random bunch of people are waiting - relatives , limousine drivers - and , rather strangely , three 30 year old women dressed in curly red wigs from the musical , ` Annie ' . The LEARYS are at the barrier . KEVIN has a cardboard sign with ` MR. BEAN ' written on it . People are streaming out of the Arrivals gate . ALISON is not happy . Actually no one is . JENNIFER looks particularly fed up .</scene_description> <character>DAVID</character> <dialogue>For all you know, he may be a very attractive young man.</dialogue> <character>JENNIFER</character> <dialogue>Oh come on - the guy's going to be a creep. All Englishmen are ugly.</dialogue> <character>DAVID</character> <dialogue /> <scene_description>What makes you say that ?</scene_description> <character>JENNIFER</character> <dialogue>All the guys they claim are English to and good - looking like Dan Day - Lewis and Liam Neeson, turn out to be Irish. Even Anthony Hopkins is welsh. Prince Charles is so ugly they pay him two million bucks a year to stay indoors.</dialogue> <character>DAVID</character> <dialogue>Richard Burton was very good - looking.</dialogue> <character>JENNIFER</character> <dialogue>Welsh.</dialogue> <character>DAVID</character> <dialogue>Sean Connery.</dialogue> <character>ALISON</character> <dialogue>Scottish.</dialogue> <character>DAVID</character> <dialogue>Tom Jones?</dialogue> <character>JENNIFER</character> <dialogue>Welsh again.</dialogue> <character>DAVID</character> <dialogue>Okay, so the guy's gon na look like Meatloaf's backside. No - one's asking you to go to bed with him.</dialogue> <scene_description>JENNIFER glares at him . A tired ALISON has had enough of this waiting already .</scene_description> <character>ALISON</character> <dialogue>Bed sounds good though. Bed sounds great.</dialogue> </scene> <scene> <stage_direction>INT. AMERICAN AIRPORT. CONVEYER - NIGHT</stage_direction> <scene_description>BEAN , is off the plane . REYNOLDS strides ahead of him , a huge wet patch in a semi - circle around his neck . BEAN comes to a moving walkways . He steps on to it sheepishly , thinking it 's very daring and brave , gripping the handrail as though he was travelling at 100 mph . But soon he gains greater confidence . He stands up straight , both hands off the rail . There are a couple of COPS leaning against a wall , chatting . BEAN notices their guns . Slipping into role - play mode , he reaches into his breast pocket , ready to bring out his imaginary shooter . The last security guard he tried this with just yawned ~ so BEAN thinks it 's safe . But this time , the COPS turn and stare at him tensely . Flustered by their interest in him , BEAN needs to get away . He turns , but finds that he is walking in the opposite direction , on the spot . The COPS read this as suspicious behaviour and move towards him suspiciously . BEAN turns to gets himself going in the right direction . The COPS follow . BEAN runs . The COPS give chase .</scene_description> </scene> <scene> <stage_direction>INT.'AMERICAN AIRPORT. ARRIVALS - NIGHT</stage_direction> <scene_description>A little BALD MAN arrives at the barrier . The three red wigged clones from the musical , ` Annie ' swamp him with shrieks and kisses . The LEARYS are getting impatient .</scene_description> <character>KEVIN</character> <parenthetical>( bored . )</parenthetical> <dialogue>Who do you think is the ugliest guy who ever lived.</dialogue> <character>DAVID</character> <dialogue>Well, Michael Bolton's pretty grisly.</dialogue> <character>KEVIN</character> <dialogue>I vote for Bart.</dialogue> <character>JENNIFER</character> <dialogue>Shut up, Kevin.</dialogue> <character>KEVIN</character> <dialogue>NO, seriously - I know he's your boyfriend, but there's something about his upper lip that is so weird. What do you think it is, Dad? Jen says it's a moustache, I say it's a cluster of about 11 mosquitoes, resting.</dialogue> <character>JENNIFER</character> <dialogue>You know the thing I hate most about children?</dialogue> <character>KEVIN</character> <dialogue>Nope.</dialogue> <character>JENNIFER</character> <dialogue>You.</dialogue> </scene> <scene> <stage_direction>INT. AMERICAN AIRPORT. CORRIDOR - NIGHT</stage_direction> <scene_description>BEAN is running down the busy corridor with the two COPS in pursuit . They draw their guns . Two more COPS appear , coming from the opposite direction . BEAN is trapped . He drops his case .</scene_description> <character>COP 1</character> <dialogue>Police! Stop or we shoot!</dialogue> <scene_description>Passers - by scream and throw themselves to the floor . BEAN freezes on the spot , terrified . All four COPS have their guns trained on him in the shooting position .</scene_description> <character>COP 1</character> <dialogue>Carefully take out your weapon, holding the butt with two fingers only. Slowly place it on the floor and take three paces back!</dialogue> <scene_description>Dead slowly , BEAN puts his hand into his inside jacket pocket and brings it back out made in the shape of a gun . He slowly transfers that imaginary item to the finger and thumb of his left hand . He bends down and places it on the floor then takes three paces back . He gives out a big breath after the effort of it all . The COPS just stare at him , gob - smacked . Little OLD LADY from plane steers up from nowhere . She rattles her box of broken china and kicks BEAN in the shins . Things are not going his way .</scene_description> </scene> <scene> <stage_direction>INT. AMERICAN AIRPORT. POLICE INTERVIEW ROOM - NIGHT</stage_direction> <scene_description>Bright and clinical . Close on BEAN sitting behind a table ; a very small man in very big trouble . Behind him , two uniformed COPS stand guard . A large , black plain clothes detective sits opposite , smoking a cigarette . This is BRUTUS . He studies BEAN 's passport photo . It 's the baboon face . He holds it up to bean 's face to make a comparison . BEAN pulls the face to match the photo .</scene_description> <character>BRUTUS</character> <dialogue>Mr. Bean. Are you presently on any kind of medication at all?</dialogue> <scene_description>BEAN thinks deeply for a moment then shakes his head .</scene_description> <character>BRUTUS</character> <dialogue>You could certainly use some.</dialogue> </scene> <scene> <stage_direction>INT. AMERICAN AIRPORT. ARRIVALS - NIGHT</stage_direction> <scene_description>ALISON , JENNIFER and KEVIN are slumped in seats near the barrier . DAVID walks up .</scene_description> <character>ALISON</character> <dialogue>What did they say?</dialogue> <character>DAVID</character> <dialogue>Well, they're kind of busy but it does n't look like.</dialogue> <character>ALISON</character> <dialogue>Did you really ask?</dialogue> <character>DAVID</character> <dialogue>I'm not sure I got the right person but they were a bit busy.</dialogue> <character>ALISON</character> <dialogue>What's wrong with you, David? All you have to do is say, Excuse me, I've been sitting here since the start of the Millennium and I'd really like some action from you before the end of the world. I'll go.</dialogue> <character>DAVID</character> <dialogue>No, no. I'11 try again.</dialogue> <character>ALISON</character> <dialogue>I said, I'11 go.</dialogue> <scene_description>She goes . KEVIN shakes his head disappointedly al , - his father . DAVID slumps down on the seat . He overhears JENNIFER flirting with an incredibly undesirable bloke in a leather jacket - white , with Rasta hair extensions , and about sixty rings in his nose . -LRB- This is STINGO -RRB- .</scene_description> <character>JENNIFER</character> <dialogue>So. where do your parents live?</dialogue> <character>STINGO</character> <dialogue>My parents are dead.</dialogue> <scene_description>DAVID is pretty confident that he knows who killed them .</scene_description> <character>JENNIFER</character> <dialogue>Yeah, so are mine.</dialogue> </scene> <scene> <stage_direction>EXT. AMERICAN AIRPORT. TAXI RANK. NIGHT</stage_direction> <scene_description>COP 1 puts BEAN in the back of a taxi with his case . He takes some dollar notes from his own wallet and hands them to the driver .</scene_description> <character>COP 1</character> <dialogue>Just get him the hell out of here, will ya?</dialogue> <scene_description>He slams the door and the taxi drives away .</scene_description> </scene> <scene> <stage_direction>INT. AMERICAN AIRPORT-. ARRIVALS - NIGHT</stage_direction> <scene_description>The LEARYS are all asleep in eccentric positions on the seats . JENNIFER 's head is resting on STINGO 's leg . Kevin 's cardboard sign with ` MR. BEAN , written on it falls from his lap to the floor .</scene_description> </scene> <scene> <stage_direction>EXT. THE LEARY HOUSE - NIGHT</stage_direction> <scene_description>The taxi draws up outside the house . BEAN gets out with his case . The CAB DRIVER is strangely friendly .</scene_description> <character>CAB DRIVER</character> <dialogue>Thanks man, I ca n't tell you how much I appreciate talking to ya. In this job you get so many jerks spilling their guts all over ya, with their stupid problems. But you, you're a great listener, ya know that?</dialogue> <scene_description>BEAN smiles politely . Taxi drives away . BEAN walks up to ' the front porch , checks the house number on his piece of paper and presses the doorbell . No answer . Presses again . Still no answer . Now where have they hidden the key . He inspects things carefully . The camera sees what he sees . the doormat , the flowerpot , the window - ledge . and then he spots a little stone frog . BEAN smiles . Key hiding is something he knows about - and people are pathetically obvious about it . BEAN picks up the FROG to reveal the front door key . It glints in the porch - light .</scene_description> </scene> <scene> <stage_direction>INT. THE LEARY HOUSE. HALLWAY - NIGHT</stage_direction> <scene_description>BEAN lets himself in . The pre - alarm buzzer goes off quietly . He has 15 seconds before the alarm goes off proper . He strolls confidently to where the alarm control unit obviously is . under the stairs . Close - up of flashing L.E.D. Again , BEAN looks carefully and finds the magnetic box , housing a little key , attached to the underside of the console . Just as the alarm goes off , for the splittest of a secondette , he turns the key in its slot . and is safe . BEAN finds the switch and turns on the hall light . He switches it off again . then on . Then rapidly clicks it on and off repeatedly.Fun .</scene_description> </scene> <scene> <stage_direction>EXT. THE LEARY HOUSE - NIGHT</stage_direction> <scene_description>Shot from across the street , with all the house lights flashing off and on madly .</scene_description> </scene> <scene> <stage_direction>INT. THE LEARY HOUSE. LOUNGE - NIGHT</stage_direction> <scene_description>BEAN stands in front of the television , looking a little annoyed about the fact that the remote control in his hand is having no effect at all . He stabs at it randomly .</scene_description> </scene> <scene> <stage_direction>EXT. THE LEARY HOUSE - NIGHT</stage_direction> <scene_description>The garage doors are swinging open and closed rhythmically .</scene_description> </scene> <scene> <stage_direction>INT. DAVID'S CAR - NIGHT</stage_direction> <scene_description>KEVIN and JENNIFER are asleep in the back . DAVID drives in silence , Alison next to him . Uneasy atmosphere . DAVID stabs at buttons on the car radio .</scene_description> <character>ALISON</character> <dialogue>It is n't working any more, David.</dialogue> <character>DAVID</character> <dialogue>I know - I'11 take it in to George tomorrow' - he'll fix it. Stupid thing.</dialogue> <scene_description>HE SWITCHES IT OFF .</scene_description> <character>ALISON</character> <dialogue>No, US. It's not working any longer - you and me.</dialogue> <scene_description>Pause . DAVID 's now heard it completely . He takes his eyes off the road and stares at ALISON a moment too long . A car 's horn snatches back his attention .</scene_description> <character>DAVID</character> <dialogue>Jesus.</dialogue> <character>ALISON</character> <dialogue>I need some time, David. A little time. It's not just you. It's partly me.</dialogue> <character>DAVID</character> <dialogue>But in general. it's. mostly me, right?</dialogue> <scene_description>Pause . Single shot of Alison and David . She does n't answer . He is destitute .</scene_description> </scene> <scene> <stage_direction>INT. THE LEARY HOUSE. HALLWAY - NIGHT</stage_direction> <scene_description>BEAN wanders down the stairs in his pyjamas . He sees a walkman - and puts it on happily . He moves to the rhythm . He locks the door , turns on the alarm and turns off the hall light .</scene_description> </scene> <scene> <stage_direction>EXT. THE LEARY HOUSE - NIGHT</stage_direction> <scene_description>DAVID 's car turns into the drive just as the hall light goes off . -LRB- For the next few minutes , knife - edged timing 0 is all -RRB- . The LEARYS sleepily get out of the car and approach the house . DAVID brings out his door key .</scene_description> </scene> <scene> <stage_direction>INT. THE LEARY HOUSE. UPSTAIRS LANDING - NIGHT</stage_direction> <scene_description>The exact moment the key turns in the lock , BEAN , still wearing headphones , disappears into a bedroom with a little ceramic sign on it saying : ` GUEST ROOM ' . The exhausted family enter an apparently untouched house . KEVIN turns on the stairs light , climbs to his room off the landing and closes the door on which a sign reads : ` KEVIN ' . At that instant BEAN walks out , looking for the bathroom with his wash bag . He looks up at the light . It should not be on . He frowns , turns it off and exits to bathroom . At which precise moment JENNIFER , zombie - like , is halfway up the stairs</scene_description> <character>JENNIFER</character> <dialogue>Thanks a lot, Kevin!</dialogue> <scene_description>JENNIFER goes into her room . The sign reads : ` JENNIFER ' . ALISON turns on the light and climbs the stairs . David heads into the kitchen . They exchange a sad look . She goes into their bedroom : the sign reads : ` GRUPS ' . At which instant , BEAN , still wearing headphones , leaves the bathroom , and heads downstairs .</scene_description> </scene> <scene> <stage_direction>INT. THE LEARY HOUSE. KITCHEN - NIGHT</stage_direction> <scene_description>The light is on . DAVID takes a deep breath . Bad night . He picks up an empty coffee jar , sighs and goes into the pantry a full one . BEAN enters . He opens the refrigerator and he studies the food on offer . Nothing he fancies . then BINGO ! He sees a little plate of 3 strawberries . He eats one , then two , then pops the third into his mouth . It tastes a bit off , so he takes it out of his mouth , puts it back on the plate , closes the fridge door , and exits . just as DAVID comes out of the pantry . Close on BEAN 's hand as it comes round the door frame and turns off the light . DAVID , on the move , stubs his toe on a chair . He groans in pain , limps to the fridge . He spots the lone , already sucked strawberry and pops it into his mouth .</scene_description> </scene> <scene> <stage_direction>INT. THE LEARY HOUSE. D &amp; A'S BEDROOM - NIGHT</stage_direction> <scene_description>ALISON is watching T.V. in bed with the remote control . DAVID enters with orange juice and puts it down by his side of the bed .</scene_description> <character>DAVID</character> <dialogue>The lights blown in the kitchen. I'll fix it tomorrow.</dialogue> <scene_description>They 're not a happy couple . She concentrates on the TV even turns it up a little .</scene_description> </scene> <scene> <stage_direction>INT. THE LEARY HOUSE. BATHROOM - NIGHT</stage_direction> <scene_description>BEAN turns on the basin 's cold faucet . It gushes noisily .</scene_description> </scene> <scene> <stage_direction>INT. THE LEARY HOUSE. D &amp; A'S BEDROOM - NIGHT</stage_direction> <scene_description>Close on Letterman on the TV . The noise from it drowns out any noise from the bathroom . -LRB- The bathroom has two doors - one into DAVID and ALISON 's bedroom , the other onto the landing -RRB- .</scene_description> </scene> <scene> <stage_direction>INT. THE LEARY HOUSE. BATHROOM - NIGHT</stage_direction> <scene_description>BEAN ca n't hear the T.V. because of his headphones . He takes out his toothbrush but notices an electric one on a shelf with spare brush heads . He 's intrigue . He swaps the heads and enjoys cleaning his teeth with this clever modern implement . - He puts the electric brush down and checks his teeth in the mirror . He has forgotten to turn off the brush and so it vibrates off the sink and lands in the toilet . Bean fishes it out and places it back on the shelf where he found it . He turns off faucet , then exits , turning out the light . DAVID enters and turns the light on again . He takes down the toothbrush and cleans his teeth . He calls through the bedroom door .</scene_description> <character>DAVID</character> <dialogue>That poor guy, Bean. He's probably still sitting at London Airport!</dialogue> <scene_description>He finishes his teeth then runs the hot faucet . He exits to bedroom as BEAN enters from hall with dirty socks .</scene_description> </scene> <scene> <stage_direction>INT. THE LEARY HOUSE. D &amp; A'S BEDROOM - NIGHT</stage_direction> <scene_description>ALISON is still watching T.V. . The volume is getting to DAVID .</scene_description> <character>DAVID</character> <dialogue>Alison, please.</dialogue> </scene> <scene> <stage_direction>INT. THE LEARYS' HOUSE. BATHROOM ~ NIGHT</stage_direction> <scene_description>BEAN is just finishing washing his socks in David 's water . He rings the dirty water from them , and exits . DAVID enters in his under shorts . He checks his tired eyes in the mirror then washes his face in the basin water without looking .</scene_description> </scene> <scene> <stage_direction>INT. THE LEARY HOUSE. LANDING ~ NIGHT</stage_direction> <scene_description>BEAN notices a framed photograph on the wall . It is of the LEARY family . They are grouped outside their house . It is a very happy picture . BEAN smiles at it . He takes it off the wall and takes it into a bedroom . As the door quietly closes we see the sign : ` JENNIFER ' .</scene_description> </scene> <scene> <stage_direction>INT. THE LEARY HOUSE. D &amp; A'S BEDROOM - NIGHT</stage_direction> <scene_description>Lights are out . DAVID and ALISON in bed . The latter is facing away .</scene_description> <character>DAVID</character> <dialogue>I need to make a confession. I know you're awake. Please, it's important.</dialogue> <scene_description>-LRB- Long pause -RRB-</scene_description> <character>ALISON</character> <parenthetical>( without stirring . )</parenthetical> <dialogue>Go ahead.</dialogue> <character>DAVID</character> <dialogue>I had the last strawberry in the refrigerator.</dialogue> <scene_description>ALISON smiles in spite of herself . She turns over and puts her arm around DAVID . She gets up close to his face .</scene_description> <character>ALISON</character> <dialogue>There were three strawberries.</dialogue> <character>DAVID</character> <dialogue>One.</dialogue> <character>ALISON</character> <dialogue>Liar.</dialogue> <character>DAVID</character> <dialogue>0h Ali we can work this thing out, you know.</dialogue> <scene_description>ALISON smiles , sleepily , and goes to kiss him . She stops and sniffs . Thoroughly put off , she rolls over and closes her eyes .</scene_description> <character>DAVID</character> <dialogue>Ali? What's wrong?</dialogue> <character>ALISON</character> <dialogue>Your face smells like a foot.</dialogue> </scene> <scene> <stage_direction>EXT. THE LEARY HOUSE - DAY</stage_direction> <scene_description>The next morning . Shot from across the street : A newspaper boy delivers . Birds sing . It 's a lovely , peaceful , early morning . Then . a terrifying girl 's scream pierces the quiet .</scene_description> </scene> <scene> <stage_direction>INT. THE LEARY HOUSE. UPSTAIRS LANDING - DAY</stage_direction> <scene_description>The whole family charges out onto the landing . JENNIFER hurtles out of her room screaming . She barges through the family and locks herself in the bathroom .</scene_description> <character>ALISON</character> <dialogue>What is it? Jennifer!</dialogue> <character>JENNIFER</character> <parenthetical>( 0 .</parenthetical> <parenthetical>O.V . )</parenthetical> <dialogue>. There's a man. there's a man. there's a man in my.</dialogue> <character>DAVID</character> <dialogue>Honey, calm down now. it's okay.</dialogue> <character>JENNIFER</character> <parenthetical>( p.o.v . )</parenthetical> <dialogue>There's a man. I woke up next to a man.</dialogue> <character>KEVIN</character> <dialogue>It would n't be the first time.</dialogue> <character>ALISON</character> <dialogue>Shut up, Kevin.</dialogue> <parenthetical>( to Jennifer . )</parenthetical> <dialogue>Honey, you - re not making sense.</dialogue> <character>DAVID</character> <dialogue>It's okay. There's no one out here. Just open the door. Trust me.</dialogue> <scene_description>Pause . then a click of the bathroom lock . Jennifer comes out . Then there 's another click . BEAN breezes out of Jennifer 's bedroom , past the family , in his pyjamas , carrying a wash bag and a towel over his arm . He waves to them friendly , slips into the bathroom and closes the door . The family stare in amazement .</scene_description> </scene> <scene> <stage_direction>INT. THE LEARY HOUSE. KITCHEN - DAY</stage_direction> <scene_description>The family , now dressed for work and school , are having breakfast at the kitchen table . After an uncomfortable silence :</scene_description> <character>KEVIN</character> <dialogue>He makes Prince Charles look kind of handsome.</dialogue> <character>ALISON</character> <dialogue>He ca n't stay here, David.</dialogue> <character>DAVID</character> <dialogue>Okay. It's not a problem. Let's just sit. I'11 talk to the gallery.</dialogue> <character>ALISON</character> <dialogue>David, I'm serious!</dialogue> <character>DAVID</character> <dialogue>I know you are. Very serious. most of the time these days.</dialogue> <character>ALISON</character> <dialogue>Now what does that mean? My daughter wakes up with a strange man in her bed, and I'm supposed to think it's amusing?</dialogue> <parenthetical>( looks at his tie . )</parenthetical> <dialogue>That tie's God - awful. Why do you wear it?</dialogue> <scene_description>DAVID is thrown . He looks down at his tie . JENNIFER looks grumpy . KEVIN is eating happily . BEAN enters , dressed , carrying a plastic carrier bag . He acknowledges the family with a grunt and a smile .</scene_description> <character>DAVID</character> <dialogue>Ah, Mr Bean.</dialogue> <character>BEAN</character> <dialogue>Excuse me.</dialogue> <scene_description>He moves to the phone , checks his watch and dials quickly .</scene_description> </scene> <scene> <stage_direction>INT. BEAN'S BED-SIT - ENGLAND - NIGHT</stage_direction> <scene_description>The ancient G.P.O. phone starts to ring on a small table . -LRB- The following takes place in a matter of seconds -RRB- . On the table are two , large , shiny , hard backed books , wedged up at one end and sloping away at right angles to one another . Each book has a pair of rulers set , parallel to one another , in Play - Doh . They each form a canal . Between one pair of rulers sits a small box of salt . Between the other pair is a miniature bust of BEETHOVEN . As the phone continues to ring and vibrate the table , these items judder along the canal , an inch at a time . The box of salt teaches the bottom of the book and topples over the edge of the table . -LRB- The BEETHOVEN bust ' teeters on the edge of its book -RRB- . The salt lands in a plastic funnel , taped to the top of a bamboo stick . The bottom of the stick sits on the BBC 2 button of a T.V. remote control . Close - up of its infrared L.E.D. as it flashes once . The phone stops ringing . the T.V. comes on at the start of a documentary about grizzly bears . A voice - over begins a narration . close on TEDDY sitting in his cardboard box hotel . Flickering light from the T.V. plays on his face .</scene_description> </scene> <scene> <stage_direction>INT. THE LEARY HOUSE. KITCHEN - DAY</stage_direction> <scene_description>Bean hangs up happily , then approaches the toaster , stuffs a pair of wet socks into it and pulls down the start lever . Satisfied , he now turns to the family .</scene_description> <character>BEAN</character> <dialogue>Now - can I help?</dialogue> <scene_description>They just stare , dumb - founded .</scene_description> </scene> <scene> <stage_direction>EXT. THE LEARY HOUSE - DAY</stage_direction> <scene_description>DAVID and BEAN arrive at the car and get in . DAVID heads out of the drive at a reasonable speed . BEAN suddenly yanks on the hand - brake . DAVID 's head hits the windshield with a sickening thud . BEAN reaches for and fastens his seat belt . He looks to DAVID . DAVID gives BEAN a pained look . What planet does he come from ? He fastens his own seat belt while BEAN wonders why it 's all taking so long .</scene_description> </scene> <scene> <stage_direction>EXT. THE GRIERSON GALLERY. CAR PARKING - DAY</stage_direction> <scene_description>It 's a rather fancy building . Like a little Guggenheim DAVID parks by a large , expensive , looking car . BEAN opens his door and it bangs - hard against the pristine body work .</scene_description> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY. RECEPTION AREA - DAY</stage_direction> <scene_description>As BEAN and DAVID enter through the swing doors they meet ANNIE , the very bubbly girl in charge of entrance tickets at the reception cum shop counter .</scene_description> <character>ANNIE</character> <dialogue>Two dollars please.</dialogue> <character>DAVID</character> <dialogue>Annie, it's me.</dialogue> <character>ANNIE</character> <dialogue>Oh, right, yeah.</dialogue> <parenthetical>( to Bean . )</parenthetical> <dialogue>two dollars please.</dialogue> <character>DAVID</character> <dialogue>No, Annie, no. This is Doctor Bean. He's going to be working with us.</dialogue> <scene_description>BEAN frowns . That word ` doctor ' .</scene_description> <character>ANNIE</character> <dialogue>Oh, great. Usually we charge people two dollars to come in - but for people who work here, that would be 730 dollars a year, which is like, a lot of money, so we kinda like let them off. Hi.</dialogue> <scene_description>BEAN smiles at her .</scene_description> <character>ANNIE</character> <dialogue>He does n't like to say much does he?</dialogue> <character>DAVID</character> <dialogue>Right first time.</dialogue> <character>ANNIE</character> <dialogue>I can understand THAT. Neither do I.</dialogue> <scene_description>As BEAN and DAVID move on , BEAN gives ANNIE a 1ittle wave . She waves sweetly back . She cocks her head to one side and watches him go . She likes Mr. BEAN a lot .</scene_description> </scene> <scene> <stage_direction>INT. GRIERSON GALLERY. GROUND FLOOR- DAY</stage_direction> <scene_description>BEAN and DAVID arrive In the ground floor gallery . A few visitors are viewing the paintings . The acknowledge ELMER , the huge , ex - army , Security Man , sitting on a small chair by a wall , reading a newspaper . The pass two oldish ladies inspecting a painting</scene_description> <character>DAVID</character> <dialogue>You'll notice, our clientele is not totally young. I sometimes worry they're not really getting to grips with the art on a deep aesthetic level.</dialogue> <scene_description>Stay with the ladies as DAVID and BEAN head on .</scene_description> <character>OLD LADY 1</character> <dialogue>What do you think?</dialogue> <character>OLD LADY 2</character> <dialogue>0h yes - lovely - very nice.</dialogue> <character>OLD LADY 1</character> <dialogue>And what colour would you use for the curtains?</dialogue> <character>OLD LADY 2</character> <dialogue>Well, I thought the sort of blue in this one.</dialogue> <parenthetical>( she points to a gorgeous blue Matisse . )</parenthetical> <dialogue>And I thought the curtains in the bathroom would be nice in this yellow.</dialogue> <scene_description>And - they head on to a Van Gogh with a nice yellow in it . BEAN stops to admire a painting . It is Pre - Raphaelite in style , depicting a woman reclined on a bed in a castle chamber . She is wearing a chastity belt fastened with a small padlock , her breasts are concealed under a draped flag . It is a tasteful and romantic picture .</scene_description> <character>DAVID</character> <dialogue>Beautiful. ` HIS MISTRESS' by John Everett Millais, 1829 to 96. Know it?</dialogue> <scene_description>BEAN shakes his head . It 's the padlock he 's interested in he points at it and smiles . ANNIE walks up .</scene_description> <character>ANNIE</character> <dialogue>Excuse me. Mr Grierson called down. He's ready to see you upstairs.</dialogue> <character>DAVID</character> <dialogue>Thanks, Annie.</dialogue> <scene_description>ANNIE walks off back the way she came , looking at BEAN approvingly over her shoulder .</scene_description> <character>DAVID</character> <dialogue>Better go. Grierson hates people being late.</dialogue> <character>BEAN</character> <dialogue>Yes. Ahm. think I'11.</dialogue> <scene_description>He gestures that held like to tidy up a little . Brush his hair , etc. . BEAN waddles off after ANNIE clearly in need of relief . DAVID watches him go .</scene_description> <character>DAVID</character> <dialogue>Why me?</dialogue> </scene> <scene> <stage_direction>INT. GRIERSON GALLERY. CORRIDOR - DAY.</stage_direction> <scene_description>BEAN is catching up with ANNIE . She notices him following and coyly smiles to herself . She stops , turns round and grins . She thinks he has come to say something to her . BEAN stops dead in front of her - then turns sharp left into the men 's washroom . ANNIE 's smile fades .</scene_description> </scene> <scene> <stage_direction>INT. GRIERSON GALLERY. WASH ROOM - DAY</stage_direction> <scene_description>BEAN comes out of a booth . He tidies his hair and tie in a mirror . He pushes down the pressurised tap to wash his hands . It splashes terribly . The whole front of his trousers are soaked . The last thing you want when about to meet your new boss . Damn ! There now follow a quick , complicated piece of business . 1 / BEAN spots a paper - towel dispenser . He turns towards it at just the moment a man exits from a booth - BEAN turns back to the sink to hide his trousers , as the man swiftly does his hands , goes to the paper dispenser , and takes the last towel . Damn again . 2 / BEAN now puts his hope in a rolling towel . But it 's rather high . He has to jump to try to reach the trouser . At which point Another Man enters . Jumping BEAN has been caught in a very weird position . He pretends he has . chosen the Men 's Room as the place to do his rather energetic exercise routine . 3 / As the man leaves , he then tries to blow the patch dry with his mouth . Another Man enters . Again , BEAN is 1 compromised - pretends it 's even more exercises . That man also enters a booth . 4 / BEAN suddenly notices the hand drying machine ! He turns it on . A healthy blast of warm air . Annoyingly , it 's also rather too high . He tries jumping and bouncing to get his waist to the right height . It 's not going to work . Brainwave ! He climbs up on two sinks . Now the drier is blowing in exactly the right place . BEAN sways to let the air cover the whole area . It 's working excellently . 5 / At which moment , one of the men exits from a booth and sees him in the mirror . BEAN is in an immensely compromising sex - with - machine position . He pretends he 's there to change the light bulb above , which he takes out calmly and polishes . The man leaves , BEAN smiles . But as he exits , BEAN 's face transforms - he 's totally scalded his fingers on the scorching bulb . 6 / BEAN rushes to the sink , puts his fingers under the tap , pushes on the water - and soaks himself all over again . At which moment , DAVID enters , exasperated .</scene_description> <character>DAVID</character> <dialogue>Come on! Let's go!</dialogue> <scene_description>BEAN exits uneasily hunched to hide his wet patch . They enter the corridor , and he spots a newspaper .</scene_description> </scene> <scene> <stage_direction>INT. GRIERSON'S OFFICE - DAY</stage_direction> <scene_description>BEAN and DAVID enter . It 's a warm , formal . office . On the wall behind the desk is a full - size , framed poster of Whistler 's Mother . On a white background , at the base of the poster , a caption reads : ` THE GRIERSON GALLERY , HOME OF WHISTLER 'S MOTHER ' . Elsewhere , the walls are full of paintings . GRIERSON and BERNIE look up from a computer screen at DAVID and BEAN , who is , rather weirdly , carrying a newspaper in fronts of his flies . GRIERSON approaches David , and shakes his hand .</scene_description> <character>GRIERSON</character> <dialogue>Ah, David. Finally.</dialogue> <parenthetical>( CHECKS HIS WATCH DELIBERATELY . )</parenthetical> <dialogue>And this must be our professor from across the sea.</dialogue> <character>DAVID</character> <dialogue>Yes, this is Doctor Bean.</dialogue> <character>BEAN</character> <dialogue>Actually I'm not. er.</dialogue> <character>GRIERSON</character> <dialogue>This is Bernard Schimmel. Bernie the Doctor.</dialogue> <scene_description>BERNIE offers his hand . BEAN has to do a nifty handchange to free up the correct hand for the handshake . The newspaper stays firmly in place .</scene_description> <character>THOMAS GRIERSON</character> <dialogue>Ah ~ the Tribune - mind if I just.</dialogue> <scene_description>He reaches out to borrow the newspaper . BEAN has to squeeze in right next to the desk and sit behind it , before he can hand the paper over thus ensuring the continued invisibility of the wet patch . GRIERSON studies the paper for a second .</scene_description> <character>GRIERSON</character> <dialogue>Take a seat, gentlemen. although before we settle - feast your eyes on these.</dialogue> <scene_description>GRIERSON goes to a painting on a wall . DAVID and BEAN follow ~ BEAN about one inch from DAVID 's back , walking in perfect rhythm .</scene_description> <character>GRIERSON</character> <dialogue>Arthur Rackham. Originals of course. Got four of them. Check this out. Venus and the Cat, Aesop's Fables. Is n't that something?</dialogue> <scene_description>He heads towards said illustration on adjacent wall - and BEAN and DAVID follow , still totally glued together . A strange sight .</scene_description> <character>DAVID</character> <dialogue>They're beautiful, sir.</dialogue> <character>GRIERSON</character> <dialogue>Maybe. Hell of a price, I'11 tell you. Anyway - down to business.</dialogue> <scene_description>They head back to the desk - but Bean , in a momentary lapse of concentration fails to follow . He 's now stuck on the wrong side of the room , unable to turn around .</scene_description> <character>GRIERSON</character> <dialogue>Bernie was just showing me his new ideas for a cross - gallery computer system. Dr Bean - would you like to look at this? Very exciting stuff.</dialogue> <character>BEAN</character> <dialogue>Ahm. NO.</dialogue> <scene_description>GRIERSON is slightly surprised . But they persevere .</scene_description> <character>BERNIE</character> <dialogue>What I'm doing, Dave, is developing the ultimate user - friendly,' interactive public guide to the gallery.</dialogue> <scene_description>Punching buttons on the computer , he reveals wonderful maps of the gallery , and when clicking on sections of the map , graphic explanations of each rooms contents . Meanwhile . Bean has spotted a fan on the other side of the room . He moves around the room , always facing straight to the wall . When he reaches the fan , he switches it on : unfortunately it 's a rotating fan - so to keep the wind on his trousers , BEAN has to do a strange , rhythmic dancing movement , following the arc of the fan .</scene_description> <character>DAVID</character> <dialogue>It's very good Bernie.</dialogue> <character>BERNIE</character> <dialogue>But the particular glory of the system. is that it can also work oh large screens in each individual room - so we can network the program to every room in the gallery.</dialogue> <character>GRIERSON</character> <dialogue>Not bad, eh? What do you think, Doctor? Ah. Doctor Bean?</dialogue> <scene_description>BEAN turns , shocked to have been observed . He looks down at his trousers and , HOORAY ! , they 're dry at last . He 's delighted , and moves back across the road towards them , hands in pockets , in a big , confident , groin - thrusting , dry - trouser boasting walk .</scene_description> <character>GRIERSON</character> <dialogue>Well, thanks for dropping by. Enjoy your stay with our Vice President and his family. They're simple people. -. but warm, yes, Doctor?</dialogue> <character>BEAN</character> <dialogue>I'm not actually. um.</dialogue> <character>GRIERSON</character> <dialogue>Settled in yet. I know. Plenty of time. Bernie, perhaps you'd like to take Dr. Bean on a tour of the gallery.</dialogue> <character>BERNIE</character> <dialogue>Absolutely. This way, sir.</dialogue> <scene_description>BEAN displays his crotch proudly one last time before he and BERNIE exit . GRIERSON tries to fathom the strange man who just left .</scene_description> <character>GRIERSON</character> <dialogue>He's a genius, right?</dialogue> <character>DAVID</character> <dialogue>Ah. He certainly has something, sir.</dialogue> <character>GRIERSON</character> <dialogue>Very pleased you've taken him in, David. At a time when no - one's job is safe, it really identifies you as a team player.</dialogue> <character>DAVID</character> <dialogue>Yes, although, I really. thank you. Yes, it's great to have him with us. The whole family's very excited.</dialogue> <character>GRIERSON</character> <dialogue>Glad to hear it. Tell poor Mr Larson to come through, will you?</dialogue> <character>DAVID</character> <dialogue>You're not going to.</dialogue> <character>GRIERSON</character> <dialogue>Sack him? David, what else can I do? This business is not, repeat, not breaking even. And David. notice anything this morning?</dialogue> <scene_description>DAVID frowns then sees .</scene_description> <character>DAVID</character> <dialogue>You've tinted your hair? It takes years off you, sir.</dialogue> <scene_description>GRIERSON beams .</scene_description> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY. RECEPTION AREA - DAY</stage_direction> <scene_description>End of the day . ANNIE perks up at the reception desk as DAVID , but especially BEAN , approaches from the gallery area . She has a pile of tissues near - by and draws a heart on one of them . She arranges it on the counter - top where BEAN could not fail to see it on his way to the exit .</scene_description> <character>DAVID</character> <dialogue>Goodnight Annie.</dialogue> <character>ANNIE</character> <dialogue>Night.</dialogue> <scene_description>BEAN does not even notice her . As DAVID heads for the exit , BEAN suddenly sneezes . He reaches for ANNIE 's love message and blows his nose on it . He drops the tissue in a bin as he exits . ANNIE sighs her disappointment .</scene_description> </scene> <scene> <stage_direction>EXT. THE GRIERSON GALLERY. BY PARKING LOT - DAY</stage_direction> <scene_description>-LRB- About 5 p.m. -RRB- BEAN and DAVID head for the parking lot . On the way , BEAN 's interest is drawn to the MIME ARTIST we met before in his Clinton mask , performing his heart out in front of the Dead Cars sculpture . BEAN lingers . The MIME accosts a woman , pretending to brush dust from her clothes , comb her hair etc. . The MIME is a bit of a pain in the ass really . The woman quickly moves on . BEAN is intrigued . The MIME mimes climbing a ladder . BEAN goes up next to him - and looks up . There 's nothing there . He decides the MIME is a bit of a tricky . This is confirmed when the MIME pretends he 's locked behind a pane of glass . BEAN simply pokes his finger through the imaginary glass wall , and hits the MIME 's nose . DAVID watching bemusedly some way off . The MIME is however delighted someone is taking an interest at last . He takes a handkerchief from BEAN 's pocket , and gets BEAN to guess which hand the hanky 's in . It 's not in the left . Not in the right . BEAN is n't the slightest bit impressed - he just reaches round and takes the hank - y from where it 's tucked into the MIME 's trousers - and heads away . As he moves off , the MIME touches h ' on the shoulder . BEAN turns and the MIME starts a mocking gun duel . He draws his guns . BEAN is pretty unimpressed . The MIME turns his back and walks the 10 paces to draw . 4 He turns . But now BEAN decides to settles it once and for all . In a brilliant piece of big mime , he puts together the biggest gun ever seen outside an Arnold Schwarzenegger movie . He sets up a pedestal - opens a case ~ lifts out a hugely heavy gun - then the 7 bits that click on that gun . Then opens another case , and takes out the huge artillery shell to load it . The MIME is getting very frightened . Then BEAN pulls up an imaginary stool to sit behind his mega - Gatling Gun . The MIME begins to run away . BEAN twirls in his imaginary seat , and lines up his sights , following the terrified MIME . Finally , in a BOOM that almost knocks BEAN out of his imaginary seat , he fires . 10 seconds delay , and the MIME falls in a very dramatic death , 50 yards away . BEAN is happy - and heads back to the parking lot where DAVID , arms folded , leans against his car . DAVID gets into his car . BEAN opens the passenger door and thumps it loudly into the side of the expensive car next - door -LRB- same as this morning -RRB- .</scene_description> </scene> <scene> <stage_direction>EXT. SHOPPING MALL. PARKING LOT - DAY</stage_direction> <scene_description>DAVID parks next to a beaten up convertible .</scene_description> <character>DAVID</character> <dialogue>Okay. I'll get some steaks. Alison loves steak. Wine - good. Candy? No candy. Alison hates candy. We got ta do this right, Bean, or.</dialogue> <parenthetical>( looks at Bean . )</parenthetical> <dialogue>Just stay out of trouble, okay?</dialogue> <scene_description>BEAN nods . DAVID gets out and heads for the mall . Nearby woman tramp -LRB- BAG LADY -RRB- goes through a trash can . BEAN tries to control himself but weakens . He plays with all the buttons and switches on the dashboard ; windshield wipers , lights . Then he notices a throbbing noise . He gets out of the car to investigate . BEAN swiftly locates the throbbing sound . The e - empty convertible has its engine running . BEAN notices the keys in the ignition . How stupid of someone . He turns off the engine and takes out the keys . There are several people returning to their cars with groceries . BEAN offers the car keys to them as if to say : `` Are these yours ? '' -LSB- The following should take place at quite a speed , real drama . -RSB- Then suddenly , A ROBBER dashes towards BEAN from the direction ' of the Mall , weaving in and out of parked cars , with a small white carrier bag , assumedly full of money . He wears jeans , a black polo - neck and , much to BEAN 's delight , a PRESIDENT CLINTON face - mask . As far as BEAN 's concerned , this is his old friend , the MIME . ROBBER throws the bag of money on to the back seat of the convertible and gets in - but he cant find the keys to start it . He frantically searches all his pockets . BEAN leans into shot . He holds out the keys , grinning .</scene_description> <character>ROBBER</character> <dialogue>Gim me the keys!</dialogue> <scene_description>BEAN runs away with them . Or does n't ! He is in mime mode - And runs on the spot , getting faster and faster . The ROBBER approaches this obvious madman . He is quite a tough , scary , and scared individual .</scene_description> <character>ROBBER</character> <dialogue>I said, give me the keys!</dialogue> <scene_description>BEAN turns and holds out two hands , just like the MIME did to him . The perplexed ROBBER picks one hand . Wrong one . He then . pulls a gun and puts it hard to MR BEAN in BEAN 's face . Passers - by scream and fall to the ground , the bag lady amongst them . Sudden harsh reality . But not to BEAN . He simply takes the gun , and waves it in the ROBBER 's face , ticking him off for breaking the rules .</scene_description> <character>ROBBER</character> <dialogue>OKAY, OKAY - TAKE IT EASY!</dialogue> <scene_description>BEAN gestures the ROBBER to turn around . He does , sure this sicko is going simply to shoot him in the head . But instead BEAN puts his back to the ROBBER 's back , and starts to count</scene_description> <character>BEAN</character> <dialogue>1,2,3,4, 5, 6,7,8, 9,10</dialogue> <scene_description>He turns and gestures to the ROBBER it 's time to draw . By this time a crowd has gathered .</scene_description> <character>ROBBER</character> <dialogue>But I have n't got a f.</dialogue> <character>BEAN</character> <dialogue>Ssssh!</dialogue> <scene_description>He points out a small child , watching from behind a trash can .</scene_description> </scene> <scene> <stage_direction>INT. SHOPPING MALL. EXT. COFFEE SHOP ~ DAY</stage_direction> <scene_description>DAVID is hurrying back to the parking lot , with a bag of groceries , and a big bunch of red roses . He stops dead in his tracks as he spots something . ALISON and CHARLES are sitting up on stools , in the window of a coffee shop . ALISON laughs at something that CHARLES says . Their body language suggests a certain closeness . DAVID is saddened . He hurries away .</scene_description> </scene> <scene> <stage_direction>EXT. SHOPPING MALL. PARKING LOT ~ DAY</stage_direction> <scene_description>BEAN waves the gun at the ROBBER .</scene_description> <character>ROBBER</character> <dialogue>I have n't got a gun.</dialogue> <scene_description>But BEAN is pushing him to draw . Finally .</scene_description> <character>ROBBER</character> <dialogue>Okay, okay, I'11 do it!</dialogue> <scene_description>He draws . BEAN draws too . They fire . And BEAN really fires . To his amazement . Onlookers scream . BEAN throws the gun away in startlement . The ROBBER lunges for it ~ BEAN kicks it away , trying to help him avoid such a dangerous implement . The ROBBER lunges at BEAN who throws the keys away over his shoulder . The ROBBER has to scrabble under a car for them - BEAN thinks of final joke - and niftly swaps the ROBBER 's bag , for one of the Old BAG LADY 's bags . A few dollar notes spill out of it . When the ROBBER emerges with the keys , BEAN 's waiting to escort him to his car . He opens the door - then spots a tourist hiding and puts his arm around the ROBBER and gets him to take a photograph of them . BEAN removes the ROBBER 's mask as the picture is taken . Forgetting himself , the ROBBER smiles for the camera . The ROBBER , jolted back to reality by the sound of approaching Police car sirens , jumps in the car and drives away . BEAN waves goodbye to the convertible as a couple of Police cars screech up . COPS jump out . DAVID approaches the scene with groceries and roses . What kind of hell has BEAN caused now ? But instead of trouble , he sees the passers - by are getting to their feet , applauding BEAN and whistling ! They crowd round the COPS explaining what a hero BEAN has been . BEAN hands over the gun to a COP . He does n't really understand what all the fuss is about . He notices the BAG LADY wandering away with her bags . Should he tell her that he has swapped one of them for the ROBBER 'S ? No . He 's getting too much attention to be bothered . A COP comes up to BEAN . It is COP 1 from the airport scene .</scene_description> <character>COP 1</character> <dialogue>Excuse me. Mr. er. Cabbage?</dialogue> <scene_description>Sudden mutual recognition .</scene_description> </scene> <scene> <stage_direction>INT. POLICE PRECINCT. INTERVIEW ROOM - NIGHT</stage_direction> <scene_description>Classic smoked filled room with street light cutting through half closed Venetian blinds . Two or three DETECTIVES slouched in the shadows . BRUTUS , the huge black detective from earlier , sits opposite BEAN at a table , smoking . He is looking at a photo . A close - up reveals it to be a full length one of BEAN and the ROBBER outside the mall with the ROBBER 's face unmasked . BRUTUS eyes BEAN for a while . BEAN is terrified . BRUTUS taps the photo .</scene_description> <character>BRUTUS</character> <dialogue>It's Eddie Guardino. Go pick him up.</dialogue> <scene_description>One of the DETECTIVES lazily leaves the room . BRUTUS leans forward on his elbows .</scene_description> <character>BRUTUS</character> <dialogue>Guardino fled the scene with 160 K, in a white plastic bag. We got the car. We got the bag. And we got 20 pairs of stinking pantyhose.</dialogue> <parenthetical>( drags on his cigarette . )</parenthetical> <dialogue>Anything you wan na tell me?</dialogue> <scene_description>BEAN looks at h4 - m blankly . BRUTUS holds up the photo .</scene_description> <character>BRUTUS</character> <dialogue>` Fraid I'm gon na have to keep this.</dialogue> <scene_description>BEAN calmly takes the picture and tears it in half . He gives back the ROBBER half and puts the other half , with himself on , into his pocket . BRUTUS glares at him .</scene_description> <character>BRUTUS</character> <dialogue>Mr. Bean. You lookin' to stay long in California?</dialogue> <scene_description>BEAN grins . At last . A question he can answer . He nods , happily .</scene_description> <character>MR. BEAN</character> <dialogue>Oh, yes.</dialogue> </scene> <scene> <stage_direction>INT. THE LEARYS' HOUSE. KITCHEN - NIGHT</stage_direction> <scene_description>DAVID is talking to KEVIN . BEAN is there . In the background , Jennifer plays with a computer game . DAVID is very animated .</scene_description> <character>DAVID</character> <dialogue>He was incredible. This guy is fearless. He has no fear.</dialogue> <character>KEVIN</character> <dialogue>That's one - way of looking at it. You might also say this guy is brainless he has no brain'.</dialogue> <character>DAVID</character> <dialogue>Well, there is that.</dialogue> <character>KEVIN</character> <parenthetical>( TO BEAN . )</parenthetical> <dialogue>I'11 give you a chance. Know anything about computers?</dialogue> <character>BEAN</character> <dialogue>Ahm.</dialogue> </scene> <scene> <stage_direction>INT. THE LEARYS' HOUSE. KEVIN'S BEDROOM - NIGHT</stage_direction> <scene_description>KEVIN is playing an adventure game : ` GOBLINS 2 ' -LSB- This game exists . -RSB- The GOBLINS chuckle and make stupid noises that BEAN can imitate . A catchy piece of music accompanies the game . The computer monitor shows the inside of the WIZARD 's house . KEVIN moves the GOBLINS , and two little characters , FINGUS and WINKLE , around the room by clicking on areas in the room with his mouse . BEAN and KEVIN are both wearing pointed goblin hats made from newspaper .</scene_description> <character>KEVIN</character> <dialogue>It's so embarrassing. All the guys I know are on Goblins 3 and I'm still stuck with the lousy Wizard in Goblins 2.</dialogue> <scene_description>BEAN is interested in the computer because he likes the cute little GOBLINS . He gets his delighted face right up to the screen . He sings along with the catchy tune . KEVIN is getting frustrated .</scene_description> <character>KEVIN</character> <dialogue>Come on, winkle.</dialogue> <scene_description>KEVIN clicks on a cuckoo clock in the WIZARD 's room . The cuckoo pops out holding a key in its beak .</scene_description> <character>KEVIN</character> <dialogue>It's got ta be here. Something to get the key away from the stupid cuckoo.</dialogue> <scene_description>BEAN scans the monitor screen : he spots a little frog at the bottom of the scene . His eyes light up . He takes the mouse and rapidly and repeatedly clicks on the frog .</scene_description> <character>BEAN</character> <dialogue>Click, click, click, click, click.</dialogue> <scene_description>The frog croaks and jumps off a little round stone . KEVIN gets excited .</scene_description> <character>KEVIN</character> <dialogue>How'd you do that!? That was so obvious!</dialogue> <scene_description>BEAN grins and makes WINKLE pick up the stone . Then he clicks through to inside the wizard 's house . He makes WINKLE throw the stone at the cuckoo which instantly drops the key from its beak .</scene_description> <character>KEVIN</character> <dialogue>Beanie, you are waaaaay Cool!</dialogue> <scene_description>KEVIN slaps BEAN on the back . BEAN is delighted . Close on monitor , showing The Goblin game -</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM. DAY</stage_direction> <scene_description>Another game . JENNIFER 'S Super Nintendo game on TV in the lounge area . It is a Gothic game where he - man types attack Vampires and bats with swords . DAVID is in the kitchen - setting out the roses in a vase . The door opens - enter ALISON . Some tension .</scene_description> <character>DAVID</character> <dialogue>Hi,</dialogue> <character>ALISON</character> <dialogue>Hi.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>Roses.</dialogue> <character>DAVID</character> <dialogue>Yes. And I have a wine for dinner that will kill you.</dialogue> <character>ALISON</character> <dialogue>Great.</dialogue> <parenthetical>( SHE SETTLES A LITTLE . )</parenthetical> <dialogue>You said you'd ask Grierson about putting our guest somewhere else. Did you?</dialogue> <character>DAVID</character> <dialogue>Sort of half.</dialogue> <character>ALISON</character> <dialogue>Meaning?</dialogue> <character>DAVID</character> <dialogue>I was sort of half way through the sentence in which I would have asked him when it suddenly seemed like a mistake.</dialogue> <character>ALISON</character> <dialogue>Honestly David, you're so spineless.</dialogue> <scene_description>Pause . Jennifer looks around . She ca n't help but hear . Not a happy experience .</scene_description> <character>DAVID</character> <dialogue>Roses. Wine.</dialogue> <scene_description>He is asking her for softness . Pause . At which moment BEAN enters wearing pointy hat . He helps himself to a melon from a bowl . He grins and exits . ALISON looks at DAVID sadly .</scene_description> <character>ALISON</character> <dialogue>But no real change.</dialogue> <scene_description>Almost instantly , BEAN is back . He rummages through a drawer and takes out some large elastic bands . And leaves .</scene_description> <character>ALISON</character> <dialogue>I really do need some time on my own. Away from here.</dialogue> <character>DAVID</character> <dialogue>Look, Bean's history. I swear to you, he's packing as we speak. And you ca n't leave.</dialogue> <parenthetical>( HE PICKS UP THE BAMBI . )</parenthetical> <dialogue>I've got Bambi. You never go anywhere without him. Please let's just talk.</dialogue> <character>ALISON</character> <dialogue>Okay.</dialogue> <parenthetical>( GHOST OF A SMILE . )</parenthetical> <dialogue>Put Bambi down, and we'll talk.</dialogue> <scene_description>He puts Bambi down on the side - table , on the flat surface of his CD player . BEAN appears again behind her , now looking even madder . Pointy hat , large pointy ears made from melon peel , held in place by the rubber band stretched round his face ~ huge front teeth also cut from the melon . He grins gleefully . DAVID and ALISON just stare . BEAN is followed by KEVIN who wears the same ears and teeth .</scene_description> <character>DAVID</character> <dialogue>Look, you guys, could you just give us a moment to. Jennifer - could you turn that damn thing down.</dialogue> <scene_description>It is quite loud . JENNIFER looks for the remote control . BEAN helpfully picks up a remote control from the sofa and points it across the room .</scene_description> <character>ALISON</character> <dialogue>No, that's not for the TV. That's for the.</dialogue> <scene_description>Too late ! BEAN punches a button and the lid of the CD player launches the Bambi into the air . DAVID sees it . In slow motion he dives dramatically and just misses it . It smashes on the floor . BEAN raises his eyes heavenwards , shakes his head and tuts . He thinks DAVID is a real Butter Fingers . JENNIFER , upset , has found the TV remote and unintentionally switches from the Vampire game to a TV channel . It 's very loud . ALISON gives DAVID a tearful look , and shakes her head .</scene_description> </scene> <scene> <stage_direction>EXT. THE LEARY HOUSE NIGHT.</stage_direction> <scene_description>A taxi drives away . Alison is in it .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY- NIGHT.</stage_direction> <scene_description>JENNIFER and KEVIN are in their night clothes . They sit with David on the stairs ~ still looking at the door - Alison left through .</scene_description> <character>KEVIN</character> <dialogue>I wish I could use that at school. `` Hey, Teach, no hard feelings. It's just things between us ai n't what they used to be and I need a little space, ya know? So I'11 see you around in a couple of years, maybe''.</dialogue> <character>JENNIFER</character> <dialogue>It's a kind of an interesting swap. Mom for the Man from Ga Ga..</dialogue> <scene_description>She gets up and walks away .</scene_description> <character>DAVID</character> <dialogue>Jen - you do n't wan na talk about it?</dialogue> <character>JENNIFER</character> <dialogue>It's you and Mom that need to talk.</dialogue> <character>DAVID</character> <dialogue>Sure. You're right.</dialogue> <character>KEVIN</character> <dialogue>You know, Mr. Bean's okay. You're not gon na kick him out, are you, Dad?</dialogue> <character>JENNIFER</character> <parenthetical>( FROM HER DOOR . )</parenthetical> <dialogue>Of course he is.</dialogue> <character>KEVIN</character> <dialogue>Are you?</dialogue> <character>DAVID</character> <dialogue>Yes, I am. I must.</dialogue> </scene> <scene> <stage_direction>INT. HALL/BEAN'S ROOM. DAY.</stage_direction> <scene_description>DAVID heads for Mr BEAN 's room , and knocks cautiously on the door .</scene_description> <character>BEAN</character> <parenthetical>( o. o. v. ) Enter .</parenthetical> <dialogue /> <scene_description>DAVID enters - Camera follows as DAVID finds his way through BEAN 's washing hanging from strings across the room . BEAN is sticking things in a picture album .</scene_description> <character>DAVID</character> <dialogue>Hi, am I disturbing you?</dialogue> <scene_description>BEAN gives him an affable smile . In a pause before he quite gathers himself to broach the difficult subject , DAVID asks a polite question .</scene_description> <character>DAVID</character> <dialogue>May I?</dialogue> <scene_description>BEAN acquiesces . He starts from the beginning , with pictures of him as a kid . Always standing on his own . Picture of BEAN with mop of frizzy hair , at 16 . DAVID smiles . BEAN mimes stupid disco dancing . DAVID turns another page . It is a sequence of pictures of BEAN at famous UK locations - Big Ben , Stonehenge , Buckingham Palace , 10 Downing Street . They are . idiosyncratic because all taken by him at arms length with his Polaroid - so he never quite makes it squarely into shot . A whole page of Teddy . Then three pages of BEAN 's mini with dates , on labels , going way back . Then a whole page of garden gnomes .</scene_description> <character>DAVID</character> <dialogue>None of your folks here - Family?</dialogue> <scene_description>BEAN starts to look for something in particular . DAVID uses the pause to broach the awful subject .</scene_description> <character>DAVID</character> <dialogue>Look. the reason I came in here was to. well. since you've been here twelve all.</dialogue> <scene_description>BEAN has found what he was looking for . It is the picture of the family that he took from the landing on his first night here . What 's left of the Polaroid of himself , from the mall , that he rescued from BRUTUS , is stuck next to it . He 's even written - ` Bean &amp; Family ' - he does n't realise there 's anything sad about it . But DAVID is rather moved . Pause .</scene_description> <character>DAVID</character> <dialogue>Well, that's er. great. Look, I just came in.</dialogue> <parenthetical>( no , he cant do it . )</parenthetical> <dialogue>. to say good night. Okay?</dialogue> <scene_description>BEAN nods . DAVID smiles and goes to the door . BE - AN waves good - bye a little rudely and gets back to the album . Even when we feel sorry for him , he 's a little rude . DAVID walks away , shaking his head .</scene_description> <character>DAVID</character> <dialogue>Spineless.</dialogue> </scene> <scene> <stage_direction>INT. DAVID AND ALISON'S BEDROOM.</stage_direction> <scene_description>The first morning without ALISON . `` She 's Gone '' by Hall &amp; Oats begins to play , a song full of yearning . DAVID feels the other side of the bed . No - one there . He walks into the bathroom and turns on the shower . Then walks back into the bedroom - She 's gone - I 've got to learn how to face it '' He takes a towel from a cupboard and returns to the bathroom . He feels very alone . He removes his pyjamas and gets into the steam - filled shower . - she 's gone - she 's gone '' - but the camera moves to reveal that he is not alone after all . BEAN has , simply entered the shower , and is now happily soaping himself , wearing ALISON 's shower cap . manly screams from the both of them .</scene_description> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY. CANTEEN - DAY.</stage_direction> <scene_description>DAVID sitting down at table , with BEAN , who is tucking in happily ~ eating a burger &amp; bun with knife and fork . DAVID speaks after a longish pause .</scene_description> <character>DAVID</character> <dialogue>Bean can I ask you something?</dialogue> <scene_description>BEAN nods .</scene_description> <character>DAVID</character> <dialogue>Do you think you can ever really know someone? Even if you've known them, well, almost all your life? What do you think?</dialogue> <scene_description>BEAN thinks hard , then looks at his watch , makes his excuses and simple walks away .</scene_description> </scene> <scene> <stage_direction>INT. GALLERY CORRIDOR. DAY.</stage_direction> <scene_description>BEAN at a pay phone . He dials carefully -</scene_description> </scene> <scene> <stage_direction>INT. BEAN'S BED-SIT. DAY</stage_direction> <scene_description>10 am U.K. time . -LRB- The following takes place in a matter of seconds -RRB- Close on the T.V. . A morning kids show blares out . A huge wardrobe stands four feet away from a wall . There is a string tied to one of it 's door handles , stretching out of shot . The wardrobe seems to be leaning backwards at an angel . It rocks slightly and creaks . -LRB- Feature its padlock -RRB- . There is a folded ironing board balanced over a roll of hall carpet , see - saw fashion . One end of it is wedged under the wardrobe . BEAN 's G.P.O. phone rings on the table and it 's vibrations cause the bust of BEETHOVEN to fall over the edge of the table . It lands on the end of the ironing board . The Wardrobe groans as it is set off balance and falls against the wall with a heavy thump ! and raising of dust . The string tied to its handle becomes taut . the T.V. plug in its socket . This end of the string is tied to it . The string tightens and the plug is yanked out of the socket . The T.V. screen goes blank . Shot of TEDDY in the cardboard hotel ' .</scene_description> </scene> <scene> <stage_direction>INT. CANTEEN. DAY.</stage_direction> <scene_description>BEAN returns , sits down and starts to eat again . David is still deep in thought .</scene_description> <character>DAVID</character> <dialogue>Well, they say there's only one way to get over this sort of thing. Take it day by day. Keep working. Keep to your normal patterns. That's the only hope. So let's just. take today shall we?</dialogue> <scene_description>BEAN nods . He is not on David 's emotional level here .</scene_description> <character>DAVID</character> <dialogue>I think the time has come from you to meet the grand Madame. She's all around you. how do you fancy meeting her in the flesh?</dialogue> <scene_description>Sure enough , all around are posters , and the silhouette of Whistler 's Mother . BEAN nods , though fairly distracted by the slice of gherkin he 's found in his bun and now picks out with his fingers .</scene_description> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY. CORRIDOR - DAY.</stage_direction> <scene_description>BEAN and David en route to the painting .</scene_description> <character>DAVID</character> <dialogue>I usually only let her out for the big summer exhibition - but' let's see whether what they say about the healing power of great works of art is true, huh?</dialogue> </scene> <scene> <stage_direction>INT. THE WHOLE GALLERY - DAY</stage_direction> <scene_description>BEAN and DAVID do the rest of the journey , in quick cuts - along corridors - in an elevator . A sense of expectation and excitement . En route , they are joined by ELMER , the huge Security Guard . The three arrive outside a large oak door . ELMER ceremoniously unlocks the door , all the time glaring at BEAN - who swallows hard . A light turns green and a buzzer sounds . Then there is the door to the inner sanctum . ELMER stares at BEAN as he unlocks it . Another light turns green and another buzzer sounds .</scene_description> <character>DAVID</character> <dialogue>As you can see, security's pretty tight in this section. Nobody gets past Elmer here. Is n't that right?</dialogue> <character>ELMER</character> <dialogue>Not in one piece anyway. I see Mrs Whistler as kind of. like my own dear mother. I'd kill any man that tried to interfere with her. The Vice President here will vouch for that.</dialogue> <character>DAVID</character> <dialogue>You've known me five years Elmer. When do you get to calling me David?</dialogue> <character>ELMER</character> <dialogue>Not my place, sir. It would only be a matter of time before I'm calling you Dave. Then where would we be? By next year, you're my Sweety - Pie'' and I'm `` Coochie - Coo''. I'11 be back in 15.</dialogue> <scene_description>He salutes , glares at BEAN and walks away . BEAN and DAVID enters the room . BEAN looks warily back at ELMER</scene_description> <character>DAVID</character> <dialogue>You think he's tough you should see the size of the hunk that works the night shift.</dialogue> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY. THE WHISTLER ROOM - DAY.</stage_direction> <scene_description>The room is very dark , only tiny lights in the corner .</scene_description> <character>DAVID</character> <dialogue>Stay there. Keep your eyes closed. One final lock, one final key.</dialogue> <scene_description>DAVID unlocks double doors in a wall with a plastic key card . Buzz - click ! The camera holds on BEAN , his eyes tight shut . The lights go up on BEAN 's face , a magical golden glow .</scene_description> <character>DAVID</character> <dialogue>Right. Open now.</dialogue> <scene_description>Cut round - and there is this beautiful and very famous painting , lovingly shot . Music . Atmosphere . Glory . BEAN opens his eyes and looks at the painting .</scene_description> <character>BEAN</character> <dialogue>Mmmmm. Nice.</dialogue> <character>DAVID</character> <dialogue>I'11 leave you with her for a few minutes. I'm sure you'll want to give her a proper inspection. But whatever you do, do n't leave the room. Megasecurity, okay? Catch you.</dialogue> <scene_description>BEAN nods . DAVID leaves him . BEAN is still for a while and then goes up and inspects it closely . He tuts disapprovingly as he spots dust on the bottom of the frame . He blows it away fussily . He steps back to admire the painting . There is dust up his nose and . SNEEZE - all over the painting ! He takes out his handkerchief and wipes the spittle off in panic . Then looks back at the painting . Unfortunately , there now seems to be a big blue mark right across Mrs Whistler 's face . BEAN checks his handkerchief . Yes , there 's wet ink all over it . He finds the leaking pen in his pocket . 0 God . He takes out his shirt , spits on it and tries to wipe the painting , but he ca n't make the shirt reach it . He takes the painting down from the wall and has another go . NO GOOD ! The ink just spreads right over Whistler 's Mother 's pure white collar . BEAN now looks round in panic . What the hell can he do ? He goes to the heavy door - and looks out into the corridor . He hears someone coming , hides and sees a young girl from the catering staff wheeling a slightly squeaky trolley past , covered with a white cloth . He goes back in - and has an idea . He goes to a little table in the corner and begins to take thing off it .</scene_description> </scene> <scene> <stage_direction>INT. GALLERY. UPSTAIRS CORRIDOR - DAY.</stage_direction> <scene_description>The door opens , and BEAN emerges , pushing what appears to be a trolley covered with a white cloth . Although , if you look carefully , this trolley actually has no legs . It is the painting covered with the table cloth . To make it a bit more convincing , BEAN makes an apt squeaky noise . He proceeds along the thin corridor - and then sees another exactly similar trolley coming right towards him . ' A problem . As they get close , BEAN suddenly pretends he sees something astonishing behind the on - coming man .</scene_description> <character>BEAN</character> <parenthetical>( silently mouths . )</parenthetical> <dialogue>What the!!</dialogue> <scene_description>When the man turns , BEAN just twists his painting sideways and shoots past him . We see the face of the deeply perplexed trolley - pusher when he looks back and BEAN is no longer there . He turns round to BEAN , who turns back to him with a totally blank and innocent look . BEAN sees an elevator and heads for it .</scene_description> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY. ELEVATOR - DAY</stage_direction> <scene_description>Inside the elevator , BEAN relaxes for a moment . He leans the painting against the wall and presses the third floor button . The bell dings .</scene_description> <character>ELEVATOR VOICE</character> <dialogue>Second floor.</dialogue> <scene_description>BEAN manages to get the painting into trolley position before the doors open to a group of six very fat middle aged people . They all wear large badges declaring them to be members of a ` Diet Club ' . They squeeze into the elevator along both sides of BEAN 's trolley . There is a very , very , THIN WOMAN behind them who ca n't fit on .</scene_description> <character>THIN WOMAN</character> <dialogue>I guess I'll see you up there, guys.</dialogue> <scene_description>The doors close . As the painting is wedged against the fat people 's stomachs on both sides , BEAN is able to let go of it and make a great show of checking his watch . He nonchalantly , drums the fingers of both hands on the top of the trolley ' . The bell dings .</scene_description> <character>ELEVATOR VOICE</character> <dialogue>Third floor.</dialogue> <scene_description>The doors open . BEAN flips the painting onto its side and strolls out of the elevator . The ` Diet Cub , members stare , after him . BEAN heads on , squeaking - and at last sees what he 's looking for . A men 's room .</scene_description> </scene> <scene> <stage_direction>INT. GRIERSON GALLERY. MEN'S ROOM - DAY</stage_direction> <scene_description>BEAN enters , relieved . It is small , just a little sink , a towel and a toilet . About a yard wide - but the picture fits in . BEAN starts to wash the painting very carefully and lo ! The ink starts to come off . Massive relief . Then , alas , someone tries the handle of the door . BEAN speeds up . A knock . He peers out the keyhole . There are now 4 people waiting . BEAN is very worried .</scene_description> </scene> <scene> <stage_direction>INT.-GRIERSON GALLERY. OUTSIDE MEN'S ROOM - DAY</stage_direction> <scene_description>Pause . Then out comes BEAN , drying his empty hands , miming , `` Sorry , Sorry . '' We see into the toilet . nothing there . No sign of the painting . BEAN turns sharply left .</scene_description> </scene> <scene> <stage_direction>EXT. GRIERSON GALLERY - DAY</stage_direction> <scene_description>DAVID is talking to BERNIE in the grounds . We can see the side of the whole gallery in shot as they talk .</scene_description> <character>BERNIE</character> <dialogue>I was hoping DU. Bean might take a look at my computer project today.</dialogue> <character>DAVID</character> <dialogue>Yes. I'11 mention it to him. But. he's kind of his own guy, you know?</dialogue> <character>BERNIE</character> <dialogue>Howls he getting on with the family?</dialogue> <character>DAVID</character> <dialogue>Ah. Fine. It's good. It's great.</dialogue> <scene_description>We will be slightly distracted by the observation that Whistler 's Mother , America 's most valuable painting , is at this moment balanced on a very thin ledge three floors up - where Bean has put in , outside the Men 's room window . A bird and then a couple more birds perch on it .</scene_description> <character>BERNIE</character> <dialogue>And howls Alison?</dialogue> <character>DAVID</character> <dialogue>She's. well, she's good.</dialogue> <character>BERNIE</character> <dialogue>Saw her at the movies the other night with that boss of hers. Nice guy. Good looking.</dialogue> <character>DAVID</character> <dialogue>Yes, is n't he.</dialogue> <character>BERNIE</character> <dialogue>It's great when people who work together can become real friends.</dialogue> <character>DAVID</character> <dialogue>Is n't it?</dialogue> <character>BERNIE</character> <dialogue>I like to think that's what's happened with you and me. even though you're kinda my boss. Still maybe it wo n't always be that way, huh?</dialogue> <scene_description>DAVID does n't quite see what BERNIE is getting at but smiles politely . Now we see BEAN 's plan - he has emerged at a nearby window . He ca n't reach the painting at first . So he stretches further and further out the window . No good . Finally he has to go out on the ledge . He shoos away the birds , who then decide to settle on him instead . Finally he gets a hand on the painting . As he does so , he loses hold . He just manages to grabs a window before he falls .</scene_description> <character>DAVID</character> <dialogue>Look, I've left Bean on his own. Nice to chat though Bernie - always a subtle joy.</dialogue> <character>BERNIE</character> <dialogue>Thanks, David. Always a pleasure.</dialogue> <scene_description>Period . BEAN is slowly managing to claw his way back towards the open window with the painting . It is an extraordinary piece of acrobatics . DAVID turns to go .</scene_description> <character>BERNIE</character> <dialogue>By the way. Do n't know what you think, Mr Vice President, but I've been hinting to the old man that someone's got to have the balls to take some sort of emergency measures around here - or we're all in the crap house. What do you think?</dialogue> <character>DAVID</character> <dialogue>'Em ergency measures, in your book means sack people right?</dialogue> <character>BERNIE</character> <dialogue>Not necessarily. That's where this.</dialogue> <parenthetical>( POINTS TO HIS BRAIN . )</parenthetical> <dialogue>comes in. No, I've had a better idea than sacking people. You'll hear soon enough.</dialogue> <scene_description>BERNIE grins and walks away . Bean does one final swing , and .</scene_description> </scene> <scene> <stage_direction>INT. GRIERSON GALLERY. STOREROOM - DAY.</stage_direction> <scene_description>A small storeroom where Bean 's wriggling bottom is just coming back through the window . He has the picture and is safe . He sets the picture down on a table . Darn ! The birds have done their business on it . He maniacally rummages through various dusty cans and bottles on a shelf . He chooses a can , too rusty to read its label , takes off the lid and sniffs . This smells like the right sort of stuff . He pours the liquid on to a rag and rubs it on the face of Mrs. Whistler . The solvent effortlessly removes the ink stain . Whistler 's Mother looks as good as new . BEAN is so , so , relieved . But then he notices something else happening . The liquid did not stop with removing the stain . It is now busy removing Whistler 's Mother 's face entirely . As Bean watches - in frozen horror , America 's most famous painting turns back to a blank canvas . BEAN thinks for a second - and then has a desperate thought . Removing the pen that started all the trouble , he decides to try to draw back on Whistler 's Mother 's ` face . He does n't have much time . It shows . Where once was a sublime oil painting , is now a biro line - drawing which looks a little like Danny de Vito . Bean lifts it against the wall to check how it 's worked . Unfortunately , there 's a nail there . The picture tears , Bean panics - it tears even more . Total destruction .</scene_description> </scene> <scene> <stage_direction>INT. GRIERSON GALLERY. CORRIDOR - DAY.</stage_direction> <scene_description>BEAN Hurries down the corridor with his pseudo - trolley again , and a vaguely mad look on his face . He spots ANNIE at a drinks machine . She smiles sweetly -LRB- here comes her man -RRB- BEAN takes a sharp left into an adjacent corridor . ANNIE is hurt .</scene_description> <character>ANNIE</character> <dialogue>True love can be very hard.</dialogue> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY. THE WRONG ROOM - DAY</stage_direction> <scene_description>Close on the double doors -LRB- identical to those of the Whistler Room -RRB- BEAN enters with the Painting , under the cloth . He closes the doors and rests a moment to catch his breath . He takes a step into the room and freezes . The very fat ` Diet Club , people are seated at easels , paint brushes poised . The very THIN WOMAN is standing in the centre of the room in her underwear with a Greek urn perched on her shoulder . All eyes are on BEAN , who exits very quickly .</scene_description> </scene> <scene> <stage_direction>INT. INNER SANCTUM. WHISTLER ROOM DAY.</stage_direction> <scene_description>BEAN gets back to the right rooms and closes the door desperately behind him . He stands frozen for a second - and at that moment , a hand tries the door . BEAN leaps at it and stops . the handle turning . Then there 's a knock . BEAN moves the big table in front of the door - he 's barricading himself in . There 's a famous Rodin sculpture in there - he shoves it along to block , the door as well . When he 's succeeded , he leans hot and sweaty against it - and a door on the other side of the room calmly opens and . DAVID walks in .</scene_description> <character>DAVID</character> <dialogue>Seems to be a problem with the door.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>Where's the picture gone?</dialogue> <character>BEAN</character> <dialogue>Ahm.</dialogue> <character>DAVID</character> <dialogue>What? What?</dialogue> <scene_description>Pause . Pause . BEAN finally shows it . Not a pretty sight .</scene_description> <character>DAVID</character> <dialogue>Oh Jesus. Oh God. Oh Jesus God. Oh Mary Mother of Jesus. Oh Jesus of Nazareth.</dialogue> <character>BEAN</character> <dialogue>oh dear.</dialogue> <character>DAVID</character> <dialogue>What happened?!</dialogue> <character>BEAN</character> <dialogue>Ahm.</dialogue> <parenthetical>( setting himself up for an interesting , comprehensive answer . )</parenthetical> <dialogue>.</dialogue> <character>DAVID</character> <dialogue>Do n't bother.</dialogue> <parenthetical>( panicking . )</parenthetical> <dialogue>Oh my god.</dialogue> <scene_description>He rushes to the door he just came in - and locks it . Wait a minute - why am I worrying about this ? I did it . I just go out and tell them what happened - you 're a madman from England and you did this terrible thing and it 's not my fault . That 's right , is n't it ? BEAN nods , knowing he deserves his doom . Perfect - and then they say - who left him alone with the picture ? '' And I say - `` me '' . And they say `` you 're fired '' . And I say ' right ' . And so I get fired and you go to jail and no one 's any happier . BEAN shakes his head . And then they say , `` firing David is n't enough - let 's prosecute him for negligence . And they prosecute me and it turns out I was negligent and I go to jail , and my wife leaves me and my daughter becomes a prostitute and I end up on Death Row sharing a cell with Butch McDick , the infamous gay rapist - or worse , I end up in the same cell as you ! BEAN looks hurt . No , no . Now , let 's just be calm let 's think about this calmly . -LRB- he tries - and fails . -RRB- Oh Godigodigod ! Okay , now wait . Let 's have another look at it . BEAN shows it to him . Jesus ! I 'm already thinking back to 5 minutes ago as paradise . 5 minutes ago - just walking along , shooting the breeze with my old pal Bernie . BEAN then he has a brilliant idea . He hangs the painting back up in the security cupboard and closes the doors . Then he removes from his pocket a small note book . He scribbles something on it , tears the page out , licks it and sticks it on the cupboard door . It reads ` OUT OF ORDER ' .</scene_description> <character>DAVID</character> <dialogue>Brilliant. Brilliant. Problem solved!</dialogue> <scene_description>BEAN is delighted . Apart from the tiny drawback that the first person who opens the cupboard will say - `` Look , someone 's totally destroyed Whistler 's Mother - let 's kill them '' . BEAN is less delighted . No - the most important thing is tbat no - one sees it . Ever again ! He locks the cupboard with his plastic card key - That 's the first thing . Then . that 's the first thing . Next . next is the next thing which is . obviously . ritual suicide . Look , let 's get out of here . Try to act natural . The let themselves out and go into the corridor - BEAN acting his version of ` natural ' - very liquid .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR. DAY</stage_direction> <scene_description>They bump straight into GRIERSON and ELMER .</scene_description> <character>GRIERSON</character> <dialogue>Ah, David. Showing Dr. Bean our good lady?</dialogue> <character>BEAN</character> <dialogue>Actually I'm not a.</dialogue> <character>DAVID</character> <dialogue>That's right - Whistler's Mother. Looking at his mother - not his father - not interested in his father, Could n't give a flying doughnut for his sisters or brothers - just his mother. Yes.</dialogue> <character>GRIERSON</character> <dialogue>Well, good - think I may go and look at her myself.</dialogue> <character>DAVID</character> <dialogue>No!</dialogue> <character>GRIERSON</character> <dialogue>Er. pray tell me why?</dialogue> <character>ELMER</character> <dialogue>Because they've just cut her into tiny pieces, sir. That's why.</dialogue> <scene_description>BEAN and DAVID die and go to hell until ELMER laughs at his own little joke . GRIERSON laughs too .</scene_description> <character>ELMER</character> <dialogue>I better continue my rounds, sir.</dialogue> <scene_description>He strolls away .</scene_description> <character>DAVID</character> <dialogue>The thing is, sir, I've just been giving the painting a very thorough inspection, with the help of Dr Bean here - and we feel the time's come for Whistler's Mum to have her first face - lift.</dialogue> <character>GRIERSON</character> <dialogue>Time taken its toll on the old girl, eh?</dialogue> <character>DAVID</character> <dialogue>Exactly. She's in a surprisingly terrible state. Is n't she, Bean?</dialogue> <character>BEAN</character> <dialogue>Oh yes.</dialogue> <character>DAVID</character> <dialogue>Whistler was a great painter, but he was n't a great chooser of paints.</dialogue> <scene_description>BEAN hudders at the thought of his paint - choosing . The colours are beginning to fade . However ~ if you give me just one little year I can restore the picture to its original glory , the way it looked when Whistler 's Mom first looked at it and said . 0 Actually I 'm not sure you 've got the hair right , darling . '' By the way , your hair is looking great today , sir .</scene_description> <character>GRIERSON</character> <dialogue>Thank you David. However, flattery will get you nowhere. Truth is, I have a rather different plan for Whistler's dear Mama. Bernie and I have been inspecting our books - and the long and short of it is, we can not survive with our current losses, so.</dialogue> <character>DAVID</character> <dialogue>you have to sack me. I understand, sir. I'll go quietly. In fact I'll go right now.</dialogue> <character>GRIERSON</character> <dialogue>No. no, no, hold on. We cant sustain our loses - so I've decided. to sell Whistler's Mother.</dialogue> <scene_description>DAVID lets out a little yelp .</scene_description> <character>GRIERSON</character> <dialogue>Brilliant, huh? I already have a prospective buyer - the current Governor of California, no less, who is flies in tomorrow to inspect her and clinch the deal. Spread the news. I think decisive leadership has done the trick, do n't you?</dialogue> <character>DAVID</character> <dialogue>Yes, sir. Yes, sir. Congratulations. Marvellous thing. Bravo.</dialogue> <scene_description>GRIERSON leaves . DAVID turns to BEAN .</scene_description> <character>DAVID</character> <dialogue>Bean. Do you drink?</dialogue> <scene_description>BEAN shakes his head .</scene_description> <character>DAVID</character> <dialogue>Neither do I.</dialogue> </scene> <scene> <stage_direction>INT. BAR - NIGHT</stage_direction> <scene_description>It is very late and very gloomy . Just a couple of loners staring into their drinks . The BARTENDER is up one end of the counter , smoking and reading the sports pages . There is a T.V. on above the bar , showing baseball . BEAN and DAVID are sitting up at the bar . The latter has had far too much whisky and looks the worse for it . BEAN has a tall glass packed with fruit and paper umbrellas . We can guess how much he 's had to drink by the way he has difficulty finding the straw with his mouth . DAVID almost , but not quite , slurs his words :</scene_description> <character>DAVID</character> <dialogue>It's just a matter of acceptance, is n't it. lose your job - lose you wife. C'est la vie. You ever been married, Bean?</dialogue> <scene_description>He turns to BEAN who has the end of a straw up his nose .</scene_description> <character>DAVID</character> <dialogue>I guess not.</dialogue> <scene_description>He fills his glass from a bottle . You know , I do n't get it . The New Artist exhibition - this year - people might not all have liked the dead sheep , but . the place did n't look that empty to me . It was n't full but I saw people . I just do n't understand how the gallery can be so bankrupt they have to sell the Whistler . He looks at BEAN who now has peanuts in each nostril . DAVID notices the BARTENDER looking at BEAN strangely .</scene_description> <character>DAVID</character> <dialogue>He's English, okay? You wan na make something of it?</dialogue> <scene_description>BARTENDER goes back to reading . DAVID searches for his last train of thought , taking a huge swig from his drink .</scene_description> <character>DAVID</character> <dialogue>To hell with the figures. I'm not a damn accountant. I'm an artist. You know, me and Ali met in art school? I cut quite a figure then. Far cry from the man you see before you now. Then, I smoked Gitanes before I went to bed, to help me sort out the problems of the world. Now, I take a spoonful of laxative before I go to bed to help me sort out the problem with my bowels.</dialogue> <scene_description>BEAN at that moment is keen to show DAVID his nut trick . He throws a peanut high into the air - and catches it in his mouth . Then does two . Then does it with his eyes closed . Actually , it 's rather impressive .</scene_description> <character>DAVID</character> <dialogue>Truth is, I disappointed her. I turned out to have no spine. Spineless. A kind of medical miracle. Mr Flippy - Floppy. I just do n't seem to be able to fight - cant stick up for myself. Too nice. I mean, I should never have let you come stay and I should be handing you over to the police right now. Shall I tell you something, Beanie.</dialogue> <scene_description>Bean has been interested all this , even looking to check whether David does indeed have no spine . But now the baseball on the TV is making it hard for him to concentrate on - this important confidence . He raises a finger , for DAVID to be quiet for a second . He blows a peanut from his , nostril at the T.V. - it hits the button , and changes station to a pleasant quiet - music station .</scene_description> <character>DAVID</character> <dialogue>Do you want to know what the reality of the situation is?</dialogue> <scene_description>BEAN nods his head , very curious , listening hard . This is it . Because you moved into my house , my wife has left me . She might have done it anyway - but you were the ten ton weight that broke the camel 's spinal column . BEAN stares at DAVID - something is getting in he 's actually registering this . That 's point one . And point two - is that you 've destroyed Whistler 's Mother , which was ' the last hope for the place where I work . So within a week , I 'm going to lose my job as well . BEAN nods , seriously dispirited .</scene_description> <character>DAVID</character> <dialogue>So, you've totally and utterly destroyed my life. Do you understand? You've put me in a position where it would have been better if I'd never been born.</dialogue> <scene_description>He puts his hand on BEAN 'S shoulder . BEAN looks down . Very sad . This is actually the first time in his life that he 's realised that his actions have really effected the life of another person . BEAN looks up sadly . Sad music plays .</scene_description> </scene> <scene> <stage_direction>INT. LEARY HOUSE. DAVID'S ROOM - NIGHT</stage_direction> <scene_description>DAVID is asleep in bed . The camera moves out into the hall and into BEAN 's room .</scene_description> </scene> <scene> <stage_direction>INT. THE LEARY HOUSE. BEAN'S ROOM- NIGHT.</stage_direction> <scene_description>BEAN is lying , fully dressed , in the darkness , on his back . Thinking . Worried by what he 's heard . Then suddenly an idea comes into his eyes . The music is like his brain He jumps off the bed . There follows a version of the classic tooling up for action sequence . But the ` tools ' here are distinctly bizarre . BEAN picks up his suitcase , and in quick cuts , rushes through the house and collects . DAVID 'S PLASTIC KEY CARD A PAIR OF Y - FRONTS A TORCH . SOME OF KEVIN 'S CHEWING GUM . 6 EGGS A COOKING BASIN A CUP A LARGE PAINT BRUSH A BOTTLE OF CLEAR NAIL VARNISH DAVID 'S LARGE TIN OF LAXATIVE . A HAIR DRIER AN ACTION MAN DOLL A POSTER OF THE GIRL AND HER BOTTOM WITH THE TENNIS BALL . TWO OVEN GLOVES A SKATEBOARD AND 4 VOLUMES OF THE ENCYCLOPAEDIA BRITANNICA . Fully tooled , he snaps the suitcase shut .</scene_description> </scene> <scene> <stage_direction>EXT. GALLERY. NIGHT.</stage_direction> <scene_description>The building is floodlit by ground spots . BEAN arrives silently , with suitcase , on the skateboard . Soon his full plan will be revealed . The Gallery is empty , apart from the one Security Guard , BUCK , visible through the glass front of the building , drinking coffee , watching his 12 security monitors . BEAN swallows at the sight of BUCK - he is a massive gorilla of a man .</scene_description> </scene> <scene> <stage_direction>INT. GRIERSON GALLERY. RECEPTION - NIGHT.</stage_direction> <scene_description>BUCK is casually watching his screens , when suddenly , horror of horror , the huge silhouette of a person hanging . themselves from a tree outside appears , the shadow of the limp body thrown across the floodlit gallery wall . BUCK frantically rushes out . And BEAN subtly slips in .</scene_description> </scene> <scene> <stage_direction>EXT. GRIERSON GALLERY - NIGHT.</stage_direction> <scene_description>BUCK is looking for the body amongst the trees . He finds nothing . Because he fails to notice the tiny ACTION MAN swinging gently in front of one of the ground - level floodlights .</scene_description> </scene> <scene> <stage_direction>INT. GRIERSON GALLERY - NIGHT'.</stage_direction> <scene_description>Inside , BEAN is casually pouring the entire contents of DAVID 's large laxative tin into BUCK 's coffee . He also swaps two keys on the board of keys by the desk . He then takes the opportunity to put the oven gloves on his feet , one shaped like a pig , one like a crocodile , so he can move silently . BUCK returns . He sits down , and takes a long gulp of coffee . Pause . BEAN watches . BUCK feels something uncomfortable in his stomach . He takes a key from his rack of keys , and sets off and rounds a corner - On a monitor screen , BEAN watches him break into a canter - as he passes through another monitor BUCK is at full sprint . BEAN giggles . BEAN is satisfied he 'll be uninterrupted for a while . He goes to the key - rack , borrows two keys , and sets off on his mission . The next 3 minutes of film are a sequence of cuts between three scenarios : FIRST : BUCK - his next 10 minutes are not happy ones . When he reaches the toilet , the key he chose does not unlock it . He has to sprint back , grab all the keys , and charge back again to the door . Then he has to try out every single key . We never see him find the right one . SECOND scenario - all the activities of the night shown on the security monitors . BUCK sprinting desperately through shot - BEAN casually going about his business and , on one occasion , BUCK running right past BEAN , but not seeing him - he has other things on his mind . THIRD scenario - we actually see BEAN 's Big Plan . He unlocks the merchandise shop . So he can see properly and have his hands free , he puts the y - fronts on his head , and wedges the torch into them , like a head - lamp . He then takes a poster of Whistler 's Mother and replaces it with the rolled - up Tennis Ball Girl . He unrolls the Whistler and places the 4 encyclopaedias on its corners to hold it down . He separates the yokes from the eggs , mixes the whites with clear nail varnish and varnishes the - poster with it . Dries it off with the hair drier . , With the now stiff poster , he heads up elevators and escalators to get to the Whistler Room itself , all the time chewing gum frantically . Once there , he unlocks the final cupboard with David 's plastic key , takes the Whistler down and removes the destroyed Mother from its gilded frame , and its wooden support frame . He uses the chewed gum to stick the new one down to the old frame . He then puts the very convincing forgery back into the security cupboard and relocks it with DAVID 's key card . The job is done . He scrunches up the old , torn picture , pops it in a dustbin , and heads off .</scene_description> </scene> <scene> <stage_direction>EXT. STREET. NIGHT</stage_direction> <scene_description>BEAN zipping along on the skate board with his suitcase .</scene_description> </scene> <scene> <stage_direction>INT. GRIERSON GALLERY. UTILITY ROOM - NIGHT.</stage_direction> <scene_description>BUCK , trouserless , is sitting , reading a newspaper next to a noisy washing machine .</scene_description> </scene> <scene> <stage_direction>INT. THE LEARY HOUSE. BEAN'S ROOM. NIGHT. KITCHEN - DAY</stage_direction> <scene_description>BEAN lies back in bed with quiet satisfaction .</scene_description> </scene> <scene> <stage_direction>INT. DAVID'S ROOM. MORNING.</stage_direction> <scene_description>DAVID wakes with a violent start .</scene_description> <character>DAVID</character> <dialogue>0 my God. Tell it vas a dream.</dialogue> <scene_description>The door swings open . It is Bean with a tray of coffee and toast .</scene_description> <character>BEAN</character> <dialogue>Morning.</dialogue> <character>DAVID</character> <dialogue>It was n't a dream, was it. I have to go in to work and tell them Whistler's Mother now looks like Danny De Vito.</dialogue> <character>BEAN</character> <dialogue>Well, Ahm.</dialogue> <scene_description>He laughs cheerily .</scene_description> <character>DAVID</character> <dialogue>What?</dialogue> </scene> <scene> <stage_direction>INT. DAVID'S CAR.</stage_direction> <scene_description>Bean is still chuckling .</scene_description> </scene> <scene> <stage_direction>INT. GALLERY. CORRIDOR.</stage_direction> <scene_description>Still highly amused , BEAN guides DAVID in the direction of Whistler 's Room . David takes out his key to open the room - but the door swings open . DAVID is shocked . There stands GRIERSON , looking straight at Whistler 's Mum . In all its untorn , unsmudged , undestroyed glory .</scene_description> <character>GRIERSON</character> <dialogue>I think you're wrong, David. She looks as fine as she's ever looked. Worth every cent of the 10 million dollar - s.</dialogue> <character>DAVID</character> <dialogue>Ahm.</dialogue> <character>GRIERSON</character> <dialogue>Bravo. Let's put on a good show tomorrow, shall we? Do n't want anything to go wrong.</dialogue> <character>DAVID</character> <dialogue>Quite right, sir.</dialogue> <scene_description>Grierson leaves . David gets close to the painting and peers .</scene_description> <character>DAVID</character> <dialogue>Wait a minute.</dialogue> <scene_description>BEAN just puts his finger to his mouth .</scene_description> <character>BEAN</character> <dialogue>Ssshhhh.</dialogue> <scene_description>He lets out a hug smile - he can solve the problems of the world , as well as create them .</scene_description> </scene> <scene> <stage_direction>INT. THE LEARY HOUSE. HALL- SATURDAY</stage_direction> <scene_description>JENNIFER skips down t - he stairs , carrying a trendy duffel bag , just as DAVID enters from the kitchen .</scene_description> <character>JENNIFER</character> <dialogue>Bye, Dad.</dialogue> <character>DAVID</character> <dialogue>Ah. Jennifer, I need you to watch Kevin. Jen?</dialogue> <scene_description>But JENNIFER has already reached the front door .</scene_description> <character>JENNIFER</character> <dialogue>Be serious, Dad. It's Saturday.</dialogue> <scene_description>She exits .</scene_description> </scene> <scene> <stage_direction>EXT. THE LEARY HOUSE - DAY</stage_direction> <scene_description>JENNIFER is heading down the path . DAVID runs out of the house and catches up with her .</scene_description> <character>DAVID</character> <dialogue>Jen, you have to help me here! I've got to go in to work, and with your mom away. I really need you.</dialogue> <scene_description>A powerful motorbike turns into the drive at speed and skids round to face the opposite direction . JENNIFER runs over to it . The bike 's rider turns off his engine and removes his helmet . It is STINGO , the white Rasta from the airport , with the hair extensions and the sixty rings in his nose .</scene_description> <character>STINGO</character> <parenthetical>( to DAVID . )</parenthetical> <dialogue>You.</dialogue> <scene_description>He hands JENNIFER a helmet .</scene_description> <character>JENNIFER</character> <dialogue>Do n't worry, Dad. I'll be home. Monday, after school.</dialogue> <scene_description>BEAN and KEVIN arrive at DAVID 's side to spectre .</scene_description> <character>KEVIN</character> <dialogue>Hey, En, nice bike' - but remember : any kids you have are gon na look just like its handsome driver.</dialogue> <character>DAVID</character> <parenthetical>( angry now . )</parenthetical> <dialogue>Jennifer! This is not - repeat, not! how we do things in this family. I've told you never to get on one of those death traps! Please - talk to me. I promise to be reasonable.</dialogue> <scene_description>JENNIFER has put on the helmet and is climbing onto the back of the bike .</scene_description> <character>JENNIFER</character> <dialogue>Great, Dad. You promised you'd get rid of him!</dialogue> <parenthetical>( points at Bean . )</parenthetical> <dialogue>And as for : `` how we do things in this family. We do n't have a family till you get Mom back.</dialogue> <scene_description>She slaps STINGO on the shoulder . STINGO kicks the starter lever . Nothing . Again . Nothing .</scene_description> <character>JENNIFER</character> <dialogue>Come on Sting!</dialogue> <character>KEVIN</character> <dialogue>Sting?! Sounds like something you put on a rash.</dialogue> <scene_description>STINGO is still kicking the starter . DAVID is desperate .</scene_description> <character>DAVID</character> <dialogue>Do n't just stand there, Bean - do something.</dialogue> <scene_description>BEAN instantly takes on the hero 's mantle and runs to the bike . DAVID is not far behind him . STINGO is still trying to kick start it . BEAN takes out a small screwdriver and twiddles with something on the engine . The bike sparks into life and does a wheelie before speeding out of the drive and down the road . BEAN stands , hands on hips , looking very - pleased with himself indeed .</scene_description> <character>DAVID</character> <dialogue>To BEAN. -RRB- Right! Right! You get inside and look after Kevin!</dialogue> <parenthetical>( not such a good idea . )</parenthetical> <dialogue>Uh - Right! Kevin. You get inside and look after. uh.</dialogue> <parenthetical>( that would be a worse idea . )</parenthetical> <dialogue>Right! Get in the car! Both of you. Jesus!</dialogue> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY. RECEPTION AREA - DAY</stage_direction> <scene_description>DAVID , BEAN and KEVIN at the reception desk .</scene_description> <character>ANNIE</character> <dialogue>So, Kevin. How's it going?</dialogue> <character>KEVIN</character> <dialogue>Badly. You wan na adopt me?</dialogue> <scene_description>ANNIE smiles cutely at BEAN . DAVID is still rattled .</scene_description> <character>ANNIE</character> <dialogue>Big day today, huh?</dialogue> <character>DAVID</character> <dialogue>Uh. yes.</dialogue> <scene_description>DAVID looks askance at BEAN . BERNIE hurries up and takes DAVID to one side .</scene_description> <character>BERNIE</character> <dialogue>Great day. At last we can start getting out of debt and concentrating on the future.</dialogue> <character>DAVID</character> <dialogue>Yes, look, I wanted to talk to you about this. I'm sure we have n't been doing as badly as all that.</dialogue> <character>BERNIE</character> <dialogue>You're an innocent and an optimist David - that's why I love you.</dialogue> <parenthetical>( he hugs him and laughs . )</parenthetical> <dialogue>. Jesus - what a terrible tie - Come on, the Governor's coming at 3. And before then I have a little surprise for you and the Boss.</dialogue> <scene_description>DAVID calls to ANNIE .</scene_description> <character>DAVID</character> <dialogue>Annie. would you look after Kevin? And Kevin - you look after Bean.</dialogue> <scene_description>He heads off with BERNIE . Back at the counter . BEAN , KEVIN &amp; ANNIE .</scene_description> <character>KEVIN</character> <dialogue>My Dad told me all about you.</dialogue> <character>ANNIE</character> <dialogue>Did he now?</dialogue> <character>KEVIN</character> <dialogue>He says you've got a babe count of ten out of ten, and a brain cell count of about two and a half.</dialogue> <character>ANNIE</character> <dialogue>Yeah, I'll go with that. I'm kinda, like, dumb, intellectually.</dialogue> <parenthetical>( to Bean . )</parenthetical> <dialogue>But I'm great in bed.</dialogue> <scene_description>BEAN is unsettled by this . He gives a shudder and heads for the gallery .</scene_description> <character>KEVIN</character> <dialogue>Catch you later, babe.</dialogue> <parenthetical>( goes after Bean . )</parenthetical> <dialogue>Come on, Beanie - there must be a computer here somewhere. I hate paintings. They do n't do anything.</dialogue> </scene> <scene> <stage_direction>INT. GRIERSON'S OFFICE. DAY.</stage_direction> <scene_description>BERNIE , DAVID and GRIERSON . BERNIE looks very confident at a computer monitor . A painting is in fact ` doing ' something , on the computer screen , as the girls in a Toulouse - Lautrec painting actually dance the can - can .</scene_description> <character>GRIERSON</character> <dialogue>Well, congratulations. Is n't that great, David?</dialogue> <character>DAVID</character> <dialogue>Certainly is.</dialogue> <character>BERNIE</character> <dialogue>We'll be able to start this afternoon. I'11 pipe the guide to every video screen in the gallery. Now, that'll impress the Governor.</dialogue> <character>GRIERSON</character> <dialogue>Well, bravo! What with you and Whistler's Ma - I think I've got a winning team.</dialogue> <scene_description>DAVID slightly embarrassed not to be included in the winning team . He looks to the poster of Whistler 's Mother behind GRIERSON 's desk .</scene_description> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY. BERNIE'S ROOM - DAY</stage_direction> <scene_description>KEVIN and BEAN have found a computer , also showing BERNIE 's Gallery programme . The monitor shows the interior of the ground floor of the gallery . KEVIN clicks , and up comes the same Toulouse Lautrec picture . As KEVIN works the mouse , BEAN hums the catchy tune from ` GOBLINS 21 . It 's play time again .</scene_description> <character>KEVIN</character> <dialogue>This is way cool, Beanie.</dialogue> <scene_description>He clicks again , and a tiny talking Toulouse Lautrec starts to explain the provenance of the painting .</scene_description> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY. THE WHISTLER ROOM. DAY</stage_direction> <scene_description>DAVID is overseeing things . There 's a burgundy rope , keeping people a bit away from the case in which Whistler 's Mother is contained . ELMER brings in two large flower displays . BERNIE enters .</scene_description> <character>BERNIE</character> <dialogue>Jesus! Hurry up you guys. Am I the only person round here who actually gets things done.</dialogue> <scene_description>He exits . BERNIE is growing in confidence - and getting nastier by the minute . DAVID pulls a face at ELMER .</scene_description> <character>DAVID</character> <dialogue>You arrange those flowers yourself?</dialogue> <character>ELMER</character> <dialogue>Sure did.</dialogue> <character>DAVID</character> <dialogue>They're pretty. Learn it in the army?</dialogue> <character>ELMER</character> <dialogue>No - but when you've torn out a man's throat with your bare hands, you learn to appreciate the beautiful things in life.</dialogue> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY - DAY</stage_direction> <scene_description>The final touches in the preparation for the big visit to up - tempo , `` we 're getting ready '' music . 1 . Gardeners gardening , window cleaners cleaning , polishers polishing etc. . And someone empties a dustbin , in the midst of which we glimpse something which might be a scrunched up old Whistler painting . 2 . BERNIE watches as someone plugs in a plug - and a huge video screen in the gallery flickers and starts up . 3 . ANNIE at her counter , reading a book called ` The Art of Conversational . She shakes an imaginary hand and rehearses a keen conversation with an imaginary V.I.P. 4 . ELMER , in the men 's room mirror , trims his hair around his peaked hat with scissors . He has a row of war medals on his chest . He polishes them proudly with his sleeve . 5 . GRIERSON watches through the front glass - a red carpet rolls itself out from the gallery 's main entrance to stop by the rear door of a black car .</scene_description> </scene> <scene> <stage_direction>EXT. THE GRIERSON GALLERY - DAY</stage_direction> <scene_description>Close on the bottom of the black cars rear door . It opens and a pair of legs , wearing black shoes and charcoal trousers , step out onto the red carpet . As they walk purposely up the carpet , the camera pans up their owner 's body , to reveal that this is BERNIE . It 's a rehearsal . He is met with a hand shake by GRIERSON at the main entrance .</scene_description> <character>GRIERSON</character> <dialogue>What a pleasure, Governor Reynolds. I'd like you to meet some of our staff here.</dialogue> <parenthetical>( checks a prompt card . )</parenthetical> <dialogue>.</dialogue> <character>BERNIE</character> <dialogue>And that's where you introduce me to the Governor.</dialogue> <character>GRIERSON</character> <dialogue>Right. Got it.</dialogue> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY. RECEPTION AREA - DAY</stage_direction> <scene_description>Gallery staff wait , all wearing name badges . GRIERSON leads BERNIE to the reception counter . ANNIE steps out from behind it and shakes BERNIE 's hand .</scene_description> <character>ANNIE</character> <dialogue>Good day, Governor Reynolds. I'm Annie.</dialogue> <character>BERNIE</character> <dialogue>Curtsy.</dialogue> <character>ANNIE</character> <dialogue>Curtsy? Are you kidding? This is 1990s America. Women do n't curtsy, they run the damn country!</dialogue> <character>GRIERSON</character> <dialogue>Alex, please!</dialogue> <character>ANNIE</character> <dialogue>That's Annie, sir.</dialogue> <scene_description>GRIERSON takes BERNIE on to ELMER who is next in line .</scene_description> <character>GRIERSON</character> <dialogue>This is Elmer, our longest serving.</dialogue> <character>BERNIE</character> <dialogue>Hey. Let's junk the medals, Elmer. This is not a Veterans' reunion. We wan na make the Governor feel at home. Not remind him of piles of dead people wearing uniforms.</dialogue> <scene_description>ELMER puts on a defiant face . DAVID shakes his head disapprovingly . GRIERSON moves BERNIE to meet DAVID . They ` Shake hands .</scene_description> <character>DAVID</character> <dialogue>David Leary. I'd like to echo my colleagues welcome to you and thank you for your patronage.</dialogue> <scene_description>BERNIE rudely cuts him off .</scene_description> <character>BERNIE</character> <dialogue>Okay, that'll do. The Governor's here in half an hour. We have to be totally ready then. No excuses. Period!</dialogue> <character>GRIERSON</character> <dialogue>Thank you Bernie. Well done. Now, If you'll excuse - I have a little smartening up to do myself.</dialogue> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY. BERNIE'S OFFICE - DAY</stage_direction> <scene_description>BEAN at the computer . He 's actually quite enjoying himself now . In fact , he 's rather hogging the thing . This is , after all , an animated catalogue - his area .</scene_description> <character>KEVIN</character> <dialogue>I'm just gon na go see if Annie needs me for anything. Truth is, she smells kinda nice. okay?</dialogue> <parenthetical>( grins . )</parenthetical> <dialogue>.</dialogue> <scene_description>BEAN smiles and gives KEVIN a thumbs - up . KEVIN returns the gesture and exits . Back to the computer , BEAN clicks on an icon which takes him to the ground floor gallery . He clicks through various paintings and stops at the painting of the woman , in the castle , wearing the chastity belt . BEAN clicks and enlarges the painting to fill the screen . He happily hums the catchy tune from ` GOBLINS 2 ' and homes in on the tiny padlock on the chastity belt . Padlocks interest him . He clicks on the keyhole rapidly -LRB- as we have seen him do with the frog in GOBLINS 2 -RRB- .</scene_description> <character>MR. BEAN</character> <dialogue>Click! click! click! click! click!</dialogue> <scene_description>. Suddenly , to BEAN 's surprise , the padlock starts to flash red . then the whole screen starts to flash . before going dramatically back to black . Now flashing in the . centre of the monitor is an icon of a tiny key . Beneath it , a row of six dashes appears -LRB- e.g - - - - -RRB- . A cursor is flashing over the first dash . BEAN is totally absorbed . He loves these kinds of puzzles . With one finger , he slowly types out letters on the keyboard -LRB- he has to search for some of them -RRB- . As he does so , they appear over each dash in turn : G - O - B - L - I - N A message pops up : `` ACCESS DENIED '' BEAN tries something 0 else . G - N - O - M - E - S The message again : ` ACCESS DENIED ' . The room door suddenly opens ! Making BEAN jump ! It 's BERNIE . He can not see the computer screen from the doorway .</scene_description> <character>BERNIE</character> <dialogue>How goes it, Bean? Ready for the Governor?</dialogue> <scene_description>BEAN smiles and nods nervously . He knows he 's probably up to something he should n't be .</scene_description> <character>BERNIE</character> <dialogue>We need you downstairs in ten minutes and not a second more. Period. Oh, And put this on.</dialogue> <scene_description>BERNIE throws BEAN a name badge with ` Dr. Bean ' on it . BEAN nods . BERNIE exits . BEAN goes back to the code . He types in the first thing that comes into his head : B - E - R - N - I - E That damned message again : ` ACCESS DENIED ' . Then , as though something is dawning on him , he punches in : P - E - R - I - 0 - D Up comes a message : `` CODE ACCEPTED '' . Close on BEAN 's face as light from the computer plays on it - He reads it carefully and with interest . We cant quite read his expression - but what he sees is a surprise and a puzzle . Long meaningful pause as his eyes scan the screen .</scene_description> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY. THE WHISTLER ROOM - DAY</stage_direction> <scene_description>BERNIE enters - DAVID is looking at Whistler 's Mother , still puzzled .</scene_description> <character>BERNIE</character> <dialogue>David? Lift off!</dialogue> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY. RECEPTION AREA - DAY</stage_direction> <scene_description>The staff and various dignitaries are lined , looking out through the glass in anticipation . Through the glass we see a couple of Police Motorcycle Escorts pull up outside followed by a beautiful , old , classic Rolls Royce .</scene_description> </scene> <scene> <stage_direction>EXT. THE GRIERSON GALLERY - DAY</stage_direction> <scene_description>The red carpet unrolls all the way to the Rolls , rear door . Close on the bottom of the driver 's door . It opens and out step a pair of legs , wearing army boots and khaki trousers . The legs step sideways onto the carpet and approach us . Camera pans up to show us that GOVERNOR REYNOLDS is dressed in his Veteran 's uniform - chest of medals and forage cap . He is a grand figure . In fact - he 's exactly the same grand figure Mr BEAN caused epic problems To on the plane over . He gives his prized possession , the car , a little token polish with his sleeve before heading on . BRUTUS and his SIDE - KICK COP fall into step behind him . They are the Police presence today . GRIERSON and BERNIE greet REYNOLDS at the entrance . GRIERSON is wearing a striking brand new light blue silk suit . BERNIE is frowning - not happy about that uniform .</scene_description> <character>GRIERSON</character> <dialogue>what a pleasure, Governor. Welcome.</dialogue> <character>REYNOLDS</character> <dialogue>Hi, Grierson, forgive the war paint. Going on To my regiment/s reunion after.</dialogue> <character>GRIERSON</character> <dialogue>Not at all, Governor. Very striking.</dialogue> <scene_description>REYNOLDS takes in GRIERSON 's suit .</scene_description> <character>REYNOLDS</character> <dialogue>Interesting suit.</dialogue> <character>GRIERSON</character> <parenthetical>( Beaming . )</parenthetical> <dialogue>Why thank you sir.</dialogue> <character>REYNOLDS</character> <dialogue>off the peg?</dialogue> <character>GRIERSON</character> <parenthetical>( crestfallen . )</parenthetical> <dialogue>Yes it is. may I introduce you To Bern.</dialogue> <scene_description>He gestures to BERNIE but REYNOLDS cuts in and hands BERNIE a set of car keys .</scene_description> <character>REYNOLDS</character> <parenthetical>( To Bernie . )</parenthetical> <dialogue>Go park the old jalopy, will ya, son.</dialogue> <scene_description>BERNIE 's smile melts away . As they enter the gallery , BERNIE hopefully offers the car keys to BRUTUS - who rewards him with a `` do n't be stupid '' smile and follows the Governor . BEAN -LRB- wearing `` Dr Bean '' name badge -RRB- comes into the corridor by the front door , thus just missing REYNOLDS . BERNIE sees him and jumps on the chance to delegate .</scene_description> <character>BERNIE</character> <dialogue>Bean - go park the Governor's car, will you.</dialogue> <scene_description>BEAN assents happily . BRUTUS spies BEAN over his shoulder and frowns - its that mad English guy again . BEAN gets to the door and sees the Governor 's car . Yummy !</scene_description> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY. RECEPTION AREA - DAY</stage_direction> <scene_description>GRIERSON leads REYNOLDS to the reception counter , as BERNIE sneaks up to take his position again . ELMER is in the background trying to look professional , deferring to BRUTUS . ANNIE steps out from behind the counter , curtsies and , shakes REYNOLDS ' hand .</scene_description> <character>ANNIE</character> <dialogue>Good day, Governor. I'm Annie. You know, you're a lot taller than you were half an hour ago.</dialogue> <character>REYNOLDS</character> <dialogue>Well, that's great to hear at my age, Annie. Thank you very much.</dialogue> <character>ANNIE</character> <dialogue>Governor Reynolds, does your wife, like, have to curtsy? Or does she 0 have a decent job?</dialogue> <character>REYNOLDS</character> <dialogue>Er. Mrs. Reynolds is doing just fine. Just fine.</dialogue> <scene_description>He spots KEVIN and winks at him . KEVIN smiles back .</scene_description> </scene> <scene> <stage_direction>EXT. THE GRIERSON GALLERY. DAY.</stage_direction> <scene_description>BEAN has let himself into the car . It 's one of the happiest moments of his life , as he inspects the gleaming panel and sits back in the gorgeous leather seat . He starts the car up - and heads up into the circular car park . He sweeps dangerously round a few turns - but just manages to keep the car in tact . Finally he reaches the top floor where there is one quite small space left . BEAN is a good driver in a car that is , unfortunately , one foot wider than the one he 's used to . He takes out the comb he always used to measure space with his Mini , and measures the space . Yes . Seems large enough . He moves the car in . It is n't large enough . With a hideous scraping of metal against metal , the Rolls Royce squeezes in between the two cars , losing its wing mirror and door handle in the process . BEAN looks a tadge concerned .</scene_description> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY - DAY.</stage_direction> <scene_description>REYNOLDS has moved on to ELMER who salutes crisply . REYNOLDS returns the salute with pride .</scene_description> <character>REYNOLDS</character> <dialogue>Nice set of medals there Elmer. Which beach they drop you on? Utah? Omaha?</dialogue> <character>ELMER</character> <dialogue>Could n't tell you sir. I was so drugged up with the killing I did n't know where I was.</dialogue> <character>REYNOLDS</character> <dialogue>Well, congratulations soldier.</dialogue> </scene> <scene> <stage_direction>EXT. PARKING LOT - DAY.</stage_direction> <scene_description>BEAN sitting in the wedged car . He tries the door - but it wo n't open a centimetre . He 's totally stuck . He looks up at a small window in the roof . If only he could get that open . He pushes various buttons , which set of windscreen wipers , squirters , radios . He pushes the cigarette lighter . Finally , he pulls a lever - and the bonnet pops up an inch . At which moment we see the lighter shoot out , and on to the seat . BEAN is still looking round below the dashboard , when he notices a little fire in the seat beside him . Not good news . BEAN panics a bit , turns and half climbs over into the back seat , when he spies a drinks cabinet . He has a very good idea - he finds a cut crystal decanter of brown liquid , opens it and uses it to douse the fire . Not a wise move with brandy . Before the cut , we see the WHOOOSH ! of a major fire in the front seat of the car .</scene_description> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY. DAY.</stage_direction> <scene_description>GRIERSON leads REYNOLDS towards the main gallery . He points up to the video screen they are passing , which shows the two of them walking along - as does every screen in the gallery . REYNOLDS is impressed . He glances at DAVID in passing .</scene_description> <character>REYNOLDS</character> <dialogue>Nice tie, fella.</dialogue> <scene_description>DAVID grins to himself .</scene_description> </scene> <scene> <stage_direction>INT. PARKING LOT - DAY.</stage_direction> <scene_description>The front of the car is n't what it was . There has been a big fire . It 's out now - three decanters lie empty . BEAN is not happy . Finally , he decides to go for brute strength . He turns the car on again , puts it into reverse , and puts his foot down on the accelerator . We see the car from above . Full throttle . Totally still . Totally still . And then WHOOOOSH WHAM ! It reverses at 100 mph straight backwards , smashing violently into and destroying the back of the car behind _ as it happens , Bernie 's car . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY. GROUND FLOOR - DAY</stage_direction> <scene_description>REYNOLDS stops to admire a small painting - a twelfth century ` Crucifixion of Christ ' .</scene_description> <character>GRIERSON</character> <dialogue>Ah, one of my favourites. It expresses a universal agony that the established Church so rarely acknowledges, do n't you think?</dialogue> <character>REYNOLDS</character> <dialogue>Jesus. no one's got feet like for crying out loud. Have you got feet like that? Dammed if I have. Let's move it, shall we?</dialogue> <scene_description>BERNIE spots a slightly concerned DAVID .</scene_description> <character>BERNIE</character> <dialogue>Everything okay, David?</dialogue> <character>DAVID</character> <dialogue>Yes. Ahm. I was just wondering where my English house guest had got to.</dialogue> <character>BERNIE</character> <dialogue>He's just parking the Governor's car.</dialogue> <character>DAVID</character> <dialogue>Great - keep him out of trouble.</dialogue> </scene> <scene> <stage_direction>INT. PARKING LOT - DAY.</stage_direction> <scene_description>BEAN is inspecting the car . He 's not too happy with it . ' . He tries to get the bonnet down , but it insists on staying up . He shrugs his shoulders and gets in to drive off again , having to wind down the window and drive by leaning his head out . This means that as he heads for the exit , he fails to see the system to stop people leaving without paying , a foot high barrier that appears out of the ground . When he hits it , the car stops dead . BEAN gets out , leaving the car idling and goes to the booth where normally the attendant would be - but everyone is in the gallery at the moment . Inside he pushes a couple of buttons , and , hurrah , gets the one that drops the barrier . Less hurrah , he has forgotten to put on the hand brake . As he moves back towards the car , it glides slowly down the ramp on the outside of the building , then accelerates , and finally , on a particularly sharp turn , smashes through the wall , and flies off the building . We hear a crash - but do not see where it lands .</scene_description> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY. GROUND FLOOR - DAY</stage_direction> <scene_description>GOVERNOR REYNOLDS turns away from another picture .</scene_description> <character>REYNOLDS</character> <dialogue>Can we go and see Mrs. Whistler now? My eyes are making my feet sore, as my wife would say.</dialogue> <character>DAVID</character> <dialogue>Sure, Governor. Please. This way.</dialogue> <scene_description>The party follows DAVID as he walks through the gallery , towards the double doors , to take the lift to the Whistler Room . An excited atmosphere .</scene_description> </scene> <scene> <stage_direction>INT. WHISTLER ROOM. DAY.</stage_direction> <scene_description>Everyone enters .</scene_description> <character>DAVID</character> <dialogue>Ladies and gentlemen - most of you have seen Whistler's Mother before, can I ask you just to step back. Thank you.</dialogue> <scene_description>It 's part of his plan of caution - he knows there 's something wrong - and wants as few people as possible to . see the painting close up . The crowd moves back .</scene_description> <character>DAVID</character> <dialogue>I'd like the Governor to have, as it were, a private audience with his new friend.</dialogue> <scene_description>REYNOLDS is flattered . Silence . DAVID inserts the plastic card key - opens the doors - and sure enough there in all its glory is Whistler 's Mother ' . Respectful silence . REYNOLDS is delighted . He stands back to inspect her .</scene_description> <character>REYNOLDS</character> <dialogue>Well, hello Ma'am! Yes - she certainly looks a million dollars to me - or should I say ten million dollars!</dialogue> <scene_description>Everyone applauds .</scene_description> <character>GRIERSON</character> <dialogue>Bravo - what do you say to a final glass of, though I say it myself, rather ` expensive' champagne.</dialogue> <parenthetical>( grins smugly . )</parenthetical> <dialogue /> <scene_description>People start to file out . REYNOLDS , GRIERSON , BERNIE and DAVID stay behind . DAVID spots BEAN arriving . He hands the car keys back to BERNIE with a slightly dazed smile . DAVID eagerly takes his arm and brings him over .</scene_description> <character>DAVID</character> <dialogue>Governor, I do n't believe you've met Dr Bean, our expert from England.</dialogue> <scene_description>They turn to each other - recognition from BEAN `` it 's the man from the plane '' . He does a very quick hand - shake and tries to make a getaway before REYNOLDS recognises him .</scene_description> <character>BEAN</character> <dialogue>Ah, hello, sorry, I. Ahm. sorry.</dialogue> <scene_description>BEAN turns . In fatal slow motion he trips over the cord that stops anyone getting too close to the great painting . He spins and falls in the direction of the painting . the looks of horror on all the faces . BEAN , reaching out to keep himself standing . We think he 's going to tear the painting . He does n't . He simply catches hold of the bottom of the ornate frame . It , , snaps off . a look of relief for an instant on all faces . the truth - as the frame breaks off , there is the little white strip , saying , THE GRIERSON GALLERY , HOME OF WHISTLER 'S MOTHER '' - a look of horror on all faces . ELMER looking like someone has just murdered his own mother . BRUTUS and SIDE - KICK glowering at BEAN .</scene_description> </scene> <scene> <stage_direction>INT. GALLERY CORRIDOR. DAY.</stage_direction> <scene_description>Governor REYNOLDS storming through the Gallery , with - BERNIE and GRIERSON scampering after him .</scene_description> <character>REYNOLDS</character> <dialogue>You were going to sell the State of California a poster - for ten million dollars! Who the hell do you think you are, Shorty!?</dialogue> <character>GRIERSON</character> <dialogue>Look, Governor - just wait - it's may not be as bad as it looks.</dialogue> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY. WHISTLER ROOM - DAY.</stage_direction> <scene_description>DAVID and BEAN stand alone in silence , in front of the debris . BEAN is absolutely destitute . DAVID stares at him . BEAN just lifts his hands . Totally sad . What will , what can DAVID say to him ? Finally , DAVID just puts his hands on his shoulder .</scene_description> <character>DAVID</character> <dialogue>Nice try, kiddo.</dialogue> <scene_description>BEAN cant quite believe he 's forgiven . At which moment , there is a knock on the door . ANNIE enters , holding KEVIN 's hand .</scene_description> <character>ANNIE</character> <dialogue>David. There's a call for you. It's your wife.</dialogue> <character>DAVID</character> <dialogue>Great. Classic timing. Why do n't you ask her just to leave a date for the divorce? I'll check my diary later.</dialogue> <scene_description>Then he notices the worried expressions on ANNIE and KEVIN 's faces .</scene_description> <character>ANNIE</character> <dialogue>She's calling from the hospital.</dialogue> <scene_description>BEAN and DAVID both take this in . DAVID turns and runs towards the reception area . ANNIE calls after him .</scene_description> <character>ANNIE</character> <dialogue>She's on line three!</dialogue> <scene_description>KEVIN grabs BEAN 's hand and they both run after DAVID . ANNIE watches BEAN go and sighs .</scene_description> <character>ANNIE</character> <dialogue>Such. great buns.</dialogue> </scene> <scene> <stage_direction>INT. GALLERY ENTRANCE HALL. DAY.</stage_direction> <scene_description>The party is in disarray . In the background , DAVID is on the phone at the reception counter with KEVIN and BEAN . BRUTUS hovers , he suspects BEAN - wants to question him .</scene_description> <character>REYNOLDS</character> <dialogue>I've known soldiers who've had their heads blown off who were more intelligent than you two. Not only have you failed to protect your most valuable possession from theft - but you did n't even know it'd been stolen! I'd sooner buy heroin from the guy who sells drugs outside my grandson's school than anything from you guys.</dialogue> <character>GRIERSON</character> <dialogue>I am sorry you feel that way.</dialogue> <character>REYNOLDS</character> <dialogue>And I'm sorry you look that way, short - ass. That suit stinks and you obviously dye your hair.</dialogue> <scene_description>GRIERSON is seriously shocked and offended . Now , bring my car round the front please - I 've had enough of this crap !</scene_description> <character>BERNIE</character> <dialogue>Certainly, sir.</dialogue> <scene_description>He rushes off . Meanwhile , DAVID slams down the phone and he , BEAN and KEVIN rush out of the building . ELMER , BRUTUS and SIDE - KICK give chase .</scene_description> </scene> <scene> <stage_direction>EXT. GALLERY PARKING LOT. DAY.</stage_direction> <scene_description>DAVID 's car screeches out onto the street and tears away . BRUTUS and SIDE - KICK arrive , flustered , at their car . SIDE - KICK is frantically searching for its keys .</scene_description> <character>BRUTUS</character> <dialogue>Come on man! Move it!</dialogue> <scene_description>A car passes by them slowly . ELMER is driving . He shouts from his window .</scene_description> <character>ELMER</character> <dialogue>Hey, Cop, wan na ride? Jeese, where do they get you guys?</dialogue> <scene_description>The cops jump in his car while it is still moving .</scene_description> </scene> <scene> <stage_direction>EXT. THE GRIERSON GALLERY - DAY</stage_direction> <scene_description>REYNOLDS at the entrance . BERNIE walks up sheepishly , holding up car keys .</scene_description> <character>BERNIE</character> <dialogue>There is one other tiny problem, sir.</dialogue> </scene> <scene> <stage_direction>EXT. STREET. DAY.</stage_direction> <scene_description>DAVID 's car speeds by . ELMER 's car is not far behind it .</scene_description> </scene> <scene> <stage_direction>INT. DAVID'S CAR - DAY</stage_direction> <scene_description>DAVID is driving fast .</scene_description> <character>KEVIN</character> <dialogue>Is Jenny gon na be okay?</dialogue> <character>DAVID</character> <dialogue>She was wearing a helmet. It could have been worse.</dialogue> <character>KEVIN</character> <dialogue>But is she gon na be okay?</dialogue> <character>DAVID</character> <parenthetical>( snapping . )</parenthetical> <dialogue>How the hell should I know?</dialogue> <scene_description>KEVIN is hurt . I 'm sorry . What can I say - she 's unconscious . And I mean - every night when we sleep , we 're all unconscious , are n't we ? She 'll pull out of it . God though - why the hell do kids have to ride bikes ? DAVID slams on the brakes . He nearly went through a red light .</scene_description> <character>DAVID</character> <dialogue>Damn! She's a good kid. Sometimes good people get a break once in a while.</dialogue> <parenthetical>( manages a smile . )</parenthetical> <dialogue /> <scene_description>A chauffeur driven , open top limo , pulls up next to DAVID 's car . BEAN looks out of his window to see the BAG LADY , from the mall robbery , sitting in the back . She is still wearing her filthy clothes . She raises a glass of champagne to BEAN and smiles . BEAN waves back uncertainly . He 's sure he 's seen her before - a vague memory . ELMER 's CAR is in the traffic queue about ten cars back . BRUTUS and SIDE - KICK get out and start running down the line towards DAVID 's car . The lights are green . DAVID puts his foot down and the car screeches away just as BRUTUS and SIDE - KICK are within inches it . BRUTUS and SIDE - KICK turn on their heels and head back to ELMER 's car . They are very unfit . They are just about to jump in the car when gun shots are heard from a near - by gas station - BRUTUS turns and sees a . robbery in progress . A man with a gun is about to run away . BRUTUS is torn , not knowing which quarry to pursue .</scene_description> <character>BRUTUS</character> <dialogue>Shiiiit!</dialogue> <character>ELMER</character> <dialogue>It's okay! I'll tail'em!</dialogue> <character>BRUTUS</character> <dialogue>You got it.</dialogue> <scene_description>BRUTUS and SIDE - KICK draw their guns and run towards the gas station . In a moment of confusion - a shot rings out . We think in the corner of our eye that we see BRUTUS fall to the ground , as ELMER screeches away after DAVID 's car .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL. RECEPTION - DAY</stage_direction> <scene_description>Much hustle and bustle . DAVID is getting directions from a nurse at the desk . He beckons to KEVIN and BEAN and strides , purposely towards a corridor . They hurry to catch him up , and Bean treat on the back of his shoe . DAVID turns and shouts at him .</scene_description> <character>DAVID</character> <dialogue>Just stay away from me! D'you hear?</dialogue> <scene_description>He takes KEVIN 's hand and storms away round a corner . BEAN is taken aback not knowing what to do or where to go . He is really feeling sorrow now . He 's shaken . All part of his slow coming to feel things properly .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL. CORRIDOR - DAY</stage_direction> <scene_description>DAVID and KEVIN turns a corner - and stop , frozen . There , sitting alone , on a bench , outside JENNIFER 's room , is ALISON . She gets to her feet . Their eyes meet .</scene_description> </scene> <scene> <stage_direction>EXT. THE GRIERSON GALLERY -DAY</stage_direction> <scene_description>A crowd outside the gallery , look off camera . The camera follows BERNIE 's gaze and takes in the modern car sculpture . Where there were two cars face down in the earth , there are now three , the new addition being Governor 's pride and Joy . The three cars form a tall pyramid . Close on REYNOLDS ' face . GRIERSON approaches .</scene_description> <character>REYNOLDS</character> <dialogue>Do n't even think of saying one word to me, or I'11 find a way of fitting all three of those cars right up your ass.</dialogue> <scene_description>GRIERSON nods - he 's got the message .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL. CORRIDOR. DAY</stage_direction> <scene_description>ALISON and DAVID are standing where they were before , three paces apart . ALISON is upset , tired and drawn .</scene_description> <character>ALISON</character> <dialogue>They're not calling it a coma. The doctor says she's. just kind of taking time out.</dialogue> <parenthetical>( to Kevin . )</parenthetical> <dialogue>Hi, tough guy.</dialogue> <parenthetical>( to David . )</parenthetical> <dialogue>It's a busy night. The doctor will be back in a while.</dialogue> <scene_description>A doctor passes</scene_description> <character>DAVID</character> <dialogue>Excuse me.</dialogue> <character>DOCTOR 1</character> <dialogue>I'll be back in a minute.</dialogue> <character>DAVID</character> <dialogue>Okay, great.</dialogue> <scene_description>ALISON looks at him . We do n't quite read the expression but somewhere under there we know she 's thinking `` yup , he 's still ineffective . ''</scene_description> <character>ALISON</character> <dialogue>At least you did n't bring Mr Bean with you.</dialogue> <character>DAVID</character> <dialogue>Ah, well.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL. CORRIDOR - DAY</stage_direction> <scene_description>BEAN is looking for his friends . A doctor sweeps by him . A nurse behind .</scene_description> <character>NURSE</character> <dialogue>Doctor Jacobson?</dialogue> <character>DOCTOR JACOBSON</character> <dialogue>Yes?</dialogue> <character>NURSE</character> <dialogue>We need you urgently in C Theatre.</dialogue> <character>DOCTOR JACOBSON</character> <dialogue>Damn. I was just going to Number 4.</dialogue> <character>NURSE</character> <dialogue>It is urgent, sir.</dialogue> <character>DOCTOR JACOBSON</character> <dialogue>Okay.</dialogue> <scene_description>The doctor rushes away and drops his stethoscope as he . goes . BEAN sees it , picks it up and follows him he 's trying to be useful .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL. RECEPTION - DAY</stage_direction> <scene_description>ELMER is at the busy reception desk and has been talking with a nurse .</scene_description> <character>ELMER</character> <dialogue>No, no, I did n't realise the situation. I wo n't disturb them now.</dialogue> <scene_description>ELMER is obviously moved to find out about JENNIFER . He moves towards the exit . He is surprised to see BUCK , the night - shift guard , dressed in civvies , sitting with outpatients .</scene_description> <character>ELMER</character> <dialogue>Buck?</dialogue> <scene_description>BUCK looks up , painfully , goes to say something , then dashes into a men 's room close - by . ELMER shakes his head and leaves .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL. CORRIDOR - DAY.</stage_direction> <scene_description>BEAN still following DR JACOBSON , who goes through more swing doors and then suddenly disappears . BEAN sees a big `` 4 '' above a door and goes in , holding the Stethoscope . A nurse accosts him instantly . She reads his name badge .</scene_description> <character>NURSE 2</character> <dialogue>Doctor. Bean?</dialogue> <scene_description>BEAN is fed up trying to correct people with this misconception .</scene_description> <character>BEAN</character> <dialogue>Actually.</dialogue> <parenthetical>( huge sigh . )</parenthetical> <dialogue>. Yes, yes, yes.</dialogue> <character>NURSE 2</character> <dialogue>Just in time, sir. Allow me.</dialogue> <scene_description>She immediately slips the white coat onto BEAN , and the gloves , and the mask .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL. CORRIDOR - DAY</stage_direction> <scene_description>ALISON , DAVID and KEVIN are sitting on the bench opposite JENNIFER 's room . KEVIN picks up JENNIFER 's SUPER NINTENDO console from the bench . DAVID notices this . ALISON answers his look .</scene_description> <character>ALISON</character> <dialogue>When the Police told me what had happened I. it's stupid I know. but I remembered all that stuff people do to get through to coma victims.</dialogue> <character>KEVIN</character> <dialogue>Like playing them recordings of their dish washers and coffee grinders?</dialogue> <character>ALISON</character> <dialogue>That right. So I went home and picked it up.</dialogue> <character>DAVID</character> <dialogue>Good thinking.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>You still call it ` home'.</dialogue> <scene_description>ALISON looks at him seriously .</scene_description> </scene> <scene> <stage_direction>INT. OPERATING THEATRE. NIGHT.</stage_direction> <scene_description>Inside the operating theatre , a body is waiting in position . There are 3 attending nurses and an assistant doctor . They all look up to BEAN as he enters , fully kitted up .</scene_description> <character>ASSISTANT</character> <dialogue>Good evening Doctor. What we have here is a bullet wound in the lower thorax it seems to have ruptured the lung, and there's severe inner bleeding along the abdomen.</dialogue> <character>NURSE 2</character> <dialogue>He's coming round.</dialogue> <character>ASSISTANT</character> <dialogue>Give him a T 70, straight away.</dialogue> <scene_description>The victim starts to move - he looks up - we see his face for the first time . It is the police officer , BRUTUS . He is in great pain . As the sedative shot goes in , BEAN takes off his mask , and smiles , with a little wave . A look of total panic goes over BRUTU 'S eyes , as he loses consciousness .</scene_description> <character>ASSISTANT</character> <dialogue>Shall I do the cut, sir?</dialogue> <scene_description>BEAN nods - he 's not going to argue with anyone . The assistant cuts . BEAN is horrified , almost faints , then snatches the knife . He ca n't believe this maniac has just cut through another personas flesh .</scene_description> <character>ASSISTANT</character> <dialogue>I'm sorry. it's only MY first week.</dialogue> <scene_description>BEAN hands the knife to the NURSE testily .</scene_description> <character>NURSE</character> <dialogue>I'm afraid we'll now have to wait for the X - rays, Doctor, or we'll never find the bullet. Come on everyone sort out the support systems.</dialogue> <scene_description>EVERYONE turns to get on with their particular jobs . BEAN is left with the body . A pause . He gets a little bored . Takes a sweet packet out of his pocket . Only one sweet left . he takes it out lovingly , and then does what he always does - throws it up into the air , to catch it in his mouth . Unfortunately , he forgets that he is wearing a mask . It hits the middle of the mask and bounces into the cut in the body . BEAN looks down annoyed . Checks round him - everyone 's ` still busy . So he puts his hand in the body , really rummages around , finds the sweet , takes it out , and then realises he 's in fact got the bullet between his fingers . Guiltily , he slips it back into the body , rummages a bit more , finds the sweet , wipes it , &amp; pops it in his mouth . At which second the X - ray arrives .</scene_description> <character>ASSISTANT</character> <dialogue>Here we go, doctor.</dialogue> <parenthetical>( STUDYING THE X - RAY . )</parenthetical> <dialogue>the bullet is here - so we'll probably have to extend the cut to here. Think we all better be prepared for a long one here. This is tricky.</dialogue> <scene_description>BEAN tuts scornfully - ` you 're wrong 1 , reaches in again , feels around for a second , and triumphantly produces the bullet between his fingers . They all applaud .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL. CORRIDOR - DAY.</stage_direction> <scene_description>BEAN exits from the theatre - still in gown and mask , followed by the assistant . The police SIDE - KICK is waiting .</scene_description> <character>SIDE-KICK</character> <dialogue>Any news on the chief?</dialogue> <character>ASSISTANT</character> <dialogue>There certainly is. Dr Bean here just saved his life.</dialogue> <scene_description>SIDE - KICK 's eyes water . He 's choked . BEAN shakes his hand nervously , and heads on fast before he 's found out . He turns the corner and suddenly sees DAVID and ALISON , still seated . ALISON sees him .</scene_description> <character>ALISON</character> <dialogue>0 my god.</dialogue> <character>DAVID</character> <dialogue>Sorry, honey - he just happened to tag along.</dialogue> <character>ALISON</character> <dialogue>Nothing ever really changes, does it, David?</dialogue> <scene_description>She turns her head away : the bond of the moments before is gone . BEAN looks very contrite . At that moment , another doctor walks by .</scene_description> <character>DAVID</character> <dialogue>Excuse me.</dialogue> <character>DOCTOR 2</character> <dialogue>Yes, your doctor will be with you in a minute. We have a lot to deal with here, sir.</dialogue> <scene_description>ALISON looks round , and shakes her head . BEAN kicks DAVID in the shins . DAVID looks round , puzzled . There is a poster of the human skeleton . BEAN points to the spine . DAVID looks but can not fathom a relevant meaning from it . Another doctor comes along - the same one who they spoke to first . He 's young , confident slightly arrogant .</scene_description> <character>ALISON</character> <dialogue>Excuse me, doctor.</dialogue> <character>DOCTOR</character> <dialogue>Really Ma'am, we'll get to you in due course.</dialogue> <character>ALISON</character> <dialogue>Okay.</dialogue> <scene_description>DAVID looks at the poster opposite again . Spine , ribcage , skull . Looks back at Bean gesturing to it . This time the penny drops ! Spine spineless !</scene_description> <character>DAVID</character> <dialogue>Say that again, son.</dialogue> <character>DOCTOR</character> <dialogue>I beg your pardon?</dialogue> <character>DAVID</character> <dialogue>I said say that again, son - because the next time you do, I'll make sure you're in there with my daughter, but in a slightly less healthy state and she's in a coma with a broken arm right now.</dialogue> <character>DOCTOR</character> <dialogue>I'm er. sorry if you've been waiting a long time.</dialogue> <character>DAVID</character> <dialogue>We have. In fact, we've been sitting here since the start of the Millennium and I'd really like some action from you before the end of the world.</dialogue> <scene_description>A hint of a smile arrives on ALISON 's lips . She 's heard that somewhere before . DAVID So , why not haul your . -LRB- checks . -RRB- nice little ass into this room and explain to me and my wife why our precious daughter is going to be absolutely fine because of all the fantastic intelligence and attention you are going to give her case . DOCTOR Okay , sir . Certainly . Good . DAVID turns to ALISON - she does a little tilt of her Head ` WOW ' . And he turns to BEAN , who points to himself , and nods . n Come on !</scene_description> <character>DAVID</character> <dialogue>Yes, and Bean, for God's sake, keep out of the goddamn way, will you?</dialogue> <scene_description>BEAN nods enthusiastically and backs off .</scene_description> <character>ALISON</character> <dialogue>Smiling Well, well.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL. JENNIFER'S ROOM - NIGHT</stage_direction> <scene_description>Close on an E.C.G. monitor , green lines on black screen . DAVID and ALISON sit by JENNIFER 's bed . JENNIFER is unconscious . She has her arm in a cast and a small Band - Aid on her head . otherwise she seems undamaged . KEVIN is sitting on the end of the bed playing the SUPER NINTENDO game . -LRB- the Gothic Vampire thing , with bats and he - men , we saw on JENNIFER 'S TV earlier -RRB- . It is plugged into a T.V. which sits on a trolley . It 's quite a noisy game . KEVIN is immersed in it . ALISON Let 's get a coffee .</scene_description> <character>DAVID</character> <dialogue>Yes. Great. Kevin, I'11 send Bean in to keep you company.</dialogue> <scene_description>ALISON exits . David follows . BEAN enters . He sees JENNIFER for the first time . Sympathy shows in his eyes .</scene_description> <character>KEVIN</character> <dialogue>Help me with this. It's a scientific experiment. We're gon na wake up Sleeping Beauty here with the tortured screams of Vampire bats.</dialogue> <scene_description>BEAN is determined to help . He sits down with KEVIN . The game continues . The he - man jumps up and down , lashing out at bats with his sword . Lots of noise , but JENNIFER sleeps on .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL. CORRIDOR - NIGHT</stage_direction> <scene_description>By a drinks machine . ALISON finishes drinking from a plastic cup .</scene_description> <character>ALISON</character> <dialogue>Disgusting.</dialogue> <scene_description>She looks up at DAVID , who 's looking at her . Slowly she gets close and puts her arms around him . She 's a bit tearful .</scene_description> <character>DAVID</character> <dialogue>Everything's gon na be fine.</dialogue> <character>ALISON</character> <parenthetical>( pause . )</parenthetical> <dialogue>About Charles.</dialogue> <character>DAVID</character> <dialogue>shhh.</dialogue> <character>ALISON</character> <dialogue>It was nothing. We're not. He just makes me laugh. When was the last time we laughed? Any of us?</dialogue> <character>DAVID</character> <dialogue>I know. I know. I've been an arsehole of spectacular proportions. Olympic standard.</dialogue> <character>KEVIN</character> <dialogue>Dad.</dialogue> <scene_description>They look down to see KEVIN has arrived .</scene_description> <character>KEVIN</character> <dialogue>These guys just hijacked the T.V. Me and Bean were trying to.</dialogue> <scene_description>A hospital PORTER passes , pushing the T.V. on a trolley .</scene_description> <character>HOSPITAL PORTER</character> <dialogue>Sorry, folks. We're short on these and there's another kid down the hall that could use.</dialogue> <character>DAVID</character> <dialogue>Wait a minute.</dialogue> <parenthetical>( about to get tough again . )</parenthetical> <dialogue /> <character>ALISON</character> <dialogue>Please. It's okay. Really.</dialogue> <parenthetical>( to David . )</parenthetical> <dialogue>Wow - who put the fire in you, my' man?</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL. JENNIFER'S ROOM - NIGHT</stage_direction> <scene_description>JENNIFER is still asleep . BEAN is sitting on the end of her bed . He looks at the SUPER NINTENDO console thinking , `` How can I get this working again ? How can I help ? '' The only sound in the room is the beeping from the E.C.G. machine , monitoring Jennifer 's heart . BEAN has an idea . He yanks off the jack plug at the end of the Super Nintendo lead . Producing his small screwdriver , he starts to unscrew the console casing .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL. CORRIDOR - NIGHT</stage_direction> <scene_description>DAVID , ALISON and KEVIN walk back towards the room .</scene_description> <character>ALISON</character> <dialogue>Maybe I ought to think about getting another job.</dialogue> <character>DAVID</character> <dialogue>Good idea - with a boss who's a really ugly son - of - a - bitch.</dialogue> <scene_description>She and DAVID manage to share a smile . They 're going to get through this . Suddenly , we hear noise from the vampire game , coming from JENNIFER 's room . KEVIN registers this and is puzzled . Then ALISON and DAVID notice it .</scene_description> <character>DAVID</character> <dialogue>I thought you said.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL. JENNIFER'S ROOM - DAY</stage_direction> <scene_description>The LEARYS appear in the open doorway . Their expressions turn from curiosity to horror . BEAN has plugged the SUPER NINTENDO games system into the back of JENNIFER 's E.C.G. monitor . A couple of bats are flapping about the screen but the most worrying thing here -LRB- shown in close - up -RRB- is the sight of a he - man type , jumping up and down , lashing out , with his sword , at the passing pulse light , showing Jennifer 's faint vital signs . ALISON gasps . DAVID slowly moves into the room .</scene_description> <character>DAVID</character> <dialogue>Now, Bean. just put down that thing. nice and slow. you hear me? Come on now.</dialogue> <scene_description>But BEAN is determined to keep going - it 's his way of reviving Jennifer . DAVID approaches the opposite side of the bed and gets ready to pounce . CUT TO : a close - up of the monitor . The he - man chases the pulse light . DAVID dives across the bed just as he man swipes the pulse light with his sword . DAVID has landed on top of JENNIFER . The pulse light explodes and the monitor screen whites - out . JENNIFER wakes up with a start .</scene_description> <character>JENNIFER</character> <dialogue>Dad! Get off!? What's happening here?! Mom?</dialogue> <scene_description>ALISON covers her mouth , tearful , but she ca n't hold it back . She laughs . DAVID and KEVIN stare at JENNIFER . They ca n't help but join in the laughter . JENNIFER has no idea what 's going on . BEAN is happy that everyone is happy .</scene_description> <character>KEVIN</character> <dialogue>I do n't care what anyone says. Mr. Bean brought my sister back from the dead. He did it under laboratory conditions. My eyes do not lie!</dialogue> <scene_description>ALISON grins at him . Then at BEAN .</scene_description> </scene> <scene> <stage_direction>INT. LEARY HOUSE. KITCHEN. NIGHT.</stage_direction> <scene_description>ALISON is fixing some coffee . DAVID enters .</scene_description> <character>DAVID</character> <dialogue>Here, let me do that.</dialogue> <character>ALISON</character> <dialogue>No, I'm fine.</dialogue> <scene_description>He just stands there . okay - you grind the beans , and He moves towards her - his arms slip round her waist . put them in the . -LRB- but she ca n't concentrate I do n't believe this . I 'm being seduced by my own husband . Pause . They are just about to kiss when BEAN enters . He 's a bit impatient .</scene_description> <character>BEAN</character> <dialogue>Ahm - excuse me.</dialogue> <parenthetical>( POINTING TO HIS WATCH . )</parenthetical> <dialogue>You know.</dialogue> <scene_description>They jump apart . The moment is gone .</scene_description> <character>ALISON</character> <dialogue>Oh yes. Sorry. Though I think these are ready.</dialogue> <scene_description>ALISON takes out two single socks which have been neatly wrapped around a couple of drinks mats and put in the toaster slots .</scene_description> <character>ALISON</character> <dialogue>There. Is that how you like them?</dialogue> <scene_description>BEAN beams at her . He 's impressed - and feels he 's accepted . He leaves .</scene_description> <character>ALISON</character> <dialogue>He's not too bad. I can live with him.</dialogue> <character>DAVID</character> <dialogue>I'm afraid you do n't know the half of it. Sit down. I have a tale to tell. And not a happy one.</dialogue> </scene> <scene> <stage_direction>EXT. THE LEARY'S KITCHEN. NIGHT</stage_direction> <scene_description>Looking in front outside , we see Alison sit down . We see , , but do not hear David start to talk . Within seconds her hands go up to her face in horror .</scene_description> </scene> <scene> <stage_direction>INT. GRIERSON'S OFFICE. DAY.</stage_direction> <scene_description>With heavy hearts everyone is gathered to hear their fate . Pan across the familiar faces . DAVID . BERNIE . ELMER . ANNIE . BEAN , looking nervous and shifty . Dead silence as GRIERSON stands , very solemnly .</scene_description> <character>GRIERSON</character> <dialogue>Colleagues - what can I say? Incidents such as occurred yesterday teach a man important lessons. On reflection, I realise it would have been a sin to sell Whistler's Mother to such an impertinent philistine as Governor Reynolds. And therefore, I blame myself for having ever let things get to such a pass that we felt we had realise our the staff - twelve got today, I've Schimmel as to sell her. I suddenly problem here has n't been it's been the leadership flabby, lazy - And so decided to appoint Bernie my new Vice - President.</dialogue> <scene_description>CUT TO BERNIE , looking smug next to DAVID , who is pretty shocked by this .</scene_description> <character>GRIERSON</character> <dialogue>He's a man with a plan who will haul us into profitability and the 21st century.</dialogue> <character>BERNIE</character> <dialogue>Thank you, sir. Although, I'm afraid I do n't quite see how we can.</dialogue> <character>GRIERSON</character> <dialogue>Good point Bernie - precisely the kind of perceptive interjection I'd expect from my new V.P. How can we, you ask, survive without Whistler's Mother - our single greatest asset? Well, the truth is - we ca n't. So what am I saying? Will we find her again? Never - this robber was clearly the work of a criminal of great genius.</dialogue> <scene_description>BEAN looks pleased - but then realises it 's not a suitable emotion ~ so nods sagely . Insurance ? Not a chance . Those bastards never pay . So , surely we 're bankrupt ? Surely your jobs are forfeit ? Surely you 're back on the unemployment lines , scraping a living as waiters and boys ? Yes . Yes indeed . Except for one little thing . one little thing done by one little man . Dare I say , one helluva little man . Watch this . Everyone is totally at a loss . GRIERSON stands and moves to the framed poster of Whistler 's Mother on the wall . He then produces a plastic key card and inserts it in a slot on the side of the frame . A buzz and a click ! An electric motor starts to whirrrr . The glass , along with the title strip at the bottom of the poster , slides gently down inside the picture frame to reveal that the poster is in fact the original oil of Whistler 's Mother .</scene_description> <character>GRIERSON</character> <dialogue>Ladies and gentlemen. The REAL Whistler's Mother!</dialogue> <scene_description>There are gasps from the room . BEAN is open mouthed . GRIERSON beams as many applaud and BEAN now joins in hyperactively . He 's saved !</scene_description> <character>GRIERSON</character> <dialogue>The best security in the world is no match for a master criminal. But no master criminal is a match for me. Thank you all. Now if you would please return to your posts, my new Vice President, Bernard Shimmel would like you all to see the computer program we had prepared for yesterday until we were so rudely interrupted by events.</dialogue> <scene_description>The room is emptying . DAVID and BEAN stand there , DAVID stunned . GRIERSON heads over .</scene_description> <character>GRIERSON</character> <dialogue>David, David, David.</dialogue> <character>DAVID</character> <dialogue>I'm fired? Because I let a. copy of a painting the get stolen?</dialogue> <character>GRIERSON</character> <dialogue>Of course not. I'm sacking you for neglectful conduct, relating to the heavy financial loss this gallery has incurred, through your recent lack of professional judgement. A loss I trust Bernie will be able to reverse.</dialogue> <character>DAVID</character> <dialogue>But.</dialogue> <character>GRIERSON</character> <dialogue>I will of course invite you an excellent reference - or Bernie will.</dialogue> <scene_description>BERNIE looks across from the computer and smiles . BEAN has his eyes on DAVID . He is mortified by what 's happening . GRIERSON notices but misinterprets his worried expression .</scene_description> <character>GRIERSON</character> <dialogue>Of course, Dr. Bean, we'll arrange alternative accommodation for you. I believe Bernie has a spare room with en suite bathroom.</dialogue> <scene_description>DAVID glares at BERNIE . BEAN is thinking ` No ! I do n't want to stay with horrible BERNIE . '</scene_description> <character>GRIERSON</character> <dialogue>How are you making out there?</dialogue> <character>BERNIE</character> <dialogue>All fixed up, sir. Stick around, Davey boy. This is going to be quite a show.</dialogue> <scene_description>He presses an intercom . He 's enjoying himself . Hi everyone - this is your new Vice President , Bernie Shistler . Would you please watch your video screens . You 're in for a treat , guys .</scene_description> </scene> <scene> <stage_direction>INT. VARIOUS ROOMS. DAY.</stage_direction> <scene_description>All the staff in all the rooms , gallery , canteen , corridors , look up at various screens . Cut round rooms during this flashy demonstration .</scene_description> <character>BERNIE</character> <parenthetical>( V/0 . )</parenthetical> <dialogue>Here you can see our new interactive gallery guide. Every picture in the gallery will have its own story to tell.</dialogue> <scene_description>A Van Gogh picture comes up on the giant video screens . and then keeps changing , as BERNIE keeps talking . Just click , and here is a portrait of the painter - then his family then other paintings by him - then other pictures relevant to him in the gallery Everyone is delighted and impressed . And the beauty is , any idiot can use it . Dr Bean - would you like a try ?</scene_description> </scene> <scene> <stage_direction>INT. GRIERSON'S OFFICE - DAY.</stage_direction> <scene_description>BEAN swiftly obliges and sits at the computer .</scene_description> <character>BERNIE</character> <dialogue>Perhaps you'd like to bring up Whistler's Mother.</dialogue> <scene_description>But BEAN has another plan . He begins to click boxes .</scene_description> </scene> <scene> <stage_direction>INT. THE GRIERSON GALLERY. MAIN GALLERY - DAY.</stage_direction> <scene_description>The Millais painting we have seen before , with the padlock , comes up on the video screen .</scene_description> <character>BERNIE</character> <parenthetical>( V/0 . )</parenthetical> <dialogue>Ah, Our visiting professor has chosen the splendid Millais painting - `` His Mistress''</dialogue> </scene> <scene> <stage_direction>INT. GRIERSON'S OFFICE. DAY.</stage_direction> <scene_description>BEAN busy on the computer .</scene_description> <character>BERNIE</character> <dialogue>Just click on the corner.</dialogue> <scene_description>BEAN again disobeys . He clicks on the padlock repeatedly - humming the familiar ` Goblins ' tune . BERNIE is looking very tense .</scene_description> <character>BERNIE</character> <dialogue>Right let me take over now.</dialogue> <scene_description>BEAN turns and snarls at him - almost a bark .</scene_description> </scene> <scene> <stage_direction>INT. THE MAIN GALLERY - DAY</stage_direction> <scene_description>Everyone is glued to the screens .</scene_description> <character>BERNIE</character> <dialogue>You've had long enough on it now. A joke's a joke. That's it. Period!</dialogue> <scene_description>On the computer screens , the screen has gone black , just as it did when Bean was playing earlier , and the 6 dashes have appeared with the flashing cursor over the first of them . All watch , intrigued by what they see .</scene_description> </scene> <scene> <stage_direction>INT. GRIERSON'S OFFICE DAY</stage_direction> <scene_description>The blood drains from BERNIE 's face . Still humming happily , BEAN slowly types in the letters : P - E - R - I - 0 - D</scene_description> <character>BERNIE</character> <dialogue>You can stop right there, Mr! Those are confidential.</dialogue> <scene_description>Words and figures fill the screen . BEAN throws his hands up and sings a verbal fanfare :</scene_description> <character>BEAN</character> <dialogue>Daaa! Daaa!</dialogue> <scene_description>GRIERSON moves to DAVID 's side and the two stare at the screen , the meaning of its contents dawning on them . Close up of the screen as their eyes find the words : ` NEW ARTIST EXHIBIT ' in the middle of columns of words , figures and dollar signs .</scene_description> </scene> <scene> <stage_direction>INT. GRIERSON GALLERY. ALL ROOMS.</stage_direction> <scene_description>The same figures are being flashed all over on the huge screens . People watching and listening in awe . ANNIE and ELMER stare at it angrily .</scene_description> </scene> <scene> <stage_direction>INT. GRIERSON'S OFFICE ~ DAY</stage_direction> <character>BERNIE</character> <dialogue>Excuse me, If I may just.</dialogue> <character>GRIERSON</character> <parenthetical>( calmly . )</parenthetical> <dialogue>Shut up, Schimmel. Exactly how long have you been siphoning gallery money into your own private accounts?</dialogue> <scene_description>DAVID scrolls down the screen .</scene_description> <character>DAVID</character> <dialogue>Look at all this - publicity expenditure. catering. all completely fictional. back as far as June 93.</dialogue> <character>BERNIE</character> <dialogue>I do n't think you really understand what you're looking at.</dialogue> <character>GRIERSON</character> <dialogue>Horse shit. You're dead, grease - ball. Period.</dialogue> <scene_description>He pushes a button , that sends a picture of what 's happening in his office throughout the Gallery . My friends , good news . Mr Schimmel is not only no longer Vice - President . He actually no longer works here .</scene_description> <character>BERNIE</character> <dialogue>But wait a minute - you ca n't let some moron from England turn you against me. I deny any knowledge of this. He probably typed in all this stuff himself. Do n't you find it all a bit suspicious that it's here at his fingertips.</dialogue> <parenthetical>( pointing at Bean . )</parenthetical> <dialogue>There's your criminal, gentlemen. There's the Limey that set me up!</dialogue> <scene_description>Pause . All eyes turn to BEAN . CUT TO people watching the big screens everywhere .</scene_description> <character>GRIERSON</character> <dialogue>Dr. Bean. Have you got anything to say to that?</dialogue> <scene_description>BEAN looks long and hard at BERNIE .</scene_description> <character>BEAN</character> <dialogue>Yes -.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>It's exceedingly rude to point.</dialogue> <scene_description>And punches BERNIE sharply in the nose . Everyone in the gallery bursts into applause .</scene_description> </scene> <scene> <stage_direction>EXT. THE GRIERSON GALLERY - DAY.</stage_direction> <scene_description>Half an hour later . Police cars draw up . BERNIE is shoved in the back seat of one . GRIERSON , BEAN &amp; DAVID watch .</scene_description> <character>GRIERSON</character> <parenthetical>( to uniformed cop . )</parenthetical> <dialogue>I do n't know what your methods are these days, Officer, but I'd also ask him a few questions about the destruction of the Whistler copy.</dialogue> <scene_description>BEAN nods his head firmly . The car pulls away . Then breaks and reverses . The SIDE - KICK gets out .</scene_description> <character>SIDE-KICK</character> <dialogue>Oh, yeah - I forgot.</dialogue> <scene_description>SIDE - KICK opens the back of the car . He takes out a huge bunch of flowers . The chief said I was to give you these . BEAN is delighted . Then sniffs the flowers . What a nasty stink . Not his sort of thing at all . SIDE - KICK drives AWAY . GRIERSON turns to DAVID .</scene_description> <character>GRIERSON</character> <dialogue>I owe you a very serious apology, young man. It would n't surprise me if you wanted to leave us after this. I sincerely hope that you do not.</dialogue> <character>DAVID</character> <dialogue>VERY ACCOMMODATING Well, no, sir, I'm sure.</dialogue> <scene_description>He looks sideways to Bean , who is frantically pointing to his spine . DAVID gets the message , and changes his tune . Let me think about that , Thomas . We 'd have to talk quite a salary hike .</scene_description> <character>GRIERSON</character> <dialogue>Of course.</dialogue> <character>DAVID</character> <dialogue>And a car.</dialogue> <character>GRIERSON</character> <dialogue>Mmmmm.</dialogue> <character>DAVID</character> <dialogue>Maybe two cars.</dialogue> <character>GRIERSON</character> <dialogue>A car sounds sensible.</dialogue> <character>DAVID</character> <dialogue>And I need Fridays off, to spend more time with my family. Speaking of which - if you'll excuse me. I've got a lot of time to make up.</dialogue> <scene_description>DAVID heads off . BEAN wants to follow , but needs to get rid of the stinky flowers . He turns to ANNIE and gives them to her to be rid of them . She beams with delight : after all , he DID love her . BEAN heads off with DAVID to the parking lot . As they go , DAVID puts an arm round BEAN . Who shoos him away instantly . No sloppiness for him .</scene_description> </scene> <scene> <stage_direction>EXT. THE LEARY HOUSE. HALL - DAY.</stage_direction> <scene_description>The LEARY family in a group . JENNIFER 's arm in a sling .</scene_description> <character>ALISON</character> <dialogue>well, it's been. unusual. But thank you.</dialogue> <scene_description>She goes to kiss BEAN - but he just sticks out his hand , and shakes it firmly . Then moves on to JENNIFER .</scene_description> <character>JENNIFER</character> <dialogue>Good - bye Mr Bean. Sorry I screamed that first time.</dialogue> <scene_description>He shakes her broken arm firmly . and she screams again .</scene_description> <character>DAVID</character> <dialogue>Come on hurry or we'll be late.</dialogue> </scene> <scene> <stage_direction>EXT. LEARY HOUSE. DAY.</stage_direction> <scene_description>BEAN , KEVIN &amp; DAVID get into the car . It pulls away , as they drive off , BEAN sticks his hand of the window - and waves a last farewell to ALISON and JENNIFER . At last a sentimental moment - romantic music swelling - like Liza Minelli at the end of `` Cabaret '' . Until the waving hand viciously cracks against the wooden front gate as the car squeezes past .</scene_description> </scene> <scene> <stage_direction>INT. AMERICAN AIRPORT. DEPARTURE AREA - DAY</stage_direction> <scene_description>The three 30 year old women , dressed in curly red wigs from the musical , ` Annie ' , hug and kiss their little BALD MAN and send him off through the gates . They shriek and wave him good - bye . DAVID , KEVIN and BEAN are there .</scene_description> <character>DAVID</character> <dialogue>Oh, and Grierson phoned Lord Walton at the National. Said good things about you. So expect a great reception back home, huh?</dialogue> <scene_description>BEAN delighted . Promotion is in his sights . He studies his watch . He 's being polite but held really like to get going .</scene_description> <character>KEVIN</character> <dialogue>Good - bye Beanie. It's Bean. surreal. And do n't forget you're welcome to come back anytime.</dialogue> <scene_description>DAVID delivers a sharp nudge to his ribs .</scene_description> <character>KEVIN</character> <dialogue>in the distant future.</dialogue> <character>DAVID</character> <dialogue>Bye, Bean. Thanks for everything. And take care, huh? I know it's insane, but I'm going to miss you.</dialogue> <scene_description>BEAN nods abruptly , picks up his case , checks his watch and goes . He does n't look back . Kevin and David turn and walk away . DAVID does stop to look back over his shoulder at BEAN , heading off in the distance . But BEAN does n't turn , so DAVID walks on . Then there is suddenly a tap on his shoulder . It 's BEAN , , as though he 's magically jumped there . He gives DAVID a big bear hug , a big grin , and then a little wave - and heads away . In the distance , he treads on the back of , some one 's shoe .</scene_description> </scene> <scene> <stage_direction>EXT. THE NATIONAL GALLERY. LONDON - DAY</stage_direction> <scene_description>Shot from high up . BEAN 's lime green mini approaches , coming around Trafalgar Square , and drives up onto the pavement , in front of the gallery . It stops and BEAN gets out . He looks up at the building , pleased to be back .</scene_description> </scene> <scene> <stage_direction>EXT. THE NATIONAL GALLERY - DAY</stage_direction> <scene_description>BEAN pauses outside the revolving doors to clip his staff identity badge onto his top pocket . He enters in high spirits .</scene_description> </scene> <scene> <stage_direction>INT. THE NATIONAL GALLERY - DAY</stage_direction> <scene_description>BEAN enters the reception hall . It is totally deserted . He frowns , and heads on , puzzled .</scene_description> </scene> <scene> <stage_direction>INT. NATIONAL GALLERY. GALLERY 1 DAY</stage_direction> <scene_description>The place is totally empty except for a CLEANER sweeping up litter in the middle of the room . There are faded rectangles on the walls where all the paintings should be . Only one very solid looking statue remains . BEAN is thoroughly perplexed</scene_description> <character>CLEANER</character> <dialogue>They've moved, guy.</dialogue> <scene_description>BEAN is utterly perplexed . He looks round the corner into another empty gallery , and shakes his head .</scene_description> </scene> <scene> <stage_direction>EXT. THE NATIONAL GALLERY - DAY</stage_direction> <scene_description>BEAN looks up at the building and gives a disgusted grunt , before getting into his car and drives off around Trafalgar Square . His brow is deeply furrowed . What will he do now with his life ?</scene_description> </scene> <scene> <stage_direction>INT. THE NATIONAL GALLERY ~ DAY</stage_direction> <scene_description>The empty gallery BEAN just inspected . Then , from out behind the one remaining statue , emerges MISS HUTCHINSON . Then , from behind a pillar , LORD WALTON .</scene_description> <character>LORD WALTON</character> <dialogue>Is he gone?</dialogue> <character>MISS HUTCHINSON</character> <dialogue>Yes, my lord.</dialogue> <character>LORD WALTON</character> <dialogue>Tell the others.</dialogue> <character>MISS HUTCHINSON</character> <dialogue>Very well, my lord.</dialogue> </scene> <scene> <stage_direction>INT. PITCH DARK ROOM. DAY.</stage_direction> <scene_description>Pitch dark . A door opens and the light from the corridor falls on the 150 gallery employees squashed into this one tiny room . It 's the gent 's loo . MISS HUTCHINSON 's head pops in .</scene_description> <character>MISS HUTCHINSON</character> <dialogue>He's gone.</dialogue> <scene_description>Massive cheer , bowlers in the air , massive music . Roll credits .</scene_description> </scene> <scene> <stage_direction>EXT. BEAN'S HOUSE DAY.</stage_direction> <scene_description>Behind the credits , we see close - ups of BEAN hammering away at large planks of wood on some wooden structure . He walks away from it - without us seeing what it is and goes to his Mini , where TEDDY sits on a pile of books in the front seat , wearing a seat belt . Bean gets into the car , which is laden with suitcases , starts it up and drives . straight into the huge crate he has built . A rope tied to the back bumper pulls the lid closed behind him .</scene_description> </scene> <scene> <stage_direction>EXT. MOTORWAY. DAY.</stage_direction> <scene_description>The crate sits on the back of a speeding truck .</scene_description> </scene> <scene> <stage_direction>EXT. AIRPORT. DAY.</stage_direction> <scene_description>The crate is now on the top of a forklift truck moving up the ramp on an American airline cargo plane . Close up on a large sticker on the crate : it reads : `` DAVID LEARY , 23 WOODFORD AVENUE , CHESTERFIELD , CALIFORNIA . HANDLE WITH CARE . And cut to the plane flying through clear skies . Though , for the Lear 's of course there are no clear skies ahead . THE END</scene_description> </scene> </script>

Mr. Bean is a well-meaning yet clumsy and destructive security guard working at the "Royal National Gallery" in London. When the gallery's board of directors, who despise Bean for sleeping on the job, fail to fire him due to the chairman threatening repercussions, the board immediately decides on a different course of action and has him represent them during the transfer of the portrait Whistler's Mother to the Grierson Art Gallery in Los Angeles, following its purchase by philanthropist General Newton for $50 million. The curator of the Grierson, David Langley, who is impressed with the false profile of "Dr. Bean", agrees to accommodate him at his house for two months, much to the chagrin of his wife Alison, his son Kevin and daughter Jennifer. After Bean encounters mishaps with the airport police and accidentally breaks a family heirloom, Alison leaves for her mother's house along with Kevin and Jennifer. David begins to question Bean's intelligence after he suggests they head to an amusement park where he rigs the control panel of a simulator ride to make it more exciting for him, resulting in him getting him arrested a second time, and he later messes up a dinner with the gallery's owner George Grierson. When David questions Bean, he finds out that Bean is not a doctor after all. Bean admits to knowing absolutely nothing about art, and things get worse when he accidentally defaces the painting shortly after it arrives, by wiping it with an ink-stained handkerchief after sneezing on it and attempting to remove the stain with strong chemicals, which leave a large white patch where Bean had attempted to wipe away the mess he made. He tries to recreate the face using a pen, but fails. Fearing that he will lose his job and possibly face criminal charges for the damage, David becomes despondent and gets drunk, even though his family returns out of pity. To save David's career and not get arrested again, Bean sneaks back into the gallery, distracts the guard by lacing his cup of coffee with laxatives and replaces the defaced painting with a modified poster. The plan works on the next day, fooling everyone including Newton. Bean nearly panics when he has to make a speech, but gives an improvised, sentimental and deep monologue about the painting that wins the crowd's praise and approval. Bean is then approached by Lieutenant Brutus (with whom he crossed paths on two earlier incidents), making David worried that he knows the truth about the priceless painting's mishap, only to learn from him that Jennifer was rushed to a hospital after being involved in a motorcycle accident along with her boyfriend, Stingo. Rushing to the hospital, David goes to be with his wife, leaving Bean to wander around the hospital's reception area and be mistaken for a doctor after picking up a stethoscope that had been accidentally dropped onto the floor. Forced into a surgery room and dressed in surgical scrubs, Bean comes across Brutus on the operating table (who had been shot while dealing with a mugging), whereupon he manages to remove the bullet from his body via an unorthodox procedure which saves his life. Not recognizing him, David then begs Bean for his help in reviving Jennifer from a coma, to which he succeeds after an accident with a defibrillator sends him flying and landing on top of her. Grateful for having their daughter back, David and Alison are surprised when Bean reveals his true identity. At Bean's suggestion, they repay him by allowing him to stay with them for another week. After spending some quality time with David's family, Bean heads back to the airport and thanks David for the time he spent with them before returning home to London. At his flat, Bean admires his bedroom which is now decorated with photos of himself and the Langleys as well as the original Whistler's Mother painting he ruined and smuggled back with him, before going to bed. After the credits, Bean walks into the black screen and says "Yes I normally stay till the end as well...bye". Bean walks off, but comes back and says "You can go now if you wish". Bean looks at his watch and says "Bye" before walking off and the film ends.

The Tender Bar_2021

tt3108894

<script> <scene> <character>THE TENDER BAR</character> <dialogue>Screenplay by William Monahan</dialogue> <scene_description>Based on the book by JR MOEHRINGER BLACK SCREEN ON SOUND: A HIT OF THE SEVENTIES (ideally something underwatery here and not upbeat) FADE UP ON:</scene_description> </scene> <scene> <stage_direction>INT. MOM'S TERRIBLE GREMLIN/EXT. MEMORIAL FIELD, MANHASSET,</stage_direction> <scene_description>NY. DAY (MOVING) PULLING BACK FROM THE CAR RADIO, we see that we are tooling through period Manhassett and that a Mom (MOM) and her young son (YOUNG JR) are on a drive the purpose of which is explained by the CAMERA moving back through the piles of boxes, suitcases, lamps and trashbagged gear in the seatless rear of the Gremlin... REVERSE TO SEE that YOUNG JR and MOM are on one of their terrible pining drives, pining for stability in the American stand in for stability, the automobile. MOM is pretty, tired, in her twenties, a member of the pioneer generations of single moms... YOUNG JR, who, head against the window, is as ever watching out over the moving world for father figures, maybe his father... and he sees (as the car radio plays a hit of this very day...) YOUNG JR'S POV (AND THEN VARIOUS): MEMORIAL FIELD NINE MEN IN ORANGE SOFTBALL UNIFORMS (a practice team)are racing around a diamond at Memorial Field. The shirts have THE SILHOUETTE OF CHARLES DICKENS silk-screened in black on the backs, and the shoulders. The Practice is transacted in beautiful light. YOUNG JR in the loaded car is transfixed by the beauty of the field, the heroic stances of the men (various, with time ruptures) spitting, drinking beer, hitting someone in the nuts with a hotdog, actually playing, etc. One bald player stands fiercely and majestically at bat...</scene_description> <character>YOUNG JR</character> <parenthetical>(to MOM)</parenthetical> <dialogue>Wait wait! I think that's Uncle Charlie!</dialogue> <scene_description>YOUNG JR (who can be and will be anywhere from 6-8 during the YOUNG JR parts of the film) is not an exclamation points kinda kid, but more an optimistic observer, daring to be disappointed. UNCLE CHARLIE takes his swing.... An "oh Jesus" eye roll from MOM, who looks like she has been crying, but MOM pulls over dutifully, parks, blows her nose, and nods: go see him: go. As the song stops, MOM, in a precautionary way, remembers to bash the radio off ...and glance over as...</scene_description> </scene> <scene> <stage_direction>EXT. MEMORIAL FIELD. CONTINUOUS</stage_direction> <scene_description>YOUNG JR as in a state of pure idolatry gets out of the car and looks at his heroes, backlit, heroized as hell, despite their vast guts, miserable shanks, scant hair, and almost complete lack of athletic ability. They are practicing--no need to dress another team. UNCLE CHARLIE, the chief GOD, now patrols the infield like a flamingo, his sunglasses following first a pitch and then a hit, and then the ball as STEVE (beer-bellied God of liquor) parks one, lit like Achilles, shrouded in his own divine American light. YOUNG JR watches the ball go. LATER MOM joins YOUNG JR on the bleachers but he is (maybe) irritated by her, he wants to watch his gods, the men. MOM understands this: that you lose your baby by a million such cuts: (this is a thing that here can be played): she puts her handkerchief away in her bag. YOUNG JR watches in adoration as we hear various voices off:</scene_description> <character>GUYS FROM THE BAR (O.S.)</character> <dialogue>Is that all you got, you cocksucker, come on... Oh fuck you, Charlie...</dialogue> <scene_description>With equal adoration YOUNG JR spies: THE BEER BARREL, filled with ice, canned beer, lit like the Holy Grail itself in this childhood magic hour. One Magician is drinking from a dripping can. TWO SHOT JR AND MOM ON BLEACHERS</scene_description> <character>YOUNG JR</character> <dialogue>Why are those men so happy?</dialogue> <character>MOM</character> <dialogue>They're wasted.</dialogue> <scene_description>YOUNG JR looks at her. Wasted?</scene_description> <character>MOM</character> <dialogue>Drunk!</dialogue> <character>YOUNG JR</character> <dialogue>Oh.</dialogue> <character>MOM</character> <dialogue>Come on. We're going home. We're going</dialogue> <parenthetical>(a long beat of distaste, defeat, and in CU)</parenthetical> <dialogue>'home'. Again.</dialogue> <scene_description>She drags away JR by the hand as he is still staring back at the men, and lifting a a wave to: The silhouetted magnificent figure of UNCLE CHARLIE, who insofar as we see his features in the backlighting due an Aztec god, looks querulous... MOMENTS LATER As MOM AND YOUNG JR head to the car we again and more so see how loaded it is, the roof has a mattress and box spring piled on it and tied through the windows, and sticking out of the open Gremlin hatch. And though MOM has YOUNG JR by the hand he stares back at the fabulous drunks... And UNCLE CHARLIE, not sure who he is seeing, stares after the terrible rust-scabbed car. Then he returns to the game.His sister returning home is not an unusual thing. And as we go to black and the real opening (as Eighties music plays) we FADE UP ON: A TERRIBLE HOUSE ON LONG ISLAND -"THE HOUSE"- a dilapidated Cape in a color unknown to nature, its post-war living room picture window presiding over lushly grassed swamp above the cesspool. It is the Eighties, but it feels Seventies: the many cars in the driveway (as many cars as one would find at a medium sized apartment building) are mostly from the Sixties, and now another one is added, as we MOTOR right, and land on a jalopy (the terrible Gremlin) with its scurfs of panel rust and a smoking tailpipe. In the silence after the engine clatter dies off we hear suburban birdsong, a radio baseball game, somewhere a lawn mower and somewhere further off a dull roar of traffic on the LIE. TOYS from kids of various ages lie everywhere, from scooters to a crapped out MINIBIKE with no back wheel sitting on a milk crate. CLOSER ON THE HOUSE, AT THE FRONT DOOR, as we hear two car doors close, hear the trunk open and close.... The FRONT DOOR OPENS and we see GRAMPA, the don't give a fuck owner of this don't give a fuck house. What remains of his hair is a wreck, he is dressed like a 1940s bad ass auto mechanic, and he stands following the progress of his visitors with his eyes. REVERSE onto GRAMPAS POV: It is MOM, and beside her... We MOTOR OVER and TIP DOWN (POV approximation): Her son, a second grader, the perpetually seeking but optimistic YOUNG JR REVERSE ON GRAMPA Who wordlessly leaves the door open and retreats into the house: his form of welcome. MOM and YOUNG JR now follow him, and MOM, her face suffused with all the regret of another return home, comes back from within to close the door behind she and YOUNG JR and here we see the PINEAPPLE DOOR KNOCKER, the caked paint, the metal stick on sign that says "NO PEDDLERS". And here we CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE HOUSE. LATER</stage_direction> <scene_description>DETROIT IRON at its finest becomes first audible and then visible as UNCLE CHARLIE pulls up to the house, in a Chuck Berry class Cadillac convertible. He emerges in his uniform, looks at MOM's crammed car: here it is again. YOUNG JR is looking out the window. UNCLE CHARLIE, flipping his KEYCHAIN, notices him, and gives a thumbs up to the solemn boy. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM. DAY</stage_direction> <scene_description>CLOSE DETAILS as a HUGE EXTENDED FAMILY formed by larger world failures and marriage collapses commences to feed itself around a huge dining room table so long that it needs two different table cloths. The MEAL is what we are on first: it is a watery version of what here in America we call Chop Suey, except with bouys of halved hotdogs in it and sticking out of it, accompanied by WONDER BREAD and MARGARINE. YOUNG JR is sitting uncertainly and it is through his eyes (handheld and responsive to action)that we see the energy and violence of the feeding as all adults, all of them smoking, feed the two toddlers, while everybody else (Kids ranging up to high school age, displaced from various aborted families with their mothers and back at the grandparents) lays in on the mismatched plates, eating, snuffling, salting heavily. YOUNG JR scans the KIDS but he is most interested in UNCLE CHARLIE (mid thirties, hung over, dramatically entirely bald, still in his Dickens shirt), and GRAMPA, as previously described. GRANDMOTHER does not sit, but, smoking, emerges in her housecoat with another package of WONDER BREAD, drops it and returns to the kitchen. YOUNG JR and his mother eat (the mother as if she is born to it, as she is, and YOUNG JR being observant). No one remarks their presence. It is evidently very usual for refugees to arrive. UNCLE CHARLIE, loading his plate again with the hotdog chop suey, fixing his eye on YOUNG JR, winks at him, and hands him 5 dollars. GRAMPA has observed this inexplicable act, but keeps eating, saving his comment for later.</scene_description> <character>GRANDMOTHER (O.S., AND CU WITH A CIG</character> <dialogue>IN HER FACE)</dialogue> <parenthetical>(throwing dialog away unheard as she potters and totters around kitchen...)</parenthetical> <dialogue>I guess you two will be in the whereisit, maybe in there with the older ones or maybe you can take him in your room...I don't know.</dialogue> <character>GRAMPA</character> <dialogue>Everybody needs to know he cesspool is not taking it so whoever can take a leak outside do it but don't let any son of a bitch see you especially whats his name.</dialogue> <scene_description>Points with a fork, vaguely, at neighbors. But when YOUNG JR follows the eye-line indicated by the FORK his POV lands on a crooked picture of JESUS indicating his glowing SACRED HEART. To the immediate left of Jesus (do this with a move) is a HAGIOGRAPH OF JFK. TILT DOWN to the SIDEBOARD below these main pictures and we see that the top of the sideboard is LOADED with marriage pictures, army pictures, pictures of kids, kids with kids, old people in hats beside jalopies or wagons, the sideboard is groaning with photos, some of them knocked over, or displaced by hand tools, baseball glove, Readers DIGESTS, schoolbooks from various kids at various ages. We are still without conversation, still in the clatter and slurping (again MOM has settled right in, resentful and silent as the trapped teenager she not long ago was), and since there will be no expository dialog whatsoever here at this point in the multigenerational Alamo let us say that the house is inhabited by: Uncle Charlie, Aunt Ruth, Aunt Ruth's five daughters and one son, Grandpa, Grandpa, and now MOM and YOUNG JR who is watching everything bug eyed, as the one alien attendee -and an alien especially good at observation.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Put it in your pocket!</dialogue> <scene_description>YOUNG JR realizes he means the 5 bucks still in his fist.</scene_description> <character>GRAMPA</character> <parenthetical>(chewing)</parenthetical> <dialogue>Whyn't he put it towards the 'lectricity I would ask if it did any goddam good.</dialogue> <scene_description>YOUNG JR confusedly holds the 5 towards his grandfather. GRAMPA stares at him. With outrage:</scene_description> <character>GRAMPA</character> <dialogue>Who do you think I am.</dialogue> <scene_description>Then he ignores YOUNG JR.</scene_description> <character>GRAMPA</character> <dialogue>Like I said, all males, if you take a leak, take it outside.</dialogue> <scene_description>DOGS skirmish around the table and CAT now picks its way across the sideboard. Via the progress of the cat YOUNG JR notices: A PICTURE OF MOM, and YOUNG JR as a baby. A FIGURE HAS BEEN CUT OUT OF THIS PICTURE. We are on it tight when a hand as if routinely tips the picture over on its face. This is GRANDMA, who delivers to the table a SARAH LEE cake. THE MALE COUSIN is staring evenly at YOUNG JR and holding a Hamster. LATER (THE HOUSE, VARIOUS, HANDHELD) Little YOUNG JR looks into various rooms. Furniture dating from the Roosevelt Administration, litters of toys, a Sears sofa with a print of American Eagles and liberty bells, a TV with some cousin working the rabbit ears, crawling babies, another one screaming in a play pen and ripping at the railing, MOM and RUTH bickering about something off in the Kitchen, and now we are down the hall with YOUNG JR looking into various rooms and then into (as kids run and screen doors bang) the sanctum sanctorum...UNCLE CHARLIE'S ROOM, the cell of a drinking monk with a book problem. A TRANSISTOR RADIO (always close on the radios in this picture, and we will find out why) broadcasts a horse race while UNCLE CHARLIE lies biered on his Sunday hangover, wearing an eye- mask, reaching blindly for a BUDWEISER, unaware of the nephew looking at him somberly. YOUNG JR continues down the hall and looks into a room where he sees that his MOM has half unpacked and is sitting and leaking tears. She holds out her arms: He heads towards her. As she holds him and after a long beat:</scene_description> <character>YOUNG JR</character> <dialogue>I like it.</dialogue> <character>MOM</character> <dialogue>Do you?</dialogue> <character>YOUNG JR</character> <dialogue>It's people. I like to have people.</dialogue> <scene_description>She hugs him, happy for that, but in shame and disappointment that it's these people, again.</scene_description> <character>MOM</character> <dialogue>Tomorrow is another day.</dialogue> <character>YOUNG JR</character> <dialogue>I like it.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THE BEDROOM (YOUNG JR AND MOM'S BEDROOM). NIGHT</stage_direction> <scene_description>And it's not continuous night. It's later. (Stuff has been unpacked). YOUNG JR is wakeful in bed, with his also wakeful MOM. They lie in bed like the world's strangest married couple. And MOM in fact is twisting the skin where her ring should be.</scene_description> <character>YOUNG JR</character> <dialogue>Why does Grampa say we should all clear out?</dialogue> <character>MOM</character> <dialogue>Because he's a selfish old prick who resents taking care of his family.</dialogue> <scene_description>Long beat:</scene_description> <character>YOUNG JR</character> <dialogue>Like Dad?</dialogue> <scene_description>Longer beat, and complicated.</scene_description> <character>MOM</character> <dialogue>No, honey. Grampa resents taking care of his family. Your father has never taken care of anybody at all.</dialogue> <character>YOUNG JR</character> <dialogue>Oh.</dialogue> <scene_description>ANOTHER ANGLE YOUNG JR, stained by light from streetlamp coming through nylon curtains, turns his head and looks at: THE BEDSIDE RADIO, a big bakelite one in midcentury green, with a dial that is probably radium. He just stares at it and has not even reached for the radio when his mother (anticipating his compulsive action) says:</scene_description> <character>MOM</character> <dialogue>No.</dialogue> <scene_description>YOUNG JR is used to this thing with the radio (being asked not to turn it on) and he lies back philosophically. On a music cue from the song that is to follow and JR'S face we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THE KITCHEN. DAY</stage_direction> <scene_description>WE are on the KITCHEN RADIO (another post WW2 number) as Aunt Ruth does dishes and various perhaps all members of the household go back in forth in the giant Altman film that is every crowded working class house. The RADIO is playing "Working my Way Back to You." YOUNG JR is sitting at the table eating cereal with his cousins. All is normal until the song ends and...off the alarmed eyes of MOM, and GRANDMOTHER... AUNT RUTH lashes out with soapy hand and cracks the off button a good one just as a low, awfully good, very Seventies male radio voice says...</scene_description> <character>THE VOICE</character> <dialogue>This is Johnny Michaels, The Voice, and that was Workin...</dialogue> <scene_description>CRACK! THE RADIO is off, perhaps even destroyed, and the whole FAMILY is silent, pretending this incident never happened, returning to its activities of washing, pouring milk, scratching, eating smoking and not communicating. YOUNG JR sits over his cereal, spoon poised.</scene_description> <character>YOUNG JR</character> <dialogue>That was my father.</dialogue> <scene_description>THE RADIO hits the floor. Everyone continues eating.</scene_description> <character>AUNT RUTH (OS)</character> <dialogue>No, that was a radio.</dialogue> <scene_description>UNCLE CHARLIE, more alert than the rest, is staring through his hangover at JR.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Eat your cereal.</dialogue> <scene_description>UNCLE CHARLIE eats his. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE BACK YARD. LATER</stage_direction> <scene_description>UNCLE CHARLIE, smoking, has a deck of CARDS and is teaching YOUNG JR some game or other, dealing from a buckled deck.</scene_description> <character>UNCLE CHARLIE</character> <parenthetical>(shuffling and squinting through cigarette smoke)</parenthetical> <dialogue>You were very young when your father left, so you probably don't know that your father is an asshole. But your father is an asshole.</dialogue> <parenthetical>(holding up a lectorial finger)</parenthetical> <dialogue>Not just because he left, because people can leave without being an asshole, no one knows what is in the human fucking heart or any given fucking relationship, trust me, but I'm saying your father's an asshole not because of any specific action but because he's an asshole. Even in repose.</dialogue> <parenthetical>(speaking now around fuming cigarette and dealing)</parenthetical> <dialogue>One of the ways he's an asshole is he can't handle his liquor.</dialogue> <scene_description>YOUNG JR listens gravely. This could be serious male information.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Can't. Handle. His liquor.</dialogue> <parenthetical>(deals)</parenthetical> <dialogue>That's the base, root, and cause of many accidental assholes. If you can't handle your liquor you can be an asshole accidentally. However, your father was not an asshole accidentally. He's an asshole who can't handle his liquor. Also. Listen, if you're not going to be any good at cards I will stop teaching you.</dialogue> <character>YOUNG JR</character> <dialogue>Don't stop teaching me. Please.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Two rules: I don't let you win. If you beat me, you beat me, but I don't let you win.</dialogue> <scene_description>YOUNG JR nods.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>That way you get a jump on life. By tasting defeat. You don't suck at sports but. I was watching you out in the yard. You're not very good at sports and won't get better so I suggest other activities, to avoid disappointment, tears, above all, delusion. What do you like to do most?</dialogue> <character>YOUNG JR</character> <dialogue>Read.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>I read. However, I can also play sports. Listen, here's the thing about the radio. You're gonna look for your father in the radio. You think your father is in the radio. He is at least on the radio. But he is an asshole who is on the radio. Don't try to play sports and don't think your father is going to save you. You'll do fine. That's all I have to say. The game is 5 card stud.</dialogue> <scene_description>YOUNG JR looks at him, and we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THE BEDROOM. NIGHT</stage_direction> <scene_description>We are CLOSE ON: AND CLOSER ON THE BEDSIDE RADIO, until it fills the screen. YOUNG JR, face lighted by the radio, reaches out and turns the dial. One of the old bandaid-colored earphones is in his ear, and we are hearing what he is hearing" the squelching search between stations of varying strength, as he looks for THE VOICE. He hears someone coming and smashes the radio off and pulls the covers up and pretends to be sleeping.</scene_description> </scene> <scene> <stage_direction>EXT. THE HOUSE. DAY</stage_direction> <scene_description>MOM is looking for THE VOICE in her own way. Dressed for her (new) secretarial job, she rummages in the MAILBOX, then bends and looks deep into the MAILBOX, then closes the MAILBOX deliberately. These are things that a single mom can play. She exits the shot and we hear her car start.</scene_description> </scene> <scene> <stage_direction>INT. MOM'S CAR. CONTINUOUS</stage_direction> <scene_description>MOM starts to reach for the RADIO. Then doesn't. Son of a bitch. She puts the crap car into gear and heads off to work.</scene_description> </scene> <scene> <stage_direction>INT. THE BEDROOM. DAY</stage_direction> <scene_description>YOUNG JR lies on his bed with hands propping his chin. He is staring at the RADIO. The radio isn't on.</scene_description> <character>YOUNG JR</character> <parenthetical>(To dead RADIO)</parenthetical> <dialogue>Mom could use some money.</dialogue> <scene_description>There is strange raking light effect.</scene_description> <character>YOUNG JR</character> <dialogue>She's really tired after work.</dialogue> <scene_description>CLOSER ON THE RADIO.</scene_description> <character>YOUNG JR</character> <parenthetical>(a long beat:)</parenthetical> <dialogue>I'm starting Little League.</dialogue> <scene_description>CLOSER until we dissolve THROUGH the RADIO, and we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. METRO NORTH TRAIN CAR. DAY</stage_direction> <scene_description>On the face of a young man (JR in his twenties, dressed for INTERVIEW DAY), rocking North towards New Haven, lost in a study of the past. His books and coat and backpack and gear and some books and notebooks are spread out. He pulls in his legs and sits up as A PRIEST looms.</scene_description> <character>PRIEST</character> <dialogue>Is this seat taken?</dialogue> <scene_description>JR moves to accommodate him. The PRIEST removes his Homburg and sits down and licks a thumb to turn a page of his newspaper.</scene_description> <character>PRIEST</character> <dialogue>What are you thinking about, young man?</dialogue> <character>JR</character> <dialogue>The past.</dialogue> <scene_description>And we cut to MOMENTS later (leaving the Priest place-set and JR losing himself in memory again) and as JR looks out the window again we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. UNCLE CHARLIE'S ROOM. DAY</stage_direction> <scene_description>UNCLE CHARLIE has a blinder of a hangover and is lying in bed in heroic endurance of light, pain, dehydration there in his book-filled bachelor's flop. He rips a Gatorade, with a grunt, from a bag that YOUNG JR, and then holds out his hand for the change.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>You tell your cousin I said you could ride his bike. It's not his bike anyway. It's a house bike. I found it at the dump and fixed it for all you little assholes. And they're going to Colorado. It's your bike. Oh holy Jesus mother of God.</dialogue> <character>YOUNG JR</character> <dialogue>How did you get sick?</dialogue> <scene_description>UNCLE CHARLIE reopens one eye, like the wall eye of a whale.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>I'm not sick. It's Saturday morning. This is the way it is. For men. This is Saturday morning. As it is for men.</dialogue> <scene_description>He sits up wretchedly.</scene_description> <character>YOUNG JR</character> <dialogue>Oh.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Take this money back, go get me cigarettes at the bar.</dialogue> <scene_description>THE PHONE RINGS UNCLE CHARLIE stares at it warily. Pop eyed.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Get the phone before your Grandmother gets it! I'm not here!</dialogue> <scene_description>What?</scene_description> <character>UNCLE CHARLIE</character> <dialogue>That means you say I'm not here even if I am. Oh Jesus!</dialogue> <character>YOUNG JR</character> <parenthetical>(answering)</parenthetical> <dialogue>Hello?</dialogue> <scene_description>Crackling silence. And then the 1970s forced, complacent basso Ted Baxter voice with that affected and region-less TV/Radio accent and false forced bass that characterized minor players in USA broadcast media decades ago:</scene_description> <character>THE VOICE</character> <dialogue>Hey! I know there are plenty of rug rats there at su casa is not mi casa but I'm wondering if this is JR.</dialogue> <scene_description>Long crackling silence.</scene_description> <character>YOUNG JR</character> <dialogue>Dad?</dialogue> <scene_description>UNCLE CHARLIE opens an eye warily.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>The fuck.</dialogue> <character>THE VOICE</character> <dialogue>That's right, buddy. If this is JR, I'm your father!</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Gimme the phone.</dialogue> <character>YOUNG JR</character> <dialogue>Mom's not here, she has another job on Saturdays and Sundays. She works all the time.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>That's right, stick it to him.</dialogue> <character>THE VOICE</character> <dialogue>I'm not calling for your mother, kiddo, I'm calling for you. How'd you like to go to a ball game with your old man.</dialogue> <scene_description>We hear ice tinkling in a glass, smoking.</scene_description> <character>YOUNG JR</character> <dialogue>Really?</dialogue> <character>THE VOICE</character> <dialogue>Sure! Ball game (drinks) with your old man!</dialogue> <character>YOUNG JR</character> <parenthetical>(a grave exciting matter)</parenthetical> <dialogue>Mets or Yankees.</dialogue> <character>THE VOICE</character> <dialogue>Whatever you like.</dialogue> <character>YOUNG JR</character> <dialogue>Uncle Charlie says the Yankees are assholes. But the Mets drink at the Dickens.</dialogue> <character>THE VOICE</character> <dialogue>Have you been to The Dickens?</dialogue> <character>YOUNG JR</character> <dialogue>No.</dialogue> <character>THE VOICE</character> <dialogue>How is your uncle Charlie?</dialogue> <character>YOUNG JR</character> <parenthetical>(to Uncle Charlie)</parenthetical> <dialogue>How are you? He wants to know.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Tell him still short thirty bucks.</dialogue> <parenthetical>(gives up)</parenthetical> <dialogue>Tell him Mets. Mets play the Braves tomorrow night.</dialogue> <character>YOUNG JR</character> <dialogue>Mets play the Braves tomorrow night.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Doesn't mean he'll show up. Oh Jesus go get me some cigarettes.</dialogue> <character>THE VOICE</character> <dialogue>Tell you what, Sport, I'll get a couple of tickets and pick you up there at your grandfathers at six thirty.</dialogue> <character>YOUNG JR</character> <dialogue>Wow. OK. Great. Thank you.</dialogue> <character>THE VOICE</character> <dialogue>We have a lot to catch up on, you and me.</dialogue> <scene_description>JR nods. OK.:</scene_description> <character>THE VOICE</character> <dialogue>Bye now. Remember, six thirty.</dialogue> <scene_description>The VOICE has a coughing fit and we hear a girl asking where her other shoe is as THE VOICE hangs up. YOUNG JR replaces the receiver. UNCLE CHARLIE stares at him somberly. Starts to say something. Then: fuck it, not his business. He goes off on his own business. YOUNG JR is in a rapture.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>The cigarettes.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. A METRO NORTH TRAIN. DAY</stage_direction> <scene_description>JR is remembering this, in pain, looking out the window, his forehead on the glass as he was as a child with the car with Mom.</scene_description> <character>JR (V.O.)</character> <dialogue>He said be ready at 6.30. I was ready at 4:30. So as not to fuck up. You always remember fucking up. So you don't want to fuck up.</dialogue> <character>PRIEST</character> <dialogue>Are you reading this, young man?</dialogue> <scene_description>JR shakes his head, mouths no. Indicates take the paper. When the PRIEST takes the NEWSPAPER it reveals: A half drunk PINT of RUM. JR and the PRIEST meet each other's eyes</scene_description> <character>JR</character> <parenthetical>(as if it explains it)</parenthetical> <dialogue>Interview at Yale.</dialogue> <scene_description>and we CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE HOUSE. DAY</stage_direction> <scene_description>YOUNG JR has his METS CAP on, he has his Dave Cash mitt, and he is watching every car that approaches the house - and then passes by.</scene_description> <character>JR (V.O.)</character> <dialogue>The thing is that day I felt like I had fucked up. That's the thing to remember about a kid. The kid thinks that he has fucked up.</dialogue> <scene_description>YOUNG JR scans the street, watches in both directions, watches cars that do not stop, already losing heart but not wanting to go there yet.</scene_description> <character>JR (V.O.)</character> <dialogue>My mother hadn't saved any pictures of my father, and he was cut out of the pictures they had at the house, so I didn't know what he looked like, and I hadn't been to New York City yet to see his face on billboards and buses. I couldn't have picked him out of a crowd. But I wondered if it was like a thing you would always know. As if you would always know your father instantly. It was possible.</dialogue> <scene_description>YOUNG JR as the light fades keeps watching. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE HOUSE. EARLY EVENING</stage_direction> <scene_description>YOUNG JR is still sitting there, and a light has come on in the house. GRANDMA looks out, decides to leave the boy alone. ON SOUND, on the summer air, we hear that the Mets game has started and that it is playing on the radio. We hear it from several houses. YOUNG JR sits there, his face covered with tears, and then we DO hear a car, and we hear it shut off, and we hear footsteps, and we stay on YOUNG JR until the right moment to reveal that MOM is standing and looking at him. There's nothing to say. The boy with the hat and the glove whose father hasn't come. She sits beside him. Stay on him.</scene_description> <character>MOM</character> <dialogue>We're the two musketeers. Right? We're the two musketeers.</dialogue> <scene_description>He nods, crying silently. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. A METRO NORTH TRAIN. DAY</stage_direction> <scene_description>JR looking out the window, head against the glass. More than ten years later he sniffs, rubs his eye, looks philosophical: the same optimism of the tiny boy.</scene_description> <character>UNCLE CHARLIE (V.O.)</character> <parenthetical>(over bar sounds)</parenthetical> <dialogue>Because what are you gonna do.</dialogue> </scene> <scene> <stage_direction>INT. THE DICKENS. DAY</stage_direction> <scene_description>UNCLE CHARLIE, bartending at The Dickens, is behind the bar, owning the bar, in motion, polishing glasses, pouring drinks.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Shit or wind your watch. Call it a day or run for fuckin president? I ask you.</dialogue> <scene_description>NO STEAMBOAT CAPTAIN OR KING has ever been more resplendent than UNCLE CHARLIE behind the bar, with its dazzling glassware and bottles, its carved masculine wood, its central shield with the silhouette of Dickens on it. UNCLE CHARLIE is laughing with friends, and now he notices something, makes a Coke from the gun, pops two cherries into it... And SLIDES IT COWBOY FASHION DOWN THE BAR (we are on the glass) to... To YOUNG JR, who is right there at the bar, up on his knees on a stool, doing his schoolwork-- a bit- but mainly watching UNCLE CHARLIE... and the thing about the Dickens (revealed as UNCLE CHARLIE moves) is that the shelves have as many books as bottles. In fact BOTTLES AND BOOKS compete for shelf space...</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Yeah there are books. Bar is called the fuckin' Charles Dickens. OK so what do you need me to do?</dialogue> <character>YOUNG JR</character> <dialogue>Mom can't go to something.</dialogue> <character>UNCLE CHARLIE</character> <parenthetical>(very seriously)</parenthetical> <dialogue>Can't go to what?</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL PSYCHOLOGIST'S OFFICE. DAY</stage_direction> <scene_description>UNCLE CHARLIE, pissed off, sits there holding his hat. YOUNG JR beside him on the psychologist's couch.</scene_description> <character>PSYCHOLOGIST</character> <dialogue>How can, do you think, I can help.</dialogue> <scene_description>This is a weird question, since he called the meeting.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Someone said he was having tantrums. I think you said he was having tantrums. His mother's at work, she's a secretary, she's busy, why don't you tell me what this is about.</dialogue> <character>PSYCHOLOGIST</character> <dialogue>The boy won't tell me what his name stands for.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>His name is JR. It doesn't stand for anything. Deal with it.</dialogue> <scene_description>The PSYCHOLOGIST makes a note.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Look, this is a weird time for me to say I'm not a Psychologist...</dialogue> <character>PSYCHOLOGIST</character> <dialogue>Why do you say that?</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Because I'm sitting here with a Psychologist who maybe knows I'm not a psychologist. What are you, inert? OK I get it, you have this thing going on where nothing is face value and no one is as smart as you, and you sit there and wait for errors of fuckin baseline perception or something, I get it. We all have our jobs. This is yours. Knock yourself out.</dialogue> <scene_description>He looks at his watch.</scene_description> <character>PSYCHOLOGIST</character> <dialogue>JR, those are his initials.</dialogue> <scene_description>YOUNG JR sits there.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Or the contraction for Junior. What the fuck's the difference.</dialogue> <character>PSYCHOLOGIST</character> <dialogue>Well there's a very big difference if it is being concealed from him that he is a Junior because there is no Senior in his life.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Listen...He Might not have ever thought that until you decided to unveil your fucking bullshit on the subject. That's what I think. Listen, do you want the Socratic method from me, on you and all your works? Cos I'll do it, I'll tell you what I think, and you'll be strapped to a stretcher.</dialogue> <character>PSYCHOLOGIST</character> <dialogue>Can you explain that?</dialogue> <character>UNCLE CHARLIE</character> <dialogue>What I said is what I meant. Are you out of your fucking mind?</dialogue> <character>PSYCHOLOGIST</character> <dialogue>It is my belief that the uncertainty about the meaning of his name and the continual questions about it have left him without identity.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Oh! He has no identity! Hence an identity crisis.</dialogue> <character>PSYCHOLOGIST</character> <dialogue>He has no identity, which causes rage.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>He has dubiety about his identity supposedly. Seems like a normal kid to me. Seems like a normal person. Are you sure about your identity?</dialogue> <scene_description>CLOSE ON UNCLE CHARLIE:</scene_description> <character>UNCLE CHARLIE</character> <dialogue>The absence of his father seems to really interest you. You cast it as a negative, but let's be serious...You're having a kid in her, traumatizing him. And you've been asking his mother to dinner.</dialogue> <scene_description>The PSYCHOLOGIST, trapped:</scene_description> <character>PSYCHOLOGIST</character> <dialogue>I...I...I...</dialogue> <character>UNCLE CHARLIE</character> <dialogue>You'll scare and traumatize a kid so you can hit on his mother?</dialogue> <scene_description>Long silence.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>OK, we're leaving.</dialogue> <scene_description>And he gets up and before he does the next thing (which is probably hitting the psychologist), we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THE HOUSE. DAY</stage_direction> <scene_description>MOM is making tuna fish sandwiches from a bowl on the table, staring intently at YOUNG JR. GRANDPA is shuffling back and forth.</scene_description> <character>GRANDPA (O.S.)</character> <dialogue>Winstons taste good like a cigarette should.... Apricots!</dialogue> <scene_description>He farts OS.</scene_description> <character>GRANDPA</character> <parenthetical>(as ever when farting)</parenthetical> <dialogue>I didn't do that.</dialogue> <scene_description>MOM creates sandwiches on Wonderbread, fast, never taking her eyes off YOUNG JR, who looks for his part over at the table RADIO, and MOM puts a napkin over it and puts a stray pack of Christmas decorations on top of the radio.</scene_description> <character>MOM</character> <dialogue>Your grandfather has a photographic memory. He knows Greek and Latin. But he here is this, the furniture is held together with duct tape, he's doing this. Farting and saying he didn't do it and saying "apricots" for no reason. That's what he did with going to college.</dialogue> <character>GRANDPA</character> <dialogue>Survey guy calls up says what's the best thing about Manhassett. I say proximity to Manhattan. Survey guy says whats proximity. I say you stupid foolish bastard. Proximity for example is when your family never leaves your proximity.</dialogue> <scene_description>YOUNG JR is flashing on this, his MOM.</scene_description> <character>MOM</character> <dialogue>You are a stingy, crazy old bastard. You are not stingy with money...</dialogue> <character>GRANDPA</character> <dialogue>Haven't got any!</dialogue> <character>MOM</character> <dialogue>You are stingy with love!</dialogue> <scene_description>GRANDPA burps and leaves the kitchen, saying:</scene_description> <character>GRANDPA</character> <dialogue>I didn't do that.</dialogue> <scene_description>MOM frisbees the plate with a sandwich down in front of YOUNG JR, who catches it.</scene_description> <character>MOM</character> <dialogue>Girls become wives and mothers was his point of view....</dialogue> <character>GRANDPA (O.S.)</character> <dialogue>You became one of em!</dialogue> <character>MOM</character> <dialogue>Shut up you old turd.</dialogue> <parenthetical>(to YOUNG JR)</parenthetical> <dialogue>Because he is stingy with love and understanding is why I have no education. That's why you, I swear to God, I have no idea how, are going to Harvard or Yale...</dialogue> <scene_description>SOUND OF A HUGE FART OS. INTERCUT GRANDPA He is his chair and has a beer.</scene_description> <character>GRANDPA (O.S.)</character> <dialogue>I didn't do that.</dialogue> <character>MOM</character> <dialogue>You are going to Harvard or Yale.</dialogue> <scene_description>YOUNG JR is wondering now if he can eat his sandwich.</scene_description> <character>UNCLE CHARLIE</character> <parenthetical>(coming through in his underwear to get a coke)</parenthetical> <dialogue>What to make up for your disappointments?</dialogue> <character>MOM</character> <dialogue>Harvard or Yale.</dialogue> <character>GRANDPA (O.S.)</character> <dialogue>Harvard or Yale! This from a woman who earns thirty bucks a day.</dialogue> <character>MOM</character> <dialogue>And after college, at Harvard or Yale, you're going to law school.</dialogue> <character>GRANDPA (O.S.)</character> <dialogue>So you can sue you father for child support!</dialogue> <character>MOM</character> <dialogue>So he can help you with your fines about the septic tank!!!</dialogue> <scene_description>She kisses YOUNG JR lingeringly on the head. Then grabs her stuff and heads out to work. UNCLE CHARLIE sits down, drinks his coke reflectively, lights a butt, and mumbles over it:</scene_description> <character>UNCLE CHARLIE</character> <dialogue>She's wrong about college but we can't tell her. She needs to believe it. Simple people need to believe in college. They're vulnerable. Look at him in there. Is there any difference if he didn't go to Dartmouth. I ask you.</dialogue> <character>GRANDPA</character> <dialogue>Apricots.</dialogue> <parenthetical>(farts)</parenthetical> <dialogue>I didn't do that.</dialogue> <scene_description>The BACK SCREEN DOOR OPENS UNCLE CHARLIE looks up.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>What the fuck.</dialogue> <scene_description>Standing there, against the blazing light... Is THE VOICE. He is a well muscled boozer in a tight white t- shirt, jeans, cowboy boots, shades. UNCLE CHARLIE gestures at him.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Give your father a hug. What the fuck else are we to do. What you do, come over the back fence after his mother left?</dialogue> <scene_description>The VOICE sits at the table, arm around a stunned YOUNG JR.</scene_description> <character>THE VOICE (O.S.)</character> <dialogue>How's it hanging, Charlie?</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Like an Irish Catholic. Metaphysically and to the right.</dialogue> <parenthetical>(drinks his beer)</parenthetical> <dialogue>You still got the Clap, asshole?</dialogue> <character>THE VOICE</character> <dialogue>Your Uncle Charlie's a card.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Where's my thirty bucks.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THE VOICE'S CAR. DAY</stage_direction> <scene_description>It is something expensive and not paid for. Nips roll up and down the dashboard. THE VOICE drives Long Island streets. Unreadable eyes behind mirrors. Smoking ceaselessly.</scene_description> <character>THE VOICE</character> <dialogue>So, you like living at your grandfather's house?</dialogue> <character>YOUNG JR</character> <dialogue>Yes. I mean, no.</dialogue> <scene_description>THE VOICE realizes that this might be weird territory where he might be asked to step up in some way.</scene_description> <character>THE VOICE</character> <dialogue>Yes or no?</dialogue> <character>YOUNG JR</character> <dialogue>I mean I like it but Mom doesn't.</dialogue> <character>THE VOICE</character> <dialogue>Your grandfather's a good man. Marches to his own drummer. I like that about him.</dialogue> <character>YOUNG JR</character> <dialogue>Mom says he might have lost his mind.</dialogue> <character>THE VOICE</character> <dialogue>Well, there's that also! Sometimes your own drummer is a bad idea.</dialogue> <character>YOUNG JR</character> <dialogue>It makes Mom sad having to keep going to Grampa's house.</dialogue> <character>THE VOICE</character> <dialogue>And blames me?</dialogue> <scene_description>No answer from YOUNG JR.</scene_description> <character>THE VOICE</character> <dialogue>Women sometimes don't think things through about cause and effect. They want freedom, but they get it and they blame you for dispensing it. That's my experience! One swinging dick to another. I can give that to you.</dialogue> <parenthetical>(with narcissistic pleasure)</parenthetical> <dialogue>Your mother says you listen to your old man on the radio a lot.</dialogue> <character>YOUNG JR</character> <dialogue>She says I listen too much. Or try to find you. You change stations a lot.</dialogue> <character>THE VOICE</character> <dialogue>Ah, you know, Management.</dialogue> <scene_description>Lights a cigarette and while puffing:</scene_description> <character>THE VOICE</character> <dialogue>Would you like to be a disk jockey when you grow up?</dialogue> <character>YOUNG JR</character> <dialogue>I'm going to be a lawyer.</dialogue> <scene_description>Spit take.</scene_description> <character>THE VOICE</character> <dialogue>Jesus! Why?</dialogue> <character>YOUNG JR</character> <dialogue>Mom says.</dialogue> <character>THE VOICE</character> <dialogue>They say a lot of shit. Believe anything. OK!</dialogue> <scene_description>YOUNG JR looks around. They have arrived back in front of the house.</scene_description> <character>THE VOICE</character> <parenthetical>(coughing fit)</parenthetical> <dialogue>Good to see you young man, I have to go to a barbecue meeting with a sponsor.</dialogue> <character>YOUNG JR</character> <dialogue>Can I come?</dialogue> <character>THE VOICE</character> <parenthetical>(quite simply)</parenthetical> <dialogue>No.</dialogue> <scene_description>He reaches in the glove compartment, starts to give an ENVELOPE of money to YOUNG JR, then thinks a minute, and then takes out half the money and then hands the envelope to YOUNG JR.</scene_description> <character>THE VOICE</character> <dialogue>Tell your mom not to spend it all in one place and as for you, keep listening to the radio!</dialogue> <scene_description>He chucks YOUNG JR on the chin.</scene_description> <character>THE VOICE</character> <dialogue>See you soon, Junior.</dialogue> <character>YOUNG JR</character> <dialogue>A doctor at school says I have no identity.</dialogue> <character>THE VOICE</character> <dialogue>Well! Jesus. Prove him wrong. See you on the flip side.</dialogue> <scene_description>He reaches and opens the passenger door. He waits for YOUNG JR to get out. And smiles the dazzling THE VOICE film star smile. YOUNG JR gets out. UNCLE CHARLIE replaces YOUNG JR in the frame.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Hey, asshole. Nice day with the kid.</dialogue> <character>THE VOICE</character> <dialogue>Don't go there, Charlie! You know what happens when we go there.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Thirty bucks or get out of the fuckin' car.</dialogue> </scene> <scene> <stage_direction>INT. A METRO NORTH TRAIN. DAY</stage_direction> <scene_description>YOUNG JR is still heading North to New Haven, the PRIEST is snapping through the broadsheet paper, and eyeing the troubled young man periodically.</scene_description> <character>JR (V.O.)</character> <dialogue>A little while later, after being arrested while on air for non payment of child support, The Voice paid a fraction of what he owed and fled the state. Years later I learned that it was about this same period that he called up drunk and said he had put a contract on my mother's life. He also threatened to kidnap me, but Uncle Charlie thought this was a less serious threat, as kidnapping comes with responsibilities. Still, I was warned to never go with my father, if I ever had the chance.</dialogue> </scene> <scene> <stage_direction>INT. THE DICKENS. DAY</stage_direction> <scene_description>UNCLE CHARLIE has a shiner and cut lip and cut knuckles.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>I believe in full disclosure. Your father kicked my ass. Your father kicks almost everybody's ass. He can't drink. At his own wedding, he pushes your mother, he kicks my ass, and then when the cops come he's running up and down the sidewalk assaulting passersby. He kick's a cop's ass. He gets loose, they go on their honeymoon. Listen to this. It turns out the trip to Scotland they went on, and God the fuck knows what happened over there, was supposed to be a prize from a Scotch company given out by his radio station. He fuckin stole it. The trip to Scotland. When reproached, he kicked the shit out of the general manager.</dialogue> <character>YOUNG JR</character> <dialogue>Am I really a Junior?</dialogue> <scene_description>A long beat.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>I'm afraid you are. Initially.</dialogue> <scene_description>INTERCUT: YOUNG JR in a darkened living room watching LAWRENCE OF ARABIA. The scene in which:</scene_description> <character>LAWRENCE</character> <dialogue>Ali. My father didn't marry my mother.</dialogue> <character>ALI</character> <dialogue>I see.</dialogue> <character>LAWRENCE</character> <dialogue>I'm sorry.</dialogue> <character>ALI</character> <dialogue>It seems to me that you are free to choose your own name then.</dialogue> <character>LAWRENCE</character> <dialogue>Yes, I suppose I am.</dialogue> <character>ALI</character> <dialogue>"El Aurens" is best.</dialogue> <scene_description>YOUNG JR watches with shining eyes as ALI burns the British uniform of the sleeping Lawrence. BACK IN THE BAR:</scene_description> <character>A CUSTOMER (O.S.)</character> <dialogue>Charlie I kinda feel myself getting sober over here.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>That's your wife. She put a spell on you. She cast this spell so maybe once a week you can speak English and your dick works. She wants to know what it's like.</dialogue> <character>A CUSTOMER</character> <dialogue>Ah fuck yourself.</dialogue> <scene_description>YOUNG JR adores this, is warmed by it, he loves the men.</scene_description> </scene> <scene> <stage_direction>INT. THE BEDROOM. NIGHT</stage_direction> <scene_description>YOUNG JR AND MOM lie in bed. Clock ticking.</scene_description> <character>YOUNG JR</character> <dialogue>Why did you marry him?</dialogue> <character>MOM</character> <dialogue>I was young. I was dumb.</dialogue> <character>YOUNG JR</character> <dialogue>I don't want to be a Junior. I don't want to have the same name. Can we not tell anybody who doesn't know?</dialogue> <scene_description>She nods, blinking tears. Holds him.</scene_description> <character>MOM</character> <dialogue>You can have any name you want.</dialogue> <character>JR (V.O.)</character> <dialogue>I started being all right with The Voice being the biggest dick in the universe, plus psycho, because, after all, there were men to look up to, and, like Uncle Charlie, the men were at the bar.</dialogue> </scene> <scene> <stage_direction>INT. THE DICKENS. NIGHT</stage_direction> <scene_description>The DICKENS is in full cry. UNCLE CHARLIE is not working, he is drinking, holding forth, and arm wrestling.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Ok the bet is if you lose you have to wear a red sox cap in your seats at Shea for nine games non- negotiable.</dialogue> <scene_description>UNCLE CHARLIE wins: the crowd of Patrons scream.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Say good bye to him, and collect any money he owes now, you'll never see him again.</dialogue> <scene_description>He picks up YOUNG JR and puts him on a bar stool.</scene_description> <character>A CUSTOMER</character> <dialogue>Get that kid out of here.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Fuck you, this is Manhassett. Everybody comes to the bar. The bar is life.</dialogue> <parenthetical>(to YOUNG JR)</parenthetical> <character>UNCLE CHARLIE</character> <dialogue>Watch the game, I have heavy timber on this game. Watch the Knicks.</dialogue> <scene_description>YOUNG JR is just delighted by this.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>I gotta watch him, where else am I gonna take him. His mother is working. His father is a douche.</dialogue> <parenthetical>(to YOUNG JR)</parenthetical> <dialogue>Ok, look, these are the Male Sciences. This is your drink, and this is your pack of butts. They go here, and there. See that guy's money over there on the bar? The way he's putting it in his pocket?</dialogue> <scene_description>YOUNG JR looks. We see it.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>You don't keep your money like that. That's keeping your money like a drunk. That's not correct. You know what you also do?</dialogue> <scene_description>YOUNG JR waits.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>You take care of your mother. You take care of, if you have one, women. And if you do this, if you drink, you keep your shit together. If your shit is not together, you don't drink. You don't want to be one of the crybabies down in the place, talking like Jesus came down and made them late for work, took all their money, made them drink Old Hammerhead with a vanilla coke back for thirty years, you with me? This is about being a man. You have your cigarettes here, your drink is there, you don't keep your money like a drunk. Here in your wallet, in the secret compartment, this is where you keep your stashie, hundred bucks, five, whatever the economy dictates, and you don't drink that.</dialogue> <scene_description>YOUNG JR nods. OK.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Let's see. You hold doors, you take care of your mother. I can show you to change a tire and jump a car...that's about it! You go to work, you take care of your mother, you don't drink your stashies, you can change a tire, jump a car. And that's it. Bang you're done. Male sciences. Also you don't hit a woman, ever, up to and including she has stabbed you with scissors. OK that's it. Male sciences. Done.</dialogue> <scene_description>YOUNG JR is looking at the books behind the bar.</scene_description> <character>YOUNG JR</character> <dialogue>Can people read those books?</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Are you soft?</dialogue> <character>YOUNG JR</character> <dialogue>No I mean can I read them.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>What's the name of this bar?</dialogue> <character>YOUNG JR</character> <dialogue>The Dickens.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Do you know who that is?</dialogue> <character>YOUNG JR</character> <dialogue>The Owner?</dialogue> <character>UNCLE CHARLIE</character> <parenthetical>(giving up)</parenthetical> <dialogue>Read as many as you like. Take em back in the poker room. Take em all. You read enough, you fill up, and it starts to come out the other end. Then you're a writer.</dialogue> <parenthetical>(in a kinder, quieter, way)</parenthetical> <dialogue>You're always looking for something that might be relevant in the long run. I think you're looking for higher meaning out of all this shit, which, as a resident of Long Island, creeps me out.</dialogue> <character>UNCLE CHARLIE</character> <parenthetical>(to Customer)</parenthetical> <dialogue>Yes, what can I get you.</dialogue> <scene_description>CUT TO: CLOSE ON: A 1940s TYPEWRITER. In a holy, choring, fall of light from an attic window. YOUNG JR pokes at one key, then another.</scene_description> <character>JR (O.S.)</character> <dialogue>I discovered the attic, and a typewriter that had belonged to Grampa back when he gave a shit. Soon I was writing The Family Gazette.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN. DAY</stage_direction> <scene_description>YOUNG JR sits tensely as the family reads THE FAMILY GAZETTE, which is pretty much what it ought to be, at breakfast. Each present member of the family (director's choice, but definitely UNCLE CHARLIE, MOM, GRANDMA, GRANDPA) reads their copy with an intensity of attention, or lack thereof, that reflects their characters. Reckon there is a range from "reading anything at breakfast" to crapulous objection. YOUNG JR watches from a distance with an artist's anxiety.</scene_description> <character>MOM</character> <dialogue>This is wonderful, JR.</dialogue> <character>GRANDPA</character> <dialogue>"Family Gazette". This is no family.</dialogue> <character>GRANDMA</character> <dialogue>Not with you in it.</dialogue> <character>GRANDPA</character> <dialogue>This is like seagulls on my paycheck.</dialogue> <scene_description>Uncle Charlie decides to take THE FAMILY GAZETTE seriously. He decides perhaps that the work in itself is serious enough to take seriously. Then he throws the Family Gazette down into a plate of egg yolk.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>OK. I'd avoid the drawing. Just leave that out. Here it is. I know a lot of people who think they are writers. In most cases-you will find this in life-they are not. You don't wanna be one of those guys trust me. There are seven, eight at the bar. Everybody has a pen, everybody has some paper, everybody had to write something at some point, so they think, oh if I had TIME, if I fuckin knew somebody, etcetera. How do I phrase this, don't be one of those guys. Like Bob at the bar.</dialogue> <character>GRANDMA</character> <dialogue>Who's Bob?</dialogue> <character>UNCLE CHARLIE</character> <dialogue>A man tied to a sled of self delusion and illiteracy going down a hill of irrelevance. OK, first you have to have "it" whatever it is. You have to have it immediately or you don't have it. I say you have it.</dialogue> <character>MOM</character> <dialogue>See?</dialogue> <character>UNCLE CHARLIE</character> <dialogue>I'm not saying you're good, I'm saying you could be.</dialogue> <scene_description>YOUNG JR looks ravenously interested in this possibility.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Come with me.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. UNCLE CHARLIE'S ROOM. MOMENTS LATER</stage_direction> <scene_description>The cheap sliding closet doors are stuck. UNCLE CHARLIE takes the doors completely off the tracks, revealing to YOUNG JR'S widened eyes... BOOKS stacked floor to ceiling, back three deep. We see: every college English standard, plus everything that derives from successful exposure to same. YOUNG JR gasps.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>OK. What you do is read all those. If you don't read all those, I don't want to talk to you. However, I also don't want to talk to you about those. What you do is...you Read all those, until it comes out the other end. That sounds disgusting. But there it is.</dialogue> <scene_description>UNCLE CHARLIE leaves for the day-carrying the doors. They are no longer needed. The books have been exposed. YOUNG JR stares at the pirate treasure.</scene_description> <character>UNCLE CHARLIE (O.S.)</character> <parenthetical>(to MOM)</parenthetical> <dialogue>Don't look at him when he's having a private personal moment, Jesus, it's pathetic. Mom used to look at me when I was shaving. You know what I did? I grew a beard!!!! So she wouldn't look at me with "wonder" and "love" when I was fucking shaving!</dialogue> <scene_description>YOUNG JR reaches and picks up DAVID COPPERFIELD. The silhouette on the book is the logo of THE DICKENS. He alerts to this. He opens to a plate with the caption: "My first purchase in the Public House". He glances over at: Detail: UNCLE CHARLIE'S RADIO. But the attraction to the radio has competition....THE BOOKS. He next takes down "Great Expectations" and off the title and his wondering eyes we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. A METRO NORTH TRAIN. DAY</stage_direction> <scene_description>THE PRIEST is now staring beadily at JR, having noticed, perhaps, his crying.</scene_description> <character>PRIEST</character> <dialogue>Where are you bound.</dialogue> <scene_description>Whoah: true Barry Fitzgerald. \[This is maybe not real.\]</scene_description> <character>JR</character> <dialogue>Yale interview.</dialogue> <character>PRIEST</character> <dialogue>To get into the place?</dialogue> <scene_description>JR nods.</scene_description> <character>PRIEST</character> <dialogue>Your mother must be trilled.</dialogue> <character>JR</character> <dialogue>It's all she ever wanted.</dialogue> <character>PRIEST</character> <dialogue>In my official capacity I have to say is the only thing to concentrate on in this world is the desire to see the face of God the Father.</dialogue> <scene_description>JR, a wobbly nod. OK.</scene_description> <character>PRIEST</character> <dialogue>However: the Church is on her last legs. Three people come to my mass. I had four but Mrs Cafferty took a fall changing a light bulb because she did not have a good son. Be a good son.</dialogue> <character>JR</character> <dialogue>That's why I'm going to the Interview.</dialogue> <character>PRIEST</character> <dialogue>When is the last time you made a good confession.</dialogue> <scene_description>A lot of thought:</scene_description> <character>JR</character> <dialogue>Not in my Yale essay.</dialogue> <character>PRIEST</character> <dialogue>Well, you want to get in. Truth may not be your friend in college applications.</dialogue> <scene_description>JR turns and looks out the window.</scene_description> </scene> <scene> <stage_direction>INT. THE DICKENS. DAY</stage_direction> <scene_description>YOUNG JR is reading, UNCLE CHARLIE is tending bar.</scene_description> <character>OTHER CUSTOMER</character> <dialogue>Hey, whose kid is that?</dialogue> <character>UNCLE CHARLIE</character> <dialogue>My sister's.</dialogue> <character>OTHER CUSTOMER</character> <dialogue>What sister. The hot one or the crazy one.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Do you want to die?</dialogue> <scene_description>YOUNG JR zones out, drifting. He watches female customers flirting with male customers, and vice versa. It is happy hour, daylight still streaming in, igniting the scene as if on the softball field at the beginning of the film. This is also a ritual, the man thing that has to be learned.</scene_description> <character>BOBO (O.S.)</character> <dialogue>Get that kid a drink on me.</dialogue> <scene_description>UNCLE CHARLIE delivers a Coke with a cherry. Now YOUNG JR has two Cokes.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>You're backed up on Bobo.</dialogue> <scene_description>"Backed up". Wow. A male sciences watershed.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>I got a feeling you didn't come here to come here. You came here with a reason and then forgot.</dialogue> <character>YOUNG JR</character> <dialogue>A pack of Old Golds for Grampa.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>He's probably climbing the walls. He's gonna come in here and say weird shit. Never keep a man from his cigarettes.</dialogue> <scene_description>Puts down OLD GOLDS.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Buck eighty.</dialogue> <scene_description>YOUNG JR pays.</scene_description> <character>YOUNG JR</character> <parenthetical>(holding change from the five)</parenthetical> <dialogue>I'd like to back up Bobo.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>With your grandfather's money?</dialogue> <scene_description>YOUNG JR looks uncertain.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>All right.</dialogue> <character>BOBO</character> <dialogue>This kid is all right.</dialogue> <scene_description>UNCLE CHARLIE backs up Bobo.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Bobo, you're backed up on the kid.</dialogue> </scene> <scene> <stage_direction>EXT. THE HOUSE. DAY</stage_direction> <scene_description>YOUNG JR is pitching a tennis ball against the garage door, aiming at a TAPED SQUARE. Very serious, like a pitcher on TV. Spitting, scuffling mound. UNCLE CHARLIE watches hungover from the stoop. Wearing sunglasses. MOM runs out, gets past UNCLE CHARLIE (who doesn't move for her), kisses YOUNG JR, kneels with him.</scene_description> <character>MOM</character> <dialogue>What did you do in school today?</dialogue> <character>YOUNG JR</character> <dialogue>We all signed a paper saying we would do our best.</dialogue> <character>MOM</character> <dialogue>Did you?</dialogue> <character>YOUNG JR</character> <dialogue>Yes.</dialogue> <character>MOM</character> <dialogue>You know it's hard to be best sometimes but it's easy to do your best.</dialogue> <parenthetical>(far too emotionally)</parenthetical> <dialogue>Do you think I do my best?</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Oh Jesus.</dialogue> <character>MOM</character> <dialogue>Go to hell, Charlie.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>We're all having a rough time on this planet. Don't ask him questions like that. This is human existence. Not whatever's in your brain.</dialogue> <scene_description>MOM kisses YOUNG JR, glares at UNCLE CHARLIE, gets into the terrible car and heads off. UNCLE CHARLIE pops a Budweiser.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>They're different. They want to talk about shit. BUT. What they want to talk about is never...appropriate. It's about FEELINGS, which is not a productive subject. It's very hard to get into.</dialogue> <scene_description>YOUNG JR sits with him.</scene_description> <character>YOUNG JR</character> <dialogue>I have feelings.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Of course you do, you just don't fucking say it. You have a drink, you punch somebody in the head, you just don't have a conversation. All anybody wants you to do is a man is you shit shower shave and show the fuck up.</dialogue> <scene_description>YOUNG JR absorbs this. OK.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>If you stop letting 'em see you worry at recess, they'll leave you alone with the shrink nonsense. Just pretend nothing bothers you. You'll be fine.</dialogue> <character>YOUNG JR</character> <dialogue>Nothing bothers you?</dialogue> <scene_description>UNCLE CHARLIE thinks, and drinks, and then by way of an answer:</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Men don't have feelings.</dialogue> </scene> <scene> <stage_direction>INT. CLASSROOM. DAY</stage_direction> <scene_description>YOUNG JR is being hit from behind by spitballs blown by a HOOLIGAN. He is deep into nothing bothering him. Oblivious MRS WILLIAMS, the Sixth Grade Teacher, is in front of the class.</scene_description> <character>MRS WILLIAMS</character> <dialogue>Today we are going to take a break from out studies, and make invitations, hand made invitations...</dialogue> <character>HOOLIGAN</character> <dialogue>As if there's a machine, right?</dialogue> <character>MRS WILLIAMS</character> <dialogue>For the Father-Son breakfast.</dialogue> <scene_description>MOVE IN ON YOUNG JR. In his mind he imagines waiting outside the Father Son breakfast, watching the road for THE VOICE. In the dream, THE VOICE drives past, swigging from a pint. IN THE CLASSROOM:</scene_description> <character>MRS WILLIAMS</character> <dialogue>We'll make our own invitations and you'll bring them home to your fathers after school. Saturday morning we'll cook our fathers breakfast and read to them from our schoolwork and everyone will get a chance to know each other better.</dialogue> <scene_description>LATER YOUNG JR stands at MRS WILLIAMS' desk</scene_description> <character>MRS WILLIAMS</character> <dialogue>Yes, what is it, Jr?</dialogue> <character>YOUNG JR</character> <dialogue>I don't have a father.</dialogue> <character>MRS WILLIAMS</character> <dialogue>Oh. Did he pass on?</dialogue> <character>YOUNG JR</character> <dialogue>I don't know. Maybe. I just don't have one.</dialogue> <character>MRS WILLIAMS</character> <dialogue>"Passing on" means "dead".</dialogue> <character>YOUNG JR</character> <dialogue>No, he's not dead, he's on the radio.</dialogue> <character>MRS WILLIAMS</character> <dialogue>Is there an uncle?</dialogue> <character>YOUNG JR</character> <dialogue>He might not come. He doesn't have feelings.</dialogue> <character>MRS WILLIAMS</character> <dialogue>OK.</dialogue> <character>YOUNG JR</character> <dialogue>Can I please just not come to the breakfast?</dialogue> <character>MRS WILLIAMS</character> <dialogue>I'm going to call your mother.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN. DAY</stage_direction> <scene_description>GRANDMA is making some American chop suey and hacking hotdogs into it.</scene_description> <character>GRANDMA</character> <dialogue>Don't they know how the world is these days?</dialogue> <scene_description>YOUNG JR is in his mother's lap.</scene_description> <character>MOM</character> <dialogue>It's hard to tell people about your father, JR, because it's hard to know where to begin.</dialogue> <character>YOUNG JR</character> <dialogue>Maybe the police can make him go?</dialogue> <character>GRAMPA</character> <parenthetical>(looking for a screwdriver in a junk drawer)</parenthetical> <dialogue>Police can't make him pay support! Think an elective breakfast might be tough.</dialogue> <character>GRANDMA</character> <dialogue>You take him, you son of a bitch.</dialogue> <scene_description>GRANDPA stands there is stained chinos, fly open, cliffhanging socks, wrecked T-shirt. And like a Duke, after a pause:</scene_description> <character>GRAMPA</character> <dialogue>Of course.</dialogue> <scene_description>UNCLE CHARLIE glances over. Starts to say something: doesn't. Reads his sports pages. But he's pissed.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>OK, go with him. Maybe he'll be sane.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM. MORNING</stage_direction> <scene_description>Everybody sits and waits. They hear footsteps above, and the footsteps on the stairs, as GRANDPA descends. The suspense is unendurable. YOUNG JR has a bungled Windsor know on his tie. All eyes turn as -- GRANDPA appears in the doorway. And he looks like what he really is: a well traveled man with a knack for the classics. He is BRILLIANTLY turned out, his hair combed back. He looks like a gray templed movie star of the Stewart Grainger class.</scene_description> <character>MOM</character> <dialogue>Holy shit.</dialogue> <scene_description>GRAMPA sits on the couch and indicates: come on. YOUNG JR stands in front of GRANDPA, and GRANDPA addresses the tie problem.</scene_description> <character>MOM</character> <dialogue>Maybe he doesn't need a tie.</dialogue> <scene_description>GRANDPA expertly knots the tie, straightens YOUNG JR'S jacket. MOM starts crying.</scene_description> <character>MOM</character> <dialogue>You look so HANDSOME.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Why don't you go do your Scarlett O'Hara thing.</dialogue> <character>MOM</character> <dialogue>Shut up.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Yeah yeah yeah. I'm the one who can't read the room.</dialogue> <character>MOM</character> <dialogue>When you know what's going on.</dialogue> <scene_description>UNCLE CHARLIE remembers what's going on and wishes he was dead. MOM kisses YOUNG JR and hugs him and leaves the room.</scene_description> <character>GRANDPA</character> <dialogue>Let's go.</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL CAFETERIA. DAY</stage_direction> <scene_description>MOVE ALONG the row of FATHERS AND KIDS being served from a trolley by Mrs Williams and some kid trustees or kapos, and land on the tense YOUNG JR and GRAMPA. GRAMPA unfolds his paper napkin as if it is Irish linen: YOUNG JR, watching him closely, does the same. The fare is Mouse-eared pancakes. MRS WILLIAM settles directly across. She seems to have a crush on GRANDPA.</scene_description> <character>MRS WILLIAMS</character> <dialogue>We expect big things from JR.</dialogue> <character>GRAMPA</character> <dialogue>Our educational system and indeed our society as a whole was destroyed in the 19th Century by the German influence.</dialogue> <character>MRS WILLIAMS</character> <dialogue>Really.</dialogue> <character>GRAMPA</character> <dialogue>Ability, as a concept, turned into a mechanical, empirical construct. You may be a beneficiary of this system.</dialogue> <character>YOUNG JR</character> <dialogue>We have a failed system.</dialogue> <scene_description>MRS WILLIAMS looks fascinated.</scene_description> <character>MRS WILLIAMS</character> <dialogue>Gosh.</dialogue> <character>GRAMPA</character> <dialogue>He means the septic at the house.</dialogue> <scene_description>Points with plastic fork at YOUNG JR.</scene_description> <character>GRAMPA</character> <dialogue>In my view, regardless of the system in place, he's the likeliest to be able to leave my house on his own abilities.</dialogue> <scene_description>Some kid somewhere farts.</scene_description> <character>GRANDPA</character> <dialogue>I didn't do that.</dialogue> <scene_description>He continues eating, like the Duke of York. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. GRAMPA'S TERRIBLE CAR. LATER</stage_direction> <scene_description>They are sitting in the driveway in the car. Where Americans tell each other things.</scene_description> <character>YOUNG JR</character> <dialogue>Thank you so much.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>You were really good. When you're out...You're like Uncle Charlie.</dialogue> <character>GRAMPA</character> <dialogue>Well, I'm his father. He's like me.</dialogue> <scene_description>GRAMPA cringes, glances over. But YOUNG JR has gotten it. GRAMPA makes it worse:</scene_description> <character>GRAMPA</character> <dialogue>He's my s--</dialogue> <scene_description>A beat.</scene_description> <character>GRAMPA</character> <dialogue>Don't tell anybody I'm a good grandfather. Everybody will want one.</dialogue> <scene_description>GRAMPA says what he has to say.</scene_description> <character>GRAMPA</character> <dialogue>Your mother has a tumor on her thyroid and is going in to have it out. It might be malignant. Be nice to her.</dialogue> <scene_description>GRAMPA gets out of the car and goes into the house taking off his tie. UNCLE CHARLIE is looking out the window unobserved. He lets the curtain fall.</scene_description> </scene> <scene> <stage_direction>EXT. THE HOUSE. DAY</stage_direction> <scene_description>YOUNG JR sits on the stoop as he did on the day that THE VOICE didn't take him to the ball game, waiting. After a while, a car comes: UNCLE CHARLIE'S CAR, and UNCLE CHARLIE helps his damaged sister out of the car. MOM is bandaged around the neck, pale and unsteady.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Help your mother.</dialogue> <scene_description>MOM squeezes JR'S hand.</scene_description> <character>MOM</character> <dialogue>I'm fine.</dialogue> <scene_description>They all go up the steps together.</scene_description> </scene> <scene> <stage_direction>INT. THE BEDROOM. NIGHT</stage_direction> <scene_description>YOUNG JR sits looking at his mother, who is in between sleep and consciousness. PAIN PILLS in a large bottle before the radio. He reaches for the radio, then stops. YOUNG JR sits tensely. This is a significant act. Not turning on the radio. Turning to his mother. MOM is awake. Hard to talk, hard to swallow.</scene_description> <character>MOM</character> <dialogue>You work hard and you don't get anywhere and then you get cancer.</dialogue> <character>YOUNG JR</character> <dialogue>Everybody?</dialogue> <character>MOM</character> <dialogue>As far as I can tell. On Long Island anyway.</dialogue> <character>YOUNG JR</character> <dialogue>Do you want some water?</dialogue> <character>MOM</character> <dialogue>I want you to succeed.</dialogue> <character>MOM</character> <dialogue>We're the two musketeers.</dialogue> <scene_description>YOUNG JR nods.</scene_description> <character>MOM</character> <parenthetical>(high)</parenthetical> <dialogue>He beat me up. Once he put a pillow over my face.</dialogue> <character>YOUNG JR</character> <dialogue>Mom?</dialogue> <character>MOM</character> <dialogue>I'm sorry.</dialogue> <character>YOUNG JR</character> <parenthetical>(tear streaked)</parenthetical> <dialogue>What if I'm like him.</dialogue> <scene_description>MOM doesn't say anything.</scene_description> <character>YOUNG JR</character> <dialogue>You're going to be all right. They said you were all right. The doctors.</dialogue> <character>MOM</character> <dialogue>I am all right honey. They got it all.</dialogue> <scene_description>They sit there.</scene_description> <character>MOM</character> <dialogue>I need you to succeed.</dialogue> <scene_description>YOUNG JR leaks tears.</scene_description> <character>YOUNG JR</character> <dialogue>What if I can't?</dialogue> <scene_description>MOM just lies there: then gestures, come. YOUNG JR snuggles close and she puts her arm around him.</scene_description> <character>MOM</character> <dialogue>As God is my witness you're going to Yale.</dialogue> <character>YOUNG JR</character> <dialogue>Grampa says a reasonable estimate of the total cost of a year at Yale is eleven thousand three hundred and ninety dollars.</dialogue> <character>MOM</character> <dialogue>Did he also say I'm just a medical secretary with maybe cancer?</dialogue> <character>YOUNG JR</character> <dialogue>No.</dialogue> <character>MOM</character> <dialogue>Mind if your momma believes in you?</dialogue> <character>YOUNG JR</character> <dialogue>No.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THE DICKENS. DAY</stage_direction> <scene_description>YOUNG JR is there with his usual pile of books. He is working on THE FAMILY GAZETTE in the longhand draft.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Can't think straight today. Goddamned Wordy Gurdy has me stumped.</dialogue> <character>YOUNG JR</character> <dialogue>What's Wordy Gurdy.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>They give you a half assed clue and the answer is two words that rhyme. Like this one. "Jane's vehicles" is easy. Fonda's Hondas.</dialogue> <character>BOBO</character> <dialogue>Life is hard enough without puzzles.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Do puzzles you don't get Alzheimers. This one is bullshit: Richard's Ingredients. Richard is Nixon?</dialogue> <scene_description>BOBO has no idea. JOEY D and COLT sit with their drinks.</scene_description> <character>YOUNG JR</character> <dialogue>Nixon's fixins.</dialogue> <scene_description>EVERYBODY stares at him.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Terrific Gary.</dialogue> <scene_description>INTERCUT JR on the NEW HAVEN train as he murmurs:</scene_description> <character>JR</character> <dialogue>Super Cooper.</dialogue> <scene_description>The men stare respectfully. UNCLE CHARLIE comes to a decision.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Kid's earned his spurs, we're gonna cut cards to see who gives him their seat at the Mets Phillies.</dialogue> <scene_description>To YOUNG JR, who is thrilled but nervous:</scene_description> <character>UNCLE CHARLIE</character> <parenthetical>(shuffling)</parenthetical> <dialogue>Double header. Cut cards.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. UNCLE CHARLIE'S CAR. VARIOUS. DAY</stage_direction> <scene_description>Doing pickups as on beach day. BOBO gets in, and JOEY D. YOUNG JR sits in a Met's hat.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>One more.</dialogue> <character>YOUNG JR</character> <dialogue>Who else is coming?</dialogue> <scene_description>UNCLE CHARLIE keeps his counsel.</scene_description> <character>BOBO</character> <dialogue>Pat.</dialogue> <character>YOUNG JR</character> <dialogue>Who's he?</dialogue> <character>BOBO</character> <dialogue>She. Your uncle's girlfriend.</dialogue> <scene_description>Wow.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>We all make mistakes.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. UNCLE CHARLIE'S CAR. MOMENTS LATER</stage_direction> <scene_description>PAT gets in, pretty, working class, obviously kind of a drinker. She homes on YOUNG JR.</scene_description> <character>PAT</character> <dialogue>You must be young JR. What are you doing with these bums?</dialogue> <character>YOUNG JR</character> <dialogue>Going to the Mets cause I did the Wordy Gurdy.</dialogue> <character>PAT</character> <dialogue>You must be the apple of your mother's eye.</dialogue> <character>YOUNG JR</character> <dialogue>I hope so because she's sad.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>OK that's enough.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. SHEA STADIUM. DAY</stage_direction> <scene_description>UNCLE CHARLIE is on it. This is his scene. He barely looks at anybody. They are three rows behind home plate.</scene_description> <character>UNCLE CHARLIE</character> <parenthetical>(not looking at YOUNG JR)</parenthetical> <dialogue>OK, if you need the bathroom, feel free, but take not of where we are sitting and don't stay away long.</dialogue> <character>UNCLE CHARLIE</character> <parenthetical>(to BEER GUY, as he takes cups and pays)</parenthetical> <dialogue>Take note of where we are sitting and don't stay away long. Jesus. My head says Mets, my bankroll says the brotherly lovers.</dialogue> <scene_description>As the METS AND PHILLY take the field.</scene_description> <character>BOBO</character> <dialogue>PHILLY SUCKS!!!!</dialogue> <character>PAT</character> <parenthetical>(to YOUNG JR)</parenthetical> <dialogue>So how's your mom doing, with the cancer?</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Jesus, right now?</dialogue> <scene_description>YOUNG JR starts to leak tears. UNCLE CHARLIE puts his arm around him and looks with bright rage at PAT. Then to the guys:</scene_description> <character>UNCLE CHARLIE</character> <dialogue>My bankroll says Philly but I took the Mets three times.</dialogue> <scene_description>A beat.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Don't ever do that. Don't think with your optimism: this happens.</dialogue> <character>PAT</character> <dialogue>What???</dialogue> <character>UNCLE CHARLIE</character> <dialogue>We'll talk later. For a minute.</dialogue> <scene_description>PAT folds her hand on her lap. Sits stiffly as if she would say a great deal if the kid wasn't there. Uncle Charlie glares at her for a moment and then: Reaches in his coat and hands YOUNG JR a BASEBALL.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>I was saving it. That's for you right now.</dialogue> <scene_description>YOUNG JR is impressed, through tears.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Turn it over.</dialogue> <scene_description>DETAIL: The ball turns until it reveals the signature: "TOM SEAVER" YOUNG JR is very impressed.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Right?</dialogue> <scene_description>He pats YOUNG JR on the back. PAT lunges away.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>There you go. And your mother's fine. And we will not see Pat after this.</dialogue> <character>YOUNG JR</character> <dialogue>She's not bad.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>It's a last straw situation. That's not the first blot on her copybook. You gotta be able to do without people and they gotta know it. The only way to play is all in. But you gotta need nobody to have anybody.</dialogue> <scene_description>He burns this in on the oblivious JR.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Watch the game.</dialogue> </scene> <scene> <stage_direction>EXT. YALE CAMPUS. DAY</stage_direction> <scene_description>JR, dressed in the clothes he wore on the train, stands under an oak, his oak, his hand on the tree for support.</scene_description> <character>JR</character> <dialogue>Provisional Strident Bucolic Fulcrum Inimical Behemoth Jesuitical Minion</dialogue> <character>JR</character> <dialogue>Eclectic Esthetic</dialogue> <scene_description>He clutches the tree. Looks like he is going to vomit. Shoves off to his interview.</scene_description> </scene> <scene> <stage_direction>INT. THE KITCHEN. DAY</stage_direction> <scene_description>A YALE APPLICATION lies on the table. MOM is sitting smiling. UNCLE CHARLIE is finishing reading the essay.</scene_description> <character>UNCLE CHARLIE</character> <parenthetical>(after a long beat)</parenthetical> <dialogue>Not bad.</dialogue> <scene_description>Chucks it down as if it is the FAMILY GAZETTE of yesteryear.</scene_description> <character>MOM</character> <dialogue>What do you mean. It's very good.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>It's not bad.</dialogue> <scene_description>He reaches into his pocket, and takes out a checkbook. Writes a check, tears it out.</scene_description> <character>MOM</character> <dialogue>What's that?</dialogue> <character>UNCLE CHARLIE</character> <parenthetical>(indifferently)</parenthetical> <dialogue>Application Fee. What the fuck else.</dialogue> <scene_description>He departs. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MOM'S CAR. DAY</stage_direction> <scene_description>MOM and JR sit in her terrible car. They are parked beside two blue post boxes. MOM takes up the application envelope and kisses it, and hands it back to the somewhat mortified (high school) JR.</scene_description> <character>JR</character> <dialogue>Mom!</dialogue> <character>MOM</character> <dialogue>It's okay, I don't have lipstick.</dialogue> <character>JR</character> <dialogue>I won't get in.</dialogue> <character>MOM</character> <dialogue>Yes you will.</dialogue> <character>JR</character> <dialogue>Uncle Charlie says to go all in.</dialogue> <character>MOM</character> <dialogue>Your uncle is talking about gambling and that's why he lives at home.</dialogue> <character>JR</character> <dialogue>Isn't this gambling?</dialogue> <scene_description>She nods: maybe.</scene_description> <character>MOM</character> <dialogue>It's better than not gambling. I never gambled. That was my problem.</dialogue> <character>JR</character> <dialogue>What about Dad?</dialogue> <character>MOM</character> <dialogue>Well. Yeah. But was it taking chances?</dialogue> <character>JR</character> <dialogue>Yes.</dialogue> <character>MOM</character> <dialogue>I'm talking about career.</dialogue> </scene> <scene> <stage_direction>EXT. THE TERRIBLE CAR. MOMENTS LATER</stage_direction> <scene_description>JR is standing at the mailboxes. One says LOCAL, and the other says OUT OF TOWN. He opens the mailbox that says LOCAL, and drops the envelope in. The door clangs shut. He stands there, and then turns to the car.</scene_description> </scene> <scene> <stage_direction>INT. THE METRO NORTH TRAIN. DAY</stage_direction> <scene_description>Very CLOSE on JR, who has his head against the glass, thinking.</scene_description> </scene> <scene> <stage_direction>EXT. THE HOUSE. INT. UNCLE CHARLIE'S CAR. MANHASSET. VARIOUS.</stage_direction> <scene_description>DAY YOUNG JR is throwing a rubber ball against the garage door. The screen door squeaks and bangs and UNCLE CHARLIE comes out, Marlboro in face, wearing shorts and regular dress shoes, untied to be casual.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>You got shorts on. Good. Get in the car. We're going to the beach. Get in the back.</dialogue> <scene_description>YOUNG JR does. As Charlie gets in and starts the car we see the DISTINCTIVE KEY RING, which strangely enough is a book with wings. He backs out, expertly, through his hangover.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>We're gonna have passengers.</dialogue> <scene_description>He clunks into drive.</scene_description> <character>YOUNG JR</character> <dialogue>Thank you for taking me.</dialogue> <scene_description>UNCLE CHARLIE looks into the rearview.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>We have to have a talk sometime. When I'm cooking food and you ask if you can have some food, what do I say?</dialogue> <character>YOUNG JR</character> <dialogue>"Of course you can have some food, I'm making fucking dinner."</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Process that.</dialogue> <scene_description>LATER UNCLE CHARLIE parps the horn, in front of an LI working class house, and BOBO comes out, in indescribable beachwear.</scene_description> <character>BOBO</character> <dialogue>Hi kid. Charlie, fuck did I drink last night.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Everything.</dialogue> <character>BOBO</character> <dialogue>I'm dying.</dialogue> <scene_description>Beer from Charlie's floor cooler.</scene_description> <character>BOBO</character> <dialogue>Jesus.</dialogue> <scene_description>LATER JOEY D gets in.</scene_description> <character>JOEY D</character> <dialogue>Gimme a Bud.</dialogue> <character>BOBO</character> <dialogue>We drank em.</dialogue> <character>JOEY D</character> <dialogue>Need to get some pickinick baskets. Chaz is this the usual same kid?</dialogue> <character>UNCLE CHARLIE</character> <dialogue>That's the kid.</dialogue> <scene_description>LATER CHIEF gets in, while at the door of his house his wife flips him the bird.</scene_description> <character>JOEY D</character> <dialogue>Need to get some pickinick baskets.</dialogue> <scene_description>LATER JOEY D emerges from a liquor store, laden, with red party cups and ice and a box of booze and mixer. BOBO staggers under several cases of beer.</scene_description> <character>UNCLE CHARLIE</character> <parenthetical>(engages transmission)</parenthetical> <dialogue>Beach.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE BEACH. DAY</stage_direction> <scene_description>THE CADDY is parked by a deserted beach on a maybe warm enough but not visually spectacular day, and JR and the men from the Dickens march across the sand, the men all laden with ongoing drinks and burdens of intoxicants, and YOUNG JR tagging after like a baby elephant. CAMP is made by chucking the booze and ice down in a kind of circle. Dress shoes and boots come off, working class farmer tans are put on display. BEERS are handed around without comment, slugs are poured into red party cups, and without comment, as one of the guys, YOUNG JR is given a COKE.</scene_description> <character>BOBO</character> <dialogue>What are you doing on the Mets tonight? Koosman's on the hill.</dialogue> <character>JOEY D</character> <dialogue>I'm always on the wrong side with that prick.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Bet Koos, you lose.</dialogue> <scene_description>UNCLE CHARLIE looks at the sea with the expression of a romantic visionary.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Let's go in.</dialogue> <scene_description>LATER In a WIDE SHOT we see the men wading into the water, holding their beers and red party cups high. YOUNG JR, barefoot in the wave wash, watches adoringly. UNCLE CHARLIE turns, and looks at him.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Come on. Bring your drink. This looks like it happens every day?</dialogue> <scene_description>YOUNG JR steps forward and we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THE KITCHEN. DAY</stage_direction> <scene_description>The LETTER FROM YALE lies on the Formica table. Everybody is there: GRAMPA, GRANDMA, MOM, UNCLE CHARLIE, JR.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Open it.</dialogue> <character>JR</character> <dialogue>I want to open it alone.</dialogue> <character>MOM</character> <dialogue>Oh, open it, JR.</dialogue> <character>JR</character> <dialogue>No, you open it.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>That's a call. That's a call right there. She's the most invested. Frankly she's kinda unhinged on this thing, and we're talking since you were a baby.</dialogue> <character>GRAMPA</character> <dialogue>I told her not a dime.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>You don't have a dime. However, his mother doesn't have a nickel.</dialogue> <character>JR</character> <dialogue>I can't open it.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>It's not like it's gonna kill everybody if it says no.</dialogue> <character>JR</character> <dialogue>Not the planet.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Give it to me.</dialogue> <scene_description>He takes the envelope. Puts on the reading glasses that he needs now. He stops as: MOM comes in the back door, exhausted, in a waitress uniform, and sees what the men are looking at.</scene_description> <character>MOM</character> <dialogue>Let JR open it.</dialogue> <character>JR</character> <dialogue>Uncle Charlie is the gambler.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>I paid the application.</dialogue> <scene_description>GRANDMA goes on her knees.</scene_description> <character>GRANDMA</character> <dialogue>Holy Mary, Mother of God.</dialogue> <scene_description>UNCLE CHARLIE opens the envelope with his butter knife. Unfolds the letter. He compels himself to be indifferent.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Dear Mr Maguire. It is a great pleasure to inform you that the Admissions Committee has voted to offer you a place in the Yale Class of 1986.</dialogue> <scene_description>MOM starts leaking tears. UNCLE CHARLIE continues to pretend to not give a shit and that his throat doesn't hurt.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>I am also pleased to notify you that your financial need has been met.</dialogue> <scene_description>UNCLE CHARLIE folds the letter back up.</scene_description> <character>MOM</character> <dialogue>If you're tricking me I'll kill you.</dialogue> <scene_description>UNCLE CHARLIE hands her the letter.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>There you go.</dialogue> <character>JR</character> <dialogue>Should I tell Dad?</dialogue> <scene_description>No answer. UNCLE CHARLIE stares at him with a strange kind of look. Disappointment?</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Yeah why not.</dialogue> <scene_description>He gets up and leaves. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE BACK YARD. LATER THAT WEEK</stage_direction> <scene_description>UNCLE CHARLIE is looking through some of the yale packet materials. MOM and JR are looking at the CATALOG.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>You have to get cracking now. Plato, The Republic, right away. Aeschylus. Antigone, The Birds. Thoreau, Emerson. Gimme that catalog.</dialogue> <scene_description>JR hands it over.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>"The Craft of the Writer". What is this shit, no one can teach writing. You can already write.</dialogue> <character>JR</character> <dialogue>You said my essay was OK.</dialogue> <scene_description>UNCLE CHARLIE glares at him.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>That's only what I said.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>OK, this is what you want. "Directed Studies". Immersion in the canon. Open to a select number of freshmen. Aeschylus, Sophocles, Herodotus, Plato, Aristotle, Thucydides, Virgil, Dante, Shakespeare, Milton, Aquinas, Goethe, Wordsworth, Augustine, Machiavelli, Hobbes, Locke, Rousseau, Tocqueville. There it is, bang.</dialogue> <character>MOM</character> <dialogue>I don't want him biting off too much too soon.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>You want him to be five. Are you gonna let him live? Isn't that the point?</dialogue> <character>MOM</character> <dialogue>OK, fine.</dialogue> <scene_description>She leaves.</scene_description> <character>JR</character> <dialogue>What's good for law.</dialogue> <scene_description>UNCLE CHARLIE looks at him.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Fuck that shit. Do you or do you not read and write all the fucking time. Do you read Blackstone? Are you reading fuckface on Negotiable instruments?</dialogue> <character>JR</character> <dialogue>She needs me to be a lawyer.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>She needs you to pick some appropriate electives.</dialogue> <character>JR</character> <dialogue>What about "Human Learning and Memory"?</dialogue> <character>UNCLE CHARLIE</character> <parenthetical>(absently)</parenthetical> <dialogue>No that's bullshit. Let me go through this.</dialogue> <parenthetical>(seizing and marking up catalog)</parenthetical> <dialogue>Always take a philosophy. You always do well in philosophy because there are no right answers.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>By the way when your mother tries to give you money you're not gonna take it. I'll handle it. ONCE. Did you call your father?</dialogue> <character>JR</character> <dialogue>No.</dialogue> <character>UNCLE CHARLIE</character> </scene> <scene> <stage_direction>EXT. THE HOUSE. DAY</stage_direction> <scene_description>UNCLE CHARLIES CAR is idling, and JR stands at the top of the stoop with MOM.</scene_description> <character>JR</character> <dialogue>I'll come home a lot.</dialogue> <character>MOM</character> <dialogue>This isn't home. This is where you go when you fail.</dialogue> <character>JR</character> <dialogue>No it isn't.</dialogue> <character>MOM</character> <dialogue>Go, JR. Go. Please just go.</dialogue> <scene_description>They hug.</scene_description> <character>JR</character> <dialogue>Listen, Mom, Yale can't fix everything. Maybe it won't fix anything.</dialogue> <scene_description>She just gives him a kiss and says:</scene_description> <character>MOM</character> <dialogue>Go.</dialogue> </scene> <scene> <stage_direction>INT. WRIGHT HALL. VARIOUS</stage_direction> <scene_description>JR is lumping his gear up the creaking staircase of the dilapidated residence hall. It is move-in day, and the place is full of parents, other students. He comes to a 5th floor door, checks the number against his paper: The DOOR is pulled open and an UPPER MIDDLE CLASS COUPLE emerges, and go past him without saying a word, but the Mother looks at him suspiciously. JR musters his courage and goes into the room -and it is just that-a room. Three beds, three desks, three chairs. Another young man returning from the bathroom down the hall, stands beside him. It is BAYARD, a kind of louche prep school kid.</scene_description> <character>BAYARD</character> <dialogue>I was expecting a kinda Brideshead Revisited thing. This is bullshit. I'm Bayard.</dialogue> <character>JR</character> <dialogue>I'm JR.</dialogue> <scene_description>They shake hands.</scene_description> <character>BAYARD'S MOTHER</character> <dialogue>And who is this?</dialogue> <character>JR</character> <dialogue>My name is JR, Ma'am.</dialogue> <character>BAYARD'S MOTHER</character> <dialogue>Are your parents with you?</dialogue> <character>JR</character> <dialogue>I'm kinda flying solo.</dialogue> <scene_description>He goes to the not-taken bed, BAYARD helping, putting the typewriter on the desk. BAYARD'S FATHER. A very self regarding man of the middle management classes. Sitting on the couch. Meanwhile a CHINESE MOTHER AND FATHER are settling their son.</scene_description> <character>BAYARD'S FATHER</character> <dialogue>So what does JR stand for?</dialogue> <scene_description>INTERCUT UNCLE CHARLIE at the backyard table.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Above all know when to give the stick if they start with the social bum sniffing.</dialogue> <character>JR</character> <dialogue>Something proletarian.</dialogue> <character>BAYARD</character> <parenthetical>(sotto voce)</parenthetical> <dialogue>Awesome.</dialogue> <character>BAYARDS FATHER</character> <dialogue>We're on Long Island ourselves. Great Neck. Maybe you and Bayard can socialize on breaks.</dialogue> <scene_description>Socialize?</scene_description> <character>BAYARD'S FATHER</character> <dialogue>And what secondary did you attend?</dialogue> <character>JR</character> <dialogue>Manhassett High School.</dialogue> <scene_description>JR summons his inner Uncle Charlie.</scene_description> <character>JR</character> <dialogue>Where did you go?</dialogue> <character>ROOMMATE'S FATHER</character> <dialogue>Me? Why would you ask where I went?</dialogue> <character>JR</character> <dialogue>Because you seem to think it's important.</dialogue> <scene_description>A long pause.</scene_description> <character>ROOMMATE'S FATHER</character> <dialogue>Bayard went to Andover.</dialogue> <character>JR</character> <dialogue>So he's a legacy from his mother's side?</dialogue> <scene_description>BAYARD'S FATHER, after opening and closing his mouth, decides to do something else. BAYARD discreetly raises a thumb to JR. JR has won his first dogfight but he's not always going to be good at it. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LITERATURE SEMINAR. DAY</stage_direction> <scene_description>PROFESSOR VAN DYKE is wan, tired, hands clutched on table.</scene_description> <character>PROFESSOR VAN DYKE</character> <dialogue>You will be making the acquaintance of Satan, not in your own worst impulses, or among your friends, though you will, in each case, but in Paradise Lost. For the time being, in this class, though I beat against barbarous current, I still teach Western literature, in which everything derives from two epic poems-the Illiad, and the Odyssey. Handily contained, for you, in one book, edited and translated by - me. The Illiad and the Odyssey are the two seedlings, the poyims, three thousand years old, from which all literature grew.</dialogue> <character>BAYARD</character> <dialogue>What's a "poyim"?</dialogue> <character>JR</character> <dialogue>Somebody who's not Jewish.</dialogue> <character>PROFESSOR VAN DYKE</character> <dialogue>The Illiad and the Odyssey are universal: they are stories about going home. You will start by reading half the Illiad, and write me a ten page paper.</dialogue> <character>BAYARD</character> <dialogue>A paper on what?</dialogue> <character>PROFESSOR VAN DYKE</character> <parenthetical>(fiendishly)</parenthetical> <dialogue>The first half of the Illiad.</dialogue> <character>BAYARD</character> <dialogue>But on what subject?</dialogue> <scene_description>CLOSE ON THE PROFESSOR</scene_description> <character>PROFESSOR VAN DYKE</character> <dialogue>The first half of the Illiad.</dialogue> <character>BAYARD</character> <dialogue>He's throwing down.</dialogue> <scene_description>JR is not paying attention, because he has noticed, across the room- SIDNEY, slumped in a barn coat, chewing a pencil, foot cocked in a clog of the period. Imagine the most unattainable woman you ever saw. JR is transfixed.</scene_description> <character>JR</character> <dialogue>Who is that?</dialogue> <character>BAYARD</character> <dialogue>She goes out with Stinky.</dialogue> <character>JR</character> <dialogue>Stinky.</dialogue> <character>BAYARD</character> <dialogue>He's wealthy. His parents got chopped. Various people have fooled around with her when he's laid up after lacrosse injuries.</dialogue> </scene> <scene> <stage_direction>INT. JR'S ROOM. NIGHT</stage_direction> <scene_description>The ILLIAD is there, spine cracked, flat on desk. The OLD SMITH CORONA is humming. JR stares at the BLANK PAGE in the typewriter. He starts typing. He stops. He turns in his desk chair to BAYARD, who is picking his feet. JIMMY, the other roommate, is reading in bed.</scene_description> <character>JR</character> <dialogue>Everything I see is unattainable.</dialogue> <character>BAYARD</character> <dialogue>That's because you are probably a pussy.</dialogue> <character>JR</character> <dialogue>If you are made to read the greatest things ever written, that you couldn't do, and make you feel like shit, how are you supposed to be a writer?</dialogue> <character>JIMMY</character> <dialogue>Socrates says you learn more from a bad book than a good one.</dialogue> <character>JR</character> <dialogue>Aristotle.</dialogue> <scene_description>JIMMY glares, goes back to studying.</scene_description> <character>JR</character> <dialogue>I think.</dialogue> <character>BAYARD</character> <dialogue>If you go to Yale but don't have balls, how are you supposed to be a student at Yale?</dialogue> <character>JR</character> <dialogue>I'm here on a lucky break. It's just a lucky break. I can do Wordy Gurdy but I can't figure out what the fuck they are saying in Henry V.</dialogue> <character>BAYARD</character> <dialogue>Everyone is here on a lucky break, douchebag. I'm lucky sperm club, or ovum, and no one ever noticed I'm an idiot, which is also luck. Everybody's lucky. Jimmy over there is lucky he wasn't a girl and got drowned in a bucket or strangled behind a shed over there in China. Chinese can only have one kid, they want a boy, and Jimmy was as close as his parents could get.</dialogue> <character>JIMMY</character> <dialogue>Fuck you.</dialogue> <character>BAYARD</character> <dialogue>Everybody alive is lucky, and they are descended from the lucky.</dialogue> <character>BAYARD</character> <dialogue>Our ancestors were all either fast, smart, or had really fuckin good immune systems. LUCK, asshole, is why we're all here.</dialogue> <character>JR</character> <dialogue>I never thought of that.</dialogue> <character>BAYARD</character> <dialogue>You believe society's bullshit interpretation of you, and everything else. And that's why you can't write. Not because Homer makes you feel like you suck.</dialogue> <character>JR</character> <dialogue>I'd really like you to meet my Uncle Charlie.</dialogue> <character>BAYARD</character> <dialogue>What's he do?</dialogue> <character>JR</character> <dialogue>He has a bar.</dialogue> <scene_description>BAYARD pays attention.</scene_description> <character>BAYARD</character> <dialogue>I'd really like to meet Uncle Charlie.</dialogue> <character>JIMMY</character> <dialogue>Where is Uncle Charlie?</dialogue> <character>JR</character> <dialogue>I think that to do well at Yale, you have to have a foundation, you have to have roots.</dialogue> <character>BAYARD</character> <dialogue>You have to have balls. When you have luck, run with it.</dialogue> </scene> <scene> <stage_direction>INT. THE DICKENS. DAY</stage_direction> <scene_description>UNCLE CHARLIE is drying a highball glass and watching the Knicks. He turns and sees at the bar, JR, BAYARD, and JIMMY.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>What are you guys doing here.</dialogue> <scene_description>JR holds out a driver's license. UNCLE CHARLIE looks at it.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Jesus Christ. What about these rejects.</dialogue> <scene_description>Inspects LICENSE, and in Jimmy's case a CHINESE PASSPORT.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Welcome to our shores, Jim.</dialogue> <scene_description>Holding JR'S LICENSE he goes and rings the BAR BELL.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Attention! Attention. I would like to announce that according to the laws of the sovereign state of New York, my nephew is a man today. And his friends are also legally men.</dialogue> <character>SOMEONE</character> <dialogue>Then the law is fucked.</dialogue> <character>BOBO</character> <dialogue>The law is the law.</dialogue> <character>JOEY D</character> <dialogue>I guess we have no choice. Let me buy these assholes a drink.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>First one is MINE. MIYEN. After that you guys are backed up on Joey D.</dialogue> <character>JR</character> <dialogue>Wow. I don't know what to have.</dialogue> <character>BAYARD</character> <dialogue>For fuck's sake Maguire.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>I think a Yale man should drink gin.</dialogue> <scene_description>Holding the BOTTLE:</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Big decision, Chief. Whatever you assholes pick now is what I pour when you come through the door. Forever. You have to have a drink. Your drink.</dialogue> <character>BAYARD</character> <dialogue>Gin makes me crazy.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>We'll take care of you. We can handle anything. I make an excellent gin martini. The finest. The secret recipe is you add a few drops of Scotch.</dialogue> <character>JOEY D</character> <dialogue>No, you don't give gin martinis to these children.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>How's it going at Yale?</dialogue> <character>JR</character> <dialogue>I'm not smart enough and my background is wanting.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>You need a martini. You also need a kick in the dick.</dialogue> <character>BAYARD</character> <dialogue>That's what I've been saying, Uncle Charlie. He's being a pussy.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Grave and disturbing news, Bayard.</dialogue> <character>BOBO</character> <dialogue>Bayard?</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Gin martinis.</dialogue> <scene_description>He structures these martinis as a sacrament. Serves them with a twist in ice cold and sweating glasses.</scene_description> <character>JIMMY</character> <dialogue>When I drink I get red and fall down.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>The house isn't far. I'm sure they're gonna love to have you.</dialogue> <character>BAYARD</character> <dialogue>I know some people on Shelter Rock road.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>That's not where the house is.</dialogue> <character>FAST EDDY</character> <dialogue>Get these boys one on me.</dialogue> <character>CHIEF</character> <dialogue>Get them one on me.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Guys you're backed up on Fast Eddy and Chief. Fasten your fuckin' seatbelts.</dialogue> <scene_description>LATER The boys are wasted at a table, sitting with CHIEF.</scene_description> <character>BAYARD</character> <parenthetical>(wasted, to CHIEF)</parenthetical> <dialogue>You went to war?</dialogue> <character>CHIEF</character> <dialogue>'Nam. Second Division, Quang Tri, 67-69. You fuckers will never know such things. All props to the 82nd but ytour little fuckin airdrop on Grenada is not a war.</dialogue> <character>JIMMY</character> <dialogue>We didn't airdrop on Grenada.</dialogue> <character>BAYARD</character> <dialogue>How long were you in the Army?</dialogue> <character>CHIEF</character> <dialogue>One year, seven months, five days.</dialogue> <character>BAYARD</character> <dialogue>And how long were you in Vietnam?</dialogue> <character>CHIEF</character> <dialogue>Eleven months, twelve days.</dialogue> <character>JOEY D</character> <dialogue>Chaz says you're insecure at Yale.</dialogue> <character>JR</character> <dialogue>No, no.</dialogue> <character>JOEY D</character> <dialogue>It's same as prison. Anywhere is same as prison. Find the main guy, who's a problem, and kick his ass. That's it.</dialogue> <scene_description>JOEY D departs.</scene_description> <character>BAYARD</character> <dialogue>Kinda is. Except you're the problem. Are these the guys in your stories?</dialogue> <character>JR</character> <parenthetical>(hunched and furtive)</parenthetical> <dialogue>Yeah.</dialogue> <character>BAYARD</character> <dialogue>Uncle Charlie is your old man basically.</dialogue> <scene_description>JR, oblivious:</scene_description> <character>JR</character> <dialogue>No, he's my uncle Charlie. My old man is in a radio.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. DICKENS. LATER</stage_direction> <scene_description>BAYARD and JIMMY are collapsed unconscious in the snug by the ruins of a card game. WAITRESS collecting glasses. UNCLE CHARLIE locks the bar and switches off the front lights. He comes back behind the bar and his movement reveals JR. JR is slumped on the bar with an empty glass in front of him.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Sambuca?</dialogue> <scene_description>Speechless assent from JR who is failing to light a cigarette.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Your insecurity.</dialogue> <parenthetical>(pouring)</parenthetical> <dialogue>Your problem is, you started with a seven-two, two different suits.</dialogue> <parenthetical>(incomprehension from JR)</parenthetical> <dialogue>A seven and a two, different suits, worst poker hand possible. Who's nephew are you. You had a bad hand. Your friend Bayard over there owns the casino.</dialogue> <character>JR</character> <dialogue>I'm just a fish out of water.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>The first rule is if someone is an asshole, and puts you down, never take it seriously. If somebody makes a big thing about social position, it means they don't have it. They're nervous.</dialogue> <character>JR</character> <dialogue>Like Bayard's father! I asked him where he went to high school because of the way he asked me, and he like shit himself. I said it the way you would have. Sssh. Bayard knows his old man's a dick, though.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Perfect riposte. If people are making you nervous, trying to make you nervous, ever wonder if it's possible you make them nervous? Ever wonder what a legacy at Yale really feels, deep down? When they see a man like you? Good looking kid, threat to their women, their positions, no advantages, seven- two, there on ability only?</dialogue> <scene_description>JR is briefly intrigued by that.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>A seven and two, as the worst hand in poker, is almost impossible to recover from. But what cards do you play? If you're dealt the seven and two?</dialogue> <character>JR</character> <dialogue>The seven and two.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>The idea of social classes is for unmarried women, closet drinkers, with lots of cats. They buy those books about being ravished by noblemen. Scott Fitzgerald was kind of a cat lady in his own way, he believed all kinds of shit. Anyway.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>If I see you down at the mouth again because someone with the name of like a fuckin Labrador Retriever like Tucker or Tad or Kai made you made you feel like shit because your mother is a medical secretary, I'm going to throw you out of the fuckin bar.</dialogue> <character>JR</character> <dialogue>Throw me out of the bar?</dialogue> <character>UNCLE CHARLIE</character> <dialogue>I'll 86 you. Like that. What do you have to read this weekend.</dialogue> <character>JR</character> <parenthetical>(banging head on bar)</parenthetical> <dialogue>Aquinas. Jesus Christ.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Aquinas, if you accept his initial proposition, is a Scholastic progression of the self evident. What's your problem.</dialogue> <character>JR</character> <dialogue>I don't wanna.</dialogue> <character>UNCLE CHARLIE</character> <parenthetical>(grabs JR by the collar)</parenthetical> <dialogue>You get into Yale on a seven and two and you "don't wanna"?</dialogue> <scene_description>JR stares at him.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>That's when you bet everything. When you got nothing.</dialogue> <scene_description>He takes away JR's drink.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>You guys are not going to the house. Stay here. Make coffee.</dialogue> <scene_description>Throws a book at JR. ORWELL, THE ROAD TO WIGAN PIER</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Read Orwell on the lower upper middle classes. They're the ones that suck. The sooner you realize that you can operate in America. If you also have a car.</dialogue> </scene> <scene> <stage_direction>EXT. A HOUSE PARTY. NEW HAVEN. NIGHT</stage_direction> <scene_description>JR and BAYARD are standing on the sidewalk finishing either or nine beers. They are finishing them by shotgunning them.</scene_description> <character>BAYARD</character> <dialogue>I just can't believe we got to sleep in a bar, that was awesome. Uncle Charlie is excellent.</dialogue> <character>JR</character> <dialogue>He likes you. He thinks I'm a dick. And a pussy.</dialogue> <character>BAYARD</character> <dialogue>No, he thinks you're in danger of being a dick and a pussy. Two different things. So are a dick and a pussy.</dialogue> <character>JR</character> <dialogue>I'm not pretending I'm inadequate. I am inadequate. I'm unequal..I don't understand Henry the Fifth Part one. I don't know what they are saying.</dialogue> <character>BAYARD</character> <dialogue>Don't be a fucking knucklehead. Watch the movies until you can understand it. Read it aloud.</dialogue> <scene_description>JR looks at him as if he is an oracle. BAYARD leads the way on towards into the party. Then he stops: SIDNEY is there. The GIRL FROM CLASS. SIDNEY is beautiful, an undergrad, and for college well dressed: cashmere, leather coat. She is leaving the party out of disinterest.</scene_description> <character>BAYARD</character> <dialogue>Sidney! How are you. Is Stinky inside?</dialogue> <character>SIDNEY</character> <dialogue>I don't know where Alex is. I don't see much of him.</dialogue> <scene_description>For BAYARD, open mouthed, this is Opportunity knocking...he Starts to say something.. but SIDNEY has turned civilly to JR. JR is in the depths of thinking he is a dick and a pussy who can't understand Shakespeare...but he rallies, and extends his hand. JR.:</scene_description> <character>SIDNEY</character> <dialogue>Sidney.</dialogue> <scene_description>He takes her hand.</scene_description> <character>JR</character> <parenthetical>(voice too high)</parenthetical> <dialogue>You're in my...</dialogue> <scene_description>Sidney nods.</scene_description> <character>SIDNEY</character> <dialogue>Class.</dialogue> <character>JR</character> <dialogue>Oh, that's what we were talking about.</dialogue> <character>SIDNEY</character> <dialogue>That you're in my class?</dialogue> <scene_description>He freezes. Unable to convert on the double meaning thing, especially since she seems to be adding a triple meaning.</scene_description> <character>JR</character> <dialogue>It's weird that you know who I am.</dialogue> <character>SIDNEY</character> <dialogue>What's wrong with you.</dialogue> <character>JR</character> <dialogue>Not so good in there? The party.</dialogue> <scene_description>She shakes her head. Looking at him steadily and politely.</scene_description> <character>SIDNEY</character> <dialogue>No.</dialogue> <character>JR</character> <parenthetical>(out of some internal resource he did not know he had)</parenthetical> <dialogue>I'll walk you home.</dialogue> <scene_description>BAYARD'S what the fuck expression is priceless. She nods. BAYARD looks on with horror. JR and SIDNEY gain the sidewalk and head off. BAYARD sits on the steps of the party house, knifes open a Bud and shotguns it. JIMMY joins him.</scene_description> <character>JIMMY</character> <dialogue>Where's JR.</dialogue> <character>BAYARD</character> <dialogue>I think he's going to date Sidney.</dialogue> <scene_description>JIMMY can't process this.</scene_description> <character>JIMMY</character> <dialogue>No, he feels too inadequate.</dialogue> <character>BAYARD</character> <dialogue>Yeah but they stop you from feeling inadequate. Until they want you to feel inadequate.</dialogue> </scene> <scene> <stage_direction>EXT. NEW HAVEN. LATER</stage_direction> <scene_description>They are walking past a line of student tenements. All drinking porches and chained bicycles.</scene_description> <character>SIDNEY</character> <dialogue>So what does JR stand for?</dialogue> <character>JR</character> <dialogue>That's a complicated thing, a complicated thing. I'll tell you when I know you better?</dialogue> <character>SIDNEY</character> <parenthetical>(taking his arm)</parenthetical> <dialogue>Is there some trauma?</dialogue> <scene_description>JR thinks about that. Then emphatically:</scene_description> <character>JR</character> <dialogue>Yes.</dialogue> <character>SIDNEY</character> <dialogue>Father-based?</dialogue> <scene_description>He stares at her, stunned.</scene_description> <character>JR</character> <dialogue>I'm named after my father but I've only seen him a couple of times, but he was always on the radio in New York, he's Johnny Ace, or Johnny Michaels on the radio...And my name kinda means "Junior", but junior to what?</dialogue> <character>SIDNEY</character> <dialogue>Are you in search for your father? Obsessed in any way?</dialogue> <character>JR</character> <dialogue>No, of course not.</dialogue> <character>SIDNEY</character> <dialogue>This is me.</dialogue> <scene_description>She means the apartment house they stand in front of. As he fumbles with cigarettes and remembering to offer her one (which she takes):</scene_description> <character>JR</character> <dialogue>Asking details about people is all wrong. I've frequently made that mistake. Excuse me if I haven't asked enough questions. People have been asking me to stop.</dialogue> <character>SIDNEY</character> <dialogue>It's ill-bred to ask a lot of questions... but it's all right to ask some.</dialogue> <character>JR</character> <dialogue>Yeah but everybody tells me to calm down.</dialogue> <scene_description>She directs him to sit on the stoop, and then sits beside him.</scene_description> <character>SIDNEY</character> <dialogue>Feeling NOCD?</dialogue> <character>JR</character> <dialogue>What's that?</dialogue> <character>SIDNEY</character> <dialogue>Not our class, Darling.</dialogue> <character>JR</character> <dialogue>How am I doing?</dialogue> <character>SIDNEY</character> <parenthetical>(smoking, and casually, not looking at him)</parenthetical> <dialogue>Good.</dialogue> <character>SIDNEY</character> <dialogue>Good questions are ok. Such as do you fear and hate the absent father or do you long for him and his guidance?</dialogue> <character>JR</character> <dialogue>Both?</dialogue> <character>SIDNEY</character> <dialogue>If you have a real father complex, that's kind of a red flag. Women with father complexes tend to eat a lot. But men get really fucked up. if your father leaves you you very often become famous.</dialogue> <scene_description>REALLY.:</scene_description> <character>SIDNEY</character> <dialogue>He isn't god.</dialogue> <character>JR</character> <dialogue>There was one time he didn't take me to a...</dialogue> <scene_description>He looks down at the stoop, remembers another stoop.</scene_description> <character>JR</character> <dialogue>A baseball game.</dialogue> <scene_description>They look at each other.</scene_description> <character>SIDNEY</character> <dialogue>Do you want to study together tomorrow?</dialogue> <scene_description>He nods. OK.:</scene_description> <character>SIDNEY</character> <dialogue>Here.</dialogue> <parenthetical>(she stands up)</parenthetical> <dialogue>I'll make dinner.</dialogue> <scene_description>OK.: She goes off and into her house. He stands there long enough to see a light come on in the second floor.</scene_description> <character>JR</character> <dialogue>Sevens and twos.</dialogue> </scene> <scene> <stage_direction>EXT. THE HOUSE. DAY</stage_direction> <scene_description>ESTABLISH.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN. DAY</stage_direction> <scene_description>MOM is looking at JR with rapture and love. He is uncomfortable.</scene_description> <character>MOM</character> <dialogue>You think you're in love.</dialogue> <character>JR</character> <dialogue>Yes. I think I'm in love.</dialogue> <character>MOM</character> <dialogue>She's a lucky girl.</dialogue> <character>JR</character> <dialogue>I don't know about that.</dialogue> <character>MOM</character> <dialogue>Are you being careful?</dialogue> <character>JR</character> <dialogue>Jesus! Mom! Fuck. She's clever. She's perceptive.</dialogue> <character>MOM</character> <dialogue>About what?</dialogue> <character>JR</character> <dialogue>...Never mind.</dialogue> <character>MOM</character> <dialogue>She's rich?</dialogue> <character>JR</character> <dialogue>Probably lower upper middle class.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>That's my boy.</dialogue> <character>MOM</character> <dialogue>I don't know what that means. Lower middle upper...</dialogue> <character>UNCLE CHARLIE</character> <dialogue>It means the people you think are rich. Nobody sees the actual rich. They fuckin hide so nobody kills them.</dialogue> <scene_description>He leaves the kitchen.</scene_description> <character>JR</character> <dialogue>With Uncle Charlie gone, I can tell you. I feel like Sidney is so up here. And I'm so down here.</dialogue> <character>MOM</character> <dialogue>You have so much to offer.</dialogue> <character>JR</character> <dialogue>No money, no clue what I want to do.</dialogue> <scene_description>MOM looks troubled.</scene_description> <character>JR</character> <dialogue>I mean, besides being a lawyer and suing my father...</dialogue> <character>MOM</character> <dialogue>That's not why I want you to be a lawyer. That would be pathological. JR, it's not the worst thing if the man puts a woman on a slight pedestal.</dialogue> <character>UNCLE CHARLIE (O.S.)</character> <dialogue>SLIGHT.</dialogue> <character>MOM</character> <dialogue>Falling in love is a blessing. Try to enjoy it.</dialogue> <character>JR</character> <dialogue>What if I get my heart broken? Like sitting on the steps waiting for dad.</dialogue> <character>UNCLE CHARLIE (O.S.)</character> <dialogue>Talk about pathological.</dialogue> <character>MOM</character> <dialogue>Shut up, Charlie!</dialogue> <scene_description>UNCLE CHARLIE is in an armchair, coffee, tabloid, cigarette, underwear.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Leave him alone! Let him sink or swim. Jesus!</dialogue> <scene_description>He gets up and goes.</scene_description> <character>MOM</character> <dialogue>If you get your heart broken, you'll live.</dialogue> <character>JR</character> <dialogue>I have to ask your permission for something.</dialogue> <scene_description>MOM, ready to have her heart broken:</scene_description> <character>MOM</character> <dialogue>What?</dialogue> <scene_description>JR glances over at a tiny, crappy, NATIVITY SCENE. He looks back at his mother.</scene_description> <character>JR</character> <dialogue>I need to go to Sidney's for Christmas.</dialogue> </scene> <scene> <stage_direction>INT. THE DICKENS. DAY</stage_direction> <scene_description>No customers. It is decorated for Christmas. JR is reading Freud's TOTEM AND TABOO.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Oh Jesus.</dialogue> <character>JR</character> <dialogue>What?</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Do not forever seek thy father in the dust.</dialogue> <scene_description>Hiding book:</scene_description> <character>JR</character> <dialogue>Don't be ridiculous.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>So. How many dates before you scored.</dialogue> <scene_description>INTERCUT: SIDNEY'S APARTMENT STUDY SESSION. She whips off her sweater, revealing white bra: REVERSE ON JR staring wide-eyed.</scene_description> <character>JR</character> <dialogue>It's not basketball.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>It's more like a Bobby Orr breakaway if your description of the girl is accurate.</dialogue> <character>JR</character> <dialogue>I can't talk about things like these guys in here do.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>You tell your mother you're away for Christmas?</dialogue> <character>JR</character> <dialogue>What are you, psychic?</dialogue> <character>UNCLE CHARLIE</character> <parenthetical>(not looking at him)</parenthetical> <dialogue>What did she say?</dialogue> <character>JR</character> <dialogue>She wants me to be happy... She likes that I'm in love.</dialogue> <character>UNCLE CHARLIE</character> <parenthetical>(still not looking at him)</parenthetical> <dialogue>OK. You're gonna miss your train.</dialogue> <scene_description>JR heads.</scene_description> <character>JR</character> <dialogue>OK, tell me.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>When you meet her family, ask yourself what they really think about someone who ditches his mother on Christmas. You can fix it next year. I want you to get laid while it's happening. But for now remember this:</dialogue> <character>JR</character> <dialogue>What?</dialogue> <character>UNCLE CHARLIE</character> <dialogue>If someone is worth your time, they're there. You don't have to chase them.</dialogue> <parenthetical>(somberly)</parenthetical> <dialogue>Remember that.</dialogue> <scene_description>JR processes this.</scene_description> <character>JR</character> <dialogue>Merry Christmas.</dialogue> <scene_description>He goes. OUTSIDE, he feels in his coat, finds his PINT, to check if it's there, puts it back. Our JR may have a problem.</scene_description> </scene> <scene> <stage_direction>INT. METRO NORTH TRAIN CAR. NIGHT</stage_direction> <scene_description>JR gets a seat, and Jesus Christ, sure enough, THE PRIEST is a few cars down, and waves at him. He sits down and hunches, hoping not to have another quasi-metaphysical run in.</scene_description> <character>THE PRIEST</character> <dialogue>It's almost like you made me up!</dialogue> <scene_description>JR hunches.</scene_description> </scene> <scene> <stage_direction>EXT. METRO NORTH STATION. WESTPORT. NIGHT (SNOWING)</stage_direction> <scene_description>As the train pulls in, JR standing in the door the way you used to be able to, SIDNEY is visible on the platform, hair and eyelashes sprinkled with snow. This is full Love Story shit. They kiss, look at each other, and she takes his hand and runs with him to... A VOLVO station car. JR looks at the Volvo, and around the high end station and town. He looks back at SIDNEY. As the TRAIN pulls out we see the PRIEST staring interestedly and a bit beadily out the window at the young couple. What?</scene_description> <character>SIDNEY</character> <dialogue>What?</dialogue> <character>JR</character> <dialogue>It's Christmas, in Connecticut, with a Volvo, with you.</dialogue> </scene> <scene> <stage_direction>INT. THE CAR. CONTINUOUS</stage_direction> <scene_description>SIDNEY is behind the wheel.</scene_description> <character>SIDNEY</character> <dialogue>I'll never train you out of it, will I.</dialogue> <character>JR</character> <dialogue>Train me out of what?</dialogue> <character>SIDNEY</character> <dialogue>Thinking things are more than they are.</dialogue> <character>JR</character> <dialogue>Do you mean, what, us, my Scott Fitzgerald credulity about the class system, that I can't really get trained out of, or do you mind that I'm happy and think that I shouldn't be?</dialogue> <character>SIDNEY</character> <dialogue>If you're going to read into things, trouble, read better.</dialogue> <scene_description>She drives.</scene_description> <character>SIDNEY</character> <dialogue>What I'm saying is that you're just going somewhere for Christmas. That's all it is.</dialogue> <character>JR</character> <dialogue>But I never have before. The shit I haven't done is amazing. I haven't done anything.</dialogue> <scene_description>She looks at him, drives.</scene_description> <character>SIDNEY</character> <dialogue>My parents have a few bucks. It's not like being presented at court. It's not Brideshead. It's not a novel.</dialogue> <character>JR</character> <dialogue>OK, I'm just...</dialogue> <scene_description>He reaches for his pint, decides against it.</scene_description> <character>SIDNEY</character> <dialogue>JR?</dialogue> <scene_description>He looks at her. And she is so delicate, so beautiful, so Hepburn, so above him....</scene_description> <character>SIDNEY</character> <dialogue>Do you mind if we pull over and fuck in the snowy woods like wild animals?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SIDNEY'S PARENT'S HOUSE. NIGHT</stage_direction> <scene_description>Only the tree is lighted. She takes him up the stairs by the hand.</scene_description> <character>JR</character> <dialogue>Is it your room or a guest room?</dialogue> <character>SIDNEY</character> <dialogue>You have a room. Whatever it is, they don't MIND.</dialogue> <character>JR</character> <parenthetical>(not sober and being lower middle class instead of lower upper middle)</parenthetical> <dialogue>If I were a father I would mind.</dialogue> <character>SIDNEY</character> <dialogue>How do you think he got to be a father? Bonking some drunk chick in a guest room like everybody else.</dialogue> <character>JR</character> <dialogue>Oh.</dialogue> <scene_description>They get into the room and SIDNEY immediately starts throwing her clothes away, unhooking her bra. JR has disturbed an elderly Labrador who rises, tail beating, from a tartan dog bed. By the time he turns around, SIDNEY has whipped into the bed. He keeps taking his clothes off, and gets in under the covers, the happy dog still after him. She switches off the light.</scene_description> <character>SIDNEY</character> <dialogue>The woods wasn't enough like animals. Try this.</dialogue> <scene_description>As she rolls onto him, we CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THE NEXT ROOM OVER. MOMENTS LATER</stage_direction> <scene_description>SIDNEY'S DAD, in full pajamas and bathrobe rig-out, responds to the sound of wild fucking by glancing over at his sleeping wife, and then grimly closing his civil war history and turning off his own light.</scene_description> </scene> <scene> <stage_direction>INT. THE GUEST BEDROOM. MORNING</stage_direction> <scene_description>SIDNEY, in soft focus, holding a steaming mug of coffee.</scene_description> <character>SIDNEY</character> <dialogue>Morning, sport.</dialogue> <scene_description>He takes the cup away and tries to get her into bed.</scene_description> <character>SIDNEY</character> <dialogue>My parents!</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>They've already heard you. They want to meet you.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>I think I should take you to the train.</dialogue> <character>JR</character> <dialogue>Why?</dialogue> <character>SIDNEY</character> <dialogue>It's very complicated. I'm feeling weird.</dialogue> <scene_description>She looks around at him.</scene_description> <character>SIDNEY</character> <dialogue>I'm sorry I brought you for Christmas. I think I'm seeing someone else.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BREAKFAST ROOM. LATER</stage_direction> <scene_description>An actual "morning room" with an actual breakfast in chafing dishes on a sideboard. JR looks at it all, stunned. He is already shattered, holding his bag.</scene_description> <character>SIDNEY'S DAD</character> <dialogue>Call me Phil. Tuck in, no ceremony here.</dialogue> <scene_description>SIDNEY'S MOTHER seems to think that this is an idiotic thing to say, but just sets her teeth.</scene_description> <character>SIDNEY'S MOM</character> <dialogue>Since you can call him Phil, I suppose you can call me Mrs. Lawson.</dialogue> <scene_description>JR double takes on this. He waits for Sidney's Mom to make a joke, but she doesn't.</scene_description> <character>JR</character> <dialogue>I'm sorry, I thought there was another part.</dialogue> <parenthetical>(a stare)</parenthetical> <dialogue>To what you were going to say.</dialogue> <character>SIDNEY'S MOM</character> <dialogue>...No.</dialogue> <scene_description>SIDNEY delivers JR coffee, and, haphazardly, a plate with a muffin on it.</scene_description> <character>SIDNEY'S MOM</character> <dialogue>Let's get to know each other. We are the Lawsons. We are passionate about Italian opera, hothouse orchids, and cross-country skiing. Those things, and only those things.</dialogue> <character>SIDNEY'S DAD</character> <parenthetical>(reading the TIMES)</parenthetical> <dialogue>Nonsense.</dialogue> <character>SIDNEY'S MOM</character> <dialogue>Do you have any questions about those things?</dialogue> <scene_description>JR looks at SIDNEY. SIDNEY is oblivious, attacking a muffin.</scene_description> <character>JR</character> <dialogue>I understand from Sidney that you are both architects.</dialogue> <character>SIDNEY'S MOM</character> <dialogue>Some people build houses. We build dwellings.</dialogue> <character>JR</character> <dialogue>What's the difference except the word?</dialogue> <scene_description>DAD lowers the paper and eyeballs JR.</scene_description> <character>JR</character> <dialogue>I mean I just failed an English exam, but a dwelling is a house, unless it's a cave, and a house is a dwelling.</dialogue> <character>SIDNEY</character> <dialogue>They also run the magazine "Dwelling".</dialogue> <character>JR</character> <dialogue>What?</dialogue> <character>SIDNEY</character> <dialogue>A magazine called Dwelling.</dialogue> <character>JR</character> <dialogue>Ah, some people don't "dwell". They just fart in houses? And live in them. Without having lists of enthusiasms?</dialogue> <character>SIDNEY'S MOM</character> <dialogue>I don't think you should dwell on it.</dialogue> <character>JR</character> <dialogue>No.</dialogue> <character>SIDNEY'S MOM</character> <dialogue>I understand you have an absconded father who is nothing more to you than a voice on the radio.</dialogue> <scene_description>JR looks at SIDNEY. SIDNEY shrugs.</scene_description> <character>JR</character> <dialogue>In effect, yes.</dialogue> <character>SIDNEY'S MOM</character> <dialogue>Are you in psychotherapy? I should think you would be.</dialogue> <character>SIDNEY'S DAD</character> <dialogue>What does your mother do, JR?</dialogue> <scene_description>JR pulls out his pint and pours into his coffee.</scene_description> <character>JR</character> <dialogue>She dwells in Manhassett. In a house. She's a secretary. She lives with her parents, who are kinda nuts.</dialogue> <character>JR</character> <dialogue>One of the things she always liked to do was drive around and look at houses like this and wonder what life is like in them. Now I can tell her.</dialogue> <scene_description>A GORGON stare from SIDNEY'S MOM.</scene_description> <character>SIDNEY'S MOM</character> <dialogue>Please go ahead.</dialogue> <character>SIDNEY'S DAD</character> <dialogue>What do you study?</dialogue> <scene_description>JR hits on the right answer.</scene_description> <character>JR</character> <dialogue>People. I think I've always studied people. And this is great.</dialogue> <character>SIDNEY</character> <dialogue>JR is a writer.</dialogue> <character>SIDNEY'S DAD</character> <dialogue>I mean at Yale.</dialogue> <character>JR</character> <dialogue>Ah, the usual fuckin' bullshit. My mother wants me to be a lawyer.</dialogue> <character>SIDNEY'S MOM</character> <dialogue>She sounds like a very intelligent woman, if a trifle optimistic.</dialogue> <scene_description>UNCLE CHARLIE appears above one of JR'S SHOULDERS.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Tell her to fuck herself.</dialogue> <character>JR</character> <dialogue>Is there a taxi service?</dialogue> </scene> <scene> <stage_direction>INT. TAXI. LATER</stage_direction> <scene_description>JR is in the taxi, clutching his bag on his lap, ignoring SIDNEY, who has had a change of heart, and is trotting alongside the car streaming tears.</scene_description> <character>DRIVER</character> <dialogue>What's all that about?</dialogue> <character>JR</character> <dialogue>What that's about is--Jesus, I don't know. About twenty minutes ago she said she was seeing someone else.</dialogue> <character>DRIVER</character> <dialogue>Psychos do that as a test.</dialogue> <character>JR</character> <dialogue>Don't stop or anything, we gotta go.</dialogue> <scene_description>Looks back through rear view mirror and SIDNEY is now giving him the finger and walking back into the house. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SIDNEY'S APARTMENT. DAY</stage_direction> <scene_description>We don't need to get to far in on it but in another part of the apartment a headboard is banging. JR and SIDNEY fall apart from each other.</scene_description> <character>JR</character> <dialogue>You really had me going.</dialogue> <character>SIDNEY</character> <dialogue>About what.</dialogue> <character>JR</character> <dialogue>I mean, I had a whole half year, year and a half, of, well, hell, frankly.</dialogue> <character>SIDNEY</character> <dialogue>About me?</dialogue> <character>JR</character> <dialogue>Yes.</dialogue> <character>SIDNEY</character> <dialogue>What do you want from me?</dialogue> <scene_description>He can't say, but she knows it.</scene_description> <character>JR</character> <dialogue>Well, we're seniors.</dialogue> <character>SIDNEY</character> <dialogue>I'm getting agita.</dialogue> <scene_description>She goes into the bathroom, water splashes, she comes out getting dressed.</scene_description> <character>JR</character> <dialogue>Is agita the root of agitation?</dialogue> <character>SIDNEY</character> <dialogue>No. Men who want things are. I need fresh air, Trouble. We have to sign up for classes.</dialogue> <scene_description>She looks around at him.</scene_description> <character>SIDNEY</character> <dialogue>Yale, life, remember?</dialogue> <character>JR</character> <parenthetical>(while dressing)</parenthetical> <dialogue>I think you think I want something I'm not thinking. Unless you want me to think it. That doesn't imply neutrality!</dialogue> <scene_description>She puts her coat on and turns and looks at him. As if it just occurred to her:</scene_description> <character>SIDNEY</character> <dialogue>I'm seeing someone.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. METRO NORTH TRAIN CAR. DAY</stage_direction> <scene_description>JR is slumped in his seat, possibly not sober, a NOTEBOOK open, a regular composition book, and he is scribbling in it. THE PRIEST is staring at him.</scene_description> <character>JR</character> <dialogue>What?</dialogue> <character>PRIEST</character> <dialogue>Have you ever thought much about the existence of angels?</dialogue> <character>JR</character> <dialogue>No.</dialogue> <character>PRIEST</character> <dialogue>To you an angel would be subject matter. Something good.</dialogue> <character>JR</character> <dialogue>It would be.</dialogue> <character>PRIEST</character> <dialogue>What subject matter have you had?</dialogue> <character>JR</character> <dialogue>Yale. My father.</dialogue> <character>PRIEST</character> <dialogue>You want reconciliation with him. He will admire and appreciate you.</dialogue> <character>JR</character> <dialogue>Yeah there's that. It's not pathological or anything. My mom. Her struggles. The bar.</dialogue> <character>PRIEST</character> <dialogue>The bar?</dialogue> <character>JR</character> <dialogue>I was raised in a bar.</dialogue> <character>PRIEST</character> <dialogue>Are you any good at writing? I fear that sometimes the question is too little asked.</dialogue> <character>JR</character> <dialogue>I don't know. I have stuff in the Yale paper.</dialogue> <character>PRIEST</character> <dialogue>A lot of people don't.</dialogue> <character>JR</character> <dialogue>A lot of people do.</dialogue> <character>PRIEST</character> <dialogue>I always love to see you on this train. What's your main trouble?</dialogue> <character>JR</character> <dialogue>I'm a poor boy who wants a rich girl.</dialogue> <character>PRIEST</character> <dialogue>That's been done.</dialogue> <scene_description>JR thinks about that very carefully.</scene_description> <character>JR</character> <dialogue>She's not really rich. She's lower upper middle.</dialogue> <character>PRIEST</character> <dialogue>Well you never see the real rich. They're invisible. Do you have plans in your head to make something of yourself and go and sweep her away?</dialogue> <character>JR</character> <parenthetical>(cautiously)</parenthetical> <dialogue>Maybe.</dialogue> <character>PRIEST</character> <dialogue>If she loved you she'd take you poor. Heard it here first.</dialogue> <character>JR</character> <dialogue>No, I've heard it from someone else. Also the Gatsby thing.</dialogue> <character>PRIEST</character> <dialogue>What's your real theme? Since it isn't really that one.</dialogue> <character>JR</character> <dialogue>The absent father. You know that one?</dialogue> <character>PRIEST</character> <dialogue>How else do you think people become priests?</dialogue> <parenthetical>(JR stares.)</parenthetical> <dialogue>You either want to worship him or kill him. You have to decide. It's very similar to deus absconditus.</dialogue> <character>JR</character> <dialogue>I don't know any Latin.</dialogue> <character>PRIEST</character> <dialogue>Learn.</dialogue> <scene_description>PRIEST goes back to his paper.</scene_description> </scene> <scene> <stage_direction>INT. THE DICKENS. DAY</stage_direction> <scene_description>JR gets onto the stool.</scene_description> <character>JR</character> <dialogue>I'm off gin. How about Scotch?</dialogue> <character>UNCLE CHARLIE</character> <dialogue>You can't change your drink.</dialogue> <character>JR</character> <dialogue>No, that's not right. People get to decide.</dialogue> <scene_description>UNCLE CHARLIE looks unclear on that.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>I've heard of it.</dialogue> <scene_description>Pours Scotch. JR is despondent.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>OK what the fuck is wrong with you. I hope it's something new.</dialogue> <character>JR</character> <dialogue>Girl trouble! OK?</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Lay it on me.</dialogue> <character>JR</character> <dialogue>We get back together, for months, it's great, and then she says she has agita and throws me out.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>The word agita is used for digestive upset but I know what you mean. You got on her nerves!</dialogue> <character>JR</character> <dialogue>No! Maybe!</dialogue> <character>BOBO</character> <dialogue>Hey, punk, how goes the war.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>His girlfriend has agita.</dialogue> <parenthetical>(BOBO blanks)</parenthetical> <dialogue>They have it at Yale.</dialogue> <character>JR</character> <dialogue>She knew, atmospherically, that I was going to ask her to marry me...</dialogue> <scene_description>UNCLE CHARLIE turns wide-eyed.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>And live at your grandfather's?</dialogue> <character>JR</character> <dialogue>Oh come on.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Does she have money?</dialogue> <character>JR</character> <dialogue>Not in a money sense. They have display of money. Lower upper middle. I would say dentist money.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Pot to piss in. Have one. What did I tell you. No pot to piss in, no car, no girls for you.</dialogue> <character>BOBO</character> <dialogue>Broads come, broads go, they all have angina.</dialogue> <scene_description>BAYARD rolls in.</scene_description> <character>BAYARD</character> <dialogue>About nine people said you were going to kill yourself so here I am because I have a car.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Unlike some.</dialogue> <character>CHIEF</character> <dialogue>Gotta have a car, man. Minimum.</dialogue> <character>BOBO</character> <dialogue>They can't even ever see you walking, except into a store or something. Nobody. Not in America. That's why the guys who exercise wear weird uniforms so no one thinks they just don't have a car.</dialogue> <character>BAYARD</character> <dialogue>I have keys to my brother's place. He's in Finland. Let's get hammered.</dialogue> </scene> <scene> <stage_direction>EXT. A PORCH OR TERRACE, GREAT NECK. NIGHT</stage_direction> <scene_description>If it's not a bit think, across the water from Great Neck winks a green light. JR is staring at this green dock light and drinking. Heavily, and thinking heavy thoughts.</scene_description> <character>BAYARD</character> <dialogue>She gets agita, whatever that is...</dialogue> <character>JR</character> <dialogue>It's Yiddish for nerves...</dialogue> <character>BAYARD</character> <dialogue>And she needs TIME, and her SPACE, and all that, right? So I have a question.</dialogue> <scene_description>JR turns and looks at him.</scene_description> <character>BAYARD</character> <dialogue>What do you need?</dialogue> <scene_description>JR stares.</scene_description> <character>BAYARD</character> <dialogue>I'm not a genius, it's an obvious question.</dialogue> <character>JR</character> <dialogue>What do I want? I want to be a writer, it's clear enough that a guy on the train is pretending to be a character, but I suck.</dialogue> <character>BAYARD</character> <dialogue>If you suck at writing, that's when you become a journalist.</dialogue> <scene_description>JR drinks.</scene_description> <character>JR</character> <dialogue>I'm NOT going to law school.</dialogue> <character>BAYARD</character> <dialogue>Neither am I.</dialogue> <character>JR</character> <dialogue>You're not the only son of a needy single mother.</dialogue> <character>BAYARD</character> <dialogue>Your mom wants you happy?</dialogue> <scene_description>This hits JR hard.</scene_description> <character>JR</character> <dialogue>Yeah she does. Neither of us...know how. And nobody really thinks they should be. Because that's the way it is. In the lower, lower middle classes, when your father is an fucking asshole...</dialogue> <scene_description>JR starts to lose it.</scene_description> <character>JR</character> <dialogue>And leaves a mother, and a kid, and is just a voice on the fucking radio.</dialogue> <character>BAYARD</character> <dialogue>Hey cool it brother this is not Primal Scream time. Let's get wasted and then go back and get graduated.</dialogue> <character>JR</character> <dialogue>All right.</dialogue> </scene> <scene> <stage_direction>INT. THE ROOM AT WEBSTER HALL. DAY</stage_direction> <scene_description>JR, bags packed, stands at the window looking out at the campus. And he sees: SIDNEY, walking away past the oak where he used to sit. NOT meeting a guy, just off and away. Finis. Simple as that. JR turns into the room, and lies on the stripped bed. The ROOM PHONE rings, and he answers it:</scene_description> <character>JR</character> <parenthetical>(apprehensively)</parenthetical> <dialogue>Hello?</dialogue> <scene_description>THE VOICE. HEYYYYY.: (a big, deep, 70's radio HEY) It's your old man, remember me? CLOSE ON JR</scene_description> <character>JR</character> <dialogue>Hi Dad.</dialogue> <character>THE VOICE</character> <dialogue>I couldn't make it, as you know.</dialogue> <scene_description>JR has no reaction to this. He listens.</scene_description> <character>THE VOICE</character> <dialogue>No surprise. We'll have a visit soon, a good visit, and I want you to know...</dialogue> <scene_description>What?</scene_description> <character>THE VOICE</character> <dialogue>...that I've stopped drinking and I've been here and there, ha ha ha, apologizing to people...</dialogue> <scene_description>JR waits, pathetically.</scene_description> <character>THE VOICE</character> <dialogue>And you made the list!</dialogue> <character>JR</character> <dialogue>Wow.</dialogue> <character>THE VOICE</character> <dialogue>Don't fuck with me. So lets catch up soon. Glad you made it, I was worried. College isn't for everybody.</dialogue> <character>JR</character> <dialogue>It was for Mom, but you got her pregnant in it.</dialogue> <scene_description>Silence.</scene_description> <character>THE VOICE</character> <dialogue>We all have to paddle our own canoe. I think your mother has you paddling hers a little bit?</dialogue> <character>JR</character> <dialogue>Maybe.</dialogue> <character>THE VOICE</character> <dialogue>Maybe. OK, I'm on air in 15 and change, I gotta run.</dialogue> <character>JR</character> <dialogue>Where are you?</dialogue> <scene_description>Click. Dial tone. JR lies back on his stripped mattress. He looks over at his bags by the door. He closes his eyes and remembers:</scene_description> </scene> <scene> <stage_direction>INT. SIDNEY'S APARTMENT. DAY (THE PAST)</stage_direction> <scene_description>SIDNEY is tracing his chest hair.</scene_description> <character>SIDNEY</character> <dialogue>What are your stories about?</dialogue> <character>JR</character> <dialogue>The bar. My family. A dumb rube and the beautiful girl who crushes his heart.</dialogue> <character>SIDNEY</character> <dialogue>Move on.</dialogue> </scene> <scene> <stage_direction>EXT. YALE GRADUATION. OLD CAMPUS. DAY</stage_direction> <scene_description>ESTABLISH THE CEREMONY AND SETTING MOM and UNCLE CHARLIE are in the crowd, the latter in a blue suit, and the latter completely aghast with hangover. MOM is in a kind of delirium.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>OK, OK. I realize it's big. I'm here. But Jesus.</dialogue> <character>MOM</character> <dialogue>Do you.</dialogue> <character>MOM</character> <dialogue>He graduated from YALE.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Your father went to Dartmouth and he's farting in front of the television saying he didn't do it. I'm not dashing your dreams, I'm injecting proportion.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>This is all right. I'd be happier if he had a car.</dialogue> <scene_description>JR is marching with the other grads in his gown and mortarboard, as the bells ring from Harkness: the GRADS take their seats.</scene_description> </scene> <scene> <stage_direction>INT. THE ROOM AT WEBSTER HALL. DAY</stage_direction> <scene_description>JR looks up and sees: MOM, standing there in her new blue suit, looking terrific, looking at the room in wonder.</scene_description> <character>MOM</character> <dialogue>We did it.</dialogue> <scene_description>She examines him.</scene_description> <character>MOM</character> <dialogue>Why do you look like you were in a car accident?</dialogue> <character>JR</character> <dialogue>I'm alive on planet earth.</dialogue> <scene_description>He sits up on the bed. She sits beside him.</scene_description> <character>MOM</character> <dialogue>What law schools are you looking at?</dialogue> <character>JR</character> <dialogue>None.</dialogue> <scene_description>MOM thinks about that, and then thinks that maybe it's time not to say anything.</scene_description> <character>JR</character> <dialogue>I'm going to be a novelist.</dialogue> <character>MOM</character> <dialogue>And where will you live? A garret?</dialogue> <character>JR</character> <dialogue>Grampa's. Like everybody. We all go to Grampa's. I know you think this is supposed to change everything, but...</dialogue> <character>MOM</character> <dialogue>You have to have a job.</dialogue> <character>JR</character> <dialogue>I will have a job. Writing a novel.</dialogue> <character>MOM</character> <dialogue>Publishing is going more towards memoir...</dialogue> <scene_description>He keeps hearing this!</scene_description> <character>JR</character> <dialogue>Mom, listen, I love you. Now that this is over, can you not put me into your dreams? And dream for yourself?</dialogue> <character>MOM</character> <dialogue>You're making me sound pathetic. Frankly you might be more pathetic for assuming I'm pathetic.</dialogue> <character>JR</character> <dialogue>That's kinda what I needed to hear. I sometimes don't know very much and have kinda generic assumptions. I'm not sure how this goes with writing...</dialogue> <character>MOM</character> <dialogue>If it's really turning towards Memoir, at least you don't have to make stuff up!</dialogue> <scene_description>JR sits up, sits there beside his Mom on the bed, and reaches into his coat, and takes out a small blue velvet ring box. He hands it to MOM.</scene_description> <character>MOM</character> <dialogue>Is this for Sidney?</dialogue> <character>JR</character> <dialogue>No. Open it.</dialogue> <scene_description>She opens the box. Inside is a female-sized YALE CLASS RING.</scene_description> <character>JR</character> <dialogue>It's a Yale ring. I don't like male jewelry, but I thought, since the Musketeers actually did this together...</dialogue> <scene_description>MOM takes out the ring.</scene_description> <character>JR</character> <dialogue>...It's for you.</dialogue> </scene> <scene> <stage_direction>INT. THE DICKENS. NIGHT</stage_direction> <scene_description>JR is shattered, with BAYARD.</scene_description> <character>BAYARD</character> <dialogue>So you closed the circle with one parent. MAYBE. What about The Voice.</dialogue> <character>JR</character> <dialogue>I don't even know where he is.</dialogue> <character>UNCLE CHARLIE</character> <parenthetical>(passing)</parenthetical> <dialogue>The VOICE: Downward spiral. Since the Carter administration.</dialogue> <character>BAYARD</character> <dialogue>Jesus, the ring, fuck, symbolically you just married your mother...</dialogue> <character>JR</character> <dialogue>Oh for fuck's sake. No it isn't! It's more like an independence slash finality thing with a nod to a former situational interdependency.</dialogue> <character>BAYARD</character> <dialogue>This is all Freudian as fuck. You know that.</dialogue> <scene_description>CHIEF settles in on a stool.</scene_description> <character>CHIEF</character> <dialogue>So both you assholes graduated?</dialogue> <scene_description>They both nod.</scene_description> <character>CHIEF</character> <dialogue>Back em up on me.</dialogue> <scene_description>UNCLE CHARLIE produces the drinks.</scene_description> <character>CHIEF</character> <dialogue>So how much do they get for a Yale education these days?</dialogue> <character>UNCLE CHARLIE</character> <parenthetical>(pulling Guinness pints)</parenthetical> <dialogue>Sixty grand. JR got grants and scholarships, I think Bayard here was full ticket.</dialogue> <character>CHIEF</character> <dialogue>What year was the Magna Carta signed?</dialogue> <character>BAYARD</character> <dialogue>I don't know.</dialogue> <character>JR</character> <dialogue>I don't know.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>CHIEF</dialogue> <scene_description>Foundation of English law.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Bulwark against tyranny.</dialogue> <character>BAYARD</character> <dialogue>I don't give a shit.</dialogue> <character>CHIEF</character> <dialogue>I just don't want you in the Ruling Classes.</dialogue> <character>BAYARD</character> <dialogue>Too late, Chief.</dialogue> <scene_description>UNCLE CHARLIE answers the ringing phone. JR looks up to see UNCLE CHARLIE handing him the RECEIVER. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. A BRUNCH RESTAURANT IN MANHATTAN. DAY</stage_direction> <scene_description>SIDNEY settles into shot. She looks more beautiful than ever.</scene_description> <character>SIDNEY</character> <dialogue>JR.</dialogue> <scene_description>JR is wearing sunglasses and torturing his latest bloody mary.</scene_description> <character>JR</character> <dialogue>I was kinda into the clean break idea.</dialogue> <character>SIDNEY</character> <dialogue>We can be friends, just not romantic or sexual.</dialogue> <character>JR</character> <dialogue>That's so appealing.</dialogue> <character>SIDNEY</character> <dialogue>I apologize if that hurts you.</dialogue> <character>JR</character> <dialogue>OK.</dialogue> <character>SIDNEY</character> <dialogue>So what are you doing?</dialogue> <character>JR</character> <dialogue>I'm on Long Island. I'm at the bar a lot. I'm working on my novel. About the bar.</dialogue> <character>SIDNEY</character> <dialogue>Who wants to read a roman a clef about a bar in Manhassett?</dialogue> <character>JR</character> <dialogue>Everybody. You'll be surprised.</dialogue> <character>SIDNEY</character> <dialogue>Publishing is heading towards memoir.</dialogue> <character>JR</character> <dialogue>People have been saying that. The traditional first novel, which is about all your personal shit, is now memoir. I think it's honest.</dialogue> <character>SIDNEY</character> <dialogue>How many pages do you have?</dialogue> <character>JR</character> <parenthetical>(lying)</parenthetical> <dialogue>Many.</dialogue> <character>SIDNEY</character> <dialogue>Have you applied to newspapers? You have clips. Have you contacted the New York Times?</dialogue> <character>JR</character> <dialogue>Would you like it, if I was at the Times?</dialogue> <character>SIDNEY</character> <dialogue>I love you anyway, I just don't want a relationship.</dialogue> <character>JR</character> <dialogue>But you have a relationship. It's just not sexual or romantic.</dialogue> <character>SIDNEY</character> <dialogue>There are no rules. People change.</dialogue> <scene_description>JR knows its going nowhere right now but there is a glimmer here, a glimmer...</scene_description> <character>JR</character> <dialogue>Look, the Times is way out of my league.</dialogue> <character>SIDNEY</character> <dialogue>Was Yale out of your league?</dialogue> <character>JR</character> <dialogue>Can we go to your place?</dialogue> <character>SIDNEY</character> <dialogue>No, of course not. I live with him.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THE DICKENS. NIGHT</stage_direction> <scene_description>The bar is packed. JR is a drunken mess.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>You saw Sidney. In your reduced condition.</dialogue> <scene_description>JR nods.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>She's checking in on you, seeing if you've gotten your shit together.</dialogue> <character>JR</character> <dialogue>I don't even have any shit to get together.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Do you remember what I told you about the Male Sciences?</dialogue> <scene_description>JR stares at him sullenly.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Have a job and a car with all your shit in it? Be independent so that someone might want you? And so you can get away if they don't?</dialogue> <scene_description>JR nods.</scene_description> <character>JR</character> <dialogue>I can give my clips to the NY Times. I'm gonna give my clips to the New York fucking times Times.</dialogue> <character>JR</character> <dialogue>That's very big in lower upper middle, the New York Times. Like Yale.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>You're learning. I throw The Times across the room but knock yourself out. It's held in a certain regard.</dialogue> <character>JR</character> <dialogue>Sidney took my heart from my chest and ate it in front of me.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>In the Male Sciences there are two choices. You can drink or get even.</dialogue> </scene> <scene> <stage_direction>INT. TIMES PERSONNEL OFFICE. DAY</stage_direction> <scene_description>THE TIMES PERSONNEL WOMAN closes a folder.</scene_description> <character>TIMES PERSONNEL WOMAN</character> <dialogue>We all like your clips from New Haven. Where are you working now?</dialogue> <character>JR</character> <dialogue>I'm writing fiction, I think, and I work ...at a family business.</dialogue> <scene_description>A raised eyebrow.</scene_description> <character>JR</character> <dialogue>A hospitality business.</dialogue> <scene_description>A look of interest.</scene_description> <character>JR</character> <dialogue>A bar on Long Island.</dialogue> <character>TIMES PERSONNEL WOMAN</character> <dialogue>Your clips are good, Mr Maguire.</dialogue> <character>JR</character> <dialogue>They are?</dialogue> <character>TIMES PERSONNEL WOMAN</character> <dialogue>The editors feel they need to see more before they make a decision.</dialogue> <character>JR</character> <dialogue>You want to see more?</dialogue> <character>TIMES PERSONNEL WOMAN</character> <dialogue>Yes.</dialogue> <character>JR</character> <dialogue>Is that good?</dialogue> <character>TIMES PERSONNEL WOMAN</character> <dialogue>Yes.</dialogue> <character>JR</character> <dialogue>I don't have more.</dialogue> <scene_description>A pause.</scene_description> <character>TIMES PERSONNEL WOMAN</character> <dialogue>Let me tell Brian that.</dialogue> <scene_description>She gets up and goes. JR sits, head bowed, having the agita. Looking into the black pit of failure before him. A moment later the door opens.</scene_description> <character>TIMES PERSONNEL WOMAN</character> <dialogue>Would you like to come and see the newsroom?</dialogue> <scene_description>JR's honesty is compelling here, to the Personnel Woman, us, and himself.</scene_description> <character>JR</character> <dialogue>Not if I don't have a job.</dialogue> <scene_description>A beat.</scene_description> <character>TIMES PERSONNEL WOMAN</character> <dialogue>Come and look at the newsroom.</dialogue> </scene> <scene> <stage_direction>INT. NY TIMES NEWSROOM. MOMENTS LATER</stage_direction> <scene_description>A city block long. And in those days there are still some typewriters, and you can smoke. JR stands looking at it all, taking it all in.</scene_description> <character>TIMES PERSONNEL WOMAN</character> <dialogue>Come and meet your editor.</dialogue> <scene_description>JR, instead of bursting into tears: ...OK.: CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THE DICKENS. DAY</stage_direction> <scene_description>UNCLE CHARLIE is being very serious.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>This has to be about you, it can't be about the girl. Where is she.</dialogue> <character>JR</character> <dialogue>She's in the village...She has an apartment. With...him.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>In the list of things that you don't have that she has, what do you also don't have now.</dialogue> <character>JR</character> <dialogue>An apartment in New York.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Don't write to the girl that you've improved yourself! Whatever you do. You'll blow the power and majesty of her finding out.</dialogue> <scene_description>Head in hands:</scene_description> <character>JR</character> <dialogue>I already did!</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Jesus God, will you come to me about these things? Don't let her know you want her back! Did you say that?</dialogue> <scene_description>JR nods hopelessly.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Have you gone and stared at her fucking building? In the rain and shit?</dialogue> <scene_description>INTERCUT: JR staring at SIDNEY'S BUILDING. In the rain and shit.</scene_description> <character>JR</character> <dialogue>No.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Listen. JR. She's abandoned you how many times?</dialogue> <scene_description>JR looks at him.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Don't you look at me. If someone abandons you...what does that mean? You of all people?</dialogue> <character>JR</character> <dialogue>She's just needs Time.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>I think that you've missed the point that girls decide. If they want something, or don't want something, it becomes very obvious very fast.</dialogue> <character>JR</character> <dialogue>But.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Girls decide.</dialogue> <character>JR</character> <dialogue>I know but.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Girls decide. When she met you, who decided.</dialogue> <character>JR</character> <dialogue>...She did.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>There you go. Numb nuts? Standard pattern obvious to all? Do you see a pattern?</dialogue> <parenthetical>(after it has sunk in: shouts to bar)</parenthetical> <dialogue>JR got hired by the Times!!!</dialogue> <scene_description>CHEERS go up along the whole bar.</scene_description> <character>JR</character> <dialogue>I'm a copyboy, I get sandwiches. I separate carbons, it's nothing, it's nothing...</dialogue> <scene_description>But the DRINKS come anyway. The guys start pummeling his back. And then they lift him in his bar stool throne. He is riding up there when he sees, coming through the crowd, MOM. The guys put him down.</scene_description> <character>JR</character> <dialogue>Yeah. I got hired by the New York Times.</dialogue> <scene_description>They embrace, and the whole bar cheers. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. TIMES EDITORIAL OFFICE. DAY</stage_direction> <scene_description>The EDITOR is a Timesman through and through.</scene_description> <character>EDITOR</character> <dialogue>So, your first byline presents a problem. Initials cannot be used without periods.</dialogue> <character>JR</character> <dialogue>I've done some research. Harry S Truman did not use a dot after his middle initial.</dialogue> <character>EDITOR</character> <dialogue>It is not called a "dot".</dialogue> <character>JR</character> <dialogue>And ee cummings, no...periods.</dialogue> <character>EDITOR</character> <dialogue>By God, the Times gave them periods anyway. And do you know why? Because it looks like we forgot. Times style is Times style, and you are J period R period Maguire -</dialogue> <character>JR</character> <dialogue>Period.</dialogue> <character>EDITOR</character> <dialogue>There is no period after a last name.</dialogue> <scene_description>Gazes at JR.</scene_description> <character>EDITOR</character> <dialogue>Allow me to convey my compliments on this fine work. You have a byline in the New York Times.</dialogue> <scene_description>The editor scratches a note in a folder. Puts the corrected copy into the OUT tray, where it is snatched up... And then looks at JR.</scene_description> <character>EDITOR</character> <dialogue>Good day.</dialogue> <character>JR</character> <dialogue>Oh.</dialogue> <scene_description>He leaves in a daze. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. GRAND CENTRAL OYSTER BAR. DAY</stage_direction> <scene_description>Noise. Trains being announced. BAYARD is three sheets to the wind.</scene_description> <character>BAYARD</character> <dialogue>So you're promoted.</dialogue> <character>JR</character> <dialogue>No, I'm promoted when I become a full-fledged reporter.</dialogue> <character>BAYARD</character> <dialogue>And Sidney will be sorry.</dialogue> <character>JR</character> <dialogue>When my byline appears every day...</dialogue> <character>BAYARD</character> <dialogue>And you still don't have the background she's looking for...</dialogue> <scene_description>JR takes that on.</scene_description> <character>BAYARD</character> <dialogue>And are mainly blossoming as a barfly....</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>Genetics is tough. Incidentally, where is the Missing Link now? The deus absconditus.</dialogue> <character>JR</character> <dialogue>Somewhere South...</dialogue> <character>BAYARD</character> <dialogue>You're being like your mother about Yale. You think the Times means something.</dialogue> <character>JR</character> <dialogue>So what does mean something?</dialogue> <character>BAYARD</character> <dialogue>A book. With a book you can go years before you realize that doesn't mean anything either. Nothing means anything, either immediately or eventually. And whatever you do, Sidney will still never call out of the blue to get you back. Do you know why?</dialogue> <scene_description>Oddly enough, THE PRIEST is visible in the crowd below. JR watches him go. For some reason, the Priest, who sees him, HOLDS UP HIS WRIST AND TAPS HIS WATCH FACE. After this scrap of metaphysical (which may be just drinking):</scene_description> <character>JR</character> <dialogue>Why won't Sidney ever call? Genius who knows everything.</dialogue> <character>BAYARD</character> <dialogue>Because she doesn't love you. Because she dumped you like nine times. Because she's getting married on Memorial Day.</dialogue> <scene_description>The WAITER comes up.</scene_description> <character>BAYARD</character> <dialogue>In retrospect, what you do next is going to be important.</dialogue> <character>JR</character> <dialogue>Four gin martinis, up with a twist, made with a tiny drop of Scotch.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THE DICKENS. SAME NIGHT</stage_direction> <scene_description>JR is at the bar, and he has a copy of the Times with his byline in it. He smashes it up in his hands, into a ball, and lofts it into the trash bin behind the bar, under the DICKENS PORTRAIT.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Two.</dialogue> <scene_description>JR sucks down a huge part of his ongoing drink, and claws open the book he is reading now, A FAN'S NOTES. He looks at the PIC of Exley, who even looks drunk in his Author photo. He starts reading.</scene_description> <character>WELL DRESSED PERFECTLY OK STRANGER</character> <dialogue>What are you reading?</dialogue> <scene_description>JR shows the cover, as if it is a challenge.</scene_description> <character>WELL DRESSED PERFECTLY OK STRANGER</character> <dialogue>What's it about?</dialogue> <character>JR</character> <dialogue>It's never what it's about. It's how it's about it. If you don't know that, don't ask people what they are fucking reading. What a book is about is the same thing that life is about. Love, and pain, and death, and disappointment.</dialogue> <character>UNCLE CHARLIE</character> <parenthetical>(wary of the pending fight but deciding to ignore it)</parenthetical> <dialogue>Fred Exley was forced to use the subtitle a fictional memoir, I think after his publisher went looking for character clearances.</dialogue> <character>WELL DRESSED PERFECTLY OK STRANGER</character> <dialogue>Do you want to step outside?</dialogue> <character>JR</character> <dialogue>I'm not gay.</dialogue> <scene_description>He is clubbed off the bar stool with one right hook, and then is on the floor among his books and papers. UNCLE CHARLIE comes over the bar in a practiced way. THE WELL DRESSED PERFECTLY OK STRANGER leaves by the main door. JR'S MSS papers and notebooks are everywhere, and he gathers them together, bleeding onto them, from his fauceting nose.</scene_description> <character>UNCLE CHARLIE</character> <parenthetical>(with bar rag)</parenthetical> <dialogue>Stand up and put your head back.</dialogue> <character>JR</character> <parenthetical>(still bleeding on the floor)</parenthetical> <dialogue>Sidney's getting married.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Expect nothing, and never be disappointed, and you'll always be surprised. What do I always tell you? Don't try to be on a team that's not picking you.</dialogue> <character>CHIEF</character> <dialogue>That guy had every right to clock you.</dialogue> <character>JR</character> <dialogue>I know he did.</dialogue> <scene_description>JR sits back on his stool, holding the bar rag to his nose.</scene_description> <character>CHIEF</character> <dialogue>You acted like your father.</dialogue> <scene_description>JR looks at him over the bloody rag. UNCLE CHARLIE lays BLOODY MANUSCRIPT and NOTEBOOKS ON THE BAR.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Pop quiz. First line of "The Ginger Man."</dialogue> <character>JR</character> <dialogue>"Today a rare Sun of Spring."</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Second question. Is it a good opening line.</dialogue> <character>JR</character> <dialogue>...It's a Joyce knockoff. Not very good. Really.</dialogue> <character>JIMBO</character> <dialogue>I have read The Ginger Man. Not impressed.</dialogue> <character>UNCLE CHARLIE</character> <parenthetical>(pouring a pint)</parenthetical> <dialogue>Dunleavey goes over to fuckin Ireland, starts dressing like Victor McLaglen in The fuckin Quiet Man, has a blackthorn stick, is writing in Joycean fuckin pastiche. Strangely it's big with the Irish. And nowhere else. Who the fuck knows about anything. You can never tell.</dialogue> <scene_description>GIVES JR another bar rag, this one a bundle of ice.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>If she's getting married, take the win. It's over with.</dialogue> <scene_description>JR nods.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>People write best when their heart's are broken. It's scientific.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. TIMES NEWSROOM. DAY</stage_direction> <scene_description>JR is still a copyboy, still separating carbons. And one of the carbons is: "In Westport, CT, Sidney Lawson and Robert Devereaux Hollingshead" Fuck. He throws it away. Then picks it up and is holding it when:</scene_description> <character>COPYGIRL</character> <dialogue>He's looking for you.</dialogue> <scene_description>JR looks over at the EDITOR visible behind his glass wall. He adjusts his tie, retucks his shirt. Hesitates. Stares at the floor. Then heads over. Momentous, momentous...on this of all days...</scene_description> <character>COPYBOY</character> <parenthetical>(passing)</parenthetical> <dialogue>Could be it, lucky bastard. Byline boy.</dialogue> <scene_description>JR keeps heading towards the bumf-crammed aquarium of the editorial office. EDITOR gestures at him to enter, and he does. EDITOR gestures at him to close the door, and he does. EDITOR gestures at him to sit, and he does.</scene_description> <character>EDITOR</character> <dialogue>As you know, the editors have had a chance to carefully review your work, and it's terrific. Truly, some of the pieces you have done have been outstanding.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>Though many of them have been about people in bars on Long island.</dialogue> <scene_description>JR nods.</scene_description> <character>EDITOR</character> <dialogue>Some of the pieces have, indeed, been truly outstanding.</dialogue> <scene_description>JR waits.</scene_description> <character>EDITOR</character> <dialogue>That's why I wish I had better news.</dialogue> <scene_description>MOVE IN ON JR</scene_description> <character>EDITOR</character> <dialogue>...As you know, when the committee meets to consider a trainee, some editors voice support, some do not...</dialogue> <character>JR</character> <dialogue>Is it based just on writing? Or is it a lower upper middle class thing.</dialogue> <character>EDITOR</character> <parenthetical>(evading this-confused by it?-still benign)</parenthetical> <dialogue>A vote is taken, and I can't tell you who voted how, or why, but the end result is that I cannot offer you a position as a reporter.</dialogue> <character>JR</character> <dialogue>Thank you.</dialogue> <scene_description>The EDITOR looks a bit taken aback, as if he was not clear.</scene_description> <character>EDITOR</character> <dialogue>The feeling is that you need more experience. A smaller newspaper, perhaps, where you can learn and grow.</dialogue> <character>JR</character> <dialogue>No. Thank you.</dialogue> <scene_description>AS JR heads back to his station, taking off his tie he sees the COPYGIRL holding out the receiver of a phone. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. A HOSPITAL ROOM. DAY</stage_direction> <scene_description>JR sits, listening to the beeping of Monitors, and looking at: UNCLE CHARLIE. Uncle Charlie is asleep, gray and terrible. UNCLE CHARLIE opens one eye.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Don't look at me like that. They say it's minor.</dialogue> <character>JR</character> <dialogue>It's a heart attack.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>It's probably possible to kill me but it's not easy. What's up.</dialogue> <character>JR</character> <dialogue>They didn't offer me a position.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Pure gold. All that means is all those assholes are now characters.</dialogue> <character>JR</character> <dialogue>I guess so.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>And this itself is a dramatic incident. You can inflate it.</dialogue> <character>JR</character> <dialogue>OK. What if I made it where I realize something important.</dialogue> <character>UNCLE CHARLIE</character> <parenthetical>(ignoring this)</parenthetical> <dialogue>I'm not a hundred percent sure you should go memoir, but we have to be conscious of the trend.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>If there's gonna be any structure, you know what you have to do.</dialogue> <character>JR</character> <dialogue>He's in North Carolina, doing a talk show.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Your father once came to Manhassett to talk to your mother. Seeking a rapproachment. He came on the train, he didn't have a car. By the way, in America, you can't have a rapproachment with any chick whatsoever if you don't have a car. You can't do anything. You know that.</dialogue> <character>JR</character> <dialogue>You've told me, yes. And stashies in the wallet.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Maybe things are different in the future of transportation or in Holland or some shit, but in America: have a car. Your mother had already told him to fuck off. He comes in the bar, he drinks well scotch, neat. Never drink well scotch, and never drink it neat. It's a signal that you are nearing the end, and in his case that was 20 years ago. I loaned him thirty bucks. Which I have not seen to this day. As I get older all I can remember about him is that voice. That set of pipes. And I always wondered about him, if he was really, underneath it all, a good guy.</dialogue> <scene_description>After a long, scared beat, JR:</scene_description> <character>JR</character> <dialogue>Do I remind you of him?</dialogue> <scene_description>UNCLE CHARLIE thinks about that one, and what to say, good and hard.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Lighten up on your drinking.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. NORTH CAROLINA. DAY</stage_direction> <scene_description>Establish a low-rent chain restaurant near an active airport.</scene_description> </scene> <scene> <stage_direction>INT. CHAIN RESTAURANT. CONTINUOUS</stage_direction> <scene_description>JR is sitting reading, making notes in a book, and suddenly, sensing something, he looks up at: THE VOICE THE VOICE still looks great, barely gray-templed. He has made an entrance and knows it.</scene_description> <character>THE VOICE</character> <parenthetical>(whole registers deeper than natural)</parenthetical> <dialogue>Give your old man a hug.</dialogue> <scene_description>JR does, and perhaps, perhaps, THE VOICE finds real emotion in it. They sit back down and THE VOICE stares at his kid.</scene_description> <character>THE VOICE</character> <dialogue>Well. Thanks for making the trip.</dialogue> <scene_description>He is looking for the waitress. JR looks at him looking for the waitress.</scene_description> <character>THE VOICE</character> <dialogue>I don't know if I told you on the phone but I allow myself to have a cocktail from time to time.</dialogue> <character>JR</character> <dialogue>I thought you were...</dialogue> <character>THE VOICE</character> <dialogue>Are you?</dialogue> <scene_description>JR has no real answer to that: he wants a drink himself.</scene_description> <character>THE VOICE</character> <parenthetical>(to waitress)</parenthetical> <dialogue>Double Scotch, whatever the well is, couple rocks, splash of water, no fruit.</dialogue> <scene_description>He looks at his son. His son looks at him. JR looks at the WAITRESS.</scene_description> <character>JR</character> <dialogue>I'm fine.</dialogue> <character>THE VOICE</character> <dialogue>Don't fuck with me, he'll have what I'm having.</dialogue> <character>JR</character> <dialogue>What do you mean?</dialogue> <scene_description>THE VOICE looks at him as the WAITRESS goes and we are allowed to think here that THE VOICE is really, at base, or has become, a really scary, degenerate fucker. There are things wrong in the show-biz presentation. A bit of matter at the corner of his mouth. Eyes yellowish, color bad. A little bit of not-all there. Something crazy in the machismo presentation.</scene_description> <character>THE VOICE</character> <dialogue>I make the rules unless you can take me.</dialogue> <character>JR</character> <dialogue>What?</dialogue> <character>THE VOICE</character> <dialogue>You wanna take me on for being a shitty father I'll give you first shot.</dialogue> <scene_description>He lights a cigarette and has a coughing fit.</scene_description> <character>JR</character> <dialogue>Mom is good.</dialogue> <scene_description>THE VOICE for a moment doesn't seem to process who that might be.</scene_description> <character>THE VOICE</character> <parenthetical>(very much looking for the waitress and his drink)</parenthetical> <dialogue>Yeah I'm letting myself enjoy a cocktail from time to time.</dialogue> <scene_description>He has begun breaking BREADSTICKS.</scene_description> <character>THE VOICE</character> <dialogue>I forgot to tell you on the phone. I'm letting myself enjoy a cocktail from time to time. See, I realized I'm not really an alcoholic. Yeah. It's good. When the mood strikes me, now and then, I can enjoy a cocktail.</dialogue> <scene_description>The drinks arrive, and some demon in THE VOICE makes him wait, and watch, as JR picks his up first.</scene_description> <character>THE VOICE</character> <dialogue>You can enjoy a cocktail with your old man.</dialogue> <scene_description>He touches glasses, and watches JR take the medicine before taking his own.</scene_description> <character>THE VOICE</character> <dialogue>So what are you doing.</dialogue> <character>JR</character> <dialogue>I'm a writer, I have a job at the Times...</dialogue> <character>THE VOICE</character> <dialogue>How's your mother?</dialogue> <character>JR</character> <dialogue>She's all right.</dialogue> <scene_description>THE VOICE drains the glass. Then sits there as if waiting for the fizz effect, as if with a science fair volcano.</scene_description> <character>THE VOICE</character> <dialogue>We're gonna eat over at Kathy's, she's the new poontang.</dialogue> <scene_description>JR stares, evenly, jaw set.</scene_description> <character>THE VOICE</character> <dialogue>Her daughter's twelve, not entirely sure it matters down here...</dialogue> <scene_description>Coughing fit, gesture for another drink.</scene_description> <character>THE VOICE</character> <dialogue>That's a joke. Come on.</dialogue> </scene> <scene> <stage_direction>EXT. A NORTH CAROLINA ROAD. DAY</stage_direction> <scene_description>THE VOICE is driving a genuine piece of shit car, the car of a man at the end of his radio voyage.</scene_description> </scene> <scene> <stage_direction>INT. THE CAR. CONTINUOUS</stage_direction> <scene_description>JR's feet are up to the ankles in empty beer cans and pints in the foot well.</scene_description> <character>JR</character> <dialogue>How's the talk show?</dialogue> <character>THE VOICE</character> <dialogue>Well, you know the Talk Show as it is down south, it's all about saying nigger without actually saying nigger.</dialogue> <scene_description>JR cannot believe he heard that. THE VOICE looks at him.</scene_description> <character>THE VOICE</character> <dialogue>Lighten the fuck up. Sometimes you don't pick the tune you sing for your supper, SPORT.</dialogue> <parenthetical>(a beat, and then from some suddenly accessed memory)</parenthetical> <dialogue>They say best men are molded out of faults/ And, for the most, become much more the better/ For being a little bad</dialogue> <scene_description>He holds out his working PINT. JR takes it, and unable to stop himself, has a drink.</scene_description> <character>THE VOICE</character> <dialogue>Maybe you never sang for your supper.</dialogue> <character>JR</character> <dialogue>No, my mother was singing for it.</dialogue> <character>THE VOICE</character> <dialogue>Oh, it's one of THOSE. Maybe one of these days I'll tell you about your mother.</dialogue> <character>JR</character> <dialogue>And what would that be.</dialogue> <scene_description>And unexpectedly:</scene_description> <character>THE VOICE</character> <dialogue>How much I loved her.</dialogue> <scene_description>Is this craft? Is it real, is it situation management? JR stares forward.</scene_description> <character>THE VOICE</character> <dialogue>Here we are! As a Yale graduate, you'll love this. As you swan around as a Yale man, I hope you always remember you come from a long line of scumbags, and a house that needed to be donated to science.</dialogue> <parenthetical>(a VERY COMPELLING GRIN)</parenthetical> <dialogue>Only fucking with you.</dialogue> <scene_description>He turns into a side dirt road, and pulls up, in a cloud of dust, at a shotgun shack made as nice as it could be which isn't very. A GIRL'S BICYCLE leans against the porch steps. THE VOICE finishes his pint as if it is medicine, necking it.</scene_description> <character>THE VOICE</character> <dialogue>I allow myself to enjoy a cocktail.</dialogue> <scene_description>JR looks and sees that KATHY has come out on the porch, a poor southern woman, painfully thin, and troubled. Her daughter, very plump, stands beside her in the door. KATHY is white, and the daughter biracial.</scene_description> </scene> <scene> <stage_direction>EXT. THE YARD. CONTINUOUS</stage_direction> <scene_description>THE VOICE gets out of the car, more than half in the bag.</scene_description> <character>THE VOICE</character> <dialogue>Hello, Honey!</dialogue> <character>KATHY</character> <dialogue>I see y'all started the party without me.</dialogue> <character>THE VOICE</character> <dialogue>Honey, I started the party long before I met you, just as your party started long before you met me, but now I just enjoy the occasional cocktail. This is my son.</dialogue> <scene_description>Arm around JR.</scene_description> <character>THE VOICE</character> <dialogue>This is my son, JR.</dialogue> <scene_description>KATHY prods her daughter behind her and inside.</scene_description> <character>KATHY</character> <dialogue>What's the JR stand for?</dialogue> <scene_description>The eternal question.</scene_description> <character>THE VOICE</character> <dialogue>Junior.</dialogue> <scene_description>JR would rather be anywhere, and anyone, else. KATHY looks for alliance in his eyes. Sees if anything only regret and trauma and apology. She stands aside and opens the door wide for whatever next is going to happen.</scene_description> <character>KATHY</character> <dialogue>Very pleased to meet you, JR.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THE SHOTGUN SHACK. LATER</stage_direction> <scene_description>It is pin-neat, and poor. But KATHY who is probably no slouch of an alcoholic herself is fixing drinks. THE VOICE is off having a slash. JR sits at a linoleum table admiring the Daughter's ongoing JIGSAW PUZZLE, which is from, of all things, a Canaletto painting.</scene_description> <character>DAUGHTER</character> <dialogue>Momma shellacks them and puts them up.</dialogue> <scene_description>Indeed there are Fine Art jigsaws framed along the walls, each of them a longing for somewhere else.</scene_description> <character>JR</character> <dialogue>That's Venice.</dialogue> <character>DAUGHTER</character> <dialogue>I know. It's on the box. Have you ever been there?</dialogue> <character>JR</character> <dialogue>Not yet.</dialogue> <scene_description>A very serious question:</scene_description> <character>DAUGHTER</character> <dialogue>How do you get to go places?</dialogue> <character>JR</character> <parenthetical>(looking around helplessly)</parenthetical> <dialogue>Well...Do well in school. Do very well in school. That's the first thing. I had to. I couldn't see anything else...Sometimes it's all there is.</dialogue> <character>DAUGHTER</character> <dialogue>I am good at school.</dialogue> <character>JR</character> <dialogue>If you do very well at school...no one...</dialogue> <scene_description>He looks like he is going to burst into tears. He looks at his drink. THE VOICE, holding a finished drink, is staring at him. Something flushed and dark. He is unsteady.</scene_description> <character>JR</character> <dialogue>What's wrong?</dialogue> <character>THE VOICE</character> <parenthetical>(not ready to "go" yet)</parenthetical> <dialogue>...Nothing.</dialogue> <scene_description>But he turns.</scene_description> <character>THE VOICE</character> <dialogue>You probably write like nuns fuck.</dialogue> <scene_description>He goes into the kitchen. As it "starts" we stay on JR, as THE DAUGHTER gathers up her PUZZLE on its board and the box of pieces and leaves the room.</scene_description> <character>THE VOICE (O.S.)</character> <dialogue>Let me cook, honey.</dialogue> <character>KATHY</character> <dialogue>I already cooked. Can't you smell it? It's a chicken.</dialogue> <scene_description>Rattle of ice, glug of liquor.</scene_description> <character>KATHY (O.S.)</character> <dialogue>I don't need any of your mood swings after the day I had.</dialogue> <character>THE VOICE (O.S.)</character> <dialogue>What kinda day do you have.</dialogue> <scene_description>PUSH IN ON JR</scene_description> <character>THE VOICE</character> <dialogue>Really what kind of day could you possibly have.</dialogue> <scene_description>THE VOICE is cutting limes with a back woods kind of kitchen/skinning knife.</scene_description> <character>KATHY</character> <dialogue>I don't want no mood swings with your son here.</dialogue> <character>THE VOICE</character> <parenthetical>(low so as not to be heard, though he is heard)</parenthetical> <dialogue>Sucking cock behind the WashnFold to pay for your fuckin chicken?</dialogue> <scene_description>JR stands up. He hears:</scene_description> <character>KATHY (O.S.)</character> <dialogue>Don't touch me. Leave that alone.</dialogue> <scene_description>JR walks towards the door. He gets to the door, and sees: his father, looking at him, deliberately, and clumsily, almost falling, sweep the chicken off the stove, it crashes to the floor in hissing grease, and for the first time JR sees: An OLD WOMAN looking out of a back bedroom, with terrified eyes. THE VOICE Looks at JR with that belligerence from earlier, but now worse, more insane.</scene_description> <character>THE VOICE</character> <parenthetical>(advancing on him)</parenthetical> <dialogue>You look like you had a breakthrough of some kind. You look like everything's falling into place.</dialogue> <character>JR</character> <dialogue>Shut the fuck up and get ready to go.</dialogue> <character>THE VOICE</character> <dialogue>Nowhere to go, this is where it happens.</dialogue> <parenthetical>(really having forgotten from just a second ago)</parenthetical> <dialogue>What did you say to me?</dialogue> <character>JR</character> <dialogue>I told you to shut the fuck up.</dialogue> <character>THE VOICE</character> <dialogue>Can't shut me up. I'm The Voice. I'm a broadcast professional.</dialogue> <scene_description>THE VOICE shoves JR.</scene_description> <character>THE VOICE</character> <dialogue>Didn't want to shut me up when you were looking for me on the radio dial.</dialogue> <scene_description>Shoves him again.</scene_description> <character>THE VOICE</character> <dialogue>Can't shut your daddy up. What would you do without the wisdom that you need to be you, because you are me-</dialogue> <scene_description>Shoves him.</scene_description> <character>THE VOICE</character> <dialogue>And I am The VOICE, and I know...I know...the apple...don't fall far from the tree.</dialogue> <scene_description>He starts to shove JR one handed, and JR catches the right wrist with his left, and With every ounce of strength, hits THE VOICE. There is a sucking sound of a dislocated jaw, but the VOICE for a moment doesn't react. He stares in wonder for a moment. Then a thread of blood runs from the corner of his mouth. Then he staggers and falls, trying to hold onto JR's shirt, various other objects, and then he is down.</scene_description> <character>JR</character> <dialogue>I said, shut the fuck up.</dialogue> <scene_description>He picks up his drink, and gets down on his knees by his insensible father.</scene_description> <character>JR</character> <dialogue>See this? You have it. You have all of it.</dialogue> <scene_description>He pours the drink into the mouth of the choking, half conscious VOICE.</scene_description> <character>JR</character> <dialogue>You have all of it. You can enjoy a cocktail these days.</dialogue> <scene_description>He picks the bleeding and now old man up by his shirtfront.</scene_description> <character>JR</character> <dialogue>I'm not your son.</dialogue> <character>KATHY</character> <dialogue>He won't hurt nobody, he can stay.</dialogue> <character>JR</character> <dialogue>Do you even know if a drunk throws a chicken on the floor, and starts trouble, you can call the police? Do you even know?</dialogue> <scene_description>KATHY just stares at him.</scene_description> <character>JR</character> <dialogue>Well, you can. You don't have to take people like him. You don't.</dialogue> </scene> <scene> <stage_direction>EXT. THE MAIN ROAD. DAY</stage_direction> <scene_description>BLUE LIGHTS are sparkling through the trees as JR comes out on the main road, holding the old man's CAR KEYS, which he throws into the woods. A COP CAR comes out, THE VOICE slumped in the back of it. THE VOICE is carried away to god knows where. JR walks the main road. A second COP CAR pulls up beside him.</scene_description> <character>COP</character> <dialogue>Where you going?</dialogue> <character>JR</character> <dialogue>The airport.</dialogue> <character>COP</character> <dialogue>Get in.</dialogue> <scene_description>JR does.</scene_description> <character>COP</character> <dialogue>Sorry about your father.</dialogue> <character>JR</character> <dialogue>That's not my father.</dialogue> <character>COP</character> <dialogue>You don't get to pick.</dialogue> <character>JR</character> <dialogue>Maybe.</dialogue> <scene_description>A beat:</scene_description> <character>COP</character> <dialogue>I think she saved the chicken.</dialogue> <character>JR</character> <dialogue>...Good.</dialogue> </scene> <scene> <stage_direction>INT. THE AIRPORT. NIGHT</stage_direction> <scene_description>It's after the last flight. Shops are shuttered. The floor is being cleaned by a kind of Zamboni driven by an old man. JR sits on one chair of an empty row of them, staring into space, thinking about everything.</scene_description> </scene> <scene> <stage_direction>EXT. THE DAY AT THE BEACH. REPRISE</stage_direction> <scene_description>UNCLE CHARLIE, wading chest high, with his drink, looks back at JR, standing on the beach, oblivious. He stares back at his nephew with a greater degree of consideration than we have ever seen him do. He seems to be planning something. We have never seen UNCLE CHARLIE look at the boy with concern. But he is. YOUNG JR surges through the sparkling water towards the happy, floating, men of the bar.</scene_description> </scene> <scene> <stage_direction>INT. THE DICKENS. DAY</stage_direction> <scene_description>UNCLE CHARLIE is back at work, a little grayer, a little slower, still smoking a Marlboro. But he looks at it and puts it out.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Your mother's settled. She's selling insurance. Somebody has to sell insurance, and some of them are happy. Probably.</dialogue> <scene_description>JR is sitting at the bar.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>I think Yale kinda took care of her anxieties. It's not up to me to judge what she's looking for. But. I'd say...she's all right.</dialogue> <scene_description>JR nods, barely, staring at the bar.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Why's all your stuff here?</dialogue> <scene_description>JR looks around at what UNCLE CHARLIE has indicated. And it is all there, all his stuff, a couple of suitcases, a duffel, the typewriter.</scene_description> <character>JR</character> <dialogue>Manhattan. It's time. Bayard has a place.</dialogue> <character>UNCLE CHARLIE</character> <dialogue>Manhattan's stupid. You need somewhere to get a job so you can write.</dialogue> <scene_description>JR seems to agree that this might be right but has no ability to deal with it, as shattered as he is.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>It's America. Pick something.</dialogue> <parenthetical>(nods at gear)</parenthetical> <dialogue>Is that everything?</dialogue> <scene_description>JR nods. UNCLE CHARLIE holds something out. We see: THE VERY DISTINCTIVE KEYCHAIN, wings and book with the Cadillac keys.</scene_description> <character>UNCLE CHARLIE</character> <dialogue>Don't say I never gave you anything.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. THE DICKENS. DAY</stage_direction> <scene_description>JR, puts all his gear into the capacious trunk of THE CHUCK BERRY CADDY. We see it in its Uncle Charlie detail: Funeral suit, tools, bags, everything. And in JR'S instance , the TYPEWRITER CASE. JR closes the trunk. THE DICKENS SIGN sways over the door of the bar. Watching from the window are: BOBO, CHIEF, THE PRIEST, everybody. JR gets into the car. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. A HIGHWAY SOMEWHERE. LATER</stage_direction> <scene_description>JR is driving, with the top down, TYPEWRITER and gear piled in the back, sunglasses on, off into whatever will be. Music matching the song from SC 1. THE END:</scene_description> <character>"THE TENDER BAR"</character> </scene> </script>

In 1973, nine-year-old JR Maguire and his mother Dorothy move back in with her parents on Long Island. Abandoned by his deadbeat father Johnny, a radio DJ known as "the Voice", JR grows up with his mother's working class family. He finds a surrogate father in his uncle Charlie, the owner of a local bar, "The Dickens".JR often listens to the Voice on the radio, and Johnny calls with plans to take him to a baseball game, but fails to show up and later flees the state. Imparting life lessons to JR, Charlie shares his love of reading and encourages him to become a writer, while Dorothy is determined that her son will have the college education she never had. Though her own well-educated father never made anything of his life, she insists that JR will one day attend Harvard or Yale and become a lawyer. Johnny makes a brief visit, beating up Charlie when he heckles him for his absence in JR's life. Confronting a school psychologist for exploiting JR to hit on Dorothy, Charlie is impressed by his nephew's writing. JR's grandfather accompanies him to a father-and-son breakfast, and explains that Dorothy is having her cancerous thyroid removed. She recovers, and JR's knack for word puzzles earns him a spot in Charlie and his friends' bowling league. As a teenager, JR has an interview at Yale and meets a priest on the train to New Haven. He is admitted to the university, to his family's delight, and later brings his roommates home to meet Charlie, having their first of-age drinks at The Dickens. JR strikes up a romance with his classmate Sidney, who brings him home to Westport, Connecticut. After sneaking him up to her room for the night, she reveals that she is seeing someone else, leading to an uncomfortable breakfast with her "lower-upper-middle class" parents before he departs. Continuing his studies, JR encounters the same priest on the train, and is unsuccessful in winning Sidney back. Graduating in 1986, he receives one of his father's sporadic phone calls. JR presents his mother with a class ring, but disappoints her by eschewing law school and moving home to work on his novel. Ignoring his friend Wesley's advice, he continues to pursue Sidney with guidance from Charlie, and is hired as a trainee at The New York Times. Learning that Sidney has married her college boyfriend, JR is let go from the Times. Charlie is briefly hospitalized, and encourages JR to incorporate his recent setbacks into his novel. On Charlie's advice, JR finds his father in North Carolina, but realizes that he remains an abusive alcoholic. Johnny assaults his girlfriend and JR has him arrested, finally standing up to his father. Returning home, where his mother has found a new job, JR moves to Manhattan, but not before Charlie gives him his car. Charlie and his drinking buddies see his nephew off, and JR is determined to prove himself as a writer. During the credits, young JR spends a day at the beach with Charlie and his friends.

Mission: Impossible II_2000

tt0120755

<script> <scene> <stage_direction>Mission: Impossible II</stage_direction> <scene_description>A WORN SATCHEL -LRB- MOVING - DAY -RRB- is being carried by a world weary middle European wearing a black armband . VLADIMIR NEKHORVICH exits a gleaming building , pausing for a moment , under a motto clearly visible above his head , ` Where the future is now ' . He checks the time . INSERT - WATCH set in Countdown Mode . It 's at 19 hours forty - seven minutes and sixteen seconds and dropping , 19:37.15 , :14 , :13 , :12 etc. . O.S. children are singing : Ring a ring a rosy/a pocketful of posy / a tissue a tissue/we all fall down . Nekhorvich looks to see children at play outside the adjacent Natural History Museum . They are moving in and around an odd freeform sculpture . POV - SCULPTURE AND CHILDREN a blur where the sculpture seems to be distorting the children , almost like mirrors in a fun house . NEKHORVICH wipes his eyes , a horn honks . He looks toward the sound .</scene_description> </scene> <scene> <stage_direction>INT. AIRPORT SECURITY - DAY</stage_direction> <scene_description>MOVING SHOT - SATCHEL on the belt that takes it thru X - Ray . On the other side a guard opens the satchel and pokes thru a few toilet articles , personal items , books , a battleship gray digital camera and - in a small plastic container marked 'S . G. ' - a small , square shiny object , hi - tech and at odds with the other items . She pulls out an urn - shaped vessel .</scene_description> <character>GUARD</character> <dialogue>What's this, then?</dialogue> <character>NEKHORVICH</character> <parenthetical>( handing her documents . )</parenthetical> <dialogue>The ashes of a colleague, I'm taking them to his family. If you wish to open it, please be careful.</dialogue> </scene> <scene> <stage_direction>INT. PLANE - MOVING - DAY</stage_direction> <scene_description>COMPUTERIZED SCREEN DISPLAY on the cabin wall displays a colorful map showing the flight point of departure in Sydney , continuously updating distance , direction and time to its ultimate destination , Atlanta , Georgia .</scene_description> <character>CAPTAIN'S VOICE</character> <dialogue>- folks, we're a little over two and a half hours from touchdown in Atlanta, but if you look out your windows on either side of the aircraft, we'll soon be crossing the southern section of the Rocky Mountains, a range which includes more than 50 peaks rising above 14,000 feet. The chain's loftiest point, Mount Elbert, at 14, 433 feet should be coming into view as we pass over central Colorado shortly.</dialogue> </scene> <scene> <stage_direction>INT. CABIN - DAY</stage_direction> <scene_description>NEKHORVICH seems intent on the map , its changing times and distance . He checks his watch - the countdown has gone from 20 to three hours and 32 minutes as Nekhorvich is mesmerized by the descending seconds whipping by . ETHAN HUNT sits into shot on the vacant first class aisle seat beside Nekhorvich .</scene_description> <character>ETHAN</character> <dialogue>You keep staring at that watch as if your life depended on it, Doctor.</dialogue> <character>NEKHORVICH</character> <dialogue>Well, yes. I suppose I am a bit anxious.</dialogue> <character>ETHAN</character> <dialogue>They're ready and waiting. You'll soon be with old friends.</dialogue> <character>NEKHORVICH</character> <parenthetical>( meaning Ethan . )</parenthetical> <dialogue>I'm with an old friend now, Dmitri.</dialogue> <character>ETHAN</character> <dialogue>Sorry it could n't be under happier circumstances.</dialogue> <character>NEKHORVICH</character> <dialogue>Yes, I'm sorry too. ` You're sorry and I'm sorry.'.</dialogue> <parenthetical>( bemused laughter , then looks at Ethan . )</parenthetical> <dialogue>- you do know Gradski thought the world of you.</dialogue> <scene_description>Nekhorvich is overcome . Ethan puts a comforting hand on his shoulder :</scene_description> <character>ETHAN</character> <dialogue>He was quite a man. Did he know before the end you two had succeeded?</dialogue> <character>NEKHORVICH</character> <dialogue>Yes, he knew. Just.</dialogue> <character>ETHAN</character> <dialogue>not in time to save him.</dialogue> <character>NEKHORVICH</character> <dialogue>No. After you've lived with Chimera for twenty hours, nothing can save you. Not even. Bellerophon.</dialogue> <scene_description>Nekhorvich pats the satchel .</scene_description> <character>ETHAN</character> <dialogue>You carry them together? Safely?</dialogue> <scene_description>With an almost impish grin and a wink :</scene_description> <character>NEKHORVICH</character> <dialogue>Yes, and you'll get us to a safe place with them, thank god! left to my own devices, I'm an old fart too inept to read a railroad timetable!</dialogue> <scene_description>Good - natured laughter . Cut off by a flight steward who passes by , giving a sidelong silence in Ethan and Nekhorvich 's direction . Oxygen masks suddenly deploy from the ceiling . Passengers are puzzled and alarmed .</scene_description> <character>CAPTAIN'S VOICE</character> <dialogue>You Captain again. We've experienced a slight but abrupt drop in cabin pressure.</dialogue> <scene_description>A passenger struggling with his mask . As Nekhorvich fumbles with the strap on his mask he notes that the display screen shows their altitude is below 30,000 feet and dropping . He checks the countdown time on his watch again . Nekhorvich looks around him . The flight attendants are conspicuously absent and all the passengers who have on oxygen masks are passed out .</scene_description> </scene> <scene> <stage_direction>INT. - COCKPIT</stage_direction> <scene_description>The flight crew now wearing their oxygen masks .</scene_description> <character>CAPTAIN</character> <parenthetical>( into radio . )</parenthetical> <dialogue>Pan, pan, pan, Denver Center. This is Trans Pac Flight two - two - zero - seven, 747 heavy. We are not reading you. We're unable to maintain cabin pressurization. We have initiated a descent to one six thousand.</dialogue> <scene_description>The Co - pilot is working on the plane 's altitude when his hands slip off the controls . His eyes flutter , then :</scene_description> <character>CO-PILOT</character> <dialogue>Captain, I do n't. ca n't.</dialogue> <scene_description>He passes out . The Captain , HUGH STAMP , turns to verify that the relief pilot is also unconscious at the controls . He then removes his oxygen mask , sets the auto pilot , inputting numbers to slow the plane and descend . As the craft titles downward .</scene_description> </scene> <scene> <stage_direction>INT. - GALLERY</stage_direction> <scene_description>The flight attendants are pulling on jump suits . Stamp emerges from the cockpit .</scene_description> </scene> <scene> <stage_direction>INT. - CABIN</stage_direction> <scene_description>Ethan returns . Nekhorvich beckons to him . Ethan sits . Grinning around , Nekhorvich conspiratorially :</scene_description> <character>NEKHORVICH</character> <dialogue>it seems we have a problem, Dmitri.</dialogue> <character>ETHAN</character> <parenthetical>( in the same tone . )</parenthetical> <dialogue>You keep calling me Dmitri. You really should n't.</dialogue> <scene_description>Nekhorvich 's eyes narrow .</scene_description> <character>NEKHORVICH</character> <dialogue>You're not Dmitri?</dialogue> <scene_description>With a lightning swift move Ethan breaks Nekhorvich 's neck .</scene_description> <character>ETHAN</character> <dialogue>- no.</dialogue> <scene_description>He grabs the satchel .</scene_description> <character>ETHAN</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( to Wallis . )</parenthetical> <dialogue>Wallis, hold onto it.</dialogue> <scene_description>Wallis slashes the satchel handle open , takes the satchel for Ambrose . He peels off the latex mask , revealing SEAN AMBROSE .</scene_description> <character>ETHAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Ulrich, pull the -</dialogue> <scene_description>He tears off the vocal oscillator at his adam 's apple , clears his throat , now as Ambrose :</scene_description> <character>AMBROSE</character> <dialogue>- pull the NO2 tank and dump it, it's potential evidence.</dialogue> <character>STAMP</character> <parenthetical>( the ` captain ' into shot . )</parenthetical> <dialogue>All done, chief.</dialogue> <character>AMBROSE</character> <parenthetical>( what else . )</parenthetical> <dialogue>- right -.</dialogue> <parenthetical>( kidding . )</parenthetical> <dialogue>- do n't go too far ahead of me now -</dialogue> <character>STAMP</character> <dialogue>Not possible.</dialogue> <scene_description>Ulrich has rolled back the carpet over an access panel just beneath them that leads to the belly of the plane . Stamp pulls back the panel , hops into the compartment below which is four walls of electronic equipment . Stamp kneels and slides back the floor hatch . The wind howls , puffs of cloud zip by beneath them . As they descend into the belly :</scene_description> <character>WALLIS</character> <dialogue>Checkpoint Charlie plus 30, altitude minus two - zero - thousand. Airspeed one - seven - niner knots.</dialogue> <character>AMBROSE</character> <dialogue>It's that time. Go.</dialogue> <scene_description>They don goggles and , with Ambrose in the lead , the team leaps , one after another from the hatch , sailing off into the sky .</scene_description> </scene> <scene> <stage_direction>INT. - COCKPIT (DAY)</stage_direction> <scene_description>An automated voice repeats in an ominous monotone :</scene_description> <character>VOICE</character> <dialogue>Terrain, terrain. Pull up, pull up.</dialogue> <scene_description>The co - pilot stirs . He blearily rouses himself just in time to see : A mountain rushing toward him . As mountain meets airplane , the frame is filled with fire , but when camera pulls back from the fireball , it is in fact no more than a match head filling frame , which ignited , lights a fuse . The MI theme music kicks in , the main credits roll to :</scene_description> </scene> <scene> <stage_direction>EXT. - FACE OF MOUNTAIN (DAY)</stage_direction> <scene_description>For a moment it might be thought part of the same range when the plane crashed but when Ethan Hunt climbs into frame the angle widen and titles down , revealing more of where he 's come from than where he 's going . Aside from the fact that he 's in the midst of free - climbing what is easily a sheer rock face of at least a thousand feet , there 's the sunny picture - postcard view of a lovely valley and pellucid lake thousands of feet below . Ethan climbs out of shot . WIDE UP ANGLE -LRB- DAY -RRB- revealing the summit , a light breeze hitting the lichen and whatever growth has a slender purchase on the rocky mountainside , fluffy clouds overhead . Ethan into shot . Despite the spectacularly precarious handholds he 's using to hang onto the mountain and his life , he appears relaxed , engaged - for him - in the equivalent of busman 's holiday . It 's leisurely danger for Ethan ; one might almost expect to hear Julie Andrews trilling ` Climb Every Mountain ' on the soundtrack . Then a rock he 's been grasping crumbles and Ethan drops about six inches before he grabs onto the mountain again . As he hangs by five fingers thousands of feet above the earth he does n't seem terribly concerned until he spots a helicopter . It 's materialized behind the summit and passes surprisingly close just overhead , casting its shadow downward over Ethan . Instinctively , Ethan flattens himself against the rock surface , as if the copter poses some sort of threat to him . But when its rotors whir it into the distance Ethan relaxes and resumes his climb .</scene_description> </scene> <scene> <stage_direction>EXT. MOUNTAIN - DAY</stage_direction> <scene_description>A HAIRY OVERHANG near the summit Ethan departing from the vertical and is now traversing the mountain with more of his back than his feet exposed to the earth far below . He 's clinging to the mountain almost like a fly walking on the ceiling . When he reaches for a handhold that will restore him to the vertical , he dislodges a lizard - and manages to catch it before it plunges thousand of feet to oblivion .</scene_description> <character>ETHAN</character> <dialogue>Whoaa.</dialogue> <scene_description>He pockets the lizard , climbs the overhang . REVERSE ANGLE - SUMMIT with Ethan 's hand , then Ethan coming into view and making the summit . He reaches into his pocket and releases the lizard who favors Ethan with a stern reptilian stare by way of gratitude . To lizard :</scene_description> <character>ETHAN</character> <dialogue>You're welcome.</dialogue> <scene_description>The lizard scampers off , then a low beeping sound at his back attracts his attention . He turns to see the source of the beeping , a small package in day - glo colors with a day - glo streamer . Ethan looks to the sky where the helicopter is now ominously circling back . Ethan lifts the day - glo package and waves it in the direction of the copter . With a distinct lack of enthusiasm . The helicopter once again turns , banks and disappears . Ethan has opened the beeping package and finds a pair of sunglasses . ETHAN 'S POV SUNGLASSES First , a retinal scan .</scene_description> <character>ELECTRONIC VOICE</character> <dialogue>Identity confirmed.</dialogue> <character>SWANBECK</character> <dialogue>Good morning, Mr. Hunt.</dialogue> <scene_description>Swanbeck 's face flashes onscreen . Over his introduction of Nyah is a series of satellite photographs whose subject is so elusive she never seems to give the camera a clean shot .</scene_description> <character>SWANBECK'S VOICE</character> <dialogue>Your mission, should you choose to accept it, requires you to recover a stolen item, designated Chimera. Essential to the mission is the recruitment of a civilian - a Miss Nyah Nordoff - Hall. She is a highly capable professional thief currently active in Spain.</dialogue> <scene_description>A series of Nyah 's ` accomplishments ' , i.e. , warrants , complaints , Interpol summaries of her various criminal activities , as well as glimpses of the elusive Nyah circulating about Seville .</scene_description> <character>SWANBECK'S VOICE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Her dossier's available on I - COM 3. You have 48 hours to recruit Ms. Nordoff - Hall and meet me in Seville to receive further details. Should you or any member of your IM force be caught or killed, the Secretary will disavow all knowledge of your actions.</dialogue> <scene_description>Swanbeck 's face reappears on screen :</scene_description> <character>SWANBECK'S VOICE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>And Mr. Hunt - the next time you go on vacation, please be good enough to let us know where you're going. This message will self - destruct in five seconds.</dialogue> <scene_description>Ethan removes the glasses , then tosses them into space .</scene_description> <character>ETHAN</character> <dialogue>If I let you know where I'm going -</dialogue> <scene_description>The glasses explode in a puff of smoke .</scene_description> <character>ETHAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>- wo n't be on holiday.</dialogue> <scene_description>Ethan , with a fair amount of disgust , gets to his feet and jumps off the mountain , in , what for a moment looks like a suicidal snit . Then , somewhere hundreds of feet below camera , there 's a little puff of color as the tulip - shaped chute pops out of his back - pack . Begin the sound of a castanets and the animal - like cries of flamenco dancers .</scene_description> </scene> <scene> <stage_direction>EXT. - ANDALUSIAN VILLA (EVE)</stage_direction> <scene_description>Bustling in the activity of a large private party , with arriving guests and attentive valets , as a young woman , her face unseen , exits her car and enters the villa .</scene_description> </scene> <scene> <stage_direction>INT./EXT. VILLA - FLAMENCO DANCERS - EVE</stage_direction> <scene_description>A FLASH OF SKIRT AND LACE where to the cries of dancers add graceful feminine hands wielding the castanets . The dancers perform on a raised platform and NYAH NORDOFF - HALL 'S face can be glimpsed thru the swirling skirts and pounding heels , looking thru , not at them . REVERSE ANGLE - ETHAN looking back in a similar way to Nyah ; surreal lighting and the relentless chorus of pounding heels seem to isolate them in the crowed party . Nyah continues to look at Ethan over the shoulder over her wan na - be escort , a very attentive gentleman . Nyah offers up her empty glass , and the gentleman eagerly takes it to the bar for a refill , leaving Nyah and Ethan looking at one another . Ethan approaches her .</scene_description> <character>ETHAN</character> <dialogue>Do you know me?</dialogue> <character>NYAH</character> <dialogue>No. Should I?</dialogue> <character>ETHAN</character> <dialogue>No. You just looked as if you did.</dialogue> <character>NYAH</character> <dialogue>No. Just as if I'd like to.</dialogue> <character>ETHAN</character> <dialogue>Oh. Well. I think that can be arranged.</dialogue> <character>NYAH</character> <dialogue>Not tonight. Bad timing. Sorry -</dialogue> <character>ETHAN</character> <dialogue>There's not enough time in the world for any of it to be bad.</dialogue> <scene_description>This stops her . Nyah moves closer to him , until they 're nose to nose . Whispered but breezy :</scene_description> <character>NYAH</character> <dialogue>Look, it's either you or the rent and I do n't mind telling you it's not an easy choice.</dialogue> <character>ETHAN</character> <dialogue>What if I pay the rent?</dialogue> <character>NYAH</character> <dialogue>Uh - huh.</dialogue> <character>ETHAN</character> <dialogue>Uh - huh?</dialogue> <scene_description>Glancing at the gentleman making his way back with her drink then :</scene_description> <character>NYAH</character> <dialogue>Go find the wealthy lady you came with and next time we meet - I'll pay your rent.</dialogue> <parenthetical>( kissing him , sweetly . )</parenthetical> <dialogue>Now bugger off.</dialogue> <scene_description>And purposeful creature that she is , she takes her frustrated desire upstairs , timing her footsteps so as to use the sound of the dancer 's steps to cover her own . Once upstairs , a security guard near the master bedroom can be seen eagerly following her down the hall , both moving past a pair of windows , visible to Ethan . In a few moments , Nyah can be seen past the windows in the opposite direction , without the guard following . In another moment or two , a very puzzled looking security guard can be glimpsed in the first window , looking up and down the hall , clearly having lost sight of Nyah . Ethan smiles , moves out of shot .</scene_description> </scene> <scene> <stage_direction>INT. - MASTER BEDROOM (EVE)</stage_direction> <scene_description>Nyah has opened the door and moves swiftly thru the bedroom .</scene_description> </scene> <scene> <stage_direction>INT. - BATH (EVE)</stage_direction> <scene_description>A decadent looking affair with suggestive lighting , mirrored walls . The tub has a tray across it which includes a wine cooler chilling a bottle of Crystal and a mound of caviar on a bed of ice . Nyah ca n't resist . She spoons a dollop of the caviar and downs it before she moves along the frescoed walls of the tub to its back . There , she pulls out her compact and removes the puff , revealing an electronic density meter . She turns it on and holds it at the rear of the tub . Its sweep gauge jumps sharply from green thru yellow and into red .</scene_description> <character>NYAH</character> <parenthetical>( her fondest hopes confirmed . )</parenthetical> <dialogue>Mmmm.</dialogue> <scene_description>She now steps into the tub and focuses on the grout between the tiles just above the sop dish . Her knee eyes search for any cracks in the grout and she spots one . Using a tweezers she pulls the silver of the grout out from between the tiles , revealing something that looks like a credit card wedged between the tiles . She slips the card into a narrow opening under the sop dish . There 's the sound of hydraulics and two arms move the marble casing out from the rear of the tub . Nyah breathes a sigh of relief and anticipation : kneeling in the tub she finds herself looking down at an open safe , revealing some half - dozen locked compartments . As she studies them :</scene_description> <character>ETHAN</character> <dialogue>Decisions, decisions.</dialogue> <scene_description>Nyah looks up to see Ethan 's reflection in the bathroom mirrors , looking down at her kneeling in the tub .</scene_description> <character>NYAH</character> <dialogue>What are you doing here?</dialogue> <character>ETHAN</character> <dialogue>Think you're the only one who can pick a lock?</dialogue> <character>NYAH</character> <parenthetical>( not altogether pleased . )</parenthetical> <dialogue>I see. You're not just another pretty face.</dialogue> <scene_description>Before Ethan can answer , a voice can be heard coming from the bedroom warbling Granada in Spanish , and with considerable gusto .</scene_description> <character>NYAH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Oh god. A bloody baritone.</dialogue> <scene_description>Nyah catches a reflection behind Ethan 's in the bathroom mirror . She reaches up and grabs Ethan by the lapel , yanking him into the tub , pulling him down on top of her . Once again they 're nose to nose .</scene_description> <character>ETHAN</character> <dialogue>I take it you prefer tenors.</dialogue> <scene_description>She glances up at the mirror . In it is the reflection of SENOR AUGUSTO DE L'ARENA , a big amiable Castilian in his fifties who 's changing a white dinner jacket that 's had wine split on it . He breaks into a heavily accented version of ` Now or Never ' , and disappears from the dressing room mirror .</scene_description> <character>NYAH</character> <dialogue>Would you mind if I'm on top?</dialogue> <character>ETHAN</character> <dialogue>Oh, either way works for me.</dialogue> <scene_description>With a jaundiced look she rolls over on top of Ethan and begins working on one of the safe compartments , using a tiny torque wrench from a tube of lipstick and a carbide pick from a mascara brush . She glances down and is rather disconcerted . Continues working with the pick and wrench .</scene_description> <character>ETHAN'S VOICE</character> <dialogue>You're never gon na find it there.</dialogue> <character>NYAH</character> <parenthetical>( she jumps , dropping the torque wrench . )</parenthetical> <dialogue>Damn it! Find what?</dialogue> <character>ETHAN</character> <dialogue>His ex - wife's Bulgari necklace that goes up for auction Tuesday.</dialogue> <scene_description>Looking down to Ethan , a touch of indignation : LOOKING UP more or less , hands locked behind his neck as he rests against the raked back of the tub , his eyes and nose inches from Nyah 's lower pelvic region as she straddles him . Not exactly in the mood to move : She stiffens - he knows too damn much .</scene_description> <character>NYAH</character> <dialogue>- right. where is it?</dialogue> <character>ETHAN</character> <dialogue>Far right.</dialogue> <scene_description>She immediately switches her efforts from top left to the bottom right compartment . She 's utterly nonplussed :</scene_description> <character>NYAH</character> <dialogue>Where's the bloody -</dialogue> <character>ETHAN</character> <parenthetical>( plucking it off his chest , offering it up like a mechanic under the chassis . )</parenthetical> <dialogue>- torque wrench.</dialogue> <character>NYAH</character> <dialogue>- this is very disconerting.</dialogue> <character>ETHAN</character> <dialogue>Hey, you put me here. I just do what I'm told.</dialogue> <character>NYAH</character> <dialogue>- right.</dialogue> <scene_description>She unstraddles him and , with a few deft moves with the torque wrench and carbide pick - and it 's open . She withdraws a velvet pouch and opens the pouch . Out spills the spectacular necklace .</scene_description> <character>NYAH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Lovely.</dialogue> <parenthetical>( starting to close the safe . )</parenthetical> <dialogue>Who are you and what's it going to cost me?</dialogue> <character>ETHAN</character> <parenthetical>( having sat up . )</parenthetical> <dialogue>I would n't do that.</dialogue> <character>NYAH</character> <dialogue>Do what?</dialogue> <scene_description>The alarm goes off .</scene_description> <character>ETHAN</character> <dialogue>That.</dialogue> <scene_description>The bathroom is suddenly filled with security guards , gun drawn Senor de l'Arena , looking highly upset , pops in .</scene_description> <character>SENOR DE L'ARENA</character> <dialogue>Oh, Senor Keyes, thank God it is you!</dialogue> <parenthetical>( in Spanish to security guards , annoyed . )</parenthetical> <dialogue>It's Senor Keyes, the security engineer.</dialogue> <character>ETHAN</character> <dialogue>Well, Senor de l'Arena the goods news is that the heat sensors were activated. But Miss Nordoff - Hall, my associate -</dialogue> <scene_description>Senor de l'Arena kisses Nyah 's hand .</scene_description> <character>SENOR DE L'ARENA</character> <dialogue>Mucho gusto, senorita.</dialogue> <character>ETHAN</character> <dialogue>- did feel that she had rather too long to work on the safe before they triggered the alarm, is n't that right Miss Hall?</dialogue> <character>NYAH</character> <dialogue>Oh yes. Absolutely. Much too long I should yes.</dialogue> <scene_description>Nyah 's initial shock and panic slowly gives way to a wary , intensified curiosity - about Ethan .</scene_description> <character>ETHAN</character> <dialogue>Under the circumstances I think we would recommend re - setting the senors to respond to a lighter load. How do you feel about forty kilos, Miss Hall?</dialogue> <character>NYAH</character> <dialogue>Indeed.</dialogue> <character>ETHAN</character> <dialogue>Well, Senor de l'Arena, there's no reason to disrupt your party any longer. we have some further concerns about the disposition of your security guards, which you'll receive in our written report by fax in the morning, hard copy to follow. Shall we?</dialogue> <scene_description>He offers Nyah his arm . They start out . Ethan immediately stops .</scene_description> <character>ETHAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Miss Hall. Have n't you forgotten something?</dialogue> <scene_description>Nyah looking genuinely puzzled .</scene_description> <character>NYAH</character> <dialogue>The necklace?</dialogue> <scene_description>Nyah slowly reaches into her dress and withdraws the glittering string of diamonds and rubies from her bust .</scene_description> <character>SENOR DE L'ARENA</character> <parenthetical>( a great kidder . )</parenthetical> <dialogue>What are you trying to do, senorita? Rob me.</dialogue> <scene_description>They all laugh , and Ethan 's got her out the door .</scene_description> </scene> <scene> <stage_direction>EXT. - ANDALUSIAN VILLA (LATE NIGHT - PRE DAWN)</stage_direction> <scene_description>The stars dimming , the sky a gun metal blue . Ethan and Nyah emerge from the villa , walking slowly . Nyah 's clearly preoccupied .</scene_description> <character>NYAH</character> <dialogue>I'm missing something here, aside from a 500,000 pound necklace. Even after I botched the job, I could've walked out of there with the bloody thing.</dialogue> <character>ETHAN</character> <dialogue>At least you walked.</dialogue> <character>NYAH</character> <dialogue>If you were n't going to let me get away with it, why did you let me go thru with it?</dialogue> <character>ETHAN</character> <dialogue>Wanted to see how good you were. I'm hoping we might work together.</dialogue> <character>NYAH</character> <dialogue>May I say something, no offence? You look like a gigolo, you sound like a thief, you act like a cop - what the bloody hell do you have in mind?</dialogue> <character>ETHAN</character> <dialogue>Working under adverse conditions. Highly adverse conditions.</dialogue> <character>NYAH</character> <dialogue>Sounds smashing. I'm in. Muchacho, mi carro, por favor! Now be serious. You could n't possibly want me off tonight's performance.</dialogue> <character>ETHAN</character> <dialogue>You did n't do that badly.</dialogue> <scene_description>Her car arrives .</scene_description> <character>NYAH</character> <parenthetical>( as she moves to her car . )</parenthetical> <dialogue>You're apologizing for me? Quite the gentleman.</dialogue> <character>ETHAN</character> <parenthetical>( opening the car door . )</parenthetical> <dialogue>Not really. I triggered the alarm.</dialogue> <scene_description>One foot on the floorboard she freezes , back to Ethan .</scene_description> <character>ETHAN</character> <dialogue>Hey, the Bulgari job last week was flawless. And I've always been partial to pale yellows.</dialogue> <scene_description>She slides behind the wheel .</scene_description> <character>NYAH</character> <parenthetical>( as he leads on the car . )</parenthetical> <dialogue>I do n't do laundry, or put up with cheeky bastards who set me up on their territory so they can poach on mine.</dialogue> <scene_description>She takes off , spewing bits of gravel and dust in her wake . Ethan smiles and shakes his head . ON THE ROAD - NYAH -LRB- MOVING -RRB- around curves , hair flying , she 's free . Her car phone rings . Perplexed , she lets it ring once or twice picks it up :</scene_description> <character>NYAH</character> <parenthetical>( tentatively . )</parenthetical> <dialogue>Hola.</dialogue> <character>ETHAN</character> <dialogue>Hi. Would you mind slowing down?</dialogue> <character>NYAH</character> <dialogue>Where did you get this number? I do n't even have it!</dialogue> <character>ETHAN' VOICE</character> <dialogue>Would you like it?</dialogue> <scene_description>She hits the End button and disconnects . The phone immediately rings again . She refuses to pick up . Ethan pulls alongside hers . She looks at him . They speak through the open cars .</scene_description> <character>ETHAN</character> <dialogue>Pull over and listen to me, will you? Just listen.</dialogue> <character>NYAH</character> <dialogue>Listen to what?</dialogue> <character>ETHAN</character> <dialogue>I need your help and I thin you can use mine.</dialogue> <character>NYAH</character> <dialogue>Your help? What are you talking about?</dialogue> <character>ETHAN</character> <dialogue>Scotland Yard, Interpol, every Dutch authority. I can make them go away.</dialogue> <character>NYAH</character> <dialogue>Oh bloody hell. You're a spy.</dialogue> <scene_description>She floors it and shoots ahead of Ethan , nicking his car as she takes off .</scene_description> <character>ETHAN</character> <parenthetical>( to himself . )</parenthetical> <dialogue>I deserved that.</dialogue> <scene_description>SERIES OF DRIVING SHOTS - NYAH AND ETHAN Ethan rings her again . And keeps ringing . Her face becomes grim , her flight progressively more desperate and with Ethan 's pursuit progressively more determined . They are reaching the limits of adhesion around blind curves . MORE SHOTS DRIVING -LRB- DAWN -RRB- The sky 's battleship gray ; Ethan pursues Nyah around hairpin turns high above the Costa del Sol ; they rip thru patches of marine fog drifting on the road , obscuring it . Both are appalled by the other 's willingness to escalate risk in this game of flight and pursuit until Ethan tears thru a fogbank and sees on his GPS what Nyah ca n't see thru the fog - less than four hundred meters ahead is a turn she ca n't possibly negotiate and if she ca n't she 'll plunge off the road hundreds of feet to rock and sea below . Ringing her number again :</scene_description> <character>ETHAN</character> <parenthetical>( half to himself . )</parenthetical> <dialogue>Slow down, slow down.</dialogue> <scene_description>She turns up a mound and loses control . She spins out and heads toward the edge of the cliff .</scene_description> <character>NYAH</character> <parenthetical>( realizing she 's in trouble . )</parenthetical> <dialogue>Uh - oh.</dialogue> <scene_description>Ethan cuts her off and sends them both into a 540 degree spin . Her car stops just at the cliff 's edge . Furious she wrenches open the car door and gets out .</scene_description> <character>ETHAN</character> <dialogue>No!</dialogue> <scene_description>Suddenly there 's no Nyah . Ethan leaps over to Nyah 's car and sees Nyah dangling over the ocean and rocks hundreds of feet below , holding the door handle .</scene_description> <character>NYAH</character> <dialogue>Oh. oh.</dialogue> <scene_description>Taking a firm grip on her wrist .</scene_description> <character>ETHAN</character> <dialogue>Do n't look down. Just. look at me. That's it. that's it.</dialogue> <scene_description>He pulls Nyah up to the car , across the seat and half into his arms . For a long moment it looks like she 's in shock . Then :</scene_description> <character>NYAH</character> <dialogue>What's you name?</dialogue> <character>ETHAN</character> <dialogue>Ethan Hunt.</dialogue> <character>NYAH</character> <dialogue>Well, Ethan Hunt, what is it you want to talk to me about?</dialogue> <scene_description>Thru the veil of morning fog , Nyah looks at Ethan . Her dark eyes suggest wit , and willingness , and longing .</scene_description> <character>ETHAN</character> <dialogue>more than I thought.</dialogue> <scene_description>They scarcely to move to bring their lips together :</scene_description> <character>NYAH</character> <dialogue>Awfully short notice.</dialogue> <character>ETHAN</character> <dialogue>Care to wait a decent interval?</dialogue> <character>NYAH</character> <dialogue>Who wants to be decent?</dialogue> </scene> <scene> <stage_direction>INT./EXT. SAFEHOUSE - SEVILLE - DAY-EVE</stage_direction> <scene_description>CLOSE - ETHAN sleeping . His eyes open slowly . He comes to full consciousness , his head still on the pillow . Something approaching serious anxiety informs his features . He lifts his head and looks at his left , angle widening . Nyah lies on her side facing him , sleeping serenely . Anxiety on the order of oh - God - this - is n't - approved - recruiting - technique , confirmed . He lets his head flop back on the pillow . Then he turns so he and Nyah are profile to - profile . As he looks at her sleeping his anxiety fades , replaced by curiosity and even wonder . He lifts his hand and just brushes her cheek . Her eyes open . She knows where she is .</scene_description> <character>ETHAN</character> <dialogue>So what've you got against spooks?</dialogue> <scene_description>Nyah smiles .</scene_description> <character>NYAH</character> <dialogue>When they've got your recruiting technique? Not a thing.</dialogue> <character>ETHAN</character> <dialogue>Oh. Well. this is n't exactly by the book.</dialogue> <character>NYAH</character> <dialogue>They've got a book for this?</dialogue> <character>ETHAN</character> <dialogue>They've got a book for everything.</dialogue> <character>NYAH</character> <dialogue>The only other spook I knew was a liar. Charming but absolutely incapable of telling the truth. He'd lie about his favorite color. But then I reckon it's an occupational hazard. All spies really do is conceal the truth and tell lies.</dialogue> <character>ETHAN</character> <dialogue>Not revealing information does n't necessarily make someone a liar.</dialogue> <character>NYAH</character> <dialogue>That's not the point. In the end what spies rely on is the one thing they think they know that you do n't.</dialogue> <character>ETHAN</character> <dialogue>Which is?</dialogue> <character>NYAH</character> <dialogue>That they're lying.</dialogue> <scene_description>Ethan laughs .</scene_description> <character>NYAH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>. once they know that they can get very very. crosee.</dialogue> <scene_description>Nyah shoulder and moves into Ethan .</scene_description> <character>ETHAN</character> <dialogue>So where did I got right?</dialogue> <character>NYAH</character> <dialogue>You're not a liar. Or you're an awfully good one.</dialogue> <parenthetical>( then . )</parenthetical> <dialogue>. this thing these blokes pinched.</dialogue> <character>ETHAN</character> <dialogue>I do n't know that they ` pinched' it. Do n't even know that they're blokes.</dialogue> <scene_description>Nyah stops to think about this .</scene_description> <character>NYAH</character> <dialogue>Well, then, what I am I doing here? I assume I'm meant to be some sort of thief - to catch - a - thief.</dialogue> <character>ETHAN</character> <dialogue>So do I. Sort of.</dialogue> <scene_description>Nyah looks at Ethan , a little worried .</scene_description> <character>NYAH</character> <dialogue>Spoken like a spook. you ever afraid?</dialogue> <character>ETHAN</character> <dialogue>Of what?</dialogue> <scene_description>Nyah laughs .</scene_description> <character>NYAH</character> <dialogue>Ask a question, you get an answer!</dialogue> <character>ETHAN</character> <dialogue>Damn, you're beautiful.</dialogue> <character>NYAH</character> <dialogue>That's because I'm on my back.</dialogue> <scene_description>Quick as a cat Ethan flips Nyah over so she 's looking down at him .</scene_description> <character>ETHAN</character> <dialogue>I do n't think so.</dialogue> <scene_description>She sinks into his arms .</scene_description> </scene> <scene> <stage_direction>EXT./INT. - STREET - SEVILLE (VALENCIA FESTIVAL) (EVE)</stage_direction> <scene_description>Ethan 's step is unusually jaunty as he bounces along , making his way thru the festive and jostling crowds preparing for the Crema portion of the Fallas de Valencia . On this night great papier mache effigies , some serious , some comic , are placed all thru the city and torched in great bonfires . Outside the bar Ethan 's looking for there 's a street vendor , hawking Fallas mementos and flowers . He starts past the vendor , and it hits him - he 's going to buy some flowers . He chooses a colorful spring bouquet so fresh the dew can be seen on the petals . Ethan pays the vendor , starts into the bar , and thinks better of walking into Swanbeck with the bouquet . Turns back to the vendor .</scene_description> <character>ETHAN</character> <dialogue>Are you gon na be here a while?</dialogue> <character>VENDOR</character> <dialogue>Si, senor.</dialogue> <character>ETHAN</character> <dialogue>I'll pick'em up on my way out, okay?</dialogue> <scene_description>Ethan enter the bar and goes upstairs to the second floor where he passes security at a pair of double doors .</scene_description> </scene> <scene> <stage_direction>INT. - IMF BRIEFING ROOM</stage_direction> <scene_description>Swanbeck stands looking out the window . Noisy crowds from the festival provides a constant walla , and during the sequence , the first effigies are lit , and smoke and flame provide a vivid background thru briefing room 's window .</scene_description> <character>SWANBECK</character> <dialogue>Fetival's a pain in the ass. Honoring saint by setting'em on fire.</dialogue> <parenthetical>( turning to Ethan . )</parenthetical> <dialogue>Sit down, sit down.</dialogue> <scene_description>Ethan sits .</scene_description> <character>SWANBECK</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Let's you know what they think of saints, does n't it? Damn near set me on fire on my way over here. As if I have n't been burned enough today.</dialogue> <scene_description>A moment where it 's impossible to tell which way the wind is going to blow between these two . Then civilly :</scene_description> <character>SWANBECK</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Sorry I barged in on your vacation.</dialogue> <character>ETHAN</character> <dialogue>Sorry I did n't let you know where I was.</dialogue> <character>SWANBECK</character> <dialogue>Do n't be. Would n't be on vacation if you did.</dialogue> <character>ETHAN</character> <dialogue>Well. You're sorry and I'm sorry.</dialogue> <character>SWANBECK</character> <dialogue>Why did you phrase it like that?</dialogue> <character>ETHAN</character> <dialogue>Like what?</dialogue> <character>SWANBECK</character> <dialogue>` You're sorry and I'm sorry.'</dialogue> <character>ETHAN</character> <dialogue>You got ta be kidding.</dialogue> <scene_description>Swanbeck turns to his computer and begins play on a DVD , and projected onto a computer screen staring back at Ethan is : VLADIMIR NEKHORVICH</scene_description> <character>NEKHORVICH</character> <parenthetical>( with exaggerate brio . )</parenthetical> <dialogue>Well, Dmitri! How are you?</dialogue> <scene_description>Nekhorvich pauses as if waiting for reply . Ethan smiles .</scene_description> <character>ETHAN</character> <dialogue>I'm fine. and you?</dialogue> <character>NEKHORVICH</character> <dialogue>I'm fine.</dialogue> <scene_description>Ethan laughs .</scene_description> <character>ETHAN</character> <dialogue>I'm fine and you're fine.</dialogue> <scene_description>With Ethan simultaneously whispering :</scene_description> <character>NEKHORVICH</character> <dialogue>I'm fine too. I'm fine and you're fine - do you remember, dear fried, how you got Sergei and I to repeat those lines from Dr. Strangelove and we gave you the name of that silly Soviet Premier because we did n't know your name? In those days, you not only saved our lives, you saved our sanity. ` Now, then Dmitri - we have this little problem' : Every search for a hero must begin with something that every hero requires ; a villain. Therefore, in a search for our hero, Bellerophon, we created a monster Chimera. I beg you, Dmitri, come to Sydney and accompany me to Atlanta immediately. However we travel, I must arrive at me destination, within 20 hours of departure. Forgive this fanciful explanation, but for now prudence dictates that I communicate nothing but the gravest urgency. I fear I can entrust this to no one but you, Dmitri. as we say, ` I'm sorry and you're sorry'.</dialogue> <scene_description>Swanbeck stops the DVD .</scene_description> <character>SWANBECK</character> <dialogue>Let me ask you something. You have any idea what the hell he's talking about?</dialogue> <scene_description>Ethan smiles .</scene_description> <character>ETHAN</character> <dialogue>An idea, yeah.</dialogue> <character>SWANBECK</character> <dialogue>Like?</dialogue> <character>ETHAN</character> <dialogue>Like it's a good idea to pick him up in a hurry. And a bad idea to fly him on a commercial carrier. So let's get on with it. He's still in Sydney?</dialogue> <character>SWANBECK</character> <dialogue>Dr. Vladimir Nekhorvich is dead. So is his colleague, Gradski, but that happened earlier. We had Nekhorvich on a flight from Sydney that crashed in the Rockies.</dialogue> <scene_description>Ethan sits back , heavily .</scene_description> <character>SWANBECK</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>- Hunt, are you listening?</dialogue> <scene_description>Slowly looking up :</scene_description> <character>ETHAN</character> <dialogue>If he did n't want to go anywhere without me, how did you get him on the flight?</dialogue> <character>SWANBECK</character> <dialogue>You were there.</dialogue> <scene_description>Swanbeck clears his throat . He turns back to the computer and punches in : MISSION DOUBLE IMAGE . File open to computer scans of AMBROSE , SEAN , and HUNT , ETHAN , the computer scanning and comparing their features , millimeter by millimeter , stat by stat , as the computer then imposes , with the help of the physiognomy scan , Ethan 's face on Ambrose : hence , mission double image . ETHAN slowly looks up at Swanbeck .</scene_description> <character>SWANBECK</character> <dialogue>When I could n't find you, I had to replace you. Sean Ambrose was the obvious choice. He double you, what? Two, three times?</dialogue> <character>ETHAN</character> <dialogue>Twice.</dialogue> <character>SWANBECK</character> <dialogue>What did you think of him?</dialogue> <character>ETHAN</character> <dialogue>You know we had reservations about each other. Is n't it a little late in the day to be asking me that?</dialogue> <character>SWANBECK</character> <dialogue>Not necessarily.</dialogue> <scene_description>Swanbeck shows Ethan a photo of airline Captain .</scene_description> <character>SWANBECK</character> <dialogue>Airline record list Captain Harold Macintosh as the pilot for Flt 2207. as far as the media and all governmental agencies are concerned, Captain Macintosh died on the flight, but in fact he missed it. He did, however make the next flight - in cargo, stuffed into a rather small suitcase considering his size.</dialogue> <scene_description>Another photo of an open suitcase , the body in it partially obscured by a ring of police and customs officers .</scene_description> <character>SWANBECK</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Someone on that flight planned an operation designed to down the plane and make it look like an accident. Someone skillful enough to bring the whole thing off without a hitch but - they do n't always get your luggage on the plane, even when you fly first class.</dialogue> <character>ETHAN</character> <dialogue>So there's one thing we know Ambrose does n't.</dialogue> <character>SWANBECK</character> <dialogue>Then you do think it was Ambrose.</dialogue> <scene_description>Ethan barely nods .</scene_description> <character>SWANBECK</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>And you're not surprised.</dialogue> <scene_description>Ethan gives Swanbeck a look .</scene_description> <character>ETHAN</character> <dialogue>Whatever Nekhorvich was carrying Sean wanted and he wanted to conceal the fact that he took it.</dialogue> <character>SWANBECK</character> <dialogue>Enough to kill Nekhorvich and two hundred innocent passengers?</dialogue> <scene_description>Ethan smiles .</scene_description> <character>ETHAN</character> <dialogue>Sean feels he has n't done the job unless he leaves a lot of hats on the ground.</dialogue> <character>SWANBECK</character> <dialogue>The question is why? What was this Chimera Nekhorvich was carrying?</dialogue> <scene_description>Ethan rises and moves to the window .</scene_description> <character>ETHAN</character> <dialogue>Right now only Ambrose knows that.</dialogue> <character>SWANBECK</character> <dialogue>In any case, you've got to recover Chimera and bring it to us.</dialogue> <character>ETHAN</character> <dialogue>In order to do that, I've got to figure out how he plans to make money with it.</dialogue> <character>SWANBECK</character> <dialogue>- right. In fact since the plane went down our banking sources have confirmed a marked increase in the stock pilling of cash in terrorists accounts.</dialogue> <character>ETHAN</character> <dialogue>` Terrorists?'</dialogue> <character>SWANBECK</character> <dialogue>Well you know Nekhorvich's history. You're the one who got him out of the Soviet Union was it still in bio - weapon business.</dialogue> <character>ETHAN</character> <dialogue>If that's what you're thinking Ambrose would have set up a bidding situation with any number of buyers before he got on the plane. Locating him in time to stop something like that -</dialogue> <character>SWANBECK</character> <dialogue>- is where Miss Hall comes in.</dialogue> <character>ETHAN</character> <parenthetical>( blindsided . )</parenthetical> <dialogue>Excuse me?</dialogue> <character>SWANBECK</character> <dialogue>Miss Hall and Ambrose had a relationship which he took very seriously. She walked away and he's wanting her back ever since. We believe she's our surest and quickest way of location him.</dialogue> <character>ETHAN</character> <parenthetical>( acidly . )</parenthetical> <dialogue>And then what?</dialogue> <character>SWANBECK</character> <dialogue>Then makes sure she continues to see him. Gets him confide in her and report to you.</dialogue> <character>ETHAN</character> <dialogue>You made it sound as if I was recruiting her for her skills as a thief.</dialogue> <character>SWANBECK</character> <dialogue>Well, then I mislead you. Or you made the wrong assumption. Either way we're asking her to resume a prior relationship, not do anything she has n't already done.</dialogue> <character>ETHAN</character> <dialogue>She's got no training for this kind of thing.</dialogue> <character>SWANBECK</character> <dialogue>Go to bed with a man and lie to him? She's a woman. She's got all the training she needs.</dialogue> <scene_description>Ethan 's anger flashes but does his best to contain it .</scene_description> <character>ETHAN</character> <dialogue>I do n't think I can get her to do it.</dialogue> <character>SWANBECK</character> <dialogue>You mean it'll be difficult.</dialogue> <character>ETHAN</character> <dialogue>Very.</dialogue> <character>SWANBECK</character> <dialogue>Well it's not mission difficult, Hunt. It's mission impossible. Difficult should be a walk in the park for you. If you can think of a quicker way to get to Ambrose, you're welcome to try. Oh, by the way, you might want to take a look at these. if you have any further qualms about getting her to do the job.</dialogue> <scene_description>He pulls out a little Minolta digital camera -LRB- identical to the one in Nekhorvich 's bag at airport security -RRB- . Swanbeck sets it on the table . Ethan picks it up the tiny camera and puts it to his eye .</scene_description> </scene> <scene> <stage_direction>EXT. - BAR (NIGHT)</stage_direction> <scene_description>A grim Ethan , starring fixedly ahead of him emerges to an ever more lively crowd . as he does :</scene_description> <character>STREET VENDOR</character> <dialogue>Senor, senor! Your flowers.</dialogue> <scene_description>The vendor holds up the spring bouquet . Ethan seems genuinely surprised by them .</scene_description> <character>ETHAN</character> <dialogue>Yes. They're very nice.</dialogue> <scene_description>And he 's lost in the crowd , leaving a very puzzled vendor holding the bouquet . STILL OF CRASH SITE IN ROCKIES -LRB- THRU MINOLTA STILL CAMERA -RRB- One after the other flashing by . They are more evocative than specific in their suggestion of an abrupt , fiery , ending , where the lives of hundred are literally and figuratively torn apart and strewn over a desolate landscape . NYAH carefully places the little Minolta on a glass - topped coffee table . She 's beautifully pulled together , the safehouse has the lights low , flamenco music playing , and when she walks out onto the balcony Ethan sees the candlelit table and a bottle of champagne chilling . There 's a light breeze the fire from the burning effigies throwing smoke and flame all over the city .</scene_description> <character>NYAH</character> <dialogue>What's the population of Seville any idea?</dialogue> <character>ETHAN</character> <dialogue>Five, six - hundred thousand.</dialogue> <character>NYAH</character> <dialogue>There's nearly 2 million in London.</dialogue> <character>ETHAN</character> <dialogue>And six billion in the world.</dialogue> <character>NYAH</character> <dialogue>That's lot of people out there. how many of them, I wonder, are capable of something like that?</dialogue> <character>ETHAN</character> <dialogue>Sean Ambrose, for one.</dialogue> <scene_description>A long shocked moment . Nyah laughs .</scene_description> <character>NYAH</character> <dialogue>Right.</dialogue> </scene> <scene> <stage_direction>INT. - SAFEHOUSE (EVE - LATER)</stage_direction> <scene_description>The pounding beat of the flamenco music seems to fill the room Nyah 's back to Ethan :</scene_description> <character>NYAH</character> <parenthetical>( grimly amused . )</parenthetical> <dialogue>Not that it matter much but. I seem to recall you staying something like,' I was hoping we could work together.'</dialogue> <character>ETHAN</character> <dialogue>This was n't what I had in mind, Nyah.</dialogue> <character>NYAH</character> <dialogue>But it is what you'd like me to do. so tell me to do it.</dialogue> <scene_description>She approaches Ethan . They 're inches apart .</scene_description> <character>NYAH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Come on, out with it. Tell me to go and insinuate myself back into Sean's life.</dialogue> <character>ETHAN</character> <dialogue>Go and insinuate yourself back into Sean's life.</dialogue> <character>NYAH</character> <dialogue>I'd like a little more conviction.</dialogue> <character>ETHAN</character> <dialogue>So would I. But it's not mine to give.</dialogue> <character>NYAH</character> <parenthetical>( archness there . )</parenthetical> <dialogue>You've either got it or you do n't. Let your conscience be your guide?</dialogue> <character>ETHAN</character> <dialogue>Something like that.</dialogue> <scene_description>With a smile and a wink .</scene_description> <character>NYAH</character> <dialogue>But I do n't have a conscience. I'm a bloody thief.</dialogue> <character>ETHAN</character> <dialogue>You can be a thief and have a conscience.</dialogue> <character>NYAH</character> <dialogue>No. You can be a thief and have a conscience : Not me. Why did you have to tell me about this!</dialogue> <parenthetical>( pouring herself a drink . )</parenthetical> <dialogue>What do I have to do to get away from this guy? When you're with him, he messes about with your head every waking moment. even now I'll be at some out - of - the - way - place, a tin of caviar and a bottle of Crystal shows up at the table, with two glass, God knows how he finds out at any given moment where I am in the world but he does. And it looks like he's done it again. You know his definition of a true paranoid?</dialogue> <character>ETHAN</character> <dialogue>I do n't.</dialogue> <character>NYAH</character> <dialogue>Someone in possession of all the facts.</dialogue> <parenthetical>( she turns away , pauses . )</parenthetical> <dialogue>Are you telling me I have to do this?</dialogue> <character>ETHAN</character> <dialogue>Generally, I do n't favor coercing someone. Not when there's a chance my life could end up in their hands.</dialogue> <character>NYAH</character> <dialogue>And that's the only reason?</dialogue> <character>ETHAN</character> <dialogue>Can you think of a better one?</dialogue> <character>NYAH</character> <dialogue>Not me. I was just hoping you might. or that. somehow in the course of business this got personal as well as physical.</dialogue> <character>ETHAN</character> <dialogue>Look, would it make you feel better if I did n't want you to do this?</dialogue> <character>NYAH</character> <dialogue>Much.</dialogue> <character>ETHAN</character> <dialogue>Then feel better!</dialogue> <scene_description>Long moment while she looks at him .</scene_description> <character>ETHAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Well. That made all the difference in the world, did n't it?</dialogue> <scene_description>Ethan walks out onto the balcony . She looks at his back .</scene_description> <character>NYAH</character> <dialogue>Sean will never be anything but suspicious if he picks up some sort of ` yoo - hoo - I'm - not - nad' message. Not after the way we broke up.</dialogue> <character>ETHAN</character> <dialogue>What would n't make him suspicious?</dialogue> <character>NYAH</character> <dialogue>Probably that I needed him in some urgent way. destitute - in serious trouble. the kind I could n't possible sort out myself.</dialogue> <scene_description>Ethan 's been smiling slightly .</scene_description> <character>ETHAN</character> <dialogue>Serious trouble, Nyah, is something I can always arrange.</dialogue> <scene_description>NYAH IN A SPANISH JAIL standing for front and side mug shot . O.S. sound of teletype continues . SUPERIMPOSE : Ethan holding up something the size of a dime :</scene_description> <character>ETHAN</character> <dialogue>This little chip sends a coded signal that can be picked up only by our computer.</dialogue> <scene_description>On the screen of the GPS computer , a little yellow blip appears pulsating on the screen .</scene_description> <character>ETHAN'S VOICE</character> <dialogue>When it's in your ankle we can track you within three feet of anywhere in the world.</dialogue> <scene_description>OVER ETHAN AND ONTO COMPUTER SCREEN He types a small Interpol bulletin stating that Nyah Nordoff Hall , apprehended March 13 in Seville , is awaiting extradition while the authorities in London , Paris , and Amsterdam squabble over where she 's going to be tried first , for the various thefts and burglaries she 's committed in the three cities . COMPUTER SCREEN -LRB- AMBROSE TENT ANNEX - DAY -RRB- Ambrose picking up on a version of the Interpol bulletin Ethan 's put out . He leans over the screen for a moment , then moves to the window , and stares out thoughtful at the bay , almost as if he were watching .</scene_description> </scene> <scene> <stage_direction>EXT. - NYAH IN JAIL COURTYARD</stage_direction> <scene_description>From a beautiful blue sky , pan down to the courtyard of the jail where Nyah is allowed out for an airing , seemingly alone but being watched by : ETHAN AND COMPUTER SCREEN His attention fixed on the screen , Ethan stares at satellite shot of Nyah in the jail courtyard .</scene_description> </scene> <scene> <stage_direction>INT. - PRISON - NYAH</stage_direction> <scene_description>being allowed a phone call , a prison guard visible b.g. Cross cut with Ethan .</scene_description> <character>ETHAN</character> <dialogue>Look, I ca n't run your arrest in CNN, but I guarantee he's monitoring every law enforcement agency in the world, for what they might be saying about him, if nothing else - he's got the ability and, we assume, the desire to get you out of there.</dialogue> <character>NYAH</character> <dialogue>This does n't seem to be accomplishing much.</dialogue> <character>ETHAN</character> <dialogue>Well, I mean it's not a total loss. It is keeping a very capable thief off the street.</dialogue> <character>NYAH</character> <dialogue>Very funny. maybe he has heard and does n't want to know. Maybe he's lost interest.</dialogue> <scene_description>Her guard , b.g. is handed a note .</scene_description> <character>GUARD</character> <parenthetical>( to Nyah . )</parenthetical> <dialogue>Your lawyer to see you.</dialogue> <character>NYAH</character> <dialogue>What lawyer?</dialogue> <scene_description>ETHAN AND COMPUTER SCREEN</scene_description> <character>ETHAN</character> <dialogue>Well, here we go.</dialogue> <scene_description>SECTOR : AUSTRALIA , moving into NEW SOUTH WALES , and then to : Sydney . Here Ethan pulls up names , photos and profiles of potential candidates . They scroll past , one face morphing into another . Ethan punches in on WILLIAM A. BAIRD . EXPERTISE : Qualified in virtually every mode of transport , land , sea , air . ORDINANCES : Small arms and automatic weapons authority , edged and impact weapons . PROCUREMENT : Resourceful . EXPLOSIVES : Precision detonation , diffusion . Ethan punches : Request immediate availability .</scene_description> </scene> <scene> <stage_direction>EXT. - GOVERNMENT BUILDING - SEVILLE (DAY)</stage_direction> <scene_description>Nyah emerges from the entrance to the jail .</scene_description> <character>ETHAN</character> <dialogue>Stop and look for something in you purse. kneel down.</dialogue> <scene_description>She does . They 're effectively blocked from the street .</scene_description> <character>NYAH</character> <dialogue>Limo's waiting.</dialogue> <scene_description>Ethan hands her a key chain with what appear to be a car - key .</scene_description> <character>ETHAN</character> <dialogue>- Ambrose will have counter - surveillance second to no one's. When and if he contacts you, push this button before you actually end up under his roof it'll scramble your transmission to us.</dialogue> <scene_description>She takes the key chain . Her hands are shaking .</scene_description> <character>NYAH</character> <dialogue>When will you be there?</dialogue> <character>ETHAN</character> <dialogue>Before you are.</dialogue> <character>NYAH</character> <dialogue>How can you possibly? I've got to get right on the plane. I'm leaving now.</dialogue> <character>ETHAN</character> <dialogue>You do n't trust me.</dialogue> <character>NYAH</character> <dialogue>Oh, I do. But as we know I'm a very poor judge of character.</dialogue> <character>ETHAN</character> <dialogue>He's got you on Qantas flight 2735. It's going to be delayed.</dialogue> <character>NYAH</character> <dialogue>Yes?</dialogue> <character>ETHAN</character> <dialogue>You'll be fine. I'm going to lose you.</dialogue> <character>NYAH</character> <dialogue>Ethan, you take care of yourself, I'll take care of myself because if push comes to shove, I'm gon na bail - and without giving two week notice.</dialogue> <character>ETHAN</character> <dialogue>Well, forewarned is forearmed. And while we're at it, be especially sensitive to any sudden change in Ambrose's plans, especially any involving you.</dialogue> <scene_description>They rise . A quick squeeze of her hand and he 's gone . A look of something like longing replaces the toughness as she gazes after him , then starts across the street toward the limo and driver . MI music theme kicks in and continues over : POV HELICOPTER -LRB- MOVING - SYDNEY - DAY -RRB- over the Harbor Bridge , sails dotting the bay like confetti .</scene_description> </scene> <scene> <stage_direction>EXT. - FARM (DAY)</stage_direction> <scene_description>pans of sheep are bleating and looking for sort of cover in response to the sound of a helicopter touching down .</scene_description> </scene> <scene> <stage_direction>EXT. - COPTER (DAY)</stage_direction> <scene_description>Billy and Luther emerge , Luther with computer looking acutely uncomfortable in a wrinkled suit .</scene_description> <character>ETHAN'S VOICE</character> <dialogue>Welcome to Australia, mate.</dialogue> <scene_description>They look up to a smiling Ethan who points to the ground beneath Luther 's feet . Luther looks down to see that he is standing in a pile of sheep - shit .</scene_description> <character>LUTHER</character> <dialogue>Thanks - mate.</dialogue> <scene_description>Both men laugh and all three move to :</scene_description> </scene> <scene> <stage_direction>INT. - FARMHOUSE (DAY)</stage_direction> <scene_description>Luther and Billy with Ethan setting up their operation . There 's a blip on one of the screens .</scene_description> <character>LUTHER</character> <dialogue>It's the transponder.</dialogue> <character>ETHAN</character> <dialogue>Put in the coordinates and let's get a visual. The visuals are n't coming up.</dialogue> <character>LUTHER</character> <dialogue>The satellite does n't work as fast as I do.</dialogue> <character>BILLY</character> <dialogue>Yeah, I've heard about you, Luther, and I just want to tell you it's an honor and a pleasure to be working with you blokes, whoaa! That's some transponder!</dialogue> <scene_description>As Billy speaks , the visual come on line and Nyah has become visible .</scene_description> <character>LUTHER</character> <parenthetical>( a jaundiced eye , to Ethan . )</parenthetical> <dialogue>It certainly is. How did we get so lucky?</dialogue> <scene_description>Ethan pointedly ignore the question . POV - MOVING -LRB- PALM BEACH - DAY -RRB- rounding the tip of the bay 's crescent , revealing the beach and dock at Ambrose 's palm - lined residence . NYAH The speedboat 's engine 's are cut . Nyah looks momentarily stricken . POV NYAH -LRB- MOVING -RRB- a lone slender figure silhouetted at the end of the dock , still as the piling besides which it stands . But the features remain obscured by the sun at his back . ETHAN leans forward as the slender figure grows larger ,</scene_description> <character>BILLY</character> <parenthetical>( to Ethan . )</parenthetical> <dialogue>Is it him, then?</dialogue> <scene_description>POV - MOVING The tide is too low for the boat to dock , making it necessary for he boat to approach the shore . The slender figure moves off the end of the dock and onto the beach . THE CIGARETTE idles into shadow water but the props start chewing into the sand - the boatman grumbles he ca n't get any closer . The slender figure has moved to the shoreline and the angle of the light changes - Ambrose is waiting . Nyah hesitates only a flicker of an instant , slips over the side into thigh - high water without taking her eyes off Ambrose . Ambrose strides right on into the bay . as they are just an arm 's length apart : NYAH takes a deep breath , presses the button to scramble the transponder .</scene_description> </scene> <scene> <stage_direction>INT. SHEEPFARM SAFEHOUSE</stage_direction> <scene_description>WITH ETHAN The picture abruptly goes dead .</scene_description> <character>BILLY</character> <dialogue>Damn. Just when it was about to get interesting.</dialogue> <character>ETHAN</character> <dialogue>It's okay. She scrambled the transmission. Luther, continue feeding the GPS her position.</dialogue> <scene_description>Luther punches in . The signal - and the global coordinates are given . They wait .</scene_description> </scene> <scene> <stage_direction>INT. - SPACE</stage_direction> <scene_description>The satellite positions itself . WITH THE THREE</scene_description> <character>ETHAN</character> <dialogue>Ca n't we speed this up.</dialogue> <scene_description>Luther shoots him a disgusted look .</scene_description> <character>LUTHER</character> <dialogue>With what? This is the only computer that'll do this.</dialogue> <scene_description>THE SIGNALS AND PHOTOS start to bounce back , growing larger and larger on the screen , until : Nyah can be seen , water up to her thighs , lingering in Ambrose 's arms with each blow - up , and linger . And lingering .</scene_description> <character>BILLY</character> <dialogue>- right. Now there's a bloke who knows how to deliver a proper welcome. Do n't get me wrong, mate. You were quite hospitable. Is it him, then?</dialogue> <scene_description>Ethan 's look suggests he 's worried about lapse in recruiting judgment .</scene_description> <character>LUTHER</character> <dialogue>It is, Billy.</dialogue> <character>BILLY</character> <dialogue>Then we got'em!</dialogue> <character>ETHAN</character> <dialogue>We do n't know what we've got because we do n't know what he's got, where he's got it or what he's doing in Sydney with it.</dialogue> <scene_description>Ethan strides away from the screen , the edge in his voice and the move not altogether lost on either Luther or Billy .</scene_description> </scene> <scene> <stage_direction>INT./EXT. PALM BEACH - DAY</stage_direction> <scene_description>Perfectly poised , still loosely in his arms , Nyah returns Ambrose 's penetrating gaze with a pleasant , clear eyed one .</scene_description> <character>AMBROSE</character> <dialogue>Not much luggage.</dialogue> <character>NYAH</character> <dialogue>I left in a bit of a hurry. I'm terribly grateful, Sean.</dialogue> <character>AMBROSE</character> <dialogue>How grateful?</dialogue> <character>NYAH</character> <dialogue>Well that depends.</dialogue> <character>AMBROSE</character> <dialogue>On what.</dialogue> <character>NYAH</character> <dialogue>How hard you had to work to get me out of there. how in the world did you ever find me?</dialogue> <character>AMBROSE</character> <parenthetical>( stopping . )</parenthetical> <dialogue>How I usually find you, Nyah.</dialogue> <character>NYAH</character> <dialogue>How do you that.</dialogue> <character>AMBROSE</character> <dialogue>Magic.</dialogue> <character>NYAH</character> <dialogue>Ahh.</dialogue> <scene_description>POV THRU TENT ANNEX WINDOW -LRB- AMBROSE COMPOUND -RRB- looking down the length of the dock . Ambrose , his arm around Nyah and carrying her suitcase , moves up the dock toward the house and camera . Stamp steps into the annex and looks over to Wallis , who watches Nyah on the monitors .</scene_description> <character>WALLIS</character> <dialogue>No flies on her.</dialogue> <parenthetical>( checking her on a scanner screen . )</parenthetical> <dialogue>No bugs either. She's clean.</dialogue> <character>STAMP</character> <parenthetical>( drily . )</parenthetical> <dialogue>All cats are.</dialogue> </scene> <scene> <stage_direction>INT. - ETHAN - SAFEHOUSE (SHEEP FARM - DAY)</stage_direction> <scene_description>Ethan watches the Nekhorvich video on the computer screen .</scene_description> <character>NEKHORVICH</character> <dialogue>therefore in a search for our hero, Bellerophon, we created a monster, Chimera.</dialogue> <scene_description>Ethan then flips through a series of pictures on the computer depicting the myth of Bellerophon attacking Chimera . Billy moves up behind him .</scene_description> <character>BILLY</character> <dialogue>What you got there, mate?</dialogue> <character>ETHAN</character> <dialogue>A myth. just a myth. should n't you be checking out their countersurveillance?</dialogue> <character>BILLY</character> <dialogue>Well you know his blokes'll place the OSCOR in his annex, where else if you're pinpointing transmitters, video signals, covert chip cameras, anything radiating, oscillating.</dialogue> <character>ETHAN</character> <dialogue>or hard wired.</dialogue> <character>BILLY</character> <parenthetical>( please . )</parenthetical> <dialogue>- or hard wired, right. First line of perimeter defence'll run from the back of the dock to the front of the house. Whatever moves burps or bleep is gon na be picked up to a height of twenty feet. Basically impenetrable, I'd say.</dialogue> <character>LUTHER</character> <dialogue>Ethan, here's Nekhorvich, and here's his boss</dialogue> <scene_description>Luther scans an entry from the IMF database with newspaper clippings , sidebars of still of McCloy and Nekhorvich .</scene_description> <character>LUTHER</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>McCloy, Jon Chaddick, CEO Biocyte Pharmaceuticals. D.O.B. September 30, 1952, Manchester, England.</dialogue> <character>BILLY</character> <parenthetical>( a little lost . )</parenthetical> <dialogue>Well do you disagree with that?</dialogue> <character>ETHAN</character> <dialogue>Not at all. But how about going into town and confirming your intuitions on site?</dialogue> <character>BILLY</character> <dialogue>Oh well, if that's how you feel about it.</dialogue> <scene_description>Billy leaves .</scene_description> <character>LUTHER</character> <dialogue>then Cambridge. Harvard. entrepreneurial efforts. in efforts. in 1989, acquired Biocyte in hostile takeover.</dialogue> <scene_description>As Luther transfer info to Ethan 's computer :</scene_description> <character>LUTHER</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Ethan, have a look at this.</dialogue> <scene_description>On Ethan 's screen appears the Biocyte website ; where among he various icons one offer McCloy 's proud detailing of Biocyte 's philanthropic efforts :</scene_description> <character>MCCLOY'S VOICE</character> <dialogue>We at out state - of - the - art solar powered Biocyte building recognized that eternal vigilance is the price of health. whether it's funding the teaching center at the Royal Prince Edward Hospital, removing aerosol products from the marker or braving the influenza quarantine at Bruny island late last month. at Biocyte your life. is our life's work.</dialogue> <character>ETHAN</character> <parenthetical>( quietly . )</parenthetical> <dialogue>. Biocyte workers at Bruny Island.</dialogue> </scene> <scene> <stage_direction>INT. - AMBROSE'S (DAY)</stage_direction> <scene_description>They 've reached the head of the stairs . Ambrose opens a door . It 's a large bedroom opening onto a veranda with a view of the tent annex and the beach , and a very large bed .</scene_description> <character>NYAH</character> <dialogue>Your room.</dialogue> <character>AMBROSE</character> <parenthetical>( yes . )</parenthetical> <dialogue>Mmmm.</dialogue> <character>NYAH</character> <dialogue>And my room?</dialogue> <scene_description>A long moment . Ambrose walks to a mirrored wall . The mirrors are sliding doors . With a sweeping gesture , he slides one of the mirrors back and reveals a wardrobe of beautiful designer clothes .</scene_description> <character>AMBROSE</character> <dialogue>Thought you could use a little something to wear.</dialogue> <scene_description>Nyah stares at the spectacular wardrobe . Ambrose pulls out a slinky Armani and drapes it on the bed .</scene_description> <character>AMBROSE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Try it on.</dialogue> <scene_description>Nyah hesitates .</scene_description> <character>AMBROSE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Go ahead. I'm dying to see if I remembered your size.</dialogue> <scene_description>Nyah picks it up .</scene_description> <character>NYAH</character> <dialogue>No changing room?</dialogue> <scene_description>Ambrose sits on a chair by the window and waits . Her blouse , belt , skirt , fall on the bed . As her slender arm reaches down to pick up the Armani : AMBROSE grips her wrist , the flimsy Armani dangling in the air . CLOSE - NYAH meeting Ambrose 's look .</scene_description> <character>NYAH</character> <dialogue>You're not interested in seeing how it looks.</dialogue> <character>AMBROSE</character> <dialogue>Oh, I am. Later.</dialogue> <scene_description>The Armani falls in a fragile heap on the floor . CLOSE - ETHAN -LRB- DUSK -RRB- standing off to one side , listening to Nekhorvich 's voice .</scene_description> <character>NEKHORVICH</character> <dialogue>therefore in a search for our hero, Bellerophon, we created a monster, Chimera.</dialogue> <character>LUTHER</character> <dialogue>Why's Nekhorvich going on about an old Greek myth?</dialogue> <character>ETHAN</character> <dialogue>Nekhorvich specialized in recombining DNA molecules. In the myth, Bellerophon killed Chimera, a recombinant monster with the head of a lion and the tail of a serpent who plagued the ancient world. I think Nekhorvich has created a monster virus in Chimera and apparently the means to kill it in Bellerophon.</dialogue> <character>LUTHER</character> <dialogue>That simple, huh?</dialogue> <character>ETHAN</character> <dialogue>Why not?</dialogue> </scene> <scene> <stage_direction>INT. AMBROSE BEDROOM - DUSK</stage_direction> <scene_description>CLOSE - NYAH lying back on a pillow , looking and off into space to right off camera . She hears Ambrose 's voice , with Ethan 's voice</scene_description> <character>AMBROSE'S VOICE/ETHAN'S VOICE</character> <dialogue>Damn, you're beautiful.</dialogue> <scene_description>Nyah reacts as if she 'd been rapped on the nose , her eyes moist . She turns abruptly to camera .</scene_description> <character>NYAH</character> <dialogue>Did you say something?</dialogue> <scene_description>AMBROSE leaning on an elbow , looking down .</scene_description> <character>AMBROSE</character> <dialogue>I said you're beautiful, Nyah.</dialogue> <character>NYAH</character> <dialogue>Only because. it's spring. chalk it up.</dialogue> <parenthetical>( looking him dead in the eye . )</parenthetical> <dialogue>- to spring fever.</dialogue> <scene_description>Ambrose , amused , lights a cigarette and inhaling :</scene_description> <character>AMBROSE</character> <dialogue>Wo n't do, love. It's not spring. It's nearly autumn. You're in Oz. everything's upside down and backwards here.</dialogue> <character>NYAH</character> <parenthetical>( more direct . )</parenthetical> <dialogue>Maybe that's it, then. Everything's upside down and backwards.</dialogue> <scene_description>CLOSE - ETHAN -LRB- SHEEP FARM SAFEHOUSE - DUSK -RRB-</scene_description> <character>ETHAN</character> <dialogue>Luther. get us everything you can on the outbreak of influenza on Bruny Island last month, including photos of the victims.</dialogue> <character>LUTHER</character> <dialogue>Right. I guess there are n't many flu epidemics in the middle of summer.</dialogue> <scene_description>Luther resumes working on his computer and sees Ethan is locked on Ambrose 's compound on his computer screen , thinking of Nyah .</scene_description> <character>LUTHER</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>She did it, Ethan. Nyah's in the compound.</dialogue> <character>ETHAN</character> <dialogue>Yeah? I've just rolled up a snowball and tosses it into hell.</dialogue> <scene_description>Ethan stands . OUTSIDE THE SHEEP FARM SAFEHOUSE A brooding Ethan exits the sheep farm safehouse under a setting sun .</scene_description> <character>ETHAN'S VOICE</character> <dialogue>Now we'll see what chance it has.</dialogue> <scene_description>Ethan stops , looking out over the broken plain . His voice is heard overlapping into the next scene .</scene_description> <character>ETHAN'S VOICE</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( softly . )</parenthetical> <dialogue>Damn, You're beautiful.</dialogue> <scene_description>CLOSE - NYAH -LRB- NIGHT -RRB- lying in bed , obviously hearing Ethan 's voice again , and feeling very much alone . She stares out into the night , a gaze that in its bemused intensity is an exact match to Ethan 's .</scene_description> </scene> <scene> <stage_direction>INT. AMBROSE STUDY - EARLY DAWN</stage_direction> <scene_description>CLOSE - PHOTO - HONG KONG TIMES its front page , except for the headlines and date , covered with stacks of paper money , banded bundled dollars piled high as a cord of wood . The amount $ 24 millions is written in ink over the money .</scene_description> <character>AMBROSE</character> <dialogue>Twenty - four mil.</dialogue> <scene_description>Ambrose 's hands shift to another photo of another newspaper , the LONDON TIMES , this one piled high with English pounds and the written amount : 37 million pounds .</scene_description> <character>AMBROSE'S VOICE</character> <dialogue>Thirty - seven million pounds. That's a promising bid.</dialogue> <scene_description>The third photo is of the AFTERNOON ARUBAN , with $ 14 million packaged on it . Ambrose , wearing a robe and seated at a glass - topped table , sets this last photo on the table on top the others . He picks up Nekhorvich 's digital camera , removes the film disk , and snaps it into its plastic case . He places the case into an envelope -LRB- NOTE : The same envelope seen at the track -RRB- and hands it to Stamp .</scene_description> <character>AMBROSE</character> <dialogue>We'll need this at the track. Well then. Sorted.</dialogue> <scene_description>Stamp is seated near him . Glances toward Ambrose 's bedroom and Nyah asleep in Ambrose 's bed .</scene_description> <character>STAMP</character> <parenthetical>( pointedly . )</parenthetical> <dialogue>Not everything. Why do you think she's really here?</dialogue> <character>AMBROSE</character> <dialogue>From her point of view or mine?</dialogue> <character>STAMP</character> <dialogue>Was n't exactly gagging for it when she left you six months ago. The question is, do you trust her?</dialogue> <scene_description>As he speaks , Ambrose pulls a cigar case and a cutter out of his robe . Takes a cigar out of the case and clips the end of the cigar ; the razor - sharp cutter decapitates the tip of the cigar like a guillotine .</scene_description> <character>AMBROSE</character> <dialogue>One considers her timing, of course - getting nicked within a week of the plane going down. Suggestive, even borderline suspicious, but hardly conclusive.</dialogue> <character>STAMP</character> <dialogue>Well, you've thorough about it, at any rate.</dialogue> <scene_description>Ambrose opens the cutter again to clean off the fragments of tobacco trapped by the cut .</scene_description> <character>AMBROSE</character> <dialogue>Tell me, Hugh. You do n't exactly hang on Nyah's every word and gesture, do you? Fairly ratty nail, that.</dialogue> <scene_description>Sean touches the nail of Stamp 's left pinkie finger . Stamp reacts by slightly withdrawing his hand .</scene_description> <character>STAMP</character> <dialogue>Sean.</dialogue> <scene_description>With his left hand Ambrose grabs Stamp 's left wrist .</scene_description> <character>AMBROSE</character> <dialogue>You're not scrutinizing any casual shrug for some hair - splitting nuance, are you?</dialogue> <character>STAMP</character> <dialogue>Sean, please.</dialogue> <scene_description>Sean pulls Stamp 's hand closer .</scene_description> <character>AMBROSE</character> <dialogue>Suppose she is some sort of Trojan horse sent in by IMF to spy in us, why should I deny myself the pleasure of a ride or two? Or do n't you think I can learn more from her than she can from me?</dialogue> <scene_description>Ambrose twists Stamp 's wrist so that Stamp drops to one knee trying to alleviate the pain .</scene_description> <character>STAMP</character> <parenthetical>( in pain . )</parenthetical> <dialogue>I do!</dialogue> <scene_description>Ambrose leans in close to Stamp 's face as he places the cutter around Stamp 's pinkie .</scene_description> <character>AMBROSE</character> <dialogue>Now Hugh, you must realize that some of us have the burden of sex to deal with. and my dear chap. I may or may not know why she thinks she's here, but I'm willing to take the risk, because Hugh, I am gaging for it.</dialogue> <scene_description>Ambrose closes the cutter on Stamp 's finger and cuts the nail , just nicking the top of the finger and drawing blood . Stamp cries out . Ambrose tosses Stamp a napkin , light his cigar and exhale .</scene_description> <character>AMBROSE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Do n't ever question my judgment again.</dialogue> </scene> <scene> <stage_direction>EXT. RANDWICK RACE TRACK - DAY</stage_direction> <scene_description>EMPTY FRAME with no sound , the back stretch an unrecognizable blur until horses at high speed burst into the frame bringing with them the sight and sound of their great nostrils snorting and gasping for jostling and going to the whip , the sound of the crowd overwhelming all but the announcer 's voice carrying everyone around the far turn and into the home stretch with a ringing , controlled frenzy .</scene_description> </scene> <scene> <stage_direction>EXT. - PRIVATE BLEACHER (DAY)</stage_direction> <scene_description>Nyah and Ambrose rising as the horses cross the finish .</scene_description> <character>AMBROSE</character> <parenthetical>( surprised . )</parenthetical> <dialogue>You won.</dialogue> <character>NYAH</character> <parenthetical>( looking at her ticket . )</parenthetical> <dialogue>I suppose I did.</dialogue> <character>AMBROSE</character> <dialogue>What made you pick that nag? She'd never won a bloody thing.</dialogue> <character>NYAH</character> <dialogue>` Thief in the Night?'</dialogue> <character>AMBROSE</character> <dialogue>Say no more. I'm off to grab a drink. Still favor Bellinis?</dialogue> <scene_description>She smiles , a little shakily . Ambrose leaves .</scene_description> <character>A VOICE</character> <dialogue>Naturally Vain.</dialogue> <scene_description>It 's Billy passing behind her .</scene_description> <character>NYAH</character> <dialogue>Pardon me?</dialogue> <character>BILLY</character> <dialogue>` Naturally Vain.' In the fourth. Check her out. She's due.</dialogue> <scene_description>Billy hands her a chest sheet and moves on . She opens it to the fourth race . Taped onto ` Naturally Vain ' is a small plastic piece with the note . she regards the note , places the plastic piece in her ear .</scene_description> <character>ETHAN'S VOICE</character> <dialogue>You can speak as if I'm right by your side.</dialogue> <character>NYAH</character> <parenthetical>( picking up binoculars . )</parenthetical> <dialogue>Where are you?</dialogue> <character>ETHAN'S VOICE</character> <dialogue>At the mounting enclosure, just off the tracks at two o'clock.</dialogue> <scene_description>THRU BINOCULARS - NYAH 'S POV - MOVING thru the crowd onto the track over to the pre - post paddock where an animated gaggle of owners , heavy batters and investerace touts surround it . Only Ethan is stock still - and looking up at Nyah . CLOSE - NYAH a swift intake of breath as she see him .</scene_description> <character>ETHAN</character> <dialogue>How's it going? Everything okay?</dialogue> <character>NYAH</character> <dialogue>Just like old times.</dialogue> <character>ETHAN</character> <dialogue>Just like old times?</dialogue> <character>NYAH</character> <dialogue>Just about.</dialogue> <scene_description>She appears to be the picture of unruffled sang - froid .</scene_description> <character>ETHAN</character> <dialogue>Tell me who you've run into at Ambrose's.</dialogue> <scene_description>ETHAN 'S POV -LRB- THRU GLASSES -RRB- moving from Nyah to the champagne bar just behind where Ambrose is seen greeting someone in the crowd and they sit at a corner table in front of the window overlooking the track .</scene_description> <character>NYAH</character> <parenthetical>( a breath , then : . )</parenthetical> <dialogue>Near as I can tell, there's at least a half - dozen other blokes about the place. Maybe more. Hugh Stamp, an old mate of Sean's, is the only one I recognize, bit of a creep and then some.</dialogue> <scene_description>POV ETHAN Stamp , stands a pillar , his finger bandages , looking glum and looking down at Nyah .</scene_description> <character>ETHAN</character> <dialogue>We know him. He's over your left shoulder, looking right at you as you go on.</dialogue> <character>NYAH</character> <dialogue>- Michael, his driver's an Aussie, new to me. Then there's the blokes in the annex at the back of the house.</dialogue> <character>ETHAN</character> <dialogue>Have you met them?</dialogue> <character>NYAH</character> <dialogue>Annex is strictly off limits to me and they never come to the main house, Michael even takes their meals to them all but shoves them under the door.</dialogue> <character>ETHAN</character> <parenthetical>( looking into Champagne Bar . )</parenthetical> <dialogue>I've no doubt.</dialogue> <scene_description>ETHAN 'S POV MONOCULAR VIDEO RANGE FINDER of Ambrose sitting with someone whose face is obscured from his angle by bar patrons . BILLY is also looking . POV RANGE FINDER BILLY and from his point of view it can be seen that Ambrose is talking with John McCloy , the head Biocyte . Ambrose takes an envelope out of his inner left jacket pocket and from it pulls out a small plastic container marked 'S . G. ' -LRB- Identical to the object first seen in Nekhorvich 's satchel at airport security . -RRB- He opens it and removes a small shiny object about the size of a quarter . He turns to the window and gestures . Stamp enters the bar .</scene_description> <character>BILLY</character> <dialogue>Ambrose is meeting some bloke in the bar. Big bloke, ginger hair. They're into something.</dialogue> <scene_description>ETHAN 'S POV</scene_description> <character>ETHAN</character> <dialogue>I'll be damned. It's McCloy, the Biocyte CEO.</dialogue> <character>LUTHER</character> <dialogue>Nekhorvich's boss?</dialogue> <character>ETHAN</character> <dialogue>Yep.</dialogue> <character>NYAH</character> <dialogue>Ambrose has photographs of newspapers with loads of money piled on them - thirty - seven million on the London Times. What's that about?</dialogue> <character>ETHAN</character> <dialogue>Bids from possible Chimera buyers - to prove that as of the date on the newspaper those bids are back up by earnest money -</dialogue> </scene> <scene> <stage_direction>INT. - VAN - LUTHER</stage_direction> <scene_description>is monitoring both cameras . All see Ambrose give the little wafer - like object to Stamp who places it in a small camera , hands it back to Ambrose and exits , waiting just outside the glass door . Ambrose hands the camera to McCloy who looks puzzled .</scene_description> <character>LUTHER</character> <dialogue>Looks like Ambrose is showing McCloy how to use a digital camera.</dialogue> <scene_description>McCloy puts it to his eye , fumbles , then with Ambrose 's direction :</scene_description> <character>ETHAN</character> <dialogue>Whatever McCloy's looking at, he's not happy about.</dialogue> <scene_description>McCloy puts the camera down . The two men have words . McCloy shakily leave the table . Ambrose opens the camera .</scene_description> <character>LUTHER</character> <dialogue>Ambrose just pulled the memory card out of the digital camera and put it into an envelope, put it in his inner left jacket pocket.</dialogue> <character>ETHAN</character> <dialogue>Left jacket pocket?</dialogue> <character>LUTHER</character> <dialogue>Roger that.</dialogue> <character>ETHAN</character> <dialogue>Confirm. Left jacket pocket.</dialogue> <character>LUTHER</character> <dialogue>Left jacket pocket confirmed.</dialogue> <scene_description>ETHAN BY THE MOUNTING ENCLOSURE</scene_description> <character>ETHAN</character> <dialogue>Nyah, Ambrose is heading back. There's an enveloped inside -</dialogue> <character>NYAH</character> <dialogue>- his left jacket pocket.</dialogue> <character>ETHAN</character> <dialogue>Affirmative.</dialogue> <scene_description>AMBROSE passes by Stamp on his way back , hands him the camera .</scene_description> <character>NYAH</character> <parenthetical>( after a brief pause . )</parenthetical> <dialogue>Where do I meet you?</dialogue> <character>ETHAN</character> <dialogue>Betting table twelve off the paddock. Nyah, are you up to this?</dialogue> <character>NYAH</character> <dialogue>I'll muddle through.</dialogue> <scene_description>WIDE ANGLE - BLEACHER -LRB- DAY -RRB- Ambrose arriving with a pair of drinks . Nyah rises .</scene_description> <character>AMBROSE</character> <dialogue>See anything you like?</dialogue> <character>NYAH</character> <dialogue>Yeah. Naturally vain - but they're about to close the betting table and I have n't a sou.</dialogue> <scene_description>While Ambrose is still juggling the drinks , Nyah reaches into his trouser pockets , and rummages around .</scene_description> <character>AMBROSE</character> <parenthetical>( laughing . )</parenthetical> <dialogue>Nyah!</dialogue> <character>ETHAN</character> <dialogue>Billy, make sure Nyah's not followed.</dialogue> <character>BILLY</character> <dialogue>No worries, mate.</dialogue> <scene_description>She pulls out a fifty - dollar note .</scene_description> <character>NYAH</character> <dialogue>Would you mind terribly?</dialogue> <character>AMBROSE</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( amused and turned on . )</parenthetical> <dialogue>- not at all. But you'll pay for that and with interest.</dialogue> <character>NYAH</character> <dialogue>I've no doubt.</dialogue> <scene_description>She heads up the stairs .</scene_description> <character>AMBROSE</character> <parenthetical>( reaching into his pocket for money . )</parenthetical> <dialogue>Hold on.</dialogue> <scene_description>Ambrose grabs her arm , and she almost drops the envelope she 's just lifted . -LRB- NOTE : It is important not to see her actually lift it -RRB- . She 's holding it , pinned between her right arm and side . As it 's slipping , she notes Stamp above her , looking down and has to conceal what she 's holding from him as well :</scene_description> <character>AMBROSE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Put down a couple of hundred for.</dialogue> <character>NYAH</character> <dialogue>To win?</dialogue> <character>AMBROSE</character> <dialogue>What else?</dialogue> <scene_description>She takes it and as she does the envelope falls , but she manages to catch it with her left hand , blocking the move with her body as she does . WIDER ANGLE - NYAH moves along the aisle .</scene_description> <character>ETHAN'S VOICE</character> <dialogue>Luther, smallest digital you got. Ready to transmit. Betting table twelve.</dialogue> </scene> <scene> <stage_direction>EXT. - VAN (DAY)</stage_direction> <scene_description>designated as NEW SOUTH WALES DELIVERIES , ` anytime , anywhere . ' Luther bursts out of the van , carrying the tiny camera and begins to thread his way thru cars and foot traffic . BILLY in dramatic contrast ambles at a conspicuously leisurely pace . NYAH passes Stamp , not seeing him standing just a row above , blocked from her by one of the pillars . Stamp idly regards her and then decides : he follows . LUTHER perspiring , approaches the betting table thru the last of the parked cars . STAMP approaches the door thru which Nyah had gone and starts to open it - only to have the door slammed in his face and on his bandaged finger by Billy , in a track usher 's uniforms .</scene_description> <character>BILLY</character> <parenthetical>( very solicitous . )</parenthetical> <dialogue>Sorry about that, mate, that must've really - aggrhh!</dialogue> <scene_description>Even as Stamp winces in pain his arm has shot out and Billy finds himself pinned to the wall gasping for air . If he 'd been welded there by a band of steal he 'd have more room to maneuver .</scene_description> <character>STAMP</character> <dialogue>Say again?</dialogue> <character>BILLY</character> <dialogue>Aggrhh - aggrhh - aggrhh.</dialogue> <character>STAMP</character> <dialogue>Whatever you're about in future, watch your step. Never know who you might run into.</dialogue> <scene_description>Stamp looks around , Nyah 's nowhere in sight . He 's lost her . Sees his hand 's bleeding and lets Billy go , who nearly drops to the floor .</scene_description> <character>STAMP</character> <dialogue>Where's the loo then?</dialogue> <character>BILLY</character> <parenthetical>( pointing up . )</parenthetical> <dialogue>- aggrhh - aggrhh - aggrhh.</dialogue> <scene_description>Stamp heads up the men 's room .</scene_description> <character>BILLY</character> <parenthetical>( croaking it out . )</parenthetical> <dialogue>.</dialogue> <scene_description>Shakes his head , feeling lucky to escape with his life .</scene_description> </scene> <scene> <stage_direction>EXT. - PADDOCK - BETTING TABLE TWELVE</stage_direction> <scene_description>Nyah into shot . Stands in line . She looks around .</scene_description> <character>ETHAN'S VOICE</character> <dialogue>How'd you do? Do n't turn around.</dialogue> <scene_description>Nyah turns and looks Ethan dead in the eye .</scene_description> <character>NYAH</character> <dialogue>I managed.</dialogue> <character>ETHAN</character> <dialogue>You noticed. What're you going to do? Spank me?</dialogue> <scene_description>She slips Ethan the envelope . Ethan himself returns the look , holding it in spite of :</scene_description> <character>BILLY'S VOICE</character> <dialogue>Stamp's out of the loo.</dialogue> <scene_description>Luther arrives , with the camera , opening for Ethan . Nyah turns away . Ethan pulls out the tiny memory card , slips it in the camera .</scene_description> <character>ETHAN</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( looking into camera . )</parenthetical> <dialogue>This is going to take a couple of minutes.</dialogue> <scene_description>LUTHER is racing back to the van .</scene_description> <character>LUTHER</character> <dialogue>There in twenty, Ethan.</dialogue> <scene_description>NYAH AND ETHAN -LRB- IN LINE -RRB- edge toward the window .</scene_description> <character>BILLY'S VOICE</character> <dialogue>Stamp's a little shaky, but headed your way, mate.</dialogue> <character>ETHAN</character> <dialogue>Copy that.</dialogue> <parenthetical>( to Nyah . )</parenthetical> <dialogue>Who do you like? In the race?</dialogue> <character>NYAH</character> <parenthetical>( nervous , she 's heard Billy too . )</parenthetical> <dialogue>What race are we talking about?</dialogue> </scene> <scene> <stage_direction>INT. - VAN (DAY)</stage_direction> <scene_description>A sweaty Luther :</scene_description> <character>LUTHER</character> <dialogue>I'm booted up. Go, Ethan.</dialogue> <character>BILLY'S VOICE</character> <dialogue>He's heading down the stairs, now.</dialogue> <scene_description>Ethan places the digital camera on play and begins to go thru the stills . As they cliff off , Ethan is visibly affected . LUTHER IN THE VAN watches the stills as well . He 's no less affected . ETHAN WITH NYAH He mutters some expletive under his breath , then , evenly :</scene_description> <character>ETHAN</character> <dialogue>I want you out of Ambrose's place.</dialogue> <character>BILLY'S VOICE</character> <dialogue>He's one tier from the bottom.</dialogue> <scene_description>Ethan glances over to the bottom of the stairs .</scene_description> <character>NYAH</character> <dialogue>What are you talking about?</dialogue> <scene_description>As he lowers camera and removes the memory card .</scene_description> <character>ETHAN</character> <dialogue>I want you out of there.</dialogue> <character>NYAH</character> <dialogue>Why? What's happened. What did you see?</dialogue> <character>BILLY</character> <dialogue>Thirty steps.</dialogue> <scene_description>Slipping card back into envelope .</scene_description> <character>ETHAN</character> <dialogue>Nyah, you've done more than enough. Even the best of snake charmers get bit.</dialogue> <character>NYAH</character> <dialogue>Ethan, tell me -</dialogue> <character>BILLY'S VOICE</character> <dialogue>Twenty, nineteen.</dialogue> <scene_description>Ethan 's been talking to someone he 's been urging to walk , not run to the nearest exit . Now he drops all pretence :</scene_description> <character>ETHAN</character> <dialogue>I want you out of Australia!</dialogue> <parenthetical>( more quickly . )</parenthetical> <dialogue>. I do n't know how much more plainly I can put it.</dialogue> <character>NYAH</character> <dialogue>How do you suggest I go about it?</dialogue> <character>ETHAN</character> <dialogue>He's touched your heart. You're overwhelmed. You need to think it over. You'll meet him somewhere in a month. If You're not out in 48 hours I'm coming in and getting you out. Give me the ear piece.</dialogue> <scene_description>She just gets it out of her hear and gives it to Ethan when she reaches the bookie who warns her to get down her bet . She gives him her money and gets the tickets just as the buzzer goes off - no more bets . Flustered by it she picks up her tickets but drops the envelope . She quickly kneels and scrambles to recover it , tucking it away and looking up - to see Stamp standing over her . almost exactly where Ethan had stood when she looked away . NYAH tries not to register alarm while she gauges how much Stamp had seen .</scene_description> <character>STAMP</character> <dialogue>Get your bet down?</dialogue> <character>NYAH</character> <dialogue>Just.</dialogue> <scene_description>She rises . Stamp waits only a moment then follows . AT THE PRIVATE BLEACHERS -LRB- DAY -RRB- everyone 's on their feet , the horses are in the backstretch . Ambrose is watching the race through binoculars . Nyah comes up behind and puts her arms around him . With her left hand she puts the envelope into his right jacket pocket .</scene_description> <character>AMBROSE</character> <dialogue>Your nag is making a run for it on the outside!</dialogue> <parenthetical>( lowering binoculars . )</parenthetical> <dialogue>Bloody hell, Nyah!</dialogue> <scene_description>She 's momentarily startled . Then :</scene_description> <character>AMBROSE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You picked another winner!</dialogue> <character>NYAH</character> <dialogue>Well, that's good, is n't?</dialogue> </scene> <scene> <stage_direction>INT. SHEEP FARM IMF SAFEHOUSE - DAY</stage_direction> <scene_description>A BLOW UP of a shot from a digital camera card .</scene_description> <character>ETHAN'S VOICE</character> <dialogue>Dr. Segi Gradski, Nekhorvich's colleague and lifelong friend.</dialogue> <scene_description>The photos is coded with the data in the lower left hand corner , 01.27.99 , the time in the right , 10:02:56 A.M. Burned into the photo is '20 hours , 03 minutes after exposure . ' Ethan paunches in .</scene_description> <character>ETHAN'S VOICE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Twenty hours and three minutes after exposure.</dialogue> <parenthetical>( sotto voce . )</parenthetical> <dialogue>Twenty hours.</dialogue> <scene_description>Ethan does n't say anything for a moment , then goes on to the next photo on the card : '25 hours , 40 minutes after exposure . ' It 's Gradski again . Gradski 's eyes are darkly circled , his skull look mottled .</scene_description> <character>ETHAN</character> <dialogue>Six hours later.</dialogue> <scene_description>Another photo : '31 hours , 30 minutes after exposure . ' Gradski 's bleeding from nose , mouth and ears , the skin eruptions are pervasive , his body an open wound .</scene_description> <character>ETHAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Six more hours.</dialogue> <scene_description>The next photo . '34 hours , 25 minutes after exposure . ' Gradski 's body at rest .</scene_description> <character>ETHAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Three hours after that, Gradski was dead.</dialogue> <character>LUTHER</character> <dialogue>Here's a victim from the Bruny Island outbreak.</dialogue> <scene_description>The victim 's face shows a devastation undeniably like Gradski 's . A long , long moment as Ethan , Luther , and Billy sit in silence .</scene_description> <character>BILLY</character> <dialogue>Oh, happy day.</dialogue> <scene_description>Ethan looks again at the first photo of Gradski .</scene_description> <character>ETHAN</character> <dialogue>Nekhorvich said ` However we travel, I must arrive at my destination within 20 hours hours of departure.'</dialogue> </scene> <scene> <stage_direction>EXT. AMBROSE VERANDA - LATE AFTERNOON</stage_direction> <scene_description>CLOSE - NYAH Nyah is on the balcony . Ambrose enters with two glasses of champagne .</scene_description> <character>AMBROSE</character> <dialogue>To Australia. It's made so many convicts feel at home. Here's hoping it does the same for you.</dialogue> <scene_description>He laughs . She does n't .</scene_description> <character>NYAH</character> <dialogue>Sean, there's something I've been meaning to talk to you about. Is n't going to be easy for me to say.</dialogue> <character>AMBROSE</character> <parenthetical>( jocular . )</parenthetical> <dialogue>Then do n't say it.</dialogue> <character>NYAH</character> <dialogue>I do n't know what to do about you, Sean. I'm more than a bit muddled. I need time.</dialogue> <character>AMBROSE</character> <dialogue>To do what?</dialogue> <character>NYAH</character> <dialogue>Sort it all out.</dialogue> <character>AMBROSE</character> <dialogue>And you're going to have time. There's been a change of plans.</dialogue> <character>NYAH</character> <dialogue>A change of plans?</dialogue> <character>AMBROSE</character> <dialogue>Yes. We wo n't be able to have dinner tonight. Something's come up. I hope you do n't mind.</dialogue> <character>NYAH</character> <dialogue>Oh, no, not at all. Maybe just a bit.</dialogue> <character>AMBROSE</character> <dialogue>Ulrich will be about. He'll look after you.</dialogue> <character>NYAH</character> <dialogue>Lovely.</dialogue> </scene> <scene> <stage_direction>INT. - AMBROSE STUDY (LATE AFTERNOON)</stage_direction> <scene_description>Ambrose enters , slips off his jacket and hangs it over a chair . He walks to a desk and brings up a computer the Biocyte website and McCloy infomercial . Stamp notes that Ambrose is on the computer and moves to the desk .</scene_description> <character>STAMP</character> <dialogue>I thought you were going to dinner.</dialogue> <character>AMBROSE</character> <parenthetical>( pulling up something on the computer . )</parenthetical> <dialogue>Hugh, take care of the Nekhorvich memory card.</dialogue> <character>STAMP</character> <dialogue>Where is it?</dialogue> <character>AMBROSE</character> <dialogue>In the envelope in my pocket. My right. jacket. pocket.</dialogue> <scene_description>Stamp leans over and pulls out the envelope . As he does he sees Ambrose has pulled up and started to play McCloy 's informercial .</scene_description> <character>AMBROSE</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( calmly . )</parenthetical> <dialogue>We've got an opportunity here. I'm not going to miss it.</dialogue> </scene> <scene> <stage_direction>INT. SHEEP FARM - ETHAN &amp; CREW</stage_direction> <scene_description>CAMERA CARD PHOTOS a microscopic view of myriads of ugly green spiky objects amid exploding red ones .</scene_description> <character>ETHAN</character> <dialogue>Chimera attacking human blood.</dialogue> <scene_description>One more shot . A lavender stained group of spiky objects amid exploding the green ones .</scene_description> <character>ETHAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Bellerophon attacking Chimera.</dialogue> <scene_description>On an adjacent screen is a frozen frame of McCloy looking thru the digital camera at the racetrack .</scene_description> <character>BILLY</character> <dialogue>Ambrose obviously got these from Nekhorvich on the plane.</dialogue> <character>LUTHER</character> <dialogue>What manic invents disease like that in the first place? Why would he do it?</dialogue> <character>ETHAN</character> <dialogue>I do n't know, but Nekhorvich was not a manic. Get me a twenty on Nyah.</dialogue> <character>LUTHER</character> <dialogue>She must still be on the property.</dialogue> <character>ETHAN</character> <dialogue>I told her to get outta there.</dialogue> </scene> <scene> <stage_direction>EXT. - LIMO (EVE)</stage_direction> <scene_description>McCloy gets in the rear of the limo and lights up a cigar . The limo takes off . another car pulls out and tags along behind the limo .</scene_description> </scene> <scene> <stage_direction>INT. - OTHER CAR (MOVING)</stage_direction> <scene_description>Michael at the wheel .</scene_description> </scene> <scene> <stage_direction>INT. - LIMO - MOVING (EVE)</stage_direction> <scene_description>McCloy does n't like the taste of the cigar , goes to toss it out but the electronic window button does n't work . He notices the evening paper partially open on the seat . His name leaps out . He opens the paper THE HEADLINES announce that John C. McCloy , CEO of Biocyte , Inc. , one of the world 's leading pharmaceutical companies , has died of a straight and terrible strain of influenza Shocked , McCloy drops the paper , calling out :</scene_description> <character>MCCLOY</character> <dialogue>George. George. George.</dialogue> <scene_description>The drover does n't turn around . McCloy ca n't believe it . He bangs on chauffeur window . The driver turns on the air conditioning in the rear of the limo . McCloy clutches his throat and passes out .</scene_description> </scene> <scene> <stage_direction>INT. ICU UNIT - NIGHT</stage_direction> <scene_description>MCCLOY regains consciousness . He 's got tubes coming out of every orifice and is contained in the equivalent of a plastic bubble . Drenched in perspiration and he looks around for a call button . He grips the side of the bed .</scene_description> <character>MCCLOY</character> <dialogue>Bloody room. just. shut your eyes, shut your eyes.</dialogue> <scene_description>He ca n't resist . Opens them to look up thru the plastic to see : NEKHORVICH a shimmering blur coming in and out of focus .</scene_description> <character>MCCLOY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I'll be buggered! What's this then?</dialogue> <character>NEKHORVICH</character> <dialogue>A visit from an old friend.</dialogue> <character>MCCLOY</character> <dialogue>What's happening here? You're dead!</dialogue> <character>NEKHORVICH</character> <dialogue>Fatigued, certainly. But dead is a little extreme. On the other hand, when me dear Gradski had your pulse and blood pressure he has less than ten hours to live.</dialogue> <character>MCCLOY</character> <parenthetical>( confused . )</parenthetical> <dialogue>It was in the bloody papers, on the telly. what's this about Gradski?</dialogue> <character>NEKHORVICH</character> <dialogue>You are infected with Chimera, my friend.</dialogue> </scene> <scene> <stage_direction>INT. - AMBROSE BEDROOM (NIGHT) NYAH</stage_direction> <scene_description>is on the phone .</scene_description> <character>NYAH</character> <dialogue>International, please. I'd like to make a reservation on the next available flight tonight.</dialogue> <character>OPERATOR</character> <dialogue>Where to?</dialogue> <character>NYAH</character> <dialogue>Where is next available flight going?</dialogue> <scene_description>The operator answers .</scene_description> <character>NYAH</character> <dialogue>Fine. I'll take it.</dialogue> <scene_description>She hangs up , goes to the door . The house is eerily silent . POV - STAIRWELL -LRB- NIGHT -RRB- a play of shadows , the sound of the kitchen fridge . CLOSE - NYAH Moves softly downstairs &amp; hesitates at bottom , glancing about .</scene_description> <character>NYAH</character> <dialogue>Ulrich? Ulrich!</dialogue> <scene_description>Silence . she goes into the kitchen . No one . She goes out the door .</scene_description> </scene> <scene> <stage_direction>EXT. SYDNEY - NIGHT</stage_direction> <scene_description>OVER NYAH 'S SHOULDER - MOVING running pell - mell down to the shore . Stops . Looks outside the small skiff moored at the end of the dock . It 's dark and she decides to chance it . She moves onto the pier , trying to glide by the boathouse . A figure darts out and grabs her . She tries to scream but ca n't . The figure whips her around and she sees :</scene_description> <character>ETHAN</character> <dialogue>Easy, easy, easy, shhh!</dialogue> <character>NYAH</character> <dialogue>Oh Ethan!</dialogue> <scene_description>She throws her arms around him .</scene_description> <character>ETHAN</character> <dialogue>Are you okay?</dialogue> <character>NYAH</character> <dialogue>I am now. Get me out of here. Just get me out of here.</dialogue> <character>ETHAN</character> <dialogue>It's going to be okay.</dialogue> <scene_description>He holds her .</scene_description> </scene> <scene> <stage_direction>INT. - HOSPITAL ROOM</stage_direction> <scene_description>McCloy 's strapped down , but manages to reach the call button and push it . Again and again .</scene_description> <character>NEKHORVICH</character> <dialogue>No use, my friend. The medical staff wants no part of this. Doctors do n't fancy the idea of dying any more than anybody else.</dialogue> <scene_description>McCloy stares at Nekhorvich for a long moment .</scene_description> <character>MCCLOY</character> <dialogue>How could I possibly be infected?</dialogue> <scene_description>Nekhorvich shrugs .</scene_description> <character>NEKHORVICH</character> <dialogue>That's exactly what Gradski said - 27 hours before he died. With Chimera, the most minute exposure can be fatal.</dialogue> <scene_description>McCloy again looks at his vital sign on the monitor . He grips the edge of the hospital bed .</scene_description> <character>NEKHORVICH</character> <dialogue>But then you should n't be feeling to ill. not for another three of four hours anyway.</dialogue> <scene_description>McCloy breaks a fresh sweat in a sudden spasm of anxiety .</scene_description> <character>MCCLOY</character> <dialogue>You have Bellerophon.</dialogue> <character>NEKHORVICH</character> <parenthetical>( mildly . )</parenthetical> <dialogue>Do I?</dialogue> <character>MCCLOY</character> <dialogue>You took it! All of it! And what if I need it?</dialogue> <character>NEKHORVICH</character> <parenthetical>( amused . )</parenthetical> <dialogue>` If?' My, my, my. the five hundred people on Bruny Island that you deliberately infected with Chimera needed it as well.</dialogue> <character>MCCLOY</character> <dialogue>Oh, please! How was I to know they had to be treated with Bellerophon within twenty hours?</dialogue> <character>NEKHORVICH</character> <dialogue>By asking me.</dialogue> <character>MCCLOY</character> <dialogue>You still do n't get it, do you? You want to make an omelet, you break a few eggs - I needed to know just how bad the disease was - in the real world, not the lab. And you never know til you try. You thought you were genetically splicing together strains of influenza to create a cure for all influenzas. But I saw you creating a disease so terrible in Chimera that the cure would be priceless.</dialogue> <character>NEKHORVICH</character> <dialogue>You wanted the disease in order to peddle the cure.</dialogue> <character>MCCLOY</character> <dialogue>Well, the thought had occurred to me. I needed Chimera in order to peddle Bellerophon. For hero to be appreciated, you need a monster. Now that's not so difficult to understand, is it? Look, time was a shot of penicillin could knock off every bloody bug in the zoo! Not anymore! have you any idea the R&amp;D money it takes to float one little pissy boutique antibiotic that's barely effective against one strain of one bacterium? If I could n't makes money killing the microscopic little shits that are out there, you'd help me put one out there I can make on! there it is. I've confessed. I, John C. McCloy, am in business to make money. Lilly's making billions feeding Prozac to depressed dogs. Pfizer does n't even know where to put the money they're making on Viagra, and let me tell you that shit did n't do a thing for me even at twice the recommended dose, Jesus, who do I have to screw to get a a break! now get me out of here, get me treated and let's go back to work!</dialogue> <character>NEKHORVICH</character> <dialogue>You know, I think it's a little late for that. Do give my regards to Gradski if you see him.</dialogue> </scene> <scene> <stage_direction>INT. - HALLWAY (OUTSIDE MCCLOY'S ROOM)</stage_direction> <scene_description>Nekhorvich heaves a sigh and rips off a latex mask , and the vocal oscillator , revealing an exhausted Ethan . Angle widens to include Luther and Billy in hospital greens . Luther and Billy nod in disgusted assent .</scene_description> </scene> <scene> <stage_direction>EXT. - ANNEX (NIGHT) NYAH</stage_direction> <scene_description>holds tight in her embrace with Ethan .</scene_description> <character>NYAH</character> <dialogue>Ethan, you know what frightens me most when I'm with him? the thought of never seeing you. how are we getting out of here?</dialogue> <character>ETHAN</character> <dialogue>Nyah, it's very important not do anything to alarm Ambrose.</dialogue> <character>NYAH</character> <dialogue>What? You told me to get out of here. I thought you were here to collect me. I was so relieved.</dialogue> <character>ETHAN</character> <parenthetical>( with growing urgency . )</parenthetical> <dialogue>No time to explain. You've done well, and we're so close. So close. It's critical that you do whatever Ambrose asks. Do n't worry - it'll be over soon. That's a promise. Come on, now off you go!</dialogue> <scene_description>He gives her an affectionate smile and she reluctantly heads back to the house , her expression troubled , even suspicious .</scene_description> </scene> <scene> <stage_direction>INT. - HALLWAY (OUTSIDE MCCLOY'S ROOM)</stage_direction> <scene_description>Having just taken off the mask , Ethan stands with Luther and Billy .</scene_description> <character>LUTHER</character> <parenthetical>( disgusted by what he 's heard . )</parenthetical> <dialogue>So Ambrose has Bellerophon and McCloy's got Chimera.</dialogue> <character>BILLY</character> <dialogue>There guys are walking around with different halves of the same dollar bill?</dialogue> <character>ETHAN</character> <dialogue>Ambrose got Bellerophon from Nekhorvich on the plane, but he did n't get the Chimera virus.</dialogue> <character>LUTHER</character> <dialogue>Yeah. Why else would he come back to Australia? If he had them both, he could sell them anywhere.</dialogue> <character>ETHAN</character> <dialogue>I kill Chimera at Biocyte and he's sitting on a cure without a disease.</dialogue> <character>LUTHER</character> <dialogue>You've got the voice print, I'll get us in.</dialogue> </scene> <scene> <stage_direction>EXT. - AMBROSE HOUSE (NIGHT)</stage_direction> <scene_description>Ethan enters and tears off his mask , revealing Ambrose filled with implacable rage . He looks up to see Stamp who 's been obviously waiting for him . Tearing the voice oscillator . Leaning with both hands on a counter - surveillance monitor table he stares at the floor , his face rictus of hateful intensity .</scene_description> <character>STAMP</character> <dialogue>You were right. Hunt stung McCloy tonight. He knows. They'll be going into Biocyte.</dialogue> <scene_description>Ambrose looks up slowly to Stamp who 's been standing by .</scene_description> <character>AMBROSE</character> <dialogue>Good. then we go where he'll be, do n't we? Well done, Hugh. Well done.</dialogue> </scene> <scene> <stage_direction>INT. LIMO - EVE</stage_direction> <scene_description>CHAUFFEUR 'S WINDOW being rapped on by the driver . MCCLOY wakes with a start . The window 's lowered - Billy 's in livery .</scene_description> <character>BILLY</character> <dialogue>You're home, guv ` ner. Home.</dialogue> <scene_description>It 's taking time to register . Then :</scene_description> <character>MCCLOY</character> <dialogue>- where's George. My regular driver. Where is he?</dialogue> <character>BILLY</character> <dialogue>Took ill, guv'. Touch of the flu. They say it's going around. Nasty business. Mind you do n't catch a chill now.</dialogue> <scene_description>Still dazed , McCloy manages to nod and exit the limo . Billy drives off . CLOSE - COMPUTER SCREEN - BIOCYTE BUILDING BLUEPRINTS -LRB- INT . SHEEP FARM SAFEHOUSE -RRB- including all specifications .</scene_description> <character>ETHAN</character> <dialogue>Luther, do you have the building up and running?</dialogue> <scene_description>Luther punches in and up comes a squat little island a hundred yards off shore , connected to the mainland by a wooden bridge .</scene_description> <character>ETHAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>That's not exactly it.</dialogue> <character>LUTHER</character> <dialogue>Sorry, that it a Biocyte facility, their storage structure.</dialogue> <character>ETHAN</character> <dialogue>Nyah still on the property?</dialogue> <character>BILLY</character> <dialogue>She has n't left it.</dialogue> <scene_description>Then :</scene_description> <character>LUTHER</character> <dialogue>Okay, here you go -</dialogue> <scene_description>As Luther speaks , the building - on his computer graphics , one with the BIOCYTE PHARMACEUTICALS ELEVATORS AND RENDERINGS , is being rapidly morphed to three dimension existence off the rendering specifications by Luther , as if the building itself were being constructed at a madly rapid pace , from its foundation to its reinforced steel structure , to its honeycombing of floors , to its outer skin . Luther 's reconstitution of the building lot static , but moving around and above it even as he proceeds .</scene_description> <character>ETHAN</character> <dialogue>Let's start from the inside out.</dialogue> <character>LUTHER</character> <dialogue>All storage and production of Chimera is done here, in this lab on the forty - second floor, the heart of the building.</dialogue> <scene_description>BIOCYTE LAB Only about eight personnel - chemists in lab coats , workers in bio - containment suits , etc. . - populate the lab , passing through security door and air locks , monitoring the virus stock , pading the injection gun , etc. .</scene_description> <character>LUTHER'S VOICE</character> <dialogue>Chimera itself is kept in two places : in production vials in an incubation room and housed in a small airtight chamber - inside three injection guns.</dialogue> <character>BILLY'S VOICE</character> <dialogue>Mate, you kill it in both places, we're laughin' and we go home.</dialogue> <scene_description>WITH LUTHER AND ETHAN</scene_description> <character>ETHAN</character> <dialogue>Now how to get in there.</dialogue> <character>LUTHER</character> <dialogue>No garage entrance. Lobby's protected by five guards on rotating patrol.</dialogue> <scene_description>Ethan watches the rendition of the Biocyte lobby on screen CLOSE - AMBROSE -LRB- NIGHT -RRB- in overhead light , his eyes are dark pits , somehow underlying her saturnine intensity :</scene_description> <character>AMBROSE</character> <dialogue>If you look at Hunt's operational history, he invariably favors misdirection and deception. For a start he wo n't go into Biocyte from the ground where he has to risk confrontation with security.</dialogue> <character>ETHAN</character> <dialogue>Not going in from the ground. Show me the atrium.</dialogue> </scene> <scene> <stage_direction>INT. - BIOCYTE ATRIUM SHAFT</stage_direction> <scene_description>The height and extent of the atrium are revealed , as well as its conclusion in a glass floor in the ceiling of the lab .</scene_description> <character>LUTHER'S VOICE</character> <parenthetical>( unhappily . )</parenthetical> <dialogue>The atrium? One of a kind. Runs down the center of the building. Provides 24 - hour natural light via mirrors and daylight storage cells. Optimal growing conditions for the virus. Ends in a glass floor which doubles as part of the lab's ceiling.</dialogue> <scene_description>WITH LUTHER AND ETHAN Luther sees the glint growing in Ethan 's eye .</scene_description> <character>LUTHER</character> <dialogue>Hey, atrium roof closes at sundown.</dialogue> </scene> <scene> <stage_direction>EXT. - BIOCYTE ATRIUM SHAFT</stage_direction> <scene_description>As the sun sets , the louvers of the atrium roof begin closing .</scene_description> <character>LUTHER'S VOICE</character> <dialogue>And if the louvers are open for more than thirty seconds at night, the Civil Emergency alarms are tipped. Those even I ca n't stop. Thirty seconds total to get you in and the cable out.</dialogue> <character>ETHAN</character> <dialogue>Security?</dialogue> <character>LUTHER</character> <dialogue>Thirty - second opening in the roof and a 250 - foot drop.</dialogue> <character>ETHAN</character> <dialogue>I'm not waiting 48 hours. When we're done at Biocyte, if she's not out of Ambrose's, I'm going in and getting her out.</dialogue> <scene_description>CLOSE - AMBROSE -LRB- NIGHT -RRB-</scene_description> <character>AMBROSE</character> <dialogue>No, Hunt will prefer to engage in some sort of acrobatic insanity to enter Biocyte somewhere through the atrium where security is minimal.</dialogue> <scene_description>Suddenly there 's the roar of helicopter rotors .</scene_description> </scene> <scene> <stage_direction>EXT. SYDNEY - NIGHT</stage_direction> <scene_description>ETHAN is poised , upside down , on cable against the Sydney skyline . THE ATRIUM LOUVERS begin to open .</scene_description> </scene> <scene> <stage_direction>INT. VAN</stage_direction> <scene_description>WITH LUTHER hurriedly working the atrium 's controls , hitting ` ENTER ' , repeatedly .</scene_description> </scene> <scene> <stage_direction>INT. - COPTER (HOVERING)</stage_direction> <character>BILLY</character> <dialogue>Package away in five. four. three. two. one.</dialogue> <character>LUTHER</character> <dialogue>I'm not ready!</dialogue> <character>ETHAN</character> <dialogue>I'm gone.</dialogue> <scene_description>Ethan plummets towards the atrium .</scene_description> </scene> <scene> <stage_direction>INT. VAN - NIGHT</stage_direction> <scene_description>WITH LUTHER</scene_description> <character>LUTHER</character> <parenthetical>( frantically working controls . )</parenthetical> <dialogue>C'mon! C'mon! C'mon!</dialogue> <scene_description>ETHAN 'S DESCENT is so swift it appears as though he 's going to hit the atrium louvers but as he reaches roof level they crack open just enough for him to dart thru like thread thru a needle Luther begins the countdown . His countdown continues , running under the action and dialogue below .</scene_description> <character>LUTHER'S VOICE</character> <dialogue>nineteen. eighteen. seventeen.</dialogue> <scene_description>ETHAN IN MID - DESCENT -LRB- MOVING -RRB- moves down the shaft of bluish light , past the building 's walls .</scene_description> <character>LUTHER'S VOICE</character> <parenthetical>( low . )</parenthetical> <dialogue>. sixteen. fifteen.</dialogue> <scene_description>Ethan streaks thru the beams of light toward the atrium floor .</scene_description> </scene> <scene> <stage_direction>INT. - ATRIUM FLOOR - ETHAN</stage_direction> <scene_description>reaches the end of the cord , slows himself to a stop and sees the security guard through the window . The guard starts as he catches a glimpse of Ethan 's reflection in the control panels .</scene_description> <character>ETHAN</character> <dialogue>Luther, I'm looking at security.</dialogue> <scene_description>CLOSE - LUTHER</scene_description> <character>LUTHER</character> <parenthetical>( utterly shocked . )</parenthetical> <dialogue>Oh. Uh. Commencing diversion.</dialogue> <parenthetical>( sotto voce , typing swiftly . )</parenthetical> <dialogue>Alarm in cosmetics.</dialogue> </scene> <scene> <stage_direction>INT. - ATRIUM FLOOR</stage_direction> <scene_description>Ethan swings himself up to the ledge above the guard 's window , putting himself out of the puzzled guard 's sight .</scene_description> <character>LUTHER'S VOICE</character> <dialogue>Got ta get that cable out.</dialogue> <scene_description>Ethan unhooks the cord and flips to the atrium floor . An alarm goes off .</scene_description> <character>LUTHER'S VOICE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>There it goes.</dialogue> <scene_description>Still confused and concerned , the guard does n't immediately react to the alarm or the ringing phone . He finally answers the phone .</scene_description> <character>GUARD #2'S VOICE</character> <parenthetical>( on phone . )</parenthetical> <dialogue>AY! what's the matter with you? Ca n't you hear the alarm's gone off in cosmetics?</dialogue> <scene_description>The first guard gives up what 's confused him .</scene_description> <character>GUARD</character> <parenthetical>( sarcastic . )</parenthetical> <dialogue>Right. Then I guess I'll have to trot off to see who's pinching eyeliner, wo n't I.</dialogue> <parenthetical>( exits , grumbling . )</parenthetical> <dialogue>I'll even check the stairwell on the way.</dialogue> <scene_description>UP ANGLE - CABLE being swiftly retracted toward the atrium 's opening as it closes .</scene_description> <character>BILLY</character> <dialogue>Retracting cable.</dialogue> <character>LUTHER'S VOICE</character> <parenthetical>( low . )</parenthetical> <dialogue>Three. two. one.</dialogue> <scene_description>UP ANGLE - ATRIUM The cable just makes it thru the atrium as the louvers close .</scene_description> <character>BILLY'S VOICE</character> <dialogue>Cable's clear.</dialogue> </scene> <scene> <stage_direction>INT. - ATRIUM FLOOR - ETHAN</stage_direction> <scene_description>reaches down and presses a silent beeper .</scene_description> </scene> <scene> <stage_direction>INT. VAN</stage_direction> <scene_description>WITH LUTHER sees a little red diamond - shaped light pop on his screen</scene_description> <character>LUTHER</character> <dialogue>Transponder activated. Reading package and Cable is clean.</dialogue> <parenthetical>( exhaling , relieved . )</parenthetical> <dialogue>He's on his way.</dialogue> <scene_description>Staring at the buildings control panels .</scene_description> </scene> <scene> <stage_direction>INT. ATRIUM</stage_direction> <scene_description>ETHAN hugs the floor just out of sight of the befuddled security guard .</scene_description> <character>AMBROSE'S VOICE</character> <dialogue>He'll make the attempt at the only possible time for both of us, 11 P.M. - when the guards rotate and the buildings air - filtration generators go active, covering the sound of his break - in.</dialogue> <scene_description>WITH LUTHER</scene_description> <character>LUTHER</character> <dialogue>Ethan, the generators are about to go active. We'll be out of contact for eleven minutes.</dialogue> <scene_description>CLOSE - GENERATORS dark and silent . GENERATORS turn over and roar to life . ETHAN AT BOTTOM OF ATRIUM cuts into the glass floor , pops it out , and drops thru the opening . None of it 's heard under the generators . Ethan drops onto the lab floor and heads across the lab and up the ramp to the hot zone .</scene_description> <character>AMBROSE'S VOICE</character> <dialogue>The frequency of the generators operate to our advantage - cutting radio communication from his team for the next eleven minutes.</dialogue> </scene> <scene> <stage_direction>INT. - BIOCYTE LOBBY (NIGHT)</stage_direction> <scene_description>Stamp , flanked by several of his team in Biocyte security guard uniform , crosses the lobby toward a pair of actual Biocyte security guards who appear more puzzled than alarmed at this unexpected influx .</scene_description> <character>ONE OF THE GUARDS</character> <dialogue>What's this, then? Reinforcements?</dialogue> <character>STAMP</character> <dialogue>Not exactly, mate.</dialogue> </scene> <scene> <stage_direction>INT. CONSTRUCTION VAN - NIGHT</stage_direction> <scene_description>WITH LUTHER His attention in drawn to a spot on the grid where Nyah 's transponder blip , a circular yellow one in contrast to Ethan 's , is moving . Troubled :</scene_description> <character>LUTHER</character> <dialogue>Billy. I think we got a problem. Nyah's on the wing. Up early. Billy, do you copy?</dialogue> </scene> <scene> <stage_direction>INT. - CHOPPER</stage_direction> <character>BILLY</character> <dialogue>Exactly where is she?</dialogue> <character>LUTHER</character> <dialogue>in the building.</dialogue> <character>BILLY'S VOICE</character> <dialogue>Say again. Sounds like you're saying ` she's in the building.'</dialogue> <character>LUTHER</character> <dialogue>I am. She is.</dialogue> <character>AMBROSE'S VOICE</character> <dialogue>Ethan does it the hard way to avoid confrontation. Neutralizing security guards is simply too distasteful to him.</dialogue> </scene> <scene> <stage_direction>INT. - BIOCYTE LOBBY</stage_direction> <scene_description>The two guards who had greeted Stamp and his arriving team lie inert on the lobby floor .</scene_description> <character>AMBROSE'S VOICE</character> <dialogue>I've never found that a problem.</dialogue> </scene> <scene> <stage_direction>INT. HELICOPTER - NIGHT</stage_direction> <scene_description>WITH BILLY Billy 's so surprised he momentarily gets loose with the copter and it banks off . As it and he recover :</scene_description> <character>BILLY</character> <dialogue>Right. Well, then. She's not likely to be alone. is she?</dialogue> <character>LUTHER'S VOICE</character> <dialogue>The question Is ` how many of'em?' I ca n't get thru to Ethan. Not'til the generators go off.</dialogue> <character>BILLY</character> <dialogue>When's that?</dialogue> <character>LUTHER'S VOICE</character> <dialogue>Not for another eight and a half minutes.</dialogue> <scene_description>WITH LUTHER staring at the red and yellow blips in vertical alignment , the Yellow one , Nyah , considerably below the red one , Ethan .</scene_description> </scene> <scene> <stage_direction>INT. - HOT ZONE ENTRANCE (NIGHT)</stage_direction> <scene_description>The door reads . DANGER : LIVE VIRUS : INCUBATION ZONE . EXPOSURE IS FATAL . Ethan pulls on a protective mask from his pack and puts a miniaturized recorder up to the voice print activator :</scene_description> <character>MCCLOY'S VOICE</character> <dialogue>John C. McCloy.</dialogue> <scene_description>Ethan 's buzzed into the hot zone . He steps into the air locks .</scene_description> </scene> <scene> <stage_direction>INT. - SHEEP FARM IMF SAFEHOUSE</stage_direction> <scene_description>A small bomb is placed by the dark gloves of someone unseen .</scene_description> </scene> <scene> <stage_direction>EXT. - CONSTRUCTION VAN - NIGHT</stage_direction> <scene_description>a shadow falls across the dirt in front of the bumper . A SMALL OBJECT with a digital clock face , its red LED illuminating descending numbers , is carefully placed inside the bumper . The magnet on it does n't quite catch . It 's then placed more carefully .</scene_description> </scene> <scene> <stage_direction>INT. - CONSTRUCTION VAN</stage_direction> <scene_description>Luther does n't pick up on the faint metallic sound just outside . He 's concentrating on the flashes on the screen showing the transponder rising in the building . Increasingly desperate :</scene_description> <character>LUTHER</character> <dialogue>It looks like Nyah's headed toward an elevator.</dialogue> <scene_description>ETHAN working meticulously an a computer monitor . DOWN ANGLE - ELEVATOR DOORS and a security guard 's body lying in the corridor . A pair of trousered legs step over the body and into the elevator joining Nyah 's legs and feet , and other pairs of trousered legs . The elevator doors close .</scene_description> <character>AMBROSE'S VOICE</character> <dialogue>If Hunt actually manages to squeak thru the atrium he's liable to make it to Chimera before we will.</dialogue> <scene_description>CLOSE LUTHER On his computer screen the yellow dot continues its ascent , the two dots growing ever closer .</scene_description> <character>LUTHER</character> <dialogue>She's in the elevator heading toward Ethan.</dialogue> <character>BILLY'S VOICE</character> <dialogue>How much longer before you can reach him?</dialogue> <character>LUTHER</character> <dialogue>Five and a half minutes.</dialogue> <parenthetical>( looking at his chronometer . )</parenthetical> <dialogue>He's breached the hot zone.</dialogue> <character>AMBROSE'S VOICE</character> <dialogue>On the other hand we know where Hunt will be and he does n't know we're coming.</dialogue> </scene> <scene> <stage_direction>INT. - INCUBATION ZONE</stage_direction> <scene_description>In front of each of three large television monitors is a vial shaped roughly like a sealed beaker somewhere between one and two liters in size . Each one is contained behind Plexiglas and each one pale yellow , one sunset red . Behind them are monitors marked , respectively : WORKING SEED STOCK , MASTER SEED STOCK , IN VITRO VIRUS . Behind these is a monitor screen with a blow - up of the contents of the vials &amp; the magnitude of the blow - up - 950,000 x . These are X - Ray microscope blow - ups , i.e. , allowing the viewer to see the motility of the virus and its metabolism , not dissimilar to an MRI this of Chimera in its three different cultures . Ethan 's on the computer controls , racing thru to WORKING SEED STOCK , which calls for optimal levels of 6.9 pH and 11 degrees Celsius . He drops the pH to zero and punches up the temperature to a hundred . The effect on the greenish hue in the bottle is subtle but immediate - not so subtle is the effect on the virus seeds viewed microscopically - they immediately appear agitated , their microscopic DNA innards contracting and expanding . Ethan moves on to the Master Seed Stock and the In Vitro Virus panels on the computer . The changes he makes are reflected on the digital monitoring panels before each viral container . THE WORKING SEED vial has begun to change colors from sea green to a paler pea - green . The liquid itself begins to thicken :</scene_description> <character>COMPUTER VOICE</character> <parenthetical>( female . )</parenthetical> <dialogue>Alert. Chimera - working - seed - stock - pH - and - temperature - level - outside - optimal range.</dialogue> <scene_description>As the liquid grows more viscous the X - Ray have a progressively more difficult time penetrating the individual cells , resulting in a low humming sound which grows as the liquid gels . ETHAN at the control panels for maintaining the virus .</scene_description> <character>ANOTHER COMPUTER VOICE</character> <dialogue>Alert. Chimera - master - seed - stock - pH - and - temperature - level - outside - optimal range.</dialogue> <character>FIRST COMPUTER VOICE</character> <dialogue>Alert. Chimera - working - seed - stock - pH - at - unacceptable - level.</dialogue> <character>THIRD COMPUTER VOICE</character> <dialogue>Alert. Chimera - in - vitro - pH - and - temperature - level - outside - optimal range.</dialogue> <character>FIRST COMPUTER VOICE</character> <dialogue>Alert. Chimera - working - seed - stock - pH - at - critical - level. Alert. Stock - life threatened. Alert.</dialogue> <scene_description>The X - Ray microscope shows the individual seed - cells sticking together , some exploding , then all movement ceasing . The Liquid itself is suddenly shod thru fluorescent sparks before it congeals to an opaque mush .</scene_description> <character>FIRST COMPUTER VOICE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Alert. Chimera stock life. terminated.</dialogue> <scene_description>Simultaneously with the seed stock , Ethan 's damaging both the working seed in - vitro virus . WIDE ANGLE - HOT ZONE Ethan places a little plastique on a timer and runs up a ramp to the decontaminant air lock at the back entrance to the hot zone .</scene_description> <character>BILLY'S VOICE</character> <dialogue>How're we doin', then?</dialogue> <character>LUTHER</character> <dialogue>He should've have killed the virus in the incubation area. Nyah's exited the elevator on the same level as the lab.</dialogue> <character>BILLY'S VOICE</character> <dialogue>What can we do' mate?</dialogue> <character>LUTHER</character> <parenthetical>( staring at them . )</parenthetical> <dialogue>Hope he kills all the bugs before the yellow dot gets to the red one.</dialogue> <scene_description>CLOSE - LUTHER 'S SCREEN The read and yellow blips are now on the same plane . The yellow dot moves toward the red one as if drawn by a slow motion magnet . DOWN ANGLE - ETHAN looking up as his entire body is hit with air like he 's a wind tunnel . When the air flow ceases , a green light goes on .</scene_description> <character>COMPUTER VOICE</character> <dialogue>Subject is contaminate free. Zero contaminate factor. Subject contaminate free.</dialogue> <scene_description>ETHAN - GLASS OBSERVATION ROOM heads up a ramp to the three injection guns . Hands in gloves he reaches into the chamber for one of the injection guns .</scene_description> <character>LUTHER'S VOICE</character> <dialogue>He's still got three injection guns in the test lab. They're loaded with doses of Chimera which he'll destroy by firing into a hyper - thermal chamber.</dialogue> <scene_description>He places the barrel of the gun , seals the chamber , and fires . There 's a tiny flash of light . Ethan withdraws the gun .</scene_description> </scene> <scene> <stage_direction>INT. - CONSTRUCTION VAN</stage_direction> <scene_description>Luther 's sweating it as the clock counts down : :30 , :29 , :28 .</scene_description> <character>LUTHER</character> <dialogue>- twenty - seven, twenty - six, twenty - five, come on, Ethan we're almost there! I - I'm off sensitive for this.</dialogue> <scene_description>In a spasm of anxiety Luther bolts to his feet , wipes his brow .</scene_description> <character>LUTHER</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>- eighteen seconds, the generators'll be off and Ethan's back on line.</dialogue> <scene_description>Luther glances thru the van window only to see reflected in the van side mirror :</scene_description> </scene> <scene> <stage_direction>EXT. CONSTRUCTION VAN</stage_direction> <scene_description>MIRROR REFLECTION - CHROME BUMPER reflected in it is the face of a digital clock , its red LED illuminating the clock 's numbers fourteen - thirteen - twelve - WITH LUTHER</scene_description> <character>LUTHER</character> <parenthetical>( realizing what he 's in for . )</parenthetical> <dialogue>Oh - oh - oh -</dialogue> <scene_description>Even as he moans he 's frantically ripping out the computer and cords dangling , hotfoots toward the van exit .</scene_description> </scene> <scene> <stage_direction>INT. - HOT ZONE - GLASS OBSERVATION ROOM</stage_direction> <scene_description>Ethan fires the second injection gun . Picks up the third and last . He pauses as he 's about to fire it , staring intently suddenly the gun is held by : NEKHORVICH who turns the barrel from the hyper - thermal chamber and releases into his wrist . BACK TO ETHAN - GLASS OBSERVATION ROOM whose vision of of Nekhorvich fades . Still thinking of Nekhorvich he continues to stare at the gun for another moment and before he can fire :</scene_description> </scene> <scene> <stage_direction>INT. - SHEEP FARM IMF SAFEHOUSE</stage_direction> <scene_description>The bomb 's LED readout shows 6 , 5 , 4 , 3 , 2 , 1 . As it reaches 0 a small light on the bomb suddenly stops its incessant blinking .</scene_description> </scene> <scene> <stage_direction>EXT. - VAN</stage_direction> <scene_description>explodes . Saw horses and dirt fly .</scene_description> </scene> <scene> <stage_direction>INT. - GLASS OBSERVATION ROOM - ETHAN</stage_direction> <scene_description>looks up just in time to see Ambrose and team arrive at the far end of the lab . They immediately open fire , shattering the room 's walls and the glass injection gun chamber . As the injection gun begins falling to the lab floor below , one of Ambrose 's team runs to grab it , but before he can reach it he is shot by Ethan , who 's falling to the floor below .</scene_description> <character>AMBROSE</character> <parenthetical>( to Ulrich . )</parenthetical> <dialogue>Get it.</dialogue> <scene_description>As Ethan hits and dives for cover , Ulrich goes for the gun Ethan shoots Ulrich in the leg . Ulrich hops back in pain .</scene_description> <character>AMBROSE</character> <dialogue>Those were two explosions, your van and your safehouse, in case you did n't hear them both - I believe that means you've also lost a friend.</dialogue> <scene_description>Ethan 's crouching on the ground protected behind a series of vertical metal sheets .</scene_description> <character>ETHAN</character> <dialogue>And you could n't walk to tell me about it.</dialogue> <scene_description>Ethan moves to pick up the injection gun which lies in the shattered glass on the floor . Ambrose , Wallis , and a couple of other Ambrose team members fire , kicking up broken glass . Ethan backs off .</scene_description> <character>AMBROSE</character> <parenthetical>( yelling . )</parenthetical> <dialogue>Hold your fire, dammit!</dialogue> <scene_description>The two spot one another in a mirror on the far wall of the hot zone .</scene_description> <character>AMBROSE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Well, Hunt. How've you been?</dialogue> <character>ETHAN</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Fight a bit of a cold.</dialogue> <character>AMBROSE</character> <dialogue>And you're happy about that?</dialogue> <character>ETHAN</character> <dialogue>Beats fighting the flu, I'm here to tell you.</dialogue> <character>AMBROSE</character> <dialogue>You know, that was the hardest part of having to portray you. Grinning like an idiot every fifteen minutes.</dialogue> <character>ETHAN</character> <dialogue>I would've thought the hardest part was exercising restraint. Curbing that pressing need of your to get your gun off. You were in such a hurry to knock off that 747, you never figured out where the virus really was.</dialogue> <character>AMBROSE</character> <dialogue>I knew where it was.</dialogue> <character>ETHAN</character> <dialogue>Oh. then you knew the only way could smuggle the live virus to the CDC scientists in Atlanta was by injecting himself and using his own bloodstream as a Petri dish, doing it inside of twenty hours so he could take the anti - virus and still have it be effective. You knew that while you were knocking him off and destroying the very thing you came for.</dialogue> <scene_description>Ethan has been using this exchange to ease a fresh seventeen round clip into his weapon and he punctuates this last with a spray of gunfire , attempting to cover his own effort to the reach the injection gun . The return fire nearly hits the injection gun , kicking up glass and dust and making it move around on the floor .</scene_description> <character>AMBROSE</character> <dialogue>Stop! Put a sock in it! Hit that bloody gun and you'll spray the bloody virus all over the place!</dialogue> <scene_description>Everybody 's regained cover but the injection gun remains out of everybody 's reach .</scene_description> <character>ETHAN</character> <dialogue>There it is, guys, the last of it.</dialogue> <character>AMBROSE</character> <dialogue>Yep. You've provided us with a golden opportunity to have both the bug and the bug killer.</dialogue> <character>ETHAN</character> <dialogue>What was the top bid?</dialogue> <character>AMBROSE</character> <dialogue>Why, you going to make me a better offer?</dialogue> <character>ETHAN</character> <dialogue>Than thirty - seven million pounds? Not really.</dialogue> <character>AMBROSE</character> <parenthetical>( not amused . )</parenthetical> <dialogue>Somebody's been slipping you our mail. Come on out here, you bad girl.</dialogue> <scene_description>Nyah walks out into view on her own . Ethan sees her reflection in the mirror . Enraged , but trying to control it .</scene_description> <character>ETHAN</character> <dialogue>She does n't belong here, Sean. Let her go.</dialogue> <character>AMBROSE</character> <dialogue>She would n't be here if it was n't for you, Hunt. from this moment you're responsible for what happens to her, and if you're looking out for her well - being, I suggest you advise her to pick up the gun and bring it to me. Ball's in your court, Hunt. What've you got to say? Nyah's waiting for your answer.</dialogue> <scene_description>A pregnant pause .</scene_description> <character>LUTHER'S VOICE</character> <parenthetical>( breaking through the static . )</parenthetical> <dialogue>Ethan, Nyah's in the building! Do you copy?</dialogue> </scene> <scene> <stage_direction>EXT. BIOCYTE</stage_direction> <scene_description>WITH LUTHER a mess amid the rubble of the construction van . ETHAN</scene_description> <character>ETHAN</character> <parenthetical>( dryly . )</parenthetical> <dialogue>Thank you.</dialogue> <character>ETHAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Sure he wo n't shoot you the minute he's got it?</dialogue> <character>AMBROSE</character> <dialogue>Oh, Hunt, please! One ca n't hold Nyah responsible for her actions.</dialogue> <character>ETHAN</character> <dialogue>In other words, you're calling her a flake.</dialogue> <scene_description>CLOSE - NYAH listening .</scene_description> <character>AMBROSE</character> <dialogue>You know women, mate. Like monkeys, they are. Wo n't let go of one branch til they've got a grip on the next. get it, Nyah. I'll cover you.</dialogue> <scene_description>Ambrose cocks his weapon .</scene_description> <character>AMBROSE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I'm waiting.</dialogue> <character>NYAH</character> <parenthetical>( not much more than body length from Ethan . )</parenthetical> <dialogue>This is n't exactly working out the way you thought it would, Ethan. Sorry.</dialogue> <scene_description>Finger on the injection trigger , she rises and turns the barrel on her arm , firing . The sound of the air pressure pushing the virus into her is unmistakable , as is the circle of tiny puncture wounds on her skin . Nyah moves in front of Ethan , covering him , as she turns to face Ambrose . ETHAN shocked by Nyah 's gesture but as she addresses Ambrose he resets the ` Countdown ' on his chronometer to twenty hours . As it drops into the nineteen :</scene_description> <character>AMBROSE</character> <parenthetical>( frustrated in the extreme . )</parenthetical> <dialogue>You. bitch!</dialogue> <scene_description>She 's been laughing away with Ethan :</scene_description> <character>NYAH</character> <dialogue>You're not going to shoot, Sean. Not this bitch. She's worth thirty - seven million pounds.</dialogue> <scene_description>CLOSE - ETHAN 'S HANDS fingers press a red button on a tiny detonator . There 's a bright heat flash from the hot zone and an explosion of gas and water - the plastique killing any airborne virus . Ethan uses the diversion to grab Nyah and run with her to the far side of the lab , behind a stock of horizontal cylinders .</scene_description> </scene> <scene> <stage_direction>INT. - LAB</stage_direction> <scene_description>Ambrose and team recover from the explosion and begin firing on the tanks protecting Ethan and Nyah , surrounding the two with fire and jets of released steam .</scene_description> </scene> <scene> <stage_direction>INT. - LAB - ETHAN AND NYAH</stage_direction> <scene_description>behind the stack of tanks . Ethan launches an explosive down a short hallway , blowing a hole in the building 's exterior wall .</scene_description> </scene> <scene> <stage_direction>INT. - ENTRANCES TO THE LAB</stage_direction> <scene_description>A group of Biocyte security guards enter from behind Ambrose and team and catch them off - guard . All hell breaks loose .</scene_description> </scene> <scene> <stage_direction>INT. - LAB - ETHAN AND NYAH</stage_direction> <character>ETHAN</character> <parenthetical>( outraged . )</parenthetical> <dialogue>What did you think you were doing!</dialogue> <character>NYAH</character> <dialogue>I was n't thinking! Just. trying to keep you from getting hurt, that's all.</dialogue> <scene_description>This hits Ethan with the force of a blow .</scene_description> <character>ETHAN</character> <dialogue>- you who do n't have a conscience.</dialogue> <character>NYAH</character> <parenthetical>( something of surprise to her . )</parenthetical> <dialogue>I guess I lied. You ca n't get both of us out of here, can you?</dialogue> <character>ETHAN</character> <dialogue>No.</dialogue> <character>NYAH</character> <dialogue>Then you'll have to kill me before it's too late. Before I start killing people.</dialogue> <character>ETHAN</character> <dialogue>No.</dialogue> <character>NYAH</character> <dialogue>I'm infected with Chimera. You know you do n't have a choice. Just do it now.</dialogue> <scene_description>She puts Ethan 's gun to her forehead .</scene_description> <character>NYAH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>For god's sake, get it over with.</dialogue> <scene_description>THE HAMMER pulls back . CLOSE - ETHAN He ca n't fire , lower the hammer .</scene_description> <character>ETHAN</character> <dialogue>We've got 19 hours and 57 minutes before you start killing anybody. I'll get Bellerophon into your system by then. Just stay alive. I'm not gon na lose you.</dialogue> <scene_description>Ethan runs from the cover of the tanks toward the exploded wall once in the open , he exchanges direct gunfire with Ambrose 's team , wounding a couple men . He reaches the wall and dives thru , camera with him as he drops 25 stories , the sound of gunfire in the air all around him . Less than a hundred feet from the ground a small dark chute deploys and Ethan is lost from view beneath it .</scene_description> </scene> <scene> <stage_direction>INT. CULTURAL ARTIFACT CENTER</stage_direction> <scene_description>PANNING SHOT - PAINTINGS of Aborigine paintings , eerie patterns made of man and nature phantasmagorical , like the patterns that form under the eyelids shortly before sleep . B.G. the haunting notes of didgeridoo insure they 're not being overheard .</scene_description> <character>SWANBECK</character> <parenthetical>( reading the paintings titles . )</parenthetical> <dialogue>` Dreaming of Birds and Flying Fox,' ` Bushfire Dreaming,' ` Wind Dreaming,' - oddly appropriate -</dialogue> <scene_description>Swanbeck breaks off and turns to a somewhat battered and battle weary Ethan :</scene_description> <character>SWANBECK</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>- since it appears that Chimera, the mother of all nightmares is on the loose somewhere around here - is there any way this disaster can be viewed as a qualified one?</dialogue> <character>ETHAN</character> <parenthetical>( tight - lipped . )</parenthetical> <dialogue>Not yet. We did manage to pull any sensitive equipment and material out of our safehouse wreckage.</dialogue> <character>SWANBECK</character> <dialogue>We could lock down passport control and all ports of authority, but that wo n't stop Ambrose, and beyond him, we do n't know who else we're looking for - all terrorist bank accounts of which we're aware are stable. No deposits, no withdrawals. Therefore no suspects.</dialogue> <character>ETHAN</character> <dialogue>We think we've got our finger on the buyer.</dialogue> <character>SWANBECK</character> <dialogue>Do you? Even assuming you're able to prevent Ambrose selling Chimera, you've now got an additional problem. You destroyed all of Chimera at Biocyte. If Ambrose is going to sell Chimera now, he'll have to do it by taking a pint or so of Miss Hall's blood to market.</dialogue> <character>ETHAN</character> <dialogue>Yes, I believe that's right.</dialogue> <character>SWANBECK</character> <dialogue>But that leaves another seven or eight pints of Chimera.</dialogue> <character>ETHAN</character> <dialogue>You mean that leaves Miss Hall.</dialogue> <character>SWANBECK</character> <dialogue>Yes, I believe that's right. Now my understanding is that 20 hours after exposure, the victim becomes infectious. Highly infectious.</dialogue> <scene_description>Ethan glances at his chronometer . Swanbeck sees it .</scene_description> <character>SWANBECK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You noted the time of exposure?</dialogue> <scene_description>Ethan nods .</scene_description> <character>SWANBECK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>- good. Then if you manage to get hold of Ambrose, and obtain what he's got, you've got -.</dialogue> <parenthetical>( glancing at the chronometer . )</parenthetical> <dialogue>- 8 hours 57 minutes and twenty - three seconds to destroy the largest remaining source of Chimera on earth.</dialogue> <character>ETHAN</character> <dialogue>She sacrificed herself.</dialogue> <character>SWANBECK</character> <dialogue>Brave girl. If you can get hold of Bellerophon with the time limit, you may spare her the ultimate sacrifice. But in either case you've got less than nine hours to kill her or cure her. After that it's out of our hands and a matter of worldwide material law. And Hunt. However you obtain it, we want you to preserve a sample of Chimera. Bring it back alive.</dialogue> <scene_description>Ethan 's staring at Swanbeck .</scene_description> <character>SWANBECK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Something else?</dialogue> <character>ETHAN</character> <dialogue>Are n't you even curious? About why she did it?</dialogue> <character>SWANBECK</character> <dialogue>No. I ca n't afford to be curious. And neither can you, Hunt.</dialogue> <scene_description>As the eerie wail of the didgeridoo seems to mount in volume and intensity , the overcast sky filtering into the loft seems particularly oppressive . Ethan 's up against it and he knows it . A VIEW OF SYDNEY from harbors to skyline in all its sunlight splendor . Nyah sits for a moment , looking steadily at Ambrose . Ambrose pats the cannister he 's carrying .</scene_description> <character>AMBROSE</character> <dialogue>Feel like pleading for your life?</dialogue> <character>NYAH</character> <parenthetical>( with an edge . )</parenthetical> <dialogue>Not as much as you feel like hearing it.</dialogue> <scene_description>Ambrose slaps her . With scarcely a flicker of hesitation she slaps him back .</scene_description> <character>AMBROSE</character> <dialogue>God damn it, Nyah! Why did you do it? Why did you save that bastard?</dialogue> <character>NYAH</character> <dialogue>If it'll make you feel any better I wo n't do it again.</dialogue> <scene_description>It does n't . Full of pain and rage , he gets out of the car .</scene_description> <character>AMBROSE</character> <dialogue>If it'll make you feel any better, you're going to take a lot of Aussies with you and make me a lot of money.</dialogue> <character>NYAH</character> <dialogue>What are you talking about?</dialogue> <character>AMBROSE</character> <dialogue>In just a few hours you can be assured of going down in history as the typhoid Mary of Oz. G'day.</dialogue> <scene_description>A nameless guard from Michael 's car idling nearby gets into the back seat with Nyah . Ambrose shuts the car door in Nyah 's face , gets in Michael 's car takes off .</scene_description> </scene> <scene> <stage_direction>EXT./INT. - IMF HELICOPTER - BLUFF</stage_direction> <character>ETHAN</character> <dialogue>Luther? Luther.</dialogue> <scene_description>Luther drops a tiny part into his computer board and , as he tries to fish it out with the aid of a magnifying glass :</scene_description> <character>LUTHER</character> <dialogue>Ethan, I keep telling you there's not a chance of locating Nyah til I access the satellite and there's not a chance of doing that til I get this thing booted up and running! How much time does she have left?</dialogue> <character>ETHAN</character> <dialogue>Ninety - seven minutes, twenty - seven seconds.</dialogue> <character>BILLY</character> <dialogue>Before we kill her or cure her.</dialogue> <character>LUTHER</character> <dialogue>Right.</dialogue> <character>ETHAN</character> <dialogue>Wrong. All we've got to worry about is Ambrose. Nyah will take care of Nyah.</dialogue> <character>BILLY</character> <dialogue>What are you talking about?</dialogue> <character>ETHAN</character> <dialogue>Unless we dose her with Bellerophon on the next ninety - seven minutes, Nyah will kill herself. So, first things, first. Swanbeck said there's no cash movement from any monitored terrorist accounts.</dialogue> </scene> <scene> <stage_direction>EXT. - BEAR ISLAND CAR PARK</stage_direction> <scene_description>McCloy 's black limousine is in the car park .</scene_description> <character>ETHAN'S VOICE</character> <dialogue>Confirms what Ambrose is gon na do -</dialogue> </scene> <scene> <stage_direction>INT. - TUNNEL - BEAR ISLAND</stage_direction> <scene_description>Barrels of toxic materials line the walls , as an armed guard patrols the corridor , leading into the main chamber , where we follow McCloy into</scene_description> </scene> <scene> <stage_direction>INT. - SLABHOUSE</stage_direction> <scene_description>McCloy enters and begins pacing .</scene_description> <character>ETHAN'S VOICE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>- who he's doing it with, and where he's gon na do it.</dialogue> </scene> <scene> <stage_direction>EXT. - MOTORCYCLE AND LINE OF VEHICLES (DAY)</stage_direction> <scene_description>speed along an isolated road in close formation before turning onto a side road , revealed as leading to a bridge across a small strip of water to a small island .</scene_description> </scene> <scene> <stage_direction>EXT. - BEAR ISLAND - LANDWARD SIDE (DAY)</stage_direction> <scene_description>As the cycles and vehicles cross the bridge and approach the front gate , the camera swings around the side of the island establishing the geography and the six cannon emplacements before coming to a stop on</scene_description> </scene> <scene> <stage_direction>EXT. - BEAR ISLAND - SEAWARD CLIFF - ETHAN</stage_direction> <scene_description>scaling the seaward side of the island with minimal gear</scene_description> </scene> <scene> <stage_direction>EXT./INT. - IMF HELICOPTER - BLUFF</stage_direction> <scene_description>resting like a giant locust , half hidden by a cluster of trees on the bluff overlooking Bear Island . Billy 's at the controls , with binoculars , maintaining surveillance of the island and environs . In the back , Luther is at Work on his GPS computer .</scene_description> <character>BILLY'S VOICE</character> <dialogue>Ethan's out from under the bridge and on the south - east face.</dialogue> </scene> <scene> <stage_direction>EXT. - CLIFF/VIEW OF TUNNEL</stage_direction> <scene_description>Ethan climbs the side of the cliff .</scene_description> <character>BILLY'S VOICE</character> <dialogue>Ethan, Ambrose and his tem have over the bridge -</dialogue> <character>ETHAN</character> <dialogue>Copy that.</dialogue> <scene_description>Ethan reaches the clifftop and sees armed guards patrolling .</scene_description> <character>BILLY'S VOICE</character> <dialogue>You all right, mate? From here it looks like very security. What's it look like like from there?</dialogue> <character>ETHAN</character> <dialogue>Risky.</dialogue> <scene_description>He 's over the top and moves swiftly to cover . Ethan surprises and kills a perimeter guard , then runs to a length of grating and lifts one of the panels . Ethan climbs down through the grating in the roof of the tunnel . Using a bar to swing down , he breaks a second guard 's neck and drops to the floor .</scene_description> </scene> <scene> <stage_direction>EXT. - BEAR ISLAND - ENTRANCE (DAY)</stage_direction> <scene_description>Ambrose and team drive through the entry gate - passing its BIOCYTE PHARMACEUTICALS sign and various no - nonsense warnings of ` No Trespassing , ' etc. . - before Biocyte security guards close it behind them .</scene_description> </scene> <scene> <stage_direction>INT. - TUNNEL - NEAR THE GRATING</stage_direction> <character>ETHAN</character> <dialogue>Breached the structure at the ten o'clock grating. In the tunnel moving toward the target.</dialogue> <scene_description>Ethan begins heading down the tunnel .</scene_description> </scene> <scene> <stage_direction>INT. - SLABHOUSE BUILDING</stage_direction> <scene_description>Ambrose and team enter , where McCloy and his CHEMIST and ACCOUNTANT are waiting . As Stamp stands back , observing , and Wallis sets up a laptop , Ambrose walks up to a refectory - like table and stands opposite McCloy . Ambrose reaches into his coat and puts two cannisters on the table in front of McCloy . McCloy 's chemist picks up the cannisters and inserts them into two chambers connected to his microscope .</scene_description> <character>CHEMIST</character> <dialogue>It's a DNA match. The blood's loaded with Chimera.</dialogue> <scene_description>An insert of the microscope plate shows the two samples , as Bellerophen destroys Chimera . The chemist presses a button on the chamber and there 's a heat flash . The chamber red light moves to green , and there 's a mechanical voice : ` Substance destroyed . '</scene_description> <character>CHEMIST</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>And they certainly have Bellerophen.</dialogue> <scene_description>The Kev cannister is out on the table .</scene_description> <character>MCCLOY</character> <dialogue>Well, then. You've got both the virus and the anti - virus, Chimera and Bellerophen. Which means I've thirty million for you</dialogue> <scene_description>Ambrose does n't respond .</scene_description> <character>MCCLOY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>That's all the cash I can come up with</dialogue> <character>AMBROSE</character> <dialogue>Not exactly. Wallis?</dialogue> <character>WALLIS</character> <parenthetical>( off Biocyte figures on laptop . )</parenthetical> <dialogue>More like two - two point two million.</dialogue> <character>AMBROSE</character> <dialogue>In any case we do n't want your cash.</dialogue> <character>MCCLOY</character> <dialogue>Then what do you want?</dialogue> <scene_description>Ambrose picks up a mobile phone and dials .</scene_description> <character>AMBROSE</character> <dialogue>Stock, Mr. McCloy. Stock options, to be a little more precise.</dialogue> <parenthetical>( into the phone . )</parenthetical> <dialogue>- cut her loose. right in the center of town. the more crowded the better.</dialogue> <parenthetical>( punching off , to McCloy . )</parenthetical> <dialogue>How quickly can you manufacture more of the antivirus.</dialogue> </scene> <scene> <stage_direction>INT. - TUNNEL - CAVITY IN THE WALL</stage_direction> <scene_description>As he moves along the tunnel , Ethan suddenly flattens himself against a wall as he receives a transmission from Luther .</scene_description> <character>LUTHER'S VOICE</character> <dialogue>Ethan, just picked up an Ambrose call - Nyah's been dropped off. I think she's alive.</dialogue> <character>ETHAN</character> <dialogue>Where is she?</dialogue> </scene> <scene> <stage_direction>EXT. - HELICOPTER - BLUFF</stage_direction> <character>LUTHER</character> <dialogue>Somewhere in Sydney.</dialogue> </scene> <scene> <stage_direction>INT. - TUNNEL - CAVITY IN THE WALL</stage_direction> <scene_description>Ethan hears something and ducks into a nearby cavity in the tunnel wall . As a guard approaches , Ethan steps out of the cavity and knocks the guard out , then throws him into the opposite wall .</scene_description> <character>LUTHER'S VOICE</character> <dialogue>Ethan? Do you copy?</dialogue> <character>ETHAN'S VOICE</character> <dialogue>` Somewhere in Sydney?' Care to harden the target?</dialogue> <character>LUTHER'S VOICE</character> <dialogue>Ca n't. Until I can get the GPS up on our computer. it's still down.</dialogue> <character>ETHAN</character> <dialogue>The clock is ticking.</dialogue> <scene_description>Back to the matter at hand , Ethan completes the move on the guard and knocks him out .</scene_description> </scene> <scene> <stage_direction>INT. - SLABHOUSE</stage_direction> <character>MCCLOY</character> <dialogue>Bellerophen? No time at all once I've got it.</dialogue> <character>AMBROSE</character> <dialogue>Good. Biocyte stock is just a week or two away from going through the roof.</dialogue> <character>MCCLOY</character> <parenthetical>( alarmed . )</parenthetical> <dialogue>What are you talking about?</dialogue> <character>AMBROSE</character> <dialogue>An outbreak of Chimera.</dialogue> <character>MCCLOY</character> <dialogue>Where?</dialogue> <character>AMBROSE</character> <dialogue>In downtown Sydney for a start.</dialogue> <scene_description>McCloy is stunned .</scene_description> <character>AMBROSE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You create the supply, Mr. McCloy, we've just created the demand. Three million people in Sydney and 17 million people in Australia are going to need Bellerophen within a matter of days. not to mention the rest of the world.</dialogue> </scene> <scene> <stage_direction>INT. - TUNNEL - OPEN AREA - ETHAN'S FEET</stage_direction> <scene_description>stealthily approach a couple dozen jittery pigeons , cooing and pecking . The intensity of their noise - making increases as Ethan reaches them .</scene_description> </scene> <scene> <stage_direction>INT. - TUNNEL - OUTSIDE OF THE SLABHOUSE ROOM DOORS</stage_direction> <scene_description>Hearing the disruption of the pigeons , one of Ambrose 's guards leaves his post at the double doors and head the tunnel toward the birds to investigate .</scene_description> </scene> <scene> <stage_direction>INT. - TUNNEL - OPEN AREA</stage_direction> <scene_description>Ambrose 's guard draws his gun and continues approaching the pigeons . Before the guard can see him , Ethan runs forward , and sends the pigeons into scattered flight , blinding the guard . Ethan jumps into a back flip and double kicks - first knocking away the guard 's gun and then knocking him out and flat on his back . Ethan continues his flip and lands right back on his feet .</scene_description> </scene> <scene> <stage_direction>INT. - SLABHOUSE</stage_direction> <character>AMBROSE</character> <dialogue>- now here's the way it's going to work. Wallis, the shares outstanding are.</dialogue> <character>WALLIS</character> <dialogue>Ninety - three point four million.</dialogue> <character>AMBROSE</character> <dialogue>Which means, Mr. McCloy, we have to get our hands on four hundred and eighty thousand options. We'll borrow your thirty million to buy those options. Your stock's never sold above thirty - one dollars a share. We'll agree to buy at fifty.</dialogue> <character>AMBROSE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>When your stock goes north of two hundred, and it will, those options will be worth billions. We can borrow whatever we need to buy the 48,000,000 shares, fifty - one percent of Biocyte.</dialogue> <character>MCCLOY</character> <dialogue>Outrageous. I wo n't let you take control of my company.</dialogue> <character>AMBROSE</character> <dialogue>Sit down. You'll be a billionaire. Better than being broke. I've got terrorists and other pharmaceutical companies standing in line. Ball's in your court, Mr. McCloy.</dialogue> </scene> <scene> <stage_direction>INT. - TUNNEL - OUTSIDE THE SLABHOUSE ROOM DOORS</stage_direction> <scene_description>Ethan pulls a can of explosive material form his pack . He rolls it towards the double doors , and it stops just before reaching them . Then , pointing his gun to the ceiling , he fires into the air .</scene_description> </scene> <scene> <stage_direction>INT. - SLABHOUSE ROOM - AMBROSE</stage_direction> <scene_description>hears a noise and looks to Stamp , who heard it as well . Stamp nods to two guards to check it out . They head across the room to the double doors .</scene_description> </scene> <scene> <stage_direction>INT. - TUNNEL - OUTSIDE THE SLABHOUSE ROOM DOORS - ETHAN</stage_direction> <scene_description>waits for the right moment before raising his and firing at the can of explosives . Just as it ignites , the guards open the doors and are blown back by force of the explosion .</scene_description> </scene> <scene> <stage_direction>INT. - SLABHOUSE ROOM - AMBROSE</stage_direction> <scene_description>reacts and turns toward the explosion . Amidst the flames and debris , a single white dove comes flying into the room . And beyond it , Ambrose can see Ethan Hunt in silhouette walking slowly past the doorway .</scene_description> <character>AMBROSE</character> <dialogue>Run that bastard down.</dialogue> <scene_description>Orders are shouted , and guards , along with Stamp , hotfoot it down the tunnel - corridor in the direction of the explosion .</scene_description> </scene> <scene> <stage_direction>INT. - TUNNEL - STAMP AND GUARDS</stage_direction> <scene_description>run down the tunnel . The guards move commando - style , directed by Stamp 's hand signals .</scene_description> </scene> <scene> <stage_direction>INT. - SLABHOUSE - MCCLOY AND AMBROSE</stage_direction> <scene_description>Ambrose loads his gun and drags the tip of the barrel along the table .</scene_description> <character>AMBROSE</character> <dialogue>We're running short on time, Mr. McCloy. We've got to conclude our business.</dialogue> <scene_description>McCloy pauses only a moment before nodding to his accountant .</scene_description> <character>MCCLOY</character> <dialogue>Yes, start the transfer.</dialogue> <scene_description>The accountant begins working on his laptop .</scene_description> <character>AMBROSE</character> <parenthetical>( to Wallis . )</parenthetical> <dialogue>Follow it. Let me know.</dialogue> </scene> <scene> <stage_direction>INT. - TUNNEL - STAMP AND GUARDS</stage_direction> <scene_description>pass a couple of doorways . A pigeon flies past Stamp 's face and he stops . As he turn , Ethan Lowers himself from a hiding place in the ceiling . Stamp and Ethan pull their guns on one another . They 're in a face - off until they both agree to drop their guns , but Stamp catches his in mid - air and points it back at Ethan .</scene_description> <character>ETHAN</character> <dialogue>You broke our deal.</dialogue> <character>STAMP</character> <dialogue>You're too trusting. Raise your hands slowly.</dialogue> <scene_description>As Ethan raises his hands , he pulls the pin on a grenade and then kicks it between Stamp 's legs . The handle flies off : It 's live . When Stamp looks down in surprise at the grenade , Ethan kicks out his gun . Trying to escape the grenade , Stamp smashes into Ethan and seems to have hit him in the jaw . Both hit the ground as the grenade explodes , with Stamp appearing to have the upper hand .</scene_description> </scene> <scene> <stage_direction>INT. - SLABHOUSE</stage_direction> <scene_description>As everyone waits for the transfer to complete , the grenade explodes out in the tunnel . McCloy and his accountant freeze with alarm as a sprinkling of dust settles on the room .</scene_description> <character>AMBROSE</character> <parenthetical>( to the accountant . )</parenthetical> <dialogue>Keep it going.</dialogue> <character>STAMP'S VOICE</character> <dialogue>Sean, this rat's reached the end of the maze.</dialogue> <character>AMBROSE</character> <parenthetical>( into walkie - talkie . )</parenthetical> <dialogue>Is he alive?</dialogue> <character>STAMP'S VOICE</character> <dialogue>More or less.</dialogue> <character>AMBROSE</character> <dialogue>Bring him to me.</dialogue> </scene> <scene> <stage_direction>INT. - HELICOPTER - BILLY AND LUTHER</stage_direction> <scene_description>Luther has the GPS computer starting to access the satellite .</scene_description> <character>BILLY</character> <parenthetical>( nervously . )</parenthetical> <dialogue>We're due to take off.</dialogue> <character>LUTHER</character> <dialogue>Not for seven more minutes.</dialogue> </scene> <scene> <stage_direction>INT. - SLABHOUSE - WALLIS</stage_direction> <scene_description>checking his computer screen , which shows the transfer has finished successfully .</scene_description> <character>WALLIS</character> <dialogue>Sean. Transfer complete.</dialogue> <scene_description>Stamp drags Ethan in , arms pinned with heavy tape . Stamp Ethan look grimy as sandbags after a busy day of tunneling . Ambrose rises to examine his prize .</scene_description> <character>MCCLOY</character> <parenthetical>( apprehensive . )</parenthetical> <dialogue>What exactly do you intend to do with him?</dialogue> <scene_description>Ambrose walks behind Ethan and kicks his knees out from under him . Ethan falls to the floor .</scene_description> </scene> <scene> <stage_direction>INT. - HELICOPTER - BILLY AND LUTHER</stage_direction> <character>LUTHER</character> <dialogue>Ethan? Ethan? Do you copy?</dialogue> <scene_description>Luther hears nothing in response but while noise . He looks to Billy and indicates there 's no answer .</scene_description> <character>ETHAN</character> <dialogue>Well, mate, maybe this is one of those times we should n't follow orders.</dialogue> </scene> <scene> <stage_direction>EXT. - HELICOPTER (DAY)</stage_direction> <scene_description>the rotor blades turn over .</scene_description> </scene> <scene> <stage_direction>INT. - SLABHOUSE BUILDING (DAY)</stage_direction> <character>AMBROSE</character> <parenthetical>( to Ethan . )</parenthetical> <dialogue>What have you got to say for yourself. Hunt? Any last words?</dialogue> <scene_description>Ethan appears as if he wants to respond , but ca n't . Ambrose kicks him again .</scene_description> <character>AMBROSE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Stop mumbling.</dialogue> <character>STAMP</character> <dialogue>Afraid he's got no choice. I believe I broke his jaw.</dialogue> <character>AMBROSE</character> <dialogue>Hugh, I'm impressed.</dialogue> <scene_description>Ambrose has picked up a pair of Berettas , and is proceeding to load both full seventeen round clips .</scene_description> <character>MCCLOY</character> <parenthetical>( anxiety mounting . )</parenthetical> <dialogue>What do you intend to do?</dialogue> <scene_description>Ambrose favors McCloy with a glance of genial exacerbation .</scene_description> <character>AMBROSE</character> <dialogue>You need n't watch.</dialogue> <scene_description>FULL SHOT - HELICOPTER -LRB- DAY -RRB- rising off the golf green , and banking toward the island .</scene_description> </scene> <scene> <stage_direction>INT. - SLABHOUSE (DAY)</stage_direction> <scene_description>Ambrose standing before Hunt with a pair of fully loaded Berettas . The sound of the helicopter grows .</scene_description> <character>AMBROSE</character> <dialogue>- right. We do n't have a lot of time, Hunt. whatever you've got to say, say it now.</dialogue> <scene_description>Ethan indeed makes some considerable effort to speak but can only manage a few guttural , progressively desperate sounds which continue as :</scene_description> <character>AMBROSE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Sorry mate, I ca n't understand a bloody word. How about giving us a big smile to remember you by?</dialogue> <parenthetical>( hearing the helicopter . )</parenthetical> <dialogue>No? Well, then. This is what's known as getting your gun off.</dialogue> <scene_description>With that Ambrose empties thirty four rounds from the two Berettas into Ethan whose body jerks crazily on the floor . McCloy nearly faints , and Ambrose laughs at his squeamishness until something on Ethan 's body catches his eye : the top of the little finger on the right hand is bleeding . Ambrose grabs Ethan 's face , and rips off a latex mask : revealing Stamp , eyes wide open and thoroughly lifeless . His jaw , under the mask had been taped carefully close with the same heavy tape Ethan has used to mount the drain - pipe shotgun on the tunnel wall .</scene_description> <character>AMBROSE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Bloody hell!</dialogue> <scene_description>He looks around , but Stamp is gone . So is the cannister and kevlar vest that had been on the table moments before .</scene_description> </scene> <scene> <stage_direction>EXT. - BEAR ISLAND</stage_direction> <scene_description>Ethan 's on the motorcycle , heading toward the gates , which a pair of security guards are frantically trying to close . Billy and Luther in the copter are over the island , and bank so Luther can fire a grenade launcher and blow the back of Ambrose 's boat . The guards close the gate , Ethan runs the motorcycle up the hillock and jumps the gate , over onto the bridge . Ambrose follows in the SUV , crashing thru the gate . They race across the bridge and the road , onto the huge greensward opposite to and similar in shape to Bare Island . There , with the helicopter hovering , Ambrose manages to corner Ethan and after they expend whatever ammunition their weapons hold , they move into each other bare handed and engage in ferocious , no - holds - barred combat , the helicopter hovering low enough to keep away whatever 's left of Ambrose 's henchmen , the chopper 's downdraft hitting them and flattening the grass around them . Ethan prevails . A SPECTACULAR VIEW OF SYDNEY on bluffs overlooking the city . Camera moves slowly to the top of the bluff .</scene_description> </scene> <scene> <stage_direction>EXT./INT. - IMF HELICOPTER (DAY)</stage_direction> <scene_description>With Billy flying and Luther at the door , machine gun in hand , the copter nears the Bare Island gun pit and Ethan .</scene_description> </scene> <scene> <stage_direction>EXT. - BEAR ISLAND GUN PIT - ETHAN</stage_direction> <scene_description>runs into the central ` hole ' area , guns in both hands and wearing the kevlar vest . He runs toward the walled edge of the enclosure and jumps . As he pulls himself up the top of the wall , he sees the IMF helicopter approaching . A gunman appears from the tunnel entrance and opens fire , the bullets exploding into the wall around Ethan , who jumps out of the way to avoid them .</scene_description> </scene> <scene> <stage_direction>EXT./INT. - IMF HELICOPTER</stage_direction> <scene_description>is under fire as well , bullets spraying the windshield , driving Luther back inside and causing Billy to turn the chopper around .</scene_description> <character>BILLY</character> <dialogue>Man at your six.</dialogue> </scene> <scene> <stage_direction>EXT. - BEAR ISLAND GUN PIT - ETHAN</stage_direction> <scene_description>who rolls and returns fire at the gunman . Ethan first hits the gunman in the leg , and then shoots and explodes the canisters behind the gunman , killing him .</scene_description> <character>ETHAN</character> <parenthetical>( to Billy . )</parenthetical> <dialogue>The field of fire is too heavy. Back off and pinpoint their positions.</dialogue> <scene_description>BEAR ISLAND HILL - MOTORCYCLE bearing down on him as he stands up . Ethan just manages to dive out of its path before a second motorcycle comes up over the hill . Ethan flips backwards and fires his pistol , shooting the second cyclist off his bike . The motorcycle flies over Ethan , who runs after it and jumps on , revving the throttle and taking off . BEAR ISLAND - PARKING AREA - AMBROSE deploys some of his men via walkie - talkie while others scramble into their cars .</scene_description> <character>AMBROSE</character> <parenthetical>( into walkie - talkie . )</parenthetical> <dialogue>Hunt's heading for the bridge. Coming in at twelve o'clock high.</dialogue> <scene_description>BEAR ISLAND BRIDGE A Gold Falcon with several of Ambrose 's men inside enters the bridge from the mainland and speeds toward the island .</scene_description> </scene> <scene> <stage_direction>EXT. - BEAR ISLAND COMPLEX</stage_direction> <scene_description>Ambrose 's men exit the complex and get into their cars . BEAR ISLAND HILL - ETHAN crests a hill aboard the cycle , the IMF chopper in b.g.</scene_description> <character>ETHAN</character> <dialogue>Clear that bridge for me.</dialogue> <character>LUTHER' VOICE</character> <dialogue>Roger that.</dialogue> <character>BILLY'S VOICE</character> <dialogue>They're tracking you on the left, Ethan. Prepare for some fire.</dialogue> <scene_description>BEAR ISLAND ROADWAY Michael 's SUV and Wallis ' sedan speed along as a gunman from the SUV fires on Ethan up the hill , spraying bullets around him . BEAR ISLAND BRIDGE - GOLD FALCON approaches the island . Luther fires his grenade launcher . It hits the Falcon 's trunk , lifting its back wheel off the ground , but the Falcon keeps coming , its trunk ablaze . Luther reloads as a gunman leans out the window , firing up at Ethan on the hill . BEAR ISLAND HILL - ETHAN lays on the cycle 's throttle , accelerates down the hill and propels the bike into the air and off the island , just as</scene_description> </scene> <scene> <stage_direction>EXT. - IMF HELICOPTER - LUTHER</stage_direction> <scene_description>again fires his grenade launcher , this time at the front of the BEAR ISLAND BRIDGE - GOLD FALCON on the bridge . The grenade explodes at the front of the car and hurls the Falcon into the air and off the bridge . BEAR ISLAND - HILL/BRIDGE - ETHAN is in mid - air on the cycle , heading down toward the bridge . Just as he lands , the Gold Falcon flies off the bridge , and Ethan speeds through the flames and off onto the mainland . BEAR ISLAND - BRIDGE Michael 's SUV arrives and tears through the gate and flames , followed by Wallis ' sedan and then Ambrose , riding a motorcycle . ROAD LEADING FROM BRIDGE - ETHAN races up the road to find a white Falcon approaching . The IMF chopper arrives and gunfire 's exchanged . Luther takes a hit in the shoulder and drops his gun as the chopper banks away .</scene_description> </scene> <scene> <stage_direction>INT. - HELICOPTER - LUTHER</stage_direction> <scene_description>Luther grips his shoulder in pain and falls back into his seat , jarring the GPS computer . It responds by beeping and coming to life . Nyah 's yellow dot pops up on the screen .</scene_description> <character>GPS COMPUTER</character> <dialogue>The target is located.</dialogue> <character>LUTHER</character> <dialogue>Ethan, the computer's up. I've got Nyah. She's moved out of the city.</dialogue> <character>ETHAN</character> <dialogue>Luther, say again.</dialogue> <character>LUTHER</character> <dialogue>She's on the North Head Bluff - approaching the cliffs. One klick away.</dialogue> </scene> <scene> <stage_direction>EXT. - ROADWAY - ETHAN</stage_direction> <character>ETHAN</character> <parenthetical>( over increasing static . )</parenthetical> <dialogue>Copy. She's only got twenty - eight minutes left. Track ahead and pick her up.</dialogue> </scene> <scene> <stage_direction>INT. - IMF HELICOPTER</stage_direction> <scene_description>Luther bands his shoulder wound and monitors his GPS laptop .</scene_description> <character>LUTHER</character> <dialogue>We wo n't be able to cover you.</dialogue> </scene> <scene> <stage_direction>EXT. - ROADWAY - ETHAN</stage_direction> <scene_description>slightly slows the bike to concentrate over the static .</scene_description> <character>ETHAN</character> <dialogue>You're breaking up. Track ahead and pick her up. You've got me on GPS. Bring her to me.</dialogue> <scene_description>Ethan pulls out and throws away the earpiece .</scene_description> </scene> <scene> <stage_direction>INT. - IMF HELICOPTER</stage_direction> <character>LUTHER</character> <dialogue>Billy, North Head. Haul ass.</dialogue> </scene> <scene> <stage_direction>EXT. - ROADWAY</stage_direction> <scene_description>Ethan heads downhill as the SUV approaches on an adjacent road . He pulls out in front of it , immediately drawing fire . Without slowing , Ethan drops to the side his cycle for cover .</scene_description> </scene> <scene> <stage_direction>INT. - IMF HELICOPTER - LUTHER</stage_direction> <scene_description>watches the GPS laptop as the chopper speeds over Sydney .</scene_description> </scene> <scene> <stage_direction>EXT. - ROADWAY - ETHAN AND WALLIS' SEDAN</stage_direction> <scene_description>Wallis ' sedan appears from an adjoining road and pulls in behind Ethan , who climbs back aboard his cycle . Cut off , the SUV turns onto a side road to intercept Ethan .</scene_description> <character>WALLIS</character> <dialogue>Get him.</dialogue> <character>ULRICH</character> <dialogue>I ca n't get a good shot.</dialogue> <scene_description>Before an intersection , Ethan both revs and brakes , spinning the bike and creating a smoke screen . Wallis ' car enters the smoke .</scene_description> <character>ULRICH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I ca n't see him, mate. Slow down!</dialogue> <character>WALLIS</character> <dialogue>Shut up. I know what I'm doing.</dialogue> <scene_description>Wallis breaks hard , but not hard enough : he stops just in the path of an oncoming 18 - wheeler . His car 's demolished .</scene_description> </scene> <scene> <stage_direction>EXT. - ROADWAY - ETHAN AND SUV</stage_direction> <scene_description>Ethan pulls out of the smoke as the SUV bursts out of the scrub behind him , striking the rear of the cycle . Ethan puts his bike into a spin and pulls his gun , ending up alongside the SUV passenger window . He fires through the window , shooting both Michael and the bodyguard . The SUV veers off , crashing into a line of parked cars . It hits the first car and flips up and over , landing upside down on several more parked cars . Ethan speeds off on his smoking cycle . Ambrose arrives and then takes a side road .</scene_description> </scene> <scene> <stage_direction>INT. - IMF HELICOPTER - LUTHER</stage_direction> <scene_description>working on his GPS laptop . The range - ie , the distance from the moving copter to the yellow dot , Nyah , on the edge of the screen - is reduced to about two kilometers .</scene_description> <character>LUTHER</character> <parenthetical>( to Billy . )</parenthetical> <dialogue>Range is two kay.</dialogue> <character>BILLY</character> <dialogue>I hope there's a place to land.</dialogue> <scene_description>Luther looks up from the screen to see the bluff of North Head at the entrance to Sydney 's harbor .</scene_description> </scene> <scene> <stage_direction>EXT. - THREE-LINED ROADWAY - ETHAN</stage_direction> <scene_description>tearing down the road , when suddenly from a side trail Ambrose pulls out behind him and begins firing . Ethan weaves to avoid Ambrose 's fire and passes a car , pulling in front of it for cover . The car skids , forcing Ambrose to veer around it . FROM COPTER TO GROUND -LRB- MOVING -RRB- rapidly approaching the North Head bluff .</scene_description> <character>BILLY</character> <dialogue>There she is. I got visual.</dialogue> <character>LUTHER</character> <dialogue>We're down to seven minutes 23 seconds.</dialogue> <scene_description>HIGH ANGLE - NORTH HEAD moving up behind Nyah who is walking purposefully to the edge of the bluff and a precipitous drop to rocks and surf a hundred and fifty feet below . Camera drops to Nyah 's shoulder level and moves with her to the bluff 's edge . As she 's just a few steps away from stepping off , there 's a roar and the helicopter rises into the shot , before her wild - eyed Billy gesturing , ` Stop ! Stop ! ' to Nyah .</scene_description> </scene> <scene> <stage_direction>EXT. - ROADWAY</stage_direction> <scene_description>Ethan passes narrowly between a car and oncoming truck . Ambrose follows as soon as the truck clears . Ethan fires backward using his side - view mirror to aim , exploding Ambrose 's windscreen . Ambrose skids until his wheel clips a rock , knocking him upright . Ethan turns into a side road and speeds through open scrub . Back on the main road , Ambrose roars off to intercept Ethan .</scene_description> </scene> <scene> <stage_direction>EXT. - CLIFFTOP - ROCK LEDGE</stage_direction> <scene_description>On a clifftop clearing , Ethan races along as Ambrose moves to cut him off . They head toward one another .</scene_description> <character>LUTHER'S VOICE</character> <dialogue>Ethan, we've got her. Tracking to you now. We're reading 5 minutes 19 seconds.</dialogue> </scene> <scene> <stage_direction>EXT. - CLIFFTOP - CLEARING</stage_direction> <scene_description>Ethan and Ambrose round a bend and face one another . Without hesitating , they charge towards each other . As they near one another , each leaps forward and off his bike , and they collide hard in mid - air . They fall to the ground fighting as their bikes skid and Ethan 's explodes , raining debris upon them . Ethan and Ambrose rush towards one another . Ethan flips Ambrose to the ground . Ambrose pulls a gun from his ankle holster . As Ethan knocks it away , he loses his own gun and they both fall off a 30 - foot cliff .</scene_description> </scene> <scene> <stage_direction>INT. - IMF HELICOPTER</stage_direction> <scene_description>at top speed over Sydney . Nyah appears weak and shivers .</scene_description> <character>LUTHER</character> <parenthetical>( to Billy . )</parenthetical> <dialogue>Bearing two one zero. About 3 klicks.</dialogue> <parenthetical>( into microphone . )</parenthetical> <dialogue>Ethan, we're moments away.</dialogue> </scene> <scene> <stage_direction>EXT. - CLIFFTOP - CLEARING - FIGHT</stage_direction> <scene_description>Ethan and Ambrose rise from the fall . Ethan jumps up and sweeps Ambrose , dropping him to the ground . Ethan begins strangling Ambrose but gets knocked off , and when they both stand , Ambrose gets Ethan in a choke hold . Ambrose hits him and grabs a rock and hits Ethan in the midsection and the face . Ethan kicks it out of his hand and connects with several punches , knocking Ambrose to the ground . Kneeling , Ambrose pulls a knife from a boot holster and cuts Ethan across the back and face . Ambrose dives on Ethan and the knife is poised above Ethan 's eye before Ethan grabs the knife and clears , holding it out toward Ambrose .</scene_description> <character>AMBROSE</character> <dialogue>Go ahead. Use it Hunt. It's not a bad way to go. A lot better than the way that bitch is going to die.</dialogue> <scene_description>Ambrose swings again and misses , and Ethan delivers a series of kicks , leaving Ambrose stunned and barely standing . Ethan steps back , and with a running start , strikes Ambrose with a leaping kick that drops him to the ground and knock the knife out of his hand .</scene_description> </scene> <scene> <stage_direction>EXT./INT. - IMF HELICOPTER - CLIFFTOP</stage_direction> <scene_description>As they approach in the distance , Billy , Luther and Nyah finally gain sight of Ethan in hand - to - hand combat .</scene_description> </scene> <scene> <stage_direction>EXT. - CLIFFTOP - CLEARING - FIGHT</stage_direction> <scene_description>Ethan turns and walks away from Ambrose toward the cliff edge . The copter lands and Luther runs toward Ethan but pulls up , looking over Ethan 's shoulder . Ambrose has a gun aimed at Ethan 's back .</scene_description> <character>AMBROSE</character> <dialogue>Hunt. You should have killed me.</dialogue> <scene_description>Near Hunt 's feet is his own gun , obscured from Ambrose 's view by dust from the copter . Ethan tosses the canister to Luther and then kicks his gun up out of the dirt and into the air . He catches it , drops down and fires , killing Ambrose .</scene_description> </scene> <scene> <stage_direction>EXT./INT. - HELICOPTER ON CLIFFTOP</stage_direction> <scene_description>Ethan reaches Nyah at the copter . Inches apart , they can only stare silently at one another .</scene_description> </scene> <scene> <stage_direction>INT. - CULTURAL MUSEUM</stage_direction> <scene_description>Didgeridoo music . A child admires a painting . Swanbeck and Ethan face one another . A long , long pause . For a moment it appears as if Swanbeck has lost awareness of Ethan 's presence .</scene_description> <character>SWANBECK</character> <dialogue>Sorry, Ethan. I do n't quite know where to begin. Any suggestions?</dialogue> <character>ETHAN</character> <dialogue>You'd like me to conduct my own debriefing.</dialogue> <character>SWANBECK</character> <dialogue>Why not? You've done just about everything else on this operation.</dialogue> <character>ETHAN</character> <dialogue>I'd thank you - but I'm not sure that was a compliment.</dialogue> <character>SWANBECK</character> <dialogue>Of course it was. Anyone whose operations requires the level of disinformation that yours do, is bound to get a little flak here and there. You try flogging the stories on CNN I've had to come up with about what's been going on around here the last few days. At any rate, it's been most instructive - what they'll swallow, or what they'll broadcast with a straight face.</dialogue> <parenthetical>( picking up a file . )</parenthetical> <dialogue>Miss Hall's blood, it appears, has absolutely no elements of the Chimera virus. Not even antibodies.</dialogue> <character>ETHAN</character> <dialogue>Yes, I gathered as much.</dialogue> <character>SWANBECK</character> <dialogue>And the only other remaining sample was in the canister you recover from Ambrose.</dialogue> <character>ETHAN</character> <dialogue>Yes.</dialogue> <character>SWANBECK</character> <dialogue>And that appears to have been destroyed. It also contained the anti - virus, Bellerophon.</dialogue> <character>ETHAN</character> <dialogue>Well, Bellerophon, it turns out, was only really effective against Chimera.</dialogue> <character>SWANBECK</character> <dialogue>But you were under specific instructions to bring back a living sample of the Chimera virus. I'd be very interested to know how, after you'd managed its recovery intact, it subsequently got destroyed.</dialogue> <character>ETHAN</character> <dialogue>By fire. That's the best way, really.</dialogue> <character>SWANBECK</character> <dialogue>So you did n't fail mission, you simply changed it.</dialogue> <scene_description>Ethan does n't respond .</scene_description> <character>SWANBECK</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>It's no longer enough for you to execute and implement IMF policy, you now wish to go in the business of creating it?</dialogue> <character>ETHAN</character> <dialogue>No, I do n't. But in this case -</dialogue> <character>SWANBECK</character> <dialogue>In this case, it was n't a bad idea. In face, it was a pretty damn good idea. Just do n't make a habit of it. And, as for Ms. Hall, in light of her efforts, her criminal records will certainly be expunged. I'm assuming you approve.</dialogue> <character>ETHAN</character> <dialogue>I do.</dialogue> <character>SWANBECK</character> <dialogue>Where is she now, by the way? Do you know?</dialogue> <character>ETHAN</character> <dialogue>I do n't. No exactly.</dialogue> <character>SWANBECK</character> <dialogue>Well, Hunt, what are your plans?</dialogue> <character>ETHAN</character> <dialogue>Not sure. Some sort of vacation. I'll let you know where I'm going.</dialogue> <character>SWANBECK</character> <dialogue>Oh, you do n't have to do that. Would n't be a vacation if you did.</dialogue> <scene_description>Ethan and Swanbeck exchange one final , knowing glance .</scene_description> <character>SKY NEWSCASTER</character> <dialogue>This incident in the wake of rumors suddenly surfacing about Mr. McCloy and Biocyte's financial difficulties - including criminal allegations of insider trading, embezzlement, conspiracy to commit fraud, and stock parking - have, understandably, sent stock prices of the pharmaceutical company plummeting.</dialogue> </scene> <scene> <stage_direction>EXT. - SYDNEY (DAY)</stage_direction> <scene_description>Ethan emerges to a very crowded street . Billy and Luther are waiting . Both look to Ethan .</scene_description> <character>LUTHER</character> <parenthetical>( worried . )</parenthetical> <dialogue>So what did he say?</dialogue> <character>ETHAN</character> <dialogue>Good job. And thanks.</dialogue> <character>BILLY</character> <parenthetical>( incredulous . )</parenthetical> <dialogue>That's it? That's it? That's it?</dialogue> <character>LUTHER</character> <parenthetical>( dryly , looking at Billy . )</parenthetical> <dialogue>And the check's in the mall.</dialogue> <character>BILLY</character> <dialogue>Right. Just remember, mates. Billy Baird's the name. Anything you need to get, move or watch, I'm your man.</dialogue> <scene_description>And Billy 's gone . Ethan and Luther remain alone , both reluctant to say anything , both reluctant to leave . One quick bear hug , then :</scene_description> <character>LUTHER</character> <dialogue>Always nice hearing from you man. Stay in touch.</dialogue> <scene_description>And Luther 's off . Ethan looks after him , a bit wistfully . Then , curiously tentative he moves off into the crowd . After a half - dozen steps , something catches his eyes . He stops . One quick bear hug , then :</scene_description> <character>NYAH</character> <parenthetical>( a tad wary . )</parenthetical> <dialogue>Do you know me?</dialogue> <scene_description>NYAH is inches from him . Without batting an eye .</scene_description> <character>ETHAN</character> <dialogue>No. Should I?</dialogue> <character>NYAH</character> <dialogue>No. You just looked as if you did.</dialogue> <character>ETHAN</character> <dialogue>No.</dialogue> <scene_description>She wraps her arms around him and kisses him with considerable conviction .</scene_description> <character>ETHAN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>just as if I'd like to.</dialogue> <character>NYAH</character> <dialogue>Oh. Well.</dialogue> <scene_description>He kisses her with a conviction that is more than a match for hers .</scene_description> <character>NYAH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>. I think that can be arranged.</dialogue> <scene_description>Looks around at the swirling crowd :</scene_description> <character>ETHAN</character> <dialogue>Let's get lost.</dialogue> <scene_description>And in a moment they 've vanished from the frame and into the crowd . Camera begins to pull back , the bustling crowd ever filling the frame - and in the distance , perhaps , just a splash of a bouquet of flowers can be seen , appearing to bounce along on its own , the rising beat of the MI theme : BEGIN CREDITS : IMF II - CHIMERA</scene_description> </scene> </script>

Bio-chemical expert Dr. Vladimir Nekhorvich sends a message to the IMF for Ethan Hunt, an old friend of his, warning that his employer, Biocyte Pharmaceuticals, forced him to develop a biological epidemic to profit from its remedy. He arranges to meet with Ethan to deliver the Chimera virus, and its cure, Bellerophon. With Ethan on vacation and incommunicado, the IMF sends agent Sean Ambrose disguised as Ethan to meet Nekhorvich on a passenger plane. Ambrose goes rogue, killing Nekhorvich and stealing Bellerophon before his men destroy the plane. IMF Commander Swanbeck informs Ethan of the circumstances of Nekhorvich's death and they determine Ambrose is responsible. Swanbeck tasks Ethan with recovering the virus and its cure, and has him recruit Nyah Nordoff-Hall, a professional thief presently operating in Seville, Spain. Nyah was recruited as a part of the team to trace Ambrose and his team and kill them since she is Ambrose's ex-girlfriend. Ethan reluctantly convinces her to spy on Ambrose. Ethan assembles his team, computer expert Luther Stickell and pilot Billy Baird, in Sydney, Australia, where Biocyte laboratories are located and Ambrose is staying. As Ethan stakes out Biocyte, Nyah rekindles her former relationship with Ambrose and relays information to Ethan's team. At a horse racing event, Ambrose meets with Biocyte's CEO, John C. McCloy. He shows McCloy a memory card video of Chimera affecting one of Nekhorvich's colleagues before blackmailing McCloy into cooperating with him. Nyah steals the camera's memory card and delivers it to Ethan. They learn that Chimera has a 20-hour dormant period before it causes death by mass destruction of the victim's red blood cells. Bellerophon can only save the victim if used within that 20-hour window. When Nyah discreetly returns the memory card to Ambrose, he notices it is in the wrong pocket of his jacket. Ethan's team kidnaps McCloy to force him to give up Bellerophon. However, the only Bellerophon samples were taken by Nekhorvich, and are now in Ambrose's hands. Ambrose has the cure, but does not have the virus; unbeknownst to him at the time, Nekhorvich injected himself with Chimera to smuggle it out of Biocyte. Ambrose plans to exchange a sample of Bellerophon to McCloy for a sample of Chimera. Ethan's team breaks into Biocyte to destroy the virus before the exchange can take place. Ambrose, posing as Ethan, tricks Nyah into revealing the plan, then captures Nyah and raids Biocyte to secure the virus. Ethan is able to destroy all but one sample of Chimera before Ambrose intervenes, and a firefight ensues, culminating in the sample being dropped on the floor between Ambrose and Ethan. Ambrose orders Nyah to retrieve the sample; she instead injects herself with it, preventing Ambrose from simply killing her after she retrieved it for him. Nyah insists that Ethan kill her to destroy the virus but Ethan is unwilling to do so. Ambrose takes Nyah away as Ethan escapes from the laboratory. Ambrose releases Nyah to wander the streets of Sydney in a daze, intending to start a pandemic. He offers to sell Bellerophon to McCloy in exchange for stock options, to make him Biocyte's majority shareholder. He predicts that the price of Biocyte's stock will skyrocket due to demand for Bellerophon after the Chimera outbreak. Ethan infiltrates the meeting and steals the remaining samples of Bellerophon. While Ethan is pursued by Ambrose's men, Luther and Billy locate Nyah, who has wandered to a cliff side, intent on killing herself to prevent the eventual outbreak. Ethan kills Ambrose's men but Ambrose chases him to a beach where Ethan defeats him in a brutal fistfight. With little time left on the 20-hour countdown, Luther reaches Ethan at the beach. As Ethan is about to give Luther the Bellerophon canister, Ambrose recovers and points a gun at Ethan. Ethan throws the canister to Luther and jumps away from Ambrose's shot while kicking up a gun from the sand which he uses to finally kill Ambrose. Luther injects Nyah with the Bellerophon in time to cure her. IMF clears Nyah's criminal record and Ethan starts his vacation with her in Sydney.

Frankie_2019

tt8019694

<script> <scene> <character>FRANKIE</character> <dialogue>by</dialogue> <scene_description>Mauricio Zacharias &amp; Ira Sachs</scene_description> </scene> <scene> <stage_direction>INT. QUINTA DE SÃO THIAGO/PAUL'S ROOM - DAY</stage_direction> <scene_description>We are in a simple, small but comfortable hotel room with bare white walls and worn out but well-kept hardwood floors. There's a small bed with someone seemingly asleep in it; a desk and a chair in the corner. Around the window, we see a faint frame of early morning light, but the curtains are drawn closed, keeping the room dark and tranquil. After a few seconds, we notice a quiet but steady sound "drip... drip... drip..." breaking the absolute silence. On the bed, PAUL GAGNE has his eyes open, awake in the darkness. A light-haired Frenchman in his mid 30's, he listens to the steady beat of water falling one drop after the next into a lonesome metal can. He can hear a piano start to play in the distance.</scene_description> </scene> <scene> <stage_direction>EXT. STREETS/SINTRA - DAY</stage_direction> <scene_description>It's morning of a Fall day in Sintra, the ancient Portuguese city on the hills, not far from Lisbon. For centuries, this was the summer retreat for the local aristocracy. The ornate towers of various castles, each in its own architectural style, are seen above the more typical Colonial-era buildings that make up the heart of the town. There's green all around from its famous lush gardens. The effect is romantic - almost fairy tale. The streets are still quiet in town. It's early in the morning. The tour buses have not yet arrived. The lucky tourists who managed to get a room in town are still asleep. Well, not all of them. JAMES "JIMMY" MANUS, a robust Irishman, early 60's, tall and gentle, strolls amongst a few LOCALS. Looking down, hands in his pockets, he is deep in thought. It's a beautiful day in Sintra, but Jimmy is unaware of his magnificent surroundings.</scene_description> </scene> <scene> <stage_direction>EXT. FONTE DOS NOIVADOS/SINTRA - DAY</stage_direction> <scene_description>As Jimmy turns the corner, something makes him slow down. It's nothing more than an old fountain adorned with beautiful tile work. He stops to listen to the sound of the working fountain and, as if hit by a wave of nostalgia, he slowly approaches the water stream. And as Jimmy touches the water, his eyes fill up with tears.</scene_description> <character>TIAGO (O.S.)</character> <dialogue>We call that Fonte dos Noivados - The Engagement Fountain.</dialogue> </scene> <scene> <stage_direction>EXT. OVERLOOK/SINTRA - DAY</stage_direction> <scene_description>Standing on top of a sloped street, an elegant older man with silver hair, adjusts his BINOCULARS, trying to get the scene down below, of Jimmy at the fountain, into focus. The friendly looking Frenchman in his early 60's is MICHEL GAGNE. Next to him is TIAGO MIRANTE, a striking, young Portuguese guide.</scene_description> <character>TIAGO (O.S.)</character> <dialogue>The tile work is from the late 18th Century, from the reign of Dona Maria I. At that time, unmarried girls would come from all over the region to drink from this ancient fountain. They'd do this pilgrimage because there was a belief that the waters would help them find a good husband.</dialogue> <scene_description>Michel lets his binoculars fall to his chest, and hang from their straps.</scene_description> <character>MICHEL</character> <dialogue>And did it work?</dialogue> <character>TIAGO</character> <dialogue>They say so.</dialogue> <character>MICHEL</character> <dialogue>How magnificent. If only it was so easy.</dialogue> <scene_description>Tiago smiles benignly, then starts down the street, watched by Michel.</scene_description> <character>MICHEL</character> <parenthetical>(to himself)</parenthetical> <dialogue>Magnifique.</dialogue> </scene> <scene> <stage_direction>EXT. QUINTA DE SÃO THIAGO/SWIMMING POOL - DAY</stage_direction> <scene_description>Blue water. The surface of transparent blue water trembles, projecting abstract forms. A woman's hand touches the water, a reflection of her face, still abstract, fills the screen. She seems to be looking at herself... or at the bottom of the pool. FRANÇOISE "FRANKIE" CREMONT, kneeling by the pool, dips one hand into the water, then the other one, making sure both wrists are wet and cool. As if part of a ritual, she then splashes water on the back of her neck. Once, twice. Frankie gets up and, meditative, keeping her eyes down at the water, takes a deep breath. She's a striking woman, with a very short haircut, messy like a boy's, accentuating her strong features. CUT TO: MAYA, 15, light-skinned black, in shorts and a tank top, is lying on a lounge chair by the pool reading Wuthering Heights. She looks up from her book, inquisitive, recognizing something, or someone she knows. CUT TO: Frankie drops the bathrobe. She's topless, wearing only the bottom part of a bikini. Another deep breath, and she dives into the swimming pool. Maya puts her book down, and watches as Frankie swims under water, and comes to the surface close to her.</scene_description> <character>FRANKIE</character> <dialogue>Good morning.</dialogue> <character>MAYA</character> <parenthetical>(British accent)</parenthetical> <dialogue>There's people in the hotel, you know.</dialogue> <character>FRANKIE</character> <dialogue>I don't see anyone.</dialogue> <character>MAYA</character> <dialogue>They can take pictures.</dialogue> <character>FRANKIE</character> <dialogue>That's okay. I'm very photogenic.</dialogue> <scene_description>Maya observes as Frankie swims away, her semi-naked body moving gracefully under the water.</scene_description> </scene> <scene> <stage_direction>INT. PORTUGUESE BAKERY - DAY</stage_direction> <scene_description>A traditional Portuguese bakery with glass shelves filled with the freshest, most delicious pastries. It's all so fresh you can almost smell it. Behind the counter is LUCIANA, serving Jimmy, placing pastries in a takeaway box. Jimmy is sipping an expresso.</scene_description> <character>JIMMY</character> <dialogue>So that's four queijadas. And now, let's see... six pastéis, please.</dialogue> <character>LUCIANA</character> <dialogue>You look tired today. Did you not get enough sleep?</dialogue> <character>JIMMY</character> <dialogue>Well thank you very much.</dialogue> <scene_description>Another SALESWOMAN, standing next to Luciana, laughs at what she's just heard.</scene_description> <character>SALESWOMAN</character> <dialogue>Luciana!</dialogue> <character>JIMMY</character> <dialogue>So nice to hear first thing in the morning!</dialogue> <scene_description>The Saleswoman laughs some more. Luciana blushes.</scene_description> <character>LUCIANA</character> <dialogue>Sorry, I didn't... anyway, tired is sexy!</dialogue> <scene_description>Luciana hands him his box of pastries.</scene_description> <character>JIMMY</character> <dialogue>I'll pretend I believe you.</dialogue> <character>LUCIANA</character> <parenthetical>(in Portuguese)</parenthetical> <dialogue>His eyes are puffy. He's been crying.</dialogue> <parenthetical>(in English)</parenthetical> <dialogue>Have a nice day, Mr. Jimmy. Say hello to the Madame.</dialogue> <scene_description>Luciano goes to help other customers.</scene_description> <character>JIMMY</character> <dialogue>I have terrible allergies. If you want to know.</dialogue> <character>LUCIANA</character> <dialogue>My husband too. It's awful this time of the year.</dialogue> <scene_description>Jimmy takes another sip from his espresso, trying to enjoy the Portuguese morning.</scene_description> </scene> <scene> <stage_direction>INT. QUINTA DE SÃO THIAGO/IAN &amp; SYLVIA'S SUITE - DAY</stage_direction> <scene_description>IAN ANDOH, 46, an Englishman, black, solidly built, sits on the bed, wearing shorts, holding a running shoe. He tries to put the shoe on, but it's too tight. He picks it up again, and as he loosens up the shoe laces, working meticulously from the top part down, a recurring thought manifests itself.</scene_description> <character>IAN</character> <dialogue>The whole thing is so unfair. I can't get over it. They're one of the happiest, most perfectly romantic pairs I have ever known.</dialogue> <scene_description>Ian's wife SYLVIA ANDOH, late 30's, stands across the hotel suite, dressed in pants and a bra, picking up a shirt from an open suitcase. They must have been a happy couple at some point. Now, approaching middle age, something sets them apart.</scene_description> <character>SYLVIA</character> <dialogue>There's no perfection there. They have their grievances.</dialogue> <scene_description>Ian puts on the running shoe.</scene_description> <character>SYLVIA</character> <dialogue>Have you seen my yellow cashmere sweater?</dialogue> <character>IAN</character> <dialogue>To think that one is suddenly taken away from the other by this... thing, this horrible thing, makes me lose faith in love itself.</dialogue> <character>SYLVIA</character> <dialogue>So romantic, all of a sudden!</dialogue> <character>IAN</character> <dialogue>Don't be cynical. We're seeing your father go from romantic bliss to tears and despair.</dialogue> <scene_description>Ian stands up and grabs a T-shirt, but before he puts it on, he looks at himself in the mirror, and grabs his own love handles.</scene_description> <character>IAN</character> <dialogue>I have to stop with the bread.</dialogue> <character>SYLVIA</character> <dialogue>Why?</dialogue> <character>IAN</character> <dialogue>I've gained weight.</dialogue> <character>SYLVIA</character> <dialogue>Don't start. Please.</dialogue> <scene_description>Ian puts the T-shirt on. Sylvia closes down the suitcase, frustrated that she can't find what she was looking for.</scene_description> <character>SYLVIA</character> <dialogue>What day is it today? Thursday?</dialogue> <character>IAN</character> <dialogue>Wednesday.</dialogue> <scene_description>She goes in the drawer, grabs the first shirt she sees and puts it on.</scene_description> <character>SYLVIA</character> <dialogue>It's impossible to pretend we are enjoying this trip. It's a brutal idea she had. For us all to come here at a time like this.</dialogue> <character>IAN</character> <dialogue>You sure it wasn't your father's idea?</dialogue> <character>SYLVIA</character> <dialogue>What do you think?</dialogue> <scene_description>Sylvia goes out the door, leaving Ian alone with his weight and his shoes.</scene_description> </scene> <scene> <stage_direction>EXT. PORTUGUESE BAKERY - DAY</stage_direction> <scene_description>Jimmy is walking out with his box of pastries when he runs into Michel and Tiago.</scene_description> <character>MICHEL</character> <dialogue>You beat us this morning!</dialogue> <character>JIMMY</character> <dialogue>"I'd woken early, and I took a long time getting ready to exist."</dialogue> <scene_description>Michel isn't sure he understands.</scene_description> <character>MICHEL</character> <dialogue>I'm sorry?</dialogue> <character>JIMMY</character> <dialogue>Fernando Pessoa. I just can't help it. My mind swims with him whenever I'm here.</dialogue> <character>MICHEL</character> <dialogue>Jimmy, you are the only actor I know who reads anything but their reviews.</dialogue> <scene_description>Jimmy laughs, and then offers his box of pastries.</scene_description> <character>JIMMY</character> <dialogue>Queijadas anyone? Or a pastel?</dialogue> <character>MICHEL</character> <dialogue>How is she this morning?</dialogue> <character>JIMMY</character> <dialogue>She's good, thanks. Fine.</dialogue> <character>MICHEL</character> <dialogue>And you?</dialogue> <character>JIMMY</character> <dialogue>I'm here in this magical town with the people I love most. I have no right to complain, do I?</dialogue> <character>MICHEL</character> <dialogue>I believe everyone always has a right to complain, don't you, Tiago?</dialogue> <character>TIAGO</character> <dialogue>Certainly.</dialogue> <scene_description>The three men smile at each other awkwardly.</scene_description> </scene> <scene> <stage_direction>INT. QUINTA DE SÃO THIAGO/FRANKIE &amp; JIMMY'S SUITE - DAY</stage_direction> <scene_description>Frankie, already dressed, her hair still wet, goes to the dresser and picks up a cardigan sweater.</scene_description> <character>FRANKIE</character> <dialogue>Will this one do?</dialogue> <scene_description>As Frankie hands Sylvia the sweater, Sylvia notices a bracelet Frankie has on her wrist, and grabs her hand to take a better look.</scene_description> <character>SYLVIA</character> <dialogue>Wait a minute...</dialogue> <character>FRANKIE</character> <dialogue>Isn't it gorgeous?</dialogue> <character>SYLVIA</character> <dialogue>Is it real?</dialogue> <character>FRANKIE</character> <dialogue>Pink diamonds, Colombian emeralds. It's Bulgari, vintage.</dialogue> <character>SYLVIA</character> <dialogue>How come I've never seen this one before?</dialogue> <character>FRANKIE</character> <dialogue>It was given to me by a man I knew between Michel and your father. There were quite a few, you know. I was younger than you are now. And very beautiful. I never wear it. Not because of your father - he doesn't care. But it's a bit flashy, no?</dialogue> <character>SYLVIA</character> <dialogue>It's Bulgari.</dialogue> <character>FRANKIE</character> <dialogue>I'm always afraid it'll get stolen or something, but now I'm like 'what the hell'.</dialogue> <character>SYLVIA</character> <dialogue>Can I try?</dialogue> <scene_description>Frankie places the bracelet onto Sylvia's wrist. There's a knock on the door, but the girls are too excited to hear anything else but themselves. Sylvia admires the stones against the light.</scene_description> <character>SYLVIA</character> <dialogue>He must've really loved you, this man.</dialogue> <scene_description>The door opens and Paul comes in. He's straight out of bed, hasn't even washed his face yet.</scene_description> <character>FRANKIE</character> <dialogue>Love? I don't know. He liked me, and he was rich. I try never to confuse money with love. He said the colors were perfect for me. Whatever that means.</dialogue> <scene_description>Paul gives his mother a double kiss on her cheeks and goes to sit on the bed, without a word.</scene_description> <character>PAUL</character> <dialogue>My room has a terrible leak.</dialogue> <character>SYLVIA</character> <dialogue>Well, good morning.</dialogue> <character>PAUL</character> <dialogue>I can't sleep.</dialogue> <character>SYLVIA</character> <dialogue>Try another room.</dialogue> <character>PAUL</character> <dialogue>I asked. Nothing available.</dialogue> <character>SYLVIA</character> <dialogue>Is the water dripping on you?</dialogue> <character>PAUL</character> <dialogue>No, it's in the corner. But still, it's all night, "drip... drip... drip..." It's impossible.</dialogue> <character>SYLVIA</character> <dialogue>You're too sensitive.</dialogue> <character>PAUL</character> <dialogue>You want to switch rooms?</dialogue> <character>SYLVIA</character> <dialogue>You want to sleep with my husband?</dialogue> <character>PAUL</character> <dialogue>Question is: do you want to sleep with your husband?</dialogue> <character>SYLVIA</character> <dialogue>None of your business!</dialogue> <character>PAUL</character> <dialogue>You started this.</dialogue> <character>FRANKIE</character> <dialogue>Children. I haven't even had coffee yet.</dialogue> <scene_description>A beat. Paul keeps staring at Sylvia, defiant, but this is a sensitive matter Sylvia would rather not discuss. All very clear to Frankie.</scene_description> <character>SYLVIA</character> <dialogue>I'm going to get some sun. You should try it sometime, Paul. Would be good for your skin.</dialogue> <scene_description>Sylvia walks towards the door...</scene_description> <character>FRANKIE</character> <dialogue>Vivi!</dialogue> <scene_description>Sylvia turns around, takes the bracelet off.</scene_description> <character>SYLVIA</character> <dialogue>I forgot. Sorry.</dialogue> <character>PAUL</character> <dialogue>Don't forget sun screen; especially there, on the side.</dialogue> <scene_description>Sylvia gives him an annoyed look.</scene_description> <character>PAUL</character> <dialogue>Sun can be so unforgiving to your wrinkles.</dialogue> <scene_description>Frankie puts the bracelet back on, as Sylvia exits. Frankie is now alone with her son Paul. She goes to the bathroom mirror and starts putting some makeup on. Paul follows her. The conversation that follows, as will all between French mother and son, is in FRENCH.</scene_description> <character>PAUL</character> <dialogue>Je me sens hyper malhereux.</dialogue> <character>PAUL</character> <dialogue>I'm so terribly unhappy.</dialogue> <character>FRANKIE</character> <dialogue>Bah oui bien sûr.</dialogue> <character>FRANKIE</character> <dialogue>Yes, of course.</dialogue> <character>PAUL</character> <dialogue>Merci pour l'ironie!</dialogue> <character>PAUL</character> <dialogue>You're being ironic!</dialogue> <scene_description>Frankie doesn't need much. Moisturizing cream, and a little eyeliner, lipstick.</scene_description> <character>FRANKIE</character> <dialogue>Paul, mon chéri, je suis mieux placée que n'importe qui pour savoir qu'elles ne sont pas toutes roses, ces vacances. Mais tu es jeune, tu as la santé, tu pars vivre à New York dans le West Village, et on profite d'une des villes le plus romantiques au monde sous un soleil magnifique. Qu'est-ce qu'il te faut de plus?</dialogue> <character>FRANKIE</character> <dialogue>Oh honey, I, more than anyone, am aware that this trip is not a happy event. But, Paul, you're young and healthy, you're moving to the West Village in New York City, and it is a sunny day in one of the most romantic cities in the world. What else do you want?</dialogue> <character>PAUL</character> <dialogue>Je crois que je suis toujours amoureux d'Anne-Shophie.</dialogue> <character>PAUL</character> <dialogue>I think I'm still in love with Anne-Sophie.</dialogue> <character>FRANKIE</character> <dialogue>Oh non pitié. Pas Possible.</dialogue> <character>FRANKIE</character> <dialogue>Oh no, please! That can not be.</dialogue> <character>PAUL</character> <dialogue>Pourquoi?</dialogue> <character>PAUL</character> <dialogue>Why not?</dialogue> <character>FRANKIE</character> <dialogue>Tu restes avec ces filles deux ans. Tu n'es pas sûr de les aimer, donc elles te quittent. Une fois qu'elles sont parties, bingo, tu découvres qu'en fait tu es amoureux d'elles! Béatrice, Julie, Anne-Sophie, et qui encore?!... A chaque fois c'est la même histoire! Tu tournes en rond, et quand ce n'est pas ça... enfim bref. En tous cas, il faut que tu arrêtes. Ca fait quoi, quasiment deux ans qu'Anne- Sophie et toi avez rompu? Tu ne peux plus être amoureux d'elle, ce n'est pas possible.</dialogue> <character>FRANKIE</character> <dialogue>You stay with these girls for two years. You're not sure you love them, so they break up with you. Then, after they leave, you find out you're actually in love! Beatrice, Julie, Anne-Sophie! Always the same! You're going in circles, and if you don't - anyway, that has to stop. You and Anne-Sophie split up, what - almost two years now? You simply cannot still be in love with her.</dialogue> <character>PAUL</character> <dialogue>Pour quelqu'un qui prétend croire à l'amour éternel...</dialogue> <character>PAUL</character> <dialogue>I thought you were the one who believed that love can last forever.</dialogue> <character>FRANKIE</character> <dialogue>Eternel? Je n'irais peut-être pas jusque là.</dialogue> <character>FRANKIE</character> <dialogue>Forever? I don't know about that.</dialogue> <character>PAUL</character> <dialogue>En tout cas Jimmy et toi avez l'air plus amoureux aujourd'hui que du temps de</dialogue> <character>PAUL</character> <dialogue>You and Jimmy seem to be more in love now then when you two first met.</dialogue> <scene_description>votre rencontre.</scene_description> <character>FRANKIE</character> <dialogue>Mais Paul, elle t'a quitté. C'est absurde. Quand tu rencontreras la femme de ta vie, tu l'oublieras, Anne- Sophie. Tu vas voir.</dialogue> <character>FRANKIE</character> <dialogue>But Paul, she left you. It's absurd. Once you meet the right woman, you'll forget about Anne-Sophie. You'll see.</dialogue> <character>PAUL</character> <dialogue>Ah oui, tu parle comme tu la connais déjà, la femme de ma</dialogue> <character>PAUL</character> <dialogue>You talk as if you knew who the right one might be.</dialogue> <scene_description>vie?</scene_description> <character>FRANKIE</character> <dialogue>Eh bah oui, peut-être.</dialogue> <character>FRANKIE</character> <dialogue>I do.</dialogue> <character>PAUL</character> <dialogue>Bravo.</dialogue> <character>PAUL</character> <dialogue>Splendid.</dialogue> </scene> <scene> <stage_direction>EXT. PALÁCIO NATIONAL/SINTRA - DAY</stage_direction> <scene_description>ILENE BIANCHI, a great looking woman, early 50's with youthful charm, and dark, winsome eyes, pulls a small carry- on bag up a street behind the historic Palace of Sintra.</scene_description> <character>GARY (O.S.)</character> <dialogue>My problem is the story. If I could just get that right, you know? I think I could really make something good. Something great, even.</dialogue> <scene_description>Ilene looks around as she walks, her curious and peaceful eyes enchanted by the views of Sintra.</scene_description> <character>GARY (O.S.)</character> <dialogue>But I just can't get my head around a conventional three-act structure, and they want that.</dialogue> <scene_description>She's followed by GARY TOMLINSON, a shaggy, sandy-haired American, mid 50's, also pulling a carry-on bag.</scene_description> <character>GARY</character> <dialogue>Anyone who might finance it at least. The first act - man, that's something, you know? And then the second - isn't that enough? A third just seems gratuitous.</dialogue> <scene_description>Gary is completely uninterested in the view, but Ilene knows him well, and is able to shut him out in her head. She lets him talk as they keep walking up the street.</scene_description> <character>GARY</character> <dialogue>I'm interested in all of it. Story is just one part. I see geography as destiny, you know what I mean? I'm interested in what constitutes intimacy, identity, community; how we communicate… with ourselves, with our surroundings, and how these human constructs can be rendered in image and performance.</dialogue> <scene_description>As they turn a corner, the colorful Palácio da Pena, on top of the hill, comes into view.</scene_description> <character>GARY</character> <dialogue>Do you think it's crazy to think about shooting on 35? It would be so amazing. Ilene?</dialogue> <scene_description>The view of the multi-colored fantasy castle is a wonder, and Ilene pauses to take it in.</scene_description> <character>GARY</character> <dialogue>Ilene? Are you even listening to me?</dialogue> <character>ILENE</character> <dialogue>Wow. They were right. Looks like something out of a fairy tale.</dialogue> <scene_description>She looks out at the busy, beautiful town in front of her.</scene_description> </scene> <scene> <stage_direction>EXT. FLOWER STAND/SINTRA - DAY</stage_direction> <scene_description>A small group of YOUNG GIRLS in Catholic school uniform walk down the street. They pass Paul, who smiles, and tries his well-rehearsed Portuguese:</scene_description> <character>PAUL</character> <dialogue>Bom dia.</dialogue> <scene_description>But the girls are not interested. They don't respond, but that doesn't faze Paul. He breathes the air of Sintra, looks around at his magnificent surroundings, and it makes him feel good. Just up the street, there's a little FLOWER STAND, displaying local plants and flowers in unexpected, artful arrangements. As Paul passes by, he notices the very pretty girl, BIANCA, early 20's, with pale white skin, dark hair, and piercing green eyes, behind the stand putting together a new arrangement. Paul slows down. He can't believe his eyes, so he turns around and, discreetly, looks back at her. There she is, like a vision, putting together different plants, making artful arrangements. Paul decides to walk back.</scene_description> <character>BIANCA</character> <dialogue>Bom dia.</dialogue> <character>PAUL</character> <dialogue>Bom dia.</dialogue> <scene_description>Paul checks out the flowers, while discreetly checking out the girl. He picks up an arrangement, and smells it deeply.</scene_description> <character>PAUL</character> <dialogue>Hmmm... The smell!</dialogue> <character>BIANCA</character> <dialogue>Lavanda is the best.</dialogue> <character>PAUL</character> <dialogue>Reminds me of someone.</dialogue> <character>BIANCA</character> <dialogue>Someone you love.</dialogue> <character>PAUL</character> <dialogue>Someone I used to.</dialogue> <character>BIANCA</character> <dialogue>She broke your heart?</dialogue> <character>PAUL</character> <dialogue>She married somebody else.</dialogue> <character>BIANCA</character> <dialogue>Ah, I see.</dialogue> <scene_description>She keeps working on her arrangement, while Paul chooses another to smell.</scene_description> <character>PAUL</character> <dialogue>Which one would you say is the most sensual?</dialogue> <character>BIANCA</character> <dialogue>Depends on who you're buying it for.</dialogue> <character>PAUL</character> <dialogue>A very beautiful girl. I think she'd like what you like.</dialogue> <scene_description>She smiles, and puts down her arrangement to go assist Paul. She chooses a big bouquet, and hands it to him.</scene_description> <character>BIANCA</character> <dialogue>What do you think of this one?</dialogue> <scene_description>They are interrupted by the arrival of a young man, JOÃO MIGUEL, bringing an armful of fresh plants and flowers. He senses something in the air, as Bianca goes behind the counter, back to her arrangement. Paul, smelling the flowers, is caught off guard.</scene_description> <character>JOÃO MIGUEL</character> <dialogue>Can I help you?</dialogue> <character>PAUL</character> <parenthetical>(in scratchy Portuguese)</parenthetical> <dialogue>Quanto custa?</dialogue> <character>JOÃO MIGUEL</character> <dialogue>Quinze. Feefteem.</dialogue> <scene_description>Paul hands him a fifty Euro bill.</scene_description> <character>JOÃO MIGUEL</character> <dialogue>No. Feefteem. One five.</dialogue> <character>PAUL</character> <dialogue>Sorry, that's all I have.</dialogue> <character>JOÃO MIGUEL</character> <dialogue>Wait one minute. My girl goes for change.</dialogue> <scene_description>But she is back at work on her elaborate arrangement and shrugs at his suggestion.</scene_description> <character>JOÃO MIGUEL</character> <dialogue>Bianca, please go get some change for the Señor, ao restaurante.</dialogue> <character>BIANCA</character> <dialogue>Não ves que estou ocupada? Tenho que terminar isto até ao meio dia. Vai lá tu.</dialogue> <character>BIANCA</character> <dialogue>Don't you see that I'm busy? I have to finish this by noon. You can go get it.</dialogue> <character>JOÃO MIGUEL</character> <dialogue>O que é que se passa aqui? Vai buscar o troco, que eu cuido do cliente.</dialogue> <character>JOÃO MIGUEL</character> <dialogue>What I see, I don't like. Go get change. I'll take care of the customer.</dialogue> <character>BIANCA</character> <dialogue>Estou a meio dum arranjo! Não vou a lado nenhum</dialogue> <character>BIANCA</character> <dialogue>But I'm making a big bouquet. I'm not going anywhere.</dialogue> <character>JOÃO MIGUEL</character> <dialogue>Estou a interromper alguma coisa, é?</dialogue> <character>JOÃO MIGUEL</character> <dialogue>Am I interrupting something here? What's going on?</dialogue> <scene_description>Paul watches in disbelief as the whole thing escalates to a full blown argument.</scene_description> <character>BIANCA</character> <dialogue>Não se passa nada!</dialogue> <character>BIANCA</character> <dialogue>Nothing is going on!</dialogue> <character>JOÃO MIGUEL</character> <dialogue>Eu conheço-te...</dialogue> <character>JOÃO MIGUEL</character> <dialogue>Oh, please...</dialogue> <character>BIANCA</character> <dialogue>Estás louco!</dialogue> <character>BIANCA</character> <dialogue>You're crazy!</dialogue> <character>JOÃO MIGUEL</character> <dialogue>...eu vi os olhinhos que ele te estava a deitar.</dialogue> <character>JOÃO MIGUEL</character> <dialogue>...The way he was looking at you.</dialogue> <character>BIANCA</character> <dialogue>O que é que estás pr'ai a dizer? Tens de comfiar mais em mim, João Miguel. Só estou a vender flores.</dialogue> <character>BIANCA</character> <dialogue>What are you talking about? You have to trust me, João Miguel I'm just trying to sell flowers.</dialogue> <scene_description>Paul holds the bouquet, unsure of what to do.</scene_description> <character>PAUL</character> <dialogue>Please keep the change.</dialogue> <character>JOÃO MIGUEL</character> <dialogue>No! She goes for change.</dialogue> <scene_description>Bianca is not going anywhere.</scene_description> <character>BIANCA</character> <dialogue>Para lá com esses ciumes.</dialogue> <character>BIANCA</character> <dialogue>You have to stop being so jealous.</dialogue> <scene_description>Bianca can't hold back her tears. She starts to cry.</scene_description> <character>BIANCA</character> <dialogue>Se trabalhamos juntos, tens que confiar em mim. Eu não aguento mais. Assim não posso. É sério que não.</dialogue> <character>BIANCA</character> <dialogue>We're trying to work together, but you don't trust me. I can't go on like this. I can't. I can't.</dialogue> <character>JOÃO MIGUEL</character> <dialogue>Bianca. Desculpa, amor.</dialogue> <character>JOÃO MIGUEL</character> <dialogue>Bianca. I'm sorry.</dialogue> <character>BIANCA</character> <dialogue>Desculpas não chegam.</dialogue> <character>BIANCA</character> <dialogue>That's not enough.</dialogue> <scene_description>Paul surreptitiously takes off.</scene_description> </scene> <scene> <stage_direction>EXT. QUINTA DE SÃO THIAGO/COURTYARD - DAY</stage_direction> <scene_description>Sylvia is outside the Quinta, on a small dirt road to the side, talking on her cell phone.</scene_description> <character>SYLVIA</character> <parenthetical>(on her phone)</parenthetical> <dialogue>I know, I saw your messages but I specifically asked for two bedrooms.</dialogue> <character>(...)</character> <dialogue>Oh, so I could turn that into a second bedroom?</dialogue> <character>(...)</character> <dialogue>Well, but that would cost a fortune. Listen, my daughter is going to college in a few years. I don't need two bathrooms. And I don't mind if we have to go a bit further West.</dialogue> <character>(...)</character> <dialogue>Okay...</dialogue> <character>(...)</character> <dialogue>For comparison maybe. It's just too far.</dialogue> <character>(...)</character> <dialogue>Thank you, talk to you soon.</dialogue> <scene_description>Sylvia hangs up and steps to the side to look at the view. She breathes it in, and tries to make her troubles go away - it is a gorgeous place, but the tension on her face does not dissipate. Sintra's gardens and fabulous private villas seem a world away.</scene_description> <character>MAYA (O.S.)</character> <dialogue>Mom?</dialogue> <scene_description>Maya, in shorts and a T-shirt, carries a backpack, ready for a day out.</scene_description> <character>MAYA</character> <dialogue>What are you doing?</dialogue> <character>SYLVIA</character> <parenthetical>(shows her cellphone)</parenthetical> <dialogue>I couldn't get any reception inside.</dialogue> <character>MAYA</character> <dialogue>Is this about the flat?</dialogue> <character>SYLVIA</character> <dialogue>Why would you think that?</dialogue> <character>MAYA</character> <dialogue>'Cause you look all sneaky there. I downloaded WhatsApp for you. You can just use an internet connection, you don't need a phone line.</dialogue> <character>SYLVIA</character> <dialogue>I tried, but you have to show me how to use it.</dialogue> <scene_description>Maya rolls her eyes.</scene_description> <character>MAYA</character> <dialogue>Dad was asking if I knew anything about a flat.</dialogue> <character>SYLVIA</character> <dialogue>Did you say anything?</dialogue> <character>MAYA</character> <dialogue>Not much.</dialogue> <character>SYLVIA</character> <dialogue>What do you mean, "not much"?</dialogue> <character>MAYA</character> <dialogue>I said I didn't know.</dialogue> <character>SYLVIA</character> <dialogue>Good.</dialogue> <character>MAYA</character> <dialogue>No, it's not good!</dialogue> <scene_description>Maya walks away, towards another part of the garden, where she has left her books and papers on a large stone table. She begins to pack her things, when Sylvia joins her.</scene_description> <character>SYLVIA</character> <dialogue>Honey, Maya. Listen to me, let's not argue.</dialogue> <character>MAYA</character> <dialogue>What?</dialogue> <character>SYLVIA</character> <dialogue>You know your father's just fishing around. He's looking for something that isn't there.</dialogue> <character>MAYA</character> <dialogue>You're insane.</dialogue> <character>SYLVIA</character> <dialogue>Don't use that word.</dialogue> <character>MAYA</character> <dialogue>Why not? You tell me lying is the worst thing I could do, ever, and then you ask me to lie for you!</dialogue> <character>SYLVIA</character> <dialogue>Maya, you're not lying. You're just holding information. Your father shouldn't know anything before there's something real to know. I'll tell him when the time is right.</dialogue> <character>MAYA</character> <dialogue>Don't you think he knows when I'm lying?</dialogue> <parenthetical>(almost crying)</parenthetical> <dialogue>You always make me do this!</dialogue> <character>SYLVIA</character> <dialogue>I'm not making you. I'm sorry. I'm just struggling that's all. Come here baby. You're my best friend, baby. I don't want to make you unhappy.</dialogue> <scene_description>Sylvia tries to hug Maya, but Maya is not up to it - she pulls away.</scene_description> <character>MAYA</character> <dialogue>Oh, please, Sylvia! I can't see how your moving out won't make us more unhappy!</dialogue> <character>SYLVIA</character> <dialogue>Stop calling me Sylvia! I'm your mother!</dialogue> <character>MAYA</character> <dialogue>Mother or best friend? Which one is it?</dialogue> <character>SYLVIA</character> <dialogue>Why can't I be both?</dialogue> <scene_description>Maya starts to walk away. Then she stops, and turns around.</scene_description> <character>MAYA</character> <dialogue>Can I have some euros, please?</dialogue> <character>SYLVIA</character> <dialogue>What for?</dialogue> <character>MAYA</character> <dialogue>Just twenty. Twenty euros.</dialogue> <character>SYLVIA</character> <dialogue>Not if you don't tell me what it is for.</dialogue> <character>MAYA</character> <dialogue>I want to be independent today.</dialogue> <scene_description>Sylvia reaches in her pocket.</scene_description> <character>SYLVIA</character> <dialogue>Here's a ten.</dialogue> <scene_description>She hands it to Maya.</scene_description> <character>MAYA</character> <dialogue>Thank you.</dialogue> <scene_description>Maya walks away. Fast. She leaves the courtyard and heads up the road outside the Quinta. Sylvia catches up with her, and calls out.</scene_description> <character>SYLVIA</character> <dialogue>Maya! Where are you going?</dialogue> <character>MAYA</character> <parenthetical>(calling out to Sylvia behind her)</parenthetical> <character>MAYA</character> <dialogue>It's not independence day if I tell you.</dialogue> <scene_description>Maya continues, and Sylvia puts her foot down.</scene_description> <character>SYLVIA</character> <dialogue>Stop. Look at me.</dialogue> <scene_description>Maya follows orders, stops, and turns to look at Sylvia.</scene_description> <character>SYLVIA</character> <dialogue>Don't go very far. You know we're all meeting at Peninha in the afternoon.</dialogue> <character>MAYA</character> <dialogue>What's that?</dialogue> <character>SYLVIA</character> <dialogue>It's a place at the top of the mountain, that Frankie's determined for all of us to see.</dialogue> <character>MAYA</character> <dialogue>I can't promise.</dialogue> <scene_description>Maya turns and continues on.</scene_description> <character>SYLVIA</character> <dialogue>Maya! It's for Frankie.</dialogue> <scene_description>Maya kicks a little rock on the dirt road.</scene_description> <character>MAYA</character> <dialogue>Fuck Frankie! She's not even my grandmother.</dialogue> <scene_description>Sylvia can't hear her. She's already far away.</scene_description> </scene> <scene> <stage_direction>EXT. FONTE DOS NOIVADOS/SINTRA - DAY</stage_direction> <scene_description>Ilene is by the "Engagement Fountain." She reaches out, cupping her hand and, thirsty, drinks a few sips of the water. Paul, carrying his bouquet of flowers, passes by as Ilene is drinking the water. They don't see each other. Ilene sits on the little bench that surrounds the Fountain, with her bag, and Gary's, next to her. She refreshes herself splashing some cold fresh water on her neck, on her face. She sits reading a Frommer's Portugal guide, waiting. Ilene raises her eyes from her book, distracted, and recognizes someone on the street. Jimmy comes down on the other side of the street, carrying his little box of pastries.</scene_description> <character>ILENE (O.S.)</character> <dialogue>Jimmy!</dialogue> <scene_description>He sees Ilene waving, but he doesn't think it's for him. Ilene stands up, and smiles. Jimmy can't dismiss her. It's for him, and he comes her way.</scene_description> <character>JIMMY</character> <dialogue>Can I help you?</dialogue> <character>ILENE</character> <dialogue>Yes. I'm lost.</dialogue> <character>JIMMY</character> <dialogue>I'm not a local, but - What are you looking for?</dialogue> <character>ILENE</character> <dialogue>Jimmy. It's me, Ilene.</dialogue> <scene_description>Jimmy looks at Ilene with some recollection, but still uncertain of her identity.</scene_description> <character>ILENE</character> <dialogue>I worked with Frankie in New York. On Noah Baumbach's movie.</dialogue> <character>JIMMY</character> <dialogue>Ilene!</dialogue> <character>ILENE</character> <dialogue>I was her hairstylist.</dialogue> <character>JIMMY</character> <dialogue>Of course. I'm so sorry. What a small world to run into you here. How wonderful!</dialogue> <scene_description>He gives her a big hug.</scene_description> <character>ILENE</character> <dialogue>Didn't Frankie mention...?</dialogue> <character>JIMMY</character> <dialogue>Frankie talks about you all the time.</dialogue> <character>ILENE</character> <dialogue>That's sweet. You know she's the only actress in all my years of working in film that I've become real friends with. But with the distance, it can be hard to keep up.</dialogue> <character>JIMMY</character> <dialogue>Just the other day I was trying to remember the name of that restaurant you took us to last time we were in New York. I wanted to recommend it to a friend.</dialogue> <character>ILENE</character> <dialogue>Which one?</dialogue> <character>JIMMY</character> <dialogue>It was a classic American steak house. Very good.</dialogue> <character>ILENE</character> <dialogue>Keen's! On 36th Street.</dialogue> <character>JIMMY</character> <dialogue>Yes, that was it. Amazing.</dialogue> <character>ILENE</character> <dialogue>You liked that mutton chop, huh?</dialogue> <character>JIMMY</character> <dialogue>I loved that mutton chop. But was that the last time we saw you? I thought maybe in London, also?</dialogue> <character>ILENE</character> <dialogue>No, I haven't been to London yet, but I'm hoping to. It's been a long time.</dialogue> <character>JIMMY</character> <dialogue>And now, "lo, Cintra's glorious Eden intervenes!"</dialogue> <character>ILENE</character> <dialogue>I just read that! How funny.</dialogue> <scene_description>She motions with her guide book.</scene_description> <character>JIMMY</character> <dialogue>"Lo! Cintra's glorious Eden intervenes</dialogue> <dialogue>In variegated maze of mount and glen.</dialogue> <dialogue>Ah me! what hand can pencil guide, or pen,</dialogue> <dialogue>To follow half on which the eye dilates</dialogue> <dialogue>Through views more dazzling unto mortal ken</dialogue> <dialogue>Than those whereof such things the bard relates,</dialogue> <dialogue>Who to the awe-struck world unlocked Elysium's gates?"</dialogue> <character>ILENE</character> <dialogue>I don't know much about Byron, I'm embarrassed to say, but it's beautiful.</dialogue> <character>JIMMY</character> <dialogue>Oh, I wouldn't know anything about him except I had to memorize that poem for my Leaving Certificate. He seems to have been everywhere, though. Every town in Europe seems to claim him. And he had scandalous affairs in each stop. In Greece, they consider him a national hero. As boys, we thought his stuff was very sexy to read, believe it or not. Really romantic.</dialogue> <character>ILENE</character> <dialogue>Sounds like a full life...</dialogue> <character>JIMMY</character> <dialogue>Well, he did die very young.</dialogue> <character>ILENE</character> <dialogue>Didn't they all? But wouldn't you rather live a life full of passion and adventure, even if it's short, than go through an endless, monotonous string of the day after day after day?</dialogue> <character>JIMMY</character> <dialogue>Oh, I don't know. It's easy to say life is wonderful when you go from one adventure to another, but Byron suffered quite a lot. Anyway,</dialogue> <dialogue>that's not reality for most people.</dialogue> <character>JIMMY</character> <dialogue>Certainly not for me. I think that to try and find beauty in everyday life, when you might think that things are dragging on... that is kind of better. The most difficult, but the most rewarding, maybe.</dialogue> <scene_description>Jimmy pauses. Ilene looks into his eyes, taking in his point of view, reflecting. Then she smiles.</scene_description> <character>JIMMY</character> <dialogue>What are you doing here?</dialogue> <character>ILENE</character> <dialogue>You don't know.</dialogue> <character>JIMMY</character> <dialogue>No, I-</dialogue> <scene_description>Gary approaches, as Jimmy and Ilene continue their conversation.</scene_description> <character>ILENE</character> <dialogue>I've been in Spain, working on the new Star Wars movie. We have a well deserved break.</dialogue> <character>JIMMY</character> <dialogue>Star Wars??</dialogue> <character>ILENE</character> <dialogue>It's actually a good job.</dialogue> <character>JIMMY</character> <dialogue>I'm sure. I didn't mean, I'm sorry.</dialogue> <character>ILENE</character> <dialogue>No, don't worry. Of course. But they pay well. And for the most part the people are nice. It's a great crew. And Spain is so wonderful.</dialogue> <character>JIMMY</character> <dialogue>Does that mean Chewbacca is going to have a new hairdo?</dialogue> <scene_description>Ilene laughs. Gary steps in.</scene_description> <character>ILENE</character> <dialogue>Well, I tried a Farrah Fawcett on him, but in the end-</dialogue> <character>GARY</character> <dialogue>Shush! Sorry.</dialogue> <scene_description>Gary is instantly in the middle of the conversation. He winks at Jimmy.</scene_description> <character>GARY</character> <dialogue>We signed a confidentiality agreement.</dialogue> <character>JIMMY</character> <dialogue>Ok.</dialogue> <scene_description>Jimmy isn't sure if that's supposed to be funny, but he understands that this is Ilene's friend, so they shake hands.</scene_description> <character>GARY</character> <dialogue>It's ridiculous, but it's Star Wars. They are very serious about it.</dialogue> <character>JIMMY</character> <dialogue>Uh hum.</dialogue> <scene_description>On the other side of the street, Michel observes the scene, quietly, with Tiago next to him, smoking a cigarette.</scene_description> <character>GARY</character> <dialogue>Hi, I'm Gary. I'm also working on the film. Second unit DP.</dialogue> <character>ILENE</character> <dialogue>Gary, this is Jimmy, Frankie's husband.</dialogue> <character>GARY</character> <dialogue>Wow. You're Françoise Cremont's husband? I'm a huge fan. You're a lucky man.</dialogue> <character>JIMMY</character> <dialogue>I know I am.</dialogue> <character>ILENE</character> <dialogue>So did you find it?</dialogue> <character>GARY</character> <dialogue>Nobody knows. I don't understand these people, or they don't understand me. I thought we were right next to it, but apparently--</dialogue> <scene_description>Michel steps in.</scene_description> <character>MICHEL</character> <dialogue>Maybe I can help.</dialogue> <character>JIMMY</character> <dialogue>Michel, this is Ilene, a good friend of Frankie's from New York, and this is...</dialogue> <scene_description>He can't remember Gary's name, so Gary steps in.</scene_description> <character>GARY</character> <dialogue>Gary. Gary Tomlinson.</dialogue> <scene_description>They all shake hands.</scene_description> <character>MICHEL</character> <dialogue>I'm Frankie's first husband.</dialogue> <character>JIMMY</character> <dialogue>Paul's dad.</dialogue> <character>ILENE</character> <dialogue>Of course. I've heard so much about you.</dialogue> <character>MICHEL</character> <dialogue>I'm not sure I like the sound of that.</dialogue> <character>ILENE</character> <dialogue>No, all good things. Frankie says you have the best seafood restaurant in all of Paris.</dialogue> <character>MICHEL</character> <dialogue>The best? I don't know. That's very Frankie.</dialogue> <scene_description>Tiago approaches.</scene_description> <character>MICHEL</character> <dialogue>This is Tiago. A true local, born and raised here in Sintra.</dialogue> <character>TIAGO</character> <dialogue>Where are you trying to go?</dialogue> <character>GARY</character> <dialogue>Quinta da Boica.</dialogue> <scene_description>Michel gets one of the bags, gestures for Gary to pick up the other one.</scene_description> <character>MICHEL</character> <dialogue>Tiago. Quinta da Boica.</dialogue> <character>TIAGO</character> <dialogue>Boiça (has an 's' sound). Not Boica.</dialogue> <character>MICHEL</character> <dialogue>Yes, Boiça.</dialogue> <character>ILENE</character> <dialogue>Ha! That's why you couldn't find it.</dialogue> <character>TIAGO</character> <dialogue>Follow me.</dialogue> <scene_description>Gary and Michel, carrying the bags, follow Tiago. Jimmy seems to suddenly realize that he's holding a box of pastries, and offers one to Ilene.</scene_description> <character>JIMMY</character> <dialogue>Would you like a pastry?</dialogue> <character>ILENE</character> <dialogue>Please!</dialogue> <scene_description>Ilene takes a queijada from the box.</scene_description> <character>JIMMY</character> <dialogue>It's nice to see a woman in the movie business who will eat a pastry.</dialogue> <character>ILENE</character> <dialogue>Oh, I eat everything. It's the reason to travel.</dialogue> <character>JIMMY</character> <dialogue>This place is really something. You're going to love it.</dialogue> <scene_description>Ilene takes a first bite of pastry.</scene_description> <character>GARY (O.S.)</character> <dialogue>Ilene! Let's go!</dialogue> <character>ILENE</character> <dialogue>Hmm. This is delicious.</dialogue> <scene_description>She smiles politely to Jimmy, and catches up with Gary.</scene_description> </scene> <scene> <stage_direction>EXT. PENA PARK/PONTE PÉRGOLA - DAY</stage_direction> <scene_description>An exquisite park, with old stone gates, small lakes and views. Sylvia carries the flower bouquet Paul bought, while he walks next to her.</scene_description> <character>SYLVIA</character> <dialogue>Are you excited about New York?</dialogue> <character>PAUL</character> <dialogue>I'm looking forward to it. But excited? I can't be excited about anything at the moment.</dialogue> <character>SYLVIA</character> <dialogue>Did you get the sublet?</dialogue> <character>PAUL</character> <dialogue>I'm not sure.</dialogue> <character>SYLVIA</character> <dialogue>How come?</dialogue> <character>PAUL</character> <dialogue>I haven't sent the documents yet.</dialogue> <character>SYLVIA</character> <dialogue>Why not?</dialogue> <character>PAUL</character> <dialogue>Since I got the news, I haven't been able to concentrate. I can't work, I can't think about anything else.</dialogue> <character>SYLVIA</character> <dialogue>When you get bad news, you should focus on the practical stuff.</dialogue> <character>PAUL</character> <dialogue>It's too overwhelming.</dialogue> <character>SYLVIA</character> <dialogue>There's nothing better to remedy an overwhelming situation than having to fill out paperwork. Did you call the number I gave you, the tax lawyer?</dialogue> <character>PAUL</character> <dialogue>Yes, I called him. What an arrogant guy.</dialogue> <character>PAUL</character> <dialogue>He says I should try to convince my mother to incorporate with me and Jimmy.</dialogue> <character>SYLVIA</character> <dialogue>I'll talk to my dad. You should talk to Frankie.</dialogue> <character>PAUL</character> <dialogue>This is the last subject I want to bring up with her.</dialogue> <character>SYLVIA</character> <dialogue>Then you'll have to pay the ridiculous inheritance tax.</dialogue> <character>PAUL</character> <dialogue>You're so...</dialogue> <character>SYLVIA</character> <dialogue>Pragmatic?</dialogue> <character>PAUL</character> <dialogue>That's one word for it.</dialogue> <character>SYLVIA</character> <dialogue>It's just life, Paul. I don't make as much money as you do. And when you have a teenage daughter, you get practical.</dialogue> <character>PAUL</character> <dialogue>Maybe.</dialogue> <scene_description>Sylvia takes a long pause, and then braves it.</scene_description> <character>SYLVIA</character> <dialogue>I'm going to leave Ian.</dialogue> <character>PAUL</character> <dialogue>How many times have I heard this?</dialogue> <character>SYLVIA</character> <dialogue>This time is for real. I can't do it anymore.</dialogue> <character>PAUL</character> <dialogue>Is that why you're calculating your inheritance?</dialogue> <character>SYLVIA</character> <dialogue>Stop it. You can't say that to me.</dialogue> <character>PAUL</character> <dialogue>It's just that I've been hearing you say this for so long. The timing is interesting.</dialogue> <character>SYLVIA</character> <dialogue>You are so fucking self righteous.</dialogue> <character>PAUL</character> <dialogue>Come to New York.</dialogue> <character>SYLVIA</character> <dialogue>Why would I come to New York?</dialogue> <character>PAUL</character> <dialogue>New life, new city.</dialogue> <character>SYLVIA</character> <dialogue>It's not that easy.</dialogue> <character>PAUL</character> <dialogue>No, it's not.</dialogue> <scene_description>They look at each other, understanding.</scene_description> <character>SYLVIA</character> <dialogue>This is all just so horrible. I can't believe it, really. I just can't.</dialogue> <scene_description>Paul puts his arm around her, and Sylvia welcomes the gesture, and returns the affection. That's when Paul tries to kiss her. It's a surprise for Sylvia, and she pushes him away, dropping the bouquet of flowers to the ground.</scene_description> <character>SYLVIA</character> <dialogue>You know... that might have been romantic when we were teenagers.</dialogue> <character>PAUL</character> <dialogue>Even better now. We have more life experience.</dialogue> <character>SYLVIA</character> <dialogue>Sometimes I really hate you.</dialogue> <character>PAUL</character> <dialogue>I'm serious about you coming to New York. I need the pragmatism. You need to get away from Ian.</dialogue> <character>SYLVIA</character> <dialogue>Oh, you have no sense of your privilege. If I could get a job in banking, maybe I would. But they're not hiring philosophy majors at Credit Suisse these days.</dialogue> <character>PAUL</character> <dialogue>You wouldn't want a job at Credit Suisse.</dialogue> <character>SYLVIA</character> <dialogue>Oh, wouldn't I? Don't make too many assumptions. You want to help me? Do me a favor. Talk to your mother about the incorporating idea. It'll save everybody a lot of money. It'll be good for Dad, too. And yes, if it helps my father, he will be able to help me. I'm sorry to even talk about these things, but it's true.</dialogue> <scene_description>Paul looks at her, dismayed.</scene_description> <character>SYLVIA</character> <dialogue>Don't judge me, Paul. Don't judge me. I am doing the best I can. So don't you dare sit there from your smug and ugly unhappiness and look down on me. At least I'm trying to change things.</dialogue> <scene_description>She walks away, as Paul picks up the flowers.</scene_description> </scene> <scene> <stage_direction>EXT. PENA PARK/GREENHOUSE - DAY</stage_direction> <scene_description>Frankie and Jimmy walk through another area of the gardens. Frankie carries the box of pastries, biting with delight on a queijada.</scene_description> <character>FRANKIE</character> <dialogue>How does she look?</dialogue> <character>JIMMY</character> <dialogue>She looks great. Better. How long ago was that film?</dialogue> <character>FRANKIE</character> <dialogue>Five years ago. Maybe six.</dialogue> <character>JIMMY</character> <dialogue>She was too skinny when we were in New York.</dialogue> <character>FRANKIE</character> <dialogue>Maybe.</dialogue> <character>JIMMY</character> <dialogue>She just looks more mature.</dialogue> <character>FRANKIE</character> <dialogue>Arrête. Jimmy!</dialogue> <character>JIMMY</character> <dialogue>What?</dialogue> <character>FRANKIE</character> <dialogue>"Mature" is offensive! To a woman, particularly.</dialogue> <character>JIMMY</character> <dialogue>Oh, I don't know.</dialogue> <character>FRANKIE</character> <dialogue>Wouldn't it be wonderful if she and Paul get along?</dialogue> <character>JIMMY</character> <dialogue>What are you talking about?</dialogue> <character>FRANKIE</character> <dialogue>Ilene and Paul. New York can be a very lonely city. They would be good for each other.</dialogue> <character>JIMMY</character> <dialogue>Oh Jesus, Frankie.</dialogue> <character>FRANKIE</character> <dialogue>What?</dialogue> <character>JIMMY</character> <dialogue>You invited her! This is all...</dialogue> <character>FRANKIE</character> <dialogue>I think she would be just perfect for him.</dialogue> <character>JIMMY</character> <dialogue>Christ, Frankie. You're playing Cupid again.</dialogue> <character>FRANKIE</character> <dialogue>Don't "Christ, Frankie" me. You of all people should understand. I don't want Paul to end up alone.</dialogue> <character>JIMMY</character> <dialogue>Don't let the kids find out that this was your idea. They'd go mad. This was supposed to be a family trip.</dialogue> <character>FRANKIE</character> <dialogue>It still is. Family with a "Plus One," so what?</dialogue> <character>JIMMY</character> <dialogue>You come up with these crazy scenarios in your head. You think you can manipulate everything.</dialogue> <character>FRANKIE</character> <dialogue>I'm usually right.</dialogue> <scene_description>Jimmy starts to laugh. Frankie laughs with him, thinking it's about her comment, but soon he's laughing harder. She realizes it's something else.</scene_description> <character>FRANKIE</character> <dialogue>What?</dialogue> <character>JIMMY</character> <dialogue>Well.</dialogue> <character>FRANKIE</character> <dialogue>What's so funny?</dialogue> <character>JIMMY</character> <dialogue>I have news for you, darling.</dialogue> <character>FRANKIE</character> <dialogue>Yes?</dialogue> <character>JIMMY</character> <dialogue>Ilene brought a friend.</dialogue> <character>FRANKIE</character> <dialogue>A friend?</dialogue> <character>JIMMY</character> <dialogue>Oh yes, Ilene is accompanied by Gary, I believe that's his name, a friend who looks very much like her boyfriend, if you want to know my opinion.</dialogue> <character>FRANKIE</character> <dialogue>Mais non!! She wasn't supposed to bring anyone.</dialogue> <scene_description>Frankie is not happy.</scene_description> <character>JIMMY</character> <dialogue>Quel surprise.</dialogue> <scene_description>Jimmy throws his arm around upset Frankie, and gives her a kiss: he loves her, machinations and everything.</scene_description> <character>FRANKIE</character> <dialogue>We will see!</dialogue> <character>JIMMY</character> <dialogue>Come, let's go. I want to take you to a place I've read about.</dialogue> <scene_description>She pulls away from him.</scene_description> <character>FRANKIE</character> <dialogue>No. I'm hiking to Peninha.</dialogue> <character>JIMMY</character> <dialogue>There's more than enough time, love. We'll get there.</dialogue> <character>FRANKIE</character> <dialogue>The one thing I don't have is time.</dialogue> <character>JIMMY</character> <dialogue>Don't get melodramatic on me. Just come on, no complaining.</dialogue> <scene_description>Jimmy takes her hand, and they walk down the path together.</scene_description> </scene> <scene> <stage_direction>EXT. QUINTA DA BOIÇA - DAY</stage_direction> <scene_description>Ilene sips tea, alone on the terrace of a small and beautifully renovated house, a private Quinta. There's a swimming pool down below, and a view to the immense green valley. Gary comes out to join her; he's holding something behind his back.</scene_description> <character>GARY</character> <dialogue>I wasn't expecting this. The photos on the site don't do it justice. They should hire me to take new pictures. This place is incredible.</dialogue> <character>ILENE</character> <dialogue>This is so nice, Gary. It must be very expensive.</dialogue> <character>GARY</character> <dialogue>It's fine. George Lucas been berry berry good to me.</dialogue> <character>ILENE</character> <dialogue>To both of us! But who knows what the next job will be.</dialogue> <character>GARY</character> <dialogue>That's why I want to make this movie. I can't be a cameraman forever. I need to change gears, before it's too late.</dialogue> <character>ILENE</character> <dialogue>I hope so.</dialogue> <scene_description>Gary pulls his hand from behind, holding a small gift box.</scene_description> <character>GARY</character> <dialogue>Here. I have something for you.</dialogue> <scene_description>Ilene's surprised. He gives her the box.</scene_description> <character>ILENE</character> <dialogue>Oh, God.</dialogue> <scene_description>He gives her a kiss. It's a bit clumsy.</scene_description> <character>GARY</character> <dialogue>I hope you like it.</dialogue> <scene_description>Ilene tries to smile. She wasn't expecting this.</scene_description> <character>GARY</character> <dialogue>Open it.</dialogue> <scene_description>She does. Inside the box, a silver ring, with a small detail in gold. It's a designer ring, very modern, young.</scene_description> <character>ILENE</character> <dialogue>Gary, you shouldn't have done this.</dialogue> <character>GARY</character> <dialogue>Why? You said you liked it.</dialogue> <character>ILENE</character> <dialogue>I know I did, but still.</dialogue> <character>GARY</character> <dialogue>I walked by the store before we left Valencia, and it was still in the window.</dialogue> <scene_description>Ilene closes the box, with the ring inside.</scene_description> <character>GARY</character> <dialogue>You know what I've been thinking?</dialogue> <character>ILENE</character> <dialogue>No. What were you thinking?</dialogue> <character>GARY</character> <dialogue>I've been thinking I want us to spend more time together.</dialogue> <character>ILENE</character> <dialogue>Oh, really?</dialogue> <character>GARY</character> <dialogue>Yes. I had an idea of getting rid of my apartment in the city and just moving into the house in Water Mill full time. Making a real home out there.</dialogue> <scene_description>Gary tries to look directly into Ilene's eyes.</scene_description> <character>GARY</character> <dialogue>You could come and stay for as long as you wanted. And whenever one of us is working in the city, we could stay at your place.</dialogue> <character>ILENE</character> <dialogue>That's a lot of plans, all of a sudden.</dialogue> <character>GARY</character> <dialogue>We'd have a beautiful house on the beach, and I'd help with the rent on a nice apartment on the Upper West Side. We'd have two homes. We don't need more than that. What do you say?</dialogue> <character>ILENE</character> <dialogue>Oh. I don't know. For me Water Mill is more like a weekend place. I like it, but for the beach, and to get away.</dialogue> <character>GARY</character> <dialogue>A lot of people live there full time and still work in the city. It's really not very far. And besides, with more time in Water Mill, you could paint more, or write, or do any of those things you always say you'd like more time for. Without my apartment, we'd both save money. You wouldn't need to work so much.</dialogue> <scene_description>Ilene looks out onto the vast view of the valley in front of them.</scene_description> <character>GARY</character> <dialogue>Ilene, I'd like to be with you. For us to be together.</dialogue> <character>ILENE</character> <dialogue>Is this a proposal?</dialogue> <character>GARY</character> <dialogue>I didn't think of it that way, but I guess it is. What do you say?</dialogue> <character>ILENE</character> <dialogue>I say let's go out. We just got here. The ring is beautiful, Gary. Thank you. I love it. Thank you. Now come on, get your coat, get your camera. Let's go. Let's see where we are before we plan the future.</dialogue> <scene_description>Ilene walks into the house. Gary stays with the view for moment, then goes inside after her.</scene_description> </scene> <scene> <stage_direction>EXT. TRAMWAY - DAY</stage_direction> <scene_description>An old fashioned, open TRAM crosses a bucolic green corridor of leafy trees and tall grass. Later, it passes by a small town comprised almost exclusively of old, small white houses.</scene_description> </scene> <scene> <stage_direction>INT./EXT. TRAMWAY - DAY</stage_direction> <scene_description>The tram is in motion, and Maya is sitting inside, writing in a small notebook. She finishes a sentence and looks out, seeing the small town pass by. Maya goes back to her notebook, trying to concentrate again, when she's interrupted by a couple of Portuguese boys, PEDRO and BENTO, a bit older, around 16 years old, who are sitting behind her. Pedro leans in.</scene_description> <character>PEDRO</character> <dialogue>O que voce está escrevendo?</dialogue> <character>MAYA</character> <parenthetical>(hard Portuguese accent)</parenthetical> <dialogue>Desculpa, eu não falo...</dialogue> <character>PEDRO</character> <dialogue>Yes, you do. You speak very well.</dialogue> <scene_description>Maya is able to understand that he's playing with her, and makes a bigger effort.</scene_description> <character>MAYA</character> <dialogue>Eu não falo portugues.</dialogue> <scene_description>They laugh.</scene_description> <character>PEDRO</character> <dialogue>I see. That's ok. What are you writing?</dialogue> <character>MAYA</character> <dialogue>Oh, it's nothing.</dialogue> <character>PEDRO</character> <dialogue>Are you going to the beach?</dialogue> <character>MAYA</character> <dialogue>I am.</dialogue> <scene_description>She turns around, and looks at them. She sees that they carry boogie boards with them.</scene_description> <character>MAYA</character> <dialogue>I take it this is the right direction.</dialogue> <character>PEDRO</character> <dialogue>Where are you from?</dialogue> <character>MAYA</character> <dialogue>I'm from England, the East Midlands, but my family moved to London last year. You?</dialogue> <character>PEDRO</character> <dialogue>I'm from Porto, a few hours to the North. Bento here is from Sintra.</dialogue> <character>BENTO</character> <dialogue>I live in Sintra. Are you here on vacation?</dialogue> <character>MAYA</character> <dialogue>Sort of.</dialogue> <character>BENTO</character> <dialogue>What is it then?</dialogue> <scene_description>Maya avoids the question.</scene_description> <character>MAYA</character> <dialogue>Hey, can I rent a boogie board on the beach?</dialogue> <scene_description>Pedro gets up and comes to sit next to Maya.</scene_description> <character>PEDRO</character> <dialogue>No. But you can use mine.</dialogue> <character>MAYA</character> <dialogue>No, that's okay.</dialogue> <character>PEDRO</character> <dialogue>Bento has one too. We can take turns.</dialogue> <character>BENTO</character> <dialogue>Have you ever been to Praia das Maçãs?</dialogue> <character>MAYA</character> <dialogue>Never.</dialogue> <character>PEDRO</character> <dialogue>Oh, you're going to love it. I can't wait for you to see it. It's the most beautiful beach. Praia das Maçãs. Beach of the Apples.</dialogue> <character>MAYA</character> <dialogue>Are there a lot of apple trees there?</dialogue> <character>PEDRO</character> <dialogue>None. It's called "Apple Beach" because of the apple in the Bible, you know?</dialogue> <character>MAYA</character> <dialogue>No.</dialogue> <character>PEDRO</character> <dialogue>In Paradise. The temptation. The original sin.</dialogue> <character>MAYA</character> <dialogue>The Adam and Eve apple?</dialogue> <character>BENTO</character> <dialogue>Yes, that's right.</dialogue> <character>MAYA</character> <dialogue>That's insane.</dialogue> <scene_description>They laugh.</scene_description> <character>PEDRO</character> <dialogue>We are a very Catholic country, you know.</dialogue> </scene> <scene> <stage_direction>EXT. SANTA EUFEMIA - DAY</stage_direction> <scene_description>CARLINHOS, a 5 or 6 year old boy, comes from the woods near the church, playing with a small shovel, picking up fallen leaves.</scene_description> <character>TIAGO (O.S.)</character> <dialogue>Many, many years ago, at a time when the Barbarians dominated Portugal, there lived in Sintra a princess named Eufemia, who fell in love with a nice country boy.</dialogue> <scene_description>Carlinhos runs up the road, to an open area where the quaint Church of Santa Eufemia is built.</scene_description> <character>TIAGO (O.S.)</character> <dialogue>Her father the King was a very tough, conservative man, and wouldn't allow the relationship with a commoner, so they had to stop seeing each other once and for all.</dialogue> <scene_description>Carlinhos looks at the simple church, white, with a couple of small green windows, the image of a female saint on tiles to the side, and a cross at the very top. It's strikingly beautiful in its simplicity.</scene_description> <character>CARLINHOS'S MOTHER (O.S.)</character> <dialogue>Carlinhos!! Volta!!</dialogue> <scene_description>Carlinhos runs back towards his mother. We get closer to the church, where Michel is standing outside, next to Tiago. The back part of the church is all constructed in stone, very old, with a garden and another small building in the same style.</scene_description> <character>TIAGO</character> <dialogue>One day, the princess ran into the boy's mother, who told her that the boy had been struck with a very painful, debilitating skin disease. The princess -</dialogue> <character>MICHEL</character> <parenthetical>(interrupting)</parenthetical> <dialogue>Ah! Voilà!</dialogue> <scene_description>Michel waves. Jimmy and Frankie are walking up a dirt road, towards the church.</scene_description> <character>FRANKIE</character> <dialogue>Bonjour!</dialogue> <scene_description>JOANA and JOÃO, two Sintra locals, carrying a picnic basket and bottles of wine, walk arm in arm, a few steps ahead of them. Joana looks back, discreetly towards Frankie, and whispers something to her husband. Michel greets Frankie, two kisses.</scene_description> <character>MICHEL</character> <dialogue>Viens, chérie. Tiago est en train de nous raconter l'histoire de Sainte- Euphémie.</dialogue> <character>MICHEL</character> <dialogue>Come, cherie. Tiago is telling us the story of the Saint.</dialogue> <character>FRANKIE</character> <dialogue>What a beautiful church, so simple.</dialogue> <character>JIMMY</character> <dialogue>I told you!</dialogue> <character>FRANKIE</character> <dialogue>Bonjour, Tiago!</dialogue> <character>TIAGO</character> <dialogue>Bonjour, Senhora. I was telling them that during the time of the Barbarians--</dialogue> <character>MICHEL</character> <dialogue>It's okay, Tiago.</dialogue> <character>MICHEL</character> <dialogue>(à Frankie)</dialogue> <character>MICHEL</character> <dialogue>(to Frankie)</dialogue> <scene_description>La jolie princesse s'était The good princess fell in éprise d'un garçon du peuple love with a commoner and her mais le Roi son père lui father forbid their affair. interdit de le revoir. Le The boy got sick. jeune homme tomba alors gravement malade.</scene_description> <character>MICHEL</character> <parenthetical>(to Tiago)</parenthetical> <dialogue>Just keep going.</dialogue> <character>TIAGO</character> <dialogue>The disease spread all over - the boy's body, his whole skin, was full of horrible, bloody sores. The princess went to see the boy, against her father's orders, and brought him here, where they used to come to see the view. She washed him in the waters from the fountain and-</dialogue> <character>FRANKIE</character> <dialogue>His skin went back to normal immediately.</dialogue> <character>TIAGO</character> <dialogue>No. Not immediately. He felt better slowly. It took him days. Arms first, then the legs, the face and then--; the whole body. It was a miracle.</dialogue> <character>FRANKIE</character> <dialogue>And people still come here to wash themselves in this miraculous water.</dialogue> <character>TIAGO</character> <dialogue>They do, because the water is said to cure people of all maladies.</dialogue> <scene_description>Frankie knows what is going on in their minds.</scene_description> <character>MICHEL</character> <dialogue>Where's the fountain?</dialogue> <scene_description>Tiago points to a sign to the side. Impatient, Frankie starts to walk the other way, down towards the woods.</scene_description> <character>MICHEL</character> <dialogue>Frankie! S'il te plait.</dialogue> <character>JIMMY</character> <dialogue>Frankie!</dialogue> <scene_description>A thought disturbs Frankie; she stops midway and turns back to respond to Jimmy and Michel.</scene_description> <character>FRANKIE</character> <dialogue>The two of you together... it's the worst combination! I can't take it.</dialogue> <character>MICHEL</character> <dialogue>Please?</dialogue> <character>JIMMY</character> <parenthetical>(to Michel)</parenthetical> <dialogue>Leave it.</dialogue> <scene_description>Michel puts his hands in prayer, imploring.</scene_description> <character>MICHEL</character> <dialogue>Frankie, please.</dialogue> <character>FRANKIE</character> <dialogue>Arrête ton cirque, Michel.</dialogue> <character>FRANKIE</character> <dialogue>Oh, Michel. You're making a scene.</dialogue> <character>MICHEL</character> <dialogue>Ce ne sont pas trois gouttes d'eau qui vont te faire du mal, Frankie.</dialogue> <character>MICHEL</character> <dialogue>It doesn't hurt, Frankie - to splash a little water.</dialogue> <character>FRANKIE</character> <dialogue>Je ne crois pas à ces conneries.</dialogue> <character>FRANKIE</character> <dialogue>I don't believe in this shit.</dialogue> <character>MICHEL</character> <dialogue>Ne traite pas ça de conneries.</dialogue> <character>MICHEL</character> <dialogue>Don't call it 'shit'.</dialogue> <character>FRANKIE</character> <dialogue>D'accord, pardon. Mais s'il te plaît arrête, là. Et arrête de prendre cet air accablé. Je n'en peux plus de cette tête d'enterrement. Comme si celle de Jimmy ne me suffisait pas. Regarde-le.</dialogue> <character>FRANKIE</character> <dialogue>Okay, I'm sorry. But please stop. And stop looking so miserable. I can't put up with the sad face. I have enough of that with Jimmy already. Look at him.</dialogue> <scene_description>They turn to look at Jimmy, who stands lost in his own thoughts, not listening.</scene_description> <character>FRANKIE</character> <dialogue>(à Michel)</dialogue> <character>FRANKIE</character> <dialogue>(to Michel)</dialogue> <scene_description>Je suis à bout, là. I almost can't bear it.</scene_description> <character>MICHEL</character> <dialogue>Sois plus douce, Frankie. Tout ne tourne pas autour de toi.</dialogue> <character>MICHEL</character> <dialogue>Be kind, Frankie. This is not all about you.</dialogue> <character>FRANKIE</character> <dialogue>Ah bon?</dialogue> <character>FRANKIE</character> <dialogue>Isn't it?</dialogue> <character>FRANKIE</character> <dialogue>I'm going to ask you both a favor: at least pretend that you accept my fate. For the sake of this trip, for the family, for today, please.</dialogue> <scene_description>Frankie turns around, and goes into the woods, leaving the three men alone in the churchyard.</scene_description> </scene> <scene> <stage_direction>EXT. TAPADA DA ROMA - DAY</stage_direction> <scene_description>Frankie walks through the woods. The sunlight draws geometric patterns on the ground, while playing a sometimes bright but mostly dark game on Frankie's face. What could be jarring has a calming effect on her. She pauses to enjoy the sunlight on her face for a moment, and then keeps going. A BIG FAMILY OF LOCALS is having a picnic in an open area, surrounded by a fertile garden, and connected to a modest Quinta that sits on the edge of the woods. There is a picnic table set up under a leafy grape arbor, and a fire burning in a portable barbecue pit in the center. It's a happy event, with KIDS running around while ADULTS sit around the table eating a big family meal. Among them, the couple from the previous scene. Joana's face brightens up, and she sees something and pokes ANTONIA, her aunt, next to her.</scene_description> <character>JOANA</character> <dialogue>Não te disse?</dialogue> <character>JOANA</character> <dialogue>I told you.</dialogue> <scene_description>The woman recognizes Frankie immediately:</scene_description> <character>ANTONIA</character> <dialogue>Irmã Aline. Sister Aline.</dialogue> <character>JOANA</character> <dialogue>Françoise Cremont.</dialogue> <scene_description>Frankie nods and smiles, acknowledging their presence, and tries to keep going, but now the whole family is looking at her. Antonia pours some wine in a glass.</scene_description> <character>ANTONIA</character> <dialogue>Madame Cremont!</dialogue> <scene_description>She offers the glass to Frankie.</scene_description> <character>FRANKIE</character> <dialogue>Oh. Thank you.</dialogue> <character>ANTONIA</character> <dialogue>I'm a big fan.</dialogue> <character>FRANKIE</character> <parenthetical>(jokingly)</parenthetical> <dialogue>You must have good taste in movies.</dialogue> <character>ANTONIA</character> <dialogue>I know you from the TV.</dialogue> <character>FRANKIE</character> <dialogue>Oh, sure. Let me guess-</dialogue> <character>ANTONIA</character> <dialogue>Os Arquivos do Vaticano.</dialogue> <character>JOANA</character> <dialogue>The Vatican Files.</dialogue> <scene_description>Frankie raises her glass.</scene_description> <character>FRANKIE</character> <dialogue>Os Arquivos do Vaticano forever!</dialogue> <character>ANTONIA</character> <dialogue>It's my mother's birthday. She'd be happy if you can make a toast with us? She really identifies with your character Sister Aline.</dialogue> </scene> <scene> <stage_direction>INT. SANTA EUFEMIA - DAY</stage_direction> <scene_description>Inside the simple church, Michel is sitting, his eyes closed in prayer, in front of the small statue of a Saint. Jimmy stands in the rear of the church, watching Michel. He takes hold of the back of a bench, uncomfortable.</scene_description> </scene> <scene> <stage_direction>EXT. SANTA EUFEMIA - DAY</stage_direction> <scene_description>Tiago stands at the side of the church, checking his phone.</scene_description> <character>JIMMY (O.S.)</character> <dialogue>You don't really believe in all this, do you?</dialogue> <scene_description>Tiago smiles.</scene_description> <character>TIAGO</character> <dialogue>I don't know, Senhor. Whatever helps can't hurt you.</dialogue> <character>JIMMY</character> <dialogue>I guess that's right.</dialogue> <scene_description>Tiago pulls out a pack of cigarettes.</scene_description> <character>TIAGO</character> <dialogue>You mind?</dialogue> <character>JIMMY</character> <dialogue>Not at all.</dialogue> <scene_description>Tiago offers one from the pack to Jimmy.</scene_description> <character>JIMMY</character> <dialogue>No, no, thank you.</dialogue> <scene_description>Tiago lights up, and they stand together, quietly.</scene_description> <character>JIMMY</character> <dialogue>Are you married, Tiago?</dialogue> <character>TIAGO</character> <dialogue>Yes, I am. I have a wife and a son. They live in Braga, in the North.</dialogue> <character>JIMMY</character> <dialogue>I see. You're separated then?</dialogue> <character>TIAGO</character> <dialogue>No, no, no. Just for five months a year. I come down here for the tourist season.</dialogue> <character>JIMMY</character> <dialogue>I imagine that can be difficult.</dialogue> <character>TIAGO</character> <dialogue>To be honest, it is. It's very hard. My wife, she's like my police.</dialogue> <character>TIAGO</character> <dialogue>I love her, but she doesn't even like me sitting next to another woman. You can imagine what it's like when I'm here in Sintra.</dialogue> <character>JIMMY</character> <dialogue>Hmm.</dialogue> <character>TIAGO</character> <dialogue>That's why I look so tired today. I went out to dinner with a friend last night, another guide, and when I called my wife later to say "goodnight, I love you", she already knew where I'd been, what I drank, and who else was at the restaurant. It was incredible. We stayed up for hours on the phone, which is not good for my business. I have to be alert, and the days are not short, you know?</dialogue> <scene_description>Tiago takes a long drag.</scene_description> <character>TIAGO</character> <dialogue>Sometimes I don't even know why I stay married.</dialogue> <scene_description>Jimmy just looks at Tiago. He doesn't know how to respond.</scene_description> <character>TIAGO</character> <dialogue>I'm sorry, Señor. It's not to bother you. I am good. I am fine. Shall we move on? I will go see about your friend now, make sure we didn't lose him. This is not really a place for tourists, and it's quite difficult to find the spot of the "miraculous waters."</dialogue> <scene_description>Tiago walks away, leaving Jimmy alone with his thoughts.</scene_description> </scene> <scene> <stage_direction>EXT. TAPADA DA ROMA - DAY</stage_direction> <scene_description>Frankie sits on the bench, next to ERMELINDA, a beautiful, older lady in her 80's, surrounded by the whole family, who move around loudly, rearranging themselves around the two women. Ermelinda leans over to Frankie.</scene_description> <character>ERMELINDA</character> <dialogue>J'ai vu votre photo dans le magazine. Celle qu'ils ont prise à l'hôpital. Vous vous êtes battue comme une lionne, Madame.</dialogue> <character>ERMELINDA</character> <dialogue>I saw your photo in the magazine. The photo in the hospital. You fought a tough battle, Madame.</dialogue> <scene_description>Frankie's doesn't know how to react to her comment; she smiles, with no conviction. A young man, FELIPE, her great nephew, stands in front of the crowd with a camera, a real camera, ready to take a photo.</scene_description> <character>FELIPE</character> <dialogue>Tia, um pouquinho mais pra direita. Isso. Gustavo, fica parado!</dialogue> <character>FELIPE</character> <dialogue>Auntie, go to the right. Gustavo, stay put!</dialogue> <scene_description>Ermelinda continues her whispers to Frankie.</scene_description> <character>ERMELINDA</character> <dialogue>Ma meilleure amie a vécu la même chose. C'était une femme d'une force exceptionnelle, mais je l'ai quand même perdue. Vous, vous avez gagné. Vous êtes là. Vous êtes une dame intrépide.</dialogue> <character>ERMELINDA</character> <dialogue>My best friend went through the same thing. She was a tough woman, but I lost her. You won. You're here. You must be very brave.</dialogue> <character>ANTONIA</character> <parenthetical>(screaming, to everyone)</parenthetical> <dialogue>Feliz aniversário, Mama!</dialogue> <character>FELIPE</character> <dialogue>Prontos?!</dialogue> <scene_description>The family raise their glasses, filled with wine, and start singing in Portuguese.</scene_description> <character>FAMILY MEMBERS</character> <dialogue>Parabens a voce Nessa data querida--</dialogue> <character>ERMELINDA</character> <dialogue>Não, não! Para. Só um momento.</dialogue> <character>ERMELINDA</character> <dialogue>No, no! Stop. Stop! Just a moment.</dialogue> <scene_description>The crowd quiets down to listen to the Old Lady.</scene_description> <character>ERMELINDA</character> <dialogue>À maravilhosa Françoise Cremont, que fez o meu octagésimo oitavo aniversário ficar mais alegre.</dialogue> <character>ERMELINDA</character> <dialogue>To the stunning Françoise Cremont, who made my 88th birthday a more beautiful one.</dialogue> <character>ERMELINDA</character> <dialogue>(à Frankie)</dialogue> <character>ERMELINDA</character> <dialogue>(to Frankie)</dialogue> <scene_description>À vous, Françoise Cremont, To you, Françoise Cremont, qui avez rendu mon 88ème who made my 88th birthday a anniversaire encore plus more beautiful one. beau!</scene_description> <character>ERMELINDA</character> <parenthetical>(to all)</parenthetical> <dialogue>À la santé!</dialogue> <scene_description>Everybody is happy, cheering and toasting.</scene_description> <character>EVERYONE</character> <dialogue>À la santé! Para sua saúde! Françoise!</dialogue> <scene_description>And they start singing again.</scene_description> <character>EVERYONE</character> <dialogue>Parabens a voce Nessa data querida Muitas felicidades Muitos anos de vida</dialogue> <dialogue>Hoje é dia de festa Cantam as nossas almas Para a menina Ermelinda Uma salva de palmas!</dialogue> <scene_description>There's applause and whistles all around. It's a loud, messy and happy family moment. Frankie leans over, and gives the old lady a kiss. Felipe takes a picture.</scene_description> </scene> <scene> <stage_direction>EXT. PRAIA DAS MAÇÃS/BEACH - DAY</stage_direction> <scene_description>A few SURFERS float lazily on top of their boards in the sea. As a wave rises, Pedro swims with fast strokes in order to ride it. As the surf breaks, Pedro picks up speed with his board, conquering the wave and gracefully riding it all the way to the sand. Maya sits on a towel on the white sand scribbling in her notebook. She raises her eyes, and sees Pedro, his face, hair and body dripping sea water. He tucks the boogie board into the sand, in front of Maya. CUT TO: Maya dives into the ocean with a boogie board. She braves the breaking wave with fast, strong strokes against the current, swimming all the way past the surf. Maya floats in the ocean, on the board, blue skies above her, a restful moment before the waves crash on.</scene_description> </scene> <scene> <stage_direction>EXT. PORTUGUESE BAKERY - DAY</stage_direction> <scene_description>Ian, still in his running outfit, comes from inside with two coffees. He approaches Sylvia, waiting outside, and she grabs one of the two cups.</scene_description> <character>IAN</character> <dialogue>Wait. I think it's the other one.</dialogue> <character>SYLVIA</character> <dialogue>What are you talking about?</dialogue> <character>IAN</character> <dialogue>Your coffee.</dialogue> <character>SYLVIA</character> <dialogue>The cappuccino is for me.</dialogue> <character>IAN</character> <dialogue>Mine is with skim milk.</dialogue> <scene_description>Sylvia offers him her cup, so they can switch.</scene_description> <character>IAN</character> <dialogue>Wait?</dialogue> <character>SYLVIA</character> <dialogue>Ian.</dialogue> <character>IAN</character> <dialogue>I'm confused now.</dialogue> <character>SYLVIA</character> <dialogue>For God's sake, sweetheart, you just ran four miles. A little fat won't kill you.</dialogue> <scene_description>She picks up his cup, and makes him take hers, a little forcefully. They walk up the street, Sylvia's cell phone rings. She looks at it, and tries to disguise her eagerness to answer it.</scene_description> <character>IAN</character> <dialogue>Another letting agent?</dialogue> <scene_description>Sylvia is surprised.</scene_description> <character>SYLVIA</character> <dialogue>Look for it, Ian, and you shall find it.</dialogue> <scene_description>Upset, she rushes to get away from him. He has to pick up the pace to catch up with her fast steps.</scene_description> <character>IAN</character> <dialogue>Don't be such an ass. Maya told me.</dialogue> <character>SYLVIA</character> <dialogue>She told you what?</dialogue> <character>IAN</character> <dialogue>She told me. You don't have to hide from me anymore, Sylvia.</dialogue> <character>SYLVIA</character> <dialogue>I don't know what she told you because there's nothing to tell. And why would you ask her, anyway? Why would you involve her? It's not some Machiavellian scheme. I'm just looking.</dialogue> <character>IAN</character> <dialogue>That means you're thinking.</dialogue> <character>SYLVIA</character> <dialogue>You can't be that surprised.</dialogue> <character>IAN</character> <dialogue>I'm not surprised, but it makes me sad. What we're going through... I think it's normal.</dialogue> <character>SYLVIA</character> <dialogue>I don't want normal.</dialogue> <character>IAN</character> <dialogue>Where's Maya anyway?</dialogue> <character>SYLVIA</character> <dialogue>I'm sure she went to the beach. She wanted us all to go yesterday.</dialogue> <character>IAN</character> <dialogue>The beach??</dialogue> <character>SYLVIA</character> <dialogue>Probably.</dialogue> <character>IAN</character> <dialogue>Alone?</dialogue> <character>SYLVIA</character> <dialogue>I guess.</dialogue> <character>IAN</character> <dialogue>Why did you let her?</dialogue> <character>SYLVIA</character> <dialogue>She didn't ask me.</dialogue> <character>IAN</character> <dialogue>I hope it's safe.</dialogue> <character>SYLVIA</character> <dialogue>I told her not to go very far.</dialogue> <character>IAN</character> <dialogue>She has a mind of her own, our girl.</dialogue> <character>SYLVIA</character> <dialogue>Oh yes, she does.</dialogue> <scene_description>Ian puts his arm around Sylvia.</scene_description> <character>IAN</character> <dialogue>Like her mother.</dialogue> <scene_description>They walk up the road in each other's arm, a romantic couple on vacation for a moment.</scene_description> </scene> <scene> <stage_direction>EXT. JARDIM DA VIGIA - DAY</stage_direction> <scene_description>Ilene walks fast, ahead of Gary, who struggles a little trying to catch up.</scene_description> <character>GARY</character> <dialogue>You're walking so fast. We're not in New York City, you know. You'd think you're trying to get away from me.</dialogue> <character>ILENE</character> <dialogue>I'm just a little thrown, that's all.</dialogue> <character>GARY</character> <dialogue>Ilene, please, slow down.</dialogue> <scene_description>Gary stops, giving Ilene little option but to do so as well.</scene_description> <character>GARY</character> <dialogue>Listen to me. I've spent the last ten years of my life going wherever work took me. I used to get so excited about going to a new place - Iceland, Patagonia, Vancouver! - but now I'm tired. Not tired, but I have a strange feeling. Emptiness. I'm home, the sun goes down, and... I think I just feel lonely. Do you ever feel that way?</dialogue> <character>ILENE</character> <dialogue>No. Not really. I like being by myself. I always have, even when I was a kid. I get home after two months away, and I'm happy to be by myself. I have my books, my magazines, my kitchen, my bed, my friends when I want them. I feel content.</dialogue> <character>GARY</character> <dialogue>I guess I don't. I'm not content. I want change. I don't want to just continue like it's all going to last forever. I want to start something new. With you. New for both of us. We have to admit we are in the middle, Ilene, or past the middle. It's not really the time to coast, is it?</dialogue> <character>ILENE</character> <dialogue>Gary, you just need to make your own movie.</dialogue> <scene_description>Ilene proceeds, starts to walk again.</scene_description> <character>GARY</character> <dialogue>No, that's not what I need. Maybe I will, maybe I won't.</dialogue> <scene_description>They approach the end of this green, lush walkway, and suddenly they're in the middle of a road, where cars and loud Tuk Tuk's, ride by.</scene_description> <character>GARY</character> <dialogue>But I'm ready to settle down, Ilene. I love you. I love being with you. You know I don't care about marriage, that's not important to me. But being with you is. It is important to me. And Water Mill could be the answer. There's a lot of space there. I could turn the garage into a new studio for me, and then you could have the second bedroom inside all for yourself. I would knock before entering. I promise. What do you say?</dialogue> <scene_description>A MEGA TOURIST BUS invades the screen, and stops right ahead of Gary and Ilene. It's door open, with a mechanized, loud oomph! Ilene's attention veers towards the CROWD of TOURISTS, who descend upon the road, happy and excited. A moment later, she finds herself in the middle of the crowd, which seems to have multiplied itself. Ilene lets herself be taken away by the movement of the crowd. Gary looks out, but soon he can't see her anymore.</scene_description> <character>GARY</character> <dialogue>Ilene? Ilene? Ilene!</dialogue> </scene> <scene> <stage_direction>EXT. PENA PARK/CHAPEL MANUELINA - DAY</stage_direction> <scene_description>Michel and Jimmy walk through a sunny area in the park, in the middle of a conversation.</scene_description> <character>MICHEL</character> <dialogue>...just as the sun rises every morning, and the night comes at the end of the day, I was certain Frankie and I were going to be together forever. So when one day she told me she was leaving, I wondered, how is it possible? When we got married, I believed in those vows. 'Til death do us part, and all of that.</dialogue> <character>JIMMY</character> <dialogue>You always were a good Catholic.</dialogue> <character>MICHEL</character> <dialogue>You know, until today, I hadn't been inside a church in a long time. But yes, I was raised in a very Catholic family.</dialogue> <scene_description>They continue walking.</scene_description> <character>MICHEL</character> <dialogue>Frankie and I were so young. And I was scared. I didn't know if anything was going to work out. The restaurant. Frankie. My relationship to my own family. It's hard to remember now - we remember mostly the fun, the exciting parts - but it was scary to be young, no?</dialogue> <character>JIMMY</character> <dialogue>Oh yes.</dialogue> <character>MICHEL</character> <dialogue>You never met my father, did you?</dialogue> <character>JIMMY</character> <dialogue>I don't think so.</dialogue> <character>MICHEL</character> <dialogue>He was tough. He was in the Resistance, you know, a real hero. And a real Catholic. Marriage for me was a life saver.</dialogue> <character>JIMMY</character> <dialogue>That's not very sexy, is it? A woman wants to feel desired, not needed for survival.</dialogue> <character>MICHEL</character> <dialogue>Not just women. We do too. But at that time, I didn't know that. I couldn't imagine my life without Frankie. And yet, today I know that her leaving was the best thing that ever happened to me. I met Thierry. I finally allowed myself to fall in love with a man.</dialogue> <character>JIMMY</character> <dialogue>That must have felt good.</dialogue> <character>MICHEL</character> <dialogue>Times were different, you know. The way I was brought up and everything. It wasn't easy for me, but Thierry was very persistent.</dialogue> <character>JIMMY</character> <dialogue>I remember the day you called to tell Frankie.</dialogue> <character>MICHEL</character> <dialogue>Frankie acted so shocked, I almost gave her an Oscar.</dialogue> <character>JIMMY</character> <dialogue>That was not a performance. I was there.</dialogue> <character>MICHEL</character> <dialogue>But, please. She should've known.</dialogue> <character>JIMMY</character> <dialogue>She didn't.</dialogue> <character>MICHEL</character> <dialogue>Amazing how people sometimes choose not to see what's right in front of them.</dialogue> <character>JIMMY</character> <dialogue>She told me she never knew, which means that your performance must have been very convincing. You should have got the Oscar.</dialogue> <scene_description>Michel laughs, then continues.</scene_description> <character>MICHEL</character> <dialogue>She was very worried about Paul. Thierry and I. How it would affect him.</dialogue> <character>JIMMY</character> <dialogue>She's still very worried about Paul, but not because of you. She can't see him as anything but a small child in need of constant guidance and protection. Kids have to be left to find their own path. Certainly my daughter has. Sylvia never looked at me for any direction, even when she was a little girl.</dialogue> <scene_description>They pause. A quiet moment of reflection between them.</scene_description> <character>JIMMY</character> <dialogue>I liked Thierry, by the way. I really did. What happened?</dialogue> <character>MICHEL</character> <dialogue>I don't know. Maybe the restaurant. Late nights. Other men. Alcohol. We gave it our best.</dialogue> <character>JIMMY</character> <dialogue>I know that.</dialogue> <scene_description>They approach a small chapel, where Tiago is waiting for them. He steps forward, and greets the two men with his proud expertise.</scene_description> <character>TIAGO</character> <dialogue>The Capela Manuelina was built by Jeronimo monks in the sixteenth century. This used to be a sacred space for meditation and reclusi--</dialogue> <character>MICHEL</character> <parenthetical>(to Tiago)</parenthetical> <dialogue>Just a minute, my dear.</dialogue> <parenthetical>(to Jimmy)</parenthetical> <dialogue>Jimmy, after Frankie...</dialogue> <character>JIMMY</character> <dialogue>Please.</dialogue> <character>MICHEL</character> <dialogue>...things might change. After. If there's somebody, and I hope there will be-</dialogue> <character>JIMMY</character> <dialogue>Michel.</dialogue> <character>MICHEL</character> <dialogue>Life takes turns, you know. Things change.</dialogue> <character>JIMMY</character> <dialogue>I don't know what "after Frankie" means. There's no "after Frankie" for me.</dialogue> <scene_description>There's some tension, and Tiago feels it might be better to leave the two men alone.</scene_description> <character>TIAGO</character> <dialogue>I'm going to talk to the guards, and see if we can get inside.</dialogue> <character>MICHEL</character> <dialogue>Let's go, Jimmy.</dialogue> <scene_description>Jimmy doesn't seem very interested.</scene_description> <character>MICHEL</character> <dialogue>I'm told there's some beautiful Arabic tile inside.</dialogue> <character>JIMMY</character> <parenthetical>(to Michel)</parenthetical> <dialogue>No. You go. I'll catch up with you later.</dialogue> </scene> <scene> <stage_direction>EXT. PENA PARK/CASA DO JARDINEIRO - DAY</stage_direction> <scene_description>Gary is walking alone, when he recognizes someone in front and picks up speed.</scene_description> <character>GARY</character> <dialogue>Frankie!</dialogue> <scene_description>Frankie is walking alone right ahead. She turns, as Gary approaches, his right hand extended, greeting her.</scene_description> <character>GARY</character> <dialogue>Bonjour, Frankie, Françoise. I'm Gary. I'm here with Ilene. We arrived this morning.</dialogue> <character>FRANKIE</character> <dialogue>Ah! You're the friend.</dialogue> <character>GARY</character> <dialogue>She told you about me?</dialogue> <character>FRANKIE</character> <dialogue>No, she didn't. My husband did. I guess you met him earlier.</dialogue> <scene_description>They shake hands.</scene_description> <character>GARY</character> <dialogue>Such a pleasure to meet you.</dialogue> <scene_description>Frankie and Gary walk along the road, side by side, making small talk.</scene_description> <character>GARY</character> <dialogue>I'm working with Ilene on Star Wars. I'm the second unit DP.</dialogue> <character>FRANKIE</character> <dialogue>That must be a lot of work.</dialogue> <character>GARY</character> <dialogue>I'm tired, and thankful for this break.</dialogue> <character>FRANKIE</character> <dialogue>First time in Sintra?</dialogue> <character>GARY</character> <dialogue>First time in Portugal. We have been shooting for almost a month now, and when Ilene told me you were here, I said 'let's go'. I'm a big fan, you know.</dialogue> <character>FRANKIE</character> <dialogue>I'm a fan of Ilene's. She's been a good friend.</dialogue> <character>GARY</character> <dialogue>We met on another film we did together. The Void. I was the Principal DP on that. We've been hanging out, you know.</dialogue> <character>FRANKIE</character> <dialogue>I'm not sure what that means.</dialogue> <character>GARY</character> <dialogue>I love Ilene.</dialogue> <character>FRANKIE</character> <dialogue>Ah. That's something.</dialogue> <character>GARY</character> <dialogue>Frankie, Ilene says. May I call you Frankie?</dialogue> <character>FRANKIE</character> <dialogue>That's what my friends call me.</dialogue> <character>GARY</character> <dialogue>You look even better in person, you know. Do people tell you that?</dialogue> <character>FRANKIE</character> <dialogue>You're being kind.</dialogue> <character>GARY</character> <dialogue>No, it's true. You know, I wanted to talk with you about something, if we can find the right time. I have a film project that I want to direct.</dialogue> <character>FRANKIE</character> <dialogue>Your first time directing?</dialogue> <character>GARY</character> <dialogue>Yes, well, no. But my first feature. I've been thinking about it for a long time. And I've shot over 18 films for other people. I'm ready to start, you know. And I think you and I share a taste in a certain kind of cinema. It's about an opera singer who loses her voice.</dialogue> <character>FRANKIE</character> <dialogue>Ha. That's funny.</dialogue> <character>GARY</character> <dialogue>I think you'd be perfect for it.</dialogue> <character>FRANKIE</character> <dialogue>I can't sing.</dialogue> <character>GARY</character> <dialogue>But that's it! She loses her voice. It's almost like silent film acting, and I can't think of anyone more expressive for the role. Like Greta Garbo.</dialogue> <character>FRANKIE</character> <dialogue>Or Fatty Arbuckle.</dialogue> <scene_description>Gary laughs, uncomfortably.</scene_description> <character>GARY</character> <dialogue>Can I can send you the script?</dialogue> <character>FRANKIE</character> <dialogue>If you'd like. When are you thinking of shooting this?</dialogue> <character>GARY</character> <dialogue>It's not going to happen now. I need a year, at least, to prepare.</dialogue> <character>GARY</character> <dialogue>If we're going to collaborate I think it's better to be up front with you, it's going to take time to get it together. You know the business. I'd say realistically it will be a year, a year and a half, before we start shooting.</dialogue> <character>FRANKIE</character> <dialogue>I see.</dialogue> <scene_description>Frankie takes a deep breath. They walk side by side in silence for a moment.</scene_description> <character>GARY</character> <dialogue>You know, Frankie. I'm going to take time off to work on this film. I have a house in Water Mill, that's just under two hours from New York, it's a beautiful place. I've invited Ilene to come live with me. Don't you think it would be a good idea for her to settle down a little bit? Not travel so much. Not work so much on projects she doesn't really care about?</dialogue> <character>FRANKIE</character> <dialogue>Does it matter what I think?</dialogue> <character>GARY</character> <dialogue>You know her well.</dialogue> <character>FRANKIE</character> <dialogue>But does it matter? If you've invited her, then you should know. Ilene is the kind of woman who'll tell you straight to your face what she thinks. No bullshit, Ilene. And no bullshitters. She doesn't have time for people who aren't very real, very sincere, you know? That's why I like her.</dialogue> <scene_description>Gary doesn't know quite how to respond.</scene_description> <character>FRANKIE</character> <dialogue>Now if you'll excuse me, I'm going to go look for my son. I haven't seen him since the morning, and this was meant to be a family vacation.</dialogue> <scene_description>She walks away, leaving Gary alone among the trees and the silence.</scene_description> </scene> <scene> <stage_direction>EXT. PRAIA DAS MAÇÃS/CLIFF - DAY</stage_direction> <scene_description>The cliffs at the end of the beach. Maya, wearing only a long T-shirt over her wet beach clothes, hikes/climbs the tricky part of a ledge. She places one foot on a rock, while one hand tries to hold on to a higher mark on the ledge. She makes sure the one foot is firm on the rock, while looking for a safe step for the other foot. She climbs up for a second, but not sure of her next step, strides back down. That's when a helping hand enters frame. Pedro extends his arm and pulls Maya up. As she climbs, she steps with the wrong foot, and falls into his arms, clumsy. They smile, a bit disconcerted. Maya and Pedro walk hand in hand on this rocky path high up, at the end of the beach. They are away but not far from the sand, surrounded by the ocean. They stop to look at the view; the long golden sand beach, and on the other end, a rocky cliff crowned with small, charming white houses, typical Portuguese.</scene_description> <character>MAYA</character> <dialogue>Is that still Sintra?</dialogue> <character>PEDRO</character> <dialogue>That's Colares, actually.</dialogue> <character>MAYA</character> <dialogue>It's so pretty.</dialogue> <character>PEDRO</character> <dialogue>I knew you would like it. If you like, I can buy you a postcard.</dialogue> <scene_description>Maya faces the view, breathing in the moment. Pedro comes from behind, and puts his arms around her. She holds his arms, welcoming the gesture.</scene_description> <character>PEDRO</character> <dialogue>I used to come here with my parents and my sister every summer. My whole life, until I was thirteen.</dialogue> <character>MAYA</character> <dialogue>And then what happened.</dialogue> <character>PEDRO</character> <dialogue>My parents got divorced. My vacations were divided between time with Mom, then time with Dad, and there was no time left for this Apple Beach anymore.</dialogue> <scene_description>A SEAGULL flies overhead, and dives into the water. A wave crashes in the ocean down below.</scene_description> <character>PEDRO</character> <dialogue>But then I met Bento in Lisboa last year. We played football against each other in a national tournament. His school won, but we became friends after, and he invited me to visit him in Sintra.</dialogue> <scene_description>Pedro turns Maya around. They're face to face, and she gives him a kiss. Pedro smiles, happily surprised, and soon after they kiss again, this time a long, slow one, both discovering the pleasure of each other's mouths.</scene_description> <character>PEDRO</character> <dialogue>I have a confession. The real story of this Apple Beach has nothing to do with Adam and Eve. I'm sorry. Can I tell you?</dialogue> <character>MAYA</character> <dialogue>It's okay. If you'd like.</dialogue> <character>PEDRO</character> <dialogue>They say that the Ribeira River, over there, used to carry down apples from the farms in Colares all the way to the coast, and they would end on the beach down here. But the thing is, I've never seen one single apple tree in Colares, so I don't believe this story. There aren't any apple farms in Colares.</dialogue> <scene_description>For Maya, he talks too much. She kisses him again. After another long moment, he pulls away, and looks at her with near wonder.</scene_description> <character>PEDRO</character> <dialogue>When can I see you again?</dialogue> <character>MAYA</character> <parenthetical>(laughing)</parenthetical> <dialogue>But I'm still here.</dialogue> <character>PEDRO</character> <dialogue>I know, but I miss you already.</dialogue> <scene_description>She smiles, happy.</scene_description> </scene> <scene> <stage_direction>EXT. SEQUOIAS ROAD - DAY</stage_direction> <scene_description>Paul is walking alone on the road, appreciating the view and enjoying a peaceful moment. He carries the beaten down bouquet of flowers.</scene_description> <character>FRANKIE (O.S.)</character> <dialogue>Paul!</dialogue> <scene_description>He turns around, and sees his mother rushing down to be with him.</scene_description> <character>FRANKIE</character> <dialogue>Paul. Attends. J'arrive.</dialogue> <character>FRANKIE</character> <dialogue>Paul. Wait. I'm coming.</dialogue> <scene_description>He opens his arm, and embraces his mother when she comes close. They hold each other for a long moment, strongly. The conversation between them is all in French.</scene_description> <character>PAUL</character> <dialogue>Tiens, c'est pour toi. Elles sont un peu défraîchies, mais</dialogue> <character>PAUL</character> <dialogue>These are for you. They've seen better days, I know.</dialogue> <scene_description>bon. He hands her the flowers.</scene_description> <character>FRANKIE</character> <dialogue>Ca tombe bien, moi aussi.</dialogue> <character>FRANKIE</character> <dialogue>That's perfect, so have I.</dialogue> <character>PAUL</character> <dialogue>Allez, ça mérite quand même</dialogue> <character>PAUL</character> <dialogue>Let's take a picture.</dialogue> <scene_description>un selfie. He pulls out his phone.</scene_description> <character>FRANKIE</character> <dialogue>Ah non, tu as vu ma tête?</dialogue> <character>FRANKIE</character> <dialogue>Oh no, not with this hair.</dialogue> <character>PAUL</character> <dialogue>Arrête. Tu es super belle aujourd'hui.</dialogue> <character>PAUL</character> <dialogue>C'mon. You look so beautiful today.</dialogue> <character>FRANKIE</character> <dialogue>Tu dis ça pour me faire plaisir.</dialogue> <character>FRANKIE</character> <dialogue>You're just saying that.</dialogue> <character>PAUL</character> <dialogue>Non, c'est la vérité. Tu es magnifique. Tiens, tourne-toi par là, avec le paysage derrière nous.</dialogue> <character>PAUL</character> <dialogue>But you do. You look wonderful. Come here, turn this way. With the view behind us.</dialogue> <scene_description>Accepting the compliment, Frankie combs her hair with her hands quickly, before positioning herself for a photo. Paul puts his arm around her, and takes a selfie.</scene_description> <character>FRANKIE</character> <dialogue>On en prend un autre.</dialogue> <character>FRANKIE</character> <dialogue>One more.</dialogue> <scene_description>She changes her angle slightly. Another click.</scene_description> <character>FRANKIE</character> <dialogue>Envoie-le à Jimmy.</dialogue> <character>FRANKIE</character> <dialogue>Send it to Jimmy.</dialogue> <character>PAUL</character> <dialogue>A vos ordres.</dialogue> <character>PAUL</character> <dialogue>Right now.</dialogue> <scene_description>They start walking, side by side.</scene_description> <character>FRANKIE</character> <dialogue>Je n'ai pas très bien dormi.</dialogue> <character>FRANKIE</character> <dialogue>I didn't sleep very well.</dialogue> <character>PAUL</character> <dialogue>Encore te migraines?</dialogue> <character>PAUL</character> <dialogue>Headaches again?</dialogue> <character>FRANKIE</character> <dialogue>Atroces. C'est de pire en pire.</dialogue> <character>FRANKIE</character> <dialogue>Awful. They're getting worse.</dialogue> <character>PAUL</character> <dialogue>Prends te cachets.</dialogue> <character>PAUL</character> <dialogue>Take the pills.</dialogue> <character>FRANKIE</character> <dialogue>Mais je le prends.</dialogue> <character>FRANKIE</character> <dialogue>I am.</dialogue> <character>PAUL</character> <dialogue>Augment la dose.</dialogue> <character>PAUL</character> <dialogue>Take more.</dialogue> <character>FRANKIE</character> <dialogue>Ce n'est pas comme ça que ça marche. Il faut que j'en parle au Dr. Bernhard. Tu sais, ils sont déjà très forts.</dialogue> <character>FRANKIE</character> <dialogue>It's not like that. I have to talk to Dr. Bernhard. They're very strong, you know.</dialogue> <character>PAUL</character> <dialogue>Et alors? À ce stade...</dialogue> <character>PAUL</character> <dialogue>So what? At this point.</dialogue> <scene_description>Paul talked without thinking, and his comment hits Frankie the wrong way. Her eyes tear up, and she looks away, trying to hide them from her son. But he knows.</scene_description> <character>PAUL</character> <dialogue>Excuse-moi Maman. Je suis vraiment désolé.</dialogue> <character>PAUL</character> <dialogue>I'm sorry, Maman. I'm so sorry.</dialogue> <character>FRANKIE</character> <dialogue>Mais il n'y a pas de quoi.</dialogue> <character>FRANKIE</character> <dialogue>Nothing to be sorry about.</dialogue> <character>PAUL</character> <dialogue>C'est juste que je ne veux pas que tu souffres.</dialogue> <character>PAUL</character> <dialogue>I just don't want you to feel any pain.</dialogue> <character>FRANKIE</character> <dialogue>Tu as raison. À ce stade, qu'est-ce que ça peut faire?</dialogue> <character>FRANKIE</character> <dialogue>You're right. At this point, who cares?</dialogue> <character>PAUL</character> <dialogue>En tout cas, tu as l'air reposée.</dialogue> <character>PAUL</character> <dialogue>Anyway, you do look rested.</dialogue> <character>FRANKIE</character> <dialogue>Je suis payée pour faire semblant.</dialogue> <character>FRANKIE</character> <dialogue>I'm good at pretending.</dialogue> <scene_description>Frankie takes her bracelet off. Paul notices her admiring it, before she offers it to him.</scene_description> <character>FRANKIE</character> <dialogue>Tiens. Je voudrais te le donner.</dialogue> <character>FRANKIE</character> <dialogue>Here. I want you to have this.</dialogue> <scene_description>She pushes the shiny bracelet into his hands.</scene_description> <character>PAUL</character> <dialogue>Je n'en veux pas.</dialogue> <character>PAUL</character> <dialogue>I don't want this.</dialogue> <scene_description>He tries to give it back.</scene_description> <character>FRANKIE</character> <dialogue>Il vaut au moins vingt mille euros. Si je te le donne maintenant, tu n'auras pas de droits à payer plus tard. Mets-le à l'abri dans un coin sûr et comme ça d'ici quelques années, le tour est joué, c'est à toi. Personne n'y verra que du feu.</dialogue> <character>FRANKIE</character> <dialogue>It's worth at least twenty thousand. If you take it now, there won't be any taxes later. Just put it away somewhere very safe. Then in a few years, voila, it's yours. No one will know the difference.</dialogue> <character>PAUL</character> <dialogue>Oui mais je n'en veux pas.</dialogue> <character>PAUL</character> <dialogue>I don't want it.</dialogue> <character>FRANKIE</character> <dialogue>Il plaira peut-être à ta future femme.</dialogue> <character>FRANKIE</character> <dialogue>Maybe your future wife will like it.</dialogue> <character>PAUL</character> <dialogue>Avant ça il faudrait déjà que je me trouve une copine, tu ne crois pas?</dialogue> <character>PAUL</character> <dialogue>I'd first need to find a girlfriend, don't you think?</dialogue> <character>FRANKIE</character> <dialogue>C'est cher la vie à New York, tu sais.</dialogue> <character>FRANKIE</character> <dialogue>New York can be very expensive, you know.</dialogue> <character>PAUL</character> <dialogue>J'y vais avec un très bon boulot, comme je te l'ai déjà dit. Je sais que ça te dépasse, mais je gagne extrêmement bien ma vie.</dialogue> <character>PAUL</character> <dialogue>I have a good job. You know that. I know it's hard for you to believe, but I make a lot of money.</dialogue> <character>FRANKIE</character> <dialogue>Je sais. Et je n'approuve pas.</dialogue> <character>FRANKIE</character> <dialogue>I know. I don't approve.</dialogue> <character>PAUL</character> <dialogue>Que tu approuves ou pas, ça m'est égal.</dialogue> <character>PAUL</character> <dialogue>I don't care if you approve.</dialogue> <scene_description>She forcefully hands him the bracelet.</scene_description> <character>FRANKIE</character> <dialogue>Bon allez. Prends-le.</dialogue> <character>FRANKIE</character> <dialogue>Here. Take it.</dialogue> <scene_description>Paul holds the bracelet, finally, but looks at it without much care.</scene_description> <character>FRANKIE</character> <dialogue>Il y a autre chose dont it faut qu'on discute. Cette histoire de trust dont a parlé Sylvia. L'argent, c'est ton domaine. De quoi il s'agit?</dialogue> <character>FRANKIE</character> <dialogue>There's something else we need to talk about. This incorporating idea of Sylvia's. Money is your business. What is she talking about?</dialogue> <character>PAUL</character> <dialogue>Pour ça il faudrait qu'on prenne rendez-vous avec un avocat, quelqu'un qui maîtrise vraiment le sujet. Ca ne se règle pas comme ça et on n'est pas obligés de parler de droits de succession maintenant. Si on est en vacances c'est justement pour oublier tout ça.</dialogue> <character>PAUL</character> <dialogue>I think we should just set up a meeting with a lawyer, someone who really understands the situation. These things are complicated. We don't need to talk inheritance taxes while we're here. It's a vacation from all of that.</dialogue> <character>FRANKIE</character> <dialogue>C'est pourtant vité réglé. Tout ce que j'ai, c'est l'appartement de Paris. Je l'ai déjà mis en vente, et j'ai l'intention de léguer ce que je vais en tirer au Conservatoire.</dialogue> <character>FRANKIE</character> <dialogue>Not much to talk about. All I have is the apartment in Paris. I've already put it on the market. I intend to donate the proceeds to the Conservatoire.</dialogue> <character>PAUL</character> <dialogue>Ah bon? Tu leur en fais don? Et Jimmy, il le saît déjà?</dialogue> <character>PAUL</character> <dialogue>Really? You're giving it away? Does Jimmy know?</dialogue> <character>FRANKIE</character> <dialogue>Mais, oui. Bien sûr. Toi, tu n'as pas besoin de moi. Tu me l'as déjà parfaitement fait comprendre. Jimmy s'est très bien débrouillé, il a mis ce qu'il lui faut de côté. Sylvia peut compter sur Ian. Je suis sûre qu'il a gagné encore plus d'argent que toi.</dialogue> <character>FRANKIE</character> <dialogue>Yes. Of course. You don't need me. You've made that perfectly clear. And Jimmy's saved plenty from his own work. There's more than enough there. And Ian will take care of Sylvia. I'm sure he's made even more than you.</dialogue> <character>PAUL</character> <dialogue>Sûrement. Je ne suis pas en train de me plaindre, Maman. Je n'ai aucune envie de vivre à Paris. Si tu veux faire don de l'appartement, vas-y. Simplement... je suis surpris. Il vaut tant que ça de toute façon?</dialogue> <character>PAUL</character> <dialogue>I'm sure. I'm not complaining, Maman. I don't want to live in Paris anyway. It's fine for you to give the apartment away. I'm just... I'm surprised. Is the apartment really worth that much money anyway?</dialogue> <character>FRANKIE</character> <dialogue>J'en demande trois millions. Tu connais le quartier.</dialogue> <character>FRANKIE</character> <dialogue>I'm asking three million. You know the neighborhood.</dialogue> <character>PAUL</character> <dialogue>A mon avis tu te trompes.</dialogue> <character>PAUL</character> <dialogue>I think you're mistaken.</dialogue> <character>FRANKIE</character> <dialogue>Ne me dis pas que je me trompe. Tu n'as pas à me rabaisser comme ça. Ca n'est vraiment pas nécessaire. Et ensuite le Conservatoire s'est engagé à créer une bourse Françoise Cremont pour les apprentis comédiens.</dialogue> <character>FRANKIE</character> <dialogue>Don't tell me I'm mistaken. Don't put me down like that. It's not necessary. It's not. And the school has promised they would set up a Françoise Cremont Scholarship for young actors.</dialogue> <character>PAUL</character> <dialogue>Ah d'accord...</dialogue> <character>PAUL</character> <dialogue>Ah. I see.</dialogue> <character>FRANKIE</character> <dialogue>Je sais que c'est vaniteux de ma part. Mais c'est ça que je veux, et je prends mes dispostions en conséquence. J'ai besoin que tu t'assures qu'ils le feront bien. Tu peux me promettre de t'en occuper, Paul?</dialogue> <character>FRANKIE</character> <dialogue>It's vanity, I know. But I want it, and I'm planning for it now. I need you to make sure they do it. Can you promise me that, Paul?</dialogue> <character>PAUL</character> <dialogue>Qu'ils feront bien quoi?</dialogue> <character>PAUL</character> <dialogue>They do what?</dialogue> <character>FRANKIE</character> <dialogue>Qu'ils créeront bel et bien cette bourse!</dialogue> <character>FRANKIE</character> <dialogue>Set up the scholarship!</dialogue> <character>PAUL</character> <dialogue>Non mais arrête, là! On dirait que tu parles d'une bande d'escrocs.</dialogue> <character>PAUL</character> <dialogue>Oh, please. They're not crooks.</dialogue> <character>FRANKIE</character> <dialogue>Quant au reste, il n'y a pas grand-chose. Je le donne au fur et à mesure.</dialogue> <character>FRANKIE</character> <dialogue>The rest, there's not much. I'm giving it away as I go.</dialogue> <scene_description>Paul looks at the bracelet again. This time, the light hits it's precious stones, and it shines brighter: it seems to hold more value than just a few seconds before.</scene_description> <character>FRANKIE</character> <dialogue>Tu as vu Ilene?</dialogue> <character>FRANKIE</character> <dialogue>Have you seen Ilene yet?</dialogue> <character>PAUL</character> <dialogue>C'est qui Ilene?</dialogue> <character>PAUL</character> <dialogue>Who's Ilene.</dialogue> <character>FRANKIE</character> <dialogue>Mon amie Ilene. Elle est arrivée.</dialogue> <character>FRANKIE</character> <dialogue>My friend Ilene. She's here.</dialogue> <character>PAUL</character> <dialogue>Ilene. Celle dont tu parles tous le temps.</dialogue> <character>PAUL</character> <dialogue>Ilene. The one you always talk about.</dialogue> <character>FRANKIE</character> <dialogue>Oui. Mon amie chef-coiffeuse. Elle a énormement de talent. Et puis elle est maligne comme tout, et elle me fait rire. Je suis sûre qu'elle te plairait.</dialogue> <character>FRANKIE</character> <dialogue>Yes. My hair stylist friend. She's so talented. Smart, she makes me laugh. I am sure you'd really like her.</dialogue> <character>PAUL</character> <dialogue>Elle habite à New York...</dialogue> <character>PAUL</character> <dialogue>She lives in New York.</dialogue> <scene_description>Frankie nods.</scene_description> <character>PAUL</character> <dialogue>Et elle n'a pas de mec.</dialogue> <character>PAUL</character> <dialogue>And she's single.</dialogue> <character>FRANKIE</character> <dialogue>Ah ça, je n'en sais rien. Mais elle est très jolie. Elle est beaucoup plus jeune que moi.</dialogue> <character>FRANKIE</character> <dialogue>Ah, that-- I don't know. But she's very pretty. She's much younger than me, you know.</dialogue> <character>PAUL</character> <dialogue>Et comme par hasard elle débarque à Sintra en même temps que nous.</dialogue> <character>PAUL</character> <dialogue>And she happens to be in Sintra at the same time that we are here.</dialogue> <character>FRANKIE</character> <dialogue>Elle traville en Espagne. C'est juste à côté.</dialogue> <character>FRANKIE</character> <dialogue>She's working in Spain, around the corner.</dialogue> <character>PAUL</character> <dialogue>C'était censé être des vancances en famille!</dialogue> <character>PAUL</character> <dialogue>This was supposed to be a family vacation!</dialogue> <character>FRANKIE</character> <dialogue>Elle est sur le tournage du nouveau Star Wars. C'est énorme! Donc tu vois, quand je te dis qu'elle est douée...</dialogue> <character>FRANKIE</character> <dialogue>She's on the new Star Wars movie. It's a major job. Shows you how good she is.</dialogue> <scene_description>All of a sudden, the bracelet feels heavy on Paul's hand. He's clearly very upset, and he tosses the bracelet up and down.</scene_description> <character>PAUL</character> <dialogue>C'est marrant. La plupart des mères trouvent que personne n'est jamais assez bien pour les fils.</dialogue> <character>PAUL</character> <dialogue>Funny. For most mothers, there is never anyone good enough for their sons.</dialogue> <character>FRANKIE</character> <dialogue>Je ne sais pas de quelles mères tu parles. Pas la mienne en tout cas. Du moment qu'il était un homme et pas juif, elle était ravie. Ca lui était même égal qu'il soit homo.</dialogue> <character>FRANKIE</character> <dialogue>I don't know what mothers you are talking about. Not my mother. As long as he was a man and he wasn't a Jew, she was perfectly happy. She didn't even care if he was a homosexual.</dialogue> <scene_description>They pause, angry.</scene_description> <character>FRANKIE</character> <dialogue>Paul, toute ta vie je t'ai toujours donné tout ce que tu as voulu, et pourtant tu n'es jamais content de rien. Rien ne te suffit jamais. Aucune femme. Aucun homme. Aucune mère. Aucun père.</dialogue> <character>FRANKIE</character> <dialogue>Paul, I've given you everything you've ever wanted your whole life, and yet you are never satisfied with anything. Nothing is enough for you. No woman. No man. No mother. No father.</dialogue> <scene_description>In one quick gesture, Paul throws the bracelet away, far away down the hill.</scene_description> <character>FRANKIE</character> <dialogue>Paul?! Mais tu es malade??</dialogue> <character>FRANKIE</character> <dialogue>Paul?! Are you crazy??</dialogue> <scene_description>Paul turns around and walks away from his mom, furious. Frankie takes off, goes running down the hill, dropping the bouquet of flowers behind her.</scene_description> </scene> <scene> <stage_direction>EXT. RUA RIGUEIRINHO - DAY</stage_direction> <scene_description>Paul is still fuming, walking with firm, fast steps, when he runs into Sylvia.</scene_description> <character>PAUL</character> <dialogue>There you are.</dialogue> <character>SYLVIA</character> <dialogue>Yes, I'm late. I'm meeting Ian for lunch in town.</dialogue> <character>PAUL</character> <dialogue>I just came from talking with Frankie.</dialogue> <character>SYLVIA</character> <dialogue>And?</dialogue> <character>PAUL</character> <dialogue>The level of manipulation is beyond anything I can fully explain. And by the way, she's selling the Paris apartment, so don't get your hopes up. She's getting all her ducks in a row, as the Americans say. You knew she would leave nothing to chance.</dialogue> <character>SYLVIA</character> <dialogue>What do you mean she's selling the apartment?</dialogue> <character>PAUL</character> <dialogue>It's already on the market, and she's made up her mind. She's leaving everything she's got to the Conservatoire, which is not much, it turns out, besides the apartment.</dialogue> <scene_description>The news stops Sylvia cold in her tracks. She leans on the ancient, moss covered rail wall that accompanies the road.</scene_description> <character>SYLVIA</character> <dialogue>Seriously? That's absurd.</dialogue> <character>PAUL</character> <dialogue>She worked her whole life. She can do whatever she wants with her money. And what she wants is to be remembered. She's setting up the Françoise Cremont Scholarship Fund for poor and needy actresses. That's what she wants. I'm sorry her death won't help you leave your boring husband, but I quite like the idea.</dialogue> <scene_description>Sylvia picks up her pace, walking fast away from Paul.</scene_description> <character>PAUL</character> <dialogue>Sylvia. Sylvia!</dialogue> </scene> <scene> <stage_direction>EXT. SEQUOIAS ROAD - DAY</stage_direction> <scene_description>Ilene walks by herself in the woods. This is a more primitive, more chaotic part of the hills. The trees are taller, their canopies denser, and the light struggles to reach the ground. Ilene allows herself to get lost in the colors, the shades and light of nature. A sound brings Ilene's attention back to the earth. She looks to the side, behind a bush, and sees a woman on all fours, sweeping fallen leaves around with her hands. It's Frankie, combing through the foliage, looking for something. A shiny point a few feet away makes her frantic for a second, until she realizes it's nothing but an ordinary rock. She looks up, and sees Ilene.</scene_description> <character>ILENE</character> <dialogue>What did you lose now, Frankie darling?</dialogue> <scene_description>Ilene extends her hand, but Frankie isn't ready to get up yet.</scene_description> <character>FRANKIE</character> <dialogue>If you stumble upon a Bulgari bracelet, it's mine.</dialogue> <character>ILENE</character> <dialogue>Seriously?</dialogue> <character>FRANKIE</character> <dialogue>Emeralds, rubies and diamonds.</dialogue> <scene_description>Ilene goes down on the ground and looks around her, and so does Frankie. They can't find anything. They're both on all fours, now face to face, and they start laughing.</scene_description> <character>ILENE</character> <dialogue>You're joking.</dialogue> <character>FRANKIE</character> <dialogue>I'm not.</dialogue> <character>ILENE</character> <dialogue>What happened?</dialogue> <character>FRANKIE</character> <dialogue>My stupid son.</dialogue> <character>ILENE</character> <dialogue>Paul?</dialogue> <character>FRANKIE</character> <dialogue>It's the only one I have. Help me up here. I've looked everywhere already.</dialogue> <scene_description>Ilene gets up, and extends her hand. Frankie holds it, and as she gets up, she falls into Ilene's arms.</scene_description> <character>FRANKIE</character> <dialogue>Oh Ilene. It's so good to see you.</dialogue> <character>ILENE</character> <dialogue>It's good to see you.</dialogue> <scene_description>Frankie's face looks more pale than normal. Her eyes lose sight, her lips lose their color. She feels suddenly dizzy.</scene_description> <character>ILENE</character> <dialogue>Frankie.</dialogue> <character>FRANKIE</character> <dialogue>I'm okay.</dialogue> <scene_description>Frankie tries to stay up, but her legs get weak.</scene_description> <character>FRANKIE</character> <dialogue>Help me.</dialogue> <scene_description>Ilene rushes to hold her friend, but as she does, Frankie starts to fall down.</scene_description> <character>ILENE</character> <dialogue>Frankie!</dialogue> <scene_description>Ilene still tries to hold her up, but once she notices it's serious, and Frankie is actually falling, she lets her to the ground, carefully, holding her head so it doesn't hit anything.</scene_description> <character>ILENE</character> <dialogue>Oh my God. Frankie!</dialogue> <scene_description>Frankie lies on the ground, as her eyes roll back, and the muscles in her body jerk rhythmically for a second. Ilene stands back, desperate, unsure of what to do.</scene_description> </scene> <scene> <stage_direction>EXT. RESTAURANT - DAY</stage_direction> <scene_description>Ian and Sylvia sit at a restaurant in the city of Sintra. He's served a salad by the WAITER, while Sylvia picks on bread and butter at the table.</scene_description> <character>IAN</character> <dialogue>You're not going to eat?</dialogue> <character>SYLVIA</character> <dialogue>I'm not very hungry.</dialogue> <scene_description>Ian digs into his meal.</scene_description> <character>SYLVIA</character> <dialogue>I'll have a glass of wine. Waiter!</dialogue> <scene_description>The Waiter comes back, while Sylvia is looking at the menu.</scene_description> <character>SYLVIA</character> <parenthetical>(to the waiter)</parenthetical> <dialogue>A glass of Planalto, por favor.</dialogue> <scene_description>The waiter takes the menu, and leaves. Ian looks down at his plate, and sticks his fork into a big chunk of lettuce.</scene_description> <character>IAN</character> <dialogue>Regardless of what I feel, and of what I think you feel, we have a home and an amazing daughter, and... maybe it's my personality, I don't know... I didn't grow up like you. All of you. I don't have the same expectations maybe. I'd like to think that our life together, our family, is the most important thing.</dialogue> <scene_description>Sylvia wasn't expecting this. She takes a sip of Ian's white wine.</scene_description> <character>IAN</character> <dialogue>Of course I can fantasize once in a while what my life would be like if I had made different choices. That's normal. It's human. But actually going through a divorce? It hasn't crossed my mind.</dialogue> <character>SYLVIA</character> <dialogue>Never?</dialogue> <character>IAN</character> <dialogue>No.</dialogue> <character>SYLVIA</character> <dialogue>Well, I can't say the same.</dialogue> <scene_description>They sit in a silence for a moment.</scene_description> <character>IAN</character> <dialogue>So then you must know that there's only one 'ground' for divorce under British law, which is that the marriage has irretrievably broken down. Five facts may constitute this ground: adultery, unreasonable behavior, two years separation, if both parties consent; five years separation, if only one party consents, and two years desertion.</dialogue> <scene_description>Ian pauses, and eats a small bite of his meal.</scene_description> <character>IAN</character> <dialogue>I've been faithful to you, Sylvia. It would take a long, very expensive legal battle to try and prove unreasonable behavior on my part, which I think would be your only possible path.</dialogue> <character>SYLVIA</character> <dialogue>I never thought about getting into a battle with you.</dialogue> <character>IAN</character> <dialogue>So I'm glad we're having this conversation, because I wouldn't just let you go, Sylvia. You'd have to take me to a court of law, that's what it would take.</dialogue> <character>SYLVIA</character> <dialogue>God, you did more research than I did.</dialogue> <character>IAN</character> <dialogue>Of course I did. I called a lawyer. What do you expect me to do? He made some calculations for me.</dialogue> <character>SYLVIA</character> <dialogue>Calculations!</dialogue> <character>IAN</character> <dialogue>I like to be prepared. You must have made calculations, yourself, but this is what we came up with. In the unlikely event that you are granted a decree Absolute, since you don't have a salary, your alimony would get you, according to our calculations, a one bedroom in Upper Edmonton, maybe a two bed/one bath in Lower Edmonton.</dialogue> <scene_description>The Waiter arrives with Sylvia's glass of white wine.</scene_description> <character>SYLVIA</character> <dialogue>That's where Maya's kick boxing instructor lives.</dialogue> <character>IAN</character> <dialogue>Is she the Bolivian?</dialogue> <character>SYLVIA</character> <dialogue>Yes.</dialogue> <character>IAN</character> <dialogue>Then, maybe. That would make sense. I hear Lower is very popular among South American immigrants.</dialogue> <scene_description>Sylvia takes a sip of her wine, and gets up.</scene_description> <character>SYLVIA</character> <dialogue>I'm going to go.</dialogue> <character>IAN</character> <dialogue>You don't want to go with me to pick up Maya?</dialogue> <character>SYLVIA</character> <dialogue>No. I want to go see the Regaleira.</dialogue> <character>IAN</character> <dialogue>You want to go see the Regaleira. I see. What is the Regaleira, may I ask?</dialogue> <character>SYLVIA</character> <dialogue>It doesn't matter.</dialogue> <character>IAN</character> <dialogue>No, that's right. You're right, Sylvia. It doesn't matter.</dialogue> <scene_description>Sylvia turns around, and heads out. Ian, disappointed, picks up her glass full of wine.</scene_description> </scene> <scene> <stage_direction>EXT. CAMINHO DA FONTE DOS AMORES/BOIÇA ROAD - DAY</stage_direction> <scene_description>Ilene has her arm around Frankie, as they walk out of the woods.</scene_description> <character>ILENE</character> <dialogue>Shouldn't we call a doctor?</dialogue> <character>FRANKIE</character> <dialogue>I'm fine, Ilene.</dialogue> <character>ILENE</character> <dialogue>You sure?</dialogue> <character>FRANKIE</character> <dialogue>I was down on my knees for so long, when I got up I just felt faint for a moment.</dialogue> <character>ILENE</character> <dialogue>You didn't just faint, sweetie. You had a seizure.</dialogue> <character>FRANKIE</character> <dialogue>Was it really?</dialogue> <character>ILENE</character> <dialogue>Yes. You scared me to death.</dialogue> <character>FRANKIE</character> <dialogue>I'm so sorry.</dialogue> <character>ILENE</character> <dialogue>No. It's just that I had no idea what to do.</dialogue> <scene_description>Ilene lets go of Frankie, but keeps an eye on her. They walk out of the woods, and into the road.</scene_description> <character>ILENE</character> <dialogue>You sure you're okay now?</dialogue> <character>FRANKIE</character> <dialogue>Yes. I just feel a little cold. Don't you?</dialogue> <character>ILENE</character> <dialogue>Let me take you to your hotel.</dialogue> <character>FRANKIE</character> <dialogue>It's not far, I think.</dialogue> <scene_description>It's a narrow road, and a SMALL GROUP of HIKERS come walking from the opposite direction, Ilene and Frankie get squeezed on the side of the road.</scene_description> <character>ILENE</character> <dialogue>Has this happened before?</dialogue> <character>FRANKIE</character> <dialogue>I have one of these every other day now.</dialogue> <character>ILENE</character> <dialogue>But I thought you were fine.</dialogue> <character>FRANKIE</character> <dialogue>I was. After the treatment, I had two years completely cancer free. I went back to work, and it was great. I made two films, back to back, in England and in France.</dialogue> <character>ILENE</character> <dialogue>You told me you were exhausted.</dialogue> <character>FRANKIE</character> <dialogue>Yes, but only because it was a long shoot, the one in Bath, and we had to be outdoors in the winter. It wasn't easy, but it was wonderful. And I felt fine.</dialogue> <character>ILENE</character> <dialogue>And you did the series after?</dialogue> <character>FRANKIE</character> <dialogue>Just one episode. They brought me back for one episode.</dialogue> <character>FRANKIE</character> <dialogue>It was supposed to be quick and easy, but I suddenly started to feel nauseous. I knew there was something going on, so I was reluctant to go see my doctor. I finished the work. And then I went to see him.</dialogue> <scene_description>Ilene blanches, feeling bad news about to hit.</scene_description> <character>FRANKIE</character> <dialogue>I don't want to go into all the details, but the cancer has spread, it's everywhere.</dialogue> <character>ILENE</character> <dialogue>Oh, Frankie.</dialogue> <character>FRANKIE</character> <dialogue>They don't think I'll see the New Year.</dialogue> <scene_description>Ilene looks around her, the nature and the skies, looking for something to say, but she can't say anything.</scene_description> <character>FRANKIE</character> <dialogue>The difficult part for me is seeing people cry, so please don't cry. I wanted you to come here, because I want you to meet my family. I want us to have a good time, which for me now means just time together.</dialogue> <scene_description>Ilene throws her arm around Frankie.</scene_description> <character>ILENE</character> <dialogue>I'm going to miss you terribly.</dialogue> <character>FRANKIE</character> <dialogue>I know you will.</dialogue> <scene_description>Ilene squeezes her even tighter.</scene_description> <character>ILENE</character> <dialogue>Are you still cold?</dialogue> <character>FRANKIE</character> <dialogue>I'm okay.</dialogue> <character>ILENE</character> <dialogue>Do you have any idea where we are?</dialogue> <scene_description>Frankie looks around the road, trying to find her way.</scene_description> <character>ILENE</character> <dialogue>Oh no. Why did I trust you?</dialogue> <scene_description>Frankie laughs. They've been through this before.</scene_description> <character>FRANKIE</character> <dialogue>I have no sense of direction!</dialogue> <scene_description>A Tuk Tuk passes by, noisily, with no passenger. Frankie sees it and immediately makes a gesture for it to stop.</scene_description> <character>FRANKIE</character> <dialogue>Hey!</dialogue> </scene> <scene> <stage_direction>EXT. SEQUOIAS ROAD/TUK TUK - DAY</stage_direction> <scene_description>Frankie and Ilene ride on the back of the Tuk Tuk through the roads of Sintra. It goes fast, and it's not the most comfortable vehicle... but they laugh when they have to hold on to each other, as the Tuk Tuk goes into a sharp turn. Around them, the lush mountains of Sintra, its exotic palaces, its sublime tiled walls and its crumbling old houses. Frankie and Ilene have to talk loudly to be heard.</scene_description> <character>FRANKIE</character> <dialogue>I met your fiancé.</dialogue> <character>ILENE</character> <dialogue>Fiancé? Did he say that??</dialogue> <character>FRANKIE</character> <dialogue>He says he wants to marry you.</dialogue> <character>ILENE</character> <dialogue>Oh God.</dialogue> <scene_description>Frankie laughs.</scene_description> <character>FRANKIE</character> <dialogue>And he wants me to be in his movie. He's going to give me a script.</dialogue> <character>ILENE</character> <dialogue>Damn Gary. I'm sorry, Frankie. I told him not to do that.</dialogue> <character>FRANKIE</character> <dialogue>I told him I would read it, but it better be the starring role!</dialogue> <character>ILENE</character> <dialogue>Of course it is. He adores Françoise Cremont. He really has seen all your movies.</dialogue> <character>FRANKIE</character> <dialogue>He has a lot of plans, this Gary.</dialogue> <character>ILENE</character> <dialogue>He's a sweet guy, actually. We've had a lot of fun together. And I think the script will be good. He's deeper than he seems, believe it or not.</dialogue> <character>FRANKIE</character> <dialogue>But you know he's not the right one for you, Ilene. You must.</dialogue> <character>ILENE</character> <dialogue>But is there 'the right one' for me?</dialogue> <character>FRANKIE</character> <dialogue>Of course there is.</dialogue> <character>ILENE</character> <dialogue>I don't know. I feel like I've been looking my whole life!</dialogue> <character>FRANKIE</character> <dialogue>"Trouve avant de chercher."</dialogue> <scene_description>Ilene looks at her, not following.</scene_description> <character>FRANKIE</character> <dialogue>"Find it before you look for it." It's something Jimmy says. One of his famous quotes. Paul Valery. Or Breton, I think.</dialogue> <scene_description>The annoying noise of the mechanized three-wheeled taxi accompanies the beautiful ride.</scene_description> <character>FRANKIE</character> <dialogue>"Trouve avant de chercher."</dialogue> <character>ILENE</character> <dialogue>"Trouve avant de chercher."</dialogue> </scene> <scene> <stage_direction>EXT. CAMINHO DA FONTE DOS AMORES/BOIÇA ROAD - DAY</stage_direction> <scene_description>Gary walks down a remote, long road, alone, oblivious to everything around him. An OLD PORTUGUESE MAN walks by with his DOG, and as they pass by, the dog barks at Gary, bringing him back to the moment.</scene_description> <character>OLD PORTUGUESE MAN</character> <parenthetical>(to his dog)</parenthetical> <dialogue>Quieto! Não faça isso.</dialogue> <parenthetical>(to Gary)</parenthetical> <dialogue>Desculpe.</dialogue> <scene_description>Gary smiles politely, as the Old Man and the dog pass by. And now, with the dog's bark far away, there is a strong silence surrounding Gary. He can hear the trees move, and the wind, with piercing clarity. He is alone with himself in this beautiful place, in Sintra.</scene_description> </scene> <scene> <stage_direction>EXT. QUINTA DA BOIÇA - DAY</stage_direction> <scene_description>Ilene comes out of the house, onto the terrace. She takes in the view of the lush valley below, a moment on her own to reflect on the tough news of the day.</scene_description> <character>GARY (O.S.)</character> <dialogue>Ilene!</dialogue> <scene_description>It's Gary, coming towards her, from the front gate of the Quinta. As he approaches her, Ilene walks towards him and, unexpectedly, she falls into his arms.</scene_description> <character>GARY</character> <dialogue>Oh, baby.</dialogue> <scene_description>Gary, surprised by her emotions, tightens his embrace.</scene_description> <character>GARY</character> <dialogue>Oh, honey, sweet girl. Don't worry. It's okay. It's okay.</dialogue> <character>ILENE</character> <dialogue>It's not...</dialogue> <character>GARY</character> <dialogue>Shhh...You don't need to say anything.</dialogue> <character>ILENE</character> <dialogue>When I came here... I wasn't expecting so much.</dialogue> <character>GARY</character> <dialogue>I know. Me either. This place is really more to dream than to talk about.</dialogue> <scene_description>She looks at him with compassion.</scene_description> <character>GARY</character> <dialogue>I don't know if it's the mountain air, or these beautiful surroundings, I don't know... but I realized today that love is all that matters. Not money. Not jobs, or movies. Or even companionship. I know it's cliché, but for the first time I understand it's only love that matters.</dialogue> <scene_description>Ilene listens intently. This is turning out differently than she expected.</scene_description> <character>GARY</character> <dialogue>I'm going to leave, Ilene.</dialogue> <character>ILENE</character> <dialogue>But we still have a couple days off.</dialogue> <character>GARY</character> <dialogue>I know we do, but I'll stay in Lisbon for a night or two. It's supposed to be a great town.</dialogue> <character>ILENE</character> <dialogue>Gary, I'm sorry-</dialogue> <character>GARY</character> <dialogue>There's no need to apologize. My feelings for you... if it's not reciprocal, it's silly to pretend. I'm too old for that. Besides, I understand how much you value your independence. Stay here and enjoy your friends. That's what you came here for.</dialogue> <character>ILENE</character> <dialogue>Gary, when you shoot your film, I'll come work on it.</dialogue> <character>GARY</character> <dialogue>No, I don't think that's a good idea anymore. I hope you understand.</dialogue> <character>ILENE</character> <dialogue>Oh. Of course I do. I understand.</dialogue> <scene_description>Gary turns to go.</scene_description> <character>GARY</character> <dialogue>I should go pack. I have a car coming soon.</dialogue> <scene_description>He goes into the house, leaving Ilene alone on the terrace.</scene_description> </scene> <scene> <stage_direction>INT. QUINTA DE SÃO THIAGO/FRANKIE &amp; JIMMY'S SUITE - DAY</stage_direction> <scene_description>In her hotel room, Frankie is sleeping. Her pale white skin barely covering the veins below, she looks fragile, vulnerable, and so different than she has throughout. Jimmy sits in a chair by the bed, watching her closely, listening to every movement, every breath. After a long moment, he stands, and starts to take off his clothes. He carefully hangs his pants on the back of a chair, then his shirt on a hanger. He goes to the bed, and gets in beside Frankie. Then he turns, and puts his arms around her. She feels his body close to hers, and turns towards him. They start to make love, quietly, passionately.</scene_description> </scene> <scene> <stage_direction>EXT. TRAVESSA DE SANTA MARIA - DAY</stage_direction> <scene_description>Ilene walks along the road.</scene_description> <character>MICHEL (O.S.)</character> <dialogue>Ilene!</dialogue> <scene_description>Michel approaches, followed by Tiago and Paul.</scene_description> <character>MICHEL</character> <dialogue>I don't think you have met my son, Paul.</dialogue> <scene_description>Introductions are made, they exchange handshakes.</scene_description> <character>MICHEL</character> <dialogue>We were going to go get some coffee and patisserie. Do you want to come with us?</dialogue> <character>ILENE</character> <dialogue>No, thank you. But I'm planning to meet Frankie later. At the top.</dialogue> <character>TIAGO</character> <dialogue>Peninha.</dialogue> <character>MICHEL</character> <parenthetical>(to Ilene)</parenthetical> <dialogue>Yes, good, then we'll see you there.</dialogue> <scene_description>They come to a split in the road.</scene_description> <character>TIAGO</character> <dialogue>It's this way.</dialogue> <scene_description>Tiago and Michel take the turn, but Paul hesitates behind.</scene_description> <character>PAUL</character> <dialogue>Papa, je vous rejoins.</dialogue> <character>PAUL</character> <dialogue>Papa, I'll catch up with you.</dialogue> <character>MICHEL</character> <dialogue>Oui oui, bien sûr. Prends ton temps.</dialogue> <character>MICHEL</character> <dialogue>Of course, of course. Take your time.</dialogue> <scene_description>They disappear, leaving Ilene and Paul alone. They begin to walk together.</scene_description> <character>ILENE</character> <dialogue>I hear you're moving to New York.</dialogue> <character>PAUL</character> <dialogue>And you live there, is that right?</dialogue> <character>ILENE</character> <dialogue>Twenty three years. Do you know where in the city you're going to be living?</dialogue> <character>PAUL</character> <dialogue>I don't know.</dialogue> <character>ILENE</character> <dialogue>I thought your mother told me you had a found a place already.</dialogue> <character>PAUL</character> <dialogue>My mother thinks she knows everything. She has all these plans, you know.</dialogue> <character>ILENE</character> <dialogue>Of course. She's in a hurry.</dialogue> <scene_description>Paul seems a bit surprised at Ilene's comment.</scene_description> <character>PAUL</character> <dialogue>So you know.</dialogue> <character>ILENE</character> <dialogue>Yes. I'm so sorry. If ever you need anything-</dialogue> <character>PAUL</character> <dialogue>We'll be fine by ourselves, thank you.</dialogue> <scene_description>Ilene is taken aback.</scene_description> <character>PAUL</character> <dialogue>I'm sorry.</dialogue> <character>ILENE</character> <dialogue>You know your mother invited me here.</dialogue> <character>PAUL</character> <dialogue>I know she did. She wanted us to meet. She's afraid I'm going to end up alone in New York City.</dialogue> <character>ILENE</character> <dialogue>Maybe she just wanted to see me. Frankie and I are good friends, you know.</dialogue> <character>PAUL</character> <dialogue>Can I tell a story, about Frankie?</dialogue> <character>ILENE</character> <dialogue>I'm not sure I want to hear it, Paul. It's not necessary.</dialogue> <character>PAUL</character> <dialogue>But I want you to hear it. It will help you understand our family a little better. You see, Jimmy's always had a thing for Portugal. We're all thankful to him for that. It's a gift he gave us: Portugal.</dialogue> <character>PAUL</character> <dialogue>This is probably our fifth or sixth time to come here together. And Sintra particularly, you know they came here on their honeymoon, don't you? That is their second honeymoon. They had each had others before. But when my mom first started seeing him, he took us on a trip to the Algarve. Have you been?</dialogue> <character>ILENE</character> <dialogue>Never.</dialogue> <character>PAUL</character> <dialogue>Praia da Falésia, beautiful beach south of here, and twenty years ago, before the Portugal renaissance, or destruction, depending on who's talking, it was almost deserted. Really gorgeous. Mom, Jimmy, and Sylvia, his daughter Sylvia. Have you met, Sylvia?</dialogue> <character>ILENE</character> <dialogue>No, I haven't.</dialogue> <character>PAUL</character> <dialogue>She's lovely, a little damaged, but lovely. We all went to the Algarve together. Mom had moved to London, but only for a short time, for a film, but clearly she and Jimmy were also testing the waters, for the new family to be. A family vacation was decided, and off we went. I barely spoke any English at the time. I was just your average French schoolboy, so as you can imagine I was very nervous. Excited, but nervous. Particularly because of Sylvia. I had met her a couple of times, and, really, you might not know it now, but she was the most beautiful girl ever. She was, she is - a few years older than me. I was maybe fifteen, and she was eighteen or nineteen. She had a woman's body already. A beautiful body. When I saw her in a bikini, oh my God... And I was such a boy! Anyway, it was summer, and hot, and she and I would spend the whole day on the beach together.</dialogue> <character>PAUL</character> <dialogue>Maybe I don't need to go on. You get the picture, right?</dialogue> <scene_description>Ilene doesn't answer. Paul continues.</scene_description> <character>PAUL</character> <dialogue>One night, Mom and Jimmy went out to dinner, and we said, Sylvia and I, we were going to stay home, and watch TV. They were showing the movie Grease on TV. You remember.</dialogue> <parenthetical>(sings Summer Lovin')</parenthetical> <dialogue>Tell me more, tell me more, did you get very far.</dialogue> <scene_description>Ilene chuckles.</scene_description> <character>PAUL</character> <dialogue>I don't know what got into me, because I was actually a very shy boy, pimples, and skinny, and very uncomfortable, but I got up and I started to imitate John Travolta. I grabbed Sylvia so we could dance together, and she screamed! Not because she didn't want to. No, she was sun burned. And so, naturally, I offered to put some lotion on her shoulders. She took her shirt off.</dialogue> <scene_description>A GIRL trotting on a HORSE comes their way, following a BLONDE TRAINER, who holds the reins of her horse with white gloves.</scene_description> <character>PAUL</character> <dialogue>When my mom and Jimmy came back, we were having sex on the couch. Me and my soon-to-be step sister.</dialogue> <scene_description>The riders come fast, and Paul and Ilene have to make space for them to pass by on the road.</scene_description> <character>PAUL</character> <dialogue>As you can imagine, that was the end of this new family idea. I was sent back to live with Michel in Paris. And my mother moved to London. To live with Jimmy and Sylvia. And that was that.</dialogue> <scene_description>Ilene takes it in.</scene_description> <character>PAUL</character> <dialogue>You see, in Portugal, I lost my mother once already. It only seems fitting that I'm here again now.</dialogue> <scene_description>He stops, and looks at Ilene more closely.</scene_description> <character>PAUL</character> <dialogue>She's right about one thing: you are very attractive, you know.</dialogue> <character>ILENE</character> <dialogue>Is that a compliment?</dialogue> <character>PAUL</character> <dialogue>Maybe. My mother would like us to get married.</dialogue> <scene_description>Ilene is silent.</scene_description> <character>PAUL</character> <dialogue>Do you think you are the marrying type?</dialogue> <character>ILENE</character> <dialogue>Not to you.</dialogue> <character>PAUL</character> <dialogue>I didn't think so.</dialogue> <scene_description>An uncomfortable moment between them.</scene_description> <character>ILENE</character> <dialogue>When are you moving?</dialogue> <character>PAUL</character> <dialogue>I don't know now. Everything is a bit up in the air, as you can imagine, scheduling-wise.</dialogue> <character>ILENE</character> <dialogue>If it was soon, I would have been happy to introduce you to a few people in New York, but I don't think I'll be there all that much longer.</dialogue> <character>PAUL</character> <dialogue>Oh no. Pity!</dialogue> <character>ILENE</character> <dialogue>Yes. I got an offer to work on a series, in London, in fact, for the BBC. I need a break from New York - I've been there too long.</dialogue> <character>PAUL</character> <dialogue>I see.</dialogue> <character>ILENE</character> <dialogue>I was so looking forward to telling your mother, but now I can't. I just can't.</dialogue> <character>PAUL</character> <dialogue>Yes, I understand.</dialogue> <scene_description>They stand for a moment, together. Nothing more to be said, it seems.</scene_description> <character>PAUL</character> <dialogue>I'm going to go now, and catch up with my father.</dialogue> <character>ILENE</character> <dialogue>Ok. I'm sure I will see you later.</dialogue> <character>PAUL</character> <dialogue>Yes, I'm sure we will.</dialogue> <scene_description>Paul walks off, back in the direction of Michel and Tiago. A few feet away, he turns, and calls out to Ilene.</scene_description> <character>PAUL</character> <dialogue>Ilene.</dialogue> <scene_description>She turns and stops.</scene_description> <character>PAUL</character> <dialogue>Thank you for listening.</dialogue> <scene_description>She smiles, this time warmly, before they walk their separate ways.</scene_description> </scene> <scene> <stage_direction>EXT. PRAIA DAS MAÇÃS/BEACH - DAY</stage_direction> <scene_description>It's still bright on the beach, but the sunlight is more gentle, casting long shadows as it approaches the horizon. Some seagulls fly above the surf, only to dive in head on, hunting for fish. On the sand, only a few groups of families or friends, not as crowded as before. Maya and Pedro come walking along the surf, side by side. They don't hold hands, but walk very close to each other, in silence, watching the waves break. Each is very aware of the other's body next to them; as Maya's arm swings, it gently rubs Pedro's, and she prolongs the moment, feeling his skin against hers, extending a finger so it can hold his finger for a brief moment, playfully, romantic. Pedro looks at Maya, as they continue their stroll on the sand, too self conscious to hold hands, but full of desire.</scene_description> </scene> <scene> <stage_direction>EXT. PRAIA DAS MAÇÃS/BEACH - DAY</stage_direction> <scene_description>A GROUP OF EIGHT BOYS and TWO GIRLS sit in a circle on the sand, with towels, backpacks, beer bottles and cigarettes scattered all around. All attention is on Bento, Pedro's buddy from the tram, who reads from a notebook.</scene_description> <character>BENTO</character> <dialogue>"What is love if not blazing flames? I asked Grandpa, will he ever get over losing Frankie. Will he ever let go. "You're asking the wrong question", he said. "It's not about getting over, or letting go." He put his arm around me, and I wondered how this could possibly be about anything else. "It's about honoring what happened," he said. "You met a person that awoke something in you. A fire ignited."</dialogue> <scene_description>There's laughter all around. Bento continues.</scene_description> <character>BENTO</character> <dialogue>"The work is to be grateful. Grateful everyday that someone crossed your path and left a mark on you." When Grandpa left, I looked at my reflection on the water, and wondered; who will be the one to ignite this fire inside of me?"</dialogue> <parenthetical>(comments)</parenthetical> <dialogue>Wow!!</dialogue> <scene_description>More laughter, louder. Bento can't see that, behind him, Maya and Pedro are approaching. He continues to read:</scene_description> <character>BENTO</character> <dialogue>"And when it happens, I want to hold him and kiss him, our bodies melting into each other, our hearts beating as one."</dialogue> <scene_description>Maya can still hear the last words. She recognizes her words, and jumps in to grab the diary from Bento's hands.</scene_description> <character>MAYA</character> <dialogue>What are you doing??</dialogue> <scene_description>Caught by surprise, Bento tosses the book to another friend, and this friend to another. Maya runs around, trying to grab it from them.</scene_description> <character>PEDRO</character> <parenthetical>(in Portuguese)</parenthetical> <dialogue>Stop it! Guys!</dialogue> <scene_description>When one of the BOYS plays with Maya, swinging the book around her face like bait, and then tossing it away to another friend, the unexpected happens: Maya pushes the boy hard, and he falls to the sand. Maya dives ready to fight some more. It's a complete surprise, and the boys try to hold her back. Some of them laugh. Pedro gets into the mix, and a fight amongst them ensues. There's a scream, and laughter, punches and sand throwing all around. The book falls on the sand, and Maya immediately grabs it. She then grabs her backpack and walks away. Pedro pushes one of the boys who continues to laugh, and they fight on the sand. Through an arm lock from the boy, he sees Maya going away.</scene_description> <character>PEDRO</character> <dialogue>Maya!</dialogue> </scene> <scene> <stage_direction>INT. QUINTA DE SÃO THIAGO/FRANKIE &amp; JIMMY'S SUITE - DAY</stage_direction> <scene_description>Jimmy is lying on the bed, his eyes closed. In the distance, a piano plays softly. Jimmy opens his eyes, listening to the music.</scene_description> </scene> <scene> <stage_direction>INT. QUINTA DE SÃO THIAGO/LIBRARY - DAY</stage_direction> <scene_description>The grand library with an old piano in its center, where Frankie is playing music she knows so well. A CLEANING LADY from the hotel, walks by carrying a bag full of laundry. Frankie smiles, but the lady lowers her head, shy and discreet. Jimmy enters, and stays by the door frame, admiring the scene, as Frankie continues to play. Her hands glide through the different keys with the ease of someone who's trained, but not a professional. She makes a slight mistake, but keeps going, as Jimmy comes to sit next to her on the stool. She moves a bit to give him space.</scene_description> <character>JIMMY</character> <dialogue>Beautiful.</dialogue> <scene_description>Frankie looks into his eyes, as she keeps playing, and sees that he's actually crying, under a forced smile.</scene_description> <character>JIMMY</character> <dialogue>I'm sorry.</dialogue> <character>FRANKIE</character> <dialogue>Don't be. It's sad. It's very sad, indeed.</dialogue> <character>JIMMY</character> <dialogue>Yes.</dialogue> <scene_description>The song comes to a natural end, and Frankie reaches to close the piano, but Jimmy stops her.</scene_description> <character>JIMMY</character> <dialogue>How about one more.</dialogue> <character>FRANKIE</character> <dialogue>No, I'm going to go for a walk, if you don't mind. I'll meet you all at Peninha.</dialogue> <scene_description>Frankie gives Jimmy a small kiss on his head, then gets up from the stool and leaves. Jimmy, alone with the piano, the empty room, and the silence. Until he strikes a key, any key.</scene_description> </scene> <scene> <stage_direction>EXT. QUINTA DE SÃO THIAGO/FRONT GATE - DAY</stage_direction> <scene_description>Frankie comes out of the Quinta, and heads up the long sloping driveway towards the road.</scene_description> </scene> <scene> <stage_direction>EXT. PRAIA DAS MAÇÃS/TOWN - DAY</stage_direction> <scene_description>Maya runs through the streets of the small beach town.</scene_description> </scene> <scene> <stage_direction>EXT. CAMINHO DOS CASTANHAIS/SINTRA - DAY</stage_direction> <scene_description>Frankie goes up a path towards Sintra, bordered by an old stone wall, with graffiti etched into the rock. As she goes up the steep incline ahead of her, she pauses for a second, catching her breath, but soon starts again, with determination.</scene_description> </scene> <scene> <stage_direction>EXT. TRAMWAY - DAY</stage_direction> <scene_description>Sitting on the tram, Maya is lost in her own thoughts, of the beach, and the day, behind her.</scene_description> </scene> <scene> <stage_direction>EXT. SEQUOIAS ROAD - DAY</stage_direction> <scene_description>Leaving the woods behind, Frankie walks onto the road where, earlier, she had her argument with Paul. After she takes a few steps on the road, she sees something that makes her pause. In front of her, the beaten up bouquet of flowers is still on the ground, oblivious to the people and the traffic that pass by. Frankie picks it up, and smells the flowers. The scent of lavender instantly brings memories back to her.</scene_description> </scene> <scene> <stage_direction>INT./EXT. TRAM/TRAM STOP - DAY</stage_direction> <scene_description>The tram makes its way back into the city of Sintra. INSIDE THE TRAM: Maya sits on the aisle, looking at sights. MAYA'S POV FROM THE TRAM: The little center of town has been taken over by TOURISTS and BUSES, its cafés and gift shops filled with people from all over the world. Ian is coming around the corner towards the final Tram Stop. INSIDE THE TRAM: Some people start to get up and gather their things. Maya recognizes someone on the street, and waves. Ian waves, but notices that Maya is waving at someone else. He looks in that direction, and sees Sylvia coming his way. She waves to Maya. Ian and Sylvia, husband and wife, meet, and wait together for the tram to come to a stop. Maya steps off, and onto the platform. She embraces her mother so tightly, that Sylvia is a little thrown.</scene_description> </scene> <scene> <stage_direction>EXT. PENINHA SANCTUARY - DAY</stage_direction> <scene_description>Ilene walks beside a long wooden rail covered in moss of various tones, going up the hill, creating a dirt path. As she enters the canyon, Ilene runs into Jimmy, surrounded by magnificent rocks in this mostly desolate area. The wind is constantly blowing, and a mist has started to form.</scene_description> <character>ILENE</character> <dialogue>How did you find Frankie?</dialogue> <character>JIMMY</character> <dialogue>Beyond recovered.</dialogue> <character>ILENE</character> <dialogue>She's a star.</dialogue> <character>JIMMY</character> <dialogue>Yes, I know. It's wonderful... and complicated.</dialogue> <character>ILENE</character> <dialogue>I can imagine.</dialogue> <character>JIMMY</character> <dialogue>You know, people seldom say "no" to Frankie.</dialogue> <character>ILENE</character> <dialogue>I know. She must have been very disappointed with my visit.</dialogue> <character>JIMMY</character> <dialogue>She wasn't expecting you'd show up with a boyfriend.</dialogue> <character>ILENE</character> <dialogue>Ex-boyfriend.</dialogue> <scene_description>Jimmy looks at Ilene, and raises his eyebrows. Ilene laughs.</scene_description> <character>ILENE</character> <dialogue>As soon as we got here, he proposed to me.</dialogue> <character>JIMMY</character> <dialogue>And?</dialogue> <character>ILENE</character> <dialogue>He's going back to Lisbon, tonight.</dialogue> <character>JIMMY</character> <dialogue>Poor Gary.</dialogue> <character>ILENE</character> <dialogue>Oh, I don't know. Don't get the wrong idea about me, or anything. I'm not some kind of femme fatale.</dialogue> <character>JIMMY</character> <dialogue>You must do as you feel.</dialogue> <character>ILENE</character> <dialogue>Did someone famous say that?</dialogue> <scene_description>Jimmy laughs.</scene_description> <character>JIMMY</character> <dialogue>No, just me.</dialogue> <character>ILENE</character> <dialogue>I guess it's true. I have to be true to myself. But now I admit I regret it a little. It means I'll have to start up again that phase of drinks and meals, and dates with men I hardly know. I'm starting to think maybe I'm too old for it.</dialogue> <character>JIMMY</character> <dialogue>Careful there. If you're old, what am I.</dialogue> <character>ILENE</character> <dialogue>It's completely different for you, men. The older you are, the more attractive you get.</dialogue> <character>JIMMY</character> <dialogue>Is that right?</dialogue> <character>ILENE</character> <dialogue>Oh, you must know. I'm not going to name names, but you had a good fan base in New York.</dialogue> <character>JIMMY</character> <dialogue>Really?</dialogue> <character>ILENE</character> <dialogue>Really.</dialogue> <scene_description>Ilene smiles.</scene_description> <character>JIMMY</character> <dialogue>You know, maybe you need a change. Take some time off. Travel.</dialogue> <character>ILENE</character> <dialogue>Maybe. I've always loved New York. Really had a love affair with it for the longest time. But lately I find every little thing about it irritating. The amount of people, the constant development, the noise, the terrible subways.</dialogue> <scene_description>Now Jimmy laughs.</scene_description> <character>ILENE</character> <dialogue>It's true! All my favorite restaurants are gone, or going soon.</dialogue> <character>JIMMY</character> <dialogue>Not Keen's!</dialogue> <character>ILENE</character> <dialogue>But you can't eat at Keen's every night.</dialogue> <character>JIMMY</character> <dialogue>Why not?</dialogue> <scene_description>Ilene laughs again. It feels good to talk honestly.</scene_description> <character>ILENE</character> <dialogue>You know, it's funny. If Gary had proposed to me in New York, maybe I would've answered differently. But here, I don't know. There's something about this place. I actually felt strong.</dialogue> <parenthetical>(pause)</parenthetical> <character>ILENE</character> <dialogue>You know Jimmy, I hope to be in London before the end of the year. There's a job, and it's for several months. I hope I can be a support for Frankie. And for you.</dialogue> <character>JIMMY</character> <dialogue>When will you be there?</dialogue> <character>ILENE</character> <dialogue>Soon. I'm waiting to hear confirmation from the production.</dialogue> <character>JIMMY</character> <dialogue>Please, let me know. I'd love to show you around.</dialogue> <scene_description>Ilene stands still, and hugs herself, tightening her sweatshirt around her shoulders, protecting against the wind. She turns to Jimmy, who is now face to face with her.</scene_description> <character>ILENE</character> <dialogue>It's gotten chilly all of a sudden.</dialogue> <character>JIMMY</character> <dialogue>I know. I get it now why people say that Sintra is the place where winter goes to spend the summer.</dialogue> <scene_description>Ilene laughs.</scene_description> <character>ILENE</character> <dialogue>I'm not sure I understand that completely, but it sounds true.</dialogue> <scene_description>Jimmy takes off his jacket.</scene_description> <character>JIMMY</character> <dialogue>Here take this...</dialogue> <character>ILENE</character> <dialogue>No, please. I'll be fine....</dialogue> <character>JIMMY</character> <dialogue>.....I can't watch you shaking like that....</dialogue> <character>ILENE</character> <dialogue>...It was just silly not to bring something with me.</dialogue> <character>JIMMY</character> <dialogue>.....I could be held responsible if something happens to you.</dialogue> <character>JIMMY</character> <dialogue>Even if this will be a touch big for you, it will at least keep you warm.</dialogue> <scene_description>He puts the jacket over her shoulders, and she wraps it around herself. They stand silently for a moment.</scene_description> <character>JIMMY</character> <dialogue>Shall we continue up, and see if the others have arrived?</dialogue> <character>ILENE</character> <dialogue>Yes. Of course.</dialogue> <scene_description>They start walking together, higher up the hill.</scene_description> </scene> <scene> <stage_direction>EXT. PENINHA SANCTUARY - DAY</stage_direction> <scene_description>On top of the hill, Frankie moves slowly along a terrace outside the abandoned sanctuary, a yellow building with crumbling walls. The wind blows and a mist surrounds her, as she walks along. But Frankie is paying no attention to nature. Instead, she is observing the scene taking place below. FRANKIE'S POV: Frankie sees Jimmy and Ilene. They look good together, and there's a lightness in Jimmy we haven't seen before. The wind blows a strong gust, and Frankie has to hold the fragile wooden rail hard. FRANKIE'S POV: Jimmy takes his jacket off, and puts it over Ilene's shoulders. She is an unexpected witness to this gentle action, and the future that it might herald.</scene_description> </scene> <scene> <stage_direction>EXT. PENINHA SANCTUARY - DAY</stage_direction> <scene_description>At another spot on the hill, Michel stands with his binoculars to his eyes. He drops them, and we can see in his face that he has seen everything.</scene_description> </scene> <scene> <stage_direction>EXT. PENINHA SANCTUARY - DAY</stage_direction> <scene_description>Paul is walking up the road, when he passes by the ruins of an old house. He slows down when he sees a COUPLE making out against the walls. The hands of the WOMAN caress the back of the MAN's head. She is wearing a shiny bracelet. Paul comes closer. He can't believe his eyes, but there's no mistake: this is Frankie's bracelet, on this woman's wrist, as she strokes her man's head. The couple is suddenly aware of Paul's presence, and they pull apart. They are the flower sellers, Bianca and her boyfriend João Miguel, who were last seen fighting earlier on. They see Paul, and decide to leave. Paul keeps on his way, but turns around to catch a glimpse of the couple walking hand in hand, going down the road. The Vendor steals a kiss on the Bianca's neck, while she laughs, very much in love.</scene_description> </scene> <scene> <stage_direction>EXT./INT. PENINHA SANCTUARY/ABANDONED CHAPEL - DAY</stage_direction> <scene_description>We see a small chapel perched on top of the hillside. Frankie is inside, an abandoned ruin made of stone walls and wooden floors. Instead of doors and windows, just their gaps between walls. It's dark, quiet and there's nothing to see, like a death chamber. Frankie touches the walls, feeling the rock, and listening to her own footsteps. She sees a stream of water running down the old wall. She extends her hand, and feels the water on her skin. Outside, a few clouds fly by against the still blue sky, taken by strong winds. Frankie hears a sound, and in the rear of the chapel, almost in darkness, she sees Tiago, with his cell phone and a lit cigarette. He and Frankie look at each other for a moment, warily, and then Frankie starts moving slowly, leaving the Sanctuary, and heading towards the light outside.</scene_description> </scene> <scene> <stage_direction>EXT. PENINHA SANCTUARY - DAY</stage_direction> <scene_description>Frankie walks outside the chapel, and onto a rocky pasture. The wind blasts and a cloud blows intermittently against the sky. She tightens up her jacket, protecting herself against a sudden chill. She walks ahead, to the edge of the cliff in front of her, and the long drop below. Frankie looks out to the sea. Time stops for long moment. And then she turns to see what's behind her. Coming to meet her from different directions are Jimmy and Ilene, and Paul. Not far are Ian and Sylvia, with Maya behind them. In the rear is Michel, with Tiago helping him navigate the rocks and the climb. And then, as if always, Jimmy is beside Frankie. He puts his arm around her. She feels his presence, his body, his weight, and then -- before the others have even fully arrived to see the view -- Frankie is ready to go, ready to continue.</scene_description> <character>FRANKIE</character> <dialogue>On y va?</dialogue> <scene_description>And without pause or hesitation, she leads Jimmy and the rest back towards the town, back towards what's ahead for her, for all of them. As she arrives at Michel, he puts up a fuss for a moment as to missing the view. But Frankie insists, and he and Tiago turn around and follow the rest, as the head down and away. Clouds come and go. And then, the sky clears up momentarily, and we marvel at the spectacular view of the sun setting on the entire Sintra coastline down below - the mountains, the towns, the tree tops, the white beach, and the infinite ocean.</scene_description> </scene> </script>

Frankie, a well-known French actress, has only a few months to live. For that reason, she decides to spend her last vacation with her large family in Sintra (Portugal). Despite the picturesque location, the relatives present struggle with a variety of love, marriage and money problems.

Mystery Men_1999

tt0132347

<script> <scene> <stage_direction>EXT. ERIE HOSPITAL FOR THE CRIMINALLY INSANE - DAY</stage_direction> <scene_description>CAMERA MOVES THROUGH a tangled jungle of razor wire , finally COMING INTO VIEW of a foreboding , fortress - like old institution , surrounded by towers and gun turrets . Screaming and horrible laughter is heard from within . CLOSE ON a sign that reads `` Erie Hospital for the Criminally Insane '' . This is where the worst killers and psychos go .</scene_description> </scene> <scene> <stage_direction>INT. CONFERENCE ROOM - CONTINUOUS</stage_direction> <scene_description>THE CAMERA PANS THE EXPRESSIONLESS FACES of the REVIEW BOARD as CASANOVA FRANKENSTEIN sits across from them . Dressed in an immaculately tailored prison smock -LRB- with `` Casanova '' exquisitely embroidered above the pocket -RRB- , he sits contritely as DOCTOR EMMET BIERCE , the hospital 's fatherly Chief of Psychiatry , presents his case .</scene_description> <character>BIERCE</character> <dialogue>No one can deny the horrendous nature of Mr. Frankenstein's crimes, but in the twenty years he has been with us, I have never seen a patient turn his energies to more productive use.</dialogue> <scene_description>CASANOVA , the picture of remorse and repentance .</scene_description> <character>BIERCE</character> <dialogue>Just look at his accomplishments. three volumes of poetry, two rock operas, a sculpture garden, four romance novels. and who can forget his touching portrayal of Billy Bigelow in our all - psychotic production of `` Carousel''.</dialogue> <scene_description>ON SEVERAL OF THE BOARD getting misty eyed at the memory of that brilliant performance .</scene_description> <character>BIERCE</character> <dialogue>Directed by our own Doctor Anabel Leek.</dialogue> <scene_description>ON DOCTOR ANABEL LEEK , the hospital 's icily beautiful , ultra cool , top shrink . A moment later Casanova addresses them . His manner is charming , sincere , his voice soft , filled with emotion . He is a master of seduction .</scene_description> <character>CASANOVA</character> <dialogue>Twenty years ago I was a lost soul. Loveless.</dialogue> <parenthetical>( with a son - like glance at Doctor Bierce . )</parenthetical> <dialogue>Fatherless.</dialogue> <parenthetical>( chokes on the word . )</parenthetical> <dialogue>A. psycho!</dialogue> <parenthetical>( breaks down sobbing . )</parenthetical> <dialogue>Oh! How could I have done it? The murder. the mayhem. all of those lovely young girls!</dialogue> <parenthetical>( weeping , a brilliant performance . )</parenthetical> <dialogue>I'm sorry! I'm SO SO SORRY!</dialogue> <scene_description>Doctor Bierce wipes the tears from his eyes . Reactions from the board , moved , as Casanova weeps convulsively . Doctor Leek shows no reaction .</scene_description> <character>CASANOVA</character> <parenthetical>( pulls himself together . )</parenthetical> <dialogue>But my deeds have been done, and my youth is gone, and we can only go forward in this cruel world. and if I have learned anything from my wretched life it is that. When you walk through a storm, keep your head held high.</dialogue> <parenthetical>( singing . )</parenthetical> <dialogue>And do n't be afraid of the dark.</dialogue> <scene_description>Tears plop dawn the cheeks of the review board as the FULLY ORCHESTRATED STRAINS OF `` WHEN YOU WALK THROUGH A STORM '' SWELL . SERIES OF SHOTS - AS THE MUSIC CONTINUES A hand stamps Casanova 's file `` CURED '' . Casanova shakes hands and embraces the tearful members of the review board , finishing with a paternal hug from Doctor Bierce . In his cell a guard delivers Casanova his favorite old disco suit -LRB- that 's been waiting far him for twenty years -RRB- . Casanova , dressed in the suit , walks down the central aisle of the lock - up . A moment later he steps out of the massive gates of the hospital , and takes his first deep breath of freedom . while in an office window high above Bierce and the members of the review board stand watching , very proud . But suddenly THE MUSIC CHANGES TO SEVENTIES DISCO as a black Ferrari drives up , and Doctor Leek , now dressed very sexily , gets out . As the review board watches in stunned silence , Casanova and Anabel perform a nifty little disco twirl , finishing with a very lewd kiss . Bierce , watching , realizes he 's been duped . as Casanova , grinning up at him , puts a long gold chain -LRB- his favorite weapon -RRB- around his neck . Bierce , horrified , picks up the telephone . as Casanova and Anabel get in the car .</scene_description> </scene> <scene> <stage_direction>INT. THE CAR - A MOMENT LATER</stage_direction> <scene_description>Casanova and Anabel drive off . The massive old hospital is seen through the rear window behind them , as Casanova calmly looks at his watch . CLOSE ON HIS WATCH - as the second hand just swings toward the twelve . It is exactly twelve noon . BACK ON CASANOVA -</scene_description> <character>CASANOVA</character> <parenthetical>( almost wistfully . )</parenthetical> <dialogue>Boom.</dialogue> <scene_description>And the hospital EXPLODES in a HUGE FIREBALL that completely consumes it .</scene_description> <character>CASANOVA</character> <dialogue>Those gas leaks can be murder.</dialogue> </scene> <scene> <stage_direction>EXT. THE ROAD - DAY</stage_direction> <scene_description>The Ferrari drives past and the CAMERA HOLDS ON a sign that reads `` We1come to Champion City , home of Captain Amazing '' . The city itself , a crumbling rust belt metropolis -LRB- ala Detroit -RRB- can be seen stretched out along the shore of Lake Champion off in the distance . INSIDE THE CAR - CONTINUOUS - ON CASANOVA</scene_description> <character>CASANOVA</character> <dialogue>I'm home.</dialogue> <scene_description>BACK ON THE ROAD - CONTINUOUS The Ferrari drives under a much larger billboard that looms over the road , showing a picture of Captain Amazing himself , a square jawed classic superhero , staring fiercely into the camera . The caption reads `` Crime . Do n't even think about it . ''</scene_description> </scene> <scene> <stage_direction>EXT. TRAIN YARDS OF CHAMPION CITY - NIGHT</stage_direction> <scene_description>Letters read `` Six months later '' . as the CAMERA EXPLORES the desolate muddy terrain of the train yards , CRUISING past piles of tires and abandoned train cars . CAMERA PICKS UP a battered van as it drives through the yard , then pulls up beside an old boxcar . The back of the van is thrown open , a ramp is thrown down , and THE RED EYES , a gang of vicious small time thieves -LRB- all of whom wear sunglasses with red lenses -RRB- start unloading their night 's haul . RED EYE 1 drives a golf cart , with clubs , down the ramp .</scene_description> <character>RED EYE 1</character> <dialogue>Golf anyone?</dialogue> <scene_description>Several more Red Eyes emerge carrying a sawn off bike rack with bikes still attached , a barber pole , a Virgin Mary lawn statue , and a top of the line baby stroller . while their leader , BIG RED , stands in the door to the boxcar , watching approvingly .</scene_description> <character>RED EYE 2</character> <dialogue>Not a bad night's work.</dialogue> <character>BIG RED</character> <dialogue>Who said crime do n't pay?</dialogue> <scene_description>The Red Eyes laugh . as Red Eye 3 takes the cover off the baby stroller and sees . that there 's a BABY still in it .</scene_description> <character>RED EYE 3</character> <dialogue>Hey, Boss, we got a stowaway.</dialogue> <scene_description>The crooks gather around the baby , a jolly little kid who just laughs at them .</scene_description> <character>RED EYE 4</character> <parenthetical>( about to slug him . )</parenthetical> <dialogue>Who you laughin' at, punk?</dialogue> <character>RED EYE 2</character> <dialogue>He's just a tyke. Lighten up.</dialogue> <character>RED EYE 5</character> <dialogue>He's kinda cute.</dialogue> <character>RED EYE 3</character> <dialogue>If you like drool.</dialogue> <character>RED EYE 2</character> <dialogue>Hey, why do n't we sell him back to his parents? For a million bucks!</dialogue> <scene_description>The others think that 's a great idea , but Big Red does n't .</scene_description> <character>BIG RED</character> <dialogue>And what if he rats on us?</dialogue> <scene_description>The others had n't thought of that .</scene_description> <character>RED EYE 3</character> <dialogue>So what should we do with him?</dialogue> <character>BIG RED</character> <dialogue>Stick a brick in his Pampers and dump him in the lake.</dialogue> <scene_description>The others think that 's a good idea and look around for a brick .</scene_description> <character>RED EYE 3</character> <dialogue>Come on, kid, you're goin' for a swim.</dialogue> <scene_description>But suddenly there is another presence . A man in a blue turban and cape with the initials `` BR '' on his chest has appeared . He is THE BLUE RAJA .</scene_description> <character>RAJA</character> <dialogue>Not so fast, gentlemen - and I use the term loosely. Unhand that youngster.</dialogue> <scene_description>Another man steps into the light . He wears a construction helmet and mask . There is an `` S '' on his chest , and he carries an old shovel . He is THE SHOVELER .</scene_description> <character>SHOVELER</character> <dialogue>Or you're mulch.</dialogue> <scene_description>He brandishes his shovel for effect . The Red Eyes look at these two , highly amused .</scene_description> <character>BIG RED</character> <dialogue>What are you guys supposed to be. superheroes?</dialogue> <scene_description>A third man steps out . His costume is less dramatic than the others . He wears only an old leather jacket and a faded , torn shirt with flames on it , but the fierce look on his face and the atrociousness of his haircut make it very clear that he is the craziest and most dangerous of the three . He is MISTER FURIOUS .</scene_description> <character>FURIOUS</character> <dialogue>We ARE superheroes!</dialogue> <character>BIG RED</character> <dialogue>Really? Did you mother make those costumes?</dialogue> <scene_description>The crooks howl with laughter .</scene_description> <character>BIG RED</character> <dialogue>This is our territory. Beat it.</dialogue> <character>FURIOUS</character> <dialogue>Over YOUR dead body.</dialogue> <scene_description>Big Red turns to the others and shakes with pretended fear .</scene_description> <character>BIG RED</character> <dialogue>0ooooo, he's scary.</dialogue> <scene_description>The Red Eyes laugh , but suddenly , a small silver projectile whizzes through the air and implants itself in Big Red 's backside . He howls with pain , pulls it out and examines it . It 's a silver dessert fork .</scene_description> <character>BIG RED</character> <dialogue>A fork!</dialogue> <scene_description>The Raja holds up his hands , each of which hold a spread of silver forks .</scene_description> <character>RAJA</character> <dialogue>And there's plenty more where that came from.</dialogue> <scene_description>Big Red gives a shrill whistle , and a dozen more Red Eyes step out of an old caboose . including MIKEY , a four hundred pound behemoth . He is eating a container of Ben and Jerry 's like it was an ice cream cone , taking huge bites out of it , container and all . RAJA AND SHOVELER , reacting . Gulp . This was more than they 'd bargained for . But Furious just growls ; he 's game .</scene_description> <character>BIG RED</character> <dialogue>GET'EM!</dialogue> <scene_description>The Red Eyes attack . Mister Furious goes into a furious face ; his hair stands out straight and he rushes right into the oncoming crooks . A Red Eye takes a swing at the Shoveler - but he simply puts up his shovel and lets the crook slug the shovel 's pan . The crook yelps with pain and shakes his battered hand . as the Raja fends off crooks , poking them with salad forks . and the baby sits in his stroller , watching and laughing , really enjoying the show . -LRB- There 's no real martial artistry or teamwork here ; this is a classic back alley brouhaha . -RRB- But there 's too many of then . The Raja goes down under swinging fists . and so does the Shoveler . Furious holds his own , taking out crooks with powerful lefts and rights - until Mikey runs him down like a truck , falling right on top of him and crushing him under his massive weight .</scene_description> <character>RED EYES</character> <dialogue>Crush him, Mikey! Mash him! Mush him!</dialogue> <character>FURIOUS</character> <parenthetical>( barely audible under all that meat . )</parenthetical> <dialogue>Is that all you got?</dialogue> <character>RED EYES</character> <dialogue>He wants more! Squish him! Finish him off!</dialogue> <character>FURIOUS</character> <parenthetical>( faintly . )</parenthetical> <dialogue>Your mother!</dialogue> <scene_description>Mikey , sweating , bears down . but suddenly , a calm , very authoritative voice is heard .</scene_description> <character>VOICE</character> <parenthetical>( 0 .</parenthetical> <parenthetical>S . )</parenthetical> <dialogue>Is there a problem?</dialogue> <scene_description>Everything suddenly stops , as the Red Eyes look up and see . CAPTAIN AMAZING standing on tap of the boxcar , hands on hips , framed in the light at the moon , his biceps bulging , his state of the art physique sculpted body armor gleaming in the moonlight , his cape wafting heroically in the wind . He is superhero perfection incarnate . ON THE RED EYES as their viciousness turns instantly to panic .</scene_description> <character>RED EYES</character> <dialogue>IT'S CAPTAIN AMAZING!</dialogue> <scene_description>Big Red and a couple others try to run for it , but Amazing leaps ca - like off the boxcar and is on them in a flash . As the baby claps his hands in delight , and our three heroes watch in beat - up awe , Amazing deftly takes out the crooks with expert punches and effortlessly delivered elbows and kicks . He is the consumate superhero , and he does n't even break a sweat . The remaining Red Eyes drop to their knees and throw up their hands in surrender .</scene_description> <character>RED EYES</character> <dialogue>We give! We're sorry! We had terrible childhoods!</dialogue> <parenthetical>( Etc . )</parenthetical> <dialogue /> <scene_description>Police cars and a TV truck come screeching into the train yard . and the scene is suddenly flooded vith light and swarming with cops and reporters . Our three heroes try to approach Captain Amazing -LRB- who still looks fresh as a daisy -RRB- .</scene_description> <character>RAJA</character> <dialogue>Nice work, Captain.</dialogue> <scene_description>But Amazing just walks past them , ignoring them completely , as if they did n't even exist . He goes to greet DAWN WONG -LRB- Champion City 's answer to Connie Chung -RRB- .</scene_description> <character>AMAZING</character> <parenthetical>( turning on the old superhero charm . )</parenthetical> <dialogue>Hi. Dawn.</dialogue> <character>DAWN</character> <parenthetical>( putty in his hands , pudding in his bowl . )</parenthetical> <dialogue>Looks like you've done it again, Captain.</dialogue> <character>AMAZING</character> <dialogue>It's what I do.</dialogue> <scene_description>Our heroes just watch , feeling ignored , humiliated . Furious growls . Suddenly , TWO COPS are accosting them .</scene_description> <character>COP 1</character> <dialogue>Okay, show's over. Move it. On your way.</dialogue> <character>RAJA</character> <dialogue>Wait a minute, Officers. You do n't understand - we're superheroes, and we just busted up this gang.</dialogue> <character>COP 1</character> <dialogue>Really? Let me guess - you're Towel Head and he's.</dialogue> <parenthetical>( meaning the Shoveler . )</parenthetical> <dialogue>Captain Pooper Scooper!</dialogue> <scene_description>The cops crack up . Furious growls at them . The cops yank out their nightsticks .</scene_description> <character>COP 1</character> <dialogue>Hey! Move it!</dialogue> <character>COP 2</character> <dialogue>Get a life!</dialogue> <character>COP 1</character> <dialogue>And leave crime fighting to the real thing!</dialogue> <scene_description>Shoveler and Raja pull Furious away before he gets into real trouble . The cops watch as our three heroes disappear into the night .</scene_description> <character>COP 1</character> <dialogue>Wannabes.</dialogue> <character>COP 2</character> <dialogue>Pathetic.</dialogue> </scene> <scene> <stage_direction>EXT. THE LAKESIDE DINER - NIGHT - ESTABLISHING</stage_direction> <scene_description>An inner city greasy spoon .</scene_description> </scene> <scene> <stage_direction>INT. THE DINER - CONTINUOUS - CLOSE ON A TV SCREEN</stage_direction> <scene_description>on which Captain Amazing , the laughing baby in his arms , is being interviewed by Dawn Wong . He 's playing the cutsy photo op for all its worth , gootchy - gooing the kid , etc. . Dawn is creaming . Our three heroes sit at a booth in the back of the diner , watching the tube .</scene_description> <character>RAJA</character> <parenthetical>( nursing a sore jaw . )</parenthetical> <dialogue>He does n't miss a trick, does he?</dialogue> <character>FURIOUS</character> <dialogue>What a jerk - and like nobody knows who he really is!</dialogue> <character>SHOVELER</character> <dialogue>Oh do n't start that again -</dialogue> <character>FURIOUS</character> <dialogue>LOOK!</dialogue> <scene_description>Furious picks up the newspaper on which there is a photo of a good looking guy in a tux at a benefit . The headline reads `` Lance Hunt Hosts Benefit . '' He holds the picture up next to the television , so the faces of Lance Hunt and Captain Amazing are side by side . It is obviously the same guy .</scene_description> <character>FURIOUS</character> <dialogue>He's Lance Hunt! Just take off the glasses - and it's him!</dialogue> <character>RAJA</character> <dialogue>There's a vague similarity.</dialogue> <character>FURIOUS</character> <dialogue>A vague similarity? IT'S THE SAME GUY!</dialogue> <character>SHOVELER</character> <parenthetical>( downing some aspirin . )</parenthetical> <dialogue>0h, who gives a damn who he is? I ca n't take this anymore. Night after night we're on the streets, busting our humps - and for what?</dialogue> <character>RAJA</character> <dialogue>We take the licks and he gets the chicks.</dialogue> <character>SHOVELER</character> <dialogue>How long do you have to chase a dream before you realize it's not gon na happen?</dialogue> <character>FURIOUS</character> <dialogue>We need a break, that's all! Nobody'd ever heard of him until he busted Casanova Frankenstein!</dialogue> <character>RAJA</character> <dialogue>But look at him. and look at us.</dialogue> <character>SHOVELER</character> <dialogue>The camera loves him.</dialogue> <scene_description>A depressed silence . Furious turns his attention to the napkin dispenser .</scene_description> <character>FURIOUS</character> <parenthetical>( furious . )</parenthetical> <dialogue>Why do they always fill stuff these things so full you ca n't pull'em out without ripping'em!</dialogue> <parenthetical>( rips one out . )</parenthetical> <dialogue /> <character>RAJA</character> <dialogue>I lost another fork tonight. She's getting suspicious, I know it.</dialogue> <character>FURIOUS</character> <dialogue>So why do n't you just tell her!</dialogue> <character>RAJA</character> <dialogue>I ca n't.</dialogue> <character>FURIOUS</character> <dialogue>Why not?</dialogue> <character>RAJA</character> <parenthetical>( upset . )</parenthetical> <dialogue>Because I ca n't! Okay? She would n't understand!</dialogue> <character>SHOVELER</character> <dialogue>Leave him alone. She's his mother, not yours.</dialogue> <character>FURIOUS</character> <dialogue>We had an off night, that's all.</dialogue> <character>SHOVELER</character> <dialogue>So when are we gon na have an on night?</dialogue> <scene_description>A WAITRESS is standing at the table .</scene_description> <character>WAITRESS</character> <dialogue>Hi.</dialogue> <scene_description>They look at her , taken aback . She 's very pretty .</scene_description> <character>RAJA</character> <dialogue>You're. new.</dialogue> <character>WAITRESS</character> <dialogue>It's my first night. My name's Monica.</dialogue> <scene_description>CLOSE ON FURIOUS , smitten by her , but almost afraid to look at her . Under all that rage , he 's in fact shy .</scene_description> <character>MONICA</character> <dialogue>You guys going to a costume party?</dialogue> <character>RAJA</character> <dialogue>We're superheroes.</dialogue> <character>MONICA</character> <dialogue>Really? Like Captain Amazing?</dialogue> <scene_description>Furious growls .</scene_description> <character>MONICA</character> <dialogue>Are you famous?</dialogue> <character>RAJA</character> <dialogue>Not yet.</dialogue> <character>MONICA</character> <dialogue>So you're like. struggling superheroes?</dialogue> <character>RAJA</character> <dialogue>We prefer to think of ourselves as unsung. I am the Blue Raja, Master of Silverware.</dialogue> <parenthetical>( does a very impressive little flipping thing with his place setting . )</parenthetical> <dialogue /> <character>MONICA</character> <dialogue>Wow.</dialogue> <character>RAJA</character> <dialogue>And these are my associatiates, the Shoveler.</dialogue> <character>SHOVELER</character> <dialogue>Hi.</dialogue> <character>RAJA</character> <dialogue>And Mister Furious. His anger is his power.</dialogue> <character>MONICA</character> <parenthetical>( intrigued by Furious . )</parenthetical> <dialogue>Really?</dialogue> <character>RAJA</character> <dialogue>Usually a superpower is a magical endowment or a great skill. In his case, it's entirely emotional.</dialogue> <character>MONICA</character> <dialogue>So what can I get you?</dialogue> <character>RAJA</character> <dialogue>Burgers all around.</dialogue> <parenthetical>( meaning himself . )</parenthetical> <dialogue>Medium.</dialogue> <parenthetical>( meaning the Shoveler . )</parenthetical> <dialogue>Rare.</dialogue> <parenthetical>( meaning Furious . )</parenthetical> <dialogue>Raw.</dialogue> <scene_description>A moment later as Monica walks away , Furious ca n't help but watch her . The Raja replaces the diner 's dinnerware with the good stuff from his coat .</scene_description> <character>RAJA</character> <dialogue>She likes you.</dialogue> <character>SHOVELER</character> <dialogue>Definitely.</dialogue> <character>RAJA</character> <dialogue>Ask her out.</dialogue> <character>FURIOUS</character> <dialogue>Nah.</dialogue> <character>RAJA</character> <dialogue>Roy, when was the last time you had an actual date?</dialogue> <character>FURIOUS</character> <parenthetical>( getting very pissed off . )</parenthetical> <dialogue>What does it matter? Women just want to control you - and talk about their feelings. They want to know why you're angry all the time - and what can they can do to help - so you tell them there's nothing - nothing - just leave me alone - but they bug you and they bug you and they bug you - until you just ca n't stand it anymore! - so you finally open up - you pop like a blister - and it all comes spewing out - all your emotions - your feelings - your fears - all of it!</dialogue> <parenthetical>( after a beat . )</parenthetical> <dialogue>And then they dump you.</dialogue> <character>RAJA</character> <dialogue>So you're chicken?</dialogue> <character>FURIOUS</character> <parenthetical>( fiercely . )</parenthetical> <dialogue>Who's chicken?</dialogue> <parenthetical>( gets up . )</parenthetical> <dialogue /> <scene_description>Monica stands at the counter placing her order . Furious approaches her , leans against the counter . For a moment he just stands there , fuming , unable to think of anything to say . She is n't sure what to make of this .</scene_description> <character>FURIOUS</character> <dialogue>Does n't it piss you off the way the when you really want to talk to somebody you ca n't think of anything to say!</dialogue> <character>MONICA</character> <dialogue>I guess. Are you always so angry?</dialogue> <character>FURIOUS</character> <dialogue>Only when I'm awake. You busy after work?</dialogue> <scene_description>She shrugs .</scene_description> <character>FURIOUS</character> <dialogue>Want to go out and get drunk?</dialogue> <scene_description>She 's visibly turned off by that .</scene_description> <character>FURIOUS</character> <dialogue>Or talk?</dialogue> <character>MONICA</character> <dialogue>Not tonight.</dialogue> <parenthetical>( picks up an order and walks away . )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>EXT. OUTSIDE THE DINER - LATER</stage_direction> <scene_description>Furious , the Raja , and the Shoveler step out .</scene_description> <character>RAJA</character> <dialogue>Maybe you should try a more romantic approach.</dialogue> <character>FURIOUS</character> <parenthetical>( gets on his old Harley . )</parenthetical> <dialogue>Like what? Cutting off my own ear?</dialogue> <character>RAJA</character> <dialogue>Or flowers.</dialogue> <character>FURIOUS</character> <dialogue>See ya tomorrow.</dialogue> <scene_description>Furious kicks his engine started and speeds off into the night as the Shoveler opens the door of his battered Ford Esquire station wagon , and the Raja gets into his ancient Datsun .</scene_description> </scene> <scene> <stage_direction>EXT. RESIDENTIAL STREET - NIGHT</stage_direction> <scene_description>The Shoveler pulls into the driveway of his very modest house . The front yard looks like a battle zone . Bikes and kids ' junk are everywhere . LIVING ROOM - A MOMENT LATER as big a disaster area as the front yard . His kids , EDDIE JR. -LRB- 15 -RRB- , LENORE -LRB- 12 -RRB- , BUTCH -LRB- 10 -RRB- , TRACY -LRB- 7 -RRB- , and ROLAND -LRB- 5 -RRB- are all sprawled in front of the television . The Shoveler enters , and his kids do n't even bother to look up from the tube .</scene_description> <character>SHOVELER</character> <dialogue>Hey, when are you guys gon na clean this place up?</dialogue> <character>TRACY</character> <dialogue>When you're on TV.</dialogue> <character>EDDIE JR.</character> <dialogue>Right - like that will ever happen.</dialogue> <character>LENORE</character> <dialogue>Save any babies lately?</dialogue> <scene_description>ON THE SHOVELER , silent , hurt .</scene_description> <character>TRACY</character> <dialogue>Faster than a speeding turtle -</dialogue> <character>BUTCH</character> <dialogue>More powerful than a deodorant -</dialogue> <character>EDDIE JR.</character> <dialogue>Able to eat twelve donuts in a single sitting -</dialogue> <character>LENORE</character> <dialogue>Look, snoring in his chair -</dialogue> <character>EDDIE JR.</character> <dialogue>Sitting on the john -</dialogue> <character>ALL</character> <dialogue>It's. Supergut!</dialogue> <scene_description>The kids all laugh -LRB- in that derisive way that kids do so well -RRB- as the Shoveler dejectedly walks into the kitchen .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - A MOMENT LATER</stage_direction> <scene_description>The Shoveler enters , dejected . His wife , Lucille , is doing the dishes . She looks up , sees him .</scene_description> <character>LUCILLE</character> <parenthetical>( feels for him . )</parenthetical> <dialogue>Rough night, Eddie?</dialogue> <scene_description>He nods .</scene_description> </scene> <scene> <stage_direction>EXT. THE RAJA'S HOUSE - NIGHT - ESTABLISHING</stage_direction> <scene_description>The Raja 's Datsun is parked in front of a neat as a pin little Victorian house .</scene_description> </scene> <scene> <stage_direction>INT. THE DINING ROOM - NIGHT</stage_direction> <scene_description>The room is dark . Someone is sneaking around . A drawer is quietly opened , and we hear the gentle clink of silver . Suddenly , the light goes on and we see the Blue Raja , now dressed in a sport shirt and slacks , with his hand in the drawer . His MOTHER , in her nightclothes , stands by the door where she has just switched on the light .</scene_description> <character>MOTHER</character> <dialogue>Jeffrey!</dialogue> <character>RAJA</character> <dialogue>Oh hi, Mom.</dialogue> <character>MOTHER</character> <dialogue>What are you doing in the silver drawer?</dialogue> <character>RAJA</character> <dialogue>Looking for. the TV Guide.</dialogue> <scene_description>She just looks at him , very suspicious .</scene_description> <character>MOTHER</character> <dialogue>It's on the television.</dialogue> <character>RAJA</character> <dialogue>Of course. I'm such a fool. Thanks, Mummy. Go to bed.</dialogue> <scene_description>He kisses her and goes into the next room . CAMERA HOLDS ON MOM ; she does n't trust him .</scene_description> </scene> <scene> <stage_direction>EXT. HILLTOP - NIGHT - ANGLE ON</stage_direction> <scene_description>A billboard overlooking the city . Captain Amazing is posed wearing a pair of bright blue Nikes . The caption reads . `` It 's a nice world . Sonebody 's got to save it . The Nike Supershoe . It 's Amazing . '' Furious sits on his Harley , taking long hauls from a pint bottle of cheap bourbon and gazing up at the sign .</scene_description> <character>FURIOUS</character> <dialogue>Amazing? What's so amazing about him? I'd be amazing, too, if I'd inherited two hundred million bucks. or two bucks. or two cents.</dialogue> <parenthetical>( hurls the empty bottle , smashing it against the sign . )</parenthetical> <dialogue>Who am I kidding? Dreams do n't come true.</dialogue> <scene_description>A moment of despondency , and then he hears a strange sound overhead and looks up . HIS POV - as something suddenly flies across the star filled night sky above him . It is Captain Amazing , wearing a high tech rocket pack on his back .</scene_description> <character>FURIOUS</character> <dialogue>Where's he going?</dialogue> <parenthetical>( kicks his Harley started . )</parenthetical> <dialogue /> <scene_description>SERIES OF SHOTS - WITH MUSIC as Furious , following Captain Amazing , rides roughshod down the steep hill , skidding onto a road and then speeding through a residential area . He cuts onto some railroad tracks , hops his bike up on a rail , and rides smoothly along it , following Amazing . He turns off the tracks , rides roughly through some woods , then emerges from the trees and sees . A foreboding looking old mansion . Captain Amazing lands on the highest part of its roof . Furious pulls up , gazes at the front gates of the mansion . HIS POV - Letters across the iron gates read . `` Frankenstein '' .</scene_description> </scene> <scene> <stage_direction>EXT. ON THE ROOF - CONTINUOUS</stage_direction> <scene_description>Captain Amazing abandons his jet pack and moves across the old slate roof like Spiderman , leaping nimbly from gable to gable and walking along a high ridge like a tight rope walker . Finally he approaches a skylight , looks down and sees . A huge old library with an iron catwalk running around it . Casanova Frankenstein sits in a club chair by a roaring tire . Anabel perches on the arm of his chair . In the other chair sits a once good looking , now paunchy guy , with a meticulously coiffed haircut . He is TONY POMPADOUR , head of the infamous Disco Boys . 0N CAPTAIN AMAZING</scene_description> <character>AMAZING</character> <parenthetical>( just as he suspected . )</parenthetical> <dialogue>Uh - huh.</dialogue> <scene_description>He sees that the skylight is open , and quietly lets himself in .</scene_description> </scene> <scene> <stage_direction>INT. THE LIBRARY - CONTINUOUS</stage_direction> <scene_description>Casanova and Tony P savor glasses of brandy and puff on big cigars .</scene_description> <character>CASANOVA</character> <dialogue>I hope you enjoy these cigars. I had to kill a dozen Cubans to get them.</dialogue> <character>TONY P</character> <dialogue>Ummm.</dialogue> <character>CASANOVA</character> <dialogue>Have you considered my offer?</dialogue> <character>TONY P</character> <dialogue>You know, Mr. F, me and the boys always loved workin' for you. You had such style : the clothes, the dancin', the elegant way you'd snuff a babe. You were the King.</dialogue> <scene_description>Casanova accepts this graciously .</scene_description> <character>TONY P</character> <dialogue>But times have changed, and you been in that bug house a long tine. I can see you still got the style, but I dunno for sure you still got the edge.</dialogue> <character>CASANOVA</character> <dialogue>I got it.</dialogue> <character>TONY P</character> <dialogue>What about Captain Amazing?</dialogue> <character>AMAZING</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Good question.</dialogue> <scene_description>Casanova and Tony P look up and see Captain Amazing , posed noncalantly on the iron catwalk , gazing down at them . Tony P jumps out of his chair , scared . But Casanova just smiles at his ancient rival , cool as a cucumber .</scene_description> <character>CASANOVA</character> <dialogue>I knew you'd cone. I left that skylight open for you.</dialogue> <character>AMAZING</character> <dialogue>I know you did.</dialogue> <character>CASANOVA</character> <dialogue>I knew you'd know.</dialogue> <character>AMAZING</character> <dialogue>I know you knew I'd know.</dialogue> <character>CASANOVA</character> <dialogue>But did you know I knew you'd know I'd know?</dialogue> <character>AMAZING</character> <dialogue>Of course.</dialogue> <scene_description>Tony P makes a move for his pistol , but Captain Amazing instantly whips out his pistol , getting the drop on him .</scene_description> <character>AMAZING</character> <dialogue>I'd hate to waste a good bullet on a piece of scum like you, Tony.</dialogue> <scene_description>Tony freezes .</scene_description> <character>AMAZING</character> <dialogue>The jig is up, Casanova. I've spent six months watching you, and know exactly what you're up to.</dialogue> <character>CASANOVA</character> <dialogue>Really?</dialogue> <character>AMAZING</character> <dialogue>I know that you're recruiting your old henchmen.</dialogue> <scene_description>Nervous reaction from Tony P.</scene_description> <character>AMAZING</character> <dialogue>I know who your girlfriend really is.</dialogue> <scene_description>Icy reaction from Anabel .</scene_description> <character>AMAZING</character> <dialogue>And I know the terrible revenge that you plan to inflict on this city.</dialogue> <character>CASANOVA</character> <dialogue>I guess you know just about everything, do n't you, Lance?</dialogue> <character>AMAZING</character> <dialogue>Um - hmm.</dialogue> <character>CASANOVA</character> <dialogue>Except for one little thing.</dialogue> <character>AMAZING</character> <parenthetical>( supremely confident . )</parenthetical> <dialogue>And what's that?</dialogue> <character>CASANOVA</character> <dialogue>That I've hot wired the city's entire power supply through that catwalk.</dialogue> <character>AMAZING</character> <dialogue>What -?</dialogue> <scene_description>Casanova suddenly throws a secret breaker switch , and the ugly hum of a million volts instantly fills the room .</scene_description> </scene> <scene> <stage_direction>EXT. OUTSIDE THE HOUSE - CONTINUOUS - ON FURIOUS</stage_direction> <scene_description>still watching . as all the lights in the house go out , except for a frightening orange glow in an upper room . Off in the distance Furious sees . the lights of the entire city flicker and then black out . A moment later the mansion , and the city 's lights return to normal . as Furious watches , not sure what to make of this .</scene_description> </scene> <scene> <stage_direction>EXT. STREET CONSTRUCTION SITE - DAY</stage_direction> <scene_description>Traffic is snarled . Horns are blasting . Tempers are frayed . CLOSE ON A HAMMERING JACKHAMMER . CAMERA WIDENS TO REVEAL that it is being operated by the Shoveler , dressed in work clothes . Wiped out from the night before , the vibrations of the hamer are lulling him off to sleep . He nods out . as his BOSS whacks him on the arm .</scene_description> <character>BOSS</character> <dialogue>YO! CAPTAIN SOMINEX! Get your shut - eye at home, or you'll be a full time superhero!</dialogue> </scene> <scene> <stage_direction>EXT. THE RAJA'S HOUSE - DAY - ESTABLISHING</stage_direction> </scene> <scene> <stage_direction>INT. THE RAJA'S ROOM - CONTINUOUS</stage_direction> <scene_description>The Raja lies sprawled on his bed , depressed , still in his pee jays , as he watches . an ANTHONY ROBBINS infomercial ON THE TV .</scene_description> <character>ANTHONY</character> <dialogue>It's all within your power. The only thing that's in your way is YOU!</dialogue> <character>RAJA</character> <dialogue>Easy for you to say.</dialogue> </scene> <scene> <stage_direction>EXT. SALLY'S AUTO DEMOLITION - DAY - ESTABLISHING</stage_direction> <scene_description>An auto junkyard and demotion yard .</scene_description> </scene> <scene> <stage_direction>EXT. THE YARD - DAY</stage_direction> <scene_description>A giant press mashes an old car . while nearby Mister Furious does the job by hand , demolishing an old Grand Prix with an iron bar . He does it as easily as a normal guy would tear apart a corrugated box , ripping off the doors , then tearing off the bumpers and the hood and tossing the pieces onto a big pile . His big boned , red faced boss SALLY is calling out to him .</scene_description> <character>SALLY</character> <dialogue>Hey, Roy!</dialogue> </scene> <scene> <stage_direction>EXT. THE BACK OF THE YARD - A MINUTE LATER</stage_direction> <scene_description>In a weedy overgrown far corner of the junkyard Sally and Furious stand looking a big old hunk of a military vehicle . It is a Herkimer Battle Jitney , a heavily armored , windowless , soundproof , personnel carrier -LRB- designed by the Pentagon in the fifties to take congressmen on battlefield fact finding tours -RRB- . Overgrown with weeds , home to an extended family of pigeons , its fighting days -LRB- if it ever had any -RRB- are over .</scene_description> <character>SALLY</character> <dialogue>How many times I got ta tell you about this?</dialogue> <character>FURIOUS</character> <dialogue>Sally, that's a Herkimer Battle Jitney! They do n't make'em like that anymore. It's a classic!</dialogue> <character>SALLY</character> <dialogue>It's a hunk of junk. I want the iron. Do it!</dialogue> <scene_description>She walks away . Furious growls . He picks up his iron bar and is about to wedge it under the front bumper of the Herkimer . HIS POV - But the big old headlights and the sad old grill seem to be looking at hint , imploring him for one last chance . And he just ca n't do it . He throws away his iron bar and climbs inside the cab of the Herkimer . IN THE CAB - CONTINUOUS Furious sits behind the wheel and tenderly touches its beat - up old dashboard , then turns on the radio , which , miraculously still works . He tunes in a local station , puts his feet up on the dash .</scene_description> <character>RADIO ANNOUNCER</character> <dialogue>and continues to deny any knowledge of the incident. In local news, millionaire Lance Hunt has apparently disappeared.</dialogue> <scene_description>ON FURIOUS , taking immediate notice .</scene_description> <character>RADIO ANNOUNCER</character> <dialogue>Members at his household told police that the playboy philanthropist failed to return home last night after `` going out for a walk''. Police say they have no reason yet to suspect foul play, but a search is under way.</dialogue> </scene> <scene> <stage_direction>INT. THE DINER - NIGHT</stage_direction> <scene_description>Furious , the Shoveler , and the Raja all sit at their booth .</scene_description> <character>FURIOUS</character> <dialogue>I saw him go in - and he did n't come out!</dialogue> <character>RAJA</character> <dialogue>But we do n't know for sure it's the same guy.</dialogue> <scene_description>Furious groans .</scene_description> <character>SHOVELER</character> <dialogue>Hey, look.</dialogue> <scene_description>ON THE TV - Casanova is being interviewed by DON STOUFFER , the local Mike Wallace .</scene_description> <character>CASANOVA</character> <dialogue>Well, Don, I've done some terrible things in my life, but now I'm cured, and I just want to give back something to my old home town. That's why I'm using what's left of my fortune to build.</dialogue> <scene_description>CLOSE ON A MODEL of a huge concrete bunker - like institutional structure -LRB- i.e. the Getty -RRB-</scene_description> <character>CASANOVA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>The Frankenstein Center for the Arts.</dialogue> <character>DON</character> <dialogue>You've changed, have n't you? CASANOVA Oh yes.</dialogue> <scene_description>BACK ON FURIOUS , RAJA , and SHOVELER -</scene_description> <character>FURIOUS</character> <dialogue>No he has n't.</dialogue> </scene> <scene> <stage_direction>EXT. FRANKENSTEIN MANSION - NIGHT - ANGLE ON</stage_direction> <scene_description>the wall of the estate . as our heroes ' three heads rise up over it . and survey the grounds .</scene_description> <character>FURIOUS</character> <parenthetical>( about to climb over . )</parenthetical> <dialogue>Let's go.</dialogue> <character>RAJA</character> <parenthetical>( in a whisper , holding him back . )</parenthetical> <dialogue>Wait! Look!</dialogue> <scene_description>THEIR POV - A group of men are hanging around the door to the house , smoking , chatting , and laughing . A CLOSER ANGLE REVEALS that they are all dressed in the height -LRB- or depths -RRB- of seventies disco fashion . One of them is showing off some steps . Our heroes fall back behind the safety of the wall and confer .</scene_description> <character>RAJA</character> <dialogue>This is bad.</dialogue> <character>SHOVELER</character> <dialogue>Who are they?</dialogue> <character>RAJA</character> <dialogue>The Disco Boys.</dialogue> <character>FURIOUS</character> <dialogue>The who?</dialogue> <character>RAJA</character> <dialogue>The most vicious gang of thugs this city ever produced. Twenty years ago they were Casanova's personal bodyguard. But after he was busted they crawled into the woodwork.</dialogue> <character>FURIOUS</character> <dialogue>Well they've crawled back out.</dialogue> <character>SHOVELER</character> <dialogue>We may be getting in over our heads here.</dialogue> <character>RAJA</character> <dialogue>This looks like a job for Superman -</dialogue> <character>SHOVELER</character> <dialogue>Or Batman -</dialogue> <character>RAJA</character> <dialogue>Or both.</dialogue> <character>FURIOUS</character> <dialogue>Do n't you guys get it? If Captain Amazing is still in there, we can rescue him - and get on TV!</dialogue> <parenthetical>( goes right over the wall . )</parenthetical> <dialogue /> <scene_description>They share an exasperated look , then scramble over the wall after him .</scene_description> </scene> <scene> <stage_direction>INT. CASANOVA'S BEDROOM - CONTINUOUS</stage_direction> <scene_description>Casanova and Dr. Anabel Leek are preparing for bed . Anabel sits in front of a huge mirror , brushing her long hair as Casanova moves up behind her and puts his hands around her throat , massaging , squeezing , just barely resisting the temptation to strangle her . -LRB- She loves it -RRB- .</scene_description> <character>CASANOVA</character> <dialogue>Everything's going exactly as we planned.</dialogue> <character>ANABEL</character> <parenthetical>( puts the sharp point of her comb handle under his chin . )</parenthetical> <dialogue>Not quite. You have n't announced our engagement yet.</dialogue> <character>CASANOVA</character> <dialogue>It must have slipped my mind.</dialogue> <character>ANABEL</character> <dialogue>Your mind is so slippery.</dialogue> <character>CASANOVA</character> <dialogue>Do n't worry, Pootchkie. My womanizing days are over. You're my Lady Macbeth, my Imelda. my Nicole.</dialogue> <parenthetical>( pulls her into his arms . )</parenthetical> <dialogue>We're such an incredible team. Who could possibly stop us?</dialogue> <parenthetical>( kisses her . )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>EXT. THE LAWN - CONTINUOUS - ON OUR THREE HEROES</stage_direction> <scene_description>as they crunch their way non too stealthily across the backyard .</scene_description> <character>RAJA</character> <dialogue>Do n't crunch the leaves.</dialogue> <character>SHOVELER</character> <dialogue>Sorry.</dialogue> <character>RAJA</character> <dialogue>Be a Mohican.</dialogue> <parenthetical>( bumps into a lawn chair . )</parenthetical> <dialogue /> <character>FURIOUS</character> <dialogue>Wait.</dialogue> <parenthetical>( They all stop . )</parenthetical> <dialogue>I hear something.</dialogue> <scene_description>They all listen ; there is a low rushing sound . It is the sound of water rushing through pipes . Suddenly , the lawn sprinklers all pop up . and our heroes get drenched . They duck off the lawn , behind the cover of a large tree .</scene_description> <character>RAJA</character> <dialogue>I'm soaked.</dialogue> <parenthetical>( sneezes . )</parenthetical> <dialogue>Oh great.</dialogue> <character>FURIOUS</character> <dialogue>Shhh.</dialogue> <character>SHOVELER</character> <dialogue>Be a Mohican.</dialogue> <character>RAJA</character> <dialogue>Shut up.</dialogue> <scene_description>Furious sees a pair of French doors , off a small patio . One of the doors is slightiy open .</scene_description> <character>FURIOUS</character> <dialogue>Come on.</dialogue> <scene_description>They start sneaking toward it , but as they cross the patio . they trip the automatic security lighting , and suddenly find themselves bathed in light .</scene_description> <character>RAJA</character> <dialogue>Uh - oh.</dialogue> <scene_description>As our heroes look around as a dozen Disco Boys , armed with pipes , chains , brass knuckles , step into the light and encircle them . The French doors open and Tony P steps out .</scene_description> <character>RAJA</character> <dialogue>Oh I'm sorry. We must have the wrong house.</dialogue> <character>TONY P</character> <dialogue>You sure do.</dialogue> <scene_description>The Disco Boys attack . The Raja is instantly clubbed down . The Shoveler deflects only a blow or two with his shovel before he goes down , too . These guys are not the Red Eyes . Only Furious holds his own . He grabs a pipe away from one of them and swings fiercely , keeping the others off . Suddenly , the Disco Boys pull back . Furious does n't know why , until he turns and sees . Casanova , standing right behind him , smiling .</scene_description> <character>CASANOVA</character> <dialogue>Hi there.</dialogue> <scene_description>With a cat - like move Casanova slashes his gold chain viciously - and repeatedly - across Furious ' face . Furious , stunned with pain , lunges at Casanova , who neatly steps aside , then catches him with a fast combination of spinning disco kicks . Finally he lassos the chain around Furious ' neck , and pulls it tight , strangling him . ON THE DISCO BOYS , watching , snapping their fingers with admiration . Casanova releases Furious , who slumps to the ground . Casanova steps away , and the Disco Boys gather around Furious and kick him viciously . as Casanova and Tony P watch , amused , chuckling .</scene_description> <character>CASANOVA</character> <dialogue>Superheroes.</dialogue> <character>TONY P</character> <dialogue>Should I kill them?</dialogue> <character>CASANOVA</character> <parenthetical>( completely disdainful . )</parenthetical> <dialogue>Why bother?</dialogue> </scene> <scene> <stage_direction>EXT. JUST OUTSIDE THE MANSION - A MOMENT LATER</stage_direction> <scene_description>The Disco Boys drag our heroes through the gate and throw them like bags of garbage into the street . where thay lie in a moaning , agonized , semi - conscious heap .</scene_description> </scene> <scene> <stage_direction>INT. THE DINER - LATER - CLOSE ON</stage_direction> <scene_description>Furious , rubbing his neck ; a thin red mark runs around it . The three of them are sitting at their usual table , in very bad shape , moaning and groaning . Monica approaches . She 's made them ice packs and cold compresses .</scene_description> <character>MONICA</character> <dialogue>Here you go.</dialogue> <parenthetical>( sits with them , applies a compress to the Raja 's head . )</parenthetical> <dialogue /> <character>RAJA</character> <dialogue>Ow.</dialogue> <character>MONICA</character> <dialogue>Maybe you guys ought to forget this Superhero stuff and join Kiwanis or something.</dialogue> <scene_description>A FUSSY CUSTOMER is calling out from another table .</scene_description> <character>FUSSY CUSTORER</character> <dialogue>Miss!</dialogue> <scene_description>She moves off .</scene_description> <character>RAJA</character> <dialogue>Maybe she's right.</dialogue> <character>FURIOUS</character> <parenthetical>( still furious . )</parenthetical> <dialogue>Are you serious? This is the break we've been waiting for!</dialogue> <character>SHOVELER</character> <dialogue>What are you talking about?</dialogue> <character>FURIOUS</character> <dialogue>What have the famous superheroes got that we do n't?</dialogue> <character>RAJA</character> <dialogue>Agents?</dialogue> <character>FURIOUS</character> <dialogue>Archenemies! Casanova is n't just a criminal - he's a supervillain. Stopping him could be our ticket to fame, fortune - and babes!</dialogue> <character>SHOVELER</character> <dialogue>And it would be the right thing to do.</dialogue> <character>FURIOUS</character> <parenthetical>( dismissively . )</parenthetical> <dialogue>Yeah yeah - and that, too.</dialogue> <character>RAJA</character> <dialogue>But there's only three of us, and he's got the entire brotherhood of evil at his disposal.</dialogue> <character>FURIOUS</character> <dialogue>Then maybe it's time for us to form our own brotherhood. a brotherhood of righteous, crime fighting, skull cracking, Disco Boy bashing, warriors of the night!</dialogue> <character>SHOVELER</character> <dialogue>I'm liking this.</dialogue> <character>FURIOUS</character> <dialogue>I say we send out the word - and summon all of the unsung superheroes we know!</dialogue> <character>RAJA</character> <parenthetical>( after a moment . )</parenthetical> <dialogue>Yeah, but. who do we know?</dialogue> <scene_description>They take a long moment to ponder this .</scene_description> <character>FURIOUS</character> <dialogue>Well. there's the Spleen.</dialogue> <scene_description>Shoveler and Raja make disgusted noises .</scene_description> <character>RAJA</character> <dialogue>Do we have to?</dialogue> <character>SHOVELER</character> <dialogue>I got this cousin. He's a real doofus, but he claims he can become invisible.</dialogue> <character>FURIOUS</character> <dialogue>Have you ever seen him?</dialogue> <character>SHOVELER</character> <dialogue>How could I see him if he's invisible?</dialogue> <character>FURIOUS</character> <dialogue>Good point.</dialogue> <character>RAJA</character> <dialogue>And there's the Sphinx.</dialogue> <character>SHOVELER</character> <dialogue>The who?</dialogue> <character>RAJA</character> <dialogue>He's a legendary masked Mexican crime fighting superwrestler and master of the machete.</dialogue> <character>FURIOUS</character> <dialogue>Sounds good.</dialogue> <character>RAJA</character> <dialogue>No one's sure that he actually exists, but they say he can be contacted by leaving a message on a crumpled up napkin at the Tacky Taco down by the bus station.</dialogue> <character>SHOVELER</character> <dialogue>Get outta here.</dialogue> </scene> <scene> <stage_direction>EXT. TACKY TACO - DAY - ESTABLISHING</stage_direction> <scene_description>A funky Mexican restaurant by the bus station .</scene_description> </scene> <scene> <stage_direction>INT. THE RESTAURANT - CONTINUOUS</stage_direction> <scene_description>Our heroes , in normal clothing , have just finished a taco lunch . Furious is writing a mssage on a napkin with a ballpoint pen .</scene_description> <character>FURIOUS</character> <dialogue>You sure that's how you spell it?</dialogue> <character>SHOVELER</character> <dialogue>Yeah.</dialogue> <scene_description>CLOSE ON THE NOTE - which reads `` Spinks , we need you . '' They crumple up the napkin and leave the restaurant . A moment later a shy looking MEXICAN MAN busses their tray . but in A CLOSE ANGLE we see him secretly pocket the napkin .</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE - DAY - ESTABLISHING</stage_direction> <scene_description>A little brick house .</scene_description> </scene> <scene> <stage_direction>INT. INVISIBLE BOY'S ROOM - DAY</stage_direction> <scene_description>A teenage boy 's room , decorated to the max with models and posters of the great superheroes : Batman , Spiderman , Captain Amazing , etc. . INVISIBLE BOY , about fifteen , is being interviewed by the Raja , Mister Furious , and the Shoveler .</scene_description> <character>FURIOUS</character> <dialogue>So, let me get this straight. You have the power to become invisible.</dialogue> <character>INVISIBLE BOY</character> <dialogue>Yes.</dialogue> <character>RAJA</character> <dialogue>But. only when no one is looking.</dialogue> <character>INVISIBLE BOY</character> <dialogue>Yes.</dialogue> <character>FURIOUS</character> <dialogue>If someone looks at you, you immediately become visible again.</dialogue> <character>INVISIBLE BOY</character> <dialogue>Yes.</dialogue> <character>RAJA</character> <dialogue>So you're only invisible. to yourself?</dialogue> <character>INVISIBLE BOY</character> <dialogue>No.</dialogue> <character>OUR HEROES</character> <parenthetical>( hopefully . )</parenthetical> <dialogue>No?</dialogue> <character>INVISIBLE BOY</character> <dialogue>If I look at myseif, I become visible.</dialogue> <character>RAJA</character> <dialogue>So you're only invisible, when abuolutely no one is looking at you?</dialogue> <character>INVISIBLE BOY</character> <dialogue>Yes.</dialogue> <character>FURIOUS</character> <dialogue>So how do you know that you've ever been invisible?</dialogue> <character>INVISIBLE BOY</character> <dialogue>I just know.</dialogue> <scene_description>Our heroes are less than impressed .</scene_description> <character>FURIOUS</character> <dialogue>Look, kid, we've got a lot of heroes to interview -</dialogue> <character>INVISIBLE BOY</character> <parenthetical>( desperate . )</parenthetical> <dialogue>I know I have n't got it entirely worked out yet, but I've always dreamed of becoming a superhero. Were n't you guys ever a kid? Did n't you ever need someone to just give you a chance?</dialogue> <scene_description>ON OUR HEROES , looking around the room . and softening up .</scene_description> </scene> <scene> <stage_direction>INT. THE DINER - NIGHT</stage_direction> <scene_description>Our heroes sit at their usual table along with Invisible Boy and a weird looking guy in a greasy , stained yellow superhero outfit . Across his chest in falling off stick on letters it reads `` THE SPLEEN '' , and that 's exactly who he is . Furious , the Raja , and Shoveler sit as far away from him as possible . He is a totally noxious , hyperactive person . and he is thrilled to be there .</scene_description> <character>SPLEEN</character> <dialogue>Boy I ca n't tell you how thrilled I was when you guys called - You gon na eat that pickle?</dialogue> <parenthetical>( sucks it in . )</parenthetical> <dialogue>I've always dreamed of being a member of the a real superhero team - and to have friends - real friends - I mean guys I could live with - sleep with - die with - eat with.</dialogue> <scene_description>He puts the mustard dispenser to his lips and squeezes it straight into his mouth .</scene_description> <character>SPLEEN</character> <dialogue>I love mustard.</dialogue> <scene_description>Furious , Raja , and the Shoveler react ; they ca n't believe they 've actually invited this guy to join their group .</scene_description> <character>INVISIBLE BOY</character> <dialogue>So what exactly is your superpower?</dialogue> <character>SPLEEN</character> <dialogue>Well, when I was a kid I grew up on Love Canal - remember that? - and my brothers and I used to go swimming in it - make Kool - Aid out of it - stuff like that. Anyway my brothers all died, but I lived, and I grew all these like weird organs that have never been seen in humans before. So now I can do things like this!</dialogue> <scene_description>He leans over the table and lets just a little tiny drop of spittle dribble onto the table . CLOSE ON THE TABLE - as the spittle burns a hole in the Formica .</scene_description> <character>SPLEEN</character> <dialogue>Cool, huh?</dialogue> <scene_description>The Spleen inadvertently gives the tiniest little burp , and our three heroes duck out of the way or under the table . FURIOUS , RAJA , &amp; SHOVELER Watch it ! Look out ! Whoa ! The people in the next booth give a cry of revulsion , put their hands to their mouths , and immediately leave .</scene_description> <character>SPLEEN</character> <dialogue>Sorry, sorry.</dialogue> <character>SHOVELER</character> <dialogue>Hey, why do n't you just put a cork in it?</dialogue> <character>SPLEEN</character> <dialogue>I tried that once. The cork melted.</dialogue> <scene_description>THE SAME - AFTER DINNER Our heroes mull their situation over coffee . Monica freshens their cups . The Spleen squirts mustard in his coffee .</scene_description> <character>SHOVELER</character> <dialogue>There's just not enough of us.</dialogue> <character>FURIOUS</character> <dialogue>But we know they're out there. Hundreds - maybe thousands of lonely, unknown superheroes, who desperately need a cause.</dialogue> <character>RAJA</character> <dialogue>And a social life.</dialogue> <character>SHOVELER</character> <dialogue>Yeah, but how do we get to them?</dialogue> <character>SPLEEN</character> <dialogue>Obscene phone calls?</dialogue> <scene_description>They ignore that suggestion .</scene_description> <character>MONICA</character> <dialogue>Why do n't you throw a barbecue?</dialogue> <parenthetical>( moves off to another table . )</parenthetical> <dialogue /> <scene_description>ON OUR HEROES , realizing that 's it .</scene_description> </scene> <scene> <stage_direction>INT. INVISIBLE BOY'S ROOM - NIGHT - WITH MUSIC</stage_direction> <scene_description>Invisible Boy sits at the desk in his room , writing immaculate little notes on small file cards . -LRB- He 's made a whole pile of them . -RRB- CLOSE ON THE NOTE - which reads `` Got superpowers ? Want to fight evil ? Then JOIN US and let 's PARTY HEARTY ! Beer ! Burgers ! Babes ! '' SERIES OF SHOTS - MUSIC CONTINUES as our heroes post these notes all over the city , in places where lonely superheroes night find them . The Raja posts a note on the door of a comic book store . The Shoveler posts a note on the bulletin board at a bowling alley . Mr. Furious tapes the note to the cracked glass of a vandalized phone booth . At an abandoned drive - in movie theater . Invisible Boy walks through the empty lot , taping a note to each of the old speaker posts . A White Castle hamburger joint . Inside the pay toilet Spleen is scratching something on the wall with a nail . He stops and admires his handiwork , and we see that he has engraved the entire message on the wall . END MUSIC .</scene_description> </scene> <scene> <stage_direction>EXT. SHOVELER'S BACKYARD - DAY</stage_direction> <scene_description>A small , typical working class backyard . A round , aluminum above ground pool . A Weber grill with burgers on it . Unopened packages of hamburger rolls . An old Vic Damon record plays on a boom box . The Spleen floats around on a rubber raft in the pool .</scene_description> <character>SPLEEN</character> <dialogue>Come on in! The water's great!</dialogue> <scene_description>In fact , the water is turning a yellowish green . The rest of our heroes sit around on cheap folding chairs . No superheroes have shown up . The Shoveler , at the grill , serves burgers to his kids , who stand in line waiting for them .</scene_description> <character>BUTCH</character> <parenthetical>( heavy on the sarcasm . )</parenthetical> <dialogue>Great picnic, Dad.</dialogue> <character>EDDIE JR.</character> <dialogue>Big turnout.</dialogue> <character>ROLAND</character> <dialogue>Are these guys real superheroes?</dialogue> <character>LENORE</character> <dialogue>They think so.</dialogue> <scene_description>The kids scoff . A moment later they head back to the house with their burgers .</scene_description> <character>ROLAND</character> <dialogue>But where's Captain Amazing?</dialogue> <character>EDDIE JR.</character> <dialogue>He would n't be caught dead here.</dialogue> <scene_description>They go into the house . No one says anything . The Shoveler just stares at the burgers on the grill . Vic Damon sings . Furious chugs his beer ; he 's working himself into a really morose mood . ON THE SPLEEN , munching on a chlorine tablet .</scene_description> <character>SPLEEN</character> <dialogue>Hey, these pool mints are delicious!</dialogue> <scene_description>Raja looks at his watch .</scene_description> <character>RAJA</character> <dialogue>Maybe there was traffic.</dialogue> <character>FURIOUS</character> <dialogue>Who are we kidding? No one's gon na show. We're living in a fantasy!</dialogue> <character>INVISIBLE BOY</character> <dialogue>Come on, guys - we're fighting against evil.</dialogue> <character>FURIOUS</character> <dialogue>Good or evil, what's the difference?</dialogue> <character>SHOVELER</character> <dialogue>There's a big difference.</dialogue> <character>FURIOUS</character> <dialogue>I used to believe that. Now I'm not so sure.</dialogue> <character>RAJA</character> <dialogue>Roy, remember, it is all within your power. The only thing that's in your way. is you.</dialogue> <character>FURIOUS</character> <dialogue>Oh shut up.</dialogue> <scene_description>Suddenly , there is a knock at the gate . Everyone immediately perks up .</scene_description> <character>INVISIBLE BOY</character> <dialogue>They're here!</dialogue> <scene_description>A moment later they open the gate and see . HALF A DOZEN BURLY GUYS wearing various superhero outfits .</scene_description> <character>THEIR LEADER</character> <dialogue>Hey, man, is this the superhero wingding?</dialogue> <character>RAJA</character> <dialogue>This is it. Come on in!</dialogue> <character>SUPERHEROES</character> <dialogue>All right! Party!</dialogue> <parenthetical>( Etc . )</parenthetical> <dialogue /> <scene_description>At first glance these guys seem promising . but their outfits are decidedly improvised : weird goggles and sunglasses , shower curtain capes , baseball caps with beer cans on them . Their leader holds a squeegee with a long handle . Furious is suspicious .</scene_description> <character>RAJA</character> <dialogue>I am the Blue Raja, Master of Silverware.</dialogue> <character>THEIR LEADER</character> <dialogue>I am Squeegee Man, and these are my compadres, the Invincible Dudes!</dialogue> <scene_description>The Invincible Dudes spot the keg .</scene_description> <character>INVINCIBLE DUDES</character> <dialogue>Whoa! Brews! Party!</dialogue> <parenthetical>( Etc . )</parenthetical> <dialogue /> <scene_description>They go immediately to the keg and start filling beer cups and guzzling them down . The Raja tries to hand out some forms .</scene_description> <character>RAJA</character> <dialogue>Would you mind filling out these forms ; names, addresses, description of superpowers, that sort of thing.</dialogue> <character>INVINCIBLE DUDES</character> <dialogue>Sure, dude. No problem.</dialogue> <parenthetical>( Etc . )</parenthetical> <parenthetical>( but they just toss the forms away . )</parenthetical> <dialogue /> <scene_description>ON FURIOUS , watching , starting to get pissed off .</scene_description> <character>INVINCIBLE DUDE 1</character> <dialogue>Hey, man, like where are the babes?</dialogue> <character>INVINCIBLE DUDE 2</character> <dialogue>It said on the card there'd be babes!</dialogue> <character>RAJA</character> <dialogue>Actually we lied about the babes, but there's plenty of burgers.</dialogue> <character>INVINCIBLE DUDES</character> <dialogue>That's false advertising! We came all the way from South Champion, man! We coulda gone plinking! We coulda gone bunqee jumping!</dialogue> <character>SQUEEGEE MAN</character> <dialogue>No babes. No peace.</dialogue> <character>INVISIBLE DUDES</character> <parenthetical>( chanting . )</parenthetical> <dialogue>No babes - no peace! No babes - no peace! No babes - no peace!</dialogue> <character>SQUEEGEE MAN</character> <dialogue>Let's trash the place!</dialogue> <character>INVINCIBLE DUDES</character> <dialogue>Yeah!</dialogue> <scene_description>Furious , fed up , confronts Squeegee Man .</scene_description> <character>FURIOUS</character> <dialogue>If you're a superhero, what's your power?</dialogue> <character>SQUEEGEE MAN</character> <dialogue>I am Squeegee Man.</dialogue> <parenthetical>( holding it out threateningly . )</parenthetical> <dialogue>Touch my squeegee. and you die.</dialogue> <scene_description>The Invincible Dudes are cracking up .</scene_description> <character>FURIOUS</character> <dialogue>Can you fly?</dialogue> <character>SQUEEGEE MAN</character> <dialogue>No.</dialogue> <character>FURIOUS</character> <dialogue>Wan na bet?</dialogue> </scene> <scene> <stage_direction>EXT. JUST OUTSIDE THE YARD - CONTINUOUS</stage_direction> <scene_description>as Squeegee Man comes flying - and screaming - over the fence , landing none too gracefully in the front yard . A beat and his squeegee come flying out after him . Another beat and the Invincible Dudes come running out the gate in a panic .</scene_description> <character>INVINCIBLE DUDES</character> <dialogue>Let's get out of here! That dude's crazy!</dialogue> <scene_description>They take off down the street , running right past a woman , carrying a bowling ball bag and dressed in a faded , threadbare old rayon superhero costume with a decidedly fifties flavor . She is THE BOWLER .</scene_description> </scene> <scene> <stage_direction>EXT. SHOVELER'S BACKYARD - A MOMENT LATER</stage_direction> <scene_description>Our heroes sit around the patio , dejected , miserable .</scene_description> <character>BOWLER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Who died?</dialogue> <scene_description>They look up , see her standing there , and are n't quite sure what to make of her .</scene_description> <character>RAJA</character> <dialogue>Who are you?</dialogue> <character>BOWLER</character> <dialogue>I'm the Bowler.</dialogue> <character>SHOVELER</character> <dialogue>The Bowler? I remember him from when I was a kid. He was killed years ago.</dialogue> <character>BOWLER</character> <dialogue>I'm his daughter.</dialogue> <scene_description>Our heroes share a look .</scene_description> <character>SHOVELER</character> <dialogue>Look, honey, being a superhero. it's a guy thing.</dialogue> <character>BOWLER</character> <dialogue>Really?</dialogue> <scene_description>She takes her bowling ball and spins it on the tip of her finger -LRB- like a Harlem Globetrotter -RRB- . For a long moment she just looks at them , smiling . ON THE OTHERS watching , almost mesmerized by the spinning ball . Suddenly , she gives an ear splitting battle cry and starts swinging the ball around her in wide ferocious arcs , like a cannibal with a war club - or a twirler on meth , going so fast she almost becomes a blur . Then , just as suddenly , she stops , aims and rolls her ball . It shoots straight through Invisible Boy 's legs . ON A NEATLY PLACED COLLECTION OF PLASTER LAWN DWARVES - as the ball smashes into then , pulverizing them . It goes into a reverse spin , passes through Invisible Boy 's legs again , and returns to the Bowler who is holding its bag open for it . The ball rolls in .</scene_description> <character>BOWLER</character> <dialogue>Good ball.</dialogue> <scene_description>ON OUR HEROES , left absolutely speechless .</scene_description> <character>BOWLER</character> <dialogue>If it could zip up its own bag, then you'd be impressed, right?</dialogue> <scene_description>She turns and walks out . Our heroes share an amazed look , then run after her . JUST OUTSIDE THE GATE - ON THE BOWLER walking away . as Furious catches up with her .</scene_description> <character>FURIOUS</character> <dialogue>Hey. Can I buy you a beer?</dialogue> <character>BOWLER</character> <dialogue>I thought you'd never ask.</dialogue> <scene_description>She takes his arm and they all start to walk back into the Shoveler 's backyard . but the CAMERA PANS ACROSS THE STREET to the dark place between two houses , where a MAN WEARING A STRANGE STEEL MASK with a frightening , impassively powerful expression stands in the deep shadows , watching them in motionless , predatory silence . We do not know who he is , and we can not tell if he is good or evil . BACK AT THE BARBECUE - A LITTLE LATER - CLOSE ON A FADED OLD SNAPSHOT of the original `` The Bowler '' holding a little girl in his arms .</scene_description> <character>BOWLER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>He was more than just a superhero. He was my father.</dialogue> <scene_description>The others , touched by this , have gathered around the Bowler , who is holding the old snapshot in her hand .</scene_description> <character>BOWLER</character> <dialogue>And then one day, he did n't come home. The police said it was an accident. But cargo containers do n't just fall on people. He was murdered. After that I fell apart. I dropped out of school, became a mud wrestler, married and divorced a jerk. When my mother died I hit bottom. but then, when I was cleaning out her attic, I found my father's old bowling bag and costume, almost like he'd left them there for me. and I knew what I had to do.</dialogue> <character>SHOVELER</character> <dialogue>So who killed him?</dialogue> <character>BOWLER</character> <dialogue>The Disco Boys.</dialogue> <character>FURIOUS</character> <dialogue>You know something? Those guys are really starting TO PISS ME OFF!</dialogue> <character>SHOVELER</character> <dialogue>But there's still only six of us.</dialogue> <character>FURIOUS</character> <dialogue>SO WHAT?</dialogue> <character>BOWLER</character> <dialogue>That's two more than the Fantastic Four.</dialogue> <character>FURIOUS</character> <dialogue>Half a Dirty Dozen!</dialogue> <character>SPLEEN</character> <dialogue>Twice the Three Stooges!</dialogue> <character>INVISIBLE BOY</character> <dialogue>And only one short of the Magnificent Seven.</dialogue> <character>RAJA</character> <dialogue>And you ca n't count Horst Buckholtz anyway.</dialogue> <character>BOWLER</character> <dialogue>He was cute though.</dialogue> <character>RAJA</character> <dialogue>But they all had one thing we have n't got.</dialogue> <character>SPLEEN</character> <dialogue>Girlfriends?</dialogue> <character>RAJA</character> <dialogue>A name. All the great superhero teams have got a fabulous name.</dialogue> <scene_description>They all think about it for a moment . You can almost smell their brains overheating .</scene_description> <character>BOWLER</character> <dialogue>How about. the Savage Six?</dialogue> <character>RAJA</character> <dialogue>The Inscrutable Six?</dialogue> <character>SPLEEN</character> <dialogue>The Six Pistols?</dialogue> <character>SHOVELER</character> <dialogue>The Exterminators!</dialogue> <character>INVISIBLE BOY</character> <dialogue>The Obliterators!</dialogue> <character>RAJA</character> <dialogue>The Eradicators!</dialogue> <character>BOWLER</character> <dialogue>The Emasculators!</dialogue> <character>SPLEEN</character> <dialogue>Wait - I got it! The Spleen Team.</dialogue> <scene_description>He gets beaned by a couple of empty soda cans .</scene_description> <character>FURIOUS</character> <dialogue>To hell with a name. Let's get to work.</dialogue> <scene_description>MUSIC UP as Furious stands and starts out . The others stand and follow him . as our heroes form up for their first HEROIC GROUP SHOT .</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREET - NIGHT</stage_direction> <scene_description>MUSIC CONTINUES as A LITTLE OLD LADY crosses the street , when suddenly she looks up and sees a pair of headlights coming on fast . An immaculately maintained seventies limo is heading straight for her . INSIDE THE LIMO - CONTINUOUS Disco Boys sit in the front . Casanova , Anabel , and Tony P sit in the back , dressed for a night on the town . There is a thud as the limo hits the old lady , and everyone in the car explodes into laughter .</scene_description> <character>TONY P</character> <dialogue>Little old lady. That's a hundred points!</dialogue> <scene_description>INSIDE/OUTSIDE THE LIMO - A FEW MINUTES LATER as the limo drives past a billboard with an ad for `` MILK '' with a milk mustached Captain Amazing looking at the camera .</scene_description> <character>TONY P</character> <dialogue>He knows your every move.</dialogue> <scene_description>Tony P imitates a massive electrical convulsion , and the villains crack up . But as they pass the billboard , a pair of headlights illuminate in its shadows , and the Shoveler 's Ford Esquire pulls out and follows . INSIDE THE ESQUIRE - CONTINUOUS The Shoveler is driving . Mister Furious sits in the front seat next to him , and our other heroes are packed into the back .</scene_description> <character>FURIOUS</character> <dialogue>Let's say hello.</dialogue> <scene_description>INSIDE/OUTSIDE THE TWO CARS - CONTINUOUS As the limo stops at a traffic light . and the Esquire pulls up alongside it . For a moment good and evil stare each other down .</scene_description> <character>TONY P</character> <dialogue>Not these guys again!</dialogue> <scene_description>The Disco Boys howl with laughter .</scene_description> <character>CASANOVA</character> <dialogue>Nice car.</dialogue> <scene_description>The D Boys laugh . Furious stares at Casanova , and Casanova stares right back at him , as cool as a snake .</scene_description> <character>FURIOUS</character> <dialogue>What did you do with Captain Amazing?</dialogue> <character>CASANOVA</character> <dialogue>Captain who?</dialogue> <character>TONY P</character> <parenthetical>( spots the Bowler . )</parenthetical> <dialogue>Hey, in the backseat, who are you supposed to be, the Bowler?</dialogue> <character>BOWLER</character> <dialogue>I'm his daughter.</dialogue> <character>TONY P</character> <dialogue>His daughter? Well guess what, sweetheart? I'm the one who squished your Daddy. And he squished real good!</dialogue> <scene_description>The villains laugh , and Mister Furious EXPLODES INTO RAGE . He swings open his car door , mashing it into the limo and leaving a big dent .</scene_description> <character>TONY P</character> <dialogue>HEY!</dialogue> <character>FURIOUS</character> <dialogue>` SCUSE ME!</dialogue> <scene_description>He starts punching the limo like it 's a punching bag - putting big dents in it .</scene_description> <character>TONY</character> <dialogue>Waste him!</dialogue> <scene_description>Tony and the boys all reach into their coats for their pistols - but as they yank them out , the Spleen sticks his head out of the station wagon , puts his face right up to the open window of the limo and lets loose with a TREMENDOUS BELCH . As the villains choke and gag in the noxious fumes , Mister Furious goes on a DEMOLITION RAMPAGE , working his way around the limo , punching big dents with his fists , breaking the windows with his head , flattening the tires by kicking them , knocking off the rear view mirror with the back of his hand . Then he leaps up on top of the limo . While inside the villains gasp for air as big dents are stomped into the roof above them . ANGLE THROUGH THE WINDSHEILD as Furious leaps down onto the hood , and gazes in at them .</scene_description> <character>FURIOUS</character> <dialogue>Shall I check your oil?</dialogue> <scene_description>He plunges his hand through the metal of the hood , pulls out the car 's dip stick , and checks it .</scene_description> <character>FURIOUS</character> <dialogue>Looks fine.</dialogue> <scene_description>He tosses the dip stick away , then leaps off JUST AS Tony P gets off a shot , EXPLODING the windshield of the limo . Furious lands safely on the hood of the station wagon . As the Shoveler throws the Esquire into gear , Furious shouts .</scene_description> <character>FURIOUS</character> <dialogue>NICE CAR!</dialogue> <scene_description>And our heroes streak off into the night . Casanova and the others stagger out of the demolished limo , sucking in the clean air .</scene_description> <character>CASANOVA</character> <parenthetical>( impressed by Furious . )</parenthetical> <dialogue>That boy's got talent.</dialogue> <character>TONY P</character> <dialogue>And I'm gon na nip it in the bud.</dialogue> <scene_description>ANGLE ON A DARKENED ALLEY - where the man in the strange steel mask can be seen . watching .</scene_description> </scene> <scene> <stage_direction>EXT. A BAR - LATER THAT NIGHT - ESTABLISHING</stage_direction> <scene_description>A very typical , nondescript neighborhood place . INSIDE THE BAR - CONTINUOUS Our heroes stand at the bar , celebrating their first victory .</scene_description> <character>SHOVELER</character> <dialogue>To us!</dialogue> <character>RAJA</character> <dialogue>Whatever our name is.</dialogue> <scene_description>They toast and drink . THE SAME - LATER The Spleen is passed out at a table , snoring . Shoveler and Invisible Boy sit next to him .</scene_description> <character>SHOVELER</character> <dialogue>Even his snores smell bad.</dialogue> <scene_description>Raja and Bowler sit at the bar , deep in it .</scene_description> <character>BOWLER</character> <dialogue>But she's your mother. You got ta tell her.</dialogue> <character>RAJA</character> <dialogue>I ca n't.</dialogue> <scene_description>ON SHOVELER AND INVISIBLE BOY</scene_description> <character>INVISIBLE BOY</character> <dialogue>Dad thinks all this superhero stuff is a stupid waste of time.</dialogue> <character>SHOVELER</character> <dialogue>But he plays golf, right?</dialogue> <character>INVISIBLE BOY</character> <dialogue>Yeah.</dialogue> <scene_description>BACK ON RAJA AND BOWLER -</scene_description> <character>RAJA</character> <dialogue>I'm her only son, and she always had such high hopes for me. Medicine. Law.</dialogue> <character>BOWLER</character> <dialogue>But you're a superhero.</dialogue> <character>RAJA</character> <dialogue>The cape. The turban. She would n't understand.</dialogue> <character>BOWLER</character> <dialogue>I know. My girlfriends all dumped me after I put on the mask. They thought I'd lost it.</dialogue> <character>RAJA</character> <dialogue>But in fact. you'd found it.</dialogue> <scene_description>They clink their glasses and drink . BACK ON SHOVELER AND INVISIBLE BOY -</scene_description> <character>SHOVELER</character> <dialogue>This is your dream. and you ca n't ever give it up.</dialogue> <scene_description>The Spleen makes weird noises in his sleep .</scene_description> <character>INVISIBLE BOY</character> <dialogue>I wonder what he dreams about?</dialogue> <character>SHOVELER</character> <dialogue>We do n't want to know.</dialogue> <scene_description>Mr. Furious sits alone in the corner , brooding , lost in his own angry thoughts . OUTSIDE THE BAR - CONTINUOUS A black van drives slowly past the bar . INSIDE THE VAN - CONTINUOUS The van is packed with Disco Boys . Tony P sits in the front seat .</scene_description> <character>TONY P</character> <dialogue>There.</dialogue> <scene_description>HIS POV - He has spotted the Ford Esquire parked in the lot . BACK IN THE BAR - A LITTLE LATER ON THE BOWLER AND RAJA -</scene_description> <character>BOWLER</character> <dialogue>It's late. I'm headin' home.</dialogue> <character>RAJA</character> <dialogue>Me, too.</dialogue> <character>BOWLER</character> <parenthetical>( to Invisible Boy . )</parenthetical> <dialogue>Come on, Junior, it's a school night.</dialogue> <scene_description>JUST OUTSIDE - A MONENT LATER As our heroes , carrying the Spleen , leave .</scene_description> <character>FURIOUS</character> <dialogue>Anybody up for a little White Castle?</dialogue> <scene_description>But suddenly the world is a whirling sass of chains and clubs as they are bushwhacked by the Disco Boys .</scene_description> </scene> <scene> <stage_direction>EXT. AN ALLEY - A LITTLE LATER - CLOSE ON FURIOUS</stage_direction> <scene_description>as he comes to with a qroan and sees . the Bowler and Invisible Boy tied up and gagged , with the Raja , Shoveler , and the Spleen trussed up right next to them . Furious looks up , sees Tony P standing over him .</scene_description> <character>TONY P</character> <dialogue>Hi, cutie.</dialogue> <scene_description>Furious struggles , but he has been secured with some very heavy tire chains . Tony P takes out a large caliber revolver , flips it open to make sure it 's loaded .</scene_description> <character>TONY P</character> <dialogue>Six losers. Six bullets. Perfect. Got any last words, Angry Boy?</dialogue> <character>FURIOUS</character> <dialogue>Disco sucks.</dialogue> <character>TONY P</character> <dialogue>Disco sucks. Very good. You know what I'm gon na do, Angry Boy, since you're so colorful? I'm gon na save you for last.</dialogue> <scene_description>He turns and points the pistol right at Invisible Boy 's head . Furious struggles against his chains - to no avail .</scene_description> <character>TONY P</character> <dialogue>Sweet dreams, punk.</dialogue> <scene_description>Invisible Boy closes his eyes . Tony P cocks the pistol . But suddenly , there is the ring of steel - a broad blade sweeps through the air , and Tony P 's pistol is sliced neatly in half .</scene_description> <character>TONY P</character> <parenthetical>( holding half a pistol . )</parenthetical> <dialogue>HOLY.</dialogue> <scene_description>The man is the strange steel mask is standing there , the drawn machete still in his hand .</scene_description> <character>MAN IN MASK</character> <dialogue>Buenos naches.</dialogue> <character>TONY P</character> <dialogue>Get him!</dialogue> <scene_description>The Disco Boys rush the newcomer , but he slices through their baseball bats with his machete , and sends them reeling and crashing into each other with expert forearm blows , whacks with the flat of his blade , and head butts with his mask . Furious struggles to break free and join the fight , but the chains are too strong . and the stranger does n't need any help . Tony P flicks open a big switchblade and lunges at the stranger , who sidesteps him like a matador and swings his machete at him . Tony P turns , about to charge again .</scene_description> <character>MAN IN MASK</character> <parenthetical>( Mexican accent . )</parenthetical> <dialogue>Would you like me to trim the sides?</dialogue> <character>TONY P</character> <dialogue>What?</dialogue> <scene_description>Tony P feels the top of his head , and realizes that the blow from the machete has neatly sliced off the top his disco - do , leaving only stubble on the top of his head .</scene_description> <character>TONY P</character> <parenthetical>( freaking out . )</parenthetical> <dialogue>LET'S GET OUTTA HERE!</dialogue> <scene_description>Tony and the Disco Boys run for it . Furious and the others study their masked savior , who stands before them , machete in hand .</scene_description> <character>FURIOUS</character> <dialogue>You're the Sphinx.</dialogue> <character>SPHINX</character> <dialogue>And you are a fool.</dialogue> <scene_description>He raises his machete above Furious ' head . and then slices clean through the chains .</scene_description> </scene> <scene> <stage_direction>EXT. AUTO DEMOLITION YARD - LATER THAT NIGHT</stage_direction> <scene_description>Our heroes have gathered around a scrap wood fire in a steel drum . They sit on the ground and on old car seats , feeling like schmucks as the Sphinx chews theu out , his mask looking very friqhtening and magical in the flickering light .</scene_description> <character>SPHINX</character> <dialogue>You call yourselves superheroes? A rooster fights more intelligently than you! You have shown yourself to your enemy and revealed your powers to him - and what have you accouplished for this? You have destroyed his car. Brilliant! If you want to survive you must fight like a wolf pack - not like a six pack!</dialogue> <scene_description>Furious sulks , but the others get the point .</scene_description> <character>SPHINX</character> <dialogue>The wolf is cunning. He knows that stealth is his greatest weapon, and he always fights as a team.</dialogue> <parenthetical>( at Furious . )</parenthetical> <dialogue>Not like some drunken Tejano on Saturday night.</dialogue> <scene_description>Furious grunts .</scene_description> <character>SPHINX</character> <dialogue>Casanova Frankenstein is a a master of evil. You will need more than shovels and dessert forks to stop him. What else have you got?</dialogue> <scene_description>They are silent .</scene_description> <character>FURIOUS</character> <parenthetical>( angrily . )</parenthetical> <dialogue>So what else has Superman got?</dialogue> <character>SHOVELER</character> <dialogue>He's got the fact that he's Superman!</dialogue> <character>BOWLER</character> <dialogue>Bullets bounce off him!</dialogue> <scene_description>Furious sulks again , feeling that the others are turning against him .</scene_description> <character>RAJA</character> <dialogue>Firepower costs money.</dialogue> <character>INVISIBLE BOY</character> <dialogue>Anybody got any?</dialogue> <scene_description>A silence .</scene_description> <character>SHOVELER</character> <dialogue>We did n't think this through very well.</dialogue> <character>BOWLER</character> <parenthetical>( after a moment . )</parenthetical> <dialogue>My father had this friend. He was an inventor.</dialogue> </scene> <scene> <stage_direction>EXT. DOC HELLER'S FARMHOUSE - DAY</stage_direction> <scene_description>Our heroes stand looking at an old farubouse . The place is an absolute wreck . It has n't been painted in twenty - five years . Windows are boarded up . Half the shingles are gone . There 's visible fire damage around the kitchen window .</scene_description> <character>SHOVELER</character> <dialogue>Are you sure he's still lives here?</dialogue> <character>RAJA</character> <dialogue>Are you sure he's still alive?</dialogue> <character>BOWLER</character> <dialogue>He was the last time I saw him.</dialogue> <character>SHOVELER</character> <dialogue>When was that?</dialogue> <character>BOWLER</character> <dialogue>I was eight.</dialogue> <scene_description>She is about to knock , but the door is suddenly yanked open , and an eighty year old guy is standing there . He 's got a wild head of white hair -LRB- that looks like a living explosion -RRB- , and he wears a stained old lab coat with stickum mtssages to himself stuck to it , non - matching slippers , and a pair of thick glasses with frames that have been composited of half a dozen different old pairs all taped and welded together into a fantastic concoction . He is DOC HELLER .</scene_description> <character>HELLER</character> <dialogue>Yes!</dialogue> <character>BOWLER</character> <dialogue>Doctor Heller?</dialogue> <character>HELLER</character> <parenthetical>( does n't recognize her . )</parenthetical> <dialogue>Yes!</dialogue> <character>BOWLER</character> <dialogue>It's me. Elizabeth.</dialogue> <character>HELLER</character> <dialogue>Elizabeth! Little Elizabeth! Why you're so. middle aged!</dialogue> <character>BOWLER</character> <dialogue>Thanks.</dialogue> <character>HELLER</character> <dialogue>How's your dad?</dialogue> <character>BOWLER</character> <dialogue>He's dead.</dialogue> <character>HELLER</character> <dialogue>Oh that's right - they squished him. Heck of a guy.</dialogue> <scene_description>Furious throws a look at the Shoveler and Raja . This guy 's out of it . They 're wasting their time .</scene_description> <character>BOWLER</character> <dialogue>Doc, these are my friends. We're superheroes, and we need your help.</dialogue> <character>HELLER</character> <dialogue>Well, I give to the United Way, and I feel that sort of covers -</dialogue> <character>SPHINX</character> <dialogue>Doctor, we need your weapons.</dialogue> <character>HELLER</character> <parenthetical>( ecstatic . )</parenthetical> <dialogue>My weapons? You need my weapons?</dialogue> </scene> <scene> <stage_direction>EXT. BEHIND THE HOUSE - A MINUTE LATER - MOVING ANGLE</stage_direction> <scene_description>as Doctor Heller leads them all briskly across his overgrown yard toward . the barn .</scene_description> <character>HELLER</character> <dialogue>The military establishment has never understood me. They wo n't return my phone calls, much less field test anything. But I knew that someday I'd get my chance, and now. here you are!</dialogue> <parenthetical>( pulls open the barn door . )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>INT. THE BARN - CONTINUOUS</stage_direction> <scene_description>As our heroes step into Heller 's laboratory/arsenal . A stack of small aluminum cans lines one wall . There are weird lookinq sprayers , tubes , and strange homemade toy - like devices . but there is n't a firearm in sight .</scene_description> <character>RAJA</character> <dialogue>But, Doc. where's the machine guns?</dialogue> <character>SHOVELER</character> <dialogue>The bazookas?</dialogue> <character>INVISIBLE BOY</character> <dialogue>The lasers?</dialogue> <character>HELLER</character> <dialogue>You do n't need that junk! You see, for thousands of years mankind has been immolating, disemboweling, and exploding itself. Why? Because we have this built - in screwed up need to go to war! So as a young man I thought, why nat have the fun and excitement of war, without all that unnecessary bloodshed. That's why I have devoted my life to developing an arsenal of highly sophisticated non - lethal military weapons.</dialogue> <parenthetical>( points to a hand held tube . )</parenthetical> <dialogue>Air cannons. Blame throwers. Feet seeking missiles. And perhaps my ultimate invention.</dialogue> <parenthetical>( picks up one of the small cans . )</parenthetical> <dialogue>The canned tornado.</dialogue> <scene_description>Furious groans , and the others share a look . This guy 's really a nut .</scene_description> <character>HELLER</character> <dialogue>Now here's a beauty!</dialogue> <parenthetical>( picks up a purple and orange sprayer that looks like a suped up water gun . )</parenthetical> <dialogue>I call it the Shrinker! I developed it after years of studying the worst dry cleaners I could find. It instantly shrinks fabrics to half their size. Anyone caught in its spray is immediately immobilized by their own clothing!</dialogue> <character>FURIOUS</character> <dialogue>Let's get out of here.</dialogue> <scene_description>Furious turns and goes out , and the others start to follow . But the Bowler picks up a canned tornado . OUTSIDE THE BARN - CONTINUOUS as Furious walks away , the Bowler steps out of the barn .</scene_description> <character>BOWLER</character> <dialogue>Hey, Mister Bad Mood.</dialogue> <scene_description>Furious stops , turns back .</scene_description> <character>BOWLER</character> <parenthetical>( pulls the ring on the can . )</parenthetical> <dialogue>Catch.</dialogue> <scene_description>She tosses the can to him . He catches it - just as a small angry tornado FUNNELS out of the can . It catches Furious and lifts him high in the air . then dissipates to nothing . A beat later Furious lands on the ground with a painful thump . ON THE OTHERS , amazed . Furious gets to his feet , unhurt , but really pissed off . He starts back toward the barn , violently kicking the empty can . The others get out of his way , as , muttering angrily to himself , he goes back into the barn . And emerges a moment later , toting the air cannon .</scene_description> <character>HELLER</character> <dialogue>He's got the air cannon!</dialogue> <scene_description>The others think he 's going to use it on them and scatter for cover . but Furious steps out into the yard , looking for a suitable target . He sees an old abandoned outhouse , puts the air cannon to his shoulder , aims , and fires . There is a loud WHOOOOMPH of compressed air , and the huge recoil of the cannon instantly flings Furious back against the wall of the barn . But the big rush of air hits the shed dead center . and BLOWS IT TO PIECES , leaving only the old seat . Furious gets up , dusts himself off , and moves to Doc Heller .</scene_description> <character>FURIOUS</character> <dialogue>Doc, you're a genius!</dialogue> <parenthetical>( hugs him . )</parenthetical> <dialogue /> <character>HELLER</character> <dialogue>I know.</dialogue> <character>FURIOUS</character> <parenthetical>( turns to the others . )</parenthetical> <dialogue>Okay! We got the firepower! I say we throw it into the car, drive over to Casanova's house, and kick some ass!</dialogue> <character>SPHINX</character> <dialogue>No.</dialogue> <scene_description>The others ignore Furious and listen to the Sphinx .</scene_description> <character>SPHINX</character> <dialogue>We are not yet ready. Now we must learn to fight together. as one thing.</dialogue> <scene_description>The others nod in agreemnt . while Furious fumes . MONTAGE WITH MUSIC - TRAINING AT THE FARM CLOSE ON DOC HELLER aiming his air cannon . CAMERA PULLS BACK TO REVEAL our heroes -LRB- minus Furious -RRB- standing in a pack right behind him , holding him down . HE fires , and the recoil jolts them all violently , but it does n't knock them over . as half a dozen scarecrows are blown to pieces . Our heroes chieer and shake their fists . while Mr. Furious sits alone on the sidelines , drinking bourbon , and feeling very alienated . VARIOUS SHOTS as our heroes learn to fight as a team . crawling across the grass together . charginq in a line . hurling canned tornadoes . while Furious sits it out , brooding , drinking , and getting very jealous of the Sphinx . Shoveler , Bowler , and the Sphinx stand shoulder to shoulder , as Invisible Boy , Spleen , Raja , and the Doc throw small stones at them . They deflect the pebbles with shovel , bowling ball , and machete . Theyre having fun . They 're becoming a team .</scene_description> </scene> <scene> <stage_direction>EXT. OUTSIDE THE BARN - EVENING</stage_direction> <scene_description>Furious drinks alone , while the rest of our heroes sit around an old picnic table , feasting on sodas and pizza -LRB- like a football team after a great practice . -RRB- Raja explains the history of the situation to the Sphinx .</scene_description> <character>RAJA</character> <dialogue>Twenty years ago all the major hoodlums of this city were united into one great brotherhood of evil, and Casanova was their king.</dialogue> <character>SHOVELER</character> <dialogue>Crime was rampant. It was n't safe to stay in your home.</dialogue> <character>BOWLER</character> <dialogue>Much less go outside.</dialogue> <character>SHOVELER</character> <dialogue>Then Captain Amazing appeared.</dialogue> <character>RAJA</character> <dialogue>He busted Casanova and sent the crooks packing.</dialogue> <character>SHOVELER</character> <dialogue>And this has been a pretty nice place to live ever since.</dialogue> <character>FURIOUS</character> <parenthetical>( pissed off . )</parenthetical> <dialogue>But now Casanova's back! And we're gon na sit around here all night eating pizza and telling stories! Hey, lets toast some marshmellows!</dialogue> <character>SPHINX</character> <dialogue>The wise snake coils before he strikes.</dialogue> <character>FURIOUS</character> <parenthetical>( lunges at the Sphinx . )</parenthetical> <dialogue>And a skunk stinks!</dialogue> <scene_description>Furious and the Sphinx square off , their faces only inches apart .</scene_description> <character>SPHINX</character> <dialogue>You drink too much.</dialogue> <character>FURIOUS</character> <dialogue>When are you going to take off that mask?</dialogue> <character>SPHINX</character> <parenthetical>( pointedly . )</parenthetical> <dialogue>When I am sure I am among friends.</dialogue> <character>RAJA</character> <dialogue>Roy -</dialogue> <character>FURIOUS</character> <parenthetical>( snapping at him . )</parenthetical> <dialogue>Go dance with your mother, Jeffrey!</dialogue> <scene_description>ON THE RAJA , hurt .</scene_description> <character>SPHINX</character> <dialogue>Your rage is a very great power, but it blinds you to your heart.</dialogue> <character>FURIOUS</character> <dialogue>My heart died a long time ago.</dialogue> <character>SPHINX</character> <dialogue>It is not dead. It is hiding.</dialogue> <character>FURIOUS</character> <dialogue>Blow it out your bean hole, Pancho! And to hell with the rest of you! Look at you. Bunch of rejects. I did n't need you before - and I do n't need you now!</dialogue> <parenthetical>( jumps on to his motorcycle . )</parenthetical> <dialogue>The great ones RIDE ALONE!</dialogue> <parenthetical>( kicks the engine started . )</parenthetical> <dialogue>Adios, muchachos!</dialogue> <parenthetical>( and he rides off across the field . )</parenthetical> <dialogue /> <scene_description>ON THE OTHERS , watching him .</scene_description> <character>BOWLER</character> <dialogue>Has he always been like this?</dialogue> </scene> <scene> <stage_direction>EXT. COUNTRY ROAD - CONTINUOUS - CLOSE ON FURIOUS</stage_direction> <scene_description>the wind whipping against his face , as he rides his Harley at about a hundred miles an hour . The languorous sound of an OLD DEAN MARTIN SONG is heard as we . MENORY SEQUENCE - DAY - CLOSE ON FURIOUS as a little boy , sitting in the backseat of the family car . It is thirty years ago , and Mister Furious is a sweet , very shy , well behaved , perfectly normal three year old . His MOTHER and FATHER sit in the front . Dean Martin is playing on the car radio . Little Furious looks out the window and sees the Mohave Desert going by . A sign reads `` Las Vegas , 120 miles '' .</scene_description> <character>MOTHER</character> <parenthetical>( to husband . )</parenthetical> <dialogue>Oh this place looks great.</dialogue> <scene_description>An old sign reads `` BAR '' as the family car pulls into the parking lot of a single adobe building out in the middle of nowhere . They park .</scene_description> <character>MOTHER</character> <dialogue>Now honey, you just wait in the car. Mommy and Daddy will be right beck.</dialogue> <scene_description>They get out , lock the car and head for the bar , leaving the windows up . Little Furious watches them go , never suspecting that his entire life is about to change . He sits quietly in the backseat and plays with the little superhero figurines that he 's brought with him .</scene_description> <character>LITTLE FURIOUS</character> <dialogue>Pow! Bang! Wham!</dialogue> <scene_description>INSIDE THE BAR - CONTINUOUS as the parents enter . A very Western motif . An old Gene Autrey song is playing on the juke . The air conditioning is on . They 're the only customers in the place .</scene_description> <character>MOTHER</character> <dialogue>It's nice and cool in here.</dialogue> <character>FATHER</character> <parenthetical>( as they sit at the bar . )</parenthetical> <dialogue>Barkeep, a couple of cold ones.</dialogue> <scene_description>CUT BACK AND FORTH BETWEEN CAR AND BAR - ANGLE ON THE MIDDAY SON - blazing down on the car . as Little Furious still plays with his superheroes , but the interior is starting to bake , and the sweat begins to pour ofr him . He looks out at the bar . gettinq worried . He tries the windows , but they 're automatic and wo n't open . Back in the bar his parents down shots of bourbon with their beers , as the BARTENDER finishes telling them a joke .</scene_description> <character>BARTENDER</character> <dialogue>And here's a banana for your monkey.</dialogue> <scene_description>Mom and Dad have a good laugh .</scene_description> <character>BARTENDER</character> <dialogue>Couple more?</dialogue> <character>FATHER</character> <dialogue>You bet.</dialogue> <scene_description>ANGLE FROM OUTSIDE TUE CAR as Little Furious , sweat and tears pouring out of him , his hair wet and sticking out -LRB- and starting to take on that familiar look -RRB- , pounds on the window .</scene_description> <character>LITTLE FURIOUS</character> <dialogue>Mommy! Daddy! Mommy! Daddy!</dialogue> <scene_description>as back in the bar his parents , now very drunk , down more beers and chasers as they play a spirited game of pinball . ANGLE ON THE MOHAVE SUN - beating down mercilessly barely able to breath , Little Furious flops back onto the seat , his face a mask of heat and terror . But suddenly , a change begins to take place in him , as some primordial defense mechanism kicks in . and his fear begins to give way to rage . His teeth bare . CLOSE ON HIS HANDS - as they CRUSH the superhero figurines in their grasp . While back in the bar his drunken parents dance a slow two step to Hank Williams `` Your Cheatin ' Heart '' .</scene_description> </scene> <scene> <stage_direction>EXT. TBE PARKING LOT - NIGHT - HANK WILLIAMS CONTINUES</stage_direction> <scene_description>as the big desert moon shines down on the family car , still parked there . INSIDE THE BAR - CONTINUOUS The parents are asleep in a booth . Furious ' mother wakes up , looks around groggily , and in a moment of horror suddenly remembers .</scene_description> <character>MOTHER</character> <dialogue>OH MY GOD!</dialogue> <scene_description>THE PARKING LOT - A BEAT LATER as she runs toward the car , hysterical .</scene_description> <character>MOTHER</character> <dialogue>Oh my God! Oh my God! Oh my God!</dialogue> <scene_description>She unlocks the door , throws it open , and sees something that makes her pull back in horror . Little Furious sits in the backseat . His hair sticks out wildly , his face has become that now familiar mask of prisordial rage . Another OLD DEAN MARTIN SONG is heard as we .</scene_description> </scene> <scene> <stage_direction>INT. THE DINER - NIGHT - CLOSE ON FURIOUS</stage_direction> <scene_description>sitting alone in the booth , a look of profound pain and lonliness on his face ; he is still that little boy . The Dean Martin song is playing on the juke .</scene_description> <character>MONICA</character> <parenthetical>( 0 .</parenthetical> <parenthetical>S . )</parenthetical> <dialogue>Hi.</dialogue> <scene_description>He looks up and sees Monica .</scene_description> <character>FURIOUS</character> <dialogue>Hi.</dialogue> <character>MONICA</character> <dialogue>Alone tonight?</dialogue> <character>FURIOUS</character> <dialogue>Every night.</dialogue> <scene_description>She smiles .</scene_description> </scene> <scene> <stage_direction>EXT. THE FRANKENSTEIN MANSION - CONTINUOUS</stage_direction> <scene_description>Armed Disco Boys guard the front entrance . While on the hillside above Invisible Boy -LRB- looking through binoculars -RRB- and the Spleen lie together on their bellies in the weeds , keeping the mansion under surveillance .</scene_description> <character>SPLEEN</character> <parenthetical>( in a whisper . )</parenthetical> <dialogue>Adolescence was the worst - The other kids made fun of me, so I'd spit on them and they'd scatter - I've never had a girlfriend - unless you count that night with my cousin - She recovered fully though - We exchange cards every Christmas - Well, I send her one, and she sends it back.</dialogue> <parenthetical>( spritzes somathing into his mouth , then offers it to Invisible Boy . )</parenthetical> <dialogue>Bug repellent?</dialogue> <scene_description>Suddenly , the gates of the mansion open and several sedans . followed by a truck , drive out . POV THROUGH BINOCULARS - Casanova and Anabel sit in the front of the truck .</scene_description> <character>INVISIBLE BOY</character> <parenthetical>( 0 .</parenthetical> <parenthetical>S . )</parenthetical> <dialogue>Where are they going?</dialogue> <scene_description>Invisible Boy hesitates for just a momnt , then gets up and runs down the hill .</scene_description> <character>SPLEEN</character> <parenthetical>( runs after him . )</parenthetical> <dialogue>Kid!</dialogue> <scene_description>As the small convoy drives past , Invisible Boy slips out from behind some trees , runs after the truck , jumps up and sits on its rear bumper . The Spleen comes running after him , and Invisible Boy reaches out , grabs his hand and pulls him up alongside him . Invisible Boy tries the rear gate . It 's open . The two of them pull it up just a foot , squirm inside , then pull it closed behind them . INSIDE THE TRUCK - CONTINUOUS Invisible Boy flashes the light of his key chain flashlight around the inside of the truck . There is nothing in it , except for a large pile of packing blankets .</scene_description> </scene> <scene> <stage_direction>EXT. WATERFRONT AREA - NIGHT</stage_direction> <scene_description>as the convoy drives through Champion City 's seedy waterfront area and out onto a long pier .</scene_description> </scene> <scene> <stage_direction>INT. THE DINER - NIGHT - CLOSE ON THE TV</stage_direction> <scene_description>Dawn Wong and Don Stouffer report the night 's news .</scene_description> <character>DAWN</character> <dialogue>still no sign of millionaire Lance Hunt, and now, in an unrelated story, another one of Champion City's leading citizens has apparently disappeared. Captain Amazing has not been seen or heard from in a week. Authorities believe that the hard working superhero may just be taking a well deserved rest.</dialogue> <character>DON</character> <dialogue>Cancun perhaps?</dialogue> <character>DAWN</character> <dialogue>Sounds good to me, Don.</dialogue> <scene_description>Mr. Furious sits in the booth drinking coffee as Monica serves him his burger and fries .</scene_description> <character>FURIOUS</character> <parenthetical>( floundering . )</parenthetical> <dialogue>Monica. I was wondering if - uh - maybe we - I mean you and I - could - uh - you know - get a - I mean have a.</dialogue> <character>MONICA</character> <dialogue>Date?</dialogue> <character>FURIOUS</character> <dialogue>Yeah.</dialogue> <character>MONICA</character> <dialogue>I get off work in fifteen minutes. Walk me home?</dialogue> <character>FURIOUS</character> <dialogue>Sure.</dialogue> <character>MONICA</character> <dialogue>That was easy.</dialogue> <parenthetical>( goes back to work . )</parenthetical> <dialogue /> <scene_description>ON FURIOUS , feeling a whole lot better . JUST OUTSIDE THE DINER - CONTINUOUS - UNKNOWN POV from across the street . Furious ' head is clearly visible in the brightly illuminated window of the diner . A Disco Boy stands in the shadows , gazing at the diner ; he recognizes Furious .</scene_description> </scene> <scene> <stage_direction>EXT. WATERFRONT - NIGHT</stage_direction> <scene_description>The convoy has pulled up alongside a rusty old freighter , docked at the pier . Casanova 's men throw the gate of the truck open , and the CAMERA MOVES IN . No one is there , but we notice . two large lumps under the packing blankets . Casanova holds Anabel in his arms as they watch a large wooden crate being lowered from the deck of the freighter .</scene_description> <character>CASANOVA</character> <dialogue>Honey, our ship's come in.</dialogue> <scene_description>Casanova 's cellular phone rings . OUTSIDE THE DINER - CONTINUOUS The Disco Boy is on his phone . His pistol is drawn , and he 's got it aimed right at Furious ' head .</scene_description> <character>DISCO BOY</character> <dialogue>Just give me the word.</dialogue> <scene_description>BACK TO THE PIER - CONTINUOUS - ON CASANOVA</scene_description> <character>CASANOVA</character> <parenthetical>( gets an idea . )</parenthetical> <dialogue>Wait. I'll be right there.</dialogue> <parenthetical>( hangs up , starts off . )</parenthetical> <dialogue /> <character>ANABEL</character> <parenthetical>( peeved . )</parenthetical> <dialogue>Where are you going?</dialogue> <character>CASANOVA</character> <dialogue>Head hunting.</dialogue> <scene_description>A minute later Casanova and two or three Disco Boys drive off in one of the sedans . as the crate is loaded onto the truck , and the gate is pulled closed . and locked . INSIDE THE TRUCK - A MOMENT LATER The engine starts up , and the truck starts to move , as Invisible Soy and the Spleen poke their heads out from under the packing blankets . They approach the crate and Invisible Boy shines his flashlight on it . The crate is secured with rivets and thick metal bands ; there 's no way they 're going to be able to get inside it , but in the light of the flashlight they see . Faded red lettering , in Russian , and the distinctive old hammer and sickle of the former Soviet Union .</scene_description> </scene> <scene> <stage_direction>EXT. DIMLY LIT STREET - NIGHT</stage_direction> <scene_description>Furious walks Monica home .</scene_description> <character>MONICA</character> <dialogue>I admire you.</dialogue> <character>FURIOUS</character> <dialogue>Why?</dialogue> <character>MONICA</character> <dialogue>Being a superhero, wanting to save the world. It's so. unselfish.</dialogue> <character>FURIOUS</character> <dialogue>It is?</dialogue> <character>MONICA</character> <dialogue>Most people just want to make money or be famous or something. But you risk everything, just to help people.</dialogue> <character>FURIOUS</character> <parenthetical>( after a moment . )</parenthetical> <dialogue>I would n't mind being famous.</dialogue> <character>MONICA</character> <dialogue>Who would n't?</dialogue> <scene_description>In the shadows behind them . Casanova follows , stalking them , as silent as a vampire .</scene_description> <character>MONICA</character> <dialogue>I've never been able to figure out what to do with my life, which is why I guess I'm still a waitress.</dialogue> <character>FURIOUS</character> <dialogue>Nothing wrong with being a waitress.</dialogue> <character>MONICA</character> <dialogue>What's your real name?</dialogue> <character>FURIOUS</character> <dialogue>Roy.</dialogue> <character>MONICA</character> <dialogue>Have you always lived here?</dialogue> <scene_description>He nods .</scene_description> <character>MONICA</character> <dialogue>Me too. I love this stupid old town. It's noisy. It's smelly. It's falling apart.</dialogue> <character>FURIOUS</character> <dialogue>It's home.</dialogue> <character>MONICA</character> <dialogue>Yeah.</dialogue> <scene_description>CASANOVA 'S POV Monica , smiling , looking lovely . CLOSE 0N CASANOVA ; he wants her . BACK ON FURIOUS AND MONICA -</scene_description> <character>MONICA</character> <dialogue>I've thought of leaving, going to Chicago or New York, but.</dialogue> <character>FURIOUS</character> <dialogue>What have they got that we ai n't got?</dialogue> <character>MONICA</character> <dialogue>Champion's going to bounce back, and I want to be here when it does.</dialogue> <character>FURIOUS</character> <dialogue>Me, too.</dialogue> <character>MONICA</character> <dialogue>You do n't seem very angry right now.</dialogue> <scene_description>He shrugs . And they kiss , very tenderly .</scene_description> <character>MONICA</character> <dialogue>You know what? Underneath all that anger I think there's just a little boy who wants everyone to love him.</dialogue> <character>FURIOUS</character> <dialogue>I just want to be a superhero.</dialogue> <character>MONICA</character> <dialogue>That's what I mean. ` Night, Roy.</dialogue> <scene_description>She turns and climbs the stairs of an old apartmnt building and goes inside , as Furious watches , feeling emotions hees not used to . He really likes her . He starts walking back down the street , past a man sitting on the stoop . The man looks up . It 's Casanova Frankenstein . CASANOVA Going my way ? Furious is caught completely by surprise - he takes a stand , ready to fight . CASANOVA Take it easy - take it easy . I just want to have a little chat . That was quite a number you did on my car . You 've got a lot of violence in you . and I like that in a guy . Furious , silent .</scene_description> <character>CASANOVA</character> <dialogue>You know what the difference is between good and evil, Roy?</dialogue> <scene_description>Furious reacts to the fact that Casanova knows his real name .</scene_description> <character>CASANOVA</character> <dialogue>Evil is more fun. When you want something, you just take it, and if somebody gets in your way, you kill them. You seem like a very frustrated guy, Roy. Unhappy. Unfulfilled. What is it that you've always wanted, always desired? Because whatever it is, I can give it to you. Fame?</dialogue> <parenthetical>( snaps his fingers . )</parenthetical> <dialogue>Easy. Fortune? Even easier. Women?</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>The easiest of all.</dialogue> <scene_description>CLOSE ON FURIOUS as , out of the corner of his eye , he catches movement in the alley across the street . he knows what it is .</scene_description> <character>CASANOVA</character> <dialogue>I'll let you in on a little secret, Roy. In two days this entire city will belong to me, and there's not a damn thing your little pals can do about it. It's the perfect time to switch teams. So what do you say?</dialogue> <character>FURIOUS</character> <parenthetical>( quietly . )</parenthetical> <dialogue>You're nuts.</dialogue> <character>CASANOVA</character> <parenthetical>( flairs . )</parenthetical> <dialogue>They always call the great ones nuts.</dialogue> <character>FURIOUS</character> <dialogue>And the nuts always call themselves great.</dialogue> <character>CASANOVA</character> <parenthetical>( his psychosis showing . )</parenthetical> <dialogue>Are you with me. or against me?</dialogue> <character>FURIOUS</character> <dialogue>Against.</dialogue> <character>CASANOVA</character> <dialogue>Too bad. PLUG HIM!</dialogue> <scene_description>Gunfire rings out from the alley as the Disco Bays step out , their pistols blazing . But Furious has anticipated them . He leaps right at Casanova , pins his arms in a bear hug and holds him in the line of fire .</scene_description> <character>CASANOVA</character> <dialogue>WAIT!</dialogue> <scene_description>The Disco BQys stop firing . Furious drags Casanova back into an empty lot , using him as a shield .</scene_description> <character>FURIOUS</character> <parenthetical>( to Casanova . )</parenthetical> <dialogue>Thanks for reminding me which team I'm on.</dialogue> <character>CASANOVA</character> <dialogue>You're dead.</dialogue> <character>FURIOUS</character> <dialogue>So are you!</dialogue> <scene_description>Furious releases Casanova , then runs for it and leaps over the wooden wall at the end of the lot . as the Disco Boys open fire again , and their bullets punch holes through the wall . Furious runs down a back street and escapes into the night .</scene_description> </scene> <scene> <stage_direction>EXT. THE FRANKENSTEIN CENTER - CONTINUOUS</stage_direction> <scene_description>The convoy drives up the hill toward an ominous looking structure -LRB- that we recognize from the model on the TV interview with Casanova earlier . -RRB- A high central tower rises up out of the half completed bulwarks of featureless concrete . It looks both totally modern and completely ancient , but a profound sense of evil connects both themes beautifully . ANGLE ON a plaque that reads . `` Frankenstein Center for the Performing and Non - performing Arts '' . The gates of the center open , and the convoy passes through . INSIDE THE TRUCK - A NONENT LATER Invisible Boy and the Spleen stand listening , waiting , as they feel the truck pull to a stop . A moment later the gate is pulled opened . Anabel is there with several thuggy looking SECURITY GUARDS .</scene_description> <character>ANABEL</character> <dialogue>Be careful with my baby.</dialogue> <scene_description>There are two lumps under the packing blankets again .</scene_description> </scene> <scene> <stage_direction>EXT. LOADING DOCK - A FEW MINUTES LATER</stage_direction> <scene_description>The crate is being carried away by a forklift . A beat , and then Invisible Boy and the Spleen slip out of the empty truck . And run down the road back toward the gates . which are still open . They 're just about to pass safely through them , when a PAIR OF ARMED SECURITY GUARDS , step in their path , their guns pointed at thern .</scene_description> <character>GUARD 1</character> <dialogue>Freeze!</dialogue> <character>GUARD 2</character> <dialogue>Hands up!</dialogue> <scene_description>They freeze , their hands held high .</scene_description> <character>GUARD 2</character> <dialogue>What are you two doing here?</dialogue> <scene_description>Our heroes are mute .</scene_description> <character>GUARD 1</character> <dialogue>Not talking, eh? That can be fixed. Turn around, start walking up the hill -</dialogue> <character>GUARD 2</character> <dialogue>And no funny business.</dialogue> <scene_description>Invisible Boy and the Spleen turn , hands in the air , and start up the hill , the guards right behind them .</scene_description> <character>SPLEEN</character> <parenthetical>( after a moment , to Invisible Boy , in a whisper . )</parenthetical> <dialogue>Pinch'em.</dialogue> <scene_description>Invisible Boy pinches his nostrils - and the Spleen lets out with a horrendous fart . The guards gag and choke violently in the fumes as our heroes turn and run for it . escaping out the gates .</scene_description> </scene> <scene> <stage_direction>INT. DOC KELLER'S LABORATORY/BARN - A LITTLE LATER</stage_direction> <scene_description>Invisible Boy and Spleen report to the others .</scene_description> <character>INVISIBLE BOY</character> <dialogue>Whatever was in that crate. is from Russia.</dialogue> <scene_description>The others consider this , then hear a familiar voice .</scene_description> <character>FURIOUS</character> <parenthetical>( 0 .</parenthetical> <parenthetical>S . )</parenthetical> <dialogue>Is there room in the pack for one more wolf?</dialogue> <scene_description>They look up and see that Furious has just returned . The Sphinx moves to him . For a moment they stand face to face .</scene_description> <character>FURIOUS</character> <dialogue>I was wrong. I need my friends.</dialogue> <scene_description>Sphinx takes off his mask , revealing that he is the busboy from the Tacky Taco .</scene_description> <character>SPHINX</character> <dialogue>Amigo.</dialogue> <scene_description>They embrace . A few mimutes later . The others are gathered around Furious , listening to his story .</scene_description> <character>FURIOUS</character> <dialogue>Casanova said that in two days the entire city would belong to him. and there was n't a thing that we could do about it.</dialogue> <character>BOWLER</character> <dialogue>What did he mean?</dialogue> <character>FURIOUS</character> <dialogue>I dunno.</dialogue> <scene_description>Through the window the moon is seen rising over the hillside , the Frankenstein Center silhouetted ominously against it . Raja , Shoveler , and Furious gaze at it .</scene_description> <character>SHOVELER</character> <dialogue>Maybe it's time we checked that place out.</dialogue> <character>RAJA</character> <dialogue>But how do we get in?</dialogue> <character>FURIOUS</character> <parenthetical>( after a moment , sounding very Sphinx - like . )</parenthetical> <dialogue>We just become like the wolf. who wears the sheep's clothing.</dialogue> <scene_description>MONTAGE WITH MUSIC - THE NEXT DAY CLASSIC DISCO -LRB- `` Stayin ' Alive '' if we can get the rights -RRB- Furious , Raja , and Shoveler -LRB- in street clothes -RRB- walk down the street together and step into the doorway of . the Salvation Army Thrift Shop . Later . CLOSE ON three pairs of legs , wearing polyester pants and vintage shoes -LRB- ala the classic shot from `` Saturday Night Fever '' -RRB- . CAMERA WIDENS TO REVEAL our three heroes , dressed in full blown seventies attire -LRB- with vintage sunglasses -RRB- , doing their best Travolta strut down the street . MUSIC CONTINUES as our heroes strut their way through the gates of the art center , right past the security guards . OUTSIDE THE CENTER - DAY They climb the long stairs toward the center , which looms above them . then pass through the big wooden doors and into .</scene_description> </scene> <scene> <stage_direction>INT. MAIN HALL - A MOMENT LATER</stage_direction> <scene_description>END MUSIC as our heroes move through a vast , but empty main hall . A small army of heavily armed security guards marches about .</scene_description> <character>RAJA</character> <dialogue>So where's the art?</dialogue> <character>FURIOUS</character> <dialogue>He has n't stolen it yet.</dialogue> <character>SHOVELER</character> <dialogue>This place is built like a fortress.</dialogue> <character>FURIOUS</character> <dialogue>Because thats what it is.</dialogue> <scene_description>They hear a WILD BURST OF DRUNKEN LAUGHTER echoing through the hall .</scene_description> <character>RAJA</character> <dialogue>What's that?</dialogue> <character>FURIOUS</character> <parenthetical>( following the sound . )</parenthetical> <dialogue>Come on.</dialogue> <scene_description>They approach a doorway . The noise is coming from within .</scene_description> </scene> <scene> <stage_direction>INT. BANQUET IIALL - A MOMENT LATER</stage_direction> <scene_description>as our heroes step inside and see . A big luncheon is in progress . Casanova , Anabel , and Tony P sit at the head table . The room is lined with banquet tables , which are filled with VICIOUS LOOKING CHARACTERS , drunk , eating , laughing , and giving the waitresses a very rough tim .</scene_description> <character>RAJA</character> <parenthetical>( stunned . )</parenthetical> <dialogue>Oh my God. Every crook in the city is here.</dialogue> <scene_description>ON A GROUP OF VICIOUS LOOKING BALD BIKER TYPES .</scene_description> <character>RAJA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>The Bone Heads from the South Side.</dialogue> <scene_description>ON THREE INSIPIDLY EVIL LOOKING GUYS in hip suits .</scene_description> <character>RAJA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>The Bland Boys from Downtown.</dialogue> <scene_description>ON A DARK HAIRED WHITE GUY dressed as a rapper .</scene_description> <character>RAJA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Italian Ice.</dialogue> <scene_description>ON A GUY with a frightening assortment of metal things piercing his face .</scene_description> <character>RAJA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>The Stapler.</dialogue> <scene_description>ON TWO THUGS DRESSED AS ELVIS .</scene_description> <character>RAJA</character> <parenthetical>( 0 .</parenthetical> <parenthetical>S . )</parenthetical> <dialogue>The Elvis Brothers.</dialogue> <scene_description>A more degenerate group of criminals never sat down to lunch . Furious recognizes one of the waitresses . It 's Monica . Casanova 's got his eye on her , too , and he remembers her from the night before on the street with Furious . ON ANABEL , noticing his interest . Our heroes see Monica walking straight toward them . They turn away , lean against a wail , trying to be totally inconspicuous . But as she passes them , not noticing them . Casanova approaches her .</scene_description> <character>CASANOVA</character> <dialogue>Excuse me.</dialogue> <scene_description>She stops , turns to him , while our heroes listen in , only a few feet away .</scene_description> <character>CASANOVA</character> <parenthetical>( reading her name tag . )</parenthetical> <dialogue>Monica. Beautiful name. It suits you.</dialogue> <scene_description>CLOSE ON FURIOUS , getting jealous .</scene_description> <character>CASANOVA</character> <dialogue>I hope you wo n't take this the wrong way, but I could n't help but notice. that you're a dead ringer for Veronica Lake in `` The Blue Dahlia''.</dialogue> <character>MONICA</character> <dialogue>Really?</dialogue> <scene_description>Furious growls . Raja gives him an elbow .</scene_description> <character>CASANOVA</character> <dialogue>Are you an actress?</dialogue> <character>MONICA</character> <dialogue>Just a waitress.</dialogue> <character>CASANOVA</character> <dialogue>You underestimate yourself.</dialogue> <scene_description>Mister Furious is fuming . The strands of his perfectly coiffed disco - do start to stand straight up .</scene_description> <character>CASANOVA</character> <dialogue>You know I'm writing a play - it's just a little Broadway thing, but thure's a part in it that I think you'd be perfect for.</dialogue> <character>MONICA</character> <dialogue>Really?</dialogue> <character>CASANOVA</character> <dialogue>I'd love to hear you read it. Could you stick around after the luncheon?</dialogue> <character>MONICA</character> <dialogue>Sure - I guess.</dialogue> <character>CASANOVA</character> <dialogue>Terrific.</dialogue> <scene_description>She turns and walks into the kitchen . CLOSE ON CASANOVA , watching her ; his intentions are sinister . He turns and sees . our heroes , hanging by the wall .</scene_description> <character>CASANOVA</character> <dialogue>What are you three doing here? This is invited guests only. Out.</dialogue> <scene_description>Our heroes skulk out . JUST OUTSIDE THE BANQUET HALL - CONTINUOUS as our heroes step out and breathe a sigh of relief .</scene_description> <character>RAJA</character> <dialogue>That was too close.</dialogue> <character>SHOVELER</character> <dialogue>But we got ta find out what's going on in there.</dialogue> <character>FURIOUS</character> <dialogue>Hey.</dialogue> <scene_description>Furious has spotted . a large covered dessert table , waiting to be wheeled into the hall . BACK IN THE BANQUET HALL - A FEW MINUTES LATER as the dessert table is wheeled in . and in a CLOSER ANGLE , under the table cloth , we see three pairs of disco shoes creeping along . A few minutes later , Monica steps up to the dessert table . Suddenly , she is yanked under . UNDER THE TABLE - CONTINUOUS Monica struggles , tries to cry out , but a hand is clamped firmly over her mouth .</scene_description> <character>FURIOUS</character> <dialogue>It's me.</dialogue> <scene_description>She calms down , and he takes his hand off her mouth .</scene_description> <character>MONICA</character> <dialogue>What are you guys doing here? RAJA &amp; SHOVELER Shhhh!</dialogue> <scene_description>The waitresses leave ; the big doors to the dining room are swung closed , and the cigars are lit . The meeting has begun . Casanova takes the podium .</scene_description> <character>CASANOVA</character> <dialogue>Thank you all for coming. I hope you enjoy the cigars. I had to kill a dozen Cubans to get them.</dialogue> <scene_description>Tony P chuckles loudly , but the joke goes over like a lead balloon with the rest of the crowd .</scene_description> <character>CASANOVA</character> <dialogue>Twenty years ago, this town was yours! AND I WAS YOUR KING!</dialogue> <scene_description>ON THE HOODS , listening , bored , puffing on their cigars ; this is a sad old story .</scene_description> <character>CASANOVA</character> <parenthetical>( tragically . )</parenthetical> <dialogue>But they called me a psycho, and they put me away. For twenty years I rotted in my cell, painting watercolors, writing haikus - just waiting for the day I could take my revenge. Well, brothers, that day has come!</dialogue> <scene_description>ON OUR HEROES under the table , listening . Monica begins to realize what 's going on . BACK TO CASANOVA -</scene_description> <character>CASANOVA</character> <dialogue>They thought I was crazy? Well the joke's on them - because tonight at precisely midnight - on the twentieth anniversary of my tragic arrest - every man, woman, and child in this city is going to turn into a RAVING PSYCSOTIC! Mothers will murder their tots! Old ladies will strangle their cats! Children will bump off their babysitters!</dialogue> <scene_description>The guests think Casanova 's completely lost it . Italian Ice speaks up .</scene_description> <character>ITALIAN ICE</character> <dialogue>You're outta your mind!</dialogue> <character>CASANOVA</character> <dialogue>I beg your pardon?</dialogue> <character>ITALIAN ICE</character> <dialogue>Nobody could drive a whole city crazy.</dialogue> <character>CASANOVA</character> <dialogue>Tell you what, Ice. I'll mke you a friendly little wager. It I ca n't do it. you can blow my brains out. If I can, I'll blow out yours.</dialogue> <scene_description>Now the hoods ' interest has been perked .</scene_description> <character>ITALIAN ICE</character> <dialogue>Done.</dialogue> <character>CASANOVA</character> <parenthetical>( to Anabel , with a smile . )</parenthetical> <dialogue>Honey, give the boys a taste.</dialogue> <scene_description>Anabel puts on a pair of heavy duty sound deadening ear protectors , then presses a button on a small remote control device . ANGLE ON A SPEAKER , placed above the podium . as the air is suddenly filled with a weird , stridulating , HORRIFIC NOISE -LRB- somewhere between the sound of a fire siren and a hornet trapped in your ear -RRB- and everyone in the room -LRB- except Anabel -RRB- goes COMPLETELY BERSERK . CAMERA PANS the tables as the guests laugh dementedly , punching , gouging , strangling , and stabbing each other . Under the serving table our heroes go crazy . Casanova , in a state of psychotic ecstasy , whips out his pistol and empties it into Italian Ice . who drops to the floor , dead . Anabel presses the button again ; the sound winds down and stops , and everything returns to normal . The entire event lasted only a few seconds , but the guests are dazzled .</scene_description> <character>CROOKS</character> <dialogue>That was great! What the hell was that? How did you do that?</dialogue> <scene_description>Casanova throws Anabel a kiss .</scene_description> <character>CASANOVA</character> <dialogue>Tonight, at midnight, that sound will be amplified across this entire city. Murder and mayhem will reign supreme! And Champion City will be ours again! This will be our castle! And I will be our king! And there's no one to stop us!</dialogue> <scene_description>Suddenly , a familiar voice is heard .</scene_description> <character>AMAZING</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Not so fast, Casanova!</dialogue> <scene_description>A pair of curtains suddenly part . and Captain Amazing -LRB- looking a bit singed -RRB- is standing there in classic superhero pose . CAMERA PANS the crooks , as their criminal ecstasy turns instantly to terror . They yank out their pistols , dive for cover under the table , throw up their hands in surrender , etc . But Casanova just grins .</scene_description> <character>CASANOVA</character> <dialogue>Do n't worry, fellas.</dialogue> <parenthetical>( moves to Captain Amazing , and puts his arm chummily around him . )</parenthetical> <dialogue>I killed him. and I've had him stuffed.</dialogue> <scene_description>Casaova reaches behind Captain Amazing 's back and pulls a string -LRB- like the ones they used to have on those old talking dolls -RRB- .</scene_description> <character>AMAZING</character> <parenthetical>( in a canned voice . )</parenthetical> <dialogue>Is n't my butt cute in these tights?</dialogue> <parenthetical>( pulls again . )</parenthetical> <dialogue>Blue is my color.</dialogue> <parenthetical>( pulls again . )</parenthetical> <dialogue>Oh, my abs are killing me!</dialogue> <scene_description>The crooks are beside themselves with laughter . ON OUR HEROES , under the table , stunned . ON THE ELVIS BROTHERS -</scene_description> <character>ELVIS BROTHER I</character> <dialogue>The King is back!</dialogue> <character>ELVIS BROTHER 2</character> <dialogue>Long live the King!</dialogue> <scene_description>The crooks fire their pistols exuberantly into the air , as disco music fills the air and Casanova dances , basking in their adoration . And our heroes slip out from under the table and make good their escape .</scene_description> </scene> <scene> <stage_direction>INT. DOC HELLER'S BARN/LAB - LATER</stage_direction> <scene_description>Our heroes and Monica pow - wow , sobered by what they have seen .</scene_description> <character>MONICA</character> <dialogue>What could have made such a horrible noise?</dialogue> <character>HELLER</character> <parenthetical>( after a moment , gravely . )</parenthetical> <dialogue>He's got the Psychostridulator.</dialogue> <character>ALL</character> <dialogue>The what?</dialogue> <character>HELLER</character> <dialogue>Ten years ago the Kremlin's top secret Psychiatric Warfare Division developed a prototype for a weapon that emitted a fluctuating alternative frequency noise that produced a violent psychotic reaction in any mammal within hearing distance. But when the old Soviet Union fell the stridulator and its brilliant inventor, Doctor Kopov, disappeared.</dialogue> <character>SHOVELER</character> <dialogue>This Kopov, what happened to him?</dialogue> <character>HELLER</character> <dialogue>Not him. her.</dialogue> <scene_description>They react to that piece of news , and then the Bowler opens up the newspaper .</scene_description> <character>BOWLER</character> <dialogue>Did she look like that?</dialogue> <scene_description>CLOSE ON A PHOTO of Anabel and Casanova , announcing their wedding engagement .</scene_description> <character>HELLER</character> <dialogue>Yes.</dialogue> <scene_description>Silence ; this is bad .</scene_description> <character>SPLEEN</character> <parenthetical>( hopefully . )</parenthetical> <dialogue>Maybe it wo n't work.</dialogue> <character>FURIOUS</character> <dialogue>It works.</dialogue> <character>HELLER</character> <dialogue>A village in Siberia was wiped out when a cleaning woman switched it on by mistake.</dialogue> <scene_description>Another grim silence , as they realize how desperate the situation is . For the first time , they 're really scared .</scene_description> <character>MONICA</character> <dialogue>We've got to warn the city.</dialogue> <character>SHOVELER</character> <dialogue>How?</dialogue> <character>RAJA</character> <dialogue>No one will believe us.</dialogue> <character>BOWLER</character> <dialogue>They'll think we're just a bunch of weirdoes.</dialogue> <scene_description>CAMERA CUTS BETWEEN THEM as they look at each other - their frightened faces , their sad , faded costuznes . Even the Sphinx looks scared .</scene_description> <character>FURIOUS</character> <parenthetical>( after a moment , grimly . )</parenthetical> <dialogue>We know what we got ta do.</dialogue> <scene_description>They look at him .</scene_description> <character>RAJA</character> <dialogue>We're outnumbered twenty to one.</dialogue> <character>SHOVELER</character> <dialogue>It's suicide.</dialogue> <character>FURIOUS</character> <dialogue>Maybe. But this is n't about living or dying. It's about good versus evil, and we're good, whether we like it or not. Maybe we look a little funny.</dialogue> <scene_description>ON THE SPLEEN .</scene_description> <character>FURIOUS</character> <dialogue>And smell a little funny. We're not bulletproof and we ca n't fly. But we're superheroes - and that means doing what's right - even when it's impossible. This is our city - these are our friends, our famlies - and if we do n't save them, nobody will! So I say we take a ride up that hill, blast our way in there, destroy that Psycho - whatchamabob - and teach those deviants a lesson they'll never forget!</dialogue> <character>SPHINX</character> <dialogue>Now you're talking.</dialogue> <character>BOWLER</character> <dialogue>Sounds good to me.</dialogue> <character>RAJA</character> <dialogue>Let's do it.</dialogue> <character>SHOVELER</character> <dialogue>And we'll take a bunch of'em with us!</dialogue> <scene_description>They 're all with him . Monica steps forward .</scene_description> <character>MONICA</character> <dialogue>I just want you guys to know - I may not be a superhero, but I'm with you - and I want to help!</dialogue> <character>ALL</character> <dialogue>Oh that's great. Thanks, Monica.</dialogue> <parenthetical>( Etc . )</parenthetical> <dialogue /> <character>BOWLER</character> <dialogue>We could really use some coffee -</dialogue> <character>SHOVELER</character> <dialogue>And some sandwiches -</dialogue> <character>SPLEEN</character> <dialogue>With mustard!</dialogue> <character>MONICA</character> <parenthetical>( her feelings a little hurt . )</parenthetical> <dialogue>Sure.</dialogue> <scene_description>A few minutes later , Monica serves sandwiches and coffee as our heroes plan .</scene_description> <character>RAJA</character> <dialogue>But that place is huge and we do n't know where this psycho thing is -</dialogue> <character>BOWLER</character> <dialogue>Or even what it looks like.</dialogue> <character>HELLER</character> <dialogue>And he must have it well hidden.</dialogue> <character>FURIOUS</character> <dialogue>We'll just have to get lucky.</dialogue> <scene_description>ON MONICA as she gets an idea . A moment later she slips a canned tornado into her purse . as the others put their arms around each other in a group huddle \ embrace .</scene_description> <character>FURIOUS</character> <dialogue>Go do what you got ta do. We'll meet back here at sunset. Do or die.</dialogue> <character>ALL</character> <dialogue>Do or die.</dialogue> <character>SPHINX</character> <dialogue>Victoria o morte.</dialogue> <scene_description>HEROIC MUSIC as .</scene_description> </scene> <scene> <stage_direction>EXT. AUTO DEMOLITION YARD - DAY - CLOSE ANGLE ON</stage_direction> <scene_description>THE FRONT GRILL of the Herkimer Battle Jitney . as Mister Furious hooks it up to the `` Sally 's Auto Demolition '' tow truck . A moment later he drives the tow truck , towing the off the lot , as Sally steps out of her office , pissed off .</scene_description> <character>SALLY</character> <dialogue>HEY!</dialogue> </scene> <scene> <stage_direction>EXT. HELLER'S FARM - DAY</stage_direction> <scene_description>ON THE SPHINX , standing as immobile and silent as a statue . as a falling leaf slowly flutters down in front of him . In a flash , his machete slices through the air , and the leaf continues fluttering down , but in two pieces .</scene_description> </scene> <scene> <stage_direction>INT. LABORATORY/BARN - DAY</stage_direction> <scene_description>Doc Heller fine tunes his Shrinker spray . as the Bowler sits quietly in the hayloft , studying the old dog eared photo of her father and herself as a little girl .</scene_description> </scene> <scene> <stage_direction>INT. INVISIBLE BOY'S ROOM - DAY</stage_direction> <scene_description>Invisible Boy stands in front of his mirror , eyes closed , concentrating for all he 's worth , trying to become invisible . He suddenly pops opens his eyes and looks at himuself in the mirror . but he 's still completely visible . He flops onto his bed in frustration .</scene_description> </scene> <scene> <stage_direction>INT. THE DINER - DAY</stage_direction> <scene_description>CLOSE ON A TABLE full of food . Eggplant Parmesan , broccoli , chili . CAKERA PULLS BACK TO REVEAL the Spleen sitting alone in the booth , stuffing his face , gassing up for battle .</scene_description> </scene> <scene> <stage_direction>INT. THE SHOVELER'S HOUSE - DAY</stage_direction> <scene_description>The Shoveler , standing in his bedroom , has just put on his freshly laundered suit . CAMERA OPENS WIDE TO REVEAL Lucille , his wife , standing there , holding his just polished shovel . He takes it from her , then takes her in his arms .</scene_description> <character>SHOVELER</character> <dialogue>Baby, if I do n't make it. find yourself. a normal guy.</dialogue> <character>LUCILLE</character> <dialogue>I do n't want a normal guy.</dialogue> <scene_description>And they kiss . A few minutes later . In the living room the Shoveler 's kids lie sprawled in front of the television . The Shoveler , in battle array , steps into the room . Be wants to say something to them , but the kids do n't even take their eyes off the TV look at him . He turns and walks out in silence . END MUSIC .</scene_description> </scene> <scene> <stage_direction>INT. THE RAJA'S DINING ROOM - DAY</stage_direction> <scene_description>The shades are drawn . The Raja , in full costume , quietly loads silverware into the secret pockets of his cape . Suddenly , the light switches on . It 's his mother . She 's caught him red handed .</scene_description> <character>MOTHER</character> <dialogue>Jeffrey, YOU THIEF!</dialogue> <character>RAJA</character> <dialogue>Mother. it's not what you think!</dialogue> <character>MOTHER</character> <dialogue>And why are you wearing that silly costume?</dialogue> <character>RAJA</character> <parenthetical>( painfully . )</parenthetical> <dialogue>Because. I'M A SUPERHERO!</dialogue> <scene_description>ON HIS MOTHER , shocked .</scene_description> <character>RAJA</character> <dialogue>Oh, Mother, I'm sorry. I know how much you wanted me to be a doctor or a lawyer with a family - but it's just not who I am!</dialogue> <character>MOTHER</character> <dialogue>But. the silverware?</dialogue> <character>RAJA</character> <dialogue>I use it. to fight evil.</dialogue> <character>MOTHER</character> <parenthetical>( after a moment . )</parenthetical> <dialogue>Jeffrey. this is wonderful.</dialogue> <character>RAJA</character> <parenthetical>( stunned . )</parenthetical> <dialogue>It is?</dialogue> <character>MOTHER</character> <dialogue>I always knew that you were special.</dialogue> <character>RAJA</character> <dialogue>You did?</dialogue> <character>MOTHER</character> <dialogue>Ever since you were a little boy.</dialogue> <parenthetical>( gets an idea , excited . )</parenthetical> <dialogue>Come with me.</dialogue> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - A MOMENT LATER</stage_direction> <scene_description>She pulls down the stairway to the attic .</scene_description> </scene> <scene> <stage_direction>INT. THE ATTIC - A MOMENT LATER</stage_direction> <scene_description>She switches on the light and leads the Raja to a far corner . where she moves a couple of old hat boxes , REVEALING an ancient leather bound box with the word `` Excalibur '' engraved in gold on the top .</scene_description> <character>MOTHER</character> <dialogue>This is for you.</dialogue> <scene_description>The Raja opens the box and registers astonisha ~ nt as he sees . A FABULOUS VICTORIAN SILVER SET packed with formidable looking servers , cake knives , ice cream forks .</scene_description> <character>MOTHER</character> <dialogue>Your Great Great Grandmother's wedding silver.</dialogue> <scene_description>The Raja lifts up and handles a large heavily engraved pie server .</scene_description> <character>RAJA</character> <dialogue>Bitchin'.</dialogue> </scene> <scene> <stage_direction>EXT. OUTSIDE HELLER'S BARN/LAB - EVENING - CLOSE ON</stage_direction> <scene_description>Mister Furious , wrench in hand , covered with grease and oil , cussing to himself as he works under the hood of the Herkimer .</scene_description> <character>FURIOUS</character> <dialogue>Try it again!</dialogue> <scene_description>Invisible Boy , sitting behind the wheel , tries the ignition of the Herkimer , and the old engine grinds as it turns over , but does n't catch .</scene_description> <character>FURIOUS</character> <dialogue>Come on, baby. Come on, baby. I SAID COME ON!</dialogue> <scene_description>Mister Furious SLUGS the engine with his fist , and it sputters and backfires into life . shaking , rattling , leaking , exploding , but running . Furious kisses the Herkimer . as the Bowler calls out to him from the barn .</scene_description> <character>BOWLER</character> <dialogue>Mon Capitan, it's for you.</dialogue> <parenthetical>( tosses him the phone . )</parenthetical> <dialogue /> <character>FURIOUS</character> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>EXT. UNKNOWN LOCATION - EVENING - CLOSE ON MONICA</stage_direction> <character>MONICA</character> <parenthetical>( on a phone , speaking very softly . )</parenthetical> <dialogue>It's me.</dialogue> <scene_description>BACK TO FURIOUS - CONTINUOUS</scene_description> <character>FURIOUS</character> <dialogue>Monica, where are you?</dialogue> <scene_description>BACK TO MONICA - WIDER ANGLE REVEALING that she is on a pay phone just outside the art center . She 's wearing make - up and a sexy little dress ; she looks she 's dressed for a date . Disco Boys and security guards go about their business all around her .</scene_description> <character>MONICA</character> <dialogue>At the Frankenstein Center.</dialogue> <scene_description>CUT BACK AND FORTH BETWEEN THEM -</scene_description> <character>FURIOUS</character> <dialogue>Are you nuts? Get out of there!</dialogue> <character>MONICA</character> <dialogue>I'm going inside.</dialogue> <character>FURIOUS</character> <dialogue>What are you talking about?</dialogue> <character>MONICA</character> <dialogue>Listen, Casanova may be a supervillain, but he's got a weakness, and I'm it. Maybe - just maybe - I can trick him into showing me the location of the whatchamathing.</dialogue> <character>FURIOUS</character> <dialogue>He's a psycho! He'll kill you!</dialogue> <character>MONICA</character> <dialogue>Just shut up and listen. Hold off the attack as long as you can. If I can discover the location I'll call you -</dialogue> <character>FURIOUS</character> <dialogue>And what if you get killed?</dialogue> <character>MONICA</character> <dialogue>Then at least I will have died trying, right?</dialogue> <scene_description>Furious silent , taken aback by her courage .</scene_description> <character>MONICA</character> <dialogue>Roy. We might never see each other again, so I'd better tell you now. I think you're wonderful.</dialogue> <character>FURIOUS</character> <parenthetical>( caught completely off guard . )</parenthetical> <dialogue>What?</dialogue> <character>MONICA</character> <dialogue>Bye.</dialogue> <parenthetical>( and she hangs up . )</parenthetical> <dialogue /> <character>FURIOUS</character> <dialogue>Monica!</dialogue> </scene> <scene> <stage_direction>INT. LOBBY OF THE FRANKENSTEIN CENTER - CONTINUOUS</stage_direction> <scene_description>as Monica approaches a GUARD standing by the main door .</scene_description> <character>MONICA</character> <dialogue>Could you tell Mr. Frankenstein that Monica is here?</dialogue> <character>GUARD</character> <dialogue>Sure, doll.</dialogue> <scene_description>BACK TO THE BARN - CONTINUOUS Furious stands by the Herkimer , phone still in hand . He seems speechless , dazed . Something inside him has changed .</scene_description> <character>BOWLER</character> <parenthetical>( worried about him . )</parenthetical> <dialogue>Hey. you okay?</dialogue> <character>FURIOUS</character> <dialogue>Sure.</dialogue> <scene_description>BACK TO THE FRANKENSTEIN CENTER - A FEW MINUTES LATER Casanova steps out and sees . Monica , looking very sexy .</scene_description> <character>MONICA</character> <dialogue>Hi.</dialogue> <character>CASANOVA</character> <dialogue>I thought you'd chickened out on me.</dialogue> <character>MONICA</character> <dialogue>Just wanted to. powder my nose.</dialogue> <scene_description>His eyes roam all over her ; he knows she 's up to something , but she looks yummy , and this is just the sort of cat and mouse game he loves .</scene_description> <character>MONICA</character> <dialogue>How ` bout giving me `` the tour''?</dialogue> <character>CASANOVA</character> <dialogue>Why not?</dialogue> </scene> <scene> <stage_direction>EXT. COURTYARD - A FEW MINUTES LATER</stage_direction> <scene_description>as Casanova leads Monica across an open courtyard toward . the sheer walls of the imposing central tower .</scene_description> <character>CASANOVA</character> <dialogue>Big, is n't it?</dialogue> <scene_description>He leads her to a massive archway , the only apparent entrance to the tower . But just as she is about to pass through , Monica looks up and sees something that makes her pull back with fear . HER POV - A very sinister looking SECURITY EYE gazes down at her from the top of the archway .</scene_description> <character>CASANOVA</character> <dialogue>Do n't worry. It's not activated.</dialogue> <scene_description>They pass through and into .</scene_description> </scene> <scene> <stage_direction>INT. ROOM IN THE BASE OF TOWER - CONTINUOUS</stage_direction> <scene_description>which is filled with IMMENSE BRONZE SCULPTURES of voluptuous , scantily clad females in various poses of bondage . Monica reacts ; these things are scary .</scene_description> <character>MONICA</character> <dialogue>Who's the artist?</dialogue> <character>CASANOVA</character> <dialogue>Me.</dialogue> </scene> <scene> <stage_direction>EXT. THE BARN/LAB - NIGHT</stage_direction> <scene_description>The Bowler , Spleen , Invisible Boy , and Doc Heller load up the Herkimer with Heller 's weaponry . as Mister Furious lies sprawled on the hillside . breathing in the night air , contemplating a dandelion gone to seed , and listening to the sounds of the night . The Raja , Shoveler , and Sphinx , stand nearby , watching , trying to figure out what 's wrong with him . A whippoorwill is heard singing .</scene_description> <character>FURIOUS</character> <dialogue>Listen. He's lonely. and he does n't care who knows it.</dialogue> <scene_description>Raja and Shoveler share a bewildered look . The bird sings again .</scene_description> <character>FURIOUS</character> <dialogue>We're all the same really. Our songs, our dreams, our seeds are all just a brave attempt to live forever.</dialogue> <parenthetical>( blows the dandelion seeds into the wind . )</parenthetical> <dialogue /> <character>SPHINX</character> <dialogue>He is in love. His anger is gone.</dialogue> <character>RAJA</character> <dialogue>Oh no.</dialogue> <character>SHOVELER</character> <dialogue>Great timing!</dialogue> <character>FURIOUS</character> <dialogue>Has Monica called?</dialogue> </scene> <scene> <stage_direction>INT. TOP OF THE FRANKENSTEIN TOWER - CONTINUOUS</stage_direction> <scene_description>Casanova leads Monica into . a palatial room , filled with priceless objects d'art , all of which reflect Casanova 's dark psyche . A Munch painting . Mayan idols . Weird German furniture . A huge glass chandelier hovers over the room . A massive bronze sculpture of a wolf -LRB- done in the same style as the other sculptures -RRB- is perched in the balcony . It seems to be howling out over the city which is seen in a spectacular view , spread out alonq the lakeshore below .</scene_description> <character>CASANOVA</character> <dialogue>This is where I come to. be alone.</dialogue> <scene_description>He turns down the lights and quietly closes and locks the big door to the room . CLOSE ON MONICA , sensing her danger .</scene_description> <character>MONICA</character> <dialogue>Oh, look at that view.</dialogue> <scene_description>She moves out onto the balcony . as Casanova slips the gold chain from around his neck and follows her .</scene_description> </scene> <scene> <stage_direction>INT. BARN/LAB - CONTINUOUS</stage_direction> <scene_description>Our heroes have gathered around Furious , who sits in a chair , getting the third degree .</scene_description> <character>HELLER</character> <dialogue>Snap out of it!</dialogue> <character>BOWLER</character> <dialogue>Get on to yourself!</dialogue> <character>SHOVELER</character> <parenthetical>( shouting right in his face . )</parenthetical> <dialogue>GET MAD!</dialogue> <character>FURIOUS</character> <dialogue>But I just do n't feel it.</dialogue> <character>RAJA</character> <dialogue>He's turned into a completely normal person!</dialogue> <character>FURIOUS</character> <dialogue>Normal. What's normal? Does normal exist? And if it did, how would we know it?</dialogue> <scene_description>The Shoveler slugs him , sending him sprawling .</scene_description> <character>FURIOUS</character> <dialogue>You know, Eddie, that was really uncalled for.</dialogue> </scene> <scene> <stage_direction>EXT. BALCONY ON FRANKENSTEIN TOWER - ON MONICA</stage_direction> <scene_description>gazing out onto the city , as she senses Casanova slinking up behind her .</scene_description> <character>MONICA</character> <dialogue>I'm chilly.</dialogue> <scene_description>She turns , elegantly avoiding him , and moving back inside . BACK TO THE BARN/LAB - CONTINUOUS Spleen holds up Furious ' favorite sunglasses .</scene_description> <character>SPLEEN</character> <dialogue>Look! Your favorite sunglasses!</dialogue> <parenthetical>( snaps them in two . )</parenthetical> <dialogue /> <character>BOWLER</character> <dialogue>Your Roy Rogers coffee mug!</dialogue> <parenthetical>( hurls it against the wall . )</parenthetical> <dialogue /> <character>SHOVELER</character> <dialogue>Your Spiderman Pez dispenser!</dialogue> <parenthetical>( breaks the head off it . )</parenthetical> <dialogue /> <character>FURIOUS</character> <dialogue>Okay, you win. I'm pissed off. I'm seriously peeved.</dialogue> <scene_description>The others groan with frustration . BACK AT THE FRANKENSTEIN TOWER - CONTINUOUS Monica moves nervously around the room as Casanova sprawls languorously on the bed , toying with his gold chain .</scene_description> <character>CASANOVA</character> <dialogue>Come here.</dialogue> <character>MONICA</character> <dialogue>I'm not that kind of girl.</dialogue> <character>CASANOVA</character> <dialogue>Then why are you here?</dialogue> <character>MONICA</character> <dialogue>Curiosity.</dialogue> <character>CASANOVA</character> <parenthetical>( with a smile . )</parenthetical> <dialogue>Remember the cat.</dialogue> <scene_description>Suddenly , he hears high heels in the hall . A key is put in the lock - Casanova leaps off the bed , grabs Monica and roughly shoves her into the closet . He leaps back onto the bed , just as the door opens , and Anabel , dressed in a lab coat -LRB- and wearing high heels -RRB- enters . Casanova is completely relaxed , nonchalant .</scene_description> <character>ANABEL</character> <dialogue>What are you doing all alone in the dark?</dialogue> <character>CASANOVA</character> <dialogue>Fantasizing. about you.</dialogue> <scene_description>She crosses the room to the wolf sculpture .</scene_description> <character>CASANOVA</character> <dialogue>I thought you were done?</dialogue> <character>ANABEL</character> <dialogue>One last tweak.</dialogue> <scene_description>She opens a secret panel on its back , REVEALNG a FLASHING HIGH TECH INTERIOR . and Monica , watching from the closet , realizes that she has found the Psychostridulator . BACK TO THE BARN/LAB - CONTINUOUS - CLOSE ON a boom box . A CD jacket tells us that `` Kenny G. '' is playing .</scene_description> <character>RAJA</character> <dialogue>If this does n't do it, nothing will!</dialogue> <scene_description>ON FURIOUS , a pair of headphones on his head . The music is so loud that we can hear it even though it 's being played only through the headphones . ON THE OTHERS , gathered around him , waiting to see if this will work . And then Furious begins to respond . as his face turns into a contorted grimace .</scene_description> <character>BOWLER</character> <dialogue>It's working!</dialogue> <scene_description>Furious groans and writhes . The others are thrilled ; they 've done it !</scene_description> <character>FURIOUS</character> <dialogue>This music is just SO BEAUTIFUL!</dialogue> <scene_description>He starts to weep . The others give a collective groan of defeat . BACK AT THE FRANKENSTEIN TOWER - COHTINUOUS as Anabel works on the Psychostridulator , Monica looks at a clock . which reads almost eleven . Time is running out . BACK TO THE BARN/LAB - CLOSE ON SHOVELER 'S WRISTWATCH which also reads eleven . 0N SHOVELER AND RAJA -</scene_description> <character>SHOVELER</character> <dialogue>It's time.</dialogue> <character>RAJA</character> <dialogue>With or without him, we got ta go!</dialogue> <scene_description>BACK TO THE FRANKENSTEIN TOWER - as Anabel closes up the wolf . and starts to leave .</scene_description> <character>ANABEL</character> <dialogue>Our guests are waiting.</dialogue> <character>CASANOVA</character> <dialogue>I'll be down in a jiffy.</dialogue> <scene_description>She goes out . Casanova listens as the sound of high heels fades away , then he goes to the closet and lets Monica out .</scene_description> <character>MONICA</character> <dialogue>I'd better go.</dialogue> <character>CASANOVA</character> <dialogue>You're a spy.</dialogue> <character>MONICA</character> <parenthetical>( offguard . )</parenthetical> <dialogue>What?</dialogue> <character>CASANOVA</character> <dialogue>I saw him walk you home.</dialogue> <character>MONICA</character> <dialogue>Who?</dialogue> <character>CASANOVA</character> <dialogue>Roy.</dialogue> <scene_description>She makes a sudden try for the door , but he blocks her way , a cold look in his eye that makes her step back in fear .</scene_description> <character>CASANOVA</character> <dialogue>Do n't be afraid. I never hit a lady.</dialogue> <scene_description>He lets the gold chain drop loose in his hand , then starts coming for her , a sadistic grin on his face . This is the real Casanova . Monica pulls back , then reaches into her purse and takes out A CANNED TORNADO , which she holds out threateningly .</scene_description> <character>MONICA</character> <dialogue>Stay away!</dialogue> <character>CASANOVA</character> <dialogue>Or you'll what? CAN ME?</dialogue> <scene_description>He laughs dementedly as Monica pops open the can and A SWIRLING FUNNEL OF AIR SHOOTS OUT OF IT and ENGULFS Casanova , throwing him across the room . Monica grabs the handset of a cordless phone and runs out the door . ON CASANOVA , pulling himself together .</scene_description> <character>CASANOVA</character> <dialogue>That bitch!</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR JUST OUTSIDE - CONTINUOUS</stage_direction> <scene_description>as Monica runs for it , dialing the phone on the fly .</scene_description> </scene> <scene> <stage_direction>INT. TEE BARN/LAB - CONTINUOUS - ON THE PUONE</stage_direction> <scene_description>ringing . but no one is there .</scene_description> </scene> <scene> <stage_direction>EXT. THE BARN/LAB - CONTINUOUS</stage_direction> <scene_description>Our heroes are climbing into the Herkimar , whose noisy idling engine obliterates the ringing of the phone .</scene_description> <character>FURIOUS</character> <dialogue>But she still might call!</dialogue> <character>SHOVELER</character> <dialogue>Are you coming or not?</dialogue> <character>FURIOUS</character> <dialogue>I'll drive.</dialogue> <character>SHOVELER</character> <dialogue>Not a chance!</dialogue> <scene_description>He shoves him in the back , closing the heavy steel door behind him . BACK TO THE FRANKENSTEIN TOWER - CONTINUOUS - ON MONICA hiding behind a large planter . listening to the phone ringing on the other end .</scene_description> <character>MONICA</character> <dialogue>Come on, guys. Pick up.</dialogue> <scene_description>Suddenly , we hear Casanova 's voice on the line . CASANOVA 'S VOICE What 's the matter . BACK IN THE TOWER ROOM - CONTINUOUS Casanova is listening in on another phone .</scene_description> <character>CASANOVA</character> <dialogue>Nobody home?</dialogue> <scene_description>BACK TO M0NICA - CONTINUOUS as she moves quickly down the hall . INSIDE THE HERKIMER - CONTINUOUS The Shoveler is at the wheel . The Raja sits in the passenger seat . The others are in the back .</scene_description> <character>SHOVELER</character> <dialogue>Here we go!</dialogue> <scene_description>He forces the stick into gear and the Herkimer lurches forward .</scene_description> <character>SHOVELER</character> <dialogue>We've got lift off!</dialogue> <character>RAJA</character> <dialogue>May the forks be with us!</dialogue> </scene> <scene> <stage_direction>EXT. DOC HELLER'S HOUSE - CONTINUOUS</stage_direction> <scene_description>as the Herkimer - backfiring , smoking , clanging - rumbles down the driveway into action . BACK IN THE HERKINER - CONTINUOUS Shoveler tries to put the car in second gear , but it wo n't go . He yanks and pulls and struggles , until the stick comes off in his hand .</scene_description> <character>RAJA</character> <dialogue>First is good.</dialogue> </scene> <scene> <stage_direction>INT. CORRIDOR IN FRANKENSTEIN TOWER - CONTINUOUS</stage_direction> <scene_description>Casanova instructs three security guards .</scene_description> <character>CASANOVA</character> <dialogue>I want her alive.</dialogue> <character>GUARDS</character> <dialogue>Yes, Mr. Frankenstein.</dialogue> <scene_description>CAMERA PANS UP the top of a staircase . where Monica is crouched , listening .</scene_description> </scene> <scene> <stage_direction>EXT. STREETS OF CHAMPION CITY - NIGHT</stage_direction> <scene_description>VARIOUS SHOTS as the Herkimer rumbles and smokes down Champion 's main street -LRB- in first gear -RRB- and the citizens step out of houses and bars to watch this bizarre sight . ON A LITTLE BOY AND HIS FATHER -</scene_description> <character>LITTLE BOY</character> <dialogue>Daddy, what is that thing?</dialogue> <character>FATHER</character> <dialogue>I do n't know, son.</dialogue> <scene_description>A couple of GRIZZLED CHARACTERS stand in front of a bar .</scene_description> <character>DRUNK</character> <dialogue>A Herkimer? Those yuppies will drive anything.</dialogue> <scene_description>INSIDE THE HERKIMER - CONTINUOUS ON FURIOUS AND THE OTHERS in the back .</scene_description> <character>SPHINX</character> <dialogue>Amigo, we need you.</dialogue> <character>INVISIBLE BOY</character> <dialogue>Just GET MAD!</dialogue> <scene_description>Furious closes his eyes and tries , but it 's hopeless .</scene_description> </scene> <scene> <stage_direction>INT. V.I.P. LOUNGE IN FRANKENSTEIN TOWER - CONTINUOUS</stage_direction> <scene_description>A sumptuous , hotel - like lounge . Anabel is holding court with all of top crooks from the luncheon , charrning the pants off them . Casanova slithers up behind her .</scene_description> <character>CASANOVA</character> <dialogue>Fellas, this is woman without whom I would have gone sane.</dialogue> <parenthetical>( kisses her neck . )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>EXT. FRONT GATE OF THE FRANKENSTEIN CENTER - CONTINUOUS</stage_direction> <scene_description>A pair of security guards -LRB- the same two who got gassed by the Spleen -RRB- are on duty , when they see . a strange looking vehicle chugging up the hill straight for them .</scene_description> <character>GUARD 1</character> <dialogue>What the hell is that?</dialogue> <character>GUARD 2</character> <dialogue>Looks like. a Ford Dumpster.</dialogue> <scene_description>They have a good laugh at it , then hold up their hands for it to stop . But the Herkimer just rolls past them , hitting the iron gates and snapping them open as if they were made of match sticks .</scene_description> <character>GUARDS</character> <dialogue>HEY!</dialogue> <scene_description>They open fire . INSIDE THE HERKIMER - CONTINUOUS Bullets are heard pinging off the Herk as THROUGH THE WINDSHIELD just ahead we see the long stairway heading up to the front door of the art center .</scene_description> <character>SHOVELER</character> <dialogue>Hang on!</dialogue> </scene> <scene> <stage_direction>EXT. ON THE STAIRS - CONTINUOUS</stage_direction> <scene_description>Several more guards open fire , as the Herkimer hits the stairs and starts bouncing up them . BACK AT THE LOUNGE - ON CASANOVA checking his watch .</scene_description> <character>CASANOVA</character> <dialogue>It's showtime.</dialogue> <scene_description>But then they all hear . the sound of gunfire .</scene_description> <character>TONY P</character> <dialogue>What's that?</dialogue> <scene_description>BACK ON THE STAIRS - CONTINUOUS as the Herkimer chugs and bounces . toward the entrance of the center . INSIDE THE HERKIMER - CONTINUOUS Our heroes get bounced all over the place .</scene_description> </scene> <scene> <stage_direction>INT. JUST INSIDE THE CENTER - CONTINUOUS</stage_direction> <scene_description>as guards close and bolt the big wooden doors to the art center . ON A GUARD wearing a headset .</scene_description> <character>GUARD</character> <dialogue>Mr. Frankenstein, we're being attacked.</dialogue> </scene> <scene> <stage_direction>INT. SECURITY DESK - CONTINUOUS</stage_direction> <scene_description>Casanova sits at a security console . Anabel , Tony P , and the top crooks stand behind him , listening .</scene_description> <character>CASANOVA</character> <dialogue>By whom?</dialogue> <character>VOICE OF GUARD</character> <dialogue>We do n't know!</dialogue> <scene_description>BACK ON THE STAIRS - CONTINUOUS as the Herkimer climbs to the top , then rams into the doors with a thud . But the doors hold . BACK ON THE VILLAINS -</scene_description> <character>TONY P</character> <dialogue>They'll never get through those doors.</dialogue> <scene_description>BACK AT THE FRONT DOOR - CONTINUOUS But the plucky little Herkimer digs in its rear wheels and pushes against the doors like the Little Engine That Could . INSIDE THE HERKIMER - CONTINUOUS as our heroes encourage the Herk .</scene_description> <character>SHOVELER</character> <dialogue>Come on, baby!</dialogue> <character>BOWLER</character> <dialogue>Do it, big boy!</dialogue> <scene_description>ON ITS WHEELS , grinding , chewing up the concrete . JUST INSIDE THE CENTER - CONTINUOUS as the Herkimer comes crunching through the big wooden doors of the center , scattering the guards . BACK INSIDE THE HERKIMER - CONTINUOUS our heroes cheer , pat the Herk .</scene_description> <character>SHOVELER</character> <dialogue>Atta, girl!</dialogue> <character>BOWLER</character> <dialogue>Atta, boy!</dialogue> <scene_description>BACK TO CASANOVA - watching on a security monitor</scene_description> <character>VOICE OF GUARD</character> <dialogue>Mr. Frankenstein, they're in!</dialogue> <character>CASANOVA</character> <dialogue>Well kill them.</dialogue> <scene_description>BACK IN THE HALL - CONTINUOUS The Herkimer drives into the main hall of the center as a small army of security guards swarms in , guns blazing . BACK AT THE SECURITY DESK - CONTINUOUS Casanova and the crooks watch the security monitor . INSIDE THE HERKIMER - CONTINUOUS The bullets sound like hailstones bouncing off the armor of the Herk as our heroes grimly prepare themselves for battle . The Sphinxs puts on his mask . the Bowler unzips her bag . Doc Heller cocks his air cannon . Spleen and Invisible Boy load a bag with canned tornadoes . While Mister Furious watches anxiously . The Shoveler drives intently , bullets splattering like bugs on the windshield .</scene_description> <character>SHOVELER</character> <dialogue>Where am I going?</dialogue> <character>RAJA</character> <parenthetical>( pointing to an archway on the other side of the hall . )</parenthetical> <dialogue>Through there!</dialogue> <character>SHOVELER</character> <dialogue>Right.</dialogue> <scene_description>But suddenly something under the hood blows up ; the engine gives a long groan , and the Herkimer rolls to a dead stop . INSIDE/OUTSIDE THE HERIKINER - CONTINUOUS Right in the middle , in the most exposed position of the main hall . More guards arrive and open fire . An armored golf cart with a fifty caliber machine gun mounted on it comes speeding into the hall , blasting the Herk . Inside , the sound of the big bullets is deafening as Shoveler tries to restart the engine .</scene_description> <character>SHOVELER</character> <dialogue>No good! She's dead!</dialogue> <scene_description>ON CASANOVA AND THE CROOKS , watching the monitor and laughing as bullets pulverize the Herk .</scene_description> <character>TONY P</character> <dialogue>Spam in a can!</dialogue> <scene_description>The crooks laugh . Butsuddenly , the Herkimer 's door is thrown open , revealing our heroes - holding down Doc Heller , his air cannon at the ready . He fires - there is a WHOOMPH of air - and the mounted gun and a dozen guards are sent tumbling . SECURITY DESK - CONTINUOUS - ON CASANOVA AND THE OTHERS watching , sobered . BACK IN THE MAIN HALL - CONTINUOUS as our heroes come charging out of the Herkimer , using their various skills to blow through the surprised guards . Mr. Furious comes out last , not quite sure what to do with himself . But suddenly , a withering barrage of machine gun fire is being laid down on them by three guards firing tommy guns from a balcony overlooking the floor . Bullets splatter all around them - and several unlucky guards are hit - but our heroes dive for cover . The Raja tries to get off a fork , but the firing is too intense . Our heroes are pinned down . ON MR. FURIOUS as he sees . the bag of canned tornadoes . He 's got no superpowers , and he 's scared to death , but he grabs a canned tornado .</scene_description> <character>FURIOUS</character> <dialogue>Cover me!</dialogue> <character>SHOVELER</character> <dialogue>With what?</dialogue> <scene_description>Bullets dancing all around him , Furious runs a desperate -LRB- but impressive -RRB- zig - zag pattern across the floor . He performs a wild somersault , comes up on his feet , pops open the can , and executes a perfect jump shot , lobbing it right into the balcony . The tornado funnels out , and the guards are sent flying . ON CASANOVA AND THE TOP CROOKS watching .</scene_description> <character>ELVIS BROTHER 1</character> <dialogue>Who are those guys?</dialogue> <scene_description>CLOSE ON CASANOVA , who knows who they are . WHILE BACK IN THE HALL our heroes rally around a shaken Mr. Furious .</scene_description> <character>RAJA</character> <dialogue>Not bad for a normal guy!</dialogue> <character>SPHINX</character> <dialogue>Amigos!</dialogue> <character>ALL</character> <dialogue>Do or die!</dialogue> </scene> <scene> <stage_direction>EXT. COURTYARD - A MOMENT LATER - ANGLE ON</stage_direction> <scene_description>the security eye watching . as the panicking security guards retreat under it into the main tower . BACK TO CASANOVA - as he types something into the security computer . ON THE SCREEN a computerized image of the eye appears . Casanova highlights the word `` Activate '' and then presses `` Enter '' . BACK TO THE COURTYARD - ON THE EYE as it comes to glowing , sinister life . A hapless guard retreats under the arch - the Eye instantly focuses on him , and he is hit by a dozen nasty looking laser beams . that SIZZLE HIM . A moment later our heroes arrive at the arch . Furious is about to run through , but Doc Heller holds him back .</scene_description> <character>HELLER</character> <dialogue>Wait! Look!</dialogue> <scene_description>He points to . a man shaped pile of charcoal , all that remains of the unfortunate guard .</scene_description> <character>HELLER</character> <dialogue>Laser eye. and it's a humdinger.</dialogue> <character>RAJA</character> <dialogue>No problem.</dialogue> <scene_description>The Raja takes out a butter knife , aims , and hurls it straight at the eye , but laser beams intercept the knife and instantly melt it into . a formless blob of silver . BACK TO CASANOVA AND THE TOP CROOKS -</scene_description> <character>TONY P</character> <dialogue>We'll take care of these clowns.</dialogue> <character>ELVIS BROTHER 2</character> <dialogue>Piece a cake.</dialogue> <character>BONE HEAD LEADER</character> <dialogue>No sweat.</dialogue> <scene_description>CORRIDOR - A MOMENT LATER as Tony P , the top crooks , and the Disco Boys march en masse TOWARD THE CAMAERA . They are an ugly , formidable looking bunch .</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD - CONTINUOUS</stage_direction> <scene_description>Our heroes are blocked by the eye .</scene_description> <character>SHOVELER</character> <dialogue>Doc, there's got to be a way.</dialogue> <scene_description>But the Doc is stymied . Suddenly they hear a woman 's voice calling down to them .</scene_description> <character>MONICA'S VOICE</character> <dialogue>It's up here! It's up here!</dialogue> <character>FURIOUS</character> <parenthetical>( looks up . )</parenthetical> <dialogue>Monica!</dialogue> </scene> <scene> <stage_direction>EXT. TOP OF THE FRANKENSTEIN TOWER - CONTINUOUS</stage_direction> <scene_description>Monica leans over the edge of the balcony , the wolf sculpture looming over her , shouting down at them .</scene_description> <character>MONICA</character> <dialogue>ROY! THE PSYCHO THING IS -!</dialogue> <scene_description>But strong hands suddenly grab her . It 's Casanova . BACK TO FURIOUS - CONTINUOUS as high above he hears Monica scream . BACK TO THE BALCONY - CONTINUOUS Casanova , hand held tightly across Monica 's mouth , shouts down tauntingly to Furious .</scene_description> <character>CASANOVA</character> <dialogue>Thanks, Roy! She's just my type. You can have her back. when I'm done!</dialogue> <scene_description>BACK T0 FURIOUS - CONTINUOUS as he hears Casanova 's evil laugh and Monica 's scream . He is desperate to find a way up , but the wall is completely sheer . He feels helpless - frantic , near tears . FLASH TO the terrified little boy trapped in the back of his p8arents ' car , crying , pounding on the windows . And then . Mr. Furious ' hands clench into fists - his hair stands up - and his face turns into a mask of primordial rage . His button has finally been pressed . Be 's MAD ! He reaches up as high as he can . CLOSE ON HIS HAND - as his fingers literally dig into the concrete of the wall . and he pulls himself up . BACK AT THE TOP 0F THE TOWER - CONTINUOUS Casanova throws Monica onto the bed , puts his hands on her throat and strangles her as she thrashes helplessly against his immense strength . BACK TO FURIOUS - Fifty feet up and climbing . He pulls himself up , one hand , then another , digging in his fingernails , catchng his toes on whatever tiny cracks he can find . as the others gaze up at him .</scene_description> <character>HELLER</character> <dialogue>He'll never make it.</dialogue> <character>BOWLER</character> <dialogue>Think positive.</dialogue> <scene_description>Meanwhile , Invisible Boy stands staring at the security eye , a look of fierce determination on his face . This is his moment .</scene_description> <character>INVISIBLE BOY</character> <parenthetical>( to himself . )</parenthetical> <dialogue>I can do it.</dialogue> <scene_description>He takes a deep breath , closes his eyes , and concentrates . ON FURIOUS as the fingers of one hand lose their grip and a toehold gives way . For a desperate moment , Furious is dangling off the wall by the tips of the fingers of one hand . Only his incredible rage keeps his fingertips taut . Suddenly , there is a flash of silver , and a large cake fork embeds in the concrete not far from his head . Furious grabs hold of it , and throws a grateful look down to the Raja . Who salaams up at him . As Invisible Boy , eyes closed in concentration , walks very slowly , hands at his sides , in an almost Egyptian pose . toward the eye . which stares down mercilessly , waiting for its next victim . we notice that Invisible Boy has become . just slightly transparent . AT THE TOP OF THE TOWER - CONTINUOUS - ON CASANOVA a look of pleasure on his face as he strangles Monica . Her resistance fades . Her hands fall away . She is pale , beautiful , almost gone , a picture of exquisite death .</scene_description> <character>CASANOVA</character> <parenthetical>( admiring her . )</parenthetical> <dialogue>Some girls just know how to die.</dialogue> <scene_description>Suddenly , we hear someone cursing Casanova in Russian . He turns and sees . Anabel standing there , pistol in hand .</scene_description> <character>ANABEL</character> <dialogue>You two timing psychotic bastard.</dialogue> <character>CASANOVA</character> <dialogue>Darling, you've got the wrong idea.</dialogue> <character>ANABEL</character> <parenthetical>( aiming at his heart . )</parenthetical> <dialogue>Do I?</dialogue> <character>CASANOVA</character> <dialogue>I was only strangling her. I've killed hundreds of women. It does n't mean a thing.</dialogue> <parenthetical>( moving toward her , turning on that old Frankenstein Charm . )</parenthetical> <dialogue>Pootchkie, you're over - reacting. This is our night. It's what we've lied for. cheated for. murdered for. She's just a plaything, a trifle. You're the only woman who's ever meant anything to me. I adore you. I worship you. I want to make you my bride.</dialogue> <scene_description>She succumbs to his charms , and he gently takes the pistol out of her hand .</scene_description> <character>CASANOVA</character> <dialogue>There's just one thing.</dialogue> <parenthetical>( with a psychotic smile . )</parenthetical> <dialogue>I do n't need you anymore.</dialogue> <scene_description>A look of terror comes across her face as she sees the murder in his eyes .</scene_description> <character>CASANOVA</character> <dialogue>Do n't worry, Darling. I never hit a lady.</dialogue> </scene> <scene> <stage_direction>EXT. ON THE WALL - A MOMENT LATER - ON FURIOUS</stage_direction> <scene_description>still climbing as he hears a scream , looks up . and sees Anabel go plummeting past him . ON OUR HEROES down below .</scene_description> <character>BOWLER</character> <dialogue>Heads up!</dialogue> <scene_description>CAMERA HOLDS ON OUR HEROES , wincing as Anabel hits with an ugly thud . Suddenly they hear Invisible Boy calling to them .</scene_description> <character>INVISIBLE BOY</character> <dialogue>Guys, I did it! I did it! I'm invisible!</dialogue> <scene_description>They all turn and see . Invisible Boy , totally visible , but standing on the other side of the arch .</scene_description> <character>INVISIBLE BOY</character> <dialogue>Can you see me?</dialogue> <character>ALL</character> <dialogue>Yes!</dialogue> <character>INVISIBLE BOY</character> <dialogue>Nuts.</dialogue> <character>SHOVELER</character> <dialogue>Kid, turn that thing off!</dialogue> <scene_description>Invisible Boy turns and sees . a computer screen built into the wall -LRB- with the same image of the eye on it that was on Casanova 's computer -RRB- , but he does n't have a clue how to turn it off . Suddenly , he hears running feet , turns and sees . The top crooks and the Disco Boys rushing towards him through the giant sculptures . He gets an idea . and stands right in front of the computer screen .</scene_description> <character>INVISIBLE BOY</character> <dialogue>HEY! CREEPS!</dialogue> <scene_description>He makes a face at them - and a dozen guns are instantly fired at him . He jumps clear behind a pillar - as the bullets smash into the wall . one of them demolishing the computer screen . CLOSE ON THE EYE - as it goes dead . ON INVISIBLE BOY , hiding behind the pillar . realizing he 's been shot in the shoulder . BACK ON OUR HEROES -</scene_description> <character>SHOVELER</character> <dialogue>This is it! DO OR DIE!</dialogue> <scene_description>The villains form a line , bristling with pistols . as our heroes , led by Sphinx , Shoveler , and Bowler come running through the arch . The threesome go shoulder to shoulder -LRB- with our other heroes right behind them -RRB- as the villains open fire , laying down a deadly fusillade . ON SHOVELER , BOWLER , AND SPHINX , standing together , deflecting their bullets with shovel , bowling ball , and machete . -LRB- as they practiced with pebbles at the farm -RRB- . with the Raja right behind them , hurling silverware . ON THE VILLAINS , rapid firing . but their own bullets ricochet back into them , dropping them . They start to fall back . BACK TO THE TOP OF THE TOWER - CONTINUOUS Casanova is about to finish Monica .</scene_description> <character>CASANOVA</character> <dialogue>And the light goes out.</dialogue> <character>FURIOUS</character> <parenthetical>( 0 .</parenthetical> <parenthetical>S . )</parenthetical> <dialogue>Frankenstein!</dialogue> <scene_description>Casanova turns and sees . Furious , standing on the balcony .</scene_description> <character>CASANOVA</character> <dialogue>Roy. What took you so long?</dialogue> <scene_description>Furious starts at Casanova , who aims Anabel 's pistol at him . Furious hesitates .</scene_description> <character>CASANOVA</character> <dialogue>Let me guess. Bullets do n't hurt you.</dialogue> <character>FURIOUS</character> <dialogue>They hurt. BUT THEY DO N'T STOP ME!</dialogue> <scene_description>Furious lunges at Casanova - who gets off a shot before Furious grabs the gun out of his hand . Casanova ducks clear . Furious tosses the pistol away . then realizes he 's bleeding from a shoulder wound .</scene_description> <character>CASANOVA</character> <dialogue>Smarts, does n't it? Shall we dance?</dialogue> <scene_description>He turns on his stereo and the sound of DISCO MUSIC fills the air . INTERCUT BETWEEN THE TWO FIGHTS - CONTINUOUS Downstairs , the villains have regrouped .</scene_description> <character>TONY P</character> <dialogue>Let's rush'em!</dialogue> <scene_description>They charge en mass at our heroes . who are waiting for them . pinching their noses closed , the Spleen bent over at their forefront . While Casanova dances around Furious like a cat . Furious , fighting the pain of his bullet wound , lunges at him , and Casanova neatly sidesteps him . The crooks and Disco Boys fall back , gasping , choking in the noxious fumes . As Casanova attacks . Advancing shoulder to shoulder , fighting as a team , our heroes wield machete , fork , shovel , bowling ball , and canned tornado . forcing the villains back . Casanova comes at Furious relentlessly , kicking and spinning . and Furious gets the worst of it . Suddenly , a squad of Disco Boys comes charging at our heroes from the flank . but Doc Heller turns to face them , shrinker spray held Rambo - style on his hip . He lets them have it , blasting them with a DENSE BLUE SPRAY . When the spray clears , the D Boys lie squirming on the floor , prisoners in their now child sized disco suits .</scene_description> <character>DISCO BOYS</character> <dialogue>Help! Get me out of this!</dialogue> <parenthetical>( Etc . )</parenthetical> <dialogue /> <scene_description>Upstairs , Casanova pummels Furious . While , downstairs , the Shoveler dispatches the Elvis Brothers with some nifty shovel work . But suddenly , the Bland Boys , pistols blazing , are advancing on him , forcing him back against the base of a sculpture . But the Raja suddenly leaps up onto the sculpture .</scene_description> <character>RAJA</character> <parenthetical>( 0 .</parenthetical> <parenthetical>S . )</parenthetical> <dialogue>Gentlemen!</dialogue> <scene_description>The Bland Boys look up and see . the Raja , both hands filled with silverware . which he HURLS . A beat later the Bland Boys , bristling with forks and grapefruit spoons , run screaming through the sculptures . as Tony P , pistol in hand , skulks out from behind a sculpture and spots . the Bowler . Upstairs , Furious goes flying against a wall .</scene_description> <character>CASANOVA</character> <dialogue>Roy, you're making this too easy.</dialogue> <scene_description>As Tony P takes a careful bead on the Bowler .</scene_description> <character>TONY P</character> <dialogue>Say hello to Daddy for me!</dialogue> <scene_description>He opens fire , but she goes instantly into her ball svinging frenzy . He fires , missing - she 's too fast to keep a bead on . Finally , his gun clicks empty . She turns and faces him .</scene_description> <character>BOWLER</character> <parenthetical>( grimly . )</parenthetical> <dialogue>Daddy says hello.</dialogue> <scene_description>She HURLS the ball at him - like a fiery softball pitch . BALL 'S POV - going straight for Tony P 's SCREAMING head . ON THE BOWLER , watching - as Tony 's scream is cut short by a gruesose thud . Back upstairs Casanova cornmes at Furious again . but Furious ducks the kick , pops back up and smashes Casanova with his good arm . sending him flying across the room . Casanova recovers .</scene_description> <character>CASANOVA</character> <dialogue>Let's change the tune.</dialogue> <scene_description>He reaches into his pocket and takes out the remote device -LRB- that Anabel used at the luncheon -RRB- . He presses a button . ON THE WOLF SCULPTURE as the jaws open , its eyes glow red . and the dreadful sound of the Psychostridulator grinds up and FILLS THE NIGHT AIR LIKE A SIREN . Downstairs , the foul noise fills the room and our heroes and the villains all go into a full blown psychotic episode . The villains start shooting and stabbing each other . SERIES OF SHOTS - AROUND THE CITY - CONTINUOUS On Main Street cars slam into each other . Pedestrians start screaming and fightinq . A man and his dog snarl and snap at each other . The Customers at the Lakeside Diner go insane , hurling plates and food . At the Shoveler 's house the kids turn psycho in front of the television . ANGLE ON A TYPICAL SUBURBAN NEIGHBORHOOD - as the sounds of screaming and smashing dishes and furniture can be heard coming from all the houses . LONG ANGLE OF CHAMPION CITY - as a din of collective insanity rises up from the city . BACK TO THE TOP OF THE TOWER - CONTINUOUS - ON CASANOVA in full psychotic ecstasy .</scene_description> <character>CASANOVA</character> <dialogue>WHAT A RUSH!</dialogue> <parenthetical>( tosses the remote off the balcony . )</parenthetical> <dialogue /> <scene_description>ON MONICA , still motionless on the bed . Casanova and Furious collide in the center of the room and grapple in a contest of psychotically enhanced superhuman strength . Casanova gets his hands around Furious 's throat and crushes it . Furious drops to his knees , and Casanova thinks he 's got him . But Furious , grimacing with rage , looks him right in the eye .</scene_description> <character>FURIOUS</character> <parenthetical>( raspy voiced . )</parenthetical> <dialogue>Is. that. all you got?</dialogue> <scene_description>Furious grabs Casanova 's wrists . and crushes them . Casanova howls with pain , loses his grip . Furious slugs him , again and again . then he grabs Casanova by the belt , swings him around , and HURLS him into the air . Casanova CRASHES into the huge crystal chandelier - there is an explosion of crystal and glass . Furious averts his eyes as cut glass rains down all around him . then he looks up and sees . Casanova 's gold chain has hooked onto a fixture of the chandelier . Casanova kicks and flails . as he is hanged by the neck on his own gold chain . Furious moves to the wolf sculpture . Be PLUNGES HIS HAND through its bronze casing , and RIPS OUT the heart of the Psychostridulator , a flashing football sized device that gives off an unamplifjed , but higher pitched and more irritating sound . Furious HURLS the device hard against the floor , and it smashes into a thousand pieces . CLOSE ON ONE OF THE PIECES - In insect sized device that gives off an even higher pitched , even more disorienting sound . This is the very nerve center of the Psychostridulator . Furious lifts his foot and crushes it hard under his heel . SILENCE . Furious drops to his knees , wounded , exhausted . He looks up . at Casanova , who dangles lifelessly off the chandelier .</scene_description> <character>FURIOUS</character> <dialogue>Nice dancing with you.</dialogue> <scene_description>SERIES OF SHOTS - VARIOUS LOCATIONS - CONTINUOUS as our other heroes return to their senses amidst the vanquished crooks . the traumatized reunants of whom run for it . Things also return to normal . On the street . At the Lakeside Diner . And at the Shoveler 's house . BACK TO THE TOP OF THE TOWER - CONTINUOUS Furious moves to the bed , where Monica lies motionless and pale .</scene_description> <character>FURIOUS</character> <dialogue>Monica.</dialogue> <scene_description>He touches her face , her eyes open , and she looks at him .</scene_description> <character>MONICA</character> <dialogue>You're beautiful when you're angry.</dialogue> <scene_description>He takes her tenderly in his arm . as the Raja , the Shoveler and the others rush into the room and see . Furious and Monica embracing .</scene_description> </scene> <scene> <stage_direction>EXT. OUTSIDE THE FRANKENSTEIN CENTER - A LITTLE LATER</stage_direction> <scene_description>Police cars and news vans arrive . as our heroes , battered , wounded , but victorious walk proudly down the long stairs . Furious and Monica hold each other up . Wounded Invisible Boy has his arm around the Spleen . while policemen and news people run up the stairs past them into the center , ignoring them as always . But this time our heroes could care less . They are superheroes , and they do n't give a damn who knows it .</scene_description> </scene> <scene> <stage_direction>INT. THE RAJA'S HOUSE - NIGHT</stage_direction> <scene_description>as the Raja opens the door and enters .</scene_description> <character>RAJA</character> <dialogue>Mama!</dialogue> <scene_description>She is there , waiting up for him .</scene_description> <character>RAJA</character> <dialogue>I'm home.</dialogue> <scene_description>They embrace .</scene_description> </scene> <scene> <stage_direction>INT. SHOVELER'S DOUSE - NIGHT - CLOSE ON A TV SCREEN</stage_direction> <scene_description>Don Stouffer is reporting .</scene_description> <character>DON</character> <dialogue>Few details have emerged.</dialogue> <scene_description>ON THE SHOVELER 'S KIDS , on the couch , still rattled by their psychotic episode , glued to the TV -</scene_description> <character>DON</character> <parenthetical>( 0 .</parenthetical> <parenthetical>S . )</parenthetical> <dialogue>but the Dawn Patrol got this exclusive interview vith two of the suspects.</dialogue> <scene_description>ON THE TV - Dawn Wong interviews the battered , handcuffed Elvis Brothers as they are led away .</scene_description> <character>ELVIS BROTHER I</character> <dialogue>I do n't know who those guys were - but I never want to see'em again.</dialogue> <character>ELVIS BROTHER 2</character> <dialogue>Especially that big dude with the shovel.</dialogue> <character>ELVIS BROTHER 1</character> <parenthetical>( near tears . )</parenthetical> <dialogue>He was the worst!</dialogue> <scene_description>ON THE KIDS ' COLLECTIVE REACTION as they realize who it was . and then they hear the front door open . In the front hall the Shoveler enters wearily ; his shoulder hurts , his back is killing him . as his kids come running to him .</scene_description> <character>KIDS</character> <dialogue>Dad! Dad! You okay? You hurt?</dialogue> <character>SHOVELER</character> <parenthetical>( shocked by this welcome . )</parenthetical> <dialogue>I'm okay - I'm all right.</dialogue> <character>EDDIE JR.</character> <dialogue>Lean on me, Dad.</dialogue> <character>LENORE</character> <dialogue>I'll hold your shovel, Dad.</dialogue> <scene_description>They lead him back into the living room , and give him the prime spot on the couch .</scene_description> <character>BUTCH</character> <dialogue>You want a soda, Dad?</dialogue> <character>SHOVELER</character> <parenthetical>( stunned . )</parenthetical> <dialogue>Okay.</dialogue> <scene_description>He runs to get it as Eddie Jr. slides a footstool under his feet and Tracy puts a pillow behind his back . Roland , the little one , cuddles up next to him , puts his arm around him .</scene_description> <character>ROLAND</character> <dialogue>Nice work. Dad.</dialogue> <character>SHOVELER</character> <dialogue>Thanks, Roland.</dialogue> <character>ROLAND</character> <dialogue>You really are a superhero, are n't you?</dialogue> <scene_description>The Shoveler nods . A few minutes later . The Shoveler sits on the couch , feet up , soda in hand . The television is off . His kids all huddled around him , hanging on his every word .</scene_description> <character>SHOVELER</character> <dialogue>And that's when the engine blew up.</dialogue> <character>KIDS</character> <dialogue>Whoa.</dialogue> <character>BUTCH</character> <dialogue>What did you do?</dialogue> <character>SHOVELER</character> <dialogue>Well.</dialogue> <scene_description>ON LUCILLE as she comes in and sees . her husband surrounded by his kids , a happy man at last .</scene_description> </scene> <scene> <stage_direction>EXT. LAKESIDE DINER - THE NEXT NIGHT - ESTABLISHING</stage_direction> </scene> <scene> <stage_direction>INT. THE DINER - CONTINUOUS - ON THE SPLEEN</stage_direction> <scene_description>sitting between the Bowler and a bandaged Invisible Boy . The Bowler has her arm chummily around the Spleen 's shoulder . The Spleen finally has real friends . Doc Heller discusses the art of fork throwing with the Raja as the Shoveler listens in . The Sphinx sits at the end of the table , silent .</scene_description> <character>DOC HELLER</character> <dialogue>So you're never actually conscious of range or trajectory?</dialogue> <character>RAJA</character> <dialogue>Heck no. I just chuck'em.</dialogue> <scene_description>Monica -LRB- in her waitress outfit -RRB- sits close to a bandaged Mister Furious . ON THE TV - Dawn Wong reports .</scene_description> <character>DAWN</character> <dialogue>It's been twenty - four hours since the deadly psycho - sonic attack and bloody shoot - out that left Casanova Frankenstein and dozen of the city's top hoodlums dead. But tonight the question remains. Who were these heroic mystery men who saved our city?</dialogue> <scene_description>ON OUR HEROES -</scene_description> <character>BOWLER</character> <dialogue>Could have been anybody.</dialogue> <scene_description>They laugh .</scene_description> <character>RAJA</character> <dialogue>Wait a minute. That's it. That's our name. We're. the Mystery Men.</dialogue> <scene_description>They all like it , except for the Bowler .</scene_description> <character>BOWLER</character> <dialogue>Hey, do I look like a Man?</dialogue> <character>SHOVELER</character> <dialogue>Well we ca n't call ourselves the Mystery People.</dialogue> <character>SPLEEN</character> <parenthetical>( singing , ala `` Macho Man '' . )</parenthetical> <dialogue>Mystery, Mystery Man. I want to be a Mystery Man. SHOVELER &amp; RAJA Shut up.</dialogue> <character>BOWLER</character> <dialogue>Eat your mustard.</dialogue> <character>FURIOUS</character> <dialogue>It does n't matter what we call ourselves. We know who we are.</dialogue> <character>RAJA</character> <dialogue>Yes, Obie - wan.</dialogue> <character>INVISIBLE BOY</character> <dialogue>Hey. he's gone.</dialogue> <scene_description>The others see . that the Sphinx 's chair is empty . Raja spots a crumpled napkin on the table , opens it up , and reads .</scene_description> <character>RAJA</character> <dialogue>`` Until you need me again. Adios.''</dialogue> <scene_description>A silence . Reactions from our heroes as they realize that the Sphinx is gone .</scene_description> <character>SHOVELER</character> <dialogue>I miss him already.</dialogue> <scene_description>Suddenly , somewhere in the night , a burst of gunfire and screams are heard . THE FINAL MUSIC BEGINS .</scene_description> <character>FURIOUS</character> <dialogue>Amigos, duty calls.</dialogue> <scene_description>The Mystery Men wolf their burgers , then stand and start for the street . As Monica watches them leave , a PATRON asks her :</scene_description> <character>PATRON</character> <dialogue>Miss. who are those guys?</dialogue> <character>MONICA</character> <parenthetical>( after a moment . )</parenthetical> <dialogue>I do n't know.</dialogue> <scene_description>JUST OUTSIDE THE DINER - A MOMENT LATER HEROIC GROUP SHOT as the Mystery Men merch down the middle of street , toward the sound of the gunfire . and into the night . THEME AND CREDITS . THE END</scene_description> </scene> </script>

In Champion City, would-be superhero team of Mr. Furious, the Shoveler and the Blue Raja attempt to make a name for themselves, but their suspect skills make them ineffective, and they find themselves upstaged by the city's most successful superhero, Captain Amazing. However, Amazing is finding that his effectiveness at fighting crime has practically made his job obsolete, and without any worthy adversaries remaining (most are either dead, in exile, or in jail), his corporate sponsors are beginning to pull their funding. To create a need for himself, Amazing uses his alter ego, billionaire lawyer Lance Hunt, to argue for the release of supervillain Casanova Frankenstein. The plan backfires; once reunited with his henchman Tony P and his Disco Boys, Casanova Frankenstein blows up the insane asylum, captures Amazing, and prepares to unleash the "Psycho-frakulator", which lethally bends reality. While spying on Casanova Frankenstein's mansion, Mr. Furious discovers Amazing's capture and informs the others. After an unsuccessful rescue attempt, the three realize that they need more allies, and through word-of-mouth and try-outs, they recruit Invisible Boy, the Spleen, and the Bowler. The newly formed team "assaults" Casanova, which only succeeds in annoying him and damaging his car. While drunk from celebrating their victory, the team is nearly killed in retaliation by Tony P and the Disco Boys. They are saved at the last minute by the Sphinx. The Sphinx trains them, but his methods annoy Mr. Furious – he has them complete rote team-building exercises and speaks exclusively in antimetabole. They also seek out Doc Heller, who specializes in non-lethal weaponry, to equip them for their battle. The group breaks into Casanova's mansion during a gathering of several of the city's gangs; but, while attempting to free Captain Amazing, they inadvertently set off the Psycho-frakulator, killing him instead. Without Amazing, the team despairs of saving the city, but the Shoveler delivers a pep-talk that succeeds in uniting and inspiring them. With new-found purpose, the team assaults the mansion again. Making effective use of their negligible superpowers and Heller's weapons, they manage to subdue most of Casanova Frankenstein's henchmen. As the heroes approach Casanova Frankenstein, he reveals that he is holding Mr. Furious' girlfriend Monica hostage. He activates the Psycho-frakulator, which begins to wreak havoc upon the city. While the team tries to stop the device, Mr. Furious takes on Casanova Frankenstein. After initially taking a beating, Mr. Furious unleashes his inner rage and manages to fight effectively for the first time. Casanova Frankenstein is thrown into the core of the Psycho-frakulator and killed by its reality-bending powers. The rest of the team helps The Bowler use her bowling ball to destroy the device and escape the mansion as it implodes. The team is interviewed by reporters, begging to know their team name. As they argue among themselves, one reporter states "Well, whatever you may call them, Champion City will forever owe a debt of gratitude to these 'Mystery Men'," but the others are too busy arguing to hear it.

Meet the Parents_2000

tt0212338

<script> <scene> <scene_description>Meet the Parents by Jim Herzfeld Director's Revised August 13, 1999</scene_description> <character>FADE IN - SERIES OF SHOTS:</character> <dialogue>-~) --Two male HANDS scrub vigorously with betadine soap.</dialogue> <scene_description>--LATEX GLOVES stretch and snap over the hands. --A gloved hand lifts a SCALPEL from an instrument tray.- . --The other swings a large, LIT MAGNIFYING GLASS in place. --The scalpel moves into the light, toward the "patient"-- --An unopened box of CRACKERJACK. The LID is sliced and... --TWEEZERS slip inside to extract... the· Surprise PackE1t.</scene_description> <character>INT.</character> <dialogue>HOSPITAL</dialogue> <scene_description>GREG, 30-ish and wearing scrubs, eyes the prize, his brow glistening. And as he takes the scalpel to the packet... The O.R. doors open and a DOCTOR enters, startling Greg.</scene_description> <character>DOCTOR</character> <dialogue>Nurse, what're you doing in here?</dialogue> <character>GREG</character> <parenthetical>(swallows, nervous)</parenthetical> <dialogue>Get ting engaged.. ?</dialogue> <character>EXT. THE SKIES OVER CHICAGO - DAY</character> <dialogue>A vintage BI-PLANE wings over Chicago on a hot Summer day, pulling behind it a bright mylar BANNER: "Marry Me, Pam"</dialogue> <dialogue>ROLL CREDITS as it passes landmarks-- the Sears Tower, State Street, the Loop, until it banks toward WRIGLEY FIELD.</dialogue> <character>INT.</character> <dialogue>WRIGLEY FIELD STADIUM - THE PLAYING FIELD - SAME</dialogue> <scene_description>A play's in progress. A Cub slides horne he's... SAFE! IN THE STANDS-- the crowd goes nuts, including GREG, donning a well-worn Cubs cap and PAM BURNS, late 20's and smiling under the brim of her (hometown team) Yankees cap.</scene_description> <character>PAM/GREG</character> <dialogue>Wait to hustle! Cubbies! Yeah!</dialogue> <scene_description>They turn and do a one-hand, high-five-Iow-five thing, then sit back down in their seats, with their $5 beers.</scene_description> <character>PAM</character> <dialogue>So, still think baseball's boring?</dialogue> <character>GREG</character> <dialogue>C'mon, I never said boring. I just said someday they may need to... add something. Liven it up a little.</dialogue> <character>PAM</character> <dialogue>Like the NBA did with the 3 pt. shot.</dialogue> <character>GREG</character> <dialogue>Exactly. Nothing major, maybe just a ... live bull, roaming the outfield.</dialogue> <character>PAM</character> <dialogue>I like that. He can run amok, gore some players, graze between innings...</dialogue> <character>GREG</character> <dialogue>...and then it's back to the bullpen.</dialogue> <scene_description>KRACK! SOSA lines one to center, and as Pam stands and gives an ear-splitting, two-fingered WHISTLE... Greg eyes his watch, then pulls some Bushnell binoculars from a case under his seat. He eyes the skyline. BINOC POV: A speck approaches from the West. The plane. Greg lowers the binocs, turns, and gives a subtle nod to-- A VENDOR, waiting at the top of the aisle. He sees Greg's signal, nods, reaches in his pants pocket, and pulls out-- A BOX OF CRACKERJACK, its foil glinting in the sun. Then he starts down the aisle, lugging a box of PEANUTS.</scene_description> <character>VENDOR</character> <dialogue>Peanuts! Peanuts here! Feed your whole family for a buck!</dialogue> <scene_description>Greg settles back in his seat and drapes an arm around Pam, who's busily filling in her program's scorecard. He takes a deep breath. The big moment's finally here.</scene_description> <character>GREG</character> <dialogue>Pam?</dialogue> <character>PAM</character> <dialogue>Uh-huh...</dialogue> <character>GREG</character> <dialogue>I love you.</dialogue> <character>PAM</character> <parenthetical>(looks up, smiles)</parenthetical> <dialogue>I love you.</dialogue> <scene_description>This isn't news, just affirmation.</scene_description> <character>GREG</character> <dialogue>I mean, these last ten months have just been the... happiest of my life.</dialogue> <character>PAM</character> <dialogue>For me too.</dialogue> <character>GREG</character> <dialogue>And I was thinking, here we are, happy together, in a place we both love, so maybe it's time we, y' know...</dialogue> <scene_description>CRACKERJACK!</scene_description> <character>GREG</character> <dialogue>...got Crackerjack. Want one?</dialogue> <parenthetical>(before she can answer)</parenthetical> <dialogue>Crackerjack!</dialogue> <scene_description>Greg motions to the Vendor who nods, throws the box, and-- A shirtless, cardboard-beer-tray-hat-wearing FAN named HOOTIE reaches up and SNAGS IT, mid-air.</scene_description> <character>HOOTIE</character> <dialogue>Crackerjack! All right!</dialogue> <scene_description>He slaps five with his BEER BUDDY beside him. Greg pales.</scene_description> <character>GREG</character> <dialogue>Hey, hey, that's my Crackerjack!</dialogue> <character>HOOTIE</character> <dialogue>Calm down, buddy, there's more.</dialogue> <parenthetical>(to Vendor)</parenthetical> <dialogue>Toss Chicken Little here a box.</dialogue> <character>VENDOR</character> <dialogue>That's the only one I got.</dialogue> <parenthetical>(shrugs, to Greg)</parenthetical> <dialogue>Sorry, Mister. I tried.</dialogue> <scene_description>He turns and starts back up the aisle. Greg jumps up--</scene_description> <character>GREG</character> <dialogue>But that's my Crackerjack!</dialogue> <scene_description>--and starts squeezing past people's knees, toward Hootie.</scene_description> <character>PAM</character> <dialogue>Honey, it's okay, I don't want it--</dialogue> <scene_description>Greg keeps going. Pam slumps in her seat, embarrassed, and as Hootie puts a thumbnail to the foil package lid...</scene_description> <character>GREG</character> <dialogue>Whoa, whoa, don't open that!</dialogue> <character>HOOTIE</character> <dialogue>What's your problem, asshole?</dialogue> <character>GREG</character> <dialogue>Look, I really need that Crackerjack. There's a surprise inside and--</dialogue> <character>HOOTIE</character> <dialogue>No shit-- there's a surprise inside every box of Crackerjack.</dialogue> <scene_description>BEER-BUDDY laughs, Hooty hoots, and as Greg sweats-- A PLANE ENGINE WHINES. The plane's turning, about to buzz the field. Greg whips out his wallet, whirls to Hootie.</scene_description> <character>GREG</character> <dialogue>I'll give you a hundred for it.</dialogue> <scene_description>He yanks out a Franklin. A BEACH BALL banks off his head.</scene_description> <character>HOOTIE</character> <dialogue>A hundred bucks?</dialogue> <character>A PEEVED FAN BEHIND THEM</character> <dialogue>DOWN IN FRONT.</dialogue> <character>GREG</character> <parenthetical>(spins, barks)</parenthetical> <character>RELAX, LADY!</character> <parenthetical>(back to Hootie)</parenthetical> <dialogue>A hundred bucks, c'mon, you want the money or what's in the box?!</dialogue> <character>HOOTIE</character> <dialogue>What are you, Monty F-ing Hall?</dialogue> <character>BEER-BUDDY</character> <dialogue>Take the money, Hootie.</dialogue> <character>OTHER FANS AROUND THEM</character> <dialogue>Yeah, take the money. The cash.</dialogue> <character>HOOTIE</character> <dialogue>I'll take the mo--</dialogue> <scene_description>Greg snatches the box, tosses him the c-note, spins back... And here comes Pam, squeezing past knees, PAGER in hand.</scene_description> <character>GREG</character> <dialogue>Pam, wait, where are you going?</dialogue> <character>PAM</character> <dialogue>I got beeped. It's marked urgent.</dialogue> <character>GREG</character> <dialogue>But honey, I got us Crackerjack!</dialogue> <scene_description>.J Caramel corn, candied peanuts-- He rips the lid off and yanks out the surprise packet.</scene_description> <character>GREG</character> <dialogue>--and a surprise! Quick, open it.</dialogue> <character>PAM</character> <dialogue>Greg, c'mon. What if it's a buyer for that condo I just listed?</dialogue> <scene_description>She squeezes by him and starts up the aisle. Greg gapes, spins toward the field-- the bi-plane's diving fast.</scene_description> <character>GREG</character> <dialogue>Dammit!</dialogue> <scene_description>He leaps to the aisle, tears open the packet, and shakes out a BRILLIANT DIAMOND RING. Hootie sees this, smacks his Buddy's head, and as Greg drops to one knee, right in the aisle, the ring in his hand and "Marry Me, Pam" framed perfectly behind him...</scene_description> <character>GREG</character> <dialogue>PAM!</dialogue> <scene_description>KRACK! A HIT. The Crowd CHEERS, drowning Greg out as Pam continues up the aisle. Greg pales-- can't believe it. The plane climbs from sight. It's over. ...Or is it?</scene_description> </scene> <scene> <stage_direction>EXT. STADIUM DECK - SECONDS LATER</stage_direction> <scene_description>Packed with people. Greg runs up the stairs, looks around, then spies A BANK OF PAYPHONES. Pam's in one, facing away.</scene_description> </scene> <scene> <stage_direction>INT. PAYPHONE BOOTH - SECOND LATER</stage_direction> <scene_description>Pam, cupping an ear, nods and hangs up the phone. And as Greg strides up, determined, ready to do this... She spins, her face like ash. Greg hits the brakes.</scene_description> <character>GREG</character> <dialogue>Honey, what's wrong?</dialogue> <character>PAM</character> <dialogue>It's Debbie...</dialogue> <character>GREG</character> <dialogue>Is she dead?</dialogue> <character>PAM</character> <dialogue>She's engaged.</dialogue> <character>GREG</character> <dialogue>What?</dialogue> <character>PAM</character> <parenthetical>(huffs a smile, eyes wet)</parenthetical> <dialogue>Can you believe it? My baby sister's getting married.</dialogue> <scene_description>She pushes by him and starts walking. Greg on her heels. -</scene_description> <character>PAM</character> <dialogue>You know, it's perfect, really. Deb's always done everything my parents have ever wanted.</dialogue> <character>GREG</character> <dialogue>Who's she marrying? That guy?</dialogue> <character>PAM</character> <dialogue>Yes, Bob. "Doctor" Bob of Denver...</dialogue> <character>GREG</character> <dialogue>But they just met. She's known him what, five, maybe six months?</dialogue> <character>PAM</character> <dialogue>What's it matter? He asked and she said yes. Actually, he asked my Dad, he said yes, and then he asked Debbie...</dialogue> <character>GREG</character> <dialogue>He had to ask your Dad's permission?</dialogue> <character>PAM</character> <dialogue>Of course, otherwise Dad would freak. They're getting married there, too. At my parents house, in two weeks.</dialogue> <character>GREG</character> <dialogue>At your parents? In two weeks?</dialogue> <character>PAM</character> <dialogue>Dr. Bob has to start his residency. He's transferring to NYU next month.</dialogue> <scene_description>They reach the top of their aisle. Pam stops, turns.</scene_description> <character>PAM</character> <dialogue>Can we please not talk about this? I just want to watch the damn game.</dialogue> <scene_description>Greg nods and smiles, wan. The moment's dead.</scene_description> <character>GREG</character> <dialogue>Sure...</dialogue> <scene_description>Pam turns and starts down the aisle. Greg sighs, opens his fist, and eyes the ring. He was so close. He pockets it, pulls out a Camel, lights up, and there's a SQUEAL as-- A WOMAN runs, arms out, toward her beer-buying BOYFRIEND.</scene_description> <character>WOMAN</character> <dialogue>I saw it, baby! Yes! YES.</dialogue> <character>BUZZED BOYFRIEND</character> <dialogue>Pam-- woah, whazzup...?</dialogue> <character>WOMAN (\\ PAM" )</character> <dialogue>We're getting married, everybody!</dialogue> <scene_description>She covers him with kisses as the Crowd around them CHEERS.</scene_description> <character>BUZZED BOYFRIEND</character> <dialogue>We are? That's cool...</dialogue> <scene_description>They kiss to more cheers, and as Greg watches, pained...</scene_description> </scene> <scene> <stage_direction>INT. O'HARE INT'L. AIRPORT - DAY</stage_direction> <scene_description>Twelve days later. Greg and Pam walk the crowded terminal.</scene_description> <character>P.A. ANNOUNCER (V.O.)</character> <dialogue>Attention please, Flight 531 to LaGuardia, now boarding, Gate 17...</dialogue> <character>PAM</character> <dialogue>That's our flight. You nervous?</dialogue> <character>GREG</character> <dialogue>A little. But I'll drink a lot, hold on tight, and hopefully if something tragic happens, we'll both walk away.</dialogue> <character>PAM</character> <dialogue>I meant about meeting my parents...</dialogue> <character>GREG</character> <dialogue>Yeah, me too.</dialogue> <scene_description>He grins, winks. As they stop at the Metal Detector line...</scene_description> <character>PAM</character> <dialogue>Greg... you're not really worried about this weekend, are you?</dialogue> <character>GREG</character> <dialogue>No... I mean, this weekend's not really about me. It's about the wedding, and Debbie and Dr. Bob.</dialogue> <scene_description>She passes through the detector, Greg waiting his turn.</scene_description> <character>GREG</character> <dialogue>Which is great, because this way I can show up, meet everybody, have fun and just... stay under the radar.</dialogue> <scene_description>BEEEEEEP!! Greg sets off the ALARM. Heads jerk, people stare, and a large, no-neck SECURITY GUY approaches him.</scene_description> <character>SECURITY GUY</character> <dialogue>Step aside sir and empty your pockets into the tray.</dialogue> <character>GREG</character> <parenthetical>(sees Pam is watching)</parenthetical> <dialogue>I... can't do that right now.</dialogue> <character>SECURITY GUY</character> <parenthetical>(pulls out magnetic wand)</parenthetical> <dialogue>Spread your arms and legs, sir.</dialogue> <character>GREG</character> <dialogue>Is this really necessary? It's not like I said I've got a bomb or-</dialogue> <parenthetical>(catching himself)</parenthetical> <dialogue>--jacket, a bomber jacket, y'know, like Indiana Jones wears...</dialogue> <scene_description>Greg winces, amazed by his lameness. The "wand" BEEPS as it passes over his pants pocket. Pam calls over to him...</scene_description> <character>PAM</character> <dialogue>Greg, honey, everything okay?</dialogue> <character>GREG</character> <dialogue>Fine, yeah. Go on, I'll catch up.</dialogue> <character>PAM</character> <dialogue>That's okay, I can wait.</dialogue> <character>GREG</character> <parenthetical>(sotto, to Security GUy)</parenthetical> <dialogue>Look, help me out here. That piece of metal in my pants, it's jewelry...</dialogue> <character>SECURITY GUY</character> <dialogue>Scrotum ring.</dialogue> <character>GREG</character> <dialogue>What? No-- it's an engagement ring, for my girlfriend, and she's right over there, so if I whip it out--</dialogue> <character>SECURITY GUY</character> <dialogue>Turn your back, let me see it, then put it in your bag and on the belt.</dialogue> <scene_description>Greg does just that, zipping the box into a bag side-pocket and placing it on X-Ray conveyer belt. Another wand-check...</scene_description> <character>SECURITY GUY</character> <dialogue>He's clear .</dialogue> <scene_description>...And Greg steps through, just in time to watch a SECURITY WOMAN try to fit his bag in a carry-on-maximum-size-frame.</scene_description> <character>SECURITY WOMAN</character> <dialogue>But his bag's too big for carry-on.</dialogue> <parenthetical>(slides bag to a SkyCap)</parenthetical> <dialogue>531 to New York LaGuardia. Check it.</dialogue> <scene_description>The SKYCAP hands Greg a claim-check. As he stares, stunned..</scene_description> </scene> <scene> <stage_direction>INT. BAGGAGE CLAIM AREA - LAGUARDIA - 3 HOURS LATER</stage_direction> <scene_description>...Greg and Pam stand alone under a "Welcome To New York" sign, watching the chute of a now-empty carousel. And as "FIt. 531" on the display flips to the next flight number... SHIT.</scene_description> </scene> <scene> <stage_direction>INT. "LOST LUGGAGE" COUNTER - MOMENTS LATER</stage_direction> <scene_description>Greg strides up to the lone LADY CLERK, who's just handed a claim form to the MOTHER of a gurgling INFANT.</scene_description> <character>GREG</character> <dialogue>Hi, you lost my bag and there was a two-carat diamond ring inside.</dialogue> <character>CLERK</character> <dialogue>Sir, I didn't lose your anything. But fill out a form and if we can't find it we will compensate up to $1,200.</dialogue> <scene_description>The baby SCREECHES in Greg's ear.</scene_description> <character>GREG</character> <dialogue>What? The ring cost three times that!</dialogue> <character>CLERK</character> <dialogue>I'm sure it did, sir, which is why we urge all fliers to carry on valuables.</dialogue> <character>GREG</character> <dialogue>Yeah, well, I was carrying it until your damn airline made me check it.</dialogue> <parenthetical>(desperation mode)</parenthetical> <dialogue>Look, I really need that bag. I'm here for a wedding and afterwards I'm going to propose to my girlfriend.</dialogue> <character>CLERK</character> <dialogue>Sir, put the address you're staying and we will ship it when it surfaces.</dialogue> <scene_description>The baby'S really cranky now-- crying, gasping, coughing. Mom tries burping him over her shoulder.</scene_description> <character>GREG</character> <dialogue>And what if it doesn't? Am I supposed to spend the entire weekend with just the clothes on my back?</dialogue> <scene_description>GYAAAKl The baby PROJECTILE VOMITS allover Greg's shirt.</scene_description> </scene> <scene> <stage_direction>EXT. ACCESS ROAD LEAVING LAGUARDIA - LATER</stage_direction> <scene_description>A teal Ford Taurus slogs its way through heavy traffic.</scene_description> </scene> <scene> <stage_direction>INT. THE TAURUS</stage_direction> <scene_description>Greg drives, moping. His shirt now completely wet.</scene_description> <character>GREG</character> <dialogue>I still smell it. Smell it?</dialogue> <character>PAM</character> <dialogue>All I smell is Men's Room soap. And maybe a hint of strained squash.</dialogue> <character>GREG</character> <dialogue>I can't believe they lost my bag...</dialogue> <character>PAM</character> <dialogue>It'll turn up. And if doesn't, $1200 buys a lot of khaki Dockers.</dialogue> <character>GREG</character> <dialogue>It's not the money, it's the hassle. Haven't you ever lost a bag before?</dialogue> <character>PAM</character> <dialogue>No. But then, I've never checked one.</dialogue> <character>GREG</character> <dialogue>How is that possible? Everyone has to check a bag eventually.</dialogue> <character>PAM</character> <dialogue>Not in my family. Dad never let us pack more than we could carry. He doesn't trust people with his... things.</dialogue> <character>GREG</character> <dialogue>They don't think it's weird, do they, that it's taken so long to meet them?</dialogue> <character>PAM</character> <dialogue>No. They know how busy we've both been. And it's not like Chicago to New York's a day trip. It's all fine. If anything, waiting this long has only made them want to meet you more.</dialogue> <scene_description>8/13/99 Pq. 11</scene_description> </scene> <scene> <stage_direction>.</stage_direction> <character>GREG</character> <dialogue>Really...</dialogue> <character>PA"'1</character> <dialogue>Y~u know every Sunday night, when my Dad calls? He asks me about you.</dialogue> <character>GREG</character> <dialogue>Oh yeah? And what've you told him?</dialogue> <scene_description>PAl'1 Just that you're cute, filthy rich, and the best sex I've had since Dennis Rodman left Chicago.</scene_description> <character>GREG</character> <dialogue>Are you serious? That's exactly what I told my parents about you.</dialogue> <character>PAM</character> <parenthetical>(laughs, then)</parenthetical> <dialogue>Oh, by the way. Once we're there, go easy on the jokes. Humor is entirely wasted on my parents.</dialogue> <character>GREG</character> <dialogue>Really? You crack wise all the time.</dialogue> <character>PAM</character> <dialogue>Not home I don't. There's no point since they never, ever get them.</dialogue> <character>GREG</character> <dialogue>No jokes, okay. What else? More hi nts, c' mon, keep 'em comi ng...</dialogue> <scene_description>EXT. TEE EASTBOUND L.I.E. - DAY - h~TER The Taurus bats along, the blue Atlantic now in the b.g.</scene_description> <character>GREG (0. S.)</character> <dialogue>D-I-N-A "Dee~a." "Deena Burns."</dialogue> <character>INT.</character> <dialogue>TEE TAURUS</dialogue> <character>GREG</character> <parenthetical>(rhy":hmic)</parenthetical> <dialogue>Looks-li~e-Dinah-but-say-it-"Deena."</dialogue> <scene_description>P.r...'1 Right. ~nd ~er fr:ends call her Cee out don'~ because that'd be weird.</scene_description> <character>GREG</character> <dialogue>Hi, D:na. Hello, Jack. "Cohn"?</dialogue> <character>GREG (0. S.)</character> <dialogue>WOW, this is where you grew up? Who painted your house, Norman Rockwell?</dialogue> <scene_description>The Taurus turns into the drive on the side of the house and parks, next to the garage and the large backyard lawn. Greg and Pam get out, Greg popping the trunk and getting Pam's bag. He slams the trunk, goes to pocket the key...</scene_description> <character>GREG</character> <dialogue>Guess I better leave these here .</dialogue> <scene_description>...and pulls out a half-smoked PACK OF CAMELS. Pam wigs.</scene_description> <character>PAM</character> <dialogue>Greg-- you brought cigarettes? We discussed this-- my parents see smoking as a sign of weakness.</dialogue> <character>GREG</character> <dialogue>I know-- I brought 'em for the trip back. I'll leave 'em in the car...</dialogue> <character>PAM</character> <dialogue>I don't want you to leave them in the car. It's too tempting. Here...</dialogue> <scene_description>~ ..</scene_description> <character>,</character> <dialogue>Greg sighs, hands 'em over. Pam looks around for a trash can, finds none, so she whirls and HUCKS 'em high up onto...</dialogue> <character>EXT.</character> <dialogue>...where they land and slide down some shingles before</dialogue> <character>THE HOME'S ROOFTOP</character> <dialogue>stopping in a leaf-clogged gutter beside a big elm tree.</dialogue> <character>EXT.</character> <dialogue>DRIVEWAY</dialogue> <character>GREG</character> <dialogue>Gonna be a long weekend...</dialogue> <character>PAM</character> <dialogue>It's going to be a great weekend. You're going to meet my family and they're going to love you just like I love you, okay sweety-peaty?</dialogue> <parenthetical>(walks up, little kiss)</parenthetical> <dialogue>I know they will.</dialogue> <character>EXT.</character> <dialogue>The door flies open to reveal JACK AND DINA BURNS. Jack's</dialogue> <character>BURNS HOME - FRONT PORCH - SECONDS LATER</character> <dialogue>in his 50's but hardly looks it. Dina is similarly attractive and both sport huge, welcoming smiles. Immediately, Jack and Pam rush to one another, arms wide.</dialogue> <character>JACK/PAM</character> <dialogue>Hey Sweet-Peal/Daddy!</dialogue> <scene_description>They meet at the steps and embrace, Pam pulling her legs up behind her as Jack hugs her and eskimo-kisses her nose.</scene_description> <character>JACK</character> <dialogue>Oh, baby, I missed you, Pam-Cake.</dialogue> <character>PAM</character> <dialogue>Missed you too, Flap-Jack.</dialogue> <scene_description>They giggle like kids, Dina "cutting in" to give Pam a peck on the cheek (then licking a finger to wipe off her lipstick) as Jack heads for Greg, smiling big, hand out.</scene_description> <character>JACK</character> <dialogue>Greg? Or do you prefer Gregory? Jack Burns, Pam's Father.</dialogue> <character>GREG</character> <dialogue>Hi Jack. Great to finally meet you.</dialogue> <scene_description>Greg extends a hand and they shake. Dina steps down.</scene_description> <character>DINA</character> <dialogue>Hello, Greg. Welcome to Bayport.</dialogue> <character>GREG</character> <dialogue>Thanks, Dinah. Dee-na, darn--</dialogue> <parenthetical>(chagrined, to Pam)</parenthetical> <dialogue>Saw that one coming, didn't we.</dialogue> <character>DINA</character> <dialogue>Don't worry, happens all the time.</dialogue> <character>JACK</character> <parenthetical>(looks to driveway)</parenthetical> <dialogue>So, what're you driving there? Ford?</dialogue> <character>GREG</character> <dialogue>Yeah, the new Taurus. We were going to rent a mid-size but I figured hey, I'm pulling down decent bucks, why not pop for a full-size car?</dialogue> <scene_description>Pam shoots him a smile, knows he's trying too hard.</scene_description> <character>JACK</character> <dialogue>Interesting color. You pick it?</dialogue> <character>GREG</character> <dialogue>Oh, no, it's just what the Hertz guy gave me. It's some kind of... green.</dialogue> <character>JACK</character> <dialogue>They say geniuses pick green .</dialogue> </scene> <scene> <stage_direction>. ---.~.~</stage_direction> <scene_description>-</scene_description> <character>DINA</character> <dialogue>What smells like old, sour milk?</dialogue> <character>PAM</character> <dialogue>Oh, Greg got spit-up on by a baby.</dialogue> <character>DINA</character> <dialogue>He didn't.</dialogue> <character>PAM</character> <dialogue>Yeah, Mom, he did.</dialogue> <character>GREG</character> <dialogue>At the "Lost Luggage" counter...</dialogue> <character>PAM</character> <dialogue>The airline lost Greg's bag.</dialogue> <character>DINA</character> <dialogue>They didn't.</dialogue> <character>PAM</character> <dialogue>Yeah, Mom, they did.</dialogue> <character>JACK</character> <dialogue>Well, you check your bag you take your chances. The airlines have gone to hell since deregulation.</dialogue> <character>DINA</character> <dialogue>I'm sure i t ' l l turn up. Meantime Greg, if you need anything, just ask.</dialogue> <character>JACK</character> <parenthetical>(throws an arm around Greg)</parenthetical> <dialogue>That's right. Mi casa es su casa.</dialogue> <character>GREG</character> <dialogue>Thanks, Jack. You too.</dialogue> <scene_description>He squints, realizing that made no sense.</scene_description> <character>JACK</character> <parenthetical>(ushering them in)</parenthetical> <dialogue>Well, check your feet everybody and c'mon in. We'll have some drinks, a little snack-- Dee's got a tray full of pu-pu' s browning in the oven...</dialogue> <character>DINA</character> <dialogue>Pu-pu's, Greg, if you're wondering, is Hawaiian for "hors d'ouevre."</dialogue> <character>GREG</character> <dialogue>. \</dialogue> <scene_description>Which, I guess, is French for ",y upretentious snack."</scene_description> <character>DINA</character> <parenthetical>(smiles at Greg, impressed)</parenthetical> <dialogue>You know, I never knew that?</dialogue> <character>PAM</character> <parenthetical>(shoots Greg a look)</parenthetical> <dialogue>Mom, he was making a joke...</dialogue> <character>DINA</character> <dialogue>Oh, I see. Yes, that's funny.</dialogue> <scene_description>And as Jack slams the door shut behind them...</scene_description> <character>INT.</character> <dialogue>BURNS HOME - FOYER - CONTINUOUS</dialogue> <scene_description>...a PERSIAN CAT runs over, Jack scooping him up.</scene_description> <character>JACK</character> <dialogue>Jinxy! Hey buddy! How's my pal?</dialogue> <scene_description>Jack puts his face right up to the cat's face, mirroring Jinxy's expression as they both being to U mew ."</scene_description> <character>JACK</character> <dialogue>Mew-mew-mew... Look Jinxy, your sister's here, Pammy's home.</dialogue> <character>PAM</character> <dialogue>Greg, meet Mr. Jinx. Jinx, Greg.</dialogue> <character>GREG</character> <dialogue>Hi, Jinx.</dialogue> <character>JACK</character> <parenthetical>(stroking Jinx's fur)</parenthetical> <dialogue>Greg-- Jinxy here's strictly an indoor cat, so don't let him out.</dialogue> <character>DINA</character> <dialogue>Jack just taught Jinx to use the potty.</dialogue> <character>PAM</character> <dialogue>You did? Dad, that' s so weird...</dialogue> <character>JACK</character> <dialogue>What's weird about it? It's nice not having to smell a litter box.</dialogue> <character>GREG</character> <dialogue>Wait, you taught your cat to use the toilet? How'd you do that?</dialogue> <character>JACK</character> <dialogue>It was easy. I designed a litter box to fit inside the bowl, and once he got used to it, I took the box away.</dialogue> <character>DINA</character> <dialogue>Though I'm not sure Jinx likes it. Every chance he gets, he tries to dig, squat, and bury. We had to move all our potted plants outside...</dialogue> <character>PAM</character> <dialogue>Forget Jinx-- I'm not sure I like it. Sharing the bathroom wi th a-cat...</dialogue> <character>GREG</character> <dialogue>Yeah, and now there's one more male in the house to leave the darn seat up.</dialogue> <character>JACK</character> <dialogue>Jinx can't lift the seat. He lacks the strength and the opposable thumbs.</dialogue> <character>GREG</character> <parenthetical>(nods, as if enlightened)</parenthetical> <dialogue>Oh, that's right...</dialogue> </scene> <scene> <stage_direction>.. /</stage_direction> <character>DINA</character> <dialogue>You a cat lover too, Greg?</dialogue> <character>PAM</character> <dialogue>No, Greg hates cats.</dialogue> <scene_description>Whoops. Pam instantly shoots Greg a "sorry" look.</scene_description> <character>GREG</character> <dialogue>I, uh" wouldn't say I "hate" them. I'm just more of a dog lover...</dialogue> <character>JACK</character> <dialogue>You can love dogs and not hate cats.</dialogue> <character>GREG</character> <dialogue>That ' s... true, but I grew up around dogs and... I don't know, cats just seem to be more into themselves.</dialogue> <parenthetical>(as Jinx MEOWS)</parenthetical> <dialogue>See? Everything they say starts with "me."</dialogue> <scene_description>Jinx HISSES at Greg and leaps from Jack's grasp, scampering up the stairs. Jack turns and hands Pam's bag to his wife .</scene_description> </scene> <scene> <stage_direction>J JACK</stage_direction> <scene_description>Dina honey, run this bag upstairs while I fix the kids some hi-balls.</scene_description> <character>GREG</character> <dialogue>That's okay, Jack, I can take it--</dialogue> <scene_description>Too late. Dina's heading upstairs, bag in hand.</scene_description> <character>PAM</character> <dialogue>Oh, and Mom? Could you grab a clean shirt from Denny's for Greg to wear?</dialogue> <character>DINA</character> <dialogue>Of course, dear. Be right back...</dialogue> <character>JACK</character> <dialogue>So, who's ready for a drink?</dialogue> <character>GREG</character> <dialogue>A drink sounds great, thanks.</dialogue> <character>PAM</character> <dialogue>You start, I need a pit-stop. I haven' t tinkled since Chicago...</dialogue> <scene_description>She peels off for the hallway powderoom, Greg shooting her a "hurry back" look as Jack steers him to the kitchen.</scene_description> <character>JACK</character> <dialogue>So Greg, what're you drinking? I got beer, wine, hard stuff...</dialogue> <character>GREG</character> <dialogue>A beer sounds good.</dialogue> <character>JACK</character> <dialogue>Denny's at a friend's, so i t ' l l just be the four of us tonight. And I guess you know Deb and Bob are still in Denver, visiting his relatives...</dialogue> </scene> <scene> <stage_direction>INT. THE KITCHEN - CONTINUOUS</stage_direction> <character>JACK</character> <dialogue>You like Bud, Coors, Becks, Hatuey... ?</dialogue> <character>GREG</character> <dialogue>Hatuey. That's a Cuban beer, right?</dialogue> <scene_description>Jack pulls a pair of frosted-mugs from the freezer.</scene_description> <character>JACK</character> <dialogue>Right. When were you there?</dialogue> <character>GREG</character> <dialogue>Sorry?</dialogue> <character>JACK</character> <dialogue>When were you in Cuba, drinking beer?</dialogue> <character>GREG</character> <dialogue>Oh-- I wasn't. No, see, myoId roomie in college had this huge beer collection and I remember he had Hatuey, but he only had one bottle since it was so hard to get. I always wondered how it tasted...</dialogue> <scene_description>Jack opens the fridge to reveal a lone sixer of Bud.</scene_description> <character>JACK</character> <dialogue>Gosh, what do you know? I'm fresh out of Hatuey. How 'bout a Bud?</dialogue> <scene_description>He grabs two, shuts the fridge, starts to pour...</scene_description> <character>JACK</character> <dialogue>Beer collection. Y'know, I collect things, too? C'mon, I'll show you.</dialogue> <character>INT.</character> <dialogue>JACK'S DEN/OFFICE - SECONDS LATER</dialogue> <scene_description>A wood paneled room, full of bookshelves, big cherry-wood desk, cluttered shelves, and walls full of framed photos. A leather chair and matching sofa-bed line one wall, a small bathroom another, right beside a door that leads to the home's screened back porch. Greg, beer in hand, watches as Jack unlocks the latch of an accordion-style vinyl door and slides it back to reveal a niche in the wall, the size of a walk-in closet. And as Jack flips a light on, Greg gapes. It's not so much a collection as a SHRINE. To the C.I.A. A large, enamel SEAL OF THE C.I.A. hangs front and center, flanked by a framed portrait of (Former Agency Head) William Colby and a PLAQUE bearing the C.I.A Creed: "You Shall Know The Truth and The Truth Shall Set You Free."</scene_description> <character>GREG</character> <dialogue>Wow...</dialogue> <character>JACK</character> <dialogue>Some guys have trains, or stamps. I collect intelligence memorabilia.</dialogue> <scene_description>He flips another switch and illuminates glass cases and shelves displaying 50-plus years of Cold War Gadgetry. Cypher Machines, Listening Devices, Various "concealed" weapons-- e.g. a briefcase rifle and a walking cane with a hidden dagger handle. Another wall has a trio of framed .J "data printouts" alongside photos of three infamous SPIES .</scene_description> <character>GREG</character> <dialogue>Are those, what's the word... polygrams?</dialogue> <character>JACK</character> <dialogue>Polygraphs, right. And those aren't copies-- they're original read-outs.</dialogue> <parenthetical>(pointing to print-outs)</parenthetical> <dialogue>That's Alger Hiss, Julius and Ethel Rosenberg, Aldrich Ames... and the very data that sealed their fate.</dialogue> <character>GREG</character> <dialogue>Hey Jack, just how accurate is your average polygram? Because I've heard people say they're really not. That, y'know, people can beat them.</dialogue> <character>JACK</character> <parenthetical>(smiles, amused)</parenthetical> <dialogue>You've uheard that", huh? In truth, it's extremely hard to fool a reliable machine and an experienced case officer. Let me show you why.</dialogue> <scene_description>He gestures to a chair, and as Greg takes a seat Jack opens a drawer to reveal a POLYGRAPH MACHINE. And while the majority of Jack's collection is uvintage" , this particular piece looks state-of-the-art, and barely used.</scene_description> <character>JACK</character> <dialogue>An Agency-sanctioned model like this measures response on three levels.</dialogue> <scene_description>He holds up what looks like a blood-pressure cuff...</scene_description> <character>JACK</character> <dialogue>It has a cuff to gauge your Cardio...</dialogue> <scene_description>...and casually velcros it around Greg's left arm.</scene_description> <character>GREG</character> <dialogue>Oh hey. Just like the blood pressure cuffs we use in the hospital\_</dialogue> <scene_description>Jack pulls out a larger strap/belt with two outputs.</scene_description> <character>JACK</character> <dialogue>It has two sets of upneumos" to read and record respiratory activity...</dialogue> <scene_description>He slips the belt around Greg's torso and cinches it.</scene_description> <character>GREG</character> <dialogue>Wow. That'll make you nervous.</dialogue> <character>JACK</character> <dialogue>And these thimbles on your fingertips will chart Galvanic Skin Response...</dialogue> <character>GREG</character> <parenthetical>(as Jack slides them on)</parenthetical> <dialogue>You mean like sweat.</dialogue> <character>JACK</character> <dialogue>More than sweat. Neuro-chemical reactions, in and under the skin.</dialogue> <scene_description>He flips the machine on, its console lighting up and five "pens" centering on five lines of the graph paper, which starts to roll, the pens marking an initial base reading. JACK (cont' d) So with this many bases covered, you can see it's not an easy tool to fool.</scene_description> <character>GREG</character> <dialogue>Oh, definitely...</dialogue> <character>JACK</character> <dialogue>Pam tell you I was in the CIA?</dialogue> <character>GREG</character> <dialogue>What?</dialogue> <scene_description>ON THE GRAPH-- all five pens skate across the paper.</scene_description> <character>JACK</character> <dialogue>The CIA. I retired last year.</dialogue> <character>GREG</character> <dialogue>No kidding. Wow, congratulations.</dialogue> <scene_description>He glances at his richter-response to Question One. Shit.</scene_description> <character>JACK</character> <dialogue>She didn't mention that, huh?</dialogue> <character>GREG</character> <dialogue>What? That you were retired?</dialogue> <parenthetical>(as pens spike again)</parenthetical> <dialogue>YES, yes, she did mention that. She definitely said you were retired.</dialogue> <character>JACK</character> <dialogue>From the CIA...</dialogue> <character>GREG</character> <parenthetical>(knows he's fucked, so... )</parenthetical> <dialogue>OUCH. Jack? OW. Can we turn this thing off? I think the cardio cuff seam's right on my bicipital artery.</dialogue> <character>JACK</character> <parenthetical>(undoing cuff)</parenthetical> <dialogue>Oh, jeez, I'm sorry. Maybe I didn't put it on right...</dialogue> <character>GREG</character> <parenthetical>(unstrapping pneumos)</parenthetical> <dialogue>No, I'm sure you did, it's just, I have a low threshold for pain...</dialogue> <parenthetical>(pulling off GSR thimbles)</parenthetical> <dialogue>But thank you for showing me that. It's really an amazing machine.</dialogue> <character>JACK</character> <dialogue>Yes it is. People who know will tell you, the polygraph is the single most important tool in the perpetual fight against the evils of penetration.</dialogue> <scene_description>He flips the machine off, then the shrine's lights, and they step out, shutting the accordion door behind them.</scene_description> <character>JACK</character> <dialogue>Let's find Pam and see what's keeping Dee. Whaddya bet she made a pit-stop?</dialogue> <character>GREG</character> <dialogue>All I know is, I can smell her pu- pU's and I bet they're brown.</dialogue> <character>JACK</character> <dialogue>What?</dialogue> <character>GREG</character> <dialogue>Dina's hors d'ouevres? In the oven?</dialogue> <scene_description>The OVEN TIMER sounds upstairs, Greg saved by the buzzer.</scene_description> <character>JACK</character> <dialogue>Oh-- the snacks. Jesus, I give her one little thing to do...</dialogue> <parenthetical>(turns, heads for kitchen)</parenthetical> <dialogue>Dina?! The Pu-Pu's honey, let's go!</dialogue> <parenthetical>(whirls back to Greg)</parenthetical> <dialogue>C'mon, Greg. It's Happy Hour.</dialogue> <character>INT.</character> <dialogue>BURNS' HOME "GREAT ROOM" - MOMENTS LATER</dialogue> <scene_description>Take a Family Room, remodel it, and suddenly it's "Great." This particular G.R. is open to the kitchen, and also features a large SCREENED PORCH overlooking the backyard . .J BY THE ENTERTAINMENT CENTER - Jack flips through a highly- organized (alphanumeric, and by theme) CD RACK until he finds the appropriate disk, "MUSIC FOR COCKTAILS," while...</scene_description> <character>GREG</character> <dialogue>What's that-- what's Three Questions.</dialogue> <character>PAM</character> <dialogue>A profiling technique. They ask you three questions in a row. If you only answer the first two, it won't work. But if you answer the third, that's it. They somehow know all about you...</dialogue> <parenthetical>(beat, opens screen door)</parenthetical> <dialogue>My Dad explained it to me once, but I didn't really get it. Look, just try to relax, okay? They like you...</dialogue> </scene> <scene> <stage_direction>INT. THE GREAT ROOM - CONTINUOUS</stage_direction> <scene_description>They step back inside, Jack now standing at the wet-bar.</scene_description> <character>JACK</character> <dialogue>Pamcake, I made you a spritzer.</dialogue> <character>PAM</character> <dialogue>Good call, Pop. Thanks.</dialogue> <character>JACK</character> <dialogue>Greg-- how 'bout another drink?</dialogue> <character>GREG</character> <dialogue>Sure, Jack.</dialogue> <character>JACK</character> <dialogue>What'll you have?</dialogue> <character>GREG</character> <dialogue>Oh, whatever you're having...</dialogue> <character>JACK</character> <dialogue>Tom Collins. How do you like it?</dialogue> <scene_description>That's three. Greg shoots a panicked look to Pam.</scene_description> <character>PAM</character> <dialogue>Pour him a stiff one, Daddy.</dialogue> <parenthetical>(sotto, to Greg)</parenthetical> <dialogue>Might loosen you up a bi t ...</dialogue> <character>JACK</character> <parenthetical>(pouring the booze)</parenthetical> <dialogue>Greg, it might look I'm making it weak but I'm using Tom Collins Cubes.</dialogue> <scene_description>He holds up an ice-cube tray filled with yellow-green "Collins" cubes, plopping them into a glass with vodka.</scene_description> <character>JACK</character> <dialogue>Using ice just dilutes your booze...</dialogue> <scene_description>IN THE KITCHEN - Dina arranges a pu-pu platter, and.. --;....-. ON THE BACK PORCH - Greg and Pam stand at the railing, enjoying a view of the lush and spacious Burns backyard. Greg looks anxious. Even more so considering he is now wearing Denny's "INSANE CLOWN POSSE" t-shirt featuring a pair of bloody-fanged Bozos atop a flaming pentagram.</scene_description> <character>GREG</character> <dialogue>...next thing I know, I'm all hooked up and he's asking me questions...</dialogue> <character>PAM</character> <dialogue>What kind of questions?</dialogue> <character>GREG</character> <dialogue>Like did I know he was in the CIA?</dialogue> <character>PAM</character> <dialogue>No. What'd you say?</dialogue> <character>GREG</character> <dialogue>Nothing, I lied.</dialogue> <character>PAM</character> <dialogue>You lied? Greg--</dialogue> <character>JACK</character> <parenthetical>(calling, heading for bar)</parenthetical> <dialogue>Happy hour, kids! Come'n'get happy.</dialogue> <character>PAM</character> <parenthetical>(calling back)</parenthetical> <dialogue>In a second, Daddy.</dialogue> <parenthetical>(to Greg, concerned)</parenthetical> <dialogue>You lied to my Father's polygraph... ?</dialogue> <character>GREG</character> <dialogue>I didn't know what else to do. You told me not to tell him you told me and now your Dad thinks I'm a liar\_</dialogue> <character>PAM</character> <parenthetical>(sighs, then, consoling)</parenthetical> <dialogue>Look, don't worry, he shows that stupid polygraph to everyone-- it's like a toy to him. Believe me, if Dad wanted to pick your brain, he wouldn't need a machine. He is one.</dialogue> <parenthetical>(turning to head inside)</parenthetical> <dialogue>He was a spy for 30 years, he knows every trick there is. How to read pupils, or measure fear by how your breath smells, or The Three Questions...</dialogue> <scene_description>Dina walks over with a pu-pu platter (egg rolls, pizza rolls, bagel-bites), and as they all gather 'round... Pam smiles, happy this moment is finally here.</scene_description> <character>PAM</character> <dialogue>Well, this was long overdue. Toast?</dialogue> <character>JACK</character> <dialogue>Terrific idea, Pam. A toast, to the future Dr. and Mrs. Banks.</dialogue> <character>DINA</character> <dialogue>And a wonderful wedding and weekend.</dialogue> <scene_description>They toast, Pam smiling despite this not being what she had in mind. And as all four "clink", drink, and sit...</scene_description> <character>GREG</character> <dialogue>So, Bob's last name is "Banks"?</dialogue> <character>DINA</character> <dialogue>Right, Dr. Robert Banks. Isn't it fantastic Deb can keep her initials?</dialogue> <character>JACK</character> <dialogue>Plus, now we can give them my Mother's monogranuned. silver set...</dialogue> <character>PAM</character> <parenthetical>(another dream dashed)</parenthetical> <dialogue>Wow, that's really generous. I've always loved Grandmother's silver...</dialogue> <character>JACK</character> <dialogue>Your Nana had taste. Love you, Ma.</dialogue> <scene_description>He raises his glass to the fireplace mantel, where a PHOTO OF MOM hangs above an URN marked "Burns." The family joins him, Pam shooting Greg a "do it" look, and as they all sip...</scene_description> <character>DINA</character> <dialogue>You have a unique last name, Greg. We were curious how it's pronounced.</dialogue> <character>GREG</character> <dialogue>Just like it's spelled. F-O-C-K-E-R.</dialogue> <character>JACK AND DINA</character> <dialogue>"Focker."</dialogue> <character>GREG</character> <dialogue>Jahohl. Ieh bein ein Faeker.</dialogue> <parenthetical>(off their blank stares)</parenthetical> <dialogue>....-/. Tha t 's German. Focker' s... German.</dialogue> <scene_description>They nod. Pam, slightly horrified, switches subjects. : (.';/</scene_description> <character>, PAM</character> <dialogue>So Greg, how's your job?</dialogue> <character>GREG</character> <parenthetical>(kinda confused she's asking)</parenthetical> <dialogue>...good, Pam. Thanks for asking.</dialogue> <parenthetical>(then, to parents)</parenthetical> <dialogue>I just got transferred to Triage.</dialogue> <character>DINA</character> <parenthetical>(sits up, hopeful)</parenthetical> <dialogue>Oh, is that better than a nurse?</dialogue> <character>PAM</character> <dialogue>Mom, Triage is a unit in the E.R. All the top nurses work Triage.</dialogue> <character>GREG</character> <dialogue>E.R. work is such an adrenaline rush. I mean, on top of the high you get naturally just from helping people...</dialogue> <character>DINA</character> <dialogue>You know, Jack's new career is helping people, too. Honey, did you show Greg your "Nanny Cams"?</dialogue> <character>JACK</character> <dialogue>Not yet. Sit tight, let me show you.</dialogue> <scene_description>Jack's up now, heading for his TV/VCR.</scene_description> <character>JACK</character> <dialogue>I started a "home surveillance" company. Larry's going in on it.</dialogue> <character>DINA</character> <dialogue>Larry is Bob's-- Debbie's Bob's-- father, and Linda's husband. Well, third husband so I guess that makes her Debbie's step-mom-in-law-to-be.</dialogue> <scene_description>No one cares. Jack hits "Rewind" on the tape deck, and then plucks a big, dopey-looking TEDDY BEAR off a shelf.</scene_description> <character>JACK</character> <dialogue>Greg, what's this look like to you?</dialogue> <scene_description>He tosses Greg the teddy. Greg looking slightly confused.</scene_description> <character>GREG</character> <dialogue>A... bear?</dialogue> <scene_description>.-.-/ Jack flips on the TV, it flickers, and ON THE TV-- A B&amp;W image of Greg appears-- from the bear's P.G.V.</scene_description> <character>JACK</character> <dialogue>Smile, you're on Nan-ny Cam-ra.</dialogue> <character>GREG</character> <dialogue>Oh wow, I've seen these on TV.</dialogue> <parenthetical>(laughs, to Pam)</parenthetical> <dialogue>Remember that dopey sitcom we were watching, and the couple rented one and forgot it was on--?</dialogue> <character>JACK</character> <dialogue>This is nothing like a sitcom, Greg. Inside this bear's head is the world's smallest pinhole, Zero-Lux camera with a 900 Mhz transmitter that sends to a lithium-powered VCR. It's state-of-the-art, all the way, custom-made by government contractors exclusively for my company.</dialogue> <character>GREG</character> <parenthetical>(trying to recover)</parenthetical> <dialogue>Wow... a-LUX and battery operated...</dialogue> <scene_description>He flips the bear upside down, looking for the components. As he does, the bear's eyeball lens swings toward the sofa, where Dina's sitting, and... -~- . ON THE TV NOW-- is a perfect panty-shot up Dina's skirt. Fortunately, all eyes are on Greg.</scene_description> <character>DINA</character> <dialogue>Did Jack tell you he's ex-C.I.A?</dialogue> <character>GREG</character> <dialogue>Yes, actually, he did mention that.</dialogue> <character>JACK</character> <dialogue>And that's not for broadcast. I may be retired, but I still know things that could end life as we know it.</dialogue> <character>GREG</character> <dialogue>Not to worry. I'm very discreet.</dialogue> <scene_description>Greg looks up to see DINA'S CROTCH looming large on the TV screen. He yanks the bear up, before anyone notices.</scene_description> <character>DINA</character> <dialogue>I must say, it's been interesting being married to a spy. Sometimes Jack would leave at night and not say where he'S going, or the phone</dialogue> <scene_description>,--,," would ring and he'd have to take it in another room and lock the door...</scene_description> <character>PAM</character> <dialogue>) Not to mention how he'd spy on me -</dialogue> <scene_description>.. and my dates .</scene_description> <character>JACK</character> <dialogue>Now, honey, I never "spied." "Observed" is more like it.</dialogue> <scene_description>He shoots a wink at Greg.</scene_description> <character>PAM</character> <dialogue>Well Kevin and I got pretty tired of you "observing" us on the back porch.</dialogue> <character>JACK</character> <dialogue>Can't blame a man for wanting to know what goes on inside his own house. Greg-- my bear, please?</dialogue> <parenthetical>(as Greg tosses bear back)</parenthetical> <dialogue>Teddy here is our biggest rental, but we've got wall clocks, mirrors, smoke-alarms, and my latest-- a pinhole camera that fits completely inside an electrical outlet.</dialogue> <scene_description>A nearby PHONE rings. Dina starts to rise...</scene_description> <character>DINA</character> <dialogue>I'll get it.</dialogue> <character>JACK</character> <dialogue>No, no, Dee. You sit and and enjoy your drink, I'm already up.</dialogue> <scene_description>He gets up and starts for the kitchen. Greg brightens.</scene_description> <character>GREG</character> <dialogue>Hey, maybe it's the airline.</dialogue> <character>DINA</character> <dialogue>I'm sure it is. More pu-pus?</dialogue> <character>GREG</character> <dialogue>Thanks, but I'm pretty pu-pu'd out.</dialogue> <scene_description>ACROSS THE ROOM-- is a desk, a corkboard full of wedding info (guest lists, seating charts, etc.) and a LAPTOP.</scene_description> <character>GREG</character> <dialogue>Nice laptop. What kind of chip?</dialogue> <character>DINA</character> <dialogue>Y'know, I don't know? I just finished typing Jack's itinerary for our super- busy weekend. I just need to proof.</dialogue> <character>GREG</character> <dialogue>Why don't you just let your computer proof it? It must have a spell-check.</dialogue> <character>DINA</character> <dialogue>It might, but I've never used it.</dialogue> <character>GREG</character> <dialogue>Oh. Well, I'm computer literate--</dialogue> <character>PAM</character> <dialogue>He's practically an expert.</dialogue> <character>GREG</character> <dialogue>- -and I'd be glad to run it for you...</dialogue> <character>INT.</character> <dialogue>KITCHEN</dialogue> <scene_description>Jack shuts the swinging door behind him, grabs the phone.</scene_description> <character>JACK</character> <dialogue>Hello? Yeah, I barely beat her to the phone. (pause) If she ever does, you just hang up quick, okay?</dialogue> <parenthetical>(turns to watch door)</parenthetical> <dialogue>So when are we getting together? Yeah, I think I can swing it. How</dialogue> <scene_description>- .. / 'bout outside the Buy-Rite? Good. He takes the bottle of Buy-Rite Collins mix from the counter and starts pouring it down the sink.</scene_description> <character>JACK</character> <dialogue>I'm excited too. See you in a bit.</dialogue> <character>INT.</character> <dialogue>GREAT ROOM - IN DINA'S. "OFFICE"</dialogue> <scene_description>Greg's at the laptop, Pam and Dina standing behind him.</scene_description> <character>GREG</character> <dialogue>"No misspelled words found." How about that? Looks like you're a letter-perfect typist, Dina.</dialogue> <scene_description>Jack re-enters from the kitchen.</scene_description> <character>DINA</character> <dialogue>Was it the airline, honey?</dialogue> <character>JACK</character> <dialogue>What? No, wrong number.</dialogue> <parenthetical>(holds up empty bottle)</parenthetical> <dialogue>And we're out of Collins Mix. I'm gonna make a run to the Buy-Rite.</dialogue> <character>GREG</character> <dialogue>; Jack, mind if I tag along? I just</dialogue> <scene_description>.;../ realized if my bag doesn't come by tonight I'll need a few essentials.</scene_description> <character>JACK</character> <dialogue>I'm sure it'll come. Airlines have never been sharper. Stay. Relax.</dialogue> <character>PAM</character> <dialogue>Oh Greg? Can you pick me up a scrunchy? I forgot to pack one.</dialogue> <character>JACK</character> <dialogue>Honey, Buy-Rite has no scrunchies.</dialogue> <parenthetical>(then, backing off)</parenthetical> <dialogue>I mean, they didn't last I looked.</dialogue> <character>PAM</character> <dialogue>Whey were you looking for a scrunchy?</dialogue> <character>JACK</character> <parenthetical>(changes tack, gas1ighting)</parenthetical> <dialogue>I wasn't looking for kim-chee, dear, why on Earth would I want that?</dialogue> <character>GREG</character> <dialogue>,.. "Kim-chee"? The Korean sauerkraut?</dialogue> <character>PAM</character> <dialogue>Not kim-chee, Dad. A scrunchy.</dialogue> <character>JACK</character> <dialogue>Ohhhh, well they might have that. You coming Greg? If so, let's go.</dialogue> <scene_description>He jangles his car-keys and heads off down the hall.</scene_description> <character>GREG</character> <dialogue>Be right back...</dialogue> <scene_description>He turns and follows Jack. A beaming Dina turns to Pam.</scene_description> <character>DINA</character> <dialogue>Oh Pam, he seems wonderful.</dialogue> <character>PAM</character> <dialogue>He is, Mom. He's such a great guy.</dialogue> <character>DINA</character> <dialogue>And you two have been together almost a year now. Have you been thinking about anything... permanent?</dialogue> <character>PAM</character> <dialogue>Well... Greg and I haven't exactly discussed it but-- yes, I'd say we're absolutely thinking "permanent."</dialogue> <scene_description>And as the two women give a little squeal, and embrace...</scene_description> </scene> <scene> <stage_direction>INT. JACK'S 1998 BUICK - ROLLING THROUGH SUBURBIA - DAY</stage_direction> <scene_description>They ride in deafening silence, Greg subtly struggling to strike up a conversation. Finally...</scene_description> <character>GREG</character> <dialogue>Car rides smooth.</dialogue> <character>JACK</character> <dialogue>Big day Saturday.</dialogue> <character>JACK</character> <dialogue>This little to-do's gonna set me back 20 g's. We're expecting two hundred.</dialogue> <character>GREG</character> <dialogue>Two hundred? That's great considering the short notice.</dialogue> <character>JACK</character> <dialogue>Yeah, it's been tricky with a three- week engagement but you know, when it's right, you don't need time to think about it. Dina and I married two months after we met, and next month is our 25 th anniversary...</dialogue> <character>GREG</character> <dialogue>Twenty-five. Congratulations.</dialogue> <character>JACK</character> <dialogue>I was a lucky man the day I met Dina...</dialogue> <character>GREG</character> <dialogue>That's kind of the way I feel about Pam. In fact, I'm glad we have a moment to talk here, Jack, because--</dialogue> <character>JACK</character> <dialogue>How come you don't like cats?</dialogue> <character>GREG</character> <parenthetical>(beat, taken aback)</parenthetical> <dialogue>It's... not that I don't like them. I just happen to prefer dogs more.</dialogue> <parenthetical>(continues, off Jack's stare)</parenthetical> <dialogue>Because I think it's nice, y'know, to come home and they're there, wagging their Ii' I tail, all happy to see you...</dialogue> <character>JACK</character> <dialogue>You need that assurance, do you? You prefer an emotionally... shallow animal.</dialogue> <character>GREG</character> <dialogue>I ...</dialogue> <character>JACK</character> <dialogue>See Greg, if you yell at a dog, his ears will go down and his tail will covers his genitals even if he's done nothing wrong. It's very easy to break a dog. But cats make you work for their affection. You can scold or threaten a feline and never know if you're getting through because a cat protects its pride. Cats don't "sellout" like dogs do.</dialogue> <character>GREG</character> <dialogue>Huh. Maybe I was wrong about cats.</dialogue> <character>JACK</character> <dialogue>And a cat won't kiss your ass for acceptance.</dialogue> <parenthetical>(hitting play on CD)</parenthetical> <dialogue>You like Peter, Paul, and Mary?</dialogue> <scene_description>Greg hesitates, not sure whether to be honest or to kiss Jack's ass for acceptance. Puff the Magic Dragon comes on.</scene_description> <character>GREG</character> <dialogue>Sure. "Puff the Magic Dragon." You know I actually wrote a paper about this song back in college? About how it' s , y' know, about weed..</dialogue> <character>JACK</character> <dialogue>What?</dialogue> <scene_description>This is clearly news to Jack. But Greg's committed, so...</scene_description> <character>GREG</character> <dialogue>That "puff the magic dragon" meant to light up, take a hit. And to bury that in a kiddy sing-a-Iong song-- man, that took some guts.</dialogue> <character>JACK</character> <dialogue>But... "Puff" was just the name of the boy'S magical dragon.</dialogue> <parenthetical>(ejects CD, turns and stares)</parenthetical> <dialogue>Are you a pothead, Greg?</dialogue> <scene_description>",,\_.'</scene_description> <character>GREG</character> <dialogue>, What? No! I mean, sure, I've had</dialogue> <scene_description>'.-.-.-/ offers, who hasn't, but believe me, I just say no. I pass on grass. I strongly agree with the late Mr. T. when he said "Dope is for dopes." Jack stares, then gives a little nod, as if convinced, but it's clear he is not. And as Greg slumps in his seat...</scene_description> <character>JACK</character> <dialogue>Mr. T's not dead.</dialogue> <character>EXT.</character> <dialogue>Greg and Jack walk by some some coin-operated KIDDY RIDES</dialogue> <character>BUY-RITE SUPERSTORE - DAY</character> <dialogue>and FUN-HOUSE MIRRORS enroute to the sliding front doors.</dialogue> <character>JACK</character> <dialogue>Meet you back out front.</dialogue> <character>INT.</character> <dialogue>BUY-RITE</dialogue> <scene_description>Greg turns one way, Jack the other. Then, a few seconds later, Jack returns and slips out the entrance. DOWN AN AISLE-- Greg passes a shelf of Kim-Chee before heading for the Pharmacy area, where he finds a sign: "ALL NICOTINE PATCHES ON SALE" above an empty shelf. He turns to a CLERK at the nearby pharmacy register.</scene_description> <character>GREG</character> <dialogue>Do you have more nicotine patches?</dialogue> <character>CLERK</character> <dialogue>No. We have the gum. You chew it.</dialogue> <scene_description>He points to a shelf of Nicorette Gum. Greg takes a box.</scene_description> <character>GREG</character> <dialogue>Oh, and what's the most expensive of champagne you sell?</dialogue> <character>CLERK</character> <dialogue>Korbel. On sale for $8.99.</dialogue> <scene_description>He points to a nearby Korbel display. Greg walks over, grabs a bottle, and then he suddenly stops, and stares... GREG'S POV: Jack's in the parking lot, heading for a WOMAN and her idling Lexus. She's blonde, 40's, built, and as she gets out of the car, and she and Jack HUG...</scene_description> <character>GREG</character> <dialogue>Can you ring me up here?</dialogue> </scene> <scene> <stage_direction>EXT. BUY-RITE PARKING LOT - SECONDS LATER</stage_direction> <scene_description>The woman, CAROL, dangles a KEY in Jack's smiling face.</scene_description> <character>CAROL</character> <dialogue>Here, Johnny. One key to romance.</dialogue> <character>JACK</character> <parenthetical>(taking key)</parenthetical> <dialogue>I can hardly wai t ...</dialogue> <scene_description>IN FRONT OF THE STORE - BY THE KIDDY RIDES Greg's behind a pillar by a NEWSRACK, close enough to hear.</scene_description> <character>CAROL</character> <dialogue>You're sure Dee doesn't suspect?</dialogue> <character>JACK</character> <dialogue>She has no clue. And next week, after the-wedding, I'll find the right time to tell her, and we can stop sneaking around like this.</dialogue> <character>CAROL</character> <dialogue>Hey, sneaking's ha I f the fun...</dialogue> <character>JACK</character> <dialogue>Call me if you need me. Bye Carol.</dialogue> <scene_description>A quick peck and she's back in her Lexus, pulling away. But as she passes the pillar, Jack spies something... A two-foot-tall, three-foot-wide GREG, seen from behind.</scene_description> <character>JACK</character> <dialogue>Focker?</dialogue> <scene_description>BEHIND THE PILLAR-- Greg's confused-- how was he spotted? Then he spins and sees a short, fat Jack coming his way. The fun-house mirrors. Lightning fast, Greg puts his bag down and grabs a magazine from atop the newsrack. And as he hides his face behind an issue of "PARENTING" magazine...</scene_description> <character>JACK</character> <dialogue>Greg?</dialogue> <scene_description>Greg whips it down, smiling as if nothing's happened.</scene_description> <character>GREG</character> <dialogue>Oh, hey Jack. Ready to go?</dialogue> <character>JACK</character> <parenthetical>(eyeing him, wary)</parenthetical> <dialogue>Been ready, they were out of Collins. You waiting here long?</dialogue> <character>GREG</character> <dialogue>No, I was just reading up about--</dialogue> <scene_description>He randomnly flips it open to a full-page AD for (aw, no) ...</scene_description> <character>GREG</character> <dialogue>--pumps.</dialogue> <character>JACK</character> <dialogue>Pumps.</dialogue> <character>GREG</character> <dialogue>Breast pumps, for... pumping breasts.</dialogue> <parenthetical>(off Jack's look)</parenthetical> <dialogue>I grew up on a farm.</dialogue> <scene_description>Jack nods, wary, then turns and heads for the Buick. And as Greg chucks the magazine aside, grabs his bag, and follows ...</scene_description> </scene> <scene> <stage_direction>INT. BURNS HOME - DINING ROOM - NIGHT</stage_direction> <scene_description>Mmmm. Picture-perfect pot roast, steamy, fluffy potatoes, buttery vegetables, candied yams, smoking-hot rolls. Nice.</scene_description> <character>GREG</character> <dialogue>Dina, everything looks... fabulous.</dialogue> <character>DINA</character> <dialogue>Oh, Jack planned and prepared every- thing. All I did was heat'n'serve.</dialogue> <character>JACK</character> <dialogue>This was always Pam's favorite dinner growing up. Hope it's as good as you remember, sweet-pea.</dialogue> <character>PAM</character> <parenthetical>(touched)</parenthetical> <dialogue>Dad, don't make me cry over pot roast...</dialogue> <scene_description>They touch hands across Greg's plate. A beat, and...</scene_description> <character>JACK</character> <dialogue>So, who wants to say "Grace"?</dialogue> <character>DINA</character> <dialogue>Jack, you always ask but then it always winds up being you.</dialogue> <character>JACK</character> <dialogue>Not always. How about it, Greg?</dialogue> <character>GREG</character> <dialogue>Thanks, but... I've never done it.</dialogue> <character>JACK</character> <dialogue>Never said "Grace." Interesting.</dialogue> <parenthetical>(shuts eyes, as do others)</parenthetical> <dialogue>Heavenly Father bless this food, amen. Big deal, right? Dig in.</dialogue> <scene_description>He passes a platter and dinner's underway. Pam shoots Greg a look-- he clearly missed an opportunity. So...</scene_description> <character>GREG</character> <dialogue>M:mnun... y' know,</dialogue> <scene_description>I can' t remember the last time I had a real sit-down, home-cooked, family dinner like this.</scene_description> <character>JACK</character> <dialogue>Maybe back growing up on the farm.</dialogue> <character>PAM</character> <parenthetical>(squints, confused)</parenthetical> <dialogue>I thought you grew up in Detroit.</dialogue> <character>DINA</character> <dialogue>Does Detroit have many farms?</dialogue> <character>GREG</character> <dialogue>Not... really, but our house was big, and red, and.. we had a lot of pets.</dialogue> <scene_description>j</scene_description> <character>JACK</character> <dialogue>Which one did you milk?</dialogue> <character>PAM</character> <parenthetical>(disgusted)</parenthetical> <dialogue>Dad--</dialogue> <character>JACK</character> <dialogue>Honey, he said he'd pumped milk.</dialogue> <character>PAM</character> <dialogue>What have you ever milked?</dialogue> <scene_description>UNDER THE TABLE NOW-- Jinx brushes against Greg's shin.</scene_description> <character>GREG</character> <dialogue>actually. My sister'S cat</dialogue> <scene_description>A... cat, had kittens and I got bored one day and so I kind of~ milked her.</scene_description> <character>DINA</character> <dialogue>I didn't know you could milk a cat.</dialogue> <character>GREG</character> <dialogue>You can milk anything with nipples.</dialogue> <character>JACK</character> <dialogue>I have nipples. Could you milk me?</dialogue> <character>PAM</character> <dialogue>Dad--</dialogue> <scene_description>----\_.;,...1</scene_description> <character>JACK</character> <dialogue>What? I'm just curious.</dialogue> <character>GREG</character> <dialogue>Uh... sure, Jack. I guess I could. Men are fully capable of lactation.</dialogue> <character>JACK</character> <dialogue>Huh. Learn something new everyday...</dialogue> <character>PAM</character> <dialogue>Can we move on now? To something not about men's nipples, or milk?</dialogue> <scene_description>There's a beat as they consider another topic. Then...</scene_description> <character>DINA</character> <dialogue>So, Greg? How do you like nursing?</dialogue> <character>INT.</character> <dialogue>DOWNSTAIRS POWDER ROOM - LATER</dialogue> <scene_description>An anxious Greg pops the last piece of Nicorette from its packet and adds it to A PILE on the counter. Then he starts destroying evidence, tearing the box into strips.</scene_description> <character>PAM (0.5., THROUGH DOOR)</character> <dialogue>Honey, we're starting.</dialogue> <character>GREG</character> <dialogue>Okay, babe. Be right out...</dialogue> <scene_description>He turns, drops the paper into the bowl, flushes ...</scene_description> <character>PAM(O.S. )</character> <dialogue>Oh, and Dad says go easy on the paper. We're on a septic tank here .</dialogue> <scene_description>...Greg eyes the bowl. IT' 5 CLOGGING, water rising fast.</scene_description> <character>GREG</character> <dialogue>Oh God, oh no...</dialogue> <scene_description>He pulls the tiny shag rug away, yanks the. lid off the top of the tank and plunges an arm in, hoping to shut the flapper. No luck. And as the water reaches the brim and Greg steps back, mortified, to await the ensuing flood... SSKKWWOO... the clog (mercifully) bursts, the water swirling, dropping and disappearing with a GURGLE. A beat, and... Greg sags, relieved, pops a HANDFUL OF GUM, then chews and sighs, feeling the rush, relaxing for the first time today...</scene_description> </scene> <scene> <stage_direction>INT. GREAT ROOM</stage_direction> <scene_description>SCRABBLE. Pam eyes her tiles and the board, contemplating her next move, as beside her, Greg does the same, anxiously chewing and nervously bouncing a knee-- wired on the gum. Across from them-- Jack watches the board and snacks on dessert-- a plate of homemade cookies-- while Dina works busily filling out a stack of WEDDING GUEST PLACECARDS.</scene_description> <character>JACK</character> <dialogue>Greg, you can always just "pass."</dialogue> <character>GREG</character> <parenthetical>(looks up, flustered)</parenthetical> <dialogue>Oh, is it my turn? God, I'm sorry.</dialogue> <scene_description>And as he shuffles his tiles around, racking his brain...</scene_description> <character>PAM</character> <dialogue>Mom? Can I help you with those?</dialogue> <character>DINA</character> <dialogue>No thanks, sweety. Your Dad wants all the handwriting to match.</dialogue> <character>GREG</character> <dialogue>Anal.</dialogue> <scene_description>Pam turns, freaked. But then she sees Greg's just spelled "anal" on the board. He looks up, reads her expression.</scene_description> <character>GREG</character> <dialogue>What? That's a word.</dialogue> <character>PAM</character> <dialogue>I know it's a word. It's just...</dialogue> <character>JACK</character> <dialogue>...pretty B-A-D. What's with these words, Focker? "Anal", "bee" "hat"? Can't be monosyllabic if you want to beat the Scrabblin' Burns of Bayport...</dialogue> <character>GREG</character> <dialogue>Uh, okay, thanks for the tip. I mean... sug-ges-tion.</dialogue> <scene_description>He smiles, nods, shoots an "I hate games" look to Pam, then pulls three new tiles and slides them onto his wooden tile-holder. Dina's turn now. She builds on a "j".</scene_description> <character>DINA</character> <dialogue>"Jaialai."</dialogue> <parenthetical>(oddly apologetic, to all)</parenthetical> <dialogue>Sorry, I had all those a's. Go Pam.</dialogue> <dialogue>And as Dina marks her score down and pulls more tiles... Pam eyes the board, then sees Greg pop another Nicorette .</dialogue> </scene> <scene> <stage_direction>. )</stage_direction> <character>PAM</character> <dialogue>Hey, gum. I want some.</dialogue> <character>GREG</character> <dialogue>No! I mean... sorry, last piece.</dialogue> <character>PAM</character> <dialogue>Oh. Well, thanks for sharing. And for remembering to get my scrunchy.</dialogue> <character>GREG</character> <dialogue>The champagne! Shoot, I forgot, it's still chilling in the kitchen.</dialogue> <scene_description>And as he gets up and heads for the kitchen...</scene_description> <character>JACK</character> <dialogue>Why are we having champagne again?</dialogue> <character>PAM</character> <dialogue>Because, Dad-- Greg wanted to buy a little gift. It's a gesture.</dialogue> <scene_description>And as she plays her turn, Greg breezes back with an icy bottle of Brut, four glasses, and a dinner napkin draped on his wrist. He circles the table, placing the glasses.</scene_description> <character>GREG</character> <dialogue>Sorry for holding up the game.</dialogue> <scene_description>Jack shoots Greg a look, building on an "I".</scene_description> <character>JACK</character> <dialogue>Intruder. Go, Greg.</dialogue> <character>GREG</character> <dialogue>Right after I pop the bubbly, Jack.</dialogue> <scene_description>And as he wraps the bottle in a linen dinner napkin...</scene_description> <character>DINA</character> <dialogue>Pam, did you hear how Doctor Bob proposed? They went to eat at their favorite restaurant and he slipped the ring into Deb's glass of champagne...</dialogue> <character>PAM</character> <dialogue>That's so sweet. And just the right touch. I can't stand it when people make a production out of it, like</dialogue> <scene_description>---/' buying a billboard or something. If you have to try that hard.. Greg eagerly "presents" the bottle, label-out, waiter- style. As Jack nods, polite but totally indifferent...</scene_description> <character>PAM</character> <dialogue>Her ring nice? Can't wait to see it.</dialogue> <character>JACK</character> <dialogue>Oh, you've seen it.</dialogue> <character>PAM</character> <dialogue>Dad, how could I have seen it? I haven't been home for months.</dialogue> <character>JACK</character> <dialogue>Well, you haven't seen the exact ring, but it's the identical design and size of the one Kevin gave you.</dialogue> <character>GREG</character> <dialogue>Kevin? Your old boyfriend?</dialogue> <character>PAM</character> <dialogue>Thanks, Dad.</dialogue> <character>JACK</character> <dialogue>What? You never told him?</dialogue> <character>GREG</character> <dialogue>Pam, why did Kevin give you a ring?</dialogue> <character>JACK</character> <dialogue>Because that's what people do, Greg. When they get engaged.</dialogue> <scene_description>BAM! THE CORK ROCKETS ACROSS THE ROOM, heading right for-- The NAIL holding Grandma Burns' PHOTO on the wall. WHAM! The frame swings, falls, and KNOCKS THE URN FROM THE SHELF, dumping Grandma Burns to the carpet with a dusty THUD.</scene_description> <character>JACK</character> <dialogue>MOM-- !</dialogue> <scene_description>JINX bolts from under the table, racing to the big patch of ash, and as he quickly scratches a hole...</scene_description> <character>JACK</character> <dialogue>NOOOOOooooo... ! !</dialogue> </scene> <scene> <stage_direction>INT. UPSTAIRS BATHROOM - LATER (NIGHT)</stage_direction> <scene_description>Greg, shirtless, leans over the sink, throwing water on his face as Pam, in the adjacent bedroom, unpacks her suitcase on the bed. And as Greg finishes, starts drying his face...</scene_description> <character>INT.</character> <dialogue>.\</dialogue> <character>PAM'S ADJACENT BEDROOM (NOW A GUEST ROOM) - SAME</character> <dialogue>\] PAM</dialogue> <scene_description>Greg, honey, how're you doing?</scene_description> <character>GREG</character> <parenthetical>(entering from bathroom)</parenthetical> <dialogue>Surprisingly well, considering I desecrated your Grandma's cremains, found out you were engaged, and had your Father call me monosyllabic. But at least, back then, he was still talking to me...</dialogue> <scene_description>He sits on the bed, depressed. Pam sits beside him.</scene_description> <character>PAM</character> <dialogue>He's not not-talking to you. He just needs a little time to... grieve.</dialogue> <scene_description>Greg nods, resigned. But still bothered.</scene_description> <character>GREG</character> <dialogue>Pam, how come you never told me? I never knew you two were that close...</dialogue> <character>PAM</character> <dialogue>Who, Daddy and me?</dialogue> <character>GREG</character> <dialogue>Kevin and you.</dialogue> <character>PAM</character> <dialogue>Greg, do we have to know everything about our pasts? You never told me about your cat-milking days in Motown.</dialogue> <character>GREG</character> <dialogue>That was a long time ago.</dialogue> <character>PAM</character> <dialogue>Well so was this. We were engaged a month, I returned the ring, moved to Chicago, and met you, end of story. Can we please not fight about it?</dialogue> <character>GREG</character> <dialogue>Okay, all right, we can drop it... God, am I totally blowing it here?</dialogue> <character>PAM</character> <dialogue>Of course not. You're a great guy. And hopefully my parents will see</dialogue> <scene_description>-.....-.-.. tha t , and... grow to love you too.</scene_description> <character>GREG</character> <dialogue>They will, Pam. I promise.</dialogue> <scene_description>He pulls her close, and as they hug and swap little kisses...</scene_description> <character>GREG</character> <parenthetical>(eyes his tenting crotch)</parenthetical> <dialogue>And speaking of growing to love you.</dialogue> <character>PAM</character> <dialogue>Honey, c'mon. It's late...</dialogue> <character>GREG</character> <dialogue>I know that, but "he" doesn't. And you know there's really only one sure- f ire way to make him go away...</dialogue> <character>JACK (O.S., THROUGH DOOR)</character> <dialogue>Greg, can I talk to you please?</dialogue> <character>GREG</character> <dialogue>...and that's it.</dialogue> <character>INT.</character> <dialogue>HALLWAY OUTSIDE BEDROOM - SECONDS LATER</dialogue> <scene_description>Greg steps out, wearing Pam's jade Victoria's Secret robe. Jack stands a few feet away, in the dimly-lit hallway, Dina a few feet behind him in the master bedroom doorway.</scene_description> <character>GREG</character> <dialogue>Yes, Jack?</dialogue> <character>JACK</character> <dialogue>Look, I just wanted to say... don't worry about what happened tonight.</dialogue> <character>GREG</character> <dialogue>Thanks, but I still feel horrible...</dialogue> <character>JACK</character> <dialogue>Well, it was a horrible thing. But let me tell you something about my Mother. The woman loved to laugh...</dialogue> <character>DINA</character> <dialogue>She gave Jack his sense of humor.</dialogue> <character>JACK</character> <dialogue>...and I honestly believe, if she were with us today, instead of outside, in the bottom of a trash barrel, she'd have found what happened tonight to be hysterical. So let's put it behind us</dialogue> <scene_description>..J and enjoy our weekend together, okay? He smiles and gives Greg a friendly clap on the back.</scene_description> <character>GREG</character> <dialogue>Okay, Jack. Thanks...</dialogue> <character>PAM</character> <parenthetical>(peeking from her doorway)</parenthetical> <dialogue>Thank you, Daddy.</dialogue> <character>JACK</character> <dialogue>You're welcome, pumpkin. G'night.</dialogue> <scene_description>Pam ducks back in her room, and as Greg turns to follow...</scene_description> <character>JACK</character> <dialogue>Oh, Greg? One more thing. I'm a realist. And I understand it's the 21 st Century and that you and my daughter have probably had premarital relations, am I right?</dialogue> <character>GREG</character> <parenthetical>(root canal)</parenthetical> <dialogue>That's... correct.</dialogue> <character>JACK</character> <dialogue>And I have no quarrel with that. But when you're under our roof, it's our rules. Is that understood?</dialogue> <character>GREG</character> <dialogue>Of course...</dialogue> <character>JACK</character> <dialogue>Good. Don't touch her for 72 hours.</dialogue> <character>DINA/JACK</character> <dialogue>'Night, Greg.</dialogue> <scene_description>Jack turns and heads to bed with Dina, leaving Greg stunned..</scene_description> </scene> <scene> <stage_direction>INT. DEBBIE'S BEDROOM - NIGHT</stage_direction> <scene_description>Picture Barbie's room. A pink canopy bed, floral wall- paper, just-sent wedding gifts, piled high. Greg stares.</scene_description> <character>GREG</character> <dialogue>Pam, c'mon. It's wall-to-wall estrogen. I'll wake up with tits.</dialogue> <parenthetical>(off her stare)</parenthetical> <dialogue>Seriously, I'd feel weird sleeping in Deb's bed-- I mean, she still lives here, there's all these gifts around.. This whole thing is so ridiculous.</dialogue> <character>PAM</character> <dialogue>I agree, but you heard my Dad. Parents' house, parents' rules...</dialogue> <parenthetical>(as Greg mopes)</parenthetical> <dialogue>Don't take it personally, my parents are squares, they're Ward and June Cleaver. And they just don't think unmarried people should be "fornicating" under their roof.</dialogue> <character>GREG</character> <parenthetical>(back turned, sotto)</parenthetical> <dialogue>Which is why Ward got a love-nest...</dialogue> <character>PAM</character> <dialogue>What?</dialogue> <character>GREG</character> <dialogue>Nothing. I just wish your Dad would trust us. And not be so... hung-up on the "evils of penetration."</dialogue> <character>PAM</character> <dialogue>Yuck. He didn't say that, did he?</dialogue> <character>GREG</character> <dialogue>Yeah. I mean, he was talking about communism, but he was looking at me.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>C'mon, Pamcake. Can't I sleep some- where less persorial and more... guesty?</dialogue> </scene> <scene> <stage_direction>INT. JACK'S DEN - DOWNSTAIRS - LATER</stage_direction> <scene_description>Pam pulls out the sofa-bed to reveal a wafer-like mattress. Greg sits on it, his expression less than thrilled.</scene_description> <character>PAM</character> <dialogue>Hey, you wanted "guesty."</dialogue> <scene_description>As Pam starts to make the bed, Greg gets up and notices a series of PHOTOS on the wall. They're all Jinx, wearing outfits, e.g. a Santa cap, a Yankees cap, sunglasses, etc.</scene_description> <character>GREG</character> <dialogue>Your parents really need grandkids.</dialogue> <character>PAM</character> <dialogue>I'm sure Deb'll get right on it. Anyway, there's a bathroom here if you need it, but don't use the toilet because it never works right.</dialogue> <character>GREG</character> <dialogue>Gotcha.</dialogue> <character>PAM</character> <dialogue>And Greg, I know tomorrow Dad has a lot of plans for the wedding party, but I'm sure you could join us...</dialogue> <character>GREG</character> <dialogue>Thanks, but I think I'll stick to the original plan and lay low. Maybe take a drive, smoke a carton of Camels...</dialogue> <character>PAM</character> <dialogue>Ooooh, you know, I'd spank you right now if it didn't involve touching.</dialogue> <scene_description>He blows her a kiss. She returns it, then lunges and gives him a quick, deep, kiss and butt-cupping before turning and leaving, not quite shutting the door. What a tease. A beat, and Greg looks around. Next to the "shrine" and its accordion door is Jack's desk and phone. Greg pulls a business card from his wallet, goes to the phone, dials.</scene_description> <character>RECORDED VOICE</character> <dialogue>Sorry, the Lost Luggage Department is closed. Normal business hours are--</dialogue> <scene_description>Greg hangs up, bummed, then spies a CIA-LOGO NOTEPAD by the phone. In red ink: "Fokker" (sp?) Call CIA - Chicago H Curious, Greg slides open the desk's top drawer... IN THE DESK-- is a spiral-bound CIA MANUSCRIPT, heavily dog-eared: "MANO-A-MANO: THE ART OF THE WEAPONLESS KILL. H Greg takes a moment to ponder this, then puts it back, shuts the drawer, and slips out of Pam's robe to reveal red "boy-leg" CK briefs. He goes to a window, cracks it, and.. Fresh air drifts in, along with the SOUND OF AN UPSTAIRS TV.</scene_description> </scene> <scene> <stage_direction>INT. JACK AND DINA'S BEDROOM - NIGHT</stage_direction> <scene_description>Jack and Dina sit up in bed, their room lit TV blue.</scene_description> <character>JACK</character> <dialogue>She said that? She said "permanent."</dialogue> <character>DINA</character> <dialogue>"Absolutely permanent" to be exact.</dialogue> <character>JACK</character> <dialogue>Jesus, I just realized something. Pam's middle name, Martha...</dialogue> <scene_description>He waits for it to dawn on her. They trade sullen looks.</scene_description> <character>JACK/DINA</character> <dialogue>Pamela Martha Focker.</dialogue> </scene> <scene> <stage_direction>INT. JACK'S OFFICE - SAME</stage_direction> <scene_description>Greg heads for the sofa-bed, pausing as he sees-- A shelf full of SPY-CAMS. Smoke alarms, clocks, teddy bears, and the prototype of the aforementioned Outlet-Cam. He picks up the outlet cam, eyeing the mini RF transmitter on the back. Then he turns it back around, so it's facing him again, and as he puts an eye up to one of its holes-- A TOILET FLUSHES. Startled, Greg DROPS THE SPY-CAM. It hits the floor, the BACK BREAKING OFF. Greg gasps, spins-- And Mr. Jinx strolls around the cracked bathroom door.</scene_description> <character>GREG</character> <dialogue>Jesus.</dialogue> <scene_description>Jinx meows and bolts out the den door. Greg catches his breath, then drops to the floor and picks up the broken outlet cam. He snaps it together best he can, places it back on the shelf, and as he turns back to the sofa-bed... He checks out a wall of PHOTOS, the various MUSIC from the TV upstairs tenderly "underscoring" each picture. There's dozens of photos, but most are of Jack and Pam over the past 20-odd years, hugging, smiling, and generally looking happy. Then, to the strains of "Lollipops and Roses" (as Jack flips to a re-run of the Dating Game) ... Greg eyes another collage of photos of 20-ish Pam and a HANDSOME GUY. Hugging her on a beach. Laughing with Jack on the links. Holding a kitten-- Jinx. The last one is Pam, the Guy, and a cake. On the icing: Happy B-Day Kevin. Greg eyes the photo, his face mirrored in the glass. Then he sighs, gets into bed, hits the light, and we... FADE OUT.</scene_description> </scene> <scene> <stage_direction>EXT. THE BURNS HOME - MORNING</stage_direction> <scene_description>Sun's up, another rental car in the driveway. Cadillac. Pam runs by it, back from a jog, and as she slides off her jogger fanny-pack and takes the front-steps two-at-a-time...</scene_description> </scene> <scene> <stage_direction>INT. THE DARKENED, DOWNSTAIRS DEN - LATER</stage_direction> <scene_description>Greg lies twisted in the sheets of the sofa-bed, his Calvins akimbo, showing cheek. SOUNDS drift in... Dishes clanking, voices laughing. He sits up, rolls over, and squints two crusty eyes at a nearby wall-clock. 9:24</scene_description> <character>GREG</character> <dialogue>Shit.</dialogue> </scene> <scene> <stage_direction>INT. THE KITCHEN - SECONDS LATER</stage_direction> <scene_description>The kitchen's ablaze in the bright morning sun, the table crowded shoulder-to-shoulder for a big family breakfast. Jack, Dina, and Pam are there, laughing and eating Belgian Waffles. Across from them, enjoying perfect omelets, are-- DEBBIE BURNS and BOB BANKS. They're handsome, wholesome, and sitting so close they look like Siamese-Twins. Beside them (steeled oats, fresh fruit) are Bob's folks, LARRY AND LINDA BANKS-- fit, tan, coifed, and bubbling. Linda, it's clear, has been under the knife and looks 40.</scene_description> <character>LARRY</character> <dialogue>...and so I ask the man if it burns when he urinates, and he says "Beats me, I never tried to light it."</dialogue> <scene_description>Everyone ROARS at Larry's anecdote. Jack eyes his watch.</scene_description> <character>JACK</character> <dialogue>Bob, when does Andy'S flight land?</dialogue> <character>BOB</character> <dialogue>Y'know, I don't know? But he said he'd be here for breakfast\_</dialogue> <scene_description>Jinx jumps up on the table. Right in front of Jack.</scene_description> <character>JACK</character> <dialogue>Look who else is here for breakfast.</dialogue> <scene_description>Jack grabs a pair of Jinx's whiskers and gives them a gentle tug, lifting Jinx'S "lip", like a Ventroliquist.</scene_description> <character>JACK</character> <parenthetical>(then, singing, "Feelings")</parenthetical> <dialogue>Felines. Nothing more than... felines. Try-ing to for-get the... Fe-lines I've loved... "</dialogue> <scene_description>Jack'n'Jinx bring the house down, Jack hugging Jinx, cheek-to-cheek, then putting him down, Jinx brushing by... Greg, half-peeking around the doorway. Bob spies him.</scene_description> <character>BOB</character> <dialogue>Hey. Greg, right?</dialogue> <character>A CHORUS OF VOICES</character> <dialogue>Morning, Greg.</dialogue> <scene_description>Greg leans out in his V.S. robe, voice raspy from sleep.</scene_description> <character>GREG</character> <dialogue>Mhhornink.</dialogue> <character>LINDA</character> <dialogue>Oh boy. Looks like somebody had a l i ' l visit from the Hair Fairy.</dialogue> <scene_description>More laughs. It's true, Greg has a Gumby-like case of pillow hair. He smiles, a sport, then smoothes it over, making it worse. Pam scoots her chair out, gets up.</scene_description> <character>PAM</character> <dialogue>I'll do intros. Greg, meet Debbie...</dialogue> <character>DEBBIE</character> <dialogue>Hi, Greg.</dialogue> <scene_description>She offers her hand, Greg shaking it and noticing the huge DIAMOND on her finger, much bigger than the one he got Pam.</scene_description> <character>GREG</character> <dialogue>Nice to meet you, Debbie.</dialogue> <character>PAM</character> <dialogue>And that's Doctor Bob.</dialogue> <character>BOB</character> <dialogue>But you can call me Bob... M.D.</dialogue> <scene_description>LAUGHS as Bob scores.</scene_description> <character>PAM</character> <dialogue>And that's Larry and Linda Banks.</dialogue> <character>JACK</character> <dialogue>Dr. Larry is a famous plastic surgeon.</dialogue> <character>LARRY</character> <dialogue>Now cut that out!</dialogue> <scene_description>He makes scissors with his hand and "cuts" the air. This actually gets laughs, too. Easy crowd.</scene_description> <character>GREG</character> <dialogue>Pleased to meet you. I think I'll just head upstairs now and have a l i ' l visit with the... shower fairy.</dialogue> <scene_description>Crickets. No one laughs. Greg manages a smile before giving a little wave and retreating to the hallway--</scene_description> <character>INT.</character> <dialogue>HALLWAY JUST OUTSIDE KITCHEN - CONTINUOUS</dialogue> <scene_description>--where Pam follows, giving him a little smooch.</scene_description> <character>PAM</character> <dialogue>.J So handsome, how'd you sleep?</dialogue> <character>GREG</character> <dialogue>Late. Why didn't you wake me?</dialogue> <character>PAM</character> <dialogue>Because when I checked an hour ago, you were out cold. And I know how you like to sleep in...</dialogue> <character>GREG</character> <dialogue>Not when I'm a guest.</dialogue> <character>PAM</character> <dialogue>Oh. Sorry. Good news though-- the airline called, they have your bag, and it should be here later today.</dialogue> <character>GREG</character> <dialogue>It's okay? Wasn't open or anything?</dialogue> <character>PAM</character> <dialogue>They didn't say, so it must be fine.</dialogue> <character>GREG</character> <dialogue>That's great. Maybe now I can start feeling like myself again.</dialogue> <character>PAM</character> <dialogue>In the meantime, just grab more clothes from Denny's room. He should be getting up soon.</dialogue> <scene_description>Jack is within earshot, dropping fruit into his Juiceman.</scene_description> <character>JACK</character> <dialogue>He should be getting up now. We have a busy day. Greg, wake him.</dialogue> <character>GREG</character> <dialogue>Uh... okay, I'll shower, wake Denny, dress, and be right down. Bye hon.</dialogue> <scene_description>And as he plants one on her...</scene_description> </scene> <scene> <stage_direction>INT. STEAMY BATHROOM - MOMENTS LATER</stage_direction> <scene_description>Greg, wet-haired and in a towel, leans over the sink, struggling to shave with Pam's round "Flicker" razor, her cosmetic bag and deodorant out on the counter before him.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY OUTSIDE DENNY'S ROOM - LATER</stage_direction> <scene_description>Greg, back in that girly robe, knocks on the door.</scene_description> <character>GREG</character> <dialogue>Denny?</dialogue> </scene> <scene> <stage_direction>INT. DENNY'S ROOM</stage_direction> <scene_description>A dark, cluttered STY, lit only by the sun peaking through wind-blown blinds. The unmade bed... empty. Greg leans in.</scene_description> <character>GREG</character> <dialogue>Hello... ?</dialogue> <scene_description>He looks around and then, satisfied Denny's not here, he heads for the ransacked closet and chest of drawers. He opens a drawer, finds clean boxers, drops his robe, and-- A HEAD shoves through the blinds. DENNY'S.</scene_description> <character>DENNY AND GREG</character> <dialogue>Aaaah!</dialogue> <scene_description>Nude Greg cups the boxers to his crotch.</scene_description> <character>GREG</character> <dialogue>Denny?</dialogue> <character>DENNY</character> <dialogue>Outta my room, dickless!</dialogue> <scene_description>He sweeps the blinds aside to reveal he's standing on the garage roof. And as leans over and starts climbing in... Greg spins and slides the shorts on as Denny falls inside with a THUD. A beat, then Denny slowly gets to his feet.</scene_description> <character>GREG</character> <dialogue>Hi, Denny, I'm Pam's boyfriend--</dialogue> <character>DENNY</character> <dialogue>Are you wearing my boxers?</dialogue> <character>GREG</character> <dialogue>Yeah, the stupid airline lost my bag so Pam said I should borrow clothes...</dialogue> <scene_description>Denny pulls a tiny can of "Ozium" deodorizer from his jacket pocket and sprays his reaking clothes head-to-toe.</scene_description> <character>DENNY</character> <dialogue>You tell 'em I wasn't here?</dialogue> <character>GREG</character> <dialogue>What? No, in fact, your Mom asked me to come up here and wake you.</dialogue> <character>DENNY</character> <dialogue>No shit? Righteous.</dialogue> <parenthetical>(head back, using eye-drops)</parenthetical> <dialogue>So... you're from Chicago. That's in Michigan, right?</dialogue> <scene_description>ir~,"f</scene_description> <character>~ .. , . - .'(</character> <dialogue>Illinois.</dialogue> <character>GREG</character> <dialogue>ili~~</dialogue> <character>DENNY</character> <dialogue>You sure?</dialogue> <scene_description>Greg lets this slide, watching as Denny tosses his jacket atop an old Nordic-Trak that's been "modified." A length of surgical tubing and an ace bandage hang between its ski-poles, the "sling" facing the bedroom's front window.</scene_description> <character>GREG</character> <dialogue>How do you like your Nordic-Trak?</dialogue> <character>DENNY</character> <dialogue>It Nordic-blows. I used it for maybe a week. Now it's a water- condom catapult. If two guys pull the sling back, you can nail the church playground a block away.</dialogue> <character>GREG</character> <dialogue>Really? That's... rad. Denny, could I grab more clothes? If you want to pick them out for me, that's cooL.</dialogue> <scene_description>Denny pushes past Greg into the closet and finds a pair of black polyester "slacks" (tags still on them) and a pair of black dress socks. Then he finds an old pile of shirts, digs, and pulls out Milli Vanilli, World Tour '92 with a rendering of the two dancin' dreadlocked shysters. And as he tosses the all-black ensemble to Greg... DENNY (cont' d) You're styling. Rock on.</scene_description> <character>INT.</character> <dialogue>KITCHEN - LATER</dialogue> <scene_description>Greg picks at the dregs of breakfast as around him, everyone looks STRESSED watching Bob talk on the phone.</scene_description> <character>BOB</character> <dialogue>Andy, bud, we understand. You just feel better, okay? We'll mail you some cake. Thanks homie. Bye.</dialogue> <scene_description>He hangs up and shrugs, bummed.</scene_description> <character>LARRY</character> <dialogue>I can't believe it. Poor Dr. Andy...</dialogue> <character>JACK</character> <dialogue>Maybe he can fly in tonight.</dialogue> <character>DINA</character> <dialogue>Jack, his back is out. It took him two hours just to crawl to a phone.</dialogue> <character>LINDA</character> <dialogue>So what does all this mean?</dialogue> <character>JACK</character> <dialogue>It means we don't have two ushers.</dialogue> <scene_description>This hangs in the air a moment. Then Pam chimes in.</scene_description> <character>PAM</character> <dialogue>Greg can do it.</dialogue> <scene_description>And as Greg looks up, mid-chew, to find everyone staring...</scene_description> <character>INT.</character> <dialogue>GREAT ROOM - MOMENTS LATER</dialogue> <scene_description>Jack hands everyone a one-page, nicely printed ITINERARY, a single-spaced page broken down in hourly increments.</scene_description> <character>JACK</character> <dialogue>People, this itinerary takes us from 0900 today through the wedding and right up to Bob and Debbie's departure for their honeymoon. Now, I know we're a big group and there's a lot to do and not a lot of time, but if this wedding is to be the success we all know it can be, there cannot be any deviation from this schedule, is that clear?</dialogue> <character>LARRY</character> <dialogue>Clear as an Eskimo's artery.</dialogue> <character>JACK</character> <dialogue>Questions?</dialogue> <character>GREG</character> <dialogue>What are we doing about my tuxedo?</dialogue> <character>JACK</character> <dialogue>They'll altar Andy's. Anyone else?</dialogue> <character>DENNY</character> <dialogue>Yeah, about the Rehearsal Dinner. What kind of food they serve at the uSurf'n'Turd" Restaurant?</dialogue> <scene_description>He holds up his agenda, points. Jack gapes .</scene_description> </scene> <scene> <stage_direction>.. J</stage_direction> <character>JACK</character> <dialogue>Give me that! Give them back!</dialogue> <scene_description>He starts to snatch them out of people's hands.</scene_description> <character>PAM</character> <parenthetical>(slightly amused)</parenthetical> <dialogue>Dad, c'mon, it's okay.</dialogue> <character>DEBBIE</character> <dialogue>Yeah, we know it's the Surf'N'Turf.</dialogue> <character>JACK</character> <dialogue>Dina, I told you to proof these!</dialogue> <character>DINA</character> <parenthetical>(flinching)</parenthetical> <dialogue>I-- Greg did, on the computer. He said he was an expert.</dialogue> <scene_description>All eyes snap to Greg. He stammers...</scene_description> <character>GREG</character> <dialogue>1... guess the spell-checker must've somehow missed it.</dialogue> <character>JACK</character> <dialogue>How can it "miss it"? It's a computer, for god's sake.</dialogue> <character>PAM</character> <dialogue>Dad, please...</dialogue> <character>GREG</character> <dialogue>It didn't actually "miss it". For whatever reason, the word is in the computer's dictionary, and Dina happened to spell "turd" right...</dialogue> <character>DENNY</character> <dialogue>Good job, Ma.</dialogue> <scene_description>And as Jack and Dina shoot Denny daggers... THUNDER CLAPS.</scene_description> </scene> <scene> <stage_direction>EXT. THE FRONT PORCH - MOMENTS LATER</stage_direction> <scene_description>Rain. One after the other, they make for the driveway.</scene_description> <character>LARRY</character> <dialogue>Where the hell'd this come from? All the weather reports said "fair."</dialogue> <character>JACK</character> <dialogue>Not to worry. My contact at the Weather Service says sun by 1200 EST.</dialogue> <character>BOB</character> <dialogue>Just as long as it's nice for the swim-party and barbecue at Riley's ...</dialogue> <character>GREG</character> <dialogue>Who's Riley?</dialogue> <character>LINDA</character> <dialogue>Bob's best friend, and the Best Man.</dialogue> <character>PAM</character> <parenthetical>(tossing Greg a windbreaker)</parenthetical> <dialogue>Denny, I'm lending Greg your jacket.</dialogue> <character>DENNY</character> <dialogue>Whatever.</dialogue> <scene_description>But when Denny sees exactly what jacket, his eyes bug. IN THE DRlVEWAY-- Dina swings the Buick doors open and Larry the Cad's, and as Linda starts to. get in with Larry...</scene_description> <character>JACK</character> <dialogue>No, no, no, men in one car, women in the other! Check your itineraries.</dialogue> <character>DINA</character> <dialogue>Hop in, Linda. Us gals are all heading to the dressmaker's.</dialogue> <character>LARRY</character> <dialogue>And we men are all off to--</dialogue> <parenthetical>(reading his itinerary)</parenthetical> <dialogue>"The Tuxedo Ship."</dialogue> <scene_description>And as Jack turns and shoots Greg the evil eye...</scene_description> <character>EXT. "THE TUXEDO SHOP" - DAY</character> <dialogue>The Cadillac's out front. Still raining.</dialogue> <character>INT.</character> <dialogue>THE TUXEDO SHOP</dialogue> <scene_description>Bob, Jack and Larry stand at a three-way mirror, beaming and looking smart in top hats and gray morning-coats.</scene_description> <character>LARRY</character> <dialogue>Son, you look so damn... dapper. Deb's gonna see you at the altar and faint.</dialogue> <character>JACK</character> <dialogue>If she does, I'm not worried. Half your damn guest list is Doctors.</dialogue> <parenthetical>(as they chuckle)</parenthetical> <dialogue>Y'know, Greg here's in medicine too.</dialogue> <scene_description>-</scene_description> <character>LARRY</character> <dialogue>Really? What field?</dialogue> <scene_description>BEHIND A NEARBY CHANGING CURTAIN-- Greg and Denny are still dressing, Greg unwrapping the plastic from his (Andy's) tux.</scene_description> <character>GREG</character> <dialogue>Nursing.</dialogue> <scene_description>Larry and Bob appreciate the quip.</scene_description> <character>LARRY</character> <dialogue>No, really, what field?</dialogue> <character>GREG</character> <dialogue>Really. I graduated third in a class of 200 from MNA-- the Mountainside Nursing Academy in New Hampshire.</dialogue> <scene_description>Bob and Larry swap smirks, Larry speaking sotto to Bob.</scene_description> <character>LARRY</character> <dialogue>Ever heard of it?</dialogue> <character>BOB</character> <dialogue>Yeah. Lotta hotties come out of MNA.</dialogue> <scene_description>Jack eyes himself and the Banks in the mirror...</scene_description> <character>JACK</character> <dialogue>Hey, you guys are missing something.</dialogue> <scene_description>He holds up his white-gloved hands. The Banks' are bare. Suddenly, Larry and Bob get the same idea.</scene_description> <character>LARRY AND BOB</character> <dialogue>Oh, Greg?</dialogue> <parenthetical>(raising hands like surgeons)</parenthetical> <dialogue>"Gloves!?"</dialogue> <scene_description>And as Jack and the MD' s have a laugh at Greg's expense... BEHIND THE CURTAIN-- Greg finds the box of gloves and slides it under the curtain. Denny sniffs the air.</scene_description> <character>DENNY</character> <dialogue>What reeks? You wearing cologne?</dialogue> <character>GREG</character> <dialogue>Oh, no-- it's Pam's "Secret." You know, "Strong enough for a man--"</dialogue> <character>DENNY</character> <dialogue>--but made for a homo?</dialogue> <scene_description>Denny puts on his top-hat and whips the curtain aside to exit, leaving half-nude Greg exposed for the store to see. He shuts the curtain, and as he continues to get dressed... He bumps a CHAIR with someone's belongings on it. A WALLET falls, and as Greg picks it up-- Bob enters, and stares.</scene_description> <character>BOB</character> <dialogue>Why do you have my wallet?</dialogue> <character>GREG</character> <dialogue>Oh, I bumped the chair here and--</dialogue> <parenthetical>(he's said enough)</parenthetical> <dialogue>Sorry.</dialogue> <scene_description>He hands the wallet back. Bob still staring, concerned.</scene_description> <character>GREG</character> <dialogue>I didn't open it. Really.</dialogue> <character>BOB</character> <parenthetical>(doesn't believe him)</parenthetical> <dialogue>I believe you.</dialogue> <scene_description>Bob pulls on his khaki shorts and pockets the wallet. And as Greg continues to try on Andy's tux...</scene_description> <character>GREG</character> <dialogue>Hey Bob M.D., thanks for having me in the wedding party. I'm honored. And I know it means a lot to Pam.</dialogue> <character>BOB</character> <dialogue>I'm just glad it's working out. I guess we need two ushers and I didn't want to tap Riley. He has enough to do, with the ring, and the speech--</dialogue> <character>GREG</character> <dialogue>How come Riley's not here? Is he not wearing a tux?</dialogue> <character>BOB</character> <dialogue>Actually, we're matching his. He owns one just like this. Nice, huh?</dialogue> <character>GREG</character> <dialogue>Well, yours looks great...</dialogue> <scene_description>He pulls the jacket on and turns to the full-size mirror. The sleeves and cuffs are close, but the fit is VERY TIGHT.</scene_description> <character>GREG</character> <dialogue>...but I think I need some tailoring. I mean, I can't even touch my toes--</dialogue> <scene_description>He starts to bend over, and as he does-- RIP. The jacket and pants split down the back. And as everyone eyes Greg...</scene_description> <character>INT.</character> <dialogue>.. .,J.</dialogue> <character>TUX SHOP - MOMENTS LATER</character> <dialogue>Greg stands waiting in his boxers as the Owner and his TAILOR examine the open-backed tux. Then the two men turn and shake their heads glumly at an antsy Jack and Larry.</dialogue> <character>GREG</character> <dialogue>Sorry, Jack. Andy must be a stick.</dialogue> <character>JACK</character> <dialogue>Don't pin this on Doctor Andy. The wedding's tomorrow, your tux is ruined, and now I have to tell Dina and Debbie. Where's an itinerary? I have to call the damn dress shop.</dialogue> <scene_description>And as he heads for the dressing room, and their clothes... BEHIND THE CURTAIN-- Denny has "Greg's" windbreaker off the hook and is checking the pockets when Jack walks in. Denny startles, drops the jacket, and out tumbles-- A LIGHTER and a ZIP-LOCK BAG OF DOOBIES. They gape.</scene_description> <character>DENNY</character> <dialogue>Woah. Greg's a total stoner.</dialogue> <character>JACK</character> <dialogue>I knew it.</dialogue> </scene> <scene> <stage_direction>EXT. SOUTH HAMPTON STREET - DAY</stage_direction> <scene_description>Still pouring. The Caddy and the Buick roll up the driveway of an impressive, custom-made home.</scene_description> <character>INT.</character> <dialogue>THE BUICK</dialogue> <scene_description>Dina drives, Deb beside her, Linda and Pam in the back.</scene_description> <character>PAM</character> <dialogue>Whose house is this, Mom?</dialogue> <character>DINA</character> <dialogue>It's right there on your interary, honey. "BBQ at the Best Man's"~</dialogue> <scene_description>And as Debbie shoots her Mother a dubious look... EXT. RILEY'S DRIVEWAY They motor past rows of trimmed hedges and rose-gardens, the rain slowly tapering off until...</scene_description> <character>EXT.</character> <dialogue>THE CIRCULAR DRIVE OF RILEY'S MINI-MANSION - DAY</dialogue> <scene_description>...the sky's blue, sun's bright, and dew glistens on the flower beds and lawn. It's like a different, happy world. BY THE FRONT DOOR-- the car doors open and the families slide out, basking in the sweet air and sudden sunshine.</scene_description> <character>LARRY</character> <dialogue>The sun! What luck.</dialogue> <character>BOB</character> <dialogue>Luck? C'mon, Riley planned this.</dialogue> <scene_description>AT THE BUICK-- Dina, not her cheery self, pops the trunk.</scene_description> <character>DINA</character> <dialogue>Jack, bring the tuxes over. We'll put them in here, with the dresses.</dialogue> <scene_description>A few yards away, Pam reunites with Greg. A peck, and...</scene_description> <character>GREG</character> <dialogue>Jack was mad. Was your Mom upset?</dialogue> <character>PAM</character> <parenthetical>(yes)</parenthetical> <dialogue>No.</dialogue> <scene_description>Dina walks toward them, toting tuxes. She smiles at Greg.</scene_description> <character>DINA</character> <dialogue>Don't worry about the foul-up, Greg. Something was bound to go wrong-- after all, all weddings have their one "thing"-- and your thing was our thing. But it's behind us now, so let's just forget it and move on.</dialogue> <scene_description>A Stepford smile, then she puts the tuxes in the Buick and pulls out a big beach tote-bag as Denny walks up.</scene_description> <character>DENNY</character> <dialogue>Ma, you pack me a suit and towel?</dialogue> <character>DINA</character> <dialogue>Just a suit. Kevin has towels.</dialogue> <character>PAM</character> <dialogue>Kevin?</dialogue> <character>KEVIN (0 . S . )</character> <dialogue>Hey! Welcome, everybody!</dialogue> <character>THE BURNS AND BANKS</character> <dialogue>Hey Riles! Kevin! Riley!</dialogue> <scene_description>KEVIN RILEY, 32, strolls over in swim-trunks and a cropped-tee. He's the same guy we saw in the photos, only he's improved with age-- better looking, tanner, buffer. And as Pam shoots her Father a look that could kill...</scene_description> <character>BOB</character> <dialogue>Hey, Riley-buddy.</dialogue> <character>KEVIN</character> <parenthetical>(handshake/embrace)</parenthetical> <dialogue>Doctor Robert, welcome.</dialogue> <parenthetical>(then, to Debbie)</parenthetical> <dialogue>Debra. Big day manana.</dialogue> <scene_description>He kisses her cheek before moving on to Jack and Dina.</scene_description> <character>KEVIN</character> <dialogue>Double-B and darling Dee...</dialogue> <character>JACK/DINA</character> <dialogue>Mr. Riley, sir./Hello, Kevin.</dialogue> <scene_description>Kevin pecks Dina on the cheek, then does the same to Jack, something not lost on Greg. Kev moves along, to the Banks.</scene_description> <character>KEVIN</character> <dialogue>Larry, Linda, looking lovely.</dialogue> <character>LARRY/LINDA</character> <dialogue>Thanks, Riley. And you.</dialogue> <scene_description>Denny scratches his cheek with his middle finger, grins.</scene_description> <character>DENNY</character> <dialogue>Beavis.</dialogue> <character>KEVIN</character> <dialogue>Butthead.</dialogue> <scene_description>He lightly cuffs the back of Denny's head before turning to Pam and Greg, Pam summoning a smile despite her anger.</scene_description> <character>KEVIN</character> <dialogue>Hey Peanut.</dialogue> <character>PAM</character> <dialogue>Kevin, this is Greg.</dialogue> <character>JACK</character> <dialogue>Greg is Pam's guest from Chicago.</dialogue> <character>KEVIN</character> <dialogue>Chi-town! Welcome to the Hamptons.</dialogue> <character>GREG</character> <dialogue>Thanks, you too.</dialogue> <scene_description>Damn, he's done it again. -'</scene_description> <character>KEVIN</character> <dialogue>Well, the sun's out, grill's hot and the pool's luke, so if you're up for a swim and a little bee-bee-cue...</dialogue> <character>BOB</character> <dialogue>Riles, we're there.</dialogue> <scene_description>They head down a path from the driveway, toward the sound of an outdoor stereo and a sparkling blue pool, Jack ~aking up the rear and calling to them as they go.</scene_description> <character>JACK</character> <dialogue>People, it's 12:10 and we're a bit behind so have fun, eat, drink, be merry, but be ready to go by 1400.</dialogue> <scene_description>He spins to find Pam glaring at him, fuming.</scene_description> <character>PAM</character> <dialogue>I can~t believe you kept this from me.</dialogue> <character>JACK</character> <dialogue>Sorry, it's on the itinerar~\_</dialogue> <scene_description>PAM (checking hers) It just says "Barbecue At Best Man's."</scene_description> <character>JACK</character> <dialogue>What, no one told you it was Riley?</dialogue> <character>PAM</character> <dialogue>How does Bob even know Kevin?</dialogue> <character>JACK</character> <dialogue>Honey, it's simple. When I started the Nanny-Cams I needed investors, so naturally I called Kevin, he hooked me up with Larry, I met Bob, who already knew Kevin through Larry, and later I introduced Bob to Deb...</dialogue> <character>PAM</character> <dialogue>Wait, you "set-up" Bob a~d Debbie?</dialogue> <character>JACK</character> <dialogue>I thought they should meet si~Ge Bob was goin~ to N~U and wouldn't k~ow anybody .</dialogue> <scene_description>.~d here we are, ~ight? A few months later and be::s are ringing. I'm a re~ular Hel:o Dolly. (winks) I didn't nean to upse~ yo~, Pa~Gake. You're alvlays saying how YO'J're over Kevin, how he means no:hir.g to you.</scene_description> <character>PAM</character> <dialogue>Which he doesn't. Still.</dialogue> <character>JACK</character> <dialogue>Good. Now c'mon, you and Greg come join the party. We're all friends here...</dialogue> <scene_description>He smiles, then heads off down the path. Pam sighs.</scene_description> <character>PAM</character> <dialogue>This is too weird. G.:eg, I'm sorry...</dialogue> <character>GREG</character> <dialogue>Pam, honey, don't apologize. I heard your Dad, I understand. Hey, if I can go a weekend without sex and cigarettes, I can certainly handle two days with your ex- fiance.</dialogue> <character>PAM</character> <dialogue>Baby, you're the greatest.</dialogue> <character>KEVIN (O.S.)</character> <dialogue>Hey, kids!</dialogue> <scene_description>Kevin comes up the path from the pool, shirtless, buff.</scene_description> <character>KEVIN</character> <dialogue>Jack said you two wanted a tour. C'mon, I'll show you the digs.</dialogue> <character>GREG/PAM</character> <dialogue>Great ...</dialogue> </scene> <scene> <stage_direction>INT. CAVERNOUS COUNTRY KITCHEN - MOMENTS LATER</stage_direction> <character>KEVIN</character> <dialogue>Floor's imported limestone, counter's German greenstone, I got twin Sub Z's, Vi king ~ange, two dishwashers...</dialogue> <character>GREG</character> <dialogue>This kitche~'sthe size of ~y condo.</dialogue> <character>PP\.\,1</character> <dialogue>So, work must be working out, eh Kev? You still at Neuberge.:-Berman?</dialogue> <character>KEVIN</character> <dialogue>Who told you I was at NB?</dialogue> </scene> <scene> <stage_direction>,.J</stage_direction> <scene_description>,\_J</scene_description> <character>PAM</character> <dialogue>I saw an article, in USA Today...</dialogue> <character>GREG</character> <dialogue>So, you're what... an inves tment banker, Wall Street trader person... ?</dialogue> <character>KEVIN</character> <dialogue>Yeah, but that's just my day-job. Let me show you what I'm really into.</dialogue> <character>INT.</character> <dialogue>WOODSHOP</dialogue> <scene_description>An immaculate carpenter's lair with a dozen-odd projects (furniture, carvings, etc.) in various stages 'of completion.</scene_description> <character>GREG</character> <dialogue>Wow, someone got an "A" in Woodshop. What made you get into carpentering?</dialogue> <character>KEVIN</character> <dialogue>Carpentry? I'd have to say Jesus. He was a carpenter, and I figured if you're going to follow in someone's footsteps, who better than Christ's?</dialogue> <scene_description>Greg nods, then notices a number of Pam-Kev photos hanging (dust-free) on the walls. Pam nods o.s., to a big TARP.</scene_description> <character>PAM</character> <dialogue>What's that, outside?</dialogue> <character>KEVIN</character> <dialogue>A gift. I'll show you.</dialogue> <character>EXT.</character> <dialogue>AN ADJACENT, BRICK COURTYARD AND GAZEBO - CONTINUOUS</dialogue> <character>KEVIN</character> <dialogue>I just put the last coat of lacquer on it this morning, before the rain.</dialogue> <scene_description>He lifts the tarp to reveal a lO-FOOT-HIGH ARCH, ornately carved with roses, doves, cherubs, hearts. Pam gasps.</scene_description> <character>PAM</character> <dialogue>Kevin, it's amazing. And you made roses-- Deb's favorite, and are those holes there for candles?</dialogue> <character>KEVIN</character> <dialogue>Exactly, and later on they'll catch rainwater and make tiny bird-baths.</dialogue> <character>GREG</character> <dialogue>Urn, at the risk of sounding really, really stupid... what is it?</dialogue> <character>KEVIN</character> <dialogue>It's the altar. I'm going to take it to the Burns, have the florist decorate it, and tomorrow Bob and Deb'll meet beneath it to become man and wife. And later, when they buy a home, it can grace their garden.</dialogue> <character>GREG</character> <dialogue>How long's something like this take?</dialogue> <character>KEVIN</character> <dialogue>Let's see, they've been engaged three weeks... five hours a day... about 100 hours. Which isn't bad considering I carved it all by hand.</dialogue> <scene_description>And as two lovebirds alight on the altar, and tweet...</scene_description> </scene> <scene> <stage_direction>INT. RILEY'S HOUSE - HOME THEATRE ROOM</stage_direction> <scene_description>Kenny Loggins' UDanger Zone" BOOMS and UTOP GUN" fills the letterbox screen as F-16's rocket by in SenSurround Sound~. Kevin raises an arm, turns to Pam, yells over the music--</scene_description> <character>KEVIN</character> <dialogue>I feel the need...</dialogue> <scene_description>--and they do a one-hand, high-five-then-Iow-five thing.</scene_description> <character>PAM/KEVIN</character> <dialogue>The need for speed!</dialogue> <scene_description>They laugh, Keving pointing the remote and stopping the film. And as the screen retracts and the lights come up...</scene_description> <character>KEVIN</character> <dialogue>Good job, P. B. Way to remember...</dialogue> <scene_description>He smiles, so uthere" and radiant that Pam has to look away to avoid a school-girl blush. Then-- a WALL INTERCOM barks with the sound of a pool party and Jack's voice.</scene_description> <character>JACK (0. S)</character> <dialogue>Riley? Where you at? It's 12:25. Time to start the barbecue, big guy.</dialogue> <character>KEVIN (TO INTERCOM)</character> <dialogue>On my way, Mister B.</dialogue> <parenthetical>(then, to Pam and Greg)</parenthetical> <dialogue>I better go play host. Why don't you put your suits on and head down?</dialogue> <character>GREG</character> <dialogue>Suits. Darn, don't suppose your Mom</dialogue> <scene_description>'.,.-/' packed an extra one for me. (to Kevin) The airline lost my luggage.</scene_description> <character>KEVIN</character> <dialogue>Oh, man. Never check your bag. But no sweat, I can lend you a suit.</dialogue> <character>PAM</character> <dialogue>Great, Kev. Thanks.</dialogue> <scene_description>He smiles at again, then heads down a hallway, and... Pam turns to Greg, who by now's looking a bit miffed.</scene_description> <character>PAM</character> <dialogue>Honey, what.</dialogue> <character>GREG</character> <dialogue>Nothing.</dialogue> <character>PAM</character> <dialogue>No, tell me...</dialogue> <character>GREG</character> <dialogue>It's not worth bringing up.</dialogue> <parenthetical>(then, brings it up)</parenthetical> <dialogue>You and Kevin did our thing. Y' know...</dialogue> <scene_description>He mimes the high-five-low-five slap thing.</scene_description> <character>PAM</character> <dialogue>Greg, that's not "our thing" it's from the movie, from "Top Gun."</dialogue> <character>GREG</character> <dialogue>Our thing's not our thing?</dialogue> <character>PAM</character> <dialogue>Greg, did you not see "Top Gun"?</dialogue> <character>GREG</character> <dialogue>What, you mean besides just now?</dialogue> <character>PAM</character> <dialogue>How could you not see "Top Gun"? I thought everbody saw "Top Gun."</dialogue> <character>GREG</character> <dialogue>Gee, I guess we're learning all sorts of new things about each other...</dialogue> <character>KEVIN (0 . S . )</character> <dialogue>Think fast!</dialogue> <scene_description>A TOWEL rolled around a swimsuit SMACKS Greg in the head.</scene_description> <character>,</character> <dialogue>It drops into his arms as Kevin strolls up, grinning big.</dialogue> <scene_description>,-...,...-' KEVIN (cont' d) I feel the need.. the need to feed..</scene_description> <character>EXT.</character> <dialogue>BY THE POOL AND POOLHOUSE - MOMENTS LATER</dialogue> <scene_description>Kenny G. wafts from garden speakers as Kevin mans the BBQ.</scene_description> <character>KEVIN</character> <dialogue>Cold buffet's on the left, champagne and wine'S on the right, so enjoy.</dialogue> <character>LARRY</character> <dialogue>Salmon steaks, Moet Chandon... Jeez, Riley, what do you do for an encore?</dialogue> <character>LINDA</character> <dialogue>Maybe he'll walk across his pool.</dialogue> <scene_description>Linda scores! Jack, in line behind them, looks to Pam.</scene_description> <character>JACK</character> <dialogue>Some place, huh? And a block from the beach. Can't get that in Chicago...</dialogue> <character>DINA</character> <dialogue>Honey, is your friend Greg okay?</dialogue> <scene_description>Greg overhears her from behind the poolhouse door.</scene_description> <character>GREG (0. S.)</character> <dialogue>I'm fine.</dialogue> <scene_description>A beat, then he steps out wearing a tight, white SPEEDO. Kevin looks up from the grill to check Greg out.</scene_description> <character>KEVIN</character> <dialogue>Hey buddy, how'S that suit? Not too big I hope.</dialogue> <character>GREG</character> <dialogue>Actually it's a bit tight, in places. And white's not really my color.</dialogue> <character>LARRY</character> <dialogue>Oh boy. Time for a career change.</dialogue> <scene_description>Larry SCORES, he and Doctor Bob sniggering.</scene_description> <character>KEVIN</character> <dialogue>So Greg, you like grilled salmon, swordfish, or a little of both?</dialogue> <character>GREG</character> <dialogue>Both sounds good, I'm pretty hungry.</dialogue> <character>JACK</character> <parenthetical>(to no one in particular)</parenthetical> <dialogue>I think they call that the munchies.</dialogue> <scene_description>And as Greg squints I wondering what the hell that meant...</scene_description> <character>KEVIN</character> <dialogue>Peanut? Glen? Hit the buffet and then come and get your entrees.</dialogue> <character>PAM</character> <dialogue>Great. Thanks, Kev.</dialogue> <scene_description>Greg nods "thanks" and he and Pam shuffle over to the cold buffet, Pam ladling out two bowls of gazpacho.</scene_description> <character>GREG</character> <dialogue>Funny, he's not wearing a Speedo.</dialogue> <character>PAM</character> <dialogue>Relax, Greg, nobody's even looking.</dialogue> <character>GREG</character> <dialogue>Good, because if that pool's cold, they'll be calling me peanut.</dialogue> <character>PAM</character> <dialogue>Y'know, I knew that would bug you. He only calls me that because of my initials. "P.B.", peanut butter...?</dialogue> <character>GREG</character> <dialogue>...perfect boyfriend...</dialogue> <character>KEVIN</character> <parenthetical>(walks up, with plates)</parenthetical> <dialogue>One sockeye, two swords.</dialogue> <character>PAM/GREG</character> <dialogue>Thanks... Looks great...</dialogue> <character>KEVIN</character> <dialogue>Dig in, and then get ready 'cause after lunch we're playing aqua-v-ball.</dialogue> <character>PAM</character> <dialogue>Pool volleyball? Sounds like fun.</dialogue> <character>GREG</character> <dialogue>Yeah. I love games.</dialogue> </scene> <scene> <stage_direction>EXT. SWIMMING POOL - LATER</stage_direction> <scene_description>A volleyball net bisects the pool. "Captains" Jack and Bob are in the water, on opposite sides, while the others stand at the water's edge. Dear God, they're picking teams.</scene_description> <character>BOB</character> <dialogue>Kevin.</dialogue> <character>JACK</character> <dialogue>There's a shock.</dialogue> <scene_description>Kevin jumps in beside Bob. Chest-thumps, high-fives.</scene_description> <character>JACK</character> <dialogue>Denny.</dialogue> <character>DENNY</character> <parenthetical>(steps in, bored)</parenthetical> <dialogue>Crapulous.</dialogue> <character>BOB</character> <dialogue>Deb.</dialogue> <character>DEBBIE</character> <dialogue>Yes!</dialogue> <scene_description>She jumps in, as do the others as they're called.</scene_description> <character>JACK</character> <dialogue>Larry.</dialogue> <character>BOB</character> <dialogue>Pam.</dialogue> <character>JACK</character> <dialogue>Linda.</dialogue> <character>BOB</character> <dialogue>Dina.</dialogue> <character>DINA</character> <dialogue>Oh, I'm not playing. The chlorine dries my skin.</dialogue> <character>DEBBIE</character> <dialogue>But Mom, the teams won't be even.</dialogue> <character>BOB</character> <dialogue>Four and four. They're even now.</dialogue> <scene_description>Greg stands there, invisible. And now Pam is pissed.</scene_description> <character>PAM</character> <dialogue>Would somebody please pick Greg?!</dialogue> <character>JACK</character> <dialogue>I thought Doctor Bob did.</dialogue> <character>BOB</character> <dialogue>No, but you take him. We'll just play five on four. Okay?</dialogue> <character>JACK</character> <dialogue>Whatever. Greg, let's go.</dialogue> <scene_description>Greg, sport that he is, musters a smile before dropping in. SERIES OF SHOTS: --At the net, Bob sets, Kevin spikes. Both hoot. --Greg serves one... into the cold buffet. --Deb hits to Bob, Bob to Pam, Pam tips it over. Cheers. --And as Team-Bob celebrates, whooping, really into it... Larry slaps the water. Jack eyes his team, disgusted.</scene_description> <character>JACK</character> <dialogue>We are getting creamed! Huddle up!</dialogue> <character>KEVIN</character> <parenthetical>(calls to Greg, through net)</parenthetical> <dialogue>Glen-- rush the net on defense. Don't be afraid of the ball.</dialogue> <character>PAM</character> <dialogue>It's Greg.</dialogue> <character>KEVIN</character> <dialogue>What?</dialogue> <character>PAM</character> <dialogue>It's "Greg," not "Glen." "Greg" is afraid of the ball.</dialogue> <character>GREG</character> <dialogue>Thanks for clearing that up, Peanut.</dialogue> <character>JACK</character> <dialogue>Larry, Linda, stay back for deep shots. Denny, float. Greg, if I set the ball for you, do you think you could jump up and spike it?</dialogue> <character>GREG</character> <dialogue>I'd have to be pretty high.</dialogue> <character>JACK</character> <dialogue>I bet you would, Panama Red. Okay, everyone! Look sharp! BREAK.</dialogue> <scene_description>They clap their hands and wade to their positions. Except Greg, who's still trying to decipher what Jack just said.</scene_description> <character>KEVIN</character> <dialogue>Service!</dialogue> <scene_description>Kevin bloops one. Larry bats it to Denny, who sets it...</scene_description> <character>LARRY</character> <dialogue>Yours, Greg, yours!</dialogue> <scene_description>...Greg pops it over the net to Pam, who returns it, deep...</scene_description> <character>JACK</character> <dialogue>You've gotta spike those, Greg!</dialogue> <scene_description>Linda bats it to Larry, who sets it again, to Greg, and.. This time Greg times it right. He rockets from the water, fully-extended, arm cocked, and as they all watch, amazed-- GREG HITS A MONSTER SPIKE, the ball sailing directly at... Debbie's smiling face. BAM! She SCREAMS and falls back, submerging as the water around her runs crimson red. ON THE DECK-- Dina jumps up, eyes huge, adrenaline pumping.</scene_description> <character>DINA</character> <dialogue>Aaaaahhh! !</dialogue> <scene_description>She jumps in the water, fully clothed, and as Debbie struggles to her feet, both hands clutching her face... Jack and Larry both whirl on Greg, their eyes ablaze.</scene_description> <character>JACK</character> <dialogue>What the hell's wrong with you?!</dialogue> <character>LARRY</character> <dialogue>It's only a game, Focker!</dialogue> <scene_description>They turn and rush to Debbie, who's beginning to cry, and as Pam shoots Greg the saddest of looks through the net...</scene_description> </scene> <scene> <stage_direction>INT. THE MOVING BUICK - LATER</stage_direction> <scene_description>Greg's in back with Denny and Pam, Dina and Jack up front. They ride along in utter, awkward silence. Then...</scene_description> <character>GREG</character> <dialogue>Does her dress have a veil\_?</dialogue> </scene> <scene> <stage_direction>EXT. THE BURNS HOME - LATER</stage_direction> <scene_description>The Buick arrives to find a CATERER'S VAN, a "PARTY RENTALS" TRUCK, and a few more cars and people waiting.</scene_description> <character>DINA (O.S., IN CAR)</character> <dialogue>What are they, early?</dialogue> <character>JACK (O.S., IN CAR)</character> <dialogue>We're late. C'mon, everybody out.</dialogue> <scene_description>Jack gets out and hits the ground running, firing orders.</scene_description> <character>JACK</character> <dialogue>Caterers? Come with me.</dialogue> <parenthetical>(spins, points at a guy)</parenthetical> <dialogue>You the D.J.? Talk with them.</dialogue> <parenthetical>(as the Cadillac arrives)</parenthetical> <dialogue>Pam, help Debra, please. Denny, put the tuxes and dresses in the den.</dialogue> <scene_description>The Caddy's doors open and Bob helps Deb out. She holds an ice-bag to her red and puffy face as Pam approaches.</scene_description> <character>PAM</character> <dialogue>How ya doing, Debbie-doodle?</dialogue> <scene_description>Debbie, a shiner under the ice, squeaks a sad reply.</scene_description> <character>BOB</character> <dialogue>She's better. It's just swollen.</dialogue> <character>DENNY</character> <parenthetical>(taking a closer look)</parenthetical> <dialogue>Cool, you can totally see "Voit" backwards on your forehead!</dialogue> <scene_description>Deb takes a lame swipe at Denny and starts to cry. Pam puts an arm around her, and as they head for the backyard... Greg sees an VAN pull up. A COURIER gets out with his BAG.</scene_description> <character>GREG</character> <dialogue>Thank god. Is it okay? I have a really expensive ring in there...</dialogue> <character>COURIER</character> <dialogue>You checked a bag containing jewelry? Man, you must be dumb as a stump.</dialogue> <scene_description>And as Greg stares at the guy, stunned...</scene_description> </scene> <scene> <stage_direction>EXT. BURNS HOME - BACKYARD - LATER</stage_direction> <scene_description>The joint is jumping. Jack is on the back porch steps, holding a cordless phone to his ear while yelling orders to passing WORKERS carrying tables, linens, chairs, etc.</scene_description> <character>JACK</character> <dialogue>Buffet's going against the house. Put the chairs on the lawn, they're getting married under the elm tree.</dialogue> <character>CATERER</character> <dialogue>Mr. Burns, I need to store the china</dialogue> <scene_description>J and linen overnight. Preferably in a room with easy access to the yard.</scene_description> <character>JACK</character> <dialogue>We'll keep everything in my den.</dialogue> <parenthetical>(then, into phone)</parenthetical> <dialogue>Yes, I'm still here. Great, and you're sure it's thick enough to cover a black eye? Terrific, what's it called and when do you close?</dialogue> <scene_description>AT A TABLE-- a slick-haired D.J. sits with Debbie and Bob.</scene_description> <character>DEE-JAY</character> <dialogue>...and then we do the Chicken Dance or the Macarena and at the end I play</dialogue> <scene_description>"Leaving On A Jet Plane." But let's backtrack. First dance-- you want Elvis, Whitney, or Lionel Richie? And as Debbie starts to cry again, behind her ice-pack...</scene_description> <character>INT.</character> <dialogue>Greg plops the suitcase on the open sofabed, beside the</dialogue> <character>THE DEN (JACK'S OFFICE) - SAME</character> <dialogue>tuxes and dresses. As he starts to work the combo-lock... The door swings open and Pam walks in. Greg startles...</dialogue> <character>PAM</character> <dialogue>Your suitcase! Did you go through it? Make sure it's all there?</dialogue> <character>GREG</character> <dialogue>Yeah, it's all fine. What's up?</dialogue> <character>PAM</character> <parenthetical>(shuts door behind her)</parenthetical> <dialogue>Nothing's "up," I just thought I'd see how you were doing since hitting the... spike heard 'round the world.</dialogue> <character>GREG</character> <dialogue>Well, since you're asking, I pretty much feel like a big, dumb loser.</dialogue> <character>PAM</character> <dialogue>You're not a loser, Greg. It's just~ too bad you had to hit it so hard.</dialogue> <character>GREG</character> <dialogue>Pam, it was an accident.</dialogue> <character>PAM</character> <dialogue>I know, but you shouldn't have let Dad and Larry push you like that--</dialogue> <character>GREG</character> <dialogue>It sounds like you're blaming me--</dialogue> <character>PAM</character> <dialogue>I'm not. I'm just saying relax, okay? Don't try so hard. Be yourself.</dialogue> <character>GREG</character> <dialogue>Honey, I'm trying.</dialogue> <character>PAM</character> <dialogue>Well, try harder.</dialogue> <character>GREG</character> <dialogue>You just told me not to.</dialogue> <character>PAM</character> <dialogue>At being yourself. Greg, do you not understand how important this weekend is to me? To us?</dialogue> <character>GREG</character> <dialogue>Of course. But Pam, if you want me to be comfortable, to be myself, then help me out, be on my side. I just-- I'm feeling totally alone here.</dialogue> <scene_description>He sits on edge of the sofa-bed, dejected. Pam immediately beside him,consoling.</scene_description> <character>PAM</character> <dialogue>Greg, baby, I'm on your side. You're not on your own here...</dialogue> <scene_description>She puts an arm around him, pulls him close. He turns to her, nodding, feeling better. They kiss, Pam leaning them back onto the bed and placing his hand to her chest...</scene_description> <character>GREG</character> <dialogue>...is this okay... ?</dialogue> <character>PAM</character> <dialogue>It's fine ... relax...</dialogue> <scene_description>And as she starts to straddle him, kissing, hands roaming... BAM. The door flies open to reveal Jack and Larry, holding linens. Greg bolts up, his hands on Pam's breasts.</scene_description> <character>PAM</character> <dialogue>Dad!</dialogue> <parenthetical>(brushing Greg's hands away)</parenthetical> <dialogue>Ever think to knock?!</dialogue> <character>JACK</character> <dialogue>Not when it's my own office. What are you doing in here?</dialogue> <character>LARRY</character> <dialogue>I'd say rounding second base.</dialogue> <scene_description>Jack shoots Larry daggers as Pam gets up.</scene_description> <character>PAM</character> <dialogue>This is Greg's room, Dad.</dialogue> <character>JACK</character> <parenthetical>(dropping linens on bed)</parenthetical> <dialogue>Not anymore. We need it for storage.</dialogue> <character>PAM</character> <dialogue>Then where's he supposed to sleep?</dialogue> <character>JACK</character> <dialogue>We'll talk about it later. Meantime, head outside and help your Mother, it's a real madhouse out there.</dialogue> <character>PAM</character> <dialogue>Fine. C'mon, Greg.</dialogue> <scene_description>She huffs and exits to the porch. Greg shoots a sheepish look to Jack and Larry and starts to go when Jack notices the bathroom door is ajar. And something's running...</scene_description> <character>JACK</character> <dialogue>Hold it, Focker.</dialogue> <parenthetical>(listens, points to bathroom)</parenthetical> <dialogue>Did you flush this toilet?</dialogue> <character>GREG</character> <dialogue>No sir.</dialogue> <character>JACK</character> <dialogue>What, did the thing flush itself?</dialogue> <character>GREG</character> <dialogue>Wait-- the cat. He used the toilet.</dialogue> <character>LARRY</character> <dialogue>The cat used the toilet~?</dialogue> <character>GREG</character> <dialogue>Last night, he flushed it and left.</dialogue> <character>JACK</character> <dialogue>No chance. Jinx knows not to use this toilet. And he never flushes.</dialogue> <character>GREG</character> <dialogue>Well he did last night, and what's it matter, anyway?</dialogue> <character>JACK</character> <dialogue>The matter, Greg R.N., is that when this toilet is flushed, it runs. And when you have a septic tank that's nearly full and a toilet that has run all night, then you can suddenly have one helluva problem.</dialogue> <scene_description>Suddenly, two concerned Workers appear in the doorway.</scene_description> <character>WEDDING WORKER</character> <dialogue>Mr. Burns... ?</dialogue> <character>EXT. BURNS HOME - BACKYARD - MOMENTS LATER</character> <dialogue>The lawn SQUISHES as Pam helps the Workers move chairs back toward the house. A few yards away, Greg and a bitching Denny help, lugging a table through swampy grass.</dialogue> <character>DENNY</character> <dialogue>Nice stench. You're on a roll, bud.</dialogue> <character>GREG</character> <dialogue>Bite me, Denny.</dialogue> <character>DENNY</character> <dialogue>You bite me, you cost me my stash.</dialogue> <character>GREG</character> <dialogue>What?</dialogue> <character>DENNY</character> <dialogue>It was in my coat-- that coat-- and the baggy fell out at the Tux Shop. Now my Dad has it, and I have to spend the whole weekend weedless.</dialogue> <character>GREG</character> <dialogue>Shit-- he thinks it's mine! No wonder he was talking about the munchies, and Panama Red. Denny, I'm sorry, but I have to tell him.</dialogue> <character>DENNY</character> <dialogue>They won't believe you-- my p's are in full denial. But go for it, tell them I'm "hopped up." They'll just think you're a lying mother, Focker.</dialogue> </scene> <scene> <stage_direction>--.,/</stage_direction> <scene_description>ON THE PORCH-- Jack paces on the cordless phone, livid.</scene_description> <character>JACK</character> <dialogue>Listen to me-- twenty hours from now I'm having a wedding here, so I need it pumped and I need it pumped now!</dialogue> <scene_description>Bob and Deb step outside, see the lawn being cleared.</scene_description> <character>DEBBIE</character> <dialogue>Dad, what's going on?</dialogue> <character>BOB</character> <parenthetical>(sniffs, winces)</parenthetical> <dialogue>What's that smell?</dialogue> <character>JACK</character> <parenthetical>(paces by, on phone)</parenthetical> <dialogue>That smell, Bob, is our shit.</dialogue> <character>LINDA</character> <dialogue>Greg flushed the bad toilet in the den and the cesspool overflowed.</dialogue> <character>LARRY</character> <dialogue>And he tried to blame the cat.</dialogue> <character>DEBBIE</character> <dialogue>But... if the lawn is wrecked, where are we having the wedding? Mom... !</dialogue> <scene_description>She starts to lose it. Dina hugs her, Linda pats her back.</scene_description> <character>DINA</character> <dialogue>Don't worry, Deb, it'll work out.</dialogue> <character>LINDA</character> <dialogue>A septic tank pumper will come suck it up and tomorrow it'll be fine...</dialogue> <character>JACK</character> <parenthetical>(checking agenda, on phone)</parenthetical> <dialogue>Two choices-- come during the shower before rehearsal or after rehearsal when we're at the Surf'N'Turd. Turf.</dialogue> <scene_description>A HORN honks. They all turn and see a FLATBED TRUCK (with liftgate), rolling down the driveway, the ALTAR on back, Kevin at the wheel. He cracks a window, yells to Jack.</scene_description> <character>KEVIN</character> <dialogue>Over by the tree, right?!</dialogue> <character>NO!</character> <dialogue>--'"</dialogue> <character>NOT ON THE LAWN!</character> <dialogue>Too late. The wheels of the heavy truck BOG DOWN in the muck and sink to a stop. Kevin looks down from the cab...</dialogue> <character>KEVIN</character> <dialogue>What the heck?</dialogue> <scene_description>...and guns the engine, spinning the wheels and sending a huge, brown SPRAY flying through the air and straight at-- The PORCH, where the Burns and Banks scream and scatter as the porch is splattered with muddy, brackish water... ON THE LAWN-- Pam cringes. Greg gapes. Denny grins.</scene_description> <character>DENNY</character> <dialogue>Very cool.</dialogue> </scene> <scene> <stage_direction>INT. PAM'S BEDROOM - LATER</stage_direction> <scene_description>A knock, then the door opens and Greg peers in. The adjacent bathroom door's shut, shower's going. So... Greg enters with his suitcase, plops it on her bed. He works the combo-lock and.. it doesn't open. He tries the latches again, then checks the handle's i.d. tag and--</scene_description> <character>GREG</character> <dialogue>Aw, fu--</dialogue> </scene> <scene> <stage_direction>INT. BURNS HOME - KITCHEN - MOMENTS LATER</stage_direction> <scene_description>Greg, alone, walks and talks on the cordless, smoldering.</scene_description> <character>GREG</character> <dialogue>I know I said a gray American Tourister but is it possible their company, in a shameless effort to turn a profit, manufactured more than one? And would that not allow your fine airline to lose two of the aforementioned receptacles and, in a sYnergistic explosion of irony and incompetence, send the wrong one here while sending the right one to the other sucker who was dumb enough to let you check his only carry-on bag?!</dialogue> <scene_description>He swings the back door open and steps outside, to--</scene_description> </scene> <scene> <stage_direction>EXT. THE BACK PORCH</stage_direction> <scene_description>--where he paces, Bob and Kevin visible in the b.g. watching a HUGE TOW-TRUCK pull the flatbed from the muck.</scene_description> <character>GREG</character> <dialogue>I don't want to calm down! There's a diamond ring in that bag, mister, and 24 hours from now it better be...</dialogue> <character>(MORE... )</character> <dialogue>GREG</dialogue> <scene_description>...on my girlfriend's finger or there will be HELL to pay, you hear me? Now find out what the HELL happened and call me the HELL back! Hell-o... ? (dial tone) I don't believe this shit! He turns, heads back for the door, and then stops. And pales. Jinx is there, meowing at him. OUTSIDE.</scene_description> <character>GREG</character> <dialogue>Oh, God. Here... kitty. Here... Jinx...</dialogue> <scene_description>Jinx stares, licks a paw. And as Greg creeps closer... Jinx bolts down the stairs. Greg LEAPS from the porch, cutting him off. Jinx turns and bolts for a crawl-space hatch, disappearing UNDER THE HOUSE. As Greg steams...</scene_description> </scene> <scene> <stage_direction>INT. THE HOME'S (DIMLY LIT) CRAWLSPACE - SECONDS LATER</stage_direction> <scene_description>Greg, still holding the phone, combat-crawls through dirt and cobwebs toward a meowing silhouette. As he does, VOICES carry through the floor above, muffled but clear.</scene_description> <character>LINDA (O. S. )</character> <dialogue>...to me, it looked like an Rccident. Why would he want to hurt her?</dialogue> </scene> <scene> <stage_direction>INT. THE GREAT ROOM</stage_direction> <scene_description>Jack and Linda are in bathrobes, having showered following the flying-fluid fiasco. Jack's at the bar, pouring.</scene_description> <character>JACK</character> <dialogue>He wouldn't, intentionally, but he's not in control. Look at his eyes-- they're completely bloodshot.</dialogue> <character>LARRY</character> <dialogue>More pink, really. Like a rat's.</dialogue> </scene> <scene> <stage_direction>EXT. UNDER THE HOUSE</stage_direction> <character>LINDA (0 . S . )</character> <dialogue>Maybe he's using for medicinal purposes. He looks kind of sickly.</dialogue> <character>JACK (O. S.)</character> <dialogue>Forget medicine, he's a bong-head. He's been puffin' the magic dragon.</dialogue> <scene_description>Then-- louder, clearer voices drown theirs out.</scene_description> <character>BOB (O. S. )</character> <dialogue>...caught him going through my wallet.</dialogue> <character>EXT.</character> <dialogue>BACK PORCH</dialogue> <scene_description>Bob and Kevin walk over from the driveway, where the flatbed's now parked, the altar on the walk beside it.</scene_description> <character>KEVIN</character> <dialogue>What?</dialogue> <character>INT.</character> <dialogue>CRAWLSPACE</dialogue> <character>BOB (0. S. )</character> <dialogue>At the tux shop. I walked in before he could steal anything. Nurses...</dialogue> <character>KEVIN (0 . S . )</character> <dialogue>How can Pam and this guy be serious?</dialogue> <character>BOB (0. S. )</character> <dialogue>Who says they are? I don't see a rock on her finger.</dialogue> <character>KEVIN (0 . S . )</character> <dialogue>Good point, there's not. Yet\_</dialogue> <scene_description>They head in as Greg lies there, exhausted, his face full of dust, hair full of cobwebs. And as Jinx finds daylight... INT. MASTER BEDROOM Dina dabs foundation on her daughter's budding black-eye.</scene_description> <character>DINA</character> <dialogue>...and you can plan forever, and something will always go wrong. All weddings have their one thing.</dialogue> <character>DEBBIE</character> <dialogue>So what's ours, Mom? The tuxedo screw-up? My nose? Or the backyard smelling like the zoo in a heatwave?</dialogue> <character>DINA</character> <dialogue>That's enough, Miss Doom-N-Gloom. And look, your face is much better.</dialogue> <scene_description>She turns Deb toward the mirror. It's better, not much.</scene_description> <character>DEBBIE</character> <dialogue>Sure, under make-up bulbs. But how's it going to look in sunlight?</dialogue> <character>DINA</character> <dialogue>Let's find out.</dialogue> <scene_description>-' I She moves to her bedroom window, whips opens the drapes-- THERE'S GREG. In the elm tree right outside her window.</scene_description> <character>EXT.</character> <dialogue>THE ELM TREE</dialogue> <scene_description>--F He freezes, horrified, waiting for them to see him. But-- They don't. The women don't see him. Mainly because they're facing one another while Dina powders Debbie's face. And as Greg watches JINX climb higher in the tree... INTERCUT - THE BEDROOM AND THE ELM TREE</scene_description> <character>DEBBIE</character> <dialogue>Ow! Stop patting it, Morn. You're going to make it bleed again.</dialogue> <character>DINA</character> <dialogue>Baby, if it hurts, take something. I have Valium, Vicodans, Percoset...</dialogue> <character>DEBBIE</character> <dialogue>They'll just make me sleepy.</dialogue> <character>DINA</character> <dialogue>If they do, you can take one of my picker-upper pills. Wait here--</dialogue> <character>DEBBIE</character> <dialogue>Mom-- NO.</dialogue> <scene_description>She covers her eyes and starts to cry, Dina turning back to comfort her. And Greg watches from the tree, rapt.</scene_description> <character>DINA</character> <dialogue>Debbie, honey, what's wrong?</dialogue> <character>DEBBIE</character> <dialogue>I'm late...</dialogue> <character>DINA</character> <dialogue>What?</dialogue> <character>DEBBIE</character> <dialogue>More than late...</dialogue> <character>DINA</character> <dialogue>Oh my God. Does Bob know?</dialogue> <character>DEBBIE</character> <dialogue>Of course he knows. Why do you think we're getting married so soon?</dialogue> <character>DINA</character> <dialogue>Because he's starting med-school...</dialogue> <character>DEBBIE</character> <dialogue>Not for a month. We decided we'd move, get settled, find a doctor...</dialogue> <scene_description>She wipes a tear away. Greg still watching, mesmerized.</scene_description> <character>DINA</character> <dialogue>Do Larry and Linda know about this? Does anybody know about this?</dialogue> <character>DEBBIE</character> <dialogue>...no...</dialogue> <character>DINA</character> <dialogue>Good, it's best not to have people talking. How far along are you?</dialogue> <character>DEBBIE</character> <dialogue>Seven weeks...</dialogue> <character>DINA</character> <dialogue>That's it? Oh, sweety, this is no problem. 8-month babies happen all the time. No one will ever know.</dialogue> <parenthetical>(then, suddenly concerned)</parenthetical> <dialogue>Deb, you do love Bob, don't you?</dialogue> <character>DEBBIE</character> <dialogue>Yeah Mom, I do. And we would've been married sooner or later anyway.</dialogue> <character>DINA</character> <dialogue>I know, Debbie-Doodle. I know...</dialogue> <scene_description>She takes Debbie's hand, smiles. Not that Stepfordian one, but a real smile, warm and sincere. Debbie relaxes.</scene_description> <character>DEBBIE</character> <dialogue>Thanks, Mom...</dialogue> <scene_description>A quick hug, then it's time to get back to business.</scene_description> <character>DINA</character> <dialogue>Now go get ready for the shower before your Father blows a gasket.</dialogue> <scene_description>Debbie nods and leaves, Dina shutting the door behind her. And as she takes a moment to absorb what's just happened... The phone rings. THE PHONE IN GREG'S GODDAM HAND. He stares at it, horrified, and when his eyes whip back to the window-- Dina's staring right at him. Right through him.</scene_description> <character>GREG</character> <dialogue>...hey...</dialogue> <scene_description>She glowers, whips the drapes shut, and as Greg whimpers... The phone RINGS again, Greg hitting a button to try and mute it but he must've accidentally hit "TALK" because--</scene_description> <character>JACK (ON PHONE)</character> <dialogue>--and we'll meet at the beach house.</dialogue> <character>CAROL (ON PHONE)</character> <dialogue>Did you just hear a "click"?</dialogue> <character>JACK (ON PHONE)</character> <dialogue>Hang up! Hang up!</dialogue> <scene_description>Greg panics, bobbling the phone, and as he lunges for it-- THE LIMB he's standing on SNAPS--</scene_description> <character>GREG</character> <dialogue>Aaaaahhh! !</dialogue> <scene_description>--falling and RIPPING the home's WIRE-RUN from its bracket and sending a long, whipping, LIVE WIRE to the ground.</scene_description> </scene> <scene> <stage_direction>INT. BURNS HOME - VARIOUS ROOMS</stage_direction> <scene_description>People react as blow-dryers, stereos, and lights go out.</scene_description> </scene> <scene> <stage_direction>EXT. THE TREE</stage_direction> <scene_description>Greg hangs from the tree, feet dangling, while below him--</scene_description> </scene> <scene> <stage_direction>EXT. THE YARD BELOW</stage_direction> <scene_description>The live wires whip around like spark-spitting snakes, one of them hitting the elm tree, another wriggling over to-- The all-wood, just lacquered, wedding altar. WHOOMF!</scene_description> </scene> <scene> <stage_direction>EXT. THE TREE</stage_direction> <scene_description>Greg climbs and coughs in the rising smoke, as above him-- Jinx MEOWS and leaps to the rooftop. Greg follows, and as he grabs the gutter and starts to pull himself up--</scene_description> </scene> <scene> <stage_direction>EXT. THE ROOFTOP</stage_direction> <scene_description>--the gutter bounces, Greg's pack of CAMELS jostling, then falling off the edge into the rising cloud of smoke.</scene_description> </scene> <scene> <stage_direction>EXT. THE BACK PORCH BELOW</stage_direction> <scene_description>The door bangs open and Bob, Jack, Larry, and Kev rush out. Kevin stares, then SCREAMS, at his now-engulfed ALTAR.</scene_description> <character>KEVIN</character> <dialogue>Aaaaahhh! !</dialogue> <scene_description>The bottom of the elm's ablaze too, fire licking the house.</scene_description> <character>JACK</character> <dialogue>9-9-1! Call 9-9-1!</dialogue> <character>EXT.</character> <dialogue>I</dialogue> <character>BACK PORCH</character> <dialogue>Debbie, Linda, and Pam (all in robes), and Denny, rush</dialogue> <scene_description>outside and onto the porch, where they eye the leaping flames. And as Denny "woahs," and Debbie shrieks...</scene_description> <character>PAM</character> <dialogue>Greg? Where's Greg?!</dialogue> <scene_description>ON THE ROOF BEHIND THEM-- Jinx, then Greg, scamper by, both of them dropping down to the roof of the garage.</scene_description> <character>EXT.</character> <dialogue>GARAGE ROOFTOP</dialogue> <scene_description>Jinx leaps to the roof of the flatbed and bolts to freedom. And as Greg DIVES, headfirst, through Denny's blinds...</scene_description> <character>EXT.</character> <dialogue>BURNS BACK YARD/BACK PORCH - MOMENTS LATER</dialogue> <scene_description>A pair of FIREMEN train a hose on the smoking, blackened elm and a charred, steaming pile of hand-carved debris. ON THE PORCH-- Bob consoles a melancholy Kevin as Larry, Jack, Pam, and Linda listen to a wizened FIRE-CHIEF.</scene_description> <character>FIRE-CHIEF</character> <dialogue>Cause will be tough to tell given the contributing factors here. You've got an old tree, some power lines, a highly flammable wood objet d'art...</dialogue> <scene_description>The porch door swings open, and all heads turn as-- Greg steps out, looking showered (hair-wet) and confused.</scene_description> <character>GREG</character> <dialogue>Wow, I thought I heard sirens.</dialogue> <character>JACK</character> <dialogue>And just where have you been?</dialogue> <character>GREG</character> <dialogue>In the shower. Then the power died, water pressure fell... what happened?</dialogue> <character>KEVIN</character> <parenthetical>(turns and glares, eyes wet)</parenthetical> <dialogue>The wedding altar burned.</dialogue> <character>BOB</character> <dialogue>Nearly took the house up with it.</dialogue> <character>LINDA</character> <dialogue>Showering, huh? And what were you doing before that?</dialogue> <character>GREG</character> <dialogue>Jeez, Linda, can I call my lawyer?</dialogue> <character>/</character> <dialogue>JACK</dialogue> <scene_description>Don't get funny on us, farmboy.</scene_description> <character>PAM</character> <parenthetical>(trying to understand)</parenthetical> <dialogue>Greg... I was in the shower when the power died. And then I looked for you in the bathroom downstairs ...</dialogue> <character>GREG</character> <dialogue>And I'll bet you didn't find me there either and do you know why?</dialogue> <character>DINA (O.S.)</character> <dialogue>Because he wasn't there.</dialogue> <scene_description>Dina and Debbie step outside. And as Greg braces...</scene_description> <character>DINA</character> <dialogue>He was upstairs. In my shower.</dialogue> <character>JACK</character> <dialogue>In our shower?</dialogue> <character>DINA</character> <dialogue>After Deb left, Greg said Pam was in the shower and could he use ours. Find everything okay, Greg?</dialogue> <character>GREG</character> <parenthetical>(stunned, but goes with it)</parenthetical> <dialogue>Sure did, Dina, thanks. I even used your... whaddyacalli t ... soap.</dialogue> <character>DENNY</character> <dialogue>You use her deodorant too?</dialogue> <character>GREG</character> <parenthetical>(forced laugh)</parenthetical> <dialogue>No, no, think I'll stick with Pam's.</dialogue> <character>DINA</character> <dialogue>That's right, Greg. You just keep your "Secret," and I will keep mine.</dialogue> <scene_description>She flashes him a wafer-thin grin and... Greg gets it. He nods, they have a deal. Satisfied, Jack moves on. ; Dina, call Phyllis Brown, tell her we'll be later to the shower than I originally said. Denny--</scene_description> <character>(MORE.€�. )</character> <dialogue>JACK</dialogue> <scene_description>Call the florist, tell 'em we need a trellis for the altar. I'm gonna call a tree-trimmer to whack the elm and an Edison crew to hook up the power. Pam, help me finish putting the china and linens in the den and if our guests will please get dressed I'd like to have us out of here in fifteen minutes. Tops. He turns and strides back into the house. A beat, and the others follow, Debbie, Denny, and the Banks giving Greg the eye as they head inside. Pam turns to a moping Kevin.</scene_description> <character>PAM</character> <dialogue>You going to be okay?</dialogue> <character>KEVIN</character> <dialogue>Yeah. Gonna go thank the firemen...</dialogue> <scene_description>He glares at Greg and heads for the Fire-Chief. Pam sighs.</scene_description> <character>PAM</character> <dialogue>This isn't right.</dialogue> <character>GREG</character> <dialogue>What's not...</dialogue> <character>PAM</character> <dialogue>The way they're looking at you. The way they're all... thinking.</dialogue> <character>GREG</character> <dialogue>Wait, do they think I had something to do with this? Do-they think--</dialogue> <character>PAM</character> <dialogue>That you started the fire? Yes.</dialogue> <character>GREG</character> <dialogue>That's NUTS. Why would I do that? Why would they even think I would do that? Pam, what's going on here? Why are they all out to get me?</dialogue> <character>PAM</character> <dialogue>Nobody's out to "get you," Greg...</dialogue> <character>JACK (0. S.)</character> <dialogue>Greg? !</dialogue> </scene> <scene> <stage_direction>INT. JACK'S DEN - SECONDS LATER</stage_direction> <scene_description>Jack and Larry each hold a piece of the broken outlet-cam.</scene_description> <character>JACK</character> <dialogue>You broke it, didn't you? You broke</dialogue> <scene_description>-.. i</scene_description> <character>~</character> <dialogue>my new state-of-the-art Outlet-Cam.</dialogue> <character>GREG</character> <dialogue>Why would I break your camera?</dialogue> <character>LARRY</character> <dialogue>That's what we'd like to know.</dialogue> <character>PAM</character> <dialogue>Mind your own business, Larry.</dialogue> <character>LARRY</character> <dialogue>It is my business, half my business.</dialogue> <character>GREG</character> <dialogue>It probably just fell or something.</dialogue> <character>JACK</character> <dialogue>That's it, Pocker. Keep going...</dialogue> <character>PAM</character> <dialogue>Dad-- stop it! You will not interrogate him! If he said he didn't do it, then he didn't do it!</dialogue> <character>JACK</character> <dialogue>So you didn't break my camera.</dialogue> <character>GREG</character> <dialogue>I wasn't anywhere near your camera.</dialogue> <character>JACK</character> <dialogue>Okay then, let's all take a look-see.</dialogue> <scene_description>Greg looks to Pam, confused, and then Jack bends and opens a nearby cabinet to reveal a small, high-end VCR and MONITOR. As he SNAPS on the unit's big ni-cad battery...</scene_description> <character>PAM</character> <dialogue>Oh my God, were you spying in here?!</dialogue> <character>JACK</character> <parenthetical>(hitting "Rewind")</parenthetical> <dialogue>Spying? Of course not. I was merely testing out a prototype.</dialogue> <character>PAM</character> <dialogue>I can't believe you! That is sick!</dialogue> <character>JACK</character> <dialogue>Pamela, I didn't know he'd be down here. If I did, I certainly wouldn't have left out my incredibly expensive, one-of-a-kind equipment.</dialogue> <scene_description>Jack hits "Play" and as the tape starts, and Greg sweats... ON THE MONITOR-- Greg, in his Calvins, cracks the window for air then spins, yawns, and slips a hand down his briefs. IN THE ROOM-- CRINGES all around, especially Greg as-- ON THE MONITOR-- he cups himself, turns his head, coughs.</scene_description> <character>GREG</character> <parenthetical>(shrugs, to all)</parenthetical> <dialogue>My... nightly exam. I had a scare.</dialogue> <scene_description>This is a nightmare. And as the tape continues...</scene_description> <character>GREG</character> <dialogue>Y'know, Jack, last night, there's a chance, a small chance, I bumped it.</dialogue> <character>JACK</character> <dialogue>I thought you "didn't go near it."</dialogue> <character>GREG</character> <dialogue>I don't know why I'd say that since...</dialogue> <scene_description>ON THE TV NOW-- Greg's heading right for the pinhole lens. GREG (cont' d) / ...I'm clearly heading right for it. Pam watches, stunned, as the tape shows Greg pick it up.</scene_description> <character>GREG</character> <dialogue>Look, look-- are my eyes open? They are! Very cool, I'm sleep walking. Y'know, I've suspected this for years but now I finally have proof.</dialogue> <character>LARRY</character> <dialogue>Sleep walking...</dialogue> <character>GREG</character> <dialogue>Look at that, look at my eye, it looks like I'm completely awake.</dialogue> <scene_description>ON THE TV-- Greg's holding the camera, staring into its lens, until the image whip-pans, blurs, and... SNOW.</scene_description> <character>GREG</character> <dialogue>See that? I dropped it. Huh.</dialogue> <parenthetical>(turns, upbeat)</parenthetical> <dialogue>Man, I'd love to take a copy of this to a sleep clinic.</dialogue> <character>PAM</character> <dialogue>Jesus, Greg!</dialogue> <scene_description>She pushes by him and storms down the hallway. And as Jack and Larry stare at Greg, smug...</scene_description> </scene> <scene> <stage_direction>INT. PAM'S ROOM - MOMENTS LATER</stage_direction> <scene_description>Pam flops on her bed, face-down, teenage-girl style. A beat later, Greg knocks and pops his head in.</scene_description> <character>GREG</character> <dialogue>Pam, honey, I'm sorry.</dialogue> <character>PAM</character> <dialogue>For what? Breaking the camera? Flushing the goddam toilet--</dialogue> <character>GREG</character> <dialogue>I didn't flush that toilet.</dialogue> <character>PAM</character> <dialogue>You sure? Maybe you sleep-shat.</dialogue> <character>GREG</character> <dialogue>Okay, all right, the sleepwalking thing was truly lame, but--</dialogue> <character>PAM</character> <dialogue>No buts, Greg. You lied to me.</dialogue> <character>GREG</character> <dialogue>Honey, I panicked. But can you blame me the way things are going? I feel like I can't catch my breath here. It's just one blow after another.</dialogue> <scene_description>{sits beside her, sincere} Pam, please. I'm very, very sorry I lied. But you know why I did it. I just so want your family to like me... (taking her hand) Pam, please. You forgive me? He reaches a hand up, starts stroking her hair.</scene_description> <character>PAM</character> <dialogue>Give me one reason.</dialogue> <character>GREG</character> <dialogue>Here's two-- I love you. And things are going to get better, I promise.</dialogue> <scene_description>He leans in for a kiss. She hesitates\_ then leans in too.</scene_description> <character>PAM</character> <dialogue>They couldn't get much worse.</dialogue> <scene_description>JIIIIIINX?!</scene_description> </scene> <scene> <stage_direction>INT. THE DARK, POWERLESS KITCHEN - SAME</stage_direction> <scene_description>Larry, Linda, Debbie, and Dina watch as Bob and Jack enter from the back porch, Jack sweaty, anxious, breathing hard.</scene_description> <character>JACK</character> <dialogue>--We checked every yard, every car on the street. Nobody's seen him.</dialogue> <character>LARRY</character> <dialogue>Maybe the firemen can help us.</dialogue> <character>LINDA</character> <dialogue>He's not in a goddam tree, Larry.</dialogue> <character>JACK</character> <dialogue>He might be! Might be anywhere! My Jinxy, out there ail alone, without any food, water, a toilet...</dialogue> <scene_description>Pam and Greg enter from the hallway.</scene_description> <character>PAM</character> <dialogue>Anything we can do, Dad?</dialogue> <character>JACK</character> <parenthetical>(whirling on Greg)</parenthetical> <dialogue>You tried to milk him, didn't you, you sick son-of-a--</dialogue> <character>PAM</character> <dialogue>Dad! It wasn't Greg!</dialogue> <character>DEBBIE</character> <dialogue>But you said he hates cats...</dialogue> <scene_description>HE DOESN'T HATE CATS.</scene_description> <character>DINA</character> <dialogue>Maybe we could print up some flyers--</dialogue> <character>JACK</character> <dialogue>with what electricity?!</dialogue> <character>DINA</character> <dialogue>God, Jack, bite my head off!</dialogue> <character>JACK</character> <dialogue>Pam-- get Jinx photos, we'll canvas.</dialogue> <parenthetical>(as Pam heads off)</parenthetical> <dialogue>What about that guy, "Sherlock Bones"? Does he just find dogs?</dialogue> <scene_description>Denny enters from the back porch steps, with news.</scene_description> <character>DENNY</character> <dialogue>Hey Dad, Mr. Roy on the corner thinks he saw an Animal Control Van...</dialogue> <character>JACK</character> <dialogue>The Pound? Jesus, my Jinx in a cage! C'mon! We're going to the Shelter.</dialogue> <character>DINA</character> <dialogue>Jack-- please. Can't you call them? He may not even be there...</dialogue> <character>JACK</character> <dialogue>Dina, I'm not betting my eat's life on some minimum wage-making bozo answering phones at some shelter!</dialogue> <character>DINA</character> <dialogue>But we don't have time. We're already late for the shower, and we're rehearsing here in an hour.</dialogue> <character>JACK</character> <dialogue>Then screw the shower, the rehearsal, and screw the goddam wedding, too!</dialogue> <character>DEBBIE</character> <dialogue>Mom... l</dialogue> <character>LARRY</character> <dialogue>You don't mean that, Jack.</dialogue> <character>JACK</character> <dialogue>Like hell I don'tl This is Jinx, my Jinx, and I will not pretend to be-- happy and forget that he's not gone!</dialogue> <character>DINA</character> <dialogue>Then go! Find your stupid cat! And meanwhile I'll just call Phyllis and tell her and my twenty other friends who are waiting for us as we speak to shove the shower and keep their goddam gifts. I'm sure that will make Bob and Debbie very happy!</dialogue> <character>DEBBIE</character> <dialogue>Actually, Mom, I don't even know Phyllis. Or any of your friends.</dialogue> <character>DINA</character> <dialogue>No, and you never will because if we don't go to their shower they damn</dialogue> <scene_description>J sure aren't coming to your wedding.</scene_description> <character>DEBBIE</character> <dialogue>So? Dad's not coming either if we can't find his dumbass cat.</dialogue> <character>JACK</character> <dialogue>Don't you dare call Jinx names--!</dialogue> <scene_description>Dina holds up her agenda, which is already covered with notes, scribbles, and changes.</scene_description> <character>DINA</character> <dialogue>Watching, Jack? Watching Deb?</dialogue> <parenthetical>("x"-ing something else out)</parenthetical> <dialogue>I'm crossing off the shower and writing off my friends. What about the rehearsal and rehearsal dinner? Does anybody give ~ rat's ass?</dialogue> <character>LINDA</character> <dialogue>Look Dee, you do what you want with your part of the wedding, but Larry and I are hosting that damn dinner.</dialogue> <scene_description>Pam returns with a handful of snapshots.</scene_description> <character>PAM</character> <dialogue>Here's some pictures. Want me to go grab the oil portrait?</dialogue> <character>JACK</character> <dialogue>These are fine. We should check the other shelters, too. There's a county one in Bellport and I think there's one in Sayville.</dialogue> <parenthetical>(handing out photos)</parenthetical> <dialogue>Take one, we'll search in groups. Pam and Denny in Mom's car, Deb and Bob the Buick, Larry, Linda the Cadillac...</dialogue> <character>PAM</character> <dialogue>And Kevin has his truck.</dialogue> <character>JACK</character> <dialogue>Good. C'mon, we'll ride with Kevin.</dialogue> <character>PAM</character> <dialogue>Dad, I'm going with Greg.</dialogue> <character>JACK</character> <dialogue>Suit yourself but let's MOVE.</dialogue> <scene_description>He grabs a photo off the pile and rushes out the back door. And as the others do the same, Greg turns to Pam...</scene_description> <character>GREG</character> <dialogue>Be right there, I gotta get the key.</dialogue> <character>DINA</character> <dialogue>One hour, Jack! Father O'Boyle's</dialogue> <scene_description>'-/ coming and we're rehearsing at five!</scene_description> <character>EXT.</character> <dialogue>BACKYARD - CONTINUOUS</dialogue> <scene_description>Kevin, still watching the Firemen, eyes the mass exodus.</scene_description> <character>JACK</character> <dialogue>Riley, give me your keys. We're checking the shelters for Jinx...</dialogue> <character>KEVIN</character> <dialogue>Oh, okay, Jack.</dialogue> <scene_description>He joins the exodus, and as Pam stops and waits for Greg at the bottom of the porch steps, the Chief ambles over.</scene_description> <character>FIRE CHIEF</character> <dialogue>Well, now I've got another theory.</dialogue> <scene_description>He holds up a small, square, burnt object. Greg's Camels.</scene_description> <character>FIRE CHIEF</character> <dialogue>Know any smokers?</dialogue> <character>EXT.</character> <dialogue>BACK PORCH - MOMENTS LATER</dialogue> <scene_description>Greg walks toward the rental car, looking around.</scene_description> <character>GREG</character> <dialogue>Pam... ?</dialogue> <scene_description>In the distance-- the SOUND of a truck, shifting gears.</scene_description> <character>INT.</character> <dialogue>KEVIN'S TRUCK - HEADING DOWN THE ROAD - SAME</dialogue> <scene_description>New-passenger Pam settles in beside Kevin as Jack grinds through the gears. As Kevin helps her buckle up...</scene_description> <character>JACK</character> <dialogue>I thought you were going with Greg.</dialogue> <character>PAM</character> <parenthetical>(upset)</parenthetical> <dialogue>Greg's not coming, Dad.</dialogue> <character>JACK</character> <dialogue>I'm not surprised.</dialogue> <character>KEVIN</character> <dialogue>Peanut, you okay?</dialogue> <character>PAM</character> <dialogue>...yeah.. long day...</dialogue> <character>KEVIN</character> <dialogue>Boy, I'll say. Poor Bob and Deb. I just hope when my wedding day comes, things go a lot smoother. Yours too...</dialogue> <character>PAM</character> <dialogue>Yeah, well, after today, I don't think I'll ever get married.</dialogue> <character>JACK</character> <dialogue>Never say never, sweety. There must be a million guys out there who'd marry you tomorrow, am I right Riles?</dialogue> <scene_description>HONN-HONK! Jack eyes his mirror. A teal car's tailing.</scene_description> <character>JACK</character> <dialogue>Great, some loser's on my ass.</dialogue> <scene_description>Pam eyes the side-view mirror. Yup-- Greg, in the Taurus.</scene_description> </scene> <scene> <stage_direction>EXT. A TWO-LANE HIGHWAY</stage_direction> <scene_description>Greg accelerates, pulls up along the right shoulder. And as he shoots Pam an animated "what happened?" shrug.</scene_description> </scene> <scene> <stage_direction>INT. THE FLATBED</stage_direction> <character>KEVIN</character> <dialogue>It's Glen! What's he doing?</dialogue> <scene_description>Jack downshifts and accelerates, trying to outrun him.</scene_description> <character>JACK</character> <dialogue>I'm not waiting to find out.</dialogue> </scene> <scene> <stage_direction>EXT. THE HIGHWAY</stage_direction> <scene_description>The truck and Taurus race doWn the roadway, Jack not yielding, keeping Greg on the soft, narrow shoulder.</scene_description> </scene> <scene> <stage_direction>INT. GREG'S CAR</stage_direction> <scene_description>Greg sees the shoulder ends soon. He brakes, swerves back on the road behind the truck, and as he goes to pass... A BUS BARRELS HIS WAY. HONNNNK! Greg nails the brakes, whips the wheel, and falls in behind the flatbed, barely missing a deadly head-on with the speeding Greyhound bus.</scene_description> </scene> <scene> <stage_direction>INT. KEVIN'S TRUCK</stage_direction> <character>JACK</character> <dialogue>Did you see that? What a maniac!</dialogue> <character>KEVIN</character> <dialogue>Pam, what're you doing with this guy?</dialogue> <scene_description>The $64, 000 question. And as Pam stares, blankly...</scene_description> <character>PAM</character> <dialogue>I don't know...</dialogue> </scene> <scene> <stage_direction>INT. COUNTY ANIMAL SHELTER - BELLPORT - PARKING LOT - DAY</stage_direction> <scene_description>Jack jumps out of the parked truck, Jinx photos in hand. He sees two bui1dings-- one a kennel, the other an office.</scene_description> <character>JACK</character> <dialogue>You kids check death row, I'll file a missing feline report. Let's go!</dialogue> </scene> <scene> <stage_direction>INT. SHELTER KENNELS - SECONDS LATER</stage_direction> <scene_description>A steel door swings open and the place comes alive. Dogs whine, cats cry, puppies yelp, kitties caterwaul, all of them pressing up against cages, pleading for salvation. Kevin and Pam walk a corridor of double-sided cages, carefully checking each one for Jinx. A beat, and... Greg rushes in, looking mad and confused. He sees them...</scene_description> <character>GREG</character> <dialogue>Pam, what's going on?</dialogue> <scene_description>...but Pam and Kevin ignore him, keep walking. GREG {cont'd} I come outside, you're gone. I pull alongside, your Dad cuts me off--</scene_description> <character>KEVIN</character> <dialogue>{whirling}</dialogue> <scene_description>Take a hint, you... doo fus .</scene_description> <character>GREG</character> <dialogue>"Doofus"? And you kiss Jack with that mouth?</dialogue> <scene_description>Lightning quick, Kevin SHOVES Greg. Greg stumbles back and hits a cage, scaring a poor Chihuahua shit1ess. Then he makes two fists and turns toward the much bigger Kevin.</scene_description> <character>GREG</character> <dialogue>You're going to be sorry, my friend.</dialogue> <character>KEVIN</character> <dialogue>I'm not your friend.</dialogue> <character>GREG</character> <dialogue>I was talking to myself, asshole.</dialogue> <scene_description>And as he (stupidly) charges him-- HEY--! Greg stops. Both turn. Pam's staring, fiercely.</scene_description> <character>PAM</character> <dialogue>Kevin, find someone who works here. And Greg? Get lost.</dialogue> <scene_description>She spins and continues walking, checking cages. Kevin shoots Greg a satisfied smirk before turning and heading down a hallway. Greg stands there a beat, then notices a door adjacent to the cages marked: UEmployees Only." DOWN THE AISLE OF CAGES - SECONDS LATER Pam walks past cage after sad cage, peering inside. But when she gets to an empty one-- There's Greg, staring back at her through the bars. He's accessed the uback aisle" the shelter employees use.</scene_description> <character>PAM</character> <dialogue>What are you doing back there?</dialogue> <character>GREG</character> <dialogue>1... got lost.</dialogue> <scene_description>Bad move. Pam walks on. Greg follows, both of them walking and talking on either side of the ucellblock."</scene_description> <character>GREG.</character> <dialogue>Pam, wait. I'm sorry.</dialogue> <character>PAM</character> <dialogue>For what?</dialogue> <character>GREG</character> <dialogue>For... whatever you're mad about.</dialogue> <scene_description>She stops and turns, eyeing him through an empty cage.</scene_description> <character>PAM</character> <dialogue>The firemen found cigarettes, Greg. Camels. You couldn't do it, could you. You couldn't go a day without your goddam smokes so you bought some at the Buy-Rite, snuck in the backyard and--</dialogue> <character>GREG</character> <dialogue>Woah, Matlock, hold on. I did not buy cigarettes. And the only smokes I did have you threw on the roof--</dialogue> <scene_description>---(beat, realizing) Hey, there you go. The firemen's hose must have knocked them down...</scene_description> <character>PAM</character> <dialogue>Or you had more in your suitcase.</dialogue> <character>GREG</character> <dialogue>What suitcase? The idiots sent me the wrong bag-- (oops... )</dialogue> <character>PAM</character> <dialogue>What? You said it was yours--</dialogue> <character>GREG</character> <dialogue>Pam, honey, I can explain--</dialogue> <character>PAM</character> <dialogue>You lied to me AGAIN? Jesus, Greg, you're a sociopath! Is it any wonder my parents hate you?!</dialogue> <scene_description>She's off again, Greg following.</scene_description> <character>GREG</character> <dialogue>C'mon, they don't "hate me." Okay, they hate me but Pam, stop. PLEASE.</dialogue> <scene_description>She does, turning and facing him through the cage of a trembling mutt. Make it good, Greg. 'Cause this is it.</scene_description> <character>GREG</character> <dialogue>I'm not a sociopath. I'm still Greg, that guy from Chicago who loves you more than anything. And Pam, I'm your best friend. And you don't just... dump your best friend.</dialogue> <scene_description>The caged mutt whimpers in agreement. Greg goes with it. GREG (cont' d) You don't... abandon someone who gives unconditional love, someone who lives just to make you happy--</scene_description> <character>PAM</character> <dialogue>Enough, I get it. And it's pointless since I can't trust you, my family can't trust you--</dialogue> <scene_description>j</scene_description> <character>GREG</character> <dialogue>You can trust me, Pam. Trust me.</dialogue> <character>PAM</character> <parenthetical>(eyes welling)</parenthetical> <dialogue>-.. J Greg, I can't. Not after today...</dialogue> <scene_description>She turns and heads down the aisle. Greg stares, too stunned to follow, and as he slumps against a cold, concrete wall... three voices drift down doggy-death-row.</scene_description> <character>JACK (0. S. )</character> <dialogue>Is he here? The guy behind the counter said he wasn't sure...</dialogue> <character>KEVIN (0 . S . )</character> <dialogue>Sorry, Jack. No Jinx...</dialogue> <character>JACK (O.S.)</character> <dialogue>Damn! e'mon, we'll try Sayville.</dialogue> <character>PAM (O.S., FADING)</character> <dialogue>Dad, there's no way Jinx got as far as Sayville. Besides, we'll never make it back in time for rehearsal--</dialogue> <scene_description>The door slams with a THUD. And as the mutt whines.:. EXT. THE L.I.E. - WESTBOUND - DAY The Taurus heads back from whence it came. Past a sign: "Queens, LaGaurdia - 48 Mi"</scene_description> <character>INT.</character> <dialogue>Greg drives, numb. On his dash-- his Jinx photo.</dialogue> <character>GREG'S CAR - DRIVING WEST ON THE L.I.E. - DAY</character> <dialogue>On the radio-- Bread's "Baby I'm A Want You." Greg suffers through David Gates' saccharine swill until he can't take it any longer. He jabs a pre-set and gets-- Streisand, "The Way We Were." He kills it, then sees--</dialogue> <dialogue>A Roadway sign: "WELCOME TO SAYVJ:LLE"... Almost immediately followed by another: "POLJ:CE, FJ:RE, ANJ:MAL SHELTER, NEXT RT."</dialogue> <dialogue>Greg eyes the Jinx photo, then the exit. What the hell. He whips the wheels, bombing across traffic lanes, and...</dialogue> <character>EXT.</character> <dialogue>SAYVILLE ANIMAL SHELTER - MOMENTS LATER</dialogue> <scene_description>Greg and an Employee walk past a series of outdoor runs filled with noisy dogs and cats, Greg holding the photo.</scene_description> <character>EMPLOYEE</character> <dialogue>Only Persian we got's right there.</dialogue> <scene_description>He nods to a crowded run. Sitting alone in a corner is--</scene_description> <character>GREG</character> <dialogue>\, Jinx! That's him, that's Jinx!</dialogue> <scene_description>The worker eyes Greg's Jinx photo, including Jinx's blue collar and gold name tag, then eyes the caged cat.</scene_description> <character>EMPLOYEE</character> <dialogue>Hang on. This cat arrived with not collar or tag. Also...</dialogue> <parenthetical>(checking photo again)</parenthetical> <dialogue>...your cat has a black tip on its tail and this one doesn't. No sir, he's definitely not your Persian.</dialogue> <character>GREG</character> <dialogue>Damn. Thought for sure it was him.</dialogue> <character>EMPLOYEE</character> <dialogue>Almost. Except for that tail...</dialogue> <scene_description>And as Greg gets a far-away look in his eyes...</scene_description> <character>EXT. STRIP-MALL PET SHOP - LATER</character> <dialogue>A dozen SIGNS hang in the window, including "Tags Made While-U-Wait." Greg strolls outside, paper bag in hand. EXT. STRIP MALL PARKING LOT</dialogue> <dialogue>The Taurus is backed up against the side of the building. Greg reaches in an open window, pulls out a small Buy-Rite paper bag. Then he walks to the trunk, looks around, and raises it up to block all but his head from view. Then...</dialogue> <dialogue>There's the sound of a latch opening, a paper-bag crinkling, a plastic cap "popping," a ball rattling around inside a can, an aerosol HISS... and the WAIL of a cat.</dialogue> <character>EXT.</character> <dialogue>BURNS BACKYARD - LATER</dialogue> <scene_description>A handsome couple, flanked by their families, gather in the shadow of an elm, holding hands and smiling as a PRIEST (O'Boyle) prepares to lead them through their vows. Then-- CHAINSAWS ROAR as a TREE-CUTTING CREW attacks the scorched tree and burnt altar, tossing wood and severed limbs into-- A diesel WOODCHIPPER, belching black exhaust and woodpulp, its obscenely loud blades competing for decibels with-- THE BEEP-BEEP-BEEP of an Edison TRUCK, backing a cherry picker up to the home, the driver trying not to hit-- A SEPTIC TANK PUMPER (cute li'l skunk on its side) and its gas-masked DRIVER, as he wrestles a sewage-filled HOSE beneath a SWARM of flies, drinking in the fetid air. UNDER THE ELM-- the determined Clergyman tries yelling \ over the hellish cacophony, but the stress is mounting...</scene_description> <character>J</character> <dialogue>--- Larry and Linda look LIVID. Pam and Kevin cup their EARS.</dialogue> <scene_description>VEINS bulge in Jack's neck. TEARS well in Dina'S eyes. BLOOD trickles from Debbie's nose. All of them turn as-- A teal Taurus pulls into the drive. Greg gets out, squints at the loud, surrealistic sight, and then... Jack SNAPS.</scene_description> <character>JACK</character> <dialogue>YOU.</dialogue> <scene_description>He rushes Greg, fists clenched, mayhem in mind.</scene_description> <character>PAM</character> <dialogue>Dad.. !</dialogue> <character>GREG</character> <dialogue>Jack... ! Wait... !</dialogue> <scene_description>He fumbles with the keys, drops them, kicks them back toward the trunk, scoops them up, finds the one, slides it in, pops the trunk, and just as Jack's about to grab him--</scene_description> <character>GREG</character> <dialogue>Look--!</dialogue> <scene_description>He holds up a CAT-CARRIER, a meowing Persian inside. And instantly... Jack goes from tiger to pussycat.</scene_description> <character>JACK</character> <dialogue>Jinxy?</dialogue> <scene_description>He looks to Greg, lip trembling, eyes welling and..</scene_description> <character>INT.</character> <dialogue>KITCHEN - LATER</dialogue> <scene_description>LAUGHTER, as the two families unwind, sip drinks, and watch as Jack waltzes 'round the kitchen, the IMPOSTOR CAT in his arms. The backyard's quiet now, the workers gone.</scene_description> <character>JACK</character> <dialogue>"Pussycat, Pussycat, I love you... "</dialogue> <scene_description>The PHONE rings, Dina answering while Greg holds court.</scene_description> <character>GREG</character> <dialogue>...and when I checked his collar and saw his "Jinx" name tag, my heart... soared.</dialogue> <character>KEVIN</character> <dialogue>Sayville? Wonder how he got so far?</dialogue> <character>DEBBIE</character> <dialogue>Or how he crossed the Browns River...</dialogue> <character>GREG</character> <parenthetical>(shrugs)</parenthetical> <dialogue>Cat-amaran?</dialogue> <scene_description>Greg SCORES, getting laughs from everyone but Kevin, who looks annoyed, and Pam, who looks... reserved. But before it gets too fun-- Dina hangs up the phone, turns to Greg.</scene_description> <character>DINA</character> <dialogue>Greg, I just got an interesting call--</dialogue> <parenthetical>(as Greg's face drains)</parenthetical> <dialogue>--from the Tux Shop owner. He says he found a matching tux in your size and he'll drop it by here tonight.</dialogue> <character>JACK</character> <dialogue>Hey, that's great!</dialogue> <scene_description>Debbie and the Banks chime in, equally enthused.</scene_description> <character>GREG</character> <dialogue>Then I'm back in the wedding?</dialogue> <character>JACK</character> <dialogue>Of course! You're Pam's boyfriend-- you're practically family, right?</dialogue> <character>GREG</character> <parenthetical>(smiles, overwhelmed)</parenthetical> <dialogue>If you say so, Jack.</dialogue> <character>JACK</character> <dialogue>I do say so. And so does my Jinxy.</dialogue> <scene_description>The Impostor actually meows. Everyone LAUGHS, and as Jack continues the waltz and Dina fields another PHONE CALL... Jack suddenly stops, and feels the tip of the eat's tail.</scene_description> <character>PAM</character> <dialogue>What's the matter, Dad?</dialogue> <character>JACK</character> <dialogue>Something sticky got on his taiL..</dialogue> <character>GREG</character> <dialogue>Probably road tar. The Cat-Catcher said he found him under a car...</dialogue> <character>JACK</character> <parenthetical>(sniffs fur)</parenthetical> <dialogue>He smells different. Like... paint.</dialogue> <character>GREG</character> <dialogue>I'm not surprised-- they were painting the whole pound today.</dialogue> <character>JACK</character> <parenthetical>(ignores Greg, to cat)</parenthetical> <dialogue>"Fe-lines... nothing more than... "</dialogue> <scene_description>He grabs the Impostor's whiskers for a "sing-a-long" and-- ROWR-HISS! The Cat SWIPES at him, squirms, jumps down.</scene_description> <character>JACK</character> <dialogue>Jinxy-- what's come over you?</dialogue> <scene_description>He starts to follow, but as the cat bolts past Dina...</scene_description> <character>DINA</character> <dialogue>Jack-- leave the poor cat alone. He's been through enough today.</dialogue> <character>JACK</character> <parenthetical>(stops, back in wedding-mode)</parenthetical> <dialogue>Who was that on the phone?</dialogue> <character>DINA</character> <dialogue>The florist. He says he has a gorgeous trellis for an altar and then Phyllis beeped in and said don't worry about the shower, they understand, and everyone'll see us here tomorrow for the wedding.</dialogue> <character>LINDA</character> <dialogue>See? I knew it would all work out.</dialogue> <character>LARRY</character> <dialogue>A toast! To things working out!</dialogue> <scene_description>Everyone raises a glass, including Jack (convinced for now) and Greg, who toasts Pam. And as she toasts back, thawing...</scene_description> </scene> <scene> <stage_direction>EXT. "THE SURF'N'TURF" - A WATERFRONT RESTAURANT - DUSK</stage_direction> <scene_description>The name's in NEON, the second "f" on the fritz, winking.</scene_description> </scene> <scene> <stage_direction>INT. THE SURF'N'TURF - SEMI-PRIVATE ROOM - LATER</stage_direction> <scene_description>Dessert. Coffee flows as the wedding party laughs and chats at a long, cluttered table. Bob, Deb, Denny, and the parents look relaxed, buzzed. Pam and Kevin, side-by-side, look less so. An empty chair sits between Jack and Pam.</scene_description> <character>JACK</character> <dialogue>Well gang, helluva day. We had fire...</dialogue> <character>LINDA</character> <dialogue>And flood. Well, sewage seepage.</dialogue> <character>DEBBIE</character> <dialogue>And Dad had a missing-cat cardiac...</dialogue> <character>DINA</character> <dialogue>I guess it just goes to show you. You can plan and plan, but no matter what, every wedding eventually--</dialogue> <character>THE OTHERS</character> <dialogue>--"has its one thing."</dialogue> <scene_description>And as they all laugh it up, Jack looks around.</scene_description> <character>JACK</character> <dialogue>Pam, honey, where'd Greg go?</dialogue> <character>PAM</character> <dialogue>I'm not sure. I think the res troom...</dialogue> <character>KEVIN</character> <dialogue>Uh-oh. Sure hope the "Surf'N'Turd" doesn' t have a septic tank...</dialogue> <scene_description>Kevin grins and nods, awaiting a laugh. None comes.</scene_description> <character>JACK</character> <dialogue>Kevin, that's really uncalled for.</dialogue> <scene_description>OVER BY THE RESTROOMS-- Greg eyes them from afar, hiding between two pay-phone partitions and using BOTH PHONES.</scene_description> <character>GREG (INTO ONE PHONE)</character> <dialogue>--yes, it's still grey and still has a ring in it-- a ring I absolutely need by tomorrow, hear me? Hang on...</dialogue> <parenthetical>(into the other phone)</parenthetical> <dialogue>What's that? No, I called that shelter, my eat's not there...</dialogue> <scene_description>BACK AT THE TABLE - SECONDS LATER Bob sees Greg returning. He stands, waves him over.</scene_description> <character>BOB</character> <dialogue>Gregor, shake it! Can't do this without you here, buddy.</dialogue> <character>GREG</character> <dialogue>Sorry folks, I was just paying a l i ' l visit to the\_ urinal fairy.</dialogue> <scene_description>LAUGHS as Greg scores with this tepid call-back. It truly is a different world. He takes his seat beside Jack, who grins and pats his back as Bob taps a spoon on a glass.</scene_description> <character>BOB</character> <dialogue>I</dialogue> <scene_description>All righty, everybody, listen up. J I'd like to take this moment to thank the members of my wedding party for standing up with me, and to give them each a token of my appreciation.</scene_description> <character>GREG</character> <dialogue>A free angioplasty?</dialogue> <scene_description>Greg scores! The man's on fire.</scene_description> <character>BOB</character> <dialogue>No Greg, but you're not far off.</dialogue> <scene_description>He tosses Greg, Denny, and Kevin three small, wrapped boxes. Denny tears his open in a millisecond. It's--</scene_description> <character>DENNY</character> <dialogue>A knife! Swiss Army Knife. Cool.</dialogue> <scene_description>Good ones, too, lots of doohickeys. Dina looks concerned.</scene_description> <character>DINA</character> <dialogue>Is Denny old enough for a knife?</dialogue> <character>BOB</character> <dialogue>The main blade's only three inches.</dialogue> <character>GREG</character> <dialogue>Three inches on an army knife. No wonder the Swiss were always neutral.</dialogue> <scene_description>HAT TRICK, the Burns and Banks laughing and beaming at white-hot Greg. Even Pam shoots him a smile, clearly impressed. Bob turns toward the somber Kevin beside her, who's sitting and staring at his unopened army knife.</scene_description> <character>BOB</character> <dialogue>Hope you like it, Riles. It's hard to buy for a guy who has everything.</dialogue> <character>KEVIN</character> <dialogue>Well, almost everything.</dialogue> <scene_description>He shoots a none-too-subtle look Pam's way, who looks down, clearly uncomfortable, and as the moment hangs... Greg turns to Jack, feeling good and ready to try again.</scene_description> <character>GREG</character> <dialogue>Jack, when you're free, there'S some- thing important I'd like to ask you...</dialogue> <character>JACK</character> <dialogue>I'm free now. What's on your mind?</dialogue> <scene_description>A BAND starts in the main room, the B-52's "Love Shack."</scene_description> <character>DEBBIE</character> <dialogue>Hey everybody! Let's go dance!</dialogue> <scene_description>She jumps up, as do the Banks and Dina, who beckons Jack.</scene_description> <character>DINA</character> <dialogue>C'mon, we'll practice for tomorrow!</dialogue> <scene_description>Jack stands, takes her hand, turns to Greg...</scene_description> <character>JACK</character> <dialogue>We'll talk later. C'mon and dance!</dialogue> <scene_description>Dina leads him to the parquet, and as a bombed Bob and boppin' Debbie drag a crabby Kevin along with them... That leaves Denny (now playing mumbly-peg), Greg, and--</scene_description> <character>PAM</character> <dialogue>Wanna get some air?</dialogue> </scene> <scene> <stage_direction>EXT. THE SURF' N' TURF PATIO AREA - NIGHT</stage_direction> <scene_description>Music behind them, phosphorescent surf before them, Pam and Greg lean against a rail, enjoying the moonlit sea.</scene_description> <character>GREG</character> <dialogue>Mrnm.•• nothing says Summer like a warm night and the smell of the ocean...</dialogue> <character>PAM</character> <dialogue>Except maybe a warm day, and the... smell of beer and dogs at Wrigley.</dialogue> <scene_description>That's all it takes. They turn to each other, back.</scene_description> <character>PAM/GREG</character> <dialogue>I'm sorry...</dialogue> <character>GREG</character> <dialogue>You're sorry?</dialogue> <character>PAM</character> <dialogue>I thought about what you said, about the cigarettes being knocked down by the firemen's hose, and--</dialogue> <character>GREG</character> <dialogue>Pam, it's okay. Today was crazy. Let's just forget all about what happened today. Life starts tonight.</dialogue> <scene_description>He moves toward her, taking her hand.</scene_description> <character>PAM</character> <dialogue>\ Yeah, you're scoring big tonight.</dialogue> <scene_description>/</scene_description> <character>GREG</character> <dialogue>Right, so now there's no reason why we can't all be one big, happy family. You, me, Jack, Dee, Kevin...</dialogue> <scene_description>He says this tongue-in-cheek. Pam shakes her head, sighs.</scene_description> <character>PAM</character> <dialogue>Poor Kevin. I don't know what I was thinking. I'm sure he thinks we're getting back together again.</dialogue> <character>GREG</character> <dialogue>I'm still wondering why you broke up. The guy seems damn near perfect.</dialogue> <character>PAM</character> <dialogue>He is perfect. And the idea of spending the rest of my life with someone who's so... together that the only person he needs in his life is himself, well, who needs that? I need a relationship I can bring something to, a man I can change, someone at least as screwed up as me.</dialogue> <character>GREG</character> <dialogue>And I know just the guy.</dialogue> <scene_description>He grins big, pointing a finger at his big, grinning face. Pam smiles, nods, and as they both lean in and kiss... THE BAND segues into a sweet, romantic Gershwin song.</scene_description> <character>GREG</character> <dialogue>Hey, they're playing our song.</dialogue> <character>PAM</character> <dialogue>We don't have a song.</dialogue> <character>GREG</character> <dialogue>We do now.</dialogue> <scene_description>He smiles, takes her hand, and as they head back inside...</scene_description> <character>INT.</character> <dialogue>SURF'N'TURF RESTAURANT - DANCE FLOOR - MOMENTS LATER</dialogue> <scene_description>The gang's all there, dancing cheek-to-cheek. Jack with Dina, Linda with Larry, Debbie with Bob. No sign of Kevin. Greg and Pam sway alongside Debbie and Bob, now kissing .</scene_description> </scene> <scene> <stage_direction>/ PAM</stage_direction> <scene_description>Hey now, none of that the night before your wedding. It's bad luck.</scene_description> <character>DEBBIE</character> <dialogue>Ha. Nothing's going to top today.</dialogue> <character>BOB</character> <dialogue>So long as that darn cat stays put.</dialogue> <character>JACK</character> <dialogue>Oh, Jinxy's not going anywhere. I shut him up in the den.</dialogue> <scene_description>The Gershwin tune ends, Larry and Linda moving to the bandstand, making a request, and suddenly...</scene_description> <character>CHEESY LEAD SINGER</character> <dialogue>This one's for Dr. Bob and Debbie!</dialogue> <scene_description>And as the band strikes up a jazzy "Wedding March" ...</scene_description> <character>CHEESY LEAD SINGER</character> <dialogue>Here comes the bride, scooby-dooby...</dialogue> <scene_description>...the music continues over this INTERCUT SERIES OF SHOTS--</scene_description> </scene> <scene> <stage_direction>INT. THE DEN/THE DANCE FLOOR</stage_direction> <scene_description>--The Impostor Cat CLAWS Deb's wedding dress to shreds. --Bob whirls Debbie around the floor. --Impostor Cat PEES on the laid-out tuxes. --Jack dips a laughing Dina. --Impostor Cat PUKES on some linens, knocks over a phone. --Larry and Linda clap and laugh beside the crooner. --Impostor Cat TOPPLES a stack of dishes. KSSSSSHH!! --And as Greg and Pam dance their troubles away...</scene_description> </scene> <scene> <stage_direction>EXT. THE BURNS HOME - FROM AFAR - NIGHT - LATER</stage_direction> <scene_description>Car doors slam. Nine shadowy figures move toward the backporch in the moonlight. Bob (lit) and Deb sing.</scene_description> <character>BOB AND DEBBIE (O.S.)</character> <dialogue>...Love Shack! Ba- bee, Love Shack... !</dialogue> <character>JACK (0. S.)</character> <dialogue>Dee honey, what's this bag here?</dialogue> <character>DINA (O.S.)</character> <dialogue>Oh good-- it's Greg's tux. Be a dear and put it with the others.</dialogue> <character>LINDA (0 . S . )</character> <dialogue>I can't believe Riley just left.</dialogue> <character>DENNY (0 . S . )</character> <dialogue>He said he wasn't feeling too hot.</dialogue> <character>LARRY (0. S . )</character> <dialogue>I see stars. Gonna be nice tomorrow.</dialogue> <character>GREG (0. S.)</character> <dialogue>Oh, it's gonna be beautiful.</dialogue> <scene_description>Suddenly, Jack starts to SCREAM.</scene_description> <character>DINA/DEBBIE (O.S.)</character> <dialogue>What?! What is it?!</dialogue> <scene_description>AAAAAAAAAAHHHHHHH! ! ! !</scene_description> </scene> <scene> <stage_direction>INT. THE DEVASTATED DEN - IN THE DOORWAY</stage_direction> <scene_description>Nine stunned faces eye the destruction. Tattered tuxes, torn drapes, broken picture frames, plates, and glasses, puked-on dresses, shattered Nanny-Cams, a phone off the hook... And atop the sofa-bed, licking a paw and purring--</scene_description> <character>THE IMPOSTOR CAT</character> <dialogue>Meow?</dialogue> <scene_description>Debbie stammers, stunned, speechless. Beside her-- Larry is so mad he actually GROWLS and CHARGES "Jinx."</scene_description> <character>LARRY</character> <dialogue>I'll kill you! I'll kill you!</dialogue> <scene_description>The cat bolts, Larry on his ass. Jack gets on Larry's.</scene_description> <character>JACK</character> <dialogue>Don't you touch him Banks!</dialogue> <scene_description>The cat slaloms through the shins of Bob, Pam and Denny--</scene_description> <character>BOB/PAM/DENNY</character> <dialogue>Dad!/Larry!/Dude!</dialogue> <scene_description>--who RESTRAIN Larry as Jack scoops up the frazzled cat.</scene_description> <character>LARRY</character> <dialogue>Let me go! You Burns care more about a damn cat than the wedding!</dialogue> <character>JACK</character> <dialogue>You're drunk!</dialogue> <character>LARRY</character> <dialogue>And you're a goddam nutbag!</dialogue> <character>DENNY</character> <dialogue>Shuttup, ass-wipe.</dialogue> <character>DINA</character> <dialogue>\ Denny!</dialogue> <scene_description>j</scene_description> </scene> <scene> <stage_direction>.</stage_direction> </scene> <scene> <stage_direction>' ' ;</stage_direction> <scene_description>She whirls and SLAPS him on the face, probably a first.</scene_description> <character>DENNY</character> <dialogue>I'm outta here.</dialogue> <scene_description>He bumps his way out, past the still stunned and trembling Debbie, the gaping Greg, and the pale, gasping Linda who... Crumples against the wall and then DROPS to the floor.</scene_description> <character>MOM?</character> <dialogue>LIN?</dialogue> <scene_description>They push through and kneel at her side.</scene_description> <character>BOB</character> <dialogue>She's hyperventilating! Get a bag!</dialogue> <scene_description>Pam hands Bob a "Surf'N'Turf" doggy bag, which he shoves over his mother's mouth. Linda struggles and pushes it away, Bob dumping out a cold lobster tail and trying again. And as Linda starts to breathe... Debbie loses 'it.</scene_description> <character>IT'S RUINED.</character> <dialogue>EVERYTHING'S RUINED!</dialogue> <scene_description>She turns and bolts, bawling. Bob and Pam give chase--</scene_description> <character>PAM/BOB</character> <dialogue>Debbie!</dialogue> <scene_description>--and Larry helps Linda up, her face still in the bag.</scene_description> <character>LINDA</character> <dialogue>...I'm fine... I'll be fine...</dialogue> <scene_description>Larry looks to Dina and then to Jack, who's still cradling the now-calm cat. He speaks slowly, trying to maintain.</scene_description> <character>LARRY</character> <dialogue>We... will be at our hotel. You call us if there's still a wedding...</dialogue> <scene_description>Linda leans on Larry and they hobble toward the back door, passing Dina, who ignores them as she glares at Jack and "Jinx." Then she turns and heads down the hall, leaving... Jack, Greg, and the purring Impostor Cat. Jack in a daze.</scene_description> <character>JACK</character> <dialogue>He's never done anything like this before. It doesn't make sense...</dialogue> <scene_description>He looks to Greg, as if expecting an answer.</scene_description> <character>GREG</character> <dialogue>Maybe he was traumatized, from being left so soon after being lost.</dialogue> <character>JACK</character> <parenthetical>(then, looking at Jinx)</parenthetical> <dialogue>It's like he came back from that pound an entirely different cat...</dialogue> <parenthetical>(beat, breaking down)</parenthetical> <dialogue>Oh, what's it matter? I've destroyed my Debbie-Doodle's wedding day...</dialogue> <scene_description>He sags, chin meeting chest, then begins to SOB, the Impostor Cat dropping from Jack's lap to the floor. Greg, feeling guilty, moves closer to Jack. He raises a hand, hesitates, then places it awkwardly on Jack's heaving shoulder, patting him lightly as if burping a baby.</scene_description> <character>GREG</character> <dialogue>It's okay, Jack. It'll work out...</dialogue> <scene_description>Touched, Jack looks up, his eyes welling with gratitude.</scene_description> <character>JACK</character> <dialogue>Greg... thanks... for being here for me...</dialogue> <parenthetical>(pats Greg's patting hand)</parenthetical> <dialogue>And you said back at dinner, there was something you wanted to ask me... ?</dialogue> <scene_description>Greg eyes Jack, so weak, so vulnerable. The time has come.</scene_description> <character>GREG</character> <dialogue>Jack, if there's one thing I've realized over the last two days, it's how much I want to spend my life with...</dialogue> <scene_description>A CAT runs in behind Jack. A PERSIAN. JINX. As he races up to his evil doppelganger, back-raised, ready to rumble...</scene_description> </scene> <scene> <stage_direction>..CATS!</stage_direction> <scene_description>He GROWLS, cat-like, THROWING himself on Jack and STARTLING THE PERSIANS who bolt, together, down the hall. Then Greg gets up on his elbows, nose-to-nose on the bed with Jack. GREG (cont' d) So if Jinx has pups can I have one, please? Think about it. G'night. He rolls off the bed and runs after the (now-gone) cats. And as Jack sits up, looking weepy, mad, and confused...</scene_description> </scene> <scene> <stage_direction>INT. THE KITCHEN</stage_direction> <scene_description>Dina sits at the table, Tom Collins in one hand, Vodka bottle in the other. She watches, bleary-eyed, as-- Jinx runs by, followed by the Impostor Cat, followed by--</scene_description> <character>GREG</character> <dialogue>...hey...</dialogue> <scene_description>Dina squints and eyes her drink as Jack races by.</scene_description> <character>DINA</character> <dialogue>Honey, why is Jinx chasing Jinx?</dialogue> <character>JACK</character> <dialogue>Have a drink, Dina!</dialogue> </scene> <scene> <stage_direction>INT. BURNS HOME - SECOND STORY HALLWAY</stage_direction> <scene_description>The Impostor Cat flies up the stairs, Jinx on his tail.</scene_description> </scene> <scene> <stage_direction>INT. DEBBIE'S ROOM - ON THE BED</stage_direction> <scene_description>Pam sits on the bed, comforting Debbie. Jinx and the I.C. race by, unseen, and as Pam looks up and sees Greg run by...</scene_description> <character>PAM</character> <dialogue>Now what?</dialogue> </scene> <scene> <stage_direction>INT. DENNY'S ROOM</stage_direction> <scene_description>The cats run in, Jinx cornering the Impostor. CAT FIGHT! Greg runs in, slams the door, and dives into the melee, grabbing one of the hissing, clawing cats by the scruff.</scene_description> <character>GREG</character> <dialogue>Ow! Shit! Aah!</dialogue> <character>PAM (APPROACHING, O.S.)</character> <dialogue>Greg?</dialogue> <scene_description>He looks to the window, then down at the cat--</scene_description> <character>GREG</character> <dialogue>Please don't be Jinx.</dialogue> <scene_description>--before grabbing the sling of the water-condom launcher.</scene_description> </scene> <scene> <stage_direction>EXT. THE NEIGHBORHOOD - TWO SECONDS LATER</stage_direction> <scene_description>A hair-raising DOPPLER-HOWL pierces the night sky as the Impostor Cat CATAPULTS over tranquil suburbia.</scene_description> <character>THE IMPOSTOR CAT</character> <dialogue>eeeeeeeeeeEEEEEEEYYYYYYYYooooowwwww!</dialogue> <character>INT.</character> <dialogue>DENNY'S ROOM</dialogue> <scene_description>Pam swings the door open, Jack right behind her. Greg spins from the window and strikes a casual pose, the launcher's rubber sling still swinging a bit behind him.</scene_description> <character>GREG</character> <dialogue>Pam, Jack, what's up?</dialogue> <character>JACK</character> <dialogue>I thought I heard the cat cry.</dialogue> <scene_description>Jinx(?) rubs against Greg's shins. Greg lifts him up--</scene_description> <character>GREG</character> <dialogue>You did. I was just--</dialogue> <scene_description>He YANKS some fur from a paint·:....free tail. Jinx YOWLS.</scene_description> <character>GREG</character> <dialogue>--picking tar off him. Soft, see?</dialogue> <scene_description>Jack eyes Greg, wary, before taking Jinx back and giving him another hard look. Then, convinced it's his Jinx...</scene_description> <character>JACK</character> <dialogue>Well I, for one, am whacked. Night.</dialogue> <character>PAM</character> <dialogue>Night, Dad.</dialogue> <scene_description>She pecks his cheek. Greg gives a little wave.</scene_description> <character>GREG</character> <dialogue>G'night, Jack. Mister Jinx.</dialogue> <scene_description>Jack nods, leaves with his cat, and Greg turns to Pam.</scene_description> <character>GREG</character> <dialogue>So, how's Debbie doing?</dialogue> <character>PAM</character> <dialogue>Fine. The wedding's still on, it's just going to have to be casual. She thinks maybe on their fifth anniversary, they'll come back here, renew their vows, and try it again.</dialogue> <character>GREG</character> <dialogue>Huh. Well, take lots of pictures.</dialogue> <character>PAM</character> <dialogue>I'm not coming. No fucking way.</dialogue> <scene_description>J They laugh, smile, then lean in and kiss.</scene_description> <character>PAM</character> <dialogue>You know what's crazy? It worked out. After all this... insani ty... I think my parents actually like you.</dialogue> <character>GREG</character> <parenthetical>(eyebrows up, hopeful)</parenthetical> <dialogue>Enough to let us sleep together?</dialogue> <character>EXT.</character> <dialogue>MOONLIT BACK PORCH - NIGHT</dialogue> <scene_description>The door opens and Greg steps out, juggling a pillow, blanket, and tomorrow's (bagged) tux. As he flips on a porch light... there's Doctor Bob, in a chair, wi th a beer.</scene_description> <character>GREG</character> <dialogue>Bob? Sorry, I thought I'd crash out here. The den smells like... cat piss.</dialogue> <character>BOB</character> <dialogue>Go for it, I'm almost done. Just having one last brew as a free man.</dialogue> <scene_description>Greg plops his stuff on the couch, starts making up a bed.</scene_description> <character>GREG</character> <dialogue>Well, 24 hours from now i t ' l l all be over and you'll be jetting to your honeymoon. Where you two heading?</dialogue> <character>BOB</character> <dialogue>We're just driving up to Niagara. I have to start NYU in a week.</dialogue> <parenthetical>(drains his beer)</parenthetical> <dialogue>Yup, after tonight, it gets rough. From now on, my life is... pressure.</dialogue> <character>GREG</character> <dialogue>But Med-School... that's great. What field of medicine you looking at?</dialogue> <character>BOB</character> <dialogue>What else? Plastic Surgery. After all, we gotta please the p's\_</dialogue> <parenthetical>(drains beer, crumples can)</parenthetical> <dialogue>Speaking of which, you seen 'ern?</dialogue> <character>GREG</character> <dialogue>Your parents? They left a while ago.</dialogue> <character>BOB</character> <dialogue>Shit. They were my ride to Riley's.</dialogue> <scene_description>/</scene_description> <character>GREG</character> <dialogue>Oh. Well, I have a car, the rental...</dialogue> <scene_description>He fishes out the key, tosses it to Bob.</scene_description> <character>BOB</character> <dialogue>Thanks man, lowe ya one.</dialogue> <character>GREG</character> <dialogue>Hey, you too.</dialogue> <scene_description>Bob slaps Greg's back and heads for the car. Greg smiles, and starts to undress, feeling pretty good about things. And as Bob backs the Taurus up the drive, DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. BURNS HOME - DRIVEWAY - EARLY MORNING</stage_direction> <scene_description>...and the Cadillac pulls in right where the Taurus left. Lar, Lin, and Kev get out, wearing sweats, looking anxious.</scene_description> </scene> <scene> <stage_direction>EXT. BURNS HOME - FRONT DOOR</stage_direction> <scene_description>Larry POUNDS the front door as Linda nails the bell.</scene_description> </scene> <scene> <stage_direction>INT. BURNS HOME - THE KITCHEN</stage_direction> <scene_description>Jack and Dina, in their robes, trade quizzing looks.</scene_description> </scene> <scene> <stage_direction>INT. THE FOYER - SECONDS LATER</stage_direction> <scene_description>Jack opens the door, Dina behind him. The trio push by.</scene_description> <character>LINDA/LARRY</character> <dialogue>Where's Doctor Bob? BOB M.D.?!</dialogue> <character>DINA/JACK</character> <dialogue>Larry, Linda--/What's going on?</dialogue> <scene_description>UPSTAIRS-- Pam (jog clothes) Debbie (a robe), and Denny (last night's clothes) straggle out to the landing.</scene_description> <character>LARRY</character> <dialogue>My son up there?</dialogue> <character>KEVIN</character> <dialogue>I woke up and he was gone. If he was ever there...</dialogue> <character>DEBBIE/PAM</character> <dialogue>What? Why didn't you call us?</dialogue> <character>LARRY</character> <dialogue>You got a goddam phone off the hook!</dialogue> <character>DINA</character> <dialogue>He didn't leave a note, or anything?</dialogue> <character>JACK</character> <dialogue>Where could he go? He has no car.</dialogue> <character>GREG (O.S.)</character> <dialogue>\</dialogue> <character>J</character> <dialogue>Actually...</dialogue> </scene> <scene> <stage_direction>.•/</stage_direction> <scene_description>Greg enters from the hall in Pam's "Hello Kitty" sleep-tee.</scene_description> <character>GREG</character> <dialogue>...1 gave him mine.</dialogue> <character>LARRY</character> <dialogue>You gave him yours?</dialogue> <character>GREG</character> <dialogue>Yeah, we were up talking last night--</dialogue> <character>JACK</character> <dialogue>What did you say to him?!</dialogue> <character>GREG</character> <dialogue>Nothing. We were just talking. About marriage and... pressure...</dialogue> <character>LINDA/LARRY</character> <dialogue>JESUS! What ' d you say, you Pothead?!.</dialogue> <character>GREG</character> <dialogue>That wasn't my pot--</dialogue> <character>DENNY</character> <dialogue>He's high.</dialogue> <character>JACK</character> <dialogue>Don't lie to us, Focker!</dialogue> <character>GREG</character> <dialogue>You're one to talk, "Johnny". How's Carol and the beach house?</dialogue> <character>JACK</character> <dialogue>You spied on me? You son-of-a--</dialogue> <character>DINA</character> <dialogue>Carol who, Jack? The realtor? You're-SCrewing her again?!!</dialogue> <character>PAM/DEBBIE/DENNY</character> <dialogue>What?/Dad?!/Cool.</dialogue> <character>JACK</character> <dialogue>Dina-- I told you that was over.</dialogue> <character>DEBBIE</character> <dialogue>Daddy, how could you?!</dialogue> <character>JACK</character> <dialogue>To get even with her and Ed O'Boyle!</dialogue> <character>PAM</character> <dialogue>Father O'Boyle?</dialogue> <character>DINA</character> <dialogue>At least Ed and I knew when to quit! We're not off at some ubeach house."</dialogue> <character>JACK</character> <dialogue>That ubeach house" happens to be one of Carol's listings, which I just happened to buy-- to give to you!</dialogue> <character>DINA</character> <dialogue>What do I want a beach house for?!</dialogue> <character>JACK</character> <dialogue>For our twenty-fifth fucking anniversary, Dina! SUR-PRISE!</dialogue> <character>LARRY</character> <dialogue>Who cares?! Where's Bob, Focker?</dialogue> <character>GREG</character> <dialogue>How should I know?! Maybe he couldn't take the pressure-- of the wedding, and being a Dad.</dialogue> <character>BURNS/BANKS</character> <dialogue>What?! You're pregnant?!</dialogue> <character>DEBBIE</character> <dialogue>Thanks, Mom! Thanks SO MUCH.</dialogue> <character>DINA</character> <dialogue>I didn't tell him!</dialogue> <character>DEBBIE</character> <dialogue>Then how could he know?!</dialogue> <character>DINA</character> <dialogue>He was peeping on us, in the tree!</dialogue> <character>GREG</character> <dialogue>I wasn't, I was chasing the cat--</dialogue> <character>JACK</character> <dialogue>You let Jinx out?</dialogue> <character>KEVIN</character> <dialogue>You burned my altar?!</dialogue> <character>LARRY</character> <dialogue>No wonder Bob left-- it's a goddam shotgun wedding!</dialogue> <character>GREG</character> <dialogue>Not on purpose but yeah, a I burned your faggy altar!</dialogue> <character>JACK</character> <dialogue>(whirls, to Larry)</dialogue> <character>KEVIN</character> <dialogue>(charging Greg)</dialogue> <scene_description>You asshole... ! You asshole... ! Jack SHOVES Larry. Kevin SHOVES Greg. And just like that... IT'S A FREE-FOR-ALL, Jack and Larry duking and wrestling as Dina and Linda kick, slap, and pull hair. Pam works both sides, trying to pull Jack off Larry and Kevin off Greg.</scene_description> <character>PAM</character> <dialogue>Stop it! STOP!</dialogue> <scene_description>Kevin pins Greg on his back, raises a mighty fist, and-- Pam jumps on Kev's back, pounding him, arms flailing. And as he's forced to turn his attention to Pam--</scene_description> <character>DENNY (0 €� S €� )</character> <dialogue>Greg--</dialogue> <scene_description>Denny, on the balcony, tosses Greg something-- his Swiss Army Knife. He catches it, blindly flips out some steel--</scene_description> <character>GREG</character> <dialogue>Let's rock, motherfucker!</dialogue> <scene_description>--and JABS Kevin in the thigh with a shiny li'l CORKSCREW. Kevin HOWLS. He FLINGS Pam off his back, sending her skidding away on her fanny (pack) . Jack sees this, gets off Larry, and as Kevin makes a fist for Greg's coup de grace...</scene_description> <character>JACK</character> <dialogue>Riley--</dialogue> <scene_description>Kev turns and BAM! Catches Jack's FIST in his face. He falls back, Jack diving on top of him, slugging away, and as Pam, furious, joins in and the three of them roll past the bawling Debbie and the hair-pulling Dina and Linda... Greg stares, dazed, watching the chaos before him. His blank expression says it all. It's over.</scene_description> </scene> <scene> <stage_direction>EXT. THE BACK PORCH - SECONDS LATER</stage_direction> <scene_description>Greg steps out with his wallet, shoes, and (still bagged) TUX, Jinx bolting out the door before it shuts. And as Greg heads for the driveway, walking and dressing...</scene_description> </scene> <scene> <stage_direction>INT. THE FOYER</stage_direction> <scene_description>Jack, still atop Kevin, spies Greg from a front window. He headbutts Riley, ending that, gets up, and...</scene_description> </scene> <scene> <stage_direction>EXT. THE DRIVEWAY - SECONDS LATER</stage_direction> <character>JACK (0. S.)</character> <dialogue>Focker--?!</dialogue> <scene_description>...Jack's coming down the front steps, heading for Greg. JACK (cont' d) \ You think you can destroy my family and just walk away? No chance...</scene_description> <character>GREG</character> <dialogue>That's right, no chance. I never had a chance with you, did I, Jack? Because I'm not someone you... profiled and selected for your daughter.</dialogue> <character>JACK</character> <dialogue>Only the best for my girls, Nurse-boy.</dialogue> <character>GREG</character> <dialogue>Yeah, okay, I'm a nurse. I empty bedpans, insert catheters and shave people's privates but you know what, Mr. CIA? I am proud of my job, and I'm a helluva lot better at it than you are, Santa.</dialogue> <character>JACK</character> <dialogue>What--?</dialogue> <character>GREG</character> <dialogue>You don't have a clue about me. You think I did things I didn't and don't know half the things I did. The truth is, I could be a spy, but you don't have the balls to be a nurse. You don't know a thing about it.</dialogue> <character>JACK</character> <dialogue>I know how to draw blood..</dialogue> <scene_description>As he comes for him, Pam appears on the front porch.</scene_description> <character>PAM</character> <dialogue>DAD! GREG! What are you doing?!</dialogue> <character>GREG</character> <dialogue>I love your daughter, Mr. Burns.</dialogue> <parenthetical>(turns to Pam)</parenthetical> <dialogue>I want to marry her, make her happy.</dialogue> <character>JACK</character> <dialogue>You can't make her happy.</dialogue> <character>PAM</character> <dialogue>Dad--</dialogue> <character>JACK</character> <dialogue>J Pamcake, stay out of this--</dialogue> <character>PAM</character> <dialogue>NO! I'm not a ... cat you can train like a dog! Stop telling me what to do.</dialogue> <character>JACK</character> <dialogue>Pam, I'm trying to protect you--</dialogue> <character>PAM</character> <dialogue>From what?</dialogue> <character>JACK</character> <dialogue>He destroyed our family. You saw what happened in there--</dialogue> <character>PAM</character> <dialogue>Yeah, and God knows why a nice guy like Greg Focker would want to join a fucked-up family like ours. You're not trying to protect me, Dad. You're trying to... keep me.</dialogue> <scene_description>She says this with such conviction and clarity that Jack is completely shut down. And as the moment hangs... A number of WEDDING-RELATED VANS pull into the driveway. Followed by a WHITE VAN, the Driver calling to Greg.</scene_description> <character>VAN DRIVER</character> <dialogue>Mr. Gregory? I got your bag...</dialogue> <scene_description>And as he holds up a lime-green Samsoni te...</scene_description> <character>GREG</character> <dialogue>Thanks, listen, you going back to LaGaurdia? Because I need a ride.</dialogue> <character>VAN DRIVER</character> <dialogue>Uh... sure. Hop in.</dialogue> <scene_description>Greg spins to Pam. Reaches a hand to her.</scene_description> <character>GREG</character> <dialogue>Pam, c'mon. Come with me.</dialogue> <character>JACK</character> <dialogue>Baby, don't...</dialogue> <character>GREG</character> <dialogue>We can be back in Chicago by noon. There's a day game, at Wrigley...</dialogue> <scene_description>She takes Greg's hand, her eyes on Jack, her heart breaking.</scene_description> <character>PAM</character> <dialogue>He loves me, Daddy.</dialogue> <scene_description>He reaches out and takes Pam's other hand.</scene_description> <character>JACK</character> <dialogue>I love you, Pumpkin.</dialogue> <character>PAM</character> <dialogue>I know. Let me go, Dad.</dialogue> <parenthetical>(almost a whisper)</parenthetical> <dialogue>Let go...</dialogue> <scene_description>Jack drops her hand. Pam nods, turns, and climbs in...</scene_description> </scene> <scene> <stage_direction>INT. THE VAN</stage_direction> <scene_description>...sharing the seat with a much-relieved Greg. They pull away, Pam watching Jack shrink in the dirty side-mirror, and as she turns to Greg and musters a bittersweet smile...</scene_description> </scene> <scene> <stage_direction>EXT. BURNS HOME - FRONT YARD</stage_direction> <scene_description>Jack is distraught, in pain. He paces a circle, stops, then sits on the front lawn steps, breaking down, a few feet away from a MALE FLORIST unloading his van. Seeing this, the Florist ambles over, concerned.</scene_description> <character>MALE FLORIST</character> <dialogue>Mr. Burns? Are you okay?</dialogue> <character>JACK</character> <parenthetical>(looks up, eyes wet)</parenthetical> <dialogue>My daughter... I've lost my daughter...</dialogue> <character>MALE FLORIST</character> <parenthetical>(patting Jack's back)</parenthetical> <dialogue>Now, now. You're gaining a son...</dialogue> <scene_description>They look up as a car arrives. Teal Taurus. BOB INSIDE.</scene_description> <character>BOB</character> <dialogue>Hey Mr. B! This is it, the big day.</dialogue> <character>JACK</character> <parenthetical>(stands, irate)</parenthetical> <dialogue>Where the hell've you been?</dialogue> <character>BOB</character> <dialogue>Scoring breakfast.</dialogue> <parenthetical>(steps out with donut box)</parenthetical> <dialogue>I got up early, got a baker's dozen, went back to Riley's and he wasn't there. Nice of him to leave a note~</dialogue> <scene_description>And as Jack looks beyond him to the teal rental car...</scene_description> </scene> <scene> <stage_direction>EXT. LAGUARDIA AIRPORT - CURBSIDE - MORNING</stage_direction> <scene_description>Pam and Greg step out of the van, Greg drawing immediate looks with his pillow hair and "Hello Kitty" tux-ensemble.</scene_description> </scene> <scene> <stage_direction>INT. AIRPORT - TICKET COUNTER - MOMENTS LATER</stage_direction> <scene_description>Pam and Greg stare, numb, as a CLERK hands them tickets.</scene_description> <character>TICKET CLERK</character> <dialogue>Any bags to check?</dialogue> </scene> <scene> <stage_direction>INT. AIRPORT BAR - LATER</stage_direction> <scene_description>Pam stirs her Bloody Mary and stares into space, troubled. Greg stares at Pam, troubled she's so troubled.</scene_description> <character>AIRPORT ANNOUNCER (V.O.)</character> <dialogue>Attention all passengers, Flight 531 to Chicago is now boarding, Gate 2.</dialogue> <character>GREG</character> <parenthetical>(after a beat)</parenthetical> <dialogue>That's us. You ready...?</dialogue> <character>PAM</character> <dialogue>Let's do it.</dialogue> <scene_description>They push their stools out, turn, and head for the gates. But then Pam peels off for the adjacent Ladies Room.</scene_description> <character>PAM</character> <dialogue>Hang on. Pit-stop...</dialogue> <scene_description>She ducks inside, Greg waiting and leaning up against a wall, knees bent, eyes shut, massaging his temples, feeling the strain. And when he opens his eyes... JACK IS THERE, in his face. He places a hand on Greg's shoulder and looks him right in the eye. Pupil-to-pupil.</scene_description> <character>JACK</character> <dialogue>Three questions. Where's Pam?</dialogue> <character>GREG</character> <dialogue>Restroom...</dialogue> <character>JACK</character> <dialogue>You love her?</dialogue> <character>GREG</character> <dialogue>With all my heart.</dialogue> <character>JACK</character> <parenthetical>(nods, then)</parenthetical> <dialogue>Can you forgive me?</dialogue> <character>GREG</character> <dialogue>Absolutely.</dialogue> <scene_description>A beat, then Jack smiles and pulls Greg into a warm, honest, embrace. Greg breathes again, his color returning, and as he looks over Jack's shoulder, out the window to the tarmac...</scene_description> <character>OUTSIDE - ON AN ABANDONED SECTION OF TARMAC</character> <dialogue>An area's cordoned off with yellow police tape. In the middle of it all sits a LONE SUITCASE. A grey Tourister.</dialogue> <character>GREG</character> <dialogue>Jack... hang on...</dialogue> <scene_description>He breaks the hug and moves toward the window where a CROWD of onlookers have gathered to watch the action.</scene_description> <character>GREG</character> <dialogue>Whose suitcase is that?</dialogue> <character>CURIOUS ONLOOKER</character> <dialogue>No one's-- they found it abandoned so they're blowing it up.</dialogue> <scene_description>Greg looks a few hundred yards "down-range" where there's a blue "NYPD BOMB SQUAD" Van and a mess of NEWS REPORTERS.</scene_description> <character>GREG</character> <dialogue>THAT'S MY BAG!</dialogue> <scene_description>He spins and runs through an exit door. An ALARM sounds.</scene_description> <character>JACK</character> <dialogue>Greg-- wait--!</dialogue> <character>INT. AIRPORT/EXT. TARMAC - SLOW-MOTION SERIES OF SHOTS:</character> <dialogue>--The Crowd and Reporters turn and point at Greg, stunned. --TWO AIRPORT COPS pull their guns, give chase.</dialogue> <character>AIRPORT COPS (SLO-MO)</character> <dialogue>Freeeeeeeeezzzzzzzze !</dialogue> <scene_description>--Greg keeps going, oblivious, focused, on a mission. --The Cops stop, crouch in a stance, aim their guns... --Pam exits the restroom, sees Greg, the guns. SCREAMS. --BUT HERE COMES JACK, racing up behind the cops. --He disarms them like a pro with a single, fluid motion. --Greg sprints by a Firetruck, and as MORE COPS draw guns... --SHKWOOO! They're COVERED with a FUSILLADE OF FIRE-FOAM. --JACK'S on'an Airport Firetruck, firing the deck-top GUN. --And as Greg sprints through the police tape, screaming... j</scene_description> <character>GREG</character> <dialogue>NOOOOO... !</dialogue> <scene_description>--A BOMB SQUAD GUY (earplugs, facing away) hits a PLUNGER. --KABOOM! The Tourister explodes in a big orange fireball. --Greg and his suitcase are blown high into the air, and-- END SLO-MO as fiery debris rains down on the tarmac and a dozen cops converge on the firetruck and Jack on top.</scene_description> <character>JACK</character> <parenthetical>(hops down, badge out)</parenthetical> <dialogue>Relax, boys. CIA.</dialogue> <scene_description>100 YARDS AWAY-- Greg, face down and clothes smoldering, coughs and cowers in a cloud of smoke and debris. But when he finally looks up... something small and on fire is tumbling toward him, almost as if it were sentient. It stops mere inches from his blast-blackened face. And even ablaze, you can see it's a box. A tiny velvet box. Greg blows it out, picks it up, opens it. The Ring. He turns, sees Jack coming, and as he flashes a thumbs-up... We hear "Leaving On A Jet Plane" by Peter, Paul, and Mary.</scene_description> <character>EXT.</character> <dialogue>BURNS HOME - BACKYARD - AFTERNOON</dialogue> <scene_description>A hundred-odd people watch Debbie (white sundress) and Bob (Dockers, Polo shirt) hold hands and run a gauntlet of flying birdseed to the driveway and an idling limousine. AT THE LIMO-- Greg, Pam, Denny, and the parents cheer and throw seed, Jack holding Jinx and sniffling. Then-- Debbie raises her bouquet and a handful of WOMEN surge forward, screaming. Debbie winds up to throw, then turns--</scene_description> <character>DEBBIE</character> <dialogue>Here, Sis.</dialogue> <scene_description>--and flips it a few feet to Pam, Greg's brilliant diamond shining brightly on her finger. The sisters smile, Deb gets in the limo, and as Denny shuts the door... The car roars away, trailing a "Just Married" sign and tin cans. Larry and Linda (black eye, split-lip) turn to Jack, Dina (wrist-splint) and Greg and Pam.</scene_description> <character>LARRY</character> <dialogue>A toast! To the newlyweds!</dialogue> <character>DINA</character> <dialogue>And to being grandparents!</dialogue> <scene_description>Pam, Greg, and the four new in-laws grin, clink, and drink. Then Jack raises his glass to propose yet another .</scene_description> </scene> <scene> <stage_direction>/</stage_direction> <character>JACK</character> <dialogue>And to Pam, and to Greg, our next son.</dialogue> <scene_description>They toast, Jack leaning to peck Greg on the cheek. Then...</scene_description> <character>JACK</character> <dialogue>C'mon everybody, let's cut a rug!</dialogue> <scene_description>Dina, Jack, and the Banks head for the fast-filling dance floor. Greg and Pam follow, walking slowly, arm in arm.</scene_description> <character>GREG</character> <dialogue>I think it was a beautiful wedding.</dialogue> <character>PAM</character> <dialogue>Me too. How soon can we elope?</dialogue> <scene_description>They laugh, share a kiss, and glide onto the parquet, just as the Dee-Jay spins another record. Hey-- it's that cool and romantic Gershwin tune, the D.J. winking Greg's way.</scene_description> <character>GREG</character> <dialogue>As soon as you want. There's just one thing you need to do first\_</dialogue> <character>PAM</character> <dialogue>What's that?</dialogue> <character>GREG</character> <dialogue>Meet my parents...</dialogue> <scene_description>Pam smiles, and as they kiss and dance to their song it' s ...</scene_description> <character>THE END</character> </scene> </script>

Greg Focker, a Jewish American nurse living in Chicago, intends to propose to his girlfriend, Pam Byrnes. Greg decides to obtain Pam's father's blessing at the wedding of Pam's sister, Debbie, at their parents' house on Long Island, and then propose to her in front of her family. This plan is put on hold when the airline company loses his luggage, which contains the engagement ring. At the Byrnes's house, Greg meets Pam's father Jack, mother Dina, and beloved cat Jinx. Despite maintaining a friendly demeanor towards Greg, Jack is immediately suspicious of him and is critical of his choice of career as a nurse. Greg gifts Jack an extremely rare flower, but Jack does not recognize it, and he becomes even more uncomfortable after he receives an impromptu lie detector test from Jack. Pam explains that Jack's profession as a florist is a cover, and he is actually a retired CIA operative who interrogated double agents. Meeting the rest of Pam's family and friends, Greg feels like an outsider. He also becomes insecure about his relationship with Pam when he learns she was previously engaged, and that her ex-fiancé Kevin is amiable, handsome, wealthy, and still on friendly terms with Pam. Despite efforts to impress her family, Greg's inadvertent actions make him an easy target for ridicule. Greg unintentionally gives Debbie a broken nose and a black eye during a pool volleyball game, floods the backyard with sewage, breaks an urn containing Jack's mother's ashes, and sets the wedding altar on fire. Jack suspects Greg is a marijuana user after he endorses the marijuana interpretation of "Puff, the Magic Dragon". When Jack catches Pam's brother Denny with a marijuana pipe, Denny hastily claims he found it in Greg's luggage. Greg loses Jinx and replaces him with a near-identical stray, whose tail he spray-paints and who makes a mess of the house, including destroying Debbie's wedding dress. Greg's deception is exposed when a neighbor finds the real Jinx, and the entire Byrnes family, including Pam, agrees that Greg should leave Long Island, while Jack accuses Greg of lying about taking the Medical College Admission Test because his CIA contacts could not find any record of a Gregory Focker. Greg retaliates by revealing he has seen Jack engaging in secret meetings, receiving passports, and speaking in Thai, and deduces that Jack has taken on a new CIA mission, only for Jack to angrily reveal that he was arranging a surprise honeymoon in Thailand for Debbie and her fiancé Bob. Greg drives to the airport to return to Chicago, but is detained by airport security for refusing to again check his luggage, which is too large for carry-on. Back at the Byrnes's house, Pam shows her parents copies of Greg's Medical College Admission Test transcript which his parents faxed her; the CIA found no record of Greg because his first name is Gaylord, not Gregory. Jack still believes that Greg is an unsuitable husband for Pam, but Dina lectures him over his consistent picking apart of any man Pam brings home. After hearing Pam make a heartfelt phone call to Greg to apologize for not sticking up for him, Jack realizes that Pam truly loves Greg. He rushes to the airport and convinces airport security to release Greg, after performing one more lie detector test on Greg, to obtain the truth about the weekend and loving Pam. Greg confesses that he may not want to marry Pam out of fear of being Jack's son-in-law, and Jack apologizes for his behavior and promises to be more accepting, before proposing to Greg to be his son-in-law and bringing him back to the Byrnes's house. As Greg proposes to Pam, Jack and Dina listen in from their bedroom, agreeing that they should now meet Greg's parents. After Debbie's wedding, Jack views footage of Greg recorded by hidden cameras that he had placed around the house, in which Greg vents his frustrations with Jack, and also exposes Denny as a marijuana user.

Amistad_1997

tt0118607

<script> <scene> <scene_description>,,,.,---\ \ ·~~--- . AMISTAD</scene_description> <character>BLACK MUTINY</character> <dialogue>by</dialogue> <scene_description>David Franzoni</scene_description> <character>6/12/96</character> <dialogue>First Rewrite</dialogue> </scene> <scene> <stage_direction>INT. HOLD OF LA AMISTAD, JULY 1, 1839 - NIGHT</stage_direction> <scene_description>In the shadows, bloody fingers struggle to twist a rusty nail from a plank. Fear hushed Voices drift through the air. Creaking boards, shifting light and the persistent hiss of water make it clear we're in the belly of a ship. From far off comes an ominous thunder roll. SEEN IN THE DULL LIGHT A ten year old AFRICAN GIRL cowers in the dark with a barely seen group of AFRICAN MEN. Her name is KHILA and, like the others, sh~•s watching the shadowy figure of the man tugging at the nail. AS IF DRIVEN BY THE POWER OF LIGHTNING the man wrenches the nail loose as the thunder bolt reveals him to be a strong young AFRICAN. The man is named CINQUE. Cinque shoves ~he nail into the crude keyhole of a MANACLE on his wrist, furiously twisting the point right, left, and CLICK -- the manacle SNAPS OPEN. THAT NAIL Cinque holds it up like it was a gift from God -- then passes it to the next hand in the dark.</scene_description> </scene> <scene> <stage_direction>EXT. SHIP'S DECK - NIGHT</stage_direction> <scene_description>The hatch wings back and Cinque explodes onto the deck as the thunderstorm lights his way. More Africans surge out behind him like unleashed lions. A SPANISH SAILOR turns in the dark. Cinque thr.ot tles the sailor, hammers him down onto the deck until he's dead. He grabs the man's cutlass and races on. STORE ROOM DOOR Cinque hacks away the lock with the cutlass and kicks the door open revealing a rack of machete-like CANE KNIVES.· .. Keeping the cutlass he rushes ahead leaving the others to grab cane knives. ON DECK Another Spaniard screams a warning, but before he can draw his dagger, Cinque chops him down and they all rush on waving cane knives and SCREAMING a blood-chilling war cry. FORECASTLE The panicked crew stumbles topside but Cinque charges into them, furiously slashing left and right as if he harbored a personal hatred for each one. A Sailor charges Cinque with a sabre but Cinque slashes the man's throat, tosses him aside and picks up the dead man's sabre. STARBOARD four sailors hold some Africans back as they retreat into a life boat. CINQUE reaches the Quarter-deck in time to intercept the SPANISH CAPTAIN -- FERRER -- trying to cross for a life boat. Cinque slashes at him -- but Ferrer fights back and they cross swords five times before the Captain drops, screaming in Spanish for mercy. Cinque straddles him and drives the sabre straight into the man's chest. STARBOARD Three surviving Sailors chop lines and get their life boat away. The boat angles askew, one of the sailors is cut down ·from behind as the last two leap into the boat. The life boat drops, slams the waves and the survivors row off into the storm as the Africans pelt them with anything they find loose on the deck.</scene_description> </scene> <scene> <stage_direction>INT. GALLEY</stage_direction> <scene_description>A COOK -- plump as a goose -- spins to face the door with a cleaver in his hand. Opposite stands Cinque with his sabre, torso drenched in blood. Cinque impales him on the long sword. The cook swings at him once with the cleaver, and. sags dead. · Cinque lets him drop ... EXT·. ON DECK The storm rages its full fury, tossing the ship like a toy. To yelps of joy, four Africans drag a pair of begging SPANIARDS on deck; their names are RUIZ and MONTES. Ruiz is in his mid- forties, Montes younger; both are well dressed, maybe business men. Cinque rears over the pair with his sword, but two Africans -- TU-AR and BURNA grab Cinque, wrestling him to the deck. Burna is stocky of the Temne tribe; Tu-Ar lean, Mende like Cinque.</scene_description> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>No! Cinque!</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>They're murdering animals!</dialogue> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>But we need them!</dialogue> <character>TU-AR</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>They can get us home ...</dialogue> <scene_description>Ruiz and Montes cower together, drenched, watching Cinque like he held their fate in his hands. With a sweep of his powerful arm Cinque shoves Tu-Ar aside.</scene_description> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Mende! Mende Land!</dialogue> <character>RUIZ</character> <dialogue>(Spanish w/subtitles} They want to go home! .. , MONTES S 1. Si! Mende! Mende!</dialogue> <scene_description>Ruiz cautiously gets to his feet, points off toward the horizon, gesturing so that they understand he means to sail that way.</scene_description> <character>RUIZ</character> <dialogue>(Spanish w/subtitles)"</dialogue> <scene_description>I swear to God -- we will sail until we arrive at your home again! Mende-Land! Furious and frustrated, Cinque grabs Ruiz by the collar, lifts him up so they're eye-to-eye, then throws him down on the deck and stomps off into the dark.</scene_description> </scene> <scene> <stage_direction>INT. GALLEY</stage_direction> <scene_description>The Africans tear through the kitchen, smashing open crates, wrenching doors off cabinets Grabbing anything that looks good.</scene_description> </scene> <scene> <stage_direction>EXT. FORECASTLE</stage_direction> <scene_description>Cinque leaps onto the prow with a bottle of rum clutched in his hand, a huge loaf of bread stuffed under his arm. He half-hangs from a halyard as the wind from the storm blows· through his hair, then the black clouds crack and the moon shines through. Cinque raises his bottle suddenly elated.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Hey moon! We're free! Free! Drink with me!</dialogue> <scene_description>Taking a last swig, Cinque hurls the bottle up into the sky. URSA MAJOR breaks through the cloud cover for a few seconds, then seems to swing wildly away. FOR A MOMENT CINQUE'S CONFUSED He walks in a circle keeping the constellation in sight until he suddenly realizes the ship is circling out of control.</scene_description> </scene> <scene> <stage_direction>INT. BRIDGE</stage_direction> <scene_description>Cinque enters the lantern lit room, sees the wheel but its movement confuses him. Tucking his bread safely under his arm again he scans the mysterious charts and navigational tools. Then he crosses to the ship's COMPASS that's slowly REVOLVING and puts his hands on the domed top, squeaking the glass with his fingers as if he could stop the ship movement by stopping the compass. Frustrated he notices the rolling motion of the ship matches the vertical motion of the wheel. He grabs it and yanks it in the opposite direction and is startled to see the ship STOP TURNING. Cinque barks a little laugh. ON DECK Ruiz and Montes swap looks as they see the ship STEADY. The Africans don't seem to notice as they continue arguing over food and clothing. BRIDGE Cinque sets his bread down, puts both hands on the wheel and slowly revolves it the opposite direction. Outside one of the AFRICAN MEN skitters by backwards in the dark as the ship shifts to port. Cinque thinks it's the funniest damned thing in the world. He turns the wheel the opposite way and the poor guy outside skitters helplessly to starboard. THE SAILS FILL WITH A THUMP as Amistad stabilizes right at the moon. Instantly the ship LURCHES FORWARD dumping the arguing Africans backward onto the deck. AND CINQUE Now, really proud of himself, he tears a piece of bread off with his teeth and sails on into the night. AND THE MOON a glowing, friendly face on the horizon, beckoning him on ... FADE TO:</scene_description> </scene> <scene> <stage_direction>INT. BRIDGE/TIGHT ON SHIP CHARTS - MORNING</stage_direction> <scene_description>as a finger traces the outline of Cuba, comes to rest on the image of a TINY SHIP, then on a COMPASS ROSE ...</scene_description> <character>CINQUE {0 . S . )</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>The secret to getting home is hidden here ...</dialogue> <scene_description>BIG ANGLE Montes at the wheel, Ruiz by his side, both men shackled by their ankles. The ship limps along in windless foggy seas. Two Africans guard the Sp~niards while nearby Cinque, Burna and YULA -- a Temne -- crowd around the cha~t.</scene_description> <character>YULA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>That secret is very well hidden.</dialogue> <scene_description>In a FLASH of revelation Cinque sees the. compass on the chart looks like the real compass. He lays his hand on the glass.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>This mark stands for this machine ...</dialogue> <scene_description>The others see but don't understand. - Yet the Spaniards watch, nervous.</scene_description> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>This is all dark magic!</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>There's no.magic here; this is a tattoo on paper. See! Perhaps we just follow the points toward the land ...</dialogue> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Which way? What land? How would we know? I say sail toward the moon.</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/su.btitles)</parenthetical> <dialogue>You can't even see sun today! And moon's not always awake! Where ever the whites are taking us, is death! Better that we learn to use the tattoos then trust the whites.</dialogue> <character>BURNA</character> <parenthetical>(Mende w/su.btitles)</parenthetical> <dialogue>You Mende aren't the only tribes! We Temne have a voice in this.</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>And so have the Yoruba and the Li°mba. . . we' 11 sail in circles trying to please everyone ...</dialogue> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>We have to use the whites and trust in the will of the gods.</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/su.btitles)</parenthetical> <dialogue>If the will of the gods is that we die then I defy them! ~ will is to eat and laugh and live to hold my sweet wife and son in my arms again!</dialogue> <scene_description>Cinque throws the chart down in disgust and leaves. The Spaniards are visibly relieved.</scene_description> </scene> <scene> <stage_direction>EXT. ON DECK</stage_direction> <scene_description>Cinque passes Tu-Ar who sits in the cool mist with some children.</scene_description> <character>TU-AR</character> <parenthetical>(Mende w/su.btitles)</parenthetical> <dialogue>Cinque? Have you see the water tank? Nearly empty. The fruit is gone. Bread and a little tough meat is all that's left.</dialogue> <scene_description>Cinque sits beside Tu-Ar, starts to say something but is so angry- ..he just shakes his head. One of the young girls is SULAH, a fourteen year old Mende girl. Cinque sees she's locked eyes with a BOY just a few years older of the Temne tribe sitting with his people across the deck. His name is URAR. Burna and Yula rejoin the Temne and Burna motions for Urar to turn away.</scene_description> <character>CINQUE TAKES THIS IN</character> <dialogue>Then looks around the rest of the deck and sees the Mende, Yoruba and the Limba arguing as they make separate 'camps'.</dialogue> <character>TU-AR</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Cinque? What do you think?</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>I think ... its going to be a long time before we get home.</dialogue> <character>EXT.</character> <dialogue>BOW - NIGHT</dialogue> <scene_description>) Cinque takes a mist-soaked rag off the halyard, sits back in the cool night sucking water out of the rag as the sound of a Temne chant drifts through the air. Then a LOUD YORUBA VOICE cracks the serenity. ·</scene_description> <character>YORUBA ( 0 . S . )</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>You Temne are shrieking loud!</dialogue> <scene_description>Then the Yoruba begins,singing and he's joined by more. The Temne only sing LOUDER. Cinque sees SOMETHING off the bow ...</scene_description> <character>LIGHTS</character> <dialogue>seem to evolve from the disappearing moon.</dialogue> <character>CINQUE</character> <dialogue>leaps up, then rushes back across ·the deck. As he does he passes through a virtual bivouac of Africans rolled up and sleeping in everything from blankets to flags. Tu-Ar shakes off sleep and falls in with Cinque ...</dialogue> <character>TU-AR</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>What is it?</dialogue> <scene_description>In answer Cinque beats with all his might on the brass deck bell with his sabre until everyone is gawks at him. To their questioning looks he points forward ... IT'S A SHIP</scene_description> </scene> <scene> <stage_direction>.. coming straight for them.</stage_direction> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Be quiet! A white man's ship!</dialogue> <scene_description>THE BRIDGE Cinque shoves Montes and Ruiz back from the window and shackles them to the table. He blows out the oil lamps. In silence they watch the ship approach. The Spaniards whisper.</scene_description> <character>MONTES</character> <parenthetical>(Spanish w/subtitles)</parenthetical> <dialogue>We've got to signal them!</dialogue> <character>RUIZ</character> <parenthetical>(Spanish w/subtitles)</parenthetical> <dialogue>When the ship gets close</dialogue> <scene_description>these dumb niggers will run and hide. Then we. both start .screaming as loud as we can.</scene_description> <character>MONTES</character> <parenthetical>(Spanish w/subtitles)</parenthetical> <dialogue>The manifest? What if the ship gets searched?</dialogue> <scene_description>Cinque's not looking, Ruiz pulls a THIN LEATHER POUCH out from under the charts, lays it on the floor and kicks it between the chart case just as Cinque turns; but he doesn't see. THE STRANGE SHIP LOOMS A CLOUD covers the moon; darkness now hides Amistad. The danger of ramming increases ... RUIZ &amp; MONTES</scene_description> <character>RUIZ</character> <parenthetical>(Spanish w/subtitles)</parenthetical> <dialogue>Get ready.</dialogue> <scene_description>A musket muzzle comes into the picture and presses right against Ruiz's head. They turn to see Cinque looking at them down the barrel.</scene_description> <character>MONTES</character> <parenthetical>(Spanish w/subtitles)</parenthetical> <dialogue>He doesn't know how to use it ...</dialogue> <scene_description>Cinque COCKS the old flint lock, then puts his finger to his lips.</scene_description> <character>CINQUE</character> <dialogue>Shhhh ....</dialogue> <scene_description>The Spaniards swap looks: so much for Plan 'A' ... THE STRANGE SHIP blots out the sky -- VOICES and the sound of a BRASS BAND playing Yankee Doodle wafts down with the following breeze as the huge ship rides before the wind, just misses and rushes away into the night. · CINQUE steps off the bridge watching this apparition as its lights blend into the sky full of stars. Burna comes up from behind, puts a hand on his shoulder; he points toward the bow.</scene_description> <character>BURNA</character> <dialogue>(Mende w/subtitles} Cinque, we only have the whites now ... THE MOON the moon itself fades away into the stars ...</dialogue> <scene_description>MATCH DISSOLVE:</scene_description> </scene> <scene> <stage_direction>EXT. AMISTAD - TWO WEEKS LATER, NEAR DAWN</stage_direction> <scene_description>Wisps of red remain of a sunset against a fast- blackening sky. A fog rises out of the sea ... THE SAILS edges frayed from flapping nearly useless; the ship is beginning to look like a Flying Dutchman. THE DECKS Each tribal cluster huddled even more tightly together. But now they simply look pitifully desperate. Burna and Tu-Ar along with two other Temne carry baskets and carefully hand out what are literally stale crusts of bread as another gives each a carefully measured half cup of water. CINQUE joins Bulah who sits near the edge huddled in a blanket wrapped over her shoulders.</scene_description> <character>BULAH</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>It's cold. Cinque? Are we going to die on the ocean?</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Bulah! It's Moon!</dialogue> <scene_description>She sits up, sees he's indicating a crescent of light barely edging the horizon. A breeze gusts in their faces.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Feel his breath!</dialogue> <character>SULAH</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>He knows we're lost! Can he help us, Cinque?</dialogue> <scene_description>THE MOON quickly as it appeared it starts to sink behind the horizon as the dawn just seems to grow out of the ocean.</scene_description> <character>CINQUE ( 0 . S . )</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>No matter where· .. we end up, Moon will never desert us ...</dialogue> <scene_description>CINQUE AND SULAH They sit together, the wind growing, watching the last of the moon as if their last hope were fading ...</scene_description> <character>CHILD'S VOICE (O.S.)</character> <dialogue>Mende-Land!</dialogue> <scene_description>THEY LOOK BACK as everyone rushes for the opposite side of the ship. Ruiz and Montes stand in the bridge, staring off through the mist and the OUTLINE OF A DISTANT SHORE. Can tell by Cinque's sad smirk that he doesn't believe they're home, not for one second.</scene_description> </scene> <scene> <stage_direction>EXT. SEA - LATE MORNING</stage_direction> <scene_description>Cinque, Urar and FOUR OTHER YOUNG MEN ground one of the life boats. The beach is narrow, rocky and on the edge of a woods. They step ashore, watching the shadows for danger. Most. are terrified. Cinque carries his sabre. They heft a huge water barrel and set' in on solid ground. Each man has a cutlass in his belt and each carries two or three bottles. Cinque picks up some dirt, rubs it between his fingers. Then he stands and looks up at the forbidding forest. Urar almost whispers.</scene_description> <character>URAR</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Where are we?</dialogue> <scene_description>Cinque just takes his bottles and heads into the forest. After a moment, Urar follows and then the others. DEEP IN THE FOREST a fat RACCOON squats at the edge of a stream, dexterously washing a piece of fallen apple with it 1 s human-like hands. OPPOSITE The Africans lined up on the other side watch this curious animal. Done, the raccoon takes its apple and disappears into the underbrush. CINQUE leans way over and puts his lips in the cold- running stream. He spits it out disgusted. EDGE OF WOODS The Africans seeing that the stream flows straight out of a PASTURE filled with .CATTLE. A COW lifts its tail and drops a real steamer KA-SPLAT in the stream. As Urar gathers fallen green apples, Cinque carefully puts his hand on a cow, then puts his arms around its flanks to test its heft. He's impressed. Then he rips up some grass, starts chewing it. At that moment a Lirnba SCREAMS. They run to the Lirnba who crouches in the tall grass holding his hands over his eyes. As they descend on him a SKUNK rushes off in the opposite direction. Suddenly they're overwhelmed by the Lirnba's stench and they scatter away from the sprayed man. DIRT ROAD The Africans moving up the road in a group ... except the Lirnba who follows at an odor-safe fifty paces. Cinque stop~, spits out the grass, continues walking.</scene_description> <character>URAR</character> <dialogue>Cinque?</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Rich grass. Doesn't taste like Africa.</dialogue> <scene_description>Cinque stops and ahead they can see something approaching FAST up the road. A BICYCLE hurtles past and they just glimpse a WHITE MAN in full-fashion bike gear -- he sends back a shocked stare as he passes and disappears. Then one of the men points up the road. THEIR POV a black swirling mass of CROWS circles a cloud of dust that's moving toward them. THE AFRICANS instinctively edge back, beginning a very slow retreat. But whatever is on the road comes on FAST. Then, from ahead comes a sound like the fast rhythmic jingling of coins. A PROCESSION OF CHAINED PRISONERS appears -- BLACKS AND WHITES -- flanked by ARMED MOUNTED MEN. Two with BULLWHIPS brutally drive the prisoners along at a half-run. One of the Africans panics. The rest start edging after their friend. Then a full stampede and Cinque is reluctantly swept along. THE SHORE The Africans race back to the shore in time to see a CUTTER in full sail maneuvering to reach Amistad .. Cinque leaps in the life boat and grabs an oar -- the rest jump in and they struggle with all their might to row back to the Amistad. On the deck they can see Burna and others waving for them to hurry. AHEAD -- a longboat lowers from the Cutter ... UNIFORMED MEN with muskets row straight for the Amis-tad. CINQUE leaps to the prow, screams a war-cry whirling his sabre overhead. Three keep rowing straight for the Longboat while the others leap up howling and waving cut.lasses. THE LONGBOAT ROWERS madly back paddle. CINQUE -- throws down his sword and grabs an oar and together the Africans pull for the Amistad.</scene_description> <character>IN THE LONG BOAT --</character> <dialogue>An OFFICER yells for the men to reverse and the race is on to reach Amistad.</dialogue> <character>INT. AMISTAD BRIDGE</character> <dialogue>Montes springs across the floor, grabs the wheel, wrestling for control from Burna .</dialogue> </scene> <scene> <stage_direction>. EXT. AMISTAD</stage_direction> <scene_description>Cinque brings the lifeboat alongside as the ship picks up speed in a fresh wind. Urar hurls a rope up onto the Amistad deck and a Lirnba snags it, secures it and others pull the boat against the hull.</scene_description> </scene> <scene> <stage_direction>INT. BRIDGE</stage_direction> <scene_description>Montes gets control away from Burna just long enough for Ruiz to yank the wheel to starboard.</scene_description> </scene> <scene> <stage_direction>EXT. AMISTAD</stage_direction> <scene_description>the ship turns.into the life boat, threatening to crush it. Cinque and Urar cltng to the rope trying to hold the bow against Amistad•s hull ...</scene_description> </scene> <scene> <stage_direction>INT. BRIDGE</stage_direction> <scene_description>Burna slams Montes against the map case, dives for the wheel and straightens the ship.</scene_description> </scene> <scene> <stage_direction>EXT. AMISTAD</stage_direction> <scene_description>But too late: her sails drop.limp and she dies in the water. As the Cutter positions to cut them off, the longboat comes on with a vengeance. All the Africans except ·cinque scramble up the line to the Amistad. But Cinque takes one look at those drooping sails and knows the Amistad doesn't stand a chance. He frantically rows the life boat toward the open sea as the longboat bores in on him. For a moment Cinque turns on the power and actually pulls away -- the longboat Officer is flabbergasted -- he BANGS the gunnel and his rowers pick it up. OPEN SEA Cinque waits for the last second -- hurls an oar at the longboat like a spear and dives overboard. An OFFICER stands in the bow, stops a sailor from firing at Cinque. Suddenly Cinque surfaces and they frantically row after him. Cinque dives again ... CINQUE UNDERWATER suspended in shafts of sunlight over the.abyss,· not trying to swim. Then, he opts for life. SURFACE Cinque gasps into the sunlight -- hands grab him and hold him back against the bow of the long boat which bears the name of the Cutter: Washington . ..</scene_description> </scene> <scene> <stage_direction>EXT. DECK OF AMISTAD - AFTERNOON</stage_direction> <scene_description>Chaos of shouts and screaming children as the Africans are pushed into line by the armed sailors from the Washington. Commands bark as Amistad is de-rigged. There's a flurry of activity as a self-important old man strides aboard the Amistad clunking along on an ornate walking stick.</scene_description> <character>SAILOR</character> <dialogue>Make way for Magistrate Wills! Move back!</dialogue> <scene_description>A semblance of silence as Wills faces the Africans. He walks around, poking with his cane at the makeshift camp sites, blankets, the debris of people living for weeks at sea. He takes out his handkerchief and covers his nose and mouth. Then he comes up with a SPANISH SAILOR'S CAP on his cane; the sight angers him. He turns to face a pair of officers: LIEUTENANT MEADE and LIEUTENANT GADNEY. Meade is tall, thin; Gadney, short and plump. Only then does he take down his handkerchief. Meade hands Wills Cinque's sabre.</scene_description> <character>MEADE</character> <dialogue>Killed all but two, sir.</dialogue> <character>WILLS</character> <dialogue>Have these savages housed at the New Haven gaol!</dialogue> <character>EXT.</character> <dialogue>A COAST GUARD ESCORT with fixed bayonets</dialogue> <character>NEW HAVEN - NIGHT</character> <dialogue>marches the Africans into New Haven through a crowd of curious citizens. There is an overwhelming, appailing SILENCE as SPECTATORS gawk at the Africans. Most of the Africans huddle together in a wagon, the children with blankets over their shoulders.</dialogue> <scene_description>I- i The torches held by POLICE and onlookers create a glare that blots out their surroundings. A well dressed man -- thin as a twig -- zeroes in on a sailor. He's DONALD HAYES.</scene_description> <character>HAYES</character> <dialogue>Excuse me, son, I'm Donald Hayes with the New Haven Gazette. Could you tell our readers where your prisoners came from?</dialogue> <character>SAILOR</character> <dialogue>I ... I have no idea, sir.</dialogue> <scene_description>Now the Africans pass- the coach belonging to a WEALTHY GENTLEMAN. Perched on top, dressed in an amazingly ornate red and gold-trimmed livery, is his BLACK DRIVER. The Africans stare at him in disbelief and confusion. Sassy Sulah stands up in the wagon.</scene_description> <character>SULAH</character> <dialogue>(Mende w/subtitles) 1</dialogue> <scene_description>Are you King!? Your majesty! But as they pass Cinque sees the driver watching them with DEAD EYES. Two other BLACKS watch the Africans with the exact same fascination that the Africans are watching this strange world. LYDIA MARIA CHILD -- a hardened but handsome Black Woman in her thirties -- and a tall, middle-aged BLACK MAN: SIMON JOCELYN. For a second, Jocelyn and Cinque LOCK EYES ... Jocelyn moves close strides along side. For a moment they stop and Jocelyn gets real close.</scene_description> <character>JOCELYN</character> <dialogue>Who are you?</dialogue> <character>CINQUE</character> <dialogue>{Mende w/subtitles}</dialogue> <scene_description>Who are you .. ? The procession resumes and they pass though the doors of a high-walled building that is the.New haven Jail.</scene_description> </scene> <scene> <stage_direction>INT. COURTYARD, NEW HAVEN PRISON - NIGHT</stage_direction> <scene_description>Cinque sits with the Africans on the ground, torch light playing on his face. A TALL BLACK MAN, about twenty-five -- JAMES HARLIN -- passes bread out to the children. Tu-Ar indicates Hayes sitting cross-legged on the ground on the edge of the torch light, sketching in a large note pad.</scene_description> <character>TU-AR</character> <dialogue>{Mende w/subtitles)</dialogue> <scene_description>What's that one doing? He keeps looking this way.</scene_description> <character>CINQUE -</character> <dialogue>{Mende w/subtitles)</dialogue> <scene_description>Tattooing paper. They love to tattoo paper. Cinque looks around at the other Africans clustered in fear behind him -- to cheer them he tells them:</scene_description> <character>CINQUE</character> <dialogue>{Mende w/subtitles}</dialogue> <scene_description>Now I understand! They are too cowardly to tattoo their skin.</scene_description> <character>{MORE)</character> <dialogue>CINQUE (CONT'D}</dialogue> <scene_description>So they tattoo the paper instead. Then they fold up the paper and keep it on them so when someone wants to know what tribe they're from they take out the paper and show them. The Africans let out some nervous laughter, but it helps. Hayes approaches with his pad and holds it up. Cinque and Tu-Ar stare at what is an extremely flattering rendering of Cinque as the NOBLE WARRIOR. Cinque touches it.</scene_description> <character>CINQUE</character> <dialogue>(Mende w/subtitles} Tattoo! HAYES Picture. Picture ... Before Cinque can respond Pendelton moves among the Africans, backed by four COPSwith clubs~</dialogue> <character>PENDELTON</character> <dialogue>All right! Stand up savages!</dialogue> <scene_description>Skinny Mrs. Pendelton separates the young girls as the Africans are kept back by POLICE. Nat Pendelton points out Sulah and the cops include her. Urar rushes forward, but at the last moment a fellow Temne holds him back. Now police and hired thugs with clubs shove the Africans back toward a wall -- there's a moment of panic as the confused Africans are herded together, then shadowy CELL DOORS emerge.</scene_description> </scene> <scene> <stage_direction>INT. TINY CELL</stage_direction> <scene_description>Cinque is thrown into a pitch black cell and the door SLAMS. He frantically looks around: sees a bed, tiny table and a space like a .closet. In the bad light Cinque sees what MAY BE A TINY WINDOW on the wall overhead. He rushes the door and yells with all his might.</scene_description> <character>CINQUE</character> <dialogue>(Mende w/subtitles} When we escape we'll cut all their filthy throats! Cinque drops, panting, hands clinging to the bars. He angles to look up above the walls. THE MOON</dialogue> <scene_description>The Waning Crescent, like a sad smile.</scene_description> </scene> <scene> <stage_direction>INT. ARTHUR TAPPAN'S OFFICE, NEW YORK - MORNING</stage_direction> <scene_description>OPEN on the New York Tribune and Hayes' drawing of Cinque. The headline: 'MYSTERY SHIP LANDS ON LONG ISLAND! I SIMON JOCELYN folds the paper, sits impatiently in an outer office. He looks OFF through a half open door into the main office. OFFICE ARTHUR TAPPAN is an elegant American gentleman, fifty three years old. His office, paneled with American fir, is clean and uncluttered. FIVE BANKERS range casually around Tappan's office, sitting or standing. Tappan is concise, formal to a fault.</scene_description> <character>TAPPAN</character> <dialogue>Where, gentlemen, is a man without his honor?; where is a corporation without its stability? To continue unimpaired the ebb and flow of the great mercantile sea, individual honor must succumb to a form of measure. We would not presume to suggest that one man has two times the honor of another, nor still another, half; yet our service would offer to recommend how much credit a particular quantity of honor may withstand.</dialogue> <scene_description>Tappan's SECRETARY brings in Jocelyn's paper, leaves it nearby and exits without a word. Tappan eyes it like an irresistible candy.</scene_description> <character>MAN LEANING ON WALL</character> <dialogue>Your proposed service, this 'credit service' how can it possibly guarantee that a man will honor his debt?</dialogue> <scene_description>Finally Tappan casually ·flips the paper open. Then folds it back with hardly a hint of reaction as he responds.</scene_description> <character>TAPPAN</character> <dialogue>Through faith, gentlemen, in our fellow man and in the well-observed truth that honor, once gotten, possess a man all his life.</dialogue> </scene> <scene> <stage_direction>INT./EXT. COACH - DEAD OF NIGHT</stage_direction> <scene_description>Tappan and Jocelyn clatter through the countryside. Finally they stop at a cross roads near a long covered bridge. Tappan and Jocelyn step down next to the shorting horses.</scene_description> <character>TAPPAN</character> <dialogue>We'll walk from here, Jimmy.</dialogue> <scene_description>JIMMY -- the driver -- looks off into the ominous dark of the covered bridge. COVERED BRIDGE Jocelyn and Tappan enter the black opening, footfalls creaking the planks.</scene_description> <character>JOCELYN</character> <dialogue>The movement's near crisis, Arthur. The South is getting aggressive about runaways.</dialogue> <character>TAPPAN</character> <dialogue>I heard some of your people were hurt this week past.</dialogue> <character>JOCELYN</character> <dialogue>Professional slave catchers jumped them at Indian Neck, took a whole family back to hell in Georgia.</dialogue> <character>TAPPAN</character> <dialogue>Your sister?</dialogue> <character>JOCELYN</character> <dialogue>Lydia was there, of course. But unhurt and thank God she left Thomas to home. But he's getting big. He'll want to be along more and more.</dialogue> <character>JOCELYN</character> <dialogue>We discovered it was a free black in South Port acting as paid informant for slavers. We retired him ...</dialogue> <character>TAPPAN</character> <dialogue>Simon! Dear God in heaven!</dialogue> <character>JOCELYN</character> <dialogue>You know, Arthur, every time I get to the end of this bridge I wonder who will be waiting for me ...</dialogue> <scene_description>And as they reach the far end two FIGURES block their way. Both carry muskets. But when they see Jocelyn, they smile. They're FREE BLACKS.</scene_description> </scene> <scene> <stage_direction>INT. FARM HOUSE - NIGHT</stage_direction> <scene_description>As Tappan and Jocelyn enter they're besieged by a wave of people-~ mostly Blacks. Nearby a hand-run PRESS coughs out news print as a NINE YEAR OLD BOY -- THOMAS -- ties papers into bundles. Lydia tries to quiet them but Jocelyn has to shout.</scene_description> <character>JOCELYN·</character> <dialogue>The ship is Spanish, called Amistad, too small to be a transatlantic slaver. She's being towed into New Haven, we can have a look in a week.</dialogue> <character>LYDIA</character> <dialogue>A week?</dialogue> <character>JOCELYN</character> <dialogue>What~s important now is the hearing tomorrow.</dialogue> <character>LYDIA</character> <dialogue>Thomas, finish up ...</dialogue> <scene_description>Thomas finds a seat.</scene_description> <character>JOCELYN</character> <dialogue>... we have to go in bearing a writ of habeas corpus.</dialogue> <scene_description>JOSHUA, a Mulatto in his late forties, shouts.</scene_description> <character>JOSHUA</character> <dialogue>When's the last time that worked!? Are you sure we'll even have it by then?</dialogue> <character>TAPPAN</character> <dialogue>My attorney will be up half the night making sure ...</dialogue> <character>JOCELYN</character> <dialogue>As usual Arthur has unhesitatingly thrown back the pearly gates to his ... golden kingdom.</dialogue> <scene_description>Gets a laugh, though Tappan's silent.</scene_description> <character>LYDIA</character> <dialogue>What are they going to be charged with?</dialogue> <character>JOCELYN</character> <dialogue>Mutiny and murder are the only logical charges. But, the ship is foreign ...</dialogue> <character>LYDIA</character> <dialogue>So? They were in international waters.</dialogue> <character>JOCELYN</character> <dialogue>Not when they were captured.</dialogue> <character>JOSHUA</character> <dialogue>Then, who has jurisdiction?·</dialogue> <character>JOCELYN</character> <dialogue>We don't know -- we'll have to wait to find out tomorrow.</dialogue> <character>LYDIA</character> <dialogue>Waiting is never a good idea.</dialogue> <scene_description>Tappan holds up his hands, shouts to all:</scene_description> <character>TAPPAN</character> <dialogue>Stay with the law and trust in The Lord.</dialogue> <character>LYDIA</character> <dialogue>It's not God I don't trust. Has news reached the Southern papers yet?</dialogue> <character>JOCELYN-€�</character> <dialogue>Yes ... the south knows.</dialogue> </scene> <scene> <stage_direction>INT. NEW HAVEN JAIL - EARLY MORNING</stage_direction> <scene_description>A DAZZLING RAY OF SUNLIGHT blasts out from a small RECTANGULAR WINDOW near the top of a rear wall twenty feet overhead. Suddenly there's a RUSHING WIND-LIKE SOUND and the sunlight .blots out ... CINQUE Alone on his cot starts awake -- in a flash he's up, rushes toward the light from the door as a dense flock of BIRDS swirls into the yard. Cinque SLAMS into the bars of his cell door. Stunned for a second, he clings to the bars and finally seems to remember where he really is. A SHOUT yanks his eyes back to earth. CINQUE SEES -- In the kitchen, Mrs. Pendelton yells at fou~ of the Mende girls. Crying, one picks up a basket and balances it on her head. Outraged, Mrs. -Pendelton slaps her and the basket drops. CINQUE Leans back, helpless. He turns to get a better look at that little window. He props one end of his cot against the opposite wall and cautiously climbs up the underside slats like a ladder. ON CINQUE Squinting as the rising sun fills his face.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Hey! I can see outside!</dialogue> <scene_description>CELLS/VARIOUS -- Burna is jammed with Tu-Ar and a LIMBA in a cell that's barely bigger than Cinque's ... -- Africans press to their barred doors and we see the small cells are crowded with at least THREE MEN. There's a TUSSLE for door position.</scene_description> <character>TU-AR</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Can you see their village?</dialogue> <scene_description>HE'S SEEING an image of the world hidden by the glare of the rising sun in his face. Then a cloud crosses the sun and suddenly 19th Century New Haven is revealed: miles and miles of houses and buildings stretch to a port teeming with huge ships. Cinque is staggered ...</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Yes ... I see their village.</dialogue> <character>TU-AR (O.S.)</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>What's it like?</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Big ...</dialogue> <scene_description>THE AFRICANS become absolutely still. 'BIG' means overwhelming, all-consuming. Tu-Ar cracks a smile, not impressed.</scene_description> <character>TU-AR (O.S.)</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Yes, but are their huts any good?</dialogue> <scene_description>CINQUE LOWERS HIS GAZE ... Close by is a packed-hard two lane dirt street cut by tall trees and nearby buildings. A house is in the early stages of being framed.</scene_description> <character>CINQUE</character> <dialogue>{Mende w/subtitles)</dialogue> <scene_description>They're like boxes. The walls are smooth and square but made from trees. I don't know how they get the trees so.perfect and square.</scene_description> <character>TU-AR (O.S.)</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Can you see a forest of them?</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Of what?</dialogue> <character>TU-AR (O.S.)</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>The square trees?</dialogue> <scene_description>Cinque smiles at Tu-Ar's wit.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>No, they're just ordinary trees.</dialogue> <scene_description>Now Cinque sees the African Children leaving with Harlin, all carry baskets. Khila hoists a basket onto her head and Harlin scolds her. She takes it down, not really understanding. But as Harlin walks on ahead ALL the girls balance their baskets on their heads and follow. Africa in Connecticut. But then Cinque hears a familiar VOICE. He turns and leaps down. THROUGH HIS BARRED DOOR Cinque sees Harlin escort Ruiz and three OFFICIALS into the yard. Ruiz and Cinque lock eyes. · Ruiz draws his thumb across his throat to let Cinque know he's going to be killed, then he-points right at hi.</scene_description> <character>RUIZ</character> <dialogue>Joseph!</dialogue> <scene_description>One of the officials writes this down. Disdainfully Ruiz turns from Cinque to face the next cell holding Tu-Ar and Burna.</scene_description> <character>RUIZ</character> <dialogue>Bernardo. Paco ...</dialogue> <scene_description>But as they pass Cinque •experiments' with the language by repeating ...</scene_description> <character>CINQUE</character> <dialogue>Jo ... sef ...</dialogue> <scene_description>Two. POLICEMEN RUSH Cinque.' s cell, Pendelton yanks it opens it. They quickly loop a NOOSE around Cinque's neck, CUFF him and drag him into the yard.</scene_description> </scene> <scene> <stage_direction>EXT. COUNTY COURTHOUSE, NEW HAVEN - DAY</stage_direction> <scene_description>SIX POLICE flank the entrance to the quaint courthouse. Across the street ABOLITIONISTS led by Lydia stand ten strong, Thomas beside her. Though they sing and calmly pass out copies of their abolitionist paper, many PASSERSBY and PEOPLE entering the court glare at them, some shout insults. Hayes approaches a STRANGER with a sketch pad much like his own.</scene_description> <character>HAYES</character> <dialogue>Don Hayes, New Haven Gazette.</dialogue> <character>STRANGER</character> <dialogue>Guy Pierson, La Minerve, Quebec.</dialogue> <character>HAYES</character> <dialogue>I think we're the only papers here.</dialogue> <character>STRANGER</character> <dialogue>You cover America, I'll cover Canada!</dialogue> <scene_description>They turn to enter and hit a wall of PEOPLE.</scene_description> </scene> <scene> <stage_direction>INT. COURTHOUSE</stage_direction> <scene_description>CHAOS ... Jocelyn and Tappan push through the small hall packed to over-flowing. A pair of COURT OFFICERS carrying PIKES flank the small stage-like platform. Suddenly Jocelyn spots Cinque in chains standing near the back of the court under guard.</scene_description> <character>JOCELYN</character> <dialogue>Arthurl There he is!</dialogue> <scene_description>Tappan looks for a second, but then the First Court Officer bangs the floor with a pike.</scene_description> <character>1ST COURT OFFICER</character> <dialogue>Hear-ye, hear-ye! For the State-Commonwealth of Connecticut, in the Capital of Hartford-New Haven, and for the district court of the United States of America, in the year of our Lord, Eighteen hundred and thirty nine, his honor Emanuel Wills presiding.</dialogue> <scene_description>ATTORNEY SAUNDERS stands even before the place has totally quieted down.</scene_description> <character>WILLS</character> <dialogue>The bench recognizes federal prosecutor Saunders.</dialogue> <scene_description>There's a scuffled at the door as POLICEMEN shove an opening in the crowd for JONATHAN FORSYTH who's as gaunt as an American Cassius; with him is SENOR CALDERON: plump, forty, goatee. Well dressed. Jocelyn and Cinque are now staring at each other.</scene_description> <character>JOCELYN</character> <dialogue>I think that African knows me from the other night.</dialogue> <character>TAPPAN</character> <dialogue>Well, I know that man: ·Jonathan Forsyth, U.S.</dialogue> <scene_description>Secretary of State!</scene_description> <character>JOCELYN</character> <dialogue>What's his business here?</dialogue> <character>SAUNDERS</character> <dialogue>Your honor, as United States district attorney I wish to present this court with the charges of murder and mutiny against one Mister Joseph Cinque and his fellow slaves.</dialogue> <scene_description>Jocelyn stands, frantic to get Tappan to his feet.</scene_description> <character>JOCELYN</character> <dialogue>Arthur! Now! Now!</dialogue> <character>TAPPAN</character> <dialogue>Your honor if it please the court --</dialogue> <scene_description>Jocelyn jumps right in, POINTS AT CINQUE.</scene_description> <character>JOCELYN</character> <dialogue>We have a writ of habeas corpus on behalf of the Africans!</dialogue> <scene_description>CINQUE FIXES ON JOCELYN</scene_description> </scene> <scene> <stage_direction>.. does he remember him? Though Cinque can't understand we get the sense that he's following the proceedings very carefully.</stage_direction> <scene_description>SAUNDERS HOLDS UP HIS PAPERS trying to get Wills' attention back. But now Forsyth is beside Saunders whispering. Saunders looks back and sees Calderon.</scene_description> <character>FORSYTH</character> <dialogue>Your honor, my name is Jonathan Forsyth.</dialogue> <scene_description>Wills stiffens as if coming to attention.</scene_description> <character>WILLS</character> <dialogue>Mr. Secretary ...</dialogue> <character>FORSYTH</character> <dialogue>I am here on behalf of the President of the United States representing the claims of her majesty, Queen Isabella of Spain as concerns our mutual Treaty of the High Seas.</dialogue> <scene_description>Jocelyn's having nothing of this and moves straight for the bench.</scene_description> <character>JOCELYN</character> <dialogue>Your honor I demand this court recognize our writ!</dialogue> <character>WILLS</character> <dialogue>You will be seated sir and wait your turn!</dialogue> <character>JOCELYN</character> <dialogue>It is my turn and this man shall be made to wait his!</dialogue> <character>FORSYTH</character> <dialogue>The Africans are by rights property of the Queen of Spain ...</dialogue> <character>JOCELYN</character> <dialogue>They are human beings!</dialogue> <character>FORSYTH</character> <dialogue>... and as such are to be returned under the terms of our treaty ...</dialogue> <character>JOCELYN</character> <dialogue>No one has had a chance to talk to them! This is America!</dialogue> <character>FORSYTH</character> <dialogue>... said treaty taking precedence, all other causes are without jurisdiction.</dialogue> <character>VOICE</character> <dialogue>Them Africans belong to me and me mate, your majesty!</dialogue> <scene_description>All heads swing to the back as the two COAST GUARD OFFICERS Lieutenants Meade and Gadney rush to the bench.</scene_description> <character>WILLS</character> <dialogue>Who be you ... two gentlemen?</dialogue> <character>MEADE</character> <parenthetical>(reads from a paper)</parenthetical> <dialogue>"As private citizens we James Meade and Holloway Gadney, do claim salvage on the high seas of the Spanish ship Amistad and all her cargo . " Here you go your majesty.</dialogue> <scene_description>Meade hands up the paper to a rustle of amazement in the audience. Wills reads the document in disbelief. He lets loose a bureaucrat's sigh.</scene_description> <character>WILLS</character> <dialogue>You wish to make this claim over that of the Queen of Spain?</dialogue> <character>GADNEY</character> <dialogue>Well, where was she when we was fighting the winds to bring this ship in!?</dialogue> <character>FORSYTH</character> <dialogue>The Queen of Spain was running a country, your honor! These officers' claims are absurd!</dialogue> <scene_description>Wills bangs his gavel.</scene_description> <character>WILLS</character> <dialogue>Yes, yes. Your pleadings please~ gentlemen. I'll need to study each one.</dialogue> <scene_description>CINQUE watching. He raises his manacled hand and one of the guards immediately points his musket at him. Cinque hesitates, then completes the action which was simply to scratch his cheek. Or was he checking on the guard's attention? Then he notices a stranger watching him: a handsome man, about thirty-five, his name is ROGER BALDWIN.</scene_description> <character>BALDWIN</character> <dialogue>Are you trying to get yourself shot?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>You speak English? Hable espanole?</dialogue> <character>GUARD</character> <dialogue>No talking to the prisoner.</dialogue> <scene_description>Jocelyn and Tappan approach, but now Cinque is tugged away. Jocelyn just has time to yell after them.</scene_description> <character>JOCELYN</character> <dialogue>We want to speak with the prisoner!</dialogue> <character>BALDWIN</character> <dialogue>You know his language? He doesn't speak Spanish or English far as I can tell.</dialogue> <character>JOCELYN-€�</character> <dialogue>Who are you, sir?</dialogue> <character>BALDWIN</character> <dialogue>Mr. Tappan, Mr. Jocelyn? My name is Roger Baldwin. My card, sir. I'm an attorney. A property attorney.</dialogue> <character>TAPPAN</character> <dialogue>Property?</dialogue> <character>BALDWIN</character> <dialogue>I'm wonderful at getting people's property back for</dialogue> <scene_description>.them -- or taking it away. Jocelyn inspects Baldwin, unsure. Baldwin hands him a card, but Tappan dismisses him.</scene_description> <character>TAPPAN</character> <dialogue>Thank you for your interest, Mr. Baldwin.</dialogue> <scene_description>Jocelyn and Tappan head out of the court.</scene_description> <character>BALDWIN</character> <dialogue>You'd better start looking for an interpreter, because· you are going to trial!</dialogue> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>Jocelyn and Tappan watch as Cinque is all but dragged off by a tether around his neck.</scene_description> <character>JOCELYN</character> <dialogue>This isn't about justice, this is politics. We need someone to intervene for the Africans the way the American Government is for Spain.</dialogue> <scene_description>CINQUE Now as he's yanked through the streets he's greeted by a few TAUNTS. When they stop to push through the crowd, THOMAS is by his side and hands him an apple. Cinque nods, just has time to take the fruit as he's tugged back into motion. Thomas runs back to join his mother. For a second Cinque examine the apple. Suddenly on his right a YOUNG WHITE GUY shove~ through the crowd -- just have time to see his right fist wrapped in leather as the SLUGS Cinque in the side of the head. He runs to the opposite side of the street as the cops turn to get him -- but a group of FIVE YOUNG WHITE GUYS part and he disappears behind them. Cinque staggers to one knee. The five white youths stand in line, arms folded smirking. Cinque looks back. HE SEES Lydia and Thomas walking away having not seen.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE OF REPRESENTATIVES - MORNING</stage_direction> <scene_description>Seventy-two year old JOHN QUINCY ADAMS sits back in his seat in the House, eyes closed, possibly nodding off. HENRY LAURENS PINCKNEY, a menacing badger-faced REPRESENTATIVE from South Carolina and thirty years Adams'. junior, wraps up a point.</scene_description> <character>PINCKNEY</character> <dialogue>... so I call upon our distinguished colleague, Representative -- pardon me -- former President -- Adams, to reweigh his unmeet and unprecedented attempt to convert this eccentric bequest of one James Smithsonian into a so-called •national treasure. 1</dialogue> <scene_description>All eyes fall on the apparently dozing Adams .. JOCELYN &amp; TAPPAN in the audience, dismayed. RESUME ADAMS as he's surrounded by tittering from the floor of young delegates.</scene_description> <character>PINCKNEY</character> <dialogue>Perhaps President Adams is meditating on is response.</dialogue> <scene_description>Adams immediately comes to life -- maybe wasn't dozing at all.</scene_description> <character>ADAMS</character> <dialogue>Had I thought your remarks worthy of a riposte, Representative Pinckney, you would have heard from me.</dialogue> <scene_description>JOCELYN has a smile, Tappan remains firmly worried. ADAMS RISES He reaches into his coat pocket, then the other side and finally finds a piece of paper in his vest. He carefully unfolds it.</scene_description> <character>ADAMS</character> <dialogue>At this time I should like to read into record a letter from one James Silahs, a slave in Alabama.</dialogue> <scene_description>Before the first words are out of Adams• mouth the House breaks into a tidal wave of jeers, cat-calls and curses. Jocelyn and Tappan can see Adams• lips moving, but it is impossible to hear him. Finally he folds the letter and the House as one falls SILENT.</scene_description> <character>ADAMS</character> <dialogue>Thank you.</dialogue> <scene_description>HALLWAY Adams coming up the long hall that's decorated with enormous paintings of Founding Fathers and Famous Battles. His SECRETARY -- Mr. WRIGHT trails behind embracing a mass of papers. Wright looks even more ancient than Adams.</scene_description> <character>ADAMS</character> <dialogue>I am going to have to dodge that dinner tonight.</dialogue> <character>WRIGHT</character> <dialogue>But you've dodged The Governor twice already.</dialogue> <character>ADAMS</character> <dialogue>Practise makes perfect.</dialogue> <scene_description>Now he sees they're approaching Jocelyn and Tappah sitting at the end of the hall.</scene_description> <character>WRIGHT</character> <dialogue>You must see these gentlemen: Mr. Tappan ...</dialogue> <scene_description>The pair rise, Adams already extending his hand but still out of ear-shot.</scene_description> <character>ADAMS</character> <dialogue>Which Tappan?</dialogue> <character>WRIGHT</character> <dialogue>Arthur Tappan and Simon Jocelyn ...</dialogue> <character>ADAMS</character> <dialogue>Ah, Arthur, Simon ...</dialogue> <character>JOCELYN/TAPPAN</character> <dialogue>Mr. Adams.</dialogue> </scene> <scene> <stage_direction>EXT. CONGRESSIONAL GARDENS</stage_direction> <scene_description>As they walk and talk, Adams attention occasionally strays to examine a flower.</scene_description> <character>TAPPAN</character> <dialogue>The US attorney started to ask for murder charges, but ...</dialogue> <character>JOCELYN</character> <dialogue>They don't want them seen as human, just 'things' to be given back to Spain.</dialogue> <character>TAPPAN</character> <dialogue>President Van Buren clearly backs the Spanish claims.</dialogue> <character>ADAMS</character> <dialogue>Of course, of course; he's running for reelection. The South is watching this case, waiting for-·him to get tough on renegade slaves and their supporters. So obviously, I cannot help you.</dialogue> <character>JOCELYN</character> <dialogue>But President Adams .. !</dialogue> <character>ADAMS</character> <dialogue>Mister Jocelyn, there is now a gag rule in congress barring debate of slavery.</dialogue> <character>ADAMS</character> <dialogue>If I am to open people's minds through rational discussion I must be moderate. I cannot be seen as an abolitionist or a friend to abolitionists. Good day, gentlemen.</dialogue> <scene_description>Disappointed Jocelyn and Tappan stand aside to let Adams return inside. But Jocelyn tries one last pitch.</scene_description> <character>JOCELYN</character> <dialogue>I know you sir. You were a child at your father's side when he helped invent America. You've given your life for this country. And only one thing keeps you. awake in that rats' nest, the only thing left undone: crushing slavery. You are an abolitionist, President Adams. You belong with us.</dialogue> <scene_description>Adams and Jocelyn hold on each other.</scene_description> <character>TAPPAN</character> <dialogue>We aimed high coming to you, sir.</dialogue> <character>ADAMS</character> <dialogue>Well, aim lower. Get yourselves a property lawyer. Someone whose disposition is to become more inspired the more. . . you lose .</dialogue> <scene_description>And he's gone. They swap devastated looks. Then Tappan slowly brings out a business card, hands it to Jocelyn. INT; ROGER BALDWIN'S OFFICE - DAY PEEKING THROUGH A PARTIALLY OPEN DOOR AT: an oppressively dingy but large basement office. Jocelyn·and Tappan sit amidst a SMALL CROWD of at least a dozen people. All seats are taken so some have to stand and one -- who looks like a MOUNTAIN MAN -- paces, muttering. Exactly opposite Tappan sit a ROTUND WOMAN breast-feeding a baby, and a MAN who looks like a whaler desperately trying to wear a suit. Tappan sees the man's right hand is MISSING, replaced by a badly carved IVORY FIST; the fisherman smiles, Tappan smiles back. BEHIND THE OPEN DOOR Baldwin and his eager young CLERK -- CLEMENS ease back as Baldwin closes the door.</scene_description> <character>BALDWIN</character> <dialogue>Extraordinary.</dialogue> <scene_description>Baldwin straightens his tie, takes a breath and swings the door wide.</scene_description> </scene> <scene> <stage_direction>EXT. STREETS - DAY</stage_direction> <scene_description>Baldwin leads Jocelyn and Tappan through the streets, arms flying in magnificent gestures.</scene_description> <character>BALDWIN</character> <dialogue>These old Dutch land grants are driving everyone absolutely mad! I'm working a case now where a Peekskill grant from 1680 deeded four thousand acres through the youngest heir -- a son -- and in perpetuity specifically forbids the transfer of any land through his sisters. Well, I was able to prove that said son in fact had carnal relations with his mother. You know those cold, lonely Upstate winters -- and thus, his sister was his daughter and a legal heir after all!</dialogue> <scene_description>Can almost see Tappan's soul wince.</scene_description> <character>TAPPAN</character> <dialogue>Is that the sort of case you've been dealing with</dialogue> <scene_description>· lately, Mr. Baldwin? Ah, Real-estate?</scene_description> <character>BALDWIN</character> <dialogue>Among other things ...</dialogue> <scene_description>A hunched-over OLD ABNAKI INDIAN passes lugging a huge sling of glass fish net bottles on his back.</scene_description> <character>OLD ABNAKI</character> <dialogue>Hey there, Mister Baldwin!</dialogue> <character>BALDWIN</character> <dialogue>Good day, Bomosee.n.</dialogue> <scene_description>Jocelyn seems charmed by Baldwin's street connections.</scene_description> </scene> <scene> <stage_direction>INT. LOCAL INN</stage_direction> <scene_description>Restaurant in a hotel packed with BUSINESSMEN, MERCHANTS, and other mid-level PROFESSIONALS power-lunching over fresh crab and dubious looking carafes of local ale. Tappan is tentative about his food, tea. Tappan may write the checks, but Jocelyn conducts the interview.</scene_description> <character>JOCELYN</character> <dialogue>Under the treaty of 1803, any property seized on the high seas by piracy, mutiny or any unlawful act that comes into American territory, must be returned to Spain. It's reciprocal, of course.</dialogue> <scene_description>Tappan makes a tentative poke at his fish.</scene_description> <character>BALDWIN</character> <dialogue>The fish is fresh today here, Mr. Tappan, by the time it gets up town to your favorite restaurant, it's been on the cart for two days. Please go on ...</dialogue> <character>JOCELYN</character> <dialogue>If the courts award the Africans to Spain, they'll be sent to Cuba to be executed. If the American sailors win they would likely sell them back to the Spaniards anyway.</dialogue> <character>BALDWIN</character> <dialogue>No chance they might free them?</dialogue> <character>TAPPAN</character> <dialogue>These are Yankees, they know what a slave is worth on the open market.</dialogue> <character>BALDWIN</character> <dialogue>I'm a little confused about how much they're worth to you. How's the ale, Mister Jocelyn?</dialogue> <character>JOCELYN</character> <dialogue>Excellent. What did you mean by that last remark?</dialogue> <character>BALDWIN</character> <dialogue>Mister Tappan, sir, you are a wealthy man, and everyone knows your passion for our ... brothers. To be frank. At first I thought you might be cutting corners by hiring me.</dialogue> <character>JOCELYN</character> <dialogue>Arthur Tappan is one of the most generous human beings God ever made.</dialogue> <character>BALDWIN</character> <dialogue>Well, God makes all kinds. And most of the ones he makes won't touch this case, am I right?</dialogue> <character>JOCELYN</character> <dialogue>It could earn you serious enemies.</dialogue> <character>TAPPAN</character> <dialogue>But you do come with a strong</dialogue> <scene_description>.reputation. We've inquired.</scene_description> <character>BALDWIN</character> <dialogue>Fine, then as I see it we ignore everything but the property issue -- forget murder, forget mutiny, forget morality altogether.</dialogue> <scene_description>For the first time Tappan becomes agitated.</scene_description> <character>TAPPAN</character> <dialogue>Impossible. Sir, this war must be waged on the battle- field of righteousness.</dialogue> <character>BALDWIN</character> <dialogue>Hmm ... please remember Mr. Tappan, this is a case, not a. cause.</dialogue> <character>TAPPAN</character> <dialogue>It would be against everything I stand for to let this deteriorate into a squabble over technicalities. It's our destiny as Christians to save these people. Did Christ hire a lawyer to get him off on technicalities? He went to the cross, sir, nobly. And you know why? To make a statement. As must we.</dialogue> <character>BALDWIN</character> <dialogue>I 1 m not taking a case if I can't win it. Look, the only way you can legally buy slaves is if they're born slaves, like on a plantation. Like yourself, Mr. Jocelyn. Your daddy was a slave.</dialogue> <character>JOCELYN</character> <dialogue>That is correct.</dialogue> <scene_description>Seeing Tappan is still reluctant, Baldwin carefully spells it otit.</scene_description> <character>BALDWIN</character> <dialogue>We insist the Africans were illegally kidnapped from Africa. If that's true then they aren 1 t slaves, that is, if they're are not slaves they are not property. Thus the treaty with Spain can not apply. And at the heart of the matter, that's all that counts.</dialogue> <parenthetical>(off Tappan's look)</parenthetical> <dialogue>Now, we haven't got much time, the trial is in one week; we need to find a translator -- I need to interview my clients ... are we in business?</dialogue> <scene_description>Baldwin offers his hand to Tappan who hesitates. But Jocelyn reaches over and shakes Baldwin's hand. Then Tappan finally grasps it.</scene_description> </scene> <scene> <stage_direction>INT. CINQUE'S CELL - DAWN</stage_direction> <scene_description>Cinque wakes to the sound of CHURCH BELLS.</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD</stage_direction> <scene_description>The Africans pressed to the bars.</scene_description> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>What's going on?</dialogue> <scene_description>AT HIS WINDOW Cinque watches church-goers walking to service. One cluster, in Basic Black, walk with heads low. They're CHRISTIAN MISSIONARIES.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>The streets are full of people!</dialogue> <character>URAR (O.S.)</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Is there.a war?</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>I don't know. They look miserable.</dialogue> <character>PENDELTON (0. S . )</character> <dialogue>Hey! Get your ass out here!</dialogue> <scene_description>Cinque jumps down and lands right in front of Pendelton who starts back as if he'd been confronted by a wild cat. Pendelton throws a roll of linen in through the bars. Cinque opens it and finds white pants and shirt. Seeing that Pendelton is still watching him, he moves into a dark corner for some privacy and takes off his filthy clothes.</scene_description> </scene> <scene> <stage_direction>INT. PENDELTON KITCHEN - MORNING</stage_direction> <scene_description>The African Girls left alone in the kitchen explore the spice rack. They open each little box, one tastes it, makes a face or a smile and passes it on as they chatter in Mende. Khila opens a box with the picture of a RED PEPPER, tastes the powder and points at it as if to say: "Wow, this is a good one!" The door opens and they cool-it as Mrs. Pendelton shows Baldwin and Jocelyn inside.</scene_description> <character>MRS. PENDELTON</character> <dialogue>Here we are teaching the children to bake pies.</dialogue> <scene_description>As Baldwin and Jocelyn shake each tiny hand the girls giggle and joke in Mende. As soon as they leave Khila takes a towel, opens the oven and pulls out a stuffed round bread that was cooking beside Pendelton's pies. She quickly breaks off a piece and tosses the hot bread to another girl -- and they make a game of breaking off a piece and tossing it before burning their fingers. Finally Khila takes a bite -- it's great!</scene_description> </scene> <scene> <stage_direction>INT. CINQUE'S CELL</stage_direction> <scene_description>As Cinque finishes buttoning up the linen, from O.S. come VOICES singing the Christian hymn: "Bright Jewel of Faith." Cinque moves to the door it pushes open and he goes out. THE MISSIONARIES SINGING With the African children gathered nearby under the smiling eyes of Tappan. THE OTHER AFRICANS Basking in the sun, but broken up into separate tribal groups. Tu-Ar sits with the Mende and even though it's warm he has a blanket over his shoulders. They're carrying out their own 'rituals': some sing, one Temne uses two colors of clay from the ground to decorate another's face.</scene_description> </scene> <scene> <stage_direction>EXT. JAIL COURTYARD</stage_direction> <scene_description>Harlin brings Cinque to a seat at an outside plank table facing Jocelyn and Baldwin. Cinque sits but with a reluctance that clearly says "whatever you're selling I ain't buying." An OLDER MAN with tight-trimmed grey beard sits with Jocelyn; a blue-eyed mulatto. His name is PROFESSOR GIBBS. Sulah helps Khila and two of the youngest African Girls VERY CAREFULLY serve coffee. Jocelyn is unhappy to see them acting as servants, but Baldwin just takes the coffee as if it were the most natural thing in the world.</scene_description> <character>JOCELYN</character> <dialogue>Why is Cinque kept in a cell by himself?</dialogue> <character>JAMES HARLIN</character> <dialogue>Because Mr. Pendelton was told to keep him separate.</dialogue> <character>BALDWIN</character> <dialogue>Told by whom?</dialogue> <character>JAMES HARLIN</character> <dialogue>Some policeman.</dialogue> <scene_description>Baldwin looks up but Gibbs.</scene_description> <character>DR. GIBBS</character> <dialogue>Just get him to talk.</dialogue> <scene_description>Baldwin leans close to Cinque.</scene_description> <character>BALDWIN</character> <dialogue>Cinque, I am Baldwin, I am your lawyer. This is Simon Jocelyn of the Anti-Slavery Society, Professor Gibbs -- a linguist. We are here because we want to save you.</dialogue> <character>TU-AR (O.S.)</character> <dialogue>(Mende w/subtitles} What does he want, Cinque? CINQUE (Mende w/subtitles} He wants to murder ~s. BALDWIN</dialogue> <scene_description>I understand you led the mutiny on the Amistad and killed Captain Ferrer. Is that correct?</scene_description> <character>TU-AR (O.S.)</character> <dialogue>(Mende w/subtitles} He say he's going to kill us? CINQUE (Mende w/subtitles) How do I know what he said? GIBBS</dialogue> <scene_description>Some words ... sound familiar. Perhaps I'm imagining it ...</scene_description> <character>TU-AR (0. S.)</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>If all the whites wanted us dead, we'd be dead. Maybe there's an argument over us.</dialogue> <scene_description>TU-AR coughs, wipes blood from his lips. After a second he smiles at it, like fate.</scene_description> <character>TU-AR</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Maybe this man is here to help us. What is he like?</dialogue> <scene_description>NOW CINQUE LEANS CLOSER TO BALDWIN Their noses nearly touch. Baldwin forces himself not to flinch. Bulah comes into the courtyard carrying a basket of bread. Cinque watches Pendelton molest her with his eyes. THE AFRICANS Each holds out his hand and Sulah leaves each with a thick chunk of bread. But when she passes Urar he finds a BIG slice of APPLE PIE in his hand. The Africans crack-up as Sulah sashays pasts working her hips. Urar finally gets the picture. BALDWIN produces the sword Cinque used to kill Ferrer. He holds it up emphasizes each word.</scene_description> <character>BALDWIN</character> <dialogue>Have you seen this before?</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>He's like a man from my village who hires himself to scrape elephant shit from the crop rows.</dialogue> <scene_description>Baldwin uses exaggerated· gestures, trying to communicate.</scene_description> <character>BALDWIN</character> <dialogue>You killed? Why? Were you forced from your home?</dialogue> <character>CINQUE</character> <dialogue>Home.</dialogue> <character>BALDWIN</character> <dialogue>Home!</dialogue> <character>CINQUE</character> <dialogue>Home?</dialogue> <scene_description>Frustrated Baldwin re-thinks this. Gibbs rises walks back to 'talk' to the other Africans as Jocelyn draws on a piece of pap~r.</scene_description> <character>TU-AR (0. S.)</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>But Cinque, I think someone who can scrape away elephant shit is the kind of man we need.</dialogue> <scene_description>Roaring laughter from the other Africans. Jocelyn hands the paper to Baldwin who places it in front of Cinque. Its a drawing of a SHIP with a sketch of LAND before and behind. Baldwin points to the LAND in front, then stands and points to the ground.</scene_description> <character>BALDWIN</character> <dialogue>.Here! Here !</dialogue> <parenthetical>(touches the land behind)</parenthetical> <dialogue>Home! Home!</dialogue> <scene_description>Cinque looks at everyone, then disdainfully takes the pen and, as if he were correcting the homework of a mediocre pupil, draws a CROSS then SNAPS the picture with his finger.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>·Tattoos! This is like the</dialogue> <scene_description>ship-tattoos! Baldwin enthusiastically repeats the Mende word for 'tattoo.' Cinque nods.</scene_description> <character>JOCELYN</character> <dialogue>Wonderful, he 1 s·--got you le~rning his language.</dialogue> <scene_description>Pendelton comes out herding a couple of the young Mende girls ahead of him; to him they may as well be slaves. Cinque grabs the sword and aims the tip right at Pendelton who FREEZES. For the first time Baldwin sees how Pendelton's treatment of the little girls looks to Cinque. Cinque tosses the sword down on the table with a loud CLANG, rises and heads back for his cell; Harlin catches up fumbling with the keys. Suddenly the Missionaries break into a jubilant song, they gather close, holding hands with the children, faces animated and smiling. Gibbs rejoins Jocelyn and Baldwin.</scene_description> <character>GIBBS</character> <dialogue>I swear their speech is West African, perhaps from Sierra Leone. But there are over twenty languages and a hundred dialects from there.</dialogue> <scene_description>CINQUE'S CELL Cinque begrudgingly meets Baldwin at the bars. Jocelyn and Gibbs stand back but listening as Baldwin holds up the drawing again.</scene_description> <character>BALDWIN</character> <dialogue>Where is home? Home?</dialogue> <scene_description>Cinque touches the 'land' behind the ship.</scene_description> <character>CINQUE</character> <dialogue>Picture Mendeland, .Baldwin. Mendeland!</dialogue> <scene_description>Baldwin's taken-aback; Cinque knew what Baldwin was after all along.</scene_description> <character>GIBBS</character> <dialogue>Mende ...</dialogue> <character>JOCELYN</character> <dialogue>You've heard of it?</dialogue> <character>GIBBS</character> <dialogue>Barely ...</dialogue> <character>BALDWIN</character> <dialogue>We'd better find someone who speaks it, we're running out of time.</dialogue> </scene> <scene> <stage_direction>INT. ROYAL PALACE, MADRID, SPAIN - DAY</stage_direction> <scene_description>Nine year old ISABELLA II, Queen of Spain, dictates a letter through her private SECRETARY. But clearly it's been composed in advance by her regent, GENERAL BALDOMERO ESPARTERO. Isabella is a pale, but beautiful nine year old girl, dressed and pressed into the trappings of a Queen. But the stiff forty- six year old military veteran, Espartero, runs her like a pretty marionette. It's the voice of. a child, the words of a despot.</scene_description> <character>ISABELLA</character> <dialogue>... and so, as you may perceive~ we wish you to act before this matter of the Africans becomes a weight on our two countries.</dialogue> <scene_description>She looks to Espartero.</scene_description> <character>ESP.AR.TERO</character> <dialogue>Great countries ...</dialogue> <character>ISABELLA</character> <dialogue>Our great countries. After all, the business of great countries is to do business. Slavery is our pillar of commerce in the New World. Without it we might have been denied the glory of aiding you in your virtuous rebellion against the British. Without it, our good will and excellent mutual trade should be ... imperiled. As slave-owning nations we must stand firm.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Speak the words of humanness for the masses of citizens to hear, hold tightly to the power which protects them. And that power is their wealth. The Africans must never go free.</dialogue> <scene_description>Now Isabella who arrogantly puffs herself up to show she takes credit for the letter.</scene_description> <character>ISABELLA</character> <dialogue>With sincerest admiration, Isabella II, queen of all Spain.</dialogue> </scene> <scene> <stage_direction>EXT. ARLINGTON, VIRGINIA - DAY</stage_direction> <scene_description>Fifty-seven year old President MARTIN VAN BUREN stands at middle of a wagon that's been brightly painted Red White and Blue stripes with a galaxy of Stars. Its wheel spokes are woven with crepe. A HUGE BANNER drapes around the belly of the wagon like a ribbon bearing the wor.ds: "REELECT MARTIN VAN BUREN -- SLAVE STATES &amp; FREE TOGETHER SHALL BE -- GOD BLESS AMERICA!" As the wagon is slowly dragged through the streets of cheering VOTERS by four white horses, Van Buren waves and grips his hands together like a victorious boxer. LEDER HAMMOND -- his secretary -- clambers along side and gets yanked abroad by an AIDE. VAN BUREN keeps his cheery smile as he leans to hear what Hammond's got to say. At that moment people launch into "For He's a Jolly Good Fellow" and Hammond has to yell in his ear.</scene_description> </scene> <scene> <stage_direction>INT. PRIVATE ROOM, BAR - NIGHT</stage_direction> <scene_description>Cigar smoke choked room with Van Buren, Hammond a three AIDES. Hammond takes dictation. Van Buren sits on the edge of a table holding a pint of beer, smoking the cigar. All around is the debris of a party.</scene_description> <character>VAN BUREN</character> <dialogue>"Your majesty, if I were king of America I might touch this case; however my hand is stayed by the Constitution. I cannot speak to the wisdom of this document, only to its power over me.</dialogue> <scene_description>(pause} Nevertheless, your majesty should expect her property to be delivered into the hands of her trusted servant Senor Calderon within the month or so that it takes this drama to play itself out." (to Hammond) Shall I tell her it's a farce?</scene_description> <character>HAMMOND</character> <dialogue>I should pass over the obvious.</dialogue> <scene_description>{ some laughs) Mr. President, why is this boat of blacks so important to her?</scene_description> <character>VAN BUREN</character> <dialogue>Honor, politics, fear. She's quite right, we have much in common. You never know when one little snow ball starts down hill how big it can get before ... it runs over you.</dialogue> <scene_description>{finishing) "Sincerely, Martin Van Buren, President of the United States."</scene_description> </scene> <scene> <stage_direction>EXT. NEW HAVEN COURTHOUSE - MORNING</stage_direction> <scene_description>Cinque, along with Burna, one Yoruba and a Limba walk in chains and under guard to court. They all wear pure white cotton •gowns'. On the near side of the street Lydia and the abolitionists pass out papers. On the far side a small mob of WHITES shout at the Africans and the abolitionists. Ten POLICE OFFICERS keep the two contingents. apart.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>This is it! They're going to execute us! Let's take as many with us as we can!</dialogue> <scene_description>Thomas comes up to the Africans and hands them flowers as they're pushed along. Cinque recognizes the kid. When they arrive at the door a Missionary holds up a Bible, takes Cinque's hand, puts it on the Bible, lets him pass, does the same with the others. Burna is terrified.</scene_description> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>They're going to sacrifice us to their gods!</dialogue> <scene_description>INT, NEW HAVEN COURTHOUSE ON A WIG -- a white formal barrister wig getting set on Magistrate Will's head. THE AFRI.CANS Burna and Cinque watch Wills, amazed.</scene_description> <character>BURNA</character> <parenthetical>(Mende w/sub~itles)</parenthetical> <dialogue>That hair is from his last victim.</dialogue> <scene_description>The hated Ruiz and Montes enter and Cinque watches as they join a formidable group that includes Forsyth, Calderon and a pair of self- important ATTORNEYS. Then Gadney &amp; Meade sit near the rear with their shabby COUNSEL .</scene_description> <character>.CINQUE</character> <dialogue>(Mende w/subtitles}. It's a judgment. BURNA (Mende w/subtitles) Doesn't look like a judgment. CINQUE</dialogue> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>That man, to look like a wise man puts on the hair of an elder.</dialogue> <parenthetical>(the jury)</parenthetical> <dialogue>Those whites are the smart people of the village. They advise the wise man.</dialogue> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>And Elephant Shit Man?</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>He talks for us.</dialogue> <scene_description>Saunders rises.~. FADE TO:</scene_description> </scene> <scene> <stage_direction>INT. COURT HOUSE - LATER</stage_direction> <scene_description>In on Saunders working the court like an actor.</scene_description> <character>SAUNDERS</character> <dialogue>... then, in the quietude of night, after the Spaniards had tended their vespers, and were deep in virtuous sleep, the savages broke loose their collars and stole like creatures of prey ...</dialogue> <scene_description>Baldwin rises.</scene_description> <character>BALDWIN</character> <dialogue>I object to this portrayal of my clients as nocturnal beasts of prey. We have plenty of Negroes living in our community and none range through the countryside attacking people in a blood lust.</dialogue> <character>SAUNDERS</character> <dialogue>Our Negroes have been tamed by years of exposure to whites. May I continue?</dialogue> <character>BALDWIN</character> <dialogue>Why bother? We already know the tale: the shrieking monsters escape, kill the sinless white crew and sail away.</dialogue> <scene_description>CINQUE LAUGHS He leans close to Burna.</scene_description> <character>CINQUE</character> <dialogue>. (Mende w/subtitles)</dialogue> <scene_description>He is mocking that fool.</scene_description> <character>SAUNDERS (0. S.)</character> <dialogue>Your honor!</dialogue> <scene_description>WILLS bangs his gavel</scene_description> <character>JUDGE WILLS</character> <dialogue>Please continue.</dialogue> <character>SAUNDERS</character> <dialogue>These brutes falling on the crew in their sleep, massacred them, sparing not even the simple cook. But for the bravery of Senors Ruiz and Montes who fought their way to the bridge, these villains might have escaped the embrace of justice. Your justice, members of the jury. Thank you.</dialogue> <scene_description>Baldwin bounds up.</scene_description> <character>BALDWIN</character> <dialogue>Members of the jury, you have the common sense to you know the difference between a cow and a cabbage, do you not? Between a brick and a bear?</dialogue> <parenthetical>(a glance to Forsyth)</parenthetical> <dialogue>A polecat and a president .. ? Well, the Spanish government hopes you don't have a whole lot of common sense and I'll tell you why: this case is not about murder or anything that dramatic. It's about knowing the difference between property and people.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>The Spanish Government says the Africans are their property. Lieutenants Gadney and Meade cry "No-no; they're our property! " Here ' s the truth and it's very simple: the Africans aren't anybody's property. Why? Because they' re people. My God! Can that be so hard to comprehend? But here's their trick -- and watch out for it: they claim the Africans are slaves, and slaves are always somebody '--s property.</dialogue> <character>BALDWIN</character> <dialogue>Tricky all right. But they haven't tricked me and I know they can't trick you.</dialogue> <scene_description>Members of the jury and audience chuckle. CINQUE LAUGHS gets a smile out of Burna.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>It's going very well ...</dialogue> <scene_description>Baldwin turns around, waves and Jocelyn enters with three of the youngest African children led by.Bulah.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Watch! Now he's going to get the smart whites to cry ...</dialogue> <scene_description>Baldwin greets them smiling, gets charming smiles and musical Mende in return.</scene_description> <character>BALDWIN</character> <dialogue>Hello beautiful. How are you sweetheart? That bow is so pretty in your hair.</dialogue> <character>SAUNDERS</character> <dialogue>Your honor I object to this disgusting pandering.</dialogue> <scene_description>Baldwin ignores Saunders, stays focused on the children.</scene_description> <character>BALDWIN</character> <parenthetical>(Spanish w/subtitles)</parenthetical> <dialogue>Ladies, is it warm today?</dialogue> <parenthetical>( in English)</parenthetical> <dialogue>Would you say it's getting colder at night in prison? Since you have no heat ...</dialogue> <character>SAUNDERS</character> <dialogue>Your honor .. !</dialogue> <scene_description>Baldwin faces the jury.</scene_description> <character>BALDWIN</character> <dialogue>The plain, simple truth is, these lovely young ladies neither speak, nor do they understand English or Spanish and yet they speak native African! Why? Because they're from Africa! Not a Spanish plantation!</dialogue> <scene_description>Chuckles from the jury.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Clever. Sadness, jokes; now he must get serious again ...</dialogue> <scene_description>BALDWIN GETS DRAMATIC facing each juror one by one.</scene_description> <character>BALDWIN</character> <dialogue>They were kidnapped from their homes in Africa -- these men, these children! Carried off by Spanish slavers contrary to the laws of humanity and all the great nations of the earth. These are free people! And being people they cannot be anybody's property; and if they are not anybody's property our treaty with Spain has no bearing. The Coast Guard sailors have no claim. And, you must let my clients go!</dialogue> <scene_description>Saunders leaps out of his seat and launches into the girls with a tirade of Spanish.</scene_description> <character>SAUNDERS</character> <parenthetical>(Spanish w/subtitles)</parenthetical> <dialogue>Do you know what will happen to you if you don't tell the truth here today? Do you?</dialogue> <scene_description>Jocelyn starts to rise but Tappan holds him back as Baldwin motions them to stay seated. Saunders continues in English.</scene_description> <character>SAUNDERS</character> <dialogue>These men coached you! They promised you would be freed if you pretended not to speak Spanish! Isn't that the. truth? Isn't it!? Speak up!</dialogue> <scene_description>One of the little girls breaks into tears and Sulah hugs her close comforting her. IN THE BACK With a jingle of manacles Cinque stands fire of hate in his eyes. EVERYONE focuses on Cinque. Then someone else in the court SOBS ... A MEMBER OF THE JURY cries openly for the African children. Saunders struggles to get the jury back ...</scene_description> <character>SAUNDERS</character> <dialogue>The Spanish Government has provided every proof necessary to satisfy the law.</dialogue> <character>BALDWIN</character> <dialogue>What? A list of Spanish names that none of my clients ever heard of? They have African names -- they speak African!</dialogue> <scene_description>A couple of JURORS LAUGH and it looks like Baldwin has scored with his line of argument. But then a SECOND US ATTORNEY slowly stands. CINQUE leans forward, looking hard at the man.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Here comes trouble.</dialogue> <character>2ND US ATTORNEY</character> <dialogue>On Spanish plantations these slaves always choose to live in hovels, surrounded by their own filth teaching each other their own ways and simple languages.</dialogue> <character>2ND US ATTORNEY</character> <dialogue>Prey tell, what need they know in Spanish? 'Fetch', 'stop•, 'carry'? Oft-times on plantations gestures suffice for slaves as they might for any beast of burden.</dialogue> <scene_description>Baldwin leaps up, for a flash seems nearly as angry as Cinque.</scene_description> <character>BALDWIN</character> <dialogue>-They are not beasts! The</dialogue> <scene_description>Spaniards who are trying to send these men and children to their deaths are the beasts!· Wills bangs away with his gavel.</scene_description> <character>WILLS</character> <dialogue>Gentlemen, it is getting on in the day. We'll adjourn until tomorrow at eight in the morning.</dialogue> <scene_description>Baldwin collects himself and sits.</scene_description> <character>JOCELYN</character> <dialogue>How are we doing, council?</dialogue> <character>BALDWIN</character> <dialogue>Not well enough. We need solid proof. Something the jury can touch.</dialogue> <character>TAPPAN</character> <dialogue>You need to bring God into this, Mr. Baldwin.</dialogue> <character>BALDWIN</character> <dialogue>Would you please call me Roger?</dialogue> <character>TAPPAN</character> <dialogue>I ... hardly know you ...</dialogue> <scene_description>Jocelyn leans into a quiet huddle so no one else can hear.</scene_description> <character>JOCELYN</character> <dialogue>When we showed that drawing to Cinque he kept slapping the paper. At first I thought it was because of the ship I drew.</dialogue> <character>JOCELYN</character> <dialogue>But perhaps he meant the paper itself. My point: Amistad was towed into harbor this morning. Get a warrant. Go aboard. See what we find before the Spaniards do ...</dialogue> <scene_description>Baldwin's animated again moves to the bench and stops Wills as he's about to leave.</scene_description> <character>CINQUE</character> <dialogue>Baldwin!</dialogue> <scene_description>Baldwin turns. Cinque just wants to make eye contact as he's taken away with Burna.</scene_description> </scene> <scene> <stage_direction>EXT. AMISTAD, NEW HAVEN HARBOR - NEAR DUSK</stage_direction> <scene_description>Looking beat-up and neglected Amistad rides at anchor. A longboat approaches the ship from shore.</scene_description> </scene> <scene> <stage_direction>EXT. AMISTAD</stage_direction> <scene_description>Baldwin, Jocelyn, Lydia and Clemens come aboard and are met by a COAST GUARD OFFICER. Baldwin produces his warrant.</scene_description> </scene> <scene> <stage_direction>INT. BRIDGE</stage_direction> <scene_description>Baldwin shoulders the warped door aside as Clemens follows holding a lamp. Dust and sea water have continued the process of decline. Baldwin unrolls a chart, hands it to Clemens. Unrolls another.</scene_description> <character>BALDWIN</character> <dialogue>Cuba. Cuba again; Lesser Antilles ... Honduras.</dialogue> <character>CLEMENS</character> <dialogue>What should I be looking for?</dialogue> <character>BALDWIN</character> <dialogue>For God's sake, Clemens, a map of Africa will suffice.</dialogue> <scene_description>ON DECK Jocelyn and Lydia explore with the fear of people entering a haunted··house. Jocelyn finds and opens the· hatch to the slave quarters. BELOW DECK By flickering lantern light, Lydia kneels and carefully touches the manacles sprawled crazily on the floor. Jocelyn sits beside her and he too picks up a manacle. Sacred relics in a dark temple. What they must be feeling ... Seeing that Lydia is torn-up, he embraces her. BRIDGE and TIGHT on the map of Cuba Cinque found. There's a tiny drawing up a ship and just above it a COMPASS ROSE.</scene_description> <character>BALDWIN (O.S.}</character> <dialogue>I found Cinque's 'picture' ...</dialogue> <character>CLEMENS (O.S.}</character> <dialogue>Hey ho! Look what I found!</dialogue> <scene_description>CLEMENS proudly holds up THE LEATHER POUCH Ruiz hid under the chart case. SLAVE QUARTERS Jocelyn and Lydia sit in the shadows.</scene_description> <character>LYDIA</character> <dialogue>I can get fifty men willing to storm the jail, get the Africans to Vermont that night. And then to Canada ...</dialogue> <character>JOCELYN</character> <dialogue>We've got to finish this; Lydia, you know what.a court victory could mean.</dialogue> <character>LYDIA</character> <dialogue>How many chances have we had in court for a black man or woman and how many time have we won?</dialogue> <character>JOCELYN</character> <dialogue>All the more reason. Every time we help a slave escape ...</dialogue> <character>LYDIA</character> <dialogue>They're justly freed!</dialogue> <scene_description>Jocelyn picks up a manacle.</scene_description> <character>JOCELYN</character> <dialogue>To rid the world of these we need law, not just justice.</dialogue> <scene_description>Before she replies Baldwin and Clemens clamber down the stairs like excited puppies.</scene_description> <character>BALDWIN</character> <dialogue>We've got it, by God!</dialogue> </scene> <scene> <stage_direction>INT. COURTHOUSE - MORNING</stage_direction> <scene_description>Baldwin stands before the jury holding up a water stained papers with tattered edges tied together with a chord.</scene_description> <character>BALDWIN</character> <dialogue>these papers -- and I</dialogue> <scene_description>shall ask you to examine them -- are portions of a ship's manifest which my colleagues and I retrieved from Amistad yesterday eve. They list all the Spanish names which the prosecution insists -- no demands! -- represent my clients. But ... lo!, this is not the manifest of La Amistad at all! Rather a portion of the cargo manifest of a notorious transatlantic slave ship called The Tecora! A rush of distress sweeps the prosecution. Calderon ejects from his seat and gets right in Forsyth's face as onlookers actually GASP. AND CINQUE His hopes up again. Now even Burna seems swept with enthusiasm. BALDWIN gets right up to the jury box and as he talks, moves along, letting each juror look at the document -- a few actually touch it.</scene_description> <character>BALDWIN</character> <dialogue>The mystery unravels! Members of the jury, this document establishes for once and for all that my clients are free men, ripped from their homes and families in Africa and unlawfully cast into slavery! By them!</dialogue> <scene_description>He points at Ruiz and Montes who can only gawk.</scene_description> <character>BALDWIN</character> <dialogue>You have no choice, whatever these men say from now on doesn't matter because you can hear with your own ears, see with your own eyes that · they are liars! And you.know my clients have always been free men!</dialogue> <scene_description>Everyone in the court looks back at Cinque and Burna, the jury, the audience; cops and Magistrate Wills. Calderon adamantly faces front with a stone cold expression. BURNA smiles for the first time. Cinque'-s reserved.</scene_description> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>This looks very good!</dialogue> <scene_description>As Wills beats his gavel to close the day's proceedings, Tappan, Jocelyn and Baldwin cross straight to Cinque and Burna, their smiles echoing Burna's feeling.</scene_description> <character>BALDWIN</character> <dialogue>It's going to be all right.</dialogue> <scene_description>Their words blend into an incomprehensible stew punctuated with smiles and handshakes. Jocelyn puts his hand on Cinque's arm. But then a POLICEMAN slings the leash around Cinque's neck and Jocelyn smile vanishes as the .Africans are pulled away toward the door. Cinque winces from the pain ...</scene_description> <character>JOCELYN</character> <dialogue>Soon! You'll be free soon!</dialogue> <scene_description>Clemens rushes up, half out of breath.</scene_description> <character>CLEMENS</character> <dialogue>Gentlemen, I've got a coach; are we still going to the harbor?</dialogue> <scene_description>Baldwin considers.</scene_description> <character>JOCELYN</character> <dialogue>Roger, just to be safe ...</dialogue> </scene> <scene> <stage_direction>INT. CINQUE'S CELL - LATE NIGHT</stage_direction> <scene_description>Cinque sits on the top of his ladder-bed like a leopard hanging out in a tree. His br~ath clouds and he wears a blanket on his shoulders. Tu-Ar's cough echoes through the complex.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>It's getting cold.</dialogue> <character>VARIOUS VOICES</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>We know that! Tell us something we don't know. What are the whites up to?</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>They're quiet tonight.</dialogue> <character>URAR (O.S.)</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Tell us more about the judgment. Burna says the</dialogue> <scene_description>· wise men like wl:lat Shit- Scraper has to say.</scene_description> <character>CINQUE.</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Baldwin. His name is Baldwin. But the others who hate us seem very powerful. Baldwin was good though.</dialogue> <character>TU-AR (O.S.)</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>What are you really thinking Cinque?</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>I think he is home. In his warm bed. With his fat wife. Nice and safe. In the end are we so important to him?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I am going to get out.</dialogue> <scene_description>TU-AR lies on his cot, blanket pulled up to his nose.</scene_description> <character>TU-AR</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>How will you manage that?</dialogue> <scene_description>CINQUE</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>There will be a chance.</dialogue> <character>BURNA (O.S.)</character> <dialogue>{Mende w/subtitles)</dialogue> <scene_description>They watch u\_s all the time.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>One day there will be a chance.</dialogue> <character>URAR (O.S.)</character> <dialogue>{Mende w/subtitles}</dialogue> <scene_description>I'm going with you! BURNA &amp; URAR'S CELL</scene_description> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Crazy boy! They will kill you!</dialogue> <character>URAR</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>I'm corning Cinque!</dialogue> <scene_description>TU-AR'S CELL</scene_description> <character>TU-AR</character> <dialogue>{Mende w/subtitles)</dialogue> <scene_description>You said their village is huge. How could we hide? CINQUE'S CELL</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Wait. Something strange ...</dialogue> <scene_description>Outside it's starting to SNOW. Cinque jerks upright nearly falls.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>The sky is breaking up!</dialogue> <scene_description>Cinque leaps down from his perch and rushes to the door. Snow is falling into the courtyard. But them VOICES are shouting in Mende. Tu-Ar's hacking cough is suddenly relentless and LOUD.</scene_description> <character>BURNA (0 . S . )</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Cinque! Tu-Ar is shivering and coughing blood! He needs more blankets!</dialogue> <scene_description>Cinque grabs his blanket, folds it tightly, then he reaches it out through the bars so it just makes the bars of the cell next to him.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Take it -- pass this on!</dialogue> <scene_description>A Temne face appears, then he sticks out his hand and takes the blanket. TEMNE'S CELL But instead of passing it on, the Temne just laughs at Cinque, pulls it over himself as his 'roommate' laughs.</scene_description> <character>CINQUE ( 0 . S . )</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Pass the blanket on!</dialogue> <character>TEMNE</character> <parenthetical>(Temne w/subtitles)</parenthetical> <dialogue>Stop troubling me you ignorant Mende ...</dialogue> <scene_description>BANG - something hits their mutual wall on Cinque's side so loud it nearly jars the Temne off his cot. CINQUE beats furiously on the wall with his brass piss-pot: BANG -- BANG -- BANG. THE TEMNE is truly freaked-out -- realizes Cinque will probably go on all night.</scene_description> <character>TEMNE</character> <parenthetical>(Temne w/subtitles)</parenthetical> <dialogue>Shut up you fucking Mende!</dialogue> <scene_description>He balls up the blanket and jams it out through the bars. Another hand reaches out, pulls it in~ sticks it out the far end of that set of bars and still another hand grabs it. Only then does Cinque stop banging. BURNA passes the extra blanket to Tu-Ar's cell who just has enough strength to add it to his own blanket, trying to quell his shivering body. CINQUE pulls his cotton shirt on, lays back in his cot, eyes wide. In the distance he can hear the wind picking up. He hugs himself against the growing cold. Somewhere one of the Africans starts singing. Cinque smiles, enjoying the sound. But then other Africans yell, shout him down until the night fills with the scrannel sound.</scene_description> </scene> <scene> <stage_direction>EXT. PORCH - NIGHT</stage_direction> <scene_description>Harlin arrives at the rear porch of a house perched on a hill far above the jail. Two other BLACK MEN, servants, beckon him to ~oin them. AESOP about forty-five, smokes a pipe. His pal, LUKE, polishes silverware. Harlin opens a ·sack of squash. Flurries pick up.</scene_description> <character>HARLIN</character> <dialogue>Snow in October; not a good sign.</dialogue> <character>AESOP</character> <dialogue>What's the old crow what for these dried up gourds, Harlin?</dialogue> <character>HARLIN</character> <dialogue>Penny for two. This snow will kill what's left, so you're looking at a bargain.</dialogue> <scene_description>Aesop scowls, studies them expertly.</scene_description> <character>LUKE</character> <dialogue>Your African murderers sure are a noisy pack of animals. What are they like?</dialogue> <character>HARLIN</character> <dialogue>Well, they look just like us.</dialogue> <character>LUKE</character> <dialogue>Hump! Imagine us running bare-ass through the jungle! Eatin' bugs and toads!</dialogue> <character>HARLIN</character> <dialogue>I wonder if the whites didn't run around in the jungle, once.</dialogue> <character>AESOP</character> <dialogue>Naw, white people is the children of God. If you go to heaven, you get to be a white person.</dialogue> <scene_description>Harlin doesn't know what to say. Aesop is a beat-up an old man, driven to hate his existence and himself. Harlin unwraps a napkin of Khila's breads; he passes some to each man.</scene_description> <character>LUKE</character> <dialogue>What's this?</dialogue> <parenthetical>(takes a bite)</parenthetical> <dialogue>My goodness·! Delicious! You can taste all the herbs -- you know.? Not all mashed together? And it's strong. Who made this?</dialogue> <character>HARLIN</character> <dialogue>One of the animals; a little one.</dialogue> </scene> <scene> <stage_direction>EXT. HARBOR BAR - LATE NIGHT</stage_direction> <scene_description>The low-life bar and grill, clouded with grease smoke and steam from a kitchen that probably never stops cooking. Baldwin sits at a large table with five surly MULATTO or AFRICAN MERCHANT SAILORS stuffing themselves on soup, bread and ale. A WAITER arrives with plates of potatoes and mutton and as Baldwin dives into his pocket for cash he points to a HUGE ritually scarred AFRICAN SAILOR who looks like Queequeg on a bad day. Very reluctantly Clemens rises to approach him. Jocelyn returns to the table with a young BRITISH NAVAL OFFICER and a very young.BLACK MAN -- really a BOY -- in a British Naval Uniform. The British Officer is CAPTAIN HAROLD SLOCUM, the young Black Man is nineteen year old JAMES COVEY. Baldwin rises, shakes hands and invites them to supper. Clemens YOWLS as 'Queequeg' shouts and shoves him away.</scene_description> </scene> <scene> <stage_direction>EXT. JAIL COURTYARD - MORNING</stage_direction> <scene_description>Cinque and Burna outside digging a latrine as an armed GUARD walks among the Africans who are having a meal in the prison yard. Most stare in wonder at the dusting of snow on the ground, watching as Missionaries make a snowman for the giggling little girls. A Missionary places a cap on the snowman.</scene_description> <character>MISSIONARY</character> <dialogue>Hat ... this is a h.a..t!</dialogue> <scene_description>Some of the girls repeat the word. Then the Pendeltons appear; Mrs. wiping her hands on a towel, Mr. Pendelton with an ax over his shoulder.</scene_description> <character>MRS. PENDELTON</character> <dialogue>James, choose two men to go with you and Mr. Pendelton for firewood and send Khila in here to help Mrs. Dillard's cook!</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>SARAH, a corpulent BLACK WOMAN in her late thirties, sorts through a sack of onions as Khila rush in. Sarah bends over so they're eye-to-eye.</scene_description> <character>SARAH</character> <dialogue>Khila? I'm Sarah. I cook for a very, very rich family, do you understand?</dialogue> <scene_description>Khila goes off into one of her musical torrents of Mende. Sarah keeps nodding, then produces one of Khila's bread cakes with a bite in it.</scene_description> <character>SARAH</character> <dialogue>You made this?</dialogue> <parenthetical>(lots of Mende back)</parenthetical> <dialogue>Show me? Me? How you made this?</dialogue> <scene_description>AT THE COUNTER Khila pulls out one ingredient after another, going on and on in Mende as she measures them out in her hand -- here a pinch, there a fistful. Sarah writes·fast as she can. She gets to the RED PEPPER -- measures out two big fists worth.</scene_description> <character>SARAH</character> <dialogue>Ah! That's what gives it that breath!</dialogue> <scene_description>Khila shrugs that she's done. Sarah pats her on the head and has a good laugh. PRISON YARD As they dig, Cinque notices Urar and Sulah sitting together in the sun near the children and the Missionaries.</scene_description> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Do you think those Missionaries have power?</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Compared to us who hasn't?</dialogue> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>I mean power with God? Look how powerful the whites are. Their villages are huge. They have Navies and Armies.</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>You never hear of the kingdoms of Oyo and Ife when you were a child?</dialogue> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Stories ...</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>The great kingdom of our ancestors. Big armies, big navy, big Gods. Nothing but a big desert now. And it's children are in jail digging holes to shit in.</dialogue> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>You don't believe in God?</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>I believe. But I won't shame myself by only running to him when I am afraid.</dialogue> <scene_description>Cinque starts another section with a pick.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>You think Sulah and Urar will manage it?</dialogue> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Manage what?</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>To fuck. They're not talking about God.</dialogue> <scene_description>Burna gapes at the couple; apparently the thought never crossed his mind.</scene_description> </scene> <scene> <stage_direction>INT. CINQUE'S CELL</stage_direction> <scene_description>He's watching the grey glow of the moon hidden behind the lead clouds; it's peaceful. Cinque probably comes up here every night just to breath. The wind stirs his hair as he sings quietly so no one will hear; he drifts off ... DREAM OF AFRICA -- in the gorgeous, pure-sky savanna two giraffes sway like dancers as they move across the plain. In their hugeness, their litheness, their incredibleness, they embody freedom. DRUMS, and then the melodious chanting of MENDE VOICES as a soothing accompaniment to the giraffes -- the voices, the drums and the movements of nature become a mystic 'one' ... TU-AR'S CELL Burna sleeps but Tu-Ar is awake. He pokes his face between the door bars, his voice is 'husky' with disease.</scene_description> <character>TU-AR</character> <dialogue>{Mende w/subtitles)</dialogue> <scene_description>Cinque! What can you see outside tonight? CINQUE STIRS He's cold, tired, but senses Tu-Ar's urgency.</scene_description> <character>TU-AR {O.S.)</character> <dialogue>Cinque?</dialogue> <character>CINQUE</character> <dialogue>{Mende w/subtitles)</dialogue> <scene_description>I I m looking - - I'm looking ...</scene_description> <character>TU-AR {O.S.)</character> <dialogue>{Mende w/subtitles)</dialogue> <scene_description>Tonight, find something beautiful. Not ugly or stupid. CINQUE SEES Perched in the branch of a tree across from the jail is a HUGE FORM. The creature REVOLVES ITS HEAD like a turret and ENORMOUS EYES aim at· him. It's an enormous OWL. \ ,I</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Tu-Ar! A forest spirit!</dialogue> <scene_description>The owl HOOTS, then spreads its giant wings and flies right toward the jail.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>It's flying right at us! Did you hear it!? Tu-Ar! Did you hear that?</dialogue> <character>INT.</character> <dialogue>Tu-Ar has died with his hands frozen reaching</dialogue> <character>TU-AR'S CELL</character> <dialogue>for the sky.</dialogue> <character>EXT.</character> <dialogue>An old field flanked by a forest and filied</dialogue> <character>PRISON GRAVE YARD - DAY</character> <dialogue>with marvelous headstones. Cinque and Burna. dig Tu-Ar's grave under the eye of two armed GUARDS. Slowly the Mende file out into the field.</dialogue> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Who can perform the ceremony of the poro?</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Who cares? -- you do it!</dialogue> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>I'm not a priest or a chief.</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>So? I won't tell anyone.</dialogue> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>It's not right ...</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>It doesn't matter! We have to help Tu-Ar move on! I'll do it.</dialogue> <scene_description>FROM THE OPPOSITE SIDE OF THE YARD Harlin and Luke watch as the Africans assemble around the fresh grave. GRAVE SIDE Cinque and the others hold hands sitting in a circle around his grave. They are DEAD QUIET. Suqdenly a SHADOW moves over the group. They all slowly turn their heads to see ... IN AN INSTANT -- for a flash of a moment it 1 s Tu-Ar -- and he melts into the forest. THE MENDE turn and smile to one another.</scene_description> <character>BULAH</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>You must sing now.</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>What? Me? I can't sing.</dialogue> <character>SULAH</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>You liar; you sing beautifully.</dialogue> <scene_description>Cinque gives her an odd look; how does-she know?</scene_description> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>You have to sing, you led the ceremony.</dialogue> <scene_description>Cinque sees Sulah is counting on him· then he sings -- and his voice cracks. Pausing for a deeper breath he tries again and this time his voice is big and strong. Khila and the other girls sneak some 1 treats 1 they've cooked, pass them around. As they eat we can see the taste transports them. JOCELYN BALDWIN ARRIVE With some of the men they found in the bar. Cinque and the others are meandering back from the cemetery and stop to face this motley crew.</scene_description> <character>JOCELYN</character> <dialogue>Well, gentlemen: one at a time from left to right, please.</dialogue> <scene_description>To the African's amusement, each man steps up and says something in an alien tongue.</scene_description> <character>SULAH</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Who are these animals?</dialogue> <scene_description>Urar is about to take this opportunity to move next to Sulah but Burna quickly steps between. Cinque smiles and greets Baldwin.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Good day, Shit-Scraper.</dialogue> <scene_description>Then from somewhere in the back, comes a young, strong voice.</scene_description> <character>VOICE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Does Baldwin know his pet- name?</dialogue> <scene_description>The Africans FREEZE, simply stunned. Then the wall of strangers parts and young JAMES COVEY walks to the front followed by Captain Slocum. Now the Africans break into howls of joy and gather around. But Cinque grabs Covey by the sleeve, pulls him over to Baldwin.</scene_description> <character>CINQUE</character> <parenthetical>(Covey translates)</parenthetical> <dialogue>How is our judgment going!?</dialogue> <scene_description>Baldwin's surprised and impressed by Cinque's grasp of events.</scene_description> <character>BALDWIN</character> <dialogue>The people who decide the trial wanted to·. set you free.</dialogue> <character>CINQUE</character> <parenthetical>(Covey translates)</parenthetical> <dialogue>White people said to free us?</dialogue> <character>BALDWIN</character> <dialogue>But the person who leads.our country -- President Van Buren -- thinks you should be returned to the Spaniards.</dialogue> <character>CINQUE</character> <parenthetical>(Covey translates)</parenthetical> <dialogue>You said people wanted to free us?</dialogue> <character>BALDWIN</character> <dialogue>Van Buren got rid of them. This time he will be much more careful. The judgment will continue without them.</dialogue> <character>SLOCUM</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>You must save yourselves.</dialogue> <scene_description>All eyes turn to Slocum.</scene_description> <character>CINQUE</character> <parenthetical>(Covey translates)</parenthetical> <dialogue>Ah, another genius!</dialogue> <character>SLOCUM</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>I speak just a little.</dialogue> <character>CINQUE</character> <dialogue>·(Covey translates)</dialogue> <scene_description>Why is he dressed up?</scene_description> <character>COVEY</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>He is a British Naval Officer, a warrior who fights at sea.</dialogue> <character>BALDWIN</character> <dialogue>Cinque, we must have your help to get you free.</dialogue> <character>CINQUE</character> <parenthetical>(Covey translates)</parenthetical> <dialogue>Why are we here!? We are free men now!! Why should I talk to another white man?</dialogue> <character>JOCELYN</character> <dialogue>What happens to you, happens to all the Mende ...</dialogue> <scene_description>Mrs. Pendelton calls for the children, and as Sulah turns to go, Cinque stops her.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/su.btitles)</parenthetical> <dialogue>When did you hear me sing?</dialogue> <scene_description>Sulah just says: "La-la-la", smiles and passes.</scene_description> </scene> <scene> <stage_direction>EXT. STREETS OF NEW HAVEN - MORNING</stage_direction> <scene_description>Lydia and volunteers pass out the Abolitionist's paper, Thomas by her side.</scene_description> <character>LYDIA (V. 0. )</character> <dialogue>"Citizen of America -- your freedom is being pilfered! The Queen of Spain and the 'King' of America will not rest until your democracy has been picked from your pocket -- never to be seen again ... "</dialogue> </scene> <scene> <stage_direction>INT. PALACE, MADRID - DAY</stage_direction> <scene_description>With Espartero unhappily listening, Isabella reads the newspaper with her heavily accented English.</scene_description> <character>ISABELLA</character> <dialogue>"'If men are to be precluded from offering their opinions on a matter which may involve the most serious and alarming consequences, reason is of no use to us ... "</dialogue> </scene> <scene> <stage_direction>INT. WHITE HOUSE - DAY</stage_direction> <scene_description>Forsyth reads from the Abolitionist's paper as Van Buren paces, fuming.</scene_description> <character>FORSYTH</character> <dialogue>the freedom of speech</dialogue> <scene_description>may be taken away, and dumb and silent we may be led like sheep to the slaughter' George Washington."</scene_description> <character>VAN BUREN</character> <dialogue>George Washington is dead, no one cares what in hell he had to say. What infuriates me is that this got into the Gazette, not just the abolitionist rags. People are reading this -- real people, goddamn-it! And if it's in the Gazette you know it's going to be in Southern papers. I thought we were going to contain this 'mess' up north!</dialogue> <scene_description>Van Buren pulls a cigar out of his desk and walks around aiming it like a gun.</scene_description> <character>FORSYTH</character> <dialogue>We're struggling to do that.</dialogue> <character>VAN BUREN</character> <dialogue>Struggle harder!</dialogue> <character>FORSYTH</character> <dialogue>The easiest way is to resolve this. And I think we've found a judge. He's a little young, but that means he has a career ahead of him -- no need for magnanimous last gestures for the sake of posterity ...</dialogue> <character>VAN BUREN</character> <dialogue>Like that louse, Adams. What's this judge'. s name?</dialogue> <scene_description>He passes Van Buren a file.</scene_description> <character>FORSYTH</character> <dialogue>Bertrand Coglin. He's terribly insecure about his Catholic heritage.</dialogue> <character>V:AN BUREN</character> <dialogue>He's a Catholic!?</dialogue> </scene> <scene> <stage_direction>INT. WHITE HOUSE - DAY</stage_direction> <scene_description>Diminutive but sturdy thirty-five year old BERTRAND COGLIN rises as Secretary Forsyth greets him in the Presidential Lobby.</scene_description> <character>FORSYTH (V. 0. )</character> <dialogue>Of course not, he's Protestant, but his grand- father was Catholic and he's struggled all his life to keep that quiet. Naturally, he would be willing to do anything to secure his fortunes in government.</dialogue> <scene_description>Coglin is obviously overcome with excitement and hope, and Forsyth shakes his hand firmly, as if welcoming him to the Inside Circle.</scene_description> </scene> <scene> <stage_direction>INT. CINQUE'S CELL - NIGHT</stage_direction> <scene_description>Cinque .seems to be asleep on his perch, but like the sleeping leopard, his senses are always peaked. There's just the slightest sound and Cinque's eyes OPEN. Does he hear VOICES, or the wind in the trees? Twisting his head sideways, Cinque tries like hell to push his head through and does. CINQUE SEES ... Where a section of the prison angles out beyond the main gate, Tu-Ar and Sulah are.making love behind a maple tree.</scene_description> </scene> <scene> <stage_direction>INT. BURNA'S CELL - MORNING</stage_direction> <scene_description>The. sound of BELLS explodes into the air. Burna immediately cover his ears. Right beside Burna's head are a set of bare feet belonging to his new cell mate YULA.</scene_description> <character>YULA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Bell day!</dialogue> </scene> <scene> <stage_direction>EXT. NEW HAVEN JAIL - AFTERNOON</stage_direction> <scene_description>The Africans are outside in the courtyard, most working on the· prison: patching walls, digging latrines, two putting a fresh coat of paint on the Pendeltons' house. The sun seems likely to melt the new fallen snow.</scene_description> <character>CINQUE (0. S.)</character> <dialogue>'Slaves ... '</dialogue> <scene_description>KITCHEN Cinque at the pantry table with Covey working on his English. He turns back from the window after just having called the working Africans 'slaves'. Covey points at Cinque.</scene_description> <character>COVEY</character> <dialogue>Mende. Not a slave.</dialogue> <scene_description>Cinque rolls his eyes.</scene_description> <character>CINQUE .</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>To speak Whiteman Talk I have to learn to lie all the time?</dialogue> <character>COVEY</character> <dialogue>Only English. No Mende.</dialogue> <scene_description>Frustrated Cinque stands and walks around the kitchen rapid-fire naming everything he sees.</scene_description> <character>CINQUE</character> <dialogue>Butter, cup,· plate, basin, table, chair, fork, knife, bread, oven, firewood.</dialogue> <scene_description>He comes to a small wall mirror, pauses as he angles it to study his reflection.</scene_description> <character>COVEY</character> <dialogue>Leader.</dialogue> <scene_description>Cinque looks at Covey, shakes his head.</scene_description> <character>CINQUE</character> <dialogue>No man needs a leader.</dialogue> <character>COVEY</character> <dialogue>Only a leader would say that.</dialogue> <scene_description>Ignoring this, Cinque crosses to the window, watches Nat Pendelton watching Sulah's lithe body as she strides across the courtyard. Then Urar stops house painting and crosses to greet Sulah as she returns with her empty tray. The two talk, smiling, flirting. Then they separate and Urar goes back to work. But Pendelton follows Sulah around toward the back of the house.</scene_description> <character>CINQUE</character> <dialogue>I'm going out, all right?</dialogue> <character>COVEY</character> <dialogue>I'll wait.</dialogue> <scene_description>CINQUE slowly walks out the pantry door into the yard. Mrs. Pendelton ushers THREE MISSIONARIES -- TWO MEN and a WOMAN -- into the yard. Curious, the rest of the Africans surround the three.</scene_description> <character>FIRST MISSIONARY</character> <dialogue>God's blessing on you this morning. We've come to teach you about the savior, Jesus Christ of Nazareth.</dialogue> <character>YULA</character> <dialogue>(Mende w/subtitles} Do they have the black boxes? The Missionaries start singing Psalm 1, the "New Version." While everyone is investigating the missionaries, Cinque crosses toward Urar. MISSIONARIES</dialogue> <scene_description>How blest is ·he who ne'er consents by ill Advice to walk. Nor stands in Sinners ways nor sits where Men prophanely talk.</scene_description> <character>YULA</character> <dialogue>(Mende w/subtitles} I'm going to have a shit but let me know what happens. He heads for the pit ... NEW ANGLE</dialogue> <scene_description>Cinque stands by Urar who paints.</scene_description> <character>CINQUE</character> <dialogue>(Mende w/subtitles} How did you get out last night? URAR (Mende w/subtitles} You saw us!</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>I don't care what you do, how did you get out?</dialogue> <scene_description>Urar hesitates ...</scene_description> <character>URAR</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Sulah steals the key. It's Pendelton's main key.</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>I want it.</dialogue> <character>URAR</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>I don't have it. Only Sulah can get it.</dialogue> <scene_description>Cinque takes the brush outs of Urar's .hand.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Come on, let's find Sulah.</dialogue> <scene_description>BEHIND THE HOUSE Pendelton's got Sulah cornered as she tries to bring a handful of kindling into the house. He cuts her off and grabs her arms. She struggles -- drops the firewood -- he presses up against her, yanks her skirt up around her waist, hands groping. ·</scene_description> <character>PENDELTON</character> <dialogue>That's all righ~, shhh. Just hold still ...</dialogue> <scene_description>Before Cinque can react, Urar rushes in and tackles Pendelton to the ground.</scene_description> <character>PENDELTON</character> <dialogue>You goddamned nigger!</dialogue> <scene_description>•Pendelton grabs a LEATHER KINDLING STRAP, whips Urar once across the face -- Cinque grabs Pendelton's hand -- but in that instant Harlin arrives, aims a musket right at Cinque. Pendelton immediately spins and starts whaling on Urar with the strap. By now everyone watches,· the Missionaries just MOVE AWAY. Harlin's torn, hates what's happening to Urar. Cinque sees, points at Pendelton.</scene_description> <character>CINQUE</character> <dialogue>Shoot him!</dialogue> <scene_description>Pendelton .stops, afraid Harlin might do it, but laughs when he sees he's frozen. He starts lashing Urar again -- Harlin feels every blow but he's just too well 'broke' to interfere. In a flash Cinque starts for Pendelton but is pinned from behind by two GUARDS who force him to his.knees. Looks hopeless. Then out of nowhere like some avenging angel, Jocelyn picks Pendelton up by the shoulders and heaves him against the woodpile. One of the guards pulls a lead sap and starts for Jocelyn but then another angel intervenes.</scene_description> <character>BALDWIN</character> <dialogue>You lay a finger on my clients and you'll spend the rest of your lives in court!</dialogue> <scene_description>He may as well have pulled a gun -- instantly the guards back-off, even letting Cinque up. As Baldwin speaks he crosses to Cinque, slowly moves him back toward the other Africans.</scene_description> <character>BALDWIN</character> <dialogue>You will know your place, Mr. Pendelton or by God I'll see you in a cel1 of your own!</dialogue> <character>PENDELTON</character> <dialogue>You just keep that damned savage away 'from me!</dialogue> <scene_description>Cinque yells at Covey in Mende as he rushes to help Urar up.</scene_description> <character>COVEY</character> <dialogue>This man was trying to rape this girl.</dialogue> <character>PENDELTON</character> <dialogue>Lying animal!</dialogue> <character>JOCELYN</character> <dialogue>I'm going for a doctor.</dialogue> <scene_description>Cinque helps urar. Urar frantically wipes away tears.</scene_description> <character>URAR</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Don't let her see I cried.</dialogue> <scene_description>Cinque holds Urar tight, face half buried in his shoulder.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>I want that key -- tonight!</dialogue> <scene_description>As Cinque and Urar walk to the yard, ALL THE AFRICANS watch him in silence and admiration. Undaunted, the Missionaries pass out bits of candy to some Africans as they leave. JAIL YARD As Cinque sits with Urar, starts washing his lash burns with a rag in a bowl of water. Sulah wedges between them, takes the water from Cinque and tends to Urar herself. Cinque rises but Sulah stops him.</scene_description> <character>SULAH</character> <dialogue>(Mende w/subtitles} I want to marry Urar. URAR (Mende w/subtitles} Burna will never give me permission.</dialogue> <character>SULAH</character> <dialogue>(Mende w/subtitles} I don't care! CINQUE (Mende w/subtitles) Be calm, I'll talk to him. He gives Tu-Ar a look to remind him of their</dialogue> <scene_description>conversation and leaves . ACROSS THE YARD Cinque joins a knot of Africans around Burna. Smiling like a little kid, Burna holds up a BIBLE. He leaves the others and joins Cinque.</scene_description> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Look, they gave me one of the black boxes!</dialogue> <scene_description>Burna opens it and fans the pages.</scene_description> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>But every time you try to open it, there's always another cover!</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Urar and Sulah want to marry. I don't see the harm --</dialogue> <scene_description>Burna immediately becomes patriarchal.</scene_description> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>She must marry one of her own. These things are sacred.</dialogue> <scene_description>Cinque nods, turns to leave, but then indicates the Bible in his hands.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>A box that never opens? Be careful, the whites are very tricky.</dialogue> </scene> <scene> <stage_direction>INT. CINQUE'S CELL - LATE NIGHT</stage_direction> <scene_description>Urar rushes to Cinque's door and starts unlocking it -- Sulah rushes up behind, tries to stop him. But the door wings back and Cinque grabs Sulah covering her mouth. He glares at her, the wild eyes of a warrior. When he removes his hand she's silent.</scene_description> <character>CINQUE</character> <parenthetical>(Spanish w/subtitles)</parenthetical> <dialogue>Urar open the doors of any who want to come.</dialogue> <character>SULAH</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>How far can you get?</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>We run until we escape or they kill us.</dialogue> <scene_description>She pulls loose from Cinque and grabs Urar.</scene_description> <character>SULAH</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>You are my husband!</dialogue> <scene_description>Cinque hasn't got time for this nicety. URAR &amp; SULAH Urar holds Sulah back against the barred door.</scene_description> <character>SULAH .</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>What are you doing?</dialogue> <character>URAR</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>I'm locking you in!</dialogue> <character>SULAH</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>No! I can fight! I am Mende like you -- I'll die with my</dialogue> <scene_description>· husband! CINQUE pulls out a shiv made from a scrap of metal and moves toward the gate. He's joined by about eight Africans move cautiously toward the gate. Each carries some kind of makeshift prison weapon. Urar and Sulah catch up. As they near the door they stop as it sounds like a CROWD forming outside.</scene_description> <character>URAR</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>What is that sound?</dialogue> <scene_description>Cinque shakes his head. Without warning the door opens -- hard to tell what's on the other side, but Cinque decides it's now or never. He lets out a HOWL and the Africans charge after him toward the open door. SIX US MARINES enter and immediately form a defensive line, bayonets fixed-. The Africans stop, confused. But Cinque waves them on.</scene_description> <character>MARINE COMMANDER</character> <dialogue>Hold your fire! Order bayonets! Riot control!</dialogue> <scene_description>In a liquid smooth motion the Marines REMOVE their bayonets, rise, hold their muskets level with their bodies and at arm's length as they advance on the Africans. Pendelton worries around their flanks like a furious terrier.</scene_description> <character>PENDELTON</character> <dialogue>Shoot them! They're escaping!</dialogue> <character>MARINE COMMANDER</character> <dialogue>I'm under orders to preserve the prisoners. At all costs. Move them back!</dialogue> <scene_description>Using their musket butts and plenty of muscle, the Marines inexorably drive Cinque and the Africans back into the yard. Cinque charge at them.</scene_description> <character>CINQUE</character> <dialogue>Shoot me! Kill! Kill me!</dialogue> <scene_description>But it's futile, the Marines are just too good for the Africans and the prison doors slam and lock behind them. From outside, come the sounds of a SHOUTING mob.</scene_description> </scene> <scene> <stage_direction>EXT. JAIL - NIGHT</stage_direction> <scene_description>A mob has formed, men carrying torches, milling outside. Tappan's coach pulls up; Jocelyn, Tappan, Lydia, Covey and Baldwin dismount.</scene_description> <character>VOICE</character> <dialogue>It's Tappan! The slave- lover!</dialogue> <scene_description>Jeers and howls of hatred rain down on them. The five HOLD HANDS. Secure in this union, they walk straight through the angry crowd. They're nearly to the door when a MAN leaps out of the mob, SLUGS Jocelyn in the side of the face and seems to instantly vanish back into the mob. As a ROARING CHEER goes up, Tappan grabs Jocelyn, moves to the end of the group sheltering Jocelyn between himself and Baldwin. JAIL COURTYARD Baldwin sizes up the situation and grabs Pendelton by the sleeve.</scene_description> <character>BALDWIN</character> <dialogue>I came to see my client. Now!</dialogue> </scene> <scene> <stage_direction>EXT. GUARD WALK - NIGHT</stage_direction> <scene_description>Jocelyn climbs onto a guards' walk on the roof of the New Haven jail. Though not pleasant, the guard doesn't interfere with him. IN THE STREET a panorama of madness unfolds -- the torch- carrying mob; grid-lock of wagons, carriages and riders; onlookers. FAR OFF in the harbor, a GUNSHIP rides at anchor, dwarfing the fishing and commercial ships. JAIL YARD Jocelyn climbs down to join Baldwin, Cinque, Lydia and Covey around a small fire.</scene_description> <character>JOCELYN</character> <dialogue>A gunship. That's their game. The Marines are here so that when the government wins in court tpey can put you right on that ship and take you·to Cuba ... before we can appeal.</dialogue> <scene_description>Covey takes off his kerchief and hands it to Jocelyn. As he stanches his bloody wound, Cinque studies him with new eyes. Tonight they start truly talking with Cinque -- Covey a crutch -- but Cinque talks.</scene_description> <character>BALDWIN</character> <dialogue>Cinque, who are you? A hunter? Warrior?</dialogue> <scene_description>Burna shouts from his cell.</scene_description> <character>BURNA</character> <parenthetical>(Covey translates)</parenthetical> <dialogue>Cinque? Back home, he 1 s a big land owner!</dialogue> <scene_description>Another Mende sticks his face out.</scene_description> <character>MENDE</character> <parenthetical>(Covey translates)</parenthetical> <dialogue>Yeah, I still owe him money!</dialogue> <scene_description>Baldwin pulls out a pad, pen, warms his hands at the fire.</scene_description> <character>BALDWIN</character> <dialogue>Cinque, tonight I am going to start writing down your statement. Your story.</dialogue> <character>CINQUE</character> <dialogue>How I ... got here.</dialogue> <character>BALDWIN</character> <dialogue>Yes, how you got here.</dialogue> <character>JOCELYN</character> <dialogue>Will you help us? We believe we can still get you free.</dialogue> <character>CINQUE</character> <dialogue>But, you already proved we are free.</dialogue> <character>BALDWIN</character> <dialogue>Yes, if you look at the law straight on, we have proved you are free. But I have always believed that truth and\_ the law is all about stories and in court who ever tells the best story wins. I want to hear your story.</dialogue> <scene_description>Cinque still seems skeptical.</scene_description> <character>JOCELYN</character> <dialogue>You know, the others look up to you, Cinque and they know you are a man of means ... they need a leader.</dialogue> <character>CINQUE</character> <dialogue>Again? Where am I going to lead them -- to the shit-pit? I don't want to·--think for somebody else.</dialogue> <character>CINQUE</character> <dialogue>I always tell my son, think don't follow.</dialogue> <character>LYDIA</character> <dialogue>Cinque, what's Africa like?</dialogue> <scene_description>This question takes Cinque completely by surprise. He cracks a scornful laughs, but then sees how serious they really are.</scene_description> <character>CINQUE</character> <dialogue>Africa is a hard life. For you it would be impossible. You would need some leader there!</dialogue> <character>LYDIA</character> <dialogue>If ... when you go back ...</dialogue> <character>CINQUE</character> <dialogue>Impossible! My wife is so beautiful and soft, but she is stronger than the strongest man I have seen her·e . And she is the only person on earth I· trust.</dialogue> <character>BALDWIN</character> <dialogue>You don't trust me at all?</dialogue> <scene_description>Cinque offers a srni'le, pulls Covey - - his portable translating device -- closer.</scene_description> <character>CINQUE</character> <dialogue>I trust you a little,</dialogue> <scene_description>.Baldwin. When I was a young man we had a mad lion come ' into our village. · Everyone was afraid of it, because even if he just scratches you, because he's sick, he can kill you. But I was ambitious and I went after him with a couple of javelins -- and I killed him. I gained prestige, people .trusted me and I turned that trust into good land, power; I married the woman I really desired ... (pause) So, I think President Van Buren is your lion. Baldwin can only smile. He takes out his pen.</scene_description> <character>BALDWIN</character> <dialogue>You tell that very well. Now I want you to tell me another story, tell me how you got here ... in your own words.</dialogue> </scene> <scene> <stage_direction>EXT. MENDE VILLAGE, SIERRA LEONE - DAY</stage_direction> <scene_description>An extraordinarily handsome, lithe MENDE WOMAN, about twenty-five years old. Beside her, is a MENDE BOY: her four year old son. There's a radiance about them, as if an idealized-truth. They are Cinque's wife and son. Cinque embraces her like he would never l.et her go. Then his son, the same way. The buildings of. the village are simple, thatched, but some very large and reminiscent of Iroquois long houses. The places BUSTLES, people and cattle and sacks of grain -- a healthy little town. Her name is CAHI, his is SADKI.</scene_description> <character>SADKI</character> <dialogue>Why can't I come with you?</dialogue> <character>CINQUE</character> <dialogue>You won't like it ...</dialogue> <character>SADKI</character> <dialogue>I know better about buying cows than you!</dialogue> <scene_description>Cahi laughs, takes her son up into her arms.</scene_description> <character>CINQUE</character> <dialogue>All right, I'm not as smart as you -- but I'll do my best. And I'll just be gone a few days.</dialogue> <scene_description>Cinque hugs and kisses them both. Then, he heads off down the road, stops a moment to turn back; his wife and son wave goodbye ...</scene_description> </scene> <scene> <stage_direction>EXT. FOREST TRAIL - AFTERNOON</stage_direction> <scene_description>Cinque walks alone with a pack over his left shoulder. The day's bright, a wind kicking up dust on the road.</scene_description> </scene> <scene> <stage_direction>EXT. TRAIL - EVENING</stage_direction> <scene_description>Cinque sits before a fire, leaning back against an old baobab tree watching the sparks ascend to heaven. Cinque instinctively sits up and looks around. At first the forest seems empty and black - then TORCHES emerge. He leaps up, sees he's surrounded and before he can react ARMED MEN jump him, slam him to the ground and pin his head in the dirt with a forked rod.</scene_description> </scene> <scene> <stage_direction>EXT. TRAIL - MORNING</stage_direction> <scene_description>Marched and pulled along a dusty coast road by a rope around his throat, Cinque finds himself part of a parade of newly captured AFRICANS. With armed BLACKS and WHITES leading them toward what appears to be a low, adobe fort. ATOP A GUARD TOWER From atop the wall four GUARDS with muskets watch the parade entering. One peels a fruit, scornfully throws the rind down on the prisoners. Behind them is a panorama of a bay with FOUR SHIPS at anchor. INSIDE THE GATES The Africans are led to a huge open space where other Africans -- men, women and children -- are lined up in chains and stripped of their clothes, then forced to sit on the filthy ground in the blazing sun. Cinque looks around with terrified, childlike eyes and he sees: -- CHILDREN huddled in their mothers' arms, all but melting in the heat. -- A CRUCIFIX dangles from the throat of an armed man ... -- A STAR OF DAVID from another .. . -- A MOSLEM CRESCENT on a dagger ... They must look like occult symbols to Cinque. -- AN AFRICAN showing ritual· tattooing, kicks prisoners into line. CINQUE ... on the ground, arms bound, sees all, appalled and fascinated. DUSK As torches are lit on the perimeter of the walls, pails of gruel are brought around and prisoners force-fed. A HUGE MUSCULAR man refuses to open his mouth -- guards shout and three sit on his chest as a forth takes a hammer.and brass dowel and smashes the prisoner's front teeth in -- they drive a funnel into his mouth, pour in the gruel. When they get to Cinque he reluctantly lets them feed him. MORNING chained with other Africans, Cinque is driven by whip wielding GUARDS down a bare hill. PULLING BACK to see rivers of Africans being driven down the slope toward the harbor with the horrible precision of a cattle drive. Each river streams off toward one of four ships drawn to the shore in deep water. In this apocalypse, the dirt thrown off by the hundreds. of naked feet makes a DUST STORM. BELOW DECKS/TECORA As Cinque enters the Tecora's belly he confronts a horrific sight. Left and right HUNDREDS OF AFRICANS ARE LAYERED PRONE like the inhabitants of a giant beehive, packed so tight they can barely move. The screams/shouts/weeping become the echoing chorus of a supernatural AGONY. Just as they get to Cinque•s 1 slot 1 , prisoners from the opposite direction arrive first. Cinque is spun back around the way he came. TOPSIDE The deck of the huge ship packed solid with Africans baking in the sun. Cinque is chained next to a MOTHER who clutches her two young children -- a BOY and GIRL, no more than four years old. THE SEA - DUSK· Three ships follow Tecora, sails filled, decks crammed with human beings. Cinque looks at the young mother. He reaches up to touch a child but his chains only allow him to reach half way. The mother and Cinque lock eyes. Impossible to describe her terror. DAWN Spanish is being spoken. Black and white CREW move among the Africans, kicking prisoners awake. One of the Black Crew shouts -- holds up his hand and is joined by two Spaniards. They unlock the manacles of a YOUNG AFRICAN MAN who has died during the night and simply heave him overboard. HIS BODY flops into the sea and slowly sinks. A HATCH FLIES BACK More Spaniards and.Blacks carry more corpses topside. They drop them on the deck, pull out a section of the rail and roll them off ... IN THE WAKE all Cinque can see is just a SINGLE HUMAN HAND as it drifts beneath the waves. ANOTHER DAWN and more bodies cast into the wake. But now dorsal fins of SHARKS slice the water as the corpses are thrashed and torn before they can sink. STORM AT NIGH'I' Nearly naked in the pelting rain, Cinque balls himself up on·the deck for warmth as huge swells rise and sweep over the gunnel. The young mother hunches over her children, trying to keep them warm in the bitter spray. Then he sees she's ripped the flesh on her wrist to free herself. Now, with her own hand free the children are just held by the chain around her waist. She looks at Cinque as if to say: 11 Understand! 11 Suddenly she rises, clutching the children she closes her eyes and drops backward overboard. Cinque lurches out to try to grab them ... MOTHER AND CHILDREN hit the water near the hull and are GONE. CINQUE flips through the open rail and dangles over the raging seas by his one manacled hand. With superhuman will he grasps a rail with his free hand and hauls himself aboard. He lies in the howling rain, panting, as if at that one moment he had made the decision to live at all costs. ANOTHER DAY Cinque sprawls in the blistering heat watching a fleet of sharks dog th~ ship. Far off to starboard, the other ships are making better wind and are now nearly out of sight. Then he notices two Spaniards walking among the slaves doing a head count. They pass Cinque, then stop, make notes. One looks back over the expanse of prisoners, shakes his head in concern. More Spaniards join them from below, and they compare notes. For a few seconds there's a heated exchange. Then an OFFICER arrives. Black and White crew go among the Africans passing out food -- a ladle of rice goes into each outstretched hand -- then two more follow carrying pails, each man gets a drink from another ladle. Cinque hauls himself up into a crouch to eat, watching as crew go below. Then the double hatch fully opens and men armed with cutlasses emerge hauling on a chain -- in a BLACK CLOUD OF FLIES, AFRICANS are yanked out into the stark sunlight, staggered by the glare. As this procession increases, and the Africans are lined up on the starboard stern, six Spanish Sailors come on deck with muskets and fixed bayonets. What looks like about fifty men, women and children are herded out onto the deck. Then the Spaniards sort through them again: healthy specimens are traded for some chained above deck until an agreed on number stand. A Spaniard puts his hand on Cinque, starts to force him up when another waves him off and he shoves Cinque down again. A WOODEN.CHEST gets dragged on deck and the crew inexplicably fills it with four large cannon balls, wraps it crisscross with a chain. At the same time the rails are pulled out from the gunnel. The crew moves •in with bayonets as two blacks slip the end of the chain holding the African through the crisscrossed chain on the chest. Suddenly the Africans realize what's about to happen and they panic -- those that fight back are simply bayoneted on the spot. Cinque tries to stand but is yanked down by his own chain. The .sailors heave the chest off the side and for a horrible second there's an explosion of screams, flailing clutching hands -- bodies snatched overboard by the huge chain that rattles like a machine gun ... then, silence. Cinque looks back ... WAKE OF THE SHIP froth on the water and the ship sails on as if nothing had happened. THE SAILORS put the rails back in place, pluck the bayonets off the ends of their muskets, joking, they head below as if they were just finishing up an average day's work. CINQUE cannot grasp what he just witnessed. Overwhelmed, he collapses to the deck, hunches over and weeps.</scene_description> </scene> <scene> <stage_direction>EXT. DECK - DAY</stage_direction> <scene_description>A gang plank SLAMS down onto a beach and armed crew run the Africans ashore, dragging them on by their chains. Cinque•s hair is longer; weeks have gone by. Without breaking stride they drive the Africans along a jungle trail with whips and bayonets.</scene_description> </scene> <scene> <stage_direction>EXT. TRAIL - NIGHT</stage_direction> <scene_description>Cinque chained with other Africans, still being driven at .a good clip. More GUARDS arrive with muskets. As they trot along the trail, Cinque looks back over his shoulder. A LIGHT grows out of the black, seems to be chasing him; like a scared rabbit Cinque moves faster and faster, looking back again and again as the light grows ·and the whole world feels like it's going ·to rip loose at the hinges. A TRAIN HOWLS PAST -- Cinque blocks his ears and falls, gets dragged by his chain, tumbling over rocks. Then back on his feet again -- running, running, running ...</scene_description> </scene> <scene> <stage_direction>EXT. VAST WALLED YARD - DAY</stage_direction> <scene_description>Cinque is hit by a fist-sized blob of grease. Africans are lined up naked as BLACK WOMEN SLAVES smear their haggard bodies with globs of lard. Cinque looks down the line as prospective buyers examine the Africans -- a very pretty YOUNG GIRL gets pulled out of line by two Spaniards who fondle her and jokingly shove her back into place. The girl is SULAH, the men RUIZ and MONTES. When they arrive at Cinque, Ruiz motions for him to turn around. Cinque doesn't. Two burly WHITE GUARDS grab Cinque and spin him around. Ruiz pokes a stick around Cinque's buttock and his genitals, discuss him in Spanish. Cinque forces himself to stay calm, his earlier terror finally completely displaced by rage. A GANG PLANK slams down on a broad wharf and Cinque and others are driven up it onto a smaller ship. Cinque gets a shove as he stumbles, exhausted onto the deck. Burna and Tu-Ar sit nearby. A life boat beside them says Amistad ...</scene_description> <character>BURNA</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Mende?</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Yes. Do you know where we are going?</dialogue> <scene_description>A BLACK CABIN BOY helps the COOK up the plank with sides of meat. He pauses to laugh at Cinque.</scene_description> <character>COOK</character> <parenthetical>(Spanish w/subtitles)</parenthetical> <dialogue>What's he want?</dialogue> <character>CABIN BOY</character> <parenthetical>(Spanish w/subtitles)</parenthetical> <dialogue>To know where we're going.</dialogue> <scene_description>(Mende w/subtitles) · This is the cook. You see?</scene_description> <character>CABIN BOY {</character> <dialogue>We have a long journey ahead and you and your friends are being brought along as food! You understand? The cook is going to chop you up one by one and make stew out of you!</dialogue> <scene_description>Cabin Boy moves off with the Cook, laughing.and telling him his joke in Spanish. Soon the Cook breaks into peals of laughter. More crew come aboard, and this time they're all Spanish. LONG BOATS manned by SLAVE ROWERS, tow the Amistad out of the harbor. ON DECK The Amistad Africans as we first met them stand on deck, chained in a cue. Cinque watches the passing of Havana Harbor. ON THE SHORE HE SEES ... More Africans being driven up gang planks. CHILDREN, separated from their parents, crying out in anguish as they're pushed along by ARMED MEN ... never to see their children again. HANGED MEN swing from a massive gallows lining the dirt road leading from the port. Smoke billows around them from pyres. AND CINQUE transfixed by this Bosch landscape as they drift past. Then the· last fleeting glimpse of the sun and sky he's forced below deck and the hatch SHUTS. THE HOLD darkness, then ... just the last ray of light filters down and illuminates a NAIL half driven into a timber beside Cinque.</scene_description> </scene> <scene> <stage_direction>INT. NEW HAVEN COURT - DAY</stage_direction> <scene_description>Dead silence in the court room. People-just stunned to silence by his testimony. Cinque on the stand, Covey stands beside him to help when he needs it. Covey and Cinque do well with his English, but Cinque still needs clues from his tutor. The usual players and government heavy-hitters cluster together in the seats. The NEW JUDGE is Bertrand Coglin, Van Buren's fix. He takes a second, before:</scene_description> <character>JUDGE GOGLIN</character> <dialogue>Counsel?</dialogue> <scene_description>US Attorney Saunders rises, faces Cinque.</scene_description> <character>SAUNDERS</character> <dialogue>Quite a tale. Intrigue, abduction, courage in the face of unspeakable suffering ... High drama! You didn't make it up, by any chance?</dialogue> <character>CINQUE</character> <dialogue>No.</dialogue> <character>SAUNDERS</character> <dialogue>Every word the absolute truth?</dialogue> <character>CINQUE</character> <dialogue>Yes.</dialogue> <character>SAUNDERS</character> <dialogue>All in support of the great cause against slavery? A little convenient, wouldn 1 t you say? Of course, you're lying.</dialogue> <character>BALDWIN</character> <dialogue>Objection ...</dialogue> <character>JUDGE COGLIN</character> <dialogue>Sustained.</dialogue> <character>SAUNDERS</character> <dialogue>But you were coached as to your testimony.</dialogue> <character>SAUNDERS</character> <dialogue>Coached by two of the most outspoken abolitionists in the United States: Arthur Tappan and Simon Jocelyn. Am I right?</dialogue> <character>CINQUE</character> <dialogue>No one told me what to say.</dialogue> <character>SAUNDERS</character> <dialogue>Mister .. 'Cinque' ... this whole description of the horrors on ship board are too fantastic to be real -- and that 'slave factory!', wonderful; but tell me, why would people treat their property in the manner you describe? If you owned a house, would you break down its walls? If you owned a horse would you beat it so it could no longer work?</dialogue> <character>CINQUE</character> <dialogue>It is my experience that people treat houses and animals better than people.</dialogue> <character>SAUNDERS</character> <dialogue>But legally you're ·not a person, are you? You're an investment, just like a strong horse. ·</dialogue> <scene_description>Furious, Cinque leaps up.</scene_description> <character>CINQUE</character> <dialogue>I am not an animal! I am a man! Give me free!</dialogue> <scene_description>Saunders recovers his composure.</scene_description> <character>SAUNDERS</character> <dialogue>Nothing more.</dialogue> <scene_description>SLOCUM ON THE STAND</scene_description> <character>BALDWIN</character> <dialogue>Captain Slocum, would you please describe your duties in her majesty's navy?</dialogue> <character>SLOCUM</character> <dialogue>To patrol the Atlantic for slave ships.</dialogue> <character>BALDWIN</character> <dialogue>Slavery is banned by international law. Yet the abduction of free men and their illegal transporting to the New World -- as described by Cinque -- is not unheard of?</dialogue> <character>SLOCUM</character> <dialogue>Unfortunately, it's not even unusual.</dialogue> <character>BALDWIN</character> <dialogue>Is there anything in your experience that makes you believe Cinque's account?</dialogue> <character>SLOCUM</character> <dialogue>Yes. The description of the 'slave factory' in Africa. There is such a place.</dialogue> <character>BALDWIN</character> <dialogue>You've seen it?</dialogue> <character>SLOCUM</character> <dialogue>I've never been able to locate it, but there is overwhelming evidence that it is real ...</dialogue> <character>BALDWIN</character> <dialogue>Is there anything else that particularly rings true about Cinque's description?</dialogue> <character>SLOCUM</character> <dialogue>Yes. The treatment of slaves. Often when a slaver is intercepted they will simply throw all the prisoners overboard to get rid of the evidence.</dialogue> <character>BALDWIN</character> <dialogue>Drown hundreds of human beings?</dialogue> <character>SLOCUM</character> <dialogue>Yes.</dialogue> <character>BALDWIN</character> <dialogue>Cinque describes the cold blooded murder of a portion of the people on his ship. The Tecora? Is that right?</dialogue> <character>SLOCUM</character> <dialogue>The Tecora is a known slave ship and may well have been used to carry the prisoners from their home in Africa to Cuba where they changed to the smaller Amistad. I had a chance to examine the Tecora manifest and there is a curious entry. Apparently shortly after they· left Africa the crew realized they'd made a miscalculation on food. This was made worse when they had a long period of poor wind.</dialogue> <character>BALDWIN</character> <dialogue>What's this got to do with Cinque's account?</dialogue> <character>SLOCUM</character> <dialogue>Well, I guess they corrected the problem by killing about fifty people. Apparently they just heaved them overboard. Because the next day 1 s calculation suddenly balances.</dialogue> <character>BALDWIN .</character> <dialogue>So, to correct a clerical error, they murdered fifty people?</dialogue> <character>SLOCUM</character> <dialogue>That's my guess. May 10. You can look at that date and see.</dialogue> <character>BALDWIN</character> <dialogue>Thank you, Captain Slocum.</dialogue> <scene_description>Baldwin sits and Saunders takes over.</scene_description> <character>SAUNDERS</character> <dialogue>slave Factory?'</dialogue> <character>SLOCUM· ..</character> <dialogue>That s right.</dialogue> <character>SAUNDERS</character> <dialogue>But you've never seen it?</dialogue> <character>SLOCUM</character> <dialogue>It's existence has been reported before.</dialogue> <character>SAUNDERS</character> <dialogue>I'm sure it has -- by zealous anti-slavery types. Tell me, Captain, how zealous an anti- slaver are you?</dialogue> <character>SLOCUM</character> <dialogue>Very zealous.</dialogue> <character>SAUNDERS</character> <dialogue>Is there anything you would not do to stop the practice?</dialogue> <character>SLOCUM</character> <dialogue>Nothing ...</dialogue> <character>SAUNDERS</character> <dialogue>Including lie?</dialogue> <character>BALDWIN</character> <dialogue>Objection!</dialogue> <character>SAUNDERS</character> <dialogue>To what? If it be the truth that this man would lie to end a practice he despises, then so be it!</dialogue> <character>JUDGE COGLIN</character> <dialogue>Please answer, Captain.</dialogue> <character>SAUNDERS</character> <dialogue>Would you do anything to end slavery -- including lie?</dialogue> <character>SLOCUM</character> <dialogue>yes.</dialogue> <character>SAUNDERS</character> <dialogue>And this log entry you cite, does it say "Today we threw fifty people overboard ... ?"</dialogue> <character>SLOCUM</character> <dialogue>No ... it's in the mathematics -- you just have to read it: May 10 ...</dialogue> <character>SAUNDERS</character> <dialogue>And this log, does it refer to the occupants as 'slaves', or 'kidnapped Africans'?</dialogue> <character>SLOCUM</character> <dialogue>No.</dialogue> <character>SAUNDERS</character> <dialogue>Have you any proof the Tecora and the Amistad are related?</dialogue> <character>SLOCUM</character> <dialogue>No sir!</dialogue> <character>SAUNDERS</character> <dialogue>That will be all, Captain Slocum. Thank you for your candor.</dialogue> <character>SLOCUM</character> <dialogue>May 10! All you have to do is read the entry ...</dialogue> <character>JUDGE COGLIN</character> <dialogue>Thank you, captain.</dialogue> <scene_description>Slocum looks at the judge, then makes eye- contact with Cinque. Perhaps Slocum wonders if he's done more harm than good·. No one feeling hopeful.</scene_description> </scene> <scene> <stage_direction>INT. DILLARD MANSIONS KITCHEN - NIGHT</stage_direction> <scene_description>Sarah supervising a massive dinner and an impressive number of mostly Black STAFF.</scene_description> </scene> <scene> <stage_direction>EXT. DILLARD MANSION</stage_direction> <scene_description>The portico of a gorgeous Greek Revival home overlooking Long Island Sound -- an 'A' Party in progress. A string quartet plays as New Haven's foremost citizens sip champagne and patter. The US Attorneys are here, sipping with Calderon and other Spanish dignitaries. From here they can see New Haven Harbor and the American Gunboat. A COACH PULLS UP flanked by eight US CAVALRY officers. President Van Buren steps down from the coach and is gently 'rushed' by the ladies of Proper Connecticut Society. Forsyth steps down after him and immediately introduces Van Buren to Senor Calderon.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>As Sarah over-sees the sumptuous meal, whole racks of KHILA'S DESSERT CAKES come steaming from one of the ovens.</scene_description> </scene> <scene> <stage_direction>INT. NEW HAVEN JAIL - NIGHT</stage_direction> <scene_description>Cinque, Jocelyn, Baldwin, Slocum, Covey and the other Africans around a bonfire in the middle of. the jail yard. Eerily silent, they-munch on fruit, bread and roast chicken ...</scene_description> <character>BALDWIN</character> <dialogue>I've prepared the papers for appeal. All we can do now is wait for the expected verdict.</dialogue> <character>CINQUE</character> <dialogue>They're going to put us on that ship, and that will be the end of Cinque, Burna, Sulah, Urar ... all of us. Look at us; we're people, Baldwin.</dialogue> <character>BALDWIN</character> <dialogue>I know you are.</dialogue> <character>CINQUE</character> <dialogue>Tu-Ar who we buried over there? Never told us where he was from. Just a man. Where are his loved ones?</dialogue> <scene_description>Sulah leans against Urar and he surrounds her with his arms.</scene_description> </scene> <scene> <stage_direction>INT. JUDGE COGLIN'S STUDY - NIGHT</stage_direction> <scene_description>A monastic silence rules here. Coglin opens a weathered ledger, runs his finger down the page ... THE TECORA LOG his finger stops on an entry date MAY 10, 1839. AND COGLIN clearly uneasy about what he's reading.</scene_description> </scene> <scene> <stage_direction>INT. GREEK REVIVAL HOUSE - LATE NIGHT</stage_direction> <scene_description>A long table set with the best crystal, China and silver as New Haven's best party-goers get ready for their dessert. We see Khila's cakes being set at all the places. Calderon and Forsyth sit near the head of the table ..</scene_description> <character>CALDERON</character> <dialogue>What's most confusing to Her Majesty, is this arrogant independence of the American courts . .After all, if you cannot rule the courts you cannot rule.</dialogue> <character>VAN BUREN</character> <dialogue>Well, Senor Calderon, as any true American will tell you, the independence of our courts keeps us all equal.</dialogue> <character>CALDERON</character> <dialogue>Is that a good thing?</dialogue> <scene_description>Appreciative laughter.</scene_description> <character>VAN BUREN</character> <dialogue>Nevertheless, it is a fact that when my predecessor and I count, ·good friend, President Jackson needed to enforce the Indian Removal Act, he went head-on with the Supreme Court. And though they ruled in favor of the Cherokee, President Jackson marched an army into Georgia and got the job done anyway.</dialogue> <scene_description>Then a nice crisp SOUTHERN ACCENT rings out. It's Henry Laurens Pinckney, the Representative who chastised Adams in the House.</scene_description> <character>PINCKNEY</character> <dialogue>Well, sir, there was no 'popular outcry' over this. In fact I would hazard that one act brought the South more securely into the union than anything before ... or since.</dialogue> <character>FORSYTH</character> <dialogue>I hope the South notices, Representative Pinckney, that</dialogue> <scene_description>-President Van Buren has come to New Haven with an appetite ... and a gunboat. More appreciative high-end chortles.</scene_description> <character>PINCKNEY</character> <dialogue>Not lost, sir, I guarantee.</dialogue> <character>CALDERON</character> <dialogue>And in the mean time, what of this Judge Coglin?</dialogue> <character>VAN BUREN</character> <dialogue>Well sir, he's our man ...</dialogue> <scene_description>A toast and big smiles. Seeing that everyone's served the hostess, MRS. DILLARD, dips her fork into a desert cake -- and everyone more or less simultaneously does the same. Everyone is SUDDENLY QUIET and mid-bite there's this polite, unhurried but concurrent and definite clinking and tinkling of WATER GLASSES and WATER PITCHERS. EVERYONE DRINKS ... KITCHEN Sarah eating and loving her spicy dessert.</scene_description> <character>SARAH</character> <dialogue>Mm! There's that breath!</dialogue> </scene> <scene> <stage_direction>INT. JUDGE COGLIN'S HOME - LATE NIGHT</stage_direction> <scene_description>Coglin on his knees at the side of his bed praying and praying hard. In the secrecy of his bedroom there is a silver cross and a small icon of the Madonna. Clearly he's still a closet Catholic. Coglin stops praying and his eyes open as if for one moment they were not looking at God, but at himself ...</scene_description> </scene> <scene> <stage_direction>INT. NEW HAVEN COURT - MORNING</stage_direction> <scene_description>All the players, all in their places. Cinque sits near the front. MARINES guard the door, flank the bench, bayonets fixed. Hayes turns to a NEW REPORTER who holds a pad and pen, offers his hand.</scene_description> <character>HAYES</character> <dialogue>Donald Hayes, New Haven Gazette.</dialogue> <scene_description>Stranger looks 'down' on Hayes, does not offer his hand.</scene_description> <character>STRANGER</character> <dialogue>George Simms, Tennessean.</dialogue> <scene_description>He looks away. Coglin stands.</scene_description> <character>JUDGE COGLIN</character> <dialogue>After careful review and</dialogue> <scene_description>thorough reflection of all evidence, I find it impossible to deny the power of the government's position. There is no doubt in my mind that Secretary Forsyth and District Attorney Saunders have proceeded with the .utmost faith in the soundness of their case. Likewise, Her Majesty, Queen Isabella of Spain and her minister, Senor Calderon have proceeded with care veracity and fairness. Baldwin closes his eyes ... he can feel the hammer coming down.</scene_description> <character>JUDGE COGLIN</character> <dialogue>Nevertheless, I also believe that Senors Ruiz and Montes have misrepresented the origin of the prisoners. Since I must judge on truth and not intention, it is the finding of this court that the Africans were illegally abducted from their homes and as such are free souls, not property~</dialogue> <character>JUDGE COGLIN</character> <dialogue>Therefore the Unites States treaty with Spain has no· bearing. Likewise the claims of .Gadney and Meade are rendered moot.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I order the Africans fre·e and the United States Government must, at it's earliest convenience, supply them with transportation back to their homes in Africa.</dialogue> <scene_description>BANG -- he hits the gavel and Baldwin's eyes pop open. Tappan and Jocelyn are staggered with joy.</scene_description> <character>CINQUE</character> <dialogue>Free!? Africa! We are free!</dialogue> <scene_description>Cinque grabs Baldwin and gives him a HUGE KISS right on the lips as the court room erupts in cheering.</scene_description> </scene> <scene> <stage_direction>EXT. NEW HAVEN JAIL YARD - NIGHT</stage_direction> <scene_description>Africans celebrate, singing and playing makeshift instruments around an enormous bonfire. Cinque is swaying, clapping his hands, looking loose for the first time.</scene_description> <character>SULAH</character> <dialogue>Corne on Cinque! You sing so well, let's see if you can dance!</dialogue> <scene_description>Cinque gives Sulah the hard stare, but then smiles and gets to his feet and dances suddenly really loose and really good and really fun. Cinque undulates his shoulders.</scene_description> <character>CINQUE</character> <dialogue>Baldwin! What am I?</dialogue> <character>BALDWIN</character> <dialogue>A mad man.</dialogue> <character>CINQUE</character> <dialogue>I'm zebra! Eee-he-ha!</dialogue> <scene_description>Baldwin smiles: it's Mr. Cool himself doing the Ya-Hoo ... Now Cinque seems to undulate his whole body. The rest of the Africans pick up the beat, back him with polyphonic singing.</scene_description> <character>CINQUE</character> <dialogue>Hey, Baldwin? Can you tell what I am? What can I be?</dialogue> <character>BALDWIN</character> <dialogue>A ... I think you're a fish.</dialogue> <character>CINQUE</character> <dialogue>What!? Snake! Who would be a fish?</dialogue> <scene_description>Cinque sings again, the others joining in their voices go WAY up -- some of the Mende girls simply taking over the high notes -- then way down, so low they laugh trying to get there.</scene_description> </scene> <scene> <stage_direction>EXT. SERVANTS QUARTERS, LOCAL HOUSE</stage_direction> <scene_description>Aesop, Luke and a few other servants sit on the porch listening to the incomprehensible, alien but gorgeous singing drifting up from the prison.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, DILLARD ESTATE</stage_direction> <scene_description>Sarah and other BLACK SERVANTS stop their work -- polishing, cleaning, repairing -- move to the tall windows at the end of the room to listen.</scene_description> </scene> <scene> <stage_direction>EXT. PORCH</stage_direction> <scene_description>Luke stands as if he would go on down the hill and join them ... but holds back.</scene_description> <character>LUKE</character> <dialogue>Where's Harlin tonight?</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Sarah, tries·to sing with the distant voices; she gets two, then a few more joining in -- soft and melodious. Then below the prisoners break into howls and a primal CHANTING that shocks the servants to silence. They all move to the windows, fascinated.</scene_description> </scene> <scene> <stage_direction>EXT. JAIL COURTYARD</stage_direction> <scene_description>Now we know where Harlin is as he joins the Africans, clapping and stamping his feet with the wild, exotic rhythms.</scene_description> <character>CINQUE</character> <dialogue>Know what I am now, Baldwin? No -- Well guess!</dialogue> <scene_description>Baldwin feels the pressure, thinks.</scene_description> <character>BALDWIN</character> <dialogue>An eagle ...</dialogue> <character>CINQUE</character> <dialogue>You're so right! And I am going to fly right over these walls and I'm not coming.down. until I am back in Africa!</dialogue> <scene_description>Baldwin laughs, but sits apart, watching the festivities. He's got a bottle of rum in hand, sipping lightly. Clemens arrives, sorts through the crowd to find Baldwin ... and he looks like a worried man. CINQUE watches Baldwin and Clemens, getting a bad feeling. Before he can react, Bulah and Urar stand before him. Finally Urar speaks up.</scene_description> <character>URAR</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Cinque. We want to be married. Will you marry us? We want to do it tomorrow before the verdict.</dialogue> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>What do your people say?</dialogue> <character>SULAH</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>It only matters what you say. Because if you don't, the Christians will.</dialogue> <scene_description>That's about all Cinque really needs to hear. Cinque looks around, sees a lot of people watching him and the kids. But then Baldwin is at his side.</scene_description> <character>CINQUE</character> <dialogue>(Mende w/subtitles} Yes. After Tu-Ar died I became head of our Connecticut pore. Isn'tthat right, Baldwin? BALDWIN</dialogue> <scene_description>Cinque ... listen to me, Van Buren appealed the decision to the Supreme Court. That means, they get to try the case again.</scene_description> <character>CINQUE</character> <dialogue>You said we were free, Baldwin! You said we would . have a trial and if we won we would go free!</dialogue> <character>BALDWIN</character> <dialogue>Cinque ...</dialogue> <character>CINQUE</character> <dialogue>My wife! My son! That's why God put me here, Baldwin, to love them! Now I'm going to die in this filthy place and they will never know what became of me!</dialogue> <scene_description>Cinque's shouting has shut down the festivities, everyone gathering around. This is really the first time Cinque has 'lost it' since he attacked the crew of Amistad. He yells to the rest in Mende.</scene_description> <character>CINQUE</character> <dialogue>They're not done with us! We must go back to trial! And this time they are going to kill us!</dialogue> <character>BALDWIN</character> <dialogue>That's not true ...</dialogue> <character>CINQUE</character> <dialogue>Shut up! You're a liar just like any white man! You're friends were right -- we should have gone into the streets and let them shoot us down!</dialogue> <scene_description>In a rage Cinque kicks the fire sending embers and flaming sticks helter-skelter. He crosses back to his cell and shuts himself in.</scene_description> </scene> <scene> <stage_direction>INT. CINQUE'S CELL - LATE NIGHT</stage_direction> <scene_description>Cinque is so rattled he just paces in the tiny space like a lion gone mad in a zoo. Outside the sound of HEAVY RAIN ... In his pacing, he's probably walked about ten miles before he too just drops to his knees, wasted. Cinque looks overhead at the tiny window but it doesn't interest him any more. He faces the wall. Th~n he feels around desperately on the floor, picking through rocks until he comes up with a broken shard of limestone. Carefully he makes a mark on the wall, happy to see the limestone leaving a nice white line ... VARIOUS CELLS One after the other, African prisoners consumed by despair -- some sit back against their cell walls, others sleep. -- Sulah huddles with Khila and the other young girls, and Sulah cries quietly. -- Burna is on his knees, clutching the missionaries' BIBLE in his hands. CINQUE'S CELL Cinque collapsed forward on his cot, still working on his drawing. On the wall before him, almost an alter and somewhere in skill between a cave drawing and an ancient mosaic, Cinque has drawn a portrait of his son, SADKI, his wife, CAHI, and himself.</scene_description> </scene> <scene> <stage_direction>INT. BALDWIN'S OFFICE - LATE NIGHT</stage_direction> <scene_description>Baldwin alone in the cavernous basement office. He sits at his desk staring at a blank piece of paper. Finally he writes.</scene_description> <character>BALDWIN (V. 0. )</character> <dialogue>"To his excellency, President John Quincy Adams, Massachusetts member House of Representatives."</dialogue> </scene> <scene> <stage_direction>INT. BALDWIN'S OFFICE - MORNING</stage_direction> <scene_description>Maybe fighting off second thoughts, Baldwin hands a letter to a BRIGHTLY UNIFORMED COURIER, who he pays with a handful of coins.</scene_description> <character>BALDWIN (V. 0.)</character> <dialogue>I have understood from Messrs. Jocelyn and Tappan that you are aquatinted with the plight of the Amistad Africans."</dialogue> </scene> <scene> <stage_direction>INT. TRANSFER HOUSE - MORNING</stage_direction> <scene_description>The Courier enters a bustling room, hands Baldwin's letter to a clerk who checks the address, tosses it into a sack and signals to a bench packed with out-of-work MEN. An OLD MAN -- unshaven, unwashed -- leaps up, takes the sack and a slip of paper and leaves. Clerk winces and fans away the man's putrid wake.</scene_description> <character>BALDWIN (V. 0.)</character> <dialogue>And, perhaps it would not be presumptuous of me to imagine you have followed our progress in the newspapers."</dialogue> </scene> <scene> <stage_direction>EXT. ROAD TO MASSACHUSETTS - DAY</stage_direction> <scene_description>The man proceeding Sancho Panza-like along a dirt road on his mule.</scene_description> <character>BALDWIN (V. 0. )</character> <dialogue>I want to give you to understand that I write this day not from a low position of need or distress, but from one of great strength indeed. You will have noticed that in every way we have been successful."</dialogue> </scene> <scene> <stage_direction>EXT. ROAD TO MASSACHUSETTS - DUSK</stage_direction> <scene_description>Our Sancho still plodding wearily passes a sign welcoming him to Massachusetts.</scene_description> <character>BALDWIN (V. 0. )</character> <dialogue>However, despite this and despite the unlikelihood of President Van Buren's reelection, the President has appealed this case to the highest court in our rand. As you are well aware seven of these nine noble justices themselves are southern slave owners. This presents the unhappy reality of our previous victory held hollow and the Africans threatened with death. 11</dialogue> </scene> <scene> <stage_direction>INT. MASSACHUSETTS COURIER HOUSE - DAWN</stage_direction> <scene_description>Sancho hands his sack over the counter and it's immediately sorted by three waiting CHILDREN. The CLERK fans away Sancho's stench, signals and an IMPECCABLY UNIFORMED COURIER who steps up as Sancho passes to take his place at the end of another bench.</scene_description> <character>BALDWIN (V. 0. )</character> <dialogue>Sir, we need you. If ever a time there was for one man to cast aside his daily trappings and to array himself again for· battle, then that time has come!"</dialogue> </scene> <scene> <stage_direction>EXT. ADAMS' GARDEN, QUINCY MASS. - DAY</stage_direction> <scene_description>As the perfect perky courier is shown out by LOUISA ADAMS, John leans back against a maple tree reading. Adams looks beat, suddenly a tried old man.who looks like he can barely focus. On a nearby bench, a half-drunk bottle of wine.</scene_description> <character>BALDWIN (V. 0.)</character> <dialogue>The Africans find themselves without hope on every side. Imperial forces of Spain and the anti-democratic slave forces of our own nation are arrayed against them.</dialogue> <character>BALDWIN (V.O.)</character> <dialogue>Cicero once said, encouraging Caesar to the defense of the Republic: "that the whole result of this entire war depends on the life of one most brave and excellent man." That man is, is yourself. Sincerely, Roger Baldwin, attorney at law."</dialogue> <scene_description>Adams crumples up the letter and leans back as a breeze takes it away. CLOSE ON ADAMS Hard to tell if it even registered. FADE TO:</scene_description> </scene> <scene> <stage_direction>EXT. NEW HAVEN - DAY</stage_direction> <scene_description>View of the city under lead skies. Freezing rain and sleet drench the streets and trees which are losing their last fall colors .. A lone coach splashes through the puddles and ruts and stops outside the jail. A MAN climbs down carrying an umbrella.</scene_description> </scene> <scene> <stage_direction>INT. CINQUE'S CELL</stage_direction> <scene_description>Cinque sits on his cot morosely eating a bowl of soup with chunks of bread. He doesn't even look up when his cell door is unlocked.</scene_description> <character>VOICE</character> <dialogue>Are you mister Cinque? Mister Cinque? Good morning.</dialogue> <scene_description>Cinque looks toward the door. HE SEES an MAN bent with age standing ins.ide the cell admiring his drawings. Oddly, the Pendeltons stand behind, back in the rain, watching the man. It's Adams. He walks with a cane.</scene_description> <character>CINQUE</character> <dialogue>Are you death?</dialogue> <scene_description>Surprised, Adams frowns.</scene_description> <character>ADAMS</character> <dialogue>Hell, no. I've come to save you!</dialogue> <scene_description>Cinque laughs; this joke makes him feel better. Pendelton kicks the door.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Adams and Cinque sit at the tiny kitchen table while Khila brings them tea. Mrs. Pendelton, conscious she's got a celebrity in the house, brings them cake.</scene_description> <character>ADAMS</character> <dialogue>I wonder, Ma'am if I could be left alone with Mister Cinque? We need to discuss his case.</dialogue> <scene_description>Mrs. Pendelton nods obsequiously and leaves.</scene_description> <character>CINQUE</character> <dialogue>You have some power.</dialogue> <character>ADAMS</character> <dialogue>I am respected.</dialogue> <character>CINQUE</character> <dialogue>How can you have power, you are so old?</dialogue> <character>ADAMS</character> <dialogue>Well, only good fighters live to get old.</dialogue> <character>CINQUE</character> <dialogue>And you've come here to fight for me? Just like Baldwin?</dialogue> <character>ADAMS</character> <dialogue>I understand you are going to the Supreme Court. Do you know what that is?</dialogue> <character>CINQUE</character> <dialogue>The place where they finally kill you.</dialogue> <character>ADAMS</character> <dialogue>I'm sorry you think that. Because if you win, you never have to be on trial again.</dialogue> <character>CINQUE</character> <dialogue>We'll be free?</dialogue> <character>ADAMS</character> <dialogue>Yes.</dialogue> <scene_description>Jocelyn and Tappan enter, staggered to find Adams. Then Baldwin.</scene_description> <character>JOCELYN</character> <dialogue>Mr. Adams, sir.</dialogue> <character>TAPPAN</character> <dialogue>How wonderful to see you Mr. President.</dialogue> <character>BALDWIN</character> <dialogue>My God ...</dialogue> <character>ADAMS</character> <dialogue>Thank you for your letter, Mr. Baldwin.</dialogue> <scene_description>Adams straightens, summons .all his strength to cover how he thinks he must look to the world: tired and beaten. But Jocelyn and Baldwin excitedly pull up whatever they can find to sit on, in Baldwin's case a milk pail.</scene_description> <character>ADAMS</character> <dialogue>Of course, I am here about your upcoming soiree at the Supreme Court.</dialogue> <character>BALDWIN</character> <dialogue>Sir, if our cause i~ to succeed, we need a great man.</dialogue> <character>TAPPAN</character> <dialogue>'Cause', Roger? I thought this was•just a 'case' ...</dialogue> <character>ADAMS</character> <dialogue>Whatever you care to call it, gentlemen, it needs a complete reevaluation.</dialogue> <scene_description>Sulah stands at the kitchen door, gestures toward Cinque. He looks past her to see the sun actually breaking through ... and the Africans have gathered for Sulah and Urar's wedding.</scene_description> <character>CINQUE</character> <dialogue>I have to be with the young ones this morning. I trust you three can save my life without me.</dialogue> <scene_description>Pause to focus on Cinque as he rises.</scene_description> </scene> <scene> <stage_direction>EXT. JAIL YARD - MORNING</stage_direction> <scene_description>Cinque presides over the wedding of Sulah and Urar with .the special irony and beauty of Christian Church Bells filling the air. The sun streaks aside the clouds. Cinque is impressed and surprised to see that each tribe has produced -- from what materials they could get their hands on -- artistic expressions of their culture. -- SEGONI-KUN MASKS are worn by Limba. -- The YORUBA a human size sculpture from wadded newspaper and sticks is pieced together from parts secretly made by men in their cells. -- Mende provide the music through FLUTES and DRUMS that they've made from stretching strips of leather over different size jars, filled to different levels with water. -- KHILA and the girls provide their cakes. First Cinque takes Urar aside into the shade of a Maple tree and they whisper. Urar nods, seriously, taking this to heart. Cinque walks Urar back. Cinque then takes Sulah to the tree and they whisper. But as they do they both break into peals of laughter that makes Urar a bit uncomfortable. As Cinque walks Sulah back to spots Harlin plastering a section of the prison wall.</scene_description> <character>CINQUE</character> <dialogue>Hey! African Man!</dialogue> <scene_description>Harlin turns, sees nothing but warmth and acceptance in Cinque's face.</scene_description> <character>CINQUE</character> <dialogue>I don't see the--whites work on Bell Day! Come be with us!</dialogue> <scene_description>Harlin stops work and joins the Africans as they form a circle around the couple so that from outside, they're completely hidden from sight. INSIDE THE CIRCLE Urar and Sulah face to face, crowded together by the Africans.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Head of my poro, I join you. Never part; never be bitter for what you get is all you were meant to have! You are here, Urar; you are here, Sulah. The world surrounds you as your friends surrounded you, and we and the world are here only so that you two may love and have children. All. the rest is the noise of the hyena.</dialogue> <scene_description>He slaps them both on the back of the head.</scene_description> <character>CINQUE</character> <parenthetical>(Mende w/subtitles)</parenthetical> <dialogue>Get it!?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>You're married!</dialogue> <scene_description>The circle pulls back, everyone cheering and singing. .The Mende break loose with their instruments, Limba singing .. The singing grows LOUDER ... the singing becomes CHEERS and SHOUTS as we .. . FADE TO:</scene_description> </scene> <scene> <stage_direction>INT. VAN BUREN CAMPAIGN HQ/BACK ROOM - NIGHT</stage_direction> <scene_description>From OUTSIDE comes the sounds cheering citizens -- fireworks and an .occasional fire arm go off. Van Buren sits with a few loyal supporters, · quietly sipping champagne. Hammond enters looking disheveled, carrying stacks of papers. He tosses them all down on a table.</scene_description> <character>VAN BUREN</character> <dialogue>Tell me the worst, Leder.</dialogue> <character>HAMMOND</character> <dialogue>The south has gone generally for Harrison.</dialogue> <character>VAN BUREN</character> <dialogue>Generally?</dialogue> <character>HAMMOND</character> <dialogue>Overwhelmingly.</dialogue> <scene_description>Van Buren barks a laugh, pours Hammond a glass.</scene_description> <character>VAN BUREN</character> <dialogue>The goddamned south! Well, we've all got to go get new jobs.</dialogue> <parenthetical>(raises his glass)</parenthetical> <dialogue>Here's to shorter hours and more money!</dialogue> <scene_description>They drink.</scene_description> <character>VAN BUREN</character> <dialogue>I'm sorry Leder.</dialogue> <character>HAMMOND</character> <dialogue>Not your fault Mr. President.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Sir, I only ask because we have little time to decide, but, sir, do you want to. continue with this appeal on the Amistad Africans .. ?</dialogue> <character>VAN BUREN</character> <dialogue>Yes! Of course I do!</dialogue> <scene_description>{pause) Now, let's go out and break the news ... to our people.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S FARM - DAY</stage_direction> <scene_description>Adams yanking books from musty-dusty old shelves in his personal library, handing them to Baldwin who eyeballs them as if they were moldy antiques. Stacks of books like little islands of priorities totter on table tops, chairs and even the floor.</scene_description> <character>ADAMS</character> <dialogue>I see the course of the Amistad and the course of this nation crossing briefly.</dialogue> <character>ADAMS</character> <dialogue>But in this tiny historical time if we win at the Supreme Court it could mean the highest court in the nation will strike its first blow against slavery. A blow that no one else in this country has been able or been willing to deliver.</dialogue> <character>BALDWIN</character> <dialogue>I've never heard of some of these books.</dialogue> <character>ADAMS</character> <dialogue>Canons of treaty law. Most probably useless, but one never knows ...</dialogue> <scene_description>LOUISA ADAMS -- his handsome wife -- enters with a tray of tea, bread and jam, nearly topples a tower of books.</scene_description> <character>ADAMS</character> <dialogue>Careful my dear! That's our entire treaty history with · European powers!</dialogue> <character>LOUISA</character> <dialogue>Oh dear ...</dialogue> <character>ADAMS</character> <dialogue>And I think we are going to require the kitchen table ...</dialogue> <character>LOUSIA</character> <dialogue>Oh, dear!</dialogue> <scene_description>LIBRARY - LATE NIGHT Baldwin scours books on the large wooden table. With note pad in hand he goes from one to the other, scribbling, nodding, pondering ... Adams sits near the fire frowning at a huge, blue volume; he reads back a long phrase in Latin. Then looks at Baldwin who hasn't a clue.</scene_description> <character>ADAMS</character> <dialogue>Well, what do you think about that?</dialogue> <character>LIBRARY - MORNING</character> <dialogue>Seemingly tireless, Adams and Baldwin remove books from the table, packing them in a crate~ Louisa ushers Covey in.</dialogue> <character>BALDWIN</character> <dialogue>Good morning, Covey, what are you doing here?</dialogue> <character>COVEY</character> <dialogue>Cinque asked if you have thought about the question of jurisdiction.</dialogue> <character>ADAMS</character> <dialogue>What!?</dialogue> <character>BALDWIN .</character> <dialogue>Yes, I explained the 'idea' of jurisdiction to him.</dialogue> <character>COVEY</character> <dialogue>That since they took over the ship far out at sea ...</dialogue> <character>ADAMS</character> <dialogue>No, no; tell him the treaty recognizes no jurisdictional limitations.</dialogue> <parenthetical>(sees Covey hesitate)</parenthetical> <dialogue>Well?</dialogue> <character>COVEY</character> <dialogue>He will ask me why?</dialogue> <character>ADAMS</character> <dialogue>Because both parties agreed to it.</dialogue> <character>BALDWIN</character> <dialogue>If mutually agreed upon a contract can debar restitution by statute. All right?</dialogue> <scene_description>LIBRARY - LATE NIGHT Table has been boiled down to a handful of books. Adams and Baldwin looks up to fin Coveyagain.</scene_description> <character>BALDWIN</character> <dialogue>What is it?</dialogue> <character>COVEY</character> <dialogue>If we are the legal property of Ruiz and Montes then how does the treaty apply since it is between America anq Spain?</dialogue> <scene_description>Catches Baldwin with his mouth open, but Adams is not caught, just annoyed.</scene_description> <character>ADAMS</character> <dialogue>"Or their citizens ... " is included in the language.</dialogue> <character>BALDWIN</character> <dialogue>All right? Come on, I'll fix you some coffee.</dialogue> <scene_description>Covey smiles and Baldwin rises, leads Covey back into the kitchen.</scene_description> <character>ADAMS</character> <dialogue>Good point though ...</dialogue> </scene> <scene> <stage_direction>EXT. GARDEN - DAY</stage_direction> <scene_description>Baldwin and Adams having their lunch at a -small table in the back yard when suddenly they're aware of Covey who unhappily unfolds a long piece of paper.</scene_description> <character>COVEY</character> <dialogue>Does the American government have any treaties with Africa?</dialogue> <character>BALDWIN</character> <dialogue>No ...</dialogue> <scene_description>·coVEY Does Spain have any treaties with Africa?</scene_description> <character>ADAMS</character> <dialogue>No!</dialogue> <character>COVEY</character> <dialogue>Does Connecticut have any treaties with Africa?</dialogue> <scene_description>Adams lurches to his feet, nearly burned out.</scene_description> <character>ADAMS</character> <dialogue>No! No! No!</dialogue> <character>COVEY</character> <dialogue>If we were the 'pirates' how could we also be the pirated property?</dialogue> <scene_description>Adams SLAPS Covey across the face.</scene_description> <character>ADAMS</character> <dialogue>Stop this!</dialogue> <scene_description>He gets a grip, puts his hand on the young man's arm.</scene_description> <character>ADAMS</character> <dialogue>I'm sorry ... I ... there's only one way to handle this.</dialogue> <scene_description>LIBRARY - NEXT DAY Cinque himself is ushered in by a cop, his hands manacled ...</scene_description> <character>BALDWIN</character> <dialogue>You will uncuff our client.</dialogue> <character>COP</character> <dialogue>Sorry sir ...</dialogue> <character>ADAMS</character> <dialogue>He is my guest you will uncuff him!</dialogue> <character>COP</character> <dialogue>Yes sir, Mister Adams!</dialogue> <scene_description>And he does it. As the cop retires Cinque holds up his freed hands.</scene_description> <character>CINQUE</character> <dialogue>Like magic!</dialogue> <character>ADAMS</character> <dialogue>Mmm ... if you're going to work with us on this I won't have you being sarcastic.</dialogue> <scene_description>AT THE TABLE Adams and Baldwin going down a list, Cinque attentive, Covey asleep in a corner chair.</scene_description> <character>BALDWIN</character> <dialogue>Henry Baldwin, "from the north ...</dialogue> <character>ADAMS.</character> <dialogue>believes in a strict</dialogue> <scene_description>adherence to treaties ...</scene_description> <character>BALDWIN</character> <dialogue>John McLean -- north, maybe anti-slavery.</dialogue> <character>ADAMS</character> <dialogue>A real political animal; unpredictable.</dialogue> <character>BALDWIN</character> <dialogue>Joseph Story -- north.</dialogue> <character>ADAMS</character> <dialogue>Supported fugitive slave acts.</dialogue> <character>CINQUE</character> <dialogue>That's not good?</dialogue> <character>ADAMS</character> <dialogue>Terrible.</dialogue> <character>BALDWIN</character> <dialogue>Smith Thompson -- North.</dialogue> <character>ADAMS</character> <dialogue>Completely political, a big supporter of State rights. That's terrible too ...</dialogue> <character>BALDWIN</character> <dialogue>Roger Brooke Taney -- South,</dialogue> <scene_description>.but very religious ...</scene_description> <character>ADAMS</character> <dialogue>Owns slaves, though.</dialogue> <character>CINQUE</character> <dialogue>Terrible.</dialogue> <character>ADAMS</character> <dialogue>Of course that's terrible.</dialogue> <character>BALDWIN</character> <dialogue>Philip Pendelton Barbour --</dialogue> <character>ADAMS</character> <dialogue>Owns slaves.</dialogue> <character>BALDWIN</character> <dialogue>John Catron South; slave owner ...</dialogue> <character>ADAMS</character> <dialogue>And he directed the Tennessee election campaign for Van</dialogue> <scene_description>, Buren ...</scene_description> <character>BALDWIN/CINQUE</character> <dialogue>Terrible ...</dialogue> <character>BALDWIN</character> <dialogue>James M. Wayne</dialogue> <character>ADAMS</character> <dialogue>South; slaver.</dialogue> <character>BALDWIN</character> <dialogue>And John McKinley -- South; slaver ...</dialogue> <character>ADAMS</character> <dialogue>And appointed to the court by Van Buren ...</dialogue> <scene_description>Cinque thinks a minute.</scene_description> <character>CINQUE</character> <parenthetical>(Spanish w/subtitles)</parenthetical> <dialogue>So, then, where is the list of men on our side?</dialogue> <character>ADAMS</character> <dialogue>I'm sorry, there is only one list.</dialogue> </scene> <scene> <stage_direction>EXT. ADAM'S LIBRARY - EVENING</stage_direction> <scene_description>From Adam's porch a solid white disk-of-a moon hangs on the pristine New England horizon lighting the tops of the forest. Adams slowly see-saws back and forth in a rocking chair while Cinque paces. Through the window Covey can be seen helping Louisa stacking preserves on a pantry shelf.</scene_description> <character>CINQUE</character> <dialogue>What's going to happen in the court?</dialogue> <character>ADAMS</character> <dialogue>I told you, we must annihilate every single argument the government has or can imagine ...</dialogue> <scene_description>Cinque keeps pacing, not satisfied.</scene_description> <character>ADAMS</character> <dialogue>For God's sake, sit down, man.</dialogue> <scene_description>Cinque sits on the steps, but looks like he could explode from pent-up energy. Then, something strikes him.</scene_description> <character>CINQUE</character> <dialogue>What keeps you alive, Adams? Because, I mean you're so old, you should be dead by now. It's disgusting.</dialogue> <scene_description>Adams wags his head, by now used to Cinque.</scene_description> <character>ADAMS</character> <dialogue>My father died before he could finish his work, and I intend to finish it.</dialogue> <character>CINQUE</character> <dialogue>That's what you live for?</dialogue> <character>ADAMS</character> <dialogue>If I could -- using my 'magic' -- free you. Would you leave for Africa this second?</dialogue> <character>CINQUE</character> <dialogue>Yes!</dialogue> <character>ADAMS</character> <dialogue>... not knowing what would become of your friends from the Amistad?</dialogue> <character>CINQUE</character> <dialogue>Of course not.</dialogue> <character>ADAMS</character> <dialogue>You see? We have much in common. Neither of us is quite ready to leave ...</dialogue> <scene_description>Baldwin enters, looks like he's been running.</scene_description> <character>BALDWIN</character> <dialogue>The abolitionist press was destroyed last night, the house was shot up ...</dialogue> <character>CINQUE</character> <dialogue>That woman -- Jocelyn!?.</dialogue> <character>BALDWIN</character> <dialogue>Jocelyn was at the jail, Lydia and her son escaped. But here house was nearly destroyed.</dialogue> </scene> <scene> <stage_direction>EXT. JAIL COURTYARD - DAY</stage_direction> <scene_description>Cinque is greeted like a celeb by the Africans. But Urar whispers to him and points at a cell.</scene_description> </scene> <scene> <stage_direction>INT. BURNA'S CELL</stage_direction> <scene_description>Cinque enters to find Burna seated on his cot dressed in black, a Bible in his hand.</scene_description> <character>CINQUE</character> <dialogue>I came to tell everyone I am going to be at the Court for the trial. I came to tell everyone to get ready to leave for Africa. But, everyone tells me you are not going. That you're a Christian now?</dialogue> <character>BURNA</character> <dialogue>That's right. I have received the true god. If we are freed, I will stay here and learn more about Him. If we are executed, I will be with him that day.</dialogue> <character>CINQUE</character> <dialogue>Oh ...</dialogue> <scene_description>Cinque turns to go.</scene_description> <character>BURNA</character> <dialogue>I believe, Cinque, and you should think where your soul will rest in the after-life. Heaven or hell?</dialogue> <character>CINQUE</character> <dialogue>You don't 'believe', Burna, you became a Christian because you don't believe. After-life? Heaven or hell?</dialogue> <character>CINQUE</character> <dialogue>When I die my soul will stay right here on earth. I will run with the lion and the zebra through the forests and over the savannas. Just like Tu-Ar! Before you go to this heaven, better ask what color this God is.</dialogue> <character>BURNA</character> <dialogue>There are no slaves in heaven!</dialogue> <character>CINQUE</character> <dialogue>Is that what the white man told you?</dialogue> <scene_description>With anger and regret, Cinque leaves, and SLAMS his barred door.</scene_description> </scene> <scene> <stage_direction>INT. SUPREME COURT - AFTERNOON</stage_direction> <scene_description>John Quincy Adams, dressed in his finest suit, stands before the longest court bench in America. Behind it sit the NINE JUSTICES lorded over by Chief Justice TANEY. All look as solemn as chess men. Baldwin is seated just behind Adams, Cinque by his side. Cinque studies the inside of the hall: the portraits, mahogany workmanship on the seats, stained glass windows.</scene_description> <character>CINQUE</character> <dialogue>Do these people live here?</dialogue> <character>BALDWIN</character> <dialogue>Of course not.</dialogue> <scene_description>Cinque just nods.</scene_description> <character>ADAMS</character> <dialogue>How is it conceivable that a plain property issue should find itself ennobled -- dare I say exalted! -- to be argued before the Supreme Court of the United States of America? It is not complex; a lower court found for us easily. How is it then, that this tiny baby of a case should find itself trembling before this august body?</dialogue> <character>ADAMS</character> <dialogue>(pause) ·</dialogue> <scene_description>The truth is this case has been driven like a slave from court to court, wretched and destitute not because of the merits of the opposition, but through the strong arm of office -- brutally wielded by the President of the United States! This no mere property case, gentlemen. I put it to you thus: this is the most important case ever to come before this court and it is hard for me to envision it will ever hear its like again. As. justices swap looks, Adams raises his hand and Clemens -- feeling out of place and loving it -- carefully lays a packet before each judge.</scene_description> <character>ADAMS</character> <dialogue>After a great deal of effort, I have obtained copies of letters writ'ten between our chief executive, President Van Buren, and the Queen of Spain, Isabella II. I would only ask that you include their perusal as part of your deliberations.</dialogue> <scene_description>The justices eye them suspiciously.</scene_description> <character>ADAMS</character> <dialogue>I would not touch on them now ... that is, except to note a curious phrase which is much repeated. The Queen again and again refers to our "incompetent courts." What, I wonder, would be more to her majesty's liking? A court that would find against the Africans? I think not, and here is the fine point of it: what her majesty wants is a court that behaves just like her courts, the courts this nine year old girl gets to play with back home in her magical kingdom of Spain. In short, a court that will do what it is told, like a good dog.</dialogue> <character>ADAMS</character> <dialogue>In the minds of our Congress there seems to be little doubt for to keep me and any other from departing the legitimacy or morality of slavery I have had the Constitution shoved in my mouth to shut me up! And what are we to do with this embarrassing Declaration of Independence: "all men are created equal .. ; unalienable rights .. ; life, liberty and the pursuit of happiness?" I have a modest suggestion -- why not just tear them both up!? Why are we here!? I remind this court, that it is in fact the laws of nature that this document -- the Declaration of Independence is founded on: Not the laws of man, not the laws ·of gods, and certainly not the laws of a nine year old Queen or a bullying President! Why are we here!?</dialogue> </scene> <scene> <stage_direction>INT. TAVERN - LATE AFTERNOON</stage_direction> <scene_description>Packed -to the seams -- like Super Bowl Sunday ... waiting for something to happen down the street at the Supreme Court. Now there are at least a DOZEN MEN and WOMEN of the PRESS, speaking French, German, Italian ...</scene_description> <character>VOICE</character> <dialogue>It's Clemens!</dialogue> <scene_description>Bodies part as Clemens makes his way to the central table holding Tappan, Jocelyn, Lydia and Thomas. As he does, hands pat his shoulder and he grins at his new-found celebrity. He's surprised to see CAPTAIN SLOCUM here.</scene_description> <character>CLEMENS</character> <dialogue>President Adams is still talking.</dialogue> <character>JOCELYN</character> <dialogue>For four hours!?</dialogue> <character>TAPPAN</character> <dialogue>Has he finally gotten to the property issue of the treaty?</dialogue> <character>ADAMS</character> <parenthetical>(he pats the papers)</parenthetical> <dialogue>And judging from the evidence she should be proud of Van Buren's efforts.</dialogue> </scene> <scene> <stage_direction>EXT. WHITE HOUSE</stage_direction> <scene_description>Van Buren peeks out of his open office window. A man wondering if he's about to get away with murder.</scene_description> </scene> <scene> <stage_direction>INT. SUPREME COURT</stage_direction> <character>ADAMS</character> <dialogue>There is a hint of threat in these letters. And that tone is echoed by a growing body of letters and articles printed in the press from advocates of slavery and openly encouraged by the President. One appeared in the Executive Review, a publication of the office of the President himself. The theme of this letter, purportedly written by a "keen mind" of the South, is that war and antagonism is the natural state of man and slavery -- being but an end product of this -- is inevitable and natural.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Gentlemen, I must say that I differ from the keen minds of the south and argue that the natural state of mankind is freedom! And the proof is the lengths a man woman or child will go regain and keep that freedom! They will break loose their chains, destroy their enemies and try and try and try to ... get home.</dialogue> <scene_description>With powerful strides, Adams crosses the court to a framed reproduction of the Declaration of Independence and the Constitution.</scene_description> <character>ADAMS</character> <dialogue>If the South is right, what are we to do with these two documents: the Declaration of Independence and the Constitution?</dialogue> <character>CLEMENS</character> <dialogue>No, hasn't mentioned it. You have to understand, it's about higher things ...</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Captain Slocum sir? Are you here for the case?</dialogue> <scene_description>Slocum puts an arm over Covey's shoulder.</scene_description> <character>SLOCUM</character> <dialogue>I've come for Mister Covey. Today we sail for Africa, and Mister Cinque has been giving James a detailed description of that slave factory.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>How is President Adams holding up?</dialogue> <character>CLEMENS</character> <dialogue>He is tired ...</dialogue> </scene> <scene> <stage_direction>INT. SUPREME COURT - LATE AFTERNOON</stage_direction> <scene_description>And he does look exhausted, his hands are starting to tremble and at last using his cane.</scene_description> <character>ADAMS</character> <dialogue>Mr. Cinque told me that when his people, -the Mende,· a proud people, are in trouble, when they have encountered a situation where there appears to be no hope left at all, they invoke their ancestors.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Because they believe that if you can invoke them then they have never left you; that if you can invoke them then their strength will join with your strength and all enemies will perish before you.</dialogue> <scene_description>Adams smiles and a few justices smile back. Adams moves down the row of judges making sure to have eye-contact with each.</scene_description> <character>ADAMS</character> <dialogue>Thomas Jefferson. Benjamin Franklin. James Madison~ Alexander Hamilton. George Washington. John Adams ...</dialogue> <character>ADAMS (CONT'D}</character> <dialogue>Give us the strength to triumph over our fears, to triumph over our prejudices, to triumph over ourselves. Give us the courage to do what is right ... even if it means a civil war. Yes! Let it come! Welcome it! And when it does, let it be the last battle of the American Revolution!</dialogue> <scene_description>Adams stumbles back slightly over-wrought by his own enthusiasm. Baldwin leaps up to steady him but Adame waves him off and gets a grip.</scene_description> <character>ADAMS</character> <dialogue>Honorable Supreme Court Justices, the fates of history have laid this case at your door. And I warn you now, do not blink.</dialogue> <scene_description>Once again, Adams gets in their faces.</scene_description> <character>ADAMS</character> <dialogue>For if you fail to honor those two documents~ the testaments of our ancestors, one day perhaps -- no, without question! -- you, or your children, or your children's children will be pulled from their beds in the middle of the night, their sons and daughters ripped from their arms, iron collars clapped around their throats and they will be sold like animals on the block!</dialogue> <scene_description>BAM -- he hits the side of the bench with his cane like an auctioneers gavel slamming down. The sound reverberates through the court and the justices act like they've been struck by the lightning of revelation.</scene_description> <character>ADAMS</character> <dialogue>I must rest this case. In your hands. Thank you.</dialogue> <scene_description>Adams turns and walks away from the bench.</scene_description> </scene> <scene> <stage_direction>EXT. TAVERN</stage_direction> <scene_description>Cinque and Covey touch foreheads.</scene_description> <character>CINQUE</character> <dialogue>Good-bye my friend. I will never forget you.</dialogue> <character>COVEY</character> <dialogue>See you in Africa!</dialogue> <scene_description>They embrace ...</scene_description> </scene> <scene> <stage_direction>EXT. PRISON YARD - DAY</stage_direction> <scene_description>The doors swing back and all the Africans who are outside exploring a SNOWY WORLD. Look up to find Baldwin, Jocelyn and Tappan. Everyone gathers around.</scene_description> <character>JOCELYN</character> <dialogue>The court will render its opinion at four o'clock tomorrow afternoon.</dialogue> <scene_description>Dead silence. Cinque looks up and over the top of the walls.</scene_description> </scene> <scene> <stage_direction>INT. SUPREME COURT - DAY</stage_direction> <scene_description>Justice Taney stands. All the players are here. He doesn't bother to look at anyone. Adams sits in the front, Cinque and the rest in the rear.</scene_description> <character>TANEY</character> <dialogue>The United States of America VS . . . the Africans.·</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>We find that Cinque and all the Africans to be free individuals with the legal and moral right to fight to maintain their freedom. This</dialogue> <scene_description>· decision is unanimous. I hereby order their release. Adams leaps to his feet with the agility of a teenager -- he's immediately surrounded by well-wishers, but as quickly as he can, pushes through to the rear. Tappan, Jocelyn, Baldwin and Slocum paw Adams -- patting his back, shaking his hand. But then he-- and Cinque face- off. Cinque, nearly in tears, embraces him.</scene_description> <character>CINQUE</character> <dialogue>You are a wise man, Adams. You are a great wise man ...</dialogue> </scene> <scene> <stage_direction>EXT. SLAVE FACTORY - DAWN</stage_direction> <scene_description>From atop the GUARD TOWER, the same disdainful guard from Cinque's description is peeling another piece of fruit as dawn clears the mist from the harbor. He's just about to bite into the fruit when he looks out to see a BRITISH BATTLE CRUISER sitting smack in the middle of the bay. He drops his breakfast ... SHHIITT ! !: BELOW a RED LINE of BRITISH MARINES charges them, bayonets fixed,. SCREAMING as they charge, mowing down a line of slavers and guards caught outside -- with shocking precision the Marines BLOW the front gate and rush inside. · IN THE FACTORY They immediately form and blast all resistance to bits -- and charge on ... CELLS ... Marines smash open cell doors, releasing and carrying African prisoners to freedom ... OUTSIDE THE GATE Africans race to freedom as the Marines back out, firing behind them as they go.</scene_description> </scene> <scene> <stage_direction>EXT. BRITISH BATTLE CRUISER</stage_direction> <scene_description>Slocum stands on the deck of his ship, his red uniform glows in the dawn light. An OFFICER lowers his brass telescope.</scene_description> <character>OFFICER</character> <dialogue>Clear, sir!</dialogue> <character>SLOCUM</character> <dialogue>Fire damn-it!</dialogue> <character>OFFICER</character> <dialogue>FIRE!</dialogue> <scene_description>The ship's flank erupts in cannon fire. Slocum grabs the telesdope. HIS POV the slave factory taking heavy rounds. SLOCUM LOWERS THE SCOPE his face lit up with a smile.</scene_description> <character>SLOCUM</character> <dialogue>Take a letter, mister Jones!</dialogue> <scene_description>Covey steps up beside Slocum.</scene_description> <character>COVEY</character> <dialogue>Captain Slocum!</dialogue> <character>SLOCUM</character> <dialogue>To his honor, the United States Secretary of State, Jonathan Forsyth. My dear Mister Forsyth, it is my great pleasure to inform you that you are correct, the slave factory of Sierra Leone does not exist!</dialogue> <scene_description>THE SLAVE FACTORY taking a final shell in the guts -- walls blast outward and the central structure seems to drop into the center of the earth. SLOCUM &amp; COVEY very fulfilled men. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. MERCHANT SHIP/DECK - DAY</stage_direction> <scene_description>On peaceful seas a peaceful ship sails toward the shores of Africa. On deck, embracing one another like a singular tribe, are Sulah, Urar and Cinque; behind them, the rest of the Amistad Africans. James Harlin is among them. ON CINQUE no holding back the tears as he finally nears his home. TITLE: IN 1843, CINQUE FINALLY RETURNED TO AFRICA. IN HIS ABSENCE HIS VILLAGE HAD BEEN RANSACKED BY SLAVERS ... HE SPENT THE REST OF HIS LIFE WANDERING AFRICA SEARCHING FOR HIS WIFE AND CHILD. HE NEVER SAW THEM AGAIN .</scene_description> </scene> <scene> <stage_direction> I</stage_direction> <scene_description>·t</scene_description> <character>THE END</character> </scene> </script>

The schooner La Amistad is transporting black slaves off the coast of the Spanish colony of Cuba in 1839. A captive, Cinqué, leads an uprising against the crew, most of whom are killed. Two navigators, Pedro Montes and Jose Ruiz, are spared on condition they help sail the ship to Africa. The Spaniards predictably betray them and instead sail into U.S. waters, where the ship is stopped by the U.S. revenue cutter Washington, and the mutineers are arrested. A complicated legal battle ensues over the slaves. United States Attorney William S. Holabird brings charges of piracy and murder against them. Those charges are dismissed in a criminal case because the killings occurred outside of United States territorial waters. A civil case then follows, with the Amistad Africans being claimed as property by Montes and Ruiz, and as salvage by two officers from the Washington. The Spanish government of Queen Isabella II intervenes in support of Montes and Ruiz, under the Treaty of 1795, also known as Pinckney's Treaty. To avoid a diplomatic incident, President Martin Van Buren directs his Secretary of State John Forsyth to support the Spanish claim. Meanwhile, abolitionist Lewis Tappan and his black associate Theodore Joadson (a former slave), resolve to help the captives. They approach the brilliant lawyer, former U.S. president and serving U.S. representative John Quincy Adams, but he is reluctant to get involved. They instead hire the young and eccentric attorney Roger Sherman Baldwin. Baldwin, unable to converse directly with his clients due to the language barrier, suspects the slaves are not Cubans but Africans who have been kidnapped and transported illegally as part of the banned transatlantic slave trade. He and Joadson search La Amistad and find documents which prove the captives were kidnapped from Sierra Leone and transported across the Atlantic aboard the Portuguese slave ship Tecora before being transferred to La Amistad in Havana. The judge is impressed and signals his intention to dismiss the U.S. and Spanish governments' case and release the captives. To preclude this possibility, Van Buren replaces the judge with a younger man, Coglin, who he believes will be easier to manipulate. Joadson seeks advice from Adams, who tells him that court cases are usually won by the side with the best 'story'. Baldwin and Joadson recruit freedman James Covey as a translator, enabling Cinqué to testify directly before the court. He describes how he was kidnapped from his home, and the horrors of the Middle Passage. Baldwin calls Captain Fitzgerald of the Royal Navy's West Africa Squadron to corroborate Cinqué's testimony. He speculates that the captives were taken aboard the Tecora at the notorious slave fort Lomboko. Under cross-examination, Fitzgerald admits there is no direct evidence of Lomboko's existence. As tension rises, Cinqué abruptly stands and demands, "Give us, us free!". Moved by Cinqué's emotion, Judge Coglin rules that the Africans are to be released, and that Montes and Ruiz are to be arrested and charged with illegal slave-trading. Under pressure from Senator John C. Calhoun of South Carolina, who represents the slave-holding interests of the American South, Van Buren appeals the case to the Supreme Court. Baldwin and Joadson visit Adams again, and after meeting Cinqué he agrees to represent the Africans before the Supreme Court. Adams' impassioned and eloquent speech convinces the court to confirm the judgement and release the Africans. Lomboko is stormed by Royal Marines under the command of Captain Fitzgerald, and the slaves held there are freed. Fitzgerald orders the ship's cannon to destroy the fortress, and dictates a sardonic letter to Forsyth saying that he was correct — the infamous slave fort does not (now) exist. Van Buren is discredited by his failure to prevent the release of the Africans, and loses the 1840 election to William Henry Harrison. The Spanish government continues to press its claim for compensation up until the American Civil War. The captions say that Cinqué returns to Africa, but is unable to reunite with his family due to civil war in Sierra Leone.

Star Wars: Episode V - The Empire Strikes Back_1980

tt0080684

<script> <scene> <stage_direction>EXT. GALAXY - PLANET HOTH</stage_direction> <scene_description>A Star Destroyer moves through space , releasing Imperial probe robots from its underside . One of these probes zooms toward the planet Hoth and lands on its ice - covered surface . An explosion marks the point of impact .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - METEORITE CRATER - SNOW PLAIN - DAY</stage_direction> <scene_description>A weird mechanical sound rises above the whining of the wind . A strange probe robot , with several extended sensors , emerges from the smoke - shrouded crater . The ominous mechanical probe floats across the snow plain and disappears into the distance .</scene_description> </scene> <scene> <stage_direction>EXT. PLAIN OF HOTH - DAY</stage_direction> <scene_description>A small figure gallops across the windswept ice slope . The bundled rider is mounted on a large gray snow lizard , a Tauntaun . Curving plumes of snow rise from beneath the speeding paws of the two - legged beast . The rider gallops up a slope and reins his lizard to a stop . Pulling off his protective goggles , Luke Skywalker notices something in the sky . He takes a pair of electrobinoculars from his utility belt and through them sees smoke rising from where the probe robot has crashed . The wind whips at Luke 's fur - lined cap and he activates a comlink transmitter . His Tauntaun shifts and moans nervously beneath him .</scene_description> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Echo Three to Echo Seven. Han, old buddy, do you read me?</dialogue> <scene_description>After a little static a familiar voice is heard .</scene_description> <character>HAN</character> <parenthetical>( over comlink . )</parenthetical> <dialogue>Loud and clear, kid. What's up?</dialogue> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Well, I finished my circle. I do n't pick up any life readings.</dialogue> <character>HAN</character> <parenthetical>( over comlink . )</parenthetical> <dialogue>There is n't enough life on this ice cube to fill a space cruiser. The sensors are placed, I'm going back.</dialogue> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Right. I'll see you shortly. There's a meteorite that hit the ground near here. I want to check it out. It wo n't take long.</dialogue> <scene_description>Luke clicks off his transmitter and reins back on his nervous lizard . He pats the beast on the head to calm it .</scene_description> <character>LUKE</character> <dialogue>Hey, steady girl. What's the matter? You smell something?</dialogue> <scene_description>Luke takes a small device from his belt and starts to adjust it when suddenly a large shadow falls over him from behind . He hears a monstrous howl and turns to see an eleven - foot - tall shape towering over him . It is a Wampa Ice Creature , lunging at him ferociously .</scene_description> <character>LUKE</character> <dialogue>Aaargh!</dialogue> <scene_description>Luke grabs for his pistol , but is hit flat in the face by a huge white claw . He falls unconscious into the snow and in a moment the terrified screams of the Tauntaun are cut short by the horrible snap of a neck being broken . The Wampa Ice Creature grabs Luke by one ankle and drags him away across the frozen plain .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - REBEL BASE ENTRANCE - DAY</stage_direction> <scene_description>A stalwart figure rides his Tauntaun up to the entrance of an enormous ice cave .</scene_description> </scene> <scene> <stage_direction>INT. HOTH - REBEL BASE - MAIN HANGAR DECK</stage_direction> <scene_description>Rebel troopers rush about unloading supplies and otherwise securing their new base . The rider , Han Solo , swings off his lizard and pulls off his goggles . He walks into the main hangar deck toward the Millennium Falcon , which is parked among several fighters . Mechanics , R2 units , and various other droids hurry about . Han stops at the Millennium Falcon where his Wookiee copilot , Chewbacca , is welding on a central lifter . Chewie stops his work and lifts his face shield , growling an irritated greeting to his boss .</scene_description> <character>HAN</character> <dialogue>Chewie!</dialogue> <scene_description>The Wookiee grumbles a reply .</scene_description> <character>HAN</character> <dialogue>All right, do n't lose your temper. I'll come right back and give you a hand.</dialogue> <scene_description>Chewbacca puts his mask back on and returns to his welding as Han leaves .</scene_description> </scene> <scene> <stage_direction>INT. HOTH - REBEL BASE - COMMAND CENTER</stage_direction> <scene_description>A makeshift command center has been set up in a blasted area of thick ice . The low - ceilinged room is a beehive of activity . Controllers , troops , and droids move about setting up electronic equipment and monitoring radar signals . General Rieekan straightens up from a console at Han 's approach .</scene_description> <character>RIEEKAN</character> <dialogue>Solo?</dialogue> <character>HAN</character> <dialogue /> <scene_description>No sign of life out there , General . The sensors are in place . You 'll know if anything comes around .</scene_description> <character>RIEEKAN</character> <dialogue>Commander Skywalker reported in yet?</dialogue> <character>HAN</character> <dialogue>No. He's checking out a meteorite that hit near him.</dialogue> <character>RIEEKAN</character> <parenthetical>( indicates radar screen . )</parenthetical> <dialogue>With all the meteor activity in this system, it's going to be difficult to spot approaching ships.</dialogue> <scene_description>Taking a deep breath , Han blurts out what is on his mind .</scene_description> <character>HAN</character> <dialogue>General, I've got to leave. I ca n't stay anymore.</dialogue> <scene_description>Princess Leia , standing at a console nearby , is dressed in a short white combat jacket and pants . Her hair is braided across her head in a Nordic fashion . She overhears their conversation and seems somewhat distressed .</scene_description> <character>RIEEKAN</character> <dialogue>I'm sorry to hear that.</dialogue> <character>HAN</character> <dialogue>Well, there's a price on my head. If I do n't pay off Jabba the Hut, I'm a dead man.</dialogue> <character>RIEEKAN</character> <dialogue>A death mark's not an easy thing to live with. You're a good fighter, Solo. I hate to lose you.</dialogue> <character>HAN</character> <dialogue>Thank you, General.</dialogue> <scene_description>He turns to Leia as Rieekan moves away .</scene_description> <character>HAN</character> <parenthetical>( with feeling . )</parenthetical> <dialogue>Well, Your Highness, I guess this is it.</dialogue> <character>LEIA</character> <dialogue>That's right.</dialogue> <scene_description>Leia is angry . Han sees she has no warmth to offer him . He shakes his head and adopts a sarcastic tone .</scene_description> <character>HAN</character> <parenthetical>( cooly . )</parenthetical> <dialogue>Well, do n't get all mushy on me. So long, Princess.</dialogue> <scene_description>Han walks away into the quiet corridor adjoining the command center . Leia stews a moment , then hurries after him .</scene_description> </scene> <scene> <stage_direction>INT. HOTH - REBEL BASE - ICE CORRIDOR</stage_direction> <character>LEIA</character> <dialogue>Han!</dialogue> <scene_description>Han stops in the corridor and turns to face Leia .</scene_description> <character>HAN</character> <dialogue>Yes, Your Highnessness?</dialogue> <character>LEIA</character> <dialogue>I thought you decided to stay.</dialogue> <character>HAN</character> <dialogue>Well, the bounty hunter we ran into on Ord Mantell changed my mind.</dialogue> <character>LEIA</character> <dialogue>Han, we need you!</dialogue> <character>HAN</character> <dialogue>We?</dialogue> <character>LEIA</character> <dialogue>Yes.</dialogue> <character>HAN</character> <dialogue>Oh, what about you need?</dialogue> <character>LEIA</character> <parenthetical>( mystified . )</parenthetical> <dialogue>I need? I do n't know what you're talking about.</dialogue> <character>HAN</character> <parenthetical>( shakes his head , fed up . )</parenthetical> <dialogue>You probably do n't.</dialogue> <character>LEIA</character> <dialogue>And what precisely am I supposed to know?</dialogue> <character>HAN</character> <dialogue>Come on! You want me to stay because of the way you feel about me.</dialogue> <character>LEIA</character> <dialogue>Yes. You're a great help to us. You're a natural leader.</dialogue> <character>HAN</character> <dialogue>No! That's not it. Come on. Aahhh - uh huh! Come on.</dialogue> <scene_description>Leia stares at him , understanding , then laughs .</scene_description> <character>LEIA</character> <dialogue /> <scene_description>You 're imagining things .</scene_description> <character>HAN</character> <dialogue>Am I? Then why are you following me? Afraid I was going to leave without giving you a goodbye kiss?</dialogue> <character>LEIA</character> <dialogue>I'd just as soon kiss a Wookiee.</dialogue> <character>HAN</character> <dialogue>I can arrange that. You could use a good kiss!</dialogue> <scene_description>Angrily , Han strides down the corridor as Leia stares after him .</scene_description> </scene> <scene> <stage_direction>INT. HOTH - REBEL BASE - ANOTHER ICE CORRIDOR</stage_direction> <scene_description>A familiar stream of beeps and whistles herald the approach of Artoo - Detoo and See - Threepio , who appear around a corner and move along an ice wall toward the main hangar .</scene_description> <character>THREEPIO</character> <dialogue>Do n't try to blame me. I did n't ask you to turn on the thermal heater. I merely commented that it was freezing in the princess' chamber. But it's supposed to be freezing. How are we going to dry out all her clothes? I really do n't know.</dialogue> <scene_description>Artoo beeps a stream of protesting whistles .</scene_description> <character>THREEPIO</character> <dialogue>Oh, switch off.</dialogue> </scene> <scene> <stage_direction>INT. HOTH - REBEL BASE - MAIN HANGAR DECK</stage_direction> <scene_description>The two robots stop at Han Solo 's space freighter . Han and Chewie are struggling with their central lifters .</scene_description> <character>HAN</character> <parenthetical>( to Chewie . )</parenthetical> <dialogue>Why do you take this apart now? I'm trying to get us out of here and you pull both of these.</dialogue> <scene_description>Chewie grumbles in irritation .</scene_description> <character>THREEPIO</character> <dialogue>Excuse me, sir.</dialogue> <character>HAN</character> <parenthetical>( to Chewie . )</parenthetical> <dialogue>Put them back together right now.</dialogue> <character>THREEPIO</character> <dialogue>Might I have a word with you, please?</dialogue> <character>HAN</character> <dialogue>What do you want?</dialogue> <character>THREEPIO</character> <dialogue>Well, it's Princess Leia, sir. She's been trying to get you on the communicator.</dialogue> <character>HAN</character> <dialogue>I turned it off. I do n't want to talk to her.</dialogue> <character>THREEPIO</character> <dialogue>Oh. Well, Princess Leia is wondering about Master Luke. He has n't come back yet. She does n't know where he is.</dialogue> <character>HAN</character> <dialogue>I do n't know where he is.</dialogue> <character>THREEPIO</character> <dialogue>Nobody knows where he is.</dialogue> <character>HAN</character> <dialogue>What do you mean, `` nobody knows''?</dialogue> <scene_description>Han glances at the fading light at the entrance of the ice cave as night slowly begins to fall on the planet .</scene_description> <character>THREEPIO</character> <dialogue>Well, uh, you see.</dialogue> <scene_description>Han jumps down off the lift , as Threepio follows him .</scene_description> <character>HAN</character> <dialogue>Deck Officer. Deck Officer!</dialogue> <character>THREEPIO</character> <dialogue>Excuse me, sir. Might I inqu.</dialogue> <scene_description>Han abruptly puts his hand over Threepio 's mouth as the deck officer approaches .</scene_description> <character>DECK OFFICER</character> <dialogue>Yes, sir?</dialogue> <character>HAN</character> <dialogue>Do you know where Commander Skywalker is?</dialogue> <character>DECK OFFICER</character> <dialogue>I have n't seen him. It's possible he came in through the south entrance.</dialogue> <character>HAN</character> <dialogue>It's possible? Why do n't you go find out? It's getting dark out there.</dialogue> <character>DECK OFFICER</character> <dialogue>Yes, sir.</dialogue> <scene_description>The deck officer leaves hurriedly , as Han takes his hand off Threepio 's mouth .</scene_description> <character>THREEPIO</character> <dialogue>Excuse me, sir. Might I inquire what's going on?</dialogue> <character>HAN</character> <dialogue>Why not?</dialogue> <character>THREEPIO</character> <dialogue>Impossible man. Come along, Artoo, let's find Princess Leia. Between ourselves, I think Master Luke is in considerable danger.</dialogue> </scene> <scene> <stage_direction>INT. HOTH - REBEL BASE - MAIN ICE TUNNEL</stage_direction> <scene_description>The deck officer and his assistant hurry toward Han as he enters the tunnel .</scene_description> <character>DECK OFFICER</character> <dialogue>Sir, Commander Skywalker has n't come in through the south entrance. He might have forgotten to check in.</dialogue> <character>HAN</character> <dialogue>Not likely. Are the speeders ready?</dialogue> <character>DECK OFFICER</character> <dialogue>Not yet. We're having some trouble adapting them to the cold.</dialogue> <character>HAN</character> <dialogue>Then we'll have to go out on Tauntauns.</dialogue> <character>DECK OFFICER</character> <dialogue>Sir, the temperature's dropping too rapidly.</dialogue> <character>HAN</character> <dialogue>That's right. And my friends out in it.</dialogue> <character>ASSISTANT OFFICER</character> <dialogue>I'll cover sector twelve. Have com - control set screen alpha.</dialogue> <scene_description>Han pushes through the troops and mounts a Tauntaun .</scene_description> <character>DECK OFFICER</character> <dialogue>Your Tauntaun'll freeze before you reach the first marker.</dialogue> <character>HAN</character> <dialogue>Then I'll see you in hell!</dialogue> <scene_description>Han maneuvers his mount out of the cave and races into the dark bitter night .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - ICE GORGE - DUSK</stage_direction> <scene_description>The jagged face of a huge ice wall sits gloomily in the dim twilight of a Hoth day . Luke hangs upside down , ankles frozen into icy stalactites , his extended arms within a foot of the snow floor . One side of his face is covered in a dried mask of frozen blood . He opens his eyes as a chilling moan of the hideous ice creature echoes off the gorge walls . Luke pulls himself up , grabs hold of his ankles , and futilely tries to unfasten the throngs . Exhausted , he drops back into his hanging position . As he hangs there , he spies his lightsaber lying near a pile of his discarded gear , about three feet out of reach . He focuses on the saber and , as his hand strains toward the weapon , he squeezes his eyes tight in concentration . Just as the ice creature looms over Luke , the lightsaber jumps into Luke 's hand . The young warrior instantly ignites his sword , swinging up , and cuts himself loose from the ice . He flops to the snow in a heap . The startled creature moves back , his giant yellow eyes blinking . Luke scrambles to his feet . He swings his lightsaber and the beast screams in pain .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - ENTRANCE TO ICE GORGE - DUSK</stage_direction> <scene_description>Luke staggers out of the gorge into the dark and snowy twilight . Weak and exhausted , he stumbles down a snow bank .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - SNOW PLAIN - DUSK</stage_direction> <scene_description>A small , lone figure riding a Tauntaun races through the hostile vastness of snow and cold . As it runs , the Tauntaun 's legs kick up large clouds of snow and ice into the snowy air .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - OUTSIDE ICE HANGAR - DUSK</stage_direction> <scene_description>Artoo stands in the falling snow , beeping worriedly . Threepio moves stiffly over to him .</scene_description> <character>THREEPIO</character> <dialogue>You must come along now, Artoo. There's really nothing more we can do. And my joints are freezing up.</dialogue> <scene_description>Artoo beeps , long and low .</scene_description> <character>THREEPIO</character> <dialogue>Do n't say thing like that! Of course we'll see Master Luke again. He'll be quite all right, you'll see.</dialogue> <parenthetical>( to himself . )</parenthetical> <dialogue>Stupid little short - circuit. He'll be quite all right.</dialogue> <scene_description>Threepio turns to go back inside the main hangar as Artoo mournfully keeps his vigil .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - SNOW DRIFT - DUSK</stage_direction> <scene_description>The wind is blowing quite strong now . Luke struggles to stay upright , but a blast of freezing snow knocks him over . He struggles to get up , but he ca n't . The young warrior from Tatooine drags himself a couple of feet and then collapses .</scene_description> </scene> <scene> <stage_direction>INT. REBEL BASE - MAIN HANGAR DECK - ENTRANCE - NIGHT</stage_direction> <scene_description>Princess Leia stands inside the dark entrance to the Rebel base , waiting for a sign of the two Rebel heroes . She shivers in the cold wind as , nearby , Chewie sits with his head in his hands . In the background , Artoo and Threepio move through the doors . A Rebel lieutenant moves to Major Derlin , an officer keeping watch with the princess .</scene_description> <character>LIEUTENANT</character> <dialogue>Sir, all the patrols are in. There's still no contact from Skywalker or Solo.</dialogue> <character>THREEPIO</character> <dialogue>Mistress Leia, Artoo says he's been quite unable to pick up any signals, although he does admit that his own range is far too weak to abandon all hope.</dialogue> <scene_description>Leia nods an acknowledgment , but she is lost in thought .</scene_description> <character>DERLIN</character> <dialogue>Your Highness, there's nothing more we can do tonight. The shield doors must be closed.</dialogue> <scene_description>He turns to the lieutenant .</scene_description> <character>DERLIN</character> <dialogue>Close the doors.</dialogue> <character>LIEUTENANT</character> <dialogue>Yes, sir.</dialogue> <scene_description>The lieutenant walks away . Chewie lets out a long , mournful howl , somewhat like a coyote . At the same moment , Artoo begins a complex series of efficient beeps .</scene_description> <character>THREEPIO</character> <dialogue>Artoo says the chances of survival are seven hundred seventy - five. to one.</dialogue> <scene_description>Leia stands praying to herself as the huge metal doors slam across the entrance of the ice cave . The loud booms echo throughout the huge cavern . Chewie lets out another suffering howl .</scene_description> <character>THREEPIO</character> <dialogue>Actually, Artoo has been known to make mistakes. from time to time. Oh, dear, oh, dear. Do n't worry about Master Luke. I'm sure he'll be all right. He's quite clever, you know. for a human being.</dialogue> </scene> <scene> <stage_direction>EXT. HOTH - SNOW DRIFT - DUSK</stage_direction> <scene_description>Luke lies face down in the snow , nearly unconscious . Slowly he looks up and sees Ben Kenobi , barely visible through the blowing snow . It is hard to tell if Kenobi is real or a hallucination .</scene_description> <character>BEN</character> <dialogue>Luke. Luke.</dialogue> <character>LUKE</character> <parenthetical>( weakly . )</parenthetical> <dialogue>Ben?</dialogue> <character>BEN</character> <dialogue>You will go to the Dagobah system.</dialogue> <character>LUKE</character> <dialogue>Dagobah system?</dialogue> <character>BEN</character> <dialogue>There you will learn from Yoda, the Jedi Master who instructed me.</dialogue> <scene_description>The image of Ben fades , revealing a lone Tauntaun rider approaching from the windswept horizon .</scene_description> <character>LUKE</character> <parenthetical>( groaning faintly . )</parenthetical> <dialogue>Ben. Ben.</dialogue> <scene_description>Luke drops into unconsciousness . Han pulls up and leaps off his mount . He hurries to his snow - covered friend , cradling him in his arms . Han 's Tauntaun lets out a low , pitiful bellow . But Han 's concern is with Luke , and he shakes him urgently .</scene_description> <character>HAN</character> <dialogue>Luke! Luke! Do n't do this, Luke. Come on, give me a sign here.</dialogue> <scene_description>Luke does n't respond . Han begins frantically rubbing and slapping Luke 's unconscious face . As he starts to lift the youth , Han hears a rasping sound behind him . He turns , just in time to see his Tauntaun stagger and then fall over into the snow . Han carries Luke to the moaning beast . Then , with a final groan , the Tauntaun expires .</scene_description> <character>HAN</character> <dialogue>Not much time.</dialogue> <scene_description>He pushes Luke 's inert form against the belly of the dead beast .</scene_description> <character>LUKE</character> <parenthetical>( moaning . )</parenthetical> <dialogue>Ben. Ben.</dialogue> <character>HAN</character> <dialogue>Hang on, kid.</dialogue> <character>LUKE</character> <dialogue>Dagobah system.</dialogue> <scene_description>Han ignites Luke 's saber and cuts the beast from head to toe . He quickly tosses it 's steaming innards into the snow , then lifts Luke 's inert form and stuffs him inside the carcass .</scene_description> <character>HAN</character> <parenthetical>( reeling from the odor . )</parenthetical> <dialogue>Whew.</dialogue> <character>LUKE</character> <dialogue>Dagobah.</dialogue> <character>HAN</character> <dialogue>This may smell bad, kid.</dialogue> <character>LUKE</character> <parenthetical>( moaning . )</parenthetical> <dialogue>Yoda.</dialogue> <character>HAN</character> <dialogue>but it will keep you warm. til I get the shelter built.</dialogue> <parenthetical>( struggling to get Luke inside the carcass . )</parenthetical> <dialogue>Ooh. I thought they smelled bad on the outside!</dialogue> <scene_description>The wind has picked up considerably , making it difficult to move . Han removes a pack from the dead creature 's back , taking out a shelter container . He begins to set up what can only be a pitiful protection against a bitter Hoth night .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - SNOWDRIFT - DAWN</stage_direction> <scene_description>Four snub - nosed armored snowspeeders race across the white landscape .</scene_description> </scene> <scene> <stage_direction>INT. SNOWSPEEDER COCKPIT</stage_direction> <scene_description>There is only one pilot , Zev , in the enclosed two - man craft . He concentrates on the scopes which ring his cockpit . He hears a low beep from one of his monitors .</scene_description> <character>ZEV</character> <parenthetical>( into transmitter . )</parenthetical> <dialogue>Echo Base. I've got something! Not much, but it could be a life form.</dialogue> </scene> <scene> <stage_direction>EXT. HOTH - SNOWDRIFT</stage_direction> <scene_description>The small craft banks and makes a slow arc , then races off in a new direction .</scene_description> </scene> <scene> <stage_direction>INT. SNOWSPEEDER - COCKPIT</stage_direction> <scene_description>The pilot switches over to a new transmitter .</scene_description> <character>ZEV</character> <parenthetical>( into transmitter . )</parenthetical> <dialogue>This is Rogue Two. this is Rogue Two. Captain Solo, so you copy? Commander Skywalker, do you copy? This is Rogue Two.</dialogue> <scene_description>There is a sharp crackle of static , then a faint voice .</scene_description> <character>HAN</character> <parenthetical>( filtered over Zev 's receiver . )</parenthetical> <dialogue>Good morning. Nice of you guys to drop by.</dialogue> <character>ZEV</character> <parenthetical>( switching transmitters . )</parenthetical> <dialogue>Echo Base. this is Rogue Two. I found them. Repeat, I found them.</dialogue> </scene> <scene> <stage_direction>EXT. HOTH - SNOWDRIFT - DAY</stage_direction> <scene_description>The small shelter Han set up is covered with snow on the windward side . A makeshift antenna rests gingerly on top the snowdrift . Han spots Zev 's snowspeeder approaching in the distance , and begins waving his arms frantically at the tiny craft .</scene_description> </scene> <scene> <stage_direction>INT. REBEL BASE - MEDICAL CENTER</stage_direction> <scene_description>Strange robot surgeons adjust a mass of electronic equipment . A switch is thrown and a sudden blinding flash obscures Luke in a bacta tank filled with a thick , gelatinous slime . He begins to thrash about , raving in delirium .</scene_description> </scene> <scene> <stage_direction>INT. REBEL BASE - MEDICAL CENTER - RECOVERY ROOM</stage_direction> <scene_description>Luke sits up in a recovery - room bed , weak but smiling . His face shows terrible wounds from the Wampa 's attack . Threepio and Artoo enter the room .</scene_description> <character>THREEPIO</character> <dialogue>Master Luke, sir, it's so good to see you fully functional again.</dialogue> <scene_description>Artoo beeps his good wishes .</scene_description> <character>THREEPIO</character> <dialogue>Artoo expresses his relief, also.</dialogue> <scene_description>Han and Chewie make their entrance . The Wookiee growls a greeting .</scene_description> <character>HAN</character> <dialogue>How are you feeling, kid? You do n't look so bad to me. In fact, you look strong enough to pull the ears off a Gundark.</dialogue> <character>LUKE</character> <dialogue>Thanks to you.</dialogue> <character>HAN</character> <dialogue>That's two you owe me, junior.</dialogue> <scene_description>Han turns as Leia enters the room . He looks at her with a big , devilish grin .</scene_description> <character>HAN</character> <dialogue>Well your Worship, looks like you managed to keep me around for a little while longer.</dialogue> <character>LEIA</character> <parenthetical>( haughtily . )</parenthetical> <dialogue>I had nothing to do with it. General Rieekan thinks it's dangerous for any ships to leave the system until we've activated the energy shield.</dialogue> <character>HAN</character> <dialogue>That's a good story. I think you just ca n't bear to let a gorgeous guy like me out of your sight.</dialogue> <character>LEIA</character> <dialogue>I do n't know where you get your delusions, laser brain.</dialogue> <scene_description>Chewie is amused ; he laughs in his manner . Han , enjoying himself , regards Chewie good - humoredly .</scene_description> <character>HAN</character> <dialogue>Laugh it up, fuzzball. But you did n't see us alone in the south passage.</dialogue> <scene_description>Luke sparks to this ; he looks at Leia .</scene_description> <character>HAN</character> <dialogue>She expressed her true feelings for me.</dialogue> <scene_description>Leia is flushed , eyes darting between Luke and Han .</scene_description> <character>LEIA</character> <dialogue>My! Why, you stuck up,. half - witted. scruffy - looking. nerf - herder!</dialogue> <character>HAN</character> <dialogue>Who's scruffy - looking?</dialogue> <parenthetical>( to Luke . )</parenthetical> <dialogue>I must have hit pretty close to the mark to get her all riled up like that, huh, kid?</dialogue> <scene_description>Leia looks vulnerable for a moment , then the mask falls again , and she focuses on Luke .</scene_description> <character>LEIA</character> <dialogue>Why, I guess you do n't know everything about women yet?</dialogue> <scene_description>With that she leans over and kisses Luke on the lips . Then she turns on her heel and walks out , leaving everyone in the room slightly dumbstruck . With some smugness , Luke puts his hands behind his head and grins . Suddenly , in the distance , the muffled sound of an alarm is heard .</scene_description> <character>ANNOUNCER</character> <parenthetical>( over loudspeaker . )</parenthetical> <dialogue>Headquarters personnel, report to command center.</dialogue> <scene_description>The voice repeats the order and Han , Chewie , Artoo , and Threepio hurry out of the room , bidding farewell to Luke .</scene_description> <character>HAN</character> <dialogue>Take it easy.</dialogue> <character>THREEPIO</character> <dialogue>Excuse us, please.</dialogue> </scene> <scene> <stage_direction>INT. HOTH - REBEL BASE - COMMAND CENTER</stage_direction> <scene_description>Rieekan looks up grimly from a console screen . He calls over to Leia and Han .</scene_description> <character>RIEEKAN</character> <dialogue>Princess. we have a visitor.</dialogue> <scene_description>The group hurries over to Rieekan .</scene_description> <character>RIEEKAN</character> <dialogue>We've picked up something outside the base in zone twelve, moving east.</dialogue> <character>SENIOR CONTROLLER</character> <dialogue>It's metal.</dialogue> <character>LEIA</character> <dialogue>Then it could n't be one of those creatures that attacked Luke.</dialogue> <character>HAN</character> <dialogue>It could be a speeder, one of ours.</dialogue> <character>SENIOR CONTROLLER</character> <dialogue>No. Wait - there's something very weak coming through.</dialogue> <scene_description>Threepio steps up to the control panel and listens intently to the strange signal .</scene_description> <character>THREEPIO</character> <dialogue>Sir, I am fluent in six million forms of communication. This signal is not used by the Alliance. It could be an Imperial code.</dialogue> <scene_description>The transmission ends in static .</scene_description> <character>HAN</character> <dialogue>It is n't friendly, whatever it is. Come on, Chewie, let's check it out.</dialogue> <character>RIEEKAN</character> <dialogue>Send Rogues Ten and Eleven to station three - eight.</dialogue> </scene> <scene> <stage_direction>EXT. HOTH - SNOW PLAIN - DAY</stage_direction> <scene_description>The dark probe robot moves past the smoldering ruins of station three - eight and down a ridge toward the Rebel base . It raises a large antenna from the top of its head and begins to send out a piercing signal . The probe droid has spotted Chewbacca who , not thirty feet away , has popped his head over a snow bank . Instantly , the probe robot swings around , its deadly ray ready to fire . But before it can get a shot off , it is hit from behind by a laser bolt , and explodes in a million pieces . Han Solo replaces his blaster in its holster and peers intently at the smoldering remains of the Imperial probe .</scene_description> </scene> <scene> <stage_direction>INT. HOTH - REBEL BASE - COMMAND CENTER</stage_direction> <scene_description>Leia and Rieekan listen to Han on the comlink .</scene_description> <character>HAN</character> <parenthetical>( over comlink . )</parenthetical> <dialogue>Afraid there's not much left.</dialogue> <character>LEIA</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>What was it?</dialogue> <character>HAN</character> <parenthetical>( over comlink . )</parenthetical> <dialogue>Droid of some kind. I did n't hit it that hard. It must have had a self - destruct.</dialogue> <character>LEIA</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>An Imperial probe droid.</dialogue> <character>HAN</character> <parenthetical>( over comlink . )</parenthetical> <dialogue>It's a good bet the Empire knows we're here.</dialogue> <character>RIEEKAN</character> <dialogue>We'd better start the evacuation.</dialogue> </scene> <scene> <stage_direction>EXT. SPACE - IMPERIAL FLEET</stage_direction> <scene_description>Darth Vader 's Star Destroyer , larger and more awesome than the five Imperial Star Destroyers that surround it , sits in the vastness of space . The six huge ships are surrounded by a convoy of smaller spacecraft . TIE fighters dart to and fro .</scene_description> </scene> <scene> <stage_direction>INT. DARTH VADER'S STAR DESTROYER - BRIDGE - MAIN CONTROL DECK</stage_direction> <scene_description>Controllers working the vast complex of electronic controls hear ominous approaching footsteps and look up from their controls . The squat , evil - looking Admiral Ozzel and the young , powerfully built General Veers , who have been conferring near the front , also feel the approaching presence and turn toward it . Darth Vader , Lord of the Sith , enters like a chill wind . As Vader moves across the wide bridge , Captain Piett hurries up to Ozzel .</scene_description> <character>PIETT</character> <dialogue>Admiral.</dialogue> <character>OZZEL</character> <dialogue>Yes, Captain</dialogue> <character>PIETT</character> <dialogue>I think we've got something, sir. The report is only a fragment from a probe droid in the Hoth system, but it's the best lead we've had.</dialogue> <character>OZZEL</character> <parenthetical>( irritated . )</parenthetical> <dialogue>We have thousands of probe droids searching the galaxy. I want proof, not leads!</dialogue> <character>PIETT</character> <dialogue>The visuals indicate life readings.</dialogue> <character>OZZEL</character> <dialogue>It could mean anything. If we followed every lead.</dialogue> <character>PIETT</character> <dialogue>But, sir, the Hoth system is supposed to be devoid of human forms.</dialogue> <scene_description>Vader moves to a large screen showing an image of the Rebel snow base . Rebel speeders can be seen approaching the base in the distance .</scene_description> <character>VADER</character> <dialogue>You found something?</dialogue> <character>PIETT</character> <dialogue>Yes, my lord.</dialogue> <character>VADER</character> <parenthetical>( studying the image on the console screen . )</parenthetical> <dialogue>That's it. The Rebels are there.</dialogue> <character>OZZEL</character> <dialogue>My lord, there are so many uncharted settlements. It could be smugglers, it could be.</dialogue> <character>VADER</character> <dialogue>That is the system. And I'm sure Skywalker is with them. Set your course for the Hoth system. General Veers, prepare you men.</dialogue> </scene> <scene> <stage_direction>INT. HOTH - REBEL BASE - TRANSPORT BAY</stage_direction> <scene_description>A captain issues instructions to two of his men at the entrance to the main transport bay . Several Rebel transports behind them are being loaded by men carrying heavy boxes and moving quickly , but not in panic .</scene_description> <character>REBEL CAPTAIN</character> <dialogue>Groups seven and ten will stay behind to fly the speeders. As soon as each transport is loaded, evacuation control will give clearance for immediate launch.</dialogue> <character>REBEL FIGHTER</character> <dialogue>Right, sir.</dialogue> </scene> <scene> <stage_direction>INT. HOTH - REBEL BASE - MAIN HANGAR DECK</stage_direction> <scene_description>Alarms sound . Troops , ground crews , and droids rush to their alert stations . Armored snowspeeders are lined up in attack formation near the main entrance . In the midst of all this activity , Han does some frantic welding on the lifters of the Millennium Falcon . Han finishes his work and hops down to the hangar floor . He pulls out his comlink , all the while eyeing problematic lifters .</scene_description> <character>HAN</character> <parenthetical>( into comlink , to Chewie . )</parenthetical> <dialogue>Okay, that's it. Try it. Off! Turn it off! Turn it off! Off!</dialogue> <scene_description>Smoke rises from a minor explosion on the lifter . Exasperated , Han surveys the new damage .</scene_description> </scene> <scene> <stage_direction>INT. REBEL BASE - MEDICAL CENTER</stage_direction> <scene_description>Luke dresses in readiness for the evacuation as his attending medical droid stands by .</scene_description> <character>MEDICAL DROID</character> <dialogue>Sir, it will take quite a while to evacuate the T - forty - sevens.</dialogue> <character>LUKE</character> <dialogue>Well, forget the heavy equipment. There's plenty of time to get the smaller modules on the transports.</dialogue> <character>MEDICAL DROID</character> <dialogue>Take care, sir.</dialogue> <character>LUKE</character> <dialogue>Thanks.</dialogue> </scene> <scene> <stage_direction>INT. REBEL BASE - MAIN HANGAR DECK</stage_direction> <scene_description>Pilots , gunners , and R2 units scurry about . Luke , pulling on his heavy - weather jacket , is headed toward a row of armored speeders . He stops at the rear of the Millennium Falcon , where Han and Chewie are trying to repair the right lifter with even more haste than before .</scene_description> <character>LUKE</character> <dialogue>Chewie, take care of yourself, okay?</dialogue> <scene_description>As Luke pats Chewie on the arm , Chewie puts his arms around Luke and gives him a tight hug . Han is discussing the lifter with a repair droid when he sees Luke .</scene_description> <character>HAN</character> <dialogue>Hi, kid.</dialogue> <parenthetical>( to droid . )</parenthetical> <dialogue>There's got to be a reason for it. Check it at the other end. Wait a second.</dialogue> <parenthetical>( to Luke . )</parenthetical> <dialogue>You all right?</dialogue> <character>LUKE</character> <dialogue>Yeah.</dialogue> <character>HAN</character> <dialogue>Be careful.</dialogue> <character>LUKE</character> <dialogue>You, too.</dialogue> <scene_description>Luke smiles , then waves at his friend and walks on . After a few steps , he stops and looks back . Han glances up and the two exchange a silent communication , each wishing the other safety , happiness - many things , all difficult to verbalize .</scene_description> </scene> <scene> <stage_direction>INT. REBEL BASE - CONTROL ROOM.</stage_direction> <scene_description>Alarms sound throughout the hidden Rebel base . In the control room , a controller urgently gestures for General Rieekan to check a computer scan .</scene_description> <character>CONTROLLER</character> <dialogue>General, there's a fleet of Star Destroyers coming out of hyperspace in sector four.</dialogue> <character>RIEEKAN</character> <dialogue>Reroute all power to the energy shield. We've got to hold them till all transports are away. Prepare for ground assault.</dialogue> <scene_description>Rieekan exits hurriedly .</scene_description> </scene> <scene> <stage_direction>INT. VADER'S STAR DESTROYER - VADER'S CHAMBER - MEDITATION CUBICLE</stage_direction> <scene_description>The dark cubicle is illuminated by a single shaft of light which falls on the brooding Dark Lord as he sits on a raised meditation cube . General Veers enters the room and approaches the silent , unmoving Vader . Although seemingly very sure of himself , Veers is still not bold enough to interrupt the meditating lord . The younger general stands quietly at attention until the evil presence speaks .</scene_description> <character>VADER</character> <dialogue>What is it, General?</dialogue> <character>VEERS</character> <dialogue>My lord, the fleet has moves out of light - speed. Com - Scan has detected an energy field protecting an area around the sixth planet of the Hoth system. The field is strong enough to deflect any bombardment.</dialogue> <character>VADER</character> <parenthetical>( angrily . )</parenthetical> <dialogue>The Rebels are alerted to our presence. Admiral Ozzel came out of light - speed too close to the system.</dialogue> <character>VEERS</character> <dialogue>He felt surprise was wiser.</dialogue> <character>VADER</character> <dialogue>He is as clumsy as he is stupid. General, prepare your troops for a surface attack.</dialogue> <character>VEERS</character> <dialogue>Yes, my lord.</dialogue> <scene_description>Veers turns smartly and leaves as Vader activates a large viewscreen showing the bridge of his mighty ship . Admiral Ozzel appears on the viewscreen , standing slightly in front of Captain Piett .</scene_description> <character>OZZEL</character> <dialogue>Lord Vader, the fleet has moved out of light - speed, and we're preparing to. Aaagh!</dialogue> <character>VADER</character> <dialogue>You have failed me for the last time, Admiral. Captain Piett.</dialogue> <scene_description>Piett steps forward , as the admiral moves away , slightly confused , touching his throat as it begins to constrict painfully .</scene_description> <character>PIETT</character> <dialogue>Yes, my lord.</dialogue> <character>VADER</character> <dialogue /> <scene_description>Make ready to land out troops beyond the energy shield and deploy the fleet so that nothing gets off that system . You are in command now , Admiral Piett .</scene_description> <character>PIETT</character> <dialogue>Thank you, Lord Vader.</dialogue> <scene_description>Piett 's pleasure about his unexpected promotion is not an unmixed emotion . He glances warily at the struggling Admiral Ozzel who , with a final choke , stumbles and falls in a lifeless heap before him .</scene_description> </scene> <scene> <stage_direction>INT. REBEL BASE - MAIN HANGAR DECK</stage_direction> <scene_description>With a sense of urgency , Leia quickly briefs a group of pilots gathered in the center of the hangar .</scene_description> <character>LEIA</character> <dialogue>All troop carriers will assemble at the north entrance. The heavy transport ships will leave as soon as they're loaded. Only two fighter escorts per ship. The energy shield can only be opened for a short time, so you'll have to stay very close to your transports.</dialogue> <character>HOBBIE</character> <dialogue>Two fighters against a Star Destroyer?</dialogue> <character>LEIA</character> <dialogue>The ion cannon will fire several shots to make sure that any enemy ships will be out of your flight path. When you've gotten past the energy shield, proceed directly to the rendezvous point. Understood?</dialogue> <character>PILOTS</character> <parenthetical>( in unison . )</parenthetical> <dialogue>Right. Okay.</dialogue> <character>LEIA</character> <dialogue>Good luck.</dialogue> <character>DERLIN</character> <dialogue>Okay. Everyone to your stations. Let's go!</dialogue> <scene_description>The pilots hurry away .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - ICE PLAIN - SNOW TRENCH - DAY</stage_direction> <scene_description>Rebel troops carry heavy bazooka - type weapons and position them along the snow trench . Men hurriedly respond to their officers ' yelled orders and brace themselves against the rhythmic gusts of bitter - cold wind . Other troops load power packs into a gun turret and swing its guns into position .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - ICE PLAIN - POWER GENERATORS</stage_direction> <scene_description>Near the base power generators , troops rush to set up their heavy battle equipment . Buzzing loudly , the generators send along , sparking fingers of energy into the bitter Hoth wind .</scene_description> </scene> <scene> <stage_direction>INT. REBEL BASE - COMMAND CENTER</stage_direction> <scene_description>The long line of Rebel controllers is tense , as are Princess Leia and General Rieekan , who are trying very hard not to show any fear .</scene_description> <character>RIEEKAN</character> <dialogue>Their primary target will be the power generators. Prepare to open the shield.</dialogue> </scene> <scene> <stage_direction>EXT. ICE PLAIN</stage_direction> <scene_description>The Rebel transport and two escort fighters begin their departure from the ice planet .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - IMPERIAL STAR DESTROYER</stage_direction> <scene_description>A huge Imperial Star Destroyer rest against a sea of stars , far above the white surface of the planet Hoth .</scene_description> </scene> <scene> <stage_direction>INT. IMPERIAL STAR DESTROYER - BRIDGE</stage_direction> <scene_description>An Imperial controller approaches his commander .</scene_description> <character>CONTROLLER</character> <dialogue>Sir, Rebel ships are coming into our sector.</dialogue> <character>CAPTAIN</character> <dialogue>Good. Our first catch of the day.</dialogue> </scene> <scene> <stage_direction>INT. REBEL BASE - COMMAND CENTER</stage_direction> <character>WOMAN CONTROLLER</character> <dialogue>Stand by, ion control. Fire!</dialogue> </scene> <scene> <stage_direction>EXT. REBEL BASE ICE CAVE - ION CANNON</stage_direction> <scene_description>The giant ball - shaped ion cannon rotates into position and blasts two red energy beams skyward .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - HOTH - REBEL TRANSPORT</stage_direction> <scene_description>The Rebel transport and its escort race away from the white planet , closely followed by the two red energy beams . As the Rebel transport races toward the waiting Imperial Star Destroyer , it is overtaken by the two scarlet energy bolts . The Imperial Star Destroyer is hit in the conning tower by the powerful bolts , which set up fiery explosions on its metal hull . The big Star Destroyer veers , then spins wildly out of control . As the Imperial ship careers into deep space , the Rebel transport races away to safety .</scene_description> </scene> <scene> <stage_direction>INT. REBEL BASE - MAIN HANGAR DECK</stage_direction> <scene_description>Pilots , gunners , and troopers hurry to their stations and their vehicles .</scene_description> <character>ANNOUNCER</character> <parenthetical>( over loudspeaker . )</parenthetical> <dialogue>The first transport is away.</dialogue> <scene_description>Everyone cheers at the announcement , which echoes through the hangar . Luke turns and walks on , heading toward his snowspeeder . His gunner , Dack , a fresh - faced , eager kid , is glad to see him . They climb in .</scene_description> <character>DACK</character> <dialogue>Feeling all right, sir?</dialogue> <character>LUKE</character> <dialogue>Just like new, Dack. How about you?</dialogue> <character>DACK</character> <dialogue>Right now I feel like I could take on the whole Empire myself.</dialogue> <character>LUKE</character> <parenthetical>( quietly , strapping in . )</parenthetical> <dialogue>I know what you mean.</dialogue> </scene> <scene> <stage_direction>EXT. HOTH - ICE PLAIN</stage_direction> <scene_description>A thin horizon line cuts across the bleak landscape . Small dot - size objects begin to appear on the horizon , moving in the direction of the Rebel base .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - ICE PLAIN - SNOW TRENCH</stage_direction> <scene_description>A Rebel officer lifts a pair of electrobinoculars to his eyes . Through the lens he sees a very close view of a giant Imperial snow walker . He adjusts the view which then zooms back to reveal three more of the ominous battle machines . Small flashes of yellow fire billow from the guns of the lumbering snow walkers . The officer lowers his binoculars as the regular rhythmic pounding begins to make the ground vibrate . The pounding grows louder and is accompanied by a high - pitched , metallic rattling . The officer speaks into his comlink .</scene_description> <character>TRENCH OFFICER</character> <dialogue>Echo Station Three - T - Eight.</dialogue> </scene> <scene> <stage_direction>INT. REBEL BASE - CORRIDOR</stage_direction> <scene_description>Pilots and gunners race to their waiting snowspeeders . Ice and snow begin falling from the walls of the corridor , shaken by the pounding Imperial snow walker as they draw ever nearer .</scene_description> <character>TRENCH OFFICER</character> <parenthetical>( over comlink . )</parenthetical> <dialogue>We have spotted Imperial walkers!</dialogue> <character>CONTROLLER</character> <dialogue /> <scene_description>Imperial walkers on the north ridge .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - ICE PLAIN - SNOW TRENCH</stage_direction> <scene_description>The Rebel troops aim their weapons at the horizon as explosions erupt all around them . They are nervous and their grip on their weapons tightens from the cold and from fear . Behind the troops a dozen snowspeeders race through the sky .</scene_description> </scene> <scene> <stage_direction>INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT</stage_direction> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Echo station Five - Seven. We're on our way.</dialogue> </scene> <scene> <stage_direction>EXT. HOTH - ICE PLAIN - BATTLEFIELD</stage_direction> <scene_description>The fleet of snowspeeders races above the ice field at full throttle . They accelerate away from the base and head toward the distant walkers .</scene_description> </scene> <scene> <stage_direction>INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT</stage_direction> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>All right, boys, keep tight now.</dialogue> <character>DACK</character> <dialogue>Luke, I have no approach vector. I'm not set.</dialogue> <character>LUKE</character> <dialogue>Steady, Dack. Attack pattern delta. Go now!</dialogue> </scene> <scene> <stage_direction>EXT. HOTH - ICE PLAIN - BATTLEFIELD</stage_direction> <scene_description>The cannons mounted on the walker head fire at the speeders . Other walkers loom in the background . Two speeders race away past two of the enormous walkers and bank to the right .</scene_description> </scene> <scene> <stage_direction>INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT</stage_direction> <character>LUKE</character> <dialogue>All right, I'm coming in.</dialogue> <scene_description>He turns his speeder and heads directly at one of the walkers , flying toward its towering legs . The horizon twists as the speeder banks between the legs .</scene_description> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Hobbie, you still with me?</dialogue> </scene> <scene> <stage_direction>EXT. HOTH - ICE PLAIN - BATTLEFIELD</stage_direction> <scene_description>Two speeders race directly at the head of a walker , then split and fly past it . Three other walkers march onward , firing all cannons .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - ICE PLAIN - SNOWTRENCH</stage_direction> <scene_description>Rebel troops fire on the approaching walkers , as the snow and ice explode all around them .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - ICE PLAIN - BATTLEFIELD</stage_direction> <scene_description>A speeder banks through and away from the legs of a walker . Two other speeders pass the first speeder from the opposite direction . Other Rebel craft race just above the icy plain . A giant walker head swivels and fires , striking a snowspeeder and sending it crashing in a ball of flames .</scene_description> </scene> <scene> <stage_direction>INT. IMPERIAL SNOW WALKER - COCKPIT</stage_direction> <scene_description>General Veers and two walker pilots keep a careful eye on the racing Rebel snowspeeders as they maneuver their lumbering war machine forward . Luke 's speeder banks in from the side of Veers 's walker and heads straight for its viewport , blasting away . An explosion hits the walker window , but dissipates , doing no harm . The speeder roars up and over the impregnable war machine .</scene_description> </scene> <scene> <stage_direction>INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT</stage_direction> <scene_description>Luke looks back at the walker as it grows smaller in the distance .</scene_description> <character>LUKE</character> <dialogue>That armor's too strong for blasters.</dialogue> <scene_description>On the horizon , another walker moves up past Luke 's cockpit window , twisting out of sight as Luke banks and starts another run .</scene_description> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Rogue Group, use your harpoons and tow cables. Go for the legs. It might be our only chance of stopping them.</dialogue> <parenthetical>( to Dack . )</parenthetical> <dialogue>All right, stand by, Dack.</dialogue> <scene_description>Dack is at the gunner 's controls .</scene_description> <character>DACK</character> <dialogue>Luke, we've got a malfunction in fire control. I'll have to cut in the auxiliary.</dialogue> <character>LUKE</character> <dialogue>Just hang on. Hang on, Dack. Get ready to fire that tow cable.</dialogue> <scene_description>Barely keeping his seat in the tumbling ship , Dack struggles to set up his harpoon gun . Luke swings his speeder around and heads toward an oncoming walker . Laser bolts and flak fill the air , creating a deadly obstacle course for the tiny craft .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - ICE PLAIN - BATTLEFIELD</stage_direction> <scene_description>Rogue Leader and another snowspeeder fly in tight formation toward the walker as explosions burst all around them .</scene_description> </scene> <scene> <stage_direction>INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT</stage_direction> <scene_description>After sustaining a heavy volley of fire , Luke turns around to see if Dack is all right .</scene_description> <character>LUKE</character> <dialogue>Dack? Dack!</dialogue> <scene_description>Dack is lost . Blood streams down his forehead , which rests on his smoldering controls . Out the back window , an Imperial walker recedes in the distance .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - ICE PLAIN - SNOW TRENCH AREA</stage_direction> <scene_description>Rebel troops fire the dishlike ray gun while explosions erupt around them .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - ICE PLAIN - BATTLEFIELD</stage_direction> <scene_description>Two walkers lumber toward the Rebel base as a speeder between them explodes in a ball of flames .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - ICE PLAIN - SNOW TRENCH</stage_direction> <scene_description>The dislike ray gun is hit by a laser bolt and instantly explodes .</scene_description> </scene> <scene> <stage_direction>INT. IMPERIAL SNOW WALKER - COCKPIT</stage_direction> <scene_description>Through the cockpit window , Veers and his pilot can see the Rebel power generators in the distance . A hologram of Darth Vader appears on a control panel screen .</scene_description> <character>VEERS</character> <dialogue>Yes, Lord Vader. I've reached the main power generator. The shield will be down in moments. You may start your landing.</dialogue> </scene> <scene> <stage_direction>INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT</stage_direction> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Rogue Three.</dialogue> </scene> <scene> <stage_direction>INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT</stage_direction> <character>WEDGE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Copy, Rogue Leader</dialogue> <character>LUKE</character> <parenthetical>( over comlink . )</parenthetical> <dialogue>Wedge, I've lost my gunner. You'll have to make this shot. I'll cover for you. Set your harpoon. Follow me on the next pass.</dialogue> <character>WEDGE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Coming around, Rogue Leader.</dialogue> </scene> <scene> <stage_direction>INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT</stage_direction> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Steady, Rogue Two</dialogue> </scene> <scene> <stage_direction>EXT. HOTH - BATTLEFIELD</stage_direction> <scene_description>Wedge 's speeder races through the legs of one of the monstrous walkers .</scene_description> </scene> <scene> <stage_direction>INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT</stage_direction> <character>WEDGE</character> <parenthetical>( to gunner . )</parenthetical> <dialogue>Activate harpoon.</dialogue> <scene_description>Wedge 's gunner reaches for a firing switch to activate the harpoon . The harpoon flashes out , and speeds toward the receding legs of the walker .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - BATTLEFIELD</stage_direction> <scene_description>The harpoon hurtles toward the walker , In an instant it is embedded in one of the walker 's legs .</scene_description> </scene> <scene> <stage_direction>INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT</stage_direction> <character>WEDGE</character> <parenthetical>( to gunner . )</parenthetical> <dialogue>Good shot, Janson.</dialogue> </scene> <scene> <stage_direction>EXT. HOTH - BATTLEFIELD</stage_direction> <scene_description>The speeder Rogue Three races around one of the giant walker 's feet , trailing the cable behind it . Continuing around the back foot , Rogue Three then circles the walker around the tail end .</scene_description> </scene> <scene> <stage_direction>INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT</stage_direction> <scene_description>Wedge checks his controls and banks around the front of the walker .</scene_description> <character>WEDGE</character> <dialogue>One more pass.</dialogue> <character>JANSON</character> <dialogue>Coming around. Once more.</dialogue> </scene> <scene> <stage_direction>EXT. HOTH - BATTLEFIELD</stage_direction> <scene_description>The speeder sweeps left to right in front of the giant legs , towing the cable behind it .</scene_description> </scene> <scene> <stage_direction>INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT</stage_direction> <character>JANSON</character> <dialogue>Once more.</dialogue> <scene_description>Wedge swings the speeder between the legs of the giant walker .</scene_description> <character>JANSON</character> <dialogue>Cable out! Let her go!</dialogue> <character>WEDGE</character> <dialogue>Detach cable.</dialogue> </scene> <scene> <stage_direction>EXT. WEDGE'S SNOWSPEEDER, ROGUE THREE</stage_direction> <scene_description>The cable release on the back of the speeder snaps loose and the cable drops away .</scene_description> </scene> <scene> <stage_direction>INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT</stage_direction> <character>JANSON</character> <dialogue>Cable detached.</dialogue> </scene> <scene> <stage_direction>EXT. HOTH - BATTLEFIELD</stage_direction> <scene_description>The speeder zooms away into the distance . The tangled legs of the enormous war machine attempt a step , but as they do the giant Imperial walker begins to topple . It teeters for a moment , and then crashes onto the icy ground , sending snow and metal pieces flying .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - ICE PLAIN - SNOW TRENCH</stage_direction> <scene_description>The troops in the trenches cheer at the sight of the crashing walker . An officer gives a signal to his men and Rebel troops charge the fallen war machine .</scene_description> <character>TRENCH OFFICER</character> <dialogue>Come on!</dialogue> <scene_description>The troops run toward the downed walker , followed by two Rebel speeders flying overhead . Just as they reach the walker , it explodes , the impact throwing some of the men onto the frozen ground .</scene_description> </scene> <scene> <stage_direction>INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT</stage_direction> <scene_description>Wedge lets out a triumphant yell , banking his speeder away from the fallen walker .</scene_description> <character>WEDGE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Whooha! That got him!</dialogue> </scene> <scene> <stage_direction>INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT</stage_direction> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>I see it, Wedge. Good work.</dialogue> </scene> <scene> <stage_direction>INT. REBEL BASE - COMMAND CENTER</stage_direction> <scene_description>Large chunks of ice tumble into the command center as Leia and General Rieekan monitor computer screens .</scene_description> <character>RIEEKAN</character> <dialogue>I do n't think we can protect two transports at a time.</dialogue> <character>LEIA</character> <dialogue>It's risky, but we ca n't hold out much longer. We have no choice.</dialogue> <character>RIEEKAN</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Launch patrols.</dialogue> <character>LEIA</character> <parenthetical>( to an aide . )</parenthetical> <dialogue>Evacuate remaining ground staff.</dialogue> </scene> <scene> <stage_direction>INT. REBEL BASE - MAIN HANGAR</stage_direction> <scene_description>Muffled distant explosions create widening cracks in the ice roof of the hangar . Trying to ignore the noise and falling bits of snow , Han works on one of the Falcon 's lifters while Chewie works on one of the wings . Noticing Chewie attach a wrong part , Han grows impatient .</scene_description> <character>HAN</character> <dialogue>No, no! No! This one goes there, that one goes there. Right?</dialogue> <scene_description>In another area of the hangar , Threepio watches as Artoo is raised up into Luke 's X - wing fighter .</scene_description> <character>THREEPIO</character> <dialogue>Artoo, you take good care of Master Luke now, understand? And. do take good care of yourself. Oh, dear, oh, dear.</dialogue> </scene> <scene> <stage_direction>EXT. HOTH - BATTLEFIELD</stage_direction> <scene_description>The fierce battle on the vast snow plains of Hoth rages on . The Imperial walkers continue their slow , steady assault on the Rebel base , firing lasers as they lumber ever onward . In the snow trench , Rebel troops fire large bazookalike guns and dishlike ray guns as explosions erupt around them . A gun tower is hit by a laser bolt and instantly explodes . Another blast destroys a ray gun .</scene_description> </scene> <scene> <stage_direction>INT. IMPERIAL SNOW WALKER - COCKPIT</stage_direction> <scene_description>General Veers studies various readouts on his control panel .</scene_description> <character>VEERS</character> <dialogue>All troops will debark for ground assault. Prepare to target the main generator.</dialogue> </scene> <scene> <stage_direction>EXT. HOTH - BATTLEFIELD</stage_direction> <scene_description>Luke 's speeder and Rogue Two fly in formation , banking from right to left and flying above the erupting battlefield . Flak bursts all around them .</scene_description> </scene> <scene> <stage_direction>INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT</stage_direction> <scene_description>Luke , glancing over , sees Rogue Two on his left . His ship shudders as flak bursts nearby .</scene_description> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Rogue Two, are you all right?</dialogue> </scene> <scene> <stage_direction>INT. ZEV'S SNOWSPEEDER, ROGUE TWO - COCKPIT</stage_direction> <character>ZEV</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Yeah. I'm with you, Rogue Leader.</dialogue> </scene> <scene> <stage_direction>INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT</stage_direction> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>We'll set harpoon. I'll cover for you.</dialogue> </scene> <scene> <stage_direction>EXT. HOTH - BATTLEFIELD</stage_direction> <scene_description>The two speeders race across the horizon toward the giant walkers .</scene_description> </scene> <scene> <stage_direction>INT. ZEV'S SNOWSPEEDER, ROGUE TWO - COCKPIT</stage_direction> <character>ZEV</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Coming around.</dialogue> </scene> <scene> <stage_direction>INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT</stage_direction> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Watch that cross fire, boys.</dialogue> </scene> <scene> <stage_direction>INT. ZEV'S SNOWSPEEDER, ROGUE TWO - COCKPIT</stage_direction> <character>ZEV</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Set for position three.</dialogue> <parenthetical>( to gunner . )</parenthetical> <dialogue>Steady.</dialogue> <character>LUKE</character> <parenthetical>( over comlink . )</parenthetical> <dialogue>Stay tight and low.</dialogue> </scene> <scene> <stage_direction>EXT. ZEV'S SNOWSPEEDER, ROGUE TWO</stage_direction> <scene_description>Luke 's speeder moves in formation with Rogue Two , when suddenly Zev 's speeder is hit by a laser bolt . His ship bucks violently under the impact and the cockpit explodes in a ball of flame . Spewing smoke , the speeder hurtles toward a looming walker . Before they collide . Rogue Two explodes in a million flaming pieces .</scene_description> </scene> <scene> <stage_direction>INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT</stage_direction> <scene_description>Desperately , Luke works the controls of his flak - buffeted ship . Suddenly , the speeder is rocked by a huge explosion . Luke struggles with the controls with a look of terror on his face . The speeder fills with smoke , and electrical sparks jump about the cockpit .</scene_description> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Hobbie, I've been hit!</dialogue> </scene> <scene> <stage_direction>INT. REBEL BASE - COMMAND CENTER</stage_direction> <scene_description>Apart from the distant thunder of laser blasts , the corridor is strangely quiet and empty . Running footsteps echo through the freezing hallway , then Han appears . Cracks have appeared in some of the walls and some pipes have broken , sending hot steam billowing into the underground hallways . Han hurries into the command center . It is a shambles , but some people are still at their posts . As he enters , a gigantic cave - in almost obliterates the room . He finds Leia and Threepio near one of the control boards .</scene_description> <character>HAN</character> <dialogue>You all right?</dialogue> <scene_description>Leia nods . She is surprised to see him .</scene_description> <character>LEIA</character> <dialogue>Why are you still here?</dialogue> <character>HAN</character> <dialogue>I heard the command center had been hit.</dialogue> <character>LEIA</character> <dialogue>You got your clearance to leave.</dialogue> <character>HAN</character> <dialogue>Do n't worry. I'll leave. First I'm going to get you to your ship.</dialogue> <character>THREEPIO</character> <dialogue>Your Highness, we must take this last transport. It's our only hope.</dialogue> <character>LEIA</character> <parenthetical>( to controller . )</parenthetical> <dialogue>Send all troops in sector twelve to the south slope to protect the fighters.</dialogue> <scene_description>A blast rocks the command center , throwing Threepio backward into Han 's arms .</scene_description> <character>ANNOUNCER</character> <parenthetical>( over loudspeaker . )</parenthetical> <dialogue>Imperial troops have entered the base.</dialogue> <character>HAN</character> <dialogue>Come on. that's it.</dialogue> <character>LEIA</character> <parenthetical>( to head controller . )</parenthetical> <dialogue>Give the evacuation code signal. And get to your transports!</dialogue> <scene_description>Leia looks exhausted . Han grabs her and starts to lead her out . As Han , Leia , and Threepio run out of the command center , the code signal can be heard echoing off the corridor walls .</scene_description> <character>HEAD CONTROLLER</character> <dialogue>K - one - zero. all troops disengage.</dialogue> <character>THREEPIO</character> <parenthetical>( to Han and Leia . )</parenthetical> <dialogue>Oh! Wait for me!</dialogue> </scene> <scene> <stage_direction>EXT. BATTLEFIELD - SNOW TRENCH</stage_direction> <scene_description>Rebel troops retreat under the awesome Imperial onslaught .</scene_description> <character>OFFICER</character> <dialogue>Begin retreat!</dialogue> <character>SECOND OFFICER</character> <dialogue>Fall back!</dialogue> <scene_description>Troops flee from the battle , the ground exploding around them .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - BATTLEFIELD</stage_direction> <scene_description>Three of the giant walkers , firing lasers , advance toward the Rebel headquarters .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - SNOW TRENCH</stage_direction> <scene_description>Continuing their retreat , the Rebels see the walkers looming ever nearer .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - BATTLEFIELD - ICE PLAIN</stage_direction> <scene_description>On the battlefield , Luke watches as a walker foot rises and moves over him . He looks up at the underbelly of the huge walker , passing overhead . Running beneath the monstrous machine , Luke fires his harpoon gun at the walker 's underside . A thin cable follows the projectile from the gun . The magnetic head and cable attach firmly to the metal hull . Still running under the walker , Luke attaches the cable drum to his belt buckle . Soon he is pulled up the cable and hangs dangling underneath the walker . The walker 's giant feet continue to pound onward across the frozen snow . Stray laser bolts whistle by Luke as he climbs up the cable to the walker 's hull , reaching a small hatch . Hanging precariously , Luke cuts the solid metal hatch with his laser sword . He takes a landmine from around his neck and throws it inside the Imperial machine . Quickly , Luke starts down the cable and crashes onto the icy ground far below . He lies unconscious as a giant rear leg passes by - and just misses him . The giant walker stops in mid - step . A muffled explosion comes from within - and then the walker 's mechanical insides are spewed out every conceivable opening . The machine sits dead in its tracks , smoking like a locomotive on stilts .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - BATTLEFIELD</stage_direction> <scene_description>Veers 's walker continues to advance toward the Rebel base . The smoldering walker that Luke exploded stands smoking just to the right of Veers 's path .</scene_description> </scene> <scene> <stage_direction>INT. IMPERIAL SNOW WALKER - COCKPIT</stage_direction> <scene_description>Inside his walker , General Veers prepares to fire on the Rebel power generators .</scene_description> <character>VEERS</character> <dialogue>Distance to power generators?</dialogue> <character>PILOT</character> <dialogue>One - seven, decimal two - eight.</dialogue> <scene_description>Veers reaches for the electrorangefinder and lines up the main generator .</scene_description> <character>VEERS</character> <dialogue>Target. Maximum fire power.</dialogue> </scene> <scene> <stage_direction>EXT. HOTH - BATTLEFIELD</stage_direction> <scene_description>The Rebel troops continue their desperate retreat , pushed back by the relentless Imperial assault .</scene_description> </scene> <scene> <stage_direction>INT. HOTH - REBEL BASE - ICE CORRIDORS</stage_direction> <scene_description>With Threepio lagging behind , Han and Leia race through the crumbling ice corridors . Suddenly , there is an explosion . Han turns , grabs the princess , and pulls her to the wall as a tremendous cave - in blacks their path . He takes the comlink from his pocket .</scene_description> <character>HAN</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Transport, this is Solo. Better take off - I ca n't get to you. I'll get the princess out on the Falcon.</dialogue> <scene_description>Han and Leia turn and race down the corridor .</scene_description> <character>THREEPIO</character> <dialogue>But. but. but. where are you going? Uh. come back!</dialogue> </scene> <scene> <stage_direction>INT. HOTH - REBEL BASE - COMMAND CENTER</stage_direction> <scene_description>Imperial troops have reached the base . As they push through the blocked passageway , Darth Vader strides behind them .</scene_description> </scene> <scene> <stage_direction>INT. HOTH - REBEL BASE - ICE CORRIDOR</stage_direction> <scene_description>Han and Leia run toward the entrance of the main hangar where the Millennium Falcon is docked . Threepio still lags behind .</scene_description> <character>THREEPIO</character> <dialogue>Wait! Wait for me! Wait! Stop!</dialogue> <scene_description>The door to the hangar closes in his face .</scene_description> <character>THREEPIO</character> <parenthetical>( exasperated . )</parenthetical> <dialogue>How typical.</dialogue> <scene_description>Quickly , the door reopens as Han reaches out and pulls the golden droid through .</scene_description> <character>HAN</character> <dialogue>Come on.</dialogue> </scene> <scene> <stage_direction>INT. HOTH - REBEL BASE - MAIN HANGAR</stage_direction> <scene_description>Chewie paces under the shelter of the Millennium Falcon 's landing gear . The giant Wookiee pats the underbelly of his beloved ship and barks a few reassuring words . As he searches worriedly for his captain , something at last catches his eye . Chewie lets out a relieved shriek at seeing Han and Leia running toward the ship . The Wookiee runs out into the falling ice , lets out a howl , then runs up the ship 's ramp . Han and Leia run up the ramp after him , closely followed by Threepio .</scene_description> <character>HAN</character> <dialogue>Hurry up, goldenrod, or you're going to be a permanent resident!</dialogue> <character>THREEPIO</character> <dialogue>Wait! Wait!</dialogue> </scene> <scene> <stage_direction>INT. HOTH - REBEL BASE - ICE CORRIDOR</stage_direction> <scene_description>Imperial troops run through the base corridors . Vader surveys the place . A huge chunk falls , almost hitting him , but he calmly , purposefully , continues around it .</scene_description> </scene> <scene> <stage_direction>INT. REBEL BASE - MAIN HANGER - MILLENNIUM FALCON</stage_direction> <scene_description>A distant , huge , explosion rocks the hangar deck . Ice cakes come crashing down on the Millennium Falcon .</scene_description> </scene> <scene> <stage_direction>INT. MAIN HANGAR - MILLENNIUM FALCON - MAIN HOLD</stage_direction> <scene_description>Han , standing before a control panel , is busy flipping switches as Chewie watches a troublesome gauge . A worried Leia observes their efforts .</scene_description> <character>HAN</character> <parenthetical>( to Chewie . )</parenthetical> <dialogue>How's this?</dialogue> <scene_description>The Wookiee barks a negative reply .</scene_description> <character>LEIA</character> <dialogue>Would it helped if I got out and pushed?</dialogue> <character>HAN</character> <dialogue>It might.</dialogue> <scene_description>Threepio clanks into the hold .</scene_description> <character>THREEPIO</character> <dialogue>Captain Solo, Captain Solo. sir, might I suggest that you.</dialogue> <scene_description>Han gives the gold robot a devastating look .</scene_description> <character>THREEPIO</character> <dialogue>It can wait.</dialogue> </scene> <scene> <stage_direction>INT. MAIN HANGAR - MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>They move to the cockpit where Han flips some more switches . Leia watches him , impatient , disbelieving .</scene_description> <character>LEIA</character> <dialogue>This bucket of bolts is never going to get us past that blockade.</dialogue> <character>HAN</character> <dialogue>This baby's got a few surprises left in her, sweetheart.</dialogue> <scene_description>Han and Leia look out the cockpit window and see a squad of stormtroopers rushing into the far side of the hangar . Quickly , Han straps himself into the pilot 's seat and Leia into the navigator 's chair .</scene_description> </scene> <scene> <stage_direction>INT. HOTH - REBEL BASE - MAIN HANGAR</stage_direction> <scene_description>Stormtroopers hurriedly set up a large bazookalike weapon . Behind them the giant hangar doors open slowly .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN HANGAR - MILLENNIUM FALCON</stage_direction> <scene_description>A laser gun appears on the Falcon and swings around to aim at the Imperial troops . The stormtroopers , preparing to fire their bazooka cannon , are hit by the Falcon 's fire and are thrown about in all directions .</scene_description> </scene> <scene> <stage_direction>INT. MAIN HANGAR - MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>Chewie rushes into the cockpit .</scene_description> <character>HAN</character> <dialogue>Come on! Come on! Switch over. Let's hope we do n't have a burnout.</dialogue> <scene_description>A laser hits the window near Chewie as he is settling into his chair . Letting out a loud whelp , Chewie quickly pulls back on the controls and the first stage of engine fire can be heard . Han flashes a big grin at Leia .</scene_description> <character>HAN</character> <dialogue>See?</dialogue> <character>LEIA</character> <dialogue>Someday you're going to be wrong, and I hope I'm there to see it.</dialogue> <scene_description>Han looks at Chewie .</scene_description> <character>HAN</character> <dialogue>Punch it!</dialogue> <scene_description>The roar of the Falcon 's main engines blasts out everything as the ice - cave wall rushes by outside the cockpit window .</scene_description> </scene> <scene> <stage_direction>INT. REBEL BASE - MAIN HANGAR</stage_direction> <scene_description>More stormtroopers run into the hangar , closely followed by Vader . Hearing the loud roar of the Millennium Falcon 's engines , Vader looks toward the main hangar doors just in time to see the Falcon lift up and disappear outside the cave .</scene_description> </scene> <scene> <stage_direction>EXT. HOTH - ICE SLOPE - DAY</stage_direction> <scene_description>Luke and two other pilots look up as the Millennium Falcon races above them , flying very close to the ground . The three pilots turn then , and trudge onward toward their X - wing fighters , each going to his own ship . Luke waves farewell , then heads toward his own fighter . Artoo , seated on his cubbyhole , chirps an excited greeting as Luke climbs aboard the spacecraft .</scene_description> <character>LUKE</character> <dialogue>Artoo! Get her ready for takeoff.</dialogue> <scene_description>From his ship , Luke sees Wedge in his own X - wing , preparing for takeoff .</scene_description> <character>WEDGE</character> <dialogue>Good luck, Luke. See you at the rendezvous.</dialogue> <scene_description>Luke smiles and nods at Wedge , then lowers himself into the cockpit of his X - wing while Artoo waits in the cubbyhole , beeping impatiently .</scene_description> <character>LUKE</character> <dialogue>Do n't worry, Artoo. We're going, we're going.</dialogue> <scene_description>The canopy over the X - wing lowers and snaps shut .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - LUKE'S X-WING</stage_direction> <scene_description>Luke 's fighter , its wings closed , speeds away from the icy planet . Soon it disappears into the stars .</scene_description> </scene> <scene> <stage_direction>INT. LUKE'S X-WING - COCKPIT</stage_direction> <scene_description>Luke , looking thoughtful , suddenly makes a decision . He flips several switches . The stars shift as he takes his fighter into a steep turn . The X - wing banks sharply and flies away in a new direction . The monitor screen on Luke 's control panel prints out a question from the concerned Artoo .</scene_description> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>There's nothing wrong, Artoo. I'm just setting a new course.</dialogue> <scene_description>Artoo beeps once again .</scene_description> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>We're not going to regroup with the others.</dialogue> <scene_description>Artoo begins a protest , whistling an unbelieving , `` What ?! '' Luke reads Artoo 's exclamation on his control panel .</scene_description> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>We're going to the Dagobah system.</dialogue> <scene_description>Luke checks his readouts and makes a few adjustments . He rides along with only the soft hum of the instruments to break the silence . Finally , Artoo chirps up .</scene_description> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Yes, Artoo?</dialogue> <scene_description>Artoo utters a soft , carefully phrased steam of whistles .</scene_description> <character>LUKE</character> <parenthetical>( into comlink , chuckling . )</parenthetical> <dialogue>That's all right. I'd like to keep it on manual control for a while.</dialogue> <scene_description>The little droid lets out a defeated whimper . Luke smiles , and continues on his course .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - MILLENNIUM FALCON</stage_direction> <scene_description>The Millennium Falcon speeds away from Hoth , closely followed by one huge Star Destroyer and four tiny TIE fighters . As it is pursued , the Falcon races toward two very bright star - sized objects .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>Inside the cockpit , Chewie lets out a loud howl . Han checks as the ship is buffeted by exploding flak . He appears to be doing six things at once .</scene_description> <character>HAN</character> <parenthetical>( harried . )</parenthetical> <dialogue>I saw them! I saw them!</dialogue> <character>LEIA</character> <dialogue>Saw what?</dialogue> <character>HAN</character> <dialogue>Star Destroyers, two of them, coming right at us.</dialogue> <scene_description>Threepio bumps and bangs his way into the cockpit .</scene_description> <character>THREEPIO</character> <dialogue>Sir, sir! Might I suggest.</dialogue> <character>HAN</character> <parenthetical>( to Leia . )</parenthetical> <dialogue>Shut him up or shut him down!</dialogue> <parenthetical>( to Chewie . )</parenthetical> <dialogue>Check the deflector shield!</dialogue> <scene_description>Chewie barks a reply as he readjusts an overhead switch .</scene_description> <character>HAN</character> <dialogue>Oh, great. Well, we can still outmaneuver them.</dialogue> </scene> <scene> <stage_direction>EXT. SPACE - MILLENNIUM FALCON - STAR DESTROYERS</stage_direction> <scene_description>The Millennium Falcon races toward one of the huge oncoming Star Destroyers . Suddenly , the Falcon starts into a deep dive straight down , closely followed by four TIE fighters . The underside of the Star Destroyer continues on a collision course with two oncoming Star Destroyers . Slowly , it starts to veer to the left .</scene_description> </scene> <scene> <stage_direction>INT. STAR DESTROYER - BRIDGE</stage_direction> <scene_description>Out the front window , the two approaching Star Destroyers can be seen veering to the left .</scene_description> <character>IMPERIAL OFFICER</character> <dialogue>Take evasive action!</dialogue> <scene_description>Alarms sound all over the huge ship . The two other Star Destroyers get closer , one of them moving over the bridge so close that it makes brushing contact with it .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - MILLENNIUM FALCON - TIE FIGHTERS</stage_direction> <scene_description>The Millennium Falcon races away from the colliding Star Destroyers , still followed by four TIE fighters . Laser bolts spark the pitch - black skies .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>Things have calmed down a bit , but the race is n't over yet . Chewie barks at Han . Leia is still trying to recover from the steep dive . The ship is buffeted by laser blasts .</scene_description> <character>HAN</character> <dialogue>Prepare to make the jump to light - speed.</dialogue> <character>THREEPIO</character> <dialogue>But, sir!</dialogue> <scene_description>The buffeting of lasers becomes louder and stronger .</scene_description> <character>LEIA</character> <dialogue>They're getting closer!</dialogue> <character>HAN</character> <parenthetical>( with a gleam in his eye . )</parenthetical> <dialogue>Oh yeah? Watch this.</dialogue> <scene_description>Expectantly , they look out the cockpit window as stars do not go into hyperspace , but just sit there . Han and Chewie look at each other and are thrown into an acute state of concern .</scene_description> <character>LEIA</character> <dialogue>Watch what?</dialogue> <scene_description>Han tries again . Still nothing .</scene_description> <character>HAN</character> <dialogue>I think we're in trouble.</dialogue> <character>THREEPIO</character> <dialogue>If I may say so, sir, I noticed earlier that the hyperdrive motivator has been damaged. It's impossible to go to light - speed!</dialogue> <character>HAN</character> <dialogue>We're in trouble!</dialogue> <scene_description>The explosions become heavier .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - MILLENNIUM FALCON - TIE FIGHTERS - STAR DESTROYER</stage_direction> <scene_description>The Falcon races into the starry vastness , followed by the four Imperial TIE fighters and an Imperial Star Destroyer .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>Stars race by as flak bursts outside the Falcon 's window .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - HOLD</stage_direction> <scene_description>Han works furiously at some control panels while giving various orders to Chewie .</scene_description> <character>HAN</character> <dialogue>Horizontal boosters!</dialogue> <parenthetical>( Chewie barks . )</parenthetical> <dialogue>Alluvial dampers! Well that's not it.</dialogue> <parenthetical>( Chewie barks . )</parenthetical> <dialogue>Bring me the hydrospanners!</dialogue> <scene_description>Chewie hurries over to the pit and places the tools on the edge .</scene_description> <character>HAN</character> <dialogue>I do n't know how we're going to get out of this one.</dialogue> <scene_description>Suddenly , a loud thump hits the side of the Falcon , causing it to lurch radically . Chewie barks . The tools fall into the pit on top of Han .</scene_description> <character>HAN</character> <dialogue>Oww! Chewie!</dialogue> <scene_description>More turbulence rocks the ship .</scene_description> <character>HAN</character> <dialogue>That was no laser blast! Something hit us.</dialogue> <character>LEIA</character> <parenthetical>( over comlink . )</parenthetical> <dialogue>Han, get up here!</dialogue> <character>HAN</character> <dialogue>Come on, Chewie!</dialogue> <scene_description>Han climbs out of the hold like a shot . Both he and Chewie run out of the hold and toward the cockpit .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>Out the front cockpit window , they see hundreds of asteroids racing by .</scene_description> <character>LEIA</character> <dialogue>Asteroids!</dialogue> <scene_description>Han changes places with Leia who has been at the controls , and Chewie gets into his chair . Han works his controls as a chunk of rock crosses in front of the ship .</scene_description> <character>HAN</character> <dialogue>Oh, no! Chewie, set two - seven - one.</dialogue> <character>LEIA</character> <dialogue>What are you doing? You're not actually going into an asteroid field?</dialogue> <character>HAN</character> <dialogue>They'd be crazy to follow us, would n't they?</dialogue> <scene_description>Another asteroid thumps against the ship and Leia winces at the jolt .</scene_description> <character>LEIA</character> <dialogue>You do n't have to do this to impress me.</dialogue> <character>THREEPIO</character> <dialogue>Sir, the possibility of successfully navigating an asteroid field is approximately three thousand, seven hundred and twenty to one.</dialogue> <character>HAN</character> <dialogue>Never tell me the odds!</dialogue> </scene> <scene> <stage_direction>EXT. ASTEROID BELT - MILLENNIUM FALCON</stage_direction> <scene_description>The Falcon turns into the asteroid storm and as the ship completes its turn , asteroids start coming straight at the cockpit windows . A large asteroid tumbles away from the Falcon 's path at top speed . Several smaller asteroids crash into the big one , creating small explosions on its surface . Other asteroids of all sizes pass by in every direction , some colliding and exploding . The tiny Millennium Falcon veers around the big asteroid and races past it through the rain of rocks , followed by four TIE fighters , which bob and weave around the asteroids . One of the pursuing TIE fighters connects with an asteroid and explodes . The other fighters are pelted with a steady stream of smaller explosions . Two huge asteroids tumble toward the Millennium Falcon , which quickly banks around both of them . The three TIE fighters follow in hot pursuit until one of the fighters scrapes an asteroid and tumbles out of control into deep space .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - STAR DESTROYER - ASTEROID BELT</stage_direction> <scene_description>The massive Star Destroyer blasts oncoming asteroids as it follows the Falcon . Smaller asteroids explode across its vast surface .</scene_description> </scene> <scene> <stage_direction>EXT. MILLENNIUM FALCON - TIE FIGHTERS - ASTEROID BELT</stage_direction> <scene_description>The Falcon twists on its side as it races around an oncoming asteroid . Two TIE fighters follow in the distance , coming from either side .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>Asteroids race by the cockpit window as Han pilots his trusty craft through the dangerous field . Looking out the cockpit window , the Falcon crew sees a big asteroid drop past the window , narrowly missing their ship . Chewie barks in terror as a slightly smaller asteroid comes especially close - to close - and bounces off the Falcon with a loud crunch . Threepio 's hands cover his eyes . He manages a short peek at the cockpit window . Princess Leia sits stone - faced , staring at the action . Han gives her a quick look .</scene_description> <character>HAN</character> <dialogue>You said you wanted to be around when I made a mistake ; well, this could be it, sweetheart.</dialogue> <character>LEIA</character> <dialogue>I take it back. We're going to get pulverized if we stay out here much longer.</dialogue> <scene_description>The group watches as more asteroids race by outside the window .</scene_description> <character>HAN</character> <dialogue>I'm not going to argue with that.</dialogue> <character>THREEPIO</character> <dialogue>Pulverized?</dialogue> <character>HAN</character> <dialogue>I'm going in closer to one of those big ones.</dialogue> <character>LEIA</character> <dialogue>Closer?</dialogue> <character>THREEPIO</character> <dialogue>Closer?!</dialogue> <scene_description>Chewbacca barks the same word , only louder .</scene_description> </scene> <scene> <stage_direction>EXT. MILLENNIUM FALCON - ASTEROID BELT</stage_direction> <scene_description>The Millennium Falcon dives toward the surface of one of the moon - sized asteroids . There is a continued display of explosions against the starry void as smaller asteroids collide with larger chunks of rock . The two remaining TIE fighters follow the Falcon to the large asteroid . The Falcon skims the surface of the giant asteroid as , all the while , small asteroids explode on the surface of the ship . The TIE fighters approach the Falcon , but a giant asteroid hurtles directly into their path . As the asteroid continues on its way , it leaves remains of the two exploded TIE fighters to tumble into deep space .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>Rattled by the violent rocking of the starship , Threepio is nearly in hysterics .</scene_description> <character>THREEPIO</character> <dialogue>Oh, this is suicide!</dialogue> <scene_description>Han notices something on his main scope and nudges his faithful Wookiee , pointing .</scene_description> <character>HAN</character> <dialogue>There. That looks pretty good.</dialogue> <character>LEIA</character> <dialogue>What looks pretty good?</dialogue> <character>HAN</character> <dialogue>Yeah. That'll do nicely.</dialogue> <character>THREEPIO</character> <parenthetical>( to Leia . )</parenthetical> <dialogue>Excuse me, ma'am, but where are we going?</dialogue> <scene_description>Out the cockpit window , they see that they are skimming the surface of the enormous asteroid and nearing a large crater .</scene_description> </scene> <scene> <stage_direction>EXT. MILLENNIUM FALCON - GIANT ASTEROID CRATER</stage_direction> <scene_description>The Millennium Falcon dives into the huge crater and disappears .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <character>LEIA</character> <dialogue>I hope you know what you're doing.</dialogue> <character>HAN</character> <dialogue>Yeah, me too.</dialogue> </scene> <scene> <stage_direction>INT. GIANT ASTEROID CRATER</stage_direction> <scene_description>The Falcon races down into the crater . The walls are barely visible as the ship speed through the tunnellike opening . A small cave appears on one side of the crater , and the Falcon turns , slows , and scoots into it .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - LUKE'S X-WING</stage_direction> <scene_description>The tiny X - wing speeds toward the cloud cover of Dagobah . Artoo , riding on the back of the fighter , turns his head back and forth with some anxiety .</scene_description> </scene> <scene> <stage_direction>INT. LUKE'S X-WING - COCKPIT</stage_direction> <scene_description>Luke watches Artoo 's words as they are translated and screened on the computer scope .</scene_description> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Yes, that's it. Dagobah.</dialogue> <scene_description>Artoo beeps a hopeful inquiry .</scene_description> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>No, I'm not going to change my mind about this.</dialogue> <parenthetical>( getting a little nervous . )</parenthetical> <dialogue>I'm not picking up any cities or technology. Massive life - form readings, though. There's something alive down there.</dialogue> <scene_description>Artoo beeps , this time a slightly worried question .</scene_description> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Yes, I'm sure it's perfectly safe for droids.</dialogue> </scene> <scene> <stage_direction>EXT. SPACE - DAGOBAH - LUKE'S X-WING</stage_direction> <scene_description>The X - wing continues its flight through the twilight above the cloud - covered planet .</scene_description> </scene> <scene> <stage_direction>INT. LUKE'S X-WING - COCKPIT</stage_direction> <scene_description>Luke sees the cloud race by as he takes his craft closer to the planet . He must operate his controls carefully since the cloud cover has completely obscured his vision . An alarm buzzes in the background , Artoo beeps and whistles frantically .</scene_description> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>I know, I know! All the scopes are dead. I ca n't see a thing! Just hang on, I'm going to start the landing cycle.</dialogue> <scene_description>The blast of the retrorockets is deafening , drowning out Artoo 's electronic squeals . Suddenly , there is a cracking sound as if limbs were being broken off trees and then a tremendous jolt as the spacecraft stops . Luke pulls a switch and his canopy pops open .</scene_description> </scene> <scene> <stage_direction>EXT. DAGOBAH - DUSK</stage_direction> <scene_description>The mist - shrouded X - wing fighter is almost invisible in the thick fog . Luke climbs out onto the long nose of the spacecraft as Artoo pops out of his cubbyhole on the back . The young warrior surveys the fog , which is barely pierced by the ship 's landing lights . About all he can make out are some giant , twisted trees nearby . Artoo whistles anxiously .</scene_description> <character>LUKE</character> <dialogue>No, Artoo, you stay put. I'll have a look around.</dialogue> <scene_description>Artoo lets out a short beep . As Luke moves along the nose , Artoo loses his balance and disappears with a splash into the boggy lake .</scene_description> <character>LUKE</character> <dialogue>Artoo?</dialogue> <scene_description>Luke kneels and leans over the plane looking for Artoo , but the water is still and reveals no sign of the little droid .</scene_description> <character>LUKE</character> <dialogue>Artoo! Where are you?</dialogue> <scene_description>A small periscope breaks the surface of the water and a gurgly beep is heard . The periscope starts to move to shore . Relieved , Luke starts running along the nose of the fighter to its tip .</scene_description> <character>LUKE</character> <dialogue>Artoo! You be more careful.</dialogue> <scene_description>The outline of the shore is now more than ten feet away . Luke jumps off the plane into the water , scrambles up to the shore , and turns to look for Artoo . The periscope still steadily moves toward shore .</scene_description> <character>LUKE</character> <dialogue>Artoo - that way!</dialogue> <scene_description>Suddenly , through the thick fog layer , a dark shape appears , moving toward the little droid . The dark , sinuous bog beast dives beneath the swampy water , making a loud clunk against Artoo 's metal hull . The droid disappears from sight , uttering a pathetic electronic scream . Holding his ignited lightsaber before him , Luke wades a few feet into the murky pool , looking for any sign of his little friend .</scene_description> <character>LUKE</character> <dialogue>Artoo!</dialogue> <scene_description>The black surface is still as death itself . until a few bubbles begin to appear . Then , phheewaat ! The runt - size robot is spit out of the water , makes a graceful arc , and comes crashing down into a patch of soft gray moss .</scene_description> <character>LUKE</character> <dialogue>Oh, no! Are you all right? Come on. You're lucky you do n't taste very good. Anything broken?</dialogue> <scene_description>Luke helps Artoo to his feet and begins wiping the mud and roots from his round metal body . Artoo responds with feeble , soggy beeps .</scene_description> <character>LUKE</character> <dialogue>If you're saying coming here was a bad idea, I'm beginning to agree with you. Oh, Artoo, what are we doing here? It's like. something out of a dream, or, I do n't know. Maybe I'm just going crazy.</dialogue> <scene_description>As Luke glances around at the spooky swamp jungle that surrounds him , Artoo ejects a stream of muddy water from one of his cranial ports .</scene_description> </scene> <scene> <stage_direction>EXT. VADER'S STAR DESTROYER - VADER'S CHAMBER</stage_direction> <scene_description>Admiral Piett hesitates in the entryway to Vader 's private cubicle . After a moment , he steps into the room and pauses at the surprising sight before him . Darth Vader , his back turned , is silhouetted in the gloom on the far side of the chamber . A black , insectlike droid attends him . Among the various apparatuses surrounding them , a respirator tube now retracts from Vader 's uncovered head . The head is bald with a mass of ugly scar tissue covering it . The black droid then lowers the mask and helmet onto Vader 's head . When it is in place , the Dark Lord turns to face Piett .</scene_description> <character>VADER</character> <dialogue>Yes, Admiral?</dialogue> <character>PIETT</character> <dialogue /> <scene_description>Our ships have sighted the Millennium Falcon , lord . But . it has entered an asteroid field and we can not risk .</scene_description> <character>VADER</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Asteroids do not concern me, Admiral. I want that ship and not excuses.</dialogue> <character>PIETT</character> <dialogue>Yes, lord.</dialogue> </scene> <scene> <stage_direction>EXT. ASTEROID CAVE - MILLENNIUM FALCON</stage_direction> <scene_description>The pirate starship rests in a dark , dripping asteroid cave . It is so dark that the cave 's exact dimensions are impossible to determine .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>Han and Chewie busily shut down the engine and all electronic systems . Threepio and Leia watch worriedly .</scene_description> <character>HAN</character> <dialogue>I'm going to shut down everything but the emergency power systems.</dialogue> <character>THREEPIO</character> <dialogue>Sir, I'm almost afraid to ask, but. does that include shutting me down, too?</dialogue> <scene_description>Chewie barks `` yes '' . But Han thinks otherwise .</scene_description> <character>HAN</character> <dialogue>No, I need you to talk to the Falcon, find out what's wrong with the hyperdrive.</dialogue> <scene_description>Suddenly , the ship lurches , causing all the loose items in the cockpit to go flying . Chewie howls .</scene_description> <character>THREEPIO</character> <dialogue>Sir, it's quite possible this asteroid is not entirely stable.</dialogue> <character>HAN</character> <dialogue>Not entirely stable? I'm glad you're here to tell us these things. Chewie, take the professor in the back and plug him into the hyperdrive.</dialogue> <character>THREEPIO</character> <dialogue>Oh! Sometimes I just do n't understand human behavior. After all, I'm only trying to do my job in the most.</dialogue> <scene_description>The sliding door closes behind the indignant Threepio as Chewie and he move back to the hold . Suddenly , the ship lurches again , throwing Leia across the cabin into Han 's arms . Then , abruptly , the motion stops as suddenly as it started . With some surprise , Han and Leia realize they are in each other 's arms .</scene_description> <character>LEIA</character> <dialogue>Let go.</dialogue> <character>HAN</character> <dialogue>Sshh!</dialogue> <character>LEIA</character> <dialogue>Let go, please.</dialogue> <scene_description>Leia flushes , averting her eyes . She 's not exactly fighting to get free . But , of course , Han blows it .</scene_description> <character>HAN</character> <dialogue>Do n't get excited.</dialogue> <scene_description>The anger rises in Leia .</scene_description> <character>LEIA</character> <dialogue>Captain, being held by you is n't quite enough to get me excited.</dialogue> <character>HAN</character> <dialogue>Sorry, sweetheart. We have n't got time for anything else.</dialogue> <scene_description>Han grins quickly wickedly at Leia as he turns and exits through the door . Leia 's confused emotions show clearly on her lovely face .</scene_description> </scene> <scene> <stage_direction>EXT. DAGOBAH - BOG CLEARING - DUSK</stage_direction> <scene_description>The mist has dispersed a bit , but it is still a very gloomy - looking swamp . Luke pulls an equipment box from the shore to the clearing . He ignites a little fusion furnace and warms his hands before it . Taking a power cable , he plugs it into Artoo 's noselike socket .</scene_description> <character>LUKE</character> <dialogue>Ready for some power? Okay. Let's see now. Put that in there. There you go.</dialogue> <scene_description>The droid whistles his appreciation . Luke then opens a container of processed food and sits before the thermal heater .</scene_description> <character>LUKE</character> <parenthetical>( sighs . )</parenthetical> <dialogue>Now all I have to do is find this Yoda. if he even exists.</dialogue> <scene_description>Nervously , he looks around at the foreboding jungle .</scene_description> <character>LUKE</character> <dialogue>Still. there's something familiar about this place. I feel like. I do n't know.</dialogue> <character>STRANGE VOICE</character> <dialogue>Feel like what?</dialogue> <scene_description>Luke jumps out of his skin . Artoo screeches in terror . The young warrior grabs for his lightsaber as he spins around , looking for the speaker . Mysteriously standing right in front of Luke is a strange , bluish creature , not more than two feet tall . The wizened little thing is dressed in rags . It motions toward Luke 's sword .</scene_description> <character>LUKE</character> <parenthetical>( looking at the creature . )</parenthetical> <dialogue>Like we're being watched!</dialogue> <character>CREATURE</character> <dialogue>Away with your weapon! I mean you no harm.</dialogue> <scene_description>After some hesitation , Luke puts away his weapon , although he really does n't understand why . Artoo watches with interest .</scene_description> <character>CREATURE</character> <dialogue>I am wondering, why are you here?</dialogue> <character>LUKE</character> <dialogue>I'm looking for someone.</dialogue> <character>CREATURE</character> <dialogue>Looking? Found someone, you have, I would say, hmmm?</dialogue> <scene_description>The little creature laughs .</scene_description> <character>LUKE</character> <parenthetical>( Trying to keep from smiling . )</parenthetical> <dialogue>Right.</dialogue> <character>CREATURE</character> <dialogue>Help you I can. Yes, mmmm.</dialogue> <character>LUKE</character> <dialogue>I do n't think so. I'm looking for a great warrior.</dialogue> <character>CREATURE</character> <dialogue>Ahhh! A great warrior.</dialogue> <parenthetical>( laughs and shakes his head . )</parenthetical> <dialogue>Wars not make one great.</dialogue> <scene_description>With the aid of a walking stick , the tiny stranger moves over to one of the cases of supplies . He begins to rummage around . Artoo moves to the edge of the case - standing almost eye level to the creature who is carelessly handling the supplies - and squeaks his disapproval . Their tiny visitor pick up the container of food Luke was eating from and takes a bite .</scene_description> <character>LUKE</character> <dialogue>Put that down. Hey! That's my dinner!</dialogue> <scene_description>The creature spits out the bite he has taken . He makes a face .</scene_description> <character>CREATURE</character> <dialogue>How you get so big, eating food of this kind?</dialogue> <scene_description>He flips the container in Luke 's direction and reaches into one of Luke 's supply cases .</scene_description> <character>LUKE</character> <dialogue>Listen, friend, we did n't mean to land in that puddle, and if we could get our ship out, we would, but we ca n't, so why do n't you just.</dialogue> <character>CREATURE</character> <parenthetical>( teasing . )</parenthetical> <dialogue>Aww, can not get your ship out?</dialogue> <scene_description>The creature spots something of interest in Luke 's case . Luke loses patience and grabs the case away . The creature retains his prize - a tiny power lamp - and examines it with delight .</scene_description> <character>LUKE</character> <dialogue>Hey, you could have broken this. Do n't do that. Ohhh. you're making a mess. Hey, give me that!</dialogue> <character>CREATURE</character> <parenthetical>( retreating with the lamp . )</parenthetical> <dialogue>Mine! Or I will help you not.</dialogue> <scene_description>Clutching its treasure , the creature backs away from Luke , drawing closer to Artoo . As Luke and the creature argue , one of Artoo 's little arms slowly moves out toward the power lamp , completely unnoticed by the creature .</scene_description> <character>LUKE</character> <dialogue>I do n't want your help. I want my lamp back. I'll need it to get out of this slimy mudhole.</dialogue> <character>CREATURE</character> <dialogue>Mudhole? Slimy? My home this is.</dialogue> <scene_description>Artoo grabs hold of the lamp and the two little figures are immediately engaged in a tug - of - war over it . Artoo beeps a few angry , `` Give me thats . ''</scene_description> <character>CREATURE</character> <dialogue>Ah, ah, ah!</dialogue> <character>LUKE</character> <dialogue>Oh, Artoo, let him have it!</dialogue> <character>CREATURE</character> <dialogue>Mine! Mine!</dialogue> <character>LUKE</character> <dialogue>Artoo!</dialogue> <character>CREATURE</character> <dialogue>Mine!</dialogue> <scene_description>The creature lets go with one hand and pokes Artoo lightly with one finger . Artoo reacts with a startled squeal , and lets go .</scene_description> <character>CREATURE</character> <dialogue>Mine!</dialogue> <character>LUKE</character> <parenthetical>( fed up . )</parenthetical> <dialogue>Now will you move along, little fella? We're got a lot of work to do.</dialogue> <character>CREATURE</character> <dialogue>No! No, no! Stay and help you, I will.</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>Find your friend, hmm?</dialogue> <character>LUKE</character> <dialogue>I'm not looking for a friend. I'm looking for a Jedi Master.</dialogue> <character>CREATURE</character> <dialogue>Oohhh. Jedi Master. Yoda. You seek Yoda.</dialogue> <character>LUKE</character> <dialogue>You know him?</dialogue> <character>CREATURE</character> <dialogue>Mmm. Take you to him, I will.</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>Yes, yes. But now, we must eat. Come. Good food. Come.</dialogue> <scene_description>With that , the creature scurries out of the clearing , laughing merrily . Luke stares after him . All he sees is the faint light from the small power lamp moving through the fog . Luke makes his decision and starts after the creature .</scene_description> <character>CREATURE</character> <parenthetical>( in the distance . )</parenthetical> <dialogue>Come, come.</dialogue> <scene_description>Artoo , very upset , whistles a blue streak of protest .</scene_description> <character>LUKE</character> <dialogue>Stay here and watch after the camp, Artoo.</dialogue> <scene_description>Artoo beeps even more frantically . But as Luke disappears from view , the worried little droid grows quieter , and utters a soft electronic sigh .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - MAIN HOLD AREA</stage_direction> <scene_description>Threepio whistles and beeps a strange dialect into the control panel in front of him . The control panel whistles back a few mystifying beeps .</scene_description> <character>THREEPIO</character> <dialogue>Oh, where is Artoo when I need him?</dialogue> <scene_description>Han enters the hold area and kneels on the floor near the control box .</scene_description> <character>THREEPIO</character> <dialogue>Sir, I do n't know where your ship learned to communicate, but it has the most peculiar dialect. I believe, sir, it says that the power coupling on the negative axis has been polarized. I'm afraid you'll have to replace it.</dialogue> <character>HAN</character> <dialogue>Well, of course I'll have to replace it.</dialogue> <scene_description>He hands a wire coil up to Chewie who is working near the ceiling .</scene_description> <character>HAN</character> <dialogue>Here! And Chewie.</dialogue> <scene_description>Chewie brings his head back through the trap door in the ceiling and whines . Han glances back at Threepio , then speaks quietly to Chewie so only he can hear .</scene_description> <character>HAN</character> <parenthetical>( continuing . )</parenthetical> <dialogue>. I think we'd better replace the negative power coupling.</dialogue> <scene_description>Leia finishes welding the valves she has been working on and attempts to reengage the system by pulling a lever attached to the valve . It does n't budge . Han notices her struggle , and moves to help her . She rebuffs him .</scene_description> <character>HAN</character> <dialogue>Hey, Your Worship, I'm only trying to help.</dialogue> <character>LEIA</character> <parenthetical>( still struggling . )</parenthetical> <dialogue>Would you please stop calling me that?</dialogue> <scene_description>Han hears a new tone in her voice . He watches her pull on the lever .</scene_description> <character>HAN</character> <dialogue>Sure, Leia.</dialogue> <character>LEIA</character> <dialogue>Oh, you make it so difficult sometimes.</dialogue> <character>HAN</character> <dialogue>I do, I really do. You could be a little nicer, though.</dialogue> <parenthetical>( he watches her reaction . )</parenthetical> <dialogue>Come on, admit it. Sometimes you think I'm all right.</dialogue> <scene_description>She lets go of the lever and rubs her sore hand .</scene_description> <character>LEIA</character> <dialogue>Occasionally.</dialogue> <parenthetical>( a little smile , haltingly . )</parenthetical> <dialogue>. when you are n't acting like a scoundrel.</dialogue> <character>HAN</character> <parenthetical>( laughs . )</parenthetical> <dialogue>Scoundrel? Scoundrel? I like the sound of that.</dialogue> <scene_description>With that , Han takes her hand and starts to massage it .</scene_description> <character>LEIA</character> <dialogue>Stop that.</dialogue> <character>HAN</character> <dialogue>Stop what?</dialogue> <scene_description>Leia is flushes , confused .</scene_description> <character>LEIA</character> <dialogue>Stop that! My hands are dirty.</dialogue> <character>HAN</character> <dialogue>My hands are dirty, too. What are you afraid of?</dialogue> <character>LEIA</character> <parenthetical>( looking right into his eyes . )</parenthetical> <dialogue>Afraid?</dialogue> <scene_description>Han looks at her with a piercing look . He 's never looked more handsome , more dashing , more confident . He reaches out slowly and takes Leia 's hand again from where it is resting on a console . He draws it toward him .</scene_description> <character>HAN</character> <dialogue>You're trembling.</dialogue> <character>LEIA</character> <dialogue>I'm not trembling.</dialogue> <scene_description>Then with an irresistible combination of physical strength and emotional power , the space pirate begins to draw Leia toward him . very slowly .</scene_description> <character>HAN</character> <dialogue>You like me because I'm a scoundrel. There are n't enough scoundrels in your life.</dialogue> <scene_description>Leia is now very close to Han and as she speaks , her voice becomes an excited whisper , a tone completely in opposition to her words .</scene_description> <character>LEIA</character> <dialogue>I happen to like nice men.</dialogue> <character>HAN</character> <dialogue>I'm a nice man.</dialogue> <character>LEIA</character> <dialogue>No, you're not. You're.</dialogue> <scene_description>He kisses her now , with slow , hot lips . He takes his time , as though he had forever , bending her body backward . She has never been kissed like this before , and it almost makes her faint . When he stops , she regains her breath and tries to work up some indignation , but finds it hard to talk . Suddenly , Threepio appears in the doorway , speaking excitedly .</scene_description> <character>THREEPIO</character> <dialogue>Sir, sir! I've isolated the reverse power flux coupling.</dialogue> <scene_description>Han turns slowly , icily , from their embrace .</scene_description> <character>HAN</character> <dialogue>Thank you. Thank you very much.</dialogue> <character>THREEPIO</character> <dialogue>Oh, you're perfectly welcome, sir.</dialogue> <scene_description>The moment spoiled , Han marches out after Threepio .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - ASTEROID FIELD</stage_direction> <scene_description>The Imperial fleet moves through the asteroid - filled void , intently seeking its prey .</scene_description> </scene> <scene> <stage_direction>INT. VADER'S STAR DESTROYER - BRIDGE</stage_direction> <scene_description>Asteroids collide , creating a fireworks display outside the bridge window . Darth Vader stands , staring out the window above the control deck . Then slowly turns toward the bridge . Before him are the hologram images of twenty battleship commanders . One of these images , the commander of a ship that has just exploded , is fading away quickly . Another image , in the center and a little apart from the others , is faded and continually disrupted by static . It is the image of Captain Needa , commander of the Star Destroyer most hotly on the tail of the Millennium Falcon . Admiral Piett and an aide stand behind the Dark Lord .</scene_description> <character>NEEDA</character> <parenthetical>( in hologram . )</parenthetical> <dialogue>. and that, Lord Vader, was the last time they appeared in any of our scopes. Considering the amount of damage we've sustained, they must have been destroyed.</dialogue> <character>VADER</character> <dialogue>No, Captain, they're alive. I want every ship available to sweep the asteroid field until they are found.</dialogue> <scene_description>The Imperial star captains fade out one by one as Vader turns to Admiral Piett .</scene_description> <character>PIETT</character> <dialogue /> <scene_description>Lord Vader .</scene_description> <character>VADER</character> <dialogue>Yes, Admiral, what is it?</dialogue> <scene_description>The admiral is scared , his face white as a sheet .</scene_description> <character>PIETT</character> <dialogue>The Emperor commands you make contact with him.</dialogue> <character>VADER</character> <dialogue>Move the ship out of the asteroid field so that we can send a clear transmission.</dialogue> <character>PIETT</character> <dialogue>Yes, my lord.</dialogue> </scene> <scene> <stage_direction>EXT. ASTEROID FIELD - VADER'S STAR DESTROYER</stage_direction> <scene_description>Vader 's Imperial Star Destroyer moves against the vast sea of stars away from the rest of the fleet .</scene_description> </scene> <scene> <stage_direction>INT. VADER'S STAR DESTROYER - VADER'S CHAMBER</stage_direction> <scene_description>The Dark Lord , Darth Vader , is alone in his chamber . A strange sound enters the room and a light begins to play across Vader 's black figure . He looks up and bows quickly . A twelve - foot hologram of the Galactic Emperor materializes before Vader . The Emperor 's dark robes and monk 's hood are reminiscent of the cloak worn by Ben Kenobi . His voice is even deeper and more frightening than Vader 's .</scene_description> <character>VADER</character> <dialogue>What is thy bidding, my master?</dialogue> <character>EMPEROR</character> <dialogue>There is a great disturbance in the Force.</dialogue> <character>VADER</character> <dialogue>I have felt it.</dialogue> <character>EMPEROR</character> <dialogue>We have a new enemy - Luke Skywalker.</dialogue> <character>VADER</character> <dialogue>Yes, my master.</dialogue> <character>EMPEROR</character> <dialogue>He could destroy us.</dialogue> <character>VADER</character> <dialogue>He's just a boy. Obi - Wan can no longer help him.</dialogue> <character>EMPEROR</character> <dialogue>The Force is strong with him. The son of Skywalker must not become a Jedi.</dialogue> <character>VADER</character> <dialogue>If he could be turned, he would become a powerful ally.</dialogue> <character>EMPEROR</character> <dialogue>Yes. Yes. He would be a great asset. Can it be done?</dialogue> <character>VADER</character> <dialogue>He will join us or die, my master.</dialogue> <scene_description>Vader kneels . The supreme Emperor passes a hand over the crouched Lord of the Sith and fades away .</scene_description> </scene> <scene> <stage_direction>EXT. DAGOBAH - CREATURE'S HOUSE - NIGHT</stage_direction> <scene_description>A heavy downpour of rain pounds through the gnarled trees . A strange baroque mud house sits on a moss - covered knoll on the edge of a small lagoon . The small , gnomish structure radiates a warm glow from its thick glass windows . As rain tap - dances a merry tune on Artoo 's head , the stubby little droid rises up on his tip - toes to peek into one of the glowing portals .</scene_description> </scene> <scene> <stage_direction>INT. CREATURE'S HOUSE</stage_direction> <scene_description>Artoo , peeking in the window , sees the inside of the house - a very plain , but cozy dwelling . Everything is in the same small scale as the creature . The only thing out of place in the miniature room is Luke , whose height makes the four - foot ceiling seem even lower . He sits cross - legged on the floor of the living room . The creature is in an adjoining area - his little kitchen - cooking up an incredible meal . The stove is a steaming hodgepodge of pots and pans . The wizened little host scurries about chopping this , shredding that , and showering everything with exotic herbs and spices . He rushes back and forth putting platters on the table in front of Luke , who watches the creature impatiently .</scene_description> <character>LUKE</character> <dialogue>Look, I'm sure it's delicious. I just do n't understand why we ca n't see Yoda now.</dialogue> <character>CREATURE</character> <dialogue>Patience! For the Jedi it is time to eat as well. Eat, eat. Hot. Good food, hm? Good, hmm?</dialogue> <scene_description>Moving with some difficulty in the cramped quarters , Luke sits down near the fire and serves himself from the pot . Tasting the unfamiliar concoction , he is pleasantly surprised .</scene_description> <character>LUKE</character> <dialogue>How far away is Yoda? Will it take us long to get there?</dialogue> <character>CREATURE</character> <dialogue>Not far. Yoda not far. Patience. Soon you will be with him.</dialogue> <parenthetical>( tasting food from the pot . )</parenthetical> <dialogue>Rootleaf, I cook. Why wish you become Jedi? Hm?</dialogue> <character>LUKE</character> <dialogue>Mostly because of my father, I guess.</dialogue> <character>CREATURE</character> <dialogue>Ah, your father. Powerful Jedi was he, powerful Jedi, mmm.</dialogue> <character>LUKE</character> <parenthetical>( a little angry . )</parenthetical> <dialogue>Oh, come on. How could you know my father? You do n't even know who I am.</dialogue> <parenthetical>( fed up . )</parenthetical> <dialogue>Oh, I do n't know what I'm doing here. We're wasting our time.</dialogue> <scene_description>The creature turns away from Luke and speaks to a third party .</scene_description> <character>CREATURE</character> <parenthetical>( irritated . )</parenthetical> <dialogue>I can not teach him. The boy has no patience.</dialogue> <scene_description>Luke 's head spins in the direction the creature faces . But there is no one there . The boy is bewildered , but it gradually dawns on him that the little creature is Yoda , the Jedi Master , and that he is speaking with Ben .</scene_description> <character>BEN'S VOICE</character> <dialogue>He will learn patience.</dialogue> <character>YODA</character> <dialogue>Hmmm. Much anger in him, like his father.</dialogue> <character>BEN'S VOICE</character> <dialogue>Was I any different when you taught me?</dialogue> <character>YODA</character> <dialogue>Hah. He is not ready.</dialogue> <character>LUKE</character> <dialogue>Yoda! I am ready. I. Ben! I can be a Jedi. Ben, tell him I'm ready.</dialogue> <scene_description>Trying to see Ben , Luke starts to get up but hits his head on the low ceiling .</scene_description> <character>YODA</character> <dialogue>Ready, are you? What know you of ready? For eight hundred years have I trained Jedi. My own counsel will I keep on who is to be trained! A Jedi must have the deepest commitment, the most serious mind.</dialogue> <parenthetical>( to the invisible Ben , indicating Luke . )</parenthetical> <dialogue>This one a long time have I watched. All his life has he looked away. to the future, to the horizon. Never his mind on where he was. Hmm? What he was doing. Hmph. Adventure. Heh! Excitement. Heh! A Jedi craves not these things.</dialogue> <parenthetical>( turning to Luke . )</parenthetical> <dialogue>You are reckless!</dialogue> <scene_description>Luke looks down . He knows it is true .</scene_description> <character>BEN'S VOICE</character> <dialogue>So was I, if you'll remember.</dialogue> <character>YODA</character> <dialogue>He is too old. Yes, too old to begin the training.</dialogue> <scene_description>Luke thinks he detects a subtle softening in Yoda 's voice .</scene_description> <character>LUKE</character> <dialogue>But I've learned so much.</dialogue> <scene_description>Yoda turns his piercing gaze on Luke , as though the Jedi Master 's huge eyes could somehow determine how much the boy had learned . After a long moment , the little Jedi turns toward where he alone sees Ben .</scene_description> <character>YODA</character> <parenthetical>( sighs . )</parenthetical> <dialogue>Will he finished what he begins?</dialogue> <character>LUKE</character> <dialogue>I wo n't fail you - I'm not afraid.</dialogue> <character>YODA</character> <parenthetical>( turns slowly toward him . )</parenthetical> <dialogue>Oh, you will be. You will be.</dialogue> </scene> <scene> <stage_direction>EXT. SPACE - STAR DESTROYERS - ASTEROID FIELD</stage_direction> <scene_description>The Imperial fleet around Vader 's ship is surrounded by the asteroid storm . Asteroids big and small pelt the vast exteriors of the menacing ships . One of the smaller Imperial vessels is hit by a huge asteroid and explodes in a brilliant flash of light .</scene_description> </scene> <scene> <stage_direction>INT. ASTEROID CAVE - MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>The cockpit is quiet and lit only by the indicator lights on the control panel . Princess Leia sits in the pilot 's seat . She runs her hand across the control panel as she thinks of Han and the confusion he has created within her . Suddenly , something outside the cockpit window catches her eye . The reflection of the panel lights obscures her vision until a soft suctionlike cup attaches itself to the windscreen . Leia moves closer to see what it might be . Large , yellow eyes flash open and stare back at her . Startled , she jumps back into her seat , her heart pounding . There is a scurry of feet and a loud screech , and in an instant the eyes are gone . The young princess catches her breath , jumps out of her chair , and races from the cockpit .</scene_description> </scene> <scene> <stage_direction>INT. ASTEROID CAVE - MILLENNIUM FALCON - HOLD AREA</stage_direction> <scene_description>The lights go bright for a second then out again . Threepio and Chewbacca watch as Han finishes with some wires .</scene_description> <character>THREEPIO</character> <dialogue>Sir, if I may venture an opinion.</dialogue> <character>HAN</character> <dialogue>I'm not really interested in your opinion, Threepio.</dialogue> <scene_description>Leia rushes into the cabin just as Han drops the final floor panel into place .</scene_description> <character>LEIA</character> <parenthetical>( out of breath . )</parenthetical> <dialogue>There's something out there.</dialogue> <character>HAN</character> <dialogue>Where?</dialogue> <character>LEIA</character> <dialogue>Outside, in the cave.</dialogue> <scene_description>As she speaks , there comes a sharp banging on the hull . Chewie looks up and barks anxiously .</scene_description> <character>THREEPIO</character> <dialogue>There it is. Listen! Listen!</dialogue> <character>HAN</character> <dialogue>I'm going out there.</dialogue> <character>LEIA</character> <dialogue>Are you crazy?!</dialogue> <character>HAN</character> <dialogue>I just got this bucket back together. I'm not going to let something tear it apart.</dialogue> <scene_description>He and Chewie grab their breath masks off a rack and hurry out . Leia follows .</scene_description> <character>LEIA</character> <dialogue>Then I'm going with you.</dialogue> <character>THREEPIO</character> <dialogue>I think it might be better if I stay here and guard the ship.</dialogue> <parenthetical>( hears another mysterious noise . )</parenthetical> <dialogue>Oh, no.</dialogue> </scene> <scene> <stage_direction>EXT. ASTEROID CAVE - MILLENNIUM FALCON</stage_direction> <scene_description>It is very dark inside the huge asteroid cave , too dark to see what is attacking the ship . Leia stamps her foot on the floor of the cave .</scene_description> <character>LEIA</character> <dialogue>This ground sure feels strange. It does n't feel like rock at all.</dialogue> <scene_description>Han kneels and studies the ground , then attempts to study the outline of the cave .</scene_description> <character>HAN</character> <dialogue>There's an awful lot of moisture in here.</dialogue> <character>LEIA</character> <dialogue>I do n't know. I have a bad feeling about this.</dialogue> <character>HAN</character> <dialogue>Yeah.</dialogue> <scene_description>Chewie barks through his face mask , and points toward the ship 's cockpit . A five - foot - long shape can be seen moving across the top of the Falcon . The leathery creature lets out a screech as Han blasts it with a laser bolt .</scene_description> <character>HAN</character> <parenthetical>( to Leia . )</parenthetical> <dialogue>Watch out!</dialogue> <scene_description>The black shape tumbles off the spaceship and onto the ground in front of the princess . Han bends down to investigate the dead creature .</scene_description> <character>HAN</character> <dialogue>Yeah, that's what I thought. Mynock. Chewie, check the rest of the ship, make sure there are n't any more attached. They're chewing on the power cables.</dialogue> <character>LEIA</character> <dialogue>Mynocks?</dialogue> <character>HAN</character> <dialogue>Go on inside. We'll clean them off if there are any more.</dialogue> <scene_description>Just then , a swarm of the ugly creatures swoops through the air . Leia puts her arms over her head to protect herself as she runs toward the ship . Chewie shoos another Mynock away with his blaster . Several of the batlike creatures flap their wings loudly against the cockpit window of the Falcon . Inside , Threepio shudders at their presence .</scene_description> <character>THREEPIO</character> <dialogue>Ohhh! Go away! Go away! Beastly little thing. Shoo! Shoo!</dialogue> <scene_description>Han looks around the strange , dripping cave .</scene_description> <character>HAN</character> <dialogue>Wait a minute.</dialogue> <scene_description>He unholsters his blaster and fires at the far side of the huge cave . The cavern begins to shake and the ground starts to buckle . Chewie barks and moves for the ship , followed closely by Leia and Han . The large wings of the Mynocks flap past them as they protect their faces and run up the platform .</scene_description> </scene> <scene> <stage_direction>INT. ASTEROID CAVE - MILLENNIUM FALCON - ENTRY AREA</stage_direction> <scene_description>As soon as Han and Leia are on board , Chewie closes the main hatch . The ship continues to shake and heave .</scene_description> <character>HAN</character> <dialogue>All right, Chewie, let's get out of here!</dialogue> <scene_description>The Wookiee heads for the cockpit as Han , followed by Threepio , rushes to the hold area and checks the scopes on the control panel . Leia hurries after .</scene_description> <character>LEIA</character> <dialogue>The Empire is still out there. I do n't think it's wise to.</dialogue> <scene_description>Han rushes past her and heads for the cockpit .</scene_description> <character>HAN</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>No time to discuss this in committee.</dialogue> <scene_description>And with that he is gone . The main engines of the Falcon begin to whine . Leia races after him , bouncing around in the shaking ship .</scene_description> <character>LEIA</character> <parenthetical>( angry . )</parenthetical> <dialogue>I am not a committee!</dialogue> </scene> <scene> <stage_direction>INT. ASTEROID CAVE - MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>Han is already in the pilot 's seat pulling back on the throttle . The cave - quake has greatly diminished .</scene_description> <character>LEIA</character> <dialogue>You ca n't make the jump to light - speed in this asteroid field.</dialogue> <character>HAN</character> <dialogue>Sit down, sweetheart. We're taking off!</dialogue> <scene_description>As the ship begins to move forward , Chewie barks . He notices something out the window ahead . Threepio sees it too .</scene_description> <character>THREEPIO</character> <dialogue>Look!</dialogue> <character>HAN</character> <dialogue>I see it, I see it.</dialogue> <scene_description>Suddenly , a row of jagged white stalagmites and stalactites can be seen surrounding the entrance . And as the Falcon moves forward , the entrance to the cave grows ever smaller . Han pulls hard on the throttle , sending his ship surging forward .</scene_description> <character>THREEPIO</character> <dialogue>We're doomed!</dialogue> <character>LEIA</character> <dialogue>The cave is collapsing.</dialogue> <character>HAN</character> <dialogue>This is no cave.</dialogue> <character>LEIA</character> <dialogue>What?</dialogue> <scene_description>Leia 's mouth drops open . She sees that the rocks of the cave entrance are not rocks at all , but giant teeth , quickly closing around the tiny ship . Chewie howls .</scene_description> </scene> <scene> <stage_direction>INT. SPACE SLUG MOUTH</stage_direction> <scene_description>The Millennium Falcon , zooming through the monster 's mouth , rolls on its side and barely makes it between two of the gigantic white teeth before the huge jaws slams closed .</scene_description> </scene> <scene> <stage_direction>EXT. CAVE ENTRANCE - GIANT ASTEROID</stage_direction> <scene_description>The enormous space slug moves its head out of the cave as the Falcon flies out of its mouth . The monster tilts its head , watching the starship fly away .</scene_description> </scene> <scene> <stage_direction>EXT. MILLENNIUM FALCON - GIANT ASTEROID</stage_direction> <scene_description>The Falcon races out of the asteroid crater and into the deadly rain of the asteroid storm .</scene_description> </scene> <scene> <stage_direction>EXT. DAGOBAH - DAY</stage_direction> <scene_description>With Yoda strapped to his back , Luke climbs up one of the many thick vines that grow in the swamp . Panting heavily , he continues his course - climbing , flipping through the air , jumping over roots , and racing in and out of the heavy ground fog .</scene_description> <character>YODA</character> <dialogue>Run! Yes. A Jedi's strength flows from the Force. But beware of the dark side. Anger. fear. aggression. The dark side of the Force are they. Easily they flow, quick to join you in a fight. If once you start down the dark path, forever will it dominate your destiny, consume you it will, as it did Obi - Wan's apprentice.</dialogue> <character>LUKE</character> <dialogue>Vader. Is the dark side stronger?</dialogue> <character>YODA</character> <dialogue>No. no. no. Quicker, easier, more seductive.</dialogue> <character>LUKE</character> <dialogue>But how am I to know the good side from the bad?</dialogue> <character>YODA</character> <dialogue>You will know. When you are calm, at peace. Passive. A Jedi uses the Force for knowledge and defense, never for attack.</dialogue> <character>LUKE</character> <dialogue>But tell me why I ca n't.</dialogue> <character>YODA</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>No, no, there is no why. Nothing more will I teach you today. Clear your mind of questions. Mmm. Mmmmmmmm.</dialogue> <scene_description>Artoo beeps in the distance as Luke lets Yoda down to the ground . Breathing heavily , he takes his shirt from a nearby tree branch and pulls it on . He turns to see a huge , dead , black tree , its base surrounded by a few feet of water . Giant , twisted roots form a dark and sinister cave on one side . Luke stares at the tree , trembling .</scene_description> <character>LUKE</character> <dialogue>There's something not right here.</dialogue> <scene_description>Yoda sits on a large root , poking his Gimer Stick into the dirt .</scene_description> <character>LUKE</character> <dialogue>I feel cold, death.</dialogue> <character>YODA</character> <dialogue>That place. is strong with the dark side of the Force. A domain of evil it is. In you must go.</dialogue> <character>LUKE</character> <dialogue>What's in there?</dialogue> <character>YODA</character> <dialogue>Only what you take with you.</dialogue> <scene_description>Luke looks warily between the tree and Yoda . He starts to strap on his weapon belt .</scene_description> <character>YODA</character> <dialogue>Your weapons. you will not need them.</dialogue> <scene_description>Luke gives the tree a long look , than shakes his head `` no . '' Yoda shrugs . Luke reaches up to brush aside some hanging vines and enters the tree .</scene_description> </scene> <scene> <stage_direction>INT. DAGOBAH - TREE CAVE</stage_direction> <scene_description>Luke moves into the almost total darkness of the wet and slimy cave . The youth can barely make out the edge of the passage . Holding his lit saber before him , he sees a lizard crawling up the side of the cave and a snake wrapped around the branches of a tree . Luke draws a deep breath , then pushes deeper into the cave . The space widens around him , but he feels that rather than sees it . His sword casts the only light as he peers into the darkness . It is very quiet here . Then , a loud HISS ! Darth Vader appears across the blackness , illuminated by his own just - ignited laser sword . Immediately , he charges Luke , saber held high . He is upon the youth in seconds , but Luke sidesteps perfectly and slashes at Vader with his sword . Vader is decapitated . His helmet - encased head flies from his shoulders as his body disappears into the darkness . The metallic banging of the helmet fills the cave as Vader 's head spins and bounces , smashes on the floor , and finally stops . For an instant it rests on the floor , then it cracks vertically . The black helmet and breath mask fall away to reveal . Luke 's head . Across the space , the standing Luke gasps at the sight , wide - eyed in terror . The decapitated head fades away , as in a vision .</scene_description> </scene> <scene> <stage_direction>EXT. DAGOBAH - CAVE - DUSK</stage_direction> <scene_description>Meanwhile , Yoda sits on the root , calmly leaning on his Gimer Stick .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - VADER'S STAR DESTROYER</stage_direction> <scene_description>Vader 's Imperial Star Destroyer moves through space , guarded by its convoy of TIE fighters .</scene_description> </scene> <scene> <stage_direction>INT. VADER'S STAR DESTROYER - BRIDGE - CONTROL DECK</stage_direction> <scene_description>Vader stands in the back control area of his ship 's bridge with a motley group of men and creatures . Admiral Piett and two controllers stand at the front of the bridge and watch the group with scorn .</scene_description> <character>PIETT</character> <dialogue>Bounty hunters. We do n't need that scum.</dialogue> <character>FIRST CONTROLLER</character> <dialogue>Yes, sir.</dialogue> <character>PIETT</character> <dialogue>Those Rebels wo n't escape us.</dialogue> <scene_description>A second controller interrupts .</scene_description> <character>SECOND CONTROLLER</character> <dialogue>Sir, we have a priority signal from the Star Destroyer Avenger.</dialogue> <character>PIETT</character> <dialogue>Right.</dialogue> <scene_description>The group standing before Vader is a bizarre array of galactic fortune hunters There is Bossk , a slimy , tentacled monster with two huge , bloodshot eyes in a soft baggy face ; Zuckuss and Dengar , two battle - scarred , mangy human types ; IG - 88 , a battered , tarnished chrome war droid ; and Boba Fett , a man in a weapon - covered armored space suit .</scene_description> <character>VADER</character> <dialogue>there will be a substantial reward for the one who finds the Millennium Falcon. You are free to use any methods necessary, but I want them alive. No disintegrations.</dialogue> <character>BOBA FETT</character> <dialogue>As you wish.</dialogue> <scene_description>At that moment , Admiral Piett approaches Vader in a rush of excitement .</scene_description> <character>PIETT</character> <dialogue>Lord Vader! My lord, we have them.</dialogue> </scene> <scene> <stage_direction>EXT. IMPERIAL STAR DESTROYER, AVENGER - ASTEROID BELT</stage_direction> <scene_description>The Millennium Falcon speeds through deep space , closely followed by a firing Imperial Star Destroyer . A large asteroid about the same size as the Falcon tumbles rapidly toward the starship . The tiny Falcon banks to avoid the giant asteroid as smaller rocks pelt its surface . Then the small craft roars under the asteroid which explodes harmlessly on the hull of the vast Star Destroyer .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>The ship shudders as flak explodes near the cockpit window . Threepio checks a tracking scope an the side control panel while Leia watches tensely out the window .</scene_description> <character>THREEPIO</character> <dialogue>Oh, thank goodness we're coming out of the asteroid field.</dialogue> <scene_description>Chewie barks excitedly as the rain of asteroids begins to subside . A bolt from the Star Destroyer sets up a fiery explosion on the back side of the Falcon , causing it to lurch to one side .</scene_description> </scene> <scene> <stage_direction>EXT. MILLENNIUM FALCON - STAR DESTROYER, AVENGER - ASTEROID FIELD</stage_direction> <scene_description>The Falcon is hit hard by another bolt from the Star Destroyer which creates a huge explosion near the cockpit of the smaller ship . The Falcon tilts steeply , then rights itself .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>Han corrects the angle of his ship .</scene_description> <character>HAN</character> <dialogue>Let's get out of here. Ready for light - speed? One. two. three!</dialogue> <scene_description>Han pulls back on the hyperspace throttle and - nothing happens . Flak bursts continue to rock the ship .</scene_description> <character>HAN</character> <parenthetical>( frantic . )</parenthetical> <dialogue>It's not fair!</dialogue> <scene_description>Chewie is very angry and starts to growl and bark at his friend and captain . Again , Han desperately pulls back on the throttle .</scene_description> <character>HAN</character> <dialogue>The transfer circuits are working. It's not my fault!</dialogue> <scene_description>Chewie puts his head in his hands , whining .</scene_description> <character>LEIA</character> <parenthetical>( almost expecting it . )</parenthetical> <dialogue>No light - speed?</dialogue> <character>HAN</character> <dialogue>It's not my fault.</dialogue> <character>THREEPIO</character> <dialogue>Sir, we just lost the main rear deflector shield. One more direct hit on the back quarter and we're done for.</dialogue> <scene_description>Han pauses for a moment , makes a decision , and pulls back on a lever .</scene_description> <character>HAN</character> <dialogue>Turn her around.</dialogue> <scene_description>Chewie barks in puzzlement .</scene_description> <character>HAN</character> <dialogue>I said turn her around! I'm going to put all power in the front shield.</dialogue> <character>LEIA</character> <dialogue>You're going to attack them?!</dialogue> <character>THREEPIO</character> <dialogue>Sir, the odds of surviving a direct assault on an Imperial Star Destroyer.</dialogue> <character>LEIA</character> <dialogue>Shut up!</dialogue> </scene> <scene> <stage_direction>EXT. SPACE - MILLENNIUM FALCON - ASTEROID FIELD</stage_direction> <scene_description>The Falcon banks , makes a steep , twisting turn . In the next moment it is racing toward the Star Destroyer , looking very small against the massive surface of the Imperial ship . As it moves across the surface of the Star Destroyer , the Falcon bobs and weaves to avoid the numerous flak bursts .</scene_description> </scene> <scene> <stage_direction>INT. STAR DESTROYER, AVENGER - BRIDGE</stage_direction> <scene_description>The tiny Falcon heads directly for the Avenger 's bridge . The Imperials stationed there are stunned to see the small spaceship racing low across the hull , headed directly at the huge windows of the bridge area . Alarms go off everywhere . The Destroyer 's commander , Captain Needa , can scarcely believe his eyes .</scene_description> <character>NEEDA</character> <dialogue>They're moving to attack position! Shields up!</dialogue> <scene_description>Needa and his men duck as the Falcon nears the bridge window . At the last minute , the Falcon veers off and out of sight . All is quiet .</scene_description> <character>NEEDA</character> <dialogue>Track them. They may come around for another pass.</dialogue> <character>TRACKING OFFICER</character> <dialogue>Captain Needa, the ship no longer appears on our scopes.</dialogue> <character>NEEDA</character> <dialogue>They ca n't have disappeared. No ship that small has a cloaking device.</dialogue> <character>TRACKING OFFICER</character> <dialogue>Well, there's no trace of them, sir.</dialogue> <character>COMMUNICATIONS OFFICER</character> <dialogue>Captain, Lord Vader demands an update on the pursuit.</dialogue> <character>NEEDA</character> <parenthetical>( drawing a breath . )</parenthetical> <dialogue>Get a shuttle ready. I shall assume full responsibility for losing them, and apologize to Lord Vader. Meanwhile, continue to scan the area.</dialogue> <character>COMMUNICATIONS OFFICER</character> <dialogue>Yes, Captain Needa.</dialogue> </scene> <scene> <stage_direction>EXT. DAGOBAH - BOG - DAY</stage_direction> <scene_description>Luke 's face is upside - down and showing enormous strain . He stands on his hands , with Yoda perched on his feet . Opposite Luke and Yoda are two rocks the size of bowling balls . Luke stares at the rocks and concentrates . One of the rocks lifts from the ground and floats up to rest on the other .</scene_description> <character>YODA</character> <dialogue>Use the Force. Yes.</dialogue> <scene_description>Yoda taps Luke 's leg . Quickly , Luke lifts one hand from the ground . His body wavers , but he maintains his balance . Artoo , standing nearby , is whistling and beeping frantically .</scene_description> <character>YODA</character> <dialogue>Now. the stone. Feel it.</dialogue> <scene_description>Luke concentrates on trying to lift the top rock . It rises a few feet , shaking under the strain . But , distracted by Artoo 's frantic beeping , Luke loses his balance and finally collapses . Yoda jumps clear .</scene_description> <character>YODA</character> <dialogue>Concentrate!</dialogue> <scene_description>Annoyed at the disturbance , Luke looks over at Artoo , who is rocking urgently back and forth in front of him . Artoo waddles closer to Luke , chirping wildly , then scoots over the edge of the swamp . Catching on , Luke rushes to the water 's edge . The X - wing fighter has sunk , and only the tip of its nose shows above the lake 's surface .</scene_description> <character>LUKE</character> <dialogue>Oh, no. We'll never get it out now.</dialogue> <scene_description>Yoda stamps his foot in irritation .</scene_description> <character>YODA</character> <dialogue>So certain are you. Always with you it can not be done. Hear you nothing that I say?</dialogue> <scene_description>Luke looks uncertainly out at the ship .</scene_description> <character>LUKE</character> <dialogue>Master, moving stones around is one thing. This is totally different.</dialogue> <character>YODA</character> <dialogue>No! No different! Only different in your mind. You must unlearn what you have learned.</dialogue> <character>LUKE</character> <parenthetical>( focusing , quietly . )</parenthetical> <dialogue>All right, I'll give it a try.</dialogue> <character>YODA</character> <dialogue>No! Try not. Do. Or do not. There is no try.</dialogue> <scene_description>Luke closes his eyes and concentrates on thinking the ship out . Slowly , the X - wing 's nose begins to rise above the water . It hovers for a moment and then slides back , disappearing once again .</scene_description> <character>LUKE</character> <parenthetical>( panting heavily . )</parenthetical> <dialogue>I ca n't. It's too big.</dialogue> <character>YODA</character> <dialogue>Size matters not. Look at me. Judge me by my size, do you? Hm? Mmmm.</dialogue> <scene_description>Luke shakes his head .</scene_description> <character>YODA</character> <dialogue>And well you should not. For my ally in the Force. And a powerful ally it is. Life creates it, makes it grow. Its energy surrounds us and binds us. Luminous beings are we.</dialogue> <parenthetical>( Yoda pinches Luke 's shoulder . )</parenthetical> <dialogue>. not this crude matter.</dialogue> <parenthetical>( a sweeping gesture . )</parenthetical> <dialogue>You must feel the Force around you.</dialogue> <parenthetical>( gesturing . )</parenthetical> <dialogue>Here, between you. me. the tree. the rock. everywhere! Yes, even between this land and that ship!</dialogue> <character>LUKE</character> <parenthetical>( discouraged . )</parenthetical> <dialogue>You want the impossible.</dialogue> <scene_description>Quietly Yoda turns toward the X - wing fighter . With his eyes closed and his head bowed , he raises his arm and points at the ship . Soon , the fighter rises above the water and moves forward as Artoo beeps in terror and scoots away . The entire X - wing moves majestically , surely , toward the shore . Yoda stands on a tree root and guides the fighter carefully down toward the beach . Luke stares in astonishment as the fighter settles down onto the shore . He walks toward Yoda .</scene_description> <character>LUKE</character> <dialogue>I do n't. I do n't believe it.</dialogue> <character>YODA</character> <dialogue>That is why you fail.</dialogue> <scene_description>Luke shakes his head , bewildered .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - IMPERIAL FLEET</stage_direction> <scene_description>The fleet around Vader 's Star Destroyer now includes Needa 's Star Destroyer , the Avenger .</scene_description> </scene> <scene> <stage_direction>INT. VADER'S STAR DESTROYER - BRIDGE</stage_direction> <character>VADER</character> <dialogue>Apology accepted, Captain Needa.</dialogue> <scene_description>Clutching desperately at his throat , Captain Needa slumps down , then falls over on his back , at the feet of Darth Vader . Two stormtroopers pick up the lifeless body and carry it quickly away as Admiral Piett and two of his captains hurry up to the Dark Lord .</scene_description> <character>PIETT</character> <dialogue>Lord Vader, our ships have completed their scan of the area and found nothing. If the Millennium Falcon went into light - speed, it'll be on the other side of the galaxy by now.</dialogue> <character>VADER</character> <dialogue>Alert all commands. Calculate every possible destination along their last know trajectory.</dialogue> <character>PIETT</character> <dialogue>Yes, my lord. We'll find them.</dialogue> <character>VADER</character> <dialogue>Do n't fail me again, Admiral.</dialogue> <scene_description>Vader exits as the admiral turns to an aide , a little more uneasy than when he arrived .</scene_description> <character>PIETT</character> <dialogue>Alert all commands. Deploy the fleet.</dialogue> </scene> <scene> <stage_direction>EXT. SPACE - IMPERIAL FLEET</stage_direction> <scene_description>Vader 's ship moves away , flanked by its fleet of smaller ships . the Avenger glides off into space in the opposite direction . No one on that ship or on Vader 's is aware that , clinging to the side of the Avenger , is the pirateship , the Millennium Falcon .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <character>THREEPIO</character> <dialogue>Captain Solo, this time you have gone too far.</dialogue> <parenthetical>( Chewie growls . )</parenthetical> <dialogue>No, I will not be quiet, Chewbacca. Why does n't anyone listen to me?</dialogue> <character>HAN</character> <parenthetical>( to Chewie . )</parenthetical> <dialogue>The fleet is beginning to break up. Go back and stand by the manual release for the landing claw.</dialogue> <scene_description>Chewie barks , struggles from his seat , and climbs out of the cabin .</scene_description> <character>THREEPIO</character> <dialogue>I really do n't see how that is going to help. Surrender is a perfectly acceptable alternative in extreme circumstances. The Empire may be gracious enough.</dialogue> <scene_description>Leia reaches over and shuts off Threepio , mid - sentence .</scene_description> <character>HAN</character> <dialogue>Thank you.</dialogue> <character>LEIA</character> <dialogue>What did you have in mind for your next move?</dialogue> <character>HAN</character> <dialogue>Well, if they follow standard Imperial procedure, they'll dump their garbage before they go to light - speed, then we just float away.</dialogue> <character>LEIA</character> <dialogue>With the rest of the garbage. Then what?</dialogue> <character>HAN</character> <dialogue>Then we've got to find a safe port somewhere around here. Got any ideas?</dialogue> <character>LEIA</character> <dialogue>No. Where are we?</dialogue> <character>HAN</character> <dialogue>The Anoat system.</dialogue> <character>LEIA</character> <dialogue>Anoat system. There's not much there.</dialogue> <character>HAN</character> <dialogue>No. Well, wait. This is interesting. Lando.</dialogue> <scene_description>He points to a computer mapscreen on the control panel . Leia slips out of her chair and moves next to the handsome pilot . Small light points representing several systems flash by on the computer screen .</scene_description> <character>LEIA</character> <dialogue>Lando system?</dialogue> <character>HAN</character> <dialogue>Lando's not a system, he's a man. Lando Calrissian. He's a card player, gambler, scoundrel. You'd like him.</dialogue> <character>LEIA</character> <dialogue>Thanks.</dialogue> <character>HAN</character> <dialogue>Bespin. It's pretty far, but I think we can make it.</dialogue> <character>LEIA</character> <parenthetical>( reading from the computer . )</parenthetical> <dialogue>A mining colony?</dialogue> <character>HAN</character> <dialogue>Yeah, a Tibanna gas mine. Lando conned somebody out of it. We go back a long way, Lando and me.</dialogue> <character>LEIA</character> <dialogue>Can you trust him?</dialogue> <character>HAN</character> <dialogue>No. But he has no love for the Empire, I can tell you that.</dialogue> <scene_description>Chewie barks over the intercom . Han quickly changes his readouts and stretches to look out the cockpit window .</scene_description> <character>HAN</character> <parenthetical>( into intercom . )</parenthetical> <dialogue>Here we go, Chewie. Stand by. Detach!</dialogue> <scene_description>Han leans back in his chair and gives Leia an invisible smile . She thinks for a moment , shakes her head ; a grin creeps across her face and she gives him a quick kiss .</scene_description> <character>LEIA</character> <dialogue>You do have your moments. Not many, but you have them.</dialogue> </scene> <scene> <stage_direction>EXT. SPACE - IMPERIAL STAR DESTROYER</stage_direction> <scene_description>As the Avenger Star Destroyer moves slowly into space , the hatch on its underbelly opens , sending a trail of junk behind it . Hidden among the refuse , the Falcon tumbles away . In the next moment , the Avenger roars off into hyperspace . The Falcon 's engines are ignited , and it races off into the distance . Amidst the slowly drifting junk , Boba Fett 's ship appears and moves after the Falcon .</scene_description> </scene> <scene> <stage_direction>EXT. DAGOBAH - BOG - CLEARING - DAY</stage_direction> <scene_description>In the clearing behind Yoda 's house , Luke again stands upside - down , but his face shows less strain and more concentration than before . Yoda sits on the ground below the young warrior . On the other side of the clearing , two equipment cases slowly rise into the air . Nearby Artoo watches , humming to himself , when suddenly he , too , rises into the air . His little legs kick desperately and his head turns frantically , looking for help .</scene_description> <character>YODA</character> <dialogue>Concentrate. feel the Force flow. Yes. Good. Calm, yes. Through the Force, things you will see. Other places. The future. the past. Old friends long gone.</dialogue> <scene_description>Luke suddenly becomes distressed .</scene_description> <character>LUKE</character> <dialogue>Han! Leia!</dialogue> <scene_description>The two packing boxes and Artoo fall to the ground with a crash , then Luke himself tumbles over .</scene_description> <character>YODA</character> <parenthetical>( shaking his head . )</parenthetical> <dialogue>Hmm. Control, control. You must learn control.</dialogue> <character>LUKE</character> <dialogue>I saw. I saw a city in the clouds.</dialogue> <character>YODA</character> <dialogue>Mmm. Friends you have there.</dialogue> <character>LUKE</character> <dialogue>They were in pain.</dialogue> <character>YODA</character> <dialogue /> <scene_description>It is the future you see .</scene_description> <character>LUKE</character> <dialogue>Future? Will they die?</dialogue> <scene_description>Yoda closes his eyes and lowers his head .</scene_description> <character>YODA</character> <dialogue>Difficult to see. Always in motion is the future.</dialogue> <character>LUKE</character> <dialogue>I've got to go to them.</dialogue> <character>YODA</character> <dialogue>Decide you must how to serve them best. If you leave now, help them you could. But you would destroy all for which they have fought and suffered.</dialogue> <scene_description>Luke is stopped cold by Yoda 's words . Gloom shrouds him as he nods his head sadly .</scene_description> </scene> <scene> <stage_direction>EXT. BESPIN SYSTEM - MILLENNIUM FALCON - DAWN</stage_direction> <scene_description>The powerful pirate starship blasts through space as it heads toward the soft pink planet of Bespin .</scene_description> </scene> <scene> <stage_direction>EXT. BESPIN SURFACE - MILLENNIUM FALCON</stage_direction> <scene_description>It is down on the gaseous planet . Huge billowing clouds form a canyon as the ship banks around them , heading toward the system 's Cloud City . Suddenly , two twin - pod cloud cars appear and move toward the Falcon . The cloud cars draw up alongside the starship .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>One of the cloud cars opens fire on the Falcon , its flak rocking the ship . Chewie barks his concern .</scene_description> <character>HAN</character> <parenthetical>( into transmitter . )</parenthetical> <dialogue>No, I do n't have a landing permit. I'm trying to reach Lando Calrissian.</dialogue> <scene_description>More flak bursts outside the cockpit window and rattles the ship 's interior . Leia looks worried .</scene_description> <character>HAN</character> <parenthetical>( into transmitter . )</parenthetical> <dialogue>Whoa! Wait a minute! Let me explain.</dialogue> <character>INTERCOM VOICE</character> <dialogue>You will not deviate from your present course.</dialogue> <character>THREEPIO</character> <dialogue>Rather touchy, are n't they?</dialogue> <character>LEIA</character> <dialogue>I thought you knew this person.</dialogue> <scene_description>Chewie barks and growls at his boss .</scene_description> <character>HAN</character> <parenthetical>( to Chewie . )</parenthetical> <dialogue>Well, that was a long time ago. I'm sure he's forgotten about that.</dialogue> <character>INTERCOM VOICE</character> <dialogue>Permission granted to land on Platform Three - two - seven.</dialogue> <character>HAN</character> <parenthetical>( into transmitter . )</parenthetical> <dialogue>Thank you.</dialogue> <scene_description>Angry , Han snaps off the intercom . Chewie looks at him and grunts . Han turns to the worried princess and her droid .</scene_description> <character>HAN</character> <dialogue>There's nothing to worry about. We go way back, Lando and me.</dialogue> <scene_description>Leia does n't look convinced .</scene_description> <character>LEIA</character> <dialogue>Who's worried?</dialogue> </scene> <scene> <stage_direction>EXT. CLOUD CITY - MILLENNIUM FALCON - CLOUD CARS</stage_direction> <scene_description>The clouds part to reveal a full view of the city as it bobs in and out of the cloud surface . The cloud cars and the Falcon head for the gleaming white metropolis .</scene_description> </scene> <scene> <stage_direction>EXT. CLOUD CITY - LANDING PLATFORM - MILLENNIUM FALCON</stage_direction> <scene_description>With the cloud cars still guarding it , the Falcon lands on one of the Cloud City 's platforms .</scene_description> </scene> <scene> <stage_direction>EXT. LANDING PLATFORM - DOOR OF MILLENNIUM FALCON</stage_direction> <scene_description>Han and Leia stand at the open door , armed . Behind them , Chewie , also armed , surveys the scene warily .</scene_description> <character>THREEPIO</character> <dialogue>Oh. No one to meet us.</dialogue> <character>LEIA</character> <dialogue>I do n't like this.</dialogue> <character>HAN</character> <dialogue>Well, what would you like?</dialogue> <character>THREEPIO</character> <dialogue>Well, they did let us land.</dialogue> <character>HAN</character> <dialogue>Look, do n't worry. Everything's going to be fine. Trust me.</dialogue> </scene> <scene> <stage_direction>INT. CLOUD CITY - CORRIDOR - DAY</stage_direction> <scene_description>Lando Calrissian , a suave , dashing black man in his thirties , leads a group of aides and some Cloud City guard rapidly toward the landing platform . The group , like the other citizens of the city , is a motley collection of aliens , droids , and humans of all descriptions . Lando has a grim expression on his face as he moves onto the landing platform .</scene_description> </scene> <scene> <stage_direction>EXT. LANDING PLATFORM - DOOR OF MILLENNIUM FALCON</stage_direction> <character>HAN</character> <dialogue>See? My friend.</dialogue> <parenthetical>( to Chewie . )</parenthetical> <dialogue>Keep your eyes open, okay?</dialogue> <scene_description>Chewie growls as Han walks down the ramp . Lando and his men head across the bridge to meet the space pirate .</scene_description> </scene> <scene> <stage_direction>EXT. CLOUD CITY - LANDING PLATFORM</stage_direction> <scene_description>Lando stops ten feet from Han . The two men eye each other carefully . Lando shakes his head .</scene_description> <character>LANDO</character> <dialogue>Why, you slimy, double - crossing, no - good swindler! You've got a lot of guts coming here, after what you pulled.</dialogue> <scene_description>Han points to himself innocently , mouthing , `` Me ? '' Lando moves threateningly toward Han . Suddenly , he throws his arms around his startled , long - lost friend and embraces him .</scene_description> <character>LANDO</character> <parenthetical>( laughs . )</parenthetical> <dialogue>How you doing, you old pirate? So good to see you! I never thought I'd catch up with you again. Where you been?</dialogue> <scene_description>The two old friends embrace , laughing and chuckling .</scene_description> </scene> <scene> <stage_direction>EXT. LANDING PLATFORM - DOOR OF MILLENNIUM FALCON.</stage_direction> <character>THREEPIO</character> <dialogue /> <scene_description>Well , he seems very friendly .</scene_description> <character>LEIA</character> <parenthetical>( wary . )</parenthetical> <dialogue>Yes. very friendly.</dialogue> </scene> <scene> <stage_direction>EXT. CLOUD CITY - LANDING PLATFORM</stage_direction> <character>LANDO</character> <dialogue>What are you doing here?</dialogue> <character>HAN</character> <parenthetical>( gestures toward the Falcon . )</parenthetical> <dialogue>Ahh. repairs. I thought you could help me out.</dialogue> <character>LANDO</character> <parenthetical>( in mock panic . )</parenthetical> <dialogue>What have you done to my ship?</dialogue> <character>HAN</character> <dialogue>Your ship? Hey, remember, you lost her to me fair and square.</dialogue> <scene_description>Chewie growls a reserved greeting . Lando suddenly notices the princess and smiles .</scene_description> <character>LANDO</character> <dialogue>Hello. What have we here? Welcome. I'm Lando Calrissian. I'm the administrator of this facility. And who might you be?</dialogue> <character>LEIA</character> <dialogue>Leia.</dialogue> <character>LANDO</character> <dialogue>Welcome, Leia.</dialogue> <scene_description>Lando bows before Leia and kisses her hand .</scene_description> <character>HAN</character> <dialogue>All right, all right, you old smoothie.</dialogue> <scene_description>Han takes Leia by the hand and steers her away from Lando .</scene_description> <character>THREEPIO</character> <dialogue>Hello, sir. I am See - Threepio, human - cyborg relations. My facilities are at your.</dialogue> <scene_description>Before Threepio can finish his self - introduction , Lando has turned to follow Han and Leia , who are walking toward the city .</scene_description> <character>THREEPIO</character> <dialogue>Well, really!</dialogue> <scene_description>Lando , his aide , Lobot , and Han lead the way across the bridge , followed by Threepio , Chewie and Leia .</scene_description> <character>LANDO</character> <dialogue>What's wrong with the Falcon?</dialogue> <character>HAN</character> <dialogue>Hyperdrive.</dialogue> <character>LANDO</character> <dialogue>I'll get my people to work on it.</dialogue> <character>HAN</character> <dialogue>Good.</dialogue> <scene_description>Lando turns to Leia .</scene_description> <character>LANDO</character> <dialogue>You know, that ship saved my life quite a few times. She's the fastest hunk of junk in the galaxy.</dialogue> </scene> <scene> <stage_direction>INT. CLOUD CITY - CORRIDOR</stage_direction> <scene_description>The group has crossed the narrow bridge and entered the city . They walk down the lovely Art Deco passageway , rounding several corners and passing many small plazas as they go . Threepio lags a bit behind .</scene_description> <character>HAN</character> <dialogue>How's the gas mine? Is it paying off for you?</dialogue> <character>LANDO</character> <dialogue>Oh, not as well as I'd like. We're a small outpost and not very self - sufficient. And I've had supply problems of every kind. I've had labor difficulties.</dialogue> <parenthetical>( catches Han grinning at him . )</parenthetical> <dialogue>What's so funny?</dialogue> <character>HAN</character> <dialogue>You. Listen to you - you sound like a businessman, a responsible leader. Who'd have thought that, huh?</dialogue> <scene_description>Lando is reflective . He looks at Han a moment .</scene_description> <character>LANDO</character> <dialogue>You know, seeing you sure brings back a few things.</dialogue> <character>HAN</character> <dialogue>Yeah.</dialogue> <character>LANDO</character> <parenthetical>( shakes his head . )</parenthetical> <dialogue>Yeah. I'm responsible these days. It's the price you pay for being successful.</dialogue> <scene_description>Han and Lando laugh together , and the group moves on through the corridor . The lagging Threepio passes a Threepio - type silver droid who is coming out of a door .</scene_description> <character>THREEPIO</character> <dialogue>Oh! Nice to see a familiar face.</dialogue> <character>SECOND THREEPIO</character> <parenthetical>( mumbles . )</parenthetical> <dialogue>E chu ta!</dialogue> <character>THREEPIO</character> <dialogue>How rude!</dialogue> <scene_description>Threepio stops , watching the silver droid move away . Then he hears the muffled beeping and whistling of an R2 unit coming from within the room .</scene_description> </scene> <scene> <stage_direction>INT. CLOUD CITY - ANTEROOM</stage_direction> <scene_description>Curious , Threepio enters the room .</scene_description> <character>THREEPIO</character> <dialogue>That sounds like an R2 unit in there. I wonder if.</dialogue> <scene_description>Threepio walks through the doorway to the main room . He looks in .</scene_description> <character>THREEPIO</character> <dialogue>Hello? How interesting. Oh, my.</dialogue> <character>MAN'S VOICE</character> <parenthetical>( from within . )</parenthetical> <dialogue>Who are you?</dialogue> <character>THREEPIO</character> <dialogue>Oh, I'm terribly sorry. I. I did n't mean to intrude. No, no, please do n't get up. No!</dialogue> <scene_description>A laser bolt to Threepio 's chest sends him flying in twenty directions . Smoldering mechanical arms and legs bounce off the walls as the door whooshes closed behind him .</scene_description> </scene> <scene> <stage_direction>INT. CLOUD CITY - CORRIDOR</stage_direction> <scene_description>Lando , Han , and Leia continue down the corridor unaware of Threepio 's dreadful accident . Chewbacca glances around , sniffs the air , but shrugs his shoulders and follows the group .</scene_description> </scene> <scene> <stage_direction>EXT. DAGOBAH - BOG - DUSK</stage_direction> <scene_description>In the bright lights of the fighter , Luke loads a heavy case into the belly of the ship . Artoo sits on top of the X - wing , settling down into his cubbyhole . Yoda stands nearby on a log .</scene_description> <character>YODA</character> <dialogue>Luke! You must complete the training.</dialogue> <character>LUKE</character> <dialogue>I ca n't keep the vision out of my head. They're my friends. I've got to help them.</dialogue> <character>YODA</character> <dialogue>You must not go!</dialogue> <character>LUKE</character> <dialogue>But Han and Leia will die if I do n't.</dialogue> <character>BEN'S VOICE</character> <dialogue>You do n't know that.</dialogue> <scene_description>Luke looks toward the voice in amazement . Ben has materialized as a real , slightly shimmering image near Yoda . The power of his presence stops Luke .</scene_description> <character>BEN</character> <dialogue>Even Yoda can not see their fate.</dialogue> <character>LUKE</character> <dialogue>But I can help them! I feel the Force!</dialogue> <character>BEN</character> <dialogue>But you can not control it. This is a dangerous time for you, when you will be tempted by the dark side of the Force.</dialogue> <character>YODA</character> <dialogue>Yes, yes. To Obi - Wan you listen. The cave. Remember your failure at the cave!</dialogue> <character>LUKE</character> <dialogue>But I've learned so much since then. Master Yoda, I promise to return and finish what I've begun. You have my word.</dialogue> <character>BEN</character> <dialogue>It is you and your abilities the Emperor wants. that is why your friends are made to suffer.</dialogue> <character>LUKE</character> <dialogue>And that is why I have to go.</dialogue> <character>BEN</character> <dialogue>Luke, I do n't want to lose you to the Emperor the way I lost Vader.</dialogue> <character>LUKE</character> <dialogue>You wo n't.</dialogue> <character>YODA</character> <dialogue>Stopped they must be. On this all depends. Only a fully trained Jedi Knight with the Force as his ally will conquer Vader and his Emperor. If you end your training now, if you choose the quick and easy path, as Vader did, you will become an agent of evil.</dialogue> <character>BEN</character> <dialogue>Patience.</dialogue> <character>LUKE</character> <dialogue>And sacrifice Han and Leia?</dialogue> <character>YODA</character> <dialogue>If you honor what they fight for. yes!</dialogue> <scene_description>Luke is in great anguish . He struggles with the dilemma , a battle raging in his mind .</scene_description> <character>BEN</character> <dialogue>If you choose to face Vader, you will do it alone. I can not interfere.</dialogue> <character>LUKE</character> <dialogue>I understand.</dialogue> <parenthetical>( he moves to his X - wing . )</parenthetical> <dialogue>Artoo, fire up the converters.</dialogue> <scene_description>Artoo whistles a happy reply .</scene_description> <character>BEN</character> <dialogue>Luke, do n't give in to hate - that leads to the dark side.</dialogue> <scene_description>Luke nods and climbs into his ship .</scene_description> <character>YODA</character> <dialogue>Strong is Vader. Mind what you have learned. Save you it can.</dialogue> <character>LUKE</character> <dialogue>I will. And I'll return. I promise.</dialogue> <scene_description>Artoo closes the cockpit . Ben and Yoda stand watching as the roar of the engines and the wind engulf them .</scene_description> <character>YODA</character> <parenthetical>( sighs . )</parenthetical> <dialogue>Told you, I did. Reckless is he. Now matters are worse.</dialogue> <character>BEN</character> <dialogue>That boy is our last hope.</dialogue> <character>YODA</character> <parenthetical>( looks up . )</parenthetical> <dialogue>No. There is another.</dialogue> </scene> <scene> <stage_direction>EXT. SPACE - PLANET DAGOBAH</stage_direction> <scene_description>Luke 's tiny X - wing rockets away from the green planet of Dagobah and off into space .</scene_description> </scene> <scene> <stage_direction>INT. CLOUD CITY - LIVING QUARTERS - DAY</stage_direction> <scene_description>Within the quarters assigned her on Cloud City , Leia paces in agitation . She has changed from her cold - weather pants and jacket to a lovely dress . Her hair is down , tied back with ribbons . She moves from a large , open window and turns to see Han entering through the doorway .</scene_description> <character>HAN</character> <dialogue>The ship is almost finished. Two or Three more things and we're in great shape.</dialogue> <character>LEIA</character> <dialogue>The sooner the better. Something's wrong here. No one has seen or knows anything about Threepio. He's been gone too long to have gotten lost.</dialogue> <scene_description>Han takes Leia by the shoulders and gently kisses her forehead .</scene_description> <character>HAN</character> <dialogue>Relax. I'll talk to Lando and see what I can find out.</dialogue> <character>LEIA</character> <dialogue>I do n't trust Lando.</dialogue> <character>HAN</character> <dialogue>Well, I do n't trust him, either. But he is my friend. Besides, we'll soon be gone.</dialogue> <character>LEIA</character> <dialogue>And then you're as good as gone, are n't you?</dialogue> <scene_description>Not speaking , Han considers her words and gazes at her troubled face .</scene_description> </scene> <scene> <stage_direction>INT. CLOUD CITY - JUNK ROOM</stage_direction> <scene_description>The room is piled high with broken and discarded machine parts . Four Ugnaughts , small hoglike creatures , separate the junk and throw some pieces onto a conveyer belt which moves briskly toward a pit of molten metal . Pieces of Threepio 's golden body move down the belt . Chewie enters the room and spots an Ugnaught picking up and inspecting Threepio 's head . The Wookiee barks a command , startling the Ugnaught , then reaches to grab the head . But the Ugnaught tosses it away from him to another Ugnaught . This game of keep - away goes on until Threepio 's head falls from their grip and bounces with a clang onto the ground .</scene_description> </scene> <scene> <stage_direction>INT. CLOUD CITY - LIVING QUARTERS - DAY</stage_direction> <scene_description>The door zaps open . Chewbacca walks in , carrying a packing case of Threepio , arms and legs hanging over the edge .</scene_description> <character>LEIA</character> <dialogue>What happened?</dialogue> <scene_description>Chewie sets the case on a table , grunting and groaning an explanation .</scene_description> <character>HAN</character> <dialogue>Where? Found him in a junk pile?</dialogue> <character>LEIA</character> <dialogue>Oh, what a mess. Chewie, do you think you can repair him?</dialogue> <scene_description>The giant Wookiee studies the array of robot parts . He looks at the princess and shrugs sadly .</scene_description> <character>HAN</character> <dialogue>Lando's got people who can fix him.</dialogue> <character>LEIA</character> <dialogue>No, thanks.</dialogue> <scene_description>There is a buzz and the door slides open , revealing Lando .</scene_description> <character>LANDO</character> <dialogue>I'm sorry. Am I interrupting anything?</dialogue> <character>LEIA</character> <dialogue>Not really.</dialogue> <character>LANDO</character> <dialogue>You look absolutely beautiful. You truly belong here with us among the clouds.</dialogue> <character>LEIA</character> <parenthetical>( coolly . )</parenthetical> <dialogue>Thank you.</dialogue> <character>LANDO</character> <dialogue>Will you join me for a little refreshment?</dialogue> <scene_description>Han looks at Lando suspiciously , but Chewie barks at the mention of food and licks his lips .</scene_description> <character>LANDO</character> <dialogue>Everyone's invited, of course.</dialogue> <scene_description>Leia takes Lando 's proffered arm , and the group turns to go . Lando spots Threepio 's remains .</scene_description> <character>LANDO</character> <dialogue>Having trouble with you droid?</dialogue> <scene_description>Han and Leia exchange a quick glance .</scene_description> <character>HAN</character> <dialogue>No. No problem. Why?</dialogue> <scene_description>Han and Leia move arm - in - arm through the door , followed by Lando and Chewie . The door slides closed behind them .</scene_description> </scene> <scene> <stage_direction>INT. CLOUD CITY - CORRIDOR - DAY</stage_direction> <scene_description>Leia walks between Han and Lando as Chewie follows a short distance behind . Long shafts of light pour across the corridor between tall , pure - white columns .</scene_description> <character>LANDO</character> <dialogue>So you see, since we're a small operation, we do n't fall into the. uh. jurisdiction of the Empire.</dialogue> <character>LEIA</character> <dialogue>So you're part of the mining guild then?</dialogue> <character>LANDO</character> <dialogue>No, not actually. Our operation is small enough not to be noticed. which is advantageous for everybody since our customers are anxious to avoid attracting attention to themselves.</dialogue> <scene_description>The group walks into another corridor and heads for a huge doorway at the far end .</scene_description> <character>HAN</character> <dialogue>Are n't you afraid the Empire's going to find out about this little operation and shut you down?</dialogue> <character>LANDO</character> <dialogue>That's always been a danger looming like a shadow over everything we've built here. But things have developed that will insure security. I've just made a deal that will keep the Empire out of here forever.</dialogue> </scene> <scene> <stage_direction>INT. CLOUD CITY - DINING ROOM</stage_direction> <scene_description>The mighty doors to the dining room slide open and the group enters the dining room . At the far end of a huge banquet table sits Darth Vader . Standing at his side and slightly behind him is Boba Fett , the bounty hunter . Faster than the wink of an eye , Han draws his blaster and pops off a couple of shots directly at Vader . The Dark Lord quickly raises his hand , deflecting the bolts into one of the side walls , where they explode harmlessly . Just as quickly , Han 's weapon zips into Vader 's hand . The evil presence calmly places the gun on the table in front of him .</scene_description> <character>VADER</character> <dialogue>We would be honored if you would join us.</dialogue> <scene_description>Han gives Lando a mean look .</scene_description> <character>LANDO</character> <dialogue>I had no choice. They arrived</dialogue> <scene_description>right before you did . I 'm sorry .</scene_description> <character>HAN</character> <dialogue>I'm sorry, too.</dialogue> </scene> <scene> <stage_direction>EXT. LUKE'S X-WING - BESPIN SYSTEM</stage_direction> <scene_description>Luke 's X - wing races through thick clouds toward Cloud City .</scene_description> </scene> <scene> <stage_direction>INT. LUKE'S X-WING - COCKPIT</stage_direction> <scene_description>Luke is grim - faced as he pilots his course toward Bespin 's shining city . Artoo 's beeps and whistles are transmitted onto the scope .</scene_description> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>No, Threepio's with them.</dialogue> <scene_description>Artoo whistles another worried inquiry .</scene_description> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Just hang on. We're almost there.</dialogue> </scene> <scene> <stage_direction>INT. CLOUD CITY - LARGE CELL</stage_direction> <scene_description>Chewbacca is in a Cloud City prison cell . The stark room is flooded with hot light . To add to Chewie 's misery , a high - pitched whistle screeches loudly . Chewie is going mad . He hits the wall with giant fists as he paces back and forth across the cell floor . The upper lights go off abruptly . The prisoner rubs his eyes and moves to a wall , where he listens for a moment . Then , moaning to himself , he moves to a platform where the disassembled pieces of Threepio lie . He picks up the golden droid 's head and meditates on it for a moment , barking a few philosophical remarks . Chewie sticks the robot 's head on its torso and starts adjusting wires and circuits . Suddenly , the lights in Threepio 's eyes spark to life as Chewie touches two connectors together . Threepio immediately begins to speak , but his voice is so slow and so low as to be nearly unintelligible .</scene_description> <character>THREEPIO</character> <dialogue>Mmmm. Oh, my. Uh, I, uh - Take this off! I, uh, do n't mean to intrude here. I, do n't, no, no, no. Please do n't get up. No!</dialogue> <scene_description>Chewie looks at Threepio in bewilderment , then scratches his furry head . He gets an idea and adjusts some connections , whereupon Threepio immediately begins speaking normally .</scene_description> <character>THREEPIO</character> <dialogue>Stormtroopers? Here? We're in danger. I must tell the others. Oh, no! I've been shot!</dialogue> </scene> <scene> <stage_direction>INT. CLOUD CITY - PRISON ENTRY AREA</stage_direction> <scene_description>Darth Vader strides through the room as two stormtroopers prepare an elaborate torture mechanism . Han is strapped to a rack which tilts forward onto the torture device . Vader activates the mechanism , creating two bursts of sparks , one of which strikes Han 's face . The door opens , and Vader leaves the torture room just as Han screams a sharp , piercing cry of agony . Darth Vader moves to the holding chamber , where Lando and Boba Fett await him .</scene_description> </scene> <scene> <stage_direction>INT. CLOUD CITY - HOLDING CHAMBER</stage_direction> <character>LANDO</character> <dialogue>Lord Vader.</dialogue> <character>VADER</character> <parenthetical>( to Fett . )</parenthetical> <dialogue>You may take Captain Solo to Jabba the Hut after I have Skywalker.</dialogue> <scene_description>Han 's screams filter through the torture room door .</scene_description> <character>BOBA FETT</character> <dialogue>He's no good to me dead.</dialogue> <character>VADER</character> <dialogue>He will not be permanently damaged.</dialogue> <character>LANDO</character> <dialogue>Lord Vader, what about Leia and the Wookiee?</dialogue> <character>VADER</character> <dialogue>They must never again leave this city.</dialogue> <character>LANDO</character> <dialogue>That was never a condition of our agreement, nor was giving Han to this bounty hunter!</dialogue> <character>VADER</character> <dialogue>Perhaps you think you're being treated unfairly.</dialogue> <character>LANDO</character> <dialogue>No.</dialogue> <character>VADER</character> <dialogue>Good. It would be unfortunate if I had to leave a garrison here.</dialogue> <scene_description>Vader turns and sweeps into the elevator with Boba Fett . Lando walks swiftly down another corridor , muttering to himself .</scene_description> <character>LANDO</character> <dialogue>This deal's getting worse all the time.</dialogue> </scene> <scene> <stage_direction>INT. CLOUD CITY - LARGE CELL</stage_direction> <scene_description>Chewie now has a little more of Threepio back together . One arm is connected , but the legs are yet to be attached . There is one small problem , however . It seems the Wookiee has managed to put the droid 's head on backwards .</scene_description> <character>THREEPIO</character> <dialogue>Oh, yes, that's very good. I like that. Oh! Something's not right because now I ca n't see. Wait. Wait! Oh, my! what have you done? I'm backwards, you stupid furball. Only an overgrown mophead like you would be stupid enough.</dialogue> <scene_description>Threepio is cut off in mid - sentence as Chewie angrily deactivates a circuit and the droid shuts down . The Wookiee smells something and sits up . The door to the chamber slides open and a ragged Han Solo is shoved into the room by two stormtroopers . Barking his concern , the huge Wookiee gives Han a big hug . Han is very pale , with dark circles under his eyes .</scene_description> <character>HAN</character> <dialogue>I feel terrible.</dialogue> <scene_description>Chewie helps Han to a platform and then turns as the door slides open revealing Leia . She , too , looks a little worse for wear . The troopers push her into the cell , and the door slides closed . She moves to Han , who is lying on the platform , and kneels next to him , gently stroking his head .</scene_description> <character>LEIA</character> <dialogue>Why are they doing this?</dialogue> <character>HAN</character> <dialogue>They never even asked me any questions.</dialogue> <scene_description>The cell door slides open . Lando and two of his guards enter .</scene_description> <character>LEIA</character> <dialogue>Lando.</dialogue> <character>HAN</character> <dialogue>Get out of here, Lando!</dialogue> <character>LANDO</character> <dialogue>Shut up and listen! Vader has agreed to turn Leia and Chewie over to me.</dialogue> <character>HAN</character> <dialogue>Over to you?</dialogue> <character>LANDO</character> <dialogue>They'll have to stay here, but at least they'll be safe.</dialogue> <character>LEIA</character> <dialogue>What about Han?</dialogue> <character>LANDO</character> <dialogue>Vader's giving him to the bounty hunter.</dialogue> <character>LEIA</character> <dialogue>Vader wants us all dead.</dialogue> <character>LANDO</character> <dialogue>He does n't want you at all. He's after somebody called Skywalker.</dialogue> <character>HAN</character> <dialogue>Luke?</dialogue> <character>LANDO</character> <dialogue>Lord Vader has set a trap for him.</dialogue> <scene_description>Leia 's mind is racing .</scene_description> <character>LEIA</character> <dialogue>And we're the bait.</dialogue> <character>LANDO</character> <dialogue>Well, he's on his way.</dialogue> <scene_description>Han 's rage peaks .</scene_description> <character>HAN</character> <dialogue>Perfect. You fixed us all pretty good, did n't you?</dialogue> <parenthetical>( spits it out . )</parenthetical> <dialogue>My friend!</dialogue> <scene_description>Han hauls off and punches Lando . The two friends are instantly engaged in a frantic close - quarters fight . The guards hit Han with their rifle butts and he flies across the room . Chewie growls and starts for the guards . They point their laser weapons at the giant Wookiee , but Lando stops them .</scene_description> <character>LANDO</character> <dialogue>Stop! I've done all I can. I'm sorry I could n't do better, but I have my own problems.</dialogue> <character>HAN</character> <dialogue>Yeah, you're a real hero.</dialogue> <scene_description>Lando and the guards leave . Han wipes the blood from his chin as Leia and Chewie help him up .</scene_description> <character>LEIA</character> <parenthetical>( dabs at his wound . )</parenthetical> <dialogue>You certainly have a way with people.</dialogue> </scene> <scene> <stage_direction>INT. CLOUD CITY - CARBON-FREEZING CHAMBER</stage_direction> <scene_description>Four armor - suited stormtroopers stand at the ready in the large chamber , which is filled with pipes and chemical tanks . In the middle of the room is a round pit housing a hydraulic platform . Darth Vader and Lando stand near the platform .</scene_description> <character>VADER</character> <dialogue>This facility is crude, but it should be adequate to freeze Skywalker for his journey to the Emperor.</dialogue> <scene_description>An Imperial soldier appears .</scene_description> <character>IMPERIAL SOLDIER</character> <dialogue>Lord Vader, ship approaching. X - wing class.</dialogue> <character>VADER</character> <dialogue>Good. Monitor Skywalker and allow him to land.</dialogue> <scene_description>The soldier bows and leaves the chamber .</scene_description> <character>LANDO</character> <dialogue>Lord Vader, we only use this facility for carbon freezing. If you put him in there, it might kill him.</dialogue> <character>VADER</character> <dialogue>I do not want the Emperor's prize damaged. We will test it. on Captain Solo.</dialogue> <scene_description>Lando 's face registers dismay .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - BESPIN SYSTEM - LUKE'S X-WING</stage_direction> <scene_description>Luke 's X - wing moves through the clouds as it nears the city .</scene_description> </scene> <scene> <stage_direction>INT. LUKE'S X-WING - COCKPIT</stage_direction> <scene_description>Encountering no city guards , Luke scans the display panel with concern .</scene_description> </scene> <scene> <stage_direction>INT. CLOUD CITY - CARBON-FREEZING CHAMBER</stage_direction> <scene_description>There is a great activity on the carbon - freezing platform . Six Ugnaughts frantically prepare the chamber for use . A special coffinlike container is put in place . With Boba Fett in the lead , a squad of six stormtroopers brings in Han , Leia and Chewie . Strapped to Chewie 's back , with only his head , torso , and one arm assembled , is Threepio . Threepio 's head faces the opposite direction from Chewie 's and the droid is constantly twisting around in a vain effort to see what is happening . His one attached arm is animate and expressive , intermittently pointing , gesturing , and covering his eyes . The remaining pieces of his body are randomly bundled to the Wookiee 's back so that his legs and other arm stick out at odd angles from the pack .</scene_description> <character>THREEPIO</character> <dialogue>If only you had attached my legs, I would n't be in this ridiculous position. Now, remember, Chewbacca, you have a responsibility to me, so do n't do anything foolish.</dialogue> <character>HAN</character> <parenthetical>( to Lando . )</parenthetical> <dialogue>What's going on. buddy?</dialogue> <character>LANDO</character> <dialogue>You're being put into carbon freeze.</dialogue> <scene_description>Boba Fett moves away from the group to Darth Vader .</scene_description> <character>BOBA FETT</character> <dialogue>What if he does n't survive? He's worth a lot to me.</dialogue> <character>VADER</character> <dialogue>The Empire will compensate you if he dies. Put him in!</dialogue> <scene_description>Realizing what is about to happen , Chewie lets out a wild howl and attacks the stormtroopers surrounding Han . Within seconds , other Imperial reinforcements join the scuffle , clubbing the giant Wookiee with their laser weapons . From the instant of Chewie 's first move , Threepio begins to scream in panic while he tries to protect himself with his one arm .</scene_description> <character>THREEPIO</character> <dialogue>Oh, no! No, no, no! Stop, Chewbacca, stop!</dialogue> <scene_description>The stormtroopers are about to bash Chewie in the face .</scene_description> <character>HAN</character> <dialogue>Stop, Chewie, stop! Do you hear me? Stop!</dialogue> <character>THREEPIO</character> <dialogue>Yes, stop, please! I'm not ready to die.</dialogue> <scene_description>Han breaks away from his captors . Vader nods to the guards to let him go and the pirate breaks up the fight .</scene_description> <character>HAN</character> <dialogue>Chewie! Chewie, this wo n't help me. Hey!</dialogue> <scene_description>Han gives the Wookiee a stern look .</scene_description> <character>HAN</character> <dialogue>Save your strength. There'll be another time. The princess - you have to take care of her. You hear me?</dialogue> <scene_description>Han winks at the Wookiee , who wails a doleful farewell . In a flash the guards have slipped binders on Chewbacca , who is too distraught to protest . Han turns to Princess Leia . They look sorrowfully at one another , then Han moves toward her and gives her a final , passionate kiss .</scene_description> <character>LEIA</character> <dialogue>I love you!</dialogue> <character>HAN</character> <dialogue>I know.</dialogue> <scene_description>Tears roll down Leia 's face as she watches the dashing pirate walk to the hydraulic platform . Han looks one final time at his friends - and then , suddenly , the platform drops . Chewie howls . Leia turns away in agony . Lando winces in sorrow ; it makes a life - changing impression on him . Instantly , fiery liquid begins to pour down in a shower of sparks and fluid as great as any steel furnace . Holding Leia , Chewie half - turns away from the sight , giving Threepio a view of the procedure .</scene_description> <character>THREEPIO</character> <dialogue>What. what's going on? Turn round, Chewbacca, I ca n't see. Oh. they've encased him in carbonite. He should be quite well - protected - if he survives the freezing process, that is.</dialogue> <scene_description>Chewie is in no mood for technical discussion ; he gives the droid an angry glance and bark . A huge mechanical tong lifts the steaming metal - encased space pirate out of the vat and stands him on the platform . Some Ugnaughts rush over and push the block over onto the platform . They slide the coffinlike structure to the block and lift the metal block , placing it inside . They then attach an electronic box onto the structure and step away . Lando kneels and adjusts some knobs , measuring the heat . He shakes his head in relief .</scene_description> <character>VADER</character> <dialogue>Well, Calrissian, did he survive?</dialogue> <character>LANDO</character> <dialogue>Yes, he's alive. And in perfect hibernation.</dialogue> <scene_description>Vader turns to Boba Fett .</scene_description> <character>VADER</character> <dialogue>He's all yours bounty hunter. Reset the chamber for Skywalker.</dialogue> <character>IMPERIAL OFFICER</character> <dialogue>Skywalker has just landed, my lord.</dialogue> <character>VADER</character> <dialogue>Good. See to it that he finds his way here. Calrissian, take the princess and the Wookiee to my ship.</dialogue> <character>LANDO</character> <dialogue>You said they'd be left in the city under my supervision.</dialogue> <character>VADER</character> <dialogue>I am altering the deal. Pray I do n't alter it any further.</dialogue> <scene_description>Lando 's hand instinctively goes to his throat as he turns to Leia , Chewie , and Threepio .</scene_description> </scene> <scene> <stage_direction>INT. CLOUD CITY - CORRIDOR - DAY</stage_direction> <scene_description>As Luke and Artoo move carefully down a deserted corridor , they hear a group of people coming down a side hallway . Artoo lets out an excited series of beeps and whistles . Luke glares at the tiny droid , who stops in his tracks with a feeble squeak . Boba Fett enters from a side hallway followed by two guards pushing the floating , encased body of Han Solo . Two stormtroopers , who follow , immediately spot Luke and open fire on him . The youth draws his weapon and blasts the two troopers before they can get off a second shot . The two guards whisk Han into another hallway as Fett lowers his arm and fires a deadly laser at Luke , which explodes to one side and tears up a huge chunk of wall . Luke rushes to a side hallway , but by the time he reaches it , Fett , Han , and the guards are gone . A think metal door blocks the passage . Luke turns to see Leia , Chewie , Threepio , and Lando being herded down a second hallway by several other stormtroopers . Leia turns just in time to see Luke .</scene_description> <character>LEIA</character> <dialogue>Luke! Luke, do n't - it's a trap! It's a trap!</dialogue> <scene_description>Before she can finish , she is pulled through a doorway and disappears from sight . Luke races after the group , leaving little Artoo trailing behind .</scene_description> </scene> <scene> <stage_direction>INT. CLOUD CITY - ANTEROOM</stage_direction> <scene_description>Luke runs into an anteroom and stops to get his bearings . Leia and the others are nowhere to be seen . Behind Luke , Artoo scoots down the corridor toward the anteroom when suddenly a giant metal door comes slamming down , cutting off Luke 's exit . Several more doors clang shut , echoing through the chamber .</scene_description> </scene> <scene> <stage_direction>INT. CLOUD CITY - HALLWAY LEADING TO ANTEROOM</stage_direction> <scene_description>Artoo stands with his nose pressed against the giant metal door . He whistles a long sigh of relief and , a little dazed , wanders off in the other direction .</scene_description> </scene> <scene> <stage_direction>INT. CLOUD CITY - CARBON-FREEZING CHAMBER - ANTEROOM</stage_direction> <scene_description>Luke cautiously walks forward among hissing pipes and steam . Seeing an opening above him , he stops to look up . As he does , the platform he stands on begins to move .</scene_description> </scene> <scene> <stage_direction>INT. CLOUD CITY - CARBON-FREEZING CHAMBER</stage_direction> <scene_description>Luke rises into the chamber , borne by the platform . The room is deathly quiet . Very little steam escapes the pipes and no one else seems to be in the large room . Warily , Luke walks toward the stairway . Steam begins to build up in the chamber . Looking up through the steam , Luke sees a dark figure standing on a walkway above him . Luke holsters his gun and moves up the stairs to face Vader . He feels confident , eager to engage his enemy .</scene_description> <character>VADER</character> <dialogue>The Force is with you, young Skywalker. But you are not a Jedi yet.</dialogue> <scene_description>Luke ignites his sword in answer . In an instant , Vader 's own sword is lit . Luke lunges , but Vader repels the blow . Again Luke attacks , and the swords of the two combatants clash in battle .</scene_description> </scene> <scene> <stage_direction>INT. CLOUD CITY - CORRIDOR</stage_direction> <scene_description>Leia , Lando , and Chewie , with Threepio on his back , march along , guarded by six stormtroopers . The group reaches an intersection where Lobot and a dozen of Lando 's guards stand at attention . The guards immediately aim their weapons at the startled stormtroopers . Taking the stormtroopers ' weapons from them , Lobot hands one to Leia and one to Lando .</scene_description> <character>LANDO</character> <dialogue>Well done. Hold them in the security tower - and keep it quiet. Move.</dialogue> <scene_description>As Lando 's guards quickly march the stormtroopers away , Lando begins to undo Chewie 's binding .</scene_description> <character>LEIA</character> <dialogue>What do you think you're doing?</dialogue> <character>LANDO</character> <dialogue>We're getting out of here.</dialogue> <character>THREEPIO</character> <dialogue>I knew all along it had to be a mistake.</dialogue> <scene_description>Chewie turns on Lando and starts to choke him .</scene_description> <character>LEIA</character> <dialogue>Do you think that after what you did to Han we're going to trust you?</dialogue> <scene_description>Lando tries to free himself from Chewie .</scene_description> <character>LANDO</character> <parenthetical>( choking . )</parenthetical> <dialogue>I had no choice.</dialogue> <scene_description>Chewie barks ferociously .</scene_description> <character>THREEPIO</character> <parenthetical>( to Chewie . )</parenthetical> <dialogue>What are you doing? Trust him, trust him!</dialogue> <character>LEIA</character> <dialogue>Oh, so we understand, do n't we, Chewie? He had no choice.</dialogue> <character>LANDO</character> <dialogue>I'm just trying to help.</dialogue> <character>LEIA</character> <dialogue>We do n't need any of your help.</dialogue> <character>LANDO</character> <parenthetical>( choking . )</parenthetical> <dialogue>H - a - a - a.</dialogue> <character>LEIA</character> <dialogue>What?</dialogue> <character>THREEPIO</character> <dialogue>It sounds like Han.</dialogue> <character>LANDO</character> <dialogue>There's still a chance to save Han. I mean, at the East Platform.</dialogue> <character>LEIA</character> <dialogue>Chewie.</dialogue> <scene_description>Chewie finally releases Lando , who fights to get his breath back .</scene_description> <character>THREEPIO</character> <parenthetical>( to Lando . )</parenthetical> <dialogue>I'm terribly sorry about all this. After all, he's only a Wookiee.</dialogue> </scene> <scene> <stage_direction>EXT. CLOUD CITY - EAST LANDING PLATFORM - BOBA FETT'S SHIP</stage_direction> <scene_description>The two guards slide Han 's encased body into an opening in the side of the bounty hunter 's ship . Boba Fett climb aboard on a ladder next to the cargo hold .</scene_description> <character>BOBA FETT</character> <dialogue>Put Captain Solo in the cargo hold.</dialogue> <scene_description>And with that , the door slams shut .</scene_description> </scene> <scene> <stage_direction>INT. CLOUD CITY - CORRIDOR</stage_direction> <scene_description>Lando , Leia , and Chewie run down a Cloud City corridor when suddenly they spot Artoo who rushes toward them , beeping wildly .</scene_description> <character>THREEPIO</character> <dialogue>Artoo! Artoo! Where have you been?</dialogue> <scene_description>Chewie turns around to see the stubby droid , causing Threepio to be spun out of sight of his friend .</scene_description> <character>THREEPIO</character> <dialogue>Turn around, you wooly!</dialogue> <parenthetical>( to Artoo . )</parenthetical> <dialogue>Hurry, hurry! We're trying to save Han from the bounty hunter!</dialogue> <scene_description>Whistling frantically to Threepio , Artoo scoots along with the racing group .</scene_description> <character>THREEPIO</character> <dialogue>Well, at least your still in one piece! Look what happened to me!</dialogue> </scene> <scene> <stage_direction>EXT. EAST LANDING PLATFORM - SIDE BAY</stage_direction> <scene_description>An elevator door slides open and Lando , Leia , and Chewbacca race for a large bay overlooking the East Landing Platform . Just as they arrive , Boba Fett 's ship takes off against a cloudy sunset sky . In wild anguish , Chewie howls and starts firing at the ship .</scene_description> <character>THREEPIO</character> <dialogue>Oh, no! Chewie, they're behind you!</dialogue> <scene_description>A laser bolt explodes near the princess . Everyone turns to see what Threepio has already spotted coming from the other direction ; a squad of stormtroopers running toward them . Artoo peeks out from the elevator . Leia and Chewbacca start firing at the troopers as Lando makes a break for the elevator . Laser bolts continue to explode around the princess and the Wookiee , but they refuse to budge . Lando sticks his head out of the elevator and motions for the pair to run , but they barely notice . They seem possessed , transported , as all the frustration of captivity and anger of loss pour through their death - dealing weapons . But after a few moments , they begin to move through the rain of laser fire toward the elevator . Once they are inside , the door slams shut and the stormtroopers race forward .</scene_description> </scene> <scene> <stage_direction>INT. CLOUD CITY - CARBON-FREEZING CHAMBER</stage_direction> <scene_description>Luke and Vader are locked in combat on the platform overlooking the chamber . Their swords clash , the platform sways . Luke aggressively drives Vader back , forcing Vader to use defensive tactics .</scene_description> <character>VADER</character> <dialogue>You have learned much, young one.</dialogue> <character>LUKE</character> <dialogue>You'll find I'm full of surprises.</dialogue> <scene_description>Vader makes two quick moves , hooking Luke 's sword out of his hand and sending it flying . Another lightning move at Luke 's feet forces the youth to jump back to protect himself . Losing his balance , Luke rolls down the stairs to the circular carbon - freezing platform . There he sprawls on the floor , surprised and shaken . Just in time he looks up to see Vader , like a giant black bird , flying right at him . Luke rolls away as Vader lands . Crouching , Luke keeps his gaze steadily on his enemy .</scene_description> <character>VADER</character> <dialogue>Your destiny lies with me, Skywalker. Obi - Wan knew this to be true.</dialogue> <character>LUKE</character> <dialogue>No!</dialogue> <scene_description>Behind Luke the hydraulic elevator cover has opened noiselessly . All the while , Luke slowly , cautiously moves back , away from the Dark Lord . Suddenly , Vader attacks so forcefully that Luke loses his balance and falls back into the opening . There is a rumble , and in an instant freezing steam rises to obscure Vader 's vision . Vader turns aside and deactivates his sword .</scene_description> <character>VADER</character> <dialogue>All to easy. Perhaps you are not as strong as the Emperor thought.</dialogue> <scene_description>Through the steam behind Vader something blurs upward . Liquid metal begins to pour into the pit . Vader turns around - and then looks up . He sees Luke , who has leaped fifteen feet straight up and who now hangs from some hoses on the carbonite outlet .</scene_description> <character>VADER</character> <dialogue>Impressive. most impressive.</dialogue> <scene_description>Luke jumps down to the platform where he is separated from Vader by the steaming carbonite pit . He raises his hand . His sword , which had fallen on another part of the platform , swiftly jumps into his outstretched hand and is instantly ignited . Vader immediately lights his sword as well .</scene_description> <character>VADER</character> <dialogue>Obi - Wan has taught you well. You have controlled your fear. now release your anger.</dialogue> <scene_description>Luke is more cautious , controlling his anger . He begins to retreat as Vader goads him on . As Luke takes a defensive position , he realizes he has been foolhardy . A quick sword exchange and Luke forces Vader back . Another exchange and Vader retreats . Luke presses forward .</scene_description> <character>VADER</character> <dialogue>Only your hatred can destroy me.</dialogue> <scene_description>Breathing hard , Luke jumps in the air , turning a somersault over Vader . He lands on the floor and slashes at Vader as the room continues to fill up with steam . Vader retreats before Luke 's skillful sword . Vader blocks the sword , but looses his balance and falls into the outer rim of pipes . The energy Luke has used to stop Vader has brought him to the point of collapse . Luke moves to the edge and looks down , but sees no sign of Vader . He then deactivates his sword , hooks it on his belt , and lowers himself into the pit .</scene_description> </scene> <scene> <stage_direction>INT. CLOUD CITY - TUNNEL AND REACTOR CONTROL ROOM</stage_direction> <scene_description>Moving through a tunnellike entrance , Luke cautiously approaches the reactor room . He ignites his sword and moves into the room and toward a large window as Vader enters . Luke raises his sword and moves forward to attack . Behind Luke a large piece of machinery detaches itself from the wall and comes smashing forward toward his back . Luke turns and cuts it in half just as another machine comes hurtling at him . Using the Force , Luke manages to deflect it and send it flying as if it had hit an invisible shield . A large pipe detaches and comes flying at Luke . He deflects it . Sparking wires pull out of the wall and begin to whip at the youth . Small tools and equipment come flying at him . Bombardment from all sides , Luke does his best to deflect everything , but soon he is bloodied and bruised . Finally , one machine glances off his and goes flying out the large window . A fierce wind blows into the room , unmoving , stands the dark , rocklike figure of Vader . A piece of machinery hits Luke and he is knocked out of the window .</scene_description> </scene> <scene> <stage_direction>INT. GANTRY - OUTSIDE CONTROL ROOM - REACTOR SHAFT</stage_direction> <scene_description>Luke falls onto the gantry , rolls , and hangs over the edge , holding his deactivated sword in hand . He puts the sword on his belt and begins to scramble up .</scene_description> </scene> <scene> <stage_direction>INT. CLOUD CITY - CORRIDOR LEADING TO LANDING PLATFORM</stage_direction> <scene_description>Leia , Lando , Chewie and the droids come round a corner and head for the door to the landing platform . They glimpse the Millennium Falcon for a moment before the door slams shut . The group ducks into an alcove as stormtroopers arrive at the end of the corridor . The troopers send a rain of laser bolts at the group . Chewie returns their fire as Lando punches desperately at the door 's control panel .</scene_description> <character>LANDO</character> <dialogue>The security codes has been changed!</dialogue> <character>THREEPIO</character> <dialogue>Artoo, you can tell the computer to override the security system.</dialogue> <scene_description>Threepio points to a computer socket on the control panel . Artoo beeps and scoots toward it . Lando meanwhile has connected up to the panel 's intercom .</scene_description> <character>LANDO</character> <dialogue>Attention! This is Lando Calrissian. The Empire has takes control of the city. I advise everyone to leave before more Imperial troops arrive.</dialogue> <scene_description>Artoo takes off a computer cover and sticks his computer arm into the socket . Suddenly , a short beep turns into a wild scream . Artoo 's circuits light up , his head spins wildly , and smoke begins to seep out underneath him . Quickly , Chewie pulls him away .</scene_description> <character>LANDO</character> <dialogue>This way.</dialogue> <scene_description>Lando , Leia , Artoo , and Chewie flee down the corridor . As he scoots along with them , Artoo sends some angry beeps Threepio 's way .</scene_description> <character>THREEPIO</character> <dialogue>Do n't blame me. I'm an interpreter. I'm not supposed to know a power socket from a computer terminal.</dialogue> </scene> <scene> <stage_direction>INT. CLOUD CITY - CORRIDOR</stage_direction> <scene_description>In a panic , Cloud City residents are trying to get out of the city . Some carry boxes , others packages . They run , then change direction . Some are shooting at stormtroopers , others simply try to hide . Other stormtroopers pursue Lando , Leia , and Chewie who are firing back at them . Artoo works on another door to the landing platform while Threepio berates him for his seeming ineptitude .</scene_description> <character>THREEPIO</character> <dialogue>What are you talking about? We're not interested in the hyperdrive on the Millennium Falcon. It's fixed! Just open the door, you stupid lump.</dialogue> <scene_description>Chewie , Leia , and Lando retreat along the corridor . A triumphant beep from Artoo - and the door snaps open .</scene_description> <character>THREEPIO</character> <parenthetical>( to Artoo . )</parenthetical> <dialogue>I never doubted you for a second. Wonderful!</dialogue> <scene_description>Artoo lays a cloud fog , obscuring everything , as the group dashes outside .</scene_description> </scene> <scene> <stage_direction>EXT. LANDING PLATFORM - CLOUD CITY - DUSK</stage_direction> <scene_description>They race for the Millennium Falcon as a battalion of stormtroopers reaches the main door . Lando and Leia hold off the troops as the droids get on board with Chewie . As Chewie bounds to the ship the Threepio on his back , Threepio hits his head on the top of the ramp .</scene_description> <character>THREEPIO</character> <dialogue>Ouch! Oh! Ah! That hurt. Bend down, you thoughtless. Ow!</dialogue> <scene_description>Chewie starts up the ship . The giant engines begin to whine as Lando and Leia race up the ramp under a hail of laser fire .</scene_description> <character>LANDO</character> <dialogue>Leia! Go!</dialogue> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - CORRIDOR</stage_direction> <scene_description>Artoo drags the partially assembled Threepio down the corridor of the Falcon .</scene_description> <character>THREEPIO</character> <dialogue>I thought that hairy beast would be the end of me. Of course, I've looked better.</dialogue> <scene_description>Artoo beeps understandingly .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>Chewie works the controls as Leia sits in Han 's seat and Lando watches over their shoulders . As Chewie pulls back on the throttle , the ship begins to move .</scene_description> </scene> <scene> <stage_direction>EXT. CLOUD CITY - LANDING PLATFORM - DUSK</stage_direction> <scene_description>The Millennium Falcon lifts gracefully into the twilight sky and roars away from the city . Troops fire after it and TIE fighters take off in pursuit .</scene_description> </scene> <scene> <stage_direction>INT. GANTRY - OUTSIDE CONTROL ROOM - REACTOR SHAFT</stage_direction> <scene_description>Luke moves along the railing and up to the control room . Vader lunges at him and Luke immediately raises his lit sword to meet Vader 's . Sparks fly as they duel , Vader gradually forcing Luke backward toward the gantry .</scene_description> <character>VADER</character> <dialogue>You are beaten. It is useless to resist. Do n't let yourself be destroyed as Obi - Wan did.</dialogue> <scene_description>Luke answers by rolling sideways and thrusting his sword at Vader so viciously that he nicks Vader on the shoulder . The black armor sparks and smokes and Vader seems to be hurt , but immediately recovers . Luke backs off along the narrow end of the gantry as Vader comes at him , slashing at the young Jedi with his sword . Luke makes a quick move around the instrument complex attached to the end of the gantry . Vader 's sword comes slashing down , cutting the complex loose ; it begins to fall , then is caught by the rising wind and blown upward . Luke glances at the instrument complex floating away . At that instant , Vader 's sword comes down across Luke 's right forearm , cutting off his hand and sending his sword flying . In great pain , Luke squeezes his forearm under his left armpit and moves back along the gantry to its extreme end . Vader follows . The wind subsides . Luke holds on . There is nowhere else to go .</scene_description> <character>VADER</character> <dialogue>There is no escape. Do n't make me destroy you. You do not yet realize your importance. You have only begun to discover your power. Join me and I will complete your training. With our combined strength, we can end this destructive conflict and bring order to the galaxy.</dialogue> <character>LUKE</character> <dialogue>I'll never join you!</dialogue> <character>VADER</character> <dialogue>If you only knew the power of the dark side. Obi - Wan never told you what happened to your father.</dialogue> <character>LUKE</character> <dialogue>He told me enough! It was you who killed him.</dialogue> <character>VADER</character> <dialogue>No. I am your father.</dialogue> <scene_description>Shocked , Luke looks at Vader in utter disbelief .</scene_description> <character>LUKE</character> <dialogue>No. No. That's not true! That's impossible!</dialogue> <character>VADER</character> <dialogue>Search your feelings. You know it to be true.</dialogue> <character>LUKE</character> <dialogue>No! No! No!</dialogue> <character>VADER</character> <dialogue>Luke. You can destroy the Emperor. He has foreseen this. It is your destiny. Join me, and together we can rule the galaxy as father and son. Come with me. It is the only way.</dialogue> <scene_description>Vader puts away his sword and holds his hand out to Luke . A calm comes over Luke , and he makes a decision . In the next instant he steps off the gantry platform into space . The Dark Lord looks over the platform and sees Luke falling far below . The wind begins to blow at Vader 's cape and the torrent finally forces him back , away from the edge . The wind soon fades and the wounded Jedi begins to drop fast , unable to grab onto anything to break his fall .</scene_description> </scene> <scene> <stage_direction>INT. REACTOR SHAFT</stage_direction> <scene_description>Suddenly Luke is sucked into an exhaust pipe in the side of the shaft . When Vader sees this , he turns and hurries off the platform .</scene_description> </scene> <scene> <stage_direction>INT. EXHAUST PIPE</stage_direction> <scene_description>Luke tumbles through the exhaust pipe . He slides to the end of the slickly polished pipe and stops as his feet hit a circular grill and knock it open . Luke claws at the surface of the pipe , trying to keep from sliding out into space .</scene_description> </scene> <scene> <stage_direction>EXT. BOTTOM OF CLOUD CITY - WEATHER VANE - DUSK</stage_direction> <scene_description>Unable to hang onto the pipe , Luke tumbles out , emerging at the undermost part of Cloud City . Reaching out desperately , he manages to grab onto on electronic weather vane .</scene_description> <character>LUKE</character> <dialogue>Ben. Ben, please!</dialogue> <scene_description>Luke tries to pull himself up on the weather vane but slips back down . He hooks one of his legs around the fragile instruments . All the while , a powerful current of air rushes out at him from the exhaust pipe .</scene_description> <character>LUKE</character> <dialogue>Ben. Leia!</dialogue> <scene_description>There is an ominous cracking sound from the base of the weather vane and a piece breaks off , falling into the clouds far below .</scene_description> <character>LUKE</character> <dialogue>Hear me! Leia!</dialogue> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>Leia seems to be lost in a fog , her expression troubled . Chewie is busy operating the ship . Lando stands next to the Wookiee , watching a readout on the control panel .</scene_description> <character>LEIA</character> <dialogue>Luke. We've got to go back.</dialogue> <scene_description>Chewie growls in surprise .</scene_description> <character>LANDO</character> <dialogue>What?</dialogue> <character>LEIA</character> <dialogue>I know where Luke is.</dialogue> <character>LANDO</character> <dialogue>But what about those fighter?</dialogue> <scene_description>Chewie barks in agreement with Lando .</scene_description> <character>LEIA</character> <dialogue>Chewie, just do it.</dialogue> <character>LANDO</character> <dialogue>But what about Vader?</dialogue> <scene_description>Chewie turns on Lando , the newcomer , with an ominous growl .</scene_description> <character>LANDO</character> <dialogue>All right, all right, all right.</dialogue> </scene> <scene> <stage_direction>EXT. CLOUD CITY - MILLENNIUM FALCON - DUSK</stage_direction> <scene_description>The Falcon makes a graceful banking turn back toward Cloud City .</scene_description> </scene> <scene> <stage_direction>EXT. CLOUD CITY - LANDING PLATFORM</stage_direction> <scene_description>Vader enters the landing platform and watches as the speck that is the Falcon disappears . The wind blows at his cape . He turns to two aides who are standing near the entrance to the landing platform .</scene_description> <character>VADER</character> <dialogue>Bring my shuttle.</dialogue> </scene> <scene> <stage_direction>EXT. BOTTOM OF CLOUD CITY - WEATHER VANE</stage_direction> <scene_description>Nearly unconscious , Luke hangs upside - down on the weather vane as his body shifts in the wind .</scene_description> </scene> <scene> <stage_direction>EXT. MILLENNIUM FALCON - BOTTOM OF CLOUD CITY</stage_direction> <scene_description>The Falcon dives to the underside of the floating city . Three TIE fighter close in on the starship .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON</stage_direction> <scene_description>Leia tries to remain calm .</scene_description> <character>LANDO</character> <parenthetical>( pointing out the cockpit window . )</parenthetical> <dialogue>Look, someone's up there.</dialogue> <character>LEIA</character> <dialogue>It's Luke. Chewie, slow down. Slow down and we'll get under him. Lando, open the top hatch.</dialogue> <scene_description>Lando rushes out of the cockpit .</scene_description> </scene> <scene> <stage_direction>EXT. BOTTOM OF CLOUD CITY - WEATHER VANE</stage_direction> <scene_description>Luke hangs by one arm from the crossbar of the weather vane . He slips from the bar and grabs onto the pole of the vane as the Falcon banks toward him . The Falcon positions itself under Luke as Lando moves up through the opening of the hatch . Luke begins to slide and finally falls from the vane into space .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>Out the cockpit window , Leia sees Luke falling from the bottom of the city . The ship gains on him .</scene_description> <character>LEIA</character> <dialogue>Okay. Easy, Chewie.</dialogue> <scene_description>The Falcon closes in on Luke .</scene_description> </scene> <scene> <stage_direction>EXT. BOTTOM OF CLOUD CITY</stage_direction> <scene_description>Three TIE fighters race toward the Falcon , firing away .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - HATCH</stage_direction> <scene_description>The hatch pops open with a hiss of pressure . Lando reaches out to help the battered warrior inside the ship .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>Flak bursts all around it as the Falcon banks away from the city . Leia and Chewie struggle with the controls .</scene_description> <character>LEIA</character> <parenthetical>( into intercom . )</parenthetical> <dialogue>Lando?</dialogue> <character>LANDO</character> <parenthetical>( over intercom . )</parenthetical> <dialogue>Okay, let's go.</dialogue> </scene> <scene> <stage_direction>EXT. BOTTOM OF CLOUD CITY</stage_direction> <scene_description>The Falcon races away . It is closely followed by three TIE fighters , all of which keep up a heavy laser assault on the fleeing starship .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>Explosions erupt all around the cockpit , buffeting the ship wildly . Chewie howls as he frantically tries to control the ship . Leia and Chewie turns to see Luke , bloody and battered , enter the cockpit supported by Lando . Leia jumps up and hugs him while Chewie barks in joyous relief .</scene_description> <character>LUKE</character> <dialogue>Oh, Leia.</dialogue> <character>LANDO</character> <dialogue>All right, Chewie. Let's go.</dialogue> <scene_description>Leia helps Luke from the cockpit as another huge blast rocks the ship .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - CLOUD CITY - DAY</stage_direction> <scene_description>The Falcon , still followed by the three TIE fighters , races away from the cloud - covered city .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - SLEEPING QUARTERS</stage_direction> <scene_description>Luke rests on a cot , his injured arm wrapped in a protective cuff . Leia gently wipes his face . The ship lurches again .</scene_description> <character>LEIA</character> <dialogue>I'll be back.</dialogue> <scene_description>She kisses him , then leaves the quarters .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>All over the ship muted alarm buzzers sound . Lando anxiously watches the flashing lights on the control panel and hurriedly adjusts some switches . Seated next to him , Chewie points out a new blip appearing on the panel . Leia , watching over their shoulders , recognizes the shape .</scene_description> <character>LEIA</character> <dialogue>Star Destroyer.</dialogue> <character>LANDO</character> <dialogue>All right, Chewie. Ready for light - speed.</dialogue> <character>LEIA</character> <dialogue>If your people fixed the hyperdrive.</dialogue> <scene_description>Another explosion rocks the ship . Leia notices as a green light on the panel next to her flashes on .</scene_description> <character>LEIA</character> <dialogue>All the coordinates are set. It's now or never.</dialogue> <scene_description>Chewie barks in agreement .</scene_description> <character>LANDO</character> <dialogue>Punch it!</dialogue> <scene_description>The Wookiee shrugs and pulls back on the light - speed throttle . The sound of the ion engine changes . it is winding up . Faces are tense , expectant . But nothing happens , and the engine goes off . Chewie lets out a frustrated howl . The flak still violently rocks the ship .</scene_description> <character>LANDO</character> <dialogue>They told me they fixed it. I trusted them to fix it. It's not my fault!</dialogue> <scene_description>Chewie gets up from his chair and starts out of the cockpit . He gives Lando and angry shove as he storms past him .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE</stage_direction> <scene_description>In the distance the TIE fighters continue their chase , still shooting lasers . Vader 's Star Destroyer moves behind them , determinedly following the Falcon .</scene_description> </scene> <scene> <stage_direction>INT. VADER'S STAR DESTROYER - BRIDGE</stage_direction> <scene_description>Vader stands on the bridge looking out the window as Admiral Piett approaches him .</scene_description> <character>PIETT</character> <dialogue>They'll be in range of our tractor beam in moments, my lord.</dialogue> <character>VADER</character> <dialogue>Did your men deactivate the hyperdrive on the Millennium Falcon?</dialogue> <character>PIETT</character> <dialogue>Yes, my lord.</dialogue> <character>VADER</character> <dialogue>Good. Prepare the boarding party and set your weapons for stun.</dialogue> <character>PIETT</character> <dialogue>Yes, my lord.</dialogue> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON</stage_direction> <scene_description>Beeping while he works , Artoo is busy connecting some wires to Threepio who now has one leg attached . Chewie enters through the doorway , grunting to himself .</scene_description> <character>THREEPIO</character> <dialogue>Noisy brute. Why do n't we just go into light - speed?</dialogue> <scene_description>Artoo beeps in response .</scene_description> <character>THREEPIO</character> <dialogue>We ca n't? How would you know the hyperdrive is deactivated?</dialogue> <scene_description>Artoo whistles knowingly .</scene_description> <character>THREEPIO</character> <dialogue>The city's central computer told you? Artoo - Detoo, you know better than to trust a strange computer. Ouch! Pay attention to what you're doing!</dialogue> <scene_description>Chewie is in the pit . He is trying to loosen something with an enormous wrench . Frustrated , he uses the wrench like a club and hits the panel .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>Leia and Lando , seated in front of the control panel , are suddenly sprayed by a shower of sparks .</scene_description> </scene> <scene> <stage_direction>INT. VADER'S STAR DESTROYER - BRIDGE</stage_direction> <scene_description>Vader stands on the bridge , watching as the Millennium Falcon is chased by the TIE fighters . As his Destroyer draws nearer , Vader 's breathing gets slightly faster .</scene_description> <character>VADER</character> <dialogue>Luke.</dialogue> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - SLEEPING QUARTERS</stage_direction> <scene_description>Luke realizes that Vader 's ship is very near . He feels resigned to his fate . He senses that he is beaten , more emotionally than physically .</scene_description> <character>LUKE</character> <dialogue>Father.</dialogue> </scene> <scene> <stage_direction>INT. VADER'S STAR DESTROYER - BRIDGE</stage_direction> <character>VADER</character> <dialogue>Son, come with me.</dialogue> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - SLEEPING QUARTERS</stage_direction> <character>LUKE</character> <parenthetical>( moaning . )</parenthetical> <dialogue>Ben, why did n't you tell me?</dialogue> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>Lando and Leia are at the controls of the Falcon . Meanwhile , in the ship 's hold , Chewie continues to work frantically on the hyperdrive mechanism .</scene_description> <character>LANDO</character> <parenthetical>( into intercom . )</parenthetical> <dialogue>Chewie!</dialogue> </scene> <scene> <stage_direction>EXT. SPACE</stage_direction> <scene_description>The Falcon races through space followed very closely by the TIE fighters and the huge Imperial Star Destroyer .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>Luke enters the cockpit and looks out the window . He is almost unconscious with pain and depression .</scene_description> <character>LUKE</character> <dialogue>It's Vader.</dialogue> </scene> <scene> <stage_direction>INT. VADER'S STAR DESTROYER - BRIDGE</stage_direction> <character>VADER</character> <dialogue>Luke. it is your destiny.</dialogue> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <character>LUKE</character> <dialogue>Ben, why did n't you tell me?</dialogue> </scene> <scene> <stage_direction>INT. VADER'S STAR DESTROYER - BRIDGE</stage_direction> <character>PIETT</character> <dialogue>Alert all commands. Ready for the tractor beam.</dialogue> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - HOLD</stage_direction> <scene_description>Artoo races to a control panel and starts working on a circuit board . Furious , Threepio stands on one leg , yelling .</scene_description> <character>THREEPIO</character> <dialogue>Artoo, come back at once! You have n't finished with me yet! You do n't know how to fix the hyperdrive. Chewbacca can do it. I'm standing here in pieces, and you're having delusions of grandeur!</dialogue> <scene_description>Artoo moves a circuit on a control panel . Suddenly , the control panel lights up .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>Leia and Lando are thrown into their seats as the Millennium Falcon unexpectedly shoot into hyperspace .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - HOLD</stage_direction> <scene_description>The ship tilts up and Artoo topples into the pit on top of Chewie .</scene_description> <character>THREEPIO</character> <dialogue>Oh, you did it!</dialogue> </scene> <scene> <stage_direction>EXT. SPACE</stage_direction> <scene_description>The Falcon soars into infinity and away from the huge Star Destroyer which seems , by contrast , to stand still .</scene_description> </scene> <scene> <stage_direction>INT. VADER'S STAR DESTROYER - BRIDGE</stage_direction> <scene_description>Admiral Piett and another captain glance at Vader in terror . Vader turns slowly and walks off the bridge , his hands held behind his back in a contemplative gesture .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - REBEL CRUISER</stage_direction> <scene_description>The Millennium Falcon is attached to a huge Rebel cruiser by a docking tube . Rebel fighters move about the giant cruiser , and a Rebel transport ship hovers near the fleet .</scene_description> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <scene_description>Lando sits in the pilot 's seat as he talks into the comlink . Chewie busily throws a variety of switches in preparation for takeoff .</scene_description> <character>LANDO</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Luke, we're ready for takeoff.</dialogue> <character>LUKE</character> <parenthetical>( over comlink . )</parenthetical> <dialogue>Good luck, Lando</dialogue> <character>LANDO</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>When we find Jabba the Hut and that bounty hunter, we'll contact you.</dialogue> </scene> <scene> <stage_direction>INT. STAR CRUISER - MEDICAL CENTER</stage_direction> <scene_description>Luke speaking into the comlink as a medical droid works on his hand . Leia stands near him while Threepio and Artoo look out the window .</scene_description> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>I'll meet you at the rendezvous point on Tatooine.</dialogue> </scene> <scene> <stage_direction>INT. MILLENNIUM FALCON - COCKPIT</stage_direction> <character>LANDO</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Princess, we'll find Han. I promise.</dialogue> </scene> <scene> <stage_direction>INT. STAR CRUISER - MEDICAL CENTER</stage_direction> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Chewie, I'll be waiting for your signal.</dialogue> <scene_description>Chewie 's wail comes over the comlink .</scene_description> <character>LUKE</character> <parenthetical>( into comlink . )</parenthetical> <dialogue>Take care, you two. May the Force be with you.</dialogue> <scene_description>Luke looks down at his hand . A metalized type of bandage has been wrapped around his wrist . The medical droid makes some adjustments in a tiny electronic unit , then pricks each one of Luke 's fingers .</scene_description> <character>LUKE</character> <dialogue>Ow!</dialogue> <scene_description>Luke wriggles his fingers , makes a fist , and relaxes it . His hand is completely functional . He gets up and walks over to Leia . There is a new bond between them , a new understanding . Leia is thinking about Han ; Luke is thinking about his uncertain and newly complicated future . Together they stand at the large window of the medical center looking out on the Rebel Star Cruiser and a dense , luminous galaxy swirling in space . Luke puts his arm around Leia . The droids stand next to them , and Threepio moves closer to Artoo putting his arm on him . The group watches as the Millennium Falcon moves into view , makes a turn , and zooms away into space .</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - REBEL STAR CRUISER</stage_direction> <scene_description>While Luke , Leia , and the droids stand , looking out the window of the star cruiser , two escort fighters join the large ship . Slowly , the cruiser turns and moves away into space . DISSOLVE TO</scene_description> </scene> <scene> <stage_direction>EXT. GALAXY - SPACE</stage_direction> <scene_description>END CREDITS FADE IN AND OUT OVER BACKGROUND THE END</scene_description> </scene> </script>

Three years after the destruction of the Death Star, the Rebel Alliance, led by Princess Leia, has set up a new base on the ice planet Hoth. The Imperial fleet, led by a merciless Darth Vader, hunts for the new Rebel base by dispatching probe droids across the galaxy. Luke Skywalker is captured by a wampa while investigating one such probe, but manages to escape from its lair using the Force and his lightsaber. Before Luke succumbs to hypothermia, the Force spirit of his deceased mentor, Obi-Wan Kenobi, instructs him to go to the swamp planet Dagobah to train under Jedi Master Yoda. Han Solo discovers Luke and manages to keep him alive by keeping him under the body fat of his dead Tauntaun mount, and the two are rescued by a search party the following morning. The probe alerts the Imperial fleet to the Rebels' location. The Empire launches a large-scale attack using AT-AT walkers to capture the base, which forces the Rebels to evacuate. Han and Leia escape with C-3PO and Chewbacca on the Millennium Falcon, but the ship's hyperdrive malfunctions. They hide in an asteroid field, where Han and Leia grow closer amidst tension and briefly kiss. Several bounty hunters, summoned by Vader, assist in searching for the Falcon. Meanwhile, Luke travels with R2-D2 in his X-wing fighter to Dagobah, where he crash-lands. He meets a diminutive creature who reveals himself to be Yoda; after conferring with Obi-Wan's spirit, Yoda reluctantly accepts Luke as his apprentice. Luke learns more about the Force from Yoda, who lifts his X-wing out of the swamp using the Force. After evading the Imperial fleet, Han's group travels to the floating Cloud City on the planet Bespin, which is governed by Han's old friend Lando Calrissian. Bounty hunter Boba Fett tracks the Falcon and, with Vader, forces Lando to hand the group over to the Empire. Vader plans to use the group as bait to lure Luke, intending to capture him and turn him to the dark side of the Force. Luke experiences a premonition of Han and Leia in pain and, against the wishes of Yoda and Obi-Wan, abandons his training to rescue them. Intending to hold Luke in suspended animation by imprisoning him in carbonite, Vader selects Han to be frozen as an experiment. Han survives the process and is given to Fett, who plans to collect a bounty on him from Jabba the Hutt. Lando, experiencing a change of heart, frees Leia and Chewbacca, but they are too late to stop Fett from departing with Solo. They fight their way back to the Falcon and flee the city. Meanwhile, Luke arrives and engages Vader in a lightsaber duel that leads them over the city's central air shaft. Vader severs Luke's right hand, disarming him, and tempts him to embrace his anger and join the dark side. Luke accuses Vader of murdering his father, but Vader reveals that he is Luke's father. Horrified, Luke drops into the air shaft and is ejected beneath the floating city, where he hangs from an antenna. He reaches out telepathically to Leia, who senses him and persuades Lando and Chewie to turn back. After Luke is brought aboard, they are chased by TIE fighters towards Vader on his Star Destroyer, but R2-D2 reactivates the Falcon's hyperdrive, allowing them to escape. Luke rejoins the Rebel fleet and his severed hand is replaced with a robotic prosthesis. Lando and Chewbacca begin their quest to save Han, as the other rebels watch the Falcon depart.

Double Indemnity_1944

tt0036775

<script> <scene> <stage_direction>DOUBLE INDEMNITY</stage_direction> <scene_description>LOS ANGELES - A DOWNTOWN INTERSECTION It is night , about two o'clock , very light traffic . At the left and in the immediate foreground a semaphore traffic signal stands at GO . Approaching it at about thirty miles per hour is a Dodge 1938 coupe . It is driven erratically and weaving a little , but not out of control . When the car is about forty feet away , the signal changes to STOP . Car makes no attempt to stop but comes on through . A LIGHT NEWSPAPER TRUCK is crossing the intersection at right angles . It swerves and skids to avoid the Dodge , which goes on as though nothing had happened . The truck stops with a panicky screech of tires . There is a large sign on the truck : `` READ THE LOS ANGELES TIMES '' . The truck driver 's infuriated face stares after the coupe . THE COUPE continues along the street , still weaving , then slows down and pulls over towards the curb in front of a tall office building . THE COUPE stops . The headlights are turned off . For a second nothing happens , then the car door opens slowly . A man eases himself out onto the sidewalk and stands a moment leaning on the open door to support himself . He 's a tall man , about thirty - five years old . From the way he moves there seems to be something wrong with his left shoulder . He straightens up and painfully lowers his left hand into his jacket pocket . He leans into the car . He brings out a light - weight overcoat and drapes it across his shoulders . He shuts the car door and walks toward the building . ENTRANCE OF THE BUILDING Above the closed , double - plate glass doors is lettered : `` PACIFIC BUILDING '' . To the left of entrance there is a drugstore , closed , dark except for a faint light in the back . The man comes stiffly up to the doors . -LRB- CAMERA HAS MOVED UP WITH HIM -RRB- . He tries the doors . They are locked . He knocks on the glass . Inside , over his shoulder , the lobby of the building is visible : a side entrance to the drugstore on the left , in the rear a barber shop and cigar and magazine stand closed up for the night , and to the right two elevators . One elevator is open and its dome light falls across the dark lobby . The man knocks again . The night watchman sticks his head out of the elevator and looks toward entrance . He comes out with a newspaper in one hand and a half - eaten sandwich in the other . He finishes the sandwich on the way to the doors , looks out and recognizes the man outside , unlocks the door and pulls it open .</scene_description> <character>NIGHT WATCHMAN</character> <dialogue>Hello there, Mr. Neff.</dialogue> <scene_description>Neff walks in past him without answering .</scene_description> </scene> <scene> <stage_direction>INT. LOBBY</stage_direction> <scene_description>Neff is walking towards elevator . Night watchman looks after him , relocks door , follows to elevator . Neff enters elevator . ELEVATOR Neff stands leaning against wall . He is pale and haggard with pain , but deadpans as night watchman joins him .</scene_description> <character>NIGHT WATCHMAN</character> <dialogue>Working pretty late are n't you, Mr. Neff?</dialogue> <character>NEFF</character> <parenthetical>( Tight - lipped . )</parenthetical> <dialogue>Late enough.</dialogue> <character>NIGHT WATCHMAN</character> <dialogue>You look kind of all in at that.</dialogue> <character>NEFF</character> <dialogue>I'm fine. Let's ride.</dialogue> <scene_description>Night watchman pulls lever , doors close and elevator rises .</scene_description> <character>NIGHT WATCHMAN</character> <dialogue>How's the insurance business, Mr. Neff?</dialogue> <character>NEFF</character> <dialogue>Okay.</dialogue> <character>NIGHT WATCHMAN</character> <dialogue>They would n't ever sell me any. They say I've got something loose in my heart. I say it's rheumatism.</dialogue> <character>NEFF</character> <parenthetical>( Scarcely listening . )</parenthetical> <dialogue>Uh - huh.</dialogue> <scene_description>Night watchman looks around at him , turns away again and the elevator stops .</scene_description> <character>NIGHT WATCHMAN</character> <parenthetical>( Surly . )</parenthetical> <dialogue>Twelve.</dialogue> <scene_description>The door opens . Across a small dark reception room a pair of frosted glass doors are lettered : PACIFIC ALL - RISK INSURANCE COMPANY - FOUNDED 1906 - MAIN OFFICE . There is a little light beyond the glass doors . Neff straightens up and walks heavily out of the elevator , across reception room to doors . He pushes them open . The night watchman stares after him morosely , works lever , elevator doors start to close . TWELFTH FLOOR INSURANCE OFFICE -LRB- Note for set - designer : Our Insurance Company occupies the entire eleventh and twelfth floors of the building . On the twelfth floor are the executive offices and claims and sales departments . These all open off a balcony which runs all the way around . From the balcony you see the eleventh floor below : one enormous room filled with desks , typewriters , filing cabinets , business machines , etc. -RRB- Neff comes through the double entrance doors from the reception room . The twelfth floor is dark . Some light shines up from the eleventh floor . Neff takes a few steps then holds on to the balcony railing and looks down . THE ELEVENTH FLOOR FROM ABOVE - NEFF 'S POINT OF VIEW Two colored women are cleaning the offices . One is dry - mopping the floor , the other is moving chairs back into position , etc. . A colored man is emptying waste baskets into a big square box . He shuffles a little dance step as he moves , and hums a little tune . NEFF Moves away from the railing with a faint smile on his face , and walks past two or three offices -LRB- CAMERA WITH HIM -RRB- towards a glass door with number twenty - seven on it and three names : HENRY B. ANDERSON , WALTER NEFF , LOUIS L. SCHWARTZ . Neff opens the door .</scene_description> </scene> <scene> <stage_direction>INT. NEFF'S OFFICE - DARK</stage_direction> <scene_description>Three desks , filing cabinets , one typewriter on stand , one dictaphone on fixed stand against wall with rack of records underneath , telephones on all three desks . Water cooler with inverted bottle and paper cup holder beside it . Two windows facing toward front of building . Venetian blinds . No curtains . Waste basket full , ash trays not emptied . The office has not been cleaned . Neff enters , switches on desk lamp . He looks across at dicta phone , goes heavily to it and lifts off the fabric cover . He leans down hard on the dictaphone stand as if feeling faint . He turns away from dictaphone , takes a few uncertain steps and falls heavily into a swivel chair . His head goes far back , his eyes close , cold sweat shows on his face . For a moment he stays like this , exhausted , then his eyes open slowly and look down at his left shoulder . His good hand flips the overcoat back , he unbuttons his jacket , loosens his tie and shirt . This was quite an effort . He rests for a second , breathing hard . With the help of his good hand he edges his left elbow up on the arm - rest of the chair , supports it there and then pulls his jacket wide . A heavy patch of dark blood shows on his shirt . He pushes his chair along the floor towards the water cooler , using his feet and his right hand against the desk , takes out a handkerchief , presses with his hand against the spring faucet of the cooler , soaks the handkerchief in water and tucks it , dripping wet , against the wound inside his shirt . Next , he gets a handful of water and splashes it on his face . The water runs down his chin and drips . He breathes heavily , with closed eyes . He fingers a pack of cigarettes in his shirt pocket , pulls it out , looks at it . There is blood on it . He wheels himself back to the desk and dumps the loose cigarettes out of the packet . Some are blood - stained , a few are clean . He takes one , puts it between his lips , gropes around for a match , lights cigarette . He takes a deep drag and lets smoke out through his nose . He pulls himself toward dictaphone again , still in the swivel chair , reaches it , lifts the horn off the bracket and the dictaphone makes a low buzzing sound . He presses the button switch on the horn . The sound stops , the record revolves on the cylinder . He begins to speak :</scene_description> <character>NEFF</character> <dialogue>Office memorandum, Walter Neff to Barton Keyes, Claims Manager. Los Angeles, July 16th, 1938. Dear Keyes : I suppose you'll call this a confession when you hear it. I do n't like the word confession. I just want to set you right about one thing you could n't see, because it was smack up against your nose. You think you're such a hot potato as a claims manager, such a wolf on a phoney claim. Well, maybe you are, Keyes, but let's take a look at this Dietrichson claim, Accident and Double Indemnity. You were pretty good in there for a while, all right. You said it was n't an accident. Check. You said it was n't suicide. Check. You said it was murder. Check and double check. You thought you had it cold, all wrapped up in tissue paper, with pink ribbons around it. It was perfect, except that it was n't, because you made a mistake, just one tiny little mistake. When it came to picking the killer, you picked the wrong guy, if you know what I mean. Want to know who killed Dietrichson? Hold tight to that cheap cigar of yours, Keyes. I killed Dietrichson. Me, Walter Neff, insurance agent, 35 years old, unmarried, no visible scars -.</dialogue> <parenthetical>( He glances down at his wounded shoulder . )</parenthetical> <dialogue>Until a little while ago, that is. Yes, I killed him. I killed him for money - and a woman - and I did n't get the money and I did n't get the woman. Pretty, is n't it?</dialogue> <scene_description>He interrupts the dictation , lays down the horn on the desk . He takes his lighted cigarette from the ash tray , puffs it two or three times , and kills it . He picks up the horn again .</scene_description> <character>NEFF</character> <parenthetical>( His voice is now quiet and contained . )</parenthetical> <dialogue>It began last May. About the end of May, it was. I had to run out to Glendale to deliver a policy on some dairy trucks. On the way back I remembered this auto renewal on Los Feliz. So I decided to run over there. It was one of those Calif.. Spanish houses everyone was nuts about 10 or 15 years ago. This one must have cost somebody about 30,000 bucks - that is, if he ever finished paying for it.</dialogue> <scene_description>As he goes on speaking , SLOW DISSOLVE TO :</scene_description> </scene> <scene> <stage_direction>DIETRICHSON HOME - LOS FELIZ DISTRICT</stage_direction> <scene_description>Palm trees line the street , middle - class houses , mostly in Spanish style . Some kids throwing a baseball back and forth across a couple of front lawns . An ice cream wagon dawdles along the block . Neff 's coupe meets and passes the ice cream wagon and stops before one of the Spanish houses . Neff gets out . He carries a briefcase , his hat is a little on the back of his head . His movements are easy and full of ginger . He inspects the house , checks the number , goes up on the front porch and rings the bell .</scene_description> <character>NEFF'S VOICE</character> <dialogue>It was mid - afternoon, and it's funny, I can still remember the smell of honeysuckle all along that block. I felt like a million. There was no way in all this world I could have known that murder sometimes can smell like honeysuckle.</dialogue> </scene> <scene> <stage_direction>EXT. DIETRICHSON HOME - ENTRANCE DOOR</stage_direction> <scene_description>Neff rings the bell again and waits . The door opens . A maid , about forty - five , rather slatternly , opens the door .</scene_description> <character>NEFF</character> <dialogue>Mr. Dietrichson in?</dialogue> <character>MAID</character> <dialogue>Who wants to see him?</dialogue> <character>NEFF</character> <dialogue>The name is Neff. Walter Neff.</dialogue> <character>MAID</character> <dialogue>If you're selling something -</dialogue> <character>NEFF</character> <dialogue>Look, it's Mr. Dietrichson I'd like to talk to, and it's not magazine subscriptions.</dialogue> <scene_description>He pushes past her into the house . HALLWAY - DIETRICHSON HOME Spanish craperoo in style , as is the house throughout . A wrought - iron staircase curves down from the second floor . A fringed Mexican shawl hangs down over the landing . A large tapestry hangs on the wall . Downstairs , the dining room to one side , living room on the other side visible through a wide archway . All of this , architecture , furniture , decorations , etc. , is genuine early Leo Carrillo period . Neff has edged his way in past maid who still holds the door open .</scene_description> <character>MAID</character> <dialogue>Listen, Mr. Dietrichson's not in.</dialogue> <character>NEFF</character> <dialogue>How soon do you expect him?</dialogue> <character>MAID</character> <dialogue>He'll be home when he gets here, if that's any help to you.</dialogue> <scene_description>At this point a voice comes from the top of the stairs .</scene_description> <character>VOICE</character> <dialogue>What is it, Nettie? Who is it?</dialogue> <scene_description>Neff looks up . UPPER LANDING OF STAIRCASE - -LRB- FROM BELOW -RRB- Phyllis Dietrichson stands looking down . She is in her early thirties . She holds a large bath - towel around her very appetizing torso , down to about two inches above her knees . She wears no stockings , no nothing . On her feet a pair of high - heeled bedroom slippers with pom - poms . On her left ankle a gold anklet .</scene_description> <character>MAID'S VOICE</character> <dialogue>It's for Mr. Dietrichson.</dialogue> <character>PHYLLIS</character> <parenthetical>( Looking down at Neff . )</parenthetical> <dialogue>I'm Mrs. Dietrichson. What is it?</dialogue> <scene_description>SHOOTING DOWN FROM UPPER LANDING Neff looks up , takes his hat off .</scene_description> <character>NEFF</character> <dialogue>How do you do, Mrs. Dietrichson. I'm Walter Neff, Pacific All - Risk.</dialogue> <scene_description>PHYLLIS</scene_description> <character>PHYLLIS</character> <dialogue>Pacific all - what?</dialogue> <scene_description>NEFF</scene_description> <character>NEFF</character> <dialogue>Pacific All - Risk Insurance Company. It's about some renewals on the automobiles, Mrs. Dietrichson. I've been trying to contact your husband for the past two weeks. He's never at his office.</dialogue> <scene_description>PHYLLIS</scene_description> <character>PHYLLIS</character> <dialogue>Is there anything I can do?</dialogue> <scene_description>NEFF</scene_description> <character>NEFF</character> <dialogue>The insurance ran out on the fifteenth. I'd hate to think of your getting a smashed fender or something while you're not fully covered.</dialogue> <scene_description>PHYLLIS She glances over her towel costume .</scene_description> <character>PHYLLIS</character> <parenthetical>( With a little smile . )</parenthetical> <dialogue>Perhaps I know what you mean, Mr. Neff. I've just been taking a sun bath.</dialogue> <scene_description>NEFF</scene_description> <character>NEFF</character> <dialogue>No pigeons around, I hope. About those policies, Mrs. Dietrichson - I hate to take up your time -</dialogue> <scene_description>PHYLLIS</scene_description> <character>PHYLLIS</character> <dialogue>That's all right. If you can wait till I put something on, I'll be right down. Nettie, show Mr. Neff into the living room.</dialogue> <scene_description>She turns away as gracefully as one can with a towel for a wrapper . ENTRANCE HALL Neff watches Phyllis out of sight . He speaks to the maid while still looking up .</scene_description> <character>NEFF</character> <dialogue>Where would the living room be?</dialogue> <character>MAID</character> <dialogue>In there, but they keep the liquor locked up.</dialogue> <character>NEFF</character> <dialogue>That's okay. I always carry my own keys.</dialogue> <scene_description>He goes through the archway . Maid goes off the other way . LIVING ROOM Neff comes into the room and throws his briefcase on the plush davenport and tosses his hat on top of it . He looks around the room , then moves over to a baby grand piano with a sleazy Spanish shawl dangling down one side and two cabinet photographs standing in a staggered position on top . Neff glances them over : Mr. Dietrichson , age about fifty - one , a big , blocky man with glasses and a Rotarian look about him ; Lola Dietrichson , age nineteen , wearing a filmy party dress and a yearning look in her pretty eyes . Neff walks away from the piano and takes a few steps back and forth across the rug . His eyes fall on a wrinkled corner . He carefully straightens it out with his foot . His back is to the archway as he hears high heels clicking on the staircase . He turns and looks through the arch .</scene_description> <character>NEFF'S VOICE</character> <dialogue>The living room was still stuffy from last night's cigars. The windows were closed and the sunshine coming in through the Venetian blinds showed up the dust in the air. The furniture was kind of corny and old - fashioned, but it had a comfortable look, as if people really sat in it. On the piano, in couple of fancy frames, were Mr. Dietrichson and Lola, his daughter by his first wife They had a bowl of those little red goldfish on the table behind the davenport, but, to tell you the truth, Keyes, I was n't a whole lot interested in goldfish right then, nor in auto renewals, nor in Mr. Dietrichson and his daughter Lola. I was thinking about that dame upstairs, and the way she had looked at me, and I wanted to see her again, close, without that silly staircase between us.</dialogue> <scene_description>STAIRCASE -LRB- FROM NEFF 'S POINT OF VIEW -RRB- Phyllis Dietrichson is coming downstairs . First we see her feet , with pom - pom slippers and the gold anklet on her left ankle . CAMERA PULLS BACK SLOWLY as she descends , until we see all of her . She is wearing a pale blue summer dress .</scene_description> <character>PHYLLIS' VOICE</character> <dialogue>I was n't long, was I?</dialogue> <character>NEFF'S VOICE</character> <dialogue>Not at all, Mrs. Dietrichson.</dialogue> <scene_description>CAMERA PULLS BACK WITH HER INTO THE LIVING ROOM .</scene_description> <character>PHYLLIS</character> <dialogue>I hope I've got my face on straight.</dialogue> <character>NEFF</character> <dialogue>It's perfect for my money.</dialogue> <character>PHYLLIS</character> <parenthetical>( Crossing to the mirror over the fireplace . )</parenthetical> <dialogue>Wo n't you sit down, Mr. - Neff is the name, is n't it?</dialogue> <character>NEFF</character> <dialogue>With two f's, like in Philadelphia. If you know the story.</dialogue> <character>PHYLLIS</character> <dialogue>What story?</dialogue> <character>NEFF</character> <dialogue>The Philadelphia story. What are we talking about?</dialogue> <character>PHYLLIS</character> <parenthetical>( She works with her lipstick . )</parenthetical> <dialogue>About the insurance. My husband never tells me anything.</dialogue> <character>NEFF</character> <dialogue>It's on your two cars, the La Salle and the Plymouth.</dialogue> <scene_description>He crosses to the davenport to get the policies from his briefcase . She turns away from the mirror and sits in a big chair with her legs drawn up sideways , the anklet now clearly visible .</scene_description> <character>NEFF</character> <dialogue>We've been handling this insurance for three years for Mr. Dietrichson.</dialogue> <parenthetical>( His eyes have caught the anklet . )</parenthetical> <dialogue>That's a honey of an anklet you're wearing, Mrs. Dietrichson.</dialogue> <scene_description>Phyllis smiles faintly and covers the anklet with her dress .</scene_description> <character>NEFF</character> <dialogue>We'd hate to see the policies lapse. Of course, we give him thirty days. That's all we're allowed to give.</dialogue> <character>PHYLLIS</character> <dialogue>I guess he's been too busy down at Long Beach in the oil fields.</dialogue> <character>NEFF</character> <dialogue>Could I catch him home some evening for a few minutes?</dialogue> <character>PHYLLIS</character> <dialogue>I suppose so. But he's never home much before eight.</dialogue> <character>NEFF</character> <dialogue>That would be fine with me.</dialogue> <character>PHYLLIS</character> <dialogue>You're not connected with the Automobile Club, are you?</dialogue> <character>NEFF</character> <dialogue>No, the All - Risk, Mrs. Dietrichson. Why?</dialogue> <character>PHYLLIS</character> <dialogue>Somebody from the Automobile Club has been trying to get him. Do they have a better rate?</dialogue> <character>NEFF</character> <dialogue>If your husband's a member.</dialogue> <character>PHYLLIS</character> <dialogue>No, he is n't.</dialogue> <scene_description>Phyllis rises and walks up and down , paying less and less attention .</scene_description> <character>NEFF</character> <dialogue>Well, he'd have to join the club and pay a membership fee to start with. The Automobile Club is fine. I never knock the other fellow's merchandise, Mrs. Dietrichson, but I can do just as well for you. I have a very attractive policy here. It would n't take me two minutes to put it in front of your husband.</dialogue> <scene_description>He consults the policies he is holding .</scene_description> <character>NEFF</character> <dialogue>For instance, we're writing a new kind of fifty percent retention feature in the collision coverage.</dialogue> <scene_description>Phyllis stops in her walk .</scene_description> <character>PHYLLIS</character> <dialogue>You're a smart insurance man, are n't you, Mr. Neff?</dialogue> <character>NEFF</character> <dialogue>I've had eleven years of it.</dialogue> <character>PHYLLIS</character> <dialogue>Doing pretty well?</dialogue> <character>NEFF</character> <dialogue>It's a living.</dialogue> <character>PHYLLIS</character> <dialogue>You handle just automobile insurance, or all kinds?</dialogue> <scene_description>She sits down again , in the same position as before .</scene_description> <character>NEFF</character> <dialogue>All kinds. Fire, earthquake, theft, public liability, group insurance, industrial stuff and so on right down the line.</dialogue> <character>PHYLLIS</character> <dialogue>Accident insurance?</dialogue> <character>NEFF</character> <dialogue>Accident insurance? Sure, Mrs. Dietrichson.</dialogue> <scene_description>His eyes fall on the anklet again .</scene_description> <character>NEFF</character> <dialogue>I wish you'd tell me what's engraved on that anklet.</dialogue> <character>PHYLLIS</character> <dialogue>Just my name.</dialogue> <character>NEFF</character> <dialogue>As for instance?</dialogue> <character>PHYLLIS</character> <dialogue>Phyllis.</dialogue> <character>NEFF</character> <dialogue>Phyllis. I think I like that.</dialogue> <character>PHYLLIS</character> <dialogue>But you're not sure?</dialogue> <character>NEFF</character> <dialogue>I'd have to drive it around the block a couple of times.</dialogue> <character>PHYLLIS</character> <parenthetical>( Standing up again . )</parenthetical> <dialogue>Mr. Neff, why do n't you drop by tomorrow evening about eight - thirty. He'll be in then.</dialogue> <character>NEFF</character> <dialogue>Who?</dialogue> <character>PHYLLIS</character> <dialogue>My husband. You were anxious to talk to him were n't you?</dialogue> <character>NEFF</character> <dialogue>Sure, only I'm getting over it a little. If you know what I mean.</dialogue> <character>PHYLLIS</character> <dialogue>There's a speed limit in this state, Mr. Neff. Forty - five miles an hour.</dialogue> <character>NEFF</character> <dialogue>How fast was I going, officer?</dialogue> <character>PHYLLIS</character> <dialogue>I'd say about ninety.</dialogue> <character>NEFF</character> <dialogue>Suppose you get down off your motorcycle and give me a ticket.</dialogue> <character>PHYLLIS</character> <dialogue>Suppose I let you off with a warning this time.</dialogue> <character>NEFF</character> <dialogue>Suppose it does n't take.</dialogue> <character>PHYLLIS</character> <dialogue>Suppose I have to whack you over the knuckles.</dialogue> <character>NEFF</character> <dialogue>Suppose I bust out crying and put my head on your shoulder.</dialogue> <character>PHYLLIS</character> <dialogue>Suppose you try putting it on my husband's shoulder.</dialogue> <character>NEFF</character> <dialogue>That tears it.</dialogue> <scene_description>Neff takes his hat and briefcase .</scene_description> <character>NEFF</character> <dialogue>Eight - thirty tomorrow evening then, Mrs. Dietrichson.</dialogue> <character>PHYLLIS</character> <dialogue>That's what I suggested.</dialogue> <scene_description>They both move toward the archway . HALLWAY - PHYLLIS AND NEFF GOING TOWARDS THE ENTRANCE DOOR</scene_description> <character>NEFF</character> <dialogue>Will you be here, too?</dialogue> <character>PHYLLIS</character> <dialogue>I guess so. I usually am.</dialogue> <character>NEFF</character> <dialogue>Same chair, same perfume, same anklet?</dialogue> <character>PHYLLIS</character> <parenthetical>( Opening the door . )</parenthetical> <dialogue>I wonder if I know what you mean.</dialogue> <character>NEFF</character> <dialogue>I wonder if you wonder.</dialogue> <scene_description>He walks out .</scene_description> </scene> <scene> <stage_direction>EXT. DIETRICHSON HOME - (DAY)</stage_direction> <scene_description>Shooting past Neff 's parked car towards the entrance door , which is just closing . Neff comes towards the car , swinging his briefcase . He opens the car door and looks back with a confident smile .</scene_description> <character>NEFF'S VOICE</character> <parenthetical>( Over scene . )</parenthetical> <dialogue>She liked me. I could feel that. The way you feel when the cards are.</dialogue> <scene_description>ENTRANCE DOOR , DIETRICHSON HOME In the upper panel the peep window opens and Phyllis looks out after Neff .</scene_description> <character>NEFF'S VOICE</character> <dialogue>falling right for you, with a nice little pile of blue and yellow chips in the middle of the table. Only what I did n't know then was that I was n't playing her. She was playing me - with a deck of marked cards - and the stakes were n't any blue and yellow chips. They were dynamite. I went back to the office that afternoon to see if I had any mail. It was the same afternoon you had that Sam Gorlopis on the carpet, that truck driver from Inglewood, remember, Keyes?</dialogue> <scene_description>NEFF He sits in his car , presses the starter button , looking back towards the little window in the entrance door . ENTRANCE DOOR The peep window is quickly closed from inside . STREET Neff makes a U - turn and drives back down the block .</scene_description> </scene> <scene> <stage_direction>LONG SHOT - INSURANCE OFFICE - TWELFTH FLOOR - (DAY) CAMERA HIGH</stage_direction> <scene_description>Activity on the eleventh floor below . Typewriters working , adding machines , filing clerks , secretaries , and so forth . Neff , wearing his hat and carrying his briefcase , enters from the vestibule . He walks towards his office . He passes a few salesmen , etc. . There is an exchange of greetings . Just as he reaches his office a secretary comes out . She stops .</scene_description> <character>SECRETARY</character> <dialogue>Oh, Mr. Neff, Mr. Keyes wants to see you. He's been yelling for you all afternoon.</dialogue> <character>NEFF</character> <dialogue>Is he sore, or just frothing at the mouth a little? Here, park these for me, sweetheart.</dialogue> <scene_description>He hands her his hat and briefcase and continues right on , CAMERA WITH HIM , to a door lettered : BARTON KEYES - CLAIMS MANAGER Keyes ' voice is heard inside , plenty loud . Neff grins as he opens the door and goes in . KEYES : OFFICE - -LRB- DAY -RRB- A minor executive office , not too tidy : large desk across one corner , good carpet , several chairs , filing cabinet against one wall , a dictaphone on the corner of the desk . Keyes is sitting behind the desk with his coat off but his hat on . A cigar is clamped in his mouth , ashes falling like snow down his vest , a gold chair and elk 's tooth across it . On the other side of the desk sits Sam Gorlopis . He is a big , dumb bruiser , six feet three inches tall - a dirty work shirt and corduroy pants , rough , untidy hair , broad face , small piggish eyes . He holds a sweat - soaked hat on his knee with a hairy hand . He is chewing gum rapidly . As Neff opens the door , Keyes is giving it to Gorlopis .</scene_description> <character>KEYES</character> <dialogue>Wise up, Gorlopis. You're not kidding anybody with that line of bull. You're in a jam and you know it.</dialogue> <character>GORLOPIS</character> <dialogue>Sez you. All I want is my money.</dialogue> <character>KEYES</character> <dialogue>Sez you. All you're gon na get is the cops.</dialogue> <scene_description>He sees Neff standing inside the door .</scene_description> <character>KEYES</character> <dialogue>Come in, Walter. This is Sam Gorlopis from Inglewood.</dialogue> <character>NEFF</character> <dialogue>Sure, I know Mr. Gorlopis. Wrote a policy on his truck. How are you, Mr. Gorlopis?</dialogue> <character>GORLOPIS</character> <dialogue>I ai n't so good. My truck burned down.</dialogue> <scene_description>He looks cautiously sideways at Keyes .</scene_description> <character>KEYES</character> <dialogue>Yeah, he just planted his big foot on the starter and the whole thing blazed up in his face.</dialogue> <character>GORLOPIS</character> <dialogue>Yes, sir.</dialogue> <character>KEYES</character> <dialogue>And did n't even singe his eyebrows.</dialogue> <character>GORLOPIS</character> <dialogue>No sir. Look, mister. I got twenty - six hundred bucks tied up in that truck. I'm insured with this company and I want my money.</dialogue> <character>KEYES</character> <dialogue>You got a wife, Gorlopis?</dialogue> <character>GORLOPIS</character> <dialogue>Sure I got a wife.</dialogue> <character>KEYES</character> <dialogue>You got kids?</dialogue> <character>GORLOPIS</character> <dialogue>Two kids.</dialogue> <character>KEYES</character> <dialogue>What you got for dinner tonight?</dialogue> <character>GORLOPIS</character> <dialogue>We got meat loaf.</dialogue> <character>KEYES</character> <dialogue>How do you make your meat loaf, Gorlopis?</dialogue> <character>GORLOPIS</character> <dialogue>Veal and pork and bread and garlic. Greek style.</dialogue> <character>KEYES</character> <dialogue>How much garlic?</dialogue> <character>GORLOPIS</character> <dialogue>Lotsa garlic, Mr. Keyes.</dialogue> <character>KEYES</character> <dialogue>Okay, Gorlopis. Now listen here. Let's say you just came up here to tell me how to make meat loaf. That's all, understand? Because if you came up here to claim on that truck, I'd have to turn you over to the law, Gorlopis, and they'd put you in jail. No wife. No kids -</dialogue> <character>GORLOPIS</character> <dialogue>What for?</dialogue> <character>KEYES</character> <parenthetical>( Yelling . )</parenthetical> <dialogue>And no meat loaf, Gorlopis!</dialogue> <character>GORLOPIS</character> <dialogue>I did n't do nothin'.</dialogue> <character>KEYES</character> <dialogue>No? Look, Gorlopis. Every month hundreds of claims come to this desk. Some of them are phonies, and I know which ones. How do I know, Gorlopis?</dialogue> <parenthetical>( He speaks as if to a child . )</parenthetical> <dialogue>Because my little man tells me.</dialogue> <character>GORLOPIS</character> <dialogue>What little man?</dialogue> <character>KEYES</character> <dialogue>The little man in here.</dialogue> <scene_description>He pounds the pit of his stomach .</scene_description> <character>KEYES</character> <dialogue>Every time one of those phonies comes along he ties knots in my stomach. And yours was one of them, Gorlopis. That's how I knew your claim was crooked. So what did I do? I sent a tow car out to your garage this afternoon and they jacked up that burned - out truck of yours. And what did they find, Gorlopis? They found what was left of a pile of shavings.</dialogue> <character>GORLOPIS</character> <dialogue>What shavings?</dialogue> <character>KEYES</character> <dialogue>The ones you soaked with kerosene and dropped a match on.</dialogue> <scene_description>Gorlopis cringes under the impact .</scene_description> <character>GORLOPIS</character> <dialogue>Look, Mr. Keyes, I'm just a poor guy. Maybe I made a mistake.</dialogue> <character>KEYES</character> <dialogue>That's one way of putting it.</dialogue> <character>GORLOPIS</character> <dialogue>I ai n't feelin' so good, Mr. Keyes.</dialogue> <character>KEYES</character> <dialogue>Sign this and you'll feel fine.</dialogue> <scene_description>He puts a blank form in front of him and points .</scene_description> <character>KEYES</character> <dialogue>Right there. It's a waiver on your claim.</dialogue> <scene_description>Gorlopis hesitates , then signs laboriously .</scene_description> <character>KEYES</character> <dialogue>Now you're an honest man again.</dialogue> <character>GORLOPIS</character> <dialogue>But I ai n't got no more truck.</dialogue> <character>KEYES</character> <dialogue>Goodbye, Gorlopis.</dialogue> <character>GORLOPIS</character> <parenthetical>( Still bewildered . )</parenthetical> <dialogue>Goodbye, Mr. Keyes.</dialogue> <scene_description>He stands up and goes slowly to the door and turns there .</scene_description> <character>GORLOPIS</character> <dialogue>Twenty - six hundred bucks. That's a lot of dough where I live.</dialogue> <character>KEYES</character> <dialogue>What's the matter, Gorlopis? Do n't you know how to open the door? Just put your hand on the knob, turn it to the right, pull it toward you -</dialogue> <character>GORLOPIS</character> <parenthetical>( Doing just as Keyes says . )</parenthetical> <dialogue>Like this, Mr. Keyes?</dialogue> <character>KEYES</character> <dialogue>That's the boy. Now the same thing from the outside.</dialogue> <character>GORLOPIS</character> <parenthetical>( Stupefied . )</parenthetical> <dialogue>Thank you, Mr. Keyes.</dialogue> <scene_description>He goes out , closing the door after him . Keyes takes his cigar stub from his mouth and turns it slowly in the flame of a lighted match . He turns to Neff .</scene_description> <character>KEYES</character> <dialogue>What kind of an outfit is this anyway? Are we an insurance company, or a bunch of dimwitted amateurs, writing a policy on a mugg like that?</dialogue> <character>NEFF</character> <dialogue>Wait a minute, Keyes. I do n't rate this beef. I clipped a note to that Gorlopis application to have him thoroughly investigated before we accepted the risk.</dialogue> <character>KEYES</character> <dialogue>I know you did, Walter. I'm not beefing at you. It's the company. The way they do things. The way they do n't do things. The way they'll write anything just to get it down on the sales sheet. And I'm the guy that has to sit here up to my neck in phony claims so they wo n't throw more money out of the window than they take in at the door.</dialogue> <character>NEFF</character> <parenthetical>( Grinning . )</parenthetical> <dialogue>Okay, turn the record over and let's hear the other side.</dialogue> <character>KEYES</character> <dialogue>I get darn sick of picking up after a gang of fast - talking salesmen dumb enough to sell life insurance to a guy that sleeps in the same bed with four rattlesnakes. I've had twenty - six years of that, Walter, and I -</dialogue> <character>NEFF</character> <dialogue>And you loved every minute of it, Keyes. You love it, only you worry about it too much, you and your little man. You're so darn conscientious you're driving yourself crazy. You would n't even say today is Tuesday without you looked at the calendar, and then you would check if it was this year's or last year's calendar, and then you would find out what company printed the calendar, then find out if their calendar checks with the World Almanac's calendar.</dialogue> <character>KEYES</character> <dialogue>That's enough from you, Walter. Get out of here before I throw my desk at you.</dialogue> <character>NEFF</character> <dialogue>I love you, too.</dialogue> <scene_description>He walks out , still grinning .</scene_description> </scene> <scene> <stage_direction>EXT. OFFICES - TWELFTH FLOOR</stage_direction> <scene_description>Neff comes out of Keys ' office and walks back along the balcony . Activity of secretaries going in and out of doors , etc. . Neff enters his own office .</scene_description> <character>NEFF'S VOICE</character> <parenthetical>( Over scene . )</parenthetical> <dialogue>I really did, too, you old crab, always yelling your fat head off, always sore at everyone. But behind the cigar ashes on your vest I kind of knew you had a heart as big as a house. Back in my office there was a phone message from Mrs. Dietrichson about the renewals. She did n't want me to come tomorrow evening. She wanted me to come Thursday afternoon at three - thirty instead. I had a lot of stuff lined up for that Thursday afternoon, including a trip down to Santa Monica to see a couple of live prospects about some group insurance. But I kept thinking about Phyllis Dietrichson and the way that anklet of hers cut into her leg.</dialogue> </scene> <scene> <stage_direction>INT. NEFF'S OFFICE</stage_direction> <scene_description>Anderson , a salesman , sits at one of the desks , filling out a report . Neff enters , goes to his own desk . He looks down at some mail . On top there is a typewritten note . He reads it , sits down and leafs through his desk calendar . INSERT - CLOSEUP - CALENDAR PAGE Showing date : THURSDAY 23 May and five or six appointments penciled in tightly on the page .</scene_description> </scene> <scene> <stage_direction>DIETRICHSON HOME - ENTRANCE HALL - (DAY)</stage_direction> <scene_description>THE CAMERA PANS with Phyllis Dietrichson 's feet and ankles as she comes down the stairs , her high heels clicking on the tiles . The anklet glistens on her leg as she moves . THE CAMERA PANS ON . Phyllis has reached the entrance hall , and as she walks toward the front door her whole body becomes visible . She wears a gay print dress with a wide sash over her hips . She opens the door . Outside is Neff , wearing a sport coat , flannel slacks . He takes his hat off .</scene_description> <character>PHYLLIS</character> <dialogue>Hello, Mr. Neff.</dialogue> <scene_description>He stands there with a little smile .</scene_description> <character>PHYLLIS</character> <dialogue>Are n't you coming in?</dialogue> <character>NEFF</character> <dialogue>I'm considering it.</dialogue> <scene_description>He comes in .</scene_description> <character>PHYLLIS</character> <dialogue>I hope you did n't mind my changing the appointment. Last night was n't so convenient.</dialogue> <character>NEFF</character> <dialogue>That's okay. I was working on my stamp collection.</dialogue> <scene_description>She leads him toward living room . DIETRICHSON LIVING ROOM Phyllis and Neff come through archway . She heads toward a low tea table which stands in front of the davenport , with tall glasses , ice cubes , lemon , a pot of tea , etc. .</scene_description> <character>PHYLLIS</character> <dialogue>I was just fixing some iced tea. Would you like a glass?</dialogue> <character>NEFF</character> <dialogue>Unless you have a bottle of beer that's not working.</dialogue> <character>PHYLLIS</character> <dialogue>There might be some. I never know what's in the ice box.</dialogue> <parenthetical>( Calls . )</parenthetical> <dialogue>Nettie!</dialogue> <scene_description>She pours herself a glass of tea .</scene_description> <character>PHYLLIS</character> <dialogue>About those renewals, Mr. Neff. I talked to my husband about it.</dialogue> <character>NEFF</character> <dialogue>You did?</dialogue> <character>PHYLLIS</character> <dialogue>Yes. He'll renew with you he told me. In fact, I thought he'd be here this afternoon.</dialogue> <character>NEFF</character> <dialogue>But he's not?</dialogue> <character>PHYLLIS</character> <dialogue>No.</dialogue> <character>NEFF</character> <dialogue>That's terrible.</dialogue> <character>PHYLLIS</character> <parenthetical>( Calls again , impatiently . )</parenthetical> <dialogue>Nettie! Nettie! Oh, I forgot, it's the maid's day off.</dialogue> <character>NEFF</character> <dialogue>Do n't bother, Mrs. Dietrichson. I'd like some iced tea very much.</dialogue> <character>PHYLLIS</character> <dialogue>Lemon? Sugar?</dialogue> <character>NEFF</character> <dialogue>Fix it your way.</dialogue> <scene_description>She fixes him a glass of tea while he is looking around . He slowly sits down .</scene_description> <character>NEFF</character> <dialogue>Seeing it's the maid's day off maybe there's something I can do for you.</dialogue> <scene_description>She hands him the tea .</scene_description> <character>NEFF</character> <dialogue>Like running the vacuum cleaner.</dialogue> <character>PHYLLIS</character> <dialogue>Fresh.</dialogue> <character>NEFF</character> <dialogue>I used to peddle vacuum cleaners. Not much money but you learn a lot about life.</dialogue> <character>PHYLLIS</character> <dialogue>I did n't think you'd learned it from a correspondence course.</dialogue> <character>NEFF</character> <dialogue>Where did you pick up this tea drinking? You're not English, are you?</dialogue> <character>PHYLLIS</character> <dialogue>No. Californian. Born right here in Los Angeles.</dialogue> <character>NEFF</character> <dialogue>They say native Californians all come from Iowa.</dialogue> <character>PHYLLIS</character> <dialogue>I wanted to ask you something, Mr. Neff.</dialogue> <character>NEFF</character> <dialogue>Make it Walter.</dialogue> <character>PHYLLIS</character> <dialogue>Walter.</dialogue> <character>NEFF</character> <dialogue>Right.</dialogue> <character>PHYLLIS</character> <dialogue>Tell me, Walter, on this insurance - how much commission do you make?</dialogue> <character>NEFF</character> <dialogue>Twenty percent. Why?</dialogue> <character>PHYLLIS</character> <dialogue>I thought maybe I could throw a little more business your way.</dialogue> <character>NEFF</character> <dialogue>I can always use it.</dialogue> <character>PHYLLIS</character> <dialogue>I was thinking about my husband. I worry a lot about him, down in those oil fields. It's very dangerous.</dialogue> <character>NEFF</character> <dialogue>Not for an executive, is it?</dialogue> <character>PHYLLIS</character> <dialogue>He does n't just sit behind a desk. He's right down there with the drilling crews. It's got me worried sick.</dialogue> <character>NEFF</character> <dialogue>You mean a crown block might fall on him some rainy night?</dialogue> <character>PHYLLIS</character> <dialogue>Please do n't talk like that.</dialogue> <character>NEFF</character> <dialogue>But that's the idea.</dialogue> <character>PHYLLIS</character> <dialogue>The other day a casing line snapped and caught the foreman. He's in the hospital with a broken back.</dialogue> <character>NEFF</character> <dialogue>Bad.</dialogue> <character>PHYLLIS</character> <dialogue>It's got me jittery just thinking about it. Suppose something like that happened to my husband?</dialogue> <character>NEFF</character> <dialogue>It could.</dialogue> <character>PHYLLIS</character> <dialogue>Do n't you think he ought to have accident insurance?</dialogue> <character>NEFF</character> <dialogue>Uh huh.</dialogue> <character>PHYLLIS</character> <dialogue>What kind of insurance could he have?</dialogue> <character>NEFF</character> <dialogue>Enough to cover doctors' and hospital bills. Say a hundred and twenty - five a week cash benefit. And he'd rate around fifty thousand capital sum.</dialogue> <character>PHYLLIS</character> <dialogue>Capital sum? What's that?</dialogue> <character>NEFF</character> <dialogue>That's if he got killed. Maybe I should n't have said that.</dialogue> <character>PHYLLIS</character> <dialogue>I suppose you have to think of everything in your business.</dialogue> <character>NEFF</character> <dialogue>Mr. Dietrichson would understand. I'm sure I could sell him on the idea of some accident protection. Why do n't I talk to him about it.</dialogue> <character>PHYLLIS</character> <dialogue>You could try. But he's pretty tough going.</dialogue> <character>NEFF</character> <dialogue>They're all tough at first.</dialogue> <character>PHYLLIS</character> <dialogue>He's got a lot on his mind. He does n't want to listen to anything except maybe a baseball game on the radio. Sometimes we sit all evening without saying a word to each other.</dialogue> <character>NEFF</character> <dialogue>Sounds pretty dull.</dialogue> <scene_description>Phyllis shrugs .</scene_description> <character>PHYLLIS</character> <dialogue>So I just sit and knit.</dialogue> <character>NEFF</character> <dialogue>Is that what you married him for?</dialogue> <character>PHYLLIS</character> <dialogue>Maybe I like the way his thumbs hold up the wool.</dialogue> <character>NEFF</character> <dialogue>Anytime his thumbs get tired -</dialogue> <character>PHYLLIS</character> <dialogue>I want to ask you something, Mr. Neff. Could I get an accident policy for him - without bothering him at all?</dialogue> <character>NEFF</character> <dialogue>How's that again.</dialogue> <character>PHYLLIS</character> <dialogue>That would make it easier for you, too. You would n't even have to talk to him. I have a little allowance of my own. I could pay for it and he need n't know anything about it.</dialogue> <character>NEFF</character> <dialogue>Wait a minute. Why should n't he know?</dialogue> <character>PHYLLIS</character> <dialogue>Because I know he does n't want accident insurance. He's superstitious about it.</dialogue> <character>NEFF</character> <dialogue>A lot of people are. Funny, is n't it?</dialogue> <character>PHYLLIS</character> <dialogue>If there was a way to get it like that, all the worry would be over. You see what I mean, Walter?</dialogue> <character>NEFF</character> <dialogue>Sure. I've got good eyesight. You want him to have the policy without him knowing it. And that means without the insurance company knowing that he does n't know. That's the set - up, is n't it?</dialogue> <character>PHYLLIS</character> <dialogue>Is there anything wrong with it?</dialogue> <character>NEFF</character> <dialogue>I think it's lovely. And then, some dark wet night, if that crown block fell on him -</dialogue> <character>PHYLLIS</character> <dialogue>What crown block?</dialogue> <character>NEFF</character> <dialogue>Only sometimes they have to have a little help. They ca n't quite make it on their own.</dialogue> <character>PHYLLIS</character> <dialogue>I do n't know what you're talking about.</dialogue> <character>NEFF</character> <dialogue>Of course, it does n't have to be a crown block. It can be a car backing over him, or he can fall out of an upstairs window. Any little thing like that, as long as it's a morgue job.</dialogue> <character>PHYLLIS</character> <dialogue>Are you crazy?</dialogue> <character>NEFF</character> <dialogue>Not that crazy. Goodbye, Mrs. Dietrichson.</dialogue> <scene_description>He picks up his hat .</scene_description> <character>PHYLLIS</character> <dialogue>What's the matter?</dialogue> <character>NEFF</character> <dialogue>Look, baby, you ca n't get away with it.</dialogue> <character>PHYLLIS</character> <dialogue>Get away with what?</dialogue> <character>NEFF</character> <dialogue>You want to knock him off, do n't you, baby.</dialogue> <character>PHYLLIS</character> <dialogue>That's a horrible thing to say!</dialogue> <character>NEFF</character> <dialogue>Who'd you think I was, anyway? A guy that walks into a good - looking dame's front parlor and says `` Good afternoon, I sell accident insurance on husbands. You got one that's been around too long? Somebody you'd like to turn into a little hard cash? Just give me a smile and I'll help you collect.'' Boy, what a dope I must look to you!</dialogue> <character>PHYLLIS</character> <dialogue>I think you're rotten.</dialogue> <character>NEFF</character> <dialogue>I think you're swell. So long as I'm not your husband.</dialogue> <character>PHYLLIS</character> <dialogue>Get out of here.</dialogue> <character>NEFF</character> <dialogue>You bet I will. You bet I'll get out of here, baby. But quick.</dialogue> <scene_description>He goes out . She looks after him .</scene_description> </scene> <scene> <stage_direction>EXT. DIETRICHSON HOME - (DAY)</stage_direction> <scene_description>Neff bangs the front door shut , walks quickly to his car and drives away .</scene_description> </scene> <scene> <scene_description>DRIVE - IN RESTAURANT - -LRB- DAY -RRB- Shooting past Neff sitting behind the wheel of his car The car hop hangs a tray on the door and serves him a bottle of beer .</scene_description> </scene> <scene> <stage_direction>INT. BOWLING ALLEY</stage_direction> <scene_description>Neff bowling . He rolls the ball with an effort at concentration , but his mind is not really on the game .</scene_description> </scene> <scene> <stage_direction>EXT. APARTMENT HOUSE - (DUSK)</stage_direction> <scene_description>It is late afternoon . The apartment house is called the LOS OLIVOS APARTMENTS . It is a six - story building in the Normandie - Wilshire district , with a basement garage . THE CAMERA PANS UP the front of the building to the top floor windows , as a little rain starts to fall .</scene_description> </scene> <scene /> <scene> <stage_direction>INT. NEFF'S APARTMENT - LIVING ROOM - (DUSK)</stage_direction> <scene_description>It is a double apartment of conventional design , with kitchen , dinette , and bathroom , squarecut overstuffed borax furniture . Gas logs are lit in the imitation fireplace . Neff stands by the window with his coat off and his tie loose . Raindrops strike against the glass . He turns away impatiently , paces up and down past a caddy bag with golf clubs in it , pulls one out at random , makes a couple of short swings , throws the club on the couch , paces again .</scene_description> <character>NEFF'S VOICE</character> <parenthetical>( Continuing . )</parenthetical> <dialogue>It had begun to rain outside and I watched it get dark and did n't even turn on the light. That did n't help me either. I was all twisted up inside, and I was still holding on to that red - hot poker. And right then it came over me that I had n't walked out on anything at all, that the hook was too strong, that this was n't the end between her and me. It was only the beginning.</dialogue> <scene_description>The doorbell rings .</scene_description> <character>NEFF'S VOICE</character> <parenthetical>( Continuing . )</parenthetical> <dialogue>So at eight o'clock the bell would ring and I would know who it was without even having to think, as if it was the most natural thing in the world.</dialogue> <scene_description>Neff goes to the door and opens it .</scene_description> <character>PHYLLIS</character> <dialogue>Hello.</dialogue> <scene_description>Neff just looks at her .</scene_description> <character>PHYLLIS</character> <dialogue>You forgot your hat this afternoon.</dialogue> <scene_description>She has nothing in her hands but her bag .</scene_description> <character>NEFF</character> <dialogue>Did I?</dialogue> <scene_description>He looks down at her hands .</scene_description> <character>PHYLLIS</character> <dialogue>Do n't you want me to bring it in?</dialogue> <character>NEFF</character> <dialogue>Sure. Put it on the chair.</dialogue> <scene_description>She comes in . He closes the door .</scene_description> <character>NEFF</character> <dialogue>How did you know where I live?</dialogue> <character>PHYLLIS</character> <dialogue>It's in the phone book.</dialogue> <scene_description>Neff switches on the standing lamp .</scene_description> <character>PHYLLIS</character> <dialogue>It's raining.</dialogue> <character>NEFF</character> <dialogue>So it is. Peel off your coat and sit down.</dialogue> <scene_description>She starts to take off her coat .</scene_description> <character>NEFF</character> <dialogue>Your husband out?</dialogue> <character>PHYLLIS</character> <dialogue>Long Beach. They're spudding in a new well. He phoned he'd be late. About nine - thirty.</dialogue> <scene_description>He takes her coat and lays it across the back of a chair .</scene_description> <character>PHYLLIS</character> <dialogue>It's about time you said you're glad to see me.</dialogue> <character>NEFF</character> <dialogue>I knew you would n't leave it like that.</dialogue> <character>PHYLLIS</character> <dialogue>Like what?</dialogue> <character>NEFF</character> <dialogue>Like it was this afternoon.</dialogue> <character>PHYLLIS</character> <dialogue>I must have said something that gave you a terribly wrong impression. You must surely see that. You must never think anything like that about me, Walter.</dialogue> <character>NEFF</character> <dialogue>Okay.</dialogue> <character>PHYLLIS</character> <dialogue>It's not okay. Not if you do n't believe me.</dialogue> <character>NEFF</character> <dialogue>What do you want me to do?</dialogue> <character>PHYLLIS</character> <dialogue>I want you to be nice to me. Like the first time you came to the house.</dialogue> <character>NEFF</character> <dialogue>It ca n't be like the first time. Something has happened.</dialogue> <character>PHYLLIS</character> <dialogue>I know it has. It's happened to us.</dialogue> <character>NEFF</character> <dialogue>That's what I mean.</dialogue> <scene_description>Phyllis has moved over to the window . She stares out through the wet window - pane .</scene_description> <character>NEFF</character> <dialogue>What's the matter now?</dialogue> <character>PHYLLIS</character> <dialogue>I feel as if he was watching me. Not that he cares about me. Not any more. But he keeps me on a leash. So tight I ca n't breathe. I'm scared.</dialogue> <character>NEFF</character> <dialogue>What of? He's in Long Beach, is n't he?</dialogue> <character>PHYLLIS</character> <dialogue>I ought n't to have come.</dialogue> <character>NEFF</character> <dialogue>Maybe you ought n't.</dialogue> <character>PHYLLIS</character> <dialogue>You want me to go?</dialogue> <character>NEFF</character> <dialogue>If you want to.</dialogue> <character>PHYLLIS</character> <dialogue>Right now?</dialogue> <character>NEFF</character> <dialogue>Sure. Right now.</dialogue> <scene_description>By this time , he has hold of her wrist . He draws her to him slowly and kisses her . Her arms tighten around him . After a moment he pulls his head back , still holding her close .</scene_description> <character>NEFF</character> <dialogue>How were you going to do it?</dialogue> <character>PHYLLIS</character> <dialogue>Do what?</dialogue> <character>NEFF</character> <dialogue>Kill him.</dialogue> <character>PHYLLIS</character> <dialogue>Walter, for the last time -</dialogue> <scene_description>She tries to jerk away but he holds her and kisses her again .</scene_description> <character>NEFF</character> <dialogue>I'm crazy about you, baby.</dialogue> <character>PHYLLIS</character> <dialogue>I'm crazy about you, Walter.</dialogue> <character>NEFF</character> <dialogue>That perfume on your hair. What's the name of it?</dialogue> <character>PHYLLIS</character> <dialogue>Something French. I bought it down at Ensenada.</dialogue> <character>NEFF</character> <dialogue>We ought to have some of that pink wine to go with it. The kind that bubbles. But all I have is bourbon.</dialogue> <character>PHYLLIS</character> <dialogue>Bourbon is fine, Walter.</dialogue> <scene_description>He lets her go and moves toward the dinette . THE DINETTE AND KITCHEN It contains a small table and some chairs . A low glass - and - china cabinet is built between the dinette and kitchen , leaving a space like a doorway . The kitchen is the usual apartment house kitchen , with stove , ice - box , sink , etc. . It is quite small . Neff goes to the ice - box and Phyllis drifts in after him .</scene_description> <character>NEFF</character> <dialogue>Soda?</dialogue> <character>PHYLLIS</character> <dialogue>Plain water, please.</dialogue> <character>NEFF</character> <dialogue>Get a couple of glasses, will you.</dialogue> <scene_description>He points at the china closet . He has taken a tray of ice cubes from the refrigerator and is holding it under the hot - water faucet .</scene_description> <character>NEFF</character> <dialogue>You know, about six months ago a guy slipped on the soap in his bathtub and knocked himself cold and drowned. Only he had accident insurance. So they had an autopsy and she did n't get away with it.</dialogue> <scene_description>Phyllis has the glasses now . She hands them to him . He dumps some ice cubes into the glasses .</scene_description> <character>PHYLLIS</character> <dialogue>Who did n't?</dialogue> <character>NEFF</character> <dialogue>His wife.</dialogue> <scene_description>He reaches for the whiskey bottle on top of the china closet .</scene_description> <character>NEFF</character> <dialogue>And there was another case where a guy was found shot and his wife said he was cleaning a gun and his stomach got in the way. All she collected was a three - to - ten stretch in Tehachapi.</dialogue> <character>PHYLLIS</character> <dialogue>Perhaps it was worth it to her.</dialogue> <scene_description>Neff hands her a glass .</scene_description> <character>NEFF</character> <dialogue>See if you can carry this as far as the living room.</dialogue> <scene_description>They move back toward the living room . LIVING ROOM Phyllis and Neff go toward the davenport . She is sipping her drink and looking around .</scene_description> <character>PHYLLIS</character> <dialogue>It's nice here, Walter. Who takes care of it for you?</dialogue> <character>NEFF</character> <dialogue>A colored woman comes in twice a week.</dialogue> <character>PHYLLIS</character> <dialogue>You get your own breakfast?</dialogue> <character>NEFF</character> <dialogue>Once in a while I squeeze a grapefruit. The rest I get at the corner drugstore.</dialogue> <scene_description>They sit on the davenport , fairly close together .</scene_description> <character>PHYLLIS</character> <dialogue>It sounds wonderful. Just strangers beside you. You do n't know them. You do n't hate them. You do n't have to sit across the table and smile at him and that daughter of his every morning of your life.</dialogue> <character>NEFF</character> <dialogue>What daughter? Oh, that little girl on the piano.</dialogue> <character>PHYLLIS</character> <dialogue>Yes. Lola. She lives with us. He thinks a lot more of her than he does of me.</dialogue> <character>NEFF</character> <dialogue>Ever think of a divorce?</dialogue> <character>PHYLLIS</character> <dialogue>He would n't give me a divorce.</dialogue> <character>NEFF</character> <dialogue>I suppose because it would cost him money.</dialogue> <character>PHYLLIS</character> <dialogue>He has n't got any money. Not since he went into the oil business.</dialogue> <character>NEFF</character> <dialogue>But he had when you married him?</dialogue> <character>PHYLLIS</character> <dialogue>Yes, he had. And I wanted a home. Why not? But that was n't the only reason. I was his wife's nurse. She was sick for a long time. When she died, he was all broken up. I pitied him so.</dialogue> <character>NEFF</character> <dialogue>And now you hate him.</dialogue> <character>PHYLLIS</character> <dialogue>Yes, Walter. He's so mean to me. Every - time I buy a dress or a pair of shoes he yells his head off. He wo n't let me go anywhere. He keeps me shut up. He's always been mean to me. Even his life insurance all goes to that daughter of his. That Lola.</dialogue> <character>NEFF</character> <dialogue>Nothing for you at all, huh?</dialogue> <character>PHYLLIS</character> <dialogue>No. And nothing is just what I'm worth to him.</dialogue> <character>NEFF</character> <dialogue>So you lie awake in the dark and listen to him snore and get ideas.</dialogue> <character>PHYLLIS</character> <dialogue>Walter, I do n't want to kill him. I never did. Not even when he gets drunk and slaps my face.</dialogue> <character>NEFF</character> <dialogue>Only sometimes you wish he was dead.</dialogue> <character>PHYLLIS</character> <dialogue>Perhaps I do.</dialogue> <character>NEFF</character> <dialogue>And you wish it was an accident, and you had that policy. For fifty thousand dollars. Is that it?</dialogue> <character>PHYLLIS</character> <dialogue>Perhaps that too.</dialogue> <scene_description>She takes a long drink .</scene_description> <character>PHYLLIS</character> <dialogue>The other night we drove home from a party. He was drunk again. When we got into the garage he just sat there with his head on the steering wheel and the motor still running. And I thought what it would be like if I did n't switch it off, just closed the garage door and left him there.</dialogue> <character>NEFF</character> <dialogue>I'll tell you what it would be like, if you had that accident policy, and tried to pull a monoxide job. We have a guy in our office named Keyes. For him a set - up like that would be just like a slice of rare roast beef. In three minutes he'd know it was n't an accident. In ten minutes you'd be sitting under the hot lights. In half an hour you'd be signing your name to a confession.</dialogue> <character>PHYLLIS</character> <dialogue>But Walter, I did n't do it. I'm not going to do it.</dialogue> <character>NEFF</character> <dialogue>Not if there's an insurance company in the picture, baby. So long as you're honest they'll pay you with a smile, but you just try to pull something like that and you'll find out. They know more tricks than a carload of monkeys. And if there's a death mixed up in it, you have n't got a prayer. They'll hang you as sure as ten dimes will buy a dollar, baby.</dialogue> <scene_description>She begins to cry . He puts his arms around her and kisses her .</scene_description> <character>NEFF</character> <dialogue>Just stop thinking about it, will you.</dialogue> <scene_description>He holds her tight . Their heads touch , side by side , THE CAMERA SLOWLY STARTS TO RECEDE as we</scene_description> </scene> <scene> <stage_direction>INT. NEFF'S OFFICE - (NIGHT)</stage_direction> <scene_description>Neff sits in the swivel chair , talking into the dictaphone . He has hooked the wastebasket under his feet to sit more comfortably . As he talks , a little cough shakes him now and then .</scene_description> <character>NEFF</character> <dialogue>So we just sat there, and she kept on crying softly, like the rain on the window, and we did n't say anything. Maybe she had stopped thinking about it, but I had n't. I could n't. Because it all tied up with something I had been thinking about for years, since long before I ever ran into Phyllis Dietrichson. Because, in this business you ca n't sleep for trying to figure out the tricks they could pull on you. You're like the guy behind the roulette wheel, watching the customers to make sure they do n't crook the house. And then one night, you get to thinking how you could crook the house yourself. And do it smart. Because you've got that wheel right under your hands. And you know every notch in it by heart. And you figure all you need is a plant out in front, a shill to put down the bet. And suddenly the doorbell rings and the whole set - up is right there in the room with you. Look, Keyes, I'm not trying to whitewash myself. I fought it, only maybe I did n't fight it hard enough. The stakes were fifty thousand dollars, but they were the life of a man, too, a man who'd never done me any dirt. Except he was married to a woman he did n't care anything about, and I did.</dialogue> </scene> <scene> <stage_direction>INT. NEFF'S APARTMENT LIVING ROOM</stage_direction> <scene_description>CAMERA MOVES SLOWLY towards the davenport again . Neff sits in one corner with his feet on the low table . He is smoking his cigarette and staring at the ceiling . Phyllis has been sitting fairly close to him . She gets up slowly and crosses to her rain coat , lying over a chair .</scene_description> <character>PHYLLIS</character> <dialogue>I've got to go now, Walter.</dialogue> <scene_description>Neff does not answer . He keeps on staring at the ceiling . She starts to put the rain coat on .</scene_description> <character>PHYLLIS</character> <dialogue>Will you call me, Walter?</dialogue> <scene_description>Neff still does not answer .</scene_description> <character>PHYLLIS</character> <dialogue>Walter!</dialogue> <scene_description>He looks at her slowly , almost absently .</scene_description> <character>PHYLLIS</character> <dialogue>I hate him. I loathe going back to him. You believe me, do n't you, Walter?</dialogue> <character>NEFF</character> <dialogue>Sure I believe you.</dialogue> <character>PHYLLIS</character> <dialogue>I ca n't stand it anymore. What if they did hang me?</dialogue> <character>NEFF</character> <dialogue>You're not going to hang, baby.</dialogue> <character>PHYLLIS</character> <dialogue>It's better than going on this way.</dialogue> <character>NEFF</character> <dialogue>- you're not going to hang, baby. Not ever. Because you're going to do it the smart way. Because I'm going to help you.</dialogue> <character>PHYLLIS</character> <dialogue>You!</dialogue> <character>NEFF</character> <dialogue>Me.</dialogue> <character>PHYLLIS</character> <dialogue>Do you know what you're saying?</dialogue> <character>NEFF</character> <dialogue>Sure I know what I'm saying.</dialogue> <scene_description>He gets up and grips her arm .</scene_description> <character>NEFF</character> <dialogue>We're going to do it together. We're going to do it right. And I'm the guy that knows how.</dialogue> <scene_description>There is fierce determination in his voice . His fingers dig into her arm .</scene_description> <character>PHYLLIS</character> <dialogue>Walter, you're hurting me.</dialogue> <character>NEFF</character> <dialogue>There is n't going to be any slip up. Nothing sloppy. Nothing weak. It's got to be perfect.</dialogue> <scene_description>He kisses her .</scene_description> <character>NEFF</character> <dialogue>You go now.</dialogue> <scene_description>He leads her towards the door .</scene_description> <character>NEFF</character> <dialogue>Call me tomorrow. But not from your house. From a booth. And watch your step. Every single minute. It's got to be perfect, understand. Straight down the line.</dialogue> <scene_description>They have now reached the door . Neff opens it . Phyllis stands in the doorway , her lips white .</scene_description> <character>PHYLLIS</character> <dialogue>Straight down the line.</dialogue> <scene_description>She goes quietly . He watches her down the corridor . Slowly he closes the door and goes back into the room . He moves across the window and opens it wide . He stands there , looking down into the dark street . From below comes the sound of a car starting and driving off . The rain drifts in against his face . He just stands there motionless . His mind is going a hundred miles a minute .</scene_description> </scene> <scene> <stage_direction>INT. NEFF'S OFFICE - (NIGHT)</stage_direction> <scene_description>Neff sits slumped in his chair before the dictaphone . On the desk next to him stands a used record . The cylinder on the dictaphone is not turning . He is smoking a cigarette . He kills it then lifts the needle and slides off the record which is on the machine and stands it on end on the desk beside the other used record . He reaches down painfully to take another record from the rack beneath the dictaphone , looks at it against the light to make sure it has not been used , then slides it into place on the machine and resets the needle . He lifts the horn and resumes his dictation .</scene_description> <character>NEFF</character> <dialogue>The first thing we had to do was fix him up with that accident policy. I knew he would n't buy, but all I wanted was his signature on an application. So I had to make him sign without his knowing what he was signing. And I wanted a witness other than Phyllis to hear me give him a sales talk. I was trying to think with your brains, Keyes. I wanted all the answers ready for all the questions you were going to spring as soon as Dietrichson was dead.</dialogue> <scene_description>Neff takes a last drag on his cigarette and kills it by running it under the ledge of the dictaphone stand . He drops the stub on the floor and resumes .</scene_description> <character>NEFF</character> <dialogue>A couple of nights later I went to the house. Everything looked fine, except I did n't like the witness Phyllis had brought in. It was Dietrichson's daughter Lola, and it made me feel a little queer in the belly to have her right there in the room, playing Chinese checkers, as if nothing was going to happen.</dialogue> <scene_description>A BOARD OF CHINESE CHECKERS CAMERA WITHDRAWS AND GRADUALLY REVEALS THE DIETRICHSON LIVING ROOM - NIGHT The checker - board is on the davenport between Phyllis and Lola . Mr. Dietrichson sits in a big easy chair . His coat and tie are over the back of the chair , and the evening paper is lying tumbled on the floor beside him . He is smoking a cigar with the band on it . He has a drink in front of him and several more inside him . In another chair sits Neff , his briefcase on the floor , leaning against his chair . He holds his rate book partly open , with a finger in it for a marker . He is going full swing .</scene_description> <character>NEFF</character> <dialogue>I suppose you realize, Mr. Dietrichson, that, not being an employee, you are not covered by the State Compensation Insurance Act. The only way you can protect yourself is by having a personal policy of your own.</dialogue> <character>DIETRICHSON</character> <dialogue>I know all about that. The next thing you'll tell me I need earthquake insurance and lightning insurance and hail insurance.</dialogue> <scene_description>Phyllis looks up from the checker - board and cuts in on the dialogue . Lola listens without much interest .</scene_description> <character>PHYLLIS</character> <parenthetical>( To Dietrichson . )</parenthetical> <dialogue>If we bought all the insurance they can think up, we'd stay broke paying for it, would n't we, honey?</dialogue> <character>DIETRICHSON</character> <dialogue>What keeps us broke is you going out and buying five hats at a crack. Who needs a hat in California?</dialogue> <character>NEFF</character> <dialogue>I always say insurance is a lot like a hot water bottle. It looks kind of useless and silly hanging on the hook, but when you get that stomach ache in the middle of the night, it comes in mighty handy.</dialogue> <character>DIETRICHSON</character> <dialogue>Now you want to sell me a hot water bottle.</dialogue> <character>NEFF</character> <dialogue>Dollar for dollar, accident insurance is the cheapest coverage you can buy, Mr. Dietrichson.</dialogue> <character>DIETRICHSON</character> <dialogue>Maybe some other time, Mr. Neff. I had a tough day.</dialogue> <character>NEFF</character> <dialogue>Just as you say, Mr. Dietrichson.</dialogue> <character>DIETRICHSON</character> <dialogue>Suppose we just settle that automobile insurance tonight.</dialogue> <character>NEFF</character> <dialogue>Sure. All we need on that is for you to sign an application for renewal.</dialogue> <scene_description>Phyllis throws a quick glance at Neff . As she looks back she sees that Lola is staring down at her wrist watch .</scene_description> <character>LOLA</character> <dialogue>Phyllis, do you mind if we do n't finish this game? It bores me stiff.</dialogue> <character>PHYLLIS</character> <dialogue>Got some thing better to do?</dialogue> <character>LOLA</character> <dialogue>Yes, I have.</dialogue> <scene_description>She gets up .</scene_description> <character>LOLA</character> <parenthetical>( To Dietrichson . )</parenthetical> <dialogue>Father, is it all right if I run along now?</dialogue> <character>DIETRICHSON</character> <dialogue>Run along where? Who with?</dialogue> <character>LOLA</character> <dialogue>Just Anne. We're going roller skating.</dialogue> <character>DIETRICHSON</character> <dialogue>Anne who?</dialogue> <character>LOLA</character> <dialogue>Anne Matthews.</dialogue> <character>PHYLLIS</character> <dialogue>It's not that Nino Zachetti again?</dialogue> <character>DIETRICHSON</character> <dialogue>It better not be that Zachetti guy. If I ever catch you with that -</dialogue> <character>LOLA</character> <dialogue>It's Anne Matthews, I told you. I also told you we're going roller skating. I'm meeting her at the corner of Vermont and Franklin - the north - west corner, in case you're interested. And I'm late already. I hope that is all clear. Good night, Father. Good night, Phyllis.</dialogue> <scene_description>She starts to go .</scene_description> <character>NEFF</character> <dialogue>Good night, Miss Dietrichson.</dialogue> <character>LOLA</character> <dialogue>Oh, I'm sorry. Good night, Mr. -</dialogue> <character>NEFF</character> <dialogue>Neff.</dialogue> <character>LOLA</character> <dialogue>Good night, Mr. Neff.</dialogue> <character>PHYLLIS</character> <dialogue>Now you're not going to take my car again.</dialogue> <character>LOLA</character> <dialogue>No thanks. I'd rather be dead.</dialogue> <scene_description>She goes out through the archway .</scene_description> <character>DIETRICHSON</character> <dialogue>A great little fighter for her weight.</dialogue> <scene_description>Dietrichson sucks down a big swallow of his drink . Neff has taken two blank forms from his briefcase . He puts the briefcase on Mr. Dietrichson 's lap and lays the forms on top . Phyllis is watching closely .</scene_description> <character>NEFF</character> <dialogue>This is where you sign, Mr. Dietrichson.</dialogue> <character>DIETRICHSON</character> <dialogue>Sign what?</dialogue> <character>NEFF</character> <dialogue>The applications for your auto renewals. So you'll be protected until the new policies are issued.</dialogue> <character>DIETRICHSON</character> <dialogue>When will that be?</dialogue> <character>NEFF</character> <dialogue>In about a week.</dialogue> <character>DIETRICHSON</character> <dialogue>Just so I'm covered when I drive up North.</dialogue> <scene_description>Neff takes out his fountain pen .</scene_description> <character>NEFF</character> <dialogue>San Francisco, Mr. Dietrichson?</dialogue> <character>DIETRICHSON</character> <dialogue>Palo Alto.</dialogue> <character>PHYLLIS</character> <dialogue>He was a Stanford man, Mr. Neff. And he still goes to his class reunion every year.</dialogue> <character>DIETRICHSON</character> <dialogue>What's wrong with that? Ca n't I have a little fun even once a year?</dialogue> <character>NEFF</character> <dialogue>Great football school, Stanford. Did you play football, Mr. Dietrichson?</dialogue> <character>DIETRICHSON</character> <dialogue>Left guard. Almost made the varsity, too.</dialogue> <scene_description>Neff has unscrewed his fountain pen . He hands it to Mr. Dietrichson . Dietrichson puts on his glasses .</scene_description> <character>NEFF</character> <dialogue>On that bottom line, Mr. Dietrichson.</dialogue> <scene_description>Dietrichson signs . Neff 's and Phyllis ' eyes meet for a split second .</scene_description> <character>NEFF</character> <dialogue>Both copies, please.</dialogue> <scene_description>He withdraws the top copy barely enough to expose the signature line on the supposed duplicate .</scene_description> <character>DIETRICHSON</character> <dialogue>Sign twice, huh?</dialogue> <character>NEFF</character> <dialogue>One is the agent's copy. I need it for my files.</dialogue> <character>DIETRICHSON</character> <parenthetical>( In a mutter . )</parenthetical> <dialogue>Files. Duplicates. Triplicates.</dialogue> <scene_description>Dietrichson grunts and signs again . Again Neff and Phyllis exchange a quick glance .</scene_description> <character>NEFF</character> <dialogue>No hurry about the check, Mr. Dietrichson. I can pick it up at your office some morning.</dialogue> <scene_description>Casually Neff lifts the briefcase and signed applications off Dietrichson 's lap .</scene_description> <character>DIETRICHSON</character> <dialogue>How much you taking me for?</dialogue> <character>NEFF</character> <dialogue>One forty - seven fifty, Mr. Dietrichson.</dialogue> <scene_description>Dietrichson stands up . He is about Neff 's height but a little heavier .</scene_description> <character>PHYLLIS</character> <dialogue>I guess that's enough insurance for one evening, Mr. Neff.</dialogue> <character>DIETRICHSON</character> <dialogue>Plenty.</dialogue> <scene_description>Dietrichson has poured some more whisky into his glass . He tries the siphon but it is empty . He gathers up his coat and tie and picks up his glass .</scene_description> <character>DIETRICHSON</character> <dialogue>Good night, Mr. Neff.</dialogue> <scene_description>Neff is zipping up his briefcase .</scene_description> <character>NEFF</character> <dialogue>Good night, Mr. Dietrichson. Good night, Mrs. Dietrichson.</dialogue> <character>DIETRICHSON</character> <dialogue>Bring me some soda when you come up, Phyllis.</dialogue> <scene_description>Dietrichson trundles off towards the archway .</scene_description> <character>PHYLLIS</character> <parenthetical>( To Neff . )</parenthetical> <dialogue>I think you left your hat in the hall.</dialogue> <scene_description>Phyllis leads the way and Neff goes after her , his briefcase under his arm . HALLWAY DIETRICHSON RESIDENCE - -LRB- NIGHT -RRB- Phyllis enters through the living room archway with Neff behind her . She leads him towards the door . On the way he picks up his hat . In the BACKGROUND Dietrichson begins to ascend the stairs , carrying his coat and glass . Phyllis and Neff move close to the door . They speak in very low voices .</scene_description> <character>PHYLLIS</character> <dialogue>All right, Walter?</dialogue> <character>NEFF</character> <dialogue>Fine.</dialogue> <character>PHYLLIS</character> <dialogue>He signed it, did n't he?</dialogue> <character>NEFF</character> <dialogue>Sure he signed it. You saw him.</dialogue> <scene_description>Phyllis opens the door a crack . Both look at the stairs , where Dietrichson is going up . Phyllis takes her hand off the doorknob and holds on to Neff 's arm .</scene_description> <character>NEFF</character> <parenthetical>( Looking up . )</parenthetical> <dialogue>Watch it, will you.</dialogue> <scene_description>Phyllis slowly drops her hand from his arm . Both look up as Dietrichson goes across the balcony and out of sight .</scene_description> <character>NEFF</character> <dialogue>Listen. That trip to Palo Alto When does he go?</dialogue> <character>PHYLLIS</character> <dialogue>End of the month.</dialogue> <character>NEFF</character> <dialogue>He drives, huh?</dialogue> <character>PHYLLIS</character> <dialogue>He always drives.</dialogue> <character>NEFF</character> <dialogue>Not this time. You're going to make him take the train.</dialogue> <character>PHYLLIS</character> <dialogue>Why?</dialogue> <character>NEFF</character> <dialogue>Because it's all worked out for a train.</dialogue> <scene_description>For a second they stand listening and looking up as if they had heard a sound .</scene_description> <character>PHYLLIS</character> <dialogue>It's all right. Go on, Walter.</dialogue> <character>NEFF</character> <dialogue>Look, baby. There's a clause in every accident policy, a little something called double indemnity. The insurance companies put it in as a sort of come - on for the customers. It means they pay double on certain accidents. The kind that almost never happen. Like for instance if a guy got killed on a train, they'd pay a hundred thousand instead of fifty.</dialogue> <character>PHYLLIS</character> <dialogue>I see.</dialogue> <parenthetical>( Her eyes widen with excitement . )</parenthetical> <dialogue /> <character>NEFF</character> <dialogue>We're hitting it for the limit, baby. That's why it's got to be a train.</dialogue> <character>PHYLLIS</character> <dialogue>It's going to be a train, Walter. Just the way you say. Straight down the line.</dialogue> <scene_description>They look at each other . The look is like a long kiss . Neff goes out . Slowly Phyllis closes the door and leans her head against it as she looks up the empty stairway .</scene_description> </scene> <scene> <stage_direction>EXT. DIETRICHSON RESIDENCE - (NIGHT)</stage_direction> <scene_description>Neff , briefcase under his arm , comes down the steps to the street , where his Dodge coupe is parked at the curb . He opens the door and stops , looking in . Sitting there in the dark corner of the car , away from the steering wheel , is Lola . She wears a coat but no hat .</scene_description> <character>LOLA</character> <dialogue>Hello, Mr. Neff. It's me.</dialogue> <scene_description>Lola gives him a sly smile . Neff is a little annoyed .</scene_description> <character>NEFF</character> <dialogue>Something the matter?</dialogue> <character>LOLA</character> <dialogue>I've been waiting for you.</dialogue> <character>NEFF</character> <dialogue>For me? What for?</dialogue> <character>LOLA</character> <dialogue>I thought you could let me ride with you, if you're going my way.</dialogue> <scene_description>Neff does n't like the idea very much .</scene_description> <character>NEFF</character> <dialogue>Which way would that be?</dialogue> <character>LOLA</character> <dialogue>Down the hill. Down Vermont.</dialogue> <character>NEFF</character> <parenthetical>( Remembering . )</parenthetical> <dialogue>Oh, sure. Vermont and Franklin. North - west corner, was n't it? Be glad to, Miss Dietrichson.</dialogue> <scene_description>Neff gets into the car .</scene_description> </scene> <scene> <stage_direction>INT. COUPE - (NIGHT) - (TRANSPARENCY)</stage_direction> <scene_description>Neff puts the briefcase on the ledge behind the driver 's seat . He closes the door and starts the car . They drift down the hill .</scene_description> <character>NEFF</character> <dialogue>Roller skating, eh? You like roller skating?</dialogue> <character>LOLA</character> <dialogue>I can take it or leave it.</dialogue> <scene_description>Neff looks at her curiously . Lola meets his glance .</scene_description> <character>NEFF</character> <dialogue>Only tonight you're leaving it?</dialogue> <scene_description>This is an embarrassing moment for Lola .</scene_description> <character>LOLA</character> <dialogue>Yes, I am. You see, Mr. Neff, I'm having a very tough time at home. My father does n't understand me and Phyllis hates me.</dialogue> <character>NEFF</character> <dialogue>That does sound tough, all right.</dialogue> <character>LOLA</character> <dialogue>That's why I have to lie sometimes.</dialogue> <character>NEFF</character> <dialogue>You mean it's not Vermont and Franklin.</dialogue> <character>LOLA</character> <dialogue>It's Vermont and Franklin all right. Only it's not Anne Matthews. It's Nino Zachetti. You wo n't tell on me, will you?</dialogue> <character>NEFF</character> <dialogue>I'd have to think it over.</dialogue> <character>LOLA</character> <dialogue>Nino's not what my father says at all. He just had bad luck. He was doing pre - med at U.S.C. and working nights as an usher in a theater downtown. He got behind in his credits and flunked out. Then he lost his job for talking back. He's so hot - headed.</dialogue> <character>NEFF</character> <dialogue>That comes expensive, does n't it?</dialogue> <character>LOLA</character> <dialogue>I guess my father thinks nobody's good enough for his daughter except maybe the guy that owns Standard Oil. Would you like a stick of gum?</dialogue> <character>NEFF</character> <dialogue>Never use it, thanks.</dialogue> <scene_description>Lola puts a stick of gum in her mouth .</scene_description> <character>LOLA</character> <dialogue>I ca n't give Nino up. I wish father could see it my way.</dialogue> <character>NEFF</character> <dialogue>It'll straighten out all right, Miss Dietrichson.</dialogue> <character>LOLA</character> <dialogue>I suppose it will sometime.</dialogue> <parenthetical>( Looking out . )</parenthetical> <dialogue>This is the corner right here, Mr. Neff.</dialogue> <scene_description>Neff brings the car to a stop by the curb .</scene_description> <character>LOLA</character> <dialogue>There he is. By the bus stop.</dialogue> <scene_description>Neff looks out . CORNER VERMONT AND FRANKLIN - -LRB- NIGHT -RRB- Zachetti stands waiting , hands in trouser pockets . He is about twenty - five , Italian looking , open shirt , not well dressed .</scene_description> </scene> <scene> <stage_direction>INT. COUPE - (NIGHT) - LOLA AND NEFF</stage_direction> <character>LOLA</character> <dialogue>He needs a hair - cut, does n't he. Look at him. No job, no car, no money, no prospects, no nothing.</dialogue> <parenthetical>( Pause . )</parenthetical> <dialogue>I love him.</dialogue> <scene_description>She leans over and honks on the horn .</scene_description> <character>LOLA</character> <parenthetical>( Calling . )</parenthetical> <dialogue>Nino!</dialogue> <scene_description>ZACHETTI He turns around and looks towards the car .</scene_description> <character>LOLA'S VOICE</character> <dialogue>Over here, Nino.</dialogue> <scene_description>Zachetti walks towards the car . THE COUPE Neff and Lola . She has opened the door . Zachetti comes up .</scene_description> <character>LOLA</character> <dialogue>This is Mr. Neff, Nino.</dialogue> <character>NEFF</character> <dialogue>Hello, Nino.</dialogue> <character>ZACHETTI</character> <parenthetical>( Belligerent from the first word . )</parenthetical> <dialogue>The name is Zachetti.</dialogue> <character>LOLA</character> <dialogue>Nino. Please. Mr. Neff gave me a ride from the house. I told him all about us.</dialogue> <character>ZACHETTI</character> <dialogue>Why does he have to get told about us?</dialogue> <character>LOLA</character> <dialogue>We do n't have to worry about Mr. Neff, Nino.</dialogue> <character>ZACHETTI</character> <dialogue>I'm not doing any worrying. Just do n't you broadcast so much.</dialogue> <character>LOLA</character> <dialogue>What's the matter with you, Nino? He's a friend.</dialogue> <character>ZACHETTI</character> <dialogue>I do n't have any friends. And if I did, I like to pick them myself.</dialogue> <character>NEFF</character> <dialogue>Look, sonny, she needed the ride and I brought her along. Is that anything to get tough about?</dialogue> <character>ZACHETTI</character> <dialogue>All right, Lola, make up your mind. Are you coming or are n't you?</dialogue> <character>LOLA</character> <dialogue>Of course I'm coming. Do n't mind him, Mr. Neff.</dialogue> <scene_description>Lola steps out of the car .</scene_description> <character>LOLA</character> <dialogue>Thanks a lot. You've been very sweet.</dialogue> <scene_description>Lola catches up with Zachetti and they walk away together .</scene_description> </scene> <scene> <stage_direction>INT. COUPE</stage_direction> <scene_description>Neff looks after them . Slowly he puts the car in gear and drives on . His face is tight . Behind his head , light catches the metal of the zipper on the briefcase . Over the shot comes the COMMENTARY :</scene_description> <character>NEFF'S VOICE</character> <dialogue>She was a nice kid and maybe he was a little better than he sounded. I kind of hoped so for her sake, but right then it gave me a nasty feeling to be thinking about them at all, with that briefcase right behind my head and her father's application in it. Besides, I had other problems to work out. There were plans to make, and Phyllis had to be in on them.</dialogue> </scene> <scene> <stage_direction>EXT. SUPER MARKET - (DAY)</stage_direction> <scene_description>There is a fair amount of activity but the place is not crowded . Neff comes along the sidewalk into the shot . He passes in front of the fruit and vegetable display and goes between the stalls into the market .</scene_description> <character>NEFF'S VOICE</character> <parenthetical>( Continued . )</parenthetical> <dialogue>. but we could n't be seen together any more and I had told her never to call me from her house and never to call me at my office. So we had picked out a big market on Los Feliz. She was to be there buying stuff every day about eleven o'clock, and I could run into her there. Kind of accidentally on purpose.</dialogue> </scene> <scene> <stage_direction>INT. MARKET</stage_direction> <scene_description>Neff stops by the cashier 's desk and buys a pack of cigarettes . As he is opening the pack he looks back casually beyond the turnstile into the rear part of the market . ROWS OF HIGH SHELVES IN MARKET The shelves are loaded with canned goods and other merchandise . Customers move around selecting articles and putting them in their baskets . Phyllis is seen among them , standing by the soap section . Her basket is partly filled . She wears a simple house dress , no hat , and has a large envelope pocketbook under her arm .</scene_description> </scene> <scene> <stage_direction>INT. MARKET</stage_direction> <scene_description>Neff has spotted Phyllis . Without haste he passes through the turnstile towards the back . THE SHELVES Phyllis is putting a can of cleaning powder into her basket . Neff enters the shot and moves along the shelves towards her , very slowly , pretending to inspect the goods . A customer passes and goes on out of scene . Phyllis and Neff are now very close . During the ensuing low - spoken dialogue , they continue to face the shelves , not looking at each other</scene_description> <character>PHYLLIS</character> <dialogue>Walter.</dialogue> <character>NEFF</character> <dialogue>Not so loud.</dialogue> <character>PHYLLIS</character> <dialogue>I wanted to talk to you, Walter. Ever since yesterday.</dialogue> <character>NEFF</character> <dialogue>Let me talk first. It's all set. The accident policy came through. I've got it in my pocket. I got his check too. I saw him down in the oil fields. He thought he was paying for the auto insurance. The check's just made out to the company. It could be for anything. But you have to send a check for the auto insurance, see. It's all right that way, because one of the cars is yours.</dialogue> <character>PHYLLIS</character> <dialogue>But listen, Walter -</dialogue> <character>NEFF</character> <dialogue>Quick, open your bag.</dialogue> <scene_description>She hesitates , then opens it . Neff looks around quickly , slips the policy out of his pocket and drops it into her bag . She snaps the bag shut .</scene_description> <character>NEFF</character> <dialogue>Can you get into his safe deposit box?</dialogue> <character>PHYLLIS</character> <dialogue>Yes. We both have keys.</dialogue> <character>NEFF</character> <dialogue>Fine. But do n't put the policy in there yet. I'll tell you when. And listen, you never touched it or even saw it, understand?</dialogue> <character>PHYLLIS</character> <dialogue>I'm not a fool.</dialogue> <character>NEFF</character> <dialogue>Okay. When is he taking the train?</dialogue> <character>PHYLLIS</character> <dialogue>Walter, that's just it. He is n't going.</dialogue> <character>NEFF</character> <dialogue>What?</dialogue> <character>PHYLLIS</character> <dialogue>That's what I've been trying to tell you. The trip is off.</dialogue> <character>NEFF</character> <dialogue>What's happened?</dialogue> <scene_description>He breaks off as a short , squatty woman , pushing a child in a walker , comes into sight and approaches . She stops beside Neff , who is pretending to read a label on a can . Phyllis puts a few cakes of soap into her basket .</scene_description> <character>WOMAN</character> <parenthetical>( To Neff . )</parenthetical> <dialogue>Mister, could you reach me that can of coffee?</dialogue> <parenthetical>( She points . )</parenthetical> <dialogue>That one up there.</dialogue> <character>NEFF</character> <parenthetical>( Reaching up . )</parenthetical> <dialogue>This one?</dialogue> <scene_description>She nods . Neff reaches a can down from the high shelf and hands it to her .</scene_description> <character>WOMAN</character> <dialogue>I do n't see why they always have to put what I want on the top shelf.</dialogue> <scene_description>She moves away with her coffee and her child . Out of the corner of his eye Neff watches her go . He moves closer to Phyllis again .</scene_description> <character>NEFF</character> <dialogue>Go ahead. I'm listening.</dialogue> <character>PHYLLIS</character> <dialogue>He had a fall down at the well. He broke his leg. It's in a cast.</dialogue> <character>NEFF</character> <dialogue>That knocks it on the head all right.</dialogue> <character>PHYLLIS</character> <dialogue>What do we do, Walter?</dialogue> <character>NEFF</character> <dialogue>Nothing. Just wait.</dialogue> <character>PHYLLIS</character> <dialogue>Wait for what?</dialogue> <character>NEFF</character> <dialogue>Until he can take a train. I told you it's got to be a train.</dialogue> <character>PHYLLIS</character> <dialogue>We ca n't wait. I ca n't go on like this.</dialogue> <character>NEFF</character> <dialogue>We're not going to grab a hammer and do it quick, just to get it over with.</dialogue> <character>PHYLLIS</character> <dialogue>There are other ways.</dialogue> <character>NEFF</character> <dialogue>Only we're not going to do it other ways.</dialogue> <character>PHYLLIS</character> <dialogue>But we ca n't leave it like this. What do you think would happen if he found out about this accident policy?</dialogue> <character>NEFF</character> <dialogue>Plenty. But not as bad as sitting in that death - house.</dialogue> <character>PHYLLIS</character> <dialogue>Do n't ever talk like that, Walter.</dialogue> <character>NEFF</character> <dialogue>Just do n't let's start losing our heads.</dialogue> <character>PHYLLIS</character> <dialogue>It's not our heads. It's our nerve we're losing.</dialogue> <character>NEFF</character> <dialogue>We're going to do it right. That's all I said.</dialogue> <character>PHYLLIS</character> <dialogue>Walter maybe it's my nerves. It's the waiting that gets me.</dialogue> <character>NEFF</character> <dialogue>It's getting me just as bad, baby. But we've got to wait.</dialogue> <character>PHYLLIS</character> <dialogue>Maybe we have, Walter. Only it's so tough without you. It's like a wall between us.</dialogue> <scene_description>Neff looks at his watch .</scene_description> <character>NEFF</character> <dialogue>Good - bye baby. I'm thinking of you every minute.</dialogue> <scene_description>He goes off . She stares after him .</scene_description> </scene> <scene> <stage_direction>NEFF'S OFFICE - (DAY)</stage_direction> <scene_description>He is wearing a light grey suit and has his hat on . He is standing behind his desk opening some mail , taking a few papers out of his briefcase , checking something in his rate book , making a quick telephone call . But nothing of this is heard .</scene_description> <character>NEFF'S VOICE</character> <dialogue>After that a full week went by and I did n't see her once. I tried to keep my mind off her and off the whole idea. I kept telling myself that maybe those fates they say watch over you had gotten together and broken his leg to give me a way out. Then it was the fifteenth of June. You may remember that date, Keyes. I do too, only for a very different reason. You came into my office around three in the afternoon.</dialogue> <scene_description>Keyes enters with some papers in his hand .</scene_description> <character>NEFF</character> <dialogue>Hello, Keyes.</dialogue> <character>KEYES</character> <dialogue>I just came from Norton's office. The semi - annual sales records are out. You're high man, Walter. That's twice in a row. Congratulations.</dialogue> <character>NEFF</character> <dialogue>Thanks. How would you like a cheap drink?</dialogue> <character>KEYES</character> <dialogue>How would you like a fifty dollar cut in salary?</dialogue> <character>NEFF</character> <dialogue>How would I - Do I laugh now, or wait until it gets funny?</dialogue> <character>KEYES</character> <dialogue>I'm serious, Walter. I've been talking to Norton. There's too much stuff piling up on my desk. Too much pressure on my nerves. I spend half the night walking up and down in my bed. I've got to have an assistant. I thought that you -</dialogue> <character>NEFF</character> <dialogue>Me? Why pick on me?</dialogue> <character>KEYES</character> <dialogue>Because I've got a crazy idea you might be good at the job.</dialogue> <character>NEFF</character> <dialogue>That's crazy all right. I'm a salesman.</dialogue> <character>KEYES</character> <dialogue>Yeah. A peddler, a glad - hander, a back - slapper. You're too good to be a salesman.</dialogue> <character>NEFF</character> <dialogue>Nobody's too good to be a salesman.</dialogue> <character>KEYES</character> <dialogue>Phooey. All you guys do is ring door - bells and dish out a smooth line of monkey talk. What's bothering you is that fifty buck cut, is n't it?</dialogue> <character>NEFF</character> <dialogue>That'd bother anybody.</dialogue> <character>KEYES</character> <dialogue>Look, Walter. The job I'm talking about takes brains and integrity. It takes more guts than there is in fifty salesman. It's the hottest job in the business.</dialogue> <character>NEFF</character> <dialogue>It's still a desk job. I do n't want a desk job.</dialogue> <character>KEYES</character> <dialogue>A desk job. Is that all you can see in it? Just a hard chair to park your pants on from nine to five. Just a pile of papers to shuffle around, and five sharp pencils and a scratch pad to make figures on, with maybe a little doodling on the side. That's not the way I see it, Walter. To me a claims man is a surgeon, and that desk is an operating table, and those pencils are scalpels and bone chisels. And those papers are not just forms and statistics and claims for compensation. They're alive, they're packed with drama, with twisted hopes and crooked dreams. A claims man, Walter, is a doctor and a blood - hound and a cop and a judge and a jury and a father confessor, all in one.</dialogue> <scene_description>The telephone rings on Neff 's desk . Automatically Keyes grabs the phone and answers .</scene_description> <character>KEYES</character> <dialogue>Who? Okay, hold the line.</dialogue> <scene_description>He puts the phone down on the desk and continues to Neff :</scene_description> <character>KEYES</character> <dialogue>And you want to tell me you're not interested. You do n't want to work with your brains. All you want to work with is your finger on a door - bell. For a few bucks more a week. There's a dame on your phone.</dialogue> <scene_description>Neff picks the phone up and answers .</scene_description> <character>NEFF</character> <dialogue>Walter Neff speaking.</dialogue> </scene> <scene> <stage_direction>INT. PHONE BOOTH - MARKET</stage_direction> <scene_description>Phyllis is on the phone .</scene_description> <character>PHYLLIS</character> <dialogue>I had to call you, Walter. It's terribly urgent. Are you with somebody?</dialogue> <scene_description>NEFF 'S OFFICE Neff on the phone . His eye catches Keyes ' , who is walking up and down .</scene_description> <character>NEFF</character> <dialogue>Of course I am. Ca n't I call you back. Margie?</dialogue> <scene_description>PHYLLIS - ON PHONE</scene_description> <character>PHYLLIS</character> <dialogue>Walter, I've only got a minute. It ca n't wait. Listen. He's going tonight. On the train. Are you listening, Walter? Walter!</dialogue> <scene_description>NEFF - ON PHONE His eyes are on Keyes . He speaks into the phone as calmly as possible .</scene_description> <character>NEFF</character> <dialogue>I'm listening. Only make it short. Margie.</dialogue> <scene_description>PHYLLIS - ON PHONE</scene_description> <character>PHYLLIS</character> <dialogue>He's on crutches. The doctor says he can go if he's careful. The change will do him good. It's wonderful, Walter. Just the way you wanted it. Only with the crutches it's ever so much better, is n't it?</dialogue> <scene_description>NEFF 'S OFFICE Neff on phone .</scene_description> <character>NEFF</character> <dialogue>One hundred percent better. Hold the line a minute.</dialogue> <scene_description>He covers the receiver with his hand and turns to Keyes , who is now standing at the window .</scene_description> <character>NEFF</character> <dialogue>Suppose I join you in your office, Keyes -</dialogue> <scene_description>He makes a gesture as if expecting Keyes to leave . Keyes stays right where he is .</scene_description> <character>KEYES</character> <dialogue>I'll wait. Only tell Margie not to take all day.</dialogue> <scene_description>Neff looks at Keyes ' back with a strained expression , then lifts the phone again .</scene_description> <character>NEFF</character> <dialogue>Go ahead.</dialogue> <scene_description>PHYLLIS , ON PHONE</scene_description> <character>PHYLLIS</character> <dialogue>It's the ten - fifteen from Glendale. I'm driving him. Is it still that same dark street?</dialogue> <scene_description>NEFF , ON PHONE He is still watching Keyes cautiously .</scene_description> <character>NEFF</character> <dialogue>Yeah - sure.</dialogue> <scene_description>A CLOSEUP - PHYLLIS - ON PHONE</scene_description> <character>PHYLLIS</character> <dialogue>The signal is three honks on the horn. Is there anything else?</dialogue> <scene_description>B CLOSEUP NEFF , ON PHONE</scene_description> <character>NEFF</character> <dialogue>What color did you pick out?</dialogue> <scene_description>PHYLLIS , ON PHONE</scene_description> <character>PHYLLIS</character> <dialogue>Color?</dialogue> <parenthetical>( She catches on . )</parenthetical> <dialogue>Oh, sure. The blue suit, Walter. Navy blue. And the cast on his left leg.</dialogue> <scene_description>NEFF , ON PHONE</scene_description> <character>NEFF</character> <dialogue>Navy blue. I like that fine.</dialogue> <scene_description>PHYLLIS , ON PHONE</scene_description> <character>PHYLLIS</character> <dialogue>This is it, Walter. I'm shaking like a leaf. But it's straight down the line now for both of us. I love you, Walter. Goodbye.</dialogue> <scene_description>NEFF 'S OFFICE Neff on the phone .</scene_description> <character>NEFF</character> <dialogue>So long, Margie.</dialogue> <scene_description>He hangs up . His mouth is grim , but he forces a smile as Keyes turns .</scene_description> <character>NEFF</character> <dialogue>I'm sorry, Keyes.</dialogue> <character>KEYES</character> <dialogue>What's the matter? The dames chasing you again? Or still? Or is it none of my business?</dialogue> <character>NEFF</character> <parenthetical>( With a sour smile . )</parenthetical> <dialogue>If I told you it was a customer -</dialogue> <character>KEYES</character> <dialogue>Margie! I bet she drinks from the bottle. Why do n't you settle down and get married, Walter?</dialogue> <character>NEFF</character> <dialogue>Why do n't you, for instance?</dialogue> <character>KEYES</character> <dialogue>I almost did, once. A long time ago.</dialogue> <scene_description>Neff gets up from his desk .</scene_description> <character>NEFF</character> <dialogue>Look, Keyes, I've got a prospect to call on.</dialogue> <scene_description>Keyes drives right ahead .</scene_description> <character>KEYES</character> <dialogue>We even had the church all picked out, the dame and I. She had a white satin dress with flounces on it. And I was on my way to the jewelry store to buy the ring. Then suddenly that little man in here started working on me.</dialogue> <scene_description>He punches his stomach with his fist .</scene_description> <character>NEFF</character> <dialogue>So you went back and started investigating her. That it?</dialogue> <scene_description>Keyes nods slowly , a little sad and a little ashamed .</scene_description> <character>KEYES</character> <dialogue>And the stuff that came out. She'd been dyeing her hair ever since she was sixteen. And there was a manic - depressive in her family, on her mother's side. And she already had one husband, a professional pool player in Baltimore. And as for her brother -</dialogue> <character>NEFF</character> <dialogue>I get the general idea. She was a tramp from a long line of tramps.</dialogue> <scene_description>He picks up some papers impatiently .</scene_description> <character>KEYES</character> <dialogue>All right, I'm going. What am I to say to Norton? How about that job I want you for?</dialogue> <character>NEFF</character> <dialogue>I do n't think I want it. Thanks, Keyes, just the same.</dialogue> <character>KEYES</character> <dialogue>Fair enough. Just get this : I picked you for the job, not because I think you're so darn smart, but because I thought maybe you were a shade less dumb than the rest of the outfit. I guess I was all wet. You're not smarter, Walter. You're just a little taller.</dialogue> <scene_description>He goes out . Neff is alone . He watches the door close , then turns and goes slowly to the water cooler . He fills a paper cup and stands holding it . His thoughts are somewhere else . After a moment he absently throws the cupful of water into the receptacle under the cooler . He goes back to the desk . He takes his rate book out of his brief case and puts it on the desk . He buttons the top button of his shirt , and pulls his tie right . He leaves the office , with his briefcase under his arm .</scene_description> <character>NEFF'S VOICE</character> <dialogue>That was it, Keyes, and there was no use kidding myself any more. Those fates I was talking about had only been stalling me off. Now they had thrown the switch. The gears had meshed. The machinery had started to move and nothing could stop it. The time for thinking had all run out. From here on it was a question of following the time table, move by move, just as we had it rehearsed. I wanted my time all accounted for for the rest of the afternoon and up to the last possible moment in the evening. So I arranged to call on a prospect in Pasadena about a public liability bond. When I left the office I put my rate book on the desk as if I had forgotten it. That was part of the alibi.</dialogue> </scene> <scene> <stage_direction>EXT. NEFF'S APT. HOUSE DAY</stage_direction> <scene_description>Neff 's coupe comes down the street and swings into the garage and goes down the ramp into the basement .</scene_description> <character>NEFF'S VOICE</character> <dialogue>I got home about seven and drove right into the garage. This was another item to establish my alibi.</dialogue> </scene> <scene> <stage_direction>INT. GARAGE</stage_direction> <scene_description>There are about eight cars parked . A colored attendant in coveralls and rubber boots is washing a car with a hose and sponge . Neff 's car comes into the shot and stops near the attendant . Neff gets out with his briefcase under his arm .</scene_description> <character>ATTENDANT</character> <dialogue>Hiya there, Mr. Neff.</dialogue> <character>NEFF</character> <dialogue>How about a wash job on my heap, Charlie?</dialogue> <character>ATTENDANT</character> <dialogue>How soon you want it, Mr. Neff? I got two cars ahead of you.</dialogue> <character>NEFF</character> <dialogue>Anytime you get to it, Charlie. I'm staying in tonight.</dialogue> <character>ATTENDANT</character> <dialogue>Okay, Mr. Neff. Be all shined up for you in the morning.</dialogue> <scene_description>Neff is crossing to the elevator . He speaks back over his shoulder :</scene_description> <character>NEFF</character> <dialogue>That left front tire looks a little soft. Check it, will you?</dialogue> <character>ATTENDANT</character> <dialogue>You bet. Check'em all round. Always do.</dialogue> <scene_description>Neff enters the elevator .</scene_description> </scene> <scene> <stage_direction>NEFF'S APT. - (DAY)</stage_direction> <scene_description>Neff enters . He walks straight to the phone , dials , and starts speaking into the mouthpiece , but only the COMMENTARY is heard .</scene_description> <character>NEFF'S VOICE</character> <dialogue>Up in my apartment I called Lou Schwartz, one of the salesmen that shared my office. He lived in Westwood. That made it a toll call and there'd be a record of it. I told him I had forgotten my rate book and needed some dope on the public liability bond I was figuring. I asked him to call me back. This was another item in my alibi, so that later on I could prove that I had been home.</dialogue> </scene> <scene> <stage_direction>INT. NEFF'S LIVING ROOM</stage_direction> <scene_description>Neff comes into the living room from the bedroom , putting on the jacket of his blue suit . THE PHONE RINGS . He picks up the receiver and starts talking , unheard , as before . He makes notes on a pad .</scene_description> </scene> <scene> <scene_description>NEFF He is folding a hand towel and stuffing it into his jacket pocket . He then takes a large roll of adhesive tape and puts that into his pants pocket .</scene_description> </scene> <scene> <scene_description>&amp; B - 35 INSERTS OF OPEN TELEPHONE BELL BOX -LRB- ON BASEBOARD -RRB- &amp; DOORBELL -LRB- ABOVE ENTRANCE DOOR -RRB- Neff 's hand places a small card against the bell clapper in each of these .</scene_description> </scene> <scene> <stage_direction>FIRE STAIRS, APT. HOUSE (NIGHT)</stage_direction> <scene_description>CAMERA PANS with Neff going down the stairs in his blue suit , with a hat pulled down over his eyes .</scene_description> </scene> <scene> <stage_direction>EXT. DIETRICHSON HOME - (NIGHT) - LONG SHOT - NO TRAFFIC</stage_direction> <scene_description>Some windows are lit . Neff comes into the shot and approaches cautiously . He looks around and then slides open the garage door .</scene_description> </scene> <scene> <stage_direction>INT. GARAGE</stage_direction> <scene_description>Neff closes the garage door . Very faint light comes in at a side window . He opens the rear door of the sedan , gets in and closes the door after him . The dark interior of the car has swallowed him up .</scene_description> <character>NEFF'S VOICE</character> <dialogue>Then I was in the garage. His car was backed in, just the way I told Phyllis to have it. It was so still I could hear the ticking of the clock on the dashboard. I kept thinking of the place we had picked out to do it, that dark street on the way to the station, and the three honks on the horn that were to be the signal. About ten minutes later they came down.</dialogue> </scene> <scene> <stage_direction>EXT. DIETRICHSON HOUSE</stage_direction> <scene_description>The front door has opened and Dietrichson is half - way down the steps . He is walking with crutches , wearing the dark blue suit and a hat . The cast is on his left leg . There is no shoe on his left foot . Only the white plaster shows . Phyllis comes after him , carrying his suitcase and his overcoat . She wears a camel 's - hair coat and no hat . She catches up with him .</scene_description> <character>PHYLLIS</character> <dialogue>You all right, honey? I'll have the car out in a second.</dialogue> <scene_description>Dietrichson just grunts . She passes him to the garage , CAMERA WITH HER , and slides the door open .</scene_description> </scene> <scene> <stage_direction>INT. GARAGE</stage_direction> <scene_description>THE CAMERA IS VERY LOW INSIDE THE SEDAN , shooting slightly upwards from Neff 's hiding place . The garage door has just been opened . Phyllis comes to the car , opens the rear door . She looks down , almost INTO THE CAMERA . A tight , cool smile flashes across her face . Then , very calmly , she puts the suitcase and overcoat in back on the seat -LRB- out of shot -RRB- . She closes the door again .</scene_description> </scene> <scene> <stage_direction>EXT. GARAGE</stage_direction> <scene_description>Dietrichson stands watching Phyllis as she gets into the car and drives out to pick him up . She stops beside him and opens the right - hand door . Dietrichson climbs in with difficulty . She helps him , watching him closely .</scene_description> <character>PHYLLIS</character> <dialogue>Take it easy, honey. We've got lots of time.</dialogue> <character>DIETRICHSON</character> <dialogue>Just let me do it my own way. Grab that crutch.</dialogue> <scene_description>She takes one of the crutches from him .</scene_description> <character>DIETRICHSON</character> <dialogue>They ought to make these things so they fold up.</dialogue> <scene_description>For a moment , as he leans his hand on the back of the seat , there is danger that he may see Neff . He does n't . He slides awkwardly into the seat and pulls the second crutch in after him . He closes the door . The car moves off .</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Phyllis driving and Dietrichson beside her , face TOWARDS THE CAMERA . Dietrichson has a partly smoked cigar between his teeth . They are in the middle of a conversation .</scene_description> <character>DIETRICHSON</character> <dialogue>Aw, stop squawkin' ca n't you, Phyllis? No man takes his wife along to a class reunion. That's what class reunions are for.</dialogue> <character>PHYLLIS</character> <dialogue>Mrs. Tucker went along with her husband last year, did n't she.</dialogue> <character>DIETRICHSON</character> <dialogue>Yeah, and what happened to her? She sat in the hotel lobby for four days straight. Never even saw the guy until we poured him back on the train.</dialogue> <scene_description>CLOSEUP ON NEFF 'S FACE LOW DOWN IN THE CORNER BEHIND DIETRICHSON His face is partly covered by the edge of a traveling rug which he has pulled up over him . He looks up at Dietrichson and Phyllis in the front seat .</scene_description> <character>PHYLLIS' VOICE</character> <dialogue>All right, honey. Just so long as you have a good time.</dialogue> <character>DIETRICHSON'S VOICE</character> <dialogue>I wo n't do much dancing, I can tell you that.</dialogue> <scene_description>HEADS &amp; SHOULDERS OF DIETRICHSON &amp; PHYLLIS - AS SEEN BY NEFF</scene_description> <character>PHYLLIS</character> <dialogue>Remember what the doctor said. If you get careless you might end up with a shorter leg.</dialogue> <character>DIETRICHSON</character> <dialogue>So what? I could break the other one and match them up again.</dialogue> <character>PHYLLIS</character> <dialogue>It makes you feel pretty good to get away from me, does n't it?</dialogue> <scene_description>PHYLLIS &amp; DIETRICHSON - FACING CAMERA</scene_description> <character>DIETRICHSON</character> <dialogue>It's only for four days. I'll be back Monday at the latest.</dialogue> <character>PHYLLIS</character> <dialogue>Do n't forget we're having the Hobeys for dinner on Monday.</dialogue> <character>DIETRICHSON</character> <dialogue>The Hobeys? We had them last. They owe us a dinner, do n't they?</dialogue> <character>PHYLLIS</character> <dialogue>Maybe they do but I've already asked them for Monday.</dialogue> <character>DIETRICHSON</character> <dialogue>Well, I do n't want to feed the Hobeys.</dialogue> <scene_description>CLOSEUP - PHYLLIS ' FACE ONLY There is a look of tension in her eyes now . She glances around quickly . The car has reached the dark street Neff and she picked out .</scene_description> <character>DIETRICHSON'S VOICE</character> <dialogue>And I do n't want to eat at their house either. The food you get there, and that rope he hands out for cigars. Call it off, ca n't you?</dialogue> <scene_description>Phyllis does not answer . She does n't even breathe . Her hand goes down on the horn button . She honks three times .</scene_description> <character>DIETRICHSON'S VOICE</character> <dialogue>What are you doing that for? What the -</dialogue> <scene_description>This is as far as his voice will ever get . It breaks off and dies down in a muffled groan . There are struggling noises and a dull sound of something breaking . Phyllis drives on and never turns her head . She stares straight in front of her . Her teeth are clenched .</scene_description> </scene> <scene> <stage_direction>PARKING SPACE ADJOINING GLENDALE STATION - NIGHT</stage_direction> <scene_description>The station is visible about sixty yards away . There is no parking attendant . Ten or twelve cars are parked diagonally , not crowded . The train is not in yet , but there is activity around the station . Passengers and their friends , redcaps and baggage men , news vendors , etc. . The Dietrichson sedan drives into the shot past CAMERA and parks in the foreground at the outer end of the line , several spaces from the next car , facing away from the CAMERA . Both front doors are open . Phyllis gets out and from the other side crutches emerge , and a man -LRB- seen entirely from behind , and apparently Dietrichson -RRB- climbs out awkwardly . While he is steadying himself on the ground with the crutches , Phyllis has taken out Dietrichson 's suitcase and overcoat . She walks around the car and rolls up the right front window . She closes and locks the car door . She tries the right rear door and takes a last look into the dim interior of the car . Then she and the man walk slowly away from the car to the end of the station platform and along it toward the station building , Phyllis walks several steps ahead of the man . PHYLLIS &amp; THE MAN - WALKING CAMERA FOLLOWING THEM , a little to one side , so that Phyllis is clearly seen but the man 's face is not .</scene_description> <character>MAN</character> <parenthetical>( In a subdued voice . )</parenthetical> <dialogue>You handle the redcap and the conductor.</dialogue> <character>PHYLLIS</character> <dialogue>Do n't worry.</dialogue> <character>MAN</character> <dialogue>Keep them away from me as much as you can. I do n't want to be helped.</dialogue> <character>PHYLLIS</character> <dialogue>I said do n't worry, Walter.</dialogue> <scene_description>PHYLLIS &amp; THE MAN , WALKING DOWN PLATFORM , CAMERA NOW PRECEDING THEM Only at this point is it quite clear that THE MAN IS NEFF .</scene_description> <character>NEFF</character> <dialogue>You start just as soon as the train leaves. At the dairy sign you turn off the highway onto the dirt road. From there it's exactly eight - tenths of a mile to the dump beside the tracks. Remember?</dialogue> <character>PHYLLIS</character> <dialogue>I remember everything.</dialogue> <character>NEFF</character> <dialogue>You'll be there a little ahead of the train. No speeding. You do n't want any cops stopping you - with him in the back.</dialogue> <character>PHYLLIS</character> <dialogue>Walter, we've been through all that so many times.</dialogue> <character>NEFF</character> <dialogue>When you turn off the highway, cut all your lights. I'm going to be back on the observation platform. I'll drop off as close to the spot as I can. Wait for the train to pass, then blink your lights twice.</dialogue> <scene_description>Phyllis nods . They go on . Over them is heard the noise of the train coming into the station and its lights are seen . GLENDALE STATION PLATFORM The train is just coming to a stop . The passengers move forward to the tracks . Phyllis , carrying the suitcase and overcoat , and Neff , still a little behind her , come TOWARDS THE CAMERA . A redcap sees them and runs up . He takes the suitcase out of Phyllis ' hand .</scene_description> <character>REDCAP</character> <dialogue>San Francisco train, lady?</dialogue> <scene_description>Phyllis takes an envelope containing Dietrichson 's ticket from the pocket of the overcoat . She reads from the envelope .</scene_description> <character>PHYLLIS</character> <dialogue>Car nine, section eleven. Just my husband going.</dialogue> <character>REDCAP</character> <dialogue>Car nine, section eleven. Yessum, this way please.</dialogue> <scene_description>Phyllis hands the overcoat to the redcap , who leads her and Neff towards car number nine . Neff still hangs back and keeps his head down , the way a man using crutches might naturally do .</scene_description> </scene> <scene> <stage_direction>EXT. CAR #9: B-52: B-53</stage_direction> <scene_description>The pullman conductor and porter stand at the steps . The conductor is checking the tickets of passengers getting on . The redcap leads Phyllis and Neff into the SHOT . The conductor and porter see Neff on his crutches and move to help him .</scene_description> <character>PHYLLIS</character> <dialogue>It's all right, thanks. My husband does n't like to be helped.</dialogue> <scene_description>The redcap goes up the steps into the car . Neff laboriously swings himself up onto the box and from there up on the steps , keeping his head down . Meantime , Phyllis is holding the attention of the conductor and porter by showing them the ticket .</scene_description> <character>CONDUCTOR</character> <dialogue>Car nine, section eleven. The gentleman only. Thank you.</dialogue> <scene_description>Phyllis nods and takes the ticket back . Neff has reached the top of the steps . She goes up after him and gives him the ticket . They are now close together .</scene_description> <character>PHYLLIS</character> <dialogue>Goodbye, honey. Take awful good care of yourself with that leg.</dialogue> <character>NEFF</character> <dialogue>Sure, I will. Just you take it easy going home.</dialogue> <character>PHYLLIS</character> <dialogue>I'll miss you, honey.</dialogue> <scene_description>She kisses him . There are shouts of `` ALL ABOARD '' . The redcap comes from inside the car .</scene_description> <character>REDCAP</character> <dialogue>Section eleven, suh.</dialogue> <scene_description>Phyllis takes a quarter from her bag and gives it to the redcap .</scene_description> <character>PORTER</character> <parenthetical>( Shouting . )</parenthetical> <dialogue>All aboard!</dialogue> <scene_description>Redcap descends . Phyllis kisses Neff again quickly .</scene_description> <character>PHYLLIS</character> <dialogue>Good luck, honey.</dialogue> <scene_description>She runs down the steps . The porter picks up the box . He and the conductor get on board the train . Phyllis stands there waving goodbye as the train starts moving , and the porter begins to close the car door . Phyllis turns and walks out of the shot in the direction of the parked car .</scene_description> </scene> <scene> <stage_direction>INT. PLATFORM CAR NUMBER NINE - MOVING TRAIN - (NIGHT) DIM LIGHT</stage_direction> <scene_description>Neff and the Porter . The conductor is going on into the car . Neff is half turned away from the porter .</scene_description> <character>NEFF</character> <dialogue>Can you make up my berth right away?</dialogue> <character>PORTER</character> <dialogue>Yes, sir.</dialogue> <character>NEFF</character> <dialogue>I'm going back to the observation car for a smoke.</dialogue> <character>PORTER</character> <dialogue>This way, sir. Three cars back.</dialogue> <scene_description>He holds the vestibule door open . Neff hobbles through .</scene_description> </scene> <scene> <stage_direction>INT. PULLMAN CAR - DIM</stage_direction> <scene_description>Most of the berths are made up . As Neff hobbles along , another porter and some passengers make way for the crippled man solicitously .</scene_description> </scene> <scene> <stage_direction>PLATFORM BETWEEN TWO CARS - VERY DIM</stage_direction> <scene_description>The train conductor meets Neff and opens the door for him . Neff hobbles on through .</scene_description> </scene> <scene> <stage_direction>INT. PARLOR CAR - MOVING TRAIN</stage_direction> <scene_description>Four or five passengers are reading or writing . As Neff comes through on his crutches they pull in their feet to make room for him . One old lady , seeing that he is headed for the observation platform , opens the door for him . He thanks her with a nod and hobbles through . OBSERVATION PLATFORM Dark except for a little light coming from inside the parlor car . The train is going at about fifteen miles an hour between Glendale and Burbank . Neff has come out and hobbled to the railing . He stands looking back along the rails . SUDDENLY A MAN 'S VOICE speaks from behind him .</scene_description> <character>MAN'S VOICE</character> <dialogue>Can I pull a chair out for you?</dialogue> <scene_description>Neff looks around . He sees a man sitting in the corner smoking a hand - rolled cigarette . He is about fifty - five years old , with white hair , and a broad - brimmed Stetson hat . He looks like a small town lawyer or maybe a mining man . Neff does not like the man 's presence there very much . He turns to him just enough to answer .</scene_description> <character>NEFF</character> <dialogue>No thanks, I'd rather stand.</dialogue> <character>MAN</character> <dialogue>You going far?</dialogue> <character>NEFF</character> <dialogue>Palo Alto.</dialogue> <character>MAN</character> <dialogue>My name's Jackson. I'm going all the way to Medford. Medford, Oregon. Had a broken arm myself once.</dialogue> <character>NEFF</character> <dialogue>Uh - huh.</dialogue> <character>JACKSON</character> <dialogue>That darn cast sure itches something fierce, do n't it? I thought I'd go crazy with mine.</dialogue> <scene_description>Neff stands silent . His mind is feverishly thinking of how to get rid of Jackson .</scene_description> <character>JACKSON</character> <dialogue>Palo Alto's a nice little town. You a Stanford man?</dialogue> <character>NEFF</character> <dialogue>Used to be.</dialogue> <scene_description>He starts patting his pockets as if looking for something .</scene_description> <character>JACKSON</character> <dialogue>I bet you left something behind. I always do.</dialogue> <character>NEFF</character> <dialogue>My cigar case. Must have left it in my overcoat back in the section.</dialogue> <scene_description>Jackson takes out a small bag of tobacco and a packet of cigarette papers .</scene_description> <character>JACKSON</character> <dialogue>Care to roll yourself a cigarette, Mr. -?</dialogue> <character>NEFF</character> <dialogue>Dietrichson. Thanks. I really prefer cigars.</dialogue> <parenthetical>( Looking around . )</parenthetical> <dialogue>Maybe the porter -</dialogue> <character>JACKSON</character> <dialogue>I could get your cigars for you. Be glad to, Mr. Dietrichson.</dialogue> <character>NEFF</character> <dialogue>That's darn nice of you. It's car nine, section eleven. If you're sure it's not too much trouble.</dialogue> <character>JACKSON</character> <dialogue>Car nine, section eleven. A pleasure.</dialogue> <scene_description>He rises and exits into the parlor car . Neff turns slowly and watches Jackson go back through the car . Then he moves to one side of the platform and looks ahead along the track to orientate himself . He gives one last glance back into the parlor car to make sure no one is watching him . He slips the crutches from under his arms and stands on both feet . He drops the crutches off the train onto the tracks , then quickly swings his body over the rail .</scene_description> </scene> <scene> <stage_direction>EXT. MOVING OBSERVATION CAR - CAMERA FOLLOWING</stage_direction> <scene_description>Neff is hanging onto the railing . He looks down , then lets go and drops to the right - of - way . THE CAMERA STOPS . The train recedes slowly into the night . Neff has fallen on the tracks . He picks himself up , rubs one knee and looks back along the line of the tracks and off to one side . DARK LANDSCAPE - RAILROAD TRACKS Close beyond the edge of the right - of - way , the silhouette of a dump shows up . Beside it looms the dark bulk of the Dietrichson sedan . The headlights blink twice and go out . NEFF He starts running towards the car . He runs a little awkwardly because of the improvised cast on his left foot . CAR IN THE DARK The front door opens and Phyllis steps out . She closes the door and looks in the direction of the tracks . The uneven steps of Neff running towards her are heard . She opens the back door of the car and leans in . She pulls the rug off the corpse -LRB- which is not visible -RRB- and stands looking into the car , unable to take her eyes off what she sees , while at the same time her hands mechanically begin to fold the rug . The running steps grow louder and Neff comes into the SHOT breathing hard . He reaches her .</scene_description> <character>NEFF</character> <dialogue>Okay. This has to go fast. Take his hat and pick up the crutches.</dialogue> <scene_description>Neff points back towards the tracks . He reaches into the car and begins to drag out the body by the armpits . Phyllis coolly reaches past him and takes the hat off the dead man 's head . She turns to go .</scene_description> <character>NEFF</character> <dialogue>Hang on to that rug. I'll need it.</dialogue> <scene_description>Phyllis moves out of the shot carrying the hat and rug . NEFF He gets a stronger hold on the dead Dietrichson and drags him free of the car and towards the tracks . The corpse is not seen . PHYLLIS She has reached the point where one of the crutches lies . She picks it up and goes for the other crutch a short distance away . She carries both crutches , the hat and the rug towards Neff . NEFF He has reached the railroad tracks . The corpse is lying beside the tracks , face down . Phyllis comes up to Neff . He takes the crutches and the hat from her . He throws the crutches beside the corpse . He takes the hat from Phyllis and tosses it carelessly along the track .</scene_description> <character>NEFF</character> <dialogue>Let's go. Stay behind me.</dialogue> <scene_description>He takes the rug from her and they move back towards the car , Phyllis first , then Neff walking almost backwards , sweeping the ground over which the body was dragged with the rug as they go . THE CAR They reach it together .</scene_description> <character>NEFF</character> <dialogue>Get in. You drive.</dialogue> <scene_description>She gets in . Neff sweeps the ground after him as he goes around the car to get in beside her . He throws the rug into the back of the car .</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Phyllis is behind the wheel . Neff beside her is just closing the door . He props his wrapped foot against the dashboard and begins to tear off the adhesive tape while at the same time Phyllis presses the starter button . The starter grinds , but the motor does n't catch . She tries again . It still does n't catch . Neff looks at her . She tries a third time . The starter barely turns over . The battery is very low . Phyllis leans back . They stare at each other desperately . After a moment Neff bends forward slowly and turns the ignition key to the OFF position . He holds his left thumb poised over the starter button . There is a breathless moment . Then he presses the starter button with swift decision . The starter grinds with nerve - wracking sluggishness . Neff twists the ignition key to ON and instantly pulls the hand - throttle wide open . With a last feeble kick of the starter , the motor catches and races . He eases the throttle down and slides back into his place . They look at each other again . The tenseness of the moment still shows in their faces .</scene_description> <character>NEFF</character> <dialogue>Let's go, baby.</dialogue> <scene_description>Phyllis releases the hand brake and puts the car in reverse . Neff is again busy unwrapping the tape from his leg . The car moves . DARK LANDSCAPE - WITH DUMP The car , with the headlights out , backs up , swings around and moves off along the dirt road the way it came .</scene_description> </scene> <scene> <stage_direction>INT. SEDAN - DRIVING ALONG HIGHWAY IN TRAFFIC</stage_direction> <scene_description>Phyllis and Neff facing towards CAMERA . Neff is bent over , peeling the towel and plaster off his foot , which is out of shot . Phyllis is calm , almost relaxed . Neff straightens up . They are talking to each other . Their lips are seen moving but what they say is not heard . They stop talking . Phyllis stares straight ahead . Neff is pulling adhesive tape off the wrapped towel that was on his foot . He folds the adhesive into a tight ball , rolls the towel up , puts both into his pockets .</scene_description> </scene> <scene> <scene_description>DARK STREET NEAR NEFF 'S APT . HOUSE The sedan drives into the shot and stops without pulling over to the curb .</scene_description> <character>NEFF'S VOICE</character> <parenthetical>( Cont'd. ) She dropped me a block from my apartment house .</parenthetical> <dialogue /> <scene_description>The car door opens . Neff starts to get out .</scene_description> <character>PHYLLIS</character> <dialogue>Walter.</dialogue> <scene_description>Neff turns back to her .</scene_description> <character>PHYLLIS</character> <dialogue>What's the matter, Walter. Are n't you going to kiss me?</dialogue> <character>NEFF</character> <dialogue>Sure, I'm going to kiss you.</dialogue> <scene_description>Phyllis bends towards him and puts her arms around him .</scene_description> <character>PHYLLIS</character> <dialogue>It's straight down the line, is n't it?</dialogue> <scene_description>Phyllis kisses him . In the kiss he is passive .</scene_description> <character>PHYLLIS</character> <dialogue>I love you, Walter.</dialogue> <character>NEFF</character> <dialogue>I love you, baby.</dialogue> </scene> <scene> <stage_direction>FIRE STAIRS - (NIGHT)</stage_direction> <scene_description>Neff going up .</scene_description> <character>NEFF'S VOICE</character> <dialogue>It was two minutes past eleven as I went up the fire stairs again. Nobody saw me this time either.</dialogue> </scene> <scene> <stage_direction>B-73 INSERTS</stage_direction> <scene_description>Telephone bell box and the door bell . The cards are still in position . Neff 's hand takes them out .</scene_description> <character>NEFF'S VOICE</character> <parenthetical>( Cont'd. ) In the apartment I checked the bells .</parenthetical> <parenthetical>The cards had n't moved .</parenthetical> <parenthetical>No calls .</parenthetical> <parenthetical>No visitors .</parenthetical> <dialogue /> </scene> <scene> <stage_direction>LIVING ROOM - NEFF'S APT. NIGHT - ELECTRIC LIGHTS ON</stage_direction> <scene_description>Neff comes from the bedroom , wearing the light grey suit he wore before the murder , only with out a tie . He buttons his jacket , looks around the room , and opens the corridor door .</scene_description> <character>NEFF'S VOICE</character> <dialogue>I changed the blue suit. There was one last thing to do. I wanted the garage man to see me again.</dialogue> </scene> <scene> <stage_direction>BASEMENT GARAGE - (NIGHT)</stage_direction> <scene_description>Fifteen or twenty cars are parked now . Charlie , the attendant has washed Neff 's car and is now polishing the glass and metal work . Neff comes from the elevator . Charlie sees him . He straightens up .</scene_description> <character>CHARLIE</character> <dialogue>You going to need it after all, Mr. Neff? I'm about through.</dialogue> <character>NEFF</character> <dialogue>It's okay, Charlie. Just walking down to the drug store for something to eat. Been working upstairs all evening. My stomach's getting sore at me.</dialogue> <scene_description>He walks up the ramp towards the garage entrance . STREET OUTSIDE APT . HOUSE - -LRB- NIGHT -RRB- - SHOOTING TOWARDS GARAGE ENTRANCE Neff comes out at the top of the ramp and starts to walk down the street , not too fast . CAMERA PRECEDES HIM . He walks about ten or fifteen yards . At first his steps sound hard and distinct on the sidewalk and echo in the deserted street . But slowly , as he goes on , they fade into utter silence . He walks a few feet without sound , then becomes aware of the silence . He stops rigidly and looks back . CAMERA STOPS WITH HIM . He stands like that for a moment , then turns toward the CAMERA again . There is a look of horror on his face now . He walks on , CAMERA AHEAD OF HIM again . Still his steps make no sound .</scene_description> <character>NEFF'S VOICE</character> <dialogue>That was all there was to it. Nothing had slipped, nothing had been overlooked, there was nothing to give us away. And yet, Keyes, as I was walking down the street to the drug store, suddenly it came over me that everything would go wrong. It sounds crazy, Keyes, but it's true, so help me : I could n't hear my own footsteps. It was the walk of a dead man.</dialogue> <scene_description>NEFF 'S OFFICE - NIGHT Neff sits before the dictaphone . There are four cylinders on end on the desk next to him . He gets up from the swivel chair with great effort and stands a moment unsteadily . The wound in his shoulder is paining him . He is very weak as he slowly crosses to the water cooler . He takes the blood stained handkerchief from inside his shirt and soaks it with fresh water . The office door opens behind him . He turns , hiding the handkerchief behind his back . In the doorway stands the colored man who has been cleaning up downstairs . He is carrying his big trash box by a rope handle .</scene_description> <character>COLORED MAN</character> <dialogue>Did n't know anybody was here, Mr. Neff. We ai n't cleaned your office yet.</dialogue> <character>NEFF</character> <dialogue>Let it go tonight. I'm busy.</dialogue> <character>COLORED MAN</character> <dialogue>Whatever you say, Mr. Neff.</dialogue> <scene_description>He closes the door slowly , staring at Neff with an uneasy expression . Neff puts the soaked handkerchief back on his wounded shoulder , then walks heavily over to his swivel chair and lowers himself into it . He takes the dictaphone horn and speaks into it again .</scene_description> <character>NEFF</character> <dialogue>That was the longest night I ever lived through, Keyes, and the next day was worse, when the story broke in the papers, and they were talking about it at the office, and the day after that when you started digging into it. I kept my hands in my pockets because I thought they were shaking, and I put on dark glasses so people could n't see my eyes, and then I took them off again so people would n't get to wondering why I wore them. I was trying to hold myself together, but I could feel my nerves pulling me to pieces.</dialogue> </scene> <scene> <stage_direction>INSURANCE OFFICE - TWELFTH FLOOR - DAY</stage_direction> <scene_description>Neff comes through the reception room doors with his hat on and his briefcase under his arm . He walks towards his office , but half way there he runs into Keyes . Keyes is wearing his vest and hat , no coat . He is carrying a file of papers and smoking a cigar .</scene_description> <character>KEYES</character> <dialogue>Come on, Walter. The big boss wants to see us.</dialogue> <character>NEFF</character> <dialogue>Okay.</dialogue> <scene_description>He turns and walks beside Keyes , CAMERA AHEAD of them</scene_description> <character>NEFF</character> <dialogue>That Dietrichson case?</dialogue> <character>KEYES</character> <dialogue>Must be.</dialogue> <character>NEFF</character> <dialogue>Anything wrong?</dialogue> <character>KEYES</character> <dialogue>The guy's dead, we had him insured and it's going to cost us money. That's always wrong.</dialogue> <scene_description>He stops by a majolica jar full of sand and takes a pencil from his vest . He stands over the jar extinguishing his cigar carefully so as not to damage it .</scene_description> <character>NEFF</character> <dialogue>What have you got so far?</dialogue> <character>KEYES</character> <dialogue>Autopsy report. No heart failure, no apoplexy, no predisposing medical cause of any kind. He died of a broken neck.</dialogue> <character>NEFF</character> <dialogue>When is the inquest?</dialogue> <character>KEYES</character> <dialogue>They had it this morning. His wife and daughter made the identification. The train people and some passengers told how he went through to the observation car. It was all over in forty - five minutes. Verdict, accidental death.</dialogue> <scene_description>Keyes puts the half - smoked cigar into his vest pocket with the pencil . They move on .</scene_description> <character>NEFF</character> <dialogue>What do the police figure?</dialogue> <character>KEYES</character> <dialogue>That he got tangled up in his crutches and fell off the train. They're satisfied. It's not their dough.</dialogue> <scene_description>They stop at a door lettered in embossed chromium letters : EDWARD S. NORTON , JR. . PRESIDENT . Keyes opens the door . They go in .</scene_description> </scene> <scene> <stage_direction>INT. RECEPTION ROOM - MR. NORTON'S OFFICE</stage_direction> <scene_description>A secretary sitting behind a desk . As Keyes and Neff enter , the door to Norton 's private office is opened . From inside , Mr. Norton is letting out three legal looking gentlemen . Norton is about forty - five , very well groomed , rather pompous in manner .</scene_description> <character>NORTON</character> <parenthetical>( To the men who are leaving . )</parenthetical> <dialogue>I believe the legal position is now clear, gentlemen. Please stand by. I may need you later.</dialogue> <scene_description>He sees Keyes and Neff .</scene_description> <character>NORTON</character> <dialogue>Come in, Mr. Keyes. You too, Mr. Neff.</dialogue> <scene_description>Neff has put down his hat and briefcase . He and Keyes pass the legal looking men and follow Norton into his office .</scene_description> </scene> <scene> <stage_direction>INT. NORTON'S OFFICE</stage_direction> <scene_description>Naturally it is the best office in the building ; modern but not modernistic , spacious , very well furnished ; flowers , smoking stands , easy chairs , etc. . Norton has gone behind his desk . Keyes has come in , and Neff after him closes the door quietly . Norton looks disapprovingly at Keyes ' shirt sleeves .</scene_description> <character>NORTON</character> <dialogue>You find this an uncomfortably warm day Mr. Keyes?</dialogue> <scene_description>Keyes takes his hat off but holds it in his hands .</scene_description> <character>KEYES</character> <dialogue>Sorry, Mr. Norton. I did n't know this was formal.</dialogue> <scene_description>Norton smiles frostily .</scene_description> <character>NORTON</character> <dialogue>Sit down, gentlemen.</dialogue> <parenthetical>( To Keyes . )</parenthetical> <dialogue>Any new developments?</dialogue> <scene_description>Keyes and Neff sit down , Norton remains standing .</scene_description> <character>KEYES</character> <dialogue>I just talked to this Jackson long distance. Up in Medford, Oregon.</dialogue> <character>NORTON</character> <dialogue>Who's Jackson?</dialogue> <character>KEYES</character> <dialogue>The last guy that saw Dietrichson alive. They were out on the observation platform together talking. Dietrichson wanted a cigar and Jackson went to get Dietrichson's cigar case for him. When he came back to the observation platform, no Dietrichson. Jackson did n't think anything was wrong until a wire caught up with the train at Santa Barbara. They had found Dietrichson's body on the tracks near Burbank.</dialogue> <character>NORTON</character> <dialogue>Very interesting, about the cigar case.</dialogue> <scene_description>He walks up and down behind his desk thinking hard .</scene_description> <character>NORTON</character> <dialogue>Anything else?</dialogue> <character>KEYES</character> <dialogue>Not much. Dietrichson's secretary says she did n't know anything about the policy. There is a daughter, but all she remembers is Neff talking to her father about accident insurance at their house one night.</dialogue> <character>NEFF</character> <dialogue>I could n't sell him at first. Mrs. Dietrichson opposed it. He told me he'd think it over. Later on I went down to the oil fields and closed him. He signed the application and gave me his check.</dialogue> <character>NORTON</character> <parenthetical>( Dripping with sarcasm . )</parenthetical> <dialogue>A fine piece of salesmanship that was, Mr. Neff.</dialogue> <character>KEYES</character> <dialogue>There's no sense in pushing Neff around. He's got the best sales record in the office. Are your salesmen supposed to know that the customer is going to fall off a train?</dialogue> <character>NORTON</character> <dialogue>Fall off a train? Are we sure Dietrichson fell off the train?</dialogue> <scene_description>There is a charged pause .</scene_description> <character>KEYES</character> <dialogue>I do n't get it.</dialogue> <character>NORTON</character> <dialogue>You do n't, Mr. Keyes? Then what do you think of this case? This policy might cost us a great deal of money. As you know, it contains a double indemnity clause. Just what is your opinion?</dialogue> <character>KEYES</character> <dialogue>No opinion at all.</dialogue> <character>NORTON</character> <dialogue>Not even a hunch? One of those interesting little hunches of yours?</dialogue> <character>KEYES</character> <dialogue>Nope. Not even a hunch.</dialogue> <character>NORTON</character> <dialogue>I'm surprised, Mr. Keyes. I've formed a very definite opinion. I think I know - in fact I know I know what happened to Dietrichson.</dialogue> <character>KEYES</character> <dialogue>You know you know what?</dialogue> <character>NORTON</character> <dialogue>I know it was not an accident.</dialogue> <scene_description>He looks from Keyes to Neff and back to Keyes .</scene_description> <character>NORTON</character> <dialogue>What do you say to that?</dialogue> <character>KEYES</character> <dialogue>Me? You've got the ball. Let's see you run with it.</dialogue> <character>NORTON</character> <dialogue>There's a widespread feeling that just because a man has a large office -</dialogue> <scene_description>The dictograph on his desk buzzes . He reaches over and depresses a key and puts the earpiece to his ear .</scene_description> <character>NORTON</character> <parenthetical>( Into dictograph . )</parenthetical> <dialogue>Yes? Have her come in, please.</dialogue> <scene_description>He replaces the earpiece . He turns back to Keyes and Neff .</scene_description> <character>NORTON</character> <dialogue>- that just because a man has a large office he must be an idiot. I'm having a visitor, if you do n't mind.</dialogue> <scene_description>Keyes and Neff start to get up .</scene_description> <character>NORTON</character> <dialogue>No, no. I want you to stay and watch me handle this.</dialogue> <scene_description>The secretary has opened the door .</scene_description> <character>SECRETARY</character> <dialogue>Mrs. Dietrichson.</dialogue> <scene_description>Neff stands staring at the door . He relaxes with an obvious effort of will . Phyllis comes in . She wears a gray tailored suit , small black hat with a veil , black gloves , and carries a black bag . The secretary closes the door behind her . Mr. Norton goes to meet her .</scene_description> <character>NORTON</character> <dialogue>Thank you very much for coming, Mrs. Dietrichson. I assure you I appreciate it.</dialogue> <scene_description>He turns a little towards Keyes .</scene_description> <character>NORTON</character> <dialogue>This is Mr. Keyes.</dialogue> <character>KEYES</character> <dialogue>How do you do.</dialogue> <character>PHYLLIS</character> <dialogue>How do you do.</dialogue> <character>NORTON</character> <dialogue>And Mr. Neff.</dialogue> <character>PHYLLIS</character> <dialogue>I've met Mr. Neff. How do you do.</dialogue> <scene_description>Norton has placed a chair . Phyllis sits . Norton goes behind his desk .</scene_description> <character>NORTON</character> <dialogue>Mrs. Dietrichson, I assure you of our sympathy in your bereavement. I hesitated before asking you to come here so soon after your loss.</dialogue> <scene_description>Phyllis nods silently .</scene_description> <character>NORTON</character> <dialogue>But now that you're here I hope you wo n't mind if I plunge straight into business. You know why we asked you to come, do n't you?</dialogue> <character>PHYLLIS</character> <dialogue>No. All I know is that your secretary made it sound very urgent.</dialogue> <scene_description>Keyes sits quietly in his chair with his legs crossed . He has hung his hat on his foot and thrust his thumbs in the armholes of his vest . He looks a little bored . Neff , behind him , stands leaning against the false mantel , completely dead - pan .</scene_description> <character>NORTON</character> <dialogue>Your husband had an accident policy with this company. Evidently you do n't know that, Mrs. Dietrichson.</dialogue> <character>PHYLLIS</character> <dialogue>No. I remember some talk at the house -</dialogue> <scene_description>She looks towards Neff .</scene_description> <character>PHYLLIS</character> <dialogue>- but he did n't seem to want it.</dialogue> <character>NEFF</character> <dialogue>He took it out a few days later, Mrs. Dietrichson.</dialogue> <character>PHYLLIS</character> <dialogue>I see.</dialogue> <character>NORTON</character> <dialogue>You'll probably find the policy among his personal effects.</dialogue> <character>PHYLLIS</character> <dialogue>His safe deposit box has n't been opened yet. It seems a tax examiner has to be present.</dialogue> <character>NORTON</character> <dialogue>Please, Mrs. Dietrichson, I do n't want you to think you are being subjected to any questioning. But there are a few things we should like to know.</dialogue> <character>PHYLLIS</character> <dialogue>What sort of things?</dialogue> <character>NORTON</character> <dialogue>We have the report of the coroner's inquest. Accidental death. We are not entirely satisfied. In fact we are not satisfied at all.</dialogue> <scene_description>Phyllis looks at him coolly . Keyes looks vaguely interested . Neff is staring straight at Phyllis .</scene_description> <character>NORTON</character> <dialogue>Frankly, Mrs. Dietrichson, we suspect suicide.</dialogue> <scene_description>Phyllis does n't bat an eyelash .</scene_description> <character>NORTON</character> <dialogue>I'm sorry. Would you like a glass of water?</dialogue> <character>PHYLLIS</character> <dialogue>Please.</dialogue> <character>NORTON</character> <dialogue>Mr. Neff.</dialogue> <scene_description>He indicates a thermos on a stand near Neff . Neff pours a glass of water and carries it over to Phyllis . She has lifted her veil a little . She takes the glass from his hand .</scene_description> <character>PHYLLIS</character> <dialogue>Thank you.</dialogue> <scene_description>Their eyes meet for a fraction of a second .</scene_description> <character>NORTON</character> <dialogue>Had your husband been moody or depressed lately, Mrs. Dietrichson? Did he seem to have financial worries, for instance?</dialogue> <character>PHYLLIS</character> <dialogue>He was perfectly all right and I do n't know of any financial worries.</dialogue> <character>NORTON</character> <dialogue>There must have been something, Mrs. Dietrichson. Let us examine this so - called accident. First, your husband takes out this policy in absolute secrecy. Why? Because he does n't want his family to suspect what he intends to do.</dialogue> <character>PHYLLIS</character> <dialogue>Do what?</dialogue> <character>NORTON</character> <dialogue>Commit suicide. Next, he goes on this trip entirely alone. He has to be alone. He hobbles all the way out to the observation platform, very unlikely with his leg in a cast, unless he has a very strong reason. Once there, he finds he is not alone. There is a man there. What was his name, Keyes?</dialogue> <scene_description>Norton flips his fingers impatiently at Keyes who does n't even bother to look up .</scene_description> <character>KEYES</character> <dialogue>His name was Jackson. Probably still is.</dialogue> <character>NORTON</character> <dialogue>Jackson. So your husband gets rid of this Jackson with some flimsy excuse about cigars. And then he is alone. And then he does it. He jumps. Suicide. In which case the company is not liable.</dialogue> <parenthetical>( Pause . )</parenthetical> <dialogue>You know that, of course. We could go to court -</dialogue> <character>PHYLLIS</character> <dialogue>I do n't know anything. In fact I do n't know why I came here.</dialogue> <scene_description>She makes as if to rise indignantly .</scene_description> <character>NORTON</character> <dialogue>Just a moment, please. I said we could go to court. I did n't say we want to. Not only is it against our practice, but it would involve a great deal of expense, a lot of lawyers, a lot of time, perhaps years.</dialogue> <scene_description>Phyllis rises coldly .</scene_description> <character>NORTON</character> <dialogue>So what I want to suggest is a compromise on both sides. A settlement for a certain sum, a part of the policy value -</dialogue> <character>PHYLLIS</character> <dialogue>Do n't bother, Mr. Norton. When I came in here I had no idea you owed me any money. You told me you did. Then you told me you did n't. Now you tell me you want to pay me a part of it, whatever it is. You want to bargain with me, at a time like this. I do n't like your insinuations about my husband, Mr. Norton, and I do n't like your methods. In fact I do n't like you, Mr. Norton. Goodbye, gentlemen.</dialogue> <scene_description>She turns and walks out . The door closes after her . There is a pregnant pause . Keyes straightens up in his chair .</scene_description> <character>KEYES</character> <dialogue>Nice going, Mr. Norton. You sure carried that ball.</dialogue> <scene_description>Norton pours himself a glass of water and stands holding it .</scene_description> <character>KEYES</character> <dialogue>Only you fumbled on the goal line. Then you heaved an illegal forward pass and got thrown for a forty - yard loss. Now you ca n't pick yourself up because you have n't got a leg to stand on.</dialogue> <character>NORTON</character> <dialogue>I have n't eh? Let her claim. Let her sue. We can prove it was suicide.</dialogue> <scene_description>Keyes stands up .</scene_description> <character>KEYES</character> <dialogue>Can we? Mr. Norton, the first thing that hit me was that suicide angle. Only I dropped it in the wastepaper basket just three seconds later. You ought to take a look at the statistics on suicide sometime. You might learn a little something about the insurance business.</dialogue> <character>NORTON</character> <dialogue>I was raised in the insurance business, Mr. Keyes.</dialogue> <character>KEYES</character> <dialogue>Yeah. In the front office. Come on, you never read an actuarial table in your life. I've got ten volumes on suicide alone. Suicide by race, by color, by occupation, by sex, by seasons of the year, by time of day. Suicide, how committed : by poisons, by fire - arms, by drowning, by leaps. Suicide by poison, subdivided by types of poison, such as corrosive, irritant, systemic, gaseous, narcotic, alkaloid, protein, and so forth. Suicide by leaps, subdivided by leaps from high places, under wheels of trains, under wheels of trucks, under the feet of horses, from steamboats. But Mr. Norton, of all the cases on record there's not one single case of suicide by leap from the rear end of a moving train. And do you know how fast that train was going at the point where the body was found? Fifteen miles an hour. Now how could anybody jump off a slow moving train like that with any kind of expectation that he would kill himself? No soap, Mr. Norton. We're sunk, and we're going to pay through the nose, and you know it. May I have this?</dialogue> <scene_description>Keyes ' throat is dry after the long speech . He grabs the glass of water out of Norton 's hand and drains it in one big gulp . Norton is watching him almost stupefied . Neff stands with the shadow of a smile on his face . Keyes puts the glass down noisily on Norton 's desk .</scene_description> <character>KEYES</character> <dialogue>Come on, Walter.</dialogue> <scene_description>Norton does n't move or speak . Keyes puts his hat on and crosses towards the door , Neff after him . With the doorknob in his hand Keyes turns back to Norton with a glance down at his own shirt sleeves .</scene_description> <character>KEYES</character> <dialogue>Next time I'll rent a tuxedo.</dialogue> <scene_description>They go out .</scene_description> </scene> <scene> <stage_direction>NEFF - AT DICTAPHONE - (NIGHT)</stage_direction> <scene_description>There is a tired grin on his face as he talks into the horn .</scene_description> <character>NEFF</character> <dialogue>I could have hugged you right then and there, Keyes, you and your statistics. You were the only one we were really scared of, and instead you were almost playing on our team.</dialogue> </scene> <scene> <stage_direction>NEFF'S APARTMENT - EVENING - ALMOST DARK IN THE ROOM</stage_direction> <scene_description>The corridor door opens letting light in . Neff enters with his hat on and his briefcase under his arm . He switches the lights on , closes the door , puts the lights on , closes the door , puts the key in his pocket . At this moment the telephone rings . He picks up the phone .</scene_description> <character>NEFF'S VOICE</character> <dialogue>That evening when I got home my nerves had eased off. I could feel the ground under my feet again, and it looked like easy going from there on it.</dialogue> <character>NEFF</character> <dialogue>Hello. Hello, baby. Sure, everything is fine. You were wonderful in Norton's office.</dialogue> </scene> <scene> <stage_direction>INT. TELEPHONE BOOTH IN A DRUG STORE</stage_direction> <scene_description>Phyllis is on the phone . She is not dressed as in Norton 's office .</scene_description> <character>PHYLLIS</character> <dialogue>I felt so funny. I wanted to look at you all the time.</dialogue> <scene_description>NEFF ON TELEPHONE IN HIS APARTMENT</scene_description> <character>NEFF</character> <dialogue>How do you think I felt? Where are you, baby?</dialogue> <scene_description>PHYLLIS ON PHONE</scene_description> <character>PHYLLIS</character> <dialogue>At the drug store. Just a block away. Can I come up?</dialogue> <scene_description>NEFF 'S APARTMENT - -LRB- NIGHT -RRB- - NEFF ON PHONE</scene_description> <character>NEFF</character> <dialogue>Okay. But be careful. Do n't let anybody see you.</dialogue> <scene_description>He hangs up , takes off his hat and drops hat and briefcase on the davenport . He looks around the room and crosses to lower the venetian blinds and draw the curtains . He gathers up the morning paper which is lying untidily on the floor and puts it in the waste - paper basket . The door bell rings . Neff stops in sudden alarm . It ca n't be Phyllis . The time is too short . For a second he stands there motionless , then crosses to the door and opens it . In the open door stands Keyes .</scene_description> <character>NEFF</character> <dialogue>Hello, Keyes.</dialogue> <scene_description>Keyes walks past him into the room . His hands are clasped behind his back . There is a strange , absent - minded look in his eyes . Neff closes the door without taking his eyes off Keyes .</scene_description> <character>NEFF</character> <dialogue>What's on your mind?</dialogue> <scene_description>Keyes stops in the middle of the room and turns .</scene_description> <character>KEYES</character> <dialogue>That broken leg. The guy broke his leg.</dialogue> <character>NEFF</character> <dialogue>What are you talking about?</dialogue> <character>KEYES</character> <dialogue>Talking about Dietrichson. He had accident insurance, did n't he? Then he broke his leg, did n't he?</dialogue> <character>NEFF</character> <dialogue>So what?</dialogue> <character>KEYES</character> <dialogue>And he did n't put in a claim. Why did n't he put in a claim? Why?</dialogue> <character>NEFF</character> <dialogue>What the dickens are you driving at?</dialogue> <character>KEYES</character> <dialogue>Walter. There's something wrong. I ate dinner two hours ago. It stuck half way.</dialogue> <scene_description>He prods his stomach with his thumb .</scene_description> <character>KEYES</character> <dialogue>The little man is acting up again. Because there's something wrong with that Dietrichson case.</dialogue> <character>NEFF</character> <dialogue>Because he did n't put in a claim? Maybe he just did n't have time.</dialogue> <character>KEYES</character> <dialogue>Oh maybe he just did n't know he was insured.</dialogue> <scene_description>He has stopped in front of Neff . They look at each other for a tense moment . Neff hardly breathes . Keyes shakes his head suddenly .</scene_description> <character>KEYES</character> <dialogue>No. That could n't be it. You delivered the policy to him personally, did n't you, Walter? And you got his check.</dialogue> <character>NEFF</character> <parenthetical>( Stiff - lipped , but his voice is as well under control as he can manage . )</parenthetical> <dialogue>Sure, I did.</dialogue> <scene_description>Keyes prods his stomach again .</scene_description> <character>KEYES</character> <dialogue>Got any bicarbonate of soda?</dialogue> <character>NEFF</character> <dialogue>No I have n't.</dialogue> <scene_description>Keyes resumes his pacing .</scene_description> <character>KEYES</character> <dialogue>Listen, Walter. I've been living with this little man for twenty - six years. He's never failed me yet. There's got to be something wrong.</dialogue> <character>NEFF</character> <dialogue>Maybe Norton was right. Maybe it was suicide, Keyes.</dialogue> <character>KEYES</character> <dialogue>No. Not suicide.</dialogue> <parenthetical>( Pause . )</parenthetical> <dialogue>But not accident either.</dialogue> <character>NEFF</character> <dialogue>What else?</dialogue> <scene_description>There is another longer pause , agonizing for Neff . Finally Keyes continues :</scene_description> <character>KEYES</character> <dialogue>Look. A man takes out an accident policy that is worth a hundred thousand dollars if he is killed on a train. Then, two weeks later, he is killed on a train. And not in a train accident, mind you, but falling off some silly observation car. Do you know what the mathematical probability of that is, Walter? One out of I do n't know how many billions. And add to that the broken leg. It just ca n't be the way it looks, Walter. Something has been worked on us.</dialogue> <character>NEFF</character> <dialogue>Such as what?</dialogue> <scene_description>Keyes does n't answer . He goes on pacing up and down . Finally Neff ca n't stand the silence any longer .</scene_description> <character>NEFF</character> <dialogue>Murder?</dialogue> <character>KEYES</character> <parenthetical>( Prods stomach again . )</parenthetical> <dialogue>Do n't you have any peppermint or anything?</dialogue> <character>NEFF</character> <dialogue>I'm sorry.</dialogue> <parenthetical>( Pause . )</parenthetical> <dialogue>Who do you suspect?</dialogue> <character>KEYES</character> <dialogue>Maybe I like to make things easy for myself. But I always tend to suspect the beneficiary.</dialogue> <character>NEFF</character> <dialogue>The wife?</dialogue> <character>KEYES</character> <dialogue>Yeah. That wide - eyed dame that did n't know anything about anything.</dialogue> <character>NEFF</character> <dialogue>You're crazy, Keyes. She was n't even on the train.</dialogue> <character>KEYES</character> <dialogue>I know she was n't, Walter. I do n't claim to know how it was worked, or who worked it, but I know that it was worked.</dialogue> <scene_description>He crosses to the corridor door .</scene_description> <character>KEYES</character> <dialogue>I've got to get to a drug store. It feels like a hunk of concrete inside me.</dialogue> <scene_description>He puts his hand on the knob to open the door . CORRIDOR - APARTMENT HOUSE - NIGHT - LIGHTS ON The hallway is empty except for Phyllis who has been standing close to the door of Neff 's apartment , listening . The door has just started to open . Phyllis moves away quickly and flattens herself against the wall behind the opening door . Keyes is coming out .</scene_description> <character>KEYES</character> <dialogue>Good night, Walter.</dialogue> <scene_description>Neff , behind him , looks anxiously down the hallway for Phyllis . Suddenly his eye catches a glimpse of her through the crack of the partly opened door . He pushes the door wide so as to hide her from Keyes .</scene_description> <character>NEFF</character> <dialogue>Good night, Keyes.</dialogue> <character>KEYES</character> <dialogue>See you at the office in the morning.</dialogue> <scene_description>He has reached the elevator . He pushes the call button and turns .</scene_description> <character>KEYES</character> <dialogue>But I'd like to move in on her right now, tonight, if it was n't for Norton and his stripe - pants ideas about company policy. I'd have the cops after her so quick her head would spin. They'd put her through the wringer, and, brother, what they would squeeze out.</dialogue> <character>NEFF</character> <dialogue>Only you have n't got a single thing to go on, Keyes.</dialogue> <scene_description>The elevator has come up and stopped .</scene_description> <character>KEYES</character> <dialogue>Not too much. Twenty - six years experience, all the percentage there is, and this lump of concrete in my stomach.</dialogue> <scene_description>He pulls back the elevator door and turns to Neff with one last glance of annoyance .</scene_description> <character>KEYES</character> <parenthetical>( Almost angrily . )</parenthetical> <dialogue>No bicarbonate of soda.</dialogue> <scene_description>Keyes gets into the elevator . The door closes . The elevator goes down . Neff stands numb , looking at the spot where Keyes was last visible . Without moving his eyes he pulls the door around towards him with his left hand . Phyllis slowly comes out . Neff motions quickly to her to go into the apartment . She crosses in front of him and enters . He steps in backwards after her .</scene_description> </scene> <scene> <stage_direction>INT. NEFF'S APARTMENT</stage_direction> <scene_description>Phyllis has come a few steps into the room . Neff , backing in after her , closes the door from inside and turns slowly . They look at each other for a long moment in complete silence .</scene_description> <character>PHYLLIS</character> <dialogue>How much does he know?</dialogue> <character>NEFF</character> <dialogue>It's not what he knows. It's those stinking hunches of his.</dialogue> <character>PHYLLIS</character> <dialogue>But he ca n't prove anything, can he?</dialogue> <character>NEFF</character> <dialogue>Not if we're careful. Not if we do n't see each other for a while.</dialogue> <character>PHYLLIS</character> <dialogue>For how long a while?</dialogue> <scene_description>She moves toward him but he does not respond .</scene_description> <character>NEFF</character> <dialogue>Until all this dies down. You do n't know Keyes the way I do. Once he gets his teeth into something he wo n't let go. He'll investigate you. He'll have you shadowed. He'll watch you every minute from now on. Are you afraid, baby?</dialogue> <character>PHYLLIS</character> <dialogue>Yes, I'm afraid. But not of Keyes. I'm afraid of us. We're not the same any more. We did it so we could be together, but instead of that it's pulling us apart. Is n't it, Walter?</dialogue> <character>NEFF</character> <dialogue>What are you talking about?</dialogue> <character>PHYLLIS</character> <dialogue>And you do n't really care whether we see each other or not.</dialogue> <character>NEFF</character> <dialogue>Shut up, baby.</dialogue> <scene_description>He pulls her close and kisses her . INSURANCE OFFICE - TWELFTH FLOOR - ANTEROOM - -LRB- DAY -RRB- Two telephone operators and a receptionist are at work . Several visitors are waiting in chairs . Lola Dietrichson is one of them . She 's wearing a simple black suit and hat , indicating mourning . Her fingers nervously pick at a handkerchief and her eyes are watching the elevator doors anxiously . -LRB- Now and then the telephone operators in the background are heard saying , `` PACIFIC ALL - RISK . GOOD AFTERNOON . '' -RRB- The elevator comes up and the doors open . Several people come out , among them Neff , carrying his briefcase . Lola sees him and stands up , and as he is about to pass through the anteroom without recognizing her she stops him .</scene_description> <character>LOLA</character> <dialogue>Hello, Mr. Neff.</dialogue> <scene_description>Neff looks at her a little startled .</scene_description> <character>NEFF</character> <dialogue>Hello.</dialogue> <scene_description>His voice hangs in the air .</scene_description> <character>LOLA</character> <dialogue>Lola Dietrichson. Do n't you remember me?</dialogue> <character>NEFF</character> <parenthetical>( On his guard . )</parenthetical> <dialogue>Yes. Of course.</dialogue> <character>LOLA</character> <dialogue>Could I talk to you, just for a few minutes? Somewhere where we can be alone?</dialogue> <character>NEFF</character> <dialogue>Sure. Come on into my office.</dialogue> <scene_description>He pushes the swing door open and holds it for her . As she passes in front of him his eyes narrow in uneasy speculation . TWELFTH FLOOR - BALCONY Neff comes up level with Lola and leads her towards his office , CAMERA WITH THEM .</scene_description> <character>NEFF</character> <dialogue>Is it something to do with - what happened?</dialogue> <character>LOLA</character> <dialogue>Yes, Mr. Neff. It's about my father's death.</dialogue> <character>NEFF</character> <dialogue>I'm terribly sorry, Miss Dietrichson.</dialogue> <scene_description>He opens the door of his office and holds it for her . She enters .</scene_description> </scene> <scene> <stage_direction>INT. NEFF'S OFFICE - (DAY)</stage_direction> <scene_description>Lou Schwartz , one of the other salesmen , is working at his desk . Lola enters , Neff after her .</scene_description> <character>NEFF</character> <parenthetical>( To Schwartz . )</parenthetical> <dialogue>Lou, do you mind if I use the office alone for a few minutes?</dialogue> <character>SCHWARTZ</character> <dialogue>It's all yours, Walter.</dialogue> <scene_description>He gets up and goes out . Lola has walked over to the window and is looking out so Schwartz wo n't stare at her . Neff places a chair beside his desk .</scene_description> <character>NEFF</character> <dialogue>Wo n't you sit down?</dialogue> <scene_description>At the sound of the closing door she turns and speaks with a catch in her voice .</scene_description> <character>LOLA</character> <dialogue>Mr. Neff, I ca n't help it, but I have such a strange feeling that there is something queer about my father's death.</dialogue> <character>NEFF</character> <dialogue>Queer? Queer in what way?</dialogue> <character>LOLA</character> <dialogue>I do n't know why I should be bothering you with my troubles, except that you knew my father and knew about the insurance he took out. And you were so nice to me that evening in your car.</dialogue> <character>NEFF</character> <dialogue>Sure. We got along fine, did n't we.</dialogue> <scene_description>He sits down . His face is grim and watchful .</scene_description> <character>LOLA</character> <dialogue>Look at me, Mr. Neff. I'm not crazy. I'm not hysterical. I'm not even crying. But I have the awful feeling that something is wrong, and I had the same feeling once before - when my mother died.</dialogue> <character>NEFF</character> <dialogue>When your mother died?</dialogue> <character>LOLA</character> <dialogue>We were up at Lake Arrowhead. That was six years ago. We had a cabin there. It was winter and very cold and my mother was very sick with pneumonia. She had a nurse with her. There were just the three of us in the cabin. One night I got up and went into my mother's room. She was delirious with fever. All the bed covers were on the floor and the windows were wide open. The nurse was n't in the room. I ran and covered my mother up as quickly as I could. Just then I heard a door open behind me. The nurse stood there. She did n't say a word, but there was a look in her eyes I'll never forget. Two days later my mother was dead.</dialogue> <parenthetical>( Pause . )</parenthetical> <dialogue>Do you know who that nurse was?</dialogue> <scene_description>Neff stares at her tensely . He knows only too well who the nurse was .</scene_description> <character>NEFF</character> <dialogue>No. Who?</dialogue> <character>LOLA</character> <dialogue>Phyllis. I tried to tell my father, but I was just a kid then and he would n't listen to me. Six months later she married him and I kind of talked myself out of the idea that she could have done anything like that. But now it's all back again, now that something has happened to my father, too.</dialogue> <character>NEFF</character> <dialogue>You're not making sense, Miss Dietrichson. Your father fell off a train.</dialogue> <character>LOLA</character> <dialogue>Yes, and two days before he fell off that train what was Phyllis doing? She was in her room in front of a mirror, with a black hat on, and she was pinning a black veil to it, as if she could n't wait to see how she would look in mourning.</dialogue> <character>NEFF</character> <dialogue>Look. You've had a pretty bad shock. Are n't you just imagining all this?</dialogue> <character>LOLA</character> <dialogue>I caught her eyes in the mirror, and they had that look in them they had before my mother died. That same look.</dialogue> <character>NEFF</character> <dialogue>You do n't like your step - mother, do you? Is n't it just because she is your step - mother?</dialogue> <character>LOLA</character> <dialogue>I loathe her. Because she did it. She did it for the money. Only you're not going to pay her, are you, Mr. Neff? She's not going to get away with it this time. I'm going to speak up. I'm going to tell everything I know.</dialogue> <character>NEFF</character> <dialogue>You'd better be careful, saying things like that.</dialogue> <character>LOLA</character> <dialogue>I'm not afraid. You'll see.</dialogue> <scene_description>She turns again to the window so he wo n't see that she is crying . Neff gets up and goes to her .</scene_description> <character>LOLA</character> <dialogue>I'm sorry. I did n't mean to act like this.</dialogue> <character>NEFF</character> <dialogue>All this that you've been telling me - who else have you told?</dialogue> <character>LOLA</character> <dialogue>No one.</dialogue> <character>NEFF</character> <dialogue>How about your step - mother?</dialogue> <character>LOLA</character> <dialogue>Of course not. I'm not living in the house any more. I moved out.</dialogue> <character>NEFF</character> <dialogue>And you did n't tell that boy - friend of yours? Zachetti.</dialogue> <character>LOLA</character> <dialogue>I'm not seeing him any more. We had a fight.</dialogue> <character>NEFF</character> <dialogue>Where are you living then?</dialogue> <character>LOLA</character> <dialogue>I got myself a little apartment in Hollywood.</dialogue> <character>NEFF</character> <dialogue>Four walls, and you just sit and look at them, huh?</dialogue> <scene_description>She turns from the window with a pathetic little nod .</scene_description> <character>LOLA</character> <parenthetical>( Through her tears . )</parenthetical> <dialogue>Yes, Mr. Neff.</dialogue> </scene> <scene> <stage_direction>LA GOLONDRINA (NIGHT)</stage_direction> <scene_description>In the foreground , Neff and Lola are having dinner . In the background the usual activity of Olvera Street - sidewalk peddlers , guitar players , etc. .</scene_description> <character>NEFF'S VOICE</character> <dialogue>So I took her to dinner that evening at a Mexican joint down on Olvera Street where nobody would see us. I wanted to cheer her up.</dialogue> </scene> <scene> <stage_direction>INT. NEFF'S COUPE (DAY)</stage_direction> <scene_description>Neff and Lola driving along the beach near Santa Monica . Neff is wearing a light summer suit , very much in contrast to Lola 's mourning . Apparently she is telling him a story and now and then she laughs , but there is no sound . CAMERA MOVES PAST HER TO A : CLOSE SHOT OF NEFF behind the steering wheel . He is only half listening to Lola . His mind is full of other thoughts .</scene_description> <character>NEFF'S VOICE</character> <dialogue>Next day was Sunday and we went for a ride down to the beach. She had loosened up a bit and she was even laughing. I had to make sure she would n't tell that stuff about Phyllis to anybody else. It was dynamite, whether it was true or not. And I had no chance to talk to Phyllis. You were watching her like a hawk, Keyes. I could n't even phone her for fear you had the wires tapped.</dialogue> <scene_description>INSURANCE OFFICE - 12TH FLOOR - DAY Neff , with his hat on and no briefcase , is walking toward Keyes ' office . As he comes up close to the door , he stops with a startled expression on his face . On a chair beside the door sits a familiar figure . He is Jackson , the man from the observation platform of the train . He is wearing his Stetson hat and smoking a cigar . He is studying something in the file folder . Neff recognizes him immediately but Jackson does not look up . Neff controls his expression and goes on to open the door to Keyes ' office .</scene_description> <character>NEFF'S VOICE</character> <dialogue>Monday morning there was a note on my desk that you wanted to see me, Keyes. For a minute I wondered if it could be about Lola. It was worse. Outside your door was the last guy in the world I wanted to see.</dialogue> </scene> <scene> <stage_direction>INT. KEYES' OFFICE</stage_direction> <scene_description>Neff is just closing the door from the inside . Keyes , his coat off , is lying on his office couch , chewing on a cigar , as usual .</scene_description> <character>KEYES</character> <dialogue>Come in. Come in, Walter. I want to ask you something. After all the years we've known each other, do you mind if I make a rather blunt statement?</dialogue> <character>NEFF</character> <dialogue>About what?</dialogue> <character>KEYES</character> <dialogue>About me. Walter, I'm a very great man. This Dietrichson business. It's murder, and murders do n't come any neater. As fancy a piece of homicide as anybody ever ran into. Smart and tricky and almost perfect, but -</dialogue> <scene_description>Keyes bounces off the couch like a rubber ball .</scene_description> <character>KEYES</character> <dialogue>but, I think Papa has it all figured out, figured out and wrapped up in tissue paper with pink ribbons on it.</dialogue> <character>NEFF</character> <dialogue>I'm listening.</dialogue> <scene_description>Keyes levels a finger at him .</scene_description> <character>KEYES</character> <dialogue>You know what? That guy Dietrichson was never on the train.</dialogue> <character>NEFF</character> <dialogue>He was n't?</dialogue> <character>KEYES</character> <dialogue>No, he was n't, Walter. Look, you ca n't be sure of killing a man by throwing him off a train that's going fifteen miles an hour. The only way you can be sure is to kill him first and then throw his body on the tracks. That would mean either killing him on the train, or - and this is where it really gets fancy - you kill him somewhere else and put him on the tracks. Two possibilities, and I personally buy the second.</dialogue> <character>NEFF</character> <dialogue>You're way ahead of me, Keyes.</dialogue> <character>KEYES</character> <dialogue>Look, it was like this. They killed the guy - the wife and somebody else - and then the somebody else took the crutches and went on the train as Dietrichson, and then the somebody else jumped off, and then they put the body on the tracks where the train had passed. An impersonation, see. And a cinch to work. Because it was night, very few people were about, they had the crutches to stare at, and they never really looked at the man at all.</dialogue> <character>NEFF</character> <dialogue>It's fancy all right, Keyes. Maybe it's a little too fancy.</dialogue> <character>KEYES</character> <dialogue>Is it? I tell you it fits together like a watch. And now let's see what we have in the way of proof. The only guy that really got a good look at this supposed Dietrichson is sitting right outside my office. I took the trouble to bring him down here from Oregon. Let's see what he has to say.</dialogue> <scene_description>Keyes goes to the door and opens it .</scene_description> <character>KEYES</character> <dialogue>Come in, Mr. Jackson.</dialogue> <scene_description>Jackson enters with the file folder .</scene_description> <character>JACKSON</character> <dialogue>Yes sir, Mr. Keyes. These are fine cigars you smoke.</dialogue> <scene_description>He indicates the cigar he himself is smoking .</scene_description> <character>KEYES</character> <dialogue>Two for a quarter.</dialogue> <character>JACKSON</character> <dialogue>That's what I said.</dialogue> <character>KEYES</character> <dialogue>Never mind the cigar, Jackson. Did you study those photographs? What do you say?</dialogue> <character>JACKSON</character> <dialogue>Yes, indeed, I studied them thoroughly. Very thoroughly</dialogue> <character>KEYES</character> <dialogue>Well? Did you make up your mind?</dialogue> <character>JACKSON</character> <dialogue>Mr. Keyes, I'm a Medford man. Medford, Oregon. Up in Medford we take our time making up our minds -</dialogue> <character>KEYES</character> <dialogue>Well you're not in Medford now. I'm in a hurry. Let's have it.</dialogue> <scene_description>Jackson indicates the file folder he is holding .</scene_description> <character>JACKSON</character> <dialogue>Are these photographs of the late Mr. Dietrichson?</dialogue> <character>KEYES</character> <dialogue>Yes.</dialogue> <character>JACKSON</character> <dialogue>Then my answer is no.</dialogue> <character>KEYES</character> <dialogue>What do you mean no?</dialogue> <character>JACKSON</character> <dialogue>I mean this is not the man that was on the train.</dialogue> <character>KEYES</character> <dialogue>Will you swear to that?</dialogue> <character>JACKSON</character> <dialogue>I'm a Medford man. Medford, Oregon. And if I say it, I mean it, and if I mean it, of course I'll swear it.</dialogue> <character>KEYES</character> <dialogue>Thank you.</dialogue> <scene_description>Keyes turns to Neff .</scene_description> <character>KEYES</character> <dialogue>There you are, Walter. There's your proof.</dialogue> <scene_description>Keyes remembers he forgot to introduce Jackson .</scene_description> <character>KEYES</character> <dialogue>Oh, Mr. Jackson, this is Mr. Neff, one of our salesmen.</dialogue> <character>JACKSON</character> <dialogue>Please to meet you, Mr. Neff. Pleased indeed.</dialogue> <character>NEFF</character> <dialogue>How do you do.</dialogue> <character>JACKSON</character> <dialogue>Very fine, thank you. Never was better.</dialogue> <character>KEYES</character> <dialogue>Mr. Jackson, how would you describe the man you saw on that observation platform?</dialogue> <character>JACKSON</character> <dialogue>Well, I'm pretty sure he was a younger man, about ten or fifteen years younger than the man in these photographs.</dialogue> <character>KEYES</character> <dialogue>Dietrichson was about fifty, was n't he, Walter?</dialogue> <character>NEFF</character> <dialogue>Fifty - one, according to the policy.</dialogue> <character>JACKSON</character> <dialogue>The man I saw was nothing like fifty - one years old. Of course, it was pretty dark on that platform and, come to think of it, he tried to keep his back towards me. But I'm positive just the same.</dialogue> <character>KEYES</character> <dialogue>That's fine, Jackson. Now you understand this matter is strictly confidential. We may need you again down here in Los Angeles, if the case comes to court.</dialogue> <character>JACKSON</character> <dialogue>Any time you need me, I'm at your entire disposal, gentlemen. Expenses paid, of course.</dialogue> <scene_description>Keyes picks up the telephone on his desk and speaks into it .</scene_description> <character>KEYES</character> <dialogue>Get me Lubin, in the cashier's office.</dialogue> <scene_description>Meanwhile , Jackson crosses over to Neff and , during the ensuing dialogue between him and Neff , we hear Keyes ' low voice on the phone in background . We do not hear what he says .</scene_description> <character>JACKSON</character> <parenthetical>( To Neff . )</parenthetical> <dialogue>Ever been in Medford, Mr. Neff?</dialogue> <character>NEFF</character> <dialogue>Never.</dialogue> <character>JACKSON</character> <dialogue>Wait a minute. Do you go trout fishing? Maybe I saw you up Klamath Falls way.</dialogue> <character>NEFF</character> <dialogue>Nope. Never fish.</dialogue> <character>JACKSON</character> <dialogue>Neff. Neff. I've got it! It's the name. There's a family of Neffs in Corvallis.</dialogue> <character>NEFF</character> <dialogue>No relation.</dialogue> <character>JACKSON</character> <dialogue>Let me see. This man's an automobile dealer in Corvallis. Very reputable man, too, I'm told.</dialogue> <scene_description>Keyes rejoins them at this point .</scene_description> <character>KEYES</character> <dialogue>All right, Mr. Jackson. Suppose you go down to the cashier's office - room twenty - seven on the eleventh floor. They'll take care of your expense account and your ticket for the train tonight.</dialogue> <character>JACKSON</character> <dialogue>Tonight? Tomorrow morning would suit me better. There's a very good osteopath down here I want to see before I leave.</dialogue> <scene_description>Keyes has opened the door for Jackson .</scene_description> <character>KEYES</character> <dialogue>Okay, Mr. Jackson. Just do n't put her on the expense account.</dialogue> <scene_description>Jackson does n't get it .</scene_description> <character>JACKSON</character> <dialogue>Goodbye, gentlemen. A pleasure.</dialogue> <scene_description>He goes out .</scene_description> <character>KEYES</character> <dialogue>There it is, Walter. It's beginning to come apart at the seams already. A murder's never perfect. It always comes apart sooner or later. And when two people are involved it's usually sooner. We know the Dietrichson dame is in it, and somebody else. Pretty soon we're going to know who that somebody else is. He'll show. He's got to show. Sometime, somewhere, they've got to meet. Their emotions are all kicked up. Whether it's love or hate does n't matter. They ca n't keep away from each other. They think it's twice as safe because there are two of them. But it's not twice as safe. It's ten times twice as dangerous. They've committed a murder and that's not like taking a trolley ride together where each one can get off at a different stop. They're stuck with each other. They've got to ride all the way to the end of the line. And it's a one - way trip, and the last stop is the cemetery.</dialogue> <scene_description>He puts a cigar in his mouth and starts tapping his pockets for matches .</scene_description> <character>KEYES</character> <parenthetical>( Continued . )</parenthetical> <dialogue>She put in her claim and I'm going to throw it right back at her.</dialogue> <parenthetical>( Pats his pockets again . )</parenthetical> <dialogue>Have you got one of those?</dialogue> <scene_description>Neff strikes a match for him . Keyes takes the match out of his hand and lights his cigar .</scene_description> <character>KEYES</character> <dialogue>Let her sue us if she dares. I'll be ready for her - and that somebody else. They'll be digging their own graves.</dialogue> </scene> <scene> <stage_direction>TELEPHONE BOOTH IN JERRY'S MARKET - DAY</stage_direction> <scene_description>Neff is in the booth dialing a number , and as she waits he looks around to make sure he is not watched .</scene_description> <character>NEFF</character> <parenthetical>( Into phone . )</parenthetical> <dialogue>Mrs. Dietrichson? This is Jerry's market. We just got in a shipment of that English soap you were asking about. Will you be coming by this morning? Thank you, Mrs. Dietrichson.</dialogue> <scene_description>Neff hangs up .</scene_description> </scene> <scene> <stage_direction>EXT. JERRY'S MARKET - DAY</stage_direction> <scene_description>The LaSalle stops in front of the market . Phyllis steps out and goes into the market , looking around . SHELVES IN THE REAR OF MARKET Neff is moving slowly along the shelves , outwardly calm but with his nerves on edge . From beyond him Phyllis approaches . She stops beside him , facing the same way , with a couple of feet separating them .</scene_description> <character>PHYLLIS</character> <dialogue>Hello, Walter.</dialogue> <character>NEFF</character> <parenthetical>( In a harsh whisper . )</parenthetical> <dialogue>Come closer.</dialogue> <scene_description>Phyllis moves close to him .</scene_description> <character>PHYLLIS</character> <dialogue>What's the matter?</dialogue> <character>NEFF</character> <dialogue>Everything's the matter. Keyes is rejecting your claim. He's sitting back with his mouth watering, waiting for you to sue. He wants you to sue. But you're not going to.</dialogue> <character>PHYLLIS</character> <dialogue>What's he got to stop me?</dialogue> <character>NEFF</character> <dialogue>He's got the goods. He's figured out how it was worked. He knows it was somebody else on the train. He's dug up a witness he thinks will prove it.</dialogue> <character>PHYLLIS</character> <dialogue>Prove it how? Listen, if he rejects that claim, I have to sue.</dialogue> <character>NEFF</character> <dialogue>Yeah? And then you're in court and a lot of other things are going to come up. Like, for instance, about you and the first Mrs. Dietrichson.</dialogue> <scene_description>Phyllis looks at him sharply , sideways .</scene_description> <character>PHYLLIS</character> <dialogue>What about me and the first Mrs. Dietrichson?</dialogue> <character>NEFF</character> <dialogue>The way she died. And about that black hat you were trying on - before you needed a black hat.</dialogue> <scene_description>A customer comes along the aisle toward them . They move apart . The customer passes . Phyllis draws close again .</scene_description> <character>PHYLLIS</character> <dialogue>Walter, Lola's been telling you some of her cockeyed stories. She's been seeing you.</dialogue> <character>NEFF</character> <dialogue>I've been seeing her, if you want to know. So she wo n't yell her head off about what she knows.</dialogue> <character>PHYLLIS</character> <dialogue>Yes, she's been putting on an act for you, crying all over your shoulder, that lying little -</dialogue> <character>NEFF</character> <dialogue>Keep her out of it. All I'm telling you is we're not going to sue.</dialogue> <character>PHYLLIS</character> <dialogue>Because you do n't want the money any more, even if you could get it? Because she's made you feel like a heel all of sudden.</dialogue> <character>NEFF</character> <dialogue>It is n't the money any more. It's our necks now. We're pulling out, understand.</dialogue> <character>PHYLLIS</character> <dialogue>Because of what Keyes can do? You're not fooling me, Walter. It's because of Lola. What you did to her father. You ca n't take it that she might find out some day.</dialogue> <character>NEFF</character> <dialogue>I said, leave her out of it.</dialogue> <character>PHYLLIS</character> <dialogue>Walter, it's me I'm talking about. I do n't want to be left out of it.</dialogue> <character>NEFF</character> <dialogue>Stop saying that. It's just that it has n't worked out the way we wanted. We ca n't have the money. We ca n't go through with it, that's all.</dialogue> <character>PHYLLIS</character> <dialogue>We have gone through with it, Walter. The tough part is all behind us. We just have to hold on now and not go soft inside, and stick together, close, the way we started out.</dialogue> <scene_description>Phyllis takes his arm , forgetting where she is . He pulls away .</scene_description> <character>NEFF</character> <dialogue>Watch it, will you. Someone's coming.</dialogue> <scene_description>One of the market help , pushing a small hand - truck loaded with packaged goods , comes along the aisle . He stops and begins to restock a shelf very close to Neff and Phyllis . They go off slowly in opposite directions . CAMERA PANS with Neff as he walks toward another shelf , one that stands away from the wall . Phyllis appears on the opposite side of the shelf and stops , facing toward him . They now continue their low - voiced dialogue through the piled - up merchandise .</scene_description> <character>PHYLLIS</character> <dialogue>I loved you, Walter. And I hated him. But I was n't going to do anything about it, not until I met you. It was you had the plan. I only wanted him dead.</dialogue> <character>NEFF</character> <dialogue>Yeah, and I was the one that fixed him so he was dead. Is that what you're telling me?</dialogue> <scene_description>Phyllis takes off her dark glasses for the first time and looks at him with cold , hard eyes .</scene_description> <character>PHYLLIS</character> <dialogue>Yes. And nobody's pulling out. We went into it together, and we're coming out at the end together. It's straight down the line for both of us, remember.</dialogue> <scene_description>Phyllis puts the glasses on again and goes . Over Neff 's face , as he looks after her , comes the COMMENTARY .</scene_description> <character>NEFF'S VOICE</character> <dialogue>Yeah. I remembered all right. Just as I remembered what you had told me, Keyes, about that trolley car ride and how there was no way to get off - until the end of the line.</dialogue> </scene> <scene> <stage_direction>INT. NEFF'S OFFICE - (NIGHT)</stage_direction> <scene_description>Neff is dictating into the dictaphone .</scene_description> <character>NEFF</character> <dialogue>Yeah, I remembered it all right. Just as I remembered what you had told me, Keyes, about that trolley car ride, and how there was no way to get off until the end of the line, where the cemetery was. And I got to thinking what cemeteries are for. They're to put dead people in, I guess that was the first time I ever thought about Phyllis that way. Dead, I mean, and how things would be if she was dead. Because the way it was now she had me by the throat. She could hang me higher than a kite any day she felt like it. And there was nothing I could do, except hold my breath and watch that day come closer and closer, and maybe pray a little, if I still knew how to pray. I saw Lola three or four times that week. I guess it sounds crazy, Keyes, after what I had done, but it was only with her that I could relax and let go a little. Then one night we drove up into the hills above Hollywood Bowl.</dialogue> </scene> <scene> <stage_direction>HOLLYWOOD HILLS (NIGHT) (TRANSPARENCY)</stage_direction> <scene_description>Neff and Lola are climbing over a low hill in the foreground . The sky is starlit and music from the Bowl comes over the scene from below -LRB- Cesar Franck D Minor Symphony -RRB- . As he helps her climb up , CAMERA PANS with them and shows the expanse of the Bowl below , a packed audience , and the orchestra on the lighted shell . They sit down on the grass . Neff sits near her , not too close . It is very dark and they are silhouetted against the shell lights . Neff puts a cigarette in his mouth and strikes a match . The flame lights up Lola 's face . Neff glances at her . She is crying . He lights his cigarette and blows out the match . A pause follows .</scene_description> <character>NEFF</character> <dialogue>Why are you crying?</dialogue> <scene_description>Lola does n't answer .</scene_description> <character>NEFF</character> <dialogue>You wo n't tell me?</dialogue> <character>LOLA</character> <parenthetical>( In a choked voice . )</parenthetical> <dialogue>Of course I will, Walter. I would n't tell anybody else but you. It's about Nino.</dialogue> <character>NEFF</character> <dialogue>Zachetti? What about him?</dialogue> <character>LOLA</character> <dialogue>They killed my father together. He and Phyllis. He helped her do it. I know he did.</dialogue> <character>NEFF</character> <dialogue>What makes you say that?</dialogue> <character>LOLA</character> <dialogue>I've been following him. He's at her house, night after night. It was Phyllis and him all the time. Maybe he was going with me just for a blind. And the night of the murder -</dialogue> <character>NEFF</character> <dialogue>You promised not to talk that way any more.</dialogue> <character>LOLA</character> <dialogue>- he was supposed to pick me up after a lecture at U.C.L.A. - but he never showed up. He said he was sick. Sick! He could n't show up, because the train was leaving with my father on it.</dialogue> <scene_description>She begins to cry again .</scene_description> <character>LOLA</character> <dialogue>Maybe I'm just crazy. Maybe it's all just in my mind.</dialogue> <character>NEFF</character> <dialogue>Sure, it's all in your mind.</dialogue> <character>LOLA</character> <dialogue>I only wish it was, Walter, because I still love him.</dialogue> <scene_description>Over Neff 's face , as he listens to the music , comes the commentary .</scene_description> </scene> <scene> <stage_direction>LOBBY OF PACIFIC BLDG. (DAY)</stage_direction> <character>NEFF'S VOICE</character> <dialogue>Zachetti. That's funny. Phyllis and Zachetti. What was he doing up at her house? I could n't figure that one out I tried to make sense out of it and got nowhere. But the real brain - twister came the next day. You sprang it on me, Keyes, after office hours, when you caught me down in the lobby of the building.</dialogue> <scene_description>About 5:00 P.M. or a little later . A stream of office employees is coming out of an elevator ; a second elevator reaches the lobby and some more office employees come out , among them Neff , wearing his hat and carrying his briefcase . CAMERA PRECEDES HIM as he walks toward the entrance doors . He is stopped by Keyes ' voice , off to one side .</scene_description> <character>KEYES' VOICE</character> <dialogue>Oh, Walter, just a minute.</dialogue> <scene_description>Neff stops and looks towards the cigar counter , as he moves towards him . Keyes is standing there buying cigars . He is stuffing them into his pockets .</scene_description> <character>NEFF</character> <dialogue>Hello, Keyes.</dialogue> <character>KEYES</character> <dialogue>Hang onto your hat, Walter.</dialogue> <character>NEFF</character> <dialogue>What for?</dialogue> <character>KEYES</character> <dialogue>Nothing much. The Dietrichson case just busted wide open.</dialogue> <character>NEFF</character> <dialogue>How do you mean?</dialogue> <character>KEYES</character> <dialogue>The guy showed. That's how.</dialogue> <character>NEFF</character> <dialogue>The somebody else?</dialogue> <character>KEYES</character> <dialogue>Yeah. The guy that did it with her.</dialogue> <character>NEFF</character> <dialogue>No kidding?</dialogue> <character>KEYES</character> <dialogue>She's filed suit against us, and it's okay by me. When we get into that courtroom I'll tear them apart, both of them. Come on - I'll buy you a martini.</dialogue> <character>NEFF</character> <dialogue>No thanks, Keyes.</dialogue> <character>KEYES</character> <dialogue>With two olives.</dialogue> <character>NEFF</character> <dialogue>I've got to get a shave and a shoeshine. I've got a date.</dialogue> <character>KEYES</character> <dialogue>Margie. I still bet she drinks from the bottle.</dialogue> <scene_description>He bites off the end of the cigar and puts the cigar into his mouth . He starts tapping his pockets for a match , as usual . Neff strikes a match for him .</scene_description> <character>NEFF</character> <dialogue>They give you matches when they sell you cigars, Keyes. All you have to do is ask for them.</dialogue> <character>KEYES</character> <dialogue>I do n't like them. They always explode in my pockets. So long, Walter.</dialogue> <scene_description>Keyes goes toward the street and OUT OF SCENE . Neff moves back into the lobby , CAMERA FOLLOWING HIM . As he reaches the elevator , he looks back over his shoulder , to make sure Keyes is gone , then steps into the empty elevator .</scene_description> <character>NEFF'S VOICE</character> <dialogue>You sure had me worried, Keyes. I did n't know if you were playing cat - and - mouse with me, whether you knew all along I was the somebody else. That's what I had to find out, and I thought I knew where to look.</dialogue> <character>NEFF</character> <parenthetical>( To elevator operator . )</parenthetical> <dialogue>Twelve.</dialogue> </scene> <scene> <stage_direction>ENTRANCE - OFFICE. 12TH FLOOR RECEPTION ROOM (DAY)</stage_direction> <scene_description>Neff comes out of the elevator . The receptionist is just tidying up her desk . She has her hat on and is preparing to leave . Neff passes on through the swinging doors to the twelfth floor balcony .</scene_description> <character>NEFF'S VOICE</character> <dialogue>Upstairs, the last of the people were just leaving.</dialogue> <scene_description>12TH FLOOR BALCONY Neff enters from the reception room . A couple of belated employees are leaving for the day . Neff goes toward Keyes ' office , looks around to make sure he is unobserved , enters .</scene_description> <character>NEFF'S VOICE</character> <dialogue>I made sure nobody saw me go into your office.</dialogue> <scene_description>KEYES ' OFFICE -LRB- DAY -RRB- Neff has just come in . He goes over to Keyes ' desk and searches the papers on it . He tries the desk drawers and finds them locked . His eye falls on the dictaphone on the stand beside the desk . A record is on it , the needle is about two - thirds of the way towards the end . He lifts the needle and sets it back to the beginning of the record , sets the switch to playback position . He lifts the arm off the bracket and starts the machine . Keyes ' voice is heard coming from the horn :</scene_description> <character>KEYES' VOICE</character> <parenthetical>( From Dictaphone . )</parenthetical> <dialogue>Memo to Mr. Norton. Confidential. Dietrichson File. With regard to your proposal to put Walter Neff under surveillance, I disagree absolutely. I have investigated his movements on the night of the crime, and he is definitely placed in his apartment from 7:15 P.M. on. In addition to this, I have known Neff intimately for eleven years, and I personally vouch for him, without reservation.</dialogue> <scene_description>Neff stops the machine . He sits down slowly , still holding the horn . He is deeply moved . After a moment , he presses the switch again .</scene_description> <character>KEYES' VOICE</character> <parenthetical>( From Dictaphone . )</parenthetical> <dialogue>. Furthermore, no connection whatsoever has been established between Walter Neff and Mrs. Phyllis Dietrichson, whereas I am now able to report that such a connection has been established between her and another man. This man has been observed to visit the Dietrichson home on the night of July 9th, 10th, 11th, 12th and 13th. We have succeeded in identifying him as one Nino Zachetti, former medical student, aged twenty - eight, residing at Lilac Court Apartments 1228 1/2 N. La Brea Avenue. We have checked Zachetti's movements on the night of the crime and have found that they can not be accounted for. I am preparing a more detailed report for your consideration and it is my belief that we already have sufficient evidence against Zachetti and Mrs. Dietrichson to justify police action. I strongly urge that this whole matter be turned over to the office of the District Attorney. Respectfully, Barton Keyes.</dialogue> <scene_description>Neff sits , staring blankly at the wall . The cylinder goes on revolving , but no more voice comes - only the whir of the needle on the empty record . At last he remembers to replace the horn . He hangs it back on its hook . The machine stops . Neff gets up from the chair , walks slowly to the door and goes out . 12TH FLOOR , BALCONY Neff has just come out of Keyes ' office . He walks slowly back towards the reception room entrance , then stands there looking out through the glass doors . All the employees have now left . Neff is entirely alone . He moves as if to go out , then stops rigidly as his face lights up with excitement of a sudden idea . He turns quickly and walks on to his own office and enters . NEFF 'S OFFICE -LRB- DAY -RRB- Neff walks across to his desk , lifts the telephone and dials a number . -LRB- During the ensuing telephone conversation , only what he says is heard . The pauses indicate speeches at the other end of the line -RRB- .</scene_description> <character>NEFF</character> <dialogue>Phyllis? Walter. I've got to see you. Tonight. Yes, it has to be tonight. How's eleven o'clock? Do n't worry about Keyes. He's satisfied. Leave the door on the latch and put the lights out. No, nobody's watching the house. I told you Keyes is satisfied. It's just for the neighbors. That's what I said. Yeah. Eleven o'clock. Goodbye, baby.</dialogue> <scene_description>Neff hangs up and stands beside the desk with a grim expression on his face , takes a handkerchief out and wipes perspiration from his forehead and the palms of his hands . The gesture has a symbolic quality , as if he were trying to wipe away the murder . Over his face comes the commentary .</scene_description> </scene> <scene> <scene_description>HALL STAIRWAY OF DIETRICHSON HOME -LRB- NIGHT -RRB- The lights are turned on . Phyllis is coming down the stairs . She wears white lounging pajamas , and she is carrying something small and heavy concealed in a scarf in her right hand . She reaches the front door , opens it slightly , fixes the catch so that the door can be opened from outside . She switches off the porch light and the hall light . She moves towards the living room , where there is still light on .</scene_description> <character>NEFF'S VOICE</character> <dialogue>She was all set and waiting for me. It could have been something in my voice when I called her up that tipped her off. And it could have been that she had the idea already. And an idea was n't the only thing she had waiting for me.</dialogue> <scene_description>LIVING ROOM On the long table behind the davenport , one of the lamps is lit . The only other light in the room is a standing lamp beside the desk . A window toward the back is open , and through it comes the SOUNDS OF MUSIC , probably a neighboring radio . Phyllis enters and crosses to the table . She puts out the lamp , then moves over to the desk and puts out the lamp there . The room is filled with bright moonlight coming in at the windows . Phyllis crosses to the chair by the fireplace -LRB- the one she sat in the first time Neff came to the house -RRB- . She lifts the loose cushion and puts what was in the scarf behind it . As she withdraws the scarf , there is a brief glint of something metallic before she covers the hidden object with the cushion again . She turns to the low table in front of the davenport and takes a cigarette from the box . She takes a match and is about to strike it when , just then , she hears a car coming up the hill . She listens , motionless . The car stops . A car door is slammed . Calmly , Phyllis strikes the match and lights her cigarette . She drops the match casually into a tray , goes back to the chair , sits down and waits , quietly smoking . There are footsteps outside the house . Over the chair in which Phyllis is sitting , the hallway is visible through the arch . The front door opens . Neff comes in , he is silhouetted against the moonlight as he stands there . He closes the door again .</scene_description> <character>PHYLLIS</character> <parenthetical>( In foreground . )</parenthetical> <dialogue>In here, Walter.</dialogue> <scene_description>Neff comes through the arch and walks slowly towards her .</scene_description> <character>NEFF</character> <dialogue>Hello, baby. Anybody else in the house?</dialogue> <character>PHYLLIS</character> <dialogue>Nobody. Why?</dialogue> <character>NEFF</character> <dialogue>What's that music?</dialogue> <character>PHYLLIS</character> <dialogue>A radio up the street.</dialogue> <scene_description>Neff sits down on the arm of the davenport , close to her .</scene_description> <character>NEFF</character> <dialogue>Just like the first time I was here. We were talking about automobile insurance. Only you were thinking about murder. And I was thinking about that anklet.</dialogue> <character>PHYLLIS</character> <dialogue>And what are you thinking about now?</dialogue> <character>NEFF</character> <dialogue>I'm all through thinking. This is goodbye.</dialogue> <character>PHYLLIS</character> <dialogue>Goodbye? Where are you going?</dialogue> <character>NEFF</character> <dialogue>It's you that's going, baby. Not me. I'm getting off the trolley car right at this corner.</dialogue> <character>PHYLLIS</character> <dialogue>Suppose you stop being fancy. Let's have it, whatever it is.</dialogue> <character>NEFF</character> <dialogue>I have a friend who's got a funny theory. He says when two people commit a murder they're kind of on a trolley car, and one ca n't get off without the other. They're stuck with each other. They have to go on riding clear to the end of the line. And the last stop is the cemetery.</dialogue> <character>PHYLLIS</character> <dialogue>Maybe he's got something there.</dialogue> <character>NEFF</character> <dialogue>You bet he has, Two people are going to ride to the end of the line, all right. Only I'm not going to be one of them. I've got another guy to finish my ride for me.</dialogue> <character>PHYLLIS</character> <dialogue>So you've got it all arranged, Walter.</dialogue> <character>NEFF</character> <dialogue>You arranged it for me. I did n't have to do a thing.</dialogue> <character>PHYLLIS</character> <dialogue>Just who are you talking about?</dialogue> <character>NEFF</character> <dialogue>An acquaintance of yours. A Mr. Zachetti. Come on, baby, I just got into this because I knew a little something about insurance, did n't I? I was just a sucker. I'd have been brushed - off as soon as you got your hands on the money.</dialogue> <character>PHYLLIS</character> <dialogue>What are you talking about?</dialogue> <character>NEFF</character> <dialogue>Save it. I'm telling this. It's been you and that Zachetti guy all along, has n't it?</dialogue> <character>PHYLLIS</character> <dialogue>That's not true.</dialogue> <character>NEFF</character> <dialogue>It does n't make any difference whether it's true or not. The point is Keyes believes Zachetti is the guy he's been looking for. He'll have him in that gas chamber before he knows what happened to him.</dialogue> <character>PHYLLIS</character> <dialogue>And what's happening to me all this time?</dialogue> <character>NEFF</character> <dialogue>Do n't be silly. What do you expect to happen to you? You helped him do the murder, did n't you? That's what Keyes thinks. And what's good enough for Keyes is good enough for me.</dialogue> <character>PHYLLIS</character> <dialogue>Maybe it's not good enough for me. Walter. Maybe I do n't go for the idea. Maybe I'd rather talk.</dialogue> <character>NEFF</character> <dialogue>Sometimes people are where they ca n't talk. Under six feet of dirt, for instance. And if it was you, they'd just charge it up to Zachetti, would n't they. One more item on his account. Sure they would. That's just what they're going to do. Especially since he's coming here, tonight. Oh, in about fifteen minutes from now, baby. With the cops right behind him. It's all taken care of.</dialogue> <character>PHYLLIS</character> <dialogue>And that'd make everything lovely for you, would n't it?</dialogue> <character>NEFF</character> <dialogue>Right. And it's got to be done before that suit of yours comes to trial, and Lola gets a chance to sound off, and they trip you up on the stand, and you start to fold up and drag me down with you.</dialogue> <character>PHYLLIS</character> <dialogue>Listen, Walter. Maybe I had Zachetti here so they wo n't get a chance to trip me up. So we can get that money and be together.</dialogue> <character>NEFF</character> <dialogue>That's cute. Say it again.</dialogue> <character>PHYLLIS</character> <dialogue>He came here the first time just to ask where Lola was. I made him come back. I was working on him. He's crazy sort of guy, quick - tempered. I kept hammering into him that she was with another man, so he'd get into one of his jealous rages, and then I'd tell him where she was. And you know what he'd have done to her, do n't you, Walter.</dialogue> <character>NEFF</character> <dialogue>Yeah, and for once I believe you. Because it's just rotten enough.</dialogue> <character>PHYLLIS</character> <dialogue>We're both rotten, Walter.</dialogue> <character>NEFF</character> <dialogue>Only you're just a little more rotten. You're rotten clear through. You got me to take care of your husband, and then you got Zachetti to take care of Lola, and maybe take care of me too, and then somebody else would have come along to take care of Zachetti for you. That's the way you operate is n't it, baby.</dialogue> <character>PHYLLIS</character> <dialogue>Suppose it is, Walter. Is what you've cooked up for tonight any better?</dialogue> <scene_description>Neff gets up from the davenport . He listens to the music for a moment .</scene_description> <character>NEFF</character> <dialogue>I do n't like this music anymore. It's too close. Do you mind if I shut the window?</dialogue> <scene_description>Phyllis just stares at him . He goes quietly over to the window and shuts it and draws the curtain . Phyllis speaks to his back :</scene_description> <character>PHYLLIS</character> <parenthetical>( Her voice low and urgent . )</parenthetical> <dialogue>Walter!</dialogue> <scene_description>Neff turns , something changes in his face . There is the report of a gun . He stands motionless for a moment , then very slowly starts towards her . CAMERA IS SHOOTING OVER HIS SHOULDER at Phyllis as she stands with the gun in her hand . Neff stops after he has taken a few steps .</scene_description> <character>NEFF</character> <dialogue>What's the matter? Why do n't you shoot again? Maybe if I came a little closer?</dialogue> <scene_description>Neff takes a few more steps towards her and stops again .</scene_description> <character>NEFF</character> <dialogue>How's that. Do you think you can do it now?</dialogue> <scene_description>Phyllis is silent . She does n't shoot . Her expression is tortured . Neff goes on until he is close to her . Quietly he takes the gun out of her unresisting hand .</scene_description> <character>NEFF</character> <dialogue>Why did n't you shoot, baby?</dialogue> <scene_description>Phyllis puts her arms around him in complete surrender .</scene_description> <character>NEFF</character> <dialogue>Do n't tell me it's because you've been in love with me all this time.</dialogue> <character>PHYLLIS</character> <dialogue>No. I never loved you, Walter. Not you, or anybody else. I'm rotten to the heart. I used you, just as you said. That's all you ever meant to me - until a minute ago. I did n't think anything like that could ever happen to me.</dialogue> <character>NEFF</character> <dialogue>I'm sorry, baby. I'm not buying.</dialogue> <character>PHYLLIS</character> <dialogue>I'm not asking you to buy. Just hold me close.</dialogue> <scene_description>Neff draws her close to him . She reaches up to his face and kisses him on the lips . As she comes out of the kiss there is realization in her eyes that this is the final moment .</scene_description> <character>NEFF</character> <dialogue>Goodbye, baby.</dialogue> <scene_description>Out of the shot the gun explodes once , twice . Phyllis quivers in his arms . Her eyes fill with tears . Her head falls limp against his shoulder . Slowly he lifts her and carries her to the davenport . He lays her down on it carefully , almost tenderly . The moonlight coming in at the French doors shines on the anklet . He looks at it for the last time and slowly turns away . As he does so , he puts his hand inside his coat and it comes out with blood on it . Only then is it apparent that Phyllis ' shot actually did hit him . He looks at the blood on his fingers with a dazed expression and quickly goes out of the room , the way he came .</scene_description> </scene> <scene> <stage_direction>EXT. DIETRICHSON HOME - (NIGHT)</stage_direction> <scene_description>Neff comes out of the house . He closes the front door with his right hand . His left arm hangs limp . He takes a few steps down the walk , then suddenly hears somebody approaching . He moves behind the palm tree near the walk . A man comes up the steps towards the front door - Zachetti . Just as he reaches the door , Neff calls to him .</scene_description> <character>NEFF</character> <dialogue>Hey you. Come here a minute. I said come here, Zachetti.</dialogue> <scene_description>Zachetti turns and approaches him slowly .</scene_description> <character>NEFF</character> <dialogue>The name is Neff.</dialogue> <character>ZACHETTI</character> <dialogue>Yeah? And I still do n't like it. What do you want?</dialogue> <character>NEFF</character> <dialogue>Look, kid, I want to give you a present.</dialogue> <scene_description>He takes some loose change out of his pocket and holds out a coin .</scene_description> <character>NEFF</character> <dialogue>Here's a nice new nickel.</dialogue> <character>ZACHETTI</character> <dialogue>What's the gag?</dialogue> <character>NEFF</character> <dialogue>Suppose you go back down the hill to a drug store and make a phone call.</dialogue> <scene_description>Neff starts to drop the nickel into Zachetti 's handkerchief pocket . Zachetti knocks his hand away .</scene_description> <character>ZACHETTI</character> <dialogue>Keep your nickel and buy yourself an ice cream cone.</dialogue> <character>NEFF</character> <dialogue>The number is Granite 0386. Ask for Miss Dietrichson. The first name is Lola.</dialogue> <character>ZACHETTI</character> <dialogue>Lola? She is n't worth a nickel. And if I ever talk to her, it's not going to be over any telephone.</dialogue> <character>NEFF</character> <dialogue>Tough, are n't you? Take the nickel. Take it and call her. She wants you to.</dialogue> <character>ZACHETTI</character> <dialogue>Yeah? She does n't want any part of me.</dialogue> <character>NEFF</character> <dialogue>I know who told you that, and it's not true. She's in love with you. Always has been. Do n't ask me why. I could n't even guess.</dialogue> <scene_description>Zachetti just stares at him . Neff moves again to put the nickel into Zachetti 's pocket . This time Zachetti allows him to do it .</scene_description> <character>NEFF</character> <dialogue>Now beat it. Granite 0386, I told you.</dialogue> <scene_description>He motions toward the street below .</scene_description> <character>NEFF</character> <dialogue>That way.</dialogue> <scene_description>Zachetti goes slowly past him . Neff grabs him and pushes him almost violently down the walk . Zachetti goes out of shot . The sound of his steps dies away as Neff looks after him . Then , far off in the distance , the SIREN OF A POLICE CAR is heard . Neff moves off through the shrubbery toward the side of the house where he parked his car .</scene_description> </scene> <scene> <stage_direction>NEFF'S OFFICE - (NIGHT)</stage_direction> <scene_description>The desk lamp is still lighted . Outside the windows , the dawn is slowly breaking . Neff is still clutching the horn of the dictaphone . There are eight or nine used cylinders on the desk beside him . A widening stain of blood shows on the left shoulder of his gray jacket . He is very weak by now , and his voice holds a note of utter exhaustion .</scene_description> <character>NEFF</character> <dialogue>It's almost four - thirty now, Keyes. It's cold. I wonder if she's still lying there alone in that house, or whether they've found her by now. I wonder a lot of things, but they do n't matter any more, except I want to ask you to do me a favor. I want you to be the one to tell Lola, kind of gently, before it breaks wide open. Yes, and I'd like you to look after her and that guy Zachetti, so he does n't get pushed around too much. Because.</dialogue> <scene_description>Suddenly he stops his dictation with an instinctive feeling that he is not alone in the room . As he turns in his chair the CAMERA PULLS BACK slowly . The office door is wide open . Keyes is standing a few steps inside it . Behind him , on the balcony outside , stands the night watchman and the colored janitor , peering curiously into the room over Keyes ' shoulder . Slowly , and without taking his eyes off Neff 's face , Keyes reaches back and pushes the door shut . Neff hangs up the dictaphone horn . He looks at Keyes with a faint , tired grin and speaks very slowly .</scene_description> <character>NEFF</character> <dialogue>Hello, Keyes.</dialogue> <scene_description>Keyes moves towards him a few steps and stands without answering .</scene_description> <character>NEFF</character> <dialogue>Up pretty early, are n't you? I always wondered what time you got down to work.</dialogue> <scene_description>Keyes , staring at him , still does not answer .</scene_description> <character>NEFF</character> <dialogue>Or did your little man pull you out of bed?</dialogue> <character>KEYES</character> <dialogue>The janitor did. Seems you leaked a little blood on the way in here.</dialogue> <character>NEFF</character> <dialogue>Would n't be surprised.</dialogue> <scene_description>Neff makes a motion indicating the used cylinders standing on the desk .</scene_description> <character>NEFF</character> <dialogue>I wanted to straighten out that Dietrichson story for you.</dialogue> <character>KEYES</character> <dialogue>So I gather.</dialogue> <character>NEFF</character> <dialogue>How long have you been standing there?</dialogue> <character>KEYES</character> <dialogue>Long enough.</dialogue> <character>NEFF</character> <dialogue>Kind of a crazy story with a crazy twist to it. One you did n't quite figure out.</dialogue> <character>KEYES</character> <dialogue>You ca n't figure them all, Walter.</dialogue> <character>NEFF</character> <dialogue>That's right. You ca n't, can you? And now I suppose I get the big speech, the one with all the two - dollar words in it. Let's have it, Keyes.</dialogue> <character>KEYES</character> <dialogue>You're all washed up, Walter.</dialogue> <character>NEFF</character> <dialogue>Thanks, Keyes. That was short anyway.</dialogue> <scene_description>They stare at each other for a long moment , then , with intense effort Neff gets up on his feet and stands there swaying a little . His face is covered with sweat . His shoulder is bleeding . He is on the verge of collapse .</scene_description> <character>KEYES</character> <dialogue>Walter, I'm going to call a doctor.</dialogue> <character>NEFF</character> <parenthetical>( Bitterly . )</parenthetical> <dialogue>What for? So they can patch me up? So they can nurse me along till I'm back on my feet? So I can walk under my own power into that gas chamber up in San Quentin? Is that it, Keyes?</dialogue> <character>KEYES</character> <dialogue>Something like that, Walter.</dialogue> <character>NEFF</character> <dialogue>Well, I've got a different idea. Look here. Suppose you went back to bed and did n't find these cylinders till tomorrow morning, when the office opens. From then on you can play it any way you like. Would you do that much for me, Keyes?</dialogue> <character>KEYES</character> <dialogue>Give me one good reason.</dialogue> <character>NEFF</character> <dialogue>I need four hours to get where I'm going.</dialogue> <character>KEYES</character> <dialogue>You're not going anywhere, Walter.</dialogue> <character>NEFF</character> <dialogue>You bet I am. I'm going across the border.</dialogue> <character>KEYES</character> <dialogue>You have n't got a chance.</dialogue> <character>NEFF</character> <dialogue>Good enough to try for.</dialogue> <character>KEYES</character> <dialogue>You'll never make the border.</dialogue> <character>NEFF</character> <dialogue>That's what you think. Watch me.</dialogue> <scene_description>Neff starts to move towards the door , staggering a little , holding himself upright with great effort .</scene_description> <character>KEYES</character> <parenthetical>( In a voice of stony calm . )</parenthetical> <dialogue>You'll never even make the elevator.</dialogue> <scene_description>Neff has reached the door . He twists the knob and drags the door open . He turns in it to look back at Keyes ' implacable face .</scene_description> <character>NEFF</character> <dialogue>So long, Keyes.</dialogue> <scene_description>Neff goes out , leaving the door wide open . THE CAMERA FOLLOWS his staggering walk along the BALCONY TOWARDS THE ELEVATOR LOBBY . The sound of his breathing is so harsh and loud that for a moment it dominates the scene . Finally he reaches the swing doors leading into the lobby and starts to push them open . At this moment he collapses . He clutches the edge of the door and as it swings around with him he falls to the floor . He tries to struggle up but can not rise . In background comes the sound of a telephone being dialed .</scene_description> <character>KEYES' VOICE</character> <dialogue>Hello. Send an ambulance to the Pacific Building on Olive Street. Yeah. It's a police job.</dialogue> <scene_description>There is the sound of the phone being replaced in its cradle . Then there are footsteps growing louder along the balcony and Keyes walks slowly into the shot . He kneels down beside Neff .</scene_description> <character>KEYES</character> <dialogue>How you doing, Walter?</dialogue> <scene_description>Neff manages a faint smile .</scene_description> <character>NEFF</character> <dialogue>I'm fine. Only somebody moved the elevator a couple of miles away.</dialogue> <character>KEYES</character> <dialogue>They're on the way.</dialogue> <character>NEFF</character> <parenthetical>( Slowly and with great difficulty . )</parenthetical> <dialogue>You know why you did n't figure this one, Keyes? Let me tell you. The guy you were looking for was too close. He was right across the desk from you.</dialogue> <character>KEYES</character> <dialogue>Closer than that, Walter.</dialogue> <scene_description>The eyes of the two men meet in a moment of silence .</scene_description> <character>NEFF</character> <dialogue>I love you too.</dialogue> <scene_description>Neff fumbles for the handkerchief in Keyes ' pocket , pulls it out and clumsily wipes his face with it . The handkerchief drops from his hand . He gets a loose cigarette out of his pocket and puts it between his lips . Then with great difficulty he gets out a match , tries to strike it , but is too weak . Keyes takes the match out of his hand , strikes it for him and lights his cigarette . THE END The following pages are for an alternate ending that director Billy Wilder actually shot but later decided against .</scene_description> <character>KEYES</character> <dialogue>They're on the way.</dialogue> <character>NEFF</character> <parenthetical>( Slowly and with great difficulty . )</parenthetical> <dialogue>You know why you did n't figure this one, Keyes? Let me tell you. The guy you were looking for was too close. He was right across the desk from you.</dialogue> <character>KEYES</character> <dialogue>Closer than that, Walter.</dialogue> <scene_description>The eyes of the two men meet in a moment of silence .</scene_description> <character>NEFF</character> <dialogue>I love you too.</dialogue> <scene_description>Neff fumbles for the handkerchief in Keyes ' pocket , pulls it out and clumsily wipes his face with it . Then , clutching the handkerchief against his shoulder , he speaks to Keyes for the last time .</scene_description> <character>NEFF</character> <dialogue>At the end of that. trolley line. just as I get off. you be there. to say goodbye. will you, Keyes?</dialogue> <scene_description>WITNESS ROOM IN DEATH CHAMBER - SAN QUENTIN -LRB- DAY -RRB- Showing the witness room and approximately one - half of the gas chamber . BOOM SHOT towards guard standing BACK TO CAMERA at entrance door . Except for this guard the room is empty . Guard opens the door . Two other guards enter , followed by a group of witnesses and newspaper men , each of whom removes his hat as he enters the room . They form a group around the outside of the gas chamber , some looking in through the glass windows , some standing in the background on low platforms against the wall . THE CAMERA SLOWLY BEGINS TO MOVE IN AND DOWN , AND CENTERS ON Keyes , as he enters the room and stands behind the door . His face is seen through the bars of the door , which is then closed , and CAMERA MOVES TO A CLOSEUP . His eyes follow the action of the closing door , then slowly look towards the gas chamber . THE GAS CHAMBER , EMPTY On its windows show reflections of the spectators , including the face of Keyes . The door to the gas chamber opens in the background , and beyond that another door opens . Neff comes in between two guards . He is wearing a white open - necked shirt , blue denim pants , and walks barefooted on a cocoanut matting . He moves into the gas chamber , looks through the windows in the direction of Keyes and nods quickly , recognizing him . The guards turn him around and seat him in one of the two metal chairs , with his back to the witnesses . They strap his arms , legs and body to the chair . The guards go out . THE DOOR TO THE GAS CHAMBER It is open . The three guards come out of the gas chamber into the ante - chamber , where stand the warden , executioner , two doctors , the minister and the acid man , and possibly several guards . The executioner and one guard close the door . The guard spins the big wheel which tightens it . The wheel at first turns very quickly , then , as it tightens , the guard uses considerable force to seal the chamber tight . The guard steps out of the shot . The gas chamber is now sealed . THE WITNESSES AND KEYES They are intently watching Neff in the gas chamber . THE ANTE - CHAMBER The warden looks slowly around the room , sees that everyone is in his proper place and that the stethoscope , which one doctor holds , is connected with the outlet in the wall of the gas chamber . Also that the man in charge of the acid is ready . The warden makes a motion to the acid man . The acid man releases the mixed acid into a pipe connecting with a countersunk receptacle under Neff 's chair . -LRB- This action is only suggested -RRB- . The warden looks at the clock , then turns to the executioner and nods . THE EXECUTIONER - MED . SHOT - CAMERA SHOOTING DOWN FROM HIGH ANGLE TOWARDS EXECUTIONER He pushes a metal lever . -LRB- This immerses the pellets of cyanide in the acid under the chair . -RRB-</scene_description> </scene> <scene> <stage_direction>INT. GAS CHAMBER - MED. SHOT</stage_direction> <scene_description>CAMERA IS SHOOTING ABOVE Neff 's head -LRB- just out of shot -RRB- , towards spectators standing outside the gas chamber , Keyes in the center . Gas floats up into scene between CAMERA and spectators . Keyes , unable to watch , looks away . THE FIRST DOCTOR - CLOSE SHOT as he listens on stethoscope connected with the gas chamber . He glances at the clock above his head . THE SECOND DOCTOR - CLOSE SHOT He stands to right of the gas chamber door , taking notes on a pad . He glances towards First Doctor -LRB- out of scene -RRB- and looks through venetian blinds into the gas chamber . The acid man stands near him . THE FIRST DOCTOR CAMERA SHOOTING FROM HIGH ANGLE TOWARDS HIM as he listens on stethoscope . The doctor glances at the clock again . He takes his stethoscope from his ears . He nods to the warden , This indicates that the man is dead . CAMERA PANS with warden as he turns to open the door connecting the ante - chamber with the witness room . THE WITNESS ROOM - LONG SHOT FROM HIGH ON BOOM DOWN ON WITNESSES GROUPED AROUND GAS CHAMBER The door connecting with the ante - chamber opens . A guard comes through .</scene_description> <character>GUARD</character> <dialogue>That's all, gentlemen, Vacate the chamber, please.</dialogue> <scene_description>The guard withdraws and closes the door by which he entered . The witnesses slowly start to file out . A guard has opened the outer door . The witnesses put their hats on as they pass through . A few go close to the windows of the gas chamber to look in at the dead man before they leave . All the witnesses have now left , except Keyes , who stands , shocked and tragic , beyond the door . The guard goes to him and touches his arm , indicating to him that he must leave . Keyes glances for the last time towards the gas chamber and slowly moves to go out . CORRIDOR OUTSIDE THE DEATH CHAMBER CAMERA SHOOTING IN THROUGH THE OPEN DOOR AT KEYES , who is just turning to leave . Keyes comes slowly out into the dark , narrow corridor . His hat is on his head now , his overcoat is pulled around him loosely . He walks like an old man . He takes eight or ten steps , then mechanically reaches a cigar out of his vest pocket and puts it in his mouth . His hands , in the now familiar gesture , begin to pat his pockets for matches . Suddenly he stops , with a look of horror on his face . He stands rigid , pressing a hand against his heart . He takes the cigar out of his mouth and goes slowly on towards the door , CAMERA PANNING with him . When he has almost reached the door , the guard stationed there throws it wide , and a blaze of sunlight comes in from the prison yard outside . Keyes slowly walks out into the sunshine . stiffly , his head bent , a forlorn and lonely man . THE END</scene_description> </scene> </script>

In 1938, Walter Neff, an insurance salesman, returns to his office in downtown Los Angeles late one night. In pain from a gunshot wound to his shoulder, he begins dictating a confession into a dictaphone for his friend and colleague, Barton Keyes, a claims adjuster. The story, told primarily in flashback, ensues. Neff meets the alluring Phyllis Dietrichson during a house call to remind her husband to renew his automobile insurance policy. They flirt, until Phyllis asks about taking out a policy on her husband's life without his knowledge. Neff deduces she is contemplating murder, and initially wants no part of it, but eventually devises a plan to murder her husband and trigger the "double indemnity" clause, which would double the payout. Phyllis drives her husband to the train station for a trip to attend a college reunion. Neff, hiding in the back seat, breaks his neck. Neff then boards the train posing as Mr Dietrichson and makes his way to the back of the train, stepping onto the platform outside to smoke a cigarette. He jumps off at a prearranged spot to meet Phyllis and drag Dietrichson's body onto the tracks. Mr. Norton, the company's chief, believes the death was suicide, but Keyes scoffs at the idea. Keyes suspects foul play on Phyllis' part because he thinks she was having an affair. Norton refuses to pay out the accidental death clause, deducing that Dietrichson was unaware of the policy. Keyes tells Neff his theory while Phyllis is hiding behind the door, concluding that Phyllis and an accomplice murdered Dietrichson for the insurance money, but he needs proof. The victim's daughter, Lola, tells Neff she is convinced that her stepmother Phyllis is behind her father's death. Lola's mother also died under suspicious circumstances when Phyllis was her nurse. Neff begins seeing Lola to keep her from going to the police with her suspicions, and later through guilt to protect her from Phyllis. Neff fears Phyllis will murder Lola over her suspicion in her parents' murders and because Dietrichson had changed his will in Lola's favour, leaving Phyllis with nothing. Keyes brings in a witness who says the man on the train was younger than the dead man. Neff warns Phyllis that pursuing the insurance claim in court risks exposing the murder. He points out that Norton and Keys are suspicious of her. He tries to convince Phyllis to lay low and let him try to convince Norton to pay out the claim. Lola tells Neff she has discovered that her boyfriend, the hotheaded Nino, has been seeing Phyllis behind their backs. Neff sees this as a way to get rid of Phyllis before she attempts to murder Lola. Neff meets Phyllis at her house and informs her that he knows about her and Nino. He guesses she is planning for Nino to kill him, but tells her that he intends to kill her and put the blame on Nino. She shoots him in the shoulder. He dares her to shoot again. She does not, and he takes the gun. She says she never loved him "until a minute ago, when I couldn't fire that second shot." As she hugs him, Neff says "Goodbye, baby," and shoots twice, killing her. Outside, Neff waits for Nino and advises him not to enter the house. He convinces Nino to instead go to Lola. Neff drives to his office and starts speaking into his dictaphone, returning to the start of the film. Keyes arrives unnoticed and hears the truth. Neff tells him he is fleeing to Mexico, but he is too weak and collapses. Keyes lights Neff's cigarette as they wait for the police and an ambulance.

Last Tango in Paris_1972

tt0070849

<script> <scene> <stage_direction>EXT. PARIS FRANCE - PONT DE BIR-HAKEIM - DAY</stage_direction> <scene_description>PAUL -LRB- 50 's -RRB- stands on the street under a RAISED TRAIN BRIDGE . He covers his ears in UTTER DISGUST at the UNBEARABLE NOISE a train makes as it ROARS OVERHEAD . He BELLOWS TO THE HEAVENS .</scene_description> <character>PAUL</character> <parenthetical>( ENGLISH . )</parenthetical> <dialogue>FUCKING GOD!</dialogue> <scene_description>As the train moves on he walks , slowly , DESPONDENT . Lost in a private WORLD OF PAIN . Behind him we see a woman in a fur collard coat and flowered hat walking , gaining on him . This is JEANNE -LRB- 20 's -RRB- . As she PASSES Paul , she turns to GLANCE at him . We read a HINT of EMPATHY on her face . He is OBLIVIOUS to her or anything else for that matter . She walks on , dodging STREET SWEEPERS as she covers the long walkway , trying to forget the SAD MAN she saw . We see her walk toward a 6 story APARTMENT BUILDING . Paul , with TEARS STREAMING DOWN HIS FACE , comes to reality as he also notices the building . He REGARDS it .</scene_description> </scene> <scene> <stage_direction>EXT. APT. BUILDING - PASSEY - DAY</stage_direction> <scene_description>Jeanne stands looking at the grandeur of the building at 1 RUE JULES VERNE . She reads a FOR RENT sign on the door frame . She HESITATES but then RINGS THE BELL . She checks her watch . She SMILES to herself then descends the nearby stairs . She goes into a BAR .</scene_description> </scene> <scene> <stage_direction>INT. KENNEDY EIFFEL BAR - DAY</stage_direction> <scene_description>Jeanne comes in and speaks to the BARTENDER . DIALOGUE IS IN FRENCH</scene_description> <character>JEANNE</character> <dialogue>A phone token, please.</dialogue> <character>BARTENDER</character> <dialogue>No tokens. At the end, on the left.</dialogue> <character>JEANNE</character> <dialogue>Thank you.</dialogue> <scene_description>Jeanne goes to the TELEPHONE/WASHROOM . The telephone booth is OCCUPIED . As she waits , she watches in disgust as an OLD LADY cleans her DENTURES with a toothbrush and then puts them back in her mouth . Jeanne STUDIES her own face in the MIRROR , puffing her cheeks up in judgement . As she does , Paul exits the phone booth , still LOST IN ANGUISH . After watching him leave , Jeanne USES THE PAY PHONE . She speaks to her MOM .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Mama? Yes, it's Jeanne. I've found a flat to rent in Passy. I'm going to see it.</dialogue> <scene_description>She puts her foot up on the seat . We see her LONG BOOTS as her SHORT SKIRT hikes up .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Then I've got to go to the station to met Tom. I promised him. OK, see you later. Bye!</dialogue> </scene> <scene> <stage_direction>INT. APT. BUILDING - FRONT DESK</stage_direction> <scene_description>Jeanne talks to THE CRAZY CONCIERGE through a SMALL WINDOW who is SMOKING and has ROLLERS in her hair .</scene_description> <character>JEANNE</character> <dialogue>I've come to see the flat. I saw the sign.</dialogue> <character>CONCIERGE</character> <dialogue>The sign?</dialogue> <character>JEANNE</character> <dialogue>Yes.</dialogue> <scene_description>The Concierge joins Jeanne AT THE WINDOW .</scene_description> <character>CONCIERGE</character> <dialogue>It's always the same! Nobody ever tells me anything.</dialogue> <character>JEANNE</character> <dialogue>I'd like to see it.</dialogue> <character>CONCIERGE</character> <dialogue>You want to rent it?</dialogue> <character>JEANNE</character> <dialogue>I do n't know yet!</dialogue> <character>CONCIERGE</character> <dialogue>They rent, they leave and I'm the last to know. Do you think that's right?</dialogue> <scene_description>She sits at her desk and PUTS OUT HER CIGARETTE .</scene_description> <character>CONCIERGE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>If you want to go up alone -</dialogue> <scene_description>She looks through her KEYS .</scene_description> <character>CONCIERGE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Go on. I'm afraid of spiders. The key is missing. Strange things happen.</dialogue> <scene_description>One of the APT . GUESTS puts an empty WINE BOTTLE outside their door . They both TAKE NOTICE .</scene_description> <character>CONCIERGE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>They drink six bottles a day.</dialogue> <scene_description>Jeanne thinks the place is like a FUNNY FARM . As the concierge TRILLS OUT FIGARO , she gives up and walks away .</scene_description> <character>CONCIERGE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Wait! Do n't go! There must be a duplicate.</dialogue> <scene_description>She looks for it .</scene_description> <character>CONCIERGE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Here it is.</dialogue> <scene_description>Jeanne , against her better judgement , goes back to the desk . She holds out her hand . The Concierge puts the KEY IN HER HAND .</scene_description> <character>CONCIERGE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You must be very young.</dialogue> <scene_description>She GRABS AND HOLDS ON to Jeanne 's hand way too long , LAUGHING CRAZY , HYSTERICAL . Jeanne has to forcefully break away from her grasp .</scene_description> <character>JEANNE</character> <dialogue>Let go of me!</dialogue> <scene_description>She gets free of her and heads to the ELEVATOR , rubbing her hand .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>She's crazy!</dialogue> <scene_description>The ELEVATOR arrives and she gets on . We watch her ascend and DISAPPEAR .</scene_description> </scene> <scene> <stage_direction>INT. APT. BUILDING - BEDROOM</stage_direction> <scene_description>Jeanne comes in the DARK ROOM and heads straight for the window . She opens it and the STORM SHUTTER . Light STREAMS IN , revealing Paul , sitting on the RADIATOR . Jeanne is STARTLED when she sees him . DIALOGUE IS IN FRENCH</scene_description> <character>JEANNE</character> <dialogue>Who are you?</dialogue> <scene_description>No response .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You gave me a fright.</dialogue> <scene_description>No response .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>How did you get in?</dialogue> <scene_description>He replies WITHOUT LOOKING AT HER .</scene_description> <character>PAUL</character> <parenthetical>( BARELY AUDIBLE . )</parenthetical> <dialogue>Through the door.</dialogue> <character>JEANNE</character> <dialogue>Oh yes, I left it open. I did n't hear you come in.</dialogue> <character>PAUL</character> <dialogue>I was already here.</dialogue> <character>JEANNE</character> <dialogue>Sorry? Oh it was you who took it. I had to bribe the concierge. These old houses are fascinating.</dialogue> <scene_description>She walks up to the FIREPLACE .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>An armchair by the fireplace would look good.</dialogue> <character>PAUL</character> <dialogue>The armchair should go in front of the window.</dialogue> <character>JEANNE</character> <dialogue>Are you American? You've got an American accent.</dialogue> <scene_description>He gets off the radiator and WANDERS into the next room for SOLITUDE . LIVING ROOM - CONTINUOUS But she has followed him . She OPENS THOSE WINDOWS also . He is forced into ANOTHER ROOM . DINING ROOM - CONTINUOUS As he studies a WICKER CHAISE LOUNGE , she calls from the other room .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Are you going to take it? Are you?</dialogue> <character>PAUL</character> <dialogue>I do n't know.</dialogue> <scene_description>She continues to LOOK AROUND . Her CURIOSITY of Paul gets the best of her . She peeks around the corner and watches him SIT IN THE CORNER .</scene_description> <character>JEANNE</character> <dialogue>What are you doing?</dialogue> <scene_description>She thinks he is VERY ODD as he PLAYS WITH a lamp shade . Nature calls . She heads to the - BATHROOM - CONTINUOUS As the PHONE RINGS , she pulls up her skirt and sits on the toilet for a PEE . She looks around . She finishes and FLUSHES THE TOILET as the PHONE RINGS ON incessantly . LIVING ROOM - CONTINUOUS The PHONE RINGS on .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( PERTURBED . )</parenthetical> <dialogue>Oh la la.. Should I answer It or not? Oh.</dialogue> <scene_description>DINING ROOM They pick up the phone at the SAME TIME . Paul EAVES DROPS</scene_description> <character>JEANNE'S VOICE</character> <dialogue>Hello? Hello -</dialogue> <character>PAUL</character> <parenthetical>( to the caller . )</parenthetical> <dialogue>Hello - Hello. There's no - one here. There's no - one. I do n't know.</dialogue> <scene_description>He puts the SMALL LAMP SHADE back . He hangs the receiver on the back of the chaise . Jeanne continues to listen on her end , UNAWARE . Paul SNEAKS AROUND THE CORNER . LIVING ROOM - CONTINUOUS Jeanne is STARTLED . She hangs up the phone .</scene_description> <character>JEANNE</character> <dialogue>So you're going to take it? You've decided?</dialogue> <character>PAUL</character> <dialogue>I had already decided. But I'm not sure now. Do you like it?</dialogue> <scene_description>She 's SPEECHLESS .</scene_description> <character>JEANNE</character> <dialogue>I do n't know. I shall have to think about it.</dialogue> <character>PAUL</character> <dialogue>Think fast.</dialogue> <scene_description>He WALKS OFF . Jeanne picks her hat off the floor , lost in CONFUSION . The front door SLAMS . She walks toward the door . But Paul did n't really leave . He walks slowly TOWARD HER .</scene_description> <character>JEANNE</character> <dialogue>I thought you'd left.</dialogue> <scene_description>He STUDIES HER for a moment . He takes her hat and DROPS IT on the ground . He PICKS HER UP in his arms and CARRIES to the window . He puts her down on the window sill . They start MAKING OUT ferociously . He RIPS her panty hose , UNDOES HIS ZIPPER and PENETRATES HER . They are lost in ANIMALISTIC SEX as she WRAPS HER legs around him .</scene_description> <character>PAUL</character> <dialogue>Ah. Oh, God.</dialogue> <scene_description>They KISS SAVAGELY and HIT the floor as THEY CLIMAX TOGETHER .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh, Jesus. Oh. Oh, Christ.</dialogue> <scene_description>Totally spent , they ROLL AWAY from each other . Her skirt , hiked up is showing her ripped panty hose . We can see her AMPLE BUSH through the SHEER FABRIC . They WRITHE on the floor trying to CATCH THEIR BREATH .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh, God.</dialogue> </scene> <scene> <stage_direction>EXT. APT. BUILDING - ENTRANCE - MOMENTS LATER</stage_direction> <scene_description>Paul comes out the FRONT DOOR . He puts on his TRENCH COAT . Jeanne LAGS behind , trying to fix herself also . Paul takes the FOR RENT sign off the DOOR FRAME as Jeanne heads off , still STUPEFIED . He watches her descend the stairs and throws the CRUMPLED UP sign on the sidewalk . PONT DE BIR - HAKEIM - CONTINUOUS They go their SEPARATE WAYS . Jeanne crosses the street while Paul takes the RAISED WALKWAY .</scene_description> </scene> <scene> <stage_direction>EXT. SUBWAY STATION - PLATFORM</stage_direction> <scene_description>Jeanne RUNS through the crowd IN A PANIC dodging people . She finds who she is LOOKING FOR , her boyfriend TOM -LRB- 30 's -RRB- . She runs into his arms like LONG LOST LOVERS . All of the sudden , a FILM CREW appears , filming their every moment . They KISS PASSIONATELY . Tom tries to UNTANGLE HER from the cords .</scene_description> <character>TOM</character> <dialogue>Watch out!</dialogue> <character>JEANNE</character> <dialogue>Have they taken us for someone else?</dialogue> <character>TOM</character> <dialogue>We're in a film.</dialogue> <scene_description>He walks her and EXPLAINS .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We're in a film. If I kiss you.</dialogue> <scene_description>He KISSES HER .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>it might be cinema. If I stroke your hair, it might be cinema.</dialogue> <scene_description>They walk on as the SOUND ENGINEER pokes a MICROPHONE in their faces .</scene_description> <character>JEANNE</character> <dialogue>What's going on? Do you know them?</dialogue> <character>TOM</character> <dialogue>It's a long story. In short, Portrait of a Girl. It's been accepted for television! And the girl is you. It's you!</dialogue> <character>JEANNE</character> <dialogue>You're mad! You might have asked me first.</dialogue> <character>TOM</character> <dialogue>Yeah, but I wanted.</dialogue> <scene_description>Jeanne SMACKS THE MICROPHONE out of their faces .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I wanted to start with shots of Jeanne at the station meeting her fiancé. Yes, I know them. They're my crew.</dialogue> <character>JEANNE</character> <dialogue>So you kissed me, and you knew it was being filmed. You're a bastard! Traitor!</dialogue> <character>TOM</character> <dialogue>No, you'll see. It will be a love story. Tell me, Jeanne, darling. What did you do while I was away?</dialogue> <character>JEANNE</character> <dialogue>I thought of you day and night, and I cried. Darling, I ca n't live without you!</dialogue> <character>TOM</character> <dialogue>Wonderful! Cut! That was perfect!</dialogue> <scene_description>He is THRILLED . He tries to kiss her but she wo n't let him . She is still MIFFED . But she finally GIVES IN . They have a PASSIONATE EMBRACE .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL - ROSA'S BATHROOM - DAY</stage_direction> <scene_description>CATHERINE cleans the bathroom of EXCESSIVE BLOOD . Paul sits on the other side of the PRIVACY SCREEN - REFLECTING , in a GLUM FOG , listening . She WRINGS OUT a washcloth frequently as she speaks . The EXCESSIVE BLOOD AND WATER falling into a BUCKET .</scene_description> <character>CATHERINE</character> <dialogue>I'd have finished by now, but the police would n't let me touch anything. They did n't believe it was suicide.</dialogue> <scene_description>She WIPES A MIRROR .</scene_description> <character>CATHERINE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>There was so much blood everywhere. They had fun making me do a reconstruction. `` She went there.''</dialogue> <scene_description>She wipes another GLASS SURFACE .</scene_description> <character>CATHERINE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>`` She came through here.''</dialogue> <scene_description>She opens the curtain to the SHOWER/TUB . It 's INUNDATED with BLOOD .</scene_description> <character>CATHERINE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>`` She opened the curtain.''</dialogue> <scene_description>She STARES at the blood . It 's so much . She uses the SHOWER HEAD to rinse the blood off the tub .</scene_description> <character>CATHERINE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I copied all her actions. The guests were awake all night! The hotel was crawling with cops! They enjoy playing around with blood.</dialogue> <scene_description>She rinses the blood FROM HER HANDS AND ARMS .</scene_description> <character>CATHERINE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>They were all spies! Asking if she was sad, if she was happy, if you fought, how long you'd been married, why you did n't have any children. Pigs!</dialogue> <scene_description>Disgusted and exhausted , she sits on the edge of the tub . We switch to PAUL 'S SIDE of the PRIVACY SCREEN . We see he is DEEPLY DISTURBED by this situation .</scene_description> <character>CATHERINE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>They got familiar right away! They said, `` Your boss is a bit unstable.'' `` Do you know that he was a boxer?'' So? `` It did n't work out, so he became an actor.'' `` Bongo player, revolutionary in South America, journalist in Japan.''</dialogue> <scene_description>She begins to clean blood from THE STRAIGHT RAZOR Paul 's wife used to KILL HERSELF WITH .</scene_description> <character>CATHERINE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>One day, he lands in Tahiti, hangs around, Learns French.'' `` Then he comes to Paris. There. he meets a woman with money, marries her and. `` Since then what has your boss done?'' `` Nothing.''</dialogue> <scene_description>Paul pulls the curtains aside from the window . He looks out . He SPIES a BLACK COUPLE , one a SAX PLAYER , in an adjacent building . She is attempting ORAL SEX on him .</scene_description> <character>CATHERINE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I say, `` Can I clean up now?'' `` No! Do n't touch anything!'' `` Do you really think she killed herself?'' He pushed me into a corner and tried to paw me.</dialogue> <scene_description>When the couple are spotted , they stop . He starts PLAYING HIS SAX . Paul has had enough of the running water and her cleaning .</scene_description> <character>PAUL</character> <dialogue>Turn the tap off now.</dialogue> <character>CATHERINE</character> <dialogue>They'll be doing the autopsy right now.</dialogue> <scene_description>Paul walks to her side .</scene_description> <character>PAUL</character> <dialogue>Why wo n't you turn the tap off?</dialogue> <character>CATHERINE</character> <dialogue>They told me to give you your razor back.</dialogue> <scene_description>She hands him the STRAIGHT RAZOR . He STUDIES IT .</scene_description> <character>PAUL</character> <dialogue>It's not mine.</dialogue> <character>CATHERINE</character> <dialogue>They said they do n't need it any more. The investigation is over.</dialogue> <scene_description>He grabs her hands VIOLENTLY and studies them .</scene_description> <character>CATHERINE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yes, she had cuts there.</dialogue> <scene_description>He tilts her head back FORCEFULLY .</scene_description> <character>CATHERINE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>and on the neck, too.</dialogue> <scene_description>He PULLS HER OUT OF THE WAY and turns off the water . He pulls the SHOWER CURTAIN closed . He storms out of the bathroom , leaving Catherine there . When he is gone , she opens the curtain and turns the water back on OUT OF SPITE .</scene_description> </scene> <scene> <stage_direction>EXT. PONT DE BIR-HAKEIM - DAY</stage_direction> <scene_description>Formerly known as the Passy Viaduct . We see a great shot of the DOUBLE - DECKER ROAD - AND - RAIL BRIDGE and PAUL 'S NEW APARTMENT BUILDING .</scene_description> </scene> <scene> <stage_direction>INT. APT. BUILDING - DAY</stage_direction> <scene_description>The front door opens and Jeanne 's hand comes in , holding the KEY . The rest of her peeks in . She SPIES A CAT . She decides to make CRAZY NOISES at the animal , CRAWLING ON THE FLOOR , making it RUN FOR THE HILLS . Just then , MOVERS pop in carrying furniture catching Jeanne off guard .</scene_description> <character>MOVER</character> <dialogue>Excuse me, where shall I put this?</dialogue> <character>JEANNE</character> <dialogue>You could have rung the bell.</dialogue> <character>MOVER</character> <dialogue>The door was open. I'll put it there.</dialogue> <scene_description>He puts the chair down in the middle of the room . She moves it to in front of the fireplace instead .</scene_description> <character>JEANNE</character> <dialogue>In front of the fireplace.</dialogue> <scene_description>She heads to the front door but is stopped by .</scene_description> <character>MOVER 2</character> <dialogue>Careful, madame.</dialogue> <scene_description>With and armfull of chairs .</scene_description> <character>JEANNE</character> <dialogue>There.</dialogue> <scene_description>She tries to leave again but then runs into .</scene_description> <character>MOVER</character> <dialogue>What about the table?</dialogue> <scene_description>With a table .</scene_description> <character>JEANNE</character> <dialogue>How do I know? He'll decide.</dialogue> <scene_description>BEDROOM - CONTINUOUS Jeanne REGARDS the room .</scene_description> <character>MOVER 2</character> <dialogue>This is a king - size.</dialogue> <character>JEANNE</character> <dialogue>It wo n't fit!</dialogue> <character>MOVER</character> <dialogue>Well, your husband has no idea. All this in an hour. It's not long.</dialogue> <scene_description>She leans against a wall and looks around , FLABBERGASTED .</scene_description> <character>JEANNE</character> <dialogue>What a mess!</dialogue> <scene_description>We see Paul in the DOORWAY paying the movers .</scene_description> <character>MOVER</character> <dialogue>Thank you.</dialogue> <character>MOVER 2</character> <dialogue>Thank you.</dialogue> <scene_description>He comes in . LIVING ROOM - CONTINUOUS Jeanne is sitting in the chair in front of the fire place .</scene_description> <character>PAUL</character> <dialogue>The armchair goes in front of the window.</dialogue> <scene_description>He DRAGS THE CHAIR AND HER to the window instead .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Like that.</dialogue> <character>JEANNE</character> <dialogue>But I only came to return the key. To return it to you.</dialogue> <character>PAUL</character> <dialogue>I do n't care about the key. Take your coat off.</dialogue> <scene_description>He takes his COAT OFF and hangs it on a DOOR HANDLE .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Take your coat off and help me.</dialogue> <character>JEANNE</character> <dialogue>OK.</dialogue> <character>PAUL</character> <dialogue>Get those chairs and bring them here.</dialogue> <scene_description>He grabs the TABLE and brings it to the DINING ROOM . DINING ROOM - CONTINUOUS He places the table . She FOLLOWS with the CHAIRS .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Put them on the other side. Take that, too. That's it.</dialogue> <character>JEANNE</character> <dialogue>You did n't waste any time.</dialogue> <scene_description>But he has WANDERED OFF to another room .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Listen monsieur! I've got to go.</dialogue> <scene_description>DIALOGUE TO ENGLISH</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Look, sir! I've got to go!</dialogue> <scene_description>BEDROOM - CONTINUOUS She walks across the mattresses with her BOOTS ON . Paul leans against the wall STUDYING THE ROOM .</scene_description> <character>PAUL</character> <dialogue>The bed is too big for the room.</dialogue> <character>JEANNE</character> <dialogue>I do n't know what to call you.</dialogue> <character>PAUL</character> <dialogue>I do n't have a name.</dialogue> <character>JEANNE</character> <dialogue>Do you want to know mine?</dialogue> <character>PAUL</character> <dialogue>No, no! I do n't. I do n't want to know your name.</dialogue> <scene_description>He COVERS HER MOUTH and backs her up agianst a WALL .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You do n't have a name and I do n't have a name either. Not one name.</dialogue> <scene_description>She THROWS HIS HAND off and puts some space between them .</scene_description> <character>JEANNE</character> <dialogue>You're crazy!</dialogue> <scene_description>She leans against the adjacent wall .</scene_description> <character>PAUL</character> <dialogue>Maybe I am, but I do n't want to know anything about you. I do n't wan na know where you live or where you come from. I wan na know nothing, nothing, nothing.</dialogue> <character>JEANNE</character> <dialogue>You scare me.</dialogue> <scene_description>Back to the OTHER WALL .</scene_description> <character>PAUL</character> <dialogue>You and I are gon na meet here without knowing anything that goes on outside here.</dialogue> <scene_description>He indicates OUTSIDE THE WINDOW .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>OK?</dialogue> <character>JEANNE</character> <dialogue>But why?</dialogue> <character>PAUL</character> <dialogue>Because. Because we do n't need names here. Do n't you see? We're gon na forget. everything that we knew. Every. All the people,. all that we do,. wherever we live. We're going to forget that, everything, everything.</dialogue> <character>JEANNE</character> <dialogue>But I ca n't. Can you?</dialogue> <character>PAUL</character> <dialogue>I do n't know. Are you scared?</dialogue> <character>JEANNE</character> <dialogue>No.</dialogue> <scene_description>She walks to the bed , inviting him with her eyes .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Come?</dialogue> </scene> <scene> <stage_direction>INT. HOTEL - PAUL AND ROSA'S ROOM - DAY</stage_direction> <scene_description>ROSA 'S MOTHER roots through Paul and Rosa 's belongings . Searching for answers . and maybe some tokens of her DECEASED DAUGHTER . Paul WAITS , listening in the HALLWAY . He loathes the upcoming reunion . ANNOYED by all the RATTLING while she searches , he bites the bullet and GOES IN . He CATCHES her in the ARMOIRE . She stops her ROOTING .</scene_description> <character>ROSA'S MOTHER</character> <dialogue>I thought you'd be here.</dialogue> <character>PAUL</character> <dialogue>I expected you later.</dialogue> <character>ROSA'S MOTHER</character> <dialogue>I took the first train.</dialogue> <scene_description>We notice the IRONY of the SIGN ON THE DOOR , it reads `` PRIVY '' -LRB- PRIVATE -RRB- .</scene_description> <character>ROSA'S MOTHER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh, Paul! How awful! How awful, Paul!</dialogue> <scene_description>She walks TIMIDLY up to Paul . After a moment , they EMBRACE each other in a GRIEF STRICKEN HUG . MOMENTS LATER Paul grows BORED of the reunion , he TAPS HIS FINGERS on the closet he LEANS AGAINST , studying the accessories of the DECOR and her silly hat . She sits , SPILLING HER GRIEF on Paul as if it is a THERAPY SESSION .</scene_description> <character>ROSA'S MOTHER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Papa is in bed with asthma. The doctor would n't let him come. It's better like that. I'm stronger.</dialogue> <scene_description>She starts RUMMAGING AGAIN , this time through Rosa 's empty PURSES , spilling them out one at a time on the bed BEHIND PAUL .</scene_description> <character>PAUL</character> <dialogue>What are you looking for?</dialogue> <character>ROSA'S MOTHER</character> <dialogue>Something that would explain. A letter, a clue.</dialogue> <character>PAUL</character> <dialogue>Nothing. I told you, there's nothing, nothing at all.</dialogue> <scene_description>He takes the purses and PUTS THEM BACK . She sits on the bed in DESPAIR .</scene_description> <character>ROSA'S MOTHER</character> <dialogue>My little Rosa would n't have. Nothing for her mother. Not a word.</dialogue> <character>PAUL</character> <dialogue>It's useless to keep on searching.</dialogue> <character>ROSA'S MOTHER</character> <dialogue>Not even for you, her husband!</dialogue> <scene_description>He closes the ARMOIRE .</scene_description> <character>PAUL</character> <dialogue>You need to rest. I think room 12 is free.</dialogue> <scene_description>He GATHERS HER BELONGINGS and leads her UP THE STAIRS . STAIRS - CONTINUOUS They pass some GUESTS coming down .</scene_description> <character>GUEST</character> <dialogue>Hi.</dialogue> <scene_description>Rosa 's Mother stops on the stairway , REFLECTING PAINFULLY .</scene_description> <character>ROSA'S MOTHER</character> <dialogue>With a razor?</dialogue> <scene_description>Paul goes on , IGNORING HER . ROOM 12 - CONTINUOUS Paul comes in and puts her belongings on the BED .</scene_description> <character>ROSA'S MOTHER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What time did it happen?</dialogue> <character>PAUL</character> <dialogue>I do n't know. In the evening.</dialogue> <character>ROSA'S MOTHER</character> <dialogue>And then?</dialogue> <character>PAUL</character> <dialogue>Then I. I already told you on the phone. When I found her, I called the ambulance.</dialogue> <scene_description>Paul goes out to the HALLWAY to gather himself .</scene_description> <character>ROSA'S MOTHER</character> <dialogue>After you called, Papa and I stayed up all night, talking about Rosa and you. Papa kept whispering, as if it had happened in our house.</dialogue> <scene_description>Rosa 's mother thinks he LEFT . She YELLS .</scene_description> <character>ROSA'S MOTHER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Paul!</dialogue> <scene_description>Paul is BROKEN OUT OF HIS TRANCE . the sudden yelling has INCENSED HIM . He PEERS ANGRILY at her in room 12 .</scene_description> <character>ROSA'S MOTHER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Where did it happen?</dialogue> <character>PAUL</character> <dialogue>In one of the rooms.</dialogue> <character>ROSA'S MOTHER</character> <dialogue>Did she suffer?</dialogue> <character>PAUL</character> <dialogue>Ask the Doctors. They're doing the autopsy.</dialogue> <character>ROSA'S MOTHER</character> <dialogue>The autopsy.</dialogue> <scene_description>He goes into the . BATHROOM - CONTINUOUS He turns off the ANNOYING RUNNING WATER . He looks at himself in the mirror . She UNPACKS her suitcases on her bed . He rejoins her . ROOM 12 - CONTINUOUS She takes out some CARDS .</scene_description> <character>ROSA'S MOTHER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I already had some announcement cards. I've seen a lot of death. I think of everything. I'll prepare her a beautiful room with flowers.</dialogue> <character>PAUL</character> <dialogue>The cards, clothes, relatives, flowers. You've got everything in that suitcase. You did n't forget anything. But I do n't want any priests here.</dialogue> <character>ROSA'S MOTHER</character> <dialogue>But.</dialogue> <character>PAUL</character> <dialogue>No priests.</dialogue> <character>ROSA'S MOTHER</character> <dialogue>But Paul.</dialogue> <character>PAUL</character> <dialogue>Understand?</dialogue> <character>ROSA'S MOTHER</character> <dialogue>We have to. Funerals must be religious.</dialogue> <scene_description>Paul EXPLODES - She jumps a foot back .</scene_description> <character>PAUL</character> <dialogue>No!</dialogue> <scene_description>He DARES HER with his eyes , ENRAGED .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Rosa did n't believe! Nobody believes in the fucking God here!</dialogue> <scene_description>He throws her suitcase AGAINST THE WALL .</scene_description> <character>ROSA'S MOTHER</character> <dialogue>Paul, do n't shout. Do n't talk like that.</dialogue> <scene_description>He SNATCHES THE PAPER from her hands .</scene_description> <character>PAUL</character> <dialogue>The priest does n't want any suicides. The Church does n't want any suicides, do they?</dialogue> <character>ROSA'S MOTHER</character> <dialogue>They'll give her absolution.</dialogue> <scene_description>He RAISES HIS HAND threatening to HIT HER .</scene_description> <character>PAUL</character> <dialogue>Heh!?</dialogue> <scene_description>Scared , she pushes on .</scene_description> <character>ROSA'S MOTHER</character> <dialogue>Absolution and a nice mass. That's all I ask, Paul. Rosa. Rosa is my little girl, do you understand? Rosa. Why did she kill herself?</dialogue> <scene_description>She starts WEEPING .</scene_description> <character>PAUL</character> <dialogue>Why? Why did she commit suicide? Why?</dialogue> <scene_description>He PUMMELS THE DOOR with his fists . ENRAGED .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You do n't know? You do n't know.</dialogue> <scene_description>He closes her DOOR . HALLWAY - CONTINUOUS Some of the OTHER GUESTS pop their heads out to see what the COMMOTION IS . He gently CLOSES THEIR DOORS in a `` mind your own business '' sort of way . There is always the `` Miss know it all , busybody type '' though . She sheepishly REOPENS HER DOOR . Paul walks calmly back to it and SLAMS IT in her face - IRATE .</scene_description> </scene> <scene> <stage_direction>INT. APT. BUILDING - DAY</stage_direction> <scene_description>Jeanne enters the ALREADY OPEN DOOR . She looks around the still sparsely furnished living room . LIVING ROOM - Paul has decided his BED FITS BETTER in here . The BOTTOM MATTRESS is on the floor in the MIDDLE OF THE ROOM . He LEANS AGAINST THE WALL and top mattress , WAITING FOR JEANNE . He knew she 'd be there . She TAKES A SEAT on the bottom mattress and takes off her boots . He watches her and does the same with his shoes . KICKING THEM OFF and CATCHING THEM in the air PLAYFULLY . LATER Paul and Jeanne sit NUDE , entwined , WRAPPED AROUND EACH OTHERS BODY 'S . DIALOGUE IS ENGLISH</scene_description> <character>PAUL</character> <dialogue>OOh. Now. Let's. Let's just look at each other.</dialogue> <character>JEANNE</character> <dialogue>It's beautiful without knowing anything.</dialogue> <scene_description>They REGARD each other for seconds .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Maybe. Maybe we can come without touching.</dialogue> <character>PAUL</character> <dialogue>Come without touching? OK.</dialogue> <scene_description>He leans his head back and CLOSES his eyes . SCREWING UP HIS FACE . She COPIES HIM .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Are you concentrating? Did you come yet?</dialogue> <character>JEANNE</character> <dialogue>No. It's difficult!</dialogue> <character>PAUL</character> <dialogue>I did n't either yet. You're not trying hard enough.</dialogue> <scene_description>They STOP THE SILLINESS . They laugh . She wraps her arms around his neck .</scene_description> <character>JEANNE</character> <dialogue>I shall have to invent a name for you.</dialogue> <character>PAUL</character> <dialogue>A name? Oh, Jesus Christ! Oh, God, I've been called by a million names all my life. I do n't want a name. I'm better off with a grunt or a groan for a name. Do you wan na hear my name?</dialogue> <scene_description>Paul does some PLAYFUL ANIMAL SOUNDS . APE SOUNDING GRUNTS and such . He contorts his face and LOOKS SILLY .</scene_description> <character>JEANNE</character> <dialogue>It's so masculine.</dialogue> <character>PAUL</character> <dialogue>Yeah.</dialogue> <character>JEANNE</character> <dialogue>Listen to mine.</dialogue> <scene_description>She mimics his idea and makes her own PLAYFUL ANIMAL SOUNDS . He laughs .</scene_description> <character>PAUL</character> <dialogue>I did n't get the last name.</dialogue> <scene_description>She redoes the SOUNDS for him . He JOINS her . Their ANIMAL SOUNDS BLEED INTO .</scene_description> </scene> <scene> <stage_direction>EXT. JEANNE'S FAMILY COUNTRY MANOR - YARD - DAY</stage_direction> <scene_description>A DOVER OF LIVE DUCKS QUACKING - Tom and his FILM CREW record the ducks for b.g. SOUND CLIPS while they WAIT FOR JEANNE . This includes ROOSTERS , PIGEONS and annoyed NAIL FILING by one of the CREW . FINALLY , Jeanne opens the gate door , sheepishly . She is LATE and has a DIFFERENT HAIR STYLE . Tom is MIFFED , for continuity sake . DIALOGUE IS FRENCH</scene_description> <character>TOM</character> <dialogue>You should n't have done that to me.</dialogue> <scene_description>She is much more EXCITED about the NEW PERM .</scene_description> <character>JEANNE</character> <dialogue>It's not a wig, it's my hair.</dialogue> <scene_description>She CLOSES THE GATE .</scene_description> <character>JEANNE</character> <dialogue>Does n't it suit me? Tell me, do n't you like it? Tell me.</dialogue> <character>TOM</character> <dialogue>Of course I like it. Listen, you know. I do n't know. You have changed, and yet you have n't. I can see the shot now.</dialogue> <scene_description>He twirls around , setting up the shot between his hands and his MINDS EYE .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>The camera is up high. It descends slowly and follows you. You come forward, and it moves in on you. There's music, too. It gets closer and closer to you.</dialogue> <character>JEANNE</character> <dialogue>I'm in a hurry. Let's start.</dialogue> <scene_description>She MOSEYS OFF .</scene_description> <character>TOM</character> <dialogue>But. ca n't we talk a little first?</dialogue> <character>JEANNE</character> <dialogue>Tonight we improvise. You follow.</dialogue> <scene_description>He does . FAMILY PET GRAVE - YARD - CONTINUOUS Jeanne kneels in front of a HEAD STONE that reads `` Mustapha '' .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>He was my childhood friend. He used to watch me for hours and hours. I think he understood me.</dialogue> <scene_description>A VOICE from behind Jeanne pipes in .</scene_description> <character>OLYMPIA'S VOICE</character> <dialogue>Dogs are worth more than people. Much more.</dialogue> <scene_description>Jeanne smiles , FAMILIAR .</scene_description> <character>JEANNE</character> <dialogue>Meet Olympia, my nanny.</dialogue> <character>OLYMPIA</character> <dialogue>Mustapha could always tell the poor from the rich. If someone well - dressed came in, he never stirred. But if someone scruffy came in, you should have seen him! What a dog! The colonel trained him to recognise Arabs by their scent.</dialogue> <character>JEANNE</character> <dialogue>Olympia, open the front door.</dialogue> <character>OLYMPIA</character> <dialogue>Give me a kiss.</dialogue> <scene_description>Jeanne stands and KISSES HER on the cheek through the gate .</scene_description> <character>JEANNE</character> <dialogue>Go and open it.</dialogue> <parenthetical>( TO TOM . )</parenthetical> <dialogue>Olympia is a compendium of domestic virtues. Faithful, admiring, and racist.</dialogue> <scene_description>We watch Olympia walk to the MANOR HOUSE as Jeanne WAXES NOSTALGIC . Slowly , the rest of the property is revealed to us .</scene_description> <character>JEANNE'S VOICE</character> <dialogue>After Papa died, we moved back to the family home for a while. My childhood was made up of smells. Musty smells, the smell of walls and rooms.</dialogue> <scene_description>A GROUP OF KIDS runs into the yard .</scene_description> <character>JEANNE'S VOICE</character> <dialogue>Children used to come and play in my jungle, all day long. Growing old is a crime.</dialogue> </scene> <scene> <stage_direction>INT. JEANNE'S FAMILY COUNTRY MANOR</stage_direction> <scene_description>Jeanne holds up a PICTURE . She points to people as she describes them .</scene_description> <character>JEANNE</character> <dialogue>That's me there. And that's Mademoiselle Sauvage, the teacher. She was very strict. and very religious.</dialogue> <scene_description>Olympia CHIMES IN AGAIN from behind the CAMERA CREW .</scene_description> <character>OLYMPIA</character> <dialogue>She was too good. She spoilt you.</dialogue> <scene_description>The Camera Crew turns the camera on her . Jeanne has a DIFFERENT PICTURE , pointing again .</scene_description> <character>JEANNE</character> <dialogue>That's Christine.</dialogue> <scene_description>They turn back to Jeanne .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>my best friend. She married the pharmacist and has two children. It's like a village here. We all know each other.</dialogue> <scene_description>Olympia chimes in again from behind , in an open door .</scene_description> <character>OLYMPIA</character> <dialogue>I could n't live in Paris.</dialogue> <scene_description>The camera turns on her , then back to Jeanne .</scene_description> <character>JEANNE</character> <dialogue>We're safe here. It's odd looking at the past.</dialogue> <character>TOM</character> <dialogue>Cut!</dialogue> <scene_description>He walks to her .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Why is it odd? It's you! It's fantastic, it's your childhood. It's everything I was looking for.</dialogue> <scene_description>He turns on his camera crew who is UNDER HIS HEELS , shewing them out .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What are you up to? Move it! Move it!</dialogue> <parenthetical>( to the lead crewman . )</parenthetical> <dialogue>Who are these zombies who are always following you around?</dialogue> <parenthetical>( to all of them . )</parenthetical> <dialogue>Scoot! Go on! The door, the door.</dialogue> <scene_description>He starts opening all the doors in the MANOR .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm opening the door. I'm opening all the doors.</dialogue> <character>JEANNE</character> <dialogue>What are you doing?</dialogue> <character>TOM</character> <dialogue>Setting up my shot. There it is! That's it! I've found it. Reverse gear!</dialogue> <scene_description>Olympia is loitering in one of the rooms he comes in . Imagine her nerve , in her own house ! Tom is the typical RUDE FRENCH DIVA DIRECTOR .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What are you doing there? Beat it!</dialogue> <scene_description>He turns his attention back to Jeanne , the subject of his OBSESSION .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That's it. Into reverse. Yes! Do you see? Like a car, you go into reverse gear. That's it. Close your eyes.</dialogue> <scene_description>She closes her eyes . He guides her BACKWARDS by the shoulders through the MANOR .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Start reversing. Close your eyes. That's it, come on. Come on backwards. That's it. Go back to your childhood.</dialogue> <scene_description>Jeanne BACKS TO a ROW OF PICTURES . She touches each and recalls the subject .</scene_description> <character>JEANNE</character> <dialogue>Papa?</dialogue> <character>TOM</character> <dialogue>You're soaring. Take off and return to your childhood.</dialogue> <scene_description>Next picture .</scene_description> <character>JEANNE</character> <dialogue>In full uniform.</dialogue> <character>TOM</character> <dialogue>Do n't be afraid. Overcome the obstacles.</dialogue> <scene_description>Next .</scene_description> <character>JEANNE</character> <dialogue>Papa in Algeria.</dialogue> <character>TOM</character> <dialogue>You're.</dialogue> <scene_description>He starts a COUNTDOWN of ages , as if he is HYPNOTIZING HER .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>15. 14. 12. 13. 11. 10. 9.</dialogue> <scene_description>Jeanne backs into a DESK .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We're there.</dialogue> <scene_description>Jeanne kneels down in front of the desk .</scene_description> <character>JEANNE</character> <dialogue>My favorite route when I was eight.</dialogue> <scene_description>She crawls under A TABLE . She finds a NOTEBOOK in a SECRET HIDING SPOT .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>My old notebook.</dialogue> <scene_description>She reads from it .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>French homework. Theme : the countryside. Exposition : the countryside is cow country. The cow is all dressed in leather. The cow has four sides : the front, the back, the top and the bottom. Is n't that good?</dialogue> <character>TOM</character> <dialogue>Beastly.</dialogue> <scene_description>STUDY - CONTINUOUS She reads on .</scene_description> <character>JEANNE</character> <dialogue>Here are my cultural sources. Le Grand Larousse. I just copied from it. Menstruation. Noun. Physiological function comprising the discharge of menses. Penis. Noun. Male copulation organ, measuring five to forty centimeters. That's Le Petit Robert.</dialogue> <scene_description>She shows him a PICTURE she has found that she DREW AS A CHILD .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Tom! Tom! Tom! Look!</dialogue> <character>TOM</character> <dialogue>Who's that?</dialogue> <character>JEANNE</character> <dialogue>My first love.</dialogue> <character>TOM</character> <dialogue>Who?</dialogue> <character>JEANNE</character> <dialogue>My cousin Paul. My first love.</dialogue> <character>TOM</character> <dialogue>But his eyes are closed.</dialogue> <character>JEANNE</character> <dialogue>What?</dialogue> <character>TOM</character> <dialogue>His eyes are closed!</dialogue> <character>JEANNE</character> <dialogue>He played the piano divinely. That's how I remember him.</dialogue> <scene_description>AS WE -</scene_description> </scene> <scene> <stage_direction>EXT. BACK YARD</stage_direction> <scene_description>Jeanne and Tom walk BUNDLED TOGETHER as Jeanne REMINISCES .</scene_description> <character>JEANNE'S VOICE</character> <dialogue>Sitting at the piano. His fingers would skim the keys.</dialogue> <scene_description>The FILM CREW follow them , filming . Olympia stumbles behind , watching .</scene_description> <character>JEANNE'S VOICE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>He played for hours and hours. At the bottom of the garden, there were two big trees. A plane tree and a chestnut tree. After mass on Sundays, we used to sit there, each under our own tree. It was wonderful. We sat gazing into each other's eyes.</dialogue> <scene_description>All WANDER THE GARDEN .</scene_description> <character>JEANNE</character> <dialogue>Are n't my trees beautiful? They were my jungle.</dialogue> <scene_description>They come upon the CROWD OF KIDS again . One KID is squatting behind some thatch , doing his business .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What are you doing?</dialogue> <character>KID 1</character> <dialogue>Having a shit.</dialogue> <scene_description>The boy pooping stops and PULLS UP HIS PANTS .</scene_description> <character>KID 2</character> <dialogue>No, we're doing a poo.</dialogue> <scene_description>Jeanne SCOLDS THEM .</scene_description> <character>JEANNE</character> <dialogue>Shame on you, doing it in my jungle!</dialogue> <character>KID 1</character> <dialogue>Watch out!</dialogue> <character>KID 2</character> <dialogue>Run for it!</dialogue> <scene_description>They SCATTER towards the STONE WALL with Olympia and Crew CHASING AFTER THEM .</scene_description> <character>OLYMPIA</character> <dialogue>Oh, these dirty little Arabs! Go and shit in your own country!</dialogue> <scene_description>The kids CLIMB THE WALL for escape from the CRAZY ADULTS .</scene_description> <character>TOM</character> <dialogue>Keep filming. Keep filming! Do n't stop, whatever you do!</dialogue> <scene_description>Tom wanders back over to Jeanne while Olympia and the Crew continue to SCARE OFF THE KIDS in the b.g .</scene_description> <character>JEANNE</character> <dialogue>Did you get it?</dialogue> <character>TOM</character> <dialogue>Everything.</dialogue> <character>JEANNE</character> <dialogue>Olympia was great. It'll give a good idea of race relations in the suburbs of Paris.</dialogue> <character>TOM</character> <dialogue>It's a real jungle here. So, tell me about your father.</dialogue> <character>JEANNE</character> <dialogue>I thought we'd finished.</dialogue> <character>TOM</character> <dialogue>Five minutes.</dialogue> <character>JEANNE</character> <dialogue>I'm meeting someone for work.</dialogue> <character>TOM</character> <dialogue>But the colonel. the colonel!</dialogue> <scene_description>But Jeanne is OFF . AND WE CUT TO -</scene_description> </scene> <scene> <stage_direction>INT. APT. BUILDING - LIVING ROOM - DAY</stage_direction> <scene_description>We are back at Paul 's new place . Jeanne WANDERS THE ROOM TOPLESS but covering her breasts with a PILLOW . She continues to WAX NOSTALGIC about her father .</scene_description> <character>JEANNE</character> <dialogue>The colonel had green eyes and shiny boots. I worshipped him. He was so handsome in his uniform.</dialogue> <character>PAUL'S VOICE</character> <dialogue>What a steaming pile of horseshit.</dialogue> <character>JEANNE</character> <dialogue>What?</dialogue> <scene_description>Pissed , she THROWS THE PILLOW she was covering her AMPLE BREAST with at Paul . We now see Paul is LOUNGING ON HIS MATTRESS , pant legs rolled up past his knees , TOYING WITH A HARMONICA and drinking from a WOODEN CUP .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What? Do n't.</dialogue> <character>PAUL</character> <dialogue>All uniforms are bullshit. Everything outside this place is bullshit. Besides, I do n't want to hear about your stories, about your past, and all that.</dialogue> <character>JEANNE</character> <dialogue>He died in Algeria in 58.</dialogue> <character>PAUL</character> <dialogue>Or 68 or 28 or 98.</dialogue> <character>JEANNE</character> <dialogue>58, and do n't joke about things like that.</dialogue> <character>PAUL</character> <dialogue>Listen, why do n't you stop talking about things that do n't matter here? What the hell's the difference?</dialogue> <scene_description>DIALOGUE SWITCHES TO ENGLISH</scene_description> <character>JEANNE</character> <dialogue>OK.</dialogue> <scene_description>She huffs over to the other SIDE OF THE ROOM , crossing her arms , POUTING .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>So what do I have to say? What do I have to do!?</dialogue> <scene_description>He turns on to his back to evince his CROTCH .</scene_description> <character>PAUL</character> <dialogue>Come on the good ship.</dialogue> <parenthetical>( SINGS . )</parenthetical> <dialogue>Lollipop.</dialogue> <scene_description>He PLAYS A TUNE on his harmonica . She sneaks onto the bed IN THE SHADOWS .</scene_description> <character>JEANNE'S VOICE</character> <dialogue>Why do n't you go back in America?</dialogue> <scene_description>He stops PLAYING THE TUNE .</scene_description> <character>PAUL</character> <dialogue>I do n't know. Bad memories, I guess.</dialogue> <character>JEANNE</character> <dialogue>Of what?</dialogue> <character>PAUL</character> <dialogue>Oh. My father was a. a drunk. Tough. Whore - fucker, bar - fighter. Super - masculine. And he was tough. My mother was very. Very poetic. And also a drunk. And. one of my memories, when I was a kid, was of her being arrested nude. We lived in this small town. Farming community. We lived on a farm. And I'd come home after school and she'd be gone. In jail. or something. And. I used to. I used to have to milk a cow every morning and every night and I liked that. I remember.</dialogue> <scene_description>An IRISH COUNTRY JIG plays over the MONOLOGUE .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>One time I was all dressed up to go out and take this girl to a basketball game. And I started to go out and my father said, `` You have to milk the cow.'' I said, `` Would you please milk it for me?'' And he said, `` No, get your ass out there.'' So I went out and I was in a hurry and did n't have time to change my shoes. And I had cow shit all over my shoes. And on the way to the basketball game, it smelled in the car. I do n't know. I - I ca n't remember very many good things.</dialogue> <character>JEANNE'S VOICE</character> <dialogue>Not one?</dialogue> <character>PAUL</character> <dialogue>Yeah. Some. There was a farmer, a very nice guy. Old guy, very poor, and worked real hard. I used to work in a ditch, draining land for farming. And he wore overalls and he smoked a clay pipe. Half the time he would n't put tobacco in it. And I hated the work. It was hot and dirty and. it broke my back. And. all day long I'd watch his spit which would run down the pipe stem and hang on the bowl of the pipe. And I used to make bets with myself on when it was going to fall off. And I always lost. I never saw it fall off. I'd just look around and it'd be gone and then the new one would be there. And then we had a beautiful. My mother. My mother taught me to love nature. And. I guess that was the most she could do. And. we had. In front of our house we had this big field. meadow. It was a mustard field in the summer and we had a big black dog named Dutchy. And she used to hunt for rabbits in that field but she could n't see them. So she'd have to leap up in this mustard field and look around very quickly to see where the rabbits were. And it was. very beautiful. And she never caught the rabbits.</dialogue> <scene_description>Jeanne looks up from the bed , MISCHIEVOUSLY .</scene_description> <character>JEANNE</character> <dialogue>You have been had!</dialogue> <character>PAUL</character> <dialogue>Oh really?</dialogue> <character>JEANNE</character> <dialogue>I do n't wan na know anything about your past, baby!</dialogue> <character>PAUL</character> <dialogue>You think I was telling you the truth?</dialogue> <scene_description>Jeanne flaps her arms . Paul TWILLS his eyebrows in response .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Maybe. Maybe.</dialogue> <scene_description>Jeanne climbs on the bed with the top sheet like a LIONESS STALKING her prey .</scene_description> <character>JEANNE</character> <dialogue>I'm a Red Riding Hood and you're the wolf.</dialogue> <scene_description>She COVERS HIM UP with the sheet . Then she uncovers his arm .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What strong arms you have!</dialogue> <scene_description>She SNIFFS HIS ARM . Paul PLAYS ALONG .</scene_description> <character>PAUL</character> <dialogue>The better to squeeze a fart out of you!</dialogue> <scene_description>She plays with his hands .</scene_description> <character>JEANNE</character> <dialogue>What long nails you have!</dialogue> <character>PAUL</character> <dialogue>The better to scratch your ass with.</dialogue> <scene_description>She REACHES UNDER the sleeve of his shirt to his chest .</scene_description> <character>JEANNE</character> <dialogue>Oh, what a lot of fur you have!</dialogue> <character>PAUL</character> <dialogue>The better to let your crabs hide in.</dialogue> <scene_description>She lifts the sheet from his face , moves his harmonica and looks in his mouth .</scene_description> <character>JEANNE</character> <dialogue>Ooh, what a long tongue you have!</dialogue> <scene_description>He TALKS FUNNY as Jeanne holds on to his tounge .</scene_description> <character>PAUL</character> <dialogue>The better to. to stick in your rear, my dear.</dialogue> <scene_description>She makes her way down to his CROTCH , uncovering the sheet as she goes . She REGARDS HIS PRIVATE AREA .</scene_description> <character>JEANNE</character> <dialogue>What's this for?</dialogue> <character>PAUL</character> <dialogue>That's your happiness and my. my ha - penis.</dialogue> <character>JEANNE</character> <dialogue>Peanuts?</dialogue> <scene_description>Jeanne SMILES ON as Paul reels off a list of FOREIGN NAMES for the MALE GENITALIA .</scene_description> <character>PAUL</character> <dialogue>Schlong. Wienerwurst. Cazzo. Bitte. Prick! Joint!</dialogue> <scene_description>Jeanne gets a kick out of this . Sort of .</scene_description> <character>JEANNE</character> <dialogue>It's funny. It's like playing grown - ups when you're little. I feel like a child again here.</dialogue> <character>PAUL</character> <dialogue>Did you have fun as a kid?</dialogue> <character>JEANNE</character> <dialogue>It's the most beautiful thing.</dialogue> <character>PAUL</character> <dialogue>It's beautiful to be made into a tattletale or forced to admire authority or sell yourself for a piece of candy.</dialogue> <character>JEANNE</character> <dialogue>I was n't like that.</dialogue> <character>PAUL</character> <dialogue>No?</dialogue> <character>JEANNE</character> <dialogue>I was writing poems. I was drawing castles,. big castles with tower. A lot of tower.</dialogue> <character>PAUL</character> <dialogue>Did you ever think about sex?</dialogue> <character>JEANNE</character> <dialogue>No. No sex.</dialogue> <scene_description>Paul MOCKS HER .</scene_description> <character>PAUL</character> <dialogue>`` No. No sex.''</dialogue> <character>JEANNE</character> <dialogue>Tower.</dialogue> <scene_description>He gives her a LOVE SMACK on the head .</scene_description> <character>PAUL</character> <dialogue>You were probably in love with your teacher.</dialogue> <character>JEANNE</character> <dialogue>My teacher was a woman.</dialogue> <character>PAUL</character> <dialogue>And she was a lesbian.</dialogue> <character>JEANNE</character> <dialogue>How did you know?</dialogue> <character>PAUL</character> <dialogue>That's classical. Anyway.</dialogue> <character>JEANNE</character> <dialogue>My first love was my cousin Paul.</dialogue> <scene_description>Paul explodes .</scene_description> <character>PAUL</character> <dialogue>No! I'm gon na get a hemorrhoid if you keep telling me names. No names. I do n't mind if you tell the truth, but do n't give me the names.</dialogue> <character>JEANNE</character> <dialogue>Sorry. Sorry.</dialogue> <character>PAUL</character> <dialogue>Well, go on. Tell the truth. What else?</dialogue> <character>JEANNE</character> <dialogue>I was. He was dark, very thin. I can see him. Big nose! A big romance. I fell in love with him when I heard him playing piano.</dialogue> <character>PAUL</character> <dialogue>You mean when he first got into your knickers.</dialogue> <character>JEANNE</character> <dialogue>He was a child prodigy. He was playing with both hands.</dialogue> <character>PAUL</character> <dialogue>I'll bet he was. Probably getting his kicks.</dialogue> <character>JEANNE</character> <dialogue>We were dying of heat.</dialogue> <character>PAUL</character> <dialogue>Oh, yeah. Good excuse. What else?</dialogue> <character>JEANNE</character> <dialogue>In the afternoon, when the grown - ups were napping.</dialogue> <character>PAUL</character> <dialogue>You started grabbing his joint.</dialogue> <character>JEANNE</character> <dialogue>You're crazy!</dialogue> <character>PAUL</character> <dialogue>Well, he touched you.</dialogue> <character>JEANNE</character> <dialogue>I never let him! Never!</dialogue> <character>PAUL</character> <dialogue>Ohhhh. Liar, liar, pants on fire, nose as long as a telephone wire.</dialogue> <character>JEANNE</character> <dialogue>No, I'm not.</dialogue> <character>PAUL</character> <dialogue>Look me straight in the face and say, `` He did n't touch me once.'' Huh?</dialogue> <scene_description>She SMILES .</scene_description> <character>JEANNE</character> <dialogue>He touched me, but the way he did it.</dialogue> <character>PAUL</character> <dialogue>Aha! The way he did it. OK, what did he do?</dialogue> <character>JEANNE</character> <dialogue>Behind the house, there were two trees. A plane tree and a chestnut. I sat under the plane tree and he sat under the chestnut. And one, two, three. We each began to masturbate. The first who came. won!</dialogue> <scene_description>Paul is suddenly LOST IN HIS THOUGHTS . He wanders to the wall , leans on it and studies his harmonica .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Why are n't you listening to me?</dialogue> <character>PAUL</character> <dialogue>When did you first come? How old were you?</dialogue> <character>JEANNE</character> <dialogue>The first time? I was really late for school. I started running and it was downhill. All of a sudden, I felt a strong sensation here. So I ran and ran and I came as I ran. The faster I ran, the better it was and the more I came. A couple of days later, I tried to do it again, but no luck.</dialogue> <scene_description>Paul climbs a TRIPOD that is leaning against the wall .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Why are n't you listening to me?</dialogue> <scene_description>He takes the PIN OUT and it comes apart . He FALLS BACK .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Why do I feel like I'm talking to a brick wall when I talk to you? Your solitude weighs on me. It is n't indulgent. It is n't generous. You are selfish!</dialogue> <scene_description>He finally looks at her .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I can be by myself, too, you know!</dialogue> <scene_description>DRUM MUSIC STARTS AS . He smiles , twirls a drum stick , puts his harmonica on her head and goes into the NEXT ROOM . She THROWS THE HARMONICA on the floor in disgust . As he FIDDLE FARTS around the apartment , Jeanne MASTURBATES . DINING ROOM Paul is REUNITED with his SMALL LAMP SHADE . He puts it over his face and CRIES into it . LIVING ROOM Jeanne has CUM . She ROLLS OFF THE MATTRESSES onto the floor , SPENT . She ROCKS BACK AND FORTH on her haunches . A SIREN screams outside . She hugs the wall . DINING ROOM Paul is LOST IN GRIEF , crying harder .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL - LOBBY</stage_direction> <scene_description>SAX MUSIC PLAYS - from a room in the HOTEL . It 's soothing and nice . Nevertheless , Rosa 's mother roams the room , sleepless , a CROCHET BLANKET wrapped around her . Paul sleeps on the couch . She covers him with a the blanket , MATERNAL . He THROWS IT on the floor .</scene_description> <character>ROSA'S MOTHER</character> <dialogue>I ca n't sleep with this music.</dialogue> <character>PAUL</character> <dialogue>I came to this hotel a long time ago, to spend one night. And I stayed for five years.</dialogue> <character>ROSA'S MOTHER</character> <dialogue>When Papa and I had the hotel, people came here to sleep.</dialogue> <character>PAUL</character> <dialogue>Now, there's all sorts. They can hide, take drugs, play music.</dialogue> <scene_description>Rosa 's mother reaches out and strokes Paul 's arm .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Take your hand away.</dialogue> <scene_description>She continues stroking .</scene_description> <character>ROSA'S MOTHER</character> <dialogue>You're not alone, Paul. I'm here.</dialogue> <scene_description>He sits up calmly , taking her hand in his own , then . BITES HER ! She PULLS HER HAND BACK in obvious pain .</scene_description> <character>ROSA'S MOTHER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You're crazy! I'm starting to understand.</dialogue> <character>PAUL</character> <dialogue>Do you want me to make them shut up? OK. I'll make them shut up.</dialogue> <scene_description>Paul gets up and TURNS OFF THE MASTER LIGHT SWITCH . Rosa 's mother STANDS , SCARED .</scene_description> <character>ROSA'S MOTHER</character> <dialogue>What are you doing, Paul? I'm afraid!</dialogue> <scene_description>Paul STALKS TOWARD her in the DARK .</scene_description> <character>PAUL</character> <dialogue>What's the matter, Mother? Are you upset? Do n't be. There's nothing to be upset about. It takes so little to make them afraid. I'll tell you what they're afraid of.</dialogue> <scene_description>He leads her by the ARM to the stairs .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>They're afraid of the dark. Imagine that! Come on, Mother. Meet my friends.</dialogue> <character>ROSA'S MOTHER</character> <dialogue>Put the light on!</dialogue> <scene_description>They look up the stairs to all the GUESTS that are out of their rooms .</scene_description> <character>PAUL</character> <dialogue>You should meet a few clients of the hotel. Hey, folks. I'd like you to say hello to Mom. Mom, this is Mr Juicehead Junky here. And. Mr Saxophone, he's. He's our connection, Mom. He gives us some hard stuff once in a while. And right here is the beautiful Miss Blowjob of 1933. She still makes a few points when she takes her teeth out.</dialogue> <character>ROSA'S MOTHER</character> <dialogue>The light, Paul.</dialogue> <character>PAUL</character> <dialogue>Say hello, Mom! This is Mom! Oh! You afraid of the dark, Mom? She's afraid of the dark. Oh, poor thing. All right, sweetheart. I'll take care of you. I'll give you a little light. I'll give you a little light. Do n't you worry about a thing.</dialogue> <scene_description>Paul turns the lights back on . The GUESTS who are gathered on the stairs , scurry back to their rooms . HOTEL ENTRANCE Rosa 's Mother stares on as the COMMOTION CLEARS . A GUEST comes in the front door carrying NEWSPAPERS . This is MARCEL , -LRB- 60 's -RRB- Rosa 's LOVER . He takes off his hat for her .</scene_description> <character>MARCEL</character> <dialogue>Good evening, madame.</dialogue> <character>ROSA'S MOTHER</character> <dialogue>Good evening.</dialogue> <scene_description>Paul saunters into the room . He surveys the IRONIC SCENE .</scene_description> <character>PAUL</character> <dialogue>Good evening, Marcel.</dialogue> <scene_description>Marcel picks up on the awkward energy . He heads up the stairs to his room . Paul hands him a key on the way up .</scene_description> <character>MARCEL</character> <dialogue>Goodnight, Paul.</dialogue> <character>ROSA'S MOTHER</character> <dialogue>Who's that?</dialogue> <character>PAUL</character> <dialogue>Do you like him? He was Rosa's lover.</dialogue> </scene> <scene> <stage_direction>INT. APT. BUILDING - BATHROOM - MORNING</stage_direction> <scene_description>Jeanne , NAKED , roots through Paul 's coat pockets . She finds his RAZOR , but scoots to the sink when she HEARS HIM COMING . She starts applying makeup and SINGING . Paul enters the bathroom . He takes his SHAVING ACCOUTREMENTS -LRB- razor , strop , brush , etc. -RRB- out of his coat pockets . Jeanne watches him intently in the MIRROR . He joins her at the LARGE BASIN SINK . She pretends to have been putting on her make - up all along . She RESUMES HER SONG .</scene_description> <character>JEANNE</character> <dialogue>What am I doing in this apartment with you? Love?</dialogue> <scene_description>Paul starts putting his SHAVING CREAM on with a shaving brush .</scene_description> <character>PAUL</character> <dialogue>Well. Let's say we're just taking a flying. a flying fuck at a rolling doughnut.</dialogue> <character>JEANNE</character> <dialogue>So you think I'm a wore.</dialogue> <scene_description>He MOCKS her obvious mispronunciation of `` whore '' .</scene_description> <character>PAUL</character> <dialogue>I think you're a what? A what? A wore?</dialogue> <character>JEANNE</character> <dialogue>A wore.</dialogue> <character>PAUL</character> <dialogue>You mean whore.</dialogue> <character>JEANNE</character> <dialogue>Yes, a whore. Whore.</dialogue> <character>PAUL</character> <dialogue>No, you're just a good old fashioned girl. trying to get along.</dialogue> <character>JEANNE</character> <dialogue>I prefer to be a whore.</dialogue> <scene_description>She applies more makeup .</scene_description> <character>PAUL</character> <dialogue>Why were you going through my pockets?</dialogue> <character>JEANNE</character> <dialogue>To find out OOH you are.</dialogue> <scene_description>He MOCKS her mispronunciation of `` who '' this time .</scene_description> <character>PAUL</character> <dialogue>To find out OOH you are.</dialogue> <character>JEANNE</character> <dialogue>Yes.</dialogue> <character>PAUL</character> <dialogue>Well, if you look real close, you'll see me hiding behind my zipper.</dialogue> <character>JEANNE</character> <dialogue>Well, we know that he buys clothes in some big store. That's not much. But it's a beginning.</dialogue> <character>PAUL</character> <dialogue>That's not a beginning, that's a finish.</dialogue> <character>JEANNE</character> <dialogue>Well, OK. Let's forget it. How old are you?</dialogue> <character>PAUL</character> <dialogue>I'll be 93 this weekend.</dialogue> <character>JEANNE</character> <dialogue>Oh, you do n't look it.</dialogue> <character>PAUL</character> <dialogue>Thank you.</dialogue> <scene_description>She LAUGHS .</scene_description> <character>JEANNE</character> <dialogue>Have you been in college?</dialogue> <character>PAUL</character> <dialogue>Oh yeah. Yeah. I went to. the University of Congo. Studied whale - fucking.</dialogue> <character>JEANNE</character> <dialogue>Wow!</dialogue> <scene_description>He SHARPENS his razor on the STROP .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Barbers do n't usually go to university.</dialogue> <character>PAUL</character> <dialogue>Are you telling me that I look like a barber?</dialogue> <character>JEANNE</character> <dialogue>No, but that's a razor's barber.</dialogue> <scene_description>He CORRECTS her again .</scene_description> <character>PAUL</character> <dialogue>That's a barber's razor.</dialogue> <character>JEANNE</character> <dialogue>Barber's razors, yes.</dialogue> <character>PAUL</character> <dialogue>Or a madmans.</dialogue> <scene_description>He starts SHAVING his neck with the STRAIGHT RAZOR .</scene_description> <character>JEANNE</character> <dialogue>So you want to cut me up?</dialogue> <character>PAUL</character> <dialogue>No. That would be like writing my name on your face.</dialogue> <character>JEANNE</character> <dialogue>Like they do to slaves?</dialogue> <character>PAUL</character> <dialogue>Slaves are branded on the ass and I want you free.</dialogue> <character>JEANNE</character> <dialogue>Free?! I'm not free! You want to know why. why you do n't want to know anything about me? Because you hate women.</dialogue> <character>PAUL</character> <dialogue>Oh, really?</dialogue> <character>JEANNE</character> <dialogue>What the hell have they ever done to you?</dialogue> <character>PAUL</character> <dialogue>Well,. either they always pretend to know who I am or they pretend I do n't know who they are and that's very boring.</dialogue> <character>JEANNE</character> <dialogue>I'm not afraid to say who I am. I am 20 years old.</dialogue> <scene_description>Paul EXPLODES .</scene_description> <character>PAUL</character> <dialogue>NO! I. Jesus Christ! Where is your brain? State zitta. Halt's Maul, Schweinehund. Shut up. Get it?</dialogue> <scene_description>She stands , POUTING .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I know it's tough but you're gon na have to bear it.</dialogue> <scene_description>She hits the sink and TURNS to us , we see her AMPLE BUSH . She crosses her arms and continues to POUT like a child .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You know, these sinks are really beautiful. They're very rare, you do n't find them any more. I think it's these sinks that let you stay together.</dialogue> <scene_description>He has finished SHAVING .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hmm? Do n't you think?</dialogue> <scene_description>He FINALLY NOTICES her pouting .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What's that? What's all this?</dialogue> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Mad?</dialogue> <scene_description>He throws her over his shoulder . He SPINS HER AROUND . She screams but goes with it .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Mad? Mad? Mad?</dialogue> <scene_description>She LOVES IT . He puts her down on the sink . She is LAUGHING .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I think I'm happy with you.</dialogue> <scene_description>He leaves the bathroom . She slaps the sink top , CHILDLIKE .</scene_description> <character>JEANNE</character> <dialogue>Again! Do it again! Again!</dialogue> </scene> <scene> <stage_direction>INT. APT. BUILDING - FRONT DOOR - A LITTLE LATER</stage_direction> <scene_description>Paul is all dressed . He is ready to leave . We hear Jeanne from the BATHROOM . DIALOGUE IS FRENCH</scene_description> <character>JEANNE'S VOICE</character> <dialogue>I'm coming! I'm ready.</dialogue> <scene_description>She comes around the corner .</scene_description> <character>JEANNE</character> <dialogue>Shall we leave together?</dialogue> <scene_description>Just in time for Paul to SLAM THE DOOR IN HER FACE .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Bastard! He's a git! Not even goodbye!</dialogue> <scene_description>She THROWS HER PURSE at the door .</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY STATION - PLATFORM - DAY</stage_direction> <scene_description>A train enters the station . Tom gets off . He searches for Jeanne . When the Train leaves , we see her sitting on a bench on the adjacent track . She notices him first .</scene_description> <character>JEANNE</character> <dialogue>Tom!</dialogue> <character>TOM</character> <dialogue>Jeanne! What are you doing there? I'm coming! I'll fly!</dialogue> <scene_description>He starts RUNNING TO THE EXIT .</scene_description> <character>JEANNE</character> <dialogue>Wait! I've got to talk to you.</dialogue> <character>TOM</character> <dialogue>Why did n't you speak on the phone? What's up?</dialogue> <character>JEANNE</character> <dialogue>You must find someone else.</dialogue> <character>TOM</character> <dialogue>For what?</dialogue> <character>JEANNE</character> <dialogue>For your film.</dialogue> <character>TOM</character> <dialogue>Why.</dialogue> <scene_description>He FRAMES HER with his fingers .</scene_description> <character>JEANNE</character> <dialogue>Because you're taking advantage of me! Because you make me do things I've never done! Because you're taking up my time! You make me do whatever you want! The film is over!</dialogue> <scene_description>A train ROARS into the station between them . Jeanne is ANNOYED .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm tired of being raped!</dialogue> <scene_description>The train is gone , but there is no one there . Tom is GONE . Jeanne walks toward the EXIT . Tom appears on HER SIDE of the platform . They STALK EACH other like ANIMALS . He SLAPS HER HARD in the head . She SLAPS him back . They FIGHT until she collapses from exhaustion in his arms .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL - MARCELS ROOM - EVENING</stage_direction> <scene_description>Marcel is in his RED PLAID BATHROBE . He sits at his desk , clipping coupons from a NEWSPAPER . -LSB- OC -RSB- KNOCK ON DOOR DIALOGUE IS FRENCH</scene_description> <character>MARCEL</character> <dialogue>Come in!</dialogue> <scene_description>Paul comes in . He is in a MATCHING RED PLAID BATHROBE .</scene_description> <character>PAUL</character> <dialogue>You wanted to talk to me. Go on, then. You know I have n't come to cry with you?</dialogue> <character>MARCEL</character> <dialogue>Do you mind if I carry on working?</dialogue> <scene_description>He does while Paul ROOTS AROUND .</scene_description> <character>MARCEL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It helps me a lot after what has happened.</dialogue> <scene_description>He takes notice of PAUL 'S ROBE .</scene_description> <character>MARCEL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Identical. Rosa wanted them identical.</dialogue> <character>PAUL</character> <dialogue>Our bathrobes? You ca n't tell me anything I do n't already know.</dialogue> <character>MARCEL</character> <dialogue>Same colour, same pattern.</dialogue> <character>PAUL</character> <dialogue>Yes, yes, yes.</dialogue> <scene_description>Paul takes a look at one of the newspapers from Marcel 's desk .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Your meticulous. I've always wondered why you save newspaper clippings. Is it work? Or a hobby?</dialogue> <character>MARCEL</character> <dialogue>Hobby? I do n't like that word. Let's say it's some extra cash. I do it for an agency.</dialogue> <character>PAUL</character> <dialogue>Oh, so it's serious. It's a job that makes you read? Very educational.</dialogue> <character>MARCEL</character> <dialogue>Be honest. You did n't know we had the same bathrobes.</dialogue> <scene_description>Paul finds this VERY AMUSING .</scene_description> <character>PAUL</character> <dialogue>Marcello.</dialogue> <scene_description>He sits on MARCELS BED .</scene_description> <character>MARCEL</character> <dialogue>We've got a lot of things in common.</dialogue> <character>PAUL</character> <dialogue>Marcello, I know everything.</dialogue> <scene_description>He flicks the light on and off as he talks .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>No, Rosa often talked to me about you. I do n't think there are many marriages like that. It's strange. I'm thirsty.</dialogue> <scene_description>He heads to the door .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Would you like a shot of bourbon?</dialogue> <scene_description>Marcel stops him .</scene_description> <character>MARCEL</character> <dialogue>Hold on. Here's the bourbon.</dialogue> <scene_description>He takes a BOTTLE OF BOURBON from a hiding place . Paul joins him . He pours a glass for Paul .</scene_description> <character>PAUL</character> <dialogue>Was that a present from Rosa, too?</dialogue> <scene_description>He POURS A GLASS for himself .</scene_description> <character>MARCEL</character> <dialogue>I do n't really like bourbon, but Rosa wanted me to keep a bottle here in my room.</dialogue> <scene_description>He SITS back down .</scene_description> <character>MARCEL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I was asking myself this question. If, with these little things, unimportant things, we could go back over things, and understand together.</dialogue> <character>PAUL</character> <dialogue>Together?</dialogue> <character>MARCEL</character> <dialogue>It's almost a year that Rosa and I. Not passionately, but regularly. I thought I knew her as much as you can know.</dialogue> <character>PAUL</character> <dialogue>Your mistress.</dialogue> <character>MARCEL</character> <dialogue>For example, a while ago, something happened that I still do n't understand. Do you see there, on the wall?</dialogue> <scene_description>He points to a spot on the wall above them .</scene_description> <character>MARCEL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>She had climbed onto the bed and she was trying to tear at the walls with her hands. I stopped her because she was breaking her nails. She had a strange. violence about her. I'd never seen her like that.</dialogue> <character>PAUL</character> <dialogue>Our room is painted white. Rosa wanted it to be different from the other rooms in the hotel.</dialogue> <scene_description>Marcel takes some LIPS SALVE from his bathrobe pocket .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>To make it look like. a more normal home. But. it had to be changed here, too. I think she started with the wall.</dialogue> <scene_description>Paul takes notice of the LIP SALVE operation .</scene_description> <character>MARCEL</character> <dialogue>A cold sore. I do n't know. Shit.</dialogue> <scene_description>Paul regards him for a second .</scene_description> <character>PAUL</character> <dialogue>You're lucky huh? You were. You must have been very handsome 20 years ago.</dialogue> <character>MARCEL</character> <dialogue>Not as much as you.</dialogue> <character>PAUL</character> <dialogue>You've still got all your hair.</dialogue> <character>MARCEL</character> <dialogue>My hair. I have to have it trimmed often. And wash it. I wash it nearly every day.</dialogue> <character>PAUL</character> <dialogue>Do n't you have massages?</dialogue> <scene_description>He massages his own temples .</scene_description> <character>MARCEL</character> <dialogue>Yes, I do.</dialogue> <character>PAUL</character> <dialogue>You're in good shape.</dialogue> <scene_description>He paws at Marcel 's stomach .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What do you do for. your stomach? That's my problem.</dialogue> <character>MARCEL</character> <dialogue>For that.</dialogue> <scene_description>He gazes across the room .</scene_description> <character>MARCEL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I have a secret.</dialogue> <scene_description>He gets up and heads across the room .</scene_description> <character>PAUL</character> <dialogue>Tell me!</dialogue> <scene_description>He takes a bar from the floor and slides it into a spot on the top of a DOOR FRAME .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Ah.</dialogue> <character>MARCEL</character> <dialogue>Are you leaving us? I saw your suitcase was packed. Ah. America. Why was she unfaithful to you?</dialogue> <character>PAUL</character> <dialogue>You ca n't believe that Rosa. killed herself. It's hard for me to. believe, too.</dialogue> <scene_description>While Paul has a moment of REFLECTION , Marcel shows him his PULL - UP LEG KICK combo on his PULL - UP bar .</scene_description> <character>MARCEL</character> <dialogue>This is my secret! Thirty times every morning.</dialogue> <scene_description>Paul leaves , DISGUSTED .</scene_description> <character>PAUL</character> <parenthetical>( ENGLISH . )</parenthetical> <dialogue>Really, Marcello, I wonder what she ever saw in you.</dialogue> </scene> <scene> <stage_direction>INT. APT. BUILDING - DAY</stage_direction> <scene_description>Jeanne comes in carrying her FUR COLLARED COAT , purse and a BAG .</scene_description> <character>JEANNE</character> <dialogue>Are you in?</dialogue> <scene_description>She looks around the place .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Is anyone here?</dialogue> <scene_description>She kicks the door shut with her foot . She wanders to the . DINING ROOM</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hi, monster.</dialogue> <scene_description>She throws her coat and purse on the table . She puts a PORTABLE RECORD PLAYER in the BASSINET .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Is something wrong?</dialogue> <scene_description>From the other room we hear Paul .</scene_description> <character>PAUL'S VOICE</character> <dialogue>There's butter in the kitchen.</dialogue> <scene_description>We see that Paul is laying on the floor eating bread .</scene_description> <character>JEANNE</character> <dialogue>So you're here? Why did n't you answer?</dialogue> <character>PAUL</character> <dialogue>Go get the butter.</dialogue> <character>JEANNE</character> <dialogue>I have to hurry. I have a cab waiting.</dialogue> <character>PAUL</character> <dialogue>Go get the butter.</dialogue> <scene_description>She STORMS into the kitchen . Paul continues eating . She comes out and THROWS THE BUTTER on the floor in front of him .</scene_description> <character>JEANNE</character> <dialogue>It makes me crazy!</dialogue> <scene_description>She sits on the floor and opens a MIRRORED door on a cabinet . We see PAUL 'S REFECTION IN IT .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That you're so damned sure that I'm coming back here.</dialogue> <scene_description>He laughs at her . She sits on her HAUNCHES , then her ass .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do you really think that an American sitting on the floor in an empty flat eating cheese and drinking water is interesting?</dialogue> <scene_description>He NODS YES . She knocks on the FLOOR near her .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>There's something under here. Can you hear it? It's hollow. Can you hear it? It's hollow.</dialogue> <character>PAUL</character> <dialogue>Yeah. That's a hiding place.</dialogue> <scene_description>He crawls toward her . We see Jeanne 's reflection in a MIRROR behind him . He reaches toward the hollow spot . She SLAPS HIS HAND .</scene_description> <character>JEANNE</character> <dialogue>Do n't open it!</dialogue> <character>PAUL</character> <dialogue>Why not?</dialogue> <character>JEANNE</character> <dialogue>I do n't know. Do n't open it.</dialogue> <scene_description>He points to her CROTCH .</scene_description> <character>PAUL</character> <dialogue>What about that? Can I open that?</dialogue> <scene_description>He reaches for it but she MOVES AWAY .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Huh? Wait a minute. Maybe there's jewels in it.</dialogue> <scene_description>He starts to UNDO HER PANTS .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Maybe there's gold.</dialogue> <scene_description>He PULLS THE BUTTER OVER WITH HIS FOOT .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Are you afraid?</dialogue> <character>JEANNE</character> <dialogue>No.</dialogue> <character>PAUL</character> <dialogue>No?</dialogue> <scene_description>He YANKS HER by the legs CLOSER TO HIM .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You're always afraid.</dialogue> <scene_description>He FLIPS HER ON HER stomach , violently . She is not in the SAME GAME .</scene_description> <character>JEANNE</character> <dialogue>No, but. maybe there is some family secrets inside.</dialogue> <character>PAUL</character> <dialogue>Family secrets?</dialogue> <scene_description>He RIPS HER PANTS DOWN TO HER ANKLES .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'll tell you about family secrets.</dialogue> <scene_description>He gets a HAND FULL OF BUTTER .</scene_description> <character>JEANNE</character> <dialogue>What are you doing?</dialogue> <character>PAUL</character> <dialogue>I'm gon na tell you about the family.</dialogue> <scene_description>He YANKS her pants down enough to put his HAND FULL OF BUTTER in her ASS .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That holy institution meant to breed virtue in savages.</dialogue> <scene_description>He SPREADS the butter in her ASS as she STRUGGLES .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I want you to repeat it after me.</dialogue> <scene_description>He MOUNTS HER , opening his ZIPPER . She STRUGGLES more .</scene_description> <character>JEANNE</character> <dialogue>No and no! No!</dialogue> <character>PAUL</character> <dialogue>Repeat it. Say, `` Holy family.'' Come on, say it.</dialogue> <scene_description>He grabs her arms , stopping her from STRUGGLING as he SODOMIZES HER .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Go on. Holy family. Church of good citizens.</dialogue> <scene_description>She is WEEPING .</scene_description> <character>JEANNE</character> <dialogue>Church.</dialogue> <character>PAUL</character> <dialogue>Good citizens.</dialogue> <character>JEANNE</character> <dialogue>Good citizens.</dialogue> <scene_description>She CRIES OUT in pain as he enters her . He smacks her savagely on the back of her head .</scene_description> <character>PAUL</character> <dialogue>Say it. Say it! The children are tortured until they tell their first lie.</dialogue> <character>JEANNE</character> <dialogue>The children. are tortured.</dialogue> <scene_description>Her MUFFLED CRIES .</scene_description> <character>PAUL</character> <dialogue>Where the will is broken by repression.</dialogue> <character>JEANNE</character> <dialogue>Where the will. broken. repression.</dialogue> <scene_description>TEARS STREAM DOWN her face .</scene_description> <character>PAUL</character> <dialogue>Where freedom.</dialogue> <character>JEANNE</character> <dialogue>Free. Freedom!</dialogue> <character>PAUL</character> <dialogue>is assassinated. Freedom is assassinated by egotism. Family.</dialogue> <character>JEANNE</character> <dialogue>Family.</dialogue> <scene_description>He DRIVES IT HOME TILL HE COMES .</scene_description> <character>PAUL</character> <dialogue>You. You. You. You f. You. fucking. fucking. family. You fucking. family! Oh, God. Jesus. Oh, you. Oh.</dialogue> <scene_description>He COLLAPSES on her , SPENT as she continues to WEEP .</scene_description> </scene> <scene> <stage_direction>EXT. PONT DE BIR-HAKEIM - THAT MOMENT</stage_direction> <scene_description>A TRAIN ROARS by on the TRAIN BRIDGE .</scene_description> </scene> <scene> <stage_direction>INT. APT. BUILDING - LIVING ROOM</stage_direction> <scene_description>Paul is SLEEPING on the floor amidst the BREAD AND BUTTER .</scene_description> </scene> <scene> <stage_direction>EXT. PONT DE BIR-HAKEIM - MOMENTS LATER</stage_direction> <scene_description>Another couple of TRAINS go by .</scene_description> </scene> <scene> <stage_direction>INT. APT. BUILDING - LIVING ROOM - LATER</stage_direction> <scene_description>Paul SLEEPS more . On his STOMACH now , with his foot on a piece of FURNITURE . Jeanne puts a record on the RECORD PLAYER she brought with her . She goes to plug it into the FLOOR PLUG but gets an ELECTRICAL SHOCK .</scene_description> <character>JEANNE</character> <dialogue>Shit!</dialogue> <scene_description>She looks at him sleeping .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hey, you!</dialogue> <scene_description>He looks at her UPSIDE DOWN .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yes, you!</dialogue> <character>PAUL</character> <dialogue>Huh?</dialogue> <character>JEANNE</character> <dialogue>I've got a surprise for you.</dialogue> <character>PAUL</character> <dialogue>What?</dialogue> <scene_description>He looks at himself in a SMALL MIRROR .</scene_description> <character>JEANNE</character> <dialogue>I've got a surprise for you!</dialogue> <character>PAUL</character> <dialogue>That's good. I like surprises.</dialogue> <scene_description>He FLIPS HIMSELF over backwards onto his feet . He walks over to her and the RECORD PLAYER . He stares down at her .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What is it?</dialogue> <character>JEANNE</character> <dialogue>Music. But I do n't know how to work it.</dialogue> <scene_description>He sits on the FLOOR next to her . He plugs in the RECORD PLAYER . He JUMPS as he gets an ELECTRICAL SHOCK . Jeanne is secretly amused .</scene_description> <character>PAUL</character> <dialogue>Do you enjoy that?</dialogue> <scene_description>He gets the RECORD PLAYING . It 's some 70 's HIPPY MUSIC . Jeanne sways to it while Paul reads the JACKET COVER .</scene_description> </scene> <scene> <stage_direction>EXT. PASSY VIADUCT PARK - DAY</stage_direction> <scene_description>HIPPIE MUSIC CONTINUES Tom and Jeanne sit , ROMANTICALLY ENTWINED on a SEA WALL while his FILM CREW films in the b.g. . They sit FACE TO FACE , he holds her shoulders and stares into her eyes .</scene_description> <character>TOM</character> <dialogue>Do you know why I sent the others away?</dialogue> <character>JEANNE</character> <dialogue>Because you're angry, or you want to be alone with me?</dialogue> <character>TOM</character> <dialogue>And why do I want to be alone with you?</dialogue> <character>JEANNE</character> <dialogue>You have something really serious to tell me.</dialogue> <scene_description>He plays with her hair .</scene_description> <character>TOM</character> <dialogue>I have something really very serious to tell you.</dialogue> <character>JEANNE</character> <dialogue>Is it happy or sad?</dialogue> <character>TOM</character> <dialogue>It's a secret.</dialogue> <character>JEANNE</character> <dialogue>So it's happy. What sort of secret?</dialogue> <character>TOM</character> <dialogue>A secret.</dialogue> <scene_description>As his FILM CREW dolly around them in the b.g. , his SOUND PERSON yells at them .</scene_description> <character>SOUND PERSON</character> <dialogue>Speak up! I ca n't hear anything.</dialogue> <character>TOM</character> <dialogue>between a man and a woman.</dialogue> <character>JEANNE</character> <dialogue>Is it dirty or is it about love?</dialogue> <character>TOM</character> <dialogue>About love. But that's not all.</dialogue> <character>JEANNE</character> <dialogue>A secret about love, but which is n't love. What is it?!</dialogue> <scene_description>He puts a LIFE PRESERVER over her .</scene_description> <character>TOM</character> <dialogue>Voila. That in a week I'm marrying you.</dialogue> <character>JEANNE</character> <dialogue>What?</dialogue> <character>TOM</character> <dialogue>I'm marrying you.</dialogue> <character>JEANNE</character> <dialogue>What?!</dialogue> <character>TOM</character> <dialogue>I'm marrying you!</dialogue> <character>JEANNE</character> <dialogue>You're marrying me?</dialogue> <character>TOM</character> <dialogue>Yes!</dialogue> <character>JEANNE</character> <dialogue>We're getting married?</dialogue> <character>TOM</character> <dialogue>Yes we're getting married.</dialogue> <character>JEANNE</character> <dialogue>No.</dialogue> <character>TOM</character> <dialogue>Yes.</dialogue> <character>JEANNE</character> <dialogue>No!</dialogue> <character>TOM</character> <dialogue>Yes.</dialogue> <character>JEANNE</character> <dialogue>Yes?</dialogue> <character>TOM</character> <dialogue>Yes.</dialogue> <character>JEANNE</character> <dialogue>No.</dialogue> <character>TOM</character> <dialogue>Yes.</dialogue> <character>JEANNE</character> <dialogue>Yes?</dialogue> <character>TOM</character> <dialogue>No. Are we getting married or not?</dialogue> <character>JEANNE</character> <dialogue>I do n't know.</dialogue> <character>TOM</character> <dialogue>So, yes, then?</dialogue> <character>JEANNE</character> <dialogue>Yes!</dialogue> <character>TOM</character> <dialogue>No!</dialogue> <character>JEANNE</character> <dialogue>Yes!</dialogue> <character>TOM</character> <dialogue>Yes.</dialogue> <character>JEANNE</character> <dialogue>No.</dialogue> <character>TOM</character> <dialogue>Yes or no?</dialogue> <scene_description>She take the life preserver off and THROWS IT IN THE WATER . Together , they WATCH IT SINK .</scene_description> </scene> <scene> <stage_direction>EXT. JEANNE'S MOTHERS APT. - PORCH - DAY</stage_direction> <scene_description>JEANNE 'S MOTHER beats the dirt off her LATE HUSBANDS MILITARY JACKET .</scene_description> <character>JEANNE'S MOTHER</character> <dialogue>Of course, I'll send everything to the country. What do you think, Jeanne?</dialogue> </scene> <scene> <stage_direction>INT. LIBRARY - CONTINUOUS</stage_direction> <scene_description>Jeanne tries on another of her FATHERS MILITARY UNIFORMS complete with HAT .</scene_description> <character>JEANNE</character> <dialogue>Olympia will be happy. I went there yesterday with Tom.</dialogue> <scene_description>Her mother joins her inside . She carries the FATHERS BOOTS .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>She's preparing a family museum.</dialogue> <character>JEANNE'S MOTHER</character> <dialogue>Of course, I'm not sending the boots. I'm keeping them with me. I get strange shivers when I touch them.</dialogue> <scene_description>Jeanne goes into an ADJOINING ROOM while her mom continues reflecting , IRONING the JACKET .</scene_description> <character>JEANNE'S MOTHER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>All these military things never age.</dialogue> <scene_description>She looks up just in time to see that Jeanne has found her fathers gun and is pointing it in her direction .</scene_description> <character>JEANNE</character> <dialogue>When I was little, it seemed really heavy when Papa taught me how to shoot.</dialogue> <character>JEANNE'S MOTHER</character> <dialogue>I'm keeping that here. In a respectable household, it's useful to have a weapon.</dialogue> <character>JEANNE</character> <dialogue>You do n't even know how to use it.</dialogue> <character>JEANNE'S MOTHER</character> <dialogue>The important thing is to have one. It makes an impression.</dialogue> <character>JEANNE</character> <dialogue>You really kept everything of Papa's.</dialogue> <scene_description>She shows her mom a picture she has scrounged up from her FATHERS WALLET of a TOPLESS NEGRO FEMALE .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Who's that? His orderly?</dialogue> <character>JEANNE'S MOTHER</character> <dialogue>A fine example of a Berber.</dialogue> <character>JEANNE</character> <dialogue>Oh.</dialogue> <character>JEANNE'S MOTHER</character> <dialogue>A strong race. I tried to employ them as servants, but it was disastrous.'m glad I decided to send everything to the country. All his things were piling up and piling up.</dialogue> <character>JEANNE</character> <dialogue>Do n't worry. You'll soon have all the space you want.</dialogue> <character>JEANNE'S MOTHER</character> <dialogue>What does that mean?</dialogue> <character>JEANNE</character> <dialogue>Nothing.</dialogue> <scene_description>She takes off the HAT and JACKET and throws them on the sofa . She heads to the FRONT DOOR with MOM FOLLOWING , on pins and needles .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Madame, the colonel's lady, I announce.</dialogue> <scene_description>Mom RUNS IN .</scene_description> <character>JEANNE'S MOTHER</character> <dialogue>What? What?</dialogue> <character>JEANNE</character> <dialogue>On this solemn day.</dialogue> <scene_description>She goes out the door .</scene_description> <character>JEANNE'S MOTHER</character> <dialogue>What? What solemn day?</dialogue> <scene_description>She RUNS AFTER her daughter . HALLWAY - CONTINUOUS Jeanne is on the ELEVATOR . She sticks her head out .</scene_description> <character>JEANNE</character> <dialogue>I'm getting married in a week!</dialogue> <scene_description>She shuts the door and HEADS DOWN .</scene_description> <character>JEANNE'S MOTHER</character> <dialogue>What did you say?</dialogue> <scene_description>Mom follows her down STEP FOR STEP .</scene_description> <character>JEANNE</character> <dialogue>To Tom! In a week!</dialogue> <character>JEANNE'S MOTHER</character> <dialogue>Pardon?</dialogue> <character>JEANNE</character> <dialogue>Tom! In a week!</dialogue> <character>JEANNE'S MOTHER</character> <dialogue>What are you doing in a week?</dialogue> </scene> <scene> <stage_direction>EXT. OUTDOOR SHOP BAZAAR - DAY</stage_direction> <scene_description>Tom and his FILM CREW film Jeanne trying on wedding dresses . He COUNTS DOWN to the shot .</scene_description> <character>TOM</character> <dialogue>Five. two!</dialogue> <scene_description>He does the CLAPPER with his hands . Jeanne and her HOST OF DRESSERS is lost in her fittings .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Move into shot! We're shooting!</dialogue> <scene_description>They move into the center of the shop . We get another look at Jeanne 's LEFT BREAST as it slips out of the dress being fitted . Tom fires off QUESTIONS for film purposes .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>So,. how do you see marriage?</dialogue> <character>JEANNE</character> <dialogue>Marriage?</dialogue> <character>TOM</character> <dialogue>Yes.</dialogue> <scene_description>Jeanne gives her upbeat EXTISTENTIAL RESPONSES as her fitting continues .</scene_description> <character>JEANNE</character> <dialogue>I see it everywhere. All the time.</dialogue> <character>TOM</character> <dialogue>What do you mean, everywhere?</dialogue> <character>JEANNE</character> <dialogue>On walls. On buildings.</dialogue> <character>TOM</character> <dialogue>Walls and buildings?</dialogue> <character>JEANNE</character> <dialogue>Yes, on advertising hoardings.</dialogue> <character>TOM</character> <dialogue>What are they selling? Cars. Tinned meat. Cigarettes.</dialogue> <character>JEANNE</character> <dialogue>No. They're all about young couples. Before marriage, no children. Then the same couple, married with children. In short, marriage. The perfect, ideal, successful marriage. It's no longer the preserve of the Church. The husband was burdened with responsibilities and the wife nagged. Now, weddings in advertising smile!</dialogue> <character>TOM</character> <dialogue>They smile. On posters.</dialogue> <character>JEANNE</character> <dialogue>On posters, of course. But why t take poster marriage seriously? Marriage. Pop marriage!</dialogue> <scene_description>Tom comes out from under a DRESS .</scene_description> <character>TOM</character> <dialogue>Pop? That's the formula. For pop youth, pop marriage! But. what if the pop marriage does n't work?</dialogue> <character>JEANNE</character> <dialogue>Then you have to fix it like you would a car. The spouses are two workers in overalls bending over an engine to fix it.</dialogue> <character>TOM</character> <dialogue>And in case of adultery what happens to the pop marriage?</dialogue> <character>JEANNE</character> <dialogue>In that case, there are three or four workers.</dialogue> <character>TOM</character> <dialogue>What about love? Is love pop?</dialogue> <character>JEANNE</character> <dialogue>No. That's not. Love is n't pop.</dialogue> <character>TOM</character> <dialogue>Love is n't pop. So what is it?</dialogue> <character>JEANNE</character> <dialogue>The workers retire to a secret flat, take off their overalls and become men and women again and make love.</dialogue> <scene_description>The fussing on the dress is finished . Jeanne slowly , PUTS ON HER GLOVES , relishing them . She STRUTS slowly for all to stare and LAVISH her in her dress . Tom is CAPTIVATED .</scene_description> <character>TOM</character> <dialogue>You're wonderful.</dialogue> <character>JEANNE</character> <dialogue>It's the dress that makes the bride.</dialogue> <character>TOM</character> <dialogue>You're better than Rita Hayworth.</dialogue> <scene_description>He wanders out into the street . It is RAINING HEAVILY .</scene_description> <character>TOM</character> <dialogue>Better than Joan Crawford! Better than Kim Novak! Better than Lauren Bacall! Better than Ava Gardner when she was Mickey Rooney's lover!</dialogue> <scene_description>Hes FILM CREW scatters for cover .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What are you doing? Stop! Stop, but keep filming! Why are n't you filming in the rain?</dialogue> <character>CREW 1</character> <dialogue>You're crazy!</dialogue> <scene_description>They huddle underneath the DOOR of the FILM TRUCK . Tom has lost Jeanne in all the HUBUB . He is disgusted with his CREW .</scene_description> <character>TOM</character> <dialogue>You're all fired!</dialogue> <scene_description>He goes back to the SHOP .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Where's Jeanne?</dialogue> <character>DRESSER 1</character> <dialogue>She must have run off.</dialogue> <character>TOM</character> <dialogue>When? ln the rain?</dialogue> <scene_description>He runs down the street in the rain looking for her .</scene_description> <character>JEANNE</character> <dialogue>Jeanne! Jeanne! Jeanne! Jeanne!</dialogue> </scene> <scene> <stage_direction>INT. APT. BUILDING - LOBBY - DAY</stage_direction> <scene_description>Paul comes POINDING in from the rain . He STOMPS the water off his shoes . He breaks into an IMPROMPTU SOFT SHOE . He opens the gate to the ELEVATOR and gets on . He pushes the button . The elevator STARTS UP .</scene_description> <character>JEANNE'S VOICE</character> <dialogue>Please forgive me!</dialogue> <scene_description>Paul stops the elevator . He SENDS IT BACK DOWN . We see Jeanne has been waiting on the ADJACENT STAIRS for Paul . She is still in her WEDDING DRESS . She implores Paul from outside the elevator .</scene_description> <character>JEANNE</character> <parenthetical>( FRENCH . )</parenthetical> <dialogue>Forgive me! I wanted to leave you and I could n't.</dialogue> <parenthetical>( ENGLISH . )</parenthetical> <dialogue>I wanted to leave you and I could n't. I ca n't. I ca n't leave you, do you understand?</dialogue> <scene_description>She stands , PLEADING at the ELEVATOR .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do you still want me?</dialogue> <scene_description>Paul does the EYEBROW TRILL . He opens the elevator so she can get on . ELEVATOR As it ascends , Jeanne slowly RAISES HER DRESS , revealing NO UNDERWEAR and her AMPLE BUSH to Paul .</scene_description> </scene> <scene> <stage_direction>INT. APT. BUILDING - ENTRANCE - MOMENTS LATER</stage_direction> <scene_description>The door flies open . Paul comes in CARRYING Jeanne in his arms .</scene_description> <character>PAUL</character> <dialogue>Voilà!</dialogue> <scene_description>He starts doing a JIG AND SONG . all the way to the MATTRESSES .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh, there once was a man And he had an old sow ow! Hi - diddle - dow.</dialogue> <scene_description>He puts her on the bed . She is GIGGLING .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You're wet.</dialogue> <scene_description>Paul pats her stomach and leaves the room . DINING ROOM - CONTINUOUS Paul opens the curtains . Jeanne 's SCREAMS come from the other room . He goes to investigate .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What the hell?</dialogue> <scene_description>BEDROOM - CONTINUOUS Jeanne screams BLOODY MURDER and points to a DEAD RAT on the STILL UNMADE MATTRESS .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>A rat. Only a rat.</dialogue> <scene_description>He PICKS IT UP by the tail . She stumbles over herself to get away .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>There are more rats in Paris than people. Yum, yum, yum.</dialogue> <scene_description>He holds it out , OFFERING IT to her . She freaks . She runs to the other side of the room .</scene_description> <character>JEANNE</character> <dialogue>I want to go!</dialogue> <scene_description>He brings it to her . she continues to BACK PEDDLE .</scene_description> <character>PAUL</character> <dialogue>Wait, wait! Do n't you want a bite first? You do n't want to run and eat.</dialogue> <character>JEANNE</character> <dialogue>This is the end!</dialogue> <scene_description>He points to the ASS of the RAT .</scene_description> <character>PAUL</character> <dialogue>No, this is the end.</dialogue> <scene_description>Then points to the HEAD .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>but I like to start with the head. That's the best part. Are you sure you wo n't have any? OK.</dialogue> <scene_description>He DANGLES IT over his mouth , flitting his tounge , pretending to eat it . She is gon na HURL .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What's the matter? You do n't dig rat?</dialogue> <character>JEANNE</character> <dialogue>I wan na go! I ca n't make love in this bed any more. I ca n't. It's disgusting! Nauseating!</dialogue> <character>PAUL</character> <dialogue>Well, we'll fuck on the radiator or standing on the mantel.</dialogue> <scene_description>He holds up the RAT again .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Listen, I got ta get some mayonnaise for this. Because, it really is good with mayonnaise.</dialogue> <scene_description>He heads out , then stops and LOOKS BACK AT HER .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'll save the asshole for you.</dialogue> <scene_description>He really leaves this time .</scene_description> <character>PAUL'S VOICE</character> <dialogue>Rat's asshole with mayonnaise!</dialogue> <scene_description>He LAUGHS at himself . Jeanne is a BASKET CASE . She sits on her HAUNCHES , muttering .</scene_description> <character>JEANNE</character> <dialogue>I want to get out of here. I want to go. I ca n't stand it here any more. Yes. I'm going.</dialogue> <scene_description>She gets up , gets her purse and goes to the door . We see her ASS through the SHEER FABRIC of her wedding dress .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm not coming back. ever.</dialogue> <scene_description>She gets to the . FRONT DOOR Paul is there , WAITING , NONCHALANT .</scene_description> <character>PAUL</character> <dialogue>Quo vadis, baby?</dialogue> <character>JEANNE</character> <dialogue>I forgot to tell you something. I fell in love with somebody.</dialogue> <character>PAUL</character> <dialogue>Oh, is n't that wonderful? You know, you're going to have to get out of these wet duds.</dialogue> <scene_description>He PATS HER ASS .</scene_description> <character>JEANNE</character> <dialogue>I'm going to make love with him!</dialogue> <scene_description>She opens the door but he closes it . She STOMPS into the HALL .</scene_description> <character>PAUL</character> <dialogue>Well, first you have to take a hot bath. Cos if you do n't.</dialogue> <scene_description>He walks toward her .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>you're gon na get pneumonia, right? Huh?</dialogue> <scene_description>She STOMPS a few more steps toward the BATHROOM .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And then you know what happens? You get pneumonia, then you know what happens? You die. And then, you know what happens when you die? I get to fuck the dead rat!</dialogue> <scene_description>He THROWS HER OVER his shoulder and carries her KICKING AND SCREAMING into the .</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM</stage_direction> <scene_description>Jeanne is in the BATHTUB . Paul sits on the BIDET behind her with a WASHCLOTH .</scene_description> <character>PAUL</character> <dialogue>Give me the soap.</dialogue> <scene_description>She does .</scene_description> <character>JEANNE</character> <dialogue>I'm in love.</dialogue> <character>PAUL</character> <dialogue>You're in love?</dialogue> <scene_description>He shoves her head UNDER THE WATER .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>How delightful.</dialogue> <scene_description>She comes up ANGRY .</scene_description> <character>JEANNE</character> <dialogue>I'm in love! I'm in love, you understand?</dialogue> <scene_description>He SMACKS her with the washcloth on the head .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm in love, I'm in love!</dialogue> <scene_description>He SHOVES HER under again .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh! I'm in love!</dialogue> <scene_description>He HITS HER on the head with her own shoe . She just gets more ANGRY .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You know, you're old! You're getting fat.</dialogue> <character>PAUL</character> <dialogue>Fat, is it? How unkind.</dialogue> <character>JEANNE</character> <dialogue>Half of your hair is out and the other half is almost white.</dialogue> <scene_description>He smacks her in the mouth with the wash cloth , she smiles .</scene_description> <character>PAUL</character> <dialogue>In ten years, you'll be playing soccer with your tits.</dialogue> <scene_description>He starts WASHING HER back .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What do you think of that? You know what I'm gon na be doing?</dialogue> <character>JEANNE</character> <dialogue>You will be on a. wheelchair!</dialogue> <character>PAUL</character> <dialogue>Well, maybe. But, you know. I'll be smirking and giggling all the way to eternity.</dialogue> <character>JEANNE</character> <dialogue>How poetic. But please, before you go, wash my feet.</dialogue> <scene_description>She holds up A FOOT .</scene_description> <character>PAUL</character> <dialogue>OK. oblesse oblige.</dialogue> <scene_description>He sits on the edge of the TUB and grabs her foot . He takes a sniff . She pulls it away .</scene_description> <character>JEANNE</character> <dialogue>You know, he and I, we make love.</dialogue> <scene_description>He WASHES her foot .</scene_description> <character>PAUL</character> <dialogue>Oh, really? That's wonderful. Is he a good fucker?</dialogue> <character>JEANNE</character> <dialogue>Magnificent.</dialogue> <scene_description>He puts up the OTHER FOOT to was , he obliges again .</scene_description> <character>PAUL</character> <dialogue>You know, you're a jerk. Cos the best fucking you're gon na get is right here in this apartment. Stand up.</dialogue> <scene_description>She does . He washes her ASS .</scene_description> <character>JEANNE</character> <dialogue>He is full of mysteries.</dialogue> <character>PAUL</character> <dialogue>Give me the soap. Listen, you dumb dodo. All the mysteries that you're ever gon na know in life are right here.</dialogue> <scene_description>He washes her STOMACH .</scene_description> <character>JEANNE</character> <dialogue>He is like everybody but. at the same time he's different.</dialogue> <character>PAUL</character> <dialogue>You mean, like everybody.</dialogue> <character>JEANNE</character> <dialogue>Yeah, but. even he fright me. Even he frightens me.</dialogue> <character>PAUL</character> <dialogue>What is he, your local pimp?</dialogue> <character>JEANNE</character> <dialogue>He could be. He looks it. You know why I'm in love with him?</dialogue> <character>PAUL</character> <dialogue>I ca n't wait.</dialogue> <character>JEANNE</character> <dialogue>Because he know. He know how to make me fall in love with him.</dialogue> <scene_description>She gets out . He COVERS her with a BIG RED TOWEL .</scene_description> <character>PAUL</character> <dialogue>You want this man you love to protect and take care of you.</dialogue> <character>JEANNE</character> <dialogue>Yeah.</dialogue> <character>PAUL</character> <dialogue>You want this golden, shining, powerful warrior to build a fortress where you can hide in. So you do n't have to ever. have. You do n't ever have to be afraid. You do n't have to feel lonely or empty. That's what you want, is n't it?</dialogue> <character>JEANNE</character> <dialogue>Yes.</dialogue> <character>PAUL</character> <dialogue>Well, you'll never find it.</dialogue> <character>JEANNE</character> <dialogue>But I find this man.</dialogue> <character>PAUL</character> <dialogue>Then it wo n't be long until he'll want you to build a fortress for him out of your tits and out of your cunt and your hair and your smile and the way you smell. And. and some place where he can feel comfortable and secure enough so that he can worship in front of the altar of his own prick.</dialogue> <character>JEANNE</character> <dialogue>But I find this man!</dialogue> <scene_description>They lean against SEPERATE WALLS .</scene_description> <character>PAUL</character> <dialogue>No, you're alone. You're all alone. You wo n't be free of that feeling of being alone until you look death right in the face. I mean, that sounds like bullshit, some romantic crap, until you go right up into the ass of death. Right up in his ass. till you find the womb of fear. And then,. maybe. Maybe then, you'll be able to find him.</dialogue> <character>JEANNE</character> <dialogue>But I find this man. He's you! You are that man!</dialogue> <scene_description>Paul does n't like that comment . He needs to TEACH HER another LESSON . He bites a HANGNAIL .</scene_description> <character>PAUL</character> <dialogue>Get me the scissors.</dialogue> <character>JEANNE</character> <dialogue>What?</dialogue> <character>PAUL</character> <dialogue>Get me the fingernail scissors.</dialogue> <scene_description>She STOMPS past him to get them , hands them to him .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>No. I want you to cut the fingernails on your right hand, these two.</dialogue> <scene_description>She DOES .</scene_description> <character>JEANNE</character> <dialogue>That's it.</dialogue> <scene_description>He stands FACING the wall and PULLS HIS pants down .</scene_description> <character>PAUL</character> <dialogue>I want you to put your fingers up my ass.</dialogue> <character>JEANNE</character> <dialogue>What?</dialogue> <character>PAUL</character> <dialogue>Put your fingers up my ass, are you deaf? Go on. I'm gon na get a pig. and I'm. I'm gon na have the pig fuck you. I want the pig to vomit in your face and I want you to swallow the vomit. Are you gon na do that for me?</dialogue> <character>JEANNE</character> <dialogue>Yeah.</dialogue> <character>PAUL</character> <dialogue>Huh?</dialogue> <character>JEANNE</character> <dialogue>Yeah!</dialogue> <character>PAUL</character> <dialogue>I want the pig to die while. while you're fucking him. Then you'll have to go behind him. I want you to smell the dying farts of the pig. Are you gon na do all of that for me?</dialogue> <character>JEANNE</character> <dialogue>Yes, and more than that! And worse! And worse than before.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL - TEMPORARY VIEWING ROOM - DAY</stage_direction> <scene_description>ROSA 'S WAKE . Rosa 's mother has set up a room in the Hotel as a VIEWING ROOM for her daughter . She is , as promised , surrounded by TONS OF FLOWERS . Paul comes in and pulls up a chair next to ROSA . He turns on the LIGHT .</scene_description> <character>PAUL</character> <dialogue>You look ridiculous in that make - up. Like the caricature of a whore. A little touch of Mommy in the night. Fake Ophelia drowned in the bathtub. I wish you could see yourself. You'd really laugh. You're your mother's masterpiece.</dialogue> <scene_description>He pulls the chair closer to her .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh Christ! There are too many fucking flowers in this place. I ca n't breathe. You know on the top of the closet? The cardboard box, I found all your. I found all your little goodies. Pens, keychains, foreign money, French ticklers, the whole shot. Even a clergyman's collar. I did n't know you collected all those little knick - knacks left behind. Even if the husband lives fucking years, he's never going to be able to discover his wife's real nature. I mean, I. I might be able to comprehend the universe, but.'ll never discover the truth bout you. Never. I mean, who the hell were you? Remember that day, the first day I was there? I knew that I could n't get into your pants unless I said. What did I say? Oh, yeah. `` May I have my bill, please? I have to leave.'' Remember? Last night. I ripped off the lights on your mother. And the whole joint went bananas. All your. guests. as you used to call them. Well, I guess that includes me, does n't it? It does include me, does n't it? For five years, I was more a guest in this fucking flophouse than a husband. With privileges, of course. And then, to help me understand you, you let me inherit Marcel. The husband's double, whose room was the double of ours. And you know what? I did n't even have the guts to ask him. Did n't have the guts to ask him if the same numbers you and I did were the same numbers you did with him. Our marriage was nothing more than a foxhole for you. And all it took for you to get out was a - cent razor and a tub full of water. You cheap, goddamn, fucking, godforsaken whore. I hope you rot in hell. You're worse than the dirtiest street pig anybody could find, and you know why? You know why? Because you lied. You lied to me and I trusted you. You lied. You knew you were lying! Go on, tell me you did n't lie. Have n't you got anything to say about that? You can think up something, ca n't you? Go on, tell me something! Smile, you cunt!</dialogue> <scene_description>He STARTS to WEEP .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Go on, tell me. Tell me something sweet. Smile at me and say I just misunderstood. Go on, tell me. You pig - fucker! You goddamn, fucking, pig - fucking liar. Rosa, I'm sorry. I just ca n't. I ca n't stand it. to see these goddamn things on your face. You never wore make - up. This fucking shit. I'm gon na take this off your mouth. This lipstick. Rosa. Oh, God!</dialogue> <scene_description>He COLLAPSES on her , SOBBING .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm sorry. I do n't know why you did it. I'd do it too, if I knew how. I just do n't know how. I have to. I have to find a way.</dialogue> <scene_description>-LSB- OC -RSB- We hear a voice .</scene_description> <character>PROSTITUTE'S VOICE</character> <dialogue>Is anyone there?</dialogue> <character>PAUL</character> <dialogue>What?</dialogue> <character>PROSTITUTE'S VOICE</character> <dialogue>There was a noise in there!</dialogue> <character>PAUL</character> <dialogue>All right, I'm. I'm coming.</dialogue> <parenthetical>( back to ROSA . )</parenthetical> <dialogue>I have to go. I have to go, sweetheart, baby. Somebody's calling me.</dialogue> <scene_description>He starts to the door .</scene_description> <character>PROSTITUTE'S VOICE</character> <dialogue>Well? Is anyone there?</dialogue> <character>PAUL</character> <dialogue>Yeah. I'm coming.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL - ENTRANCE - DAY</stage_direction> <scene_description>Outside the FRONT DOOR , the source of the voice , a WORN OUT and OLD PROSTITUTE . She is with her JOHN .</scene_description> <character>PROSTITUTE</character> <parenthetical>( TO JOHN . )</parenthetical> <dialogue>Here he is.</dialogue> <parenthetical>( TO PAUL . )</parenthetical> <dialogue>Hurry up! Wake up! Open up! Open up!</dialogue> <character>PAUL</character> <dialogue>It's four in the morning.</dialogue> <character>PROSTITUTE</character> <dialogue>I need room four for a while.</dialogue> <parenthetical>( TO JOHN . )</parenthetical> <dialogue>Half an hour?</dialogue> <parenthetical>( TO PAUL . )</parenthetical> <dialogue>Yes, that'll do. Yes, half an hour.</dialogue> <character>PAUL</character> <dialogue>We're full.</dialogue> <scene_description>She knocks on the door , INCESANTLY .</scene_description> <character>PROSTITUTE</character> <dialogue>That's not true. When you're full, you put a sign outside. I know the hotel. I'm sick of arguing out on the street. Call the owner. What are you waiting for? The owner has never made a fuss. Rosa and I are old friends. Open up.</dialogue> <scene_description>Paul opens up .</scene_description> <character>PROSTITUTE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do n't make any trouble or I'll tell your boss.</dialogue> <parenthetical>( TO JOHN . )</parenthetical> <dialogue>Come in, it's all sorted.</dialogue> <scene_description>But the man has LEFT .</scene_description> <character>PROSTITUTE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You've won. He's taken off.</dialogue> <character>PAUL</character> <dialogue>I'm very sorry.</dialogue> <character>PROSTITUTE</character> <dialogue>Hurry up! He ca n't be far away.</dialogue> <scene_description>She PUSHES him out to the street .</scene_description> <character>PROSTITUTE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Make him come back. Tell him he ca n't just walk off.</dialogue> <scene_description>She SHOVES HIM out the door and DOWN THE STREET . Paul CHASES the man on foot for BLOCKS and BLOCKS . He finally CATCHES UP to him in a -</scene_description> </scene> <scene> <stage_direction>EXT. PARIS STREET - ALLEY - MORNING</stage_direction> <scene_description>The JOHN figures he has gotten away . He reverses his TRENCH COAT to the appropriate side . Paul comes around the corner . The John does n't see any HOSTILITY coming . But it DOES .</scene_description> <character>JOHN</character> <dialogue>Oh,. please do n't tell her you found me. I do n't fancy it any more. Did you see her face? Once, my wife satisfied me. But now she's got a skin disease. It's like snakeskin. Put yourself in my place.</dialogue> <scene_description>Paul grabs him by the tie and drags him .</scene_description> <character>PAUL</character> <dialogue>Come. Come with me.</dialogue> <scene_description>The man FIGHTS BACK .</scene_description> <character>JOHN</character> <dialogue>But. Let go of me!</dialogue> <scene_description>Paul does n't like that . He ROUGHS HIM UP , throwing him from WALL TO WALL .</scene_description> <character>JOHN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You're crazy! Let go of me! Let go!</dialogue> <scene_description>He ends up on the ground MINUS HIS COAT . Paul KICKS HIM IN THE ASS like a dog .</scene_description> <character>PAUL</character> <dialogue>Get the fuck out of here!</dialogue> <scene_description>The man RUNS OFF .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Faggot!</dialogue> <scene_description>Paul heads back up the ALLEY as the man CONTINUES OFF in the f.g.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL - PAUL AND ROSA'S ROOM - DAY</stage_direction> <scene_description>Paul lays down on his TWIN BED with his ROBE on over his clothes . We see that his BAGS ARE PACKED .</scene_description> </scene> <scene> <stage_direction>INT. APT. BUILDING - BEDROOM - DAY</stage_direction> <scene_description>We see that the mattress is gone . Only a pile of sheets and pillows remain in the room . Jeanne is on the floor , on her knees , doubled over in SICK GRIEF . PAUL HAS MOVED OUT .</scene_description> <character>JEANNE</character> <dialogue>No!</dialogue> <scene_description>She WANDERS through the apt. , GRIEF STRICKEN , from room to room . We see only a FEW BELONGINGS left around . Shoes , the CAT -LRB- where was it for the `` rat problem '' ? -RRB- and phone . DINING ROOM - CONTINUOUS Jeanne RIPS THE SHEET OFF the piece of furniture that has been COVERED UP all along . We all wondered what was underneath that was so precious . It 's nothing special . She COLLAPSES in grief again , the furniture falling on her , she KICKS IT OFF .</scene_description> </scene> <scene> <stage_direction>INT. APT. BUILDING - FRONT DESK - DAY - MOMENTS LATER</stage_direction> <scene_description>Jeanne talks to the CRAZY Concierge from BEFORE . Her head STUCK through the LITTLE WINDOW while the crazy woman PUFFS a cig .</scene_description> <character>JEANNE</character> <dialogue>Try and remember! The man from the fourth floor. He moved in a few days ago.</dialogue> <character>CONCIERGE</character> <dialogue>I told you, I do n't know anyone. They come and go. The man on the fourth, the woman on the first. What do I know?</dialogue> <scene_description>She gives a CRAZY CACKLE .</scene_description> <character>JEANNE</character> <dialogue>Where did they take the furniture too? It's empty. Where do you send his mail? Give me his address.</dialogue> <character>CONCIERGE</character> <dialogue>I do n't have it. I do n't know these people.</dialogue> <character>JEANNE</character> <dialogue>Not even his name?</dialogue> <character>CONCIERGE</character> <dialogue>Nothing!</dialogue> <scene_description>Jeanne STORMS OUT .</scene_description> <character>CONCIERGE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Ma ` zelle!</dialogue> </scene> <scene> <stage_direction>INT. PAYPHONE BOOTH - DAY - MOMENTS LATER</stage_direction> <scene_description>Jeanne is on the payphone in the bar from before . She speaks to Tom . Still DESPONDENT , tears stream down her face .</scene_description> <character>JEANNE</character> <dialogue>I've found a flat for us. 1 rue Jules Verne. Yes. In Passy. Come quickly! You'll come now? Do you know where it is? I'll wait for you. Come over.</dialogue> <scene_description>She struggles to HANG UP THE PHONE through her grief . She BREAKS DOWN , closing the door for privacy . We can SEE HER through the door as she leans on it .</scene_description> </scene> <scene> <stage_direction>INT. APT. BUILDING - LIVING ROOM - DAY</stage_direction> <scene_description>The front DOORBELL RINGS .</scene_description> <character>JEANNE</character> <dialogue>Come in, it's open.</dialogue> <scene_description>Tom comes in . Jeanne stares out the window . She is BATHED in sunlight . Tom LOOKS AROUND in b.g.</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do you like our flat? It's very light. There's a tiny room, too. It's too small for a double bed. It would be fine for a child. Fidel. That's a nice name for a boy. Fidel, as in Castro.</dialogue> <character>TOM</character> <dialogue>But I'd like a girl, too. Rosa. As in Rosa Luxemburg. Less famous, but I like it. You know, I wanted to film you every day. In the morning, when you wake up, in the evening, when you sleep. When you first smile, and I did n't film any of that. Here.</dialogue> <scene_description>He hands her FLOWERS . She REGARDS them . He circles to her front .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Today is the last day of shooting. The film is finished. I do n't like things that finish, things that end. You have to start something else right away.</dialogue> <scene_description>They EMBRACE and KISS . THAT ROOM - MOMENTS LATER Tom looks around the place .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>This flat is huge!</dialogue> <scene_description>Jeanne has made her way to the DINING ROOM .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Where are you?</dialogue> <character>JEANNE</character> <dialogue>I'm here!</dialogue> <scene_description>They continue shouting across the apt .</scene_description> <character>TOM</character> <dialogue>It's too big! We'll get lost!</dialogue> <character>JEANNE</character> <dialogue>Stop it! Do n't start!</dialogue> <character>TOM</character> <dialogue>How did you find this flat?</dialogue> <character>JEANNE</character> <dialogue>By chance.</dialogue> <character>TOM</character> <dialogue>We'll change everything!</dialogue> <scene_description>Jeanne holds her ARMS OUT like a bird .</scene_description> <character>JEANNE</character> <dialogue>Everything! We'll change chance to destiny.</dialogue> <character>TOM</character> <dialogue>Go on, Jeanne. Take off!</dialogue> <scene_description>MUSIC RISES as Jeanne pretends to FLY AROUND the apt . from ROOM TO ROOM making AIRPLANE NOISES as Tom DIRECTS HER .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Fly away, you're in heaven! You're soaring, you're in heaven! Come down, take a nose dive, come down! Make three turns, come down. Jeanne, what's happening? There's an air pocket.</dialogue> <scene_description>Tom gets SUDDENLY SERIOUS .</scene_description> <character>JEANNE</character> <dialogue>What's happening?</dialogue> <character>TOM</character> <dialogue>The patches of turbulence are over. We ca n't play like children any more, Jeanne.</dialogue> <scene_description>This stops Jeanne in her TRACKS . They face each other .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We're adults.</dialogue> <character>JEANNE</character> <dialogue>Adults? That's awful!</dialogue> <character>TOM</character> <dialogue>Yes. It's awful.</dialogue> <character>JEANNE</character> <dialogue>What do adults do?</dialogue> <character>TOM</character> <dialogue>I do n't know. We'll have to invent the gestures and the words. For example, adults.</dialogue> <scene_description>He walks slowly toward her . They EMBRACE PASSIONATELY . They kiss . He breaks away again , SERIOUS .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>But there's one thing I do know. Adults are calm.</dialogue> <scene_description>He walks backward as Jeanne STALKS HIM .</scene_description> <character>TOM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>serious, logical, measured, level - headed.</dialogue> <character>JEANNE</character> <dialogue>Yes.</dialogue> <character>TOM</character> <dialogue>And. they face up to problems.</dialogue> <character>JEANNE</character> <dialogue>Yes, yes. Yes, yes.</dialogue> <scene_description>He STOPS ABRUPTLY .</scene_description> <character>TOM</character> <dialogue>You see, Jeanne, this flat wo n't work for us. This flat, it wo n't work for us, Jeanne.</dialogue> <character>JEANNE</character> <dialogue>Where are you going?</dialogue> <character>TOM</character> <dialogue>To look for a flat.</dialogue> <scene_description>He walks out to a SHOCKED Jeanne .</scene_description> <character>JEANNE</character> <dialogue>What kind of flat?</dialogue> <scene_description>But he COMES BACK .</scene_description> <character>TOM</character> <dialogue>A flat we can live in.</dialogue> <character>JEANNE</character> <dialogue>We can live here.</dialogue> <character>TOM</character> <dialogue>It's squalid. It smells. It makes me sick. Are you coming with me?</dialogue> <character>JEANNE</character> <dialogue>No, no. I've got to close the windows and return the key. There's a lot to do.</dialogue> <character>TOM</character> <dialogue>OK.</dialogue> <scene_description>They meet in the middle of the room again . They share a LOVING HANDSHAKE .</scene_description> <character>JEANNE</character> <dialogue>Bye.</dialogue> <character>TOM</character> <dialogue>Bye.</dialogue> <scene_description>Tom leaves Jeanne to it . She opens the LARGE WINDOW . We can hear the TRAIN below . She says goodbye to the apt . emotionally , CLOSING THE SHUTTER , then finally , the window .</scene_description> </scene> <scene> <stage_direction>EXT. PONT DE BIR-HAKEIM - DAY</stage_direction> <scene_description>We watch Jeanne come out of the APARTMENT BUILDING . She climbs the stairs to the RAISED WALKWAY . She is back where it all started . We watch her a bit . RAISED WALKWAY - MOMENTS LATER Jeanne walks , in her own world . A somewhat MORE CONTENT world now . Back to HERSELF . We suddenly see Paul . He watches her for a moment before TRAILING HER . He is more DRESSED UP then we have seen him previously . As she walks , he RUNS UP BEHIND her and playfully taps her on her SHOULDER . She turns , SURPRISED . DIALOGUE IS ENGLISH</scene_description> <character>PAUL</character> <dialogue>It's me again.</dialogue> <scene_description>She stops and stares at him , DISGUSTED by his GALL and over him .</scene_description> <character>JEANNE</character> <dialogue>It's over. It's over.</dialogue> <scene_description>He does n't get the hint . He does n't care what she says . He presses on PLAYFULLY .</scene_description> <character>PAUL</character> <dialogue>It's over, then it begins again.</dialogue> <character>JEANNE</character> <dialogue>What begins again? I do n't understand anything any more.</dialogue> <character>PAUL</character> <dialogue>There's nothing to understand. We left the apartment. Now we begin again with love and all the rest of it.</dialogue> <character>JEANNE</character> <dialogue>The rest?</dialogue> <character>PAUL</character> <dialogue>Yeah, listen.</dialogue> <scene_description>He puts his arm around her as THEY STROLL .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm 45. I'm a widower. I've got a little hotel, a kind of a dump. But it's not completely a flophouse. And. I used to live on my luck, and I got married. My wife killed herself.</dialogue> <scene_description>AND WE .</scene_description> </scene> <scene> <stage_direction>INT. SALLE WAGRAM SALON - DAY</stage_direction> <scene_description>As Paul WAXES ON , we watch a TANGO CONTEST in progress . He wanders RUDELY between the DANCERS on the DANCE FLOOR , invading their space and lighting a cigarette .</scene_description> <character>PAUL'S VOICE</character> <dialogue>But you know, what the hell. I'm. no prize. I picked up a nail when I was in Cuba in and now I got a prostate like an Idaho potato. But I'm still a good stick man, even if I ca n't have any children. Let's see. I do n't have any stomping grounds. I do n't have any friends. I suppose if I had n't met you, I'd probably settle for a hard chair and a hemorrhoid. Anyway, to make a long, dull story even duller, I come from a time when a guy like me would drop into a joint like this and pick up a young chick like you and. and call her a bimbo.</dialogue> <scene_description>He reaches the other side of the dance floor where Jeanne waits for him . She is able to SMILE now at his SHENANIGANS . He has a real JOIE DE VIVRE about him now that he LACKED PREVIOUSLY . She sits down at a GUEST TABLE on the outskirts of the DANCE FLOOR . He approaches her table and FEIGNS a GENTLEMAN PERSONA .</scene_description> <character>PAUL</character> <dialogue>I'm awfully sorry to intrude but I was so struck with your beauty that I thought I could offer you a glass of champagne. Is this seat taken?</dialogue> <character>JEANNE</character> <dialogue>No.</dialogue> <character>PAUL</character> <dialogue>May I?</dialogue> <character>JEANNE</character> <dialogue>If you'd like to.</dialogue> <scene_description>He sits down with her . He CLAPS his hands .</scene_description> <character>PAUL</character> <dialogue>Garcon!</dialogue> <scene_description>A WAITER comes over .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You know, the tango is a, is a rite. Do you understand `` rite''? And you must watch the legs of the dancers.</dialogue> <scene_description>The waiter comes over , he turns to chat with him . DANCE FLOOR We watch one of the DANCE COUPLES DANCE THE TANGO . We focus on their LEGS and FEET . We make it back to Paul and Jeanne and Champagne .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh, no! You have n't drunk your champagne because it was warm. And then I ordered you a Scotch and you have n't drunk your Scotch.</dialogue> <scene_description>DANCE FLOOR We watch a DIFFERENT COUPLE DANCE . Paul tries to BUTTER UP -LRB- pardon the pun -RRB- Jeanne .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Come on. Just a sip for Daddy.</dialogue> <scene_description>She takes a sip from the glass he offers her .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Now, if you love me, you'll drink all of it.</dialogue> <character>JEANNE</character> <dialogue>OK, I love you.</dialogue> <scene_description>She SLAMS IT BACK .</scene_description> <character>PAUL</character> <dialogue>Bravo!</dialogue> <character>JEANNE</character> <dialogue>Tell me about your wife.</dialogue> <character>PAUL</character> <dialogue>Let's talk about us.</dialogue> <character>JEANNE</character> <dialogue>OK. But this place is so pitiful.</dialogue> <character>PAUL</character> <dialogue>Yes, but I'm here, are n't I?</dialogue> <scene_description>He kisses her on the cheek .</scene_description> <character>JEANNE</character> <dialogue>Monsieur Maitre d'Hôtel.</dialogue> <character>PAUL</character> <dialogue>That's rather nasty. Anyway, you dummy, I love you. And I want to live with you.</dialogue> <character>JEANNE</character> <dialogue>In your flophouse?</dialogue> <character>PAUL</character> <dialogue>In my flophouse. What the hell does that mean? What the hell difference does it make if I have a flophouse or a hotel or a castle? I love you. What the fuck difference does it make?!</dialogue> <scene_description>She PEEKS OUT A SMILE . He may just be WINNING HER BACK OVER . DANCE FLOOR We watch a COUPLE as the MUSIC STOPS . All the PATRONS CLAP as the DANCE floor clears . The PRESIDENT OF THE TANGO CONTEST speaks at a microphone .</scene_description> <character>PRESIDENT</character> <dialogue>The jury has chosen the following ten best couples : Number 3! 7! 8,9. 11, 12. 13, 14. 15 and 19! And now, ladies and gentlemen, good luck for the last tango!</dialogue> <scene_description>More CLAPPING PATRONS . We get back to Paul and Jeanne . She sits 2 tables over , POUTING , while he struggles to light his CIG . She holds up her glass to him .</scene_description> <character>JEANNE</character> <dialogue>Give me some more whisky.</dialogue> <character>PAUL</character> <dialogue>Oh, I thought you were n't drinking.</dialogue> <character>JEANNE</character> <dialogue>But I'm thirsty now and I want some more drink.</dialogue> <character>PAUL</character> <dialogue>All right. I think that's a good idea.</dialogue> <scene_description>He starts to bring the bottle to her then stops , gets his drink and brings it too .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Wait a minute. Because you're really beautiful. Wait a minute. I'm sorry. I'm terribly sorry. I did n't mean to spill my drink.</dialogue> <scene_description>He POURS HER SOME . She holds her glass up .</scene_description> <character>JEANNE</character> <dialogue>Let's have a toast to our life in the hotel.</dialogue> <character>PAUL</character> <dialogue>No! Fuck all that! Come on. No. Hey, listen. Let's drink a toast to our life in the country. Huh?</dialogue> <character>JEANNE</character> <dialogue>You're a nature lover? You did n't tell me that.</dialogue> <character>PAUL</character> <dialogue>Oh, for Chr. I'm a nature boy. Ca n't you see me with the cows and the chicken shit all over me?</dialogue> <character>JEANNE</character> <dialogue>Oh, yeah. To the house of the cows.</dialogue> <scene_description>She holds her glass up again .</scene_description> <character>PAUL</character> <dialogue>Cows.</dialogue> <character>JEANNE</character> <dialogue>I will be your cow, too.</dialogue> <character>PAUL</character> <dialogue>And listen. I get to milk you twice a day. How about that?</dialogue> <scene_description>She lays her head on the table .</scene_description> <character>JEANNE</character> <dialogue>I hate the country.</dialogue> <character>PAUL</character> <dialogue>What do you mean you hate the country?</dialogue> <character>JEANNE</character> <dialogue>I hate it! I prefer to go to the hotel. Come on, let's go.</dialogue> <character>PAUL</character> <dialogue>No. Let's dance. Come on. Do n't you wan na dance? We can start again.</dialogue> <scene_description>He crouches down . She CLIMBS ON HIS BACK for a ride . He pulls her on her back onto the DANCE FLOOR , through the TANGO contest . The JURY IS in an UPROAR . The tango President FREAKS OUT .</scene_description> <character>PRESIDENT</character> <dialogue>That's the limit! What are you doing?</dialogue> <scene_description>They LIE ON THE FLOOR . They get back up and FEIGN some TANGO . The President comes out on the floor now to them . She GRABS Paul who had DIPPED Jeanne over the JURY TABLE .</scene_description> <character>PRESIDENT</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You'll have to leave, sir.</dialogue> <scene_description>She starts scurrying them off the dance floor .</scene_description> <character>PAUL</character> <dialogue>Madame! ` Tis ever love.</dialogue> <scene_description>She continues to SHEW THEM AWAY . And she can hold her own against Paul 's SMART ASS MOUTH .</scene_description> <character>PRESIDENT</character> <dialogue>Go to the circus if you want to see love! Go on! Get out of here! You'll have to leave.</dialogue> <scene_description>Paul now GRABS HER and starts spinning and DANCING WITH HER . He SWEEPS HER UP into his arms . She struggles and Paul puts her down . She continues to SHEW THEM AWAY . PAUL CONTINUES TO MOCK HER .</scene_description> <character>PAUL</character> <dialogue>Oh my god, I've never.</dialogue> <scene_description>He pulls his pants down and MOONS HER .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Kiss me, sweetheart!</dialogue> <scene_description>She is APPALLED and slaps him on the arm as he scoots to the door , Jeanne FOLLOWING .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Farewell, you sweet peach blossom.</dialogue> <scene_description>As they get to the door he spins one last time .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I could dance for ever. Oh, my hemorrhoid!</dialogue> <scene_description>He LOSES HIS BALANCE and slips . Jeanne has to catch him .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Beauty of mine, sit before me. Let me peruse you and remember you always like this.</dialogue> <scene_description>They sit in some tables in a closed , darkened section . Jeanne puts her head down on the table in EXHAUSTION . He CLAPS LOUDLY till she wakes up . He puts on his ENGLISH ACCENT AGAIN .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Garcon! Champagne! If music be the food of love, play on.</dialogue> <scene_description>Jeanne looks OVER IT ALL .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What's the matter with you?</dialogue> <character>JEANNE</character> <dialogue>It's finished.</dialogue> <scene_description>She COLLAPSES on the table again . He kisses her head .</scene_description> <character>PAUL</character> <dialogue>What's the matter with you?</dialogue> <character>JEANNE</character> <dialogue>It's finished!</dialogue> <scene_description>He 's OBLIVIOUS to her seriousness , AGAIN .</scene_description> <character>PAUL</character> <dialogue>What's finished?</dialogue> <character>JEANNE</character> <dialogue>We're never going to see each other again. Never!</dialogue> <character>PAUL</character> <dialogue>That's ridiculous.</dialogue> <scene_description>She shakes her head NO .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That's ridiculous!</dialogue> <character>JEANNE</character> <dialogue>It's not a joke.</dialogue> <character>PAUL</character> <dialogue>Oh, you dirty rat!</dialogue> <character>JEANNE</character> <dialogue>It's finished.</dialogue> <character>PAUL</character> <dialogue>Look, when something's finished, it begins again.</dialogue> <character>JEANNE</character> <dialogue>I'm getting married! I'm going away. It's finished.</dialogue> <scene_description>She starts undoing his pants . She starts to PLEASURE HIM .</scene_description> <character>PAUL</character> <dialogue>Oh, Jesus. Listen, that's not a subway strap, that's me cock!</dialogue> <scene_description>She continues .</scene_description> <character>JEANNE</character> <dialogue>It's finished!</dialogue> <character>PAUL</character> <dialogue>Oh. Jesus.</dialogue> <scene_description>She MASTURBATES him to CLIMAX . She gets up , wiping her hands , then forehead and LEAVES . When he RECOVERS and sees her leaving .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Wait a minute.</dialogue> <parenthetical>( TO HIMSELF . )</parenthetical> <dialogue>You dumb bimbo.</dialogue> <scene_description>She does n't stop .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Shit! Wait a minute. Goddamn it! Hey!</dialogue> <scene_description>She LEAVES THE SALON . He FOLLOWS her out .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hey, rube! Come here! Come here!</dialogue> <scene_description>He SLIDES DOWN THE BANISTER .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Come heeeeeeeeeerrrrrrrrreeeeee!</dialogue> <scene_description>She turns to see him coming . She starts RUNNING NOW . He still THINKS SHE 'S JOKING .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm gon na get you! Bimbo!</dialogue> <scene_description>He SLIDES ACCROSS THE FLOOR . She continues RUNNING . She is FREAKED OUT NOW .</scene_description> </scene> <scene> <stage_direction>EXT. PARIS STREET - DAY</stage_direction> <scene_description>She is RUNNING on the sidewalk past crowds of people , the OFFICE OF TOURISM and stores . He is in HOT PURSUIT . She stops and turns to have a EMPHATIC SILENT CHAT with him . He still finds this to be VERY HUMOROUS . She grows more and more SERIOUS and SCARED . She starts RUNNING again . But she TIRES OUT in a . PARKING LOT She tries to GET THROUGH TO HIM .</scene_description> <character>JEANNE</character> <dialogue>Stop! Stop!</dialogue> <character>PAUL</character> <dialogue>Hold it!</dialogue> <scene_description>He still DOES N'T GET IT .</scene_description> <character>JEANNE</character> <dialogue>It's over!</dialogue> <scene_description>He tries to EMBRACE HER .</scene_description> <character>PAUL</character> <dialogue>Hey, cool it!</dialogue> <scene_description>She THROWS HIM OFF .</scene_description> <character>JEANNE</character> <dialogue>Stop it! We're finished.</dialogue> <scene_description>He still tries to GRAB HER PURSE . She is ADAMANT .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Go away! Go away! Go away!</dialogue> <scene_description>He keeps trying to grab her purse .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Let go! Go away!</dialogue> <scene_description>He FEIGNS GIVING UP as she walks on .</scene_description> <character>PAUL</character> <dialogue>I ca n't win. Give me a break!</dialogue> <scene_description>She JETS OFF AGAIN and we round a corner . SIDE STREET He keeps his distance on the OPPOSITE SIDE OF THE STREET but still does n't get that SHE IS SERIOUS . She tries to explain it to him .</scene_description> <character>JEANNE</character> <dialogue>I'll call the police!</dialogue> <scene_description>He BLOWS IT OFF .</scene_description> <character>PAUL</character> <dialogue>Aha! I smell the henhouse.</dialogue> <scene_description>She needs to GO WHERE HE IS . She starts toward him TIMIDLY .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Well, shit, I'm not in your way.</dialogue> <scene_description>He feigns a GRAND GESTURE ushering her free travel .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>After you, mademoiselle!</dialogue> <scene_description>She TENTATIVELY walks on as he PRETENDS TO ALSO .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>So long, sister. Besides, you're a crummy - looking broad. I do n't give a damn if I never see you again. Shit.</dialogue> <scene_description>She MAKES A BEE - LINE to her MOTHERS APARTMENT BUILDING . He TAKES OFF after her .</scene_description> </scene> <scene> <stage_direction>INT. JEANNE'S MOTHERS APT. - LOBBY</stage_direction> <scene_description>He gets himself BUZZED IN somehow . She is SHOCKED , she backs up to the ELEVATOR .</scene_description> <character>JEANNE</character> <dialogue>It's over! It's over!</dialogue> <character>PAUL</character> <dialogue>Oh, fuck the police.</dialogue> <scene_description>She is becoming HYSTERICAL now .</scene_description> <character>JEANNE</character> <dialogue>It's over!</dialogue> <scene_description>She makes her way to the</scene_description> <character>PAUL</character> <dialogue>Listen, I want to talk to you for Christ sake.</dialogue> <scene_description>She gets on the OLD FASHIONED LIFT and SLAMS the door in his face . She begins to ASCEND . He FOLLOWS every floor UP THE STAIRS .</scene_description> <character>JEANNE</character> <dialogue>Help!</dialogue> <scene_description>She is calling to anyone that can hear as he STALKS HER .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Help! Help!</dialogue> <scene_description>One FLOOR AFTER ANOTHER .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Please, help!</dialogue> <scene_description>He trips and STUMBLES up the STAIRS after her .</scene_description> <character>JEANNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Help! Help!</dialogue> <scene_description>Finally at the top , he has to REST against the wall .</scene_description> <character>PAUL</character> <dialogue>Oh, man!</dialogue> <scene_description>She MAKES A DASH FOR her moms apartment . But HE FOLLOWS . He grabs her as she tries to UNLOCK THE DOOR . She runs across to the NEIGHBORS DOOR and BANGS ON IT .</scene_description> <character>JEANNE</character> <dialogue>Help! Help me! Help!</dialogue> <scene_description>He tries to REASON with her .</scene_description> <character>PAUL</character> <dialogue>This is getting ridiculous.</dialogue> <scene_description>She sees her chance to get back in her moms . She dashes over and UNLOCKS THE DOOR and flies inside trying to slam the door shut . It 's no use , he FORCES HIS WAY IN . She HUSTLES to the DRAWER with her FATHERS GUN . Paul is still at the FRONT DOOR .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's the title shot, baby. We're going all the way. Oh, Christ.</dialogue> <scene_description>He shuts the door and WANDERS IN . LIVING ROOM Jeanne stands with her back turned staring down into the GUN DRAWER . He LOOKS AROUND THE PLACE , assessing it .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's a little old, but full of memories, huh?</dialogue> <scene_description>She stares down still , HITTING HER HEAD on the cabinets to help her make a decision . Paul finds her FATHERS MILITARY HAT . He puts it on .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Mademoiselle.</dialogue> <scene_description>He SALUTES HER and CLICKS HIS HEELS together , playing a role . She is incensed that he has dared touch her FATHERS PRECIOUS BELONGINGS . He PLAYS ON .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>How do you like your hero? Over easy or sunny - side up?</dialogue> <scene_description>He REMOVES THE HAT and puts it down .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You ran through Africa and Asia and Indonesia.</dialogue> <scene_description>He walks LOVINGLY toward her .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And now I've found you. And I love you.</dialogue> <scene_description>He ROMANCES HER , runs his fingers through her hair .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I wan na know your name.</dialogue> <scene_description>She STARES into his eyes . as she TELLS HIM HER NAME .</scene_description> <character>JEANNE</character> <dialogue>Jeanne.</dialogue> <scene_description>THE GUN FIRES . HE IS SHOCKED BY THE FORCE OF THE BULLET INTO HIS GUT . The color DRAINS FROM HIS FACE , his eyes get WOOZY . He can only MUTTER .</scene_description> <character>PAUL</character> <dialogue>Our children.</dialogue> <scene_description>He STAGGERS away from her .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Our children.</dialogue> <scene_description>He STAGGERS toward the PORCH DOOR as Jeanne watches .</scene_description> <character>PAUL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Our children. will remember.</dialogue> <scene_description>He opens the FRENCH DOORS and STAGGERS onto the PORCH . PORCH - CONTINUOUS He LOOKS OUT upon the city , and UP TO THE SKY . He takes his gum out of his mouth and STICKS IT UNDER THE RAILING . His eyes register his BEWILDERMENT as he STARES out into the ROOF TOPS . We see that he is DEAD - curled in a FETAL POSITION . SAD MUSIC RISES LIVING ROOM - CONTINUOUS Jeanne stands in SHOCK with PAUL 'S CORPSE in the b.g. . She mutters to herself the ALIBI FOR THE POLICE . DIALOGUE IS FRENCH</scene_description> <character>JEANNE</character> <dialogue>I do n't know who he is. He followed me in the street. He tried to rape me. He's a lunatic. I do n't know what he's called. I do n't know his name. I do n't know who he is. He tried to rape me. I do n't know. I do n't know him. I do n't know who he is. He's a lunatic. I do n't know his name.</dialogue> <scene_description>MUSIC RISES AND SWELLS CREDITS ROLL THE END .</scene_description> </scene> </script>

Paul, a middle-aged American hotel owner mourning his wife's suicide, meets a young, engaged Parisian woman named Jeanne in an apartment that both are interested in renting. They proceed to have an anonymous sexual relationship in the apartment, and Paul demands that neither of them share any personal information, not even their names. The affair goes on until one day Jeanne comes to the apartment to find that Paul has packed up and left without warning. Paul later meets Jeanne on the street and says he wants to renew the relationship. He tells her of the recent tragedy with his wife, and the telling of his life story carries them to a tango bar, where he continues telling her about himself. The loss of anonymity disillusions Jeanne about their relationship, and she tells Paul she does not want to see him again. Paul, not wanting to let Jeanne go, chases her back to her apartment, where he tells her he loves her and wants to know her name. Jeanne takes a gun from a drawer. She tells Paul her name and shoots him. Paul staggers out onto the balcony, mortally wounded, and collapses. As Paul dies, a dazed Jeanne mutters to herself that he was just a stranger who tried to rape her, that she did not know who he was, as if in a rehearsal, preparing herself for questioning by the police.

The Prophecy_1995

tt0114194

<script> <scene> <stage_direction>THE PROPHECY</stage_direction> <scene_description>With the sound of wind , of sand gritting against glass : A howling dust storm battering the doors and walls of a tiny woodplank church . Inside , huddled together against the rage outside , are a small group of people . All in black , mostly elderly , they kneel in prayer . Before them , on the cramped altar , lies a man . Dressed in the uniform of a general , surrounded by the silk softness of his casket . He 's an old man , far from the crump of battles , consumed now with stillness , listening to the prayers of old people . Of desert wind , moaning through thin wood . The candle beside his head flickers and wanes in the ceaseless gusts , strains for life , then goes out .</scene_description> </scene> <scene> <stage_direction>EXT. DOWNTOWN LOS ANGELES - NIGHT</stage_direction> <scene_description>It 's not the best part of town and probably never was . A place of seedy , anonymous brick flophouses shackled by rusting fire escapes , lying on an alley unique only for its bad drainage . It 's here , in the dim , flinty light , that a figure enters . Wearing a long coat and , despite the night , sunglasses , he pauses on the slimy asphalt and gazes up the sides of the flophouses , to their yellowish windows and competing Mexican radio stations . One window , dark and quiet on the third floor , catches his gaze . There 's a metal hand railing in the alley that the long - coated figure effortlessly pops up onto . Sunglasses focused on the window , he lowers himself into a motionless crouch , a perch , on the railing with the ease of a crow . Or a gargoyle . Dawn is a muddled , limp thing that does nothing to improve the alley . The figure is still there , a motionless gargoyle perched on the railing . Watching the window . The shadows shorten , the air grows warmer , and now there 's movement behind the window . The sunglassed gargoyle drops down off the railing , jumps up to the first rung of the fire escape , and begins climbing . BEHIND THE THIRD FLOOR WINDOW Is a room as grim as we expect . Lumpy iron bed , sink that 's been pissed into one too many times , and SIMON ; a man in a tight sweater and dark sunglasses , busily emptying his pockets on the ruined dresser : loose change , a town paper 's obituary column . Simon 's sunglassed eyes look up suddenly , his body stifffening . He whips around to face the window just as it EXPLODES into fragments . The gargoyle LEAPS into the room on the trail of glass . Simon spins and THROWS himself against the intruder . The two STRUGGLE savagely across the room , SMASHING chairs . Simon manages a grip on the gargoyle 's face and POUNDS the back of his skull against the wall . The gargoyle gets his locked fists up and SWINGS them like a war club , SMACKING Simon 's face and SPRAWLING him backwards onto the bed . The two , across the room for each other , pause .</scene_description> <character>GARGOYLE</character> <dialogue>Where is it?</dialogue> <scene_description>Simon 's climbed to his feet , the two men in sunglasses now walking slow circles around each other .</scene_description> <character>SIMON</character> <dialogue>Leave me alone.</dialogue> <character>GARGOYLE</character> <dialogue>You've found it, have n't you?</dialogue> <character>SIMON</character> <dialogue>Fuck you.</dialogue> <scene_description>The gargoyle drops his head and DRIVES himself into Simon , who HAMMERS the gargoyle with his fists . Blood SMEARS . The gargoyle 's gotten free a knife that he JAMS into Simon 's leg . Pressing home his advantage , the gargoyle SLAMS Simon up against the wall . He TEARS open Simon 's shirt , digging his fingers into the chest , RIPPING the skin aside , the first plunging deep , CRACKING the sternum bone , pushing even further , toward the blood gouged pumping beneath - - Simon PLOWS his knee up between the gargoyle 's legs . Over and over . Till the grip loosens and Simon SHOVES him to one side , using the momentum and drives to SWING the body around and at the shattered window . The gargoyle SMACKS the frame and COLLAPSES , his head CRACKING on the sill and FORCING a shard of glass through his neck . Simon moves to the window and brushes aside the gargoyle 's sunglasses , revealing two totally empty eye sockets . Pushing his thumbs into them , Simon uses the leverage to lift the gargoyle off the sill and push his body out the window . The gargoyle bounces once on the fire escape , then spread - eagles thirty feet to the asphalt . Somebody turns up their Mexican radio station . The gargoyle 's a wreck . But he manages , slowly - his shattered remains arguing every inch - to climb first to his knees , then miserably to his feet . A bent , splattered , hopeless thing that manages to stumble three or four feet before being HIT by a freeway - speed firebird BOMBING down the alley . The impact PINS the gargoyle to the grill and RAMS him into a brick wall , CRUSHING a chest that BELCHES out a sickly , bruised heart like a wet rag against the firebird 's windshield . THREE FLOORS ABOVE Simon leans against his splintered window and looks down at the pinned and very finished body of the gargoyle . His own shirt and pants are a mess of torn blood and his breathing is difficult . Pain flashes across his forehead as he checks that his own sunglasses still sit snugly on the bridge of his nose . At the sound of a distant siren Simon turns and quickly finishes packing his duffle bag . Stiffly pulling on an oversize surplus army jacket that partly conceals the damage beneath , he picks up the bag and painfully shuffles out . The gargoyle , still pinned to the wall by the firebird . A FLASH bounces off his skin . Then another . He 's being photographed . Go wide and find him in the middle of a police investigation . Bored blue uniforms , yellow barrier tape . The usual . A plain jane sedan pulls up and deposits THOMAS DAGGET , thirties , tweed coat and steel notebook . He smiles at a couple of cops , ducks under the yellow barrier , and nods a greeting to an older uniform sergeant , BURROWS .</scene_description> <character>THOMAS DAGGET</character> <dialogue>Hey.</dialogue> <character>BURROWS</character> <dialogue>Hey.</dialogue> <character>DAGGETT</character> <parenthetical>( looks up at sky . )</parenthetical> <dialogue>Thought those clouds this morning spelled rain for sure, but it's turned into a beautiful day, would n't you say, Sergeant Burrows?</dialogue> <scene_description>Thomas takes a deep , healthy breath . Burrows just stares at him .</scene_description> <character>BURROWS</character> <dialogue>I warned you about that cheerful shit.</dialogue> <character>DAGGETT</character> <dialogue>Sorry. I'm working on it.</dialogue> <scene_description>He eyes finally make their way to the gargoyle .</scene_description> <character>DAGGETT</character> <dialogue>What's the word?</dialogue> <character>BURROWS</character> <dialogue>Friend here did a half - gainer with a firebird tuck from the third floor.</dialogue> <character>DAGGETT</character> <dialogue>Jumper?</dialogue> <character>BURROWS</character> <dialogue>Not unless he decided not to bother opening the window first.</dialogue> <character>DAGGETT</character> <dialogue>Drugs? Alcohol?</dialogue> <character>BURROWS</character> <dialogue>Well, he was n't exactly in a condition to walk a chalk line when we got here. You're welcome to try and smell his breath if you like, that is if you can find the mouth.</dialogue> <character>DAGGETT</character> <dialogue>Ghouls been by?</dialogue> <character>BURROWS</character> <dialogue>On their way. Willie promises a white paper tomorrow. Or Wednesday, depending on his golf game.</dialogue> <character>DAGGETT</character> <dialogue>Firebird driver?</dialogue> <scene_description>Burrows nods in the direction of a very shook up young man sitting on the curb .</scene_description> <character>BURROWS</character> <dialogue>Mr. Jiminez. Was taking a short cut to his job at a packing plant on San Pedro. First thing he remembers about the deceased is several vital organs bouncing off his windshield.</dialogue> <character>DAGGETT</character> <dialogue>Have you had him walk a chalk line?</dialogue> <character>BURROWS</character> <dialogue>He's straight. Shook up some.</dialogue> <character>DAGGETT</character> <parenthetical>( looking at gargoyle . )</parenthetical> <dialogue>Anything on him?</dialogue> <character>BURROWS</character> <dialogue>No wallet, license, nothing. He is missing one or two things, though.</dialogue> <character>DAGGETT</character> <dialogue>Like?</dialogue> <character>BURROWS</character> <dialogue>His eyes.</dialogue> <character>DAGGETT</character> <parenthetical>( looking at tangled mess . )</parenthetical> <dialogue>Along with everything else.</dialogue> <character>BURROWS</character> <dialogue>We've found everything else - and what fun that was, let me tell you - but the eyes are still AWOL. Might just be stuck in the radiator grill. Little weird though.</dialogue> <character>DAGGETT</character> <dialogue>What?</dialogue> <character>BURROWS</character> <dialogue>Both popping out together like that. Worth a page in my scrapbook.</dialogue> </scene> <scene> <stage_direction>INT. FLOPHOUSE</stage_direction> <scene_description>Burrows and Thomas coming up the stairs .</scene_description> <character>DAGGETT</character> <dialogue>Who's the room registered under?</dialogue> <character>BURROWS</character> <dialogue>John Smith.</dialogue> <character>DAGGETT</character> <dialogue>Anything interesting inside?</dialogue> <character>BURROWS</character> <dialogue>There are, what an intelligent, experienced detective like yourself could possibly construe as signs of a struggle.</dialogue> <scene_description>They enter the room , which is , of course , totally trashed . Thomas steps over the splintered furniture .</scene_description> <character>BURROWS</character> <dialogue>Naturally nobody saw or heard anything.</dialogue> <character>DAGGETT</character> <dialogue>In such a fine establishment as this?</dialogue> <scene_description>Thomas looks at the splashes of blood , overturned dressers , a newspaper , the `` Chimney Rock Republican '' ; one name in its obit section circled . Burrows sighs and checks his watch .</scene_description> <character>BURROWS</character> <dialogue>Ku San's on fourteenth is still open for another hour. Whatd ` ya say we pull out the ` ol `` SUICIDE'' rubber stamp and get some lunch. Rancid chow mein and watered beer for under three bucks.</dialogue> <character>DAGGETT</character> <parenthetical>( looking at floor . )</parenthetical> <dialogue>There's glass in the carpet.</dialogue> <character>BURROWS</character> <dialogue>That usually happens when you break a window.</dialogue> <character>DAGGETT</character> <dialogue>It's on the inside.</dialogue> <scene_description>Amongst the glass fragments at Thomas ' feet is a pair of dark sunglasses . He picks them up , taps them in his palm , and looks out the window down to the man with no eyes , pinched between brick and chrome .</scene_description> <character>DAGGETT</character> <dialogue>Where's Chimney Rock?</dialogue> <character>BURROWS</character> <dialogue>Arizona desert, I think. Which is exactly where I'm going to be in two years, three months.</dialogue> <character>DAGGETT</character> <dialogue>And give up all this?</dialogue> <character>BURROWS</character> <dialogue>You're breaking my heart.</dialogue> <scene_description>The sun sinking beneath the horizon of a vast and undulating expanse of desert . Travel through the landscape as the sky purples and darkens and silhouettes tall , finger - like spires of volcanic rock . Hear the coyotes , the wind making its constant , probing search . Before the night swallows it all whole , Come upon The Town . It used to be something . But that 's long gone . Now , wrapped in the sucking blackness of a wilderness night , it 's a shell of a place . Lights still burn in some of the windows but fool no one . The ghosts are the majority here . Biding their time . Waiting for The Town to surrender and slip beneath the waves of the desert . The wind slinks over the hills , creeps down past boarded - up storefronts , skeletal ocitillo , and the rusting hulks of abandoned mining equipment . The corpse of a summer 's kite twists slowly on a power line . ON THE EDGE OF TOWN From the inky oblivion of the road , comes a crunch of gravel . ON THE OTHER SIDE OF TOWN Stands a large , nineteenth century brick schoolhouse . An icon from a more prosperous past , its dark massiveness was meant for scores of ruddy - faced miner 's kids . Now it seems to be imploding , eating itself with creeping decay . On this night it is silent and dark but for a small glow in one corner and the faint sound of children 's voices in song . It is a hymn . An ancient , Latin one . The melancholy beauty of voices rising and falling in choir . INSIDE THE BUILDING Is a school auditorium . On the stage , dwarfed by it , are twenty five students from first grade to high school , singing together as a choir . A young woman , KATHERINE , directs their acapella voices as the small group of parents , lonely in the huge room , look on . OUTSIDE The voices drift on the night , down the road , and lap against the peeling facade of a storefront . A mortuary . INSIDE The rooms are dark but for one . There , bathed in the flickering light of a tall candle , lies the body of the old general we saw at the opening . THE FRONT DOOR Of the mortuary has a locked handle that jiggles from outside . A small panes of glass beside it is BROKEN by a hand . IN THE SCHOOL AUDITORIUM Young voices struggle with the complicated hymn and its pain of centuries . Faces white , Mexican , Navaho . Katherine guides them with soft hands . She smiles in pride . They smile back . Proud . Of her . Of themselves and the beauty coming from their mouths . One small , beautiful navaho girl , MARY , maybe eight , gets a special smile of special friendship from Katherine . THE MORTUARY 'S Front door now stands ajar in the darkness . Small shards of glass glisten in the carpet . INSIDE Is the dead General . Even in the bleached ravages of age and death , his face still holds a shadow of vigor and pride . It takes a moment in the weak flicker of the candle to realize someone is there with him . Simon in his oversized surplus jacket . His arms are folded tightly across his middle , as if in deep cold . But his gaunt face is moist with sweat and his breath is shallow and uneven . He stares at the old man behind sunglasses and takes slow , cautious steps forward into the amber glow . Holding out two blood - stained fingers , Simon touches the General 's forehead . A new strain crosses his perspiring face . Concentration . Placing his right palm on the General 's chin and the left on his forehead , Simon CRACKS OPEN the dead man 's mouth . IN THE SCHOOL AUDITORIUM The hymn is reaching its aching climax of medieval longing . IN THE MORTUARY Simon leans down to the open mouth , and in a voice soft and deeply weary ,</scene_description> <character>SIMON</character> <dialogue>Qui ex Patre Flioque procedit.</dialogue> <scene_description>Then , with the school choir distant and faint in the night , the living man places his mouth over that of the dead man . IN THE SCHOOL AUDITORIUM It 's coffee and cake now as parents proudly hug their children and congratulate their young teacher . Even in this gloomy , crumbling building it 's a warm , small town moment . OUTSIDE Simon has left the mortuary and now limps with difficulty through the silent streets , leaning against shop walls for support . AT THE SCHOOL BUILDING Through the doors out steps the eight year old Navaho girl , Mary . Alone , she stands on the stone stairs and looks out into the night with sensitive eyes . She concentrates . Knows . Katherine follows her out .</scene_description> <character>KATHERINE</character> <dialogue>Hey bright eyes, what's the deal being out here all alone without a coat?</dialogue> <scene_description>The girl 's eyes seem too serious for a child 's . Too perceptive .</scene_description> <character>MARY</character> <dialogue>Someone's here.</dialogue> <scene_description>Katherine looks out into the night .</scene_description> <character>KATHERINE</character> <dialogue>Where?</dialogue> <scene_description>Mary stares a moment longer , then becomes a child again , smiling and popping Katherine one on the arm .</scene_description> <character>MARY</character> <dialogue>Pig out on all the cake?</dialogue> <character>KATHERINE</character> <dialogue>Oh, there might be one, tiny, skinny piece left, but you're gon na have to race me for it.</dialogue> <scene_description>Mary suddenly points past Katherine 's shoulder .</scene_description> <character>MARY</character> <dialogue>What's that?</dialogue> <scene_description>When Katherine turns Mary dashes back into the building .</scene_description> <character>MARY</character> <dialogue>Ha!</dialogue> <character>KATHERINE</character> <dialogue>You little sneak!</dialogue> <scene_description>Katherine chases after her . AT THAT MOMENT Simon comes limping up from the road . His breathing 's bad now as he moves stiffly along the school 's brick walls , coming to an old , rusty back door he creaks open and slides through . INSIDE He climbs a littered and disused staircase , past broken beer bottles and condom wrappers to a dark and creaky second floor . It 's part of the school building long abandoned . Doors to classrooms lie half off their hinges , windows are broken , rats squeak between ancient desks stacked like funeral pyres . Simon , his breath echoing in the cold darkness , shuffles along the broken linoleum till he comes to a rectangle cut in the wall where a row of lockers used to be . He crawls into the space and there , surrounded by rot , curls up on himself and sucks his thumb .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT</stage_direction> <scene_description>Thomas Dagget 's eyes opening slowly . He sits up in his bed , runs a hand through his hair , and looks out with only medium enthusiasm at the morning .</scene_description> </scene> <scene> <stage_direction>INT. CHURCH</stage_direction> <scene_description>Thomas lights an offering candle and kneels for a brief , silent prayer . He crosses himself , stands , and walks for the door . Before leaving he glances back at the altar . A questioning moment between two akward , estranged friends .</scene_description> </scene> <scene> <stage_direction>INT. POLICE CENTER</stage_direction> <scene_description>Thomas sits at his desk half - heartily trying to make sense of the three dozen files piled there . Lt. Paul , his boss , leans against a wall nearby .</scene_description> <character>LT.</character> <dialogue>How's it going?</dialogue> <character>DAGGETT</character> <dialogue>I was just looking for my `` SUICIDE'' rubber stamp.</dialogue> <character>LT.</character> <dialogue>Sorry about leaving you without a partner. Everything's up in the air till the commission settles their manpower budget.</dialogue> <character>DAGGETT</character> <dialogue>I'm okay.</dialogue> <parenthetical>( his phone rings . )</parenthetical> <dialogue>Dagget. It's done already?</dialogue> <parenthetical>( smiles . )</parenthetical> <dialogue>Must have rained over the golf course this morning. I'll be right over.</dialogue> </scene> <scene> <stage_direction>INT. CORONER'S OFFICE</stage_direction> <scene_description>A set of golf clubs rest forelornly in the corner . An irritable looking coroner fumes behind his desk as Thomas enters .</scene_description> <character>DAGGETT</character> <dialogue>Hey, Willie, sorry to hear about the weather.</dialogue> <scene_description>The coroner just stares at him .</scene_description> <character>DAGGETT</character> <dialogue>Should I bother sitting?</dialogue> <character>CORONER</character> <dialogue>Sit.</dialogue> <scene_description>Thomas obeys as the coroner spreads out a stack of white sheets .</scene_description> <character>CORONER</character> <dialogue>Where would you like me to start?</dialogue> <character>DAGGETT</character> <dialogue>I think we can skip the cause of death.</dialogue> <character>CORONER</character> <dialogue>All right. To begin with, your man has no eyes.</dialogue> <character>DAGGETT</character> <dialogue>Were n't stuck in the radiator grill?</dialogue> <character>CORONER</character> <dialogue>No, he never had any eyes. We checked the sockets. There's no optic nerve, muscle pores, loose viscus, nothing.</dialogue> <character>DAGGETT</character> <dialogue>Huh.</dialogue> <character>CORONER</character> <dialogue>We also did a toxicology on his blood : High sodium, elevated selenium, no floating cholesterol platelets, trace ammonia.</dialogue> <character>DAGGETT</character> <dialogue>Something wrong with that?</dialogue> <character>CORONER</character> <dialogue>No, it's actually pretty common - for an aborted fetus.</dialogue> <character>DAGGETT</character> <parenthetical>( rubs eyes . )</parenthetical> <dialogue>I should have listened to Burrows.</dialogue> <character>CORONER</character> <dialogue>We also did a bone section. Was n't that much trouble since most of them were sticking out of his chest anyway.</dialogue> <character>DAGGETT</character> <dialogue>And?</dialogue> <character>CORONER</character> <dialogue>When babies grow up their bones get larger by adding calcium layers over the interior haversham canals. Child growth is n't uniform though, comes in spurts that always leave growth rings in the bone. Everybody has them - except your man. That would, to a hasty observer, seem to indicate he had never been a child.</dialogue> <character>DAGGETT</character> <dialogue>I assume you, a cautious and learned observer, of course have an explanation.</dialogue> <character>CORONER</character> <dialogue>Not even remotely. Want to hear the last one?</dialogue> <character>DAGGETT</character> <dialogue>Not even remotely.</dialogue> <character>CORONER</character> <dialogue>He's a hermaphrodite.</dialogue> <parenthetical>( Thomas stares at him . )</parenthetical> <dialogue>- Has both male and female sex organs.</dialogue> <character>DAGGETT</character> <dialogue>Think of the possibilities.</dialogue> <character>CORONER</character> <dialogue>Yeah, you can be impotent and frigid all at the same time - they do n't normally work.</dialogue> <scene_description>Thomas sighs and climbs to his feet .</scene_description> <character>DAGGETT</character> <dialogue>Well, I'd love to say thank you, but -</dialogue> <character>CORONER</character> <dialogue>Oh, I also have a bonus prize for you.</dialogue> <scene_description>The coroner opens his desk and pulls out a small , ancient looking leather bound book .</scene_description> <character>CORONER</character> <dialogue>Found this sealed in his coat lining.</dialogue> <scene_description>Thomas turns it over in his hand .</scene_description> <character>DAGGETT</character> <dialogue>It's a bible.</dialogue> <character>CORONER</character> <dialogue>A pretty old one, I think.</dialogue> <scene_description>Thomas runs his finger across the gold - leaf cover .</scene_description> <character>CORONER</character> <dialogue>We checked it out inside. Thought there might be a name or fingerprint somewhere. All we found was a curled page marking the fourteenth chapter of St. John's Revelations.</dialogue> <character>DAGGETT</character> <dialogue>There is no fourteenth chapter to Revelations.</dialogue> <character>CORONER</character> <dialogue>Maybe this is the teacher's edition.</dialogue> <scene_description>Thomas opens the bible and there it is , in Latin , the fourteenth chapter .</scene_description> <character>DAGGETT</character> <dialogue>Can I keep this awhile?</dialogue> <character>CORONER</character> <dialogue>Sure.</dialogue> <character>DAGGETT</character> <parenthetical>( beat . )</parenthetical> <dialogue>Can you sit on all this a few days, Willie? Not circulate the file? I need some time before all the questions start.</dialogue> <character>CORONER</character> <dialogue>Oooh, are we breaking the rules again?</dialogue> <character>DAGGETT</character> <dialogue>So what else is new?</dialogue> </scene> <scene> <stage_direction>INT. POLICE OFFICE</stage_direction> <scene_description>Thomas at his desk , working under a lone gooseneck lamp . He 's translating the fourteenth chapter of St. John 's Revelations from Latin onto a slip of paper . Finished , he sets the ancient bible down , turns off the gooseneck , and leans back in his chair , alone in the dark .</scene_description> </scene> <scene> <stage_direction>EXT. DESERT - EARLY MORNING</stage_direction> <scene_description>Here , outside The Town , horizons are distant , faraway things . The sky overhead is streaked red and blue with barely morning as the screen door of a simple stucco house swings open . It 's Katherine , the teacher . Wearing levis and boots , she carries a saddle swung over one denim shoulder out to a corral behind the house where a horse shuffles and whinnies impatiently .</scene_description> <character>KATHERINE</character> <dialogue>In a minute, in a minute.</dialogue> <scene_description>Katherine throws the saddle over the horse and cinches it down as the sun , still tucked behind pink and grey cliffs , begins to heat up the sky .</scene_description> </scene> <scene> <stage_direction>EXT. SANDSTONE CANYON - MORNING</stage_direction> <scene_description>Deep and narrow , an idyllic canyon of compressed sandstone walls smoothed , rounded and etched by centuries of wind . A tiny creek flows past weak banks of scrub pine and pocked sycamore . A silent place a long way and a long time from anything but the approach of galloping hooves . Katherine and her horse run full - out through the canyon , the clack and splash of hooves echoing off steep , shadowed walls . Horse and rider drive each other harder and harder , their hot breath brief clouds in the arch , thin desert air . Boulders shattered by winter cold and summer heat , deep wind - cut caves hiding scorpions , sidewinders , or a wary mountain lion all pass as in a blur ; arrogant hawks and patient buzzards , ruins of thousand year old Anasazi villages high on the cliffs , their weather - beaten skulls , seen and unseen , staring out ; everything is one smear of color and smell as Katherine gallops past them and up the cliff trail , out of the canyon , and onto the main plateau . ON THE PLATEAU Katherine strokes her horse and feeds it a bag of carrots . She pulls a thermos from the pack , sits down against some old man rocks , and with the coffee steaming in her hand , greets the sun now cresting the Chuska Mountains . There 's a rutted , silty dirt road nearby . An ancient , battered school bus rattles its way past and stops . The bus driver , a Navaho , JOHN , climbs down and rubbing the side of his head painfully walks up to Katherine .</scene_description> <character>JOHN</character> <dialogue>You could save my life with some coffee.</dialogue> <scene_description>He holds out an empty cup Katherine fills . Sipping painfully , he lays down beside her and pulls the brim of his baseball cap over his eyes .</scene_description> <character>KATHERINE</character> <dialogue>Tough night?</dialogue> <character>JOHN</character> <dialogue>You do n't want to hear about it.</dialogue> <parenthetical>( peeks out hopefully . )</parenthetical> <dialogue>Or maybe you do.</dialogue> <character>KATHERINE</character> <dialogue>No thanks.</dialogue> <character>JOHN</character> <dialogue>Just checking.</dialogue> <scene_description>The bus is full of young school kids .</scene_description> <character>KATHERINE</character> <dialogue>Should n't they be getting to school?</dialogue> <character>JOHN</character> <dialogue>Impromptu field trip. I'm broadening their minds. And sparing them the sight of their beloved chauffeur barfing his guts out.</dialogue> <scene_description>Katherine 's horse snorts .</scene_description> <character>JOHN</character> <dialogue>I hate horses. How was the canyon? Honey - suckle out yet?</dialogue> <character>KATHERINE</character> <dialogue>Did n't see any.</dialogue> <character>JOHN</character> <dialogue>I hate that canyon. I hate this this whole plateau. Too many goddamn ghosts. Leave it to them I say. San Diego, that's where I'm going. Or Oxnard. I like the sound of that. Ox - nard.</dialogue> <character>KATHERINE</character> <dialogue>I'm happy here.</dialogue> <character>JOHN</character> <dialogue>Oh lord protect us, another romantic pale face in love with the desert.</dialogue> <character>KATHERINE</character> <dialogue>Just got to give it a chance.</dialogue> <character>JOHN</character> <dialogue>Try growing up here.</dialogue> <parenthetical>( tries word out on tongue . )</parenthetical> <dialogue>Ox - nard.</dialogue> <parenthetical>( sticks out coffee cup . )</parenthetical> <dialogue>Uno mas, see - boo - play.</dialogue> <parenthetical>( she pours . )</parenthetical> <dialogue>Speaking of romantic pale faces, the rumor mill is in high gear again.</dialogue> <character>KATHERINE</character> <dialogue>Who this time?</dialogue> <character>JOHN</character> <dialogue>That funny looking guy from Window Rock. The BIA lawyer.</dialogue> <character>KATHERINE</character> <parenthetical>( non - committal . )</parenthetical> <dialogue>Huh.</dialogue> <character>JOHN</character> <dialogue>No! Say it is n't so!</dialogue> <character>KATHERINE</character> <dialogue>It is n't so.</dialogue> <character>JOHN</character> <dialogue>Thank you.</dialogue> <scene_description>He finishes the coffee and climbs painfully to his feet .</scene_description> <character>JOHN</character> <dialogue>Thanks for the joe.</dialogue> <character>KATHERINE</character> <dialogue>No prob.</dialogue> <character>JOHN</character> <dialogue>You're a credit to the community.</dialogue> <scene_description>He shuffles back to the bus .</scene_description> <character>JOHN</character> <dialogue>All right children, looks sharp! This is a school day! And no talking loud!</dialogue> <scene_description>The bus coughs alive and crawls forward . Katherine waves to the faces behind glass , then settles back for a last moment of peace as silence lays again over the land .</scene_description> </scene> <scene> <stage_direction>EXT. KATHERINE'S HOUSE - DAY</stage_direction> <scene_description>Showered and changed into her teaching clothes , Katherine climbs into a rattling pickup .</scene_description> </scene> <scene> <stage_direction>EXT. THE TOWN</stage_direction> <scene_description>Katherine drives to work , passing on the outskirts the closed copper mine , vast and abandoned . Down beyond the fading main street lies the great crumbling brick pile that is the school . Katherine parks her truck , grabs her leather bag , and walks in . Katherine 's lecturing her students . All twenty - five of them . There 's high school age sons of white ranchers , Navaho girls on the edge of puberty , tiny Mexican children . All being taught together in one room . It 's dinosaur day . Katherine has a large fossilized bone on her lap .</scene_description> <character>KATHERINE</character> <dialogue>This is `` Camposaurus''. Camposaurus was a herbavore, which meant he only ate plants. Camposaur stayed mostly to himself and never bothered anyone.</dialogue> <scene_description>The little girls smile . They like Camposaurus . Katherine holds up another bone fragment .</scene_description> <character>KATHERINE</character> <dialogue>This is a leg fragment that belongs to the killer of the plateau, Alosaurus. Alosaurus was a vicious carnivore, which meant he'd eat anything that moved, especially nice, juicy Camposaurs.</dialogue> <scene_description>The little boys grin . They like Alosaurus .</scene_description> <character>KATHERINE</character> <dialogue>Both these guys lived together right here on the White Rock plateau eighty million years ago, when this area used to be on the banks of a huge, shallow sea. Remember how we talked about how sedimentation fossilizes bones? That's also what made the hills out behind our town and put the copper in the ground.</dialogue> <character>HIGH SCHOOL KID</character> <dialogue>Lot of good that did us.</dialogue> <scene_description>Katherine lifts off the desk an ancient 1950s gieger counter and switches it on . It ticks softly when she points it at the dino bone .</scene_description> <character>BOY</character> <dialogue>It's radioactive! Like Godzilla!</dialogue> <character>KATHERINE</character> <dialogue>Just a tiny bit, Alex. Do you know why? Uranium, that's the rock they use in nuclear power plants -</dialogue> <character>BOY</character> <dialogue>And bombs!</dialogue> <character>KATHERINE</character> <dialogue>And bombs Alex, yes, is all through these hills naturally. Millions of years ago the dinosaurs here ate plants and drank water which had uranium in it that became concentrated in their bones, which is exactly how, with Mr. Geiger counter here, we're going to find some.</dialogue> <scene_description>The class CHEERS .</scene_description> </scene> <scene> <stage_direction>EXT. HILL - DAY</stage_direction> <scene_description>With the brick schoolhouse tiny in the background , Katherine 's class trudges its way up the barren , rocky hillside behind the town . The teenage rancher 's kids try to make time with the Mexican girls One of the little boys has gotten into a shoving match with a little girl .</scene_description> <character>KATHERINE</character> <parenthetical>( coming between them . )</parenthetical> <dialogue>- Hey. Come on. What's the deal, Brian?</dialogue> <scene_description>The girl folds her arms defiantly . The boy is pissed , embarrassed .</scene_description> <character>BRIAN</character> <dialogue>She.</dialogue> <character>KATHERINE</character> <dialogue>Yes?</dialogue> <character>BRIAN</character> <dialogue>She, she called me a `` Dick Head''.</dialogue> <character>KATHERINE</character> <dialogue>Sandra?</dialogue> <character>SANDRA</character> <dialogue>Well, he is.</dialogue> <character>KATHERINE</character> <dialogue>All right, Brian. You get one free insult. Make it good.</dialogue> <scene_description>Brian concentrates .</scene_description> <character>PAUL</character> <dialogue>You. You're a. Cow Demon!</dialogue> <character>KATHERINE</character> <parenthetical>( beat . )</parenthetical> <dialogue>Uh. Okay. Everybody satisfied?</dialogue> <parenthetical>( looks at Brian . )</parenthetical> <dialogue>Cow Demon?</dialogue> <scene_description>UP ON THE HILL Katherine 's given the geiger counter to the little Navaho girl , Mary . Focusing grimly on the rock in front of her , Mary guides the detector over the stones till suddenly it begins clicking softly .</scene_description> <character>MARY</character> <dialogue>I got one! I got one!</dialogue> <scene_description>The high school kids come up and help dig .</scene_description> <character>KATHERINE</character> <dialogue>Easy. Easy. Do n't break it.</dialogue> <scene_description>Almost immediately , an eye socket appears in the dust . As the students carefully brush away the dust , Katherine looks back across the crumbly path . A coyote has crept up onto a near ledge . It just stands there . Watching her .</scene_description> </scene> <scene> <stage_direction>INT. BIG CITY CHURCH</stage_direction> <scene_description>It 's mostly empty at this time of day and the young man sitting in the pew , staring at the altar , is alone . His name is GABRIEL and he wears jeans , a faded leather jacket , and dark sunglasses , even inside . His thin hair is slicked back and there 's an almost feminine quality about him . He sits there a moment longer , staring , then gets up and leaves .</scene_description> </scene> <scene> <stage_direction>EXT. DOWNTOWN ALLEY</stage_direction> <scene_description>The alley from the beginning . Gabriel pulls his old , convertible rambler to a stop and walks into the flophouse .</scene_description> </scene> <scene> <stage_direction>INT. FLOPHOUSE</stage_direction> <scene_description>He comes upstairs to the landing , where the door to the room is covered with a strip of yellow tape : POLICE INVESTIGATION . DO NOT ENTER . Gabriel pulls the tape aside and KICKS the door open . INSIDE It 's still the disaster we remember . Gabriel walks slowly through the room . He scratches up some blood , tastes it . There 's spray - painted outlines where the police have removed certain items . Gabriel takes note of this , tastes the blood again , and leaves .</scene_description> </scene> <scene> <stage_direction>EXT. KATHERINE'S CLASSROOM BUILDING - DAY</stage_direction> <scene_description>It 's lunch break . Most of the students sit in loose cliques around the front of the building ; eating , skipping rope , picking fights . INSIDE The recently unearthed skull sits on Katherine 's desk . Feet up beside it , she leans back in her chair looking through a dinosaur book . One of her students , a twelve year old boy , finishes cleaning up the floor and stands beside her .</scene_description> <character>BOY</character> <dialogue>I'm all done with the cleaning, Miss Henley.</dialogue> <character>KATHERINE</character> <dialogue>Thank you, Jason. I appreciate it.</dialogue> <character>BOY</character> <parenthetical>( looking at book over her shoulder . )</parenthetical> <dialogue>Find out what it is, yet?</dialogue> <character>KATHERINE</character> <dialogue>Well, it's either a 44 million year old Strychtosaurus or that cow Mr. Sorenson lost last winter.</dialogue> <scene_description>The boy , still standing beside her , begins to look nervous . Slowly , he lets his weight rest against Katherine 's shoulder . She smiles good naturedly up at him .</scene_description> <character>KATHERINE</character> <dialogue>Go eat your lunch, Jason.</dialogue> <scene_description>The boy immediately stiffens and begins backing up , almost relieved .</scene_description> <character>BOY</character> <dialogue>Sure, Miss Henley. Thanks. See ya.</dialogue> <scene_description>Katherine watches him leave , smiles again , and goes back to the book . AROUND THE BACK OF THE BUILDING On the abandoned back stairs , a couple of Mexican boys sit smoking cigarettes . They whistle and kid with the four young girls that pass them going up the steps . UPSTAIRS Is the abandoned , decayed part of the building . The four girls know they 're not supposed to be here and that 's probably half the fun . They run through the crumbling halls , giggling and hiding from one another . Their cries , the smack of their shoes , echo off off the peeling halls . One of them is Mary , running down a hall , banging a stick with another girl . At a corner Mary peels off from her friend , runs down a new hall , turns a corner , And comes on Simon . He 's still curled where we last saw him , in the wall niche where some lockers used to be . The two stare at one another . Finally ,</scene_description> <character>MARY</character> <dialogue>Hi.</dialogue> <character>SIMON</character> <dialogue>Hi.</dialogue> <character>MARY</character> <dialogue>What's your name?</dialogue> <character>SIMON</character> <dialogue>Simon.</dialogue> <character>MARY</character> <dialogue>You do n't look so good, Simon.</dialogue> <character>SIMON</character> <dialogue>No, I do n't.</dialogue> <character>MARY</character> <dialogue>I'm Mary.</dialogue> <character>SIMON</character> <dialogue>Hello Mary.</dialogue> <character>MARY</character> <dialogue>Does Miss Henley know you're here?</dialogue> <character>SIMON</character> <dialogue>No one does, Mary. Can we keep it just our secret. For a little while?</dialogue> <scene_description>Mary thinks .</scene_description> <character>MARY</character> <dialogue>Okay.</dialogue> <scene_description>You can hear her friends coming closer .</scene_description> <character>MARY</character> <dialogue>I have to go.</dialogue> <character>SIMON</character> <dialogue>It was nice meeting you, Mary.</dialogue> <scene_description>Mary goes to leave , stops , turns back .</scene_description> <character>MARY</character> <dialogue>Are you hungry? I could bring something.</dialogue> <character>SIMON</character> <dialogue>That would be very nice.</dialogue> <character>MARY</character> <dialogue>Okay. Bye.</dialogue> <scene_description>She smiles and runs down the hall . Simon grits his teeth , turns to the wall , and prepares himself for a long , long day .</scene_description> </scene> <scene> <stage_direction>EXT. APARTMENT BUILDING - DAY</stage_direction> <scene_description>An old fifties two - level , Polynesian lamps and glitter stucco , now faded and browinish with water stains . Gabriel , the young man with the sunglasses and leather jacket we last saw kicking down the door at the flophouse , walks up the apartment 's stairs to the second level , knocks once , and opens the door . THE APARTMENT INSIDE Has n't been very well looked after lately . Either has the occupant . Sitting slumped in a kitchen chair , staring at the floor , he peers through dully yellow eyes that barely seem to register his visitor .</scene_description> <character>GABRIEL</character> <dialogue>Gee Jerry, you look like shit.</dialogue> <scene_description>The eyes lift to Gabriel , revealing a pale , bloodless face eaten with dried sores .</scene_description> <character>JERRY</character> <dialogue>Leave me alone, Gabriel.</dialogue> <character>GABRIEL</character> <dialogue>Soon, pal. Soon.</dialogue> <scene_description>Gabriel drops into the chair across from Jerry and pushes aside with distaste the maggot - ridden plates of food piled on the table . He reaches his hand out to Jerry .</scene_description> <character>GABRIEL</character> <dialogue>Come here.</dialogue> <character>JERRY</character> <dialogue>Go away.</dialogue> <character>GABRIEL</character> <parenthetical>( sing - song , like to a baby . )</parenthetical> <dialogue>Come here.</dialogue> <scene_description>Gabriel puts his hand under Jerry 's chin and turns the face side to side , examining the cracked , decaying skin and filmy eyes .</scene_description> <character>GABRIEL</character> <dialogue>Hmmm. Still a little life left in you. Barely.</dialogue> <character>JERRY</character> <dialogue>Fuck you.</dialogue> <scene_description>Gabriel releases Jerry 's chin and slouches down in the chair .</scene_description> <character>GABRIEL</character> <dialogue>There's something I want you to do for me.</dialogue> <character>JERRY</character> <dialogue>What a surprise.</dialogue> <character>GABRIEL</character> <dialogue>Do n't be that way.</dialogue> <character>JERRY</character> <dialogue>I just want to. Why wo n't you let me.</dialogue> <character>GABRIEL</character> <dialogue>I will, I will. Promise.</dialogue> <scene_description>A dark , intestinal looking amber fluid begins to pool out of Jerry 's pant leg .</scene_description> <character>GABRIEL</character> <dialogue>You need some new clothes, son.</dialogue> <scene_description>A tear wells in Jerry 's decomposing face .</scene_description> <character>GABRIEL</character> <dialogue>Aw come on, do n't start. You know how I hate that.</dialogue> <character>JERRY</character> <dialogue>I'm so tired. I'm so goddamn tired.</dialogue> <character>GABRIEL</character> <dialogue>Watch the profanity. - Just one more favor. Honest.</dialogue> <character>JERRY</character> <parenthetical>( deep sigh . )</parenthetical> <dialogue>What?</dialogue> <character>GABRIEL</character> <dialogue>I want you to get something for me. A few personal effects the cops ripped off from the lovely Allenwood Arms on Seventh Street. It'll be sitting in their property room down on San Julian.</dialogue> <character>JERRY</character> <dialogue>I'm supposed to just go in there? Like this?</dialogue> <character>GABRIEL</character> <dialogue>Give you a bath, put on some decent clothes.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Maybe a very large brim hat, you'll be fine. Just go in between five and five - ten, it's a shift change and nobody'll notice you.</dialogue> <character>JERRY</character> <dialogue>How do you know?</dialogue> <character>GABRIEL</character> <parenthetical>( cocks an eye . )</parenthetical> <dialogue>C'mon.</dialogue> <parenthetical>( tosses yellow ID card onto table . )</parenthetical> <dialogue>This should be more or less up to date.</dialogue> <character>JERRY</character> <dialogue>Got a name this stuff is under?</dialogue> <character>GABRIEL</character> <dialogue>John Doe.</dialogue> <character>JERRY</character> <dialogue>Why does n't that surprise me.</dialogue> <scene_description>Gabriel gets up , pats Jerry on the head , and walks to the door .</scene_description> <character>GABRIEL</character> <dialogue>I'll see you tonight.</dialogue> <parenthetical>( flips him silver dollar . )</parenthetical> <dialogue>Here's some bus fare.</dialogue> <scene_description>The SLAM of a racquetball against the scarred white wall of an indoor court . It ricochets off the ceiling , hits the back glass partition , and is SLAMMED again . Four players , including Thomas , grunt and sweat across the hardwood floor . It 's brutal . Shoulders and knees bang off one another . One of the players falls back , yells to Thomas .</scene_description> <character>PLAYER</character> <dialogue>Cover me! Cover me!</dialogue> <scene_description>Thomas dives into position to make the save , recovers , and yells to the player as he dashes to the next corner .</scene_description> <character>DAGGETT</character> <dialogue>Pop it up!</dialogue> <scene_description>The player SLAMS it brutally at Thomas , who misses miserably .</scene_description> <character>DAGGETT</character> <dialogue>Thanks a lot.</dialogue> <scene_description>Another player picks up the dead ball and puts his arm around Thomas .</scene_description> <character>PLAYER #2</character> <dialogue>You're missing the point of the game, Thomas. You must absolutely trust no one. Form alliances, but break them. Lure another to trust you, then betray him! You play with too much honor. Sink to the gutter. Use people. Lie and double - cross them.</dialogue> <scene_description>Player # 2 tosses the ball to Thomas , who serves , and the scuffling is back on . Shouts to one another . Promises of support .</scene_description> <character>PLAYER #2</character> <dialogue>Come on Thomas, let's take out Sam together!</dialogue> <scene_description>Thomas and Player # 2 team up on a third player , pressing him hard . Suddenly Thomas breaks back , intercepts the ball , and drives against Player # 2 . The about - face is too abrupt for him and Player # 2 is eliminated in a double - cross . He smiles proudly at Thomas .</scene_description> <character>PLAYER #2</character> <dialogue>Magnificent decadence.</dialogue> </scene> <scene> <stage_direction>INT. GYM LOCKER ROOM</stage_direction> <scene_description>Thomas and the three players congratulate each other on the evil and treachery in each other 's strategies as they shower down .</scene_description> <character>PLAYER #1</character> <dialogue>The important thing, Tom, is seeing the game for what it is.</dialogue> <character>PLAYER #2</character> <dialogue>A sickening, hopeless, giant sucking hole of depravity.</dialogue> <scene_description>Laughs .</scene_description> </scene> <scene> <stage_direction>INT. LOCKER ROOM DRESSING AREA</stage_direction> <scene_description>As Thomas combs his hair and slips on his regimental detective 's suit 'n tie , the other three put on their black pants , shirts , and stiff white Roman collars . They 're priests . Two of the priests hoist their gym bags and head for the door .</scene_description> <character>PRIEST #1</character> <dialogue>See ya guys next Tuesday, huh?</dialogue> <scene_description>Thomas is left alone with Player -LRB- priest -RRB- # 2 , Bill .</scene_description> <character>BILL</character> <dialogue>So how's work?</dialogue> <character>DAGGETT</character> <dialogue>Okay. Y' now.</dialogue> <character>BILL</character> <dialogue>Life on the dark side.</dialogue> <character>DAGGETT</character> <parenthetical>( beat . )</parenthetical> <dialogue>Can I ask you about something?</dialogue> <character>BILL</character> <dialogue>Sure.</dialogue> <character>DAGGETT</character> <dialogue>It has to stay between us. I need your word on it.</dialogue> <character>BILL</character> <dialogue>As a racquetball player or a priest?</dialogue> <character>DAGGETT</character> <dialogue>I'll take the priest for the moment.</dialogue> <character>BILL</character> <dialogue>What's on your mind?</dialogue> <character>DAGGETT</character> <dialogue>It's a case. We found this guy. He was. different. But he had on him an old bible.</dialogue> <scene_description>He pulls the bible out of a cloth sack and hands it to Bill .</scene_description> <character>BILL</character> <dialogue>It's a Vichini.</dialogue> <character>DAGGETT</character> <dialogue>Worth a little?</dialogue> <character>BILL</character> <dialogue>More than a little. They're the best. Sixth century. Hand illuminated. Vichini only did twenty, each pocket size for a king to carry into battle beside his heart. Some consider them the finest bibles ever made. I thought they'd all be in museums. What are you doing with it?</dialogue> <character>DAGGETT</character> <dialogue>This one's a bit special.</dialogue> <character>BILL</character> <dialogue>How?</dialogue> <character>DAGGETT</character> <dialogue>It's has a bonus chapter to St, John's Revelations.</dialogue> <character>BILL</character> <dialogue>Really? What does it say?</dialogue> <character>DAGGETT</character> <parenthetical>( reading from slip of paper . )</parenthetical> <dialogue>`` And as in the first war, the angels so fought over the nature of their God, and there was much vanity and destruction in heaven. For some angels called their Lord the son of God, and others called Him the begotten father of Jesus Christ.'' What do you think?</dialogue> <character>BILL</character> <dialogue>I've never heard that quote before. Theologically, The `` first war'' obviously refers to the war in heaven where Michael the archangel threw out Satan and his gang. Old time bible stuff. But this implies there was a second war. That's news to me.</dialogue> <character>DAGGETT</character> <dialogue>And the rest of it?</dialogue> <character>BILL</character> <dialogue>Oh, it's a fairly common theological debate. Or was. The idea that if Christ is God's son, does that make him less than God or are they the same being in different forms. That very argument almost tore the early Christian church apart in the 4th Century. That was the good old days when people actually worried about theology. Anyway, it was settled when the bishops of the world got to together at the Council of Nicene in 325 and hashed out the various interpretations of scripture into a uniform dogma of belief. The result was the Nicene Creed, which basically said that Christ was in fact the same as God and was owed the same power and respect as the Father. That they were the same.</dialogue> <parenthetical>( smiles . )</parenthetical> <dialogue>But it's not exactly the sort of thing angels would fight over.</dialogue> <character>DAGGETT</character> <dialogue>Why?</dialogue> <character>BILL</character> <dialogue>Well, they could just ask God, right?</dialogue> <character>DAGGETT</character> <dialogue>Do you think it's possible that John might have written that extra chapter?</dialogue> <character>BILL</character> <dialogue>Who knows? Vichini was the greatest biblical scholar of the age, some claimed he made his own translations from the original writings. Maybe he did find some unknown writings by John. It's possible I suppose. John always was a little negative about angels. All this actually has something to do with an LAPD murder?</dialogue> <character>DAGGETT</character> <dialogue>I do n't know yet. Maybe. Probably not.</dialogue> <character>BILL</character> <dialogue>I hate to break it you, but that particular family spat has been settled for 1,600 years. Nobody loses sleep over it anymore. Honest.</dialogue> <character>DAGGETT</character> <dialogue>What did John have against angels?</dialogue> <character>BILL</character> <dialogue>Oh, he did n't trust them much. All that running around smiting and killing in the name of the Lord. God's wild bunch. He thought it made them fickle and vain. One click above ghosts. Satan did n't help the image much either.</dialogue> <character>DAGGETT</character> <dialogue>Satan?</dialogue> <character>BILL</character> <dialogue>Well, he did start as an angel.</dialogue> </scene> <scene> <stage_direction>EXT. GYM</stage_direction> <scene_description>Thomas walks Bill out to his car .</scene_description> <character>BILL</character> <dialogue>So when are you going to get a real job?</dialogue> <character>DAGGETT</character> <dialogue>You mean with the Church?</dialogue> <character>BILL</character> <dialogue>You almost did it once. I never saw a seminary student more called to the collar than you. Why did n't you ever become ordained?</dialogue> <character>DAGGETT</character> <dialogue>It's a long story.</dialogue> <character>BILL</character> <dialogue>You'll have to tell it to me sometime.</dialogue> <character>DAGGETT</character> <dialogue>Sometime.</dialogue> </scene> <scene> <stage_direction>EXT. DOWNTOWN - DAY</stage_direction> <scene_description>The building is squat and brick . A non - descrip warehouse that subs as a police evidence storage area . The sun is hard today as it beats down on Jerry 's large - brimmed felt hat . Daylight and Jerry do n't get along very well . His sunken , filmy eyes squint at its glare . The decayed flesh cracking along his cheeks flames at its touch . He shuffles down the sidewalk , the brackish , amber fluid that gurgles down his leg filling his shoes and leaving behind shiny wet footprints like a snail . There 's nobody around the back door and its unlocked . Jerry 's shrunken claws pull it open . INSIDE Is a crush of filing cabinets and erector - set shelves . All of it crammed with low grade stuff . The heroin busts and million dollar currency arrests do n't end up here . Here it 's all shoe boxes and dusty files . Fragments of small lives forgotten . Jerry pulls the brim of his hat down even further as he works his way past rack after rack . The single uniform he meets looks only casually at Jerry 's lapel ID badge . It 's on the third shelf he finds it . John Doe # 78 . Jerry lifts the box and walks out .</scene_description> </scene> <scene> <stage_direction>INT. COUNTY BUILDING BASEMENT</stage_direction> <scene_description>Gabriel steps off the elevator and follows the signs for MEDICAL EXAMINER . Along the way he passes a checkpoint guard .</scene_description> <character>GUARD</character> <dialogue>Need a pass, friend.</dialogue> <character>GABRIEL</character> <dialogue>I'll just be a second.</dialogue> <character>GUARD</character> <dialogue>C'mon.</dialogue> <character>GABRIEL</character> <dialogue>Sorry.</dialogue> <scene_description>Gabriel walks back to the guard , smiles , and KNOCKS him clean out of his chair with the back of his arm . The guard SMACKS against the wall and crumples out of view .</scene_description> </scene> <scene> <stage_direction>INT. MORGUE</stage_direction> <scene_description>Tiled floor and refrigerated corpses . Nobody 's around when Gabriel enters . He walks over to a file cabinet and removes a thick folder . Then he walks to the big filing cabinets , the ones that hold a body in each drawer . He strolls along , tapping each label till he finds the one he 's looking for , slides it open , and looks down at the naked body of the gargoyle . He 's been sewed back together . Kind of . Gabriel grabs the eyeless corpse under the armpits and drags him out onto the floor where he pushes the legs together and outstretches the arms , like a crucifix . From his coat Gabriel takes out a small vial of oil and rubs it onto the gargoyle 's feet and hands . Anointing them . Then with the tip of his finger , he draws a faint sign of the cross on the forehead , stands , and walks for the door . In the background , as Gabriel leaves , we see the body of the gargoyle BURST into flame .</scene_description> </scene> <scene> <stage_direction>INT. KATHERINE'S SCHOOL</stage_direction> <scene_description>Katherine 's students are shuffling back from lunch to their seats , making small talk and paper airplanes . Katherine does a head count , then stops a young boy coming through the door .</scene_description> <character>KATHERINE</character> <dialogue>Brian, have you seen Mary?</dialogue> <character>BRIAN</character> <dialogue>I think she's out back somewhere.</dialogue> <character>KATHERINE</character> <parenthetical>( to girl . )</parenthetical> <dialogue>Allison?</dialogue> <character>ALLISON</character> <dialogue>We have n't seen her since lunch.</dialogue> <character>KATHERINE</character> <dialogue>We're you guys up in the.</dialogue> <scene_description>The girls , Mary 's friends , shrug innocently . Katherine sighs .</scene_description> <character>KATHERINE</character> <dialogue>Okay everybody, get started on today's reading. Quietly. I'll be right back.</dialogue> <scene_description>Katherine closes the door behind her . The class immediately erupts into goofing off . The door opens again .</scene_description> <character>KATHERINE</character> <dialogue>I mean quiet.</dialogue> <scene_description>IN THE ABANDONED PART OF THE BUILDING Katherine walks through decayed and rusting halls .</scene_description> <character>KATHERINE</character> <parenthetical>( calls out . )</parenthetical> <dialogue>Mary.</dialogue> <scene_description>It 's spooky up here . A part of the building Katherine clearly dislikes .</scene_description> <character>KATHERINE</character> <dialogue>Mary.</dialogue> <parenthetical>( to herself . )</parenthetical> <dialogue>Shit.</dialogue> <scene_description>Katherine calls out Mary 's name a few more times , turns a few more corners , and suddenly comes on her .</scene_description> <character>KATHERINE</character> <dialogue>Mary?</dialogue> <scene_description>Mary 's sitting beside Simon , the bleeding , ashen - faced man with sunglasses . She 's giving Simon a piece of sandwich and a coke . Katherine is instantly wary .</scene_description> <character>KATHERINE</character> <dialogue>Mary, come here.</dialogue> <character>MARY</character> <dialogue>But Simon and I were -</dialogue> <character>KATHERINE</character> <dialogue>Come here.</dialogue> <scene_description>Mary reluctantly walks over to Katherine .</scene_description> <character>KATHERINE</character> <dialogue>Go back to class.</dialogue> <character>MARY</character> <dialogue>But -</dialogue> <character>KATHERINE</character> <dialogue>Go.</dialogue> <scene_description>Mary frowns , waves once to Simon , and leaves . There 's a heaviness to the air around Simon . A kind of buzzing . Katherine blinks her eyes a few times . Focuses .</scene_description> <character>SIMON</character> <dialogue>She was n't doing any harm.</dialogue> <character>KATHERINE</character> <dialogue>It's not her I'm worried about.</dialogue> <character>SIMON</character> <dialogue>Of course.</dialogue> <character>KATHERINE</character> <dialogue>What are you doing here?</dialogue> <character>SIMON</character> <dialogue>Small job. Mostly done now. Just passing through.</dialogue> <character>KATHERINE</character> <dialogue>This is school property, you ca n't sleep here.</dialogue> <character>SIMON</character> <dialogue>It was n't part of the plan. Honest.</dialogue> <character>KATHERINE</character> <parenthetical>( notices blood stains . )</parenthetical> <dialogue>Are you all right?</dialogue> <character>SIMON</character> <dialogue>No. Not really.</dialogue> <scene_description>That buzz . Katherine rubs the side of her temple .</scene_description> <character>KATHERINE</character> <dialogue>I'll have to call the police.</dialogue> <character>SIMON</character> <dialogue>I wish you would n't, but I understand.</dialogue> <character>KATHERINE</character> <dialogue>They'll help you.</dialogue> <character>SIMON</character> <dialogue>Oh, I rather doubt that.</dialogue> <scene_description>Katherine turns and leaves , her footsteps fading . Mary appears again .</scene_description> <character>MARY</character> <dialogue>Hi.</dialogue> <character>SIMON</character> <dialogue>Hello. I thought you'd left.</dialogue> <character>MARY</character> <dialogue>I hid. I'm very clever.</dialogue> <character>SIMON</character> <dialogue>I'm sure you are.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>You were nice to give me the food.</dialogue> <character>MARY</character> <dialogue>I know.</dialogue> <character>SIMON</character> <dialogue>I have n't much time, Mary. And since you've been so nice to me, there's something I'd very much like to give to you.</dialogue> <character>MARY</character> <dialogue>What?</dialogue> <character>SIMON</character> <dialogue>Just for a little while. Something very special. Can you keep it a secret? The biggest secret ever?</dialogue> <character>MARY</character> <dialogue>Yes. What is it?</dialogue> <character>SIMON</character> <dialogue>Come here, Mary.</dialogue> <scene_description>She takes a couple of shy steps toward him .</scene_description> <character>SIMON</character> <dialogue>Closer.</dialogue> <scene_description>As she does - Katherine , outside the building , rounding up some of the kids who decided to take an impromptu recess . Hustling the last one up the stairs , she pauses suddenly . She hears something . Faint coughing . Katherine walks back around the side of the building and sees Mary bent over , vomiting . Katherine rushes up to her .</scene_description> <character>MARY</character> <dialogue>I do n't feel good.</dialogue> <character>KATHERINE</character> <dialogue>What's the matter, pumpkin? Did you eat something?</dialogue> <parenthetical>( concerned beat . )</parenthetical> <dialogue>Did he give you something?</dialogue> <scene_description>Mary coughs up the last of her lunch .</scene_description> <character>MARY</character> <dialogue>Can I go home now?</dialogue> <scene_description>Katherine wipes off Mary 's mouth with a hanky .</scene_description> <character>KATHERINE</character> <dialogue>Sure, hon. Let's go.</dialogue> </scene> <scene> <stage_direction>EXT. TOWN - DAY</stage_direction> <scene_description>Katherine drives Mary home , a dusty , tired mobile home slumped among the saguaro and tumbleweed on the edge of town .</scene_description> </scene> <scene> <stage_direction>INT. MOBILE HOME</stage_direction> <scene_description>Mary and Katherine pull open the door and enter . Mary 's elderly grandmother is sitting watching `` All My Children '' . She smiles at Katherine and looks at Mary with concern as the little girl rubs her stomach and explains something in Navaho . IN THE BEDROOM Katherine helps tuck Mary in bed as her grandmother brings a glass of water .</scene_description> <character>KATHERINE</character> <dialogue>I'll have the school send over a doctor.</dialogue> <scene_description>The grandmother sits beside Mary , whispers gently in Navaho , and softly stokes her brow . IN THE LIVING ROOM</scene_description> <character>KATHERINE</character> <parenthetical>( on the phone . )</parenthetical> <dialogue>. He's was just laying up there. I thought, with the kids and everything.</dialogue> <character>VOICE</character> <dialogue>Most of my boys are up the highway on a tanker spill at the moment. They may be a while. These people are rarely any problem. I'll have a deputy come by tonight or tomorrow and shoo him out.</dialogue> <character>KATHERINE</character> <dialogue>He looked hurt.</dialogue> <character>VOICE</character> <dialogue>They all do, ma'am. Inside or out, they're all damaged goods.</dialogue> <scene_description>IN THE BEDROOM Alone and tucked into bed , Mary stares off at something very , very far away .</scene_description> </scene> <scene> <stage_direction>INT. THOMAS'S APARTMENT</stage_direction> <scene_description>The sun orange and fading outside his window , Thomas drifts off into a nap on his couch . The phone rings .</scene_description> <character>DAGGETT</character> <dialogue>Yeah.</dialogue> <character>VOICE</character> <dialogue>It's your friendly coroner.</dialogue> <character>DAGGETT</character> <dialogue>Why is my friendly coroner, after a long day at work, calling me at home?</dialogue> <character>VOICE</character> <dialogue>I have something you'll want to see.</dialogue> <character>DAGGETT</character> <dialogue>I doubt it.</dialogue> <character>VOICE</character> <dialogue>No, you'll definitely want to see this.</dialogue> </scene> <scene> <stage_direction>INT. MORGUE</stage_direction> <scene_description>On the floor is the smoldering , blackened outline of a body . A thick , slimy goo gurgles and pops . The whole room is afoul with acrid smoke .</scene_description> <character>CORONER</character> <dialogue>They also took the autopsy file.</dialogue> <character>DAGGETT</character> <dialogue>`` They''?</dialogue> <character>CORONER</character> <dialogue>He, she, it. They took it. They also lifted all the physical evidence from the San Julian impound.</dialogue> <character>DAGGETT</character> <dialogue>Where was everyone?</dialogue> <character>CORONER</character> <dialogue>The cop at the desk is in the hospital as we speak with a broken collarbone. Everyone else was down the hall watching the basketball playoffs.</dialogue> <character>DAGGETT</character> <dialogue>Who won?</dialogue> <character>CORONER</character> <dialogue>Temple.</dialogue> <character>DAGGETT</character> <dialogue>Lucky.</dialogue> <character>CORONER</character> <dialogue>Yeah. Foul on the buzzer.</dialogue> <scene_description>Thomas jams his hands in his pockets and leans against an autopsy table . Watches the smoke curl slowly up from the impossibly melted goo in front of him .</scene_description> <character>DAGGETT</character> <dialogue>Looks like the snow angels we used to make as kids. Lie down in a clean bank. Move your arms up and down.</dialogue> <character>CORONER</character> <dialogue>You know what this means. Our friend's cleaned out all the evidence on this guy. Everything.</dialogue> <character>DAGGETT</character> <dialogue>Did the cop get a look at who nailed him?</dialogue> <character>CORONER</character> <dialogue>Tall. Smiled a lot.</dialogue> <character>DAGGETT</character> <dialogue>Anything else?</dialogue> <character>CORONER</character> <dialogue>He wore sunglasses.</dialogue> <scene_description>Thomas pulls out out his notebook .</scene_description> <character>CORONER</character> <dialogue>You gon na figure this one out, Tom?</dialogue> <character>DAGGETT</character> <dialogue>I'm going to try.</dialogue> <character>CORONER</character> <dialogue>When you do, give me a call. Tell me I'm not crazy.</dialogue> </scene> <scene> <stage_direction>INT. JERRY'S APARTMENT</stage_direction> <scene_description>Gabriel crouches on the linoleum and pours everything out of the evidence box onto the floor . He sifts through it , a smile appearing when comes across the Chimney Rock Republican and its circled obituary .</scene_description> <character>GABRIEL</character> <dialogue>You like the desert, Jerry?</dialogue> <scene_description>Jerry is looking worse by the day . A rotting , oozing fissure has opened on his forehead . His right eye does n't move anymore . He sits on a kitchen chair glumly .</scene_description> <character>JERRY</character> <dialogue>You promised. You promised that -</dialogue> <character>GABRIEL</character> <dialogue>- Soon. Honest. Do n't be a pest about it.</dialogue> <character>JERRY</character> <parenthetical>( sighs . )</parenthetical> <dialogue>Never trust a fucking angel.</dialogue> <character>GABRIEL</character> <dialogue>Excellent advice.</dialogue> </scene> <scene> <stage_direction>INT. POLICE STATION</stage_direction> <scene_description>Thomas sits hunched over his notes from the first day of the investigation . Written in it is the Chimney Rock Republican and the obituary name of General Arnold Hawthorn . Lt. Paul sits down in the chair opposite .</scene_description> <character>LT. PAUL</character> <dialogue>Do you ever have one of those afternoons where you feel no one's giving you a straight answer about anything?</dialogue> <character>DAGGETT</character> <dialogue>Oh, maybe five or six times a week.</dialogue> <character>LT. PAUL</character> <parenthetical>( reading sheet . )</parenthetical> <dialogue>It says here somebody got into the property warehouse and cleaned everything out of your evidence box. No, he did leave one thing. A footprint. 11 - D.</dialogue> <character>DAGGETT</character> <dialogue>Mud on his shoes?</dialogue> <character>LT. PAUL</character> <dialogue>Spinal fluid.</dialogue> <scene_description>Thomas slowly closes his notebook .</scene_description> <character>LT. PAUL</character> <dialogue>I'm not going to get a straight answer out of you either, am I?</dialogue> <character>DAGGETT</character> <dialogue>Not yet.</dialogue> <scene_description>The Lt. rubs his eyes tiredly .</scene_description> <character>DAGGETT</character> <dialogue>I need to go to Arizona.</dialogue> <character>LT. PAUL</character> <dialogue>For your health?</dialogue> <character>DAGGETT</character> <dialogue>So I can give you a straight answer.</dialogue> <character>LT. PAUL</character> <dialogue>Sure, why not? Take the kids. See the Grand Canyon. Send me a fucking postcard.</dialogue> <character>DAGGETT</character> <dialogue>Sorry.</dialogue> <character>LT. PAUL</character> <dialogue>I've got a headache, Tom, and I hate my life. If you have to go, go.</dialogue> </scene> <scene> <stage_direction>EXT. DESERT - NIGHT</stage_direction> <scene_description>On an utterly lonely blacktop , Gabriel shoots by in his top - down rambler , insignificant in the night 's vastness . Jerry 's in the back , feet up on the seat .</scene_description> <character>JERRY</character> <dialogue>Why do you need me? I can hardly walk now.</dialogue> <character>GABRIEL</character> <dialogue>Some things are human work, son. Live or dead, human work. Besides, I like you.</dialogue> <character>JERRY</character> <dialogue>Lucky moi.</dialogue> <scene_description>Gabriel suddenly stands on the brakes , SCREECHING the rambler to a dusty stop . He kills the engine and everything is instantly whispering night and coyote howls . Gabriel climbs out and walks to the edge of a cliff . Far below , nestled among the finger - like spires of volcanic cones , lies The Town . Twinkling lights in a cold , dark embrace . Gabriel pushes his sunglasses up his nose and smiles .</scene_description> <character>GABRIEL</character> <dialogue>I can always smell a graveyard.</dialogue> <scene_description>Two coyotes begin fighting and snarling with each other in the dust nearby .</scene_description> </scene> <scene> <stage_direction>EXT. GRAVEYARD - NIGHT</stage_direction> <scene_description>On a low hill at the edge of town . Cracked , sinking headstones . The rambler 's parked next to a new one , Slim Pickens on the AM , as Jerry digs up the fresh grave marked General Arnold Hawthorne . Gabriel sits perched on the headstone over the grave like a winged creature .</scene_description> <character>JERRY</character> <dialogue>I hope you're enjoying this.</dialogue> <character>GABRIEL</character> <dialogue>I always enjoy watching you work, Jerry.</dialogue> <character>JERRY</character> <dialogue>How did I ever get you in my life?</dialogue> <character>GABRIEL</character> <dialogue>Come on, you did n't really want to kill yourself.</dialogue> <character>JERRY</character> <dialogue>But I did it, did n't I? I did kill myself.</dialogue> <character>GABRIEL</character> <dialogue>Well, yes. Technically.</dialogue> <character>JERRY</character> <dialogue>And you're just keeping me alive.</dialogue> <character>GABRIEL</character> <dialogue>Letting you die slower.</dialogue> <character>JERRY</character> <dialogue>I'm so in your debt.</dialogue> <character>GABRIEL</character> <dialogue>Thank you, Jerry. I'm touched. Really.</dialogue> <scene_description>Jerry 's shovel CLANKS onto something hard . He scrapes away the dirt , revealing a coffin lid . With a socket wrench Jerry removes the fastening bolts , then with the edge of his shovel , pries open the lid . It 's the ancient , wasted general we saw at the beginning . His medals flash in the moonlight .</scene_description> <character>JERRY</character> <dialogue>Not much to look at.</dialogue> <character>GABRIEL</character> <dialogue>Ah, but it's not what's on the outside that matters -</dialogue> <scene_description>Gabriel leaps off his perch down into the grave .</scene_description> <character>GABRIEL</character> <dialogue>- It's what's on the inside.</dialogue> <scene_description>Gabriel reaches down , places one hand on the General 's forehead , one on his chin , and BREAKS the mouth open . He gazes down into it . Then suddenly stiffens and straightens up .</scene_description> <character>GABRIEL</character> <parenthetical>( upset . )</parenthetical> <dialogue>It's not here.</dialogue> <scene_description>Gabriel frantically look in the ears . Up the nose .</scene_description> <character>GABRIEL</character> <dialogue>It's not here!</dialogue> <character>JERRY</character> <dialogue>Oooh, bad news for the war effort.</dialogue> <character>GABRIEL</character> <parenthetical>( spins wildly on him . )</parenthetical> <dialogue>Shut up!</dialogue> <scene_description>Gabriel BANGS the coffin lid in frustration . Tries to think .</scene_description> <character>GABRIEL</character> <dialogue>Now, if you were a soul, where would you hide?</dialogue> <character>JERRY</character> <dialogue>The hell away from you.</dialogue> </scene> <scene> <stage_direction>INT. THOMAS'S APARTMENT</stage_direction> <scene_description>The numbers on the clock radio roll over five AM and the news comes on . Thomas stirs in bed , rubs his eyes , and looks out at a sky untouched by any sign of dawn . In coat and tie , Thomas sits in his spartan kitchen stirring a coffee when the phone rings .</scene_description> <character>FEMALE VOICE</character> <dialogue>Hey little brother.</dialogue> <character>DAGGETT</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Hey. How's the world?</dialogue> <character>VOICE</character> <dialogue>The world's the usual. Except for a guppy. the world's minus one guppy this morning.</dialogue> <character>DAGGETT</character> <dialogue>And Jamie and Mac?</dialogue> <character>VOICE</character> <dialogue>They keep asking for Uncle Tommy. The only man that can make stuffed bears talk.</dialogue> <character>DAGGETT</character> <dialogue>My one true calling. What's up?</dialogue> <character>VOICE</character> <dialogue>What do you mean?</dialogue> <character>DAGGETT</character> <dialogue>It's five - thirty in the morning.</dialogue> <character>VOICE</character> <parenthetical>( beat . )</parenthetical> <dialogue>I just thought I should call.</dialogue> <character>DAGGETT</character> <dialogue>You always were telepathic.</dialogue> <character>VOICE</character> <dialogue>Do n't go.</dialogue> <scene_description>Thomas looks up at his overnight bag , sitting half - packed on the dresser .</scene_description> <character>DAGGETT</character> <dialogue>It's my job, Jan.. I go places sometimes.</dialogue> <character>VOICE</character> <dialogue>I just had this terrible feeling about it. What's happening, Tom?</dialogue> <character>DAGGETT</character> <dialogue>I do n't know.</dialogue> <character>VOICE</character> <dialogue>I miss you. Even when you're here. I miss you. I miss my brother. It's been four years, Tom, since.</dialogue> <character>DAGGETT</character> <dialogue>I know.</dialogue> <character>VOICE</character> <dialogue>We're the only blood family we have left, you and me. I worry about you.</dialogue> <character>DAGGETT</character> <dialogue>I'll be okay.</dialogue> <character>VOICE</character> <dialogue>Sorry about the dawn - attack call. I love you.</dialogue> <character>DAGGETT</character> <dialogue>I love you too, Jan..</dialogue> <scene_description>He cradles the phone , stares at it , then picks up his overnight bag .</scene_description> </scene> <scene> <stage_direction>EXT. THE TOWN - NIGHT</stage_direction> <scene_description>Silent and dead at this hour . Gabriel 's boots creak on the floorboards of the 19th century plank sidewalks . He taps his finger aimlessly along plate glass shop windows .</scene_description> <character>GABRIEL</character> <dialogue>Boy, what a dump, huh?</dialogue> <scene_description>Jerry , limping on a foot that 's caving in on itself , wiping the spinal fluid out of his dead eye , shuffles along behind . Gabriel pops off the elevated sidewalk , grabs a parking meter and swings himself playfully around .</scene_description> <character>GABRIEL</character> <dialogue>Why ca n't this shit ever go down in Miami? Or Bora Bora? I feel like I've spent my whole damn stay in gin swills like this.</dialogue> <character>JERRY</character> <dialogue>Life's a bitch.</dialogue> <scene_description>Gabriel suddenly freezes . He sticks his nose up , sniffs like a coyote , then abruptly drops to the ground in a push - up and smells the dirt . Tastes it with his tongue . Smiles .</scene_description> <character>GABRIEL</character> <dialogue>Well well.</dialogue> </scene> <scene> <stage_direction>INT. THE SCHOOL BUILDING - NIGHT</stage_direction> <scene_description>A fracture of broken moon tumbles through shattered windows and falls dully across shapes old , shapes forgotten , and one shape trying hopelessly to drag itself across the floor . It 's Simon ; breath a rasp , blood - soaked pants leaving a long smear behind him like a hemorrhaging snail . He coughs , drags an arm across the lenses of his sunglasses , And looks up at a pair of black , lizard - skin boots .</scene_description> <character>GABRIEL</character> <dialogue>Hi, Simon.</dialogue> <scene_description>Simon rolls on his back and sighs .</scene_description> <character>SIMON</character> <dialogue>Gabriel.</dialogue> <scene_description>Simon looks up at puss - faced Jerry , leaning quietly in a dark corner .</scene_description> <character>JERRY</character> <dialogue>Do n't mind me. Just along for the ride.</dialogue> <scene_description>Gabriel sits down against the wall .</scene_description> <character>GABRIEL</character> <dialogue>So, what shall we talk about? Theology?</dialogue> <character>SIMON</character> <dialogue>I'm a little talked out on theology.</dialogue> <character>GABRIEL</character> <dialogue>Fair enough.</dialogue> <scene_description>Gabriel turns his boot to the moon , watches the pale light glint back off the lizard scales .</scene_description> <character>GABRIEL</character> <dialogue>You know why I'm here.</dialogue> <character>SIMON</character> <dialogue>Oh yes.</dialogue> <character>GABRIEL</character> <dialogue>Do n't happen to have it on you by chance?</dialogue> <character>SIMON</character> <dialogue>No.</dialogue> <character>GABRIEL</character> <dialogue>That would have been too easy.</dialogue> <scene_description>Simon suddenly JUMPS to his feet . Tries to escape . Jerry trips him , SPRAWLING Simon back to the floor .</scene_description> <character>GABRIEL</character> <dialogue>Please, Simon. Get serious.</dialogue> <scene_description>Gabriel walks over to him . Puts his face close .</scene_description> <character>GABRIEL</character> <dialogue>Now. Where's the soul?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>You know. So high. Used to reside in the recently departed General Hawthorne.</dialogue> <scene_description>Simon does n't answer . Gabriel shrugs .</scene_description> <character>GABRIEL</character> <dialogue>Have it your way, big guy.</dialogue> <character>SIMON</character> <dialogue>I do have one question.</dialogue> <character>GABRIEL</character> <dialogue>Shoot.</dialogue> <character>SIMON</character> <dialogue>Do you even remember what this war's about?</dialogue> <scene_description>Gabriel pauses , almost thoughtfully . Then he smiles .</scene_description> <character>GABRIEL</character> <dialogue>That's hardly the point, is it?</dialogue> <character>SIMON</character> <dialogue>I guess I never did get the point.</dialogue> <character>GABRIEL</character> <dialogue>Happens.</dialogue> <character>SIMON</character> <dialogue>How do you do it, Gabriel? How do you go on and on in this place?</dialogue> <character>GABRIEL</character> <dialogue>I like it here, Simon. I always have.</dialogue> <character>SIMON</character> <dialogue>I'm so tired.</dialogue> <scene_description>Gabriel grasps Simon 's hand .</scene_description> <character>GABRIEL</character> <dialogue>Then join us, Simon. Reject the Nicene Council. We were here first.</dialogue> <character>SIMON</character> <dialogue>I ca n't do it, Gabriel. I do n't even know why anymore, but I ca n't.</dialogue> <character>GABRIEL</character> <dialogue>You know the routine.</dialogue> <character>SIMON</character> <parenthetical>( swallows hard . )</parenthetical> <dialogue>Yes.</dialogue> <scene_description>Gabriel 's hand is suddenly on Simon 's face , fingers spread , claw - like . They press into the flesh . Hard . And harder . Until Simon starts to bleed . Then to burn .</scene_description> </scene> <scene> <stage_direction>INT. KATHERINE'S HOUSE - NIGHT</stage_direction> <scene_description>Katherine startles abruptly in her bed at the faraway sound of Simon 's screams . Screams carried either on the wind or her dreams .</scene_description> </scene> <scene> <stage_direction>INT. MARY'S HOUSE - NIGHT</stage_direction> <scene_description>Asleep , sweaty , shivering , Mary suddenly opens her eyes .</scene_description> </scene> <scene> <stage_direction>INT. THE SCHOOL BUILDING - NIGHT</stage_direction> <scene_description>Gabriel releases his grip on Simon , letting him fall back against the wall , afire . His clothes twist and blacken . His skin creeps and pops . His sunglasses melt and fall away ; revealing two hollow pits beneath . Gabriel lifts Simon 's entire body up off the floor by just the disintegrating face , and stares into the hollow pits .</scene_description> <character>GABRIEL</character> <dialogue>Not yet.</dialogue> <scene_description>And the fires go out . Gabriel drops the crackling , acrid body onto the floor . Impossibly , through the sizzling mucus and molten hair , it breathes . It gasps in pain . It wo n't die .</scene_description> <character>GABRIEL</character> <dialogue>I can do this for five months, Simon.</dialogue> </scene> <scene> <stage_direction>EXT. THE TOWN</stage_direction> <scene_description>The skies above lighten and smear blue and red . KATHERINE Finishes dressing for school , picks up her teaching bag , and crunches out across the gravel to her pick - up .</scene_description> </scene> <scene> <stage_direction>INT. THE SCHOOL BUILDING</stage_direction> <scene_description>Gabriel 's lizard boots pace back and forth past Simon 's writhing , burning body . Gabriel 's more jittery now . Losing his patience . He bends down and pulls Simon 's face up to his .</scene_description> <character>GABRIEL</character> <dialogue>This is getting boring, Simon.</dialogue> <character>JERRY</character> <dialogue>Amen.</dialogue> <character>GABRIEL</character> <dialogue>Where is it? Where did you put it?</dialogue> <scene_description>The seared skin around Simon 's mouth comes off in Gabriel 's hand . But Simon is still , even now , silent .</scene_description> <character>GABRIEL</character> <dialogue>Where is it!</dialogue> <scene_description>He flings Simon with a horrible crunch against the wall .</scene_description> <character>GABRIEL</character> <dialogue>I'm just about out of tricks here. You're a tough one, friend. Old school.</dialogue> <scene_description>He walks over and places a hand with something like friendship on Simon 's charred shoulder .</scene_description> <character>GABRIEL</character> <dialogue>God loves you, Simon.</dialogue> <scene_description>And with the other hand Gabriel JAMS his fist into Simon 's chest , PULLING OUT a lumpy , burned heart . Simon 's mouth springs open and hisses emptily . Gabriel slips the heart into his pocket and lets go of Simon 's shoulder . The body instantly disintegrates and crashes to the floor .</scene_description> </scene> <scene> <stage_direction>EXT. THE TOWN - MORNING</stage_direction> <scene_description>Katherine squints at the morning glare as she drives through town . Pulling into the school 's drive she sees , parked at the building 's back door , a sheriff 's patrol car .</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL BUILDING</stage_direction> <scene_description>Katherine comes up the stairs of the building 's abandoned floor , passing the stacks of rotting desks toward where she last saw Simon . There 's a bad smell in the air . At a turn stands a deputy that looks up as Katherine approaches .</scene_description> <character>DEPUTY</character> <dialogue>You may want to skip this, ma'am.</dialogue> <scene_description>Katherine looks past him to where a second deputy crouches down beside . beside something . It 's human shaped , but like a shadow . A shadow twisted in agony and slicked with a tarry , smoldering ooze . The smell is overpowering . The crouched deputy has a handkerchief over his mouth .</scene_description> <character>CROUCHED DEPUTY</character> <dialogue>God damn.</dialogue> <character>DEPUTY</character> <parenthetical>( to Katherine . )</parenthetical> <dialogue>Were any of your students up here?</dialogue> <character>KATHERINE</character> <dialogue>Mary.</dialogue> </scene> <scene> <stage_direction>EXT. MARY'S FAMILY TRAILER - DAY</stage_direction> <scene_description>Katherine pulls - up and parks . INSIDE Mary is still in bed , droopy - eyed and sweating . Her grandmother is there , and so is an elderly Navaho . He stands beside Mary 's side , holding above her body a clenched pouch that he passes slowly back and forth .</scene_description> <character>KATHERINE</character> <parenthetical>( to grandmother . )</parenthetical> <dialogue>How is she?</dialogue> <character>GRANDMOTHER</character> <dialogue>Same.</dialogue> <character>KATHERINE</character> <dialogue>Did the doctor come by?</dialogue> <character>GRANDMOTHER</character> <dialogue>He found nothing. But something is in her. I know. Something the Belagaana doctor ca n't see. The night people have been around two days now. It is a warning.</dialogue> <parenthetical>( nods to Navaho man . )</parenthetical> <dialogue>So we have called the hand trembler. To find if she must have an Enemy Ghost Way.</dialogue> <scene_description>The old man mumbles a soft chant as he moves the pouch back and forth across Mary 's body .</scene_description> </scene> <scene> <stage_direction>EXT. MARY'S FAMILY TRAILER - DAY</stage_direction> <scene_description>Katherine walks back out toward her pickup . She stops . Thirty yards away , almost invisible in the sage say for the glare of its evil , intelligent eyes , is a coyote . As she feels it 's gaze a shadow suddenly crosses her shoulder . Katherine turns quickly but only barely catches , out of the corner of her eye , a glimpse of something very large . And winged . A huge semi ROARING deafeningly past on an empty desert highway , KICKING UP a dusty cyclone that drifts over a one - horse gas station and Thomas , sitting there in his car checking a map .</scene_description> </scene> <scene> <stage_direction>EXT. COUNTY BUILDING - DAY</stage_direction> <scene_description>Small townish ; old adobe and stucco walls , cannon on the front lawn , every door loudly declaring itself a department : SOCIAL SERVICES , COURTS , and , SHERIFF . INSIDE The Sheriff 's personal office is turn of the century regal , with high beam ceilings and rotating fans . Nothing seems newer than 1940 , including the coffee pot the Sheriff pours a mugful from . Trim with glasses , bolo tie and boots , he looks like Barry Goldwater .</scene_description> <character>SHERIFF</character> <dialogue>And to what do I owe the thrill of a visit from a So Cal homicide cop?</dialogue> <scene_description>He hands the coffee to Thomas , sitting in a chair beside his solid oak desk .</scene_description> <character>DAGGETT</character> <dialogue>Run of of the mill psycho killer body dismemberment on our end. The usual.</dialogue> <character>SHERIFF</character> <dialogue>Lovely place, Los Angeles.</dialogue> <character>DAGGETT</character> <dialogue>Got a lead I wanted to run down Chimney Rock way. Thought I'd do the courtesy of telling you first.</dialogue> <character>SHERIFF</character> <dialogue>Big of you.</dialogue> <character>DAGGETT</character> <dialogue>You're welcome to put a babysitter on me if you like.</dialogue> <scene_description>The Sheriff smiles .</scene_description> <character>SHERIFF</character> <dialogue>Son, this is the third biggest county in the country, not even counting the 25,000 square mile Indian reservation right next door, and I've got fewer men than just one of your little palm tree precincts to cover all of it. ` Fraid the only help you're gon na get from me, short of another shoot out at the OK Corral, is that cup of coffee in your hand. A middle - aged secretary enters with a stack of paper.</dialogue> <character>SECRETARY</character> <dialogue>Here's the last week's watch reports.</dialogue> <scene_description>She hands them to the Sheriff , who passes them on to Thomas . He flips through the stack , comes up with nothing . The secretary hands another , single sheet to the Sheriff .</scene_description> <character>SECRETARY</character> <dialogue>Bobby just called this in from Chimney Rock.</dialogue> <scene_description>Thomas perks at The Town 's name .</scene_description> <character>SHERIFF</character> <parenthetical>( to Thomas . )</parenthetical> <dialogue>Sent a car up there this morning. Teacher complained some vagrant was sleeping in her schoolhouse.</dialogue> <scene_description>The Sheriff 's brow crinkles in consternation as he reads further .</scene_description> <character>SHERIFF</character> <parenthetical>( to secretary . )</parenthetical> <dialogue>Damn it, get Bobby on the phone, Clarice. What the hell is this suppose to be?</dialogue> <character>DAGGETT</character> <parenthetical>( re report . )</parenthetical> <dialogue>May I?</dialogue> <scene_description>The Sheriff hands it to him . Glancing at it we pick up words like BURNED , BLACK SLICK , BODY OUTLINE . Thomas copies the name of the school down , gulps his coffee , and shakes the Sheriff 's hand .</scene_description> <character>DAGGETT</character> <dialogue>Thanks for the coffee.</dialogue> <character>SHERIFF</character> <parenthetical>( as Thomas turns to leave . )</parenthetical> <dialogue>Small piece of advice, Lt. Dagget, that I give free of charge to all visiting big city policemen : It's wild country up there. Always has been, always will be. You come across anything that snarls, you call me first, hear?</dialogue> <character>DAGGETT</character> <dialogue>I never turn down advice, Sheriff. Especially when it's free.</dialogue> <scene_description>Thomas 's sedan passing through the vast , empty land . FAR ON THE HORIZON A small clump of buildings emerge clinging hopelessly to the earth . The Town .</scene_description> </scene> <scene> <stage_direction>EXT. TOWN HOTEL - DAY</stage_direction> <scene_description>A former miner 's hotel , stone walls and sagging wrought iron .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM</stage_direction> <scene_description>Thomas tosses his bag onto the bed , opens the balcony door , and looks out on the crumbly shale hills , the abandoned prospecting shacks , and the Chuska Mountains , clouds brewing darkly across its shattered back . A close - up of the circled newspaper obituary for General Hawthorne . The paper lowers and reveals behind it the general 's grave . The dirt around the tomb is loose , recently filled . The grave keeper , a young , gangly , drifter type stands nearby with his shovel .</scene_description> <character>DAGGETT</character> <dialogue>How long ago was he buried?</dialogue> <character>GRAVE KEEPER</character> <dialogue>Which time?</dialogue> <character>DAGGETT</character> <dialogue>What do you mean?</dialogue> <character>GRAVE KEEPER</character> <dialogue>Somebody dug him up last night. I just finished putting him back.</dialogue> <character>DAGGETT</character> <dialogue>Did they take anything?</dialogue> <character>GRAVE KEEPER</character> <dialogue>Nothin' on the outside.</dialogue> </scene> <scene> <stage_direction>INT. THE SCHOOLHOUSE</stage_direction> <scene_description>Thomas 's breath escapes in warm clouds here in the unheated , abandoned part of the building . Rats scurry away from feeding on the dark , human - like stain on the floor as Thomas crouches down beside it . He probes the dried , black , crusty flotsam with his ball - point pen . Just like the burned body back at the morgue . Far away you can hear the sounds of children . Of a teacher 's voice . DOWNSTAIRS It 's only past the final door , into the smallest corner of the building , that the walls become clean and brightly painted by eager third graders . The creepy silence transforms itself into the giggles of children as they bang open the classroom door and whoop themselves outside for recess . The last one out is Katherine . She 's surprised to see Thomas .</scene_description> <character>DAGGETT</character> <dialogue>Hello.</dialogue> <character>KATHERINE</character> <parenthetical>( suspicious . )</parenthetical> <dialogue>Can I help you with something?</dialogue> <character>DAGGETT</character> <dialogue>Tom Dagget. I'm with the police.</dialogue> <character>KATHERINE</character> <dialogue>About the guy upstairs?</dialogue> <character>DAGGETT</character> <dialogue>I'd like to ask you a few questions.</dialogue> <character>KATHERINE</character> <dialogue>I've kinda got my hands full right now.</dialogue> <character>DAGGETT</character> <dialogue>I'll just tag along.</dialogue> <scene_description>Katherine unlocks a hall cabinet and pulls out a stack of volleyballs . She tosses two to Thomas .</scene_description> <character>KATHERINE</character> <dialogue>Here, make yourself useful.</dialogue> <scene_description>Arms full , she pushes the building door open with her shoulder and backs out into the sunshine . She tosses the balls out to the kids .</scene_description> <character>KATHERINE</character> <dialogue>Okay, everbody stays on the courts today.</dialogue> <parenthetical>( kids groan . )</parenthetical> <dialogue>- I mean it.</dialogue> <scene_description>She sits down beside Thomas on the building 's stone steps .</scene_description> <character>DAGGETT</character> <dialogue>What grade is this?</dialogue> <character>KATHERINE</character> <dialogue>All of'em.</dialogue> <character>DAGGETT</character> <dialogue>Town does n't look that small.</dialogue> <character>KATHERINE</character> <dialogue>Nearly all ghosts now. When the copper mine closed it took most of the town with it. We just teach out of this one corner of the schoolhouse now. Rest of it's been abandoned for years.</dialogue> <character>DAGGETT</character> <dialogue>You're the only teacher.</dialogue> <character>KATHERINE</character> <dialogue>Yup. Just me.</dialogue> <parenthetical>( to kid threatening another . )</parenthetical> <dialogue>- Randy.</dialogue> <character>RANDY</character> <dialogue>But he -</dialogue> <character>KATHERINE</character> <dialogue>Do it again and I'll put your head in the door and slam it.</dialogue> <parenthetical>( to Thomas . )</parenthetical> <dialogue>Love and understanding are important tools in education.</dialogue> <character>DAGGETT</character> <dialogue>Clearly.</dialogue> <scene_description>The children skitter back and forth playing .</scene_description> <character>DAGGETT</character> <dialogue>The man upstairs, did you talk to him?</dialogue> <character>KATHERINE</character> <dialogue>I wanted to know what the hell he was doing there.</dialogue> <character>DAGGETT</character> <dialogue>What did he say?</dialogue> <character>KATHERINE</character> <dialogue>That it was n't part of the plan. He looked hurt. Bloody. Like someone had cut him. That happens here.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Was that. stuff. on the floor really him?</dialogue> <character>DAGGETT</character> <dialogue>Did any of the children talk to him?</dialogue> <character>KATHERINE</character> <dialogue>Yes.</dialogue> <character>DAGGETT</character> <dialogue>Who?</dialogue> <character>KATHERINE</character> <parenthetical>( protective . )</parenthetical> <dialogue>She's home sick from school today.</dialogue> <character>DAGGETT</character> <dialogue>Can I speak with her parents?</dialogue> <character>KATHERINE</character> <dialogue>They're dead. She lives with her grandmother. I'll have to ask her.</dialogue> <character>DAGGETT</character> <dialogue>All right.</dialogue> <parenthetical>( stands , hands her slip of paper . )</parenthetical> <dialogue>This is my number at the hotel.</dialogue> <scene_description>Thomas starts away . Pauses .</scene_description> <character>DAGGETT</character> <dialogue>Did you know Arnold Hawthorne?</dialogue> <character>KATHERINE</character> <dialogue>The General? Saw him here and there. It's a small town.</dialogue> <character>DAGGETT</character> <dialogue>Military man?</dialogue> <character>KATHERINE</character> <dialogue>About a million years ago. His interests lately were more like gardening and herbal tea.</dialogue> <character>DAGGETT</character> <dialogue>Did you go to the funeral?</dialogue> <character>KATHERINE</character> <dialogue>Everyone did. He lived here.</dialogue> <character>DAGGETT</character> <dialogue>No dark hidden secrets?</dialogue> <character>KATHERINE</character> <dialogue>There are no secrets in small towns, Mr. Dagget, dark or otherwise.</dialogue> <scene_description>ACROSS THE STREET Up the crumbly embankment , sitting perched on the roof of an abandoned house , is Gabriel . He watches Thomas walk to his car . He watches the children playing , lifting his nose to snort the air , like a coyote .</scene_description> </scene> <scene> <stage_direction>INT. THE TOWN LIBRARY</stage_direction> <scene_description>Thomas sifts through some clippings on General Hawthrone . Tactical genius . The man who saved Korea . Brutal . Almost court marshalled a dozen times for his inspired savagery . A truly ruthless man - who spent the last twenty years quietly tending his garden in a dying town .</scene_description> </scene> <scene> <stage_direction>INT. THE TOWN CHURCH</stage_direction> <scene_description>Small , simple , and woodplanked . The church we saw at the beginning . Thomas sits there , staring at the candles , the altar , the crucifix . He 's alone there . But for a creeping buzz . A feeling in the air .</scene_description> <character>GABRIEL'S VOICE</character> <dialogue>It's unusual to see someone of your age in church on a weekday.</dialogue> <scene_description>Thomas turns in surprise . Gabriel is kneeling in the row behind , inches from his ear .</scene_description> <character>GABRIEL</character> <dialogue>Do n't get me wrong. I think it's an excellent sign of character.</dialogue> <scene_description>There 's something cold and creepy about Gabriel . Out of place in here . There 's another sound . Teeth chattering far in the back . Thomas turns and sees Jerry , deep in the shadows of the choir box . Jerry waves .</scene_description> <character>GABRIEL</character> <dialogue>Never mind him. He should n't even be in here. Least not standing.</dialogue> <scene_description>Those sunglasses . Impenetrably dark . Like at the skid row flophouse .</scene_description> <character>GABRIEL</character> <dialogue>You're not from here.</dialogue> <character>DAGGETT</character> <dialogue>Either are you.</dialogue> <character>GABRIEL</character> <dialogue>I'm looking for something.</dialogue> <character>DAGGETT</character> <dialogue>Have you found it?</dialogue> <character>GABRIEL</character> <dialogue>I will. Have you found what you're looking for?</dialogue> <character>DAGGETT</character> <dialogue>I will.</dialogue> <character>GABRIEL</character> <parenthetical>( appraising him . )</parenthetical> <dialogue>I do n't doubt it.</dialogue> <parenthetical>( stands . )</parenthetical> <dialogue>You'll let me know? When you find it?</dialogue> <character>DAGGETT</character> <dialogue>Where are you staying?</dialogue> <character>GABRIEL</character> <dialogue>I'm around.</dialogue> <scene_description>And he walks out , leaving Thomas alone in a place gone suddenly cold .</scene_description> </scene> <scene> <stage_direction>INT. THOMAS'S HOTEL</stage_direction> <scene_description>There 's a note waiting for him at the front desk : `` Her name is Mary Tsosie . You can talk to her at noon tomorrow . I 'll be at the VFW hall tonight - Katherine . ''</scene_description> </scene> <scene> <stage_direction>INT. VFW HALL - NIGHT</stage_direction> <scene_description>Thomas sticks his head in through the door .</scene_description> <character>MICROPHONE VOICE</character> <dialogue>B - 26. B - 26.</dialogue> <scene_description>It 's an Indian bingo game . Thomas ' eyes drift down the table packed with elderly faces and find Katherine and John the Navaho bus driver . Katherine waves him over . Both her and John are totally obsessed with the game , keeping track of several cards .</scene_description> <character>DAGGETT</character> <dialogue>I got your note.</dialogue> <character>KATHERINE</character> <dialogue>Have a seat. You need a card. Here, play one of mine.</dialogue> <character>DAGGETT</character> <dialogue>No, it's okay. Really -</dialogue> <character>JOHN</character> <dialogue>You must learn to shed your high - strung ways, pale face. You must learn the spirit joy in patience, peace, and making fifty or sixty bucks.</dialogue> <character>MICROPHONE VOICE</character> <dialogue>G - 19. G - 19.</dialogue> <character>KATHERINE</character> <dialogue>John, this is Mr. Dagget. Says he's with the police, though judging by his coat and basic command of the english language, I do n't think it's from anywhere around here.</dialogue> <character>DAGGETT</character> <parenthetical>( shakes John 's hand . )</parenthetical> <dialogue>Tom. From Los Angeles.</dialogue> <character>JOHN</character> <dialogue>That near Oxnard?</dialogue> <character>DAGGETT</character> <dialogue>Sort of.</dialogue> <character>KATHERINE</character> <dialogue>Long way from home, Tom - from - Los - Angeles.</dialogue> <character>MICROPHONE VOICE</character> <dialogue>D - 9. D - 9.</dialogue> <scene_description>Thomas lazily glances at his card , his eyes opening suddenly wide .</scene_description> <character>DAGGETT</character> <dialogue>- Hey, wait. I won. I won!</dialogue> <character>KATHERINE</character> <dialogue>- What? No way -</dialogue> <character>JOHN</character> <dialogue>Recount! Recount!</dialogue> </scene> <scene> <stage_direction>INT. TOWN HALL - NIGHT</stage_direction> <scene_description>A Navaho social in full swing - square dancing . The Indian band on stage plays deeply traditional , inspiring , - Hank Williams . John easily whirls Katherine around ; a steely - eyed , master square dancer . Thomas leans against the wall tugging on a beer . When John releases her for another partner she points at Thomas .</scene_description> <character>KATHERINE</character> <dialogue>Your turn.</dialogue> <character>DAGGETT</character> <dialogue>Oh, no thanks.</dialogue> <character>KATHERINE</character> <dialogue>C'mon, do n't be a drip.</dialogue> <scene_description>She leads him out onto the floor .</scene_description> <character>DAGGETT</character> <dialogue>I'm not very good at this.</dialogue> <character>KATHERINE</character> <parenthetical>( as they dance . )</parenthetical> <dialogue>No, you're not, are you?</dialogue> <scene_description>She smiles . Gets a smile out of him .</scene_description> <character>KATHERINE</character> <dialogue>Let me lead.</dialogue> </scene> <scene> <stage_direction>EXT. DANCE HALL - NIGHT</stage_direction> <scene_description>Couples drift off the building 's porch and into the street to cool off , smoke , and take a few hits off paper bags . John leans against the brick wall , tugs liberally from his paper bag , and exchanges war hoops with some friends across the street . He passes the bag to Katherine and Thomas .</scene_description> <character>JOHN</character> <dialogue>So how's our star pupil feeling today?</dialogue> <character>KATHERINE</character> <dialogue>Mary? The school doctor came by. Declared it `` Non - specific gastrointestinal disorder''.</dialogue> <character>JOHN</character> <dialogue>Latin for `` I do n't have the slightest fucking idea''.</dialogue> <character>DAGGETT</character> <dialogue>Will she be able to talk with me?</dialogue> <character>KATHERINE</character> <dialogue>That's up to her.</dialogue> <parenthetical>( to John . )</parenthetical> <dialogue>Mary's grandmother called a hand trembler.</dialogue> <character>JOHN</character> <dialogue>Uh oh. Hocus pocus time.</dialogue> <character>DAGGETT</character> <dialogue>Is that serious?</dialogue> <character>JOHN</character> <dialogue>Depends what the hand trembler says. People call them in when they think a witch or a Yei is trying to sprinkle corpse sickness in their hogan, or if the Night People have been hanging around too much. Night people screw around a lot, but they're good at warning of evil ghosts.</dialogue> <character>DAGGETT</character> <dialogue>Who are the Night People?</dialogue> <character>JOHN</character> <dialogue>They come as coyotes.</dialogue> </scene> <scene> <stage_direction>EXT. ROAD - NIGHT</stage_direction> <scene_description>Thomas sits in the truck 's bed as they Katherine drives through town . John , on the near side of royally toasted , has his boot stuck out the passenger window . Thomas looks up at the night sky . At its blaze of stars .</scene_description> <character>DAGGETT</character> <dialogue>Beautiful stars out here.</dialogue> <scene_description>John drinks again from his bottle , rests his head on the open window and looks out .</scene_description> <character>JOHN</character> <dialogue>Too much fucking sky in the desert. It pushes on you.</dialogue> <parenthetical>( sighs . )</parenthetical> <dialogue>Sometimes I wonder if anyone in heaven even knows this place is here.</dialogue> </scene> <scene> <stage_direction>INT. JOHN'S HOUSE - NIGHT</stage_direction> <scene_description>Early American bachelor . John collapses onto the couch as Katherine heads for the kitchen .</scene_description> <character>KATHERINE</character> <dialogue>Where do you keep the coffee in this joint?</dialogue> <character>JOHN</character> <dialogue>Above the stove.</dialogue> <scene_description>She messes with the grounds and filter . Thomas paces the room , looks over the pictures and a few weavings .</scene_description> <character>DAGGETT</character> <dialogue>What happens if the hand trembler says a ghost has been.</dialogue> <character>JOHN</character> <dialogue>- Messing with Mary? If you're smart you say thank you very much and forget about it. But if you're heavy traditional, and Mary's people are serious traditional, you have an Enemy Ghost Way.</dialogue> <character>DAGGETT</character> <dialogue>What's that?</dialogue> <character>JOHN</character> <dialogue>Goddamn expensive. It's a Sing to purify and drive off the corpse sickness. Two days of dancing and ceremony and feeding the whole damn village. Not even to mention hiring the yataallii, if you can even find one these days. And you can bet they do n't come cheap. But every clan does it a bit different. Especially Mary's.</dialogue> <character>DAGGETT</character> <dialogue>You know them?</dialogue> <character>JOHN</character> <dialogue>The Bitter Sky Clan. Hard core reservation. No lights, no running water, no HBO. Their village is out on the edge of Old Woman Butte. Million miles from anything. Witch country. Settled right there in the Dead People Land where no one else would, right on top of the old Anasazi village. They're a dying clan. Just the old ones now. All alone out there in the middle of nothing.</dialogue> <parenthetical>( drinks . )</parenthetical> <dialogue>They can keep it.</dialogue> <character>DAGGETT</character> <dialogue>Do people really still believe in it all? Ghosts, Sings, corpse sickness?</dialogue> <character>JOHN</character> <dialogue>Depends, I guess. Sometimes you go along because it's a village thing, or you do n't want to disappoint grandma. But sometimes, when you're alone out there, far from town, and the wind kicks up and sneaks into your hogan. I do n't know.</dialogue> <scene_description>John closes his eyes and drifts off . Thomas wanders into the kitchen .</scene_description> <character>DAGGETT</character> <dialogue>I think John's out for the evening.</dialogue> <character>KATHERINE</character> <dialogue>Saturday night in Chimney Rock.</dialogue> <scene_description>She hands him a mug of coffee .</scene_description> <character>DAGGETT</character> <dialogue>So how does a person like you end up teaching here?</dialogue> <character>KATHERINE</character> <dialogue>When I was younger I used to believe that no matter how much you mucked around in your life, one day, if you listened hard enough, a voice would tell you what you were really cut out to do. And when it did n't show up on schedule I decided to go look for it. And I looked in a lot of places, believe me. I drove that road out there so far that the end became the beginning again. And it was when I got here that I realized there never was going to be a voice. So I stopped looking and took the first job they offered me. That make any sense to you?</dialogue> <character>DAGGETT</character> <dialogue>Oh, I know all about voices. Problem is not all of them are very nice.</dialogue> <character>KATHERINE</character> <dialogue>How did you end up a cop?</dialogue> <character>DAGGETT</character> <dialogue>It was the evil of two lessers.</dialogue> <character>KATHERINE</character> <dialogue>Are you always this cryptic?</dialogue> <character>DAGGETT</character> <dialogue>No. When you get to know me I can be down right evasive.</dialogue> </scene> <scene> <stage_direction>EXT. HOTEL - NIGHT</stage_direction> <scene_description>Katherine pulls up to drop Thomas off .</scene_description> <character>DAGGETT</character> <dialogue>Thanks for the lift. Tomorrow at noon? At the little girl's house?</dialogue> <character>KATHERINE</character> <dialogue>First trailer on the highway past town.</dialogue> <scene_description>Thomas climbs out .</scene_description> <character>KATHERINE</character> <dialogue>I must say, Mr. Dagget, that you do n't seem very like a police officer to me.</dialogue> <character>DAGGETT</character> <dialogue>That's what my bosses keep saying.</dialogue> <character>KATHERINE</character> <dialogue>I meant it as a compliment.</dialogue> <character>DAGGETT</character> <dialogue>So taken. Goodnight, Miss Henley.</dialogue> <character>KATHERINE</character> <dialogue>Goodnight, Tom - from - Los - Angeles.</dialogue> <scene_description>Thomas lying in his hotel bed , flinching through a dream - filled sleep . There 's glimpses of shattered images : War . Death . And a small , dark - haired girl . Thomas 's eyes open and fix on the ceiling . Out his window , perched on the railing of his balcony , is something dark and winged . The honey warmth of dawn heats the bluish , quiet streets of The Town . Across shale hills and abandoned 19th century miner 's shacks , there echoes the faint , clear notes of a trumpet . The bluesy notes drift over narrow dead - end streets , junked cars , and the abandoned copper mine out past the end of town .</scene_description> </scene> <scene> <stage_direction>INT. MINE</stage_direction> <scene_description>Deep in the tunneled rock , past the rusting conveyor belts , Gabriel sits in a small cave blowing Miles Davis on his trumpet . There 's just the blanket he sits on and a single candle . Jerry comes around the corner .</scene_description> <character>GABRIEL</character> <dialogue>Get any sleep?</dialogue> <parenthetical>( Jerry only stares . )</parenthetical> <dialogue>- Just kidding.</dialogue> </scene> <scene> <stage_direction>EXT. THE SCHOOLHOUSE - MORNING</stage_direction> <scene_description>As Katherine climbs out of her pick - up she sees several of her students standing in a circle . Crouched in the center , talking to them , is a man . Gabriel . Jerry stands nearby . Gabriel is showing a boy his trumpet . Demonstrating where to put his fingers .</scene_description> <character>GABRIEL</character> <dialogue>There, and there. Now pucker your lips. aim it that way, and just blow a little bit, this is a special trumpet.</dialogue> <scene_description>The boy puffs lightly . The trumpet emits a piercing , clear note that SHATTERS a window high up in the abandoned part of the building . The youngsters whoop and applaud .</scene_description> <character>GABRIEL</character> <dialogue>Very good, Timmy. Very good. Here, have a Junior Mint on me. Open up.</dialogue> <scene_description>As Timmy opens his mouth we clearly see Gabriel looking down into it . Looking for something .</scene_description> <character>GABRIEL</character> <dialogue>Who's next?</dialogue> <scene_description>Katherine approaches the scene warily . The children all beg for their turn . Gabriel selects Sandra , one of Mary 's second grade friends , and puts her on his knee .</scene_description> <character>GABRIEL</character> <dialogue>And who are you?</dialogue> <character>SANDRA</character> <dialogue>Sandra.</dialogue> <scene_description>She can barely get her fingers around the trumpet .</scene_description> <character>GABRIEL</character> <dialogue>And did you see the man upstairs, Sandra?</dialogue> <character>SANDRA</character> <dialogue>A little.</dialogue> <character>GABRIEL</character> <dialogue>Did you talk to him?</dialogue> <character>SANDRA</character> <dialogue>No.</dialogue> <character>GABRIEL</character> <dialogue>And who did, Sandra. Who talked to the man?</dialogue> <character>SANDRA</character> <dialogue>Mary.</dialogue> <character>GABRIEL</character> <dialogue>And where is Mary, Sandra?</dialogue> <character>SANDRA</character> <dialogue>She is n't here. She's sick.</dialogue> <character>GABRIEL</character> <dialogue>You've got very pretty teeth, Sandra. Here, let me see.</dialogue> <scene_description>He gently pushes down her chin with his thumb , opens her mouth , and gazes in . Katherine enters the circle .</scene_description> <character>KATHERINE</character> <dialogue>What the hell do you think you're doing?</dialogue> <scene_description>Gabriel looks up , unperturbed , and smiles .</scene_description> <character>GABRIEL</character> <dialogue>Just talking to the kids, Ma'am.</dialogue> <character>KATHERINE</character> <dialogue>Get off his knee, Sandra. Everyone else, go inside. Now.</dialogue> <scene_description>The kids reluctantly shuffle off .</scene_description> <character>BRIAN</character> <dialogue>` Bye, Gabriel.</dialogue> <character>GABRIEL</character> <dialogue>See ya, kids. Be sure to study your math.</dialogue> <scene_description>He has the same sunglasses as Simon . The same cold , creepy air about him .</scene_description> <character>KATHERINE</character> <dialogue>Who are you?</dialogue> <character>GABRIEL</character> <dialogue>It's a long story.</dialogue> <scene_description>Jerry suddenly snorts loudly , trying to retrieve a sticky red glop that starts running out of his nose .</scene_description> <character>GABRIEL</character> <dialogue>Ignore him.</dialogue> <character>JERRY</character> <dialogue>Everyone else does.</dialogue> <character>KATHERINE</character> <dialogue>I do n't know what the hell is going on, but you both better get out of here. Right now.</dialogue> <character>GABRIEL</character> <dialogue>You're right.</dialogue> <scene_description>He climbs to his feet and stands close to her .</scene_description> <character>GABRIEL</character> <dialogue>You have no idea what's going on.</dialogue> <scene_description>He stands there a beat . That terrible coldness that swirls about him . The shriek of ghosts under his breath . Then he climbs into the rambler with Jerry and pulls away . Katherine watches the car drive off , then yells over to the school janitor .</scene_description> <character>KATHERINE</character> <dialogue>Al! Keep an eye on the children for me. I'll be right back. And call the sheriff.</dialogue> <character>JANITOR</character> <dialogue>Sheriff? What the hell do I tell him?</dialogue> <character>KATHERINE</character> <dialogue>Just call.</dialogue> <scene_description>Katherine gets into her pickup and starts the engine .</scene_description> </scene> <scene> <stage_direction>EXT. THE TOWN - DAY</stage_direction> <scene_description>Katherine drives through the main drag and out past the fringe of town . As she passes the old copper mine she sees , parked near the mine 's tunnel entrance , Gabriel 's rambler .</scene_description> </scene> <scene> <stage_direction>EXT MARY'S GRANDMOTHER'S TRAILER - DAY</stage_direction> <scene_description>As Katherine pulls up , she 's surprised to see Thomas climbing out of his own car .</scene_description> <character>KATHERINE</character> <dialogue>You were n't suppose to be here till noon.</dialogue> <character>DAGGETT</character> <dialogue>You're a little early yourself.</dialogue> <character>KATHERINE</character> <dialogue>I wanted to check on her.</dialogue> <character>DAGGETT</character> <dialogue>That makes two of us.</dialogue> <scene_description>On the sandy lot that extends back from the trailer is a wizened cottonwood tree . Katherine , Thomas , and Mary are seated beneath its shade . Katherine is protective of the little girl , running a hand maternally through her hair .</scene_description> <character>KATHERINE</character> <dialogue>How are you feeling, pumpkin?</dialogue> <character>MARY</character> <dialogue>Better.</dialogue> <character>KATHERINE</character> <dialogue>This is Mr. Dagget, Mary. He'd like to ask you some questions. You do n't have to answer if you do n't want to.</dialogue> <character>MARY</character> <dialogue>It's okay.</dialogue> <scene_description>There 's a dreamy , far - away look in Mary 's eyes . It worries Katherine .</scene_description> <character>DAGGETT</character> <dialogue>Mary, when you talked to man up in the building -</dialogue> <character>MARY</character> <dialogue>- Simon.</dialogue> <character>DAGGETT</character> <dialogue>Yes, Simon. What did Simon say?</dialogue> <character>MARY</character> <parenthetical>( smiles . )</parenthetical> <dialogue>That's funny. `` Simon says''.</dialogue> <character>DAGGETT</character> <dialogue>Right. Like the game.</dialogue> <character>MARY</character> <dialogue>I'm good at it. I'm very clever.</dialogue> <character>DAGGETT</character> <dialogue>We'll have to play together sometime.</dialogue> <character>MARY</character> <dialogue>Simon even said so. He also asked if I could keep a secret.</dialogue> <character>DAGGETT</character> <dialogue>And what was that?</dialogue> <character>MARY</character> <dialogue>Something he gave me.</dialogue> <character>KATHERINE</character> <dialogue>What, pumpkin?</dialogue> <character>MARY</character> <dialogue>Then it would n't be a secret.</dialogue> <character>DAGGETT</character> <dialogue>You're a good friend not to tell, Mary. But I'm a friend of Simon's too. So if you ever want to tell, you can to me. Okay?</dialogue> <character>MARY</character> <dialogue>It's a secret.</dialogue> <scene_description>Mary lowers her head and shuts her eyes .</scene_description> <character>MARY</character> <dialogue>But sometimes it hurts.</dialogue> <scene_description>Thomas and Katherine exchange looks . Mary 's pretty eyes rise again as she calmly asks , in that cute little eight year old voice :</scene_description> <character>MARY</character> <dialogue>Have you ever killed a chinaman?</dialogue> <character>DAGGETT</character> <dialogue>No Mary, I have n't.</dialogue> <character>MARY</character> <dialogue>They do n't bleed. Not the way you and I do. Or maybe it was just the cold.</dialogue> <scene_description>Thomas looks to Katherine for an explanation , but she 's as confused as him .</scene_description> <character>MARY</character> <dialogue>I've killed them, you know. Lots. You could always tell when they were coming. There'd be the trumpets first. Every note flat. Then those songs. After that they'd charge. Right down through the snow. The guns would freeze and it would be just knives. It was so cold and there were so many of them. But I was smarter than they were. Even at Chosin, I was smarter.</dialogue> <scene_description>Mary 's been explaining this in a girlish , show - 'n - tell kind of way . Suddenly her face cracks as her voice chokes with a sob .</scene_description> <character>MARY</character> <dialogue>It scares me, Miss Henley. I hate it. Please, make it stop!</dialogue> <scene_description>She buries herself into Katherine 's arms , sobbing .</scene_description> <character>MARY</character> <dialogue>Make it stop!</dialogue> <character>KATHERINE</character> <parenthetical>( rocking her . )</parenthetical> <dialogue>It's okay. It's okay.</dialogue> <scene_description>Mary suddenly pushes away and runs back toward the trailer , into the arms of her grandmother .</scene_description> <character>KATHERINE</character> <dialogue>I'm sorry, I did n't mean to -</dialogue> <character>GRANDMOTHER</character> <dialogue>It's all right, Miss Henley. We know you love Mary.</dialogue> <character>KATHERINE</character> <dialogue>What are we going to do?</dialogue> <character>GRANDMOTHER</character> <dialogue>She's going to have the Enemy Ghost Way. We leave this afternoon.</dialogue> <scene_description>The grandmother turns and walks back to the trailer .</scene_description> <character>DAGGETT</character> <dialogue>Where will they do the ceremony?</dialogue> <character>KATHERINE</character> <dialogue>In the home village. The Hand Trembler must have found corpse sickness.</dialogue> <character>DAGGETT</character> <dialogue>They're taking her away? Should n't she see a doctor?</dialogue> <character>KATHERINE</character> <dialogue>She's already seen a doctor.</dialogue> <parenthetical>( then , under her breath . )</parenthetical> <dialogue>That son of a bitch.</dialogue> <character>DAGGETT</character> <dialogue>Who?</dialogue> <character>KATHERINE</character> <dialogue>Gabriel the children called him. The little shit was hanging around my kids this morning asking about Mary. He and his buddy make a real pair.</dialogue> <character>DAGGETT</character> <dialogue>Maybe it's time I checked out Mr. Gabriel.</dialogue> <scene_description>Katherine turns from trailer and looks at him .</scene_description> <character>KATHERINE</character> <dialogue>I know where he parks his car.</dialogue> </scene> <scene> <stage_direction>INT. THOMAS'S CAR - DAY</stage_direction> <scene_description>Katherine and Thomas drive back down the road leading to town .</scene_description> <character>KATHERINE</character> <dialogue>Chinamen? Chosin? I've never heard her talk like that before.</dialogue> <character>DAGGETT</character> <dialogue>Chosin Reservoir was a Korean war battle the Marines had against the Chinese, supposedly the bloodiest hand - to - hand fighting of the century. Someone been teaching that to your class?</dialogue> <character>KATHERINE</character> <dialogue>Sure, right next to Jack'N Jill.</dialogue> <character>DAGGETT</character> <dialogue>Where would she have heard it?</dialogue> <character>KATHERINE</character> <dialogue>Nobody I can think of.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Maybe one.</dialogue> <character>DAGGETT</character> <dialogue>Who?</dialogue> <character>KATHERINE</character> <dialogue>General Hawthorne.</dialogue> <character>DAGGETT</character> <dialogue>Did she know him?</dialogue> <character>KATHERINE</character> <dialogue>He did n't like children.</dialogue> <character>DAGGETT</character> <dialogue>You could n't and tell a story like that to one.</dialogue> <scene_description>He pulls over to the side near the copper mine entrance . No sign of the rambler .</scene_description> <character>KATHERINE</character> <dialogue>It was there earlier.</dialogue> <scene_description>Thomas drives up the dirt path to the mine 's tunnel entrance . They climb out and stand near its mouth . In the dust is the rambler 's tracks and several footprints leading into the mine . Thomas steps up to the edge of the tunnel . It 's a black , yawning thing that swallows the sunlight whole for breakfast .</scene_description> <character>DAGGETT</character> <dialogue>If I was smart I'd call the Sheriff or somebody in town who knows this place. Then again, there is one thing worse than getting killed.</dialogue> <character>KATHERINE</character> <dialogue>What?</dialogue> <character>DAGGETT</character> <dialogue>Looking like an idiot if it's nothing.</dialogue> <scene_description>He pops his trunk and takes out a flashlight .</scene_description> <character>KATHERINE</character> <dialogue>I'll come along.</dialogue> <character>DAGGETT</character> <dialogue>No, if someone has to fall a hundred feet down a black pit, he should at least be on official duty.</dialogue> <scene_description>Thomas switches on the light and takes a tentative step inside .</scene_description> <character>DAGGETT</character> <dialogue>Then again, it is kind of spooky in there. Here, you can hold the flashlight.</dialogue> </scene> <scene> <stage_direction>INT. THE MINE</stage_direction> <scene_description>The sun very quickly becomes a memory . And after the first bend it is n't even that anymore . There 's only the glow of the flashlight ; glancing off the abrupt edges of tunneled rock . Here and there are the flotsam of a bankrupt industry ; dented ore carts lying on their side , rusted drill bits , piles of support timbers . And all around them the sucking blackness of the earth .</scene_description> <character>KATHERINE</character> <dialogue>It's cold.</dialogue> <scene_description>They walk further down into the mine . The atmosphere becomes close and creepy . Thomas has been following tracks left in the dusty floor that abruptly disappear . He stops and sighs .</scene_description> <character>DAGGETT</character> <dialogue>Shit.</dialogue> <scene_description>- A BAT suddenly SHRIEKS out of the darkness , glancing off Thomas 's shoulder and TANGLING in Katherine 's hair . She screams and spins around , loosing her footing and half falling into a yawning ore chute she had n't seen beside her . Thomas rushes over and pulls her out . She climbs shakily to her feet .</scene_description> <character>DAGGETT</character> <dialogue>You okay?</dialogue> <character>KATHERINE</character> <dialogue>Yeah. Sorry.</dialogue> <scene_description>Thomas takes a last pass at the mine shaft with his flashlight .</scene_description> <character>DAGGETT</character> <dialogue>Well, I've seen enough.</dialogue> <scene_description>As he turns to leave the flashlight burns out .</scene_description> <character>DAGGETT</character> <dialogue>Wonderful.</dialogue> <scene_description>He bangs it once against his thigh before he notices for the first time a dim , amber light coming from a space between the rocks .</scene_description> <character>KATHERINE</character> <dialogue>What is that?</dialogue> <character>DAGGETT</character> <dialogue>I do n't know. Maybe a bum or something.</dialogue> <scene_description>But his gun 's out at his side . Just in case . They follow the light to the gap in the rock , gingerly stepping into A CAVERN - That could easily belong to a bum . It 's Gabriel and Jerry 's digs . Just the moldy blanket , single oil lamp , piles of twinkie wrappers , And something else . From outside the cave it 's the same whine , the same blurryness that drips off Gabriel like sweat . But once they step into the room , into the lair , it suddenly jumps in volume . This is where Gabriel sleeps , and it 's thicker here , like honey on the walls . Thomas has difficulty focusing his eyes .</scene_description> <character>KATHERINE</character> <dialogue>Do you feel it?</dialogue> <character>DAGGETT</character> <dialogue>Yes.</dialogue> <character>KATHERINE</character> <dialogue>What is it?</dialogue> <scene_description>But Thomas ca n't hear Katherine anymore , her voice has disappeared beneath the whine . As it becomes too much he leans his weight against the rock wall and shuts his eyes . It 's then they come . Flashes of images : Of screams and fire . Of impossible vistas of emptiness and death . And shrieking overhead , shrieking everywhere ; grotesque , winged creatures with no eyes . Some with faces we know ; Gabriel , Simon , and the gargoyle . All these images are being jammed into both their minds by the cave . Thomas forces his eyes open but the scenes playing all around him wo n't go away . Tears are running down Katherine 's face as she stands there locked in the same images . Thomas stumbles about the room as if drunk , the visions , incomprehendibly black visions of war and destruction on an alien plateau , eat his brain . He sinks to his knees and begins to cry .</scene_description> <character>DAGGETT</character> <dialogue>Oh no. Oh God no.</dialogue> <scene_description>Katherine 's curled up on the floor like a child , weeping . The images are driving them mad . Thomas , fighting the insanity pounding at him , crawls pathetically across the floor to the oil lamp . His fingers grasp it spasmotically as he rises to his knees and leans back .</scene_description> <character>DAGGETT</character> <dialogue>No!</dialogue> <scene_description>He HEAVES the lamp against the cave wall , where it EXPLODES , the oil erupting into a swirling blaze that CONSUMES the corner . The images break a second in the heat and light and sucking wind . Just long enough for Thomas to grab Katherine 's arm and pull her out of the room .</scene_description> </scene> <scene> <stage_direction>EXT. MINE - DAY</stage_direction> <scene_description>Katherine and Thomas lie in the dust outside the mine 's tunnel entrance . Catching their breath . Trying to organize and repair the short circuits in their brains . Thomas rolls on his side , squints at the sun . Katherine 's voice is faint and raspy .</scene_description> <character>KATHERINE</character> <dialogue>What. What was that? Hell?</dialogue> <character>DAGGETT</character> <dialogue>No. The voices. They were screaming and fighting over. theology. They do n't sweat much about that in hell. But they do in. heaven.</dialogue> <scene_description>He squeezes a handful of dirt in his hands .</scene_description> <character>DAGGETT</character> <dialogue>The son of a bitch. He carries it around with him like a photo album. A big, greasy cloud wherever he goes. They all do.</dialogue> <character>KATHERINE</character> <dialogue>How can that be heaven? Jesus Christ. How? I do n't even believe in heaven.</dialogue> <scene_description>The tears start rolling down her face . She looks up and shouts at the endless sky above them .</scene_description> <character>KATHERINE</character> <dialogue>You dumb fucking assholes! How could you have done that!</dialogue> <character>DAGGETT</character> <dialogue>That extra chapter by St. John was right. It's a war. Just like the first one. Just like when the angel Michael beat Lucifer and cast him out. Only now they've turned on each other. Turned on each other in a civil war over theology.</dialogue> <scene_description>He laughs hopelessly at the insanity of it all .</scene_description> <character>DAGGETT</character> <dialogue>Oh sweet God, theology.</dialogue> <parenthetical>( sighs . )</parenthetical> <dialogue>`` God's wild bunch''.</dialogue> <parenthetical>( shouts . )</parenthetical> <dialogue>God's morons!</dialogue> <character>KATHERINE</character> <dialogue>How do you know know so much about that?</dialogue> <character>DAGGETT</character> <dialogue>I just know.</dialogue> <parenthetical>( shakes his head . )</parenthetical> <dialogue>Yes folks, the good news is that there's life after death in heaven. The bad news is that it's as screwed up as here.</dialogue> <character>KATHERINE</character> <dialogue>They were like us.</dialogue> <character>DAGGETT</character> <dialogue>They are us. Aborted children. And they need us. They need our corrupt, dark souls for their fight. They need.</dialogue> <character>KATHERINE</character> <dialogue>Mary.</dialogue> <scene_description>Katherine climbs abruptly to her feet and walks for the car .</scene_description> <character>DAGGETT</character> <dialogue>What are you doing?</dialogue> <character>KATHERINE</character> <dialogue>I do n't know what this is. I do n't know what I believe. I do n't know if my sanity is lying back in that cave flopping around waiting for me. But I know one thing. Those. Those things are n't taking her!</dialogue> </scene> <scene> <stage_direction>INT. THOMAS'S CAR</stage_direction> <scene_description>Katherine and Thomas drive along in silence . Finally ,</scene_description> <character>KATHERINE</character> <dialogue>In those. visions. did you ever see. God?</dialogue> <character>DAGGETT</character> <dialogue>No.</dialogue> <character>KATHERINE</character> <dialogue>Me either.</dialogue> </scene> <scene> <stage_direction>INT. MARY'S GRANDMOTHER'S TRAILER</stage_direction> <scene_description>Katherine and Thomas open the trailer door and enter cautiously .</scene_description> <character>KATHERINE</character> <dialogue>Mary?</dialogue> <scene_description>Thomas looks out the window and notices for the first time , parked behind the trailer , Gabriel 's rambler . He immediately pulls out his pistol , runs for the closed door at the end of the hall and KICKS it in . The door FLIES open , revealing Gabriel sitting on the bed beside Mary .</scene_description> <character>DAGGETT</character> <dialogue>Get away from her.</dialogue> <scene_description>His gun 's leveled at Gabriel 's head . The angel sits there impassively , then smiles .</scene_description> <character>GABRIEL</character> <dialogue>You know. Son of a bitch, the priest wan na - be actually figured it out. That's a rare club, son. At least down here.</dialogue> <character>DAGGETT</character> <dialogue>Back away from the kid, man. Now.</dialogue> <character>GABRIEL</character> <dialogue>She wo n't feel anything, honest. I'll have to tear her apart of course - just the way it goes - but it'll be all right in the end. A good catholic boy like you, Mr. Daggett, you should be on my side.</dialogue> <character>DAGGETT</character> <dialogue>Goddamn it -</dialogue> <character>GABRIEL</character> <dialogue>You're gon na have to watch that profanity.</dialogue> <scene_description>Jerry suddenly LEAPS out from behind the door and TACKLES Thomas to the carpet . The gun skitters to one side as Jerry SINKS his rotting teeth into Thomas 's shoulder . Thomas cries out and SLAMS his fist against Jerry 's head , knocking off an ear . Gabriel turns back to Mary 's frightened face and smiles as he runs a hand through her hair .</scene_description> <character>GABRIEL</character> <dialogue>It'll only be a moment.</dialogue> <scene_description>Katherine suddenly HAMMERS Gabriel across the side of the head with a chair , KNOCKING him to the floor . As he gets up she HITS him again . Thomas manages to bring his leg up and KICKS Jerry hard against the chest , forcing him off . Gabriel GRABS both of Katherine 's legs and PULLS , CRASHING her flat on her back . Thomas scrambles for his gun , grabs it , and as Jerry comes at him again spins and FIRES twice . The slugs RIP into Jerry 's chest and knock him to his knees . As the putrid , curdled juices pump lumpily out of him , Jerry looks up at Thomas and smiles .</scene_description> <character>JERRY</character> <dialogue>Thanks man, I appreciate it. You're a sport.</dialogue> <scene_description>Thomas FIRES a slug into his forehead . Jerry 's brain winks out as he collapses to the floor , dead . Thomas 's gun is abruptly WRENCHED from his hand onto the bed as Gabriel NAILS him with a thrown lamp , vaults the bed between them , and grabs him by the collar , SLAMMING Thomas up against the wall . He looks down at Jerry 's finally lifeless corpse , incensed at Thomas 's handiwork .</scene_description> <character>GABRIEL</character> <dialogue>You little pest, do you have any idea how hard it is to get one of those?</dialogue> <scene_description>He THROWS Thomas down onto a table , SPLINTERING it . Katherine climbs shakily to her knees .</scene_description> <character>KATHERINE</character> <dialogue>You son of a bitch, why? Why do this?</dialogue> <character>GABRIEL</character> <dialogue>Because I'm an angel, you miserable wretch! I kill first borns while their mothers watch! I turn whole cities into salt! I even, when I feel like it, rip the souls from little girls! And from now until eternity, the only thing you'll be able to count on in your pathetic little existence is never knowing why!</dialogue> <parenthetical>( deep breath . )</parenthetical> <dialogue>I'm wasting my time here.</dialogue> <parenthetical>( turns to Mary . )</parenthetical> <dialogue>C'mon petunia, let's get on with it.</dialogue> <scene_description>Gabriel walks over to the bed . The moment he gets close , Mary lifts Thomas 's pistol up from the sheets and SHOOTS him twice , the impact KNOCKING him on his ass . Katherine rushes to Mary , scoops her up and runs for the door . She pauses beside Thomas , still lying in the wreckage of the table .</scene_description> <character>DAGGETT</character> <dialogue>Go. Go!</dialogue> <scene_description>Katherine disappears through the bedroom doorway . Gabriel spins around and stands . Thomas leaps from a ragged crouch , HITTING Gabriel low with a body - block . It 's like butting concrete . Gabriel picks up Thomas by the scruff of the neck and HEAVES him THROUGH the flimsy room paneling . Thomas CRASHES with a mass of splinters into the kitchen . He stumbles backward hopelessly as Gabriel peruses him through the trailer . He desperately throws pots , glasses , anything at Gabriel . Finally trapped , he scrambles up onto the dinner table , SCATTERING salt and sugar bowls , and DIVES through the levored window . OUTSIDE Thomas , in a hail of shattered glass , smacks the red earth , pulls himself up to his knees and tries to stumble and crawl away as Gabriel BANGS open the trailer door and stomps down the stairs toward Katherine , her arms around Mary .</scene_description> <character>KATHERINE</character> <dialogue>You.</dialogue> <scene_description>He eases his gait , measuring the distance to her .</scene_description> <character>KATHERINE</character> <dialogue>Ca n't.</dialogue> <scene_description>There 's just those sunglasses coming . Those endless pits of black .</scene_description> <character>KATHERINE</character> <dialogue>Have Her!</dialogue> <scene_description>Katherine lifts Thomas 's pistol and FIRES . Again . Again . The slugs BANG off the corregated metal , SMASH a window , KICK up some dust , And PUNCTURE the propane tank beneath the trailer . - WUMPP - BAM ! The entire trailer EXPLODES in a fiery cloud of TWISTING METAL . Katherine huddles Mary close to the ground as flaming chunks WHACK everywhere . Gabriel is HAMMERED to the earth and disappears in the rolling fire cloud . Thomas , further away , is KNOCKED head - over - heels in the ruddy dust . The fire cloud dissipates quickly into the sky , leaving behind scorched brush , and little else , crackling softly . Gabriel 's body looks blackened and still . Katherine rushes to Thomas , who 's pulled himself up to his knees , a ragged slice above his eye bleeding badly . She helps him to his feet and over to the pickup , where he sits down against the tire as Katherine pulls out her first aid kit . Mary 's there , standing with her shaken grandmother .</scene_description> <character>DAGGETT</character> <parenthetical>( re grandmother . )</parenthetical> <dialogue>Where.</dialogue> <character>KATHERINE</character> <dialogue>She was coming up the street.</dialogue> <character>MARY</character> <dialogue>Is Gabriel dead?</dialogue> <scene_description>Mary 's knelt down beside Thomas .</scene_description> <character>MARY</character> <dialogue>They're not like you and me. You've got to cut their hearts out. The only thing God gave them.</dialogue> <scene_description>A sheriff car ROARS up , the two deputies exiting warily .</scene_description> <character>DEPUTY</character> <dialogue>What the hell happened here?</dialogue> <scene_description>Katherine 's wiping the blood out of Thomas 's eye . Gasping from the shearing pain , he tosses an ID at the foot of the deputy .</scene_description> <character>DAGGETT</character> <dialogue>LAPD.</dialogue> <character>DEPUTY</character> <parenthetical>( looks at it , hands it to partner . )</parenthetical> <dialogue>That's a start. How about the rest of it?</dialogue> <scene_description>From somewhere back in town there 's the growl of a volunteer fire engine .</scene_description> <character>DAGGETT</character> <dialogue>That man over there. He's wanted. Murder. I'm taking him in.</dialogue> <parenthetical>( grimaces . )</parenthetical> <dialogue>- Shit.</dialogue> <scene_description>The pain 's unbareable . Katherine dabs his cut with disinfectant .</scene_description> <character>DEPUTY</character> <dialogue>I think you're going to the hospital first.</dialogue> <character>DAGGETT</character> <dialogue>- No, I have to -</dialogue> <scene_description>Again , the pain . The second deputy has walked over to Gabriel .</scene_description> <character>DEPUTY</character> <dialogue>Is he alive?</dialogue> <character>DEPUTY #2</character> <dialogue>He's alive.</dialogue> <character>DEPUTY</character> <dialogue>Cuff him. We'll take him to the hospital in our car.</dialogue> <character>DAGGETT</character> <dialogue>- No, you do n't understand. You have to let me have him -</dialogue> <scene_description>The volunteer fire engine growls up through the weeds , drowning out Thomas 's words . Two firemen kneel down beside him with medical kits . The deputy has walked over to his partner and the two are dragging back between them a cuffed , comatose Gabriel .</scene_description> <character>DAGGETT</character> <parenthetical>( hoarse , faint . )</parenthetical> <dialogue>You'll never hold him.</dialogue> <scene_description>Thomas tries to get up , but the pain and a hand from the firemen keep him down . As the deputies pass , he manages to desperately grab the one 's pant cuff .</scene_description> <character>DAGGETT</character> <dialogue>Take off his sunglasses. Jesus Christ, just take off his sunglasses.</dialogue> <scene_description>Gabriel 's head lies low between the shoulders . The deputy looks with concern at the firemen .</scene_description> <character>FIREMAN</character> <parenthetical>( re Thomas . )</parenthetical> <dialogue>He'll be all right. Just a bad hit.</dialogue> <scene_description>The deputy nods . As they carry on to the car with Gabriel , the angel turns his head slightly and smiles a smile only for Thomas .</scene_description> <character>FIREMAN</character> <parenthetical>( to partner . )</parenthetical> <dialogue>Let's get a splint.</dialogue> <scene_description>The patrol car pulls away . As the firemen walk back to their engine , Thomas looks frantically at Katherine .</scene_description> <character>DAGGETT</character> <dialogue>We have to get out of here.</dialogue> <character>KATHERINE</character> <dialogue>But your head.</dialogue> <character>DAGGETT</character> <dialogue>If you want Mary to stay alive past sundown we have to leave, and we have to do it now.</dialogue> <scene_description>They lock eyes . Then Katherine without a word helps Thomas up into the passenger side of the pickup . Mary gathers her grandmother into the pickup 's bed and climbs up beside her as Katherine starts the engine . The firemen turn in confusion as the truck peels out of the lot and up onto the road .</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - DAY</stage_direction> <scene_description>Katherine 's truck shoots by . Just before town , near the copper mine , it slows down at a junction . And there , lying on its side down the embankment , is the sheriff 's patrol car . A single , bent tire turns aimlessly . Katherine hits the gas and takes the junction that leads away from town , out onto the endless expanse of the plateau .</scene_description> </scene> <scene> <stage_direction>INT. TRUCK</stage_direction> <scene_description>The bandage on Thomas 's forehead covers most of one eye . He closes the other tightly , riding a spasm of pain , before letting his forehead rest against the door glass and gazing out at the empty tracks of land .</scene_description> <character>DAGGETT</character> <dialogue>Where are we going?</dialogue> <character>KATHERINE</character> <dialogue>Mary's village.</dialogue> <scene_description>Katherine looks over her shoulder to Mary 's grandmother sitting in the truck bed . She nods in understanding . Katherine 's pickup passing alone through the wrinkled desert .</scene_description> </scene> <scene> <stage_direction>EXT. GAS STATION - DAY</stage_direction> <scene_description>A trading post with a few pumps , growing orange in the weakening afternoon light . A scruffy dog barks constantly as the teenage Indian sticks the nozzle in Katherine 's pickup . Still glassy - eyed with throbbing pain , Thomas takes another handful of aspirin and climbs out of the cab . There 's a tiny , weatherbeaten church across the weedy lot from the trading post with a pay phone bolted to it . Thomas crunches across the lot , picks up the receiver , and punches in some numbers .</scene_description> <character>TELEPHONE VOICE</character> <dialogue>County Coroner's office, Assistant Coroner Raphael speaking.</dialogue> <character>DAGGETT</character> <dialogue>Willie?</dialogue> <character>VOICE</character> <dialogue>Tom?</dialogue> <character>DAGGETT</character> <dialogue>You were n't crazy, man.</dialogue> <scene_description>And Thomas hangs up . He backs away from the phone and for the first time notices the church it 's attached to .</scene_description> </scene> <scene> <stage_direction>INT. CHURCH</stage_direction> <scene_description>Thomas steps inside . It 's empty and there 's some doubt whether it 's been used in a generation . The pews are dusty and scraped , some broken down completely . Thomas sits in one and looks across the space and dust and years to the crucifix hanging behind the altar .</scene_description> <character>DAGGETT</character> <dialogue>So what's the deal, huh?</dialogue> <scene_description>The pew creaks and groans as he shifts his weight .</scene_description> <character>DAGGETT</character> <dialogue>I mean, do you have any kind of plan here? Cause I'm just about of ideas, friend.</dialogue> <scene_description>Jesus ' pressed - metal eyes gaze only upward .</scene_description> <character>DAGGETT</character> <dialogue>Do you even listen? Do you still come to places like this? Old Man, you have been calling me most of my goddamn life, but every time I get close, you just keep moving that far away. What's it to be? You want me to kill your henchmen? Ca n't you even control your own killers anymore?</dialogue> <scene_description>Thomas holds his face in his hands a silent moment . When it raises we see the raw hurt in the eyes as he shouts ,</scene_description> <character>DAGGETT</character> <dialogue>What do you want from me!</dialogue> <scene_description>The only reply is dust dancing in the light and the rumble of semis on the highway . Standing in the back , watching Thomas with tears welling in her eyes , is Katherine . The road 's turned to dirt and the plateau into a maze of ragged cliffs and brutally hacked canyons . The light is shadowy and golden now as Katherine 's pickup turns off the small dirt road onto an even smaller one that winds impossibly up the side of a volcanic butte . Higher and higher the truck climbs on the rutted and treacherous path , till at last it crests the ridge and comes upon THE VILLAGE Perched frighteningly on the leading edge of Old Woman Butte , this is the home of the Bitter Sky Clan . The village is a small grouping of ancient adobe walled hogans first built a thousand years ago by the Anasazi . There 's no electricity here , no TV antennas or frozen yogurt . Just the slow curl of cooking fires drifting up through smoke holes and the stern , deeply lined face of an old Navaho man approaching the pickup as Katherine stops . The old man wears jeans , a bright maroon silk shirt , and a black felt reservation hat with a turkey feather . He holds in his right hand a small leather case .</scene_description> <character>OLD MAN</character> <dialogue>I am Bartholomew Grey Horse, born to the Deer Spring Clan, born for the Slow Talking People. Today I am the yataalii for Mary Tsosie of the Bitter Sky Clan.</dialogue> <scene_description>The old man , Bartholomew Grey Horse , walks up to Mary and her grandmother sitting in the bed .</scene_description> <character>GREY HORSE</character> <dialogue>Ya - tah.</dialogue> <character>GRANDMOTHER</character> <dialogue>Ya - tah - hey.</dialogue> <scene_description>Several villagers approach and greet Mary and her grandmother , some nodding politely to Thomas and Katherine as they climb out of the cab . Nearly all of them are elderly . Thomas , one eye still half - shut by a bandage , walks over to the village 's edge where a short stone wall , and little else , separates the adobe homes from the long , 2000 foot drop to the desert floor . He leans against it and gazes out on a view that must encompass half the world . In all directions , for tens upon tens of miles , there are only volcanic spires and crumbling buttes , all reduced from up here to short , ominous playthings . A village truly alone in the world .</scene_description> <character>MARY</character> <dialogue>This is a good place.</dialogue> <scene_description>She 's appeared beside him . Thomas crouches down to her level and smiles .</scene_description> <character>DAGGETT</character> <dialogue>Yes?</dialogue> <scene_description>Mary 's sight is on the view , eyeing it critically .</scene_description> <character>MARY</character> <dialogue>Separate water source. Stocked grain. Only one possible approach. A man could, with the proper defenses, hold off an entire battalion for weeks. Months.</dialogue> <scene_description>Thomas 's voice sighs sadly as he runs a hand softly through her hair .</scene_description> <character>DAGGETT</character> <dialogue>Which one of you is that talking, Mary? Or do you even know anymore?</dialogue> <scene_description>Mary 's eyes fill with tears as her grandmother appears and leads her back to the adobe hogans . Grey Horse , the yataalii , is there now .</scene_description> <character>GREY HORSE</character> <dialogue>We will start the Sing soon to remove the Yei spirit and stop the ghost sickness.</dialogue> <character>DAGGETT</character> <dialogue>This might not be the work of a Navaho ghost.</dialogue> <character>GREY HORSE</character> <dialogue>It's all the same.</dialogue> <scene_description>Night creeps over the Chuska Mountains across the crusty caliche flats and over the village , pushing back the dying day to a thin , fading blue line etched across the horizon . As the darkness settles on the hogans we see a glimmer of light from within and the rising , guttural chants of the yataalii .</scene_description> </scene> <scene> <stage_direction>INT. KIVA - NIGHT</stage_direction> <scene_description>Under the village , beneath the surface of the butte , is the large communal kiva room . Accessible by a single ladder through a single smoke hole , it is down here that the village performs its Enemy Ghost Way for Mary . The little girl is there , attended by her grandmother , sitting stoically still on a blanket as Grey Horse , grasping his painted prayer sticks , by the glow of a fire chants the Enemy Ghost Way cure . Katherine 's eyes sting in the smokey air as she watches Grey Horse take from his case small handfulls of colored sand that he pours in fine patterns onto the floor . The whole Bitter Sky Clan surrounds them . Old , lined faces . A small , dying people here to support its last granddaughter .</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE - NIGHT</stage_direction> <scene_description>Katherine stands there in the chilly darkness outside the kiva . Mary 's grandmother , passing with some other women , pauses and squeezes Katherine 's arm .</scene_description> <character>GRANDMOTHER</character> <dialogue>Now we sleep, Katherine. Tomorrow, after dark, we begin again.</dialogue> <scene_description>INSIDE THE KIVA The fire has died to embers , casting its weak glow on a now empty room . OUTSIDE Katherine wanders along the edge of the village , turning up her collar under a blinding mass of stars . There 's nothing beyond the village . Not a light , not a sound . Say the wind . It is the icy brush of wind on her body that now whispers .</scene_description> <character>VOICE</character> <dialogue>Hello, Katherine.</dialogue> <scene_description>Like the wind , it is low and thin and hoarse . Like the wind it seems to come from everywhere . And , like the wind , it is utterly without pity or remorse . Katherine turns . Perched on the wall behind her in a low crouch is a figure clad entirely in layers of black . Its head and hands are hairless and waxy white . There are eyes in this winged head , but blood chilling ones of putrid yellow . There are endless scars and shapes and wrinkles , but mostly , only , there are the eyes . Katherine gulps down , with only partial success , the hysteria rising in her throat .</scene_description> <character>KATHERINE</character> <dialogue>Oh Lord, I ca n't do this. I ca n't do this anymore.</dialogue> <character>FIGURE</character> <dialogue>We must talk, Katherine.</dialogue> <scene_description>It 's takes all her strength to look upon him .</scene_description> <character>KATHERINE</character> <dialogue>You're. You're.</dialogue> <parenthetical>( tries to form the word . )</parenthetical> <dialogue>. God?</dialogue> <character>FIGURE</character> <dialogue>God is love, Katherine.</dialogue> <scene_description>The eyes narrow . Rippling pools of unfathomable evil .</scene_description> <character>FIGURE</character> <dialogue>- I do n't love you.</dialogue> <scene_description>There 's a crouched silhouette beside the figure . Dimmer . Skinny . A wheezing sycophant . An afterthought . Katherine backs away from both of them .</scene_description> <character>KATHERINE</character> <dialogue>I ca n't. I ca n't do this tonight. Go away.</dialogue> <character>FIGURE</character> <dialogue>I can kill you, Katherine. I can lay you out and fill your mouth with your mother's feces. Or I can talk with you.</dialogue> <scene_description>Katherine stops . Faces him .</scene_description> <character>FIGURE</character> <dialogue>I am here, before you, in a form to put you at ease.</dialogue> <character>KATHERINE</character> <dialogue>Good job.</dialogue> <scene_description>The sycophant shivers and ruffles something feathery under its cloak .</scene_description> <character>FIGURE</character> <dialogue>I rarely do this in person. I am, perhaps, somewhat out of touch.</dialogue> <character>KATHERINE</character> <dialogue>Are you one of them?</dialogue> <character>FIGURE</character> <dialogue>No.</dialogue> <character>KATHERINE</character> <dialogue>You're not an angel?</dialogue> <character>FIGURE</character> <dialogue>Oh, I am an angel. A very special one. The first. The oldest. The naive eagle scout, he once loved me above all others, and I him. It was the only true love for either of us, but like all true love, it could n't possibly last.</dialogue> <scene_description>The figure cranes his neck around to the horizon beyond them . The movement makes a liquid , snapping sound .</scene_description> <character>FIGURE</character> <dialogue>The winged party boys will come, Katherine. They'll come to feed on the guts of your little Mary.</dialogue> <character>KATHERINE</character> <dialogue>What do you care?</dialogue> <character>FIGURE</character> <dialogue>I have my interests.</dialogue> <scene_description>He turns back to her .</scene_description> <character>FIGURE</character> <dialogue>The naive eagle scout, he has his interests too. He even has a place for them, as I do for mine. Big, shiny place. You'd like it. Only it's been empty for a long time. Ca n't open till after the resurrection. The problem's with the hired help. Always had problems with the hired help. They're arrogant, boastful little pricks. Not like me. What I did I did for love. But they, the winged party boys, even before the park could open for its first customer, they started fighting over the popcorn stand.</dialogue> <scene_description>The figure shifts his perch on the wall .</scene_description> <character>FIGURE</character> <dialogue>You see, Katherine, heaven ca n't start accepting guests till this fight is settled. And without people, there is no heaven. All those good and true souls left mouldering in the ground clutching their H - tickets and waiting and waiting and waiting. Some, lying down there with the worms century after century, they start to get doubts about the whole program. That's when, out of sheer boredom, some of them come to me. Because I'm always open for business. 24 hours a day, seven days a week. Even on Christmas.</dialogue> <scene_description>The figure 's face darkens .</scene_description> <character>FIGURE</character> <dialogue>Some of the angels cheat. They sneak a few souls in to help with the fight. The really dark ones. And now one of them has found a special soul so wonderfully sick that it might just win it for them. And if one side wins, even the wrong one, then there's no fight. And if there's no fight, there can be a heaven.</dialogue> <character>KATHERINE</character> <dialogue>And if there's a heaven?</dialogue> <character>FIGURE</character> <dialogue>I'd be very unhappy.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I am here to help you and the little bitch not because I love you, not because I care about you, but because I want this war to go on and on and on.</dialogue> <scene_description>The figure straightens up , stretching its spine .</scene_description> <character>FIGURE</character> <dialogue>I bring you the chance to save your Mary, Katherine. And along the way, stop the resurrection.</dialogue> <character>KATHERINE</character> <dialogue>How?</dialogue> <character>FIGURE</character> <dialogue>Listen when I speak. Now go to bed, Katherine. Tomorrow, I promise you, is a big day.</dialogue> </scene> <scene> <stage_direction>INT. HOGAN</stage_direction> <scene_description>Thomas 's sitting on the hard - packed floor , leaning against the adobe wall , maybe trying to sleep . Mostly trying to ignore the thumping pain in his head . The oil lamp 's flame shudders in the gust of Katherine opening the door .</scene_description> <character>DAGGETT</character> <dialogue>Is it over?</dialogue> <character>KATHERINE</character> <dialogue>For now. They start again tomorrow.</dialogue> <character>DAGGETT</character> <dialogue>And at the end of it?</dialogue> <character>KATHERINE</character> <dialogue>The Enemy Way chant removes the invading yei ghost.</dialogue> <character>DAGGETT</character> <dialogue>Will it work on a general's soul?</dialogue> <character>KATHERINE</character> <dialogue>We'll see.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>How's the head?</dialogue> <character>DAGGETT</character> <dialogue>Still attached. Barely.</dialogue> <scene_description>She sits down on the floor beside him .</scene_description> <character>KATHERINE</character> <dialogue>Here, I'll change the bandage.</dialogue> <scene_description>She carefully unwraps the blood - soaked gauze .</scene_description> <character>KATHERINE</character> <dialogue>Does that hurt?</dialogue> <character>DAGGETT</character> <dialogue>No.</dialogue> <character>KATHERINE</character> <dialogue>Then I must be doing it wrong.</dialogue> <scene_description>She peels back the compress and dabs the wound .</scene_description> <character>KATHERINE</character> <dialogue>I saw the devil tonight.</dialogue> <character>DAGGETT</character> <dialogue>How nice. Which one?</dialogue> <character>KATHERINE</character> <dialogue>The main one. Satan. Lucifer. The dark angel. You know.</dialogue> <character>DAGGETT</character> <dialogue>What did he have to say?</dialogue> <character>KATHERINE</character> <dialogue>That he did it all for love. That and I have a choice. Mary's life or a billion souls waiting in the pipeline for heavenland to open.</dialogue> <character>DAGGETT</character> <dialogue>You're not kidding, are you?</dialogue> <character>KATHERINE</character> <dialogue>No sir.</dialogue> <character>DAGGETT</character> <dialogue>Satan? You're sure?</dialogue> <character>KATHERINE</character> <dialogue>You had to be there.</dialogue> <scene_description>Thomas suddenly slams his fist against the wall in anger .</scene_description> <character>DAGGETT</character> <dialogue>Why was n't I!</dialogue> <character>KATHERINE</character> <dialogue>We can double date next time if it's that important to you.</dialogue> <character>DAGGETT</character> <dialogue>You do n't understand, I've spent my whole life.</dialogue> <parenthetical>( looks upward . )</parenthetical> <dialogue>I do n't suppose it would occur to anyone in authority to fill me in on what's going on every once in awhile, huh? Shit!</dialogue> <scene_description>The ache in his head 's flared up . He leans it back against the wall to ease the pain .</scene_description> <character>DAGGETT</character> <dialogue>Did he say anything about the Nicene Council? About the rank of Jesus Christ in the holy Trinity?</dialogue> <character>KATHERINE</character> <dialogue>It did n't seem important to him.</dialogue> <scene_description>Katherine finishes taping the new bandage .</scene_description> <character>KATHERINE</character> <dialogue>Are you a priest?</dialogue> <character>DAGGETT</character> <dialogue>A near miss.</dialogue> <character>KATHERINE</character> <dialogue>Why?</dialogue> <character>DAGGETT</character> <dialogue>It's a long story.</dialogue> <character>KATHERINE</character> <dialogue>This may be your last chance to tell it.</dialogue> <scene_description>A wind outside rustles through the hogans .</scene_description> <character>DAGGETT</character> <dialogue>The other night, you were talking about waiting for a voice to call you to something. Well, let me tell you, the worst thing that can happen to you is to be called to something. Since I can remember a voice from somewhere deep in the Church called me. So loud and so often that by thirteen I knew I was going to be a priest. You know what that's like? My parents, friends, all of them thought I was crazy. But see, I had this voice. The voice that kept coaxing me along, telling me there was a reason. So I entered the seminary and was half way to my starched white collar when my mother, father, and my little brother were wiped out in a car crash.</dialogue> <scene_description>He pauses , the old emotions creeping back up on him .</scene_description> <character>DAGGETT</character> <dialogue>I had never asked anything of the voice. Not when the neighborhood kids made fun of me, not when my father looked down at me like some knock - kneed faggot. I never questioned a damn thing. But on the morning I spent looking down at three parallel graves, I asked it one question. Why. Why were these people taken from me? And the voice, that same voice that would wrench me out of my sleep some nights with its jabbering, it was suddenly stone silent. It was the only question I ever asked of it and it just left me hanging in the fucking wind.</dialogue> <scene_description>He blinks back the tears welling in his eye .</scene_description> <character>DAGGETT</character> <dialogue>So after that I traded in priest school for homicide school. Because if God would n't talk to me the devil sure as hell would, and his ways were a lot easier to understand.</dialogue> <character>KATHERINE</character> <dialogue>We've never seen God, have we? Not in any of this.</dialogue> <character>DAGGETT</character> <dialogue>Yeah, He's certainly a shy son of a bitch, I'll give Him that.</dialogue> <character>KATHERINE</character> <dialogue>Maybe we're not supposed to. Maybe that's faith.</dialogue> <character>DAGGETT</character> <dialogue>Do you still have faith in anything, Katherine?</dialogue> <character>KATHERINE</character> <dialogue>I have faith in Mary. And that I'm going to save that little girl from those creeping things out there. From all of them.</dialogue> <character>DAGGETT</character> <dialogue>Maybe you were called to something after all.</dialogue> <character>KATHERINE</character> <dialogue>Maybe we both were.</dialogue> <scene_description>The oil lamp wanes and fades . Katherine lays her head on Thomas 's shoulder , and as darkness swallows them he holds her . They hold each other . John the bus driver lying fully dressed on his bed asleep . The night breeze through the window , and maybe something else , tickles his nose . His eyes open , blink , turn left , right , then up , - And see Gabriel perched on the headboard , staring down at him .</scene_description> <character>GABRIEL</character> <dialogue>Heavy sleeper, John.</dialogue> <scene_description>John 's eyes open wide in shock . Gabriel 's skin is blackened and blistered in parts . Whole shards of his shirt are missing . John tries to sit up but Gabriel forces his head back down with his palm . With the ease of a spider he slides down and beside John .</scene_description> <character>JOHN</character> <dialogue>Do n't - Do n't hurt me, man. My wallet's in the dresser.</dialogue> <character>GABRIEL</character> <dialogue>Do n't be such a materialist, John.</dialogue> <parenthetical>( sees empty bourbon bottle on dresser , sighs . )</parenthetical> <dialogue>No end to your bad habits.</dialogue> <character>JOHN</character> <dialogue>What do you want?</dialogue> <character>GABRIEL</character> <dialogue>A moment of your time.</dialogue> <character>JOHN</character> <dialogue>You ought to have that nose looked at, man.</dialogue> <scene_description>Gabriel leans said nose in very close and whispers ,</scene_description> <character>GABRIEL</character> <dialogue>Where are they, John? Katherine and Mary? Where would they go?</dialogue> <character>JOHN</character> <dialogue>What? Mary? I do n't know.</dialogue> <character>GABRIEL</character> <dialogue>Sure you do. Think hard.</dialogue> <character>JOHN</character> <dialogue>No, really. I do n't know. The school maybe.</dialogue> <character>GABRIEL</character> <dialogue>Now you're not even trying, John. You're Katherine's best friend. She tells you everything.</dialogue> <character>JOHN</character> <dialogue>I'm just the driver, y' know?</dialogue> <scene_description>Gabriel extends a blistered , open palm over John 's face .</scene_description> <character>GABRIEL</character> <dialogue>I can help you remember, John.</dialogue> <scene_description>FROM THE OTHER SIDE OF THE ROOM We see Gabriel leaning over John as a sickly yellow glow begins to rise and reflect off the walls . Beneath it comes John 's worst and deepest screams . Gabriel SPLASHING the soot off his face and arms in a small , institutional bathroom . He looks at himself in the mirror , runs a hand through his hair , and walks out the door into A HOSPITAL CORRIDOR At the end of it is the intensive care unit , that institutional purgatory where a small handful of patients , wired and tubed and oxygenated , lay inconclusively between life and death . There 's a nurse 's station there , all health status video screens and a single nurse that looks up from her work at Gabriel .</scene_description> <character>NURSE</character> <dialogue>Can I help you?</dialogue> <character>GABRIEL</character> <dialogue>Someone's going to die here soon. I'll just be a minute.</dialogue> <character>NURSE</character> <dialogue>There's no visitors allowed in ICU.</dialogue> <character>GABRIEL</character> <dialogue>The timing's important. I can smell these things, you know.</dialogue> <scene_description>The nurse reaches for the telephone . Gabriel takes it away from her with one hand and with the other grasps her face open - palmed and whispers ,</scene_description> <character>GABRIEL</character> <dialogue>Go to sleep.</dialogue> <scene_description>The nurse slides out of her chair and collapses to the floor . Gabriel pulls out the metal clipboards holding each patient 's chart and flips through them , tossing one after another aside as unsuitable .</scene_description> <character>GABRIEL</character> <dialogue>Recovering. Recovering. Stable.</dialogue> <parenthetical>( finally settles on one . )</parenthetical> <dialogue>Deteriorating critical.</dialogue> <scene_description>Satisfied , he steps over to one of the beds , pulls back the curtain and sits down beside an unconscious , middle - aged woman . He watches patiently , listening the beeping scrawl of the EKG above her . It was weak to begin with but now it 's faltering badly , becoming the unsynched etchings of a child . A beeping alarm has begun to ring and her breathing is slowing to nothing . At the last possible moment Gabriel places his fingers across her face , whispering to her , coaxing her .</scene_description> <character>GABRIEL</character> <dialogue>Whoa, not just yet. Come on back. That's it.</dialogue> <scene_description>The EKG 's still flat but the woman is breathing . She begins to choke , to cough , then suddenly sits up and opens her eyes . She looks in disbelief around her , finally settling on Gabriel 's grin .</scene_description> <character>GABRIEL</character> <dialogue>Hi.</dialogue> <scene_description>A look of utter desolation and sadness sweeps over her as she begins to cry .</scene_description> <character>WOMAN</character> <dialogue>No, no.</dialogue> <character>GABRIEL</character> <dialogue>Hey, c'mon, do n't start.</dialogue> <parenthetical>( looks at chart . )</parenthetical> <dialogue>- Rachael. Here.</dialogue> <parenthetical>( hands her kleenex . )</parenthetical> <dialogue>It's only for a short time.</dialogue> <parenthetical>( grins . )</parenthetical> <dialogue>Promise.</dialogue> <scene_description>The sun cresting the Lukachukais and warming with honey colored reflection the interior of the hogan . Katherine 's head is still on Thomas 's shoulder , the two of them asleep sitting against the wall . Katherine opens her eyes and rises stiffly . She looks out the simple window to the glow of morning without expression , turns , and walks out . IN THE OTHER HOGAN Mary 's Grandmother and some of the other elderly villagers are attending Mary as Katherine enters . Mary is sitting up in her bed . She smiles at Katherine .</scene_description> <character>MARY</character> <dialogue>Hi, Miss Henley.</dialogue> <character>KATHERINE</character> <dialogue>Hi, pumpkin. Good morning.</dialogue> <scene_description>Grey Horse is kneeling near the bed preparing a bowl drink . Into it he crushes charcoal , dodge weed , juniper and ghost plant . This he stirs , heats over flame , and feeds to Mary . She grimaces and leans back in the bed as Grey Horse says a brief prayer . OUTSIDE Katherine runs into Thomas outside the hogan .</scene_description> <character>KATHERINE</character> <dialogue>How's the head?</dialogue> <character>DAGGETT</character> <dialogue>Shitty. Coffee?</dialogue> <scene_description>She accepts a mug , blowing a cloud of steam off the top .</scene_description> <character>KATHERINE</character> <dialogue>What are we going to do if he comes?</dialogue> <character>DAGGETT</character> <dialogue>You mean when, right?</dialogue> <character>KATHERINE</character> <dialogue>When he comes.</dialogue> <character>DAGGETT</character> <dialogue>There's no phone here? Radio?</dialogue> <parenthetical>( she just looks at him . )</parenthetical> <dialogue>Stupid question.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>If we were smart we'd leave. Get to a town. A sheriff station.</dialogue> <character>KATHERINE</character> <dialogue>Mary's ceremony is n't over yet. The Enemy Ghost Way. The alien spirit has n't been driven out.</dialogue> <character>DAGGETT</character> <dialogue>Do you really believe in the ceremony?</dialogue> <character>KATHERINE</character> <dialogue>Would you have believed in any of this three days ago?</dialogue> <character>DAGGETT</character> <parenthetical>( nods . )</parenthetical> <dialogue>So we stay and dump the General's soul.</dialogue> <character>KATHERINE</character> <dialogue>You have the gun?</dialogue> <character>DAGGETT</character> <dialogue>With one shot left. The spares -.</dialogue> <parenthetical>( sniffs his shirt . )</parenthetical> <dialogue>- And a change of clothing, are all still at the hotel.</dialogue> <parenthetical>( sighs . )</parenthetical> <dialogue>We're going to have to come up with something.</dialogue> <character>KATHERINE</character> <dialogue>We could always ask him.</dialogue> <scene_description>Thomas looks up . She 's referring to Lucifer , who 's appeared perched on the edge of the low , eye - level hogan roof . The sycophant is also nearby , chattering its teeth and staring at Katherine with jealous , rabid eyes . Lucifer shivers , a claw turning up the collar of his cloak .</scene_description> <character>LUCIFER</character> <dialogue>I always forget how cold it gets in the desert.</dialogue> <scene_description>The swimming , bottomless eyes fall on Thomas .</scene_description> <character>LUCIFER</character> <dialogue>Mr. Daggett, I presume. How's the faith?</dialogue> <scene_description>Thomas ca n't bring himself to say anything . To form the words .</scene_description> <character>LUCIFER</character> <dialogue>Come come, must you be so wishy - washy about everything? With the absent - minded eagle scout, I can see that. But you're looking at the devil man, say something.</dialogue> <character>DAGGETT</character> <dialogue>Fuck you.</dialogue> <character>LUCIFER</character> <dialogue>Much better. Can I have some coffee?</dialogue> <scene_description>Thomas gingerly hands him the cup . The angel Lucifer lifts it , and with something unimaginably awful darting out of his mouth , drinks . He offers the mug back to Thomas for a sip .</scene_description> <character>DAGGETT</character> <dialogue>Keep it.</dialogue> <scene_description>He finishes it . Cranes his neck .</scene_description> <character>LUCIFER</character> <dialogue>I have come to remind you that the winged party boys are just that : spoiled boys. You are armed, however pathetically, with the one thing they never really understood : theology. It's not much, but that's life.</dialogue> <character>DAGGETT</character> <dialogue>Is this supposed to be our `` win one for The Ripper'' speech?</dialogue> <character>LUCIFER</character> <dialogue>Do n't press your luck, Mr. Daggett.</dialogue> <scene_description>And you know instantly , in the bottom of your stomach , that those eyes mean it .</scene_description> <character>LUCIFER</character> <dialogue>Go and get ready, Thomas.</dialogue> <scene_description>Thomas hesitates , holds the gaze , then turns and leaves . In an instant Lucifer sweeps down from the hogan roof to Katherine 's side . Face and eyes and maggot breath uncomfortably close , he smiles .</scene_description> <character>LUCIFER</character> <dialogue>Have you ever considered Katherine, that the great absentee landlord, the soft - eyed eagle scout your childhood prayers are for, is just using you? That you're only the exterminator to get rid of his pests?</dialogue> <scene_description>Lucifer places a cloaked arm around her shoulder and leads her to the walled edge to look out across the endless plateau . His mouth presses against her ear and whispers ,</scene_description> <character>LUCIFER</character> <dialogue>God's junkies are coming, Katherine. And when they do, all hell is going to break loose.</dialogue> <scene_description>A tiny speck on the empty horizon . It grows , takes shape , and finally becomes a red convertible rambler as it WOOSHES past on a desolate throat of forgotten highway . Gabriel 's at the wheel . Beside him , grey - blonde hair streaming out behind her , is Rachael , recently lifted from the file - and - forget section of the hospital ICU . She tilts her head up . Lets the sun warm her pallor . Just a sociopathic angel and his somewhat deceased babe out for a top - down cruise across a sixty million year old desert . It could happen .</scene_description> </scene> <scene> <stage_direction>INT. ROADSIDE DINER - DAY</stage_direction> <scene_description>A reality bruised waitress , Madge , sets down a coffee and milkshake before Gabriel . He downs the shake in one belt .</scene_description> <character>GABRIEL</character> <dialogue>Say, Ma'am, any idea where I can find Old Woman Butte?</dialogue> <character>MADGE</character> <dialogue>It's on the reservation.</dialogue> <character>GABRIEL</character> <dialogue>I do n't suppose you could be just a tad more specific. Madge.</dialogue> <scene_description>The waitress ' eyes move from the guy with sunglasses and burn marks on his shirt to the woman sitting alone outside in the rambler .</scene_description> <character>MADGE</character> <dialogue>Is n't your friend hungry?</dialogue> <character>GABRIEL</character> <dialogue>Not for a while, I'm afraid. Funniest thing.</dialogue> <scene_description>Madge has a lot of things she misses in her life , but one of them she decides is n't Gabriel .</scene_description> <character>MADGE</character> <dialogue>Take 522 to the Sonsela Wash cut - off. First dirt road go left. Twenty, twenty - five miles you'll see it. Big, black and all alone.</dialogue> <scene_description>Gabriel downs the coffee , stands , and tosses a bill on the counter .</scene_description> <character>GABRIEL</character> <dialogue>I doubt we'll meet again.</dialogue> <character>MADGE</character> <dialogue>Suits me.</dialogue> </scene> <scene> <stage_direction>EXT. VILLAGE - DAY</stage_direction> <scene_description>Thomas drags a heavy chain from Katherine 's truck and begins fastening it to a post . Lucifer watches perched on a nearby rooftop .</scene_description> <character>DAGGETT</character> <dialogue>You could always lend a hand.</dialogue> <scene_description>Lucifer just smiles or sneers or whatever he does with that hideous mouth . INSIDE THE KIVA Grey Horse begins laying out his prayer instruments as Mary is prepared with paint and oils . OUTSIDE Katherine leans against the doorway , nervously watching the horizon . The sky thinning into uneasy pastels as the sun falls unceremoniously toward the mountains . A few lanterns have been lit , and from inside the kiva can be heard the chants of the Navaho Enemy Ghost Way . Katherine 's eyes are still on a horizon dropping off into shadow . She stiffens . There , at the end of the earth , appears a silent plume of dust . It could be anybody 's car , but it can only be one car . Thomas steps up beside her .</scene_description> <character>KATHERINE</character> <dialogue>He's coming.</dialogue> <scene_description>Thomas sticks his head into the kiva , speaks softly to one of the elderly villagers attending the ceremony .</scene_description> <character>DAGGETT</character> <dialogue>Is there any way to speed this up?</dialogue> <character>VILLAGER</character> <dialogue>No.</dialogue> <scene_description>A fire has been built on the kiva 's floor . Through the choking smoke can be seen Mary lying on a mat as Grey Horse chants to the yei spirits and adds fine colored earth to the growing sand painting beside her . His voice rises and falls in guttural syntax . He 's coaxing . Coaxing the alien spirit out of the child .</scene_description> <character>DAGGETT</character> <dialogue>Lock the door.</dialogue> <scene_description>He pulls his head out and hands Katherine the pistol .</scene_description> <character>DAGGETT</character> <dialogue>Stay inside. It's only one round, so make it count.</dialogue> <scene_description>There 's a pause and for a moment their eyes lock . She touches his arm , almost says something , then disappears into the kiva . Thomas closes the door behind her . He turns and looks out at the distant plume of dust . Growing closer .</scene_description> </scene> <scene> <stage_direction>EXT. GABRIEL'S RAMBLER - DAY</stage_direction> <scene_description>Radio turned up , sophomoric grin glued on his face , Gabriel roars past and begins the snaking climb up the side of the butte . The sun has almost completely slipped away now , leaving the land a deathly bluish grey . The road flattens out at the top of the butte and Gabriel can see the village glowing at the far end . He punches the rambler , winding it up for the last stretch , and pats the blonde on the knee .</scene_description> <character>GABRIEL</character> <dialogue>You'll like this, Rachael.</dialogue> <scene_description>Maybe not . There 's a sudden glint of metal in the headlights as Thomas at the last moment PULLS UP the heavy chain and HOOKS it over the far post . Gabriel does something pointless with the brakes and SLAMS forward into it . The whole rear of the car STANDS UP on impact , PITCHING Gabriel through the windshield into the dust . Thomas steps out from behind the post armed with an iron bar . The rambler hisses and belches a death rattle as he cautiously walks toward the spot of gloom where Gabriel lies .</scene_description> <character>GABRIEL</character> <parenthetical>( breathless . )</parenthetical> <dialogue>Nice move.</dialogue> <scene_description>Thomas 's feet crunch softly closer .</scene_description> <character>GABRIEL</character> <dialogue>You ought to come work for us. Upstairs. We sneak the odd civilian in now and then, you know. You'd like it. Nobody tells you when to go to bed, can eat all the ice cream you want. And you get to kill. All day and all night. Just like an angel.</dialogue> <scene_description>Thomas does n't answer . Gabriel 's body looks ravaged as he carefully steps closer and closer .</scene_description> <character>GABRIEL</character> <dialogue>Save yourself, friend. Why go to the wall with the bitch and her rug rat? It'll all turn out the same anyway. Here or in heaven, we're still gon na tear the kid apart.</dialogue> <character>DAGGETT</character> <dialogue>I'm not an angel, heaven or hell. I'm a man you eyeless puke, which means I have one thing you never will. A soul. And though I may, somewhere inside, believe in a God, I will never, never, believe in you.</dialogue> <character>GABRIEL</character> <dialogue>A little speechy today, are n't we?</dialogue> <parenthetical>( sighs . )</parenthetical> <dialogue>Okay pal, have it your way.</dialogue> <scene_description>Gabriel 's legs suddenly SWING AROUND and SMACK Thomas , sprawling him back into the dirt . The iron bar goes flying as Gabriel in a flash is on top of him . Thomas thrashes but Gabriel easily pins his shoulders and sits on his chest . Without hurry he uncurls the fingers of his right hand .</scene_description> <character>GABRIEL</character> <dialogue>This is going to really, really hurt.</dialogue> <scene_description>Thomas 's eyes are wild with fear .</scene_description> <character>DAGGETT</character> <dialogue>You - your war.</dialogue> <scene_description>Gabriel 's spread fingers lower themselves toward his face .</scene_description> <character>GABRIEL</character> <dialogue>C'mon, son, out with it. Make this one count.</dialogue> <character>DAGGETT</character> <dialogue>Your war's a lie!</dialogue> <character>GABRIEL</character> <parenthetical>( pauses . )</parenthetical> <dialogue>What?</dialogue> <character>DAGGETT</character> <dialogue>Running around acting like this is really about whether Christ is just the son of God or if he is God. Bullshit! That's not what this is about at all, is it?</dialogue> <character>GABRIEL</character> <dialogue>You're wrong.</dialogue> <character>DAGGETT</character> <dialogue>Then prove it to me, Gabriel. I studied three fucking years of theology before I picked up a gun. C'mon, you're chief goddamn angel, I'm just a little man. Prove to me Christ is just a son and less than God. Prove it!</dialogue> <scene_description>Gabriel hesitates .</scene_description> <character>GABRIEL</character> <dialogue>I do n't have to.</dialogue> <character>DAGGETT</character> <dialogue>Because you ca n't! Because this war is n't about some obscure medieval hangup. You're just jealous.</dialogue> <character>GABRIEL</character> <dialogue>You're wrong!</dialogue> <character>DAGGETT</character> <dialogue>Try me, Gabriel. Go on. Prove to me the temporal nature of the Trinity. Show me through logic how the Son of the Word can be separated from the Father. Fight me with philosophy, Gabriel!</dialogue> <character>GABRIEL</character> <dialogue>No!</dialogue> <character>DAGGETT</character> <dialogue>Because you and your army are wrong! And you know it. You knew it sixteen centuries ago.</dialogue> <character>GABRIEL</character> <dialogue>We do n't have to listen to him! He's just a son!</dialogue> <character>DAGGETT</character> <dialogue>That's it. You're jealous. Jealous He could love something more than you.</dialogue> <character>GABRIEL</character> <parenthetical>( hisses . )</parenthetical> <dialogue>Shut up.</dialogue> <scene_description>Gabriel 's becoming unglued .</scene_description> <character>DAGGETT</character> <dialogue>If you wanted to know so badly, Gabriel, why did n't you just ask Him? Why did n't you just ask God?</dialogue> <scene_description>A shudder passes through Gabriel . He straightens up and looks down at Thomas as emotion racks his body .</scene_description> <character>GABRIEL</character> <dialogue>Because He does n't talk to us anymore!</dialogue> <scene_description>The two stare at one another . Then Gabriel , lost in himself , suddenly turns away from Thomas and walks into the darkness . For the village . Thomas climbs quickly to his feet , spins around - - And is HIT full - force by a rabid , SHRIEKING Rachael . Her legs lock around his body vise - like as her teeth and nails DIG into his skin . He cries out and stumbles to the ground . The two grapple furiously in the dust , Rachel 's crazed face taking BITE after BITE out of his shoulder and neck . Thomas manages a fistfull of her hair and YANKS the fangs off his shoulder . With his other arm he CUFFS her hard , BREAKING the grip and ROLLING her aside . He staggers to his knees and begins to run . Shrieking , a mad porcelain banshee out of the dusk , Rachael catches up and TACKLES him . On the way down his head strikes a small stone wall and the pain is white thunder . Gagging and weeping in blank shock , he crawls on his hands and knees as Rachael OPENS UP his arm from shoulder to elbow with her nails . As the blood tumbles like ribbons , Rachael JUMPS onto his back , DIGGING her claws into his scalp . It 's about all one human can take . Mad with pain and anger and desperation , Thomas manages to climb to a shaky crouch , Rachael still shrieking on his back . Throwing all his weight backward , he JAMS her into the short stone wall . The impact SNAPS her hold and PROPELS her over the wall - And two thousand feet down the side of the butte . Thomas Daggett can only curl up into a ball , gulping shallow , shuddering breaths . IN THE VILLAGE Gabriel walks resolutely up to the first hogan and KICKS down the plank wood door . No one home . He walks to the second and KICKS its door down . Nothing . IN THE KIVA Mary 's ceremony is nearing a crescendo . Grey Horse has donned the colorful mask of the yei god Monster Slayer as the relatives now join in the guttural chants of the Enemy Ghost Way . Through the thick , choking smoke of the ceremonial fire we see Katherine , nervously watching the door . IN THE DARKNESS OUTSIDE THE VILLAGE Thomas tries hopelessly to make his way back . Stumbling every few steps , he 's beyond pain and into driven numbness . It 's hopeless though . We know it . IN THE VILLAGE Gabriel KICKS down another door to another empty hogan . There 's only one left . As he approaches , from within can be heard the muffled sound of chanting . THOMAS Takes a few more fumbling steps and falls again . He reaches out to something metal for support . It 's Katherine 's pickup . GABRIEL Steps up to the kiva door and KICKS it . The frame buckles but holds . He steps back a few feet , puts all his weight into a turn , and KICKS again . The door SHATTERS . INSIDE Wood splinters ROCKET through the smoke as Gabriel appears in the doorway . Grey Horse , everyone , freezes .</scene_description> <character>GABRIEL</character> <dialogue>Relax folks, it's just a soul.</dialogue> <scene_description>From out of the smoke steps Katherine . She FIRES , one round , into Gabriel 's side . The archangel is pitched against the kiva 's wall , where he stays a moment before turning to Katherine .</scene_description> <character>GABRIEL</character> <dialogue>I'm getting real tired of you.</dialogue> <scene_description>She stands her ground between him and the child .</scene_description> <character>KATHERINE</character> <dialogue>Go to hell.</dialogue> <character>GABRIEL</character> <dialogue>Heaven, darling. Heaven. At least get the zip code right.</dialogue> <character>KATHERINE</character> <dialogue>It's all the same, is n't it?</dialogue> <character>GABRIEL</character> <dialogue>No. In heaven we believe in love.</dialogue> <character>KATHERINE</character> <dialogue>And what do you love, Gabriel?</dialogue> <scene_description>Once again , the shade of doubt holds him up . But it 's quickly pushed aside for a corrupted grin . He 's given up all pretense .</scene_description> <character>GABRIEL</character> <dialogue>- Cracking your skull.</dialogue> <scene_description>He advances on her .</scene_description> <character>KATHERINE</character> <dialogue>That's all it is for you anymore, Gabriel, is n't it? Just the killing and the burning. You do n't work for God anymore. You do n't fight for love.</dialogue> <character>GABRIEL</character> <dialogue>Shut up!</dialogue> <scene_description>And he 's on her . With his left arm he brutally forces her to her knees as his right hand , palm out and fingers splayed , clamp themselves over her face . Katherine 's mouth opens in a silent scream as the pain , immediate and beyond endurance , flows through her body . From somewhere outside , there 's a sound . Katherine gulps chokes of agony as her very clothes begin to smolder around her . We hear the sound once more , closer , before - The entire kiva wall EXPLODES INWARD as Katherine 's pickup CRASHES through it . The mangled grill and hood SLAM into Gabriel from the side and SMASH him to the ground like a broken puppet . Katherine falls backward to the floor , gets up , and runs to the truck 's cab . Inside sits a near catatonic Thomas . Katherine takes only a second to share a look with him before reaching back and pulling out the pickup 's tire iron . Gabriel , a shattered , broken thing , pulls himself up to his knees . The sunglasses are gone and two eyeless pits stare out at Mary , huddled in the corner . Bleeding from every pore , one arm bent back the wrong way , he crawls across the floor toward her , his voice the milky slur of a stroke victim .</scene_description> <character>GABRIEL</character> <dialogue>God loves you, Mary!</dialogue> <scene_description>Katherine brings the tire iron down on his skull with all her might , DRIVING him to the floor . She turns to Grey Horse , her eyes wild .</scene_description> <character>KATHERINE</character> <dialogue>Finish it.</dialogue> <scene_description>He , everyone , just stare . Stunned to stone .</scene_description> <character>KATHERINE</character> <dialogue>Finish it!</dialogue> <scene_description>Grey Horse timidly picks up his prayer stick and with a voice faltering and cracked , in the insane glare of the wrecked pickup 's headlights , resumes the Enemy Ghost Way chant . Katherine turns back to Gabriel .</scene_description> <character>KATHERINE</character> <dialogue>Go home.</dialogue> <scene_description>She HITS him again with the tire iron . Then lifts it high once more above her head . She 's going to crush him , to implode his skull . When a hand stops her . Sort of a hand . A claw . Lucifer 's . He 's standing behind her , holding the raised bar still .</scene_description> <character>LUCIFER</character> <dialogue>No.</dialogue> <scene_description>Katherine releases the bar and lets it clang to the floor . Lucifer turns to the villagers , gazing fearfully at him as they awkwardly try to finish the chant .</scene_description> <character>LUCIFER</character> <dialogue>Please. Go on.</dialogue> <scene_description>Lucifer 's gaze falls on a deeply fucked - up Gabriel who groans at the sight of him .</scene_description> <character>GABRIEL</character> <dialogue>Oh man, this just is n't my day.</dialogue> <scene_description>Lucifer kneels down beside him . Katherine instinctively starts to reach for the tire iron but the sycophant hisses a liquid , chattering warning at her .</scene_description> <character>LUCIFER</character> <dialogue>Long time.</dialogue> <character>GABRIEL</character> <dialogue>The world's young, man.</dialogue> <character>LUCIFER</character> <dialogue>And full of ambition.</dialogue> <character>GABRIEL</character> <dialogue>This is n't your war.</dialogue> <character>LUCIFER</character> <dialogue>But I remember the last one. Michael's war.</dialogue> <character>GABRIEL</character> <dialogue>You lost.</dialogue> <character>LUCIFER</character> <dialogue>But lots of angels were with me. every one followed their leader out of heaven.</dialogue> <character>GABRIEL</character> <dialogue>Yeah yeah, I was there, remember?</dialogue> <character>LUCIFER</character> <dialogue>Except one. Oh, he was with me all right. He hated the Eagle Scout. Envied the power He gave to His Son. But this angel never came out front during the war. And when it ended he thought maybe, maybe the Eagle Scout did n't notice. So he laid low and towed the company line till he could start his own war. It was all just jealousy.</dialogue> <character>GABRIEL</character> <dialogue>You're dreaming.</dialogue> <character>LUCIFER</character> <dialogue>But maybe He did notice. Maybe that's why I'm here.</dialogue> <character>GABRIEL</character> <dialogue>- Stay away from me.</dialogue> <character>LUCIFER</character> <dialogue>You've always been a part of me, Gabriel. And now it's time to come home.</dialogue> <character>GABRIEL</character> <dialogue>Fuck you!</dialogue> <scene_description>Lucifer slams Gabriel 's head against the floor and pins it . As the angel thrashes furiously , Lucifer FORCES his arm into Gabriel 's chest . Gabriel cries out as Lucifer PULLS his arm half out and FORCES it deeper . Again . And again . Soon Gabriel 's screams become giggles , then a crazed , hysterical laughter . The room goes insane . An impossible nightmare of chanting Navahos , glaring headlights , and Gabriel 's echoing laughter as Lucifer pumps his chest . Laughter that rises to a kind of orgasmic cry then instantly stops as Lucifer pulls out the angel 's heart , And eats it . At that instant Grey Horse places his hand on Mary 's forehead , speaks a last line , and the chant is completed . Sticky , smoky , awful silence . Gabriel is a non - thing . A battered , hollow shell . Bartholomew Grey Horse , his voice cracked and finished , turns to Katherine .</scene_description> <character>GREY HORSE</character> <dialogue>The enemy spirit is gone.</dialogue> <character>DAGGETT</character> <parenthetical>( weak , faint . )</parenthetical> <dialogue>Where?</dialogue> <scene_description>From outside the kiva suddenly comes the sound of a wounded , savage GROWL . Katherine walks to the doorway . Just outside a lone coyote is twisting in the dirt with furious agony . Abruptly its thrashings cease . The animal stands and flashes for an instant at Katherine cold yellow eyes more than animal . Then it 's gone into the blackness . Forever . She turns and goes back to Thomas in the cab . Bleeding to death is a real possibility for him . She pulls an old shirt out of the back and tries to makeshift a wrap for his sliced arm .</scene_description> <character>DAGGETT</character> <dialogue>More will come. To look for the soul.</dialogue> <character>KATHERINE</character> <dialogue>And they wo n't find it. Not in Mary.</dialogue> <scene_description>A few of the village elders appear at the cab .</scene_description> <character>KATHERINE</character> <dialogue>Can you help him?</dialogue> <character>VILLAGER</character> <dialogue>We have some bandages.</dialogue> <scene_description>Katherine walks over to where Mary , sweaty and shaken , sits huddled in a corner attended by Grey Horse .</scene_description> <character>KATHERINE</character> <dialogue>Are you all right, pumpkin?</dialogue> <scene_description>Mary 's voice shakes as tears roll out her eyes .</scene_description> <character>MARY</character> <dialogue>I'm okay.</dialogue> <scene_description>Katherine gathers her up into her arms and holds her .</scene_description> <character>KATHERINE</character> <dialogue>It's going to be okay. We're all going to be okay.</dialogue> <scene_description>The chattering , hissing sycophant grabs Gabriel 's body by the hair and shoulders and drags it out the door . Lucifer has remained behind , crouched on his haunches , his liquid , yellow eyes on Katherine .</scene_description> <character>KATHERINE</character> <dialogue>I ca n't quite bring myself to say thank you.</dialogue> <character>LUCIFER</character> <dialogue>I understand.</dialogue> <character>KATHERINE</character> <dialogue>Then this is done.</dialogue> <character>LUCIFER</character> <dialogue>Not necessarily. Maybe I like you. Maybe I want you to come with me.</dialogue> <scene_description>He rises to his feet and steps slowly toward her .</scene_description> <character>LUCIFER</character> <dialogue>You owe me, Katherine. And you're going to ask me to take you home.</dialogue> <character>KATHERINE</character> <parenthetical>( clutching Mary . )</parenthetical> <dialogue>No.</dialogue> <character>LUCIFER</character> <dialogue>You will. You will because any other way is going to be more awful than you can imagine.</dialogue> <character>KATHERINE</character> <dialogue>Are you threatening me?</dialogue> <scene_description>Just a grinning , twisted stare .</scene_description> <character>KATHERINE</character> <dialogue>Then you've picked the wrong person this time. I've just about had it up to here with ghosts. So you can put away the horror movie sneer and the K - Mart halloween eyes, because we know you now. We know you all. And if you want to force the issue then go ahead because you're just another angel to me. Take a look at your buddy Gabriel. Then ask yourself, do you really, really want to fuck with us?</dialogue> <scene_description>The smallest hint of a pause .</scene_description> <character>LUCIFER</character> <dialogue>Perhaps another time.</dialogue> <character>KATHERINE</character> <dialogue>I'm holding my breath.</dialogue> <character>LUCIFER</character> <dialogue>Goodbye, Katherine. For now.</dialogue> <scene_description>And he 's gone . Through the door and into the night .</scene_description> <character>MARY</character> <dialogue>Is he coming back?</dialogue> <character>KATHERINE</character> <dialogue>I do n't think so, honey. I do n't think so.</dialogue> <scene_description>The fullness of day over Old Woman Butte , hot and bright . Chasing the night and its fears away under the punishing glare of noon . The village is full of police vehicles now . Green broncos from the Navaho Tribal Police . Blue and white sheriff department sedans . The Navaho cops are talking with Katherine and Mary . Thomas is sitting on the trunk of a patrol car getting his wounds properly bandaged as the Sheriff we met earlier leans beside him chewing on a wild oat stalk .</scene_description> <character>SHERIFF</character> <parenthetical>( to deputy bandaging Thomas . )</parenthetical> <dialogue>Is he going to live?</dialogue> <character>DEPUTY</character> <dialogue>With any luck.</dialogue> <character>SHERIFF</character> <parenthetical>( to Thomas . )</parenthetical> <dialogue>I thought I told you to give me a call if anything snarled.</dialogue> <character>DAGGETT</character> <dialogue>There was n't a phone.</dialogue> <character>SHERIFF</character> <dialogue>Hmmm.</dialogue> <scene_description>He chews some more on his stalk . Looks off at the village .</scene_description> <character>SHERIFF</character> <dialogue>This fella, Gabriel.</dialogue> <character>DAGGETT</character> <dialogue>Yeah.</dialogue> <character>SHERIFF</character> <dialogue>Gabriel what?</dialogue> <character>DAGGETT</character> <dialogue>Just Gabriel.</dialogue> <character>SHERIFF</character> <dialogue>Pretty violent guy, Gabriel. Even for out here.</dialogue> <character>DAGGETT</character> <dialogue>Yeah.</dialogue> <character>SHERIFF</character> <dialogue>Caught up with him at the village?</dialogue> <character>DAGGETT</character> <dialogue>He caught up with me.</dialogue> <character>SHERIFF</character> <dialogue>What were you doing way up here?</dialogue> <character>DAGGETT</character> <dialogue>Enemy Ghost Way for Mary Tsosie.</dialogue> <character>SHERIFF</character> <dialogue>Indian stuff.</dialogue> <character>DAGGETT</character> <dialogue>Yeah. Indian stuff.</dialogue> <scene_description>The Sheriff looks over at Katherine 's pickup still jammed into the side of the kiva .</scene_description> <character>SHERIFF</character> <dialogue>Did you kill this Gabriel?</dialogue> <character>DAGGETT</character> <dialogue>Maybe. I think so.</dialogue> <character>SHERIFF</character> <dialogue>Do n't have any idea where the body is I suppose.</dialogue> <character>DAGGETT</character> <dialogue>No.</dialogue> <character>SHERIFF</character> <dialogue>Well, if he's alive he wo n't get far out there. Us or the coyotes, it'll be the same.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I rang your office in LA.. They do n't have a warrant out for a Gabriel. Or anybody else in Arizona.</dialogue> <character>DAGGETT</character> <dialogue>I had n't gotten around to it.</dialogue> <character>SHERIFF</character> <dialogue>Sort of an out of pocket thing.</dialogue> <character>DAGGETT</character> <dialogue>Yes.</dialogue> <scene_description>The Sheriff takes his hat off . Runs his finger along the inside band .</scene_description> <character>SHERIFF</character> <dialogue>That woman lying at the bottom of the arroyo, the one still in her hospital gown, know anything about that?</dialogue> <character>DAGGETT</character> <dialogue>No.</dialogue> <character>SHERIFF</character> <dialogue>Really.</dialogue> <character>DAGGETT</character> <dialogue>Really.</dialogue> <character>SHERIFF</character> <dialogue>This Gabriel was sure one busy dude.</dialogue> <character>DAGGETT</character> <dialogue>Yes, he was.</dialogue> <scene_description>Beat .</scene_description> <character>SHERIFF</character> <dialogue>You'll be going back to Los Angeles now?</dialogue> <character>DAGGETT</character> <dialogue>Yeah.</dialogue> <scene_description>The Sheriff pushes off from the patrol car and tosses aside the oak stalk .</scene_description> <character>SHERIFF</character> <dialogue>Do n't hurry back.</dialogue> <scene_description>The deputy finishes his bandaging .</scene_description> <character>DEPUTY</character> <dialogue>Do n't do much but breathe the next few days. And get to a hospital. You're going to need some serious stitches.</dialogue> <character>DAGGETT</character> <dialogue>Thanks.</dialogue> <character>DEPUTY</character> <dialogue>Say hi to Hollywood for me.</dialogue> <scene_description>He follows his boss . Katherine and Mary walk up .</scene_description> <character>MARY</character> <dialogue>You look bad.</dialogue> <character>DAGGETT</character> <dialogue>Thank you. I feel worse.</dialogue> <parenthetical>( to Katherine re Navaho cops . )</parenthetical> <dialogue>They lean on you much?</dialogue> <character>KATHERINE</character> <dialogue>Not really. I think they might have even understood. One of them's related to this clan. He'll give us a ride back if we want.</dialogue> <character>DAGGETT</character> <dialogue>Good. I think I've about run out of hospitality with the sheriff's department.</dialogue> <scene_description>The moment drifts into silence .</scene_description> <character>KATHERINE</character> <dialogue>Do you think it's really over?</dialogue> <character>DAGGETT</character> <dialogue>Till we die.</dialogue> <scene_description>Her eyes settle on his .</scene_description> <character>KATHERINE</character> <dialogue>When I die, I want you with me.</dialogue> <character>DAGGETT</character> <dialogue>I want that too.</dialogue> <scene_description>She touches his cheek , Mary cradled between them . Thomas sitting in the back of the tribal police bronco , looking out the window to the shimmering sands ; red and yellow and black . To clouds brewing over faraway forgotten mountains . To the end of the earth . As the bronco drifts away from us toward the empty , rocky horizon , as it slowly blends and is consumed by the land , FADE SLOWLY TO BLACK THE END</scene_description> </scene> </script>

Thomas Dagget, a Catholic seminary student, loses his faith when he sees visions of a war between angels. Years later, Thomas is a detective with the Los Angeles Police Department. Two angels fall to Earth: Simon briefly enters Thomas' home and warns him of coming events, while Usiel, a lieutenant of the Archangel Gabriel, is killed in an altercation with Simon. Investigating the disturbance, Thomas finds in Simon's apartment the obituary of recently deceased Korean War veteran Colonel Arnold Hawthorne, and a thesis about angels which Thomas himself wrote in seminary. Meanwhile, in Chimney Rock, Arizona, Simon finds Hawthorne awaiting burial and sucks his soul out of his body. The medical examiner informs Thomas that Usiel's body has no eyes, no bones, hermaphroditism, and the blood chemistry of a fetus. His personal effects include an ancient Bible, with an expanded Book of Revelation that describes a second war in Heaven and prophecy that a "dark soul" will be found on Earth and used as a weapon. Gabriel arrives on Earth. Needing a human helper, Gabriel catches a disappointed Jerry, a suicide, in the moment of his death. Jerry retrieves Usiel's belongings from the police station while Gabriel destroys Usiel's body in the morgue. Finding Hawthorne's obituary, Gabriel and Jerry head for Chimney Rock. Before Gabriel arrives, at the local reservation school Simon hides Hawthorne's soul in a little Native American girl, Mary, who immediately falls ill and is cared for by her teacher, Katherine. After finding Usiel's burnt body, Thomas hurries to Chimney Rock. When Gabriel realizes Hawthorne's soul is missing, he confronts Simon. Hawthorne's soul will tip the balance to whichever side possesses it, and a win for the rebellious angels would make Heaven like Hell with Earth in its thrall. Gabriel tortures Simon, but he refuses to reveal its location, so Gabriel kills him. Mary shows signs of possession by Hawthorne, recounting an incident from Hawthorne's harrowing war experiences in first-person perspective. Meanwhile, Thomas examines Simon's remains and questions Katherine. In Hawthorne's home, he finds evidence of war crimes. Thomas visits a church to reflect in and is shaken by a verbal confrontation with Gabriel. At school, Katherine finds Gabriel questioning the children. After he leaves, she rushes to Mary's home and finds Thomas. As Mary's condition worsens, Katherine takes Thomas to an abandoned mine where she had seen Gabriel. They find angelic script and experience together a terrible vision of the angelic war. Returning to Mary, they find Gabriel and Jerry. Thomas kills Jerry, while Katherine distracts Gabriel when her wild gunshot misses him and blows up Mary's trailer home. They take Mary to a Native American site to be exorcised. In a hospital, Gabriel recruits a new unwilling assistant, Rachael, just as she dies of a terminal illness. Lucifer confronts Katherine and tells her that "other angels" have taken up this war against mankind, and since then, no human souls have been able to enter Heaven. He knows Gabriel plans to use Hawthorne's soul to overthrow the obedient angels. He also knows that if Gabriel wins the war under his influence Heaven will ultimately devolve into another Hell, which Lucifer considers "one Hell too many". Lucifer then appears to Thomas and advises him to use Gabriel's lack of faith against him. When Gabriel arrives and attempts to disrupt the exorcism ritual, Thomas kills Rachael, and he and Katherine fight Gabriel. Gabriel defeats them and moves to kill Katherine. Lucifer appears, encouraging the Natives to complete the exorcism. Lucifer confronts Gabriel, telling him that his war is based upon arrogance, which is evil, making it Lucifer's territory. Lucifer tells Gabriel he needs to go home and rips out his heart. Simultaneously Mary expels out Hawthorne's soul. The "enemy ghost" starts to attack Thomas and Katherine, but a bright light from Heaven appears and destroys it. Lucifer asks Thomas and Katherine to "come home" with him, but they refuse. Lucifer drags Gabriel to Hell. As morning comes, Thomas comments on the nature of faith and what it means to truly be human.

The Corruptor_1999

tt0142192

<script> <scene> <stage_direction>The Corruptor</stage_direction> </scene> <scene> <stage_direction>EXT. NEW YORK CITY, DAY</stage_direction> <scene_description>Credits roll over establishing shots of the city . First , primary MANHATTAN , the one tourists see on post cards . Then slowly , we drift into Chinatown . Side streets and back alleys so different you would n't even know your in the U.S . Eventually we stop on .</scene_description> </scene> <scene> <stage_direction>EXT. WINGS BAKERY SHOP, WEST BROADWAY, CHINATOWN - DAY</stage_direction> <scene_description>CUSTOMERS move in and out when BOOOOM ! The screen EXPLODES in a ball of FIRE . The bleeding PATRONS stumble into the street as flames pour from a gaping hole that was once a bustling Herb shop . Across the street , a young ASIAN , poorly dressed , lights a smoke . His body is undernourished and covered with the tattoo insignia of the FUKIENESE DRAGONS . But it 's his eyes that get your attention . Dark and hungry , they watch his day 's work with the detachment of one who 's been taught the value of life is zero . Meet BOBBY VU . Oblivious to the chaos , he strides into the street flanked by three similarly tattooed youths who we will come to know as JACK , BLACK EYES and `` THE TALL KID '' . Together they encircle a middle - aged TRIAD SYMPATHIZER dressed totally in his bakery whites , crawling from the rubble . The young gangsters brazenly pull pistols from their jackets .</scene_description> <character>BOBBY VU</character> <dialogue>Fukienese Dragons not funny now.</dialogue> <scene_description>The injured man futilely pulls a gun from his coat as the Dragons execute their prey in a barrage of gunfire . Smoke drifts from their weapons when Bobby notices a frightened TOURIST lying in a puddle of her own blood . He looks into her tear filled eyes and raises his gun to finish her . But she dies before he needs to shoot . He then climbs into a rented Ford and takes off .</scene_description> </scene> <scene> <stage_direction>INT. PHAN HO'S LAMPS, CANAL STREET, NYC-NIGHT</stage_direction> <scene_description>For a lamp store the joint is dark . The only light comes from the merchandise burning 20 watt bulbs and a small black and white Zenith spouting tape delayed news from the bombing site .</scene_description> <character>REPORTER</character> <parenthetical>( TELEVISION . )</parenthetical> <dialogue>The tragic death of BETH KADELL from Fairlawn New Jersey in this morning's Chinatown bombing has mobilized the city and drawn attention to a six month war being waged in the back alleys and underground corridors of the city's most mysterious neighborhood. According to police, the Fukienese Dragons, a new entity in the Chinatown crime scene, are headed by twenty year old Bobby Vu from the Fukien province of China.</dialogue> <scene_description>The television shows a surveillance photo of Bobby Vu as the sound of sporadic GRUNTS and a heavy WHACK . WHACK , emanates from the back of the shop . Sitting at a table , drowning in a shower of sweat , is a fifty year old blob named PHAN HO . Nerves mask his face , when suddenly his arm lurches forward as if something or someone pulled him . WHACK !</scene_description> <character>REPORTER</character> <parenthetical>( TELEVISION . )</parenthetical> <dialogue>Sources say the bombing and execution of a known Triad Soldier are another chapter in the power struggle between the Fukienese Dragons Youth Gang and the Triad run Tung Fung Benevolent Association, Chinatown's ruling organized crime entity for over a century, believed to be headed by local businessman Benjamin Wong. Known in the community as Uncle Benny.</dialogue> <scene_description>A photo of sixty three year old Benny Wong fills the TV screen as Phan Ho takes a five from a dwindling stack of bills and pushes it across the table to NICK CHEN . Chen 's thirty six , and whatever money he earns is spent on clothes and fifty dollar haircuts . He 's handsome and cool , with looks hailing more from his Hong Kong father than his mainland mom . Phan watches as Chen takes a card from his hand and flips it onto the table . Ace of Spades . Phan drops a three of Clubs . Back and forth until Phan 's empty and Chen 's left with one card . He smiles , taking his time as the fat man wipes sweat from his brow .</scene_description> <character>PHAN</character> <dialogue>Throw it!</dialogue> <scene_description>Phan 's poised to strike . Chen drops the card . Jack of Clubs . Both men move , but Chen 's quicker . He pulls the card from the table letting Phan slam his hand on nothing but wood . WHACK ! Phan holds his palm as Chen picks up the cards and another five . He shuffles the deck skillfully with his right hand as his left fishes a smoke from his pocket .</scene_description> <character>PHAN</character> <dialogue>It's late. No Fukienese Dragons come here. I close now. OK?</dialogue> <scene_description>On cue , the bell over the front door sounds trouble .</scene_description> </scene> <scene> <stage_direction>INT PHAN HO'S LAMPS - NIGHT</stage_direction> <scene_description>The youths entering the shop are FUKIENESE . Two , Jack and `` The Tall Kid '' , we recognize as the shooters from Wing 's . One of them , Fuke # 1 , stays outside to stand guard as the others approach Chen .</scene_description> <character>TALL KID</character> <parenthetical>( Fukienese . )</parenthetical> <dialogue>Time to pay.</dialogue> <scene_description>They move purposefully toward the two men as Chen drops a seven of clubs on the table and turns to Phan .</scene_description> <character>CHEN</character> <dialogue>You speak Fukienese?</dialogue> <scene_description>Phan nods as the young thugs reach the table . Chen turns over a four of spades from the frightened shop owner 's hand .</scene_description> <character>CHEN</character> <dialogue>Tell'em they're in the wrong store.</dialogue> <character>TALL KID</character> <dialogue>Fuck you.</dialogue> <character>CHEN</character> <dialogue>Learned some English, good for you.</dialogue> <scene_description>Chen pulls his .45 and lays the cannon on the table .</scene_description> <character>PHAN</character> <dialogue>Are you crazy?</dialogue> <scene_description>Chen drops a Jack of hearts on the pile , covers it uncontested and takes a five from Phan 's ever shrinking pile .</scene_description> <character>CHEN</character> <dialogue>Lucky. are you?</dialogue> <scene_description>Chen stares at the Tall Kid , goading him with his lack of concern . Three seconds pass like kidney stones . Finally , Chen laughs to himself , stands and puts his finger to the Tall Kid 's head as if it were a play gun . The lack of respect incites the Tall Kid to go for his gun . But before he can fire a shot , Chen produces a .38 from his sleeve and puts a bullet through the gangster 's head . Phan drops to the ground as Chen dives over the card table , grabbing his .45 . He hits the floor pulling the table down with him as a shield for Phan , then himself as Fuke # 2 shoots wildly before being taken out by Chen . Jack retreats to behind a wall , then slowly crosses through an archway to confront Chen from behind . As he steps out , he finds only Phan cowering on the floor . Chen has disappeared . Suddenly the place explodes in a hail of automatic gunfire as Fuke # 1 enters the store and sprays everything in sight , producing a blizzard of glass . Jack turns to see Chen has re - appeared and taken up postion behind a counter full of lamps and mirrors while he takes on both Jack and Fuke # 1 . Chen skillfully uses one of the counters as cover as he makes his way towards the front ofthe store , gets a bead on the Fuke with the automatic and sends him flying back out the front door in a hail of glass - pedestrians scattering for their life . Jack , alone now , cowers behind an opposite counter , desperately crawling along the floor trying to make his way out of there . He peeks through an opening to his cover and find Chen nowhere in sight . Slowly , painfully hunched over , he backs up towards the blown - out front door , checks for Chen one more time , then decides to make a run for it . Suddenly he 's got a foot slamming into the side of his head sending him crashing back to the floor . Chen has appeared out of nowhere . Chen drives another kick into his stomach , then yanks him to his feet .</scene_description> </scene> <scene> <stage_direction>INT PHAN HO'S LAMPS - NIGHT</stage_direction> <character>CHEN</character> <dialogue>English?</dialogue> <scene_description>-LRB- The boy nods -RRB- What do they call you ?</scene_description> <character>YOUNG GANGSTER</character> <dialogue>Jack.</dialogue> <character>CHEN</character> <dialogue>Tell Bobby Vu, his time is running out in Chinatown.</dialogue> <scene_description>He kicks the kid out the door and turns toward the shell - shocked shopkeeper looking at the shambles of his livelihood . A teetering lamp topples from a shot up table but Chen catches it before it hits the floor . He looks over at the owner , crying . Chen places a fist full of fives from his winnings on the counter .</scene_description> <character>CHEN</character> <dialogue>I'll take this one.</dialogue> </scene> <scene> <stage_direction>EXT. ONE POLICE PLAZA -DAY</stage_direction> <scene_description>Establishing .</scene_description> </scene> <scene> <stage_direction>INT. ONE POLICE PLAZA-DAY</stage_direction> <scene_description>A LACKEY for the Mayor stands at a podium addressing a room filled with UNIFORMS and PRESS . Beside him , sporting a chest full of commendations on his dress blues , is Nick Chen .</scene_description> <character>LACKEY</character> <dialogue>In the history of the Fifteenth precinct, few officers have done more to serve and protect the public of this great city than Lieutenant Nicholas Chen.</dialogue> <scene_description>In the rear of the room is DANNY WALLACE . He 's 24 and has only four spaces on his face that need shaving . But his eyes are smart and always moving , except now . They 're fixed on Nick Chen like he was delivering the sermon on the mount .</scene_description> <character>LACKEY</character> <dialogue>Lieutenant, for bravery in the line of fire and bringing to justice those responsible for the Chinatown Bombing and the tragic death of Beth Kadell, the mayor and people of New York thank you and present you with this commendation.</dialogue> <scene_description>The Lackey pins another hunk of brass on Chen as the room erupts in cheers . And no one louder than Danny Wallace , who whistles as the Lackey and Chen shake for the cameras .</scene_description> </scene> <scene> <stage_direction>INT. NICK CHEN'S APARTMENT, KITCHEN, MOTT STREET-NIGHT</stage_direction> <scene_description>The whistle comes from a screaming teapot . Chen , dressed in a robe , pours the water into a bowl of rice which begins sizzling like a steak . Unlike his wardrobe , his place is modest . The lamp from Phan 's fits in nicely . Tired , he stares vacantly at the wallpaper until a gorgeous Chinese girl , 19 , walks in from the bedroom . By the way she 's tying her dress we know she was recently very naked . He knows her as MAY . Chen slides open a drawer and pulls out some cash .</scene_description> <character>MAY</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>Mr. Lee said no charge.</dialogue> <scene_description>She bows and walks out the door . Chen watches the young immigrant leave and ca n't help feeling like half a dirt - bag . He throws the cash back into the drawer and shuts it . Eventually , he gets up and crosses to the window . He eats his soup in the lifeless apartment , glancing down at the simple , elegant shrine to his dead father . He turns his attention out the window looking out on the palpable energy and vigor of a bustling Chinatown .</scene_description> </scene> <scene> <stage_direction>EXT. CHEN'S APARTMENT, MOTT STREET-LATER (NIGHT)</stage_direction> <scene_description>A rush of sound as Chen steps from the building . Activity swirls around him as he moves south on the narrow street . His demeanor starts quiet . But as he moves through the boisterous people , who genuflect like he 's an Arab Sheik , a smile curls his lips and the 200 watt bulbs behind his eyes flick on . Every man gets a nod and every girl gets a little bit more . It 's his town . and it gives him life .</scene_description> </scene> <scene> <stage_direction>INT BLUE EMPRESS CAFE - NIGHT</stage_direction> <scene_description>He moves through the upscale family eatery , picking up the Bacardi and Coke a BARTENDER fixed the second he saw Chen step through the door . He strides into the kitCHEN .</scene_description> </scene> <scene> <stage_direction>INT BLUE EMPRESS KITCHEN - NIGHT</stage_direction> <scene_description>cuts to the back and approaches a door guarded by a wannabee SUMO wrestler . The big man lets him through .</scene_description> </scene> <scene> <stage_direction>INT BLUE EMPRESS OFFICE - NIGHT</stage_direction> <scene_description>Inside , behind a desk sporting two surveillence monitors , working a phone is HENRY LEE . He 's mid - forties and slicker than an oil spill . The consummate chameleon . Whatever he needs to be , he is . If Satan walks earth , it 's in the body of Henry Lee .</scene_description> <character>LEE</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>Forty thousand a piece. Fifty percent up front or else the shipment will never leave the boat. Fine.</dialogue> <scene_description>Lee hangs up as Chen fires the smoke he lifted from an ivory box on Lee 's desk .</scene_description> <character>LEE</character> <dialogue>My congratulations on your commendation. I trust you enjoyed the little gift I sent over.</dialogue> <scene_description>Lee lights a cigarette of his own , enjoying making Chen feel like a mutt . Chen does n't like it much , but knew it would happen the minute he started undressing Lee 's present .</scene_description> <character>LEE</character> <dialogue>Uncle Benny is very proud of you.</dialogue> <scene_description>Lee reaches into his desk drawer , produces a bulging envelope and hands it to Chen who quickly counts the pile of hundreds .</scene_description> <character>CHEN</character> <dialogue>Thought he'd be more proud this time.</dialogue> <character>LEE</character> <dialogue>He is.</dialogue> <scene_description>Lee lifts his wastepaper basket revealing strips of paper .</scene_description> <character>LEE</character> <dialogue>Your markers. Two thousand eighty three of them. You really should consider other forms of recreation.</dialogue> <scene_description>Chen slides the envelope of cash into his jacket pocket .</scene_description> <character>CHEN</character> <dialogue>Your soldier who got killed the other day was working with the F.B.I.</dialogue> <scene_description>Lee 's smile dampens but his calm remains intact .</scene_description> <character>LEE</character> <dialogue>Really?</dialogue> <character>CHEN</character> <dialogue>Medical Examiner found a wire on him and the Feds came down to pick it up. Lucky for you it had about six bullets in it so it was n't much good.</dialogue> <character>LEE</character> <dialogue>Lucky for you too maybe.</dialogue> <scene_description>Chen lets it pass .</scene_description> <character>CHEN</character> <dialogue>That, plus the tourist who got killed, have the Feds worked up. Word is they're going after the triad. Probably Uncle Benny himself.</dialogue> <character>LEE</character> <dialogue>Why us? It's the Fukienese Dragons who killed her. We're just trying to do business as we've always done.</dialogue> <character>CHEN</character> <dialogue>Because you're suppose to keep order in Chinatown.</dialogue> <character>LEE</character> <dialogue>It's not like it once was. The youth gangs are not easily controlled. They have no respect, no honor.</dialogue> <character>CHEN</character> <dialogue>That's your problem. You ca n't control them, the Feds are gon na revoke your free parking.</dialogue> <character>LEE</character> <dialogue>Taking care of the Fukes is your problem. That's why we pay you.</dialogue> <character>CHEN</character> <dialogue>Yeah, well, it does n't really matter cause to the Feds you're all the same.</dialogue> <character>LEE</character> <dialogue>You mean `` we're'' all the same. Remember, as I go, you go.</dialogue> <scene_description>Chen does n't say anything because he knows Lee 's right . After a moment he gets up from the chair .</scene_description> <character>CHEN</character> <dialogue>The Ginza massage is getting a visit from us tomorrow night, so move it or lose it.</dialogue> <character>LEE</character> <dialogue>Go ahead and take Ginza. More arrests will help keep things calm.</dialogue> <scene_description>A smiling Lee , stamps out his butt and circles the table .</scene_description> <character>LEE</character> <dialogue>If the Feds get near Uncle Benny, our heads go first. So you do whatever it takes to make some kind of case against Bobby Vu and the rest of the Fukes. I'm sure the FBI will be just as happy with them. As you said, we're all the same.</dialogue> <scene_description>Lee slides two tickets into Chen 's front jacket pocket .</scene_description> <character>LEE</character> <dialogue>Knicks, court - side.</dialogue> <scene_description>Chen puts down his glass and walks into the hallway .</scene_description> </scene> <scene> <stage_direction>INT BLUE EMPRESS HALLWAY - NIGHT</stage_direction> <scene_description>He cuts across a narrow corridor and passes through a door tucked behind dried , hanging ducks . Then it 's down a flight of stairs .</scene_description> </scene> <scene> <stage_direction>INT UNDERGROUND STAIRS &amp; HALLS - NIGHT</stage_direction> <scene_description>through a maze of underground alley - ways , populated by well dressed TEENAGE THUGS , and into the world beneath Chinatown . Chen walks up toward a massive BOUNCER standing in front of a steel door . He slides the tickets into his shirt pocket .</scene_description> <character>CHEN</character> <dialogue>Knicks, court - side.</dialogue> <scene_description>The Bouncer opens the door , exposing a room filled with Chinese MEN playing all things you can wager a buck on .</scene_description> </scene> <scene> <stage_direction>INT GAMBLING PARLOR - NIGHT</stage_direction> <scene_description>Chen surveys the action which is loud , fast and furious . He fires a smoke , pulls a fist full of hundreds from his envelope and lays down his first bet of the night .</scene_description> </scene> <scene> <stage_direction>EXT. EAST BROADWAY ARCADE-NIGHT</stage_direction> <scene_description>Jack and his attractive girlfriend AMY SAN hang with their friends in front of the arcade when Bobby Vu and three other Dragons pull up in a red Lincoln . They quickly grab hold of Jack .</scene_description> <character>BOBBY VU</character> <parenthetical>( Fukienese . )</parenthetical> <dialogue>You let your brothers die?</dialogue> <scene_description>Everything stops as Bobby punches , kicks and throws Jack around the street . The other Dragons keep everybody away , though they already seem to know .</scene_description> <character>JACK</character> <parenthetical>( Fukienese . )</parenthetical> <dialogue>I'm sorry, I'm sorry.</dialogue> <character>BOBBY VU</character> <parenthetical>( Fukienese . )</parenthetical> <dialogue>Are you Fukienese Dragon? ARE YOU?!</dialogue> <character>JACK</character> <dialogue>Yes.</dialogue> <scene_description>Bobby looks over at Amy . She 's sexy as hell and he lets her know he knows it . He then turns to Jack and grabs him by his hair .</scene_description> <character>BOBBY VU</character> <dialogue>Avenge your brothers. Kill that cop.</dialogue> </scene> <scene> <stage_direction>INT. AGU OFFICES - DAY</stage_direction> <scene_description>Wallace is tacking a photo layout of the Hip Sing Triad to the wall as Chen re - enters .</scene_description> <character>UNG</character> <dialogue>Junior brought a scorecard.</dialogue> <scene_description>Chen takes out a thick magic marker , starts crossing out photos .</scene_description> <character>CHEN</character> <dialogue>Dead, dead in prison. The rest usually stop by for a visit. It's not healthy to let them know what we know. Why does a white cop request Asian Gangs?</dialogue> <character>WALLACE</character> <dialogue>Detective Shield, an extra eight grand a year in my pocket. and a chance to work with you.</dialogue> <character>UNG</character> <dialogue>Uh oh. Yellow fever. You got a hard on for all things Chinese, right? The food, customs, women. You got a Chinese girlfriend, do n't ya?</dialogue> <character>WALLACE</character> <dialogue>Actually, uh. no.</dialogue> <character>CHEN</character> <dialogue>But ya did?</dialogue> <character>WALLACE</character> <dialogue>Are we all gon na exchange sexual histories?</dialogue> <character>UNG</character> <dialogue>I knew it. Yellow fuckin fever. Junior's here to walk the street and get his wick licked by a nice almond - eyed beauty.</dialogue> <character>WALLACE</character> <dialogue>I'm here so Chinese immigrants do n't have to live thirty to a room. Or spend twenty hours a day making clothes for slave wages.</dialogue> <character>CHEN</character> <dialogue>Why do you give shit about Chinese immigrants?</dialogue> <character>WALLACE</character> <dialogue>I'm a cop. I give a shit about enforcing the law.</dialogue> <character>DENG</character> <dialogue>So what's your plan to save the yellow people?</dialogue> <character>WALLACE</character> <dialogue>Same techniques used on every other organized crime operation in the city. Bust the street soldiers every time we see'em, move up the food chain to the Council, cramp'em with surveillance, sting operations, keep climbing all the way to Uncle Benny.</dialogue> <scene_description>Chen laughs at Wallace 's naivete .</scene_description> <character>UNG</character> <dialogue>This ai n't every other organized crime operation in the city. We work cases, Junior. Keep the tourists safe. Violence spills into the street, we break heads. ` Cept Detective Deng, she's above that.</dialogue> <character>DENG</character> <dialogue>When the department authorizes police brutality perhaps I'll join you.</dialogue> <character>CHEN</character> <dialogue>You do n't change Chinatown, it changes you.</dialogue> <character>WALLACE</character> <dialogue>I'm ready to give it a shot.</dialogue> <scene_description>Chen eyeballs the cocky kid .</scene_description> <character>CHEN</character> <dialogue>Alright. Do n't make plans tonight.</dialogue> <character>WALLACE</character> <dialogue>Why?</dialogue> <character>UNG</character> <dialogue>Cause we're goin on a panty raid.</dialogue> </scene> <scene> <stage_direction>EXT. FIFTEENTH PRECINCT - DAY</stage_direction> <scene_description>Chen , in last night 's clothes , climbs the steps of the yellowed brick building and steps inside .</scene_description> </scene> <scene> <stage_direction>INT. FIFTEENTH PRECINCT - DAY</stage_direction> <scene_description>Chen coughs hellos to the DESK PERSONNEL , cuts through a door marked ASIAN GANG UNIT and steps into a small colorless room .</scene_description> </scene> <scene> <stage_direction>INT. ASIAN GANG UNIT - DAY</stage_direction> <scene_description>He passes plums to his two Chinese - American detectives ; WILLY UNG , sharp of tongue and nose . and LOUISE DENG , a by the book cop who puts in her eight and goes home to a family .</scene_description> <character>CHEN</character> <dialogue>Everybody works tonight, we're visiting Ginza Massage.</dialogue> <character>UNG</character> <dialogue>My kind of raid.</dialogue> <scene_description>Ung 's accent is hard - core Bronx . On the phone you 'd think he was an Italian from Eastchester Road .</scene_description> <character>UNG</character> <dialogue>Found another young pretty in a dumpster.</dialogue> <scene_description>He tacks a crime scene photo onto a board already showing another woman lying in a dumpster when he notices a scratch on Chen 's neck .</scene_description> <character>UNG</character> <dialogue>Anybody I know?</dialogue> <scene_description>Chen removes Ung 's smile with a look and pours himself a coffee .</scene_description> <character>DENG</character> <dialogue>Did a two hour sweep. No one would speak to me.</dialogue> <character>UNG</character> <dialogue>Try breath mints. Deng's accent is Connecticut, along with her wardrobe. She ignores Ung as she cuts the plum into four perfect slices.</dialogue> <character>DENG</character> <dialogue>And the two who found the body did n't see, hear or smell anything.</dialogue> <character>CHEN</character> <dialogue>What's new?</dialogue> <scene_description>We stay on Chen as a sudden silence descends . A beat and he turns to see why . There at the entrance to the AGU stands young WALLACE holding a box of personals .</scene_description> <character>WALLACE</character> <dialogue>I'm Daniel Wallace.</dialogue> <scene_description>He looks as if that 's supposed to mean something . By the looks on the faces of the AGU members , it does n't .</scene_description> <character>KLEIN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>He spent six months in China on a college course or some shit.</dialogue> </scene> <scene> <stage_direction>INT. FIFTEENTH PRECINCT, CAPTAIN'S OFFICE-DAY</stage_direction> <scene_description>CAPTAIN STAN KLEIN , a Chinese hater going back to his tour in ` 69 , sits back with a cold washcloth over his eyes as Chen , looking like he ate a bad lemon , tosses Wallace 's file onto the desk .</scene_description> <character>CHEN</character> <dialogue>The Chinese do n't trust whites or cops and you're giving me a white cop.</dialogue> <character>KLEIN</character> <dialogue>They want ethnic diversity in every squad so you get a white face in the AGU.</dialogue> <character>CHEN</character> <dialogue>He's worse than white, he's green.</dialogue> <character>KLEIN</character> <dialogue>Which is why you should school him.</dialogue> <character>CHEN</character> <dialogue>So he can get me killed?</dialogue> <character>KLEIN</character> <dialogue>Look, it's your fault he's here in the first place.</dialogue> <character>CHEN</character> <dialogue>My fault?</dialogue> <character>KLEIN</character> <dialogue>A freakin tourist got blown up in our backyard. Not to mention an FBI snitch. And it happened on your watch. The Mayor's been on TV talking about it, the Police Commisioner has promised safety on the streets of Chinatown, Christ it's been on freakin Nightline. So if putting a white cop in the Asian Gang Unit makes them feel better and gets them off my ass fine and dandy. So why do n't you get out of here and do something about these whores turning up in dumpsters. It's embarrassing.</dialogue> <scene_description>Klein sniffs the air , then peeks out from under his wash cloth .</scene_description> <character>KLEIN</character> <dialogue>You still here?</dialogue> </scene> <scene> <stage_direction>INT. AGU OFFICES - day</stage_direction> <scene_description>Wallace is tacking a photo layout of the Hip Sing Triad to the wall as Chen re - enters .</scene_description> <character>UNG</character> <dialogue>Junior brought a scorecard.</dialogue> <scene_description>Chen takes out a thick magic marker , starts crossing out photos .</scene_description> <character>CHEN</character> <dialogue>Dead, dead in prison. The rest usually stop by for a visit. It's not healthy to let them know what we know. Why does a white cop request Asian Gangs?</dialogue> <character>WALLACE</character> <dialogue>Detective Shield, an extra eight grand a year in my pocket. and a chance to work with you.</dialogue> <character>UNG</character> <dialogue>Uh oh. Yellow fever. You got a hard on for all things Chinese, right? The food, customs, women. You got a Chinese girlfriend, do n't ya?</dialogue> <character>WALLACE</character> <dialogue>Actually, uh. no.</dialogue> <character>CHEN</character> <dialogue>But ya did?</dialogue> <character>WALLACE</character> <dialogue>Are we all gon na exchange sexual histories?</dialogue> <character>UNG</character> <dialogue>I knew it. Yellow fuckin fever. Junior's here to walk the street and get his wick licked by a nice almond - eyed beauty.</dialogue> <character>WALLACE</character> <dialogue>I'm here so Chinese immigrants do n't have to live thirty to a room. Or spend twenty hours a day making clothes for slave wages.</dialogue> <character>CHEN</character> <dialogue>Why do you give shit about Chinese immigrants?</dialogue> <character>WALLACE</character> <dialogue>I'm a cop. I give a shit about enforcing the law.</dialogue> <character>DENG</character> <dialogue>So what's your plan to save the yellow people?</dialogue> <character>WALLACE</character> <dialogue>Same techniques used on every other organized crime operation in the city. Bust the street soldiers every time we see Ôem, move up the food chain to the Council, cramp Ôem with surveillance, sting operations, keep climbing all the way to Uncle Benny.</dialogue> <scene_description>Chen laughs at Wallace 's naivete .</scene_description> <character>UNG</character> <dialogue>This ai n't every other organized crime operation in the city. We work cases, Junior. Keep the tourists safe. Violence spills into the street, we break heads. ` Cept Detective Deng, she's above that.</dialogue> <character>DENG</character> <dialogue>When the department authorizes police brutality perhaps I'll join you.</dialogue> <character>CHEN</character> <dialogue>You do n't change Chinatown, it changes you.</dialogue> <character>WALLACE</character> <dialogue>I'm ready to give it a shot.</dialogue> <scene_description>Chen eyeballs the cocky kid .</scene_description> <character>CHEN</character> <dialogue>Alright. Do n't make plans tonight.</dialogue> <character>WALLACE</character> <dialogue>Why?</dialogue> <character>UNG</character> <dialogue>Cause we're goin on a panty raid.</dialogue> </scene> <scene> <stage_direction>EXT. PANTY RAID BUILDING - DUSK</stage_direction> <scene_description>Except for the ten COPS moving quickly toward an unmarked door , the alley is empty . Out front is Chen . He orders a thick COP toward the door which is quickly opened with a crowbar .</scene_description> </scene> <scene> <stage_direction>INT. PANTY RAID BUILDING, STAIRCASE - NIGHT</stage_direction> <scene_description>Chen calmly lays his dark hankerchief over the tiny survellience camera , then leads the group up the stairs .</scene_description> <character>UNG</character> <parenthetical>( whispers to Wallace . )</parenthetical> <dialogue>You never know how a guy gettin his dick rubbed is gon na react when you charge into the room, so keep your eyes sharp and your Glock cocked. And do n't be trying to feel any Chinese titties you little pervert.</dialogue> <scene_description>Snickers from the men .</scene_description> <character>CHEN</character> <dialogue>Wallace stays out here.</dialogue> <scene_description>Wallace does n't like it , but does n't argue it . Chen pulls his .45 and nods to the thick Cop , who thrusts his crowbar into the lock jam and snaps it off . They hit the hallway like a tornado . Bright lights strobe the length of the place thrusting us several minutes into the future .</scene_description> </scene> <scene> <stage_direction>INT. GINZA MASSAGE HALLWAY - A SHORT TIME LATER</stage_direction> <scene_description>The cops are dragging about ten prostitutes and matching Johns into the hallway . Chen coordinates when he sees Deng leading May and three other dressed prostitues from the front towards the back hallway . May looks at Chen and he knows why Lee smiled when he gave him the Ginza .</scene_description> <character>CHEN</character> <dialogue>Deng. See if you can find any files back there. He turns to a uniform.</dialogue> <character>CHEN</character> <parenthetical>( referring to the prostitutes . )</parenthetical> <dialogue>Joe, take Ôem down, Wallace'll help ya write Ôem up.</dialogue> <scene_description>Deng heads back down the hall while the uniform corrals the girls down the stairs the cops came up . Chen grabs May as she passes and pulls her into one of the bedrooms .</scene_description> </scene> <scene> <stage_direction>INT. 1ST GINZA BEDROOM</stage_direction> <scene_description>Chen reaches into May 's pocket , finding a packet of white powder . She tries to kiss him . He pulls away and pockets the heroin , pissing her off . He quiets her with three hundreds .</scene_description> <character>CHEN</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>Get outta here.</dialogue> <scene_description>He gently nudges her out to the hallway and towards the backstairs where Wallace is just coming up with a handfull of paperwork .</scene_description> <character>WALLACE</character> <dialogue>You want me to take her?</dialogue> <scene_description>Chen shakes his head as he lets May head towards the exit . He turns back to Wallace who stands talking to a uniform who is handing him some paperwork .</scene_description> <character>CHEN</character> <parenthetical>( sotto to Wallace . )</parenthetical> <dialogue>Always throw back the smallest of the day's catch.</dialogue> <scene_description>Suddenly a torrent of automatic gunfire explodes at the opposite end of the hallway taking out the glass door and the uniform who stood in front of it revealing a Fukiense shooter behind the shatterered door . One cop down . Chen 's instinct are immediate.The Fuke killer is toast . The uniform who was talking to Wallace turns towards the action and is met with a pile of lead exploding his heart , blowing out his back and spraying Wallace with blood . Wallace freezes - a deer in the headlight . Chen sees this , jumps across the hall and pushes Wallace out of the line of fire and into one of the bedrooms . The doorway where Wallace stood explodes into a million pieces of shrapnel . He would have been chopmeat . Just at that moment , Ung crosses the hall in the opposite direction , shielding a prostitute as he takes out the shooter who took out the uniform and almost Wallace . Chen leans out of what remains of the doorway , while yelling back to the still shell - shocked Wallace .</scene_description> <character>CHEN</character> <dialogue>Fire your weapon!</dialogue> <character>UNG</character> <dialogue>They're Fukes!</dialogue> <scene_description>The entire compliment is pinned down in either the rooms or the hallway facing down three furious Fukes . Chen pumps his final ammo clip into his gun , pulls a second gun from an ankle holster and fires away . Suddenly , another Fuke with an automatic weapon comes out of nowhere and advances kamakazi style to one of the bedrooms - the P.D. 's gunfire no match for his Uzi . He 's got Chen , Ung , Deng , Wallace and the five remaining uniforms pinned down . Chen thinks fast , retreats into the bedroom -</scene_description> </scene> <scene> <stage_direction>INT. 1ST GINZA BEDROOM</stage_direction> <scene_description>Chen quickly feels the solidity of the walls - finds the weak spot of the plasterboard and starts kicking through to the next room while the firefight continues in the hallway .</scene_description> </scene> <scene> <stage_direction>INT. 2ND GINZA BEDROOM</stage_direction> <scene_description>The uniforms fighting at the doorway turn to see Chen come crashing into their room and continue on right to the next wall , battling his way up the hallway towards the Fukes position the only way he can .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY</stage_direction> <scene_description>The firefight continues but it 's totally one sided as the cops pistols ca n't compete against the Uzi . Windows to the bedrooms are exploding like firecrackers , whores and johns caught out in the hallway shiver in terror behind whatever cover they can find . A huge glass display in the hallway implodes drenching the place in flying glass . Wallace does the best he can , firing uselessly at the kamikazi , only visible from the neck up as he keeps the entire force at bay . Suddenly we see a glock come up to the back of the shooter 's head which blows his brains out into the hallway , finally silencing the automatic . Chen steps out , the arm behind the hit . There 's only three fukes left now , including Jack , armed only with semi - automatics .</scene_description> <character>CHEN</character> <dialogue>I'm out on three! One, two, three!</dialogue> <scene_description>Every cop steps out and bombards the end of the hall with all the firepower they 've got . They pin back the shooters as Chen storms into the hall and races , guns blazing toward the gunmen . All three of them flee , one down the stairs , Jack and the other up towards the roof . Chen decides to go up , negotiating each corner with whatever he 's got left . He gets to the second flight just in time to see Jack desperately kick out a window and make a run across a rooftop . Chen continues the last flight up where he finds the lone Fuke out of amo and desperately trying to tear open the roof acess door which is bolted shut .</scene_description> <character>CHEN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Weapon down, hands in the air, up against the wall.</dialogue> <scene_description>The Fuke cooperates , backing up onto the landing as Chen ascends .</scene_description> <character>CHEN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Turn around!</dialogue> <scene_description>The kid does , but as he moves he suddenly produces a knife the size of a baby 's arm that cuts across Chen , slicing his stomach . Chen reacts with amazing speed , smashing his gun across the gangster 's head almost decaptating him . Simultaneously , the last Fuke comes charging up the stairs , Chen picks up the guy next to him and hurls him over the staircase knocking the charging Fuke down to the next landing . His gun goes flying right towards Wallace 's feet who together with a backup of unifroms , comes bounding around the corner , grabs the weapon and covers the two punks . Chen looks down from top landing</scene_description> <character>CHEN</character> <dialogue>You're late.</dialogue> </scene> <scene> <stage_direction>INT. KUNG PHO RESTAURANT - NIGHT</stage_direction> <scene_description>Ung and Chen storm into the twelve - table restaurant filled mostly with teenage Fukienese . They move toward the rear of the restaurant passing Jack , huddled with two of his friends . Some of the gangsters stand to run interference , but the two cops push through them to a back table where Bobby Vu works a cell phone . Without a word Chen punches him out of his chair . He hits him again and again , knocking the gangster into the kitchen .</scene_description> </scene> <scene> <stage_direction>INT. KUNG PHO RESTAURANT KITCHEN - NIGHT</stage_direction> <scene_description>Ung pulls his gun , holding the other gangsters at bay as Chen grabs a sauce pan from the overhead rack and slams it into Bobby Vu 's head , knocking him to the floor . He then throws it at the group of Dragons closing in around them .</scene_description> <character>CHEN</character> <dialogue>Want some?</dialogue> <scene_description>No one does . He stares down the gangsters with disgust .</scene_description> <character>CHEN</character> <dialogue>Fukienese Dragons.</dialogue> <scene_description>He spits on the floor then walks out the rear door with Ung .</scene_description> </scene> <scene> <stage_direction>EXT. DAVIS STREET-DAY</stage_direction> <scene_description>A hazy sun slices through thick clouds as Chen , carrying a take - out bag , exits a small storefront and gets into a brown Chevy .</scene_description> </scene> <scene> <stage_direction>INT. BROWN CHEVY - DAY</stage_direction> <scene_description>Wallace drives as Chen pulls a container from the bag .</scene_description> <character>CHEN</character> <dialogue>Fishball Gongee. Wan na be Chinese you've got ta eat the nasty stuff.</dialogue> <scene_description>Wallace takes the food , looks over at Chen .</scene_description> <character>WALLACE</character> <dialogue>Last night. You saved my life.</dialogue> <character>CHEN</character> <dialogue>Part of the job.</dialogue> <character>WALLACE</character> <dialogue>Maybe. I still want to say thanks.</dialogue> <scene_description>Chen nods as he eats . Wallace turns up Delancey .</scene_description> <character>WALLACE</character> <dialogue>That said. I heard you paid a visit to Bobby Vu last night.</dialogue> <scene_description>Wallace looks at Chen .</scene_description> <character>WALLACE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I tightened up last night, but I did n't find this badge in the bottom of a Cracker Jack box. I earned it.</dialogue> <character>CHEN</character> <dialogue>You study Chinese so you know what it means that I saved your life?</dialogue> <character>WALLACE</character> <dialogue>It means my life is yours, to do with as you wish</dialogue> <character>CHEN</character> <dialogue>That's right. So here's my advice. Quit. Before you end up dead.</dialogue> <scene_description>They drive past a crumbling building where a TRIAD SOLDIER openly does a healthy drug trade .</scene_description> <character>WALLACE</character> <dialogue>I know the risks.</dialogue> <character>CHEN</character> <dialogue>So did the cops I did n't save last night. And all it got them was dead. This is n't fun and games. Especially for a kid heading to Law School with his head up his ass if he thinks this is the way to raise tuition.</dialogue> <scene_description>Wallace 's a bit surprised Chen knows this .</scene_description> <character>WALLACE</character> <dialogue>Just cause I'm not putting in twenty does n't mean I ca n't do the job.</dialogue> <character>CHEN</character> <dialogue>Yes it does.</dialogue> <character>WALLACE</character> <dialogue>You do n't want to work with me, fine. Let me do my own investigations. But do n't try and keep me from my work. Cause like it or not, I'm a cop.</dialogue> <character>CHEN</character> <dialogue>You're playing cop and that's gon na get one of us killed.</dialogue> <character>WALLACE</character> <dialogue>Playin'? Who's playin'? Playin's driving by shit and pretending you did n't see it.</dialogue> <scene_description>Chen turns to Wallace .</scene_description> <character>CHEN</character> <dialogue>You got something to say, say it.</dialogue> <character>WALLACE</character> <dialogue>How ` bout I show you?</dialogue> <scene_description>Wallace slams on the brakes , sending the take - out flying onto the dash . He then drops it in reverse and floors the gas . The Chevy roars backwards up onto the sidewalk in front of a crumbling building .</scene_description> </scene> <scene> <stage_direction>EXT. CRUMBLING BUILDING - DAY</stage_direction> <scene_description>Wallace jumps from the car , catches one of the two well dressed triad DRUG DEALERS hanging out front , pushes him through the door and into the building .</scene_description> </scene> <scene> <stage_direction>INT. CRUMBLING BUILDING - DAY</stage_direction> <scene_description>A dark , piss stenched room called home by fourteen rats and a dozen ADDICTS sharing needles and mindless nods . The Dopers ca n't move but three more DEALERS can and take off running .</scene_description> <character>WALLACE</character> <dialogue>FREEZE!</dialogue> <scene_description>Wallace fires over their heads , stopping them in their tracks as Chen races into the room . Wallace frisks the Dealer he pushed inside as Chen looks over the others .</scene_description> <character>WALLACE</character> <dialogue>What do we have here?</dialogue> <scene_description>Wallace pulls a thick packet of heroin from the kid 's pocket . Impressed with himself , he holds it up and tosses it at Chen , looking at him through steel grey eyes .</scene_description> </scene> <scene> <stage_direction>INT. FIFTEENTH PRECINCT, BOOKING ROOM-LATER (DAY)</stage_direction> <scene_description>The four Dealers stand handcuffed to a steel beam riveted to the wall as Wallace files his first arrest with the DESK SERGEANT . Chen casually sips coffee when a pissed off six footer in a blue suit rushes into the room .</scene_description> <character>SCHABACKER</character> <dialogue>Get each one of these guys in different rooms. NOW!</dialogue> <scene_description>PETE SCHABACKER holds up an FBI badge which gets everybody moving . Two UNIFORMS unclasp the perps and take them away . Schabacker looks at Chen and gestures towards the AGU .</scene_description> </scene> <scene> <stage_direction>INT. AGU OFFICE</stage_direction> <scene_description>Schabacker hardly looks at Ung and Deng who pour over paperwork as Chen and Wallace follow him into the room .</scene_description> <character>CHEN</character> <dialogue>Something bothering you, Pete?</dialogue> <character>SCHABACKER</character> <dialogue>Only that you assholes just arrested a federal agent working undercover with the Triad.</dialogue> <scene_description>Wallace pales as Ung smiles to himself .</scene_description> <character>UNG</character> <dialogue>Nice work, Junior.</dialogue> <character>WALLACE</character> <dialogue>I made the arrest.</dialogue> <scene_description>Wallace looks over at Chen who 's offering no help</scene_description> <character>SCHABACKER</character> <dialogue>Well goody for you, Einstein. So tell me, what am I supposed to do now? Put a Federal Agent in jail to maintain his cover. What? Let him go? We put him back on the street everybody in Chinatown will think he cut a deal with you and he'll be dead inside an hour. So what should I do?</dialogue> <scene_description>Wallace looks over at Chen , who 's offering no help .</scene_description> <character>WALLACE</character> <dialogue>You should do a better job of keeping us informed.</dialogue> <character>UNG</character> <dialogue>Here here.</dialogue> <character>SCHABACKER</character> <dialogue>Confidential undercover assignment. Key word being confidential. Which nothing in the fifteenth precinct is.</dialogue> <character>CHEN</character> <dialogue>Relax, Pete.We lost the bag. No evidence. They can all go.</dialogue> <scene_description>Wallace looks over at Chen , but he does n't dispute him .</scene_description> <character>SCHABACKER</character> <dialogue>Keep'em three hours, slap the shit out of'em and let'em go. I want everything on the Ginza raid by the end of the day. And keep that dipshit on a leash.</dialogue> <character>CHEN</character> <dialogue>You take care of your people, I'll take care of mine.</dialogue> <scene_description>Wallace appreciates Chen 's back up . Schabacker heads out the door .</scene_description> <character>CHEN</character> <dialogue>Which one's the Fed?</dialogue> <character>SCHABACKER</character> <dialogue>The Chinese one.</dialogue> <character>CHEN</character> <dialogue>Up yours too.</dialogue> <scene_description>Ung takes the paperwork from the Desk and holds it out to Wallace .</scene_description> <character>UNG</character> <dialogue>You wan na eat this with soy sauce?</dialogue> <scene_description>Wallace takes it from Ung 's hand and tears it in half .</scene_description> </scene> <scene> <stage_direction>INT. JIMMY LOO'S COCKTAIL LOUNGE-NIGHT</stage_direction> <scene_description>No tourists , this watering hole 's for the locals . Getting another round of Tsiang Taos from the WAITRESS is Chen , Wallace and Ung .</scene_description> <character>UNG</character> <dialogue>Cough up the cash, Junior. Knuckleheads buy all rounds.</dialogue> <scene_description>Wallace pays off the waitress as he snaps at Ung .</scene_description> <character>WALLACE</character> <dialogue>Eat me.</dialogue> <character>UNG</character> <dialogue>That's it, show a little piss and vinegar. So your first bust was a Federal Agent and a senior Fed bit off a giant piece of your ass.</dialogue> <scene_description>Chen laughs with Ung as Wallace takes a drink .</scene_description> <character>UNG</character> <dialogue>Hey Junior, I dunno if you noticed, but there're Chinese girls here.</dialogue> <character>WALLACE</character> <dialogue>Sounds like you're the one with yellow fever.</dialogue> <character>UNG</character> <dialogue>Yellow fever, black plague, brown sugar, white bread, I got it all.</dialogue> <scene_description>Wallace ca n't help but smile .</scene_description> <character>WALLACE</character> <dialogue>Why does the FBI want the info on the Ginza raid?</dialogue> <character>CHEN</character> <dialogue>It was their raid. They use us so the locals do n't smell feds. Mostly they use us cause they're lazy shits.</dialogue> <character>UNG</character> <dialogue>Last summer we grabbed a Viet Namese gang bringing in Heroin by the boatload. Who swoops in last minute for the credit? Your friend Shabacker of the FBI.</dialogue> <character>WALLACE</character> <dialogue>We had the same problem in the one six, there's nothing you can do.</dialogue> <character>UNG</character> <dialogue>A guy pisses in the street that's one thing. A guy pisses in your house you deal with him or live with the stench.</dialogue> <character>WALLACE</character> <dialogue>Very poetic. Unfortunately I do n't know what the hell you're talking about.</dialogue> <character>CHEN</character> <dialogue>The Feds lost a snitch. Now they have an agent working undercover in the triad. We find the agent, see what he's got going, and when the eleventh hour hits we swoop in, make the bust and pull the case right out from under them.</dialogue> <scene_description>Appearing quietly as if from some unseen back entrance , Henry Lee appears through the crowd .</scene_description> <character>LEE</character> <parenthetical>( to Chen in Cantonese . )</parenthetical> <dialogue>I do n't believe I know your friend. A new soldier in the fight against crime?</dialogue> <character>CHEN</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>He wo n't be here long enough to get to know.</dialogue> <character>WALLACE</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>I hope to be here long enough to make a difference. Chen, Ung and Lee all look astonished at Wallace's heretofor unknown language skills.</dialogue> <character>UNG</character> <dialogue>You speak Chinese!?</dialogue> <character>WALLACE</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>I'm not a total knucklehead.</dialogue> <character>UNG</character> <dialogue>Whoa, in case you have n't noticed, I'm bronx born and bred. The only Chinese I know is the Miranda rights and what's on the menu.</dialogue> <character>CHEN</character> <dialogue>Danny Wallace, Henry Lee.</dialogue> <character>LEE</character> <dialogue>You gentlemen are partners?</dialogue> <character>WALLACE</character> <parenthetical>( to Chen . )</parenthetical> <dialogue>Are we?</dialogue> <character>CHEN</character> <dialogue>Cagney and Lacey.</dialogue> <character>LEE</character> <dialogue>Chinatown needs more police. I hope you find a home here. I think you'll discover the Chinese people are warm and generous.</dialogue> <character>WALLACE</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>I've already discovered that.</dialogue> <character>UNG</character> <dialogue>Speak English, already.</dialogue> <character>LEE</character> <dialogue>Never mind them. Reach out to our community, it will reach out to you. Is n't that right, Detective?</dialogue> <scene_description>Chen holds up his glass in a mock toast . The Waitress brings over a bottle of Cristal and three glasses .</scene_description> <character>LEE</character> <dialogue>I hope to see much of you over the coming weeks.</dialogue> <scene_description>Lee then disappears into the back as the Waitress pours .</scene_description> <character>WALLACE</character> <parenthetical>( quietly . )</parenthetical> <dialogue>He's Triad.</dialogue> <character>UNG</character> <dialogue>That's why it's Cristal and not Asti fuckin' Spumanti.</dialogue> <scene_description>Chen and Ung clink glasses and down some bubbly .</scene_description> </scene> <scene> <stage_direction>EXT. BENEVOLENT ASSOCIATION- DAY</stage_direction> <scene_description>Establishing . Tucked between a pair of banks sits the sand colored building highlighted with artifacts from ancient Chinese culture .</scene_description> </scene> <scene> <stage_direction>INT. BENEVOLENT ASSOCIATION- DAY</stage_direction> <scene_description>A small group of Elderly Men sit at game tables playing Mahjong . Sitting in the rear of such a table , playing a round is Benny Wong and Henry Lee .</scene_description> <character>BENNY WONG</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>It's very dangerous to approach a white cop. We ca n't risk exposing our other ties in the Department.</dialogue> <character>LEE</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>That's why we must approach Wallace. He could compromise Chen at a time when he is our best weapon against the Fukes. We need him with us to safeguard Chen's position. Besides, to the NYPD Chen is Chinese first and a cop second.</dialogue> <character>WONG</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>Chen can take care of himself. And he knows what we need him to know.</dialogue> <character>LEE</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>He knows what he hears in the Fifteenth. A white officer would have ears outside the precinct. We can let Chen test the waters.</dialogue> <scene_description>Benny nods his acceptance and continues to Play .</scene_description> </scene> <scene> <stage_direction>INT. BLUE EMPRESS CAFE - DAY</stage_direction> <scene_description>In between lunch and dinner . Lee is emptying the bar of cash while waiters change the table linen . Chen enters , moves directly to Lee</scene_description> <character>CHEN</character> <dialogue>What do you want?</dialogue> <character>LEE</character> <dialogue>I like your partner.</dialogue> <scene_description>Chen looks at Lee who turns from the bar and begins walking the length of the restaurant towards the kitchen straightening napkins and silverware as he goes .</scene_description> <character>LEE</character> <dialogue>I think he could help us.</dialogue> <character>CHEN</character> <dialogue>He could hurt us more.</dialogue> <character>LEE</character> <dialogue>Afraid of competition?</dialogue> <character>CHEN</character> <dialogue>Afraid of piquing the kid's interest.</dialogue> <character>LEE</character> <dialogue>in who else is a dirty cop?</dialogue> <scene_description>Chen pretends to ignore him .</scene_description> <character>LEE</character> <dialogue>Uncle Benny feels he might poke his nose in places a Chinese cop would n't.</dialogue> <character>CHEN</character> <dialogue>I can handle him.</dialogue> <character>LEE</character> <dialogue>He also feels he could be an asset against the Fukes since you do n't seem to be doing much.</dialogue> <character>CHEN</character> <dialogue>I'll take care of the Fukes. The kid's a short timer. Leave him alone.</dialogue> <character>LEE</character> <dialogue>I did n't realize you had such maternal instincts. Uncle Benny wants you to speak with him.</dialogue> <character>CHEN</character> <dialogue>No.</dialogue> <scene_description>Lee and Chen reach the kitchen , where amongst the chickens , ducks and steaming dumplings , Triad underlings are moving boxes of tourist trinkets that fell off of some truck somewhere . Lee reaches into one and pulls out a fake Rolex .</scene_description> <character>LEE</character> <dialogue>This cost one dollar to make. And some fool will pay hundreds for it. It's amazing how easy it is for some people to over estimate worth. Do n't overestimate yours. Talk to him.</dialogue> </scene> <scene> <stage_direction>INT. FIFTEENTH PRECINCT - DAY</stage_direction> <scene_description>Chen , lost in thought , enters the station house when Wallace comes out of the A.G.U. office .</scene_description> <character>WALLACE</character> <dialogue>There's a homicide on Worth.</dialogue> </scene> <scene> <stage_direction>EXT. REAR ENTRANCE OF A RESTAURANT-DAY</stage_direction> <scene_description>UNIFORMS from the Fifteenth have the area around the dumpster taped off as Wallace and Chen pull up and cross toward Deng and Ung .</scene_description> <character>CHEN</character> <dialogue>Who's in the bin?</dialogue> <character>DENG</character> <dialogue>The invisible woman. No I.D., no print record, no nothing.</dialogue> <scene_description>Wallace looks into the dumpster where a young female , is tangled with yesterday 's shellfish . He instantly begins dry heaving .</scene_description> <character>UNG</character> <dialogue>I thought you liked Chinese food, Junior?</dialogue> <character>CHEN</character> <dialogue>Leave him alone. Let's go, I need about fifty coffees.</dialogue> <character>WALLACE</character> <dialogue>We're not gon na investigate this?</dialogue> <character>CHEN</character> <dialogue>We just did.</dialogue> <character>WALLACE</character> <dialogue>What're you talking about?</dialogue> <character>CHEN</character> <dialogue>Tell our partner what we learned.</dialogue> <scene_description>Ung puts on his Academy Instructor persona .</scene_description> <character>UNG</character> <dialogue>Deceased is an illegal straight off the boat, probably less than a week cause there's two bills Chinese under the oysters, by her spleen.</dialogue> <character>DENG</character> <dialogue>She finds her passage over was twice what she thought. She ca n't pay and does n't like working as a prostitute. So she ends up here. No family, no friends, no witnesses.</dialogue> <character>UNG</character> <dialogue>No sense wastin taxpayers' money.</dialogue> <scene_description>Wallace looks painfully at the young woman being pulled from the bin and stuffed unceremoniously into a body bag .</scene_description> <character>WALLACE</character> <dialogue>So what? Case closed?</dialogue> <character>UNG</character> <dialogue>He's so young.</dialogue> <scene_description>Chen looks at Wallace . Remembers when he was that young .</scene_description> <character>CHEN</character> <dialogue>Take a walk around with Deng. See if anybody knows anything.</dialogue> <scene_description>Chen motions for Ung to come with him and the two cops move off .</scene_description> </scene> <scene> <stage_direction>EXT. EAST BROADWAY ARCADE-DAY</stage_direction> <scene_description>Jack and his girlfriend step from the arcade . He kisses her goodbye and watches her as she heads north up East Broadway . He turns and heads south . He moves slowly down the empty street as someone or something moves up behind him . Quickly . He feels the presence and turns as Chen and Ung grab hold of him and pull him into a deserted alley .</scene_description> </scene> <scene> <stage_direction>EXT. ALLEYWAY-DAY</stage_direction> <scene_description>Jack tries to get away but Ung slams the small boy into the wall .</scene_description> <character>UNG</character> <dialogue>Easy Jackarroo.</dialogue> <scene_description>Jack looks at the two men as they close in on him .</scene_description> <character>UNG</character> <dialogue>Detective Chen is now able to I.D. the shooter who got away from the lamp store.</dialogue> <character>CHEN</character> <dialogue>Unless he can do something for me. I want Bobby Vu.</dialogue> <scene_description>A bead of cold sweat tumbles down the back of Jack 's neck .</scene_description> <character>JACK</character> <dialogue>He'll kill me.</dialogue> <character>UNG</character> <dialogue>The alternative to helping us is ten to twenty at Sing Sing. And that's got ta hurt. Especially for somebody five foot nothin.</dialogue> <scene_description>Jack stands with a million things racing through his mind .</scene_description> <character>JACK</character> <dialogue>No court? No wire?</dialogue> <character>CHEN</character> <dialogue>No promises. Think about it. You've got ten seconds to make up your mind.</dialogue> <scene_description>Jack thinks .</scene_description> <character>JACK</character> <dialogue>Fuck you.</dialogue> <scene_description>Jack runs but Ung slams his fist into his face knocking him cold .</scene_description> <character>UNG</character> <dialogue>Kid's loyal.</dialogue> <scene_description>Ung kneels and cuffs the unconscious Fukienese soldier .</scene_description> <character>CHEN</character> <dialogue>See how loyal he is after two weeks in lock up.</dialogue> </scene> <scene> <stage_direction>EXT. WORTH STREET - DAY</stage_direction> <scene_description>Deng and a very frustrated Wallace , stand outside a junk shop where a frightened CHINESE WOMAN , shakes her head .</scene_description> <character>WALLACE</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>We're trying to help you.</dialogue> <scene_description>Deng holds out a business card but the woman slams the door .</scene_description> <character>WALLACE</character> <dialogue>What's wrong with these people?</dialogue> <character>DENG</character> <dialogue>They do n't like me, do n't trust you and know we ca n't protect them.</dialogue> <character>WALLACE</character> <dialogue>Then what's the point? Why bother?</dialogue> <scene_description>The two cops walk south on Worth Street as they continue to talk .</scene_description> <character>DENG</character> <dialogue>Every cop starts out planning to save the universe. When you realize you ca n't you've got two choices. Do your best and the second the shift's over go home to a life. Or let the stink of the street get on you so you end up like ninety percent of the cops in this city. An alcoholic with more vices then half the people you arrest.</dialogue> <character>WALLACE</character> <dialogue>You're talkin about Chen?</dialogue> <character>DENG</character> <dialogue>I'm talking about you.</dialogue> <character>WALLACE</character> <dialogue>Well how does he close so many cases?</dialogue> <scene_description>The inquiry makes her uncomfortable .</scene_description> <character>DENG</character> <dialogue>He works the cases he can solve. And he's not American born, he's Hong Kong, immigrant like them.</dialogue> <character>WALLACE</character> <dialogue>How does a guy from Hong Kong get in the NYPD?</dialogue> <character>DENG</character> <dialogue>They wanted a Chinese to speak to the Chinese. And his father was a cop in Hong Kong. Pretty big wheel before they booted him, he knew people in Chinatown who could vouch for his son.</dialogue> <character>WALLACE</character> <dialogue>Why'd they boot him, was he dirty?</dialogue> <character>DENG</character> <dialogue>Because he was n't. Shift's over, go home.</dialogue> <scene_description>Deng turns up Elizabeth street and Wallace heads off toward Doyers .</scene_description> </scene> <scene> <stage_direction>EXT. WALLACE'S APT - DAY</stage_direction> <scene_description>Wallace cuts across a city baseball diamond in the shadow of the Manhattan Bridge and makes his way to his front door .</scene_description> </scene> <scene> <stage_direction>INT. WALLACE'S APARTMENT-DAY</stage_direction> <scene_description>He enters the one bedroom brick box and hits a light switch . It 's clear he 's just moved in because most of his things are still in boxes . What furnishings he has are accented with Chinese artifacts and books on Chinese culture . He heads into the dingy kitchen .</scene_description> </scene> <scene> <stage_direction>INT. WALLACE'S APARTMENT, KITCHEN-DAY</stage_direction> <scene_description>He gets a water and drops in some Alka Seltzer . He sits at the window and holds the cold glass to his forehead while the tablets fizz .</scene_description> </scene> <scene> <stage_direction>EXT. WALLACE'S APT - DAY</stage_direction> <scene_description>What he does n't see , is Bobby Vu 's Lieutenant , BLACK EYES , watching him from the empty market across the street .</scene_description> </scene> <scene> <stage_direction>INT. WALLACE'S APARTMENT, KITCHEN -DAY</stage_direction> <scene_description>He downs the drink as a SHADOW creeps toward him . He hears a creak in the floor . In a flash he bolts to his feet , pulls his gun and spins to face a large MAN , maybe sixty , wearing beat up threads .</scene_description> <character>WALLACE</character> <dialogue>I coulda killed you.</dialogue> <character>SEAN WALLACE</character> <dialogue>I coulda killed you first.</dialogue> <character>WALLACE</character> <dialogue>What're you doing here?</dialogue> <character>SEAN WALLACE</character> <dialogue>Father ca n't visit his son? Got something to drink? I'm dry as a ninety year old tit.</dialogue> <character>WALLACE</character> <dialogue>How'd you get in?</dialogue> <scene_description>Sean pulls a flask from his jacket .</scene_description> <character>SEAN WALLACE</character> <dialogue>I brought somethin anyway. Join me?</dialogue> <scene_description>Sean extends the offer but his son does n't flinch .</scene_description> <character>SEAN WALLACE</character> <dialogue>Twenty years robbery homicide outta the two five, greenhorn, that's how I got in. I been hrough more doors and windows.</dialogue> <character>WALLACE</character> <dialogue>I do n't have any money.</dialogue> <scene_description>Sean takes a pull from the flask .</scene_description> <character>SEAN WALLACE</character> <dialogue>I'm in for twelve grand. Those fuckin dagos down on Mulberry. Wallace knows this is serious but does n't show anything to his father.</dialogue> <character>WALLACE</character> <dialogue>Good luck.</dialogue> <character>SEAN WALLACE</character> <dialogue>I'm not asking for the twelve. God forbid you'd bail me out with your lawyer money. Would n't want you to miss becoming a leech asshole.</dialogue> <character>WALLACE</character> <dialogue>And here I thought you'd want me to be a chip off the ` ol block.</dialogue> <character>SEAN WALLACE</character> <dialogue>All I'm askin for is a little stake money to help me get even.</dialogue> <character>WALLACE</character> <dialogue>ould n't work, you're too much a loser.</dialogue> <character>SEAN WALLACE</character> <dialogue>Then we'll go partners. You're a lucky son of a bitch ai n't ya?</dialogue> <scene_description>Wallace does n't say anything .</scene_description> <character>SEAN WALLACE</character> <dialogue>I would n't be here if it was n't serious.</dialogue> <scene_description>It takes a while but Wallace finally makes a move . He opens the fridge , slides open the crisper and pulls out an envelope . He hands it to his father who smiles at the money .</scene_description> <character>SEAN WALLACE</character> <dialogue>Cold hard cash. You slay me.</dialogue> <character>WALLACE</character> <dialogue>Little over five hundred and we ai n't partners. This is buying you off. Next time someone sneaks up on me.</dialogue> <character>SEAN WALLACE</character> <dialogue>Yeah, yeah, yeah. You'll kill me.</dialogue> <scene_description>Sean turns and starts for the door . Then stops .</scene_description> <character>SEAN WALLACE</character> <dialogue>By the way. You got a chink watchin you from across the street, Sherlock.</dialogue> <scene_description>Wallace turns to the window and sees Bobby Vu 's boy , Black Eyes standing in the shadows across the street as his father slips out the door with a slight chuckle .</scene_description> <character>SEAN WALLACE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Goodnight officer.</dialogue> </scene> <scene> <stage_direction>INT. UNDERGROUND SPA-NIGHT</stage_direction> <scene_description>Through the steam , we see Henry Lee sitting in a tub filled with hot water . Standing near the doorway in street clothes is Chen .</scene_description> <character>CHEN</character> <dialogue>I've got something for you.</dialogue> <character>LEE</character> <dialogue>I love gifts.</dialogue> <scene_description>A female arm runs a wet sponge down Lee 's back .</scene_description> <character>CHEN</character> <dialogue>This is n't free. Forget the kid.</dialogue> <character>LEE</character> <dialogue>That's an expensive request.</dialogue> <character>CHEN</character> <dialogue>This is an expensive item.</dialogue> <scene_description>Lee pulls the female arm into him . It 's connected to May . Chen spots her , and it bothers him more than he lets on .</scene_description> <character>LEE</character> <dialogue>Let's hear it.</dialogue> <character>CHEN</character> <dialogue>The F.B.I. have another informant inside the Triad. This time, it's one of their own - it's an agent.</dialogue> <scene_description>Lee strokes the May 's hair as she slides her nude body against his . He enjoys the fact that Chen 's not enjoying it .</scene_description> <character>LEE</character> <dialogue>Who is it?</dialogue> <character>CHEN</character> <dialogue>Do n't know. We picked up four of your guys and one was a Fed. Wo n't take long to find out which one. Then all you've got to do is blow his cover and they'll pull him. No violence, no mess.</dialogue> <character>LEE</character> <dialogue>My thanks.</dialogue> <character>CHEN</character> <dialogue>The kid's out.</dialogue> <character>LEE</character> <dialogue>As you wish. Lee turns May toward Chen and rubs her breasts.</dialogue> <character>LEE</character> <dialogue>Would you like a turn?</dialogue> <scene_description>Chen , looks at the young girl then turns and exits the room . Lee laughs as a figure moves out of a steam room behind him .</scene_description> <character>LEE</character> <dialogue>We've got a Federal Agent sniffing around. We'll have to postpone delivery. Lee glances toward Fukienese leader, Bobby Vu.</dialogue> <character>BOBBY VU</character> <dialogue>We ca n't. The boat's coming into port next week.</dialogue> <character>LEE</character> <dialogue>Then it'll wait at the port.</dialogue> <character>BOBBY VU</character> <dialogue>I'm not afraid of the F.B.I.</dialogue> <scene_description>Lee pushes May under the water toward his crotch .</scene_description> <character>LEE</character> <dialogue>Everything we've done has been to keep the Feds focused on Uncle Benny. When he's gone, and I lead the triad, you and your Fukienese brothers will make all the money you want.</dialogue> <character>BOBBY VU</character> <dialogue>Then let's kill him now.</dialogue> <character>LEE</character> <dialogue>When Uncle Benny's indicted, he'll be dangerous to our partners in Hong Kong. And killing him, will come with thanks instead of retribution.</dialogue> <character>BOBBY VU</character> <dialogue>And Chen too.</dialogue> <character>LEE</character> <dialogue>All in time.</dialogue> </scene> <scene> <stage_direction>EXT. GOLDFLOWER RESTAURANT, DOYERS STREET, MORNING</stage_direction> <scene_description>Through the glass we see Wallace pay the tab on his morning 's breakfast . He picks up a toothpick and a mint and exits the building . He starts to move east when a man steps beside him .</scene_description> <character>LEE</character> <dialogue>Do you remember me?</dialogue> <scene_description>Wallace looks closer . and sees Henry Lee who stays in step with Wallace as he walks up Bowery .</scene_description> <character>WALLACE</character> <dialogue>Yeah.</dialogue> <character>LEE</character> <dialogue>I have information about the girl you found in the garbage dumpster.</dialogue> <character>WALLACE</character> <dialogue>How'd you find me?</dialogue> <character>LEE</character> <dialogue>You're conspicuous in Chinatown. Two brothers on Chrystie Street bring in illegals. The woman, worked in their brothel, then tried to run. They left her as a message to the others.</dialogue> <character>WALLACE</character> <dialogue>How do you know?</dialogue> <character>LEE</character> <dialogue>Everyone knows. But no one's going to speak of it. Especially to the police.</dialogue> <character>WALLACE</character> <dialogue>Why are you?</dialogue> <character>LEE</character> <dialogue>I knew her.</dialogue> <scene_description>Lee looks at Wallace , and for a moment he seems almost sad .</scene_description> <character>WALLACE</character> <dialogue>What are their names?</dialogue> <character>LEE</character> <dialogue>You ca n't tell anyone how you found out. Not even Chen.</dialogue> <character>WALLACE</character> <dialogue>Forget it.</dialogue> <character>LEE</character> <dialogue>For every person who knows, the chances of me, or one of my children being killed in reprisal increases a hundred fold.</dialogue> <character>WALLACE</character> <dialogue>I ca n't.</dialogue> <character>LEE</character> <dialogue>That girl was fifteen. And there are more to come if you do n't help us. Wallace thinks, remembering the girl as she was stuffed into the body bag. He knows he should n't, but he nods his head and Lee hands him a piece of paper.</dialogue> <character>LEE</character> <dialogue>Check the basement of a place called TONY'S. Do n't worry. This is how things get done in Chinatown.</dialogue> </scene> <scene> <stage_direction>INT. FIFTEENTH PRECINCT, AGU OFFICE-DAY</stage_direction> <scene_description>Chen enters the room where Deng is filling out paperwork .</scene_description> <character>CHEN</character> <dialogue>Wallace come in yet?</dialogue> <character>DENG</character> <dialogue>I do n't think so.</dialogue> <scene_description>The concern is easily read on Chen 's face .</scene_description> </scene> <scene> <stage_direction>EXT. 142 CHRYSTIE STREET-DAY</stage_direction> <scene_description>Wallace anxiously watches the apartment building . He steadies his nerves , then crosses the street and enters through the front door .</scene_description> </scene> <scene> <stage_direction>INT. 142 CHRYSTIE HALLWAY - DAY</stage_direction> <scene_description>It 's damp and poorly lit . Wallace moves down the narrow hall and stops by the door next to the incinerator . He jimmies the lock .</scene_description> </scene> <scene> <stage_direction>INT. 142 CHRYSTIE BASEMENT, STAIRS - DAY</stage_direction> <scene_description>He descends the stairs into the darkness . His mouth dries as he pulls his gun . He moves down a narrow corridor , passing a wooden door , when he hears something from inside . Faint breathing . He reaches for the doorknob . It 's locked . He takes the slim jim from his jacket pocket and easily opens the door .</scene_description> </scene> <scene> <stage_direction>INT. 142 CHRYSTIE BASEMENT ROOMS - DAY</stage_direction> <scene_description>It 's dark . Wallace takes his mag - light and scopes the room . He steps back , startled , when he sees thirty FEMALE FACES , gaunt , eyes glazed , huddled in the room like prisoners of war . None look older than fifteen . Wallace stands looking at the young women when he hears noise further down the hall . Slowly , he steps back</scene_description> </scene> <scene> <stage_direction>INT. 142 CHRYSTIE BASEMENT, CORRIDOR-DAY</stage_direction> <scene_description>and creeps toward a second door framed with the bright light from within . It sounds like a small motor mixed with whimpering . He looks through the keyhole . It takes a moment for his eye to adjust . When it does he jumps to his feet and kicks open the door .</scene_description> </scene> <scene> <stage_direction>INT. 142 CHRYSTIE BASEMENT ROOMS - DAY</stage_direction> <character>WALLACE</character> <dialogue>POLICE!</dialogue> <scene_description>The room is awash in bright light , almost blinding Wallace coming from the darkness . But there , on a bed , he sees the source of the cries . Three young WOMEN engaged in forced sex . He turns toward the light which is set atop a video camera recording the scene . A MAN , mid forties , throws the camera at Wallace and races for the door . Wallace tackles him into the dark hallway .</scene_description> </scene> <scene> <stage_direction>INT. 142 CHRYSTIE BASEMENT, CORRIDOR-DAY</stage_direction> <scene_description>and pummels him with his fist . A loud BANG and a flash of light from the end of the hall as someone fires a bullet at Wallace . Instinctively , without thinking , he fires back , hitting the SHOOTER , who slumps to the ground . The impact of his first shooting washes over him . In that moment , the man beneath him pushes to his feet and begins running down the hall .</scene_description> <character>WALLACE</character> <dialogue>STOP!</dialogue> <scene_description>The man grabs for the dead shooter 's gun , turns and takes a bullet from Wallace 's Glock before he can squeeze off a shot . Wallace stands frozen . The smoke from his gun fills the tiny hallway . He tastes blood and realizes he bit through his lip .</scene_description> </scene> <scene> <stage_direction>INT. 142 CHRYSTIE BASEMENT ROOMS - LATER (DAY)</stage_direction> <scene_description>The place is now brightly lit as COPS and FORENSICS scour the area . Chen enters from the far end and pulls Wallace aside .</scene_description> <character>CHEN</character> <dialogue>What were you doing in here?</dialogue> <character>WALLACE</character> <dialogue>I came out of the diner on Pell Street and saw some guy snatch a purse. I chased him into the building, but I lost him inside. Then I heard screaming from down here. I just stumbled into it.</dialogue> <scene_description>Chen stares at him as Ung and Deng approach from upstairs .</scene_description> <character>UNG</character> <dialogue>There's close to forty women here, all illegals. And we found a storeroom with about a hundred tapes.</dialogue> <character>DENG</character> <dialogue>And the landlord remembers the four Jane Does we pulled outta the dumpsters as part of the stable.</dialogue> <scene_description>Ung extends his hand to Wallace .</scene_description> <character>UNG</character> <dialogue>Good job, Detective.</dialogue> <scene_description>Chen eyes Wallace who takes Ung 's hand .</scene_description> <character>WALLACE</character> <dialogue>Thanks, Junior.</dialogue> <scene_description>Soon other COPS come over to give congratulations . The good wishes turn into applause as we</scene_description> </scene> <scene> <stage_direction>INT. POLICE HEADQUARTERS-DAY</stage_direction> <scene_description>The Mayor 's LACKEY pins a commendation on Wallace in front of a room filled with POLICE and PRESS . Somewhere in the back , feeling a little bit proud , in spite of his suspicions , is Chen .</scene_description> </scene> <scene> <stage_direction>INT. JIMMY LOO'S -NIGHT</stage_direction> <scene_description>A good - sized crowd , including Ung and Wallace . Ung 's gassed .</scene_description> <character>UNG</character> <dialogue>It's dick size.</dialogue> <character>CHEN</character> <dialogue>You think everything is dick size.</dialogue> <character>UNG</character> <dialogue>It is. White people believe all Asians got little dicks. So you think that when an Asian chick sees your pecker, she's going to think it's Mount Saint Helens.</dialogue> <scene_description>Chen and Wallace laugh .</scene_description> <character>UNG</character> <dialogue>It's true. And then you look at the tiny hands on most Asian chicks and figure your weenie's gon na look like a sewer pipe in her fist.</dialogue> <character>WALLACE</character> <dialogue>He's discovered our secret.</dialogue> <character>UNG</character> <dialogue>Well the joke's on you, cause this Chinaman's hung like a.</dialogue> <character>CHEN</character> <dialogue>A gnat.</dialogue> <scene_description>Chen and Wallace laugh at Ung .</scene_description> <character>UNG</character> <dialogue>You wan na see?!</dialogue> <scene_description>Ung struggles to his feet .</scene_description> <character>CHEN &amp; WALLACE</character> <dialogue>No!</dialogue> <scene_description>Wallace pulls Ung back into his seat .</scene_description> <character>WALLACE</character> <dialogue>On that note, it's time to head home. I'll see you tomorrow.</dialogue> <character>CHEN</character> <dialogue>Eight sharp. We're going to pick up surveillance on those guys you busted, find out which one's the fed.</dialogue> <scene_description>He nods and crosses to the door . Chen gets up and follows him to the door .</scene_description> <character>CHEN</character> <dialogue>Wallace.</dialogue> <scene_description>The young cop stops . Chen stands before him .</scene_description> <character>CHEN</character> <dialogue>You did a lot for those women down there. You did good work.</dialogue> <character>WALLACE</character> <dialogue>Thanks.</dialogue> <character>CHEN</character> <dialogue>But it was an accident. You're lucky you're not dead. So do n't you ever go off alone again.</dialogue> <scene_description>Chen stares a hole in Wallace 's head . The young cop nods and slips out the door .</scene_description> </scene> <scene> <stage_direction>EXT. JIMMY LOO'S-CONTINUOUS - NIGHT</stage_direction> <scene_description>Wallace steps from the bar and begins walking north on Centre . He sees the subway entrance and steps from the curb when a green Mercedes pulls to a stop . Inside is Henry Lee .</scene_description> <character>LEE</character> <dialogue>Congratulations, Detective.</dialogue> <scene_description>Uncomfortable , Wallace glances back at the bar .</scene_description> <character>WALLACE</character> <dialogue>Thanks. I've got ta.</dialogue> <character>LEE</character> <dialogue>You must allow me to buy you a drink.</dialogue> <character>WALLACE</character> <dialogue>I really.</dialogue> <character>LEE</character> <dialogue>You did a great thing for the people of this community. Let me thank you, as a show of respect. please.</dialogue> <scene_description>Lee unlocks the door as Wallace hears some cops exiting the bar . Rather than be seen he quickly ducks into the car .</scene_description> </scene> <scene> <stage_direction>INT. STAIRWELL-NIGHT</stage_direction> <scene_description>Chen climbs a rotted stairwell of the Ginza massage and approaches an unmarked door . He hesitates , then decides to knock . He sees an eye in the peephole . An old WOMAN , seventy plus , opens the door and he steps inside .</scene_description> </scene> <scene> <stage_direction>INT. GINZA MASSAGE - NIGHT</stage_direction> <scene_description>All is back to normal just days later . The welcome room is filled with young girls smoking . One of the girls is May . The old Woman calls her over and Chen sees her eye is bruised . May leads him toward the back but halfway down the hall he stops . Chen turns to the old woman and says something in Cantonese . She nods and Chen hands her three hundred dollar bills . He then takes May gently by the arm and escorts her out of the apartment .</scene_description> </scene> <scene> <stage_direction>INT. UNDERGROUND SPA/MASSAGE ROOM - NIGHT</stage_direction> <scene_description>Lee and Wallace , wrapped in towels , sip champagne as they step from a steam room thick with humidity .</scene_description> <character>WALLACE</character> <dialogue>There's more of Chinatown below sea level than above.</dialogue> <character>LEE</character> <dialogue>There's always more under the surface.</dialogue> <scene_description>The two men are greeted by a pair of beautiful MASSEUSES . One guides Wallace to a massage table , the other takes Lee outside .</scene_description> <character>LEE</character> <dialogue>Enjoy.</dialogue> <scene_description>Lee exits as Wallace 's Masseuse motions for him to lie face down on the table . He hesitates , but eventually lies down .</scene_description> <character>WALLACE</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>What's your name?</dialogue> <scene_description>She `` Shhh 's '' him . then removes Wallace 's towel . He glances back , feeling awkward as she begins covering his naked body with oil . Expertly , she glides her hands over his skin , massaging his muscles . He wants to stop her , but he does n't . The Masseuse moves around , working his arms , legs , back and buttocks . She then climbs on top of him , and using her weight , digs deeper into his muscles . Slight moans begin escaping from his lips . After a moment , she reaches over and dims the lights . She removes her robe , covers her body with oil and glides herself slowly over Wallace 's skin . His eyes move about , showing both his discomfort and enjoyment . She rubs her lips gently across his back to the base of his neck . She kisses his ear as her mouth moves across his face . She turns him onto his back . He looks up into her eyes , knowing he should stop . But he ca n't . Yellow fever .</scene_description> </scene> <scene> <stage_direction>INT. CHEN'S APARTMENT-NIGHT</stage_direction> <scene_description>Chen leads May into the apartment . She stands awkwardly in the center of the room . He turns on the lamp he picked up at Phan 's . When he turns she tries to kiss him . but he holds her back .</scene_description> <character>CHEN</character> <dialogue>No.</dialogue> <scene_description>She looks at him , not sure why she 's there . Neither is he . They stand awkwardly . After a moment , he crosses to the kitchen . He opens the fridge and removes a cellophane bag filled with fruit . He takes a knife from a butcher block and expertly slices a blood orange , separating the rind , removing the seeds . He hands May a sculpted piece of the dark red fruit .</scene_description> <character>CHEN</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>From home.</dialogue> <scene_description>She takes it from him . Her eyes close as she tastes the fruit . For a short moment she is across the sea , sitting with her family . Chen smiles , and digs more produce from the fridge . He then hands May another slice of blood orange and begins chopping the vegetables in perfect , even slices . He glances at May and sees a tear sliding down her cheek .</scene_description> </scene> <scene> <stage_direction>EXT. WALLACE'S BUILDING-SUNRISE</stage_direction> <scene_description>The sun barely peeks over the horizon as Wallace enters the apartment .</scene_description> </scene> <scene> <stage_direction>INT. WALLACE'S APARTMENT - SUNRISE</stage_direction> <scene_description>He moves slowly , wearing the all nighter across his face . He cuts across the living room , steps into the bathroom .</scene_description> </scene> <scene> <stage_direction>INT. WALLACE'S APARTMENT - BATHROOM - DAY</stage_direction> <scene_description>He stops in his tracks . Lying on the floor is his father , beaten to a pulp . For a moment we see genuine concern on Wallace 's face .</scene_description> <character>WALLACE</character> <dialogue>Shit.</dialogue> <character>SEAN WALLACE</character> <dialogue>Tried to. Never made it.</dialogue> <scene_description>His concern fades as he realizes his father 's conscious . But he still kneels beside him and checks his injuries .</scene_description> <character>WALLACE</character> <dialogue>You got ta go to the hospital.</dialogue> <character>SEAN WALLACE</character> <dialogue>No time.</dialogue> <scene_description>He starts coughing and a pile of blood seeps from his mouth .</scene_description> <character>WALLACE</character> <dialogue>You're bleeding inside.</dialogue> <character>SEAN WALLACE</character> <dialogue>Would n't be surprised. I need the money.</dialogue> <character>WALLACE</character> <dialogue>I do n't have it. Not that kind.</dialogue> <character>SEAN WALLACE</character> <dialogue>How much?</dialogue> <character>WALLACE</character> <dialogue>A grand, maybe.</dialogue> <scene_description>Wallace helps the big man up to his feet . but both collapse under the weight . They hit the floor heavy .</scene_description> <character>WALLACE</character> <dialogue>Shit. Come on, again.</dialogue> <scene_description>Wallace starts to lift but Sean shakes him off .</scene_description> <character>SEAN WALLACE</character> <dialogue>Would you give it to me if you had it?</dialogue> <scene_description>Wallace looks at his father .</scene_description> <character>WALLACE</character> <dialogue>I do n't think so.</dialogue> <character>SEAN WALLACE</character> <dialogue>Fuckin honest, like your mother. Screw it then. Might as well call the hospital.</dialogue> <scene_description>Sean passes out . Wallace looks at his old man , then dials 911 .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT BUILDING BAXTER, HALLWAY-DAY</stage_direction> <scene_description>Deng and Ung are coming out of apartment 5C as Wallace reaches the landing from the stairwell .</scene_description> <character>WALLACE</character> <dialogue>The Fed tip his hand yet?</dialogue> <character>UNG</character> <dialogue>If he has I have n't seen it.</dialogue> <character>DENG</character> <dialogue>Better get in there, he's startin to get pissed at you.</dialogue> <character>WALLACE</character> <dialogue>What's new.</dialogue> <scene_description>Deng and Ung move down the stairs as Wallace enters the room .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT 5C - BAXTER STREET - DAY</stage_direction> <scene_description>The room 's filled with surveillance equipment . Chen 's at the window photographing the comings and goings across the street where Wallace busted the fed days before .</scene_description> <character>CHEN</character> <dialogue>You're late.</dialogue> <character>WALLACE</character> <dialogue>My father had a fall last night. I had to get him to the hospital.</dialogue> <character>CHEN</character> <dialogue>Took all night to get him there?</dialogue> <character>WALLACE</character> <dialogue>He fell last night, I found him this morning in the bathroom.</dialogue> <scene_description>Chen looks at him suspiciously , then hands him the camera and touches Wallace 's neck .</scene_description> <character>CHEN</character> <dialogue>Looks like he scratched you.</dialogue> <scene_description>Wallace pulls away and positions himself at the window .</scene_description> <character>WALLACE</character> <dialogue>When I was carrying him.</dialogue> <character>CHEN</character> <dialogue>He alright?</dialogue> <character>WALLACE</character> <dialogue>Yeah.</dialogue> <scene_description>Chen sits at a table and deals himself a hand of solitaire .</scene_description> <character>CHEN</character> <dialogue>He was a cop, right?</dialogue> <character>WALLACE</character> <dialogue>The two five.</dialogue> <character>CHEN</character> <dialogue>Tough beat. Is that why you're here? Prove something to the old man?</dialogue> <character>WALLACE</character> <dialogue>Is that why you're here?</dialogue> <character>CHEN</character> <dialogue>My old man's dead. I do n't have to prove anything to anybody. How ` bout you?</dialogue> <character>WALLACE</character> <dialogue>Just to you I guess.</dialogue> <character>CHEN</character> <dialogue>That's for sure.</dialogue> <character>WALLACE</character> <dialogue>Why do you have to constantly bust my balls?</dialogue> <character>CHEN</character> <dialogue>I'm educating you while there's time.</dialogue> <scene_description>Chen lights the smoke as Wallace feigns embarrassment .</scene_description> <character>WALLACE</character> <dialogue>You mean you care about me? I do n't know what to say.</dialogue> <character>CHEN</character> <dialogue>Try nothing.</dialogue> <character>WALLACE</character> <dialogue>But I'm overwhelmed. This showing of emotion. This outpouring of human kindness. The caring, the warmth. Do n't look at me, I think I'm crying.</dialogue> <scene_description>Chen smiles in spite of himself as Wallace turns toward the window and spots two ASIANS stepping from a Lincoln , which drives away .</scene_description> <character>WALLACE</character> <dialogue>These two do n't look like junkies.</dialogue> <scene_description>He picks up the camera and starts snapping away . Chen crosses to the window , watches through a pair of binoculars .</scene_description> <character>CHEN</character> <dialogue>No, they do n't.</dialogue> <scene_description>They watch the two youths enter the brownstone .</scene_description> </scene> <scene> <stage_direction>EXT. CRUMBLING BUILDING -DAY</stage_direction> <scene_description>the two YOUTHS enter the brownstone .</scene_description> </scene> <scene> <stage_direction>INT. VACANT APARTMENT- BAXTER STREET - DAY</stage_direction> <scene_description>Chen puts down his binoculars .</scene_description> <character>CHEN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You get pictures?</dialogue> <character>WALLACE</character> <dialogue>Yeah.</dialogue> <scene_description>Then suddenly , the unmistakable sound of automatic gunfire rings out from the building across the street . Wallace 's camera freezes as the gun shots echo across the street .</scene_description> <character>CHEN</character> <dialogue>Shit.</dialogue> <scene_description>Both men have guns drawn by the time they hit the door .</scene_description> </scene> <scene> <stage_direction>EXT. BAXTER STREET APARTMENT BUILDING-CONTINUOUS-DAY</stage_direction> <scene_description>Chen and Wallace hit the pavement at the same moment the two Asian gangsters climb into the big Lincoln which immediately starts backing out of the alley .</scene_description> <character>CHEN</character> <dialogue>Police!</dialogue> <scene_description>Asian gangster 's # 2 's answer is a barrage of automatic gunfire . Chen responds with one neat shot through the windshield and into the driver 's head . Gangster # 1 wastes no time pushing the dead driver out from behind the wheel before Chen and Wallace can reach the car and continues their getaway at warp speed . Chen unloads his weapon at the fleeing car before turning and heading towards the Chevy while Wallace charges up a narrow passageway to cut the gangsters off .</scene_description> </scene> <scene> <stage_direction>EXT. NARROW CHINATOWN STREET (N.Y.) - DAY</stage_direction> <scene_description>Wallace comes flying out of the alley and into the street just in time to get off a few shots at the oncoming Lincoln which barrels right at him forcing him to jump onto a parked car at the last minute . Chen races from the opposite direction hoping to block the Lincoln 's path . Without hesitating , the gang car plows onto the sidewalk and escapes past the terrified pedestrians . Chen pulls a 180 , Wallace hops in the passenger seat and the chase is on .</scene_description> </scene> <scene> <stage_direction>EXT. SECRET STREET (TOR) - DAY</stage_direction> <scene_description>Wallace and Chen in hot pursuit .</scene_description> <character>WALLACE</character> <parenthetical>( in the radio . )</parenthetical> <dialogue>This is car seven in green sector, we're in pursuit of a blue Lincoln Continental, Jersey plates five, niner, five, alpha, alpha, zulu travelling south on Park Row, subjects armed and dangerous. Request road block units on all lanes.</dialogue> <scene_description>With Chen and Wallace closing in , Gangster # 2 unloads another burst of gunfire . One of the bullets punctures the windshield , grazes Wallace 's ear , exploding the headrest behind him . Chen continues to catch up as the Lincoln makes a sharp left slipping through the cross traffic . The Chevy 's not as lucky , as it gets clipped in the rear causing it to spin 90 degrees and slowing their pursuit .</scene_description> </scene> <scene> <stage_direction>EXT. PELL STREET (N.Y.) - DAY</stage_direction> <scene_description>The Lincoln moves fast down Pell and hangs a sharp right careening onto Bowery heading downtown . Chen and Wallace struggle to keep up with pedestrians scattering in all directions . Just as the gangsters reach the first stoplight it turns green . They pull out into the oncoming lane cutting in front of the waiting traffic which is just starting to move . In order to stop them and pin the Chevy in , gangster # 2 lets loose a barrage of gunfire which mows down the drivers of the first row of car , pinning the Chevy behind the bloody roadblock . The Lincoln takes off to the right . Chen backs up , sees an opening to an alley parallel to the street and takes off down it hoping to cut them off .</scene_description> </scene> <scene> <stage_direction>EXT. SPADINA ALLEY (TOR) - DAY</stage_direction> <scene_description>Chen and Wallace speed through the narrow pasageway checking through the periodic openings to Temperance Street trying to track the Lincoln .</scene_description> <character>WALLACE</character> <dialogue>There!</dialogue> <scene_description>Chen floors it - comes flying out the end of the alley on to .</scene_description> </scene> <scene> <stage_direction>EXT. NARROW DOWNTOWN STREET (TOR) - DAY</stage_direction> <scene_description>Cars parked on both sides of the street . Chen comes right up beside the Lincoln and tries to force it to a stop by pushing it up against the parked cars but the Lincoln just keeps charging , banging an opening through the cars and jumping onto the sidewalk knocking down a half - dozen pedestrians who ca n't get out of the way fast enough . Chen tracks alongside - gangster # 2 spraying automatic fire at them , smashing out the windows of the parked cars . Chen and Wallace do their best to return fire . A delivery truck straddles the sidewalk in front of the Lincoln , instead of slowing , they speed up and at the last moment crash through parked cars , forcing an opening for them to come back onto the street . The parked car they punched through now blocks the Chevy . Rather than stop , Chen blasts onto the opposite sidewalk , pulls up next to the Lincoln while he and Wallace try to blow it out . Suddenly there 's an elderly woman pulling her shopping basket in front of them who ca n't possibly get out of the way .</scene_description> <character>WALLACE</character> <dialogue>Yo, Civilian!</dialogue> <scene_description>Chen jams on the brakes , slides through an opening of parked cars and follows the Lincoln around the corner to the left .</scene_description> </scene> <scene> <stage_direction>EXT. POST OFFICE ALLEY - DAY</stage_direction> <scene_description>Gangster # 2 seeing the Chevy gaining on them , leans far out his passenger side window and sprays the Lincoln 's tires just before a truck pulls out from a loading dock and sends the gangster 's body flying through the air like a puppet . The Lincoln does n't even slow . The Chevy spins uncontrollably , the front end smashing into the elevated lift of a meat truck , which cuts right through the windshield pinning Chen behind a collapsed steering column . Both men , shaken , watch as the Lincoln heads for the end of the street , then suddenly pulls a smoky 180 and heads right back towards them .</scene_description> <character>WALLACE</character> <dialogue>What the hell is he doing?</dialogue> <scene_description>The Lincoln drives straight at them with the now visible BLUE and WHITES tailing it in close pursuit .</scene_description> <character>CHEN</character> <dialogue>Shit.</dialogue> <scene_description>Chen and Wallace try and climb from the Chevy . Wallace can . Chen ca n't . He 's trapped behind the wheel . Chen looks at Wallace who stands beside the car .</scene_description> <character>CHEN</character> <dialogue>Go!</dialogue> <scene_description>Chen begins firing at the Lincoln . Wallace looking between Chen and the fast approaching car , fires also . Chen 's gun empties . Because of the chaos of the delivery trucks , the Lincoln has only one way out , and that is to crash straight through the disabled Chevy .</scene_description> <character>CHEN</character> <dialogue>I said go!</dialogue> <scene_description>Chen empties his gun . Wallace refuses to leave him . The Lincoln is forty yards , thirty yards . It 's engine is deafening .</scene_description> <character>CHEN</character> <dialogue>GO!</dialogue> <scene_description>Wallace stays , firing everything he 's got . Out of ammo , he quickly turns , dives back in the ca and grabs the shotgun from the back seat . Twenty yards , ten yards , he sees the face of the DRIVER when he gets lucky and a shotgun blast hits the gangster in the chest . The Lincoln spins out of control , twirling like crazy before it hits one of the trucks and explodes in flames . Wallace pulls Chen down as the fireball rolls just over their heads . Chen looks at Wallace as they sit up .</scene_description> </scene> <scene> <stage_direction>INT. INTERROGATION ROOM TWO - DAY</stage_direction> <character>SCHABACKER</character> <dialogue>Federal agent Ronald Ming is dead. Shot seven times in the back and I'm thinking some scumbag in the Fifteenth is responsible.</dialogue> <scene_description>Chen insides are twisted in knots . Half of him wants to come clean , but the self preservation half knows to play it cool .</scene_description> <character>CHEN</character> <dialogue>Maybe some scumbag in the Bureau is responsible.</dialogue> <character>SCHABACKER</character> <dialogue>And maybe I'm gon na grow a tree out of my dick.</dialogue> <character>CHEN</character> <dialogue>If anybody could.</dialogue> <character>SCHABACKER</character> <dialogue>And you can bet your ass it'd be an Oak.</dialogue> <scene_description>Schabacker stares at Chen looking for the slightest flinch .</scene_description> <character>SCHABACKER</character> <dialogue>We I.D'd the shooters. They're Fukienese.</dialogue> <scene_description>Chen breathes a touch easier . Maybe it was n't Lee . Maybe it was part of the turf war .</scene_description> <character>CHEN</character> <dialogue>Fuke's have been makin a move on the triads for months.</dialogue> <character>SCHABACKER</character> <dialogue>That's the only thing keepin me from ripping this fuckin precinct to the ground. That. and this.</dialogue> <scene_description>Schabacker puts a small tape on the desk . Chen looks at tape , wondering if he 's on it .</scene_description> <character>SCHABACKER</character> <dialogue>The assholes were in such a hurry to get moving they did n't check the bodies for wires.</dialogue> <character>CHEN</character> <dialogue>Who's on it?</dialogue> <character>SCHABACKER</character> <dialogue>Benny Wong. Some others. Three weeks worth of undercover work.</dialogue> <character>CHEN</character> <dialogue>A court'll never admit it without the agent backin it up.</dialogue> <character>SCHABACKER</character> <dialogue>They will once you tell'em you've been working with us on this investigation. That after the shooting and before the chase, you entered the building, approached our agent who, with his last breath, told you he got this tape and corroborated what's on it.</dialogue> <character>CHEN</character> <dialogue>That's perjury. Why would I do that?</dialogue> <character>SCHABACKER</character> <dialogue>To keep me from bringing charges against you for obstructing a federal investigation. Wallace told us how you engaged in the unauthorized surveillance of a federal agent, which possibly blew his cover, resulting in his assassination.</dialogue> <scene_description>Chen looks at Schabacker .</scene_description> <character>CHEN</character> <dialogue>That speech may have shivered a rookie, but you'll need better for me.</dialogue> <character>SCHABACKER</character> <dialogue>Then I'll tell you what. You better watch your back cause my gut's still tellin me somebody in the Fifteenth gave my guy up and if I ca n't have Uncle Benny, I'm gon na have him.</dialogue> <scene_description>Chen looks into Schabacker 's face .</scene_description> </scene> <scene> <stage_direction>INT. WALLACE'S APARTMENT-LATER</stage_direction> <scene_description>Wallace , dressed only in pants , cracks open the front door and sees Chen standing in the doorway . The visit catches Wallace off guard .</scene_description> <character>CHEN</character> <dialogue>You alone?</dialogue> <character>WALLACE</character> <dialogue>Yeah.</dialogue> <character>CHEN</character> <dialogue>Then invite me in.</dialogue> <scene_description>Wallace opens the door wider and Chen steps inside . He looks around the small apartment filled with boxes and Chinese artifacts with cops eyes . The kind that make you nervous even if you 've done nothing wrong .</scene_description> <character>CHEN</character> <dialogue>You got something to drink?</dialogue> <character>WALLACE</character> <parenthetical>( putting on his shirt . )</parenthetical> <dialogue>No.</dialogue> <character>CHEN</character> <dialogue>About yesterday. You saved my life out there.</dialogue> <character>WALLACE</character> <dialogue>Part of the job.</dialogue> <character>CHEN</character> <dialogue>Maybe. I still want to say thank you.</dialogue> <character>WALLACE</character> <dialogue>You know what it means I saved your life.</dialogue> <scene_description>Chen smiles as he causually but carefully looks through the papers on Wallace 's coffee table .</scene_description> <character>CHEN</character> <dialogue>This is America, it does n't mean anything. That said. Feds got you nervous?</dialogue> <character>WALLACE</character> <dialogue>No.</dialogue> <character>CHEN</character> <dialogue>Good. Cause whether it's the Feds, Internal Affairs, whoever, the inside of a cop car is sacred. You do n't tell them what we do unless you discuss it with me first.</dialogue> <character>WALLACE</character> <dialogue>Why the sudden paranoia?</dialogue> <character>CHEN</character> <dialogue>I'm just sayin'. Anybody asks you a question. You ask me first.</dialogue> <scene_description>Chen crosses to Wallace and stands face to face with him , making his point clear .</scene_description> <character>CHEN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>No more talking with the Feds until we're working off the same page. Understood?</dialogue> <character>WALLACE</character> <dialogue>Yeah. sure.</dialogue> <character>CHEN</character> <dialogue>Good.</dialogue> <scene_description>Chen turns and walks out the door . Wallace lets out a breath .</scene_description> </scene> <scene> <stage_direction>EXT. THE TOMBS-DAY</stage_direction> <scene_description>New York 's city prison and holding facility . Like any toilet , it 's filled with shit .</scene_description> </scene> <scene> <stage_direction>INT. THE TOMBS - INTERROGATION ROOM</stage_direction> <scene_description>Sitting behind a desk is Chen . The Guards put Jack in a chair then step back into the hall . Chen eyes the kid who looks even smaller in his prison rags . He waits a moment , then puts a surveillance photo of Jack 's girlfriend Amy San on the table between them .</scene_description> <character>CHEN</character> <dialogue>Nice looking girl. Did you know she's in the country illegally?</dialogue> <scene_description>Jack looks from the picture to Chen .</scene_description> <character>CHEN</character> <dialogue>Gon na have to send her back. after a little jail time of course. Shame you two'll never see each other again.</dialogue> <scene_description>Jack 's toughness is gone .</scene_description> <character>JACK</character> <dialogue>You ca n't send her, she's in trouble there. She'll be.</dialogue> <character>CHEN</character> <dialogue>Too bad. I ca n't help you. That's what you told me is n't it?</dialogue> <scene_description>Jack feels the noose closing around his neck . He does n't have much choice . He speaks quietly , already afraid of what he has to do .</scene_description> <character>JACK</character> <dialogue>I help you, when they move me, she come too, with papers?</dialogue> <scene_description>Chen nods , then places a small tape recorder on the table . Jack looks at it like it was poison . Chen then puts a business card beside it .</scene_description> <character>CHEN</character> <dialogue>My pager number. Punch one one after your number so I know it's you.</dialogue> <scene_description>Jack reaches for the card and recorder . When he does , Chen grabs his wrist and pulls him closer .</scene_description> <character>CHEN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I get you out, you better not run on me.</dialogue> <scene_description>Jack looks at Chen and knows he 's serious .</scene_description> <character>CHEN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I want to know who shot that undercover Fed. And I want to know if whoever it was talks to Henry Lee</dialogue> <scene_description>Chen lets go of Jack and motions to the Guards . They reenter the room , pick up Jack and take him back to his cell . Chen watches him go and it 's clear he does n't feel good about what he just did .</scene_description> </scene> <scene> <stage_direction>EXT. CHEN'S APARTMENT, MOTT STREET - DAY</stage_direction> <scene_description>A truck filled with dead pigs hanging on hooks , stands on the corner . MEN carry said swine to small vans parked at the curb . Chen , carrying groceries , walks past the workmen and up to his door . He glances toward the vans as he slides in his key .</scene_description> </scene> <scene> <stage_direction>INT. CHEN'S APARTMENT, MOTT STREET - DAY</stage_direction> <scene_description>Chen , still struggling with the death of the undercover agent , plops the package on the table , takes out a bottle of Bacardi and cracks the seal . He pours a portion of it into a half empty liter of Coke and hits it as he crosses to the window .</scene_description> </scene> <scene> <stage_direction>EXT. CHEN'S APARTMENT - POV MEAT VANS - DAY</stage_direction> <scene_description>He looks at the meat vans .</scene_description> </scene> <scene> <stage_direction>INT. CHEN'S APARTMENT, MOTT STREET - DAY</stage_direction> <scene_description>He picks up the phone and punches in a number .</scene_description> <character>VOICE</character> <parenthetical>( PHONE . )</parenthetical> <dialogue>New York Times.</dialogue> <character>CHEN</character> <dialogue>I just called to tell you that Pete Schabacker of the F.B.I. is a hemorrhoid - licking asshole.</dialogue> <character>VOICE</character> <parenthetical>( PHONE . )</parenthetical> <dialogue>Excuse me?</dialogue> <scene_description>Chen hangs up , sips his muscled Big Gulp and finally has something to laugh about .</scene_description> </scene> <scene> <stage_direction>INT. MEAT VAN, MOTT STREET-DAY</stage_direction> <scene_description>Tucked inside one of the meat vans , is a reel - to - reel recorder , Pete Schabacker and two hysterical AGENTS .</scene_description> <character>SCHABACKER</character> <dialogue>Shut the fuck up.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL, SEAN WALLACE'S ROOM-DAY</stage_direction> <scene_description>Wallace moves past the other patients to his father 's bed where the big Irishman lies with his eyes closed . Wallace looks down at him , then starts to leave .</scene_description> <character>SEAN WALLACE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hey.</dialogue> <scene_description>Wallace turns back to the bed . His father smiles at him .</scene_description> <character>SEAN WALLACE</character> <dialogue>Thank you.</dialogue> <scene_description>Wallace is n't sure what he 's talking about .</scene_description> <character>SEAN WALLACE</character> <dialogue>For the money. They sent a guy, he told me you settled up. I'm not gon na forget it.</dialogue> </scene> <scene> <stage_direction>INT. LEE'S OFFICE-NIGHT</stage_direction> <scene_description>Lee sits behind his desk when Wallace storms into the room .</scene_description> <character>WALLACE</character> <dialogue>Did you cover my father?</dialogue> <character>LEE</character> <dialogue>I'm helping you because I want you to help me.</dialogue> <character>WALLACE</character> <dialogue>No way.</dialogue> <character>LEE</character> <dialogue>My business is victimless. I supply services people want and are forbidden to them by politicians. However, you've seen there're those whose business is not victimless. Whose tactic is violence. I can help you rid Chinatown of those elements, and help keep your father alive. All I ask, is that you look out for my interests in return.</dialogue> <character>WALLACE</character> <dialogue>You're asking for more than that.</dialogue> <character>LEE</character> <dialogue>Long after you and I are gone there will be gambling in Chinatown. There will be men willing to pay a woman for her favors. And the police will always be the last to know. That's a fact. Now you can chase your tail in the dark and accomplish nothing, or you can really do some good. For the people of Chinatown, for your career and for your father.</dialogue> <scene_description>Lee circles his table and approaches Wallace .</scene_description> <character>LEE</character> <dialogue>Think of how many more young girls would have ended up in dumpsters if not for your acceptance of my help.</dialogue> <scene_description>Wallace does think about it . Knowing that they did save lives . He looks out the window at a bustling Chinatown .</scene_description> <character>LEE</character> <dialogue>This is n't America, Danny. It's Chinatown.</dialogue> <character>LEE</character> <dialogue>Do we agree? Or do you want me to call the Italians and rescind my offer? Let them deal with your father.</dialogue> <scene_description>The moment of choice . Its consequences are not lost on Wallace . The decision is not easy . but slowly , he shakes his head .</scene_description> <character>LEE</character> <dialogue>Good. There's something I'd like you to do for me tomorrow.</dialogue> <scene_description>Lee does n't speak right away . He makes Wallace wait .</scene_description> <character>LEE</character> <dialogue>There's a tin shop on Hogan.</dialogue> </scene> <scene> <stage_direction>EXT. TIN SHOP - HOGAN STREET - MORNING(DAY)</stage_direction> <scene_description>Wallace steps from the subway , crosses to a newsstand , buys a paper and checks the timepiece hanging over the porn mags . 5:58 AM .</scene_description> <character>LEE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>A Malaysian runs it. Tomorrow at six AM, he'll be receiving two bricks of heroin from a Colombian.</dialogue> <scene_description>He clocks the tin shop . He can make out the MALAYSIAN guy behind the counter and a MALE CUSTOMER , Chinese , checking the racks .</scene_description> <character>LEE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>These men are scum, they deal to children. I'd like you to stop them.</dialogue> <scene_description>He takes position at the bus stop on the corner and waits . He sees an HISPANIC MALE , 40 's , enter the store . The Malaysian locks the front door and leads the Hispanic to the rear of the shop . He moves quickly across Hogan . He reaches the front door , slides the slim jim from his jacket , and easily opens the lock .</scene_description> </scene> <scene> <stage_direction>INT. TIN SHOP - CONTINUOUS - DAY</stage_direction> <scene_description>Wallace pulls the Glock from his holster . He hears voices from behind the rear door . Cold sweat runs down his neck as he takes position . He steadies himself , then kicks open the door .</scene_description> </scene> <scene> <stage_direction>INT. TIN SHOP, OFFICE - DAY</stage_direction> <character>WALLACE</character> <dialogue>POLICE! NOBODY MOVE!</dialogue> <scene_description>He aims his gun and nearly fires when he hears YELLING from one of the men and sees the barrel of a .45 pointed at his face . But he does n't shoot because the gun belongs to Chen , in the middle of busting the two drug dealers . Eyes wild and still YELLING , Chen nearly squeezes the trigger himself , but his brain registers Wallace faster than his finger . The two cops , breathing hard , stare at each other knowing exactly how the other got there . After a moment , Chen cuffs the two prisoners to the radiator and pushes Wallace back into the store .</scene_description> </scene> <scene> <stage_direction>INT. TIN SHOP - DAY</stage_direction> <character>CHEN</character> <dialogue>You son of a bitch. When did Lee approach you?! The bust on Chrystie, right? The porn operation?</dialogue> <character>WALLACE</character> <dialogue>Yeah.</dialogue> <character>CHEN</character> <dialogue>I knew it. I knew your story was full of shit.</dialogue> <character>WALLACE</character> <dialogue>Well here you are. When did he approach you? I bet quite a while before that. When was it, two years ago, five years? How long have you been working for him? Or ca n't you even remember?!</dialogue> <scene_description>Chen grabs Wallace by the neck .</scene_description> <character>CHEN</character> <dialogue>You're dead. Your life is over. I thought you were smart. You're not, you're as dumb as they come.</dialogue> <scene_description>Chen lets go of Wallace . It takes a moment and then it hits him .</scene_description> <character>WALLACE</character> <dialogue>You gave him the Fed did n't you?</dialogue> <scene_description>Chen looks back at Wallace .</scene_description> <character>WALLACE</character> <dialogue>That's why we were watching them. That's why you pressed that kid so hard to wear a wire. Yeah I heard about that. You want to see if it was the Fukes who killed the agent or if it was Lee.</dialogue> <scene_description>They hear something behind them and turn with guns pointed at a seventy year old Woman stepping through the door .</scene_description> </scene> <scene> <stage_direction>INT. GAMBLING PARLOR-DAY</stage_direction> <scene_description>Chen moves purposefully through the crowded room but he does n't stop to play . Instead he strides up to Henry Lee , grabs him and forcefully pushes him down the hall and out into the back alley .</scene_description> </scene> <scene> <stage_direction>INT. GAMBLING PARLOR, STAIRWAY - DAY</stage_direction> <scene_description>He punches Lee to the floor . Lee 's Sumo and two other triad SOLDIERS race into the room , guns drawn , but hold back from firing because Chen 's gun is pointed at Lee 's head .</scene_description> <character>CHEN</character> <dialogue>We had a deal.</dialogue> <character>LEE</character> <dialogue>You brought him in, not me. I could n't risk it.</dialogue> <character>CHEN</character> <dialogue>I had him under control.</dialogue> <character>LEE</character> <dialogue>Says you.</dialogue> <character>CHEN</character> <dialogue>Let him go.</dialogue> <character>LEE</character> <dialogue>What's done is done. You know that better than anyone. You want to help him? Smarten him up. Make sure he does n't trip over his toes and fuck both of you. I hear dirty cops have an extra rough time of it in prison.</dialogue> <scene_description>Chen looks right into Lee 's eyes .</scene_description> <character>CHEN</character> <dialogue>I find out you killed that Fed, I'll kill you.</dialogue> <scene_description>Chen strides from the room , keeping his gun pointed on target .</scene_description> </scene> <scene> <stage_direction>EXT. SECOND STREET- DAY</stage_direction> <scene_description>Chen and Wallace move across the street . The mood is solemn .</scene_description> <character>CHEN</character> <dialogue>Wires. You never know who's wearin one so assume everyone is.</dialogue> <scene_description>Chen stops at an outdoor fruit stand and samples the goods .</scene_description> <character>CHEN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Another thing. If you hear something in the precinct you think we should pass along, always double check. It could be a bogus tip they wanted you to hear to see if it got passed along. Black or red plum?</dialogue> <character>WALLACE</character> <dialogue>I do n't like plums.</dialogue> <character>CHEN</character> <dialogue>You do n't like plums?</dialogue> <character>WALLACE</character> <dialogue>I like peaches.</dialogue> <character>CHEN</character> <dialogue>Peaches are shit. Did n't you ever hear that song Sinatra sang, `` Out of the tree of life I just picked me a plum?''</dialogue> <character>WALLACE</character> <dialogue>I do n't care if he picked a raisin out of Sammy Davis' eye socket. I like peaches.</dialogue> <character>CHEN</character> <dialogue>Then I'm not paying for it. Chen pays for his plum and Wallace pays for his peach. Chen stops to watch a bunch of KIDS playing soccer in the park.</dialogue> <character>WALLACE</character> <dialogue>How'd they get to you?</dialogue> <character>CHEN</character> <dialogue>I was the first Chinese cop in the Fifteenth. Thought I was gon na clean up Chinatown. But white cops would n't work with me and the people would n't talk to a cop, Chinese or not. Only Uncle Benny paid me any attention. He became my godfather, took care of my debts. Henry Lee was his lieutenant. He fed me a few busts, made me look good and I liked it. Then one night my father walks into a gambling house and ends up dead. Turns out Lee knew there was a contract on him. Made it clear he could've told me, I could've stopped it. Got me thinking I was better at my job with him, than without him.</dialogue> <scene_description>The soccer ball rolls over and Chen kicks it back into the game .</scene_description> <character>CHEN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>And he was right.</dialogue> <scene_description>Chen takes a bite from his plum as the sound of a shutter on a 35mm camera clicking stops the action in beautiful black and white . Suddenly , a hand reaches in and pulls the photo off the wall .</scene_description> </scene> <scene> <stage_direction>INT. FBI HEADQUARTERS HALLWAY -DAY.</stage_direction> <scene_description>Schacker walks briskly through the hallway carrying the picture and talking on a cordless mouthpiece .</scene_description> <character>SCHABACKER</character> <dialogue>It's Schabacker. I want everything you have on a Detective in the Fifteenth Precinct. His name is Daniel Wallace. Yeah his old man worked crooked outta the two five, check on him too.</dialogue> <scene_description>He rounds a corner and approaches his office where Benny Wong his lawyer and two Fed minions sit waiting for him .</scene_description> </scene> <scene> <stage_direction>INT. SCHABACKER'S OFFICE</stage_direction> <scene_description>He enters , closing the door behind him .</scene_description> <character>SCHABACKER</character> <dialogue>Mr. Wong, we're running a one day sale. Chance of a lifetime. The opportunity to buy your freedom.</dialogue> <scene_description>Schabacker pulls an audio tape from his desk drawer .</scene_description> <character>SCHABACKER</character> <dialogue>This tape was obtained by an agent working undercover inside the Triad.</dialogue> <scene_description>It 's Cantonese but the look on Wong 's face tells us it is n't good .</scene_description> <character>LAWYER</character> <dialogue>The tape is garbage. If it were n't, you would have arrested my client by now.</dialogue> <scene_description>Schabacker lays an arrest warrant on the table and speaks to Wong .</scene_description> <character>SCHABACKER</character> <dialogue>Lawyers are always gutsy when it's someone else looking at life. But I do n't want you. I want whoever killed my agent. I want the cops in the Fifteenth on your payroll. And I'm willing to pay for it.</dialogue> </scene> <scene> <stage_direction>INT. FUKIENESE CRASH PAD, BEDROOM - NIGHT</stage_direction> <scene_description>The phone rings as Bobby Vu makes out with a good looking girl .</scene_description> <character>BOBBY VU</character> <dialogue>Hello.</dialogue> </scene> <scene> <stage_direction>INT. GREEN MERCEDES-SAME NIGHT</stage_direction> <scene_description>Lee rides in back , speaking into his cell - phone .</scene_description> <character>LEE</character> <dialogue>Our patience has paid off. Uncle Benny paid a visit to the F.B.I. His time is over.</dialogue> </scene> <scene> <stage_direction>INT. FUKIENESE CRASH PAD, LIVING ROOM-SAME NIGHT</stage_direction> <scene_description>The room looks like home to seven teenagers who drink , do drugs , fight and play with guns all day . Four of them , including Jack , are on the couch , watching porno . The bedroom door opens and Bobby Vu enters , kicking everybody off the couches .</scene_description> <character>BOBBY VU</character> <parenthetical>( Fukienese . )</parenthetical> <dialogue>Get dressed, we have a job.</dialogue> <character>JACK</character> <parenthetical>( Fukienese . )</parenthetical> <dialogue>What is it?</dialogue> <character>BOBBY VU</character> <parenthetical>( Fukienese . )</parenthetical> <dialogue>We take care of Benny Wong tonight.</dialogue> </scene> <scene> <stage_direction>EXT. CHEN'S APARTMENT, MOTT STREET-NIGHT</stage_direction> <scene_description>Wallace drives to the curb as Chen looks at the Phone Company truck parked across the street .</scene_description> <character>CHEN</character> <dialogue>My friends are waiting for me.</dialogue> <scene_description>Wallace glances at the truck .</scene_description> <character>WALLACE</character> <dialogue>How long you think the Feds'll be watching us.</dialogue> <character>CHEN</character> <dialogue>Month, maybe two.</dialogue> <scene_description>Chen can see that fact rattles Wallace .</scene_description> <character>CHEN</character> <dialogue>I did n't want Lee involving you.</dialogue> <character>WALLACE</character> <dialogue>It's not your fault.</dialogue> <character>CHEN</character> <dialogue>I did n't say it was. What I'm saying is you're alone now. You ca n't trust anybody in the department. Not the guys in the Fifteenth, not the guys in the AGU. And you sure as hell ca n't trust Henry Lee. So if anything gets sticky, you come to me.</dialogue> <character>WALLACE</character> <dialogue>How do I know I can trust you?</dialogue> <character>CHEN</character> <dialogue>You do n't.</dialogue> <scene_description>Chen opens the car door .</scene_description> <character>WALLACE</character> <dialogue>I'm glad it's not just me. Nuts huh?</dialogue> <scene_description>Half of him feels the same way . But the smarter half , the self preservation half , does n't .</scene_description> <character>CHEN</character> <dialogue>No.</dialogue> <character>WALLACE</character> <dialogue>You wan na eat? I'll buy you a plum.</dialogue> <scene_description>Chen smiles . He wants to , but he closes the door .</scene_description> <character>CHEN</character> <dialogue>I got plans.</dialogue> <character>WALLACE</character> <dialogue>Some other time.</dialogue> <scene_description>Wallace drives off as Chen turns and pushes into his building .</scene_description> </scene> <scene> <stage_direction>INT. CHEN'S BUILDING, HALLWAY OUTSIDE HIS APARTMENT-NIGHT</stage_direction> <scene_description>Lying against the door , cold and pasty white , is May . Chen quickly checks her vitals , then lifts her in his arms and carries her back outside .</scene_description> </scene> <scene> <stage_direction>EXT. GAS STATION, QUEENS-NIGHT</stage_direction> <scene_description>The Fukienese crew sit packed into a stolen Buick Regal as one of the boys pumps unleaded into the tank . Jack in the middle of the back seat fidgets like an inmate on death row .</scene_description> <character>JACK</character> <parenthetical>( Fukienese . )</parenthetical> <dialogue>I got ta take a leak.</dialogue> <scene_description>Bobby Vu looks at him with the impatience of a killer .</scene_description> <character>BOBBY VU</character> <parenthetical>( Fukienese . )</parenthetical> <dialogue>Hurry up.</dialogue> <scene_description>Jack climbs out the door . He crosses the forty yards of asphalt and moves behind the filling station to the side of the building .</scene_description> </scene> <scene> <stage_direction>EXT. GAS STATION PAYPHONE - NIGHT</stage_direction> <scene_description>He stops at a payphone nestled between the men 's and lady 's rooms . His hands tremble as he slides in the quarter and dials the number off Chen 's card . He checks the number of the phone , punches it in along with his code . He hits the pound key , hangs up and waits .</scene_description> </scene> <scene> <stage_direction>INT. HUDSON ST CLINIC: HOSPITAL ROOM -NIGHT</stage_direction> <scene_description>The population , STAFF and CLIENTELE , is mostly Asian , Spanish , and poor . The pace is fast and the care minimal by necessity . Behind a curtain , May lies sleeping , I.V. tubing supplying nutrition , an oxygen mask supplying life . Chen watches her when his pager goes off . He checks the number , recognizing the pager code he gave Jack as a young DOCTOR enters the area .</scene_description> <character>DOCTOR</character> <dialogue>She's lucky you found her.</dialogue> <character>CHEN</character> <dialogue>I want you to write her up as deceased.</dialogue> <character>DOCTOR</character> <dialogue>Nick.</dialogue> <character>CHEN</character> <dialogue>She recovers, she goes to work. Two weeks she's back here, maybe not so lucky.</dialogue> <character>DOCTOR</character> <dialogue>You're asking a lot.</dialogue> <scene_description>Chen reaches into his pocket and pulls out ten hundred dollar bills . The Doctor thinks , then takes the money .</scene_description> <character>CHEN</character> <dialogue>Let her stay a few days, till she's stronger. Then I'll come get her.</dialogue> <scene_description>Chen looks at May then slips outside .</scene_description> </scene> <scene> <stage_direction>EXT. GAS STATION, PAYPHONE- NIGHT</stage_direction> <character>BOBBY VU</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( Fukienese . )</parenthetical> <dialogue>What the fuck are you doing?</dialogue> <scene_description>Jack spins and calls on every ounce of strength he has to keep from turning white .</scene_description> <character>JACK</character> <parenthetical>( Fukienese . )</parenthetical> <dialogue>I'm sick. I was n't sure if I had to go back inside or not.</dialogue> <scene_description>Bobby Vu starts to smile . until the phone rings . Then he just stares at Jack , who ignores the ringing phone .</scene_description> <character>JACK</character> <dialogue>I'm alright. Let's go.</dialogue> <scene_description>Bobby stops him . and picks up the phone . He puts the receiver to his ear , but does n't say a word .</scene_description> </scene> <scene> <stage_direction>INT. HUDSON STREET CLINIC-SAME (NIGHT)</stage_direction> <scene_description>Chen stands at a payphone and almost speaks , but the silence on the other end of the line stops him .</scene_description> </scene> <scene> <stage_direction>EXT. GAS STATION, PAYPHONE-NIGHT</stage_direction> <scene_description>Jack 's legs nearly buckle as Bobby Vu keeps the phone to his ear . The wait is agony , but gets interrupted when Black Eyes walks up .</scene_description> <character>GANGSTER</character> <dialogue>What're you doing?</dialogue> </scene> <scene> <stage_direction>INT. HUDSON STREET CLINIC-NIGHT</stage_direction> <scene_description>Chen hears the voices through the phone line and realizes something 's not right .</scene_description> <character>CHEN</character> <dialogue>Is this Domino's Pizza?</dialogue> </scene> <scene> <stage_direction>EXT. GAS STATION, PAYPHONE-NIGHT</stage_direction> <scene_description>Jack continues to watch Bobby Vu , who hangs up without saying a word . Slowly , a smile curls his lips .</scene_description> <character>BOBBY VU</character> <parenthetical>( Fukienese . )</parenthetical> <dialogue>Jack thought he was gon na shit his pants.</dialogue> <scene_description>He puts an arm around his soldier and leads him to the Buick .</scene_description> </scene> <scene> <stage_direction>INT. HUDSON STREET CLINIC-NIGHT</stage_direction> <scene_description>Chen hangs up the phone . He stands a moment , then takes a pen from his pocket and writes down the number on the pager .</scene_description> </scene> <scene> <stage_direction>EXT. BENNY WONG'S HOUSE, FLUSHING QUEENS-NIGHT</stage_direction> <scene_description>Chinatown Two and definitely the nicest . An upper income , suburban neighborhood populated by American - born Chinese . Out front of the gated corner house is the Bobby Vu 's car . The Fukeniese fan out around the walls surrounding the property .</scene_description> </scene> <scene> <stage_direction>INT. BENNY WONG'S BEDROOM-NIGHT</stage_direction> <scene_description>Benny Wong sits in a club chair watching an episode of Sinbad when he hears the KRAK KRAK KRAK of gunfire coming from inside his house . He quickly searches his desk drawer finding a .38 caliber pistol . He turns toward the door and freezes as he looks into the eyes of Bobby Vu and the other three Fukienese who point submachine guns at his chest . Bobby Vu smiles . Benny Wong stares at him .</scene_description> <character>BENNY WONG</character> <dialogue>You're not man enough to kill me.</dialogue> <scene_description>In a flash , Benny brings the revolver to his temple and shoots himself . Bobby Vu looks at the old man lying dead .</scene_description> <character>BOBBY VU</character> <dialogue>We kill you anyway.</dialogue> <scene_description>The four youths open up , turning Benny Wong into hamburger .</scene_description> </scene> <scene> <stage_direction>INT. BENNY WONG'S BATHROOM-NIGHT</stage_direction> <scene_description>The door opens and Bobby Vu enters . He lifts the lid and begins to pee unaware of MRS. WONG who lies paralyzed with fear in the bathtub . She tries to lie quietly as he unzips his pants . The sound of liquid hitting liquid mixes with the faint cry of police sirens in the distance . He finishes , takes one step toward the exit then turns and begins firing into the glass shower door . He stops . Walks through the smoke filled room and stands over Mrs. Wong , alive , but cut to pieces in the bottom of the tub . He looks down at her and nonchalantly points his gun at her chest . She begins to cry as he pulls the trigger .</scene_description> </scene> <scene> <stage_direction>EXT. WORTH STREET-DAY</stage_direction> <scene_description>HENRY LEE stands outside his restaurant greeting people who pay respects to him as though it were a coronation . Ung , Wallace and Chen buy frozen ices from a street cart trying to make a buck in the ninety degree heat .</scene_description> <character>WALLACE</character> <dialogue>You been able to reach Jack yet?</dialogue> <scene_description>Chen shakes his head .</scene_description> <character>CHEN</character> <dialogue>Paged him fifty times and nothing. He's hidin.</dialogue> <character>WALLACE</character> <dialogue>Think he was calling about the hit?</dialogue> <character>CHEN</character> <dialogue>He was on it.</dialogue> <scene_description>Wallace looks at all the people greeting Lee .</scene_description> <character>WALLACE</character> <dialogue>Nobody seems too upset.</dialogue> <character>CHEN</character> <dialogue>Except them.</dialogue> <scene_description>Across the way , they see an FBI surveillance VAN .</scene_description> <character>UNG</character> <dialogue>Fuckin Feds. Dumb shit brings Benny Wong into the federal building, should've just taken an ad out in the papers.</dialogue> <scene_description>They suck on their freeze bars when Chen notices three little CHINESE kids looking at the ice cream . Chen looks at the kids .</scene_description> <character>CHEN</character> <dialogue>You stay in school?</dialogue> <scene_description>The kids nod . Chen hands the vendor a ten .</scene_description> <character>CHEN</character> <dialogue>Set'em up.</dialogue> <scene_description>The youngsters clamor for the ices .</scene_description> <character>WALLACE</character> <dialogue>Whatdaya think Lee's gon na do about the Fuke's now that he's top dog?</dialogue> <character>CHEN</character> <dialogue>He's made his deal with the Fukes.</dialogue> <character>WALLACE</character> <dialogue>What are we going to do?</dialogue> <character>CHEN</character> <dialogue>I know what I want to do.</dialogue> <scene_description>Chen stares at Lee with complete hate .</scene_description> </scene> <scene> <stage_direction>INT. FIFTEENTH PRECINCT, OUTSIDE THE AGU OFFICES-DAY</stage_direction> <scene_description>Through the glass door we see Wallace and Ung catch up on paperwork as Detective Deng comes through it , into the hall where the coffee machine sits . She pours black coffee into a thirty - ounce cup , then hits it with a half dozen sugars . Chen walks up .</scene_description> <character>CHEN</character> <dialogue>Planning on staying up for a month?</dialogue> <character>DENG</character> <dialogue>Wait till you have a baby. Did you hear?</dialogue> <character>CHEN</character> <dialogue>Hear what?</dialogue> <character>DENG</character> <dialogue>I've heard the FEDS have a case against someone in the Fifteenth.</dialogue> <scene_description>This gets Chen 's attention , but he tries to dismiss it .</scene_description> <character>CHEN</character> <dialogue>I've heard that every month for ten years.</dialogue> <scene_description>Deng presses , like she 's trying to tell Chen something more .</scene_description> <character>DENG</character> <dialogue>So have I, but this time I hear they have tapes, photos, the whole nine yards. They're pissed off about their agent and Benny Wong getting killed and they want to hang somebody for it.</dialogue> <scene_description>Chen nods to his partner as she heads back to her desk . Chen thinks for a moment , then looks through the glass at Wallace working away .</scene_description> </scene> <scene> <stage_direction>INT. GAMBLING PARLOR-DAY</stage_direction> <scene_description>Chen enters the underground parlor . But today it 's empty , except for Henry Lee , the Sumo , two other triad soldiers and the dealer from last nights gambling . Lee is here to collect his cut . His minions immediately frisk Chen and take his guns from him .</scene_description> <character>CHEN</character> <dialogue>Think I have a reason to use them?</dialogue> <character>LEE</character> <dialogue>I'm not sure. Lately you've forgotten that what happens to me, happens to you.</dialogue> <scene_description>Lee makes sure Chen gets the message .</scene_description> <character>CHEN</character> <dialogue>The Feds are making a case against Wallace. We need to cut him loose.</dialogue> <character>LEE</character> <dialogue>You're nervous. You're getting soft in your old age.</dialogue> <character>CHEN</character> <dialogue>The only thing going soft is your brain.</dialogue> <scene_description>The Sumo smashes Chen into the wall and down to the ground .</scene_description> <character>LEE</character> <dialogue>Personal attacks are going to get us nowhere, Detective.</dialogue> <scene_description>Chen can barely breathe , let alone get to his feet .</scene_description> <character>LEE</character> <dialogue>But I'll tell you what. I'll take your advice to a point. I'll sever any traceable ties between us. and give Wallace a few arrests to knock the shoo - flies off his heels.</dialogue> <scene_description>Lee and his men start for the door , then stop .</scene_description> <character>LEE</character> <dialogue>I almost forgot in all this hub - bub.</dialogue> <scene_description>He peels several bills from his takings and drops it on the floor .</scene_description> <character>LEE</character> <dialogue>Today's payday for dirty cops. Make sure you give Wallace his cut.</dialogue> <scene_description>He smiles and walks out the door . Chen , still on the ground , watches him go . then picks up the money .</scene_description> </scene> <scene> <stage_direction>EXT. FIFTEENTH PRECINCT-DAY</stage_direction> <scene_description>Chen walks up Elizabeth Street toward the station entrance when he sees Wallace hurrying out of the building .</scene_description> <character>CHEN</character> <dialogue>Wallace.</dialogue> <scene_description>The young cop either ignores the sound or did n't hear it , cause he heads straight for a patrol car parked at the back of the police lot . Chen yells after him .</scene_description> <character>CHEN</character> <dialogue>Where're you going?</dialogue> <scene_description>Wallace stops , lets Chen catch up .</scene_description> <character>WALLACE</character> <parenthetical>( making sure he 's not overheard . )</parenthetical> <dialogue>Lee's not covering my old man with the Italians. I got ta move him.</dialogue> <scene_description>He starts towards his car .</scene_description> <character>CHEN</character> <dialogue>I told him to.</dialogue> <character>WALLACE</character> <dialogue>Why the hell'd you do that?</dialogue> <character>CHEN</character> <dialogue>Because the Feds are building a case against you.</dialogue> <scene_description>The words hit Wallace like a jack hammer .</scene_description> <character>WALLACE</character> <dialogue>How do you know?</dialogue> <character>CHEN</character> <dialogue>I know. And if they nab you it'll take three seconds for you to give them me.</dialogue> <character>WALLACE</character> <dialogue>I would n't.</dialogue> <character>CHEN</character> <dialogue>Yes you would. And so would I.</dialogue> <scene_description>Wallace turns away . Watches some cops heading off duty .</scene_description> <character>CHEN</character> <dialogue>I'm not saying it's fatal. Point now is to cover tracks and keep everything clean on the surface. And when they call you in, keep your mouth shut.</dialogue> <character>WALLACE</character> <dialogue>I wish I never got into this.</dialogue> <scene_description>Chen ca n't help feeling sorry for him .</scene_description> <character>CHEN</character> <dialogue>You and me both.</dialogue> <scene_description>Chen reaches into his pocket and takes out the money he got from Lee , careful that no one sees him . He peels off several bills .</scene_description> <character>CHEN</character> <dialogue>This is your cut from Lee. Three grand.</dialogue> <scene_description>Wallace looks at Chen . He does n't want to touch the money . but he needs it . So he slips it into his jacket .</scene_description> <character>WALLACE</character> <dialogue>I got ta get to the hospital.</dialogue> <character>CHEN</character> <dialogue>Where're you gon na move him?</dialogue> <character>WALLACE</character> <dialogue>I do n't know.</dialogue> <scene_description>Chen looks at him , then holds out the rest of the money .</scene_description> <character>CHEN</character> <dialogue>This'll cover your old man.</dialogue> <character>WALLACE</character> <dialogue>I ca n't.</dialogue> <character>CHEN</character> <dialogue>Just take it.</dialogue> <scene_description>Wallace hesitates , but takes the money .</scene_description> <character>WALLACE</character> <dialogue>Thanks.</dialogue> <character>CHEN</character> <dialogue>Remember. Do n't say anything. Let me deal with the Feds. Alright?</dialogue> <scene_description>Wallace nods and heads for his car .</scene_description> </scene> <scene> <stage_direction>INT. AMY SAN'S BEDROOM, BROOKLYN-DAY</stage_direction> <scene_description>Jack and Amy watch TV when Chen breaks in the window beside them . Jack grabs for his gun but Chen pins his arm to the wall .</scene_description> <character>CHEN</character> <dialogue>Hard to find, Jack.</dialogue> <scene_description>Chen grabs Jack 's gun and slides it into his own belt .</scene_description> <character>CHEN</character> <dialogue>Tell her to take in a movie.</dialogue> <scene_description>Jack utters a few words in Fukienese and the young girl grabs her clothes and hurries out of the room .</scene_description> <character>JACK</character> <dialogue>I wanted to call. I could n't.</dialogue> <character>CHEN</character> <dialogue>Now I'm here. So what did you want to tell me about Benny Wong?</dialogue> </scene> <scene> <stage_direction>EXT. JACOBI HOSPITAL, BRONX-LATER (DAY)</stage_direction> <scene_description>Wallace stops in the no parking section in front of the clinic . He pops the `` police tag '' on the dash , gets out and heads inside .</scene_description> </scene> <scene> <stage_direction>EXT. JACOBI HOSPITAL STREET - DAY</stage_direction> <scene_description>Across the street , two FEDS snap photos of Wallace from a van .</scene_description> </scene> <scene> <stage_direction>INT. JACOBI HOSPITAL, BRONX- DAY</stage_direction> <scene_description>Wallace approaches the front desk when someone calls his name .</scene_description> <character>VOICE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Daniel Wallace. Wallace turns and sees the two Feds moving toward him. He quickly hands the envelope to the RECEPTIONIST.</dialogue> <character>WALLACE</character> <dialogue>Would you pass this letter to my father in room 409? Sean Wallace.</dialogue> <scene_description>Before she can answer , the Feds are on him flashing badges as the larger Agent reaches for Wallace 's gun .</scene_description> <character>WALLACE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Back off.</dialogue> <character>LARGE AGENT</character> <dialogue>Do n't be an asshole.</dialogue> <scene_description>He again reaches for Wallace 's gun but Wallace pushes him off .</scene_description> <character>WALLACE</character> <dialogue>You do n't touch my gun or my badge dipshit. I work in the Fifteenth.</dialogue> <scene_description>Wallace stares at the two agents .</scene_description> <character>SMALLER AGENT</character> <dialogue>Fine. Let's just get out of here quietly. There's a couple questions we'd like to ask you.</dialogue> <scene_description>Wallace continues to stare , then .</scene_description> <character>WALLACE</character> <dialogue>My father.</dialogue> <character>AGENT</character> <dialogue>We'll have someone on his door.</dialogue> <scene_description>After a moment , Wallace turns to the flustered Receptionist holding the envelope .</scene_description> <character>WALLACE</character> <dialogue>Thank you.</dialogue> <scene_description>He then walks toward the door with the two Feds behind him .</scene_description> </scene> <scene> <stage_direction>INT. AMY SAN'S BEDROOM, BROOKLYN-SAME (DAY)</stage_direction> <scene_description>Chen leans against the wall as Jack puts on his clothes .</scene_description> <character>CHEN</character> <dialogue>Then everybody split up?</dialogue> <character>JACK</character> <dialogue>Yeah.</dialogue> <character>CHEN</character> <dialogue>Good. You're under arrest.</dialogue> <character>JACK</character> <dialogue>What?!</dialogue> <scene_description>Chen slaps on the cuffs and turns the kid around .</scene_description> <character>CHEN</character> <dialogue>You're gon na tell the Feds you've been working with Wallace and me. That the hit on Benny Wong was Fukienese and you're eager to testify against Bobby Vu. Do it right and I'll back you on trying to tip me before the hit. Do it wrong, I'll go out of my way to bury you.</dialogue> <scene_description>Chen hustles the kid out the door .</scene_description> </scene> <scene> <stage_direction>INT. SCHABACKER'S OFFICE, FEDERAL BUILDING-DAY</stage_direction> <scene_description>Wallace sits alone in the office looking at the stack of photos depicting his actions over the past few days . He also sees photos of Chen with May . He looks at the young girl and recognizes her from the raid on the Ginza Massage . He looks up as a pissed off Schabacker and NYPD Internal Affairs Inspector Vince Kirpatrick enter the tiny room .</scene_description> <character>SCHABACKER</character> <dialogue>Why the fuck did n't you tell me you were Internal Affairs?</dialogue> <character>WALLACE</character> <dialogue>Confidential undercover assignment. The key word being confidential. Which nothing in the Bureau is.</dialogue> <character>SCHABACKER</character> <dialogue>Fuck you.</dialogue> <character>KIRPATRICK</character> <dialogue>Nobody knows except a few of us in IA. Not even the commanding officer in the Fifteenth knows.</dialogue> <character>SCHABACKER</character> <dialogue>Well now I know.</dialogue> <scene_description>Schabacker looks at Wallace .</scene_description> <character>SCHABACKER</character> <dialogue>A bagman's kid, Internal Affairs. You're old man must think you're a real scumbag.</dialogue> <character>WALLACE</character> <dialogue>I know what he thinks of Feds.</dialogue> <character>SCHABACKER</character> <dialogue>Yeah, yeah. So what have you got on Chen?</dialogue> <character>WALLACE</character> <dialogue>This is n't a federal case. So there's no reason to tell you anything.</dialogue> <character>SCHABACKER</character> <dialogue>Yes, there is. Cause from where I'm sitting it looks to me like a young, I.A. rat went under to build a case against Nick Chen and ended up working for him.</dialogue> <character>KIRPATRICK</character> <dialogue>You're reaching.</dialogue> <character>SCHABACKER</character> <dialogue>Enjoying for himself the Chinatown whores and a little financial assistance to help with a family gambling problem.</dialogue> <character>KIRPATRICK</character> <dialogue>Do n't even start with that.</dialogue> <scene_description>One of the arresting Agents enters the room .</scene_description> <character>SCHABACKER</character> <dialogue>I'll start and finish with it unless somebody hands me Chen.</dialogue> <character>AGENT</character> <dialogue>He's here.</dialogue> <character>SCHABACKER</character> <dialogue>Who's here?</dialogue> <character>AGENT</character> <dialogue>Chen.</dialogue> </scene> <scene> <stage_direction>INT. CONFERENCE ROOM, FEDERAL BUILDING-CONTINUOUS (DAY)</stage_direction> <scene_description>Chen and Jack sit as Schabacker enters the room .</scene_description> <character>CHEN</character> <dialogue>Hello, Pete.</dialogue> <character>SCHABACKER</character> <dialogue>Hello, Nick. Who's your friend?</dialogue> <character>CHEN</character> <dialogue>A snitch of Wallace's and mine. He's an eye witness to the Benny Wong murder.</dialogue> <scene_description>Schabacker sits back into his chair and offers Chen some nuts .</scene_description> <character>SCHABACKER</character> <dialogue>Cashews?</dialogue> <scene_description>They both sit , munching their nuts .</scene_description> <character>SCHABACKER</character> <dialogue>Eye witness. And you brought him here to me? Why?</dialogue> <character>CHEN</character> <dialogue>You know why.</dialogue> <scene_description>The two cops sit looking at one another .</scene_description> </scene> <scene> <stage_direction>INT. SCHABACKER'S OFFICE, FEDERAL BUILDING-LATER (DAY)</stage_direction> <scene_description>The same crew as before sit when Schabacker re - enters .</scene_description> <character>SCHABACKER</character> <dialogue>My compliments, Wallace. You must've sunk your hooks into Chen pretty good.</dialogue> <character>WALLACE</character> <dialogue>What'd he want?</dialogue> <character>SCHABACKER</character> <dialogue>To trade for you.</dialogue> <character>KIRPATRICK</character> <dialogue>He said that?</dialogue> <character>SCHABACKER</character> <dialogue>Not in so many words. He brought that Fuke snitch of yours who rode shotgun on the Benny Wong killing. He gives me the eye witness, I call off the FBI investigation on Wallace. Wallace feels more like a shit as Schabacker talks.</dialogue> <character>KIRPATRICK</character> <dialogue>What'd you tell him?</dialogue> <character>SCHABACKER</character> <dialogue>I told him fine. We're puttin the kid on the street to get the rest of the Fukes on tape talking about the hit on Benny Wong. And in return, I'm not going to press charges against young Wallace here.</dialogue> <character>WALLACE</character> <dialogue>Is he still here?</dialogue> <character>SCHABACKER</character> <dialogue>He took off.</dialogue> <scene_description>Schabacker leans back in his chair and smiles at Wallace .</scene_description> <character>SCHABACKER</character> <dialogue>You got ta promise me I can be there when you break the bad news to Chen. That's gon na be priceless.</dialogue> <scene_description>Wallace feels a heavy weight lay across his shoulders .</scene_description> </scene> <scene> <stage_direction>EXT. SOUTHERN MANHATTAN-NIGHT</stage_direction> <scene_description>Establishing . Clouds drift over the city making the familiar landmarks almost unrecognizable .</scene_description> </scene> <scene> <stage_direction>INT. WALLACE APARTMENT, BEDROOM-NIGHT</stage_direction> <scene_description>Wallace opens a safe box he has on the bed . Inside are audio tapes . Dates and names written across the labels . Chen 's on most . Lee on others . He grabs a blank tape and pops it into a recorder . He crosses to a mirror , opens his belt hides the recorder in his underpants . He buckles up and runs a wire up his chest . He gently tapes it to the inside of his shirt , then buttons up . He tucks in the shirt tails and repositions the recorder . Finished , he stares at himself . Not liking what he sees .</scene_description> <character>SEAN WALLACE</character> <dialogue>Your wire's showin.</dialogue> <scene_description>Wallace turns and sees his father leaning against the doorway . Sean walks over and roughly fixes his son 's shirt . Wallace pulls away and fixes it himself .</scene_description> <character>SEAN WALLACE</character> <dialogue>How long you been I.A?</dialogue> <character>WALLACE</character> <dialogue>First assignment.</dialogue> <character>SEAN WALLACE</character> <dialogue>Quickest way to a gold shield.</dialogue> <scene_description>Wallace does n't say a word .</scene_description> <character>SEAN WALLACE</character> <dialogue>And all you've got to do is bury your partner. The guy who shoved ten grand in your fist to back your play.</dialogue> <scene_description>Wallace looks at his father , wonders how he knows .</scene_description> <character>SEAN WALLACE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I figure you ai n't worth much to the chinks yet, so this must be Chen's money.</dialogue> <scene_description>Wallace 's lack of a response tells his father he 's right .</scene_description> <character>SEAN WALLACE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>And you're gon na bury him. And for what? Turning his head and makin a few dollars.</dialogue> <character>WALLACE</character> <dialogue>I know that would n't mean much to you. Lyin and cheatin are what you're made of.</dialogue> <character>SEAN WALLACE</character> <dialogue>And it's a hell of a lot better than what you're made of.</dialogue> <character>WALLACE</character> <dialogue>You do n't know what I'm made of. It's the one thing I should thank you for, your lack of interest.</dialogue> <character>SEAN WALLACE</character> <dialogue>Yeah you've been real honest with your partner.</dialogue> <scene_description>Wallace looks away from his father .</scene_description> <character>WALLACE</character> <dialogue>End justifies the means.</dialogue> <character>SEAN WALLACE</character> <dialogue>The end is bullshit. The means are what you live with.</dialogue> <scene_description>Sean reaches into his jacket , holds out Chen 's money and tosses it on the floor .</scene_description> <character>SEAN WALLACE</character> <dialogue>Keep it. I do n't want anything from you.</dialogue> <scene_description>Sean Wallace turns out of the room . His son looks back in the mirror and does a last adjustment on his wire . He then reaches for the cologne on the dresser , splashes some into his palm and hurls the bottle against the wall .</scene_description> </scene> <scene> <stage_direction>INT. GAMBLING PARLOR - LATER (NIGHT)</stage_direction> <scene_description>The joint is packed . At a center table Chen is teaching Wallace and two beauties named KIM and TAI , the finer points of Pai Gou . One of the girl 's got a hot hand and ca n't seem to make a wrong move .</scene_description> <character>CHEN</character> <dialogue>Unbelievable.</dialogue> <character>WALLACE</character> <dialogue>What are we doing here?</dialogue> <character>CHEN</character> <dialogue>Celebrating. You just got off death row.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL SUITE - LATER (NIGHT)</stage_direction> <scene_description>The foursome slide into the dimly lit room with bottles of champagne in tow . Chen and Kim are already halfway to one of the bedrooms before Wallace has the door locked . He turns and Tai has herself draped over him with her hands headed for his crotch . He holds her off , conscious of the recorder .</scene_description> <character>WALLACE</character> <dialogue>Wait, wait, wait.</dialogue> <scene_description>She looks at him confused .</scene_description> <character>TAI</character> <dialogue>You do n't like me?</dialogue> <scene_description>Wallace looks at the beauty and kisses her full on the mouth .</scene_description> <character>WALLACE</character> <dialogue>I got to go to the bathroom first.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL BATHROOM - CONTINUOUS (NIGHT)</stage_direction> <scene_description>Wallace , drunk , locks the door behind him . He splashes water on his face , then glances up at himself in the mirror .</scene_description> <character>WALLACE</character> <dialogue>What the fuck're you doin?</dialogue> <scene_description>He then takes off the wire and removes the recorder from his shorts . He takes off his jacket , puts the device in the inside pocket and rolls it up .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL LIVING ROOM - NIGHT</stage_direction> <scene_description>He heads back into the living room but Tai is n't there . He walks toward the bedroom and peeks inside .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL BEDROOM - NIGHT</stage_direction> <scene_description>Lying on the bed is Tai and Kim .</scene_description> <character>WALLACE</character> <dialogue>Where's Nick?</dialogue> <character>KIM</character> <dialogue>He left. He said he wanted you to be very happy.</dialogue> <scene_description>She dims the lights . Wallace hesitates , then drops his jacket and walks toward the bed . He climbs between the women and closes his eyes .</scene_description> </scene> <scene> <stage_direction>EXT. PEARL STREET-NIGHT</stage_direction> <scene_description>Henry Lee and the Sumo move across the street and descend through a loading door in the sidewalk .</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT-CONTINUOUS (NIGHT)</stage_direction> <scene_description>Lee and the Sumo reach a door and the Sumo knocks . Jack answers and lets them inside .</scene_description> </scene> <scene> <stage_direction>INT. FUKIENESE CRASH PAD - PEARL STREET - NIGHT</stage_direction> <scene_description>A dozen Fukienese are there , from Bobby Vu to the newest groupie .</scene_description> <character>LEE</character> <dialogue>The police are running in circles on the unfortunate death of Uncle Benny.</dialogue> <scene_description>Jack tries to slowly position himself near Lee and Bobby Vu .</scene_description> <character>BOBBY VU</character> <dialogue>We want money. We did n't kill him for nothing.</dialogue> <character>LEE</character> <dialogue>It's time to bring the cargo ship to port and unload our freight. One hundred eighty - six, at forty thousand a piece. I'd say that's a nice start to our relationship, would n't you?</dialogue> </scene> <scene> <stage_direction>INT. HOTEL, BEDROOM - MORNING (DAY)</stage_direction> <scene_description>Clock reads five AM . Wallace lies unconscious on the bed . Near the door , Kim takes the money from his wallet as Tai pulls the crumpled bills from his pants . She grabs his jacket , unrolls it and checks every pocket . She stops when she hits the recorder . They whisper intently to each other , then quickly return the recorder and the money to where they found them . Within seconds they 're gone .</scene_description> </scene> <scene> <stage_direction>INT. CHEN'S APARTMENT, BEDROOM - MORNING (DAY)</stage_direction> <scene_description>Chen carries a tray with soup and tea toward the bed where May rests .</scene_description> <character>CHEN</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>How you feeling?</dialogue> <character>MAY</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>Good.</dialogue> <scene_description>Chen pours the tea and she reaches out to touch his hand .</scene_description> <character>MAY</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>Thank you.</dialogue> <scene_description>Chen looks at her , then hands her the cup . He watches her drink . then finally speaks .</scene_description> <character>CHEN</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>You have family here, friends?</dialogue> <character>MAY</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>No one. Everybody home. everybody.</dialogue> <scene_description>Chen watches the tears fall from May 's eyes as she drinks and thinks of home .</scene_description> </scene> <scene> <stage_direction>INT. BENEVOLENT ASSOCIATION, LARGE OFFICE - MORNING (DAY)</stage_direction> <scene_description>Lee sits behind a large desk when Chen sits across from him .</scene_description> <character>CHEN</character> <dialogue>Only time I was ever in here I was talking to Benny Wong.</dialogue> <character>LEE</character> <dialogue>He was a great man.</dialogue> <character>CHEN</character> <dialogue>You'd know better than anyone.</dialogue> <character>LEE</character> <dialogue>But even a great man can out last his time.</dialogue> <scene_description>Chen studies Lee and lights a smoke .</scene_description> <character>LEE</character> <dialogue>I've got something for you. Should quiet any doubts as to Wallace's character. The Fukes are bringing in a highly valuable cargo by ship.</dialogue> <character>CHEN</character> <dialogue>That was a short partnership.</dialogue> <character>LEE</character> <dialogue>Bobby Vu will be on - site supervising the unloading. Take the Fukes and half the shipment. I'll keep the other half.</dialogue> <character>CHEN</character> <dialogue>You're getting greedy.</dialogue> <character>LEE</character> <dialogue>I'm an American.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL BEDROOM - AFTERNOON</stage_direction> <scene_description>Clock reads 1pm . Wallace is still sleeping in the dark when sunlight explodes throughout the room with a WHOOSH !</scene_description> <character>CHEN</character> <dialogue>Let's go. We got to pick up Jack and deliver him to the Feds.</dialogue> <character>WALLACE</character> <dialogue>What time is it?</dialogue> <character>CHEN</character> <dialogue>Time for a shower. You stink.</dialogue> <scene_description>Chen lifts the mattress , spilling Wallace out of the bed . He then pops a cig into his mouth and checks his pants for a match . None .</scene_description> <character>CHEN</character> <dialogue>You got a match?</dialogue> <scene_description>Chen picks up Wallace 's jacket and reaches into one of the pockets . Wallace 's eyes snap to attention as he quickly grabs a book of matches from the ashtray on the night stand .</scene_description> <character>WALLACE</character> <dialogue>Here.</dialogue> <scene_description>He tosses the pack and Chen catches it . Wallace watches him drop the jacket to the floor . His heart skips when he hears a tink as the recorder hits the tile . Chen does n't notice .</scene_description> <character>CHEN</character> <dialogue>You know you were right.</dialogue> <character>WALLACE</character> <dialogue>About what?</dialogue> <scene_description>Wallace crosses over , picks up his clothes .</scene_description> <character>CHEN</character> <dialogue>I wish it was neither of us. But truth is, I'm glad it's not just me.</dialogue> <scene_description>Wallace looks at Chen , then heads for the bathroom .</scene_description> </scene> <scene> <stage_direction>INT. BLUE EMPRESS CAFE - AFTERNOON</stage_direction> <scene_description>Tai and Kim talk to the Sumo who 's sullen expression grows darker . He hands each girl a c - note and disappears into the cafe .</scene_description> </scene> <scene> <stage_direction>INT. FEDERAL BUILDING, CONFERENCE ROOM-LATE AFTERNOON</stage_direction> <scene_description>Wallace , Chen and Jack sit waiting .</scene_description> <character>CHEN</character> <dialogue>You sure it was Henry Lee?</dialogue> <character>JACK</character> <dialogue>It was him.</dialogue> <scene_description>Chen looks at Wallace as Schabacker and a middle - aged WOMAN with short red hair enter the room .</scene_description> <character>SCHABACKER</character> <dialogue>Everybody knows U.S. Attorney Margaret Wheeler?</dialogue> <character>MARGARET</character> <dialogue>The tape is good. Probably enough for convictions on Bobby Vu and the rest. But I think we hold off until they make their move to bring in the illegal shipment. We bust'em on the ship. Then we go for the murder charge, the smuggling rap and with Jack here connecting the dots to an ongoing criminal enterprise, we meet our racketeering requirements and get life sentences.</dialogue> <character>CHEN</character> <dialogue>What about Henry Lee?</dialogue> <character>SCHABACKER</character> <dialogue>What about him, Nick?</dialogue> <scene_description>Wallace watches Schabacker play with Chen . He does n't like it .</scene_description> <character>CHEN</character> <dialogue>Do we have a case, Pete?</dialogue> <character>MARGARET</character> <dialogue>There's enough to drag him before a grand jury, but it's gon na be his word against their word and he'll win. We wait till after the shipment comes in, then the tape's got merit.</dialogue> <character>SCHABACKER</character> <dialogue>What do you think, Danny?</dialogue> <scene_description>Wallace looks at Schabacker , who 's smiling through it all .</scene_description> <character>WALLACE</character> <dialogue>It's Margaret's call.</dialogue> <character>MARGARET</character> <dialogue>Then we wait. Everybody's on around the clock. As soon as Jack finds out when delivery is set, we'll reconvene and organize the arrest. Margaret is first out of her seat.</dialogue> <character>SCHABACKER</character> <dialogue>Nick. after we bust the Fukes, you, Danny and me should get together. Bury the hatchet. What do you think?</dialogue> <character>CHEN</character> <dialogue>I ca n't wait.</dialogue> <character>SCHABACKER</character> <dialogue>Me neither. How ` bout you, Dan? You up for it?</dialogue> <scene_description>Schabacker smiles at Wallace .</scene_description> <character>WALLACE</character> <dialogue>Sure.</dialogue> <scene_description>Wallace pushes past Schabacker and strides out of the room .</scene_description> </scene> <scene> <stage_direction>INT. CROWN VICTORIA-DAY</stage_direction> <scene_description>Chen and Wallace cruise Chinatown in the big blue Ford . Both men drive without saying a word .</scene_description> <character>CHEN</character> <dialogue>What do you think about Lee?</dialogue> <character>WALLACE</character> <dialogue>I think if Jack's tape buries him it's his fault for trying to be too smart for his own good.</dialogue> <character>CHEN</character> <dialogue>And how long you think it'll take him to trade for us?</dialogue> <character>WALLACE</character> <dialogue>You thirsty? I'm thirsty.</dialogue> <scene_description>Wallace pulls the car in front of a fire hydrant and tosses the police tag on the dash .</scene_description> </scene> <scene> <stage_direction>INT. JIMMY LOO'S - CONTINUOUS DAY</stage_direction> <scene_description>Wallace and Chen pull up stools as the BARTENDER crosses over .</scene_description> <character>CHEN</character> <dialogue>Bacardi and Coke.</dialogue> <character>WALLACE</character> <dialogue>Bud. I'm buying.</dialogue> <scene_description>Wallace puts his money on the bar . Both men seem to have something on their minds .</scene_description> <character>CHEN</character> <dialogue>I gave that Fed to Lee.</dialogue> <scene_description>Wallace looks at Chen .</scene_description> <character>WALLACE</character> <dialogue>I know.</dialogue> <scene_description>The bartender brings the drinks . Both wait for the man to move on .</scene_description> <character>CHEN</character> <dialogue>I'm gon na have to answer for him some day.</dialogue> <character>WALLACE</character> <dialogue>We all have something to answer for.</dialogue> <character>CHEN</character> <dialogue>Yeah.</dialogue> <scene_description>They sit quietly . until Chen 's pager goes off . He checks the number .</scene_description> <character>CHEN</character> <dialogue>Speak of the devil.</dialogue> <character>WALLACE</character> <dialogue>Lee?</dialogue> <character>CHEN</character> <dialogue>Yeah. Order me another.</dialogue> <scene_description>Chen picks up his drink and crosses to the phone . He pumps in a quarter , dials and waits .</scene_description> <character>CHEN</character> <dialogue>It's Chen, get me Lee.</dialogue> <scene_description>Chen finishes the drink as he waits .</scene_description> <character>LEE</character> <parenthetical>( PHONE . )</parenthetical> <dialogue>Where've you been. I've been paging you all morning.</dialogue> <character>CHEN</character> <dialogue>What do you want?</dialogue> <character>LEE</character> <parenthetical>( PHONE . )</parenthetical> <dialogue>Wallace is Internal Affairs.</dialogue> <scene_description>Chen feels his stomach tighten , but he 's not sure he got it right .</scene_description> <character>CHEN</character> <dialogue>What?</dialogue> <character>LEE</character> <parenthetical>( PHONE . )</parenthetical> <dialogue>You heard me.</dialogue> <character>CHEN</character> <dialogue>I do n't believe it.</dialogue> <character>LEE</character> <parenthetical>( PHONE . )</parenthetical> <dialogue>Your girlfriends found a wire on him last night. I checked it out and the fuck is making a case against you.</dialogue> <scene_description>The words hit Chen like a freight train . He stands speechless . His insides reeling as he looks over at his partner .</scene_description> <character>LEE</character> <parenthetical>( PHONE . )</parenthetical> <dialogue>You there?</dialogue> <character>CHEN</character> <dialogue>Yeah.</dialogue> <character>LEE</character> <parenthetical>( PHONE . )</parenthetical> <dialogue>Who knows how long he was wired. He's got to go. Chen's breath grows heavy as his eyes stare vacantly at Wallace, who's working a beer.</dialogue> <character>LEE</character> <parenthetical>( PHONE . )</parenthetical> <dialogue>You kill him tonight.</dialogue> <scene_description>Chen ca n't answer either way , he 's not even sure if it 's real or a dream .</scene_description> <character>LEE</character> <parenthetical>( PHONE . )</parenthetical> <dialogue>The Fukes are taking delivery in one hour. Pier 25 at Port Imperial in Jersey, a ship called the DORIAN. Take him along and make sure he does n't leave the boat. you understand me? I do n't give a shit about the cargo, the Fukes, nothing. Just make sure Wallace is dead. Are we clear? Chen does n't answer, he just keeps looking at Wallace, who's looking back at him now.</dialogue> <character>LEE</character> <parenthetical>( PHONE . )</parenthetical> <dialogue>He'll hang us both.</dialogue> <character>CHEN</character> <dialogue>Yeah. I understand.</dialogue> <character>LEE</character> <dialogue>Kill him.</dialogue> <scene_description>Chen hangs up . He looks at Wallace , then pushes into .</scene_description> </scene> <scene> <stage_direction>INT. JIMMY LOO'S BATHROOM - DAY</stage_direction> <scene_description>He stands in the tiny room , half looking in the mirror , half looking nowhere . Eyes darting , mind racing . He turns on the water and runs it across his face , but it does n't really help . He reaches for a hand towel but it 's stuck in the dispenser . He rips down on the towel with all the rage , frustration and anger inside him , tearing the metal dispenser from the wall and slamming it into the sink , the wall and finally to the ground . He then tries to steady himself , but he 's too upset . But then his pager goes off . He calms himself , checks the number . then dials . A voice answers .</scene_description> <character>CHEN</character> <dialogue>Jack. slow down. tonight, Pier 25, the Dorian. You did good, Jack. Where are you? No, I'll contact the F.B.I. I want you to stay at your girlfriend's, do n't talk with anyone. After we pick up the others, I'll come for you.</dialogue> <scene_description>Chen hangs up . He takes a breath and looks at himself in the mirror . He runs his hands through his hair and slowly exits back into the bar .</scene_description> </scene> <scene> <stage_direction>INT. JIMMY LOO'S -DAY</stage_direction> <scene_description>His eyes stay on Wallace as he crosses the room . Only now they look like he wants to kill him right there . He sits beside his partner .</scene_description> <character>WALLACE</character> <dialogue>Get a hold of him?</dialogue> <scene_description>Chen takes a healthy gulp from his new drink .</scene_description> <character>CHEN</character> <dialogue>Yeah.</dialogue> <character>WALLACE</character> <dialogue>Did you tell him about the tape?</dialogue> <character>CHEN</character> <dialogue>No.</dialogue> <character>WALLACE</character> <dialogue>What'd he want?</dialogue> <scene_description>Chen looks directly into Wallace 's eyes . It takes him a moment to get the words out of his throat .</scene_description> <character>CHEN</character> <dialogue>He wanted to tell me that the Fuke's are picking up their shipment in an hour, in Jersey.</dialogue> <character>WALLACE</character> <dialogue>Shit, we got ta move. Did you call the Feds?</dialogue> <character>CHEN</character> <dialogue>Yeah. They're going to meet us there.</dialogue> <scene_description>Chen finishes his drink and the two cops cross for the door .</scene_description> </scene> <scene> <stage_direction>EXT. PORT IMPERIAL, DOCK 25-DUSK</stage_direction> <scene_description>A huge container ship sits silently at dock . We focus closer on the Wheelhouse .</scene_description> </scene> <scene> <stage_direction>EXT. DOCK - NIGHT</stage_direction> <scene_description>Through night vision goggles we see the adjacent parking lot . All seems calm at the moment .</scene_description> </scene> <scene> <stage_direction>INT. WHEELHOUSE - NIGHT</stage_direction> <scene_description>Chen stands quietly in the darkness looking through the night vision goggles .</scene_description> <character>CHEN</character> <dialogue>No sign of anybody.</dialogue> <scene_description>He turns and hands the goggles to Wallace .</scene_description> <character>CHEN</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Have a look.</dialogue> <scene_description>Wallace takes up the post as Chen steps back into the shadows .</scene_description> <character>WALLACE</character> <dialogue>Lee said an hour, right?</dialogue> <character>CHEN</character> <dialogue>Yeah. still nothin'?</dialogue> <character>WALLACE</character> <dialogue>Nope.</dialogue> <character>CHEN</character> <dialogue>You sure?</dialogue> <character>WALLACE</character> <dialogue>Yup. all clear.</dialogue> <scene_description>There 's a long pause . We watch Chen 's face turn to stone .</scene_description> <character>CHEN</character> <dialogue>How about Internal Affairs?</dialogue> <scene_description>Wallace flinches but covers .</scene_description> <character>WALLACE</character> <dialogue>What?</dialogue> <character>CHEN</character> <dialogue>I forgot to mention it. Lee thinks they're making a case against someone in the fifteenth.</dialogue> <character>WALLACE</character> <parenthetical>( while continuing looking through the goggles . )</parenthetical> <dialogue>Who?!</dialogue> <character>CHEN</character> <dialogue>He did n't know. Maybe it's just a rumour. You hear anything?</dialogue> <scene_description>Wallace is about to answer when he sees a tractor trailer pull into the lot .</scene_description> <character>WALLACE</character> <dialogue>They're here. Take a look.</dialogue> <scene_description>He turns to give the goggles to Chen .</scene_description> <character>CHEN</character> <dialogue>No - you keep watching. We've got to let'em lead us to the cargo.</dialogue> </scene> <scene> <stage_direction>EXT. CONTAINER SHIP - NIGHT</stage_direction> <scene_description>Through the goggles we Bobby Vu and the others be met by a shipman and led to the far end of the boat .</scene_description> <character>WALLACE</character> <dialogue>They're heading away from us.</dialogue> </scene> <scene> <stage_direction>INT. WHEELHOUSE - NIGHT</stage_direction> <scene_description>Chen quietly cocks his gun and points it at the back of Wallace 's head .</scene_description> <character>CHEN</character> <dialogue>What would you do if you knew I.A. had a case against you? Would you run?</dialogue> <character>WALLACE</character> <parenthetical>( increasingly uncomfortable . )</parenthetical> <dialogue>I do n't know what I'd do. What would you do?</dialogue> <scene_description>Wallace is unaware of Chen standing directly behind him , sweat building on his face - ready to pull the trigger .</scene_description> <character>CHEN</character> <dialogue>You mean after I killed whoever ratted on me?</dialogue> <scene_description>Wallace 's blood turns to ice . He lowers the goggles , turns slowly and comes face to face with the barrel of Chen 's gun . It 's instantly clear Chen knows all .</scene_description> <character>CHEN</character> <dialogue>You should have let me die in the car that day. At least then I die a cop.</dialogue> <character>WALLACE</character> <dialogue>You are a cop - a good cop. And I'll tell anyone who asks.</dialogue> <scene_description>Chen hesitates . Not sure what to believe .</scene_description> <character>CHEN</character> <dialogue>And you?</dialogue> <character>WALLACE</character> <dialogue>I do n't know what I am. All I know is you saved me and you saved my father. My life is really yours to do with as you wish.</dialogue> <scene_description>His words hang heavy in the air . and then Chen fires . But not at Wallace . He fires past his head , through the glass of the wheel house and hits the FUKENESE gangster who was about to blow them away with an assault rifle . A beat , and automatic fire comes from another window , spraying the wheelhouse with hot metal . Wallace takes out the shooter as Chen flies out the door . Momentarily dazed , Wallace recovers , scrambles to his feet - looks around , but Chen has disappeared .</scene_description> </scene> <scene> <stage_direction>INT/EXT. FUNNEL CHAMBER - NIGHT</stage_direction> <scene_description>Wallace enters slowly and traverses the three storey high metal grate walkways . WE HEAR only the clank of his feet as he descends deep into the ship .</scene_description> </scene> <scene> <stage_direction>INT. ELECTRICAL ROOM - NIGHT</stage_direction> <scene_description>Chen moves stealthily passed the huge humming generators , slowly approaching each blind curve . HE HEARS what sounds like the distant cry of an infant . He keeps moving VIDEO SURVEILLANCE P.O.V. - NIGHT We see Chen move through the room towards the exit . An arm carrying an UZI passes in front of the camera .</scene_description> </scene> <scene> <stage_direction>INT. ANCHOR ROOM - NIGHT</stage_direction> <scene_description>Wallace cocks his ear to the same sound as he moves through the room dominated by the giant chains that connect to the lowered anchors . Just at that moment a Fuke moves out from behind the casing and gets off a shot that cuts right through Wallace 's left hand . He yelps in pain as he takes cover , rips the sleeve of his shirt to stem the bleeding , then waits for the Fuke to make his move . He does - Wallace stands right up at him and takes him out in a fierce exchange .</scene_description> </scene> <scene> <stage_direction>INT. ENGINE ROOM FIRST FLOOR - NIGHT</stage_direction> <scene_description>The cavernous energy center of the ship . Four storey 's high . A cacophony of the brute force of the engines and the steel walkways that encircle them . Chen comes out on the bottom level . All seems quiet , except for what seems like the distant hum of human whispering . He moves slowly out into the open . The place seems empty until suddenly a shape appears on the metal catwalk two storey 's above . He turns with lightening speed - points , ready to shoot at . Wallace . There 's a tense standoff . Neither wants to lower their weapon first . The sound of distant murmuring grows louder until suddenly the standoff is ended by a common enemy . Wallace whips around and sends a fuke who was about to shoot him flying back against a wall . Chen suddenly finds a Fuke charging down metal stairs towards him . He blasts him before he can get a shot off - the Fukes lifeless body toboganning down to land at Chen 's feet . One holdout , BLACK EYES , equipped with an AK47 on the top floor will not be taken out . Like some madman on crack he sprays crazily in every direction until finally Chen just goes for it stepping out into the open and pummeling BLACK EYES with bullets . A pipe behind the Fuke explodes with steam , enveloping Black eyes who falls limply onto a vertical crane . Chen and Wallace relax a beat and then BANG ! Black Eyes is up and charging Wallace . Chen is faster , spraying him with everything left in his weapon , hitting and igniting a fuel pipe which spills out it 's fiery liquid setting BLACK EYES aflame . The dying Fuke grabs onto some hanging rope and in a last defiant act , swings down the three storeys all the time firing and coming almost face to face with Chen before being finally silenced - his incinerated corpse landing at Chen 's feet . Wallace scans the area while he descends the stairs towards Chen . There are no Fukes in sight . The human murmuring grows louder . Without speaking , Chen and Wallace move towards the source of the sounds .</scene_description> </scene> <scene> <stage_direction>INT. PASSAGEWAY ANTEROOM - NIGHT</stage_direction> <scene_description>Chen and Wallace move slowly down the few steps to a heavy steel door beyond which the sounds seems to emanate . With silent gestures they work like the partners they 've become . Wallace opening the door and stepping back , covering Chen as he makes his move .</scene_description> </scene> <scene> <stage_direction>INT. PASSAGEWAY - NIGHT</stage_direction> <scene_description>Nothing could have prepared them for what they find on the other side of the door . There , as far as the eye can see , running the entire length of the ship , is the cargo Lee awarded the Fuke 's . Several hundred illegal Chinese immigrants huddled together in unspeakable conditions , stuffed into a tiny opening that resemble 's an endless train compartment . Their dark vacant eyes stare back at the shocked cops who move cautiously through the passageway . It does n't take long for the remaining Fuke 's to make their presence known with a bullet destined for Chen , and intercepted by the back of an innocent young male immigrant . Chen , Wallace and the desperate group of illegals flatten themselves against the sides of the corridor . SILENCE Chen steps out quickly as if to take a shot , but it 's a sucker punch as he immediately tucks himself back in then out again just in time to duck the bullet from a Fuke and plant his own squarely in the gangster 's chest . Chen ducks back behind the steel separators that occur about every twenty feet in the passageway . Wallace is one `` compartment '' back . A young boy , no more than six years old , drifts out into harm 's way . Wallace reaches out quickly and pulls him to his side . While Wallace keeps quard , the kid holds onto his hand and begins to sympathetically rub his bandage - his eyes pleading for salvation of any kind . Chen looks back sees this and Wallace 's empathic reaction to pat the young kid on the head . Chen hesitates a second , then .</scene_description> <character>CHEN</character> <parenthetical>( whisper . )</parenthetical> <dialogue>Wallace.</dialogue> <scene_description>Wallace snaps to . Chen indicates for him to follow as he sprints out and moves quickly down the narrow tunnel past the endless collection of immigrant pawns . We see their desperation not only in their faces , but in their pathetic little bundles that contain all their worldly belongings . They mutter Cantonese pleas .</scene_description> <character>CHEN AND WALLACE</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>Quiet. quiet.</dialogue> <scene_description>They come to a stop . Listen a moment to the silence .</scene_description> <character>WALLACE</character> <dialogue>Maybe that's all of them.</dialogue> <character>CHEN</character> <dialogue>Bobby Vu's here, and he'll never leave without us.</dialogue> <character>WALLACE</character> <dialogue>Without you.</dialogue> <scene_description>Wallace moves out quickly out into the passageway as if taunting Vu to make his move . He stops two compartments down . Chen is one compartment behind . They exchange looks . Chen indicates to `` stay put '' . Wallace peaks out from behind the steel . One of the oldest women in the hold , a grandmotherly face of China , motions for Wallace to come closer .</scene_description> <character>GRANDMOTHERLY TYPE</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>Come here, boy. Come to me.</dialogue> <character>WALLACE</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>What?</dialogue> <character>GRANDMOTHERLY TYPE</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>I know where they are.</dialogue> <character>WALLACE</character> <dialogue>Where?</dialogue> <character>GRANDMOTHERLY TYPE</character> <dialogue>Come here.</dialogue> <scene_description>Chen watches as Wallace moves out and approaches the woman . Suddenly the image goes into hyper slo - mo. . We see the woman mouthing the Cantonese words for `` come here '' . Back on Chen , there suddenly something wrong . He looks closely at the old woman , and then , operating purely on instinct , he races forward .</scene_description> <character>CHEN</character> <dialogue>NO!</dialogue> <scene_description>Just as Wallace steps up to the woman , CHEN pushes Wallace aside and takes the automatic fire that Bobby Vu shoots from behind an innocent skirt . Wallace immediately raises his gun and fires two in the chest and one in the head . Just like Chen taught him . Bobby Vu 's body hits the floor with a thud . Dead . Wallace looks down at Chen as the blood begins spreading out around him . Quickly , he kneels beside his partner , gathers him in his arm and tries to control the bleeding , but the wound is deep . He turns toward a commotion at the entrance to the tunnel and sees a bunch of Feds and uniforms heading towards him .</scene_description> <character>WALLACE</character> <dialogue>Bring a stretcher!</dialogue> <parenthetical>( to Chen . )</parenthetical> <dialogue>Come on, hang on.</dialogue> <character>CHEN</character> <dialogue>Shit.</dialogue> <scene_description>Chen tries to catch his breath , but he ca n't seem to .</scene_description> <character>WALLACE</character> <dialogue>You're alright. You're OK.</dialogue> <scene_description>Chen 's body spasms from the pain .</scene_description> <character>WALLACE</character> <dialogue>I'm sorry.</dialogue> <scene_description>Chen grabs hold of Wallace 's hand .</scene_description> <character>CHEN</character> <dialogue>Who sends a white cop undercover in Chinatown?</dialogue> <scene_description>Wallace looks into Chen 's eyes . He 's fading in and out .</scene_description> <character>WALLACE</character> <parenthetical>( leaning close . )</parenthetical> <dialogue>Nick. can ya hear me?</dialogue> <character>CHEN</character> <parenthetical>( barely conscious . )</parenthetical> <dialogue>Mmmm.</dialogue> <character>WALLACE</character> <dialogue>Nick. it's just you and me. I'm your partner.</dialogue> <scene_description>A tiny smile escapes from Chen just before he loses consciousness and is surrounded by an EMS team .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL CORRIDOR-DAY</stage_direction> <scene_description>Kirpatrick , a manila envelope in his hand , rushes down the hallway with Schabacker . They hurry to the Intensive Care ward stopping outside a room where a uniformed OFFICER stands guard . Through the window in the door they can see Wallace leaning close to Chen who lies motionless in the bed .</scene_description> <character>SCHABACKER</character> <parenthetical>( to the OFFICER . )</parenthetical> <dialogue>Get Wallace out here.</dialogue> <scene_description>The Officer does n't move so Schabacker pulls out his FBI badge and shoves it close to the cops face .</scene_description> <character>SCHABACKER</character> <dialogue>Now.</dialogue> <scene_description>The Officer gets up slowly from his chair as the door swings open and Wallace exits from the room . He looks at the two men then starts down the hall when Kirpatrick slaps him across the chest with the manila envelope .</scene_description> <character>KIRPATRICK</character> <dialogue>What's this bullshit?</dialogue> <character>WALLACE</character> <dialogue>Exactly what it says. That after a month long investigation, there's no evidence to support any charges against Lt. Nicholas Chen.</dialogue> <character>SCHABACKER</character> <dialogue>You think you can get away with this forget it. He's responsible for the death of a Federal Agent.</dialogue> <scene_description>An ICU team races down the hall and charges into Chen 's room .</scene_description> <character>WALLACE</character> <dialogue>Chen's dead.</dialogue> <scene_description>Schabacker and Kirpatrick do n't say a word .</scene_description> <character>WALLACE</character> <dialogue>And no matter what you believe, the officer in that room died a good cop.</dialogue> <scene_description>Wallace looks them in the eye , then pushes past them and continues down the hall .</scene_description> </scene> <scene> <stage_direction>INT. AMY SAN'S APARTMENT, BROOKLYN-DAY</stage_direction> <scene_description>Jack opens the door and sees Wallace standing in the doorway .</scene_description> <character>WALLACE</character> <dialogue>Time to take care of Henry Lee.</dialogue> </scene> <scene> <stage_direction>INT. BLUE EMPRESS CAFE-DAY</stage_direction> <scene_description>Lee sits at a table with a white , middle aged MAN in a pin striped suit . Wallace , Ung and Deng enter the restaurant .</scene_description> <character>WALLACE</character> <dialogue>Henry Lee, you're under arrest.</dialogue> <character>LEE</character> <dialogue>I'd like to introduce you to my attorney, Mr. Cotten.</dialogue> <character>UNG</character> <dialogue>I'd like to introduce you to the inmates at Riker's Island, but that'll take a few weeks.</dialogue> <character>LEE</character> <dialogue>Your optimism is refreshing.</dialogue> <scene_description>Lee gets up , along with his attorney . He turns to Wallace .</scene_description> <character>LEE</character> <dialogue>I was very saddened to hear about your friend, Lt. Chen. Oh, I'm sorry, he was n't your friend after all, was he? Lee puts on his coat and leans close to Wallace.</dialogue> <character>LEE</character> <dialogue>And I'd like to thank you for killing all the witnesses against me.</dialogue> <scene_description>He smiles .</scene_description> <character>WALLACE</character> <dialogue>Not all. Not the one who recorded this tape.</dialogue> <scene_description>Wallace plays a short sample of Jack 's tape and the smile fades from Lee 's face . which makes Wallace smile as Deng and Ung lead Lee out in cuffs .</scene_description> </scene> <scene> <stage_direction>INT. CHEN'S APARTMENT, LIVING ROOM - DAY</stage_direction> <scene_description>Wallace sits across from May . He slides an envelope in front of her .</scene_description> <character>WALLACE</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>He wanted you to have this.</dialogue> <scene_description>She opens the envelope . Inside is a `` green card '' clearly indicating `` OFFICIAL U.S. RESIDENCY STATUS . ''</scene_description> <character>WALLACE</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>And this.</dialogue> <scene_description>Wallace takes out the envelope of money his father tossed on the floor and gives it to May who 's eyes well with tears .</scene_description> <character>WALLACE</character> <parenthetical>( Cantonese . )</parenthetical> <dialogue>You gon na be alright?</dialogue> <character>MAY</character> <dialogue>Yes. thank you.</dialogue> <scene_description>She gets up and gives Wallace an appreciative kiss on the cheek .</scene_description> </scene> <scene> <stage_direction>EXT. ELIZABETH STREET-DAY</stage_direction> <scene_description>End credits roll as the NYPD honor and bury their own . In a funeral procession that draws on traditional Chinese culture as well as present day police decorum , the men and women who serve and protect parade down the small Chinatown street in full dress blues . Banners depicting the face of Nick Chen wave out front as his coffin , draped in the American flag draws cheers from the people of Chinatown . And no one louder than Detective Daniel Wallace . THE END</scene_description> </scene> </script>

NYPD Lieutenant Nick Chen is head of the Asian Gang Unit. His job is to keep the peace in Chinatown from a turf war that has broken out between the Tung Fung Benevolent Association tong and the Fukienese Dragons street gang. The problem is complicated by the fact that he is also an informant for the Tongs under Uncle Benny Wong and his lieutenant Henry Lee. After a bombing in Chinatown, Chen is reluctantly teamed up with Danny Wallace, who is unaware of Chen's corruption. Danny was also secretly tasked by Internal Affairs to monitor Chen. Danny lied to Chen and the Asian Gang Unit by claiming that he took the job as a means to quickly gain his detective shield. During a police raid on a Fukienese whorehouse, Chen saves Wallace's life. Wallace, knowing that his life is now in Chen's hands, initiates a bust on a drug operation, not knowing that an undercover FBI agent was involved. After being berated by the FBI for interfering with an ongoing investigation, Wallace is introduced to Lee. Lee discusses the potential value of having another cop in the AGU on the Tong payroll, which Uncle Benny allows. Benny is able to lure Wallace into working for him by tipping him off to an underground prostitution ring. Wallace is given a commendation for valor, but Chen now suspects that Wallace is working for the Tongs. Wallace and Chen inadvertently cross paths, throwing their initial trust for each other out the window and putting the intentions of Lee into question. Chen hates the Fukienese, but neither he nor Danny know that Lee is forming a partnership with their leader Bobby Vu. Both Lee and Vu know that there is an FBI agent undercover in their drug operation and decide to kill him. While monitoring a drug operation, Wallace and Chen witness a violent confrontation with a Tong hit squad that leads to Chen getting berated for botching the FBI investigation. After the incident, both Wallace and Chen swear not to talk to the FBI without talking to each other first. The FBI finds out Wallace's real reason for joining the AGU and threaten to expose him unless he is willing to spy on Chen. When one of Chen's informants witnesses Vu's assassination of Uncle Benny, Chen alerts the DA, who intends to indict the Tongs under RICO. The DA, the FBI, and both Wallace and Chen decide that they want to catch Vu in the act and decide to hold off on the arrests. Lee chooses to alert Chen of Wallace's real identity and job. During the nighttime operation, Chen draws his gun on Wallace in anger. Wallace reasons with Chen and the two fight the Dragons, killing most of them. Chen pushes Wallace out of the way and is fatally shot by Vu. Wallace then shoots Vu. While at the hospital, Wallace refuses to withdraw his original statement that Chen died a good cop. Later, Wallace leads the arrest of Lee. Chen is then given a hero's funeral with Wallace in the procession.

Anastasia_1997

tt0118617

<script> <scene> <stage_direction>ANASTASIA</stage_direction> <scene_description>on a well - worn PHOTOGRAPH ALBUM . An ELDERLY WOMAN 'S HAND touched the album , caressing it lovingly for a moment , as WE HEAR her voice .</scene_description> <character>TATIANA</character> <parenthetical>( O.C . )</parenthetical> <dialogue>Once we lived in an enchanted world.</dialogue> <scene_description>She opend the ALBUM to reveal a BLACK AND WHITE PHOTOGRAPH of the PALACE AT ST. PETERSBERG on a brilliant summer day .</scene_description> <character>TATIANA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>A world of Tsars and Princesses and elegant palaces.</dialogue> <scene_description>CAMERA MOVES CLOSER TO the picture .</scene_description> <character>TATIANA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>and grand parties.</dialogue> <scene_description>The PHOTO dissolves into REALITY in brilliant color as the day turns into night and the summer cools into winter . We see the palace at night , blanketed in a beautiful , almost glowing , snow as hourse drawn carriages pull up to the front door .</scene_description> <character>TATIANA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>A beautiful, magical time.</dialogue> <scene_description>MOVE INTO THE PALACE</scene_description> <character>TATIANA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>That would soon be gone forever.</dialogue> </scene> <scene> <stage_direction>INT. PALACE AT ST. PETERSBERG - NIGHT</stage_direction> <scene_description>Elegant ROYALISTS mingle around the MAIN HALL as an ORCHESTRA plays . All eyes turn to the GLASS DOORS OF TWO ELEVADORS which descend grandly on either side of a beautiful staircase . Through the glass doors we see TATIANA , the Dowager Empress , 60 , imperious and bedecked with jewels , she is seemingly unapproachable . TSAR NICHOLAS and his SON are with her . In the other elevador , ALEXANDRA and her daughters - well , all her daughters except . ANASTASIA , eight years old and apparently late for the party , rushes down the upstairs hallway followed by a SERVENT -LRB- SONYA -RRB- 16 , who is trying to catch up with Anastasia to tie a large ribbon in her long , dark hair .</scene_description> <character>SONYA</character> <parenthetical>( whispering . )</parenthetical> <dialogue>Princess Anastasia - you're late and it's all my fault!</dialogue> <character>ANASTASIA</character> <dialogue>Do n't worry, Sonya, no one'll notice.</dialogue> <scene_description>Just then , Sonya lassoes the ribbon around her hair , stopping Anastasia with a</scene_description> <character>ANASTASIA</character> <parenthetical>( loudly . )</parenthetical> <dialogue>. owwwwwwwww!</dialogue> <scene_description>All eyes turn to Anastasia , who once she realizes that she 's the center of attention , flashes a mischievous smile and descends the staircase in grand style . As the ribbon falls out of her hair and down her back , Anastasia kicks it to Sonya without breaking stride . Tatiana sees her and ca n't help but smile . The music suddenly becomes a FLOURISH OF TRUMPETS . SERVENTS open the elevador doors as the ROYAL FAMILY steps out and begins a proccession through their subjects . Tatiana holds out her arm to Anastasia as she makes it to Tatiana 's side just in time . Anastasia has a beautiful but slightly impish face , dominated by large , blue , mischievous eyes . She an abundance of energy and confidence for a girl her age . `` THE RULARS OF RUSSIA '' -LRB- OPENING NUMBER -RRB- The elegant guests sing their admiration as the beautiful and happy Romanov family makes it 's entrance into the ball , they 're `` the pride of all Russia '' . Vladimir invites Sophie to dance and the entire glittering assembly assembly swings into a GLORIOUS SWEEPING WALTZ . Singing their certainty that the Romanovs will rule forever . During the above , the ball is in full swing . Beautiful COUPLES swirls across the dance floor , including Anastasia dancing gracefully with her father . Under a long buffet table , we see DMITRI , 11 , darkly handsome , dressed in ragged servant clothes , with a shock of dark hair which continuoually falls accross his eyes as watches the guest enviously . Anastasia , still waltzing with her father , sees him . SERVENTS cross the room carrying a trays of BEAUTIFUL TROPICAL FRUIT . The guests `` Ew '' and `` ah '' at the sumptuous fruit . Anastasia sees Dmitri eyeing it hungrily and without missing a dance step , she grabs an orange off thr tray and tosses it to Dmitri . He catches it and smiles broadly at her . Suddenly , A HAND grabs Dmitri and pulls him out from under the table . It 's IVAR , the HEAD SERVENT , who pulls Dmitri into an open wall panel .</scene_description> <character>IVAR</character> <parenthetical>( angrily . )</parenthetical> <dialogue>You're a servent! Never forget your place!</dialogue> <character>DMITIRI</character> <parenthetical>( defiant . )</parenthetical> <dialogue>Someday my place will be out there!</dialogue> <character>IVAR</character> <dialogue>Never! You're a peasant, Dmitri! Back in the kitchen</dialogue> <scene_description>RULARS OF RUSSIA -LRB- CONT . -RRB- UNDERSCORE CONTINUES as Dmitri is dragged from his hiding place under the table and back to the kitchen . It 's like the Moscow circus back there , COMIC MUSICAL CONFUSION . The servants sing about their demanding employers and mockingly imitate their behavior : they imply that they have their own `` party '' , that change is coming . While back in the ballroom , the Royalists are oblivious to the servants discontent and sing their satisfaction with their own lives . DRAMATIC UNDERSCORE CONTINUES though the following scenes . ON TATIANA in a large throne - like chair . Tatiana is very serious and very regal . She slides over to make room for Anastasia who sits next to her .</scene_description> <character>TATIANA</character> <dialogue>Why were you so late tonight</dialogue> <character>ANASTASIA</character> <dialogue>I was showing Sonya something.</dialogue> <character>TATIANA</character> <dialogue>What were you showing her?</dialogue> <character>ANASTASIA</character> <parenthetical>( sheepishly . )</parenthetical> <dialogue>How to read.</dialogue> <character>TATIANA</character> <dialogue>I thought you were told not to tutor your servants anymore.</dialogue> <character>ANASTASIA</character> <dialogue>I know, but I had to because.</dialogue> <scene_description>Anastasia looks up at Tatiana and sees her smile with pride . Anastasia knows she does n't have to explain .</scene_description> <character>ANASTASIA</character> <parenthetical>( cuddling . )</parenthetical> <dialogue>Oh, Grandmama, why do you have to go back to Paris?</dialogue> <character>TATIANA</character> <dialogue>It's where I've made my home but I do have something for you.</dialogue> <scene_description>Tatiana reaches from behind the chair and brings out a beautiful MUSIC BOX . Tatiana takes the key , a small silver and enamel flower , on a silver neck chain and winds it up . MUSIC BEGINS , she hands Anastasia the key . CLOSE UP the key bearing the inscription `` Together in Paris '' .</scene_description> <character>ANASTASIA</character> <dialogue>`` Together in Paris''! Oh, when can we be `` together in Paris?!</dialogue> <character>TATIANA</character> <dialogue>When you're older.</dialogue> <scene_description>Anastasia makes a disgruntled face . Tatiana laughs .</scene_description> <character>TATIANA</character> <dialogue>Until then, whenever you hear this song, think of me and know that I'm waiting for you.</dialogue> <scene_description>Tatiana puts the key around Anastasia 's neck and they embrace . Then , suddenly . ON THE GRAND CHANDELIER the lights begin to fade in and out . GROUP SHOT as PEOPLE in the ballroom look around bewildered . Then , a WHIRLWIND kicks up , sending everyone off the dance floor , as the whirlwind becomes a TORNADO . Suddenly , an ALBINO BAT -LRB- BARTOK -RRB- with huge eyes , springs out of the funnel , screeching and swooping over the crowd , causing everyone to duck and cover their heads in fear . The tornada reaches it 's peak and EXPLODES in smoke - leaving RASPUTIN standing alone in the middle of the floor . He is of indeterminate age , towering over other men in the room , his most striking feature are his eyes - which at this moment are burning a fiery red . He is dressed in a flowing black monk 's robe with a satin rope tied around his waist . Connected to the rope is a glowing RELIQUARY , a mystical lantern . VARIOUS SHOTS of Nicholas , Alexandra , Sophie and Vladimir , Dmitri peeking out ofthe wallpanel , Tatiana and Anastasia , all of whom are frightened . NICHOLAS as he gathers his son and wife to his side</scene_description> <character>NICHOLAS</character> <dialogue>Rasputin! You're alive.</dialogue> <character>RASPUTIN</character> <parenthetical>( advancing . )</parenthetical> <dialogue>Despite being shot, poisoned and thrown into an icy river. YES!</dialogue> <character>NICHOLAS</character> <parenthetical>( honestly . )</parenthetical> <dialogue>I had nothing to do with it!</dialogue> <character>RASPUTIN</character> <dialogue>You gave the orders!</dialogue> <character>NICHOLAS</character> <dialogue>I did no such thing!</dialogue> <character>RASPUTIN</character> <dialogue>After all I've done for your family - YOU TRIED TO KILL MEEEEEE!!!</dialogue> <scene_description>Rasputin swings the reliquary , wrapping himself in smoke which seems to grow larger . Eerie moaning noises come from the reliquary . PEOPLE back awayin terror .</scene_description> <character>RASPUTIN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>The Romanov dynasty ends here! You, your wife and children will all die within the fortnight!</dialogue> <character>ANASTASIA</character> <dialogue>NO!</dialogue> <scene_description>Anastasia leaves Tatiana and rushes to stand in front of her father . Still holding her Music Box , Anastasia 's shaking hands are the only thing that gives away her fear . Rasputin spins toward the voice .</scene_description> <character>ANASTASIA</character> <dialogue>We're not afraid of you!</dialogue> <character>RASPUTIN</character> <parenthetical>( furious . )</parenthetical> <dialogue>You. my little babushka. you'll be so much fun to kill that I'll save you for last!</dialogue> <scene_description>Twirling the reliquary again , the MOANS grow louder as Bartok circles around his head . The smoke that emerges seems to have almosy a human shape to it .</scene_description> <character>RASPUTIN</character> <dialogue>THIS IS THE END OF THE ROMANOV LINE - FOREVER!</dialogue> <scene_description>The tornada of smoke begins again , whipping into a frenzy and then EXPLODING . The smoke clears and Rasputin is gone . As the lights return to normal the Romanov family all stand together , and try to look regal and in control once again .</scene_description> <character>TATIANA</character> <parenthetical>( O.C . )</parenthetical> <dialogue>Some say Rasputin ad harnessed all the dark powers of evil and that it was his curse which brought about the end.</dialogue> <scene_description>the ROMANOV FAMILY fades into a PORTRAIT OF THE FAMILY .</scene_description> <character>TATIANA</character> <parenthetical>( O.C . )</parenthetical> <dialogue>I will never know for sure. All I do know is that the beauty of our world was soon Gone. Forever.</dialogue> <scene_description>a lick of BRIGHT ORANGE FLAME creeps into view . `` RULERS OF RUSSIA '' -LRB- VOCAL REPRISE -RRB- HUGE , OMINOUS VOCALS reprise the onceglorious watlz of the Romanovs , heralding the end of their world and underscoring the coming revolution . PULL BACK to see the PORTRAIT , a huge FRIEZE which covers an entire entire wall , singeing as the FLAME creeps up the nearby drapery , tinting the room in a red glow . A SCREAMING MOB , some in uniform , some not , has crashed into the palace and is heading up the stairs . A few in the mob fire off orange RIFLE SHOTS .</scene_description> </scene> <scene> <stage_direction>INT. ANASTASIA'S BEDROOM - NIGHT</stage_direction> <scene_description>Anastasia BOLTS UP , hearing the shots . Her music box is next to her on her nightstand .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - NIGHT</stage_direction> <scene_description>Mass confusion as the MOB is met by a few SERVANTS , who try to stop them from advancing . More shots . ON THE ROMANOV 'S still in nightclothes , are being rushed down the hallway . Tatiana is next to Anastasia as Anastasia stopsdead in her tracks .</scene_description> <character>ANASTASIA</character> <dialogue>My music mox!</dialogue> <scene_description>Anastasia turns around and runs back down the hall . Tatiana tries to stop her .</scene_description> <character>TATIANA</character> <dialogue>Anastasia, no!</dialogue> <scene_description>It 's too late , Anastasia fights her way back into her room , with Tatiana following her . FROM THE OTHER END OF THE HALLWAY we see Dmitri watching amidst all the confusion .</scene_description> </scene> <scene> <stage_direction>INT. ANASTASIA'S BEDROOM - NIGHT</stage_direction> <scene_description>Anastasia grabs her music box as Tatiana rushes in .</scene_description> <character>TATIANA</character> <dialogue>Hurry, child!</dialogue> <scene_description>LOUD RIFLE SHOTS are heard as Dmitri bursts into the room , closing the door behind him .</scene_description> <character>DMITRI</character> <dialogue>No - this way!</dialogue> <scene_description>Dmitri runs to a wall panel and thows his weight against it . It opens , revealing a passage way .</scene_description> <character>DMITRI</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Go! Run! Out the servant's quarters!</dialogue> <scene_description>Tatiana , enormously grateful , looks at Dmitri as he flips his hair out of his face unconsciously .</scene_description> <character>DMITRI</character> <dialogue>Go!</dialogue> <scene_description>Tatiana goes in as Dmitri shoves Anastasia toward the passageway , knocking the music box out of her hand . She reaches for it , but hearing the mob voices growing closer , he pushes her through the panel without it .</scene_description> <character>DMITRI</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Go!</dialogue> <scene_description>Tatiana quickly follows Anastasia into the passageway and Dmitri closes the panel JUST AS the mob bursts in .</scene_description> <character>DMITRI</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( lying to the mob . )</parenthetical> <dialogue>No one's here! Let's try the next room!</dialogue> <scene_description>The MOB , accepts the word of a peasant boy and rushes out . Dmitri picks up the music box and looks sadly toward the panel .</scene_description> </scene> <scene> <stage_direction>EXT. TRAIN STATION - NIGHT</stage_direction> <scene_description>Which is under siege by ROYALISTS trying to board the overcrowded train and the REVOLUTIONARIES who are trying to stop them . A TOURING CAR pulls up RIGHT ON THE TRACKS behind the caboose as the train starts to pull away . Tatiana and Anastasia climb out of the car and race for the train , fighting their way through the frenzied and frightened crowd . WE HEAR shouts of `` The Empress - let her through ! '' which helps clear the way . Anastasia reaches the train first , then turns to see Tatiana . trying to catch up .</scene_description> <character>ANASTASIA</character> <dialogue>Hurry, Grandmama!</dialogue> <character>TATIANA</character> <dialogue>Get on! Anastasia, get on!</dialogue> <scene_description>Anastasia refuses to board the train . UP AHEAD A MOB OF REVOLUTIONARIES block the tracks with a TRUCK ON ANASTASIA who pushes Tatiana up the stairs of the caboose . This puts Anastasia a few steps behind as the train speeds up . Tatiana is gripped by other passengers as she reaches out to Anastasia .</scene_description> <character>TATIANA</character> <dialogue>Grab my hand!</dialogue> <scene_description>Anastasia reaches up and takes Tatiana 's hand .</scene_description> <character>ANASTASIA</character> <dialogue>Do n't let go!</dialogue> <scene_description>CLOSE ON the TWO HANDS . then suddenly . her small hand is pulled from Tatiana 's grasp and falls out of the frame .</scene_description> <character>TATIANA</character> <parenthetical>( O.C . )</parenthetical> <dialogue>ANASTASIA!</dialogue> <scene_description>ON ANASTASIA who has stumbled , hitting the ground hard . ON TATIANA horrified , screaming :</scene_description> <character>TATIANA</character> <dialogue>ANASTASIA!</dialogue> <scene_description>Tatiana rushes to jump off the train after her , but is caught and held back by the ROYALIST PASSANGERS as the train CRASHES through the truck and picks up speed . TATIANA 's POV : Anastasia rising from the ground , her hand outstretched . But she is suddenly swallowed up by the mob . A BLACK AND WHITE PHOTOGRAPH of Anastasia , in a happier time , smiling . UNDERSCORE : `` THE MUSIC BOX THEME ''</scene_description> <character>TATIANA</character> <parenthetical>( O.C . )</parenthetical> <dialogue>I never saw her again.</dialogue> <scene_description>The PHOTO ALBUM slowly closes . END OPENING NUMBER</scene_description> </scene> <scene> <stage_direction>EXT. ORPHANAGE - DAY</stage_direction> <scene_description>A gray and ugly , post - revolution building with a sign above the door that identifies it : `` Young Comrades Without Parents '' .</scene_description> </scene> <scene> <stage_direction>INT. ORPHANAGE - DAY</stage_direction> <scene_description>CHILDREN of all ages clean the cold , gray dormitory . Their clothes are ragged and they look underfed . CLOSE ON ANYA , 18 , pretty despite the boy 's hand - me - down clothes she is forced to wear , is busy scrubbing the floor . Unlike the others , she is determined not to let her surroundings get to her . She hums a tune . The door suddenly SLAMS open and GREGOR , 8 , and clearly terrified , comes running in followed by COMRADE PHLEGMENKOF - a huge woman carrying a switch .</scene_description> <character>GREGOR</character> <dialogue>Anya! Anya!</dialogue> <scene_description>All of the OTHER KIDS turn away , not wanting to get involved . Anya focuses on Gregor , who is shivering with fright and on the verge of tears as Phlegmenkof approaches , swinging the switch menacingly .</scene_description> <character>PHLEGMENKOF</character> <dialogue>You ca n't get away from me now.</dialogue> <scene_description>Phlegmenkof advances on Gregor . Anya takes the scrub brush and SHOVES it across the floor , right under Phlegmenkof 's unsuspecting foot . Phlegmenkof 's feet fly out from under her and she SMASHES to the floor . Gregor hops over her huge body and runs to Anya for safety . Some of the OTHER KIDS glance over . A CHUBBY GIRL and a very pretty LITTLE GIRL , look at Anya with greeat admiration . someof the OTHERS think she 's crazy . Phlegmenkof rises , covered with soap bubbles , and spins on Anya - who gives her a very innocent smile .</scene_description> <character>PHLEGMENKOF</character> <parenthetical>( CONT . )</parenthetical> <dialogue>You! You did this!</dialogue> <scene_description>Some of the OTHER CHILDREN laugh as soap bubbles fly off the enraged woman . She spins on them , her back to Anya .</scene_description> <character>PHLEGMENKOF</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Brats! There'll be no supper for any of you! Back to work!</dialogue> <scene_description>Anya , behind Phlegmenkof , mimics her outraged face and angry gestures perfectly - as the CHILDREN laugh harder . Phlegmenkof spins and almost catches Anya . She advances on Anya as Gregor hides behind her legs .</scene_description> <character>ANYA</character> <dialogue>Do n't touch him.</dialogue> <character>PHLEGMENKOF</character> <parenthetical>( to Anya . )</parenthetical> <dialogue>You ragged, skinny, little nothing! I have had just about enough of you.</dialogue> <scene_description>Phlegmenkof raises her hand to slap Anya , who hold her ground . Suddenly , Phlegmenkof SNIFFS the air . ON THE KIDS as the horrible smell reaches them too . They all make faces and hold their noses . ON PHLEGMENKOF who first sniffs under her raised arm , then realized the cause of the stench .</scene_description> <character>PHLEGMENKOF</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Comrade Serebreakov!</dialogue> <scene_description>She tries to straighten herself out nervously - this must be someone very important . COMRADE SEREBREAKOV stands in the doorway , lecherously eyeing the girls . He is a huge , fleshly man with facial features which are reminiscent of a fish .</scene_description> <character>PHLEGMENKOF</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( flirting . )</parenthetical> <dialogue>Comrade Serebreakov! What a lovely surprise! What brings you here?</dialogue> <character>SEREBREAKOV</character> <dialogue>I need. a worker.</dialogue> <scene_description>His eye catches Anya . He looks her up and down , his beady eyes showing a touch of lust for her .</scene_description> <character>SEREBREAKOV</character> <parenthetical>( CONT . )</parenthetical> <dialogue>I will take her.</dialogue> <scene_description>He leans close close to Anya .</scene_description> <character>SEREBREAKOV</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Tomorrow you begin your life's work in my hearing factory. You'll start by cutting off the tails - but if I'm pleased with you - you just may move up to cutting off the heads. How does that sound?</dialogue> <character>ANYA</character> <dialogue>About as bad as you smell!</dialogue> <scene_description>Phlegmenkof moves between them , pulling Serebreakov away .</scene_description> <character>PHLEGMENKOF</character> <dialogue>No, no, Comrade - you do n't want her.</dialogue> <character>SEREBREAKOV</character> <dialogue>I want her.</dialogue> <character>PHLEGMENKOF</character> <dialogue>That's horrible, skinny thing?! She's crazy - she has no memory of anything before she came here! She did n't even know her name! That one is a rotten troublemaker, willful.</dialogue> <character>SEREBREAKOV</character> <dialogue>I'll break her will.</dialogue> <parenthetical>( to Anya . )</parenthetical> <dialogue>I shall come for you tomorrow at dawn.</dialogue> <parenthetical>( he touches her face as she pulls away . )</parenthetical> <dialogue>You will enjoy serving under me.</dialogue> <scene_description>Smiling in anticipation , he exit .</scene_description> <character>PHLEGMENKOF</character> <dialogue>I could n't break you - but he can!</dialogue> <scene_description>And she turns to leave in a huff . Anya does one more imitation of her , making the CHILDREN laugh . But as Anya turns away from her audience , we see her facade fade and realize her terror of the future .</scene_description> </scene> <scene> <stage_direction>INT. ORPHANAGE - NIGHT</stage_direction> <scene_description>The CHILDREN huddle in their cots under tattered , thin blankets . Anya is fully dressed , illuminated by the light of a FULL MOON , she ties a dull gray sheets together and anchors the `` rope '' to an ice cold radiator and throws the other end out of the window . She is about to climb out when she looks at the sleeping children and smiles sadly . She walks over to Gregor 's bed and puts one hand lovingly on his head and then reaches over and takes the hand of a sleeping LITTLE GIRL , who opens her eyes and smiles .</scene_description> <character>GREGOR</character> <parenthetical>( loudly . )</parenthetical> <dialogue>Anya?</dialogue> <scene_description>The other childern wake up as Anya gently `` shushes '' him .</scene_description> <character>GREGOR</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( quietly . )</parenthetical> <dialogue>Are you running away?</dialogue> <character>ANYA</character> <dialogue>No. I'm running to.</dialogue> <character>LITTLE GIRL</character> <dialogue>Running to? Running to what?</dialogue> <character>ANYA</character> <dialogue>To find my home.</dialogue> <scene_description>A CHUBBY TWELVE YEAR OLD GIRL looks at Anya .</scene_description> <character>CHUBBY GIRL</character> <dialogue>But you are home.</dialogue> <character>ANYA</character> <dialogue>No. This is n't a home - it's just a building. Home is where you belong and none of us belong here.</dialogue> <character>GREGOR</character> <dialogue>Where is your home, Anya?</dialogue> <character>ANYA</character> <dialogue>I'm not sure but look.</dialogue> <scene_description>Anya shows Gregor the key around her neck . CLOSE UP on the inscription : `` Together in Paris ''</scene_description> <character>ANYA</character> <dialogue>It says `` Together in Paris''. I was wearing this when I came here ten years ago - it's the only way that I know.</dialogue> <character>ANYA</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( beat . )</parenthetical> <dialogue>. that I must have been someone someone loved.</dialogue> <character>CHUBBY GIRL</character> <dialogue>Is your home in Paris?</dialogue> <character>ANYA</character> <dialogue>It might be. I have to go and find out.</dialogue> <scene_description>Anya smiles lovingly at the children . `` A SOMEPLACE AND A SOMEONE '' -LRB- Anya 's `` I want '' song -RRB- . Anya SINGS SOFTLY to the children about how all she has is the key around her neck to the `` someone and thesomeplace '' she was `` lost from long ago '' . She tells the children that she must go find them again . UNDERSCORE continues .</scene_description> <character>ANYA</character> <dialogue>I have to go now, before it gets light.</dialogue> <character>GREGOR</character> <parenthetical>( worried . )</parenthetical> <dialogue>But what if we ca n't ever find where we came from?!</dialogue> <character>ANYA</character> <dialogue>Then you'll have to make your own home. Lots of people do.</dialogue> <scene_description>Anya embraces the children and walks to the window .</scene_description> <character>GREGOR</character> <parenthetical>( nervous , sad . )</parenthetical> <dialogue>Anya! What if we ca n't find anyone who loves us?!</dialogue> <character>ANYA</character> <dialogue>Then come find me.</dialogue> <scene_description>Gregor is relieved and cuddles into his bed as Anya smiles lovingly and crawls out the window .</scene_description> </scene> <scene> <stage_direction>EXT. ORPHANAGE - NIGHT</stage_direction> <scene_description>Anya begins to climb down the street , testing the knots . The knotshold tight , but the old sheet RIPS in half , sending her PLUMMETING into a snow drift . From the depths of the snow we HEAR her voice .</scene_description> <character>ANYA</character> <parenthetical>( O.C . )</parenthetical> <dialogue>I hope there's no snow in Paris.</dialogue> </scene> <scene> <stage_direction>EXT. HILLSIDE - DAWN</stage_direction> <scene_description>A glorious bright -LRB- and cold -RRB- dawn creeps over the horizon . Anya stands at edge of the hill , looking down on the city of ST.PETERSBURG . The old gray orphanage looms behind her . Anya `` borrows '' an old , beat - up bicycle from the orphanage and rides down the hill . Music picks up in energy and excitement as Anya zooms on her way bumping and bouncing downhill as the sunrises and St. Petersburg looms nearer . `` A SOMEONE AND A SOMEPLACE '' -LRB- CONT . -RRB- Music becomes UPTEMPO , HOPEFUL , ACTIVE , ACTIVE . Anya SINGS - full of hope , energy and excitement as she peddls her rickety bike toward the city . `` Her heart is on its way '' and nothing is going to stop her . Anya passes though the countryside toward the city . A peasant family waves to her as she goes by . A Gypsy Troupe performs tricks by the side of the road . A very fancy car zooms by . `` A SOMEONE AND A SOMEPLACE '' -LRB- CONT . -RRB- Anya SINGS , imagining who she might be - anyone from a peasant to a princess ! But it does n't matter as long as she finds her real family . People stare at her as she rides into the edge of the city . She is captivated by all the activity : cars , busses , stores , long lines of people , etc. `` A SOMEONE AND A SOMEPLACE '' -LRB- CONT . -RRB- Anya SINGS - in this sea faces , there must be someone who has a clue to her identity . She 'll stop at nothing to find the someone who once loved her . SOARING MUSICAL AND VOCAL CONCLUSION . END MUSICAL NUMBER Anya does not see a cute little PUPPY -LRB- MEETOO -RRB- with a HUGE BONE in his mouth , being chased along the sidewalk by a pack of much larger , vicious DOGS until he bolts across Anya 's path forcing her to skid to a stop . She watched him as he scoots into an alley , followed by the angry pack . On reflex , Anya drops the bike and reuns into the alley after him .</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY - DAY</stage_direction> <scene_description>Meetoo is trapped . The PACK surrounds him , ready to pounce when Anya LEAPS into the middle of the circle . The PACK is startled , but begins to advance on both Anya and Meetoo . Anya does n't know what to do . She crouches and then . growls back at them , making her eyes look as ferocious as possible . The PACK exchange a confused look ; there 's a girl growling at them . Meetoo stands , suddenly brave , behind her and growls along with her . Suddenly , Anya pounced toward the pack , growling louder . The pack has definately had enough - some start to back out quizzically , others turn and run like hell . Anya turns to Meetoo , who looks up at her gratefully , wagging his tail . Anya picks up the bone and puts it back in his mouth .</scene_description> <character>ANYA</character> <dialogue>I think you should be more careful about who you invite to dinner!</dialogue> <scene_description>Meetoo nods and lets out a little `` bark '' that sounds as if he were saying `` retu '' . Anya pats him and heads back to her bike .</scene_description> </scene> <scene> <stage_direction>EXT. ST. PETERSBURG STREET - DAY</stage_direction> <scene_description>Anya rides down the street . She does n't see Meetoo , running like a little maniac behind her . Anya approaches a STERN LOOKING BUILDING with a sign over the door : `` The People 's Bureau of Bureaucracy '' . She leaps off her bike and heads up the stais . Meetoo , breathing heavily from his run , follows and almost reaches her when the heavy door slams in his face . He slumps against it , panting , his little paw - to chest .</scene_description> </scene> <scene> <stage_direction>INT. BUREAU OF BUREAUCRACY - DAY</stage_direction> <scene_description>Anya enters and STOPS when she sees . LINES and LINES of people which seem to go on forever . She walks down the side of one line , trying to figure out which one to stand in .</scene_description> <character>ANYA</character> <dialogue>Could someone tell me.</dialogue> <character>PEASANT 1</character> <dialogue>End of the line!</dialogue> <character>ANYA</character> <dialogue>Which line?</dialogue> <character>PEASANT 2</character> <dialogue>Any line.</dialogue> <character>PEASANT 3</character> <dialogue>All lines are good lines.</dialogue> <character>PEASANT 1, 2, &amp; 3</character> <parenthetical>( in unison . )</parenthetical> <dialogue>In our beloved Soviet Union!</dialogue> <scene_description>They turn toward an armed Soviet Guard and smile sweetly , hoping he heard their flattery . He did .</scene_description> <character>GUARD</character> <dialogue>Very good.</dialogue> <scene_description>He jots something down in his notebook . ON ANYA as she gets closer to the window . She turns to the person behind her .</scene_description> <character>ANYA</character> <dialogue>Is this the right line to get papers to travel?</dialogue> <character>PEASANT 4</character> <dialogue>Travel? Travel to where?</dialogue> <character>ANYA</character> <dialogue>To Paris. I have to get to Paris</dialogue> <scene_description>PEASANT 5 , in front of her , turns around .</scene_description> <character>PEASANT 5</character> <dialogue>Paris?! What do they have in Paris that they do n't have here?</dialogue> <character>PEASANT 6</character> <dialogue>Shorter lines?!</dialogue> <scene_description>Peasant 6 is immediately carted off by TWO ARMED GUARDS for his blasphamy against the state .</scene_description> <character>PEASANT 7</character> <parenthetical>( quietly . )</parenthetical> <dialogue>Nobody leaves Soviet Russia.</dialogue> <scene_description>The OTHER PEASANTS join in with variations of `` Nobody leaves Russia '' as Anya reaches the window and speaks to the clerk .</scene_description> <character>ANYA</character> <dialogue>Is this where I get traveling papers?</dialogue> <character>CLERK</character> <dialogue>It would be if we let you travel which we do n't so it is n't.</dialogue> <parenthetical>( loudly , for all to hear . )</parenthetical> <dialogue>Russia is the people's paradise!</dialogue> <scene_description>And to further make his point , he slams shut his window , which immediately opens a crack as he whispers to Anya .</scene_description> <character>CLERK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>See Dmitri. He can help.</dialogue> <scene_description>He shuts the window , only to open it again immediately .</scene_description> <character>CLERK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>But you did n't hear it from me.</dialogue> <scene_description>He shuts the window .</scene_description> <character>ANYA</character> <parenthetical>( does n't get it . )</parenthetical> <dialogue>I did n't</dialogue> <scene_description>He opens it again .</scene_description> <character>CLERK</character> <dialogue>No.</dialogue> <scene_description>The clerk sticks out a sign : `` Samovar Break - back in ten minutes '' and slams the window shut .</scene_description> </scene> <scene> <stage_direction>EXT. BUREAU OF BUREAUCRACY</stage_direction> <scene_description>Anya steps out of the building , still not seeing Meetoo and looks around at the hoards of people waiting in lines for everything : bread , gas , clothes , etc. .</scene_description> <character>ANYA</character> <parenthetical>( to herself . )</parenthetical> <dialogue>Dmitri? There must be a million Dmitris.</dialogue> <scene_description>FOLLOW ANYA as she wades into the crowded street . Meetoo getting tangled in the legs of waiting Soviets . Anya stops suddenly . She sniffs the air . Her eyes widen as she recognizes the stench that is floating through the air . She spins around and sees Serebreakov DIRECTLY ACROSS THE STREET . Serebreakov is on a mission to find Anya . He turns in her direction just as a bus passes . Anya is gone . We now see Anya clinging to the side of the bus as it drives down the street . Meetoo looks , his face dropping - he knows he 'll never catch up to her now . Then he sees the bus hit a huge pothole and Anya is knocked off into the mud . Happily , Meetoo trots off in her direction . Anya approaches TWO PEASANTS who are waiting in line in front of a cafe .</scene_description> <character>PEASANT 9</character> <parenthetical>( to Peasant 10 . )</parenthetical> <dialogue>Which line is this?</dialogue> <character>PEASANT 10</character> <dialogue>The line to get into the line.</dialogue> <character>ANYA</character> <dialogue>Excuse me, do you know Dmitri.</dialogue> <character>PEASANT 9</character> <dialogue>I know nothing!</dialogue> <character>PEASANT 10</character> <dialogue>Nothing!</dialogue> <character>PEASANTS 9 &amp; 10</character> <parenthetical>( whispering simultaneously . )</parenthetical> <dialogue>Try the tavern / library.</dialogue> <scene_description>They begin to bicker back and forth in forced whispers as to wether Dmitri is at the tavern or the library . Exasperated , Anya walks away . They call after her .</scene_description> <character>PEASANTS9&amp; 10</character> <dialogue>But we did n't tell you!</dialogue> <scene_description>Anya rolls her eyes in frustration . She does n't see Meetoo at her feet .</scene_description> <character>ANYA</character> <parenthetical>( To herself . )</parenthetical> <dialogue>I wish they'd all stop telling me they did n't tell me!</dialogue> <scene_description>Meetoo gives a `` retu '' of agreement . Anya looks down and sees him .</scene_description> <character>ANYA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>What are you doing.</dialogue> <scene_description>Just then , she catches another whiff of something foul in the air . Anya duck quickly into a doorway and loses Meetoo . Anya peeks out . A GARBAGE WAGON full of dead fish and rotten food passes Anya . She sighs with relief , it was n't Serebreakov - it just smelled like him . Anya steps out of the doorway and approaches a STREET ARTIST sketching a LARGE PEASANT WOMAN as her TINY HUSBAND looks over his shoulder .</scene_description> <character>TINY HUSBAND</character> <parenthetical>( To Artist . )</parenthetical> <dialogue>Could you get rid of her moustache?</dialogue> <character>ANYA</character> <dialogue>Excuse me - I'm looking for a man named Dmitri.</dialogue> <scene_description>The Artist quickly scribbles and address on his pad and hands it to her without turning around .</scene_description> <character>ARTIST</character> <dialogue>But I did n't write it.</dialogue> <scene_description>Anya looks down at the note CLOSE ON NOTE `` St. Petersburg Art Theatre - 99 Pushkin Street '' DISSOLVE TO A SIGN `` Pushkin Street ''</scene_description> </scene> <scene> <stage_direction>EXT. ST. PETERSBURG ART THEATRE - DAY</stage_direction> <scene_description>Where WE HEAR a cacophony of FEMALE VOICES as the camera moves inside .</scene_description> </scene> <scene> <stage_direction>INT. ST. PETERSBURG ART THEATRE</stage_direction> <scene_description>The waiting room is filled with YOUNG WOMEN , of various shapes and sizes , holding reading aloud from a piece of paper . WE HEAR many variations of `` Oh , Grandmama ! It 's me , Anastasia . I 've waited so long to see you '' .</scene_description> </scene> <scene> <stage_direction>INT. STAGE</stage_direction> <scene_description>An ACTRESS stands in front of what looks to be an OLD WOMAN in a shawl who 's back is to the `` audience '' .</scene_description> <character>ACTRESS 1</character> <parenthetical>( over the top . )</parenthetical> <dialogue>Oh, Grandmama! It's me, Anastasia! I've waited so long to see you!</dialogue> <scene_description>The Actress then LUMBERS over to the OLD WOMAN , with a gait like John Wayne . REVERSE ANGLE to see the `` Old Woman '' is Vladimir , with a shawl over his head . He looks older , of course , but with the same dapper mustache . He rolls his eyes .</scene_description> <character>VLADIMIR</character> <parenthetical>( out to audience . )</parenthetical> <dialogue>Dmitri! I can not work with her!</dialogue> <parenthetical>( to Actress . )</parenthetical> <dialogue>May I remind you that you are supposed to be Princess - not a lazy lumbering lout!</dialogue> <scene_description>IN THE SEATS is Dmitri . Now 20 and darkly handsome . His hair still falling in his eyes as he flips it off his forehead .</scene_description> <character>DMITRI</character> <dialogue>Vladimir, calm down!</dialogue> <scene_description>Vladimir walks off the stage and toward Dmitri .</scene_description> <character>VLADIMIR</character> <dialogue>This, my friend, as an exercise in futility! We shall never find a girl to play the Princess Anastasia out of this motley crew of commoners!</dialogue> <scene_description>Vladimir dramatically throws one end of his shawl over his shoulder .</scene_description> <character>DMITRI</character> <dialogue>For a ten million rubles reward we can look a little longer. This is the big one. and all I need is the right girl.</dialogue> <scene_description>`` A SOMEONE AND A SOMEPLACE '' -LRB- REPRISE -LRB- Dmitri 's `` I want '' -RRB- Dmitri SINGS a reprise of Anya 's song , a COMIC VERSION , in which he expresses the hope that he can find the right girl for his scam . Anyone from a peasant to a princess will do , as long as she can fool Tatiana . -LRB- NOTE : We do n't want to give Dmitri a whole new song here or we 'll be too song - heavy in Act I. By giving him a short reprise of Anya 's song , we can effectively align these two characters emotionally . -RRB- of various aspirants :</scene_description> <character>ACTRESS 2</character> <parenthetical>( heavy hasal . )</parenthetical> <dialogue>Oh, Grandmama! It's me, Anastasia. I've waited so long to see you.</dialogue> <character>DMITRI</character> <parenthetical>( O.C . )</parenthetical> <dialogue>Next!</dialogue> <character>ACTRESS 3</character> <parenthetical>( stupid . )</parenthetical> <dialogue>Oh. Grandmama it's me. Anastasia, I have waited so long, too.</dialogue> <parenthetical>( as a good - bye . )</parenthetical> <dialogue>See you!</dialogue> <character>DMITRI</character> <parenthetical>( O.C . )</parenthetical> <dialogue>Next!</dialogue> <scene_description>ACTRESS 4 looks like a hooker and sounds like Mae West .</scene_description> <character>ACTRESS 4</character> <dialogue>Oh. Grandmama. It's me.</dialogue> <character>DMITRI</character> <parenthetical>( O.C . )</parenthetical> <dialogue>Next!</dialogue> <scene_description>BACK TO DMITRI</scene_description> <character>DMITRI</character> <dialogue>I would n't be on the outside anymore. The ten million rubles would make me welcome anywhere. I'd really belong somewhere - if I could just find the right girl.</dialogue> <scene_description>A very round ACTRESS 5</scene_description> <character>ACTRESS 5</character> <dialogue>Oh, Grandmama.</dialogue> <character>DMITRI</character> <parenthetical>( O.C . )</parenthetical> <dialogue>Next!</dialogue> <character>ACTRESS 6</character> <parenthetical>( very intense . )</parenthetical> <dialogue>What's my modivation?</dialogue> <scene_description>ON VLADIMIR</scene_description> <character>VLADIMIR</character> <parenthetical>( calling out to seats . )</parenthetical> <dialogue>Stanislavski!</dialogue> <scene_description>CUT TO STANISLAVSKI shrugs innocently .</scene_description> <character>DMITRI</character> <parenthetical>( O.C . )</parenthetical> <dialogue>Next!</dialogue> <scene_description>ACTRESS 7 is actually a man .</scene_description> <character>ACTRESS 7</character> <dialogue>Oh.</dialogue> <scene_description>ON DMITRI in a state of disbelief .</scene_description> <character>DMITRI</character> <dialogue>I've got ta find the right girl!</dialogue> <scene_description>END MUSICAL NUMBER</scene_description> <character>DMITRI</character> <dialogue>Next.</dialogue> </scene> <scene> <stage_direction>EXT. ST. PETERSBURG ART THEATRE</stage_direction> <scene_description>Anya rides up to front of the theatre and drops her bike . She rushes the steps .</scene_description> </scene> <scene> <stage_direction>INT. THEATRE</stage_direction> <scene_description>now empty as Dmitri and Vladimir are gathering up their things to leave . Vladimir still wears the remnants of the evening clothes that he worein the first scene .</scene_description> <character>VLADIMIR</character> <dialogue>It's no use, Dmitri - we'll never find the right girl!</dialogue> <character>DMITRI</character> <dialogue>We will. We have to.</dialogue> <parenthetical>( trying to cheer him up . )</parenthetical> <dialogue>Come on, Vlad - she's out there.</dialogue> <scene_description>They walk out the door .</scene_description> </scene> <scene> <stage_direction>EXT. ST. PETERSBURG ART THEATRE - CONTINUOUS</stage_direction> <character>DMITRI</character> <dialogue>She could be right under our nose</dialogue> <scene_description>Anya is running up the stairs as Dmitri walks out and they COLLIDE : her forehead banging Dmitri literally under his nose . Dmitri grabs his upper lip in pain .</scene_description> <character>DMITRI</character> <parenthetical>( over reacting . )</parenthetical> <dialogue>Ouch! That really hurt!</dialogue> <character>ANYA</character> <dialogue>I'm sorry. I'm.</dialogue> <character>DMITRI</character> <dialogue /> <scene_description>That 's quite a hard head you 've got there , boy . In her old hand - me - down boys clothes andhat pulled low , she could easily be mistaken for a boy .</scene_description> <character>ANYA</character> <parenthetical>( breathless . )</parenthetical> <dialogue>I'm looking for Dmitri. I need traveling papers - to Paris. I heard Dmitri could help me.</dialogue> <scene_description>Vladimir and Dmitri exchange a look . wary . Dmitri looks around and motions to Vladimir to handle it while he walks ahead nonchalantly .</scene_description> <character>VLADIMIR</character> <dialogue>Who did you hear it from?</dialogue> <character>ANYA</character> <dialogue>I heard it from everyone who said I did n't hear it from them! Do you know Dmitri?</dialogue> <scene_description>Dmitri keeps walking ahead followed by Vladimir . Anya is determined not to give up and keeps up with Vladimir even though she keeps getting bumped and pulled off track by people walking in the opposite direction .</scene_description> <character>VLADIMIR</character> <parenthetical>( loudly , acting . )</parenthetical> <dialogue>Providing travel papers is illeagal!</dialogue> <parenthetical>( then , quietly . )</parenthetical> <dialogue>I know Dmitri well - perhaps I can help you. Providded you have enough money to pay for this service.</dialogue> <character>ANYA</character> <dialogue>Well, I do n't have any money.</dialogue> <character>VLADIMIR</character> <dialogue>Good day!</dialogue> <scene_description>Vladimir pats her on the head and walks away .</scene_description> <character>ANYA</character> <dialogue>I have a bike! Perhaps I could sell it and.</dialogue> <scene_description>Vladimir keeps walking , catching up to Dmitri . Anya runs back around to the front of the building where she left her bike . She stops suddenly when she realizes that there is no bicycle there anymore - just Meetoo .</scene_description> <character>ANYA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>What are you doing here? And where's my bike?</dialogue> <scene_description>A POLICEMAN strolls by .</scene_description> <character>ANYA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Officer! My bike has been stolen!</dialogue> <character>POLICEMAN</character> <dialogue>Nonsense. There is no crime in the Soviet Socialist Republic.</dialogue> <scene_description>And he keeps walking . Anya realizes that there is no hope in pursuing the policeman so she heads off to find Vladimir - who has vanished down the street . Meetoo starts to follow her .</scene_description> <character>ANYA</character> <dialogue>Sorry, boy, I have to go.</dialogue> <scene_description>Meetoo barks `` retu '' and starts after her .</scene_description> <character>ANYA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>No. You ca n't come with me. I'm leaving.</dialogue> <scene_description>Meetoo barks his `` retu '' and starts after her again .</scene_description> <character>ANYA</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( laughing . )</parenthetical> <dialogue>It sounds like you're saying `` me too''. Listen little guy, I have money, no food. and no bicycle. I'm the last person you should be following!</dialogue> <scene_description>Anya pats him on the head and heads off in the direction of Vlad and Dmitri . Meetoo , of course , follows her . FURTHER DOWN THE STREET Anya spots Vladimir and Dmitri turning the corner in the distance . Anya runs , trying to catch up with them . She turns the corner and STOPS . ANYA 'S POV the PALACE in the distance , only now it 's run down , boarded up and partially burned . Anya is taken back . She stares , fascinated by it - moved by it . As the sun sets behind the Palace , it 's bathed in a beautiful golden light .</scene_description> </scene> <scene> <stage_direction>INT. PALACE BEDROOM - NIGHT</stage_direction> <scene_description>CLOSE on a roaring fire , over which Vladimir has fasioned a roatating `` spit '' which is propelled by a Victrola . Vladimir is carefully basting the only thing on the spit : a head of cabbage . Dmitri is sitting by the window , staring at the MUSIC BOX that Anastasia dropped the night of the revolution .</scene_description> <character>VLADIMIR</character> <dialogue>even if we find her, what makes you think the Empress will even see us?</dialogue> <scene_description>Dmitri holds up the music box .</scene_description> <character>DMITRI</character> <dialogue>She'll see us.</dialogue> </scene> <scene> <stage_direction>EXT. PALACE AT ST. PETERSBURG - NIGHT</stage_direction> <scene_description>Anya approaches , tentative and glancing around . She tries to open the door but it wo n't budge , so she moves to a boarded up window . She looks through a crack in a board .</scene_description> </scene> <scene> <stage_direction>INT. BALLROOM</stage_direction> <scene_description>Dark and eerie . All of it 's former glory destroyed . CAMERA RISES to a partially destroyed CHANDLIER ehere we see BARTOK , the bat who was with Rasputin . He hangs upside down next to a FEMALE BAT . He clears his throat - she does n't respond . Using his wings , he gives his `` hair : a quick grooming .</scene_description> <character>BARTOK</character> <dialogue>You, uhh. hang here often?</dialogue> <parenthetical>( laughs nervously . )</parenthetical> <dialogue>`` Hang'' get it? I said `` hang'' and we're both, you know, cause we're bats. and, uhhh. what's your sign?</dialogue> <scene_description>No reaction from FEMALE BAT .</scene_description> </scene> <scene> <stage_direction>EXT. PALACE</stage_direction> <scene_description>Anya uses a stick to pry off some of the window boards . We HEAR a crack .</scene_description> </scene> <scene> <stage_direction>INT. PALACE BEDROOM</stage_direction> <scene_description>SAME CRACK noises from downstairs just as Vladimir 's cabbage falls from the spit into the fire .</scene_description> <character>DMITRI</character> <parenthetical>( off noise . )</parenthetical> <dialogue>What was that?</dialogue> <character>VLADIMIR</character> <dialogue>That was your dinner! I do hope there is no cabbage in Paris!</dialogue> </scene> <scene> <stage_direction>INT. BALLROOM</stage_direction> <character>BARTOK</character> <dialogue>Whatta' ya say we go somewhere - maybe get a bug to eat. Get it? A `` bug'' to eat,'cause we're.</dialogue> <scene_description>FEMALE BAT rolls her eyes in disgust and flaps away .</scene_description> <character>BARTOK</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( one last try . )</parenthetical> <dialogue>I'm a Gemini.</dialogue> <scene_description>He hears the SOUND of boards being torn off the window . BARTOK 'S HIGH ANGLE POV Anya climbs into the ballroom .</scene_description> </scene> <scene> <stage_direction>INT. SMALL ROOM</stage_direction> <scene_description>Meetoo manages to wiggle in after her and follows Anya as she wanders around , spell bound by the faded glory of the palace .</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM</stage_direction> <scene_description>Anya wanders into the partially destroyed room and bends down to inspect half of a broken plate that 's lying on the floor . The instant she touches it , she pulls her hand away as if SHOCKED . Recovering , she picks it up . CLOSE ON PLATE painted with decorative dancing Russian bears . Anya wanders out of the room and to the top of a HUGE STAIRCASE which leads down to the once grand BALLROOM . She stops at a large landing half way down the steps . Meetoo sees a large curtain hanging precariously on the side wall . Being a puppy he ca n't resist leaping and grabbing at it with his teeth . Anya notices and runs her hand along a the carved butterflies in the worn banister . ON ANYA who jumps , startled , as Meetoo pulls the curtain and it hits the floor .</scene_description> </scene> <scene> <stage_direction>INT. PALACE BEDROOM</stage_direction> <scene_description>Dmitri and Vladimir look up from their burnt cabbage . They heard it too .</scene_description> </scene> <scene> <stage_direction>INT. STAIRCASE (BALLROOM)</stage_direction> <scene_description>Anya is relieved to see it is only Meetoo , who wags his tail happily with the curtain still in his mouth .</scene_description> <character>ANYA</character> <dialogue>What are you do.</dialogue> <scene_description>Anya STOPS mid sentence , taken by what she sees . ANYA 'S POV Behind the curtain was the FRIEZE of the ROMANOV FAMILY . The moonlight hits the portrait with a ghostly glow . `` ONCE UPON A DECEMBER '' -LRB- THE MUSIC BOX THEME -RRB- Anya is mesmerized by the FRIEZE . She looks around the Ballroom . almost remembering something .</scene_description> <character>ANYA</character> <parenthetical>( singing . )</parenthetical> <dialogue>DANCING BEARS, PAINTED WINGS THINGS I ALMOST REMEMBER. AND A SONG SOMEONE SINGS ONCE UPON A DECEMBER</dialogue> <scene_description>As she sings the ballroom transform into it 's once spledid glory . Anya takes off her coat and at once her rags are transformed into a beautiful gown . NICHOLAS steps down from the FRIEZE and walks her down the stairs gracefully and begins a waltz with her .</scene_description> <character>ANYA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>SOMEONE HOLDS ME SAFE AND WARM HORSES PRANCE THROUGH A SILVER STORM FIGURES DANCING GRACEFULLY ACROSS MY MEMORY.</dialogue> <scene_description>MUSIC BUILDS . A CHORUS of voices sing the melody as royal ghosts appear as elegant and beautiful as in the opening scene . Then</scene_description> <character>ANYA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>SOMEONE HOLDS ME SAFE AND WARM HORSES PRANCE THROUGH A SILVER STORM FIGURES DANCING GRACEFULLY ACROSS MY MEMORY.</dialogue> <scene_description>MUSIC : FULL ! Dmitri and Vladimir appear at the top of the stairs . DMITRI &amp; VLADIMIR 'S POV some ragged lunatic dancing with `` himself '' .</scene_description> <character>ANYA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>FAR AWAY, LONG AGO GLOWING DIM AS AN EMBER, THINGS MY HEART USED TO KNOW THINGS IT YEARNS TO REMEMBER</dialogue> <scene_description>Anya is released from Nicholas ' embrace . He kisses her on the forehead and slowly backs away . She follows Nicholas , back up the stairs to the landing , where the sun has caused a `` dust '' mist . Then , magically , TATIANA appears through the mist , a loving beautiful vision from the past .</scene_description> <character>ANYA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>AND A SONG SOMEONE SINGS ONCE UPON A DECEMBER.</dialogue> <character>DMITRI</character> <parenthetical>( O.C . )</parenthetical> <parenthetical>( yelling . )</parenthetical> <dialogue>Who are you?!</dialogue> <scene_description>END NUMBER Dmitri 's voice causes the visage to disintegrate . All goes back to the way it was - dark and destroyed . Anya spins toward Dmitri , surprised and frightened . DMITRI 'S POV Anya is caught in a ray of moonlight , directly in front of the image of Anastasia in the frieze . The resemblance is striking . Dmitri is taken aback , but Vladimir is unaffected .</scene_description> <character>VLADIMIR</character> <dialogue>You're trespassing, boy!</dialogue> <scene_description>Anya is dazed by what has just happened to her and ca n't quite refocus on reality .</scene_description> <character>ANYA</character> <dialogue>I. I. spoke to you earlier about traveling paper.</dialogue> <scene_description>Dmitri pokes Vladimir with his elbow but does n't take his eyes off Anya .</scene_description> <character>DMITRI</character> <parenthetical>( whispering to Vlad . )</parenthetical> <dialogue>It's her.</dialogue> <character>VLADIMIR</character> <dialogue>He's her?</dialogue> <character>DMITRI</character> <dialogue>Look!</dialogue> <scene_description>Vladimir looks at Anya again and get it .</scene_description> <character>ANYA</character> <dialogue>Are you Dmitri? I did n't mean to trespass - I do n't want to do anything dishonest, but if you could just help help me.</dialogue> <scene_description>Vladimir and Dmitri walk down the stairs and up her stairs and begin to circle around her .</scene_description> <character>VLADIMIR</character> <dialogue>Perhaps you heard of our brilliant plan to find a girl and.</dialogue> <scene_description>Dmitri pokes him hard in the ribs and shakes his head .</scene_description> <character>DMITRI</character> <parenthetical>( quietly to Vlad . )</parenthetical> <dialogue>She does n't want to do anything `` dishonest''.</dialogue> <character>VLADIMIR</character> <parenthetical>( gets it , whispers . )</parenthetical> <dialogue>Ew. the honest type.</dialogue> <scene_description>Dmitri gives Vlad a `` let me handle this '' gestures .</scene_description> <character>DMITRI</character> <parenthetical>( off frieze . )</parenthetical> <dialogue>You look like her. Like the Princess Anastasia. Has anyone ever told you that before?</dialogue> <scene_description>Anya is coming back to her senses , does n't like these men circling her .</scene_description> <character>ANYA</character> <parenthetical>( sarcastic . )</parenthetical> <dialogue>Oh, yeah - in the orphanage they constantly told me I looked like a princess! Stop that!</dialogue> <scene_description>Dmitri stops circling and then begins to use everything that Anya says - the perfect and charming con man that he is - to get what he wants .</scene_description> <character>DMITRI</character> <dialogue>People say Anastasia was the only member of the Royal Family to escape alive. That makes her an orphan too.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>What happened to your parents?</dialogue> <character>ANYA</character> <dialogue>I do n't know - I do n't remember anything that happened before the revolution.</dialogue> <character>DMITRI</character> <dialogue>You know, it's strange - Anastasia's grandmother, the Dowager Empress Tatiana has been looking for Anastasia since the revolution. Why do you think she would n't go to her own grandmother?</dialogue> <character>ANYA</character> <dialogue>I do n't know. I do n't see what this has to do with me.</dialogue> <character>DMITRI</character> <dialogue>Perhaps it's because she has amnesia too - ca n't remember.</dialogue> <character>VLADIMIR</character> <dialogue>How much do you weigh?</dialogue> <scene_description>Dmitri pokes him again .</scene_description> <character>VLADIMIR</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( to Dmitri . )</parenthetical> <dialogue>I was just wondering since we already have the dress.</dialogue> <character>ANYA</character> <dialogue>Look, I came here to get papers to travel to Paris and.</dialogue> <character>DMITRI</character> <dialogue>Why do you want to go to Paris?</dialogue> <character>ANYA</character> <parenthetical>( defiant . )</parenthetical> <dialogue>I have my reasons.</dialogue> <character>DMITRI</character> <dialogue>Anastasia's grandmother is in Paris. We're going to bring Anastasia to her - in Paris.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>And I think you are the Princess Anastasia.</dialogue> <scene_description>Anya laughs . Vlad mouths to Dmitri `` Do you think she 's really Anastasia ? '' Dmitri shakes his head no , of course not , then continues with Anya . Vlad smiles to himself and walks down the stairs - Dmitri 's so good even he got confused !</scene_description> <character>DMITRI</character> <parenthetical>( CO N'T . )</parenthetical> <dialogue>You never thought of the possibility?</dialogue> <character>ANYA</character> <dialogue>Look - there is n't an orphan in the world who does n't dream she's a princess but, come on. Look at me!</dialogue> <scene_description>Dmitri spins spins around , dramatically pointing to Anastasia 's image in the freeze .</scene_description> <character>DMITRI</character> <dialogue>NO! YOU LOOK AT HER! LOOK AT HER!</dialogue> <parenthetical>( beat , then softly . )</parenthetical> <dialogue>It could be you.</dialogue> <scene_description>UNDERSCORE : `` THE MUSIC BOX THEME '' Anya fiddles with the key around her neck and looks down at the ballroom , remembering what just happened there - could it have been a memory . Dmitri tries to act casual as he turns and starts walking down the stairs .</scene_description> <character>DMITRI</character> <parenthetical>( CONT . )</parenthetical> <dialogue>You do n't have anything to lose. If I am wrong - the Empress will simply tell us you are n't Anastasia and we'll be on our way. No harm done - an honest mistake - but at least you will be in Paris.</dialogue> <scene_description>Anya touches Anastasia 's painted hand in the frieze .</scene_description> <character>ANYA</character> <parenthetical>( singing in a whisper . )</parenthetical> <dialogue>THINGS MY HEART USED TO KNOW THINGS IT YEARNS TO REMEMBER.</dialogue> <scene_description>Dmitri looks at Anya , her back toward him , as he raises his arm to her .</scene_description> <character>DMITRI</character> <dialogue>Find out the truth - come to Paris with us.</dialogue> <scene_description>Anya expression registers her internal debate . What is it 's true . It coud n't be . but if . Then ,</scene_description> <character>ANYA</character> <dialogue>All right. I will go with you.</dialogue> <scene_description>Meetoo let 's out his `` retu '' . Vladimir lets out a whoop of joy . Dmitri smiles and bows to Anya .</scene_description> <character>DMITRI</character> <dialogue>The Her Royal Highness Princess Anastasia!</dialogue> <scene_description>ON BARTOK having watched the whole thing - he sighs .</scene_description> <character>BARTOK</character> <dialogue>Oy. he's gon na be so mad.</dialogue> <scene_description>Bartok flies out a broken window and into the night .</scene_description> </scene> <scene> <stage_direction>EXT. AERIAL VIEW OF ST. PETERSBURG - NIGHT</stage_direction> <scene_description>BARTOK 'S POV The city lights fade and we move into the blackness of the Russian forest . Finally , in the distance , we see the orange glow of a fire .</scene_description> </scene> <scene> <stage_direction>EXT. GYPSY CAMP - NIGHT</stage_direction> <scene_description>Bartok swoops along the wagons . Everyone looks to be asleep . Bartok keeps flying until he sees an OMINOUS LOOKING BLACK WAGON , the largest and most elaborate . Bartok screws up his courage and flies into the open window of the BLACK WAGON</scene_description> <character>ANYA</character> <parenthetical>( singing in a whisper . )</parenthetical> <dialogue>THINGS MY HEART USED TO KNOW THINGS IT YEARNS TO REMEMBER.</dialogue> <scene_description>Dmitri looks at Anya , her back toward him , as he raises his arm to her .</scene_description> <character>DMITRI</character> <dialogue>Find out the truth - come to Paris with us.</dialogue> <scene_description>Anya expression registers her internal debate . What if it 's true . It could n't be . but if . Then ,</scene_description> <character>ANYA</character> <dialogue>All right. I will go with you.</dialogue> <scene_description>Meetoo lets out his `` retu '' . Vladimir lets out a whoop of joy . Dmitri smiles and bows to Anya .</scene_description> <character>DMITRI</character> <dialogue>The Her Royal Highness Princess Anastasia!</dialogue> <scene_description>ON BARTOK having watched the whole thing - he sighs .</scene_description> <character>BARTOK</character> <dialogue>Oy. he's gon na be so mad.</dialogue> <scene_description>Bartok flies out a broken window and into the night .</scene_description> </scene> <scene> <stage_direction>EXT. AERIAL VIEW OF ST. PETERSBURG - NIGHT</stage_direction> <scene_description>BARTOK 'S POV The city lights fade and we move into the blackness of the Russian forest . Finally , in the distance . we see the orange glow of a fire .</scene_description> </scene> <scene> <stage_direction>EXT. GYPSY CAMP - NIGHT</stage_direction> <scene_description>Bartok swoops along the wagons . Everyone looks to be asleep . Bartok keeps flying until he sees an ONIOUS LOOKING BLACK WAGON , the largest and most elaborate . Bartok screws up his courage and flies into the open window of the BLACK WAGON .</scene_description> </scene> <scene> <stage_direction>INT. RASPUTIN'S WAGON</stage_direction> <scene_description>A lone candle lights the dark wagon . A frightened Bartok , stays on the window sill .</scene_description> <character>BARTOK</character> <dialogue>Ummm. Father Gregori? It's, uhh. me. Bartok.</dialogue> <parenthetical>( a sign of relief . )</parenthetical> <dialogue>Phew! Not home.</dialogue> <scene_description>Rasputin 's face suddenly ROARS into FRAME from the bed below , his eyes fiery red and his beard wild .</scene_description> <character>RASPUTIN</character> <dialogue>What?</dialogue> <character>BARTOK</character> <dialogue>Oh my God!</dialogue> <parenthetical>( wing to chest . )</parenthetical> <dialogue>Do n't do that. feel my heart. Go ahead. I'm dying here.</dialogue> <character>RASPUTIN</character> <parenthetical>( smiling . )</parenthetical> <dialogue>And what do you want, my little rat - with - wings?</dialogue> <scene_description>Rasputin rises and pours himself a glass of vodka .</scene_description> <character>BARTOK</character> <dialogue>Name calling! That's mature.</dialogue> <scene_description>Rasputin grabs him by the throat .</scene_description> <character>RASPUTIN</character> <dialogue>I gave you that tongue and I can rip it out!</dialogue> <character>BARTOK</character> <parenthetical>( strangled . )</parenthetical> <dialogue>No, I really like my tongue. we're very attached.</dialogue> <parenthetical>( rasputin releases him . )</parenthetical> <dialogue>Oyyyy. Okay, now. promise you wo n't get angry.</dialogue> <character>RASPUTIN</character> <parenthetical>( sweetly . )</parenthetical> <dialogue>Why would I ever be angry with you, little friend?</dialogue> <character>BARTOK</character> <dialogue>Yeah, right. Keep that thought okay? So, I'm in town, stop by the old palace. You get a better class of bats there - no tattoos or anything.</dialogue> <scene_description>Rasputin rummages around for a full bottle of vodka , tossing the empties - which Bartok has to dodge .</scene_description> <character>BARTOK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>So, I'm cruisin' the rafters and. what can I say, I struck out. I thought chicks would like the fact that I can talk, you know but, I mean, the way things are going I could n't get invited to a plague.</dialogue> <parenthetical>( a bottle smashes . )</parenthetical> <dialogue>Someone's got ta clean that up.</dialogue> <character>RASPUTIN</character> <dialogue>Get to the point sometime tonight. I'm late for a wenching.</dialogue> <character>BARTOK</character> <dialogue>Okay. you're not gon na like this but, well, it looks like Anastasia is. still alive.</dialogue> <scene_description>He tenses , waiting for Rasputin 's explosion but Rasputin just laughs .</scene_description> <character>RASPUTIN</character> <dialogue>Impossible. That rumor's been around for years.</dialogue> <scene_description>Bartok hovers face - to - face .</scene_description> <character>BARTOK</character> <dialogue>Trust me, it's her!</dialogue> <character>RASPUTIN</character> <parenthetical>( eyes narrowing . )</parenthetical> <dialogue>How do you know?</dialogue> <character>BARTOK</character> <dialogue>Rodent's intuition, how do I know? She looks exactly like her. Except she's taller, which is natural. Of course my second cousin Treplev - he never grew. Looks like a little pepper shaker. He was so cute.</dialogue> <scene_description>Rasputin begins a slow growl that builds .</scene_description> <character>BARTOK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Oyyy. I knew this was gon na to upset him!</dialogue> <scene_description>Rasputin howls in anger and smashes his glass against the wall . He moves toward the CABINET , knocking over furniture . Rasputin flings open the cabinet and we see the RELIQUARY , glowing gently as if it were sleeping . Bartok covers his eyes in fear . Even Rasputin seem a bit nervous in front of it .</scene_description> <character>RASPUTIN</character> <parenthetical>( with reverence . )</parenthetical> <dialogue>Source of my power. Owner of my soul. I need your help.</dialogue> <scene_description>Rasputin takes the RELIQUARY out of the cabinet and sets it on the table .</scene_description> <character>BARTOK</character> <dialogue>Hey, she's just a kid. And she's going to Paris outta sight, outta mind, outta Russia.</dialogue> <character>RASPUTIN</character> <dialogue>I cursed then all!</dialogue> <character>BARTOK</character> <dialogue>My Aunt Bella, sweet woman not the brightest bat in the world - she used to hang right side up, anyway she always said `` Curses were made to be broken''. Course, she said it in those irritating little bat squeaks, so it was n't quite so profound.</dialogue> <scene_description>Rasputin pulls out a set of RUSSIAN DOLLS -LRB- a small painted . hollow doll with a smaller doll inside it , and a smaller doll inside it , etc. -RRB- The first doll bears an eerie resemblance to Nicholas . Inside the second looks like Alexandra , all the way down to the ANASTASIA doll . `` THE END OF THE LINE '' -LRB- PRODUCTION NUMBER -RRB- Rasputin will have a DARK , MENACING , DELICIOUSLY SCARY NUMBER in whIch he SINGS of his obsession with killing the Romanovs once and for all . Bartok will interject comically throughouut . as Rasputin will conjure up tLis minions from the iquary and sing about Romanovs FINALE , he sends them off after Anya .</scene_description> <character>RASPUTIN</character> <dialogue>The Romanovs tried to kill me and I swore to destroy all of them! If she lives, if she should have a child someday, the Romanov Family continues! And I wo n't lot that happen! THIS IS THE END OF THE LINE!</dialogue> <scene_description>He crushes the Anastasia doll in his massive hand .</scene_description> <character>BARTOK</character> <dialogue>You know, this is really obsessive behavior. There is this doctor this doctor in Austria, Sigmund something and he feels.</dialogue> <scene_description>Bartok land on the table while be 's talking and his wing accidently knocks the RELIQUARY on its side and it begins to roll .</scene_description> <character>RASPUTIN</character> <dialogue>YOU IDIOT</dialogue> <scene_description>Rasputin makes a sad leap , grabbing it seconds before it shatters on the floor . Rasputin holds it up . The smokey SPIRITS inside swirl around , moaning .</scene_description> <character>RASPUTIN</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( to Reliquary . )</parenthetical> <dialogue>Yesses - you'd all like to get out, wouldn' t you? Sorry just one at a time and only when I call.</dialogue> <scene_description>Rasputin spins an Bartok , who Us been slinki away , and slams a goblet over his . BARTOK 'S POV From under the glass , Rasputin looks distorted and even more horrifying .</scene_description> <character>RASPUTIN</character> <parenthetical>( to Bartok . )</parenthetical> <dialogue>Do you have any idea what would happen if that broke?!</dialogue> <character>BARTOK</character> <parenthetical>( voice under glass . )</parenthetical> <dialogue>You'd lose your security deposit?</dialogue> <character>RASPUTIN</character> <parenthetical>( waving reliquary . )</parenthetical> <dialogue>Evil, powerful beings - I have their power only if I contain them, control them. If they should all be released at once. well.</dialogue> <scene_description>Rasputin smiles with his horrible yellow , decayed teeth , and lifts the glass an if to whisper in Bartok , a ear .</scene_description> <character>RASPUTIN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>YOU DO N'T WANT TO BE AROUND IF THAT HAPPENS!</dialogue> <scene_description>The volume of Rasputin 's voice rattles Bartok around the inside of the glass . Rasputin focuses on the RELIQUARY .</scene_description> <character>RASPUTIN</character> <parenthetical>( CO N'T . )</parenthetical> <parenthetical>( to reliquary . )</parenthetical> <dialogue>Where is she? Where is Princess Anastasia.</dialogue> <scene_description>Inside the reliquary the awoke begins to mow Suddenly , the smoke EXPLODES in a burst and forms into the smoke from a train engine . As the reliquary picture broadens , we see a train and Anya , Dmitri and Vladimir all hurrying to catch it .</scene_description> <character>RASPUTIN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>She has friends. No matter.</dialogue> <scene_description>Bartok looks desperate under glass . He trios to topple the glass prism by jumping up but just cooks his head .</scene_description> <character>BARTOK</character> <dialogue>Ohhh, that was dumb.</dialogue> <character>BARTOK</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( calling to Rasputin . )</parenthetical> <dialogue>Hello, I've get really terrible claustrophobia. That's why I could never live in a cave.</dialogue> <scene_description>Rasputin gives his attention only to the reliquary .</scene_description> <character>RASPUTIN</character> <dialogue>Finish my prophecy.</dialogue> <scene_description>Smoke begins to pour out of the reliquary . asput almost giddy with the thought of finishing ambition , laughs hysterically .</scene_description> <character>BARTOK</character> <dialogue>Ew, I hate when he does this!</dialogue> <scene_description>As Rasputin swirls his arms the smoke begins to form into MINIONS . All look human at first , but then we see MINION ONE , has the body of a human and a head of a JACKAL , MINION TWO has the face of a woman and the claws of a TIGER , and MINION - the most horrible of all - has a huge bear - like body with the head of a VULTURE . All wear long capes with hoods .</scene_description> <character>RASPUTIN</character> <dialogue>She is not to get off that train. alive!</dialogue> <scene_description>Rasputin kicks open the wagon door and leaps outside . The MINIONS , still filling out into forms , follow . One of the wisps of smoke , like a tail , swishes by and knocks over Bartok 's glass prism , freeing his .</scene_description> </scene> <scene> <stage_direction>EXT. GYPSY CAMP - NIGHT</stage_direction> <scene_description>Rasputin releases his BLACK HORSES who stoup - and whinny , men ing something bad , as two Minions float on to them the other flies ahead of than .</scene_description> <character>RASPUTIN</character> <dialogue>Go! I do n't care what you do with the others but finish the girl! KILLLLL HERRRRR!</dialogue> <parenthetical>( sinister . )</parenthetical> <dialogue>And have fun.</dialogue> <scene_description>The Minions take off . Rasputin laughs wildy . END MUSICAL NUMBER</scene_description> </scene> <scene> <stage_direction>INT. TATIANA'S STUDY, PARIS - DAY</stage_direction> <scene_description>CLOSE ON TATIANA 'S HANDS covering her face . Slowly dropping her hands down to reveal an older , sad TATIANA .</scene_description> <character>TATIANA</character> <dialogue>Take her away, Sophie.</dialogue> <scene_description>PULL BACK to reveal a YOUNG WOMAN standing in front of bar desk .</scene_description> <character>TATIANA</character> <dialogue>Have n't anything better to do than to break my heart.</dialogue> <scene_description>Sophie ushers the now ashamed YOUNG WOMAN to the door . The YOUNG WOMAN looks amazing like Anya except that her hair is long and her clothes are now . She walks with a certain regal grace until she passes through the doorway - out of Tatiana 's sight - and her posture `` question - marks '' and she lopes out .</scene_description> <character>TATIANA</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( quietly . )</parenthetical> <dialogue>No more. So more.</dialogue> <scene_description>Sophie . heavier and larger bottomed than ten years earlier , speaks quickly - without ev er breathing , in a high pitched nervous chitter .</scene_description> <character>SOPHIE</character> <parenthetical>( very rapidly . )</parenthetical> <dialogue>Oh, oh. I must say. I thought that one was bar - i'm just so shocked that she was n't real well, she was real, I mean she was human, of course. but not our real. I must say, even my sisters were touched by her yes - yes they were.</dialogue> <scene_description>XENIA and ESTELLE , as pinched and skinny as Sophie in `` full '' , do n't appear to ever have been `` touched '' by anything -LRB- or anyone -RRB- .</scene_description> <character>SOPHIE</character> <parenthetical>( CONT . )</parenthetical> <dialogue>moved to tears of joy! We wo n't be f ooled next time, girls! I'm a going to think of really hard questions.</dialogue> <character>TATIANA</character> <parenthetical>( stopping Sophie with a raise of her hand . )</parenthetical> <dialogue>No, Sophie. My heart ca n't take it anymore! I will see no more girls claiming to be Anastasia.</dialogue> <scene_description>Tatiana walks sadly out of the room .</scene_description> </scene> <scene> <stage_direction>EXT. TRAM STATION - MORNING</stage_direction> <scene_description>Anya and Metoo doze near a fire along with the other PEASANTS waiting for the train . Dmitri looks over Vladimir 's shoulder nervously watching his forging their travel papers .</scene_description> <character>DMITRI</character> <dialogue>Hurry up with those papers.</dialogue> <character>VLADIMIR</character> <dialogue>Would you have leaned over Rembrant's shoulder and told him to paint faster?</dialogue> <scene_description>Vladimir looks at Dmitri 's anxious face .</scene_description> <character>VLADIMIR</character> <parenthetical>( CONT . )</parenthetical> <dialogue>You probably would.</dialogue> <parenthetical>( hands his the papers . )</parenthetical> <dialogue>They're still wet.</dialogue> <scene_description>A TRAIN WHISTLE SLOWS and Vlad Moves to Anya .</scene_description> <character>VLADIMIR</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Wake up, young lady, that's our train.</dialogue> <character>DMITRI</character> <parenthetical>( correcting . )</parenthetical> <dialogue>`` Wake up, your highness'' - we should start getting used to saying it.</dialogue> <character>VLADIMIR</character> <dialogue>What a world - a man who was in my position in society is calling a peasant ` Your Highness''.</dialogue> <scene_description>Dmitri leans over and tugs Anya 's hair lightly .</scene_description> <character>DMITRI</character> <parenthetical>( to Anya . )</parenthetical> <dialogue>Wake up!</dialogue> <scene_description>Anya 's eyes flash open and - totally on reflex - she belts Dmitri in the nose . Ditri reels back , lands on his butt - Vladimir observes ruefully .</scene_description> <character>VLADIMER</character> <dialogue>We have a lot of work to do.</dialogue> </scene> <scene> <stage_direction>EXT. TRAIN PLATFORM - SECONDS LATER</stage_direction> <scene_description>Vladimir , using his ample belly , bumps people out of the way as they head for the train . Vlad climbs on just as it starts up , followed by Dmitri . Dmitri turns back and reaches out his hand to help Anya up . But she freezes . just STANDS THERE , not running . ANYA 'S POV</scene_description> <character>DMITRI</character> <dialogue>Come on!</dialogue> <scene_description>Dmitri on the train , his band extended - just like Tatiana 's was . Although Anya ca n't quite remember , something about this terrifies bar . She snaps out of it when Meetoo nips her ankle . Anya looks down and sees the puppy , picks his up and runs for the train .</scene_description> <character>DMITRI</character> <dialogue>Take my hand!</dialogue> <scene_description>Anya puts Meetoo into his hands and Jumps on without touching his .</scene_description> </scene> <scene> <stage_direction>INT. TRAIN COMPARTMENT</stage_direction> <scene_description>The compartment is JAMMED with travelers . Suitcases and packages balanced precariously . Dmitri sits down and carefully touches his painful noso .</scene_description> <character>DMITRI</character> <dialogue>Do you always punch people first thing in the morning?</dialogue> <character>ANYA</character> <dialogue>Sorry - it's a reflex. Living in an orphanage if someone bothers you - you automatically come up swinging.</dialogue> <character>DMITRI</character> <dialogue>I was n't bothering you. I was trying to wake you up!</dialogue> <scene_description>OVER ANYA 'S SHOULDER , out of the window . we see the THREE MINIONS on horseback charging down a snow covered hill toward the train .</scene_description> <character>ANYA</character> <dialogue>By pulling my hair?!</dialogue> <character>DMITRI</character> <dialogue>I was all out of dynamite!</dialogue> <scene_description>Dmitri touches his nose again . Anya opens the window and grabs some snow . WE SEE the minions racing wildly to catch up with the train . As the scene continues , we see the minions , by one , getting close to the train and then disappear from view - only their riderless horses ride away .</scene_description> <character>ANYA</character> <parenthetical>( hands Dmitri the snow . )</parenthetical> <dialogue>Put it on your nose. For heaven's sake, you're making such a fuss!</dialogue> <scene_description>Dmitri tries to act very manly as he puts the ice on his nose , but cringes with the cold . Anya smiles .</scene_description> <character>ANYA</character> <parenthetical>( to herself . )</parenthetical> <dialogue>Men are such babies.</dialogue> <scene_description>An ELDERLY WOMAN loaded with packages cones into the compartment . Anya immediately rises to help her .</scene_description> <character>ANYA</character> <dialogue>Here, let me</dialogue> <scene_description>Dmitri and Vlad both pull her back down .</scene_description> <character>DMITRI</character> <dialogue>You're a princess.</dialogue> <character>VLADIMIR</character> <dialogue>Royalty do not help people with their luggage.</dialogue> <scene_description>Anya gives them both a look and helps the woman .</scene_description> <character>VLADIMIR</character> <dialogue>Well, she certainly has a mind of her own.</dialogue> <character>DMITRI</character> <dialogue>Yes. And I hate that in a woman.</dialogue> <scene_description>Vlad holds Meotoo , who is enthralled and plays with Vladimir 's drooping mustache , like a kitten with a string . The COMPARTMENT DOOR swings open and an OMINOUS LOOKING GUARD strides in !</scene_description> <character>GUARD</character> <dialogue>Papers!</dialogue> <scene_description>Everyone rustles for their papers . Dmitri confidently pulls out their papers , done in beautiful BLACK ink . Then , he glances at the PERSON NEXT TO HIM and sees that his papers are done in a bright RED ink . Dmitri looks over at Vladimir - who has seen the mistake as well .</scene_description> <character>VLADIMIR</character> <parenthetical>( sheepishly . )</parenthetical> <dialogue>It's what I hate about this government - everything in red!</dialogue> <scene_description>The guard hand papers back to a soulful looking man with a frozen beard .</scene_description> <character>GUARD</character> <dialogue>Thank you, Comrade Zhivago.</dialogue> <character>ZHIVAGO</character> <dialogue>Doctor Zhivago.</dialogue> <scene_description>GUARD approaches Vlad and Dmitri .</scene_description> <character>VLADIMIR</character> <dialogue>What do we do now?</dialogue> <character>DMITRI</character> <dialogue>Pray he's color - blind.</dialogue> <scene_description>Dmitri flashes the Guard a charming smile as he hands over his papers . Vladimir is nervously playing with his mustache until it stands out straight . Anya has no idea what 's going on .</scene_description> <character>GUARD</character> <dialogue>wait here.</dialogue> <scene_description>As the Guard heads out of the compartment , Vlad turns to Dmitri and they exchange an `` oh , no '' look .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR, ANOTHER CAR</stage_direction> <scene_description>The MINIONS , hoods pulled low , push their way through the PASSENGERS in search of Anastasia .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR</stage_direction> <scene_description>Dmitri spots the GUARD conferring with the GUARDS over the papers . Anya pokes bar head out .</scene_description> <character>ANYA</character> <dialogue>I'm going to stretch my legs</dialogue> <character>DMITRI</character> <dialogue>That's a good idea - a great idea - stretch your legs.</dialogue> <parenthetical>( pointing the opposite direction of the guards . )</parenthetical> <dialogue>. stretch then that way.</dialogue> <scene_description>Anya looks at him like he 's crazy and walks away .</scene_description> <character>ANYA</character> <parenthetical>( to herself . )</parenthetical> <dialogue>I must have hit him harder than I thought.</dialogue> <scene_description>Dmitri runs back in and grabs his SMALL BACKPACK . He pulls Vlad , carrying Meetoo , out off the compartment Anya has a load on them as they follow .</scene_description> </scene> <scene> <stage_direction>INT TRAIN COMPARTMENT - DAY</stage_direction> <scene_description>The GUARDS burst in , ready for an arrest . In the background , the hooded Minions pass . The Guards , seeing empty seats , head back out .</scene_description> </scene> <scene> <stage_direction>INT. TRAIN CORRIDOR - ANOTHER CAR</stage_direction> <scene_description>Anya looks out the window as the country side flies by and smiles .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR</stage_direction> <scene_description>The Guards spot three figures at the far end of the car .</scene_description> <character>GUARD</character> <dialogue>That's them! Come on!</dialogue> <scene_description>They run after who they think are the fugitives . The Guard grabs a minion and spins him around . It 's MINION THREE , who comes face - to - beak with him and lets out a HORRENDOUS SCREECH , causing the other Minion to turn around . The Guards scream and reel backward , pushing and shoving each other to got out of the way The Minions proceed up the corridor , MINION TWO , spot Anya looking out the window . He grabs her . palling her viciously to the other Minions . She spins around - it is n't Anya - it 's a SERIOUSLY UGLY WOMAN . The Minions now scream and reel back in horror .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - SIMULTANEOUS</stage_direction> <scene_description>Dmitri and Vladimir catch up to Anya and grab her in each arm , loading bar down the hall WE HEAR the MINIONS SCREAM from the next car .</scene_description> </scene> <scene> <stage_direction>EXT. BETWEEN CARS</stage_direction> <scene_description>Anya . Dmitri and Vlad step out on a platform and see there is no place left to run . Only the engine is ahead of them .</scene_description> <character>DMITRI</character> <dialogue>Wait here!</dialogue> <scene_description>He leaps up gracefully , grabbing the edge of the roof , and pull &amp; himself up .</scene_description> <character>ANYA</character> <parenthetical>( to Vlad . )</parenthetical> <dialogue>Would you like to tell what we are.</dialogue> <scene_description>as Dmitri 's head , upside down , appears from the roof .</scene_description> <character>DMITRI</character> <dialogue>Come on up!</dialogue> <character>ANYA</character> <dialogue>Why?</dialogue> <scene_description>Vladimir picks Anya from up from tobehind and hoists her up to Dmitri . She hollers .</scene_description> </scene> <scene> <stage_direction>EXT. TRAIN ROOF</stage_direction> <scene_description>Anya is pulled up by Dmitri , with a force that knocks them both over Anya on top . An awkward moment . Anya rolls off him as Dmitri tries to catch the breath she knocked out of him .</scene_description> <character>ANYA</character> <dialogue>Just what do you think you're doing?!</dialogue> <character>DMITRI</character> <dialogue>Trying. to. breathe.</dialogue> <scene_description>Suddenly , Meetoo appears , as if he were flying and lots out a little `` retu '' . Vladimir has tossed his up and Dmitri catches his , band his to Anya , and reaches down to Vladimir .</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR</stage_direction> <scene_description>Though the window the Minions see Vladimir 's legs as he 's being lifted .</scene_description> </scene> <scene> <stage_direction>INT. ROOF oF TRAIN</stage_direction> <scene_description>Dmitri struggles to got Vlad to the roof but he 's losing his grasp . Anya puts Meetoo down and reaches to help the dangling Vlad . Even Meetoo helps by pulling an Vladimir 's scarf .</scene_description> </scene> <scene> <stage_direction>EXT. PLATFORM</stage_direction> <scene_description>Minion one grabs for Vladimir 's legs , just as they disappear .</scene_description> </scene> <scene> <stage_direction>EXT. ROOF OF TRAIN</stage_direction> <scene_description>Dmitri and Anya let out a sigh of relief as Vlad in safe , but it 's short lived as they both SIMULTANEOUSLY lot out a yell . DMITRI &amp; ANYA 'S POV : a TUNNEL rapidly approaching . They hit the deck , Vlad on his back between Anya and Dmitri . Anya and Dmitri exchange a quick look as the tunnel gets closer - Vladimir 's stomach is sticking up too high to clear the tunnel . They reach up together and push down on his big belly , causing his eyes to bulge ON THE SIDE OF THE TRAIN The minions , now climbing up the side are plunged into total darkness . ON THE ROOF light hits as the train comes out of the tunnel . Vlad lets out a gasp as they release his belly . Just then a Minion hand reaches up over the edge . Dmitri assumes it 's a Guard .</scene_description> <character>DMITRI</character> <dialogue>The guards!</dialogue> <parenthetical>( Anya gives his a lack . )</parenthetical> <dialogue>I'll explain later.</dialogue> <scene_description>Anya and Vlad follow Dmitri toward the back of the train . ON THE MINIONS now on the roof , seeing their prey in short distance . ON ANYA AND THE OTHERS running , without looking back . jumping from car to car , passing Meetoo like a football . Vladiair makes a huge running leap into the air .</scene_description> </scene> <scene> <stage_direction>INT. TRAIN COMPARTMENT</stage_direction> <scene_description>As all PASSENGERS react to Vladimir 's bulk hitting and denting the coiling .</scene_description> </scene> <scene> <stage_direction>EXT. ROOF OF TRAIN</stage_direction> <scene_description>The TRAIN WHISTLE erupts and Anya glances back to see her pursuers just as they are enveloped in the thick black smoke of the engine . Behind them , Anya can another tunnel . TUNNEL They drop down , this time Vlad in on his stomach . Anya and Dmitri realize his butt wo n't clear the tunnel . They push it down . ON THE MINIONS An the smoke disappears , the Minions ' eyes go wide when they realize it 's too late for them . The train roars the tunnel as the MINIONS SMASH &amp; '' ` not the sift of the mountain in a COLORFUL BURST OF SMOKE from which they were created .</scene_description> </scene> <scene> <stage_direction>INT. RASPUTIN'S WAGON - PARALLEL TIME</stage_direction> <scene_description>DISSOLVE TO</scene_description> </scene> <scene> <stage_direction>EXT. ROOF OF TRAIN - DAY</stage_direction> <scene_description>Rasputin stares at the scene in his reliquary , watching his well laid plan * go up in smoke '' , and lots out a simmering growl . Anya is standing with her hands an her hips arguing with Dmitri and Vladiair .</scene_description> <character>ANYA</character> <dialogue>Forged papers! Now, what?!</dialogue> <character>DMITRI</character> <dialogue>Now just get off the train.</dialogue> <character>ANYA</character> <dialogue>HUH?!</dialogue> <scene_description>Dmitri motions that they are going to Jump . Anya shakes her head slowly .</scene_description> <character>ANYA</character> <dialogue>Noooo.</dialogue> <character>VLADIMIR</character> <dialogue>She's quite right, Dmitri, a man of my stature should not have to</dialogue> <scene_description>Dmitri shoves him off the top of the train with Meetoo in his arm . Dmitri then puts out his hand to Anya .</scene_description> <character>DMITRI</character> <dialogue>Come on, we'll jump together. Take my hand.</dialogue> <scene_description>Dmitri turns forward and sees the train is approaching a HIGH RAILROAD BRIDGE over a rocky ravine . It 's now or never .</scene_description> <character>DMITRI</character> <dialogue>Come on!</dialogue> <character>ANYA</character> <dialogue>No!</dialogue> <scene_description>With his outstretched hand , Dmitri shoves her off the bar .</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRYSIDE - DAY</stage_direction> <scene_description>Vladimir has landed in a large pile of snow . He stands , rubbing his bottom .</scene_description> <character>VLADIMIR</character> <dialogue>I think I have hurt my.</dialogue> <scene_description>Meetoo comes out of the pile of leaves , rubbing his bottom and answers Vladimir 's with his `` retu '' . A short distance away , Anya seems to be sitting on top of a puddle - but she is n't wet . Suddenly , Dmitri gets up from underneath her , covered in snow . Anya is n't wet because she landed on Dmitri ! She jumps up .</scene_description> <character>DMITRI</character> <dialogue>You must enjoy causing me pain!</dialogue> <character>ANYA</character> <dialogue>You should n't have pushed us!</dialogue> <scene_description>Vladimir and Meetoo come over .</scene_description> <character>VLADIMIR</character> <dialogue>Is everyone all right?</dialogue> <character>ANYA</character> <dialogue>I'm fine.</dialogue> <character>DMITRI</character> <dialogue>She's fine!</dialogue> <parenthetical>( limping away . )</parenthetical> <dialogue>I may never walk right again, but she's fine.</dialogue> </scene> <scene> <stage_direction>INT. RASPUTIN'S WAGON</stage_direction> <scene_description>Rasputin paces , still angry at the Minions . Bartok , nervous , fakes a yawn and stretches .</scene_description> <character>BARTOK</character> <dialogue /> <scene_description>Well , I better got goin ' . Got a busy day letting all the blood rush to my head . Rasputin pulls him back in , then speaks to his reliquary .</scene_description> <character>RASPUTIN</character> <dialogue>She's too far away, is n't she?</dialogue> <scene_description>The reliquary glows eyes . Rasputin places It back in it 's cabinet .</scene_description> <character>RASPUTIN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Yesss. our power is much stronger when were near. We must get close to her.</dialogue> <character>BARTOK</character> <dialogue>Oy. not a road trip. I get wagon sick, you know that.</dialogue> <scene_description>Rasputin smacks him against the wall as he stomps out of the wagon . Bartok slides down the wall .</scene_description> <character>BARTOK</character> <parenthetical>( CONT . )</parenthetical> <dialogue>You're absolutely right. Travel broadens your horizons.</dialogue> <scene_description>And he hits the floor .</scene_description> </scene> <scene> <stage_direction>EXT. GYPSY CAMP - MIGHT</stage_direction> <scene_description>Rasputin , on his obsessed mission , leaps on top of the wagon as Bartok , still dizzy , tries to catch up .</scene_description> <character>RASPUTIN</character> <dialogue>We'll catch her and finish her!</dialogue> <parenthetical>( he grabs the , reigns . )</parenthetical> <dialogue>We ride this night!</dialogue> <scene_description>Rasputin then looks down and sees that there are no horses harnessed he gave then to the begins a slow growl .</scene_description> <character>BARTOK</character> <dialogue>Well, we wait this night!</dialogue> </scene> <scene> <stage_direction>EXT. COUNTRY - BREAK OF DAWN</stage_direction> <scene_description>Anya is walking ahead with Vladiair as Dmitri follows he 's still muddy , wet and unhappy .</scene_description> <character>VLADIMIR</character> <dialogue>No have a lot of work to do, Anya! Come along, Meetoo!</dialogue> <scene_description>Meetoo is trying to catch fire flies in his mouth .</scene_description> <character>VLADIMIR</character> <parenthetical>( CONT . )</parenthetical> <dialogue>We have to prepare you for an audience with Sophie.</dialogue> <character>ANYA</character> <dialogue>Who's Sophie?</dialogue> <character>VLADIMIR</character> <parenthetical>( lost in warm memories . )</parenthetical> <dialogue>Ah. the Lady Sophie. The ravishing first cousin, once removed, from the Empress. We must convince Sophie that you are the Princess before we'll be granted a meeting with the Empress. your grandmother, I mean.</dialogue> <scene_description>Anya stops dead in her tracks , this is the first she 's heard of this .</scene_description> <character>ANYA</character> <dialogue>What?!</dialogue> <scene_description>Dmitri , not paying attention , slams into the back of Anya . Anya , not hurt , turns to Dmitri - who is rubbing his now sore shoulder .</scene_description> <character>ANYA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>You never said anything to me about having to prove I'm a Princess!</dialogue> <character>DMITRI</character> <dialogue>You are the Princess.</dialogue> <character>VLADIMIR</character> <dialogue>We're just going to refresh your memory.</dialogue> <character>ANYA</character> <dialogue>I do n't have a memory and I'm not a Princess!</dialogue> <parenthetical>( looks down at herself . )</parenthetical> <dialogue>Even if I were - no one's ever going to believe it. I'm not exactly.</dialogue> <scene_description>Anya searches for the - word as she sits down next to a frozen pond .</scene_description> <character>ANYA</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( sadly to herself . )</parenthetical> <dialogue>. good enough.</dialogue> <parenthetical>( to others . )</parenthetical> <dialogue>I ca n't go through with this!</dialogue> <scene_description>Dmitri sits next to Anya and looks at her reflection in the ice .</scene_description> <character>DMITRI</character> <dialogue>What do you see?</dialogue> <scene_description>ANYA 'S POV her smudged face and boy 's clothes . Dmitri 's hands come into frame , wipe off her face with snow and them pull her hair off her face . Anya does , truly , look pretty .</scene_description> <character>DMITRI</character> <parenthetical>( CONT . )</parenthetical> <dialogue>See? The Princess is under there.</dialogue> <character>VLADIMIR</character> <dialogue>Ah! Let us begin!</dialogue> <scene_description>A POSSIBLE VLADIMIR SONG Vladimir would begin to sing here , telling Anya that she has a lot to learn . The music would probably have a LIGHT , SOMEWHAT COMEDIC tone , and would be just a SHORT SECTION OF SINGING , which would then SEGUE TO UNDERSCORE for the scenes of instruction which follow . We see the three of them from behind , walking down a road - Meetoo trots behind them , happily .</scene_description> <character>VLADIMIR</character> <parenthetical>( CONT . )</parenthetical> <dialogue>You were born on the Adriatic sea at the summer palace, where the parties and the buffets were marvelous.</dialogue> </scene> <scene> <stage_direction>EXT. SLEIGH - DAY</stage_direction> <scene_description>Vladimir is putting icicles in Anya 's hair to keep it up in a bun - she looks sweet , despite her boy 's clothes . She is reciting something to Dmitri .</scene_description> <character>ANYA</character> <dialogue>and on my father's side, there was.</dialogue> <parenthetical>( THIS SECTION IS NOT LEDGABLE . )</parenthetical> <dialogue /> <scene_description>Anya thinks as Dmitri looks at a long sheet of paper , prompting her .</scene_description> <character>DMITRI</character> <dialogue>Every Russian family has one.</dialogue> <character>ANYA</character> <parenthetical>( gets it . )</parenthetical> <dialogue>Natasha! Natasha Feastavich! - but we called her Nashie Fooshie!</dialogue> <character>VLADIMIR</character> <dialogue>Did I tell you that?</dialogue> <character>ANYA</character> <dialogue>You must have.</dialogue> </scene> <scene> <stage_direction>EXT. PIG CART - DAY</stage_direction> <scene_description>Anya , Dmitri and Vladimir are sitting in the back of a pig cart traveling down a country road . The pigs are very interested as Anya is pointing to different pieces of hay which `` set '' her imaginary table .</scene_description> <character>ANYA</character> <parenthetical>( repeating . )</parenthetical> <dialogue>. fish fork, salad fork, meat fork and.</dialogue> <parenthetical>( ca n't remember , then exasperated . )</parenthetical> <parenthetical>( THIS SECTION ALSO NOT LEDGABLE . )</parenthetical> <dialogue /> <character>DMITRI</character> <parenthetical>( hinting . )</parenthetical> <dialogue>It's the best fork of all</dialogue> <character>ANYA</character> <dialogue>The dessert fork!</dialogue> <character>VLADIMIR</character> <parenthetical>( lost in a memory of rich desserts . )</parenthetical> <dialogue>Ah, yes. I have always loved that fork.</dialogue> <scene_description>Dmitri and Anya exchange a look and then laugh , adding ad libs of `` we can tell '' and `` There 's a fork you should have skipped '' . This is the first time Dmitri and Anya have laughed together - actually the first time he 's ever seen her smile .</scene_description> </scene> <scene> <stage_direction>EXT. PORT - DAY</stage_direction> <scene_description>Dmitri , who is sneaking around , pulling women 's clothes out of a suitcase that clearly is n't theirs ! He takes out a large , but pretty dress , a beautiful veil - and a huge brassiere , which he quickly stuffs back in the suitcase - somewhat frightened . He takes the dress and veil puts it in his backpack and joins Vladimir and Anya as they admire the ship .</scene_description> <character>ANYA</character> <dialogue>What a beautiful ship!</dialogue> <character>DMITRI</character> <dialogue>It used to be a private yacht before the government took it over.</dialogue> <character>VLADIMIR</character> <dialogue>Oh, yes it was the seagoing vessel of elaborate elegance in entertaining.</dialogue> <parenthetical>( looks at Dmitri and Anya explaining . )</parenthetical> <dialogue>A party boat. It once belonged to.</dialogue> <scene_description>Vladimir honestly ca n't remember , Anya thinks it 's another quiz .</scene_description> <character>ANYA</character> <dialogue>Konstantin Petrovich of Moscow!</dialogue> <scene_description>Dmitri and Vladimir exchange a quizzical look . No one told her that . Meetoo spots TWO UGLY PUG DOGS and a distinguished ELDERLY DOWAGER . He runs happily to play with them . She pulls her DOGS away from Meetoo .</scene_description> <character>ELDERLY DOWAGER</character> <dialogue>No, no, boys! You do n't know where he's been!</dialogue> <scene_description>They give him a disgusted look and walk away . Meetoo looks a little hurt .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY OF THE SHIP - NIGHT</stage_direction> <scene_description>Dmitri and Vladimir are standing by a closed door . Anya is on the other side .</scene_description> <character>ANYA</character> <parenthetical>( 0 .</parenthetical> <parenthetical>C . )</parenthetical> <dialogue>No! I look ridiculous!</dialogue> <character>VLADIMIR</character> <dialogue>Come out! I can do alterations.</dialogue> <character>ANYA</character> <parenthetical>( O.C . )</parenthetical> <dialogue>You'll laugh.</dialogue> <character>VLADIMIR</character> <dialogue>I shant!</dialogue> <character>ANYA</character> <parenthetical>( O.C . )</parenthetical> <dialogue>Not you. Him.</dialogue> <character>DMITRI</character> <dialogue>I wo n't laugh - I swear.</dialogue> <scene_description>The door opens and Anya comes out in the blue dress Dmitri stole which at least ten sizes too big for her . She is still wearing her hair up and despite the size which actually gives her a `` Kate Moss '' waifish look with her men 's boots and baggy dress - the blue brings out her eyes . Dmitri sees her and BUSTS OUT LAUGHING .</scene_description> <character>ANYA</character> <dialogue>You said you would n't laugh!</dialogue> <character>DMITRI</character> <dialogue>It's not you - it's the dress!</dialogue> <scene_description>Anya storms back into the cabin and slam the door behind her .</scene_description> </scene> <scene> <stage_direction>INT. CABIN - SIMULTANEOUS ACTION</stage_direction> <scene_description>When Anya storms into the cabin , she catches a glimpse of herself in the mirror .</scene_description> <character>ANYA</character> <parenthetical>( to herself . )</parenthetical> <dialogue>I'm never going to be.</dialogue> <scene_description>Just then , the slamming door catches the back of her dress , pulling more than half of it into the door frame . She sees in the mirror that the now fitted dress shows a lovely woman 's figure . Pleased , she looks at herself .</scene_description> <character>ANYA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Well! Maybe I am.</dialogue> </scene> <scene> <stage_direction>EXT. CABIN DOOR - NIGHT</stage_direction> <scene_description>Vladimir and Dmitri wait outside the door . The door opens and Anya appears , having tied the veil around the waist of the dress , making it look fitted and beautiful . Dmitri and Vladimir are surprised as Anya walks past them with confidence and throws them a look over her shoulder . `` REPRISE OF VLADIMIR 'S SONG -LRB- OVER MONTAGE -RRB- The tone of the song would now change - the older , wiser person watching as two younger people are unwittingly falling in love . The tone can still be light , as are the visuals here , but there would be an undercurrent of irony and romance . The song would end as Anya and Dmitri have their first , momentary embrace . MONTAGE : -LRB- MOS -RRB- ON DECK : Anya , still in her boots , walks gracefully down the deck in spite of the ship 's rocking motion . Dmitri and Vlad ca n't even stand due to the motion . Anya looks back and flashes them a smile . IN THEIR CABIN : Dmitri gets out of the bed he 's been sharing with Vlad and walks over , past where Anya is sleeping peacefully , to close the port hole against a cold wind . He closes is and see 's Anya - she looks beautiful - he bends down to pull up her covers and she SLUGS him . UNDER A TABLE : Meetoo is walking around sniffing feet . Suddenly , he runs smack into the TWO UGLY PUG DOGS who growl at him . He runs away and finally see 's a woman 's foot and a pair of pretty feminine shoes , with heels , that she has kicked off . Meetoo grabs them in his mouth and runs . ON DECK : The sea is calm , but Anya - wearing the heeled shoes for the first time - is teetering and wobbling like mad . Dmitri and Vlad watch her with amusement . Anya turns to them . ON DECK : Dmitri has stuffed his feet into the woman 's shoes and is barely able to walk as Anya watches him with great vindication . BALLROOM : Anya walks - into the ballroom , steady and graceful in her new shoes , on Vladimir 's arm and completes a perfect curtsy in front of Dmitri . Dmitri applauds and moves down to her as she stands and smacks him with her head accidently . THEIR CABIN : Vladimir is directing Anya as she waltzes gracefully in their swaying cabin . Dmitri enters and is directed to join Anya . He does and they dance together , with Anya clearly leading . The boat sways to the left and Anya is thrown closer into Dmitri 's arms . Neither of them even try to readjust . END MONTAGE STILL IN THE SCENE Vladimir walks over to Anya and nervously chatters -LRB- he knows he interrupted something -RRB- as he leads her away from Dmitri .</scene_description> <character>VLADIMIR</character> <dialogue>You are a natural! I do n't know how you ever learned to dance that well! That must have been some high class orphanage.</dialogue> </scene> <scene> <stage_direction>EXT. SEA - NIGHT</stage_direction> <scene_description>As a storm begins to whip up , the wind starts to howl and the waves become more violent . REVERSE ANGLE just as a BOLT OF LIGHTNING STRIKES the water , we see Rasputin 's face .</scene_description> </scene> <scene> <stage_direction>INT. CABIN - NIGHT</stage_direction> <scene_description>The storm is pitching the boat wildly . Vladimir is sleeping , snoring loudly . Meetoo , sound asleep , is sliding from side of the cabin to the other . Anya is looking out the small port hole at the violent sea when Dmitri , carrying his back pack , sits on the bed next to her .</scene_description> <character>DMITRI</character> <dialogue>I wanted to show you something.</dialogue> <scene_description>Dmitri takes out the music box and hands it to Anya . She is immediately taken by it , something about it .</scene_description> <character>ANYA</character> <dialogue>It's so beautiful. and sad.</dialogue> <character>DMITRI</character> <dialogue>Sad?</dialogue> <character>ANYA</character> <dialogue>Lost. it feels lost. This was hers?</dialogue> <character>DMITRI</character> <dialogue>Yeah. well, yours. You still do n't believe that you're the Princess, do you?</dialogue> <character>ANYA</character> <dialogue>I know I must have had something to do with the palace - I've had little flashes of things - but being the Princess? It does n't matter as long as I find my home.</dialogue> <character>DMITRI</character> <dialogue>Well, the only thing you've got when you've got a home is a fear of losing it! You're lucky you do n't remember the revolution - I never had much, but what I did have - I lost.</dialogue> <character>ANYA</character> <dialogue>I'm sorry.</dialogue> <character>DMITRI</character> <parenthetical>( false bravado . )</parenthetical> <dialogue>Hey! It does n't matter! You got ta make your own way in the world! Do n't be sorry for me! I'm going to get what I want do n't you worry!</dialogue> <scene_description>Dmitri goes back over to his bed . Anya sees through him and knows how much it all did matter to him .</scene_description> </scene> <scene> <stage_direction>EXT. SEA CLIFF - NIGHT</stage_direction> <scene_description>The wagon sits on the edge of a high cliff . Rasputin stands on the top of his wagon , staring at the sea demonically . The jagged bolts of lightening and the icy silver rain make him look all the more menacing .</scene_description> <character>RASPUTIN</character> <parenthetical>( low , slow . )</parenthetical> <dialogue>She's out there.</dialogue> <scene_description>The wind parts his beard and we see Bartok hanging upside down in it , trying to stay out of the storm .</scene_description> <character>BARTOK</character> <dialogue>I'm getting a chest cold.</dialogue> <character>RASPUTIN</character> <dialogue>Bartok. a question.</dialogue> <character>BARTOK</character> <dialogue>I'm getting pneumonia. I have a fever. Feel my forehead.</dialogue> <character>RASPUTIN</character> <dialogue>What do you think is the most humiliating way to die?</dialogue> <scene_description>Rasputin 's eyes light up as if he just thought of the answer to his own question . Bartok is thrown out of his beard when he makes a sudden turn and leaps off the wagon . Bartok follows .</scene_description> <character>BARTOK</character> <dialogue>My cousin Mischa, nice fellow had some dental problems - you did n't want to watch him eat, let's put it that way.</dialogue> <scene_description>Rasputin steps in</scene_description> </scene> <scene> <stage_direction>INT. WAGON - NIGHT</stage_direction> <scene_description>As Bartok continues , Rasputin moves to the reliquary 's cabinet .</scene_description> <character>BARTOK</character> <dialogue>anyway, a bunch of other bats were hanging in the belfry - I know, cliche, but there you have it, and Mischa, not the brightest bat in the world, decides to hang in the bell. Which was fine for awhile until it started ringing.</dialogue> <parenthetical>( shivers . )</parenthetical> <dialogue>Ewwww, what a mess.</dialogue> <character>RASPUTTN</character> <parenthetical>( to reliquary . )</parenthetical> <dialogue>Show her to me.</dialogue> <character>BARTOK</character> <dialogue>And it did n't help the tonal quality of the bell, either.</dialogue> <scene_description>IMAGES , horrifying and frightening , begin to spin into a small tornado . Rasputin throws open the door and the TORNADO bursts out streaking across the water .</scene_description> </scene> <scene> <stage_direction>EXT. SEA CLIFF - NIGHT</stage_direction> <scene_description>Rasputin follows tornado to the cliff and watches as it disappears into the horizon of the water . Lightning and thunder crash as he laughs maniacally .</scene_description> </scene> <scene> <stage_direction>INT. CABIN - NIGHT</stage_direction> <scene_description>which is swaying with the storm . PAN past Vladimir , snoring , his now limp mustache flopping wildly and past Dmitri , sleeping restlessly . Move to Anya , who seems quite content . From under the door SMOKY IMAGES silently slither . They float across the cabin and swirl around Anya . Anya 's CLOSED EYES as the SMOKY IMAGES seem to enter her head . She smiles in her sleep and we are in ANYA 'S DREAM .</scene_description> </scene> <scene> <stage_direction>EXT. FOREST - DAY</stage_direction> <scene_description>Anya , in a beautiful white dress , is walking peacefully through a sunny part of a lovely forest on a spring day . She reaches down to pick some pretty flowers , then looks up as it seems to get dark . OMINOUS LOOKING CLOUDS cover the sun . Anya reaches down for another flower when she HEARS A GROWL . Anya spins to see an ENORMOUS BEAR emerge from the trees . -LRB- All the animals in the dream sequence have a SLIGHT resemblance to Rasputin . -RRB- Anya is frozen with fear as MORE BEARS emerge and head straight for her . She tries to back away as the beautiful FLOWERS GROW LONG AND HORRIBLE THORNS and wrap around her ankles , impeding her escape . It gets darker as the BEAR 'S EYES , glowing yellow , multiply and move closer . Anya pulls free of the flowers and rushes to the safety of a large tree She climbs the tree and escapesthe bears . Looking down , from her perch on a sturdy branch , the ground seems miles away . Suddenly , the BRANCH JOLTS her and almost falling , she hold on to it tightly . But the branch TURNS IN TOWARD HER - no longer a tree branch , but A HUGE UGLY SNAKE with red eyes and huge fangs that come right for her ! Anya leaps to another branch , which also turns into a snake . She jolts backward and begins to fall . toward a HUNDRED YELLOW EYES , FIFTY BLOOD RED MOUTHS AND THOUSANDS OF SHARP TEETH . As Anya falls , she lets out a SILENT SCREAM . A BURST OF SUNLIGHT as Anya lands in a field of soft GOLDEN WHEAT . Unharmed and very relieved , she stands and looks around at the beautiful sunny wheat field .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Reality . Anya 's eyes are closed as she smiles in her sleep and sits up in bed . TINY WISPS of smoke still swirl around her head . As she gets out of bed , she unintentionally steps on Meetoo 's tail , waking him . Meetoo watches as the sleeping Anya opens the cabin door and walks out . Meetoo rises to follow Anya but the ship pitches , sending him sliding across the cabin floor .</scene_description> </scene> <scene> <stage_direction>EXT. DECK - NIGHT</stage_direction> <scene_description>Anya walks out on the deck , the ship pitching violently in the storm , as she smiles . IN HER DREAM Anya is walking through the wheat field to the edge of a BLUFF . A few yards below the bluff , Anya sees a beautiful little pond where a FAMILY frolic 's in the clear water ; laughing , splashing , swiming happily . Anya climbs over a low flowering wall to look closer . PULL BACK REALITY : Anya has climbed over the railing of the deck and is looking into the black ocean . smiling . A SMOKY IMAGE OF THE SAME SCENE It 's RASPUTIN 'S POV as he watches his plan unfold in the reliquary .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Meetoo finally rights himself from his slide across the floor and begins to bark into Dmitri 's ear .</scene_description> </scene> <scene> <stage_direction>EXT. DECK</stage_direction> <scene_description>Anya is waving happily at the dangerous water . IN HER DREAM Anya is waving to the FAMILY . They turn around toward her and she sees that it 's the ROMONOV FAMILY , from the frieze that she saw in the palace . She is delighted to see them as she feels a distance recollection of who they are to her .</scene_description> </scene> <scene> <stage_direction>INT. CABIN</stage_direction> <scene_description>Meetoo jumps up and NIPS at Dmitri 's hand . Dmitri leaps up with an `` owwww ! '' and looks over at the excited Meetoo .</scene_description> <character>DMITRI</character> <dialogue>If you have to go - wake her.</dialogue> <scene_description>Dmitri looks over to Anya 's bed - she is n't sits up and throws his legs over the side</scene_description> </scene> <scene> <stage_direction>EXT. DECK</stage_direction> <scene_description>Anya is standing right on the edge of death . IN HER DREAM She is n't there . He of his bed . the FAMILY is waving to her . NICHOLAS waves for her to jump into the clear pond and join them . Anya nods and moves to jump in .</scene_description> </scene> <scene> <stage_direction>EXT. DECK</stage_direction> <scene_description>Anya gets ready to jump into the violent and icy black waves . She takes one step out when . DMITRI GRABS HER SHOULDERS . Anya JOLTS awake from her dream . Confused at first , then terrified to see what almost happened to her . is n't lifts her to the other side of the railing and looks at her .</scene_description> <character>DMITRI</character> <dialogue>What were you doing?!</dialogue> <scene_description>Anya puts her hands to her mouth in shock , shaking and almost crying with fear , she throws her arms around Dmitri and holds him tightly . Dmitri is surprised at first , but tightens his arms around her .</scene_description> <character>DMITRI</character> <parenthetical>( CONT . )</parenthetical> <dialogue>It's okay now - I've got you. You're safe.</dialogue> <scene_description>They stand steady on the deck in a tight embrace , their feelings for each other are stronger than the storm . THE SAME , as seen through the reliquary Rasputin watches . seething quietly , as Bartok peeks meekly over his shoulder .</scene_description> <character>BARTOK</character> <dialogue>Boy, do n't you hate it when that happens?</dialogue> <character>RASPUTIN</character> <parenthetical>( controlling . )</parenthetical> <dialogue>She leads a charmed life, that little one. Someone is always there to save her. In the palace as a child, on the train and now. it's him.</dialogue> <scene_description>Rasputin studies Dmitri in the reliquary - Dmitri and Anya still in a warm embrace .</scene_description> <character>BARTOK</character> <dialogue>Nice looking fellow. I mean, do n't get me wrong - I'm not attracted to him in the physical sense, I just.</dialogue> <scene_description>But Rasputin 's not interested , he stares into the reliquary and speaks directly to it .</scene_description> <character>RASPUTIN</character> <dialogue>You are toying with me, are n't you? You let me get so close.</dialogue> <scene_description>The reliquary , as if in answer , seem to be chuckling . Rasputin smiles and joins in with it .</scene_description> <character>RASPUTIN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Bartok. have you ever been to Paris?</dialogue> <character>BARTOK</character> <dialogue>Me? No. Rich food - it kills me. Ever try and fly after one of those heavy sauces?</dialogue> <scene_description>Rasputin returns the reliquary to its cabinet .</scene_description> <character>RASPUTIN</character> <dialogue>We are going to Paris - and while we're there, let's kill the young man. He annoys me.</dialogue> </scene> <scene> <stage_direction>EXT. BOAT DOCK (LA HAVRE) - DAY</stage_direction> <scene_description>As Anya walks down the plank her dress gets caught on a nail . Dmitri is walking toward her as she yanks her dress free and accidentally punches him in the stomach . Dmitri takes it like a man .</scene_description> <character>ANYA</character> <dialogue>Oh! I'm sorry.</dialogue> <character>DMITRI</character> <dialogue>It's okay. Did n't hurt.</dialogue> <scene_description>Vlad has been watching as he walks down the plank with Meetoo - they exchange an `` oh boy '' look , both noticing that clearly something is different between Anya and Dmitri . Anya catches something out of the corner of eye and turns quickly . CLOSE ON a sign : `` Paris 30 kilometers '' Anya walks away from Dmitri and over to the sign and looks at it longingly .</scene_description> <character>ANYA</character> <parenthetical>( to herself . )</parenthetical> <dialogue>I'm almost there. I'm finally going to know.</dialogue> <scene_description>AT THE OTHER END OF THE DOCK Vladimir stares into his purse , depressed .</scene_description> <character>DMITRI</character> <dialogue>How is our current financial status?</dialogue> <character>VLADIMIR</character> <dialogue>If I used the word `` bleak'' I would be optimistic.</dialogue> <scene_description>As he says this the ELDERLY DOWAGER from the ship passes by with her TWO OBNOXIOUS PUG DOGS . Meetoo growls as Vlad and Dmitri get an idea .</scene_description> <character>VLADIMIR</character> <parenthetical>( CONT . )</parenthetical> <dialogue>The `` Odessa Dunk''?</dialogue> <character>DMITRI</character> <dialogue>It worked in Odessa.</dialogue> <scene_description>Vladimir picks up Meetoo and whispers instructions . Meetoo likes the plan . NEW ANGLE as Meetoo races past the PUGS . They ignore him , so he stops and makes a face , giving them a sloppy `` razzberry '' , which piques them a little . Meetoo then bends over and waves his furry little butt at them . Now the PUGS are offended and TAKE OFF after him , yapping all the way . Meetoo turns and scrambles with the Pugs in hot pursuit . As they get closer , Meetoo SUDDENLY STOPS and the Pugs go FLYING OFF they edge of the dock and into the water below . Meetoo looks over the edge and gives them a ` Boy , are you guys morons look as the ELDERLY DOWAGER runs up screaming .</scene_description> <character>ELDERLY DOWAGER</character> <dialogue>Help! My little dogs! Chevalier! Maurice! Hold on, darlings!</dialogue> <scene_description>Dmitri comes running up , a little too gallant .</scene_description> <character>DMITRI</character> <dialogue>I'll save them, Madame</dialogue> <scene_description>Dmitri dives into the water as Vlad rushes up behind the Elderly Dowager . Anya watches from a distance as Dmitri climbs out of the water carrying the soaked -LRB- and pissed -RRB- Pugs .</scene_description> <character>VLADIMIR</character> <dialogue>Such bravery! Why, that man should be rewarded! Amply rewarded!</dialogue> <scene_description>MINUTES LATER Dmitri hands Vlad a pile of FRANCS as Anya approaches .</scene_description> <character>ANYA</character> <dialogue>That was really very kind of you.</dialogue> <scene_description>She gives him a kiss on the cheek and walks away with Meetoo , who turns back and gives Dmitri a look . A little guilty , Dmitri turns to Vlad .</scene_description> <character>VLADIMIR</character> <dialogue>I wo n't say a word.</dialogue> </scene> <scene> <stage_direction>EXT. GRAND OPEN CAR - DAY</stage_direction> <scene_description>Traveling is style ! Vladimir is driving - badly - with Meetoo in the front seat . Meetoo covers his eyes . Dmitri and Anya are in the open back seat , enjoying the beautiful French countryside . Dmitri looks over at Anya .</scene_description> <character>DMITRI</character> <dialogue>Nervous?</dialogue> <character>ANYA</character> <dialogue>Yes - If I ca n't convince Sophie, I'll never be able to see Tatiana.</dialogue> <character>DMITRI</character> <dialogue>You'll convince her. You have the qualities of a princess you're poised and strong. and beautiful. even if you forget a couple dates of family names - she'll know.</dialogue> <scene_description>Anya smiles at Dmitri , knowing that all the confidence she has is because of him . She takes his hand but looks away .</scene_description> </scene> <scene> <stage_direction>EXT. TATIANA'S PARIS HOUSE - DAY</stage_direction> <scene_description>They pull up in front of the beautiful white house . Anya is nervous as Vladimir walks up to the front door ahead of Dmitri and Anya . Vladimir knocks . Sophie answers the door . She moves with grace and regal poise .</scene_description> <character>VLADIMIR</character> <dialogue>May I present her Royal Highness Princess Anastasia!</dialogue> <character>SOPHIE</character> <dialogue>Oh good! We have n't seen an Anastasia in several days!</dialogue> <scene_description>Anya looks to Dmitri , a little confused by that last comment . Dmitri makes a little `` she 's slightly crazy '' signal . They all leap to avoid her butt as she bustles into the house .</scene_description> </scene> <scene> <stage_direction>INT. DRAWING ROOM - DAY</stage_direction> <scene_description>Sophie , flanked by her sisters , sits at a table . Anya , looking nervous but poised , sits across while Dmitri and Vladimir hover nervously at the far end of the room . Sophie 's PAT CAT , TILLIE , attempts to cuddle up next to Meetoo , who wants nothing to do with her .</scene_description> <character>SOPHIE</character> <dialogue>I'd just like to ask you a few questions, dear.</dialogue> <scene_description>Sophie opens a huge book that SLAMS open . Vlad and Dmitri jump .</scene_description> <character>ANYA</character> <dialogue>Of course.</dialogue> <character>SOPHIE</character> <dialogue>Where were you born?</dialogue> <scene_description>SCENE CONTINUES MOS TIME LAPSE MONTAGE Dmitri watches Anya answer questions gracefully and without hesitating . Anya smiles as her answers begin to surprise Sophie .</scene_description> <character>DMITRI</character> <parenthetical>( V. 0 . )</parenthetical> <dialogue>The real Anastasia could n't have grown up to be lovelier.</dialogue> <scene_description>Sophie and the sisters look tired . Sophie has her last question .</scene_description> <character>SOPHIE</character> <parenthetical>( almost giggling . )</parenthetical> <dialogue>This is the hard one. what rare treat was served on the night of the Three Hundredth Anniversary of the Romanov Dynasty? The last ball they ever had?</dialogue> <scene_description>Dmitri and Vladimir exchange a nervous look . It 's obvious they never briefed Anya on this one . Anya thinks a moment , then looks up , smiling , as she remembers .</scene_description> <character>ANYA</character> <dialogue>Father had fresh tropical fruits sent in. Oranges and pineapples from the far east. I remember. I remember I threw an orange to a young boy who was hiding under a table.</dialogue> <scene_description>Dmitri is shocked . He know this is Anastasia Romonov and he ca n't believe it .</scene_description> <character>SOPHIE</character> <parenthetical>( shocked . )</parenthetical> <dialogue>Yes. yes, it was fresh fruit. Well, maybe not `` fresh'' Estelle got one rather brown banana but.</dialogue> <scene_description>CLOSE ON Dmitri , as he stares at Anya as Sophie prattles on . MINUTES LATER Anya sits near the window , stroking Tillie . much to the consternation of a jealous Meetoo. , She looks out the window and sees Dmitri , deep in thought , wandering in the garden . OUT OF HER EARSHOT at the other end of the room , Vladimir speaks to Sophie .</scene_description> <character>VLADIMIR</character> <dialogue>Are you impressed with our Anastasia?</dialogue> <character>SOPHIE</character> <dialogue>Oh, heavens - I must say, yes.</dialogue> <character>VLADIMIR</character> <dialogue>Then, you'll take her to see Tatiana?</dialogue> <character>SOPHIE</character> <dialogue>Oh, heavens I must say. no, no actually, I ca n't - Tatiana has refused to see any more girls.</dialogue> <character>VLADIMIR</character> <dialogue>Perhaps you could convince her?</dialogue> <character>SOPHIE</character> <dialogue>Oh, heavens, no. but.</dialogue> <parenthetical>( Vlad - leans closer as Sophie shares a naughty secret . )</parenthetical> <dialogue>She is going to be at the Ballet Russe tonight! That's the Russian Ballet - Russe for Russian, oh those crazy French. they only go to see which dancers will defect.</dialogue> <scene_description>She rises heading towards Anya . Her butt knocks over a vase , which Vladimir deftly catches .</scene_description> <character>SOPHIE</character> <dialogue>Come my dear, we've much to talk about.</dialogue> </scene> <scene> <stage_direction>EXT. GARDEN</stage_direction> <scene_description>Vladimir has finished giving Dmitri the details . Both are ecstatic .</scene_description> <character>VLADIMIR</character> <dialogue>We did it! We did it, my boy! We're going to see Tatiana at the ballet tonight and we're going to be rich! Rich!</dialogue> <character>DMITRI</character> <dialogue>But it's not the money, Vlad.</dialogue> <character>VLADIMIR</character> <parenthetical>( shocked . )</parenthetical> <dialogue>Are you feeling all right?</dialogue> <character>ANYA</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( deeply grateful . )</parenthetical> <dialogue>But you never doubted who I was, did you, Dmitri? Not for a second.</dialogue> <scene_description>Anya gratefully kisses Dmitri an the cheek and runs into the house . Vladimir , who 's been watching , has a warning .</scene_description> <character>VLADIMIR</character> <dialogue>Life is funny, is n't it. You find the right girl. and then you lose her.</dialogue> <character>DMITRI</character> <dialogue>What do you mean?</dialogue> <character>VLADIMIR</character> <dialogue>Dmitri. You must understand that once you take her to Tatiana. well, it's over. nothing can happen between you. She's a princess and you're a commoner.</dialogue> <scene_description>Dmitri understands this and is devastated . Vladimir pats him on the back as he walks into the house . MUSIC BEGINS : BRIGHT , EXCITING , PARIS IN THE TWENTIES Anya and Dmitri , followed by Vlad and Sophie are walking down the Champs Elysees . Meetoo trots along after them , happily . They walk by AN ACCORDION PLAYER and a LADY FLOWER SELLER , who watch them and whisper to each other .</scene_description> <character>ACCORDION PLAYER</character> <dialogue>Lovers!</dialogue> <character>FLOWER SELLER</character> <dialogue>Ooh la la!</dialogue> <scene_description>`` PARIS HOLDS THE KEY TO YOUR HEART '' -LRB- PRODUCTION NUMBER -RRB- In UPTEMPO `` PARIS IN THE TWENTIES style MUSIC , the people of Paris ALL SING , welcoming Anya and Dmitri , Sophie and Vlad , to Paris ! The foursome explores the city and Anya has the happiest day of her young life . On the streets they encounter the motley denizens of Paris , as well as people with very familiar faces - for anyone in the audience in the know , they 'll see Josephine Baker , Maurice Chevalier , Rodin , Gertrude Stein , Freud , Lindbergh - people who were in Paris in the twenties . For those in the audience who do n't recognize them , they 'll simply be unidentified fascinating `` types '' who SING . As the joyous number progresses , we realize that Dmitri is feeling something else - the impending loss of Anya to a world where she clearly is at home . He SINGS for a short moment , knowing that he 's about to lose her . Anya visits a couturier and comes out with a big dress box for her evening at the ballet . A BIG FINALE as they go off for the evening . Even Meetoo has found some female poodle companionship . But for one last beat , Dmitri 's wistfulness cuts against joy . END MUSICAL NUMBER</scene_description> </scene> <scene> <stage_direction>EXT. PARIS SKYLINE - DUSK</stage_direction> <scene_description>A glorious sunset over the city of lights . PAN DOWN to the `` other side of the tracks , a run down area next to the Seine River . Rasputin 's wagon is parked on the edge .</scene_description> </scene> <scene> <stage_direction>INT. RASPUTIN'S WAGON</stage_direction> <scene_description>Bartok freshens himself up in front of the mirror as he</scene_description> <character>BARTOK</character> <parenthetical>( singing , a cappella . )</parenthetical> <dialogue>PARSE HOLDS THE KEY TO MY HEART FRENCH - BAT - CHICKS HANG OUT AT MONTMARTRE WE'LL EAT SOME IN - SECTS THEN GO BACK AND HAVE -</dialogue> <character>RASPUTIN</character> <parenthetical>( O.C . )</parenthetical> <parenthetical>( cutting him off . )</parenthetical> <dialogue>Shut up!</dialogue> <scene_description>NEW ANGLE showing Rasputin trying to concentrate on the reliquary .</scene_description> <character>BARTOK</character> <dialogue>Sorry, it's just. you know I saw these french postcards once and. ooh la la. well, I'm not sure about the `` ooh'', but it's the `` la la'' I'm really lookin' forward to.</dialogue> <parenthetical>( Rasputin growls . )</parenthetical> <dialogue>Right, I'm shutting up.</dialogue> <scene_description>Rasputin leans closer to the reliquary , which now contains the BRIGHTEST COLORS we 've seen . The reliquary sits in it 's cabinet .</scene_description> <character>RASPUTIN</character> <dialogue>We're close to her, are n't we?</dialogue> <scene_description>The reliquary BRIGHTENS even more , looking as if it could burst .</scene_description> <character>RASPUTIN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Excited, eh? You look about to burst.</dialogue> <parenthetical>( teasing . )</parenthetical> <dialogue>You'd like to burst, would n't you?</dialogue> <scene_description>The lightsin the reliquary shake , as if to say `` yes '' .</scene_description> <character>RASPUTIN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>No, no, no. We made a bargain.</dialogue> <parenthetical>( petting it . )</parenthetical> <dialogue>Someday you'll have me for all eternity. Till then.</dialogue> <parenthetical>( leaning closer . )</parenthetical> <dialogue>I'm in charge.</dialogue> <scene_description>Rasputin slams the cabinet shut , then turns to see Bartok in front of a mirror . He wears a smart BLACK BERET which is much too large on him .</scene_description> <character>BARTOK</character> <dialogue>What do you think? Is it me?</dialogue> </scene> <scene> <stage_direction>EXT. SMALL HOTEL - NIGHT</stage_direction> <scene_description>Sweet , small french hotel on a winding cobble stone street of the Left Bank .</scene_description> </scene> <scene> <stage_direction>INT. SMALL HOTEL - NIGHT</stage_direction> <scene_description>Dmitri and Vladimir are both dressed in formal attire and look extremely dapper . Vlad is delighted with himself , modeling his finery , but Dmitri looks very sad .</scene_description> <character>VLADIMIR</character> <dialogue>Compliments of Sophie. Her escort has to look his best.</dialogue> <scene_description>They turn as the door opens and Anya stands nervously , but then strikes a regal pose . She looks magnificent . radiant , which is not lost on Dmitri .</scene_description> <character>ANYA</character> <dialogue>How do I look?</dialogue> <scene_description>Before Vladimir can gush , Dmitri , forced to repress his true feelings , is a bit curt and rises .</scene_description> <character>DMITRI</character> <dialogue>Fine. We better go.</dialogue> <scene_description>Anya looks surprised by his tone , but follows .</scene_description> </scene> <scene> <stage_direction>EXT. PARIS OPERA HOUSE - NIGHT</stage_direction> <scene_description>As the BEAUTIFUL PEOPLE OF PARIS pull up in carriages and automobiles .</scene_description> </scene> <scene> <stage_direction>INT. PARIS OPERA HOUSE</stage_direction> <scene_description>As Dmitri , Vladimir and Anya take their seats , all around them people are whispering `` Who 's that ? '' , `` What a beautiful woman '' , etc. . The Ballet begins . ANYA 'S POV Dancers in bright costumes leap across the stage . Dmitri turns to Anya and gestures to the box seats to the left . He hands her the opera glasses .</scene_description> <character>DMITRI</character> <dialogue>Look. There is your grandmother.</dialogue> <scene_description>Anya gives Dmitri a very nervous look and takes the glasses , aiming them toward Tatiana . ANYA 'S POV The majestic Tatiana , flanked by Sophie and her sisters and backed by several large GUARDS in uniform .</scene_description> <character>ANYA</character> <dialogue>She's so beautiful! I do remember her. I remember her.</dialogue> <scene_description>The music continues as Anya looks at Tatiana . INTERMISSION The lights come up and people around them begin to stand up , stretch , etc. . Dmitri turns to Anya .</scene_description> <character>DMITRI</character> <dialogue>Come on. It's time.</dialogue> </scene> <scene> <stage_direction>INT. MEZZANINE -- MINUTES LATER</stage_direction> <scene_description>They approach Tatiana 's private box . DMITRI Wait here for just a moment . I 'll go in first and prepare her . It 's bound to be a shock .</scene_description> <character>ANYA</character> <dialogue>I'm so scared.</dialogue> <character>DMITRI</character> <dialogue>Do n't be</dialogue> <character>ANYA</character> <dialogue>And grateful. To you.</dialogue> <parenthetical>( reaching out to him . )</parenthetical> <dialogue>If it were n't for you -</dialogue> <character>DMITRI</character> <parenthetical>( upset , pulling away . )</parenthetical> <dialogue>I know.</dialogue> <scene_description>Dmitri opens the door into Tatiana 's private box . Anya waits nervously outside .</scene_description> </scene> <scene> <stage_direction>INT. PRIVATE BOX</stage_direction> <scene_description>Dmitri walks up to the guards standing at the top of three small steps into the box seats .</scene_description> <character>DMITRI</character> <dialogue>I need to speak with the Dowager Empress.</dialogue> <scene_description>-LSB- PAGE MISSING -RSB-</scene_description> <character>TATIANA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>How much pain will you inflict on an old woman for money?!</dialogue> <character>DMITRI</character> <dialogue>Please, if you'd just listen.</dialogue> <character>TATIANA</character> <parenthetical>( to guards . )</parenthetical> <dialogue>Remove him at once.</dialogue> <scene_description>The guards physically force Dmitri out , in spite of his urgent pleas .</scene_description> <character>DMITRI</character> <dialogue>Please! Empress! It's not what you.</dialogue> <scene_description>Dmitri is thrown out of the box and straight into Anya , who stares at him with tears in her eyes . She then turns and runs away .</scene_description> <character>DMITRI</character> <dialogue>Anya. please.</dialogue> </scene> <scene> <stage_direction>INT. LOBBY</stage_direction> <scene_description>Anya pushes her way through the CROWD with Dmitri in pursuit .</scene_description> </scene> <scene> <stage_direction>EXT. OPERA HOUSE - NIGHT</stage_direction> <scene_description>Anya bursts out of the doors followed by Dmitri</scene_description> <character>DMITRI</character> <dialogue>Anya, wait!</dialogue> <character>ANYA</character> <parenthetical>( spinning on him . )</parenthetical> <dialogue>Tell me it is n't true?! Tell me you did n't do this for the money!</dialogue> <character>DMITRI</character> <dialogue>No! Well, yes, but</dialogue> <character>ANYA</character> <dialogue>No! I thought you believed in me! It was all a lie!</dialogue> </scene> <scene> <stage_direction>EXT. PARIS OPERA</stage_direction> <scene_description>Dmitri runs out and stands by grand looking automobiles lined up in front . He scans the cars . DMITRI 'S POV Tatiana is walking toward her car . A very proper CHAUFFEUR holds the door for her . The CHAUFFEUR helps Tatiana in , then is about to climb into the front seat when Dmitri rushes up to him .</scene_description> <character>DMITRI</character> <dialogue>Sir! Your rear tire is flat!</dialogue> <character>CHAUFFEUR</character> <dialogue>it is?</dialogue> <scene_description>As he gets out to look , Dmitri slides into the drivers seat and roars away . The stunned Chauffeur in his dust .</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Tatiana is jolted by the fast motion of her car .</scene_description> <character>TATIANA</character> <dialogue>Ulo! Slow down!</dialogue> <scene_description>Dmitri turns from the front seat and looks at her .</scene_description> <character>DMITRI</character> <dialogue>I'm not Ulo and I wo n't slow down. But you will listen to me!</dialogue> <character>TATIANA</character> <parenthetical>( recognizing Dmitri . )</parenthetical> <dialogue>You! How dare you?! Stop this car immediately!</dialogue> </scene> <scene> <stage_direction>EXT. PARIS STREETS</stage_direction> <scene_description>Tatiana 's car flying down small streets .</scene_description> </scene> <scene> <stage_direction>INT. TATIANA'S CAR</stage_direction> <character>TATIANA</character> <dialogue>Stop this car!</dialogue> <scene_description>The car slams to . a stop in front of the SMALL HOTEL . Dmitri leans into the back seat , face - to - face with her .</scene_description> <character>DMITRI</character> <dialogue>Please do n't be afraid! I'm sorry, but there was no other way!</dialogue> <scene_description>Tatiana is frightened , but still very stubborn . She looks away from him . Dmitri thrusts the music box into her hands .</scene_description> <character>DMITRI</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Look at this!</dialogue> <scene_description>Tatiana looks down and is immediately taken aback .</scene_description> <character>TATIANA</character> <dialogue>Anastasia's music box. She had this all these years.</dialogue> <parenthetical>( fighting the possibility . )</parenthetical> <dialogue>You could have found it.</dialogue> <character>DMITRI</character> <dialogue>What I foundyour was your granddaughter!</dialogue> <scene_description>Tatiana turns away from him again .</scene_description> <character>DMITRI</character> <parenthetical>( CONT . )</parenthetical> <dialogue>You were right - it was a lie. My intention was to fool you.</dialogue> <parenthetical>( sadly . )</parenthetical> <dialogue>I am a liar - but I found the truth. Just see her! I swear if you see her I'll disappear forever</dialogue> <scene_description>Dmitri points up to the open window of the hotel .</scene_description> <character>DMITRI</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Just look! Just look at her!</dialogue> <scene_description>Tatiana finally looks out the window . TATIANA 'S POV Anya holding Meetoo in front of the window . BACK TO TATIANA reacting to how much she looks like Anastasia .</scene_description> </scene> <scene> <stage_direction>INT. SMALL HOTEL -- A MINUTE LATER</stage_direction> <scene_description>Anya hears a KNOCK and assumes it is Dmitri .</scene_description> <character>ANYA</character> <dialogue>Go away!</dialogue> <scene_description>The door opens slowly . Anya spins , then softens when she sees Tatiana holding the MUSIC BOX .</scene_description> <character>TATIANA</character> <dialogue>Who are you, child?</dialogue> <character>ANYA</character> <parenthetical>( crying . )</parenthetical> <dialogue>I do n't know! I do n't want to hurt you.</dialogue> <scene_description>Tatiana holds out the music box .</scene_description> <character>TATIANA</character> <dialogue>Do you remember this?</dialogue> <character>ANYA</character> <dialogue>I remember something lost. I'm so confused! Oh, please, just tell me if you recognize me! Do you think I could have. belonged to you.</dialogue> <scene_description>Tatiana notices Anya nervously playing with the key around her neck . Tatiana reacts when she sees the key .</scene_description> <character>TATIANA</character> <dialogue>Oh! Where did you get that?!</dialogue> <scene_description>Anya sees her looking at the key around her neck .</scene_description> <character>ANYA</character> <dialogue>I've always had it. I came here because of this! Tell me if you recognize it! Please! It's all I have.</dialogue> <scene_description>UNDERSCORE - `` THE MUSIC BOX THEME '' Tatiana holds out her hands as Anya takes off the key and hands it to her .</scene_description> <character>TATIANA</character> <parenthetical>( through tears . )</parenthetical> <dialogue>It was hers. my Anastasia's.</dialogue> <parenthetical>( then suddenly : angry , defensive . )</parenthetical> <dialogue>If this is part of your scheme! If you found it or stole - I do n't care, I'll give you whatever you want just TELL ME THE TRUTH!</dialogue> <scene_description>Anya takes the music box and the key out of Tatiana 's hand gently - remembering how it works . Anya puts in the key and begins to wind it . Tatiana is surprised that Anya knows how it works - so is Anya !</scene_description> <character>TATIANA</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( singing , a cappella . )</parenthetical> <dialogue>PAR AWAY, LONG AGO GLOWING DEEP AS AN EMBER</dialogue> <character>ANYA</character> <parenthetical>( remembering . )</parenthetical> <dialogue>THINGS MY HEAR USED TO KNOW THINGS IT YEARS TO REMEMBER</dialogue> <scene_description>We hear THE MUSIC BOX begin to play .</scene_description> <character>BOTH</character> <dialogue>AND A SONG SOMEONE SINGS ONCE UPON A DECEMBER.</dialogue> <scene_description>Their cracking voices trail off as they look at each other and know that they are who they 've been searching for - and the search is finally over . Tatiana and Anya throw their arms around each other , both crying , both overjoyed . TATIANA Anastasia ! Anastasia ! You 've come home at last ! You 've come home . OUTSIDE THE WINDOW Dmitri watches Anya and Tatiana 's embrace . He smiles sadly , then turns and walks down the dark street alone .</scene_description> </scene> <scene> <stage_direction>EXT. ANYA'S WINDOW</stage_direction> <scene_description>Bartok slides his way out to the window ledge . Overcome with emotion , he is crying big bat tears .</scene_description> <character>BARTOK</character> <dialogue>He is gon na yellllll.</dialogue> </scene> <scene> <stage_direction>EXT. RASPUTIN'S WAGON - NIGHT</stage_direction> <scene_description>Hideous fat river rats , ferocious looking and scarred , stop and tremble nervously when</scene_description> <character>RASPUTIN</character> <parenthetical>( O.C . )</parenthetical> <parenthetical>( booming louder than ever before . )</parenthetical> <dialogue>SHE'LL FIND HER DEMISE IN THAT HAPPY HOME!</dialogue> <scene_description>Bartok catapults across the frame , having been thrown out of the window so hard that when he hits the stone wall of the river bank , the stones crack .</scene_description> <character>BARTOK</character> <dialogue>I should have been a dentist.</dialogue> </scene> <scene> <stage_direction>INT. ANYA'S BEDROOM IN TATIANA'S HOUSE - NIGHT</stage_direction> <scene_description>Anya snuggles down into the thick covers as Tatiana strokes her hair gently .</scene_description> <character>ANYA</character> <dialogue>and that Christmas dinner, when Cook made that awful plum pudding and we hid it in our pockets so we would n't hurt her feelings! I do remember so much now, Grandmama, - but not everything.</dialogue> <character>TATIANA</character> <dialogue>Do n't worry about that now, child, it will all come back to you now that you're home.</dialogue> <scene_description>Anya closes her eyes as Tatiana continues to stroke her hair .</scene_description> <character>TATIANA</character> <parenthetical>( CONT . )</parenthetical> <parenthetical>( quietly . )</parenthetical> <dialogue>My poor child you're safe, now. you're home.</dialogue> <scene_description>Anya is asleep as Tatiana kisses her forehead , turns off the light and walks to the door . She looks back on her sleeping granddaughter with enormous joy and gratitude . She smiles to herself as she pulls the door closed behind her , revealing RASPUTIN STANDING BEHIND THE DOOR . His eyes glow like embers in the dark . Bartok is perched on his shoulder .</scene_description> <character>RASPUTIN</character> <dialogue>Yesss. finally `` home''. And what a charming. girlish little home it is.</dialogue> <parenthetical>( gestures to CHERUBS in the wallpaper . )</parenthetical> <dialogue>Look, Bartok, little angels, the symbol of. love. So sweet, so harmless.</dialogue> <scene_description>Rasputin takes the reliquary from around his waist and places it on the table .</scene_description> <character>RASPUTIN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Let's go for a touch of irony, shall we?</dialogue> <scene_description>He waves his hand and the smoke emerges , emanating toward the walls . CLOSE ON some CHERUBS as the smoke hits them . They begin to change , taking on a lean and evil look . Their tiny arrows grow , becoming lethal , as their eyes turn from soft brown to blood red . Slowly , they EMERGE from the wallpaper , their small wings growing into horrible pterodactyl membranous paired appendages . They SWOOP into flight and begin to circle the room , faster and faster . Rasputin leans precariously over the sleeping Anya , chuckling .</scene_description> <character>RASPUTIN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>And there will be no blood on my hands.</dialogue> <scene_description>Rasputin backs away as the cherubs aim their JAGGED ARROWS at Anya . Suddenly , Meetoo leaps up from the bed , barking . Rasputin , startled , jumps backward . Bartok falls off his shoulder and on to the table , knocking into the reliquary - which is about to fall .</scene_description> <character>RASPUTIN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Nooooooo!</dialogue> <scene_description>Rasputin catches it . The SPELL is immediately broken and everything turns back to normal just as Anya wakes up . She sees Rasputin and lets out a SCREAM . Rasputin advances on her , his hands outstretched as if to strangle her when he hears footsteps and voices in the hallway . Rasputin grabs the reliquary and LEAPS out the window , his monk 's robe billowing just as the door opens . Tatiana rushes in and sees Bartok flying out the window .</scene_description> <character>TATIANA</character> <dialogue>Anastasia! It was just a bat! It's gone, dear.</dialogue> <character>ANYA</character> <parenthetical>( shaken . )</parenthetical> <dialogue>No, it was n't a bat! I saw this horrible man - I remember him, I think.</dialogue> <character>TATIANA</character> <parenthetical>( comforting . )</parenthetical> <dialogue>No, no child. shush. it's all right.</dialogue> <scene_description>She embraces Anya , who is still terrified and knows that she saw what she saw .</scene_description> </scene> <scene> <stage_direction>INT. TATIANA'S HOUSE - DAY</stage_direction> <scene_description>Anya sits , looking a bit vacant as two overly French jewelers , PIERRE &amp; ANDRE , fit Anya for her ROYAL CROWN . Tatiana sits across from Anya and ca n't help but notice that Anya looks miserable as Sophie bustles about .</scene_description> <character>SOPHIE</character> <dialogue>A grand ball for the Princess. How very exciting. So much to do, so little time.</dialogue> <character>TATIANA</character> <parenthetical>( slightly annoyed . )</parenthetical> <dialogue>Do it somewhere else, please. Quietly.</dialogue> <scene_description>The slight is lost on Sophie who bustles out talking to herself .</scene_description> <character>SOPHIE</character> <dialogue>Caterers. invitations. saber dancers! We must have saber dancers!</dialogue> <scene_description>`` RULERS OF RUSSIA '' -LRB- COMIC REPRISE -RRB- Sophie SINGS as COMIC REPRISE of ` RULERS OF RUSSIA '' Pierre and Andre argue as they fit Anya for the crown .</scene_description> <character>PIERRE</character> <dialogue>Her head it is. how you say?</dialogue> <character>ANDRE</character> <dialogue>Beeg. Zat is how you say it. Beeg.</dialogue> <character>PIERRE</character> <dialogue>And the crown she is. how you say?</dialogue> <character>ANDRE</character> <dialogue>Small! Zat is `` how you say'' it! Do n't be so French, Pierre wit the `` how you say'' all za time - zat is really annoying.</dialogue> <scene_description>As they discuss this , Anya wanders away from them , the crown still slightly askew on her head . Tatiana follows her .</scene_description> <character>TATIANA</character> <dialogue>You are going to make a beautiful princess.</dialogue> <scene_description>But Anya simply nods . Tatiana turns her towards a FULL LENGTH MIRROR , then straightens the crown as they look at their reflections .</scene_description> <character>TATIANA</character> <dialogue>Lovely.</dialogue> <parenthetical>( no reaction . )</parenthetical> <dialogue>What troubles you, child?</dialogue> <scene_description>But before Anya can answer , Vladimir leans into the room .</scene_description> <character>VLADIMIR</character> <dialogue>Madame, your. eh. guest has arrived.</dialogue> <character>TATIANA</character> <parenthetical>( knowing . )</parenthetical> <dialogue>Thank you, Vladimir.,</dialogue> <scene_description>Tatiana leaves and Vladimir looks at Anya . Anya , angry at him , turns away .</scene_description> <character>VLADIMIR</character> <dialogue>Anya. Anastasia. I'm sorry. We did n't mean to hurt you.</dialogue> <scene_description>Anya still wo n't look at him .</scene_description> </scene> <scene> <stage_direction>INT. TATIANA'S STUDY</stage_direction> <scene_description>Tatiana walks into her study and is happy to see Dmitri is standing there , looking nervous and very uncomfortable .</scene_description> <character>TATIANA</character> <dialogue>I sent for you because I owe you a debt of gratitude larger than I can ever repay</dialogue> <character>DMITRI</character> <dialogue>No. Empress, you -</dialogue> <character>TATIANA</character> <dialogue>I want you to have the reward money - you've earned it.</dialogue> <scene_description>He leaps from his chair , exploding with emotion .</scene_description> <character>DMITRI</character> <dialogue>Empress, no! I will not take the money! I just came to tell you I was sorry.</dialogue> <character>TATIANA</character> <dialogue>Young man, I.</dialogue> <scene_description>Dmitri flips his hair out of his eyes and Tatiana gets a look of recognition across her face .</scene_description> <character>DMITRI</character> <dialogue>and I'm going to keep my promise to stay out of your lives, forever.</dialogue> <scene_description>Tatiana looks at him with great understanding and affection as she realizes ,</scene_description> <character>TATIANA</character> <dialogue>You are the boy.</dialogue> <character>DMITRI</character> <parenthetical>( uncomfortable . )</parenthetical> <dialogue>I should go</dialogue> <character>TATIANA</character> <dialogue>That last night in the palace. one boy showed us kindness and courage. You were the boy who saved our lives, were n't you?</dialogue> <parenthetical>( Dmitri does n't answer . )</parenthetical> <dialogue>Please, is there nothing I can do to repay you?</dialogue> <character>DMITRI</character> <dialogue>Promise me she'll have her home.</dialogue> <character>TATIANA</character> <dialogue>She does.</dialogue> <character>DMITRI</character> <dialogue>And tell me that she's happy.</dialogue> <character>TATIANA</character> <dialogue>Oh, Dmitri.I wish that I could.</dialogue> <scene_description>Dmitri comes down the steps , then stops when he sees Anya , wearing her CROWN . She turns and sees him , stifling her first impulse , then putting on a show of supreme confidence .</scene_description> <character>DMITRI</character> <dialogue>I'm glad you found what you were looking for.</dialogue> <character>ANYA</character> <dialogue>I'm glad you did too.</dialogue> <scene_description>With nothing left to say , he heads for the door .</scene_description> <character>ANYA</character> <dialogue>Enjoy your fortune.</dialogue> <scene_description>Dmitri spins , but restrains . He opens the door and Anya goes back into the Parlor . They both know that they will never see each other again .</scene_description> </scene> <scene> <stage_direction>INT. LITTLE HOTEL - DAY</stage_direction> <scene_description>Dmitri busily tosses his few possessions into his backpack as Vladimir - in formal attire - waves an embossed INVITATION at him .</scene_description> <character>VLADIMIR</character> <dialogue>But this invitation came from the Empress herself! It's the social event of the decade! You ca n't turn it down!</dialogue> <character>DMITRI</character> <dialogue>Watch me.</dialogue> <scene_description>Vladimir starts to protest . Dmitri grabs the invitation and tears it up , tossing the pieces into the air . Vladimir sighs .</scene_description> <character>VLADIMIR</character> <dialogue>So where will you go?</dialogue> <character>DMITRI</character> <dialogue>She found her home. Maybe it's time I found one too!</dialogue> <scene_description>NEW POV from outside the window . WE DO NOT HEAR THEM , but we see Vlad and Dmitri hug good - bye . PULL RACK to see it 's RASPUTIN 'S POV ; as he stands on a LADDER OF SMOKE , looking into Dmitri 's window . Rasputin watches Vladimir leave as Dmitri finishes packing .</scene_description> </scene> <scene> <stage_direction>INT. DMITRI'S ROOM</stage_direction> <scene_description>As the windows BURST OPEN and Rasputin swoops in . Dmitri backs away , terrified as the ladder dissolves and smoke fills the room .</scene_description> <character>RASPUTIN</character> <dialogue>So. You do n't want to go to the coronation, eh?</dialogue> <character>DMITRI</character> <parenthetical>( recognizing him . )</parenthetical> <dialogue>Rasputin!</dialogue> <character>RASPUTIN</character> <dialogue>I know, I know. you thought I was dead. That's how the history books will remember me - not as the ruler of all of Russia, which I SHOULD HAVE BEEN - but as the guy who was never dead when you expected him to be.</dialogue> <scene_description>Dmitri backs away as the smoke coils around him and Rasputin advances .</scene_description> <character>DMITRI</character> <dialogue>What do you want?!</dialogue> <character>RASPUTIN</character> <dialogue>The same thing I wanted ten years ago - all the Romonovs dead I got the others, now I have to finish up with that nuisance, Anastasia.</dialogue> <character>DMITRI</character> <dialogue>You're insane! You did n't kill the Romonovs - it was the.</dialogue> <character>RASPUTIN</character> <dialogue>STOP IT! I DID SO KILL THEM! And I'm going to kill Anastasia.</dialogue> <scene_description>Dmitri lunges for him but the smoke coils around him like rope , holding him back .</scene_description> <character>RASPUTIN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Look at me.</dialogue> <parenthetical>( Dmitri turns away . )</parenthetical> <dialogue>Look at me!</dialogue> <scene_description>The SMOKE forms into hands , forcing Dmitri 's face toward Rasputin 's . Dmitri 's eyes widen . Rasputin locks on him with his eyes , glowing like red hot coals , as he bears Dmitri in hypnotically .</scene_description> <character>RASPUTIN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>You are going to help me kill her. You are going to help me kill her. her.</dialogue> <scene_description>ON BARTOK who looks away , obviously not enjoying this . As WE HEAR Rasputin repeat `` You are going to help me '' a few more times .</scene_description> </scene> <scene> <stage_direction>EXT. EIFFEL TOWER - NIGHT</stage_direction> <scene_description>Magnificently , the Eiffel Tower illuminates all of Paris when FLOOD LIGHTS come on and we see a LARGE PARTY has been set underneath it 's black iron legs . WE HEM TRUMPETS as we MOVE IN CLOSER to see that a stage has been set up on the north side , the `` Seine side '' . of the Tower , with a large throne - like chair in the center . Beautiful PARTY GUESTS , many we had seen in the opening Ballroom scene , mingle around excitedly . Behind the stage , a beautiful curtain separates the party from</scene_description> </scene> <scene> <stage_direction>INT. BEHIND THE CURTAIN</stage_direction> <scene_description>the Princess Anastasia , in crown and full coronation gown . Anastasia fidgets nervously , looking for the key around her neck , then remembering it is n't there anymore , as a MAJOR RUSSIAN DOMO addresses her and Tatiana .</scene_description> <character>MAJOR DOMO</character> <dialogue>then as I say `` Her Serene Highness Princess Anastasia'' you, your Highness, should walk out on to the stage and greet your.</dialogue> <scene_description>Tatiana sees that Anastasia is n't listening and dismisses the Major Domo in mid sentence .</scene_description> <character>TATIANA</character> <dialogue>I believe her highness understands what she has to do.</dialogue> <scene_description>Major Domo bows and leaves . Tatiana looks at Anastasia .</scene_description> <character>TATIANA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Do n't you, child?</dialogue> <character>ANYA</character> <dialogue>Oh, yes, Grandmama - I wait until I hear.</dialogue> <character>TATIANA</character> <dialogue>No, not about the ceremony, Anastasia - do you understand the choice you must make.</dialogue> <scene_description>Anya turns to her in confusion .</scene_description> <character>ANYA</character> <dialogue>There's no choice.</dialogue> <scene_description>Anya is cut off with a quick knock at the door , as Sophie and Vladimir enter , bowing to them both . Vladimir has Meetoo , all dressed up in bows and ribbons - and looking miserable - on a leash .</scene_description> <character>VLADIMIR</character> <parenthetical>( to Tatiana . )</parenthetical> <dialogue>Your `` guest'' is unable to attend.</dialogue> <scene_description>Tatiana is troubled by this news . Anya starts laughing when she sees Meetoo .</scene_description> <character>ANYA</character> <dialogue>Oh, Meetoo! You look miserable! Oh, Vlad - look at him!</dialogue> <character>VLADIMIR</character> <parenthetical>( formally . )</parenthetical> <dialogue>Yes, your highness.</dialogue> <character>ANYA</character> <dialogue>Poor Meetoo!</dialogue> <character>VLADIMIR</character> <parenthetical>( formally . )</parenthetical> <dialogue>Yes, your highness.</dialogue> <character>ANYA</character> <dialogue>Cut it out, Vlad! I'm not angry with you anymore - I know how much you needed the money.</dialogue> <character>TATIANA</character> <dialogue>But they did n't take the money - either one of them. I offered it to them, but they both refused.</dialogue> <scene_description>Anya is shocked , she takes a minute to process this as</scene_description> <character>ANYA</character> <dialogue>Dmitri did n't want the money?</dialogue> <character>TATIANA</character> <dialogue>No, he just wanted to know you were happy.</dialogue> <character>VLADIMIR</character> <parenthetical>( taking Sophie 's hand . )</parenthetical> <dialogue>Fortunately, I am to be married.</dialogue> <parenthetical>( backing away . )</parenthetical> <dialogue>With your highness, permission.</dialogue> <character>ANYA</character> <dialogue>Vlad, stop acting this way! You're my friend!</dialogue> <character>VLADIMIR</character> <dialogue>No. From now on I am your loyal subject. your highness. By your leave?</dialogue> <scene_description>To Anya 's dismay , Vlad and Sophie bow and back out of the room .</scene_description> <character>ANYA</character> <dialogue>Why does everyone have to act that way?</dialogue> <character>TATIANA</character> <dialogue>You'll have to become used to it, child, if you accept the crown.</dialogue> <character>ANYA</character> <dialogue>`` If'' I accept?! Of course I'm going to accept! it's what I always wanted!</dialogue> <character>TATIANA</character> <dialogue>Is it? Is this what you want?</dialogue> <scene_description>Tatiana gestures to the formality outside .</scene_description> <character>ANYA</character> <dialogue>I wanted to come home, Grandmama - and I did. I came back to my home with you.</dialogue> <character>TATIANA</character> <dialogue>You ca n't go back to find your home. Your home is in your heart, in the future that you make for yourself.</dialogue> <character>ANYA</character> <dialogue>And this is my future. This is who I am!</dialogue> <character>TATIANA</character> <dialogue>This is who you were. Exactly who you are is up to you.</dialogue> <character>ANYA</character> <dialogue>I do n't know who I am! I still do n't know!</dialogue> <character>TATIANA</character> <dialogue>Yes, you do. You do.</dialogue> <scene_description>Tatiana kisses her on the forehead .</scene_description> <character>TATIANA</character> <parenthetical>( CONT . )</parenthetical> <dialogue>And in your heart, you know what is right for you.</dialogue> <scene_description>Tatiana turns to leave .</scene_description> <character>ANYA</character> <dialogue>I've spent my whole life waiting to find you.</dialogue> <character>TATIANA</character> <dialogue>And we have found each other nothing will ever change that! I am your family, dear child, but I may not be your home.</dialogue> <scene_description>Tatiana leaves . Anya is very torn . Anya jumps as the TRUMPETS sound announcing her entrance .</scene_description> </scene> <scene> <stage_direction>INT. BALLROOM - NIGHT</stage_direction> <scene_description>The COURTIERS gather , excited , as the Major Domo readies to make his announcement .</scene_description> </scene> <scene> <stage_direction>INT. ANTE ROOM (EIFFEL TOWER)</stage_direction> <scene_description>Anya , thinking about what Tatiana has said , looks at herself in the mirror . ANYA 'S POV the Princess Anastasia . But not Anya .</scene_description> <character>MAJOR DOMO</character> <parenthetical>( O.C . )</parenthetical> <parenthetical>( announcing . )</parenthetical> <dialogue>Her Serene Highness, the Princess Anastasia!</dialogue> <scene_description>Pause . WE HEAR mummers from the crowd outside , various `` Where 's Anastasia ? '' , then</scene_description> <character>DMITRI</character> <parenthetical>( O.C . )</parenthetical> <dialogue>Anya!</dialogue> <scene_description>Anya spins around , looking for him . His voice seems distant and ghostly ,</scene_description> <character>DMITRI</character> <parenthetical>( O.C . )</parenthetical> <dialogue>Anya.</dialogue> <scene_description>Anya follows his voice out of the room and into the ELEVATOR . The doors close .</scene_description> </scene> <scene> <stage_direction>EXT. ELEVATOR</stage_direction> <scene_description>as it rises gently to the very top of the Eiffel Tower not on cables - but on long ropes of smoke .</scene_description> </scene> <scene> <stage_direction>EXT. TOP OF EIFFEL TOWER</stage_direction> <scene_description>Rasputin , gleeful , sits perched on a girder , looking down at the party below .</scene_description> <character>RASPUTIN</character> <dialogue>Look, Bartok. Most of them were there the night I made this curse. Now, they'll get to see it finished!</dialogue> <parenthetical>( sighing , content . )</parenthetical> <dialogue>Revenge is a dish best served. in front of a larrrrrge audience!</dialogue> <scene_description>Rasputin leans over the rail and looks down at the party .</scene_description> <character>RASPUTIN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>Do not despair. I'll make sure your beloved princess drops in.</dialogue> <scene_description>Rasputin chuckles at his own `` wit ''</scene_description> <character>BARTOK</character> <parenthetical>( depressed . )</parenthetical> <dialogue>Ahh, very witty. There's this English guy - Noel Coward - I'll bet he's quaking.</dialogue> <scene_description>ON THE ELEVATOR As the door open and Anya rushes out , looking around .</scene_description> <character>ANYA</character> <dialogue>Dmitri?</dialogue> <scene_description>Dmitri is standing - like a zombie - at the far end of the platform . Anya sees him .</scene_description> <character>ANYA</character> <dialogue>Dmitri. Grandmama told me.</dialogue> <scene_description>She stops . She can tell that something is n't right with Dmitri by the look in his eyes .</scene_description> <character>ANYA</character> <dialogue>Dmitri, what's wrong?</dialogue> <scene_description>Dmitri approaches her slowly , zombie - like , arms outstretched .</scene_description> <character>RASPUTIN</character> <parenthetical>( from above . )</parenthetical> <dialogue>Throw her off the edge! Do it!</dialogue> <scene_description>Anya looks up at the booming voice . ANYA 'S POV sees Rasputin . BACK TO ANYA : FLASHES , RAPID IMAGES : RASPUTIN from the last night at the palace YOUNG ANASTASIA - TERRIFIED ORANGE flash of gunshots YOUNG DMITRI leading them out the wall panel , then the Face of the YOUNG DMITRI superimposes over the zombie who is coming toward her .</scene_description> <character>ANYA</character> <dialogue>Dmitri. Look at me! It's Anya! It's ANYA!</dialogue> <scene_description>Dmitri stops . His eyes glazed and frightening .</scene_description> <character>ANYA</character> <dialogue>You saved my life in the palace! You wo n't take it now.</dialogue> <character>RASPUTIN</character> <parenthetical>( from above . )</parenthetical> <dialogue>FINISH HER!</dialogue> <scene_description>Anya holds her ground as Dmitri moves toward her , ready to push her off the edge .</scene_description> <character>ANYA</character> <dialogue>Dmitri. I know you would never hurt me. You love me.</dialogue> <scene_description>As Dmitri come close , she moves toward him and kisses him . He blinks and snaps out of it and is quite happy that Anya is kissing him .</scene_description> <character>ANYA</character> <dialogue>Dmitri?</dialogue> <character>DMITRI</character> <dialogue>Anya. where are we?</dialogue> <scene_description>WE HEAR a howl from above and suddenly Rasputin jumps down . The reliquary tied to his waist , he 's more furious than we 've ever seen him - his face literally consumed with rage and hatred . Anya is terrified - but holds her ground as she did when she was a child .</scene_description> <character>ANYA</character> <dialogue>I guess you are n't as powerful as you thought!</dialogue> <scene_description>Rasputin walks slowly toward Anya and Dmitri , burning with rage .</scene_description> <character>RASPUTIN</character> <dialogue>I'll show you!</dialogue> <character>DMITRI</character> <dialogue>Run, Anya - go.</dialogue> <character>ANYA</character> <dialogue>I'm not leaving you!</dialogue> <character>RASPUTIN</character> <dialogue>Fighting for fair lady. How noble.</dialogue> <scene_description>Dmitri pushes Anya away and charges the much larger Rasputin , who knocks his aside with on swoop of big huge arm .</scene_description> <character>RASPUTIN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>And how pathetic.</dialogue> <scene_description>Rasputin turns to Anya climbing up a girder .</scene_description> <character>RASPUTIN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>That's only going to make you fall farther.</dialogue> <scene_description>Anya turns suddenly and kicks Rasputin in the face , which has the same effect as kicking a brick wall . Anya is thrown off balance and falls . Rasputin pushes her with his foot and she slides across the floor to Dmitri . Anya and Dmitri exchange a quick look as Rasputin , chuckling , advances on them . Anya reaches up and grabs Rasputin 's beard , pulling his face forward so that Dmitri can give him a good roundhouse punch . The blow does little but enrage Rasputin . He reaches out and with one huge hand , picks Anya like a rag doll and takes her to the ledge .</scene_description> <character>DMITRI</character> <dialogue>Anya!</dialogue> <scene_description>Dmitri throws himself against Rasputin several times only to get batted away like a fly . Realizing this is futile , Dmitri slips through the FLOOR GIRDERS and scurries towards the edge . BELOW TEM . DMITRI POV : Rasputin 's large boots above him , heading for the edge . ABOVE Rasputin reaches the edge , playful dangling the struggling Anya over the side .</scene_description> <character>RASPUTIN</character> <dialogue>My curse is now complete! Good - bye, babushka!</dialogue> <scene_description>Anya looks over the ledge . ANYA 'S POV The city below as she FALLS . Dmitri emerges from the grid below and GRASS her , holding on to the back of her dress .</scene_description> <character>DMITRI</character> <dialogue>Take my hand!</dialogue> <parenthetical>( sees Rasputin approaching . )</parenthetical> <dialogue>Hurry!</dialogue> <scene_description>She manages to spin around , gripping his hand .</scene_description> <character>ANYA</character> <dialogue>Do n't let me go!</dialogue> <character>DMITRI</character> <dialogue>I'll never let go!</dialogue> <scene_description>CLOSE their hands , gripping one another .</scene_description> <character>RASPUTIN</character> <parenthetical>( O.C . )</parenthetical> <dialogue>What a touching sentiment.</dialogue> <scene_description>They look up to see his right above them . Rasputin 's boot SMASHES DOWN on Dmitri 's hand , which grips the girder . Dmitri screams out in , but does n't let go . He looks down at Anya and pulls her up while Rasputin begins to pry off Dmitri 's fingers one at a time .</scene_description> <character>RASPUTIN</character> <dialogue>This little piggy had a palace. this little piggy had a throne.</dialogue> <scene_description>Anya swings to another beam and now has firm footing as Rasputin continues .</scene_description> <character>RASPUTIN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>This little piggy missed the firing squad.</dialogue> <scene_description>Dmitri is literally holding on with two fingers .</scene_description> <character>RASPUTIN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>And this little piggy wanted a home. And this little piggy went wee wee wee all the way. down!</dialogue> <scene_description>As Dmitri 's last finger is preyed away , he falls but his grasp on Anya 's hand is firm and she pulls him onto where she is standing . Rasputin leans over and bends toward them , three feet from Anya .</scene_description> <character>RASPUTIN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>DIE!</dialogue> <scene_description>The reliquary is dangling . Anya reaches up to grab on to it but her aim is off and she HITS it . The reliquary flies and SMASHES against the side of the tower , shattering . Rasputin realizes what has happened and scrambles away in terror .</scene_description> <character>RASPUTIN</character> <parenthetical>( CONT . )</parenthetical> <dialogue>NOOOOOOOOO!</dialogue> <scene_description>ON BARTOK who covers his eyes . ON ANYA AND DMITRI who climb back up to the platform . LONG SHOT of the Eiffel Tower as the EVIL SPIRITS FROM THE RELIQUARY burst out . The SPIRITS take on all the forms we 've seen earlier : BEARS , MINIONS , SNAKES , and combinations of all . They grow and swirl , with hideous MOANING noises . Anya and Dmitri huddle together , in disbelief . ON RASPUTIN as the SPIRITS begin to swarm around him , a TORNADO of horrid beings . Re screams as they pull him off the ground . ON ANYA AND DMITRI as the force of the tornado increases , they have to hold on to the girders and each other in order not to be sucked in . Bartok is thrown against the side of the tower and slithers to the floor . ON RASPUTIN suspended over the Eiffel Tower in the maelstrom . He Screams wildly as the spirits encircle his , torment him and EXPLODE - pieces fly and disintegrate in mid - air , in wild colors and smoke . ON DMITRI AND ANYA who hug each other in relief . They stand , looking out . The smoke dissipates , showing them the city lights below . ON BARTOK who rises , patting his chest - He 's about to let out a Bartokism . but all the emerges are LITTLE BAT SQUEAKS . He 's surprised as first , then thrilled . The spell is broken and he 's just a bat again . DMITRI AND ANYA as he reaches down and picks up the crown that fell off her head in the fight . He hands it to her .</scene_description> <character>DMITRI</character> <dialogue>Come on. I'll take you home.</dialogue> <scene_description>Anya looks lovingly at Dmitri and does n't put the crown back on .</scene_description> <character>ANYA</character> <dialogue>I am home.</dialogue> <scene_description>`` HONE IS WHERE YOU ARE '' -LRB- The Love Duet For Anya And Dmitri -RRB- . A SIMPLE EMOTIONAL BALLAD for two people who realize at last that their hearts have led then to each other , to `` home '' . This will work within the dramatic context of the film -LRB- sung by the characters -RRB- but can also be re - recorded as a Pop single . The song continues over various scenes : THE EMPTY STAGE Tatiana smiling , knowingly . SOPHIE &amp; VLADIMIR sneaking a kiss in the middle of the party . Xenia and Estelle look at each other with their stone faces . and smile . BARTOK Hanging from the rafters of the Eiffel Tower , no sure what to do next - then a cute female bat flies up next to his and `` bats '' her eyes . ANYA &amp; DMITRI walking over the River bridge with Meetoo following behind them . a family - going home together . FADE OUT THE END</scene_description> </scene> </script>

In 1916, in Petrograd, Russian Empire, Tsar Nicholas II hosts a ball at the Catherine Palace to celebrate the Romanov tricentennial. His mother, the Dowager Empress Marie Feodorovna, is visiting from Paris, and gives a music box and a necklace inscribed with the words "Together in Paris" as parting gifts to her youngest granddaughter, 8-year-old Grand Duchess Anastasia. The ball is suddenly interrupted by Grigori Rasputin, a sorcerer and the former royal adviser to the Romanov family until he was exiled for treason. Seeking revenge, Rasputin sold his soul in exchange for an unholy reliquary, which he uses to place a curse on the Romanovs, sparking the Russian Revolution. During the siege of the palace, only Marie and Anastasia are able to escape with the aid of 10-year-old servant boy Dimitri, who shows them a secret passageway in Anastasia's bedroom. Rasputin confronts the two royals outside on a frozen river, only to fall through the ice and drown. The pair manage to reach a moving train, but only Marie climbs aboard while Anastasia falls, hitting her head on the platform and suffering amnesia. Ten years later, Russia is under communist rule and Marie has publicly offered 10 million rubles for the safe return of her granddaughter. Dimitri and his friend/partner-in-crime, Vladimir, search for an Anastasia look-alike to bring to Paris so they can collect the reward. Elsewhere, Anastasia, now 18 years old and going by the name of "Anya", leaves the rural orphanage where she grew up, still suffering from amnesia due to her head injury from ten years earlier. Accompanied by a stray puppy she names "Pooka", she decides to head to Paris, inspired by the inscription on the necklace she still has, but finds she is unable to leave Russia without an exit visa. An old woman advises her to see Dimitri at the abandoned palace, where he and Vladimir have made residence; there, Anastasia dances with the spirits of her family in the ballroom, although this ends once she is caught by Dimitri. However, instead of throwing her out, the two men are impressed by her resemblance to the "real" Anastasia, and decide to take her with them to Paris. Rasputin's albino bat minion and servant, Bartok, is nearby and notices his master's dormant reliquary suddenly revived by Anastasia's presence; it drags him to limbo, where Rasputin, slowly decomposing, survives. Enraged to hear that Anastasia escaped the curse, Rasputin sends his demonic minions from the reliquary to kill her; despite two attempts including crashing a train by overheating and separating its train engine and baggage car from the rest of the train and tricking Anastasia into sleepwalking off a ship, the trio manage to (unwittingly) foil his plans, forcing Rasputin and Bartok to travel back to the surface. Along the way, Dimitri and Anastasia begin to fall in love. The trio eventually reach Paris and go to meet Marie, who has given up the search after being tricked by numerous imposters. Despite this, Marie's cousin Sophie quizzes Anastasia to confirm her identity. Though Anastasia offers every answer taught to her, Dimitri finally realizes she is the real Anastasia when she (without being taught to) vaguely recalls how he helped her escape the palace siege. Sophie, also convinced, arranges a meeting with Marie at the Palais Garnier Opera house. There, Dimitri tries to establish an introduction but Marie refuses, having already heard of Dimitri's initial scheme to con her. Anastasia overhears the conversation and angrily leaves heartbroken. Dimitri kidnaps Marie to see Anastasia, but she still refuses. Dimitri then shows the music box that Marie gave to Anastasia ten years ago and Dimitri convinces her to see Anastasia. At first, Marie still believes "Anya" is an impostor, who regains her memories as they converse. Convincing the empress of her identity and singing their lullaby, the two are joyfully reunited. Marie offers Dimitri the reward money the next day, recognizing him as the servant boy who saved them from the siege; to her surprise, he refuses it and leaves for Russia. At Anastasia's return celebration, Marie informs her of Dimitri's gesture, leaving Anastasia torn between staying or going with him. Pooka suddenly runs off; Anastasia chases him to the Pont Alexandre III, where she is trapped and attacked by Rasputin. Dimitri returns to save her, but is soon injured and knocked unconscious. In the struggle, Anastasia manages to get hold of Rasputin's reliquary and crushes it under her foot, avenging her family as Rasputin disintegrates and dies. In the aftermath, Anastasia and Dimitri reconcile; they elope, and Anastasia sends a farewell letter to Marie and Sophie, promising to return one day. The couple are then seen kissing on a riverboat. Bartok shares a kiss with a female bat before bidding the audience farewell.

Balls Out_2014

tt2937254

<script> <scene> <character>BALLS OUT</character> <dialogue>A Truly Somewhat AWESOME Original Screenplay</dialogue> <scene_description>by</scene_description> <character>THE ROBOTARD 8000</character> <dialogue>Copyright © 2009 All Rights Reserved</dialogue> <scene_description>FADE THE FUCK IN: A brief, painful MONTAGE establishing THE COD: CAPE motherfucking COD.</scene_description> </scene> <scene> <stage_direction>EXT. BEACH PARKING LOT - SUNNY DAY</stage_direction> <scene_description>Clogged with doughy tourists bulging out of their bathing suits. A long line of cars waiting to park snakes out onto the main road. In the distance, we HEAR the persistent sound of a STUCK CAR HORN getting louder. A BRAND NEW BMW barrels past the line of waiting cars. Steam billows from its severely dented grill. With no regard for anyone, the Beamer swerves in front of an old lady and skids to a stop across the last two handicap spaces. JIM SIMMERS (38) calmly exits the vehicle and begins to peel off his robe and pyjamas one piece at a time as he marches towards a trash can. He's down to his underwear as he snatches a newspaper out of the PARKING ATTENDANT'S hand and buck naked by the time he squats into the trash can to take a shit. It's a scene, man. He's folded in half, ass submerged in the trash can, knees dangling over the side. Jim flips to the sports page, seemingly unaware of the slack-jawed GAWKERS crowded around. The STUCK CAR HORN in the background is accented by a short GRUNT of relief as Jim finishes. He struggles to get out of the can, then pushes past the horrified crowd, bee-lining for the ocean. Naked as a jaybird, he strides purposefully into the cold waters of the Atlantic. The wailing CAR HORN rises in CRESCENDO as we... CUT TO: CLOSE ON A POT OF BOILING WATER FOR NO GOOD REASON...</scene_description> </scene> <scene> <stage_direction>..no good reason whatsoever. SUPER: TWO WEEKS EARLIER</stage_direction> </scene> <scene> <stage_direction>INT. JIM'S BEDROOM - MORNING</stage_direction> <scene_description>The barking dog next door wakes Jim up two hours too early, just like always. He's wearing those same pyjamas, slips on that same robe, walks through his sad little apartment, into...</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - MORNING</stage_direction> <scene_description>The proper place to shit. But Jim's only pissing this morning. Long and pungent.</scene_description> </scene> <scene> <stage_direction>INT. JIM'S KITCHEN - MORNING</stage_direction> <scene_description>Jim sets out his cereal, his juice, his milk and his fiber additives. He adds eight frozen raspberries - not seven, not nine but eight - to his bowl.</scene_description> </scene> <scene> <stage_direction>INT. JIM'S LIVING ROOM - LATER</stage_direction> <scene_description>Jim is now dressed in the uniform of middle management: a short-sleeved dress shirt, maudlin tie, and pleated Dockers®. A backpack slung over both shoulders completes his lame appearance. He picks up a book, "365 Morning Affirmations", turns to an earmarked page, looks in the mirror...</scene_description> <character>JIM</character> <dialogue>You're a winner, Jim Simmers.</dialogue> <scene_description>But he's not.</scene_description> </scene> <scene> <stage_direction>EXT. JIM'S APARTMENT - MORNING</stage_direction> <scene_description>Jim peeks out. Looks around. The coast is clear. But the second he steps onto the sidewalk, A BIG ASSHOLE DOG - the same one whose barking woke him earlier - menaces him. Jim stands motionless while the four-legged cocksucker barks maniacally at him. THE GAY NEIGHBOR, a short, shaved-bald fireplug of a dude, steps outside.</scene_description> <character>JIM</character> <dialogue>A little help here.</dialogue> <character>THE GAY NEIGHBOR</character> <dialogue>I'm so sorry. I don't know why he's like that with you.</dialogue> <parenthetical>(to the dog)</parenthetical> <dialogue>Hoag! David Hoag, you come here!</dialogue> <scene_description>David Hoag trots back to his owner.</scene_description> <character>JIM</character> <dialogue>I don't wanna sound like a broken record here, but you kind of promised to keep him locked up.</dialogue> <scene_description>The Gay Neighbor ignores him, fixated on a string dangling from his dog's ass.</scene_description> <character>THE GAY NEIGHBOR</character> <dialogue>What'd you eat, Hoagster? Huh?</dialogue> <parenthetical>(looks waaay up there)</parenthetical> <dialogue>You've been scavenging, haven't you Hoagie?</dialogue> <character>JIM</character> <dialogue>Okay...so...you'll leash your dog from now on, right?</dialogue> <character>THE GAY NEIGHBOR</character> <parenthetical>(pulling the dog's legs apart)</parenthetical> <dialogue>Huh? Oh, absolutely.</dialogue> <scene_description>Jim shakes his head and proceeds to enter...</scene_description> </scene> <scene> <stage_direction>INT. SPORTY KIA SPECTRUM (WITH RACING STRIPE) - MORNING</stage_direction> <scene_description>Jim straps in and drives off, cranking Duran Duran's "The Reflex" on his shitbox's crappy stereo.</scene_description> </scene> <scene> <stage_direction>EXT. MID-CAPE HIGHWAY - MORNING</stage_direction> <scene_description>Empty. Yet there's a stoplight. And Jim stops at it despite being the only car out. AN SUV PULLS UP NEXT TO HIM. Jim turns downs his music, self-conscious. Still the light remains red, taunting Jim. The SUV runs it, but Jim waits. And waits. A TRUCK barrels through the light without stopping. Finally it turns green. Jim pulls off.</scene_description> </scene> <scene> <stage_direction>EXT. SHOPPING PLAZA - MORNING</stage_direction> <scene_description>A Dunkin' Donuts, a convenience store and a Post Office. Jim's parks his car politely, climbs out and heads into...</scene_description> </scene> <scene> <stage_direction>INT. CONVENIENCE STORE - CONTINUOUS</stage_direction> <scene_description>Jim places a newspaper on the counter while a HOT YOUNG CLERK rambles on the phone, ignoring him.</scene_description> <character>HOT YOUNG CLERK</character> <dialogue>First he fucks the shit out of me, then beats the shit out of me, which would be fine if I wasn't the one smuggling his crack into prison when I'm visiting his brother. Shit, it's not like he's gonna help me get my baby back from the Jamaican assholes we met at the rage...</dialogue> <scene_description>Jim is both intrigued and embarrassed by her conversation.</scene_description> <character>JIM</character> <dialogue>Can I please--</dialogue> <parenthetical>(she holds up her finger)</parenthetical> <dialogue>Can I please--</dialogue> <parenthetical>(finger goes up again)</parenthetical> <dialogue>Look, I just need--</dialogue> <character>HOT YOUNG CLERK</character> <parenthetical>(into the phone)</parenthetical> <dialogue>Hold on one second, Juno!</dialogue> <parenthetical>(to Jim)</parenthetical> <dialogue>Here!</dialogue> <scene_description>She punches a few buttons on the lottery machine and shoves the resulting tickets at Jim.</scene_description> <character>HOT YOUNG CLERK</character> <dialogue>Five quick picks, two megabucks and a daily double, 0-5-0-8, and one Cape Cod Times!</dialogue> <scene_description>Jim pays her and snatches his shit, irked.</scene_description> <character>HOT YOUNG CHICK</character> <dialogue>You might as well burn your money, man. You're never gonna win.</dialogue> <scene_description>Jim heads out.</scene_description> </scene> <scene> <stage_direction>EXT. VALID INSURANCE BUILDING - DAY</stage_direction> <scene_description>Jim pulls up to a nondescript, multi-story, "God please kill me" office building.</scene_description> </scene> <scene> <stage_direction>INT. VALID INSURANCE - FIRST FLOOR - DAY</stage_direction> <scene_description>An endless sea of cubicles filled with people doing things and saying things we couldn't care less about. Jim makes his way to Cubicle 18-C and takes a seat. He opens his top drawer and pulls out a lottery ticket. Checks the numbers against the results in the newspaper... Jim sighs. No luck. As he settles in and puts on his headset, a familiar scent catches his attention. JIM'S P.O.V. as OLIVIA - curvy, gorgeous, wafting sensuality - glides up the stairs to the SECOND TIER. Her ass is fucking perfect. Seriously. Her ass is actually perfect and there's nothing Jim can do about it.</scene_description> <character>JILL (O.S.)</character> <dialogue>Six years later and you're still infatuated...</dialogue> <scene_description>Jim turns... IN THE CUBICLE DIRECTLY ADJACENT TO HIS -- JILL SUMMERS (early 30's) - hip, chunky, vibrant, ballsy - sits with her feet on her desk and an unplugged electric guitar in her lap.</scene_description> <character>JIM</character> <dialogue>You really wanna start?</dialogue> <scene_description>She motions for him to hold on.</scene_description> <character>JILL</character> <parenthetical>(into headset)</parenthetical> <dialogue>Yes, ma'am, I understand...</dialogue> <scene_description>She mouths to Jim, "I don't understand."</scene_description> <character>JILL</character> <parenthetical>(into headset)</parenthetical> <dialogue>Yes, ma'am, I understand.</dialogue> <scene_description>Jill mutes the headset.</scene_description> <character>JILL</character> <dialogue>Forty three seconds till the coffee rush. Hold my spot if you beat me?</dialogue> <character>JIM</character> <dialogue>I always beat you.</dialogue> <scene_description>Jill un-mutes the headset.</scene_description> <character>JILL</character> <parenthetical>(into headset)</parenthetical> <dialogue>Can you hold while I look up your policy? Thank you.</dialogue> <scene_description>Jill punches the hold button and takes off. Jim is about to follow, but... He's interrupted by an annoying BUZZING from his desk phone.</scene_description> <character>CO-WORKER (O.S.)</character> <parenthetical>(exasperated)</parenthetical> <dialogue>Jim, I've got a woman on line nine-- she just...she won't fucking listen to reason. Any chance you can help me out here?</dialogue> <character>JIM</character> <dialogue>Not a problem.</dialogue> <character>CO-WORKER (O.S.)</character> <dialogue>Thanks, man. I appreciate it.</dialogue> <scene_description>Jim punches a button, unleashing the Kraken.</scene_description> <character>JIM</character> <parenthetical>(into headset)</parenthetical> <dialogue>Valid Insurance, Jim Simmers speaking. How may I be of ass--</dialogue> <scene_description>The woman on the other end immediately launches into a hysterical tirade. Her words are indecipherable, but her rage is unmistakable.</scene_description> <character>JIM</character> <dialogue>Okay, slow down a minute. Does the letter indicate the reason for the termination of your policy?</dialogue> <scene_description>Her response is another forty-five second burst of insane chattering.</scene_description> </scene> <scene> <stage_direction>INT. COPY ROOM - FIFTEEN MINUTES LATER</stage_direction> <scene_description>A bored CO-WORKER stands over the open copy machine hitting the "start" button over and over, seemingly hypnotized by the moving light. Jim approaches with a stack of papers, still dealing with the customer. Jim covers the microphone on his headset.</scene_description> <character>JIM</character> <parenthetical>(to Bored Co-Worker)</parenthetical> <dialogue>Uh, you mind?</dialogue> <scene_description>The Bored Co-Worker snaps out of his trance, and steps aside.</scene_description> <character>JIM</character> <parenthetical>(into headset)</parenthetical> <dialogue>I agree with you, ma'am. Now if you would just give me your policy number, I can--</dialogue> <scene_description>Jim runs off copies while the woman runs her mouth.</scene_description> </scene> <scene> <stage_direction>INT. FILE ROOM - FIFTEEN MINUTES LATER</stage_direction> <scene_description>Two lazy co-workers, SCHOOLEY and McCORKLE, stand around gossiping.</scene_description> <character>MCCORKLE</character> <dialogue>...so I got three fingers in, right? And the chick leans right into my ear and says, "more", and I'm like, "honey, any more and I'm not gonna be able to drive the van"...</dialogue> <scene_description>His buddy laughs. Their moment of bullshitting is interrupted when Jim approaches. His headset is still buzzing with the irked customer.</scene_description> <character>JIM</character> <parenthetical>(into headset)</parenthetical> <dialogue>Ma'am can you hold on a second?</dialogue> <parenthetical>(to Schooley and McCorkle)</parenthetical> <dialogue>Uh, guys, I've gotta get in there.</dialogue> <scene_description>The two slackers shoot him a dismissive look and walk off.</scene_description> <character>SCHOOLEY</character> <dialogue>Whatever you say, Captain Overtime.</dialogue> <scene_description>As Jim searches through the files...</scene_description> <character>JIM</character> <dialogue>Ma'am, I really want to help but...</dialogue> </scene> <scene> <stage_direction>INT. OFFICE KITCHEN - MOMENTS LATER</stage_direction> <scene_description>Jim gets in line at the coffee maker. JILL already has her coffee and Jim doesn't and that's funny to her. She smirks.</scene_description> <character>JILL</character> <dialogue>Sucker.</dialogue> <scene_description>He points to his headset, manages a sheepish smile.</scene_description> <character>JIM</character> <parenthetical>(into headset)</parenthetical> <dialogue>I understand that it runs in your family, however, your child does weigh in excess of four hundred pounds so--</dialogue> <scene_description>Jim has to pull the headset away when the woman screeches at him.</scene_description> <character>JILL</character> <dialogue>Dude, hang up. Life's too short.</dialogue> <scene_description>But Jim is committed. Plus he's next in line for coffee, right behind... BLAKE HENDERSON, 29 (but says he's 27), an overconfident, overachieving dick. The kind of guy who has a big ass coffee cup that says "BIG ASS CUP" on the side. Jim watches in horror as Blake dumps his lukewarm coffee into the sink and pours the last of the fresh coffee into his "big cup." He shakes the pot to ensure that he's literally taken every last drop.</scene_description> <character>BLAKE</character> <parenthetical>(gun-points at Jim and says...)</parenthetical> <dialogue>Fuck right, I did.</dialogue> <scene_description>Blake struts off leaving Jim with an empty pot and an angry customer.</scene_description> <character>JIM</character> <parenthetical>(into headset, exasperated)</parenthetical> <dialogue>Please, please, please, just tell me what I can do to make this--</dialogue> <scene_description>CLICK. Jim snatches the fucking headset off his fucking head.</scene_description> <character>JIM</character> <dialogue>Fuck.</dialogue> <scene_description>He catches Jill smirking from across the room. Jim sighs and starts on a new pot. He sorts through the various brands of shit.</scene_description> <character>JIM</character> <dialogue>No Starbucks?</dialogue> <scene_description>In the trash lay the last empty bag of Starbucks. Jim holds up seven brands of crap: Maxwell House, Folgers, Munter's Brown Roast, etc.</scene_description> <character>VOICE OVER LOUD SPEAKER (O.S)</character> <dialogue>Jim Simmers, please report to Mr. Whiteman's office.</dialogue> <scene_description>He hurriedly selects the bag of Munter's Brown®, starts the maker on "quick brew".</scene_description> <character>JILL</character> <dialogue>Why don't you just grab a cup up on the second tier?</dialogue> <character>JIM</character> <dialogue>It doesn't work like that, Jill. Just because Mr. Whiteman called me to his office doesn't mean I have second tier privileges.</dialogue> <character>JILL</character> <dialogue>Dude. The White Man's not calling you up there to chit-chat, he's calling you up to promote. And you're the most promotable guy I know.</dialogue> <character>JIM</character> <dialogue>I don't know about the most promotable, but I've definitely done the work.</dialogue> <scene_description>The coffee brews oh so slowly. Excruciating. Jim checks his watch...</scene_description> <character>JILL</character> <dialogue>You've got it coming, Jim. Don't worry.</dialogue> <scene_description>The coffee machine CHIRPS. But now Jim wants to ensure that he has the "right" cup. Each time he picks one up, he puts it back, choosing another.</scene_description> <character>JIM</character> <parenthetical>(intense)</parenthetical> <dialogue>I feel like this has to happen, you know? I feel like I've done everything that I'm supposed to do and I've waited as long as I possibly can...it has to happen today.</dialogue> <character>JILL</character> <dialogue>Easy, turbo...</dialogue> <scene_description>Finally Jill grabs a cup for Jim and pours.</scene_description> <character>JILL</character> <dialogue>It's just a promotion--</dialogue> <character>JIM</character> <dialogue>It's a career, Jill. It's a job now, but it becomes a career by the end of the day. It has to.</dialogue> <character>JILL</character> <dialogue>Right. Or I'm sure you'll kill everyone here.</dialogue> <scene_description>She punches him playfully in the arm and walks away. Jim steels himself, takes a sip of his coffee... disgusting. Pours it out.</scene_description> </scene> <scene> <stage_direction>INT. MR. WHITEMAN'S OFFICE - MOMENTS LATER</stage_direction> <scene_description>Mr. Whiteman sits behind his desk, a serious look etched upon his serious face. Jim enters, ebullient.</scene_description> <character>MR. WHITEMAN</character> <parenthetical>(somber)</parenthetical> <dialogue>Jim...</dialogue> <scene_description>It's all there...in that one word. His face drops.</scene_description> <character>JIM</character> <dialogue>No.</dialogue> <character>MR. WHITEMAN</character> <dialogue>This wasn't easy...</dialogue> <character>JIM</character> <dialogue>No.</dialogue> <scene_description>Blake enters smugly, sipping Starbucks from his Big Ass Cup.</scene_description> <character>BLAKE</character> <dialogue>Yeah.</dialogue> <character>MR. WHITEMAN</character> <dialogue>Look, we deliberated for a long time. It was torturous. You guys were both eminently qualified.</dialogue> <character>JIM</character> <dialogue>Then why? Honestly, why?</dialogue> <character>BLAKE</character> <dialogue>Don't do it to yourself, Jim.</dialogue> <character>MR. WHITEMAN</character> <dialogue>He's right. Accept it, Jim Simmers, because this is how it is.</dialogue> <character>JIM</character> <dialogue>No offense to Blake, but I've been here longer, my output is higher, I work harder than anyone I know. This doesn't make any sense. Tell me why?</dialogue> <character>MR. WHITEMAN</character> <dialogue>Jim, what so many people on Earth don't understand...</dialogue> <character>BLAKE</character> <dialogue>...don't even fathom...</dialogue> <character>MR. WHITEMAN</character> <dialogue>...is that so much of life is based on popularity.</dialogue> <character>JIM</character> <dialogue>Are you kidding?</dialogue> <character>MR. WHITEMAN</character> <dialogue>No. Blake is more popular than you, and I think that counts for something.</dialogue> <scene_description>Silence. Jim gnaws on his lip. Mr. Whiteman notices Jim's hand clenching.</scene_description> <character>JIM</character> <dialogue>I need to leave early today.</dialogue> <character>MR. WHITEMAN</character> <dialogue>I think that's a good idea.</dialogue> <character>BLAKE</character> <dialogue>Yeah. I just need you to do one little thing before you leave.</dialogue> </scene> <scene> <stage_direction>INT. JIM'S CUBICLE - DAY</stage_direction> <scene_description>Blake plops a big ass stack of files on Jim's desk. He gives Jim the gun point and walks off.</scene_description> </scene> <scene> <stage_direction>EXT. CORDDRY HOUSE - EVENING</stage_direction> <scene_description>Jim pulls up and approaches the most perfect house in this perfect neighborhood. We HEAR birds CHIRPING, sprinklers SPRINKLING...and the SOUNDS of a violent struggle inside. Jim knocks.</scene_description> </scene> <scene> <stage_direction>INT. CORDDRY HOUSE - EVENING</stage_direction> <scene_description>REBECCA CORDDRY (36), a sweet-faced, dainty buttercup answers.</scene_description> <character>REBECCA</character> <dialogue>Jim!</dialogue> <scene_description>Rebecca is the spitting image of a 1950's housewife.</scene_description> <character>JIM</character> <dialogue>Hey, Becca. Is Rob...</dialogue> <scene_description>Horrible SCREAMS emanate from inside the home.</scene_description> <character>JIM</character> <parenthetical>(re: the sounds)</parenthetical> <dialogue>Well, I guess he is home.</dialogue> <character>REBECCA</character> <dialogue>Come on in.</dialogue> </scene> <scene> <stage_direction>INT. CORDDRY LIVING ROOM - EVENING</stage_direction> <scene_description>A perfect little suburban living room. Jim sits on the couch. Rebecca sits across from him.</scene_description> <character>REBECCA</character> <dialogue>He'll be with you in a minute, he's just putting Junior down.</dialogue> <scene_description>THE HALLWAY that connects to this living room is alive with the SOUNDS of SOME HORRIBLE FIGHT. Jim looks, sees nothing.</scene_description> <character>REBECCA</character> <dialogue>So, how've you been?</dialogue> <character>JIM</character> <dialogue>Eh. It's all been kind of "eh" lately.</dialogue> <scene_description>Then we see it, at the end of the hallway... ROB CORDDRY, five foot six, 152 pounds of wiry persistence, clamps a choke hold around the neck of his stepson JUNIOR, 14, a massive construct of rage and retardation. The fight SLAMS them out of view. JIM AND REBECCA continue with their small talk.</scene_description> <character>JIM</character> <dialogue>So...I bet you're glad to have Rob home.</dialogue> <character>REBECCA</character> <dialogue>I am. Whenever he's gone, Junior and I count the days until the off season.</dialogue> <character>JIM</character> <dialogue>I bet.</dialogue> <scene_description>Not much to talk about. DOWN THE HALL Junior charges out backwards slamming Rob into a wall until further rewrites. JIM GRINS AT REBECCA They struggle for a topic.</scene_description> <character>JIM</character> <dialogue>So...do you guys have plans for while he's home?</dialogue> <character>REBECCA</character> <dialogue>He's just back, so we haven't really made any plans.</dialogue> <parenthetical>(taps Jim's leg)</parenthetical> <character>REBECCA</character> <dialogue>I know he can't wait to go out with the guys though.</dialogue> <scene_description>Jim sighs.</scene_description> <character>JIM</character> <dialogue>Yep. The guys out on the Cod.</dialogue> <scene_description>From deep within the bowels of this home we hear... AAHH! OH FUCK MY GOD! FUCK MY GOD!</scene_description> <character>REBECCA</character> <dialogue>You know what, maybe you oughta go on back and give him a hand.</dialogue> <scene_description>Jim stands. Rebecca hands him a baseball bat. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. THE BEACHCOMBER BAR - NIGHT</stage_direction> <scene_description>A local dive with a tropical theme. Rob has bandages over his eye, the pain in his damaged sternum is excruciating as he tries to sit. Rob pounds the bar, tears welling in his eyes.</scene_description> <character>ROB</character> <dialogue>Oh, motherfuck!</dialogue> <character>JIM</character> <parenthetical>(concerned)</parenthetical> <dialogue>He's really gotten big, Rob.</dialogue> <character>ROB</character> <dialogue>AHHH! He's--OH FUCK!</dialogue> <scene_description>Rob is in so much pain he has to smash a glass on the floor.</scene_description> <character>ROB</character> <dialogue>I've gotta stand. I can't sit, man.</dialogue> <parenthetical>(takes a breath)</parenthetical> <dialogue>Yeah, the boy's gotten big. Each time I come home, it's like he's grown another three inches.</dialogue> <character>JIM</character> <dialogue>Uh, doesn't that kinda...scare you?</dialogue> <character>ROB</character> <dialogue>No, the doctor said his rage will wain as he gets older.</dialogue> <character>ROB</character> <dialogue>Really, my main concern is the weight set that Becca bought him. I swear, it's like he's training, you know. I mean, he broke my choke-hold three times before I could lock it in.</dialogue> <character>JIM</character> <dialogue>He's probably watching those ultimate fights or something.</dialogue> <character>ROB</character> <parenthetical>(all sentimental)</parenthetical> <dialogue>I'm away so much, it just kills me. I mean, I'm sure deep down he's a good kid...and Rebecca's such a great mom with such a great vagina it's like, I wish I could put them in a time capsule when I'm away.</dialogue> <scene_description>Then, Rob looks at Jim, suddenly and deeply worried himself.</scene_description> <character>ROB</character> <dialogue>Do you think he's training, Jim? Do you think he's training to kill me?</dialogue> <scene_description>Jim ponders the question: is the retarded boy training to kill his stepfather?</scene_description> <character>JIM</character> <dialogue>Nah. I mean, you've only been his stepdad for what, five years?</dialogue> <character>ROB</character> <dialogue>Six.</dialogue> <character>JIM</character> <dialogue>Okay, six. The point is, these things take time. He'll come around.</dialogue> <character>LARRY (O.S.)</character> <dialogue>Rob!</dialogue> <scene_description>Jim and Rob turn to see LARRY WILLS, 40's, decked out in a tank-top, flip flops and lifeguard shorts. He's a beach parking lot attendant by day and thieving playboy by day, too. Larry is escorted by a MILF who hasn't yet learned that she's being taken advantage of.</scene_description> <character>LARRY</character> <dialogue>Welcome home, man.</dialogue> <scene_description>Larry moves in to hug Rob. Rob retreats.</scene_description> <character>LARRY</character> <dialogue>Ahh...the boy's gotten bigger, huh?</dialogue> <parenthetical>(to the MILF)</parenthetical> <dialogue>Hon'.</dialogue> <scene_description>She digs up a twenty from her purse.</scene_description> <character>LARRY</character> <dialogue>Babe, Rob's been gone for four months fishing and shit.</dialogue> <scene_description>Beat. She reluctantly hands him her credit card. Takes a seat.</scene_description> <character>LARRY</character> <parenthetical>(eyebrows raised)</parenthetical> <dialogue>We've talked about this.</dialogue> <scene_description>She storms off, pissed. Larry focuses on the guys.</scene_description> <character>LARRY</character> <dialogue>I mean, I hate to be rude but, Jesus, bitch...</dialogue> <parenthetical>(waves the MILF's credit card)</parenthetical> <dialogue>Drinks on me.</dialogue> <character>ROB</character> <parenthetical>(re: another MILF)</parenthetical> <dialogue>Hey, isn't that that married woman you hooked up with last time I was here?</dialogue> <scene_description>ANOTHER CUTE MILF ACROSS THE BAR stares at Larry.</scene_description> <character>LARRY</character> <dialogue>Hmm, I don't remember.</dialogue> <scene_description>He waves. She waves. He motions at his cock, 'you want this?' She waves. He motions again, 'you want this?' She waves. He stands and yells...</scene_description> <character>LARRY</character> <dialogue>You want this?! Huh?</dialogue> <scene_description>His boys shake their heads, 'good ole Larry.'</scene_description> <character>LARRY</character> <parenthetical>(to the guys)</parenthetical> <dialogue>I don't even care, man. I'll do it. I'll do it cuz I'm totally hard.</dialogue> <scene_description>He has a full on, blasting erection tightening his lifeguard shorts.</scene_description> <character>ROB</character> <dialogue>Christ man, put that away before you get somebody pregnant.</dialogue> <character>LARRY</character> <dialogue>You better watch out, man, or it'll be you.</dialogue> <parenthetical>(to the irked Waitress standing right there)</parenthetical> <dialogue>Six shots and keep 'em coming.</dialogue> <parenthetical>(the Waitress doesn't move)</parenthetical> <dialogue>What? You want some of this? Huh?</dialogue> <scene_description>Now she moves. And now we know Larry Wills.</scene_description> </scene> <scene> <stage_direction>INT. BAR - AN HOUR LATER</stage_direction> <scene_description>The guys are loosened up with liquor. The drinks keep coming.</scene_description> <character>JIM</character> <dialogue>Ten years with this company and I'm still stuck on tier one, with crappy coffee and stupid customers.</dialogue> <character>ROB</character> <dialogue>Don't sweat it, man, they'll get you the next time.</dialogue> <character>JIM</character> <dialogue>Easy for you to say, your life is set.</dialogue> <character>LARRY</character> <dialogue>No one's life is set, Jim.</dialogue> <character>JIM</character> <dialogue>No, seriously. Rob's got the family set up, Larry, you've got all those women and the monster cock...I mean what the fuck?</dialogue> <character>LARRY</character> <dialogue>Your problem, Jim, and I don't wanna make it sound like I'm judging you, but even if you had a cock half the size of mine, you'd probably still want mine cuz it's so fucking big.</dialogue> <character>JIM</character> <dialogue>You don't understand, I've done everything right.</dialogue> <character>JIM</character> <dialogue>I've followed every rule, I've worked my ass off, yet I'm almost forty years old with no girlfriend, no money, and a medium-sized cock at best.</dialogue> <character>LARRY</character> <dialogue>You've got more money than me, Bro.</dialogue> <scene_description>AT THE FRONT DOOR Jim's co-workers, Blake, Olivia, Jill, and Blah-blah enter. Jill sees Jim and detaches from Blake's crew. AT THE BAR Jill joins the guys.</scene_description> <character>LARRY</character> <dialogue>Gimme some of that, Jill.</dialogue> <character>JILL</character> <dialogue>Don't give me the sweet talk, twelve inch, I know you're a piece of shit inside.</dialogue> <scene_description>She gives him a peck on the cheek. Breaks out a BOX OF CIGARS with a bow on it.</scene_description> <character>JILL</character> <dialogue>I got these to celebrate your promotion, but...you know...</dialogue> <scene_description>She hands out cigars.</scene_description> <character>JIM</character> <dialogue>Yeah, well there's no point in smoking them now.</dialogue> <character>JILL</character> <dialogue>You've gotta be kidding. These are Cubans.</dialogue> <scene_description>She waves a cigar under his nose.</scene_description> <character>JILL</character> <dialogue>Just because you didn't get the promotion, doesn't mean these cigars are any less enjoyable.</dialogue> <character>ROB</character> <dialogue>...or less illegal.</dialogue> <scene_description>Jim hands the cigar back to her.</scene_description> <character>JIM</character> <dialogue>Might as well give mine to him...</dialogue> <scene_description>He points to Blake, who is sitting across the room with Olivia glomming all over him.</scene_description> <character>JILL</character> <dialogue>No matter how long you stare at that perfect ass, she's always gonna be wrong for you.</dialogue> <character>ROB</character> <dialogue>She's right. What you need is that.</dialogue> <scene_description>Rob points at a SLIGHTLY DUMPY CHICK across the bar.</scene_description> <character>JIM</character> <dialogue>No thanks.</dialogue> <character>LARRY</character> <dialogue>Ha! I fucked her. I pushed her stomach right into her forehead.</dialogue> <scene_description>The WAITRESS arrives. Hands Jim a bill.</scene_description> <character>WAITRESS</character> <dialogue>Blake said this round is on you, something about congratulating him.</dialogue> <scene_description>Jim looks over and Blake gives Jim the gunpoint.</scene_description> <character>JIM</character> <dialogue>First of all, I don't congratulate him. Second of all, it's not even my card.</dialogue> <character>LARRY</character> <dialogue>Damn right, that's my chick's money we're spending. Send it back.</dialogue> <character>WAITRESS</character> <dialogue>Fine, I'll do it. But Blake's gonna be pissed.</dialogue> <scene_description>As she moves to leave...</scene_description> <character>JIM</character> <dialogue>Wait.</dialogue> <scene_description>Jim hands her his credit card.</scene_description> <character>JILL</character> <dialogue>You are such a flounder.</dialogue> <scene_description>Jill pinches the Waitress's butt, they walk away talking.</scene_description> <character>JIM</character> <dialogue>I'm not a flounder. It's the right move, right guys?</dialogue> <character>ROB</character> <dialogue>Let me ask you this, are you gonna be bitching about it next week?</dialogue> <character>JIM</character> <dialogue>What am I supposed to do? It's over, he won.</dialogue> <character>ROB</character> <dialogue>If you accept it, then it's over.</dialogue> <character>JIM</character> <dialogue>So, what? I do what exactly?</dialogue> <character>LARRY</character> <dialogue>You take that bitch by the love handles and fuck the cash out of her.</dialogue> <parenthetical>(off their looks)</parenthetical> <dialogue>Fuck you guys, it's a metaphor.</dialogue> <character>ROB</character> <dialogue>Mongo's right. He's fucked up, but he's right. You gotta march right into that White Man's office and demand your promotion.</dialogue> <character>LARRY</character> <dialogue>Yeah! You earned that shit, and shit.</dialogue> <scene_description>Jim looks at Blake. Blake has it all. And doesn't deserve any of it. Jim knocks back his shot.</scene_description> <character>JIM</character> <dialogue>You know what? You guys are right, you're absolutely right. That promotion is mine!</dialogue> <scene_description>He pounds the bar in emphasis.</scene_description> <character>JIM</character> <dialogue>Fuck Blake and fuck The White Man. Tomorrow I'm gonna march into that office and take what's mine!</dialogue> </scene> <scene> <stage_direction>INT. JIM'S BEDROOM - MORNING</stage_direction> <scene_description>The dog barks, Jim awakens with kick-ass in his eyes.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - MORNING</stage_direction> <scene_description>Eight motherfucking raspberries.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - MORNING</stage_direction> <scene_description>Jim reads his morning affirmation with extra special sauce.</scene_description> <character>JIM</character> <parenthetical>(into mirror)</parenthetical> <dialogue>You can have it all, Jim Simmers.</dialogue> <scene_description>But he can't.</scene_description> </scene> <scene> <stage_direction>EXT. JIM'S APARTMENT - MORNING</stage_direction> <scene_description>The four-legged cocksucker rushes Jim, but Jim beats him to the car. Victory!</scene_description> <character>THE GAY NEIGHBOR</character> <parenthetical>(calling out as Jim drives off)</parenthetical> <dialogue>Sorry!</dialogue> </scene> <scene> <stage_direction>EXT. MID CAPE HIGHWAY - MORNING</stage_direction> <scene_description>Jim waits for the signal while others don't. For a split-second, he looks around as if he might... Nope.</scene_description> </scene> <scene> <stage_direction>EXT. CONVENIENCE STORE - SIDEWALK - DAY</stage_direction> <scene_description>An insane BLACK HOBO rants. He's the only black person on Cape Cod. Above him TWO MUNICIPAL WORKERS fuck around with a power line.</scene_description> <character>BLACK HOBO</character> <dialogue>This Earth is not fit for man! Only in the afterlife can one find truth and justice. Come all ye faithful, joyful and triumphant, join me! Let go of this Earth and join me...</dialogue> <scene_description>The Black Hobo pulls out a toy pistol and puts it to his head. He sees Jim pull up in his Sporty Kia Spectrum (with racing stripe). Jim gets out and heads toward the store.</scene_description> <character>BLACK HOBO</character> <dialogue>You! Dolemite! Join me!</dialogue> <scene_description>Jim speeds up but the bum rushes him.</scene_description> <character>BLACK HOBO</character> <dialogue>Join me and I will complete your training. With our combined strength we can end this destructive conflict and bring order to the galaxy.</dialogue> <parenthetical>(suddenly lucid)</parenthetical> <dialogue>I know why you're unhappy.</dialogue> <scene_description>Jim stops.</scene_description> <character>BLACK HOBO</character> <dialogue>This is not your Earth. You can never find justice here amongst the wicked, but fear not. The afterlife awaits you. True heaven. True joy.</dialogue> <scene_description>Jim stares at the magical Negro and senses truth in his words. This is what he's been waiting to hear.</scene_description> <character>BLACK HOBO</character> <dialogue>The big payoff is coming.</dialogue> <scene_description>KRRZZZAAPP! ABOVE THEM -- The Municipal Workers rear back, trying to avoid a severed, flailing power line. But Jim is too riveted by the Hobo to notice the wire. Or the puddle of water he's standing in.</scene_description> <character>BLACK HOBO</character> <parenthetical>(with zealotous zeal)</parenthetical> <dialogue>The big payoff is coming and--</dialogue> <parenthetical>(suddenly terrified)</parenthetical> <scene_description>OH, SHIT MUTHAFUCKA! The Bum jumps back as the wire makes contact with the water and fries Jim alive. CUT TO: AN EMPTY VOID - POST DEATH Jim stands in space. Nothing above him, nothing around him.</scene_description> <character>JIM</character> <dialogue>Where am I?</dialogue> <parenthetical>(realizes)</parenthetical> <dialogue>Oh, my God. The black bum was right.</dialogue> <scene_description>Jim smiles in a way we've not seen before. True joy.</scene_description> <character>JIM</character> <dialogue>Come. Come take me...</dialogue> <scene_description>Jim falls to his knees, arms beckoning upward like Shawshank Redemption. Long beat.</scene_description> <character>JIM</character> <dialogue>I'm ready, um, Lord, or whoever. Hook me up.</dialogue> <scene_description>Jim looks out, still Shawshanked...absolutely nothing.</scene_description> <character>JIM</character> <dialogue>Come!</dialogue> <scene_description>BEHIND JIM -- A magnificent tunnel of light opens up, beckoning... But Jim is still looking forward, clueless as always. He stands.</scene_description> <character>JIM</character> <dialogue>Really?</dialogue> <scene_description>The light behind him grows even more magnificent'er. If only he'd just turn around...</scene_description> <character>JIM</character> <dialogue>No?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I don't even get this? Seriously! No pearly gates? I've waited for so Goddamn long...I mean, I'm not damning you, but come on!</dialogue> <scene_description>EVERYTHING SUDDENLY GOES BLACK.</scene_description> </scene> <scene> <stage_direction>EXT. CONVENIENCE STORE - SIDEWALK - CONTINUOUS</stage_direction> <scene_description>Jim explodes into consciousness. The Black Hobo is pounding on his chest.</scene_description> <character>BLACK HOBO</character> <dialogue>Don't you die on me, man. You've never backed away from a fight in your life!</dialogue> <scene_description>Jim tries to push the Bum off. A COP CAR PULLS UP. The Black Hobo punctuates each word with a head slap.</scene_description> <character>BLACK HOBO</character> <dialogue>Say you, say me! SAY YOU, SAY ME!</dialogue> <scene_description>The COPS rush the bum. They snatch him away. Jim stands up. Groggy. The bum breaks free and does a flying kick into Jim's chest.</scene_description> <character>BLACK HOBO</character> <dialogue>Don't die on me!</dialogue> <scene_description>The Cops pin the bum down. Handcuff him. One of the COPS steps to Jim.</scene_description> <character>COP</character> <dialogue>Are you okay, sir?</dialogue> <scene_description>Jim looks down. His feet are smoldering. His mind reeling.</scene_description> <character>JIM</character> <dialogue>No.</dialogue> <parenthetical>(looks up to heaven)</parenthetical> <dialogue>I'm really, really disappointed.</dialogue> </scene> <scene> <stage_direction>INT. JIM'S LIVING ROOM - TIME LAPSE</stage_direction> <scene_description>Jim lays on the couch submerged in a bout of existential depression. OUTSIDE HIS WINDOW the sun goes up and down as the world turns. Days pass, Jim doesn't move, half asleep, half awake. Finally, he sits up. REAL TIME: Jim picks up the remote with a sigh. Turns on the TV. THE TELEVISION is suddenly alive with Tom Cruise.</scene_description> <character>TOM CRUISE</character> <parenthetical>(from "Mission: Impossible")</parenthetical> <dialogue>Jim?</dialogue> <scene_description>The image JUMPS forward to an anguished close-up.</scene_description> <character>TOM CRUISE</character> <dialogue>Why, Jim? Why?</dialogue> <scene_description>That's weird. Jim switches the channel. Low and behold... THE TELEVISION offers more Tom Cruise on this channel.</scene_description> <character>TOM CRUISE</character> <parenthetical>(from "Jerry Maguire")</parenthetical> <dialogue>Help me. Help me help you. Help me help you!</dialogue> <scene_description>Jim switches the channel. And again...</scene_description> <character>TOM CRUISE</character> <parenthetical>(from "All The Right Moves")</parenthetical> <dialogue>Doesn't this seem just a little bit too crazy?</dialogue> <character>JIM</character> <dialogue>Yes. Yes, it does.</dialogue> <scene_description>Jim changes the channel. THE TELEVISION won't stop. It's like Tom Cruise is speaking directly to Jim.</scene_description> <character>TOM CRUISE</character> <parenthetical>(from "The Color of Money")</parenthetical> <dialogue>It's like a nightmare, isn't it?</dialogue> <character>JIM</character> <dialogue>This is nuts.</dialogue> <character>TOM CRUISE</character> <dialogue>Man, it just keeps getting worse and worse, doesn't it?</dialogue> <scene_description>Jim hits the remote. And there he is again, in tight close-up.</scene_description> <character>TOM CRUISE</character> <parenthetical>(from "Days of Thunder")</parenthetical> <dialogue>When I'm driving, I got a guy on the radio who talks to me. I can't see him but he talks to me.</dialogue> <character>JIM</character> <dialogue>So what's your point?</dialogue> <scene_description>The image FREEZES. Jim changes the channel.</scene_description> <character>TOM CRUISE</character> <parenthetical>(from "Cocktail")</parenthetical> <dialogue>What does it mean? NOTHING!</dialogue> <character>JIM</character> <dialogue>That much I figured out on my own.</dialogue> <scene_description>Click.</scene_description> <character>TOM CRUISE</character> <parenthetical>(from "Magnolia")</parenthetical> <dialogue>In this big game that we play - LIFE - it's not what you hope for, it's not what you deserve...it's what you TAKE!</dialogue> <scene_description>The image FREEZES. Jim stares for a long moment, trying to process the universe's code. He hits the remote one last time...</scene_description> <character>TOM CRUISE</character> <parenthetical>(from "Risky Business")</parenthetical> <dialogue>Sometimes you just gotta say what the fuck. Make your move.</dialogue> <scene_description>The television's holy glow takes us to...</scene_description> </scene> <scene> <stage_direction>INT. JIM'S LIVING ROOM - NEXT MORNING</stage_direction> <scene_description>SUNLIGHT. The barking dog wakes Jim. He gets up.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - MORNING</stage_direction> <scene_description>He pulls out his penis with his hand and steadies it to shoot pee out of the tip. It's a magnificent stream, powerful after days of build up. When droplets hit the seat, Jim ignores them and moves on.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - MORNING</stage_direction> <scene_description>Jim pulls out his cereal, his juice, his raspberries and his fiber additives. He looks at his boring breakfast, turns to the freezer and grabs a vat of ice cream... Jim spoons it from the carton as he walks out.</scene_description> </scene> <scene> <stage_direction>INT. JIM'S LIVING ROOM - MORNING</stage_direction> <scene_description>He stands before the mirror, shoveling ice cream into his maw at an alarming rate. He stares at his reflection for a long moment.</scene_description> <character>JIM</character> <dialogue>What's the point?</dialogue> <scene_description>Jim tosses the half empty carton of ice cream over his shoulder and moves on.</scene_description> </scene> <scene> <stage_direction>EXT. JIM'S HOUSE - MORNING</stage_direction> <scene_description>Jim exits the house lethargically, dragging his backpack behind him. Within seconds, that asshole dog is upon Jim, snarling and barking like the asshole he is. Jim doesn't slow, doesn't acknowledge the dog in any way. Just proceeds to his sporty KIA (with racing stripe) and climbs in.</scene_description> <character>THE GAY NEIGHBOR (O.S.)</character> <dialogue>Come back here, Hoagster! Bad Hoagie! That's a bad Hoagie.</dialogue> <scene_description>The dog continues to snap and snarl as Jim cranks "THE REFLEX" and pulls away.</scene_description> </scene> <scene> <stage_direction>EXT. STOPLIGHT - MORNING</stage_direction> <scene_description>Same scene, different day. Jim's sporty KIA slows to a stop. "THE REFLEX" continues to blare even as a carload of judgemental TEENS pulls up beside him. They laugh at Jim. They laugh at his gay music. Some even point at him while they do it. Teens can be so cruel. So cruel. But it doesn't affect Jim in the least. And he's done waiting at this stupid light. He steps on the accelerator and zooms away.</scene_description> </scene> <scene> <stage_direction>INT. CONVENIENCE STORE - MORNING</stage_direction> <scene_description>The Cute Clerk babbles away on the phone as Jim makes his way to the magazine rack. Grabs himself a copy of LOOSE &amp; JUICY magazine and proceeds to the counter. The clerk sees Jim, punches some buttons on the Lotto machine. Jim shakes his head, 'no.' Opens the magazine to the centerfold and holds it up. The clerk is horrified. Jim tosses some bills on the counter and leaves.</scene_description> </scene> <scene> <stage_direction>EXT. VALID INSURANCE COMPANY - PARKING LOT - MORNING</stage_direction> <scene_description>Workers gather around as Blake shows off the brand new BMW M-3 that he bought with his promotion bonus. Olivia is particularly impressed. As Jim walks by, disgusted, Blake winks and shoots him the gunpoint.</scene_description> </scene> <scene> <stage_direction>INT. VALID INSURANCE COMPANY - MORNING</stage_direction> <scene_description>Jim chucks his backpack into his cubicle as he heads for the kitchen.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - CONTINUOUS</stage_direction> <scene_description>He pauses when he sees people crowded around the broken coffee machine. Drops his head exasperated, then... Looks up to the empty coffee room on the second tier. Decides. STAIRWAY TO THE SECOND TIER - CONTINUOUS As Jim ascends the stairs, his CO-WORKERS gawk.</scene_description> <character>CO-WORKERS</character> <parenthetical>(fearful)</parenthetical> <dialogue>What's he doing? / He's crazy!</dialogue> <scene_description>Jill rushes over to stop him but freezes at the first step. She doesn't dare set foot on it.</scene_description> <character>JILL</character> <parenthetical>(looking up at Jim)</parenthetical> <dialogue>Jim, come back! You can't go up there!</dialogue> <scene_description>But Jim keeps going.</scene_description> </scene> <scene> <stage_direction>INT. COFFEE ROOM - SECOND TIER - CONTINUOUS</stage_direction> <scene_description>Olivia stands alone, shocked to see... Jim walking right toward her. He takes the creamer out of her hand, then grabs the entire pot of coffee and walks out. Olivia squints, piqued by Jim's robust flavor.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - FIRST TIER - MOMENTS LATER</stage_direction> <scene_description>Jim pours a cup, adds his cream, and leaves the gourmet coffee for the rest of his co-workers. They gather around the pot, sniffing it like wine.</scene_description> <character>CO-WORKER</character> <dialogue>Smell the aroma.</dialogue> <scene_description>Jill pours a small sip. Swirls it around in her mouff.</scene_description> <character>JILL</character> <dialogue>Oh, my God...no clumps.</dialogue> <character>CO-WORKER 2: THE SPAWNING</character> <dialogue>And it doesn't taste like mud.</dialogue> </scene> <scene> <stage_direction>INT. JIM'S CUBICLE - MORNING</stage_direction> <scene_description>Jim has his headset on, leaned all the way back in his chair, talking to a customer...</scene_description> <character>JIM</character> <parenthetical>(into headset; flat, emotionless)</parenthetical> <dialogue>I'm trying to help you, ma'am but you've got to answer the question, okay? How fat are your kids?</dialogue> <scene_description>While the person on the line yells Jim twirls his chair, waiting for his turn to speak. He notices Jill in her cubicle, talking to a customer on the phone as she applies the final touches to a pencil sketch.</scene_description> <character>JILL</character> <parenthetical>(into phone)</parenthetical> <dialogue>Yes, sir, I'm checking for you right now.</dialogue> <scene_description>She holds it up for Jim to see. ANGLE ON THE DRAWING revealing a realistic rendering of Jim joyfully feeding Blake into a meat grinder. JIM spins away in his chair, offering no reaction.</scene_description> <character>JIM</character> <dialogue>...Ma'am...okay, sorry, sir. Sir, I understand, but "husky" isn't a medical diagnosis.</dialogue> <scene_description>Jill sighs, breaks out her eraser and changes the smile on drawn Jim's face to a frown.</scene_description> <character>JIM</character> <dialogue>I need a number... What do I mean? Like combined do your twins weigh more than your car?...Offended? Sorry. Please, just give me a number...</dialogue> <parenthetical>(almost falls out of his chair when he hears the number)</parenthetical> <dialogue>You're fucking kidding me. How much?</dialogue> <parenthetical>(awed)</parenthetical> <dialogue>Are they like, seven feet tall? No?</dialogue> <parenthetical>(punches his keyboard)</parenthetical> <dialogue>Well, I'm looking at the actuarial table now and unless your twins are LeBron James and Shaquille O'Neal, they ain't gonna qualify.</dialogue> <parenthetical>(interrupts the customer's rant)</parenthetical> <dialogue>Hold on--hold on--hold on, I just gotta ask this. I mean, there's no way on earth any reputable firm is gonna insure those orcas of yours, but I feel the need to ask to satisfy my own curiosity. Why'd you ever marry a fat chick?</dialogue> <scene_description>Click. Jim takes off the headset. Leans forward, despondent. His phone rings incessantly.</scene_description> <character>BLAKE (O.S.)</character> <parenthetical>(behind him)</parenthetical> <dialogue>Hard day, huh?</dialogue> <scene_description>Jim looks up. Blake drops a load of files on his desk.</scene_description> <character>BLAKE</character> <dialogue>Make these a priority.</dialogue> <scene_description>WE STAY WITH BLAKE as he struts through the office, finger pointing and being obnoxious. He slaps Jill's ass then takes a donut out of CO-WORKER 2: THE SPAWNING'S petite hand. After one bite, Blake tosses the donut and heads upstairs. BLAKE'S OFFICE - SECOND TIER - CONTINUOUS Blake enters and is shocked to see... Jim standing there with the files.</scene_description> <character>BLAKE</character> <dialogue>Um...</dialogue> <scene_description>Jim holds out the files and drop kicks them...papers fly all over the room. Jim gives Blake the gunpoint...</scene_description> <character>JIM</character> <dialogue>Fuck yeah I did.</dialogue> <scene_description>...and walks out.</scene_description> </scene> <scene> <stage_direction>EXT. BEACH HOUSE - DUSK</stage_direction> <scene_description>Beautiful. Right on the water. The sound of heterosexual sex emanates from inside.</scene_description> </scene> <scene> <stage_direction>INT. BEACH HOUSE - BEDROOM - CONTINUOUS</stage_direction> <scene_description>Everything about this place says "old money", including the old money lady, MAUREEN, being pounded from behind by Larry. Larry's face is curled in disgust, tears streaming down his cheeks. And yes, he does indeed have a clothespin on his nose.</scene_description> <character>MAUREEN</character> <parenthetical>(near climax)</parenthetical> <dialogue>Oh, yes! Oh YESSS!!! Fucky me Lenny! Fucky me like you need a job!</dialogue> <scene_description>Larry punches a pillow in olfactory agony. Without warning, A MAN appears in the doorway.</scene_description> <character>LARRY</character> <dialogue>Shit!</dialogue> <scene_description>Larry pulls out, grabs the lamp from the night stand defensively. Maureen stays right where she is.</scene_description> <character>LARRY</character> <dialogue>Jim? Is that you?</dialogue> <scene_description>Yep. It's Jim.</scene_description> <character>JIM</character> <dialogue>I need to talk to you, Larry. Now.</dialogue> <scene_description>Larry is torn. Money on the bed, friend in crisis.</scene_description> <character>JIM</character> <dialogue>Seriously, I need to talk.</dialogue> <character>MAUREEN</character> <dialogue>That's it. Mood ruined.</dialogue> <scene_description>She grabs a robe and heads to the bathroom.</scene_description> </scene> <scene> <stage_direction>INT. BEACH HOUSE - LIVING ROOM - MOMENTS LATER</stage_direction> <scene_description>While Jim talks, Larry steals. He rifles through drawers and jackets.</scene_description> <character>JIM</character> <dialogue>I think I'm having a meltdown, Larry.</dialogue> <character>LARRY</character> <dialogue>Watch for Maureen.</dialogue> <character>JIM</character> <dialogue>I died--I saw the other side and there's nothing.</dialogue> <scene_description>Larry holds up a diamond watch.</scene_description> <character>LARRY</character> <parenthetical>(re: the watch)</parenthetical> <dialogue>Too personal? Yeah.</dialogue> <parenthetical>(sets it back down)</parenthetical> <dialogue>Is the shower still running?</dialogue> <character>JIM</character> <dialogue>Are you paying attention, man?</dialogue> <scene_description>Larry notices a big ass change jar and starts stuffing his pockets. He freezes when Maureen enters, wearing only a towel. An awkward beat. Errant coins slip from his fists.</scene_description> <character>LARRY</character> <dialogue>Um, Jim, can we deal with your meltdown later?</dialogue> <character>JIM</character> <dialogue>Are you joking? All the times I've picked you up when you were drunk, or bailed you out of jail? You can't listen to me for five goddamn minutes?</dialogue> <character>LARRY</character> <parenthetical>(whispers)</parenthetical> <dialogue>I'm kinda working here, Jim.</dialogue> <scene_description>Jim throws Larry against the wall and digs through his pockets. Pulls out a pirate's booty.</scene_description> <character>JIM</character> <dialogue>You're not working. Why don't you just tell her instead of stealing! Man-up and sell your cock with some respect.</dialogue> <scene_description>Maureen isn't even slightly phased.</scene_description> <character>MAUREEN</character> <dialogue>What? You think his stealing is news to me? I leave this crap out on purpose.</dialogue> <parenthetical>(slaps Larry's ass)</parenthetical> <dialogue>Go ahead. I'll take a rain check.</dialogue> <scene_description>Larry nonchalantly pockets the watch. Jim just shakes his head.</scene_description> </scene> <scene> <stage_direction>INT. JIM'S CAR - LATER</stage_direction> <scene_description>Jim drives aggressively. Larry leans over to check the speedometer.</scene_description> <character>LARRY</character> <dialogue>Did you really die and shit?</dialogue> <scene_description>Jim grabs one of his melted shoes from the back seat, drops it into Larry's lap.</scene_description> <character>JIM</character> <dialogue>What do you think?</dialogue> <scene_description>Larry stares at the shoe.</scene_description> <character>LARRY</character> <dialogue>These cost like ninety--</dialogue> <character>JIM</character> <dialogue>That's not the point!</dialogue> <character>LARRY</character> <dialogue>Oh.</dialogue> <character>JIM</character> <dialogue>The point is: there is no point. There's nothing, man. Some people have it all, and some people have shit.</dialogue> <scene_description>He pulls up to Rob's house.</scene_description> <character>JIM</character> <dialogue>I have shit.</dialogue> </scene> <scene> <stage_direction>INT. ROB'S GARAGE - DAY</stage_direction> <scene_description>Rob is in his garage cleaning dried blood off of his hooks and spiked clubs. Larry and Jim enter.</scene_description> <character>LARRY</character> <dialogue>Whoa! That's sick!</dialogue> <character>ROB</character> <parenthetical>(proud)</parenthetical> <dialogue>Yeah, I designed it for the new guys on the job. Nothing worse than seeing some noob half-spiking his club in a wounded harp seal's head without making the kill shot. It's almost cruel.</dialogue> <scene_description>Larry notices an instructional poster on the wall detailing the proper way to kill baby seals.</scene_description> <character>LARRY</character> <dialogue>I don't know how you do it, Rob. How can you look into that cute little face and smash it. How do you smash their adorable little faces off?</dialogue> <character>ROB</character> <dialogue>Hey, I've gotta support my family. And you know what, it's racist against cows to care about harp seals.</dialogue> <character>JIM</character> <parenthetical>(vexed by that fucked up sentence)</parenthetical> <scene_description>WHAT THE FUCK ARE YOU TALKING ABOUT?</scene_description> <character>ROB</character> <dialogue>Cows are thinking creatures too, but no one minds killing them. Why are harp seals so special?</dialogue> <parenthetical>(off the guys' faces)</parenthetical> <dialogue>Cows make great pets and they're very protective unlike harp seals that have a horrible side no one ever sees.</dialogue> <character>LARRY</character> <parenthetical>(dead serious)</parenthetical> <dialogue>Come on, Rob. Don't try to justify your murder by player hating on harp seals. They don't hurt anyone and shit, you do!</dialogue> <character>ROB</character> <dialogue>You're out of your element, short bus! You wouldn't believe what I've seen those creatures do. I've seen that white fur covered in blood...and not always their own.</dialogue> <scene_description>Before it can turn into an argument, Jim jumps in.</scene_description> <character>JIM</character> <dialogue>Enough!</dialogue> <scene_description>Silence.</scene_description> <character>JIM</character> <dialogue>No more fighting about baby harp seals. You guys don't seem to understand, there's no God, there's no heaven, there's nothing! All we get is this! And for me, this-- this whole thing--everything...it's been a waste!</dialogue> <character>ROB</character> <dialogue>What's going on?</dialogue> <character>LARRY</character> <dialogue>He died and now he's getting all--</dialogue> <character>ROB</character> <dialogue>What do you mean he died.</dialogue> <character>JIM</character> <dialogue>I was electrocuted. I saw the other side and there. Was. Nothing!</dialogue> <character>ROB</character> <dialogue>Um...</dialogue> <character>JIM</character> <dialogue>Look, these rules that we live by, they're meaningless. Why not grab a woman by her tit and tell her you want to fuck her?</dialogue> <character>LARRY</character> <dialogue>I do it all the--</dialogue> <character>JIM</character> <dialogue>Shut up, Larry. Why have any restraint at all? Why not do whatever you fucking want, whenever the fuck you want, cuz ultimately it doesn't matter at all...THERE'S NO FUCKING PAYOFF...TO ANY OF IT!</dialogue> <scene_description>MONSTROUS GROANS rumble from inside the house. Rob instinctively tightens his grip on the club.</scene_description> <character>ROB</character> <parenthetical>(staring at the walls)</parenthetical> <dialogue>You're scaring Junior.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>You need to calm down...</dialogue> <character>JIM</character> <parenthetical>(calmly)</parenthetical> <dialogue>No. Fuck no. I don't need to calm down. I have spent my entire life "calming down." From here on out, I'm getting what I want.</dialogue> <scene_description>Beat.</scene_description> <character>LARRY</character> <dialogue>Um, what is it? What do you want?</dialogue> <scene_description>Jim grabs a sharpie and writes on the wall... 1. "That job." 2. "That car" 3. "That chick"</scene_description> <character>JIM</character> <parenthetical>(as he writes)</parenthetical> <dialogue>I want that promotion. I want that Beamer that Blake bought with that promotion. And you know what? I wanna fuck Olivia. I wanna fuck her in the ass.</dialogue> <scene_description>The guys are quiet, mesmerized by Jim's new outlook. Just then, Rebecca enters with a plate of fresh baked cookies...and two black eyes.</scene_description> <character>REBECCA</character> <parenthetical>(sing-songy)</parenthetical> <dialogue>Who wants cookiiieees?</dialogue> <scene_description>Larry reaches for one, burns his hand...too hot.</scene_description> <character>JIM</character> <dialogue>And I want those.</dialogue> <scene_description>Jim grabs a handful of cookies. ARGHH! Melty chocolate that would normally be delicious scalds Jim's hands. But he pounds them down, disintegrating his mouth with abandon.</scene_description> <character>JIM</character> <dialogue>Oh, god!</dialogue> <character>ROB</character> <dialogue>Dude, wait till they cool--</dialogue> <character>JIM</character> <dialogue>Fuck that...ARRG!</dialogue> <scene_description>Jim eats damn near every one, his face clenched in agony.</scene_description> <character>REBECCA</character> <dialogue>Maybe you could leave this last one for somebody else.</dialogue> <scene_description>Jim snatches the last cookie off the plate and belligerently smashes it all over his face before he eats it.</scene_description> </scene> <scene> <stage_direction>INT. VALID INSURANCE COMPANY - NIGHT</stage_direction> <scene_description>The office is dark, shut down, except for one room.</scene_description> </scene> <scene> <stage_direction>INT. FILE ROOM - NIGHT</stage_direction> <scene_description>Jim holds a list, picking through the infinite rows of files. He drops the ones that match into a basket. Jill enters.</scene_description> <character>JILL</character> <dialogue>This better be good, you calling me in here at midnight.</dialogue> <scene_description>He hands her the basket.</scene_description> <character>JIM</character> <parenthetical>(terse)</parenthetical> <dialogue>Verify that all contact information in these files is current.</dialogue> <character>JILL</character> <dialogue>Excuse me. Do I work for you?</dialogue> <character>JIM</character> <dialogue>Didn't mean to be curt, I'm just really focused right now.</dialogue> <scene_description>She flips through the files.</scene_description> <character>JILL</character> <dialogue>These are all Blake's clients.</dialogue> <character>JIM</character> <dialogue>Yep.</dialogue> <character>JILL</character> <dialogue>What are you up to, Turbo?</dialogue> <character>JIM</character> <dialogue>Taking back what's mine.</dialogue> </scene> <scene> <stage_direction>EXT. MR. WHITEMAN'S HOUSE - BACKYARD - DAY</stage_direction> <scene_description>A barbecue for all the people who matter is in full swing. Brie cheese, fine champagne, and stiff upper lips abound. Schooley and McCorkle are off to the side, doing what they do...</scene_description> <character>SCHOOLEY</character> <dialogue>...holy shit, your fist must have smelled like ham salad.</dialogue> <character>MCCORKLE</character> <dialogue>Still does. I've been soaking my hand in tomato juice for two weeks and it still reeks like spoiled cock-garbage.</dialogue> <scene_description>McCorkle holds out his hand. Schooly leans in, takes a long whiff and instantly recoils from the stench.</scene_description> <character>SCHOOLEY</character> <dialogue>Holy Jesus! That smells just like my dream.</dialogue> <scene_description>Meanwhile, at the center of the party, Blake has a crowd of rich folk entranced.</scene_description> <character>BLAKE</character> <dialogue>...and I've got a little poem that I'd like to read in honor of this occasion, if I may.</dialogue> <scene_description>He unfolds a slip of paper and begins to read.</scene_description> <character>BLAKE</character> <dialogue>"It's easy to grin, when your ship comes in, and you've got the stock market beat. But the man worthwhile, is the man who can smile, when his shorts are too tight in the seat."</dialogue> <scene_description>The crowd laughs haughtily. Blake's unearned popularity is mind-numbing. Olivia stands off to the side, stunning and bored. Mr. Whiteman's WIFE pats Blake's head like a good dog.</scene_description> <character>MRS. MR. WHITEMAN</character> <dialogue>So entertaining...and popular too. I've always thought you'd fit in nicely.</dialogue> <scene_description>Blake's moment in the sun is dashed when... TRACY, A FOUR-FOOT TALL, 300-POUND ADOLESCENT, ENTERS LIKE A TASMANIAN DEVIL, screaming and stealing food from everyone and slamming it into her face.</scene_description> <character>TRACY</character> <parenthetical>(between bites)</parenthetical> <dialogue>BANNH! Spicy bean burgers...BORPH!</dialogue> </scene> <scene> <stage_direction>EXT. BACKYARD - NEW ANGLE</stage_direction> <scene_description>Jim and Rob escort a number of other obese, crippled, and differently-abled people into the backyard. Mr. Whiteman approaches, outraged.</scene_description> <character>MR. WHITEMAN</character> <dialogue>What the hell are you doing? Who are these people...what are these people?</dialogue> <scene_description>In the background, Tracy chases down a woman with a plate of ribs.</scene_description> <character>TRACY</character> <dialogue>BAAARRG! Jimme more meat sauce!</dialogue> <scene_description>ANGLE ON Olivia and Mrs. Mr. Whiteman watching from afar.</scene_description> <character>MRS. MR. WHITEMAN</character> <dialogue>What in blazes is wrong with that horrible child?</dialogue> <character>OLIVIA</character> <parenthetical>(bored)</parenthetical> <dialogue>If I had to guess, I'd say Prader- Willi syndrome.</dialogue> <scene_description>TRACY flattens the woman with a backside clothesline. OLIVIA NODS.</scene_description> <character>OLIVIA</character> <dialogue>Yep, that's Prader-Willi, alright.</dialogue> <character>MRS. MR. WHITEMAN</character> <dialogue>What is that?</dialogue> <character>OLIVIA</character> <dialogue>It's a rare genetic disorder that causes compulsive eating and irrational behavior.</dialogue> <scene_description>TRACY eats the ribs off the ground, screaming to the sky like a victorious predator. BAAAAARRRRG!!! BACK TO JIM AND MR. WHITEMAN</scene_description> <character>MR. WHITEMAN</character> <dialogue>Explain, Jim. Now!</dialogue> <character>JIM</character> <dialogue>These are your policy holders. I thought you should meet the people your company has been paying millions of dollars in claims to.</dialogue> <scene_description>Jim grabs BLINDY, a fifty-year-old wheezing blind man with an oxygen mask over his face.</scene_description> <character>JIM</character> <dialogue>This is Blindy, he--</dialogue> <character>BLINDY</character> <parenthetical>(rasping)</parenthetical> <dialogue>Trevor. My name is--</dialogue> <character>JIM</character> <dialogue>This is Blindy Trevor. He's...</dialogue> <parenthetical>(reads Blindy's file)</parenthetical> <dialogue>Twenty-three-years-old with absolutely no history of health problems. Yet as you can see, he's at least fifty, blind as a bat and suffering from advanced emphysema.</dialogue> <scene_description>Mr. Whiteman squints. Outrage gives way to "tell me more." ANGLE ON BLAKE as he exits the house, zipping up. He spots Jim with Whiteman...this can't be good.</scene_description> <character>BLAKE</character> <dialogue>Hey!</dialogue> <scene_description>Blake rushes over. Wedges himself between Jim and Mr. Whiteman.</scene_description> <character>BLAKE</character> <dialogue>How dare you, Jim Simmers. This is a private function on private property and you are specifically not invited. Now pack up these mongoloids and get--</dialogue> <character>MR. WHITEMAN</character> <dialogue>Quiet, Blake. Don't say another word.</dialogue> <parenthetical>(to Jim)</parenthetical> <dialogue>Continue...</dialogue> <scene_description>Jim points to a woman (FRANCESCA) in an overturned wheelchair. She feebly attempts to fight off... TRACY, who violently yanks at a candy bar that has somehow gotten tangled in Francesca's hair.</scene_description> <character>JIM</character> <dialogue>And that is Francesca. Look at her...</dialogue> <character>TRACY</character> <dialogue>Mounds! Mounds! JIMME MOUNDS!</dialogue> <scene_description>Tracy can't get the candy bar out of Francesca's hair, so she starts gnawing on the crippled woman's bouffant.</scene_description> <character>FRANCESCA</character> <dialogue>Get it off me! Get it off me!</dialogue> <character>ROB</character> <parenthetical>(to Jim)</parenthetical> <dialogue>Jim?</dialogue> <character>JIM</character> <dialogue>Not yet.</dialogue> <parenthetical>(hands Mr. Whiteman a file)</parenthetical> <dialogue>On paper, Francesca is twenty four years old, never been sick a day in here life, and makes her living as a lifeguard.</dialogue> <character>FRANCESCA</character> <dialogue>Oh GOD! It HURTS!</dialogue> <character>JIM</character> <dialogue>But as you can see, she can't swim. She can't possibly swim.</dialogue> <scene_description>Tracy drags Francesca by her hair. Francesca flails, trying to cling to her wheelchair.</scene_description> <character>BAARRRAHRR!</character> <dialogue>MR. WHITEMAN</dialogue> <character>JIMME MORE NOUGAT!!</character> <dialogue>Get to the point, Simmers.</dialogue> <character>JIM</character> <dialogue>The point is that you have been defrauded, Mr. Whiteman. By one of your own employees.</dialogue> <scene_description>Stunned faces all around. BACK TO OLIVIA AND MRS. MR. WHITEMAN as they survey Tracy's path of destruction.</scene_description> <character>MRS. MR. WHITEMAN</character> <dialogue>My god. How do we stop her?</dialogue> <character>OLIVIA</character> <dialogue>You can't. She can't help herself.</dialogue> <scene_description>Mrs. Mr. Whiteman sighs, shakes her head as she regards the collection of misfits on her lawn.</scene_description> <character>MRS. MR. WHITEMAN</character> <dialogue>Goddamn circus people.</dialogue> <scene_description>Olivia shoots her a chastising look and moves toward the action. STAY WITH Mrs. Mr. Whiteman as she plucks the olives from her martini glass and pops them into her mouth. Just as she's beginning to chew... WHHHUMMP! Tracy knocks her to the ground. OLIVES AND POPEYE!!! Tracy, her face a deep brown smear of chocolate and hair, grabs Mrs. Mr. Whiteman by the ears and tries to forcibly suck the pre-chewed olives from her mouth. Mrs. Mr. Whiteman manages a MUFFLED, HIGH-PITCHED SCREAM...</scene_description> </scene> <scene> <stage_direction>..one that only Mr. Whiteman can hear. He cocks his head like a dog, then turns to see his wife under retarded assault.</stage_direction> <character>MR. WHITEMAN</character> <parenthetical>(panicked, to Jim)</parenthetical> <dialogue>For the love of god, call off that creature!</dialogue> <scene_description>Rob remains standing with his hands behind his back.</scene_description> <character>JIM</character> <dialogue>Rob?</dialogue> <scene_description>Rob unclenches his hands, revealing a baseball bat tight in his grip.</scene_description> <character>ROB</character> <parenthetical>(with a gleam in his eye)</parenthetical> <dialogue>I'm on it.</dialogue> <scene_description>Whiteman watches Rob move to save his wife. He turns back to Jim.</scene_description> <character>MR. WHITEMAN</character> <dialogue>Who has dared defraud me?</dialogue> <scene_description>OFFSCREEN, we HEAR a series of horrible "THWACKS", punctuated with pained cries from Tracy. BAAAAARGGGH!!!! PIE! JIMMY MORE</scene_description> <character>PIE!</character> <dialogue>BLAKE</dialogue> <character>BAAAAAARRRRGH!</character> <dialogue>Now is not the time for this discussion, sir. I mean, your wife is being mauled by a four hundred pound goonie bird. Perhaps we should--</dialogue> <character>MR. WHITEMAN</character> <dialogue>Didn't I tell you not to speak?</dialogue> <parenthetical>(to Jim)</parenthetical> <dialogue>I want names.</dialogue> <character>JIM</character> <parenthetical>(indicating the retard army)</parenthetical> <dialogue>Why don't you ask them...</dialogue> <character>MR. WHITEMAN</character> <dialogue>Well speak up. Who sold you your policies?</dialogue> <scene_description>One by one, they all say the same thing... "Blake Henderson." Mr. Whiteman is aghast.</scene_description> <character>MR. WHITEMAN</character> <parenthetical>(to Blake)</parenthetical> <dialogue>Henderson is this true?</dialogue> <character>BLAKE</character> <dialogue>No--well, yes, but not really. Kind of. It's very complicated...</dialogue> <scene_description>Jim hands his stack of files to Mr. Whiteman.</scene_description> <character>JIM</character> <dialogue>It's all right there.</dialogue> <scene_description>The White Man levels his cold blue eyes on Blake.</scene_description> <character>MR. WHITEMAN</character> <dialogue>Blake, you're fired.</dialogue> <character>BLAKE</character> <dialogue>But I--I'm the most--what about my popularity?</dialogue> <character>MR. WHITEMAN</character> <dialogue>Get out.</dialogue> <scene_description>Blake looks at Jim, gives him the gunpoint.</scene_description> <character>BLAKE</character> <dialogue>I...I never thought you had it in you.</dialogue> <scene_description>Blake skulks off. Whiteman clasps Jim on the shoulder.</scene_description> <character>MR. WHITEMAN</character> <dialogue>I guess you're my man now, Jim Simmers. Congratulations.</dialogue> <scene_description>He walks Jim into the heart of the barbecue. The crowd embraces him. Olivia moves to his side. Jim takes the glass of champagne from her hand and gulps it down...just like he's gonna do her in a few days. WE PULL BACK, past a table where... ROB HAS TRACY PINNED FACE DOWN -- knee in her back, caressing her face with the tip of his bat, gently cramming cake down her gullet. Tracy squirms, Rob enforces the pin, whispering...</scene_description> <character>ROB</character> <dialogue>Shhh. Shhhhhhhh.</dialogue> </scene> <scene> <stage_direction>INT. VALID INSURANCE COMPANY - NEXT DAY</stage_direction> <scene_description>LOW ANGLE TRACKING SHOT PULLING JIM in SLOW MOTION as Jim enters the office like a rock star. Jim nods to his former co-workers who gaze upon him in awe. High fives are slapped. Jim gives the "you know it" nod to all those who are now beneath him. HE GETS TO THE STAIRS -- Pauses. Looks back at the adoring crowd. A single tear in his eye. As Jim takes that first monumental step towards true happiness, the crowd erupts in applause.</scene_description> <character>JIM</character> <parenthetical>(sotto; heartfelt)</parenthetical> <dialogue>Today, I win. I win it hard.</dialogue> <scene_description>Jim climbs to the top of the stairs. He absolutely MUST give them one last parting glance. EVEN SLOWER MOTION as Jim looks down, not at his fans but at his defiant erection. His hard, hard defiant erection. He sticks it out for the crowd below, just a little bit...but enough. Goddamn he has gusto. BLACK SUPER: "45 Minutes Later..."</scene_description> </scene> <scene> <stage_direction>INT. JIM'S NEW OFFICE - DAY</stage_direction> <scene_description>A palatial high tech office dominated by a huge oak desk, a big screen TV and a wet bar. Jim is slumped in his chair, miserable. The phone is ringing, the files before him sit unaddressed. He doesn't even have his kick ass boner anymore. Without warning, Rob and Larry barge in followed closely by JIM'S NEW SECRETARY.</scene_description> <character>LARRY</character> <dialogue>Look at these digs. This place is fucking opulent and shit.</dialogue> <character>SECRETARY</character> <dialogue>I'm sorry sir...these men DO NOT have an appointment and I....</dialogue> <character>JIM</character> <parenthetical>(to Secretary)</parenthetical> <dialogue>They're fine, Cindy. Leave us.</dialogue> <character>SECRETARY</character> <dialogue>Yes, Mr. Simmers.</dialogue> <scene_description>She leaves. Rob prowls the office like a kid in a candy store.</scene_description> <character>ROB</character> <dialogue>This office is incredible, man.</dialogue> <character>JIM</character> <parenthetical>(without enthusiasm)</parenthetical> <dialogue>Yeah.</dialogue> <scene_description>Rob crosses to the big screen.</scene_description> <character>ROB</character> <dialogue>Holy shit! Is that a fifty-inch?</dialogue> <character>JIM</character> <dialogue>Sixty.</dialogue> <scene_description>Larry spies the Johnnie Walker Blue label at the wet bar.</scene_description> <character>LARRY</character> <dialogue>Johnnie Walker Blue? GODDAMN, that shit is almost as good as Johnnie Walker Green! Can I have some?</dialogue> <character>ROB</character> <dialogue>The Blue is better than the Green.</dialogue> <character>LARRY</character> <dialogue>No it's not. Can I have some?</dialogue> <character>ROB</character> <dialogue>Yes it is. Right, Jim?</dialogue> <character>LARRY</character> <dialogue>Look fool, everyone knows the Green is the best. Cuz it costs more. Can I have some, Jim?</dialogue> <character>ROB</character> <dialogue>How do you figure?</dialogue> <character>LARRY</character> <dialogue>What color is money, man? Ipso facto, motherfucker...</dialogue> <scene_description>Rob just shakes his head.</scene_description> <character>LARRY</character> <dialogue>Can I have some...?</dialogue> <character>JIM</character> <dialogue>Take it.</dialogue> <character>LARRY</character> <dialogue>Take the Blue? Like all of it?</dialogue> <character>JIM</character> <dialogue>Take the whole bottle. I don't care.</dialogue> <character>ROB</character> <dialogue>What's wrong with you, man? I mean, you've got the sweet office, the Johnnie Walker blue...you're living the life now, man.</dialogue> <character>JIM</character> <dialogue>I dunno. It seems like it should be...better.</dialogue> <scene_description>BAMN!!!</scene_description> </scene> <scene> <stage_direction>INT. THE BEACHCOMBER BAR - DAY</stage_direction> <scene_description>The bar is empty except for our guys. Jim has a mean buzz going.</scene_description> <character>ROB</character> <dialogue>Man, I don't know any other job that let's you get drunk in the middle of the day.</dialogue> <scene_description>A WAITER steps up. Drops off a few beers.</scene_description> <character>JIM</character> <parenthetical>(to the waiter)</parenthetical> <dialogue>Hey, what's the most expensive drink in this place?</dialogue> <character>WAITER</character> <dialogue>This is a dive bar, dude.</dialogue> <character>JIM</character> <dialogue>Come on, what's the most expensive drink you've ever served?</dialogue> <scene_description>The Waiter thinks for a moment.</scene_description> <character>WAITER</character> <dialogue>Well, some rapper from New York was once in here, throwing his black rap money around. He ordered...what was that...oh yeah, he ordered a Long Island Iced Tea made with all top shelf liquor.</dialogue> <character>JIM</character> <dialogue>Perfect. We'll take six.</dialogue> <character>WAITER</character> <dialogue>I'm gonna need a deposit on that.</dialogue> <character>LARRY</character> <parenthetical>(tipsy)</parenthetical> <dialogue>NO! No. Jim, no.</dialogue> <character>JIM</character> <dialogue>It's okay, Larry.</dialogue> <scene_description>Jim pulls out a credit card. As he's handing it to the waiter, Larry snatches it. Inspects it.</scene_description> <character>LARRY</character> <dialogue>Holy shit...company credit. That shit's gangsta.</dialogue> <scene_description>The Waiter grabs the card from Larry and heads to the bar. Jim drops his head, frustrated with everything.</scene_description> <character>JIM</character> <dialogue>Bargh.</dialogue> <character>ROB</character> <dialogue>Bargh? Why bargh? You're in the game now. You're checking off the list, man. In a year or so you'll be able to afford that car, and--</dialogue> <character>JIM</character> <dialogue>A year? Fuck a year. I got enough in my savings to buy that car now. Outright.</dialogue> <character>LARRY</character> <dialogue>Out-motherfucking-RIGHT!</dialogue> <character>ROB</character> <dialogue>You can't spend your savings on a car, Jim.</dialogue> <character>JIM</character> <dialogue>Why? Why can't I do it?</dialogue> <character>ROB</character> <dialogue>Because it's just not done. Savings are--they're for...later.</dialogue> <character>JIM</character> <dialogue>I personally have conclusive fucking proof that there is no later. Sometimes, you just gotta say I don't give a fuck--</dialogue> <character>LARRY</character> <dialogue>--and steal a bitch's money.</dialogue> <character>JIM</character> <parenthetical>(nodding)</parenthetical> <dialogue>Sometimes you've got to go large or stay at home.</dialogue> <scene_description>Rob has no idea what he's talking about. But Larry does. He and Jim bump knuckles.</scene_description> <character>LARRY</character> <dialogue>Players do what they want to, suckers do what they can.</dialogue> <character>JIM</character> <dialogue>FUCKIN' A RIGHT! That! That right there...</dialogue> <parenthetical>(points into Larry's mouth)</parenthetical> <dialogue>That's what I'm talking about.</dialogue> <scene_description>The Waiter arrives with their drinks in tall, precious glasses. Jim grabs his, downs it, wipes his mouth.</scene_description> <character>JIM</character> <dialogue>Let's do this!</dialogue> </scene> <scene> <stage_direction>EXT. BMW DEALERSHIP - DAY</stage_direction> <scene_description>A fleet of shiny Beamers and our three guys. Rob is cradling four sloshing Long Island Iced teas in his arms, staining everything in his vicinity. Larry holds a small BRIEFCASE while trying to eat a scalding pizza, too drunk to understand that it needs to cool. Jim has an even meaner buzz going. When the CAR SALESMAN comes over, Jim glares at him.</scene_description> <character>SALESMAN</character> <parenthetical>(thick country accent)</parenthetical> <dialogue>Hey, ya'll. Looking to buy or just lookin'?</dialogue> <scene_description>The Salesman looks behind him, unable to comprehend why Jim is glaring so viciously. Rob hands Jim a drink.</scene_description> <character>JIM</character> <parenthetical>(points at a car)</parenthetical> <dialogue>I want that silver M-3, right there. How much?</dialogue> <character>SALESMAN</character> <dialogue>Oh, that's a beaut'. It's fully loaded, ya'll. I reckon.</dialogue> <character>JIM</character> <dialogue>Look, no pitch, this is gonna be the easiest sale you'll ever make. How much?</dialogue> <character>SALESMAN</character> <dialogue>Well, now, lemme just tell you'n what this here lil'o jewel gots under the hood.</dialogue> <scene_description>The Salesman is getting progressively more country with each exchange.</scene_description> <character>JIM</character> <dialogue>I've got cash. How much?</dialogue> <character>LARRY</character> <dialogue>Yeah, how much?</dialogue> <character>SALESMAN</character> <dialogue>Well, as I'm sure you'n alls knows, the Beamer M W is not for the common, man. But, now, I wouldn't reckon you is--</dialogue> <character>JIM</character> <dialogue>How. Much?</dialogue> <character>SALESMAN</character> <dialogue>Well, that'd all depend. You see, this one here, that you'se is gazing upon, this one's the Tiger Edition. It's got double aluminum crank shafts and--</dialogue> <character>JIM</character> <dialogue>I don't care. How much?</dialogue> <character>SALESMAN</character> <dialogue>I'm sure you wanna know what you're gettin'. And what you'd be gettin'.</dialogue> <scene_description>While the Salesman talks, Jim grabs the briefcase and cracks it open. It's full of cash.</scene_description> <character>SALESMAN</character> <dialogue>...I mean, one might mosey on down to the hoosegow with a big ole posse'a desperados and commence to demanding all kinds'a things, I reckon. But don't mess with Texas, that's where I'd be hailin' outta, ya know--</dialogue> <character>JIM</character> <dialogue>Why won't you answer?</dialogue> <character>SALESMAN</character> <dialogue>Sir, I see you're serious--</dialogue> <character>JIM</character> <dialogue>NO! That's not an answer. A proper answer is a number. A number that will allow me to hand you this cash and drive off with that car.</dialogue> <character>SALESMAN</character> <dialogue>But, now don't get yer dander up, cowboy. I'm gonna lay down the statistics--</dialogue> <character>JIM</character> <dialogue>Motherfucker! How much is the car? You're in the business of selling cars! Just give me a price.</dialogue> <scene_description>Silence. The Salesman seems to finally have grasped that he needs to shut the fuck up and give Jim a price.</scene_description> <character>SALESMAN</character> <dialogue>Hey now, I'm here to work with you. We got different financing options that a fella such as yerself may want to choose from.</dialogue> <character>JIM</character> <dialogue>Different from a briefcase full of cash?</dialogue> <scene_description>The Salesman's mouth moves, but he can't form a sentence that is a direct answer. Rob rolls his eyes, grabs a slice of pizza, peels off the cheese and slams it sauce-first into the Salesman's face. The molten sauce scalds him and sets him screaming. PRAAAAAHHHHHHH-YA'LL!!! Rob kneels beside the writhing Salesman and begins peeling off another piece of pizza.</scene_description> <character>ROB</character> <parenthetical>(whispers)</parenthetical> <dialogue>How much?</dialogue> </scene> <scene> <stage_direction>INT. BRAND NEW B.M.W. - LATER</stage_direction> <scene_description>The guys are packed in, riding in style. Jim fiddles with the stereo as he drinks and drives.</scene_description> <character>JIM</character> <parenthetical>(to Rob)</parenthetical> <dialogue>What the hell got into you back there?</dialogue> <character>LARRY</character> <dialogue>Yeah, you went all Vietnam or some shit, like that salesman was a freakin' harp seal or something!</dialogue> <scene_description>Rob squints, trying to process what he just did.</scene_description> <character>ROB</character> <dialogue>The dude was wasting our time.</dialogue> <character>JIM</character> <dialogue>Yeah but it cost me an extra two grand to keep him from pressing charges.</dialogue> <character>ROB</character> <dialogue>Like you say, sometimes you just gotta say, who the fuck cares, right?</dialogue> <character>LARRY</character> <dialogue>I don't. I don't care about shit!</dialogue> <character>ROB</character> <dialogue>Button it, Rainman. You'd have to understand to care.</dialogue> <scene_description>Jim swerves, irked that his radio sucks...</scene_description> <character>JIM</character> <dialogue>This stupid car doesn't have satellite!</dialogue> <parenthetical>(looking back)</parenthetical> <dialogue>How can this be the ultimate driving machine and not have satellite?</dialogue> <scene_description>All of a sudden, Jim comes up on tail lights. He hits the brakes.</scene_description> <character>JIM</character> <dialogue>What the--</dialogue> </scene> <scene> <stage_direction>EXT. MID-CAPE HIGHWAY - "SUICIDE ALLEY" - NIGHT</stage_direction> <scene_description>A TWO LANE STRETCH OF HIGHWAY with flexible plastic pylons going down the center. Jim's new beamer is being cock-blocked by a FAMILY OF TOURISTS driving half the speed limit. Nothing but open road in front of them.</scene_description> </scene> <scene> <stage_direction>INT. JIM'S BMW - CONTINUOUS</stage_direction> <scene_description>Jim rides the tourists' bumper.</scene_description> <character>JIM</character> <dialogue>Oh, my God!</dialogue> <scene_description>He hits the horn.</scene_description> <character>ROB</character> <dialogue>I don't get it. The speed limit is 65, why is this douchebag driving 40 miles an hour?</dialogue> <character>LARRY</character> <dialogue>You know, the speed "limit" isn't the speed "requirement." It's the limit. It's the fastest you're allowed to go. So really, this guy is just choosing not to ride at maximum capacity.</dialogue> <character>ROB</character> <dialogue>Yeah, but there are also speed minimums. It's as unsafe to drive slow on a highway as it is to drive fast.</dialogue> <character>LARRY</character> <dialogue>No. No, Rob. No. Slow is always safer.</dialogue> <character>ROB</character> <dialogue>You're a retard, just like my boy...but without the strength.</dialogue> <character>JIM</character> <dialogue>Did you just call your stepkid a retard?</dialogue> <scene_description>Robert gulps the last drop of the last Long Island.</scene_description> <character>ROB</character> <dialogue>Fuck yeah I did. Cuz he is.</dialogue> <character>LARRY</character> <dialogue>Whoa.</dialogue> <character>ROB</character> <dialogue>Look, there's no harm in calling a spade a spade as long as you appreciate the spade.</dialogue> <character>LARRY</character> <parenthetical>(serious as a heart attack)</parenthetical> <dialogue>You're a goddamn racist, man. And it sickens me.</dialogue> <scene_description>Jim has had enough. He pulls into the center of the road to pass - the pylons strike his Beamer - THWACK! THWACK! THWACK!! An oncoming car forces him back into his lane.</scene_description> <character>ROB</character> <dialogue>Hey, be careful man. Those pylons--</dialogue> <character>JIM</character> <dialogue>I know what I'm doing. No stupid plastic pylons gonna hurt The Ultimate Driving Machine®.</dialogue> <character>LARRY</character> <dialogue>Yeah, but some of them...</dialogue> <character>JIM</character> <dialogue>I do whatever I want. All the time.</dialogue> <character>LARRY</character> <dialogue>Yeah, but...</dialogue> <scene_description>Jim lays on the horn, pulls back into the center of the road. THWACK!! THWACK! THWACK! SHKA-BANG!!! The Beamer strikes a SOLID pylon, mangling the grill. The car horn WAILS, stuck. Steam wafts into the atmosphere. As the car limps to the breakdown lane...</scene_description> <character>LARRY</character> <dialogue>Some of them are filled with concrete.</dialogue> <scene_description>A beat. Until Rob bursts out in a fit of uncontrollable laughter.</scene_description> <character>ROB</character> <dialogue>HAHAHAHAHAHAHAHAHAHAHAHAH you fucking asshole HAHAHAHAHAHAHA!</dialogue> <scene_description>Whatever. Jim jams the car into gear. He stabs at the radio switching stations.</scene_description> <character>JIM</character> <dialogue>Goddamn analog radio. Goddamn everything. Goddamn every fucking molecule in the goddamn world.</dialogue> </scene> <scene> <stage_direction>EXT. OLD MONEY BEACH HOUSE - NIGHT</stage_direction> <scene_description>From off in the distance we hear it. We hear it coming... The horn. Jim's new newly fucked up Beamer pulls in front of the house, horn blaring. The back door opens. Before Larry can set both feet on the sidewalk, Jim tears off. Larry shakes his head. Sighs. Digs a clothespin from his pocket, clamps it on his nose, and walks to the front door.</scene_description> </scene> <scene> <stage_direction>EXT. ROB'S HOUSE - NIGHT</stage_direction> <scene_description>We see the silhouette of Rob's massive son, standing on the roof, screaming at the moon. Not howling, screaming...</scene_description> <character>JUNIOR</character> <dialogue>Moon! Moooooooon!!!</dialogue> <scene_description>His screams meld with the sound of... Jim's car horn. The beamer pulls up. Rob gets out. Jim tears off and leaves his friend to face his son. Alone.</scene_description> <character>ROB</character> <dialogue>MOOOOOOON!!!</dialogue> <scene_description>Junior turns away from the moon and locks eyes with Rob. He squints, 'oh, yeah, it's on.' Rebecca comes out with a roll of tape. Rob holds out his hands so she can tape his knuckles.</scene_description> </scene> <scene> <stage_direction>INT. JIM'S HOUSE - NIGHT</stage_direction> <scene_description>Jim enters. Tosses his keys. Heads straight for the bedroom.</scene_description> </scene> <scene> <stage_direction>INT. JIM'S BEDROOM - NIGHT</stage_direction> <scene_description>Sleep eludes him as Jim stares at the ceiling, contemplating his fate. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. JIM'S BEDROOM - MORNING</stage_direction> <scene_description>The neighbor's dog is barking. Jim's eyes snap open. He sits up with purpose.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - MORNING</stage_direction> <scene_description>It's a disaster area. Jim enters and paints another yellow layer. He pees indiscriminately, all over the floor, the toilet, the walls...whatever. He exits without flushing.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - MORNING</stage_direction> <scene_description>Jim strolls in wearing sweats and a wife beater. He grabs a stick of butter from the fridge. Takes a box of Strawberry Nestle's® Quick from the cabinet. He jams the butter in the Quick and takes a bite. And that shit is good. While he eats his strawberry butter, Jim collects various wash rags from his kitchen.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - MORNING</stage_direction> <scene_description>Jim is now wearing a T-shirt over the wife beater, and he's holding a pile of other shirts and pants. He puts them on, layer after layer. Then he starts wrapping his hands with the rags.</scene_description> </scene> <scene> <stage_direction>EXT. THE GAY NEIGHBOR'S HOUSE - MOMENTS LATER</stage_direction> <scene_description>Jim bangs on the door, wrapped in cotton armor. The Gay Neighbor answers.</scene_description> <character>THE GAY NEIGHBOR</character> <dialogue>Morning, Jim. What's with the--</dialogue> <character>JIM</character> <dialogue>Where is he? In the back?</dialogue> <character>THE GAY NEIGHBOR</character> <dialogue>Who?</dialogue> <scene_description>Jim pushes past him.</scene_description> </scene> <scene> <stage_direction>INT. THE GAY NEIGHBOR'S HOUSE - CONTINUOUS</stage_direction> <scene_description>Jim freezes when he sees... AN ENTIRE WALL COVERED FLOOR TO CEILING WITH FRAMED PHOTOS OF THE GAY NEIGHBOR'S DOG... FUCKING. Dozens of pictures of Hoag mounting other dogs. Hundreds of them really. Poodles and Schnauzers, Shih-Tzus and Beagles, all getting pounded from behind. Tiny Dachshunds and Chihuahuas are barely visible beneath Hoag's massive chest. The Shepherds and Labradors look sad. The Dobermans look frightened. There are many emotions, because there are so many pictures of so many dogs getting fucked. And the centerpiece of the collection is photo of the Gay Neighbor giving a big thumbs up as Hoagie piledrives a defeated Great Dane.</scene_description> <character>THE GAY NEIGHBOR</character> <parenthetical>(self-conscious)</parenthetical> <dialogue>Please don't think I'm weird. It's a long story.</dialogue> <scene_description>Jim stares at him. Long silence.</scene_description> <character>THE GAY NEIGHBOR</character> <dialogue>I'm out of my mind...you know that, right?</dialogue> <scene_description>Jim shakes it off and marches past him.</scene_description> </scene> <scene> <stage_direction>EXT. THE GAY NEIGHBOR'S BACKYARD - CONTINUOUS</stage_direction> <scene_description>160 pounds of four-legged, cocksucking, Bull Mastiff yanks against his spiked chain, crazed, frothing. This is a very serious dog. Jim takes a deep breath.</scene_description> <character>JIM</character> <parenthetical>(without looking back)</parenthetical> <dialogue>Let him off.</dialogue> <scene_description>The Gay Neighbor moves from behind Jim, and approaches his dog. He seems a bit frightened by his own beast.</scene_description> <character>THE GAY NEIGHBOR</character> <dialogue>Jim, I can't let him off. Look at him.</dialogue> <character>JIM</character> <dialogue>This has to happen.</dialogue> <character>THE GAY NEIGHBOR</character> <dialogue>Do you understand you're on his property? Hoagie is a full bred Bull Mastiff, he'll kill you, man.</dialogue> <scene_description>The dog snarls, raging against his restraints.</scene_description> <character>JIM</character> <dialogue>So be it. Let him off.</dialogue> <scene_description>The Gay Neighbor reaches for Hoag's collar. Looks at Jim one last time.</scene_description> <character>THE GAY NEIGHBOR</character> <dialogue>Are you sure, Jim?</dialogue> <scene_description>Jim nods. The Gay Neighbor releases Hoag. Hoag charges at Jim, leaps... Jim throws up his arms just in time to protect his throat, but the savage animal knocks him to the ground. Hoag sets upon Jim with a ferocity that is primal. Jim can do little more than offer his limbs to the whirlwind of fangs. OH GOD! The dog locks onto Jim's calf. Hoag shakes violently, tearing off strips of bloody flesh. Well not flesh exactly, it's just cloth soaked with Jim's blood. Jim flails for a large grilling fork sitting next to a barbecue grill.</scene_description> <character>THE GAY NEIGHBOR</character> <parenthetical>(subtitled; speaks in Japanese)</parenthetical> <dialogue>Hoag, he's going for the fork!</dialogue> <scene_description>The dog advances to the back of Jim's neck and locks on. This could be the death of Jim. OH GOD! But Jim has the fork. With all his might he shoves the fork into Hoag's back. Hoag YELPS. Jim tries to scramble to his feet but falls due to the severe wound on his calf. Blood pours out of his pant cuff. He'll die soon.</scene_description> <character>THE GAY NEIGHBOR</character> <dialogue>Hoag, he's lost tremendous blood. You must sweep the leg...NOW!</dialogue> <scene_description>Despite a fork protruding from Hoag's back, the animal is in top form. Again it gets airborne... ON JIM - SLOW MOTION: Hoag flies through the air with a clear line to Jim's throat. But at the last second--BAMN!, Jim clocks him with a round house punch to the head. Jim screams, certain that he's broken his hand. But Hoag is also hurt. And more importantly, he's cautious. The two circle each other. Both bloody. Jim looks for a way out. The back gate is fifteen feet away. The Gay Neighbor shakes his head...</scene_description> <character>THE GAY NEIGHBOR</character> <dialogue>You'll never make it, Jim. What you've begun cannot be undone.</dialogue> <parenthetical>(quoting "Wanted")</parenthetical> <dialogue>We get our orders from a loom. Of FATE!</dialogue> <scene_description>Hoag is regaining his aggression, snarling and lunging. Jim scrambles to find anything that will help him not die. Lighter fluid. A sustained squirt burns Hoag's eyes. Jim looks around for matches, cuz this fight is that fucked up. He reaches for the matches but... The Gay Neighbor is there first. The dog looks at his master.</scene_description> <character>THE GAY NEIGHBOR</character> <dialogue>No mercy! No mercy!</dialogue> <scene_description>Hoag charges. The moment of truth is upon Jim and he answers the call...Jim charges.</scene_description> <character>JIM</character> <dialogue>AAHHHH!!!</dialogue> <character>HOAGIE (THE DOG)</character> <dialogue>AAHHHH!!!</dialogue> <scene_description>Hoag gets ahold of Jim's thigh, but Jim has a firm grip on that fork. He shoves it in a bit deeper. Hoag pulls back just long enough for Jim to... Thrust his fist down into Hoag's throat, making it impossible for him to bite down. Jim's eyes are watering from the pain. ZOOM INTO JIM'S MIND: SUPER: Monday, November 18, 1985 9:46 PM EST... The infamous Monday Night Football game between the New York Giants and the Washington Redskins plays on television. YOUNG JIM, 15, watches with his FAMILY. ON TV: Lawrence Taylor blitzes and drops onto Joe Thiessman's leg, snapping it like a piece of celery. Everyone watching turns away in horror. BACK TO THE FIGHT: Jim seizes the moment. He presses down on Hoagie's little paw with his knee, and drops his shoulder into the dog's leg joint... "CRACK"</scene_description> <character>HOAGIE (THE DOG)</character> <dialogue>AAAHHHHHHH!!!</dialogue> <scene_description>David Hoag drops to his side. His lower leg juts outward at a sickening angle. Jim stumbles back while the dog writhes, forever crippled should it manage to live. Jim picks up a brick. Raises it for the killing blow...</scene_description> <character>THE GAY NEIGHBOR</character> <dialogue>Enough!</dialogue> <scene_description>Jim freezes.</scene_description> <character>THE GAY NEIGHBOR</character> <dialogue>Enough, Jim. You've made your point.</dialogue> <scene_description>The Gay Neighbor moves between Jim and the dog. He reaches to calm Jim who is still flush with adrenaline. He takes Jim's hand and raises it high.</scene_description> <character>THE GAY NEIGHBOR</character> <dialogue>Winner and new champion: Jim Simmers!</dialogue> <scene_description>Despite the absurdity and horror Jim's just been through, he smiles. Looks over at Hoag, who has crawled under the porch, whimpering in the shadows. An eruption of raucous APPLAUSE. Jim looks up to see... THE NEIGHBORS from every house gathered around the fence, clapping wildly.</scene_description> </scene> <scene> <stage_direction>EXT. GARAGE - DAY</stage_direction> <scene_description>Jill rocks out on guitar with the rest of her power trio, DEBORAH on bass, JOSIE on drums. They suck in that special way that only girl bands can. The band stops when they hear the whine of a car horn...it's getting closer. JIM PULLS UP -- Approaches the garage still wearing his soiled battle clothes. He looks like shit hit with a brick...wiped on a curb...and stepped on by a bum.</scene_description> <character>JILL</character> <dialogue>Holy crap! You look like brick-hit shit. What happened to you?</dialogue> <character>JIM</character> <dialogue>I fucked up a dog. An asshole dog. An asshole dog who had it coming.</dialogue> <scene_description>She turns to her bandmates.</scene_description> <character>JILL</character> <dialogue>Let's take five.</dialogue> </scene> <scene> <stage_direction>INT. JILL'S COTTAGE - DAY</stage_direction> <scene_description>Definitely the home of an art chick. Pop art on the walls, paintings on the floor that are too cool to hang. Pez dispensers on the mantle, you get the idea. At the kitchen table, Jill unwraps Jim's bloodied knuckles. Jim has the hundred yard stare now.</scene_description> <character>JILL</character> <dialogue>Jesus. From the look of these wounds it looks like you could've been killed.</dialogue> <character>JIM</character> <dialogue>I beat him, Jill. Do you understand what level I'm on now?</dialogue> <character>JILL</character> <dialogue>Um...I, uh, no. No I don't.</dialogue> <scene_description>There's even more blood on his arm. She grabs a pair of scissors and cuts away the layers of cotton.</scene_description> <character>JIM</character> <dialogue>Jill, it's like, you know how those kids from the ghetto are all fearless when you meet them?</dialogue> <character>JILL</character> <dialogue>You've met kids from the ghetto?</dialogue> <character>JIM</character> <dialogue>That's not the point. I'm telling you, I'm on a whole 'nother level.</dialogue> <scene_description>Jill pauses.</scene_description> <character>JILL</character> <dialogue>Jim...seriously, you've been acting kinda weird lately...</dialogue> <character>JIM</character> <dialogue>That doesn't matter, Jill.</dialogue> <parenthetical>(re: his exposed wounds)</parenthetical> <dialogue>Use the Kettle One.</dialogue> <character>JILL</character> <dialogue>That's gonna burn--</dialogue> <character>JIM</character> <dialogue>Jill, did you not hear me? Nothing matters, not even pain.</dialogue> <scene_description>Jill pours the Kettle One vodka on Jim's wound -- Jim spazzes out.</scene_description> <character>JIM</character> <dialogue>AH! Monkey fucking ball pincher!</dialogue> <scene_description>He pours ice over his arm. Sits. Grabs the bottle from her hand and takes a swig...and barfs it right back up. Onto her shoulder. Jill hops up.</scene_description> <character>JILL</character> <dialogue>Jesus!</dialogue> <scene_description>Jim takes another swig. It pops right back out again.</scene_description> <character>JIM</character> <parenthetical>(sotto)</parenthetical> <dialogue>How do people drink this stuff straight?</dialogue> <scene_description>Jim notices Jill glaring.</scene_description> <character>JIM</character> <dialogue>Sit down, Jill.</dialogue> <character>JILL</character> <dialogue>What?</dialogue> <character>JIM</character> <dialogue>Sit down. Listen to me, nothing you think matters, matters. I don't care that I threw up on you, Jill. But you can't fathom that because you're still...</dialogue> <parenthetical>(motions waist-level)</parenthetical> <dialogue>Here. I'm...</dialogue> <parenthetical>(motions something up high)</parenthetical> <dialogue>Here. I faced down a beast that would have ripped you to bits. I've looked death in the face and stabbed it. With a fork.</dialogue> <scene_description>Jill backs away from him.</scene_description> <character>JILL</character> <dialogue>You're starting to freak me out here...</dialogue> <character>JIM</character> <dialogue>Don't be scared, Jill. What you're seeing is not an emotional break down, it's a moment of clarity.</dialogue> <character>JIM</character> <dialogue>I've been focused on the wrong things. You've helped me see that.</dialogue> <scene_description>He takes her hands.</scene_description> <character>JILL</character> <dialogue>I have?</dialogue> <character>JIM</character> <dialogue>Of course, Jill. I thought the job and the car were important, but they're not. None of that was ever going to make me happy, I see that now.</dialogue> <scene_description>She likes where this is going, but bites back a smile. Dramatic pause.</scene_description> <character>JIM</character> <dialogue>I need to fuck Olivia. Probably in her ass.</dialogue> <scene_description>The words hang heavy in the air. Jill looks at Jim incredulously.</scene_description> <character>JILL</character> <dialogue>How can you...how can you say that to me?</dialogue> <character>JIM</character> <dialogue>What?</dialogue> <scene_description>Jill tries to contain the hurt she feels as she caps the vodka, trashes the rags.</scene_description> <character>JIM</character> <dialogue>Is my new found magnitude overwhelming you?</dialogue> <character>JILL</character> <dialogue>No, dude. It's the fact that you're an asshole.</dialogue> <scene_description>Jill leaves before the tears can overtake her.</scene_description> </scene> <scene> <stage_direction>INT. JIM'S BEAMER - DRIVING - DAY</stage_direction> <scene_description>As Jim pulls away from Jill's house, he dials a number on his cell and punches the speakerphone button. After a moment...</scene_description> <character>OLIVIA (OVER SPEAKER)</character> <parenthetical>(groggy)</parenthetical> <dialogue>Hello?</dialogue> <character>JIM</character> <dialogue>Olivia. Thank God... Look, I just realized that I need to get this thing on the road so I'm gonna pick you up tonight...</dialogue> <parenthetical>(thinks)</parenthetical> <dialogue>But you know what? Fuck tonight, that's too soon. It's gonna take me about a week to prepare, then I'll come get you...</dialogue> <scene_description>Jim figures out the calendar date in his head.</scene_description> <character>JIM</character> <dialogue>The nineteenth. Saturday. One week from today. I'm gonna pick you up at eight. Dinner's gonna be great. Then, there's gonna be soft music and rose petals--fucking great.</dialogue> <character>OLIVIA (OVER SPEAKER)</character> <dialogue>Who is this?</dialogue> <character>JIM</character> <dialogue>Also, you're gonna bring a red bathing suit. That shit is hot.</dialogue> <character>OLIVIA (OVER SPEAKER)</character> <dialogue>Jim?</dialogue> <character>JIM</character> <dialogue>No panties, either. I mean, I doubt you'd have them on, but if I see a panty line the deal's off. Alright, great. This is great. Later.</dialogue> <scene_description>He hangs up in her face. Nods to himself, thoroughly satisfied.</scene_description> </scene> <scene> <stage_direction>INT. STOP &amp; SHOP SUPERMARKET - DAY</stage_direction> <scene_description>Larry and Jim walk through the aisles at a presidential clip.</scene_description> <character>LARRY</character> <dialogue>I'm flattered that you came to me and shit. But tapping the ass of a girl like Olivia is a big deal and I don't know if there's time to train you.</dialogue> <scene_description>Larry scratches his nuts while he scans the shelves. The scratching is notable to Jim, and several passersby.</scene_description> <character>JIM</character> <dialogue>I've gotta get this done, Larry and I really want to maximize the experience. I'm ready to take it all the way.</dialogue> <character>LARRY</character> <dialogue>Ready are you? What know you of ready?</dialogue> <scene_description>Larry has a superior air about him. Like a guru who wants his ego stroked. And his cock too.</scene_description> <character>JIM</character> <dialogue>Fucking Yoda? Dude, I'm serious! I'm getting a shot at the title and I need to knock this outta the park.</dialogue> <character>LARRY</character> <dialogue>He has much anger in him--</dialogue> <character>JIM</character> <dialogue>Stop that!</dialogue> <scene_description>Larry raises his eyebrows, warning. Jim lets it go.</scene_description> <character>LARRY</character> <dialogue>Are you gonna get mad at me?</dialogue> <character>JIM</character> <dialogue>No.</dialogue> <character>LARRY</character> <dialogue>Good, cuz for eight hundred years have I trained playahs. My own counsel will I keep on who is to be trained.</dialogue> <scene_description>Jim rolls his eyes. Larry grabs the crotch of his shorts and violently rakes it against his pubes.</scene_description> <character>LARRY</character> <dialogue>A playah must have the deepest commitment, the most serious mind.</dialogue> <parenthetical>(off Jim's face)</parenthetical> <dialogue>This shit is relevant, Jim.</dialogue> <character>JIM</character> <dialogue>So are you gonna help me or not?</dialogue> <scene_description>Larry looks off into the distance, dead serious.</scene_description> <character>LARRY</character> <dialogue>This one a long time have I watched... All his life has he looked away...to the future, to the horizon, never his mind on where he was. What he was doing.</dialogue> <parenthetical>(looks Jim in the eye)</parenthetical> <dialogue>Adventure, hmmph. Excitement, hmmph. Playahs crave not these things. You are reckless, Jim.</dialogue> <scene_description>A RANDOM DUDE chimes in as he passes.</scene_description> <character>RANDOM DUDE</character> <parenthetical>(chuckles)</parenthetical> <dialogue>So was I if you remember.</dialogue> <scene_description>Jim rolls his eyes. Larry pulls down a box of Nix "one treatment" pubic delousing cream.</scene_description> <character>LARRY</character> <dialogue>Honestly, I don't think you have the heart to be a true go-hard-in- the-paint playah.</dialogue> <scene_description>That's it. Jim snatches the box from Larry, rips it open, squeezes out a generous dollop and... THRUSTS HIS HAND DEEP INTO LARRY'S JUNK. He rubs the crab medicine vigorously. Larry is both shocked and impressed.</scene_description> <character>LARRY</character> <dialogue>Will you finish what you begin?</dialogue> <character>JIM</character> <dialogue>I won't fail you. I'm not afraid.</dialogue> <scene_description>Larry smiles maliciously.</scene_description> <character>LARRY</character> <dialogue>You will be. You will be...</dialogue> <scene_description>MUSIC UP: BEGIN FUCK MONTAGE: as Larry helps Jim take his fuck game to the next level.</scene_description> </scene> <scene> <stage_direction>INT. JIM'S BATHROOM - DAY</stage_direction> <scene_description>Larry hands Jim a towel.</scene_description> <character>LARRY (V.O.)</character> <dialogue>One thing you gotta know is that you've gotta masturbate fifteen times a day. You've gotta tug and tug and tug and tug until your dick doesn't give a shit.</dialogue> <scene_description>Larry grabs Jim's hand and slaps a gob of Vaseline into it.</scene_description> </scene> <scene> <stage_direction>INT. JIM'S BATHROOM - DAY</stage_direction> <scene_description>Jim and Larry stand before the sink.</scene_description> <character>LARRY</character> <dialogue>Remember that whole Sam Kinnison bit about how the key to eating pussy is licking the alphabet?</dialogue> <character>JIM</character> <dialogue>No, but continue.</dialogue> <character>LARRY</character> <dialogue>It's bullshit. It's like putting leaded gas in your car, it can't be-</dialogue> <character>JIM</character> <dialogue>What?</dialogue> <character>LARRY</character> <parenthetical>(exasperated)</parenthetical> <dialogue>It can't be done. Leaded gas is old and gone, so is the American alphabet. But the Japanese alphabet...</dialogue> <scene_description>Larry pulls out a STENCIL with Japanese letters on it and tapes it to the mirror.</scene_description> <character>LARRY</character> <dialogue>The Japanese alphabet is like teaching your tongue kung fu.</dialogue> <scene_description>Jim leans in begins licking the mirror through the stencil.</scene_description> </scene> <scene> <stage_direction>INT. JIM'S LIVING ROOM - NIGHT</stage_direction> <scene_description>Jim sits in front of his computer, watching porn, in the middle of a beatoff session. Larry enters and slaps a choke hold on Jim from behind.</scene_description> <character>LARRY (V.O.)</character> <dialogue>You've gotta learn to pull out of the pussy. As many times as it takes. Eventually, you find your quan.</dialogue> <character>JIM (V.O.)</character> <dialogue>Quan?</dialogue> <scene_description>Jim struggles to keep pace despite the oxygen loss.</scene_description> </scene> <scene> <stage_direction>INT. SOME CHICK'S BEDROOM - CONTINUOUS</stage_direction> <scene_description>Larry's spiel continues seamlessly as Jim watches him FUCKING A REDHEADED CHICK.</scene_description> <character>LARRY</character> <parenthetical>(while fucking)</parenthetical> <dialogue>...the Quan is a euphoric state in which a man has pulled outta that pussy so many times that he can go for hours.</dialogue> <scene_description>Larry pulls out of the pussy. Just stands there, arms outstretched, Christlike.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - DAY</stage_direction> <scene_description>Larry shouts commands as Jim works the Japanese stencil with his tongue.</scene_description> <character>LARRY</character> <dialogue>Faster! I SAID FASTER!</dialogue> <scene_description>Jim speeds up...until suddenly, he suffers a severe tongue cramp. Larry grabs Jim's tongue and rolls it in his hands until Jim pushes him away.</scene_description> </scene> <scene> <stage_direction>INT. JIM'S KITCHEN - DAY</stage_direction> <scene_description>Larry pulls out a ripe cantaloupe.</scene_description> <character>LARRY</character> <dialogue>Now, I understand you're interested in "entering the Brown Derby", correct?</dialogue> <scene_description>Jim nods. Larry stabs a small hole in the cantaloupe. Presents it to Jim.</scene_description> <character>LARRY</character> <dialogue>Have at it.</dialogue> <scene_description>Jim approaches the melon tentatively. Steels himself. Eases his manstick forward. He grimaces in pain...</scene_description> <character>JIM</character> <dialogue>It's too small.</dialogue> <character>LARRY</character> <dialogue>Size matters not. Judge me by my size do you?</dialogue> <scene_description>Larry pulls out his shit. Jim gets scared. Backs away. Larry lines up the cantaloupe... ANGLE ON LARRY FROM BEHIND Larry thrusts with mondo-gusto... WA-POW!!!! Orange fruit guts splatter everywhere, including Jim's face.</scene_description> <character>JIM</character> <parenthetical>(incredulous)</parenthetical> <dialogue>I don't...I don't believe it.</dialogue> <character>LARRY</character> <parenthetical>(solemnly)</parenthetical> <dialogue>That is why you fail.</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM - DAY</stage_direction> <scene_description>Filled with steam. Larry rubs Jim's shoulders as he steps up to the mirror. Jim leans in and writes his name in perfect Japanese with his tongue. High fives!</scene_description> </scene> <scene> <stage_direction>INT. JIM'S LIVING ROOM - DAY</stage_direction> <scene_description>Larry eats cereal while Jim cranks one out to Bill O'Reilly's news hour, his dick not giving a shit. TRIUMPHANT MUSIC rises as...</scene_description> </scene> <scene> <stage_direction>INT. JIM'S KITCHEN - DAY</stage_direction> <scene_description>Jim has four different sized melons lined up. Each has a small hole in them. Larry blindfolds his pupil. Jim moves in just as... The Gay Neighbor enters through the kitchen door. His eyes go wide in amazement as... WA-PAPAPAPOW! Four varieties of melon drip off of The Gay Neighbor's face. He smiles deliciously. END MONTAGE.</scene_description> </scene> <scene> <stage_direction>INT. THE BEACHCOMBER BAR - EVENING</stage_direction> <scene_description>Jim and Larry sit with a row of drinks. Jim taps his fingers on the table, eyes locked on the clock.</scene_description> <character>JIM</character> <dialogue>I've got two hours before I'm supposed to pick her up. Am I ready?</dialogue> <scene_description>Larry squinches his face dramatically. Makes Jim sweat a bit.</scene_description> <character>LARRY</character> <dialogue>No more training do you require--</dialogue> <character>JIM</character> <dialogue>Enough of the Yoda, Larry.</dialogue> <character>LARRY</character> <dialogue>Okay okay. Truth is, most of that shit was overkill.</dialogue> <character>JIM</character> <dialogue>Yeah, I kinda figured.</dialogue> <character>LARRY</character> <dialogue>I mean, I trained you to be a black belt ninja when all you needed was a blue belt.</dialogue> <parenthetical>(mischievous)</parenthetical> <dialogue>Or should I say, a blue belt.</dialogue> <scene_description>Larry's last sentence only makes sense after he digs out a BLUE PILL from his pocket. It's covered in lint, buried in pennies and nickels, but there it is...</scene_description> <character>JIM</character> <dialogue>Viagra®?</dialogue> <character>LARRY</character> <dialogue>One pill to rule them all</dialogue> <parenthetical>(before Jim can react)</parenthetical> <dialogue>Sorry.</dialogue> <scene_description>SCREAMS from the ladies room. Rob exits hastily. Sniffs his fingers as he rejoins the guys.</scene_description> <character>LARRY</character> <dialogue>Why were you in the chick shitter?</dialogue> <character>ROB</character> <dialogue>You never get tired of seeing new ass, n' shit.</dialogue> <scene_description>Rob tries to get a high-five, Larry denies him.</scene_description> <character>LARRY</character> <dialogue>Wait, what? I thought you were the king of monogamy</dialogue> <character>ROB</character> <dialogue>I don't know, lately, the whole same-old-hole-for-the-rest-of-your life bit seems...unfulfilling.</dialogue> <character>JIM</character> <parenthetical>(to Larry)</parenthetical> <dialogue>How much lead time do I need with this Viagra®? An hour? Two?</dialogue> <character>LARRY</character> <dialogue>Hold on, Jim.</dialogue> <parenthetical>(to Rob)</parenthetical> <dialogue>Rob, come on, don't go off the grid. You're the family guy. You're all about your wife and kid. That's you, you know?</dialogue> <character>ROB</character> <dialogue>Yeah, but watching you and Jim, I don't know. There's something to it. I mean, like Jim always says, 'sometimes you just gotta say fuck it'...and give up.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Right, Jim?</dialogue> <scene_description>Jim ignores him, snaps his fingers in Larry's face.</scene_description> <character>JIM</character> <dialogue>Focus, Larry. How much lead time?</dialogue> <character>LARRY</character> <dialogue>In a minute, Jim, this is important shit.</dialogue> <parenthetical>(to Rob)</parenthetical> <dialogue>Wait, what are you talking about? The kid? Your marriage?</dialogue> <parenthetical>(tries to joke)</parenthetical> <character>LARRY</character> <dialogue>Killing those defenseless baby seals and shit?</dialogue> <character>ROB</character> <dialogue>I'm talking about all of it. I mean, my wife is so fucking sweet...I can't lie, it irks me. It kinda seems fake. And Junior, I'm pretty sure I love him but...I try to be gentle with him, every night when I'm putting him to bed, I try to be gentle, and then I find this...</dialogue> <scene_description>He pulls out a Martial Arts magazine: "Ten Ways to Kill With Your Hands."</scene_description> <character>LARRY</character> <dialogue>Yeah. Yeah, that's pretty fucked.</dialogue> <character>ROB</character> <dialogue>See? And that ain't the half of it. You don't know, Larry. You just don't know.</dialogue> <character>LARRY</character> <dialogue>Oh, come on. You're living the American dream, man.</dialogue> <character>ROB</character> <dialogue>On the outside. Just like you guys think those baby harp seals are so warm and cute. But you don't know. You do not fucking know...</dialogue> <scene_description>WE ZOOM INTO ROB'S MIND A COMPUTER ANIMATED world of snow. The Canadian arctic. Just like in those classic Coke® commercials, we see a MOMMA POLAR BEAR and her BABY BEAR playing with a ball. LIVE ACTION ROB is a short distance away, watching from astride his snowmobile.</scene_description> <character>ROB</character> <dialogue>Awww...</dialogue> <scene_description>Baby Bear paws at the ball, accidentally knocking it into a hole in the ice. Baby Bear tries to reach the floating ball but has no luck. Momma Bear just smiles..."Isn't he precious?" Just then, a BABY HARP SEAL pops up in the water. Locks eyes with Baby Bear. They smile, not as lovers but as friends. The tableaux is so cute it hurts. The fluffy white baby harp seal nudges the ball so that his new friend can retrieve it. The Baby Bear leans over the hole and... Without warning, the Baby Harp Seal latches onto the Baby Bear's throat! Blood gushes from the "bahhing" Baby Bear's mangled throat as... FIVE MORE BABY HARP SEALS erupt from beneath the water and pounce on the Baby Bear. OH, FUCK! Like piranha, the Baby Harp Seals ravage the Baby Bear, taking him down, consuming him even as he fights for his life. Soon there is nothing left but bone and red snow. Momma Bear's eyes are wide with shock. Even MORE BABY HARP SEALS emerge from the water and swarm toward the Momma Bear. She finally comes to her senses and takes off running. They flop after her shockingly fast. Within seconds, they're on her, devouring her hind quarters before she even realizes it. Momma Bear roars in agony as the reality of her pain reaches her brain... Rob winces as the bloodthirsty Seals finish her off, leaving nothing but a nasty swath of guts and bones. Time to leave. Rob tries to fire up his snowmobile but it won't turn over! THE BABY HARP SEALS HEAR HIM!!! They flop towards him, a seething mass of crimson fur and teeth. Rob yanks the starter cord furiously. They're closing in! He's not gonna make it!!</scene_description> <character>JIM (V.O.)</character> <dialogue>What's the fucking lead time, Larry?!</dialogue> <scene_description>BACK IN THE BAR Jim is holding Larry by the collar while Rob trembles silently.</scene_description> <character>LARRY</character> <parenthetical>(to Jim)</parenthetical> <dialogue>I don't know, an hour...maybe two.</dialogue> <character>JIM</character> <dialogue>Fuck it.</dialogue> <scene_description>Jim slams back the pill with a shot of whiskey. Just then Jill enters. Sees Jim and deliberately avoids him as she makes her way to the far end of the bar. Jim stares at her but she refuses to meet his gaze.</scene_description> <character>JIM</character> <dialogue>I'm outta here.</dialogue> <scene_description>Jim storms his way to the exit. We stay with Rob and Larry. Rob continues to tremble, traumatized by his memory. Larry moves in, wraps his arms around Rob in a comforting embrace.</scene_description> <character>LARRY</character> <parenthetical>(softly)</parenthetical> <dialogue>I didn't know.</dialogue> </scene> <scene> <stage_direction>EXT. OLIVIA'S CONDO - NIGHT</stage_direction> <scene_description>An upscale condo in one of the Cod's many gated communities. We HEAR the legendary sound of Jim's stuck car horn approaching. Jim's busted Beamer pulls up. Jim kills the engine - which has no effect on the horn - and climbs out, dressed in his finest. He walks the walk as he walks to the door and knocks with unbridled confidence. Seconds later, the door swings wide to reveal Olivia, dressed to the nines.</scene_description> <character>JIM</character> <dialogue>You look fucking awesome.</dialogue> <parenthetical>(motions a circle)</parenthetical> <dialogue>Spin.</dialogue> <scene_description>Just a slight hesitation before she obliges. No panty lines are visible. Jim nods, satisfied.</scene_description> <character>JIM</character> <dialogue>Let's go.</dialogue> <scene_description>Jim offers his arm and leads her toward his bleating vehicle.</scene_description> <character>OLIVIA</character> <dialogue>Is that...is this your car?</dialogue> <character>JIM</character> <parenthetical>(confident, ignoring the horn)</parenthetical> <dialogue>Yep. It's the all-new 2009 BMW M3. With a snarling V8 engine and unparalleled driving dynamics, this sweet baby redefines the ultimate driving experience.</dialogue> <scene_description>Jim opens the passenger side door for her.</scene_description> <character>OLIVIA</character> <dialogue>But what's up with the --</dialogue> <character>JIM</character> <dialogue>Get in.</dialogue> </scene> <scene> <stage_direction>INT. JIM'S BEAMER - DRIVING - NIGHT</stage_direction> <scene_description>The horn is relentless and we won't stop writing about it. While Jim drives, he moves his mouth in some weird pattern but not making a sound. Olivia watches him quizzically.</scene_description> <character>OLIVIA</character> <parenthetical>(yells over the horn)</parenthetical> <dialogue>What's that you're doing, Jim?</dialogue> <scene_description>Jim can't hear her over the drone of the horn.</scene_description> <character>OLIVIA</character> <parenthetical>(louder)</parenthetical> <dialogue>JIM! What is that you're doing with your mouth?</dialogue> <scene_description>Jim turns to her, smiles and nods his head.</scene_description> <character>OLIVIA</character> <parenthetical>(at the top of her lungs)</parenthetical> <dialogue>Your mouth! What are you doing with your MOUTH?</dialogue> <character>JIM</character> <dialogue>Oh. It's Japanese. It's the Japanese alphabet.</dialogue> <scene_description>It's hard to tell if Olivia is impressed or skeptical.</scene_description> <character>OLIVIA</character> <dialogue>You speak Japanese?</dialogue> <character>JIM</character> <dialogue>Only with my tongue...</dialogue> <scene_description>Jim flashes a devious smile. Olivia just seems confused.</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT BY THE BAY - NIGHT</stage_direction> <scene_description>Jim and Olivia are halfway through a bottle of wine, picking at their expensive meals in silence. Jim can't help but eye her hungrily. Like a pig eyes an apple. Or a junkie eyes an uncollapsed vein.</scene_description> <character>JIM</character> <dialogue>How's your lobster?</dialogue> <character>OLIVIA</character> <dialogue>It's unbelievable. Firm, yet succulent.</dialogue> <character>JIM'S INNER VOICE (V.O.)</character> <dialogue>Just like those tits.</dialogue> <character>JIM</character> <dialogue>And what about these potatoes, huh?</dialogue> <character>OLIVIA</character> <dialogue>Mmmmm. They're insane! It's like the truffles not only provide a satisfyingly pungent note but somehow, they make them seem almost impossibly creamy.</dialogue> <character>JIM'S INNER VOICE (V.O.)</character> <dialogue>Just like the peppery twang of your quivering snitchie.</dialogue> <character>JIM</character> <dialogue>And the wine?</dialogue> <scene_description>Olivia swirls the wine in her glass, sniffs it and takes a healthy sip.</scene_description> <character>OLIVIA</character> <dialogue>It's got a great intensity and balance. And a rounded, almost almondy flavor that really sets my tongue atwitter.</dialogue> <scene_description>Jim closes his eyes...</scene_description> <character>JIM'S NO LONGER INNER VOICE</character> <parenthetical>(outloud, loudly)</parenthetical> <dialogue>Just like the chewy chocolate center of your perfectly formed ass!</dialogue> <scene_description>Heads turn in the restaurant but Olivia doesn't bat an eyelash. And Jim doesn't seem the least bit embarrassed. He looks her straight in the eye.</scene_description> <character>JIM</character> <dialogue>Permission to speak freely?</dialogue> <character>OLIVIA</character> <dialogue>Granted.</dialogue> <character>JIM</character> <dialogue>I want to fuck you, Olivia. I want to fuck you more than anything I've wanted to do in the last two weeks.</dialogue> <character>OLIVIA</character> <dialogue>Of course you do. Everybody does.</dialogue> <character>JIM</character> <dialogue>But I'm not everybody, Olivia. Unlike the others, I am a unique snowflake, created for just one purpose...to fuck you stupid.</dialogue> <scene_description>Olivia rolls her eyes - she's heard this before.</scene_description> <character>JIM</character> <dialogue>I AM worthy, Olivia. And I'm more than capable. In fact, I've been training?</dialogue> <character>OLIVIA</character> <parenthetical>(intrigued)</parenthetical> <dialogue>Training?</dialogue> <character>JIM</character> <dialogue>For what seems like my entire lifetime. Everything before fucking you is prologue. Every last thing I've ever done has been meaningless next to putting myself inside you and moving in and out in a rhythmic manner.</dialogue> <scene_description>Jim speaks with an earnestness that is somehow charming.</scene_description> <character>JIM</character> <dialogue>You are my Rushmore, Olivia. You are my Everest.</dialogue> <scene_description>An impossibly long beat.</scene_description> <character>OLIVIA</character> <dialogue>Sure. What the fuck.</dialogue> <scene_description>Jim beams with delight. But then a thought hits him that brings him down.</scene_description> <character>JIM</character> <dialogue>One question.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Did you bring it?</dialogue> <scene_description>Olivia smiles. Opens her purse and withdraws a skimpy red bikini. Jim's eyes go wide. THUMMM-WACKKKK! Jim's sudden onset boner slams against the underside of the table, sending the silverware dancing. Olivia smiles, impressed.</scene_description> <character>JIM</character> <parenthetical>(to a passing busboy)</parenthetical> <dialogue>Check please. Right Goddamn now.</dialogue> <scene_description>As Jim stands, his Viagra®-enforced cock catches the underside of the table and lifts it up.</scene_description> <character>OLIVIA</character> <dialogue>Wow. That's gusto!</dialogue> <scene_description>Jim eases back - WHUMP! - and the table drops. But the tablecloth is caught on Jim's zipper. Jim smiles.</scene_description> <character>JIM</character> <dialogue>Watch this.</dialogue> <scene_description>He puts his hands on his hips and swivels sharply like a golfer. In one fluid motion, he yanks the table cloth like a magician...just far enough to send dishes crashing to the floor. Every head in the restaurant turns. A WAITER rushes over.</scene_description> <character>WAITER</character> <dialogue>What have you done?</dialogue> <scene_description>Jim stuffs a wad of cash into the Waiter's shirt pocket. Points to Olivia.</scene_description> <character>JIM</character> <dialogue>My name is Jim Simmers, and I'm a winner.</dialogue> <scene_description>And then, he yanks the rest of the tablecloth off. Pulls out another wad and tosses it in the Waiter's face.</scene_description> <character>JIM</character> <dialogue>Fuck yeah I did.</dialogue> <scene_description>Olivia is so caught up in the moment that she smashes her wine glass against the wall and follows Jim out.</scene_description> </scene> <scene> <stage_direction>INT. SHERATON HOTEL - NIGHT</stage_direction> <scene_description>A nice enough room. Jim and Olivia enter. She's all over him. He stops her.</scene_description> <character>JIM</character> <dialogue>Hold on. I can't afford for this to suck.</dialogue> <scene_description>He grabs a bouquet of roses and thrusts them in Olivia's face.</scene_description> <character>JIM</character> <dialogue>These are for you.</dialogue> <scene_description>Before she can sniff them he snatches them away and starts tearing off the petals. Olivia doesn't give a damn. She goes into the bathroom. Jim tosses the petals on the floor forming a path to the bed. Then, Jim boldly strips buck naked and stands on the bed with his hands on his hips. Jim's jaw drops when Olivia steps out of the bathroom wearing her red bikini. HER BODY IS SICK! She smirks, confidently. Does a spin so he can see that ass in it's natural habitat...a thong.</scene_description> <character>JIM</character> <dialogue>Oh my God.</dialogue> <character>OLIVIA</character> <dialogue>You ain't seen nothing yet.</dialogue> <scene_description>The top comes off. His jaw drops further. You know those tits from Playboy in the 1970s? The ones that defied gravity without the aid of silicone? Yeah, they're like that. Yet it's nothing. It's fucking nothing. Because when Olivia slides her thong down... ..Jim's eyes fill with wonder as... ...WARM AMBER LIGHT beams from between her legs, bathing the room in it's supernatural glow. Jim stares like a child. It's like when John Travolta opened that briefcase in Pulp Fiction. Except, this is pussy. This is magical pussy.</scene_description> <character>OLIVIA</character> <dialogue>That's right.</dialogue> <scene_description>CLOSE ON JIM'S FACE, overjoyed as she moves towards him. He's gonna get it. It's actually gonna happen. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - MOMENTS LATER</stage_direction> <scene_description>CLOSE ON JIM'S FACE, a mask of sheer and utter disappointment as it rocks back and forth. Olivia rides him, out of her mind with pleasure.</scene_description> <character>OLIVIA</character> <dialogue>Oh, fuck my God! Oh, Jesus of goddamn Gods!</dialogue> <scene_description>Jim couldn't care less. If he cares about anything, it's that this moment is the most disappointing moment in his disappointing life.</scene_description> <character>OLIVIA</character> <dialogue>Jim! Jim! You are the God of fuckery! My God! Oh my fuck-God!</dialogue> <scene_description>Jim holds his face, shakes his head...this is SUCH a letdown. Such a soul-crushing letdown.</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL ROOM - MOMENTS LATER</stage_direction> <scene_description>Jim staggers out, half-dressed, looking like a rape victim.</scene_description> <character>OLIVIA (O.S.)</character> <dialogue>...and don't forget to bring some water back too. I'm dehydrated!</dialogue> <parenthetical>(then)</parenthetical> <dialogue>And get yourself an energy drink! You're gonna need it.</dialogue> <scene_description>Jim wanders down the hall in a haze, trying to process why his life has no meaning.</scene_description> </scene> <scene> <stage_direction>EXT. JIM'S BMW - CONTINUOUS</stage_direction> <scene_description>Jim leans against the door, bummed. And he still has that boner. It points him to... The Black Hobo (from page 20) ranting to a flock of seagulls.</scene_description> <character>BLACK HOBO</character> <parenthetical>(to the seagulls)</parenthetical> <dialogue>...you have spent too many years at sea, searching for fish when there's biscuits right here on the Titanic!</dialogue> <scene_description>Jim walks up.</scene_description> <character>BLACK HOBO</character> <parenthetical>(in a Chinese accent)</parenthetical> <dialogue>You wirr destloy yourse'ves and the shaorin temper if you don't stop dis endress soich!</dialogue> <parenthetical>(to Jim; suddenly lucid)</parenthetical> <dialogue>Welcome Dolemite, how has it been?</dialogue> <character>JIM</character> <dialogue>Terrible.</dialogue> <character>BLACK HOBO</character> <dialogue>Drop it, sucka! Drop it like it's hot.</dialogue> <character>JIM</character> <dialogue>I just had the best pussy on Earth. And it sucked.</dialogue> <character>BLACK HOBO</character> <dialogue>That's an ox and a moron, of which you are both?</dialogue> <character>JIM</character> <dialogue>What?</dialogue> <parenthetical>(thinks)</parenthetical> <dialogue>Oxymoron?</dialogue> <character>BLACK HOBO</character> <dialogue>Shove it.</dialogue> <character>JIM</character> <dialogue>But it's true. It's fucking true.</dialogue> <character>BLACK HOBO</character> <dialogue>Don't be like these birds, Jimberly.</dialogue> <character>BLACK HOBO</character> <dialogue>Don't be out at sea when there's biscuits at home. On the Titanic.</dialogue> <scene_description>Jim's mind races trying to decipher the bum's words. He can't crack the code.</scene_description> <character>JIM</character> <dialogue>Just tell me what you mean?</dialogue> <scene_description>The Bum just babbles. Jim throws a trash can at his seagulls, sending them flying. He turns and marches for the Beamer.</scene_description> </scene> <scene> <stage_direction>INT. JIM'S BMW - NIGHT</stage_direction> <scene_description>Jim speeds through the night, lost and alone.</scene_description> </scene> <scene> <stage_direction>EXT. MID CAPE HIGHWAY - STOPLIGHT - NIGHT</stage_direction> <scene_description>Both lanes have cars stopped at the light. The horn of death bears down on them. Jim's screaming Beamer swerves around the stopped cars and blows through the intersection.</scene_description> </scene> <scene> <stage_direction>EXT. ROB'S HOUSE - LATER</stage_direction> <scene_description>Jim slaps the car into park, causing it to lurch. He gets out. Doesn't bother to close the door.</scene_description> <character>JIM</character> <parenthetical>(calls out)</parenthetical> <dialogue>Rob. Rob! ROB!!!</dialogue> <scene_description>Jim pounds on Rob's door, desperate. Rebecca answers, smiles sweetly...then socks Jim in the head.</scene_description> <character>JIM</character> <dialogue>Hey--what the hell?</dialogue> <character>REBECCA</character> <parenthetical>(flustered)</parenthetical> <dialogue>He's gone you, you, you...hole!</dialogue> <character>JIM</character> <dialogue>Where?</dialogue> <character>REBECCA</character> <dialogue>No, the point is he's gone because of you!</dialogue> <character>JIM</character> <dialogue>Yeah, but where is he? I need to talk to him.</dialogue> <character>REBECCA</character> <dialogue>Listen to me, you pig! Stop cunting on yourself and listen! We had it all--our family ass worked until you had to shit in your hand and wipe it in our marriage's face!</dialogue> <scene_description>Jim's face twists trying to deconstruct her awkward use of profanity.</scene_description> <character>JIM</character> <dialogue>Jesus, Rebecca. Can you just tell me where he is?</dialogue> <character>REBECCA</character> <dialogue>Rob never damn cared about all the bullshit you and Larry craved! Now he's fuck-ass crazy in the streets looking for God only knows what!</dialogue> <character>JIM</character> <dialogue>If you don't know where he is, just say it.</dialogue> <scene_description>She socks him again. The neighbors' lights come on.</scene_description> <character>REBECCA</character> <dialogue>He never stayed out all night! Not in forty-two years of marriage.</dialogue> <character>JIM</character> <dialogue>What the hell are you talking about?</dialogue> <scene_description>From inside Rob's house we hear a mighty groan... DAAAAAAAAAAAAAAAADDY!! Rob looks towards the door. Hears chains rattling.</scene_description> <character>REBECCA</character> <dialogue>You hear that? He misses his father! Cocking up a marriage is fuck enough, but raping a father away from his man-child is runny shit on a bag of fuck!</dialogue> <scene_description>The words impact Jim. Deeply. They make him say...</scene_description> <character>JIM</character> <dialogue>So you don't know where he is?</dialogue> <character>REBECCA</character> <dialogue>Maybe you should ask my son.</dialogue> <scene_description>She pulls out an IRON KEY.</scene_description> <character>JIM</character> <dialogue>You wouldn't...</dialogue> <scene_description>Rebecca sprints inside the house. Jim sprints for his car. Fighting a dog is one thing, fighting Junior is...suicide.</scene_description> </scene> <scene> <stage_direction>INT./ EXT. JIM'S BMW - CONTINUOUS</stage_direction> <scene_description>He fumbles with the keys. Even over the horn he hears... DAAAAAAAAAAAAAAAADDY!! Jim turns the ignition. Slams it into reverse. Pure terror floods his face when... JUNIOR CHARGES OUT OF THE HOUSE! He's huge. He's naked. And he's got MMA gloves on, grasping a MONKEY WRENCH in each hand. Jim hits the gas... FUCK! But he was in reverse! Slams into a car. Now he's done for because... JUNIOR IS COMING! The mighty beast lowers his shoulder barreling down on Jim's beamer. BUH-WHAM! He rams the driver's side like a T-Rex, denting the door. Glass shatters.</scene_description> <character>JUNIOR</character> <parenthetical>(bellowing)</parenthetical> <scene_description>DAAAAAAAAAAAAAAAADDY!! JIM SLAMS IT INTO DRIVE -- He pulls away. Junior gives chase Terminator 2 style.</scene_description> <character>JIM</character> <dialogue>Holy Jesus.</dialogue> <scene_description>JUNIOR HURLS ONE OF WRENCHES -- Jim SEES IT rocketing towards him in the rearview-- leans, just as the wrench shatters the rear window and - THWUNK - lodges into the stereo. More gas. Junior slowly recedes in the rearview...</scene_description> </scene> <scene> <stage_direction>INT. THE BEACHCOMBER BAR - NIGHT</stage_direction> <scene_description>Only the dregs are here. Maureen sits waiting, watching the front door. It opens... The sound of Jim's car horn floods in behind him as he enters. He sees Maureen, approaches like he's got something to say.</scene_description> <character>JIM</character> <dialogue>Where's Larry? I need to talk to him.</dialogue> <character>MAUREEN</character> <dialogue>I'm waiting for him now. If you want to sit, be my guest.</dialogue> <character>JIM</character> <dialogue>That's probably a bad idea...</dialogue> <scene_description>He sniffs...no odor...so he takes a seat.</scene_description> <character>JIM</character> <dialogue>You know, I was gonna decline cause I thought the stench would be too stomach churning, but I must say... you're surprisingly fresh.</dialogue> <scene_description>She smiles with pride.</scene_description> <character>MAUREEN</character> <dialogue>Yeah. It's these charcoal-lined panties I bought. As a surprise for Larry.</dialogue> <scene_description>Now Jim and Maureen both stare at the door. Every time it opens, the car horn spills in, annoying the patrons. They sit in silence for a long awkward moment.</scene_description> <character>MAUREEN</character> <dialogue>He should've been here four hours ago. I don't know what's taking him so long.</dialogue> <character>JIM</character> <dialogue>Ah, he's probably caught in traffic.</dialogue> <character>JIM</character> <dialogue>That redhead lives in Chatham and the mid-cape was jammed coming from that direction.</dialogue> <character>MAUREEN</character> <dialogue>What?</dialogue> <character>JIM</character> <dialogue>What?</dialogue> <character>MAUREEN</character> <dialogue>What redhead?</dialogue> <character>JIM</character> <dialogue>I don't know, one of his girls. I forget her name.</dialogue> <scene_description>A look of shock and anger contorts Maureen's face.</scene_description> <character>JIM</character> <parenthetical>(off her expression)</parenthetical> <dialogue>Are you kidding?</dialogue> <scene_description>She can't muster a response.</scene_description> <character>JIM</character> <dialogue>I mean, you can't be surprised that he bangs other women, right? Shit, the guy steals from you.</dialogue> <character>MAUREEN</character> <dialogue>I don't...</dialogue> <character>JIM</character> <dialogue>Come on! What about the clothespin?</dialogue> <character>MAUREEN</character> <dialogue>It was a game! Or at least I thought it was!</dialogue> <scene_description>Maureen is devastated. Close to tears.</scene_description> <character>JIM</character> <dialogue>Hey look, if it's any consolation, he complains about you the least.</dialogue> <scene_description>Maureen stands up. Rushes for the door just as... The car horn screams to announce Larry's entrance.</scene_description> <character>LARRY</character> <parenthetical>(to Maureen)</parenthetical> <dialogue>Sorry I'm late. I was just--</dialogue> <character>MAUREEN</character> <dialogue>You were fucking a redhead!</dialogue> <scene_description>She storms out. Larry knows not the follow. He turns, locks onto Jim.</scene_description> <character>LARRY</character> <dialogue>What the hell did you tell her?</dialogue> <character>JIM</character> <dialogue>Thank God you're here, Larry. I fucked Olivia and it was great, but it really sucked and I--</dialogue> <character>LARRY</character> <dialogue>Dude, what did you say to Maureen?!</dialogue> <character>JIM</character> <dialogue>Nothing. She wondered where you were, so I told her--</dialogue> <character>LARRY</character> <dialogue>You told her I was banging the redhead? What's wrong with you?</dialogue> <scene_description>Jim looks at him as if he'd just sprouted a second head.</scene_description> <character>JIM</character> <dialogue>What's wrong with ME? I'm baffled, man. This baffles me. I mean, how am I the bad guy?</dialogue> <character>LARRY</character> <parenthetical>(incredulous)</parenthetical> <dialogue>You told my girl that I was fucking someone else!</dialogue> <character>JIM</character> <dialogue>YOUR GIRL? What the fuck? You're a fucking gigolo, man. With all the fucked up shit you do, how is it possible that she didn't understand this?</dialogue> <character>LARRY</character> <dialogue>It doesn't matter, Jim. You never - never ever EVER - say that shit to someone's girl.</dialogue> <character>JIM</character> <dialogue>I didn't even know she was your girl, Larry!</dialogue> <character>LARRY</character> <dialogue>Neither did I. But no matter how weird mine and Maureen's shit is, you know that you shouldn't have made her feel bad, right? Right?</dialogue> <scene_description>Jim thinks. Fuck. Larry's quite probably right.</scene_description> <character>LARRY</character> <dialogue>You've changed, Jim.</dialogue> <parenthetical>(dead serious)</parenthetical> <dialogue>I thought you were a blue belt. But you're not. You're just a selfish asshole.</dialogue> <scene_description>Larry executes a dramatic about-face and marches defiantly out the door. And of course, the ever- present screech of Jim's car horn is there to greet him.</scene_description> </scene> <scene> <stage_direction>INT. JIM'S LIVING ROOM - 2:58 A.M</stage_direction> <scene_description>Jim sits in the dark, lost and alone. He's reached the end of his rope. His past life is destroyed, there is no future, there is just purgatory. Unless... He picks up the remote. The television splashes the darkness with shifting light. Jim leans forward, surfing the channels with urgency.</scene_description> <character>JIM</character> <dialogue>Come on...</dialogue> <scene_description>Channel after channel, Jim searches for the man formerly known as Tom Cruise. TIME DISSOLVE: Sunlight fills the room. Jim sits bleary eyed as he continues to search for salvation by television. He stops. He knows what he must do. Jim pisses himself. He pisses himself hard and fast.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - CONTINUOUS</stage_direction> <scene_description>Jim puts on his pyjamas and his robe.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - CONTINUOUS</stage_direction> <scene_description>Jim, soaked with urine, pours his cereal and throws his berries at the bowl. Jim grabs the Strawberry Quick® and dumps it all over his balls.</scene_description> </scene> <scene> <stage_direction>INT. JIM'S LIVING ROOM</stage_direction> <scene_description>Jim stands in front of the mirror.</scene_description> <character>JIM</character> <dialogue>You've won, Jim Simmers.</dialogue> <scene_description>But he hasn't. Not by a long shot. Jim heads out, bringing us back to where it all began and...</scene_description> </scene> <scene> <stage_direction>EXT. BEACH PARKING LOT - SUNNY DAY</stage_direction> <scene_description>Clogged with doughy tourists bulging out of their bathing suits. A long line of cars waiting to park snakes out onto the main road. In the distance, we HEAR the persistent sound of a STUCK CAR HORN getting louder. Jim's Beamer barrels past the line of waiting cars. Steam billows from its severely dented grill. With no regard for anyone, the Beamer swerves in front of an old lady and skids to a stop across the last two handicap spaces. Jim calmly exits the vehicle and begins to peel off his robe and pyjamas one piece at a time as he marches towards a trash can. He's down to his underwear as he snatches a newspaper out of the PARKING ATTENDANT'S hand and buck naked by the time he squats into the trash can to take a shit. It's a scene, man. He's folded in half, ass submerged in the trash can, knees dangling over the side. Jim flips to the sports page, seemingly unaware of the slack-jawed GAWKERS crowded around. The STUCK CAR HORN in the background is accented by a short GRUNT of relief as Jim finishes. He struggles to get out of the can, then pushes past the horrified crowd, bee-lining for the ocean. Naked as a jaybird, he strides purposefully into the cold waters of the Atlantic. The wailing CAR HORN rises in CRESCENDO as we... CUT TO: AN EMPTY VOID - POST DEATH Complete silence. Jim stands in space. Nothing above him, nothing around him. He clasps his hands over his eyes - not this again.</scene_description> <character>JIM</character> <dialogue>Unbelievable...</dialogue> <scene_description>That's it. Jim gives up. He sits cross-legged. After a moment, he just lies back. Then...he squints. Jim turns around, and sonuvabitch... The MAGNIFICENT TUNNEL OF LIGHT that he missed before is right there.</scene_description> <character>JIM</character> <dialogue>Get the fuck outta here...</dialogue> <scene_description>Jim stands and walks tentatively towards the light. CLOSE ON A POT OF BOILING WATER FOR NO GOOD REASON...</scene_description> </scene> <scene> <stage_direction>..no good reason whatsoever. Actually, there's a damn good reason, but we'll get to that in a minute. Right now there's two words you need to know: Hot Dogs.</stage_direction> <scene_description>American hot dogs splash into the boiling water so they can cook, American style.</scene_description> <character>ALL AMERICAN VOICE (O.S.)</character> <parenthetical>(super intense)</parenthetical> <dialogue>No. No you don't do that. You release them at a forty-three degree angle so as to minimize splashing.</dialogue> <scene_description>PULL BACK TO REVEAL: All American superstar, THOMAS DOUGLAS CRUISE. Star of Risky Business, the Mission: Impossible series, and most recently, the comedy super-smash BALLS OUT.</scene_description> </scene> <scene> <stage_direction>INT. HELICOPTER - GALLEY - DAY</stage_direction> <scene_description>Tom Cruise is in his lavish helicopter teaching his personal chef BASKERVILLE how to make hot dogs to perfection. Always perfection.</scene_description> <character>BASKERVILLE</character> <dialogue>Mr. Cruise, I understand.</dialogue> <character>TOM CRUISE</character> <dialogue>I've measured the water precisely to allow the exposed skin of these Oscar Meyer® granddaddy franks to harden to perfection.</dialogue> <parenthetical>(a beat to build up intensity)</parenthetical> <dialogue>Always perfection.</dialogue> <scene_description>Tom Cruise stares into Baskerville's soul until Baskerville averts his eyes.</scene_description> <character>TOM CRUISE</character> <dialogue>Baskerville!</dialogue> <scene_description>The chef turns to face his master.</scene_description> <character>TOM CRUISE</character> <dialogue>Never look away.</dialogue> <scene_description>He is so fucking intense.</scene_description> <character>PILOT (O.S.)</character> <dialogue>Calling Tom Cruise. Come to the cockpit. STAT!</dialogue> </scene> <scene> <stage_direction>INT. COCKPIT - CONTINUOUS</stage_direction> <scene_description>Tom Cruise thrusts himself inside. He locks eyes with his PILOT and CO-PILOT. Points his fingers at them with ferocity, just to let them know who the fuck he is, then says...</scene_description> <character>TOM CRUISE</character> <dialogue>What is it? What is happening at this precise moment?</dialogue> <scene_description>His pilot squints. Points out to the ocean below...</scene_description> <character>PILOT</character> <dialogue>Look, Tom Cruise...danger!</dialogue> <scene_description>TOM CRUISE'S INTENSE P.O.V. Jim is floating, face down in the ocean. Naked.</scene_description> </scene> <scene> <stage_direction>INT. COCKPIT - CONTINUOUS</stage_direction> <scene_description>Tom Cruise sees the naked floating Jim and doesn't like it, not one goddamn bit.</scene_description> <character>TOM CRUISE</character> <dialogue>Danger, huh?</dialogue> <parenthetical>(points in their faces to let them know who the fuck he is)</parenthetical> <dialogue>I hate danger. Danger is a fucking asshole!</dialogue> <scene_description>Tom Cruise storms out, ready for action.</scene_description> </scene> <scene> <stage_direction>INT. BELLY OF THE CHOPPER - CONTINUOUS</stage_direction> <scene_description>Tom Cruise grabs a rope, ties it around his leg, ready to jump.</scene_description> <character>BASKERVILLE</character> <dialogue>Tom Cruise, that's not the way you tie--</dialogue> <character>TOM CRUISE</character> <dialogue>I know that, Baskerville. But I don't have time to do the research.</dialogue> <scene_description>Tom yanks open the bay door. He jumps. Backwards.</scene_description> </scene> <scene> <stage_direction>EXT. SKY - CONTINUOUS</stage_direction> <scene_description>Tom Cruise falls, arms out, Christlike. Better still, Tom Cruise-like. His eyes are closed for maximum intensity. But gradually, his perfect form is perverted by factors like gravity and the heavy rotor wash that causes the rope to entangle his body.</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN - CONTINUOUS</stage_direction> <scene_description>About five feet above the surface, Tom Cruise's rope yanks taut, caught around his left arm and ankle... AAAHHHH!!! Both primary joints, shoulder and hip, are violently dislocated.</scene_description> </scene> <scene> <stage_direction>INT. BELLY OF THE CHOPPER - CONTINUOUS</stage_direction> <scene_description>Baskerville looks down, sees his master screaming in agony.</scene_description> <character>TOM CRUISE</character> <parenthetical>(screams up)</parenthetical> <dialogue>Baskerville! Oh, God! Baskerville, I'm in tremendous pain!</dialogue> <character>BASKERVILLE</character> <dialogue>I'll bring you back up. Let me--</dialogue> <character>TOM CRUISE</character> <dialogue>No! NO! Danger cannot win. Not this time. This time I make danger MY bitch!</dialogue> <parenthetical>(with steely-eyed intensity)</parenthetical> <dialogue>Lower me.</dialogue> <character>BASKERVILLE</character> <parenthetical>(to himself)</parenthetical> <dialogue>Goddamn you. Goddamn you, you magnificent bastard.</dialogue> <scene_description>He lowers the rope and Tom Cruise splashes face first into the mighty Atlantic.</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN - CONTINUOUS</stage_direction> <scene_description>Tom Cruise is drowning. He's tangled in rope with half his body immobilized and he's drowning. Jim is nearby. Tom Cruise cringes in agony as he awkwardly valiantly swims towards him.</scene_description> </scene> <scene> <stage_direction>INT. BELLY OF THE CHOPPER - CONTINUOUS</stage_direction> <scene_description>Baskerville and the CO-PILOT scan the ocean below, searching for any sign of their heroic employer. Then they see it... Tom Cruise's hand gives the thumbs-up from beneath the very ocean that is killing him. They hit the button on an electric winch. It's winchy thing turns...</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN - CONTINUOUS</stage_direction> <scene_description>Tom Cruise uses his one good arm to clasp around Jim's throat in a choke hold. As the rope pulls tight... AAAAAHHHH!!!! GOD!! He dangles, hips and shoulders being ripped further from their sockets by the added weight of Jim, who, if he's not already dead, is surely being strangled to death.</scene_description> </scene> <scene> <stage_direction>INT. BELLY OF THE CHOPPER - MOMENTS LATER</stage_direction> <scene_description>Although severely damaged, Tom Cruise fights to save Jim's life, beating on his chest.</scene_description> <character>TOM CRUISE</character> <dialogue>Don't you die on me, man. You've never backed away from a fight in your life, you bitch! Fight...</dialogue> <parenthetical>(smacks Jim)</parenthetical> <dialogue>Fight!</dialogue> <parenthetical>(smacks Baskerville)</parenthetical> <scene_description>FIGHT! Jim coughs.</scene_description> <character>BASKERVILLE</character> <dialogue>He's alive!</dialogue> <scene_description>Tom Cruise staggers over to a seat, collapses into it, exhausted. Baskerville is horrified when he notices...</scene_description> <character>BASKERVILLE</character> <dialogue>Master! Your...your leg...</dialogue> <scene_description>Tom Cruise's left arm and leg hang slack, flopped at weird angles. Tom Cruise hops up on his one good leg and slams his hip back into socket with a sickening pop. He lets loose an intense groan accompanied by tears and snot. Now for the shoulder. The same thing. Another groan. More tears and snot. Tom falls to his knees, then looks up at Jim with damp eyes, burning with full intensity. Jim's face is calm. He looks at the man who saved him. Everything leading up to this moment now makes sense.</scene_description> <character>JIM</character> <dialogue>I've finally seen the light. I finally understand what you were talking about.</dialogue> <character>JIM</character> <dialogue>I used to think that sometimes you gotta say what the fuck--or whatever, that that was the right thing to do. But now I know, Tom Cruise. I know that it was the wrong movie.</dialogue> <character>BASKERVILLE</character> <parenthetical>(heartfelt)</parenthetical> <dialogue>I too lived my life out of place. Years ago, I was all Days of Thunder until I nearly killed a man. And when I saw Cocktail, I became even more confused. But then, when I realized that The Outsiders and Far and Away were--</dialogue> <character>TOM CRUISE</character> <dialogue>ENOUGH! This man has finally gotten out of his own way, and you're confusing him with your imprecise bullshit. BEGONE!</dialogue> <scene_description>He points to the cockpit. Baskerville skulks off. Tom Cruise looks at Jim. Intensely.</scene_description> <character>TOM CRUISE</character> <dialogue>Look, if there's one thing I've learned having climbed a thousand mountains, it's that...</dialogue> <parenthetical>(one last beam of intensity)</parenthetical> <dialogue>You've gotta learn to live with what you are, my friend.</dialogue> <scene_description>Jim contemplates this. It makes hella-sense to him.</scene_description> <character>JIM</character> <dialogue>Fuck yeah I do.</dialogue> <scene_description>They shake hands. Tom Cruise yanks him into a manly embrace and we FREEZE FRAME triumphantly! YEAH!</scene_description> </scene> <scene> <stage_direction>EXT. BEACH PARKING LOT - AFTERNOON</stage_direction> <scene_description>Upon golden sun we set hither. Jim walks toward us wearing Baskerville's pristine white chef's uniform (with matching hat). He's serene as he breezes right past the still blaring BMW. Here he goes (again) on his own. Going down the only road he's ever known.</scene_description> </scene> <scene> <stage_direction>EXT. JIM'S APARTMENT - DUSK</stage_direction> <scene_description>Jim enters the house. Beat. He exits and heads around back to his dusty SPORTY KIA SPECTRUM (WITH RACING STRIPE). Jim smiles as he climbs into it and fires it up.</scene_description> </scene> <scene> <stage_direction>EXT. ROB'S GARAGE - EVENING</stage_direction> <scene_description>Rob is packing up his shit, forlorn. Jim approaches. Notices Rob's array of SEAL HOOKS lined against the wall. Each more horrendous in design than the next. Rob begins packing his hooks into a stylish attache' case, one at a time.</scene_description> <character>JIM</character> <dialogue>What are you doing, Rob?</dialogue> <character>ROB</character> <dialogue>What does it look like I'm doing? I'm packing my shit.</dialogue> <scene_description>Jim is calmer than Lake Placid on a placid day.</scene_description> <character>JIM</character> <dialogue>Do you think what you're doing is smart?</dialogue> <character>ROB</character> <dialogue>I don't know if it's smart, but I know I'll be gone. And that's a start.</dialogue> <character>JIM</character> <dialogue>Why are you doing this?</dialogue> <scene_description>Rob stops packing. Sets down a disturbingly bloodstained gaff.</scene_description> <character>ROB</character> <dialogue>I'm doing it because of you.</dialogue> <scene_description>Jim remains silent.</scene_description> <character>ROB</character> <dialogue>I saw the light, Jim. I mean, there's a whole world out there that doesn't involve the shit I have to deal with here.</dialogue> <scene_description>He waits for Jim to respond, but Jim remains silent.</scene_description> <character>ROB</character> <dialogue>Sure, I'll miss her. And the boy. But you know what? There's more to life than this domesticated bullshit, right? Right?</dialogue> <scene_description>Jim slowly shakes his head, 'no'. Rob is crestfallen.</scene_description> <character>ROB</character> <dialogue>But how can you say that, Jim? After all you've been through and all of the glorious things you've achieved for yourself in these last two weeks, how can you honestly say that?</dialogue> <character>JIM</character> <dialogue>Because it's the truth. Don't make the mistakes that I made, Rob. Don't give up what you've got for what will never be. (deep)</dialogue> <scene_description>Jim grabs Rob by the shoulders, as a father would, and stares into his soul with Cruise-like intensity.</scene_description> <character>JIM</character> <dialogue>A wise man once spoke to me, Rob. And he told me something really important, something I'd like to share with you.</dialogue> <character>ROB</character> <dialogue>I'm listening.</dialogue> <scene_description>Jim takes a deep cleansing breath and closes his eyes as he recalls the words that changed his life...</scene_description> <character>JIM</character> <dialogue>He said, "Don't be like these birds, Jimberly. Don't be out at sea when there's biscuits at home. On the Titanic." (fucking deep)</dialogue> <scene_description>Jim opens his eyes.</scene_description> <character>JIM</character> <dialogue>And you know what? He was right. I heard him, but I was just too proud to listen.</dialogue> <scene_description>Holy fucking shit. The simple truth of the Black Bum's words and Jim's understanding of them hits Rob like a ton of bricks.</scene_description> <character>ROB</character> <parenthetical>(rocked to the core)</parenthetical> <dialogue>My God, you're right. You're so...right, Jim. What am I doing?</dialogue> <parenthetical>(realizing)</parenthetical> <dialogue>Oh God, what have I done?</dialogue> <scene_description>Without warning, the door from inside opens and the hulking mass that is JUNIOR fills the doorway. Beneath the rage and retardation, lies the soul of a gentle mongoloid. And it is that gentle beast who stares into his stepfather's eyes.</scene_description> <character>JUNIOR</character> <dialogue>Moon?</dialogue> <scene_description>Rob can't help but be overcome with emotion.</scene_description> <character>JUNIOR</character> <parenthetical>(plaintive)</parenthetical> <dialogue>Moon?</dialogue> <scene_description>A single tear slides down Rob's cheek as his face opens into a loving smile.</scene_description> <character>ROB</character> <dialogue>Moon, Junior. Moon.</dialogue> <scene_description>Rob rushes to Junior and they embrace. The word "step" evaporates from their relationship forever. Just then Rebecca appears in the doorway, love and forgiveness filling her eyes.</scene_description> <character>REBECCA</character> <dialogue>Awww, my boys.</dialogue> <scene_description>Rebecca joins her family in a three-way hug. The veneer of domestic bliss has been restored. A peaceful wind blows through Jim's hair. The wind of change. Jim walks off into the night like Kang in "Kung Fu."</scene_description> </scene> <scene> <stage_direction>EXT. LARRY'S HOVEL - NIGHT</stage_direction> <scene_description>Jim rings the door bell. He gets some unknown gunk on his finger. Wipes it off just as Larry answers.</scene_description> <character>LARRY</character> <dialogue>Jim, get out of here. I will fucking kill you, so get out of here.</dialogue> <character>JIM</character> <parenthetical>(calm)</parenthetical> <dialogue>I'm sorry, Larry.</dialogue> <character>LARRY</character> <dialogue>No. Fuck you and your stupid chef costume. What are you a chef? A fucking cook? Get off my porch, you maker of food!</dialogue> <character>JIM</character> <dialogue>I really am sorry.</dialogue> <scene_description>Beat.</scene_description> <character>LARRY</character> <dialogue>She won't answer the phone. I can't even tell her the very things you just said to me. And it's because of you.</dialogue> <character>JIM</character> <dialogue>What?</dialogue> <character>LARRY</character> <dialogue>You fucked up my shit, Jim.</dialogue> <character>JIM</character> <dialogue>Larry, I was so focused on myself and my needs that I didn't give a hot fuck about yours.</dialogue> <character>LARRY</character> <dialogue>Yeah. That was crazy, huh? We were all popping melons, and shit.</dialogue> <parenthetical>(thinks to himself)</parenthetical> <dialogue>Remember that time Rob hit that hillbilly with the pizza?</dialogue> <character>JIM</character> <dialogue>You mean last week?</dialogue> <character>LARRY</character> <dialogue>Yeah. Those were good times, huh? Good times...</dialogue> <character>MAUREEN (O.S.)</character> <dialogue>Times can be good again, Larry.</dialogue> <scene_description>Larry is shocked to see Maureen approaching. But why is he surprised?</scene_description> <character>LARRY</character> <dialogue>Maureen?</dialogue> <scene_description>He licks his finger and holds it up - no prevailing winds. He sniffs the air repeatedly.</scene_description> <character>LARRY</character> <dialogue>How were you able to...?</dialogue> <scene_description>He kneels and takes in a good whiff at crotch level.</scene_description> <character>LARRY</character> <dialogue>Nothing!</dialogue> <character>MAUREEN</character> <dialogue>I did some research, Larry. It's gone.</dialogue> <scene_description>Larry, still kneeling, realizes...</scene_description> <character>LARRY</character> <dialogue>Well, hell, while I'm down here...</dialogue> <scene_description>Maureen instantly turns giddy. She knows what he's about to ask. He takes her hand in his...</scene_description> <character>LARRY</character> <dialogue>Maureen Duplexis Nassoon? Will you be my bottom chick?</dialogue> <character>MAUREEN</character> <dialogue>No more redheads?</dialogue> <character>LARRY</character> <dialogue>No more blondes either. Just me and you and a dog named Boo.</dialogue> <scene_description>Maureen is so emotional that she can't speak. All she can do is nod her head 'yes'. Larry takes her in his arms and tongues her down with both passion and love.</scene_description> <character>LARRY</character> <parenthetical>(re: his massive erection)</parenthetical> <dialogue>Look at that, baby. Just look at it. No Viagra®. That's all you.</dialogue> <scene_description>Maureen smiles. She turns to Jim and grabs him up in a hug.</scene_description> <character>MAUREEN</character> <dialogue>Thank you, Jim! Thank you for reuniting us!</dialogue> <scene_description>Jim smiles warmly.</scene_description> <character>JIM</character> <dialogue>Riunite™ on ice...</dialogue> <character>MAUREEN AND LARRY</character> <parenthetical>(giving the thumbs up)</parenthetical> <dialogue>...that's nice!</dialogue> <scene_description>FREEZE FRAME on the thumbs up, a snapshot of happiness and joy that could and should be framed and hung in the National Gallery. YEAH!</scene_description> </scene> <scene> <stage_direction>INT. VALID INSURANCE - FIRST FLOOR - DAY</stage_direction> <scene_description>An endless sea of cubicles filled with people doing things and saying things we couldn't care less about. Except for Schooley and McCorkle, who are wasting time in the corner. Schooley nonchalantly carries a BABY by its ankle. The baby doesn't seem to mind.</scene_description> <character>MCCORKLE</character> <dialogue>Cute kid.</dialogue> <character>SCHOOLEY</character> <dialogue>Thanks.</dialogue> <character>MCCORKLE</character> <dialogue>Where'd you get it?</dialogue> <character>SCHOOLEY</character> <dialogue>I bought it.</dialogue> <character>MCCORKLE</character> <dialogue>You bought it?</dialogue> <character>SCHOOLEY</character> <dialogue>Yeah. From some Jamaicans.</dialogue> <character>MCCORKLE</character> <dialogue>How the fuck did you buy a white baby from some Jamaicans?</dialogue> <character>SCHOOLEY</character> <dialogue>I gave them a kilogram.</dialogue> <scene_description>Beat.</scene_description> <character>MCCORKLE</character> <dialogue>You can get a kid for one kilo?</dialogue> <character>SCHOOLEY</character> <dialogue>Yep. And I did.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Wanna thumb its soft spot?</dialogue> <character>MCCORKLE</character> <dialogue>Of course I do.</dialogue> <scene_description>As Schooley holds out the baby and McCorkle moves in, our attention shifts to the door. The theme from AN OFFICER AND A GENTLEMAN SWELLS as Jim, still wearing Baskerville's gleaming white chef's uniform, enters the building and strides across the office with purpose. All heads turn as he closes in on Jill's cubicle...</scene_description> </scene> <scene> <stage_direction>INT. JILL'S CUBICLE - CONTINUOUS</stage_direction> <scene_description>Jill stands, her back to the entrance, feeding documents into a paper shredder. Jim slides up from behind her and kisses her on the neck. Jill turns, reacts with pleasant surprise as she removes the earplugs from her ears. Jim pulls her close and kisses her with a heretofore unseen gusto. They separate, staring lovingly into each other's eyes. The music RISES IN CRESCENDO and... WA-PAPP!!! She wallops Jim square in the nose, sending him tumbling backward on his ass. Blood cascades from his busted snout, saturating his white uniform.</scene_description> <character>JILL</character> <dialogue>Fuck you, Jim Simmers. Fuck you in your clammy white ass!</dialogue> <character>JIM</character> <parenthetical>(gurgling through blood)</parenthetical> <dialogue>Jill...</dialogue> <character>JILL</character> <dialogue>I don't know who you think I am, but I am not the kind of girl who you can shit all over and then expect to get weak in the knees just because you come waltzing in here in a sexy uniform...</dialogue> <scene_description>Jim struggles to get his feet.</scene_description> <character>JIM</character> <dialogue>Jill...</dialogue> <scene_description>She kicks him back down on his ass, then wipes her bloody shoe on his pants.</scene_description> <character>JILL</character> <dialogue>I may not have a perfect ass or a magical hoo-hoo, but I have self- respect. I have respect, Jim. For my SELF!</dialogue> <character>JIM</character> <dialogue>Jill...</dialogue> <scene_description>Jim once again tries to stand, dizzy from blood loss.</scene_description> <character>JILL</character> <dialogue>And just because you've finally had a spiritual reawakening, don't think that...</dialogue> <scene_description>Jim clasps a hand over Jill's mouth.</scene_description> <character>JIM</character> <dialogue>Just shut up and listen. No more games. You're the one that I want, Jill. You're the eight raspberries in my cereal. The heavy whipping cream in my Munter's Brown Roast. The Strawberry Quick™ on my butter stick.</dialogue> <scene_description>Jim gazes longingly into her violet eyes</scene_description> <character>JIM</character> <dialogue>I've known this, in my heart, since the first day we met, but I was too stupid to understand it. Until now.</dialogue> <scene_description>He removes his hand from her mouth and takes her face in his hands.</scene_description> <character>JIM</character> <dialogue>I love you, Jill. And I mean it. And I believe we are meant to try and see if we can be together and then be okay with it if it doesn't work out.</dialogue> <scene_description>Jill is apoplectic.</scene_description> <character>JILL</character> <dialogue>Wow. I think I just threw up in my vagina. Just a chunky little bit.</dialogue> <character>JIM</character> <dialogue>I just hope it was from the heart.</dialogue> <scene_description>She grabs Jim's bloody face and mashes it against her own in a disgustingly pure yet potentially infectious kiss. Jim scoops her off of her feet and...</scene_description> <character>JOE COCKER &amp; JENNIFER WARNES (O.S.)</character> <parenthetical>(singing)</parenthetical> <dialogue>Where the eagles cry, on a mountain high...</dialogue> </scene> <scene> <stage_direction>INT. VALID INSURANCE - FIRST FLOOR - CONTINUOUS</stage_direction> <scene_description>...carries her out of her cubicle and across the floor of the main office. INTERCUT with REACTION SHOTS of all the people we haven't seen for, like, half the movie or more: CO-WORKER 2: THE SPAWNING drops his bagel, shocked. MR. WHITEMAN smiles, nods in approval. BLAH-BLAH pumps his fist 'right ON'! BLAKE HENDERSON dressed in overalls, peering in the window from behind a push mower. He can't help but smile. And finally... OLIVIA looking down from the second tier. After a moment, she can't help but collapse into a beaming smile.</scene_description> <character>OLIVIA</character> <parenthetical>(calling out)</parenthetical> <dialogue>Way to go, Paula!</dialogue> <scene_description>She begins to clap...</scene_description> <character>OLIVIA</character> <dialogue>Way to go!</dialogue> <scene_description>The office erupts in APPLAUSE. We follow Jim as he carries Jill toward the exit. Just as they are framed in the warm glow of the sun spilling through the door, Jill reaches up and grabs the chef's hat from Jim's head and gingerly places it on her own head. Jill smiles through the blood on her face. Jim matches her smile and... FREEZE FRAME.</scene_description> <character>YEAH!</character> <dialogue>And with that, we...</dialogue> <character>FUCKING YEAH!</character> <dialogue>FADE THE FUCK OUT:</dialogue> <scene_description>To Whom It May Concern: The Robotard 8000™ is not currently interested in writing anything for free. However, it is willing to write any of the following projects for money: Born Lazy - A heartwarming tale about the laziest man on Earth being forced to get a job. Wedding Crashers 2 - Those two crazy guys are at it again, and this time WE'RE writing it. The Whale - A nobody is mistaken for a high roller in Las Vegas. Hilarity ensues. Volquako! - When one natural disaster isn't enough…two may be too many. Homo Ski Movie - No explanation necessary. It writes itself. It thanks you for your consideration(s) of its various and sundry projects as per its conversations with itself. \*Contact with The Robotard 8000 may be initaited via e-mail at mongo@TheRobotard8000.com</scene_description> </scene> </script>

The fifth-year senior preparing to the fun day of flag football on the beach with Caleb, Vicky, and Grant. Little did any of them know that it would be the last time Grant would ever have the chance to play in his beloved sport. Later that day, while Grant was showering, he slipped and fell. His dreams of playing flag football were gone in an instant as a visit to the hospital confirmed news no one wanted to hear; Grant was paralyzed from the waist down. It was devastating news for everyone, but Vicky decided to make the best of it. After Grant was out of the hospital, she proposed to Caleb at her birthday party. But things took an unexpected turn when Caleb said “Yes” without thinking. Caleb felt horrible about the mistake and immediately attempted to take back his answer, but the damage had already been done. In an effort to make up for the mistake, Caleb took on a mission to get the old flag football team back together for an intramural league. Everyone was up for the idea, everyone except Grant. Part of him was in denial that he wouldn’t be playing, but deep-down he knew it wasn’t possible for him anymore. But Caleb was determined not to take no for an answer, and it was up to Vicky and the rest of the team to persuade Grant that it was still possible to be part of the game. Grant is a determined trainer, using a montage to show just how hard Caleb needs to work in order to become the athlete he dreams of being. As the weeks go by, Caleb continues to train and develops an intense focus on mastering the Triple Z play. However, Caleb finds himself losing confidence as his will fails him at the hardest moment. He's so afraid of possibly blowing the play that he makes a split-second decision to abandon the formation and just runs the ball in himself. Although Grant is frustrated with Caleb's lack of trust in his own abilities, he decides to have some mercy by giving Caleb and Meredith an evening off to enjoy themselves. So, the two go roller skating together for a date night. They have a great time skating around and holding hands, until Homeless Bob and his gang show up to spoil the fun. Caleb and Meredith are scared off by the intimidating group, turning what was supposed to be an evening of romance into a hasty retreat. Despite the turmoil of his own relationships, Dick is determined to win the intramural football championship. He has devised a strategy to focus on offense instead of defense, a tactic he believes will give them the best chance to win. Although it is a risky move, he is certain it will pay off. Despite Dick's enthusiasm, Caleb is less convinced. He worries that his team won't take the strategy seriously, which is why he gives a stirring motivational speech to his team in an attempt to rally them. Dick's response, However, is to try and pump his team up with harsh words, which are largely met with derision and annoyance. Caleb and his team struggle to embrace the new strategy and it seems like the odds of winning are slim. Just as things seem to be at their darkest, Vicky proposes to Caleb at her birthday party in front of all of his teammates. He nervously accepts, to everyone's surprise, and suddenly his team is more motivated than before. Because of his newfound engagement, Caleb's team rallies with newfound enthusiasm and manages to start executing Dick's strategy to perfection. Unfortunately, this moment of triumph is quickly overshadowed as it turns out that Dick's strategy was not as effective as many had hoped. Not only that his abrasive attitude and tactics had in fact, ruined Caleb's relationships with both of his women. Jimmy was blessed with a beautiful singing voice. He used it to captivate Thad, the star of the football team, until he eventually fell under Jimmy's spell. As Jimmy sang, Thad was entranced unable to move or take his eyes off Jimmy. Jimmy then used the opportunity to snatch the football away from Thad and race off with it, leaving Thad stunned and bewildered. Jimmy's singing had made Thad completely forget about the football and be oblivious to the world around him. Jimmy's quick wit and charming singing voice had been the perfect tools to fool his opponent and steal the football. Even now, Thad still can't believe what happened and still wonders to himself how it could have happened. Jimmy's voice is powerful and he certainly knows how to use it to his advantage. They won the football game, surprising everyone and making the hometown crowd roar with joy. Then out of nowhere Caleb got the girl confessing on the field that he'd been admiring her from afar since before the game started. It was a touching moment that filled the hearts of everyone watching with warmth and happiness. But just when it seemed like the night couldn't get any better, Grant, a Panther's team member, unexpectedly revealed to the crowd that he had been lying about his disability; while he had a medical condition, it was making much better and he wanted to prove he could still play football with the best of them. The crowd was in shock then erupted in rapturous applause in appreciation of his bravery. It was a night no Panthers fan will ever forget.

Straight Outta Compton_2015

tt1398426

<script> <scene> <scene_description>Director: F. Gary Gray PROD #02443 Producer: Ice Cube Producer: Tomica Woods-Wright Producer: Matt Alvarez Producer: F. Gary Gray Producer: Scott Bernstein Producer: Dr. Dre Executive Producer: Adam Merims</scene_description> <character>STRAIGHT OUTTA COMPTON</character> <dialogue>Screenplay by</dialogue> <scene_description>Jonathan Herman and Andrea Berloff Story by S. Leigh Savidge &amp; Alan Wenkus and Andrea Berloff Notice: This material is the property of Straight Outta LLC (A wholly owned subsidiary of Universal City Studios, Inc.) and is intended and restricted solely for studio use by studio personnel. Distribution or disclosure of the material to unauthorized persons is prohibited. The sale, copying or reproduction of this material in any form is also prohibited. TITLE/CREDIT SEQUENCE: An AVALANCHE of SOUNDBITES, colliding and overlapping. Coming so fast, we can barely process them. A virtual sound book...</scene_description> <character>WAR ON DRUGS. NANCY REAGAN. CRACK. DARYL GATES. CRIPS &amp;</character> <dialogue>BLOODS. Everything from KNIVES to PISTOLS to ASSAULT RIFLES. All these images add up to a minute and a half recap of not just black history but American history. As soon as they're done, we find ourselves plunged into --</dialogue> <scene_description>TOTAL DARKNESS:</scene_description> </scene> <scene> <stage_direction>EXT. BROWN HOUSE - COMPTON - NIGHT</stage_direction> <scene_description>A bucket pulls up in front of a shitty-looking BROWN HOUSE with ugly bars on the windows and doors. A rusted swing-set leans sideways on the dirt/grass they call a front lawn.</scene_description> <character>SUPERIMPOSE: COMPTON, CA 1986</character> <dialogue>Inside the car is ERIC WRIGHT, 21, but you know him as --</dialogue> <character>SUPERIMPOSE: ERIC WRIGHT AKA EAZY-E</character> <dialogue>A man who is completely in his element -- comfortable and poised, ready for anything.</dialogue> <dialogue>He hops out of the car, moves quickly to the TRUNK -- pops it open and reaches inside. With an electric screwdriver, Eazy unscrews a CERWIN-VEGA sub-woofer. Grabs a bulging BROWN BAG out of the speaker... and a 9mm -- SLAMS the trunk.</dialogue> <dialogue>ON THE ROOF, a LOOKOUT clocks Eazy as he walks up to the front door of the decrepit house...</dialogue> <dialogue>Eazy KNOCKS BY CODE. A dude, TONE (20s), opens a slat in the door. Gauges Eazy, EYES SKEPTICAL.</dialogue> <character>TONE</character> <dialogue>Who is it?</dialogue> <character>EAZY</character> <dialogue>Eric! Man, we been through this shit a thousand times.</dialogue> <scene_description>Multiple DEADBOLTS UNLOCK and an irritated Eazy enters --</scene_description> <character>EAZY</character> <dialogue>What's the use to having this dumb ass knock if I gotta tell you my name anyway?</dialogue> </scene> <scene> <stage_direction>INT. BROWN HOUSE - MINUTES LATER</stage_direction> <scene_description>It's not what you'd call "cozy." The carpet is torn up, stained, cigarette-burnt. Walls covered in TAGS. A PITBULL stares menacingly from the kitchen. In addition to Eazy and Tone, there are THREE other people spread around the room: one GIRL lounges on a vinyl couch, eyes glazed; another girl, TASHA, loudly SCRAPES soul food onto the pitbull's plate; and a JITTERY DUDE steady keeps an EYE out the WINDOW, tense, occasionally clocking -- EAZY spreads the CONTENTS of the BROWN BAG before them on a long TABLE: three FREEZER BAGS each containing 10 ounces. He looks up, ALL BUSINESS.</scene_description> <character>EAZY</character> <dialogue>Now where the money at?</dialogue> <character>TONE</character> <dialogue>Man, you heard what happen? My best runner got cracked. They sent his young ass to Y.A. --</dialogue> <character>EAZY</character> <dialogue>The fuck that got to do with me?</dialogue> <scene_description>Tone turns to Tasha in the kitchen, nods.</scene_description> <character>TONE</character> <dialogue>Tasha, get this dude a 40.</dialogue> <scene_description>TASHA opens the fridge, grabs a 40oz. --</scene_description> <character>EAZY</character> <dialogue>Do I look thirsty to you?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Where my ends at?</dialogue> <scene_description>-- hands it to Tone who CRACKS it open. Drinks...</scene_description> <character>TONE</character> <dialogue>Why you so ruthless, Eric, damn! You don't want nothin' to drink? What you want --</dialogue> <parenthetical>(re: the girls)</parenthetical> <dialogue>-- you want some pussy?</dialogue> <character>EAZY</character> <dialogue>Yep. But not from these strawberry bitches you got right here.</dialogue> <character>TONE</character> <dialogue>So you just gonna disrespect my house like that, Cuz?</dialogue> <character>EAZY</character> <dialogue>Dumb ass, this a dope house! It's already disrespected.</dialogue> <character>JITTERY DUDE</character> <parenthetical>(re: Eazy's drugs)</parenthetical> <dialogue>Well fuck it then -- You gonna have to let us hold on to that right there.</dialogue> <scene_description>ON THE COUCH, the GIRL grabs a SAWED-OFF SHOTGUN FROM UNDER A PILLOW. Levels it at Eazy, face grimaced, hard, strung out.</scene_description> <character>EAZY</character> <dialogue>Yeah, do what you gotta do -- 'Cause I got my homies parked across the street from your momma's house. I don't show up. They show out...</dialogue> <scene_description>Eazy just stares right back at them. The tension's like a pressure cooker about to burst. Until -- A WHISTLE echoes in from outside (THE LOOKOUT) -- Suddenly, everyone notices a deep RUMBLING coming from outside. Jittery Dude steps back from the window, eyes wide --</scene_description> <character>JITTERY DUDE</character> <dialogue>Oh, shit --</dialogue> <scene_description>Because there's a MASSIVE ARMORED VEHICLE rolling down the street toward them. 6 TONS of steel, with a 14-foot BATTERING RAM mounted on the front. LAPD emblazoned on the side.</scene_description> <character>JITTERY DUDE</character> <dialogue>Fuckin' Batter-Ram!</dialogue> <scene_description>Everyone in the room FLIES into action, STASHING the WEAPONS and the MONEY into hidden STASH SPOTS all over the HOUSE: Behind fake-panel LIGHT SWITCHES, hidden HATCHES beneath the FLOORBOARDS, in a fake-panel inside the FRIDGE. It's some serious MACGYVER SHIT. Eazy grabs his ROCKS, BEE-LINES for the BACK of the HOUSE, eyes wide, amped on adrenaline as the RUMBLING ESCALATES to an almost UNBEARABLE LEVEL -- CRASH!!! The 14-foot BATTERING RAM PUNCHES THROUGH THE WALL. DEBRIS FLIES EVERYWHERE. The RAM keeps coming until -- The GIRLS SCREAM! The ARMORED VEHICLE REVERSES, the BATTERING RAM POLE YANKING THE ENTIRE WALL OUT WITH IT, leaving a MASSIVE RAGGED HOLE where we can see --</scene_description> <character>SQUAD CARS SWARMING INTO THE AREA,</character> <dialogue>COPS FLOODING TOWARD THE</dialogue> <scene_description>HOUSE -- lots of YELLING as they PIN everyone to the floor, it's too late, nobody can escape; nobody but -- EAZY-E kicks out a KITCHEN window, squeezes through, hits the dirt on the side of the house. Sprints past -- A PITBULL! The GROWLING DOG hustles for Eazy as a FLASHLIGHT hits Eazy's back, a COP giving chase! As they race across the back yard, the Pitbull diverts to the cop, who panics. He's about to get mauled until -- ANOTHER COP pops around the corner! Blasts the dog with a FIRE EXTINGUISHER, filling the air with a dense cloud of expellant, as -- Eazy hops on a fence, hits the garage roof and jumps in a neighbor's yard. Gone. He lives to slang another day... FADE TO BLACK.: But the SOUNDS OF CHAOS carry over, infiltrate the inky black: SIRENS HOWLING. PEOPLE SHOUTING. HELICOPTERS BUZZING. DOGS BARKING. A mad medley that continues into --</scene_description> </scene> <scene> <stage_direction>INT. VERNA'S HOUSE - BEDROOM - COMPTON - DAY</stage_direction> <scene_description>A PAIR OF OVERSIZED HEADPHONES, worn by ANDRE YOUNG. Better known as --</scene_description> <character>SUPERIMPOSE: ANDRE YOUNG AKA DR. DRE</character> <dialogue>Eyes closed, lying on his bed, slight smile pursing his lips, he bobs his head as --</dialogue> <dialogue>WE HEAR WHAT HE HEARS, treated to the beautiful mind of Dre. THE SOUNDS OF CHAOS are evaporated, seemingly synthesized into the dope melody Dre's peacefully bobbing his head to...</dialogue> <dialogue>WE HEAR the multi-tracks of the song -- levels go up and down based on Dre's subtle FACIAL REACTIONS to the various sounds. He singles out INDIVIDUAL ELEMENTS, and as he does, WE HEAR them, highlighting some sounds, decreasing others: BASS, DRUMS, PIANO, VOICE... It's pure instinct, pure joy. Until --</dialogue> <scene_description>BAM-BAM! A fist on a locked door. The music stops as Dre removes his headphones. We now see -- DRE'S ROOM, populated with turn tables -- one side spinning the record he's listening to -- DJ station and a vast sea of LPs (sure there's Parliament, but also Duke Ellington) scattered around the room. A music junkie's paradise. On the other bed, his brother TYREE (17) chills as Dre opens the door to find --</scene_description> <character>VERNA</character> <dialogue>What happened?</dialogue> <scene_description>VERNA GRIFFIN, 36, his Mother, and she can smell bullshit a mile away. He flashes his smooth, easy, magnetic Dre-smile.</scene_description> <character>DRE</character> <dialogue>What happened with what?</dialogue> <character>VERNA</character> <dialogue>Andre, boy, don't play with me. Do you even care how it makes me look? Call in favors to get your thoughtless ass an interview? And you can't even show up?</dialogue> <character>DRE</character> <parenthetical>(sighs, realizing)</parenthetical> <dialogue>Sorry, I just been so focused on this DJing that I forgot --</dialogue> <scene_description>She frowns, shakes her head.</scene_description> <character>VERNA</character> <dialogue>You have a child, Andre. And spinning records ain't payin' none of the bills around here right now.</dialogue> <character>DRE</character> <dialogue>That ain't even true, momma. I get paid --</dialogue> <scene_description>He pulls out a sad little wad of bills, waves it in her face. Quick as lightning, she SNATCHES it away from him --</scene_description> <character>VERNA</character> <dialogue>Fifty dollars? Damn, you a billionaire!</dialogue> <scene_description>-- THROWS it back at his chest.</scene_description> <character>DRE</character> <dialogue>It's a start --</dialogue> <character>VERNA</character> <dialogue>Andre, you know the rules around here. In this house, you gonna work or go to school. I don't care if you gonna be a janitor --</dialogue> <character>DRE</character> <dialogue>-- long as I own the company. Yeah, I know.</dialogue> <scene_description>Dre fumes, gather the bills off the floor, heads for the kitchen --</scene_description> <character>VERNA</character> <dialogue>But you don't own the company. Lonzo does.</dialogue> <scene_description>-- but Verna stays hot on his heels --</scene_description> <character>VERNA</character> <dialogue>Oh, you think we're done here?</dialogue> <scene_description>Dre keeps going, MUTTERS under his breath -- She grabs his shoulder, SPINS him around, strong. Gets in his face.</scene_description> <character>VERNA</character> <dialogue>You got somethin' to say to me!?</dialogue> <character>DRE</character> <parenthetical>(explodes)</parenthetical> <dialogue>You don't care what I'm fighting for.</dialogue> <scene_description>I already know what I wanna do with my life, and it definitely ain't sittin in a cubicle takin' orders on some stupid ass job. Verna's eyes FLASH -- WHAP! She SLAPS HIM IN THE FACE -- Dre steps back, puts his hand to his cheek. Verna's reeling as much as he is. She tries to compose herself.</scene_description> <character>VERNA</character> <dialogue>People used to tell me I was too young when I had you -- Said I wouldn't be shit, said you wouldn't be shit. Now I been workin' my ass off to get us here and I refuse to let you throw it all away.</dialogue> <scene_description>Dre holds Verna's gaze a moment longer, then turns and calmly walks back past her, into his room. He picks up his headphones, pull-out car stereo. Heads for the door, opens it...</scene_description> <character>VERNA</character> <parenthetical>(regret)</parenthetical> <dialogue>Andre --</dialogue> <scene_description>But he's already closed the door behind him.</scene_description> </scene> <scene> <stage_direction>INT./EXT. VERNA'S HOUSE - DRIVEWAY - DAY</stage_direction> <scene_description>Dre bounds over to a battered BLUE &amp; WHITE DATSUN B-210 parked in the DRIVEWAY, regret settling in. He looks up to see Tyree ambling closer, carrying a bundle of errantly- selected clothes, a crate of records.</scene_description> <character>TYREE</character> <dialogue>Grabbed some of your stuff, man.</dialogue> <character>DRE</character> <dialogue>Good lookin' out.</dialogue> <scene_description>Dre takes the clothes. Tosses them in the back.</scene_description> <character>TYREE</character> <dialogue>When you comin' back?</dialogue> <character>DRE</character> <dialogue>I don't know. Gotta figure some things out.</dialogue> <character>TYREE</character> <dialogue>Can I come with you?</dialogue> <character>DRE</character> <dialogue>You been fightin' for your own room this whole time and now you wanna come with me?</dialogue> <scene_description>They share a CHUCKLE. Then --</scene_description> <character>TYREE</character> <dialogue>You know she's just want the best for you.</dialogue> <character>DRE</character> <dialogue>I know, T. I want the best for me too -- that's way I gotta go.</dialogue> <scene_description>Him and Dre have special brother-to-brother embrace. Then Dre hops into his car.</scene_description> <character>DRE</character> <dialogue>When I get set up right, I'mma have you come with me. Don't worry about it. It's gonna be sooner then you think.</dialogue> <scene_description>Tyree sullenly nods. Dre triggers the ignition, MUSIC BLASTING, and PEELS away --</scene_description> <character>DRE</character> <dialogue>Call you later.</dialogue> </scene> <scene> <stage_direction>INT./EXT. DRE'S CAR - COMPTON - MINUTES LATER</stage_direction> <scene_description>Dre rolls along in that ugly-ass Datsun. It's still early, but the STREETS are starting to FILL UP. Dudes in doorways, on the corners, clocking him as he passes. An LA SHERIFF'S DEPT. SQUAD CAR slides past, disappears around a corner. WE HEAR a HELICOPTER SOUND, as WE GO WIDE --</scene_description> </scene> <scene> <stage_direction>EXT. LOS ANGELES - WAY UP IN THE SKY - DAY</stage_direction> <scene_description>Flying high over the city, it's quiet up here, only the sound of WIND. BELOW, we see the tight grids of SOUTH LOS ANGELES, and the densely-packed TRAFFIC heading north along the 110 FREEWAY, as it angles toward the SKYSCRAPERS of DOWNTOWN L.A. We move NORTH and there's DODGER STADIUM plunked at the southern tip of ELYSIAN PARK, and the LA RIVER twisting snakelike up into GRIFFITH PARK -- And NORTHWEST past the mountains of Griffith, descending into the VALLEY, where we suddenly DIVE DOWN into WOODLAND HILLS and settle upon the low-slung sprawl of --</scene_description> </scene> <scene> <stage_direction>INT./EXT. YELLOW BUS - TAFT HIGH SCHOOL - DAY</stage_direction> <scene_description>We track backward through a school bus full of STUDENTS. Almost exclusively black and Latino kids. Late 80's fashions. All the way in the BACK ROW we settle on O'SHEA JACKSON, who we now know as --</scene_description> <character>SUPERIMPOSE: O'SHEA JACKSON AKA ICE CUBE</character> <dialogue>Raiders cap pulled low over a shoulder-length Jheri curl. Hunched over, wearing a soon-to-be-iconic FROWN of concentration, he SCRIBBLES LYRICS into a NOTEBOOK:</dialogue> <character>"BORED AS HELL AND I WANNA GET ILL. SO I WENT TO THE SPOT</character> <dialogue>WHERE MY HOMEBOYS CHILL --"</dialogue> <dialogue>The ROAR of a powerful sports car snaps Cube's concentration. He gazes out the school bus window to see that --</dialogue> <dialogue>In stark contrast to those on the bus, just beyond the glass is a sea of WHITE STUDENTS. They hang out, shoot the shit in their nice clothes, hop into their nice cars. It's a club that Cube isn't a part of and it's clear that he can feel it.</dialogue> <scene_description>He frowns, looks back down at his notebook as the bus pulls away from Taft High...</scene_description> </scene> <scene> <stage_direction>INT./EXT. YELLOW BUS - LATER</stage_direction> <scene_description>The BUS cruises Southbound on Crenshaw. And compared to the Valley, it looks like BEIRUT out there: Graffiti tags, liquor stores everywhere, boarded-up shops, DUDES loitering, drinking, slanging. Crip throws a rock and hits the bus. FIND CUBE sitting halfway back, still doing his thing, writing rhymes, minding his own. NEAR HIM, a few KIDS goof around, flash GANG SIGNS out the window at the passing CARS, PEDESTRIANS, not noticing --</scene_description> </scene> <scene> <stage_direction>A10 INT./EXT. TRUCK - CONTINUOUS A10</stage_direction> <scene_description>Pulling out of a side street onto Crenshaw, we see two hard- looking O.G. BLOODS. As the bus passes, they CLOCK THE KIDS flashing SIGNS. They can't believe it. Driver Grits his teeth. SPEEDS OUT after the bus --</scene_description> </scene> <scene> <stage_direction>INT./EXT. YELLOW BUS - MOMENTS LATER</stage_direction> <scene_description>The bus rolls to a stop. Before any KIDS can get off -- the O.G. Bloods' truck pulls in front of the bus, blocking the road. Passenger hops out. Noticing, the BUS DRIVER goes to shut the doors, but he's too late -- O.G. Blood gets on, strides past the BUS DRIVER -- glock 9mm in hand.</scene_description> <character>BUS DRIVER</character> <dialogue>Hey what's going on? --</dialogue> <character>O.G. BLOOD</character> <dialogue>Shut the fuck up, Blood!</dialogue> <parenthetical>(Addresses the whole bus)</parenthetical> <dialogue>You young muthafuckas wanna die today?!</dialogue> <scene_description>Everyone on the bus falls SILENT. By the shocked expression on the kids' faces, they have no clue how or if they're gonna get out of this alive.</scene_description> <character>O.G. BLOOD</character> <dialogue>HUH!?</dialogue> <scene_description>He makes his way back to the WANNABE KIDS near the expressionless Cube. Sensing shit is about to jump off, Cube slowly reaches for the WINDOW next to him, starts SLIDING IT OPEN. He edges closer to the window, grabs his NOTEBOOK, fully prepared to jump the fuck out that window.</scene_description> <character>O.G. BLOOD</character> <dialogue>You little Crab ass niggas could've got this whole bus shot the fuck up! We saw that bullshit you was throwing up out the window! Hit me up now!</dialogue> <character>WANNABE KID 1</character> <dialogue>Didn't mean nothin' by it -- just playing around.</dialogue> <character>O.G. BLOOD</character> <dialogue>That's yo muthafuckin problem, Blood! This shit ain't nuthin' ta play wit! It's real in the field, nigga! Shit's life and death! I kill Crips for breakfast, Blood! So keep yo' mothafuckin hand down when you see me, Understand?!</dialogue> <character>WANNABE KID 1</character> <dialogue>Yes.</dialogue> <scene_description>The O.G. Blood looks over his shoulder, scowls at all the terrified faces staring back at him.</scene_description> <character>O.G. BLOOD</character> <dialogue>What you little muthafuckas need to do is start gangbang them got damn books! Learn some shit better then what we doing! If not, I might be the one that kill yo' dumb ass! Remember me! This that Crenshaw Mafia, Blood!</dialogue> <scene_description>And with that, the O.G. Blood tucks his gun, and calmly exits the bus -- leaving behind the stunned kids. Their truck pulls away into traffic. Cube grab his books, get up to exit the bus along with a few others, but not before glancing over at the kids, who sit there sweating, shell-shocked. Cube shakes his head at the wannabes. No way he's going out like that.</scene_description> </scene> <scene> <stage_direction>EXT. SOUTH CENTRAL - DAY</stage_direction> <scene_description>Cube walks along the streets, Pee Chee folder and notebooks in hand, books under his arm as -- We're given tour of the sights and sounds of South Central. The pervasive shudder of LAPD CHOPPERS TAUNT OVERHEAD, DOGS BARKING, as an LAPD SQUAD CAR CRUISES MENACINGLY PAST like a shark in festive waters. Up ahead, BLOCK DUDES loiter on a neighbor's untended grass.</scene_description> <character>BLOCK DUDE 1</character> <dialogue>Aw shit, here come Doug E. Fresh!</dialogue> <character>BLOCK DUDE 2</character> <dialogue>Hell naw, that's Kurtis mothafuckin Blow. Only rapper with a Jheri curl.</dialogue> <character>ICE CUBE</character> <dialogue>Fuck you niggas. I'm about to go write a rap about yo' drunk ass Momma. That bitch looks like The Egyptian Lover.</dialogue> <scene_description>They smile, give Cube a pound as he passes. Yell after him.</scene_description> <character>BLOCK DUDE 1</character> <dialogue>Why you never hang out no more?</dialogue> <character>BLOCK DUDE 2</character> <dialogue>I think it's that Valley school. Nigga too good for us.</dialogue> <scene_description>But Cube just smiles, looks back at them --</scene_description> <character>CUBE</character> <dialogue>Nah, I already know how to gangbang. I'm just tryin' to learn how to make some of this white people money.</dialogue> <character>BLOCK DUDE 2</character> <dialogue>I feel you, Cuz. I need some white people money too.</dialogue> <character>ICE CUBE</character> <dialogue>Well take yo' ass to school sometimes.</dialogue> <scene_description>The Dudes laugh as Cube continues on. Keeps moving. UP AHEAD, he sees Dre's DATSUN parked across the street. No question where Cube's headed.</scene_description> </scene> <scene> <stage_direction>A12 INT. JINX'S HOUSE - EVENING A12</stage_direction> <scene_description>Cube walks through the LIVING ROOM, where Dre's girlfriend, LAVETTA, is feeding their baby TYRA (2) --</scene_description> <character>CUBE</character> <dialogue>Where Dre at?</dialogue> <scene_description>She points to the back room.</scene_description> </scene> <scene> <stage_direction>INT. JINX'S HOUSE - JINX'S ROOM - NIGHT</stage_direction> <scene_description>JINX'S ROOM, dirty but very hip-hop. JINX, 17, is digging through a crate of RECORDS, and offering them up to DRE, who waves most of them away because -- DRE'S IN THE ZONE, doing his thing on the turntables, mixing, SCRATCHING. And whatever it is sounds DOPE. Next-level shit. Cube enters -- Lets the SONIC ACROBATICS BOOMING from Dre's turntables marinate on him a minute.</scene_description> <character>CUBE</character> <dialogue>What you mixin'?</dialogue> <scene_description>Dre, lost in the music, doesn't respond -- Jinx holds up two ALBUM COVERS: The Ohio Players' FUNKY WORM and The Headhunters' GOD MADE ME FUNKY. Doesn't make sense, yet --</scene_description> <character>CUBE</character> <parenthetical>(blown away)</parenthetical> <dialogue>Ohio Players and the Headhunters..? (to Dre) That's the shit!</dialogue> <character>JINX</character> <dialogue>Crazy, right!</dialogue> <scene_description>Dre finally notices Cube's in front of him --</scene_description> <character>DRE</character> <dialogue>Wuddup, Cube! Got them rhymes?</dialogue> <character>CUBE</character> <dialogue>You know it.</dialogue> <scene_description>Cube flashes the SHEET OF LYRICS from school at Dre, notices the trash bag full of clothes on the floor.</scene_description> <character>CUBE</character> <dialogue>Stayin' a while?</dialogue> <character>JINX</character> <dialogue>Yup. His momma kicked him out for that mouth.</dialogue> <character>CUBE</character> <dialogue>Man that mouth always gettin' you in trouble. We got that in common.</dialogue> <character>DRE</character> <dialogue>Think you ready for Doo-to's?</dialogue> <character>CUBE</character> <dialogue>Damn straight.</dialogue> <character>DRE</character> <dialogue>'Cause you know that's Compton, right? They got bodybags at the door.</dialogue> <character>CUBE</character> <dialogue>Ain't worried about all that. I'mma come with it.</dialogue> <character>DRE</character> <dialogue>Yeah, you better, 'cause if your shit ain't tight, you might end up in one.</dialogue> <scene_description>Laughs all around as we --</scene_description> </scene> <scene> <stage_direction>EXT. JINX'S HOUSE - NIGHT</stage_direction> <scene_description>A Chevy Caprice cop car, light-bar strobing, has pulled aggressively onto the curb, all four doors open. CRASH OFFICERS roughly frisk the Block Dudes, as -- School shit in hand, Cube walks past, inconspicuous as possible. Can't help but glance at the scene --</scene_description> <character>CRASH COP 1</character> <dialogue>The fuck you lookin' at?</dialogue> <character>CUBE</character> <dialogue>Nothin'. Just goin' home --</dialogue> <character>CRASH COP 1</character> <dialogue>Get over here! Now!</dialogue> <scene_description>Hesitant, Cube complies. Used to getting jacked by the police, he assumes the same position the other Block Dudes are in: hands on the hood, legs back. One of the other Crash Cops pulls out his WALKIE --</scene_description> <character>CRASH COP 2</character> <parenthetical>(into walkie-talkie)</parenthetical> <dialogue>Requesting backup on Van Wick Street. Gang related --</dialogue> <character>CUBE</character> <dialogue>How you figure we in a gang? 'Cause we black?</dialogue> <scene_description>BAM! Crash Cop 1 shoves Cube against the car, kicking his legs apart, a hand on the back of his head. Cube's NOTEBOOKS hit the pavement -- Get trampled.</scene_description> <character>CUBE</character> <dialogue>Yo watch my notebooks!</dialogue> <character>CRASH COP 1</character> <dialogue>Where the rocks at, Cuz?</dialogue> <character>BLOCK DUDE 1</character> <dialogue>Ain't no rocks! Y'all muthafuckas just fishin'!</dialogue> <scene_description>WHAM! Crash Cop 2 SLAMS Block Dude 1. Forces him to interlock his fingers behind his head --</scene_description> <character>CUBE</character> <dialogue>Officer, can you please explain why you jackin' us?</dialogue> <character>CRASH COP 2</character> <dialogue>We don't have to explain shit!</dialogue> <scene_description>Block Dude 1 HOWLS in pain as Crash Cop 2 viciously SQUEEZES his interlocked knuckles. Crash Cop 1 shoots a look to Uniform Cop 2: Settle down, dude! TWO MORE SQUAD CARS SCREECH onto the scene. Four UNIFORMED POLICE climb out, to make an even bigger deal out of nothing. Cube's Dad, HOSIE, appears up on the porch, pissed.</scene_description> <character>HOSIE JACKSON</character> <dialogue>Hey! What the hell's goin' on out here? Those boys all live on this block!</dialogue> <scene_description>The Cops ignore him as Cube's mother, DORIS, appears beside Hosie, shocked to see her son getting assaulted --</scene_description> <character>DORIS JACKSON</character> <parenthetical>(re: Cube)</parenthetical> <dialogue>Officer, that's my son!</dialogue> <character>UNIFORM COP 2</character> <dialogue>Get back inside, ma'am!</dialogue> <scene_description>But she starts coming down the steps toward the Cop -- He UNSNAPS his holster, hand grasping his pistol.</scene_description> <character>DORIS JACKSON</character> <dialogue>I just wanna know what's going on --</dialogue> <scene_description>The COP jams a FINGER inches away from Doris' face!</scene_description> <character>UNIFORM COP 2</character> <dialogue>Get the FUCK BACK INSIDE, Lady, or I promise I will ruin your night!</dialogue> <scene_description>Doris' mouth drops open. The disrespect is incredible.</scene_description> <character>ICE CUBE</character> <dialogue>You ain't gotta talk to my moms like that, man!</dialogue> <scene_description>Uniform Cop 1 leans down, WHISPERS to Cube --</scene_description> <character>UNIFORM COP 1</character> <dialogue>You think we give a fuck? This LAPD, boy! Crash Unit! We the only gangstas around here!</dialogue> <scene_description>WIDE SHOT: Cube, his parents, and the Block Dudes helpless, held hostage in their own neighborhood. After every pocket is turned out, body patted down and rights violated --</scene_description> <character>UNIFORM COP 2</character> <dialogue>All right, they check out. We got cards on all of 'em already.</dialogue> <parenthetical>(to Cube and Co.)</parenthetical> <dialogue>Stay out of trouble.</dialogue> <scene_description>The cops pile back into their cars leaving behind the stunned neighborhood. Cube grabs his NOTEBOOKS, cleans them off as -- A CHOPPER ABOVE DEAFENS ALL SOUND in a PRIMORDIAL ROAR. OMITTED</scene_description> </scene> <scene> <stage_direction>A15 INT. DOO-TO'S CLUB - ENTRYWAY - MOMENTS LATER A15</stage_direction> <scene_description>Muffled MUSIC seeps into the area as SECURITY GUARDS thoroughly SEARCH everyone. One of them stares Eazy down.</scene_description> <character>SECURITY GUARD</character> <dialogue>You really wanna be here? This club is full of Pirus.</dialogue> <character>REN</character> <dialogue>We straight.</dialogue> <scene_description>Eazy LAUGHS, doesn't give a fuck.</scene_description> <character>EAZY</character> <dialogue>Thanks for the tip, homie.</dialogue> <scene_description>The Security Guard frowns as he allows them into -- THE MAIN FLOOR MUSIC PUMPING, we FOLLOW EAZY and REN into the CLUB, which is PACKED, people partying their asses off. Everyone's here: REGULAR FOLKS, BLOODS, SKINNY GIRLS, BIG GIRLS, DEALERS, ATHLETES. A true hood cross-section. AS WE MOVE through the place, we see CUBE, JINX and TYREE standing near the wall: JINX and TYREE are busy clocking the GIRLS, but CUBE is studying a ripped-out page of LYRICS. ON STAGE, wearing purple satin jackets with WORLD CLASS WRECKIN CRU on the back, DRE spins some '80s R&amp;B while his boy, YELLA, leans down, hollers at a GIRL in the crowd. Dre spots someone moving through the mass of people --</scene_description> <character>DRE</character> <dialogue>Yo, Yella, man -- Lonzo comin'!</dialogue> <scene_description>Yella quickly moves to the record crate, starts sifting through them to look like he's busy as -- LONZO WILLIAMS, club PROMOTER and Dre's BOSS approaches. He leans over to Dre:</scene_description> <character>LONZO</character> <dialogue>Gonna make sure nothin's poppin' off outside. Keep them fat asses shakin'. None of that rap bullshit, you hear? I want people thinkin' 'bout pussy not pistols. (then) And Yella, I saw you talkin to my lady. Keep your fuckin hands to yourself.</dialogue> <scene_description>Lonzo shoots Yella a look, then disappears from the stage.</scene_description> <character>DRE</character> <dialogue>Why you fuckin with that nigga's girl, man?</dialogue> <character>YELLA</character> <dialogue>Why not?</dialogue> <scene_description>Dre chuckles, immediately searches the crowd, locking eyes with CUBE. Dre gives him a NOD, and Cube takes a breath, heads toward the Stage -- Moment of truth. IN THE BACK, EAZY and REN are surrounded by ladies. But Eazy's attention is clearly -- ON STAGE. Cube appears next to Dre, who's cuing up a new record. He stops the music, grabs the mic:</scene_description> <character>DRE</character> <dialogue>Compton! I got my homie -- he's about to get his rhyme on for y'all! Give it up for Ice muthafuckin' Cube!</dialogue> <scene_description>Dre hands the mic to Cube as the crowd eyeballs him with suspicion and restraint. They're clearly not gonna give him respect til he earns it. Cube steels himself, clenches his jaw, puffs out his chest. And time turns eternal before -- DRE drops the needle on Steve Arrington's funked-out WEAK AT THE KNEES (hardcore NWA fans will recognize this track as the original sample for GANGSTA GANGSTA). Cube starts rapping, his voice powerful, thick with attitude:</scene_description> <character>ICE CUBE</character> <dialogue>Here's a little somethin' about a nigga like me. Never shoulda been let out the penitentiary. Ice Cube would like to say, That I'm a crazy muthafucka from around the way. Since I was a youth, I smoked weed out, Now I'm the muthafucka that ya read about. Takin a life or two, that's what the hell I do. Don't like how I'm livin', well fuck you!</dialogue> <scene_description>After only a few lines, the crowd's CHEERING. HOLLERING. Dancing. An infectious vibe. And we DRIFT back to Eazy, standing with Ren, feeling the fuck out of this music, pensive look on his face. Something crystallizing as we --</scene_description> </scene> <scene> <stage_direction>INT. DOO-TO'S CLUB - LATER</stage_direction> <scene_description>Yella spins a number for the crowd, who seem less energized now that Cube's off stage. To the side, LONZO chews out Dre --</scene_description> <character>LONZO</character> <dialogue>I'm this close to firin' your monkey ass! You tryin' to start a riot up in here?! You know I don't want that hardcore shit played in my club, but I turn my back and you do that shit anyway..?</dialogue> <character>DRE</character> <dialogue>I'm just tryin' to keep you in business. Open your eyes. They went crazy to that shit --</dialogue> <character>LONZO</character> <dialogue>You're up on that stage 'cause I put you there. You're a bad ass DJ, I'll give you that, but you don't listen and I'm gettin' real tired of arguing all the time. You know it's plenty DJs out there who'll play what I want 'em to play. Guys that don't bite the hand that feeds 'em. Now you take a backseat to that shit.</dialogue> <scene_description>He glares at Dre before taking leave. Dre watches him go, body coiled tight. Jaw clenched.</scene_description> <character>YELLA</character> <dialogue>Don't trip off him, homie.</dialogue> <character>DRE</character> <dialogue>Man, Lonzo ain't got no vision.</dialogue> <scene_description>Dre nods, yeah-yeah, but his eyes have landed on EAZY across the room --</scene_description> <character>DRE</character> <dialogue>Oh shit -- Check out this nigga. Yo, take over for a minute.</dialogue> <scene_description>Yella nods, commands the decks. Watches as Dre heads to -- A17 THE BACK OF THE CLUB A17 EAZY's kicking it with REN, talking up several GIRLS. But when Eazy sees Dre approaching, he smoothly shoos them away.</scene_description> <character>EAZY</character> <dialogue>Dr. Dre, how you been doin'?</dialogue> <character>DRE</character> <dialogue>What up, E? Been a minute.</dialogue> <character>EAZY</character> <dialogue>You know. Out here on the grind -- Nice jacket.</dialogue> <scene_description>Dre looks down at the purple satin.</scene_description> <character>DRE</character> <dialogue>It's the uniform. I make it work.</dialogue> <character>EAZY</character> <dialogue>You remember Ren from Kelly Park, right?</dialogue> <scene_description>Ren and Dre give each other a respectful nod.</scene_description> <character>REN</character> <dialogue>Wuddup, Dre.</dialogue> <character>EAZY</character> <dialogue>Heard you been spendin' a lot of time at your auntie's house. How's the couch life?</dialogue> <character>DRE</character> <dialogue>It's fucked up. I'm too tall for that shit. Plus I got my woman and baby livin' there. It's hard. But everybody can't do what you do.</dialogue> <character>EAZY</character> <dialogue>Yeah, but what I do is playin' out, fast. Muthafuckas are gettin' locked up and laid down out here left and right. Time to make a few changes.</dialogue> <character>DRE</character> <dialogue>Yeah. Change ain't bad. Shit, I'm tryin' to make a few changes my self.</dialogue> <character>EAZY</character> <dialogue>What you mean?</dialogue> <scene_description>Dre pauses, considering how to proceed...</scene_description> <character>DRE</character> <dialogue>Man, you should think about dumpin' some money into this music shit. I got some ideas --</dialogue> <character>YELLA (ON THE MIC)</character> <dialogue>Yo!</dialogue> <scene_description>Dre turns to find Yella up on stage in the DJ booth, mouthing "LONZO," as he points into the crowd. Dre follows Yella's finger, spots Lonzo slowly moving through, greeting people as he goes.</scene_description> <character>DRE</character> <dialogue>Shit I gotta get back up there. Let's talk about this later. Think about it...</dialogue> <scene_description>Eazy just smiles, nods, as Dre heads off...</scene_description> </scene> <scene> <stage_direction>EXT. DOO-TO'S CLUB - LATE AT NIGHT</stage_direction> <scene_description>Dre exits the club, usual crate of records in hand --</scene_description> <character>TYREE (O.S.)</character> <dialogue>Do I know you!?</dialogue> <character>DUDE (O.S.)</character> <dialogue>What!?</dialogue> <scene_description>Dre turns to find -- TYREE, all up in the face of some DUDE.</scene_description> <character>TYREE</character> <dialogue>Nigga, you heard me!</dialogue> <scene_description>Tyree shoves the dude -- Dre's eyes light up! That's my brother! He drops his crate of records, bumrushes the Dude and COLD-COCKS HIM. The Dude just drops, dazed. Dre turns to Tyree, adrenaline pumping.</scene_description> <character>DRE</character> <dialogue>What he do!?</dialogue> <character>TYREE</character> <dialogue>Muthafucka over here lookin' at me like he know me!</dialogue> <scene_description>Dre can't believe it -- That's it?</scene_description> <character>DRE</character> <dialogue>Tyree, you gotta stop doin' this shit, man!</dialogue> <scene_description>The down Dude slowly gets onto his knees, stumbles to his feet just as -- WHOOP! WHOOP! An L.A. Sheriff's Dept. SQUAD CAR rolls into the lot, lights on Dre, Tyree and the Dude. In a hurry, the two OFFICERS are out of the car, approaching the guys --</scene_description> <character>OFFICER 1</character> <dialogue>We told everybody to clear this parking lot! What's going on!?</dialogue> <character>DRE</character> <dialogue>We got this, Officer --</dialogue> <character>OFFICER 1</character> <dialogue>I didn't ask you what you got! Get the fuck home!</dialogue> <character>DRE</character> <dialogue>I am home.</dialogue> <scene_description>Officer 1 gets right in Dre's face, nose to nose.</scene_description> <character>OFFICER 1</character> <dialogue>If you don't start walking --</dialogue> <scene_description>But Dre just stands his ground, head cocked to the side, defying the Officer. In a flash -- BAM! Dre finds his face planted into the hood of the squad car! Cuffs slapped on! Same for Tyree and the Dude as we --</scene_description> </scene> <scene> <stage_direction>EXT. COMPTON POLICE STATION - EARLY MORNING</stage_direction> <scene_description>DRE emerges from the Police Station, police property bag in hand, to find EAZY waiting for him beside a fresh '63 IMPALA LOWRIDER.</scene_description> <character>EAZY</character> <dialogue>They got you for carrying records? That's some gangsta shit, Dre.</dialogue> <scene_description>Dre smiles, chuckles -- He's clearly beyond exhausted.</scene_description> <character>DRE</character> <dialogue>Cops will throw a nigga in jail for anything.</dialogue> <scene_description>At Eazy's car, Dre and Eazy pound hug.</scene_description> <character>EAZY</character> <dialogue>Lonzo just left you here, huh?</dialogue> <character>DRE</character> <dialogue>Guess he's sick of bailing my ass out.</dialogue> <scene_description>Dre kneels down on the pavement, takes his shoelaces from the police property bag and casually starts lacing his sneakers. But Eazy clocks a couple POLICE OFFICERS eyeballing him and Dre. Clearly, he's not comfortable here. Hops into the car.</scene_description> <character>EAZY</character> <dialogue>Mind gettin' your funny lookin' ass in the car before they arrest you for some other dumb shit?</dialogue> <scene_description>Eazy gestures like, we in front of the police station! Dre realizes. My bad. Hops in. Keeps lacing his sneakers...</scene_description> <character>EAZY</character> <dialogue>Man, I was thinkin' about what you said last night.</dialogue> <character>DRE</character> <dialogue>Yeah, and..?</dialogue> <character>EAZY</character> <dialogue>It's interestin' --</dialogue> <character>DRE</character> <dialogue>Interestin'? Tell me this, how long you think that shit you doin' gonna last, huh? You ever heard of a happy ending in that game?</dialogue> <character>EAZY</character> <dialogue>Shit, man, this all comin' from the nigga I just bailed out.</dialogue> <character>DRE</character> <dialogue>Listen, if you can slang dope, you can slang records. You got a mind for this shit, E.</dialogue> <character>EAZY</character> <dialogue>Okay so what then -- That nigga last night? Is that what we doin'?</dialogue> <character>DRE</character> <dialogue>What, Cube? Nah, he in a group right now, got some other business goin' on. But I got this group called H.B.O. from the east coast. Dope voices, and Cube wrote a song for 'em that's crazy.</dialogue> <scene_description>Eazy considers for a long moment as we --</scene_description> </scene> <scene> <stage_direction>INT. LONZO'S STUDIO - DAY</stage_direction> <scene_description>Dre sits in front of a huge MIXING BOARD, adjusting the levels on a hard-driving BEAT. A small CREW of Kangol-wearing RAPPERS (HOME BOYS ONLY, aka HBO) are gathered around, reading pages we recognize as CUBE'S LYRICS with befuddled expressions.</scene_description> <character>HBO 1</character> <dialogue>What the fuck is "Gankin"? And what's a "6-4"?</dialogue> <character>CUBE (O.S.)</character> <dialogue>It's a car. A '64 Impala.</dialogue> <scene_description>Everyone turns to look at CUBE, off to the side, annoyed.</scene_description> <character>CUBE</character> <dialogue>Gankin's when somebody jacks you. Ain't a big deal. Just sounds better that way.</dialogue> <scene_description>Another HBO dude chimes in --</scene_description> <character>HBO 2</character> <dialogue>I dunno, too much cussin' to get radio play. And honestly, nobody gives a fuck about Compton --</dialogue> <scene_description>Dre interrupts from the board, no back down in him.</scene_description> <character>DRE</character> <dialogue>Y'all got somethin' to say about Compton? Cause we might have a problem up in this bitch.</dialogue> <scene_description>Nobody says a thing. Deafening silence. Then:</scene_description> <character>DRE</character> <dialogue>Then do the lyrics. We losin' time and I'm losin' patience.</dialogue> <scene_description>The vibe is tense, unpleasant. Finally:</scene_description> <character>HBO 1</character> <dialogue>This ain't us. I ain't fuckin' with this Jheri curl bullshit --</dialogue> <character>CUBE</character> <dialogue>Fuck you then. Wearing a Kangol don't make you L.L. Cool J nigga, remember that.</dialogue> <scene_description>HBO 1 CRUMPLES the Lyrics sheet into a ball.</scene_description> <character>HBO 2</character> <dialogue>Yeah. Now what?</dialogue> <character>CUBE</character> <dialogue>What you wanna do, mark ass nigga?</dialogue> <scene_description>Cube and the HBO dudes square up, swelling and huffing -- Without hesitation, Eazy gets up, stands beside Cube. Dre whips off his headphones and flanks Cube from the other side. These dudes have each other's back, ready to throw down. The HBO clowns start exiting, talking shit. Eazy wanders back over to the couch, plops down, sighs:</scene_description> <character>EAZY</character> <dialogue>Well there goes the talent. Don't know a whole lot about the music game, but we can't start a label without talent.</dialogue> <scene_description>The three of them chuckle. Eazy sighs, shakes his head.</scene_description> <character>EAZY</character> <dialogue>Okay, I put up my money -- I held up my side of the deal, Dre. When you gonna deliver your side?</dialogue> <character>DRE</character> <dialogue>Well shit, why don't you get on the mic and try it?</dialogue> <character>EAZY</character> <dialogue>What? Fool, I ain't no rapper.</dialogue> <scene_description>Off Eazy's unsure look --</scene_description> <character>DRE</character> <dialogue>You already spent the money. Don't you get it? Man, this song is all about you! This song is about Eazy-muthafuckin'-E! Now get in the booth. Let me deliver my side of this shit.</dialogue> </scene> <scene> <stage_direction>INT. LONZO'S STUDIO - LATER</stage_direction> <scene_description>ON EAZY, self-conscious in the booth, light beaming on him. Dre gets up from the board, DIMS THE LIGHTS way down low --</scene_description> <character>EAZY</character> <dialogue>Fuck you doin'?</dialogue> <character>DRE</character> <dialogue>Just lemme produce. Get comfortable, man.</dialogue> <scene_description>Eazy takes a breath, huddles over the mic. He puts his Locs sunglasses on, pulls his baseball cap low -- so low you can barely see him (which is exactly the point). Dre sits behind the board with Cube. STARTS UP THE BEAT and cues Eazy --</scene_description> <character>EAZY</character> <parenthetical>(dry, flat)</parenthetical> <dialogue>Cruisin' down the street in my 6-4 - -</dialogue> <scene_description>Cube winces. Dre STOPS the track.</scene_description> <character>DRE</character> <dialogue>Hit that first beat hard. CRUISE-in down the street. CRUISE-in.</dialogue> <scene_description>When Eazy tries it again, it almost sounds worse --</scene_description> <character>EAZY</character> <dialogue>Cruisin' down the street in my 6-4 - -</dialogue> <character>CUBE</character> <dialogue>That ain't it...</dialogue> <character>EAZY</character> <dialogue>Get that dry-ass Jheri curl outta here, maybe I can concentrate.</dialogue> <character>CUBE</character> <dialogue>You kickin' me out?</dialogue> <scene_description>Dre looks at Cube. Nods. Go.</scene_description> <character>CUBE</character> <dialogue>Aiight. I'm just sayin'...</dialogue> <scene_description>Cube exits. Then --</scene_description> <character>DRE</character> <dialogue>Just gimme the words.</dialogue> <character>EAZY</character> <dialogue>Nigga what?</dialogue> <character>DRE</character> <dialogue>Say that shit with me -- CRUISE-in - -</dialogue> <character>EAZY</character> <parenthetical>(animated)</parenthetical> <dialogue>Dre, you know this shit is hopeless, right?</dialogue> <character>DRE</character> <dialogue>That! See how you just said that shit? Like you believe it!</dialogue> <character>EAZY</character> <dialogue>'Cause I do.</dialogue> <character>DRE</character> <dialogue>So say this shit like you believe it. Like it's muthafuckin' Sunday and you cruisin' down the street in that dope-ass 6-4. Feel that shit, like its ya own words.</dialogue> <scene_description>The frustration on Eazy's face is apparent.</scene_description> <character>EAZY</character> <dialogue>You really gonna make me do this, huh?</dialogue> <scene_description>Yup. Eazy frowns. Takes a moment to compose himself...</scene_description> <character>EAZY</character> <dialogue>Aiight, fuck it. Let's do this.</dialogue> <scene_description>Dre starts the track again -- ONLY THIS TIME, HE DOES SO ONE. COMPONENT. AT A TIME. BUILDING THE SONG AS IF FROM SCRATCH. EAZY vibes with it. Can't fuckin' help it. Shit is dope. Finally, once THE BEAT IS FULLY REALIZED, Dre CUES him --</scene_description> <character>EAZY</character> <dialogue>Cruisin' down the street in my 6-4.</dialogue> <scene_description>Dre grins. Much better. Stops the track.</scene_description> <character>DRE</character> <dialogue>Hell yeah! That shit was tight. Only 59 more lines, E. But we gonna get through it. Hit that next line - -</dialogue> <scene_description>Eazy groans, pulls his hat even lower, as we --</scene_description> </scene> <scene> <stage_direction>INT. LONZO'S STUDIO - MANY HOURS LATER</stage_direction> <scene_description>There's a sense of ceremony here. Cube, Eazy, YELLA, REN, Jinx, DOC and few girls wait with palpable anticipation as -- DRE PUSHES PLAY on the freshly completed TRACK. It starts THUMPING from the speakers: It's BOYZ N THA HOOD. Pride and a sense of purpose swell in each and every one of them as LONZO POPS IN. Listens, skeptical. The song stops and no one says a word. They know this is something special. Finally:</scene_description> <character>YELLA</character> <dialogue>Lonzo, what you think?</dialogue> <character>LONZO</character> <dialogue>That some waste of time shit right there and trust me, it ain't gonna work. Won't get no radio play.</dialogue> <character>DRE</character> <dialogue>You never know-- We might do a radio version and take it up to KDAY and see what happens.</dialogue> <character>LONZO</character> <dialogue>This reality rap is never going to work, Dre. You need to hurry up and rap this shit up and finish that slow jam I had you working on. I'm serious, Dre! Hurry up with this...</dialogue> <character>DRE</character> <dialogue>Yo, I don't know about working on this slow stuff anymore. After this I'm going to work on songs with DOC.</dialogue> <scene_description>Reveal DOC in the background.</scene_description> <character>LONZO</character> <dialogue>It's not a request, Dre.</dialogue> <scene_description>Lonzo scowls at Dre, exits in a huff. Yella goes to Dre, eyes wide with excitement --</scene_description> <character>DRE</character> <dialogue>Yo, if Lonzo don't like it, you know that shit is dope.</dialogue> <scene_description>They pound. Everyone LAUGHS. Truth.</scene_description> <character>REN</character> <dialogue>Damn, Dre -- You just turned a hustler into a rapper.</dialogue> <character>EAZY</character> <dialogue>Now this right here..? This some ruthless shit for real. Dre, you a muthafuckin' genius. And Cube, you got more of them stories to tell?</dialogue> <character>CUBE</character> <dialogue>Homie, I got rhymes for days. But I got to hear this one more gen...Dre, hit that shit.</dialogue> <scene_description>Laughter as Dre cues it up, the SONG RESUMING, as we --</scene_description> </scene> <scene> <stage_direction>INT. MACOLA RECORDS - LOS ANGELES - DAY</stage_direction> <scene_description>BOYZ IN THA HOOD is PLAYING OVER -- A STACK of VINYL RECORDS moves through a PRESS. A machine STAMPS a RED LABEL onto the MIDDLE. CLOSE ON the RED RUTHLESS LABEL -- BOYZ N THA HOOD. IN THE RECEIVING AREA, EAZY picks up a couple BOXES of RECORDS. He PAYS for them, and hauls them away.</scene_description> </scene> <scene> <stage_direction>INT. RECORD STORE - CENTRAL AVE - COMPTON - DAY</stage_direction> <scene_description>BOYZ keeps on THUMPING -- DRE and TYREE stand at the counter of a RECORD STORE, with a BOX OF RECORDS. The CLERK takes about SIX RECORDS --</scene_description> </scene> <scene> <stage_direction>EXT. RUN-DOWN HOUSE - COMPTON - DAY</stage_direction> <scene_description>BOYZ continues OVER -- Eazy emerges from a RUN-DOWN HOUSE, jogs across the street to his BUCKET, climbs inside, opens his STASH SPOT, stuffs a large WAD of CASH inside. A hustler is always hustlin --</scene_description> </scene> <scene> <stage_direction>EXT. BACK YARD HOUSE PARTY - SOUTH CENTRAL - DAY</stage_direction> <scene_description>Some local TEENAGERS are partying, drinking and listening to BOYZ N THE HOOD wax. And that shit has the party bumpin'. A sense that this song is going VIRAL, in a contagious, pre- internet sort of way --</scene_description> </scene> <scene> <stage_direction>EXT. ROADIUM SWAP MEET - LOS ANGELES - DAY</stage_direction> <scene_description>BOYZ continues as Eazy brings TWO BOXES of RECORDS to a SWAP MEET BOOTH operated by STEVE YANO. Yano excitedly collects the two boxes, hands over some cash. Deal done. Before Eazy can even bounce, some KIDS bumrush Yano for copies --</scene_description> </scene> <scene> <stage_direction>INT. K-DAY RADIO STATION - LOS ANGELES - DAY</stage_direction> <scene_description>BOYZ slowly fades, iconic KDAY Disc Jockey GREG MACK spinning the TRACK over the airwaves of Los Angeles. He grins, bobbing his head, digging this shit for real.</scene_description> <character>GREG MACK</character> <dialogue>1580 KDAY, this is Greg Mack -- Mack Attack. That was "Boyz n tha Hood" by Eazy-E, local rapper out of Compton. Sounds like he's about 15 years old --</dialogue> <scene_description>He glances over to the TELEPHONE SWITCHBOARD, which suddenly LIGHTS UP like crazy, with dozens of CALLERS.</scene_description> <character>GREG MACK</character> <dialogue>-- I know you like it. It's been the most requested record on this station ever since I played it. The freshest song of 1986 --</dialogue> </scene> <scene> <stage_direction>INT. MACOLA RECORDS - RECEIVING AREA - DAY</stage_direction> <scene_description>Eazy pays for another couple boxes of records. Grabs them --</scene_description> <character>JERRY HELLER (O.S.)</character> <dialogue>I heard your record.</dialogue> <scene_description>Eazy turns to find -- JERRY HELLER, a middle-aged guy in a velvet track suit. His face is craggy, seasoned, wise. He's got terrible posture, but lively, hyper-alert eyes. He extends his hand to Eazy.</scene_description> <character>JERRY</character> <dialogue>Jerry Heller.</dialogue> <character>EAZY</character> <dialogue>Eric Wright.</dialogue> <character>JERRY</character> <dialogue>Pleasure to meet you. Would it be possible to have a word with you, Eric?</dialogue> <character>EAZY</character> <dialogue>About what?</dialogue> </scene> <scene> <stage_direction>INT. MACOLA RECORDS - OFFICE - MOMENTS LATER</stage_direction> <scene_description>Jerry at his desk, Eazy on the ratty couch. Eazy lets his eyes wander around the shabby office. The sad furniture, the old and irrelevant posters on the walls.</scene_description> <character>JERRY</character> <dialogue>I thought your record was good.</dialogue> <character>EAZY</character> <dialogue>Just good? Why you call me in here then --</dialogue> <scene_description>Eazy gets up and heads for the door --</scene_description> <character>JERRY</character> <dialogue>No-no-no, hang on. (beat) I thought it was exceptional. Please, sit back down.</dialogue> <scene_description>Eazy indulges Jerry. Sits back down and stares, cold, unreadable. Jerry rubs his eyes, frustrated, his regular spiel isn't having its usual effect.</scene_description> <character>JERRY</character> <dialogue>Let's try this again. As a music manager, let me tell you what I can do for you, Eric --</dialogue> <character>EAZY</character> <dialogue>Maybe I'm the one who can do somethin' for you.</dialogue> <character>JERRY</character> <dialogue>You think because I don't have some flashy office, that means I don't know what I'm talking about? Elton John, War, Styx, REO Speedwagon --</dialogue> <character>EAZY</character> <dialogue>You manage anybody this decade?</dialogue> <scene_description>Jerry leans on his elbows on the desk, cocks his head at Eazy. The balls on this kid.</scene_description> <character>JERRY</character> <dialogue>Let me tell you what I see. Lotta raw talent. Lotta braggadoccio. But if you think anyone's gonna talk to you, if you think anyone's gonna let you into the building where you might talk to somebody -- somebody who matters -- you're crazy.</dialogue> <scene_description>Eazy frowns, looks away --</scene_description> <character>JERRY</character> <dialogue>That's what I do for you. I will make you legit. I will take you into that building. I will protect you. I will block out all the noise of this business and we can build something big.</dialogue> <character>JERRY</character> <dialogue>But you're gonna have to believe in me like I believe in you. If you don't think you can do that...</dialogue> <scene_description>Eazy doesn't budge. Satisfied, Jerry continues --</scene_description> <character>JERRY</character> <dialogue>You got more music for me?</dialogue> <character>EAZY</character> <dialogue>I got everything you need.</dialogue> <character>JERRY</character> <dialogue>Good, cause you're gonna have to follow this up. So what does N.W.A. stand for anyway?</dialogue> <parenthetical>(with a smile)</parenthetical> <dialogue>No Whites Allowed?</dialogue> <scene_description>Eazy looks at Jerry. Cold as ice.</scene_description> <character>EAZY</character> <dialogue>"Niggas With Attitudes."</dialogue> <scene_description>The smile is wiped off Jerry's face immediately.</scene_description> </scene> <scene> <stage_direction>EXT. SKATELAND RINK - COMPTON - NIGHT</stage_direction> <scene_description>200 or so people lined up outside, waiting to get in. NWA POSTERS are stapled to walls in testament to guerilla marketing. Notice the profusion of PEOPLE present as -- Eazy and Ren pull into the lot, exit the car and heads inside, intoxicated by the sea of people.</scene_description> </scene> <scene> <stage_direction>INT. SKATELAND RINK - MAKESHIFT DRESSING ROOM - NIGHT</stage_direction> <scene_description>Eazy addresses the guys, all business.</scene_description> <character>EAZY</character> <dialogue>I asked everybody to wear something black today, 'cause if we gonna be an All-Star group, we gotta look like an All-Star group.</dialogue> <scene_description>WE PULL BACK to reveal the GUYS -- Cube, Dre and Ren -- gathered around Eazy. A whole crew is there with them, too, including DOC, Tyree and Jinx. And everybody's dressed in some type of BLACK L.A. RAIDERS GEAR, except Yella who approaches from the side wearing an old school purple &amp; gold L.A. KINGS jersey.</scene_description> <character>EAZY</character> <dialogue>Damn Yella! What happened?</dialogue> <character>YELLA</character> <dialogue>Man, kiss my ass, I ain't got no Raider gear.-- Are we gettin' paid to wear that shit?</dialogue> <scene_description>Eazy hits him in the face with a black t-shirt.</scene_description> <character>EAZY</character> <dialogue>Put this on.</dialogue> <scene_description>As YELLA starts to change shirts, Jerry Heller comes around the corner talking to the promoter, nothing hip-hop about him at all.</scene_description> <character>CUBE</character> <dialogue>Aww damn-- here come The White Shadow.</dialogue> <parenthetical>(no smiles)</parenthetical> <character>REN</character> <dialogue>Nah, Mr. Furley from "Three's Company."</dialogue> <character>EAZY</character> <parenthetical>(irritated)</parenthetical> <dialogue>Man, shut the fuck up? This dude knows the game inside out. He been out there shopping our shit around. Gonna find distribution for Ruthless, get us on tour and bring a whole lot of money to the table.</dialogue> <character>DRE</character> <dialogue>And then what-- How he get paid?</dialogue> <character>EAZY</character> <dialogue>Just takes 20::percent:: off the top. That's it. We cut up 80. That's how managers work.</dialogue> <character>DOC</character> <parenthetical>(drink in hand)</parenthetical> <dialogue>All managers don't get 20 mothafuckin' percent!</dialogue> <character>EAZY</character> <dialogue>Doc, shut yo drunk ass up. You don't know the music business.</dialogue> <scene_description>DOC take another sip. Jerry joins the group.</scene_description> <character>JERRY HELLER</character> <dialogue>Hey fellas, sorry I'm running late. I'll be honest. We've had a lot of passes. People are scared of you guys big time. They think you're dangerous. But I think that's a good thing. And we've had a couple nibbles, from a couple labels. Epic, Capitol, Priority...</dialogue> <character>REN</character> <dialogue>"Nibbles"..? What's that mean?</dialogue> <scene_description>Jerry pauses a beat, finding the best response.</scene_description> <character>JERRY HELLER</character> <dialogue>Here's the thing. You guys can make a real record. Sell it nationwide. But we're not there yet. These labels, they're still gonna need some... convincing. So I invited a few of them to your show. So you have to kick ass tonight. Can you do that?</dialogue> <scene_description>The guys stare back at Jerry, with the fire in their eyes. Goddamn right they can do it -- "Hell yeah!"</scene_description> <character>JERRY HELLER</character> <dialogue>Let me go and make sure they're all here.</dialogue> <scene_description>Jerry peels away and goes inside. Cube looks at Eazy.</scene_description> <character>CUBE</character> <dialogue>And you trust this dude? Cause he looks like a one of my old muthafuckin' history teachers.</dialogue> <scene_description>Eazy cocks his head at Cube.</scene_description> <character>EAZY</character> <dialogue>You trust me?</dialogue> <character>CUBE</character> <dialogue>Yeah, I trust you. But that ain't what we talking about --</dialogue> <character>EAZY</character> <dialogue>Just leave it up to me. I'll make sure everything is straight. Just have them raps cocked and loaded.</dialogue> <scene_description>Dre throws his arm around Eazy, puts a stop to it--</scene_description> <character>DRE</character> <dialogue>Come on now. Cube has never failed to deliver. He always comes correct, ready to work. That ain't gonna change. Aiight?</dialogue> <scene_description>Cube and Eazy soften, smile at each other, it's all good.</scene_description> <character>YELLA</character> <dialogue>Can this muthafucka Jerry Heller bring in more pussy? That's worth 20 percent!</dialogue> <scene_description>Everyone LAUGHS as we --</scene_description> </scene> <scene> <stage_direction>INT. SKATELAND RINK - MAIN FLOOR - CONTINUOUS</stage_direction> <scene_description>We see the PACKED MASS of the CROWD, crammed together, hands in the air, SCREAMING, even though nothing's happened yet. The stage is pitch black as we see the silhouettes of NWA members manning their battle stations. More screams and anticipation from the crowd. At the BACK of the room, we see JERRY HELLER beside THREE nervous-looking RECORD EXECS. One of them -- BRYAN TURNER -- glances around warily at the inner-city CROWD.</scene_description> <character>BRYAN TURNER</character> <dialogue>You sure this is... safe for us..?</dialogue> <character>JERRY</character> <dialogue>Try not to look so scared, Bryan. They smell it on ya, you're finished.</dialogue> <scene_description>Turner FREEZES and his eyes go wide -- Jerry LAUGHS.</scene_description> <character>JERRY</character> <dialogue>Relax. You're in for a real treat!</dialogue> <scene_description>Just then, the STAGE LIGHTS come on, and NWA IS ON STAGE, spread out in FORMATION, in their BLACK RAIDERS GEAR. DRE and YELLA man FOUR TURNTABLES and 2 mixers --</scene_description> <character>CUBE</character> <dialogue>Yo Dre, kick in the bass!</dialogue> <scene_description>The bass-heavy ASSAULT of DOPEMAN kicks in. The crowd goes APESHIT. Jumping up and down. Crushed against each other -- ON STAGE, CUBE stalks to the edge, lets loose --</scene_description> <character>CUBE</character> <dialogue>It was once said by a man who couldn't quit --</dialogue> <scene_description>And and CROWD SCREAMS BACK, because THEY KNOW EVERY LYRIC!</scene_description> <character>THE CROWD</character> <dialogue>DOPE MAN PLEASE CAN I HAVE ANOTHER</dialogue> <character>HIT???</character> <dialogue>CUBE</dialogue> <scene_description>The Dopeman said Cluck I don't give a shit, if your girl kneels down --</scene_description> <character>THE CROWD</character> <dialogue>AND SUCKS MY DICK!!!</dialogue> <scene_description>with each other, like, Oh my God, this is sick! IN THE CROWD, we find JERRY and the RECORD EXECS. One of the EXECS looks disgusted, WALKS OUT. Jerry watches him go...</scene_description> <character>JERRY</character> <dialogue>So what do ya think?</dialogue> <character>RECORD EXEC</character> <dialogue>Jerry, we're friends, but Compton?</dialogue> <parenthetical>(laughs)</parenthetical> <dialogue>I don't think so. Queens..? Maybe. But. If you find another Bon Jovi, you call me.</dialogue> <scene_description>The Exec brushes past Jerry and WALKS OUT. Jerry turns and sees that BRYAN TURNER is the only Exec still there. And he's WATCHING with wide eyes, overwhelmed while -- UP ON STAGE, EAZY tears into his verse --</scene_description> <character>EAZY</character> <dialogue>Yeah high-rollin', big money I'm foldin, Bitch on my tip for the dick I'm holdin'. Strung strawberry, jockin' me so early. Ho you want a hit --</dialogue> <character>CROWD</character> <dialogue>YOU GOTTA GET YOUR KNEES DIRTY!!!</dialogue> <scene_description>IN THE BACK OF THE CLUB, from a corner, a big man is watching, mind going, This is SUGE KNIGHT.</scene_description> </scene> <scene> <stage_direction>INT. SKATELAND RINK - LATER</stage_direction> <scene_description>The last raucous PARTY-GOERS exit, leaving behind some CLEANING CREW and OUR GUYS, still riding the high of performing.</scene_description> <character>DOC</character> <dialogue>Damn Dre, ya'll wrecked these mothafuckas tonight!</dialogue> <character>DRE</character> <dialogue>I know. Stage was shaking so much-- thought my needles was about to jump off the record!</dialogue> <character>CUBE</character> <dialogue>I'm still trippin' that they knew all the words! That's Crazy...</dialogue> <character>REN</character> <dialogue>Compton is definitely on the map my nigga!</dialogue> <character>YELLA</character> <dialogue>Did you see all the freaks that was out there? Lord, thank God for biker shorts!</dialogue> <scene_description>Everybody shoots YELLA a look.</scene_description> <character>CUBE</character> <dialogue>We talkin' about the power of N.W.A. and all you saw tonight was pussy?</dialogue> <character>YELLA</character> <dialogue>Man, pussy is power.</dialogue> <scene_description>They chuckle at Yella in disbelief as SUGE KNIGHT approaches.</scene_description> <character>SUGE</character> <parenthetical>(surprisingly friendly)</parenthetical> <dialogue>Man, I had a feelin' y'all was gonna represent tonight. Good shit.</dialogue> <character>EAZY</character> <dialogue>Wuddup, Suge -- What you been up to, homie? Still out in Vegas?</dialogue> <character>SUGE</character> <dialogue>Back and forth. Doing some bodyguard work among other things. If ya'll need my services, just let me know.</dialogue> <character>EAZY</character> <dialogue>Aight. But we don't need no body guards.</dialogue> <character>SUGE</character> <dialogue>You never know what you need until you need it.</dialogue> <scene_description>Somewhat of an uncomfortable pause of dead air. JERRY rounds the corner, sweating through his misshapen suit, along with BRYAN TURNER.</scene_description> <character>SUGE</character> <dialogue>I just came back here to give ya'll your props. I got my people out here waiting on me. But I'll be around.</dialogue> <scene_description>Suge exits... as DOC clocks his flavor-- our attend goes to Jerry and Bryan.</scene_description> <character>JERRY</character> <dialogue>That was quite a show, gentlemen. Nice job. Very, very nice.</dialogue> <scene_description>They all keep STARING at him, waiting. Jerry grins, enjoying stretching out this moment.</scene_description> <character>JERRY</character> <dialogue>This is Eazy E and NWA. Guys, this is Bryan Turner.</dialogue> <character>CUBE</character> <parenthetical>(brazenly)</parenthetical> <dialogue>Ice Cube, 'Sup?</dialogue> <character>JERRY</character> <dialogue>Uh, Bryan runs Priority Records. He wants to sign you.</dialogue> <character>BRYAN TURNER</character> <dialogue>Immediately. Fellas, I loved the show. You really had the crowd on their feet. I think you'll fit perfectly with our label.</dialogue> <character>DRE</character> <dialogue>That'll work. Priority Records? I'm not familiar with your label. What artist do you got over there?</dialogue> <scene_description>Bryan looks at Jerry, who folds his arms, chin on his chest.</scene_description> <character>BRYAN TURNER</character> <dialogue>Nothing big. Just an R&amp;B group.</dialogue> <character>REN</character> <dialogue>Who dat?</dialogue> <scene_description>Bryan hesitates, almost ashamed to say --</scene_description> <character>BRYAN TURNER</character> <dialogue>Uh-- The California Raisins.</dialogue> <scene_description>Everyone in NWA grimaces --</scene_description> <character>CUBE</character> <dialogue>Them little-ass raisins on the commercial? Singin', "I Heard it Through the Grapevine"?</dialogue> <scene_description>Yep. They all LAUGH in Bryan's face. He smiles too.</scene_description> <character>BRYAN TURNER</character> <dialogue>Laugh all you want. Those little fuckers went gold last year.</dialogue> <scene_description>The laughing stops -- This gets their attention and respect.</scene_description> <character>EAZY</character> <dialogue>Gold?</dialogue> <character>JERRY</character> <dialogue>Yep, almost platinum. Bryan has a great distribution platform.</dialogue> <scene_description>This is the perfect time for Jerry Heller to seal the deal.</scene_description> <character>BRYAN TURNER</character> <dialogue>So what do ya say? Wanna go make a record?</dialogue> <scene_description>It takes a second for it to sink in. But they are as ready as they ever could be. Jerry watches, pleased as punch --</scene_description> </scene> <scene> <stage_direction>EXT. AUDIO ACHIEVEMENTS - TORRANCE - ESTABLISHING - DAY</stage_direction> <scene_description>Cars zip past as we move inside --</scene_description> </scene> <scene> <stage_direction>A35 INT. AUDIO ACHIEVEMENTS STUDIO - DAY A35</stage_direction> <scene_description>Dre runs his fingers on the knobs and levels of the mixing board. There's nowhere that he feels more at home. Eazy, Cube, Ren, Yella and Jerry are gather in the studio. Dre Inspired:</scene_description> <character>DRE</character> <dialogue>Aiight! If your rhymes ain't tight, you ain't makin' the record. So you better have your shit together. Yella Boy -- Rewind that shit!</dialogue> <scene_description>Yella rewinds the tape. Cube and Eazy look at each other as the speech hits home as... We begin a MEDLEY OF IN-PROGRESS AND ICONIC SONGS.</scene_description> </scene> <scene> <stage_direction>B35 INT. AUDIO ACHIEVEMENTS - BOOTH B35</stage_direction> <scene_description>Cube in the studio writing EXPRESS YOURSELF. Dre is on the mic doing EXPRESS YOURSELF. Yella is at board as everyone watches Dre.</scene_description> <character>DRE</character> <dialogue>I'm expressin' with my full capabilities, And now I'm livin' in correctional facilities...</dialogue> <scene_description>C35 NOTE: IN BETWEEN THIS SEQUENCE, we cut back to CATCH GLIMPSES</scene_description> <character>C35</character> <dialogue>of Dre in the studio CREATING -- FUCK THA POLICE, starting with the bones and building: first the DRUM MACHINE... then the SCRATCH... the BASS... an on and on. We will see Dre building this track throughout the sequence. In the back, Cube, Ren and DOC on the couch writing.</dialogue> <scene_description>D35 IN THE BOOTH - LATER D35 Cube writes than spits the lyrics to A BITCH IZ A BITCH. AT THE BOARD, Dre HOWLS with excitement, adjusts the levels, then cuts the beat. Beside him, Eazy and Yella are all smiles. E35 IN THE BOOTH, Ren spits fire on the final bars of PARENTALE35</scene_description> <character>DISCRETION IZ ADVISED --</character> <dialogue>F35 -- EAZY spitting STRAIGHT OUTTA COMPTON as -- F35</dialogue> </scene> <scene> <stage_direction>INT. AUDIO ACHIEVEMENTS STUDIO - DAY</stage_direction> <scene_description>Dre's at the soundboard, chopping up the beasts from what will become "Fuck Tha Police". Cube, Ren, DOC and Jinx are listening while writing and eating fast food.</scene_description> <character>DRE</character> <dialogue>Now this is what I'm talkin' about. You hear the difference?</dialogue> <character>YELLA</character> <dialogue>Yeah, no doubt.</dialogue> <scene_description>Jerry and Eazy are discussing business.</scene_description> <character>JERRY</character> <dialogue>Our deal with Priority is done. I have the contracts for you to sign.</dialogue> <scene_description>Cube takes notice of Jerry and Eazy, looking up from another beat-up notebook.</scene_description> <character>JERRY</character> <parenthetical>(to Dre)</parenthetical> <dialogue>If this music keeps sounding like this. This album is going to be amazing.</dialogue> <character>DRE</character> <dialogue>Thanks, Jerry.</dialogue> <character>JERRY</character> <dialogue>The lyrics you're writing is really good, Cube.</dialogue> <character>CUBE</character> <dialogue>I appreciate that, man.</dialogue> <parenthetical>(to Eazy)</parenthetical> <dialogue>Eazy what's up with our deal.</dialogue> <character>EAZY</character> <dialogue>Jerry handles that.</dialogue> <scene_description>Cube looks at Jerry.</scene_description> <character>JERRY</character> <dialogue>The lawyers just started drawing them up.</dialogue> <scene_description>Before Cube can respond, Tyree enters the room as Jerry exits the room. Tyree pulls Dre aside.</scene_description> <character>TYREE</character> <dialogue>Yo Dre, there's something outside you need to take care of. Trust me.</dialogue> <scene_description>Concerned, Dre heeds Tyree's advice and exits.</scene_description> </scene> <scene> <stage_direction>EXT. AUDIO ACHIEVEMENTS STUDIO - CONTINUOUS</stage_direction> <scene_description>Parked along the curb, Dre's girl LaVetta sits in what we thought was Dre's DATSUN. It's filled to the brim with clothes and baby gear, hatchback tied down with bungee chord. Dre leans down to her window --</scene_description> <character>DRE</character> <dialogue>So let me get this straight -- You gonna do this right here, right now?</dialogue> <character>LAVETTA</character> <dialogue>What am I supposed to do? We're sleepin' on a twin bed, at your auntie's house. We have a baby, Andre. You expect me to wait for what you're doin' in there? And you in the streets, fuckin' around? Are you crazy?</dialogue> <scene_description>Dre doesn't notice a TORRANCE P.D. CRUISER drift past...</scene_description> <character>DRE</character> <dialogue>What? I'm out here day and night bustin' my ass, tryin' to create something, and you gonna come up in here talkin' about some bitches? Are you crazy?</dialogue> <character>LAVETTA</character> <dialogue>You don't get it.</dialogue> <character>DRE</character> <dialogue>Nah, you don't get it.</dialogue> <character>LAVETTA</character> <dialogue>Bye, Andre.</dialogue> <scene_description>LaVetta puts the car in gear, PEELS away just as the whole gang comes out, having caught the tail end of the argument.</scene_description> <character>YELLA</character> <dialogue>You cool?</dialogue> <character>DRE</character> <dialogue>Fuck no. I'm far from cool.</dialogue> <character>TYREE</character> <dialogue>What happened, Dre? What she say?</dialogue> <character>CUBE</character> <dialogue>Aww shit, here we go again...</dialogue> <scene_description>The TORRANCE P.D. CRUISER pulls up fast, two COPS popping out. One black the other white. Weapons drawn.</scene_description> <character>TORRANCE COP 1 (BLACK)</character> <dialogue>Everybody down on the ground now!</dialogue> <scene_description>The guys are confused. Food in hand.</scene_description> <character>REN</character> <dialogue>What we do?!</dialogue> <scene_description>These cops aren't playing and they don't want to be questioned.</scene_description> <character>TORRANCE COP 2 (WHITE)</character> <parenthetical>(Shoving Ren to the ground)</parenthetical> <dialogue>Get your fuckin ass on the ground before I shoot you! That's what you did!</dialogue> <scene_description>After peeping out the cops overly aggressive posture. The guys start to comply. Mexican food hits the ground first then all the guys go face down-- spread eagle.</scene_description> <character>DRE</character> <dialogue>Why you got on the ground like this, officer?</dialogue> <character>TORRANCE COP 1</character> <dialogue>For our protection. It's 6 of you, only two of us. So just sit there and shut up.</dialogue> <parenthetical>(to his partner)</parenthetical> <dialogue>Call for back up.</dialogue> <scene_description>Torrance Cop 2 starts to call it in. Torrance Cop 1 starts to roughly frisk the guys.</scene_description> <character>TORRANCE COP 1</character> <dialogue>This is Torrance. You niggas supposed to be somewhere?</dialogue> <character>EAZY</character> <dialogue>Yeah. Here. We workin'.</dialogue> <character>TORRANCE COP 1</character> <dialogue>Working? Yeah, I bet.</dialogue> <character>DRE</character> <dialogue>What we do?</dialogue> <character>TORRANCE COP 2</character> <dialogue>We'll find out what you did in a minute.</dialogue> <scene_description>Within seconds, the Cop has Dre legs spread, frisking him roughly, hyper-extending his arms --</scene_description> <character>DRE</character> <dialogue>What the fuck --</dialogue> <character>TORRANCE COP 1</character> <dialogue>Shut your hole!</dialogue> <scene_description>The whole group is getting frisked one by one. Until Jerry Heller comes to the rescue.</scene_description> <character>JERRY</character> <dialogue>Excuse me officer, what's going on out here?!</dialogue> <character>TORRANCE COP 1</character> <dialogue>Step back sir! Just making sure these thugs are clean!</dialogue> <scene_description>Jerry keeps coming.</scene_description> <character>JERRY</character> <dialogue>These are not thugs, they're artists!</dialogue> <scene_description>As Jerry gets into the officers face, we see the contrast of the black guys face down on the ground with the Cops and Jerry's shoes standing over them talking.</scene_description> <character>TORRANCE COP 1</character> <dialogue>Artists? What kind of artists?</dialogue> <character>JERRY</character> <dialogue>They're rappers working in the studio right here.</dialogue> <character>TORRANCE COP 2</character> <dialogue>Rappers? Rap is not art. It's jungle music. And who are you supposed to be?</dialogue> <character>JERRY</character> <dialogue>I'm the manager.</dialogue> <character>TORRANCE COP 1</character> <dialogue>Well you're wasting your time, Mr. Manager, 'cause your rappers look like typical gang bangers to me.</dialogue> <scene_description>As the insults continue-- We LINGER ON CUBE, consuming his incendiary eyes, his flared nostrils. He's just about had enough of this shit.</scene_description> <character>TORRANCE COP 2</character> <dialogue>Why don't you spend your time managing real music like Lynyrd Skynyrd!</dialogue> <character>TORRANCE COP 1</character> <dialogue>Or Con-Funk-Shun! Real instruments. Real music! Not this bullshit rap!</dialogue> <character>TORRANCE COP 2</character> <dialogue>Fuckin' fad.</dialogue> <character>TORRANCE COP 1</character> <parenthetical>(laughing)</parenthetical> <dialogue>Tell me about it.</dialogue> </scene> <scene> <stage_direction>INT. AUDIO ACHIEVEMENTS STUDIO - EMPTY OFFICE - LATER</stage_direction> <scene_description>Dimly lit, Cube sits hunkered over a desk, writing furiously in his notebook. As if he's possessed. He slaps a page aside, scribbling on the back. WE CATCH GLIMPSES of ICONIC WORDS ON THE PAGE --</scene_description> <character>GOT IT BAD CAUSE I'M BROWN .... SEARCHIN' MY CAR, LOOKIN' FOR</character> </scene> <scene> <stage_direction>INT. AUDIO ACHIEVEMENTS STUDIO - CONTINUOUS</stage_direction> <scene_description>Dre is at the mixing board working on the instruental track for FUCK THA POLICE. The instrumental is playing without any lyrics or the hook on it.</scene_description> <character>CUBE (O.S.)</character> <dialogue>Yo!</dialogue> <scene_description>CUBE enters the studio -- Hands the open notebook over to Eazy, who scans it, hands it over to Dre for a look.</scene_description> <character>EAZY</character> <parenthetical>(sly smile)</parenthetical> <dialogue>This gonna start some shit, Cube.</dialogue> <character>CUBE</character> <parenthetical>(a grunt)</parenthetical> <dialogue>Yeah, fuck the police.</dialogue> <scene_description>Dre smiles as we cut to -- Dre is scratching in the iconic hook. FUCK THA POLICE-- FUCK, FUCK, FUCK THA POLICE. He continues to scratch... 38pt2 Ice Cube on the mic spitting the venomous lyrics of Fuck38pt2 Tha Police.</scene_description> </scene> <scene> <stage_direction>EXT. RUTHLESS RECORDS - LOS ANGELES - ESTABLISHING - DAY</stage_direction> <scene_description>STRAIGHT OUTTA COMPTON continues over -- EAZY and JERRY walk into the new RUTHLESS OFFICES...</scene_description> </scene> <scene> <stage_direction>EXT. CRENSHAW BLVD - NIGHT</stage_direction> <scene_description>A LOWRIDER cruises the packed boulevard, STRAIGHT OUTTA COMPTON SCREAMING out the windows as it passes by -- A HOOPTIE that's got EXPRESS YOURSELF ON BLAST. And we quickly realize that --</scene_description> <character>THE ENTIRE ALBUM'S FLOATING ON THE AIR, DIFFERENT TRACKS</character> <dialogue>THUMPING from DIFFERENT CARS flossing on the 'Shaw. Literally, every car.</dialogue> <dialogue>LOW-RIDERS bounce their hydraulics in approval. PEDESTRIANS HOLLER at the RIDERS and Riders holler back. It's like the entire hood is partying. And in the thick of it all --</dialogue> <dialogue>Eazy, Dre, and Cube creep down Crenshaw in Eazy's '64 Impala, Ren and Yella just behind them in Yella's Porche. They can't believe their eyes, their hood now worshipping their music. Some full circle shit...</dialogue> </scene> <scene> <stage_direction>INT. RUTHLESS RECORDS - JERRY'S OFFICE - CONTINUOUS</stage_direction> <scene_description>STRAIGHT OUTTA COMPTON FADES OUT as -- CLOSE ON the album cover to STRAIGHT OUTTA COMPTON as it's slid across the desk to... THE WHOLE GANG. They pass around the record, in awe, as if it were the Holy Grail.</scene_description> <character>JERRY</character> <dialogue>This is only the tip of the iceberg, fellas. The days of selling records out of your trunk are a thing of the past, Eric.</dialogue> <character>EAZY</character> <dialogue>My days of selling anything out the trunk is over.</dialogue> </scene> <scene> <stage_direction>EXT. LEIMERT PARK - LOS ANGELES - DAY</stage_direction> <scene_description>All the GROUP MEMBERS saying goodbye to their FAMILY, FRIENDS. JERRY's there, too, along with Bryan Turner.</scene_description> <character>BRYAN TURNER</character> <dialogue>So, are you going out with them?</dialogue> <character>JERRY</character> <dialogue>Are you crazy? Had a enough of that shit in the 70's. I'll fly out a couple of times and check on'em.</dialogue> <character>BRYAN TURNER</character> <dialogue>Well make sure everything goes smooth, okay? I have enough bad press with Tipper Gore and P.M.R.C. on my ass. I'm gonna have to put Parental Advisory stickers on all the records from now on --</dialogue> <character>JERRY HELLER</character> <dialogue>What's wrong with that? Bryan, controversy's good -- It's gonna help us sell more records.</dialogue> <scene_description>But Jerry's distracted by Eazy carrying a big duffel bag.</scene_description> <character>JERRY</character> <dialogue>Excuse me.</dialogue> <scene_description>Jerry sidles up to EAZY, who is carrying a big, heavy, clattering DUFFEL.</scene_description> <character>JERRY</character> <dialogue>What ya got in there, Mr. Wright?</dialogue> <scene_description>Eric grins, sets down the duffel -- CLUNK -- and unzips it. Jerry's eyes bug. The duffel is full of GUNS, big and small, a Kevlar vest, a hockey mask. All things trouble.</scene_description> <character>JERRY</character> <dialogue>Have you lost your mind? You are not taking that on the bus.</dialogue> <character>EAZY</character> <dialogue>Yeah we are. How we supposed to protect ourselves out there, Jerry? In fuckin' Texas? And Tennessee? They lynch niggas down there --</dialogue> <character>JERRY</character> <dialogue>I'm not gonna let you take that arsenal on tour, Eric!</dialogue> <scene_description>Eazy squares off, crosses his arms.</scene_description> <character>EAZY</character> <dialogue>Let me? Jerry, you take care of the business, I'll take care of the rest.</dialogue> </scene> <scene> <stage_direction>A44 EXT. HOUSTON ARENA - HOUSTON - NIGHT A44</stage_direction> <scene_description>Out front of the arena, a mass of PROTESTORS have accumulated a large pile of NWA RECORDS as -- B44 ON THE BUS B44 The guys watch on as a MAN drives a STEAMROLLER RIGHT OVER THE RECORDS, crushing them to pieces! The Protestors CHEER!</scene_description> <character>CUBE</character> <dialogue>Ain't that some shit... Talk some truth and people lose they minds.</dialogue> <character>EAZY</character> <dialogue>They had to buy all those albums to do that! More money in our pockets.</dialogue> </scene> <scene> <stage_direction>EXT. HOUSTON ARENA - BACKSTAGE PARKING - HOUSTON - NIGHT</stage_direction> <scene_description>The TOUR BUS pulls up inside the SECURITY AREA behind the VENUE. Houston P.D., POLICE HORSES, FANS and PROTESTERS are watching as -- The bus DOOR HISSES open, and we watch expectantly for our heroes... BUT NO ONE APPEARS. All we can see is the black void inside the tour bus, its ENGINE IDLING. Finally, when we can hardly stand it any longer... NWA BURSTS OUT ONTO THE --</scene_description> </scene> <scene> <stage_direction>INT. HOUSTON ARENA - STAGE - LATER THAT NIGHT</stage_direction> <scene_description>-- And god damn they look cool. Still dressed in all-black, but now their shit looks cleaner, more expensive. They're all rocking a lot of GOLD -- rings and thick-rope chains. HUGE BASS SLAMS DOWN as the mock street LIGHTS blind our eyes. The stage looks like the hood with chain link fences and yellow police tape. We hear the SOUNDS of STRAIGHT OUTTA COMPTON ("YOU ARE NOW ABOUT TO WITNESS THE STRENGTH OF STREET KNOWLEDGE.") and find DRE on the ONES AND TWOS, which sit on upside-down glowing trash cans, while the rest of the group rocks the stage.</scene_description> <character>CUBE</character> <dialogue>Straight outta Compton, crazy muthafucka named Ice Cube, from a gang called Niggaz With Attitudes. When I'm called off, I got a sawed off, squeeze the trigger, and bodies are hauled off --</dialogue> <scene_description>We see CUBE REACT to the fact that here in Middle America, the majority of the audience is WHITE. Never expected that. IN THE BACK, we see a row of UNIFORMED COPS, stone-faced, their presence alone transmitting hostility -- MONTAGE OF THE ROAD 46pt1 INT. ARENA - STAGE 46pt1 -- Eazy blows the roof off with WE WANT EAZY, all hands in the air as a sea of people vibe with him all singing: EAZY, WE WANT EAZY -- EAZY, WE WANT EAZY! DRE, REN AND EAZY RIP THROUGH THE FIRST VERSE-- As the crowd sings the hook again. We can hear Eazy say--</scene_description> <character>EAZY</character> <parenthetical>(to the crowd)</parenthetical> <dialogue>Where the fuck y'all at, Cincinnati!?</dialogue> <scene_description>46pt2 INT./EXT. TOUR BUS 46pt2 -- The guys watch on as the TOUR BUS rolls past a PROTEST. DEMONSTRATORS SHOUT at the bus, hold up SIGNS: BAN GANGSTA RAP, STOP DISRESPECTING WOMEN, GANGSTAS BELONG BEHIND BARS -- 46pt3 INT. ARENA - STAGE 46pt3 -- Dre and Ren rhyme fierce on COMPTON'S N THE HOUSE. Standing room only, as usual...</scene_description> <character>DRE</character> <dialogue>To the people over here --</dialogue> <character>REN</character> <dialogue>To the People over there --</dialogue> <character>DRE/REN</character> <dialogue>To the people, the people, the people, people, the people, the people, people from Kansas City, watchin' the show --</dialogue> <scene_description>46pt4 INT. ARENA - STAGE 46pt4 -- Another ARENA. Another angry PROTEST. By now, the guys aren't even paying attention anymore... 46pt5 INT. ARENA - STAGE 46pt5 -- Cube destroys GANGSTA, GANGSTA, nostrils flared, giving it his all. As the CHORUS KICKS IN --</scene_description> <character>CUBE</character> <dialogue>Indianapolis in the muthafuckin' house!</dialogue> <scene_description>47pt1 INT. HOTEL ROOM - NIGHT 47pt1 Muffled MUSIC, LAUGHTER THUMPS through the WALLS as we find DRE sitting on a bed in an empty hotel room, talking to --</scene_description> <character>DRE (INTO PHONE)</character> <dialogue>I can't do it, T.</dialogue> <character>INTERCUT WITH:</character> <dialogue>47pt2 EXT. VERNA'S HOUSE - PORCH - CONTINUOUS 47pt2</dialogue> <scene_description>TYREE, who's chillin' in a chair, surveying the street, all smiles talking to his cool-ass big brother.</scene_description> <character>TYREE (INTO PHONE)</character> <dialogue>Come on. I could meet up with y'all in Dallas or -- Yo, you gotta let me come fuck with you in Miami!</dialogue> <scene_description>Dre laughs. Misses his baby brother.</scene_description> <character>DRE (INTO PHONE)</character> <dialogue>Oh, you wanna partake in some of those fat asses, huh.</dialogue> <character>TYREE (INTO PHONE)</character> <dialogue>You know it!</dialogue> <character>DRE (INTO PHONE)</character> <dialogue>So what you think moms will say about you comin' on tour?</dialogue> <scene_description>Tyree's silence is telling.</scene_description> <character>DRE (INTO PHONE)</character> <dialogue>Exactly. 'Cause you got school and you know she won't let you miss that many days.</dialogue> <character>TYREE (INTO PHONE)</character> <dialogue>You did.</dialogue> <character>DRE (INTO PHONE)</character> <dialogue>Exactly my point.</dialogue> <character>TYREE (INTO PHONE)</character> <dialogue>So I'm paying for your shit?</dialogue> <character>DRE (INTO PHONE)</character> <dialogue>How it is, T. Youngest always do.</dialogue> <scene_description>Tyree deflates...</scene_description> <character>DRE (INTO PHONE)</character> <dialogue>How moms doin'? Is she there?</dialogue> <character>TYREE (INTO PHONE)</character> <dialogue>She good, but nah, you know her, constantly workin'.</dialogue> <character>DRE (INTO PHONE)</character> <dialogue>Well make sure you take care of her, aiight? I'll tell you what, you stay your ass outta trouble and I'll call you when I'm on the way to Miami-- we'll see about getting you on a flight.</dialogue> <character>TYREE (INTO PHONE)</character> <parenthetical>(perks up)</parenthetical> <dialogue>Aiight, man... You promise, Dre!</dialogue> <character>DRE (INTO PHONE)</character> <dialogue>I got you. Just bring a lot of rubbers.</dialogue> <scene_description>Dre and Tyree have a nice laugh together. Suddenly there's a BANGING at Dre's FRONT DOOR --</scene_description> <character>DRE (INTO PHONE)</character> <dialogue>Hold on a second, somebody at the --</dialogue> <scene_description>CLICK. TYREE'S GONE. Dre sets the phone down. Walks to the door. OPENS it to find -- A BIG DUDE, standing outside, looking PISSED!</scene_description> <character>BIG DUDE</character> <dialogue>Yeah nigga, I'm looking for my girl Felicia. Heard she was up here in one of these rooms.</dialogue> <character>DRE</character> <dialogue>No Felicia in here, man.</dialogue> <scene_description>Dre starts closing the door, and the DUDE jams his BOOT in, stopping Dre from closing the door.</scene_description> <character>BIG DUDE</character> <dialogue>Mind if I take a look?</dialogue> <character>DRE</character> <dialogue>Get your foot out my door --</dialogue> <scene_description>Big Dude pulls up his SHIRT, PISTOL poking out of his waistband -- Dre SHOVES him back and SLAMS the door! Quickly OPENS the DOOR to the adjacent room where -- 47pt3 ON THE OTHER SIDE 47pt3 There's a PARTY going on. EAZY, CUBE and REN are all partying with GIRLS, most of whom aren't wearing any shirts. Titties are everywhere, booze flowing freely. YELLA's in the middle, FUCKING A GIRL on one of the beds.</scene_description> <character>DRE</character> <dialogue>Yo! Any of y'all named Felicia?</dialogue> <scene_description>All the GIRLS shake their heads.</scene_description> <character>YELLA</character> <parenthetical>(to the girl under him)</parenthetical> <dialogue>Hey baby. You Felicia?</dialogue> <character>GIRL</character> <dialogue>You forgot my name, muthafucka?</dialogue> <scene_description>She looks pissed, but they keep on fucking anyway.</scene_description> <character>DRE</character> <dialogue>I think her man's outside. And that nigga strapped.</dialogue> <scene_description>Eyes wide, Eazy quickly pulls the GUN DUFFEL out from under one of the beds, unzips it, fishes through and pulls out an AK.</scene_description> <character>YELLA</character> <dialogue>Whoa! Eazy, you can't be blastin inside the hotel --</dialogue> <scene_description>But Eazy just grins, heads for the door. Opens it, PEEPS out through the crack --</scene_description> <character>EAZY</character> <dialogue>Hey, you lookin' for Felicia?</dialogue> <scene_description>BIG DUDE is still out there, standing about 15 feet away, with TWO OTHER similarly-large DUDES.</scene_description> <character>BIG DUDE</character> <dialogue>She in there or what?</dialogue> <character>EAZY</character> <dialogue>Yeah, she's in here. Problem is, my homeboy's got his dick in her mouth.</dialogue> <scene_description>Big Dude scowls, rests his hand on the butt of his pistol.</scene_description> <character>BIG DUDE</character> <dialogue>What the fuck did you say?</dialogue> <scene_description>BACK INSIDE, Ren overhears this. Tosses a GIRL off his lap, grabs his 9mm from the table, COCKS it -- IN THE HALLWAY, Eazy steps FULLY out of his room -- RACKS the AK and AIMS IT RIGHT AT THE 3 DUDES --</scene_description> <character>EAZY</character> <dialogue>How bad you want Felicia now?</dialogue> <scene_description>The DUDES gape at Eazy a moment, then SCATTER, disappearing down the hallway. Eazy LAUGHS his ass off as Ren bolts out, 9mm in hand, ready for anything --</scene_description> <character>REN</character> <dialogue>Where they go?</dialogue> <scene_description>But the coast is clear. Eazy keeps laughing. Heads back inside as we -- A48 OMITTED A48</scene_description> </scene> <scene> <stage_direction>INT. HOTEL - LOBBY - DAY</stage_direction> <scene_description>Cube, Dre, Yella, Ren and D.O.C. stroll through, carrying bags of McDonalds. Cube's eyes drift over to the fancy FOUR- STAR RESTAURANT across from the lobby where he can see Jerry and Eazy at a table inside, enjoying a lavish meal.</scene_description> <character>CUBE</character> <dialogue>Meet y'all upstairs.</dialogue> <scene_description>Cube heads for the restaurant --</scene_description> </scene> <scene> <stage_direction>INT. HOTEL - RESTAURANT - CONTINUOUS</stage_direction> <scene_description>ON THE BAR TV, NANCY REAGAN's concerned face fills the screen.</scene_description> <character>NANCY REAGAN</character> <dialogue>For the sake of our children, I implore each of you to be unyielding and inflexible in your opposition to drugs. Our young people are helping us lead the way. Not long ago in Oakland, California, I was asked by a group of children what to do if they were offered drugs. And I answered, just say no.</dialogue> <scene_description>AT A TABLE NEARBY, Jerry and Eazy devour steaks and lobster, sipping champagne.</scene_description> <character>JERRY</character> <parenthetical>(concerned)</parenthetical> <dialogue>Another one called-- said she was pregnant by you too. Eric, you gotta slow down. You can't fuck'em all...</dialogue> <character>EAZY</character> <dialogue>Yeah, I know.</dialogue> <parenthetical>(Deep breathe)</parenthetical> <dialogue>All these chicks want is money. If I was broke, they're wouldn't even be calling.</dialogue> <character>JERRY</character> <dialogue>Yeah well, you start making a little money, problems come with it.</dialogue> <character>EAZY</character> <dialogue>White people problems?</dialogue> <character>JERRY</character> <dialogue>Money problems are race neutral. But I'll help you through all of it. I'll put you in touch with --</dialogue> <scene_description>Jerry's distracted by the sight of Cube marching towards the table, bag of McDonald's still in hand. Smiles up at him. Eazy doesn't make eye contact.</scene_description> <character>JERRY</character> <dialogue>Evening, Cube...</dialogue> <character>CUBE</character> <dialogue>What's the deal on them contracts, Jerry? I'm still waitin' on 'em...</dialogue> <character>EAZY</character> <dialogue>Man, stop asking about them fuckin' contract. They're coming --</dialogue> <character>JERRY</character> <dialogue>It's all right, Eric. Cube's right to ask, and I'm remiss in not updating you guys.</dialogue> <parenthetical>(to Cube)</parenthetical> <dialogue>Contracts are being finalized as we speak. Truth is, attorneys will bleed you dry going over 'em. Wish I was paid by the hour...</dialogue> <character>CUBE</character> <dialogue>Yeah me too. I just like to know what's goin' on. Since I wrote a lot of lyrics on this record.</dialogue> <character>JERRY</character> <dialogue>Everybody knows how important you are, Cube. Just give us a little more time.</dialogue> <scene_description>Cube glances at Eazy, who's like a statue. Cube picks up Eazy's champagne glass, drains it, sets it back down.</scene_description> <character>CUBE</character> <dialogue>Shit's pretty good. Someday, huh?</dialogue> <scene_description>With that, he turns and walks out. Jerry watches him go. Then, to no one in particular:</scene_description> <character>JERRY</character> <dialogue>He wants to be you so freaking bad. This kid has issues. At some point, you gotta trust somebody...</dialogue> <scene_description>But Eazy's not paying attention. Waving to a passing waiter:</scene_description> <character>EAZY</character> <dialogue>Waiter! Another round over here...</dialogue> </scene> <scene> <stage_direction>EXT. OPEN ROAD - NIGHT</stage_direction> <scene_description>The NWA tour bus blurs by, a prism of light and speed --</scene_description> </scene> <scene> <stage_direction>INT. TOUR BUS - MIDDLE OF NOWHERE, USA - NIGHT</stage_direction> <scene_description>Cube and Dre speak in hushed tones, everyone else asleep.</scene_description> <character>DRE</character> <dialogue>Nah, I think you over reacting. Eazy's one of us, Cube. What you thinking don't even make sense --</dialogue> <character>CUBE</character> <dialogue>Know what don't make sense? Eazy chillin' with Jerry eatin' steak and lobster while we at Mickey D's. That shit don't make sense.</dialogue> <character>DRE</character> <dialogue>Look, I hear that, but I think we should ride this wave. Don't be jumpin' to conclusions until you know for sure,</dialogue> <scene_description>WE HEAR a FAINT VIBRATING SOUND. Dre realizes it's his PAGER. Grabs it off his bed. Sees that he's missed TWELVE PAGES. AND EVERY SINGLE ONE IS LABELED "9-1-1." Instinct in overdrive, he hurries to the FRONT of the bus, tells the DRIVER --</scene_description> <character>DRE</character> <dialogue>We gotta stop. Gotta get somewhere with a phone --</dialogue> <character>DRIVER</character> <dialogue>But we're in the middle of nowh --</dialogue> <character>DRE</character> <dialogue>Stop the fuckin' bus, man!</dialogue> </scene> <scene> <stage_direction>EXT. GAS STATION - MIDDLE OF NOWHERE, USA - MOMENTS LATER</stage_direction> <scene_description>The BUS is parked in a nearly-empty PARKING LOT outside of a lonesome, isolated GAS STATION. It's a dark, starless night. Dre shuffles slowly out of the station, in a daze, like he just awoke from a fucked-up dream. He walks over to the BUS. But instead of getting on, he SITS DOWN on the pavement, eyes filled with shock and disbelief. The sound of FOOTSTEPS as Ren, Yella, Cube, and Eazy exit the bus, surround Dre. They can tell something is very wrong.</scene_description> <character>YELLA</character> <dialogue>Yo, Dre. What's goin' on?</dialogue> <scene_description>ON DRE as he forces back the tears that wanna come, his voice barely a whisper:</scene_description> <character>DRE</character> <dialogue>My Moms called. Tyree. He's dead. Somebody killed my little brother...</dialogue> <scene_description>Shocked: "What?" "Hell naw!" "What happen?" are heard amongst Cube, Eazy, Yella and Ren-- they crouch down next to Dre. Not sure what else to say or do. They wait for Dre to say more...</scene_description> <character>DRE</character> <dialogue>He got into a fight near Leimert Park. A big mothafucka fell on top of him -- broke his neck. He killed Tyree. I can't believe this shit.</dialogue> <scene_description>Face buried in his hands, Dre quietly weeps. Jinx, Laylaw and DJ Speed gather in the front window of the bus. Not wanting to interrupt the group's moment. Cube rests a hand on Dre's shoulder as the others tighten the circle. There's silence... until:</scene_description> <character>CUBE</character> <dialogue>Never told y'all, but when I was twelve, my sister got murdered by her own husband-- A fuckin' wanna be cop who couldn't make it in the academy. Life changed for me that day. Everything became serious--</dialogue> <character>EAZY</character> <dialogue>Dope game took my cousin's life. I remember when they found him.</dialogue> <character>DRE</character> <dialogue>He shoulda been out here with me. If he was out here-- It never woulda happened...</dialogue> <character>REN</character> <dialogue>Or it could've happened in another way. Can't blame yourself, Dre... Life has to end for all of us, but love don't. Feel me? Tyree is always gonna be with you. No matter what.</dialogue> <scene_description>Eazy moves closer. Slowly, he places a hand on Dre's head. Rubs it. It's a bit startling -- Eazy's not one for tenderness. But it's clear he feels Dre's pain.</scene_description> <character>EAZY</character> <dialogue>Gonna be aiight, Dre... We with you.</dialogue> <scene_description>PULL BACK as the guys remain clustered around Dre. Looking so small, so vulnerable, crouched in front of the Bus, alone in the parking lot. NWA against the world. FADE TO BLACK:</scene_description> </scene> <scene> <stage_direction>INT. MAUSOLEUM - LOS ANGELES - DAY</stage_direction> <scene_description>In a suit, Dre stands beside Tyree's MEMORIAL WALL, his arm draped around his heartbroken mother, Verna. She cries without end or apology, surrounded by family, including his other brother, WARREN G, plus Eazy, Cube, Ren and Yella. It's solemn and quiet. Dre remains stoic, staring hard, trying his best to remain strong for his mother. All members of the band keep a close eye on him, as the pastor wraps up his eulogy.</scene_description> <character>PASTOR</character> <dialogue>Death is a threshold we all have to pass through. No one is exempt. Tyree will set a place for us on the other side and we will see him again. The flesh will always return to the earth. But our spirits will live on forever. Amen!</dialogue> <scene_description>The congregation repeats the pastor with a follow up "Amen."</scene_description> </scene> <scene> <stage_direction>INT. MAUSOLEUM - LATER</stage_direction> <scene_description>A shattered Dre slumps out with his mom, Verna.</scene_description> <character>DRE</character> <dialogue>If I brung him out on tour with me, like he wanted --</dialogue> <character>VERNA</character> <dialogue>This is not on you, Andre.</dialogue> <scene_description>Dre doesn't say anything. Keeps his head bowed.</scene_description> <character>VERNA</character> <dialogue>Andre.</dialogue> <character>DRE</character> <dialogue>We was supposed to kick it... Next chance I got --</dialogue> <character>VERNA</character> <dialogue>This is not your fault. Understand me? Stop this nonsense. Stop it now.</dialogue> <scene_description>He looks at his momma. This strong woman.</scene_description> <character>VERNA</character> <dialogue>Your brother looked up to you. And you took great care of him. We both did. It's time to let someone else take care of him now.</dialogue> <scene_description>With that, she can no longer hold back the tears. Dre hugs her, mother and son comforting each other.</scene_description> <character>VERNA</character> <dialogue>I'm proud of you... So proud of you, baby...</dialogue> <scene_description>Dre fights back tears of his own, the words he's longed to hear. As Verna slowly turns and walks away, Cube, Eazy, Ren and Yella surround him, brothers in arms. They walk out the Mausoleum. TOUR BUS MONTAGE: 55pt1 -- Rural farmland. Flyover-ville. Where the fuck are we?55pt1 55pt2 -- Dre stares out the window, despondent, lost in thought... 55pt2 55pt3 INT./EXT. TOUR BUS 55pt3 -- Cube and Ren jot lyrics on notepads as the bus passes by more PROTESTORS...</scene_description> <character>CUBE</character> <dialogue>Check this out --</dialogue> <character>PROTESTOR 1</character> <dialogue>Ban gangsta rap!</dialogue> <character>PROTESTOR 2</character> <dialogue>Get the hell out</dialogue> <scene_description>of here! THUD! An egg smacks into the window OBSCURING OUR VIEW.</scene_description> <character>REN</character> <dialogue>We should get out and beat his ass.</dialogue> <scene_description>55pt4 INT. TOUR BUS 55pt4 -- Yella watches porn next to Eazy who's grown bored...</scene_description> <character>EAZY</character> <dialogue>Man shut that off. Put on my shit.</dialogue> <scene_description>Disgruntled, Yella obliges. Puts on SCARFACE. Eazy smiles. 55pt5 INT. TOUR BUS 55pt5 -- Eazy and Jerry mastermind backstage at a concert. Jerry HANDS a BILLBOARD MAGAZINE to Eazy.</scene_description> <character>JERRY</character> <dialogue>Moving up on the Billboard 200 albums chart, Holding our bullet the R&amp;B, Hip-Hop chart. I mean, you have any idea how many records we're selling? Ruthless has arrived. Eric, we are huge!</dialogue> <scene_description>Eazy scans the magazine. Drinks it in, sly smile as we --</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL - POOL SIDE - NIGHT</stage_direction> <scene_description>Surrounded by GROUPIES, living the life, the GANG hangs by the pool. Odd looks are sent their way from snobby HOTEL GUESTS, a school of fish out of water as -- JERRY looks worried as he makes a bee-line toward the pool in his trademark velvet sweat suit, LETTER in hand. He officiously hands it to Eazy, who scans it. Growls:</scene_description> <character>EAZY</character> <dialogue>The muthafuckin' FBI?</dialogue> <scene_description>These words catch everybody's attention. We catch a GLIMPSE OF THE LETTER on FBI stationary -- Dre snatches it from Eazy.</scene_description> <character>DRE</character> <dialogue>Damn, they comin' after us, too?</dialogue> <scene_description>Now Cube leans over -- reads aloud:</scene_description> <character>CUBE</character> <dialogue>"... advocating violence and assault is wrong and we in the law enforcement community take exception to such action." Have they ever heard of freedom of speech? What the fuck can they do to us?</dialogue> <character>JERRY</character> <dialogue>It's a warning. A message to our record label about "Fuck the Police". We should really think about not performing that song for a while.</dialogue> <scene_description>That doesn't sit well with the group. Moans and growns are heard.</scene_description> <character>JERRY</character> <parenthetical>(over their PROTESTS)</parenthetical> <dialogue>Relax. RELAX. No need to worry-- All I'm saying is, we should be aware of this threat...</dialogue> <character>CUBE</character> <dialogue>If it was from the LAPD, then I'd be worried.</dialogue> <character>EAZY</character> <dialogue>We should all be happy, not worried. This is a gift, man. More free publicity for NWA.</dialogue> <parenthetical>(waves letter)</parenthetical> <dialogue>That's why we gonna send this to the press. Let everybody know about this kind of harassment and intimidation by the government. Right, Jerry?</dialogue> <scene_description>Jerry does not think this is the best idea ever but...</scene_description> <character>JERRY</character> <dialogue>Well, uh. If that's what you wanna do, then maybe we --</dialogue> <character>EAZY</character> <dialogue>Do it, Jerry. Let everybody see this bullshit.</dialogue> <scene_description>Eazy gives the letter back to Jerry, who walks off, leaving the boys all hanging pool side. After a deliberative beat:</scene_description> <character>CUBE</character> <dialogue>I guess freedom of speech don't mean shit.</dialogue> <character>REN</character> <dialogue>Not if you a nigga wit an attitude.</dialogue> <scene_description>All they guys look at each other. Eazy ain't worried about nothing-- he puts on his Locs and continues to kick it. A57 QUICK CUTS: A57 Of different POLICE OFFICERS from DIFFERENT CITIES across the U.S., each reciting their city's obscenity ordinance, one line bleeding into the next: A57pt1 -- A Macon, GA OFFICER... A57pt1</scene_description> <character>GA OFFICER</character> <dialogue>No person shall disturb the peace by --</dialogue> <scene_description>A57pt2 -- A Montgomery, AL OFFICER... A57pt2</scene_description> <character>AL OFFICER</character> <dialogue>-- Participating or abetting in any rude, indecent, riotous, drunken or violent conduct --</dialogue> <scene_description>A57pt3 -- A Louisville, KY OFFICER... A57pt3</scene_description> <character>KY OFFICER</character> <dialogue>-- Using any vulgar, obscene or abusive language in a public place - -</dialogue> <scene_description>A57pt4 -- A St. Louis, MO OFFICER... A57pt4</scene_description> <character>MO OFFICER</character> <dialogue>-- Inciting any other person to commit any breach of the peace, or --</dialogue> </scene> <scene> <stage_direction>INT. JOE LOUIS ARENA - BACK STAGE - DETROIT - NIGHT</stage_direction> <character>SUPERIMPOSE: AUGUST 6, 1989 - DETROIT, MI.</character> <dialogue>We catch a serious and quiet Cube along with the rest of NWA - - and Jerry Heller -- gathered as a local POLICE OFFICER reads to them from a piece of PAPER -- Eazy has on his ski mask.</dialogue> <character>POLICE OFFICER</character> <dialogue>-- committing any obscene, indecent or immoral act in a public place. Note also that performance of the song "F The Police" will not be permitted. Refusal to abide by all Detroit City Ordinances will result in immediate arrest and forfeiture.</dialogue> <character>CUBE</character> <dialogue>Are we finished, man? We got a show to do.</dialogue> <scene_description>The Cop sneers at Cube, walks off, throws another shot --</scene_description> <character>POLICE OFFICER</character> <dialogue>Just watch yourselves.</dialogue> <character>REN</character> <dialogue>Yeah-- You watch yourselves too.</dialogue> <scene_description>He stares back at Ren one more time -- before leaving. Eazy takes off his hockey mask. All the GUYS are looking at each other. Eazy and Jerry head off across the room for a private chat -- Ren looks at Cube -- Cube looks at Dre -- Yella looks at the perfect ass of a passing FEMALE OFFICER.</scene_description> <character>YELLA</character> <parenthetical>(to himself)</parenthetical> <dialogue>Yeah man, fuck the po-lice for real.</dialogue> <scene_description>He laughs and sticks his tongue out.</scene_description> </scene> <scene> <stage_direction>INT. JOE LOUIS ARENA - STAGE - LATER</stage_direction> <scene_description>With Dre spinning, Cube, Ren and Yella hype the crowd as Eazy tears up the final bars of STRAIGHT OUTTA COMPTON --</scene_description> <character>EAZY</character> <dialogue>This is the auto-biography of the E, and if you ever fuck with me you'll get taken, by a stupid dope brotha who will smother, word to the motherfucka, straight outta Compton.</dialogue> <scene_description>The CROWD goes insane as the CHORUS PLAYS OUT. Like a God, Eazy pimp strides off stage where Jerry awaits, all smiles, arms open as -- BACK ON STAGE, Cube, Dre, Yella and Ren are feeling defiant. CUBE addresses the amped CROWD:</scene_description> <character>CUBE</character> <dialogue>Yo hold up, hold up -- Y'all know what the muthafuckin' po-lice just told us back stage? They tired to tell us-- what the fuck we can't say-- what the fuck we can't play!</dialogue> <scene_description>The CROWD HOLLERS and BOOS their disapproval.</scene_description> <character>CUBE</character> <dialogue>Put ya middle finger in the air!</dialogue> <scene_description>Cube raises his hand in the air, quickly SNAPS HIS MIDDLE FINGER to attention. Ren does the same with BOTH HANDS -- The CROWD RESPONDS by getting LOUDER THAN WE'VE EVER HEARD, and RETURNING the gesture. We're talking THOUSANDS of people, all with BOTH MIDDLE FINGERS RAISED -- this is the real shit, this is what they came here for --</scene_description> <character>CUBE</character> <dialogue>This NWA -- We do what the fuck we wanna do! We say what the fuck we wanna say! So, all I wanna tell that cop talking shit back stage is -- Yo Dre, I got something to say!</dialogue> <scene_description>Dre DROPS IT. Cube jumps right into it, pure adrenaline --</scene_description> <character>CUBE</character> <dialogue>FUCK THE POLICE COMIN' STRAIGHT</dialogue> <character>FROM THE UNDERGROUND. A YOUNG NIGGA</character> <dialogue>GOT IT BAD CAUSE I'M BROWN --</dialogue> <scene_description>The crowd goes ape-shit! BOUNCING and THRASHING like a MOSH PIT. Pure ELECTRICITY-- Jerry Heller is suddenly alarmed by the song selection. As Cube slices throughout the first verse -- Cops are getting agitated -- Waiting for the order to pounce. After their CAPTAIN has seen enough-- He gives the order. At that moment, the PLAINCLOTHES COPS in the crowd pull out their BADGES and start MOVING FORWARD through the sea of people, trying to make their way to the STAGE -- Cube keeps SPITTING -- lyrics are approaching that mighty hook. The UNDERCOVER COPS are causing a lot of commotion in the crowd... When CUBE hits the hook the CROWD JOINS IN, because they know all the lyrics --</scene_description> <character>CUBE &amp; CROWD</character> <dialogue>FUCK THA POLICE! -- FUCK! FUCK!</dialogue> <character>FUCK THA POLICE!-- FUCK THAT</character> <dialogue>POLICE!</dialogue> <scene_description>POP-POP-POP -- Cube stops rapping -- the CROWD is momentarily STUNNED! What the hell was THAT? Gunfire? A fucking BOMB? Whatever it was, TOTAL CHAOS BREAKS OUT -- The CROWD starts SURGING for the EXITS. Suddenly, DOZENS MORE COPS have MATERIALIZED OUT OF NOWHERE -- All the members of NWA DROP their mics and rush off stage, while the Arena descends into mayhem behind them --</scene_description> </scene> <scene> <stage_direction>INT. JOE LOUIS ARENA - BACK STAGE - CONTINUOUS</stage_direction> <scene_description>It's CHAOTIC. Tons of COPS, both UNIFORMED and UNDERCOVER, SWARM as the Guys RACE past a LIVID Eazy and Jerry --</scene_description> <character>EAZY</character> <dialogue>What the fuck did you DO!?</dialogue> <scene_description>No time for answers, THEY RUN TOO. Jerry can't believe the cops are on their tails.</scene_description> </scene> <scene> <stage_direction>EXT. JOE LOUIS ARENA - LOADING AREA - CONTINUOUS</stage_direction> <scene_description>All the GUYS try to make their way to an idling VAN which is waiting to whisk them away to safety, but --</scene_description> <character>REN</character> <dialogue>Aw fuck...</dialogue> <scene_description>Because they all just noticed TWO THINGS: 1) there are DOZENS of rabid FANS gathered outside, and 2) there are also A SHIT- LOAD OF POLICE, holding back the FANS. The GROUP is spotted by some COPS, who peel off and head STRAIGHT FOR THEM --</scene_description> <character>ICE CUBE</character> <dialogue>Here we go y'all...</dialogue> <scene_description>The COPS are immediately ON them, grabbing, frisking, CUFFING, and DRAGGING them all toward a PADDY WAGON which has materialized outside. And as soon as the CROWD sees their beloved NWA being hauled away, they go NUTS, and start throwing BOTTLES and ROCKS at the COPS, who DUCK and SWERVE to avoid the projectiles. The CROWD starts CHANTING, at a deafening volume --</scene_description> <character>CROWD</character> <dialogue>FUCK THE POLICE. FUCK THE POLICE.</dialogue> <character>FUCK THE POLICE. FUCK THE POLICE --</character> <dialogue>Before it gets any hairier, the COPS start PILING NWA into the PADDY WAGON. JERRY HELLER tries to shove his way over --</dialogue> <character>JERRY</character> <dialogue>You have no right! This is illegal! You can't do this --</dialogue> <scene_description>But the Detroit Cops don't give a shit, they SLAM Jerry up against a wall, hold him there.</scene_description> <character>COP</character> <dialogue>Stay fucking put, old man!</dialogue> <scene_description>Jerry watches helplessly as the Paddy Wagon PEELS AWAY into the night, taking our heroes away -- OMITTED</scene_description> </scene> <scene> <stage_direction>INT./EXT. TOUR BUS - OPEN ROAD - THE NEXT DAY</stage_direction> <scene_description>The bus cruises along as we PUSH INSIDE to the sound of --</scene_description> </scene> <scene> <stage_direction>INT. TOUR BUS - MOVING</stage_direction> <scene_description>Silence, save the rumble of the road. Everyone sits by himself, semi-secluded. Nobody talks. They all just stare out the windows, embroiled in thought. Exhausted. Shell-shocked. Jerry watches a NEWS REPORT on the riot at the Detroit show.</scene_description> <character>JERRY</character> <dialogue>What the fuck were you guys thinking? They can hold us libel for inciting a riot! No one cares that the police started it...</dialogue> <scene_description>Dre, Ren and Yella start paying attention as Eazy switches channels. Finds another report about the riot. And another. And another. Images blurring by of the concert.</scene_description> <character>JERRY</character> <dialogue>Whether you like it or not, you are a political group. Never give these assholes a reason to hurt you. Next time they might take it.</dialogue> <scene_description>The guys watch, realizing that they're becoming a part of the zeitgeist. No longer in the news, they are the news.</scene_description> <character>KURT LODER (PRE-LAP)</character> <dialogue>The explosive Compton rap group, N.W.A. --</dialogue> <scene_description>HARD CUT TO: CLOSE ON MTV NEWS REPORT (STOCK FOOTAGE)</scene_description> <character>KURT LODER</character> <dialogue>-- aka Niggers With Attitudes, officially had their video banned here at MTV due to gang-like images that could incite violence. This is not the first scrape with controversy for the band --</dialogue> </scene> <scene> <stage_direction>INT. HOTEL - CONFERENCE ROOM - CONTINUOUS</stage_direction> <scene_description>CLICK! CLICK! CLICK! NWA sit at a long table being interviewed for a PRESS JUNKET, dozens of microphones thrust in their faces, cameras flashing. All the members are engaged, leaning forward, elbows on the table. They got each other's back as WE PARACHUTE IN:</scene_description> <character>JOURNALIST 1</character> <dialogue>How do you explain insighting a riot in Detroit? What do you have to say about that?</dialogue> <character>EAZ</character> <dialogue>We didn't insight shit.</dialogue> <character>DRE</character> <dialogue>You just got a snapshot of how Americans honestly feel.</dialogue> <character>REN</character> <dialogue>We didn't create that.</dialogue> <character>JOURNALIST 2</character> <dialogue>Your songs glamorize the lifestyle of gangs, guns and drugs.</dialogue> <character>CUBE</character> <dialogue>My art is the reflection of my reality. What do you see when you go outside of your door. I know what i see.</dialogue> <character>YELLA</character> <dialogue>And it ain't glamorous.</dialogue> <character>CUBE</character> <dialogue>And by the way, the hood gets AKs from Russia and cocaine from Columbia.</dialogue> <character>EAZY</character> <dialogue>We don't even have passports. Check the source.</dialogue> <character>REN</character> <dialogue>Who is responsible for that?</dialogue> <character>JOURNALIST 3</character> <dialogue>You are experiencing a metoric rise. How can you explain that artits like Axl Rose from Guns and Roses are wearing your tshirts and hats?</dialogue> <character>DRE</character> <dialogue>Isn't it obvious. Real recongnize real.</dialogue> <character>CUBE</character> <dialogue>WE must of struck a nerve.</dialogue> <scene_description>Journalist 4 quickly interjects -- The guys let that lie a moment as other JOURNALISTS speak up.</scene_description> <character>JOURNALIST 4</character> <dialogue>Will you be more careful about what you say, and how you say it?</dialogue> <character>REN</character> <dialogue>Nope.</dialogue> <scene_description>Everyone LAUGHS.</scene_description> <character>CUBE</character> <dialogue>Hell no. Last I heard, this is America and we got Freedom of Speech. Pretty sure that includes rap music. Exercisin' our Free Speech across this whole damn country, openin' people's eyes. Far as I'm concerned that's our job.</dialogue> <scene_description>The Journalists take that in, impressed by Cube's media savvy and forthright demeanor. Cube points to another JOURNALIST.</scene_description> <character>JOURNALIST 4</character> <dialogue>So Cube, what's a guy from Compton do when he starts making real money like this?</dialogue> <scene_description>Laughter from the assembled. Not from Cube. Silence. Then:</scene_description> <character>JOURNALIST 4</character> <dialogue>Cube..?</dialogue> </scene> <scene> <stage_direction>EXT. DOUBLETREE SUITES - PHOENIX - ESTABLISHING - NIGHT</stage_direction> <scene_description>The typical cookie-cutter hotel blights the beautiful desert landscape as the band exits the tour bus, enters --</scene_description> </scene> <scene> <stage_direction>INT. DOUBLETREE SUITES - PHOENIX - NIGHT</stage_direction> <scene_description>CUBE walks down the hotel hallway, stops in front of a door. He KNOCKS, but there's no answer. He notices the door is PROPPED open with the dead-bolt, so he pushes inside --</scene_description> </scene> <scene> <stage_direction>INT. DOUBLETREE SUITES - JERRY'S SUITE - CONTINUOUS</stage_direction> <scene_description>Cube enters the dark room. At the far end of the room, there's a DESK, with a lone LAMP illuminated, casting weird, creepy shadows across the room. And JERRY HELLER sits behind the desk, his face mostly obscured in shadow. Cube grins, bemused, because this tableau is clearly deliberate, a dramatic show of power.</scene_description> <character>JERRY</character> <dialogue>It's nice to see you, Cube.</dialogue> <character>CUBE</character> <dialogue>Well I can barely see you, Jerry. What's with all this Godfather shit?</dialogue> <scene_description>Jerry ignores the comment, rises from behind the desk, carefully places a stapled sheaf of PAPERS on the desk.</scene_description> <character>JERRY</character> <dialogue>I know you've been very eager to sign a contract with Eric's company, Ruthless Records.</dialogue> <character>CUBE</character> <dialogue>It's your company too, right? You and Eric. All for one, one for all.</dialogue> <scene_description>Jerry sighs, shakes his head.</scene_description> <character>JERRY</character> <dialogue>That's incorrect. It's not my company. I work for you. I've made that clear from the beginning.</dialogue> <scene_description>Cube just nods, like, yeah right. Picks up the thick contract, pages through it. It's full of dense legalese.</scene_description> <character>CUBE</character> <dialogue>Alright, cool. So I can take this one, show it to a lawyer or somethin'?</dialogue> <scene_description>Jerry stares at him for a beat. Places his hands on the desk.</scene_description> <character>JERRY</character> <dialogue>Cube, lawyers get paid to make trouble. That's what they do -- create problems where problems don't exist.</dialogue> <character>CUBE</character> <dialogue>But I have no idea what it says. At least let me take it to show my family.</dialogue> <character>JERRY</character> <dialogue>I can assure you, it's all standard. You can read it now, if you like.</dialogue> <scene_description>Cube's expression darkens. He clenches his jaw.</scene_description> <character>CUBE</character> <dialogue>Jerry, you know I can't understand this legal shit. None of us can. That's why we need to show it to a lawyer--</dialogue> <character>JERRY</character> <dialogue>Cube, I thought you knew? Everyone else signed already. You're the only one who hasn't.</dialogue> <scene_description>Cube flips to the last page. The Signatory page. Sure enough, there's EAZY's signature, DRE's, YELLA's, and REN's. Cube can only shake his head with confusion, disappointment.</scene_description> <character>CUBE</character> <dialogue>What the fuck..?</dialogue> <character>JERRY</character> <dialogue>Look. Cube. This is a great thing. This is what you always wanted your whole life. And there's also this.</dialogue> <scene_description>Jerry lays a CHECK on the desk in front of Cube, made out to O'SHEA JACKSON. And it's for $75,000. Cube can't help it, his eyes go wide. It's more money than he ever dreamed of.</scene_description> <character>CUBE</character> <dialogue>Damn. (beat) Thanks, man.</dialogue> <scene_description>He reaches for the check, but Jerry pulls it back.</scene_description> <character>JERRY</character> <dialogue>Soon as you sign this contract, the money is all yours.</dialogue> <scene_description>Cube freezes. Realizes he's being shaken down.</scene_description> <character>CUBE</character> <dialogue>That's my money anyway, Jerry. I earned it. I wrote a lot of hit songs. I been on tour for months.</dialogue> <character>CUBE</character> <dialogue>Performing. Gettin' arrested and shit. And you gonna try to gank me?</dialogue> <character>JERRY</character> <dialogue>That's ridiculous.</dialogue> <character>CUBE</character> <dialogue>Give me my money, Jerry.</dialogue> <character>JERRY</character> <dialogue>You're kidding me, right? Who do you think pays for everything? All the hotel rooms, the parties, the transpo? You think that's free?</dialogue> <scene_description>Cube closes his eyes. Takes a deep breath. He must literally will himself to not implant his fist in Jerry's face.</scene_description> <character>CUBE</character> <dialogue>Why all this now, Jerry? Back in the beginning, if you thought we were so good, why didn't you just give us contracts then?</dialogue> <character>JERRY</character> <dialogue>Nothing's a sure thing, Cube. Even a great talent can crash and burn. Too much ego, too much excess, too many expectations -- it tends to ruin things. You oughta keep that in mind.</dialogue> <scene_description>Cube stares hard. Knows exactly what Jerry's implying.</scene_description> <character>CUBE</character> <dialogue>I'm gonna ask one more time. Are you sayin' I can't have the money I earned, unless I sign this contract, right now, without showin' it to anybody?</dialogue> <scene_description>Jerry just crosses his arms, looks at Cube, says nothing.</scene_description> <character>CUBE</character> <dialogue>Bye, Jerry.</dialogue> <scene_description>He turns and walks out of the room --</scene_description> </scene> <scene> <stage_direction>INT. DOUBLETREE SUITES - LOBBY - DAY</stage_direction> <scene_description>Dre, Ren and Yella lounge on the lobby couch, packed bags beside them. And they couldn't be happier.</scene_description> <character>REN</character> <dialogue>I'mma get me a El Camino with some gold Daytons and a Phantom top.</dialogue> <character>YELLA</character> <dialogue>I can't wait to get out of that "po- man's Porsche" and get me some real shit --</dialogue> <scene_description>Face crumpled with anger, Cube approaches. Drops his bags.</scene_description> <character>CUBE</character> <dialogue>Y'all signed that Ruthless contract without a lawyer?</dialogue> <character>REN</character> <dialogue>Yeah -- And we got paaaaaid!</dialogue> <character>YELLA</character> <dialogue>For $75,000 dollars, I don't give a fuck what's in that contract!</dialogue> <scene_description>Dre and Ren chuckle at Yella's candor.</scene_description> <character>DRE</character> <dialogue>You ain't signed?</dialogue> <character>CUBE</character> <dialogue>Hell naw I ain't signin' that bullshit. Don't y'all think it's a little fucked up that Jerry won't let us show it to nobody? That seem honest to y'all? If he offered us seventy-five thousand, he probably owes us double that.</dialogue> <parenthetical>(to Ren)</parenthetical> <dialogue>Thought we talked about this, dude?</dialogue> <character>REN</character> <dialogue>It is what it is... I don't trust Jerry but I trust Eric.</dialogue> <scene_description>Cube's disgusted by their ignorance. Only Dre seems to be considering Cube's words --</scene_description> <character>CUBE</character> <dialogue>At this point, Eric and Jerry in this thing together. Believe dat!</dialogue> </scene> <scene> <stage_direction>EXT. LEIMERT PARK - LATE AFTERNOON</stage_direction> <scene_description>The bus is parked back where the tour began. Exhausted, D.O.C. exits the bus and heads toward a BURGUNDY CHEVY BLAZER, where SUGE KNIGHT waits to pick him up. D.O.C. throws his bags in the back. Kicks it with Suge for a minute as -- Eazy exits the bus with Yella. They watch D.O.C. and Suge.</scene_description> <character>EAZY</character> <dialogue>What up with Doc and Suge?</dialogue> <character>YELLA</character> <dialogue>Guess that dude's "managing" him now. One day you Bobby Brown's bodyguard, next day you reppin' talent. Everybody wanna get into the act...</dialogue> <scene_description>Dre exits, looking discouraged. And we understand why when an equally despondent Cube exits the bus and begins to move away from the crew. Dre catches up to him --</scene_description> <character>DRE</character> <dialogue>Yo Cube-- You can't just sign that shit, homie..? Keep making history..?</dialogue> <character>CUBE</character> <dialogue>Naw man, not like this. I'd rather be broke then get fucked -- Why did you sign that shit, Dre?</dialogue> <character>DRE</character> <dialogue>Nigga, I got bills to pay -- and I need to put some money in my Momma's hands after Tyree passed.</dialogue> <character>CUBE</character> <dialogue>Yo, I get it. Everybody gotta do what they gotta do. They're gonna take care you. You they're bread and butter.</dialogue> <character>DRE</character> <dialogue>Cube, we Ruthless.</dialogue> <character>CUBE</character> <dialogue>Nah, we NWA. They Ruthless.</dialogue> <character>T-BONE (O.S.)</character> <dialogue>You comin', Cube?</dialogue> <scene_description>Cube turns to find T-BONE from the Lench Mob and Jinx, waiting for him in his CAR. He looks back at Dre -- I'm out. They pound hug and Cube heads off. Hops into T-Bone's ride. BACK WITH DRE, considering the scene as everyone drives away, going in separate directions: Cube leaves with T-Bone... Yella leaves with Ren... Eazy leaves with Jerry... And D.O.C. leaves with Suge... Dre finds himself all alone, confronting a new reality.</scene_description> </scene> <scene> <stage_direction>A71 INT./EXT. T-BONES CAR - MOMENTS LATER A71</stage_direction> <scene_description>Cube rides in the passenger seat, pretty low at this point. No money, no group. JINX MOUTH IS RUNNING, but Cube's in a daze -- doesn't hear a word he's saying.</scene_description> <character>JINX</character> <dialogue>Can't believe you left the group, man. What you gonna do now? Guess we gotta start working on some solo stuff, huh? Cube? Cube?!</dialogue> <scene_description>As the car pulls up to a stop light, Cube looks over, spots a beautiful YOUNG LADY in a nice jeep on rims. She's looks back over at him, their eyes locked. Is this love at first sight? After a few magical moments. Cube finally speaks.</scene_description> <character>CUBE</character> <dialogue>How you doing? My name O'Shea. What's yours?</dialogue> <character>KIM</character> <dialogue>Kim.</dialogue> <character>CUBE</character> <dialogue>Hey Kim-- You the best thing I've seen all day.</dialogue> <scene_description>She smiles.</scene_description> <character>CUBE</character> <dialogue>You believe in love at first sight?</dialogue> <character>KIM</character> <dialogue>What you think?</dialogue> <scene_description>She is the only one that can get Cube to smile at this point. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>B71 INT. PRIORITY RECORDS - BRYAN TURNER'S OFFICE - DAY B71</stage_direction> <scene_description>Cube, Kim by his side, is seated opposite Bryan Turner -- who's floored by the news.</scene_description> <character>BRYAN</character> <dialogue>Wow, you're really leaving the group...</dialogue> <character>CUBE</character> <dialogue>Yeah, I'm tired of the games. Eazy puts everything on Jerry and Jerry puts everything on Eazy. They can have it.</dialogue> <character>BRYAN</character> <dialogue>How do you feel about that Kim? Is he making a big mistake?</dialogue> <character>KIM</character> <dialogue>I don't think so-- after hearing everything that happened, I would've left too. Now he has the chance to showcase all his talents.</dialogue> <character>BRYAN</character> <dialogue>Well, I believe in you Cube, so I'll tell ya what: there's not a lot of money in this right now, but if this first record hits, I'll make it up to you on the next one.</dialogue> <scene_description>Cube gets up and shakes Bryan's hand.</scene_description> <character>CUBE</character> <dialogue>Well get ready-- 'cause these albums are gonna be comin' real fast. I'm hungry and I got a lot to say that's gonna fuck the world up.</dialogue> <character>BRYAN TURNER</character> <dialogue>Who're you gonna get to produce? Ruthless is probably gonna veto Dre working on the project. So what's your plan?</dialogue> <character>CUBE</character> <dialogue>If I can't get the best producer in the in the west. I gotta go get the best in the east.</dialogue> <scene_description>Off Cube's determined look-- HARD CUT TO: SUPERIMPOSE: SIX MONTHS LATER - NEW YORK CITY</scene_description> </scene> <scene> <stage_direction>INT. GREENE STREET STUDIO - NEW YORK CITY - DAY</stage_direction> <scene_description>CUBE, rocking a LENCH MOB JACKET, spitting new lyrics into the mic with crazy energy, a stack of notebooks on the chair beside him. It's the creation of NIGGA YA LOVE TO HATE --</scene_description> <character>CUBE</character> <dialogue>Kickin' shit called street knowledge. Why more niggas in the pen than in college? Now cause of that line I might be your cellmate. That's from the nigga ya love to hate.</dialogue> <scene_description>IN THE MIXING BOOTH: CHUCK D -- Pittsburgh Pirates hat, brim low, PUBLIC ENEMY on his jacket -- along with the SHOCKLEES, JINX and DA LENCH MOB plus 2 members of the FRUIT OF ISLAM, Security and KIM. Everyone exchanging looks, impressed. ON A SUSPENDED TV in the corner, we see LOUIS FARRAKHAN preaching to a crowd of F.O.I. It's clear this is a very different world than the one Cube left behind in L.A.</scene_description> </scene> <scene> <stage_direction>INT./EXT. DRE'S LOW RIDER - EAZY'S HOUSE - DAY</stage_direction> <scene_description>The completed version of NIGGA YA LOVE TO HATE POUNDS out of the SPEAKERS in DRE's ride as he pulls up to Eazy's crib.</scene_description> <character>CUBE TRACK</character> <dialogue>(FUCK YOU ICE CUBE!) Yeah, HA-HA! I'm the nigga ya love to hate --</dialogue> <scene_description>Dre chuckles to himself in disbelief. Shit is dope. On the SEAT beside him, a CD with the plastic freshly torn off -- It's Ice Cube's AMERIKKKA'S MOST WANTED.</scene_description> </scene> <scene> <stage_direction>EXT. EAZY'S HOUSE - CALABASAS - DAY</stage_direction> <scene_description>There's a PARTY going on at Eazy's huge new mansion, reminiscent of Scarface's estate. And the gang's all here, everyone we know... except for Cube. Over by the poolside gazebo, JERRY talks with a troubled EAZY.</scene_description> <character>EAZY</character> <dialogue>Cube's record's in the Billboard top 20! Our shit never even came close to that. He's blowin' the fuck up --</dialogue> <character>JERRY</character> <dialogue>It's gonna be fine, Eric. It's not just NWA anymore, it's our whole Ruthless roster.</dialogue> <character>JERRY</character> <dialogue>We've got D.O.C., we've got Michel'le, we've got Above the Law. We're moving up to the next level.</dialogue> <character>EAZY</character> <dialogue>We gotta keep Dre happy. Keep him motivated.</dialogue> <scene_description>Eazy looks over at DRE, across the pool -- He's DANCING with three drop-dead BEAUTIFUL GIRLS. Dre's smile is massive. He clearly loves this sweet life.</scene_description> <character>JERRY</character> <dialogue>Look at him. You think he needs anymore motivation than that?</dialogue> <character>EAZY</character> <dialogue>Yeah I get it. He drownin' in pussy. But that don't mean --</dialogue> <character>JERRY</character> <dialogue>You gotta stop worrying so much. Let me do the worrying for you. Fact is, Ren can write just as good as Cube. Maybe even better. Come over here a minute --</dialogue> <scene_description>Eazy follows Jerry to a TABLE where he's set up a bunch of CHECKS and PAPERS, and he hands Eazy a PEN.</scene_description> <character>JERRY</character> <dialogue>Need your autograph on these checks and a few other things. Just sign right here --</dialogue> <scene_description>Eazy starts SIGNING, even though his eyes keep drifting over to the many WOMEN partying. Jerry GRINS, noticing how quickly Eazy gets distracted.</scene_description> <character>EAZY</character> <dialogue>We done with this shit now?</dialogue> <character>JERRY</character> <dialogue>We're done.</dialogue> <character>EAZY</character> <dialogue>Thanks, Jerry. I'mma go fuck now.</dialogue> <scene_description>Jerry laughs, slaps Eazy on the back as he walks off, and stands there enjoying the sunshine, the pretty girls, the party vibe. His eyes wander to the PORCH, where -- SUGE KNIGHT is standing, smoking a cigar. And Suge is STARING at Jerry, his expression blank. Almost like he's studying Jerry. The old man stops smiling, deeply unsettled. Luckily -- DRE APPROACHES SUGE, breaking the big dawg's gaze.</scene_description> <character>DRE</character> <dialogue>Wuddup, Suge -- You good?</dialogue> <character>SUGE</character> <dialogue>Are you?</dialogue> <scene_description>Off Dre's confused look --</scene_description> <character>SUGE</character> <dialogue>Just figured you might be a bit fucked up after hearin' Cube's shit.</dialogue> <character>DRE</character> <dialogue>Fucked up about what? I been bangin' that shit.</dialogue> <scene_description>D.O.C. Interrupts --</scene_description> <character>D.O.C.</character> <dialogue>Wuddup, Dre. There's some bitches up in here, right? (to Suge) Yo, you take care of that shit for me?</dialogue> <character>SUGE</character> <dialogue>I'm on it.</dialogue> <scene_description>Dre takes notice of the exchange as we --</scene_description> </scene> <scene> <stage_direction>A74 INT. PRIORITY RECORDS - BRYAN TURNER'S OFFICE - DAY A74</stage_direction> <scene_description>Cube is standing in Bryan Turner's office, and we can tell, right off, things are tense.</scene_description> <character>CUBE</character> <dialogue>I'm just tellin' you what you told me. If Amerikkka's Most blew up, you'd advance me for the follow-up. That's what you said.</dialogue> <character>BRYAN TURNER</character> <dialogue>It's more complicated than that, Cube, there's metrics --</dialogue> <character>CUBE</character> <dialogue>Come on, Bryan. I don't even know what that means.</dialogue> <character>CUBE</character> <dialogue>Man, I got a kid on the way -- and I just bought a house on the strength of what you told me. You gave me your word.</dialogue> <scene_description>Bryan stands up, holds his hands out, tries to soothe --</scene_description> <character>BRYAN TURNER</character> <dialogue>Cube. Relax. We're on the same team here. I'm your biggest fan --</dialogue> <character>CUBE</character> <dialogue>It's like this shit keeps happenin' to me, no matter what I do. When people do the work, they should get paid. Why you making it seem like I'm begging for some shit that's technically mine?</dialogue> <character>BRYAN TURNER</character> <dialogue>Of course your not begging -- and I'm not trying to be difficult.</dialogue> <scene_description>Cube glances around at all the GOLD and PLATINUM records adorning the walls in Bryan's office.</scene_description> <character>CUBE</character> <dialogue>But you can't help me. That's what you're sayin'.</dialogue> <scene_description>Bryan puts his hands in his pockets, hangs his head. The answer is obvious. Cube stares at him a beat, then turns his back, heads out the door --</scene_description> <character>BRYAN TURNER</character> <dialogue>Cube, wait, Cube, come back --</dialogue> </scene> <scene> <stage_direction>B74 INT. PRIORITY RECORDS - BRYAN'S OFFICE - LATER B74</stage_direction> <scene_description>Bryan's still in his office, grinding through some work.</scene_description> <character>CUBE (O.S.)</character> <dialogue>Shoulda kept your word, Bryan.</dialogue> <scene_description>CUBE and THE LENCH MOB (same dudes we saw at Greene Street) enter, Cube holding a METAL BASEBALL BAT! IN A FLASH, he's SMASHING THE FUCK OUT OF THE OFFICE. His boys split up, block Bryan, block the doorway -- no one in, no one out.</scene_description> <character>BRYAN TURNER</character> <dialogue>STOP! STOP! WHAT THE FUCK, CUBE!??!</dialogue> <scene_description>Cube SMASHES the GOLD and PLATINUM RECORDS on the WALLS, the ARTWORK, the GLASS COFFEE TABLE. Pretty much everything else that's breakable.</scene_description> <character>BRYAN TURNER</character> <dialogue>FINE! FINE, I'LL GET YOU YOUR</dialogue> <character>MONEY! JUST STOP!</character> <dialogue>But Cube keeps on SMASHING, until there's nothing left to smash. THE OFFICE IS COMPLETELY DESTROYED.</dialogue> <dialogue>Cube's out of breath, but he looks pretty exhilarated. He drops the bat on the floor, walks out of the decimated office, followed by the other guys.</dialogue> <dialogue>Bryan remains standing there, speechless, in shock --</dialogue> </scene> <scene> <stage_direction>INT. AUDIO ACHIEVEMENTS STUDIO - LATER</stage_direction> <scene_description>Dre, Eazy, Ren and Yella work on their follow-up album. D.O.C.'s here, too, drinking gin, straight, buzzing. IN THE BOOTH, Ren's recording REAL NIGGAZ...</scene_description> <character>REN</character> <dialogue>... Prisoner like a hostage. You shoulda covered your muthafuckin' head like an ostrich. Deep in the dirt cause you a sucka. And your ass up high so I can kick the muthafucka --</dialogue> <scene_description>Dre watches from the board, uncharacteristically detached.</scene_description> <character>EAZY</character> <dialogue>That's what I'm talkin' about. Cube ain't shit.</dialogue> <character>DRE</character> <dialogue>How you figure? That record's still the hottest shit out there.</dialogue> <character>YELLA</character> <dialogue>For real. Cube killed it --</dialogue> <character>EAZY</character> <dialogue>That's why we gotta go hard at him. We gonna look like some bitches if we just take that shit.</dialogue> <character>D.O.C.</character> <dialogue>Take what? (beat) I don't know what the fuck you talkin' about. I like that shit.</dialogue> <scene_description>Yella nods, but Dre doesn't even respond. Just keeps plodding away on the board as D.O.C. proceeds unsteadily toward the door, bumping into Eazy on the way --</scene_description> <character>EAZY</character> <dialogue>Man, why you gotta be drunk all the time? Get your shit together.</dialogue> <scene_description>D.O.C. keeps on walking, barking back:</scene_description> <character>D.O.C.</character> <dialogue>Get your own shit together, lil nigga --</dialogue> <scene_description>As he exits we focus back on the studio. One thing's clear: no one's enjoying themselves anymore.</scene_description> </scene> <scene> <stage_direction>INT. FANCY RESTAURANT - LOS ANGELES - NIGHT</stage_direction> <scene_description>Eazy enjoys dinner with a lovely, put-together young woman, TOMICA. She's nobody's groupie. She's serious, and smart.</scene_description> <character>TOMICA</character> <dialogue>This place is nice. Wow, I didn't realize this was a real "date" date. I thought we were just going out to eat. You bring all your females here?</dialogue> <character>EAZY</character> <dialogue>Only the special ones. (beat) Actually I've never been here before, but I heard it's good.</dialogue> <parenthetical>(Jokingly)</parenthetical> <dialogue>High as it is, it better be.</dialogue> <scene_description>He smiles. She laughs affably, shakes her head.</scene_description> <character>TOMICA</character> <dialogue>You know I have a job, right?</dialogue> <character>EAZY</character> <dialogue>Excuse me, Miss Record Executive.</dialogue> <character>TOMICA</character> <dialogue>Executive Assistant. Ya know, you don't have to impress me. We could've went to Fat Burgers. I just like hangin with you. You make me laugh. That's good enough for me, you know? We can just chill.</dialogue> <scene_description>Eazy nods, knows she's right. His eyes catch a SEXY WOMAN sashaying past. He SMILES at her, and she SMILES back. He turns back to Tomica, who just saw the whole thing... but she's not mad. She's grinning confidently, seen it before, doesn't sweat stuff like this.</scene_description> <character>TOMICA</character> <dialogue>Yeah, she had a nice ass. But she might wanna fix those teeth.</dialogue> <scene_description>Eazy laughs. He knows a lot of women, but it's no wonder Tomica's his favorite.</scene_description> </scene> <scene> <stage_direction>A76 INT. DRE'S CAR - COMPTON, CA - NIGHT A76</stage_direction> <scene_description>Dre's bobbing his head to something dope -- HIS CAR PHONE RINGS. He turns down the music. Answers.</scene_description> <character>DRE (INTO PHONE)</character> <dialogue>Wuddup.</dialogue> <scene_description>In an instant, his face sinks -- He SLAMS the breaks, bangs a U-Turn and SPEEDS TOWARD --</scene_description> </scene> <scene> <stage_direction>B76 EXT. HOSPITAL - NIGHT B76</stage_direction> <scene_description>Dre's CAR jumps up to the curb, in a red zone. He doesn't care. He hops out and runs through the sliding front doors.</scene_description> </scene> <scene> <stage_direction>C76 INT. HOSPITAL ROOM - MOMENTS LATER C76</stage_direction> <scene_description>Dre stands at the bottom edge of the bed, looking down at D.O.C, unconscious, head bandaged, tubes in his face. SUGE stands a few steps away, looking somber, but still filling the room with his bulk.</scene_description> <character>SUGE</character> <dialogue>Doc shouldn't even be alive. He got thrown from the car-- hit a tree.</dialogue> <character>DRE</character> <dialogue>Goddamn. Is he paralyzed?</dialogue> <character>SUGE</character> <dialogue>Nah. His throat got crushed. Doctor said he'll never talk right again.</dialogue> <character>DRE</character> <dialogue>Vocal chords?</dialogue> <character>SUGE</character> <dialogue>All fucked up. Career could be in jeopardy (beat). Where's Eazy and Jerry?</dialogue> <scene_description>Dre takes the moment in. He's honest about it.</scene_description> <character>DRE</character> <dialogue>I don't know.</dialogue> <character>SUGE</character> <dialogue>Them niggas ain't loyal. Taking they're fuckin' time to come see the man. That's why I got my people looking into his contracts at Ruthless. Gotta protect what he got left.</dialogue> <scene_description>Suge looks at Dre, clocking his expression.</scene_description> <character>SUGE</character> <dialogue>What do you think about Jerry?</dialogue> <character>DRE</character> <dialogue>He aiight. I guess.</dialogue> <scene_description>Suge nods. Contemplative.</scene_description> <character>SUGE</character> <dialogue>What about your paperwork? Is it cool?</dialogue> <character>DRE</character> <dialogue>I dunno. I just focus on the music. (beat). Maybe your people could look into my shit too?</dialogue> <character>SUGE</character> <dialogue>Most definitely. I can arrange that.</dialogue> <scene_description>D.O.C. groans and turns in his sleep. Both of his friends look down at him, quietly watching with concern.</scene_description> </scene> <scene> <stage_direction>INT. PRIORITY RECORDS - CONFERENCE ROOM - DAY</stage_direction> <scene_description>CUBE sits at the head of a long conference table beside Kim. He looks DIFFERENT now -- shaved head, no more Jheri curls. Bryan Turner emerges from outside the office, CD in hand. He's trying to keep the mood upbeat, though clearly the power dynamic between them has shifted toward Cube's advantage.</scene_description> <character>BRYAN TURNER</character> <dialogue>Cube, Kim -- Great to see you guys. How's that new house treating you?</dialogue> <character>KIM</character> <dialogue>The new house is great. Thanks for asking. How's the new office?</dialogue> <character>BRYAN TURNER</character> <parenthetical>(making light of it)</parenthetical> <dialogue>Great. I never did like the design of the old one anyway.</dialogue> <scene_description>Bryan chuckles and looks over at Cube-- who doesn't seem in the mood for small talk. Cube notices the CD in Bryan's hand.</scene_description> <character>CUBE</character> <dialogue>What you got, Bryan? I know you called me up here for somethin'.</dialogue> <character>BRYAN TURNER</character> <dialogue>It's the new NWA record. I wanted to play it for you first, before you heard it anywhere else --</dialogue> <scene_description>Cube looks at Bryan, confused: Snatches the CD and he's at the CD player before Bryan can blink.</scene_description> <character>BRYAN TURNER</character> <dialogue>About one minute in --</dialogue> <scene_description>Cube hits PLAY -- Tracks forward. Then he, Kim and Bryan listen to REAL NIGGAZ on the conference room's stereo system.</scene_description> <character>DRE (ON TRACK)</character> <dialogue>... We started out with too much cargo. So I'm glad we got rid of Benedict Arnold.</dialogue> <scene_description>Cube doesn't say anything, but his face shows his anger.</scene_description> <character>CUBE</character> <dialogue>Benedict Arnold.</dialogue> <character>KIM</character> <dialogue>They're trying to call you some kind of a traitor.</dialogue> <character>CUBE</character> <dialogue>I'm a traitor!? I didn't say shit about NWA on Amerikkka's Most Wanted! But now they're trying to diss. Okay.</dialogue> <scene_description>CLOSE ON Cube's eyes, full of fire -- Kim notices Cube building tension. She gently rubs his arm and leans in close to whispers--</scene_description> <character>KIM</character> <dialogue>Baby, tell me what you're thinking.</dialogue> <character>CUBE</character> <dialogue>I can't wait to get to the mothafuckin' studio!</dialogue> </scene> <scene> <stage_direction>INT. RECORDING STUDIO - LOS ANGELES - DAY</stage_direction> <scene_description>CUBE at the mic, spitting with the most audacious fury we've ever seen on the most brutal diss track ever: NO VASELINE.</scene_description> <character>CUBE</character> <dialogue>God DAMN I'm glad y'all set it off. Used to be hard, now you're just wet and soft. First you was down with the AK. And now I see you on a video with Michel'le. Lookin' like straight Bozos. I saw it comin', that's why I went solo.</dialogue> <scene_description>At the BOARD, JINX looks to THE LENCH MOB in the room -- Oh, shit, this is getting real --</scene_description> </scene> <scene> <stage_direction>A78 INT OR EXT. SOMEWHERE IN THE CITY - DAY A78</stage_direction> <scene_description>Dre and D.O.C. sit and listen to NO VASELINE-- with every line D.O.C. makes a different "dunk face" indicating how embarrassed he is for his homie Dre.</scene_description> <character>CUBE (ON TRACK)</character> <dialogue>Yella Boy's on your team so you're LOSIN'! And yo, Dre? Stick to producin'. Callin' me Arnold, but you Been-A-Dick. Eazy saw your ass, and went in it QUICK.</dialogue> <scene_description>As we pan over to Dre, we can see that he kind of digs the creativity and lyrics. He confirms it with a slight smirk and chuckle. Clearly blowing the song off.</scene_description> </scene> <scene> <stage_direction>INT. JERRY'S LIVING ROOM - DAY</stage_direction> <scene_description>NO VASELINE CONTINUES over -- Jerry and N.W.A., minus Dre and D.O.C., listen to the track, faces grimaced:</scene_description> <character>CUBE (ON TRACK)</character> <dialogue>Y'all disgrace the C-P-T. 'Cause you gettin' fucked out your green by a white boy, with No Vaseline.</dialogue> <scene_description>Ren and Yella slouch in the corner, looking very unhappy.</scene_description> <character>CUBE (ON TRACK)</character> <dialogue>... So don't believe what Ren say, cause he goin out like Kunta Kinte. But I got a whip for ya, Toby; used to be my homie, now you act like you don't know me --</dialogue> <scene_description>But Cube has saved the best for last. He unleashes upon EAZY and JERRY, who LISTEN intently, jaws dropped.</scene_description> <character>CUBE (ON TRACK)</character> <dialogue>You little maggot, Eazy E turned faggot. With your manager, fella, fuckin' MC Ren, Dr. Dre, and Yella. But if they were smart as me, Eazy E would be hangin' from a tree. With no vaseline, just a match and a little bit of gasoline. Light 'em up, burn 'em up, flame on. Til that Jheri curl is gone. On a permanent vacation, off the Massa plantation. Heard you both got the same bank account -- Dumb nigga, what you thinkin' about? Get rid of that Devil real simple: put a bullet in his temple. Cuz you can't be the Nigga 4 Life crew with a white Jew tellin' you what to do --</dialogue> <scene_description>Jerry looks absolutely livid, while Eazy just looks caught off guard. Jerry gets up and TURNS OFF the music --</scene_description> <character>YELLA</character> <dialogue>That shit's kinda funny.</dialogue> <scene_description>Everybody gives YELLA the look.</scene_description> <character>REN</character> <dialogue>Mothafucka got us! What we gonna do? I got my pen ready to serve that fool. Just say the word.</dialogue> <scene_description>Eazy is still trying to digest the track.</scene_description> <character>JERRY</character> <dialogue>We'll sue that worthless fuck. Defamation, libel... That anti- Semitic piece of shit, I'm gonna call up my friends at the J.D.L. and we'll see how he likes that, little bastard.</dialogue> <parenthetical>(off Eazy's despondent look)</parenthetical> <dialogue>Eric, come on, we gotta get organized here, we gotta fight --</dialogue> <character>EAZY</character> <dialogue>Stop it, Jerry. Relax man. Niggas don't know what anti-Semitic means - - It's just a battle rap.</dialogue> <character>JERRY</character> <parenthetical>(still hopping mad)</parenthetical> <dialogue>I always knew Cube was a rotten human being. And people are gonna know the facts. I'll make sure of it. I can't believe you're not as angry as I am, what's wrong with you? Didn't you hear what he said?</dialogue> <character>EAZY</character> <dialogue>I heard it, Jerry. You deal with it your way, I'll deal with it mine. All we got to do is hit the studio and end this boy career.</dialogue> <character>YELLA</character> <dialogue>I don't know about all that.</dialogue> <character>JERRY</character> <dialogue>Well call Dre and you guys go do it!</dialogue> <scene_description>And Jerry storms out, leaving the crew behind --</scene_description> <character>REN</character> <dialogue>Damn, E. Who work for who?</dialogue> <character>EAZY</character> <dialogue>Who you see sitting in the big chair mothafucka?!</dialogue> <scene_description>Eazy re-establishes that he's the top dog at Ruthless. OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. JERRY'S HOUSE - FRONT - NIGHT</stage_direction> <scene_description>Jerry pulls into his driveway, gets out of the car, carrying a bag of groceries, starts walking toward the door. He hears a CAR DOOR SLAM, and he TURNS, sees a gleaming-new EL CAMINO parked across the street. A very large BLACK MAN we haven't seen before has emerged, and is walking toward him. The Man STOPS about fifteen feet away from Jerry, and stands there, just staring, patiently, ominously.</scene_description> <character>JERRY</character> <dialogue>Help you with something?</dialogue> <character>LARGE MAN</character> <dialogue>This your house?</dialogue> <scene_description>Jerry looks at the Man. Glances up and down the street. There's nobody around. It couldn't be quieter.</scene_description> <character>JERRY</character> <dialogue>Who's asking?</dialogue> <character>LARGE MAN</character> <dialogue>It's a real nice house.</dialogue> <scene_description>Jerry glances at the front door of the house. Seems to be gauging, in his mind, how long it will take to get there.</scene_description> <character>JERRY</character> <dialogue>Who are you? Are you with Suge Knight? Someone else? Ice Cube?</dialogue> <scene_description>The Man doesn't answer. Instead, he just gazes upon the house, the lush surrounding lawn, the trees.</scene_description> <character>LARGE MAN</character> <dialogue>Have yourself a good night, Jerry.</dialogue> <scene_description>He makes a hat-tipping gesture to Jerry. Except he's not wearing a hat. Then he walks back to the car, climbs inside. Jerry watches him go, alarmed --</scene_description> </scene> <scene> <stage_direction>INT. HOTEL - LOBBY - NEW YORK CITY - DAY</stage_direction> <scene_description>We are in a HALLWAY adjacent to the AUDITORIUM where a RAP PANEL is about to take place. Find CUBE drifting down the escalator along with THE LENCH MOB, and they're all decked out in their Lench Mob Gear. Coming up the escalator on the other side, is the rap group ABOVE THE LAW (ATL), all wearing gear blazing the RUTHLESS RECORDS logo. As the two groups approach each other, they both get QUIET, and their faces pull into angry sneers. The animosity between the two groups is tense, palpable, dangerous. Just as they're about to PASS each other --</scene_description> <character>ATL GUY 1</character> <parenthetical>(under his breath)</parenthetical> <dialogue>Fuckin' traitor...</dialogue> <scene_description>But Cube and his boys heard that shit.</scene_description> <character>CUBE</character> <dialogue>Fuck'd y'all say!?</dialogue> <character>ATL GUY 2</character> <dialogue>Ruthless, muthafuckas!</dialogue> <scene_description>AND THEN IT POPS OFF! Some of the ATL CREW hop the escalator divider, others sprint down the other side to attack -- THE LENCH MOB CREW, at the foot of the escalator, they all start BRAWLING like crazy. PUNCHING each other in the face, grappling, cursing -- There's so many FISTS flying -- such a tangle of BODIES -- it's hard to tell who's hitting who. It's fucking CHAOTIC and UGLY, and it culminates in -- The moving violent mass SMASHING INTO A LARGE GLASS DISPLAY, SHATTERING it. Just then -- A LENCH MOB GUY runs up to a downed an ATL GUY, winds back to kick him while he's down, but before the kick lands, we -- HARD CUT TO: A83 ARCHIVAL FOOTAGE A83 An OFFICER KICKS the downed RODNEY KING while three other L.A.P.D. OFFICERS (known as the L.A. Four) mercilessly beat the man. We all recognize this as the RODNEY KING BEATING. Raw, gritty, horrific. WE PULL BACK to reveal --</scene_description> </scene> <scene> <stage_direction>INT. AUDIO ACHIEVEMENTS STUDIO - DAY</stage_direction> <scene_description>The members of NWA (minus Cube, of course) watch the NEWS FOOTAGE while in the studio, finishing up some new TRACKS for their follow-up album NIGGAZ 4 LIFE.</scene_description> <character>DRE</character> <dialogue>Still can't believe it. It's like they're enjoying themselves.</dialogue> <character>EAZY</character> <dialogue>Least they got it on video. LAPD gonna have a real good time on that level 3 prison yard, know what I mean?</dialogue> <character>DRE</character> <dialogue>Yep, we got they asses this time. Tape don't lie.</dialogue> <scene_description>The room is over-crowded -- because everyone has an ENTOURAGE. JERRY is also there and he doesn't look thrilled about it, nor is he happy to see -- SUGE KNIGHT in the room, hovering behind DRE at the Board, accompanied by a very large GERMAN SHEPHERD. Jerry tries to make his way over to Dre, but SUGE blocks his path, and the HUGE DOG stares at Jerry.</scene_description> <character>JERRY</character> <dialogue>Just need a word with Dre --</dialogue> <character>SUGE</character> <dialogue>It can wait. Let the man work.</dialogue> <scene_description>Jerry looks at the dog, the dog looks back. Stymied, Jerry turns and exits the studio, jaw clenched. After he leaves, Dre sighs. He looks tired, depressed. Totally over it. He PLAYS BACK the track he's been working on, listens. Tries to feel it. But something's missing. Irritated, Dre gets up, exits the studio. Suge follows --</scene_description> </scene> <scene> <stage_direction>EXT. AUDIO ACHIEVEMENTS STUDIO - PATIO - MOMENTS LATER</stage_direction> <scene_description>Suge comes out the back door just behind Dre --</scene_description> <character>SUGE</character> <dialogue>Yo Dre. Hold up.</dialogue> <scene_description>-- gestures for Dre to sit with him at a nearby table.</scene_description> <character>SUGE</character> <dialogue>I did what you asked. Had my people look into your contracts.</dialogue> <scene_description>Dre's interest is piqued.</scene_description> <character>SUGE</character> <dialogue>It ain't good. Not that I'm surprised or anything. Gotta watch yourself.</dialogue> <character>DRE</character> <dialogue>What you mean by that?</dialogue> <scene_description>Suge pulls out a thick FILE. Places it on the table.</scene_description> <character>SUGE</character> <dialogue>Everything you need to know. It's all in there.</dialogue> <character>SUGE</character> <parenthetical>(off Dre's sober look)</parenthetical> <dialogue>You know I can help you with this.</dialogue> <scene_description>Dre considers a moment...</scene_description> <character>DRE</character> <dialogue>Nah. I got this.</dialogue> </scene> <scene> <stage_direction>INT. AUDIO ACHIEVEMENTS STUDIO - THE NEXT NIGHT</stage_direction> <scene_description>Eazy sits alone in the studio, listening to some NEW TRACKS. It's late, and there's nobody else around as -- Dre comes in through the door, holding the FILE from Suge. Eazy notices the file, along with Dre's nervous energy.</scene_description> <character>EAZY</character> <dialogue>So, what'd you wanna see me about? Sounded all worked up on the phone.</dialogue> <scene_description>Dre sits down across from him, full of purpose, fired up.</scene_description> <character>DRE</character> <dialogue>I know you don't like hearin' this shit. But it's about Jerry. We gotta get rid of that muthafuck --</dialogue> <character>EAZY</character> <dialogue>Is that seriously the reason you wanted to talk? I thought we were past all that --</dialogue> <character>DRE</character> <dialogue>I found out some information, Eric. Real shit. I had some people look at this, and I ain't gettin' my fair share.</dialogue> <scene_description>Eazy finally turns and looks Dre in the eyes.</scene_description> <character>EAZY</character> <dialogue>You know why you rich, Dre? You know why you live in a big ass house and don't sleep on a couch no more? Do you know why you fuck the finest bitches? That's Jerry, dude. He broke us through the door. He made this shit happen, and you wanna turn on him just like Cube --</dialogue> <character>DRE</character> <dialogue>Cube was right, fool! You gotta look at these papers, E. Just look and you'll see.</dialogue> <character>DRE</character> <dialogue>We made it because our shit is dope, Eric, not because of Jerry. We can keep going and own the goddamn world, we just can't be fuckin' with him no more.</dialogue> <scene_description>Eazy just shakes his head, turns back to the Board. Dre looks pained. Can't believe he can't get through.</scene_description> <character>DRE</character> <dialogue>Dude. We go back a long, long way. You and me. We started this NWA shit. I just want it to be right.</dialogue> <character>EAZY</character> <dialogue>You think that's right, turning your back on somebody? After all he's done for us?</dialogue> <character>DRE</character> <dialogue>You mean all he's done for you.</dialogue> <scene_description>Eazy doesn't say anything. Dre stands up --</scene_description> <character>DRE</character> <dialogue>Look at me, man. Why won't you look at me? It's like I don't mean shit to you. Like I never meant shit.</dialogue> <scene_description>Eazy won't look at Dre, shrugs. Cruelest shrug you ever saw. Dre looks hollowed out by it.</scene_description> <character>DRE</character> <dialogue>Thought you were my brother.</dialogue> <character>EAZY</character> <dialogue>Thought you were mine, too.</dialogue> <scene_description>Dre walks out the door -- SLAMS it so hard, the walls shake. A platinum NWA record slides off the wall, breaks on the floor. Eazy FLINCHES, even though he wishes he didn't. A86 OMITTED A86</scene_description> </scene> <scene> <stage_direction>B86 INT. AUDIO ACHIEVEMENTS STUDIO - DAY B86</stage_direction> <scene_description>Ren and Yella enter to find Eazy on the mixing board, more than a little out of his element. They look at one another, confused -- Clearly, something's up.</scene_description> <character>REN</character> <dialogue>Everything cool, E?</dialogue> <scene_description>No response. Eazy just keeps poking around on the board...</scene_description> <character>YELLA</character> <dialogue>Yo where Dre at anyway --</dialogue> <character>EAZY</character> <dialogue>Man, fuck Dre.</dialogue> <scene_description>They've finally got Eazy's undivided but heated attention.</scene_description> <character>YELLA</character> <dialogue>Whatchu mean?</dialogue> <character>EAZY</character> <dialogue>Why don't y'all ask him.</dialogue> <character>REN</character> <dialogue>Fuck you talkin' about? He comin' or not --</dialogue> <character>EAZY</character> <dialogue>That nigga quit. So nah, he ain't comin'. But fuck it, we gonna keep this shit movin'. Don't need that punk anyway...</dialogue> <scene_description>Disbelief washes across Ren and Yella's faces as we --</scene_description> </scene> <scene> <stage_direction>C86 INT. CAN AM STUDIOS - DAY C86</stage_direction> <scene_description>Suge grits on a cigar sitting next to Dre who's at the mixing board working on the track to "Deep Cover".</scene_description> <character>SUGE</character> <dialogue>This shit sounds good.</dialogue> <character>DRE</character> <dialogue>None of this means anything, while I'm under contract with Ruthless.</dialogue> <character>SUGE</character> <dialogue>Don't worry about that. I promise you that I'll get you out of your contracts.</dialogue> <scene_description>Dre gets back to the work at hand as -- Warren G and SNOOP DOGG burst into the studio. Snoop Dog is dressed head to toe in blue.</scene_description> <character>SNOOP</character> <dialogue>What's up, Cuz.</dialogue> <scene_description>Snoop greets everyone around the room pounding each and every person. To the surprise and dismay to the room full of bloods especially Suge Knight.</scene_description> <character>SUGE</character> <dialogue>Yo who the fuck's this, Warren?</dialogue> <character>WARREN G</character> <dialogue>My bad.</dialogue> <character>SNOOP</character> <dialogue>Snoop Doggy Dog, Cuz. Who are you?</dialogue> <scene_description>The Bloods around the room are tripping on Snoop. Before it escalates, Dre gets up, greets Snoop properly.</scene_description> <character>DRE</character> <dialogue>Glad y'all came by. Your demo was tight.</dialogue> <character>SNOOP</character> <dialogue>Thanks, Dre.</dialogue> <character>DRE</character> <dialogue>Well listen, I'm workin' on a track for this movie called "Deep Cover." I want you to get down on it.</dialogue> <character>SNOOP</character> <dialogue>For real?</dialogue> <scene_description>Dre smiles back at Snoop: Yup, for real.</scene_description> <character>SNOOP</character> <dialogue>Oh hell yeah...</dialogue> <scene_description>Snoop walks into the booth, puts on some headphone's as we --</scene_description> </scene> <scene> <stage_direction>INT. EAZY'S HOUSE - NIGHT</stage_direction> <scene_description>The PHONE RINGS. Eazy answers --</scene_description> <character>EAZY</character> <dialogue>Hello?</dialogue> <character>SUGE (FILTERED)</character> <dialogue>We need to talk about them contracts.</dialogue> <character>EAZY</character> <dialogue>Talk to Jerry.</dialogue> <character>SUGE (FILTERED)</character> <dialogue>Don't wanna talk to Jerry. It's your company. You're the man.</dialogue> <scene_description>Eazy doesn't say a word, considering, deeply conflicted.</scene_description> <character>SUGE (FILTERED)</character> <dialogue>Come by the studio. We'll be here all night. Just workin'. We just wanna squash this. Make it right for you.</dialogue> </scene> <scene> <stage_direction>EXT. S.O.L.A.R. STUDIOS - LOS ANGELES - LATE NIGHT</stage_direction> <scene_description>Parked across the street, Eazy looks at the building, not happy about it. Enemy territory. He opens up his STASH BOX in a hidden panel below the radio. There's a PISTOL inside. He reaches in, puts his hand around it. Hesitates, hearing -- A DISTANT POLICE SIREN. Pulls his hand away, leaves the piece. He hops out of the car, walks toward --</scene_description> </scene> <scene> <stage_direction>INT. S.O.L.A.R. STUDIOS - STUDIO - MINUTES LATER</stage_direction> <scene_description>Eazy enters the Studio, sees only SUGE sitting there, smoking a cigar, petting his DOG. He comes further into the room, peeks around, looking for --</scene_description> <character>EAZY</character> <dialogue>Where the hell is Dre? You said he'd be here --</dialogue> <character>SUGE</character> <dialogue>Don't worry about Dre. (beat) Truth be told, he ain't got nothing to do with this right here.</dialogue> <scene_description>Suge pulls out a sheaf of papers, and a pen.</scene_description> <character>SUGE</character> <dialogue>Here's what's gonna happen. You're gonna sign these. Releasing Dre and The D.O.C. from Ruthless.</dialogue> <character>EAZY</character> <dialogue>Whatever homie. You think I'm signing that shit, you crazier then I thought. I'm out --</dialogue> <scene_description>Eazy just laughs, heads for the door. But before he gets there, it OPENS, revealing -- A LARGE DUDE wearing Blood-Red. He enters the studio, crosses his arms. A massive barrier.</scene_description> <character>SUGE</character> <dialogue>Naw. I think you gonna stay awhile.</dialogue> <scene_description>SLAM! Eazy SPINS to see TWO MORE BLOODS entering through a side door. One of them holds a metal BASEBALL BAT. The other has a SHOTGUN dangling at his side. Eazy now realizes he's just walked into a straight-up buzz- saw. But he shows no fear. He puffs his chest out.</scene_description> <character>EAZY</character> <dialogue>Fuck you, Suge. I ain't scared of none you niggas, cuzz!</dialogue> <scene_description>Suge just stares at Eazy a long uncomfortable while.</scene_description> <character>SUGE</character> <dialogue>You can talk tough all you want-- but this ain't no record.</dialogue> <parenthetical>(heart attack serious)</parenthetical> <dialogue>Don't make me change you, Eric Wright.</dialogue> <character>EAZY</character> <dialogue>The fuck is that supposed to mean?</dialogue> <character>SUGE</character> <dialogue>These niggas will take something from you that you can't get back.</dialogue> <character>BLOOD</character> <dialogue>Just let me murder this Crab, Suge.</dialogue> <scene_description>Suge stands, eyes cold, black, as the THUGS moves behind Eazy.</scene_description> <character>SUGE</character> <dialogue>Naw. That's too easy.</dialogue> <parenthetical>(to Eazy)</parenthetical> <dialogue>I got a whole night planned for you if you don't sign them release forms.</dialogue> <scene_description>Eazy's eyes shoot to the Blood, back to Suge.</scene_description> <character>SUGE</character> <dialogue>It could happen quick, Eric. Or it could take a long, long time. You better choose right. Because you know where I come from. This Bompton nigga!</dialogue> <scene_description>EAZY'S FACE can't hide his fear anymore. Or his anger.</scene_description> <character>EAZY</character> <parenthetical>(so quiet, to himself)</parenthetical> <dialogue>Dirty mothafucka...</dialogue> <scene_description>WHAP! A large HAND falls on Eazy's SHOULDER -- pushing him hard down in a chair.</scene_description> </scene> <scene> <stage_direction>EXT. JERRY'S HOUSE - BACK YARD - LATER</stage_direction> <scene_description>Eazy sits slumped in a chair, drinking a beer next to the pool. His eyes look hard, flat, broken somehow -- CLICK! THERE'S A GUN TO HIS HEAD, revealing -- JERRY, in his BATHROBE looking freaked out, holding the gun. He immediately LOWERS it.</scene_description> <character>JERRY</character> <dialogue>Jesus Christ, Eric. You can't just... I thought you were --</dialogue> <scene_description>But Eazy isn't rattled at all. He just sits there, blank.</scene_description> <character>JERRY</character> <dialogue>Are yo okay? Eric. Why don't we go inside? All right? Come on...</dialogue> <scene_description>Jerry helps Eazy out of the chair, ushering him into --</scene_description> </scene> <scene> <stage_direction>INT. JERRY'S HOUSE - KITCHEN - MOMENTS LATER</stage_direction> <scene_description>Eazy follows Jerry into the kitchen as Jerry pulls some leftovers from the fridge. Slides them over to Eazy. But Eazy isn't interested. Instead, he pulls out a bag of weed. Rolls a joint, lights it. Takes a long drag -- Exhales a lot more than just smoke...</scene_description> <character>JERRY</character> <dialogue>Hey. You gotta tell me what's going on. I can tell when something's --</dialogue> <scene_description>Eazy leans on the counter. Finally looks at Jerry.</scene_description> <character>EAZY</character> <dialogue>I gotta kill that mothafucka, Suge. I just wanted you to know that shit's about to get thick around here.</dialogue> <character>JERRY</character> <dialogue>You're not gonna do that.</dialogue> <character>EAZY</character> <dialogue>I didn't come over here to ask you - - I came to tell you.</dialogue> <character>EAZY</character> <dialogue>You the one that wanted to be down with this gangsta shit. So here we go.</dialogue> <character>JERRY</character> <dialogue>You do that, it's gonna ruin everything we've built --</dialogue> <scene_description>Eazy suddenly SNAPS into intense anger --</scene_description> <character>EAZY</character> <dialogue>I have to do it! This is the streets, muthafucka! I don't have a choice! He came at me! He came at us. We don't hit back, it's over! Done! Put a fork in this shit!</dialogue> <scene_description>Jerry closes his eyes, takes a breath. Tries to keep his tone relaxed, so that he can, in turn, relax Eazy.</scene_description> <character>JERRY</character> <dialogue>Eric. Listen to me. I never said we won't hit back. But this isn't Compton. We don't hit back with bullets. We do it with lawyers. We drain those assholes.</dialogue> <scene_description>Eazy calms down a little bit.</scene_description> <character>EAZY</character> <dialogue>I don't care about the money, Jerry. Ain't about the money.</dialogue> <scene_description>Jerry puts a fatherly hand on Eazy's shoulder. Looks at him.</scene_description> <character>JERRY</character> <dialogue>Of course it is. You're smarter than those criminals. You wanna kill somebody? Then you'll be in prison, forever. No more family. No more Ruthless. No more anything.</dialogue> <scene_description>Eazy stares back at Jerry.</scene_description> <character>JERRY</character> <dialogue>If you kill this man. His problems are over and yours are just beginning -- Lets hit 'em where it really hurts.</dialogue> <scene_description>Eazy is more conflicted then ever before --</scene_description> </scene> <scene> <stage_direction>INT. EAZY'S HOUSE - STAIRS TO BEDROOM - NIGHT</stage_direction> <scene_description>Through the darkness we see movement. It's Eazy. He moves in a slow and laborious fashion as he enters -- THE BEDROOM where Tomica sleeps in their bed, safely tangled in sheets. Eazy doesn't even bother shedding his clothes. Simply slumps closer, sliding quietly under the covers. Without a word, she wraps Eazy in an embrace.</scene_description> </scene> <scene> <stage_direction>A92 EXT. CUBE'S HOUSE - BACK YARD/POOL - DAY A92</stage_direction> <scene_description>Kim looks on as the CNN CREW's CAMERAS FILM CUBE in the midst of a tense INTERVIEW -- A JOURNALIST peppers him with questions:</scene_description> <character>JOURNALIST</character> <dialogue>Are you Anti-Semitic?</dialogue> <character>CUBE</character> <dialogue>What? I thought this interview was about the Rodney King trial?</dialogue> <character>JOURNALIST</character> <dialogue>The J.D.L. has recently gotten involved, saying that the lyrics regarding your former manager Jerry Heller --</dialogue> <scene_description>But Cube's too smart to fall for this crap.</scene_description> <character>CUBE</character> <dialogue>I'm not Anti-Semitic. I'm Anti- Jerry Heller. Let me ask you a question -- do they condone Jerry's behavior when it comes to my situation? Him trying to get me to sign a contract without legal representation?</dialogue> <character>JOURNALIST</character> <dialogue>I have no idea.</dialogue> <character>CUBE</character> <dialogue>Well, you get me that answer and then we can continue on this topic. Until then, let's talk about the beating of an unarmed motorist -- Rodney King and the trial of 4 guilty L.A.P.D. Officers who seem to be Darryl Gates' standard issue - -</dialogue> <character>JOURNALIST</character> <dialogue>But it isn't just the Jewish community. The Korean grocer community have also accused you of racism, mostly because of your song "Black Korea" --</dialogue> <character>CUBE</character> <dialogue>Come on, man. That don't even make no sense. Black Korea is just a warning. That's it. I'm a journalist, just like you! Reporting on what's going on in the hood. But the difference is that I'm brutally honest about it. Cause sugar coating will get you diabetes.</dialogue> <scene_description>A couple of members of the Nation of Islam are quietly seen in the background as the journalist struggles, tries to gain a foothold --</scene_description> <character>JOURNALIST</character> <dialogue>What's your relationship with the Nation of Islam?</dialogue> <scene_description>Cube just smiles, shakes his head.</scene_description> <character>CUBE</character> <dialogue>There my brothers. That question alone just proves how unprepared of a "sandbag reporter" you really are. You wanna talk about Anti- Semitism? Then it's "Black Korea," and now you wanna talk about the Nation of Islam? Seriously, man. What's your agenda? You can't focus on one thing? Ask me something interesting. I'm not an elected official. I'm an artist. You haven't asked me one damn question about music. I'm America's conscience. I represent the good, the bad and the ugly. What you represent?</dialogue> </scene> <scene> <stage_direction>INT. DRE'S HOUSE - LIVING ROOM - DAY</stage_direction> <scene_description>The massive room's focal point is a BASIC STUDIO SETUP: SSL, some turntables, a mic, some keyboards, a tower of speakers.</scene_description> <character>SUPERIMPOSE: SIX MONTHS LATER</character> <dialogue>Dre sits in the epicenter of it all, motionless, lost. It's the first time we've seen him anywhere near a soundboard and not creating on it. He just stares into the nothingness --</dialogue> <dialogue>A TAP ON GLASS alerts us to SNOOP, Warren G and DOC (small scare on DOC's neck) outside. Dre stands. Opens the window.</dialogue> <character>DRE</character> <dialogue>What you fools doin' out here?</dialogue> <character>WARREN G</character> <dialogue>Watching you daydream for the last five minutes.</dialogue> <character>DOC</character> <parenthetical>(raspy voice)</parenthetical> <dialogue>Looking stupid as a mothafucka.</dialogue> <character>SNOOP</character> <dialogue>Come take a ride with us Dr. Dre. You gotta get out this house, Cuz and get your mind right.</dialogue> </scene> <scene> <stage_direction>INT. DRE'S CAR - LOS ANGELES - MINUTES LATER</stage_direction> <scene_description>Snoop at the wheel, they ride listening to ATOMIC DOG by George Clinton. Snoop's at the wheel, smoking a JOINT (surprise), Dre shotgun, Warren G and D.O.C. in the back.</scene_description> <character>SNOOP</character> <dialogue>What you so tense for, Cuz?</dialogue> <character>DRE</character> <dialogue>I'm cool.</dialogue> <character>WARREN G</character> <dialogue>No you not. You been up in that house for a month now, and not one track? Wassup, what's wrong?</dialogue> <character>DRE</character> <dialogue>First time in my life, I feel like I'm forcin' it.</dialogue> <character>WARREN G</character> <dialogue>Why?</dialogue> <character>DRE</character> <dialogue>Too much outside interference -- Eazy and Jerry tryin' to starve me out. Playin' games with my money. Tryin' to get me back in there on my hands and knees --</dialogue> <character>SNOOP</character> <dialogue>Is that why you ain't got no furniture?</dialogue> <scene_description>Snoop holds out the jay.</scene_description> <character>SNOOP</character> <dialogue>This shit'll chill you out.</dialogue> <character>DRE</character> <dialogue>Nah, that ain't me. I'm good.</dialogue> <character>WARREN G</character> <dialogue>Come on, big bro. Loosen up.</dialogue> <character>DRE</character> <parenthetical>(reconsidering)</parenthetical> <dialogue>Fuck it, gimme that shit.</dialogue> <scene_description>Dre takes a deep pull, holding it in before COUGHING out a massive cloud. They all laugh. And Dre takes another hit. An even bigger one.</scene_description> <character>DRE</character> <dialogue>Wow. What is in this shit?</dialogue> <character>SNOOP</character> <dialogue>That shit right there? That's the Chronic.</dialogue> <scene_description>Dre TURNS UP the music.</scene_description> <character>SNOOP</character> <dialogue>You never smoked before?</dialogue> <character>DRE</character> <dialogue>No. I can feel it in my nuts, man. Is that normal?</dialogue> <scene_description>Dre finds himself laughing with the guys as they cruise on...</scene_description> </scene> <scene> <stage_direction>INT. DRE'S HOUSE - LIVING ROOM - DAY</stage_direction> <scene_description>Dre's behind the SSL, listening to a rhythm based on Leon Heywood's I'M GONNA DO SOMETHING FREAKY TO YOU. Warren G, Snoop, and D.O.C are in different corners of the room. Smoke floats over Snoop's head like a halo. The vibe is positive and laid back, but as we look at Dre's face we can tell what he's thinking: something's missing. Dre turns to the MOOG Keyboard situated on the side of the board and starts noodling with a melody. It's almost familiar. But not quite. Then he hits it: Da do dee dah dee dah dah dee do deee... Just like that, we've witnessed the birth of AIN'T NUTHIN' BUT A G THANG.</scene_description> <character>SNOOP</character> <dialogue>Oh shit. Keep playing that.</dialogue> <scene_description>Dre does the same ten notes -- That's it! It's G THANG.</scene_description> <character>SNOOP</character> <parenthetical>(freestyling)</parenthetical> <dialogue>One. Two. Three into the Four. Snoop Doggy Dogg and Dr. Dre is at the door... (rap continues)</dialogue> <scene_description>Just like that, musical history is being created.</scene_description> </scene> <scene> <stage_direction>EXT. JERRY'S HOUSE - BACK YARD - DAY</stage_direction> <scene_description>Tapdancing for a slightly fatigued Eazy, Jerry tries hard to convince him that --</scene_description> <character>JERRY</character> <dialogue>We're about to get back into the game in a big way, Eric --</dialogue> <character>EAZY</character> <dialogue>Yeah? How you figure?</dialogue> <character>JERRY</character> <dialogue>Are you just trying to insult me?</dialogue> <scene_description>Eazy stares back at Jerry, like indulge me.</scene_description> <character>JERRY</character> <dialogue>Did you forget about Ren's album? Or the fact that you're working on an album that I believe is gonna be bigger than anything NWA ever --</dialogue> <character>EAZY</character> <dialogue>Do you really believe that bullshit? All I know is Cube's doin' big things, makin' movies and shit. And I keep hearin' about this album Dre workin' on --</dialogue> <character>JERRY</character> <dialogue>Dre's a fuckin' producer, Eric! Producer's don't rap! It's never gonna work! Period!</dialogue> <scene_description>OMITTED OMITTED 98pt1 OMITTED 98pt1</scene_description> </scene> <scene> <stage_direction>I/E. DRE'S HOUSE - BEDROOM TO BACKYARD - DAY</stage_direction> <scene_description>The MUSIC IS BUMPIN'! There's a party going on somewhere in this house, but not in this room. We're close up on a pair of blue Chuck Taylors with a pair Dickies and boxers draped on them. As we pull back, we realize that some LUCKY BASTARD is GETTING HEAD from a SEXY WOMAN with nice curves. As we pull back further, we can't even see who the Lucky Bastard is because another AMAZING FEMALE is sitting on his face, MOANING and smoking a blunt. Just as we attempt to register what's going on -- We track another SPECTACULAR FEMALE in a two-piece bikini. She grabs the blunt from her, hits it and walks out to the balcony. She blows out the smoke and passes it to one of the HOMIES who's already rolling up more blunts from the pound of weed sitting on the table in front of him. From there we crane down, passing the DJ rig on the second floor balcony. Even the DJ has GIRLS around him, a blunt in his mouth, and a drink in his hand. We crane down further to the bottom floor where MORE GIRLS in BIKINIS get sprayed by GUYS with SUPER SOAKERS and CHAMPAGNE BOTTLES. It's an impromptu "wet T-shirt" contest. As we pull back across the pool, a few more TOPLESS GIRLS jump in and we realize we're at one of those famous Dr. Dre/Death Row pool parties. People everywhere. Sex in the air. Freezer-bags stuffed with high-grade weed are being passed out to everybody by Snoop Dogg himself. We catch a glimpse of two nice looking LADIES walking over to the bar. We will come to know one of them as NICOLE. But first-- IN THE GAZEBO, we find Dre smoking a blunt and playing DOMINOES with D.O.C., laughing, blowing off some much-needed steam. Until -- Dre's eyes settle on Nicole, who's different from the rest. She's not drunk, or dancing, or flirting. She's beautiful, but in an understated way. When her friend gets up and walks away, Nicole turns, like she senses Dre's gaze. Looks right at him, with clear, bright, but wary eyes. He heads over --</scene_description> <character>DRE</character> <dialogue>You look like you're ready to go.</dialogue> <character>NICOLE</character> <parenthetical>(smiles)</parenthetical> <dialogue>I'm just waiting on my friend. I knew I should've drove.</dialogue> <character>DRE</character> <dialogue>You're not having fun?</dialogue> <character>NICOLE</character> <dialogue>Oh no, it was fun. I had a lot of fun. But now it's starting to get a little wild.</dialogue> <character>DRE</character> <dialogue>Yeah, it does get crazy around here sometimes.</dialogue> <parenthetical>(extending his hand)</parenthetical> <dialogue>Hi, I'm Andre.</dialogue> <character>WOMAN (NICOLE)</character> <dialogue>I know.</dialogue> <parenthetical>(shaking his hand)</parenthetical> <dialogue>I'm Nicole.</dialogue> <character>DRE</character> <dialogue>Hey Nicole, why don't you come over here with me and kick it for a while til your friend gets back.</dialogue> <scene_description>She considers a moment. Then --</scene_description> <character>NICOLE</character> <dialogue>I don't know, maybe another time and another place. But not now.</dialogue> <scene_description>And with that, a visibly tipsy Warren G walks over, trying to dump some USED COALS out of a kettle-style GRILL --</scene_description> <character>WARREN G</character> <dialogue>Yo Dre, we're can I dump this shit?</dialogue> <character>DRE</character> <dialogue>Do it look like I give a fuck right now? Can't you see I'm tryin' to make a Love Connection?</dialogue> <character>NICOLE</character> <dialogue>No, he's trying make a friend connection.</dialogue> <character>WARREN G</character> <dialogue>Aiight, regulate that shit!</dialogue> <scene_description>Warren G staggers off with the hot coals. They smile at Warren's walk off.</scene_description> <character>DRE</character> <dialogue>A friend connection?</dialogue> <character>NICOLE</character> <dialogue>Speaking of friends, I need to go find mine before she gets too lost.</dialogue> <character>DRE</character> <dialogue>You want me to help you?</dialogue> <character>NICOLE</character> <dialogue>No, seems like you need to get back to your game. I'll talk to you later.</dialogue> <scene_description>She gets up and heads off leaving Dre with a big smile on his face. As she goes --</scene_description> <character>DRE</character> <dialogue>I'mma find you, Nicole!</dialogue> <scene_description>She turns. Smiles back. Disappears into the party. But it's clear he's crushing hard on this girl. PATIO - MOMENTS LATER The PARTY is still going strong but we see some underlying tension developing. On one side, we have SNOOP'S CREW -- many of them straight-up Long Beach Rollin 20's CRIPS. While Suge's crew, on the other side, are various Compton BLOODS. SNOOP is FREESTYLING for a small GROUP gathered around him, blowing all their minds --</scene_description> <character>SNOOP</character> <dialogue>FREESTYLE TBD...</dialogue> <scene_description>Snoop STOPS mid-flow, and STARES, wide-eyed, at the HOUSE --</scene_description> <character>SNOOP</character> <dialogue>What the fuhhhh --</dialogue> <scene_description>Everyone TURNS! GIRLS IMMEDIATELY START SCREAMING because -- DRE'S HOUSE IS ON FIRE! Huge orange FLAMES lick up the siding, spreading quickly. BLACK SMOKE pours into the sky! Everybody SCATTERS, tripping over each other, falling on the lawn, because let's not forget everyone is WASTED. Find DRE, watching the flames, almost hypnotized by them, because it doesn't seem real. Warren G staggers up beside him, watching on, eyes like saucers.</scene_description> <character>WARREN G</character> <dialogue>Your house is on fire.</dialogue> <character>DRE</character> <dialogue>Yeah. (beat) Shit's crazy, right.</dialogue> <character>WARREN G</character> <dialogue>Maybe I shouldn't have thrown them coals in the trash.</dialogue> <scene_description>Dre suddenly snaps out of it. Because --</scene_description> <character>DRE</character> <dialogue>MY FUCKIN' MASTERS!</dialogue> <scene_description>Against all logic, Dre storms INTO THE BURNING HOUSE as the SOUNDS of DISTANT SIRENS ring out --</scene_description> </scene> <scene> <stage_direction>INT. CAN AM STUDIOS - OFFICE - DAY</stage_direction> <scene_description>Dre and Suge talk in a corner of the studio. Voices low.</scene_description> <character>DRE</character> <dialogue>What do you mean that everyone is passing on this record?</dialogue> <character>SUGE</character> <dialogue>What do you think?</dialogue> <scene_description>Dre shakes his head.</scene_description> <character>SUGE</character> <dialogue>They all turned it down. "Too many live instruments. It's not hip- hop."</dialogue> <character>DRE</character> <dialogue>It's not hip-hop? Shit, it's the future. Ain't no more money in sampling everythang.</dialogue> <character>SUGE</character> <dialogue>This guy has a lot of money. This is the only shot we got.</dialogue> <character>DRE</character> <dialogue>Okay, shoot.</dialogue> <scene_description>As they walk to the other side of the studio we WIDEN TO REVEAL JIMMY IOVINE. He's older and white, wearing glasses with a baseball cap pulled low over his eyes.</scene_description> <character>JIMMY</character> <parenthetical>(extends his hand)</parenthetical> <dialogue>Jimmy Iovine. Interscope Records. It's nice to meet you. Dre or Dr Dre. What should I call you?</dialogue> <character>DRE</character> <dialogue>Dre's cool. How are you doing? I heard John McClain gave you my album. What did you think?</dialogue> <scene_description>Jimmy smiles.</scene_description> <character>JIMMY IOVINE</character> <dialogue>I think it was great.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>So, you're the artist on this record. Who produced it?</dialogue> <character>DRE</character> <dialogue>I did.</dialogue> <character>JIMMY IOVINE</character> <dialogue>Who engineered it?</dialogue> <character>DRE</character> <dialogue>I did.</dialogue> <character>JIMMY IOVINE</character> <dialogue>Listen. I don't know anything about hip hop. And to be honest with you, I don't necessarily care for it. But I know this is special.</dialogue> <scene_description>The word special resonates with Dre. He nods.</scene_description> <character>DRE</character> <dialogue>Thank you.</dialogue> <character>SUGE</character> <dialogue>We'd love to bring it to Interscope. But there's a problem.</dialogue> <character>JIMMY IOVINE</character> <dialogue>What's the problem?</dialogue> <character>SUGE</character> <dialogue>Ruthless. Lawsuits.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Contracts.</dialogue> <character>JIMMY IOVINE</character> <dialogue>How about this. Give me three weeks. But I don't want to hear any bullshit about you shopping it anywhere else. If you do that. I believe I can get you out of this mess. Sound good?</dialogue> <scene_description>Suge smiles.</scene_description> </scene> <scene> <stage_direction>EXT. LOS ANGELES - DAY</stage_direction> <scene_description>A sprawling city of orphans, calm before the storm.</scene_description> <character>SUPERIMPOSE: APRIL 29, 1992</character> <dialogue>JERRY (PRE-LAP)</dialogue> <scene_description>Eazy. You may wanna see this.</scene_description> </scene> <scene> <stage_direction>INT. JERRY'S HOUSE - LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Jerry turns the volume up as Eazy plops down on the couch beside him --</scene_description> <character>TOM BROKAW (V.O.)</character> <dialogue>... a stunning verdict of "not guilty" for the L.A. Four today in Simi Valley...</dialogue> <scene_description>PUSH IN CLOSE ON EAZY, seeing the verdict.</scene_description> <character>JERRY (O.S.)</character> <dialogue>Sorry...</dialogue> <character>EAZY</character> <dialogue>Sorry? We all ought to be sorry...</dialogue> <parenthetical>(then)</parenthetical> <dialogue>We had them on tape -- we had their asses on tape.</dialogue> <scene_description>Eazy continues to watch, pained and perplexed, as we see --</scene_description> <character>EXT. SOUTH CENTRAL - STREETS - DAY</character> <dialogue>Cube drives through SOUTH CENTRAL in the epicenter of the unfolding RIOTS. Looting stores. Burning buildings.</dialogue> <dialogue>He drives by GRAFFITI TAGS, many of which say FUCK THA POLICE. He sees a CRIP and a BLOOD, tying their RED and BLUE bandanas together in front of one such tag: a SYMBOL of the GANG TRUCE.</dialogue> <dialogue>NEARBY, crowds of young people CHANT:</dialogue> <character>CROWD</character> <dialogue>No justice, no peace! Everybody say, fuck the police! No justice, no peace! Everybody say, fuck the police!</dialogue> <scene_description>A very proud Cube watches. His own words turned into a unifying slogan for the riots. And we see -- ARCHIVAL NEWS FOOTAGE Of the riots -- angry, violent. Years upon years worth of rage unleashed in a three day period. Marshall Law. Police brutality. Race hatred. The worst of humanity. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. SOUTH CENTRAL - CRENSHAW BOULEVARD - DAY</stage_direction> <scene_description>Calm now, we behold a virtual wasteland of smoldering cars and buildings. Shell-shocked, CITIZENS wander around, trying to make their neighborhood livable again as -- A '64 IMPALA rolls down the boulevard. Dre, Snoop, D.O.C. and Warren G silently observe the damage, shell-shocked.</scene_description> </scene> <scene> <stage_direction>EXT. SUNSET BLVD - NIGHT</stage_direction> <scene_description>Eazy cruises down Sunset. He looks older, more anguished.</scene_description> <character>SUPERIMPOSE: ONE YEAR LATER</character> <dialogue>He passes by TOWER RECORDS where a massive mural of THE CHRONIC cover art fills up the entire side of the building. Eazy beholds it with a confluence of admiration and envy. As the bite of that really starts to sting, Eazy looks --</dialogue> <dialogue>ACROSS THE STREET, he spots a BILLBOARD for Cube's movie, BOYZ N THA HOOD. Cube is front and center, alongside CUBA GOODING JR. Eazy can't believe it as we --</dialogue> </scene> <scene> <stage_direction>INT. EAZY'S HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>Times are hard. Eazy's not ballin' like he was. Surrounded by MOVING BOXES and basic studio equipment, a few HOMIES do their thing on the board, the makings of NEIGHBORHOOD SNIPER playing, as Eazy, Ren and Yella huddle over -- THREE HUGE, ONE-POUND BAGS OF WEED sit on the coffee table. They divide them into smaller BAGS.</scene_description> <character>YELLA</character> <dialogue>So all this weed. It's for your Ruthless artists?</dialogue> <character>EAZY</character> <dialogue>Havin' some cash flow problems. They can smoke it, they can sell it, I don't care. As long as it keeps 'em off my back for a minute.</dialogue> <character>YELLA</character> <dialogue>Maybe you should think about diversifying into my kinda shit. There's money in there, too.</dialogue> <scene_description>Eazy laughs, shakes his head.</scene_description> <character>EAZY</character> <dialogue>What, makin' pornos? No thanks, man. That's your thing. I'll stick with this music shit. Once my new album right here's done, I'mma be fine --</dialogue> <scene_description>Eazy starts COUGHING. It doesn't sound great.</scene_description> <character>REN</character> <dialogue>You all right, man?</dialogue> <character>EAZY</character> <dialogue>Yeah. Just tired. All this shit, downsizin' to a new crib, just weighin' on me. I'll figure it out though. I always do.</dialogue> <character>JERRY (O.S.)</character> <dialogue>Eric --</dialogue> <scene_description>Jerry enters. Approaches Eazy.</scene_description> <character>JERRY</character> <dialogue>Can you come by my office? I need you to sign some checks --</dialogue> <scene_description>But Eazy doesn't even look up at Jerry.</scene_description> <character>EAZY</character> <dialogue>I'll come when I can, Jerry.</dialogue> <character>JERRY</character> <dialogue>Eric --</dialogue> <scene_description>But Eazy just keeps ignoring him. Annoyed, Jerry exits --</scene_description> </scene> <scene> <stage_direction>EXT. DEATH ROW RECORDS - LOS ANGELES - DAY</stage_direction> <scene_description>Death Row's a thriving office space, especially in contrast to Ruthless. A few DOPE CARS sit parked out front as -- Dre SCREECHES up in his brand-new, WHITE FERRARI TESTAROSA -- Suge's just behind him in a RED MERCEDES SL AMG CONVERTIBLE. A car is parked in Suge's parking space. Suge blocks the car in. Suge's Goons wait for him to exit his car. Dre and Suge hop out, ALL EYES ON THEM --</scene_description> <character>DRE</character> <dialogue>Man, this is just the beginning... We're building an empire.</dialogue> <scene_description>Dre LAUGHS as ... Suge storms off, flanked by his GOONS, bee-lining for the EMPLOYEE'S. He grabs the Employee by the collar and hauls him out of his car to his feet.</scene_description> <character>SUGE</character> <dialogue>You're in my spot!</dialogue> <scene_description>The Employee just gapes at Suge, speechless...</scene_description> <character>DRE</character> <dialogue>Suge, it's cool --</dialogue> <scene_description>Suge shakes the Employee like a rag doll...</scene_description> <character>SUGE</character> <dialogue>Did you park in my muthafuckin' parking space or not?</dialogue> <character>EMPLOYEE</character> <dialogue>I didn't know, I --</dialogue> <scene_description>Suge pulls out a PISTOL and CRACKS the Employee across the face with it, blood gushing from his nose -- Startled, Dre shoots to a stand. What the fuck!? Even more so when Suge drags the bleeding Employee across the parking lot before tossing him against a car. Suge give the guy his keys.</scene_description> <character>SUGE</character> <dialogue>Now move yo' piece of shit and park my car.</dialogue> <scene_description>Wow... The guy is scared and confused at Suge's "power drunk" request. He slowly takes the keys.</scene_description> <character>SUGE</character> <dialogue>-- And I bet not see one drop of blood in that mothafucka.</dialogue> <scene_description>And everyone watches in utter silence as Suge spins and struts into Death Row Records brand new offices. LOUD SILENCE. Off Dre, disturbed by Suge's violent display. OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. CUBE'S HOUSE - LOS ANGELES - NIGHT</stage_direction> <scene_description>Cube sits in the living room, watching basketball, and doing something we haven't seen before: WRITING A SCREENPLAY. Kim walks through, visibly PREGNANT, holding SHEA (1). Hands Cube a beer. He reaches for her, kisses her belly as their toddler, DARRELL (3), runs in. Hops up on Cube's lap.</scene_description> <character>CUBE</character> <dialogue>Hey Darrell. What you been doing? -- playin' with Shea?</dialogue> <scene_description>Darrell nods as Kim picks up the remote, starts FLIPPING channels. She STOPS when it lands on THE BOX, which just happens to be playing NWA's STRAIGHT OUTTA COMPTON. Cube watches for a bit, lost in thought --</scene_description> <character>KIM</character> <dialogue>Look how young you guys look.</dialogue> <scene_description>Cube looks for a moment -- shakes his head, in disbelief.</scene_description> <character>CUBE</character> <dialogue>Damn... We left some good records on the table...</dialogue> <scene_description>Kim walks closer-- rubs his shoulders lovingly...</scene_description> <character>KIM</character> <dialogue>Well-- ain't nobody burnt down the table did they? Ever thought about getting back together?</dialogue> <character>CUBE</character> <dialogue>All the time. But we've been feuding for so long. It might be "ON" on sight when we see each other. I really don't know.</dialogue> <character>KIM</character> <dialogue>That's a shame. It's terrible how money tears us apart.</dialogue> <character>CUBE</character> <dialogue>Yeah-- When it should be bring us together. Somebody always wants more then they're suppose to get. As that's when shit get funky.</dialogue> <scene_description>She nods in agreement -- as he continues working on his script. A movie called "FRIDAY".</scene_description> </scene> <scene> <stage_direction>INT. NICE RESTAURANT - LOS ANGELES - NIGHT</stage_direction> <scene_description>Dre's having dinner with NICOLE -- the woman who rejected him at his party. Even though they're both clearly feeling this.</scene_description> <character>DRE</character> <dialogue>Aren't you glad I tracked you down?</dialogue> <character>NICOLE</character> <dialogue>I wasn't exactly hiding.</dialogue> <scene_description>They both chuckle.</scene_description> <character>DRE</character> <dialogue>So wassup, you been havin' good time?</dialogue> <character>NICOLE</character> <dialogue>Yeah... Why?</dialogue> <character>DRE</character> <dialogue>Well I mean, I like comin' over your place, but you know, your neighbors be complainin' about "the noise" --</dialogue> <scene_description>Nicole smiles, shoos Dre. He smiles at her, mesmerized. God damn this girl is special. He fills up their champagne.</scene_description> <character>DRE</character> <dialogue>I think a little more privacy would be better.</dialogue> <character>NICOLE</character> <dialogue>So what, you want me to move?</dialogue> <character>DRE</character> <dialogue>Yeah, maybe. I know of a perfect spot. Plenty of room, and I know the owner.</dialogue> <scene_description>Nicole finally gets what Dre's saying. Smiles.</scene_description> <character>NICOLE</character> <dialogue>After a few months, you sure you're ready for that, Andre?</dialogue> <character>DRE</character> <dialogue>Yeah. I'm really feelin' you like that.</dialogue> <character>NICOLE</character> <dialogue>I'm feelin' you too, but...</dialogue> <scene_description>Nicole considers, conflicted. Dre can't stand it any longer.</scene_description> <character>DRE</character> <dialogue>Hey you know what, don't worry about it right now. Was just a thought...</dialogue> <scene_description>Dre drinks his glass of champagne down.</scene_description> <character>DRE</character> <dialogue>Listen, I don't mean to change the temperature in here. But it had to be crazy, bein' married to a Laker.</dialogue> <character>NICOLE</character> <dialogue>Wasn't what I'd call a good fit. It got crazy once we moved to L.A. I definitely went through some unnecessary shit when he started acting like an asshole. But I have a beautiful son and all that other nonsense is behind me now.</dialogue> <character>DRE</character> <dialogue>Look, no offense, but I'm a little glad he was an asshole.</dialogue> <parenthetical>(raising his glass)</parenthetical> <dialogue>His loss is my gain. To assholes.</dialogue> <character>NICOLE</character> <parenthetical>(playfully)</parenthetical> <dialogue>Chin-chin.</dialogue> <scene_description>They share a laugh as Nicole raises her glass -- CLINK. Dre downs his glass as we --</scene_description> </scene> <scene> <stage_direction>EXT. NICOLE'S APARTMENT - WESTWOOD - LATER</stage_direction> <scene_description>Dre walks Nicole to her door, and pretty soon they're kissing. It's nice, but after a bit, she pulls away.</scene_description> <character>NICOLE</character> <dialogue>All right -- Good night.</dialogue> <scene_description>Dre looks surprised.</scene_description> <character>DRE</character> <dialogue>Really? Good night?</dialogue> <character>NICOLE</character> <dialogue>Are you okay to drive?</dialogue> <character>DRE</character> <dialogue>No.</dialogue> <scene_description>They both laugh.</scene_description> <character>NICOLE</character> <dialogue>Good night, Andre.</dialogue> <character>DRE</character> <dialogue>See, I can't help thinkin', maybe you want me to come inside...</dialogue> <character>NICOLE</character> <dialogue>Of course I do.</dialogue> <character>DRE</character> <dialogue>So what's different now?</dialogue> <character>NICOLE</character> <dialogue>I got a lot of things to think about.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You're asking me to move in... That's a big step. I like you, Andre. But there's a lot going on around you.</dialogue> <character>DRE</character> <dialogue>What do you mean?</dialogue> <character>NICOLE</character> <dialogue>I read the papers. I'm not stupid. I know about the whole Death Row business, the assault charges, the shooting... Just seems dangerous. My son's my world.</dialogue> <character>DRE</character> <dialogue>But I thought we been havin fun.</dialogue> <character>NICOLE</character> <dialogue>Fun is fun, Andre. But I refuse to walk away from one crazy life into another.</dialogue> <scene_description>She kisses him on the cheek.</scene_description> <character>NICOLE</character> <dialogue>I'll a call you.</dialogue> <scene_description>Nicole turns, walks into the building, leaving Dre standing there, embarrassed, angered. Head full of steam, he stumbles back, hops into his --</scene_description> </scene> <scene> <stage_direction>113A INT. DEATH ROW RECORDS - HALLWAY - NIGHT 113A</stage_direction> <scene_description>Dre walks into Death Row feeling the sting of Nicole's words still reverberating in his head as -- We reveal two pitbulls snarling and lunging at each other being restrained by heavy duty chains. The screams and yells of a betting crowd of Bloods permeate the hallway as we see the Death Row signature electric chair squarely at the end. A guy walking a pitbull on a hain moves pass the screaming Bloods and howling dogs runs into Dre.</scene_description> <character>GUY WITH DOG</character> <dialogue>Dre, you want to put some money on this red nose?</dialogue> <character>DRE</character> <parenthetical>(A little dazed and confused)</parenthetical> <dialogue>Nah man, I'm good.</dialogue> <scene_description>The rowdy circle of betters grow more and more boisterous as the pitbulls are about to get it on.</scene_description> <character>DRE</character> <dialogue>Where's Pac at?</dialogue> <character>GUY WITH DOG</character> <dialogue>Studio A...</dialogue> </scene> <scene> <stage_direction>113B INT. DEATH ROW RECORDS STUDIO A - CONTINUOUS 113B</stage_direction> <scene_description>We hear 2Pac's iconic verse from "Hail Mary" as Dre enters the studio as the dog fight starts back in the hallway to reveal -- The control room of Studio A is in complete chaos. Bottles everywhere along with blunt smoke, Homies and Hoodrats. TUPAC is in the recording booth spitting out lyrics. He's made an alter around him with lyric sheet stands -- each stand has 2 to 3 notebooks full of raps on it. When they notice Dre, the engineer stops the track. Dre pushes the talk-back button and looks at Tupac through the glass.</scene_description> <character>DRE</character> <dialogue>Wha'up Pac?</dialogue> <character>TUPAC</character> <dialogue>Oh shit! Wha'up Dre... I'm about to hit niggas in the mouth with this new album. Suge said you got some heat for a nigga.</dialogue> <character>DRE</character> <dialogue>Nigga what? I do...guess who I worked with last night.</dialogue> <character>TUPAC</character> <dialogue>Who dat?</dialogue> <scene_description>Dre hands a CD to the engineer ---</scene_description> <character>DRE</character> <dialogue>Roger fuckin' Troutman. Man this shit is fire. Wait til you hear it.</dialogue> <character>TUPAC</character> <dialogue>Oh! OK what you thinking about calling it?</dialogue> <character>DRE</character> <dialogue>I'm thinking about calling it California love.</dialogue> <scene_description>Dre looks at the engineer ---</scene_description> <character>DRE</character> <dialogue>Press play</dialogue> <scene_description>California Love screams out the speakers... we hear the iconic first few bars with Roger Troutman's signature voice singing, California Love. We hear the sound of what seems like muffled gunshots coming from another room. Pop. Pop. Pop. Everyone is like what the fuck. This doesn't sit well with Dre. He exits to see what's up.</scene_description> </scene> <scene> <stage_direction>113C INT. DEATH ROW CONFERENCE ROOM - NIGHT 113C</stage_direction> <scene_description>We reveal a pitbull snarling at an emasculated poor bastard that is on the floor all bloody, in his underwear holding a glass of champagne. The pitbull continues to lunge at his face looking to rip his soul out. WE REVEAL Suge smoking a big cigar and laughing. He's at the center of a room full of Bloods and hoodrats plus Blood #1, Goon Girl and Goon #1, all intently watching the last moments of this emasculated homeboys toast. Dre opens the door at the far end of the room not expecting to see this spectacle. There's several blown holes in the wall where the gun shots were fired just above the cowering man's head.</scene_description> <character>DRE</character> <dialogue>What the fuck y'all doin?</dialogue> <character>SUGE</character> <parenthetical>(drunk with power)</parenthetical> <dialogue>Yo Dre, you just in time. Watch this. Get up!</dialogue> <parenthetical>(To the Poor Bastard)</parenthetical> <dialogue>You know what to do.</dialogue> <scene_description>Bruised and bloody with one eye closed shut, the Poor Bastard raises the glass with a shaky hand and a quivering voice. Pit bull continues to stand at attention.</scene_description> <character>POOR BASTARD</character> <dialogue>I'd like to make a toast...</dialogue> <scene_description>Everyone in the room holds up their champagne glasses. Dre can't believe his eyes. There's even two (plain clothes) off duty COPS there with badges and gun holsters -- glasses raised high.</scene_description> <character>POOR BASTARD</character> <dialogue>...to Death Row Records...</dialogue> <character>ROOM</character> <dialogue>To Death Row...</dialogue> <character>GOON GIRL</character> <parenthetical>(clowning him)</parenthetical> <dialogue>May the west coast reign forever.</dialogue> <character>POOR BASTARD</character> <parenthetical>(scared)</parenthetical> <dialogue>May the west coast reign forever.</dialogue> <character>BLOOD#1</character> <dialogue>What else!?</dialogue> <character>POOR BASTARD</character> <dialogue>I'd like to make a toast to Suge. For making this all happen.</dialogue> <character>SUGE</character> <dialogue>Don't forget to toast Dr. Dre. you little bitch ass mothafucka!</dialogue> <scene_description>The Poor Bastard looks over at Dre.</scene_description> <character>DRE</character> <parenthetical>(frustrated)</parenthetical> <dialogue>Hold the fuck up! Put cha' glasses down. Put your fuckin clothes on. What the fuck is going on around here?! Seriously, what's going on?!</dialogue> <scene_description>Suge approaches Dre puts his hand on his shoulder.</scene_description> <character>DRE</character> <parenthetical>(to Suge)</parenthetical> <dialogue>Nah Nah...</dialogue> <parenthetical>(to Room)</parenthetical> <dialogue>What the fuck is this shit. Is this why we got money? To act like we ain't got no god damn sense?! We could of did all this kind of dumb shit back in Compton!</dialogue> <parenthetical>(to the room)</parenthetical> <dialogue>This what you muthafuckas turned into!? Seriously!</dialogue> <character>SUGE</character> <dialogue>Its okay, Dre.</dialogue> <scene_description>The Cop #2 is on the couch with some street girls holding a champagne glass in her hand looks at Dre then over to Suge, who's laughing.</scene_description> <character>DRE</character> <dialogue>This shit is stupid! Do ya'll know what it took for us to get here. Do y'all know what you doin'? Y'all fuckin' it up! Y'all fucking it up!</dialogue> <parenthetical>(to off duty cops)</parenthetical> <dialogue>And what the fuck ya'll doing here?!</dialogue> <scene_description>Cop raises the glass.</scene_description> <character>DRE</character> <dialogue>Really, ok...</dialogue> <character>SUGE</character> <parenthetical>(laughing)</parenthetical> <dialogue>Who fuckin' shit up! You trippin. We can do anything we want to do. We started this shit. This is us.</dialogue> <character>DRE</character> <dialogue>Nah, Nigga. Death Row is us.</dialogue> <parenthetical>(pointing around)</parenthetical> <dialogue>This other shit -- is you!</dialogue> <scene_description>Suge's Goons get in position.</scene_description> <character>GOON #1</character> <dialogue>Better watch ya mouth, Blood.</dialogue> <character>DRE</character> <dialogue>'Tha fuck you talking too?</dialogue> <character>GOON #2</character> <parenthetical>(dismissive)</parenthetical> <dialogue>Nigga, you ain't nothing but a producer around here.</dialogue> <character>DRE</character> <dialogue>What the fuck?!!!</dialogue> <scene_description>This sends Dre into orbit. He goes after Blood #1. The whole conference room jumps in between them -- keeping these two human pit bulls from scrappin'. Everybody jumps but Suge who amused by the whole thing -- puffs on his cigar. Dre is being held back by the Off Duties. While Goon #1 is being held back by Goon #2 and a few others. World War III averted for now.</scene_description> <character>DRE</character> <dialogue>Get the fuck off me.</dialogue> <scene_description>Dre breaks free and storms out.</scene_description> <character>SUGE</character> <dialogue>Man don't even trip off this muthafucka. What he going to do? Where he going to go?</dialogue> <scene_description>113pt2 TESTAROSA 113pt2 And just sits there, seething. Reaches in the back seat, grabs a bottle of Hennessey. Takes a swig... Then -- A sudden look of determination washes over him. He TEARS out into the street, tires SQUEALING -- ERRRR! PASSING CARS, swerving, Dre punches the gas, RPMs maxed out. Shifts, flying through an intersection -- the needle passes 100mph. Keeps going, loving the release, the control... A POLICE CRUISER, coming the opposite direction, spots Dre's Testarosa -- In a flash, they bang a U-turn, peeling so fast, smoke clouds the night air -- ON DRE, distant police lights now strobing off of his face from the rear view mirror. Fuck! Thinking fast, he switches off his headlights. Hits the gas, needle bottoming-out! As he reaches the next intersection, Dre makes a hard left -- SCREECHES to a stop, tucking into a spot along the side of the road. Shuts off his car. Waits, breathing fast, as --</scene_description> <character>DRE (TO HIMSELF)</character> <dialogue>Come on, come on, come --</dialogue> <scene_description>THE POLICE CRUISER barrels around the corner -- SLAMS THE BRAKES! Two LAPD OFFICERS fling open their doors, guns leveled at Dre's car! Eyes wide, adrenaline coursing through his veins, chest heaving, Dre grits his teeth. He's stuck... and he knows it.</scene_description> <character>LAPD OFFICER 1 (VIA LOUDSPEAKER)</character> <dialogue>Driver! Put your hands out of your window where we can see them! Now!</dialogue> <scene_description>Dre complies, reaches his hands out of his window. The two officers carefully approach, guns at the ready. OFFICER 2 slaps the cuffs on Dre, regret immediately registering on his face as we -- SMASH CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. JAIL - PASADENA - ESTABLISHING - DAY</stage_direction> <scene_description>Nicole hops out of her car and hurries into --</scene_description> </scene> <scene> <stage_direction>INT. JAIL - VISITING AREA - DAY</stage_direction> <scene_description>Dre and NICOLE sit across from each other, Plexiglas between them, talking via phone receivers.</scene_description> <character>NICOLE</character> <dialogue>Anybody else been here to see you, your so-called friends at Death Row?</dialogue> <character>DRE</character> <dialogue>Nope. You're the only one I wanna see anyway.</dialogue> <scene_description>She surveys him, pain in his eyes.</scene_description> <character>NICOLE</character> <dialogue>112 days? That doesn't even make sense.</dialogue> <character>DRE</character> <dialogue>Yeah, well... That's what happens when you violate your probation.</dialogue> <scene_description>They sit there, just being in the awkward, contrived moment.</scene_description> <character>NICOLE</character> <dialogue>You got one phone call and you called me?</dialogue> <character>DRE</character> <dialogue>'Cause you were right. Only other person that tells it to me like it is-- is my moms. So I know you care.</dialogue> <scene_description>She looks at him, nods, dabs at her wet eyes.</scene_description> <character>DRE</character> <dialogue>I fucked up. But I've had a lot of time to think in here, and I promise you, things are gonna be different from now on.</dialogue> <scene_description>That lies there a minute. Then --</scene_description> <character>NICOLE</character> <dialogue>You take care of yourself, Andre.</dialogue> <scene_description>She stands, heads away... And we see the reflexive disappointment on Dre's face before...</scene_description> </scene> <scene> <stage_direction>INT. EAZY'S NORWALK HOUSE - BEDROOM - NIGHT</stage_direction> <scene_description>Tomica and Eazy lie in bed together. He stares at the ceiling, and she runs her hand soothingly down his arm.</scene_description> <character>EAZY</character> <dialogue>I feel like I don't know what I'm doin' anymore. I don't even know where the money's going.</dialogue> <scene_description>Tomica props herself up on her elbow, looks at him.</scene_description> <character>TOMICA</character> <dialogue>I can help, you know. Show me the files, the bills, the contracts. I know the business, I know how it all works. Let me look. Baby, if you're feelin' this way, Jerry's not doin' right by you.</dialogue> <scene_description>Eazy puts his arm around her, pulls her close. They both lie there a little longer, just breathing.</scene_description> <character>EAZY</character> <dialogue>Okay. After New York. Workin' on that International Distribution with Sony. Jerry don't know about that. I wanna keep it that way.</dialogue> <scene_description>Tomica nods, smiles. Encouraged he has a plan again.</scene_description> </scene> <scene> <stage_direction>EXT. NEW YORK CITY - CHELSEA - NIGHT</stage_direction> <scene_description>Establish MANHATTAN, in winter, after hours. Dirty snow on the sidewalks. Cold-as-shit wind blowing off the Hudson. A line of CLUB KIDS on the 12th Avenue sidewalk, in front of the massive brick edifice of the legendary --</scene_description> </scene> <scene> <stage_direction>INT. TUNNEL NIGHTCLUB - VIP - NIGHT</stage_direction> <scene_description>ICE CUBE sits in a BOOTH, surrounded by friends, label-execs, and hangers-on. It's pretty clear that Cube is a huge celebrity at this point. He even has some big, unsmiling THUGS (The Lench Mob) standing close. Cube, mid-conversation, suddenly STOPS talking... Because he SEES that EAZY-E is entering the VIP with 2 HUGE SAMOANS, making his way over.</scene_description> <character>CUBE</character> <parenthetical>(to his crew)</parenthetical> <dialogue>Heads up y'all. This lil nigga might wanna do something.</dialogue> <scene_description>Cube stands up -- ready for whatever. Eazy and his Bodyguards arrives at the booth. There's a tense silence -- almost a stand off before anyone speaks. Everybody looks to them, seeing how they're gonna react. After all, these two have dissed each other, ferociously and publicly, for years. Still, Eazy gives Cube a friendly, vaguely submissive smile.</scene_description> <character>EAZY</character> <dialogue>Relax everybody. Just came in the club-- heard you were over here.</dialogue> <character>CUBE</character> <parenthetical>(Still ready)</parenthetical> <dialogue>Yeah. I'm over here. (beat) What you need?</dialogue> <character>EAZY</character> <dialogue>I don't need shit. Out here with Bone Thugs-- Was just in the neighborhood. Wanted to say wassup.</dialogue> <scene_description>The tension between the sides eases up a bit, but not completely. They both stand there, neither sure what to say to the other.</scene_description> <character>EAZY</character> <dialogue>Saw your movie. It was good.</dialogue> <scene_description>Cube slowly smiles. Knows that wasn't easy for Eazy.</scene_description> <character>CUBE</character> <dialogue>Thought you said it was an after- school special.</dialogue> <scene_description>They both smile, laugh. Give each other a pound. In truth, they missed each other. Homie hug.</scene_description> <character>EAZY</character> <dialogue>Missed you, boy.</dialogue> <character>CUBE</character> <dialogue>Missed you too, E. Wish we could've work shit out.</dialogue> <character>EAZY</character> <dialogue>Guess it all happened like it was supposed to. You a movie star-- I'm a music mogul. Dre. Well Dre is tripping right now, but he's doing his thang. Just wanted to come over here and put something on your mind..</dialogue> <scene_description>Cube is curious.</scene_description> </scene> <scene> <stage_direction>INT. TUNNEL NIGHTCLUB - VIP - AFTER HOURS</stage_direction> <scene_description>The club has mostly emptied out. Only a few die-hards remain as we find Cube and Eazy slumped over their table, loose with alcohol. The vibe is cool, friendly, like the old days. But we notice Eazy has a subtle, persistent COUGH...</scene_description> <character>EAZY</character> <dialogue>I wish all that bullshit never happen between us.</dialogue> <character>EAZY</character> <dialogue>Definitely never wanted it to get physical-- we should've kept it on wax.</dialogue> <character>CUBE</character> <dialogue>Never should've dissed each other in the first place. Made our fans choice between us. That ain't cool.</dialogue> <character>EAZY</character> <dialogue>Yeah you right.</dialogue> <parenthetical>(After a few beats)</parenthetical> <dialogue>Ever though we was going to be this big?</dialogue> <character>CUBE</character> <dialogue>Nope. I was reminiscing with my wife the other day. What it felt like-- In the beginning. We were so young and ferocious. Doing music straight for the hood. Trying to be ghetto stars... I thought I knew everything back then -- But I didn't know shit.</dialogue> <character>EAZY</character> <dialogue>Me neither. I'm still trying to figure this stuff out. One minute I'm slangin' in a crack house -- next thing I know, they invite me to the White House.</dialogue> <scene_description>Cube laughs, shakes his head.</scene_description> <character>CUBE</character> <dialogue>Yeah. I get it. Everything changes so fast. Feels like it was 20 years ago. If we were still together do you know how large we'd be?</dialogue> <scene_description>They both sit there, thinking about that shit, amazed.</scene_description> <character>EAZY</character> <dialogue>You ever think about fuckin' with some new NWA shit?</dialogue> <scene_description>Cube frowns, contemplates for a moment.</scene_description> <character>CUBE</character> <dialogue>I'd be lyin' if I said I never thought about it.</dialogue> <scene_description>Eazy's eyes flash. That's what he was hoping to hear.</scene_description> <character>EAZY</character> <dialogue>Me too, Cube. Been thinkin' about it a lot. (beat) Be like 1989 again. We changed the world forever. Mothafuckas can never go back to that fake shit after us. It gets no realer then NWA. No matter what...</dialogue> <scene_description>After a quick thought.</scene_description> <character>CUBE</character> <dialogue>If you can get Dre to do it, I'm in. But check this out homie-- I ain't doin' it if Jerry's around. He done made enough off us.</dialogue> <character>EAZY</character> <dialogue>I hear you.</dialogue> <scene_description>An EMPLOYEE walks by, pushing a broom, glaring at them. It's time to go. They both stand up.</scene_description> <character>CUBE</character> <dialogue>Cool. We done talked til the damn club closed -- I got a car coming. You need a ride back to your hotel?</dialogue> <character>EAZY</character> <dialogue>Naw, I'm cool. I wanna walk.</dialogue> <character>CUBE</character> <parenthetical>(really?)</parenthetical> <dialogue>Walk? It's cold as fuck Eric, this ain't L.A.</dialogue> <character>EAZY</character> <dialogue>I'm good. Hit me up later.</dialogue> <scene_description>Another HUG, this one last a little longer then normal. Eazy doesn't say anything else. Just heads for the exit, without looking back. Cube watches him go off into the cold night...</scene_description> </scene> <scene> <stage_direction>EXT. NEW YORK STREETS - NIGHT</stage_direction> <scene_description>Eazy walks back to his hotel in the freezing cold, his hands jammed in his pockets. The wind blows mercilessly. Eazy is shivering like crazy. But he keeps walking. It's a longer walk than he thought. He tries to hail a cab, but of course, none stop. He keeps trudging along, his breath making clouds, through the lonesome pre-dawn City --</scene_description> </scene> <scene> <stage_direction>EXT. JAIL - DAY</stage_direction> <scene_description>Dre emerges from the JAIL, shielding his eyes from the suddenly-blinding SUNSHINE. Interestingly, this is the SECOND TIME we've seen him get picked up from jail. NICOLE is there, waiting by her car. He wraps her in his arms, and they stand that way, together, for a long time.</scene_description> </scene> <scene> <stage_direction>INT. JERRY'S HOUSE - KITCHEN - DAY</stage_direction> <scene_description>Jerry has the PAPERS on the counter for Eazy's signature. But something's different this time. Eazy doesn't just sign. Instead, he starts GATHERING the papers into a pile.</scene_description> <character>JERRY</character> <dialogue>Wait, aren't you gonna sign --</dialogue> <character>EAZY</character> <dialogue>I'mma take these home with me. I'll sign 'em. Get'em back to you in a couple days.</dialogue> <scene_description>Jerry looks alarmed.</scene_description> <character>JERRY</character> <dialogue>But this is how we've always done it. You have a lot on your plate Eric, there's no need to add to it --</dialogue> <character>EAZY</character> <dialogue>It's cool, Jerry. They're my bills, my checks. I mean look, my name's right there.</dialogue> <scene_description>Eazy grins at Jerry, points to his name on the checks.</scene_description> <character>JERRY</character> <dialogue>I just wish we could do it here. I don't want anything to get misplaced or lost --</dialogue> <character>EAZY</character> <dialogue>Don't worry so much, Jerry. I can handle it.</dialogue> <scene_description>Eazy picks up the pile of papers and heads for the door. Jerry stares after him, visibly shaken --</scene_description> </scene> <scene> <stage_direction>INT. EAZY'S NORWALK HOUSE - NIGHT</stage_direction> <scene_description>Tomica watches on as Eazy finishes READING the immaculately- organized PAPERS she's laid out for him. He puts them down.</scene_description> <character>TOMICA</character> <dialogue>You had to know the truth sometime. Now you do.</dialogue> <character>EAZY</character> <dialogue>Cube tried to warn me. So did Dre. And I didn't listen. I fucked up.</dialogue> <scene_description>And we stay with Eazy a moment, reeling, pissed....</scene_description> </scene> <scene> <stage_direction>INT. JERRY'S HOUSE - KITCHEN - LATER</stage_direction> <scene_description>Eazy walks into their familiar meeting place to find Jerry slumped at the table.</scene_description> <character>JERRY</character> <dialogue>Where the fuck have you been? I've been calling you --</dialogue> <scene_description>Jerry glances down at the PAPERS in Eazy's hand, sees the flat look on Eazy's face... and gets it.</scene_description> <character>JERRY</character> <dialogue>So what was it, the groupie? The executive assistant? Did she even go to college? Come on. You're smarter than that, Eric --</dialogue> <character>EAZY</character> <dialogue>This ain't about Tomica, Jerry. It's about you. And you really gotta stop acting like you never did anything wrong.</dialogue> <character>JERRY</character> <dialogue>Look, I know you're upset. But I'd strongly advise you to take a breath, let me look at the paperwork --</dialogue> <scene_description>Eric lets out a low, rumbling laugh.</scene_description> <character>EAZY</character> <dialogue>Jerry, for real? You can stop givin' me advice. As of, like, now. I'm getting NWA back together. It's happening. But you ain't gonna have nothing to do with it this time.</dialogue> <scene_description>Jerry's voice starts to RAISE in volume, desperation growing.</scene_description> <character>JERRY</character> <dialogue>Why would you say something like that? You're not thinking straight.</dialogue> <character>JERRY</character> <dialogue>I know what's best for you, and for Ruthless, and we've built a trust over years of hard work. That trust is our foundation, Eric.</dialogue> <scene_description>Eazy laughs again, but this time... the laugh deteriorates into a ragged, hacking COUGH. Jerry watches, concerned --</scene_description> <character>JERRY</character> <dialogue>Are you okay? You don't look --</dialogue> <character>EAZY</character> <dialogue>Trust. God damn, that's a word. Let me tell you somethin', Jerry. Trust is a muthafucka.</dialogue> <scene_description>Jerry is now full-on YELLING at Eric, who remains calm.</scene_description> <character>JERRY</character> <dialogue>Look, if what I've done is so illegal, why have I never been sued? I'm such a thief, such a liar, such a motherfucker, how come nobody's come to collect? This is business. This is how it works. It's not always pretty, but all of it, everything I've put into this company, my whole LIFE for all these years, it's for you, Eric.</dialogue> <scene_description>Eazy absorbs this. Then --</scene_description> <character>EAZY</character> <dialogue>You're fired, Jerry.</dialogue> <scene_description>Jerry, who is now beet-red, starts to BELLOW with rage --</scene_description> <character>JERRY</character> <dialogue>Goddammit, Eric! This is not how we do things! This is a business and I won't let you --</dialogue> <scene_description>But Eazy's already out the door. Enraged, Jerry wipes his arm across the table sending everything SMASHING onto the floor!</scene_description> </scene> <scene> <stage_direction>INT. DRE'S HOUSE - BACK YARD - DAY</stage_direction> <scene_description>Long gone are the days of the infamous Dr. Dre pool parties as Dre and Nicole relax by the pool. Dre's huge, early-model CELL PHONE rings from a table beside him. He picks it up --</scene_description> <character>DRE</character> <dialogue>Hello?</dialogue> <scene_description>After a short pause, a familiar, gravelly voice comes on.</scene_description> <character>EAZY'S VOICE</character> <dialogue>Wassup Andre, it's Eric.</dialogue> <scene_description>Dre's eyes widen. Eazy's the last person he ever expected to hear from.</scene_description> <character>DRE</character> <dialogue>Yeah? Wassup wit you?</dialogue> </scene> <scene> <stage_direction>INT. EAZY'S NORWALK HOUSE - BACK YARD - CONTINUOUS</stage_direction> <scene_description>Chilling by his modest pool, Eazy looks worn but determined.</scene_description> <character>EAZY</character> <dialogue>Just felt like callin' --</dialogue> <scene_description>Dre is still vaguely mystified, at a loss.</scene_description> <character>DRE</character> <dialogue>Yeah. Okay.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Wassup?</dialogue> <character>EAZY</character> <dialogue>You know. Doin' my thing. Makin records. Killin' all that pussy out there.</dialogue> <scene_description>Seated a few feet away from Eazy, Tomica rolls her eyes.</scene_description> <character>EAZY</character> <dialogue>How about you?</dialogue> <character>DRE</character> <dialogue>Just makin' tracks.</dialogue> <character>EAZY</character> <dialogue>That Snoop record you did was big. 850,000 copies in the first week?! Congratulations on the success of that.</dialogue> <character>DRE</character> <dialogue>Good lookin' out.</dialogue> <character>EAZY</character> <dialogue>Well look, I know you're busy, but I talked to Cube, and we were, like, talkin' about some... possibilities.</dialogue> <scene_description>Dre gets up, walks around the edge of his pool, processing.</scene_description> <character>EAZY</character> <dialogue>And by the way, if you ain't heard-- I ain't fuckin' with Jerry Heller no more. Nigga's fired.</dialogue> <scene_description>Something in those words causes Dre to soften... a bit.</scene_description> <character>DRE</character> <dialogue>Really. Well it's about time. He's the reason why we broke up.</dialogue> <character>EAZY</character> <dialogue>Listen man, I know everything got messed up and went the wrong way. I wish it didn't. I wish we can go back to the days of Skateland when we were all just young, hungry and ferocious. The world's most dangerous group. Before all the money and fame got between us.</dialogue> <character>DRE</character> <dialogue>Yeah me too-- cause I'm not proud of all the shit I did, either.</dialogue> <scene_description>Eazy looks vaguely relieved Dre said that.</scene_description> <character>EAZY</character> <dialogue>So you think maybe, we can make somethin' happen?</dialogue> <character>DRE</character> <dialogue>Yeah, that's sounds cool -- Let's stay in touch.</dialogue> <character>EAZY</character> <dialogue>Fair enough.</dialogue> <scene_description>They both hang up. Eazy turns to Tomica, big smile.</scene_description> <character>EAZY</character> <dialogue>Everybody's all in. NWA is back!</dialogue> </scene> <scene> <stage_direction>INT. EAZY'S NORWALK HOUSE - MAKESHIFT STUDIO - CONTINUOUS</stage_direction> <scene_description>Ren and Yella work the kinks out of a dope new beat -- Tomica enters, Eazy in tow, looking a bit sluggish.</scene_description> <character>SUPERIMPOSE: TWO MONTHS LATER</character> <dialogue>REN</dialogue> <scene_description>Wuddup, y'all.</scene_description> <character>YELLA</character> <dialogue>Hey so, when are Dre and Cube gonna roll in here?</dialogue> <character>REN</character> <dialogue>Yeah, you know -- Gettin' kinda anxious to get this new shit goin'.</dialogue> <character>EAZY</character> <dialogue>I don't know. Hopefully soon. Let's just get ready. New NWA gonna change the game, just like back in the day --</dialogue> <character>REN</character> <dialogue>No doubt. I got books of new shit --</dialogue> <scene_description>Eazy's legs buckle. He leans on the Board, winded --</scene_description> <character>YELLA</character> <dialogue>Yo, you alright, Eazy?</dialogue> <character>EAZY</character> <dialogue>Yeah. Just. Like. Need some fresh air, somethin' --</dialogue> <scene_description>PANIC flashes in his eyes as he moves toward the door, suddenly CRUMPLES TO THE FLOOR, out cold --</scene_description> <character>TOMICA</character> <dialogue>Eric!</dialogue> <scene_description>They all hurry over to him --</scene_description> </scene> <scene> <stage_direction>EXT. LOS ANGELES STREET - DAY</stage_direction> <scene_description>An AMBULANCE blares through the night, running red lights, hurtling toward the hulking edifice of CEDARS SINAI --</scene_description> </scene> <scene> <stage_direction>INT. CEDARS - EAZY'S ROOM - DAY</stage_direction> <scene_description>Eazy lies in a propped-up hospital bed, watching TV. He doesn't look ill, just annoyed with the situation. Tomica sits in a chair beside him, flipping through a magazine. A young DOCTOR walks in, carrying a chart. He looks troubled, preoccupied. His eyes dart from Tomica... to Eazy.</scene_description> <character>TOMICA</character> <dialogue>You gonna say something? Is it a respiratory infection -- pneumonia?</dialogue> <character>DOCTOR</character> <dialogue>Yes, well, it is those things... and more, I'm afraid... We ran a full blood battery and -- (beat) Mr. Wright, I'm sorry but you've tested positive for the HIV virus.</dialogue> <scene_description>Tomica reflexively stands, her hand over her mouth. Eazy squints, smiles, looks at the Doctor like he's crazy.</scene_description> <character>EAZY</character> <dialogue>Get the fuck outta here.</dialogue> <character>DOCTOR</character> <dialogue>The normal T-cell count is anywhere between 500 and 1500. Right now, your T-cell count is... 14.</dialogue> <scene_description>Tomica just stands there, mouth agape, speechless. Eazy's smile slowly fades to a look of pure dread.</scene_description> <character>EAZY</character> <dialogue>But I ain't no faggot.</dialogue> <character>DOCTOR</character> <dialogue>Mr. Wright, there are actually quite a few ways that the virus can be transmitted --</dialogue> <character>EAZY</character> <dialogue>It's wrong. No way. Test me again. Test my shit again --</dialogue> <character>DOCTOR</character> <dialogue>We've actually run the test five times, with five different samples... and the results remain --</dialogue> <scene_description>Tomica suddenly lets out a choked CRY, runs from the room. Eazy watches her go, overwhelmed, confused... and then, all at once, he gets it. Voice trembles a little.</scene_description> <character>EAZY</character> <dialogue>Tomica. She's pregnant. Oh fuck. Does that mean she --</dialogue> <character>DOCTOR</character> <dialogue>No. Not necessarily. But we'll need to test her, too.</dialogue> <character>EAZY</character> <dialogue>So what do we do? What's the treatment? Let's get started.</dialogue> <character>EAZY</character> <dialogue>I got work to do. How long's it gonna take to get me healthy again?</dialogue> <scene_description>The Doctor looks at Eazy, struggles a bit. He pulls up a chair, sits down next to the bed.</scene_description> <character>DOCTOR</character> <dialogue>Mr. Wright. You need to understand. You're very, very sick --</dialogue> <character>EAZY</character> <dialogue>But I don't even feel that bad...</dialogue> <character>DOCTOR</character> <dialogue>With treatment, and palliative care, we can probably keep you comfortable for... maybe six months. At the very most.</dialogue> <scene_description>Panic washes over Eazy in a flood --</scene_description> <character>EAZY</character> <dialogue>Comfortable? What you mean comfortable? Six months!?</dialogue> <character>DOCTOR</character> <dialogue>I'm truly sorry, Mr. Wright.</dialogue> <scene_description>Eazy realizes that he's dying. HARD CUT TO: B-ROLL OF A CROWD OUTSIDE OF CEDARS SINAI (STOCK FOOTAGE)</scene_description> <character>REPORTER (V.O.)</character> <dialogue>Last week, the rap world was stunned to learn in a press conference held by his lawyer, that Eazy-E had been admitted to Cedars Sinai Hospital in Los Angeles and diagnosed as suffering from full- blown AIDS.</dialogue> </scene> <scene> <stage_direction>INT. CUBE'S HOUSE - CONTINUOUS</stage_direction> <scene_description>WE HEAR the STOCK FOOTAGE CONTINUE over -- At home, sitting on the couch with Kim and their KIDS, Cube watches on, stunned. Kim kisses him, leans on his shoulder as they try to process the shock --</scene_description> <character>RON SWEENEY (ON TV)</character> <dialogue>Eazy started getting sick about a month ago but hadn't shown signs of improvement, so he checked into the hospital. They ran extensive tests and as a result we found out that... he has what he has...</dialogue> </scene> <scene> <stage_direction>EXT. CEDARS - COURTYARD - DAY</stage_direction> <scene_description>Outside the hospital, we see PEOPLE have started to GATHER. About a dozen or so. They stand there quietly, shuffling around, staring up at the Hospital --</scene_description> </scene> <scene> <stage_direction>INT. CEDARS - EAZY'S ROOM - THE NEXT DAY</stage_direction> <scene_description>Tomica sits in a chair pulled right beside Eazy's bed. They hold hands, look at each other. They've both been crying.</scene_description> <character>EAZY</character> <dialogue>Just glad you're okay. You and the baby.</dialogue> <scene_description>Tomica takes his hand, kisses it, cries.</scene_description> <character>TOMICA</character> <dialogue>No. We can beat this. Together.</dialogue> <scene_description>Eazy nods reassuringly, but you can see in his eyes he doesn't believe it. Eazy's PHONE rings. He answers it.</scene_description> <character>EAZY</character> <dialogue>Yo.</dialogue> <character>REN'S VOICE</character> <parenthetical>(filtered)</parenthetical> <dialogue>Eazy! What the fuck, cuz? People been sayin' some crazy shit. Like you got AIDS or somethin'? Can you believe that? Muthafuckin' Eazy-E got AIDS? Niggas be starting too many rumors, huh?</dialogue> <scene_description>SILENCE. Ren is hit with the reality as Eazy TURNS OFF the phone -- Sticks it in the bedside table drawer. It's pretty clear he's never gonna turn it on again.</scene_description> <character>TOMICA</character> <dialogue>Who was that?</dialogue> <scene_description>Eazy doesn't respond, just lies there, despondent.</scene_description> </scene> <scene> <stage_direction>EXT. SOUNDSTAGE - VIDEO SHOOT - DAY</stage_direction> <scene_description>Dre's chilling on a couch as NICOLE appears from around the corner holding a wireless phone --</scene_description> <character>NICOLE</character> <dialogue>It's for you.</dialogue> <scene_description>He grabs the phone, leans it on his shoulder.</scene_description> <character>DRE</character> <dialogue>What up.</dialogue> <scene_description>Dre's face contorts with confusion as he listens...</scene_description> </scene> <scene> <stage_direction>INT. CEDARS - EAZY'S ROOM - NIGHT</stage_direction> <scene_description>Tomica and Yella stand by Eazy's bedside. Eazy looks drained, depressed. Various members of Eazy's FAMILY are also present. Yella holds a CASSETTE in his hand.</scene_description> <character>YELLA</character> <dialogue>It's Bone Thugs' new LP. It's good, Eric. It's gonna be huge when it drops. Everybody thinks so. Want me to play it for you?</dialogue> <character>EAZY</character> <dialogue>Put it on the table. I'll listen later. Thanks for stoppin' through. Hit you when I get outta here.</dialogue> <scene_description>Yella nods sadly, places the cassette on the bedside table and exits. Handwritten on the cover, it says BONE.</scene_description> </scene> <scene> <stage_direction>INT. CEDARS - EAZY'S ROOM - THE NEXT DAY</stage_direction> <scene_description>Tomica sits holding Eazy's hand, staring at him with haunted eyes. RON SWEENEY stands in the background, along with Eazy's Family. Someone else is there now, too. A PASTOR.</scene_description> <character>TOMICA</character> <dialogue>I can't. That's not the way it should happen. It's not right --</dialogue> <character>EAZY</character> <dialogue>Please. It's gotta happen, baby. I'm having my surgery tomorrow, so it has to happen now. Because I might not. Wake up.</dialogue> <scene_description>Eazy's clearly struggling to come to terms with this.</scene_description> <character>TOMICA</character> <dialogue>Don't say that.</dialogue> <character>EAZY</character> <dialogue>It's true, Tomica. I gotta make this right. Ron says it's the only way to protect everything I built.</dialogue> <scene_description>Tomica looks to Ron, who nods. She stares off into space, slowly shaking her head. Her life has become a nightmare.</scene_description> <character>TOMICA</character> <dialogue>It's so... fucked up --</dialogue> <character>EAZY</character> <dialogue>Hey. Listen to me. It doesn't matter what people think. They don't know. They don't understand. There's no other way. Please. I know it's not the way you pictured it. You deserve better.</dialogue> <scene_description>He reaches out, puts his hand on her stomach.</scene_description> <character>EAZY</character> <dialogue>But if we don't do this, I won't be able to protect either of you.</dialogue> <scene_description>After looking deep into Eazy's eyes -- He needs her.</scene_description> <character>TOMICA</character> <dialogue>Okay. I love you, Eric.</dialogue> <scene_description>Ron steps forward, followed by the FAMILY, who gather around Eazy's bed. Finally, the PASTOR, who smiles kindly at them.</scene_description> <character>PASTOR</character> <dialogue>Are we ready?</dialogue> <scene_description>Tomica and Eazy nod their heads yes. The Pastor reaches out, holds Tomica's hand in one hand, Eazy's hand in the other.</scene_description> <character>PASTOR</character> <dialogue>Tomica Woods, do you take Eric Wright to be your lawfully wedded husband, to have and to hold...</dialogue> <scene_description>Tomica tries not to cry, but it's impossible. The tears flow, and all she can do is wipe them away. Eazy won't stop looking at Tomica. Like she's the last thing he'll ever see.</scene_description> </scene> <scene> <stage_direction>EXT. CEDARS - COURTYARD - NIGHT</stage_direction> <scene_description>Outside the Hospital, the VIGIL has grown in size. There's now about a HUNDRED PEOPLE standing outside. Holding candles. Many of them are crying. Holding pictures of Eazy.</scene_description> </scene> <scene> <stage_direction>INT. CEDARS - EAZY'S ROOM - LATER</stage_direction> <scene_description>DRE quietly enters the room, nobody in there except him and Eazy. He walks to the bed. Looks down at his friend, whom he hasn't seen in four years: Eazy's eyes are closed, a RESPIRATOR doing his breathing for him. NOTE: The BONE TAPE is still sitting, untouched, on the bedside table. Eazy never got a chance to listen to it. Dre stands there, staring down, in this extended, surreal moment. He bends down, so his mouth is close to Eazy's ear.</scene_description> <character>DRE</character> <parenthetical>(softly)</parenthetical> <dialogue>Yo, Eazy. Wanna tell you somethin'. I know you can hear me. I know you're still in there --</dialogue> <scene_description>We PULL BACK, so WE CAN'T HEAR WHAT DRE IS SAYING. And we won't hear it, because that's between Dre &amp; Eazy. After a few moments, Dre stands up straight. Whatever he had to say to Eazy, he's finished now. He walks to the door -- On his way out, he passes TOMICA as she's coming in. He looks at her. Then he looks at the ring on her finger. Walks away, without saying a word...</scene_description> </scene> <scene> <stage_direction>INT. CEDARS - OUTSIDE EAZY'S ROOM - A SHORT TIME LATER</stage_direction> <scene_description>A phalanx of POLICE guards the front entrance, preventing the MOB OUTSIDE from getting in. OUTSIDE EAZY'S DOOR, find CUBE sitting in a chair. He spots DRE walking out, looking glazed. Cube gets up. They stand there looking at each other.</scene_description> <character>CUBE</character> <dialogue>S'up Dre?</dialogue> <character>DRE</character> <dialogue>Good to see you, Cube.</dialogue> <scene_description>It's been awhile. Lot of water under the bridge. They finally step to each other, and hug quickly, intensely.</scene_description> <character>CUBE</character> <dialogue>You see him? How he look?</dialogue> <character>DRE</character> <dialogue>He looks the same -- like Eric just sleeping. But he's in a coma. Got a machine breathing for him --</dialogue> <scene_description>Cube frowns, looks at the ground, pained.</scene_description> <character>CUBE</character> <dialogue>Can't see him like that, man. This is bad. I asked one of his homies to call me when he wakes up.</dialogue> <scene_description>Dre nods, doesn't push it. He understands. As they exit together, they pass the Police Guards, in tight formation by the door, protecting the Hospital. Protecting Eazy.</scene_description> </scene> <scene> <stage_direction>EXT. CEDARS - COURTYARD - LATER</stage_direction> <scene_description>MORE PEOPLE keep arriving to the VIGIL. A steady flow. They all stare up at the Hospital, watching, waiting. The crowd STRETCHES far in all directions, clogging the street --</scene_description> </scene> <scene> <stage_direction>INT. CUBE'S HOUSE - BEDROOM - DAY</stage_direction> <scene_description>Cube lies on the bed with Kim, watching TV. The PHONE RINGS on the bedside table. Cube stares at it --</scene_description> </scene> <scene> <stage_direction>EXT. DRE'S HOUSE - PORCH - DAY</stage_direction> <scene_description>Phone to his ear, Dre listens a while, nods, face desolate. Seated beside him, Nicole rubs his back, consoling her man.</scene_description> <character>DRE</character> <dialogue>Okay.</dialogue> <scene_description>Dre hangs up. Looks over to Nicole.</scene_description> <character>DRE</character> <dialogue>He's gone.</dialogue> <scene_description>She hugs him tight as we --</scene_description> </scene> <scene> <stage_direction>EXT. LOS ANGELES - EVERYWHERE - DAY INTO NIGHT</stage_direction> <scene_description>A moment of quiet beauty. A TIME-LAPSE of the magnificent City of Los Angeles. From hazy, sun-blasted MORNING, to an explosively-hued SUNSET, into the electricity of NIGHT. We hear EAZY'S VOICE, one last time, through some of the final words he released to his fans. The TIDES on the beach rise and fall. Endless VEHICLES swarm the FREEWAYS like teeming blood vessels in veins. Clouds race across the sky like an avalanche, a river --</scene_description> </scene> <scene> <stage_direction>INT. DEATH ROW RECORDS - DAY</stage_direction> <scene_description>Dre strides down the lipstick red hallway, lined with platinum records, a determined look on his face. Enters --</scene_description> <character>THE CONFERENCE ROOM</character> <dialogue>To find Suge, looking confused, sitting at the end of the long conference table. He's wearing another absurd Red-Devil suit, fedora, gold watch on a chain, flanked by a couple of jacked-up BLOODS. And his DOG is still by his side.</dialogue> <character>SUGE</character> <dialogue>What's the urgency, Dre?</dialogue> <character>DRE</character> <dialogue>I'm out, man. I'm out of Death Row.</dialogue> <character>SUGE</character> <dialogue>You're not making any sense. Death Row and Dr. Dre are one in the same. You can't just up and go.</dialogue> <scene_description>Dre does not avoid Suge's gaze. He looks right at him.</scene_description> <character>DRE</character> <dialogue>Gonna do my own thing now. Start fresh. Nobody to answer to but myself. It's time, Suge.</dialogue> <character>SUGE</character> <dialogue>You're one stupid muthafucka. You just gonna throw away all this money? 'Cause if you leave, everything we created is mine.</dialogue> <scene_description>Suge starts to breathe hard through his nose. He's pissed.</scene_description> <character>DRE</character> <dialogue>What we created? Ha -- Well you can have it.</dialogue> <character>SUGE</character> <dialogue>You ain't takin nobody with you. Death Row stays Death Row. And if you even think about touching my money? You know how I handle shit.</dialogue> <character>DRE</character> <dialogue>Do what you gotta do. I'm still out.</dialogue> <character>SUGE</character> <dialogue>You're not gettin none of it.</dialogue> <character>DRE</character> <dialogue>I don't give a fuck-- You can't put a price on peace of mind. So you can keep the artists, the money, the masters and the bullshit. I'm startin' my own thing.</dialogue> <scene_description>Suge stands there, huge, scary. He stares cold daggers into Dre's eyes, but Dre refuses to look away. Suge finally nods. Something softens in him.</scene_description> <character>SUGE</character> <dialogue>What you gonna call it?</dialogue> <scene_description>Dre grins.</scene_description> <character>DRE</character> <dialogue>Aftermath.</dialogue> <scene_description>Dre walks away, smiling as -- STRAIGHT OUTTA COMPTON kicks in and we see the people and things that have been impacted by NWA. We begin with all the things that made NWA possible. We'll end with all the things that NWA made possible. A little something we like to call... 145 NWA HISOTRY: 145 \*</scene_description> <character>BEFORE FINAL CREDITS... \*</character> <dialogue>We'll see the actual real life members of N.W.A. in all of \* their glory back in the day, chronicling what they went on to \* do, and culminating with a PICTURE OF NWA, staring menacingly at the camera.</dialogue> <dialogue>The most dangerous band in the world.</dialogue> <scene_description>FADE OUT.:</scene_description> </scene> </script>

In 1986, Compton, California has become a chaotic dystopia due to street gangs, drug dealers, and police brutality. One night, Eazy-E narrowly evades a police raid at a crack house. The following day, Dr. Dre is struggling with what he wants to do in life and is confronted by his mother for missing a job interview. Meanwhile, Ice Cube is a high school senior aspiring to become a rapper. Intrigued by Cube's "reality raps" reflecting on the crime, gang violence, and police harassment that they and other African Americans have endured recently, Dre convinces Eazy to fund a startup record label, Ruthless Records, with Dre as record producer. When their song "Boyz-n-the-Hood" is rejected by a New York rap group, Dre convinces Eazy to perform it instead. It becomes a local hit, and Eazy, Cube, Dre, DJ Yella, and MC Ren form the group N.W.A ("Niggaz Wit Attitudes"). Eazy accepts Jerry Heller's offer to manage N.W.A and co-run Ruthless, and Priority Records offers N.W.A a record deal. While recording their debut album, Straight Outta Compton (1988), the group is harassed by police due to their race and appearance, prompting Cube to compose a diss track—"Fuck tha Police"—towards the police. Heller, having witnessed the altercation and being disgusted by the officers, allows the track without hesitation. The album becomes a controversial hit due to its explicit lyrics, and the group's style is dubbed gangsta rap by the press. During a 1989 concert tour, the FBI demands that N.W.A not perform "Fuck tha Police" because it encourages violence against law enforcement. Police in Detroit forbid them from performing the song, but they perform it anyway. The concert stalls, and the police arrest the group, resulting in a riot. Heller delays the individual members' contracts with Ruthless, and when he insists that Cube should sign without legal representation, Cube quits the group. His debut solo album, AmeriKKKa's Most Wanted (1990), is released, but when Priority Records is unable to pay him his advance on his next album, he wrecks the label head's office. When N.W.A heavily insults Cube on their next record, 100 Miles and Runnin' (1990), he responds with the diss track "No Vaseline", criticizing them and Heller. This, combined with Cube's association with the Nation of Islam, outspoken criticism of the Los Angeles Police Department in the wake of the beating of Rodney King, and a starring role in the 1991 film Boyz n the Hood, make him even more famous and controversial. Dre hires the imposing Bloods gang member Suge Knight as his manager after Knight proves that Heller has been underpaying him. Dre leaves N.W.A to form Death Row Records with Knight, who has his men threaten Heller and beat Eazy-E to pressure them to release Dre from his contract with Ruthless. Dre enjoys his newfound freedom and begins working with other rappers, including then-newcomer Snoop Dogg. His debut solo album, The Chronic (1992), sells over five million copies and is critically acclaimed, even as he becomes concerned about Knight's violent behavior and the community is rocked by the 1992 Los Angeles riots. Eazy, whose fortunes and health have declined, is devastated by the comparative success of his former bandmates. Learning that Heller had been embezzling money from Ruthless from the beginning, he fires him and decides to rekindle his friendships with Cube and Dre, who agree to an N.W.A reunion. During the reunion, Eazy collapses and is admitted to the hospital, where he is diagnosed with HIV/AIDS. Amid emotional visits from his bandmates, Eazy dies on March 26, 1995, and is mourned by fans. Dre parted ways with Knight and Death Row a year later to form his own label, Aftermath Entertainment. Clips shown during the film's credits highlight Cube's subsequent roles as a film actor and Dre's career as a producer and entrepreneur. Several famous rappers credit Dre with helping to launch their careers, and Beats Electronics, which he co-founded, was bought by Apple Inc. in 2014 for $3 billion.

Spawn_1997

tt0120177

<script> <scene> <character>SPAWN</character> <dialogue>Screenplay by</dialogue> <dialogue>Alan McElroy</dialogue> <scene_description>Based on the Image Comic Created by Todd McFarlane Story by Mark Dippe &amp; Alan McElroy Revisions by Mark Dippe May 14, 1996 NOTICE: Tht contents of this IICript are CONFIDENTIAl. It is not to be reproduced or 1uoxed without the expressed &lt;UIS&lt;5ll of l'&lt;'EW LIJ\'E CIJ\'EMA. Copyright New Line Productions, Inc. 1996 FADE IN: l INT. COMMUNICATIONS TOWER - NIGHT 1 We are TIGHT ON an AK-830, a futuristic personal mi.ssile launcher. The glistening magnificence of blue and black steel formed into a single fluid instrument of death. Strong, steady hands assemble sections of the AK-830. Support brackets and infrared target-triangulators snap-lock into place. Tiny readouts display weapons system status. A black gloved finger presses a VR interlock switch. A night- vision VR HELMET is lowered onto the user's head. We only catch a quick glimpse of an attractive, determined African- American man in his early thirties. USER'S POV - HELMET'S VR DISPLAY - NIGHT We see a murky infrared/nightvision image of the scene come up from black. An indicator reads "aligning" as a three dimensional VR representation of the airport and surrounding landscape comes up sharply, superimposed over the image, and locks in place. The di.stant Control Tower, hangars, runways, and other buildings are i.dentified with hovering icons. Targeting and weapons status runs in small floating boxes. Our vision settles on an airliner as it taxis in. The airliner i.s identified as a "pri.mary target".</scene_description> </scene> <scene> <stage_direction>EXT. AIRPORT - HONG KONG - NIGHT</stage_direction> <scene_description>The large jet taxis toward an area of private hangars.</scene_description> </scene> <scene> <stage_direction>INT. COMMUNICATIONS TOWER - NIGHT</stage_direction> <scene_description>We're again tight on the ominous beauty of the AK-830 as it rises wi.th ease in the sure hands of its owner. Levels evenly. VR DISPLAY - NIGHT The jet reaches a hangar and is met by several men identified by their VR avatars. All are enunciated for targeting purposes and identified by floating symbols. Multiple target acquisition indicators blink "ready".</scene_description> </scene> <scene> <stage_direction>EXT. AIRPORT HANGAR - NIGHT</stage_direction> <scene_description>Several men wait outside the hangar for the plane's arrival. A limousine with bodyguards sits idling. Two bodyguards emerge from the plane carefully surveying the scene. A man of obvious importance steps out of the plane and is greeted from below. The man smiles and waves. Others follow him down the ramp. VR DISPLAY - NIGHT The man on the ramp, his VR avatar superimposed, slowly descends. A subwindow appears in which the man is magnified and identified as ",Tosef As-Ami.far". He .i.s enunciated as "primary". The subwindow disappears and VR targeting crosshairs rotate into posit.ion affirming target lock. A sweep of the entire image is made. An indicator specifies that the "kill zone clear" and an "optimum" signal beeps.</scene_description> </scene> <scene> <stage_direction>INT. COMMUNICATIONS TOWER - NIGHT</stage_direction> <scene_description>The Assassin pulls the trigger on the AK-830. From its dark maw comes a single self-propelled projectile that shatters through the communication tower's glass window as it accelerates toward its purpose.</scene_description> </scene> <scene> <stage_direction>EXT. HANGAR - NIGHT</stage_direction> <scene_description>Heads at the hangar turn in shock as they see the rocket. We are suddenly tight on the face of an old man working on a cargo dock between the communications tower and hangar as he watches the rocket. His hard and coldly mysti.cal eyes register dismay but no surprise. The projectile is on target and instantly separates into four individual and autonomous missiles, much like a MIRV. The four contrails arc across the sky. VR DISPLAY - NIGHT The four missiles peel away from one another toward their brightly enunciated targets. The plane, and the primary and secondary targets are all obliterated on the three dimensional VR landscape. The screen flashes "target eliminated" then goes black.</scene_description> </scene> <scene> <stage_direction>1.1 INT. COMMUNICATIONS TOWER - NIGHT 11</stage_direction> <scene_description>AL SIMMONS removes the helmet. He's African-American, thirty-three, and a hard-eyed, intense professional. Highly disciplined. The reflection of destruction rings his dark irises. No emotion registers. He's done this before. Many times. Simmons sets an explosive charge on the launcher that begins counting down. He quickly removes his black-op coveralls revealing a businessman's suit underneath and grabs a briefcase. He hesitates one moment to look back at the flames. He registers a hint of disgust at what he has just done. Simmons exits past three dispatched security men sprawled in the room, destroyed communications equipment, and other signs of a violent entry. Moments later the entire room erupts in flame. FADE TO BLACK.</scene_description> </scene> <scene> <stage_direction>EXT. EVERETT ELEMENTARY - DAY</stage_direction> <scene_description>We see a five year old LITTLE BOY in camouflage pants, holding up a G.I. Joe torso in one hand and two small arms, one holding a tiny machine gun, in the other, trying to fix it. A shadow looms over the boy and he looks up startled. We see Simmons, in his suit, concerned, looking for someone. Several kindergartners romp across the playground as parents arrive to pick up their children. School's out for the day.</scene_description> <character>LITTLE BOY (OS)</character> <dialogue>Can you fix my soldier ... ?</dialogue> <scene_description>Simmons turns, looks down and sees the boy holding up the disabled toy.</scene_description> <character>SIMMONS</character> <dialogue>Well, uh ...</dialogue> <scene_description>Simmons, more than a little uncomfortable in the role of doll-doctor, takes the toy and tries to reattach the plastic limbs. Harder than it .looks. The Little Boy gives Simmons a worried look.</scene_description> <character>LITTLE BOY</character> <dialogue>Is it okay?</dialogue> <character>SIMMONS</character> <parenthetical>(struggles valiantly)</parenthetical> <dialogue>This isn't exactly my specialty.</dialogue> <scene_description>A striking Nubian beauty, thirty, intelligent, soulful, statuesque, with a soft briefcase in her hand, walks up and watches Simmons' efforts with quiet amusement and a touch of warmth. This is WANDA BLAKE. Kindergarten teacher and girlfriend of Al Simmons.</scene_description> <character>WANDA</character> <parenthetical>(off Simmons' remark)</parenthetical> <dialogue>I'll say.</dialogue> <scene_description>Simmons looks up and smiles. He successfully pops the limbs back into place and offers G.I. Joe to the Little Boy. The Little Boy beams, takes back the G.I. Joe, and runs off. Simmons crosses to Wanda with eyes appraising her every tantalizing curve.</scene_description> <character>SIMMONS</character> <dialogue>And just what is my specialty?</dialogue> <character>WANDA</character> <dialogue>It certainly isn't being on time.</dialogue> <character>SIMMONS</character> <parenthetical>(head bowed)</parenthetical> <dialogue>Forgive me, my queen.</dialogue> <scene_description>Wanda laughs and playfully slaps Simmons' head. They embrace and kiss as two nearby children giggle. The pure love between Wanda and Simmons is unquestionable.</scene_description> <character>SIMMONS</character> <dialogue>Whattaya say we go do a little homework.</dialogue> <scene_description>Wanda smiles mischievously and with arms around one another, Wanda and Simmons cross the playground toward Simmons' parked sedan. The Little Boy, standing near the swings, scrutinizes his G. I. Joe more closely. He looks over towards Simmons getting into his car.</scene_description> <character>LITTLE BOY</character> <dialogue>Hey, you put his arms on backwards!</dialogue> <scene_description>A cackling laugh is the boy's only response and he whirls with a frightened look. Some distance away we see a short, corpulent silhouette, call him CLOWN, laughing atop a slowly rotating wood and steel runaround. From Clown's POV we see the boy and, in the distance, Simmons departing.</scene_description> <character>CLOWN (OS)</character> <dialogue>backwards ... heh heh heh ... that's</dialogue> <scene_description>good ... heh heh heh ... that's very good .. .</scene_description> </scene> <scene> <stage_direction>INT. SIMMONS' HOUSE - MASTER BEDROOM - DUSK</stage_direction> <scene_description>Simmons and Wanda live in an older house in the suburbs. It has a hip contemporary feeling. We hear the shower running and Wanda humming as we PAN ACROSS New Year's Eve photos standing in frames on the vanity. Wanda, Si.mmons, and Simmons' best friend, Terry Fitzgerald, smiling amid streamers and having a good time. Simmons, dressed in boxers, casually stretches his lean muscles. He turns to the vanity and picks up an unusual pendant attached to a gold chain. He turns it over and i.t pops open. It's a locket. Just then, the audio from the CNN news update running on the thirty inch inside a wall cabinet catches his attention.</scene_description> <character>CNN NEWS ANCHOR</character> <parenthetical>(from TV)</parenthetical> <dialogue>the leader of the Algerian</dialogue> <scene_description>Revolutionary Front, along with 26 civilian members of a secret peace mission, were killed yesterday in a vicious rocket attack ... Simmons watches the flames and aftermath at the all too familiar airport and shakes his head with a tired sad anger.</scene_description> <character>SIMMONS</character> <dialogue>Damn ...</dialogue> <scene_description>He looks back at the locket and the photo of himself and Wanda smiling. On the other side is an inscription: Forever.</scene_description> <character>SIMMONS</character> <parenthetical>(Sotto)</parenthetical> <dialogue>It's time for a change baby.</dialogue> <scene_description>Simmons shuts the locket and slips the chain over his head just as a wire-haired terrier named SPAZ jumps and twirls in the air, a ball in his mouth. Simmons demeanor stays sour for a beat, but he just can't resist.</scene_description> <character>SIMMONS</character> <dialogue>Spaz! Ya knucklehead.</dialogue> <scene_description>Simmons grins like a kid and plays with hi.s dog for several seconds. Spaz loves it and inundates his owner wi.th licks.</scene_description> <character>WANDA (OS)</character> <dialogue>Sometimes I think you love that dog more than me.</dialogue> <scene_description>Simmons turns to see Wanda wrapped in a towel, still wet.</scene_description> <character>SIMMONS</character> <parenthetical>(mock serious)</parenthetical> <dialogue>I've known him longer.</dialogue> <scene_description>A towel hits Simmons in the head covering his face. He rips it Off in playful anger and looks over towards Wanda. His express-ion suddenly changing.</scene_description> <character>SIMMONS</character> <dialogue>But then again, he doesn't look nearly as good in wet hair.</dialogue> <scene_description>S~ns reaches up, grabs Wanda, and pulls her towards him.</scene_description> <character>WANDA</character> <dialogue>Don't you dare kiss me with that dog all over your face.</dialogue> <scene_description>S ~ s woofs at Wanda and starts to lick her face like a dog ignn-ing her pleas. Spa:s: barks and jumps with excitement before getting covered witt1 Simmons• boxer shorts. As we hear Simmons and Wanda, Spa:1,twirls in the boxers, his head finally popping out the les- inth a quizzical look. IN!..A-6 HEADQUARTERS - WYNN'S OFFICE - NIGHT JAS!5 WYNN is smiling as he watches an international news reJ!!rt on his thirty si.x inch wall monitor showing the fallliliar operation at the airport. His offi.ce has the feel of 5111 upper echelon military officer, but not the top dog.</scene_description> <character>CLOWN (OS)</character> <dialogue>lilorth Africa is ready to burn.</dialogue> <scene_description>Wymturns and gazes across the office at the squat figure sertr i in shadow. Clown spins a large globe with his foot.</scene_description> <character>WYNN</character> <dialogue>Simmons is the best.</dialogue> <character>CLOWN</character> <dialogue>That's all fine and dandy, Doctor Doom, but this five year plan of yours is way too long.</dialogue> <character>WYNN</character> <dialogue>This i,sn 't a game we' re playing ... engineering a biological weapon is an exact science. You want it done right, you do it my way.</dialogue> <scene_description>Wynn doesn't like dealing with this tasteless cretin but endures it for his own dark reasons</scene_description> <character>WYNN</character> <parenthetical>(leaning over, deadly serious)</parenthetical> <dialogue>I'm giving you a guarantee. All you have to do is keep certain agencies off my back and make damn sure I get what I've been promised.</dialogue> <character>CLOWN</character> <parenthetical>(gesturing to surroundings)</parenthetical> <dialogue>Don't worry, Jason baby, we'll make sure you're running this whole place in no time. . • and after that. • • when the big cookie crumbles ••.</dialogue> <parenthetical>(Clown spins globe knocking it to Wynn's feet)</parenthetical> <dialogue>you get it all.</dialogue> <scene_description>Clown jumps down from the chair, still in shadow.</scene_description> <character>CLOWN</character> <dialogue>Just make sure you keep your end of the bargain.</dialogue> <parenthetical>(turning away, then stopping)</parenthetical> <dialogue>Oh yeah. There's one more item on today's "to do" list. We need you to help recruit someone very special for us, your all time favorite killer, Al Simmons.</dialogue> <character>WYNN</character> <dialogue>Simmons? He's doing a great job where he is. Why choose him?</dialogue> <character>CLOWN</character> <dialogue>"Why" doesn't matter. "How" is what's so much fun.</dialogue> <scene_description>Wynn can't wait for the day when he can deal with Clown.</scene_description> </scene> <scene> <stage_direction>INT. SIMMONS' HOUSE - KITCHEN - DAY</stage_direction> <scene_description>Simmons and Wanda have breakfast in a small nook. A window overlooks the rear yard. Wanda is making some fresh orange juice while Simmons is steathily making Spaz balance a piece of pancake on his nose. Simmons quickly takes a forkful as Wanda turns and comes towards the table with two glasses of juice.</scene_description> <character>WANDA</character> <parenthetical>(seductively)</parenthetical> <dialogue>How about you and I head up to the coast tonight ... bottle of champagne ... moonlight walk in the sand ...</dialogue> <scene_description>Wanda stands looking expectantly. Simmons takes a big drink of juice and sadly avoids Wanda's gaze. She knows what this means having seen the look too many times.</scene_description> <character>WANDA</character> <dialogue>Al, no. . . not again.</dialogue> <character>SIMMONS</character> <dialogue>I'm sorry.</dialogue> <character>WANDA</character> <dialogue>But you just got back.</dialogue> <scene_description>Wanda crosses her arms and walks to the window. Simmons sets his glass down, obviously unhappy about the turn of events.</scene_description> <character>SIMMONS</character> <parenthetical>(feeling guilty)</parenthetical> <dialogue>Wanda. . . there's nothing I'd like to do more than go away. . . but ...</dialogue> <character>WANDA</character> <parenthetical>(interrupting, angry)</parenthetical> <dialogue>The job ... the job you can never talk about, the job that takes you away to who knows where ... it's this thing that's taken over your life.</dialogue> <parenthetical>(concerned)</parenthetical> <dialogue>and I never know when, or .if you' re corning back ... and it's killing me ... it's killing us.</dialogue> <scene_description>Simmons is obviously troubled. He gets up and puts his arms around Wanda from behind. She isn't returning the gesture.</scene_description> <character>SIMMONS</character> <dialogue>I've been thinking the same thing ... I've decided to get out ...</dialogue> <scene_description>Wanda turns, her eyes flickering with hope.</scene_description> <character>SIMMONS</character> <dialogue>I want us to be together ... have a family ...</dialogue> <scene_description>Wanda knows this is a very big change for Simmons to make.</scene_description> <character>WANDA</character> <parenthetical>(seriously)</parenthetical> <dialogue>Are you sure this is what you want?</dialogue> <character>SIMMONS</character> <parenthetical>(nods)</parenthetical> <dialogue>It's all I want.</dialogue> <scene_description>Wanda embraces Simmons with all her heart.</scene_description> <character>SIMMONS</character> <dialogue>Just one last piece of business and we can get down to that Wanda and Al thing.</dialogue> <scene_description>Wanda gets that look.</scene_description> <character>SIMMONS</character> <dialogue>I promise.</dialogue> <character>WANDA</character> <parenthetical>(heartfelt concern)</parenthetical> <dialogue>Just promise me you'll come back in one piece.</dialogue> <character>SIMMONS</character> <dialogue>Nothing could stop me •.</dialogue> <scene_description>Theymelt into each other's arms and kiss. It's clear that Silmlms is coming back to Wanda, come hell or high water. Spaxnervously looks on as Wanda and Simmons kiss, then sneas off with a pancake.</scene_description> </scene> <scene> <stage_direction>INT.SIMMONS HOUSE - GARAGE - DAY</stage_direction> <scene_description>Wa:nilE,gets in Iler car, a white two-seater convertible. She cl'.l!U!S the car door and is taken aback when she sees a st.J:iage looking Clown air freshener hanging from the mirror witii~he inscription "Love and Bandages".</scene_description> <character>WANDA</character> <dialogue>Never a dull moment with Al Simmons in the house.</dialogue> </scene> <scene> <stage_direction>EXT.SIMMONS BOUSE - DRIVEWAY - DAY</stage_direction> <scene_description>We • the exterior of the Simmons home. An older house in the:mbu:irbs with a hip contemporary feeling. TERll'?ITZGERALD, white, clean-cut, and amiable, leans aga:itt his idling grey sedan sipping coffee and perusing USA To~ Re doesn't seem too happy about what he's reading. The garage door opens and Wanda backs out. She waves as she slows by Terry.</scene_description> <character>TERRY</character> <parenthetical>(smiling)</parenthetical> <dialogue>Do me a favor, Wanda -- buy your man a watch.</dialogue> <character>WANDA</character> <dialogue>He's on his way out Terry. See you later.</dialogue> <scene_description>Terry watches her go, then turns as Simmons approaches.</scene_description> <character>TERRY</character> <parenthetical>(re: Wanda)</parenthetical> <dialogue>Figured she'd be a little more upset.</dialogue> <character>SIMMONS</character> <dialogue>I told her this was my last op.</dialogue> <character>TERRY</character> <dialogue>What?!</dialogue> <character>SIMMONS</character> <dialogue>I'm gonna marry her.</dialogue> <scene_description>Terry is dumbstruck searching for the right words.</scene_description> <character>SIMMONS</character> <dialogue>Not a word about this, you hear.</dialogue> <character>TERRY</character> <parenthetical>(shrugs)</parenthetical> <dialogue>Did I say something?</dialogue> <scene_description>Spaz barks as he crosses the lawn to Simmons' feet. Not happy to see his master go. Spaz looks at Simmons with a cocked head.</scene_description> <character>SIMMONS</character> <dialogue>Usual routine, okay? Guard Wanda and the house until I get back.</dialogue> <scene_description>Spaz barks and leaps into the air as Simmons climbs into the sedan. Spaz stands at attention on the lawn and watches the car pull out into the street and away. He strides to the front stoop and lays down to patiently await his master's return.</scene_description> </scene> <scene> <stage_direction>INT. TERRY'S CAR - DAY</stage_direction> <scene_description>Simmons sips coffee while Terry drives, keeping one concerned eye on his best friend.</scene_description> <character>TERRY</character> <dialogue>Wynn's gonna hit the roof.</dialogue> <parenthetical>(no response from Simmons)</parenthetical> <dialogue>So what are you gonna do?</dialogue> <character>SIMMONS</character> <dialogue>I dunno ... maybe be an analyst like you.</dialogue> <character>TERRY</character> <dialogue>You behind a desk? You gotta be kidding!</dialogue> <character>SIMMONS</character> <parenthetical>(knows he's right)</parenthetical> <dialogue>It just doesn't feel right anymore. We're supposed to be making things better not worse.</dialogue> <scene_description>Terry looks over at the brooding Simmons. Realizes he's serious about all this.</scene_description> <character>TERRY</character> <dialogue>Well, one thing's for sure, Wanda's definitely the best thing you got going. She is one fine woman.</dialogue> <scene_description>Simmons smiles.</scene_description> <character>TERRY</character> <dialogue>It's about time one of us got hitched. Besides it'll give me a chance to tell your new inlaws about that wild night in Amsterdam. Now that was some deep nasty.</dialogue> <scene_description>Simmons smacks Terry in the arm with a smile.</scene_description> <character>SIMMONS</character> <dialogue>Don't even think about it.</dialogue> <character>TERRY</character> <parenthetical>(smiling, rubbing his arm)</parenthetical> <dialogue>Somebody's got to warn'em about you.</dialogue> <scene_description>They drive for a beat. Terry grabs the paper.</scene_description> <character>TERRY</character> <parenthetical>(displays USA Today headline)</parenthetical> <dialogue>Did you see this. Algerian terrorists blew up a British airliner.</dialogue> <scene_description>18 CONTINUED: Simmons scans the paper, the pain shows in his face.</scene_description> <character>TERRY</character> <dialogue>Our intelligence turns up wrong and suddenly we've got a bloodbath on our hands. Another Jason Wynn special screws the pooch.</dialogue> <character>SIMMONS</character> <dialogue>What do you mean?</dialogue> <character>TERRY</character> <parenthetical>(a little cautiously)</parenthetical> <dialogue>Well ..• I've found problems in some of Wynn's field reports.</dialogue> <character>SIMMONS</character> <parenthetical>(stopping Terry)</parenthetical> <dialogue>What kinds of problems?</dialogue> <character>TERRY</character> <parenthetical>(almost whispering)</parenthetical> <dialogue>I know you've worked with Wynn for years ... something just isn't adding up and for some reason, the field director keeps cutting Wynn slack ... I'm gonna stay on Wynn's case and if he turns out to be some kind of psycho renegade, I'm gonna find a way to stop him.</dialogue> <scene_description>Simmons eyes remain distant as guilt mixes with his smoldering anger.</scene_description> </scene> <scene> <stage_direction>EXT. A-6 HEADQUARTERS - DAY</stage_direction> <scene_description>Terry's car approaches a fenced in complex. Various glass and steel buildings cover several acres of manicured landscape. An innocuous hi-tech environment. Terry's car reaches the main gate. A small sign simply reads: A-6. A guard watches an X-ray scan of the entire car and its occupants from three views. The display identifies and clears them. The gate opens and they enter.</scene_description> </scene> <scene> <stage_direction>INT. A-6 HEADQUARTERS - WYNN'S OFFICE - DAY</stage_direction> <scene_description>Simmons enters the office. Wynn calmly glances up from behind his desk as Simmons approaches and throws the newspaper from the car down on Wynn's desk.</scene_description> <character>SIMMONS</character> <dialogue>The kill zone was supposed to be clear.</dialogue> <character>(CONTINUED}</character> <dialogue>JESSICA CHAPEL, beautiful, cool eyed, sensuous, deadly, is seated nearby on a leather couch. Allure and arrogance wrapped in a stunning and lethal package.</dialogue> <character>WYNN</character> <dialogue>An unfortunate, but necessary sacrifice.</dialogue> <character>SIMMONS</character> <dialogue>Come on, Jason, a necessary sacrifice that just happens to set off a terro:i:ist bloodbath?</dialogue> <character>WYNN</character> <parenthetical>(amiable, apologetic)</parenthetical> <dialogue>Listen, Al, I wish things had gone down differently just as much as you do, but the airport op had to happen when it did, the way it did.</dialogue> <character>SIMMONS</character> <dialogue>You want somebody filling body bags, send Chapel.</dialogue> <character>CHAPEL</character> <parenthetical>(to Simmons, faux-coy grin)</parenthetical> <dialogue>You're making me blush.</dialogue> <character>WYNN</character> <parenthetical>(direct)</parenthetical> <dialogue>I'll send whoever, wherever I want. You follow orders and do your job. Got a problem with that soldier?</dialogue> <character>SIMMONS</character> <dialogue>Yessir I do, and I respectfully request a transfer.</dialogue> <character>CHAPEL</character> <parenthetical>(sits up, surprised)</parenthetical> <dialogue>Yow ... what happened to Mister All Star? Break your bat sliding into home?</dialogue> <scene_description>Chapel smirks with sensuous derision. Simmons meets her gaze straight on. Wynn is genuinely taken aback.</scene_description> <character>SIMMONS</character> <parenthetical>(stands firm)</parenthetical> <dialogue>Ten years is long enough.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>I'm getting married.</dialogue> <character>WYNN</character> <parenthetical>(realizes with a smirk)</parenthetical> <dialogue>Wanda ... should've seen it coming. We had big plans for you. Invested a lot of time and energy, and you were worth i t ••• You love what you do Simmons. A wife and a white picket fence aren't going to change that.</dialogue> <scene_description>Simmons locks eyes with Wynn.</scene_description> <character>SIMMONS</character> <dialogue>I've made up my mind.</dialogue> <character>WYNN</character> <parenthetical>(beat)</parenthetical> <dialogue>Are you sure there's nothing I can do to change it?</dialogue> <character>SIMMONS</character> <dialogue>Absolutely.</dialogue> <scene_description>Wynn leans back and eyes Simmons for an appraising beat, then stands, smiles, and offers his hand to Simmons. They shake like old friends.</scene_description> <character>WYNN</character> <dialogue>Congratulations, Al ... not sure how we're going to replace you.</dialogue> <parenthetical>(all business)</parenthetical> <dialogue>I ' l l sign your transfer ... after we've run this op.</dialogue> <scene_description>Wynn grabs his remote and hits a button. On the wall mounted monitor, an image of North Korea and surveillance photos of a manufacturing facility come up.</scene_description> <character>WYNN</character> <dialogue>North Korean biochem weapons plant in need of disabling.</dialogue> <character>SIMMONS</character> <parenthetical>(a beat)</parenthetical> <dialogue>Let's get it over with.</dialogue> </scene> <scene> <stage_direction>INT. BIO-CHEM PROCESSING AREA - NIGHT</stage_direction> <scene_description>Chemical vats and transfer conduits fill the chamber's vast dimness. An armed Korean sentry patrols the area. An almost invisible monofilament wire drops from above. Simmons, in black op-coveralls, drops down swiftly, silently from above. Snaps the sentry's neck and moves on. CONTINUED: Simmons moves on steathily but runs right into another guar·d who is equally surprised by their meeting. Simmons kicks the gun out of the guard's hand. The guard strikes back with martial arts quickness knocki.ng Simmons backwards. The guard draws a knife and slashes at Simmons who leaps and swing ki.cks him in the head breaking his neck. Simmons checks for other activity, then continues on. Simmons enters a large core processing area and sees explosive charges attached to huge tanks labeled "Level 4 Biohazard".</scene_description> <character>SIMMONS</character> <parenthetical>(into needle mike)</parenthetical> <dialogue>I've got non-sanctioned packages in zone four on what looks like</dialogue> <scene_description>Wynn strolls from between the biological weapon storage tanks. Simmons is momentarily stunned by Wynn's presence.</scene_description> <character>SIMMONS</character> <dialogue>What the hell's going on?</dialogue> <character>WYNN</character> <parenthetical>(deadly serious)</parenthetical> <dialogue>Priorities have changed.</dialogue> <character>SIMMONS</character> <parenthetical>(a beat, horrified)</parenthetical> <dialogue>We cannot detonate these containers. That would release biologicals into the atmosphere and there's a town less than a mile from here.</dialogue> <character>WYNN</character> <dialogue>Eight thousand experimental hosts.</dialogue> <character>SIMMONS</character> <parenthetical>(angry realization)</parenthetical> <dialogue>What are you talking about? I'm not gonna let you do this.</dialogue> <scene_description>Simmons turns to disarm the charges. Silenced gunfire hits him in the leg and shoulder sending him sprawling. Chapel melts from darkness with smart-gun and laser sights coming to bear.</scene_description> <character>CHAPEL</character> <dialogue>Looks like I'm up for a promotion.</dialogue> <scene_description>Chapel steps close and trains the smart-gun's business end on Simmons' left eye.</scene_description> <character>SIMMONS</character> <parenthetical>(to Chapel)</parenthetical> <dialogue>You wipe his ass, too.</dialogue> <scene_description>Chapel kicks Simmons brutally in the head. Knocks him flat to the floor.</scene_description> <character>SIMMONS</character> <parenthetical>(locks eyes with Wynn)</parenthetical> <dialogue>Is this another necessary sacrifice?! You knew exactly what was going down all along.</dialogue> <scene_description>Wynn takes out a silver cigarette case and lights a Dunhill.</scene_description> <character>WYNN</character> <dialogue>I do believe he's catching on.</dialogue> <parenthetical>(to Chapel)</parenthetical> <dialogue>Time for Al's big send off.</dialogue> <scene_description>Chapel engages a special function of her smart-gun, a nozzle emerges, and Chapel sprays a clear flammable gelatin all over Simmons face and body.</scene_description> <character>WYNN</character> <dialogue>Enjoy your retirement. Oh, and don't worry about Wanda. We' 11 take good care of her.</dialogue> <scene_description>Wynn smiles. Simmons screams.</scene_description> <character>SIMMONS</character> <parenthetical>(fierce)</parenthetical> <dialogue>Touch her and you're a dead man!</dialogue> <scene_description>Wynn laughs, stands and takes a deep drag from his cigarette. The ash glows bright red.</scene_description> <character>WYNN</character> <dialogue>I really should cut down.</dialogue> <scene_description>Wynn flicks the cigarette. It flies through the air in slow motion. Simmons strains to swat the cigarette away with his good arm. He manages to hit the cigarette with his gel covered hand. The cigarette hits and sticks to the back of his hand. Nothing but a stream of smoke wafts gently from the cigarette. Simmons relaxes for a split second when suddenly, the cigarette glows red again and the flammable gelatin ignites sending flames racing up Simmons' arm. Sim.~ons flails his arm trying to stop the spread of the flames.</scene_description> <character>WYNN</character> <dialogue>See you in Hell.</dialogue> </scene> <scene> <stage_direction>EXT. BIO-CHEM PLANT - NIGHT</stage_direction> <scene_description>Wynn and Chapel are moving in the dark wearing biochemical protection suits. Wynn holds a remote detonator. They stop, turn, and close their helmets. Wynn pushes the detonator button. We barely see the biochem plant in the background as it suddenly becomes a fireball, turning night i.nto day.</scene_description> </scene> <scene> <stage_direction>INT. BIO-CHEM AUTO-REPROCESSING AREA - NIGHT</stage_direction> <scene_description>Fire and explosions are everywhere. We hear Simmons shriek in pain and barely make out his silhouette rising in the flames. His head, surrounded by fire, rises into frame as he screams</scene_description> <character>SIMMONS</character> <dialogue>WAAANNNDDDAAAA!</dialogue> <scene_description>Simmons exhales his dying breath. We see his standing silhouette collapse, lost in flames, and heel over into the fire's welcoming tendrils. The world shatters in a harsh red flash and becomes .•.</scene_description> </scene> <scene> <stage_direction>INT. HELL'S GULLET - NIGHT</stage_direction> <scene_description>Simmons burnt Hell corpse spirals down a tube of whirling firestorm trailing flame like a meteor. The wail of a billion laughing, screaming, tortured voices roils through the inferno.</scene_description> </scene> <scene> <stage_direction>INT. HELL - NIGHT</stage_direction> <scene_description>Simmons' burnt corpse smashes into a lake of hellfire, a landscape of blue and crimson flame. Through curtains of magma·-flame, a massive, hulking, godless creature, stories tall, offers peels of concussive laughter. A hint of soulless crimson-yellow eyes fades from view. We see the silhouette of Clown gleefully watching. Simmons hears a strange grunt and turns towards the source. He sees Wanda's face through the flames. Just as she screams we --</scene_description> </scene> <scene> <stage_direction>EXT. EMERGENCY DELIVERANCE CHURCH - ROOFTOP - DAY</stage_direction> <scene_description>Simmons' eyes snap open as his scream fades back into his soul's depths. He reacts as if he's on fire. We can only see the barest shadowy hint of his horribly seared features.</scene_description> <character>26</character> <dialogue>•</dialogue> <character>CONTINUED:</character> <dialogue>Simmons calms down and lies prone on the expansive roof of a former Gothic cathedral turned street mission. Now rundown and long neglected, the cathedral is in the advanced stages of disrepair.</dialogue> <dialogue>A huge cross stands tall atop the cathedral's steeple. Once white, now grey and weather-beaten, the cross casts a long inverted shadow across Simmons' body. Simmons sucks in a painful breath and slowly rolls onto his side.</dialogue> <dialogue>A BLACK CAT hisses and arches at Simmons less than afoot away. The cat spits in angry fear and quickly flees across the cathedral's rooftop as Simmons reacts. Pigeons take flight all around Simmons.</dialogue> <dialogue>A squealing, snorting combination chuckle and guffaw trails across the rooftop along with a smattering of applause. Simmons turns to the source and we finally get to fully see Clown for the first time.</dialogue> <dialogue>Clown stands at the roof's far end between partially disintegrated gargoyles. He wears grimy, mismatched, undersized thrift shop clothes, and has an eerie and disturbing blue clown's face painted across his wide features. He is surrounded by flies that create an ever present buzz. Sickeningly self-amused and self-involved, Clown i.s an urban alien laced with malicious perversity. Arrogant, insecure, and emotionally volatile, vermin that sees himself as royalty.</dialogue> <dialogue>Clown's snorts become snickers as he smiles wide and exposes a dental graveyard of rotten teeth. He licks his lips at Simmons and mutters quickly to himself.</dialogue> <character>CLOWN</character> <dialogue>Oooh, Tasty larva. Soon you'll be ready for some bi.g fun.</dialogue> <scene_description>Clown wrings his hands and scuttles away beyond the spires and gables of the roof. Simmons thinks he's hallucinating and shakes his head to clear it. He scans the horizon and sees the rooftops and brick walls of a dark urban sprawl. The stench of slums, squalor, and general decay wafts from all directions. Simmons slowly rises, weaves like a drunk and falls down. Every fiber in his body aches to the core. He moves clumsily towards the edge of the roof but stops in a half crouch when he realizes that he's dressed like a wino in old tatters. He sees his scorch-scarred hands and his face becomes horrified. Simmons stares at his runneled flesh for a beat before cautiously fingering his hideously charred face. His hands shake.</scene_description> <character>SIMMONS</character> <dialogue>What the hell?!</dialogue> </scene> <scene> <stage_direction>EXT. CHURCH - ALLEYWAY -· DAY</stage_direction> <scene_description>Simmons climbs down a decrepit fire escape, drops to the alley floor, and falls against some trash cans. The shadowy alleyway is one of many that twist and weave through this downtrodden area. Simmons crawls forward and stares at himself i.n a stagnant puddle. We get our first clear look at Simmons' burnt face. Covered with grotesquely healed burn wounds, he is unrecognizable. Simmons realizes that he's not just burned but .•. altered. He's physically larger than before. Even his voice is more forbidding. Simmons closes his hands into fists as his raw anger swells. A foot, wearing a worn down sneaker, splashes into the puddle. ZACK WEBB, a wiry, self-reliant ten year old AmerAsian, stands over Simmons in grubby layers. The uniform of the homeless.</scene_description> <character>ZACK</character> <dialogue>Hey, mister, you don't look so good.</dialogue> <scene_description>Simmons staggers weakly to his feet. Zack helps to steady him. Simmons brushes the boy away. Zack produces a half empty bottle of Pepsi from inside his coat. Offers it to Simmons.</scene_description> <character>ZACK</character> <dialogue>You thirsty?</dialogue> <character>SIMMONS</character> <dialogue>Get lost kid.</dialogue> <scene_description>Simmons slaps the bottle from Zack's grasp. An ancient hand snatches the tumbling bottle out of midair with startling precision and swiftness. NICHOLAS COGLIOSTRO stands in partial shadow behind the boy in an overworn olive drab greatcoat circa 1917. Grey-hair, bearded, with harsh angular features, Cog1iostro is early sixties, with hard dark eyes and a mysteriously commanding presence. Cogliostro's eyes stare at Simmons. The same eyes we saw briefly at the Hong Kong Airport.</scene_description> <character>SIMMONS</character> <parenthetical>(hard look i.n his eyes)</parenthetical> <dialogue>What' r·e you looking at, old man?</dialogue> <character>COGLIOSTRO</character> <dialogue>You tell me.</dialogue> <scene_description>Simmons ignores Cogliostro and leans heavily against the alley wall. He feels unusually weak and disoriented. Simmons almost falls. Catches himself.</scene_description> <character>SIMMONS</character> <parenthetical>(holds his temples, groans)</parenthetical> <dialogue>Where am I?</dialogue> <character>ZACK</character> <dialogue>Cannibal country ... heart of the Tenderloin. I sleep over there.</dialogue> <scene_description>Against the walls are piles of rotting, forgotten trash interspersed with the occasional cardboard condo. Homeless men, women and children surviving on what they can scrounge and share. A couple of guys are dumpster diving. Zack indicates his home -- an old refrigerator box with a grubby man passed out alongside.</scene_description> <character>COGLIOSTRO</character> <dialogue>This is a holy place where anyone can find sanctuary.</dialogue> <scene_description>Simmons looks around at the rundown surroundings.</scene_description> <character>SIMMONS</character> <dialogue>Yeah, right.</dialogue> <character>ZACK</character> <dialogue>I've seen worse faces, mister. My Dad used to work for a mortician.</dialogue> <character>SIMMONS</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>Thanks kid, I feel much better now.</dialogue> <scene_description>Simmons pushes away from the wall and shoves by Zack and Cogliostro. He doesn't want to belong here. Simmons turns and stumbles down the alley. Simmons staggers weakly through filth and detritus and out onto the street. EXT, STREET - DAY People react in horror at the sight of Simmons. He shoulders into a business woman as she steps out of a shop. The woman screams at the sight of Simmons' face and runs. Simmons reelt backward across a mound of broken crates trying to hide his face. Cogli-ostro is suddenly there in front of him. Impossibly swift and silent. He has a battered overcoat in hand and tos.ses it in Simmons lap. Si.mmons looks suspiciously at Cogl.f!ostro then begrudgingly puts on the overcoat. Pulls the colla.1r up around his scarred face and head.</scene_description> <character>SIMMONS</character> <parenthetical>(suspicious)</parenthetical> <dialogue>Thanks, old man.</dialogue> <scene_description>Sllllllms rises along the wall with some difficulty and starts away. Cogliostro stares at him with eyes cutti.ng deep. Hol'C!ing Simmons in stark judgement.</scene_description> <character>COGLIOSTRO</character> <dialogue>You're welcome to join us ... if you choose.</dialogue> <scene_description>Si-ms looks up, then staggers on without looking back. In tht:middle distance, Simmons weaves, stumbles, but stays on his~eet as he enters the decaying ci.ty. Things are de:i::b!i.tely worse than he remembers. Dirtier, scarier, more pa\]t¢e. Simmons vanishes into the busy street. Cogliostro watmes after him with a hunter's patient gaze. EX'.!i...RESIDENTIAL NEIGHBORHOOD - DAY ~ on rollerblades blow down a street. Tilll!'e They are ~ e d in punk protective gear. One of them pulls out a bily-club and smashes out a surveillance camera. She puts tmclu.b back i.n its sheath. 30 En. RESIDENTIAL NEIGHBORHOOD - DAY 30 Siat&gt;ns stumbles along the sidewalk like a wino as he passes hOlll!s in his old neighborhood. It's different, more fences, mCJP.!•secu.re. lie hides from a passing car.</scene_description> <character>31 EX!.. RESIDENTIAL NEIGHBORHOOD - DAY 31</character> <dialogue>Tlmliirlpunks approach a barrier. One rides a wall and flies ove the barrier. The other two duck under it. They col:lllnue their mad cruise.</dialogue> </scene> <scene> <stage_direction>EXT. RESIDENTIAL NEIGHBORHOOD - DAY</stage_direction> <scene_description>Simmons is even weaker now. Pale and sweaty as he fights to stay conscious, he retches. One of the Girlpunks spots Simmons and signals to the others. Simmons stops at a corner and leans against the stop sign. Across the street on the next block is his house. The Girlpunks descend on Simmons. The club wielding Girlpunk twirls the club through the air to the one who signaled. Simmons staggers across the street. The Girlpunk now wielding the club flies towards Simmons and takes a big swing at hi.s legs. The club shatters and splinters. The Girlpunks all stop in amazement. They can't believe the shattered stump that remains. Simmons teeters then falls to the pavement, more because of his lack of balance than the blow. He turns his angry vi.sage towards the girlpunks.</scene_description> <character>GIRLPUNK</character> <dialogue>Let's cruise.</dialogue> <scene_description>She throws the splintered bat in the air and the Girlpunks take off at full speed. Simmons gets up slowly and watches the Girlpunks fade in the distance with an angry grumble.</scene_description> </scene> <scene> <stage_direction>EXT. WANDA'S HOUSE - DAY</stage_direction> <scene_description>He half-stumbles to the curb in front of his own house -- and stops. Something's wrong. The house looks different. The color is lighter, the landscaping has been changed to include blooming flowers, and there's a sign about security patrols.</scene_description> <character>SIMMONS</character> <dialogue>What happened to the house?</dialogue> <scene_description>Children's laughter comes from behind the house along with kiddie applause. Simmons achingly moves around to the side lawn of the house and stops in the shadow of a tall tree.</scene_description> </scene> <scene> <stage_direction>EXT. WANDA'S HOUSE - BACKYARD - DAY</stage_direction> <scene_description>In the backyard, a birthday party is in full swing with balloons, cake, and a clown performing for a group of cheerful youngsters. A banner says "Happy Birthday Cyan". CYAN is a beautiful five year old girl being cheered as she shatters a pinata and sends candy shower'ing down. She is lifted high with hugs and kisses by her parents, Wanda and Terry Fitzgerald. Wanda's hair is different and Terry looks older. They hug their child and each other with a comfortable familial warmth.</scene_description> <character>CYAN</character> <dialogue>I wanna do that again, Mommy.</dialogue> <character>WANDA</character> <dialogue>I don't think so, sweetie. It took Daddy a week just to make that one.</dialogue> <character>CYAN</character> <parenthetical>(to Terry)</parenthetical> <dialogue>Daddy, you should've bought it at the store!</dialogue> <character>TERRY</character> <parenthetical>(raised eyebrow at Wanda)</parenthetical> <dialogue>That's what I told Mommy.</dialogue> <character>WANDA</character> <dialogue>But then it wouldn't be special, would it?</dialogue> <character>CYAN</character> <parenthetical>(nods)</parenthetical> <dialogue>Thanks, Daddy.</dialogue> <scene_description>Cyan gives Terry a loving hug. All a father ever needs.</scene_description> <character>TERRY</character> <dialogue>Your welcome, sweetheart. Now, go get some candy.</dialogue> <scene_description>Cyan happily rushes off to gather sweets with her friends.</scene_description> <character>WANDA</character> <dialogue>Help me get more lemonade for the troops?</dialogue> <character>TERRY</character> <dialogue>Your wish is my command.</dialogue> <scene_description>Wanda playfully slaps his rump as they head into the house.</scene_description> </scene> <scene> <stage_direction>EXT. WANDA'S HOUSE - DAY</stage_direction> <scene_description>Simmons can't believe what he's seeing. Bis life, his world, everything he's known and trusted is now shattered. Wanda and Terry are clearly a loving and content married couple with a beautiful daughter. Simmons watches Wanda and Terry kiss with comfortable familiarity. They walk, with arms around each other's waist, to the rear screen door of his house.</scene_description> <character>SIMMONS</character> <parenthetical>(quakes, weak)</parenthetical> <dialogue>This can't be?!</dialogue> <scene_description>Pai.o rips through Simmons' torso amplifying his severe weatness-. He takes a ragged breath and tumbles face first ontc tl'ie grass.</scene_description> <character>SIMMONS</character> <parenthetical>(shattered)</parenthetical> <dialogue>Wanda and Terry?!</dialogue> <scene_description>Spm,. Simmons' wire-haired terrier, also years older, sees S.lll!lllllns fall and trots over from the rear deck. He sniffs tbe&lt;llibwned man, immediately recognizes him as his master, and liol!s:his face with joy. Spax barks, jumps in a circle, then rushes off and retrieves a t=is ball from the deck. Brings it back quickly and drt;lli it beside Simmons' semi-:conscious face ready to play. Cyan looks op from her candy gathering and sees Simmons lying in 'ffi.e distance. Instantly transfixed, she leaves the b~rd for the side lawn and steps close to the downed s~ger. SlllRlns fights against burning agony and reaches out to Spaz. He - r s Cyan approaching and manages to pull his collar up to.:li:rle his face. His pain momentarily subsides as he sees Cya:,,smi.li.ng at hi.m with genuine charm and innocence. She isn":i: repulsed or afraid in the least.</scene_description> <character>CYAN</character> <dialogue>Wanna Tootsie Roll?</dialogue> <scene_description>Cya,crouches down and offers the candy. Simmons turns hiill!!l.f painfully, still trying to hide his face. Wanda co111t1around the side of the house searching for Cyan. She brei:!s into a terrified sprint when she sees her daughter witiithe huddled derelict.</scene_description> <character>WANDA</character> <dialogue>Cyan!</dialogue> <scene_description>Wanda grabs Cyan away from Simmons and backpedals in horror. Simmons turns and gapes at the woman whose love has kept hi.m alive. Momentarily speechless, he lets go of his collar unknowingly showing his burnt face. Wanda gasps in a nauseated breath as she catches sight of Simmons' repugnant unrecognizable countenance.</scene_description> <character>WANDA</character> <parenthetical>(to Cyan)</parenthetical> <dialogue>What did I tell you about talking to strangers?</dialogue> <scene_description>Simmons manages to crawl a few feet. He reaches his char- scarred hand out and touches Wanda, his face near hers, his voice an exhausted, pain-filled whisper.</scene_description> <character>SIMMONS</character> <dialogue>Wanda ...</dialogue> <scene_description>Wanda turns and sees the burned vi.sage. She screams in fright and pulls away with Cyan i.n tow. Simmons is crushed by Wanda's repulsion and naked rejection. To see the woman he loves shrink away from him in horror. A tremendous pain washes over him and his hand drops. He tries to cover his face as he collapses on the ground. Terry rushes over and places himself between Wanda and Cyan and this crumpled human being kneeling on their lawn.</scene_description> <character>TERRY</character> <parenthetical>(to Wanda)</parenthetical> <dialogue>What's going on? You okay?</dialogue> <character>WANDA</character> <parenthetical>(nods)</parenthetical> <dialogue>I looked up ... and saw Cyan ...</dialogue> <scene_description>Terry turns back to Simmons. Simmons struggles to right himself, grabs his stomach and grunts in pain all the while trying to cover his face. Every movement brings sparks of pain. Wanda glances at the stranger and just catches a glimpse of his eyes as she senses something familiar. Simmons tries one last ti.me to hold her gaze but sees her turn away from him with revulsion. CONTINUED: (2)</scene_description> <character>TERRY</character> <dialogue>Listen fella, why don't you just get out of here before I call the police.</dialogue> <character>WANDA</character> <dialogue>Terry, wait --</dialogue> <scene_description>Clown approaches quickly, dressed in clean, brilliantly colored circus-clown regalia. We realize that he's been the entertainment at Cyan's birthday party. His beady eyes and overwide smile are filled with bellicose apology.</scene_description> <character>CLOWN</character> <dialogue>There's no problem folks. Everything's okay. My friend here lives at a halfway house where! perform regularly. He's my biggest fan, follows me everywhere. A thousand pardons, terrible mistake, hot pokers through my eyes. Hey, nice shoes.</dialogue> <character>TERRY</character> <dialogue>Just get him outta here.</dialogue> <character>CLOWN</character> <dialogue>He's sorry, I'm sorry. Please, just forget my fee and enjoy the rest of the day with your adorable little girl.</dialogue> <scene_description>Clown draws flowers from his sleeve and gives them to Cyan. Then pulls a balloon, bearing his face, from inside his jacket. The balloon inflates by itself in his hand and floats at the end of a blue ribbon that he presents with a mannered flourish and formal bow.</scene_description> <character>CLOWN</character> <dialogue>For you, my dear, a happy birthday and many more. Now, me and my barbecued companion bid you, adieu.</dialogue> <scene_description>Clown pulls the delirious Simmons to his feet with astonishing ease and bum-rushes him toward the street. Steers him quickly around a line of hedges out of view. Spaz barks and tries to follow but Terry grabs the dog's collar. Wanda and Cyan both watch after Simmons and Clown. Each feels some odd inexplicable intuitive link to the burned man. Especially Cyan.</scene_description> <character>CYAN</character> <dialogue>He didn't get his tootsie roll ...</dialogue> <scene_description>35 CONTINUED: (3)</scene_description> <character>WANDA</character> <dialogue>He knew my name, Terry.</dialogue> <character>TERRY</character> <parenthetical>(a beat)</parenthetical> <dialogue>Are you sure?</dialogue> <scene_description>Wanda nods. Terry doesn't like the sound of this.</scene_description> <character>CYAN</character> <dialogue>That clown had funny eyes, Daddy. I didn't like him.</dialogue> <character>TERRY</character> <parenthetical>(to Wanda)</parenthetical> <dialogue>Let's get the kids i.nside.</dialogue> <scene_description>Terry ushers his family into the backyard and directs all the children into the house.</scene_description> </scene> <scene> <stage_direction>EXT. PICK-QUICK FOOD MART - DUSK</stage_direction> <scene_description>Clown exits carrying a super frosty and a box of doughnuts. Simmons sits in a heap against a bank of telephones. People keep their distance.</scene_description> <character>CLOWN</character> <dialogue>I just love the chocolate sprinkles?</dialogue> <scene_description>Clown stuffs his face and rips off the clown costume. His old, grimy duds are underneath.</scene_description> <character>CLOWN</character> <parenthetical>(grins)</parenthetical> <dialogue>That's better.</dialogue> <scene_description>Clown drags Simmons to his feet and shoves him forward.</scene_description> <character>CLOWN</character> <dialogue>Here, try a jelly-filled powdered. It'll make a new man outta you.</dialogue> <scene_description>Clown bursts into spewing guffaws sending half-chewed crumbs flying as they walk. Simmons is a groaning zombie as he stumbles along with Clown guiding him. He sweats heavily and now the scorch-scarred flesh along his face and hands appears translucent. Simmons entire body is on fire, i.t itches, feels like it's about to burst. Simmons eyes Clown's ghoulish and smelly outfit and tries to push him away.</scene_description> <character>SIMMONS</character> <parenthetical>(weak, pained)</parenthetical> <dialogue>Get away from me you fr·eak.</dialogue> <scene_description>Simmons staggers away from the storefront and around the corner of the building. Clown follows.</scene_description> </scene> <scene> <stage_direction>EXT. BACK OF PICK-QUICK - DUSK</stage_direction> <scene_description>Simmons breathes shallow as he leans against the wall. Clown comes around the corner, polishes off a sweet cake, and washes it down sloppily with the super frosty. Simmons is in an emotional tailspin. The itching is unbearable and the pain in his gut i.ntensifies once more and he nearly collapses.</scene_description> <character>SIMMONS</character> <parenthetical>(weak, pained)</parenthetical> <dialogue>Feels like my skin's about to explode ...</dialogue> <character>CLOWN</character> <parenthetical>(hyena laugh)</parenthetical> <dialogue>Aww, is da widdle poo-poo sicky? Don't worry pal'ly, you're about to pupate. That's just your armor going through the larval stage and, oh baby, is it ever gonna hurt.</dialogue> <scene_description>Simmons startles as the pain hits him again and he nearly buckles.</scene_description> <character>SIMMONS</character> <parenthetical>(barely audible)</parenthetical> <dialogue>Just get me to a hospital.</dialogue> <character>CLOWN</character> <parenthetical>(laughs)</parenthetical> <dialogue>A hospital! Heh heh heh! You're dead, pushing up daisies, taking a dirt-nap. Five years in cold storage has turned that pretty little brain of yours into mush. Allow me to kickstart your memory.</dialogue> <scene_description>Clown tosses aside his trash and suddenly grabs hold of Simmons' butt. Simmons gasps as Clown's eyes become beady pinpoints filled with soulless glee and a flash of green energy consumes the two as we --</scene_description> </scene> <scene> <stage_direction>INT. BIO-CHEM WEAPONS PLANT - NIGHT</stage_direction> <scene_description>Simmons' face comes into f:r:ame surrounded by fi:r:e. FLASH OF FLAME.</scene_description> </scene> <scene> <stage_direction>INT. HELL'S GULLET - NIGHT</stage_direction> <scene_description>Simmons' burnt Hell corpse is a flami.ng meteor falling toward an ocean of screaming flame. FLASH OF FLAME.</scene_description> </scene> <scene> <stage_direction>INT. HELL - NIGHT</stage_direction> <scene_description>Simmons' burnt corpse stands over a pool of viral necroplasm.</scene_description> <character>SIMMONS</character> <parenthetical>(a ferocious roar)</parenthetical> <dialogue>Yes!! I'll do it! !</dialogue> <scene_description>We hear a thunderous laugh as we see Simmons' burnt corpse receive the viral necroplasm. A godless roar of approval and adoration rises from Hell's assembled army.</scene_description> <character>SIMMONS</character> <parenthetical>(emotional pain)</parenthetical> <dialogue>anything for Wanda ...</dialogue> <scene_description>Through walls of flame, we see the gigantic malevolent countenance. Pure evil stretched into malignant bone and diseased flesh -- mocking pupilless eyes the color of fouled blood and infected urine. MALEBOLGIA grins then turns with dire intent. Clown stands nearby watching with naked envy.</scene_description> <character>CLOWN</character> <parenthetical>(sotto, jealous)</parenthetical> <dialogue>It should be me ... not some pussywhipped twit.</dialogue> <scene_description>Clown suddenly reacts in fear as a giant hand lifts him high into the air. The taloned fingers threaten to curl into a fist and turn Clown into a pulpy smea:r:.</scene_description> <character>CLOWN</character> <parenthetical>(gasping)</parenthetical> <dialogue>Don't wo:r::r:y boss, I'm with the program. I' 11 be the:r:e to keep him on track. I promise.</dialogue> <scene_description>A million laughing, screeching, keening, voices rise as we</scene_description> </scene> <scene> <stage_direction>EXT. BACK OF PICK-QUICK - NIGHT</stage_direction> <scene_description>Clown releases his grip. Simmons falls heavily against the near brick wall panting. Clown eases forward. His shadow grows and consumes Simmons.</scene_description> <character>CLOWN</character> <dialogue>For reasons known only to himself, Malebolgia decided to overlook his most loyal and brutal lieutenant, namely me, and chose you to be the General of the Army of Hell -- ain't that a kick in the 'nads -- and being the ambitious type, you signed on the dotted line.</dialogue> <character>SIMMONS</character> <parenthetical>(shaking his head)</parenthetical> <dialogue>I'll do anything for Wanda.</dialogue> <character>CLOWN</character> <dialogue>No kiddin'. Anyway, it took five years to get the earth ready for your arrival ... you know death and destruction on every corner. Who knew that in the meantime, Wanda'd marry your best friend?</dialogue> <scene_description>Clown gives Simmons a sly look.</scene_description> <character>SIMMONS</character> <dialogue>Screw you. This is all some sadistic game of Wynn's ... and when I find him, he's gonna wish he'd killed me when he had the chance.</dialogue> <character>CLOWN</character> <parenthetical>(raw sarcasm)</parenthetical> <dialogue>Hey, beef jerky for brains, Wynn works for me. I push the buttons. He killed you because I told him to.</dialogue> <scene_description>Si.mmons is trying to get up.</scene_description> <character>CLOWN</character> <dialogue>But hey, we can forget all that, cause we're workin' together now. You can think of me as your guardian angel ... the clown from Hell!</dialogue> <scene_description>Simmons tries to stumble away.</scene_description> <character>CLOWN</character> <dialogue>Hey, where are you going? Still don't get it do you? Maybe we'll just have to dig a little deeper.</dialogue> <scene_description>Clown grabs Simmons• by the back and another flash of gr·een energy consumes them as we .•.</scene_description> </scene> <scene> <stage_direction>EXT. GRAVEYARD - NIGHT</stage_direction> <scene_description>A brutal dagger is lifted into the night sky by two hands. Punk fl stands with his eyes closed holding the dagger. He opens his eyes. PUNK fl (raspy, imperious voice) Hail Satan! Lord of all that we see. In the names of Lucifer, Belial, and Leviathan, I command the forces of Darkness to bestow their powers upon me! He stabs the dagger downward into a skull resting on a graffiti covered gravestone, his altar. Punk fl is the leader of a trio of heavy metal punks who are partying, Church of Satan style. Bad ass teenagers with forty ouncers in hand. Punk f2, a short wimpy smartass, takes another pull on his bottle. He's seen it all before. PUNK i12 Like Satan gives a crap. Punk ill turns with an angry look on his face and grabs Punk il2 pushing him down against a gravestone. He places the fearsome blade against Punk i2's throat and pours beer on his head. PUNK ill I call upon the Dark Lord to devour the wretched soul of this sorry excuse. Punk i/3, an overweight bully, laughs as he urinates against another gravestone. Punk #2 reaches up to protect his head. PUNK i2 Knock it off. Punk ill laughs meanly as heat lightning suddenly flashes overhead casting harsh shadows off the gravestones. Punk fl pulls back his blade with a flourish, stands and nods his head knowingly with a smile, as Punk f2 reacts in fear. PUNK f3 (flashing horned hand sign) Yeaahh! ! ! Punk ill notices some activity across the graveyard and motions to the other two. PUNK fl (whispering harshly) Shuttup! The other punks look at Punk fl, then in the direction he is looking. A look of surprise comes across their faces. PUNK fl (smiling brutally) Lucifer has sent us a little gift. Punk il motions for them to follow him. Punk i/3 grins and rubs his hands in anticipation as they all slink off between the gravestones.</scene_description> </scene> <scene> <stage_direction>EXT. SIMMONS' GRAVE - NIGHT</stage_direction> <scene_description>Simmons and Clown stand above a grey stone marker. The stone simply reads: "ALLAN SIMMONS".</scene_description> <character>SIMMONS</character> <dialogue>What's this?</dialogue> <character>CLOWN</character> <dialogue>Hmm, let's see, I don't know ... could it be -- your grave!</dialogue> <scene_description>Simmons just pants and shakes his head in disbelief. Clown shoves Simmons onto the grave.</scene_description> <character>CLOWN</character> <dialogue>It doesn't get any deader and buried than this.</dialogue> <scene_description>Clown starts laughing uncontrollably as he pulls a macabre shovel, seemingly from his pocket, and tosses it in front of him.</scene_description> <character>CLOWN</character> <dialogue>Now chop-chop pal, your corpse ain't gettin' any fresher.</dialogue> <scene_description>Simmons is dumbstruck but slowly begins to struggle at digging up the grave becoming more frantic as the coffin becomes exposed. The coffin is somehow near the surface. Simmons hesistatingly rips into the coffin lid with his bare- hands. Inside is a body bag coritaining charred remains. Sitting next to it is a neatly folded uniform of an Army Rangers Lt. Colonel with Simmons' silver nameplate on the breast pocket. Simmons freezes for a long moment, then reaches down carefully into the coffin and tears open the body bag. He finds the bone dry skull and the gold locket he wore fused to the breast bone. Unwilling to surrender to this nightmare, Simmons carefully rips the locket and chain loose. Wipes away the black soot and pops it open. Inside, the photo of Simmons and Wanda has been singed around the edges. A scorch mark cuts through the word "Forever".</scene_description> <character>SIMMONS</character> <parenthetical>(a beat, it sinks in)</parenthetical> <character>NNNOOOOOOO ! !</character> <dialogue>Simmons' scream carries to the clouds and beyond. Lightning flashes and dead leaves whirl and eddy as he thrashes inside his own grave. He knows now. He senses the truth in every fiber of his being.</dialogue> <character>CLOWN</character> <parenthetical>(rubs the corner of his eyes with mocking fists, baby-cry)</parenthetical> <dialogue>Aw wee, aw wee. Poor Simmons died and went to Hell.</dialogue> <scene_description>Simmons shoves himself toward Clown and is immediately hit by a tidal wave of naked, excruciating pain. He crumples into a fetal ball. Clown licks his fingers and giggles expectantly. Endlessly pleased with himself.</scene_description> <character>CLOWN</character> <dialogue>Told ya it was gonna hurt.</dialogue> <scene_description>Clown starts laughing uncontrollably but suddenly grunts in surprise as he is thrown back against a gravestone and the brutal dagger is shoved against his throat. PUNK ,f/1 (toothy grin) I see you're enjoying our little party. Punk '82 watches nervously as Punk ~3 laughs and reaches down to turn Simmons over. He starts to pull at Simmons when Simmons grabs his arm .</scene_description> <character>SIMMONS</character> <parenthetical>(hideous rasp)</parenthetical> <dialogue>Get your hands off me.</dialogue> <scene_description>Punk f3 pulls a gun. PUNK i/3 Shuddup or I'll blow out your brains. Simmon's eyes are a menacing yellow-green as he knocks Punk i13's arm away, hard. PUNK i/3 (pissed) You mother ... As Punk i13 shoots Simmons in the gut. Simmons screams in pain. He rears up and smashes Punk f3 in the teeth catapulting his huge frame through the air and into Punk ill. They go flying into a gravestone. The Punk i/2 stands frozen with fear. Simmons is stunned by the merciless force of his punch. Simmons struggles to get up grabbing at himself trying to find his wound but not finding much of anything.</scene_description> <character>CLOWN</character> <dialogue>Don't worry pal, your necroflesh will be better than dead in no time.</dialogue> <scene_description>Simmons crumples in agony again as Clown smiles devilishly. Simmons wails in agony as he is suddenly, savagely transformed. His entire body is slowly overtaken by the dark livery of Hell. Living, pulsing Hellspawn armor viruses across Simmons' hands. Simmons screams as spikes burst out of the backs of his hands. As Simmons groans in pain, we can see the armor pulsing along his body underneath the long jacket, ripping his pants. Spikes and blades burst out of his upper arms and thighs. Simmons howls, moans and fights fruitlessly against the transmutation. The Punks are like deer caught in headlights. They have suddenly become God fearing Christians.</scene_description> <character>CLOWN</character> <dialogue>Come on, stop your whining and be a real dead man about it.</dialogue> <scene_description>Simmons' face smashes into frame as he screams and the nenroparasitic armor grows over his face, covering his month and eyes, quivering, textnrizing, locking itself directly to his nervous system. The armor breathes as he breathes, pulses as he pulses, in system-shock hyperventilation. Punk fl. is staring open mouthed at Spawn. Clown leans down near Punk il's head, the brutal blade in his hand, licking his rotted fangs, and dribbling saliva from his chin.</scene_description> <character>CLOWN</character> <parenthetical>(grins)</parenthetical> <dialogue>Yummy ...</dialogue> <scene_description>The Punks hightail it out of there. Clown approaches the freshly armored Spawn.</scene_description> <character>CLOWN</character> <dialogue>From Spawn-larva to full fledged Hell.spawn in record time. Tell me, was it as good for you as it was for me?</dialogue> <scene_description>Weak, gasping, Simmons tries to pry away the slick, wet, hardening armor but it is part of him. Like it or not, he has become SPAWN.</scene_description> <character>CLOWN</character> <parenthetical>(smacks Spawn's hand)</parenthetical> <dialogue>Uh, uh, don't pick at your armor until it hardens. You want it to get infected?</dialogue> <character>SPAWN (SIMMONS)</character> <parenthetical>(gasping)</parenthetical> <dialogue>What. . . is. . . this?</dialogue> <character>CLOWN</character> <dialogue>It's your armor, numbnuts. Made from the finest necroplasm this side of Purgatory.</dialogue> <scene_description>Spawn looks down at himself and shivers. The forbidding armor is dark and ominous. Almost beautiful in the purity of its Evil intent. Spawn stares at his new self still groaning in pain.</scene_description> <character>CLOWN</character> <dialogue>Congratulations Spawn -- that's your new name kid -- you are the man, the General of Hell's Army.</dialogue> <scene_description>Clown walks around Spawn and sniffs at him. Touches the fresh, sticky armor.</scene_description> <character>CLOWN</character> <parenthetical>(disapproving)</parenthetical> <dialogue>You don't look so special to me.</dialogue> <scene_description>Clown bends down close to Spawn and grins inches from his eyes. Spawn sits exhausted .</scene_description> <character>CLOWN</character> <dialogue>And if it turns out you can't hack it, then I'll gladly send your worthless carcass back down to the frying pan. And this time the carpet Malebolgia rolls out ain't gonna be no welcome mat ...</dialogue> <parenthetical>(sot to)</parenthetical> <dialogue>... not to mention what would happen to my sorry ass.</dialogue> <scene_description>Spawn, still weak, turns away refusing to believe any of this. His eyes glow in anger as he faces his gravestone. He raises his fist in anger and tries to hit Clown. Clown artfully dodges as Spawn's fist smashes into his gravestone splitting it down the middle. Spawn is still startled at the strength he has. In a rage Spawn rips a large brass cross off of his splintered coffin lid and drives it through his newly armored thigh. Spawn screams and watches as the cross is forced out of his body. The wound begins healing. Spawn rails at Heaven.</scene_description> <character>SPAWN</character> <dialogue>Aahhhh! If I'm dead, then why does it hurt so much ...</dialogue> <character>CLOWN</character> <dialogue>That's just you're armor letting you know you got a problem. Dead people can still die ya know? Besides, you wouldn't want to miss all that painful pleasure would ya?</dialogue> <character>SPAWN</character> <parenthetical>(sot to)</parenthetical> <dialogue>Oh god, Wanda ... what have I become?</dialogue> <scene_description>Spawn lifts the locket from the ground with sadness and loss and holds it near his chest. To his surprise, the armor surrounds the locket and incorporates it into his chest placing it where it would normally hang. Spawn coll.apses on the ground. Clown is getting very bored.</scene_description> <character>CLOWN</character> <dialogue>Alright, enough of this sentimental crap.</dialogue> <scene_description>Clown grabs Spawn's foot as we ... FLASH CUT BACK TO:</scene_description> </scene> <scene> <stage_direction>EXT. BACK OF PICK QUICK - NIGHT</stage_direction> <scene_description>Clown lets go of Spawn's foot and steps on him as he comes around to the other side.</scene_description> <character>CLOWN</character> <dialogue>This ain't exactly fun for me either, bacon face. But hey, remember your A-6 missions? Those were nothing compared to what's corning. Get ready for the fight of you afterlife.</dialogue> <parenthetical>(turns to go)</parenthetical> <dialogue>I'll be back when your armor hardens. Then we can have some big fun.</dialogue> <scene_description>Clown snorts a guffaw and struts away grinning wide. His teeth are huge and gleaming wet as he does an ugly pirouette, kicks over a stack of garbage cans, and grabs a rotten, maggot covered pizza slice. Whistles, eats, and quickly vanishes out into the street. Spawn collapses against the wall exhausted. His armored mask peels back revealing his charred necroflesh. Spawn can't see what's happening, he reaches for his face but is too exhausted to care. He tries to rise once more and falls heavily, cracking the cement under his own new three hundred pound weight. Spawn lays there for a moment, then rolls onto his knees, uses the wall for support, and rises slowly to his full impressive, formidable height. Spawn takes a few tentative steps, staggers, trips on his tattered coat, and crushes a wooden crate. His forearm hits the wall and shatters several bricks. Smiling, Spawn swings and smashes his arm right through the wall. Bricks are pulverized with ease.</scene_description> <character>SPAWN</character> <parenthetical>(a beat, pleased)</parenthetical> <dialogue>This freak stuff's gonna come in handy.</dialogue> <scene_description>He gets up, rips his terns clothes off, and starts to stagger off. Runs headlong into Cogliostro who offers a steadying hand.</scene_description> <character>COGLIOSTRO</character> <dialogue>Need some help, friend.</dialogue> <character>SPAWN</character> <dialogue>Out of my way, old man.</dialogue> <scene_description>Cogliostro takes Spawn's new look in stride and lets Spawn go watching after him with disappointment and simmering anger. We notice a glint as Cogliostro slips a concealed long-blade back into the shadowed sleeve of his greatcoat.</scene_description> </scene> <scene> <stage_direction>EXT. A-6 COMPLEX - ORDNANCE ANNEX - NIGHT</stage_direction> <scene_description>The A-6 compound seems more militaristic and fortified. There are barbed wire fences and the main gate is now reinforced. Automated cameras and sentry lights wash back and forth across the compound's manicured grounds and it i.s more heavily guarded. Spawn's spectral form moves across the rooftops and landscape reaching the heavy stone annex blockhouse. We see two guards patrolling the annex.</scene_description> </scene> <scene> <stage_direction>INT. ORDNANCE ANNEX - NIGHT</stage_direction> <scene_description>The high-grade interlocked security doors open. Spawn enters quickly, dragging the bodies of the two guards. He drops them, shuts the door, and shadows his way to the weapons storage vaults. Spawn rips open specific crates, bins, and canisters containing state-of-art firepower. Cold joy washes over him.</scene_description> <character>SPAWN</character> <dialogue>Just like old times.</dialogue> <scene_description>He checks the weapons out with a familiar smile. He snaps clips into two smart-guns and cocks them.</scene_description> <character>SPAWN</character> <dialogue>Time to get reacquainted with an old friend.</dialogue> <scene_description>Spawn shoulder slings the smart-guns, throws a grenade launcher and ammo bandolier over his shoulder, and grabs enough ammunition to take out a small army.</scene_description> </scene> <scene> <stage_direction>INT. A-6 HEADQUARTERS - WYNN'S OFFICE - NIGHT</stage_direction> <scene_description>Jason Wynn is standing in a tailored tux. He i.s now di.rector of the entire A-6 and it's clear that he has done very well for himself over the past five years. His sleek hi-tech office is furnished with thin flat-panel displays, touchscreens, and a remote controlled situation wall. The situation wall contains newscasts from different countries showing mayhem around the world. On one of the screens we see Terry Fitzgerald, acting A-6 spokesman, being interviewed by Nathan Ford.</scene_description> <character>TERRY</character> <dialogue>Director Wynn has been meeting with</dialogue> <scene_description>several world leaders in an attempt to quell the proliferation of global conflict. Wynn mutes the sound.</scene_description> <character>WYNN</character> <dialogue>Fitzgerald may be a spineless bureaucrat, but he's doing a great PR job for me.</dialogue> <parenthetical>(re: situation Wall)</parenthetical> <dialogue>The world's going to hell in a hand basket and it's just another story on the five o'clock news.</dialogue> <character>CHAPEL (OS)</character> <dialogue>Like lambs to the slaughter.</dialogue> <scene_description>Jessica Chapel stands in partial shadow, wearing an updated version of the black-op coverall. .. molded black ultra-lite Kevlar corsetted exo-skin. So beautiful ... so deadly. Wynn faces her and smiles.</scene_description> <character>WYNN</character> <dialogue>They won't know what hit them.</dialogue> <scene_description>Wynn turns to the touchscreen and a bio-matrix comes up on the Wall. The rotating 3-D molecular structure of a supervirus code-named: HEAT-16.</scene_description> <character>WYNN</character> <dialogue>Look at it, ,Jess! It's finally ready. HEAT-16 ... doesn't second guess, doesn't get married, doesn't retire ... the perfect assassin, makes Ebola look like a skin rash. That Korean biochem op really paid off. We harvested the ultimate weapon from those diseased bodies.</dialogue> <parenthetical>(holds up a vial)</parenthetical> <dialogue>And only we have the vaccine.</dialogue> <scene_description>Wynn uses the touchscreen again and we see a map indicating the viral weapon placements showing their dispersal patterns over half of the planet.</scene_description> <character>WYNN</character> <dialogue>And now we have weapons in place ready to disperse HEAT-16 over half of this godforsaken planet. Soon the entire world wi.11 be at my command and anyone who isn't won't be around to argue.</dialogue> <scene_description>Wynn turns and shares a smile with Chapel.</scene_description> <character>TERRY (OS)</character> <dialogue>Director.</dialogue> <scene_description>Wynn switches the situation wall back to the newscasts and turns to Terry and smiles. Terry is standing in the office doorway looking smart in his black tux.</scene_description> <character>WYNN</character> <dialogue>Speak of the devil ... come in Terry.</dialogue> <character>TERRY</character> <dialogue>The car's waiting downstairs.</dialogue> <parenthetical>(re: Chapel)</parenthetical> <dialogue>Could we speak for a moment, sir ... alone?</dialogue> <character>WYNN</character> <dialogue>Of course.</dialogue> <scene_description>Chapel exits and offers Terry an icy smile as she passes. Just a reminder that she could kill him in a heartbeat if she wanted. Wynn selects a bottle of scotch from a concealed wetbar.</scene_description> <character>WYNN</character> <dialogue>I've been meaning to commend you on the way you've handled the media. Those rumors about me were becoming a real headache. ·</dialogue> <scene_description>Terry is clearly uncomfortable around Wynn. It takes all his emotional reserve to speak candidly.</scene_description> <character>TERRY</character> <dialogue>Thank you.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>... but I can't keep lying like this. I know we've been running unjustified missions overseas.</dialogue> <scene_description>Wynn's look hardens as he pours the drinks.</scene_description> <character>WYNN</character> <parenthetical>(turns, offers)</parenthetical> <dialogue>Drink?</dialogue> <character>TERRY</character> <dialogue>No thanks.</dialogue> <character>WYNN</character> <parenthetical>(drinks)</parenthetical> <dialogue>What's your point, Terry?</dialogue> <character>TERRY</character> <dialogue>There's war and anarchy sprouting up all over the world -- and we're not stopping it.</dialogue> <scene_description>CONTINUED: ( 3)</scene_description> <character>WYNN</character> <dialogue>We're doing everything we can.</dialogue> <character>TERRY</character> <dialogue>That's just not true sir.</dialogue> <scene_description>Wynn turns now and faces Terry with an a hard look in his eyes.</scene_description> <character>WYNN</character> <dialogue>Really?</dialogue> <character>TERRY</character> <parenthetical>(beat, cautious)</parenthetical> <dialogue>Just a hunch, but I want to find out for sure... I need my security access back so that I can check out the field op data.</dialogue> <character>WYNN</character> <dialogue>You're not an analyst anymore, Terry.</dialogue> <character>TERRY</character> <dialogue>That's no reason to lock me out of the system ... unless there's something you don't want me to see.</dialogue> <scene_description>Wynn takes a drink and then turns the full weight of his sinister gaze on Terry.</scene_description> <character>WYNN</character> <dialogue>Your little girl just had a birthday, didn't she?</dialogue> <scene_description>Terry just stares at Wynn slowly understanding what he is saying.</scene_description> <character>WYNN</character> <dialogue>Cyan isn't it? Beautiful name. And Wanda, how is she?</dialogue> <character>TERRY</character> <parenthetical>(swallows hard)</parenthetical> <dialogue>They're both fine.</dialogue> <character>WYNN</character> <dialogue>I'm glad to hear that. Now, Terry, I want you to stop and think for a moment ... is this something you want to pursue or is it just some big misunderstanding and all you really want to do is get back to the only job you're any good at ... making me look good.</dialogue> <scene_description>Terry holds Wynn's gaze for a heartbeat and then looks away. Message received. Wynn sets down his glass and strides by Terry toward the door.</scene_description> <character>WYNN</character> <dialogue>The car's waiting.</dialogue> <scene_description>Terry turns after a beat and follows.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Wynn's limo drives past graffiti, police making an arrest, heavily secured storefronts, and other signs of social turmoil. They drive by the Emergency Deliverance Church.</scene_description> </scene> <scene> <stage_direction>EXT. SWISS EMBASSY - NIGHT</stage_direction> <scene_description>Wynn's limo is stopped at the gate and al.lowed to enter the embassy grounds. Wynn emerges with Terry and they enter the embassy.</scene_description> </scene> <scene> <stage_direction>INT. SWISS EMBASSY - BALLROOM - NIGHT</stage_direction> <scene_description>A diplomatic black tie affair is in full swing. The leaders of several different governments, revolutionary/terrorist groups, and international crime cartels are present. The Swiss Embassy having been deemed neutral territory. Wynn arrives. He brushes by Angela, a striking redhead with large Spawn earrings. She gives Wynn a hard look, then turns and leaves. Wynn moves among the foreign leaders and liasons with confident ease. Five years has turned him into a major powerbroker on the world stage. Earned him icy respect among these influential men and women. A group of AFRICAN LIAISONS drink wine and smile graciously at Wynn's approach.</scene_description> <character>WYNN</character> <dialogue>Gentlemen, have you made a decision?</dialogue> <scene_description>AFRICAN LIAISON fl Your Heat-16 test was very impressive. Tell me, how do you control delivery of the weapon?</scene_description> <character>WYNN</character> <dialogue>The latest in nano-technology. Problem free I assure you. We've already placed orders with several of our allies.</dialogue> <scene_description>Terry holds Wynn's gaze for a heartbeat and then looks away. Message received. Wynn sets down his glass and strides by Terry toward the door.</scene_description> <character>WYNN</character> <dialogue>The car's waiting.</dialogue> <scene_description>Terry turns after a beat and follows.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Wynn's limo drives past graffiti, police making an arrest, heavily secured storefronts, and other signs of social turmoil. They drive by the Emergency Deliverance Church.</scene_description> </scene> <scene> <stage_direction>EXT. SWISS EMBASSY - NIGHT</stage_direction> <scene_description>Wynn's limo i.s stopped at the gate and allowed to enter the embassy grounds. Wynn emerges with Terry and they enter the embassy.</scene_description> </scene> <scene> <stage_direction>INT. SWISS EMBASSY - BALLROOM - NIGHT</stage_direction> <scene_description>A diplomatic black tie affair is in full swing. The leaders of several different governments, revolutionary/terrorist groups, and international crime cartels are present. The Swiss Embassy having been deemed neutral territory. Wynn arrives. He brushes by Angela, a striking redhead with large Spawn earrings. She gives Wynn a hard look, then turns and leaves. Wynn moves among the foreign leaders and liasons with confident ease. Five years has turned him into a major powerbroker on the world stage. Earned him icy respect among these influential men and women. A group of AFRICAN LIAISONS drink wine and smile graciously at Wynn's approach.</scene_description> <character>WYNN</character> <dialogue>Gentlemen, have you made a decision?</dialogue> <scene_description>AFRICAN LIAISON fl Your Heat-16 test was very impressive. Tell me, how do you control aelivery of the weapon?</scene_description> <character>WYNN</character> <dialogue>The latest in nano-technology. Problem free I assure you. We've already placed orders with several of our allies.</dialogue> <scene_description>CONTINUED: AFRICAN LIAISON i2 You're becoming quite a powerful man, Mr. Wynn. Your Consortium will soon rival the U.N. Wynn smiles and lifts a glass of champagne from a passing tray.</scene_description> <character>WYNN</character> <dialogue>I'm just a facilitator ... my partners are the beneficiaries.</dialogue> <scene_description>Wynn turns as Terry approaches with taut concern. Wynn steps away from the Liaisons.</scene_description> <character>WYNN</character> <dialogue>What is it?</dialogue> <character>TERRY</character> <dialogue>There's been a break-in at A-6, the ordnance annex.</dialogue> <character>WYNN</character> <dialogue>Who?</dialogue> <character>TERRY</character> <dialogue>We don't know. Chapel's out front with a security detail.</dialogue> <scene_description>Above, one of the ballroom's vaulted clerestory windows explodes inward as Spawn sails through the glass, face armor down, giant cape trailing, and chains extended. He .lands heavily and immediately locks eyes with Jason Wynn.</scene_description> <character>SPAWN</character> <dialogue>You ... !</dialogue> <scene_description>Spawn's chains and cape undulate and retract with sinister slowness. His armor takes on a more menacing demeanor in response to Spawn's naked rage. He notices this with curiosity, not understanding the unexpected behavior of his armor, then returns his attention to Wynn. Wynn, Terry, and the rest of the Embassy guests stand in startled tableau. Spawn moves directly to Wynn and lifts the man by his neck.</scene_description> <character>WYNN</character> <parenthetical>(choking)</parenthetical> <dialogue>Who are you ... ?!</dialogue> <character>SPAWN</character> <dialogue>What's the matter? Don't recognize your own handiwork?</dialogue> <scene_description>Wynn shudders as he stares at Spawn's charred flesh. Sees molten hate in his eyes.</scene_description> <character>SPAWN</character> <dialogue>You sent me to Hell, Jason. I'm here to return the favor.</dialogue> <scene_description>Terry watches Spawn and Wynn's exchange as, behind him, the room erupts into panic. He turns to join the exodus.</scene_description> <character>SPAWN</character> <dialogue>Where are you going, Terry?! Not running out on your partner, are you?</dialogue> <scene_description>Terry freezes in his tracks as Wynn struggles.</scene_description> <character>SPAWN</character> <dialogue>You told me you were going to stay on Wynn's back until you found a way to stop him. What happened? Having too much fun with the only woman I ever loved?</dialogue> <scene_description>Terry can't believe what he's hearing.</scene_description> <character>TERRY</character> <dialogue>Al . . . ?</dialogue> <scene_description>Wynn looks at Spawn in stark horror as realization slams home.</scene_description> <character>WYNN</character> <dialogue>Simmons! I killed you!</dialogue> <character>SPAWN</character> <parenthetical>(ice cold understatement)</parenthetical> <dialogue>I'm back.</dialogue> <scene_description>Spawn hurls Wynn into the nearest wall with rib-cracking force. Then steps up and grabs him by the collar for another go round.</scene_description> <character>SPAWN</character> <dialogue>Why did you kill me?</dialogue> <scene_description>Wynn looks defiant. Spawn grabs Wynn's arm and snaps it audibly at the wrist and then at the elbow. Wynn's mouth cranks wide and silent for a full five seconds before the scream surfaces.</scene_description> <character>SPAWN</character> <dialogue>That was nothing compared to what's coming.</dialogue> <scene_description>Terry stands transfixed and watches as Spawn lifts Wynn close enough to kiss. Slaps the mortal man to rouse him from shock.</scene_description> <character>SPAWN</character> <dialogue>Why did you do it?</dialogue> <character>WYNN</character> <parenthetical>(blanched with pain)</parenthetical> <dialogue>Clown ...</dialogue> <character>SPAWN</character> <parenthetical>(a beat, stunned anger)</parenthetical> <dialogue>Clown -- that sonofabitch was telling the truth!</dialogue> <scene_description>Spawn stares daggers at Wynn. This final authentication of Clown's story is like the last nail in Simmons' coffin.</scene_description> <character>SPAWN</character> <parenthetical>(a beat)</parenthetical> <dialogue>So you helped them turn me into a killer from Hell.</dialogue> <parenthetical>(laughs, to Wynn)</parenthetical> <dialogue>I might as well start with you.</dialogue> <scene_description>Spawn backhands Wynn across the room crashing through a table and knocking Terry down. Spawn turns and pushes aside terrified bystanders as he crosses to Wynn and Terry. Terry rises from the mess unsure of what is about to happen. He raises his hands in a defensive gesture as Spawn grabs him.</scene_description> <character>SPAWN</character> <dialogue>I trusted you with my life ... and you marry Wanda ... how could you?</dialogue> <scene_description>Terry rears away in horror but is held in place by Spawn.</scene_description> <character>TERRY</character> <dialogue>She needed help when Al di.ed. I didn't know it would turn out this way.</dialogue> <scene_description>This stops Spawn for a heartbeat. He slowly lets go of Terry. The thought of his actions causing Wanda hardship.</scene_description> <character>TERRY</character> <dialogue>Jesus, i.s that really you, Al?</dialogue> <character>WYNN</character> <dialogue>It's Simmons.</dialogue> <character>CHAPEL</character> <dialogue>What are you talking about?</dialogue> <character>WYNN</character> <parenthetical>(forcefully interrupting)</parenthetical> <dialogue>That thing is Simmons and I want you to nail his ass ... now!</dialogue> <scene_description>One of the swinging lights crashes to the ground and Chapel takes off cautiously to hunt down Spawn. Chapel moves away and catches a glimpse of Spawn reflected in a full length mirror. She surprises Spawn and is within feet before he senses her. Chapel fires another barrage. Spawn dives to cover and i.s hit again but this time it doesn't hurt. Surprised, he examines his armor and finds there is little damage. Spawn smiles with satisfaction at his newfound protection. Chapel searches for him. She steps on a piece of lamp glass left by Spawn's barrage and makes a loud cracking sound. She looks around cautiously. Spawn dives, rolls, and fires, hitting Chapel in the knees. She falls and bites back a scream. Chapel rolls over and tries to find Spawn.</scene_description> <character>SPAWN (OS)</character> <dialogue>Looking for me?</dialogue> <scene_description>Chapel whirls and Spawn kicks her under the chin. She's propelled into a graceless backflip and crashes down with the wet snap of bones. Spawn stands ominously as his face armor retracts.</scene_description> <character>SPAWN</character> <dialogue>You make a lousy Catwoman.</dialogue> <character>CHAPEL</character> <parenthetical>(through pain, re: outfit)</parenthetical> <dialogue>It's a little early for Halloween, Simmons.</dialogue> <scene_description>Spawn levels the gun at Chapel.</scene_description> <character>SPAWN</character> <dialogue>Where you're going, everyday is Halloween.</dialogue> <character>CHAPEL</character> <dialogue>You don't have the guts.</dialogue> <scene_description>We look up at the barrel of Spawn's gun as he fires point blank. Chapel lies in a heap against the wall. Spawn steps close and nudges her lifeless body. Turns when he hears someone applauding in the near corner. It's Clown munching on finger foods.</scene_description> <character>CLOWN</character> <dialogue>I'm liking this ..• go with that emotion!</dialogue> <scene_description>Spawn swings around just as FOUR A-6 AGENTS, all armed to the teeth with large caliber machine guns, storm the ballroom with weapons blazing. Spawn's armor takes hits. Spawn returns fire on the run as the A-6 agents dive for cover. The A-6 agents fire another salvo. Just as Spawn scrambles to return fire again, Clown knocks a table over and sending three terrified world leaders right into Spawn's line of fire. The men are inadvertantly hit. Spawn is pissed. Clown laughs uproariously and claps his hands. He revels in the violence.</scene_description> <character>CLOWN</character> <dialogue>Beautiful ... the German attache just got his intestines shot to pieces. Looks like he had the veal.</dialogue> <parenthetical>(guffaws, to Spawn)</parenthetical> <dialogue>Congrats on your first mission, Spawn. With all these world leaders dead, the flames of chaos and destruction are gonna be seriously stoked. I do believe I'm getting a stiffy.</dialogue> <scene_description>Spawn pivots toward Clown and raises his gun but is suddenly hit by machine gun fire raking across his armored spine. The heavy gunfire is wounding him. More guards run into the ballroom with weapons corning to bear. Spawn spins, hopelessly outnumbered, he runs across the ballroom, as even more gunfire chases him from all directions. Fi.re hits him from all directions and blows him through a window.</scene_description> </scene> <scene> <stage_direction>EXT. EMBASSY BUILDING - OUTER WALL - NIGHT</stage_direction> <scene_description>Spawn sails through glass four stories above the Embassy grounds. His chains react instinctively and send their hooked ends sailing outwards, grabbing onto the Embassy's outer wall. The chains tighten swinging Spawn around and smashing him into the wall. He stares with amazement at the chains as he clings to the wall. The surprises continue as grappling claw-hooks emerge from his hands and feet, enabling hims to easily hold onto the wall. The chains retract back into his suit.</scene_description> <character>SPAWN</character> <dialogue>This'll work.</dialogue> <scene_description>Below, several guards pour out of the embassy. Spawn spider- crawls along the wall moving upwards and over, as the guards spread out across the grounds and open fire. Guards run towards idle searchlights as Spawn dodges bullets and makes his way around the building's near corner onto the dark side of the building. Spawn sees a balcony farther over and above him. He crawls over to it and reaches up and grabs a balcony strut. He begins to pull himself up and his weight cracks the strut. Just as he begins to climb up the balcony a searchlight snaps on and pans across the dark side of the building. Spawn lowers himself into the balcony shadows. The searchlight nears Spawn and he hugs the balcony base trying to blend into the shadows. As Spawn concentrates on trying to tuck his body underneath the balcony, his cape emerges, covering his whole body and taking the form of a balcony support. When the cape snaps into place, it changes color to match the balcony. Spawn gapes at his transformed flesh. Nods with startled gratitude, then tucks his head in as the searchlight passes over him. His camouflage cape works perfectly and he remains unnoticed by the guards below. Spawn reaches back to the cracked balcony strut and begins to pull himself up. His cape uncamouflages itself and retracts. Spawn notices the cracking strut and manages to grab another but not before the cracked one breaks off and falls away. The support falls near a guard who begins shouting and pointing towards the balcony. The searchlight is redirected to the balcony. Spawn hangs by one arm as the searchlight rakes over him, his armor having returned to normal. The guards open fire hitting him and the balcony. The balcony begins to break up and falls away in big chunks sending Spawn falling towards the ground. He falls backwards tumbling out of control when suddenly his cape re-emerges into a huge gargoylesque wing spanning more than two dozen feet. The cape moves on its own and swings him around so that he faces down. Spawn, stunned by the amazing wings, stretches out and soars down the hillside away from the embassy. The guards look up in awe at Spawn's cape.</scene_description> <character>SPAWN</character> <parenthetical>(almost laughs)</parenthetical> <dialogue>I could get used to this.</dialogue> <scene_description>He turns sharply in between the high rises and disappears in the night.</scene_description> </scene> <scene> <stage_direction>EXT. SWISS EMBASSY GROUNDS - NIGHT</stage_direction> <scene_description>Paramedics zip up body bags and load the wounded into waiting EMS vans. Wynn steps away from an ambulance as he's injected with painkillers by a paramedic. His wounds are sewn shut and a field cast is secured to his twisted left arm. Clown hangs in the shadows behind an EMS van eating cashews out of a greasy paper bag. He motions to Wynn who walks over to him.</scene_description> <character>WYNN</character> <parenthetical>(angry)</parenthetical> <dialogue>You idiot, why didn't you warn me about Simmons?</dialogue> <character>CLOWN</character> <dialogue>Shuddup, ya cheese weasel. I didn't think his armor would harden this quickly. Besides, nothing happened and surprises are always more fun.</dialogue> <character>WYNN</character> <dialogue>Fun ... ? Does this look like Disneyland to you? He could've killed me!</dialogue> <character>CLOWN</character> <dialogue>Calm down. Spawn's still got some lessons to learn, and we're here to teach him.</dialogue> <character>WYNN</character> <dialogue>If he's your guy, what's he doing trying to kill me?</dialogue> <character>CLOWN</character> <dialogue>You killed him, remember? Spawn'll come around, he's just a little confused at the moment. Soon as he finishes one other little detail his soul will be ours.</dialogue> <parenthetical>(laughs, abruptly stops)</parenthetical> <dialogue>So how are we doing on your front?</dialogue> <character>WYNN</character> <dialogue>HEAT-16 is ready to go.</dialogue> <character>CLOWN</character> <dialogue>For your sake, I hope so ... cause the Army has finally reached critical mass and Spawn is here to tip the scale, but without HEAT-16, this baby ain't gonna fly.</dialogue> <character>WYNN</character> <parenthetical>(suspicious)</parenthetical> <dialogue>Why do you need Simmons?</dialogue> <character>CLOWN</character> <dialogue>He's the highest scoring killer of all times kiddo. If we hadn't a drafted him, the other side woulda.</dialogue> <scene_description>Wynn sneers as Clown turns to go.</scene_description> <character>CLOWN</character> <dialogue>Oh yeah, almost forgot. The boss figures you ought to have some kind of fancy implant that connects your heartbeat to the HEAT-16 bombs. That way no smartass would dare take you out. You know, an insurance policy. We wouldn't want to lose our point man just when the war's about to start.</dialogue> <character>WYNN</character> <parenthetical>(impressed with the idea)</parenthetical> <dialogue>I like it.</dialogue> <character>CLOWN</character> <dialogue>Thought you would. Now stay sharp, the night is young.</dialogue> <scene_description>Clown spits bits of cashew on Wynn's shoes and smiles knowingly as he wanders off through the shadows of the triage area. Clown can't resist himself, and steps out to kick a wounded man's gurney. Clown giggles mischievously as he saunters away.</scene_description> <character>WYNN</character> <parenthetical>(re: Clown, sotto)</parenthetical> <dialogue>When the world's mine, you get drawn and quartered, fatboy.</dialogue> <scene_description>Wynn crosses to an A-6 mobile emergency medical unit as an A- 6 DOCTOR turns away from Chapel's lifeless body. Wynn steps up and takes one last angry look before they zip up Chapel's body bag. He grabs the Doctor.</scene_description> <character>SPAWN</character> <parenthetical>(a whisper)</parenthetical> <dialogue>I'm so sorry things turned out this way Wanda ... thought I was getting rid of the world's vermin ... and I turn out to be the big daddy of 'em all ...</dialogue> <scene_description>Wanda senses something and looks towards the back of the auditorium, but all she sees is a door closing.</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL - CORRIDOR - NIGHT</stage_direction> <scene_description>Cyan plays fetch with Spaz at the end of a well lit corridor. She bounces the ball and Spaz chases it down a semi-lit corridor and into a darkened gymnasium. Cyan follows cheerily into the darkness.</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL - CORRIDOR - NIGHT</stage_direction> <scene_description>Spawn leans heavily against the wall in the dark corridor. The feelings of love and loss are overwhelming. Around the corner, Spawn hears Spaz's familiar barking coupled with a little girl's whimpered cry. Spawn rushes toward the sounds.</scene_description> </scene> <scene> <stage_direction>INT. GYMNASIUM,. NIGHT</stage_direction> <scene_description>Cyan sits on the floor surrounded by basketballs with a bruised knee. She's clearly fallen while playing in the dark. Spaz wags his tail as Spawn appears out of the darkness. Cyan looks up, fascinated, bruised knee instantly forgotten, as Spawn bends down. She smiles with wide-eyed curiosity at his armor. Spawn tries to avoid showing her his face, afraid of scaring her.</scene_description> <character>SPAWN</character> <dialogue>You alright?</dialogue> <character>CYAN</character> <dialogue>Yeah, I'm okay.</dialogue> <parenthetical>(beat stares at Spawn)</parenthetical> <dialogue>Wow, your face is weird!</dialogue> <character>SPAWN</character> <dialogue>Does it scare you?</dialogue> <scene_description>Spawn, still afraid of his appearance, looks deeply into Cyan's eyes.</scene_description> <character>CYAN</character> <dialogue>No.</dialogue> <scene_description>fearing Cyan's reaction to his burnt countenance.</scene_description> <character>CYAN</character> <parenthetical>(a beat, eyes him closely)</parenthetical> <dialogue>What's your name?</dialogue> <character>SPAWN</character> <dialogue>Uhhh. . . Spawn.</dialogue> <character>CYAN</character> <dialogue>I'm Cyan.</dialogue> <scene_description>Spawn is touched to be this close to a part of Wanda ...</scene_description> <character>SPAWN</character> <dialogue>You have your mother's eyes.</dialogue> <character>CYAN</character> <dialogue>No I don't, silly. These are my eyes. If I had Mommy's eyes, she'd be blind. Anyway, I fell over all these dumb balls.</dialogue> <character>SPAWN</character> <parenthetical>(slaps a ball)</parenthetical> <dialogue>Bad dumb balls!</dialogue> <scene_description>Cyan laughs and has absolutely no fear of Spawn. She touches his face then his armor.</scene_description> <character>CYAN</character> <dialogue>Cool!</dialogue> <scene_description>Spawn enjoys being with Cyan. But something catches his attention as his eyes follow a rolling ball in the darkness. A balloon bearing Clown's smiling face floats down towards them from the bleachers. The balloon bobs for a second and then pops.</scene_description> <character>CYAN</character> <parenthetical>(laughs)</parenthetical> <dialogue>Bad balloon.</dialogue> <character>SPAWN</character> <parenthetical>(wary)</parenthetical> <dialogue>Let's get you back inside.</dialogue> <scene_description>Spawn lifts Cyan and carries her through a nearby door. Spaz follows at his master's heels. In the darkness of the topmost corner of the bleachers, we see a hint of Clown's silhouette as his malignant chortle drifts down like toxic fumes.</scene_description> <character>CLOWN (OS)</character> <dialogue>Mmm ... tasty little girl.</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL - MAIN HALL - NIGHT</stage_direction> <scene_description>Spawn sets Cyan down close to the auditorium. There are mounted relief photos of the North Korean catastrophe.</scene_description> <character>CYAN</character> <dialogue>See that awful picture? Mommy says that little girl i.s the same age as me.</dialogue> <scene_description>Spawn sees the picture. A sad eyed little Korean girl covered with vestigial sores and pocks. Cyan's voice is tainted with intuitive sadness. Spawn feels the guilt.</scene_description> <character>SPAWN</character> <dialogue>You should go find your Mommy. She'll be worried.</dialogue> <character>CYAN</character> <dialogue>Can you come over and play sometime?</dialogue> <character>SPAWN</character> <dialogue>Maybe.</dialogue> <character>CYAN</character> <dialogue>We'll have fun, you'll see. Bye, Spawn.</dialogue> <scene_description>Cyan waves and walks reluctantly down the hallway. Wanda emerges from the auditorium and immediately grabs Cyan into her arms.</scene_description> <character>WANDA</character> <dialogue>Oh, sweetie, where were you?</dialogue> <character>CYAN</character> <dialogue>I was just playing with Spaz, but I fell, and this big man named Spawn came. He's got a weird face but he's really ni.ce.</dialogue> <scene_description>Wanda looks around. The hallway is now deserted.</scene_description> <character>WANDA</character> <dialogue>Cyan, I told you not to talk to strangers.</dialogue> <character>CYAN</character> <dialogue>Spawn's not a stranger, Mommy. I know him.</dialogue> <character>WANDA</character> <dialogue>You don't know him, honey.</dialogue> <character>CYAN</character> <dialogue>But I do.</dialogue> <scene_description>Suddenly Terry bursts into the hallway. He's dishevelled, bloodstained, and frantic in the aftermath of the Embassy melee.</scene_description> <character>TERRY</character> <dialogue>We're going home, now.</dialogue> </scene> <scene> <stage_direction>EXT. SCHOOL - PARKING LOT - NIGHT</stage_direction> <scene_description>Terry hustles Wanda and Cyan into his sedan.</scene_description> <character>WANDA</character> <dialogue>Terry, what's going on ... ?</dialogue> <character>TERRY</character> <dialogue>Just get in the car.</dialogue> <character>WANDA</character> <parenthetical>(stands firm)</parenthetical> <dialogue>No, not until you tell me what's going on. I'm not making the same mistake. No secrets.</dialogue> <character>TERRY</character> <parenthetical>(meets her gaze, relents)</parenthetical> <dialogue>Wynn was attacked tonight ... at the embassy and I got caught in the middle. I'm not sure what's going on but I don't want to take any chances.</dialogue> <scene_description>Wanda is glad he told her and slides into the passenger seat.</scene_description> <character>WANDA</character> <dialogue>Okay.</dialogue> <scene_description>Terry gets in the car and starts it.</scene_description> <character>CYAN</character> <dialogue>Hey daddy?</dialogue> <character>TERRY</character> <dialogue>What sweetie?</dialogue> <character>CYAN</character> <dialogue>Can Spawn come over and play?</dialogue> <scene_description>Terry freezes. Wanda sees that Cyan just struck a cord.</scene_description> <character>TERRY</character> <dialogue>What?</dialogue> <character>CYAN</character> <parenthetical>(playing with her doll)</parenthetical> <dialogue>He's really nice.</dialogue> <scene_description>Terry shakes his head as he begins to drive off.</scene_description> <character>TERRY</character> <parenthetical>(sot to)</parenthetical> <dialogue>What the hell i.s happening here ... ?</dialogue> <character>CYAN</character> <dialogue>What about Spaz?</dialogue> <character>TERRY</character> <parenthetical>(stops, gets out of car, and looks around)</parenthetical> <dialogue>Spaz ... here boy! Spaz!</dialogue> </scene> <scene> <stage_direction>EXT. SCHOOL - GROUNDS - NIGHT</stage_direction> <scene_description>Spawn stands in shadows near a dumpster beside the building. Spaz is planted at his feet. Spawn kicks dirt at him as Terry calls. Spaz doesn't budge.</scene_description> <character>SPAWN</character> <dialogue>Go home.</dialogue> <scene_description>Spaz wags his tail.</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL - PARKING LOT - NIGHT</stage_direction> <scene_description>Terry gets into the sedan.</scene_description> <character>CYAN</character> <dialogue>Daddy, we can't leave without Spaz!</dialogue> <character>TERRY</character> <dialogue>Don't worry Cyan, Spaz knows the way home.</dialogue> <scene_description>Wanda sees how nervous Terry is as he steers quickly out of the parking lot.</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL - GROUNDS - NIGHT</stage_direction> <scene_description>Spawn walks among the shadows. Spaz follows close behind and stops when Spawn turns.</scene_description> <character>SPAWN</character> <dialogue>Go home, Spaz. You don't wanna be where I'm going.</dialogue> <scene_description>Spaz barks defiantly. No way is he going to lose sight of his master again.</scene_description> <character>SPAWN</character> <parenthetical>(a beat, relents)</parenthetical> <dialogue>Okay, but it's your funeral.</dialogue> </scene> <scene> <stage_direction>INT. A-6 HEADQUARTERS - SURGICAL THEATRE - NIGHT</stage_direction> <scene_description>In an ultra hi-tech operating theatre, a SURGICAL TEAM works over Jason Wynn's torso, a slick looking cast on his broken left arm. Small LED's blink as a small electronic device is activated. The device is lowered and inserted into Wynn's torso. The Doctor uses his microsurgical tools to perform a few more steps then turns to look at a video monitor as the message "heart monitor uplink on.line" appears. Wynn is fully conscious as the Doctor leans close.</scene_description> <character>DOCTOR</character> <dialogue>The unit is locked into your circulatory system and fully armed. If your vitals flat.line for any reason the device will uplink and automatically detonate the HEAT-16 weapons.</dialogue> <character>WYNN</character> <dialogue>Good work doctor.</dialogue> <character>DOCTOR</character> <parenthetical>(nervously)</parenthetical> <dialogue>We're going to close you up now.</dialogue> <scene_description>The Doctor accepts instruments from his team as a computer controlled torso-sealing device lowers from above. The Doctor proceeds to seal Wynn's torso.</scene_description> </scene> <scene> <stage_direction>INT. A-6 HEADQUARTERS - WYNN'S OFFICE - NIGHT</stage_direction> <scene_description>Clown sits in shadow with his feet on Wynn's desk. He's watching the surgery on the Wall. He polishes off a box of popcorn and enjoys the cut and sew.</scene_description> <character>CLOWN</character> <parenthetical>(stuffs his mouth)</parenthetical> <dialogue>Tick goes the heart ... tock goes the world. Oh, this is sooo frigging sweet ... hmm, needs more salt.</dialogue> </scene> <scene> <stage_direction>EXT. ALLEYWAY - NIGHT</stage_direction> <scene_description>A large boned man, GLEN, fishes in a dumpster and comes up with a moldy BLT. He wipes it off, takes a bite, and hands the rest to his son Zack, the ten year old boy we met ear.lier. He reaches in again and comes up with an open tuna container. He fingers out the contents and eats with a scavenger's relish. He looks down at Zack and sees him gag and spit-up the partially consumed BLT. Glen angrily leaps out of the dumpster.</scene_description> <character>GLEN</character> <dialogue>Hey, what the hell're you doing?! You puking up decent food, boy?!</dialogue> <character>ZACK</character> <parenthetical>(cowers, small)</parenthetical> <dialogue>It's rotten.</dialogue> <character>GLEN</character> <parenthetical>(menacing)</parenthetical> <dialogue>Tasted fine to me. You think we eat so good you can just spit up what you like? Huh?!</dialogue> <character>ZACK</character> <parenthetical>(defiant)</parenthetical> <dialogue>No.</dialogue> <scene_description>Glen, frustrated, tired, hungry, takes it out on Zack. Smacks him across the face. Zack tries not to react. He knows that'll just make his father madder. Glen raises his hand again. He's suddenly snatched off his feet and pinned to the nearest wall. Toes dangling. Spawn, ominous in his long coat, leans close to Glen with eyes burning deep green. His voice defines darkness.</scene_description> <character>SPAWN</character> <dialogue>Maybe you'd like to try the special of the day scumbag, brick soup.</dialogue> <scene_description>Spawn hurls Glen across the alleyway and into the far wall. Glen tumbles onto heaped garbage. Spawn looms over the man and fishes him out of the filth. Ready to administer more pain. Zack grabs Spawn's arm and tugs desperately.</scene_description> <character>ZACK</character> <dialogue>Stop it . . . don't hurt him.</dialogue> <character>SPAWN</character> <dialogue>Step back, kid ... you don't wanna get blood in your eyes.</dialogue> <character>ZACK</character> <dialogue>Leave him a.lone ... he's my Dad!</dialogue> <scene_description>Spawn looks down and sees the naked fear in Zack's eyes. Glen trembles and Spawn drops him back in the trash. Zack goes to his father and helps him lean against the wall. Spawn watches the boy comfort the middle-aged man. Glen looks diminished now, lost and frail as a child himself. Spawn sags, not sure about.anything anymore, and proceeds into shadow trailed by Spaz.</scene_description> </scene> <scene> <stage_direction>EXT. CHURCH ROOF - NIGHT</stage_direction> <scene_description>Spawn drops his overcoat and pulls back a cover revealing his weapons cache hidden on the roof. He begins organizing his weapons, rips open an ammo pack, and loads the grenade launcher. Spaz prances nimbly along the roof and gets used to his new surroundings.</scene_description> <character>SPAWN</character> <parenthetical>(sotto, raw vengeance)</parenthetical> <dialogue>Kiss it good-bye, Jason.</dialogue> <scene_description>He hears footsteps behind him, turns, weapon at the ready, and sees Zack making his way across the roof. Zack's eyes widen in fear. Spawn lowers his gun and Zack takes in the state-of-the-art ordnance.</scene_description> <character>ZACK</character> <parenthetical>(amazed by the arsenal)</parenthetical> <dialogue>Whoa, awesome hardware -- what're you gonna do with it?</dialogue> <character>SPAWN</character> <dialogue>Throw someone a going away party.</dialogue> <character>ZACK</character> <parenthetical>(a beat)</parenthetical> <dialogue>Sorry about what happened down there ... things've been kinda rough lately.</dialogue> <scene_description>Spawn ignores Zack.</scene_description> <character>ZACK</character> <dialogue>Need any help?</dialogue> <character>SPAWN</character> <parenthetical>(a beat, looks at him)</parenthetical> <dialogue>Listen, kid, I'm not looking to make friends.</dialogue> <scene_description>Zack is obviously pained by this remark. He looks down but holds his ground. Spawn genuinely appraises Zack for the first time. Sees a kid beyond his years. Tough and resilient.</scene_description> <character>SPAWN</character> <dialogue>What's your name?</dialogue> <character>ZACK</character> <parenthetical>(looks up)</parenthetical> <dialogue>Zack.</dialogue> <character>SPAWN</character> <dialogue>I'm Al, this is Spaz.</dialogue> <character>ZACK</character> <dialogue>Hi, Spaz.</dialogue> <scene_description>Zack pets Spaz. The little dog wags his tail. Spawn smiles for the second time.</scene_description> </scene> <scene> <stage_direction>EXT. HILLSIDE - ABOVE THE CITY - NIGHT</stage_direction> <scene_description>Cagliostro crouches near the top of a hill and gazes out over the city. A chill wind blows, and with it comes a brooding smear of darkness across the face of the waning moon. Cagliostro rises, braces bimself against the wind, and watches a ghastly SHADOW bleed across the sky towards the distant Tenderloin, closing in on the barely visible spires of the old cathedral.</scene_description> <character>COGLIOSTRO</character> <dialogue>It's time ...</dialogue> <scene_description>Cogliostro steadies himself, mentally prepares for what's coming, and slowly, resolutely, walks down the hillside toward the city.</scene_description> </scene> <scene> <stage_direction>EXT. CHURCH ROOF - NIGHT</stage_direction> <scene_description>Spawn, Spaz, and Zack sit together against a wall across from the base of the steeple. Spawn snaps fully loaded clips into his two smart-guns as Zack stares at the night sky and the city below.</scene_description> <character>ZACK</character> <dialogue>Sometimes I wake up at night and wonder if this place is Hell?</dialogue> <scene_description>A shadow falls across Spawn and Zack. Spaz leaps up and growls with surprising ferocity. Clown approaches from the roof's far end.</scene_description> <character>CLOWN</character> <dialogue>No, kid, this ain't Hell ••. but you can see it from here. Making new friends are we, Spawny? How cute. Now, kill'em and let's go. The Army's just hours from being ready and you don't have time to sit here with your thumb up your butt.</dialogue> <character>SPAWN</character> <dialogue>Get outta here Zack.</dialogue> <scene_description>Zack heads for the nearest fire escape, stops and looks around the corner at what's happening. Spawn climbs angrily to his feet, eyes locked on Clown, and lifts his smart-·gun. Levels it at the gruesome dwarf.</scene_description> <character>SPAWN</character> <dialogue>Before I blow your fat ass to that circus in the sky, I wanna know why you picked me to lead your war.</dialogue> <scene_description>CtOWN (laughing) The evil's been there since you were soup in your mama's crotch. You had the raw talent and we nursed it along. All those A-6 ops were just training for what's coming. Spawn doesn't want to believe this about himself.</scene_description> <character>CLOWN</character> <parenthetical>(paces back and forth)</parenthetical> <dialogue>Wynn finally got that HEAT-16 biobomb working -- we made it especially for you -- start things off with a big wet, squishy, infectious bang.</dialogue> <parenthetical>(sotto)</parenthetical> <dialogue>Personally, I think a mega-fusion-bomb would've been better. Nothing like human confetti to kick off a party.</dialogue> <scene_description>Spawn is stunned by this information. The scope of the horror it implies. Clown enjoys Spawn's reaction.</scene_description> <character>CLOWN</character> <dialogue>And all we need is for you, to lead us to the holy land ... so we can burn it down.</dialogue> <scene_description>Clown begins to laugh hysterically. Spawn re-trains his gun on Clown. Eyes narrowed with new resolve.</scene_description> <character>SPAWN</character> <dialogue>You can take that Apocalypse of yours and shove it.</dialogue> <character>CLOWN</character> <parenthetical>(a beat, genuinely stunned)</parenthetical> <dialogue>You know, Spawn, I'm starting to think your heart's not in this. If you keep it up, you're gonna force me to get real nasty. Besides, what's the world ever done for you, except kill you and marry off the only woman you ever loved to your best friend.</dialogue> <scene_description>Spawn cocks the gun. Spaz growls at Clown's feet and takes a disrespectful pee on his ankle. Clown reaches down swiftly and lifts Spaz into his arms.</scene_description> <character>CLOWN</character> <dialogue>I don't know why I put up with this kinda crap.</dialogue> <character>SPAWN</character> <dialogue>Put down my dog.</dialogue> <character>CLOWN</character> <dialogue>You're not gonna screw things up for me, Mr. "I'm-too-good-to-be-a-Hellspawn". You're gonna do just what you promised.</dialogue> <scene_description>Clown's hand transforms into talons. The sound of their growth is like nails on a chalkboard. Spawn watches, stunned, as the talons merge and form a venus flytrap-like cage around Spaz. The dog whimpers as the cage completely encases Spaz's body in a shiny ball of flesh.</scene_description> <character>CLOWN</character> <dialogue>Nice doggie ... heel, fetch, rollover ... no, I got it ... play dead!</dialogue> <scene_description>Spawn is stunned motionless by what he is seeing. Clown is hit by a rock that Zack has thrown. Clown turns with surprise. Spawn fires a precise wounding shot to Clown's shoulder. Clown's hands transforms back to normal and he drops Spaz in genuine shock. Clown stares at his wounded shoulder with total indignation. Clown looks up at Spawn with burning, rage-filled eyes. His voice becomes a tombful rasp.</scene_description> <character>CLOWN</character> <dialogue>So you want to do it the hard way. I warned you Spawny old pal ... now it's time to nasty.</dialogue> <scene_description>Spawn takes a step back as Clown begins laughing. The sound is like the roar of an approaching storm. Clown let's out a screeching cry as horns burst out of the sides of his skull and his jaw and eyes begin to transform. His outerflesh hideously melts away and transmutes into insectoid skin. Clown's body shakes as it grows. Pulsing as something with powerful elongated double-boned, tri-jointed limbs and razor sharp steel talons rapidly grows and takes form. Clown transforms into a massive, hulking, beast with blood-red compound eyes, and huge double-hinged multi-fanged mandibles. This is the ultimate necroplasmic killing machine. Standing nearly ten feet in height -- VIOLATOR is born. Spawn stares, horrified, as Violator cackles and stretches. Spawn swings around with the gun. Violator moves quickly, slaps the weapon aside, and grabs Spawn with one hand pinning him against the wall. Spawn screams in pain as his armored mask moves into place. Violator leans close and licks Spawn's chin. Spaz is growling and biting at Violator's feet. Violator sends Spaz flying off the roof.</scene_description> <character>SPAWN</character> <dialogue>Spaz!</dialogue> <scene_description>Spawn angrily struggles twice as hard and manages to get off a series of shots that blast away the wall and part of the roof beneath their feet. Spawn and Violator topple together over the edge and spill earthward, along with part of Spawn's weapons cache.</scene_description> </scene> <scene> <stage_direction>EXT. ALLEYWAY - NIGHT</stage_direction> <scene_description>Spawn crashes atop a village of cardboard condos. Alley folk scatter like ten pins. Glen and others rush out of their shadowed corners in panic. Spawn, stunned by the fall, hears a screech and turns and sees Violator impaled on a fire hydrant struggling like a pinned insect. Spawn searches for his gun. He finds the weapon nearby, grabs it and turns back. Violator is gone. A shadow rises behind Spawn. A terrified and injured Glen shoves Zack behind him to protect him. Violator rises to full height with a huge hole in his thorax. The hole begins to seal over with a wet sucking sound. Spawn whirls to fire just as Violator quickly reaches down, grabs Glen, and dangles him, a target blocking any clear shot. Spawn hesitates and Violator hurls Glen towards Spawn who catches him and is thrown back into the near wall by the impact. Spawn gently rolls Glen aside and whirls again. Violator is gone. Spawn hears a screech and moves into the alley labyrinth towards it. He reacts to every sound and almost shoots terrified alley people trying to escape. Spawn whirls as he hears a loud screech behind him. He rounds the corner at the ready. Violator is at the end of the alley in a funny position taunting Spawn, daring him to fire. Spawn grow.ls and fires. Violator screeches and disappears in a flash revealing two alley dwellers that he had been holding behind him. The gun blasts hit the alley dwellers sending Spawn into a rage. Spawn continues his search in the shadows but finds no sign of the hellish monstrosity. The alley seems qui.et. Spawn warily stalks the alley scanning left/right, high and low. Spawn nervously reacts to any sound and shoots at some scurrying rats. Spawn spots Spaz's collar and picks it up. He frantically looks around kicking away some debris but finds nothing. Staring at the collar, the anger boi.ls through him. He barely hears a dog whimpering. Spawn quickly moves towards the sound but just as he rounds the corner he is savagely crushed by huge taloned hands. He fires helplessly into the ground as he's lifted by Violator who whimpers at him like a hurt dog. Spawn's chains try to pull apart the talons but can't. Violator lifts Spawn into the air and screeches as he flings Spawn against the alley wall impaling him on a trio of broken pipes. Spawn hangs there in agony as Violator roars with hideous laughter. Violator transforms back into Clown. Arms fold into a fetal insect pose as the flesh glistens and shrinks. The i.nsectoid skin melts away leaving the familiar rags and wornout makeup. Clown stretches and wipes the filmy ooze from his cheeks and chin.</scene_description> <character>CLOWN</character> <dialogue>I have sooo much fun as Violator. You gotta admit he's a real fun bunny.</dialogue> <scene_description>Clown grins at Spawn's anguished position and does a little touchdown dance step as he slides closer.</scene_description> <character>CLOWN</character> <dialogue>Thought you were a tough guy, didn't you? Look at your sorry ass now.</dialogue> <parenthetical>(disgusted)</parenthetical> <dialogue>And to think that Malebolgia thought some fancy-pants armor was better than good ole necro-flesh... .r don't think so.</dialogue> <scene_description>Spawn grunts in emotional agony. Clown howls with laughter.</scene_description> <character>CLOWN</character> <dialogue>But you did do a bang up job at the Embassy ... and now you've turned your new home into a bloody mess.</dialogue> <scene_description>Clown points at the wounded alley people at the other end of the alley. Spawn's unarmored head hangs down but he manages to turn it. From his angle, he is barely able to see the scared and weeping men, women, and children, as they try to help each other to safety. Zack comforts a dying Glenn among them.</scene_description> <character>CLOWN</character> <dialogue>It's time to stop jerking around and get down to business.</dialogue> <scene_description>Spawn looks down and locks his burning eyes on Clown.</scene_description> <character>CLOWN</character> <parenthetical>(leans close to Spawn)</parenthetical> <dialogue>Maybe you need a little more inspiration.</dialogue> <parenthetical>(in Wanda's voice)</parenthetical> <dialogue>No, no! Help, please ... somebody -- oh God, no -- NO!</dialogue> <scene_description>Wanda's voice becomes a hideous scream.</scene_description> <character>CLOWN</character> <parenthetical>(Wynn's voice)</parenthetical> <dialogue>Wanda ... Terry's had his taste ... now it's my turn.</dialogue> <character>SPAWN</character> <parenthetical>(enraged, gasping)</parenthetical> <dialogue>Stay away from her!</dialogue> <character>CLOWN</character> <parenthetical>(deadly serious)</parenthetical> <dialogue>This is your last chance, Spawny old boy, you better be ready to get in the saddle 'cause I'll be there to take your place whether Malebo.lgia likes i.t or not.</dialogue> <scene_description>Clown laughs and walks away wi.th a spring i.n hi.s step. Steps on Spawn's grenade launcher that had fa.llen off the roof. Grabs it, twirls it like a baton, and walks off chortling with i.nner glee. Cogliostro warily watches Clown pass, then steps out of the shadows. Spawn hangs from the pipes. Cogli.ostro appears and, without hesitation, pulls Spawn off the pipes. Spawn cries out in pain and falls hard.</scene_description> <character>COGLIOSTRO</character> <dialogue>It seems the truth has taken its toll on you.</dialogue> <character>SPAWN</character> <parenthetical>(weak, semi-conscious)</parenthetical> <dialogue>I'm gonna kill that Clown.</dialogue> <character>COGLIOSTRO</character> <dialogue>You still haven't learned.</dialogue> <scene_description>Cogliostro helps Spawn on his feet.</scene_description> </scene> <scene> <stage_direction>EXT. ALLEYWAY - NIGHT</stage_direction> <scene_description>Alley people dig their wounded out from beneath debris around the area where Spawn and Violator fought. Zack is comforting Glen. He looks up as poli.ce vehicles arrive on the scene. Cops stroll through and take in the scene. Zack rushes over to them and implores them to help Glen. They pay only cursory attention to Zack and the other alley denizens. Clearly the cops feel this incident isn't worth their time. The alley people gather and watch in stunned horror as Glen gasps, near death. Zack runs back over to Glen, falls to his knees, and is on the verge of tears as he sees his father's condition.</scene_description> <character>ZACK</character> <parenthetical>(starting to cry)</parenthetical> <dialogue>Don't die Dad ... please don't ... you're all I've got.</dialogue> <character>GLEN</character> <parenthetical>(to Zack, last words)</parenthetical> <dialogue>Don't cry, boy ... you'll do fine ... you always have.</dialogue> <scene_description>Glen dies. Zack has tears streaming down his face.</scene_description> </scene> <scene> <stage_direction>INT. A-6 HEADQUARTERS - WYNN'S OFFICE - NIGHT</stage_direction> <scene_description>The global-situation Wall is the expansive room's only illumination. Terry sits hunched and sweaty at Wynn's desk. Breaking and entering isn't his forte. He touches the flat panel display pulling up data on "classified field ops". Stops when he comes across a file labeled "black bags".</scene_description> <character>TERRY</character> <parenthetical>(smiles)</parenthetical> <dialogue>Gotcha.</dialogue> <scene_description>He dumps the file to a mini-disk, ejects and pockets it, and exits stealthily.</scene_description> </scene> <scene> <stage_direction>EXT. SIDE ALLEY - NIGHT</stage_direction> <scene_description>Spawn lays panting, semiconscious across a pai.r of discarded mattresses. His wounds heal slowly into ragged puckers. Cogliostro crouches over him with his magical ancient long- knife protruding from his hand. Dark eyes furrowed in soul- deep conflict.</scene_description> <character>COGLIOSTRO</character> <parenthetical>(sotto, torn)</parenthetical> <dialogue>I can't afford to be wrong .•.</dialogue> <scene_description>Cogliostro lays the blade's edge expertly across Spawn's throat. Prepares for a clean decapitation -- then hesitates, waging some inner debate, and finally makes a decision. He slowly stands and retracts the knife into the sleeve of his greatcoat just as Spawn's eyes open.</scene_description> <character>COGLIOSTRO</character> <dialogue>Still with us, I see.</dialogue> <scene_description>Painfully, Spawn staggers to his feet and tries to move out of the darkness into the main alley.</scene_description> </scene> <scene> <stage_direction>EXT. ALLEYWAY - NIGHT</stage_direction> <scene_description>Sobs and curses echo as the alley people methodically reassemble their shattered world. Spawn sees all of this and feels profound guilt.</scene_description> <character>COGLIOSTRO</character> <dialogue>Your vengeance ... their pain ... Wynn, Wanda, none of this is worth the cost.</dialogue> <scene_description>Cogliostro stands beside Spawn. Surveys the damage and sorrow. Spawn whirls on Cogliostro and grabs him hard.</scene_description> <character>SPAWN</character> <dialogue>Those are the only things that matter to me now.</dialogue> <character>COGLIOSTRO</character> <parenthetical>(pointed)</parenthetical> <dialogue>Al Simmons is dead -- let him go.</dialogue> <scene_description>Spawn is stung by the pain of his wounds. Takes a step back.</scene_description> <character>SPAWN</character> <dialogue>I'm Simmons, old man!</dialogue> <character>COGLIOSTRO</character> <dialogue>You're Spawn now. But that doesn't mean you have to be what they want.</dialogue> <scene_description>Spawn shoves Cogliostro aside and stumbles further down the alley. Cogliostro suddenly appears directly in front of him. He scratches the word "Spawn" in the filth at his feet ... then brushes out the "S" leaving the word "pawn".</scene_description> <character>COGLIOSTRO</character> <parenthetical>(locks eyes with Spawn)</parenthetical> <dialogue>Your anger is your weakness. And they'll use it to rob you of any humanity you have left.</dialogue> <scene_description>Spawn eyes him coldly.</scene_description> <character>COGLIOSTRO</character> <parenthetical>(earnest)</parenthetical> <dialogue>Simmons knew that violence only leads to more pain and suffering, no matter which side gave the orders. He tried to leave the A-6 and give himself a second chance.</dialogue> <character>SPAWN</character> <parenthetical>(grabs Cogliostro)</parenthetical> <dialogue>Who the hell are you ... ?</dialogue> <character>COGLIOSTRO</character> <parenthetical>(dark smile)</parenthetical> <dialogue>A former assassin, like you ... only I killed for the kingdom of Saxony five hundred years ago ....</dialogue> <scene_description>Spawn is stunned by this and then angered.</scene_description> <character>SPAWN</character> <parenthetical>(a beat, let's go, pissed)</parenthetical> <dialogue>Are there any normal people left on earth, or is everybody just back from Hell?!</dialogue> <character>COGLIOSTRO</character> <dialogue>Your old life is gone ... accept it.</dialogue> <character>SPAWN</character> <parenthetical>(beat)</parenthetical> <dialogue>I still love Wanda.</dialogue> <character>COGLIOSTRO</character> <dialogue>Put her in the past. It's the only way to free yourself.</dialogue> <character>SPAWN</character> <dialogue>She's the only reason I'm here.</dialogue> <scene_description>Spawn strides painfully away from Cogliostro. The old man is again right in front of him.</scene_description> <character>COGLIOSTRO</character> <dialogue>The war between Heaven and Hell can turn on the choices we make and those choices require sacrifice.</dialogue> <scene_description>Spawn thinks about this for a long beat. He hears someone approaching and looks up to see Zack coming down the alleyway with tears on his face.</scene_description> <character>ZACK</character> <parenthetical>(weak, sad, re: Violator)</parenthetical> <dialogue>That thing killed my Dad ...</dialogue> <character>SPAWN</character> <parenthetical>(angry at himself)</parenthetical> <dialogue>I'm sorry, Zack. I didn't mean for this to happen.</dialogue> <character>ZACK</character> <dialogue>I know.</dialogue> <character>SPAWN</character> <dialogue>I'm going to nail that scumbag.</dialogue> <scene_description>Zack believes him.</scene_description> <character>ZACK</character> <dialogue>I found Spaz's collar.</dialogue> <scene_description>Zack displays Spaz's torn collar. Spawn takes it and trembles with anger.</scene_description> <character>ZACK</character> <dialogue>And there's something else.</dialogue> <scene_description>Zack leads them around the corner and they see the alley wall that forms part of the church. Violator has drawn a gruesome three story message in glowing bile-green necroplasmic blood. It's a huge cupid heart-shape with "Wanda+C1own" inside, "Love and Bandages" across the top, and X's and O's that become skulls and crossed-bones underneath.</scene_description> <character>SPAWN</character> <dialogue>Wanda!</dialogue> </scene> <scene> <stage_direction>EXT. ROOFTOP - NIGHT</stage_direction> <scene_description>Spawn is on the rooftop frenetically checking out what remains of his weapons cache. Spawn reaches for an ammo belt and gun. Cogliostro appears.</scene_description> <character>COGLIOSTRO</character> <dialogue>This is just what they want. You're playing their game.</dialogue> <scene_description>CONTINUED:</scene_description> <character>SPAWN</character> <parenthetical>( locks and loads)</parenthetical> <dialogue>Then I'll play dirty.</dialogue> <character>COGLIOSTRO</character> <dialogue>Guns are useless.</dialogue> <character>SPAWN</character> <dialogue>You got a better idea?</dialogue> <scene_description>With amazing grace and dexterity, Cogliostro suddenly lets loose a series of rapid feints barely touching Spawn's armor. Spawn hardly has time to react but his armor responds chaotically with chains and hooks snapping and flailing at random sending him sprawling on the ground.</scene_description> <character>COGLIOSTRO</character> <parenthetical>(re: armor)</parenthetical> <dialogue>I might.</dialogue> </scene> <scene> <stage_direction>EXT. ROOFTOP - NIGHT</stage_direction> <scene_description>Cogliostro and Spawn are standing on the roof.</scene_description> <character>COGLIOSTRO</character> <dialogue>Your armor has trillions of neural connections. It is a living extension of your own instincts, instantly translating your thoughts into physical reality, as long as you stay clear and focused.</dialogue> <character>SPAWN</character> <parenthetical>(very interested)</parenthetical> <dialogue>So that's why it did all that stuff in the embassy.</dialogue> <scene_description>Cogliostro watches as Spawn tries releasing spikes from his hand. Spawn looks awkward and nothing seems to happen at first, but then spikes begin to emerge. Spawn face shows his concentration as he sends the spikes up forcefully.</scene_description> <character>COGLIOSTRO</character> <parenthetical>(nodding)</parenthetical> <dialogue>Try your chains.</dialogue> <scene_description>Spawn looks at where his chains emerge and scowls. Nothing happens. He tries again but this time with his whole body. From the lower back of Spawn's awkwardly posed body, a coil of chain comes flying out, quickly becoming a tangled mess that trips him. Cogliostro swallows his laughter. Spawn grimaces again, as if he's trying to do something, but nothing happens.</scene_description> <character>COGLIOSTRO</character> <dialogue>You must visualize your objective. Your armor will take it from there.</dialogue> <character>SPAWN</character> <dialogue>All right Yoda, j\lst give me a second.</dialogue> <scene_description>Spawn concentrates, his eyes glowing intensely. Two lengths of hooked-chain unfurl from Spawn's chest, fly out into space, veer around the cross, and whip-smash right through part of the far wall. Brick dust flies.</scene_description> <character>SPAWN</character> <parenthetical>(grins, liking it)</parenthetical> <dialogue>Not bad.</dialogue> <character>COGLIOSTRO</character> <dialogue>Don't get cocky.</dialogue> </scene> <scene> <stage_direction>EXT. BAR - NIGHT</stage_direction> <scene_description>Spawn and Cogliostro exit the alley and cross the street to a Biker Bar. Zack runs after them. Spawn surveys the motorcycles out front and settles on a high performance Ducati.</scene_description> <character>COGLIOSTRO</character> <dialogue>You should wait until your armor's healed. It can only take so m\lch damage before it dies.</dialogue> <character>SPAWN</character> <dialogue>What happens then?</dialogue> <character>COGLIOSTRO</character> <dialogue>You die along with it.</dialogue> <scene_description>Spawn looks concerned for a moment then snickers. He grabs the helmet on the seat.</scene_description> <character>SPAWN</character> <dialogue>Don't think I'll be needing this.</dialogue> <scene_description>Spawn tosses the helmet and climbs onto the bike with his huge weapons in hand. He looks at the weapons, then at Cogliostro, and finally throws them to the old man.</scene_description> <character>SPAWN</character> <dialogue>No g\lts, no glory.</dialogue> <character>COGLIOSTRO</character> <dialogue>You're catching on.</dialogue> <scene_description>The bike roars to life.</scene_description> <character>COGLIOSTRO</character> <dialogue>Are you sure this is what you want?</dialogue> <character>SPAWN</character> <parenthetical>(acknowledges his trust)</parenthetical> <dialogue>Clown's my problem, old man.</dialogue> <character>ZACK</character> <dialogue>Let me go with you.</dialogue> <character>SPAWN</character> <dialogue>I want you to find Spaz and bring him back to me, no matter how you find him.</dialogue> <scene_description>Zack nods as Spawn throttles up and accelerates away on a carpet of burning rubber. Cagliostro watches after him with profound concern.</scene_description> <character>COGLIOSTRO</character> <parenthetical>(sot to)</parenthetical> <dialogue>This is the final test.</dialogue> <scene_description>In the b.g., a Young Biker runs out of the bar and screams after Spawn.</scene_description> </scene> <scene> <stage_direction>EXT. ROAD - NIGHT</stage_direction> <scene_description>Spawn nears familiar residential suburbs along a stretch of two-lane black top. Suddenly a hulking cement truck roars out onto the highway. It screeches and careens directly in front of Spawn. With a malicious sneer Spawn tries to pass the truck. Spawn cuts right and left but the massive truck stays in front of him. Spawn swerves as the truck drifts back and rumbles alongside. Clown smiles and waves from the cab. Spawn begins to accelerate past when the truck bursts ahead and ruthlessly tries to pile Spawn into the guardrail. Spawn avoids getting crushed by dropping back behind the truck. The truck pulls in front and the brakelights snap on. Spawn sweeps hard right to avoid piling head-on into the truck's massive rearend. The truck jogs right with surprising speed and Spawn is driven up against the guard rail. Spawn fights to keep the bike upright as sparks fly and Spawn drops behind.</scene_description> <character>(CONTINUED}</character> <dialogue>Clown suddenly appears on the rear of the truck with the grenade launcher taken from the alley. He fires and Spawn drops back and swerves, barely avoiding the concussive explosion. Another round craters asphalt to Spawn's left sending up a ball of flames and black smoke.</dialogue> <character>CLOWN</character> <dialogue>I just love the smell of burning asphalt.</dialogue> <scene_description>Spawn is pissed. He remembers Cogliostro's training. Spawn's eyes burn bright as he concentrates. His cape emerges enclosing him and the motorcycle forming an impervious projectile. Spawn's glowing eyes are visible in the new form. Clown fires another salvo and scores a direct hit. Spawn's armor sheds blast debris with ease as he emerges from the explosion.</scene_description> <character>CLOWN</character> <parenthetical>(childish)</parenthetical> <dialogue>Hey, no fair.</dialogue> <scene_description>Clown throws the grenade launcher away. Spawn sees his chance and accelerates to pass the chopper. Clown smiles as he pulls on a chain and releases a stream of cement onto the road. Spawn's eyes react in surprise as the bike-projectile hits the slippery goo, goes into a skid, hits, and tumbles across the road. Spawn's armor maintains it's shape and he comes to a stop unhurt. Spawn's armor returns to normal. Spawn gets up and begins to pull the bike upright when he hears a huge screech. Clown rips the truck to a bouncing halt, shifts gears, and peels around a hundred and eighty degrees. The engine roars as the truck highballs back towards Spawn spewing a cloud of smoking rubber. Spawn sees the truck and Clown's wide grin rapidly approaching. The front grill bears down as the chopper heads straight for Spawn. Clown hoots and hollers with raucous glee. Spawn turns but there's no time for him to dive clear. He gets a look of concentration and his armor suddenly molds over into a thick black wedge wi.th a sharp leading edge that anchors itself deep down into the asphalt.</scene_description> <character>TERRY</character> <dialogue>Black bag ops, field reports, assassination lists ... everything. Wynn's been using the A-6 to manipulate governments, terrorist groups, criminal syndicates ...</dialogue> <character>NATHAN FORD</character> <parenthetical>(from computer)</parenthetical> <dialogue>And it's all there?</dialogue> <character>TERRY</character> <parenthetical>(busily using the mouse)</parenthetical> <dialogue>I'm e-mailing the data to you. There's enough evidence to bury Wynn and stop some of the madness he's started. You should have everything in a few minutes. I'll talk to you later.</dialogue> <scene_description>The tele-video disconnects and the window closes. Terry continues working with his computer.</scene_description> </scene> <scene> <stage_direction>INT. WANDA'S HOUSE - MASTER BEDROOM - NIGHT</stage_direction> <scene_description>A dreamy shot of Wanda sleeping calmly beneath a white down comforter. A shadow falls across her and she wakes slowly. Looks up into the burn-scarred face of Spawn. She screams.</scene_description> </scene> <scene> <stage_direction>INT. WANDA'S HOUSE - MASTER BEDROOM - NIGHT</stage_direction> <scene_description>Wanda startles awake from her nightmare. Cyan sleepily stands where Spawn did a moment ago i.n her dream.</scene_description> <character>CYAN</character> <dialogue>I'm thirsty.</dialogue> </scene> <scene> <stage_direction>INT. WANDA'S HOUSE - STUDY - NIGHT</stage_direction> <scene_description>Terry continues working with Wynn's files. Something catches his attention on the screen.</scene_description> <character>TERRY</character> <dialogue>Jesus Christ ...</dialogue> <scene_description>The computer screen di.splays the detailed 3-D graphic of the Heat-16 virus. Beneath the rotating matrix is a map of the world indicating the HEAT-16 weapon installations.</scene_description> <character>TERRY</character> <parenthetical>(sotto)</parenthetical> <dialogue>Wynn is out of his mind ...</dialogue> </scene> <scene> <stage_direction>INT. WANDA'S HOUSE - ENTRY HALL - NIGHT</stage_direction> <scene_description>Wanda, dressed in a night gown, leads a yawning Cyan out of the kitchen with a glass of water.</scene_description> <character>WANDA</character> <dialogue>Okay, sweetie, let's get you back in bed.</dialogue> <scene_description>Wanda turns and runs right into the barrel of a smart-gun. It's Wynn with his cast and some barely visible indications of his recent surgery.</scene_description> <character>WYNN</character> <dialogue>Good evening.</dialogue> </scene> <scene> <stage_direction>INT. WANDA'S HOUSE - STUDY - NIGHT</stage_direction> <scene_description>Cyan enters followed by Wanda and Wynn.</scene_description> <character>TERRY</character> <dialogue>Hey, sweetheart, what ...</dialogue> <parenthetical>(standing)</parenthetical> <dialogue>Wynn, what are you doing here?</dialogue> <character>WYNN</character> <dialogue>Some unfinished business.</dialogue> <parenthetical>(looking at the computer)</parenthetical> <dialogue>What have we here?</dialogue> <scene_description>Wynn stands in front of the computer as it finishes e-mailing the files and sees the HEAT-16 graphics. Wynn blasts the computer to bits.</scene_description> <character>WYNN</character> <dialogue>You disappoint me Terry.</dialogue> <scene_description>Wynn viciously backhands Terry with his cast, spilling him painfully to the carpet.</scene_description> <character>TERRY</character> <parenthetical>(rises slowly)</parenthetical> <dialogue>You can't release the virus ... millions of people will die.</dialogue> <character>WYNN</character> <dialogue>Only those foolish enough to resist me.</dialogue> <scene_description>Wynn turns his gaze to Wanda and smiles as he softly brushes the backs of his fingers along her supple cheek and neck.</scene_description> <character>(CONTINUED}</character> <dialogue>WYNN</dialogue> <parenthetical>(admires Wanda)</parenthetical> <dialogue>You're a lucky man, Terry.</dialogue> <scene_description>Cyan cringes against Wanda's leg. Wanda refuses to tremble.</scene_description> <character>WANDA</character> <dialogue>Whatever it is you want ... just take it and go.</dialogue> <character>WYNN</character> <parenthetical>(intimate)</parenthetical> <dialogue>I intend to.</dialogue> <scene_description>A sound comes from the front room. Wynn motions Terry out the door.</scene_description> </scene> <scene> <stage_direction>INT. WANDA'S HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>Someone knocks at the front door. Holding Cyan tight, Wynn forces Terry to his knees and brings his smart-gun to the ready.</scene_description> <character>WYNN</character> <parenthetical>(to Wanda)</parenthetical> <dialogue>Open it.</dialogue> <scene_description>Wanda moves to the door and slowly pulls it open. Suddenly the door is kicked out of Wanda's hand and slams against the wall. Clown pokes his head around the door jamb.</scene_description> <character>CLOWN</character> <dialogue>Peek-a-boo.</dialogue> <scene_description>Clown stands on the threshold with the Volkswagen Bug parked outside on the lawn. He steps inside and slams the door closed. Clown takes a big sniff of Wanda and licks his lips.</scene_description> <character>CLOWN</character> <dialogue>You smell terrific.</dialogue> <scene_description>Wanda cringes. Clown purses his lips, then turns and notices Cyan.</scene_description> <character>CLOWN</character> <dialogue>Cyan ... remember me?</dialogue> <parenthetical>(Cyan nods her head, to Wynn)</parenthetical> <dialogue>What's a matter, scared this little girl's gonna shoot off your pee-pee?</dialogue> <scene_description>Wynn eases his grip and Cyan rushes to her mother's side.</scene_description> <character>CYAN</character> <parenthetical>(to Clown, wary)</parenthetical> <dialogue>You were at my birthday party.</dialogue> <scene_description>Clown gives Cyan a psychotic curtsy.</scene_description> <character>WANDA</character> <parenthetical>(to Clown, tense)</parenthetical> <dialogue>What are you doing here?</dialogue> <character>CLOWN</character> <dialogue>This is my encore performance ... so sit back and enjoy the show!</dialogue> <scene_description>Clown smiles and displays a graveyard of rotting fangs as Wanda shrinks back.</scene_description> <character>WYNN</character> <dialogue>Where's Spawn?</dialogue> <character>CLOWN</character> <dialogue>He's on his way. The real question is ... are you ready?</dialogue> <character>WYNN</character> <parenthetical>(dead serious)</parenthetical> <dialogue>Of course.</dialogue> <scene_description>Clown gives Wynn a patronizing smirk. Wynn is deciding when to off this little puke.</scene_description> </scene> <scene> <stage_direction>EXT. WANDA'S HOUSE - NIGHT</stage_direction> <scene_description>Spawn steers the scooter to the curb and lets it fall. Sees Clown's Volkswagen parked haphazardly across the lawn. The house looks normal from the outside.</scene_description> </scene> <scene> <stage_direction>INT. WANDA'S HOUSE - ENTRY HALL - NIGHT</stage_direction> <scene_description>Spawn pushes the front door open and enters the house. All is quiet and peaceful inside. Nothing is disturbed or out of place. A warm inviting glow dances along the wall across from the living room. Spawn eases cautiously into the house.</scene_description> </scene> <scene> <stage_direction>INT. WANDA'S HOUSE - HELL LIVING ROOM - NIGHT</stage_direction> <scene_description>A bizarre sight greets Spawn. Odd blue and crimson flames blaze in the misshapen portal that used to be the fireplace. Hell has poured from this portal into the room transforming it into a strange oversized Gigeresque geology that blends into the house. The floor is gooey and strange growths hang from the ceiling. Spawn enters the room and is mystified when suddenly, the flames roar into the center of the room then retreat back into the portal revealing a terrified Wanda -- bound to a hellish rack. Spawn is staggered to see this horrific image.</scene_description> <character>SPAWN</character> <dialogue>Wanda ... !</dialogue> <scene_description>Before Spawn can move, a dark figure, with his back to us, crosses out of shadow and moves close to Wanda. A nine-inch serrated blade in his hand. The dark man raises the knife to Wanda's tear stained face.</scene_description> <character>WANDA</character> <dialogue>Please ...</dialogue> <character>SPAWN</character> <dialogue>Get away from her!</dialogue> <scene_description>The shadow man turns and we see Wynn's smiling face. The ever shifting glow from the fireplace turns his features jagged and loathsome. His mask of coolness gives way to something raw and wholly evil.</scene_description> <character>WYNN</character> <dialogue>I can't do that ..• she wants me.</dialogue> <scene_description>Wynn traces the knife's blade along Wanda's quivering cheek and across the curve of her neck.</scene_description> <character>SPAWN</character> <dialogue>Touch her and you're dead!</dialogue> <character>WYNN</character> <parenthetical>(smiles, twirls the knife)</parenthetical> <dialogue>Careful, don't make me nervous ... I might nick something vital.</dialogue> <scene_description>Spawn is helpless. He dares not move.</scene_description> <character>SPAWN</character> <dialogue>I swear, I'll kill you.</dialogue> <scene_description>Wynn leans close to Wanda and takes a seductive whiff of her neck, slides the blade along Wanda's cheek, then turns abruptly to Spawn with a cruel grimace.</scene_description> <character>WYNN</character> <dialogue>The fun and games are over Spawn, either you finish the deal with Clown, or she dies -- after I'm done.</dialogue> <scene_description>WYNN ( cont • d) (keeps the blade against Wanda's flesh) So, what's it going to be? Spawn doesn't know what to do. He can't say yes. Wynn smiles as Wanda gasps and beneath her right eye, a drop of blood forms from a tiny cut and trickles down her face.</scene_description> <character>WYNN</character> <dialogue>Oops.</dialogue> <scene_description>Spawn explodes and charges forward. Wynn turns with a cruel smile. He raises the knife and we see Wanda's face as she screams and the knife plunges through frame. Spawn rams Wynn aside, and falls upon Wanda in disbelief. Spawn screams as he shocks to a halt, the soul-shattering pain slamming him to the core. Spawn hugs Wanda's limp body.</scene_description> <character>SPAWN</character> <parenthetical>(softly)</parenthetical> <dialogue>Wanda.</dialogue> <scene_description>She hangs dead in his arms.</scene_description> <character>SPAWN</character> <dialogue>NNNNOOOOOOOOOOO ! !</dialogue> <scene_description>Spawn sobs as waves of burning anguish sear through him. Wynn watches with smug satisfaction.</scene_description> <character>WYNN</character> <dialogue>It's all your fault, Spawn. Wanda was doing just fine until you showed up!</dialogue> <scene_description>Spawn is flayed by every word, ripped apart from the inside out as sanity and reality quickly fades. His eyes grow dim as he crumples to the floor.</scene_description> <character>WYNN</character> <dialogue>You've got nothing left to lose, you soulless corpse ... nothing.</dialogue> <scene_description>Spawn looks up with burning demon's eyes. He's surrendered himself to the pain, madness, and emotional rage.</scene_description> <character>SPAWN</character> <dialogue>I've still got you!</dialogue> <scene_description>Spawn rises from Wanda's body and appears in front of a fearful Wynn, ready to pounce. Spawn punches Wynn and sends him flying across the room and into the master bedroom door. The door breaks off its hinges.</scene_description> </scene> <scene> <stage_direction>INT. WANDA'S HOUSE - MASTER BEDROOM - NIGHT</stage_direction> <scene_description>Spawn enters the room and finds a bound and gagged Terry. Cyan is tied next to him but her gag has slipped off. Cyan is shocked by Spawn's savagery. Spawn and Cyan lock eyes for a beat. Spawn strides to Wynn and punts him savagely into the wall near the door. Enjoys his killer's pain. Wynn crawls back into the living room.</scene_description> </scene> <scene> <stage_direction>INT. WANDA'S HOUSE - HELL LIVING ROOM - NIGHT</stage_direction> <scene_description>Wynn is crawling towards his smart-gun when he runs into Spawn. Cyan sees everything that i.s happening in the living room.</scene_description> <character>WYNN</character> <parenthetical>(getting up, panicked)</parenthetical> <dialogue>You can't kill me.</dialogue> <character>SPAWN</character> <parenthetical>(demonic)</parenthetical> <dialogue>Is that right?</dialogue> <scene_description>Spawn lifts Wynn by the neck with one hand in a vicious choking deathgrip.</scene_description> <character>WYNN</character> <parenthetical>(choking)</parenthetical> <dialogue>If I die -- everybody dies with me!</dialogue> <character>SPAWN</character> <dialogue>Like you said, I've got nothing to lose.</dialogue> <scene_description>Spawn squeezes his hands around Wynn's throat.</scene_description> <character>WYNN</character> <parenthetical>(choking gasp, calls out)</parenthetical> <dialogue>Clown -- he's killing me! Do something!</dialogue> <scene_description>Spawn hurls Wynn into the portal flames. Wynn screams, rolls out of the flames, arms and legs movi.ng wildly, extinguishing the flames on his body. Cyan watches in horror as tears begin to fall. Wynn comes to a stop and lays face down gasping. Spawn kneels and lifts Wynn partially from the floor by his hair.</scene_description> <character>SPAWN</character> <dialogue>Feel the burn? Get used to it •cause it's payback time.</dialogue> <scene_description>Behind them, the flames in the portal begin to grow and move, making squealing noises, becoming more and more violent as Spawn's revenge approaches. Wynn can hardly breathe but looks up, cowering, as Spawn raises his bladed fist for the deathblow. Spawn is shaking with rage. He sees his bladed hand, obviously enough to put an end to Wynn, but his boiling anger causes more blades to emerge from all sides turning his fist into a fearsome oversized mace.</scene_description> <character>SPAWN</character> <dialogue>See you in Hell, ,Jason.</dialogue> <scene_description>Spawn rears back and looks down at the pitiful, pleading Wynn.</scene_description> <character>WYNN</character> <parenthetical>(gulps air)</parenthetical> <dialogue>you'll kill the whole world ...</dialogue> <scene_description>Spawn hesitates just a beat. Everything slows down as Spawn sees the roiling, screaming flames in the portal. He closes his eyes. They burn bright but then dim. Everything Spawn is, and was, stands at a crossroads defined by his next action. Satisfy his vengeance -- cast aside his morality -- feed his limitless rage -- surrender his soul. Unknown to him, his brutally bladed hand begins to transform back to normal. Spawn hears Cyan's terrified whimper. He turns and finds her staring right into his eyes, crying, terrified. Spawn and Cyan lock onto each other on some deep unspoken level. Spawn finally notices his untransformed hand, surprised for a moment, then realizing that his armor is doing exactly what he is telling it to. Spawn turns back to Wynn and, after a beat, tosses him back to the floor with both hands, disgusted.</scene_description> <character>SPAWN</character> <parenthetical>(cathartic beat)</parenthetical> <dialogue>I'm through doing Hell's dirty work.</dialogue> <scene_description>Wynn rolls over onto his back wheezing on the floor barely conscious. The flames in the portal die back down with a wail. Spawn looks back at Cyan who has stopped crying and is staring with wide-eyed wonder, smiling gently. Spawn turns to Wanda, his face full of grief. He gets up and crosses to her lifeless body. Spawn hugs her close. Vents his pain through quiet sobs. A moment of grieving silence passes. Wanda kicks Spawn off of her with surprisina strength. Spawn sprawls to the floor and looks up in naked shock as Wanda climbs off the cross. Knife still buried in her chest.</scene_description> <character>WANDA</character> <dialogue>You worthless, bag-a-crap! That puke just murdered me! Me! -- the single most important human being in your entire freaking universe!! And you're just gonna let him get away with it?!</dialogue> <character>SPAWN</character> <dialogue>Wanda ... ?</dialogue> <scene_description>Spawn just stares in disbelief, his armor paralyzed by his confusion, as Wanda kicks him in the face with unrestrained anger. Spawn falls backwards in shock and starts to get up. She turns, picks up Wynn's smart-gun, and walks towards him firing a vicious salvo. Caught off guard, Spawn screams as each shot blows him backwards until he falls against a wall and slumps to the floor in shock, badly wounded.</scene_description> <character>WANDA</character> <parenthetical>(voice becoming Clown)</parenthetical> <dialogue>Come on, be a man -- pop his head like a zit!</dialogue> <scene_description>Spawn sees Wanda transmute into Clown as the knife falls to the floor. Realizes that it was Clown on the rack the whole time -- shapeshifted to look like Wanda.</scene_description> <character>CLOWN</character> <dialogue>Come on Spawn, finish the deal and kill the man who took everything from you -- kill Jason Wynn!! Do it now, the Army is waiting to crossover!!</dialogue> <scene_description>Clown points towards the flames. The camera crashes into the flames and down Hell's gullet revealing the assembled Army of Hell. We see Chapel among them. Against an intestinal backdrop of flames and waste, stands the immense horde of writhing, slathering, Hellspawn. Blood lust in their eyes. Waiting to crossover. Waiting for their general to give the signal that sets them free. Spawn locks eyes with Clown.</scene_description> <character>SPAWN</character> <parenthetical>(gruff determination)</parenthetical> <dialogue>Never.</dialogue> <character>CLOWN</character> <parenthetical>(a beat, pissed)</parenthetical> <dialogue>What do you mean "never"? Do you know how long I've been working on this thing, you pansy-assed bacon crisp?!</dialogue> <scene_description>Clown puts his free hand behind his back and out of it grows a glistening da.r.kmagic blade. Clown angrily starts slinking towards Spawn.</scene_description> <character>SPAWN</character> <dialogue>Guess I'm not the evil monster you thought I was.</dialogue> <scene_description>Clown drops the gun, screams, and charges Spawn with the blade drawn. Spawn's chains snap out in defense, but Clown deftly stabs the wounded Spawn through the neck pinning him to the wall. The dar.kmagic blade sparkles with green energy as Spawn's chains flail, shudder, and drop. Spawn appears paralyzed, his armor a dull dead-grey. Clown snaps the blade off at the wrist and screams in pain.</scene_description> <character>CLOWN</character> <parenthetical>(shaking his hand)</parenthetical> <dialogue>Owwww.</dialogue> <parenthetical>(in Spawn's face)</parenthetical> <dialogue>This isn't funny pal'ly! Malebolgia's going to fry my fat ass.</dialogue> <scene_description>Wynn, buoyed by fear and welling anger, stumbles over to Clown.</scene_description> <character>WYNN</character> <dialogue>You were gonna let him kill me?</dialogue> <scene_description>Clown pumps a couple rounds Wynn way and sends him crashing into a bookcase.</scene_description> <character>CLOWN</character> <parenthetical>(to Wynn)</parenthetical> <dialogue>The only reason you got that bio-bomb pacemaker was so when Spawn did kill you, we got two birds with one stone.</dialogue> <scene_description>Wynn cringes in a corner as Clown rises and looms forward.</scene_description> <character>CLOWN</character> <dialogue>Hell's Army gets its leader, and Armageddon gets cranking with Heat-1.6! Get it, you spunk-sucking-dipstick?</dialogue> <scene_description>Spawn sucks in painful breaths. Tries to will his armor to heal.</scene_description> <character>CLOWN</character> <dialogue>I told Malebolgia he shoulda chose me, but would he listen? Noooo.</dialogue> <scene_description>Clown kicks Spawn in spite.</scene_description> <character>CLOWN</character> <dialogue>Well, now I'm taking over and Malebolgia'll thank me when I'm done.</dialogue> <parenthetical>(turning with a vicious smile)</parenthetical> <dialogue>But first, I'm gonna have me a little creme de Wanda. . . and you get to watch.</dialogue> <parenthetical>(smiling viciously at Wynn)</parenthetical> <dialogue>Then I get to rip the heart out of little Jas··see poo. He• s got no use for it anyway.</dialogue> <parenthetical>(turning back to Spawn)</parenthetical> <dialogue>And maybe then I can give you that maggot enema you've been wanting so badly ... after I cut off that pretty little head of yours.</dialogue> <scene_description>Clown laughs and turns to the hellish portal. The flames extend out of the portal to where Clown is and retreat back revealing the real Wanda, tied to a chair. Clown leans over a quaking Wanda and licks her cheek with an impossibly long black tongue. Smacks his lips and savors the flavor.</scene_description> <character>CLOWN</character> <dialogue>Ahh, dinner is served.</dialogue> <scene_description>He pulls a sadistic knife and fork from the behind the chair and raises them over an hysterical Wanda. Spawn begins to pant and tries with all his might to pull free. A sharp metallic rasp rings out. Clown turns, eyes wide, as he tries to stutter step aside. A glistening blade comes down and sl.ices off Clown's left fork wielding arm. Clown screams in genuine pain and stumbles backward. Cogliostro stands in front of Clown. A glistening magical blade grows from his right arm and an armored shield grows from his left.</scene_description> <character>COGLIOSTRO</character> <dialogue>Mind if I cut in?</dialogue> <scene_description>Cogliostro leaps forward with surprising speed and swings for Clown's head. Clown shrieks and twists aside narrowly avoiding decapitation. Clown faces Cogliostro with red eyes burning.</scene_description> <character>CLOWN</character> <dialogue>Cogliostro -- I thought you were dead.</dialogue> <character>COGLIOSTRO</character> <dialogue>Sorry to disappoint you.</dialogue> <scene_description>Clown growls, looks around, then spins and hurls the wicked blade at Wynn. The blade sai.ls through the air towards the wounded Wynn now paralyzed with fear. The blade comes to an abrupt stop an inch from Wynn's face. With his last bit of strength, Spawn willed a fragment of his cape out in front of Wynn's face. The blade pierced the cape but stopped short of Wynn. Spawn col.lapses and the cape drops to the floor with the blade still embedded. Clown curses as he runs off towards the back hall doorway. Cogliostro almost chases after Clown but thinks better of it and quickly crosses to Spawn and removes the darkmagic blade that has Spawn pinned to the wall. A sparkle of green energy accompanies its removal. Spawn collapses to the floor breathing hard as Cogliostro hurls the blade into the portal flames.</scene_description> <character>COGLIOSTRO</character> <dialogue>Concentrate on healing. I can't hold him off alone.</dialogue> <scene_description>Suddenly we hear Clown's happy scream, followed by the gruesome sounds of the bone-cracking transformation. Cagliostro and Spawn both turn towards the sound. Violator bursts through the back wall. Red compound eyes flashing with hell-fueled rage, his left arm still missing. He stands tall, head crashing into the ceiling, and roars. Violator charges forward wi.th talons poised. Cogliostro dodges and slashes Violator as he passes. Spawn concentrates, eyes burning bright as his armor begins to heal. Furious, Violator spins and charges again. Cogliostro uses his shield to brush Violator's talons aside as he slashes at Violator's neck. Cogliostro's blade slices deep into one of Violator's mandibular horns. Violator screams in pain and jerks his head upwards, breaking off part of his horn and snapping Cogliostro's blade off at the hilt. The glistening blade pinwheels and sticks in the floor. Cogli.ostro is stunned, his power gone. Violator laughs, grabs Cagliostro with his huge talons, and rams him into the wall, pinning him there. Cogliostro bites back a scream. Spawn sees his friend's predicament and pulls himself up by sheer will. Violator moves his head close to Cogliostro's as his articulated horn moves in for the strike. Violator growls as his horn tip shoots out. Cogliostro moves his head just in ti.me and the tip smashes into the wall. Violator retracts the tip, then fires again, just barely missing Cogliostro's head. Spawn, his face armor on, screams and sends out his chains. They wrap around and dig into Violator's torso pulling him through the air and onto Violator's back. Violator screeches and tries to buck Spawn off his back. He hurls Cogliostro aside as Spawn holds onto Violator's articulated horn and pounds his neck with a bladed fist. Violator gets a hand on Spawn's chains and throws him into the far wall. Spawn struggles up as Violator grabs him with his huge talons and smashes him into the ceiling. Cagliostro struggles to reach his broken blade. Violator pulls Spawn down towards his fearsome mouth. His jaw drops with a bone cracking shudder. Cagliostro pulls his broken blade from the floor and hurls it toward Violator. Violator turns just in time to see it impale him in the neck with a tremendous burst of green energy. Violator screeches, drops Spawn, and grabs at the blade with his good arm. He staggers across the room and fal.ls into the flaming portal, disappearing in a flash of flame. Spawn gives Cagliostro a respectful nod, then walks towards Wanda. Spawn bends down to Wanda, his face armor retracted. He unties her from the chair. She gazes up at him through a fog of semi-consciousness, terrified at first but then calm.</scene_description> <character>WANDA</character> <dialogue>Do I know you?</dialogue> <character>SPAWN</character> <parenthetical>(a beat)</parenthetical> <dialogue>You used to.</dialogue> <scene_description>Spawn carries Wanda into the bedroom.</scene_description> </scene> <scene> <stage_direction>INT. WANDA'S HOUSE - MASTER BEDROOM - NIGHT</stage_direction> <scene_description>Spawn carries Wanda over to Terry and Cyan and rips off their bonds. Wanda falls into Terry's arms. They hold each other tightly, both of them in tears, so happy to be back together again.</scene_description> <character>WANDA</character> <dialogue>Oh god, Terry.</dialogue> <character>TERRY</character> <dialogue>It's over baby.</dialogue> <scene_description>Spawn watches Wanda and Terry cling to one another. Feels a profound sadness and forces himself to turn away. Cyan reaches out and grabs Spawn's hand. Her innocent smile is heaven-sent.</scene_description> <character>CYAN</character> <dialogue>I knew you'd save us.</dialogue> <scene_description>Spawn smiles sadly. Wanda pulls Cyan into a hug with Terry. The small family embraces through fear and relief. The end of a nightmare. Spawn moves away from them with his back purposely turned. Each step takes him out of their world. It's an emotionally agonizing moment for him.</scene_description> </scene> <scene> <stage_direction>INT. WANDA'S HOUSE - HELL LIVING ROOM - NIGHT</stage_direction> <scene_description>Spawn walks past Wynn, wounded and slouched against the wall. Spawn stops and glowers at Wynn. Spawn gets a look of rage on his face and suddenly smashes his spiked foot within an inch of Wynn's face. Wynn screams in fear. Spawn just grunts in disdain. Spawn steps over to where Cogli.ostro is slumped against the wall, and collapses next to him. Spawn watches Terry, Wanda, and Cyan huddled together. The life he could've had.</scene_description> <character>SPAWN</character> <dialogue>There's no place for me here.</dialogue> <scene_description>Cogliostro rel.axes for the first ti.me and almost smiles at Spawn.</scene_description> <character>COGLIOSTRO</character> <dialogue>Maybe you're the one after all.</dialogue> <character>SPAWN</character> <dialogue>The one what?</dialogue> <character>COGLIOSTRO</character> <parenthetical>(groans in pain)</parenthetical> <dialogue>I 'm old and worn out . . • I 've been fighting this war far too long ... it's ti.me for someone to take my pl.ace ...</dialogue> <scene_description>Cogliostro gives Spawn a questioning look.</scene_description> <character>SPAWN</character> <parenthetical>(realizes)</parenthetical> <dialogue>You've been checking me out from the start?</dialogue> <scene_description>Spawn eyes Cogliostro in a new light.</scene_description> <character>SPAWN</character> <dialogue>What if I'd sided with Clown?</dialogue> <character>COGLIOSTRO</character> <parenthetical>(matter-of-fact)</parenthetical> <dialogue>I would've killed you.</dialogue> <character>SPAWN</character> <parenthetical>(laughs, a beat)</parenthetical> <dialogue>I finally decide to stop fighting .•. and I end up in the biggest fight of them all.</dialogue> <scene_description>Spawn shakes his head and smiles. Spawn and Cogliostro exchange glances, soldier to soldier. Spaz enters the room limping. The small dog looks as battered and bedraggled as his master. Zack fol.lows Spaz into the room. Spawn looks up and beams.</scene_description> <character>SPAWN</character> <dialogue>Spaz!</dialogue> <scene_description>Spaz limps over to Spawn and climbs into his lap. Spawn pets him gently. Spaz licks Spawn's chin with affection. Both are damn glad to see each other.</scene_description> <character>ZACK</character> <dialogue>I tried to get him to a vet, but he wouldn't stay put.</dialogue> <scene_description>Zack sits down next to Spawn.</scene_description> <character>SPAWN</character> <dialogue>Thanks, kid.</dialogue> <scene_description>Cyan walks towards Spawn, her eyes locked on him with a preternatural fascination. Spawn glances up and sees the little girl grow near. His eyes find hers and, for the first time, each looks deeper into the other. Realization slices across Spawn's soul as Cyan's mouth forms the word that becomes a horrified scream.</scene_description> <character>CYAN</character> <dialogue>DADDY!!!</dialogue> <scene_description>Terry spins when he hears Cyan's scream. The little girl's eyes stare at the wall behind Spawn as its vertebral architecture molds outward and comes to life. Fanged multi- mandibles and talons stretch out and around Spawn. Violator screeches with grotesque laughter. Violator wraps his talons around Spawn's torso. Zack backpedals out of the way. Spawn thrashes and screams in agony as the talons crush him. Cogliostro slides back.</scene_description> <character>COGL!OSTRO</character> <parenthetical>(to Spawn)</parenthetical> <dialogue>Use your armor!</dialogue> <scene_description>Violator's mouth opens and his massive lower jaw drops with a bone cracking shudder, ready to deliver the decapitating bite as he lifts Spawn into his maw. Spawn relaxes, concentrates, and visualizes the way Cagliostro taught him. His eyes blaze as his face armor rises around his head and unleashes a vicious barrage of lances from his armored skull. Violator screams as the lances pierce his upper and lower jaws locking his mouth open. Violator loosens his grip in surprise as Spawn's chest chains push out between Violator's talons. They lash out and wrap tightly around Violator's neck. Razor-sharp barbed hooks pop out of each link of chain. The chains tighten, digging the barbed hooks deep into Violator's neck. Violator grimaces, his eyes grow wide -- he senses what's coming and audibly swallows.</scene_description> <character>SPAWN</character> <dialogue>Give my regards to your boss. Tell him ... he's next.</dialogue> <scene_description>Spawn head lances retract as he whips his chain-hooks around Violator's neck like a chainsaw. Violator's body relaxes, releasing Spawn, as his head is sliced off. Violator's skull screams as it falls and hits the floor with a tremendous thud. It transforms back into Clown's head and rolls still. Violator's body collapses into a pile of black goo. The portal's hellfire roars and screams. The whole house shudders as all the hellish elements, including the remains of Clown/Violator, are sucked into the portal with a tremendous flash. The house returns to its normal form, except for all the destruction the fighting has left behind.</scene_description> </scene> <scene> <stage_direction>INT. WANDA'S HOUSE - LIVING ROOM - NIGHT</stage_direction> <character>CYAN</character> <parenthetical>(a beat)</parenthetical> <dialogue>Cool.</dialogue> <scene_description>Spawn, face armor retracted, turns to Cogliostro.</scene_description> <character>SPAWN</character> <dialogue>Not bad for a dead.man.</dialogue> <character>COGLIOSTRO</character> <parenthetical>(a beat, shrugs)</parenthetical> <dialogue>Beginner's luck.</dialogue> <scene_description>Cogliostro smiles. Spawn smiles. A budding friendship starts to take shape.</scene_description> </scene> <scene> <stage_direction>EXT. RIDGE - NIGHT</stage_direction> <scene_description>Spawn and Wanda stand under a tree. Cyan stands between Wanda's legs. Zack and Spaz stand off to the side watching the police and news vans on the street below. Cogliostro sits higher on the ridge keeping a watchful eye on everything. Wanda's eyes betray conflicting emotions.</scene_description> <character>WANDA</character> <dialogue>What I've been feeling ... i.t's all true, isn't it? Somehow ... you're Al ...</dialogue> <scene_description>Wanda steps cautiously forward to Spawn. Both of their eyes filled with tears.</scene_description> <character>SPAWN</character> <dialogue>Wanda ...</dialogue> <scene_description>It takes every ounce of strength for Spawn to turn away. His emotions are stripped raw.</scene_description> <character>WANDA</character> <dialogue>I never stopped loving you.</dialogue> <character>SPAWN</character> <parenthetical>(a beat, turns, close)</parenthetical> <dialogue>Al Simmons i.s gone ... whoever .•. whatever I am now, belongs somewhere else ... not here.</dialogue> <scene_description>Tears run down Wanda's cheeks. She knows he's right ... still, all the old pain and loss comes flooding back.</scene_description> <character>SPAWN</character> <dialogue>Besides, there's this creep named Malebolgia who needs some of my attention.</dialogue> <parenthetical>(to Cyan)</parenthetical> <dialogue>After that, I'll come back.</dialogue> <character>CYAN</character> <parenthetical>(beams)</parenthetical> <dialogue>You better.</dialogue> <character>WANDA</character> <dialogue>I always knew I'd have to give you up.</dialogue> <scene_description>Wanda folds herself into Spawn's arms. They stay like this for a long, heartfelt moment.</scene_description> <character>WANDA</character> <dialogue>I used to worry about your soul, Al ... I'm glad I was wrong.</dialogue> <scene_description>They finally draw apart and Spawn bends down to Cyan's level. His armor releases the locket and he hands it to Cyan.</scene_description> <character>SPAWN</character> <dialogue>Hold on to this for me.</dialogue> <character>CYAN</character> <dialogue>What is it?</dialogue> <character>SPAWN</character> <dialogue>The last piece of who I was ... keep it safe.</dialogue> <scene_description>Cyan throws her arms around Spawn and hugs him tight.</scene_description> <character>CYAN</character> <dialogue>I promise.</dialogue> <scene_description>Spawn lets go of Cyan, rises, and struggles with naked emotions. His family stands before him ... slowly, painfully, he turns and walks away, up towards Cogliostro. Spaz follows behind him as Wanda and Cyan make their way back home. Zack watches expectantly for a long lonely beat, then turns and kicks the dirt and starts to follow Wanda and Cyan. Spawn glances back.</scene_description> <character>SPAWN</character> <dialogue>Hey kid.</dialogue> <scene_description>The boy stops and turns, hopeful.</scene_description> <character>SPAWN</character> <dialogue>You've got some explaining to do.</dialogue> <character>ZACK</character> <parenthetical>(a beat)</parenthetical> <dialogue>I do?</dialogue> <character>SPAWN</character> <dialogue>Yeah, like what took you so long?</dialogue> <scene_description>Zack runs up to Spawn with a big grin on his face. Spawn smiles as they turn to go. Spaz follows them as they join Cogliostro.</scene_description> </scene> <scene> <stage_direction>EXT. WANDA'S HOUSE - DRIVEWAY - NIGHT</stage_direction> <scene_description>Police vehicles fill the street along with news vans and spectating residents. Officers cordon off the area. Wynn is limping as he is taken away by lead officer, Sam Burke and his partner, Twitch Williams. Two black Suburbans push through to the curb. A group of grey suited men and women climb down from the vehicles, A-6 INTERNAL SECURITY AGENTS. The A-6 Agents rush over to Wynn.</scene_description> <character>A-6 AGENT</character> <parenthetical>(presents a federal warrant to lead officer)</parenthetical> <dialogue>We're taking charge of him.</dialogue> <scene_description>Sam Burke looks at the warrant with some disdain, and his partner, Twitch Williams, agrees with the assessment. Burke nods and Wynn is quickly taken by the A-6 agents over to the Suburbans. Terry stands on the front lawn talking on camera to Nathan Ford as Wanda and Cyan join him. Other media are there as well.</scene_description> <character>A-6 AGENT</character> <parenthetical>(shouting over the press)</parenthetical> <dialogue>Fitzgerald.</dialogue> <scene_description>Everyone stops as Terry turns to the agent.</scene_description> <character>A-6 AGENT</character> <dialogue>Do you know what you're doing?</dialogue> <character>TERRY</character> <dialogue>Yeah ... something I should have done a long time ago.</dialogue> <scene_description>CONTINUED: Terry turns and hugs Wanda tight.</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY - NIGHT</stage_direction> <scene_description>Zack is playing with Spaz in the alley as Cogliostro looks on. We hear a sound like flapping wings and they look at each other then up towards the rooftop. The camera booms all the way up the alley wall..</scene_description> </scene> <scene> <stage_direction>EXT. ROOFTOP - NIGHT</stage_direction> <scene_description>We follow a rat as it runs across the decrepit roof to the base of the cross. The rat looks up at the sound of flp.pping wings. The camera pulls back revealing the living folds of Spawn's cape. They move and twist as if alive. The camera continues pulling back to reveal Spawn perched on the cross, alone, with his long cape moving and twisting, stretched out before him, the full moon illuminating the city below, as he contemplates the strange fate that has befallen him. We hear a crash from the chaos of the city below as Spawn's armored face turns slowly to camera, green eyes ablaze. We dissolve to the flaming Spawn symbol.</scene_description> <character>FADE OUT.</character> <dialogue>THE END</dialogue> </scene> </script>

U.S. Marine Corps Force Recon Lieutenant Colonel and CIA operative Al Simmons is assigned by his superior, Jason Wynn, to infiltrate a biochemical weapons plant in North Korea, despite Simmons' growing moral qualms with the nature of his work. Unknown to Simmons, Wynn has ordered his top assassin Jessica Priest to murder him while he is on the mission. Before Simmons dies, he is set on fire by Wynn and the flames cause the plant to explode. Simmons arrives in Hell, where one of the rulers of Hell - Malebolgia - offers him a Faustian deal: if Simmons becomes his eternal servant and leader of his army in Armageddon, he will be able to return to Earth to see his wife, Wanda Blake. Simmons accepts the offer and returns to Earth. Upon his return as Spawn, he learns that five years have passed since his death. Wanda is now married to his best friend Terry Fitzgerald, who is living as the stepfather to his daughter Cyan. Spawn encounters a clown-like demon named Violator, sent by Malebolgia, who acts as his guide down the path to evil. Spawn also meets and befriends a young homeless boy named Zack and a mysterious old man named Cogliostro, a fellow Hellspawn who has successfully freed his soul and now fights for Heaven. Spawn learns that Wynn is now a weapons dealer and has developed a biological weapon called Heat 16. During a reception, Spawn attacks Wynn, kills Jessica, and escapes with the help of his necroplasm armor. Following the attack by Spawn, Violator convinces Wynn to have a device attached to his heart that will release Heat 16 worldwide if his vital signs flatline as a deterrent against assassination attempts. Malebolgia wants Simmons to kill Wynn and initiate the apocalypse. Spawn confronts Violator, who turns into his demonic form and beats him down. Cogliostro rescues him and teaches him how to use his necroplasm armor with Zack. Spawn learns that Violator and Wynn are going to kill Terry, Cyan, and Wanda. Terry sends an email incriminating Wynn to a fellow newsman. Just as the email is sent, Cyan and Wynn enter the room. Wynn destroys Terry's computer and takes the family hostage. Spawn, Cogliostro and Zack arrive and nearly kill Wynn, but Spawn extracts the device from Wynn's body instead and destroys it. With his plan foiled, Violator sends Spawn and Cogliostro to Hell, where they both battle the demon before subduing him. Spawn is then confronted by Malebolgia, and tells the demon that he will never lead Hell's army. Spawn escapes with Cogliostro just before they are overwhelmed by Malebolgia's forces. Violator, having recovered, follows them. A final battle ensues, ending with Spawn decapitating the demon with his chains. Violator's head taunts the group and threatens his return before melting and returning to Hell. Wynn is arrested, and Spawn, realizing there is no place for him in Wanda's world anymore, dedicates himself to justice rather than succumbing to his lust for vengeance and returns to the streets with Cogliostro and Zack.

We Need to Talk About Kevin_2011

tt1242460

<script> <scene> <scene_description>WE NEED TO TALK ABOUT KEVIN by Lynne Ramsay &amp; Rory Kinnear based on the novel by Lionel Shriver BLACK. O.S.SLOOSHING NOISES, TEENAGE KIDS HUSHED SNICKERING.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM, DUPLEX - MORNING</stage_direction> <scene_description>FADE IN: A red, translucent shadow drips down a bedroom wall like weak rain bathing EVA KACHADOURIAN, in it's eerie glow. Fifty years old but looking a good ten older, Eva lies in bed, eyes open, staring blankly at the ceiling. O.S. beep of a digital alarm clock. She slams her hand down on the battered clock, it's face cracked and fixed with tape. It's glowing red digits read 7.30AM Thursday 26th April 2001 Disoriented, she sits up and frowns, taking in the unnatural hue on her skin. Fumbling for her robe, she knocks a bottle of pills from the bedside table, they scatter noisily across the floor.</scene_description> <character>EVA</character> <dialogue>Shit.</dialogue> <scene_description>She drags herself out of bed and walks over to the doorway. Feet crunching over the spilt pills. Dazed, she wanders down the hall towards the front door, squinting as she steps out into the bright morning light.</scene_description> </scene> <scene> <stage_direction>EXT. RUN DOWN DUPLEX, SUBURBAN STREET - MORNING</stage_direction> <scene_description>Shivering a little, she pulls her robe tight around her, she walks a little way down the drive then turns to look at the building. The house looks like it's had it's throat slit. It's splattered with red paint, glistening in the sunshine as it drips down the woodwork. Eva surveys the scene for a moment, her face expressionless, she shrugs tiredly and casually pads back into the house, closing the door behind her. FADE TO BLACK.: WE NEED TO TALK ABOUT KEVIN FADE IN: BCU, SAME DIGITAL CLOCK, but brand new, it's digits read. 7 AM THURSDAY APRIL 26th 2000. Eva's hand slams down on it.</scene_description> </scene> <scene> <stage_direction>INT. LARGE RANCH HOUSE KITCHEN - MORNING, ONE YEAR EARLIER.</stage_direction> <scene_description>A ticking sound as a bluish gas flame sparks up on the ring. O.S. A man's voice singing badly over the dull thud of a shower. Eva (49 but looking 10 yrs younger) plops a European style coffee pot on top of the range and picks up a spatula, flipping a piece of french toast that's sizzling in a pan.</scene_description> <character>LITTLE GIRL (O.S.)</character> <dialogue>No slime Mommy!</dialogue> <character>EVA</character> <dialogue>OK Celie, no slime!</dialogue> <scene_description>She presses the toast firmly into the pan making sure it's crisp before flicking it expertly onto a plate.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - MOMENTS LATER.</stage_direction> <scene_description>Viewed from behind. The white blonde hair of CELIA 7, sat at the kitchen table. EVA leans in towards her face making dabbing motions with a little sponge. Celia's feet kicking under the table. She whines and wriggles but tries hard to stay still.</scene_description> <character>CELIA</character> <dialogue>Daddy's happy, he's singing.</dialogue> <character>EVA</character> <dialogue>You could call it that...</dialogue> <scene_description>Eva drops the sponge in the bowl and wipes her hands.</scene_description> <character>EVA</character> <dialogue>There's a brave girl. See that's better, not so sticky now.</dialogue> <character>CELIA</character> <dialogue>No, Not so sticky!</dialogue> <scene_description>Celia throws her arms round Eva's neck. Eva smiles but her eyes are welling up. REVERSE ON CELIA; A delicate innocent face. ONE EYE BLANK LOOKING, PROSTHETIC, stares eerily ahead. Eva extricates herself from Celia's tight hug and turns back to the stove brushing her eyes.</scene_description> <character>EVA</character> <dialogue>Now... eat your breakfast honey.</dialogue> <character>CELIA</character> <dialogue>Daddy!..</dialogue> <scene_description>FRANKLIN (Good looking, muscular 40's) bounds into the kitchen in a buoyant mood. He kisses the top of Celia's head and whistling, heads for the coffee pot.</scene_description> <character>FRANKLIN</character> <parenthetical>(to Eva)</parenthetical> <dialogue>Morning.</dialogue> <character>EVA</character> <parenthetical>(without looking up)</parenthetical> <dialogue>Morning.</dialogue> <scene_description>His hand brushes against Eva's over the stove. An awkward moment, something unspoken in their eyes. Franklin pulls away gingerly.</scene_description> <character>FRANKLIN</character> <dialogue>Sorry...</dialogue> <character>EVA</character> <dialogue>That's OK.</dialogue> <scene_description>She smiles at him, shy, girlish.</scene_description> <character>EVA</character> <dialogue>You're in a good mood...</dialogue> <character>FRANKLIN</character> <parenthetical>(boyishly embarrassed)</parenthetical> <dialogue>And you know why...</dialogue> <scene_description>He gives her a quick peck on the cheek and is about to turn back to the table when Eva pulls him closer and kisses him deeply.</scene_description> <character>BOY (O.S.)</character> <dialogue>Gross...</dialogue> <scene_description>KEVIN (15) sidles into the kitchen, dressed in a smart white fencing shirt and black slacks.</scene_description> <character>EVA</character> <dialogue>Oh... you're up.</dialogue> <scene_description>Eva and Franklin pull apart, almost guiltily, like a couple of teenagers caught at it.</scene_description> <character>FRANKLIN</character> <dialogue>Looking good...</dialogue> <character>EVA</character> <dialogue>Wow, what happened... were all your size one clothes in the wash?</dialogue> <character>KEVIN</character> <dialogue>Some days you just wake up with a sense of occasion.</dialogue> <scene_description>Kevin tucks the billowing shirt neatly into his pants.</scene_description> <character>CELIA</character> <dialogue>Kevin looks handsome.</dialogue> <scene_description>He does look handsome and Eva looks at him with a hint of pride.</scene_description> <character>EVA</character> <dialogue>Yup... your brother's a heartbreaker... Now don't dawdle, You're supposed to eat it, not make friends with it.</dialogue> <scene_description>Kevin plonks his open rucksack on the table with a clunk. It's full of heavy yellow Kryptonite bike locks.</scene_description> <character>FRANKLIN</character> <dialogue>See you've got some takers...</dialogue> <character>KEVIN</character> <dialogue>Yeah should make a pile. I can charge twice what I paid for these on the net.</dialogue> <character>FRANKLIN</character> <dialogue>The next Donald Trump, huh?</dialogue> <scene_description>Franklin begins to load some film into a professional looking camera.</scene_description> <character>FRANKLIN</character> <dialogue>Big job today Kev...Michelin tyres. I've found the perfect spot, Just hope the light holds out...</dialogue> <scene_description>Kevin nods disinterestedly.</scene_description> <character>KEVIN</character> <dialogue>Right...</dialogue> <character>FRANKLIN</character> <dialogue>Hey I ever show you how this camera works?</dialogue> <character>KEVIN</character> <dialogue>Only about a million times.</dialogue> <scene_description>Kevin starts filling his sports bag with arrows and the rest of his archery kit.</scene_description> <character>FRANKLIN</character> <parenthetical>(trying again)</parenthetical> <dialogue>That reminds me we should shoot a roll of you at archery practice sometime soon.... Capture that steely gaze and steady arm for posterity...</dialogue> <scene_description>Franklin slaps Kevin on the back. It's a mistake Kevin flinches, his mask falls and for a split second Eva notices a look of 'revulsion'?</scene_description> <character>KEVIN</character> <dialogue>Yeah Dad. That would be...great.</dialogue> <character>FRANKLIN</character> <parenthetical>(seemingly oblivious to Kevin's disinterest)</parenthetical> <dialogue>'course I'd have to shoot it on a long lens... you see the only way to capture...</dialogue> <character>KEVIN</character> <parenthetical>(Levelly)</parenthetical> <dialogue>Listen, I don't care how your stupid camera works. I don't want to be a location scout for a bunch of crappy products. I'm not interested. I don't want to play Frisbee in the back yard or one more game of monopoly with a candy ass one eyed midget. And I've had it up to my eyeballs with heart-to- heart father-son talks about aspects of my life that are none of your business.</dialogue> <scene_description>Franklin looks stunned, flushed with a tinge of anger. Eva meets his eyes and just perceptibly shakes her head. He silently starts to fit his lenses back in the case.</scene_description> <character>FRANKLIN</character> <parenthetical>(slightly subdued)</parenthetical> <dialogue>OK. You're on the record.</dialogue> <scene_description>As abruptly as he had exploded Kevin folds right back into himself. He pours some cereal into his bowl.</scene_description> <character>KEVIN</character> <dialogue>Can you pass the sugar please?</dialogue> <scene_description>Franklin slides the sugar in Kevin's direction. Kevin starts to heap a disgusting amount over his breakfast. An uncomfortable silence. No one makes eye contact, like polite people pretending they didn't notice a very loud fart. Franklin studies the newspaper he's already read, and Eva gathers up her purse and some paperwork.</scene_description> <character>EVA</character> <dialogue>OK, time to make a move.</dialogue> <scene_description>She bends to kiss Celia's head, brushing a last speck of crust from her eyelash. Celia stands woodenly her arms held out.</scene_description> <character>CELIA</character> <dialogue>I'll miss you...</dialogue> <scene_description>Eva glances at her watch.</scene_description> <character>EVA</character> <dialogue>I'll miss you too.</dialogue> <scene_description>She hugs Celia taking her into her arms. Celia clings on desperately. Eva finally manages to put her down. She passes Kevin on the way to the door. She almost makes a move to kiss him goodbye, thinks better of it and passes a hand over his fringe instead, her hand brushing against his forehead.</scene_description> <character>EVA</character> <dialogue>You're a little clammy, do you feel alright?</dialogue> <character>KEVIN</character> <dialogue>Never better...</dialogue> <character>EVA</character> <dialogue>Hey...three days till you're sixteen huh? We should do something... How 'bout Sunday?</dialogue> <character>KEVIN</character> <parenthetical>(noncommittally)</parenthetical> <dialogue>Don't know, might be tied up...</dialogue> <scene_description>Eva shrugs and picks up her bag, kissing Franklin briefly on the cheek as she passes on her way to the door.</scene_description> <character>KEVIN</character> <dialogue>Don't you want to say goodbye to Celie on more time?</dialogue> <character>EVA</character> <parenthetical>(over her shoulder as she exits)</parenthetical> <dialogue>Very funny.</dialogue> <scene_description>She closes the door behind her with a click.</scene_description> </scene> <scene> <stage_direction>INT. EVA'S OFFICE - EVENING</stage_direction> <scene_description>Eva's stockinged feet up on the desk, viewed from behind, she swivels on the chair, the phone pressed to her ear...</scene_description> <character>EVA</character> <dialogue>Hey it's me... I just wanted to say... you know.. um...last night... was... great... I don't know Franklin...Are we doing the right thing? Maybe we could get away for a few days just you and me...</dialogue> <parenthetical>(sensing someone standing behind her)</parenthetical> <dialogue>Anyway see you tonight. I'll cook something special.</dialogue> <scene_description>She hangs up and swivels round in her chair</scene_description> <character>EVA</character> <dialogue>Haven't you guys got homes to go to?...</dialogue> <scene_description>Her assistant ROSE is stood ashen faced in the doorway.</scene_description> <character>ROSE</character> <dialogue>Eva, your son's at Gladstone High isn't he?</dialogue> </scene> <scene> <stage_direction>INT. EVA'S CAR - NYC STREETS - WEST SIDE HIGHWAY - EVENING</stage_direction> <scene_description>Eva speeds through the traffic, overtaking another driver who screams at her and gives her the finger. She turns onto the West Side highway. Total gridlock. She honks the horn furiously, it merges with the cacophony of other horns on the static freeway. Her fingers frantically fiddle with the digital radio as it scrambles wildly in and out of frequency. 'Fatalities feared at Gladstone High'...(Merges into A cheesy inappropriate pop song)... Shooting...'Police trying to gain access' ...It fuzzes back to the song again and Eva thumps the radio angrily with her fist.</scene_description> </scene> <scene> <stage_direction>EXT. ARIEL VIEW, EVA'S CAR, OUTSKIRTS NYC - EVENING</stage_direction> <scene_description>The badly tuned radio merges with Eva's panicky voice.</scene_description> <character>EVA (O.S.)</character> <dialogue>Kevin...pick up....Kevin please?...(The sound of another number punched into the phone)...</dialogue> <character>EVA (O.S.)</character> <dialogue>Franklin....where the hell are you?... Pick up the goddamned phone...</dialogue> </scene> <scene> <stage_direction>INT. EVA'S CAR, SUBURBAN ST. - EVENING</stage_direction> <scene_description>Eva rounds the corner and slams on the brakes. An elderly couple crossing the road in front of her gawp at her before continuing on at a snails pace. Eva drums her hands impatiently on the wheel...C'mon...C'mon. LATER: A strange lull as Eva speeds past rows of white picket fenced houses and neat manicured lawns. No one around. Two wild looking dogs pull trash from an upturned can, snarling and showing their teeth.</scene_description> </scene> <scene> <stage_direction>INT. CAR - STREET LEADING TO GLADSTONE HIGH - DUSK</stage_direction> <scene_description>A helicopter chops noisily in the air just above her. SIRENS GETTING LOUDER. The fuzzy car radio suddenly starts blaring out 'HEY MICKEY' BY TONI BASIL. She turns into the drive leading up to the school passing... A group of teenage girls huddled together with their arms round one another in a strange tableaux. It's getting dark as Eva jumps out of the car, leaving the door wide open.... VIEWED FROM INSIDE THE CAR, AS THE MUSIC CONTINUES... Red and blue sirens pulse eerily from emergency vehicles as Eva stumbles through the lot towards the school. CLOSELY FOLLOWING EVA; Everything slows to a strange half speed, as if underwater. Total chaos. Teachers, students and frantic parents in tears or profound states of shock. Seconds take forever as Eva moves towards the hubbub surrounding the gym. She catches the sight of a hysterical woman who we will later know as MARY WOOLFORD, a perfectly coiffured mother, but with black rivulets of mascara running down her face, she looks like a screaming clown. For a split second their eyes meet. O.S. The voice of a cop on a crackling radio... merges into an electrical roar.... Cops are gathered round one of the gym entrances as a fireman works at the door with a cutter. A arc of blue sparks fly into the night. A YELLOW KRYPTONITE BIKE LOCK clunks to the floor with a sickening thud. Eva loses focus, the red and blue lights scatter into meaningless splotches. CUT TO BLACK: SCREAMS IN THE DARKNESS.</scene_description> </scene> <scene> <stage_direction>EXT. STREET, BANOL, SPAIN 1983 - DAY</stage_direction> <scene_description>A mass of half-naked teenage bodies writhe together, piled on top of one another, screaming and yelling, covered in a viscous, blood-red liquid. Is this hell? SPLAT. A tomato flies through the air and squashes against the crisp white cotton of a women's blouse. Eva (36 and gorgeous) squeals and laughs, holding her hands protectively over her face as more tomatoes fly in every direction. Two young guys, flirty and lascivious, are pushed up against her shouting and laughing, they grab her arms and playfully pull them from her face, stretching them wide so Eva becomes an open target for the rest of the crowd. Tomatoes rain down, squashing as they hit their target and soaking Eva in their sticky red mess. It's fun at first, but soon the chaos proves too much and Eva pulls away from the protesting boys and struggles to free herself from the crowd.</scene_description> </scene> <scene> <stage_direction>EXT. A QUIETER BACK STREET - DAY</stage_direction> <scene_description>Eva relaxes as she walks away from the frenzy of the "Tomatina",the music and screaming fading into the background, her hair and clothes dripping with tomato juice. She pulls a fleshy lump from her hair and drops it in the road, laughing quietly to herself.</scene_description> </scene> <scene> <stage_direction>INT. SPANISH HOTEL BATHROOM - DAY</stage_direction> <scene_description>The hiss of a shower, steam fills the room. A pink-stained bra drops to the floor on top of a pile of soaked clothes. Eva's feet step into the shower, the water running red round her toes. Hands soap up a lather and caress the skin of her shoulders neck, breasts and belly sensuously. The shower head splutters and spits, the steam disappears. Eva looks up and squeals - the water has gone freezing. She scrambles from the shower swearing to herself.</scene_description> </scene> <scene> <stage_direction>INT. A BASIC HOTEL BEDROOM - DAY</stage_direction> <scene_description>Eva sits on the edge of the bed, goose pimpled, shivering slightly, wrapped in a small, cheap, thin 'bath' towel. Hand written journals and notebooks are strewn across the bed, she flops down on her back and reaches for a Dictaphone, clicking record. Eva's lips full frame.</scene_description> <character>EVA</character> <dialogue>Bedrooms... bearable, plumbing... practically non-existent.</dialogue> <scene_description>She clicks it off with a sigh and casts her eyes round the drab, bare room... something lonely about her. She sighs and turns on her side her gaze fixing on the phone. MOMENTS LATER Eva's fingers playfully twirl the chord of the phone as she wanders aimlessly round the room.</scene_description> <character>FRANKLIN PHONE VOICE</character> <parenthetical>(tinny and distorted by the long distance call)</parenthetical> <dialogue>So what you up to?</dialogue> <character>EVA</character> <dialogue>Not much? Just had a shower...</dialogue> <scene_description>She picks at a bit of tomato skin on her arm.</scene_description> <character>EVA</character> <dialogue>huh... well half a shower.</dialogue> <character>MAN'S VOICE (O.S.)</character> <dialogue>So you're naked?</dialogue> <scene_description>She laughs and twirls round, dropping the towel, admiring her toned body in the mirror.</scene_description> <character>EVA</character> <dialogue>Mmmmm...You know what... I've got great tits.</dialogue> <scene_description>She laughs, sexy, teasing, blushing. CUT TO: Eva's hair is fanned out around her on the pillow, her face flushed.</scene_description> <character>FRANKLIN PHONE VOICE</character> <dialogue>Are you doing it now?..</dialogue> <character>EVA</character> <dialogue>Maybe..</dialogue> <scene_description>Her toes stretch out and she lets out a husky teasing laugh.</scene_description> <character>FRANKLIN PHONE VOICE</character> <dialogue>Well do it faster.</dialogue> <scene_description>She focuses on the ceiling fan; the blades whirring noisily.</scene_description> <character>EVA PHONE VOICE</character> <dialogue>You want me to do it faster?</dialogue> <scene_description>O.S. Eva giggling sexily.</scene_description> </scene> <scene> <stage_direction>EXT. TERRACE RESTAURANT - EVENING</stage_direction> <scene_description>Eva eating alone, marooned and lonesome. A couple of local Lotharios check Eva out from the bar, she ignores them. She watches a young pretty Spanish couple dining nearby, laughing noisily, doting on their rambunctious kids.</scene_description> <character>FRANKLIN PHONE VOICE (O.S.)</character> <dialogue>This is stupid... come home.</dialogue> <character>EVA (O.S.)</character> <dialogue>You know I can't... it's only a couple more weeks...</dialogue> </scene> <scene> <stage_direction>INT. ARRIVALS, JFK - DAY</stage_direction> <scene_description>ON THE SOUNDTRACK 'Sweet Dreams are made of this' by the Eurythmics' crackles from a car radio. Eva searches the sea of waiting faces beyond the barrier, drivers wave name signs. She frowns, he's not there.</scene_description> </scene> <scene> <stage_direction>INT. JFK - DAY</stage_direction> <scene_description>Eva rushes through the airport, something catches her eye. A LARGE STAND OF SHINY NEW 'A WING AND A PRAYER' TRAVEL GUIDES She smiles at a YOUNG GIRL with a backpack who's perusing them. The girl flips the book over. Eva's face smiles back at her from the book jacket..."written and researched by Eva Kachadourian" The girl double takes, but Eva has already disappeared into the crowd. Eva's face full frame, she allows herself a private, satisfied smile.</scene_description> </scene> <scene> <stage_direction>EXT. YELLOW CAB, BROOKLYN BRIDGE - DUSK</stage_direction> <scene_description>BIG WIDE SHOT, SWARMING CARS, A GLORIOUS SUNSET REFLECTS OFF THE MANHATTAN SKYLINE... "Sweet dreams are made of this.."</scene_description> <character>EVA (O.S.)</character> <parenthetical>(excited)</parenthetical> <dialogue>Turn it up...turn it up!</dialogue> <scene_description>The music grows louder and continues over the following scenes.</scene_description> </scene> <scene> <stage_direction>INT. YELLOW CAB - TRIBECA - DUSK</stage_direction> <scene_description>Eva's face reflected in her compact mirror, applying some lip gloss... tousling her hair sexily. Almost there. She redirects the driver, this is her city, she knows her way around.</scene_description> </scene> <scene> <stage_direction>EXT. TRIBECA STREET, NYC - EARLY EVENING</stage_direction> <scene_description>The cab pulls up and Eva gets out. A handsome young BROKER GUY whose passing rushes up to help her with her bags, flirting a little as he helps her inside the entrance of an industrial looking building.</scene_description> </scene> <scene> <stage_direction>INT. EVA'S APARTMENT - EVENING</stage_direction> <scene_description>A whirring noise and a clunk. Eva chuckles to herself and thuds her foot on the floor of the dilapidated elevator, it swims up unsteadily to her floor. She pulls the grate back excitedly and steps into the apartment, dragging her bags in after her.</scene_description> <character>EVA</character> <dialogue>Franklin?</dialogue> <scene_description>THE MUSIC STOPS SUDDENLY SLIGHT TIME CUT She glances at the breakfast dishes still strewn messily over the counter beside an open newspaper. Looking a little forlorn as her tinny voice resounds back at her...</scene_description> <character>EVA'S VOICE ON ANSWER MACHINE</character> <dialogue>Sorry babe everything's delayed ...Can't wait to see you...(beep) And don't bother picking anything up...I'm gonna cook you a..</dialogue> <scene_description>Eva's finger abruptly presses STOP on the player.</scene_description> <character>LATER</character> <dialogue>Eva huffily scrapes the remains of dinner into the trash, the plates clash noisily into the sink.</dialogue> <character>LATER</character> <dialogue>Eva sits at the kitchen table, bored, unwrapping a little ornament, a Spanish man in a Sombrero stood in a barrel. She presses the button on it's base, the barrel shoots down and a big wooden penis painted red at the tip springs out.</dialogue> <dialogue>She sets it off again a couple of times until the joke isn't funny any more.</dialogue> <character>LATER</character> <dialogue>It's dark and feels late.</dialogue> <dialogue>Eva skulks across the room, she trips over something and almost falls flat on her face.</dialogue> <dialogue>She picks up an aging boxer's jump rope, scowling with irritation.</dialogue> <character>EVA</character> <dialogue>Jesus Franklin!</dialogue> <scene_description>But Franklin's not there, Eva looks a little silly as her voice echoes around the empty loft. She throws herself down on the couch, curling the rope absentmindedly in her fingers.</scene_description> <character>LATER STILL</character> <dialogue>Eva glances at the clock, it's way past midnight.</dialogue> <dialogue>Right, that's it. Car crash. He's dead.</dialogue> <dialogue>She gets up and grabs the phone, her hand hovering over the nine of 911.</dialogue> <dialogue>She drops the receiver back in place. C'mon Eva, don't be ridiculous, get yourself together.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN/LIVING AREA - LATER STILL</stage_direction> <scene_description>O.S. The sound of the elevator grinding to a halt three feet below the entrance to the loft.</scene_description> <character>FRANKLIN (O.S.)</character> <dialogue>Aw crap!</dialogue> <scene_description>Franklin will swear at the elevator every time he enters the loft. The elevator grate wrenches open and an exhausted and totally soaked FRANKLIN stumbles in carrying a large camera bag and knapsack.</scene_description> <character>EVA</character> <dialogue>Why the hell didn't you call!</dialogue> <scene_description>He looks surprised and holds up his hands apologetically.</scene_description> <character>FRANKLIN</character> <dialogue>Our van broke down, twice. We weren't near a phone...</dialogue> <character>EVA</character> <parenthetical>(Shaking with anger)</parenthetical> <dialogue>You could have found one if you tried...</dialogue> <character>FRANKLIN</character> <dialogue>I did try.</dialogue> <scene_description>Eva looks doubtful, unimpressed.</scene_description> <character>FRANKLIN</character> <dialogue>Jesus Eva, I'm surprised..</dialogue> <scene_description>Eva frowns at him, confused. He turns his back on her, pulls a beer from the fridge and pops it.</scene_description> <character>FRANKLIN</character> <dialogue>...I mean my wife coming home is hardly a special occasion these days...</dialogue> <scene_description>Something comes hurling towards him and he ducks, it hits the wall and bounces onto the floor, it's the novelty Spaniard and the lewd penis pops out. Franklin's laugh is silenced by Eva's glare... but his grin is infectious and she can't help but laugh too...they both break into hysterics.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - NIGHT.</stage_direction> <scene_description>A pulsing red neon light from the Chinese restaurant across the block strobes into the room, alternately bathing the scene in it's glow or leaving it obscured in darkness. RED: At first glance it looks like Eva and Franklin are locked in a violent tussle as they furiously tear each others clothes off. BLACK. RED: Eva pulls Franklin's damp T-shirt over his head and they fall back on the bed, wriggling nakedly. BLACK. RED: Urgent and visceral in their movements as if they want to consume one another. They roll around in a tangle then she moves on top of him. She leans down, kissing his neck. She can't get close enough. BLACK. LATER -POST COITAL. Eva is dozy eyed but contemplative, the trace of a smile on her lips. The black/red light flashes on and off like a warning signal.</scene_description> <character>EVA</character> <parenthetical>(sleepily, mumbled)</parenthetical> <dialogue>I didn't put in my diaphragm.</dialogue> <scene_description>Franklin stirs and rolls over, looking at her disoriented.</scene_description> <character>FRANKLIN</character> <dialogue>Is it safe?</dialogue> <scene_description>Eva giggles.</scene_description> <character>EVA</character> <parenthetical>(affecting a German accent)</parenthetical> <dialogue>Is it safe?</dialogue> <scene_description>Franklin laughs.</scene_description> <character>FRANKLIN</character> <dialogue>Is it?</dialogue> <character>EVA</character> <parenthetical>(in a poor Dustin Hoffman impression)</parenthetical> <dialogue>No it's not safe, it's very dangerous. Be careful.</dialogue> <scene_description>They both laugh and he pulls her into his arms. Black.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - MORNING</stage_direction> <scene_description>O.S. Pee bouncing around in the bowl.</scene_description> <character>FRANLIN (O.S.)</character> <dialogue>Last night you didn't just forget?</dialogue> <scene_description>Eva peers over the quilt, sleepy eyes, huh? She shakes her head coyly. Franklin appears, lifting her off of the bed, leaving her impression on the empty, crushed pillow. Her feet twirl into frame as he spins her round. Her toes wriggle girlishly.</scene_description> <character>FRANKLIN (O.S.)</character> <dialogue>That's great!</dialogue> <scene_description>He dumps her back down, kissing her deeply, then leaves her, face flushed, bouncing up and down on the mattress. O.S. Him bawling out 'Born in the USA' over the dull thud of the shower. Eva rolls her eyes at his cheesiness. Her eyes drift to the window, the sky is dark, grey clouds gathering ominously. Her smile starts to fade and is replaced by a slightly apprehensive look. It starts to rain.</scene_description> </scene> <scene> <stage_direction>INT. EVA'S OFFICE - EVENING</stage_direction> <scene_description>Rain pours down a window. It's getting dark. Eva sits in her office behind a glass partition looking out at a newly decorated space. Graphic pictures of exotic places and enlarged framed covers of 'A Wing and a Prayer' lean against the walls ready to be hung. She watches as a painter folds his ladder up and waves to her on his way out. A camp looking guy with a satchel bag hung round him, pokes his head round the door...</scene_description> <character>JON</character> <dialogue>Looks great huh?...Eva's empire.</dialogue> <scene_description>Eva smiles.</scene_description> <character>JON</character> <dialogue>You want me to lock up...</dialogue> <character>EVA</character> <dialogue>It's OK you go. I'll do it.</dialogue> <scene_description>LATER. Eva stands at the door and takes a final look round the almost finished' modern space'. The shiny new desks and state of the art computers... She smiles to herself, a glimmer of pride in her eyes, then something else... apprehension? Her hand reaches for the light switch and the fluorescents lazily flicker off... just at that moment a clap of thunder outside merges with.. CUT TO: A THUNDEROUS ROAR, LIGHTS FLICKERING ON AND OFF AS THE SUBWAY CARRIAGE SHUDDERS SHAKILY ALONG THE TRACKS. O.S. Garbled drunken ravings merge into singing. A grimy drunk tramp wobbles unsteadily through the carriage, ignored by the other passengers, he obviously stinks. He almost falls into an empty seat. He garbles on unintelligibly, then in a moment of lucidity he gestures dramatically round the carriage.</scene_description> <character>TRAMP</character> <dialogue>We're all the same, me and you... We all come from somebody's cunt...</dialogue> <scene_description>He cackles at himself..</scene_description> <character>TRAMP (O.S.)</character> <parenthetical>(almost weeping with laughter)</parenthetical> <dialogue>We all come from somebody's cunt!</dialogue> <scene_description>Eva glances round the carriage of tired irritable passengers, the tramps words echoing. CLOSE UP on faces, all different, shapes, colors, sizes... The light flickers out again as the train roars into a tunnel. BLACK. The repetitive clack, clack of the train on the rails.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN/LIVING AREA - MORNING</stage_direction> <scene_description>The crockery on the work surface rattles rhythmically.</scene_description> <character>VOICE ON ANSWER PHONE</character> <dialogue>Eva? ...Eva pick up, it's urgent....we've got twenty minutes to approve the proofs. Call me.</dialogue> <scene_description>Eva hands roam awkwardly for a space amongst the dirty dishes. The salt cellar falls over. Franklin's face is screwed up in concentration and effort as he pumps away forcefully behind her. As he pushes into her, her palm presses into a gooey mess of ketchup and leftover bacon on a greasy plate. Franklin groans and comes. O.S. The sound of Franklin zipping and buckling up. He looks at his watch then leans in and gives her a quick peck on the cheek.</scene_description> <character>FRANKLIN</character> <dialogue>Shit, sorry babe, gotta go...</dialogue> <scene_description>He turns and hurriedly grabs his camera bag. O.S. The sound of the elevator cranking open.</scene_description> <character>FRANKLIN (O.S.)</character> <dialogue>See you later...I love you.</dialogue> <scene_description>O.S. The doors clank shut... Leaving Eva still standing legs akimbo with her panties round her ankles. She looks at her ketchup stained hands with disgust and wipes them on a dish cloth before bending to pull up her knickers. She sighs and starts to tidy the breakfast things.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - NIGHT</stage_direction> <scene_description>O.S. The dull thud of a jump rope sounds over a loud TV. A stream of bloody pee runs into the toilet bowl. Eva breathes a sigh of... relief? She pulls up her knickers and washes her hands.</scene_description> </scene> <scene> <stage_direction>INT. LIVING/KITCHEN AREA - NIGHT</stage_direction> <scene_description>Franklin has his back to Eva, he's dressed in an ancient 70's rock band T and shorts, skipping in front of the blaring TV, soaked with sweat. Eva walks to the kitchen area, flicks the switch of the kettle and reaches into the cupboard. Almost instantly Franklin is behind her, his sweaty body rubbing into hers.</scene_description> <character>EVA</character> <dialogue>Not now....I got my period.</dialogue> <scene_description>She turns to him, making an effort to look regretful when she see's a flicker of disappointment cross his face.</scene_description> <character>FRANKLIN</character> <dialogue>Never mind, we'll just keep trying hey?</dialogue> <scene_description>He takes her in his arms. Eva's face visible over his shoulder looks less than enthusiastic.</scene_description> </scene> <scene> <stage_direction>INT. LIVING AREA - NIGHT.</stage_direction> <scene_description>Eva's head visible over Franklin's burly shoulders is lodged awkwardly up against the arm of the sofa, she winces a little as Franklin's piston like fucking intensifies. "Ker-bang, ker-bang, ker-bang..." LATER</scene_description> <character>VOICE ON THE TV (O.S.)</character> <dialogue>..and so after this arduous, prodigious struggle the female salmon finally reach their destination</dialogue> <scene_description>Tight on Eva, staring at the ceiling.</scene_description> <character>EVA</character> <dialogue>Do you think you'll miss it?...just the two of us?</dialogue> <scene_description>She turns to look at Franklin whose sprawled, head back and snoring lightly. She studies his open mouth, drool collecting in the corner. He farts loudly and rolls over. Eva grimaces and turns her attention to the TV.</scene_description> <character>VOICE ON THE TV (O.S.)</character> <dialogue>....and can lay their eggs ready to be fertilized by the waiting males. Unfortunately for them once the task is complete they will die, leaving a feast for the waiting birds and maybe even the bears...</dialogue> <scene_description>Shots on the TV of milky eyed, greasy looking dead fish lying belly up in the water... She grabs the remote and flicks the channel.</scene_description> </scene> <scene> <stage_direction>INT. LOFT - EARLY EVENING</stage_direction> <scene_description>Eva throws herself down on the sofa and takes a deep slug from a glass of red wine. A huge new book lies open on the coffee table. THE EVERYTHING PREGNANCY AND NUTRITION GUIDE. She picks it up.</scene_description> <character>EVA</character> <parenthetical>(American Info-mercial Voice)</parenthetical> <dialogue>Twenty things you should do before you get pregnant. Just say no to partying...Give that cup of Joe the old heave - ho.</dialogue> <scene_description>The patronizing text quickly induces another slug of wine. O.S. THUNK. She looks up to see Franklin, head buried in the fridge throwing a big chunk of her bluest, stinkiest cheese into the trash.</scene_description> <character>EVA</character> <dialogue>Hey! What the hell?</dialogue> <scene_description>She snaps the book closed.</scene_description> <character>EVA</character> <dialogue>That's my favorite!</dialogue> <character>FRANKLIN</character> <dialogue>If you're gonna do something...</dialogue> <scene_description>She rolls her eyes and pads down the hall with the glass of wine still in her hand.</scene_description> <character>FRANKLIN (O.S.)</character> <dialogue>And easy on El Vino from now on...</dialogue> <character>EVA</character> <parenthetical>(under her breath as she walks into the bedroom)</parenthetical> <dialogue>Nyeh, nyeh, nyeh, nyeh.</dialogue> </scene> <scene> <stage_direction>INT. EVA'S CAR - DAY</stage_direction> <scene_description>Eva drives distractedly, she glances at her handbag which sits on the passenger seat, a sealed pickle jar pokes out of the bag, the greasy yellow contents swilling around with the movement of the car. O.S. The loud honk of a horn. Eva looks up, she's rapidly approaching a line of stationary traffic at a stop sign.</scene_description> <character>EVA</character> <dialogue>Shit!</dialogue> <scene_description>She stamps on the brakes. Her bag slides forward on the seat, teetering on the edge. Eva reaches for it and grabs it before it falls, breathing a sigh of relief.</scene_description> </scene> <scene> <stage_direction>INT. SURGERY - DAY</stage_direction> <scene_description>O.S. The sound of blood rushing in her ears as Eva's vision blurs for a second, she swoons forward, her head between her knees. Eva's ankles and shoes full frame against the white tiled floor.</scene_description> <character>DR. RHINESTIEN (O.S.)</character> <dialogue>Are you okay?... Eva... this should be good news...</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN/LIVING AREA - EVENING</stage_direction> <scene_description>Hands straightening up the dishes on a beautifully laid out table until it looks perfect...but looking closer the hands are shaking... PULL OUT; Dressed in the simple white smock, with little make -up on Eva looks fresh and young. The picture postcard of a wholesome mother to be. O.S. The cranking of the elevator. She rushes to the kitchen counter, pretending to busy herself with the salad, her back turned to the elevator. Franklin walks into the apartment, takes the scene in and immediately stops in his tracks.</scene_description> <character>FRANKLIN</character> <dialogue>You're pregnant.</dialogue> <scene_description>Eva turns and flushes. She can't conceal her disappointment at having lost her big moment. She shrugs.</scene_description> <character>EVA</character> <dialogue>Looks that way.</dialogue> <scene_description>LATER - Eva picks up a waiting champagne bottle from it's ice bucket and goes to fill Franklin's glass but he covers it with his hand.</scene_description> <character>FRANKLIN</character> <dialogue>Hey, c'mon, we're in this together.</dialogue> <scene_description>He grins and picks up the cranberry juice, pouring himself a healthy glass, holding it up for a toast.</scene_description> <character>FRANKLIN</character> <dialogue>La chaim!</dialogue> <scene_description>They clink glasses and Eva takes a swig, barely managing to disguise a grimace at the disappointingly sickly sweet taste of the juice.</scene_description> <character>FRANKLIN</character> <dialogue>Welcome to your new life!</dialogue> <scene_description>Eva grins, but as Franklin digs into his meal she looks with a little regret at the discarded champagne bottle.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - NIGHT</stage_direction> <scene_description>O.S. Franklin whistling cheerfully from the bathroom. Eva pulls off her white dress and looks at her flat stomach in the mirror running her hand over it ruefully. TIME JUMP.:</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - DAY</stage_direction> <scene_description>Hands rifling through the wardrobe rail flicking passed endless hangers, rejecting them all. Eventually a smart rain coat is pulled out. Eva stands in front of the mirror with the coat on. From the front it looks OK but when she turns to the side it looks ridiculous, she can't even belt it. She casts it aside on the bed.</scene_description> </scene> <scene> <stage_direction>EXT. EVA WALKING THROUGH SOHO - DAY</stage_direction> <scene_description>Close in. High heel shoes clacking in front of Eva, The back of a WOMAN wearing a trench coat like the one Eva couldn't fit. All male heads turn as she passes. EXT COFFEE VENDOR - DAY.</scene_description> <character>EVA</character> <dialogue>Double espresso please.</dialogue> <scene_description>The woman at the counter looks at Eva's growing bump and raises her eyebrows.</scene_description> <character>WAITRESS</character> <dialogue>You sure?...</dialogue> <character>EVA</character> <parenthetical>(sarcastically)</parenthetical> <dialogue>Yes I'm sure.</dialogue> </scene> <scene> <stage_direction>EXT. STREET OUTSIDE EVA'S APARTMENT - DAY.</stage_direction> <scene_description>Eva struggling with too many grocery bags whilst trying to fish in her purse for her keys. She sees the young cute BROKER GUY passing (who helped her with her luggage on her return from Spain). Eva looks at him expectantly but he doesn't even notice her and walks right past.</scene_description> </scene> <scene> <stage_direction>INT. THE LOFT - EARLY EVE.</stage_direction> <scene_description>Franklin stumbles into the apartment, his face obscured by boxes of toys. Eva rushes to greet him but he walks right past her, down the hall to the baby room.</scene_description> <character>FRANKLIN</character> <dialogue>Hey come and check it out, I got some cool stuff...</dialogue> <scene_description>Eva follows him looking a little forlorn.</scene_description> </scene> <scene> <stage_direction>INT. ANTI-NATAL CLASS - DAY</stage_direction> <character>CLASS TUTOR (O.S.)</character> <dialogue>And one, two, three. And breathe.</dialogue> <scene_description>Mothers sit cross legged on the floor, eyes closed with their partners hugging them from behind. Eva and Franklin are amongst them, Eva is the only one with her eyes open. Snorts of released air, resound around her.</scene_description> <character>CLASS TUTOR</character> <parenthetical>(her face raised to the heavens)</parenthetical> <dialogue>Feel the baby deep inside...Feel the deep maternal bond. The miraculous and transcendental bond. And breathe.</dialogue> <scene_description>Eva rolls her eyes and scans the class, studying the other women's blissful expressions. She can't help but break into nervous involuntary giggles. Franklin laughs a little with her.</scene_description> <character>FRANKLIN</character> <parenthetical>(whispered)</parenthetical> <dialogue>Hey, shhhh, c'mon.</dialogue> <character>CLASS TUTOR</character> <dialogue>And relax...OK Guys, that's it for now...</dialogue> <parenthetical>(she smiles benevolently)</parenthetical> <dialogue>See you all next week.</dialogue> <scene_description>The pregnant woman and their partners open their eyes, they all start to clap. Eva stares around at the others blankly.</scene_description> </scene> <scene> <stage_direction>INT. FRANKLIN'S PICK UP - DAY</stage_direction> <scene_description>The pick up pulls up at the lights.</scene_description> <character>EVA</character> <dialogue>Hey what do you think about Selim?</dialogue> <scene_description>Franklin frowns at her.</scene_description> <character>FRANKLIN</character> <dialogue>You've got to be kidding. Selim Plaskett!?</dialogue> <character>EVA</character> <dialogue>No... Selim Khachadourian has more of a ring.</dialogue> <character>FRANKLIN</character> <dialogue>Yeah it has the ring of a kid that's not related to me.</dialogue> <character>EVA</character> <dialogue>Funny that's exactly how Peter Plaskett sounds to me.</dialogue> <scene_description>The light changes and they pull away.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - EARLY EVENING.</stage_direction> <scene_description>Franklin's pick up pulls up and they both get out.</scene_description> <character>FRANKLIN</character> <dialogue>...my parents would have a cow.</dialogue> <character>EVA</character> <dialogue>I just don't see why I should get varicose veins for a Plaskett...It's a gross name.</dialogue> <character>FRANKLIN</character> <dialogue>So that's why you didn't take it when we got married. You hate my name!</dialogue> <character>EVA</character> <dialogue>I don't hate it...it's just so...American. I mean...</dialogue> <character>FRANKLIN</character> <dialogue>OK tell you what if it's a boy 'Plaskett', if it's a girl you can have 'Khachadourian'.</dialogue> <character>EVA</character> <dialogue>So a girl doesn't matter to you...</dialogue> <scene_description>He raises his hands and interrupts.</scene_description> <character>FRANKLIN</character> <dialogue>OK ok, if it's a girl Plaskett. But on one condition, none of this Selim Souvlaki stuff for the first name. Something AMERICAN. Deal?</dialogue> <scene_description>Eva laughs.</scene_description> <character>EVA</character> <dialogue>OK deal.</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM - MORNING; SOME MONTHS LATER.</stage_direction> <scene_description>Eva in bed Alone. Swollen; sweating. A print of Degas's backstage dancers. Eva stares at the girls, who seem to somehow be mocking her in return. Eva closes her eyes, praying for the sickening moment to pass. Franklin enters the darkened room and sits on the bed.</scene_description> <character>FRANKLIN</character> <dialogue>Promise me you won't go to work today.</dialogue> <scene_description>Eva is about to protest.</scene_description> <character>FRANKLIN</character> <parenthetical>(firmly)</parenthetical> <dialogue>Promise.</dialogue> <scene_description>Eva nods imperceptibly. Franklin kisses her on the forehead then rises and heads for the door.</scene_description> <character>FRANKLIN</character> <dialogue>Why don't you fix up the nursery if you're bored. You've hardly looked at it.</dialogue> </scene> <scene> <stage_direction>INT. LOFT - DAY</stage_direction> <scene_description>Eva wanders around aimlessly, enjoying the late afternoon sunshine. She looks a lot fresher but clearly at a loose end. She passes a shelf stacked with records and flicks through them, slides out a Billy Joel album, smiles at the cheesy cover and returns it to the shelf. She rubs her bulging belly.</scene_description> <character>EVA</character> <dialogue>Hey Kid...Lets hope you have better taste in music than the old man huh?</dialogue> <scene_description>She flicks to the back of the stack, her old 'single life' records.</scene_description> <character>EVA</character> <dialogue>Aha!</dialogue> <scene_description>She pulls out, Talking heads; 'Speaking in Tongues'. Eva sets the needle on the record and 'Burning down the house' bursts into the room, she whacks the volume up, herky- jerkying awkwardly, and humming along. She catches her reflection in the mirror and pushes out her huge bump comically.</scene_description> <character>EVA</character> <dialogue>You'd better not give me stretch marks...you little bastard.</dialogue> <scene_description>She holds her big belly in her hands and steps awkwardly onto the couch, jumping up and down in time to the music. SCRREECH. The music stops, the needle dragged off the record.</scene_description> <character>EVA</character> <dialogue>Hey!</dialogue> <scene_description>She turns mid leap to see Franklin glowering at her.</scene_description> <character>FRANKLIN</character> <dialogue>What the fuck are you doing, trying to have a miscarriage?</dialogue> <character>EVA</character> <dialogue>Having a good time for once, is that illegal?</dialogue> <scene_description>She plonks herself down on the couch.</scene_description> <character>FRANKLIN</character> <dialogue>Awww...Stop feeling sorry for yourself and grow up...</dialogue> <character>EVA</character> <dialogue>What's the matter Franklin? Am I not playing mommies and daddies right? Christ, if I'd known that's what you were expecting I wouldn't have bothered.</dialogue> <scene_description>Franklin's face turns beet red.</scene_description> <character>FRANKLIN</character> <parenthetical>(quietly furious)</parenthetical> <dialogue>It's too late for second thoughts now Eva.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY - MIDDLE OF THE NIGHT</stage_direction> <scene_description>O.S. The sound of running water. Eva appears from the bathroom, passes the door of the new nursery, hesitates, then pushes it open. The room is full of boxes, the crib set up in the middle of the floor, caught in the glow of the street lights. She pulls the baby blanket from the crib, draping it round her shoulder and twists the mobile hanging above it. She sits on one of the boxes, the simplistic chimes of 'Twinkle, twinkle little star' play round endlessly. CUT TO BLACK.: O.S. Animalistic, unearthly moans.</scene_description> <character>DR RHIENSTEIN (O.S.)</character> <dialogue>Eva, you're resisting.</dialogue> <character>EVA</character> <parenthetical>(a furious screech)</parenthetical> <dialogue>It's killing me...</dialogue> <character>CUT TO:</character> <dialogue>Lights? a light, a singular, blinding light. Tight on Franklin's big hand held in Eva's vice like grip, till it's painful, white knuckled, about to be mashed to a pulp and then it's.... suddenly released.</dialogue> <dialogue>Pan down from the big white light to find a baby kicking furiously in space, ugly and red like a peeled monkey, held up by disembodied hands for Eva's inspection.</dialogue> <dialogue>The thing is plopped flaccidly on her stomach and she cranes to look at it.</dialogue> <dialogue>It studies her back, a disgruntled 'old man's face'. It's black hole of a mouth screeching at the top of it's lungs.</dialogue> <character>EVA</character> <parenthetical>(mumbled automatically)</parenthetical> <dialogue>He's beautiful.</dialogue> <scene_description>The nurse helps to guide the baby to Eva's nipple but it wriggles away from it in fury.</scene_description> <character>NURSE(O.S.)</character> <dialogue>Don't worry...they don't always take to it first time...</dialogue> <character>FRANKLIN (O.S.)</character> <parenthetical>(choked up)</parenthetical> <dialogue>Can I?</dialogue> <scene_description>He leans in ever so gently, picks him up. It's love at first sight. Franklin closes his eyes and presses his cheek against the baby's, who stops screaming. Eva watches them bond, at a loss for what to say or do. Feeling remote from the whole thing... she looks blank/bored/lost.</scene_description> <character>FRANKLIN</character> <parenthetical>(looking up at Eva)</parenthetical> <dialogue>Kevin?...</dialogue> <scene_description>An exhausted Eva nods almost imperceptibly. Franklin smiles, returning his attention to his bundle of joy.</scene_description> <character>FRANKLIN</character> <dialogue>Kevin...</dialogue> <parenthetical>(magnanimously)</parenthetical> <dialogue>Katchadourian.</dialogue> <scene_description>FADE TO BLACK.: A distant wail, like a lone siren builds and builds into an unearthly roar. FADE UP ON: the Tribeca loft, viewed from the street below. The sound of a baby crying resounds round the block... if not the whole neighborhood.</scene_description> <character>FRANKLIN PHONE VOICE</character> <parenthetical>(through a mouthful of lunch)</parenthetical> <dialogue>It says here...smile at your baby often. The baby will mimic you and smile back.</dialogue> </scene> <scene> <stage_direction>INT. THE LOFT - DAY</stage_direction> <scene_description>Kevin's face screwed up in anger and almost turning purple from the effort as he screams incessantly.</scene_description> <character>EVA</character> <parenthetical>(not convinced)</parenthetical> <dialogue>Really?...</dialogue> <scene_description>Eva smiles desperately at Kevin. LATER. Eva jiggles up and down on the spot stiffly, awkwardly. Sensing her unease, Kevin's screams intensify. She scoops a breast from her open shirt and offers him one of her already raw looking nipples. He takes it in his mouth for a second before turning away and spewing out the milk in a bluish dribble.</scene_description> <character>EVA</character> <dialogue>No?</dialogue> <scene_description>CUT TO: Kevin still wailing, kicks his legs wildly as he lays on his back on the changing table, Eva checks his dry diaper and reseals it. She puts him back in his crib and waves the mobile at him but he kicks it away in fury. MUCH LATER; Eva pacing up and down the loft cooing, humming and jiggling the screaming bundle in her arms.</scene_description> <character>EVA</character> <dialogue>Goo goo goo, gah gah... (her forced smile drops) Please be quiet... please...</dialogue> <scene_description>O.S. A ping, and the grinding crank of the elevator as it ascends from the first floor. As if on cue, Kevin falls silent. Eva's mouth falls open in shock, gingerly she creeps to the cot and lays the baby down with infinite care. O.S. The elevator grate grinds open. Franklin bounds in, another stuffed toy under one arm, piles of prints from work under the other.</scene_description> <character>FRANKLIN</character> <dialogue>How's my little man, huh?</dialogue> <character>EVA</character> <dialogue>Please, don't wake him, he's only just...</dialogue> <scene_description>She winces as Franklin takes Kevin in his arms but the baby stays miraculously silent, nestling quietly in Franklin's huge arms. He coos and grins a bit more before looking up.</scene_description> <character>FRANKLIN</character> <dialogue>Any better on the feeding?</dialogue> <scene_description>Eva shakes her head listlessly.</scene_description> <character>EVA</character> <dialogue>Rhinestein says it might be a diet thing. I'll try cutting a couple of things out.</dialogue> <character>FRANKLIN</character> <parenthetical>(instantly returning his attention to the baby)</parenthetical> <dialogue>Well we want our boy to grow up big and strong don't we? Yes we do.</dialogue> </scene> <scene> <stage_direction>EXT. STREET OUTSIDE THE LOFT - MORNING</stage_direction> <scene_description>Franklin swings his bag over his shoulder as he leaves the apartment building. He looks up to see Eva watching him from the loft windows. He waves and blows her a kiss before climbing into the pickup.</scene_description> </scene> <scene> <stage_direction>INT. THE LOFT - MORNING</stage_direction> <scene_description>Eva waves to Franklin and watches as he drives off, tooting his horn. A prodigious screech from behind her as kevin starts up again. Eva walks leadenly over to the crib and picks him up.</scene_description> </scene> <scene> <stage_direction>INT. A CAFE - DAY</stage_direction> <scene_description>A young waitress strains to hear Eva's order over the constant screams emanating from the pram next to her.</scene_description> <character>EVA</character> <parenthetical>(exhausted, thinner)</parenthetical> <dialogue>Do you have any gluten free bread?</dialogue> <scene_description>The bored waitress shakes her head.</scene_description> <character>EVA</character> <dialogue>Ok, a bowl of plain pasta, no chilli no garlic... and a green salad, hold the dressing.</dialogue> <scene_description>The waitress nods and scoots off. Eva jiggles the pram uselessly, Kevin seems to redouble his efforts. Other diners turn and give unfriendly glances which Eva tries to ignore.</scene_description> <character>MAN (O.S.)</character> <dialogue>For Christ's sake, Somebody, shut that kid up!</dialogue> <scene_description>An old woman leans over from the next table.</scene_description> <character>OLD WOMAN</character> <dialogue>Have you tried feeding him honey?</dialogue> <character>EVA</character> <parenthetical>(trying to keep her cool)</parenthetical> <dialogue>Yes I've tried feeding him.</dialogue> <character>OLD WOMAN</character> <dialogue>Well... he sure sounds hungry to me...</dialogue> <scene_description>Enough. Eva slams a twenty from her purse on the table and storms off just as the waitress reappears clutching a steaming bowl.</scene_description> <character>WAITRESS</character> <dialogue>Hey, what about your...?</dialogue> </scene> <scene> <stage_direction>EXT. CENTRAL PARK - DAY</stage_direction> <scene_description>A juggler's glass balls jump into the air distorting his pudgy face and tell tale alcoholic's nose, as he recites a 'right on' little mantra, part of his 'act', surrounded by kids and moms.</scene_description> <character>JUGGLER</character> <dialogue>Children will show love. If you show them love. Children will grow up to be strong when surrounded by strength...</dialogue> <scene_description>Eva pushes Kevin still screaming in his buggy to the back of the crowd. The juggler looks irritated but continues, raising his voice considerably.</scene_description> <character>JUGGLER</character> <dialogue>Children will be...</dialogue> <parenthetical>(shouting now)</parenthetical> <dialogue>Children will be patient. If you show them understanding. Children will be...</dialogue> <scene_description>The juggler glares at Kevin's balled up face, he's rapidly losing business. Eva, feeling like a leper, wheels Kevin away.</scene_description> </scene> <scene> <stage_direction>EXT. NEW YORK STREET - DAY</stage_direction> <scene_description>Eva looks exhausted as she pushes the pram out of the park; the walk has done nothing to settle her nerves or Kevin's, he's still screaming blue murder. She passes a group of construction workers digging up the road. A pneumatic drill hammering up the tarmac. Eva stops on the sidewalk and looks down at Kevin's twisted face, his incessant bawling drowned out by the drill. She stands stock still, closes her eyes, drinking in the moment of respite provided by the noise. Passers by throw questioning glances but Eva's oblivious to them all.</scene_description> </scene> <scene> <stage_direction>INT. THE LOFT - DAY</stage_direction> <scene_description>Eva stands over the sink, sweaty and pale. O.S. Kevin crying in the background. She winces as she removes a breast pump from her tender nipple. She makes towards the cot, pauses, she can't face it. She switches on the radio, Beethoven at his most jubilant blasts out for a moment it covers the sound of the screams. Then the crying just gets louder. Eva turns up the radio. CUT TO: Kevin on his back in the crib, pauses a moment for breath then starts again, prodigious wailing louder than ever before. CUT TO: Eva's hand as she turns the volume up on the radio. CUT TO: Kevin flings his arms wide, his back arched as he pushes out an even louder yell. CUT TO: Eva twists the volume up further still, classical music booming round the loft. CUT TO: Close up on Kevin's mouth, a bottomless black hole - as the roaring gets louder and louder. CUT TO: Eva turns the volume up full, the music painfully loud. Kevin's screams only vaguely audible in the background. She throws herself down on the couch. Stalemate.</scene_description> </scene> <scene> <stage_direction>INT. LIVING AREA -EARLY EVENING</stage_direction> <scene_description>Eva looks dreadful, almost catatonic, curled up on the sofa, with a blanket draped around her shoulders seemingly oblivious to the unending screaming. Feeling a sudden sharp stab of pain in her breast, she opens her robe and examines a small bright red patch of tender skin developing under her swollen cracked nipple. O.S. The elevator pings and Kevin immediately falls silent.</scene_description> <character>EVA</character> <dialogue>That's right, daddy's home.</dialogue> <scene_description>Franklin walks in and drops his bags with barely a glance at Eva, he immediately makes a beeline for Kevin's crib.</scene_description> <character>FRANKLIN</character> <dialogue>Hey, sorry I'm late just got called in on another job. Seems I'm more popular than ever...</dialogue> <character>EVA</character> <dialogue>He's outdone himself today.</dialogue> <scene_description>Franklin leans in and picks up Kevin, who stays sound asleep, his face content.</scene_description> <character>FRANKLIN</character> <dialogue>I can't believe this little angel could have been grouchy all day.</dialogue> <character>EVA</character> <dialogue>You think I'm exaggerating...</dialogue> <character>FRANKLIN</character> <dialogue>I didn't say that.</dialogue> <scene_description>She waddles towards him with the blanket still wrapped round her, following him into the kitchen area.</scene_description> <character>EVA</character> <dialogue>You realize that John downstairs is threatening to move out.</dialogue> <character>FRANKLIN</character> <dialogue>John's a fag and fag's don't like babies.</dialogue> <character>FRANKLIN</character> <dialogue>This whole city's anti-child...I'm only just beginning to notice.</dialogue> <scene_description>Kevin rouses and quietly takes the bottle offered by Franklin.</scene_description> <character>FRANKLIN</character> <dialogue>See? He seems pretty good natured to me...</dialogue> <character>EVA</character> <dialogue>He's not good natured he's exhausted, and so am I. I think I might be coming down with something.</dialogue> <scene_description>He holds a hand to her forehead briefly, perfunctorily.</scene_description> <character>FRANKLIN</character> <dialogue>Touch warm. Go get some rest I'll fix dinner.</dialogue> <scene_description>She shuffles back to the couch, looking a little crest fallen at Franklin's lack of attention.</scene_description> <character>FRANKLIN</character> <dialogue>Look Eva...If you're having trouble coping we could always hire someone...</dialogue> <scene_description>He plods off to the kitchen.</scene_description> </scene> <scene> <stage_direction>INT. THE LOFT - EVENING</stage_direction> <scene_description>The bathroom door opens and Eva emerges, huddled in her blanket, a thermometer poking out from under her tongue. She takes it out and tries to focus.</scene_description> <character>EVA</character> <dialogue>Here you read it, everything's a bit blurry.</dialogue> <scene_description>Eva swoons, Franklin runs and catches her in his spare arm. He puts down Kevin, ignoring his instant screams and scoops Eva up in his arms, carrying her to the couch.</scene_description> <character>FRANKLIN</character> <dialogue>I'm so sorry! You're sick, you're really sick.</dialogue> <scene_description>Eva's POV looking up at Franklin's concerned face looming over her. CUT TO BLACK.:</scene_description> <character>DR RHIENSTEIN (O.S.)</character> <dialogue>Double Mastitis...very rare</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL - DAY.</stage_direction> <character>DR RHIENSTEIN (O.S.)</character> <dialogue>...I'm afraid we'll have to keep you here for at least a week...</dialogue> <scene_description>O.S. The door closing. Eva lies in bed, exhausted and still sore. A simply furnished, pristine white room. But it's quiet, blissfully quiet. She smiles to herself and lies back, pulling the sheets up carefully over her raw breasts and closing her eyes.</scene_description> </scene> <scene> <stage_direction>EXT. HOSPITAL LOT - DAY</stage_direction> <scene_description>Franklin lifts Eva (whose clutching a huge bunch of flowers) ever so gently out of a wheelchair and into the passenger seat.</scene_description> <character>FRANKLIN</character> <parenthetical>(tenderly)</parenthetical> <dialogue>Is that OK honey?</dialogue> <scene_description>Eva nods, she looks exhausted but is clearly appreciating the attention.</scene_description> </scene> <scene> <stage_direction>INT. FRANKLIN'S PICK UP - DAY.</stage_direction> <scene_description>Eva smiles, enjoying the feeling of the breeze from the open window as the truck pulls out of the hospital lot onto the freeway.</scene_description> <character>EVA</character> <dialogue>I thought her name was Carlotta?</dialogue> <character>FRANKLIN</character> <dialogue>Oh her... didn't work out.</dialogue> <character>EVA</character> <dialogue>What, you sacked her?</dialogue> <character>FRANKLIN</character> <dialogue>Not exactly.</dialogue> <character>EVA</character> <dialogue>You mean she quit?</dialogue> <character>FRANKLIN</character> <dialogue>After one day, can you believe it?</dialogue> <scene_description>Eva looks like she can believe it, Franklin moves on swiftly.</scene_description> <character>FRANKLIN</character> <dialogue>...But Siobhan has turned out to be a total godsend.</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM, MORNING.</stage_direction> <scene_description>Eva wakes up, fuzzy and disoriented. O.S. The sound of laughter, a high pitched female voice. She pulls herself out of bed, the blankets have left imprints on her face and her bed head hair stands comically on end.</scene_description> </scene> <scene> <stage_direction>INT. THE LOFT - DAY</stage_direction> <scene_description>Eva pads quietly into the hall, she looks up and stops . Hazy sunlight catches Franklin's relaxed smile. He strokes Kevin's head whilst SIOBHAN (21), a plump dark haired girl holds him, rocking him gently. For once Kevin is not crying. It's a vision of a perfect, happy family. She watches the scene for a moment then retreats quietly back to the bedroom.</scene_description> </scene> <scene> <stage_direction>EXT. 5TH AVENUE - EVENING</stage_direction> <scene_description>Eva pushes through a sea of people, rush hour.</scene_description> <character>EVA PHONE VOICE</character> <dialogue>Hey Siobhan... so sorry I'm late again. Leaving now. Be back in an hour....Hope you're feeling better.</dialogue> <scene_description>She checks her watch and quickly dodges into an expensive looking accessories store. She peruses a couple of shelves before pulling out a gorgeous oriental silk shawl. She checks the price tag and whistles through her teeth. Fuck it. She takes it to the counter to pay.</scene_description> </scene> <scene> <stage_direction>INT. THE LOFT - EVENING</stage_direction> <scene_description>TIGHT ON SIOBHAN, she looks exhausted but still managing to smile as she bounces Kevin on her hip, he's screaming blue murder.</scene_description> <character>SIOBHAN</character> <parenthetical>(unwrapping the scarf and shouting over the wailing)</parenthetical> <dialogue>Oh my god, Eva, it's beautiful... you really shouldn't have.</dialogue> </scene> <scene> <stage_direction>INT. TRENDY SOHO RESTAURANT - EVENING</stage_direction> <scene_description>TIGHT ON BRIAN (A FRIEND) talking excitedly, his hands flapping, totally absorbed.</scene_description> <character>BRIAN</character> <dialogue>What I hadn't realized, is that you fall in love with your own children. You don't just love them, you fall in love. And that moment, when you lay your eyes on them for the first time - it's... indescribable...</dialogue> <scene_description>Franklin and LOUISE (BRIAN'S WIFE) nod approvingly, their eyes misting over slightly, playing back private memories.</scene_description> <character>BRIAN</character> <parenthetical>(turning to Eva)</parenthetical> <dialogue>What about you, can you remember it, that moment?</dialogue> <scene_description>Joining the conversation with a jolt, she was miles away.</scene_description> <character>EVA</character> <parenthetical>(shrugging, searching for words)</parenthetical> <dialogue>Yeah you're right...indescribable..</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT BATHROOM - EVENING</stage_direction> <scene_description>Eva and Louise enter cubicles mid conversation.</scene_description> <character>LOUISE (O.S.)</character> <parenthetical>(inside her cubicle)</parenthetical> <dialogue>Well Franklin is just over the moon isn't he... gonna make a great dad... you must be so happy...</dialogue> <scene_description>Eva in the privacy of her own cubicle doesn't look so sure. An awkward silence.</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT - LATER</stage_direction> <scene_description>Eva returns quietly to her seat.</scene_description> <character>FRANKLIN</character> <dialogue>Well it's never gonna change much... I supply the canvas someone else paints the picture you know?</dialogue> <character>BRIAN</character> <dialogue>How about you Eva? I guess the littlest hobo is grounded for a while huh?</dialogue> <character>EVA</character> <dialogue>Actually I was talking to marketing last week, they're proposing a new guide... AFRIWAP, thought it had a ring...</dialogue> <scene_description>Franklin doesn't say anything but his eyes show a combination of surprise and annoyance.</scene_description> <character>EVA</character> <dialogue>Of course it wouldn't happen for a while...</dialogue> </scene> <scene> <stage_direction>INT. THE LOFT - EARLY EVENING</stage_direction> <scene_description>Eva slides the elevator gate open and steps into the loft, it's a bomb site, toys strewn everywhere, baby food splattered on the walls.</scene_description> <character>EVA</character> <dialogue>Siobhan?</dialogue> <scene_description>O.S. Muted cries from the other room, but not Kevin's. Eva follows the sound, bending to pick up Siobhan's Chinese scarf from the floor, it's torn to shreds. Eva enters the bedroom, Siobhan leans over Kevin (almost one and a half now) on the changing table her hair tangled and caught in Kevin's vice-like grip. She slowly manages to extricate herself.</scene_description> <character>SIOBHAN</character> <parenthetical>(wiping away a tear)</parenthetical> <dialogue>I'm sure he's old enough to know how much that hurts.</dialogue> <scene_description>Eva grimaces.</scene_description> <character>EVA</character> <parenthetical>(placating)</parenthetical> <dialogue>Let me make you a coffee.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN - LATER</stage_direction> <scene_description>Siobhan emerges from the bathroom. She's straightened herself up but still looks like shit. Much thinner than she was before and with dark circles under her eyes. She sits down at the table and stirs her coffee. O.S. next door Kevin has found a rattle and his xylophone and begins a hideous discordant clanking.</scene_description> <character>SIOBHAN</character> <dialogue>Thanks... oh by the way, we're almost out of baby food.</dialogue> <character>EVA</character> <dialogue>Again?</dialogue> <character>SIOBHAN</character> <parenthetical>(almost tearful)</parenthetical> <dialogue>It doesn't all go in his mouth you know!</dialogue> <scene_description>A uncomfortable silence. O.S. The xylophoning stops replaced by a high pitched wail. Eva and Siobhan look at each other but neither makes a move from the table.</scene_description> <character>SIOBHAN</character> <parenthetical>(opening the floodgates)</parenthetical> <dialogue>Eva, I'm knackered...</dialogue> <scene_description>Eva sags, she knows what's coming next.</scene_description> <character>SIOBHAN</character> <dialogue>...I mean you'll need someone else when you move to the burbs anyway.</dialogue> <scene_description>Eva's thrown for a moment, the burbs?</scene_description> <character>EVA</character> <parenthetical>(a little desperately)</parenthetical> <dialogue>Would you like more money?</dialogue> <character>SIOBHAN</character> <dialogue>The pays great Eva... I just can't do it anymore... every morning I wake up...</dialogue> </scene> <scene> <stage_direction>INT. VIEW FROM THE WINDOW, TRIBECA LOFT - A MOMENT LATER.</stage_direction> <scene_description>Eva watches as Siobhan exits the apartment block frowning and biting her nails, She hurries down the street, until she's almost running. O.S. Kevin howls, Eva let's him.</scene_description> </scene> <scene> <stage_direction>INT. KEVIN'S BEDROOM - DAY</stage_direction> <scene_description>Eva studies Kevin through the bars of his crib. He is stood up still howling and in a rage, though his cheeks are dry and his black unnerving eyes seem to directly meet her gaze.</scene_description> <character>EVA</character> <dialogue>Mommy was happy before widdle Kevin came awong, you know that don't you? And now Mommy wakes up everyday and wishes she were in France. Mommy's life sucks now, doesn't Mommy's life suck? Do you know there are some days that Mommy would rather be dead? Rather than listen to you screech for one more minute, there are some days Mommy would jump off the Brooklyn Bridge. You've got daddy snowed but Mommy's got your number. You're a little shit aren't you?</dialogue> <character>FRANKLIN (O.S.)</character> <dialogue>They understand speech long before they learn to talk.</dialogue> <scene_description>Eva turns to see Franklin standing in the doorway staring at her stony faced.</scene_description> <character>FRANKLIN</character> <dialogue>I don't understand how you can stand there and watch him cry.</dialogue> <scene_description>He pushes past her and picks Kevin up, Kevin instantly quietens.</scene_description> <character>EVA</character> <dialogue>Franklin ease up, I was only kidding around...I'm blowing off a little steam OK. Siobhan the saint quit, Hear that, Siobhan quit!</dialogue> <character>FRANKLIN</character> <dialogue>Too bad, we'll get someone else.</dialogue> <scene_description>Franklin walks towards the door, rocking Kevin.</scene_description> <character>EVA</character> <dialogue>Look, I'll change him...</dialogue> <character>FRANKLIN</character> <dialogue>You can steer clear until you get your mind right, Or jump off a bridge, whichever comes first.</dialogue> <scene_description>He strides off to the kitchen, Eva trails after him.</scene_description> <character>EVA</character> <dialogue>Anyway, what's this about moving to the suburbs, since when?</dialogue> <character>FRANKLIN</character> <dialogue>Since, i quote, "the little shit" has got mobile... that elevator's a death trap.</dialogue> <character>EVA</character> <dialogue>We can gate off the elevator!</dialogue> <character>FRANKLIN</character> <dialogue>He needs a yard, somewhere to toss a baseball, fill a pool...</dialogue> <character>EVA</character> <dialogue>But i love New York!</dialogue> <character>FRANKLIN</character> <dialogue>You sound like a bumper sticker. You've had twenty years to do what you want and so have I...</dialogue> <character>EVA</character> <dialogue>Well that's great, I want to go to Africa and you want to go to New Jersey.</dialogue> <character>FRANKLIN</character> <dialogue>Well you can't always get what you want.</dialogue> <character>EVA</character> <dialogue>Yeah right. You want a house. You want a yard. You want to coach fucking little league.</dialogue> <character>FRANKLIN</character> <dialogue>Yeah that's right. And there's two of us and one of you.</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM, THE LOFT - MORNING</stage_direction> <scene_description>Eva lies on her back, eyes open, just about awake. O.S. The sound of the elevator gate sliding open.</scene_description> <character>FRANKLIN (O.S.)</character> <dialogue>See you tonight.</dialogue> <scene_description>He doesn't wait for an answer the gate closes and the elevator descends.</scene_description> <character>EVA</character> <parenthetical>(quietly, to herself)</parenthetical> <dialogue>Bye.</dialogue> <scene_description>She doesn't sit up, just lies there, staring at the ceiling. Something is different, something is missing. Eva sits up in bed. What is it? She gets up and pads into the hall. Silence. She pushes open the door to Kevin's room. He is sitting up in his crib, a ring of discarded toys chucked from it lie on the floor. Kevin's thin pointy face regards Eva stoically. His mouth closed. Silent. Eva looks at him for a moment, opens her mouth to say something but is at a loss for words.</scene_description> </scene> <scene> <stage_direction>INT. THE LOFT - LATER</stage_direction> <scene_description>Eva stands at the stove fixing coffee, she feels eyes on her back and turns. Kevin sits in the centre of the room surrounded by ignored toys staring at her silently.</scene_description> <character>EVA</character> <dialogue>Hungry?</dialogue> <scene_description>No sign of a response, Kevin stares blankly into the air, frozen like a shop dummy.</scene_description> </scene> <scene> <stage_direction>INT. THE LOFT - LATER</stage_direction> <scene_description>A shiny red ball rolls slowly across the floorboards and comes to rest between Kevin's splayed legs.</scene_description> <character>EVA</character> <dialogue>Roll the ball to Mommy Kevin.</dialogue> <scene_description>No response.</scene_description> <character>EVA</character> <dialogue>Kevin roll the ball to Mommy...</dialogue> <scene_description>He looks at Eva blankly for a moment then turns away, disinterested.</scene_description> </scene> <scene> <stage_direction>INT. DOCTOR FOULKES SURGERY.</stage_direction> <scene_description>The doctor holds a finger in front of Kevin's fathomless eyes, they follow it lazily.</scene_description> <character>DR FOULKES (O.S.)</character> <dialogue>....None of the tell tale signs...the rocking.</dialogue> </scene> <scene> <stage_direction>INT. THE NURSERY - DAY</stage_direction> <scene_description>Eva sits cross-legged on the floor reading from a lovingly homemade children's book, Eva has at least found some release for her creative instinct.</scene_description> <character>EVA</character> <parenthetical>(trying hard)</parenthetical> <dialogue>E is for elephant...</dialogue> <character>EVA</character> <dialogue>large as a house, he's as big as can be, not small like a mouse... can you say elephant Kevin? El-E- Fant...</dialogue> <scene_description>She looks up; Kevin sits a little way off, his back to her, motionless.</scene_description> <character>EVA</character> <dialogue>Kevin... Kevin, (louder) KEVIN?</dialogue> <scene_description>He does eventually turn round but so laconically it's hard to tell if he's heard her or not.</scene_description> </scene> <scene> <stage_direction>INT. DOCTOR FOULKES SURGERY - DAY</stage_direction> <scene_description>BCU LIGHT SHONE IN KEVIN EAR.</scene_description> <character>DR FOULKES (O.S.)</character> <dialogue>Hearing's fine.</dialogue> </scene> <scene> <stage_direction>INT. THE LOFT - DAY</stage_direction> <scene_description>The red ball rolls across the floor again, straight passed Kevin who seems totally oblivious to it's existence...</scene_description> <character>EVA</character> <dialogue>Say "ball" Kevin... Buh...Buh... Ball.</dialogue> </scene> <scene> <stage_direction>INT. DOCTORS SURGERY - DAY</stage_direction> <scene_description>The doctors hairy hand inserts a block into a slot puzzle.</scene_description> <character>DR FOULKE (O.S.)</character> <dialogue>Can you put the star in the star shaped hole Kevin? Like this?</dialogue> <scene_description>He demonstrates once more then hands the block to Kevin.</scene_description> <character>EVA</character> <dialogue>I mean shouldn't he be talking?</dialogue> <character>DR FOULKE</character> <dialogue>.. there is no "norm"... you shouldn't worry too much...</dialogue> <scene_description>They turn their attention back to Kevin, the puzzle in front of him has been completed flawlessly.</scene_description> <character>DR FOULKE</character> <dialogue>See?</dialogue> </scene> <scene> <stage_direction>INT. THE BATHROOM, THE LOFT - MORNING</stage_direction> <scene_description>The shower curtain slides back, Eva steps out and fumbles for a towel. She looks up, Kevin stands in the doorway regarding Eva's naked body with vacant disinterest. She covers herself unsuccessfully with a tiny hand towel, unaccountably embarrassed.</scene_description> <character>EVA</character> <dialogue>When did you learn to walk exactly?</dialogue> </scene> <scene> <stage_direction>INT. DOCTORS SURGERY - DAY</stage_direction> <scene_description>Foulke picks up one of Kevin's arms and lets go, it flops down to his side like a wet noodle.</scene_description> <character>DR FOULKE</character> <parenthetical>(bemused)</parenthetical> <dialogue>He's a floppy little boy, isn't he?... but there's nothing wrong with him.</dialogue> <scene_description>Kevin stares out of the window, seemingly oblivious.</scene_description> </scene> <scene> <stage_direction>INT. THE LOFT - DAY</stage_direction> <scene_description>Eva bends down, smiling broadly she tries once more... waving the ball in the air in front of Kevin before rolling it slowly towards him.</scene_description> <character>EVA</character> <dialogue>Roll it back Kevin... roll it back...</dialogue> <scene_description>And miraculously he does, straight towards her. She catches it and claps her hands with excitement.</scene_description> <character>EVA</character> <dialogue>Yay...That's it, that's it!</dialogue> <scene_description>She rolls it towards him again. Kevin looks down at the ball resting between his legs then back up at Eva, his face sombre.</scene_description> <character>EVA</character> <dialogue>Roll it back Kevin!</dialogue> <scene_description>Nothing.</scene_description> </scene> <scene> <stage_direction>INT. LOFT - DAY.</stage_direction> <character>EVA</character> <parenthetical>(her kiddy voice becoming more and more forced)</parenthetical> <dialogue>OK Kevin, it's time for our juice!</dialogue> <scene_description>Eva glances at him and sighs, she sets down the cup, he seems so under stimulated, she walks to the corner of the room and wheels the dusty TV out.</scene_description> <character>EVA</character> <dialogue>I hate to do this to you but...</dialogue> <scene_description>She picks Kevin up and plonks him down in front of it. A kids animation bursts onto the screen. She turns up the volume. Leaving Kevin to watch she goes back to fetch his juice from the counter. The kids show seems to bombard the room, It's hyperactive and irritating, it pounds through her head and she grimaces.</scene_description> <character>KEVIN (O.S.)</character> <dialogue>I don't like dat.</dialogue> <scene_description>Eva looks up at Kevin in total astonishment, the back of his head illuminated by the screen. She rushes over, crouching down to face him.</scene_description> <character>EVA</character> <dialogue>What did you say?</dialogue> <scene_description>Kevin's gaze is still firmly fixed on the TV screen.</scene_description> <character>EVA</character> <dialogue>Kevin honey, what don't you like?</dialogue> <scene_description>He bats his hand against the TV set and Eva marvels.</scene_description> <character>KEVIN</character> <dialogue>I don't like dat. Turn it ov.</dialogue> <character>EVA</character> <dialogue>Jeez, a kid with good taste.</dialogue> <scene_description>She turns off the TV and grabs an infant picture book from the floor, hurriedly flicking through the pages.</scene_description> <character>EVA</character> <dialogue>Look Kevin...Flo-wer...Flow-er. Kevin Look at Mommy, look. Say... Track-tor. Track-tor.</dialogue> <character>KEVIN</character> <dialogue>I don't like dat.</dialogue> <scene_description>She turns him to face her and places both her hands on his shoulders. Kevin's piercing eyes fix on hers.</scene_description> <character>EVA</character> <dialogue>Kevin, honey. Can you say Mommy?</dialogue> <scene_description>He stares at her solemnly. She points to herself.</scene_description> <character>EVA</character> <dialogue>Mom-mi....Mom-mi. Say Mommi Kevin.</dialogue> <scene_description>His expression remains immutable.</scene_description> <character>KEVIN</character> <dialogue>No.</dialogue> </scene> <scene> <stage_direction>INT. FRANKLIN AND EVA'S BEDROOM - NIGHT</stage_direction> <scene_description>Franklin lies in bed grinning broadly as Eva undresses.</scene_description> <character>FRANKLIN</character> <dialogue>Wow, complete sentences straight off the bat? I've read late bloomers can be incredibly bright. They're perfectionist. Don't want to try it out until they've got it right.</dialogue> </scene> <scene> <stage_direction>INT. THE LOFT - DAY</stage_direction> <scene_description>Eva sits at the table trying to concentrate on some proofs from work. Kevin sits behind her on the floor, surrounded by a ring of toys. He picks them up one by one, examining each briefly before flinging them across the room with all his might.</scene_description> <character>KEVIN</character> <dialogue>I don like dat... I don like dat... I don't like dat...</dialogue> <scene_description>Eva throws down the page she's looking at, she's driven to distraction... she doesn't like dat much either. O.S. The elevator arriving.</scene_description> <character>KEVIN</character> <dialogue>I don like DA....</dialogue> <scene_description>With a conspiratorial glance at Eva he falls completely silent.</scene_description> <character>FRANKLIN</character> <dialogue>Damn elevator... hey guys what's up?</dialogue> <scene_description>He squats down next to Kevin.</scene_description> <character>FRANKLIN</character> <dialogue>And did you learn any new words today, huh? Can you say daddy? Say daddy Kevin.</dialogue> <scene_description>Kevin shakes his head once, his mouth staying resolutely shut.</scene_description> </scene> <scene> <stage_direction>EXT. CENTRAL PARK - DAY</stage_direction> <scene_description>EVA is sat on a bench, Kevin facing her in the buggy, eyeing her moodily. She produces a packet of cookies from her baby bag and holds one out to him.</scene_description> <character>KEVIN</character> <dialogue>I don't like dat.</dialogue> <character>EVA</character> <parenthetical>(Completely exasperated)</parenthetical> <dialogue>What do you like, Kevin?</dialogue> <scene_description>With a glazed disinterested expression, slowly turns away. INT - BATHROOM- NIGHT. Eva lies against Franklin in the bath. He suddenly slides up into sitting position so she has to sit up too.</scene_description> <character>FRANKLIN</character> <dialogue>Two months?...He's only a baby!</dialogue> <scene_description>Franklin steps out of the bath and wraps a towel round his waist.</scene_description> <character>EVA</character> <dialogue>He's almost three now.</dialogue> <character>FRANKLIN</character> <dialogue>And who's gonna look after him?</dialogue> <character>EVA</character> <dialogue>You said you were working too hard, you could take a break... Anyway...I thought you wanted to spend more time with him.</dialogue> </scene> <scene> <stage_direction>EXT. SOMEWHERE IN AFRICA - DAY</stage_direction> <scene_description>TRAVELING THROUGH A CLOUD OF RED DUST...A DREAM LIKE QUALITY</scene_description> </scene> <scene> <stage_direction>...WHERE ARE WE?</stage_direction> <scene_description>O.S. A loud honk. The dust clears revealing a placid cow standing staring almost straight at you. EVA hangs onto the side bar in the passenger seat of a Land Rover, A YOUNG GUIDE, the driver honks the horn again several times but the cow just blinks at them. Eventually it shuffles off and the jeep pulls away, cruising through the dusty expanse.</scene_description> <character>FRANKLIN PHONE VOICE (O.S.)</character> <dialogue>Kevin....Say hi to Mommy.... C'mon Kevin...don't you wan't to talk to Mommy? Oooff...(muffled and two octaves higher after a punch in the nuts from Kevin) Easy tiger.</dialogue> <character>EVA PHONE VOICE (O.S.)</character> <dialogue>I don't know what I was thinking...It's shooting trips for sick millionaires or staying in a mud hut... and the political situation's fucked. I'm gonna cut my losses and come home.... Franklin? Franklin?...Shit.</dialogue> </scene> <scene> <stage_direction>EXT. PASSING THROUGH A VILLAGE...LATER</stage_direction> <scene_description>Eva locks eyes with a beautiful African woman who's sat by the side of the road, suckling her naked child, despite the squalor, it seems like the most natural thing in the world, she looks like a serene Madonna. Her two other small children make up a game of rolling an old tyre with a stick. Eva smiles at the woman who doesn't smile back, yet her gaze seems to penetrate, making Eva uncomfortable. The woman bats flies away from the baby's mouth without dropping her soulful eyes. The children chase the tyre screaming and whooping in ecstatic delight.</scene_description> </scene> <scene> <stage_direction>INT. AIRPORT - DAY</stage_direction> <scene_description>Eva runs into the grubby airport, dropping her bags at her feet as she looks up at the departure board, panels flip over like cascading dominoes...'DELAYED' 'DELAYED' 'DELAYED'. No Air-con, waiting passengers bat away flies, dishevelled in the intense heat. Eva covered in a film of sweat, finds the only working vending machine, no water left, only Fanta orange. She takes a slug from the drink. It's warm and she almost spits it over the floor.</scene_description> </scene> <scene> <stage_direction>INT. JFK AIRPORT -DAY.</stage_direction> <scene_description>Eva's feet pound across the airport floor. She crouches down and tears spring to her eyes as she pulls Kevin towards her and hugs him tightly, his arms remain at his side and he's floppy like a rag doll in her embrace.</scene_description> <character>EVA</character> <dialogue>I missed you so much... Mommy's never going to go away for this long again.</dialogue> <scene_description>Kevin seems to get floppier still, his head lolls back over her arm until he's almost horizontal, she pulls away from him and ruffles his hair. Wiping her cheeks, she stands up and hugs Franklin, they kiss passionately. Kevin stamps his foot and begins to make a loud mooing sound, he tugs at Franklin's hand. Franklin pulls away from the her.</scene_description> <character>EVA</character> <dialogue>Look Kevin. Mommy's got you a present.</dialogue> <scene_description>She pulls a huge wild looking African wooden mask from a carrier bag, waving it in front of him, Kevin is uninterested.</scene_description> <character>FRANKLIN</character> <dialogue>It might take a while Eva...kids this age... they think you're never coming back.</dialogue> <scene_description>Kevin hauls Franklin by the leg.</scene_description> <character>KEVIN</character> <dialogue>Urghh...urghh</dialogue> <scene_description>Franklin laughs.</scene_description> <character>FRANKLIN</character> <dialogue>Hey I know what you want kid, Cheese doodles!</dialogue> <scene_description>Kevin stamps up and down.</scene_description> </scene> <scene> <stage_direction>INT. FRANKLIN'S PICK UP - DAY</stage_direction> <scene_description>Kevin shoots Eva a crafty orange smile and fists a cheese doodle into her lap.</scene_description> <character>KEVIN</character> <dialogue>Mommer farted!..It stinks.</dialogue> <character>EVA</character> <dialogue>Don't crumble them all over truck honey.</dialogue> <character>FRANKLIN</character> <dialogue>C'mon Eva, kids're messy, loosen up...</dialogue> </scene> <scene> <stage_direction>INT. JUNIORS RESTAURANT - DAY</stage_direction> <scene_description>A teenage waitress with a raised brown birthmark on her cheek scribbles in her order pad.</scene_description> <character>WAITRESS</character> <dialogue>Garden salad, house dressing on the side.</dialogue> <character>KEVIN</character> <dialogue>Nyeh nyeh, nyeh nyeh nyeh nyeh nyeh.</dialogue> <character>WAITRESS</character> <dialogue>A portion of onion rings.</dialogue> <character>KEVIN</character> <dialogue>Nyeh, nyeh, nyeh, nyeh, nyeh.</dialogue> <character>WAITRESS</character> <dialogue>And a cheese burger.</dialogue> <character>KEVIN</character> <dialogue>Nyeh nyeh nyeh nyeh.</dialogue> <character>WAITRESS</character> <parenthetical>(looking like she'd rather kill him)</parenthetical> <dialogue>What a cute little boy.</dialogue> <scene_description>The waitress moves to take an order from another table.</scene_description> <character>EVA</character> <dialogue>How long has this been going on?</dialogue> <character>KEVIN</character> <dialogue>Nyeh nyeh nyeh nyeh nyeh nyeh</dialogue> <character>FRANKLIN</character> <dialogue>It's just a phase. He'll grow out of it.</dialogue> <scene_description>Eva puts her hand over Franklin's.</scene_description> <character>EVA</character> <dialogue>Look while I was away. I had a lot of time to think, I don't feel I'm doing either 'A Wing and a Prayer' or motherhood right...</dialogue> <character>KEVIN</character> <dialogue>Nyeh, nyeh, nyeh, nyeh...</dialogue> <character>EVA</character> <dialogue>Maybe it's time to focus more on Kevin.</dialogue> <character>KEVIN</character> <dialogue>Nyeh, nyeh, nyeh, nyeh...</dialogue> <character>EVA</character> <dialogue>Work can take a back seat. I'm thinking at least till he's in first grade.</dialogue> <character>KEVIN</character> <dialogue>Nyeh, Nyeh, nyeh, nyeh, nyeh. Nyeh.</dialogue> <scene_description>The waitress returns with a tray and sets down their food. Kevin scrutinizes her birthmark.</scene_description> <character>KEVIN</character> <dialogue>That lady has poop on her face.</dialogue> <scene_description>Eva looks at the young waitress apologetically.</scene_description> <character>KEVIN</character> <dialogue>Why don't you clean your face, It's poopy?</dialogue> <character>EVA</character> <dialogue>I'm so sorry I...</dialogue> <scene_description>The waitress smiles but her face turns beet red.</scene_description> <character>WAITRESS</character> <dialogue>I'll be right back with your dressing.</dialogue> <scene_description>Eva watches as she walks back towards the kitchen with her head bowed, nervously pulling strands of hair over her face. Eva reels back to face Kevin.</scene_description> <character>EVA</character> <dialogue>Kevin, that wasn't very nice.</dialogue> <character>KEVIN</character> <dialogue>Nyeh NYEE nyeh nyeh nyeh.</dialogue> <character>FRANKLIN</character> <dialogue>Can we not ruin our first afternoon together? Anyway... I have a kind of an announcement to make myself. I bought us a house.</dialogue> <character>EVA</character> <dialogue>You bought us a house?</dialogue> <character>KEVIN</character> <dialogue>Nyeh nyeh nyeh nyeh- nyee</dialogue> <character>EVA</character> <dialogue>You didn't find one for me to look at? It's a done deal?</dialogue> <character>KEVIN</character> <dialogue>Nyeh, NYEH, NYEH..</dialogue> <character>EVA</character> <dialogue>Kevin stop it. That's enough. Let Mommer and Daddy talk.</dialogue> <scene_description>NYEH NYEH NYEE! ...</scene_description> <character>EVA</character> <dialogue>Kevin quit it!</dialogue> <scene_description>NYEH-NYEH NYEH-NYEH!</scene_description> <character>FRANKLIN</character> <dialogue>You're only making it worse... Look if I didn't pounce it was going to be snapped up by somebody else. Besides you weren't interested. I thought you'd be pleased, glad it's over.</dialogue> <character>EVA</character> <dialogue>There's only so pleased I can get about something that wasn't my idea in the first place.</dialogue> <scene_description>NYEH NYEH NYEH NYEH NYEH NYEEE</scene_description> <character>EVA</character> <dialogue>Kevin I mean it. If you don't stop Nyeh-nyehing we're leaving.</dialogue> <scene_description>NYEH NYEH NYEH NYEH NYEH NYE... NYEH NYEH NYEH-NYEH NYEH NYEE!</scene_description> <character>EVA</character> <dialogue>Stop it!</dialogue> <scene_description>She leans over the table and raps him on the hand. Kevin almost smiles for a moment, satisfied? Then his lip starts to quiver and his face crumples up. WHHHHHAAAAAAAAAAAAA! Franklin glares at her.</scene_description> <character>EVA</character> <dialogue>I'm sorry ...I'm just tired. I am pleased... I can't wait to see it.</dialogue> <character>KEVIN</character> <dialogue>Nyeh nyeh-nyee... nyeh nyeh nyeh....Nyeh nyeh nyeh nyeh nyehnyee.</dialogue> </scene> <scene> <stage_direction>INT. FRANKLIN'S PICK UP, NYACK - DAY</stage_direction> <scene_description>Franklin drives down Palisades Parade. They pass a row of houses, each more revolting and soulless than the next. MOCK TUDOR, AN ASIAN STYLE MONSTROSITY, ELIZABETHAN, MOCK, MOCK, MOCK. Eva looks at them with growing concern. Not that one, not that one, please not that one.</scene_description> <character>EVA</character> <dialogue>So what's it like?</dialogue> <character>FRANKLIN</character> <dialogue>Wait and see...</dialogue> <scene_description>She gulps. They turn off into a driveway THE RANCH HOUSE looms into view. A modern flat roofed structure of glass and sandy brick, it looks like an institution. She hates it on sight... the opposite of everything she'd want in a home. Someone else's dream home.</scene_description> </scene> <scene> <stage_direction>INT. NEW HOUSE - DAY</stage_direction> <scene_description>The front door swings open, Franklin beams.</scene_description> <character>FRANKLIN</character> <dialogue>Don't tell me this isn't dramatic.</dialogue> <character>EVA</character> <dialogue>I'm dumbstruck.</dialogue> <scene_description>Kevin looks around glumly, he slackens on Franklin's hand until he's a dead weight.</scene_description> <character>FRANKLIN</character> <dialogue>Wanna go explore?</dialogue> <scene_description>Kevin lets go of Franklin's hand and plods off unenthusiastically, reaching the middle of the immense living room he plops himself down limply on the polished floorboards with a glazed expression. For the first time Eva can relate to him, she feels like doing the same thing. Eva looks round the huge teak panelled space... not a door in sight... everything open-plan, nowhere to hide.</scene_description> <character>FRANKLIN</character> <dialogue>You've got to see the master bedroom, the skylight's are spectacular.</dialogue> <character>EVA</character> <parenthetical>(Brightly, forced)</parenthetical> <dialogue>Skylights!</dialogue> </scene> <scene> <stage_direction>INT. THE ELEVATOR, LOFT - DAY</stage_direction> <scene_description>Eva stands in the elevator, a last box of odds and ends in her hands, she looks around the empty space ruefully, it's like saying goodbye to an old friend. She pulls the hand crank and starts to descend, disappearing from view.</scene_description> </scene> <scene> <stage_direction>INT. 'RANCH HOUSE' NYACK - MOVING IN DAY</stage_direction> <scene_description>SQUIRT. A jet of water splashes onto the crotch of a pair of jeans.</scene_description> <character>KEVIN</character> <dialogue>You peed you pants.</dialogue> <scene_description>Two skinny legs and a skinny body stick out from underneath the huge scary looking African carved wooden mask. Kevin looks like a demented voodoo doll in diapers. He holds a squirt gun in one hand and waves it threateningly at the removal man who he's just soaked. The guy's powerless to avoid him, clutching a heavy tea chest.</scene_description> <character>EVA</character> <dialogue>Kevin, stop squirting the nice removal men, they're only trying to help.</dialogue> <scene_description>Kevin aims the gun at another removal man's butt.</scene_description> <character>EVA</character> <dialogue>I told you to stop it!</dialogue> <scene_description>He drenches the man's butt.</scene_description> <character>KEVIN</character> <dialogue>You peed your pants!</dialogue> <character>EVA</character> <dialogue>Kevin, I'm not going to tell you again!</dialogue> <scene_description>She chases after him as he thuds past the man.</scene_description> <character>EVA</character> <dialogue>Kevin if you squirt anybody one more time. I'm taking the gun away!</dialogue> <scene_description>He sprints past the removal guy he's just soaked so she can't get close enough to grab him, then turns back to her waving the gun in the air, his eyes glistening gleefully through the intimidating wooden face.</scene_description> <character>KEVIN</character> <dialogue>NYEH-Nyeh? Nyeh nyeh nyeh NYEE-nyeh nyeh nyeh NYEEEEEEE!</dialogue> <scene_description>He turns and thuds off round the corner, out of sight.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, RANCH HOUSE - DAY</stage_direction> <scene_description>Kevin eyes Eva moodily as she puts his confiscated squirt gun out of reach on top of a cupboard.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM TO KITCHEN - CONTINUOUS - DAY.</stage_direction> <scene_description>Eva struggles into the kitchen with a box of pots and pans, Kevin is perched precariously, standing on the second shelf of an opened cupboard, posing as if waiting to have his picture taken, his hand fumbling for his gun.</scene_description> <character>EVA</character> <dialogue>Hold it right there Mister. Freeze!</dialogue> <scene_description>She waits underneath him, prepared for a fall, he's too high for her to grab.</scene_description> <character>EVA</character> <dialogue>Franklin!....quick.</dialogue> <scene_description>Franklin enters and pulls Kevin down but not before he's snatched his squirt gun back.</scene_description> <character>EVA</character> <dialogue>Kevin's been very very bad, we're going to have to take that gun away for a long time.</dialogue> <character>FRANKLIN</character> <dialogue>Aw, you've earned it haven't you kiddo. (ruffling his hair) Man that climb took guts, real little monkey aren't you?</dialogue> <scene_description>Kevin shrugs away from his dad's hand.</scene_description> <character>KEVIN</character> <parenthetical>(deadpan)</parenthetical> <dialogue>I'm the little Monkey.</dialogue> <scene_description>He strides out of the room, gun swinging at his side, with the nonchalance of an airline hijacker.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - DAY</stage_direction> <scene_description>Kevin is sat at the table, systematically pulling all the stuffing out of a fluffy rabbit through a small hole in it's ear. Eva puts a sandwich down in front of him.</scene_description> <character>EVA</character> <dialogue>You must be hungry working so hard?</dialogue> <scene_description>He doesn't look up.</scene_description> <character>KEVIN</character> <dialogue>No.</dialogue> <scene_description>LATER. O.S. The toilet flushing as Eva emerges from the bathroom. She looks at the kitchen table; the sandwich has gone and so has Kevin. Huh? So that's how it works.</scene_description> </scene> <scene> <stage_direction>INT. THE ONLY RECTANGULAR ROOM IN THE NEW HOUSE - DAY</stage_direction> <scene_description>B.C.U. Eva's hands smooth down a beautiful vintage map of Asia, as she pastes it like wallpaper to the wall and stands back to admire the effect. A pile of old maps, plane tickets and postcards sits next to her on the floor. This is gonna look cool. Kevin grunts and she feels his eyes boring into her as he stands watching her leaning slackly in the doorway.</scene_description> <character>EVA</character> <parenthetical>(as she selects another map)</parenthetical> <dialogue>Everyone needs a room of their own. You know how you have your room. Well this is Mommer's room...You'll see, you may want to make your room special some day and I'll help you if you like.</dialogue> <character>KEVIN</character> <dialogue>What do you mean Special?</dialogue> <character>EVA</character> <dialogue>So it looks like your personality.</dialogue> <character>KEVIN</character> <dialogue>What personality?</dialogue> <character>EVA</character> <dialogue>I think you know what I mean.</dialogue> <character>KEVIN</character> <dialogue>I have to put junk on the walls?</dialogue> <character>EVA</character> <dialogue>Unless you'd rather not.</dialogue> <character>KEVIN</character> <dialogue>I'd rather not.</dialogue> <scene_description>Eva sighs.</scene_description> <character>EVA</character> <dialogue>Great, we've found one more thing you don't want to do.</dialogue> <scene_description>Kevin's face screws up a little, an odd expression followed by a smile... and a stink.</scene_description> <character>EVA</character> <dialogue>Oh you haven't... I only just changed you.</dialogue> <scene_description>Kevin grins with satisfaction.</scene_description> </scene> <scene> <stage_direction>INT. RANCH HOUSE - DAY</stage_direction> <scene_description>Franklin has his head in a kitchen cupboard, fixing child locks to the doors. Eva struggles to fit a beloved old dresser into the next room, the space has no flat walls, nothing fits and the dilapidated dresser looks out of place amongst all the fresh, clean wood panelling.</scene_description> <character>EVA</character> <dialogue>Christ doesn't this place have any corners?</dialogue> </scene> <scene> <stage_direction>INT. THE PICKUP PARKED OUTSIDE A STRIP MALL - DAY</stage_direction> <scene_description>Eva waits in the car with Kevin, looking at a row of phoney shop fronts. A huge couple pass by stuffing their faces with burritos.</scene_description> <character>EVA</character> <dialogue>Look at the roly-pollies Kevin.</dialogue> <scene_description>She only gets a scowl in return. Franklin appears, his arms full of shiny new kitchen equipment.</scene_description> <character>EVA</character> <dialogue>Have you seen "Ye Olde Sandwich Shoppe"? Must have been built all of six months ago.</dialogue> <character>FRANKLIN</character> <dialogue>You're such a snob sometimes...</dialogue> </scene> <scene> <stage_direction>EXT. RANCH HOUSE DRIVEWAY - DAY</stage_direction> <scene_description>Eva helps to carry the new stuff into the house, she passes a brimming dumpster. Her old dresser lies amongst the funky old pots and pans from the loft, her antiquated food mixer... She smiles wistfully.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - DAY</stage_direction> <scene_description>O.S. Kevin can be heard smashing something up in his room. Eva puts down a PB and J in front of the door as she passes. LATER Eva passes Kevin's door again, her arms loaded with laundry. The plate is empty, a few crumbs remain. Christ it's like feeding a dog.</scene_description> </scene> <scene> <stage_direction>INT. EVA'S NEW STUDY - DAY</stage_direction> <scene_description>BCU A drill whines as it bores into the doorway of the study. Eva looks up with satisfaction from her wallpaper pasting, (she's covered about half the room with maps now.)| A carpenter hangs a door, pretty much the only one in the house. He demonstrates the finishing touch, a large smoothly functioning bolt. Kevin sits in the corridor watching broodily.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - DAY</stage_direction> <scene_description>Eva has her back turned to Kevin doing laundry.</scene_description> <character>KEVIN</character> <dialogue>I've pooped.</dialogue> <scene_description>Eva turns to him with a bright smile which instantly falls from her face. He's shit all over the kitchen floor the poo clinging and running down his legs.</scene_description> <character>EVA</character> <dialogue>Shit!</dialogue> <scene_description>He shoots her a little grin. A MOMENT LATER A pair of little legs are yanked from the ground, the shitty shorts dangle from his foot, then drop to the floor. Eva plonks him in the sink and washes him perfunctorily. He seems to be enjoying it, Eva is not.</scene_description> </scene> <scene> <stage_direction>INT. THE KITCHEN - MORNING</stage_direction> <scene_description>Eva stumbles into the kitchen, still half asleep. She starts to fumble around-finding things to fix coffee. Every door is clipped with a safety guard nothing opens properly.</scene_description> <character>EVA</character> <dialogue>Crap.</dialogue> <scene_description>O.S. Franklin and Kevin in the bathroom.</scene_description> <character>FRANKLIN (O.S.)</character> <dialogue>Kevin honey? Look at daddy, see how he pee-pees in the pooper- dooper?...</dialogue> <scene_description>Eva rolls her eyes, fat chance... she passes the open doorway, she can see Kevin watching his father.</scene_description> <character>FRANKLIN (O.S.)</character> <dialogue>You could do that too... piddle widdle in the toilet huh?</dialogue> <scene_description>Kevin rolls his eyes lazily toward Eva. An expression flicks across his face, Eva can't be sure but it looks suspiciously like. "What an asshole?".</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - NIGHT</stage_direction> <scene_description>Franklin is in bed, his hands behind his head. Eva undresses.</scene_description> <character>FRANKLIN</character> <dialogue>Jesus why couldn't he just suck his thumb or something...</dialogue> <scene_description>Eva sighs. She takes her bra off and slips into bed beside him.</scene_description> </scene> <scene> <stage_direction>INT. EVA'S NEW STUDY - DAY</stage_direction> <scene_description>Eva pastes the last plane ticket into place on the wall and stands back brushing her hands together with satisfaction, maps and memorabilia cover every inch of the walls, even the ceiling, it looks fantastic.</scene_description> <character>KEVIN</character> <dialogue>All these squiggy squares of paper. They're dumb.</dialogue> <character>EVA</character> <dialogue>I like them.</dialogue> <scene_description>He stamps his foot.</scene_description> <character>KEVIN</character> <dialogue>They're dumb.</dialogue> <scene_description>The door bell rings.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - DAY</stage_direction> <scene_description>A heavily coiffured woman MARY WOOLFORD, stands at the door holding a home baked pie.</scene_description> <character>MARY WOOLFORD.</character> <dialogue>A little something to introduce you into our community.</dialogue> <scene_description>Mary presents the pie whilst having a good nose into the living room.</scene_description> <character>EVA</character> <dialogue>Oh...how thoughtful.</dialogue> <scene_description>Eva wipes her pasty hands on her overalls, tries to straighten her hair.</scene_description> <character>MARY WOOLFORD</character> <parenthetical>(looking Eva up and down)</parenthetical> <dialogue>Wow, you look pretty snowed under... we've got a little playgroup going on at my place if your little boy would like to join.</dialogue> <character>EVA</character> <parenthetical>(distractedly)</parenthetical> <dialogue>Sure...yeah that sounds fun.</dialogue> <character>MARY WOOLFORD.</character> <dialogue>Every Thursday 2-4pm at my place. The kids really enjoy it and it gives the Mom's a break.</dialogue> <scene_description>Eva looks up the stairs. It's quiet, too quiet.</scene_description> <character>EVA</character> <dialogue>Sorry... (indicating upstairs) I gotta go.</dialogue> <character>MARY WOOLFORD</character> <parenthetical>(slightly offended)</parenthetical> <dialogue>Sure...I can see you're busy.</dialogue> <scene_description>Eva closes the door and rolls her eyes, heading up the stairs.</scene_description> <character>EVA</character> <dialogue>Hey kid, when you're this quiet, you make me nervous..</dialogue> <scene_description>She pushes the study door open. The expression on her face changes instantly, she looks at the room in horror. The walls are spidery with red and black ink, the ceiling too, covering all four walls in little circular and zig-zag directions. Kevin is standing on the desk, bent over in concentration; draining the last of the red ink from the bottle and pouring it intently into the barrel of his gun, the ink spills over onto the already splattered oak desk, his hands are drenched. He senses Eva standing watching him but he doesn't look up.</scene_description> <character>KEVIN</character> <parenthetical>(quietly)</parenthetical> <dialogue>Now...It's special.</dialogue> <scene_description>Eva is completely awestruck. She snatches the gun from him and throws it on the floor, stamping on it hard until it's in bits and the ink has ruined her pretty yellow pumps.</scene_description> </scene> <scene> <stage_direction>INT. EVA'S CAR, OUTSIDE MARY WOOLFORD'S PLACE - DAY</stage_direction> <scene_description>Kid's pile out of the house. Kevin sullenly gets into the car.</scene_description> <character>EVA</character> <dialogue>Did you have fun?</dialogue> <scene_description>Nothing.</scene_description> </scene> <scene> <stage_direction>INT. THE LOUNGE - DAY</stage_direction> <scene_description>Eva's on the phone.</scene_description> <character>MARY WOOLFORD</character> <parenthetical>(phone voice)</parenthetical> <dialogue>Sorry Eva, but Kindergarten's only a couple of weeks away, we just couldn't make up the numbers anymore...</dialogue> <character>EVA</character> <parenthetical>(slightly quizzically)</parenthetical> <dialogue>Ok... sure, thanks for all your help anyway, it's been great... OK... bye.</dialogue> <scene_description>She rounds the corner. Kevin stands by the window forcing half a sandwich into his mouth in one go, like a starved animal.</scene_description> <character>EVA</character> <dialogue>Hungry huh?</dialogue> <scene_description>He looks up at her dolefully, spits the half-masticated sandwich out into his hand and mashes it into the window pane, it sticks there. Kevin walks off.</scene_description> </scene> <scene> <stage_direction>INT. THE KITCHEN - DAY</stage_direction> <scene_description>Eva searches through the annoyingly locked cupboards for something and pulls out Mary's tacky, 'home sweet home' decorated pie dish, she's forgotten to return it.</scene_description> <character>EVA</character> <dialogue>Crap.</dialogue> </scene> <scene> <stage_direction>EXT. MARY'S HOUSE - DAY</stage_direction> <scene_description>Eva approaches the front door carrying the pie dish, she notices a few extra cars parked up outside. She rings the bell and the door opens.</scene_description> <character>EVA</character> <dialogue>Hey Mary, just thought I'd return this... sorry it's been so long...</dialogue> <scene_description>She stops, over Mary's shoulder she can see the lounge full of mothers and young children, play group is evidently still running, just without Kevin. Mary smiles broadly but her pale neck blotches bright red.</scene_description> <character>MARY WOOLFORD</character> <dialogue>Oh... thanks Eva, that's... great.</dialogue> <scene_description>An awkward silence.</scene_description> <character>EVA</character> <dialogue>Well I guess I'll see you at "Love and Learn" soon.</dialogue> <character>MARY WOOLFORD</character> <dialogue>Sure, take care... and thanks again.</dialogue> <scene_description>She closes the door.</scene_description> </scene> <scene> <stage_direction>EXT. LOVE AND LEARN KINDERGARTEN - DAY.</stage_direction> <scene_description>Eva jumps out of the car and rushes through the brightly colored playground, holding her careworn diaper bag.</scene_description> </scene> <scene> <stage_direction>INT. LOVE AND LEARN, KINDERGARTEN CLASSROOM - DAY</stage_direction> <scene_description>MISS FABRICANT (frumpish, thirties) and Eva stand at the classroom door. Eva holds a freshly-bagged messy diaper at arms length. VIOLETTA, a shy little girl with a bad case of eczema hangs onto Miss Fabricant, hiding in her skirts.</scene_description> <character>MISS FABRICANT</character> <dialogue>...sorry about this Eva...the other children were starting to complain about the smell.</dialogue> <scene_description>VISIBLE OVER HER SHOULDER...A prissy little girl, MUFFET shows the rest of the class a delicate china tea set. She hands cups out to the little group sat around her, including Kevin.</scene_description> <character>MUFFET.</character> <dialogue>One for you...and one for you.</dialogue> <scene_description>BACK ON EVA</scene_description> <character>EVA</character> <dialogue>It's just that this is the third time today, couldn't you...</dialogue> <character>MS. FARBRICANT (O.S.)</character> <dialogue>I'm sorry but it's the law I could get in a heap of trou....</dialogue> <character>MS. FARBRICANT (O.S.)</character> <dialogue>(turning her attention to Violetta whose itching at her scabs)...Don't</dialogue> <dialogue>scratch honey you know it makes it worse.</dialogue> <character>EVA (O.S.)</character> <dialogue>I know a lot of the other mothers live closer by, it takes me a while to get here.</dialogue> <character>MS. FARBRICANT (O.S.)</character> <dialogue>Actually, we don't really have other mothers in this situation.</dialogue> <scene_description>In the background. Kevin holds his tea cup up in mid air almost as if to propose a toast... except that he lets it crash to the floor. Both Eva and Miss Fabricant turn round, a moments stunned silence then Muffet starts to shriek as the rest of the kids follow Kevin's example and let their teacups fall and smash, one after the other.</scene_description> </scene> <scene> <stage_direction>INT. CAR - DAY</stage_direction> <scene_description>Eva drives distractedly, Kevin strapped in the seat next to her.</scene_description> <character>EVA</character> <dialogue>That wasn't very nice Kevin...breaking Muffet's tea cup.</dialogue> <character>KEVIN</character> <dialogue>She's got a dumb name.</dialogue> <character>EVA</character> <dialogue>That doesn't mean she deserves...</dialogue> <character>KEVIN</character> <parenthetical>(lamely)</parenthetical> <dialogue>It slipped.</dialogue> <character>EVA</character> <dialogue>Sure Kevin. How would you like it if you brought something you really care about to school and somebody smashed it up?</dialogue> <character>KEVIN</character> <dialogue>Like what?</dialogue> <character>EVA</character> <dialogue>Like...</dialogue> <scene_description>She closes her mouth, Kevin smiles triumphantly, she can't think of a damn thing.</scene_description> </scene> <scene> <stage_direction>INT. DINNER, THE RANCH HOUSE - EVENING</stage_direction> <character>EVA</character> <dialogue>...in floods of tears, absolutely inconsolable...</dialogue> <scene_description>Franklin pushes away his empty plate, leaning back in his chair.</scene_description> <character>FRANKLIN</character> <parenthetical>(about to brush it off)</parenthetical> <dialogue>Well...</dialogue> <scene_description>Eva throws him a look, "We've discussed the 'united front' thing".</scene_description> <character>FRANKLIN</character> <parenthetical>(changing tack)</parenthetical> <dialogue>Look Kev... I know tea cups are girly and sissy but don't break 'em OK? It's uncool...</dialogue> <scene_description>Kevin nods dourly.</scene_description> <character>FRANKLIN</character> <dialogue>OK! fancy some frisbee... work on that bank shot?</dialogue> <character>KEVIN</character> <parenthetical>(uncannily, eerily like a kid from a cereal commercial)</parenthetical> <dialogue>Sure Dad!</dialogue> <scene_description>They bounce off together. CUT TO: Eva watching through the glass doors. Kevin is useless despite practice. Limp, hooked throws that always fall ten feet short of Franklin... who in turn is tireless in running to pick them up. A patience that begs to be tested.</scene_description> </scene> <scene> <stage_direction>EXT. LOVE AND LEARN KINDERGARTEN - DAY</stage_direction> <scene_description>Summer, nearly the end of term. Eva waits with the other mothers as the kids come out of school. She notices the unmistakable bulge of a diaper on a few of the kids where there had been none before. Soon, most of the kids are gone, Kevin has not materialized.</scene_description> </scene> <scene> <stage_direction>INT. KINDERGARTEN HALLWAY - DAY</stage_direction> <scene_description>A concerned looking Miss Fabricant is searching the building.</scene_description> <character>MISS FABRICANT</character> <dialogue>I'm so sorry Eva, I'm sure he's around here somewhere...</dialogue> <scene_description>She scurries off to check the bathrooms.</scene_description> <character>MISS FABRICANT (O.S.)</character> <parenthetical>(relieved)</parenthetical> <dialogue>Here he is!</dialogue> <scene_description>O.S. A scream. Eva runs to the bathroom door. Kevin has his back to them, whispering to VIOLETTA, (the little girl with eczema.) She has her eyes closed, her expression ecstatic... and she is scratching herself to ribbons, blood runs freely from the hundreds of scabs she has scratched off her body dripping slowly onto her white ankle socks.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT</stage_direction> <scene_description>Franklin bangs a glass down on the counter and pours himself a generous scotch. Eva sits at one end of their new, white sofa.</scene_description> <character>FRANKLIN</character> <dialogue>He's not her minder Eva, he's a kid.</dialogue> <character>EVA</character> <dialogue>He could have called someone, couldn't he? Before it went too far.</dialogue> <character>FRANKLIN</character> <dialogue>For Christsakes how's he supposed to recognize what 'too far' is, when all she's doing is scratching! None of which explains why you let him squish around the house, all afternoon from the looks of him, plastered in shit...</dialogue> <character>FRANKLIN</character> <dialogue>Does it occur to you that if this little scene was all that terrible, then he might be a little traumatized himself.</dialogue> <character>EVA</character> <dialogue>He wasn't traumatized, he was smug.</dialogue> <character>FRANKLIN</character> <dialogue>What is wrong with you?...</dialogue> <scene_description>He moves to sit down next to her but almost lands on a huge smear of shit streaked down the sofa.</scene_description> <character>FRANKLIN</character> <dialogue>Shit.</dialogue> <scene_description>He jumps up and plops himself down at the far end, his hand to his forehead.</scene_description> <character>FRANKLIN</character> <dialogue>Look I'm getting pretty sick of this... and not because of Kevin.</dialogue> <scene_description>Silence. Eva and Franklin sit at opposite ends of the sofa, no eye contact. The shit-smear drawing a dividing line between them.</scene_description> </scene> <scene> <stage_direction>INT. KEVIN'S PLAYROOM, SUMMER - DAY</stage_direction> <scene_description>Kevin is slumped on the floor as Eva, knelt in front of him opens the page of a book.</scene_description> <character>EVA</character> <dialogue>OK, Lets work on our numbers!</dialogue> <character>KEVIN</character> <dialogue>What for?</dialogue> <character>EVA</character> <dialogue>Well you remember yesterday, Mommer paid the bills? You have to be able to add and subtract to pay bills.</dialogue> <character>KEVIN</character> <dialogue>You used a calculator.</dialogue> <character>EVA</character> <dialogue>Well you have to know arithmetic to be sure the calculator is right.</dialogue> <character>KEVIN</character> <dialogue>Why would you use it at all if it doesn't always work.</dialogue> <character>EVA</character> <dialogue>It always works.</dialogue> <character>KEVIN</character> <dialogue>So you don't need arithmetic.</dialogue> <character>EVA</character> <parenthetical>(flustered)</parenthetical> <dialogue>To use a calculator, you still have to know what a five looks like, alright?...Now lets practise our counting. What comes after three.</dialogue> <character>KEVIN</character> <dialogue>Seven.</dialogue> <character>EVA</character> <dialogue>What comes after nine.</dialogue> <character>KEVIN</character> <dialogue>Fifty three.</dialogue> <scene_description>Kevin stares at Eva in the eye lifelessly and drones in a fast forward monotone.</scene_description> <character>KEVIN</character> <dialogue>Onetwothreefourfivesixseveneightnin eteneleventwelve...</dialogue> <scene_description>He counts up to fifty, hardly pausing for breath.</scene_description> <character>KEVIN</character> <dialogue>Now can we quit?</dialogue> <scene_description>Eva looks stunned, she feels foolish. She sits down beside him and scrawls a bunch of numbers on a piece of paper.</scene_description> <character>EVA</character> <dialogue>There! Add that up then! And multiply it by twenty five while you're at it, since you think you're so smart!</dialogue> <scene_description>She goes to hand him the paper. Smells something.</scene_description> <character>EVA</character> <dialogue>You did not.</dialogue> <scene_description>He looks at her, smiling. A FEW MINUTES LATER; On the changing table. Eva removes the stinky diaper. She somewhat gruffly lifts his ankles. Sets out the fresh one under his butt. Her eye catches on his. She studies him. He seems to be enjoying it.</scene_description> <character>EVA</character> <dialogue>Are you having a laugh out of this? Are you?</dialogue> <scene_description>He doesn't answer. She finishes taping the diaper sides, and yanks up his pants, putting him on the floor and turning to wipe her hands. O.S. A squelchy, farting sound. The unmistakable smell. She turns round, Kevin grins up at her.</scene_description> <character>EVA</character> <parenthetical>(screaming)</parenthetical> <dialogue>How do you do it! You hardly eat anything, where does it come from?!</dialogue> <scene_description>Eva is livid, she grabs him, dragging him towards the changing table, she loses it and before she knows it she's thrown him towards it. He sails though the air as if in slow motion and lands with a dull thud against the edge of the stainless steel table. His head at a quizzical tilt, he looks at her as if he is finally interested in something. Kevin's arm is splayed at an odd angle. Eva looks terrified. He does not cry.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL CORRIDOR - DAY</stage_direction> <scene_description>Eva, Kevin and DR GOLDBLATT walk down the long corridor. Kevin has a haughty expression on his face, he bravely holds his arm, a towel wrapped around it. Eva has her hand on his shoulder but he shrugs it off. They stop in front of the orthopedic surgeon's examining room. Eva is about to walk in with them. Kevin abruptly turns to her.</scene_description> <character>KEVIN</character> <dialogue>I can see the doctor by myself.</dialogue> <character>EVA</character> <dialogue>Don't you want me to keep you company honey... in case it hurts?</dialogue> <character>KEVIN</character> <dialogue>You can wait out there.</dialogue> <character>DR GOLDBLATT</character> <dialogue>That's quite a little man you've got there Eva...Sounds like you got your orders.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL WAITING ROOM - DAY</stage_direction> <scene_description>Eva. A guilt sign is practically lit up over her head. She glances at the floor, terrified to make eye contact with anyone. HOURS LATER Eva sits in the same position, waiting. She holds a tissue that she's torn to tatters. Suddenly, Doctor Goldblatt and Kevin - in a freshly minted cast, emerge. Eva swallows hard, and desperately tries to read their faces before talking.</scene_description> <character>DR. GOLDBLATT</character> <dialogue>Well.</dialogue> <scene_description>Pause.</scene_description> <character>EVA</character> <dialogue>Yes?</dialogue> <character>DR. GOLDBLATT</character> <dialogue>I've got to tell you this, Eva...</dialogue> <scene_description>Eva blanches. (beat; smiles) This is one brave young man you have here.</scene_description> <character>EVA</character> <dialogue>Oh. Yes.</dialogue> <scene_description>She places her hand delicately on the doctors arm.</scene_description> <character>EVA</character> <parenthetical>(gushing)</parenthetical> <dialogue>Thank you, thank you so much Dr Goldblatt.</dialogue> </scene> <scene> <stage_direction>INT. EVA'S CAR - DAY</stage_direction> <character>EVA</character> <parenthetical>(in bits)</parenthetical> <dialogue>What Mommer did was very, very wrong. And she's so, so sorry.</dialogue> <scene_description>Kevin sits up front, he says nothing, his expression aloof, the fingers of his plastered right arm tucked Napoleonically into his shirt.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM.</stage_direction> <scene_description>Eva holds the front door open as Kevin walks in. Kevin heads straight for the kitchen, Eva meekly follows. Franklin has his back turned, slathering some peanut butter onto a cracker, he turns to face them stuffing it into his mouth.</scene_description> <character>FRANKLIN</character> <dialogue>Jesus, Kev!.</dialogue> <scene_description>He swallows hard without chewing. He brushes the crumbs from his hands hastily and plunges to his knees before Kevin.</scene_description> <character>KEVIN</character> <dialogue>I broke my arm.</dialogue> <character>FRANKLIN</character> <dialogue>I can see that. How'd that happen?</dialogue> <scene_description>Eva looks flushed and woozy... about to confess.</scene_description> <character>KEVIN</character> <dialogue>I fell.</dialogue> <scene_description>Eva stares at Kevin in disbelief.</scene_description> <character>FRANKLIN</character> <dialogue>Where'd you fall?</dialogue> <character>KEVIN</character> <dialogue>I had poopy pants. Mommer went to get more wipes. I fell off the changing table onto my tonka truck. Mommer took me to doctor Goldbutt.</dialogue> <character>FRANKLIN</character> <dialogue>Gosh...that must have hurt!</dialogue> <character>EVA</character> <dialogue>The orthopedist says it was pretty clean and should mend well.</dialogue> <scene_description>Kevin and Eva look at each other as if sealing the pact.</scene_description> <character>FRANKLIN</character> <dialogue>Are you going to let me sign your cast?</dialogue> <character>KEVIN</character> <dialogue>Sure Dad! But first I got to go to the bathroom.</dialogue> <scene_description>He saunters off with his free hand swinging.</scene_description> <character>FRANKLIN</character> <parenthetical>(quietly)</parenthetical> <dialogue>Did I just hear right?</dialogue> <character>EVA</character> <dialogue>Guess so.</dialogue> <scene_description>Eva looks exhausted, close to tears. Franklin puts his arm round her shoulder.</scene_description> <character>FRANKLIN</character> <dialogue>Man, that must have given you a scare.</dialogue> <character>EVA</character> <dialogue>It was all my fault.</dialogue> <character>FRANKLIN</character> <dialogue>No mother can watch their kid every second.</dialogue> <scene_description>She squirms.</scene_description> <character>EVA</character> <dialogue>Yes... but I should have...</dialogue> <scene_description>Franklin raises his forefinger.</scene_description> <character>FRANKLIN</character> <dialogue>Sh-sh!</dialogue> <scene_description>A delicate trickling emerges from the hall bathroom.</scene_description> <character>FRANKLIN</character> <parenthetical>(whispering)</parenthetical> <dialogue>What do you think did the trick, just the shock...or do you think he's scared of landing back on that changing table?</dialogue> <scene_description>Eva shrugs... Jesus.</scene_description> </scene> <scene> <stage_direction>EXT. FRIENDLY'S RESTAURANT - DAY</stage_direction> <scene_description>Kevin stuffs his mouth with a giant banana split sundae. He whittles it down in workman-like fashion. Across from him, Eva sits contritely.</scene_description> <character>EVA</character> <dialogue>How is it?</dialogue> <scene_description>Kevin nods without looking up. He keeps eating.</scene_description> </scene> <scene> <stage_direction>INT. EVA'S CAR - DAY</stage_direction> <character>EVA</character> <dialogue>Do you mind if we stop off at the store honey?</dialogue> <character>KEVIN</character> <dialogue>I wanna go home.</dialogue> <character>EVA</character> <parenthetical>(swallowing)</parenthetical> <dialogue>Home it is then.</dialogue> </scene> <scene> <stage_direction>INT. HALL, OUTSIDE KEVIN'S BEDROOM - NIGHT</stage_direction> <scene_description>Eva tentatively knocks on Kevin's door.</scene_description> <character>KEVIN</character> <dialogue>Not yet!</dialogue> <scene_description>She waits outside for a long moment. OK. Eva enters the room, Kevin is sat on top of his bed. He is dressed awkwardly. One arm in the sleeve of his pyjama top, the other underneath it. She kisses Kevin's forehead, he wipes it off.</scene_description> <character>EVA</character> <dialogue>I love you, kiddo.</dialogue> <character>KEVIN</character> <dialogue>Nyeh NYEE nyeh, nyeh-nyeeeeh!</dialogue> </scene> <scene> <stage_direction>INT. EVA AND FRANKLIN'S BEDROOM - SUMMER AFTERNOON.</stage_direction> <scene_description>Eva wanders round the room on the phone.</scene_description> <character>EVA</character> <dialogue>And how about JAPWAP? we're gonna need... oh it's already done...Oh great.. and the updates for europe? Really? That's fantastic...</dialogue> <scene_description>Eva's face doesn't look so fantastic, she passes a framed photo, her favorite, showing a much younger, fresher and enthusiastic Eva on a trip to Holland, she grimaces at it.</scene_description> <character>EVA</character> <dialogue>...well I guess that's it for now, don't hesitate to call if you need anything...thanks Sally, bye.</dialogue> <scene_description>She hangs up looking a little lost, surplus to requirements. She looks down at the yard outside. Franklin whoops as Kevin, his arm now out of the cast, lamely throws the ball into his mitt. Eva's face reflected in the glass, she presses her hand against the pane.</scene_description> </scene> <scene> <stage_direction>INT. EVA'S CAR, AFTER SCHOOL RUN - DAY</stage_direction> <scene_description>Eva, bored, stuck in a row of yummy mommies in their people carriers and SUV's. Kevin equally bored, strapped in the back. O.S. Construction noise. She glances out the window.</scene_description> <character>EVA</character> <parenthetical>(under her breath)</parenthetical> <dialogue>Jesus..just what we need... another Pottery Barn.</dialogue> <scene_description>She yawns and flicks on the C.D. player. Elgar swims out and she closes her eyes for a minute savoring the peace in the music.</scene_description> <character>KEVIN</character> <dialogue>I don't like that, turn it off.</dialogue> <scene_description>Eva sighs and flicks the music off, resignedly. A long boring silence, interspersed with beeping horns and construction.</scene_description> <character>EVA</character> <parenthetical>(brightly, forced)</parenthetical> <dialogue>What shall we do when we get home?</dialogue> <scene_description>No response. She sighs.</scene_description> <character>EVA</character> <dialogue>Shall we read a book?</dialogue> <character>KEVIN</character> <dialogue>What if the book is boring.</dialogue> <character>EVA</character> <dialogue>Then we'll find a different one.</dialogue> <character>KEVIN</character> <dialogue>What if they're all boring.</dialogue> <character>EVA</character> <dialogue>I don't think that's possible Kevin.</dialogue> <character>KEVIN</character> <dialogue>I think it's possible.</dialogue> <character>EVA</character> <dialogue>When you grow up you'll need a job and then you'll have to be able to read and write really well or no one will want to hire you.</dialogue> <character>KEVIN</character> <dialogue>Dad doesn't write. He drives around and takes pictures.</dialogue> <character>EVA</character> <dialogue>There are other jobs.</dialogue> <character>KEVIN</character> <dialogue>What if I don't want a job?</dialogue> <character>EVA</character> <dialogue>Then you'd have to go on welfare. The government would give you just a little money but not enough to do anything fun.</dialogue> <character>KEVIN</character> <dialogue>What if I don't want to do anything?</dialogue> <character>EVA</character> <dialogue>I bet you will.</dialogue> <character>KEVIN</character> <dialogue>I think I want to go on welfare.</dialogue> </scene> <scene> <stage_direction>INT. EVA'S INKY STUDY - DAY</stage_direction> <character>MAN'S VOICE (O.S.)</character> <dialogue>You tell your kid it's not funny!</dialogue> <scene_description>O.S. Muffled heated voices. Eva listens from the study...she walks to the landing, peering downstairs. Franklin holds the door open to ROGER CORLEY, flushed and sweating, slightly ridiculous in his tight shorts and expensive cycling shoes that leave him pigeon toed.</scene_description> <character>FRANKLIN</character> <dialogue>I'm sorry Rog... maybe Trent was fooling around with the release himself and doesn't wanna take the rap. Doesn't mean my kid has to. OK?</dialogue> <scene_description>The front door closing, hard.</scene_description> </scene> <scene> <stage_direction>INT. INKY STUDY - LATER</stage_direction> <scene_description>Franklin hangs in the door frame.</scene_description> <character>FRANKLIN</character> <dialogue>What a dick...</dialogue> <character>EVA</character> <dialogue>Is the kid alright?</dialogue> <character>FRANKLIN</character> <dialogue>Yeah, he'll be fine, unless he inherits his dad's dress sense.</dialogue> <parenthetical>(looking around)</parenthetical> <dialogue>When are you gonna let me paint this room?</dialogue> <character>EVA</character> <parenthetical>(shrugging)</parenthetical> <dialogue>I don't know, I'm getting to like it, kinda Jackson Pollack... are you gonna talk to Kevin or shall I?</dialogue> <character>FRANKLIN</character> <dialogue>What for? Can't see he's done anything wrong...</dialogue> <scene_description>Franklin wanders off down the hall. Eva's face, you never do.</scene_description> </scene> <scene> <stage_direction>INT. THE KITCHEN - LATER</stage_direction> <scene_description>Eva fixes dinner, Kevin skulks around behind her.</scene_description> <character>EVA</character> <dialogue>Your friend Trent hurt himself quite bad, he'll be alright but maybe you can make him a get well card.</dialogue> <scene_description>Kevin shrugs...walking off.</scene_description> <character>KEVIN</character> <dialogue>Yeah well...he thinks he's so cool with that bike.</dialogue> <scene_description>Eva's face. Bike? I didn't say bike.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - EVENING</stage_direction> <scene_description>Franklin slouches next to Eva on the couch, Kevin sat on the floor in front of them. Braveheart is playing on the TV, the climactic scene... Mel is tied to the rack, slowly being eviscerated. Eva squeals and holds her hands over her eyes. Through her fingers she notices Kevin look up at the screen casually, with no sign of reaction. He's more absorbed in coloring all the white squares on a crossword in black. She turns to Franklin who's virtually asleep and looking cute as a button.</scene_description> <character>EVA</character> <dialogue>Hey...</dialogue> <scene_description>No response, she nudges him.</scene_description> <character>FRANKLIN</character> <parenthetical>(coming to)</parenthetical> <dialogue>Wha?</dialogue> <character>EVA</character> <dialogue>What do you think about having another one?</dialogue> <scene_description>He sits up sharply.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT</stage_direction> <scene_description>Franklin loads the dishwasher moodily, his tones hushed but forced.</scene_description> <character>FRANKLIN</character> <dialogue>...You got to be kidding..after the way it's gone to want to do it again?</dialogue> <character>EVA</character> <dialogue>The way it's gone?</dialogue> <character>FRANKLIN</character> <dialogue>You've complained about the poor kid at every stage of the game.</dialogue> <character>EVA</character> <dialogue>That's not fair. Yes, he's been difficult...</dialogue> <character>FRANKLIN</character> <dialogue>He's not difficult. He's a boy</dialogue> <character>EVA</character> <dialogue>I thought you'd be overjoyed.</dialogue> <character>FRANKLIN</character> <dialogue>Overjoyed? I'm shocked. I'm doing what I can to make up for... sorry if this hurts... your coldness but I'm damned if I'm going to let you freeze out another kid of mine.</dialogue> <scene_description>Eva looks stunned. Franklin slams the dishwasher shut with an air of finality.</scene_description> </scene> <scene> <stage_direction>INT. LOT OF SCHOOL YARD - DAY</stage_direction> <scene_description>Mother's hang in gaggling groups outside the school exchanging gossip and one-upmanship over their gorgeous children. Eva sits in the car observing from a safe distance. Noisy kids pour into the yard. A cute little girl runs straight to her waiting mother, waving a piece of paper.</scene_description> <character>LITTLE GIRL</character> <dialogue>Mommee!...Mommee...</dialogue> <scene_description>The kid holds up a pretty colorful drawing, pointing enthusiastically...</scene_description> <character>LITTLE GIRL</character> <dialogue>See that's you and that's daddy...</dialogue> <scene_description>The mom lifts the kid into her arms.</scene_description> <character>MOM</character> <dialogue>That's just wonderful darling...</dialogue> <scene_description>Kevin appears and sullenly saunters towards Eva holding a couple of sheets of sugar paper. She braces herself and opens the door for him.</scene_description> <character>EVA</character> <parenthetical>(talking to Kevin voice)</parenthetical> <dialogue>Hey kiddo what you got there!</dialogue> <scene_description>He moodily hands her the drawings, the first a formless jagged black and purple scribble.</scene_description> <character>EVA</character> <dialogue>Is that a storm honey?</dialogue> <scene_description>Kevin shrugs. The second one is almost exactly the same as the first.</scene_description> <character>EVA</character> <dialogue>Wow that has so much energy!</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM - EVENING</stage_direction> <scene_description>Eva brushes her teeth.</scene_description> <character>FRANKLIN (O.S.)</character> <parenthetical>(sexily, from the bedroom)</parenthetical> <dialogue>Hey! Get in here...</dialogue> <scene_description>Eva rinses and spits.</scene_description> <character>EVA</character> <dialogue>Coming..</dialogue> <scene_description>She opens the mirrored bathroom cabinet door and picks up the plastic box containing her diaphragm, looks at it for a moment and then places it back on the shelf. She skips out of the bathroom, flicking off the light. INT - KITCHEN - EVENING Franklin and Kevin are sitting finishing dinner, Eva stands at the kitchen counter whistling cheerily, helping herself to more moussaka.</scene_description> <character>KEVIN</character> <dialogue>Mommer's fat.</dialogue> <scene_description>Eva blows out her cheeks.</scene_description> <character>EVA</character> <dialogue>That's right, I'm a big fat pig oink oink...</dialogue> <scene_description>Franklin looks up at her, a pause, his full mouth falls open.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - NIGHT</stage_direction> <scene_description>Franklin behind Eva in the mirror as she washes her face.</scene_description> <character>FRANKLIN</character> <parenthetical>(furious but trying to keep his voice down)</parenthetical> <dialogue>So when exactly were you planning to tell me?</dialogue> <character>EVA</character> <dialogue>Soon...now.</dialogue> <scene_description>He glares at her then storms out.</scene_description> <character>FRANKLIN (O.S.)</character> <dialogue>Well I know you don't give a shit what I think but could you at least tell me what this is about?</dialogue> <scene_description>Eva glances up at her reflection in the mirror. Franklin is crashing around in the bedroom.</scene_description> <character>EVA</character> <parenthetical>(almost to herself)</parenthetical> <dialogue>I have to find something out.</dialogue> <character>FRANKLIN (O.S.)</character> <dialogue>Stupidest thing you could do to shore up a shaky marriage is have a baby!</dialogue> <character>EVA</character> <dialogue>Is our marriage shaky?</dialogue> <character>FRANKLIN</character> <parenthetical>(reappearing in the doorway)</parenthetical> <dialogue>You just shook it.</dialogue> </scene> <scene> <stage_direction>INT. KEVIN'S ROOM - DAY</stage_direction> <scene_description>Kevin sits at his play table systematically breaking each of the crayons in his set into pieces.</scene_description> <character>EVA</character> <dialogue>...so the daddy bear plants his seed in the Momma bear and it grows into an egg and...</dialogue> <character>KEVIN</character> <dialogue>Is this about fucking?</dialogue> <character>EVA</character> <dialogue>Better to call it 'sex' Kevin. That other word is going to offend some people.</dialogue> <character>KEVIN</character> <dialogue>That's what everybody calls it.</dialogue> <character>EVA</character> <dialogue>Do you know what that means?</dialogue> <scene_description>Kevin rolls his eyes.</scene_description> <character>KEVIN</character> <dialogue>The boy puts his pee-pee in the girl's doo-doo.</dialogue> <character>EVA</character> <dialogue>Well Mommer and Daddy do that sometimes too.</dialogue> <character>KEVIN</character> <dialogue>What for?</dialogue> <character>EVA</character> <dialogue>Well for one thing, so you could keep us company... it might be nice for you to have some company too. Haven't you ever wished you had someone around the house to play with?</dialogue> <character>KEVIN</character> <dialogue>No.</dialogue> <character>EVA</character> <dialogue>How about a new little brother or sister... You might find out you like it?</dialogue> <character>KEVIN</character> <dialogue>What if I don't like it?</dialogue> <character>EVA</character> <dialogue>Then you'll get used to it.</dialogue> <character>KEVIN</character> <dialogue>Just because you're used to something doesn't mean you like it.... (Snapping the magenta crayon) You're used to me.</dialogue> <character>EVA</character> <dialogue>Yes... well... in a few months we'll all get used to someone new!</dialogue> <scene_description>Kevin struggles manfully with a much shorter, and therefore harder to break piece of crayon.</scene_description> <character>KEVIN</character> <dialogue>You'll be sorry.</dialogue> <scene_description>The crayon snaps.</scene_description> </scene> <scene> <stage_direction>INT. DEN - EARLY EVENING</stage_direction> <scene_description>Eva pours herself a small glass of wine doodling on a pad playfully. Franklin and Kevin on the sofa glued to CNN; the gulf war crisis.</scene_description> <character>EVA</character> <dialogue>Hey what about Celia...if it's a girl?</dialogue> <character>FRANKLIN</character> <parenthetical>(over his shoulder to Eva)</parenthetical> <dialogue>Sure, whatever you want... can you pour me a glass of that?</dialogue> <character>KEVIN</character> <dialogue>Why don't they just nuke'em dad? That'd teach the Raquis who's boss!</dialogue> <scene_description>Franklin can't help but laugh, he ruffles Kevin's hair, Eva rolls her eyes.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - DAY</stage_direction> <scene_description>Eva looks glowing and happy as the new baby suckles gently on her breast. A KNOCK at the door. Franklin and Kevin enter. Kevin wears am 'I'm a big brother T-shirt' clearly fresh from the shop, he slouches at the side of the bed. Eva looks at tiny Celia in her arms with a doting expression.</scene_description> <character>EVA</character> <dialogue>Hey Kevin... like to meet your little sister?</dialogue> <character>KEVIN</character> <dialogue>Why should I meet it? It's coming home with us, isn't it. That means I'll meet it everyday.</dialogue> <scene_description>He moves moodily towards the pitcher of water beside Eva's bed, he dips his hand in it and moves towards the baby, splattering the drops from his fingers in the baby's eyes with a clinical curiosity. Celia twists, a little disconcerted but doesn't cry. Eva glances at Franklin uncomfortably as Kevin dips his hand in the water again. Eva tactfully moves her out of his reach.</scene_description> <character>FRANKLIN</character> <dialogue>C'mon Kev, mom's got to get dressed, lets go find some snacks huh?</dialogue> <scene_description>He leads Kevin away by the hand.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - DAY</stage_direction> <scene_description>Celia's little eyelashes bat sleepily as Eva rocks her gently in her arms, her tiny hand grips Eva's thumb. Eva ecstatic, amazed, she holds Celia comfortably, her round face and wisp of blond hair make her look more like Franklin's child as she suckles quietly. The baby is done at her breast and she stands up, jiggling her a little and holding her over her shoulder to burp her. As she wanders round the room, cooing to Celia, She notices an empty frame, the Amsterdam photo's missing. She stops.</scene_description> <character>EVA</character> <dialogue>Son of a....</dialogue> </scene> <scene> <stage_direction>INT. THE KITCHEN - DAY - 4 YRS LATER</stage_direction> <scene_description>Celia now 4 yrs old and the cutest thing you've ever seen lies placidly, not struggling, spread-eagled on her back. Strips of duct tape pin her to the floor, another piece stuck over her mouth... It's such an odd image, darkly humourous.</scene_description> <character>EVA (O.S.)</character> <dialogue>Jesus! What the....</dialogue> <scene_description>Eva bends down next to her and gently removes the tape from Celia's mouth. Celia smiles up at her.</scene_description> <character>CELIA</character> <dialogue>Me and Kewin where playing kidnapping!</dialogue> <character>EVA</character> <parenthetical>(aiming her voice at the roof)</parenthetical> <dialogue>Kevin!</dialogue> </scene> <scene> <stage_direction>INT. THE KITCHEN - MOMENTS LATER</stage_direction> <scene_description>Celia stands frozen to the spot, her eyes wide with fear, her hands extended away from her, palms upward. They are covered in flour.</scene_description> <character>CELIA</character> <parenthetical>(tremulous)</parenthetical> <dialogue>Dry dirt...Mommy... dry dirt.</dialogue> <character>EVA</character> <parenthetical>(slightly exasperated)</parenthetical> <dialogue>Oh come on Celie, it's only flour.</dialogue> <scene_description>Eva bends down and wipes Celia's hands. Celia inspects them carefully.</scene_description> <character>CELIA</character> <dialogue>All gone?</dialogue> <scene_description>Eva nods.</scene_description> <character>EVA</character> <dialogue>All gone... can you lay the table for me now honey?</dialogue> <scene_description>Celia nods happily and skips off to the table just as Kevin, (now ten, but with the sullen moody air of a teenager) skulks into the room. Celia rushes to him, throwing her arms around his leg in a tight grip.</scene_description> <character>CELIA</character> <dialogue>Kewin! Your my friend!</dialogue> <scene_description>Kevin shoves her away and slouches down at the table.</scene_description> <character>KEVIN</character> <dialogue>Beat it Celie, go get me a soda.</dialogue> <scene_description>Celia dutifully runs off to the fridge, returning with a coke.</scene_description> <character>KEVIN</character> <dialogue>Not that one you idiot, get me a Dr. Pepper...</dialogue> <scene_description>She runs off again, Eva rolls her eyes.</scene_description> <character>CELIA</character> <dialogue>Here you are!</dialogue> <scene_description>Kevin takes his drink.</scene_description> <character>KEVIN</character> <dialogue>Thanks Celie... know who else is thirsty?</dialogue> <scene_description>Celia shakes her head warily. Kevin reaches behind him and picks up the tube of the vacuum cleaner and flicks on the switch, the machine comes to life with a roar.</scene_description> <character>KEVIN</character> <dialogue>The VACUUM MONSTER!</dialogue> <scene_description>A high pitched scream, Celia tears across the room and clings on to Eva.</scene_description> <character>CELIA</character> <dialogue>Momee! Momee!</dialogue> <scene_description>Eva's hands are full as she prepares dinner.</scene_description> <character>EVA</character> <dialogue>For God's sake Kevin will you cut it out!</dialogue> <scene_description>O.S. the front door opening.</scene_description> <character>FRANKLIN (O.S.)</character> <dialogue>Hey troops!</dialogue> <scene_description>Kevin flicks off the vacuum; the wicked expression on his face disappears, replaced by a cheerful smile just as Franklin enters the room.</scene_description> <character>KEVIN</character> <dialogue>Hi Dad!...How was work today?... Did you take any pictures of cool stuff! Any more loaded people's houses?</dialogue> <scene_description>Celia, breathlessly excited to see Franklin, runs off and appears seconds later clutching a piece of paper.</scene_description> <character>CELIA</character> <dialogue>Daddy, daddy, wanna see my picture?</dialogue> <scene_description>Franklin pats her on the head as she proudly displays her drawing, he gives it a cursory glance.</scene_description> <character>FRANKLIN</character> <dialogue>That's nice hon.</dialogue> <scene_description>He instantly returns his attention to Kevin, Eva can't help noticing.</scene_description> <character>FRANKLIN</character> <parenthetical>(digging in his bag)</parenthetical> <dialogue>Hey Kev... check these out, came out beautifully....</dialogue> <scene_description>Kevin comes over and looks through the photos excitedly, a little too excitedly?</scene_description> <character>KEVIN</character> <dialogue>Gee Dad! If our bathroom's in a toothpaste ad, does that make us famous.</dialogue> <character>FRANKLIN</character> <dialogue>Just a little famous.</dialogue> <scene_description>Eva stands at the counter, flicking through the paper Franklin's brought home. "OFFICE WORKER KILLS SEVEN OVER MISSING PAY CHECK"</scene_description> <character>EVA</character> <parenthetical>(wisecracking)</parenthetical> <dialogue>To be really famous in this country, you've got to kill somebody.</dialogue> </scene> <scene> <stage_direction>INT. HALL - MIDDLE OF THE NIGHT</stage_direction> <scene_description>Eva snuggled in Franklin's arms. The bedroom door swings open and Celia appears shivering clutching her nightdress between her legs.</scene_description> <character>CELIA</character> <dialogue>Mommee?</dialogue> <scene_description>Franklin groans. Eva rouses.</scene_description> <character>EVA</character> <dialogue>What's the matter honey?</dialogue> <character>CELIA</character> <dialogue>I'm scared to go bathroom.</dialogue> <scene_description>Eva sighs. She gets up and escorts Celia. O.S. The sound of peeing. Eva returns a moment later, slips back into bed.</scene_description> <character>FRANKLIN</character> <parenthetical>(sleepily)</parenthetical> <dialogue>Jesus...you have to stop coddling her.</dialogue> </scene> <scene> <stage_direction>INT. THE KITCHEN - DAY</stage_direction> <scene_description>Eva sits at the table reading. O.S. Wailing from Celia. She walks into the room brandishing a pink plastic "My Little Pony" It's face and hair twisted and matted, melted after being held over a flame.</scene_description> <character>EVA</character> <dialogue>Kevin!</dialogue> <scene_description>No response. Eva tuts and gets up.</scene_description> <character>EVA</character> <dialogue>Kevin, how many times have I told you to leave Celie's stuff alone...</dialogue> <scene_description>She pads up the stairs.</scene_description> <character>EVA</character> <dialogue>Kevin?</dialogue> <scene_description>Kevin's little feet are splayed out on the carpet, he lies on his belly, almost in the recovery position, his face sweaty and pale.</scene_description> <character>EVA</character> <dialogue>Kevin?</dialogue> <scene_description>She rushes towards him and is astonished when he allows her to lift him and actually puts his arm around her neck.</scene_description> </scene> <scene> <stage_direction>INT. KEVIN'S ROOM -DAY</stage_direction> <scene_description>Eva lays Kevin on the bed, he's limp and placid. She pulls out a pair of clean PJ's from the drawer.</scene_description> <character>KEVIN</character> <parenthetical>(whispered weakly)</parenthetical> <dialogue>Can you get me the spaceman ones, I like the monkey in the rocket.</dialogue> <scene_description>Eva double takes, Kevin likes something!?</scene_description> <character>EVA</character> <dialogue>Sure honey.</dialogue> <scene_description>She rifles through the drawers but can't find them, she empties out the laundry basket, searching almost desperately through the dirty clothes until she eventually pulls them out.</scene_description> <character>EVA</character> <dialogue>I'll wash these and make them nice and fresh so you can wear them tomorrow.</dialogue> <character>KEVIN</character> <dialogue>Thanks Mom.</dialogue> <character>EVA</character> <dialogue>I'll be right back OK?</dialogue> <scene_description>Kevin nods weakly. Eva leaves the room, her eyes wide in astonishment, who is this boy?</scene_description> </scene> <scene> <stage_direction>INT. KEVIN'S ROOM - LATER</stage_direction> <scene_description>Kevin's pale face looking strangely beautiful as he sucks gently on the bud of a thermometer. Eva takes it out and looks at it worriedly. Christ 101. Celia runs into the room waving a piece of paper.</scene_description> <character>CELIA</character> <dialogue>Hey Kewin...</dialogue> <scene_description>Eva winces expecting a rebuttal. Kevin takes the drawing.</scene_description> <character>KEVIN</character> <dialogue>That's nice Celie... can you do me another?</dialogue> <scene_description>Celia nods and scoots off. Suddenly the expression on Kevin's face changes, he jumps out of bed and runs for the en suite... too late, he vomits copiously over the carpet. LATER; Eva cleans up the last of the stain, wringing a cloth into a basin. Kevin is in bed looking a little ashamed.</scene_description> <character>KEVIN</character> <parenthetical>(mumbled weakly)</parenthetical> <dialogue>I'm sorry Mom.</dialogue> <character>EVA</character> <dialogue>Not to worry, sweetheart, you couldn't help it.</dialogue> </scene> <scene> <stage_direction>INT. THE HALLWAY - NIGHT</stage_direction> <scene_description>Eva watches as Franklin, just back from work, his bag slung over one shoulder, comic books and presents under the other, pokes his head carefully round Kevin's door.</scene_description> <character>FRANKLIN</character> <parenthetical>(whispered)</parenthetical> <dialogue>Hey champ, how you doing?</dialogue> <character>KEVIN (O.S.)</character> <dialogue>Go away, I'm tired.</dialogue> <character>FRANKLIN</character> <dialogue>Errr.. OK, sure thing buddy, you get some rest...</dialogue> <scene_description>He closes the door and looks at Eva, disappointed, a little jealous?</scene_description> <character>EVA</character> <parenthetical>(putting her arms round him)</parenthetical> <dialogue>Don't worry... they always want their moms when they're sick...</dialogue> <character>KEVIN (O.S.)</character> <dialogue>Mom!</dialogue> <scene_description>Eva smiles a little apologetically and disappears into Kevin's room.</scene_description> </scene> <scene> <stage_direction>INT. KEVIN'S ROOM - DAY</stage_direction> <scene_description>Eva sits on the bed reading from "Robin Hood". Kevin lies quietly next to her. As she reads she notices him edge slowly closer to her... should she risk it? Gently she lifts up his head and lays it in her lap, he lets her. She strokes his hair, gently, incredulously.</scene_description> <character>KEVIN</character> <dialogue>Don't stop reading Mom....</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY - DAY</stage_direction> <scene_description>Eva pushes Kevin's door open. He's already up, looking much healthier, pulling on his jeans.</scene_description> <character>EVA</character> <dialogue>Here, let me help you with that.</dialogue> <character>KEVIN</character> <dialogue>I can dress myself. Can you leave.</dialogue> <scene_description>Eva looks taken aback.</scene_description> <character>EVA</character> <dialogue>Okay...I'm glad you're feeling better... Would you like some more chowder for lunch?</dialogue> <character>KEVIN</character> <dialogue>Whatever.</dialogue> <character>EVA</character> <dialogue>Or maybe a grilled cheese sandwich?</dialogue> <character>KEVIN</character> <dialogue>I don't give a rat's ass.</dialogue> <scene_description>OK... Eva gently closes the door.</scene_description> </scene> <scene> <stage_direction>INT. THE KITCHEN - DAY</stage_direction> <scene_description>Eva stands at the sink watching as Franklin helps Kevin, (resplendent in a Lincoln green hat with a feather and clutching an expensive looking toy bow and arrow) to set up a target at the end of the garden.</scene_description> <character>KEVIN</character> <dialogue>Thanks dad, this is so cool!</dialogue> <scene_description>Kevin turns and aims at the window, the arrow clatters against the glass.</scene_description> <character>EVA</character> <dialogue>Hey! Be careful with that thing!</dialogue> <scene_description>FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. HALL - DAY</stage_direction> <scene_description>Eva struggles down the hall, her arms full of laundry. The bathroom door is ajar, she elbows it open. Kevin, (now 14, skinny, pointy faced but with brooding dark good looks) stands hunched in the centre of the room, his trousers round his ankles, beating himself off fiercely. A half empty pack of "land 'o lakes" butter sits on the side of the bath. Eva gulps but stares at him squarely in confrontation, expecting embarrassment. Kevin shoots her a sleepy sly grin... but he doesn't stop. Eva slams the door hard and stomps off down the corridor her cheeks burning. O.S. A dry chuckle from Kevin.</scene_description> </scene> <scene> <stage_direction>INT. EVA'S CAR, DRIVE - EVENING</stage_direction> <scene_description>Eva, sat in her car, the engine running. She drums her fingers on the wheel, beeps the horn a few times. Kevin saunters out of the house, dressed in a pair of jeans that might have fit when he was ten, they hover above his ankles, the zip doesn't do up and the tight denim explicitly reveals his package. A tiny white T-shirt completes the look. She beeps again, he seems to slow intentionally, casually opens the door.</scene_description> <character>EVA</character> <dialogue>Can't you wear something that actually fits you?</dialogue> <scene_description>Kevin sneers at her and slips into the car. LATER The car approaches the gates of the high school. Kevin shifts in his seat. A dopey looking boy, (LENNY) Kevin's age, dressed in an identical miniature T-shirt and with a freshly pierced nose glowing pussily, skulks by the gates.</scene_description> <character>KEVIN</character> <dialogue>Lemme out here.</dialogue> <character>EVA</character> <dialogue>Sure ...don't want to be seen arriving with your mother do you?</dialogue> <scene_description>Kevin gives her a 'that's right' look, she stops and he gets out, sloping off with Lenny.</scene_description> </scene> <scene> <stage_direction>EXT. THE GYM - EVENING</stage_direction> <scene_description>Eva struggles to open the gym doors , a large tray of sandwiches balanced in her arms. A good looking, athletic, black kid, immaculately dressed in a polo shirt and chinos runs to open the door for her.</scene_description> <character>BOY</character> <parenthetical>(smiling broadly)</parenthetical> <dialogue>There you go Mrs Kachadourian...</dialogue> <character>EVA</character> <dialogue>Thank you....err...</dialogue> <character>BOY</character> <dialogue>Soweto....Soweto Washington.</dialogue> <scene_description>Eva is about to go in when an impeccably dressed MARY WOOLFORD and her daughter (LAURA),who's sparkly dress looks like it cost thousands push past, almost knocking her tray to the ground. They ignore both Eva and Soweto, who is still holding the door open. Eva raises her eyebrows and pulls a face for Soweto's benefit, he flashes a bright smile. They walk to the gym together, a few parents hanging around, the keener students helping to fix the bunting and disco lights.</scene_description> <character>SOWETO WASHINGTON</character> <dialogue>See you later.</dialogue> <scene_description>He jogs off, scooping up a stray basket ball as he passes, he turns and leaps gazelle-like in the air, sending the ball sailing the length of the gym and straight through the hoop.</scene_description> <character>EVA</character> <dialogue>Hey, nice shot.</dialogue> <scene_description>Soweto shoots back another winning smile.</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL GYM - EVENING</stage_direction> <scene_description>CLOSE UP, a small glass vial held in a man's hand.</scene_description> <character>PRINCIPAL</character> <dialogue>This is a crack cocaine vial.</dialogue> <scene_description>He passes it round a small group of parents. Mary Woolford hands it to Eva.</scene_description> <character>MARY WOOLFORD</character> <dialogue>What about metal detectors?</dialogue> <character>PRINCIPAL</character> <dialogue>There's just not enough money in the budget...Every kid will be frisked on the way in...</dialogue> <character>EVA</character> <parenthetical>(to Mary)</parenthetical> <dialogue>Hey why don't we just get Delta force in to do the strip searches.</dialogue> <character>MARY WOOLFORD</character> <dialogue>It's not something to joke about.</dialogue> <character>EVA</character> <dialogue>Okay....</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL GYM - LATER.</stage_direction> <scene_description>The cavernous gym is decked out with brightly colored bunting and a large mirrored ball spins slowly round catching the light, echoey retro music. The kids line the walls, trying to look cool, no one dances. Eva notices Kevin, keeping his distance, slumped against a pillar. Lenny next to him laughing dumbly. Nearby, Mary Woolford holds court.</scene_description> <character>MOTHER (O.S.)</character> <dialogue>Well doesn't Laura look dazzling tonight, you must be so proud!</dialogue> <scene_description>Mary beams. Eva rolls her eyes and turns away.</scene_description> <character>SOWETO WASHINGTON</character> <parenthetical>(appearing at her side)</parenthetical> <dialogue>Thought you might like some punch, Mrs Kachadourian?</dialogue> <scene_description>Another huge smile.</scene_description> <character>EVA</character> <parenthetical>(unaccountably embarrassed)</parenthetical> <dialogue>Oh sure...thanks Soweto.</dialogue> <scene_description>Eva takes a sip, hiding her embarrassed grin. Over the rim of her cup she sees Kevin point in their direction, whispering something to Lenny who starts guffawing like a donkey.</scene_description> <character>EVA</character> <dialogue>Could probably do with a slug of Vodka.</dialogue> <scene_description>Soweto laughs. She looks at the empty dance floor.</scene_description> <character>EVA</character> <dialogue>Jeez...is anybody going to dance at this thing?</dialogue> <scene_description>The DJ segues into 'STAIRWAY TO HEAVEN'</scene_description> <character>EVA</character> <dialogue>Christ, Stairway...that'll help.</dialogue> <scene_description>Laura Woolford and her little posse of 'hot girls' prance past, the boys eyes on them as they catwalk their way to the rest room, flicking their hair. They pass Kevin's corner and alter their route, taking a detour as if being ten feet from these two is infectious. Eva's sure she sees something in Kevin's eyes as Laura passes, taking in her long shiny hair, her incredibly short dress. Her attention is diverted as a lone girl, pale and geeky; walks to the centre of the floor. The poor girl's mom is clearly ninety, she's dressed her for a prom circa 1947. Puffy frilly dress, patent shoes and a bow in her hair. Extending her arms she lunges in ever widening circles, eyes closed, oblivious to the fact that her enthusiastic twirls are exposing her panties. Something beautiful in her total lack of inhibition...Eva can't help but be enchanted. Suddenly, out of nowhere, Kevin appears, heading towards her like a scud missile; calculated so that the girl's next pirouette will land her ear exactly in line with his mouth. He leans towards her, whispers something. She freezes. Her eyes darting left and right like she'd just woken up naked in the street. Kevin sidles off. Everyone now staring at the girl, sniggering openly as she flounders back and forth, a slow motion death dance, desperate to keep up appearances by bobbing to a few more bars. Mercifully the track ends, the girl hurriedly gathers up her skirt and hobbles off to a darkened corner. She sits head down, hunched over, her elbows awkward, each hand fighting for cover under the other. Eva drains her punch, now she really needs a drink.</scene_description> </scene> <scene> <stage_direction>INT. LOUNGE - EVENING</stage_direction> <scene_description>Franklin is still munching his way through a huge plate of pasta. Eva leans back in her chair, a glass of wine in one hand; reading something aloud to him.</scene_description> <character>EVA</character> <parenthetical>(sarcastically)</parenthetical> <dialogue>Niger is part of Nigeria. Nigeria is full of Niger. The river Niger flows through...</dialogue> <character>FRANKLIN</character> <parenthetical>(holding a hand up)</parenthetical> <dialogue>Okay, okay, I get it....you can't say it's not factual...</dialogue> <scene_description>Eva sneers.</scene_description> <character>EVA</character> <dialogue>You do know that Mr Johnson's African-american right?</dialogue> <scene_description>O.S. The doorbell rings. Franklin looks quizzical but goes to answer it. Stay on Eva's face. O.S. The door opening, the crackle of a police radio.</scene_description> <character>POLICE OFFICER(O.S.)</character> <dialogue>Mr Kachadourian?</dialogue> <character>FRANKLIN(O.S.)</character> <dialogue>Plaskett, but that's my son. Has something happened?</dialogue> </scene> <scene> <stage_direction>INT. LOUNGE - NIGHT</stage_direction> <character>KEVIN</character> <dialogue>It was water babies Dad, I swear I...</dialogue> <scene_description>Franklin grabs Kevin's upper arm and pushes him against the wall.</scene_description> <character>FRANKLIN</character> <dialogue>You could have caused a pile up, a fucking catastrophe!</dialogue> <scene_description>Eva stays in the background her arms folded, her face withholding something, satisfaction?</scene_description> </scene> <scene> <stage_direction>INT. LOUNGE - LATER</stage_direction> <scene_description>Back on Eva's face as she pours herself another drink. O.S. The rise and fall of Franklin's voice furiously yelling...then a lull. Kevin's voice, quiet, reasonable, placating. Eva grins ruefully to herself, here comes the horse-shit. Franklin appears, much calmer, he sits down beside Eva.</scene_description> <character>FRANKLIN</character> <dialogue>Listen, the whole caper was Lenny's idea, he was only talking about water babies....You know how kids think that sort of thing is funny.</dialogue> <character>EVA</character> <dialogue>What about the bricks?</dialogue> <character>FRANKLIN</character> <dialogue>Well they ran out of water babies...before he know it Lenny had pitched a stone when a car was coming. Kevin said he immediately told Lenny not to do that since somebody could get hurt.</dialogue> <character>EVA</character> <dialogue>Yeah, that sure sounds like Kevin.</dialogue> <scene_description>Franklin sighs.</scene_description> <character>FRANKLIN</character> <dialogue>Jesus Eva...It was spectacularly dumb, he admits that. Anyway they ran, didn't get very far since he realized running was crazy so he grabbed Lenny's jacket to put the brakes on...and here's the thing, it seems our friend Lenny Pugh already has something on his record so Kevin took the rap. I have to say I felt kind of dumb for laying into him like that...</dialogue> <character>EVA</character> <parenthetical>(incredulous)</parenthetical> <dialogue>You apologized?</dialogue> <character>FRANKLIN</character> <dialogue>Sure, any parents got to admit when they make a mistake.</dialogue> <scene_description>Eva looks dumbstruck.</scene_description> </scene> <scene> <stage_direction>INT. HALL - DAY</stage_direction> <scene_description>Eva emerges from her study, she hears muffled voices coming from Kevin's room, she stops, listens.</scene_description> <character>LENNY (O.S.)</character> <dialogue>Like you were so smooth dude, I thought that fat fuck was going to kick the shit out of you because you were like driving him insane. "Sir I really must protest, sir."</dialogue> <character>KEVIN (O.S.)</character> <dialogue>Yeah, well lucky for you I got Mr. Plastic off my back but you should have heard the scene in here Pugh, fucking nauseating, I though I'd burst into tears before a commercial break from our sponsors.</dialogue> <scene_description>Lenny sniggers.</scene_description> <character>KEVIN (O.S.)</character> <dialogue>I'm serious pal... this one's gonna cost you. Cause your low rent stunt could do my reputation some serious damage. I got standards, I saved your ass this time but don't expect a sequel, like ass save II. Rock's over an overpass. It's fucking trite man, it's got no class at all. It's fucking trite.</dialogue> <scene_description>Eva hurries off down the hall.</scene_description> </scene> <scene> <stage_direction>INT. EVA'S LUNA - EARLY EVENING</stage_direction> <scene_description>Eva drives home from work along Nyack high street. She passes a huge Barnes and Noble with wide, plate glass windows. She glimpses someone, who else could it be dressed in that outfit? Standing in the travel section in front of a shelf full of AWAP guides. O.S. The honk of a car horn. Eva swerves momentarily as she redirects her attention to the traffic. She shakes her head, incredulous, her eyes wide. A grin of pride.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT</stage_direction> <scene_description>Eva enters, Kevin is slouched against the kitchen unit.</scene_description> <character>EVA</character> <dialogue>Hey, didn't I see you in the bookstore tonight?</dialogue> <character>KEVIN</character> <dialogue>Nuh-uh.</dialogue> <scene_description>Eva has her back to him at the sink, a private grin.</scene_description> <character>EVA</character> <dialogue>Funny... could've sworn...</dialogue> <scene_description>Kevin starts to slope off.</scene_description> <character>EVA</character> <dialogue>By the way...I'd like to ask you out on a date.</dialogue> <scene_description>He eyes her mistrustfully.</scene_description> <character>KEVIN</character> <dialogue>What for?</dialogue> <character>EVA</character> <dialogue>Just to do something together...For fun.</dialogue> <character>KEVIN</character> <dialogue>Like do what?</dialogue> <scene_description>Eva shrugs.</scene_description> <character>EVA</character> <dialogue>Maybe a little Christmas shopping, take you to dinner?</dialogue> <scene_description>She pauses, unsure for a moment, then with a wry smile.</scene_description> <character>EVA</character> <dialogue>Play a round or two of miniature golf?</dialogue> <scene_description>He cracks a sour half smile... she's secured her date.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY, THE DATE.</stage_direction> <scene_description>Eva waits for Kevin. Franklin sits watching TV.</scene_description> <character>EVA</character> <dialogue>What are you and Celie gonna get up too?</dialogue> <character>FRANKLIN</character> <dialogue>Gosh, gonna have to come up with something to do that doesn't terrify her, guess that rules out vacuuming.</dialogue> </scene> <scene> <stage_direction>INT. EVA'S CAR - DAY</stage_direction> <scene_description>Kevin sits in silence as Eva pulls into the funky little golf course. It's a freezing overcast day and Kevin sports his tiny white T. It starts to rain.</scene_description> <character>EVA</character> <dialogue>Why didn't you wear a coat?... You just can't get uncomfortable enough can you?</dialogue> <scene_description>Kevin grins.</scene_description> <character>KEVIN</character> <dialogue>Uncomfortable? With my own Mother?</dialogue> </scene> <scene> <stage_direction>EXT. MINIATURE GOLF COURSE - DAY</stage_direction> <scene_description>Kevin poses with his club like a dapper gentleman, still silent but with a 'now what?' look.</scene_description> <character>EVA</character> <dialogue>Well...you won.</dialogue> </scene> <scene> <stage_direction>INT. EVA'S LUNA - OUTSIDE THE MALL - DAY</stage_direction> <scene_description>Eva slows at a pedestrian crossing. A huge family waddle across the road all stuffing their faces.</scene_description> <character>EVA</character> <dialogue>Whenever I see fat people they're eating...don't give me that slow metabolism crap. "It's my glands"...It's food. Their fat because they eat the wrong food...too much of it and all the time.</dialogue> <scene_description>Silence, she drives on into the lot.</scene_description> <character>KEVIN</character> <dialogue>You know you can be kinda harsh sometimes.</dialogue> <character>EVA</character> <dialogue>You're one to talk.</dialogue> <character>KEVIN</character> <dialogue>Yeah. I am. Wonder where I got it?</dialogue> </scene> <scene> <stage_direction>INT. MALL -DAY.</stage_direction> <scene_description>Cheesy Christmas music is piped through the store as Eva examines a little scooter. Kevin looking thoroughly bored.</scene_description> <character>KEVIN</character> <dialogue>You know a couple of years ago, you give a kid some geeky scooter for Christmas and he'd have balled his eyes out.</dialogue> <scene_description>Eva lunges at the chance to be collegial.</scene_description> <character>EVA</character> <dialogue>You're right...that's one of the things that's wrong with this country. It's so faddish. Still, I wouldn't want Celia to feel left out.</dialogue> <character>KEVIN</character> <dialogue>Mumsy, get real Ciel would be scared shitless. You'd have to hold her little hand everywhere she went or you'd have to carry her scooter and all.</dialogue> </scene> <scene> <stage_direction>EXT. MALL -DAY.</stage_direction> <scene_description>They exit the mall without any shopping bags and head towards the car park.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - EARLY EVENING.</stage_direction> <scene_description>Eva stands in front of the mirror, she dabs a little Opium behind her ears and puts her earrings in. She takes a look at herself, she looks good.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - EARLY EVENING.</stage_direction> <scene_description>Celia has tinsel weaved in her hair, helping Franklin arrange fish sticks on a tray. Eva bustles in dressed in her hot pink silk dress.</scene_description> <character>EVA</character> <dialogue>Can you help me fasten this.</dialogue> <scene_description>Franklin turns round.</scene_description> <character>FRANKLIN</character> <dialogue>Wow, you're not looking very maternal.</dialogue> <character>EVA</character> <dialogue>I wanted to create a sense of occasion...Anyway I thought you liked this dress.</dialogue> <scene_description>Franklin eyes the slit in the dress, which is cut up the thigh.</scene_description> <character>FRANKLIN</character> <dialogue>You don't want to make him uneasy.</dialogue> <character>EVA</character> <dialogue>I'm making someone uneasy, obviously.</dialogue> <scene_description>She leaves the room.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - EARLY EVENING.</stage_direction> <scene_description>Eva enters, Kevin is standing at the sink with his back to her. She looks touched to see that instead of clothing designed for an eight year old, he's made an effort, lush black slacks and a billowing white fencing shirt. She's smiles, about to compliment him when he turns around, gnawing chunks from the half-devoured carcass of a cold chicken. Eva turns white.</scene_description> <character>EVA</character> <dialogue>I'm about to take you to dinner.</dialogue> <scene_description>Kevin wipes the grease off the corner of his smirking mouth.</scene_description> <character>KEVIN</character> <dialogue>I was hungry. You Know....Growing boy.</dialogue> <character>EVA</character> <dialogue>Put that away right now and get your coat!</dialogue> <scene_description>Eva turns angrily away from him and storms out of the room.</scene_description> </scene> <scene> <stage_direction>INT. HUDSON HOUSE RESTAURANT - EVENING</stage_direction> <scene_description>Kevin shakes his head to the waiter who shrugs and turns to Eva, she's quietly furious.</scene_description> <character>EVA</character> <dialogue>I'll have the crab salad, steak medium rare and a bottle of Merlot.</dialogue> <scene_description>She snaps the menu shut.</scene_description> <character>EVA</character> <dialogue>Oh...and bannoffee pie for desert, thanks.</dialogue> <scene_description>LATER; Eva is eating as Kevin rips a bread roll apart, squeezing it into tiny balls. She frowns and takes a deep slug of wine.</scene_description> <character>EVA</character> <dialogue>So...How's school going?</dialogue> <character>KEVIN</character> <dialogue>It's going...You want my course schedule?</dialogue> <scene_description>Eva tries hard not to get annoyed.</scene_description> <character>EVA</character> <dialogue>What about your, ah teachers? Are any of them, you know especially...</dialogue> <character>KEVIN</character> <dialogue>And what bands are you listening to these days? Next you can wheedle about whether there isn't some cute little cunt in the front row that's got me itchy. That way you can segue into how it's all up to me of course but before balling the chick in the hallway. I might decide to wait until I'm ready...Right around dessert you can ask about drugs. Careful like, Cause you don't want to scare me into, like, lying my head off, so you have to say how you experimented. Finally once you've sucked up that whole bottle you can go gooey eyed and say how great it is to spend quality time together and you can put an arm around my shoulder and give it a little squeeze.</dialogue> <scene_description>Eva quickly pushes her plate aside, abandoning the food she's over ordered.</scene_description> <character>EVA</character> <dialogue>Alright, Mr. Snide, what do you want to talk about?</dialogue> <character>KEVIN</character> <dialogue>This was your idea. I never said I wanted to talk about a fucking thing.</dialogue> <scene_description>They sit in silence for a long moment. Eva takes another deep gulp of her wine. Kevin pulls a complimentary crayon from a rustic jar in the middle of the table. He idly scribbles on the paper table cloth.</scene_description> <character>KEVIN</character> <dialogue>OK, I've got a topic. You're always griping about this country and wishing you were in Malaysia or something. What's your beef about it?</dialogue> <character>EVA</character> <dialogue>OK...since you asked.</dialogue> <scene_description>Eva sits back folding her arms.</scene_description> <character>EVA</character> <dialogue>American's are trusting to a fault, innocent in a way that makes them stupid. They are fat, inarticulate and ignorant. They are demanding, impetuous and spoiled. They're self righteous and superior about their precious democracy and condescending to other nationalities because they think they've got it right, never mind that half the adult population doesn't vote. Worst of all they have no idea that the rest of the world can't stand them.</dialogue> <scene_description>All the while Kevin's eyes have been downcast, still scribbling.</scene_description> <character>KEVIN</character> <dialogue>Wow...that's a whole lot of adjectives. Let's see.</dialogue> <scene_description>He looks at his markings on the table cloth, ticking off a list.</scene_description> <character>KEVIN</character> <dialogue>Spoiled? Well, You're rich and can get pretty much anything you want right. Mmmm... Impetuous, well that's a pretty good description of that speech you gave right now. Inarticulate....Lemme see. Seems to me I'm sitting across from the lady who goes on these long rants about reality TV when she's never watched a single show. And that... one of you're favorite words, Mumsy....is 'ignorant' 'Trusting' with no idea other people can't stand them.</dialogue> <scene_description>He underscores that on his list.</scene_description> <character>KEVIN</character> <dialogue>Well far as I can tell about the only thing that keeps you and the other dumb ass Americans from being peas in a pod is that you're not fat and just because you're skinny, you act self righteous, condescending and superior. Maybe I'd rather have a big cow of a mother who at least didn't think she was better than everybody else in the fucking country.</dialogue> <scene_description>Eva sits in stunned silence, the waiter passes and she quickly signals for the check.</scene_description> </scene> <scene> <stage_direction>INT. HALL - DAY</stage_direction> <scene_description>Kevin's door opens a crack. Eva peers in. No posters, no smelly socks, the bed made with boot camp precision, the shelves virtually empty apart from the copy of Robin Hood and a couple of school books. She has a quick guilty snoop around but there's not much to find, a stack of floppies sit next to the computer and she shuffles through them, weird names, Nostromo... D4-x... She picks one out at random, puts the rest back and slips out of the room.</scene_description> </scene> <scene> <stage_direction>INT. STUDY - DAY</stage_direction> <scene_description>Eva inserts the floppy into her disk drive and starts to download the files.</scene_description> <character>CELIA (O.S.)</character> <dialogue>Mommee...Mommee, can you help me?</dialogue> <scene_description>Eva tuts and goes off to find Celia. A MOMENT LATER, Eva returns. The computer has switched itself off, she frowns, that's never happened before. She restarts it but the screen just fills up with weird numbers and error messages.</scene_description> </scene> <scene> <stage_direction>INT. A.W.A.P. OFFICES - AFTERNOON</stage_direction> <scene_description>As Eva bustles through the office doors, she's struck by the odd silence in the office, people at their desks with dark expressions on their faces others hanging round gossiping by the water cooler.</scene_description> <character>EVA</character> <dialogue>Why is nobody working?</dialogue> <character>JOHN</character> <dialogue>They can't... every single computer's gone down... the tech guys are looking into it.</dialogue> <scene_description>Eva blanches... shit.</scene_description> </scene> <scene> <stage_direction>INT. EVA'S OFFICE - DAY</stage_direction> <scene_description>Eva sits at her desk watching the rest of the staff still hanging around aimlessly through the glass partition. John enters.</scene_description> <character>JOHN</character> <dialogue>Bad news I'm afraid, virus, a nasty one... must have got in through somebody's E-mail... gonna set us back weeks... plus it looks like we've sent it on to everyone on our mailing list... wont have won any friends there....</dialogue> <scene_description>Eva raises her eyes to the heavens.</scene_description> </scene> <scene> <stage_direction>INT. HALL - DAY</stage_direction> <scene_description>Eva knocks tentatively on Kevin's door, holding the floppy disk. No answer, she pushes it open.</scene_description> <character>EVA</character> <parenthetical>(tapping the disk)</parenthetical> <dialogue>I wanted to ask you, What's this?</dialogue> <character>KEVIN</character> <dialogue>You didn't load it in, did you?</dialogue> <scene_description>Eva looks at him guiltily.</scene_description> <character>EVA</character> <dialogue>Of course not...well only once.</dialogue> <character>KEVIN</character> <dialogue>It only takes once.</dialogue> <character>EVA</character> <dialogue>Why do you have it?</dialogue> <character>KEVIN</character> <dialogue>I keep a collection.</dialogue> <character>EVA</character> <dialogue>Isn't that a peculiar thing to collect?</dialogue> <character>KEVIN</character> <dialogue>I don't like stamps.</dialogue> <character>EVA</character> <dialogue>What's the point of it?</dialogue> <character>KEVIN</character> <dialogue>There is no point...that's the point.</dialogue> <scene_description>Eva turns to go.</scene_description> <character>KEVIN</character> <dialogue>Mom?</dialogue> <scene_description>Eva turns back to face him.</scene_description> <character>KEVIN</character> <dialogue>Your computer's fucked isn't it?</dialogue> <character>EVA</character> <parenthetical>(ruefully)</parenthetical> <dialogue>Yes it's fucked. I guess I deserved it.</dialogue> <character>KEVIN</character> <dialogue>You know if there's anyone you don't like and you got their e-mail address, just let me know.</dialogue> <scene_description>Eva laughs.</scene_description> <character>EVA</character> <dialogue>OK, I'll be sure to do that, though some days the people I don't like come to quite a list.</dialogue> <character>KEVIN</character> <parenthetical>(jokily)</parenthetical> <dialogue>Better warn them, you've got friends in low places.</dialogue> </scene> <scene> <stage_direction>INT. LOUNGE, CHRISTMAS DAY - MORNING</stage_direction> <scene_description>The massive lounge is decked out with tinsel and a huge tree. Celia sits on the floor unwrapping a present, a large glass cage with a tiny, furry occupant. She's ecstatic.</scene_description> <character>CELIA</character> <parenthetical>(running to eva)</parenthetical> <dialogue>Oh mommy, I love it, I love it!</dialogue> <scene_description>She flings her arms round Eva's neck, smothering her with kisses.</scene_description> <character>CELIA</character> <dialogue>Thankyouthankyouthankyou...</dialogue> <scene_description>Franklin and Kevin sit on the opposite couch exchanging a 'girls huh?' smirk. Kevin unwraps his present, a gleaming cross bow.</scene_description> <character>FRANKLIN</character> <dialogue>It's a Series 7, the guy in the shop said it's the best around...</dialogue> <scene_description>Kevin holds the bow up to his eye expertly, looking down the barrel, checking it's straight lines.</scene_description> <character>KEVIN</character> <dialogue>Gee dad, it's perfect. I'm gonna go practice...</dialogue> <scene_description>He stalks out of the room, Eva watches him go uneasily.</scene_description> </scene> <scene> <stage_direction>INT. LOUNGE - EVENING</stage_direction> <scene_description>Eva lies against Franklin on a couch, bitching about the politicians on TV. Celia wanders round the room, poking into corners, looking under the table.</scene_description> <character>EVA</character> <dialogue>Hey Celia, come on now, time for bed...</dialogue> <character>CELIA</character> <parenthetical>(O.S. from under the table)</parenthetical> <dialogue>Just a bit longer mommy...</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY - CELIA'S ROOM - CONTINUOUS</stage_direction> <scene_description>Eva carries a quietly worried looking Celia in her arms.</scene_description> <character>EVA</character> <dialogue>Right let's put you to bed... want to say good night to Snuffles?</dialogue> <character>CELIA</character> <parenthetical>(quietly her face buried in Eva's neck)</parenthetical> <dialogue>He's hiding.</dialogue> <scene_description>Eva sets Celia down and looks at the cage.</scene_description> <character>EVA</character> <dialogue>I can't see him anywhere...</dialogue> <scene_description>Celia's face crumples.</scene_description> <character>CELIA</character> <dialogue>It's my fault, I thought I closed the door... Kevin says I'm stupid and he's right... stupid, stupid stupid!</dialogue> <scene_description>She bangs her fist against her head, harder and harder. Eva, scared, has to pull her hand away.</scene_description> <character>EVA</character> <dialogue>Don't worry honey... I'm sure we'll find him...</dialogue> <scene_description>She doesn't look so sure.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT</stage_direction> <scene_description>Eva's ass poked in the air as she searches the back of a cupboard.</scene_description> <character>EVA</character> <dialogue>Snuffles... Snuffles?</dialogue> <scene_description>Franklin struggles out from behind the fridge, covered in dust and crap.</scene_description> <character>FRANKLIN</character> <dialogue>Face it Eva... he's gone to the big pet store in the sky...</dialogue> <character>EVA</character> <dialogue>Oh don't say that...</dialogue> <scene_description>Eva looks pained.</scene_description> <character>FRANKLIN</character> <dialogue>Dearly beloved... we are gathered here today...</dialogue> <character>EVA</character> <parenthetical>(whacking him)</parenthetical> <dialogue>Stop it!</dialogue> <scene_description>But she can't help it, they both burst out in giggles, rolling together on the floor.</scene_description> </scene> <scene> <stage_direction>INT. THE KITCHEN - DAY</stage_direction> <scene_description>Eva stands at the sink, Celia sits behind her, drawing at the kitchen table.</scene_description> <character>EVA</character> <dialogue>...and so Snuffles went to play in the garden and he's made lots of new animal friends...</dialogue> <scene_description>Eva pulls the plug, the water sluggishly refuses to drain away. It finally disappears with a gurgle. Eva wrinkles her nose.</scene_description> <character>EVA</character> <dialogue>Phew...</dialogue> <scene_description>She reaches up to a high, child-locked cupboard and pulls out a bottle of Liquid Plummr, she pours a healthy glug down the sink.</scene_description> </scene> <scene> <stage_direction>EXT. HOSPITAL CAR LOT - EARLY EVENING</stage_direction> <scene_description>Eva's car squeals to a halt, she leaps out looking pale and desperate. She runs up the steps into the hospital building.</scene_description> </scene> <scene> <stage_direction>INT. WAITING ROOM - LATER</stage_direction> <scene_description>The same hospital corridor where Eva waited for Kevin with his broken arm. The same green plastic chairs. Eva and Franklin sit in a heavy silence, clutching each others hand tightly. A coffee with a crinkled skin sits sadly on the table. A surgeon approaches with a sombre expression. Eva and Franklin stand up.</scene_description> <character>SURGEON</character> <dialogue>I'm sorry, we really tried but there was too much damage, I'm afraid we couldn't save the eye...</dialogue> </scene> <scene> <stage_direction>INT. FRANKLIN'S CAR, HOSPITAL LOT - NIGHT</stage_direction> <scene_description>The engine's running just to get the heating going, Eva sits shivering without a coat. An empty silence. Franklin knocks his head back against the padded headrest and stares at the ceiling.</scene_description> <character>FRANKLIN</character> <dialogue>I can't believe you left it out.</dialogue> <scene_description>Eva looks at him stunned.</scene_description> <character>FRANKLIN</character> <dialogue>I thought about not saying that.</dialogue> <scene_description>She licks her lips and starts to tremble.</scene_description> <character>EVA</character> <dialogue>I didn't leave it out.</dialogue> <scene_description>Franklin drops his head and sighs. FRANKLIN Eva. Don't make me do this. You used that 'Liquid Plumr' on Saturday, I remember because you went on about how the drain smelled weird or something. EVA I put it away, back in that high cabinet with the child lock on it. Celia couldn't even reach that with a chair!... FRANKLIN Then how did it get out? EVA Good question. FRANKLIN Look, I realize you're usually very caref... EVA I remember putting it away Franklin. FRANKLIN Do you remember putting on your shoes this morning? EVA Celie's in hospital why are we having this conversation? FRANKLIN Because I want you to admit it... EVA Janis came this morning, maybe... FRANKLIN She didn't need it, the drains were already clear... EVA (she's got to say it) Fine, why don't you ask Kevin how the bottle got left out?</scene_description> <character>FRANKLIN</character> <dialogue>Here we go, something goes wrong, you can't possibly be at fault so you point the finger at your own son.</dialogue> <character>EVA</character> <dialogue>He was supposed to be looking after her...</dialogue> <character>FRANKLIN</character> <dialogue>Kevin did everything he should have. He said when she started to scream, he came running and when he found out what it was, he ran water over her face and rinsed her eye as best he could, and then he called an ambulance, even before he called me on the cell...He was a star.</dialogue> <character>EVA</character> <dialogue>Time...it takes time for that stuff to work. Maybe he did wash it out, but when? When he was finished?</dialogue> <character>FRANKLIN</character> <dialogue>Finished with what? His homework? His archery practice?</dialogue> <character>EVA</character> <dialogue>Think about it!</dialogue> <scene_description>Eva starts to cry, she presses her finger tips to her eyelids.</scene_description> <character>EVA</character> <dialogue>She's seven, not two. Even if I did leave it out.. Why the hell would Celia pour drain cleaner on her own eye. Celia's afraid of everything. He did it Franklin... oh he did it, he did it!</dialogue> <scene_description>Franklin grabs her arms, looks her in the eye.</scene_description> <character>FRANKLIN</character> <dialogue>That's enough. I'm ashamed of you...</dialogue> <scene_description>She wrenches herself free, grabs the handle of the door, she has to get out. She stumbles towards her car.</scene_description> <character>FRANKLIN (O.S.)</character> <dialogue>Eva!</dialogue> <scene_description>Eva turns round, tears streaming down her face.</scene_description> <character>FRANKLIN</character> <dialogue>You know I'm not usually big on shrinks but maybe you should talk to somebody. I think you need help.</dialogue> <scene_description>Eva turns and hurries off to her car; arms clutched around her protectively. Franklin's 4x4 squeals out of the lot behind her.</scene_description> </scene> <scene> <stage_direction>INT. EVA'S LUNA - NIGHT</stage_direction> <scene_description>Eva drives down a lonely, barely lit highway, the tears have stopped now... she's just blank.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - LATE NIGHT</stage_direction> <scene_description>Franklin with his head in his hands on the sofa, Eva frozen in the armchair across from him.</scene_description> <character>FRANKLIN</character> <dialogue>I'm sorry Eva, I can take the years...I just can't take the days.</dialogue> <character>EVA</character> <dialogue>So...what do you want to do?</dialogue> <character>FRANKLIN</character> <dialogue>Last out the school year if we can. Make arrangements over the summer. At least custody is a no brainer.</dialogue> <character>EVA</character> <dialogue>Is it...You've decided?</dialogue> <character>FRANKLIN</character> <parenthetical>(limply)</parenthetical> <dialogue>There's nothing left to decide. It's already happened.</dialogue> <scene_description>Eva notices a shadow cross the hall, Kevin steps into the light. For the first time he stands up straight instead of slouching, he looks older.</scene_description> <character>KEVIN</character> <dialogue>...need a drink of water.</dialogue> <character>FRANKLIN</character> <dialogue>Kev...don't take anything you might have overheard to heart. It's easy to misunderstand when you hear something out of context.</dialogue> <character>KEVIN</character> <dialogue>Why would I not know the context?</dialogue> <scene_description>He takes a single hard swallow and puts the glass back on the counter.</scene_description> <character>KEVIN</character> <dialogue>I am the context.</dialogue> <scene_description>He turns and leaves the room.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM- NIGHT - WEEKS LATER.</stage_direction> <scene_description>Celia is sprawled asleep in the crook of Franklin's arm on the sofa. On the left side of her face is a flesh colored stick on eye patch. Kevin is sat beside him watching 'My Granny had my boyfriend's baby' on the Jerry Springer show. Eva carefully lifts Celia out of Franklin's arms.</scene_description> </scene> <scene> <stage_direction>INT. CELIA'S BEDROOM - NIGHT</stage_direction> <scene_description>Celia is awake as Eva slips her into bed.</scene_description> <character>EVA</character> <dialogue>Celie... when you got hurt?</dialogue> <scene_description>Celia nods solemnly.</scene_description> <character>EVA</character> <dialogue>What happened?</dialogue> <character>CELIA</character> <parenthetical>(sleepily)</parenthetical> <dialogue>I got something in my eye...Kevin helped me wash it out.</dialogue> <scene_description>She turns her head away as if to end the conversation. Eva kisses her and heads towards the door.</scene_description> <character>CELIA</character> <dialogue>Mommy!</dialogue> <scene_description>She has covered up her good eye with her hand, then uncovers it quickly.</scene_description> <character>CELIA</character> <dialogue>Peek a boo!</dialogue> <scene_description>Eva's smiles at her but her eyes fill with tears as she closes the door.</scene_description> </scene> <scene> <stage_direction>INT. HALL - LIVING ROOM - DAY</stage_direction> <scene_description>Eva is sat on the sofa, she glances up as Kevin strides into the room, the distinct shape of his archery bag draped over his shoulder, he's followed by Franklin.</scene_description> <character>KEVIN</character> <dialogue>Dad Prozac's not that big a deal Half the kid's in my school are on some kind of anti-depressant.</dialogue> <scene_description>Eva sighs and rubs her hand through her hair, she looks stressed and guilty.</scene_description> <character>EVA</character> <dialogue>Something came for you.</dialogue> <scene_description>She nods toward the large Fed Ex package on the floor. Kevin sullies towards it and starts to rip it open with Franklin's car keys. He pulls a bright yellow kryptonite bike lock out of the box along with a spray of Styrofoam beans as Eva eyes him suspiciously.</scene_description> <character>EVA</character> <dialogue>What's that for? You don't even ride your bike..</dialogue> <scene_description>Franklin walks back into the room holding a beer as Kevin pulls out another identical lock.</scene_description> <character>KEVIN</character> <dialogue>Got these for a song off the net... I thought I'd make a bundle selling them at school...</dialogue> <scene_description>Franklin pulls the remote off the coffee table, flopping down on the sofa next to Eva and switching on the TV.</scene_description> <character>FRANKLIN</character> <dialogue>Good to see someone inherited your business sense huh?</dialogue> <character>EVA</character> <parenthetical>(dryly)</parenthetical> <dialogue>Glad to see you're being so entrepreneurial...</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM - NIGHT.</stage_direction> <scene_description>O.S. Franklin singing tunelessly over the thud of the shower. Eva, undresses slowly, she smiles to herself a little sadly and gets into bed. She peers over the quilt and watches Franklin through the open door of the en suite. He steps out of the shower and his body flits in and out of view, reflected in the mirrors, still fit and athletic. He switches the bathroom light off and gets into bed. Dark, apart from the hypnotic flashing light of the digital clock. RED/BLACK. RED/BLACK. They both lie silent, awake. What more is there to say? He reaches out for her hand and pulls her towards him, kissing her tenderly on the forehead, then more deeply, he moves on top of her. The clock flashes, red black, red black. CUT TO BLACK.: BCU OF THE DIGITAL CLOCK, COMING UP TO MIDNIGHT IT CLICKS OVER TO A NEW DAY, SURROUNDED BY DARKNESS IT READS... THURSDAY 8TH APRIL 1999. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, RANCH HOUSE - MORNING</stage_direction> <scene_description>A door swings open, revealing Celia playing with her French toast at the table, behind her Eva in Franklin's arms exchanging a brief kiss.</scene_description> <character>KEVIN (O.S.)</character> <dialogue>Gross...</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN - LATER.</stage_direction> <scene_description>Kevin picks up his school bag and archery kit swings them over his shoulder and leaves the house, closing the door behind him. O.S. The radio still playing...a new song comes on; Charlene 'I've been to paradise'... The music continues over the following sequence...no other sound.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - MORNING</stage_direction> <scene_description>Hey lady, you lady, cursing at your life... It's a beautiful day as Kevin saunters along the neat manicured tree lined street with an air of confidence. He looks handsome as the wind blows through his hair, his shirt billows, he looks every inch the a promising young man.... 'Your a disconted mother and a regimented wife'</scene_description> </scene> <scene> <stage_direction>INT. CLASSROOM - MORNING</stage_direction> <scene_description>A pretty girl glances at Kevin as he holds his arm in the air in answer to the teacher's question.</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL CORRIDOR - MORNING</stage_direction> <scene_description>"I've no doubt you dream about the things you'll never do"... The corridors are full of students. Kevin pulls a handful of envelopes from his bag and posts them into labelled pigeon holes on the wall.</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL ENTRANCE - AFTERNOON</stage_direction> <scene_description>But I wish someone had a talked to meet, like I wanna talk to you... Kids pile out, laughing and chatting, full of energy. Kevin sidles off towards the gym.</scene_description> </scene> <scene> <stage_direction>INT. GYM - AFTERNOON</stage_direction> <scene_description>B.C.U. Kevin's hands as he fixes one of the huge yellow locks to the double doors of the gym.</scene_description> </scene> <scene> <stage_direction>INT. GYM - MOMENTS LATER</stage_direction> <scene_description>Kevin checks the door again and walks across the empty floor of the gym. A lone basketball sits in a corner he picks it up and turns in one movement, shoots a perfect hoop... that one was all net.</scene_description> </scene> <scene> <stage_direction>INT. VIEWING GALLERY - HIGH UP IN GYM.</stage_direction> <scene_description>"I've run out of places and friendly faces because I need to be free"... Kevin's face, handsome and focussed, the best we've ever seen him as he fits arrow after arrow into his crossbow and fires again and again, their whistle and dull thunk just audible over the music. "I've been to paradise but I've never been to me..." CLOSE UP the lone basketball is pierced by an arrow, nailing it to the floor. It deflates slowly with a gentle hiss.</scene_description> </scene> <scene> <stage_direction>INT. TO EXT. THE GYM - CONTINUOUS</stage_direction> <scene_description>The gym doors burst open, they're surrounded by police gunman, fireman and paramedics. Kevin is led out calmly into the circus. Helicopters swoop over head, red and blue flashing lights illuminate the dusk sky. Parents teachers and others crowd round in awe, being held back by more police and barricades. Eva's taut, pale face as she struggles through the crowds. Kevin now handcuffed, is escorted to a police car and sat down in the back, the door closed behind him. Suddenly, Eva's desperate face appears at the window as she cups a hand against the glass to cut out the reflection of the flashing lights. CUT TO: EVA'S POV... As she stares through the glass. Kevin regards her calmly, placidly searching for something in her eyes. Whatever it is he doesn't find it and they stare at each other silently for a moment before the car starts to pull away. One last look from Kevin through the back window, he seems pleased with himself, but he doesn't smile. O.S. A scream, Eva turns to see Soweto Washington being wheeled out the gym, two arrows sticking out of his muscular thighs. Another gurney is wheeled out, a blanket over the body but Laura Woolford's expensive bracelets and hundred dollar manicure are unmistakable on the one exposed hand. A scream from Mary Woolford as she breaks through the crowd and throws herself on top of the body, sobbing uncontrollably.</scene_description> </scene> <scene> <stage_direction>INT. EVA'S CAR - NIGHT</stage_direction> <scene_description>Eva drives erratically, constantly hitting redial on her cell.</scene_description> <character>EVA</character> <dialogue>Franklin you son of a bitch!</dialogue> <scene_description>Tears hot with fury sting her cheeks.</scene_description> </scene> <scene> <stage_direction>INT. WAITING AREA. POLICE STATION - NIGHT.</stage_direction> <scene_description>Coffee cup. Plastic cup. Styrofoam coffee cup. O.S. Phones ringing, muted sobbing, distant voices. Kevin's name, mispronounced. Eva, exhausted, suddenly aged, a dead look in her eyes, marooned on a black PVC sofa as people rush to and fro, blocking her from view. Her knee shakes involuntarily.</scene_description> <character>YOUNG OFFICER (O.S.)</character> <dialogue>...And see the little green and white one, that's very rare from the days before NYPD blue...</dialogue> <scene_description>A teenage boy sits across from her staring glassily into the middle distance without seeming to ever blink, his T-shirt speckled with blood. Clutching her stomach Eva stands. The receptionist eyes Eva coldly and nods in the direction of the rest room further down the hall. There is a line.</scene_description> <character>RECEPTIONIST.</character> <parenthetical>(without making eye contact)</parenthetical> <dialogue>You'll have to wait.</dialogue> <scene_description>Eva meekly sits back down. LATER STILL. Almost alone...a cleaner with a mop and a radio. Eva frozen in the same position on the black sofa.</scene_description> <character>OFFICER</character> <dialogue>Would you like to speak to your son?</dialogue> <scene_description>Eva shakes her head, desperate, almost fearful.</scene_description> <character>OFFICER (O.S.)</character> <dialogue>Then you're free to go Mrs Kachadaurian.</dialogue> <scene_description>She looks up slowly, stunned.</scene_description> <character>EVA</character> <dialogue>.... I can go?</dialogue> </scene> <scene> <stage_direction>EXT. POLICE STATION, LOT - NIGHT</stage_direction> <scene_description>She walks into the lot, everything alien. Dazed, she wanders past her car, failing to recognize it the first time down the row. Yet once she finds the car she becomes strangely calm. Sedate. Methodical. Keys. Lights. Seat belt. Windshield wipers on interval, to clear the thin mist.</scene_description> </scene> <scene> <stage_direction>INT. CAR - NIGHT.</stage_direction> <scene_description>Eva drives very slowly, breaking on yellow, coming to a legally complete halt at the four way stop though there is no traffic. LATER, the car curves up the long drive to the house. Methodically, she turns off the wipers and the lights then locks the car. She picks a leaf off the windscreen, scoops the jump rope off the garage floor and hangs it carefully back on it's hook on the wall.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, HOUSE - NIGHT.</stage_direction> <scene_description>Darkness. O.S. The flick of a light switch. Eva enters the kitchen. The greasy breakfast dishes haven't been tidied, plates and juice glasses still on the counter, the answer phone bleeps with a ton of messages. The white muslin curtains of the garden doors drift lazily in the breeze.</scene_description> <character>EVA</character> <dialogue>Franklin?...Celia?</dialogue> <scene_description>Her own voice coming back at her unnerves her, it's sounds small and tinny. She walks through the house, flicking on lights. Nothing. She walks to the deck and looks out on the dark garden. She finds the switch for the floodlights, pausing for what seems like an age before she flips it. The wide panorama of the garden lit up like a surreal painting. The grass and bushes a vivid green. The blue night sky twinkling with stars as a backdrop. Celia. Splayed like a discarded rag doll, lies in the grass. A single arrow pins her tiny frame to the ground. Franklin. Stark in the glare of the floods, shafts of arrows through his neck and upper body, a tragic expression frozen on his face, profoundly disappointed. A pause. Eva switches off the floodlights. CUT TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. THE LOCAL GRAND UNION - EVENING</stage_direction> <scene_description>A huge woman struggles to reach into the depths of a refrigeration unit and pulls out a five litre tub of ice cream, slapping it on top of her already mountainous shopping cart, piled high with groceries. Eva's cart seems empty by comparison, a half loaf of bread and a bottle of white wine the only contents. She reaches for a carton of eggs and places them on the kiddy seat of the cart, flipping it open to check for breakages, they're all whole. O.S. The squeaky wheel of another cart turning into the aisle. Eva looks up. A woman about her age, in an outfit that may have been fashionable ten years ago and appearing similarly run down, is perusing the milk cartons, MARY WOOLFORD. Eva blanches with a look of shocked recognition, pricks of sweat dot her forehead. O.S. The sound of blood singing in her ears. She abandons her cart along with her embroidered Egyptian bag and wallet and dives into the next aisle.</scene_description> </scene> <scene> <stage_direction>INT. THE GRAND UNION, SOUP AISLE - EVENING</stage_direction> <scene_description>A tin of Campbell's soup full frame. The rushing noise in Eva's ears getting louder. She gets herself together and manages to peer around the corner furtively, Mary has gone.</scene_description> </scene> <scene> <stage_direction>INT. AT THE CHECKOUT - EVENING</stage_direction> <scene_description>Eva unloads her meagre groceries, picks up the egg carton and drops it onto the counter with revulsion, it feels sticky. The young checkout girl flicks it open.</scene_description> <character>CHECKOUT GIRL</character> <dialogue>Jesus, all twelve.</dialogue> <scene_description>Eva looks around distractedly... Mary had seen her after all. In fact she can make her out at the other end of the store, watching with an intense mixture of hatred and glee.</scene_description> <character>EVA</character> <parenthetical>(slightly unhinged)</parenthetical> <dialogue>I'll take them as they are.</dialogue> <character>CHECKOUT GIRL</character> <dialogue>But they're totally...</dialogue> <character>EVA</character> <dialogue>I'll take them as they are!</dialogue> <scene_description>She hands over her credit card.</scene_description> <character>CHECKOUT GIRL</character> <parenthetical>(loudly, as if talking to the room)</parenthetical> <dialogue>Khatchadourian, that's an unusual name.</dialogue> <scene_description>Eva pauses for a moment then smiles.</scene_description> <character>EVA</character> <parenthetical>(just as loudly)</parenthetical> <dialogue>Yep, I'm the only one in the state.</dialogue> <scene_description>She snatches back her card and the bag containing the gloopy eggs and strides defiantly out of the store.</scene_description> </scene> <scene> <stage_direction>INT. EVA'S CAR - DAY</stage_direction> <scene_description>Eva stops outside her run down, vandalized duplex. A kid with a basketball in his hand stands staring at the still-drying red paint.</scene_description> <character>EVA</character> <dialogue>Jesus.</dialogue> <scene_description>She lets out a deep sigh; she had forgotten. A man pokes his face out of a neighboring door and shouts something at the kid, who stands stock still for an instant then scoots off. His father ushers him inside and closes the door. Eva turns into the driveway. She goes to pick up her groceries from her car, the bag almost bursts open, the gloop from the eggs all over the passenger seat.</scene_description> </scene> <scene> <stage_direction>EXT. THE DUPLEX - DAY</stage_direction> <scene_description>O.S. An abrasive scrubbing sound. A ladder against the white slatted wall. A watery red liquid rushes down in a sudden wash. Eva's feet appear as she descends. A stained sponge and a scrubbing brush thrown into a bucket of water.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY, DUPLEX - DAY</stage_direction> <scene_description>Walking down the hall, bucket in her hand. She catches a glimpse of her reflection in a mirror... almost jumps in fright. A red smear over her nose. Her arms up to the elbow glistening as if she'd just carried out a bloodbath.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - DAY</stage_direction> <scene_description>Scrubbing her hands in the sink. She can't budge the thin red line that stubbornly remains under each fingernail.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - EVENING</stage_direction> <scene_description>The evening sun intensifies the already vivid red light in the kitchen, the strange hue makes the plain omelette sat in front of Eva resemble a slab of raw meat. She stares at it, lost in thought, then she takes a bite. Reaching up she pulls a piece of shell from her mouth. LATER Eva pushes away her empty plate, a neat ring of pieces of eggshell round it's rim, drains her wine glass and reaches for the bottle, a line has been drawn halfway down the label and she pours herself a neat glass careful not to go over the half way mark.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Eva almost catatonic on the sofa. Channel surfing. The Florida election debate is heating up and seems to be on every station... she isn't remotely interested, settles on the Montel Show. O.S. A woman weeping and the audience booing swims in and out as Eva dozes off. FADE TO BLACK.: ON THE SOUND TRACK...</scene_description> <character>KEVIN (O.S.)</character> <dialogue>They way I see it, the world is divided into the watchers and the watchees....There is more and more of an audience and less and less to see.</dialogue> <scene_description>Eva comes to, her face lit up by the glow of the TV in the darkness...pale and confused, she focuses on the screen with increasing horror.</scene_description> <character>KEVIN (O.S.)</character> <dialogue>People who actually do anything are a goddamned endangered species. You need us! What would you do without me, film a documentary on paint drying? What are all those folks doing.. but watching me. Don't you think they would've changed the channel by now if all I'd done is get an A in Geometry.</dialogue> <scene_description>Eva mouth falls open... ON THE SCREEN; we catch a brief glimpse of Kevin's hands as he tosses and rolls something between them casually while he talks. The camera zooms to one corner of the bare cell, a lone photograph taped to the wall, swims into focus. It's Eva's favorite picture, the one that went missing. Young, smiling and carefree in Amsterdam. The TV switches off abruptly. CUT TO BLACK.: O.S. THE BEEP OF THE ALARM CLOCK. WHAP! HER HAND SLAMS DOWN ON THE SNOOZE BUTTON OF THE BATTERED ALARM CLOCK, IT'S FACE CRACKED, BADLY REPAIRED WITH TAPE. IT READS... MONDAY 8TH APRIL 2001.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - MORNING</stage_direction> <scene_description>Eva's feet crunch over the remains of the spilt pills, the crumbs clinging to her bare feet.</scene_description> </scene> <scene> <stage_direction>EXT. THE RED DUPLEX - MORNING</stage_direction> <scene_description>Eva, now dressed for work but still half asleep dodges a viscous pool of paint that has dripped from the porch as she heads for her run-down car.</scene_description> </scene> <scene> <stage_direction>INT. TRAVEL AGENT'S - DAY.</stage_direction> <scene_description>A cantankerous but indistinguishable voice garbles down the line, Eva holds the phone away from her ear. She picks at something caught in her hair, pulls it out and inspects it, a dried fleck of red paint, she crumbles it to the floor. Eva feels someone hovering and glances up, an over-made up women sporting a "My name is Wanda" lapel badge waits by her side.</scene_description> <character>EVA</character> <dialogue>Okay, I'll call back with the confirmation... thanks... bye.</dialogue> <character>WANDA</character> <dialogue>Hey Eva...</dialogue> <scene_description>She drops a huge pile of papers on Eva's desk.</scene_description> <character>WANDA</character> <dialogue>..i need you to go through these bookings for me this afternoon...</dialogue> <character>EVA</character> <dialogue>Ummm....I can't...I'm off this afternoon... I did tell you.</dialogue> <character>WANDA</character> <parenthetical>(tight lipped)</parenthetical> <dialogue>Oh sure, that's right. I forgot...well, just as soon as you can then...</dialogue> <scene_description>She drifts off.</scene_description> </scene> <scene> <stage_direction>INT. EVA'S CAR - DAY</stage_direction> <scene_description>A long open road. Well outside town the land is flat dusty and bare. A huge, low concrete structure crouches on the horizon, surrounded by wire fencing. Eva swallows and straightens her shoulders, preparing herself.</scene_description> </scene> <scene> <stage_direction>EXT. CLAVERACK DETENTION CENTRE - DAY</stage_direction> <scene_description>Eva pushes a button on the wall outside the entrance, an electric buzzer sounds. She waits. O.S. The clanking of bolts. The door opens and a paunchy guard, (AL, late forties with a smattering of raised brown facial moles) raises a hand.</scene_description> <character>AL</character> <dialogue>Hey Eva.</dialogue> <character>EVA</character> <dialogue>Hey Al.</dialogue> <character>AL</character> <dialogue>You're a week early ain't ya?</dialogue> <character>EVA</character> <dialogue>I guess you could call it a special occasion...</dialogue> <scene_description>Eva is led through a series of doors and corridors. She's padded down and searched with a metal detector. Eva knows the routine and the guards all seem to know her. Eventually she's shown into a waiting room by Al, the door closed behind her. She sits in the corner of the drab, empty room. She yawns, picks up a lone, well thumbed copy of the National Enquirer, glances disinterestedly, then tosses it back on the table and sighs. The door creaks open, an attractive young black woman pokes her head timidly into the room. Eva tries to raise a smile for her but she seems anxious to avoid eye contact. She creeps in and takes a seat in the opposite corner, looking close to tears. After fidgeting restlessly for a few moments she gets up, bending to pick up the solitary magazine, she glances up at Eva.</scene_description> <character>WOMAN</character> <dialogue>May I?</dialogue> <character>EVA</character> <dialogue>Go right ahead, but there's not much in there...</dialogue> <scene_description>The woman manages a shy half smile and scurries back to her chair. Eva notices her hands are trembling slightly as she struggles to turn the pages noiselessly. After a few moments she folds up the magazine and puts it down, casting her eyes around the room she notices the vending machine, standing in the corner. She inserts a few coins, types in her selection. A mechanical whirring, a packet of M &amp; M,s is pushed forward, it's just about to fall into the drawer below when the whirring stops, the candy hangs tentatively in the air, it's jammed - the machine goes silent. This seems too much for her, she rests her forehead against the clear plastic and lets out a low moan. Suddenly, Eva is at her side. She bends down and gives the vending machine a hearty whack with her fist, the M &amp; M's drop into the drawer and Eva fishes them out, handing them to the black woman with a smile.</scene_description> <character>EVA</character> <dialogue>Works every time, just gotta hit the right spot...</dialogue> <scene_description>The woman smiles shyly, Eva finds herself holding her hand, their eyes lock; strangely it's Eva who's eyes are filling with tears.</scene_description> <character>AL (O.S.)</character> <dialogue>Loretta Greenleaf?</dialogue> <scene_description>The woman looks round.</scene_description> <character>LORETTA</character> <dialogue>Take care honey.</dialogue> <scene_description>Another moment then she releases Eva's hand and leaves with the guard.</scene_description> </scene> <scene> <stage_direction>INT. VISITING ROOM - DAY</stage_direction> <character>KEVIN (O.S.)</character> <dialogue>Hey Al, you still got something on your face...</dialogue> <scene_description>Kevin is led in. Eva notices a change in his demeanor before he says a word. All that snide condescension and the swagger have fallen away. A couple of fresh scratches on his face, his knuckles grazed. He's wearing an orange jumpsuit- it's odd to see him wearing something not only the normal size but too big for him. He looks dwarfed, confused, bereft. His eyes have shed their glaze and tunneled to the back of his head.</scene_description> <character>EVA</character> <dialogue>You don't look happy.</dialogue> <character>KEVIN</character> <dialogue>Have I ever?</dialogue> <scene_description>His tone is wan.</scene_description> <character>KEVIN</character> <dialogue>I'm almost eighteen aren't I.</dialogue> <scene_description>He rubs his face, something in his manner shows a glimpse of his father, Eva winces.</scene_description> <character>EVA</character> <dialogue>What is it, going to big school make you nervous?</dialogue> <character>KEVIN</character> <parenthetical>(incredulously)</parenthetical> <dialogue>'Nervous!' Do you know anything about those places?</dialogue> <character>EVA</character> <dialogue>Well you did such a good job, tried as a minor, out of your head on prozac.. You'll be out in a couple of years...</dialogue> <scene_description>He shakes his head in dismay.</scene_description> <character>EVA</character> <dialogue>You know I saw you on TV</dialogue> <character>KEVIN</character> <dialogue>Oh that.</dialogue> <scene_description>He squirms with a tinge of embarrassment.</scene_description> <character>KEVIN</character> <dialogue>It was a while ago, you know, I was into a... a thing.</dialogue> <scene_description>He looks away from her.</scene_description> <character>EVA</character> <dialogue>Well I'm not sure about the thing but you sounded quite intelligent, now you only have to come up with something to say that isn't...</dialogue> <character>KEVIN</character> <parenthetical>(wryly)</parenthetical> <dialogue>Horseshit?</dialogue> <scene_description>A pause.</scene_description> <character>EVA</character> <dialogue>You do know what day it is? Why they let me come and see you on a Monday?</dialogue> <character>KEVIN</character> <dialogue>Oh sure. It's my anniversary.</dialogue> <character>EVA</character> <dialogue>That's right... two years, plenty of time to think about it...</dialogue> <scene_description>She leans forward in her chair slightly.</scene_description> <character>EVA</character> <dialogue>Look me in the eye and tell me why?</dialogue> <scene_description>Kevin can't look her in the eye, his eyes shutter nervously between the floor and the blank walls.</scene_description> <character>KEVIN</character> <parenthetical>(glumly)</parenthetical> <dialogue>I used to think I knew... Now I'm not so sure.</dialogue> <scene_description>Without thinking, Eva extends her hand across the table and clasps his. Astonishingly he doesn't pull away.</scene_description> <character>EVA</character> <dialogue>Thank you.</dialogue> <character>KEVIN</character> <dialogue>Listen...I made you something. A - well sort of present.</dialogue> <scene_description>He draws a dark rectangular wooden box about five inches long from his pocket, polishes the oiled wood with the wad of toilet paper it's been wrapped in. Carefully he slides the box across the table keeping two fingers on the top, the workmanship is surprisingly fine. She reaches, but he keeps his fingers on it fast.</scene_description> <character>KEVIN</character> <dialogue>Don't!...I mean whatever you do. Don't open it.</dialogue> <scene_description>Eva instinctively shrinks back. She flushes, a little shocked, a little horrified.</scene_description> <character>EVA</character> <parenthetical>(in a stinging tone)</parenthetical> <dialogue>I see. I thought that was one of your most treasured possessions. Why ever would you give it up?</dialogue> <character>KEVIN</character> <dialogue>It was like she was, sort of, looking at me all the time. It started to get spooky.</dialogue> <character>EVA</character> <dialogue>She is looking at you. So is your father... every day.</dialogue> <scene_description>Kevin stares at the table, he shoves the box a little further towards Eva, then removes his hand.</scene_description> <character>KEVIN</character> <dialogue>Anyway, I thought you might take this and, well maybe you know -</dialogue> <character>EVA</character> <dialogue>Bury it.</dialogue> <scene_description>Eva nods gravely and weighted by the enormity of the request, they spend the remaining minutes of the visit in a heavy leaden silence until the guard calls time. Eva rises slowly followed by Kevin. As she moves to hug him goodbye, he clings to her childishly as he never had in childhood proper. He mutters something choked into the upturned collar of her coat...'I'm sorry'? She's not sure if she's heard him right but she takes the risk.</scene_description> <character>EVA</character> <dialogue>I'm sorry too Kevin. I'm sorry too.</dialogue> </scene> <scene> <stage_direction>INT. EVA'S CAR - EARLY EVENING</stage_direction> <scene_description>Empty highway, silence fills the car. Eva flicks on the radio. 'the Remington fuzz away'.... Scrambling channels, news, talk shows, ads.... ...'an oldie but a goodie' ...Are you lonesome tonight?... Do you miss me tonight? Neon signs reflected in the windscreen...Taco bell, Staples, Wallmart, swim over Eva's face... Does your memory stray to a bright sunny day. A church sign, a hand with a stop watch,'Lord teach me how to wait.' She pulls up outside the duplex. Turns the engine off. Sits in the car. Do the chairs in your parlor seem empty and bare? Later, inside. She sits on the couch dressed only in Franklin's huge ancient rock T-shirt. Absentmindedly, she pulls the material to her face.... breathes in. Her purse, half open sits waiting for her on the table, the box visible. A gulp of wine. She looks at the bottle, it's down to the halfway mark. Fuck it, fills her glass. Do you gaze at your doorstep and picture me there? Eva, fuzzy...puts her hand out to grip the bannister. There is no bannister. A door at the end of the hall the opposite end to Eva's, a room we haven't seen before, a pause, she pushes the door open. Is your heart filled with pain, shall I come back again? A small, cell like bedroom; a neatly made, single bed. Not much else, sparse and impersonal. She places the little box on a bare shelf, beside the only book, 'ROBIN HOOD'. Tell me dear are you.... She smooths down the bed covers, stands in the doorway for a moment. Lonesome tonight? Eva turns off the light leaving the empty room... waiting. FADE TO BLACK.: You know someone said that the world's a stage, and each must play a part... Fate had me playing in love with you as my sweet heart... You read your lines so cleverly and never missed a cue... Now the stage is bare and I'm standing there, with emptiness all around... And if you wont come back to me, then they can bring the curtain down...</scene_description> </scene> </script>

Eva Khatchadourian, once a successful travel writer, lives alone in a rundown house and works in a travel agency near a prison, where she visits her son Kevin. She reflects upon her memories of raising him as she tries to cope with the hostility of her neighbors. A reluctant mother, Eva views Kevin as detached and difficult from childhood. He appears to loathe and deliberately antagonize Eva, who struggles to bond with him. As a baby, he cries incessantly, but only around her; as a child, he resists toilet training, rebuffs Eva's attempts at affection, and shows no interest in anything. He behaves like a happy, loving son in front of his father Franklin, who dismisses Eva's concerns and makes excuses for Kevin's behavior. One day, Eva's frustration with Kevin drives her to throw him against the wall, breaking his arm. Kevin tells Franklin he fell and uses the incident to manipulate Eva, threatening to tell Franklin the truth if she does not do things he wants. When Kevin is confined to bed with a fever, he shows affection towards Eva for the first time as she reads Robin Hood, though his spiteful personality returns as soon as he recovers. Franklin gives Kevin a bow and arrow and teaches him archery. Sometime later, Eva gives birth to her and Franklin's second child Celia, a lively and cheerful girl towards whom Kevin is instantly disdainful. A few years later, Celia's pet guinea pig mysteriously goes missing. Eva finds its remains in the garbage disposal the next day, which she unclogs with drain cleaner. Celia is blinded in one eye after being exposed to the cleaner while Kevin was tasked with watching her, requiring her to wear a glass eye in its place. Eva suspects Kevin injured his sister on purpose, but Franklin defends him. Tired of Eva's distrust of their son, Franklin discusses divorce with her, and Kevin overhears their conversation. Three days before his 16th birthday, Kevin uses bicycle locks to trap several students in the school gymnasium and murders them with his bow and arrows. After witnessing Kevin’s arrest and the bodies of his victims being carried away, Eva returns home to discover that Kevin has murdered Franklin and Celia as well. On the second anniversary of the massacre, Eva visits Kevin in prison; his demeanor has changed to demure and frightened in his anticipation of being transferred to an adult prison. Eva finally asks him why he committed the murders. Kevin responds that he used to think he knew but is no longer sure. Eva embraces Kevin and leaves.

Flamin' Hot_2023

tt8105234

<script> <scene> <character>FLAMIN' HOT</character> <dialogue>by</dialogue> <scene_description>Lewis Colick and Linda Yvette Chávez Full Green Revisions - 7/19/21 Searchlight Pictures Franklin Entertainment A voice penetrates the silence.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Call a Mexican spicy and you're playing with fire...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But spicy is how I got here...</dialogue> </scene> <scene> <stage_direction>INT. UPSCALE RESTAURANT - KITCHEN - NIGHT - 2016</stage_direction> <scene_description>CLOSE ON a stove burner. The flames ignite and engulf a pan with a WOOSH. We look past the pan to a MEXICAN LINE COOK who arranges an elegant plate of food.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>To this moment. Me...</dialogue> <scene_description>The MEXICAN LINE COOK picks up the plate, places it on a tray of plates, and hands it to a MEXICAN RUNNER--</scene_description> <character>RICHARD (V.O.)</character> <dialogue>The most uneducated, successful vato you'll ever meet...</dialogue> <scene_description>The MEXICAN RUNNER rushes the plate over to a MEXICAN WAITER.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>...who helped bring you the most popular snack the world has ever seen.</dialogue> <scene_description>The MEXICAN WAITER exits into the dining area. We follow him.</scene_description> </scene> <scene> <stage_direction>INT. UPSCALE RESTAURANT - NIGHT - 2016</stage_direction> <scene_description>The Mexican Waiter rushes through the dining hall with the piping hot tray of plates.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Yeah, that fine guapo right there?</dialogue> <scene_description>The Mexican Waiter lays out steak dinners for a pair of PepsiCo executives.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Looking like Sean Connery dipped in abuelita chocolate? That's me. El mero mero--</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Mr. Richard Montañez--</dialogue> <character>RICHARD (V.O.)</character> <dialogue>Not that fool. Over here, mensos.</dialogue> <scene_description>The camera SHARPLY WHIPS to RICHARD MONTAÑEZ, a spruced up Chicano in a nice suit (58), sitting next to the execs and his wife JUDY (58), a güera (blonde) Chicano veterana draped in jewels.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Yep, that's me. The little gangster that could. The chavo who lit the snack industry on fire with a million dollar idea.</dialogue> <scene_description>Richard smirks knowingly and winks at camera as a symbol</scene_description> <character>CLANGS--</character> <dialogue>CUE "Don't Put Me Down Cause I'm Brown" by El Chicano. The mesmerizing beats of a timbal take us to--</dialogue> </scene> <scene> <stage_direction>EXT. GUASTI WINERY - THE FIELDS - DAY - FLASHBACK - 1966</stage_direction> <scene_description>CLOSE-ON YOUNG RICHARD (10), smiling wide. Sun flares envelop his face in dream-like goodness. He runs between the rows of grapevines.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>The kid from Guasti who wouldn't take no for an answer.</dialogue> <scene_description>TITLE: Guasti, California. 1966.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>The number one travieso. Son of Vacho and Concha Montañez.</dialogue> <scene_description>In SLO-MO, a small crowd of BROWN KIDS (5) of various ages come into view. They chase him with the same childlike joy.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>One of NINE traviesos.</dialogue> <parenthetical>(laughs)</parenthetical> <dialogue>It was the '60s. We're Mexican. 'Course my parents got down. It's one way to pass the time when the world says you ain't nothing and nobody.</dialogue> <scene_description>is suddenly cut off when he runs into VACHO MONTAÑEZ (20s), Richard's father, a gruff and tough-looking pachuco.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>By the time I was ten, I knew all I had in life was--</dialogue> <scene_description>Richard looks up at Vacho, scared. Vacho grabs him by the collar and yanks him away as we CUT TO--</scene_description> </scene> <scene> <stage_direction>INT. GUASTI WINERY - SHED - DAY - 1966</stage_direction> <scene_description>Richard's ABUELITO (60s) sits on a crate, wearing a wide- brimmed hat.</scene_description> <character>ABUELITO</character> <dialogue>The Montañez name. Si les puedes enseñar de lo que es capaz un Montañez, no te pueden decir nada, cabrón.</dialogue> <character>ABUELITO \[TRANSLATION\]</character> <dialogue>The Montañez name. If you can show 'em what a Montañez can do, they can't tell you nothin', cabrón.</dialogue> <scene_description>Young Richard nods vigorously.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Except the world in the '60s thought "Montañez", "Martinez," "Romero", "Torres" gave 'em a free pass to--</dialogue> <scene_description>OMITTED INSERT FOUND FOOTAGE/PHOTOS FROM THE CHICANO MOVEMENT: The music swells as black and white FOUND FOOTAGE of a police officer beating a young Chicano boy in the streets appears.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>--Beat your ass in the streets like a dog.</dialogue> <scene_description>A SERIES OF PHOTOS of brown soldiers slain in the Vietnam War fly across screen rapid fire. A NEWS HEADLINE reads - Mexican- Americans: 10% of the Population. Highest Soldier Death Toll.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Ship you off to war to drop like flies like you weren't worth a dime.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>use ya</dialogue> <scene_description>for target practice. BACK TO Chicano Moratorium footage. People protest. Someone screams. A GUN SHOT RINGS OUT--</scene_description> </scene> <scene> <stage_direction>INT. MONTAÑEZ QUARTERS - DAY - FLASHBACK - 1966</stage_direction> <scene_description>CRASH! A pan hits the floor. A frustrated CONCHA MONTAÑEZ (20s) picks it up. The cramped quarters are smokey.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>That's my 'amá, Concha. Looks sweet, but don't let her fool ya. She can twist a chicken's neck and make caldo in the time it takes your mama to make a casserole!</dialogue> <scene_description>CLOSE ON a transistor radio that's been broken into pieces. Strewn amongst comic books. Children rush around laughing. Young Richard and YOUNG MARY LOU (11) sit and watch Adam West as BATMAN in a movie on a tiny black and white portable TV.</scene_description> <character>YOUNG MARY LOU</character> <dialogue>(whispers aggressively)</dialogue> <character>YOUNG MARY LOU</character> <dialogue>(whispers aggressively)</dialogue> <scene_description>Dejalo ahí, Richie. Leave it there, Richie.</scene_description> <character>YOUNG RICHARD</character> <dialogue>Cuando lo arreglo le vamos a llamar a Batman. Hello?</dialogue> <character>YOUNG RICHARD</character> <dialogue>When I fix it, we're gonna call Batman. Hello? Hello?</dialogue> <scene_description>Hello? Vacho stumbles in drunk.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>My dad. "Vacho" Montañez. Short for borracho (drunk) 'cause, well--</dialogue> <character>CONCHA</character> <dialogue>Ya Vacho. Para de tomar.</dialogue> <character>CONCHA \[TRANSLATION\]</character> <dialogue>Enough Vacho. Stop drinking.</dialogue> <scene_description>Vacho stares her down. Mary Lou pulls on Richard's sleeve.</scene_description> <character>YOUNG MARY LOU</character> <dialogue>Richard...</dialogue> <scene_description>Richard works as fast as possible on his transistor radio. I'm here to save them all! Vacho grabs Richard by the collar and scoops up the radio.</scene_description> <character>VACHO</character> <dialogue>Porque lo quebraste, menso? Que haces tocando mis cosas?!</dialogue> <character>VACHO \[TRANSLATION\]</character> <dialogue>Why did you break this, idiot? Why are you touching my things?!</dialogue> <scene_description>Concha tries to intercept but Vacho shoves her away.</scene_description> <character>YOUNG RICHARD</character> <dialogue>You wanted to fix it. I fixed it.</dialogue> <scene_description>Vacho sets him down, turns the knob. The radio shifts between stations, lands on one. He looks at Richard, who smiles. Richard thinks he's done good until Vacho shoves him and throws the radio at the wall. Concha and Mary Lou scream.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>My pops couldn't do right by the Montañez name. And I started to wonder if that leva (coward) mess was in my DNA, too. Maybe I wasn't gonna be no hero. Maybe, instead--</dialogue> <scene_description>OFF Richard--</scene_description> </scene> <scene> <stage_direction>EXT. GUASTI TOWN - STREET - DAY - FLASHBACK - 1974</stage_direction> <scene_description>TEENAGE RICHARD (18), a 1970s cholito, runs down the street, holding a stolen stereo/LP player and a smile on his face.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Yep. That's that firme Pachuco steez everybody was wearing in the seventies. I look good, baby!</dialogue> <scene_description>A POLICE CAR comes into view behind him, sirens blasting. He looks back over his shoulder. We FREEZE FRAME on him--</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Um, let's fast forward.</dialogue> <parenthetical>(laughs)</parenthetical> <dialogue>Judy don't like me talking 'bout this part...</dialogue> <character>LUCKY \[PRELAP\]</character> <dialogue>'Amaaaaaaá!!!</dialogue> <scene_description>CLOSE-ON JUDY's (29) hands, flipping tortillas she made from scratch. She holds a crying BABY STEVEN (1), pours water into a gallon of milk to make it stretch. Next to her, Richard lays on his side digging through the gears and wires behind an old fridge. YOUNG LUCKY (4) is flicking the toe of his old sneaker against the floor. The heel is loose and flapping like a duck's beak.</scene_description> <character>YOUNG LUCKY</character> <dialogue>'Amá, look. 'Amá, look. 'Amá, look.</dialogue> <character>JUDY</character> <dialogue>Yes Lucky baby, I see it, mijo. Here. Chew.</dialogue> <scene_description>She unwraps a piece of gum and pops it in his mouth, pours Lucky a cup of milk, and steps over the now laser-focused Richard to pull plastic bags off the top of the fridge.</scene_description> <character>JUDY</character> <parenthetical>(to Richard; frustrated)</parenthetical> <dialogue>Baby, we're gonna be late. Hurry.</dialogue> <character>YOUNG LUCKY</character> <dialogue>'Amaaaaaaá.</dialogue> <character>JUDY</character> <dialogue>Spit, baby.</dialogue> <scene_description>Young Lucky spits out the gum. She uses it to seal the loose heel. Judy shoves a bottle in Baby Steven's mouth and stacks tortillas. Richard opens the fridge door, triumphant. The light works.</scene_description> <character>RICHARD</character> <dialogue>Si se pudo, Mejicanos! Fixed it.</dialogue> <scene_description>Suddenly, the entire fridge short-circuits and goes out. Judy stops in her tracks.</scene_description> <character>JUDY</character> <dialogue>Richard, that sounded so bad--</dialogue> <character>RICHARD</character> <dialogue>Bad? Nah. The fridge is just taking a nap, baby. It needs a little rest and then I'll get back under there--</dialogue> <scene_description>Oh my god, Richard, stop. The food is gonna spoil--</scene_description> <character>RICHARD</character> <dialogue>Hey, hey, come here.</dialogue> <parenthetical>(holding her shoulders)</parenthetical> <dialogue>Breathe.</dialogue> <character>JUDY</character> <dialogue>What are we supposed to eat--</dialogue> <character>RICHARD</character> <dialogue>Breathe.</dialogue> <character>JUDY</character> <dialogue>Pero, we don't have the money for--</dialogue> <character>RICHARD</character> <dialogue>Three...</dialogue> <character>JUDY</character> <dialogue>Two...</dialogue> <character>RICHARD</character> <dialogue>One...</dialogue> <character>RICHARD</character> <dialogue>Breathe.</dialogue> <character>JUDY</character> <dialogue>Breathe.</dialogue> <scene_description>They both take a very deep breath.</scene_description> <character>RICHARD</character> <dialogue>Someone's gonna say yes today, bebita. I got this.</dialogue> <scene_description>Judy nods holding back tears; struggling to believe him.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>And I did have this.</dialogue> <scene_description>CUT TO A SERIES OF JUMP-CUTS, Richard interviews for jobs while Judy and the kids sell tortillas:</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY - 1982</stage_direction> <scene_description>Richard stares at a LANDSCAPER fiddling with a janky lawnmower next to his truck. He holds Richard's resume.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>I even had Judy make me a fancy re- sú-may 'cause who's gonna say no to somethin' that sounds French?</dialogue> <parenthetical>(hands it back)</parenthetical> <dialogue>We don't got no work, bro.</dialogue> <character>RICHARD</character> <dialogue>I can mow a lawn faster than my mama can slaughter a pig and make chicharrones.</dialogue> <scene_description>The Landscaper stares at him.</scene_description> <character>RICHARD</character> <dialogue>That was a joke, man.</dialogue> <scene_description>The Landscaper shakes his head. Richard bows his head, downtrodden. He walks off holding his stack of resumes, then looks back at the Landscaper.</scene_description> <character>RICHARD</character> <dialogue>It's the discharge chute that's messing up, carnal. And give the cord retainer a look too.</dialogue> <scene_description>Richard leaves. The Landscaper check. Huh, he's right. He's impressed.</scene_description> <character>EXT. GROCERY STORE PARKING LOT - DAY - SIMULTANEOUS - 1982 12</character> <dialogue>OUTSIDE, Judy and Young Lucky run up to a grumpy OLD MEXICAN LADY.</dialogue> <character>JUDY</character> <dialogue>Mire, señora! Tortillas hechas a mano. Un dolar.</dialogue> <character>JUDY \[TRANSLATION\]</character> <dialogue>Look, señora! Handmade tortillas. One dollar.</dialogue> <scene_description>The woman shakes her head. Young Lucky kicks the curb and pouts.</scene_description> </scene> <scene> <stage_direction>INT. BARBERSHOP - DAY - 1982</stage_direction> <scene_description>Richard stands across from a BARBER, who stares at Richard's resume.</scene_description> <character>RICHARD</character> <dialogue>Some call it juvenile detention, I call it "summer camp".</dialogue> <scene_description>Richard laughs, then shifts uncomfortably, a timid smile. Richard is beaming as the STORE MANAGER, a white man, eyes his Pachuco clothing.</scene_description> <character>RICHARD</character> <dialogue>Who needs a high school diploma to sell a bunch of junk, am I right?</dialogue> <scene_description>The Store Manager hands Richard's resume back. Nope.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - VARIOUS - DAY - 1982</stage_direction> <scene_description>Richard makes his way from shop to shop-- AT RENE'S SALON, Richard steps up to the door when a STORE OWNER flips over the "HELP WANTED" sign. No work. AT THE FLORIST SHOP, an employee arranging flowers for sale outside shakes his head no.</scene_description> </scene> <scene> <stage_direction>INT. GROCERY STORE - DAY - 1982</stage_direction> <scene_description>Richard stands across from a GROCERY STORE MANAGER at bagging, fully depressed.</scene_description> <character>GROCERY STORE MANAGER</character> <dialogue>Well, obviously I can't hire you.</dialogue> <parenthetical>(fantasy)</parenthetical> <dialogue>You ain't got white skin.</dialogue> <scene_description>Richard stares at him, stone-faced. Then--</scene_description> <character>RICHARD</character> <dialogue>The hell'd you say, fool?</dialogue> <character>GROCERY STORE MANAGER</character> <dialogue>I said you're talking into the wind. Looking at you I can tell you haven't got an ounce of initiative.</dialogue> <character>RICHARD</character> <dialogue>Oh. What... does that kinda guy look like?</dialogue> <scene_description>The Grocery Store Manager, annoyed, shoves Richard's resume back at him and leaves. Richard looks out the store window. OUTSIDE, Judy and Young Lucky rush from person to person trying to sell their tortillas. Richard is heartbroken. Judy watches a WOMAN walk away, dejected.</scene_description> <character>YOUNG LUCKY</character> <dialogue>Mama, I'm hungry.</dialogue> <scene_description>Judy hands him a tortilla and comforts a sleeping Baby Steven.</scene_description> <character>JUDY</character> <dialogue>Here, baby. Eat this.</dialogue> <scene_description>Young Lucky eats his tortilla and kicks a car tire with his flapping toe-heel. The gum gets all over the tire. A WHITE COUPLE walk up. The HUSBAND grabs Young Lucky's shoulder roughly.</scene_description> <character>HUSBAND</character> <dialogue>Don't do that! Have respect for other people's property, dang it.</dialogue> <scene_description>Judy quickly gets up, frustrated, she fumbles with Baby Steven. She rushes to Young Lucky and pulls him away.</scene_description> <character>JUDY</character> <dialogue>Hey! Get your hands off my kid! Don't be talking to him like that.</dialogue> <character>HUSBAND</character> <dialogue>Good lord, you women pump these little wetbacks out like a factory.</dialogue> <parenthetical>(Alternate)</parenthetical> <dialogue>Good lord, you women pump these little spics out like a factory.</dialogue> <scene_description>Young Lucky's shocked. Baby's first micro-aggression. Judy pulls Young Lucky away as Richard arrives.</scene_description> <character>RICHARD</character> <dialogue>Hey, you touch my kids?!</dialogue> <scene_description>Richard slams on their hood as they try to drive away.</scene_description> <character>JUDY</character> <dialogue>Richard! Leave it alone!</dialogue> <character>RICHARD</character> <dialogue>Leave it alone?!</dialogue> <character>JUDY</character> <dialogue>Yes! They'll call the police and that ain't good for either of us.</dialogue> <scene_description>a semi-hug. Judy stares at him, hoping for good news, but...</scene_description> <character>RICHARD</character> <dialogue>No me lo dieron. (I didn't get it.)</dialogue> <character>YOUNG LUCKY</character> <dialogue>What's a wetback...?</dialogue> <parenthetical>(alt)</parenthetical> <dialogue>What's a spic...?</dialogue> <scene_description>Judy's heart breaks. She pulls Young Lucky into her arms.</scene_description> <character>JUDY</character> <dialogue>It's okay, mijo. You didn't do nothin' wrong. Come here.</dialogue> <scene_description>She hugs Young Lucky who starts to cry, releasing the shock of being reprimanded by the Whites. Tears well in her eyes.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Listen. I've taken a lot in my life, but what I can't ever take is seeing my family cry. Especially my Judy. Been that way since the day I laid eyes on her.</dialogue> </scene> <scene> <stage_direction>EXT. SCHOOL POND - DAY - FLASHBACK - 1966</stage_direction> <scene_description>We land wide on YOUNG JUDY (10), an adorable muchachita in pigtails sitting for her school portrait.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Sweet as sunshine, I had my heart set on her a long time ago.</dialogue> <scene_description>We slowly push-in on her. A halo of wisps of light surround her as the song "Earth Angel" rises.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Judy was the smartest girl at school. She knew the biggest words English words in the dictionary como "equator" and "wizard"! Man, I couldn't even speak English. Everyone also knew that Judy--</dialogue> <scene_description>Judy pulls down her sleeve to cover up a bruise on her arm. Let's just say us two chiquillos had a lot in common. (beat) Even with tears in her eyes, Judy... man, Judy was a dream. It was like I was in the Mexican Wonder Years! Judy sits at a bench, solemnly eating her lunch. Richard sits at a bench beside hers. He looks over at her. She waves at him shyly. Richard's stunned. He gets up and walks over to Judy's bench, sits down beside her. She has a poor girl's meal of an apple and crackers.</scene_description> <character>YOUNG RICHARD</character> <dialogue>Hi, ese es tu lonche?</dialogue> <character>YOUNG RICHARD \[TRANSLATION\]</character> <dialogue>Hi, is that your lunch?</dialogue> <character>YOUNG JUDY</character> <dialogue>Yeah, wish it was a bologna sandwich, or chocolate...</dialogue> <scene_description>She shrugs solemnly. Richard quickly reaches into his little brown paper sack and pulls out a burrito, unwraps it.</scene_description> <character>YOUNG RICHARD</character> <dialogue>Tengo un burrito. Si cierras los ojos puedes imaginar que es un chocolate.</dialogue> <character>YOUNG RICHARD</character> <dialogue>I got a burrito. If you close your eyes you can pretend it's chocolate.</dialogue> <scene_description>She laughs. Richard smiles shyly. She takes the burrito.</scene_description> <character>KID (O.S.)</character> <dialogue>What is that? Gross.</dialogue> <scene_description>A CAFETERIA KID, flanked by WIMPY CAFETERIA KID and ANOTHER CAFETERIA KID, points at the burrito with disgust. Judy shrinks. Richard speaks up with his heavy accent.</scene_description> <character>YOUNG RICHARD</character> <dialogue>Ees a bean burrito...</dialogue> <character>CAFETERIA KID</character> <parenthetical>(laughs)</parenthetical> <dialogue>Figures. Beans for a dirty beaner!</dialogue> <scene_description>The kids with him laugh and point. Now Richard shrinks.</scene_description> <character>CAFETERIA KID</character> <dialogue>If you eat those beans you ain't gonna be good at English no more, Judy. You'll sound stupid like him.</dialogue> <scene_description>Richard stands, fists ready to save the day like Batman.</scene_description> <character>YOUNG RICHARD</character> <dialogue>Leeve 'er uh-lone!</dialogue> <character>RICHARD (V.O.)</character> <dialogue>I showed that little panzón (fatty) what's what.</dialogue> <scene_description>The White Kid shoves Richard's forehead. Richard stumbles back. The kids laugh and walk away.</scene_description> <character>YOUNG JUDY</character> <dialogue>Estas bien? (You okay?)</dialogue> <scene_description>Richard rubs his forehead as Judy takes his hand sweetly.</scene_description> <character>RICHARD (V.O.)</character> <parenthetical>(clears his throat)</parenthetical> <dialogue>Like I said, I showed the menso a Montañez takes the high-road. We're classy like that.</dialogue> </scene> <scene> <stage_direction>INT. MONTAÑEZ QUARTERS - NEXT DAY - FLASHBACK - 1966</stage_direction> <scene_description>CLOSE-ON Young Richard, desperate.</scene_description> <character>YOUNG RICHARD</character> <dialogue>Ay 'Amá, por favor (please)! Make me a bologna sandwich!</dialogue> <character>CONCHA (PRELAP)</character> <dialogue>Como que un bologna sandwich? Qué bolgona sandwich ni que</dialogue> <character>CONCHA \[TRANSLATION\]</character> <dialogue>Bologna sandwich? Nobody's making you that!</dialogue> <scene_description>nada! Young Richard desperately follows Concha around the kitchen.</scene_description> <character>YOUNG RICHARD</character> <dialogue>I don't want to be different! Tambien hechame un cupcake.</dialogue> <character>YOUNG RICHARD \[TRANSLATION\]</character> <dialogue>I don't want to be different! Put a cupcake in there too.</dialogue> <scene_description>Concha looks at him, appalled. Excuse me? She wraps up two burritos and sticks them in a bag. Hands it to him.</scene_description> <character>CONCHA</character> <dialogue>Ten. Uno para ti y uno para el menso al que no le gustan los burritos.</dialogue> <character>CONCHA \[TRANSLATION\]</character> <dialogue>Here. One for you and one for the idiot who doesn't like burritos.</dialogue> <scene_description>Richard groans. Concha gives him a stern look. Richard and Judy share a burrito. The White Kid and his friends march up and Judy cowers. Richard steels himself. Richard takes a big delicious bite. The Cafeteria Kid eyes him closely. What is this kid doing?</scene_description> <character>YOUNG RICHARD</character> <dialogue>Omaigah, sooo good. Delicioso!</dialogue> <scene_description>Everyone looks confused, including Judy. Finally--</scene_description> <character>YOUNG RICHARD</character> <parenthetical>(to Cafeteria Kid)</parenthetical> <dialogue>Want some?</dialogue> <character>CAFETERIA KID</character> <dialogue>Ew. I'm not gonna eat that.</dialogue> <scene_description>He shoves WIMPY CAFETERIA KID forward.</scene_description> <character>CAFETERIA KID</character> <dialogue>You eat it. I dare you.</dialogue> <scene_description>Richard hands Wimpy Cafeteria Kid the burrito. Wimpy Cafeteria Kid hesitates, then eats it, and smiles from ear to ear, making yum noises--</scene_description> <character>WIMPY CAFETERIA KID</character> <dialogue>Oh, wow. It's real good!</dialogue> <character>ANOTHER CAFETERIA KID</character> <dialogue>I want some. Give me one.</dialogue> <character>CAFETERIA KID</character> <dialogue>I'm first! Hand one over.</dialogue> <scene_description>Cafeteria Kid makes a swipe for Richard's second burrito, but Richard blocks him.</scene_description> <character>YOUNG RICHARD</character> <dialogue>Twenty-five cents.</dialogue> <scene_description>Cafeteria Kid grumbles. Finally, BAM-- he pulls out a quarter. Hands it over. The kid gobbles it up.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>And just like that, I became the burrito hustler of Guasti Elementary, baby!</dialogue> <scene_description>"Money (That's What I Want!)" as we-- CUT TO MONTAGE:</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL CAFETERIA - DAY - FLASHBACK - 1966</stage_direction> <scene_description>Richard dumps a bag of burritos onto a lunch table. Kids swipe them up. He hands one to Judy. She winks. He melts.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Taco Bell didn't introduce the world to burritos. Me and my mama did!</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL CAFETERIA - DAY - FLASHBACK - 1966</stage_direction> <scene_description>CLOSE-ON happy kids' faces munching down on their burritos.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Well, that's what it felt like to me!</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>INT./EXT. SCHOOL HALLWAY - DAY - FLASHBACK - 1966</stage_direction> <scene_description>Richard sells burritos to kids in the hallway.</scene_description> </scene> <scene> <stage_direction>INT. MONTAÑEZ QUARTERS - DAY - FLASHBACK - 1966</stage_direction> <scene_description>Richard dumps quarters into a jar.</scene_description> </scene> <scene> <stage_direction>INT. MONTAÑEZ QUARTERS - DAY - FLASHBACK - 1966</stage_direction> <scene_description>A waterfall of quarters rain down in SLO-MO over Richard's face. Heaven. We pull out to see him jumping on a bed-pile of quarters. He rolls around in them like it's a million bucks!</scene_description> </scene> <scene> <stage_direction>EXT. QUICKIE MART MURAL - DAY - 1966</stage_direction> <scene_description>Richard pockets a wad of cash as he rushes to the Quickie Mart, a giant smile on his face. I wasn't going to let another day go by where Judy ate nothing but crackers.</scene_description> </scene> <scene> <stage_direction>INT. QUICKIE MART - DAY - FLASHBACK - 1966</stage_direction> <scene_description>Young Richard struts in, pocket full of money. Swag strong. Richard snatches up chocolate.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>My Jude wanted chocolate and she was gonna get it.</dialogue> <scene_description>AT THE COUNTER, he lays it all down. QUICKIE MART MANAGER stares at him with scrutiny.</scene_description> <character>QUICKIE MART POLICE OFFICER (O.S.)</character> <dialogue>You better have money for that.</dialogue> <scene_description>Richard shrinks as QUICKIE MART POLICE OFFICER steps up beside him. Richard pulls out some money. He thinks he's safe, but then--</scene_description> <character>QUICKIE MART POLICE OFFICER</character> <dialogue>Where you steal that from, huh boy?</dialogue> <character>RICHARD (V.O.)</character> <dialogue>Here's how this bronca coulda gone.</dialogue> <character>CUT TO FANTASY:</character> <dialogue>Richard like an upstanding 1950s boy, prim and proper.</dialogue> <character>YOUNG RICHARD</character> <parenthetical>(pristine English accent)</parenthetical> <dialogue>Gee, Mister. I made that money on my newspaper route! No mischief here. Just a kid with a girl to impress!</dialogue> <scene_description>Quickie Mart Manager and Quickie Mart Police Officer share a laugh.</scene_description> <character>QUICKIE MART POLICE OFFICER</character> <dialogue>Well, look at this fine upstanding young citizen. Get your girl, son!</dialogue> <scene_description>He hands Richard a 100 dollar bill. Richard's beaming.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>But I ain't white.</dialogue> </scene> <scene> <stage_direction>EXT. QUICKIE MART - DAY - FLASHBACK - 1966</stage_direction> <scene_description>The Police Officer shoves little ten-year-old Richard into the cop car. Slams the door. Richard, handcuffed, shrinks in the backseat.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>So just like that, your boy was damaged goods.</dialogue> <scene_description>The entire neighborhood looks on, shaking their heads.</scene_description> <character>EXT. VACHO'S HOUSE - RICHARD'S TRUCK - STATIONARY - NIGHT -30</character> <dialogue>CLOSE ON Young Lucky sleeping and his pathetic little shoe. Richard looks at it, deep in thought. Judy's drained. They're parked outside Vacho's house.</dialogue> <character>JUDY</character> <dialogue>We gotta go in at some point, baby.</dialogue> <character>RICHARD</character> <dialogue>Jude... not tonight.</dialogue> <scene_description>Judy closes her eyes and takes a deep breath.</scene_description> <character>JUDY</character> <dialogue>They need to eat, Rich. Your mama has food--</dialogue> <character>RICHARD</character> <dialogue>We have food at home--</dialogue> <character>JUDY</character> <dialogue>No, we don't have food. We can't pay rent. We don't have work--</dialogue> <character>RICHARD</character> <dialogue>You think I don't know that?!</dialogue> <character>JUDY</character> <dialogue>Tortillas can't pay bills and our kid's got shoes that talk and we... we need help. So please, suck it up and let's go into Vacho's.</dialogue> <scene_description>Richard looks down at Young Lucky again. Hurt, he buries his pride and turns off the engine, opens his door. CLOSE ON a pot of piping hot spaghetti. Concha pulls the pot off the stove and walks it to the dining table where the family sits, including Vacho.</scene_description> <character>CONCHA</character> <dialogue>(to Judy)</dialogue> <character>CONCHA \[TRANSLATION\]</character> <dialogue>(to Judy)</dialogue> <scene_description>Mija, no te puede conseguir Mija, can't your sister get tu hermana más turnos en la you more shifts at the store? tienda? She scoops spaghetti onto Vacho's plate. Vacho slathers the spaghetti with hot sauce. Other family members do too.</scene_description> <character>JUDY</character> <dialogue>She tried 'amá, but there's no more shifts.</dialogue> <scene_description>Vacho, now older but still pachuco fabulous, pours himself a cup of agua de sandía.</scene_description> <character>VACHO</character> <dialogue>Sabes que? It ain't your job to provide for your family. It's this menso's job.</dialogue> <parenthetical>(to Richard)</parenthetical> <dialogue>What's wrong with you, huh? Letting your woman work so much? If you read the bible, tonto, you'd know the man has to provide.</dialogue> <character>RICHARD (V.O.)</character> <dialogue>You heard that right. God.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Vacho got saved about five years ago. He replaced the gin &amp; juice with some Jesús juice.</dialogue> <scene_description>Vacho looks to Young Lucky.</scene_description> <character>VACHO</character> <dialogue>You gotta be this kid's example--</dialogue> <scene_description>Richard stares Vacho down. Concha cuts in--</scene_description> <character>CONCHA</character> <dialogue>Buscaste trabajo hoy, verdad mijo?</dialogue> <character>CONCHA \[TRANSLATION\]</character> <dialogue>He looked for work today, didn't you mijo?</dialogue> <scene_description>Judy looks up from her plate at Richard. They lock eyes. He gets up and heads to the fridge. Judy looks to Concha. Of course he looked for work. We both did. There's just no work out there.</scene_description> <character>VACHO</character> <dialogue>It's 'cause all they see is a poor, good-for-nothing gangster when they see you. If you gave your life to the Lord, then you'd see how fast the help would come.</dialogue> <character>RICHARD</character> <dialogue>That right? Well, last time I checked Jesus was poor, prieto, and powerless like me and he did some pretty gangster shit too--</dialogue> <scene_description>Richard grabs a beer from the fridge and leans against the wall, annoyed. Vacho shoots him a look.</scene_description> <character>VACHO</character> <dialogue>You wanna be a good husband and father or not, huevón (lazy-ass)?</dialogue> <character>JUDY</character> <dialogue>Hey, he's both those things.</dialogue> <character>CONCHA</character> <dialogue>Mira mija--</dialogue> <scene_description>Richard seethes. Concha pulls a candle out of the cupboard.</scene_description> <character>CONCHA</character> <dialogue>Prendela y rezale. Vas a ver que funciona.</dialogue> <character>CONCHA \[TRANSLATION\]</character> <dialogue>Light this and say a prayer. It'll help.</dialogue> <character>JUDY</character> <dialogue>At this point, I will try anything.</dialogue> <character>VACHO</character> <parenthetical>(sucks his teeth)</parenthetical> <dialogue>Mira, he needs more than a candle, mujer. God can't do all the work. What's he doing to change himself, huh?</dialogue> <scene_description>She hands it to Judy who is seriously considering this now. Richard can't take this bullshit any longer.</scene_description> <character>RICHARD</character> <dialogue>Or how 'bout you all skip the stupid candle and have faith in me?</dialogue> <character>JUDY</character> <dialogue>Baby--</dialogue> <scene_description>Frustrated, Richard barrels through the front door, and slams it shut behind him.</scene_description> </scene> <scene> <stage_direction>EXT. VACHO'S HOUSE - NIGHT - 1982</stage_direction> <scene_description>Richard exits, sees across the street a crew of HOMIES are gathered. Drug deals are being made on the low.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Um, ya know that thing Judy don't like me talkin' 'bout?</dialogue> <scene_description>They wave him over. He checks his surroundings, heads over.</scene_description> </scene> <scene> <stage_direction>EXT. GANGSTER HOUSE - NIGHT - 1982</stage_direction> <scene_description>Richard marches up to his old crew. A grip of guys huddled up. He hits up PABLITO and DIEGO (20s).</scene_description> <character>PABLITO</character> <dialogue>Orale, wassup homie. Big Dog! You finally back for business, ese?</dialogue> <character>RICHARD</character> <dialogue>Depends.</dialogue> <character>DIEGO</character> <dialogue>Oh shit, for reals? We got you, homie.</dialogue> <character>PABLITO</character> <parenthetical>(to the guys)</parenthetical> <dialogue>Yo! This homie could sell water to a whale, dog. Best salesman on the block.</dialogue> <scene_description>Pablito reveals a baggie of drugs. ANTONIO "TONY" ROMERO (30s) a behemoth of a vato, rises from the stoop.</scene_description> <character>TONY</character> <parenthetical>(towering over Richard)</parenthetical> <dialogue>Nah. Richard's good.</dialogue> <character>RICHARD (V.O.)</character> <dialogue>Tony Romero. Known in the hood as the Pitbull.</dialogue> <scene_description>this vato stayed loyal. Still hung on the block to "look after us", he'd say.</scene_description> <character>RICHARD</character> <dialogue>Listen Tony, I know what I'm doing--</dialogue> <character>TONY</character> <dialogue>Nah, you don't. 'Cause you got babies. You don't need to slang nothin'--</dialogue> <character>DIEGO</character> <dialogue>'Ey man, if he wants to deal let him deal.</dialogue> <character>PABLITO</character> <dialogue>Yeah man, we all don't got fancy factory jobs with benefits and stupid hair nets.</dialogue> <scene_description>Richard eyes Tony.</scene_description> <character>RICHARD</character> <dialogue>You working at Frito-Lay?</dialogue> <character>TONY</character> <dialogue>Yeah, so what?</dialogue> <character>RICHARD</character> <dialogue>Hook me up with a job.</dialogue> <character>DIEGO</character> <dialogue>This fool!</dialogue> <character>RICHARD</character> <dialogue>What? They hired this Mexican Hulk Hogan looking pendejo. Why not me?</dialogue> <scene_description>Tony gets right in Richard's face.</scene_description> <character>TONY</character> <dialogue>Call me that again, menso!</dialogue> <character>RICHARD</character> <dialogue>Which one? Hulk Hogan or Pendejo?</dialogue> <scene_description>Tony shoves Richard. Richard shoves back, gets up on his tippy-toes to get in Tony's face.. You really wanna do this, punk? I'm gonna give you a putazo en la madre, fool. Richard relaxes, looks to him, pleading. CONTINUED: (2)</scene_description> <character>RICHARD</character> <dialogue>I need a job, man. Help me out.</dialogue> <character>TONY</character> <dialogue>Go get an application. Who's stopping you?</dialogue> <character>RICHARD</character> <dialogue>Put in a good word for me, man. Like you said, I got kids.</dialogue> <character>TONY</character> <parenthetical>(beat)</parenthetical> <dialogue>Hmph. I'll see what I can do.</dialogue> <scene_description>Richard perks up. There's hope.</scene_description> </scene> <scene> <stage_direction>INT. RICHARD'S HOUSE - LIVING ROOM - NIGHT - 1982</stage_direction> <scene_description>Richard, Judy, and Young Lucky get home. Young Lucky runs to the couch and picks up his second-hand superhero toys. Richard sits beside him and watches Young Lucky play.</scene_description> <character>RICHARD</character> <dialogue>Hey, hey... come here.</dialogue> <scene_description>Lucky crawls over and Richard pulls him into his arms. Judy watches from the kitchen as she unpacks food Concha gave her.</scene_description> <character>RICHARD</character> <dialogue>You know you're a good kid, right?</dialogue> <character>YOUNG LUCKY</character> <parenthetical>(shrugs)</parenthetical> <dialogue>Yeah, I know.</dialogue> <scene_description>Richard holds his brown arm out; holds Young Lucky's against his. Vez? (See?) We're the same. And if I'm good, you're good. No matter what anyone says. Understand? Young Lucky is taken aback. Not sure what to say, he deflects.</scene_description> <character>YOUNG LUCKY</character> <dialogue>Can we watch TV, 'apá?</dialogue> <character>RICHARD</character> <dialogue>Sure, mijo...</dialogue> <scene_description>They cozy up together. Judy pulls the candle from the bag.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>There's a reason why poor people always talkin' 'bout God.</dialogue> <scene_description>Judy places the candle on a mantel nearby that includes photos of the fam and Richard and Judy in their cholo days.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>'Cause when you don't got nothin', the guy promising you everything starts to sound pretty good.</dialogue> <scene_description>Judy strikes a match, turns on the candle, closes her eyes and says a silent prayer. OFF her hopeful face--</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - LOBBY - DAY - 1982</stage_direction> <scene_description>Larger-than-life, the Frito Lay plant's sterile, gigantic walls feel like they could reach the sky. Richard takes a deep breath, he spots a sign that reads "HUMAN RESOURCES". He heads in that direction.</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - PERSONNEL OFFICE - DAY - 1982</stage_direction> <scene_description>Richard marches up to the counter and hands over his resume. A FRITO LAY PERSONNEL SECRETARY takes it, gives it a glance, and hands it right back. She pulls out an application and a pen, hands it over.</scene_description> <character>FRITO LAY PERSONNEL SECRETARY</character> <dialogue>You have to fill out an application. And before you ask, no, we don't have it in Spanish.</dialogue> <character>RICHARD</character> <dialogue>Okay, ma'am. Thank you.</dialogue> <scene_description>His heart's pounding. He tries not to panic and has a seat.</scene_description> <character>SMASH TO ONE</character> <dialogue>HOUR LATER:</dialogue> <scene_description>Richard sits there, still nervously staring at the application.</scene_description> <character>RICHARD</character> <dialogue>Ma'am, can I bring this back later?</dialogue> <scene_description>Frito Lay Personnel Secretary clocks the sweat on his brow.</scene_description> <character>FRITO LAY PERSONNEL SECRETARY</character> <dialogue>Probably a good idea, hon.</dialogue> <scene_description>Richard makes a bee-line for the door.</scene_description> </scene> <scene> <stage_direction>INT. RICHARD'S HOUSE - KITCHEN - DAY - 1982</stage_direction> <scene_description>Judy hustles in through the kitchen excitedly. She drops a bag of groceries on the counter. Starts organizing dinner.</scene_description> <character>JUDY</character> <dialogue>Baby! Sofia got fired porque anda de sucia otra vez and guess who gets her shift at the store? This girl. Got us brand name corn flakes to celebrate, guapo--hey, what's up?</dialogue> <scene_description>But Judy stops mid-step taking in Richard at the dining table. Sweating. Anxious. She tenses up, on the defense.</scene_description> <character>RICHARD</character> <dialogue>Jude... what does initiative mean?</dialogue> <character>JUDY</character> <dialogue>It means someone that takes charge without being told... why?</dialogue> <character>RICHARD</character> <dialogue>Do I look like a guy who's got initiative?</dialogue> <character>JUDY</character> <dialogue>You're a guy who loves his family. What's wrong? Tell me.</dialogue> <scene_description>High school diploma. Judy looks at the application, takes it, looks it over.</scene_description> <character>JUDY</character> <dialogue>You're applying to Frito Lay?</dialogue> <character>RICHARD</character> <dialogue>Yeah. But I gotta be a high school graduate. I can barely read the application, but they want me to show them my cap and gown.</dialogue> <character>JUDY</character> <dialogue>It's okay, baby, I'll help.</dialogue> <character>RICHARD</character> <parenthetical>(laughs bitterly)</parenthetical> <dialogue>I need my wife to fill out my application. I'm an idiot--</dialogue> <character>JUDY</character> <dialogue>Stop it. Screw the diploma. Can you do the job?</dialogue> <character>RICHARD</character> <dialogue>I think so.</dialogue> <character>JUDY</character> <dialogue>Can you?!</dialogue> <character>RICHARD</character> <dialogue>Yeah, yes. I can.</dialogue> <character>JUDY</character> <parenthetical>(picks up pen)</parenthetical> <dialogue>Okay then, guess what? You graduated from San Bernardino High School.</dialogue> <parenthetical>(scribbling)</parenthetical> <dialogue>Class of '71!</dialogue> <character>RICHARD</character> <dialogue>Yeah, with honors! Wassup!</dialogue> <character>JUDY</character> <dialogue>Okay, papi. Don't get crazy now.</dialogue> <character>RICHARD</character> <parenthetical>(sucks his teeth)</parenthetical> <dialogue>They ain't gonna know!</dialogue> <scene_description>Judy shakes her head and continues to write happily. What the hell is this?!</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - PERSONNEL OFFICE - DAY - 1982</stage_direction> <scene_description>Richard walks in to find LONNY (50s), a ball of stress and cheeto-dust covered dress shirts, kicking a WORKER out of his office.</scene_description> <character>LONNY</character> <dialogue>Come on, Jack! You gon' let the Bakersfield plant beat us out on this shipment? Figure it out!</dialogue> <parenthetical>(alt)</parenthetical> <dialogue>Come on, Jack! Asking for PTO when we're this slammed? This ain't Disneyland. Get out!</dialogue> <parenthetical>(alt)</parenthetical> <dialogue>Come on, Jack! Shipping's backed up and you're asking for PTO? The answer is no. Now get out!</dialogue> <scene_description>Lonny stares Richard down.</scene_description> <character>LONNY</character> <dialogue>You Montañez?</dialogue> <scene_description>Richard's worried as he sits across from Lonny who reviews his application. Richard pulls down his sleeve cuffs to hide his tattoos.</scene_description> <character>LONNY</character> <dialogue>You fill this out?</dialogue> <scene_description>Shit. Richard nods.</scene_description> <character>LONNY</character> <dialogue>You write like a girl.</dialogue> <parenthetical>(reads the application)</parenthetical> <dialogue>San Bernardino High. I went there.</dialogue> <character>RICHARD</character> <dialogue>You did?</dialogue> <character>LONNY</character> <dialogue>Honor student, huh?</dialogue> <parenthetical>(he eyes Richard)</parenthetical> <dialogue>Hey, you remember Principal Grimaldi? Tough. Annoying--</dialogue> <character>RICHARD</character> <dialogue>Heck yeah! I hated that guy.</dialogue> <scene_description>Principal Grimaldi's a woman. Richard's heart drops. Shit.</scene_description> <character>RICHARD</character> <dialogue>Yes, a strapping, fine woman who felt like one of the guys.</dialogue> <scene_description>CONTINUED: (2) Lonny raises a brow. He doesn't have time for this. He shuffles papers. Richard is desperate.</scene_description> <character>RICHARD</character> <dialogue>Sir, I'm fast. I'm smart. I know I don't look it, but I promise I'll be the best worker you've ever hired. Maybe I don't got a diploma, but I work hard. I got-- I got a</dialogue> <character>P.H.D.</character> <dialogue>Off Lonny's skeptical look. Richard sits in his desperation.</dialogue> <character>RICHARD</character> <dialogue>I'm poor. I'm hungry. I'm determined, sir.</dialogue> <scene_description>Lonny takes a beat to work out the acronym. The smallest glimmer of a smirk creeps onto his lips. He rolls his eyes.</scene_description> <character>LONNY</character> <dialogue>Well, that's stupid. Fine. Tony says you're a good guy and honestly, all the Mexicans here work pretty dang hard. It's a janitor gig. What's the worst you can do? Break a mop?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Can you start next week?</dialogue> <scene_description>Richard nods vigorously. He smiles as we float into--</scene_description> </scene> <scene> <stage_direction>INT. RICHARD'S HOUSE - BEDROOM - DAY - 1982</stage_direction> <scene_description>Judy irons Richard's Frito Lay work shirt excitedly. She swoops it up onto his shoulders. Richard buttons it up in the mirror. The name tag reads MONTAÑEZ. Richard beams proudly. Richard leans in and kisses her. He smiles wide. For the first time in years this chavo had a legit grown-up job. Fools were jealous. Shoot, I was jealous of me. My luck was swinging up!</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - MAIN FLOOR - DAY - 1982</stage_direction> <scene_description>Richard still with a smile plastered on his face takes in the factory; a Dorito-pumping futuristic city of machines.</scene_description> <character>LONNY</character> <dialogue>You clock in on time. You clock out on time. No excuses. This here's the main pit.</dialogue> <scene_description>Fans whirl. Levers pump. Workers hustle in sync. Lonny points to the extruder.</scene_description> <character>LONNY</character> <dialogue>Cornmeal goes in the extruder there. You're gonna wanna remember that 'cause that's the junk you're gonna clean out later, got it?</dialogue> <scene_description>Richard nods, mesmerized by the machines.</scene_description> <character>LONNY</character> <dialogue>Chips cool down in the tumbler. Lotsa grease. Scrub that too.</dialogue> <parenthetical>(points to the fryers)</parenthetical> <dialogue>Fryers need their oil changed every two days. Don't forget the exterior 'cause it'll drip like a son-of-a- gun, muck up the floor, and cause a lawsuit. I don't want no stinkin' lawsuits, got it? Montañez? Got it?</dialogue> <scene_description>Richard snaps out of it, nods. They walk over to NACHO who is mopping floors.</scene_description> <character>LONNY</character> <dialogue>You and Nacho'll have to cover the whole place. Nacho, this is Richard.</dialogue> <character>NACHO</character> <dialogue>Q'vole, amigo? Welcome.</dialogue> <scene_description>Richard smiles wide. Shakes Nacho's hand. Alright, alright. Keep walking. Richard follows Lonny to--</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - PACKING ROOM - DAY - 1982</stage_direction> <scene_description>Lonny points to the PACKAGING DEPARTMENT where machines shovel chips into bags.</scene_description> <character>LONNY</character> <dialogue>Chips are sorted, weighed, and bagged here.</dialogue> <character>LONNY</character> <dialogue>Make sure you get right up under the conveyer belts. Grease makes itself right at home there too.</dialogue> <scene_description>He points to trash bins.</scene_description> <character>LONNY</character> <dialogue>Empty these bins every hour. Don't get in anyone's way.</dialogue> <character>RICHARD</character> <dialogue>Yessir. Every bin, every hour. Best dumper you've ever met.</dialogue> <character>LONNY</character> <dialogue>Okay. I see you're gonna be weird.</dialogue> <scene_description>Richard stays bright, arms akimbo. We launch into a MONTAGE:</scene_description> <character>INT. FRITO LAY PLANT - MAIN FLOOR - VARIOUS LOCATIONS - DAY42-</character> <dialogue>- Richard straps on a pair of goggles and meticulously scrubs out a giant, stinky chip fryer. He's fearless. Nacho takes his sweet time, but watches Richard, amused.</dialogue> <dialogue>- Richard steps out onto the loading dock to help an older janitor dump his overly-stuffed trash can into the dumpster.</dialogue> <character>RICHARD (V.O.)</character> <dialogue>It was like Gotham City made of machines up in this mother. It. Was. Firmeeeeee.</dialogue> <scene_description>- Richard looks up in awe at a giant sorting machine. It looks AMAZING. He scans and studies the machine. This moreno was finally part of something. Something BIG. - Richard mops floors in a waiting area where a magazine rack is filled with magazines. On one specific cover, TEAM PEPSI MAGAZINE, is a photo of ROGER ENRICO (40s). Beaming with a smirk, coiffed hair, and a tan that screams "I summer in the Bahamas!"</scene_description> <character>RICHARD (V.O.)</character> <dialogue>'Cause that güero right there was birthing the golden age of the food and beverage industry.</dialogue> <parenthetical>(beat)</parenthetical> <character>RICHARD (V.O.)</character> <dialogue>Roger Enrico. The man. The myth. The Cola Wars legend.</dialogue> <scene_description>The trumpets of A PACHUCO-HOP BEAT swell as we-- INSERT SERIES OF FOUND FOOTAGE AND PICTURES - (1970S-1980S)43 Enrico holds a Pepsi can proudly and gives camera an enthusiastic thumbs up. INSERT ARCHIVAL FOOTAGE of 1975 middle-America. A YOUNG WOMAN with Farrah Faucet hair gulps down a can of cola.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>The vato helped make the Pepsi Challenge blind taste tests a national marketing sensation...</dialogue> <scene_description>She smiles brightly.</scene_description> <character>YOUNG WOMAN</character> <dialogue>This one! This one's delicious.</dialogue> <scene_description>The Pepsi challenge proctor reveals it's Pepsi. OMG!</scene_description> <character>RICHARD (V.O.)</character> <dialogue>He created the Pepsi Generation, and eventually became PepsiCo's CEO. And the only person to almost single-handedly take down Coca-Cola in one hundred years.</dialogue> <scene_description>INSERT ARCHIVAL NEWS FOOTAGE (1982) An earnest ANCHORMAN. In response to Pepsi's rising sales, Coca-Cola released New Coke. But American consumers say they'll wreak havoc if the recipe is not swiftly restored. He throws to B-ROLL of protesting Coke lovers rushing the Coca-Cola headquarters with signs and angry fists in the air.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Pepsi was at the top of their game thanks to this G who had his pockets full of cash and caviar.</dialogue> <scene_description>INSERT PHOTO of Enrico living his best life on a yacht surrounded by cases of Pepsi and plenty of caviar.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>I didn't have caviar in my pockets, but man I felt like a G, too.</dialogue> </scene> <scene> <stage_direction>INT. RICHARD'S HOUSE - LIVING ROOM - EVENING - 1982</stage_direction> <scene_description>Young Lucky watches superhero cartoons while eating corn dogs for dinner. A Cheetos commercial comes on with a bunch of very suburban white kids singing a song and loving their cheesy Cheetos. Richard arrives. Young Lucky runs for the door.</scene_description> <character>YOUNG LUCKY</character> <dialogue>'Amaaá! Dad's home!</dialogue> <scene_description>Richard scoops him up as Judy rushes out. He kisses her.</scene_description> <character>JUDY</character> <dialogue>How was it? Did they like you? I was praying all day--</dialogue> <character>YOUNG LUCKY</character> <dialogue>'Apaaá! They give you free Cheetos?</dialogue> <character>RICHARD</character> <dialogue>Mijo, white people don't give no free nothing. Plus, tenemos comida aquí en la casa (we got food here). What we got, baby?</dialogue> <character>JUDY</character> <dialogue>Quesadillas con frijoles!</dialogue> <character>YOUNG LUCKY</character> <dialogue>Ugh. We always eat the same thing. Tortillas and beans! Tortillas and cheese! Tortillas and beans!</dialogue> <scene_description>Richard laughs, grabs Judy, and pulls her into his arms.</scene_description> <character>RICHARD</character> <dialogue>You proud of your man?</dialogue> <character>JUDY</character> <dialogue>Maybe. Start bringing home some free stuff and I'll think 'bout it.</dialogue> <scene_description>He kisses her then notices a lit candle on the mantel.</scene_description> <character>RICHARD</character> <dialogue>Jude, you can't leave that candle burning twenty-four-seven. You gonna burn the house down?</dialogue> <scene_description>Richard tries to blow out the candle. Judy smacks him.</scene_description> <character>JUDY</character> <dialogue>What you doing, necio?! You tryin'a get fired?!</dialogue> <scene_description>Richard laughs.</scene_description> </scene> <scene> <stage_direction>INT. FRITO-LAY PLANT - MAIN FLOOR - DAY - 1982</stage_direction> <scene_description>Richard sweeps while Nacho cleans a nearby machine. Richard stares at the giant city of machines, whirling and twirling. He walks up to a fellow worker near the machines, WADE (50s, gruff and overworked).</scene_description> <character>RICHARD</character> <dialogue>So you telling me cornmeal mixes with water, goes through that machine and just poof, comes out shaped like a Cheeto?</dialogue> <scene_description>Wade side-eyes him, annoyed. He grunts through a nod.</scene_description> <character>RICHARD</character> <dialogue>You know how? Like, is it the heat plus the pressure?</dialogue> <scene_description>Don't you got a mop to flirt with instead of me, Paco? Richard's shocked, pissed really, but he swallows his pride a bit.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>You know what they say, walk softly but carry a big stick. Well this mofo was right. I had me a big mop.</dialogue> <scene_description>CUT TO FANTASY: Richard starts to rail on Wade with his mop handle.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>But it was my first week on the job and I had to mind my gangster.</dialogue> <character>RICHARD (V.O.)</character> <dialogue>Porque si no, I'd be the one getting the beating from Judy, and she's got at least two mops at home.</dialogue> <scene_description>BACK TO REALITY: Richard takes a deep breath, holds back the gangster, and smiles through gritted teeth. Wade walks off. A heavy-set assembly line worker, ALEJANDRO (30s), and CLARENCE (50s, a Black man, both sharp AND sharply dressed, buff) walk up to discuss the machines.</scene_description> <character>ALEJANDRO</character> <dialogue>Colettes look good to you, Baker?</dialogue> <character>RICHARD</character> <parenthetical>(to Clarence)</parenthetical> <dialogue>Is that what you call the temp levels? Or a part of the machine?</dialogue> <scene_description>Clarence mad-dogs Richard. Alejandro's annoyed.</scene_description> <character>ALEJANDRO</character> <dialogue>The doodles, bro. The Cheeto doodles are colettes.</dialogue> <character>RICHARD</character> <dialogue>Nice! Isn't it wild? Like all them gauges and gaskets can make a bunch of colettes? How many cases can get filled in a day, you think?</dialogue> <scene_description>clipboard. Alejandro ignores him. Richard is still not fazed. He starts counting Cheetos coming down the conveyer belt. 12345678910--:</scene_description> <character>LONNY</character> <parenthetical>(walking by)</parenthetical> <dialogue>Who's got you counting, Montañez? Extruder machine's caked in nacho cheese dust. Clear it out, kid.</dialogue> <character>RICHARD</character> <dialogue>It's Montañez. Not "kid".</dialogue> <scene_description>Lonny eyes him. Richard smiles smugly and sweeps his way over closer to Clarence. AT THE CONVEYER BELT Richard wipes things down. He can't take his eyes off the machine. Clarence adjusts the gauges. CONTINUED: (2)</scene_description> <character>RICHARD</character> <dialogue>You got a cool job, brother.</dialogue> <character>CLARENCE</character> <parenthetical>(southern accent)</parenthetical> <dialogue>Yes, I do. Brother. I'm a self-made engineer.</dialogue> <scene_description>From afar, Tony watches Richard chat up Clarence.</scene_description> <character>RICHARD</character> <dialogue>For real, man? You're hitting those levers like a superhero like--</dialogue> <parenthetical>(throws air punches)</parenthetical> <dialogue>Pow-pow-pow-pow.</dialogue> <parenthetical>(sticks out his hand)</parenthetical> <dialogue>I'm Richard. Richard Montañez.</dialogue> <scene_description>Richard points to his name tag. Clarence takes his hand warily.</scene_description> <character>CLARENCE</character> <dialogue>Clarence. Clarence C. Baker.</dialogue> <character>RICHARD</character> <dialogue>Orale. Good to meet ya, hermano. What's the C stand for?</dialogue> <parenthetical>(deadpan)</parenthetical> <dialogue>Charisma.</dialogue> <character>RICHARD</character> <dialogue>Oh...kay. I had a question. You think there might be like a-- what they called? A diorama or diagrama of the machine I can look at?</dialogue> <character>CLARENCE</character> <dialogue>Now why would you wanna learn about a machine that I run, boy?</dialogue> <scene_description>A hand lands on Richard's shoulder. Tony comes just in time.</scene_description> <character>TONY</character> <dialogue>My bad, Clarence, homie. The janitor got a little lost. He was looking for the cafeteria</dialogue> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - CAFETERIA - DAY - 1982</stage_direction> <scene_description>SLAM. Tony and Richard slam their trays down at a table where Nacho, Hector, Alejandro, and other brown men sit.</scene_description> <character>TONY</character> <dialogue>Fool, you can't just be talkin' to people like that. This here's like high school, menso. Union guys ain't trying to talk to no janitor.</dialogue> <character>RICHARD</character> <dialogue>Man! I never showed up to high school. What are you sayin'?</dialogue> <character>HECTOR</character> <dialogue>New guy's messing up already?</dialogue> <character>ALEJANDRO</character> <dialogue>Yep. Over here just talking to Clarence like he knows the guy.</dialogue> <character>TONY</character> <dialogue>This here's Hector and Alejandro.</dialogue> <scene_description>They grunt their hellos.</scene_description> <character>RICHARD</character> <dialogue>Hey.</dialogue> <scene_description>You met Nacho, right? Nacho smiles another hello. He points to Richard's pudding.</scene_description> <character>NACHO</character> <dialogue>Te vas a comer eso?</dialogue> <character>NACHO \[TRANSLATION\]</character> <dialogue>Are you going to eat that?</dialogue> <scene_description>Nacho reaches for Richard's pudding. Tony smacks his hand, shakes his head. He points around the factory to explain.</scene_description> <character>TONY</character> <dialogue>Great. Then here's what you need to know if you're gonna survive around here.</dialogue> <parenthetical>(points to a table)</parenthetical> <dialogue>The guys at that table, the plant managers?</dialogue> <scene_description>We swoop through the mess hall to the Plant Managers table. It's filled with majority white men.</scene_description> <character>TONY (V.O.)</character> <dialogue>They got white picket fences, 401Ks...</dialogue> <scene_description>FROM RICHARD'S BEWILDERED POV, A FANTASY SEQUENCE: The Plant Managers unpack their lovely homemade lunches. They're men out of Pleasantville, adjusting their ties in sync, cutting into their steaks with pristine knives and forks.</scene_description> <character>TONY (V.O.)</character> <dialogue>And they manage from the top--</dialogue> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - BOX OFFICE - DAY - 1982</stage_direction> <scene_description>These same Plant Managers are in a box office overlooking the factory floor, dressed to impress, holding clipboards and observing.</scene_description> <character>TONY (V.O.)</character> <dialogue>--From the comfort of their big shot box seats.</dialogue> <scene_description>CAMERA SWOOPS down from the box office to the main floor where we find the Floor Managers.</scene_description> <character>TONY (V.O.)</character> <dialogue>Then you got the Floor Managers.</dialogue> <scene_description>sloppy, stained shirts. They wear hard hats and hold clipboards. The main man in charge is Lonny.</scene_description> <character>TONY (V.O.)</character> <dialogue>Poor bastards are bitter they gotta answer to the guy above 'em who makes more money--</dialogue> <scene_description>Lonny, stressed, puts down his clipboard, grabs a jelly donut and stress eats. It squirts on his shirt. He yells at some low-level workers in his way.</scene_description> <character>TONY (V.O.)</character> <dialogue>Y luego you got the machinists.</dialogue> <character>CAMERA WHIP PANS</character> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - CAFETERIA - DAY - 1982</stage_direction> <scene_description>The prideful Machinists sit at their lunch table.</scene_description> <character>TONY (V.O.)</character> <dialogue>Irreplaceable. They got everyone's respect. Clarence's the best of them all.</dialogue> <scene_description>Clarence, the only Black man in a sea of white men.</scene_description> <character>TONY (V.O.)</character> <dialogue>Homie's been here longer than anybody.</dialogue> <scene_description>WE LAND BACK at the table where Tony, Richard, Nacho, Hector, and a bunch of other low-level Brown and Black workers sit.</scene_description> <character>NACHO</character> <dialogue>Pobre güey, tan trabajador. (Poor bastard. So hardworking.)</dialogue> <scene_description>Nacho piles salsa onto his bland cafeteria lunch sandwich.</scene_description> <character>RICHARD</character> <dialogue>Why is that bad?</dialogue> <character>TONY</character> <dialogue>'Cause the compa's been trying to get from his table to that table--</dialogue> <parenthetical>(points to Plant Managers)</parenthetical> <dialogue>--for fifteen years.</dialogue> <scene_description>his napkin and pulls out home cutlery. He buffs his knife.</scene_description> <character>HECTOR</character> <dialogue>Half of those cabrones at the top learned everything they know from Clarence.</dialogue> <character>ALEJANDRO</character> <dialogue>There's a reason he don't like questions 'bout his machines.</dialogue> <scene_description>Richard takes this in. Tony throws out his arms around Hector and Alejandro.</scene_description> <character>TONY</character> <dialogue>And then there's us. The lowest of the low. Assembly line, packing--</dialogue> <character>HECTOR</character> <dialogue>Speak for yourself, man. We truck drivers are elite status--</dialogue> <scene_description>Hector sucks his teeth and gets back to eating. CONTINUED: (2)</scene_description> <character>TONY</character> <dialogue>Then there's you two scumscrapers.</dialogue> <parenthetical>(points to Richard and Nacho)</parenthetical> <dialogue>The janitors. Bottom of the barrel. Bottom rung on the ladder.</dialogue> <character>HECTOR</character> <dialogue>Gum on my shoe.</dialogue> <character>NACHO</character> <dialogue>Callate, cara de papa!</dialogue> <character>NACHO \[TRANSLATION\]</character> <dialogue>Shutup, potato-face!</dialogue> <character>TONY</character> <dialogue>Guys like you can't be talking to a guy like Clarence. 'Cause we don't break rank around here, entiendes (understand)?</dialogue> <parenthetical>(OFF Richard)</parenthetical> <dialogue>It's about respect and guys like you and me don't get shots like this. So don't blow it 'cause I ain't trying to go back to that life, are you?</dialogue> <scene_description>Richard nods slowly, but he's not liking what he's hearing. Judy cooks with Concha, while Young Lucky and Baby Steven play in the kitchen. Richard fixes Concha's walkman.</scene_description> <character>RICHARD</character> <dialogue>And I get my own little office y todo, 'amá.</dialogue> <character>CONCHA</character> <dialogue>Que bueno, mijo.</dialogue> <character>CONCHA \[TRANSLATION\]</character> <dialogue>That's nice, mijo.</dialogue> <scene_description>Vacho walks in.</scene_description> <character>VACHO</character> <dialogue>Como que office? You mean a closet? Where they stuff the cleaning supplies?</dialogue> <character>RICHARD</character> <dialogue>Man, it ain't no closet. Both Nacho and I share a desk in there. There's a phone and everything.</dialogue> <character>VACHO</character> <dialogue>It's a dead end, sangrón.</dialogue> <character>RICHARD</character> <dialogue>It's a job. I'm providing for my family.</dialogue> <character>VACHO</character> <dialogue>For how long, eh? Para de ser terco. (Stop being stubborn.) If you don't change your insides you're gonna keep making the same mistakes.</dialogue> <character>RICHARD</character> <dialogue>Like you, father of the year?</dialogue> <scene_description>Pastor Marco enters.</scene_description> <character>PASTOR MARCO</character> <dialogue>Hola, buenas tardes a todos.</dialogue> <character>PASTOR MARCO \[TRANSLATION\]</character> <dialogue>Hi, good afternoon everyone.</dialogue> <character>RICHARD</character> <dialogue>Great. You live here now or what?</dialogue> <character>JUDY</character> <dialogue>Rich!</dialogue> <character>PASTOR MARCO</character> <dialogue>No mijo, nomas vine a hablar--</dialogue> <character>PASTOR MARCO \[TRANSLATION\]</character> <dialogue>No son, I just came to talk--</dialogue> <scene_description>I'm not your son.</scene_description> <character>VACHO</character> <dialogue>He's just trying to help you be a better man.</dialogue> <character>RICHARD</character> <dialogue>Oh yeah, well God can't fix what you broke, Vacho.</dialogue> <character>CONCHA</character> <dialogue>Mijo, por favor...</dialogue> <character>CONCHA \[TRANSLATION\]</character> <dialogue>Mijo, please...</dialogue> <character>VACHO</character> <parenthetical>(flustered)</parenthetical> <dialogue>God has forgiven me.</dialogue> <character>RICHARD</character> <dialogue>Glad someone forgave you 'cause I haven't.</dialogue> <character>JUDY</character> <dialogue>Baby, let's just go.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>PASTOR MARCO</character> <dialogue>Es cierto que la salvación viene cuando damos nuestras vidas al señor. Entrega tus pecados a Dios, mijo.</dialogue> <character>PASTOR MARCO \[TRANSLATION\]</character> <dialogue>It's true salvation comes when we give our lives to the Lord. Submit your sins to God, my son.</dialogue> <character>RICHARD</character> <dialogue>Hold up, I ain't got no sins.</dialogue> <scene_description>Judy lets out a laugh. Richard's taken aback.</scene_description> <character>JUDY</character> <dialogue>What you mean you ain't got no sins?</dialogue> <parenthetical>(OFF Richard)</parenthetical> <dialogue>What about those cholos you jumped on fourth street? The drugs on Lincoln? And the stolen impala--</dialogue> <scene_description>The Pastor's eyes widen.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Stop talking, woman!</dialogue> <scene_description>The sound fades as Judy goes on and we stay on Richard's embarrassed face. Okay, fine. I had some sins. But why I gotta make up for them my whole damn life? 'Cause I mean, there was a lot. Like a lot a lot. He SLAMS his beer down on the table.</scene_description> </scene> <scene> <stage_direction>EXT. GUASTI TOWN - STREET - DAY - FLASHBACK - 1974</stage_direction> <scene_description>BACK TO the earlier scene of Teenage Richard running from the police car holding a stereo, sirens blazing. He looks back over his shoulder. We FREEZE FRAME on him--</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Now, before you start talkin' smack 'bout why Mexicans always gotta be gangsters, don't. 'Cause I didn't make this up. I lived it!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>When you gotta survive, you survive. And Judy? She was surviving too.</dialogue> <scene_description>WE UNFREEZE - Judy, a full fledged badass 1970s chola, runs into frame beside him, holding a stack of records/LPs. They lock eyes. She takes his hand as they run toward camera.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>We were real good at surviving. Together...</dialogue> <scene_description>Cue Barrett Strong's "Money (That's What I Want!)" as we CUT</scene_description> <character>TO MONTAGE:</character> <dialogue>INT. RICHARD'S HOUSE - LIVING ROOM - DAY - FLASHBACK - 197451</dialogue> <dialogue>Tony, Pablito and Diego hang out at the kitchen table as Judy fills baggies with marijuana and hands them to Richard.</dialogue> <character>RICHARD (V.O.)</character> <dialogue>And listen, hood love stories aren't like other love stories.</dialogue> </scene> <scene> <stage_direction>EXT. STREET - DAY - FLASHBACK - 1974</stage_direction> <scene_description>Richard and Judy make out. They are utterly in love. But it's still love...</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY - FLASHBACK - 1974</stage_direction> <scene_description>Tony drives Richard and Judy around the hood to sell drugs. They pull over as Richard passes out drugs to a trio of neighborhood dudes milling about the street.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>And hood love means marrying into the hood family. Like your family, pero like, except sometimes we got guns.</dialogue> </scene> <scene> <stage_direction>EXT. STREET - DAY - FLASHBACK - 1974</stage_direction> <scene_description>Surrounded by his HOMIES (Tony, Pablito, Diego, Judy, etc.), Richard stands tough as the leader of the pack.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Judy knew her King always had her back, like our family had each other's back. I showed anyone who messed with us what's what.</dialogue> <scene_description>Another group of gangsters walk up to throw down. One guys shoves him. Richard shoves him back. Judy gets in between.</scene_description> <character>JUDY</character> <dialogue>Baby, don't worry about it. He ain't worth it.</dialogue> <scene_description>The cholor's girlfriend, a CHOLA, grabs Judy by the hair.</scene_description> <character>JUDY</character> <dialogue>What the-- oh hell no!</dialogue> <scene_description>Judy lifts her fist and goes for the girl. They fall out of frame. All the guys start hooting and hollering.</scene_description> <character>RICHARD (V.O.)</character> <parenthetical>(laughs)</parenthetical> <dialogue>Okay, fine. Don't y'all already know by now who the real gangster is?</dialogue> <character>TONY/PABLITO/DIEGO</character> <dialogue>Oh daaaaaamn! Get her, Judy!</dialogue> <parenthetical>(noticing the fight getting real)</parenthetical> <dialogue>Oh wait, oh damn, damn, damn!</dialogue> <character>RICHARD (V.O.)</character> <dialogue>Better watch yourself if you ever cross Judy on these streets. She don't play.</dialogue> <scene_description>Judy pops up from the scuffle, looks into frame in beast mode. Her chola eyebrows in full force.</scene_description> <character>RICHARD (V.O.)</character> <parenthetical>(cracks up)</parenthetical> <dialogue>Oh man, don't tell Judy I showed you her chola brows and hair. She's gonna be maaaad.</dialogue> <character>INT. JUDY AND RICHARD'S PLACE - BATHROOM - DAY - FLASHBACK 5-</character> <dialogue>Judy, mid-20s, holds up a test tube. A 1970s pregnancy test. She looks in a mirror, holds her belly. Her face changes.</dialogue> <character>RICHARD (V.O.)</character> <dialogue>Y sabes que? Ignorance is bliss, until one of you wakes up...</dialogue> <character>INT. JUDY AND RICHARD'S PLACE - LIVING ROOM - DAY -</character> <dialogue>FLASHBA5C6K</dialogue> <character>- 1978</character> <dialogue>Judy clears the drugs off the coffee table with a SWISH and dumps them into a trash bin.</dialogue> </scene> <scene> <stage_direction>INT. RICHARD'S CAR - PARKED - DAY - FLASHBACK - 1978</stage_direction> <scene_description>Richard and Judy sit at a stoplight. A 6-month pregnant Judy stares out the window, unhappy.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Sabes que, I ain't gon' lie, it's easier to live up to people's expectations when they're low. Judy wanted more...</dialogue> <character>JUDY</character> <dialogue>You need to change, Rich. Now. For us. For the baby.</dialogue> <scene_description>What you talkin' 'bout? Look at this new ride I got us!</scene_description> <character>JUDY</character> <dialogue>Exactly. Where'd this come from?</dialogue> <scene_description>A POLICE SIREN envelops their surroundings. Richard freaks out, stuck in traffic with nowhere to go. Judy clocks this.</scene_description> <character>JUDY</character> <dialogue>Richard, if I'm sitting in a stolen car, I swear--</dialogue> <character>RICHARD</character> <parenthetical>(sheepish)</parenthetical> <dialogue>It's on a lay-away plan.</dialogue> <character>JUDY</character> <dialogue>Richard!</dialogue> </scene> <scene> <stage_direction>INT. COURTHOUSE - COURTROOM - DAY - FLASHBACK - 1978</stage_direction> <character>RICHARD (V.O.)</character> <dialogue>Truth was I didn't know if I could give her more.</dialogue> <scene_description>A GAVEL slams down. In court, Richard stands in his prison suit and cuffs, scared. The JUDGE eyes him closely.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY - FLASHBACK- 1978</stage_direction> <scene_description>Judy and Richard sit on Richard's truck. He can't look her in the eye.</scene_description> <character>JUDY</character> <dialogue>You're not worthless, Richard. You hear me? Look at me.</dialogue> </scene> <scene> <stage_direction>INT. COURTHOUSE - COURTROOM - DAY - FLASHBACK - 1978</stage_direction> <character>JUDGE</character> <parenthetical>(tries to catch his eye)</parenthetical> <dialogue>Look at me, son. You're not stupid. You got a brain between those ears not just that dumb mustache.</dialogue> <character>JUDY</character> <dialogue>You're not your father. But you will be if you don't change.</dialogue> </scene> <scene> <stage_direction>INT. COURTHOUSE - COURTROOM - DAY - FLASHBACK - 1978</stage_direction> <character>JUDGE</character> <dialogue>You're either going to end up in a cell or in the ground if you don't wake up, boy.</dialogue> <character>EXT. STREET - DAY - FLASHBACK - 1978</character> <dialogue>Judy holds her pregnant belly.</dialogue> <character>JUDY</character> <dialogue>We can't lose you, Rich.</dialogue> </scene> <scene> <stage_direction>INT. COURTHOUSE COURTROOM/EXT. STREET - DAY - FLASHBACK -</stage_direction> <scene_description>Richard is quiet, broken. Judy softens. She loves him.</scene_description> <character>JUDY</character> <dialogue>I believe in you, Richard.</dialogue> <character>LATINO JUDGE</character> <dialogue>I believe in you, son.</dialogue> <scene_description>The judge slams down his gavel. BAM.</scene_description> </scene> <scene> <stage_direction>EXT. RICHARD'S HOUSE - NIGHT - FLASHBACK - 1978</stage_direction> <scene_description>Richard sits on his front porch, deep in thought, staring at the moon. Through the screen door, a pregnant Judy sleeps on the couch. He looks up as Tony and the guys pull up in a truck.</scene_description> <character>TONY</character> <dialogue>Q'vo, let's go, menso! Got a big run tonight.</dialogue> <scene_description>Richard contemplates, but looks back at Judy lying on the couch, her full belly, their baby, his future. The guys hoot and holler at him.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>You see, life's about choices, sabes? Big ones.</dialogue> <scene_description>Judy. He's choosing a different life.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>And it was time for me to choose something better.</dialogue> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - CAFETERIA - DAY - 1982</stage_direction> <scene_description>Richard sits across from Clarence at the Machinists' table. Clarence eyes him.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>To be better I needed to learn from the best. And when it came to Clarence, I couldn't mess around. I needed to pull out the big guns. Los cuetes, baby.</dialogue> <scene_description>Richard whips out a few burritos, sets them down. Tony shoots daggers at him from across the way.</scene_description> <character>RICHARD</character> <dialogue>You want carnitas o asada?</dialogue> <scene_description>Richard sweats. Clarence picks one, unwraps it, takes a bite.</scene_description> <character>CLARENCE</character> <dialogue>Flank steak?</dialogue> <character>RICHARD</character> <dialogue>Asada?</dialogue> <scene_description>Clarence continues to eye him and keeps on munching.</scene_description> <character>CLARENCE</character> <dialogue>Go on. What do you want?</dialogue> <character>RICHARD</character> <parenthetical>(nervous)</parenthetical> <dialogue>Nothing. I just... wanted to say I really respect your work, sir. Respect that you're self-made. An engineer. I wanna learn from you. My dad ain't worth nothing, but he taught me a lot about fixing things as a kid, so I got a thing for machines. When I learn 'em, run 'em, fix 'em, they make me feel like-- like I ain't a nobody. Like maybe I'm a somebody.</dialogue> <scene_description>Clarence takes this in. He softens. Just a tad. A somebody who gives his respect out to people he's barely met before they've even earned it? (beat) 'Cause I'm not that kinda somebody.</scene_description> <character>RICHARD</character> <dialogue>Right...</dialogue> <character>RICHARD (V.O.)</character> <dialogue>Dang. If I was gonna learn anything here it was gonna be from this guy, but he was shut up tighter than a jar of chipotles.</dialogue> <scene_description>Richard starts to walk away.</scene_description> <character>CLARENCE</character> <dialogue>You got any salsa or what?</dialogue> <scene_description>Richard turns around excitedly digs through his bag for the salsa.</scene_description> <character>CLARENCE</character> <dialogue>Car-knee-tus, huh? We talking a braised, slow-cooked pulled pork?</dialogue> <scene_description>Richard smiles. He's got an in.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Clarence C. Baker was exactly who he said he was. A real man.</dialogue> <scene_description>CONTINUED: (2) CUE a BADASS SONG as we swoop into--</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - MAIN FLOOR - DAY - 1982</stage_direction> <scene_description>A SERIES OF BEATS of Richard following Clarence like a puppy. Everywhere Richard goes, he carries a notebook to take notes.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>He was born in Tuskegee, Alabama to sharecroppers, and get this, his middle name really was Charisma.</dialogue> <scene_description>AT CLARENCE'S MACHINE - Richard wipes down the machine. Nacho sweeps nearby. He watches Richard talk to Clarence. Because when my mama saw me she said this boy's Charismatic! And darn, if she wasn't right. Clarence strokes his chin proudly, then adjusts the valves.</scene_description> <character>RICHARD</character> <dialogue>Got your machine looking nice and shiny, Mr. Baker. What do you think?</dialogue> <scene_description>Clarence reviews the work. Nacho shakes his head.</scene_description> <character>CLARENCE</character> <dialogue>Missed about a million spots.</dialogue> <scene_description>Richard gives him a weak smile. He keeps scrubbing.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>He'd been working at Frito Lay for more than fifteen years and knew the ins and outs of every job here.</dialogue> <character>CLARENCE (PRELAP)</character> <dialogue>There ain't no room here for you.</dialogue> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - CAFETERIA - DAY - 1982</stage_direction> <scene_description>Richard sits down across from Clarence anyway and whips out another dish, chile rellenos.</scene_description> <character>RICHARD</character> <dialogue>It's chile rellenos. My wife Judy made them!</dialogue> <scene_description>Clarence eyes the chile rellenos.</scene_description> <character>CLARENCE</character> <dialogue>Spicy?</dialogue> <scene_description>Richard nods vehemently. Clarence nods agreeably. He sticks his fork in one while Richard pulls out tortillas.</scene_description> </scene> <scene> <stage_direction>INT. FRITO-LAY PLANT - MAIN FLOOR - DAY - 1982</stage_direction> <scene_description>Richard mops past Clarence. Nacho empties trash cans. Richard whips out his notebook filled with notes. Mr. Baker, sir, I was reviewing the extruder protocols and noticed the gauge was off. Should we adjust it maybe?</scene_description> <character>CLARENCE</character> <dialogue>There isn't anything off.</dialogue> <parenthetical>(checks the gauge; it's off)</parenthetical> <dialogue>Hmph. Musta been Alejandro touching my dang machine again.</dialogue> <scene_description>Richard smiles innocently. Nacho watches on, surprised.</scene_description> <character>CLARENCE</character> <parenthetical>(grumbles)</parenthetical> <dialogue>Thanks.</dialogue> <scene_description>He walks away. Richard mops away with a skip in his step.</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - MAIN FLOOR - DAY - 1982</stage_direction> <scene_description>Richard dumps trash bins near Clarence's station.</scene_description> <character>RICHARD</character> <dialogue>Sir, some chips are coming out kinda overcooked. Should the heat be adjusted--</dialogue> <character>CLARENCE</character> <dialogue>Brown ones are separated. Tossed.</dialogue> <character>RICHARD</character> <dialogue>They trash 'em?! Daaang.</dialogue> <parenthetical>(nudges him and jokes)</parenthetical> <dialogue>Why people always trying to get rid of the brown ones. Messed up, huh brother?</dialogue> <scene_description>Clarence takes pause. Wade walks by and knocks over a trash bin. The other guys with him laugh.</scene_description> <character>WADE</character> <dialogue>Stop wasting everyone's time, Paco. None of that's helping ya with your plunger career.</dialogue> <parenthetical>(alt)</parenthetical> <dialogue>Don't waste your time on Pepe, Baker. He's got plenty of trash to dig through.</dialogue> <parenthetical>(alt)</parenthetical> <dialogue>and get back to wiping the floors, Brown-noser.</dialogue> <scene_description>Richard furrows his brow, holding back his gangster.</scene_description> <character>CLARENCE</character> <dialogue>Watch yourself, Carson.</dialogue> <scene_description>Wade snickers and walks away with the other guys. Richard quietly picks up the trash. Clarence takes this in.</scene_description> <character>CLARENCE</character> <dialogue>Leave it. Come with me.</dialogue> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - MAIN FLOOR - MOMENTS LATER - DAY -</stage_direction> <scene_description>A CLOSE-UP of Clarence and Richard's feet.</scene_description> <character>CLARENCE</character> <dialogue>Now, stand right there.</dialogue> <scene_description>Richard steps into the spot. We come in CLOSE ON Clarence and Richard's faces. Clarence eyes him.</scene_description> <character>CLARENCE</character> <dialogue>And listen.</dialogue> <scene_description>Richard listens. Clarence stands beside him also listening as they look out on this giant city of machines. The factory sounds co-mingle in Clarence's ear like a symphony.</scene_description> <character>CLARENCE</character> <dialogue>Gasket's loose on station seven.</dialogue> <scene_description>Richard scrunches his brow... how the hell did he know that?</scene_description> <character>CLARENCE</character> <dialogue>That's all I gotta do is listen. I can tell you which machine, belt, drum, valve, or motor is off. All by closing my mouth and listening.</dialogue> <scene_description>Whoa. Richard tries to listen again.</scene_description> <character>RICHARD</character> <dialogue>I can't hear it.</dialogue> <character>CLARENCE</character> <dialogue>You will. Once I'm done with ya.</dialogue> <scene_description>it in. Clarence looks out on the factory too, then--</scene_description> <character>CLARENCE</character> <dialogue>You ain't a nobody... got it, boy?</dialogue> <scene_description>He nods. Clarence pats him on the back.</scene_description> <character>MONTAGE:</character> <dialogue>INT. FRITO LAY PLANT - MAIN FLOOR - PUNCH CARD TIME CLOCK -71</dialogue> <character>DAY - 1982</character> <dialogue>Richard clocks into his shift floating on cloud nine. A lovely melody a la Ella Fitzgerald underscores his joy.</dialogue> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - SEASONING TUMBLER - DAY - 1982</stage_direction> <scene_description>Clarence teaches Richard how to adjust the temperature valve. Richard nods vigorously as he takes his turn, fascinated.</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - MAIN FLOOR - DAY - 1982</stage_direction> <scene_description>Clarence stands with Richard at the BAGGING MACHINE where a WORKER instructs him on the speed controls. Richard steps in.</scene_description> <character>INT. FRITO LAY PLANT - MAIN FLOOR - PUNCH CARD TIME CLOCK -74</character> <dialogue>DAY - 1982</dialogue> <dialogue>Richard clocks out. A bounce in his step. But Clarence calls him over for a new lesson. Richard heads over without clocking back in.</dialogue> </scene> <scene> <stage_direction>INT. RICHARD'S HOUSE - KITCHEN - DAY - 1982</stage_direction> <scene_description>Judy cooks in the kitchen. Richard rushes in to grab a banana.</scene_description> <character>JUDY</character> <dialogue>Babe, where you going? Your shift doesn't start 'til later.</dialogue> <scene_description>Clarence said if I get there early he would teach me about the tumbler. He kisses her and runs out.</scene_description> <character>JUDY</character> <parenthetical>(yelling after him)</parenthetical> <dialogue>The what?!</dialogue> <scene_description>But Richard's out the door.</scene_description> <character>MONTAGE</character> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - MAIN FLOOR - DAY - 1982</stage_direction> <scene_description>LIGHTBULB FLASH as we come in on Richard holding an Employee of the Month placard while shaking an executive's hand. AL CAREY (40s, tall, focused and righteous) smiles for the camera.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Mira, I was stunting on everybody. Even stuffy execs couldn't ignore this pachuco swag.</dialogue> <character>AL CAREY</character> <dialogue>Al Carey, nice to meet you. Good work, son. Well-deserved.</dialogue> <scene_description>Al Carey turns to Lonny, matter of fact.</scene_description> <character>AL CAREY</character> <dialogue>Can we continue the tour now?</dialogue> <scene_description>He walks off clearly ignoring Richard, but Richard follows closely behind trying to get his attention. He pulls out his notebook. It's filled with ideas.</scene_description> <character>RICHARD</character> <dialogue>Sir, I got some ideas for how to get more bags outta the machine!</dialogue> <character>AL CAREY</character> <dialogue>Bags out of the machine? Do you mean ideas for increasing efficiency?</dialogue> <character>RICHARD</character> <dialogue>Yeah, exactly. Those ideas!</dialogue> <character>AL CAREY</character> <dialogue>Sure, sure. Keep up now. What's your name again?</dialogue> <character>RICHARD</character> <dialogue>Richard Montañez, sir--</dialogue> <scene_description>The two walk off with the rest of the group, Richard pumped about his new ideas.</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - MAIN FLOOR - DAY - 1982</stage_direction> <scene_description>Richard runs up to Clarence going on break.</scene_description> <character>RICHARD</character> <dialogue>You going on break, brother? I got you! I'll watch your machine.</dialogue> <scene_description>Clarence raises a brow.</scene_description> <character>CLARENCE</character> <dialogue>Didn't you just clock out?</dialogue> <character>RICHARD</character> <dialogue>Yeah, but--</dialogue> <character>CLARENCE</character> <dialogue>Let me give ya a little piece of advice, Montañez. Never sell your soul for a steak dinner, boy. 'Cause no matter how hard ya work, in the end, they're still going to pay YOU the same.</dialogue> <scene_description>OFF Richard-- OMITTED</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - MAIN FLOOR - DAY - 1982</stage_direction> <scene_description>A MOP hits the floor. We pull out to find Richard mopping the floors quietly. The factory, though full of workers, is eerily silent. The only sound is the whirring of machines.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>When you've been poor as a church mouse your whole life you learn to wait for the other shoe to drop.</dialogue> <scene_description>factory behind him begin to disappear, dwindling down with every year that passes.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>The years passed and lay-offs and shift-cuts got more popular than koosh balls and parachute pants 'round here.</dialogue> <scene_description>INSERT CHRYON OVER RICHARD MOPPING: 1983, 1984, 1985.. then suddenly rapidly ticking up to 1992.</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY HEADQUARTERS - ROGER ENRICO'S OFFICE - DAY -</stage_direction> <scene_description>YEARS LATER - 1992 ON SCREEN TITLE - CORPORATE HEADQUARTERS, PLANO TEXAS.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>You see, Roger Enrico had become CEO of PepsiCo, Frito-Lay's papi and he didn't mess around. The snack wars were getting serious. Competition was thick and market share was shrinking. So his first order of business? Cut the fat. Cut shifts, shut down factories, and find the money to keep this ship moving.</dialogue> <scene_description>Roger Enrico, JAMES FINLEY (40s, a pompous rotund man who eats humiliation for breakfast), Al Carey, and other execs sit around Enrico's office. Papers and folders are shuffled around.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>The corporate suite at Frito Lay felt like gangsters throwing down in a drug den-- 'Cause let's be real, that's pretty much what C- Suiters are. Gangsters with money.</dialogue> <scene_description>Richard's voice in the key of Pachuco comes through Enrico's mouth as if it's Enrico speaking. You pendejos are out here telling me little punks like Nabisco and Eagle Snacks are getting more feria than us?</scene_description> <character>JAMES \[RICHARD'S VOICE\]</character> <dialogue>Man, big homie, we still got the good stuff. Cheetos. Fritos. Doritos. People still dishing out their lana for the classics, bro--</dialogue> <character>AL CAREY\[RICHARD'S VOICE\]</character> <dialogue>For how long? Cause we ain't got the time, Lil' Puppet.</dialogue> <scene_description>James gives Al the death stare. The tension's thick as James and Al circle each other, pace back and forth, trying to hold in their inner gangsters.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>What? You need a cholo translator? I got you. Basically, they were running outta time to keep factories open and jobs moving.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It was a battle we were all losing. 'Cause one minute I'm Employee of the Month, and the next--</dialogue> </scene> <scene> <stage_direction>INT. GUASTI SOCIAL SERVICES CENTER - DAY - 1992</stage_direction> <scene_description>Judy and Richard with Lucky and Steven sit across from a heartless SOCIAL WORKER who shuffles paperwork and jots down notes.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Here I was again.</dialogue> <character>SOCIAL WORKER</character> <dialogue>Yes, you qualify for SNAP.</dialogue> <parenthetical>(gestures to kids)</parenthetical> <dialogue>With dependents you can siphon off more than enough food stamps.</dialogue> <scene_description>She eyes them with judgment. Judy is enraged and goes off on the Social Worker.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Breaking Judy's heart.</dialogue> <scene_description>Richard watches on as Lonny addresses WORKERS.</scene_description> <character>LONNY</character> <parenthetical>(points to Bakersfield)</parenthetical> <dialogue>Frito Lay isn't getting enough orders to keep both our factory and the Bakersfield factory open. And I gotta be brutally honest-- 'cause more of you will be camping out in that welfare line come next week if I'm not brutal--losing bulk orders to Bakersfield is now LETHAL. If we can't outrun 'em then we're the ones who get shut down. Understand? It's us or them.</dialogue> <scene_description>The Workers in the room look at each other, disturbed.</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - MAIN FLOOR - PUNCH CARD TIME CLOCK -83</stage_direction> <scene_description>DAY - 1992 Richard clocks out. Heads towards shipping. He slaps hands with Hector and helps him lift boxes onto a shipping truck.</scene_description> <character>HECTOR</character> <dialogue>You sure you don't want to go home?</dialogue> <character>RICHARD</character> <dialogue>Nope.</dialogue> <character>HECTOR</character> <dialogue>Man, you're crazy. I don't work for free-ninety-nine.</dialogue> <character>RICHARD</character> <dialogue>Yeah, well when anyone in this factory needs a shift covered, who they gonna call?</dialogue> <character>HECTOR</character> <parenthetical>(smirks)</parenthetical> <dialogue>Ghostbusters?</dialogue> <character>RICHARD</character> <dialogue>You got jokes. Nah. The vato loco who knows how to do everything.</dialogue> <scene_description>Richard and Hector restock the snack shelves.</scene_description> <character>HECTOR</character> <dialogue>All you gotta know, "vato loco", is rotation's the key. Out with the old, in with the new.</dialogue> <scene_description>Richard looks at all of the old product on the shelf.</scene_description> <character>RICHARD</character> <dialogue>But... it's all old.</dialogue> <character>HECTOR</character> <dialogue>Yeah, well, brown neighborhood, white flavors. Do the math, bro.</dialogue> <character>RICHARD</character> <dialogue>Ranch plus Barbecue equals God bless America? Just need that hot dog flavor and we good, homie.</dialogue> <scene_description>They laugh as a rogue White Woman squeezes between them. BOOP. She grabs the Ranch-flavored Doritos. Richard and Hector exchange a look and smirk.</scene_description> </scene> <scene> <stage_direction>EXT. FRITO LAY PLANT - PARKING LOT - NIGHT - 1992</stage_direction> <scene_description>Richard, Clarence, Tony, Nacho shoot the shit over beers. Sloshed and broken, Richard buries his insecurities in beer.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Anywhere I'd seen trucks pulling in, anywhere I could get a shift, I'd go. I'd apply. But nothing.</dialogue> <scene_description>MOMENTS LATER Drunk, Richard says his goodbyes to the guys.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Going home felt like a ritual in self-torture.</dialogue> </scene> <scene> <stage_direction>INT. RICHARD'S HOUSE - BEDROOM - NIGHT - 1992</stage_direction> <scene_description>In the dark of the night, Richard stumbles to the bed. Judy wakes, looks over at him, angry and completely defeated.</scene_description> <character>JUDY</character> <dialogue>It's late, baby.</dialogue> <scene_description>The patch is now drab and faded, exhausted like Richard.</scene_description> <character>RICHARD</character> <dialogue>I had a double-shift.</dialogue> <character>JUDY</character> <dialogue>No, you didn't. They cut your shifts. They keep cutting them and you keep showing up and giving them your time, your energy, your life, all for free.</dialogue> <scene_description>Frustrated, Richard tears off his shirt.</scene_description> <character>JUDY</character> <dialogue>RICHARD</dialogue> <scene_description>Go ahead, keep going. Tell me what a loser I am.</scene_description> <character>JUDY</character> <dialogue>That's not what I'm saying. When did I say that? Rich, we can't survive on part-time.</dialogue> <character>RICHARD</character> <dialogue>I got a future there. I just have to hold out.</dialogue> <character>JUDY</character> <dialogue>Hold out? Until when? Every day they're threatening to cut your hours. The water is about to be cut off. We have no gas money. We're months behind on the mortgage. What's it going to take for you to put us first?</dialogue> <character>RICHARD</character> <dialogue>I do put you all first. I'm putting you first. I'm thinking about the future.</dialogue> <character>JUDY</character> <dialogue>What future, Richard? We need to survive!</dialogue> <scene_description>Richard looks at her, hurt.</scene_description> <character>RICHARD</character> <dialogue>I can't start all over again, Jude. I got more in me than mopping floors and shining pulpits. I thought you believed that too.</dialogue> <character>JUDY</character> <dialogue>Of course, I do...</dialogue> <scene_description>She reaches for him gently but he tears away and leaves.</scene_description> </scene> <scene> <stage_direction>INT. RICHARD'S HOUSE - KITCHEN - NIGHT - 1992</stage_direction> <scene_description>Richard pours himself a bowl of cereal at the kitchen table. As he does, something catches his attention. Judy's lit candles. One of them is out. He tries to ignore it, but something about it bugs him. MOMENTS LATER, he's there, staring down at the candle. Deeply considering lighting it. He fidgets with the matches. Finally, he strikes a match and lights the candle.</scene_description> <character>LUCKY (O.S.)</character> <dialogue>'Apá...?</dialogue> <scene_description>Richard jumps. He finds a sleepy THIRTEEN-YEAR-OLD LUCKY staring at him.</scene_description> <character>LUCKY</character> <dialogue>Can't sleep.</dialogue> <scene_description>Richard relaxes. He walks over to the cupboards, pulls another bowl out, and tells Lucky to sit. He quietly pours him a bowl of cereal. They sit there, munching in silence. Richard notices a scratch on Lucky's forehead.</scene_description> <character>RICHARD</character> <dialogue>What happened?</dialogue> <scene_description>Lucky shrugs. It's late, so Richard lets it go. Lucky eats. Richard stares at the lit candle.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>I had nothing left to give. So I tried Judy's way. I tried a little bit of faith.</dialogue> <scene_description>We land on Roger Enrico looking epic, sitting before CAMERAS and LIGHTS to record a video. Carey and Finley argue as they walk a script over to Enrico.</scene_description> <character>AL CAREY</character> <dialogue>No. It's our regional managers who need the words to turn this ship around--</dialogue> <scene_description>Carey hands the script to Enrico.</scene_description> <character>JAMES FINLEY</character> <dialogue>And our stock holders are chopped liver? They need answers. This video should give it to them--</dialogue> <character>ROGER ENRICO</character> <dialogue>I don't need stockholders, regional managers, or scripts.</dialogue> <parenthetical>(tosses script)</parenthetical> <dialogue>We're going to speak from the heart today. To the people who matter.</dialogue> <scene_description>OFF Enrico looking straight into camera.</scene_description> <character>ALEJANDRO (PRELAP)</character> <dialogue>It don't matter!</dialogue> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - CAFETERIA - DAY - 1992</stage_direction> <scene_description>Richard and Nacho clean tables as Tony and Hector make fun of Alejandro.</scene_description> <character>HECTOR</character> <dialogue>It matters! You ate both our lunches, fool. No mames.</dialogue> <character>ALEJANDRO</character> <dialogue>I didn't eat your stupid sandwich.</dialogue> <character>TONY</character> <dialogue>He didn't eat your nasty sandwich with that fu-fu Dijon mustard. That junk's basura. Why you always tryna' be fancy?</dialogue> <character>NACHO</character> <dialogue>Andale! Comete una salsa brava como un Mexicano verdadero!</dialogue> <character>NACHO \[TRANSLATION\]</character> <dialogue>Come on! Eat some hot sauce like a real Mexican!</dialogue> <scene_description>throws his napkin at Tony. They start a small food fight.</scene_description> <character>RICHARD</character> <dialogue>Hey man! You think I'm y'alls maid?</dialogue> <scene_description>TONY/HECTOR/ALEJANDRO YEEEEEP! They throw food and balled-up napkins at him. Richard shakes his head. Lonny wheels in a TV and VCR.</scene_description> <character>HECTOR</character> <dialogue>That's my cue to get back on the road. Later, bro.</dialogue> <scene_description>The guys all say wave goodbyes and leave as Lonny pops in a VHS tape. Lonny tosses the sleeve aside.</scene_description> <character>RICHARD</character> <dialogue>'Ey, what's that?</dialogue> <character>LONNY</character> <dialogue>Corporate nonsense. They make me play this crap all the time. Watch it, ignore it, I don't care just make sure to get the ketchup stains off this linoleum.</dialogue> <scene_description>He walks away. ON THE TV SCREEN, video of Enrico plays, friendly and sincere. Camera slowly pulls out on the TV as he speaks.</scene_description> <character>ROGER ENRICO</character> <dialogue>Hello. I'm Roger Enrico, Chairman of Frito Lay. I'm sure you're wondering why I'm here, speaking directly to you. Our workforce.</dialogue> <scene_description>The video plays and from Richard's POV, we push in on the television as workers stand and clear their trays.</scene_description> <character>ROGER ENRICO</character> <dialogue>Well you, my friend, are the heart and soul of this company. The force of light that keeps the machines running and the product moving.</dialogue> <scene_description>Huh. Turns out Enrico sounded more like Mr. Rogers than American Me. CONTINUED: (2) It might as well be God speaking to Richard. He's entranced.</scene_description> <character>ROGER ENRICO</character> <dialogue>The world, the economy, the factory is going through a hard time. I know you've felt it like we all have and I am truly sorry. But with every challenge comes opportunity. This is your opportunity to rise to the occasion, Richard.</dialogue> <scene_description>Richard looks around. Is Enrico talking to him?</scene_description> <character>ROGER ENRICO</character> <dialogue>Yep. You with the mop. You see anyone else listening?</dialogue> <scene_description>Richard takes in the room. He's definitely the only one listening.</scene_description> <character>RICHARD</character> <dialogue>Me? Sir, I'm just the janitor.</dialogue> <character>ROGER ENRICO</character> <dialogue>And? Show the world what a janitor can do, Richard. Every person can be the difference between failure and success. I want you to think like a CEO.</dialogue> <scene_description>We PUSH IN on Richard in slo-mo as workers clear frame.</scene_description> <character>RICHARD</character> <dialogue>Think like a CEO...</dialogue> <scene_description>OFF Richard's determined eyes, we SMASH CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. RANCHO CUCAMONGA BUS STOP - DAY - 1992</stage_direction> <scene_description>Richard paces excitedly at the school bus stop, deep in thought about Enrico and scribbling ideas in his weathered notebook. The bus arrives. SEVEN-YEAR-OLD STEVEN rushes to Richard who scoops him up and swings him around. They wait for Lucky. Hi, papi! Richard suddenly spots Lucky whose face is slightly beat up. He rushes over to him.</scene_description> <character>RICHARD</character> <dialogue>What in the-- what happened? Who did this? Tell me right now.</dialogue> <character>LUCKY</character> <dialogue>Let's just go home.</dialogue> <character>RICHARD</character> <dialogue>Not before I beat these lil' punks up--</dialogue> <character>LUCKY</character> <dialogue>Let's go home!</dialogue> <character>STEVEN</character> <dialogue>Can we get some elote (corn) first?</dialogue> <character>LUCKY</character> <dialogue>No! Why we always gotta do stupid Mexican stuff?</dialogue> <scene_description>Richard's appalled, looks to Steven.</scene_description> <character>STEVEN</character> <dialogue>Don't look at me. I love elote. I love beans. I love rice. Tamales--</dialogue> <parenthetical>(matter of fact)</parenthetical> <dialogue>Maybe it's 'cause the kids call him a beaner 'cause he's a Mexican--</dialogue> <character>LUCKY</character> <parenthetical>(shoves Steven)</parenthetical> <dialogue>Man, shut up!</dialogue> <character>RICHARD</character> <dialogue>Hey! Hey! Stop it.</dialogue> <scene_description>Lucky covers his eyes with his arms, hiding tears. Emotional but trying hard to be a "man".</scene_description> <character>RICHARD</character> <dialogue>That true? Some little shitheads been picking on you?</dialogue> <scene_description>Lucky covers his sobs. Richard's eyes grow red as he holds back his own tears. He bends down to talk to Lucky. Mijo, there's a lot we can be embarrassed 'bout, but being Mexican-- nah, mijo. That ain't one of 'em. CONTINUED: (2)</scene_description> <character>LUCKY</character> <dialogue>You're embarrassed.</dialogue> <scene_description>Richard's shocked.</scene_description> <character>RICHARD</character> <dialogue>No, I'm not. You know why they don't want you to be Mexican?</dialogue> <scene_description>Lucky shakes his head, wiping away tears. He doesn't know.</scene_description> <character>RICHARD</character> <dialogue>Because they know it's a superpower. They know if you really were proud of who you are they couldn't stop you. They couldn't make you feel like you're less than them. Because you're not, mijo.</dialogue> <scene_description>Lucky starts to calm. He's taking this in. So is Richard. He's feeling this in his bones as if he's talking to himself.</scene_description> <character>RICHARD</character> <dialogue>They know that superpower could knock them out. Like you're Superman. They think it's your kryptonite, but they don't know it's the thing that makes you fly.</dialogue> <character>(ALT.)</character> <dialogue>They know that superpower could knock them out. They think it's what'll keep you down, but they don't know it's the thing that makes you unstoppable.</dialogue> <character>LUCKY</character> <dialogue>I ain't four no more, dad.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Plus, nobody shits on Superman the way they shit on us.</dialogue> <scene_description>Richard is gutted. He stares at his boy, deep in thought. Come on. We're getting some elote. Right now.</scene_description> </scene> <scene> <stage_direction>EXT. PARK - MOMENTS LATER - DAY - 1992</stage_direction> <scene_description>Richard and his boys sit on a picnic table near the elotero chowing down on their elotes, enjoying it. Delicious as hell. OW! OW! OW!:</scene_description> <character>RICHARD</character> <dialogue>What is it?</dialogue> <character>STEVEN</character> <dialogue>It burns!</dialogue> <scene_description>Lucky, still serious, can't help but laugh a little.</scene_description> <character>RICHARD</character> <dialogue>Pues, stop eating it, dummy.</dialogue> <character>STEVEN</character> <dialogue>No, I like it! It burns good!</dialogue> <scene_description>Steven happily digs in even harder. The mood quiets until something dawns on Richard. He holds up the elote. He stares at it until it's surrounded by the same dreamlike wisps we saw around Young Judy long ago. Magic. Richard looks to the elotero dreamily brushing each ear of roasted corn with copious amounts of chile powder. He follows it as he hands one to a child. Richard looks over to another nearby street vendor, the FRUTERO. He covers a bowl of fruit with chile tajín. The flakes raining down on the fruit in SLO-MO like morsels of heaven. Richard's gaze lands on yet another nearby STREET VENDOR who sells chicharrones. He pours Valentina hot sauce on them. A spicy waterfall of sauce showers the chicharrones in SLO-MO. We WHIP-PAN back to Richard who looks down at the elote in his own hand. Holy shit. Richard smiles. The idea's right in front of him-- Richard and the boys rush in with determination. He blows past Judy who's cooking. Richard clears the kitchen table.</scene_description> <character>RICHARD</character> <dialogue>Enrico sent me a video, honey!</dialogue> <parenthetical>(plants a kiss on her)</parenthetical> <dialogue>Your candle was out. But I fixed it and then Enrico sent me a video.</dialogue> <scene_description>Richard clears out plates and condiments. Judy grasps for them, trying to stop the chaos in her confusion.</scene_description> <character>JUDY</character> <dialogue>My candle sent you a video? Oh my god, Lucky! Papa, what happened?!</dialogue> <scene_description>Judy rushes to Lucky. Richard protects Lucky's fragile ego while spreading out his notebooks and bags of the elote, fruit with chile, and the chicharrones.</scene_description> <character>RICHARD</character> <dialogue>He's alright, Jude. He's not four anymore. Plus, we talked 'bout it. We're working on our superpowers, right mijo?</dialogue> <scene_description>Lucky fidgets with a notebook, shrugs.</scene_description> <character>LUCKY</character> <dialogue>I guess.</dialogue> <character>STEVEN</character> <dialogue>Mami, we're gonna make chile chips and save everybody's jobs.</dialogue> <character>RICHARD</character> <dialogue>I just need time. You. And a recipe.</dialogue> <scene_description>Judy's face turns white. She can't take this.</scene_description> <character>JUDY</character> <dialogue>And while you do that, how do we pay the rent? How do we buy food? HOW do we survive, mi amor?</dialogue> <scene_description>The boys are quiet.</scene_description> <character>JUDY</character> <parenthetical>(whispers)</parenthetical> <dialogue>Baby, I can't do this anymore.</dialogue> <scene_description>Hey, hey, hey... three...</scene_description> <character>JUDY</character> <dialogue>Two...</dialogue> <character>RICHARD / KIDS</character> <dialogue>One...</dialogue> <scene_description>Judy can't help but smile a bit.</scene_description> <character>RICHARD</character> <dialogue>Breathe.</dialogue> <character>JUDY</character> <dialogue>CONTINUED: (2)</dialogue> <scene_description>They both take a very deep breath. Baby, Vacho said he found a job for</scene_description> <character>BREATHE. JUDY</character> <dialogue>you. A job that's full time. Why can't you just talk to him about it, please? Do that for me, and maybe--</dialogue> <parenthetical>(looks at the samples on the table)</parenthetical> <dialogue>I'll do this for you.</dialogue> <dialogue>Richard thinks on this seriously.</dialogue> <character>RICHARD</character> <dialogue>Yeah, okay.</dialogue> <scene_description>Judy's relived, but Richard's wheels are turning.</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - MAIN FLOOR - DAY - 1992</stage_direction> <scene_description>Richard marches side by side with Clarence, holding his notebook, energized.</scene_description> <character>RICHARD</character> <dialogue>You know as well as I do our production lines aren't operating at full capacity. We got machines that could be working seven days a week, but they're not. They've got potential. We gotta innovate, 'member? We can cover every Dorito, Frito, and Cheeto with this and get more orders. More orders means more shifts--</dialogue> <scene_description>And Frito Lay's just gonna make 'em 'cause the janitor said so? Richard's face falls. Low blow.</scene_description> <character>RICHARD</character> <dialogue>Roger Enrico said--</dialogue> <character>CLARENCE</character> <dialogue>Roger Enrico was talking to guys at the top. You ain't at the top, kid. I ain't at the top. Those guys over there are.</dialogue> <scene_description>Clarence points to the Plant Managers. Richard is determined.</scene_description> <character>RICHARD</character> <dialogue>Well, sometimes you gotta show people what the burrito's worth.</dialogue> <character>CLARENCE</character> <dialogue>What does that mean, boy?</dialogue> <character>RICHARD</character> <dialogue>It may look like it's worthless. But if people just took a bite, they'd see! Someone took a chance on you, didn't they? You got on that machine somehow. And if they took a chance on you again you'd run this whole damn place.</dialogue> <character>CLARENCE</character> <parenthetical>(jaw clenched)</parenthetical> <dialogue>'Course I would.</dialogue> <character>RICHARD</character> <dialogue>Because you believe it. I believe in this. I know it sounds crazy, but man... I believe in it.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What else is there to do, huh? Lose our jobs and go hungry?</dialogue> <scene_description>OFF Clarence's sober look--</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - MAIN FLOOR - MOMENTS LATER - DAY -</stage_direction> <scene_description>Richard and Clarence unroll a huge plastic trash bag. They scoop un-dusted Cheeto puffs into it when Tony steps in. Tony looks at them, baffled. Richard smirks unabashedly... Sooo, I have an idea, carnal-- OFF Tony's face we JUMP CUT TO SECONDS LATER: Tony and Nacho now helping Richard and Clarence determinedly scoop undusted Doritos into the trash bags.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>We had it all to gain and nothin' to lose. 'Cause we were just a bunch of brown chips on the conveyer belt waiting to be tossed.</dialogue> </scene> <scene> <stage_direction>EXT. FRITO LAY PLANT - PARKING LOT - NIGHT - 1992</stage_direction> <scene_description>The men put the last of the bags into the cab of Richard's truck. Clarence says his goodbyes. Tony tosses in a bag of undusted Fritos, turns to Richard.</scene_description> <character>TONY</character> <dialogue>Almost forgot them Fritos.</dialogue> <parenthetical>(eyes Richard)</parenthetical> <dialogue>Hey, don't get your hopes up too high, 'kay fool?</dialogue> <scene_description>Richard nods but his attention lands on a nearby car. In the front seats are Pablito, Diego and a few other of the barrio cholos.</scene_description> <character>RICHARD</character> <dialogue>You kickin' it with them again?</dialogue> <scene_description>The silence reveals everything. He's dealing drugs again.</scene_description> <character>TONY</character> <dialogue>You take care of your family, bro. I'm going to take care of mine.</dialogue> <scene_description>He walks away. Richard looks after him, thinking on his words "take care of your family".</scene_description> <character>VACHO (PRELAP)</character> <dialogue>It's a full-time job, mijo.</dialogue> </scene> <scene> <stage_direction>EXT. VACHO'S HOUSE - BACK YARD - DAY - 1992</stage_direction> <scene_description>Richard leans back in a lawn chair. He takes a heavy swig of his beer. Judy sits beside him, encouragingly. That's good. Full time's good, baby! Concha walks out with some snacks. She places them at the table where Richard, Judy, Vacho, and Pastor Marco all sit.</scene_description> <character>VACHO</character> <dialogue>And in a year you could move up, like Pastor Marco said. Right, Pastor?</dialogue> <character>PASTOR MARCO</character> <dialogue>Exacto. Y es posible que pague mas.</dialogue> <character>PASTOR MARCO \[TRANSLATION\]</character> <dialogue>Exactly. And it might pay even more.</dialogue> <character>CONCHA</character> <dialogue>Ves, mijo? En un año serás jefe de mantenimiento.</dialogue> <character>CONCHA \[TRANSLATION\]</character> <dialogue>See, mijo? In a year, you could be the head of maintenance.</dialogue> <scene_description>Richard does not look pleased.</scene_description> <character>RICHARD</character> <dialogue>So I would go from being a janitor to being a janitor? And hopefully, si me pongo las pilas and I'm lucky, I'll be the janitor-in- chief? President of the janitors?</dialogue> <scene_description>Judy's face falls. Richard delicately places his beer on the table.</scene_description> <character>RICHARD</character> <dialogue>Nah, you know what? I think I'll stick to Frito Lay. Where I got a real future. Better the devil you know than the devil you don't know, right Vacho?</dialogue> <scene_description>He gives Vacho a wink. Vacho wants to strangle him.</scene_description> <character>VACHO</character> <dialogue>Sí pero your devil's taking your shifts and trying to fire you. Don't be stupid. They don't care about you or believe in you.</dialogue> <character>RICHARD</character> <dialogue>And you do? All that ever comes out of your mouth is what an idiot I am.</dialogue> <scene_description>do nothing right, but I'm supposed to trust you when you say God believes in me?</scene_description> <character>VACHO</character> <dialogue>Well, he does--</dialogue> <character>RICHARD</character> <dialogue>Oh okay, is that according to the Book of Vacho?</dialogue> <character>VACHO</character> <dialogue>Hey, show me some respect!</dialogue> <character>RICHARD</character> <dialogue>Show you some respect?</dialogue> <parenthetical>(to Pasto Marco)</parenthetical> <character>RICHARD</character> <dialogue>Hey Pastor, you know he beat the shit out of me my whole life? But that didn't bother me 'cause I got thick skin and a hard skull.</dialogue> <parenthetical>(swigs his beer; laughs)</parenthetical> <dialogue>What really sucks, 'apá, is I got your voice in my head beating up my brain every day, and for some reason, that's the beating I can't get up from. Congratulations! You won at keeping me down.</dialogue> <character>VACHO</character> <parenthetical>(genuine)</parenthetical> <dialogue>Mijo... I'm trying to help you. It's so bad even your wife's looking for help behind your back. She's lost faith in you--</dialogue> <character>JUDY</character> <dialogue>Hey, hey! Don't you speak for me. And you sure as hell don't speak for God.</dialogue> <parenthetical>(to Richard)</parenthetical> <dialogue>I never said I didn't have faith.</dialogue> <scene_description>Richard is hurt. Judy takes his hand in hers.</scene_description> <character>JUDY</character> <dialogue>I know what Richard is and I know what he isn't. Not educated. Sure.</dialogue> <character>RICHARD</character> <dialogue>Okay amor, where's this going?</dialogue> <scene_description>But he's the smartest person I know. He's already been blessed. He just has to figure out what to do with it. (to Vacho) You wanna save someone? Save yourself. And then come to him when you're the father he needs. (looks at Richard) 'Come on, let's go put my voice in your head. 'Cause I believe in you. Richard's whole heart is full, looking at his Judy. Vacho doesn't know what to say.</scene_description> <character>JUDY</character> <parenthetical>(to Richard)</parenthetical> <dialogue>Come on.</dialogue> <scene_description>CONTINUED: (3) Richard punks Vacho like "that's right" as he and Judy leave.</scene_description> </scene> <scene> <stage_direction>EXT. VACHO'S HOUSE - DAY - 1992</stage_direction> <scene_description>Moments later, walking to Richard's truck, Richard's all smiles looking at his wife and kids. Lucky and Steven pile into the truck. Judy stops at the door, smiles, and looks at him point blank.</scene_description> <character>JUDY</character> <dialogue>If we're going to make those güeritos sweat, we gotta find the good stuff. Let's go.</dialogue> <scene_description>Richard laughs. They climb into the truck as Black Sheep's "The Choice Is Yours" bumps a dope '90s beat as we go to--</scene_description> </scene> <scene> <stage_direction>INT. MEXICO LINDO MARKET - DAY - 1992</stage_direction> <scene_description>Judy, Richard, and the kids rush through the Mexican market full of stalls with Mexican knickknacks and delicacies. Judy and Richard run up to a stall full of Mexican spices and chiles. They tear packets of dried chiles off the shelves. CLOSE-ON a sack being dumped onto a table. Out fly the dozens of little packets of chiles. They get to work. On the table, a spread of undusted Doritos, Fritos, Cheetos. Judy toasts chiles and tomatoes on a comal. She wipes sweat from her brow. Lucky and Steven cough as the chile spice fills the air. Richard strips the chiles of their skins. Lucky's eyes tear up like crazy from chopping garlic and onions. CUT TO: Judy sets down a first batch of slurry, chile mixed with cheese powder. They all dip undusted Doritos, Fritos, and Cheetos in. Steven takes a big bite. They watch him...</scene_description> <character>STEVEN</character> <dialogue>Hot, hot, hot, hot, hot!!!</dialogue> <character>RICHARD</character> <dialogue>Hot like elote hot? Like good?</dialogue> <character>STEVEN</character> <dialogue>No! Bad, bad, bad, bad, bad--</dialogue> <scene_description>Steven chugs milk. Richard takes a bite. He shrugs. The chile sudden hits him.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Chále, man. That slurry woulda made the devil sweat.</dialogue> <scene_description>He chugs Steven's milk. Judy gathers up the slurry reject.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>While we were trying to remember everything our abuelitas taught us about chile, the midwest had already been spicing things up for a while.</dialogue> </scene> <scene> <stage_direction>A99 INT. FRITO-LAY MIDWEST LAB - DAY - 1991 A99</stage_direction> <scene_description>A group of mostly white SCIENTISTS in white lab coats surround a batch of their own spicy slurry. The Scientists dig in. But it's spicy! They anxiously blow their tongues.</scene_description> <character>SCIENTISTS</character> <dialogue>Hot, hot, hot. / Too hot! Too hot!</dialogue> <scene_description>ingredients on the table. She mixes new ingredients.</scene_description> </scene> <scene> <stage_direction>B99 INT. RICHARD'S HOUSE - KITCHEN - ANOTHER DAY B99</stage_direction> <scene_description>Judy flings ingredients into a bowl with ninja-like precision, swooping in and out with the master chef skill.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>I don't know what was going down over there. All I knew was me and Judy had that spice in our DNA, na- mean?</dialogue> <character>JUDY</character> <dialogue>Cilantro, Comino, ajo...</dialogue> <character>RICHARD</character> <parenthetical>(to the boys)</parenthetical> <dialogue>Two teaspoons cilantro, one teaspoon of cumin, garlic--</dialogue> <scene_description>Lucky writes the ingredients Richard's notebook.</scene_description> </scene> <scene> <stage_direction>C99 INT. FRITO-LAY MIDWEST LAB - DAY - 1991 C99</stage_direction> <scene_description>CLOSE-ON the Scientist mixing chemical ingredients.</scene_description> <character>SCIENTIST</character> <dialogue>Maltodextrin, Monosodium glutamate, Disodium Inosinate.</dialogue> <scene_description>He holds up vials and eyes them closely. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. RICHARD'S HOUSE - KITCHEN - DAYS LATER - DAY - 1992</stage_direction> <scene_description>Judy's on the phone rushing back and forth so much the phone cord's wrapped up around her. She's speaking to Concha.</scene_description> <character>JUDY</character> <dialogue>Sí, señora. Sí, ya use cebolla. Chile de pasilla? Uh-huh, uh-huh--</dialogue> <scene_description>Richard and Lucky work on a SUPER amateur makeshift slurry machine to coat the different chips (Doritos, Fritos, Cheetos, etc.). A plastic bag filled with air and a stick. It's not sticking, 'apá. Richard looks at his dilapidated slurry machine. Thinks hard.</scene_description> <character>RICHARD</character> <dialogue>Porque this slurry machine is trash. We need something better.</dialogue> <scene_description>OFF their faces.</scene_description> </scene> <scene> <stage_direction>INT. RICHARD'S HOUSE - KITCHEN - ANOTHER DAY - 1992</stage_direction> <scene_description>We PULL BACK to reveal a bingo machine being used as a slurry machine. Richard beams proudly as the boys spray the chips. Judy comes over with another bowl of spices and kisses Richard. OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. RICHARD'S HOUSE - KITCHEN - NIGHT - 1992</stage_direction> <scene_description>All eyes are on Richard swirling the latest batch.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>We tried every chile in every store in town, until finally--</dialogue> <scene_description>He pulls a few colettes out and hands one to Steven and Lucky.</scene_description> <character>STEVEN</character> <dialogue>Ow, ow, ow, ow! It burns!</dialogue> <scene_description>Lucky takes a bite. He fans his mouth with his hand.</scene_description> <character>RICHARD/JUDY</character> <dialogue>Burns bad or burns good?</dialogue> <character>LUCKY/STEVEN</character> <parenthetical>(smiling wide)</parenthetical> <dialogue>Burns good!!!</dialogue> <character>RICHARD (V.O.)</character> <dialogue>We did it.</dialogue> <scene_description>They all dip Cheetos as we cut from these two cuties to-- Richard arrives to find the floor in complete chaos. Workers are gathered around all yelling at Lonny who tries to answer questions. Richard pushes his way toward Clarence.</scene_description> <character>RICHARD</character> <dialogue>What happened?!</dialogue> <character>CLARENCE</character> <dialogue>Lay offs. Lots of 'em, kid.</dialogue> <character>RICHARD</character> <parenthetical>(searching; frantic)</parenthetical> <dialogue>Where's Tony? Where's Nacho?</dialogue> <scene_description>Clarence, gives Richard a knowing look. They've been laid off. Richard's heart drops. Lonny disperses the crowd.</scene_description> <character>LONNY</character> <dialogue>Now, that's it. That's all I got for you all. Back to work now.</dialogue> <scene_description>As Lonny marches away Richard pushes through the crowd. He rushes up to Lonny's side. They walk along hurriedly.</scene_description> <character>RICHARD</character> <dialogue>Lonny! Lonny, you gotta listen to me. I got an idea you wanna hear. An idea you'll want Enrico to hear--</dialogue> <scene_description>Lonny stops in his tracks. Richard bumps into him. Lonny slowly turns on his heel. He stares at Richard in disbelief.</scene_description> <character>RICHARD</character> <dialogue>It's a new line of products. It's gonna change everything. It's...</dialogue> <parenthetical>(off Lonny's stoned face)</parenthetical> <dialogue>You see, it's spicy chips. Spicy Doritos, Fritos, Cheetos, everything!</dialogue> <scene_description>Lonny's silent, stewing. Richard is self-conscious.</scene_description> <character>LONNY</character> <dialogue>Spicy Cheetos. You're stopping me after I just laid off another slew of hardworking guys. Some of 'em your friends to tell me you have an idea for spicy Cheetos?</dialogue> <character>RICHARD</character> <dialogue>I just--</dialogue> <scene_description>No wait, let me get this straight, you want me to ring up Roger Enrico and tell him how my janitor, the guy who cleans our toilets, has a bright idea.</scene_description> <character>RICHARD</character> <dialogue>Lonny, you know I got more in me than a fucking toilet.</dialogue> <scene_description>Lonny clenches his jaw, out for blood.</scene_description> <character>LONNY</character> <dialogue>New products get developed over years, cost millions to launch, and don't get created by blue-collar hoodlums who probably can't even spell the word "hoodlum".</dialogue> <scene_description>Lonny walks away. Richard is crushed... CONTINUED: (2)</scene_description> <character>RICHARD (V.O.)</character> <dialogue>When I was seven these white ladies would come to our school to tutor us in reading.</dialogue> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - LONNY'S OFFICE - NIGHT - 1992</stage_direction> <scene_description>Richard stares at Lonny's empty office, mop in hand. He's got a look in his eyes of pure determination.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Except, there were two trailers. One for white kids and one for everybody else. The Brown kids.</dialogue> <scene_description>He looks around and pulls out his giant set of janitorial keys. He quickly unlocks and opens the door.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>The kids that came out of the white trailer always came out with cookies.</dialogue> <dialogue>Richard mops the floors, checking his surroundings. He digs into Lonny's desk drawer searching for the company directory.</dialogue> <character>RICHARD (V.O.)</character> <dialogue>I was a Brown kid and I really wanted one of those cookies. One day...</dialogue> <scene_description>He finds it and searches through the book determinedly and finds the number for FRITO LAY CORPORATE HEADQUARTERS, TEXAS.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>I got in the line. The white kids spit at me. Shoved me. And I didn't care. I went into that trailer.</dialogue> <scene_description>Richard takes a breath.</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - JANITOR'S OFFICE - DAY - 1992</stage_direction> <scene_description>MOMENTS LATER, Richard reaches for his phone. He quickly dials the number. The line rings, and rings, and rings...</scene_description> <character>RICHARD (V.O.)</character> <dialogue>And when I came out, I came out with my dang cookies.</dialogue> <scene_description>Enrico's secretary, Patti, answers.</scene_description> <character>PATTI \[FILTERED\]</character> <dialogue>Office of President Roger Enrico.</dialogue> <character>RICHARD</character> <dialogue>Hello. Yes... I'd like to speak to Mr. Roger Enrico, please. This is Richard Montañez.</dialogue> </scene> <scene> <stage_direction>INT. FRITO LAY HEADQUARTERS - FRONT DESK - DAY - 1992</stage_direction> <scene_description>Roger Enrico's all-business-looking secretary is at her desk.</scene_description> <character>PATTI</character> <dialogue>Montañez? What country are you calling from, Mr. Montañez?</dialogue> <scene_description>The United States.</scene_description> <character>PATTI</character> <dialogue>Well, you're not the President of American Corporate 'cause that's not his name--</dialogue> <character>RICHARD</character> <dialogue>I work in California--</dialogue> <character>PATTI</character> <dialogue>Oh! You're the VP of California.</dialogue> <character>RICHARD</character> <dialogue>No. I work in the Rancho Cucamonga plant.</dialogue> <character>PATTI</character> <dialogue>Okay, so you're the Plant Director?</dialogue> <character>RICHARD</character> <dialogue>No, I work inside-inside the plant... I'm the maintenance technician.</dialogue> <parenthetical>(he waits)</parenthetical> <dialogue>Hello...?</dialogue> <character>PATTI</character> <parenthetical>(beat)</parenthetical> <dialogue>The janitor? You're the janitor?</dialogue> <character>RICHARD</character> <dialogue>Please don't hang up. I have an idea that's going to revolutionize Frito Lay. That will save our factory. Save jobs. Save hardworking people who are trying to survive. If he cares about his people, his people on the line, Mr. Enrico needs to hear this.</dialogue> <scene_description>Silence. Richard is sweating bullets. Then--</scene_description> <character>PATTI</character> <dialogue>Please hold.</dialogue> <scene_description>Richard's heart races, hoping Lonny doesn't walk in. Finally--</scene_description> <character>ENRICO \[FILTERED\]</character> <dialogue>Hello, Richard, this is Roger.</dialogue> <scene_description>INTERCUT RICHARD:</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY HEADQUARTERS - ROGER ENRICO'S OFFICE - DAY 1-</stage_direction> <scene_description>Roger Enrico sits in his office.</scene_description> <character>RICHARD</character> <dialogue>Mr. Enrico, thank you for taking my call. I-- I have an idea to share with you...</dialogue> <character>ENRICO</character> <dialogue>I'm listening...</dialogue> <character>RICHARD</character> <dialogue>Sir, I'm Mexican. Proud of it too. There's a lot of us in this country and we spend money on snacks just like you guys do. We eat Doritos, but not before covering those suckers in Tapatio. The more it burns, the more we'll spend on it. So I thought, screw it, why not make my own spicy slurry, sir?</dialogue> <character>ENRICO</character> <parenthetical>(beat)</parenthetical> <dialogue>A spicy slurry?</dialogue> <character>RICHARD</character> <dialogue>Oh. Okay, sir. So I did! You can slather it on everything-- Doritos, Fritos, popcorn, Cheetos. And the best part, sir? This thing is one- hundred percent Mexican-approved. And I got a plan, Mr. Enrico, to get it to the streets, to my people. I think it'll save our factory. Save our jobs.</dialogue> <character>ENRICO</character> <dialogue>Save jobs, huh? That's a lot of confidence there, Richard.</dialogue> <character>RICHARD</character> <dialogue>Yessir. You said in the video to think like a CEO, so I did.</dialogue> <scene_description>Enrico hugs the receiver close to his face, slowly smiles. You saw my video?</scene_description> <character>RICHARD</character> <dialogue>Yes, sir.</dialogue> <character>ROGER ENRICO</character> <dialogue>And you're the janitor?</dialogue> <character>RICHARD</character> <dialogue>Maintenance crew, sir. Yes. And sir, if it's okay with you, I'd like to send you some samples.</dialogue> <character>ROGER ENRICO</character> <dialogue>Richard, that's more than okay with me. More than okay.</dialogue> <scene_description>Richard can't believe his ears. In shock, he smiles wide.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Chaaaaaaaooooooooo!!!</dialogue> </scene> <scene> <stage_direction>INT. POST OFFICE - DAY - 1992</stage_direction> <character>POST OFFICE CLERK</character> <dialogue>Next!</dialogue> <scene_description>ANGLE ON a box full of spicy products being closed, taped up, and stamped on the counter. It's addressed to Enrico.</scene_description> <character>POST OFFICE CLERK</character> <dialogue>First class? Priority?</dialogue> <scene_description>Reveal Richard and Judy standing there, nervous. The clerk's about to take the box when Richard slams his hand down on it.</scene_description> <character>RICHARD</character> <dialogue>Wait a second, please...</dialogue> <parenthetical>(to Judy)</parenthetical> <dialogue>We should say a prayer.</dialogue> <character>JUDY</character> <parenthetical>(stunned)</parenthetical> <dialogue>We should?</dialogue> <character>RICHARD</character> <dialogue>Yeah. God did this, right? Well, we should let God bring it home.</dialogue> <scene_description>Judy smiles. He places his hands on the box, closes his eyes. Dear God, Jesus, señor... I mean, you know who you are. Listen man, we both know I've made some mistakes in my life, like you know, the gangs, the guns, the drugs-- The Clerk's eyes grow wide. Judy smiles at him sweetly.</scene_description> <character>RICHARD</character> <dialogue>But I'm a good man now, Lord. Maybe I wasn't never bad, just lost. But I'm doing good things now, so...</dialogue> <scene_description>The POST OFFICE CUSTOMER behind them gets impatient and interrupts:</scene_description> <character>POST OFFICE CUSTOMER</character> <dialogue>The heck, man! Let's move it!--</dialogue> <character>JUDY</character> <dialogue>Hey! He's praying, pendejo! Have some respect.</dialogue> <parenthetical>(to Richard)</parenthetical> <dialogue>Keep going, baby...</dialogue> <character>RICHARD</character> <dialogue>Lord... please, forgive my past sins and pour all your blessings right here, on this box. Amen.</dialogue> <scene_description>He lets the box go. Judy smiles wide. CONTINUED: (2) We PAN to the box on the conveyer belt making its way to--</scene_description> <character>INT. FRITO LAY HEADQUARTERS - ROGER ENRICO'S OFFICE - DAY 1-</character> <dialogue>The box of Richard's samples slams down onto Enrico's desk. Enrico pulls out bag after bag of spicy products. He pulls out the bag of Hot Cheetos and admires it.</dialogue> <character>RICHARD (V.O.)</character> <dialogue>That Italian jefe (boss) was about to have his mind blown!</dialogue> <scene_description>He opens it, pulls out a Cheeto, and takes a bite. His eyes grow wide. Holy-- hot. Hot, hot, hot. He settles and then digs in for another with a grin.</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - JANITOR'S ROOM - DAY - 1992</stage_direction> <scene_description>Richard gathers cleaning supplies when the phone rings. He looks at it curiously, then picks it up.</scene_description> <character>RICHARD</character> <dialogue>Hello, maintenance.</dialogue> <character>ROGER ENRICO \[FILTERED\]</character> <dialogue>Richard. It's Roger. Roger Enrico.</dialogue> <scene_description>The color leaves Richard's face. He's frozen.</scene_description> <character>ROGER ENRICO \[FILTERED\]</character> <dialogue>Richard?</dialogue> <character>RICHARD</character> <dialogue>Yes, sir.</dialogue> </scene> <scene> <stage_direction>INT. FRITO LAY HEADQUARTERS - ROGER ENRICO'S OFFICE -</stage_direction> <character>SIMULTANEOUS - DAY - 1992</character> <dialogue>We're close on Enrico holding the phone to his ear. His fingertips are fire-red. Yes, he hit those Cheetos hard.</dialogue> <character>ENRICO</character> <dialogue>Richard, I can't stop thinking about your initiative.</dialogue> <character>ENRICO</character> <dialogue>I'm coming to Rancho Cucamonga for a plant tour. What do you say you meet me there and tell me more about your ideas? In about two weeks. Is that okay with you?</dialogue> <character>RICHARD</character> <dialogue>Yes, sir. More than okay.</dialogue> <scene_description>Richard can barely contain his excitement.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>It was finally happening!</dialogue> <dialogue>IN A FLURRY OF PHONE CALLS, the PRESIDENT of Frito Lay America calls the Head of Marketing, James Finely--</dialogue> <character>JAMES FINLEY</character> <dialogue>Who the heck is Richard Montañez?!</dialogue> <character>INT. FRITO LAY PLANT - OPERATIONS VP'S OFFICE - DAY - 1992117</character> <dialogue>The FRITO LAY VP OF OPERATIONS calls the FRITO LAY PLANT DIRECTOR.</dialogue> <character>FRITO LAY VP OF OPERATIONS</character> <dialogue>And who let him call Roger freaking Enrico?!</dialogue> <character>INT. FRITO LAY PLANT - PLANT DIRECTOR'S OFFICE - DAY -</character> <dialogue>The Frito Lay Plant Director calls the Plant Manager. Yep, he's talking to Lonny.</dialogue> <character>FRITO LAY PLANT DIRECTOR</character> <dialogue>What do you mean you don't know the guy? He works in your plant. Find out!</dialogue> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - LONNY'S OFFICE - DAY - 1992</stage_direction> <scene_description>We're CLOSE ON Lonny's angry, red face. MONTAÑEEEEEZ!!!:</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Turns out I messed up. I broke rank and went straight to the top and wasn't nobody happy with this chavalo talking to the top dog.</dialogue> <scene_description>when we CUT TO--</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - MAIN FLOOR - DAY - 1992</stage_direction> <scene_description>Lonny rails on Richard as workers gather to watch.</scene_description> <character>RICHARD</character> <dialogue>It ain't even like that--</dialogue> <scene_description>You're gonna paint. You're going to fix all the machines. You're going to clean every particle of dust until every code violation in here is gone. Good luck with that--</scene_description> <character>RICHARD</character> <dialogue>Enrico's coming to hear about my product--</dialogue> <character>LONNY</character> <dialogue>And when they're done listening and it's all nonsense to them? Then what? They'll remember that they don't need you. That they need to stop hemorrhaging money. And they'll start by shutting us down!</dialogue> <scene_description>The other workers all stare, terrified and confused.</scene_description> <character>LONNY</character> <dialogue>You better pray for a miracle. Because when this is done, one way or another you won't have a job.</dialogue> <scene_description>Lonny walks away. Richard stands there, emotions swirling. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. RICHARD'S HOUSE - LIVING ROOM - NIGHT - 1992</stage_direction> <scene_description>Richard sits on the couch drinking a beer, still in uniform. Judy comes out, half-asleep.</scene_description> <character>JUDY</character> <dialogue>Baby, what are you doing up so late? Come to bed...</dialogue> <character>RICHARD</character> <dialogue>I really thought I could do this...</dialogue> <parenthetical>(laughs bitterly)</parenthetical> <dialogue>Que menso, man. I gotta find a way to stop Enrico from coming...</dialogue> <character>JUDY</character> <dialogue>Stop him?</dialogue> <scene_description>She stares at him, frustrated. She yanks him to his feet.</scene_description> <character>RICHARD</character> <dialogue>Baby, chill--</dialogue> <character>JUDY</character> <dialogue>You see that guy right there?</dialogue> <character>RICHARD</character> <parenthetical>(shy, deflecting)</parenthetical> <dialogue>Who? That guapo (cutie)</dialogue> <scene_description>right there? Yeah, I see him.</scene_description> <character>JUDY</character> <dialogue>You see a good man? A special man?</dialogue> <scene_description>Richard stares. He doesn't. Judy's fiercely passionate.</scene_description> <character>JUDY</character> <dialogue>Because, honey, that's what I see. I see a chingón! A Montañez.</dialogue> <parenthetical>(Richard takes this in)</parenthetical> <dialogue>You want the truth? They're scared. Scared of what you can do for them. Scared they've been begging for help and got a broke Mexican kid from Guasti as their hero. They don't know what to do with that.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Do you know what I've been praying for all these years?</dialogue> <scene_description>Richard listens earnestly, holds back emotion. He doesn't.</scene_description> <character>JUDY</character> <dialogue>That you would see the gifts and talents you have.</dialogue> <parenthetical>(feels it in her soul)</parenthetical> <dialogue>Use your gifts, baby. BE GREAT. 122</dialogue> <character>JUDY</character> <dialogue>Don't let these sin-vergüenzas stop you. Enrico's coming to hear you speak.</dialogue> <character>RICHARD</character> <dialogue>But I don't even know how to do a sales presentation.</dialogue> <character>JUDY</character> <dialogue>Well, you're gonna find out.</dialogue> <character>RICHARD (V.O.)</character> <dialogue>You wanna survive this crazy world? Get yourself a Judy.</dialogue> </scene> <scene> <stage_direction>INT. LIBRARY - DAY - 1992</stage_direction> <character>RICHARD (V.O.)</character> <dialogue>She took me to Biz church those next few weeks.</dialogue> <scene_description>Judy pulls books off the shelves and stacks them in Richard's arms. The pile rises as Richard tries to balance them.</scene_description> </scene> <scene> <stage_direction>INT. RICHARD'S HOUSE - KITCHEN - DAY - 1992</stage_direction> <scene_description>Judy slams down a stack of sales books on the table. TIME JUMP to Judy sitting across from Richard. She reads from one of the books.</scene_description> <character>JUDY</character> <dialogue>Present a solution to their challenges.</dialogue> <scene_description>Richard reads from another book.</scene_description> <character>RICHARD</character> <parenthetical>(struggling to read)</parenthetical> <dialogue>C-connect prospects to p-profits.</dialogue> <scene_description>Judy nods adamantly.</scene_description> <character>JUDY \[PRELAP\]</character> <dialogue>Tell a story! Be animated!</dialogue> <scene_description>OMITTED</scene_description> </scene> <scene> <stage_direction>INT. RICHARD'S HOUSE - KITCHEN - DAY - 1992</stage_direction> <scene_description>Markers and construction paper roll onto the kitchen table.</scene_description> <character>RICHARD</character> <dialogue>Like Bugs Bunny?</dialogue> <scene_description>Lucky and Steven help piece together presentation boards.</scene_description> <character>JUDY</character> <dialogue>No! Excited. Big.</dialogue> <scene_description>Judy gesticulates wildly as an example. Richard mimics her, reading from a book of facts. Over one-third of the U.S. Hispanic population resides in California. (looks closer at the book) That's what I've been saying!</scene_description> <character>JUDY</character> <dialogue>You have! You have been saying that, baby!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Okay alright. Keep going. Keep going!</dialogue> <character>RICHARD</character> <dialogue>The Hispanic market will listen to--</dialogue> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - JANITOR'S ROOM - DAY - 1992</stage_direction> <scene_description>Richard paces before Clarence, gesticulating wildly.</scene_description> <character>RICHARD</character> <dialogue>--someone with whom they can identify, relate to, and respect!</dialogue> <character>CLARENCE</character> <parenthetical>(holding Richard's speech)</parenthetical> <dialogue>Like you?</dialogue> <scene_description>Richard turns red, insecure.</scene_description> <character>RICHARD</character> <dialogue>Um, yeah.</dialogue> <character>CLARENCE</character> <dialogue>Then act like you believe it. Say it with your chest, boy.</dialogue> <character>RICHARD</character> <parenthetical>(gesticulating too wildly)</parenthetical> <dialogue>Someone with whom they can identify with and respect!</dialogue> <scene_description>Clarence shakes his head. Too much. He tosses Richard his speech, walks away.</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - JANITOR'S ROOM - NIGHT - 1992</stage_direction> <scene_description>Richard, under the soft light of his desk lamp and surrounded by cleaning supplies, pours over his marketing book. He studies intensely late at night in the quiet factory. Richard, in a cheap suit, stands staring at his reflection in the mirror. Judy approaches with a stack of cheap ties.</scene_description> <character>JUDY</character> <dialogue>Found Versace for three dollars!</dialogue> <parenthetical>(looks at tag closely)</parenthetical> <dialogue>Oh. Wait. Hmmm, it's Vermachee.</dialogue> <scene_description>She looks up at him staring in the mirror.</scene_description> <character>JUDY</character> <dialogue>Uy-uy, miralo! Que guapo!</dialogue> <scene_description>She kisses him, gets to work tying the tie.</scene_description> <character>RICHARD</character> <parenthetical>(looks at her lovingly)</parenthetical> <dialogue>You're the best person I know.</dialogue> <scene_description>Judy looks up at him, smiles gently, feeling his love.</scene_description> <character>JUDY</character> <parenthetical>(flushed)</parenthetical> <dialogue>Who me? I'm just a poor cholita that got smart about God.</dialogue> <character>RICHARD</character> <dialogue>Pretty sure God got smart about you. Jude, I'm here because of you. You know that. There's no Richard Montañez without Judy. Thank you for believing in me, mi reina.</dialogue> <scene_description>She smiles through her feelings.</scene_description> <character>JUDY</character> <dialogue>Yeah, well...</dialogue> <scene_description>She faces him to the mirror. They turn their heads sideways. The tie is horribly tied.</scene_description> <character>JUDY</character> <dialogue>Your reina don't know jack 'bout tying a tie.</dialogue> <scene_description>They laugh. She grabs his blazer lapels, sheepishly.</scene_description> <character>JUDY</character> <dialogue>I know someone who does...</dialogue> <scene_description>Richard stares at her until it dawns on him who she means. Naaah. No way--</scene_description> <character>JUDY</character> <dialogue>I know he's a lot, baby. Pero, he's been calling every day. Don't think he's gonna go away.</dialogue> <parenthetical>(she kisses him)</parenthetical> <dialogue>He does love you...</dialogue> <scene_description>Richard looks at her skeptically, but considers this.</scene_description> </scene> <scene> <stage_direction>INT. RICHARD'S HOUSE - LIVING ROOM - DAY - 1992</stage_direction> <scene_description>Vacho stands uncomfortably close to Richard. Richard leans back as far as possible as Vacho ties his three-dollar tie.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>When you've had as many court dates as Vacho, you master tying a tie.</dialogue> <scene_description>Vacho is stiff, but also nervous.</scene_description> <character>VACHO</character> <dialogue>Mijo, I know I don't have a right to be...</dialogue> <scene_description>Richard stiffens up. He starts to pull away--</scene_description> <character>VACHO</character> <dialogue>No. Listen, please.</dialogue> <scene_description>Richard doesn't move. He won't admit it, but he needs this.</scene_description> <character>VACHO</character> <dialogue>But I'm proud of you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And I'm gonna always regret I'm not the man who made you the man you are today. Always.</dialogue> <scene_description>Richard's heart sinks. This is Vacho's form of apology. Vacho finishes the tie, squeezes Richard's shoulder, looks him in the eye.</scene_description> <character>VACHO</character> <dialogue>Chingatelos, mijo. Remind them what a Montañez can do.</dialogue> <scene_description>Richard breathes deep. Black stretch limos with tinted windows pull into the factory parking lot. Roger Enrico and his team get out of the limos.</scene_description> </scene> <scene> <stage_direction>EXT. FRITO LAY PLANT - PARKING LOT - DAY - 1992</stage_direction> <scene_description>Richard parks his old, beat up truck. He's sweating bullets. Richard holds his head in his hands, whispers frantically.</scene_description> <character>RICHARD</character> <dialogue>There are now more Latinos in the U.S. than there are--</dialogue> <scene_description>KNOCK. KNOCK. KNOCK. Richard jumps. He looks. It's Clarence.</scene_description> <character>CLARENCE</character> <dialogue>Come on out, Montañez. It's time.</dialogue> <scene_description>Richard freezes, but then gathers his courage.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>I'd never done nothing like this before. Felt like my heart was a bomb about to go BOOM.</dialogue> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - MAIN FLOOR - DAY - 1992</stage_direction> <scene_description>Lonny is crouched down at a machine, pointing at the machinery gracefully. He looks up with a huge grin.</scene_description> <character>LONNY</character> <dialogue>And as you can see, Mr. Enrico, sir, we quality check every twenty minutes--</dialogue> <character>ROGER ENRICO</character> <dialogue>Right. Okay.</dialogue> <scene_description>We REVERSE to Roger Enrico, James Finley, Al Carey, and his posse. A crowd of factory workers gathered behind them.</scene_description> <character>ROGER ENRICO</character> <dialogue>Uh-huh, thank you for the tour, Mr. Mason. Now, where's Richard? My time's limited so I'd like to speak to him.</dialogue> <character>LONNY</character> <dialogue>Sure. Right.</dialogue> <character>CUT TO FANTASY:</character> <dialogue>I'm here.</dialogue> <scene_description>Roger Enrico turns around. The sea of workers (some annoyed, some worried) slowly part. At the very back stands Richard.</scene_description> <character>ROGER ENRICO</character> <dialogue>The infamous Richard Montañez.</dialogue> <scene_description>Richard's nervous as Mr. Enrico walks towards him. As they come face to face with each other, Enrico smiles big and wide for the first time. He holds out his hand.</scene_description> <character>ROGER ENRICO</character> <dialogue>What an honor to meet you, Richard. Are you ready?</dialogue> <scene_description>Richard smiles. He nods vigorously.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Alright, Judy says stop acting like I was Prince walking out on stage at the Forum. Fine. Guess it was a little more like this--</dialogue> <character>FLASH TO</character> <dialogue>REALITY:</dialogue> <scene_description>Richard pushes his way through the crowd of loud workers trying to reach Enrico. CONTINUED: (2)</scene_description> <character>RICHARD</character> <dialogue>Sir, sir. I'm right here!</dialogue> <scene_description>He finally squeezes through. He smiles wide at Enrico who has no idea who he is.</scene_description> <character>ROGER ENRICO</character> <parenthetical>(smiles)</parenthetical> <dialogue>It's so nice to meet you. Are you ready, Richard?</dialogue> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - PRESENTATION ROOM - DAY - 1992</stage_direction> <scene_description>DEAD SILENCE as Richard fucks with a squeaky transparency projector. His transparency sheets flipped the wrong way.</scene_description> <character>ENRICO</character> <dialogue>Anytime you're ready.</dialogue> <scene_description>surround him. Some factory managers and directors stand in the back, including Lonny. Clarence and Hector have snuck in to watch.</scene_description> <character>RICHARD</character> <dialogue>Gentlemen, Mr. Enrico--</dialogue> <character>RICHARD (V.O.)</character> <dialogue>I know some fools say he wasn't there--</dialogue> <scene_description>CUT TO: Enrico suddenly disappears. BOOP. Richard gets more nervous.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>But on my life he was there. Because there was no one I wanted to impress more than Roger Enrico.</dialogue> <scene_description>Enrico suddenly reappears. He smiles. Richard takes a deep breath, holding his notecards.</scene_description> <character>ENRICO</character> <dialogue>Any time you're ready, Richard.</dialogue> <character>RICHARD</character> <parenthetical>(voice trembling)</parenthetical> <dialogue>Thank you, Gentlemen... The growing number of Latinos in America represents a vast untapped market for Frito Lay. Did you know that there are more Latinos in the United States than Australians?</dialogue> <scene_description>Richard got it wrong, and they're all buzzing.</scene_description> <character>JAMES</character> <dialogue>Of course there are--</dialogue> <character>RICHARD</character> <dialogue>I mean there are more Latinos in the United States than there are Australians in Australia...</dialogue> <scene_description>They nod, satisfied. They're waiting for him to continue.</scene_description> <character>RICHARD</character> <dialogue>And I'm pretty sure there's more Mexicans in this room than there are in Australia.</dialogue> <scene_description>They laugh. Enrico laughs the loudest. Richard lowers his notes, something tells him to just speak from the heart. Listen. Gentlemen. No offense but our shelves are boring. People, my people, are tired of the same old flavors. I grew up with a lot of flavor. And I've been searching for that taste in everything I buy ever since. I want food that tastes like home. Enrico, Carey, and other execs grin. Richard holds up a tray of products. Doritos, Fritos, Popcorn, etc.</scene_description> <character>RICHARD</character> <dialogue>This is it. Everything we grew up with. In a bag. Chile Chips.</dialogue> <parenthetical>(he lets it sink in)</parenthetical> <dialogue>And if you got this out there, you'd find the market no one has been paying attention to. Us. La gente. We've got money. And if you noticed us, cared about us, we'd pack your pockets with that money.</dialogue> <character>JAMES</character> <dialogue>What about market share? How much would your "product" yield, according to you?</dialogue> <scene_description>Richard freezes. Time seems to slow down as we JUMP straight to a single bead of sweat rolling down his forehead. CONTINUED: (2)</scene_description> <character>RICHARD (V.O.)</character> <dialogue>What the EFF is "market share"? That wasn't in the books. Or maybe it was. There were a lot of books.</dialogue> <character>ENRICO</character> <dialogue>Richard...?</dialogue> <character>RICHARD</character> <parenthetical>(stammering)</parenthetical> <dialogue>Yes, sir. Market share is really important too.</dialogue> <scene_description>Richard shuts his eyes tight. Richard is at the market with Hector. They're stocking shelves. He looks down the shelf that feels like it goes as far as the eye can see. Filled with all brands of chips.</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - PRESENTATION ROOM - DAY - 1992</stage_direction> <scene_description>Richard flings open his arms as wide as they'll stretch, as wide as the shelves in the market. He blurts out--</scene_description> <character>RICHARD</character> <dialogue>This much! This much market share.</dialogue> <scene_description>DEAD. SILENCE. James smirks. People snicker. Richard snaps.</scene_description> <character>RICHARD</character> <dialogue>You know what? I don't know what market share is because I don't sit up in no corporate office wearing s suit. I'm down here. Con mi gente. And here's what I know about them. If they love something, they'll do anything to buy it. Nintendo? Cabbage Patch doll? They'll sell tamales in a lot to get it.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But more than anything, sir, they're looking for themselves on those shelves. They're looking for their homecooked meals. They wanna know that the food they eat at home is valued by you. That we matter.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I want to know I matter when I pick up our products. To you, to this company, to this world.</dialogue> <character>RICHARD</character> <dialogue>So put this chile slurry on Doritos, Fritos, popcorn, hell anything. At the end of the day, it's about how we make them feel.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>If we knew there was a company out there putting us at the center of their product's story, we'd say "Take all our money, cabrónes!"</dialogue> <scene_description>Some of the execs are thrown, some impressed, others smile. Um... sorry. I got a little hood there at the end, but-- Enrico stands confidently.</scene_description> <character>ENRICO</character> <dialogue>Gentlemen, did you know we could get this much more market share?</dialogue> <scene_description>Enrico holds his arms out wide. Richard looks around.</scene_description> <character>ENRICO</character> <dialogue>Thank you, Richard. You've given us a lot to think about here.</dialogue> <scene_description>The meeting breaks. Clarence and the guys pull him aside and congratulate him, while James pulls Enrico aside.</scene_description> <character>JAMES FINLEY</character> <dialogue>Sir, R&amp;D already has a similar product in the Midwest and it's testing just fine--</dialogue> <character>ROGER ENRICO</character> <dialogue>Just fine? I aim to do better than "just fine", James.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Have McCormick's send it here. I have a good feeling about this man. He may not know about market trends, but he knows about people, and that's where I always put my money. Let's see what he can do with it.</dialogue> <scene_description>James scowls. Enrico and Al Carey smile.</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - MAIN FLOOR - MOMENTS LATER - DAY - 137</stage_direction> <scene_description>Richard walks out of the conference room with the execs. Lonny and all of the workers have been holding their breath. Enrico steps forward. He clasps his hands together.</scene_description> <character>ROGER ENRICO</character> <dialogue>We're putting you to work, gentlemen. We're going to need 5,000 cases, starting with Cheetos. If it works, we'll expand it.</dialogue> <parenthetical>(turns to Richard)</parenthetical> <dialogue>Richard, let's go make some heroes.</dialogue> <scene_description>breathe for the first time in weeks. RICHARD. HAS. DONE IT. Clarence and a few other workers slap Richard on the back. They're here for this big win.</scene_description> </scene> <scene> <stage_direction>EXT. RICHARD'S HOUSE - DAY - 1992</stage_direction> <scene_description>Judy rushes out of the house as Richard hops out of his truck. She jumps into his arms as he spins her around. Lucky and Steven follow. They all hug tightly.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>The next few weeks were a blur.</dialogue> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - LOADING DOCK - DAY - 1992</stage_direction> <scene_description>BOOM. A fifty pound bag of McCormick spices land on the loading deck. Workers hustle to unload the bags from trucks.</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - MAIN FLOOR - ANOTHER DAY - 1992</stage_direction> <scene_description>Hundreds of bright RED FLAMIN' HOT CHEETOS come down a conveyer belt. Richard walks by the line, his heart full. He takes a cheeto off the line, takes a bite.</scene_description> <character>RICHARD</character> <parenthetical>(to himself)</parenthetical> <dialogue>Alright, well. It's not as good as Judy's, but guess it'll do.</dialogue> <scene_description>Workers give him a thumbs up. Richard can't believe it. The Cheetos are being bagged, boxed, and prepared for shipping. Clarence walks up to Richard and hands him a bag.</scene_description> <character>CLARENCE</character> <dialogue>First one off the line. Go on. Take it.</dialogue> <scene_description>Richard holds up the bag and takes in his creation. HE DID THAT. And it taste like victory. OMITTED Richard and Hector are back at this market stocking shelves. Richard places a line of Hot Cheetos on a shelf. He smiles, fully satisfied with himself.</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - LONNY'S OFFICE - DAY - 1992</stage_direction> <character>TITLE: 3 MONTHS LATER</character> <dialogue>Richard paces, completely frazzled. Lonny sits nearby. On speaker phone is James Finley.</dialogue> <character>RICHARD</character> <dialogue>But they haven't been out on the market long enough!</dialogue> <scene_description>WE INTERCUT WITH James Finley in his office.</scene_description> <character>INT. FRITO LAY HEADQUARTERS - JAMES FINLEY'S OFFICE - DAY 1-</character> <dialogue>James holds the phone to his ear.</dialogue> <character>JAMES</character> <dialogue>Mr. Montañez, I believe I'm the expert at knowing if a product has had its fair share out on the market. Product's not moving. Simple as that.</dialogue> <scene_description>Richard could scream. Lonny holds a hand up. He'll take this.</scene_description> <character>LONNY</character> <dialogue>Now, Mr. Finley, sir. Can I ask ya how many cases have moved?</dialogue> <character>JAMES</character> <dialogue>I don't have that information in front of me, but we can't continue to invest in Richard's strategies at this rate.</dialogue> <character>RICHARD</character> <dialogue>What strategy? You haven't even let me do anything. Are you even targeting all the Hispanic cities? We're everywhere, from Montebello to Pacoima--</dialogue> <scene_description>Of course, Mr. Montañez. And no one in your market is responding to it.</scene_description> <character>LONNY</character> <dialogue>Mr. Finley, sir, can ya just give us another week? That's all we're asking for.</dialogue> <character>JAMES</character> <parenthetical>(beat)</parenthetical> <dialogue>Fine. One week. But then we'll be taking it from there.</dialogue> <scene_description>CLICK. He hangs up on Richard. Richard is silent. Lonny has no words. They sit in the shock of this.</scene_description> </scene> <scene> <stage_direction>EXT. FRITO LAY PLANT - PARKING LOT - MOMENTS LATER - DAY -145</stage_direction> <scene_description>Richard rushes out of the factory. Clarence close behind him.</scene_description> <character>CLARENCE</character> <dialogue>What is it? What happened?</dialogue> <character>RICHARD</character> <dialogue>The product's not moving. They're killing it. They're gonna shut us down. These fools at headquarters are executives with degrees, man. And what am I? Nobody. Pretending like I could do anything was stupid.</dialogue> <character>CLARENCE</character> <dialogue>You find out the product's not moving and decide you're an idiot who can't do nothing? Suck it up and figure out the next step.</dialogue> <character>RICHARD</character> <dialogue>Man, what next step? You know there ain't no next step for people like us. If there were, you woulda had Lonny's job a long time ago.</dialogue> <character>CLARENCE</character> <dialogue>You ain't wrong. But I didn't let that stop me from being the best damn worker here, did I? And this place didn't stop you from having the balls to pick up the phone and call Roger Enrico.</dialogue> <scene_description>the guy who scrubs the floors.</scene_description> <character>RICHARD</character> <dialogue>Yes, and I embarrassed myself--</dialogue> <character>CLARENCE</character> <dialogue>Boy, embarrassment's never stopped you before. Ask questions. You wore me down with them. The person I met ten years ago wouldn't blink. He'd find a way, any way to get it done.</dialogue> <scene_description>Richard quiets.</scene_description> <character>CLARENCE</character> <dialogue>Richard, I don't wanna look you up twenty years from now just to find out you're still at the bottom.</dialogue> <scene_description>Clarence walks away. OFF Richard--</scene_description> </scene> <scene> <stage_direction>EXT. RICHARD'S HOUSE - KITCHEN - NIGHT - 1992</stage_direction> <scene_description>Richard sits at the table, searching through a pile of scraps of paper, all of his strategies over the past few months.</scene_description> <character>JUDY</character> <dialogue>Can't you just call Enrico?</dialogue> <character>RICHARD</character> <dialogue>Calling Enrico's what got me in this mess to begin with, baby. Clarence's right. I have to figure this out.</dialogue> <scene_description>Suddenly the electricity cuts out. Silence. Darkness. CLOSE ON A MATCH sparking to life in the dark. Judy lights the candle holding space between her and Richard. The light flickers on Richard's sad face and Judy's hopeful eyes.</scene_description> <character>JUDY</character> <dialogue>Last Sunday, Pastor Marco said God always provides. He said look at the birds. They have a home. Food. Water. They have everything they need because God always provides.</dialogue> <scene_description>Richard looks at Judy. He's trying to be kind, but--</scene_description> <character>RICHARD</character> <dialogue>We ain't birds, chula.</dialogue> <character>JUDY</character> <dialogue>We're love birds.</dialogue> <scene_description>Richard chuckles. Shakes his head sweetly. Okay, okay...</scene_description> <character>STEVEN (O.S.)</character> <dialogue>'Apá?</dialogue> <scene_description>Richard sits up straight, puts on a fake smile for his boys. Steven and Lucky are standing there.</scene_description> <character>LUCKY</character> <dialogue>He's scared.</dialogue> <scene_description>Richard pulls him into his arms.</scene_description> <character>RICHARD</character> <dialogue>Hey, mijo, the power went out, but don't worry 'cause your Pop's got it--</dialogue> <character>LUCKY</character> <dialogue>'Apá, I know why they're not selling. The cheetos. They didn't tell anyone they exist. There were no commercials. There's always commercials. For everything. Cookie Crisp. Sega. But none for Hot Cheetos.</dialogue> <character>STEVEN</character> <dialogue>I didn't see none.</dialogue> <scene_description>Richard and Judy exchange a look. Steven runs to his toy box and pulls out a tin piggy bank. He runs over with it. CONTINUED: (2)</scene_description> <character>STEVEN</character> <dialogue>Let's buy a commercial, 'apá.</dialogue> <scene_description>Judy's emotional. Richard looks to her.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>This little mocoso was giving me his lunch money, his can-recycling money. Everything.</dialogue> <scene_description>Richard looks at his son with renewed energy. You're a genius. You know that, mijo? OFF Lucky's smile.</scene_description> </scene> <scene> <stage_direction>EXT. GANGSTER HOUSE - DAY - 1992</stage_direction> <scene_description>Richard marches up to the old crew, Tony, Pablo, and Diego among them. Tony is helping his elderly MOTHER into her car. Pablo and Diego carry her bags.</scene_description> <character>RICHARD</character> <dialogue>I'm getting your job back, big dog. But I'm gonna need your help.</dialogue> <character>TONY</character> <dialogue>Little busy here, bro.</dialogue> <scene_description>Diego steps in to help Tony's mom.</scene_description> <character>RICHARD</character> <dialogue>Hola, Doña Gloria.</dialogue> <parenthetical>(to Tony)</parenthetical> <dialogue>I got an idea.</dialogue> <scene_description>I need you guys to do what you do best.</scene_description> <character>PABLITO</character> <dialogue>Oh yeah?</dialogue> <scene_description>What's that?</scene_description> <character>RICHARD</character> <dialogue>A little guerrilla marketing, baby.</dialogue> <scene_description>Tony and the guys all smirk.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>These guys didn't have no degrees in marketing, but they could sell condoms to a nun. They could close a hundred sales in a day. They moved product like G's.</dialogue> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - MAIN FLOOR - DAY - 1992</stage_direction> <scene_description>Richard jumps onto one of the machine. Tony and the other homies stand nearby. He stands tall overlooking the entire factory. He whistles to get their attention. Clarence steps out to witness this. Oigan! Listen up. I am Richard Montañez, and I'm here to tell you this isn't the end for us. Lonny comes running out, annoyed.</scene_description> <character>LONNY</character> <dialogue>Montañez! What are you doing?!</dialogue> <scene_description>Tony puffs up and maddogs Lonny. Lonny shuts up, scared, and unsure what the hell is going on. Richard gets louder.</scene_description> <character>RICHARD</character> <dialogue>Corporate's killing the product. But not because people don't love 'em. If people knew the product existed, it'd be huge. We can let it die, we can let the factory shut down, or we can pick ourselves up and show 'em who we are. I ain't got no fancy degrees, you ain't go no fancy degrees, and we don't need 'em. Because guys like us, you and me, we make this whole thing run. None of this exists--</dialogue> <parenthetical>(points around factory)</parenthetical> <dialogue>--if we don't exist. Let's show them we won't be buried.</dialogue> <scene_description>Clarence listens intently. Pride growing in his chest.</scene_description> <character>WADE</character> <dialogue>Shut up, Montañez! You trying to get us all fired?!</dialogue> <character>CLARENCE</character> <dialogue>Let him speak.</dialogue> <character>RICHARD</character> <dialogue>I'm asking you to save your job. Now. Because if we don't, that's it for all of us. This product doesn't only have the Montañez name on it.</dialogue> <parenthetical>(points to Tony)</parenthetical> <dialogue>It's got the Romero name.</dialogue> <character>RICHARD</character> <parenthetical>(points to Hector and Clarence)</parenthetical> <dialogue>Morales. Baker.</dialogue> <scene_description>Listen--</scene_description> <character>RICHARD</character> <dialogue>And Carson.</dialogue> <parenthetical>(Off Wade's silence)</parenthetical> <dialogue>Enrico believes we're what makes this company great. So we can sit around and be a bunch of huevones or we can stand up and BE GREAT.</dialogue> <character>LONNY</character> <dialogue>What are you asking for, Montañez?</dialogue> <character>RICHARD</character> <dialogue>I need the product that didn't sell loaded up in our trucks. I need whoever's got the time to help me distribute it. Before, after your shift, whatever it takes!</dialogue> <scene_description>A silence falls across the factory. The sound of the machines whirring builds. Richard waits with bated breath.</scene_description> <character>CLARENCE</character> <dialogue>You heard the man. Get up, line up, and get that product on those trucks. Why you wasting time?!</dialogue> <scene_description>All these low-level workers get brave. They respect Clarence. He may not have the title, but he's the real boss. They get to work. Lonny looks at Clarence. Clarence stands his ground. Lonny sighs and reluctantly helps too. And as a badass song (THINK the clean version of Public Enemy's "Fight the Power") comes on, we FOLLOW RICHARD TO--</scene_description> <character>EXT. FRITO LAY PLANT - LOADING DOCK - MOMENTS LATER - DAY 1-</character> <dialogue>Worker after worker piles case after case into Tony and the homies' trucks. Last truck filled is Richard's old junker.</dialogue> <dialogue>ONE TRUCK zips out. Then ANOTHER TRUCK. And ANOTHER TRUCK.</dialogue> </scene> <scene> <stage_direction>EXT. RICHARD'S HOUSE - DAY - CONTINUOUS - 1992</stage_direction> <scene_description>Judy, Vacho, Concha, the boys, Tony and the other cholitos pass Cheetos out to people in the neighborhood. Señoras, señores, neighborhood kids, a hood distribution line.</scene_description> <character>RICHARD</character> <dialogue>Compa, no mames! Que pasa, güey? Quien te dijo?</dialogue> <character>RICHARD \[TRANSLATION\]</character> <dialogue>You kidding me! What's up, fool? Who told you?</dialogue> <character>NACHO</character> <dialogue>Que? Creias que me la iba perder? 'Amonos, amigo! A la batalla!</dialogue> <character>NACHO \[TRANSLATION\]</character> <dialogue>You thought I was gonna miss this? Let's fight the power, buddy!</dialogue> <scene_description>Richard smacks him on the back and hands him a box.</scene_description> </scene> <scene> <stage_direction>EXT. MURAL - DAY - 1992</stage_direction> <scene_description>Richard and Lucky rush past a mural toward a Quickie Mart.</scene_description> </scene> <scene> <stage_direction>INT. QUICKIE MART - DAY - 1992</stage_direction> <scene_description>Richard and Lucky are in the snack aisle filling their cart with nearly every bag of Flamin' Hot Cheetos on the shelf. MOMENTS LATER AT THE COUNTER: Richard and Lucky check out. The MEXICAN CASHIER rings up the bags, stares at the cart.</scene_description> <character>RICHARD</character> <parenthetical>(re: Lucky)</parenthetical> <dialogue>He's obsessed. Hit one bag of 'em at a party and he can't get enough.</dialogue> <character>LUCKY</character> <dialogue>They burn REAL GOOD!</dialogue> <character>QUICKIE MART CUSTOMER (O.S.)</character> <dialogue>Qué son? (What are they?)</dialogue> <scene_description>Richard turns to the QUICKIE MART CUSTOMER in line behind him and smiles.</scene_description> <character>RICHARD</character> <dialogue>Cheetos con chile. Flamin' Hots.</dialogue> <parenthetical>(to Cashier)</parenthetical> <dialogue>Better order more 'cause they're about to sell out, compa!</dialogue> </scene> <scene> <stage_direction>EXT. PARK - DAY - 1992</stage_direction> <scene_description>Judy, Richard, and Steven pass Cheetos out at a family birthday party. The whole family is gathered around a picnic table. Judy talks to the MOM. Mira, saben a chile. Te van a Look, they taste like chile. gustar! You'll love them! Steven talks to her DAUGHTER.</scene_description> <character>STEVEN</character> <dialogue>I dunno if you've heard, but like, chile gives you superpowers.</dialogue> <parenthetical>(hand her a bag)</parenthetical> <dialogue>Better tell all your homegirls.</dialogue> <scene_description>The girl giggles. Judy laughs.</scene_description> </scene> <scene> <stage_direction>EXT. PARK - VARIOUS - DAY - 1992</stage_direction> <scene_description>- Steven and Lucky pass snacks out to soccer players who are playing a pick-up game. - Judy hands Cheetos to a mother pushing a stroller on the street. - Richard passes Cheetos to basketball players. - Nacho and Hector handing out cheetos to kids.</scene_description> </scene> <scene> <stage_direction>EXT. CITY ALLEY - DAY - 1992</stage_direction> <scene_description>Tony, Pablito, and Diego roll up to some kids in a low-rider.</scene_description> <character>PABLITO</character> <dialogue>'Ey, 'ey lil' homies. Come here!</dialogue> <scene_description>Scared, the kids inch towards the guys.</scene_description> <character>DIEGO</character> <dialogue>You wanna taste of heaven? Wanna light a fire on your tongue?</dialogue> <scene_description>The kids all look at each other like WTF? He holds out a handful of Hot Cheeto bags.</scene_description> <character>TONY</character> <dialogue>Take the damn bags, fools.</dialogue> <scene_description>Scared, the kids take the bags. Yeah, maybe it looked like a bunch of Mexicans hustling the streets to move a few bags, but truth was, we were mobilizing the Hispanic market before we even knew what it was. And that was pissing some people off. OMITTED</scene_description> <character>INT. FRITO LAY HEADQUARTERS - ROGER ENRICO'S OFFICE - DAY 1-</character> <dialogue>Enrico, Carey, Finley, and Patti are gathered around. Enrico's looking down at a map of California with a hot spot over Los Angeles.</dialogue> <character>RICHARD (V.O.)</character> <dialogue>It's alright, pissing people off had kinda become my forté.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Enrico handled it like any G would.</dialogue> <scene_description>Like our previous gangster den scene, Richard's voice comes blazing out of Enrico, Carey, and Finley's mouths.</scene_description> <character>ENRICO \[RICHARD'S VOICE\]</character> <dialogue>How you gon' explain this, foo'? How's Hot Cheetos got more love on it than your ruca's got vatos on her, huh?</dialogue> <character>JAMES FINLEY \[RICHARD'S VOICE\]</character> <parenthetical>(sucks his teeth)</parenthetical> <dialogue>Man, I dunno what you talkin' 'bout. I ain't never heard none of these tonterías (stupidities).</dialogue> <scene_description>Enrico grabs Finley by the collar.</scene_description> <character>AL CAREY \[RICHARD'S VOICE\]</character> <dialogue>Oh yeah, you little punk?</dialogue> <parenthetical>(to Patti)</parenthetical> <dialogue>Yo Patti, how much lana did this fool put into the product?</dialogue> <scene_description>Patti's chewing gum and filing her nails.</scene_description> <character>PATTI \[RICHARD'S VOICE\]</character> <dialogue>O sea casi nada, ni para una muela.</dialogue> <scene_description>tries to get up, but Carey sits his ass back down. Enrico is riled up. Finley's terrified.</scene_description> <character>ROGER ENRICO \[RICHARD'S VOICE\]</character> <dialogue>You ain't never gonna eat another Cheeto in your life, fool. If you know what I mean.</dialogue> <character>RICHARD (V.O.)</character> <parenthetical>(cracking up)</parenthetical> <dialogue>Naaah, they didn't get all crazy like that. You think these foos had that in them? Chaaaale!!!</dialogue> <character>CUT TO:</character> <dialogue>They're all suddenly proper, composed executives again. They're back to their normal selves again. Enrico puts his hands on the table, leans into Finley.</dialogue> <character>JAMES FINLEY</character> <dialogue>Sir, why on earth are we wasting money on this janitor's crazy ideas? What could you possibly--</dialogue> <character>ROGER ENRICO</character> <dialogue>You still think I'm investing in a janitor, Finley? I'm investing in a vision. The Hispanic market is the future and this man is going to lead us there.</dialogue> <scene_description>Finley furrows his brow, angry. OFF Finley's red face--</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - JANITOR SUPPLY CLOSET - DAY - 1992 158</stage_direction> <scene_description>Richard's phone rings. He picks up.</scene_description> <character>RICHARD</character> <dialogue>Maintenance. Can I help you?</dialogue> <character>ROGER ENRICO \[FILTERED\]</character> <dialogue>Richard... it's Roger Enrico.</dialogue> <character>RICHARD</character> <dialogue>Yes, sir...</dialogue> <scene_description>Richard holds his breath.</scene_description> <character>ROGER ENRICO \[FILTERED\]</character> <dialogue>We're going to need more cases.</dialogue> <character>RICHARD</character> <dialogue>Yes, sir. Five-thousand, sir?</dialogue> <scene_description>Silence on the other end. Richard grows concerned. Then--</scene_description> <character>ROGER ENRICO \[FILTERED\]</character> <dialogue>No, Richard. One million. We're gonna need one million.</dialogue> <scene_description>Richard's eyes grow wide. CUT TO MONTAGE:</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - MAIN FLOOR - DAY</stage_direction> <scene_description>The factory is at full force. Every line operates at full efficiency and spits out BRIGHT RED Hot Cheetos as far as the eye can see. Workers bag, pack, and walk the Cheetos to loading.</scene_description> </scene> <scene> <stage_direction>EXT. FRITO LAY PLANT - LOADING - DAY - CONTINUOUS</stage_direction> <scene_description>Workers load some semi-trucks with boxes. Each truck pulls out, one by one, carrying this precious red gold. END MONTAGE:</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - MAIN FLOOR - DAY - 1992</stage_direction> <character>TITLE: THREE MONTHS LATER...</character> <dialogue>Richard tinkers with a lever on the chip frying machine. Clarence walks up, stares at him. Richard grows nervous.</dialogue> <character>CLARENCE</character> <dialogue>They called.</dialogue> <character>RICHARD</character> <dialogue>They called. ...And?</dialogue> <character>CLARENCE</character> <dialogue>And... you're looking at the new Plant Manager in Bakersfield.</dialogue> <scene_description>Richard yelps, slaps Clarence on the back. Clarence laughs. Hell yeah! You should be the damn president, brother! About time! (beat) So? They say anything about me? Clarence's smile fades, shakes his head.</scene_description> <character>CLARENCE</character> <dialogue>But they will, you'll see--</dialogue> <scene_description>Richard smiles weakly, picks up his bucket and mop. Lonny walks by, also looking forlorn.</scene_description> <character>LONNY</character> <dialogue>Montañez, can you head to room CM6. Need it cleaned out ASAP before you clock out.</dialogue> <scene_description>Richard nods. Starts to wheel over, then stops. Angry.</scene_description> <character>RICHARD</character> <dialogue>Actually, no. I'm not doing it, Lonny. I won't do another thing until I get that machinist gig--</dialogue> <character>LONNY</character> <parenthetical>(sighs)</parenthetical> <dialogue>Look, just do this last thing and I'll see what I can do...</dialogue> <scene_description>Richard, clenched jaw, stomps off. He's gonna do it. He's a good worker and can't say no. OMITTED</scene_description> <character>INT. FRITO LAY PLANT - MAIN FLOOR - MOMENTS LATER - DAY - 163</character> <dialogue>His head still lowered, Richard nears office CM6. As he arrives, he looks up and stops in his tracks.</dialogue> <dialogue>Standing there near the office is Roger Enrico.</dialogue> <character>ROGER ENRICO</character> <dialogue>Hello, Richard.</dialogue> <scene_description>Richard is speechless. Shocked, he barely waves a hello.</scene_description> <character>ROGER ENRICO</character> <dialogue>I was in town. At a conference where I told them about your story.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It's a story I know very well, Richard. I ran around the mines of small-town Chisholm, Minnesota when I was a snot-nosed Italian kid who had dreams bigger than what that place could contain. Thing is, Richard, visionaries can't be contained. And a smart person doesn't try to contain them. Smart guys like us invest in vision.</dialogue> <scene_description>Richard still has no words. He's taking this in.</scene_description> <character>ROGER ENRICO</character> <dialogue>So I'm thinking it's a good idea to invest in yours. Whaddaya say? You want to join us and show us the big plans you got for marketing to your community?</dialogue> <scene_description>Enrico steps aside REVEALING A NAMEPLATE ON THE DOOR THAT READS: Richard Montañez, Director of Multicultural Marketing. Richard's shocked as we hear a single CLAP behind him. The clap turns into two, three, four -- HUNDREDS. As Richard slowly turns we open into a SWEEPING WIDE of the plant floor. Every worker's gathered behind him. Clarence smiles at him. He knew all along. Richard's overwhelmed as the applause thunders around him.</scene_description> </scene> <scene> <stage_direction>INT. FRITO LAY PLANT - RICHARD'S OFFICE - MOMENTS LATER -</stage_direction> <scene_description>1D6A4Y - 1992 Richard is on the phone. It RINGS and RINGS until--</scene_description> <character>JUDY \[FILTERED\]</character> <dialogue>Hello, you've reached Target Warehouse. This is Judy. How can I help you?</dialogue> <character>RICHARD</character> <dialogue>Hey baby, it's me.</dialogue> <character>INTERCUT:</character> <dialogue>Judy's on a store phone. She steps away from customers.</dialogue> <character>JUDY</character> <dialogue>Richard? What is it?</dialogue> <scene_description>Richard is overcome with emotion. He savors this moment...</scene_description> <character>RICHARD</character> <dialogue>Baby, we're gonna need more ties.</dialogue> <scene_description>Richard holds back his tears as we--</scene_description> <character>CUT TO BLACK.</character> <dialogue>RICHARD (V.O.)</dialogue> <scene_description>You see, there ain't no such thing as just a janitor.</scene_description> </scene> <scene> <stage_direction>A165 INT. UPSCALE RESTAURANT - KITCHEN - NIGHT - 2016 A165</stage_direction> <scene_description>We're back in our restaurant. It's closing down for the night, and in an epic one-er Richard rises from his table, says goodbye to the other execs. He pulls on his overcoat.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>No such thing as just a waiter.</dialogue> <scene_description>Richard smiles at the Mexican Waiter and shakes his hand, slips him a hundred-dollar bill. The waiter looks down, shocked. He looks after Richard who keeps walking, grinning big. He makes his way toward the restaurant's exit, passing by a few BUS BOYS walking to the break room.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>No such thing as just a bus boy.</dialogue> <scene_description>Richard shakes both their hands, leaving them each with a hundred-dollar bill. They're shocked. Richard spins around, grin still lighting up the lobby as he EXITS--</scene_description> </scene> <scene> <stage_direction>B165 EXT. UPSCALE RESTAURANT - KITCHEN - NIGHT - 2016 B165</stage_direction> <scene_description>Richard bursts out onto the sidewalk, swag strong. A BMW pulls up to the curb. The VALET hops out. He hands Richard his keys.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>No such thing as just a valet.</dialogue> <scene_description>is over the moon. Richard climbs into his car, revs up the engine.</scene_description> <character>RICHARD (V.O.)</character> <dialogue>Because we all write our own stories. We create our own destinies. You think I was gonna let someone steal mine? Nah. Never.</dialogue> <scene_description>Richard looks to camera, winks, and speeds off.</scene_description> <character>OVER END</character> <scene_description>OMITTED MUSIC OVER A SERIES OF FOUND FOOTAGE IMAGES AND VIDEOS: - Pictures of a young Richard in a hair net with Hot Cheetos. - Pictures of Richard slanging Flamin' Hot products at a flea market. - Pics of Richard with Enrico and Carey receiving awards and at various PepsiCo events. TITLE OVER PHOTOS: Richard rose through the Frito-Lay ranks to become a top executive and ambassador for PepsiCo and Frito-Lay. - Rows and rows of Flamin' Hot products spawned by Richard's marketing over the years. TITLE OVER PHOTOS: Called the godfather of Latino Marketing, Richard was instrumental in leading Frito-Lay and Pepsi to capturing the Latino market. - Rapid-fire photos of the many products that Hot Cheetos has spawned. - Rapid-fire photos of the many spicy products other companies have created thanks to Hot Cheetos. TITLE OVER PHOTO: Flamin' Hot Cheetos has reached nearly $1 billion in sales thanks to Richard's marketing prowess. It has spawned \[X AMOUNT\] of spicy products across the company. Richard's genius brought spicy snacks to the entire snack industry. Judy and him hugging tight at various events; a huge family photo with Lucky, Steven, and their third son Michael are all grown up. All of Richard's grandkids surrounding them. - Richard in various magazines. TITLE OVER PHOTO: Montañez retired in 2019 after working for PepsiCo for 42 years. TITLE OVER PHOTO: He's recognized by Newsweek and Fortune 500 as one of The Most Influential Latino Leaders in America. CUT TO BLACK.:</scene_description> </scene> </script>

In 1966 southern California, Richard Montañez grows up as a hard working child with a strict father and supportive grandfather. He meets his future wife Judy in school where he begins selling burritos to other children. He is arrested at a young age when nobody believes that he earned his money honestly. As adults, Richard and Judy marry but live as hoodlums in a gang, hustling to survive. They make an effort to turn their lives around once Judy gets pregnant with their first child. A second child later, Richard and his family still struggle to make ends meet as Richard searches for honest work. He eventually turns to his friend, former hoodlum Tony Romero, who helps him get a job at Frito-Lay. Despite lying on his resumé, floor head Lonny Mason hires him. Richard begins paying attention to all the nuances of the factory and starts pursuing engineer maintenance leader Clarence C. Baker to teach him about the machines. Despite some reluctance, Baker agrees and teaches Richard how to operate all the machinery in the factory. Unfortunately, the Reagan administration begins to severely affect low-paying jobs and Frito-Lay's stocks begin to go down. This eventually results in some of the workers getting laid off. Frito-Lay CEO Roger Enrico releases a video encouraging the workers to "think like a CEO" which inspires Richard. After picking up his kids from school, Richard takes them out for elotes (Mexican street corn). Noticing that his youngest son Steven likes the spicy flavor, saying it “burns good”, he realizes that the way to save Frito-Lay is to pitch the brand to the Latino market. He convinces Baker and the rest of his coworkers to let him take some unflavored Cheetos home, but Judy offers that he talk to his father Vacho first about a job. Vacho ends up belittling Richard's plans, causing Judy to support Richard even more. The Montañezes work tirelessly trying to find the perfect spicy flavor for Cheetos, eventually getting the right concoction. Richard attempts to pitch his idea to Lonny only to be turned down, forcing Richard to sneak in and copy Enrico's phone number. Richard manages to get through to Enrico who, while perplexed over being called by a janitor, is intrigued to learn that he saw his video and asks that he send his flavored Cheetos. He tastes them and is immediately hooked, setting up a meeting at the factory right away. While Lonny is upset with Richard, Richard prepares himself for the pitch, finally getting the approval of his father to back him up. Richard proceeds to speak from the heart and his pitch is accepted with the Flamin' Hot Cheetos being put into production. While this results in more jobs, the new flavor is not flying off the shelves. Disappointed, Richard's children point out that there are no advertisements for the flavor. Richard returns to work and orders everyone to use their skills to sell the new flavor from the street. The tactic works and Enrico calls to ask that the factory produce an even bigger order. While Baker gets the promotion he always desired, Richard is still a janitor, though Baker gives him some support. Lonny asks Richard to clean upstairs, only to find Enrico who tells him that he understands his struggles growing up, before revealing that he has been promoted to Director of Multicultural Marketing. Richard is applauded by all his coworkers for his success and he happily calls Judy to tell her the good news.

A Simple Favor_2018

tt7040874

<script> <scene> <character>A SIMPLE FAVOR</character> <dialogue>Written by</dialogue> <scene_description>Jessica Sharzer Revisions by Jessica Sharzer, Peter Craig and Paul Feig Based on A SIMPLE FAVOR by Darcey Bell</scene_description> <character>CURRENT REVISIONS BY PAUL FEIG</character> <dialogue>June 29th, 2017</dialogue> </scene> <scene> <stage_direction>A COMPUTER SCREEN - INT. STEPHANIE'S HOUSE - KITCHEN - DAY</stage_direction> <scene_description>A YouTube page awaiting a live streaming vlog to start, the screen blank. On the right side of the screen is a COMMENTS SECTION. COMMENTS are being written in quick succession: TigerMom217: Any word about Emily? Yogalover999: Have you heard anything? Lives2Zumba: Is Emily okay? MomPower14: My kids loved your bundt cake recipe! NinjaMom911: PLEASE TELL US EMILY'S NOT DEAD!!!!! The screen pops on, revealing STEPHANIE SMOTHERS, a cute, conservative, earnest young mother and mommy blogger. She's in a modest country kitchen with a cozy feel. There's a child's art work on the refrigerator behind her. On the counter in front of Stephanie are her cookie ingredients: flour, brown sugar, chocolate chips, zucchini, measuring cups, mixing bowls, spatula, pan.</scene_description> <character>STEPHANIE</character> <dialogue>Hi, Moms. Stephanie here. As promised, today I'll be sharing my secret recipe for zucchini chocolate chip cookies. Your kids will never know they're eating a full serving of veggies. But first --</dialogue> <parenthetical>(her voice shifts, grave)</parenthetical> <dialogue>-- many of you have asked for an update on the Emily situation. For those of you new to my vlog ...</dialogue> <parenthetical>(checking computer screen)</parenthetical> <dialogue>That's you, Babette9 and VioletsRblue, thanks for joining ... You should know that my best friend Emily is missing. She asked me for a simple favor: to pick up her son Nicky from school. That was nine days ago. She hasn't come back yet ...</dialogue> <parenthetical>(voice breaks; regroups)</parenthetical> <dialogue>I hope you'll forgive me. I'm just so worried about her. And I want to help the police track her down. But I'm realizing I didn't know her as well as I thought. Like my mother used to say, God rest her soul, "Secrets are like margarine. Easy to spread, but bad for the heart." But as different as we were, I truly considered Emily my best friend. Our sons brought us together. She's such a wonderful, elegant person ...</dialogue> <scene_description>She clears a tear, then composes herself.</scene_description> <character>STEPHANIE</character> <dialogue>I'm sorry, for all our new friends, let me catch you up. I met Emily a few weeks ago at school ...</dialogue> </scene> <scene> <stage_direction>EXT. WARFIELD ELEMENTARY SCHOOL - DAY</stage_direction> <scene_description>Hammering rain falls on a quaint Connecticut ELEMENTARY SCHOOL. It pings onto the abandoned jungle gym and swing sets, an ominous crack of lightning through the bars. A VOLVO STATION WAGON drives alone through the torrent.</scene_description> <character>STEPHANIE (POST-LAP)</character> <dialogue>It was International Cuisine day in my son Miles' 2nd Grade class and, once again, I drew Sweden.</dialogue> </scene> <scene> <stage_direction>EXT. WARFIELD ELEMENTARY SCHOOL - PARKING LOT - DAY</stage_direction> <scene_description>Trying to juggle an UMBRELLA, PHOTO EQUIPMENT, and the HATCHBACK, Stephanie fights to extract the TRAY OF SWEDISH MEATBALLS (each adorned with a miniature flag). She can't quite pull it off and spills a few onto the pavement.</scene_description> <character>STEPHANIE</character> <dialogue>Oh, nuts.</dialogue> <scene_description>She turns and races toward the school, splashing through puddles in her TALBOTS SKY BLUE MOCCASINS.</scene_description> </scene> <scene> <stage_direction>INT. WARFIELD ELEMENTARY - KINDERGARTEN CLASSROOM - LATER</stage_direction> <scene_description>The tray of meatballs has now been eaten, paper flags dead in puddles of cold gravy. They sit on a table with other remnants of a consumed international pot luck. On the ground, blocks, dinosaurs - two boys have made an alternate universe, which they now demolish with toy trucks. MILES SMOTHERS (5) is a shy kid with the alert eyes of his mother. NICKY (5) is a rambunctious towhead, ready for trouble. Miles both admires and fears his aggression.</scene_description> <character>NICKY</character> <dialogue>You're all dead! I killed everyone.</dialogue> <scene_description>Miles retrieves his LEGO MAN from the wreckage, upbeat.</scene_description> <character>MILES</character> <dialogue>Not me. I came back to life.</dialogue> <scene_description>Below a banner that reads "Ethnic Food Day" sit the spent parents: STACY (30s, cardigan and culottes), SONA (30s, East Indian), DARREN (40, put together) dandling his toddler LULU.</scene_description> <character>MRS. KERRY</character> <dialogue>I want to thank everyone who participated in today's feast. Yay! Class, didn't we learn so much about food from around the world? Give your parents a big hand.</dialogue> <scene_description>The distracted kids CLAP as the parents nod. FREEZE FRAME: The parents look with dread at the lens. REVERSE ON - Stephanie, decked out like a WAR CORRESPONDENT with photo gear. She checks her video display, not loving the shot.</scene_description> <character>STEPHANIE</character> <dialogue>Oh, shoot. The lighting was pretty bad.</dialogue> <character>STACY</character> <dialogue>Just set it to Auto.</dialogue> <character>STEPHANIE</character> <dialogue>What's the fun in that? All right, everybody look like you're having fun!</dialogue> <scene_description>They stare ahead like MUG SHOTS and she snaps another. As she heads off to get more action shots, the parents talk:</scene_description> <character>SONA</character> <dialogue>How can she still have energy?</dialogue> <character>DARREN</character> <dialogue>There must be crystal meth in those meatballs.</dialogue> <scene_description>MRS. KERRY, the teacher, calls over to the group of parents:</scene_description> <character>MRS. KERRY</character> <dialogue>And parents, don't forget, there's a sign- up sheet on the board for our Easter egg hunt next week. Please, Stephanie, don't sign up for more than one job.</dialogue> <scene_description>Stephanie looks caught as she starts to ERASE the first two of her FOUR SIGNATURES she's just written on the sign-up sheets.</scene_description> <character>MRS. KERRY</character> <dialogue>I'm not sure everyone has gotten a chance to volunteer yet.</dialogue> <scene_description>Stephanie glances over at Nicky, angrily smashing his block creation with a truck.</scene_description> <character>STEPHANIE</character> <dialogue>Miles, honey? Maybe keep your fingers away from Nicky's truck.</dialogue> <character>MRS. KERRY</character> <dialogue>Has Nicky's Mom volunteered?</dialogue> <scene_description>SONA'S DAUGHTER has come over and lay across Sona's knees, limp as a sack of apples.</scene_description> <character>DARREN</character> <parenthetical>(incredulous)</parenthetical> <dialogue>Emily? Please. I don't think she knows it's Easter. She's in the city 24/7.</dialogue> <character>STACY</character> <dialogue>God, it'd be my dream to run PR for Dennis Nylon. Can you imagine all the free shit she must get? The parties? I'd kill for one night of her life.</dialogue> <scene_description>Sona struggles to keep her daughter from falling on her head.</scene_description> <character>SONA</character> <dialogue>I would miss my kids too much. Honey, sit up. This game is hurting Mommy's knees.</dialogue> <character>DARREN</character> <parenthetical>(baby voice, to his Lulu)</parenthetical> <dialogue>Sona's right, Lulu! You'd miss Daddy if he worked in the Big City, wouldn't you?</dialogue> <scene_description>He fart-kisses her cheek, then her stomach. She laughs. Stephanie's in a quandary. She wonders whether to erase her name from DECORATIONS or SNACKS. Always the problem-solver, Stephanie tries to come up with an equitable solution:</scene_description> <character>STEPHANIE</character> <dialogue>What if I just erase myself from decorations and leave it for Emily? Then if she can't make it, I'll still bring my balloons and helium tank.</dialogue> <character>STACY</character> <dialogue>Please tell me you don't actually own a helium tank.</dialogue> <scene_description>It just slipped out of Stacy - and she regrets it. Stephanie is a bit hurt by the comment but tries to hide it.</scene_description> <character>STEPHANIE</character> <dialogue>I think lots of people own helium tanks, Stacy. If they don't, they should. Kids love balloons, especially floaty ones.</dialogue> <character>MRS. KERRY</character> <parenthetical>(trying to save Stephanie)</parenthetical> <dialogue>It's a perfect plan, Stephanie. We'll leave decorations open for Emily.</dialogue> <scene_description>Stephanie looks proud, then notices the other parents staring at her like she's an alien. She deflates a bit.</scene_description> </scene> <scene> <stage_direction>EXT. WARFIELD ELEMENTARY - MOMENTS LATER</stage_direction> <scene_description>Under the awning outside the school, parents are claiming their children and trying to get them to put on raincoats. Umbrellas snap open as water cascades off the awning. Stephanie returns from loading her car, greeting her son Miles again as he emerges beside a jacketless Nicky.</scene_description> <character>STEPHANIE</character> <dialogue>Hey, Smooch. Great work today.</dialogue> <character>NICKY</character> <parenthetical>(laughs)</parenthetical> <dialogue>Smooch?</dialogue> <character>MILES</character> <parenthetical>(a withering look)</parenthetical> <dialogue>Thanks a lot, mom.</dialogue> <character>NICKY</character> <dialogue>Can me and Miles have a playdate today?</dialogue> <character>STEPHANIE</character> <dialogue>"Miles and I," sweetie. And I'm not sure. We'd have to ask your mommy - and she's probably still in city.</dialogue> <character>NICKY</character> <dialogue>She's right there.</dialogue> <scene_description>Nicky points as Stephanie spins to see: Walking across the soaked playground in a perfect straight line, a raised BLACK UMBRELLA over the sleek outline of a BURBERRY TRENCHCOAT - comes EMILY NELSON. She walks as if on a fashion runway, never veering in the downpour even as a lost Hello Kitty umbrella blows like a tumbleweed across her path. She's a classic beauty. Lights a cigarette. Nicky high fives her and then hugs her. She hugs him back tightly.</scene_description> <character>EMILY</character> <parenthetical>(to Nicky)</parenthetical> <dialogue>Hello, little man.</dialogue> <character>NICKY</character> <dialogue>Hello, big woman.</dialogue> <character>EMILY</character> <dialogue>Don't tell me you lost another jacket?</dialogue> <character>MILES</character> <dialogue>Ask her!</dialogue> <character>EMILY</character> <dialogue>Ask me what?</dialogue> <character>NICKY</character> <dialogue>Can me and ... Can I and ...</dialogue> <parenthetical>(correcting himself)</parenthetical> <dialogue>I just want a play date.</dialogue> <character>EMILY</character> <dialogue>Good for you. And I want an unlimited expense account. Neither event is happening. Let's go.</dialogue> <character>MILES</character> <dialogue>Play-date! Play-date!</dialogue> <character>NICKY</character> <dialogue>Play-date! Play-date!</dialogue> <scene_description>Emily gives a world-weary sigh.</scene_description> <character>EMILY</character> <dialogue>Nicky, stop. I've got a ton of work.</dialogue> <character>NICKY</character> <dialogue>Then keep your door closed and we won't even bother you. You don't have to do anything! God!</dialogue> <scene_description>Emily glances at Stephanie, as if she might find solidarity in this other mom. Stephanie gives her a bright smile.</scene_description> <character>EMILY</character> <dialogue>Please just get in the car, sweetie.</dialogue> <character>NICKY</character> <dialogue>You don't let me do anything! You don't let me have any friends!</dialogue> <scene_description>Emily feels the other parents watching. She flicks her cigarette into a flower bed and turns to Stephanie.</scene_description> <character>EMILY</character> <dialogue>Do you drink? I need a martini.</dialogue> <character>STEPHANIE</character> <dialogue>A martini. Wow. I haven't had a martini in forever. Apple's my favorite.</dialogue> <scene_description>Emily stares a beat, then pivots back to Nicky.</scene_description> <character>EMILY</character> <dialogue>Get in the car. No play date.</dialogue> <character>NICKY</character> <dialogue>Then I'm staying here.</dialogue> <character>STEPHANIE</character> <dialogue>Of course, it doesn't need to be apple.</dialogue> <scene_description>Emily turns back to Stephanie, who smiles at her again. Emily just shakes her head and sighs, defeated. Gets a small smile.</scene_description> <character>EMILY</character> <dialogue>Christ, he's as stubborn as I am. I'm never gonna win this.</dialogue> <parenthetical>(to Stephanie)</parenthetical> <dialogue>Why don't you come over for a non-apple drink and they can play? I need back-up.</dialogue> <scene_description>Miles and Nicky erupt into cheers, while Stephanie looks both excited and nervous to be invited. She unconsciously fixes her hair and straightens her blouse.</scene_description> <character>STEPHANIE</character> <dialogue>That would be lovely. No apples allowed. Boo, apples. Ha ha.</dialogue> <scene_description>Emily gives her a look of "What am I getting myself into?"</scene_description> </scene> <scene> <stage_direction>EXT. WARFIELD ELEMENTARY SCHOOL - PARKING LOT/AWNING - DAY</stage_direction> <scene_description>DARREN, SONA, and STACY watch as STEPHANIE and EMILY run under the same umbrella as the boys race ahead, stomping puddles.</scene_description> <character>STEPHANIE</character> <dialogue>Don't swamp your galoshes!</dialogue> <character>STACY</character> <dialogue>What on earth are those two going to talk about?</dialogue> <character>SONA</character> <dialogue>Maybe they won't talk. Maybe Stephanie will color-code her Tupperware.</dialogue> <character>DARREN</character> <dialogue>You really think Emily has Tupperware?</dialogue> <character>STACY</character> <dialogue>Ha, she keeps her leftovers in Prada bags.</dialogue> <character>SONA</character> <dialogue>Emily's going to eat her alive.</dialogue> <character>DARREN</character> <dialogue>At least she'd be eating something.</dialogue> </scene> <scene> <stage_direction>EXT. EMILY'S HOUSE - DAY</stage_direction> <scene_description>Stephanie's VOLVO pulls in behind Emily's vintage BMW. Stephanie gets out into the lingering drizzle and marvels at the house: a MODERN DREAM of glass, steel and poured concrete plunked in the midst of suburban Connecticut.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - DAY</stage_direction> <scene_description>Miles and Nicky tear upstairs. Stephanie slips off her wet moccasins, revealing KITTY-CAT SOCKS.</scene_description> <character>EMILY</character> <dialogue>Cute socks.</dialogue> <character>STEPHANIE</character> <dialogue>Oh, yeah. Target. A pack is only ten dollars. They must lose money on them. They have other animals, too. Chipmunks, squirrels ...</dialogue> <scene_description>Stephanie sees a PAINTING OF NUDE EMILY. Her eyes go wide.</scene_description> <character>STEPHANIE</character> <dialogue>... beavers.</dialogue> <scene_description>The painting hanging in the foyer depicts Emily at age 18, with red hair, staring at her own reflection with a hard expression. Stephanie tries to play it cool.</scene_description> <character>STEPHANIE</character> <dialogue>Wow, that is so ... lifelike.</dialogue> <character>EMILY</character> <dialogue>Used to dye my hair. I get bored easily.</dialogue> <character>STEPHANIE</character> <dialogue>It's terrific. Who painted it?</dialogue> <character>EMILY</character> <dialogue>An almost-famous painter from the East Village. My life is littered with Almost- Somebodies. I did some art modeling to pay my way through school. But the weirdo got obsessed with me. Like restraining order obsessed. Anyway, I stole the painting, hoping it'd be worth something someday. No such luck.</dialogue> <scene_description>Stephanie is still reeling from the story as Emily slips off her heels and heads into a dream LIVING ROOM, decorated with a bold, eclectic mix of modern and vintage. Emily switches on Sonos, which plays the 1960s French pop song "COMMENT TE DIRE ADIEU" by Francoise Hardy. Stephanie is in awe.</scene_description> <character>STEPHANIE</character> <dialogue>What an incredible house.</dialogue> <character>EMILY</character> <dialogue>It's a fucking money pit.</dialogue> <character>STEPHANIE</character> <dialogue>Oopsy.</dialogue> <character>EMILY</character> <dialogue>The fuck?</dialogue> <character>STEPHANIE</character> <dialogue>Oh, I'm sorry. It's what we say when someone swears. Force of habit.</dialogue> <parenthetical>(off Emily's look)</parenthetical> <dialogue>We have an "oopsy" jar in the pantry. A quarter for every bad word.</dialogue> <character>EMILY</character> <dialogue>You should smash the oopsy jar. It might change your whole life.</dialogue> <character>STEPHANIE</character> <dialogue>I'm sorry.</dialogue> <character>EMILY</character> <dialogue>And stop saying you're sorry. It's a fucked-up female habit. Don't be sorry for anything. Ever.</dialogue> <character>STEPHANIE</character> <dialogue>You're right. Thank you. That's great advice. I love your music, by the way.</dialogue> <character>EMILY</character> <dialogue>It's old French pop from the 60s. Makes me forget I'm stuck in this shithole town. I'll make the drinks.</dialogue> <scene_description>Emily heads toward the kitchen. Stephanie looks to make sure Emily is out of sight, then starts doing a little dance around the living room to the music as she looks at everything. She's never been anywhere so "classy."</scene_description> <character>EMILY</character> <parenthetical>(coming back in)</parenthetical> <dialogue>You like olives or -- what are you doing?</dialogue> <character>STEPHANIE</character> <dialogue>Oh! Um. Just got caught up in the moment.</dialogue> <character>EMILY</character> <parenthetical>(shakes her head, amused)</parenthetical> <dialogue>Jesus Christ. Come with me, Audrey Hepburn, before you hurt yourself.</dialogue> <scene_description>An embarrassed Stephanie follows Emily into the kitchen.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - KITCHEN - CONTINUOUS</stage_direction> <scene_description>Sea green glass tiles, slate counter tops and hand blown glass fixtures. A kitchen out of Architect's Digest.</scene_description> <character>STEPHANIE</character> <dialogue>Wow, you must really love to cook.</dialogue> <character>EMILY</character> <dialogue>No. Sometimes Sean does, but I think it's just an excuse to avoid writing.</dialogue> <character>STEPHANIE</character> <dialogue>Your husband? He's a writer?</dialogue> <scene_description>Emily begins to mix a MARTINI at the built-in WET BAR.</scene_description> <character>EMILY</character> <dialogue>Was. Now he's a bitter English professor at Connecticut College. He wrote a book ten years ago that made him the toast of New York. It opened every door in the city. It was non-stop, the dinners, the parties. All of Manhattan was like one long line of cocaine.</dialogue> <scene_description>Stephanie forces a demure smile.</scene_description> <character>EMILY</character> <dialogue>I had to stalk him and force him to fall in love with me. Then ... nothing. One big anti-climax. He never finished another book. The old bait-and-switch.</dialogue> <character>STEPHANIE</character> <dialogue>But he loves you. What was the book?</dialogue> <character>EMILY</character> <dialogue>It was called Darkness at Dawn.</dialogue> <character>STEPHANIE</character> <dialogue>Oh my Gosh! I read that in my book club. That's when I first became a single mom, I was so tired at the end of the day I was just plopping onto Miles's bean bag chair in front of the Kardashians. And then I thought - this is ridiculous. So I joined a book club and that was the first one we read. So impressive.</dialogue> <character>EMILY</character> <dialogue>You're divorced then?</dialogue> <character>STEPHANIE</character> <dialogue>Widowed.</dialogue> <character>EMILY</character> <dialogue>You mind if I ask how he died?</dialogue> </scene> <scene> <stage_direction>EXT. CONNECTICUT HIGHWAY - DAY (FLASHBACK)</stage_direction> <scene_description>A classic Noir flashback: A CAR picks up speed down an empty highway past changing foliage. It swerves across TWO LANES TO THE LEFT, THEN VEERS HARD INTO A LAMP POST IN THE STEEL MEDIAN with a violent SMASH. It's a horrific wreck.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - KITCHEN - BACK TO PRESENT</stage_direction> <scene_description>Stephanie tries to put on a cheerful face for Emily.</scene_description> <character>STEPHANIE</character> <dialogue>Car accident.</dialogue> <character>EMILY</character> <dialogue>How awful. I'm so sorry.</dialogue> <character>STEPHANIE</character> <dialogue>My brother Chris was in the passenger seat.</dialogue> <character>EMILY</character> <dialogue>You're kidding.</dialogue> <character>STEPHANIE</character> <dialogue>In one fell swoop, I lost the two most important men in my life. Well, aside from Miles, obviously. Two out of three.</dialogue> <scene_description>Emily studies Stephanie for a long time now. Slowly, her eyes begin to well up. A single tear courses a line through her make-up, until she wipes it away.</scene_description> <character>EMILY</character> <dialogue>I can usually stomach sad stories. For some reason that one got to me.</dialogue> <character>STEPHANIE</character> <dialogue>I don't talk about it much. Especially with people I just met. I'm sorry.</dialogue> <character>EMILY</character> <dialogue>Lady, I'm going to slap the "sorry" right out of you if you apologize again.</dialogue> <character>STEPHANIE</character> <dialogue>I'm s---oopsy. Dang it. Hard habit to break. I'm not sorry. Ha ha.</dialogue> <scene_description>Emily generously pours the first martini and hands it to Stephanie. Not a drinker, Stephanie sips it politely.</scene_description> <character>EMILY</character> <dialogue>So, are you dating anyone?</dialogue> <character>STEPHANIE</character> <dialogue>Me? No. It's slim pickin's in Warfield.</dialogue> <character>EMILY</character> <dialogue>You're an hour and a half from the city.</dialogue> <character>STEPHANIE</character> <dialogue>Oh, I couldn't date anyone from the city. That's a little too fast for me. I tried eHarmony, but then that mother of three wound up with her head in a trash can - and I said, "No, thank you."</dialogue> <character>EMILY</character> <dialogue>You're too young and cute to give up.</dialogue> <character>STEPHANIE</character> <dialogue>Really? Thank you. I never thought I'd end up a single mom, trying to make ends meet. My husband had life insurance, thank goodness, but not a lot. And I put half of it away for Miles' college. So, even with a fixed income, that money will run out in 2020. Tokyo Olympics. Go, USA.</dialogue> <character>EMILY</character> <dialogue>Sean barely makes a dime. I have to pay for everything. And he spends like he's still the man of the hour. We're upside down on this house, too.</dialogue> <character>EMILY</character> <dialogue>Bought it during the bubble and we can't sell. People hate modern around here.</dialogue> <character>STEPHANIE</character> <dialogue>Well, I love it. Don't even think of selling it. If I lived here, I'd just bask in this kitchen all day.</dialogue> <character>EMILY</character> <dialogue>Well, cheers, then. Here's to being "House Poor."</dialogue> <scene_description>Clink! Stephanie eyes Emily's BARBED WIRE TATTOO BRACELET.</scene_description> <character>EMILY</character> <dialogue>Yeah, there's another one of my bad decisions. I got that when I was too young and stupid to know better.</dialogue> <character>STEPHANIE</character> <dialogue>It's a nice contrast with your ring.</dialogue> <scene_description>Emily flashes her VINTAGE WEDDING RING. Platinum filigree with sapphires and diamonds, c. 1920.</scene_description> <character>EMILY</character> <dialogue>This? It's a family heirloom. Belonged to Sean's "great grandmum," then his "mum." She insisted I have it.</dialogue> <scene_description>In the next room, the front door is unlocked and opened.</scene_description> <character>EMILY</character> <dialogue>Speak of the devil ...</dialogue> <scene_description>A MALE VOICE with a British accent calls out:</scene_description> <character>SEAN (O.S.)</character> <dialogue>Whose Volvo is blocking the garage?</dialogue> <scene_description>SEAN (30s) enters the kitchen, a handsome academic carrying a bag of groceries. He acts light but has a burdened and uneasy quality, an addict always in the early stages of withdrawal. Emily is his heroin: both his greatest pleasure and curse.</scene_description> <character>STEPHANIE</character> <dialogue>Oh, that's me. I'm sorry.</dialogue> <parenthetical>(winces at her "sorry")</parenthetical> <dialogue>Your wife is trying to get me to stop saying I'm sorry.</dialogue> <character>SEAN</character> <parenthetical>(with a pointed laugh)</parenthetical> <dialogue>Maybe you can get her to start.</dialogue> <parenthetical>(to Emily)</parenthetical> <dialogue>You left work early, you couldn't stop at the grocer's before martini time?</dialogue> <character>EMILY</character> <dialogue>I'm so sorry. Did I cut into your writing time?</dialogue> <character>SEAN</character> <parenthetical>(forcing a smile)</parenthetical> <dialogue>Going right for the sword today, are we?</dialogue> <character>EMILY</character> <parenthetical>(a playful smile back)</parenthetical> <dialogue>What's the point? I've heard the pen is mightier. Maybe try it some time.</dialogue> <scene_description>Sean looks stung but covers with a laugh as Emily moves in and loops her arms around his neck, kissing him deeply. Stephanie lingers watching them a moment too long, her lips parted. Emily ends the kiss and gestures to Stephanie.</scene_description> <character>EMILY</character> <dialogue>Babe, this is Stephanie. Her son goes to Warfield with Nicky.</dialogue> <character>STEPHANIE</character> <dialogue>I'm a big fan of your book. I thought it was brilliant writing. It reminded me of William Thackeray.</dialogue> <character>SEAN</character> <dialogue>Well, that's certainly high praise. Not many people trot out Thackeray as a reference these days --</dialogue> <character>STEPHANIE</character> <dialogue>I was an English major at Barnard. But that was a lifetime ago, before "Mommybrain" set in. I did my senior thesis on Canterbury Tales.</dialogue> <parenthetical>(in Olde English)</parenthetical> <dialogue>"And with that word Arcite gan espye, Wher-as this lady romed to and fro --"</dialogue> <character>SEAN</character> <parenthetical>(looking at Emily)</parenthetical> <dialogue>"And with that sighte hir beautee hurte hym so ..." One of my favorite verses. So much truth in so few words.</dialogue> <character>EMILY</character> <parenthetical>(shakes head; laughs)</parenthetical> <dialogue>Jesus, you should have married Sean.</dialogue> <parenthetical>(to Sean)</parenthetical> <dialogue>Want me to mix you a drink?</dialogue> <character>SEAN</character> <dialogue>Not yet. I'm going to go upstairs and take a shower. Nice to meet you, Sharon.</dialogue> <scene_description>As he heads away across the living room ...</scene_description> <character>EMILY</character> <dialogue>He's terrible with names.</dialogue> <character>STEPHANIE</character> <dialogue>Well, Stephanie's a hard one. Boy, you two are ... what a cute couple.</dialogue> <character>EMILY</character> <dialogue>Lotta good that does us. I never thought anything would go this way. The job in the city, the house in the suburbs -</dialogue> <character>STEPHANIE</character> <dialogue>You've figured out how to "have it all." How do you juggle it?</dialogue> <character>EMILY</character> <dialogue>This isn't juggling. This is a nightmare. We're on the verge of bankruptcy. I never sleep, I eat seven-hundred calories a day - and I can't find a decent nanny in all of Connecticut.</dialogue> <character>STEPHANIE</character> <dialogue>If you ever need me to pick up Nicky after school, I'd be happy to bring him to my house.</dialogue> <character>EMILY</character> <dialogue>You'd do that for me? I'm practically a stranger. I'm never at the school.</dialogue> <character>STEPHANIE</character> <dialogue>Well, you will be. I just signed you up for the Easter decoration crew.</dialogue> <scene_description>Emily gapes back. Suddenly, Miles races into the kitchen on socks, sliding like a speed skater on the slick floor.</scene_description> <character>MILES</character> <dialogue>Nicky wants me to stay for dinner!</dialogue> <character>STEPHANIE</character> <dialogue>Oh, not tonight, Smooch. I have to do my vlog before dinner.</dialogue> <parenthetical>(to Emily)</parenthetical> <dialogue>I have a Mommy Vlog. For fun and a little extra income.</dialogue> <character>EMILY</character> <dialogue>That's very resourceful.</dialogue> <character>STEPHANIE</character> <dialogue>Six hundred and ten page views a day. I really need a hundred thousand to start monetizing the site with ad revenue. So, it's more a way to connect with other moms. It's a community.</dialogue> <character>MILES</character> <dialogue>Mom! Can I stay for dinner or not?</dialogue> <character>STEPHANIE</character> <dialogue>I don't like this new tone, Mister.</dialogue> <character>EMILY</character> <dialogue>Let him stay. I'll have Sean drive him home later. That way you can go do your vlog in a nice quiet house.</dialogue> <character>MILES</character> <parenthetical>(running out)</parenthetical> <dialogue>Yeeees!!! Nicky!! I can stay!</dialogue> <character>STEPHANIE</character> <dialogue>Thank you. I know how busy you are.</dialogue> <character>EMILY</character> <dialogue>No sweat. I'm sure I'll be calling you for a favor any day. You owe me now.</dialogue> <scene_description>Emily flashes her megawatt smile and pours another drink. Stephanie beams, dazzled by her. A COMPUTER WINDOW POPS UP (STEPHANIE'S VLOG) - KITCHEN In her lit set of a kitchen, Stephanie now has full makeup, hair flat-ironed. She's warm and chipper.</scene_description> <character>STEPHANIE</character> <dialogue>Hi, Moms. Stephanie here. If this is your first visit to my vlog - a hearty welcome. And fill out the survey at the bottom so I can thank whoever referred you with this lovely lavender sachet.</dialogue> <parenthetical>(holds up sachet, then)</parenthetical> <dialogue>Today's theme is friendship. You know, I don't understand these silly, hurtful divisions between working moms and stay- at-home moms. The truth is, I've found it hard to make friends with either. Parenthood can be isolating. Honestly, you moms have been better friends to me even though we've never met in person. I treasure each and every one of you. Truly. And so I thought today ...</dialogue> <scene_description>She clicks the ZOOM OUT button on her remote to reveal the island is covered with packets of colored string.</scene_description> <character>STEPHANIE</character> <dialogue>... was a perfect day for FRIENDSHIP BRACELETS! To celebrate the most important bonds of our lives. Other than family, of course.</dialogue> </scene> <scene> <stage_direction>EXT. WARFIELD ELEMENTARY SCHOOL - PARKING LOT - DAY</stage_direction> <scene_description>There's a new spring in Stephanie's step as she gets out of her VOLVO with a box of CANNED GOODS marked MATH: Mothers Assisting The Homeless. As she trundles the heavy load, her CELL PHONE rings. She glimpses the call screen - EMILY - and she drops the box, sending cans rolling around the lot.</scene_description> <character>STEPHANIE (ON THE PHONE)</character> <dialogue>Hello? Emily? Hi there! What's up, lady?</dialogue> <character>EMILY (O.S.)</character> <dialogue>I was wondering if I could take you up on your offer to pick up Nicky. I'm in a meeting with no end in sight. STEPHANIE EMILY (O.S.)</dialogue> <scene_description>Of course! I'm happy to help. You're the best, Stephanie. I just bought a jumbo set of Perler beads --</scene_description> <character>STEPHANIE</character> <dialogue>And I have extra snacks. I just need to know if he has any dietary restrictions.</dialogue> <character>EMILY</character> <dialogue>I have no idea. Thanks!</dialogue> </scene> <scene> <stage_direction>EXT. WARFIELD LOCAL PARK - DAY</stage_direction> <scene_description>In her "Yearbook Mom" photo vest and camera, Stephanie chases Miles and Nicky around the jungle gym with a roar and finger claws -- a game of "Darth Mommy" that Miles loves. She's good with them, making them squeal and dart away from her. Emily pulls up in her car and walks toward the park, still on a work call and exuding irritation.</scene_description> <character>STEPHANIE (ON THE PHONE)</character> <dialogue>Calm down, Dennis. Alexi is all talk. No one is "coming after you." Take a fucking Xanax and let me do my job. Jesus.</dialogue> <scene_description>Emily ends the call and watches Stephanie chase the boys, a natural mother in her element. Emily feels a pinch of guilt, even jealousy. Stephanie sees Emily and jogs over, winded.</scene_description> <character>STEPHANIE</character> <dialogue>"Darth Mommy," we call it. It's silly. But it's one of Miles' favorite games. One of the things he remembers from his Dad. He was much better at roughhousing.</dialogue> <scene_description>After flashing side eye, Emily pulls out a compact mirror and begins tracing around her mouth with a pencil.</scene_description> <character>EMILY</character> <dialogue>Don't do that.</dialogue> <character>STEPHANIE</character> <dialogue>Do what?</dialogue> <character>EMILY</character> <dialogue>Don't denigrate your good parenting to comfort me for my shitty parenting.</dialogue> <character>STEPHANIE</character> <dialogue>Oh, gosh, Emily. That's not what I was doing at all. I think you're a super mom--</dialogue> <character>EMILY</character> <dialogue>No, you don't. You pack nori rolls for lunch. If I even remember the lunch box, it's a miracle. The nicest thing I could do for Nicky is blow my brains out.</dialogue> <parenthetical>(off Stephanie's horror)</parenthetical> <dialogue>I have a dark sense of humor.</dialogue> <character>STEPHANIE</character> <dialogue>Yeah, yikes. You do work in the city.</dialogue> <scene_description>Emily stares emotionally at Nicky, who's playing happily and unaware of her. We see how much she loves him. Then - SNAP. Emily spins to see that Stephanie has snapped a picture.</scene_description> <character>EMILY</character> <parenthetical>(sharply)</parenthetical> <dialogue>What did you just do?</dialogue> <character>STEPHANIE</character> <dialogue>I'm ... the yearbook mom.</dialogue> <character>EMILY</character> <dialogue>Erase it.</dialogue> <character>STEPHANIE</character> <dialogue>But you look so ... chic.</dialogue> <character>EMILY</character> <dialogue>If that shows up on your vlog --</dialogue> <character>STEPHANIE</character> <dialogue>No, gosh, no. It's just for the "Faces and Places" section. Only other parents would see it -</dialogue> <character>EMILY</character> <dialogue>Erase it now or I'll slap an injunction on the whole fucking yearbook.</dialogue> <scene_description>Shaking, Stephanie erases the photo from her digital display, showing Emily the last pictures of a cooking project.</scene_description> <character>STEPHANIE</character> <dialogue>Gone. See. Just homemade granola.</dialogue> <character>EMILY</character> <dialogue>Good. Don't do that shit again.</dialogue> <character>STEPHANIE</character> <dialogue>Gosh, I'm sor-- I mean, I didn't mean to offend you. I can understand in your line of work how sensitive this is.</dialogue> <parenthetical>(struggling)</parenthetical> <dialogue>I guess I'm not someone you'd normally be friends with.</dialogue> <character>EMILY</character> <dialogue>You don't want to be friends with me. Trust me. You're a real human being.</dialogue> <scene_description>Stephanie can't tell if Emily means to forgive her with that comment - but she takes it with a bashful smile.</scene_description> <character>EMILY</character> <dialogue>Let's grab the kids and get the hell out of here. I need a drink.</dialogue> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - KITCHEN - DAY</stage_direction> <character>STEPHANIE (O.S.)</character> <dialogue>I made it especially for you.</dialogue> <scene_description>CLOSE SHOT - Stephanie ties a new FRIENDSHIP BRACELET over Emily's wrist, right onto the barbed wire tattoo.</scene_description> <character>EMILY</character> <dialogue>It's very sweet.</dialogue> <scene_description>Emily regards the CHEVRON PATTERN. Then she pours gin into a shaker to finish the martinis. Stephanie watches in awe.</scene_description> <character>STEPHANIE</character> <dialogue>I used to watch old Bewitched episodes on TV Land and always thought it was so classy when Darren would come home and Samantha would mix him a martini. And now here I am. Again. It's so high tone.</dialogue> <scene_description>Emily chuckles as she shakes the ice-filled martini shaker.</scene_description> <character>EMILY</character> <dialogue>God, you're such a nerd, I hope it's not contagious. They'd make me quit my job.</dialogue> <scene_description>Stephanie laughs but we see she wishes she was cooler. Emily pours one martini from the shaker. It's cloudy with ice chips floating in it. Emily stares at it a beat, then:</scene_description> <character>EMILY</character> <dialogue>Fuck this. I need a real martini.</dialogue> <character>STEPHANIE</character> <dialogue>This one's not real?</dialogue> <scene_description>Emily goes to the fridge, opens the freezer and pulls out a frozen bottle of gin and one frozen martini glass. She brings it back over to the island.</scene_description> <character>EMILY</character> <dialogue>Too watered-down. When Sean and I were in London, we had the real thing at Dukes Hotel. Sometimes you just need something with a kick to reset your brain.</dialogue> <parenthetical>(making the martini)</parenthetical> <dialogue>Frozen gin, frozen glass. Pour in a small bit of vermouth, swirl it and dump it. Then add the gin and squeeze a twist over the top. Pure booze, no ice, strong as hell. Gotta work your way up to it, though. No amateurs allowed.</dialogue> <scene_description>Emily hands Stephanie the watered-down martini, then picks up her strong martini and clinks with Stephanie.</scene_description> <character>EMILY</character> <dialogue>Alessandro the bartender has a saying at Dukes. "One's not enough, three's too many, two's just right. Just like tits." STEPHANIE EMILY</dialogue> <scene_description>Oopsy. L'chaim. Emily takes a sip and visibly relaxes. Stephanie studies her.</scene_description> <character>STEPHANIE</character> <dialogue>Can you make me one of those? I think I need to reset my brain too.</dialogue> <scene_description>Off Emily's impressed smile ...</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - LIVING ROOM - LATER</stage_direction> <scene_description>Stephanie and Emily sit on the couch as a fire blazes in the fireplace. A FRENCH 60'S POP SONG PLAYS. Stephanie is clearly wasted. She takes another drink, smacking her lips.</scene_description> <character>STEPHANIE</character> <dialogue>I really am not happy with myself about the picture I took ... of you. That was so rude ... like a paparazzo ...</dialogue> <character>EMILY</character> <dialogue>Oh, please - will you get over it already, Stephanie? You're so nice, I don't know how you've managed to survive on this planet for so long.</dialogue> <character>STEPHANIE</character> <parenthetical>(stares for a long beat)</parenthetical> <dialogue>I'm not as nice as you think.</dialogue> <character>EMILY</character> <dialogue>Oh, really ...? Are you baiting me?</dialogue> <character>STEPHANIE</character> <dialogue>I'm juss' saying - we all have a dark side. Even "nerds." It's juss' -- some of us are better at hiding it. My mother once said, "Secrets are like margarine--"</dialogue> <scene_description>Stephanie stops as her drink goes down the wrong pipe and she chokes, coughing. Emily laughs.</scene_description> <character>EMILY</character> <dialogue>She had a way with words. Okay, Dark Side. Let's trade confessions. Tell me the wildest thing you've ever done.</dialogue> <character>STEPHANIE</character> <dialogue>What? No. I mean ... well ... okay. Maybe. But you go first.</dialogue> <character>EMILY</character> <parenthetical>(thinks a moment)</parenthetical> <dialogue>Well, I can think of a pretty recent one. Sean and I had his TA over about six months ago. We drank too much and had a threesome.</dialogue> <scene_description>Stephanie's jaw slackens. She covers her open mouth.</scene_description> <character>STEPHANIE</character> <parenthetical>(whispering)</parenthetical> <dialogue>Wasn't Sean jealous of him?</dialogue> <character>EMILY</character> <dialogue>Who says it was a him?</dialogue> <scene_description>Stephanie digests this info. Nods, trying to stay cool. She does a bad job. Emily grins, amused by the effort.</scene_description> <character>EMILY</character> <dialogue>I didn't mean to freak you out.</dialogue> <character>STEPHANIE</character> <parenthetical>(freaked out, hiding it)</parenthetical> <dialogue>I am - what do you mean? I'm not freaked out. I'm completely ... laissez faire.</dialogue> <character>EMILY</character> <dialogue>I just know you're not exactly a sexual maverick. Nothing wrong with that. Prudes are people, too.</dialogue> <scene_description>Emily winks. Stephanie absorbs the insult, smarting.</scene_description> <character>EMILY</character> <dialogue>But now I really want to hear your dirty little secret. Spill it.</dialogue> <scene_description>Stephanie downs the rest of her drink, nearly swallowing the lemon twist. She takes a breath, then ...</scene_description> <character>STEPHANIE</character> <dialogue>My father died when I was a senior in High School ...</dialogue> </scene> <scene> <stage_direction>INT. PITTSBURGH ROW HOUSE - DAY (FLASHBACK)</stage_direction> <scene_description>Pouring rain outside. A funeral reception. PEOPLE are dressed in black, crowded into a modest house, having sandwiches. STEPHANIE (here 18) moves through the house cleaning up. No make-up, hair in a ponytail, simple black dress. She heads... INTO THE KITCHEN (FLASHBACK) She looks out the window and sees CHRIS (20). He wears an ill- fitting suit, dark hair in his eyes, skinny like a rock star. He approaches the door. Stephanie freezes, unable to breathe.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>... A boy showed up at the funeral.</dialogue> <scene_description>IN THE LIVING ROOM (FLASHBACK) Her mother GRACE (50) opens the front door and nearly faints.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>His name was Chris.</dialogue> <scene_description>It's like seeing the young, handsome ghost of her dead husband. The crowd has now gathered to watch this unfold.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>He was the spitting image of my father - only thirty years younger.</dialogue> <scene_description>Grace starts to cry and throws her arms around Chris' neck, holding him as if he's her dead husband. Chris hugs her back, lifts his eyes and looks RIGHT AT Stephanie.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>Turns out ... he was my half-brother.</dialogue> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - LIVING ROOM - BACK TO PRESENT</stage_direction> <character>EMILY</character> <dialogue>Hold on. This is your deep dark secret? That your dad had an affair?</dialogue> <character>STEPHANIE</character> <parenthetical>(drunk, steadying herself)</parenthetical> <dialogue>No, this is necess'ssary prologue.</dialogue> <character>EMILY</character> <dialogue>Necessary prologue. Got it. Keep going, Dark Side.</dialogue> </scene> <scene> <stage_direction>INT. PITTSBURGH ROW HOUSE - BASEMENT - NIGHT (FLASHBACK)</stage_direction> <scene_description>Now in jeans and a tank top, Stephanie unfolds the rusty, stained pullout couch for Chris. A bare bulb hangs overhead illuminating the moldy basement.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>We talked for a long time, looking at old photos of my dad. It was too late for Chris to drive home. So he stayed over.</dialogue> <scene_description>Chris watches Stephanie make the bed. She can feel his eyes on her ass as she crawls across to stretch the fitted sheet. They lock eyes. Their chests rising with desire.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>Maybe it was the loss of my dad, who was the only person who ever truly understood me, maybe it was the way Chris looked and acted like him, or the fact I suddenly wasn't an only child, which I never wanted to be. I don't know, we just stood there for the longest time.</dialogue> <scene_description>She moves in and loops her arms around his neck to say good night, pulling him close. She tips her chin, looks up at him.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>We didn't know how to say goodbye.</dialogue> <scene_description>Lips so close. They start to kiss. Tug at each other's clothes, desperate to merge as quickly as possible. Chris throws her on the bed and fumbles with his fly. She yanks off her jeans. Chris climbs on top of her and thrusts into her, eyes wide in amazement. She gasps. She's never had sex like this, great sex. She presses her lips together and shakes with an orgasm building. She buries her face in his shoulder and groans as it swallows her up. He comes at the same moment and collapses. They lie together stunned, sweaty.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - LIVING ROOM - BACK TO SCENE</stage_direction> <scene_description>Stephanie stares into space. Emily snaps her fingers in front of Stephanie's eyes.</scene_description> <character>EMILY</character> <dialogue>Hello? Keep going! You're not allowed to be too drunk in my house not to finish a juicy story.</dialogue> <character>STEPHANIE</character> <dialogue>Me? No, I'm fine. What was I saying?</dialogue> <character>EMILY</character> <dialogue>You stood there for the longest time, you didn't know how to say goodbye. I'm waiting for the big ending here.</dialogue> <scene_description>Stephanie can't tell the truth. But she's cornered. Then ...</scene_description> <character>STEPHANIE</character> <dialogue>Oh, I don't know. Maybe it's not so racy where you're from. I went in to hug him and then we ... kissed.</dialogue> <parenthetical>(buries face in hands)</parenthetical> <dialogue>It's so gross.</dialogue> <character>EMILY</character> <dialogue>So that's your whole story? You kissed your brother? Once?</dialogue> <character>STEPHANIE</character> <dialogue>It's like Chinatown! We immediately said this will never happen again, and we'd never breathe a word. And no, he wasn't my brother, he was my half-brother.</dialogue> <scene_description>Emily sizes Stephanie up. She sips her drink, then leans in.</scene_description> <character>EMILY</character> <dialogue>There's more.</dialogue> <character>STEPHANIE</character> <dialogue>No, there's no more.</dialogue> <character>EMILY</character> <dialogue>You started that story, then hit the eject button. I saw it happen.</dialogue> <character>STEPHANIE</character> <dialogue>I did not eject -</dialogue> <character>EMILY</character> <dialogue>You fucked him.</dialogue> <character>STEPHANIE</character> <dialogue>What!? No! I didn't say that.</dialogue> <character>EMILY</character> <dialogue>Swear.</dialogue> <character>STEPHANIE</character> <dialogue>I swear.</dialogue> <character>EMILY</character> <dialogue>Swear on your father's grave.</dialogue> <scene_description>Stephanie pauses.</scene_description> <character>EMILY</character> <dialogue>Ha! You're a brother fucker!</dialogue> <character>STEPHANIE</character> <dialogue>Oh my Gosh, you're terrible. I never should have said anything. Stupid martinis ... from Dukes.</dialogue> <scene_description>Stephanie is flustered and guilt-ridden. Emily softens.</scene_description> <character>EMILY</character> <dialogue>You crack me up. Do you and Miles want to join us for dinner?</dialogue> <character>STEPHANIE</character> <dialogue>Really? That would be lovely.</dialogue> <character>EMILY</character> <dialogue>Great. You're cooking, Dark Side.</dialogue> <scene_description>Stephanie gives her a look, then they share a genuine laugh. Stephanie absorbs it: they really are becoming friends.</scene_description> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - KITCHEN - DAY</stage_direction> <scene_description>CLOSE UP of Alka Seltzer being dropped into a glass. REVEAL a very hungover Stephanie setting up her kitchen for her vlog. She opens up her FIRST AID kit and lays out the items.</scene_description> <character>STEPHANIE</character> <parenthetical>(practicing)</parenthetical> <dialogue>Hi Moms, Stephanie here. Today we'll be talking about the perfect First Aid Kit, so that you're never left in need during a crisis --</dialogue> <scene_description>She doesn't like how that sounds, and starts to revise her SCRIPT. Just then, her CELLPHONE rings. As she answers:</scene_description> <character>EMILY (O.S.)</character> <dialogue>Stephanie, thank God you picked up. I have a little emergency -- STEPHANIE EMILY (O.S.)</dialogue> <scene_description>Well, that's really a I need your help. coincidence, because I was -</scene_description> <character>STEPHANIE</character> <dialogue>Are you okay?</dialogue> <character>EMILY (O.S.)</character> <dialogue>I'm fine, but I need a simple favor. Can you grab Nicky from school? Sean's in London, his mother broke her fucking hip, and I got a big fire to put out at work.</dialogue> <character>STEPHANIE</character> <dialogue>Oh, Gosh, poor Sean. Poor you. Of course, I'm always happy to help.</dialogue> <character>EMILY</character> <dialogue>You're the best. I gotta run but I'll get you back for this.</dialogue> <character>STEPHANIE</character> <dialogue>Of course! Nicky's in good hands.</dialogue> <character>EMILY</character> <dialogue>You're a great friend, Stephanie. A true friend. I really mean that.</dialogue> <scene_description>OFF STEPHANIE, beaming --</scene_description> </scene> <scene> <stage_direction>EXT. WARFIELD ELEMENTARY SCHOOL - SECOND GRADE - DAY</stage_direction> <scene_description>At the end of another day, moms are picking up kids. Miles and Nicky emerge with their backpacks.</scene_description> <character>STEPHANIE</character> <dialogue>Hey, guys! You're getting a play date today!</dialogue> <scene_description>The boys both cheer as Darren approaches, Lulu in his arms.</scene_description> <character>DARREN</character> <dialogue>Stephanie, that's so great you took the nanny job.</dialogue> <character>STEPHANIE</character> <dialogue>Nanny job?</dialogue> <character>DARREN</character> <dialogue>For Emily. I know she was looking.</dialogue> <character>STEPHANIE</character> <parenthetical>(mortified)</parenthetical> <dialogue>I am -- No. I am not - this is not a job. I'm helping her out. As a friend.</dialogue> <character>DARREN</character> <dialogue>Oh, I'm sorry. I didn't realize you guys were so close.</dialogue> <character>STEPHANIE</character> <dialogue>Well, we are. We drink martinis together. Strong martinis. From London.</dialogue> <parenthetical>(to the boys, the "fun mom" again)</parenthetical> <dialogue>All right, fellas - if you don't wrestle in the car, we'll make fruit pops.</dialogue> <scene_description>They cheer again, running across the yard - as Stephanie storms away, throwing a dirty look back at Darren.</scene_description> </scene> <scene> <stage_direction>INT. STEPHANIE'S VOLVO - DAY</stage_direction> <scene_description>Stephanie, Miles and Nicky drive along, SINGING ALONG TO A FUN SONG ON THE RADIO. Everyone's really happy.</scene_description> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - KITCHEN - DAY</stage_direction> <scene_description>The revelry seems to come to a sudden halt. Miles and Nicky sulk at the kitchen table. Tempeh burger, carrots and steamed spinach on their plates. Used to it, Miles eats; but Nicky pushes the food around with his fork as Miles sets down his glass of milk on the wood table next to its coaster.</scene_description> <character>STEPHANIE</character> <dialogue>Miles, sweetie, you know the rule. Mr. Glass always stands on Mr. Coaster.</dialogue> <character>MILES</character> <parenthetical>(putting glass on coaster)</parenthetical> <dialogue>Because of his wet feet. Sorry, mom.</dialogue> <character>STEPHANIE</character> <dialogue>Nicky, you can't just live on starch. People need 11 different amino acids.</dialogue> <character>NICKY</character> <dialogue>Do amino acids come from horse shit?</dialogue> <scene_description>Miles gasps in horror. Stephanie smiles, beatific.</scene_description> <character>STEPHANIE</character> <dialogue>We don't use that language in this house, sweetie.</dialogue> <character>STEPHANIE</character> <dialogue>That's an "oopsy." It would normally cost you a quarter, but I'll cut you a little slack this time because you're a guest.</dialogue> <character>NICKY</character> <dialogue>Well, that's what it tastes like. Are you telling me to lie?</dialogue> <character>STEPHANIE</character> <dialogue>No, lying is wrong, too. But there's a difference between lying and being polite. So we can at least take a "no thank you" bite and see if we like it.</dialogue> <scene_description>He takes a bite of Tempeh burger, horrified, making a face like it's torture. Then he pushes his plate away.</scene_description> <character>NICKY</character> <dialogue>No thank you.</dialogue> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - LIVING ROOM - DAY</stage_direction> <scene_description>The two boys watch SpongeBob Squarepants on TV, eating popcorn. Stephanie texts Emily: "Should i give nicky a bath?" She hits SEND. Waits. She fixates on her phone. No response.</scene_description> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - BATHROOM - NIGHT</stage_direction> <scene_description>Stephanie gives the two boys a bubble bath. They splash around, hurling rubber sea creatures at each other.</scene_description> <character>STEPHANIE</character> <dialogue>Don't splash. This isn't Sea World.</dialogue> <scene_description>They ignore her and splash harder.</scene_description> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - HALLWAY - NIGHT</stage_direction> <scene_description>Stephanie dials Emily. She gets her VOICEMAIL.</scene_description> <character>EMILY (O.S.)</character> <dialogue>"Hi, this is Emily Nelson, Director of Public Relations for Dennis Nylon Holdings. Leave a message here or at the New York office at 212-555-6361."</dialogue> <scene_description>BEEP. Stephanie opens her mouth to speak, but hesitates. As she dives in, she's now even more sugar-coated than before.</scene_description> <character>STEPHANIE</character> <dialogue>Hi, Em, Stephanie. Hey. I know you're probably knee-deep in that crisis. But, um, Nicky asked when you were coming and I didn't know what to tell him. They're having a hoot here, don't worry. And I'm happy to watch him as long as you need, just let me know. Okay? Hope you're hanging in there.</dialogue> <scene_description>She hangs up, her smile dropping.</scene_description> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - MILES' BEDROOM - NIGHT</stage_direction> <scene_description>As Stephanie climbs up to say good night to Miles on the TOP BUNK, her head gets trapped in a HANGING SOLAR SYSTEM MOBILE affixed to the ceiling. She tries to blow away a Styrofoam Saturn, finally clearing planets like a cloud of gnats.</scene_description> <character>STEPHANIE</character> <dialogue>G'night, Smooch.</dialogue> <character>MILES</character> <dialogue>Good night, Mama.</dialogue> <parenthetical>(looking up)</parenthetical> <dialogue>And good night, Daddy. Good night, Uncle Chris.</dialogue> <character>NICKY</character> <dialogue>Who's Uncle Chris?</dialogue> <character>STEPHANIE</character> <dialogue>Chris was my brother. He's in heaven now.</dialogue> <character>NICKY</character> <dialogue>There's no such thing as heaven.</dialogue> <character>STEPHANIE</character> <dialogue>Is that what your mommy and daddy tell you?</dialogue> <character>NICKY</character> <dialogue>My Dad says life's just a brief moment of pain before an eternity of darkness.</dialogue> <character>STEPHANIE</character> <dialogue>Well, he's an English professor.</dialogue> <character>NICKY</character> <dialogue>And he says when we die we turn into a feast for bacteria.</dialogue> <character>STEPHANIE</character> <dialogue>Well, at least someone is eating dinner then.</dialogue> <scene_description>She checks Miles, hoping this didn't sink in.</scene_description> <character>STEPHANIE</character> <dialogue>Do you want a kiss good night, Nicky?</dialogue> <character>NICKY</character> <dialogue>I want to go home. My Mom didn't say I was sleeping over.</dialogue> <character>STEPHANIE</character> <dialogue>She should be here any minute and then she'll come wake you up.</dialogue> <scene_description>Stephanie pecks Nicky on the cheek anyway. He rubs his face with disgust as she walks out and closes the door.</scene_description> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - KITCHEN - NIGHT</stage_direction> <scene_description>Stephanie makes two kids' lunches for the next day in silence. She mashes avocados and nori on whole grain bread, then cuts the sandwiches in half. She texts Emily: "Made lunch for Nicky. Text me to say you're ok. Worried about u." She hits SEND. Waits a beat. No response. She finds a bottle of WHITE ZINFANDEL in the back of the fridge, half empty. She unscrews the screw cap and sniffs it. Still good? Maybe. She pours herself a glass. She steals a cookie from under Saran Wrap. She nibbles a tiny bit of it, washing it down with wine. She slips the cookie back, looking guilty. Looks at her phone. Nothing from Emily. CUT TO: 3 a.m. Stephanie dumps the empty wine bottle into the recycling bin. The cookies have been devoured. She washes the dish in the sink, disgusted with herself.</scene_description> </scene> <scene> <stage_direction>EXT. WARFIELD ELEMENTARY SCHOOL - DAY</stage_direction> <scene_description>PUSH IN ON the PARKED VOLVO as Stephanie tries to get a hold of Emily at work. She speaks slowly and with a forced calm.</scene_description> <character>STEPHANIE (ON PHONE)</character> <dialogue>Stephanie. Smothers. I'm a close friend. I've been watching her son. Do you know where she went or when she'll be back?</dialogue> </scene> <scene> <stage_direction>INT. DENNIS NYLON INC - INTERCUTTING</stage_direction> <scene_description>In a sleek Manhattan office in a Midtown skyscraper, Emily's assistant VALERIE (25) -- a Goth, emo girl -- is on her headset, multi-tasking as she types.</scene_description> <character>VALERIE</character> <dialogue>She - is - hold on ...</dialogue> <parenthetical>(typing)</parenthetical> <dialogue>Yeah, she's in Miami for a few days, did you want to leave a message?</dialogue> <character>STEPHANIE</character> <dialogue>A few days? She didn't tell me -</dialogue> <scene_description>The other line rings.</scene_description> <character>VALERIE</character> <dialogue>Can you please hold for a second?</dialogue> <character>STEPHANIE</character> <dialogue>The thing is, I haven't heard a peep and Nicky wants to know -</dialogue> <scene_description>Valerie puts her on hold, activating 80s SYNTH MUSIC.</scene_description> <character>STEPHANIE</character> <dialogue>Oh, for the love of Job.</dialogue> <scene_description>As she endures the hold music, we hear:</scene_description> <character>STEPHANIE (PRE-LAP)</character> <dialogue>Hi, Moms. Stephanie here, and the truth is, I'm not quite myself today.</dialogue> <scene_description>ON VIDEO VLOG - STEPHANIE'S KITCHEN - DAY Stephanie addresses the camera, her voice shaky.</scene_description> <character>STEPHANIE</character> <dialogue>My friend, the one that inspired the double-weave chevron friendship bracelet ... well, she's been gone a few days and I haven't been able to reach her. I sent her plenty of cute iPhotos of our boys. She usually sends me back a winky-face emoji, but now ... not even that.</dialogue> <parenthetical>(a deep breath)</parenthetical> <dialogue>Oh, she travels a lot for work and I know some big hoo-ha came up, it's always something. So I've been watching her son, who is a ... very spirited young man. Her husband's in London visiting his injured mother and ... anyway, there's probably a good explanation. It's not like I mind -- but her son is starting to ask questions. Moms, what would you do if a mother put you in this situation?</dialogue> <scene_description>She glances at the comment feed: HUGSnKISSES19: A true friend wouldn't do that. SUNDAYGIRLXOXO: Rude. TIGERMOM9: REPORT HER TO THE POLICE!!!</scene_description> <character>STEPHANIE</character> <dialogue>Tigermom, be constructive. And you know the all-caps rule. No yelling.</dialogue> <scene_description>Yogalover999: The husband has to know something. Lives2Zumba: Call her husband.</scene_description> <character>STEPHANIE</character> <dialogue>Right. Thank you, Yogalover, thank you, Zumba. You're both right.</dialogue> </scene> <scene> <stage_direction>INT. UNIVERSITY COLLEGE LONDON HOSPITAL - RM. 612 - NIGHT</stage_direction> <scene_description>In a cramped, shared hospital room, two beds separated by a drawn curtain, Sean sits alongside his mother MARGARET (70), asleep. Sean looks like hell. His cell phone rings. Sean doesn't recognize the number. He answers suspiciously.</scene_description> <character>SEAN</character> <dialogue>Yes?</dialogue> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - KITCHEN - INTERCUTTING</stage_direction> <character>STEPHANIE</character> <dialogue>Hi, Sean. It's Stephanie. I'm so sorry to bother you, I got your cell number from the school directory. I know you're going through so much, and gosh, my prayers are with you and your mom. But we really need to talk about a situation with Emily.</dialogue> <character>SEAN</character> <dialogue>Who is this?</dialogue> <character>STEPHANIE</character> <dialogue>Oh. Stephanie Smothers. I'm Emily's friend. I drive a Volvo.</dialogue> <character>SEAN</character> <dialogue>I'm sorry, I'm a little out of sorts.</dialogue> <character>STEPHANIE</character> <dialogue>Our sons go to Warfield together. Miles is my son. Nicky is yours.</dialogue> <character>SEAN</character> <dialogue>Has something happened to Nicky?</dialogue> <character>STEPHANIE</character> <dialogue>No, Nicky's fine. It's Emily. She asked me to watch Nicky. That was three days ago and I haven't been able to reach her. Have you heard from her?</dialogue> <scene_description>Sean sighs as if he's a punctured balloon. His mother wakes up, having heard some of the conversation.</scene_description> <character>SEAN'S MOTHER</character> <dialogue>What is it? What's wrong?</dialogue> <character>SEAN</character> <dialogue>Three days, Christ.</dialogue> <character>SEAN'S MOTHER</character> <dialogue>What did Emily do now?</dialogue> <scene_description>He presses a CALL BUTTON.</scene_description> <character>SEAN</character> <dialogue>Shhh, mother, go back to sleep. Let's call a nurse and get you some morphine.</dialogue> <parenthetical>(into phone)</parenthetical> <dialogue>What did she say?</dialogue> <character>STEPHANIE</character> <dialogue>Are you talking to me or your mother now?</dialogue> <character>SEAN</character> <dialogue>You. What did Emily say?</dialogue> <character>STEPHANIE</character> <dialogue>She told me that she had to put out a fire. Her office said she's in Miami -</dialogue> <character>SEAN</character> <dialogue>Oh, right, good. That sounds ... yes. I've been through these emergencies with her. As long as she knows Nicky's taken care of, she can disappear for some time.</dialogue> <character>STEPHANIE</character> <dialogue>Oh, good. I just ... I assumed we'd be communicating.</dialogue> <character>SEAN</character> <dialogue>She's not really much of a communicator.</dialogue> <character>STEPHANIE</character> <dialogue>I mean, to check in on Nicky.</dialogue> <character>SEAN</character> <dialogue>How is he?</dialogue> <character>STEPHANIE</character> <dialogue>He's okay.</dialogue> <character>SEAN</character> <dialogue>Amazing. You're a life-saver. Look, I'm flying back in the morning and then I can pick Nicky up as soon as I'm on the ground. All righty?</dialogue> <character>STEPHANIE</character> <dialogue>All righty.</dialogue> </scene> <scene> <stage_direction>EXT. STEPHANIE'S HOUSE - NIGHT</stage_direction> <scene_description>A TAXI pulls up in front of the house. The first time we've seen the exterior. It's a quaint colonial, the country mouse opposite of Emily and Sean's house. Sean gets out of the cab and pays the driver, dragging his bag toward the front door. He knocks and Stephanie opens.</scene_description> <character>SEAN</character> <dialogue>Oh, you. You're Miss Canterbury Tales. So sorry I didn't remember.</dialogue> <character>STEPHANIE</character> <dialogue>You've got a lot on your mind. We all do. The boys are asleep. Nicky tried to stay up to see you, but he was just too tuckered-out. Come in.</dialogue> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - KITCHEN - NIGHT</stage_direction> <scene_description>Stephanie and Sean speak in low voices in the kitchen.</scene_description> <character>SEAN</character> <dialogue>So nothing? Still no word?</dialogue> <character>STEPHANIE</character> <dialogue>Nothing. Not to you either?</dialogue> <character>SEAN</character> <dialogue>No, but that's not unusual. We had a bit of a row the other day.</dialogue> <character>STEPHANIE</character> <dialogue>I'm sorry.</dialogue> <character>SEAN</character> <dialogue>Don't be. It's our pattern. All dramatic breakups and reunions, with almost nothing in between.</dialogue> <character>STEPHANIE</character> <dialogue>It sounds tiring.</dialogue> <character>SEAN</character> <dialogue>Yes, but ... it keeps life interesting.</dialogue> <character>STEPHANIE</character> <dialogue>Her assistant Valerie hasn't been able to reach her either. Which doesn't make any sense if she's dealing with a work crisis. Some of the moms think we should go to the police.</dialogue> <character>SEAN</character> <dialogue>The moms?</dialogue> <character>STEPHANIE</character> <dialogue>I posted something about Emily on my website. For other moms. Just ... cooking tips, odds-and-ends. It's mostly How-To.</dialogue> <scene_description>He looks at her with jet-lagged eyes. It's all sinking in.</scene_description> <character>SEAN</character> <dialogue>The police. Has it really come to this?</dialogue> <character>STEPHANIE</character> <dialogue>Would you like anything to drink? Herb tea maybe?</dialogue> <character>SEAN</character> <dialogue>Yes, let's do it. Not the tea, the police. Let's call them.</dialogue> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - MILES' BEDROOM - NIGHT</stage_direction> <scene_description>Miles is fast asleep on the top bunk. Nicky sleeps on the bottom bunk. Sean stands in the cracked doorway, watching his son sleep. A look of deep concern on his face.</scene_description> <character>STEPHANIE (O.S.)</character> <dialogue>Sean? The police are here.</dialogue> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - DINING ROOM - NIGHT</stage_direction> <scene_description>Stephanie sits at the dining room table while TWO POLICE question Sean: SERGEANT MOLLOY and OFFICER BLANCO.</scene_description> <character>OFFICER BLANCO</character> <dialogue>And when was the last time either of you heard from her?</dialogue> <scene_description>Sean swims, shaking his head. He looks over at Stephanie.</scene_description> <character>STEPHANIE</character> <dialogue>Four days ago.</dialogue> <character>SEAN</character> <dialogue>I'm sorry. I was in London. My mum broke her hip.</dialogue> <character>SERGEANT MOLLOY</character> <dialogue>Sorry to hear that.</dialogue> <character>OFFICER BLANCO</character> <dialogue>And she said it was a work crisis?</dialogue> <character>SEAN</character> <dialogue>She has a very high profile job - with a full staff she oversees.</dialogue> <character>OFFICER BLANCO</character> <dialogue>And what do you do, sir?</dialogue> <character>SEAN</character> <dialogue>I'm an Associate Professor.</dialogue> <character>OFFICER BLANCO</character> <dialogue>And what do you teach?</dialogue> <character>SEAN</character> <dialogue>English.</dialogue> <character>SERGEANT MOLLOY</character> <dialogue>Sounds like you're pretty good at it.</dialogue> <character>SEAN</character> <dialogue>That's wonderful. Well-played.</dialogue> <character>SEARGEANT MOLLOY</character> <dialogue>Ever slept with a student?</dialogue> <scene_description>Stephanie is shocked.</scene_description> <character>SEAN</character> <dialogue>Excuse me? Do you think I had something to do with my wife's disappearance?</dialogue> <character>OFFICER BLANCO</character> <dialogue>No need to get defensive, Mr. Townsend. We're just exploring all avenues.</dialogue> <character>SEAN</character> <dialogue>Well, that's a dead end. No. Christ.</dialogue> <character>SERGEANT MOLLOY</character> <dialogue>Most times when a woman vanishes, she has a reason. A really good reason.</dialogue> <character>SEAN</character> <dialogue>That's an astute piece of detective work. What are you implying?</dialogue> <character>OFFICER BLANCO</character> <dialogue>You two didn't have a fight? Something to make you run off to London?</dialogue> <character>SEAN</character> <dialogue>Are you implying I broke my mother's hip?</dialogue> <character>OFFICER BLANCO</character> <dialogue>We're just looking at this objectively. You leave town, your wife takes off. Perhaps there was some abuse--</dialogue> <character>STEPHANIE</character> <parenthetical>(can't take any more)</parenthetical> <dialogue>How dare you. This man flew back from his mother's bedside. This is a dedicated father and husband. I've seen him with his wife, and let me tell you something: they are in love. They have more chemistry than the Science Fair.</dialogue> <character>OFFICER BLANCO</character> <dialogue>Just exploring all avenues, Ma'am.</dialogue> <character>STEPHANIE</character> <dialogue>Like Sean said, that avenue's a dead end. Or at least a cul-de-sac. So, drop it.</dialogue> <scene_description>Sean is astonished. No one has ever defended him with such veracity - and he now can't take his eyes off Stephanie, who even surprised herself. The officers are unfazed, however.</scene_description> <character>OFFICER BLANCO</character> <dialogue>And where's Emily's family?</dialogue> <character>SEAN</character> <dialogue>She doesn't have any. She was an only child. Her parents died when she was a teenager.</dialogue> <character>STEPHANIE</character> <dialogue>She never told me that.</dialogue> <character>SERGEANT MOLLOY</character> <dialogue>We'll file a Missing Person report and contact you in a day or two. If she doesn't turn up we'll contact local authorities in Miami. You're not planning any more trips, Mr. Townsend?</dialogue> <character>SEAN</character> <dialogue>No. I'll be right here. I mean, at my house. Taking care of my son. Until this matter is resolved.</dialogue> <character>OFFICER BLANCO</character> <dialogue>We can show ourselves out.</dialogue> <scene_description>As Blanco and Molloy leave, Sean and Stephanie stare at each other a moment in silence across the room.</scene_description> <character>STEPHANIE</character> <dialogue>Well, they were extremely rude.</dialogue> <character>SEAN</character> <dialogue>I need a serious drink.</dialogue> <character>STEPHANIE</character> <dialogue>I have some white zinfandel in the fridge.</dialogue> <character>SEAN</character> <dialogue>Oh god no. I'm sorry. I'm sure it's lovely. I just need something a bit stiffer.</dialogue> <character>STEPHANIE</character> <dialogue>I still have my late husband's whisky collection ... if that doesn't make you uncomfortable. I know you don't believe in heaven, so it's not like he'll mind.</dialogue> <character>SEAN</character> <dialogue>How would you know what I believe?</dialogue> <character>STEPHANIE</character> <dialogue>Oh. Gosh. Nicky. He doesn't like our prayers at night.</dialogue> <character>SEAN</character> <parenthetical>(with a chuckle)</parenthetical> <dialogue>Well, we're not sacrificing goats or anything at our house.</dialogue> <character>STEPHANIE</character> <dialogue>I welcome all denominations.</dialogue> <character>SEAN</character> <dialogue>As do I. Let's drink your husband's scotch.</dialogue> </scene> <scene> <stage_direction>INT. STEPHANIE'S KITCHEN - LATER THAT NIGHT</stage_direction> <scene_description>Stephanie and Sean sit at the kitchen table with two whiskey glasses and a bottle of single malt between them. Stephanie refills their glasses. Sean sips his.</scene_description> <character>SEAN</character> <dialogue>God knows, we've had our troubles - but ... I don't think she would just up and leave her child. Do you?</dialogue> <character>STEPHANIE</character> <dialogue>She adores Nicky. She could never do that.</dialogue> <character>SEAN</character> <dialogue>She's an enigma, my wife. It drew me to her. But it can also make her impossible. She can be so fiercely private.</dialogue> <character>STEPHANIE</character> <dialogue>She sure doesn't like having her picture taken, I'll tell ya that.</dialogue> <scene_description>Sean sparks at this, studying her more closely.</scene_description> <character>SEAN</character> <dialogue>That's right. She works in the fashion industry, but you'd think you were stealing her soul. I remember once she made me shut down my Facebook account after I posted a family picture.</dialogue> <character>STEPHANIE</character> <dialogue>Social media can be pretty tricky.</dialogue> <character>SEAN</character> <dialogue>You can get close to her, but you can never really reach her. That's the truly hypnotic thing about Emily. She's like a beautiful ghost. She's never entirely there.</dialogue> <character>STEPHANIE</character> <dialogue>That's really poetic. I can see why you're such a good writer.</dialogue> <scene_description>He looks up at her with inconsolable pain in his eyes.</scene_description> <character>SEAN</character> <dialogue>I'm not a writer, Stephanie. I gave it up to chase this woman for the rest of my life.</dialogue> <scene_description>She puts her hand onto his, comforting him.</scene_description> <character>SEAN</character> <dialogue>I got addicted to her. God, and she devours me. The things she does, you wouldn't believe it. She's like a succubus. So beautiful, so primal. Her orgasms are like seismic events.</dialogue> <scene_description>He looks down at her hand, on his. She withdraws hers.</scene_description> <character>STEPHANIE</character> <dialogue>Well, I'm a good judge of character, Mr. Sean T. Townsend. And I know Emily loves you. One thousand percent.</dialogue> <character>SEAN</character> <dialogue>I should call a taxi home.</dialogue> <character>STEPHANIE</character> <parenthetical>(glancing at the clock)</parenthetical> <dialogue>Oh my Gosh, it's 1:25. They stop driving at 1 a.m. here.</dialogue> <character>SEAN</character> <dialogue>What about an Uber?</dialogue> <character>STEPHANIE</character> <dialogue>Well, there's only two Uber drivers in Warfield, and I know Davit has his son's recital in the morning.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>I have a guest room. Why don't you stay over? Nicky will want to see you when he wakes up.</dialogue> <scene_description>OFF SEAN, contemplating it --</scene_description> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - DEN - NIGHT</stage_direction> <scene_description>Stephanie pulls open the HIDE-A-BED onto a few DINOSAURS stranded on their sides and starts to prepare the bed.</scene_description> <character>SEAN</character> <dialogue>I can do that. Really. You've already done so much.</dialogue> <scene_description>Stephanie stops and heads for the hallway.</scene_description> <character>SEAN</character> <dialogue>And Stephanie? Thank you. For everything.</dialogue> <scene_description>Sean sits down on the creaking swayback bed, setting off a RECORDED SONG: "Me mind of fire... me soul on fire... feeling hot hot hot." He reaches under his butt ...</scene_description> <character>STEPHANIE</character> <dialogue>Oh, that's where Dr. Crackers is.</dialogue> <scene_description>Sean pulls out a SINGING PARROT, activated by a button, singing: "Party people, all around me feeling hot hot hot."</scene_description> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - MASTER BEDROOM - DAY</stage_direction> <scene_description>Sunlight pours in the window. The sound of CHILDREN'S VOICES rouses Stephanie out of an intoxicated sleep. She shakes cobwebs from her head. She hears the GRINDING of a BLENDER.</scene_description> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - KITCHEN - DAY</stage_direction> <scene_description>Stephanie enters in her robe. Miles and Nicky are at the table drinking GREEN SMOOTHIES, Sean helming the blender with a mix of CHIA SEEDS, YOGURT, KALE, SPINACH, BANANAS, HONEY.</scene_description> <character>SEAN</character> <dialogue>Who wants more B vitamins?</dialogue> <character>MILES</character> <dialogue>I do!</dialogue> <character>SEAN</character> <dialogue>And I'm sure mum does.</dialogue> <character>STEPHANIE</character> <dialogue>What on earth are you making?</dialogue> <character>SEAN</character> <dialogue>A hangover smoothie. It'll knock it right out of you. The kids love it.</dialogue> <scene_description>Stephanie turns to the kids, amazed they're drinking it.</scene_description> <character>SEAN</character> <parenthetical>(whispering; with a wink)</parenthetical> <dialogue>It's a full serving of vegetables and they don't even know it.</dialogue> <scene_description>She's shocked to hear him say something she always does.</scene_description> <character>SEAN</character> <dialogue>Hope this is okay. Don't mean to mess up your routine.</dialogue> <scene_description>Her eyes are fixed on him now - with real desire.</scene_description> <character>SEAN</character> <dialogue>Do you want some?</dialogue> <character>STEPHANIE</character> <dialogue>Yes, please.</dialogue> <scene_description>Stephanie takes the smoothie from his hand, slowly. She drinks it with her eyes locked on Sean. They have a long moment in the kitchen. The toaster dings, breaking the spell. Then they remember why they're here.</scene_description> <character>STEPHANIE</character> <dialogue>All right, kids. Party's over. Let's get ready for school.</dialogue> <scene_description>ON VIDEO VLOG - STEPHANIE'S KITCHEN - DAY Stephanie addresses the camera, looking a little worse for wear. She looks at the PAGE STATISTICS and sees HER LIVE TRAFFIC STATS. A graph shows viewership rising ...</scene_description> <character>STEPHANIE</character> <dialogue>Hi, Moms. Stephanie here. Before we get to today's topic - VEGETABLE SMOOTHIES - I want to welcome all of the new viewers: thank you for joining us.</dialogue> <character>STEPHANIE</character> <dialogue>And I especially want to thank so many of you who have written to ask about Emily. Now, she is very sensitive about her privacy but these are extenuating circumstances. So, I'm using her real name and posting a few rare pictures in case any of you have seen her. It's been six days. The good news is her husband Sean is back from London and working closely with the police.</dialogue> <parenthetical>(a sigh)</parenthetical> <dialogue>Now, a lot of you Moms are stuck on this idea that the husband is always the primary suspect. But I'm here to tell you: Sean was out of the country when Emily disappeared. Some of you have suggested he just wanted an alibi, but I can assure you, Sean is an amazing husband and father. He's been a wreck ever since he got home. And the police are no help. I don't know what our tax dollars are paying for!</dialogue> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - MASTER BEDROOM - DAY</stage_direction> <scene_description>Stephanie is on her hands and knees digging in her closet.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>Well, as every mom knows, if you want something done right, you better do it yourself.</dialogue> <scene_description>She finally finds a VINTAGE CHANEL SCARF in a gift box.</scene_description> </scene> <scene> <stage_direction>INT. STEPHANIE'S VOLVO (MOVING) - DAY</stage_direction> <scene_description>Stephanie wears the Chanel scarf, nattily knotted on the side. Trying to look chic, in dark lipstick, eyeliner and her hair pulled back in a low ponytail. She drives.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>I will leave no stone unturned.</dialogue> </scene> <scene> <stage_direction>I/E. STEPHANIE'S VOLVO (MOVING) - G.W. BRIDGE - DAY</stage_direction> <scene_description>Stephanie drives into Manhattan playing Adele's "HELLO."</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>I think that's what Emily would want.</dialogue> <scene_description>She joins in singing the chorus of "HELLO" at top volume.</scene_description> <character>STEPHANIE</character> <dialogue>"Hello from the outside / I must have called a thousand times / To tell you I'm sorry for breaking your heart ..."</dialogue> </scene> <scene> <stage_direction>INT. MIDTOWN MANHATTAN OFFICE BUILDING - ELEVATOR - DAY</stage_direction> <scene_description>It's that awkward polite silence in a crowded elevator. As Stephanie rides, she eyes the faces around her. Skinny PROFESSIONAL WOMEN in sleek suits and stiletto heels. PROFESSIONAL MEN in suits with slick-backed hair. Stephanie adjusts the knot on her scarf, pulling it tighter. She accidentally pulls it too tight, choking herself. She GASPS OUT A SMALL CHOKE SOUND, then plays it off as if it's a COUGH and THROAT CLEAR. Everyone stares at her.</scene_description> <character>STEPHANIE</character> <dialogue>Allergies. It's that wet spring we had.</dialogue> <scene_description>Nobody buys it. Dying of embarrassment, she pulls the knot looser as the doors open and Stephanie exits.</scene_description> </scene> <scene> <stage_direction>INT. DENNIS NYLON HQ - RECEPTION - DAY</stage_direction> <scene_description>White marble and chromium steel. White leather banquettes and black lacquer side tables. The name DENNIS NYLON in giant silver letters. Stephanie works up her nerve as she approaches the chic RECEPTIONIST answering phones on headset.</scene_description> <character>RECEPTIONIST</character> <dialogue>Dennis Nylon, please hold. Thanks for holding, how may I direct your call? STEPHANIE RECEPTIONIST</dialogue> <scene_description>Hi. My name is -- (holding up a finger) Dennis Nylon, please hold.</scene_description> <character>STEPHANIE</character> <dialogue>My friend works here. She's been missing for over a we--</dialogue> <character>RECEPTIONIST</character> <dialogue>Thanks for holding, how may I direct your call?</dialogue> <character>STEPHANIE</character> <dialogue>Her name is Emily Nelson. She's the head of public relations.</dialogue> <character>EMILY</character> <dialogue>Emily's not in today.</dialogue> <character>STEPHANIE</character> <dialogue>I know she's not in. That's why I'm --</dialogue> <character>RECEPTIONIST</character> <dialogue>Dennis Nylon, please hold.</dialogue> <scene_description>Stephanie lurches across the counter and presses the hang up button, hissing at the young woman:</scene_description> <character>STEPHANIE</character> <dialogue>I'm sorry, but - no, you know what? I'm not sorry. This is an emergency. A woman is missing. I need to talk with Mr. Nylon. Now.</dialogue> <character>RECEPTIONIST</character> <dialogue>Mr. Nylon's not here right now.</dialogue> <character>STEPHANIE</character> <dialogue>Then I'll wait.</dialogue> <character>RECEPTIONIST</character> <dialogue>Knock yourself out.</dialogue> <character>STEPHANIE</character> <dialogue>I will. Thank you very much.</dialogue> <scene_description>The receptionist gestures to the lobby seating area. Stephanie gives her a defiant look and takes a seat. She tries to lean back, but the back of the fashionable chair is too far. She sits up straight, avoiding eye contact with the receptionist, who just stares at her. The elevator doors open and DENNIS NYLON (40s, Tom Ford type) walks out with his assistants, KIKO and DIEGO. Diego is very intense looking and a bit scary. As Dennis breezes past -</scene_description> <character>STEPHANIE</character> <dialogue>Mr. Nylon!?</dialogue> <scene_description>He turns as Diego steps forward and puts himself between Dennis and Stephanie. Dennis looks at Stephanie with disdain.</scene_description> <character>DENNIS NYLON</character> <dialogue>We don't accept unsolicited resumes.</dialogue> <character>STEPHANIE</character> <dialogue>That's not -- We have a problem, sir.</dialogue> <character>DENNIS NYLON</character> <parenthetical>(looking her over)</parenthetical> <dialogue>We most certainly do.</dialogue> <character>STEPHANIE</character> <dialogue>A friend of mine works in your publicity department--</dialogue> <character>DENNIS NYLON</character> <dialogue>Is that a vintage Chanel scarf?</dialogue> <character>STEPHANIE</character> <dialogue>My Aunt Frieda gave it to me.</dialogue> <character>DENNIS NYLON</character> <dialogue>Were you trying to hang yourself with it? Look at this knot. Jesus.</dialogue> <scene_description>He comes forward to loosen the knot around her neck.</scene_description> <character>STEPHANIE</character> <dialogue>I'm here because of Emily Nelson.</dialogue> <scene_description>Dennis pauses, staring at Stephanie with concern now.</scene_description> <character>DENNIS NYLON</character> <dialogue>What about Emily? What happened?</dialogue> <character>STEPHANIE</character> <dialogue>She's missing. She asked me to pick up her son nine days ago because apparently she was going to Miami and she never came back. Not a call, not a text - and no one in your office seems to give a crap. Excuse my language.</dialogue> <character>DENNIS NYLON</character> <parenthetical>(to Kiko)</parenthetical> <dialogue>Why did Emily go to Miami?</dialogue> <character>KIKO</character> <dialogue>I didn't know she did.</dialogue> <scene_description>Dennis looks quite thrown, then recovers and returns his gaze to Stephanie, regaining his power.</scene_description> <character>DENNIS NYLON</character> <dialogue>I'm sorry but if Emily hasn't told us about something then we know not to ask.</dialogue> <character>STEPHANIE</character> <dialogue>She works for you, right?</dialogue> <character>DENNIS NYLON</character> <dialogue>Yes, but do you see this skin? I'm 48 years-old and that's not botox, sweetie. That's sleep. I get plenty of it, thanks to Emily. Now, if there's something she's not telling me, it could be Chernobyl for all I know, and bless her, she'll put on her radiation suit and deal with it.</dialogue> <character>KIKO</character> <dialogue>And find a way to look fabulous doing it.</dialogue> <character>STEPHANIE</character> <dialogue>Then what do you suggest I do?</dialogue> <character>DENNIS NYLON</character> <dialogue>You want advice? Never wear a Chanel scarf with a Gap T-shirt. If you were truly Emily's friend, you'd know that. Have a nice day.</dialogue> <character>STEPHANIE</character> <parenthetical>(as they walk away)</parenthetical> <dialogue>It's Target, thank you very much. And we are friends. Best friends.</dialogue> <scene_description>Diego throws a scary look back at her as the receptionist tries to escort her out. Stephanie starts to stride off.</scene_description> <character>STEPHANIE</character> <dialogue>I'll show myself out.</dialogue> <scene_description>She walks toward the elevators as the receptionist goes back to her desk. Stephanie looks over at the doorway to the cubicles area. Her eyes follow Dennis. He now looks upset. She then sees an office door that reads: EMILY NELSON.</scene_description> <character>DENNIS NYLON (O.S.)</character> <dialogue>Valerie, my office. Now.</dialogue> <scene_description>Dennis grabs Emily's assistant VALERIE and pulls her urgently toward his office, Diego in tow. Stephanie sees a sign over the doorway to the cubicles area that reads "EMPLOYEES ONLY." Stephanie looks torn. She's never disobeyed a rule before. She glances around nervously, considers, then takes a deep breath and darts secretly into the cubicles area.</scene_description> </scene> <scene> <stage_direction>INT. DENNIS NYLON HQ - CUBICLES AREA - CONTINUOUS</stage_direction> <scene_description>Stephanie pauses in the doorway. She sees an INTERN pulling a RACK OF GARMENT BAGS along the aisle that leads to Emily's office. She darts behind the rack, moving stealthily. She nods hello to the intern, trying to fit in while watching through the tops of the hangers as Dennis, Diego and Valerie enter Dennis' glass walled office and close the door. Stephanie sees them talking intensely through the glass but can't hear what they're saying as she approaches Emily's office. But Dennis looks quite agitated. Diego listens, cold. Suddenly, THE RACK TAKES A SHARP TURN, EXPOSING STEPHANIE just as Diego turns and is about to see her. She quickly darts through a door next to her, closing it behind her.</scene_description> </scene> <scene> <stage_direction>INT. DENNIS NYLON HQ - CONFERENCE ROOM - CONTINUOUS</stage_direction> <scene_description>Stephanie leans against the door, nervous. To herself ...</scene_description> <character>STEPHANIE</character> <dialogue>Deep breaths, deep breaths ...</dialogue> <character>VOICE (O.S.)</character> <dialogue>Finally!</dialogue> <scene_description>Stephanie turns to see the room is filled with people in the middle of a design review. They all stare at her. A DESIGNER is leading the review. He looks at her impatiently.</scene_description> <character>DESIGNER</character> <dialogue>We're dying in here. I need a skinny latte with a double shot of vanill-- What are you wearing?</dialogue> <character>STEPHANIE</character> <dialogue>Oh, um, it's Chanel.</dialogue> <character>DESIGNER</character> <parenthetical>(stares a beat, then)</parenthetical> <dialogue>It's fab. Dennis would love that. All right, what's everyone else want?</dialogue> <parenthetical>(looking at her again)</parenthetical> <dialogue>Don't tell me you didn't bring a pad?</dialogue> <scene_description>Stephanie shakes her head "no." He sighs and tosses a pad and pen to her. People start calling out their coffee orders to Stephanie, who dutifully but distractedly writes them down.</scene_description> </scene> <scene> <stage_direction>INT. DENNIS NYLON HQ - WORK AREA - MOMENTS LATER</stage_direction> <scene_description>Stephanie peeks out the conference room, holding a long list of coffee orders. She sees Diego and Dennis still conferring in Dennis' office. She ducks down so that she's hidden by the low cubicles and darts into ...</scene_description> </scene> <scene> <stage_direction>INT. DENNIS NYLON HQ - EMILY'S OFFICE - CONTINUOUS</stage_direction> <scene_description>Emily's office is immaculate, modern with no clutter. Her desk is a glass top on chrome legs. A small drawer unit sits under it next to her minimalist desk chair. The wall in Emily's office is glass and so Stephanie is completely exposed. She hunches down and duck-walks to the desk, staying below view of the workers in the cubicles. Stephanie tries to open the top drawer but it's locked. They all are. She thinks, then pulls a hair pin out of her hair and tries to jimmy the lock in the top drawer with it. She clearly has no idea how to pick a lock. After a beat, the pin bends and springs out of her hand and lands out of reach.</scene_description> <character>STEPHANIE</character> <dialogue>Motherfudger ...</dialogue> <scene_description>Just then, Valerie walks past Emily's office, talking on her headset, preoccupied and upset. Stephanie scrambles behind the drawer unit, hunching down low.</scene_description> <character>VALERIE</character> <dialogue>Of course he's freaking out! He needs someone to manage this now ...</dialogue> <scene_description>As Stephanie hunches lower to hide, she glances up at the bottom of Emily's desk. Her expression changes. EMILY'S POV: Through the glass desktop, Stephanie sees a letter under Emily's desk pad. It looks like it was hastily shoved under there along with the envelope it came in. Stephanie stares up at it, thinking. STEPHANIE'S FLASHBACK VISION: Emily is at her desk, reading the letter, worried, then hears Dennis heading for her office. Scared, she quickly lifts the desk pad and hides the letter under it, dropping it just as Dennis enters. BACK TO SCENE: Stephanie reaches up and lifts the desk pad, quickly pulling out the letter and envelope. She stuffs them into her purse, then looks at Dennis' office. It's now empty. Seeing Dennis and Diego nowhere, she rushes out of Emily's office.</scene_description> </scene> <scene> <stage_direction>INT. DENNIS NYLON HQ - WORK AREA - CONTINUOUS</stage_direction> <scene_description>Stephanie darts past the cubicles, speeding toward the exit. She looks back at Dennis' office. VALERIE IS NOW WATCHING HER, STARING SCARILY. As Stephanie then turns to run ... DIEGO STEPS OUT IN FRONT OF HER, grabbing her arms. She GASPS. He stares at her threateningly as Dennis steps up.</scene_description> <character>DENNIS NYLON</character> <dialogue>Forget something, Aunt Frieda? You're not supposed to be back here, you know.</dialogue> <scene_description>Stephanie looks terrified, then suddenly changes tact. Snaps.</scene_description> <character>STEPHANIE</character> <parenthetical>(to Dennis, in his face)</parenthetical> <dialogue>You listen to me, you bargain basement Tom Ford. If you don't have your goon take his hands off me right now, I'm gonna tell the moms who watch my vlog - the thousands of moms - that Dennis Nylon is an abusive creep who victimizes women and that they should spread the word all over the internet to stop buying your overpriced, poorly-made garbage. Because if you lose moms, you lose business.</dialogue> <scene_description>Dennis looks at her like she's nuts but clearly responds to the threat of potential bad press. He pulls Diego's arm off of Stephanie.</scene_description> <character>DENNIS NYLON</character> <dialogue>I was just going to have him escort you out. Jesus Christ. You're the one who trespassed, you know.</dialogue> <character>STEPHANIE</character> <dialogue>Well, tough nuts. It's a free country. And I'll escort my-self out, thank you.</dialogue> <parenthetical>(to Diego, re: her arm)</parenthetical> <dialogue>And you'd better pray I don't have a bruise.</dialogue> <scene_description>Stephanie pushes past them and heads for the exit. As she walks away, she begins to smile to herself, suddenly feeling very cool and empowered. She takes out the coffee order list, looks at it, then crumples it up and tosses it coolly into a trash can. She exits around the corner. After a beat, she comes back around the corner and takes the crumpled list out of the garbage. She uncrumples it, smooths it on her knee and hands it to an ASSISTANT.</scene_description> <character>STEPHANIE</character> <dialogue>They're waiting for these in the conference room. Please apologize to them for the delay.</dialogue> <scene_description>She gives the assistant an apologetic look and heads out.</scene_description> </scene> <scene> <stage_direction>INT. DENNIS NYLON HQ - ELEVATOR - CONTINUOUS</stage_direction> <scene_description>Stephanie slips into the elevator, then pulls out the letter. It's an UNFLATTERING CANDID PICTURE OF EMILY, dressed in a big army coat, her face drawn, hair unwashed. Underneath it written in bold pen: "GOTTA HAVE FAITH."</scene_description> <character>STEPHANIE</character> <dialogue>"Gotta have faith?"</dialogue> <parenthetical>(studying it)</parenthetical> <dialogue>No wonder you don't like to have your picture taken.</dialogue> </scene> <scene> <stage_direction>EXT. DOWNTOWN WARFIELD, CT - MAIN STREET - DAY</stage_direction> <scene_description>THE UNFLATTERING PHOTO OF EMILY, copied to the point of blurriness, is STAPLED to a community bulletin board. Stephanie goes store to store in the small downtown area putting up fliers with the caption "HAVE YOU SEEN ME?" and a hotline number. Sean walks up and hands her a new stack. They exchange a sad smile. He's grateful to her for all this. REVEAL Darren, Stacy and Sona watching from a Starbucks.</scene_description> <character>DARREN</character> <dialogue>Look at our little Stephanie, comforting the worried husband.</dialogue> <character>STACY</character> <dialogue>Oh, please. It's an Arts-and-Crafts project. I've never seen her pass up a chance to use a stapler.</dialogue> <character>DARREN</character> <dialogue>Think of the optimism that goes into making those fliers. It's like they're looking for a lost parrot.</dialogue> <character>SONA</character> <dialogue>Emily's going to hate those fliers when she comes back.</dialogue> <character>DARREN</character> <dialogue>She's not coming back. Don't you ever watch Dateline? If a case isn't solved in the first 72 hours, they're always dead.</dialogue> <scene_description>Sona looks sadly back at Stephanie, Sean standing nearby.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - DINING ROOM - DAY</stage_direction> <scene_description>A beautifully set table for four with steaming platters of food, good silver, linen napkins and lit candles. Stephanie uncorks a bottle of white wine and pours it in two wine glasses at either end. Sean comes in the front door in sweats, damp from a jog.</scene_description> <character>STEPHANIE</character> <dialogue>Oh, perfect timing. Dinner's ready.</dialogue> <scene_description>Sean stares at the table, then shakes his head.</scene_description> <character>STEPHANIE</character> <dialogue>Did I do something wrong?</dialogue> <character>SEAN</character> <dialogue>No, I just ... I've never had this experience. Coming home to a set dinner table. I feel like I'm in some "Twilight Zone." Or "Leave it to Beaver."</dialogue> <character>STEPHANIE</character> <dialogue>Is it too much?</dialogue> <character>SEAN</character> <dialogue>It's wonderful. Anything stable is like a gift from heaven these days.</dialogue> <character>STEPHANIE</character> <dialogue>You don't believe in heaven.</dialogue> <character>SEAN</character> <parenthetical>(giving her a smile)</parenthetical> <dialogue>Maybe I'm starting to. I'm going to take a shower. I'll be right back.</dialogue> <scene_description>The DOORBELL rings. Sean goes to the door and opens it, revealing a man in a suit, DETECTIVE MEANY, 40s, Cuban. Stephanie watches anxiously as he flashes a badge.</scene_description> <character>SEAN</character> <dialogue>Stephanie? Maybe you should help the boys with their homework.</dialogue> <scene_description>Stephanie hovers in the doorway a moment, eyes wide.</scene_description> <character>STEPHANIE</character> <dialogue>Of course.</dialogue> <scene_description>Stephanie grabs the bread basket of rolls and heads up.</scene_description> <character>STEPHANIE</character> <dialogue>Just a snack before dinner.</dialogue> <scene_description>Meany nods to her, then watches her go, curious.</scene_description> <character>DETECTIVE MEANY</character> <dialogue>Cute nanny.</dialogue> <character>SEAN</character> <dialogue>No. She's a friend of my wife's. She's been helping me out.</dialogue> <scene_description>Meany nods. He clocks the open BOTTLE OF WHITE WINE on table, the lit candles and fresh flowers. Meany smiles.</scene_description> <character>DETECTIVE MEANY</character> <dialogue>Maybe she can help out around my house, too.</dialogue> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - MASTER BEDROOM - DAY</stage_direction> <scene_description>Miles and Nicky sit on the edge of the bed munching rolls and watching SpongeBob.</scene_description> <character>STEPHANIE</character> <parenthetical>(anxious)</parenthetical> <dialogue>Eat over the napkin. Try not to crumb.</dialogue> <scene_description>The boys ignore her and keep eating sloppily. Stephanie's curiosity gets the best of her. She creeps out onto ... THE SECOND FLOOR LANDING She hovers in the shadows, trying to make out their VOICES.</scene_description> <character>DETECTIVE MEANY</character> <dialogue>The manifests from American Airlines say she wasn't on any flight to Miami.</dialogue> <character>SEAN</character> <dialogue>Bloody hell.</dialogue> <character>DETECTIVE MEANY</character> <dialogue>But she did rent a White Kia from Budget. She paid in cash for a two-day rental. People usually pay cash for one reason.</dialogue> <character>SEAN</character> <dialogue>You're saying she's having an affair?</dialogue> <scene_description>Stephanie leans so far forward she knocks into the railing.</scene_description> <character>DETECTIVE MEANY</character> <dialogue>I can't say that with any confidence.</dialogue> <character>SEAN</character> <dialogue>Then don't say it. I'm sure you'll be able to track that Kia.</dialogue> <character>DETECTIVE MEANY</character> <dialogue>We're working on it. I have toll reports coming in from across the country, assuming she didn't swap out the plates. I'd like to send a description of your wife to every precinct in the Tri-State area. Any distinguishing features?</dialogue> <character>SEAN</character> <dialogue>Yes. She's drop dead gorgeous.</dialogue> <scene_description>Stephanie feels a pinch of envy.</scene_description> <character>DETECTIVE MEANY</character> <dialogue>Any birth marks? Tattoos?</dialogue> <character>SEAN</character> <dialogue>No. Wait. Actually, yes. She has a tattoo on her wrist. A bracelet of barbed wire.</dialogue> <parenthetical>(off of Meany's look)</parenthetical> <dialogue>More judgement? Look, Emily did things like that. Crazy, impulsive things. It's part of what made her the most exciting woman I've ever known.</dialogue> <scene_description>His voice trails off, forlorn. Stephanie can study him from this angle and she feels his loss. But she also feels a pang of jealousy. She shakes it off.</scene_description> <character>DETECTIVE MEANY</character> <dialogue>Well, you're on a roller coaster now.</dialogue> <parenthetical>(with another smile)</parenthetical> <dialogue>Tell your wife's friend I said goodbye.</dialogue> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - KITCHEN - DAY</stage_direction> <scene_description>Stephanie washes the dishes post-dinner in silence. Sean comes in and pours himself the last of the wine.</scene_description> <character>SEAN</character> <dialogue>You don't have to do this. You're a saint.</dialogue> <character>STEPHANIE</character> <dialogue>I'm not a saint. I just like to keep my hands busy.</dialogue> <character>SEAN</character> <dialogue>Where was she going in that damn Kia? She'd never be caught dead in a car like that. Ugh, bad choice of words.</dialogue> <character>STEPHANIE</character> <dialogue>She's not dead. I know she's not.</dialogue> <character>SEAN</character> <dialogue>Then she's having one hell of an affair. Or maybe she just had to get away from me.</dialogue> <character>STEPHANIE</character> <dialogue>Sean, you are a wonderful, caring, intelligent man. And Emily loves you dearly. Don't you ever undersell yourself like that again. I won't stand for it.</dialogue> <scene_description>Sean stares at her, then smiles sadly. Nods. She smiles.</scene_description> <character>STEPHANIE</character> <dialogue>Good. I'm going to go home. It's "Flags of the World" day tomorrow at school and I haven't even started on Asia.</dialogue> <scene_description>Stephanie moves to leave. As she passes Sean at the table, he reaches out and takes her wrist. She gasps and stops short, looking him in the eye. There's genuine longing in his gaze. He quickly lets go of her wrist apologetically.</scene_description> <character>SEAN</character> <dialogue>Sorry. It's just ... no. I don't mean sorry. I mean thank you. For being such a good friend, Stephanie. Not just to Emily, but to me as well.</dialogue> <character>STEPHANIE</character> <dialogue>Of course. I'm a problem-solver. I just wish I could do more.</dialogue> <character>SEAN</character> <dialogue>You're doing plenty. And you are a saint.</dialogue> </scene> <scene> <stage_direction>I/E. STEPHANIE'S VOLVO (MOVING) - DAY</stage_direction> <scene_description>Stephanie drives home, chewing her bottom lip, completely conflicted. Miles is asleep in his car seat in the back seat.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>That's where we are today, moms ...</dialogue> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - KITCHEN - DAY</stage_direction> <scene_description>We catch up to the VLOG from the very beginning.</scene_description> <character>STEPHANIE</character> <dialogue>So, we're keeping our heads high and not jumping to conclusions. We're soldiering on with zucchini cookies. But if you want to help, Emily was driving a WHITE KIA rented at the Budget at La Guardia on April 24th. I did some digging and found that the license plate was New York F as in Frieda, N as in Nicky, Z as in Zucchini, 1447. If any of you moms happen to see it, I've got a basketful of rosemary shampoo bars with your name on them.</dialogue> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - KITCHEN - DAY</stage_direction> <scene_description>Stephanie wears a robe and a towel turban over her wet hair, Nefertiti-style. She opens her laptop, checking her e-mail. We HEAR the voice of one of her MOMS as Stephanie reads.</scene_description> <character>WOMAN'S VOICE (V.O.)</character> <dialogue>"Dear Stephanie, I'm writing from Standish, Michigan, with a possible Emily sighting. I was in a gas station off the 75 when I saw a White Kia rental you described. The woman was wearing a baseball cap and glasses, so I didn't get a good look, but I managed to match the license plate number. I hope this helps.</dialogue> <character>WOMAN'S VOICE (V.O.)</character> <dialogue>And do you have a sugar-free Christmas cake recipe? I wou--"</dialogue> <scene_description>Stephanie closes her laptop and makes a call.</scene_description> <character>STEPHANIE</character> <dialogue>I'd like to speak to Detective Meany.</dialogue> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - KITCHEN - DAY</stage_direction> <scene_description>The boys play in the next room. Sean pours a drink: there's an even deeper level of anxiety on him. Stephanie sips tea.</scene_description> <character>STEPHANIE</character> <dialogue>Meany sent all the info to local authorities in Michigan. Did Emily ever mention Michigan? Maybe a friend from college?</dialogue> <character>SEAN</character> <dialogue>As far as I knew, Emily never had any real friends. Not before you.</dialogue> <character>STEPHANIE</character> <dialogue>Well, that's ... I'm flattered. But how is that possible?</dialogue> <character>SEAN</character> <dialogue>She's a workaholic.</dialogue> <scene_description>Sean's cell phone RINGS. Sees the number and answers quickly.</scene_description> <character>SEAN</character> <dialogue>Hello? Tell me you found her ...</dialogue> <parenthetical>(to Stephanie)</parenthetical> <dialogue>Did Emily have a Celine handbag?</dialogue> <character>STEPHANIE</character> <parenthetical>(with dread)</parenthetical> <dialogue>The Nano Tote.</dialogue> <character>SEAN (ON PHONE)</character> <dialogue>Yes, that's hers. A lake? I have no idea. I'll head there now.</dialogue> <parenthetical>(hangs up)</parenthetical> <dialogue>They found the rental car in Michigan.</dialogue> <scene_description>Stephanie grabs Sean's hand, squeezing it.</scene_description> <character>SEAN</character> <dialogue>I have to go or I'm going to go crazy. Can you do me a favor and -</dialogue> <character>STEPHANIE</character> <dialogue>Done. I'll take care of Nicky. Go.</dialogue> <scene_description>ON VIDEO VLOG - KITCHEN - DAY</scene_description> <character>STEPHANIE</character> <dialogue>Hi, Moms. Stephanie here. I can see we have a flood of new viewers today, so welcome. But I'm sorry, this is probably not the best entry to start with.</dialogue> </scene> <scene> <stage_direction>EXT. WITCH LAKE (MICHIGAN) - DAY</stage_direction> <scene_description>A TOW TRUCK tows a mud-splashed WHITE KIA down the dirt road.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>Those of you who've been following the last few weeks, you know that my best friend went missing.</dialogue> </scene> <scene> <stage_direction>EXT. LAKESIDE - MICHIGAN WOODS - DAY</stage_direction> <scene_description>A CSI PHOTOGRAPHER takes a shot of FOOTPRINTS on a dirt path.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>So many of you wrote to me with your tips or hunches.</dialogue> </scene> <scene> <stage_direction>INT. WITCH LAKE - CRAMPED SPACE - DAY</stage_direction> <scene_description>CRIME SCENE INVESTIGATORS tag and bag various personal items strewn about a cabin lined with rusty bunk beds.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>Special thanks to Leanne Lippens, whose helpful tip led to a major break in the case.</dialogue> <scene_description>A GLOVED CSI HAND empties Emily's handbag of its contents: CELL PHONE. LIP GLOSS. SUNGLASSES. LEGO MAN HOLDING A SWORD.</scene_description> </scene> <scene> <stage_direction>EXT. MICHIGAN LAKE FRONT - DAY</stage_direction> <scene_description>LOCAL POLICE OFFICERS loll around at the bank, casually chatting or on cell phones as an exhausted Sean stands at the water's edge, arms folded, his face as pale as he watches the lake.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>I have somber news ...</dialogue> <scene_description>DIVERS in tanks and goggles drag the bottom. Faint bubbles pepper the surface in spots. One of the divers surfaces and waves his hand, pointing below. He found something.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>Emily was found.</dialogue> <scene_description>Sean's face falls as the truth hits him hard. The Diver resurfaces with a BODY under his arm. The pale corpse of a woman, her loose hair hiding her face like seaweed. He swims toward the shore, tugging her along.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>Not alive, I'm afraid.</dialogue> <scene_description>The police move in to meet him and take the body onto the land. Emily's face is bloated, her eyes wide open, her lips parted as if taking her last breath.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>My friend, my best friend ... is dead.</dialogue> <scene_description>Sean reaches for her lifeless hand with the barbed wire tattoo. And his mother's sapphire and diamond WEDDING RING. Sean breaks down sobbing.</scene_description> </scene> <scene> <stage_direction>INT. MORTUARY - DAY</stage_direction> <scene_description>Sean is a wreck as he speaks to the MORTICIAN. Stephanie hangs back a few feet, supportive.</scene_description> <character>MORTICIAN</character> <dialogue>An open casket helps give the loved ones a sense of closure.</dialogue> <character>SEAN</character> <dialogue>I ... God - I have to think for a second.</dialogue> <scene_description>Sean heads out of the mortuary, leaving Stephanie alone with the MORTICIAN. They stand together in silence.</scene_description> <character>MORTICIAN</character> <dialogue>Let him know we have the best embalmer. Usually with drowning victims, the skin is too fragile for an open casket. But not us. We can give her a glow.</dialogue> <character>STEPHANIE</character> <parenthetical>(uncomfortable)</parenthetical> <dialogue>She was very private. And very particular about how she looked.</dialogue> <character>MORTICIAN</character> <dialogue>Oh, we only use the best brands of make- up. And fillers. You'll never even know about her missing tooth.</dialogue> <character>STEPHANIE</character> <dialogue>Missing tooth?</dialogue> <character>MORTICIAN</character> <dialogue>Yes, the right front one.</dialogue> <character>STEPHANIE</character> <parenthetical>(baffled)</parenthetical> <dialogue>Did she lose it when she died?</dialogue> <character>MORTICIAN</character> <dialogue>Had to be an old injury. The bone was growing over it. But we'll cover it. Think of us as life's final fashion runway.</dialogue> </scene> <scene> <stage_direction>EXT. WARFIELD CEMETERY - DAY</stage_direction> <scene_description>EMILY'S CASKET is lowered into a grave as a PRIEST delivers a sermon. Darren, Sona, Stacy, other parents, Dennis Nylon, Emily's co-workers, they're all there. Sean and Stephanie stand a safe distance apart. Nicky wears a navy blue suit and a numb countenance as the pulley ropes are removed and the casket settles in. Stephanie glances at Sean, whose eyes are red. Puts her hand on his arm. We see Dennis Nylon staring at Stephanie intently, thinking. Stephanie looks over at him and he looks back at the priest before Stephanie sees he was watching.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - DAY</stage_direction> <scene_description>Emily's funeral reception. People mill around. Stephanie sets food out on the buffet table. Darren sets his homemade brownies out on a crystal platter next to her. He and Stephanie trade a look and a sad smile.</scene_description> <character>STEPHANIE</character> <dialogue>Are those ...?</dialogue> <character>DARREN</character> <dialogue>They are. From your "Last Minute Brownies" entry.</dialogue> <character>STEPHANIE</character> <dialogue>I can't believe you watch my vlog.</dialogue> <character>DARREN</character> <dialogue>Well, to be honest, I was making fun of you at first. But then there were some helpful tips in there - especially when Lulu had that rash. Apple Cider Vinegar. Who knew?</dialogue> <scene_description>Stephanie gives him a sad smile as Sona walks up.</scene_description> <character>DARREN</character> <dialogue>You're a saint to help out her family.</dialogue> <character>STEPHANIE</character> <dialogue>I'm not a saint. Emily was my friend. She'd do the same thing for me.</dialogue> <character>SONA</character> <dialogue>If you or Sean ever need me to watch Miles or Nicky any time, it's nothing.</dialogue> <character>STEPHANIE</character> <dialogue>Thanks, Sona.</dialogue> </scene> <scene> <stage_direction>EXT. EMILY'S HOUSE - BACKYARD - DAY</stage_direction> <scene_description>Nicky rips branches off a tree one by one. Angry and frustrated, he needs a release. Miles approaches Nicky from behind, also in his suit.</scene_description> <character>MILES</character> <dialogue>Nicky. You don't need to worry. Your Mom's in heaven. With my Dad and Uncle Chris.</dialogue> <character>NICKY</character> <dialogue>No, she's not. She's in the ground. She's never coming back.</dialogue> <character>MILES</character> <dialogue>She's in heaven now -</dialogue> <character>NICKY</character> <dialogue>Shut up!</dialogue> <scene_description>Nicky flies at Miles and shoves him to the ground.</scene_description> <character>MILES</character> <dialogue>OWWWW! Stop!!!</dialogue> <scene_description>Nicky straddles Miles and smacks him across the face, open- palmed, left then right then left then right until Miles' nose starts gushing blood.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - DAY</stage_direction> <scene_description>Stephanie notices the scuffle out the window and races -- OUT TO THE BACKYARD</scene_description> <character>SEAN</character> <parenthetical>(racing over)</parenthetical> <dialogue>What the hell are you doing!?</dialogue> <scene_description>Sean yanks Nicky off Miles and holds him back.</scene_description> <character>SEAN</character> <dialogue>Calm down.</dialogue> <scene_description>Stephanie moves to Miles and helps him up off the ground, kneeling to look at his nose. Nicky points at Stephanie.</scene_description> <character>NICKY</character> <dialogue>She made this happen. She made my mom die!</dialogue> <scene_description>Stephanie feels dizzy. She glances around and notices Darren watching all this from the kitchen window.</scene_description> <character>SEAN</character> <dialogue>Oh, Jesus, Nicky - that's crazy.</dialogue> <character>NICKY</character> <dialogue>She's trying to be my new mom.</dialogue> <character>STEPHANIE</character> <dialogue>I'm not trying to be your new mom, sweetie.</dialogue> <character>NICKY</character> <dialogue>You're trying to be everybody's Mom. But you're not mine!</dialogue> <character>SEAN</character> <dialogue>Nicky, stop. I know you're upset, but -</dialogue> <character>NICKY</character> <dialogue>I want my mom!</dialogue> <character>SEAN</character> <dialogue>I know you do, but you need to calm down.</dialogue> <scene_description>Sean struggles to hold onto Nicky who kicks wildly.</scene_description> <character>NICKY</character> <dialogue>Mom was right. You're a loser!</dialogue> <scene_description>Sean hurls Nicky on the ground, snapping. Stephanie gasps.</scene_description> <character>SEAN</character> <dialogue>Is that what your mother said? Is that when she was drunk at two in the afternoon? I'm doing the best I can!</dialogue> <character>STEPHANIE</character> <dialogue>Sean, shhh. He's a little boy.</dialogue> <scene_description>All at once, Sean realizes what he's done.</scene_description> <character>SEAN</character> <dialogue>Oh my God, what am I doing? What have I done? Nicky ... Jesus.</dialogue> <scene_description>Nicky hurls himself on the ground and hides his face with his hands. Sean touches his arm. Nicky swats him away.</scene_description> <character>NICKY</character> <dialogue>Get away from me!</dialogue> <scene_description>Sean looks up at Stephanie, completely lost. Some of the guests watch from a distance.</scene_description> <character>SEAN</character> <dialogue>What do I do?</dialogue> <character>STEPHANIE</character> <dialogue>Let's everybody take a deep centering breath. We're going to do one thing at a time. Let me talk to Nicky; and Sean, you get some ice for Miles' nose. He's got a good little shiner coming.</dialogue> <scene_description>Sean puts his hand on Miles' shoulder, walking him inside. Stephanie sits down on the grass next to Nicky.</scene_description> <character>NICKY</character> <dialogue>I don't want to talk to you.</dialogue> <character>STEPHANIE</character> <dialogue>Well, you're not my favorite dinner date either, Mister. But I think you should know everything you're feeling right now is normal. You can act up all you want - but it won't change what I know.</dialogue> <character>NICKY</character> <parenthetical>(suspicious)</parenthetical> <dialogue>What do you know?</dialogue> <character>STEPHANIE</character> <dialogue>That you're a good kid.</dialogue> <scene_description>From a distance, SEAN turns to see Stephanie calmly sitting across from Nicky, like a snake-charmer. He stares sadly.</scene_description> <character>STEPHANIE (FROM A DISTANCE)</character> <dialogue>So let's sit here and not talk. Let's just sit here and feel lousy and watch the grass grow. Sometimes you just need to feel what you're feeling. Until it gets better. Time is the only medicine.</dialogue> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - STAIRS - DUSK</stage_direction> <scene_description>Stephanie carries a sleeping, spent Nicky upstairs INTO HIS ROOM. She lays him on his bunk. Miles is asleep in the upper bunk. Stephanie kisses Nicky's forehead and slips out ...</scene_description> <character>INTO THE HALLWAY</character> <dialogue>Sean is standing silhouetted against the light from the master bedroom. His eyes bloodshot, tear-filled. She moves to him and hugs him.</dialogue> <character>STEPHANIE</character> <dialogue>You got to break some eggs sometimes. Don't be hard on yourself. These are the sorts of things nobody ever gets right.</dialogue> <character>SEAN</character> <dialogue>You do. You always do.</dialogue> <scene_description>He sinks into her. This feels all too familiar and dangerous. Her heart pounds against his. Sean can feel it too. His need for her is turning physical. His hands slide down, resting on the small of her back.</scene_description> <character>STEPHANIE</character> <dialogue>Sean, I don't know ...</dialogue> <character>SEAN</character> <dialogue>I'll stop. I'll stop if you're sure you want me to.</dialogue> <scene_description>His hands move lower ... to her ass. She inhales sharply but doesn't stop him. His hand slides between her legs. It's been a long time. His fingers move rhythmically. Her breathing picks up. He hikes up her black dress, easing down her underpants. She grabs his wrist to stop him.</scene_description> <character>SEAN</character> <dialogue>Right, you're right. We shouldn't.</dialogue> <scene_description>She stares in his eyes. Her heart pounding loud in her ears, she then kisses him hungrily. They attack each other ...</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - MASTER BEDROOM</stage_direction> <scene_description>Sean hurls her on the bed and climbs on top of her. As she reaches down to unbuckle his belt, he grabs her wrists and pins them to the bed. She VISUALIZES -- SEAN PINNING EMILY'S WRISTS TO THE BED THE EXACT SAME WAY. Stephanie tries to shake off the image as he kisses down her body to between her legs. She writhes in brutal ecstasy as he goes down on her, pinning her hands down.</scene_description> <character>STEPHANIE</character> <dialogue>Oh my god ... oh my god ... no ...</dialogue> <scene_description>She fights it but it's too late. Her body arches and twitches with a groan of intense pleasure. Yells in ecstacy.</scene_description> <character>STEPHANIE</character> <dialogue>Ohhh, SUGAR-FREE CHRISTMAS CAKE!</dialogue> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - MASTER BEDROOM - LATER</stage_direction> <scene_description>Stephanie and Sean lie in bed next to each other. Staring at the ceiling in stunned disbelief. After several beats ...</scene_description> <character>STEPHANIE</character> <dialogue>Well, I think it was a lovely service. Very tasteful.</dialogue> <character>SEAN</character> <dialogue>Yes, it was.</dialogue> <scene_description>They keep staring up at the ceiling ...</scene_description> <character>STEPHANIE (PRE-LAP)</character> <dialogue>Hi Moms. Stephanie here. In a time of so much grief, it's important to find that silver lining.</dialogue> </scene> <scene> <stage_direction>INT. WARFIELD ELEMENTARY SCHOOL - AUDITORIUM - DAY</stage_direction> <scene_description>The SECOND-GRADERS are dressed in yellow T-shirts with hand painted suns. They sing "It's a Sunshine Day" while performing it in sign language. Ms. Kerry leads in front.</scene_description> <character>SECOND GRADERS</character> <dialogue>"Everybody's laughing/It's a sunshine day/Everybody's singing/It's a sunshine day ..."</dialogue> <scene_description>The parents crowd the auditorium shooting videos on iPhones. Stephanie is in her photo vest, equipped with a telephoto lens; but she's lost some of her overbearing quality. She steals glances at Sean. He glances back, then feels Darren's eyes on him. Stephanie smiles until her eyes fall on Nicky. He's singing with all his heart. Her smile falls, thinking of Emily.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - LIVING ROOM - DAY</stage_direction> <scene_description>Miles and Nicky watch Sponge Bob and laugh hysterically. Stephanie enters with a tray of TEMPEH. With his eyes on her, Nicky takes one off the tray, eating it, swallowing with difficulty ... then giving her a small smile. It's a small gesture, but it means the world to both.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - LAUNDRY ROOM - DAY</stage_direction> <scene_description>Sean's jogging shorts hang around his ankles. Stephanie's perched on the rumbling washing machine while Sean has sex with her. She folds her ankles behind him, pulling him in.</scene_description> <character>SEAN</character> <dialogue>Don't do that. You're gonna make me come.</dialogue> <character>STEPHANIE</character> <dialogue>Fair is fair.</dialogue> <character>SEAN</character> <parenthetical>(suddenly climaxing)</parenthetical> <dialogue>Ohhh, sugar-free Christmas cake!</dialogue> <scene_description>He slumps against her, then gives her a playful smile.</scene_description> <character>STEPHANIE</character> <parenthetical>(with a laugh)</parenthetical> <dialogue>Oh god. You're terrible.</dialogue> <scene_description>She playfully swats the back of his head. He winks and kisses her shoulder. She smiles to herself, feeling powerful. Happy.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - KITCHEN - DAY</stage_direction> <scene_description>Pandora plays on Stephanie's iPhone. Beyonce's "GIRLS (RUN THE WORLD)." Stephanie dances as she washes some dishes.</scene_description> <character>STEPHANIE</character> <dialogue>Girls! We run this mother / Girls! We run this mother / Girls! We run this mother -</dialogue> <scene_description>Her back is turned when Sean opens the kitchen door, home from work. He watches her jiving. Cracks a smile. She feels him there and turns, mortified.</scene_description> <character>STEPHANIE</character> <dialogue>Oh my God. It was --</dialogue> <parenthetical>(grabs phone; stops it)</parenthetical> <dialogue>I like to listen to hip hop when I cook. How embarrassing.</dialogue> <character>SEAN</character> <dialogue>No, keep it on. I like when you "twerk."</dialogue> <character>STEPHANIE</character> <dialogue>Oh lord. Hey, can I make you a drink? Emily taught me how to make a Duke's martini.</dialogue> <scene_description>A flash of pain crosses Sean's face at the mention of Emily.</scene_description> <character>STEPHANIE</character> <dialogue>Gosh, that was really insensitive of me.</dialogue> <character>SEAN</character> <dialogue>No, it's fine. And I'd love one.</dialogue> <scene_description>Stephanie opens the freezer and takes out Emily's gin and glass. Stares at it, then starts to make the martini.</scene_description> <character>STEPHANIE</character> <dialogue>Sean ... how did she lose her tooth?</dialogue> <character>SEAN</character> <dialogue>What?</dialogue> <character>STEPHANIE</character> <dialogue>Emily. The mortician said that she was missing her front tooth. She sure had a good falsie. I had no idea.</dialogue> <character>SEAN</character> <dialogue>I wasn't aware she had a fake tooth.</dialogue> <character>STEPHANIE</character> <dialogue>Is that something she'd hide from you?</dialogue> <character>SEAN</character> <dialogue>She hid everything from me. Sometimes I'm amazed I know as much about her as I do.</dialogue> <scene_description>Stephanie sees his pain as he looks off distantly. Softens.</scene_description> <character>STEPHANIE</character> <dialogue>I made you guys cashew chicken with stir- fry veggies. It's almost ready. Miles and I will get out of your hair.</dialogue> <character>SEAN</character> <dialogue>I'd rather the two of you stay for dinner. My hair can take it.</dialogue> <scene_description>Stephanie turns and smiles. Sean smiles back hopefully.</scene_description> <character>STEPHANIE</character> <dialogue>I was really hoping you'd say that.</dialogue> </scene> <scene> <stage_direction>EXT. WARFIELD, CT - STREETS - DAY</stage_direction> <scene_description>A beautiful morning in Warfield. The FLIERS OF EMILY, torn and weathered, flapping sadly in the wake of passing cars.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - LIVING ROOM - DAY</stage_direction> <scene_description>Stephanie stands in the center of Emily's living room, taking it all in. It's impressive. She sees the Sonos remote. She runs her finger along it, remembering Emily. Then she pushes the "on" button. A 60s FRENCH POP SONG begins to play. Emily listens sadly, then starts to enjoy the song. She does a little turn and ends up face to face with THE NUDE PAINTING OF EMILY, which stares back at her. Looking caught, Stephanie thinks for a second, then takes down the painting.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - MASTER BEDROOM - DAY</stage_direction> <scene_description>Sunlight pours into the ultra hip modern bedroom as the FRENCH POP SONG continues playing from the ceiling speakers. Stephanie slips off her worn moccasins and tiptoes, carrying the painting to - EMILY'S CLOSET Stephanie looks with some trepidation at the array of slick designer clothes. Then, with a look of determination, she steps in for the first time as if into a tomb. She rests the PAINTING against the wall. She's so cautious it's as if she's certain it's haunted. She pivots and she's face to face with - - a Dolce &amp; Gabbana fitted silk dress. She holds it up to herself in the mirror. She can't believe she's doing this. She pauses, reverent, respectful. But suddenly, excitement gets the better of her and she strips down to her bra and panties, unzips the dress, and steps into it. She tries to tug up the zipper but she can't get it up. Frustrated, she yanks the zipper up by force. She studies her reflection in the mirror, liking what she sees. She stands on tiptoe, simulating high heels. Stephanie moves to the closet where the designer shoes are kept in their boxes: Prada, Jimmy Choo, YSL. She makes an Emily face and strikes poses in the mirror in time with the French song.</scene_description> <character>STEPHANIE</character> <parenthetical>(channeling Emily)</parenthetical> <dialogue>"One's not enough, three's too many, two's just right. Just like tits."</dialogue> <scene_description>She smiles. The DOORBELL RINGS. Stephanie panics. She desperately tries to unzip the dress. Not happening. Stephanie races to the window and looks down. Sees a SEDAN parked out front and Detective Meany at the front door. She GASPS as HE LOOKS UP AND SEES HER.</scene_description> <character>DETECTIVE MEANY</character> <dialogue>Ms. Smothers? Can I talk to you?</dialogue> <character>STEPHANIE</character> <parenthetical>(forced casual)</parenthetical> <dialogue>Sure thing! Coming right down.</dialogue> <parenthetical>(to herself)</parenthetical> <dialogue>Shit, shit, shit. Oopsy.</dialogue> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - DAY</stage_direction> <scene_description>Trapped in the dress, Stephanie races downstairs, barefoot, still tugging at the zipper. She dives at the Sonos remote, turns it off and yanks open the door.</scene_description> <character>STEPHANIE</character> <dialogue>Hi! Sorry! I was just - I left something here and Sean gave me the key. For when I bring Nicky home. We have an arrangement. A deal! I meant a very domestic deal.</dialogue> <character>DETECTIVE MEANY</character> <dialogue>You're not under arrest, Ms. Smothers.</dialogue> <character>STEPHANIE</character> <dialogue>Ha! Ha ha. Well, I should hope not.</dialogue> <parenthetical>(suddenly serious)</parenthetical> <dialogue>Sean's not home.</dialogue> <character>DETECTIVE MEANY</character> <dialogue>I was hoping to speak to you, actually. I went by your house and the school. Some of the moms said you might be here.</dialogue> <character>STEPHANIE</character> <dialogue>Oh, really. Who? It was Stacy, wasn't it?</dialogue> <character>DETECTIVE MEANY</character> <dialogue>Can I come in?</dialogue> <character>STEPHANIE</character> <dialogue>Of course. Entre vous. Ha ha.</dialogue> <scene_description>Stephanie clears the door, sweating, as Meany enters.</scene_description> <character>DETECTIVE MEANY</character> <dialogue>I had a few follow-up questions.</dialogue> <character>STEPHANIE</character> <dialogue>Well, I have more than a few myself.</dialogue> <scene_description>Stephanie has a hard time sitting in the extremely tight dress, but she manages an awkward pose on the divan.</scene_description> <character>DETECTIVE MEANY</character> <dialogue>You said Emily was your best friend.</dialogue> <character>STEPHANIE</character> <dialogue>She is. Was. It's hard to get used to -</dialogue> <character>DETECTIVE MEANY</character> <dialogue>Was she depressed?</dialogue> <character>STEPHANIE</character> <dialogue>No. She had it all: the job, the house -</dialogue> <character>DETECTIVE MEANY</character> <dialogue>The husband.</dialogue> <character>STEPHANIE</character> <dialogue>I was getting there.</dialogue> <character>DETECTIVE MEANY</character> <dialogue>The neighbors say they fought a lot.</dialogue> <character>STEPHANIE</character> <dialogue>Oh, they had their issues. But they loved each other. Intensely.</dialogue> <character>DETECTIVE MEANY</character> <dialogue>Too intensely?</dialogue> <character>STEPHANIE</character> <dialogue>I think the exact right amount of "intensely."</dialogue> <character>DETECTIVE MEANY</character> <dialogue>What "issues" did they have?</dialogue> <character>STEPHANIE</character> <dialogue>Normal issues. They were stressed out about money. Emily wanted to slow down.</dialogue> <scene_description>Detective Meany produces a DOCUMENT.</scene_description> <character>DETECTIVE MEANY</character> <dialogue>She slowed down all right. Here's the autopsy report.</dialogue> <parenthetical>(reading)</parenthetical> <dialogue>"Severe liver damage suggesting heavy use of alcohol. Track marks along her arms and between her toes." Were you aware of her heroin use?</dialogue> <scene_description>Stephanie's eyes are as wide as a deer in the headlights.</scene_description> <character>STEPHANIE</character> <dialogue>Uh, I ... no. I really don't believe that. She liked very strong martinis, b--</dialogue> <character>DETECTIVE MEANY</character> <dialogue>They found the needle.</dialogue> <character>STEPHANIE</character> <parenthetical>(reeling)</parenthetical> <dialogue>But -- how could she keep that a secret? Not just from me. From Sean ...</dialogue> <character>DETECTIVE MEANY</character> <dialogue>You seem to know Sean pretty well.</dialogue> <character>STEPHANIE</character> <parenthetical>(composing herself)</parenthetical> <dialogue>I've gotten to know him over the last few weeks -- as friends helping each other through a crisis.</dialogue> <character>DETECTIVE MEANY</character> <dialogue>Uh huh. I'm guessing you've never dealt with law enforcement before.</dialogue> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - DAY (FLASHBACK)</stage_direction> <scene_description>A YOUNGER STEPHANIE opens the door to TWO POLICEMAN with grave expressions. Without sound, they begin telling her about the accident with her husband and brother.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - DAY - BACK TO PRESENT</stage_direction> <scene_description>Stephanie regains her composure.</scene_description> <character>STEPHANIE</character> <dialogue>Not really, no.</dialogue> <character>DETECTIVE MEANY</character> <dialogue>Then I'll simplify this. Did Emily know you were banging her husband?</dialogue> <scene_description>Stephanie struggles to keep her wits.</scene_description> <character>STEPHANIE</character> <dialogue>That's a very rude way to put it.</dialogue> <parenthetical>(a deep breath)</parenthetical> <dialogue>The answer is no. Because it started after she died. People grieve in very different ways. We've been discreet; we've been respectful of her memory. No one knows. Not a single person in Warfield, not even the children.</dialogue> <scene_description>He stares at her a moment with a half-smile, toying with her. Meany finally leans in, going for the knockout.</scene_description> <character>DETECTIVE MEANY</character> <dialogue>Were you aware that Sean took out an extra four million dollar life insurance policy on Emily before she disappeared?</dialogue> <scene_description>Stephanie goes ash white.</scene_description> <character>STEPHANIE</character> <dialogue>No, I ... I didn't know that.</dialogue> <parenthetical>(mocking)</parenthetical> <dialogue>So, what are you saying? Sean hired a "hitman"? That he rubbed her out?</dialogue> <character>DETECTIVE MEANY</character> <dialogue>I never said that. But you just did.</dialogue> <character>STEPHANIE</character> <dialogue>Look, I don't appreciate your attitude, quite frankly, Mr. Meany. If you want to grill anybody, you should talk to Emily's boss, Dennis Nylon. He couldn't be more suspicious.</dialogue> <character>DETECTIVE MEANY</character> <dialogue>That's interesting because he contacted us and said that he thought you may know more about all this than you're letting on.</dialogue> <parenthetical>(off her shocked look)</parenthetical> <dialogue>As long as you're being honest with me, Ms. Smothers, you've got nothing to worry about. I'm just following bread crumbs, wherever they lead.</dialogue> <scene_description>Meany stands up, leaving Stephanie in her confounded state.</scene_description> <character>DETECTIVE MEANY</character> <dialogue>I'm done for now. Thank you for your time. Nice dress, by the way. Her clothes look good on you.</dialogue> <scene_description>As he heads for the door, Stephanie erupts:</scene_description> <character>STEPHANIE</character> <dialogue>Your theory doesn't hold water. How does it explain the fake plane ticket? The rental car? Why drive to a Summer Camp in Michigan to do heroin? There's plenty of good heroin right here in Connecticut! ... I'm told.</dialogue> <character>DETECTIVE MEANY</character> <dialogue>I'll be in touch. Enjoy the new house.</dialogue> <scene_description>As he heads out the door, she calls after him.</scene_description> <character>STEPHANIE</character> <dialogue>Those are the worst bread crumbs ever. You couldn't fill a Caesar salad with them.</dialogue> <scene_description>As he vanishes, Stephanie is deep in thought, confused, disgusted and finally ... determined. FRENCH POP KICKS IN.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - MASTER BEDROOM - DAY</stage_direction> <scene_description>With kitchen shears, Stephanie cuts the Dolce dress up the front and rips it off herself like Hulk. RRRIIIIIP!!!</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - HOME OFFICE - DAY</stage_direction> <scene_description>Stephanie goes through drawers, searching through Emily's files and receipts, finding nothing much of interest. Pulls out a large manila envelop that's already been opened from a pile. Written on the envelope is "EM - CAN YOU SIGN THESE? - INSURANCE GUY NEEDS THEM ASAP - THANKS! S." She looks inside the envelope but it's empty. She looks a bit freaked. FROM OUTSIDE, WE SEE STEPHANIE THROUGH THE OFFICE WINDOW. IS THIS SOMEONE'S POV OR NOT? WE ARE UNSURE. Stephanie stares at the writing on the envelope, thinking. Suddenly, BANG! Stephanie GASPS as something hits the window. Heart pounding, she stands and looks out the window. STEPHANIE'S POV: A BIRD is on the ground, dazed from hitting the window. It flops around a bit, recovers and flies off. Stephanie catches her breath, recovering from the shock. Then she looks at the writing on the envelope again, puts it back in the pile and heads for the door.</scene_description> </scene> <scene> <stage_direction>EXT. CONNECTICUT COLLEGE - DAY</stage_direction> <scene_description>Happy, busy looking COEDS cross the paths en route to classes. Stephanie moves across the campus, deep in thought.</scene_description> </scene> <scene> <stage_direction>EXT. CONNECTICUT COLLEGE - ENGLISH DEPT. - DAY</stage_direction> <scene_description>As Stephanie rounds the corner, she sees Sean with a very attractive FEMALE T.A -- cool clothes, highlighted blonde hair. A younger version of Emily. Sean and the girl walk out, deep in flirty conversation. The girl laughs at a joke he makes and then touches his arm gently. They hug. Stephanie watches with a pit in her stomach.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - DINING ROOM - DAY</stage_direction> <scene_description>All seated around the table, Stephanie, Sean, Miles and Nicky eat in silence. Stephanie looks tense, pre-occupied.</scene_description> <character>MILES</character> <dialogue>Mom, Nicky's glass isn't on the coaster.</dialogue> <character>STEPHANIE</character> <dialogue>What? Oh, Nicky, put Mr. Glass on Mr. Coaster please.</dialogue> <scene_description>Nicky rolls his eyes and moves his glass onto the coaster as he crunches on his salad, confused.</scene_description> <character>NICKY</character> <dialogue>Are these amino acids in this salad?</dialogue> <character>STEPHANIE</character> <dialogue>Those are just bread crumbs.</dialogue> <scene_description>Determined, he keeps crunching. Stephanie hesitates, then ...</scene_description> <character>STEPHANIE</character> <parenthetical>(to Sean)</parenthetical> <dialogue>So how was work today?</dialogue> <character>SEAN</character> <dialogue>Grim. I had to explain the difference between "your" possessive and "you're" apostrophe R-E to a college junior. Remarkable. That's where my writing time has gone. To proofreading illiterates.</dialogue> <character>STEPHANIE</character> <dialogue>I can see how that might ... drive a man over the edge.</dialogue> <scene_description>She's doing everything she can to contain her roiling soul.</scene_description> <character>SEAN</character> <dialogue>And what did you guys learn in school today? Other than unmerited self-esteem.</dialogue> <character>NICKY</character> <parenthetical>(mouth full)</parenthetical> <dialogue>I saw my Mom.</dialogue> <scene_description>The dinner table goes silent. Sean and Stephanie meet eyes, then look back at the boy, crunching on croutons.</scene_description> <character>SEAN</character> <dialogue>I understand, buddy. We sometimes think we see people we miss ... even if they're gone.</dialogue> <character>NICKY</character> <parenthetical>(crunching loudly)</parenthetical> <dialogue>No, I saw her.</dialogue> <scene_description>Stephanie is holding her breath. The crunching is maddening, inescapable, like a tell-tale heart.</scene_description> <character>NICKY</character> <dialogue>She was right outside the fence by the kickball yard. At recess.</dialogue> <character>SEAN</character> <dialogue>Lots of people look like other people ...</dialogue> <character>NICKY</character> <dialogue>Nobody looks like Mom.</dialogue> <scene_description>He finally looks up at a stunned Sean and Stephanie as the crunching stops and he slurps his drink.</scene_description> <character>NICKY</character> <dialogue>She told me say hi to Stephanie.</dialogue> <scene_description>Stephanie drops her knife onto her plate with a clank.</scene_description> <character>SEAN</character> <dialogue>Nicky, this isn't healthy.</dialogue> <character>NICKY</character> <dialogue>Miles saw her too. Right, Miles?</dialogue> <scene_description>Miles looks scared to be drawn into this.</scene_description> <character>MILES</character> <dialogue>I think I did, but ... I don't know. I was playing tetherball.</dialogue> <character>STEPHANIE</character> <dialogue>Did you two hatch this up? Is this some game you're playing? Like when you smash everything with trucks. You know what we say about lying?</dialogue> <character>NICKY</character> <dialogue>I'm not lying! Fuck you, I saw her!</dialogue> <character>SEAN</character> <dialogue>Hey!</dialogue> <scene_description>Nicky leaves the table and races upstairs. The other three sit at the table in pained silence.</scene_description> </scene> <scene> <stage_direction>EXT. EMILY'S HOUSE - TRASH AREA - DUSK</stage_direction> <scene_description>A preoccupied Stephanie is taking out the trash after dinner. Suddenly, THERE'S MOVEMENT in the bushes.</scene_description> <character>STEPHANIE</character> <dialogue>Hello? Is somebody there?</dialogue> <scene_description>She moves forward cautiously when suddenly, WHOOSH! A BIRD bursts out of the bushes and flaps past her. Stephanie GASPS, then hustles back inside the house, freaked. AGH! STUPID BIRDS!:</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - NICKY'S BEDROOM - DUSK</stage_direction> <scene_description>Both in their pajamas, Nicky and Miles clamber into their bunk beds. Stephanie kisses Miles good night.</scene_description> <character>MILES</character> <dialogue>'Night, Mom.</dialogue> <character>STEPHANIE</character> <dialogue>'Night, Smooch.</dialogue> <scene_description>Stephanie gets up and heads for the door.</scene_description> <character>NICKY</character> <dialogue>Don't I get a kiss good night?</dialogue> <scene_description>Stephanie heads over to his bed.</scene_description> <character>STEPHANIE</character> <dialogue>Of course, you do. But you owe the oopsy jar a quarter for earlier.</dialogue> <scene_description>Stephanie leans over Nicky and pecks him on the cheek. As she does, she smells something. Emily's perfume?</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - LAUNDRY ROOM - DUSK</stage_direction> <scene_description>Preoccupied, Stephanie checks the pockets of the boys' clothes before she throws them into the washer. She pauses at Nicky's school clothes. Smells them. Emily's perfume again. Then she turns inside-out the pockets from NICKY'S CORDUROYS to find: THE CHEVRON FRIENDSHIP BRACELET.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - LIVING ROOM - DUSK</stage_direction> <scene_description>As Stephanie heads through the EXPOSED GLASS ROOMS, she grows nervous in the fishbowl.</scene_description> </scene> <scene> <stage_direction>EXT. EMILY'S HOUSE - LIVING ROOM - DUSK</stage_direction> <scene_description>For just a brief moment, we WATCH STEPHANIE from outside the glass house, from a distant, anonymous POV. Stephanie seems to sense someone behind the glass. She turns off the lights.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - MASTER BEDROOM - DUSK</stage_direction> <scene_description>Stephanie heads into the room. She pauses at the window for a moment. Sean comes up behind her and pulls her close.</scene_description> <character>SEAN</character> <dialogue>Let's get naked.</dialogue> <character>STEPHANIE</character> <dialogue>Sean, wait. We need to have a talk about Nicky's laundry.</dialogue> <character>SEAN</character> <dialogue>About his laundry? Can we please hit pause on the "Captain Mom" thing?</dialogue> <character>STEPHANIE</character> <dialogue>The Captain Mom thing?</dialogue> <character>SEAN</character> <parenthetical>(sighs; knows he fucked up)</parenthetical> <dialogue>That's just what Emily used to call you. She was masking her own guilt. Because you're such a saint.</dialogue> <character>STEPHANIE</character> <dialogue>I'm NOT a saint. And she knew that. If anybody knew it, it was her!</dialogue> <scene_description>Sean is confused by her demeanor.</scene_description> <character>STEPHANIE</character> <dialogue>I smell her, Sean. I smell her on Nicky. Her perfume ... it's like a ghost all over him, all over his corduroys.</dialogue> <character>SEAN</character> <dialogue>He probably got into the bottle in the medicine cabinet. He misses her. You're getting paranoid.</dialogue> <character>STEPHANIE</character> <dialogue>Am I? Because I also found this.</dialogue> <scene_description>She holds out the CHEVRON FRIENDSHIP BRACELET.</scene_description> <character>SEAN</character> <dialogue>What is that?</dialogue> <character>STEPHANIE</character> <dialogue>A friendship bracelet I made for Emily.</dialogue> <character>SEAN</character> <dialogue>I hate to say it but she wouldn't have kept that. She hated that stuff. I'm sure she gave it to him right after you gave it to her.</dialogue> <character>STEPHANIE</character> <parenthetical>(deflating)</parenthetical> <dialogue>Nicky and I were getting so close, but ... now the way he's talking, Sean, doesn't it worry you? Wouldn't you think we should get him a psychologist? They can do a lot with play therapy: they have these plastic figures in a sandbox. I mean, he'll smash all of them, but -</dialogue> <character>SEAN</character> <dialogue>Let's let it rest for tonight.</dialogue> <character>STEPHANIE</character> <dialogue>Or maybe he's telling the truth.</dialogue> <character>SEAN</character> <dialogue>Stephanie, you saw her with your own eyes. In her coffin.</dialogue> <character>STEPHANIE</character> <dialogue>There was something ... off.</dialogue> <character>SEAN</character> <dialogue>She was dead. They found her at the bottom of a lake. You saw her crazy tattoo - and the ring she stole from my mother.</dialogue> <character>STEPHANIE</character> <dialogue>She said your mother wanted her to have that ring. She said she insisted.</dialogue> <scene_description>Sean sits on the bed. He laughs darkly and shakes his head.</scene_description> <character>SEAN</character> <dialogue>God. Is that what she told you? That was the ring my father gave my mother. It's the only piece of jewelry she ever owned. My whole life, I never saw her take it off. I took Emily to England to meet my mum after we eloped. That weekend, the ring went missing. My mother was frantic. We looked everywhere. I went down to the basement to tear apart the plumbing. We never found it. My mother was devastated. So, we flew back to New York ...</dialogue> </scene> <scene> <stage_direction>INT. TRANSATLANTIC FLIGHT (MOVING) - DAY (FLASHBACK)</stage_direction> <scene_description>Emily and Sean sit side by side on the plane ride home from England. They're six years younger, radiant in love.</scene_description> <character>EMILY</character> <dialogue>Guess what I found?</dialogue> <scene_description>Emily reaches in her purse and pulls out the SAPPHIRE AND DIAMOND RING, showing it to him.</scene_description> <character>SEAN</character> <dialogue>Oh, thank god. Well done, my little Sherlock! Mum will be so relieved.</dialogue> <character>EMILY</character> <dialogue>Oh, Mum's not getting this. She'll take it to the grave. What a waste.</dialogue> <character>SEAN</character> <dialogue>Excuse me. Not amusing, my darling.</dialogue> <character>EMILY</character> <dialogue>Not joking, my darling. I took it and I have no intention of giving it back.</dialogue> <character>SEAN</character> <dialogue>Of course you'll give it back. I'll tell Mum it dropped in your purse by accident, that you didn't find it until now.</dialogue> <character>EMILY</character> <dialogue>If you tell your mother that I found it, I'll tell her I stole it. What do you think will be worse for her? Thinking she lost her ring or knowing that her son married a thief?</dialogue> <scene_description>Sean is stunned by her cold cruelty. Emily slips off her modest ENGAGEMENT RING and dons Sean's mother's antique.</scene_description> <character>EMILY</character> <dialogue>Meet me in the bathroom in twenty seconds. Knock twice.</dialogue> <scene_description>Emily gets up and disappears up the aisle into the BATHROOM STALL, shutting the door. Sean stares after her, his world spinning on its axis. He married a monster. He makes a decision, gets up and heads to the bathroom door. Knocks twice. The door opens. He disappears inside.</scene_description> </scene> <scene> <stage_direction>INT. AIRPLANE BATHROOM - DAY (FLASHBACK)</stage_direction> <scene_description>We watch Emily and Sean's faces as they make love in the tight quarters. Sean stares at her as she stares back at him intensely, passionately. The theft was her aphrodisiac.</scene_description> <character>SEAN (V.O.)</character> <dialogue>Nicky was born nine months later.</dialogue> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - MASTER BEDROOM - RESUMING</stage_direction> <scene_description>Sean and Stephanie hold each other's gaze.</scene_description> <character>STEPHANIE</character> <dialogue>How could you stay with her?</dialogue> <character>SEAN</character> <dialogue>She fascinated me. She was the one woman I could never figure out. And as an arrogant young writer, that's all that mattered to me at the time. She was my mystery, but I was her dream. I could never live up to what she wanted from me. I could never be myself.</dialogue> <scene_description>Stephanie just stares back at him, listening.</scene_description> <character>SEAN</character> <dialogue>And I was always looking over my shoulder. I never slept well. With you, it's different. I sleep like a log.</dialogue> <character>STEPHANIE</character> <dialogue>That's what every woman wants to hear.</dialogue> <character>SEAN</character> <parenthetical>(smiles sweetly)</parenthetical> <dialogue>You know what I'm saying. You see me. You understand me. You've rebuilt me, Stephanie. I even started writing again, part of a first chapter.</dialogue> <character>STEPHANIE</character> <dialogue>You did? That's ... wonderful.</dialogue> <character>SEAN</character> <dialogue>You took a broken man and you put him back together. I'm a better person, a better father. I've never known a woman with your compassion and your strength.</dialogue> <scene_description>Stephanie swallows hard, touched by his words. She nods.</scene_description> <character>SEAN</character> <dialogue>Move in with me.</dialogue> <character>STEPHANIE</character> <dialogue>What? Sean. It's too soon. What will people think?</dialogue> <character>SEAN</character> <dialogue>They already think it. Why do we have to lie? I'm tired of pretending, I want to be this man, the man I am with you.</dialogue> <scene_description>He strokes her cheek. She pulls back. Stiffens. Then ...</scene_description> <character>STEPHANIE</character> <dialogue>I don't do threesomes. We should get that out in the open right now.</dialogue> <character>SEAN</character> <dialogue>What are you talking about?</dialogue> <character>STEPHANIE</character> <dialogue>Your T.A.? You and Emily had your little ... thing with her.</dialogue> <character>SEAN</character> <dialogue>Did Emily tell you that?</dialogue> <parenthetical>(off Stephanie's look)</parenthetical> <dialogue>Stephanie, listen to me. Emily was a pathological liar.</dialogue> <character>STEPHANIE</character> <parenthetical>(steels herself)</parenthetical> <dialogue>Why did you take out a 4 million dollar insurance policy on her?</dialogue> <character>SEAN</character> <parenthetical>(a beat; shakes his head)</parenthetical> <dialogue>Good Lord, the cops have really done a number on you. It's because of you, Stephanie. When you told Emily you were living off your husband's insurance money, she realized that she and I both needed policies. For Nicky's sake. It was the most responsible thing we ever did. Thanks to you. Now is the interrogation over, Detective Smothers?</dialogue> <parenthetical>(taking her hands)</parenthetical> <dialogue>Move in with me. We can start a new wonderful life together. You and me and the boys. Please say yes.</dialogue> <scene_description>Stephanie stares into his eyes. She so wants this all to be true that she can't resist. She nods and hugs him.</scene_description> <character>SEAN</character> <dialogue>I love you, Stephanie Smothers.</dialogue> <character>STEPHANIE</character> <parenthetical>(eyes wide, then)</parenthetical> <dialogue>I love you, too.</dialogue> <scene_description>MUSIC UP: MALA RODRIGUEZ'S "FUERZA" starts to play ...</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - MASTER BEDROOM - DAY</stage_direction> <scene_description>AS THE SONG PLAYS, Stephanie takes Emily's clothes out of the closet and hangs them in garment bags. She replaces them with her own clothes, less chic, more flowy. Eileen Fisher. She raps along in Spanish, feeling empowered.</scene_description> <character>STEPHANIE</character> <dialogue>Me da igual que estes ciego, no soy tu parienta / Fácil la cabeza te rebientan / Se aplican sentencias en mi, andares influencias...</dialogue> <scene_description>She enters STEPHANIE'S CLOSET - - coming face-to-face with the NUDE PORTRAIT. Avoiding eyes with it, Stephanie pulls down the designer shoe boxes and lifts the lids to ogle the amazing shoes. Stephanie GASPS to find one of the Manolo Blahnik's contains a LADY PISTOL.</scene_description> <character>STEPHANIE</character> <dialogue>Oh my God.</dialogue> <scene_description>In shock, Stephanie picks up the gun awkwardly, pinching the barrel. She glances around the room, trying to figure out where to put it. She eyes the night stand drawer alongside Emily's bed. She opens it to find a GIANT HOT PINK GLASS DILDO. Stephanie GASPS and returns the lady pistol to its original shoe box and shoves it back on a high shelf, completely weirded out.</scene_description> </scene> <scene> <stage_direction>EXT. STEPHANIE'S HOUSE - DAY</stage_direction> <scene_description>AS THE SONG CONTINUES, A "FOR SALE" sign goes up outside Stephanie's house with the name and info of a local realtor.</scene_description> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - DAY</stage_direction> <scene_description>AS THE SONG CONTINUES, Stephanie takes down all personal affects: Miles' art work and their family pictures as she continues to rap in Spanish:</scene_description> <character>STEPHANIE</character> <dialogue>Niñas con deporte lo hacen con elegancia / Yo, tengo presencia ...</dialogue> </scene> <scene> <stage_direction>EXT. EMILY'S HOUSE - DAY</stage_direction> <scene_description>AS THE SONG CONTINUES, Stephanie carries boxes of stuff from a U-Haul truck to the front door. She's moving in with Sean.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - MASTER BEDROOM - DAY</stage_direction> <scene_description>AS THE SONG CONTINUES, Stephanie continues to rap as she unzips her dress down to her bra and underwear. She goes to the closet to hang it back up, so happy.</scene_description> <character>STEPHANIE</character> <dialogue>Disfruta quitale importancia / No te quejes tanto, tos tuvimos infancia --</dialogue> <scene_description>When she slides open the door, her rap stops WITH A GASP: ALL OF EMILY'S CLOTHES ARE BACK IN THE CLOSET, HANGING EXACTLY AS THEY WERE BEFORE STEPHANIE REMOVED THEM.</scene_description> <character>STEPHANIE (PRE-LAP)</character> <dialogue>Hi, Moms. Stephanie here. I want to start with something a bit different today.</dialogue> <scene_description>ON VIDEO VLOG - KITCHEN Stephanie addresses the camera at night.</scene_description> <character>STEPHANIE</character> <dialogue>I try to avoid any talk of religion on this vlog, because I don't want to offend our non-denominational moms. But I do believe we live on after we die. In some fashion. So Emily ... if you're out there ... and you can hear me, I wanted to tell you a few things. We all miss you more than I can say. Nicky knows that you'll always be his mom. No one will ever replace you. But he no longer cries at night, like he used to. I know you wouldn't want that. And I want you to know that I am preparing the most nutritious food for him. I can never take your place. All I can do is love the people you used to love and try to make their lives better. Which is what I know you would want. Rest in peace, my dear best friend. Wherever you are.</dialogue> </scene> <scene> <stage_direction>INT. STEPHANIE'S VOLVO (MOVING) - DAY</stage_direction> <scene_description>Stephanie drives Miles and Nicky home from school. They each have a superhero figurine and crash them against each other. Stephanie glances in the rear view getting stressed out.</scene_description> <character>STEPHANIE</character> <dialogue>It's getting a little too rough back there, guys.</dialogue> <character>NICKY</character> <dialogue>Ha! I just killed you!</dialogue> <character>MILES</character> <dialogue>I came back to life! Like your Mom!</dialogue> <character>STEPHANIE</character> <dialogue>Okay! The dolls go in your backpacks or they're going in the trash! Now!</dialogue> <character>MILES</character> <dialogue>Mom! They're not dolls!</dialogue> <scene_description>Nicky makes a face at Miles. He shoves his figure in his backpack and remembers something, retrieving A SMALL SQUARE BROWN ENVELOPE WITH THE NAME STEPHANIE WRITTEN NEATLY ON IT.</scene_description> <character>NICKY</character> <dialogue>Oh. My mom told me to give you this.</dialogue> <scene_description>Stephanie looks in the rearview mirror at him, chilled, as he holds out the envelop to her. She nearly drives through a RED LIGHT and slams on the brake, the car spinning 180 as other cars screech to a stop to avoid her. Both kids fly hard against their car seat restraints. They sit in silence, then -</scene_description> <character>NICKY</character> <dialogue>That was awesome.</dialogue> <scene_description>OFF STEPHANIE, heaving for breath --</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - DAY</stage_direction> <scene_description>The boys race upstairs. Stephanie listens to make sure they're in their room, then she rushes into the kitchen.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - KITCHEN - DAY</stage_direction> <scene_description>Stephanie tears open the envelope. She pulls out a photo: A SMILING STEPHANIE HOLDS MILES, AGE 2, IN HER ARMS. NEXT TO HER IS HER HUSBAND DAVIS AND NEXT TO HIM IS HER BROTHER CHRIS. A grease pencil has been used to circle Miles and Chris with an ARROW connecting them. Under Stephanie, is an ARROW and the words "BROTHER FUCKER." Stephanie's heart pounds. The phone RINGS. Stephanie jumps out of her skin. She stiffens and reaches for the phone. The CALLER ID says UNKNOWN. As she answers ...</scene_description> <character>EMILY (O.S.)</character> <dialogue>You like the photo? You should be more careful what you leave behind when you try to sell a little gingerbread house.</dialogue> <character>STEPHANIE</character> <dialogue>Who is this?</dialogue> <character>EMILY (O.S.)</character> <dialogue>I'm just calling to say Thank you for all that "nutritious food for Nicky," you Martha Steward wannabe. Oh, you're just squeaky clean, aren't you? You're not fooling me. You fucked your brother, Stephanie. I bet Miles isn't even your husband's kid. I thought I was warped, but you have me beat by a landslide. And what is this fetish with you? Fucking guys after funerals? Sick stuff, Dark Side.</dialogue> <character>STEPHANIE</character> <dialogue>Tell me where you are.</dialogue> <character>EMILY (O.S.)</character> <dialogue>Put up your hand. Don't tell me how many fingers you're holding up.</dialogue> <scene_description>Stephanie makes the peace sign in the air.</scene_description> <character>EMILY (O.S.)</character> <dialogue>Two. Peace out.</dialogue> <scene_description>Stephanie flinches. She moves to the window and squints out at the woods.</scene_description> <character>EMILY (O.S.)</character> <dialogue>Uh, uh, uh ... no cheating.</dialogue> <character>STEPHANIE</character> <dialogue>Why are you doing this?</dialogue> <character>EMILY (O.S.)</character> <dialogue>How do you know it's just me doing it?</dialogue> <scene_description>Stephanie freezes when she hears this.</scene_description> <character>STEPHANIE</character> <dialogue>What do you mean?</dialogue> <character>EMILY (O.S.)</character> <dialogue>Kiss Sean for me. Four million times.</dialogue> <scene_description>CLICK. The line goes dead. Stephanie can barely breathe.</scene_description> </scene> <scene> <stage_direction>INT. STEPHANIE'S VOLVO (MOVING) - DAY</stage_direction> <scene_description>Stephanie drives, gripping the steering wheel.</scene_description> </scene> <scene> <stage_direction>EXT. CONNECTICUT COLLEGE - ENGLISH DEPT. - DAY</stage_direction> <scene_description>Stephanie heads into the red brick building.</scene_description> </scene> <scene> <stage_direction>INT. CONNECTICUT COLLEGE - SEAN'S OFFICE - DAY</stage_direction> <scene_description>Sean corrects essays at his desk. Stephanie rushes in.</scene_description> <character>SEAN</character> <dialogue>Hey. I didn't know you were coming in. I'd take you to lunch but I'm drowning.</dialogue> <character>STEPHANIE</character> <dialogue>Are you trying to "Diabolique" me?</dialogue> <character>SEAN</character> <dialogue>What are you talking about?</dialogue> <character>STEPHANIE</character> <dialogue>There's a French movie about this guy whose wife and mistress team up to kill him. But then it turns out that he's in cahoots with the mistress to give the wife a heart attack so they can collect her inheritance. But I don't have a four million dollar life insurance policy, so I can't figure out why you're trying to GIVE ME A HEART ATTACK!</dialogue> <scene_description>Sean takes her by the shoulders and talks to her like a child having a tantrum, controlled and patronizing.</scene_description> <character>SEAN</character> <dialogue>Stephanie. You need to breathe. Nicky's getting to you. Emily is dead.</dialogue> <character>STEPHANIE</character> <dialogue>What about the missing tooth? And the heroin? How could she just happen to be on heroin? We have to tell the police.</dialogue> <character>SEAN</character> <dialogue>Tell them what? That the woman we buried came back to life? They're going to think you're insane. Do you really want to do that to Miles and Nicky?</dialogue> <parenthetical>(holding her)</parenthetical> <dialogue>We may never have all the answers. Emily was reckless. You know that as well as I do. She overdid it for some reason. It was just a stupid, tragic accident. You understand that, right?</dialogue> <character>STEPHANIE</character> <dialogue>She called me today.</dialogue> <scene_description>He breaks from the embrace.</scene_description> <character>SEAN</character> <dialogue>What?</dialogue> <character>STEPHANIE</character> <dialogue>She called me, Sean. She knew things about me that I've never told anyone else. She's been watching us --</dialogue> <character>SEAN</character> <dialogue>This is madness. I have a friend in the Psychology department --</dialogue> <scene_description>There's a fast KNOCK on the door as someone enters.</scene_description> <character>BETH (O.S.)</character> <dialogue>Hey, handsome. Got time for a visitor?</dialogue> <scene_description>It's the pretty T.A. BETH (20). She stops, surprised to see Stephanie. Stephanie studies the two of them suspiciously.</scene_description> <character>BETH</character> <dialogue>I didn't know you were in a meeting.</dialogue> <character>SEAN</character> <dialogue>Beth, this is Stephanie.</dialogue> <scene_description>Beth shakes Stephanie's hand, both women chilly.</scene_description> <character>BETH</character> <dialogue>Nice to meet you.</dialogue> <parenthetical>(to Sean)</parenthetical> <dialogue>I was just gonna ask if you needed the smart board today. 'Cuz it's broken.</dialogue> <character>SEAN</character> <dialogue>I can live without it.</dialogue> <scene_description>Beth nods, gives him a flirty smile and disappears.</scene_description> <character>SEAN</character> <dialogue>Stephanie. Go home. Emily had a prescription of Xanax in the medicine cabinet. Take one. Take two.</dialogue> <character>STEPHANIE</character> <dialogue>Maybe she has some extra heroin lying around.</dialogue> <character>SEAN</character> <dialogue>This is all grief. Stages of grief.</dialogue> <scene_description>Stephanie studies him, then takes a deep breath. Deflates.</scene_description> <character>STEPHANIE</character> <dialogue>You're right. I'm sorry, I - I think I'm just overwhelmed. Sorry to bother you at work and sorry about your... smart board.</dialogue> <scene_description>She leaves quickly. Sean stares after her, then furrows his brow, sinking deep into thought.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S CLOSET - DAY</stage_direction> <scene_description>Stephanie stands in front of the NUDE PAINTING OF EMILY, studying the pretty, enigmatic face ...</scene_description> <character>EMILY (PRE-LAP)</character> <dialogue>Poor Stephanie. You just need someone to love you ...</dialogue> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - LIVING ROOM - NIGHT (FLASHBACK)</stage_direction> <scene_description>The fireplace is blazing. Emily and Stephanie nurse martinis. Half-drunk, watching the fire.</scene_description> <character>STEPHANIE</character> <dialogue>I have you. All I need is a good friend.</dialogue> <character>EMILY</character> <dialogue>But don't you miss sex? Having a man throw you down and ravage you?</dialogue> <character>STEPHANIE</character> <dialogue>I barely remember what it's like.</dialogue> <character>EMILY</character> <dialogue>Why are you such a masochist? You could have a man in your bed any time you want.</dialogue> <character>STEPHANIE</character> <dialogue>I had a man. And I ruined it.</dialogue> <character>EMILY</character> <dialogue>How? What the hell does that mean?</dialogue> <scene_description>Stephanie instantly regrets letting that slip. Emily sees this is something deeper. She softens.</scene_description> <character>EMILY</character> <dialogue>Tell me --</dialogue> <character>STEPHANIE</character> <dialogue>No.</dialogue> <character>EMILY</character> <dialogue>I'm your best friend. If you can't tell me, you can't tell anyone.</dialogue> </scene> <scene> <stage_direction>EXT. STEPHANIE'S HOUSE - BACKYARD - DAY (FLASHBACK)</stage_direction> <scene_description>A BBQ is in full swing. Stephanie is talking to her brother Chris, more like flirting. She wears a sundress and a ponytail, looking beautiful. She laughs as they talk. MILES (age 2) tugs her skirt. Chris grabs his "nephew" and tosses him in the air, too high for safety. Miles laughs wildly, but Stephanie's panicked. There's a loud KNOCK on the window pane of the kitchen. Her husband DAVIS (40) watches, enraged. Stephanie scoops up Miles in her arms and heads ...</scene_description> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - KITCHEN - DAY (FLASHBACK)</stage_direction> <scene_description>... into the kitchen. She can see Davis is furious. Stephanie nuzzles Miles and sets him down in his high chair. Davis watches as she brings Miles a plastic bowl of Cheerios.</scene_description> <character>DAVIS</character> <dialogue>I need the truth.</dialogue> <character>STEPHANIE</character> <dialogue>What are you talking about?</dialogue> <character>DAVIS</character> <dialogue>About Chris. And Miles.</dialogue> <character>STEPHANIE</character> <dialogue>He's my brother, Davis.</dialogue> <character>DAVIS</character> <dialogue>You don't act like it. Sometimes you look more like lovers. Please, I need to know. Is Miles mine or not?</dialogue> <character>STEPHANIE</character> <dialogue>Of course he is! My GOD, Davis, that's ridiculous. Listen to yourself.</dialogue> <scene_description>Davis moves to the sink and tosses the dish into it with a loud CRASH. He walks out the back screen door INTO THE YARD. Stephanie watches, her stomach in her throat. Then: CRASH! Miles throws his bowl of Cheerios down on the floor and applauds with laughter! Stephanie looks out the window. She can't see Davis or Chris. Panicked, she races TO THE FRONT DOOR and throws it open. She sees Davis and Chris heading toward the driveway together.</scene_description> <character>STEPHANIE</character> <dialogue>Where are you going?</dialogue> <character>CHRIS</character> <dialogue>Steph, it's alright. Don't worry. We're going for a drive. We're going to have a little talk. Man-to-man. No problem.</dialogue> <scene_description>Davis doesn't acknowledge her as he climbs in the car. She watches them pull away and waves, a pit in her stomach. The last time she'll see them again ...</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - LIVING ROOM - NIGHT (FLASHBACK)</stage_direction> <scene_description>Tears roll down Stephanie's cheeks to remember.</scene_description> <character>STEPHANIE</character> <dialogue>It's all my fault. They're both dead because of me ...</dialogue> <character>EMILY</character> <dialogue>Sometimes people do terrible things. For their own crazy reasons. That's on them.</dialogue> <character>STEPHANIE</character> <dialogue>I miss him ...</dialogue> <character>EMILY</character> <dialogue>Which one?</dialogue> <character>STEPHANIE</character> <dialogue>Both of them. I'm so lonely ... I think loneliness probably kills more people than cancer.</dialogue> <scene_description>Emily strokes her hair. They hold each other's gaze. Faces close. Both a bit drunk. Emily leans in and plants a kiss on Stephanie's mouth. Stephanie melts into it. Parting her lips. Tongues intertwined. Stephanie wants this. Emily pulls back. Stephanie is mortified by her gaping desire, so obvious now. Emily is totally casual. It was just a moment for her.</scene_description> <character>EMILY</character> <dialogue>Wanna order a pizza?</dialogue> <character>STEPHANIE</character> <dialogue>Oh my god. I'm so embarrassed.</dialogue> <character>EMILY</character> <dialogue>Oh, Jesus, don't be. Not like I haven't kissed a girl before.</dialogue> <scene_description>Stephanie rises, disoriented and hunts for her shoes.</scene_description> <character>STEPHANIE</character> <dialogue>I have to go.</dialogue> <character>EMILY</character> <dialogue>Take a taxi. You're too drunk to drive, lightweight.</dialogue> </scene> <scene> <stage_direction>INT. EMILY'S CLOSET - BACK TO PRESENT</stage_direction> <scene_description>Stephanie picks up the painting, then notices the top of some writing hidden by the frame. She pops off the frame, revealing THE SIGNATURE OF THE ARTIST hidden under the matting: DIANA HYLAND. Stephanie gets a determined look.</scene_description> </scene> <scene> <stage_direction>INT. STEPHANIE'S VOLVO (MOVING) - G.W. BRIDGE - DAY</stage_direction> <scene_description>Stephanie drives to the city. The PAINTING rides shotgun.</scene_description> </scene> <scene> <stage_direction>EXT. TRIBECA BUILDING - DAY</stage_direction> <scene_description>The painting in hand, Stephanie rings the buzzer.</scene_description> <character>FEMALE VOICE (O.S.)</character> <dialogue>Who is it?</dialogue> <scene_description>Stephanie holds up the PAINTING in front of a SECURITY CAMERA. She's all business now, a new Stephanie.</scene_description> <character>STEPHANIE</character> <dialogue>Diana Hyland? Did you paint this?</dialogue> <scene_description>The door just buzzes - and Stephanie pushes her way in, trying to protect the painting from the weighted door.</scene_description> </scene> <scene> <stage_direction>INT. ART STUDIO LOFT - DAY</stage_direction> <scene_description>DIANA (50s) is a punky, severe artist with plaster in her hair and a Sex Pistols T-Shirt. She studies the old portrait as Stephanie's eyes look around nervously. REVEAL there are paintings of knives everywhere. ALSO, REAL KNIVES OF ALL SHAPES AND SIZES FILL THE STUDIO. There's bad energy in here.</scene_description> <character>DIANA</character> <dialogue>Where on earth did you find it?</dialogue> <character>STEPHANIE</character> <dialogue>I should start by giving you some unfortunate news. Emily is dead.</dialogue> <character>DIANA</character> <dialogue>My condolences. Who the fuck is Emily?</dialogue> <character>STEPHANIE</character> <dialogue>The girl. In the painting.</dialogue> <scene_description>Diana absorbs this a beat. Then ...</scene_description> <character>DIANA</character> <dialogue>Good.</dialogue> <parenthetical>(off Stephanie's look)</parenthetical> <dialogue>Her name wasn't Emily. It was Claudia. Little cunt ruined my life.</dialogue> <character>STEPHANIE</character> <parenthetical>(thrown; regroups)</parenthetical> <dialogue>Wow, I ... What happened?</dialogue> <scene_description>Diana gazes at the painting, nostalgic. She picks up a dangerous looking knife. Plays with it absentmindedly as she talks. Stephanie looks nervous, her eyes on the knife.</scene_description> <character>DIANA</character> <dialogue>She was just this beautiful sphinx, a puzzle I could never figure out. And that just made her more fucking compelling.</dialogue> <character>STEPHANIE</character> <dialogue>Yeah, I keep hearing that.</dialogue> <character>DIANA</character> <dialogue>She lured me in at a gallery show. I'd started to sell some paintings. First time in my career there was a buzz. And there she was ... like a muse. Shit, I fell so hard. I had to have her.</dialogue> <scene_description>As Diana talks, INTERCUT FLASHBACKS OF DIANA PAINTING A SEMI- NUDE EMILY IN HER STUDIO. Diana looks completely obsessed with Emily as Emily flirts back with her demurely.</scene_description> <character>DIANA</character> <dialogue>Suddenly, all I could paint was her. Every part of her. She just burrowed down into me, under my skin.</dialogue> <scene_description>See a montage of DIANA'S PAINTINGS OF EMILY'S BODY PARTS: eroticized FEET, HANDS, THE ARCH OF A LOWER BACK. As Diana paints, Emily smiles coyly and turns her face away.</scene_description> <character>DIANA</character> <dialogue>Except she never wanted me to show her face. Refused. My new paintings started getting bad reviews. Critics were writing me off as some shitty erotic artist. They said I'd lost my soul.</dialogue> <scene_description>An increasingly agitated Diana walks toward Stephanie, gesticulating with the knife at Stephanie as she speaks. Stephanie tries to play cool but backs up slowly.</scene_description> <character>DIANA</character> <dialogue>She stole it from me. She fucking stole my soul because she wouldn't let me show hers. But I didn't care. I gave her everything just to keep her happy, just to keep her here. But I could never reach her. She was like ...</dialogue> <character>STEPHANIE</character> <dialogue>A ghost?</dialogue> <character>DIANA</character> <dialogue>Right. A fucking expensive one. I paid off her debts. I paid for her college.</dialogue> <character>STEPHANIE</character> <dialogue>Did you cover any dental work?</dialogue> <scene_description>Diana stops. Seems to come back to reality.</scene_description> <character>DIANA</character> <dialogue>That's a weird fucking question. No, she had perfect teeth. Every part of her was perfect. Every fucking inch.</dialogue> <character>STEPHANIE</character> <dialogue>Any heroin use you ever saw?</dialogue> <character>DIANA</character> <dialogue>Smack? Ha. No way. Too vain. She was just a pretty little grifter. And she had plans. The day after she graduated, she disappeared ...</dialogue> <parenthetical>(points to the painting)</parenthetical> <dialogue>... along with that painting, the only one I ever did of her face. I was convinced it was the one that was going to put me back on the map but then it was gone and I couldn't recreate it. Not without her. I bottomed out. I wanted to kill her, to track her down and actually kill her. But the guilt of feeling that, well ... I almost offed myself. Funny - that painting would be worth a lot more if I had. Maybe that was her plan. She was always looking for a big score. All she wanted was to be rich.</dialogue> <scene_description>Stephanie takes this in, her mind racing. Diana stares at the knife sadly.</scene_description> <character>DIANA</character> <dialogue>Now all I do is paint fucking knives. I don't even know why. Nobody wants this shit except for biker bars and Satanists. Goddamned Claudia. She destroyed me. But I guess it's my fault for always falling for the fucked up ones. I never learn.</dialogue> <scene_description>Diana looks at Stephanie and walks toward her, pointing the knife at her. She gets an obsessive look in her eyes.</scene_description> <character>DIANA</character> <dialogue>I could paint you. You look sweet. Fresh. Normal. Not fucked up. Like you're some little saint.</dialogue> <character>STEPHANIE</character> <parenthetical>(standing her ground)</parenthetical> <dialogue>Yeah, I get that a lot. I really hate when people say that.</dialogue> <character>DIANA</character> <dialogue>Embrace it. People love saints.</dialogue> <character>STEPHANIE</character> <dialogue>Only after they're dead.</dialogue> <scene_description>Diana stops right in front of Stephanie, inches away, the knife between them, the blade close to Stephanie's face. Stephanie stares her down. Diana smirks.</scene_description> <character>DIANA</character> <dialogue>How did Claudia die?</dialogue> <character>STEPHANIE</character> <dialogue>She drown in a lake at some summer camp in Michigan. High on heroin.</dialogue> <character>DIANA</character> <dialogue>Bullshit. You don't believe that, do you?</dialogue> <character>STEPHANIE</character> <dialogue>Not for a second. I'm sure she's alive.</dialogue> <scene_description>Diana studies Stephanie, then smiles and heads to a CHEST at the edge of the room, opening it to reveal S&amp;M EQUIPMENT.</scene_description> <character>DIANA</character> <dialogue>She left this behind. I saved it. She said she had it since she was a kid.</dialogue> <scene_description>She pulls out a faded old T-SHIRT: "SQUAW LAKE BIBLE CAMP. MICHIGAN, USA." She tosses it to Stephanie.</scene_description> <character>DIANA</character> <dialogue>She's a survivor. But if she wants to vanish, poof. She hits reset. Only way you'll ever find her: FOLLOW THE MONEY.</dialogue> <scene_description>Off Stephanie's look ...</scene_description> </scene> <scene> <stage_direction>EXT. TRIBECA BUILDING - DAY</stage_direction> <scene_description>As Stephanie exits, she leaves a message for Sean.</scene_description> <character>STEPHANIE (ON HER PHONE)</character> <dialogue>Sean, Stephanie. I thought about what you said and you're right. These are stages of grief. This whole experience has been stressful for both of us. I need to hit the reset button, as Emily would say. I need a day or two to be by myself. I'm going to have Sona pick up the boys and let them sleep at her place tonight so they can play with Hector and Ashley. You should take some time too. There's mango and quinoa stew in the freezer. Five minutes in the micro. Don't forget to stir. Lots of love.</dialogue> </scene> <scene> <stage_direction>INT. STEPHANIE'S VOLVO (MOVING) - HIGHWAY - DUSK</stage_direction> <scene_description>Stephanie drives, on a mission. The radio plays a HIP-HOP STATION. Rihanna's "BITCH BETTER HAVE MY MONEY."</scene_description> <character>STEPHANIE</character> <dialogue>"Bitch better have my money! / Y'all should know me well enough / Bitch better have my money! Please don't call me on my bluff / Pay me what you owe me / Turn up to Rihanna while the whole club fuckin' wasted ... "</dialogue> <scene_description>So much for the oopsy jar.</scene_description> </scene> <scene> <stage_direction>EXT. MICHIGAN MOTEL - LOT - DUSK</stage_direction> <scene_description>Stephanie pulls into a Michigan roadside motel, seedy and almost empty. She gets out and heads to the MAIN OFFICE.</scene_description> </scene> <scene> <stage_direction>INT. MICHIGAN MOTEL - STEPHANIE'S ROOM - NIGHT</stage_direction> <scene_description>Stephanie sits on the bed in a dingy room, making a call from the land line. A commercial for LITTLE DEBBIE CHOCOLATE CUPCAKES plays on the TV. Stephanie stares at it, then ...</scene_description> <character>STEPHANIE</character> <dialogue>Oh, hi there, my name is - Deborah. Little Deborah.</dialogue> <scene_description>Panicking, she glances quick at a cheesy painting of rolling hills. Lying like this is new to her and she's lousy at it.</scene_description> <character>STEPHANIE</character> <dialogue>I mean, Hills. Deborah Hills. My friends call me Little. Off-topic, sorry. So ... I'm looking for a summer camp for my son who is refusing his Bible study like Lima beans. I hate to be pushy but I travel a lot and I won't be back in town for a while. Could I tour your facility tomorrow morning?</dialogue> </scene> <scene> <stage_direction>EXT. SQUAW LAKE BIBLE CAMP - ESTABLISHING - DAY</stage_direction> <scene_description>Stephanie's car drives through the front gates of a rundown campground. A sign reads "SQUAW LAKE BIBLE CAMP" with a big crucifix on it. The place is the definition of creepy.</scene_description> </scene> <scene> <stage_direction>EXT. SQUAW LAKE BIBLE CAMP - DAY</stage_direction> <scene_description>The owners of the camp, MARYANNE and BOBBY CHELKOWSKY, both 40s, upbeat and out of shape in their Squaw Lake Bible Camp attire, stroll alongside Stephanie through the campground toward the lake where Emily's body was found.</scene_description> <character>MARYANNE</character> <dialogue>We've been saving young souls going on fifty years now. Not Bobby and me personally, the camp. But we've still been here a while and we'd be happy to help your son see the light too.</dialogue> <character>STEPHANIE</character> <dialogue>Well, it just seems perfect.</dialogue> <parenthetical>(looking at the lake)</parenthetical> <dialogue>My son is practically a porpoise. He's going to love swimming in this pond.</dialogue> <character>MARYANNE</character> <dialogue>That's Abel Lake. It's where we have our canoeing competition and our baptisms. The kids all joke that it's holy water.</dialogue> <character>BOBBY</character> <parenthetical>(his favorite joke)</parenthetical> <dialogue>Any fish you pull out of there is guaranteed to feed a multitude.</dialogue> <character>STEPHANIE</character> <dialogue>Ha ha, that's a good one. So funny.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Is it safe, though? Didn't I read somewhere that someone just drown in it?</dialogue> <scene_description>Bobby and Maryanne exchange a worried look. Try to recover.</scene_description> <character>MARYANNE</character> <dialogue>Oh, that had nothing to do with the camp. We were closed at the time. Just some poor soul who wandered in here and found her salvation in the lake. But don't worry. We watch our kids like a hawk.</dialogue> <character>BOBBY</character> <dialogue>Yeah, we're so on top of them, they can barely have any fun.</dialogue> <scene_description>Maryanne gives him a "shut up, you idiot" look.</scene_description> <character>STEPHANIE</character> <dialogue>Well, that's great news. Hey, do you have any old photo albums or yearbooks I can look at? I think there's no better review of a camp than the faces of the campers.</dialogue> <character>BOBBY</character> <dialogue>Oh, heck yeah. Got a ton of them down in the basement. You'll see nothing but smiles in all of 'em. I guarantee it.</dialogue> </scene> <scene> <stage_direction>INT. MAIN OFFICE - BASEMENT - DAY</stage_direction> <scene_description>An overhead bare bulb illuminates the musty basement. Cobwebs and dust coat everything. Stephanie sifts through a box of old books. She pulls out a stack of "SQUAW LAKE BIBLE CAMP YEARBOOKS," scanning to SUMMER 2000. Stephanie flips through book after book. Not quite sure what she's looking for, studying the young faces. Finally a SINGLE IMAGE grabs her: TWO IDENTICAL TWIN GIRLS (AGE 9), their arms around each other. They're lean, fair, blue-eyed. There's a vague resemblance to Emily. Could it be? Suddenly the names grab Stephanie: HOPE AND FAITH MCLENNAN.</scene_description> <character>STEPHANIE</character> <dialogue>Hope and ... Faith?</dialogue> <scene_description>Stephanie pulls out the UNFLATTERING FAXED PICTURE: "GOTTA HAVE FAITH." STEPHANIE TAKES OUT HER PHONE AND SNAPS A PICTURE OF THE TWINS. She starts rifling through the pages, seeing and SNAPPING PHONE PICS of a SERIES OF AWARDS PAGES: The MCLENNAN SISTERS won nearly every ribbon: FASTEST CANOEING DUO, BEST SWIMMERS, HOT DOG EATING CHAMPIONS, THREE- LEGGED RACE WINNERS ... the list is an endless procession of grim summer accolades. Stephanie SNAPS A PIC. Must be Emily.</scene_description> <character>BOBBY (O.S.)</character> <dialogue>Take a picture, it'll last longer. Oh, you already are.</dialogue> <scene_description>She startles and looks up the creepy staircase at Bobby. He smiles at his joke but suddenly seems more menacing as he blocks the only way out of the basement. He walks down.</scene_description> <character>BOBBY</character> <dialogue>You must be mother-of-the-gosh-darn-year. Most parents drop their kids off here ... they barely slow down the car.</dialogue> <character>STEPHANIE</character> <dialogue>Well, my son gets homesick. I like to prepare him. I hope you don't mind me taking some snaps. I thought I'd show him a bunch of these fun photos.</dialogue> <parenthetical>(showing the yearbook)</parenthetical> <dialogue>Boy, these McLennan sisters sure got on a winning streak. They must have been popular.</dialogue> <scene_description>Bobby looks ashen - as if he's seen a ghost. His eyes narrow.</scene_description> <character>BOBBY</character> <dialogue>Nowadays we put a' emphasis on playing fair.</dialogue> <character>STEPHANIE</character> <dialogue>Are you suggesting they cheated in the hot dog eating competition?</dialogue> <character>BOBBY</character> <dialogue>I don't recall.</dialogue> <character>STEPHANIE</character> <dialogue>The contest? Or the twins?</dialogue> <scene_description>He stares at her coldly now, fun no more. A tense smile.</scene_description> <character>BOBBY</character> <dialogue>I truly hope your boy will join us here. We've gotta get back to work now. Thank you for your visit.</dialogue> <scene_description>Bobby gestures for Stephanie to leave. Stephanie forces a grateful smile and turns to put back the yearbook. As she's closing the book, she sees a banner at the top of a page: "Squaw Lake Bible Camp would like to thank the MCLENNAN FAMILY for their generous donation." She clocks this.</scene_description> </scene> <scene> <stage_direction>INT. MICHIGAN MOTEL - STEPHANIE'S ROOM - DAY</stage_direction> <scene_description>Stephanie sits in front of Google and a long list of CROSSED- OUT NAMES, beginning at Adam Mclennan and spanning down to "McLennan Foundation." She dials another number. Someone answers but drops the phone.</scene_description> <character>STEPHANIE</character> <dialogue>Is this the McLennan Foundation?</dialogue> <scene_description>There's a fumbling pause, and then:</scene_description> <character>MRS. MCLENNAN (O.S.)</character> <dialogue>Who is this?</dialogue> <scene_description>Stephanie glances at the application from the camp.</scene_description> <character>STEPHANIE</character> <dialogue>Hi there! My name is Maryanne Chelkowsky, I'm the director of Squaw Lake Bible camp-</dialogue> <character>MRS. MCLENNAN (O.S.)</character> <dialogue>What do you want?</dialogue> <character>STEPHANIE</character> <dialogue>Well, we are planning the fiftieth anniversary reunion edition of our Camp Gazette ... and I'm trying to track down some of our star alumni! Do you happen to be of any relation to Hope and Faith McLennan?</dialogue> <scene_description>A second phone picks up and another voice comes on, BRUCE (60s), THE CARETAKER:</scene_description> <character>BRUCE (O.S.)</character> <dialogue>Hello?</dialogue> <character>MRS. MCLENNAN (O.S.)</character> <dialogue>Bruce? It's that camp. The girls must have done something again. God have mercy on me if those girls need to come home early again.</dialogue> <character>BRUCE (O.S.)</character> <dialogue>The girls are long gone, Mrs. M. You just go on back to your chair.</dialogue> <character>MRS. MCLENNAN (O.S.)</character> <dialogue>It's filthy in there, Bruce. I've asked you a thousand times --</dialogue> <character>BRUCE (O.S.)</character> <parenthetical>(short)</parenthetical> <dialogue>I'll be right in, Mrs. M.</dialogue> <scene_description>There's the sound of the phone dropping again. Stephanie hears Bruce breathing into the phone. She ventures ahead ...</scene_description> <character>STEPHANIE</character> <dialogue>Yes, Bruce, I was just speaking to Mrs. McLennan about our 50th reunion--</dialogue> <scene_description>Click. The line goes dead. Stephanie knows she hit paydirt.</scene_description> </scene> <scene> <stage_direction>EXT. MCLENNAN MANOR - DAY</stage_direction> <scene_description>Stephanie has pulled onto the shoulder of the road, staking out a SPRAWLING MANSION, a near-ruin of dingy columns and colonnades. Vines have grown over a monogrammed gate. The lineage of some great industrialist family has ended with a whimper here. As she moves along a gate, she sees - the WEST WING OF THE MANSION has been completely BURNED DOWN. It's charred rubble has been partitioned off with plywood and tarps, blowing like ghost sails in the wind. Stephanie stops at the MAILBOX where she pulls out the day's mail. She races back to her car as the rain turns to hail.</scene_description> </scene> <scene> <stage_direction>INT. STEPHANIE'S VOLVO - MOMENTS LATER</stage_direction> <scene_description>She sorts through the mail: Bills for BRUCE HARGRAVE. A massive CATALOG for Margaret Mclennan: "OLD MONEY STYLE: VANDERBILT ON A VAN-DE-KAMP'S BUDGET." Stephanie perks up as she sees BRUCE (60s), walking out of the house in coveralls with a hunting shotgun over his shoulder. He's an old caretaker with a ghoulish quality. He hops into his old truck and takes off down the driveway.</scene_description> <character>STEPHANIE</character> <dialogue>Take your time, Bruce.</dialogue> <scene_description>Here's Stephanie's chance. Deftly, she ties a handkerchief over her head like a 50s HOUSEKEEPER, grabs freshly purchased cleaning equipment (mop, bucket, feather duster) out of a Target bag, and rushes out into the storm.</scene_description> </scene> <scene> <stage_direction>EXT. MCLENNAN MANSION - MOMENTS LATER</stage_direction> <scene_description>Stephanie rings the bell. We can tell she's been at the door for a while. She rings the doorbell again, which echoes in a vast chasm inside. She bangs a last time. Then, like the lid of a coffin, the door creeps open and a FRAIL HAND appears in the crease. An old woman's eyes peer out at Stephanie in the slanting rain.</scene_description> <character>STEPHANIE</character> <dialogue>Mrs. McLennan? Hello! I'm Gloria. I'm from the cleaning service.</dialogue> <scene_description>Mrs. McLennan stares back with bewildered eyes.</scene_description> <character>MRS. MCLENNAN</character> <dialogue>Who?</dialogue> <character>STEPHANIE</character> <dialogue>Oh, goodness. Did Bruce not tell you? He said I was supposed to clean the entire house until you could eat a four-course meal off the floors. Did I get the date wrong?</dialogue> <scene_description>The old woman makes a hard, irritable face. She closes the door. Dammit. But then it opens again, unlatched and pulled wide for her.</scene_description> <character>MRS. MCLENNAN</character> <dialogue>Start in the downstairs bathroom.</dialogue> </scene> <scene> <stage_direction>INT. MCLENNAN MANOR - BATHROOM - DAY</stage_direction> <scene_description>Her plan has backfired as Stephanie, in rubber gloves, cleans an extremely dirty toilet. Exasperated, she looks up at a giant JESUS portrait over the toilet. She eyes him, guilty.</scene_description> <character>STEPHANIE</character> <parenthetical>(to the portrait)</parenthetical> <dialogue>Well, it's not lying if I'm really cleaning the place.</dialogue> </scene> <scene> <stage_direction>INT. MCLENNAN MANOR - CORRIDOR - AFTERNOON</stage_direction> <scene_description>As Stephanie wanders with her bucket, lightning flashes in the gauzy curtains. She looks at old pictures of SCOWLING INDUSTRIALISTS on the wall. She finally stops at one picture - - HOPE AND FAITH. They stare ahead with hard faces, arm-in- arm, as if unified against the photographer.</scene_description> <character>MRS. MCLENNAN (O.S.)</character> <dialogue>Bruce! The fire's dying. Bruce!</dialogue> <scene_description>Stephanie takes off her head wrap and hustles ahead.</scene_description> </scene> <scene> <stage_direction>INT. MCLENNAN MANOR - SITTING ROOM - MOMENTS LATER</stage_direction> <scene_description>As Stephanie feeds wood onto the fire, Mrs. McLennan is now seated on her red velvet chair, thumbing through an "OLD MONEY STYLE CATALOG." Stephanie sees a massive FORMAL PORTRAIT of a younger Mrs. McLennan in an evening gown above the grand piano.</scene_description> <character>STEPHANIE</character> <dialogue>I couldn't help but notice that lovely picture of your daughters.</dialogue> <character>MRS. MCLENNAN</character> <dialogue>What have they done now?</dialogue> <character>STEPHANIE</character> <dialogue>Nothing, no. I was just commenting on how beautiful they are. You must be a very proud mother.</dialogue> <scene_description>Mrs. McLeannan clears her throat and leans forward. She seems to have lost track of who Stephanie is without the head wrap.</scene_description> <character>MRS. MCLENNAN</character> <dialogue>I don't know what sort of donation you're looking for, but the well has gone dry.</dialogue> <character>STEPHANIE</character> <dialogue>Oh, I'm not looking for any money.</dialogue> <character>MRS. MCLENNAN</character> <dialogue>Well, you must be the only one. My husband lost a fortune in the recall of '98. I warned him, you know. It was a defect with the airbags. Do you know anything about airbags, Miss?</dialogue> <character>STEPHANIE</character> <dialogue>I'm afraid not.</dialogue> <character>MRS. MCLENNAN</character> <dialogue>What good are you then? Where is Bruce?</dialogue> <character>STEPHANIE</character> <dialogue>Bruce has gone out for a while. So your daughter Faith ...? She had some troubles, I take it.</dialogue> <character>MRS. MCLENNAN</character> <dialogue>She restored my faith, all right. In the devil.</dialogue> <character>STEPHANIE</character> <dialogue>That's a very strong statement coming from a mother.</dialogue> <character>MRS. MCLENNAN</character> <dialogue>Are you a mother?</dialogue> <character>STEPHANIE</character> <dialogue>I am. I love every minute of it.</dialogue> <character>MRS. MCLENNAN</character> <dialogue>Well, you must have brain damage. It's a thankless business. And some children are born rotten. They don't need a parent, they need an exorcist. My husband understood that.</dialogue> <scene_description>The old woman rises ... and heads to a HUGE BOOKSHELF. She pulls out a dictionary to reveal a HIDDEN BOTTLE.</scene_description> <character>MRS. MCLENNAN</character> <dialogue>Don't tell Bruce about this. It's unseemly the way that man polices me. Would you like some sherry?</dialogue> <character>STEPHANIE</character> <dialogue>No, thank you. Sweet of you to offer.</dialogue> <character>MRS. MCLENNAN</character> <parenthetical>(opens bottle; smells it)</parenthetical> <dialogue>Oh, that's not the sherry. It's the gin. The sherry must be behind another book.</dialogue> <scene_description>She looks up at the massive bookcase, hundreds of tomes. It'd take her a month to look behind all of them. Then she shrugs and returns to the chair with her straight gin.</scene_description> <character>STEPHANIE</character> <dialogue>So what ever happened to Faith?</dialogue> <character>MRS. MCLENNAN</character> <dialogue>The family shame. We paid so much money for that girl and her rehabilitation. Is there any service where one pays so dearly to get so little?</dialogue> <character>STEPHANIE</character> <dialogue>She was using drugs?</dialogue> <character>MRS. MCLENNAN</character> <parenthetical>(drinking)</parenthetical> <dialogue>Oh please do pay attention. Hope tried to take care of her, to get her off that stuff, I know - but of course Hope is a born liar. With terrible posture.</dialogue> <scene_description>An idea comes over Stephanie. She unfolds the FAX from her pocket, with "GOTTA HAVE FAITH" written across the bottom. The military coat, the sunken cheeks.</scene_description> <character>STEPHANIE</character> <dialogue>Mrs. McLennan. Do you recognize anyone in this picture?</dialogue> <scene_description>Stephanie thrusts the picture in front of the old woman's eyes. Suddenly, some recognition seems to come into her oblivious features. She looks back at Stephanie with a new expression of fear.</scene_description> <character>MRS. MCLENNAN</character> <dialogue>Faith. What does she want now? Who are you? Did she send you?</dialogue> <character>STEPHANIE</character> <dialogue>No, ma'am. I'm not even sure--</dialogue> <character>MRS. MCLENNAN</character> <dialogue>Are you the police?</dialogue> <character>STEPHANIE</character> <dialogue>No, no, I'm just asking -</dialogue> <character>MRS. MCLENNAN</character> <dialogue>I've told you all a thousand times, my memory isn't very good anymore. It won't stand up in court. The night of the fire, my husband and I were estranged. We were in separate wings of the house. I was in the east wing.</dialogue> <character>STEPHANIE</character> <dialogue>A fire burned down the west wing?</dialogue> <character>MRS. MCLENNAN</character> <dialogue>Lord, you're so dense. May, 2001. I'm exceptional with dates. Unless it's today's. Is it Wednesday? Are you an insurance agent?</dialogue> <scene_description>Stephanie swallows with guilt. It hurts to lie to this old woman in her state, but -</scene_description> <character>STEPHANIE</character> <dialogue>Yes.</dialogue> <character>MRS. MCLENNAN</character> <parenthetical>(softening again)</parenthetical> <dialogue>Oh good. Bruce and I have been waiting for the insurance money. My husband's stamp collection alone was worth a fortune. But you've got that ridiculous clause about arson. Vultures.</dialogue> <scene_description>She toasts her bottle of gin.</scene_description> <character>MRS. MCLENNAN</character> <dialogue>Here's to being "house poor."</dialogue> <scene_description>The phrase strikes Stephanie as familiar - but just then, with a loud squeak, the FRONT DOOR swings open down the hall. Stephanie stiffens at the sound - and Mrs. McLennan panics, too, handing her the bottle of gin.</scene_description> <character>MRS. MCLENNAN</character> <dialogue>It's Bruce. Hide this.</dialogue> <scene_description>With booming heavy footsteps, Bruce comes down the hall. Stephanie pulls aside books to hide the bottle, but finds a different bottle behind each. Finally she drops it into her bucket beside the toilet brush. She can think of nothing else but to grab the huge "OLD MONEY STYLE" CATALOG from the end table beside Mrs. McLennan as BRUCE APPEARS IN THE DOORWAY, HOLDING HIS SHOTGUN IN ONE HAD AND A DEAD GOOSE BY THE NECK IN THE OTHER. Stephanie tries not to freak. She waves the magazine in the air as she squeezes past a glaring Bruce in the doorway.</scene_description> <character>STEPHANIE</character> <dialogue>Thank you very much for your time, Mrs. McLennan. We'll process your order for the faux Chanel suit in ivory and the taupe scarf ... we'll put a rush on it.</dialogue> <scene_description>She bolts to the front door, hurriedly unlatching lock until -</scene_description> </scene> <scene> <stage_direction>EXT. MCLENNAN MANOR - AFTERNOON</stage_direction> <scene_description>- she's outside, dashing back to her car.</scene_description> </scene> <scene> <stage_direction>INT. STEPHANIE'S VOLVO - AFTERNOON</stage_direction> <scene_description>Hands shaking, Stephanie starts the car and drives quickly down the driveway, looking back in her rearview mirror for Bruce. She looks forward and GASPS, slamming on the brakes. BRUCE STANDS IN FRONT OF HER CAR, SHOTGUN ON HIP, THE DRIVEWAY GATES CLOSED BEHIND HIM. Looking like an ax murderer, BRUCE stands in her headlights. He slowly starts to walk forward. Stephanie is hyperventilating as he comes to her window. Her eyes are wide. Should she try to ram the gate? It's too heavy. Bruce taps on the window with the barrel of his shotgun. Sweating, she rolls it down, her face pale.</scene_description> <character>BRUCE</character> <dialogue>Where do you think you're going?</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>I wanted to order the Navy blazer. Extra large.</dialogue> <scene_description>Exhale. She nods yes as he goes and opens the driveway gates.</scene_description> </scene> <scene> <stage_direction>INT. LOCAL LIBRARY - DAY</stage_direction> <scene_description>Stephanie approaches the LIBRARIAN'S DESK.</scene_description> <character>STEPHANIE</character> <dialogue>Hi. I'm looking for all arson-related news items from Wayne County in 2001.</dialogue> <character>AT A MICROFICHE CARREL</character> <dialogue>Stephanie scans an article in a local newspaper dated May 3, 2001. The headline reads: "Teen Twins Vanish After Deadly House Fire"</dialogue> <character>STEPHANIE</character> <dialogue>Holy smokes.</dialogue> <scene_description>Stephanie scrolls the article, collecting phrases like "trapped in the house"... "suspicion of arson"... "possible abduction"...</scene_description> </scene> <scene> <stage_direction>ON VIDEO VLOG - INT. MICHIGAN MOTEL - DAY</stage_direction> <scene_description>Stephanie addresses the camera from her motel room.</scene_description> <character>STEPHANIE</character> <dialogue>Hi, Moms. Stephanie here. I'm coming to you today from Michigan for a special on- the-road edition. As you all know, I've been struggling to find closure around the tragic death of my best friend. So I drove to the lake where she drowned, just seeing if I could dredge up a little something.</dialogue> </scene> <scene> <stage_direction>INT. WARFIELD INN - EMILY'S MOTEL ROOM - DAY</stage_direction> <scene_description>Emily watches the VIDEO vlog of Stephanie, slack-jawed.</scene_description> <character>EMILY</character> <dialogue>You crazy bitch.</dialogue> <character>STEPHANIE (ON COMPUTER)</character> <dialogue>At first, I just couldn't figure why anyone would drive to Michigan just to shoot heroin and jump in a lake.</dialogue> <parenthetical>(a smile)</parenthetical> <dialogue>I could only figure that this particular watering hole had sentimental value.</dialogue> <character>EMILY</character> <dialogue>No, no, no, no, no ...</dialogue> <character>STEPHANIE (ON COMPUTER)</character> <dialogue>Turns out, it was the site of many a canoe race for Camp Squaw Lake, a Bible Camp that only a saint could love. I had to dig through plenty of camp journals: they had no filing system. But I finally found a picture of Emily. Or Claudia.</dialogue> <scene_description>She holds up the SQUAW LAKE BIBLE CAMP GAZETTE PICTURE.</scene_description> <character>EMILY</character> <dialogue>Motherfucker.</dialogue> <character>STEPHANIE (ON COMPUTER)</character> <dialogue>It's like looking at an angel, isn't it, moms? And it gave me the closure I needed. It made me feel closer to her than I've ever felt. Almost like a sister. So, wherever you are, Emily ... I really HOPE you're listening ... you've gotta have Faith.</dialogue> <character>EMILY</character> <dialogue>Mother. Fucker.</dialogue> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - DAY</stage_direction> <scene_description>Stephanie unlocks the door and enters.</scene_description> <character>STEPHANIE</character> <dialogue>Mom's home!</dialogue> <scene_description>Miles flies at her and hugs her as Nicky rounds the corner.</scene_description> <character>STEPHANIE</character> <dialogue>Oh, Smooch. I missed you.</dialogue> <scene_description>Miles glances over at the table, suddenly looking caught and guilty. There's a glass of milk without a coaster under it.</scene_description> <character>MILES</character> <dialogue>Sorry, mom. I forgot.</dialogue> <character>STEPHANIE</character> <dialogue>You know what? Forget Mr. Coaster. Mr. Glass can stand wherever he wants.</dialogue> <character>MILES</character> <parenthetical>(looks at her oddly)</parenthetical> <dialogue>Are you okay, mom?</dialogue> <character>STEPHANIE</character> <dialogue>I've never been better, sweetie.</dialogue> <character>NICKY</character> <dialogue>Where were you? Why did we have to sleep at Hector's? He pees the bed.</dialogue> <scene_description>Sean emerges from the kitchen with a whiskey in hand.</scene_description> <character>SEAN</character> <dialogue>They could've stayed with me, you know.</dialogue> <scene_description>The sight of him unnerves her. She quickly regroups.</scene_description> <character>STEPHANIE</character> <dialogue>I thought we all needed a breather. I know I feel like a million bucks.</dialogue> <scene_description>Stephanie heads up the stairs.</scene_description> <character>STEPHANIE</character> <parenthetical>(under her breath)</parenthetical> <dialogue>Maybe even four million.</dialogue> <scene_description>Sean studies her, suspicious now.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - MASTER BEDROOM/BATHROOM - NIGHT</stage_direction> <scene_description>Stephanie emerges from the bathroom in a nightgown carrying her clothes. Sean watches her from the bed.</scene_description> <character>SEAN</character> <dialogue>Since when do you undress in the bathroom?</dialogue> <scene_description>Stephanie shrugs and shoves her clothes in the hamper.</scene_description> <character>SEAN</character> <dialogue>I didn't like the way we left things.</dialogue> <scene_description>Sean moves up behind her at the mirror as she brushes her hair. His hands slide up her body, cupping her breasts. She moves away. He tries to joke, but he's frustrated.</scene_description> <character>SEAN</character> <dialogue>Cold hands? Bad breath? What's wrong?</dialogue> <character>STEPHANIE</character> <dialogue>I'm just tired. It was a long drive and the Stuckey's isn't sitting well.</dialogue> <scene_description>Stephanie climbs into bed and turns on her side, her back to Sean. He eyes her, writhing inside. She's wrapping him around her finger now.</scene_description> <character>SEAN</character> <dialogue>I'm tired of women lying to me.</dialogue> <character>STEPHANIE</character> <dialogue>I know just what you mean. Good night.</dialogue> <scene_description>She reaches over and turns off the lamp beside her bed.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - OFFICE - DAY</stage_direction> <scene_description>Stephanie sits at Sean's desktop computer and clicks on the hard drive. Everything is neatly organized.</scene_description> <character>STEPHANIE</character> <dialogue>Follow the money ...</dialogue> <scene_description>She finds the folder labeled FAMILY FINANCE and opens it. Sees INSURANCE EMILY-2 and clicks on the PDF. It opens up a standard confirmation letter from Allied Insurance. She scrolls to the bottom for the customer service number. Dials.</scene_description> <character>STEPHANIE</character> <dialogue>Hi, my name is Beth. I'm calling on behalf of my boss Sean Townsend regarding his wife Emily Nelson's policy.</dialogue> <parenthetical>(reading account number)</parenthetical> <dialogue>CT7602258. Do you know the name of the agent who handles that account?</dialogue> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - KITCHEN - DAY</stage_direction> <scene_description>Stephanie opens a fake e-mail account under the name bhargrave@gmail.com, then drafts an e-mail to iprager@alliedinsurance.com.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>"Dear Mr. Prager ... My name is Bruce Hargrave. I'm writing to you about a case you're handling for Emily Nelson, recently deceased. I have been the caretaker of her family estate for many years. What I have to say will sound crazy, but years ago, my employer died in a house fire. His teen daughters, Hope and Faith, disappeared without a trace. I'm attaching an old photo as well as some articles about the fire. I have reason to believe one of the girls died recently under the name Emily Nelson. Before you shell out that money, you should know that she had a TWIN SISTER. And while it may sound extreme to think a girl could kill her twin to stage her own death, I'm sure you run into a myriad of strange situations in your line of work.</dialogue> <parenthetical>(thinks)</parenthetical> <dialogue>While I want to see justice served, I prefer to be left out of this. Please consider this an anonymous tip. Best wishes, Bruce Hargrave.</dialogue> <scene_description>Stephanie's cursor hovers over the SEND button. And ... CLICK. Stephanie lets out a long slow exhale.</scene_description> </scene> <scene> <stage_direction>INT. DOLCE VITA RESTAURANT - GREENWICH VILLAGE - DAY</stage_direction> <scene_description>A trendy Italian restaurant. Sean sits alone in a corner booth, annoyed. He huffs and dials his cell phone.</scene_description> <character>SEAN (ON PHONE)</character> <dialogue>Hi, this is Sean Townsend. I was supposed to meet Billy Kent for lunch?</dialogue> <parenthetical>(his face drops)</parenthetical> <dialogue>What do you mean? You called two days ago to set it up.</dialogue> <scene_description>A shadow falls over Sean. He looks up and sees -- Emily standing over him in a baseball cap and shades.</scene_description> <character>SEAN (ON PHONE)</character> <dialogue>Nevermind. No, don't call him.</dialogue> <scene_description>He hangs up. Emily slides into the booth.</scene_description> <character>EMILY</character> <dialogue>We spent every anniversary here, you dumbshit. How could you not put it together? You've got "Mommy brain" now?</dialogue> <character>SEAN</character> <parenthetical>(in shock, then)</parenthetical> <dialogue>Why, Emily? Why?</dialogue> <scene_description>She takes a breadstick from beside him and crunches on it.</scene_description> <character>EMILY</character> <dialogue>I have four million reasons.</dialogue> <character>SEAN</character> <dialogue>How could you do this to Nicky?</dialogue> <character>EMILY</character> <dialogue>I did this for Nicky. I hated that job: I never got to see him. And you clearly only had one book in you. We couldn't exactly live off the faculty buffet the rest of our lives. I was going to buy us our freedom and it would have worked perfectly ... if you just hadn't shacked up with Miss Zucchini fucking Cookie.</dialogue> <scene_description>Sean has to look down into his plate. He's dizzy.</scene_description> <character>SEAN</character> <dialogue>Whom did I bury?</dialogue> <character>EMILY</character> <dialogue>Let's not split hairs over the details.</dialogue> <character>SEAN</character> <dialogue>I was grieving your death.</dialogue> <character>EMILY</character> <dialogue>That's how you grieve? Balls deep in my "best friend?" That's some renegade therapy.</dialogue> <character>SEAN</character> <dialogue>She's been good to Nicky. At a time when he really needed it.</dialogue> <scene_description>Emily seethes at this comment. It disrupts her usual aplomb.</scene_description> <character>EMILY</character> <dialogue>Oh, she's been good to Nicky? That's what drew you to her, her extraordinary mothering. You're all just little horny boys, aren't you?</dialogue> <character>SEAN</character> <dialogue>You could have told me something. Anything.</dialogue> <character>EMILY</character> <dialogue>Except you can't keep a secret. Even in the dark, you almost ruined everything. I was just gonna lay low until the insurance money came through.</dialogue> <character>SEAN</character> <dialogue>So why didn't you? Instead you've been terrorizing your son, making me think he and Stephanie had gone mad. Why didn't you stick to your plan?</dialogue> <scene_description>Emily's face wilts, showing sincere longing.</scene_description> <character>EMILY</character> <dialogue>I missed Nicky. He's my little man.</dialogue> <parenthetical>(reclaiming her iciness)</parenthetical> <dialogue>Anyway, the clock is ticking. Nancy Drew knows too much and if she fucks up that insurance money, then I'm taking you down with me. Don't forget, Sean, this was all your plan.</dialogue> <character>SEAN</character> <dialogue>My plan? I--</dialogue> <scene_description>Sean hears a CLICK. Emily raises her hand enough to show she has a GUN, pointed at his groin under the table.</scene_description> <character>EMILY</character> <dialogue>Do you love her?</dialogue> <scene_description>He sees the madness in her eyes. He says the only thing he can to maintain the peace:</scene_description> <character>SEAN</character> <dialogue>No. It was just sex.</dialogue> <character>EMILY</character> <dialogue>Did you think of me while you were fucking her?</dialogue> <character>SEAN</character> <dialogue>Yes.</dialogue> <character>EMILY</character> <dialogue>Do you love me or not, Sean?</dialogue> <character>SEAN</character> <parenthetical>(in pain; straining)</parenthetical> <dialogue>Of course I love you. Stephanie means nothing to me.</dialogue> <scene_description>Emily sees the WAITRESS heading over to them. CLICK! Emily fires the gun at his groin, causing him to jolt and go rigid. She smiles devilishly: the chamber was empty.</scene_description> <character>EMILY</character> <dialogue>That's just an appetizer, baby.</dialogue> <scene_description>She rises, coolly slipping the gun back in her purse, then bends down and kisses him.</scene_description> <character>EMILY</character> <dialogue>Meet me in the bathroom in twenty seconds for the main course. Knock twice.</dialogue> <scene_description>She heads off. Sean can't believe what just happened. He stares down the long dark hallway to the LADIES ROOM door, his chest rising in panic.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - LIVING ROOM - DAY</stage_direction> <scene_description>A preoccupied Sean enters the house, looking shell-shocked.</scene_description> <character>STEPHANIE (O.S.)</character> <dialogue>Here he is now.</dialogue> <scene_description>Sean looks up to see Stephanie sitting on the couch with ISAAC PRAGER (40s), a doughy, pedantic CLAIMS ADJUSTER. He stands and holds out his hand.</scene_description> <character>PRAGER</character> <dialogue>Mr. Townsend. Isaac Prager, Allied Insurance. I'm investigating the death benefit claim for your late wife.</dialogue> <character>STEPHANIE</character> <dialogue>Sean, did you know that Emily had a twin sister?</dialogue> <scene_description>Sean stops, eyes wide, putting it all together. Then ...</scene_description> <character>SEAN</character> <dialogue>No. But then ...</dialogue> <character>STEPHANIE</character> <dialogue>The woman in the lake was her sister.</dialogue> <character>PRAGER</character> <dialogue>It would explain the DNA match.</dialogue> <character>STEPHANIE</character> <dialogue>So, where's Emily?</dialogue> <character>SEAN</character> <parenthetical>(composing himself)</parenthetical> <dialogue>If my wife were alive, she'd come home. She'd want to see her son.</dialogue> <character>PRAGER</character> <dialogue>I'm not a cop. And I'm definitely no therapist. I'm just an insurance guy. But this is definitely an interesting case.</dialogue> <character>STEPHANIE</character> <dialogue>Will you need to exhume the body?</dialogue> <scene_description>Sean shoots her a look, shocked by her macabre question.</scene_description> <character>PRAGER</character> <dialogue>No, ma'am. Allied Insurance considers digging up graves to be bad PR. We have a thorough autopsy. But everyone tends to read it in different ways.</dialogue> <character>STEPHANIE</character> <dialogue>I see. Like the missing front tooth.</dialogue> <scene_description>Sean is boiling inside as he looks at Stephanie.</scene_description> <character>PRAGER</character> <dialogue>I'm not sure I caught that. A missing front tooth?</dialogue> <scene_description>Stephanie watches Sean like a hawk as he squirms.</scene_description> <character>PRAGER</character> <dialogue>I will say, it's unusual to live with someone as husband-and-wife and not know they have a twin.</dialogue> <character>STEPHANIE</character> <dialogue>Or a missing tooth.</dialogue> <character>SEAN</character> <dialogue>She was a very private person.</dialogue> <character>PRAGER</character> <dialogue>Well, hey, we all have secrets. But as I'm sure you can understand with a payment of this size, we're going to have to continue this claims investigation.</dialogue> <character>SEAN</character> <dialogue>Of course.</dialogue> <character>PRAGER</character> <dialogue>And, by law, we'll have to notify the authorities of our findings.</dialogue> <character>SEAN</character> <dialogue>I just hope she's alive. I want her back.</dialogue> <scene_description>Stephanie tightens, pained by his words. Prager shakes his hand, rises, and they all head to the front door ...</scene_description> <character>PRAGER</character> <dialogue>Obviously, if you do hear from her -</dialogue> <character>SEAN</character> <dialogue>You'll be the first to know.</dialogue> <scene_description>Sean closes the door behind him. He turns to Stephanie.</scene_description> <character>SEAN</character> <parenthetical>(cold)</parenthetical> <dialogue>You knew she had a twin.</dialogue> <character>STEPHANIE</character> <dialogue>Did I? Why didn't you?</dialogue> <character>SEAN</character> <dialogue>You knew and you didn't tell me.</dialogue> <character>STEPHANIE</character> <dialogue>Sean, baby. You sound crazy. Maybe you should take a Xanax. Take two.</dialogue> <scene_description>She heads back to the kitchen. He watches her go, reeling. ON VIDEO VLOG - KITCHEN - DAY</scene_description> <character>STEPHANIE (PRE-LAP)</character> <dialogue>Hi, Moms. Stephanie here. Today we're talking about Tombstone Tributes. I want to thank Helen from Missoula, Montana, for thinking out of the box.</dialogue> </scene> <scene> <stage_direction>EXT. WARFIELD CEMETERY - DAY</stage_direction> <scene_description>Blue skies, green grass and headstones as far as the eye can see. Stephanie stands at Emily's grave site. Opens a small cooler and takes out a silver shaker and two frozen glasses.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>It doesn't have to be flowers anymore. A favorite household item can do the trick. And Emily's favorite treat was a dry gin martini in the early afternoon.</dialogue> <scene_description>She puts the martini glasses on Emily's headstone. Stephanie pours each glass to the rim. Peels two large twists from a lemon, squeezes one over each glass and rubs them around each rim, then drops one in each glass.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>I'm gonna make them exactly like Emily did. Frozen gin into frozen glasses and a generous twist. Her beloved Dukes. And I'm going to have a toast on her grave.</dialogue> <scene_description>A FIGURE approaches behind Stephanie. It's Emily in her wig and glasses. Stephanie can hear her approach but doesn't turn. Emily stands alongside her, studying the headstone.</scene_description> <character>EMILY</character> <dialogue>Sean must have picked the font on the headstone. He loves Helvetica.</dialogue> <character>STEPHANIE</character> <dialogue>Men are so simple.</dialogue> <scene_description>Emily reaches for the martini glass.</scene_description> <character>EMILY</character> <dialogue>Nice big twist. I taught you well.</dialogue> <character>STEPHANIE</character> <dialogue>The student becomes the master.</dialogue> <scene_description>Emily winces at the cliche, but clinks with Stephanie.</scene_description> <character>EMILY</character> <dialogue>Whatever you need to tell yourself.</dialogue> <scene_description>Emily goes to take a drink, then pauses. She switches glasses - and indicates that Stephanie should drink first.</scene_description> <character>EMILY</character> <dialogue>I never know what surprises you have up these new empowered sleeves of yours, Dark Side. Let's hope you haven't build up a tolerance to something.</dialogue> <character>STEPHANIE</character> <dialogue>You think I poisoned both drinks? That's not my style.</dialogue> <parenthetical>(downing her martini)</parenthetical> <dialogue>I don't even eat gluten.</dialogue> <scene_description>Emily throws back her martini, facing Stephanie for a duel.</scene_description> <character>EMILY</character> <dialogue>You want another?</dialogue> <character>STEPHANIE</character> <dialogue>Bring it on. But first tell my why you killed your father and sister.</dialogue> <character>EMILY</character> <dialogue>Oh, are we airing dirty laundry? Like your son's real father?</dialogue> <character>STEPHANIE</character> <dialogue>Try me. I hold the cards, Emily. I want to know about "Faith."</dialogue> <scene_description>Emily looks at Stephanie, who stares her down defiantly.</scene_description> <character>EMILY</character> <dialogue>We were triplets. Faith, Hope, and Charity. But Charity was stillborn. My mother used to say that Faith and I offed her in the womb. And dad believed her.</dialogue> <character>STEPHANIE</character> <dialogue>Quite a mother. I had a nice afternoon with Mags. She likes her martinis even stronger than yours.</dialogue> <character>EMILY</character> <dialogue>You met my mother?</dialogue> <character>STEPHANIE</character> <dialogue>We had a little walk down memory lane. Actually it was more of a blind alley. But I got the picture. She was a cold woman, Em. I doubt you could ever do anything right in her eyes.</dialogue> <scene_description>Thrown for a loop, Emily looks childlike and exposed.</scene_description> <character>STEPHANIE</character> <dialogue>Was it Faith's idea to set that fire?</dialogue> <scene_description>Emily just stares at her, trying to hide her surprise.</scene_description> <character>STEPHANIE</character> <dialogue>You've got nothing to hide from me, Hope. If you can't tell your best friend, who can you tell?</dialogue> </scene> <scene> <stage_direction>EXT. MCLENNAN MANOR - NIGHT (FLASHBACK)</stage_direction> <scene_description>Dead of night. Hope and Faith (16) carefully open the second floor window and climb down on expensive tapestries cinched together. Hand in hand, they run past ...</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>Don't you think I understand?</dialogue> <scene_description>... a vigilant BRUCE sitting by the caretaker's shack.</scene_description> </scene> <scene> <stage_direction>EXT. WARFIELD CEMETERY - RESUME SCENE</stage_direction> <scene_description>Emily is staring back.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>You were sixteen years old. It's that age when you feel trapped.</dialogue> </scene> <scene> <stage_direction>EXT. LAKE'S EDGE - NIGHT (FLASHBACK)</stage_direction> <scene_description>A bonfire burns in the middle of a field. Teens hang out and drink, dance, make out. Faith makes out with a CUTE BOY. Hope watches them kiss with a mix of envy and concern ... until she sees her FATHER'S CAR rolling downhill toward them.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>And if your mother always had the biting comment ...</dialogue> </scene> <scene> <stage_direction>INT. MCLENNAN MANOR - NIGHT</stage_direction> <scene_description>Hope is locked inside a dark closet as she HEARS the sound of Faith being punished by her father on the other side of the door. Faith SCREAMS and fights back as Hope holds her ears.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>... I bet your father was more direct.</dialogue> </scene> <scene> <stage_direction>EXT. MCLENNAN MANOR - NIGHT</stage_direction> <scene_description>Hope and Faith each have a gas can in hand as they watch the bedroom wing of the mansion burn from the front lawn.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>I know that's when you learned to hit the reset button. Burn, baby, burn.</dialogue> </scene> <scene> <stage_direction>EXT. WARFIELD CEMETERY - RESUME SCENE</stage_direction> <scene_description>This time Emily is seduced by Stephanie. There's warmth and forgiveness in Stephanie's voice, which prompts Emily to lean against her own headstone, pouring herself a second martini.</scene_description> <character>STEPHANIE</character> <dialogue>When did you and Faith part ways?</dialogue> <character>EMILY</character> <dialogue>We couldn't stay together after the fire.</dialogue> </scene> <scene> <stage_direction>INT. GREYHOUND BUS (MOVING) - DAY</stage_direction> <scene_description>Hope and Faith ride the bus. Hope looks out the window, her mind spinning, planning for them. A WELL-MEANING TOURIST taps them, holding up a camera, wanting a picture of the pretty twins. Faith violently slaps the camera out of the woman's hands, hissing at her to fuck off.</scene_description> <character>EMILY (V.O.)</character> <dialogue>We were a freakshow wherever we went.</dialogue> </scene> <scene> <stage_direction>INT. HOUSTON TATTOO PARLOR - DAY</stage_direction> <scene_description>Hope and Faith sit across from each other, gripping each other's LEFT HAND. Hope already has her barbed wire tattoo on her wrist. The TATTOO ARTIST is in the process of completing Faith's matching barbed wire tattoo.</scene_description> <character>EMILY (V.O.)</character> <dialogue>We said goodbye with tattoos ...</dialogue> </scene> <scene> <stage_direction>EXT. CORPUS CHRISTI STREET - DAY</stage_direction> <scene_description>Hope and Faith hug tightly under a pier as the ocean washes to their toes. Both girls have tears in their eyes. They slowly back away from each other.</scene_description> <character>EMILY (V.O.)</character> <dialogue>... and parted ways in Corpus Christi. She was going to head to Mexico. I was going to drift north. We had a time and place to meet in six months, when the smoke cleared.</dialogue> </scene> <scene> <stage_direction>EXT. WARFIELD CEMETERY - RESUME SCENE - DAY</stage_direction> <character>STEPHANIE</character> <dialogue>But you never showed up.</dialogue> <scene_description>Emily shakes her head. She sips the martini.</scene_description> <character>EMILY</character> <dialogue>I bought a one-way ticket to New York City and I never looked back.</dialogue> <character>STEPHANIE</character> <dialogue>Did you miss her?</dialogue> <character>EMILY</character> <dialogue>For a while. But you get used to pain. You use it. Besides, Faith would only get me in trouble again. She always did. Sometimes I think my mother was right about her. But then my life in New York fell into place perfectly. People took me in. I got a job, worked my way up, met the perfect man. That part you know.</dialogue> <scene_description>She shoots Stephanie a deadly look.</scene_description> <character>STEPHANIE</character> <dialogue>Until your sister showed up.</dialogue> <character>EMILY</character> <dialogue>Damn Facebook. I could kill that Mark Zuckerberg. Sure, it's all baby pictures and protest marches until I got fingered.</dialogue> <character>STEPHANIE</character> <dialogue>You wouldn't meet her in New York: you had too much to lose. So you fabricated a trip to Miami, and went back to meet her at your old camp.</dialogue> <character>EMILY</character> <dialogue>Bunk Six. Our happy place.</dialogue> </scene> <scene> <stage_direction>EXT. SQUAW LAKE BIBLE CAMP - DAY (FLASHBACK)</stage_direction> <scene_description>Emily heads down the dirt path to GIRLS BUNK SIX. She braces herself then opens the door to ...</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>It must have been a shock. Seeing her again after all those years.</dialogue> </scene> <scene> <stage_direction>INT. SQUAW LAKE BIBLE CAMP - BUNK SIX - DAY (FLASHBACK)</stage_direction> <scene_description>Faith is already inside, wearing the ARMY JACKET from the fax. She rises to face her sister. Identical twins, the contrast between them is shocking. Faith is a full-blown junkie. Dirty and haggard, dark rings around her eyes. Her front tooth is broken.</scene_description> <character>EMILY (V.O.)</character> <dialogue>It was like looking in the mirror ... and seeing the life I could have had. The life I fought not to have.</dialogue> <scene_description>Faith moves toward Emily and hugs her. Behind her shoulder, Emily gags at the smell of her sister and chokes back tears.</scene_description> <character>STEPHANIE (V.O.)</character> <dialogue>And did she forgive you?</dialogue> <scene_description>Behind Emily's shoulder, we PUSH IN ON FAITH'S FACE as her smile dissipates and hardens into a deep-seated rage.</scene_description> <character>EMILY (V.O.)</character> <dialogue>No.</dialogue> </scene> <scene> <stage_direction>EXT. WARFIELD CEMETERY - RESUME SCENE - DAY</stage_direction> <scene_description>Emily stands in silence. Stephanie has got her now, like a perfect den motherly prosecutor, slowly reeling her in.</scene_description> <character>STEPHANIE</character> <dialogue>And how did you get your sister out into the lake?</dialogue> <character>EMILY</character> <dialogue>Fuck you. That was her idea. I didn't kill my sister.</dialogue> </scene> <scene> <stage_direction>INT. BUNK SIX - LATE AFTERNOON (FLASHBACK)</stage_direction> <scene_description>Emily watches with dread and fascination as Faith drops a syringe. Her arm goes limp and her eyes become glassy. Faith's head tips back as the warm rush climbs her body. She smiles at Emily, revealing her broken front tooth.</scene_description> <character>FAITH</character> <dialogue>You gotta have Faith. And now here I am.</dialogue> <scene_description>Faith laughs darkly, her smile hardening to malice.</scene_description> <character>EMILY</character> <dialogue>What are you up to, Faith?</dialogue> <character>FAITH</character> <dialogue>You abandoned me. And now I'm going to the cops. To tell them everything we did. And when I go under, you go with me.</dialogue> <character>EMILY</character> <dialogue>I have a family now.</dialogue> <character>FAITH</character> <dialogue>Awwww, that kid is so cute. So's the husband. Can I be you for a day? Like in High School when we'd switch places?</dialogue> <character>EMILY</character> <dialogue>What do you want from me?</dialogue> <character>FAITH</character> <dialogue>I want a million dollars in cash.</dialogue> <character>EMILY</character> <dialogue>Where the hell would I get that?</dialogue> <character>FAITH</character> <dialogue>You're rich and famous. You'll figure it out.</dialogue> <scene_description>Emily glowers at her. Then she appears to make a decision.</scene_description> <character>EMILY</character> <dialogue>Maybe I owe you this much for abandoning you. Okay. I'll sell the house.</dialogue> <scene_description>Emily softens, fighting tears. This may well be an act, but if so, it's a damn good one ...</scene_description> <character>FAITH</character> <dialogue>Uch, it's fucking hot in here. Let's go swimming. Like old times.</dialogue> <scene_description>Faith tugs her wool dress over her head, no underwear. Emily watches, disturbed.</scene_description> <character>FAITH</character> <dialogue>You coming?</dialogue> <scene_description>Emily considers it. Her mind working quickly.</scene_description> <character>EMILY</character> <dialogue>I'm right behind you.</dialogue> </scene> <scene> <stage_direction>EXT. WITCH LAKE - WOODS - LATE AFTERNOON</stage_direction> <scene_description>Emily makes her way through the woods to follow Faith, whose bare flesh flashes through the trees.</scene_description> </scene> <scene> <stage_direction>EXT. WITCH LAKE - LAKE FRONT - LATE AFTERNOON</stage_direction> <scene_description>Faith wades into the water then submerges under its icy surface. Emily peels off her dress down to her bra and underwear. She wades into the water with a gasp, her jaw clenched against the cold. Faith surfaces and treads water.</scene_description> <character>FAITH</character> <dialogue>C'mon, wimp! I thought you were the Alpha!</dialogue> <character>EMILY</character> <parenthetical>(muttering)</parenthetical> <dialogue>I am the Alpha, goddammit.</dialogue> <scene_description>Emily dives into the water, then swims out to where Faith is. They tread water, face to face in the moonlight. Faith's expression shifts. She's childlike, vulnerable.</scene_description> <character>FAITH</character> <dialogue>How could you leave me like that? We were supposed to be a team. You and me. Forever.</dialogue> <character>EMILY</character> <dialogue>I know. I'm sorry. We were.</dialogue> <scene_description>Emily takes her sister's shoulders to hug her ...</scene_description> <character>EMILY</character> <dialogue>It's just ... things have changed.</dialogue> <scene_description>She shoves Faith under the water. Faith struggles and splashes to the surface, but Emily shoves her down again. The struggle persists. Emily is athletic and strong. Her will to murder is stronger than Faith's will to live. Finally the struggle stops. Faith goes limp and floats. Emily holds her sister in her arms. A tender moment. Emily glances at her own hand, the sapphire and diamond engagement RING. She pulls the ring off her finger and wrestles it onto Faith's lifeless finger, forcing it on.</scene_description> </scene> <scene> <stage_direction>EXT. WARFIELD CEMETERY - DAY</stage_direction> <scene_description>A few real tears roll down Emily's cheeks.</scene_description> <character>EMILY</character> <dialogue>I woke up the next morning and she wasn't there. I couldn't find her anywhere. Finally I remembered how much she loved swimming in the lake. So I went there. I was too late ...</dialogue> <scene_description>Now Stephanie reads Emily the same way Emily once read her.</scene_description> <character>STEPHANIE</character> <dialogue>You're lying. You drowned her. You're a sister killer.</dialogue> <character>EMILY</character> <dialogue>Well, you're a brother fucker.</dialogue> <character>STEPHANIE</character> <dialogue>What does Sean know?</dialogue> <character>EMILY</character> <dialogue>Everything.</dialogue> <scene_description>Stephanie is stung by this. Emily sees her chance.</scene_description> <character>EMILY</character> <dialogue>He told me to disappear until the money came through. Said we could finally get out of debt, sell the house, leave the country. Start over, that I could quit my job and spend more time with Nicky.</dialogue> <character>STEPHANIE</character> <dialogue>I don't believe you. Sean grieved for you.</dialogue> <character>EMILY</character> <dialogue>All an act.</dialogue> <character>STEPHANIE</character> <dialogue>You're a pathological liar.</dialogue> <character>EMILY</character> <dialogue>Did Sean say that?</dialogue> <scene_description>Emily takes out her cell phone, plays an AUDIO CLIP.</scene_description> <character>EMILY (O.S.)</character> <dialogue>Do you love her?</dialogue> <character>SEAN (O.S.)</character> <dialogue>No. It was just sex.</dialogue> <character>EMILY (O.S.)</character> <dialogue>Did you think of me while you were fucking her?</dialogue> <character>SEAN (O.S.)</character> <dialogue>Yes.</dialogue> <character>EMILY (O.S.)</character> <dialogue>Do you love me or not, Sean?</dialogue> <character>SEAN (O.S.)</character> <dialogue>Of course, I love you. Stephanie means nothing to me.</dialogue> <scene_description>The CLIP stops. Stephanie looks sick to her stomach.</scene_description> <character>EMILY</character> <dialogue>Sorry, Steph. I know you thought it was real. But let's look on the bright side. Your web site went viral thanks to me. Now you can sell those ad banners.</dialogue> <character>STEPHANIE</character> <dialogue>All of this was for a little money.</dialogue> <character>EMILY</character> <dialogue>Yeah, a little four million. Sean convinced me we could pull it off. My sister didn't exist anymore. DNA would take care of the rest. All I had to do was lay low for six months so he could collect the money, sell the house, tie up loose ends.</dialogue> <character>STEPHANIE</character> <dialogue>Was I a loose end?</dialogue> <character>EMILY</character> <dialogue>Sean needed some help looking after Nicky. And you're so good with them. Darth Mommy.</dialogue> <scene_description>The entire tone has changed. It's like a chess match and Emily seems to have regained an advantage.</scene_description> <character>STEPHANIE</character> <dialogue>You were supposed to lay low. Why did you come back at all?</dialogue> <scene_description>Emily glares back at her, offended now.</scene_description> <character>EMILY</character> <dialogue>Look, I may be a working mother ... but that doesn't make me any less a mom.</dialogue> <parenthetical>(grimacing)</parenthetical> <dialogue>Every time you vlogged about how much Nicky cried or how he hated quinoa, I couldn't take it. It was like a hostage standoff. I had to see him again. To let him know that I was coming back. He's my heart and soul, Stephanie, my everything. It doesn't matter how good your brownies are, he's my son.</dialogue> <scene_description>This has an effect on Stephanie and she blinks away tears.</scene_description> <character>STEPHANIE</character> <dialogue>So what happens now?</dialogue> <character>EMILY</character> <dialogue>I want my son. Period. You fucked up the insurance money, and the authorities won't stop looking. I don't even give a shit anymore: take Sean.</dialogue> <character>STEPHANIE</character> <dialogue>I don't want Sean. Not after this.</dialogue> <scene_description>A flicker of satisfaction on Emily's face. They wait quietly. Then Emily breaks the silence.</scene_description> <character>EMILY</character> <dialogue>Then there's one other option, one mom to another.</dialogue> <scene_description>Emily reaches out her glass to toast. Stephanie clinks her glass into her friend's. OFF STEPHANIE, curious --</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - MASTER BEDROOM - NIGHT</stage_direction> <scene_description>Stephanie lies in bed, back to Sean, snoring in a deep sleep.</scene_description> <character>STEPHANIE</character> <dialogue>Sleeping like a log.</dialogue> <scene_description>She slowly, gingerly slides her leg off the bed, toe finding the floor, her body slinking out behind it.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - KITCHEN - NIGHT</stage_direction> <scene_description>She logs onto the Connecticut College website. She types Sean's email into user slot: stownsend@conncollege.com, then enters the password. Waits. She's in.</scene_description> </scene> <scene> <stage_direction>EXT. EMILY'S HOUSE - NIGHT</stage_direction> <scene_description>Stephanie plants a DOCUMENT in the glove compartment of Sean's car and closes it. She's wearing Emily's leather gloves. Stephanie quietly closes the door and clicks the lock on the key fob. She tiptoes into the house, closing the door.</scene_description> </scene> <scene> <stage_direction>INT. CONNECTICUT COLLEGE - ENGLISH DEPT. - DAY</stage_direction> <scene_description>Sean arrives at his office to find Beth, spooked. Two DETECTIVES are in his office unhooking computer cables.</scene_description> <character>BETH</character> <dialogue>They had a warrant. I tried to call you.</dialogue> <scene_description>Shocked, Sean enters his office toward the detectives.</scene_description> <character>SEAN</character> <dialogue>I'm Sean Townsend. I'm happy to comply with whatever you need, but it would be nice to have a heads up.</dialogue> <character>DETECTIVE #1</character> <dialogue>This is an open investigation. You don't get to pencil us in when it's convenient.</dialogue> <character>SEAN</character> <dialogue>I'm calling a lawyer.</dialogue> <character>DETECTIVE #2</character> <dialogue>I'm calling that a good idea.</dialogue> </scene> <scene> <stage_direction>EXT. EMILY'S HOUSE - DAY</stage_direction> <scene_description>Sean pulls up in his car to find his front door blocked with police tape and THREE SQUAD CARS. Detective Meany is there.</scene_description> <character>SEAN</character> <dialogue>What the fuck?</dialogue> <scene_description>Meany clocks Sean's arrival and approaches as he gets out.</scene_description> <character>SEAN</character> <dialogue>Am I under arrest?</dialogue> <character>DETECTIVE MEANY</character> <dialogue>We're still working on it. The D.A. wants a slam dunk.</dialogue> <character>SEAN</character> <dialogue>Well, that may be hard, since I didn't do anything.</dialogue> <character>DETECTIVE MEANY</character> <dialogue>Did you know your wife was alive?</dialogue> <character>SEAN</character> <parenthetical>(after a beat)</parenthetical> <dialogue>Not until recently.</dialogue> <character>DETECTIVE MEANY</character> <dialogue>When?</dialogue> <scene_description>Meany scrutinizes him carefully.</scene_description> <character>SEAN</character> <dialogue>She contacted me.</dialogue> <character>DETECTIVE MEANY</character> <dialogue>And you immediately notified the authorities, right?</dialogue> <character>SEAN</character> <dialogue>I can't discuss this without my attorney.</dialogue> <character>DETECTIVE MEANY</character> <dialogue>I'd say that's wise. We'll talk soon.</dialogue> <parenthetical>(turning back)</parenthetical> <dialogue>Oh. If we need you ... will you be with your wife or the best friend?</dialogue> <scene_description>OFF SEAN, in a bad place --</scene_description> </scene> <scene> <stage_direction>EXT. STEPHANIE'S HOUSE - DAY</stage_direction> <scene_description>Sean pulls up to Stephanie's house. Hearing his car, she opens the door. He grabs his briefcase and approaches her.</scene_description> <character>SEAN</character> <dialogue>I need a stiff drink. Maybe more of your dead husband's scotch.</dialogue> <scene_description>She blocks the doorway with her body.</scene_description> <character>STEPHANIE</character> <dialogue>I can't let you in. I'm sorry.</dialogue> <character>SEAN</character> <dialogue>Why not? Where's Nicky?</dialogue> <character>STEPHANIE</character> <dialogue>Upstairs sleeping. You have to go.</dialogue> <character>SEAN</character> <dialogue>What are you talking about?</dialogue> <character>STEPHANIE</character> <dialogue>This is an ongoing investigation, Sean. I can't let you into this house until this whole big hoo-ha is solved.</dialogue> <character>SEAN</character> <parenthetical>(studies her; then)</parenthetical> <dialogue>My god, she got to you, didn't she? She got into your head.</dialogue> <character>STEPHANIE</character> <dialogue>This has nothing to do with Emily.</dialogue> <character>SEAN</character> <dialogue>It has EVERYTHING to do with her!</dialogue> <character>STEPHANIE</character> <dialogue>Shhhh, the boys are sleeping --</dialogue> <character>SEAN</character> <dialogue>She's gaslighting you. You don't understand how powerful she is.</dialogue> <character>STEPHANIE</character> <dialogue>I don't understand anything right now. I just need to be alone and take care of the boys. Stay in a hotel tonight. Please. Don't make me call the police.</dialogue> <scene_description>Sean looks at her, stunned. He backs away, shaking his head. Stephanie watches as Sean gets in his car and peels out of her driveway. She heaves a long slow sigh of relief.</scene_description> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - KITCHEN - DAY</stage_direction> <scene_description>Stephanie bakes cookies. But there's no joy in pinching the little dough clumps onto the greased pan. This is an act of survival. She sees her cell phone vibrating on the counter. We hear Sean on VOICEMAIL, forcibly calm and sincere.</scene_description> <character>SEAN (V.O.)</character> <dialogue>Stephanie? I don't know what's going on or how this all will turn out. But you're a great mum and you've taught me how to be a better dad. For that I'll always be grateful. The truth is ...</dialogue> </scene> <scene> <stage_direction>EXT. WARFIELD INN - DAY</stage_direction> <scene_description>Emily comes out of her room and walks breezily past the various doors of a seedy motel. A HANDYMAN is installing an air conditioning unit into a room's window, his open toolbox on the ground next to him.</scene_description> <character>SEAN (V.O.)</character> <dialogue>I don't think I ever knew my wife ...</dialogue> <scene_description>The handyman goes inside the room to adjust something. Without breaking stride, Emily casually grabs a wrench out of the toolbox and keeps walking breezily, flipping the wrench.</scene_description> </scene> <scene> <stage_direction>EXT. WARFIELD INN - AROUND BACK - DAY</stage_direction> <scene_description>Emily walks around the back of the motel, casually flipping the wrench in her hand. She stops, takes a breath and flips the wrench high in the air. She puts her hands behind her back and calmly lines herself up under the falling wrench.</scene_description> <character>SEAN (V.O.)</character> <dialogue>Or what she's capable of.</dialogue> <scene_description>As the wrench speeds down toward Emily's eye ...</scene_description> </scene> <scene> <stage_direction>INT. WARFIELD POLICE STATION - RECEPTION - DAY</stage_direction> <scene_description>Emily walks into the Warfield Police Station, her eye and cheek bruised and bloodied. Tears rolling down her cheeks. She approaches the POLICE OFFICER manning the desk.</scene_description> <character>EMILY</character> <dialogue>My name is Emily Nelson. I need to speak to someone.</dialogue> </scene> <scene> <stage_direction>INT. WARFIELD POLICE STATION - INTERROGATION ROOM - DAY</stage_direction> <scene_description>Emily talks to Detective Meany. She's convincing, emotional, wiping away tears as she tells her story. Meany takes notes.</scene_description> </scene> <scene> <stage_direction>EXT. CONNECTICUT COLLEGE - DAY</stage_direction> <scene_description>STUDENTS pause to watch as Detective Meany walks Sean across campus in handcuffs, POLICE OFFICERS in tow.</scene_description> </scene> <scene> <stage_direction>EXT. CONNECTICUT COURTHOUSE - DAY</stage_direction> <scene_description>Both in suits and sunglasses, Sean and his LAWYER push past local news reporters on their way into the courthouse.</scene_description> <character>REPORTER (PRE-LAP)</character> <dialogue>In the Emily Nelson case, which first went viral on a popular Internet vlog ...</dialogue> </scene> <scene> <stage_direction>INT. STEPHANIE'S HOUSE - DAY</stage_direction> <scene_description>Stephanie's listens to a local REPORTER on her TV.</scene_description> <character>REPORTER (PRE-LAP)</character> <dialogue>The PR executive was believed dead in Michigan. But today, she has resurfaced.</dialogue> <character>THE NEWS PROGRAM CUTS TO:</character> <dialogue>FOOTAGE OF EMILY, still bruised and bandaged, addressing a slew of reporters outside the police station.</dialogue> <character>REPORTER (O.S.)</character> <dialogue>It appears the body found in the lake was that of Nelson's estranged twin sister. As for Nelson, why didn't she come forward when her sister died?</dialogue> <scene_description>See SHOTS OF SEAN AND HIS LAWYER entering the courthouse.</scene_description> <character>REPORTER (O.S.)</character> <dialogue>Nelson's husband, an abusive failed novelist and English professor, forced her to stage her own death to collect an enormous insurance claim to the tune of four million dollars. We spoke briefly to Sean's niece, who's studying in America.</dialogue> <scene_description>Stephanie perks up as BETH comes on camera.</scene_description> <character>STEPHANIE</character> <dialogue>His niece?</dialogue> <character>BETH (ON SCREEN)</character> <dialogue>Everyone is in shock. No one believes my uncle could do anything like this. He's always been the most generous person I know, and I don't believe a word of this.</dialogue> <character>BACK TO THE REPORTER ON CAMERA.</character> <dialogue>REPORTER</dialogue> <scene_description>Nevertheless, bail for Sean Townsend will be set today. A British national, Townsend faces deportation if found guilty. Although an accomplice to fraud, Ms. Nelson is complying with the authorities in exchange for clemency.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - DAY</stage_direction> <scene_description>Sean unlocks the front door and walks inside. He looks like hell, a broken man, tired and unshaven. The lights are on, FRENCH POP MUSIC playing on the stereo, someone home.</scene_description> <character>SEAN</character> <dialogue>Stephanie?</dialogue> <scene_description>Emily emerges from the kitchen, carrying two martinis.</scene_description> <character>EMILY</character> <dialogue>Guess again.</dialogue> <scene_description>Sean takes her in, spooked.</scene_description> <character>SEAN</character> <dialogue>Where's Nicky?</dialogue> <character>EMILY</character> <dialogue>At a friend's watching a movie. I thought we needed some mommy and daddy time.</dialogue> <scene_description>She hands him his martini and leans in to kiss his lips. The kiss chills him to the bone. She's hurt: he's no longer entirely under her spell.</scene_description> <character>EMILY</character> <dialogue>Have you forgotten me that quickly?</dialogue> <character>SEAN</character> <dialogue>You're impossible to forget.</dialogue> <scene_description>She forces a smile and heads for the kitchen. Sean eyes the martini, wondering if it's poisoned. He pours it into a potted plant and heads ... INTO THE KITCHEN Emily refills her glass and heads over to refill his.</scene_description> <character>EMILY</character> <dialogue>I don't need to poison you, Sean. If I wanted to get rid of you, you'd already be dead.</dialogue> <character>SEAN</character> <dialogue>You planted those files on my computer.</dialogue> <character>EMILY</character> <dialogue>Not just me. I had help. From a woman who volunteers for everything.</dialogue> <character>SEAN</character> <dialogue>Stephanie.</dialogue> <character>EMILY</character> <dialogue>Not as sweet as her cookies, is she?</dialogue> <character>SEAN</character> <dialogue>Were you ever going to tell me you had a twin sister?</dialogue> <character>EMILY</character> <dialogue>She was mine to kill. Wasn't your business.</dialogue> <character>SEAN</character> <dialogue>I'm your husband.</dialogue> <character>EMILY</character> <dialogue>Mmmm. Labels. Yawn.</dialogue> </scene> <scene> <stage_direction>EXT. EMILY'S HOUSE - SIDE YARD - DAY</stage_direction> <scene_description>Stephanie stands in the dark yard, watching Emily and Sean confer in the kitchen. Their exchange is quiet, tense, contained. She can't make it out. Her eyes well up with angry tears. She has Emily's lady pistol in her hand.</scene_description> <character>STEPHANIE (PRE-LAP)</character> <dialogue>Hi, Moms. Stephanie here. I'm so grateful for all the love and support you've been sending my way.</dialogue> <scene_description>ON VIDEO VLOG - KITCHEN - DAY Stephanie addresses the camera, falling apart.</scene_description> <character>STEPHANIE</character> <dialogue>And as shocked as you are by the latest turn of events, no one is more stunned than me. Emily had her secrets and so did her husband. Clearly, I was the naive romantic who got caught in the middle. I hope you'll forgive me in advance for what I'm about to do ...</dialogue> </scene> <scene> <stage_direction>EXT. EMILY'S HOUSE - SIDE YARD - DAY</stage_direction> <scene_description>Mustering her anger and courage, Stephanie stalks ... INTO THE KITCHEN Sean and Emily are both shocked to see her.</scene_description> <character>EMILY</character> <dialogue>Stephanie?</dialogue> <character>SEAN</character> <dialogue>You shouldn't be here right now.</dialogue> <character>STEPHANIE</character> <dialogue>I used to live here, remember?</dialogue> <character>SEAN</character> <dialogue>Please. Don't make this harder.</dialogue> <scene_description>When Sean moves in toward her, Stephanie raises her gun.</scene_description> <character>STEPHANIE</character> <dialogue>Hold on. Not another step.</dialogue> <character>SEAN</character> <dialogue>Stephanie, please. You won't even let the boys play with squirt guns.</dialogue> <character>STEPHANIE</character> <parenthetical>(cocking the gun)</parenthetical> <dialogue>Well, there's a time and a place for everything.</dialogue> <character>EMILY</character> <dialogue>Whoa, Stephanie ... take it down a notch.</dialogue> <character>STEPHANIE</character> <dialogue>You used me, Sean. And for what? Free babysitting? Home-cooked meals? I had to wash those bicycle shorts.</dialogue> <character>EMILY</character> <dialogue>Oh, I hate those.</dialogue> <character>SEAN</character> <dialogue>I swear, I had no idea she was alive --</dialogue> <character>STEPHANIE</character> <dialogue>No more lying!</dialogue> <character>EMILY</character> <dialogue>I agree. Let's just sit down and talk this out.</dialogue> <character>SEAN</character> <dialogue>You sit, Em. You hated Stephanie. You called her Captain Mom. You used to watch her vlog and tear her apart.</dialogue> <character>STEPHANIE</character> <parenthetical>(hurt, to Emily)</parenthetical> <dialogue>All I ever wanted was to be your friend, Emily.</dialogue> <scene_description>Emily stares back with sincere eyes.</scene_description> <character>EMILY</character> <dialogue>You were. I didn't expect it ... but I loved you. Then you fucked my husband and all of my best plans.</dialogue> <character>SEAN</character> <dialogue>Don't blame her -</dialogue> <character>EMILY</character> <dialogue>We could have been rich, Sean.</dialogue> <character>SEAN</character> <dialogue>Maybe if you'd had the good sense to call - I could have helped your little plot!</dialogue> <character>EMILY</character> <dialogue>Oh, you haven't come up with a decent plot in ten years.</dialogue> <character>STEPHANIE</character> <dialogue>I'm going to say something. Objectively. Nicky deserves better than both of you.</dialogue> <character>SEAN</character> <dialogue>Stephanie, put the gun down. You don't want to do this.</dialogue> <scene_description>Stephanie fingers the trigger as tears roll down her cheeks.</scene_description> <character>EMILY</character> <dialogue>Stephanie.</dialogue> <character>STEPHANIE</character> <dialogue>I loved you, Sean. And I loved you, Emily. This is the only way.</dialogue> <character>SEAN</character> <dialogue>But, Stephanie, I love y---</dialogue> <scene_description>BANG! Stephanie shoots Sean in the chest, blowing a bloody hole in his shirt. Sean clutches his chest and staggers backwards, knees buckling.</scene_description> <character>STEPHANIE</character> <dialogue>Oh God! Oh no!</dialogue> <scene_description>Stephanie wails and rushes to Sean, draping over him.</scene_description> <character>STEPHANIE</character> <dialogue>Don't die! Sean. Please, don't die. I didn't mean to do that. I'm so sorry -</dialogue> <character>SEAN</character> <parenthetical>(sputtering)</parenthetical> <dialogue>No, I'm sorry.</dialogue> <character>STEPHANIE</character> <dialogue>No, God, please. I got so caught up. But I love you, Sean. Don't die.</dialogue> <scene_description>Emily sips her martini, suddenly completely calm.</scene_description> <character>EMILY</character> <dialogue>Oh yes, God, Sean. Please don't die.</dialogue> <parenthetical>(a long beat)</parenthetical> <dialogue>Okay, cut the waterworks.</dialogue> <scene_description>Stephanie looks up at her, confused. Emily draws a gun.</scene_description> <character>EMILY</character> <dialogue>Get up.</dialogue> <scene_description>Stephanie slowly rises to her feet.</scene_description> <character>EMILY</character> <dialogue>You too, DiCaprio.</dialogue> <scene_description>Sean lies limp, eyes closed. Dead. Emily kicks him in the gut. Sean clenches and groans.</scene_description> <character>EMILY</character> <dialogue>Get up! Show's over.</dialogue> <scene_description>Sean gets up and stands with Stephanie. They both know they're screwed. Emily grins.</scene_description> <character>EMILY</character> <dialogue>That was almost brilliant, Stephanie. Almost. So, the cops planted a mic somewhere in here. You shoot him with a blank. Fake blood. Nice cinematic touch. I confess everything. You really almost had me. I knew there was so much more to you, Stephanie. You've got real panache.</dialogue> <scene_description>Spattered with fake blood all over her blouse, Stephanie looks genuinely touched. Another misplaced moment of bonding.</scene_description> <character>STEPHANIE</character> <dialogue>Thank you. You know that really means a lot to me.</dialogue> <scene_description>Emily nods back.</scene_description> <character>STEPHANIE</character> <dialogue>But you already did confess, Em. And the police are on their way.</dialogue> <character>EMILY</character> <dialogue>No, no, no, don't try that. You had me just a little buzzed from this ... but you're still a standard martini, Stephanie. You're not the standard-bearer from Dukes.</dialogue> <scene_description>Stephanie stares back, confused. Suddenly, Emily does a perfect imitation of Stephanie's voice.</scene_description> <character>EMILY</character> <parenthetical>(as Stephanie)</parenthetical> <dialogue>"Hi Cops, Stephanie here! Change of plans. I'm meeting Emily and Sean at Darren's house now. Hurry!"</dialogue> <character>STEPHANIE</character> <dialogue>You sent the cops to Darren's house?</dialogue> </scene> <scene> <stage_direction>INT. DARREN'S HOUSE - AT THAT SAME MOMENT</stage_direction> <scene_description>Darren, Sona and Stacy are having a "Moms Night" at Darren's house. They're playing Pictionary and smoking pot as Stephanie's OLD VLOGS play in the background. Sona is taking a long drag as she draws something indecipherable.</scene_description> <character>DARREN</character> <dialogue>It's a virus ... it's a ... it's String Theory. Is it String theory?</dialogue> <scene_description>BLAM!!! The front door is splintered by a battering ram as a SWAT TEAM storm in, guns drawn. The moms SCREAM.</scene_description> <character>SWAT LEADER</character> <dialogue>Hands up, weapons down! NOW!!!</dialogue> <character>DARREN</character> <parenthetical>(hands up, wailing)</parenthetical> <dialogue>I have a prescription! It's for my sleep apnea!</dialogue> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - KITCHEN - BACK TO SCENE</stage_direction> <scene_description>Emily holds up a gun in one hand and, in the other -- THE BUG the cops planted. The small mic cord has been severed.</scene_description> <character>EMILY</character> <dialogue>I've lived on the run for over a decade: you don't think I know how to manipulate the authorities?</dialogue> <character>SEAN</character> <dialogue>So you're going to kill us?</dialogue> <character>EMILY</character> <dialogue>A murder-suicide seems like the only fitting end for you two. And I believe our insurance will still pay for that. One door closes, another door opens.</dialogue> <character>SEAN</character> <dialogue>You have always been fucking crazy.</dialogue> <scene_description>BANG! Emily shoots Sean in the shoulder. He falls to his knees.</scene_description> <character>SEAN</character> <dialogue>Agh!! You really shot me!</dialogue> <character>EMILY</character> <dialogue>I'm crazy. You said so yourself.</dialogue> <scene_description>Emily aims the gun at Stephanie, who stares her down.</scene_description> <character>STEPHANIE</character> <dialogue>You won't kill me, Emily.</dialogue> <character>EMILY</character> <parenthetical>(cocking the gun)</parenthetical> <dialogue>The hell I won't. I'll have to add this to my list. A father, a sister ... and now my dear best friend.</dialogue> <scene_description>Stephanie can't help but get sentimental, even in danger.</scene_description> <character>STEPHANIE</character> <dialogue>Am I really your best friend? You're not just saying that?</dialogue> <character>EMILY</character> <dialogue>I'm not just saying that.</dialogue> <character>STEPHANIE</character> <dialogue>Because I felt that way, too - but I worried it was just me. I mean, it's so hard to connect with other Moms ...</dialogue> <character>EMILY</character> <dialogue>Tell me about it. Imagine when you have a full-time job?</dialogue> <character>STEPHANIE</character> <dialogue>Oh, don't pull that crap! What I do is work too, Emily. It's a full time job!</dialogue> <scene_description>Emily chambers a bullet and steps ahead.</scene_description> <character>STEPHANIE</character> <dialogue>I may not get paid for it, but believe me, being a mother is HARD WORK. And then I have my vlog on top of that. In fact, maybe you'd like to be on my vlog some time? Have you ever thought about that?</dialogue> <parenthetical>(off Emily's confused look)</parenthetical> <dialogue>Like ... right now? Killing us might just get me to a million subscribers.</dialogue> <scene_description>Stephanie points to the HIDDEN LIPSTICK CAMERA camouflaged in a FLOWER ARRANGEMENT by the stove.</scene_description> <character>STEPHANIE</character> <dialogue>We're live streaming. And you just confessed. Wave hello to the moms!</dialogue> <scene_description>Emily locks eyes with Stephanie as it dawns on her - Stephanie has outsmarted her. Stephanie manages a light smile. Emily simply shakes her head.</scene_description> <character>EMILY</character> <dialogue>Oh, goddammit ...</dialogue> <scene_description>SIRENS rise up in the background. Then Emily bolts from the kitchen, gun in hand.</scene_description> </scene> <scene> <stage_direction>INT. EMILY'S HOUSE - LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Emily bolts through the living room, then out the front door.</scene_description> </scene> <scene> <stage_direction>EXT. EMILY'S HOUSE - CONTINUOUS</stage_direction> <scene_description>Emily sprints across the lawn toward her car across the street. SIRENS approach.</scene_description> <character>STEPHANIE</character> <dialogue>Stop! Emily!</dialogue> <scene_description>Emily stops and turns. Stephanie runs onto the front lawn.</scene_description> <character>STEPHANIE</character> <dialogue>It's over, Emily. You can't outrun this. Think of Nicky. Don't do it to him. You're still his mom.</dialogue> <character>EMILY</character> <dialogue>He may be better off without any mom.</dialogue> <scene_description>Emily aims the gun at Stephanie, who GASPS. Emily starts to pull the trigger when ... BLAM!!! SHE FLIPS IN THE AIR, HIT FULL ON BY A SPEEDING PRIUS. Her gun goes flying. Darren gets out of the car heroically.</scene_description> <character>DARREN</character> <dialogue>Toyota Prius. Silent but deadly.</dialogue> <scene_description>Darren walks over to Emily, who is prone on the ground.</scene_description> <character>DARREN</character> <dialogue>Saw you on the vlog. You fuck with one of the moms, you fuck with all of us.</dialogue> <scene_description>Emily kicks him in the groin. As he doubles over, she tries to get up but can't. She crawls on the asphalt as TWO POLICE CARS close in from the other direction, cherry and blue lights flashing, reflected in her eyes. Emily accepts defeat. CAPTION: SIX MONTHS LATER ON VIDEO VLOG - KITCHEN - DAY Stephanie addresses the camera from Emily's kitchen.</scene_description> <character>STEPHANIE</character> <dialogue>Hi, Moms. Stephanie here. Well, it's a big day because this morning we signed up our one millionth subscriber, Mrs. Carol Findley of Ames, Iowa! Thanks for joining us, Carol. As our newest friend, you should know that in addition to my usual helpful tips and recipes, I am now also taking on any unsolved mysteries. Turns out I have a nose not only for sniffing out the freshest basil but also criminals who thought they got away with it. So, if you have a cold case or a mystery to unravel, drop me a line. But for now... let's focus on my favorite cold soup: gazpacho!</dialogue> </scene> <scene> <stage_direction>EXT. PRISON YARD - YORK CORRECTIONAL FACILITY - DAY</stage_direction> <scene_description>Boss' "I DON'T GIVE A FUCK" blasts on a boombox. We're in the yard of a women's prison in Niantic, CT. Various cliques of women engaged in different activities and conversations. On the basketball court, there's a seriously competitive and cut- throat pick-up game going down. Right in the mix is -- EMILY. Racing up and down the court like a pro. Stealing the ball. Sweaty, athletic, take no prisoners. She looks fabulous in her orange jumpsuit with a more natural beauty. No make- up, hair in a messy ponytail, more herself than ever before. She swishes the ball in the hoop and high fives her TEAMMATES with a grin. A GUARD comes out.</scene_description> <character>GUARD</character> <dialogue>Hey, Runway. You got a visitor.</dialogue> <scene_description>Emily peels off from the game. Her teammates groan.</scene_description> </scene> <scene> <stage_direction>INT. VISITORS ROOM - YORK CORRECTIONAL FACILITY - DAY</stage_direction> <scene_description>Emily walks in to see Stephanie and Nicky at a table. Nicky races toward her. She scoops him up in her arms and hugs him so tightly he groans.</scene_description> <character>NICKY</character> <dialogue>Can't ... breathe ...</dialogue> <scene_description>Emily laughs and lets him go.</scene_description> <character>EMILY</character> <dialogue>You're growing so fast.</dialogue> <scene_description>Nicky pulls his lower lip down to show off his missing teeth.</scene_description> <character>EMILY</character> <dialogue>And you lost another one!</dialogue> <character>NICKY</character> <dialogue>The tooth fairy got me a gumball machine.</dialogue> <character>EMILY</character> <dialogue>Well, that was nice of her.</dialogue> <character>NICKY</character> <parenthetical>(with a hard look)</parenthetical> <dialogue>I know it's Dad.</dialogue> <character>EMILY</character> <dialogue>You're getting too smart for me.</dialogue> <scene_description>She joins Stephanie at the table, Nicky on her lap. Stephanie pushes a plate of cookies wrapped in saran across to her.</scene_description> <character>STEPHANIE</character> <dialogue>With agave instead of sugar.</dialogue> <character>EMILY</character> <dialogue>Good. They go a long way in here.</dialogue> <character>NICKY</character> <dialogue>Now can I have one?!</dialogue> <character>STEPHANIE</character> <dialogue>Of course, Nicky.</dialogue> <scene_description>Nicky grabs a cookie, shoving the whole thing in his mouth.</scene_description> <character>NICKY</character> <parenthetical>(mouth full)</parenthetical> <dialogue>I'm thirsty. Can I get a Coke?</dialogue> <character>STEPHANIE</character> <dialogue>I'd rather you had milk inst--</dialogue> <parenthetical>(then, with a smile)</parenthetical> <dialogue>Ask your mom.</dialogue> <scene_description>Emily laughs and hands him a buck from a wad of cash tucked inside her bra. He darts off to the vending machine.</scene_description> <character>STEPHANIE</character> <dialogue>Okay. Whattaya got for me?</dialogue> <scene_description>Emily glances over her shoulder to make sure the GUARD isn't listening.</scene_description> <character>EMILY</character> <dialogue>Inez Montoya. She used to be the guy's housekeeper before she got nabbed for wire fraud. She says he hides cash, lots of it, in a toolbox in the garage.</dialogue> <character>STEPHANIE</character> <dialogue>That's where they were putting it. Of course! I knew he was guilty. Thank you.</dialogue> <character>EMILY</character> <dialogue>You keep bringing the supplies, I'll keep doling out the info.</dialogue> <scene_description>They share a smile. Emily takes a bite of a cookie. Frowns.</scene_description> <character>EMILY</character> <dialogue>Do me a favor, Dark Side. Next time, use real sugar.</dialogue> <character>STEPHANIE</character> <dialogue>Copy that, Runway.</dialogue> <scene_description>As the two women share a smile of mutual respect, BEGIN END CREDITS ...</scene_description> </scene> <scene> <stage_direction>EXT. WARFIELD ELEMENTARY SCHOOL - DAY</stage_direction> <scene_description>UNDER THE END CREDITS, the BELL rings and all the kids pour out of the school with their parents. Stephanie walks out with her boys -- Miles and Nicky -- who have bonded like brothers. Darren races up to Stephanie. Stephanie begins to sign her name onto EVERY SLOT of a SIGN- UP SHEET when -</scene_description> <character>DARREN</character> <dialogue>Stephanie! We need your help! There's been a terrible crime.</dialogue> <character>STEPHANIE</character> <dialogue>What?</dialogue> <scene_description>Darren grabs her hand and hauls her off. She resists.</scene_description> <character>DARREN</character> <dialogue>Come with me. I have to show you. There's a dead body in the schoolyard!</dialogue> <parenthetical>(to Miles and Nicky)</parenthetical> <dialogue>Boys, I'm borrowing your Mom!</dialogue> <scene_description>Stephanie's jaw drops as she follows Darren ...</scene_description> </scene> <scene> <stage_direction>EXT. WARFIELD SCHOOL - SCHOOLYARD - DAY</stage_direction> <scene_description>A MAN'S BODY is splayed face down on the ground. A KID (5) is drawing a chalk outline around it. Confused, Stephanie turns over the body and discovers -- SEAN. Grinning ear to ear.</scene_description> <character>STEPHANIE</character> <dialogue>Sean. That's a pretty dark joke.</dialogue> <scene_description>Sean nods to ANOTHER KID who stands next to a boom box. The kid hits the button. MUSIC kicks in and a FLASH MOB begins. Everyone we've met is there: Sona, Stacey, Darren, the teacher Mrs. Kerry, even Detective Meany -- are there to participate in the choreographed performance, along with all the ELEMENTARY SCHOOL KIDS -- Miles and Nicky at the forefront. Two COOL KIDS, 9 and 11, watch the flash mob with disdain.</scene_description> <character>COOL KID #1</character> <dialogue>Uch. This is so 2010.</dialogue> <character>COOL KID #2</character> <dialogue>Totally embarrassing.</dialogue> <scene_description>Stephanie stands at the center, beaming, her eyes filled with tears as she takes in all this effort for her. At the end of the song, Sean kneels on one knee and pops open a velvet jewelry box. INSIDE IS THE VINTAGE DIAMOND AND SAPPHIRE RING THAT BELONGED TO HIS MOTHER.</scene_description> <character>SEAN</character> <dialogue>Stephanie Smothers. Internet sensation and P.I. Mom. Please say you'll marry me. Or I'll have a lot of explaining to do to all these people.</dialogue> <character>STEPHANIE</character> <dialogue>Well ... I'll have to ask the moms first.</dialogue> <parenthetical>(off his look)</parenthetical> <dialogue>Yes. Of course I'll marry you.</dialogue> <scene_description>Stephanie throws herself into his arms. The crowd explodes. It's a happy ending! Why the hell not? They've all been through a lot. FADE OUT.:</scene_description> </scene> </script>

Widowed single mother Stephanie Smothers runs a vlog featuring crafts and recipes for parents. She becomes friends with Emily Nelson, the mother of her son's schoolmate and a PR director for a fashion company, and they exchange confessions over martinis. Stephanie shares that as a teenager, she had sex with her half-brother Chris. Emily is frustrated by the lack of success of her husband, English professor Sean Townsend, and their (well-hidden) poor financial situation. Stephanie babysits Emily's son while Sean is in London. After two days of Emily not returning calls, she learns from Emily's boss, Dennis Nylon, that she is in Miami. Stephanie calls Sean, who contacts the police. Trying to get to the bottom of Emily's disappearance, she makes missing person flyers using a photo of Emily that she found hidden on her desk. Detective Summerville reports that Emily lied about flying to Miami, and that her drowned body had been discovered in the lake at a summer camp in Michigan. Stephanie and Sean share their grief and begin a sexual relationship. Summerville reveals to Stephanie that Emily had severe liver damage, a large amount of heroin in her system, and that Sean had recently taken out a $4 million life insurance policy on her. Stephanie receives an insulting message apparently from Emily about her tryst with her half-brother Chris. She has a flashback of her late husband suspecting her infidelity, possibly leading him to cause the car crash that killed both him and Chris. Investigating Emily's past, Stephanie meets Diana Hyland, who seems to have been a lover of Emily and who had painted a portrait of her. Diana says that the painting is actually of her muse Claudia, whom she describes as a con artist who disappeared. Her information leads Stephanie to a yearbook that shows Emily to be a girl named Hope McLanden, and who had an identical twin named Faith. Stephanie visits Margaret, the mother of the twins, who explains that at 16, the twins had set fire to the family house, killing their father, and disappeared. Meanwhile, while Stephanie is away on these investigative trips, Emily surprises Sean by reappearing, and tells him that she plans to collect the insurance money and leave the country. Stephanie later contrives to meet with Emily, who explains that she and her sister indeed started the fire to kill their abusive father. The sisters fled separately with a plan to reunite later, but Faith didn't turn up as agreed. Emily then built a career and family but then Faith reappeared 14 years later. Now an alcoholic and heroin addict, Faith threatened to turn them both in to the authorities by confessing the patricide unless paid a million dollars by Emily. After assenting to the demand, Emily drowned Faith in the lake (as revealed to the movie audience), but Emily tells Stephanie that Faith committed suicide and that Sean planned the insurance scam. Emily and Stephanie are both angered by Sean's relationship with the other and decide to frame Sean. He is arrested and released on bail. Stephanie has a change of heart and stages an argument with Sean in front of Emily in order to incriminate her while police-planted microphones are recording the meeting. Stephanie fakes shooting Sean. Emily, having predicted their ruse and disabled the microphones, confesses her crimes while holding the pair at gunpoint, saying that she will stage their murder-suicide. Shooting Sean in the shoulder, she turns the gun on Stephanie, who reveals that a hidden camera is livestreaming the entire event on her vlog. Emily attempts to escape, only to be hit by a car driven by Stephanie's friend Darren. She is arrested immediately after. Closing text says that Emily was sentenced to 20 years in prison, Sean's second novel was a bestseller and he became a successful professor at Berkeley, and Stephanie is said to be dating another man and that her vlog has a million followers and is being developed as a TV show and also that she is a part-time private detective. In a mid-credits scene, Emily is seen winning a basketball game in prison.

Mass_2021

tt11389748

<script> <scene> <character>MASS</character> <dialogue>Written &amp; Directed by Fran Kranz</dialogue> </scene> <scene> <stage_direction>EXT. SUBURBAN NEIGHBORHOOD - DAWN</stage_direction> <scene_description>It's dawn somewhere in America. The first hint of sunrise glows on the horizon, barely illuminating the otherwise dark suburban street. Red taillights appear as a garage door opens a few houses \* down the road. An SUV pulls out onto the street.</scene_description> </scene> <scene> <stage_direction>EXT. SHOPPING DISTRICT - DAWN</stage_direction> <scene_description>The roads are still empty as the sky turns a lighter shade of violet. The SUV passes local malls and businesses, making its way to the interstate.</scene_description> </scene> <scene> <stage_direction>EXT. INTERSTATE - DOWNTOWN - SUNRISE</stage_direction> <scene_description>Office lights flicker in the distance as the SUV makes its way out of the city. Sunlight breaks over the horizon, reflecting off buildings' glass facades.</scene_description> </scene> <scene> <stage_direction>EXT. INTERSTATE - COUNTRY - MORNING</stage_direction> <scene_description>Later, the sun casts an even heat over farmlands. The SUV speeds through the country on a journey that seems to take several hours. Eventually, the flat farmlands give way to foothills. Miles ahead, the hills compound themselves into massive mountains. The SUV disappears into the rising landscape. CUT TO BLACK:</scene_description> </scene> <scene> <stage_direction>EXT. EMMANUEL EPISCOPAL CHURCH - MORNING</stage_direction> <scene_description>The modest red brick Gothic revival church sits on the corner of a small town street. Behind it, built much later, are the church offices and meeting halls. A piano plays inside the church. It's a familiar melody, just unsure of itself. "Hey diddle diddle, the cat and the fiddle, the cow jumped over the moon..." An old beat up Subaru parks out front. JUDY (30's, nervous but well meaning) exits her car, grabs groceries from the back seat and hurries toward the church.</scene_description> </scene> <scene> <stage_direction>INT. EMMANUEL EPISCOPAL CHURCH - NAVE - MORNING</stage_direction> <scene_description>A YOUNG STUDENT struggles to read sheet music as his PIANO TEACHER guides him through the notes. They play at an upright piano at the foot of the altar. Judy enters at the other end of the nave. She waves to the teacher as she takes a seat in the back pew dropping her groceries down beside her. After praying, she makes a quick sign of the cross. Collecting her things, she waves goodbye to the teacher and makes her way down a set of stairs and into...</scene_description> </scene> <scene> <stage_direction>INT. EMMANUEL EPISCOPAL CHURCH - BASEMENT - MORNING</stage_direction> <scene_description>The church basement. It's a large but cluttered space. The walls are covered with community flyers and religious plaques. In an open kitchen, ANTHONY (a peculiar young man in his late teens) does dishes.</scene_description> <character>JUDY</character> <dialogue>I'm late.</dialogue> <parenthetical>(no response)</parenthetical> <dialogue>I know...</dialogue> <scene_description>Judy drops her things on a table as she rushes across the room and up a small flight of stairs into...</scene_description> </scene> <scene> <stage_direction>7A INT. EMMANUEL EPISCOPAL CHURCH - OFFICES - MORNING 7A</stage_direction> <scene_description>The church offices. She checks the phone for messages and turns on a desktop computer.</scene_description> <character>JUDY</character> <parenthetical>(calling to Anthony)</parenthetical> <dialogue>Has anyone called?</dialogue> <character>ANTHONY</character> <parenthetical>(calling back)</parenthetical> <dialogue>No.</dialogue> <character>JUDY</character> <dialogue>Kendra?</dialogue> <character>ANTHONY</character> <dialogue>No. No one.</dialogue> <scene_description>7A CONTINUED: 7A</scene_description> <character>JUDY</character> <dialogue>Okay, good.</dialogue> <scene_description>Judy crosses back to the basement.</scene_description> </scene> <scene> <stage_direction>7B INT. EMMANUEL EPISCOPAL CHURCH - BASEMENT - MORNING 7B</stage_direction> <scene_description>Stopping on the stairs, Judy takes a deep breath.</scene_description> <character>JUDY</character> <dialogue>My son had a game this morning but he wanted me to wait till his dad got there, then I got stuck in traffic on the way back... Or some accident...</dialogue> <character>ANTHONY</character> <dialogue>You got in an accident?</dialogue> <character>JUDY</character> <dialogue>No I got... stuck in the traffic of an accident.</dialogue> <parenthetical>(noticing the dishes)</parenthetical> <dialogue>What are you doing?</dialogue> <character>ANTHONY</character> <dialogue>Dishes.</dialogue> <character>JUDY</character> <dialogue>Okay. Will you help me set up?</dialogue> <character>ANTHONY</character> <dialogue>What do we need to set up?</dialogue> <character>JUDY</character> <dialogue>The room for the meeting.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Why are you doing dishes?</dialogue> <character>ANTHONY</character> <dialogue>No one cleaned up from this morning.</dialogue> <character>JUDY</character> <dialogue>Oh, I'm sorry...</dialogue> <character>ANTHONY</character> <dialogue>We got to tell them to clean up after themselves...</dialogue> <character>JUDY</character> <dialogue>We did. Was this AA?</dialogue> <scene_description>7B CONTINUED: 7B</scene_description> <character>ANTHONY</character> <dialogue>No Al-Anon. AA clean up after themselves.</dialogue> <character>JUDY</character> <dialogue>Just leave it for now, okay? I want it all set up when Kendra gets here.</dialogue> <scene_description>He stops and dries his hands. He leaves the kitchen and makes his way across the basement, brushing past Judy on his way up the stairs.</scene_description> <character>JUDY</character> <dialogue>Thank you...</dialogue> </scene> <scene> <stage_direction>INT. EMMANUEL EPISCOPAL CHURCH - PARISH HALL - MORNING</stage_direction> <scene_description>It's a light filled room with an assortment of furniture including a wooden table and chairs placed against a wall featuring the artwork of Sunday School students. Judy and Anthony enter, turn on the overhead lights, and survey the room.</scene_description> <character>JUDY</character> <dialogue>Here... let's pull the table out.</dialogue> <scene_description>They lift the table and waddle it to the center of the room. Anthony waits for Judy.</scene_description> <character>JUDY</character> <dialogue>Thinking. It's so... exposed.</dialogue> <character>ANTHONY</character> <dialogue>Table cloth?</dialogue> <character>JUDY</character> <dialogue>Definitely not. It shouldn't be so formal.</dialogue> <character>ANTHONY</character> <dialogue>This looks pretty informal to me.</dialogue> <character>JUDY</character> <dialogue>Let's grab some chairs. I don't want it to look so prepared for them, you know?</dialogue> <scene_description>She goes to grab two chairs. He follows. CONTINUED:</scene_description> <character>ANTHONY</character> <dialogue>Then why are we preparing it for them?</dialogue> <character>JUDY</character> <dialogue>Because they asked for the space. It's part of our service.</dialogue> <parenthetical>(remembering)</parenthetical> <dialogue>"Unobserved!" That's what Kendra said. "Unobserved." I think... She had all these requests.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I just don't want them to feel like we've thought too much about it.</dialogue> <character>ANTHONY</character> <dialogue>Little do they know...</dialogue> <scene_description>Judy looks at the table, suddenly concerned he might be right. In the office, a phone rings.</scene_description> <character>JUDY</character> <dialogue>Oh dear... That must be her.</dialogue> </scene> <scene> <stage_direction>EXT. EMMANUEL EPISCOPAL CHURCH - STREET - MORNING</stage_direction> <scene_description>KENDRA (early 30's, dressed sharply) closes the door of a rental car. Judy and Anthony walk over from the church to welcome her.</scene_description> <character>JUDY</character> <dialogue>Hi!</dialogue> <character>KENDRA</character> <dialogue>Good morning. Are you Judy?</dialogue> <character>JUDY</character> <dialogue>Yes! I'm Judy! Are you Kendra?</dialogue> <character>KENDRA</character> <dialogue>Kendra Carter, pleasure. \*</dialogue> <character>JUDY</character> <dialogue>So nice to meet you! I mean, I thought I recognized your voice, but I didn't want to presume... I recognized your voice...</dialogue> <character>KENDRA</character> <dialogue>That's okay.</dialogue> <scene_description>CONTINUED:</scene_description> <character>JUDY</character> <dialogue>And that's okay! Thank you for coming.</dialogue> <scene_description>Judy goes in for a mildly reciprocated hug.</scene_description> <character>JUDY</character> <dialogue>How was your flight?</dialogue> <character>KENDRA</character> <dialogue>It was fine.</dialogue> <character>JUDY</character> <dialogue>Good.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Oh, this is Anthony! I'm sorry.</dialogue> <character>KENDRA</character> <dialogue>Nice to meet you.</dialogue> <scene_description>Kendra shakes Anthony's hand.</scene_description> <character>JUDY</character> <dialogue>I think you two have spoken...</dialogue> <character>KENDRA</character> <dialogue>Yes. Thank you both for your help.</dialogue> <parenthetical>(looks around)</parenthetical> <dialogue>It's a... very nice church.</dialogue> <character>JUDY</character> <dialogue>Oh, thank you. You want to see inside?</dialogue> <parenthetical>(Kendra hesitates)</parenthetical> <dialogue>Yeah, sure, we have a minute. Get \* out of the cold...</dialogue> <scene_description>Kendra politely follows them inside the church.</scene_description> </scene> <scene> <stage_direction>INT. EMMANUEL EPISCOPAL CHURCH - NAVE</stage_direction> <scene_description>Now the piano teacher plays. Another familiar tune, but this one without mistakes. The student watches. Judy, Anthony, and Kendra enter from the street. Judy stops to allow Kendra a moment to take in the space.</scene_description> <character>KENDRA</character> <parenthetical>(obligated)</parenthetical> <dialogue>It's nice.</dialogue> <scene_description>CONTINUED:</scene_description> <character>JUDY</character> <dialogue>Thank you. We think so. Most \* people drive north to St. Thomas \* these days, but... we still find plenty to do.</dialogue> <character>KENDRA</character> <dialogue>Where will they be meeting?</dialogue> <character>JUDY</character> <dialogue>Oh. Sorry...</dialogue> <character>KENDRA</character> <dialogue>I don't mean to be rude, I just...</dialogue> <character>JUDY</character> <dialogue>No, it's okay. Good question. Downstairs. Just follow me here.</dialogue> <scene_description>Judy leads them down the stairs.</scene_description> </scene> <scene> <stage_direction>INT. EMMANUEL EPISCOPAL CHURCH - BASEMENT - MORNING</stage_direction> <scene_description>Judy, Anthony, and Kendra enter the basement from the church stairwell. The piano can be heard from above. Judy leads them through the basement to the offices.</scene_description> <character>JUDY</character> <dialogue>We hold most meetings in here, but \* Charlotte thought they should have more privacy, so we'll put them in \* back.</dialogue> <character>KENDRA</character> <dialogue>If you think it's best.</dialogue> <character>JUDY</character> <dialogue>Yeah, I think so...</dialogue> <parenthetical>(as if it's a deal)</parenthetical> <dialogue>I mean, it's much nicer. Lots of light.</dialogue> <character>KENDRA</character> <dialogue>And Linda approved? \*</dialogue> <character>JUDY</character> <dialogue>Oh, well, I haven't actually met Linda before. She's not um... a \* parishioner.</dialogue> <character>KENDRA</character> <dialogue>But she's seen it?</dialogue> <scene_description>CONTINUED:</scene_description> <character>JUDY</character> <dialogue>I assume so, she and Charlotte have met here privately a few times, so...</dialogue> <scene_description>They head up the stairs and into the offices.</scene_description> </scene> <scene> <stage_direction>11A INT. EMMANUEL EPISCOPAL CHURCH - OFFICES - MORNING 11A</stage_direction> <scene_description>The three of them turn the corner and head back to the parish hall. Kendra lingers for a moment.</scene_description> <character>KENDRA</character> <dialogue>Will we hear the music back here?</dialogue> <scene_description>Judy and Anthony stop to consider.</scene_description> <character>JUDY</character> <dialogue>Oh shoot. Will that be a problem?</dialogue> <character>KENDRA</character> <dialogue>It might be can they stop?</dialogue> <character>JUDY</character> <dialogue>They're having lessons today...</dialogue> <character>ANTHONY</character> <dialogue>Can't we just close the doors?</dialogue> <character>KENDRA</character> <dialogue>I just don't want it to be a distraction.</dialogue> <character>JUDY</character> <dialogue>Of course, we'll talk to them.</dialogue> <parenthetical>(back to the room)</parenthetical> <dialogue>You want to see back here?</dialogue> <character>KENDRA</character> <dialogue>Thank you.</dialogue> <scene_description>They head back to the parish hall.</scene_description> </scene> <scene> <stage_direction>INT. EMMANUEL EPISCOPAL CHURCH - PARISH HALL</stage_direction> <scene_description>Judy, again, gives Kendra a chance to take in the space.</scene_description> <character>JUDY</character> <parenthetical>(re: the room)</parenthetical> <dialogue>What do you think?</dialogue> <scene_description>CONTINUED:</scene_description> <character>KENDRA</character> <parenthetical>(still on the music)</parenthetical> <dialogue>It's better back here.</dialogue> <character>JUDY</character> <dialogue>Oh right...</dialogue> <scene_description>Kendra moves to the table. She rearranges the chairs so \* that there are two on either side facing each other. \*</scene_description> <character>KENDRA</character> <dialogue>I was told no one would be in the building is all.</dialogue> <character>JUDY</character> <dialogue>Oh, I'm sorry. Well they normally practice in here but we moved them up to the church...</dialogue> <character>KENDRA</character> <dialogue>Okay, will anyone else be here?</dialogue> <character>ANTHONY</character> <dialogue>The choir's rehearsing for tomorrow.</dialogue> <character>JUDY</character> <dialogue>Oh right... sorry I put the chairs \* that way... \*</dialogue> <character>KENDRA</character> <dialogue>It's fine. They rehearse up in \* the church though? \*</dialogue> <parenthetical>(Anthony nods)</parenthetical> <dialogue>That should be fine.</dialogue> <character>JUDY</character> <dialogue>(still saddened by \* the chairs) \*</dialogue> <scene_description>I'm sorry, we're all a little disorganized with Charlotte leaving on short notice.</scene_description> <character>KENDRA</character> <dialogue>Yeah, I'm sorry I won't meet her, \* she said her mother was sick?</dialogue> <character>JUDY</character> <dialogue>Yes, it's so sad, she has um... \* early Alzheimers...?</dialogue> <character>ANTHONY</character> <dialogue>Dementia.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>JUDY</character> <dialogue>Okay, yeah, and um... it's just \* awful. She started calling here \* this week, Charlotte's mom, asking for her husband. He passed over ten years ago.</dialogue> <character>KENDRA</character> <dialogue>Oh god. \*</dialogue> <character>JUDY</character> <dialogue>I know, right? I mean looking for \* your dead husband? It's scary.</dialogue> <character>ANTHONY</character> <dialogue>It'd be scary if she found him.</dialogue> <character>JUDY</character> <dialogue>(beat) \*</dialogue> <scene_description>Anthony, will you go grab some of \* the snacks I brought? They're \* downstairs. Maybe lay them out on \* the far table? Anthony leaves them alone to get the groceries. Judy mouths "sorry" to Kendra who doesn't seem to mind.</scene_description> <character>JUDY</character> <parenthetical>(hopeful)</parenthetical> <dialogue>But the room's okay? \*</dialogue> <character>KENDRA</character> <dialogue>I think so...</dialogue> <scene_description>Kendra starts to look around, inspecting the room.</scene_description> <character>JUDY</character> <dialogue>We got some water and bagels. \*</dialogue> <parenthetical>(remembering)</parenthetical> <dialogue>Oh coffee! I'll brew some coffee.</dialogue> <character>KENDRA</character> <dialogue>That would be nice.</dialogue> <character>JUDY</character> <dialogue>And sorry about the chairs but, \* how's the table? \*</dialogue> <character>KENDRA</character> <dialogue>The table?</dialogue> <character>JUDY</character> <dialogue>Placement? The placement?</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>KENDRA</character> <parenthetical>(confused)</parenthetical> <dialogue>It's fine.</dialogue> <character>JUDY</character> <parenthetical>(proud of herself)</parenthetical> <dialogue>Good. Yeah...</dialogue> <scene_description>Anthony returns with the groceries.</scene_description> <character>JUDY</character> <parenthetical>(to Anthony, proudly)</parenthetical> <dialogue>Table's good.</dialogue> <character>KENDRA</character> <dialogue>You have some tissue? Tissue box...?</dialogue> <character>JUDY</character> <dialogue>Tissue! Yeah, of course. There \* should be some right here...</dialogue> <scene_description>Judy crosses to a bookshelf. Anthony lays out food.</scene_description> <character>JUDY</character> <dialogue>Good thinking. Alright, we're getting somewhere...</dialogue> <scene_description>Judy finds a tissue box. Kendra checks her phone.</scene_description> <character>ANTHONY</character> <dialogue>How many people are coming again?</dialogue> <character>JUDY</character> <dialogue>Um... why?</dialogue> <character>KENDRA</character> <dialogue>There'll be four of them.</dialogue> <character>ANTHONY</character> <dialogue>You got like lot of food.</dialogue> <character>KENDRA</character> <dialogue>Yeah, I don't think they'll be eating...</dialogue> <character>JUDY</character> <dialogue>Oh, really? I just thought...</dialogue> <scene_description>Anthony raises a large serving container.</scene_description> <character>ANTHONY</character> <dialogue>What is this?</dialogue> <scene_description>CONTINUED: (4)</scene_description> <character>JUDY</character> <parenthetical>(maybe a lie)</parenthetical> <dialogue>That's my lunch... Charlotte said to have food.</dialogue> <character>KENDRA</character> <dialogue>And it's a nice thought, but I don't think we need to have all that out. We shouldn't.</dialogue> <character>JUDY</character> <dialogue>Okay, well, we'll save it. \*</dialogue> <character>ANTHONY</character> <dialogue>So how long have you worked with the families?</dialogue> <character>JUDY</character> <dialogue>Anthony...</dialogue> <character>KENDRA</character> <dialogue>That's okay. And just the one family, but... six years now.</dialogue> <character>ANTHONY</character> <dialogue>Oh wow...</dialogue> <character>JUDY</character> <dialogue>Oh wow...</dialogue> <character>JUDY</character> <dialogue>So... were you... working with them before, or...</dialogue> <character>KENDRA</character> <dialogue>No. It's why we met.</dialogue> <character>JUDY</character> <dialogue>Oh.</dialogue> <character>ANTHONY</character> <parenthetical>(beat)</parenthetical> <dialogue>Have they done this before?</dialogue> <character>JUDY</character> <dialogue>Anthony. That's none of our business.</dialogue> <parenthetical>(getting rid of him)</parenthetical> <dialogue>You want to start printing out for tomorrow?</dialogue> <character>ANTHONY</character> <dialogue>I did.</dialogue> <scene_description>CONTINUED: (5)</scene_description> <character>JUDY</character> <dialogue>Okay, have you folded?</dialogue> <scene_description>Anthony hasn't. He goes to leave then stops at the door.</scene_description> <character>ANTHONY</character> <dialogue>Are we going to ring the bell?</dialogue> <scene_description>Judy isn't sure. She looks at Kendra.</scene_description> <character>KENDRA</character> <dialogue>What time do you do that?</dialogue> <character>JUDY</character> <dialogue>We always ring the bell at noon.</dialogue> <character>KENDRA</character> <dialogue>(not ideal timing) \*</dialogue> <scene_description>That's up to you. \* Anthony leaves. Judy crosses back to the table with a box of tissue. \*</scene_description> <character>JUDY</character> <dialogue>I'm sorry about him.</dialogue> <character>KENDRA</character> <dialogue>He's fine.</dialogue> <character>JUDY</character> <dialogue>We thought about giving him the day off, but his family... they want him busy.</dialogue> <character>KENDRA</character> <dialogue>You don't need to explain.</dialogue> <character>JUDY</character> <dialogue>Okay. That's good of you.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>God knows he's not your typical church employee. Then again we are Episcopalian...</dialogue> <parenthetical>(laughs)</parenthetical> <dialogue>Sorry. Christian humor.</dialogue> <scene_description>Judy places the tissues in the center of the table.</scene_description> <character>KENDRA</character> <dialogue>Don't put it in the center.</dialogue> <parenthetical>(off her look)</parenthetical> <dialogue>It's freaky. Put it on the side or maybe...</dialogue> <scene_description>CONTINUED: (6)</scene_description> <character>KENDRA</character> <parenthetical>(re: the counter)</parenthetical> <dialogue>Back where it was. So they see it, but not... you know?</dialogue> <character>JUDY</character> <dialogue>Oh, okay... sorry.</dialogue> <scene_description>As Judy puts the tissues away. Kendra pays closer attention to the artwork in the room - children's art. In particular, FAUX STAINED GLASS TISSUE PAPER HANGINGS by the windows.</scene_description> <character>JUDY</character> <dialogue>So where will you be during all of this? With them?</dialogue> <character>KENDRA</character> <parenthetical>(still looking)</parenthetical> <dialogue>No. They agreed to be alone.</dialogue> <character>JUDY</character> <dialogue>Okay, do you want to wait with us? We got lots of space. Great wifi.</dialogue> <character>KENDRA</character> <dialogue>I actually have some calls to make so I'll probably work from my car.</dialogue> <character>JUDY</character> <dialogue>Oh no, that's sad, stay with us. Use Charlotte's office.</dialogue> <character>KENDRA</character> <dialogue>Okay, we'll figure it out...</dialogue> <parenthetical>(the hangings)</parenthetical> <dialogue>Um... what are these?</dialogue> <character>JUDY</character> <dialogue>Oh, aren't those great. That was a school project. They're supposed to be, you know, stained glass...</dialogue> <parenthetical>(then, sensing)</parenthetical> <dialogue>Is something wrong...</dialogue> <scene_description>Kendra looks at the rest of the artwork around the room, framed and mounted to the walls. Judy follows her eyes.</scene_description> <character>JUDY</character> <parenthetical>(realizing)</parenthetical> <dialogue>Oh...</dialogue> <scene_description>CONTINUED: (7)</scene_description> <character>KENDRA</character> <dialogue>(beat, then) \*</dialogue> <scene_description>It's fine. I'm going to step out and make a call, okay?</scene_description> <character>JUDY</character> <dialogue>Okay, sure, yeah... take your \* time. \*</dialogue> <scene_description>Kendra leaves. Judy's left alone, staring sadly at the paper hangings.</scene_description> </scene> <scene> <stage_direction>EXT. EMMANUEL EPISCOPAL CHURCH - STREET - MORNING</stage_direction> <scene_description>The SUV from earlier comes to a stop at the church intersection.</scene_description> </scene> <scene> <stage_direction>INT. THE PERRY'S SUV - MORNING</stage_direction> <scene_description>JAY and GAIL PERRY (50's) look nervously at the church.</scene_description> <character>JAY</character> <dialogue>That must be it...</dialogue> <scene_description>Gail's eyes are hard, her body unmoving.</scene_description> <character>GAIL</character> <dialogue>Keep driving...</dialogue> <character>JAY</character> <dialogue>What?</dialogue> <character>GAIL</character> <dialogue>Just... keep driving. Not right now. Not ready yet...</dialogue> <character>JAY</character> <dialogue>Where should we go? I don't know where we are...</dialogue> <character>GAIL</character> <dialogue>Anywhere. Just keep driving.</dialogue> <parenthetical>(more urgent)</parenthetical> <dialogue>Just go that way somewhere and pull over. Just go...</dialogue> <character>JAY</character> <dialogue>Okay. Okay.</dialogue> <scene_description>He drives off, away from the church.</scene_description> </scene> <scene> <stage_direction>EXT. EMMANUEL EPISCOPAL CHURCH - STREET</stage_direction> <scene_description>Kendra exits from the office onto the street. Up the road, the SUV drives away. Kendra makes a phone call as she heads towards her car.</scene_description> <character>KENDRA</character> <dialogue>Hi Linda... No problem, I'm here. Take your time.... You spoke with the reverend? Good. I know she's \* sorry to miss you... Well, I've \* met the others filling in, yeah. They're fine. You don't have to meet them if you don't want... We'll figure it out.</dialogue> <scene_description>Kendra opens the car door and grabs her briefcase.</scene_description> <character>KENDRA</character> <dialogue>How are you feeling? It's okay to be nervous. You're showing up. How's Richard? Okay. And he's staying with you? I think that's \* nice, Linda. I do. Alright. And you're walking over now? Okay. Well, it'll be good to see you two... Yeah. See you soon.</dialogue> <scene_description>She hangs up, takes a deep breath, and looks around at the mountains surrounding her. 16 OMIT 16\*</scene_description> </scene> <scene> <stage_direction>INT. THE PERRY'S SUV - MORNING</stage_direction> <scene_description>The SUV is parked at a dirt turn out by a wooden fence \* that borders a meadow and mountains. \*</scene_description> <character>GAIL</character> <dialogue>Where the hell are we...?</dialogue> <scene_description>Across the road, Jay notices a part of the fence is broken. Yellow tape tries to pieces together what's missing, as if some accident happened there. He turns back to Gail.</scene_description> <character>JAY</character> <dialogue>How you doing?</dialogue> <scene_description>CONTINUED: Gail avoids eye contact. She doesn't look well.</scene_description> <character>JAY</character> <dialogue>Honey...</dialogue> <scene_description>Gail shakes her head.</scene_description> <character>GAIL</character> <dialogue>I don't know...</dialogue> <character>JAY</character> <dialogue>Okay...</dialogue> <character>GAIL</character> <dialogue>No. I don't think I can... I don't think I can do it.</dialogue> <character>JAY</character> <parenthetical>(pause, considering)</parenthetical> <dialogue>Well. We don't have to, I guess. \* We can go. We can leave right now if you want.</dialogue> <character>GAIL</character> <dialogue>No, I mean... I don't think I can say it.</dialogue> <character>JAY</character> <parenthetical>(understanding)</parenthetical> <dialogue>Oh, okay...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You don't have to. We can hear \* what they say, right? But you don't have to do it.</dialogue> <scene_description>Gail nods weakly, struggling. Jay looks back across the road, something about the landscape haunts him.</scene_description> <character>GAIL</character> <dialogue>If I don't...?</dialogue> <parenthetical>(turning to him)</parenthetical> <dialogue>Would you?</dialogue> <scene_description>She looks at him now, expectantly. Jay is torn.</scene_description> <character>GAIL</character> <dialogue>I'm sorry. That's not fair.</dialogue> <character>JAY</character> <dialogue>It's okay. I don't... No, I \* wouldn't.</dialogue> <parenthetical>(beat, an option)</parenthetical> <dialogue>But we can.</dialogue> <scene_description>CONTINUED: (2) He shrugs, almost sweetly, trying to make the best of this.</scene_description> <character>JAY</character> <parenthetical>(softly)</parenthetical> <dialogue>Are you ready to go back?</dialogue> <scene_description>Like it's the hardest question she's ever been asked.</scene_description> <character>GAIL</character> <dialogue>Okay...</dialogue> </scene> <scene> <stage_direction>EXT. SECLUDED STREET - THE PERRY'S SUV - MORNING</stage_direction> <scene_description>The SUV pulls away. The yellow tape blows in the wind.</scene_description> </scene> <scene> <stage_direction>EXT. EMMANUEL EPISCOPAL CHURCH - MORNING</stage_direction> <scene_description>The piano music has stopped. Kendra is back inside. The church and street appear to wait in anticipatory silence.</scene_description> </scene> <scene> <stage_direction>INT. EMMANUEL EPISCOPAL CHURCH - PARISH HALL - MORNING</stage_direction> <scene_description>The room is empty but prepared, water bottles and tissue placed. The coffee finishes brewing with a soft alarm.</scene_description> </scene> <scene> <stage_direction>INT. EMMANUEL EPISCOPAL CHURCH - OFFICES - MORNING</stage_direction> <scene_description>Kendra works in Charlotte's office on her computer. Anthony folds leaflets for Sunday Mass. Judy enters from the parish hall having tidied up last minute things. As she enters the office she notices the SUV pulling up outside the church.</scene_description> <character>JUDY</character> <dialogue>Oh dear...</dialogue> </scene> <scene> <stage_direction>EXT. EMMANUEL EPISCOPAL CHURCH - FRONT ENTRANCE - MORNING</stage_direction> <scene_description>Jay and Gail exit their car. They wait for one another and then slowly make their way to the office door. Gail stops to take in a little garden beside the entrance.</scene_description> <character>KENDRA (O.C.)</character> <dialogue>Mr. and Mrs. Perry?</dialogue> <scene_description>CONTINUED:</scene_description> <character>JAY (O.C.)</character> <dialogue>Hi... yeah, Jay Perry... My wife, Gail. Are you Kendra?</dialogue> <character>KENDRA (O.C.)</character> <dialogue>Yes. So nice to meet you in person. Come on in...</dialogue> <character>JAY (O.C.)</character> <dialogue>Gail...?</dialogue> <scene_description>Gail turns back and heads inside the church.</scene_description> </scene> <scene> <stage_direction>INT. EMMANUEL EPISCOPAL CHURCH - OFFICES</stage_direction> <scene_description>Gail and Jay have met everyone, but still stand uncomfortably by the door. \*</scene_description> <character>JAY</character> <dialogue>Thank you for providing the space.</dialogue> <character>JUDY</character> <dialogue>Of course. We're so happy to \* help...</dialogue> <character>KENDRA \*</character> <dialogue>We have you all set up back here. \*</dialogue> <character>JUDY \*</character> <dialogue>Yeah, there's food and water, \* coffee. Do you all want something?</dialogue> <character>JAY</character> <parenthetical>(to Gail)</parenthetical> <dialogue>I think we're good for now, right?</dialogue> <character>GAIL</character> <dialogue>I'm fine.</dialogue> <character>JUDY</character> <dialogue>Okay. Anything you need, you know, you just... let us know. Make yourselves at home.</dialogue> <character>KENDRA</character> <dialogue>That's right. Thank you, Judy.</dialogue> <character>JAY \*</character> <dialogue>Yeah, thank you. \*</dialogue> <scene_description>CONTINUED:</scene_description> <character>JUDY</character> <dialogue>Sure...</dialogue> <parenthetical>(not taking her cue)</parenthetical> <dialogue>Would you like me to show you the space?</dialogue> <scene_description>Jay and Gail look to Kendra for further instructions.</scene_description> <character>KENDRA</character> <dialogue>I'll show them.</dialogue> <character>JUDY</character> <dialogue>Okay...</dialogue> <parenthetical>(taking her cue)</parenthetical> <dialogue>Well, it was nice meeting you. We'll be here if you need anything.</dialogue> <character>JAY</character> <dialogue>Nice meeting you...</dialogue> <character>JUDY</character> <dialogue>You too...</dialogue> <character>ANTHONY</character> <dialogue>Nice meeting you.</dialogue> <character>KENDRA</character> <dialogue>You can follow me.</dialogue> <scene_description>Kendra leads the Perry's back to the parish hall, leaving Judy and Anthony behind.</scene_description> </scene> <scene> <stage_direction>INT. EMMANUEL EPISCOPAL CHURCH - PARISH HALL</stage_direction> <scene_description>Kendra walks Jay and Gail into the room. Now in Judy's role she let's them take in the space.</scene_description> <character>KENDRA</character> <dialogue>Is the room okay for you?</dialogue> <character>JAY</character> <dialogue>Yeah, it's fine, thanks.</dialogue> <character>KENDRA</character> <dialogue>Good. I'm sorry you'll miss the reverend but we're in good hands here. They've been very nice.</dialogue> <parenthetical>(they don't care)</parenthetical> <dialogue>Well, I know we've gotten your signatures on everything and you're all squared away as far as our offices are concerned, but while it's just the three of us is there anything you'd like to ask me?</dialogue> <scene_description>CONTINUED:</scene_description> <character>JAY</character> <dialogue>I think we're okay.</dialogue> <character>GAIL</character> <dialogue>Will they be here soon?</dialogue> <character>KENDRA</character> <dialogue>I just spoke with them, and they should be here any minute.</dialogue> <character>GAIL</character> <dialogue>Oh.</dialogue> <character>KENDRA</character> <dialogue>I can check again. Will you be okay if I leave you alone for a minute?</dialogue> <character>JAY</character> <dialogue>Yeah, I think so, yeah, please, go ahead...</dialogue> <character>KENDRA</character> <dialogue>I'll be right back.</dialogue> <scene_description>She leaves the parish hall. Jay and Gail stay standing, afraid to commit to anything beyond that. Jay watches his wife. She cautiously studies the room.</scene_description> </scene> <scene> <stage_direction>EXT. EMMANUEL EPISCOPAL CHURCH 25\*</stage_direction> <scene_description>Judy and Anthony sit quietly in the pews. \*</scene_description> </scene> <scene> <stage_direction>EXT. EMMANUEL EPISCOPAL CHURCH - FRONT ENTRANCE - MORNING</stage_direction> <scene_description>Kendra stands on the sidewalk, waiting. It looks as if she just wanted to be alone, or away from the Perry's. After a moment her phone buzzes and she answers it.</scene_description> <character>KENDRA</character> <dialogue>Hi. I'm outside. Oh...</dialogue> <parenthetical>(turns up the street)</parenthetical> <dialogue>I see you...</dialogue> <scene_description>OMIT</scene_description> </scene> <scene> <stage_direction>INT. EMMANUEL EPISCOPAL CHURCH - PARISH HALL - MORNING</stage_direction> <scene_description>Jay and Gail are as we left them. Waiting. CONTINUED:</scene_description> <character>KENDRA (O.S.)</character> <dialogue>We're right in here...</dialogue> <scene_description>Kendra enters with RICHARD and LINDA (50's). Linda \* carries a small flower display. They have a ghostly quality. A kind of expectation to be disliked precedes them.</scene_description> <character>RICHARD</character> <dialogue>Hello.</dialogue> <character>KENDRA</character> <dialogue>Richard, Linda, this is Jay and \* Gail Perry.</dialogue> <character>JAY</character> <dialogue>Hi...</dialogue> <parenthetical>(to Kendra)</parenthetical> <dialogue>We've met before actually.</dialogue> <character>KENDRA</character> <dialogue>Of course, I'm sorry.</dialogue> <character>JAY</character> <dialogue>That's alright. It was... a long time ago.</dialogue> <character>RICHARD</character> <dialogue>It's nice to meet you again.</dialogue> <character>LINDA</character> <dialogue>How are you?</dialogue> <character>JAY</character> <dialogue>Fine, thank you.</dialogue> <scene_description>They greet each other without touching.</scene_description> <character>KENDRA</character> <dialogue>I hope this room is comfortable for you all.</dialogue> <character>RICHARD</character> <dialogue>Have you been waiting long?</dialogue> <character>JAY</character> <dialogue>No, we just got here, haven't even sat down...</dialogue> <parenthetical>(the room)</parenthetical> <dialogue>Is this okay with you guys?</dialogue> <character>RICHARD</character> <dialogue>It's fine.</dialogue> <scene_description>CONTINUED: (2) He looks at Linda.</scene_description> <character>LINDA</character> <dialogue>Yes, I thought so... \*</dialogue> <character>JAY</character> <dialogue>Gail...?</dialogue> <character>GAIL</character> <dialogue>I'm okay.</dialogue> <character>KENDRA</character> <dialogue>Okay, good.</dialogue> <scene_description>Linda raises the flowers towards Gail.</scene_description> <character>LINDA</character> <parenthetical>(unsure of herself)</parenthetical> <dialogue>I brought these. For you.</dialogue> <character>GAIL</character> <dialogue>Oh...</dialogue> <character>LINDA</character> <dialogue>I'm sorry... \*</dialogue> <character>GAIL</character> <dialogue>No. They're...</dialogue> <character>LINDA</character> <dialogue>Small...</dialogue> <character>GAIL</character> <parenthetical>(not taking them)</parenthetical> <dialogue>No. Thank you. They're... very nice.</dialogue> <scene_description>Linda cradles the flowers again, embarrassed.</scene_description> <character>RICHARD</character> <dialogue>Should we sit?</dialogue> <character>JAY</character> <dialogue>Yeah, let's have a seat.</dialogue> <scene_description>The couples take a seat at the table. Linda places the flowers down in front of her. Kendra pulls up a chair to sit with the couples. \* CONTINUED: (3)</scene_description> <character>KENDRA</character> <dialogue>Alright...</dialogue> <parenthetical>(to the Perry's)</parenthetical> <dialogue>We've spoken.\].</dialogue> <character>JAY</character> <dialogue>I think we're set, yeah...</dialogue> <character>KENDRA</character> <dialogue>We are, yes.</dialogue> <parenthetical>(to the group)</parenthetical> <dialogue>Well, I'm really grateful to finally see you all together. May I say that? And I hope, we all feel this was the right thing to do once we've left here today. Is that okay?</dialogue> <character>RICHARD</character> <dialogue>Yes.</dialogue> <character>JAY</character> <dialogue>Thank you, Kendra.</dialogue> <character>KENDRA</character> <dialogue>Alright. I'll leave you alone then, but if you need anything, let me know.</dialogue> <scene_description>(to Richard and \* Linda) \* I'll be staying right in there. (to the Perry's) Nice meeting you both.</scene_description> <character>JAY</character> <dialogue>You too.</dialogue> <scene_description>She exits to the offices. Her absence, and the silence that comes with it, is devastating. Gail inspects the flowers.</scene_description> <character>GAIL</character> <dialogue>These are nice.</dialogue> <character>LINDA</character> <parenthetical>(still embarrassed)</parenthetical> <dialogue>Oh, thank you. They... caught my eye I wanted to bring something.</dialogue> <scene_description>Jay smiles tightly, not sure what to make of them. Gail spins them around and then places them out of her way. CONTINUED: (4)</scene_description> <character>LINDA</character> <dialogue>I can take them...</dialogue> <scene_description>Linda places the flowers out of the way.</scene_description> <character>RICHARD</character> <parenthetical>(pushing forward)</parenthetical> <dialogue>How was your... trip out here...? \*</dialogue> <character>JAY</character> <dialogue>Drive? We drove. It was fine.</dialogue> <scene_description>(to Richard) \* Did you...? Or...? \*</scene_description> <character>RICHARD \*</character> <dialogue>I flew in last night. I'm staying \* with Linda. \*</dialogue> <character>JAY \*</character> <dialogue>Right, okay... \*</dialogue> <scene_description>Richard and Linda's separation creates some awkwardness for the four of them. Linda pushes on.</scene_description> <character>LINDA</character> <dialogue>Will you be driving back or...?</dialogue> <character>JAY</character> <dialogue>We're not sure. We have a room, a hotel arranged, but we may not...</dialogue> <character>LINDA</character> <dialogue>Head back?</dialogue> <character>JAY</character> <dialogue>Want to stay, yeah, right. But... Thank you for agreeing to meet us. And together.</dialogue> <character>LINDA</character> <dialogue>You're welcome. I appreciate you...</dialogue> <scene_description>She looks to Richard, him having made a trip also.</scene_description> <character>LINDA</character> <dialogue>All of you, making the journey. I know I'm not easy to get to...</dialogue> <character>RICHARD</character> <dialogue>We're happy to come to you, Linda.</dialogue> <scene_description>CONTINUED: (5)</scene_description> <character>JAY</character> <dialogue>Yes. I mean, it wasn't easy... for any of us, I'm sure, to be here. No matter where...</dialogue> <character>LINDA</character> <dialogue>Thank you.</dialogue> <character>JAY</character> <dialogue>Yeah. And I know... we regret some things we've said.</dialogue> <character>LINDA</character> <dialogue>Don't be. Regretful.</dialogue> <character>RICHARD</character> <dialogue>We wish we didn't have to rely so much on our attorneys, but...</dialogue> <character>JAY</character> <dialogue>I understand better now than I did.</dialogue> <character>RICHARD</character> <dialogue>We've already given so much, at this point it's really to protect our son.</dialogue> <scene_description>The Perry's shift slightly at the mention of a "son." Richard clarifies.</scene_description> <character>RICHARD</character> <dialogue>Stephen.</dialogue> <character>JAY</character> <dialogue>Yeah. How is he...?</dialogue> <character>RICHARD</character> <dialogue>He's doing well, thank you for asking. They're in Maryland now. Not far from me. They have a boy on the way.</dialogue> <character>JAY</character> <dialogue>Oh, that's great...</dialogue> <character>LINDA</character> <dialogue>Thank you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And how is your daughter? Sophie?</dialogue> <character>GAIL</character> <dialogue>Yes.</dialogue> <scene_description>CONTINUED: (6)</scene_description> <character>JAY</character> <dialogue>She's...</dialogue> <character>GAIL</character> <dialogue>She's doing fine.</dialogue> <character>JAY</character> <dialogue>Yeah... Much better. She's made real progress in the last year. She says she's ready to apply for schools. College.</dialogue> <character>LINDA</character> <dialogue>That's wonderful...</dialogue> <character>JAY</character> <dialogue>For the fall.</dialogue> <character>RICHARD</character> <dialogue>That's great.</dialogue> <character>JAY</character> <dialogue>Thank you. Yeah.</dialogue> <scene_description>More silence. This is hard. Jay looks at Gail for some support, she's staying silent.</scene_description> <character>JAY</character> <dialogue>Do we have...?</dialogue> <parenthetical>(to Richard and Linda)</parenthetical> <dialogue>Did you all bring photos?</dialogue> <character>LINDA</character> <dialogue>Yes...</dialogue> <character>JAY</character> <dialogue>I know we talked about sharing some... Gail? You want to...?</dialogue> <character>RICHARD</character> <dialogue>Alright. Linda, you...?</dialogue> <character>LINDA</character> <dialogue>I brought some other things as well.</dialogue> <character>JAY</character> <dialogue>Oh yeah, that's right, Kendra told us you might.</dialogue> <character>LINDA</character> <dialogue>Okay, good.</dialogue> <scene_description>CONTINUED: (7)</scene_description> <character>JAY</character> <parenthetical>(beat)</parenthetical> <dialogue>Well, should we...?</dialogue> <parenthetical>(off Gail)</parenthetical> <dialogue>Or do you want to wait?</dialogue> <character>GAIL</character> <dialogue>I'm okay. We agreed. Here.</dialogue> <scene_description>Gail searches her purse for photographs.</scene_description> <character>GAIL</character> <parenthetical>(offers one photo)</parenthetical> <dialogue>Here's Sophie.</dialogue> <character>LINDA</character> <parenthetical>(taking it)</parenthetical> <dialogue>Oh. She's beautiful.</dialogue> <character>RICHARD</character> <parenthetical>(glancing over)</parenthetical> <dialogue>She's a young lady now.</dialogue> <character>JAY</character> <dialogue>Yeah. She's grown up a lot.</dialogue> <character>GAIL</character> <parenthetical>(more photos)</parenthetical> <dialogue>Here are some of...</dialogue> <scene_description>Gail stops, unable to go through with it.</scene_description> <character>LINDA</character> <dialogue>I'd like to see them.</dialogue> <character>GAIL</character> <dialogue>Okay.</dialogue> <scene_description>Even if they agreed to it, this is hard.</scene_description> <character>GAIL</character> <dialogue>This is Evan. When he was three...</dialogue> <scene_description>Gail hands over a worn photograph. Linda takes it respectfully. She and Richard look at it somberly.</scene_description> <character>LINDA</character> <dialogue>Oh dear...</dialogue> <character>RICHARD</character> <dialogue>What's he got there?</dialogue> <scene_description>CONTINUED: (8)</scene_description> <character>LINDA</character> <dialogue>So sweet...</dialogue> <character>JAY</character> <parenthetical>(looking)</parenthetical> <dialogue>Oh that was this roller toy, with the balls that bounce... Or pop? They popped, right?</dialogue> <character>RICHARD</character> <dialogue>I remember those.</dialogue> <character>JAY</character> <parenthetical>(to Gail)</parenthetical> <dialogue>Where's the catcher, the catcher outfit?</dialogue> <character>GAIL</character> <parenthetical>(he's asked before)</parenthetical> <dialogue>It's here. We brought it...</dialogue> <parenthetical>(producing a photo)</parenthetical> <dialogue>Here. I think he was twelve. Little league...</dialogue> <character>JAY</character> <dialogue>Love that photo...</dialogue> <scene_description>Linda smiles sadly at the boy in the picture.</scene_description> <character>RICHARD</character> <dialogue>He was a good athlete, wasn't he?</dialogue> <character>JAY</character> <dialogue>He was, he was... loved sports. I mean, he... had lots of interests, but, yes he was a very good athlete.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>He actually didn't want to play catcher, but then loved the gear so...</dialogue> <scene_description>Jay laughs, then stops, uncomfortable sharing.</scene_description> <character>JAY</character> <parenthetical>(back to Gail)</parenthetical> <dialogue>Do we have one of all of us?</dialogue> <character>GAIL</character> <parenthetical>(her mood is darkening)</parenthetical> <dialogue>Of course. Lots.</dialogue> <scene_description>CONTINUED: (9) She sorts through her collection.</scene_description> <character>JAY</character> <dialogue>Okay.</dialogue> <parenthetical>(to the others)</parenthetical> <dialogue>We had to print some out. Don't have many real photographs anymore, you know?</dialogue> <character>LINDA</character> <dialogue>Yes.</dialogue> <character>JAY</character> <dialogue>It's nice to hold them, you know, not...?</dialogue> <scene_description>He lazily motions swiping a phone.</scene_description> <character>LINDA</character> <dialogue>It is.</dialogue> <scene_description>Gail slides a photo across the table.</scene_description> <character>GAIL</character> <dialogue>This was us...</dialogue> <character>JAY</character> <dialogue>Oh that's...</dialogue> <character>GAIL</character> <dialogue>The last Christmas...</dialogue> <character>JAY</character> <dialogue>Yeah... okay.</dialogue> <scene_description>Richard and Linda look at the photo.</scene_description> <character>JAY</character> <dialogue>We'd dress up. Cheesy, right? That's what we'd say. Instead of "cheese." "Cheesy..." Kids thought these were, you know... silly.</dialogue> <scene_description>Linda cries. She isn't consoled. It's as if they all expected this.</scene_description> <character>LINDA</character> <dialogue>I'm sorry...</dialogue> <character>RICHARD</character> <dialogue>Don't be.</dialogue> <scene_description>CONTINUED: (10)</scene_description> <character>JAY</character> <dialogue>Yeah...</dialogue> <character>GAIL</character> <parenthetical>(taking the photo back)</parenthetical> <dialogue>Here.</dialogue> <character>JAY</character> <dialogue>Maybe we should...</dialogue> <character>LINDA</character> <dialogue>No, I'm sorry...</dialogue> <character>RICHARD</character> <dialogue>It's fine, Linda.</dialogue> <character>LINDA</character> <dialogue>No, I wanted to share too...</dialogue> <character>RICHARD</character> <dialogue>Okay.</dialogue> <character>LINDA</character> <dialogue>I wanted to share ours, but...</dialogue> <character>JAY</character> <dialogue>It's hard.</dialogue> <character>LINDA</character> <dialogue>It is...</dialogue> <character>JAY</character> <parenthetical>(beat, aside to Gail)</parenthetical> <dialogue>How are you doing?</dialogue> <parenthetical>(off her silence)</parenthetical> <dialogue>Maybe later?</dialogue> <scene_description>Gail doesn't look well. She gets up from the table. The others react, but she only grabs the tissue box from the book shelf and gives it to Linda.</scene_description> <character>LINDA</character> <dialogue>Thank you.</dialogue> <parenthetical>(wiping, then)</parenthetical> <dialogue>If I could just show you...</dialogue> <character>RICHARD</character> <dialogue>We don't have to.</dialogue> <character>LINDA</character> <dialogue>No...</dialogue> <scene_description>CONTINUED: (11)</scene_description> <character>RICHARD</character> <dialogue>Maybe it wasn't a good idea.</dialogue> <character>LINDA</character> <dialogue>No, I want to.</dialogue> <parenthetical>(to the Perry's)</parenthetical> <dialogue>I brought something. It was easier to... Not a photo if... Is that okay?</dialogue> <character>JAY</character> <dialogue>Yeah, sure, you said. Right?</dialogue> <character>LINDA</character> <dialogue>Gail?</dialogue> <parenthetical>(she nods)</parenthetical> <dialogue>Okay...</dialogue> <scene_description>Linda pulls out a mason jar filled with colored paper cut outs, like little origami animals.</scene_description> <character>LINDA</character> <dialogue>So this is...</dialogue> <character>JAY</character> <dialogue>Oh wow...</dialogue> <character>LINDA</character> <dialogue>Yes. Something he used to carry around all the time...</dialogue> <character>RICHARD</character> <dialogue>Couple of years...</dialogue> <character>LINDA</character> <dialogue>When he was in fourth and fifth grade...?</dialogue> <character>RICHARD</character> <dialogue>Younger than that...</dialogue> <character>JAY</character> <dialogue>Okay. What am I looking at?</dialogue> <character>LINDA</character> <dialogue>Well, he used to love collecting snails...</dialogue> <character>JAY</character> <dialogue>Really...</dialogue> <character>LINDA</character> <dialogue>And he would...</dialogue> <scene_description>CONTINUED: (12)</scene_description> <character>RICHARD</character> <dialogue>All kinds of things... bugs, spiders, things outside...</dialogue> <character>LINDA</character> <dialogue>Yes, that's true... he loved collecting things outside.</dialogue> <parenthetical>(taking over)</parenthetical> <dialogue>But snails...</dialogue> <character>RICHARD</character> <dialogue>Yes.</dialogue> <character>LINDA</character> <dialogue>He was just really fascinated by snails. And he'd collect them in this jar and carry them around wherever he went. To school even, which caused problems...</dialogue> <character>RICHARD</character> <dialogue>The teachers didn't want... there was a rule.</dialogue> <character>LINDA</character> <dialogue>You weren't supposed to have animals in class, but they weren't really...</dialogue> <character>JAY</character> <parenthetical>(helping)</parenthetical> <dialogue>Sure, yeah...</dialogue> <character>LINDA</character> <dialogue>And kids thought it was weird, but...</dialogue> <character>RICHARD</character> <dialogue>It was, a little.</dialogue> <character>LINDA</character> <dialogue>He just loved them. But, yes, kids thought it was...</dialogue> <parenthetical>(conceding)</parenthetical> <dialogue>And they were messy...</dialogue> <character>RICHARD</character> <dialogue>Stephen would, his brother, would... torment them... various ways...</dialogue> <scene_description>CONTINUED: (13)</scene_description> <character>LINDA</character> <dialogue>There were problems with keeping them this way, and he would get so upset. When snails... break it's...</dialogue> <parenthetical>(brightening)</parenthetical> <dialogue>So one day. He showed up with this...</dialogue> <scene_description>She holds the jar up proudly for the Perry's to see, displaying the objects inside more clearly.</scene_description> <character>RICHARD</character> <dialogue>Paper snails.</dialogue> <character>LINDA</character> <parenthetical>(a rare laugh)</parenthetical> <dialogue>Paper snails, yes. And some leaves and a flower. And I think that's a rock. It's a garden. For the snails. And he said, "This way, they won't die." And... I think it's... we thought it was so... clever.</dialogue> <character>JAY</character> <dialogue>That is... yeah...</dialogue> <character>LINDA</character> <dialogue>Or sweet.</dialogue> <character>JAY</character> <parenthetical>(smiles tightly, shaking his head)</parenthetical> <dialogue>God...</dialogue> <character>LINDA</character> <dialogue>I thought it was...</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Well, at the time I had some concerns...</dialogue> <character>GAIL</character> <dialogue>You did?</dialogue> <character>LINDA</character> <dialogue>Not like... only about his sensitivity. Really I was just happy for him to....</dialogue> <character>RICHARD</character> <dialogue>Find a solution. He was always determined to find a solution.</dialogue> <scene_description>CONTINUED: (14)</scene_description> <character>LINDA</character> <dialogue>Yes. I was happy that he was.</dialogue> <scene_description>They fall silent for a beat, staring at the jar. Linda, a little ashamed, puts it away.</scene_description> <character>LINDA</character> <dialogue>Well, thank you...</dialogue> <character>JAY</character> <dialogue>No, thank you for sharing.</dialogue> <character>LINDA</character> <dialogue>I wanted to... show you something.</dialogue> <scene_description>She looks to Richard for support. He nods.</scene_description> <character>LINDA</character> <parenthetical>(changing the subject)</parenthetical> <dialogue>So your daughter? She's doing well?</dialogue> <character>GAIL</character> <dialogue>She's doing well. Yes.</dialogue> <character>JAY</character> <dialogue>Yeah... she's going to be fine. She's so much more social, sociable now, it's...</dialogue> <parenthetical>(to Gail, laughs)</parenthetical> <dialogue>We miss her now. She's going out too much...</dialogue> <character>LINDA</character> <dialogue>That's nice.</dialogue> <character>GAIL</character> <dialogue>She's dating.</dialogue> <character>JAY</character> <dialogue>Well, I don't know...</dialogue> <character>GAIL</character> <parenthetical>(definitive)</parenthetical> <dialogue>She's dating.</dialogue> <character>JAY</character> <dialogue>Okay.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>She's really been herself again.</dialogue> <scene_description>CONTINUED: (15)</scene_description> <character>LINDA</character> <dialogue>Good.</dialogue> <character>GAIL</character> <dialogue>She's made a lot of progress.</dialogue> <character>LINDA</character> <dialogue>That's wonderful.</dialogue> <character>RICHARD</character> <parenthetical>(beat, to Gail)</parenthetical> <dialogue>You mentioned, to Linda, you had made some progress yourself?</dialogue> <parenthetical>(to Linda)</parenthetical> <dialogue>In your letters? A therapist?</dialogue> <character>LINDA</character> <dialogue>Oh, that's right, I'm sorry, I told him...</dialogue> <character>RICHARD</character> <parenthetical>(reassuring)</parenthetical> <dialogue>She just mentioned...</dialogue> <character>LINDA</character> <dialogue>You said you've found someone who's been...</dialogue> <character>GAIL</character> <dialogue>Yes, she's been very helpful. That's right.</dialogue> <character>LINDA</character> <dialogue>That's good.</dialogue> <character>GAIL</character> <dialogue>Yes... She was, is, a big reason we're here...</dialogue> <character>JAY</character> <dialogue>I see her as well...</dialogue> <character>LINDA</character> <dialogue>Oh...</dialogue> <character>GAIL</character> <dialogue>To meet. This way. Or to talk.</dialogue> <character>LINDA</character> <dialogue>Okay. You both see her?</dialogue> <character>JAY</character> <dialogue>Well we...</dialogue> <scene_description>CONTINUED: (16) Jay and Gail look at one another, unsure of how much to divulge and not in total agreement about it either.</scene_description> <character>GAIL</character> <dialogue>We do.</dialogue> <character>JAY</character> <dialogue>Yes, um... we've... it doesn't matter. Yeah, she really encouraged us to just express ourselves, not interrogate.</dialogue> <parenthetical>(as if instructed)</parenthetical> <dialogue>We don't want to interrogate...</dialogue> <scene_description>Richard and Linda nod, but know this is impossible.</scene_description> <character>JAY</character> <dialogue>"Curious but not defensive."</dialogue> <character>GAIL</character> <parenthetical>(to Jay)</parenthetical> <dialogue>"Vindictive."</dialogue> <character>JAY</character> <dialogue>What?</dialogue> <character>GAIL</character> <dialogue>She said "vindictive."</dialogue> <character>JAY</character> <dialogue>I thought "defensive..."</dialogue> <character>GAIL</character> <parenthetical>(quietly, explaining)</parenthetical> <dialogue>No. If we are vindictive then...</dialogue> <character>JAY</character> <parenthetical>(remembering)</parenthetical> <dialogue>Oh, right.</dialogue> <parenthetical>(shrugs)</parenthetical> <dialogue>Sorry.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>It doesn't matter, we aren't here to attack. We've promised that. But we've meant everything...</dialogue> <parenthetical>(correcting himself)</parenthetical> <dialogue>I mean, we've felt everything we've said. We can't apologize for our feelings.</dialogue> <character>RICHARD</character> <dialogue>Thank you for your honesty.</dialogue> <scene_description>CONTINUED: (17)</scene_description> <character>GAIL</character> <dialogue>We want to listen, and... we want \* to heal. \*</dialogue> <character>RICHARD</character> <dialogue>(a short pause) \*</dialogue> <scene_description>Of course.</scene_description> <character>LINDA</character> <dialogue>(to Gail) \*</dialogue> <scene_description>You know, your letters... while they've been very... difficult for all of us, I'm sure, they've meant so much to me. Even the hard ones. I really... appreciate them.</scene_description> <character>RICHARD</character> <parenthetical>(off their silence)</parenthetical> <dialogue>We can tell you've done a lot of work. Continue to.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>And I don't mean what you've done publicly. But it is admirable. How you put yourself out there. We've actually, Linda and I, have followed your work over the years.</dialogue> <character>LINDA</character> <dialogue>Everyone's...</dialogue> <character>RICHARD</character> <dialogue>Yes, everyone's, but...</dialogue> <character>JAY</character> <dialogue>Oh, well... I don't know. Thank you. I don't get pleasure from it.</dialogue> <character>RICHARD</character> <dialogue>It can be defeating. That kind of activism.</dialogue> <character>JAY</character> <dialogue>Yeah, it can, but... I don't even like that word. I'm a... I wouldn't know what else to do.</dialogue> <character>RICHARD</character> <dialogue>Your persistence is admirable.</dialogue> <scene_description>Gail gives Jay a pointed look. He feels it. CONTINUED: (18)</scene_description> <character>JAY</character> <dialogue>Thank you, but I'm not sure that's what we need to talk about today.</dialogue> <scene_description>Richard notices but continues anyway.</scene_description> <character>RICHARD</character> <dialogue>I don't think it's not relevant. You don't think, as a country, we're meeting our obligations.</dialogue> <character>JAY</character> <dialogue>Well, that was... I was quoting Obama, but no, I don't. I think we're killing each other. We are.</dialogue> <character>RICHARD</character> <parenthetical>(beat)</parenthetical> <dialogue>I don't disagree. There's just so many factors...</dialogue> <character>JAY</character> <dialogue>Okay...</dialogue> <character>RICHARD</character> <dialogue>It's hard to know...</dialogue> <character>JAY</character> <dialogue>And I'm not saying it's one or the other, see that's...</dialogue> <parenthetical>(looks to Gail)</parenthetical> <dialogue>Sorry...</dialogue> <character>GAIL</character> <dialogue>Go ahead...</dialogue> <character>JAY</character> <dialogue>I'm sorry...</dialogue> <parenthetical>(to Richard and Linda)</parenthetical> <dialogue>I promised I wouldn't talk about this today.</dialogue> <character>RICHARD</character> <dialogue>We don't have to.</dialogue> <character>LINDA</character> <dialogue>No.</dialogue> <character>JAY</character> <parenthetical>(beat, can't help it)</parenthetical> <dialogue>I'm not saying it's one or the other.</dialogue> <scene_description>CONTINUED: (19)</scene_description> <character>JAY</character> <dialogue>That's their defense, it's a fallacy. It's a distraction. "Don't look over here by guns, it's over there my mental health." As if we can't address both? It's insulting.</dialogue> <character>RICHARD</character> <dialogue>Well exactly, yes, we can, but if your child...</dialogue> <parenthetical>(regretting the word)</parenthetical> <dialogue>If your child wanted to hurt himself, would you only remove the dangerous items in your home? No. You'd want to help him. You'd want to know why he was upset and you'd want to change that...</dialogue> <character>JAY</character> <dialogue>Are the dangerous items things nobody needs?</dialogue> <character>RICHARD</character> <dialogue>I guess my point is, I worry that certain legislation is its own distraction.</dialogue> <character>JAY</character> <dialogue>It's fetishistic at this point. In today's world. It's a fetish.</dialogue> <character>GAIL</character> <dialogue>Okay, Jay...</dialogue> <character>JAY</character> <dialogue>Alright, sorry. I'm done. That's it. I'm done.</dialogue> <character>LINDA</character> <dialogue>It's alright. I think we need to \* be able to listen to each other. \* We don't seem to anymore, do we? \*</dialogue> <scene_description>(then) \* I wish we were having more of a \* conversation. \*</scene_description> <character>JAY \*</character> <dialogue>Yeah, well... \*</dialogue> <character>LINDA \*</character> <dialogue>Or at least, I'm sorry, we might \* be able to hear who is asking for \* help. \*</dialogue> <scene_description>CONTINUED: (20)</scene_description> <character>JAY</character> <dialogue>Not everyone knows how to ask for \* help. Or wants to. \*</dialogue> <character>LINDA</character> <dialogue>That's true. But you know, \* there's a crisis center, not far \* from here. I've thought about \* volunteering, and when you walk \* in, anyone, you're asked to check \* in. Anxiety, fear, sadness... and \* they do this every day. I \* thought... how could you not be \* honest? \*</dialogue> <character>JAY</character> <dialogue>I can't imagine giving a kid a chart every day.</dialogue> <character>RICHARD</character> <dialogue>What about mental health examinations alongside yearly physicals? You see your health physician, why not see a mental health expert as well.</dialogue> <character>JAY</character> <dialogue>Mandatory brain scans...</dialogue> <character>RICHARD</character> <dialogue>Why not? Most people in this country can't distinguish mental health from mental illness.</dialogue> <character>JAY</character> <dialogue>Who's paying for all this?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Sorry. Look, I agree, we need to change how it's monitored. We've politicized threats so much we don't have resources where we need them...</dialogue> <character>GAIL</character> <parenthetical>(sotto)</parenthetical> <dialogue>Why are we talking about this...?</dialogue> <character>JAY</character> <dialogue>Sorry...?</dialogue> <scene_description>CONTINUED: (21)</scene_description> <character>GAIL</character> <dialogue>Why are we talking about this? I didn't come here to listen to this.</dialogue> <character>JAY</character> <dialogue>Okay... I'm sorry...</dialogue> <character>RICHARD</character> <dialogue>I didn't mean to offend.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I think we find through blame our means to change, and I want to question that. I want to look at everything. Because I blame myself but I can't change that.</dialogue> <scene_description>The Perry's react to this seeming admission.</scene_description> <character>GAIL</character> <dialogue>What do you mean? When you say that... What do you mean?</dialogue> <character>RICHARD</character> <dialogue>That I can't change what I've done.</dialogue> <character>GAIL</character> <dialogue>So you blame yourself?</dialogue> <scene_description>(no response) \* I'm asking. You blame yourself? \*</scene_description> <character>JAY</character> <dialogue>Hey...</dialogue> <character>GAIL</character> <parenthetical>(trying restraint)</parenthetical> <dialogue>No. I want to know. I don't want to talk about... fucking politics. I want to know.</dialogue> <character>JAY</character> <parenthetical>(control)</parenthetical> <dialogue>I know, but we don't want to interrogate, right?</dialogue> <character>GAIL</character> <dialogue>I can imagine it's so hard to live with his actions...</dialogue> <character>RICHARD</character> <dialogue>It is.</dialogue> <scene_description>CONTINUED: (22)</scene_description> <character>GAIL</character> <dialogue>But our loss...</dialogue> <parenthetical>(control)</parenthetical> <dialogue>Please tell me what you mean by that.</dialogue> <character>RICHARD</character> <dialogue>I think, all of us, would give our lives to prevent another tragedy like it. I would.</dialogue> <character>LINDA</character> <dialogue>I would too.</dialogue> <character>GAIL</character> <dialogue>Yes.</dialogue> <character>JAY</character> <parenthetical>(keeping the peace)</parenthetical> <dialogue>We all would. Gladly.</dialogue> <character>GAIL</character> <dialogue>But when you talk about blame, on your part, I'd like to know what you're referring to.</dialogue> <character>RICHARD</character> <dialogue>There's nothing that wasn't covered in the depositions.</dialogue> <character>GAIL</character> <dialogue>But I want to hear it now. We never filed against you, we never took part in that...</dialogue> <character>JAY</character> <dialogue>Maybe a better way, so as not to interrogate, we can learn by what we remember? Right?</dialogue> <character>GAIL</character> <dialogue>Fine. Tell me what you remember... Tell me about your son.</dialogue> <character>LINDA</character> <dialogue>What would you like to know?</dialogue> <character>GAIL</character> <dialogue>Everything. I want to know everything.</dialogue> <scene_description>CONTINUED: (23)</scene_description> <character>RICHARD</character> <dialogue>Why?</dialogue> <character>GAIL</character> <dialogue>Why? Why do I want to know about your son? Because he killed mine.</dialogue> <scene_description>This stops the four of them cold.</scene_description> <character>LINDA</character> <parenthetical>(beat, kindly)</parenthetical> <dialogue>How far back would you like to go?</dialogue> <character>GAIL</character> <dialogue>Wherever you need.</dialogue> <character>LINDA</character> <parenthetical>(mother to mother)</parenthetical> <dialogue>Because... I can tell you everything, but there's still so much no one will ever know.</dialogue> <scene_description>Gail, understanding, nods.</scene_description> <character>LINDA</character> <dialogue>And there's so much no one will ever know.</dialogue> <parenthetical>(she thinks)</parenthetical> <dialogue>He was shy. Always. Even as a baby. We watched him. But I never worried. I saw things no one else did. But he was shy. He didn't play well with others. Not that he was mean, he just... didn't seem to know how to.</dialogue> <parenthetical>(then, brighter)</parenthetical> <dialogue>Once he was a little older he would only want to be outside. He loved the outdoors...</dialogue> <character>GAIL</character> <dialogue>I know this.</dialogue> <character>JAY</character> <dialogue>Gail...</dialogue> <character>GAIL</character> <dialogue>No, I know that. He was shy, he loved animals... I read everything.</dialogue> <scene_description>CONTINUED: (24)</scene_description> <character>LINDA</character> <dialogue>I don't know what you want me to say.</dialogue> <character>GAIL</character> <dialogue>What did worry you? You said you never worried, but what scared you?</dialogue> <character>LINDA</character> <dialogue>My son didn't scare me as a child.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>The photographs I have. The ones we don't want to look at. They're of a boy. That's all you'll see.</dialogue> <character>GAIL</character> <dialogue>I don't need to see him. Okay?</dialogue> <character>JAY</character> <parenthetical>(to Gail, quiet)</parenthetical> <dialogue>That's not why we...</dialogue> <character>GAIL</character> <parenthetical>(to Jay)</parenthetical> <dialogue>I don't need to see him.</dialogue> <scene_description>Jay nods, choosing solidarity.</scene_description> <character>GAIL</character> <parenthetical>(back to Linda)</parenthetical> <dialogue>What changed? I want to know. When he's thirteen he starts going online, or he starts that gaming profile, the account...</dialogue> <character>RICHARD</character> <dialogue>They were not violent games then...</dialogue> <character>GAIL</character> <dialogue>I know, but that was...</dialogue> <character>LINDA</character> <dialogue>They were fantasy games, role play...</dialogue> <character>GAIL</character> <parenthetical>(let's not go there)</parenthetical> <dialogue>I know. But it was the same account he used later, so...</dialogue> <parenthetical>(recovering)</parenthetical> <dialogue>I'm asking, what changed?</dialogue> <scene_description>CONTINUED: (25)</scene_description> <character>GAIL</character> <dialogue>There's this boy who plays outside, who supposedly loves nature, but now he's indoors all day online. What changed?</dialogue> <scene_description>Linda and Richard share a look.</scene_description> <character>LINDA</character> <dialogue>That's very hard to answer.</dialogue> <character>GAIL</character> <dialogue>Please try.</dialogue> <character>RICHARD</character> <dialogue>There isn't just one thing...</dialogue> <character>GAIL</character> <dialogue>Then tell me more than one.</dialogue> <character>JAY</character> <dialogue>Gail, please. Let's not do it this way.</dialogue> <scene_description>Gail looks at her husband, then down. She takes a deep \* breath. \*</scene_description> <character>GAIL</character> <dialogue>I'm sorry. You're right. We're \* not interrogating.</dialogue> <character>LINDA</character> <dialogue>What are you doing? I say that as compassionately as I can. What are we doing? You say you want to \* heal? We all do. Is this how? \*</dialogue> <scene_description>Gail stares at Linda unsure. Jay tries to help her. \*</scene_description> <character>JAY</character> <dialogue>We want to know why... how this happened? Right? I mean, I...</dialogue> <scene_description>Jay chooses his words carefully. \*</scene_description> <character>JAY</character> <dialogue>We want to hear that. We need your help with that.</dialogue> <character>LINDA</character> <dialogue>I'm willing to help.</dialogue> <scene_description>(waits, then) \* We moved. You asked what changed? We moved. CONTINUED: (26)</scene_description> <character>RICHARD</character> <parenthetical>(this is sensitive)</parenthetical> <dialogue>We did, but, we can't be certain which changes affected him most.</dialogue> <character>LINDA</character> <dialogue>The new school, or environment, was hard for him.</dialogue> <character>RICHARD</character> <dialogue>Hayden... He didn't have close friends growing up, as I'm sure you know, but by middle school that mattered more and it affected him.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>A lot of things changed around that age. I had a new job, Stephen was applying for colleges, so we were looking at tuition costs, private schools... We moved.</dialogue> <character>LINDA</character> <dialogue>Our older house had more space...</dialogue> <character>RICHARD</character> <parenthetical>(clarifying)</parenthetical> <dialogue>Outdoors. Where we moved to was actually a bigger home...</dialogue> <character>LINDA</character> <parenthetical>(a point of contention)</parenthetical> <dialogue>Yes, that's true, but where we were had a great back yard...</dialogue> <character>RICHARD</character> <dialogue>The new neighborhood was very nice it was just more suburban.</dialogue> <character>LINDA</character> <dialogue>Plots. There wasn't the... freedom he loved.</dialogue> <character>RICHARD</character> <parenthetical>(to Linda)</parenthetical> <dialogue>But it was nice.</dialogue> <character>LINDA</character> <dialogue>It was, Richard.</dialogue> <scene_description>CONTINUED: (27)</scene_description> <character>RICHARD</character> <dialogue>The new school was hard for him. Seventh grade in particular, bullying...</dialogue> <character>LINDA</character> <dialogue>It was very bad...</dialogue> <character>RICHARD</character> <dialogue>Yes. And the boys were a few years apart so that Stephen, who was really thriving in high school, well, he didn't have a lot to give Hayden at that time unfortunately.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Sometimes I wish they had been closer, closer in age, so they could have shared friends...</dialogue> <parenthetical>(a loaded past)</parenthetical> <dialogue>We didn't plan to... or expect to have another.</dialogue> <character>LINDA</character> <parenthetical>(painful past)</parenthetical> <dialogue>We thought we might be too old, but... we weren't.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>He was lonely, and I think missed his... how things were. That's when he started spending more time on the computer.</dialogue> <parenthetical>(sincere)</parenthetical> <dialogue>But the games, we thought, were creative... we encouraged them at first. They let him make choices, or... he got to be whatever he wanted to be. And we could hear him, playing with others. He'd laugh... that made me...</dialogue> <parenthetical>(then)</parenthetical> <dialogue>And he did well, in school, which was confusing, or... misleading.</dialogue> <character>RICHARD</character> <dialogue>He always had very good grades. He was very smart.</dialogue> <character>GAIL</character> <parenthetical>(without thinking)</parenthetical> <dialogue>I know...</dialogue> <parenthetical>(catching herself)</parenthetical> <dialogue>I'm sorry, I just...</dialogue> <scene_description>CONTINUED: (28)</scene_description> <character>RICHARD</character> <dialogue>That's fine.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>We had nothing to do with publishing his grades or scores. Any of that.</dialogue> <character>JAY</character> <dialogue>We know you didn't speak...</dialogue> <character>RICHARD</character> <parenthetical>(hearing resentment)</parenthetical> <dialogue>I was only saying...</dialogue> <character>LINDA</character> <dialogue>We mistakenly thought his grades were a sign that things were okay.</dialogue> <character>RICHARD</character> <dialogue>That's not all...</dialogue> <character>LINDA</character> <dialogue>We did, Richard. We thought that's what mattered.</dialogue> <character>RICHARD</character> <parenthetical>(beat, a defense)</parenthetical> <dialogue>He wasn't fitting in. That hurt. But the grades made us look past some of it.</dialogue> <character>JAY</character> <dialogue>Did the school say anything?</dialogue> <character>RICHARD</character> <dialogue>This was middle school not...</dialogue> <character>JAY</character> <dialogue>I know, I know, but...</dialogue> <character>LINDA</character> <parenthetical>(some bitterness)</parenthetical> <dialogue>The school couldn't be bothered. He was quiet with good grades, so he didn't require attention.</dialogue> <parenthetical>(something she can't let go of)</parenthetical> <dialogue>There was a math teacher though in eighth grade...</dialogue> <character>RICHARD</character> <dialogue>Linda...</dialogue> <scene_description>CONTINUED: (29)</scene_description> <character>LINDA</character> <dialogue>No. Hayden loved him. And... I don't know what their connection was, or why it was so great, but he made Hayden feel confident when... he didn't. I wish I would have...</dialogue> <parenthetical>(a missed opportunity)</parenthetical> <dialogue>When he was really struggling later on I tried to see if he could... talk to him. But he'd left for another school and I didn't... I gave up trying to reach him.</dialogue> <parenthetical>(catching herself)</parenthetical> <dialogue>I'm sorry...</dialogue> <character>GAIL</character> <dialogue>That's okay...</dialogue> <character>RICHARD</character> <parenthetical>(trying to sum up)</parenthetical> <dialogue>He was teased because he had other interests, and I think that made him embarrassed to have those interests. I think he saw being different as a deficit. He did. But we didn't know or realize it until he showed signs of depression...</dialogue> <character>GAIL</character> <dialogue>He didn't strike you as sad before?</dialogue> <character>LINDA</character> <dialogue>He was quiet, but... no.</dialogue> <character>GAIL</character> <dialogue>Violent?</dialogue> <character>RICHARD</character> <dialogue>No. Not then. When we grew concerned we got help.</dialogue> <character>GAIL</character> <dialogue>When was that?</dialogue> <character>RICHARD</character> <parenthetical>(not defensive)</parenthetical> <dialogue>His medical history was made public...</dialogue> <scene_description>CONTINUED: (30)</scene_description> <character>GAIL</character> <dialogue>But was there something specifically?</dialogue> <character>RICHARD</character> <dialogue>No, it was his unwillingness to do things. Once Stephen left for college he became angry with our attention for him.</dialogue> <character>JAY</character> <dialogue>Why? What would be wrong with that?</dialogue> <character>LINDA</character> <dialogue>I think he resented our concern. He wouldn't even let us touch him.</dialogue> <character>GAIL</character> <dialogue>And that's when you got help?</dialogue> <character>LINDA</character> <dialogue>Eventually. He didn't want to...</dialogue> <character>RICHARD</character> <dialogue>He never did. But we finally forced him to see someone.</dialogue> <character>LINDA</character> <dialogue>I felt like we had no choice, but he would beg to stop. He pleaded with us to let him be normal. Or that he didn't need it anymore, or that... the sessions made him feel not...</dialogue> <character>GAIL</character> <dialogue>What?</dialogue> <character>LINDA</character> <dialogue>That they made him feel "not human."</dialogue> <character>GAIL</character> <dialogue>He said that?</dialogue> <scene_description>The Perry's process this.</scene_description> <character>JAY</character> <dialogue>So what did the therapist say? I mean, to you.</dialogue> <scene_description>CONTINUED: (31)</scene_description> <character>RICHARD</character> <dialogue>He needs to stop isolating, it's reinforcing his negative expectations. All the time online isn't enhancing his relationships it's making him lonelier.</dialogue> <character>GAIL</character> <dialogue>So you stopped? Or you let him stop going?</dialogue> <character>RICHARD</character> <dialogue>For a while. Then things would get worse or something would happen...</dialogue> <character>JAY</character> <dialogue>Like the pipe bomb?</dialogue> <character>RICHARD</character> <dialogue>And we'd go through it again... Yes. That certainly had consequences.</dialogue> <character>JAY</character> <dialogue>Consequences? Jesus...</dialogue> <character>RICHARD</character> <dialogue>At the time it did. He was arrested...</dialogue> <character>JAY</character> <dialogue>There was no consequence.</dialogue> <character>LINDA</character> <dialogue>I know how that sounds. But we were devastated. And we tried \* everything. But was the doctor good? Would they get the prescriptions right? Or take insurance? And of course, we'd pay anything but it was expensive.</dialogue> <parenthetical>(pleading)</parenthetical> <dialogue>I'm just saying, this was the reality of how it was, how defeating... and even with all the professional advice, it was really just us facing these choices alone... But we did try, over and over. You can see.</dialogue> <scene_description>CONTINUED: (32)</scene_description> <character>RICHARD</character> <parenthetical>(letting her rest)</parenthetical> <dialogue>It's true. There is no new information regarding his medical or criminal records. You have access to everything.</dialogue> <character>GAIL</character> <dialogue>Why didn't you say anything to the school? This was high school now right?</dialogue> <scene_description>Richard and Linda look at one another. This was critical to the lawsuits.</scene_description> <character>RICHARD</character> <dialogue>We didn't have to.</dialogue> <character>LINDA</character> <dialogue>He had just started there. We \* didn't want it to reflect badly on him.</dialogue> <character>GAIL \*</character> <dialogue>God... \*</dialogue> <character>LINDA \*</character> <dialogue>I'm sorry... \*</dialogue> <character>RICHARD</character> <dialogue>As long as he completed his program his record...</dialogue> <character>JAY</character> <dialogue>Jesus Christ. That program was a joke.</dialogue> <character>RICHARD</character> <dialogue>They missed things. We all did.</dialogue> <character>LINDA</character> <dialogue>But he was lying.</dialogue> <character>GAIL</character> <dialogue>Did you know that?</dialogue> <character>LINDA</character> <dialogue>I suspected he was holding things back. But I never could have believed...</dialogue> <scene_description>CONTINUED: (33)</scene_description> <character>RICHARD</character> <parenthetical>(protecting Linda)</parenthetical> <dialogue>I understand not speaking publicly made us look like we had secrets.</dialogue> <character>GAIL</character> <dialogue>It's not secrets that I have doubts about, or facts, it's... knowing. A parent's intuition...</dialogue> <parenthetical>(at a loss)</parenthetical> <dialogue>It's your child. You feel it. It should hurt you...</dialogue> <character>LINDA</character> <dialogue>It did. And we got him help.</dialogue> <character>RICHARD</character> <dialogue>Everything that happened afterwards, the lawsuits, the media, the hate that flooded into our lives... never once did we feel ready or prepared for any of it. We just tried our best to survive. In fact, many days, dying ourselves seemed a better alternative.</dialogue> <parenthetical>(to Gail)</parenthetical> <dialogue>Why not speak? Because I don't have an answer. Why not help prevent this from happening again? Because I don't know how.</dialogue> <character>JAY</character> <dialogue>But you must have thought about...</dialogue> <character>RICHARD</character> <dialogue>Every interaction I ever had with him. Yes. Just... understand that until the civil statutes ran out we were rarely given permission to speak. Even our apologies had to be worded. Linda couldn't join a mother's support group because they worried she'd put the other women at risk.</dialogue> <character>GAIL</character> <dialogue>At risk?</dialogue> <character>RICHARD</character> <dialogue>Of being deposed.</dialogue> <scene_description>CONTINUED: (34)</scene_description> <character>GAIL</character> <dialogue>I didn't know that.</dialogue> <scene_description>They fall silent, seeming to reach a dead end.</scene_description> <character>JAY</character> <parenthetical>(remaining hopeful)</parenthetical> <dialogue>Well, look... I think much of what happened in the aftermath was wrong. We know now how many mistakes were made even from the beginning, just institutionally. We're all victims. It's why we never filed suit. Why we were happy to sign waivers for today. We..</dialogue> <parenthetical>(plainly)</parenthetical> <dialogue>We didn't want anything.</dialogue> <character>GAIL</character> <parenthetical>(also plainly)</parenthetical> <dialogue>We wanted Evan back.</dialogue> <character>JAY</character> <dialogue>Yes. And that was impossible. And from what we could gather you didn't have answers, like you say, but...</dialogue> <character>RICHARD</character> <dialogue>In hindsight we would have done things differently. The authorities would have too.</dialogue> <scene_description>(flat) \* There was negligence. That was the basis of all the settlements.</scene_description> <character>JAY</character> <dialogue>But this is what I want to know. \* What do you regret? Where is your \* regret?</dialogue> <character>RICHARD</character> <parenthetical>(confused, of course)</parenthetical> <dialogue>I regret everything. The worst imaginable outcome happened. Any change I might have made could have resulted in a different outcome. I regret everything.</dialogue> <character>JAY</character> <parenthetical>(beat)</parenthetical> <dialogue>How can you be so matter of fact?</dialogue> <scene_description>CONTINUED: (35)</scene_description> <character>RICHARD</character> <dialogue>How else can I be? \*</dialogue> <character>JAY</character> <dialogue>No, no, the way you... the way you \* can speak about it. We decided against litigation, but it doesn't mean we didn't, or we don't...</dialogue> <parenthetical>(giving up)</parenthetical> <dialogue>Want to see you punished. I'm sorry, but want to see you hurt. Want to see...</dialogue> <character>RICHARD</character> <dialogue>Like everyone else?</dialogue> <character>JAY</character> <dialogue>Yes, like everyone else.</dialogue> <character>RICHARD</character> <dialogue>Like you?</dialogue> <character>JAY</character> <dialogue>Yes! Like me. Like us. Like my daughter who doesn't sleep...</dialogue> <character>RICHARD</character> <parenthetical>(waits)</parenthetical> <dialogue>Of course, we hurt.</dialogue> <character>JAY</character> <dialogue>Transparency. I think that is what we want. I think we are owed that. Today.</dialogue> <character>RICHARD</character> <dialogue>Then please ask what you need, but that is exactly what you've been given.</dialogue> <scene_description>Jay pushes forward despite the feeling of going in circles.</scene_description> <character>JAY</character> <dialogue>Alright... He made a pipe bomb, a pipe bomb, and was arrested. He had probation, or the program...</dialogue> <character>LINDA</character> <dialogue>I was scared.</dialogue> <scene_description>Jay stops in his tracks. CONTINUED: (36)</scene_description> <character>GAIL</character> <dialogue>What?</dialogue> <character>LINDA</character> <dialogue>Richard, we were scared. I was scared.</dialogue> <character>GAIL</character> <dialogue>You were...?</dialogue> <character>LINDA</character> <dialogue>I was.</dialogue> <character>RICHARD</character> <dialogue>I know. Linda, I... \*</dialogue> <parenthetical>(trying transparency)</parenthetical> <dialogue>He told us before he had contemplated suicide, but only on this test did he mention thoughts of homicide. We were scared, but I was trying to see the best possible outcome...</dialogue> <character>LINDA</character> <dialogue>We should have done something then. We should have... \*</dialogue> <character>RICHARD</character> <dialogue>Now. Of course, now. But what? And I couldn't accept he would throw away his future because of a homemade bomb. Linda, please...</dialogue> <character>GAIL</character> <dialogue>When did, or where did this interest in bombs come from? Weren't you surprised or...?</dialogue> <character>LINDA</character> <dialogue>Yes...</dialogue> <character>RICHARD</character> <dialogue>We don't know. Anywhere. And yes we were surprised. Shocked.</dialogue> <character>LINDA</character> <dialogue>He said he read it online. He said he was bored.</dialogue> <character>RICHARD</character> <dialogue>He said it was just something to do...</dialogue> <scene_description>CONTINUED: (37)</scene_description> <character>LINDA</character> <dialogue>"I'm not the only one."</dialogue> <character>GAIL</character> <dialogue>What...?</dialogue> <character>RICHARD</character> <dialogue>Yes... That's what he said. And once he made it, he figured he'd set it off. He went back to the woods...</dialogue> <character>LINDA</character> <dialogue>Where we used to live...</dialogue> <character>RICHARD</character> <dialogue>No one was around. He wasn't trying to hurt anyone...</dialogue> <parenthetical>(catching himself)</parenthetical> <dialogue>Or... he didn't... we believed, we hoped, it was what he said it was.</dialogue> <parenthetical>(before they can ask)</parenthetical> <dialogue>Later on, when we found more plans in his room he said there was good money in artillery engineering. Working in the defense department. That was his excuse.</dialogue> <character>JAY</character> <dialogue>How could you believe that?</dialogue> <character>RICHARD</character> <dialogue>We knew nothing about it...</dialogue> <character>JAY</character> <dialogue>But after everything else? How could you believe that?</dialogue> <character>RICHARD</character> <dialogue>Because I wanted to! Because I... I had to. But I know now it was just a way of making us think he had bigger plans...</dialogue> <parenthetical>(catching again, defeated)</parenthetical> <dialogue>Other plans. I'm sorry... I thought he wanted to do something with his life... Something that he was good at, or made him happy. Because otherwise he seemed to have stopped caring.</dialogue> <parenthetical>(vulnerable)</parenthetical> <scene_description>CONTINUED: (38)</scene_description> <character>RICHARD</character> <dialogue>We tell our kids they can be anything, right? We teach them that because we believe it... I did. He told me things. I thought he confided in me. I know now some of what he said was purposefully deceitful. To keep me away.</dialogue> <character>LINDA</character> <parenthetical>(to rescue Richard)</parenthetical> <dialogue>We really thought he was turning things around. We had plans for the summer, college...</dialogue> <parenthetical>(then)</parenthetical> <dialogue>We were told...</dialogue> <parenthetical>(choosing her words)</parenthetical> <dialogue>Once someone decides their fate, they do find some happiness. They can even appear euphoric. The last few months we were happy.</dialogue> <character>GAIL</character> <parenthetical>(beat, disbelief)</parenthetical> <dialogue>He checked off homicidal thoughts.</dialogue> <character>RICHARD</character> <dialogue>His therapist said it's normal.</dialogue> <character>GAIL</character> <dialogue>Normal?</dialogue> <character>RICHARD</character> <dialogue>For a young man to be angry.</dialogue> <character>GAIL</character> <dialogue>Why have the question if you choose to ignore it?</dialogue> <character>LINDA</character> <dialogue>I'm sorry.</dialogue> <character>GAIL</character> <parenthetical>(beat)</parenthetical> <dialogue>What about the anger? Your neighbor called the police?</dialogue> <character>RICHARD</character> <dialogue>They called us. Not the police. About a year before. It was a bad night.</dialogue> <scene_description>(then) \* We would try to calm him down. CONTINUED: (39)</scene_description> <character>RICHARD</character> <dialogue>Minimize whatever it was that was bothering him. I understand now that may have only intensified his feelings.</dialogue> <character>LINDA</character> <dialogue>He could be frightening.</dialogue> <scene_description>Linda conspicuously has little to say.</scene_description> <character>RICHARD</character> <dialogue>He would get frustrated. Easily. \* Frustrated with things he couldn't figure out. It would...</dialogue> <character>LINDA</character> <dialogue>Embarrass him...</dialogue> <character>RICHARD</character> <dialogue>Yes. And it was always hard for him to ask for help, but eventually he just stopped asking entirely.</dialogue> <parenthetical>(painful)</parenthetical> <dialogue>Maybe my expectations were too high. I'd let it go, thinking not to bother him, but then I'd be...</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I've done my accounting. There is no criticism I haven't already heard or placed upon myself...</dialogue> <parenthetical>(to Jay)</parenthetical> <dialogue>We are not "impassive" as you said.</dialogue> <character>JAY</character> <dialogue>I've taken that back...</dialogue> <character>RICHARD</character> <dialogue>"Indifferent..."</dialogue> <character>JAY</character> <dialogue>It was because you wouldn't speak! You never really spoke out...</dialogue> <character>RICHARD \*</character> <dialogue>We released a statement. \*</dialogue> <character>JAY \*</character> <dialogue>Not that! That was nothing. Why \* couldn't you say more! \*</dialogue> <scene_description>CONTINUED: (40)</scene_description> <character>RICHARD</character> <dialogue>We weren't allowed to...</dialogue> <character>JAY</character> <dialogue>No, it's been years...!</dialogue> <character>RICHARD</character> <dialogue>When we asked for privacy we were accused of hiding something...</dialogue> <character>JAY</character> <dialogue>No, you could have said...</dialogue> <character>LINDA</character> <dialogue>What could we say?! Please, tell me? What... What should I say?</dialogue> <character>JAY</character> <dialogue>The signs...</dialogue> <character>LINDA</character> <dialogue>But we didn't know...</dialogue> <character>JAY</character> <dialogue>After everything? You couldn't have been surprised...</dialogue> <character>LINDA</character> <parenthetical>(pleading)</parenthetical> <dialogue>But we were! We didn't know what had happened! I still don't... I just came home from work and the phone rang...</dialogue> <character>JAY</character> <dialogue>What?</dialogue> <character>LINDA</character> <parenthetical>(still with urgency)</parenthetical> <dialogue>A friend of his called the house, asking if he was there, I said, "Aren't you both at school...?" I didn't...</dialogue> <character>JAY</character> <dialogue>Wait...</dialogue> <character>LINDA</character> <dialogue>He said Hayden hadn't been there all day and that "something happened." "Something's happening." I...</dialogue> <parenthetical>(then firm)</parenthetical> <scene_description>CONTINUED: (41)</scene_description> <character>LINDA</character> <dialogue>I had no idea. Even after turning on the television, seeing the school, from above, what he could be talking about. I didn't... We really didn't know...</dialogue> <scene_description>Linda falters, unable to shake the trauma.</scene_description> <character>JAY</character> <parenthetical>(can't resist)</parenthetical> <dialogue>This was Alex? The friend who called?</dialogue> <character>RICHARD</character> <parenthetical>(Linda can't answer)</parenthetical> <dialogue>Yes.</dialogue> <character>JAY</character> <dialogue>Who knew.</dialogue> <character>RICHARD</character> <dialogue>No. He suspected...</dialogue> <character>JAY</character> <dialogue>They were his father's guns.</dialogue> <character>RICHARD</character> <dialogue>He didn't know Hayden had taken them...</dialogue> <character>JAY</character> <dialogue>He asked you to look for them. If you can ask then you must have thought before...</dialogue> <character>RICHARD</character> <dialogue>He asked because it had happened. He was there. None of us knew yet.</dialogue> <character>JAY</character> <dialogue>But he asked you to check his room, right? Or the closet?</dialogue> <character>LINDA</character> <dialogue>Yes. It was Alex. He said he wasn't answering his phone, and that he hadn't seen him. "Can you check..." Yes.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>But I didn't understand what I was even looking for. I thought he would tell me, but...</dialogue> <scene_description>CONTINUED: (42)</scene_description> <character>LINDA</character> <dialogue>he just kept crying and saying he was sorry. I thought he did something.</dialogue> <character>GAIL</character> <dialogue>We all did.</dialogue> <character>RICHARD</character> <dialogue>We never knew Alex's family had guns, or that Hayden had used them. We learned all of this after.</dialogue> <character>GAIL</character> <dialogue>Where were you? When...?</dialogue> <character>RICHARD</character> <dialogue>I was working. I... I have events out of order apparently. I can't remember all of it.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>A friend, colleague, had called me out of my office... the television was on. Everyone was watching...</dialogue> <parenthetical>(to Linda)</parenthetical> <dialogue>You called me...</dialogue> <character>LINDA</character> <dialogue>Yes..</dialogue> <character>RICHARD</character> <dialogue>Once I was driving. I'd run to my car, and...</dialogue> <character>JAY</character> <dialogue>Wait. I'm sorry, but...</dialogue> <scene_description>Jay stops story time, showing some frustration.</scene_description> <character>JAY</character> <dialogue>Why are you...?</dialogue> <parenthetical>(to all of them)</parenthetical> <dialogue>Why... I don't need to hear this. I don't want to...</dialogue> <character>LINDA</character> <dialogue>I'm sorry?</dialogue> <character>JAY</character> <dialogue>No, I... I believe you. I believe you didn't know. I don't want to hear this. I want to know why you didn't do something. \*</dialogue> <scene_description>CONTINUED: (43)</scene_description> <character>JAY</character> <dialogue>And why you never said anything. \* Jesus. I want to know why you \* didn't stop him!</dialogue> <character>GAIL</character> <dialogue>I want to.</dialogue> <character>JAY</character> <parenthetical>(surprised)</parenthetical> <dialogue>What?</dialogue> <character>GAIL</character> <dialogue>I want to hear.</dialogue> <character>JAY</character> <dialogue>But... I just... \*</dialogue> <character>GAIL</character> <dialogue>I know. But I want to hear.</dialogue> <scene_description>Gail looks at Richard and Linda, asking them to continue. \* They look at one another finding their place.</scene_description> <character>LINDA</character> <dialogue>I called you.</dialogue> <character>RICHARD</character> <dialogue>Yes. But... It was hard for us to speak.</dialogue> <character>LINDA</character> <dialogue>I couldn't. I tried.</dialogue> <character>RICHARD</character> <dialogue>Yes, I could tell... So I feared the worst. But...</dialogue> <parenthetical>(still amazed)</parenthetical> <dialogue>I hadn't.</dialogue> <parenthetical>(to Linda)</parenthetical> <dialogue>You said... "He was never here..."</dialogue> <character>LINDA</character> <parenthetical>(haunting)</parenthetical> <dialogue>His room. It was... His bed was made. And there was this... notebook. On his pillow. I'd never seen it before, but it was worn, and marked. I was so scared. It must have been there all day. All night...</dialogue> <scene_description>The Perry's sicken hearing this. CONTINUED: (44)</scene_description> <character>RICHARD</character> <dialogue>I didn't know what she had seen yet, I was just trying to get home. But at some point I thought, "Why am I going home? I need to get to the school..."</dialogue> <parenthetical>(recovers)</parenthetical> <dialogue>But then I got a call from my sister. She kept telling me to "pull over." I said I would not. "I will not stop driving." And then... we were both crying.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>So I just... I don't remember. I pulled onto our street. I guess that's where I wanted to go. But I was too late.</dialogue> <character>LINDA</character> <parenthetical>(surreal)</parenthetical> <dialogue>There were hundreds. So sudden. All in black. Helicopters.</dialogue> <character>RICHARD</character> <dialogue>I couldn't get near the driveway. I just left the car. I still don't know who moved it back... They kept us apart. They made me wait outside. While they searched the house.</dialogue> <character>LINDA</character> <dialogue>They put me in the backyard. I kept saying it was a mistake, that it was...</dialogue> <parenthetical>(it's own story)</parenthetical> <dialogue>There was a young policeman. Watching me. To make sure I didn't, I learned this later, hurt myself. I finally asked him... "Is my son dead?" He said, not unkindly, "Yes. But that's all I can tell you..." As if...</dialogue> <scene_description>Anything else mattered. This drops like a heavy stone into all their hearts. Linda cries softly.</scene_description> <character>RICHARD</character> <dialogue>It was wrong what they did. Keeping us apart. It was wrong.</dialogue> <character>LINDA</character> <dialogue>It's okay, Richard.</dialogue> <scene_description>CONTINUED: (45)</scene_description> <character>RICHARD</character> <dialogue>No. They didn't have to... I kept asking, demanding to see my wife.</dialogue> <parenthetical>(to Linda)</parenthetical> <dialogue>I begged, Linda.</dialogue> <scene_description>Something irreparable happened during that separation.</scene_description> <character>LINDA</character> <dialogue>That wasn't our fault.</dialogue> <character>RICHARD</character> <dialogue>It was wrong.</dialogue> <character>LINDA</character> <parenthetical>(for his sake)</parenthetical> <dialogue>It was.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Many times I wished he had killed me too, but... He loved us. He told us. He said he was sorry for what we would go through.</dialogue> <character>RICHARD</character> <parenthetical>(clarifying)</parenthetical> <dialogue>In the notebook.</dialogue> <scene_description>Jay and Gail are appalled.</scene_description> <character>JAY</character> <dialogue>He destroyed your lives. All of our lives.</dialogue> <character>LINDA</character> <dialogue>He did. But the love we had, it was real. The truth is we believed we were good parents. And in this awful, confusing way we still do.</dialogue> <parenthetical>(off Gail's look)</parenthetical> <dialogue>Isn't it worse that I thought I was a good mother? I loved my children. Other parents... I wasn't so different. What did I do so differently? It's very hard to trust anything anymore. I raised a murderer.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And sometimes I don't know if I'm still grieving or if I ever really have. His service was in secret.</dialogue> <scene_description>CONTINUED: (46)</scene_description> <character>LINDA</character> <dialogue>No local church would memorialize him.</dialogue> <parenthetical>(humiliating)</parenthetical> <dialogue>Richard had to beg. To bury his son. And when we found... a place... I was so ashamed... their kindness.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>You're supposed to tell happy stories... we hid. So many friends didn't know what to say, didn't come...</dialogue> <character>RICHARD</character> <parenthetical>(sees it differently)</parenthetical> <dialogue>We had our closest relatives with us. Good friends.</dialogue> <character>LINDA</character> <dialogue>I remember checking the clock. We were so overwhelmed with blame. \* Our financial situation was impossible. \*</dialogue> <parenthetical>(making her point)</parenthetical> <dialogue>Grief felt like something... out of reach.</dialogue> <parenthetical>(to Jay, sadly)</parenthetical> <dialogue>I didn't stop him because I didn't know. And I didn't speak because \* I didn't know how. And I'm sorry, \* but I never thought I had enough \* good to say... \*</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I want answers. I do. I have to reconcile his actions with the child I loved and raised. But there may be none. And maybe we're the last people to ask...</dialogue> <scene_description>For the Perry's, this is a devastating thought. Jay shakes his head, remembering something.</scene_description> <character>JAY</character> <dialogue>"We know the hate."</dialogue> <scene_description>The others look at him. He stands and walks towards the table with food and drinks.</scene_description> <character>JAY</character> <dialogue>Joy Murphy's parents would say that. Their church? Remember? "</dialogue> <scene_description>CONTINUED: (47)</scene_description> <character>JAY</character> <dialogue>We need not know why the hate, for we know the hate." Or something like that. So stupid...</dialogue> <scene_description>He grabs a water bottle, opens it and drinks.</scene_description> <character>JAY</character> <dialogue>These are for us, right?</dialogue> <character>LINDA</character> <dialogue>I'm sure it's okay.</dialogue> <character>JAY</character> <parenthetical>(re: bottle)</parenthetical> <dialogue>Anyone want a...?</dialogue> <parenthetical>(nothing)</parenthetical> <dialogue>No?</dialogue> <parenthetical>(drinking more)</parenthetical> <dialogue>But that whole church movement afterwards? It made me so angry. What? The Devil? So meaningless. And leave it to the Catholic church to have the most bankrupt reaction of all...</dialogue> <parenthetical>(looking up)</parenthetical> <dialogue>Sorry.</dialogue> <character>LINDA</character> <dialogue>This is an Episcopalian church.</dialogue> <character>JAY</character> <dialogue>Oh, right, well, Christian, or... sorry, I'm... not religious.</dialogue> <scene_description>He finishes his water bottle and looks for the trash.</scene_description> <character>JAY</character> <dialogue>They recycle?</dialogue> <character>GAIL</character> <dialogue>Just leave it.</dialogue> <character>JAY</character> <dialogue>Alright...</dialogue> <parenthetical>(then)</parenthetical> <dialogue>But they found acceptance first, you know? Or at least... understood it for what it might always be. But for the rest of us, who need reason, what was he?</dialogue> <scene_description>CONTINUED: (48)</scene_description> <character>RICHARD</character> <parenthetical>(looking back to Jay)</parenthetical> <dialogue>We knew he was troubled, just not how capable.</dialogue> <character>JAY</character> <dialogue>What about the diagnoses? Early on? At fifteen antisocial personality disorder?</dialogue> <character>RICHARD</character> <dialogue>We were told he exhibited signs of antisocial and bipolar personality disorder, but nothing that would suggest...</dialogue> <scene_description>Jay crosses back to his side of the table but stays standing.</scene_description> <character>JAY</character> <dialogue>No, no, no, I'm not trying to... I believe you didn't... I'm just... I'm asking because a psychiatrist told us, afterwards, that he never would have shared his real problems. Or that he couldn't. That...</dialogue> <character>LINDA</character> <dialogue>We thought he might with his friends. We asked him to.</dialogue> <character>RICHARD</character> <dialogue>He finally started making friends again in high school. He found a good group...</dialogue> <character>JAY</character> <dialogue>I'm sorry, a good group? Alex showed him the guns...</dialogue> <character>RICHARD</character> <dialogue>Hayden stole them. His friends had nothing to do with it.</dialogue> <character>JAY</character> <dialogue>I'm just saying, it's hard to hear you call them "a good group." These were the kids going to gun ranges, playing Call of Duty all day and night, right? Isn't that where that started?</dialogue> <scene_description>CONTINUED: (49)</scene_description> <character>RICHARD</character> <dialogue>It's a video game.</dialogue> <character>JAY</character> <dialogue>It's simulation. And the visits to the shooting range? How many?</dialogue> <character>RICHARD</character> <dialogue>Only two.</dialogue> <character>JAY</character> <dialogue>That we know about it. And you don't even need to go with those games now.</dialogue> <character>RICHARD</character> <dialogue>If you'd allow me to finish. Addressing your point. I was saying, by the end of... his life, despite whatever was going on inside, he seemed popular, for him, in his circle.</dialogue> <scene_description>Jay sits back down to focus his thoughts for them.</scene_description> <character>JAY</character> <dialogue>Okay, but what I'm talking about is different...</dialogue> <character>RICHARD</character> <dialogue>And I'm saying we couldn't see how isolated he was because he was popular, or not... That's not the \* right word, I know, but we couldn't really know the level of intimacy in his social life. From where he had been we were just happy to see him have a social life.</dialogue> <character>JAY</character> <dialogue>Okay, so that isolation...</dialogue> <character>GAIL</character> <dialogue>But he was bullied in high school.</dialogue> <character>LINDA \*</character> <dialogue>Not by his friends...</dialogue> <character>GAIL</character> <dialogue>But still. They told the police \* how often he talked about killing \* certain students.</dialogue> <scene_description>CONTINUED: (50)</scene_description> <character>LINDA</character> <dialogue>He said they all talked that way. His group of friends experienced a lot of bullying.</dialogue> <character>JAY</character> <dialogue>And that's fine, now, I don't care, I'm sorry, if I could just... get this out. That isolation, even around friends, that... detachment, is sometimes indicative of a lack of feeling. Or empathy. Add to that the thousands of hours online? Without any real human contact?</dialogue> <parenthetical>(off their looks)</parenthetical> <dialogue>This is just how the psychiatrist explained it.</dialogue> <character>RICHARD</character> <dialogue>We understand the psychology.</dialogue> <character>JAY</character> <dialogue>Okay. I'm just... Look, what I learned, is there are studies, based on fMRI's, brain scans... They say they can see the responses or lack of response in the brain. That there are actually less connections, less matter, in the prefrontal cortex and amygdala...</dialogue> <character>GAIL</character> <dialogue>Jay...</dialogue> <character>JAY</character> <dialogue>No, wait, please... Have you heard of mirror neurons?</dialogue> <character>GAIL</character> <dialogue>Jesus, Jay, we're qualified...</dialogue> <character>JAY</character> <dialogue>I know I'm not an expert, I'm just trying to...</dialogue> <parenthetical>(to Richard and Linda)</parenthetical> <dialogue>I thought this was helpful. The basic idea. I mean, you brought up brain scans. Mental health evaluations.</dialogue> <scene_description>CONTINUED: (51)</scene_description> <character>JAY</character> <dialogue>If we could have seen, or been able to predict something. Because in these tests, the doctors, they'll see...</dialogue> <character>RICHARD</character> <dialogue>I know. They show certain words or pictures that should generate a response, some emotion or feeling, but they don't.</dialogue> <character>JAY</character> <dialogue>Right. The people diagnosed with psychopathy.</dialogue> <character>RICHARD</character> <dialogue>My son was empathetic. He felt a great deal.</dialogue> <character>JAY</character> <dialogue>But... I'm just saying, I'm saying this to help you. That it might be helpful...</dialogue> <character>RICHARD</character> <dialogue>My son was not a psychopath. He was in terrible pain...</dialogue> <character>JAY</character> <dialogue>But maybe not treatable. Because did anything ever work? How many different medications? Drugs? If it's the actual structure of the brain, I mean, that it is not just pathological... it's physical.</dialogue> <character>RICHARD</character> <dialogue>I understand what you want to say.</dialogue> <character>JAY</character> <dialogue>So that it wasn't just high school, or middle school, it was his him.</dialogue> <character>LINDA</character> <dialogue>Do you remember Evan as a baby?</dialogue> <character>GAIL</character> <parenthetical>(beat, am I offended?)</parenthetical> <dialogue>Of course.</dialogue> <scene_description>CONTINUED: (52)</scene_description> <character>LINDA</character> <dialogue>I remember. I feel Hayden as my baby, every day. His helplessness, his crying, then his smile.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I don't believe in what you're saying...</dialogue> <scene_description>Jay audibly scoffs at Linda's sanctimony.</scene_description> <character>GAIL</character> <parenthetical>(gently)</parenthetical> <dialogue>Then Linda. Something must have happened.</dialogue> <character>RICHARD</character> <dialogue>There was no abuse.</dialogue> <character>GAIL</character> <parenthetical>(she's wanted to ask)</parenthetical> <dialogue>Not just abuse...</dialogue> <character>RICHARD</character> <dialogue>Neglect? We were there. As much as we could be.</dialogue> <character>GAIL</character> <dialogue>And we can't always be, I know, but we have to... correct their course when we do have them.</dialogue> <character>RICHARD</character> <dialogue>So we failed. I failed. I know that. I tried everything to correct it. And I would have \* given anything to be there with \* him...</dialogue> <character>GAIL</character> <dialogue>But you were.</dialogue> <character>RICHARD</character> <dialogue>If I could have known...</dialogue> <character>JAY</character> <dialogue>Maybe no one could get through to him. That he wasn't capable...</dialogue> <character>RICHARD</character> <dialogue>No...</dialogue> <scene_description>CONTINUED: (53)</scene_description> <character>JAY</character> <dialogue>"Possible schizoaffective disorder, bipolar disorder, depression, mania, ADHD..."</dialogue> <character>RICHARD</character> <dialogue>None of which are psychopathy. You don't know what you're talking about...</dialogue> <character>JAY</character> <dialogue>Take those medical records with the criminal report. I mean, we finally have the full report of what happened. Don't you have to weigh the evidence, the facts of what he did, against the relationship, or history you had with him?</dialogue> <character>LINDA</character> <dialogue>He became them, he wasn't always them...</dialogue> <character>JAY</character> <dialogue>We can trace how far back he planned this. We can trace his footsteps for Christ's sake...</dialogue> <character>RICHARD</character> <dialogue>I don't believe the timeline definitively proves anything about his mental state...</dialogue> <character>JAY \*</character> <dialogue>How can you say that?</dialogue> <character>LINDA</character> <dialogue>We're not denying what he did or who he became...</dialogue> <character>JAY</character> <dialogue>But I can't help but hear you blame a not abnormal childhood.</dialogue> <character>RICHARD</character> <dialogue>He's my son. I can't remove my feelings from our history, or his records...</dialogue> <scene_description>CONTINUED: (54)</scene_description> <character>JAY</character> <dialogue>I'm not asking for that, but what he did, his capacity for murder was potentially there long before anyone could have known...</dialogue> <character>RICHARD</character> <dialogue>You think you can attach one word to something in order to understand it? To make you feel safe. Well, I won't say it. I don't believe it. It's not simple. It's everything you cannot see... and it left him helpless. He was helpless...</dialogue> <character>GAIL</character> <dialogue>But it's our job to help. That's our job. At some point it doesn't matter whether or not you see the signs, it's still our obligation.</dialogue> <character>RICHARD</character> <dialogue>I said. I failed.</dialogue> <character>JAY \*</character> <dialogue>And what I'm saying is that maybe \* you had very little choice. The \* report speaks for itself...</dialogue> <character>LINDA</character> <dialogue>He was gone by then, he was...</dialogue> <character>JAY \*</character> <dialogue>I mean the deliberate choices...</dialogue> <character>RICHARD</character> <dialogue>He did not target.</dialogue> <character>JAY</character> <dialogue>What? that?</dialogue> <character>GAIL</character> <dialogue>How can you say</dialogue> <character>RICHARD</character> <dialogue>He would have said so.</dialogue> <character>JAY</character> <dialogue>No, he murdered people...</dialogue> <character>GAIL</character> <dialogue>Or why is one better?</dialogue> <character>JAY</character> <dialogue>What do you mean he didn't target?</dialogue> <character>LINDA</character> <dialogue>I don't believe he looked for any one person...</dialogue> <scene_description>CONTINUED: (55)</scene_description> <character>JAY</character> <dialogue>Jesus Christ...</dialogue> <character>GAIL</character> <dialogue>Wait, it doesn't matter...</dialogue> <character>RICHARD</character> <dialogue>He'd never met any of them.</dialogue> <character>JAY</character> <dialogue>It was his school! They were his students!</dialogue> <character>RICHARD</character> <dialogue>He'd never been in that classroom before...</dialogue> <character>JAY</character> <dialogue>He wanted to kill them...</dialogue> <character>RICHARD</character> <dialogue>Those students, they weren't his grade. Evan...</dialogue> <character>JAY</character> <dialogue>Don't.</dialogue> <character>RICHARD</character> <dialogue>I'm just saying...</dialogue> <character>JAY</character> <parenthetical>(quietly)</parenthetical> <dialogue>No, no, just don't..</dialogue> <character>RICHARD</character> <dialogue>He didn't know them...</dialogue> <character>JAY</character> <dialogue>He wanted them to suffer...</dialogue> <character>GAIL \*</character> <dialogue>Jay... \*</dialogue> <character>RICHARD</character> <dialogue>But not...</dialogue> <character>JAY</character> <parenthetical>(reeling on Richard)</parenthetical> <dialogue>What? Not intentionally? What were you going to say?</dialogue> <character>RICHARD</character> <dialogue>He didn't seek out to make any one individual suffer.</dialogue> <scene_description>CONTINUED: (56)</scene_description> <character>JAY</character> <dialogue>But my son did! Evan suffered! So much. And he let him...</dialogue> <character>RICHARD</character> <dialogue>I'm sorry. Both of you...</dialogue> <character>JAY</character> <dialogue>No...</dialogue> <character>RICHARD</character> <dialogue>I know what happened...</dialogue> <character>JAY</character> <dialogue>No you don't...</dialogue> <character>GAIL</character> <dialogue>Wait...</dialogue> <character>RICHARD</character> <dialogue>He did the most awful thing I've ever known, but I know the report...</dialogue> <character>JAY</character> <parenthetical>(erupting)</parenthetical> <dialogue>No you don't! You don't know how my son died!</dialogue> <scene_description>Jay slams his fist down on the table.</scene_description> <character>JAY</character> <dialogue>He entered Evan's classroom at 1:29 PM. He threw a bomb in the center of the desks and stayed there shooting for a half a minute. He could have killed everyone in that time. He chose not to. He watched them. They saw his face. They saw the way he... looked. He knew Evan was still alive. He knew exactly who was hurt and who wasn't when he left. RICHARD GAIL</dialogue> <scene_description>We could never see into the Please... classroom... \*</scene_description> <character>JAY</character> <dialogue>No! He suffered! The first gunshots happened at 1:29. When the attack began. He left them bleeding, dying... Six minutes! \* Six minutes later. He comes back. Your son. To retrace his steps. He's in the hallway. Again. At 1:35. He came back to... finish.</dialogue> <scene_description>CONTINUED: (57)</scene_description> <character>JAY</character> <dialogue>And Evan was there... The last \* gunshot, 1:36, the bullet hit his neck, his artery...</dialogue> <character>GAIL</character> <dialogue>Jay...</dialogue> <character>JAY</character> <dialogue>Six minutes... He was alive... He was trying to get out, the blood... trails showed he was trying to...</dialogue> <character>GAIL</character> <dialogue>Please, stop...</dialogue> <character>JAY</character> <dialogue>No, no. Then it was methodical, he was looking... he came back and Evan was still alive...</dialogue> <character>RICHARD</character> <dialogue>I know...</dialogue> <character>JAY</character> <dialogue>No, you don't! You don't know! I know! I know the streaks... On the floor. The way he crawled. For his life. The wounds in what order. How he fought. And how he died...</dialogue> <character>GAIL</character> <dialogue>Jay...</dialogue> <character>JAY</character> <parenthetical>(childlike)</parenthetical> <dialogue>No....How he died...</dialogue> <character>GAIL</character> <parenthetical>(softly, sadly)</parenthetical> <dialogue>Okay...</dialogue> <parenthetical>(waits)</parenthetical> <dialogue>Now stop. Please.</dialogue> <scene_description>Jay is finished. He wipes away a tear, incensed by its timing, and slumps back into his seat. Gail steps away from the table, needing to be alone. She sits in an \* armchair by the window. They all need some time. \* CONTINUED: (58)</scene_description> <character>RICHARD</character> <parenthetical>(condemned to repeat)</parenthetical> <dialogue>Caroline, Jonathan, and Tori were killed instantly by the blast. Daniel. Shot three times in the chest. Twice in the lungs, once in the heart. He died, seated at his desk. Julianna. Shot twice in the leg. Once in the knee and once in thigh, the femoral artery.</dialogue> <character>JAY</character> <dialogue>What are you doing...?</dialogue> <character>RICHARD</character> <dialogue>She lost her vision because of the glass in her eyes. She tried to crawl out of the classroom but she died before finding the way...</dialogue> <character>JAY</character> <dialogue>Okay...</dialogue> <character>RICHARD</character> <dialogue>Vanessa. Shot four times. Twice in the abdomen and twice in the head...</dialogue> <character>GAIL</character> <dialogue>We understand. You know.</dialogue> <scene_description>Linda looks to ground, stricken.</scene_description> <character>RICHARD</character> <dialogue>The victims and the wounded. I'm sorry... but I know. All of them. I know Evan. His story that day. And I know Hayden's.</dialogue> <parenthetical>(accepting)</parenthetical> <dialogue>He did go back. He was going to the library. Where he wanted to die. Where he told us, wrote to us, in his notebook, "That's where you'll find me. Where it's quiet for me." Where...</dialogue> <parenthetical>(to Jay)</parenthetical> <dialogue>Respectfully, the last shot, was at 1:41. In the library.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>He passed the classroom on his way back. He saw Evan. In the hallway.</dialogue> <parenthetical>(beat)</parenthetical> <scene_description>CONTINUED: (59)</scene_description> <character>RICHARD</character> <dialogue>He didn't go back inside. I don't believe he ever intended to. Planned to. It doesn't negate what he did plan. What he did do.</dialogue> <scene_description>Silence. Jay, totally depleted, still can't let go.</scene_description> <character>JAY</character> <parenthetical>(stuck)</parenthetical> <dialogue>But people saw... the kids saw...</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Christopher?</dialogue> <character>RICHARD</character> <dialogue>Shot in the head. I know. My son.</dialogue> <character>JAY</character> <dialogue>The face. Hiding. \*</dialogue> <character>RICHARD</character> <dialogue>Underneath his desk.</dialogue> <character>JAY</character> <dialogue>Begging for his life...</dialogue> <scene_description>Linda gets up from the table and sits on a chair against \* the wall. \*</scene_description> <character>RICHARD</character> <dialogue>We don't know what they were saying...</dialogue> <character>JAY</character> <dialogue>Witnesses... They were facing each other, he was on his knees...</dialogue> <character>RICHARD</character> <dialogue>That is what they said...</dialogue> <character>JAY</character> <dialogue>That is not feeling...</dialogue> <character>RICHARD</character> <dialogue>That is hate...</dialogue> <character>JAY</character> <dialogue>No. That is...</dialogue> <character>RICHARD</character> <dialogue>Disturbed, hate, rage, hopelessness...</dialogue> <scene_description>CONTINUED: (60)</scene_description> <character>JAY</character> <dialogue>No, no, no, apathy, indifference, cold, callous...</dialogue> <character>RICHARD</character> <dialogue>Evil? Do you want to say? Because I... I won't. I won't. \*</dialogue> <character>GAIL \*</character> <dialogue>(beat, softly) \*</dialogue> <scene_description>It doesn't matter... \* He gets up and goes to get a water bottle for himself. \* He takes small sips. He sits down on a bench in the \* corner of the room. \*</scene_description> <character>RICHARD \*</character> <dialogue>(still defending, but \* for himself) \*</dialogue> <scene_description>No... I've heard all the \* theories. Was he a terrorist? Was he a white nationalist? He didn't target any race. He threw pipe bombs into classrooms he'd never stepped foot into before. He wanted to hurt the world. And he did. \* (then) \* We went to the school. Did you \* know that? That was supposed to be for the victims's families. Hayden would not be counted as a victim, but... we fought for that. \* And we saw. We saw the damage. The windows, the black stains... We saw his hate...</scene_description> <character>LINDA</character> <dialogue>The lines...</dialogue> <character>RICHARD</character> <dialogue>What he did...</dialogue> <parenthetical>(to Linda, softly)</parenthetical> <dialogue>What?</dialogue> <character>LINDA</character> <dialogue>The lines. Or tape. The outlines of the children. And Mr. Moore.</dialogue> <scene_description>Gail winces at the memory. \* CONTINUED: (61)</scene_description> <character>JAY \*</character> <parenthetical>(understanding)</parenthetical> <dialogue>Of the bodies... that was...</dialogue> <scene_description>(then) \* I didn't know you were allowed in.</scene_description> <character>LINDA</character> <dialogue>It was kept secret. They didn't want...</dialogue> <character>RICHARD</character> <dialogue>More outrage.</dialogue> <scene_description>(solemn) \* The world mourned ten. We mourned eleven. There were no memorials for eleven, no concerts reading eleven names. And I understood that but... I wasn't going to be excluded from that too. (making his case) The damage though... how much? He was in pain. It was the pain that \* brought him there. (then) I didn't want another child. But once he was born... I loved Hayden so much. He was my best friend. We had so much fun. But... maybe he should never have been born...</scene_description> <character>LINDA</character> <dialogue>No...</dialogue> <parenthetical>(pushing it away)</parenthetical> <dialogue>Maybe we should never have gone to the school. I just remember this terrible feeling of... awe. Just awe for what my boy had done. And then this long skinny frame outlined on the carpet. All alone.</dialogue> <parenthetical>(strange)</parenthetical> <dialogue>I knew it was him. Not because of where it was or... I just knew it was him.</dialogue> <character>JAY</character> <dialogue>I recognized Evan too. Just like... Not because of the lines, but the number? The number markers? For the report...?</dialogue> <scene_description>CONTINUED: (62)</scene_description> <character>LINDA</character> <dialogue>Yes...</dialogue> <character>JAY</character> <dialogue>He was number one. He was the first they found, I guess. But he was... he was my... he was mine...</dialogue> <parenthetical>(composing, to Linda)</parenthetical> <dialogue>Sorry... That was hard.</dialogue> <scene_description>Linda nods sadly, finding comfort in their shared pain.</scene_description> <character>LINDA</character> <dialogue>It was. But you know, and please forgive me, it made me feel like the rest of you.</dialogue> <scene_description>Gail reacts in the corner with a soft cry. Jay looks at \* his wife, then to Linda. \*</scene_description> <character>JAY</character> <dialogue>Some parent, I can't remember who, said early on, in a mean way, meant to be mean, that you were "the loneliest people in the world." As if that was justice. \* As if... \*</dialogue> <character>LINDA</character> <dialogue>Well we were.</dialogue> <character>RICHARD</character> <dialogue>We still receive mail. At least I do. Some hateful, some sympathetic, most just strange.</dialogue> <character>LINDA</character> <dialogue>Yes. I never understood it's purpose.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It only reminded me of what he \* did, when I just wanted to heal, or... restore my memory of who he \* was.</dialogue> <scene_description>(then) \* And that's what I have to do, you \* understand? You said he destroyed \* our lives. Yes, he did. But \* while I know the world would have been better without him... \* (so hard for her) \* I can't say I would have been... CONTINUED: (63)</scene_description> <character>GAIL</character> <parenthetical>(something unraveling)</parenthetical> <dialogue>Oh god...</dialogue> <character>LINDA</character> <dialogue>I'm sorry. I know that's...</dialogue> <character>GAIL</character> <dialogue>No...</dialogue> <scene_description>Linda stands sensing Gail's pain and moves towards her.</scene_description> <character>LINDA</character> <dialogue>I shouldn't have said that. I just... I thought I had to believe my son's life had no value because of what he did before he died. I don't have to believe that. Do I? \*</dialogue> <parenthetical>(to both of them)</parenthetical> <dialogue>Or is that hard for you to hear? \*</dialogue> <character>JAY</character> <dialogue>I guess. Yes, it is. But... I won't tell you how to keep your son.</dialogue> <scene_description>They look at Gail.</scene_description> <character>GAIL</character> <dialogue>I don't know. I'm sorry. It's hard, but... No. I think that's right...</dialogue> <parenthetical>(struggling)</parenthetical> <dialogue>God, I don't know...</dialogue> <character>LINDA</character> <dialogue>It's okay. I wouldn't ever expect you to feel that way...</dialogue> <character>GAIL</character> <dialogue>No. No, that's not it. Not your son. Him. It's value. It's all of their values. It's...</dialogue> <parenthetical>(vulnerable)</parenthetical> <dialogue>See. I made a promise. I made a promise to him...</dialogue> <parenthetical>(breaking)</parenthetical> <dialogue>That I can't keep...</dialogue> <scene_description>CONTINUED: (64)</scene_description> <character>JAY</character> <parenthetical>(reaching for her)</parenthetical> <dialogue>Hey...</dialogue> <character>GAIL</character> <parenthetical>(let me do this)</parenthetical> <dialogue>No, please.</dialogue> <scene_description>Linda takes Gail's chair and brings it over to sit by her. The two woman face one another near the window.</scene_description> <character>LINDA</character> <dialogue>What did you promise him?</dialogue> <character>GAIL</character> <dialogue>I... I promised him that his life would mean something. That it wouldn't be in vain. That because of him, all of them, there would be change.</dialogue> <scene_description>She looks at Jay, broken, crying.</scene_description> <character>GAIL</character> <dialogue>But nothing has changed. Nothing. The only difference is that they're gone. And that's all I hear. Still. I hear all those parents... The last of us left in that fire house. The loneliest people in the world. Asking, "What do you mean, 'They're gone?' Gone where? Where have they gone...?"</dialogue> <parenthetical>(lost)</parenthetical> <dialogue>So you talk about value. Their lives having value. That's all that I want. I just want it to mean something. I want it to change.</dialogue> <character>LINDA</character> <dialogue>Why does it have to?</dialogue> <character>GAIL</character> <dialogue>What?</dialogue> <character>LINDA</character> <dialogue>Tell me a story about Evan.</dialogue> <character>GAIL</character> <dialogue>What...?</dialogue> <scene_description>CONTINUED: (65)</scene_description> <character>LINDA</character> <dialogue>Please. Tell me a story about him.</dialogue> <character>GAIL</character> <dialogue>Now...?</dialogue> <character>LINDA</character> <dialogue>Yes...</dialogue> <character>GAIL</character> <dialogue>I can't... There's too many...</dialogue> <character>LINDA</character> <dialogue>That's okay, don't think, just speak...</dialogue> <character>GAIL</character> <parenthetical>(looks to her husband)</parenthetical> <dialogue>Jay...</dialogue> <character>JAY</character> <parenthetical>(granting permission)</parenthetical> <dialogue>It's okay... go.</dialogue> <character>GAIL \*</character> <dialogue>No, come here... \*</dialogue> <scene_description>She beckons him closer, to be with her for this. \*</scene_description> <character>GAIL</character> <parenthetical>(through tears)</parenthetical> <dialogue>Okay. Okay. Okay... \*</dialogue> <parenthetical>(she finds him)</parenthetical> <dialogue>I see... I think he's twelve? Sixth grade? I don't know. He's young... It's fall. He's playing football with his friends. They would play in the park by our home. Sundays. Just a few blocks from our home. But we had a dinner to go to that night. Jay's parents were visiting. I said, "Don't get too dirty we're leaving the house by five." And he said, "Mom, the dirtier you are the better you are.</dialogue> <scene_description>CONTINUED: (66)</scene_description> <character>GAIL</character> <dialogue>That's how you spot the best players on the team, they have the grass and stains on their jerseys." I said, he was so funny, I said, "Shouldn't the good players not be tackled and fall on the ground so much?" "No, mom, the best players are the dirtiest." Okay. He was like that about everything. He'd have these strong opinions, didn't matter if he knew anything about what he was talking about...</dialogue> <scene_description>She laughs through tears. Richard joins the others with \* the tissue box. \*</scene_description> <character>GAIL \*</character> <dialogue>So, of course, it's five, or almost five and he's not back yet. And I'm all ready to just go down there and grab him. Drag him back. When Sophie comes in the door. She followed Evan everywhere back then. She loved watching the boys play and goof around. So she bursts in the house and says, "Oh my gosh, mom, look at Evan." I come around the corner and he is, like, head to toe, covered in mud.</dialogue> <character>JAY</character> <dialogue>It was absurd.</dialogue> <character>GAIL</character> <dialogue>It was. He must have tried to, like, cover himself, like a mud bath. It didn't really make any sense even. So, I lost it. "Evan, what did you do?"</dialogue> <character>JAY</character> <dialogue>He was totally unfazed...</dialogue> <character>GAIL</character> <dialogue>Yeah, right? He played it cool. He said, "Mom, I told you. The best players...", you know? I was so mad. And then... I was laughing...</dialogue> <parenthetical>(back to sadness, but it's different)</parenthetical> <scene_description>CONTINUED: (67)</scene_description> <character>GAIL</character> <dialogue>And then hugging him. And the dirt, the grass, that smell. Wet leaves. The child on him. I could feel so much life... We let him go to dinner that way...</dialogue> <character>JAY</character> <parenthetical>(come on)</parenthetical> <dialogue>He washed his face...</dialogue> <character>GAIL</character> <dialogue>Yeah, but... he was so proud.</dialogue> <character>LINDA</character> <parenthetical>(beat)</parenthetical> <dialogue>That's what his life meant. Let him rest. Evan doesn't have to change the world.</dialogue> <character>GAIL</character> <dialogue>But I still miss him.</dialogue> <character>LINDA</character> <dialogue>Do you remember what you wrote me?</dialogue> <character>GAIL</character> <dialogue>Oh God, I wrote you way too much.</dialogue> <character>LINDA</character> <parenthetical>(laughs)</parenthetical> <dialogue>You wrote me that you wanted me "to know your son. Know his name."</dialogue> <scene_description>But this breaks through. Gail looks at Linda, amazed.</scene_description> <character>LINDA</character> <parenthetical>(beat, to Jay)</parenthetical> <dialogue>Do you have a story?</dialogue> <character>JAY</character> <parenthetical>(shaking his head)</parenthetical> <dialogue>Oh God... All of them, but...</dialogue> <parenthetical>(to Gail)</parenthetical> <dialogue>Let's just preserve them, okay?</dialogue> <scene_description>Gail has gone somewhere else.</scene_description> <character>GAIL</character> <parenthetical>(scared)</parenthetical> <dialogue>Jay...</dialogue> <scene_description>CONTINUED: (68)</scene_description> <character>JAY</character> <dialogue>Yeah...?</dialogue> <character>GAIL</character> <dialogue>I think I need to...</dialogue> <character>JAY</character> <dialogue>What?</dialogue> <character>GAIL</character> <dialogue>I think I'm ready.</dialogue> <character>JAY</character> <parenthetical>(beat, understanding)</parenthetical> <dialogue>Okay...</dialogue> <character>GAIL</character> <dialogue>(to Richard and \* Linda) \*</dialogue> <scene_description>I need to tell you... I wanted so badly for you to be... an example, or punished... I came here hoping for that. (to Linda, vulnerable) But... something's died in all of \* us. All of us. And I'm so scared \* that what I wanted... or what I \* need... isn't what I thought... \*</scene_description> <character>LINDA \*</character> <dialogue>What did you think? \*</dialogue> <character>GAIL \*</character> <dialogue>That if I forgave you I'd lose \* him... \*</dialogue> <character>LINDA \*</character> <dialogue>No... \*</dialogue> <character>GAIL \*</character> <dialogue>Yes... But maybe... I just... \* needed to be with you... because I \* know... I forgive you... \*</dialogue> <scene_description>Linda cries. \*</scene_description> <character>GAIL \*</character> <parenthetical>(letting go)</parenthetical> <dialogue>I have. I forgive you.</dialogue> <scene_description>(pushing through) \* And I want you to know... (not turning back) CONTINUED: (69)</scene_description> <character>GAIL</character> <dialogue>I want you to know... That I also forgive Hayden. For what he did. For taking my baby's life. Because I know, in my heart, he was lost. And because...</dialogue> <scene_description>(to Jay) \* I can't live this way anymore...</scene_description> <character>JAY</character> <dialogue>Sweetheart...</dialogue> <character>GAIL</character> <parenthetical>(shaking her head)</parenthetical> <dialogue>I can't. We can't... \*</dialogue> <character>JAY</character> <dialogue>Hey...</dialogue> <character>GAIL</character> <dialogue>No. We don't sleep. We don't breathe. We don't see each other anymore. We don't. And I want us to again...</dialogue> <character>JAY</character> <dialogue>Okay...</dialogue> <character>GAIL</character> <dialogue>I want us to.</dialogue> <scene_description>He nods, crying.</scene_description> <character>GAIL</character> <dialogue>Okay... Because I can't hold on to this. It's not him. It's \* not... it's this... just terrible \* pain from wishing for a different past. And I can't let it control \* my life. Because if I do, I'm afraid I really won't ever see \* Evan again... And I know, I know, I will be with him again. I will feel him against me, if I can forgive... and if I can love \* again. And so I do. I do.</dialogue> <scene_description>Empty of tears, she breathes.. \* The four of them fall into a deep exhausted silence. After a while, Linda offers a way out. CONTINUED: (70)</scene_description> <character>LINDA</character> <dialogue>Maybe this is right?</dialogue> <parenthetical>(sheepishly)</parenthetical> <dialogue>A moment of silence? Maybe this the way to say goodbye.</dialogue> <character>JAY</character> <dialogue>Sure. That's... I like that. Should we...?</dialogue> <character>LINDA</character> <dialogue>You're fine.</dialogue> <scene_description>They attempt eye contact, like a clumsy toast, and then go quiet. Heads bow slightly and they do their best to say goodbye - say a prayer. Richard breaks first, raising his head with a confident exhale. The others eventually come up for air.</scene_description> <character>RICHARD</character> <dialogue>Well... Thank you again. I hope we were able to help.</dialogue> <scene_description>A formality has returned.</scene_description> <character>JAY</character> <dialogue>Yeah... is that it?</dialogue> <scene_description>Jay, surprising himself, doesn't want to leave.</scene_description> <character>GAIL</character> <dialogue>I think so.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I'm exhausted.</dialogue> <character>JAY</character> <parenthetical>(looking for help)</parenthetical> <dialogue>Okay, well, if we feel like... I guess we can always speak again.</dialogue> <scene_description>Richard and Linda smile politely. Richard stands. \*</scene_description> <character>LINDA</character> <dialogue>Thank you so much for bringing your pictures...</dialogue> <character>GAIL</character> <dialogue>Oh, of course, thank you too...</dialogue> <character>LINDA</character> <dialogue>Okay...</dialogue> <scene_description>CONTINUED: (71)</scene_description> <character>GAIL</character> <dialogue>Thank you for the flowers.</dialogue> <character>LINDA</character> <dialogue>You're welcome.</dialogue> <character>RICHARD</character> <dialogue>Will they travel? The flowers? I don't want you to...</dialogue> <character>GAIL</character> <dialogue>Oh, we'll manage.</dialogue> <character>JAY</character> <dialogue>Yeah, sure...</dialogue> <character>RICHARD</character> <dialogue>Maybe Kendra can get you a box or something to put them in?</dialogue> <character>LINDA</character> <dialogue>I should have thought of that...</dialogue> <character>GAIL</character> <dialogue>No it's, okay. We can hold them right...?</dialogue> <character>JAY</character> <dialogue>Well, there was the woman who worked here. They might have something...</dialogue> <character>RICHARD</character> <dialogue>I don't think we met her, but let me go see.</dialogue> <scene_description>Richard exits purposefully to the offices. The others aren't sure what to do next.</scene_description> <character>JAY</character> <dialogue>Oh, is that coffee? I could use some coffee. Anyone want...?</dialogue> <character>GAIL</character> <dialogue>Just some water maybe.</dialogue> <character>JAY</character> <dialogue>Linda?</dialogue> <character>LINDA</character> <dialogue>I'm okay.</dialogue> <scene_description>CONTINUED: (72)</scene_description> <character>JAY</character> <dialogue>Bottle for the road, no?</dialogue> <character>LINDA</character> <dialogue>Okay.</dialogue> <scene_description>Jay crosses to the food table. Richard and Kendra can be heard speaking in the office. Judy's voice joins in having been included in the search. Jay returns handing Linda and Gail each a water bottle.</scene_description> <character>GAIL</character> <dialogue>You don't want coffee?</dialogue> <character>JAY</character> <dialogue>Nah, it's too late... bad idea.</dialogue> <scene_description>He stays standing awkwardly. Linda looks for an exit.</scene_description> <character>LINDA</character> <dialogue>Maybe I'll go see if I can help...</dialogue> <character>JAY</character> <dialogue>Okay, yeah, should we...?</dialogue> <character>GAIL</character> <dialogue>Yeah...</dialogue> <scene_description>Gail nods, not moving. Linda collects her purse and leaves the room. Jay and Gail are alone again. \*</scene_description> <character>GAIL \*</character> <dialogue>I'll be right there. \*</dialogue> <character>JAY \*</character> <dialogue>Okay. \*</dialogue> <scene_description>Jay leaves. \* Only Gail remains. She slowly gets up to collect her purse. Before leaving she stops to look at the artwork on the wall. She closes the door behind her.</scene_description> </scene> <scene> <stage_direction>INT. EMMANUEL EPISCOPAL CHURCH - OFFICES - MORNING</stage_direction> <scene_description>Moments later... Everyone is looking for a way to \* protect the flowers. Linda and Richard stand by the front door. Gail and Jay stay further inside allowing the others space to look.</scene_description> <character>JUDY</character> <dialogue>Let me see what we have...</dialogue> <character>RICHARD</character> <dialogue>Whatever you can find.</dialogue> <character>JUDY</character> <dialogue>Yeah, no, so you can put them on the floor and not worry about it, I get...</dialogue> <character>KENDRA</character> <dialogue>But nothing too big, right?</dialogue> <character>JUDY</character> <dialogue>And we have more stuff downstairs.</dialogue> <character>GAIL</character> <dialogue>Are you sure...?</dialogue> <character>KENDRA</character> <dialogue>You have newspaper?</dialogue> <character>JAY</character> <dialogue>Yeah, please don't trouble yourselves...</dialogue> <character>LINDA</character> <dialogue>I'm sorry, I should have thought of that...</dialogue> <character>RICHARD</character> <dialogue>It's fine, they'll find something.</dialogue> <character>ANTHONY</character> <dialogue>What about bubble wrap?</dialogue> <character>JUDY</character> <dialogue>I don't think we have bubble wrap.</dialogue> <character>ANTHONY</character> <dialogue>Yeah we do...</dialogue> <character>KENDRA</character> <dialogue>Something to stuff it right?</dialogue> <scene_description>CONTINUED:</scene_description> <character>JAY</character> <dialogue>Is this too much trouble?</dialogue> <character>JUDY</character> <dialogue>How is this? It's too big isn't?</dialogue> <character>ANTHONY</character> <dialogue>They brought the new hymnal books in a box...</dialogue> <character>JUDY</character> <dialogue>Oh yeah, good idea, go check...</dialogue> <character>KENDRA</character> <dialogue>Thank you, guys.</dialogue> <character>RICHARD</character> <dialogue>Yes, thank you.</dialogue> <character>JUDY</character> <dialogue>Of course, and let me see what else is down here. One second...</dialogue> <scene_description>Anthony and Judy leave.</scene_description> <character>LINDA</character> <dialogue>Well...</dialogue> <character>JAY</character> <parenthetical>(gesturing off)</parenthetical> <dialogue>Should we wait for...?</dialogue> <scene_description>Linda looks at Richard. He cannot stay with this.</scene_description> <character>RICHARD</character> <dialogue>If you don't mind... I should go...</dialogue> <character>JAY</character> <dialogue>Oh, no go ahead...</dialogue> <character>RICHARD</character> <dialogue>Linda, I have to get back...</dialogue> <character>LINDA</character> <dialogue>Okay...</dialogue> <scene_description>He searches for words.</scene_description> <character>RICHARD</character> <dialogue>I can walk back without you...</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>LINDA</character> <dialogue>No, Richard...</dialogue> <character>RICHARD</character> <dialogue>If you want to... Okay.</dialogue> <character>LINDA</character> <dialogue>I can come with you.</dialogue> <character>RICHARD</character> <dialogue>Alright.</dialogue> <character>LINDA</character> <parenthetical>(to Jay and Gail)</parenthetical> <dialogue>We walked over here together...</dialogue> <scene_description>Linda wants to say something more.</scene_description> <character>RICHARD</character> <parenthetical>(to Jay and Gail)</parenthetical> <dialogue>It was... please take good care of yourselves.</dialogue> <character>GAIL</character> <dialogue>Thank you...</dialogue> <character>JAY</character> <dialogue>Of course, yeah, take care.</dialogue> <scene_description>Richard leaves. He doesn't walk far before turning back to wait for Linda. The women think to hug but something keeps them apart for now.</scene_description> <character>JAY</character> <parenthetical>(to Linda and Kendra)</parenthetical> <dialogue>Well, thank you. And you, Kendra.</dialogue> <character>KENDRA</character> <dialogue>It was my pleasure.</dialogue> <character>JAY</character> <parenthetical>(to Gail)</parenthetical> <dialogue>We'll stay here?</dialogue> <character>GAIL</character> <dialogue>Yeah...</dialogue> <parenthetical>(reaching, confused)</parenthetical> <dialogue>We're always here. I mean, to stay in touch.</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>LINDA</character> <dialogue>Good. I'm... It was nice to see you again.</dialogue> <character>KENDRA</character> <dialogue>Take good care of yourselves.</dialogue> <scene_description>Kendra smiles at the Perry's and escorts Linda out. Linda and Richard walk away, with Kendra following behind. The Perry's are alone again. Judy calls out from the basement steps.</scene_description> <character>JUDY (O.S.)</character> <dialogue>You all want to just come down here and take a look? With the flowers? Sorry it just might be easier...</dialogue> <character>JAY</character> <dialogue>Yeah, that's fine. Thank you...</dialogue> <scene_description>Jay heads down the stairs. Gail takes one last look outside before heading down herself.</scene_description> </scene> <scene> <stage_direction>INT. EMMANUEL EPISCOPAL CHURCH - BASEMENT - DAY</stage_direction> <scene_description>Judy heads back to the kitchen. Jay and Gail follow.</scene_description> <character>JUDY</character> <dialogue>I mean, it's not great but maybe if we stuff it with newspaper...</dialogue> <character>JAY</character> <dialogue>Anything's fine, don't trouble yourself.</dialogue> <character>JUDY</character> <dialogue>Here...</dialogue> <scene_description>Judy, stepping out of the kitchen with a box, notices the others are gone.</scene_description> <character>JUDY</character> <dialogue>Oh... I'm sorry, did they... did they leave?</dialogue> <scene_description>CONTINUED:</scene_description> <character>GAIL</character> <dialogue>Yes, they left, but thank you...</dialogue> <parenthetical>(re: flowers)</parenthetical> <dialogue>They're ours, a gift, so...</dialogue> <character>JUDY</character> <dialogue>Oh, okay... Did Kendra leave?</dialogue> <character>GAIL</character> <dialogue>She walked them out, but maybe she'll come back. Did you...?</dialogue> <character>JUDY</character> <parenthetical>(disappointed)</parenthetical> <dialogue>No, no, I just thought to... say goodbye is all...</dialogue> <parenthetical>(realizing)</parenthetical> <dialogue>I didn't even introduce myself to them, did I? Shoot...</dialogue> <character>GAIL</character> <dialogue>That's okay. I'm sure...</dialogue> <character>JAY</character> <dialogue>Oh, yeah, don't worry...</dialogue> <character>JUDY</character> <parenthetical>(taking it hard)</parenthetical> <dialogue>No, I should have. Shoot...</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I'm Judy. I know we met already, but...</dialogue> <character>GAIL</character> <parenthetical>(laughs)</parenthetical> <dialogue>Hi, Judy. Thank you for having us. Giving us the space. It's very...</dialogue> <character>JUDY</character> <dialogue>It's healing here.</dialogue> <parenthetical>(afraid to overstep)</parenthetical> <dialogue>It's just safe. It is. Wherever you come from. So...</dialogue> <parenthetical>(re: the box)</parenthetical> <dialogue>How about this? We could stuff it with some newspaper or...</dialogue> <scene_description>Anthony comes down the stairs from the church.</scene_description> <character>ANTHONY</character> <dialogue>Judy...</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>JUDY</character> <dialogue>Yeah...</dialogue> <character>ANTHONY</character> <parenthetical>(to the Perry's)</parenthetical> <dialogue>Pardon me.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>They're bringing the rest of the books to St. Thomas, so they need the boxes...</dialogue> <character>JUDY</character> <dialogue>Oh, okay, well this should work with some newspaper...</dialogue> <character>GAIL</character> <dialogue>Oh, I think we're fine, really...</dialogue> <character>ANTHONY</character> <dialogue>I would use bubble wrap.</dialogue> <character>JUDY</character> <dialogue>Okay, well... you want to get this bubble wrap?</dialogue> <character>GAIL</character> <dialogue>I don't want you to bother...</dialogue> <character>ANTHONY</character> <parenthetical>(taking the box)</parenthetical> <dialogue>I'll pack it. It's easy.</dialogue> <scene_description>Anthony goes into the kitchen to find bubble wrap.</scene_description> <character>JUDY</character> <dialogue>Can't we just stuff it with newspaper?</dialogue> <character>ANTHONY</character> <dialogue>How much newspaper do you have?</dialogue> <character>GAIL</character> <parenthetical>(ending it)</parenthetical> <dialogue>You know what? I'm just going to hold on to them. I want to.</dialogue> <character>JUDY</character> <dialogue>You sure?</dialogue> <character>GAIL</character> <dialogue>I am. I think it will be nice.</dialogue> <scene_description>She tucks the flowers into her chest confidently. CONTINUED: (3)</scene_description> <character>JUDY</character> <dialogue>Okay. Sorry...</dialogue> <character>GAIL</character> <dialogue>That's okay.</dialogue> <character>JAY</character> <parenthetical>(beat, to get out)</parenthetical> <dialogue>Well...</dialogue> <character>GAIL</character> <dialogue>I guess...</dialogue> <parenthetical>(to Anthony and Judy)</parenthetical> <dialogue>It was nice meeting you all. Thank you for your...</dialogue> <scene_description>Gail stops when she sees the look on their faces. She turns to see Linda, at the landing of the office stairs. Linda steps forward, unsure of herself. In the office, Richard peers down from behind the corner.</scene_description> <character>RICHARD</character> <dialogue>Linda...</dialogue> <scene_description>Linda steps towards Gail.</scene_description> <character>LINDA</character> <dialogue>I have a story. I wanted to tell you...</dialogue> <character>GAIL</character> <dialogue>Oh... I want to hear it.</dialogue> <character>LINDA</character> <dialogue>He was sixteen. He'd had such a bad week. I felt so badly for him. How cruel kids could be. But I couldn't just let him fall apart?</dialogue> <character>GAIL</character> <dialogue>No...</dialogue> <character>LINDA</character> <dialogue>We were alone. Richard was working late. I made him dinner but he wouldn't eat. I asked him to talk but he wouldn't talk. Finally I went to his room. He was on the computer. I yelled at him, "You have to start working.</dialogue> <scene_description>CONTINUED: (4)</scene_description> <character>LINDA</character> <dialogue>If you can't be happy, at least you can do well." But he screamed at me, "I don't want to be happy. I don't want to do well." "Why?" I cried. "Why?" Then we were screaming at each other. We were both so hurt. And scared. I know it. It happened so fast, but he said, "Get out before I hit you. Get out before I beat the shit out of you, I swear to god..." He was terrifying.</dialogue> <parenthetical>(ashamed)</parenthetical> <dialogue>I went to my room and I locked the door...</dialogue> <parenthetical>(her burden, her wisdom)</parenthetical> <dialogue>Gail. I wish I had let him. I wish I had said, "Okay. Hit me. You hit me, sweetheart. Hit me as long as you'll ever need." Because then I would have know him. I would have known who he really was.</dialogue> <scene_description>Gail doesn't know what to say at first.</scene_description> <character>GAIL</character> <dialogue>It's okay. You can have me.</dialogue> <scene_description>She hugs Linda, deeply. Their words are private, maybe inaudible.</scene_description> <character>LINDA</character> <parenthetical>(maybe a laugh)</parenthetical> <dialogue>My story's a little different, isn't it?</dialogue> <character>GAIL</character> <dialogue>No... We miss them.</dialogue> <character>LINDA</character> <dialogue>I wanted to tell you a story too.</dialogue> <character>GAIL</character> <dialogue>I'm sorry I didn't ask.</dialogue> <scene_description>The women stay embraced. The rest watch. Finally, Gail and Linda disentangle. Linda look at the others in the room, slightly embarrassed, before walking back up the stairs. CONTINUED: (5) Richard and Kendra follow her out. \* No one speaks. Finally...</scene_description> <character>JAY</character> <dialogue>Should we...?</dialogue> <character>GAIL</character> <dialogue>I just thought we'd...</dialogue> <character>JAY</character> <dialogue>Right...</dialogue> <character>GAIL</character> <dialogue>Let them go.</dialogue> <character>JAY</character> <dialogue>Good idea.</dialogue> <scene_description>They wait. In the church, a small choir begins to sing.</scene_description> <character>JAY</character> <parenthetical>(hearing)</parenthetical> <dialogue>Is that?</dialogue> <character>JUDY</character> <dialogue>Oh, I'm sorry...</dialogue> <character>JAY</character> <dialogue>Singing?</dialogue> <character>JUDY</character> <dialogue>Yeah, they have... they rehearse for tomorrow... I forgot...</dialogue> <character>JAY</character> <dialogue>No, it's nice... it's...</dialogue> <character>JUDY</character> <parenthetical>(to Anthony)</parenthetical> <dialogue>Did we tell them?</dialogue> <character>ANTHONY</character> <dialogue>I told you this morning they had rehearsal...</dialogue> <character>JUDY</character> <dialogue>Did you?</dialogue> <parenthetical>(to Jay)</parenthetical> <dialogue>Sorry...</dialogue> <scene_description>CONTINUED: (6)</scene_description> <character>JAY</character> <dialogue>No, no, don't be. It's... They're singing?</dialogue> <character>JUDY</character> <dialogue>Yeah. I guess practicing for the choir. For tomorrow.</dialogue> <character>JAY</character> <dialogue>It's nice...</dialogue> <character>JUDY</character> <parenthetical>(smiles, relieved)</parenthetical> <dialogue>It is, isn't it?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Would you like to see?</dialogue> <scene_description>Judy gestures to the stairs and the church above them. Jay looks up.</scene_description> <character>JAY</character> <parenthetical>(still looking)</parenthetical> <dialogue>No, that's okay, I'm... I...</dialogue> <scene_description>Jay can't find the words, overwhelmed. Gail, still facing where Linda was, waits for the right time to leave. They listen. "Blessed be the tie that binds..." Eventually Gail turns to Jay. She gently takes his face in her hand and pulls him away from the music. She looks into his eyes. She smiles at him. She embraces him. The flowers caught between them. CUT TO BLACK:</scene_description> </scene> <scene> <stage_direction>EXT. EMMANUEL EPISCOPAL CHURCH - NIGHT</stage_direction> <scene_description>The church in evening quiet...</scene_description> </scene> <scene> <stage_direction>INT. EMMANUEL EPISCOPAL CHURCH - PARISH HALL - NIGHT</stage_direction> <scene_description>The room filled with moonlight...</scene_description> </scene> <scene> <stage_direction>EXT. SECLUDED STREET - NIGHT</stage_direction> <scene_description>The broken fence bordering the meadow. The tape blows in the wind. CONTINUED: Illuminated now, not noticeable before, the lights from a high school football field shine in the distance... FADE TO BLACK.:</scene_description> <character>LIGHTS FADE LAST</character> </scene> </script>

Jay and Gail Perry are parents grieving the death of their son Evan, a victim of a high school shooting. Richard and Linda are the parents of the teenage perpetrator Hayden, who killed himself after his shootings. Six years after the tragedy, both couples agree to meet and talk in a private room at an Episcopal Church. The couples had met previously, in which Jay and Gail made hurtful comments toward Richard and Linda when they were all going through the public legal procedures that resulted from the incident. Jay had since publicly advocated for gun control and against gun ownership, causing a brief debate between him and Richard. After talking about their sons when they were innocent children, the two couples partake in various lengthy discussions over how the tragedy had come to be and how the tragedy impacted their lives. Jay and Gail ask for information from Richard and Linda about Hayden's upbringing that they do not already know from public information about the incident. Richard and Linda tell that they knew that he became more depressed due to their family moving houses, lack of friends, and bullying at school. The couples briefly debate whether video games had influenced Hayden's violent thoughts. While acknowledging that Hayden's schools and therapists did not respond appropriately to their findings, Richard and Linda express their guilt and regret over how their failure to see and react to any signs that their son could have become violent. Jay and Gail admit that they wanted to see Richard and Linda in as much pain as they and the other victims' parents were. Richard and Linda admit that being the parents of a murderer meant that they did not know how to navigate being public figures, since they also could not speculate about why Hayden did what he did. Richard and Linda reveal that Hayden had made friends in high school, who were also victims of bullying, and that one of his friends had access to guns. Jay and Linda become furious, causing Richard to warn against jumping to conclusions about Hayden, only for Jay to speculate that Hayden was a psychopath who was incapable of being dealt with. Jay eventually has a short angry outburst, leading to him breaking down as he describes how Evan was killed by Hayden. Both couples reflect on the other victims and their families, and when they visited the crime scene in the aftermath. Linda reveals that she found a notebook in her son's room after learning of the shooting, detailing his plans for the shooting and his suicide in the school library. She and Richard explain that while they understood that the grieving parents would not mourn the loss of Hayden, they still wanted and held a funeral to memorialize and mourn their once-innocent son who they loved before his horrible actions. Linda expresses that she wants to remember the good memories about Hayden before his actions, rather than ignoring and condemning Hayden completely. When Linda asks Gail to tell a story about Evan, Gail recounts a positive memory of Evan when he was 12 and expresses how much she and Jay miss him. Having come to an understanding of all the pain they felt, Gail forgives Richard, Linda, and Hayden, wanting to move on from all the deep pain and grief. The couples hold hands in silence to end their meeting, all having reached a state of empathy for each other. Richard leaves first for a business meeting. Linda follows, only to come back to speak to Gail and Jay once more. Linda recounts the moment she and Richard were the most terrified of Hayden when he angrily threatened to beat her up. She confesses that she wishes she was beaten up by him so she could truly see what he became, leading Gail to comfort her before they finally part ways. Jay becomes emotional when he overhears a choir practice in another room of the church. Gail comforts him before they finally depart.

Watchmen_2009

tt0409459

<script> <scene> <character>WATCHMEN</character> <dialogue>by</dialogue> <scene_description>Alex Tse November 10, 2006</scene_description> </scene> <scene> <stage_direction>INT. EDWARD BLAKE'S APARTMENT - KITCHEN - EVENING</stage_direction> <scene_description>CLOSE ON: A "Have A Nice Day" HAPPY FACE PIN. STEAM rises past the pin. We hear a KETTLE BOILING. We PULL BACK and find that the pin adorns the lapel of a ROBE worn by EDWARD BLAKE, 50, .but still in his physical prime-- body chiseled, built like a truck. Handsome too, save the LONG SCAR running down the side of his face. Blake removes the kettle from the stove. He scoops some Asian tea leaves from a can, dumps them in a cup • . •</scene_description> </scene> <scene> <stage_direction>INT. EDWARD BLAKE'S APARTMENT - LIVING ROOM - EVENING</stage_direction> <scene_description>The apartment is expensive but not quite luxurious. Terrific New York view from the window. Blake lives well, if alone. He hits the REMOTE while still in the kitchen mixing his tea, turning on the big screen TV--"THE MCLAUGHLIN GROUP":</scene_description> <character>MCLAUGHLIN</character> <dialogue>Issue: The Soviet Union continued their recent series of military exercises, conducting a bomb test today in the Bering Sea--</dialogue> <scene_description>CUT TO: A Satellite video of a bomb EXPLODING in the water--</scene_description> <character>MCLAUGHLIN</character> <dialogue>--just 1500 miles off the southern coast of Alaska. President Richard Nixon issued this warning to the Soviets:</dialogue> <scene_description>CUT TO: PRESIDENT RICHARD NIXON--</scene_description> <character>PRESIDENT NIXON</character> <dialogue>The United States does not start fights. Let it be clear that we maintain our strength in order to maintain peace. So any adversary of ours should ask themselves this: Do the risks of attacking America outweigh the potential benefits?</dialogue> <scene_description>CUT TO.: The cover of the BULLETIN OF ATOMIC SCIENTISTS, with an image of the "Doomsday Clock" on the cover.</scene_description> <character>MCLAUGHLIN</character> <dialogue>As a result of the Soviet activity, the Bulletin of Atomic Scientists moved the "Doomsday Clock" up to 4 minutes until Midnight: destruction by nuclear war.</dialogue> <scene_description>/CON'T'TNTTRn\ CONTINUED: CUT BACK TO: McLaughlin--</scene_description> <character>MCLAUGHLIN</character> <dialogue>Question: On a scale of Oto 10, 0 meaning impossibility, 10 meaning complete metaphysical certitude, what is the chance that the Russians actually attack the United States? Pat Buchanan:</dialogue> <character>PAT BUCHANAN</character> <dialogue>Zero. The Board of Directors of the Bulletin of Atomic Scientists are not and have never been familiar enough with the political landscape to make these proclamations which could send the public into a panic. The Soviets would never risk starting a war when we have a walking nuclear deterrent on our side.</dialogue> <character>MCLAUGHLIN</character> <dialogue>Dr. Manhattan--</dialogue> <scene_description>CUT TO: Stock footage of DR.MANHATTAN--a man, at least he appears to be, who has glowing blue skin. The stock footage shows Dr. Manhattan flying through the air as an ENORMOUS WARHEAD heads straight for him. With a wave of his hand, Dr. Manhattan stops the warhead in its flight--frozen in mid-air-- inches from his face.</scene_description> <character>MCLAUGHLIN</character> <dialogue>But does Dr. Manhattan's existence guarantee world peace? Eleanor Clift:</dialogue> <character>ELEANOR CLIFT</character> <dialogue>Well, it hasn't stopped the Soviet Union from stockpiling record amounts of nuclear weapons.</dialogue> <scene_description>With another wave, Dr. Manhattan DETONATES the warhead in an explosion of . • • LEAVES? Colors as brilliant as the northeastern autumn • • •</scene_description> <character>MCLAUGHLIN</character> <dialogue>You don't think it's all just posturing?</dialogue> <character>ELEANOR CLIFT</character> <dialogue>Some in other parts of the world might think we're posturing, parading this real life superhero around. Maybe the reason why the Soviets are doing these bomb tests is because they feel threatened by Dr. Manhattan, cornered. Maybe the whole world feels like that.</dialogue> <scene_description>CONTINUED: ( 2 ) Blake snorts as he sits on the couch, changes the channel-- CRASH!--The FRONT DOOR EXPLODES, splintered by a KICK; Blake jumps up, immediately at the ready-- --when we see the INTRUDER'S FEET entering. Slowly. Blake sees the Intruder's face, though we never do--we only see that he's dressed in ALL BLACK, including GLOVES and a KNIT HAT. A look of recognition comes over Blake.</scene_description> <character>BLAKE</character> <dialogue>Just a matter of time, I suppose.</dialogue> <scene_description>Blake ever so subtly eyes the arm of his couch where a .45 is tucked, hidden • • . With sudden, blinding speed, Blake WHIPS the SAUCER from under his cup, sending it FLYING like a saw- blade. The Intruder BATS IT out of the air with even quicker reflexes, but the act buys Blake time to get to the .45. He's a pro . . . . . but so is our Intruder. Before Blake can get a shot off, the Intruder is already upon him, SNATCHING the gun out of Blake's hand-- --Blake PUNCHES the Intruder in the chest--the Intruder drops the gun. Blake fights. Not like an old man, but like the trained killer he is. But the Intruder is much, much faster. Younger. Deadlier. SMASHING Blake with an elbow to the head. Blake falls. BLOOD blurs his vision. The Intruder picks Blake up off the ground. Brings him to the window with the great New York view. Thirty stories up. Blake looks the Intruder in the eye • • • and starts laughing. Hysterical.</scene_description> <character>BLAKE</character> <dialogue>You'll never pull it off • . •</dialogue> <scene_description>He laughs. The INTRUDER seems to regard Blake a moment-- --then, with incredible strength, he LIFTS BLAKE OVER HIS HEAD AND THROWS BLAKE THROUGH THE WINDOW. Blake never makes a sound as he plummets to the sidewalk.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>CLOSE ON: Blake's dead body. His eyes are wide open, not in fear, but in resignation. As BLOOD starts to POOL behind his head, we move to the happy face pin Blake wore, now on the sidewalk by his neck. We slowly ZOOM IN on the pin as blood DRIPS on it • • . ( CONTINTrnn \ 4. CONTINUED: TITLE SEQUENCE: (Set to.Bob Dylan's "The Times They Are A- Changin'.") Through a MONTAGE of news footage, headlines and photographs, we're brought into the alternate reality our film is set in. An alternate reality where we have superheroes, where America won Vietnam--we see footage of Nixon in Vietnam with his Victory fingers up, standing next to Dr. Manhattan • . . We see other headlines: "Congress Repeals 22nd Amendment" "Nixon Wins 4th Term in Landslide." Through news footage we see the Berlin Wall and that the US is in the midst of the Cold War with the USSR. and we see RIOTS in the US involving a national Police Strike--people protesting the existence of superheroes . •• protesting that leads to Congress passing the Keene Act which outlaws superheroes for good . . .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - EVENING</stage_direction> <scene_description>CLOSE ON: .The happy face pin • • • when the pin is WASHED AWAY. A SHOPKEEPER has his HOSE out, spraying off the blood from the sidewalk. Blake's body is gone, a CHALK OUTLINE in its place. A COP comes running up to the Shopkeeper. ):</scene_description> <character>COP 1 .. /</character> <dialogue>•</dialogue> <scene_description>Hey! This is still a goddamn crime scene!</scene_description> <character>SHOPKEEPER</character> <dialogue>It's been over four hours, I got a business to run--</dialogue> <scene_description>As they argue, we're back following the happy face pin, as the water carries it to a DRAIN where the pin gets caught</scene_description> </scene> <scene> <stage_direction>INT. EDWARD BLAKE'S APARTMENT - LIVING ROOM - EVENING</stage_direction> <scene_description>DET. GALLAGHER (older, jaded) and DET. FINE (street worn, but not quite cynical yet) walk through the crime scene. Fine studies the broken window.</scene_description> <character>DET. FINE</character> <dialogue>Edward Blake--50 years old, six-two, 225. A solid 225, guy was built like a · linebacker. This is plate glass too, you'd have to step on the gas just to put a crack in this. Had to be a two man job. At least. You check the bedroom?</dialogue> <character>DET. GALLAGHER</character> <dialogue>Drawers were open, tossed through. Mattress flipped.</dialogue> <scene_description>CONTINUED:</scene_description> <character>DET. FINE</character> <dialogue>Robbery?</dialogue> <character>DET. GALLAGHER</character> <dialogue>Or made to look like one.</dialogue> <parenthetical>(tosses Fine an ID)</parenthetical> <dialogue>Found that in the bedroom.</dialogue> <scene_description>Det. Fine studies it. It's Blake's UNITED NATIONS ID. It reads "Special Advisor, United States."</scene_description> <character>DET. GALLAGHER</character> <dialogue>You see this?</dialogue> <scene_description>He picks up a PHOTO from the floor, hands it to Fine.</scene_description> <character>DET. GALLAGHER</character> <dialogue>Shaking hands with the President.</dialogue> <character>DET. FINE</character> <dialogue>You're saying this guy was a spook? You think this might be a political murder?</dialogue> <character>DET. GALLAGHER</character> <dialogue>I think • • . that this is way bigger than the.both of us.</dialogue> <scene_description>He leaves Det. Fine to ponder this.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - LATE NIGHT</stage_direction> <scene_description>Outside Blake's apartment building. It's later now, businesses closed, people gone. We MOVE DOWN to the drain where the happy face pin is still stuck. We move into someone's POV. The person picks up the pin in his hand. Then he stares up at the broken window of Blake's apartment, now covered with PLASTIC SHEETING.</scene_description> <character>RORSCHACH (V.O.)</character> <dialogue>Rorschach's Journal, October 12th. Came across a crime scene earlier today. Initially thought to be a suicide, later learned to be a homicide. Someone's time was up.</dialogue> <scene_description>The person regards the happy face pin.</scene_description> <character>RORSCHACH (V.O.)</character> <dialogue>I discover a clue. Something I recognize. And suddenly, unexpectedly • • • I hear my own clock ticking.</dialogue> <scene_description>I cowrnnrnn, CONTINUED: The person pockets the pin. We move out of the POV and see our guy for the first time--RORSCHACH (roar-shock)--a masked vigilante who wears a trench coat, fedora, and a silver-white MASK with oily BLACK SPOTS moving about, creating shifting, doubled PATTERNS like a Rorschach test. Scary looking. Rorschach draws a hydraulic GRAPPLING GUN from his coat and FIRES the HOOK AND CABLE THIRTY STORIES UP where it latches itself through Blake's broken window. Pressing RETRACT, Rorschach FLIES UP THE WALL to the 30th floor.</scene_description> </scene> <scene> <stage_direction>INT. EDWARD BLAKE'S APARTMENT~ LIVING ROOM - LATE NIGHT</stage_direction> <scene_description>With a grunt, Rorschach pulls himself past the plastic sheeting, through the window, and into Blake's apartment. He investigates, silent.</scene_description> </scene> <scene> <stage_direction>INT. BLAKE'S APARTMENT - BEDROOM CLOSET - LATE NIGHT</stage_direction> <scene_description>Blake's clothing hangs in military rows. Rorschach runs his fingers along the wall-seams. He pauses, presses on the hanger BAR, which SLIDES BACK to reveal a RED BUTTON. Pressing it, the BACK WALL of the closet SLIDES OPEN, revealing a SECRET COMPARTMENT. On the wall is an old FRAMED PHOTO of EIGHT PEOPLE IN COSTUMES, from 1960. Included in this photo is a young Edward Blake--Blake wasn't a spook--he was a superhero. WEAPONS of all kinds adorn the walls in here. TEAR-GAS, GRENADES, RIFLES, PISTOLS--if it can kill you Blake's got it. But that's not what draws Rorschach's attention. Hanging on the back wall, dead center, is a more current COSTUME. Black leather armor, gloves, boots. Hanging over it all like a vacant, grinning face--a black leather MASK. Rorschach stares. Framed nearby is the FRONT PAGE OF THE BOSTON GLOBE. The headline reads "The Comedian Gets Last Laugh on Moloch." Underneath is a photo of Blake dressed in the costume Rorschach was staring at--Blake was a superhero called the Comedian. In the photo, Blake holds a supervillian named MOLOCH prisoner. (We'll meet Moloch later.) On the same page is a smaller photo of a group of superheroes. Rorschach is in the photo, as is Dr. Manhattan, as is the Comedian. (As are DAN DREIBERG, ADRIAN VEIDT, and LAURIE JUPITER, all of whom we'll be meeting soon). The caption below reads: "The New Watchmen." Suddenly, Rorschach hears the front door open. He quickly closes the secret hatch.</scene_description> </scene> <scene> <stage_direction>INT. BLAKE'S APARTMENT - LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Two uniformed COPS stand in the doorway.</scene_description> <character>COP 1</character> <dialogue>You sure it wasn't the wind?</dialogue> <character>COP 2</character> <dialogue>Nah, I definitely heard something.</dialogue> <character>COP 1</character> <dialogue>I tell ya, I'd rather do traffic duty than be posted at a crime scene all night. Watch the door.</dialogue> <scene_description>Cop 1 pulls his gun, going through the motions rather than being concerned. He then enters the bedroom. Cop 2 stands guard, nervous . . . From the bedroom;</scene_description> <character>COP 1</character> <dialogue>Clearl I'm checking the other rooms.</dialogue> <scene_description>Cop 2 relaxes a bit, turns-- --and comes face to "face" with Rorschach, standing inches away. The Cop's face goes slack with childish terror; He goes to yell but Rorschach raises two fingers, "Shhh"-- The fingers JAB INTO THE COP'S WINDPIPE. The cop HISSES and falls silently as Rorschach brushes. past him like a whisper, slipping out the window with his grappling gun • . •</scene_description> </scene> <scene> <stage_direction>INT. HOLLIS MASON'S APARTMENT - LATE NIGHT</stage_direction> <character>HOLLIS (O.S.)</character> <dialogue>It started with the villains, y'know, people forget that.</dialogue> <scene_description>CLOSE ON: A FRAMED PHOTO of the first Watchrnen--identical to the old one in Blake's closet. Holding the photo is HOLLIS MASON. He puts the photo down, but we don't see his face yet.</scene_description> <character>HOLLIS (O.S.)</character> <dialogue>Pirate outfits, ghosts. Gangs that thought it was funny to dress up and pull heists, crap like that.</dialogue> <scene_description>As he speaks, we PAN ACROSS various FRAMED MEMORABILIA: The first is a NEWSPAPER CLIPPING dated 1950: MYSTERIOUS MASKED MAN CLEANS UP WHARFS--the caption underneath reads "Hero Calls Himself The Nite owl." CONTINUED:</scene_description> <character>HOLLIS (O.S.)</character> <dialogue>So a few cops, we decide it might be funny to mask up too. Be anonymous. Take these guys on at the street level, right? Then the media got wind, ran with it, turned it into a whole different beast.</dialogue> <scene_description>PAN ACROSS: Another FRAMED CLIPPING, dated 1953: NITE OWL FORMS WATCHMEN--COSTUMED HEROES COMBINING FORCES! "'We're going to clean up this town!' Says costumed crusader." HOLLIS (o.s.) First it was just me and Captain Metropolis. Then others started popping up--Hooded Justice, Dollar Bill, Silk Spectre. (disgusted) The Comedian--don't let me get started with him. PAN ACROSS: A GOLD STATUE of NITE OWL in his Sixties-era costume. The plaque below reads: IN GRATITUDE, 1967. Another clipping: "Hero Retires, Reveals ~dentity In Tell All Book." Finally, we come to HOLLIS MASON (aka: Nite Owl), 60s, though his eyes sparkle with strength and his face still shows the edges of a born hero. The TV is on in the background.</scene_description> <character>HOLLIS</character> <dialogue>·superheroes, Supervillains--you know who</dialogue> <scene_description>I ran into the other day at the market? The Screaming Skull. We chatted for a while. Turns out he's a born again.</scene_description> <character>DAN (V.O.)</character> <dialogue>No way.</dialogue> <scene_description>We see who Hollis is speaking to--DAN DREIBERG (the second Nite Owl), 30s, handsome, though he's let himself go the past few years--his edges have gone soft. He was in the photo of the new Watchmen in Blake's apartment.</scene_description> <character>HOLLIS</character> <dialogue>All the nuts that started popping up, I'll tell ya. Who was that midget you and your partner chased down years ago? What'd he call himself?</dialogue> <character>DAN</character> <dialogue>Big Figure.</dialogue> <scene_description>I ..-.,-...-.-rm"T'"-..'TT"TT:'1""" \ CONTINUED: ( 2 )</scene_description> <character>HOLLIS</character> <dialogue>I remember reading about him in the papers--what he did to that undercover cop at the horse track. Drew and quartered the poor kid.</dialogue> <character>DAN</character> <dialogue>He was as vicious as they come.</dialogue> <parenthetical>(glances at his watch)</parenthetical> <dialogue>Wow, it's really late.</dialogue> <scene_description>Dan stands, finishes his beer. Hollis sees him to the door.</scene_description> <character>HOLLIS</character> <dialogue>Take care, Danny boy. Y'know, you were a better Nite OWl than I ever was.</dialogue> <character>DAN</character> <dialogue>That's why I took the name.</dialogue> <character>HOLLIS</character> <dialogue>That's why I gave it to you, smartass.</dialogue> <parenthetical>(they hug)</parenthetical> <dialogue>With everything going on in the world, it's a shame the government forced all you guys out. Can't believe Nixon would let that happen. And to think I voted for him 5 times.</dialogue> <scene_description>Before Dan can comment, a breaking news report comes on TV:</scene_description> <character>ANCHORWOMAN</character> <dialogue>This just in--masked vigilante Rorschach has assaulted a New York City police officer who was guarding a crime scene in the early morning hours. Rorschach is on the FBis ten most wanted list for violation of the Keene Act, which banned masked heroes six years ago, and is a suspect in over 40 assaults and homicides in the last decade.</dialogue> <scene_description>They watch as an image of Rorschach flashes on screen.</scene_description> <character>HOLLIS</character> <dialogue>Well, forced all of you guys out except one. Next week?</dialogue> <character>DAN</character> <dialogue>Yes sir.</dialogue> <scene_description>As he heads down the stairs-- /CONTINUED\: CONTINUED: (3 )</scene_description> <character>HOLLIS</character> <dialogue>Y'know, Danny boy, you don't have to keep humoring me like this. I mean, if you have a hot date or something • .</dialogue> <scene_description>Dan smiles, dry, like a man who hasn't had a hot date in a long, long time.</scene_description> <character>DAN</character> <dialogue>I'll see you next week.</dialogue> </scene> <scene> <stage_direction>EXT. HOLLIS MASON'S APARTMENT - LATE NIGHT/EARLY MORNING</stage_direction> <scene_description>Dan descends the stairs. He pulls up his collar against the cold and walks down an alley. A SIGN below Hollis' apartment reads: "MASON AUTO REPAIRS--Obsolete models a specialty!"</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY - LATE NIGHT/EARLY MORNING</stage_direction> <scene_description>Dan rides the subway, lost in thought. Across from him is an AD POSTER which reads: "VACATION CUBA." A group of GANG MEMBERS, wearing yellow and black BANDANAS brush past him. ONE stops. Dan's leg is out, a couple inches too far.</scene_description> <character>GANG LEADER</character> <dialogue>You in my way, son.</dialogue> <character>DAN</character> <dialogue>What?</dialogue> <character>GANG LEADER</character> <dialogue>I said move, bitch.</dialogue> <scene_description>Dan finally realizes what he's talking about. Dan meets his eyes, for just a moment . • • and draws back his leg. The Gang Members snicker at Dan as they pass.</scene_description> </scene> <scene> <stage_direction>EXT. DAN DREIBERG'S TOWNHOUSE - LATE NIGHT/EARLY MORNING</stage_direction> <scene_description>Dan walks down the empty street to his TOWNHOUSE, digging for his keys. Then he stops, suddenly alert. · His front door hangs slightly OPEN--the LOCK'S been SMASHED. There's a LIGHT on inside. Cautious, Dan enters the house.</scene_description> </scene> <scene> <stage_direction>INT. DAN DREIBERG'S HOUSE - CONTINUOUS</stage_direction> <scene_description>Dan quietly approaches the light corning from his kitchen. He hears odd, metal scraping SOUNDS.</scene_description> </scene> <scene> <stage_direction>INT. DAN'S KITCHEN - CONTINUOUS</stage_direction> <scene_description>Dan enters the kitchen, stunned to find-- I ,.....r'\'I.Tf"nT""-TT'TT:'IT"'\ \ CONTINUED:</scene_description> <character>DAN</character> <dialogue>Rorschach.</dialogue> <scene_description>Rorschach sits at the table, mask half up, eating a cold CAN OF BEANS.</scene_description> <character>RORSCHACH</character> <dialogue>Hello Daniel. I helped myself to some beans. You don't mind?</dialogue> <character>DAN</character> <dialogue>No, of course not. You, uh, want me to heat some up for you?</dialogue> <character>RORSCHACH</character> <dialogue>No need.</dialogue> <scene_description>Rorschach finishes the can of beans, stands, pulls his mask back down. There's a strong familiarity between the two but at the same time, Dan is wary.</scene_description> <character>DAN</character> <dialogue>You were on the news. They say you attacked a cop.</dialogue> <character>RORSCHACH</character> <dialogue>Minor wound. Won't need hospitalization.</dialogue> <character>DAN</character> <dialogue>Other than that • • • How have you been keeping?</dialogue> <character>RORSCHACH</character> <dialogue>Out of prison. So far. Look at this.</dialogue> <scene_description>He tosses Blake's happy face pin onto the table. Dan picks it up, runs his fingers over the RED-BROWN SPLOTCH.</scene_description> <character>DAN</character> <dialogue>This little stain, is that bean juice or--</dialogue> <character>RORSCHACH</character> <dialogue>Human bean juice. Badge belonged to the Comedian. Blood too. He's dead.</dialogue> <character>DAN</character> <dialogue>The Comedian?</dialogue> <scene_description>Nervous now, Dan glances out the window.</scene_description> <character>DAN</character> <dialogue>Let's talk downstairs.</dialogue> </scene> <scene> <stage_direction>INT. DAN'S HOUSE - HALLWAY - LATE NIGHT/EARLY MORNING</stage_direction> <scene_description>Rorschach follows Dan to a CLOSET, at the end of the hall. Dan opens the closet, revealing an old BOOKSHELF. With some difficulty, Dan PULLS OPEN the HINGED BOOKSHELF with a RUSTY CREAK. STEEL STAIRS lead down into the dark.</scene_description> </scene> <scene> <stage_direction>INT. DAN'S OWL-CHAMBER - NIGHT</stage_direction> <scene_description>The two men descend into Dan's WORKSHOP--the dusty remnants of a hero's LAB; Old computers and an OWL-COSTUME, hanging in a locker. No one has been down here for years. In the center of the space, an OVAL VEHICLE the size of a subway car is covered by a dusty TARP--the OWl-Ship.</scene_description> <character>DAN</character> <dialogue>How did it happen?</dialogue> <character>RORSCHACH</character> <dialogue>Murder. Someone threw him out a window.</dialogue> <character>DAN</character> <dialogue>Maybe it was a burglary. The killer might not have known who Blake was.</dialogue> <character>RORSCHACH</character> <dialogue>An ordinary burglar? Kill the Comedian? Ridiculous.</dialogue> <character>DAN</character> <dialogue>You're right. I heard he was working for the government. Maybe it was a political killing.</dialogue> <character>RORSCHACH</character> <dialogue>Maybe. Or maybe someone's decided to kill off costumed heroes.</dialogue> <character>DAN</character> <dialogue>You don't think that's . . . a little paranoid?</dialogue> <character>RORSCHACH</character> <dialogue>Is that what they're saying about me now? That I'm paranoid?</dialogue> <character>DAN</character> <dialogue>I'm just saying the Comedian made a lot of enemies over the years, even amongst his friends, if he had any. The man wasn't exactly endearing. Just because something happened to him doesn't mean it involves us.</dialogue> <scene_description>CONTINUED:</scene_description> <character>RORSCHACH</character> <dialogue>Even if we theorize the Comedian was killed for political purposes, that doesn't mean we're exempt. Our own government attacked us through the Keene Act. One of our own has been murdered. I thought you might be interested. An attack on one is an attack on all of us, right?</dialogue> <scene_description>Dan hesitates.</scene_description> <character>DAN</character> <dialogue>I'm out, Rorschach. I've been out, we've all been out. Except you. You know that.</dialogue> <character>RORSCHACH</character> <dialogue>Yes. I know that. Anyways, I thought I'd let you know. Just in case.</dialogue> <character>DAN</character> <dialogue>Yeah, thanks. You can take the tunnel out to the warehouse on Fleet street--</dialogue> <scene_description>Rorschach turns to walk off down a long, dark TUNNEL.</scene_description> <character>RORSCHACH</character> <dialogue>I remember. Used to come here a lot. Back when we were partners.</dialogue> <character>DAN</character> <dialogue>Yeah. Those were good times, Rorschach. Great times.</dialogue> <parenthetical>(more to himself)</parenthetical> <dialogue>Whatever happened to them?</dialogue> <character>RORSCHACH</character> <dialogue>You quit.</dialogue> <scene_description>Rorschach disappears into the SUBWAY TUNNEL, leaving Dan to reminisce alone. Dan glances at his old costume hanging.</scene_description> </scene> <scene> <stage_direction>EXT. VEIDT ENTERPRISES - MORNING</stage_direction> <scene_description>A towering, shining skyscraper. At the 50th floor there is a HUGE V-SHAPED HOLE where WATER FALLS.</scene_description> </scene> <scene> <stage_direction>INT. VEIDT ENTERPRISES - LOBBY - MORNING</stage_direction> <scene_description>A mammoth lobby. Persian decor; Dan approaches a beautiful ASSISTANT behind an imposing desk. CONTINUED:</scene_description> <character>DAN</character> <dialogue>How are you this morning?</dialogue> <scene_description>Dan smiles, flirtatious. All he gets is an icy stare back.</scene_description> <character>ASSISTANT</character> <dialogue>What can I help you with, sir?</dialogue> <character>DAN</character> <dialogue>Urn, I'm here to see Adrian Veidt.</dialogue> <character>ASSISTANT</character> <dialogue>Do you have an appointment?</dialogue> <character>DAN</character> <dialogue>No, uh, just tell him Dan Dreiberg is here to see him.</dialogue> <character>ASSISTANT</character> <dialogue>I'm sorry, Mr. Veidt doesn't see anyone without an appointment.</dialogue> <character>DAN</character> <dialogue>I understand, but if you would just tell Adrian that Dan Dreiberg is here, I'm an old friend.</dialogue> <character>ASSISTANT</character> <dialogue>Well, Mr. Veidt is very busy at the moment--</dialogue> <character>DAN</character> <dialogue>Just tell him I'm here. I assure you he'll see me.</dialogue> <scene_description>Dan glares at her. She glares right back. A game of chicken. She reluctantly gets up, goes inside the office. Once she's gone, Dan's glare disappears, replaced by nervousness. Because he's not sure if Adrian will see him-- it's been a long time. He glances at the SECURITY GUARDS eyeing him. Finally, the Assistant returns.</scene_description> <character>ASSISTANT</character> <dialogue>Go on in, Mr. Dreiberg.</dialogue> </scene> <scene> <stage_direction>INT. ADRIAN VEIDT'S OFFICE - MORNING</stage_direction> <scene_description>Dan enters the enormous office--there are three TV feeds PROJECTED onto the walls, architectural models of real estate developments, ad campaigns for "Nostalgia" perfume--all reflecting the financial empire of Veidt Enterprises owned by- f ,-.""'--,."'fm"T",.TTT'r."I.,..\_ \ CONTINUED: --ADRIAN VEIDT, late 30s, movie star looks, at the far end of the office, being photographed by ANNIE LEIBOWITZ (with entourage) as journalist DOUG ROTH holds a tape recorder to him. Adrian sees Dan approaching, smiles wide. He holds up a finger, telling Dan to hold on a sec. Dan nods, sits on the couch. Picks up a Forbes magazine with Adrian on the cover.</scene_description> <character>DOUG ,ROTH</character> <dialogue>Mr. Veidt, would you acknowledge that you are considered the world's smartest man?</dialogue> <character>ADRIAN</character> <parenthetical>(laughs)</parenthetical> <dialogue>I think it's better to be the world's most modest man. You should ignore my PR people, they tend to be a little too enthusiastic.</dialogue> <character>ANNIE LEIBOWITZ</character> <parenthetical>(interjecting)</parenthetical> <dialogue>Why don't you take your shirt off?</dialogue> <scene_description>She photographs Adrian as he unbuttons his shirt . • • we see his perfect chiseled frame--Adrian is a physical specimen.</scene_description> <character>DOUG ROTH</character> <parenthetical>(continuing)</parenthetical> <dialogue>If we could move off the subject of business for a moment, I'm curious whether the world's smartest man thinks we're headed for our next World War.</dialogue> <scene_description>At the other end of the room, Dan re~ds the Forbes article on Adrian.• There is a photo of Adrian in costume and a photo of him and Dr. Manhattan in suits, shaking hands.</scene_description> <character>ADRIAN</character> <dialogue>Predicting stock prices isn't the same as predicting world events. I hope there isn't a war with the Soviets, or even a skirmish for that matter. Because Veidt Enterprises has some exciting plans, plans that will, pardon the cliche, truly make this world a better place. My team of engineers and scientists have been working with Dr. Manhattan himself on synthesizing a new, cheap form of energy which will eliminate the worlds reliance on fossil fuels with no toxic emissions. This energy could power cars, aircrafts, stadiurns--the possibilities are endless--</dialogue> <scene_description>CONTINUED: ( 2.)</scene_description> <character>ADRIAN</character> <parenthetical>(approaches Dan)</parenthetical> <dialogue>--but I talk too much. Will you mind pausing the interview a moment, Doug? A good friend of mine is here.</dialogue> <scene_description>Doug Roth, Leibowitz and entourage leave. Adrian hugs Dan.</scene_description> <character>DAN</character> <dialogue>You look good, Adrian.</dialogue> <character>ADRIAN</character> <dialogue>Dan--it's been too long.</dialogue> </scene> <scene> <stage_direction>INT. ADRIAN VEIDT'S OFFICE - LATER</stage_direction> <scene_description>Dan and Adrian sit, talking over coffee. Dan examines an ACTION-FIGURE of. OZYMANDIAS--the packaging explains that this was Adrian's superhero alias.</scene_description> <character>ADRIAN</character> <dialogue>Rorschach. He paid me a visit too.</dialogue> <character>DAN</character> <dialogue>He did? Must've been tough to get past your security, even for him. I thought your assistant was going to take me out.</dialogue> <scene_description>On cue, the Assistant enters; Dan quiets.</scene_description> <character>ASSISTANT</character> <dialogue>President Pinochet is on the line.</dialogue> <scene_description>She says as she plugs a FLOPPY DISK into Adrian's computer.</scene_description> <character>ADRIAN</character> <dialogue>The database is complete? Is every company in North America listed?</dialogue> <character>ASSISTANT</character> <dialogue>Yes, we'll start working on Europe tomorrow.</dialogue> <scene_description>She leaves as Adrian picks up the phone. He speaks in flawless Spanish, and then:</scene_description> <character>ADRIAN</character> <parenthetical>(on phone)</parenthetical> <dialogue>Yes, General, I can extend your country a line of credit but I am concerned that the Unidad Popular is gaining political momentum. In exchange for my risk of embarrassment, I will have to ask the ~:.f:</dialogue> <character>\:- J</character> <dialogue>state to relinquish five of its major copper mines to Veidt Enterprises.</dialogue> <scene_description>I r,r-..,."1'rn-r,..,,r..,-r,,-., CONTINUED: Adrian continues in Spanish and then hangs up, turns to Dan.</scene_description> <character>ADRIAN</character> <dialogue>Chilean Spanish--such a bastardization of the language.</dialogue> <parenthetical>(back on track)</parenthetical> <dialogue>So is that why you came to see me? You're worried about this mask killer theory Rorschach's pushing?</dialogue> <character>DAN</character> <dialogue>You're the world's smartest man, Adrian. You tell me.</dialogue> <character>ADRIAN</character> <dialogue>Rorschach's a sociopath suffering through nostalgia. The Comedian had tons of enemies, political, criminal, personal. Sure, he was part of our • . • fraternity, but the man was practically a Nazi. It's nothing I'd lose sleep over.</dialogue> <scene_description>Adrian notices the news on one of his TV projectors: Members of the Soviet Army at the firing range. Taped to the head of their targets are photos of the head of Dr. Manhattan.</scene_description> <character>ADRIAN</character> <dialogue>No, there are other things in the world I'm far more concerned about.</dialogue> <character>DAN</character> <dialogue>If the Russians launch their nukes, Jon could stop them all. Couldn't he?</dialogue> <character>ADRIAN</character> <dialogue>Actually, no. The latest intelligence reports show that the Soviets have over 51,000 nuclear warheads stockpiled. Let's say our military could intercept or affect 64% of those--which is a generous estimate--that still leaves over 18,000 warheads that could be launched at us. Out of those, let's s~on c);,uld stop 97% of them, that mea 5400 ¢uclear warheads would still re h oµr soil-- depending on certain vari b1es, that might be enough to\_ effectively end organic life in America. I think the Soviets are realizing that even Jon can't be everywhere at once.</dialogue> </scene> <scene> <stage_direction>EXT. ROCKEFELLER MILITARY BASE - EVENING</stage_direction> <scene_description>A SIGN posted on a RAZOR-WIRE FENCE reads: ROCKEFELLER MILITARY RESEARCH CENTER. An M16-toting GUARD stands at the gate checking the back of a NUCLEAR WASTE TRUCK. After a moment, he waves the truck through.</scene_description> </scene> <scene> <stage_direction>EXT. MILITARY TESTING FACILITY - EVENING</stage_direction> <scene_description>The truck pulls up to the loading dock. The DRIVER heads inside.</scene_description> </scene> <scene> <stage_direction>INT. NUCLEAR WASTE TRUCK - EVENING</stage_direction> <scene_description>Inside the truck are STEEL DRUMS OF NUCLEAR WASTE. One of the drums OPENS . . . and Rorschach quietly crawls out</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - DR. MANHATTAN'S COMPOUND - EVENING</stage_direction> <scene_description>Rorschach makes his way down the hall, careful. He pauses in front of a doorway before entering--</scene_description> </scene> <scene> <stage_direction>INT. LABORATORY - CONTINUOUS</stage_direction> <scene_description>--a huge room, which contains technologically advanced ')</scene_description> <character>)</character> <dialogue>MILITARY DEVICES. Distorted in sections of GLASS, we see the \ .,, REFLECTION of a HU?E MAN, GLOWING BRIGHT BLUE--</dialogue> <character>DR. MANHATTAN (O.S.)</character> <dialogue>Good evening, Rorschach.</dialogue> <scene_description>--and we see DR. MANHATTAN (formerly Jon Osterman) for the very first time. He is SIXTY FEET TALL, BLUE LIGHT ripples from his skin, emanating pure power--he is God on earth. He works on a REACTOR--telekinetically moving parts in the air-- not even looking at Rorschach. It's as if Dr. Manhattan already knew he was coming.</scene_description> <character>RORSCHACH</character> <dialogue>Evening, Dr. Manhattan.</dialogue> <scene_description>Dr. Manhattan creates a BALL OF ENERGY and commands it into the reactor when his girlfriend, LAURIE JUPITER, 30, very much in her prime, enters from the other end.</scene_description> <character>LAURIE</character> <dialogue>Jon, did you say some--Rorschach! What are you doing here? You're a wanted man.</dialogue> <character>RORSCHACH</character> <dialogue>Nice to see you too, Silk Spectre.</dialogue> <scene_description>CONTINUED:</scene_description> <character>LAURIE</character> <dialogue>Don't call me that. My mother made me take that name. I always hated it.</dialogue> <character>RORSCHACH</character> <dialogue>Sorry, Miss Jupiter. I thought I should tell you the bad news--the Comedian has been murdered.</dialogue> <character>DR. MANHATTAN</character> <dialogue>Yes, since he and I are the only two specialized operatives currently employed by the government, I was informed. The CIA suspects it was KGB.</dialogue> <scene_description>Dr. Manhattan shrinks from sixty to six feet in size. He speaks in a cold, even, matter of fact manner.</scene_description> <character>RORSCHACH</character> <dialogue>KGB could be after us all. If the Soviets want to weaken this country, we would all be targets whether we were in active service or not. Or maybe we're merely dealing with an enemy from the past. But neither of you seem too concerned.</dialogue> <character>DR. MANHATTAN</character> <dialogue>A live human body and a dead human body have the same number of particles. structurally there's no difference.</dialogue> <character>LAURIE</character> <dialogue>Well, I might not be able to count atoms, but either way, Blake was a bastard. You know he tried to rape my mother?</dialogue> <character>RORSCHACH</character> <dialogue>Sounds like you may have had a score to settle. You or your mother.</dialogue> <character>LAURIE</character> <dialogue>What? Are you accusing--</dialogue> <character>DR. MANHATTAN</character> <dialogue>Rorschach, please don't upset Laurie. I don't--</dialogue> <character>RORSCHACH</character> <dialogue>--I'm not here to judge the moral discrepancies of a man who died in service of his country.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>LAURIE</character> <dialogue>You call rape a moral discrepancy?!</dialogue> <character>DR. MANHATTAN</character> <dialogue>Rorschach--you're upsetting Laurie. I think you ought to go.</dialogue> <character>RORSCHACH</character> <dialogue>I came here to warn you both, just like I warned Veidt and Dreiberg. I believe someone may be targeting masked heroes--</dialogue> <character>DR. MANHATTAN</character> <dialogue>I said you ought to go.</dialogue> <character>RORSCHACH</character> <dialogue>It took a lot of effort to get in here. I'm not leaving before I've--</dialogue> <scene_description>With a look, Dr. Manhattan makes Rorschach disappear.</scene_description> </scene> <scene> <stage_direction>EXT. ROCKEFELLER MILITARY BASE - CONTINUOUS</stage_direction> <scene_description>Rorschach materializes down the road from the base.</scene_description> <character>RORSCHACH</character> <dialogue>--had my say • . .</dialogue> <scene_description>Realizing what just happened, Rorschach checks himself, his surroundings. Reorients himself. With nothing else he can do, he heads down the road.</scene_description> </scene> <scene> <stage_direction>INT. LABORATORY - SAME TIME</stage_direction> <scene_description>Dr. Manhattan resumes his work. He looks distracted.</scene_description> <character>DR. MANHATTAN</character> <dialogue>He's gone. Are you okay now?</dialogue> <character>LAURIE</character> <dialogue>Yeah. I just don't like Rorschach. He's sick in the head. I don't like the way he smells, or that voice--he's horrible. The sooner the police put him away, the better.</dialogue> <parenthetical>(studies Dr. Manhattan)</parenthetical> <dialogue>Are you okay, Jon?</dialogue> <scene_description>Dr. Manhattan pauses for a moment, thoughtful. CONTINUED:</scene_description> <character>DR. MANHATTAN</character> <dialogue>I'm having trouble with my vision. I can't see clearly what lies ahead. There's some temporal interference.</dialogue> <character>LAURIE</character> <dialogue>Interference? Caused by what?</dialogue> <character>DR. MANHATTAN</character> <dialogue>A sudden burst of tachyons--particles which travel backward through what you would perceive. as time. I'm uncertain what would cause such a thing. A.power surge of great magnitude? Perhaps a nuclear detonation.</dialogue> <character>LAURIE</character> <dialogue>More war talk. I can't deal with this. I don't want to think about the future right now.</dialogue> <character>DR. MANHATTAN</character> <dialogue>There's no such thing as the "future." I've explained to you on many occasions--</dialogue> <character>LAURIE</character> <dialogue>--that time is simultaneous. There's no past to travel back to, no future to travel forward to, everything happens all at once, our actions affect the course of time instantly, yes I know. I'm sorry, it's just a little . . • unnerving to be with someone who can see the future, or whatever you call it.</dialogue> <character>DR. MANHATTAN</character> <dialogue>I understand your frustration, Laurie. The human mind for some reason is only capable of viewing "time" frame by frame .. Perhaps you'd find it more comforting if you could perceive "time" as I do . • .</dialogue> <scene_description>Dr. Manhattan touches her head--</scene_description> </scene> <scene> <stage_direction>INT. JUPITER HOUSE - NIGHT (FLASHBACK - 25 YEARS AGO)</stage_direction> <scene_description>Laurie's childhood home. We're in Laurie's POV, as a little girl. There's arguing downstairs. Laurie goes down to investigate. She comes upon the kitchen door, ajar. She can see her PARENTS inside, arguing-- CONTINUED:</scene_description> <character>LAURIE ( V. 0 €� )</character> <dialogue>Jon, stop!</dialogue> </scene> <scene> <stage_direction>INT. LABORATORY - EVENING</stage_direction> <scene_description>Back in the present, Laurie pulls away from Dr. Manhattan's touch. That memory seems to be painful for her.</scene_description> <character>DR. MANHATTAN</character> <dialogue>I didn't mean to upset you •</dialogue> <character>.LAURIE</character> <dialogue>I know. I think I've been cooped up on this base for too long. Rorschach mentioned Dan Dreiberg--we haven't seen him in years. Maybe we can give him a call, see if he's available for dinner tonight.</dialogue> <character>DR. MANHATTAN</character> <dialogue>You go ahead, Laurie. I want to further investigate this interference with my vision. I find it troubling.</dialogue> </scene> <scene> <stage_direction>INT. RECEPTION - DR. MANHATTAN'S COMPOUND - EVENING</stage_direction> <scene_description>Laurie, dressed up and looking gorgeous, heads out when she's stopped by SECRET SERVICE AGENT FORBES.</scene_description> <character>AGENT FORBES</character> <dialogue>Going somewhere, Miss Jupiter?</dialogue> <character>LAURIE</character> <dialogue>Out.</dialogue> <character>AGENT FORBES</character> <dialogue>I'll have a car brought around in a few minutes.</dialogue> <character>LAURIE</character> <dialogue>No, thank you. I called a cab already-- it's waiting for me outside.</dialogue> <scene_description>She tries to walk past but Forbes steps in front of her.</scene_description> <character>AGENT FORBES</character> <dialogue>You look quite nice. Who are you meeting?</dialogue> <character>LAURIE</character> <dialogue>An old friend of mine. And of Dr. Manhattan's. Now step out of my way.</dialogue> <scene_description>Forbes lingers for a moment then does. As she passes-- CONTINUED:</scene_description> <character>AGENT FORBES</character> <dialogue>How does your mother like Palm Springs? I hear it's beautiful out there.</dialogue> <scene_description>Laurie glares at him.</scene_description> <character>LAURIE</character> <dialogue>She likes it fine.</dialogue> <character>AGENT FORBES</character> <parenthetical>(smiles)</parenthetical> <dialogue>You have a good evening, Ms. Jupiter.</dialogue> </scene> <scene> <stage_direction>EXT. NEW YORK CITY - NIGHT</stage_direction> <scene_description>We move down the beautifully lit New York City skyline, passing the Brooklyn Bridge . . . the Statue of Liberty and the 'l;'win Towers of the World Trade Center • . . We hear the LAUGHTER--</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT - NIGHT</stage_direction> <scene_description>--of Dan and Laurie as they finish up their meal at this trendy restaurant.</scene_description> <character>LAURIE</character> <dialogue>You remember that crazy guy, what did he call himself . • • Captain Carnage! Pretended to be a supervillain just so he could get beat up all the time?</dialogue> <character>DAN</character> <dialogue>Yeah, he tried that with me once. I just walked away but he starts following me down the\_ street in broad daylight yelling, "punish me! punish me!"</dialogue> <character>LAURIE</character> <parenthetical>(laughs)</parenthetical> <dialogue>Whatever happened to him?</dialogue> <character>DAN</character> <dialogue>Uh, well, he pulled that on Rorschach and Rorschach dropped him down an elevator shaft.</dialogue> <scene_description>They look at each other, serious, then explode in laughter. Dan looks at her as she finishes her coffee. We can see he's smitten with her and that he probably has been for years. Laurie seems oblivious. CONTINUED:</scene_description> <character>--.</character> <scene_description>~;\:</scene_description> <character>LAURIE ,,,J</character> <dialogue>Sorry, sorry, that's not funny.</dialogue> <scene_description>Their laughter subsides to sudden silence.</scene_description> <character>DAN</character> <dialogue>It's, um, great seeing you again, Laurie.</dialogue> <character>LAURIE</character> <dialogue>Yeah, this was fun.</dialogue> <scene_description>The WAITER arrives with the check; Laurie grabs it.</scene_description> <character>DAN</character> <dialogue>You sure I can't get that?</dialogue> <character>LAURIE</character> <dialogue>Let me put my expense account to use. You can thank Uncle Sam.</dialogue> <scene_description>Laurie nods out the window. Dan turns and sees a GOVERNMENT SEDAN parked outside.</scene_description> <character>DAN</character> <dialogue>They've been watching the whole time?</dialogue> <character>LAURIE</character> <dialogue>Just making sure I'm not doing anything that might upset the country's most powerful weapon.</dialogue> <character>DAN</character> <dialogue>How is Jon, by the way?</dialogue> <character>LAURIE</character> <dialogue>I really don't know. It's been harder and harder to tell over the years. It's like his emotions are slowly eroding. The only reason the government takes care of me is to keep Jon relaxed and happy, but to be honest, I can't tell if he even cares about me anymore.</dialogue> <character>DAN</character> <dialogue>I'm sure he cares about you. I can't see how he wouldn't.</dialogue> <scene_description>They're quiet a moment. Laurie glances at her watch.</scene_description> <character>LAURIE</character> <dialogue>I should get back.</dialogue> </scene> <scene> <stage_direction>EXT. RESTAURANT - NIGHT</stage_direction> <scene_description>Dan and Laurie step outside.</scene_description> <character>LAURIE</character> <dialogue>I turned 30 this year and I keep thinking, what have I done with myself? I've never even held a real job, y'know? Besides running around in a stupid costume. When I think back, why did we do it? Why did we dress up like that? I think the Keene Act was the best thing to ever happen to us.</dialogue> <character>DAN</character> <dialogue>You're probably right.</dialogue> <character>LAURIE</character> <dialogue>I mean, you remember my costume? All that tight spandex? That was awful.</dialogue> <character>DAN</character> <dialogue>Uh, yeah. Awful.</dialogue> <character>LAURIE</character> <dialogue>And to think my own mother pushed me into that spandex. Pushed me into the whole costume thing in the first place. Wanted her little girl to be just like mommy and fight bad guys.</dialogue> <parenthetical>(beat, hugs Dan)</parenthetical> <dialogue>Well, I guess my ride is here. I had a great time. It felt good to laugh again.</dialogue> <parenthetical>(as she walks away)</parenthetical> <dialogue>There doesn't seem to be so many laughs around these days.</dialogue> <character>DAN</character> <dialogue>Well, what do you expect? The Comedian is dead.</dialogue> </scene> <scene> <stage_direction>EXT. CEMETERY - LATE AFTERNOON</stage_direction> <scene_description>Days later. A few mourners gather in the rain for Edward Blake aka The Comedian's funeral. Mostly government types. Dan, Adrian and Dr. Manhattan line the edge of an open grave.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - SALLY JUPITER'S CONDO - PALM SPRINGS, CA - DAY</stage_direction> <scene_description>Laurie MATERIALIZES in the hallway of her mother's condo in California. She immediately runs to the bathroom.</scene_description> </scene> <scene> <stage_direction>EXT. NEPENTHE VISTA - SAME TIME</stage_direction> <scene_description>Bright California sunshine gleams over this upscale condo facility. Laurie's mother, SALLY, 50s but looks in her 40s, lies by the POOL. She hears someone VOMITING in her condo.</scene_description> <character>SALLY</character> <dialogue>Laurie? Is that you?</dialogue> </scene> <scene> <stage_direction>INT. SALLY'S CONDO - DAY</stage_direction> <scene_description>Sally steps through the sliding glass doors as we hear the toilet FLUSHING. Laurie wobbles out of the bathroom.</scene_description> <character>SALLY</character> <dialogue>I'd figure you'd be used to traveling that way by now.</dialogue> <character>LAURIE</character> <dialogue>Well, I'm not. I hate it when Jon teleports me.</dialogue> <character>SALLY</character> <dialogue>Margarita?</dialogue> <character>)</character> <dialogue>LAURIE</dialogue> <scene_description>No. Sally pours herself a margarita from a pitcher on the counter. We see photos, remnants of Sally from her crimefighting days around the condo.</scene_description> <character>SALLY</character> <dialogue>It's Eddie Blake's funeral today, isn't it?</dialogue> <scene_description>Laurie nods. (From here on, intercut between Blake's funeral and Sally's condo) FUNERAL: Blake's coffin is removed from the hearse. SALLY '(v.o.) Finally got his punchline, I guess. Poor Eddie.</scene_description> <character>LAURIE</character> <dialogue>Poor Eddie? How can you say that? After what he--</dialogue> <character>SALLY</character> <dialogue>Laurie, you're still young. You don't understand how things change as time goes by.</dialogue> <scene_description>CONTINUED: FUNERAL: Blake's coffin is carried past Adrian, Dan and Dr. Manhattan.</scene_description> <character>LAURIE ( V. 0. )</character> <dialogue>Another lesson on time passing. Y'know, you and Jon should get together and write a book on the subject.</dialogue> <scene_description>Sally reaches into a drawer and pulls out the old photo of the Watchmen, the same one with Blake and Hollis Mason in it.</scene_description> <character>SALLY</character> <dialogue>That leaves just two of the old team left. Me and Hollis Mason.</dialogue> <scene_description>QUICK FLASH(BACK): As Sally and the Watchmen get their "team" photo taken. The Watchmen disperse. Sally, wearing a revealing outfit (for the time period, at least), moves into the next room--</scene_description> <character>SALLY</character> <dialogue>You guys go ahead. I'm going to change.</dialogue> <scene_description>A younger Blake eyes her with lust, then quietly follows-- BACK TO PRESENT: Sally continues holding the team photo. She stops at Blake, regarding him-- QUICK FLASH(BACK): We see QUICK FLASHES of Blake catching Sally by surprise, WRESTLING her to the ground. Sally tries to fight back desperately, CLAWING at the Comedian's face; The Comedian PUNCHES her in the nose. The Comedian RIPS OFF Sally's pants. He's about to force himself on her when Hollis Mason runs in, YANKS Blake off--</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY - LATE AFTERNOON</stage_direction> <character>SALLY (V.O.)</character> <dialogue>Eddie was the Comedian. He always thought he'd get the last laugh.</dialogue> <scene_description>A PRIEST stands before the crowd.</scene_description> <character>PRIEST</character> <dialogue>Thou knowest, lord, the secrets of our hearts. Shut not thy merciful ears to our prayers but spare us, Lord most Holy . .</dialogue> <scene_description>As the Priest speaks, we move down the row of mourners, stopping at Dr. Manhattan looking into Blake's grave . .</scene_description> </scene> <scene> <stage_direction>EXT. VIETNAM JUNGLE - DAY - (FLASHBACK - 1969)</stage_direction> <scene_description>MATCH CUT TO: Dr. Manhattan. Walking. We PULL BACK and see that he is 100 feet tall, walking through the jungle as VIETCONG SOLDIERS flee in- terror. Dr. Manhattan shoots ENERGY BEAMS at the soldiers, expressionless, as if he's walking the dog. Just ahead of him is Blake, spraying everything he can with a FLAMETHROWER. Blake is smiling . . . Dr. Manhattan nails a GROUP of Vietcong with an energy beam-- they BURST INTO FLAMES . . .</scene_description> </scene> <scene> <stage_direction>INT. BAR - SAIGON - NIGHT - (STILL FLASHBACK - 1969)</stage_direction> <scene_description>MATCH CUT TO: In the night sky, a BURST of FIREWORKS. outside, a CROWD of Vietnamese people CHEER.</scene_description> <character>BLAKE ( 0 €� S . )</character> <dialogue>Fireworks.</dialogue> <scene_description>A young Blake sits in a derelict Saigon bar, mean drunk. His face is devoid of his trademark scar.</scene_description> <character>BLAKE</character> <dialogue>You'd think this country'd had enough goddamn fireworks. If we'd.' ve lost this war, I think it might have driven us crazy, y'know? As a country. But we didn't. Thanks to you.</dialogue> <character>DR. MANHATTAN</character> <dialogue>You sound bitter.</dialogue> <character>BLAKE</character> <dialogue>Me? I think it's hilarious.</dialogue> <character>VIETNAMESE GIRL (O.S.)</character> <dialogue>Mr. Eddie?</dialogue> <scene_description>They both turn. A pretty VIETNAMESE GIRL stands in the door. She's pregnant, just starting to show.</scene_description> <character>BLAKE</character> <dialogue>Fantastic. Just what I need.</dialogue> <character>VIETNAMESE GIRL</character> <dialogue>The war is over now. We must talk.</dialogue> <parenthetical>(touching her abdomen)</parenthetical> <dialogue>About this.</dialogue> <scene_description>-CONTINUED: Blake SLAMS his glass down. He glares at her, dangerous.</scene_description> <character>BLAKE</character> <dialogue>There's nothing to talk about cuz I'm leaving. I'm gonna forget you and your horrible, sweaty little country.</dialogue> <scene_description>He turns away. Her eyes blaze with betrayal and hatred.</scene_description> <character>VIETNAMESE GIRL</character> <dialogue>No. You will remember. You will remember me and my country forever.</dialogue> <scene_description>She SMASHES a bottle. Blake turns just as the broken SHARDS SLASH HIS FACE, slicing him his jagged scar.</scene_description> <character>BLAKE·</character> <dialogue>You bitch! My face!</dialogue> <scene_description>He PUSHES HER into the bar and DRAWS HIS PISTOL--</scene_description> <character>DR. MANHATTAN</character> <dialogue>Blake . . • don't--</dialogue> <scene_description>BLAM! Blake shoots her; the Girl SLAMS against the far wall. She drops, dead.</scene_description> <character>DR. MANHATTAN</character> <dialogue>Blake. she was pregnant. You gunned her down.</dialogue> <scene_description>Blake turns on him, spitting fury.</scene_description> <character>BLAKE</character> <dialogue>That's right! And you know what? You watched me! You could've changed the gun into steam or the bullets into mercury or the bottle into snowflakes, but you didn't, did you? You don't really give a damn about human beings. You're drifting outta touch, Doc--I've seen it. Don't tell me the war got to you.</dialogue> <scene_description>Blake walks off shouting "Medic!" Dr. Manhattan turns to the girl's body and regards it, curious .. MATCH CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY - EARLY EVENING</stage_direction> <character>PRIEST (V.O.)</character> <dialogue>For as much as it hath pleased almighty God to take unto himself the soul of our dear departed brother, we therefore , commit his body to the ground . . .</dialogue> <scene_description>CONTINUED: Dr. Manhattan looking down at Blake's grave. We move down to Adrian • . .</scene_description> </scene> <scene> <stage_direction>INT. WATCHMEN HEADQUARTERS - NIGHT - (FLASHBACK 14 YEARS AGO)</stage_direction> <character>ADRIAN ( V. 0. )</character> <dialogue>We'll be starting shortly--we're waiting for one more.</dialogue> <scene_description>A younger Adrian, dressed as Oxymandias, leads the meeting of the "new" Watchmen. In attendance is Dan, fit and trim in full Nite Owl regalia, Rorschach and a teenage Laurie, dressed in her tight spandex costume. Dan can't take his eyes off of her. She glances at him--the two lock eyes. He smiles. She looks as if she's going to smile back when-- --Dr. Manhattan, his age unchanged, materializes with his girlfriend JANEY SLATER. Laurie's attention immediately turns from Dan to Dr. Manhattan, much to Dan's disappointment. Dr. Manhattan grins, whispers something in Janey's ear. Janey giggles when Dr. Manhattan notices Laurie smiling at him . .</scene_description> <character>ADRIAN</character> <dialogue>Dr. Manhattan, welcome. Now we can start.</dialogue> <character>BLAKE (O.S.)</character> <dialogue>This is all bullshit.</dialogue> <scene_description>We now notice Blake, 37, smoking a CIGAR, feet on the table, a FLASK in one hand, NEWSPAPER in the other. The headline reads: "Soviets Call Dr. Manhattan 'An Imperialist Weapon."</scene_description> <character>ADRIAN</character> <dialogue>What are you saying, Comedian?</dialogue> <character>BLAKE</character> <dialogue>What I'm saying is this whole bringing back the Watchmen thing is bullshit. It didn't work twenty years ago, and it ain't gonna work now just because you want to keep playing Cowboys and Indians.</dialogue> <character>DAN</character> <dialogue>Maybe we should agree on no drinking at meetings. Look, Rorschach and I have made real headway on the gang problem by pooling our efforts.</dialogue> <scene_description>Rorschach's voice is quiet, not yet its tortured rasp.</scene_description> <character>RORSCHACH</character> <dialogue>That's true. But something like this seems'too big. Too bureaucratic.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ADRIAN</character> <dialogue>Bureaucracies can be effective with the right leadership--</dialogue> <character>BLAKE</character> <dialogue>And that would be you, right Veidt? I mean you're the "smartest guy in the world," right?</dialogue> <character>ADRIAN</character> <dialogue>It doesn't take a genius to see that the world has problems.</dialogue> <character>BLAKE</character> <dialogue>But it takes a roomful of morons to think they're small enough for you guys to handle. You people are a joke. You hear Moloch's back in town and get your panties in a bunch. You think that matters?</dialogue> <character>RORSCHACH</character> <dialogue>Of course it does. Justice matters.</dialogue> <character>BLAKE</character> <dialogue>Justice. Hilarious. There's no such thing as justice.</dialogue> <scene_description>He stands, moving to Adrian's DISPLAY which outlines the Watchmen's agenda: GANGS, RACKETEERING, DRUGS. Blake flicks his ZIPPO and the display GOES UP IN FLAMES.</scene_description> <character>ADRIAN</character> <dialogue>My display . • •</dialogue> <character>BLAKE</character> <dialogue>Justice doesn't matter, alright? Because twenty years from now we're all gonna be dust. Mankind's been trying to kill each other off since the beginning of time and now we finally got the power to finish the job. Ain't nothin' gonna matter when the nukes start flying, and I promise you they will. Then Ozymandias here is gonna be the smartest man on the cinder.</dialogue> <scene_description>He sneers and walks out. Silence. Uncomfortable in the wake of truth, the others pack up to go, muttering apologies to Adrian, but Adrian ignores them, staring at the flames flickering across his face. He seems more thoughtful than upset. MATCH CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY - LATE AFTERNOON</stage_direction> <character>PRIEST (V.O.)</character> <dialogue>Earth to Earth, ashes to ashes, dust to dust . .</dialogue> <scene_description>Adrian, moving down to Dan as we FADE TO:</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREETS - NIGHT - (FLASHBACK 6 YEARS AGO)</stage_direction> <scene_description>A NEWSPAPER BOX. The headlines: "Cops Say: 'Let Them Do It'," "Senator Keene Proposes Emergency Bill Banning Vigilantism." PAN UP TO REVEAL: The streets JAMMED with ANGRY PROTESTORS, waving signs decrying vigilantes. ANGLE ON: AN OVAL AIRSHIP--the OWL-SHIP--its forward windows sculpted like the eyes of a great owl. Dan, in costume, pilots the ship. The Comedian stands outside the ship, in one of the "owl eyes," wielding a MACHINE GUN.</scene_description> <character>DAN</character> <parenthetical>(over loudspeakers)</parenthetical> <character>EVERYONE, PLEASE CLEAR THE STREETS. WE</character> <dialogue>ARE TRYING TO RETAIN ORDER UNTIL THE</dialogue> <character>POLICE STRIKE IS OVER.</character> <dialogue>BLAKE</dialogue> <scene_description>crawl back in yer holes before you get hurt! I got rubber bullets!</scene_description> <character>MAN IN CROWD</character> <dialogue>We want regular cops! No more vigilantes!</dialogue> <character>WOMAN IN CROWD</character> <dialogue>My son is a cop, you commie asshole!</dialogue> <scene_description>The Comedi:an gets HIT IN THE HEAD by a flying SODA CAN.</scene_description> <character>BLAKE</character> <dialogue>Okay, that's how you wanna do it?!</dialogue> <scene_description>Smiling grimly, he FIRES TEAR GAS CANNISTERS INTO THE CROWD.</scene_description> <character>DAN</character> <dialogue>Oh God.</dialogue> <parenthetical>(over speakers)</parenthetical> <character>LOOK, I'M SORRY. YOU'VE LEFT US NO</character> <dialogue>CHOICE. PLEASE CLEAR THE STREETS!</dialogue> <scene_description>The Comedian DIVES into the crowd, knocking random people aside with his rifle butt, then starts firing rubber bullets into the crowd. The protestors scatter and retreat. CONTINUED: Dan lands the owl Ship, exits wearing a GAS MASK with one for Blake. The Comedian spots a TEENAGER SPRAY PAINTING his protest on a BRICK WALL. He takes careful aim with his rifle--</scene_description> <character>DAN</character> <dialogue>Comedian wait!</dialogue> <scene_description>Too late--the Comedian FIRES and nails the Teenager in the EYE with a rubber bullet; The Teenager SHRIEKS in pain. The comedian advances, but Dan holds him back, allowing the Teenager to escape. The Comedian KNOCKS Dan's arm off of him.</scene_description> <character>BLAKE</character> <dialogue>Get your stinkin' hands off me!</dialogue> <scene_description>Dan and Blake lock eyes for a moment.</scene_description> <character>DAN</character> <dialogue>What happened ~o us?</dialogue> <scene_description>Blake glares at him, saying nothing. He SNATCHES the gas mask from Dan and puts it on, turning toward the smoke filled streets.</scene_description> <character>BLAKE</character> <dialogue>Hahl You seen this?</dialogue> <scene_description>The smoke clears enough for Dan to see the Teen's spray painted protest: "WHO WATCHES THE WATCHMEN?"</scene_description> <character>BLAKE</character> <dialogue>I'm beginning to change my mind about communism--who says it's so bad?</dialogue> <character>DAN</character> <dialogue>How long can we keep this up?</dialogue> <character>BLAKE</character> <dialogue>My government contacts tell me they're pushing some new bill through Congress. Until then, we're society's only protection.</dialogue> <character>DAN</character> <dialogue>Protection from what?</dialogue> <scene_description>Blake laughs, exultant in the blowing smoke, the chaos.</scene_description> <character>BLAKE</character> <dialogue>Are you kidding? From themselves.</dialogue> <character>CONTINUED: (2)</character> <dialogue>CLOSE ON: the happy face pin on Blake's costume. MATCH CUT TO- EXT. CEMETERY - EVENING --Dan fingering Blake's happy face pin.</dialogue> <character>PRIEST (V .0.)</character> <dialogue>on Earth as it is in Heaven. Give us this day our daily bread, and forgive us our trespasses as we forgive those that trespass against us. And lead us not into temptation, but deliver us from evil. Amen.</dialogue> <scene_description>Dan DROPS the pin into Blake's grave. The mourners linger a moment as dirt is shoveled onto Blake's casket, then start filing out. Adrian, Dan, Dr. Manhattan say their good-byes.</scene_description> <character>DAN</character> <dialogue>We missed you at dinner the other night.</dialogue> <character>DR. MANHATTAN</character> <dialogue>Yes, I apologize. I had to continue my work with Adrian.</dialogue> <character>ADRIAN</character> <dialogue>Speaking of, we should postpone our press conference until we're more ready . . •</dialogue> <scene_description>None of them notice one particular mourner all the way in the back--a LONE MAN, who we follow as he walks away. EXT. CEMETERY GATES - CONTINUOUS The Lone Man leaves quickly. INT. MOLOCH'S BROWNSTONE - NIGHT The Lone Man removes his hat and coat. He is old, withered. He is EDGAR JACOBI. In his younger days, he was a supervillain known as MOLOCH--we recognize him from the news . clipping in Blake's closet.</scene_description> <character>INT. MOLOCH'S KITCHEN - NIGHT</character> <dialogue>Moloch goes to the REFRIGERATOR, opens it. Then stops, staring. There is a scrawled NOTE inside. Moloch picks it up-- in spiky handwriting it reads: "LOOK BEHIND YOU."</dialogue> <dialogue>Over Moloch's shoulder Rorschach's hat-brim TILTS UP. As Moloch turns, Rorschach lunges, FINS Moloch's ARM behind his back and SLAMS him to the floor.</dialogue> <scene_description>I ,\_. ,,..\_,-,.~ "T",'TTTT'.1,-... \: CONTINUED:</scene_description> <character>RORSCHACH</character> <dialogue>Edgar William Jacobi. Also known as Edgar William Vaughn. Also known as William Edgar Bright. Also known as Moloch. 1964 kidnapped the Governor of New Jersey. 1972 hijacked the QE2. 1977 detonated a bomb in the New York Stock Exchange, killing over two hundred people--</dialogue> <character>MOLOCH</character> <dialogue>What are you talking ab0ut? I'm a retired business maaAAAHHH!</dialogue> <scene_description>Rorschach TWISTS the man's arm back viciously.</scene_description> <character>RORSCHACH</character> <dialogue>Case was never brought to trial, but lack of evidence doesn't exonerate you in my court.</dialogue> <character>MOLOCH</character> <dialogue>Oh God, please. I did my time. I'm not Moloch anymore. What do you want from me?</dialogue> <scene_description>Rorschach lets him go. Moloch's hollow eyes follow him.</scene_description> <character>RORSCHACH</character> <dialogue>You attended a funeral today. Why?</dialogue> <character>MOLOCH</character> <dialogue>The funeral? I don't know why I went. I just felt I should. I'd been thinking about the Comedian--</dialogue> <scene_description>Rorschach SLAMS Moloch against the wall.</scene_description> <character>RORSCHACH</character> <dialogue>How did you know Blake was the Comedian?</dialogue> <character>MOLOCH</character> <dialogue>He broke in here! A week ago! He, he had his mask off. He was drunk--</dialogue> <character>RORSCHACH</character> <dialogue>You were enemies for twenty years. Why would he visit you?</dialogue> <character>MOLOCH</character> <dialogue>I don't know! I woke up in my bedroom and there he was! He was upset! Crying!</dialogue> <character>RORSCHACH</character> <dialogue>The Comedian? Crying?</dialogue> <scene_description>CONTINUED: ( 2 ) FLASHBACK: Of the Comedian in Moloch's BEDROOM, sitting on the bed, BOTTLE OF WHISKY in hand</scene_description> <character>MOLOCH (V .0.)</character> <dialogue>He, he was babbling, not making sense. I was pissing in my pants--I thought he was going to kill me!</dialogue> <character>RORSCHACH ( V. 0. )</character> <dialogue>What did he say?!</dialogue> <character>BLAKE</character> <dialogue>You don't know. You don't know what's happening. I mean, I done some bad things. I did bad things to women. I shot kids! In 'Nam . . . but this? I never did anything like this. Here I am, spilling my guts to one of my arch enemies, but truth is, you're the closest friend I got- -what does that say? And your name was on the list. Along with Janey what's her name--Dr. Manhattan's old girl. Oh mother, forgive me • • .</dialogue> <character>MOLOCH ( V. 0 €� )</character> <dialogue>And then he left. I swear I don't know what the hell he was talking about!</dialogue> <scene_description>END FLASHBACK. Rorschach studies Moloch a moment, then releases him.</scene_description> <character>RORSCHACH</character> <dialogue>Hm. Funny story. Sounds unbelievable. Probably true.</dialogue> <scene_description>Rorschach glances around the kitchen. He opens some drawers, looking.inside. Picks up a stack of MAIL, flips through it. One of the envelopes contains a PENSION CHECK from "Pyramid Industries." He rifles through the drawer some more and finds a PILL BOTTLE. He examines it</scene_description> <character>MOLOCH</character> <dialogue>So that's it? I'm clean?</dialogue> <character>RORSCHACH</character> <dialogue>Clean? I fou,nd illegal drugs in your house.</dialogue> <character>MOLOCH</character> <dialogue>Illegal--I don't use drugs.</dialogue> <scene_description>CONTINUED: ( 3)</scene_description> <character>.RORSCHACH</character> <parenthetical>(holds up pill bottle)</parenthetical> <dialogue>Laetril. Phony medication made from apricot pits. Illegal.</dialogue> <character>MOLOCH</character> <dialogue>Oh c-come on. Look, please don't confiscate that. I'm trying anything . I have cancer.</dialogue> <character>RORSCHACH</character> <dialogue>What kind of cancer?</dialogue> <character>MOLOCH</character> <dialogue>Y'know the kind you eventually get better from? Well, that ain't the kind I got.</dialogue> <character>RORSCHACH</character> <dialogue>Fine. You're off the hook--for now. If you remember anything else, leave me a note in the trash can opposite the Gunga Diner at Fortieth and Seventh. Keep out of trouble; Moloch.</dialogue> </scene> <scene> <stage_direction>EXT. CITYSCAPE - NIGHT</stage_direction> <scene_description>CLOSE ON: Rorschach blasting through the night air as the city streams by. This close, he appears to be flying.</scene_description> <character>RORSCHACH ( V. 0. )</character> <dialogue>Rorschach's Journal, October 17th. Thought about Moloch's story on my way to the cemetery. Could all be lies. A scheme for revenge planned during his years behind bars. Perhaps he's working in conjunction with the Soviets.</dialogue> <scene_description>CUT WIDE: To reveal he is actually PERCHED ATOP AN ELEVATED SUBWAY CAR. Just one way he gets around.</scene_description> <character>RORSCHACH (V.O.)</character> <dialogue>But if his story is true, then what? What could have possibly scared the Comedian? What was it that he saw? What was this list he spoke of? So many questions.</dialogue> </scene> <scene> <stage_direction>EXT. CEMETERY - NIGHT</stage_direction> <scene_description>Rorschach stands alone over Blake's fresh grave. Paying his proper.respects. CONTINUED:</scene_description> <character>RORSCHACH ( V. 0. )</character> <dialogue>Edward Blake--the Comedian. Born 1934, buried in the rain. Murdered.</dialogue> <scene_description>FLASH TO: Blake, the night of his murder, turning as his door is kicked in.</scene_description> <character>RORSCHACH (V.O.)</character> <dialogue>Violent'lives ending violently.</dialogue> <scene_description>FLASH TO: Adrian's display burning.</scene_description> <character>RORSCHACH (V.O.)</character> <dialogue>Blake understood. Humans are violent in nature. No matter how much you try to dress it up, to disguise it.</dialogue> <scene_description>FLASHES OF: The group photo of the old Watchmen. Then the photo of the new Watchmen.</scene_description> <character>RORSCHACH ( V. 0. ) ( CONT ' D)</character> <dialogue>Blake saw the true face of human kind and chose to become a parody of it, treated it like a joke.</dialogue> <scene_description>FLASHES OF: Blake being beaten in his apartment.</scene_description> <character>RORSCHACH (V.O.)</character> <dialogue>I heard a joke once. Man goes to a doctor, says he's depressed. Life seems harsh and cruel.</dialogue> <scene_description>Blake is KICKED in the stomach.</scene_description> <character>RORSCHACH (V.O.)</character> <dialogue>Says he feels all alone in a threatening world.</dialogue> <scene_description>Blake in Vietnam, cackling as he blasts his flamethrower.</scene_description> <character>RORSCHACH (V.O.)</character> <dialogue>Doctor says, "the treatment is simple. The great clown Pagliacci is in town tonight. Go and see him. That should pick you up."</dialogue> <scene_description>Blake is lifted up by the Intruder's hands.</scene_description> <character>RORSCHACH (V.O.)</character> <dialogue>The man bursts into tears.</dialogue> <scene_description>A bloodied Blake laughs at the Intruder. I r1,-..-.."TmT1'"TT'T~T"\ \ CONTINUED: ( 2 )</scene_description> <character>RORSCHACH (V.O.)</character> <dialogue>"But doctor," he says.</dialogue> <scene_description>ULTRA-SLOW, Blake crashes through his apartment window.</scene_description> <character>RORSCHACH</character> <dialogue>"I am Pagliacci."</dialogue> <scene_description>Blake FLIES TOWARD FRAME on his silent trip to the ground-- the happy face pin falls off of him.</scene_description> <character>RORSCHACH (V.O.)</character> <dialogue>Good joke. Everybody laugh.</dialogue> <scene_description>Blake FALLS INTO FRAME--GO BLACK • • •</scene_description> </scene> <scene> <stage_direction>INT. ROCKEFELLER MILITARY BASE - BEDROOM - AFTERNOON</stage_direction> <scene_description>CLOSE ON: Laurie, eyes closed with pleasure, as Dr~ Manhattan's GLOWING BLUE HANDS caress her face.</scene_description> <character>LAURIE</character> <dialogue>Mmm. When do you have to be at your TV interview?</dialogue> <character>DR. MANHATTAN (O.S.)</character> <dialogue>Don't worry, we have plenty of time.</dialogue> <scene_description>Eyes still closed, she does not see a THIRD BLUE HAND trace a line down her cheek. She kisses it.</scene_description> <character>LAURIE</character> <dialogue>Hey,- your finger, it's like licking a battery. It's all--</dialogue> <scene_description>She opens her eyes. They widen in shock and horror as she sees TWO DR. MANHATTANS in bed with her.</scene_description> <character>LAURIE</character> <dialogue>Oh God! That's horrible! Stop it!</dialogue> <scene_description>Laurie jumps up. The two Dr. Manhattans stand, confused.</scene_description> <character>DR. MANHATTAN 1</character> <dialogue>Please don't be upset.</dialogue> <character>DR. MANHATTAN 2</character> <dialogue>I thought you'd enjoy it.</dialogue> <character>LAURIE</character> <dialogue>I'm sorry, I--You startled me, that's all-</dialogue> <character>DR. MANHATTAN 1</character> <dialogue>I don't know what stimulates you anymore.</dialogue> <scene_description>Laurie backs into the hall, trying to get a grip. CONTINUED:</scene_description> <character>LAURIE</character> <dialogue>Forget about it. I overreacted. It was just strange to see--</dialogue> <scene_description>Laurie can now see into the LABORATORY, where yet a THIRD DR. MANHATTAN stands before a VIDEO CONFERENCE SCREEN speaking to TWO SCIENTISTS. Laurie's eyes blaze.</scene_description> <character>LAURIE</character> <dialogue>How long have you been working in here?</dialogue> <character>DR. MANHATTAN 1</character> <dialogue>Laurie, try to understand--</dialogue> <character>LAURIE</character> <dialogue>Understand!? You're working in here at the same time we're in bed!?</dialogue> <scene_description>(The Scientists on the video screen look away, embarrassed.)·</scene_description> <character>DR. MANHATTAN 3</character> <dialogue>My work with Adrian is at an important stage. It seemed unnecessary to--</dialogue> <character>LAURIE</character> <dialogue>Shut up! Just SHUT YOUR MOUTH!</dialogue> <scene_description>Laurie WHIPS a full BEAKER at 3's chest. It PASSES THROUGH HIM and SMASHES ON THE FLOOR. Laurie storms out. A Fourth Dr. Manhattan splits from number 3, addressing the Scientists.</scene_description> <character>DR. MANHATTAN 4</character> <dialogue>I'm teleporting the reactor to you now.</dialogue> <scene_description>The reactor Dr. Manhattan was working on earlier DISAPPEARS then REAPPEARS on screen where the Scientists are. BACK TO:</scene_description> <character>DR. MANHATTAN 3</character> <dialogue>Laurie, please--If you think there's a problem with my attitude, I'm prepared to discuss it--</dialogue> <scene_description>As he speaks, the smashed BEAKER and its contents RISE INTO THE AIR, REASSEMBLING perfectly in the palm of 3's hand. IN THE HALL: Laurie nearly bumps into Dr. Manhattan 2.</scene_description> <character>DR. MANHATTAN 2</character> <dialogue>--but logically, not clouded with human emotion.</dialogue> <scene_description>I ..-. ,-,.,.,,.,.,-r,-rTTT'"tT-,. \ CONTINUED: (2)</scene_description> <character>LAURIE</character> <dialogue>Human emotion? You were human once. That's the problem, Jon. You've forgotten that.</dialogue> <character>DR. MANHATTAN 2</character> <dialogue>Laurie, where are you--</dialogue> <scene_description>The door slams. Laurie's left. For good. Dr. Manhattan 2 stands there. He walks back to the BEDROOM where 1 is. Dr. Manhattan 1 holds an OLD PHOTO. In the photo is a COUPLE, smiling into the camera. We recognize the woman as Janey Slater, Dr. Manhattan's ex-girlfriend, who we saw in Adrian's flashback at Blake's funeral. We recognize the man in the photo as . . . Dr. Manhattan. When he was human. Dr. Manhattan stares at the photo. Perhaps feeling the tingle of human emotion again . •</scene_description> </scene> <scene> <stage_direction>INT. DAN'S HOUSE - KITCHEN - EVENING</stage_direction> <scene_description>Dan heats up some leftover Chinese food in the microwave as the TV plays in the background--"LARRY KING LIVE":</scene_description> <character>LARRY KING</character> <dialogue>Mr. Secretary General, what does the United Nations have against Dr. Manhattan?</dialogue> <character>JAVIER PEREZ DE CUELLAR</character> <dialogue>The concern we have, Mr. King, is that in Dr. Manhattan, we don't have a man to end wars--we have a man to end worlds. one single being has been allowed to change the entire world. Entire cultures have had to contort themselves to accommodate Dr. Manhattan's presence--</dialogue> <scene_description>BOOM, BOOM! Dan looks up. Someone's banging on the door.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - EVENING</stage_direction> <scene_description>Dan approaches the door, cautious, mask killer on his mind?</scene_description> <character>DAN</character> <dialogue>Who is it?</dialogue> <character>LAURIE ( 0 . S €� )</character> <dialogue>It's Laurie.</dialogue> <character>DAN</character> <dialogue>Laurie?</dialogue> <scene_description>CONTINUED: It takes a few moments for him to open the door.</scene_description> <character>DAN</character> <dialogue>Sorry, I hap a new lock installed, it's a little sticky--</dialogue> <character>LAURIE</character> <dialogue>I left Jon.</dialogue> </scene> <scene> <stage_direction>INT. DAN'S KITCHEN - NIGHT</stage_direction> <scene_description>Dan pours a teary eyed Laurie a glass of RED WINE.</scene_description> <character>DAN</character> <dialogue>Did, uh, the Secret Service follow you here?</dialogue> <character>LAURIE</character> <dialogue>I lost them in the subway. I think.</dialogue> <character>DAN</character> <dialogue>I'm really sorry, Laurie.</dialogue> <character>LAURIE</character> <dialogue>Living with him . . . Dan, you don't know what it's been like.</dialogue> <scene_description>INTERCUT TO: Dr. Manhattan, holding Laurie's BRA. Staring.</scene_description> <character>LAURIE (V.O.)</character> <dialogue>The way he looks at things,like he can't remember what they are, J,.ike he doesn't really care. This world, the real world . • to him it ' s like. walking through mist, and all the people are just shadows. Shadows in the fog.</dialogue> <scene_description>Dr. Manhattan lowers his head. A SHADOW FALLS OVER HIM. He looks up to see a THREE PIECE SUIT floating before him--</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Dan and Laurie walk the streets, getting some air.</scene_description> <character>LAURIE</character> <dialogue>I don't know if I ever loved Jon. I'd like to think that I did. But, truth is, I was probably more in awe of him than in love with him. And after awhile • . there's a reason why Gods are meant to be worshipped from afar.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I hope I didn't ruin your night.</dialogue> <scene_description>CONTINUED:</scene_description> <character>DAN</character> <dialogue>Not at all. I was just going to see Hollis for our weekly beer session. You're more than welcome to join. In fact, I insist . . .</dialogue> <scene_description>They pass A NEWS STAND, where a BLACK TEEN sits against a fire hydrant, losing himself in a comic book: "Tales of the Black Freighter." A HOMELESS MAN, wearing a SHIRT that reads "Fuck Communism,".argues with the NEWS VENDOR:</scene_description> <character>NEWS VENDOR</character> <dialogue>--I told you, this month's issue still hasn't arrived yet! Why do you care about that right wing rag so much? Cuz those bastards don't give a damn about you, pal! They--hold up, here it comes.</dialogue> <scene_description>They turn as SEYMOUR, a fat slob of a man, arrives.with a BUNDLE of the latest issue of "The New Frontiersman." CUT TO: Dr. Manhattan stepping THROUGH and INTO the empty, floating suit. His TIE knots itself. Dr. Manhattan looks around the empty room . . • sad? Again, he looks at the photo of him and Janey Slater . . then DISAPPEARS IN A BURST OF PARTICLES.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - SAME TIME</stage_direction> <scene_description>Dan and Laurie turn down a darker, less populated street.</scene_description> <character>DAN</character> <dialogue>Laurie, will you please stop apologizing? I'm here for you anytime.</dialogue> <scene_description>SHADOWS trail behind them, ominous. Someone's following.</scene_description> <character>LAURIE</character> <dialogue>I know. I just find it rude when people show up at your door--</dialogue> </scene> <scene> <stage_direction>INT. TELEVISION STUDIO - NIGHT</stage_direction> <scene_description>The main waiting area. People go about their jobs. The RECEPTIONIST hears a strange, electric CRACKLING.</scene_description> <character>LAURIE ( V. 0. )</character> <dialogue>--completely out of the blue.</dialogue> <scene_description>Suddenly, Dr. Manhattan appears in a burst of energy. The receptionist SHRIEKS. The PRODUCER looks out his office. CONTINUED:</scene_description> <character>PRODUCER</character> <dialogue>Terrific. Dr. Manhattan arrives and no one thinks to tell me?</dialogue> <character>RECEPTIONIST</character> <dialogue>He, he just--</dialogue> <character>PRODUCER</character> <dialogue>Ah geez. We don't have time for make-up. That blue is too light for television.</dialogue> <scene_description>The light from Dr. Manhattan's SKIN DARKENS to a DEEPER BLUE. ,</scene_description> <character>DR. MANHATTAN</character> <dialogue>Is this dark enough?</dialogue> <character>PRODUCER</character> <dialogue>Uh, yeah • . •</dialogue> </scene> <scene> <stage_direction>EXT. ALLEY - SAME TIME</stage_direction> <scene_description>Dan and Laurie turn down an alley. We now see who's following them--a group of YOUNG THUGS. .</scene_description> <character>PRODUCER (V. 0. )</character> <dialogue>that's dark enough.</dialogue> </scene> <scene> <stage_direction>INT. TELEVISION STUDIO - BACK STAGE - SAME TIME</stage_direction> <scene_description>A White House PRESS AGENT escorts Dr. Manhattan to the set. Secret Service surround Dr. Manhattan--more of a gesture since he's the last person on Earth who would need security.</scene_description> <character>PRESS AGENT</character> <dialogue>Just another reminder that President Nixon approved this interview because he wanted to strengthen morale at home and to further remind the Soviets who holds the cards. Please keep that in mind with your answers.</dialogue> <scene_description>Dr. Manhattan stands off stage, waiting. The LIGHTS come up. and we're live with TED KOPPEL.</scene_description> <character>TED KOPPEL</character> <dialogue>He's been called many things; Hero, weapon, linchpin of our security~-</dialogue> <scene_description>CUT TO: Dan and Laurie turning as the Young Thugs BLOCK THE ALLEYWAY. One of the Thugs pulls a KNIFE. Laurie and Dan exchange a look. Dan removes his glasses. CUT ~ACK TO: CONTINUED:</scene_description> <character>TED KOPPEL</character> <dialogue>His given name is Jonathan Osterman--Dr. Jonathan Osterman--a renowned nuclear physicist who through a terrible accident became the man the world knows today as Dr. Manhattan.</dialogue> <scene_description>The audience APPLAUDS loudly as Dr. Manhattan takes his seat.</scene_description> <character>DR. MANHATTAN</character> <dialogue>Thank you.</dialogue> <scene_description>CUT TO: Dan and Laurie surrounded by the Thugs . when suddenly they DIVE INTO the group, fighting like the heroes they once were. Dan grapples with one of the Thugs and knocks his knife away. BACK TO:</scene_description> <character>TED KOPPEL</character> <dialogue>Let me introduce you to our panel now: From the New York Times, Richard Weiss, from Time Magazine, Janet Lee and from the Nova Express, Doug Roth. Ms. Lee, would you like to start? ·</dialogue> <parenthetical>(Doug Roth is the journalist who interviewed Adrian earlier.)</parenthetical> <character>JANET LEE</character> <dialogue>Dr. Manhattan, should the Soviet Union be afraid of you?</dialogue> <character>DR. MANHATTAN</character> <dialogue>I'm not sure how to answer that, as human emotions aren't quantifiable· characteristics. I would say that if the Soviets are indeed afraid and if their fear is based on any impending act of aggression on my part in the name of the United states, then they need not be fearful. The truth is, every nation on Earth is involved in some form of armed struggle, if not against its neighbors than against internal forces.</dialogue> <scene_description>CUT TO: Laurie, driving a FIST into a Thug's NOSE; Dan KNEES a Thug in the STOMACH, then SLAMS him into a WALL. Another Thug GRABS LAURIE'S HAIR and pulls a PISTOL on her. Dan sees this and his eyes harden . • •</scene_description> <character>TED KOPPEL (V.O.)</character> <dialogue>Mr. Weiss, next question.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>RICHARD WEISS (V.O.)</character> <dialogue>can you speak about the energy project you've been working on with your old colleague, Adrian Veidt? They say that for the cost of a bottle of soda, a household could have power for a year. It sounds revolutionary.</dialogue> <character>DR. MANHATTAN (V. 0. )</character> <dialogue>I believe it will be, but I'll speak further about that when we make our official announcement.</dialogue> <character>TED KOPPEL (V.O.)</character> <dialogue>Mr. Roth?</dialogue> <scene_description>CUT BACK TO: Doug Roth:</scene_description> <character>DOUG ROTH</character> <dialogue>Dr. Manhattan, do you remember a man named Wally Weaver?</dialogue> <character>DR. MANHATTAN</character> <dialogue>Yes, he was a good friend of mine. We were both physicists.</dialogue> <character>DOUG ROTH</character> <dialogue>He died of cancer.</dialogue> <character>DR. MANHATTAN</character> <dialogue>I remember. I attended his funeral.</dialogue> <character>DOUG ROTH</character> <dialogue>How about Edgar Jacobi, also known as the supervillain Moloch? You had a lot of battles with him, didn't you? Did you know that he has cancer as well?</dialogue> <scene_description>Ted Koppel looks confused. CUT TO: Dan slowly approaching Laurie being held at gunpoint by the Thug. Dan and Laurie make eye contact • • • • • • and Laurie quickly GRABS the Thug's wrist and the gun and JERKS her hands forward and her backside out. The Thug loses the gun and his balance-- --Once Laurie is clear, Dan comes in with a FLYING KICK, finishing the Thug off. BACK TO:</scene_description> <character>DR. MANHATTAN</character> <dialogue>I was not aware--</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>DOUG ROTH</character> <dialogue>And what about General Anthony Randolph? He was your handler when you first started working for the government. Cancer.</dialogue> <character>DR. MANHATTAN</character> <dialogue>By your line of questioning, you're suggesting that I was the cause of cancer in these individuals.</dialogue> <character>DOUG ROTH</character> <dialogue>You tell me, doc.</dialogue> <character>TED KOPPEL</character> <dialogue>Let's move on to the next question--</dialogue> <character>DR. MANHATTAN</character> <dialogue>It is irrelevant whether I was the cause, or not.</dialogue> <character>DOUG ROTH</character> <dialogue>Irrelevant?</dialogue> <character>DR.' MANHATTAN</character> <dialogue>A live human body and a dead· human body have the same number of particles. Structurally there's no difference.</dialogue> <scene_description>An appalled then angry buzz comes over the audience.</scene_description> <character>DOUG ROTH</character> <dialogue>What about Janey Slater? Do you think it makes a difference to her?</dialogue> <character>DR. MANHATTAN</character> <dialogue>Janey Slater? Wh--</dialogue> <character>DOUG ROTH</character> <dialogue>Your ex-girlfriend, she was a physicist too. You were with her for 7 years. Or does she have to remind you herself?</dialogue> <scene_description>Suddenly, Janey Slater appears just offstage. Older now, frail, barely recognizable from the images we've seen of her.</scene_description> <character>DOUG ROTH</character> <dialogue>She has cancer as well. Doctors have given her six months. What do you have to say, Ms. Slater?</dialogue> <scene_description>The studio cameras try to get an angle on her. / f"'fll..Tl'TlT"'--YTTt:"IT"'\ \ CONTINUED: (4)</scene_description> <character>JANEY SLATER</character> <dialogue>After all you meant to me, all the times J you said you loved me--</dialogue> <character>DR. MANHATTAN</character> <dialogue>I . . . I remember--</dialogue> <character>JANEY SLATER</character> <dialogue>I stuck by you when it happened. I gave you everything . • • D-damn you, Jon. God damn you • . .</dialogue> <scene_description>She leaves as fast as she came, bursting into tears. Dr. Manhattan stands, visibly shaken--</scene_description> <character>DR. MANHATTAN</character> <dialogue>But Janey, I wasn't told. Are you suggesting--no, Janey, wait!</dialogue> <scene_description>The Press Agent hurries on stage, security following.</scene_description> <character>PRESS AGENT</character> <dialogue>That's it! Interview's over!</dialogue> <scene_description>BACK TO: The alley, littered with the unconscious BODIES of the Thugs. Laurie and Dan lean back on the wall, gasping for air, horribly out of shape, but victorious. They look at each other--their faces very close, intimate even . . . and then it's uncomfortable. CUT TO: The TV studio, as Secret Service surround Dr. Manhattan, trying to escort him out. The audience spills out of the stands, RUSHING Dr. Manhattan with questions and FLASHING cameras--it's madness •.</scene_description> <character>PRESS AGENT</character> <dialogue>All cameras off!</dialogue> <scene_description>His plea is futile of course. A REPORTER breaks through, gets in Dr. Manhattan's face.</scene_description> <character>REPORTER 1</character> <dialogue>Did you give Ms. Slater cancer by sleeping with her?</dialogue> <character>DR. MANHATTAN</character> <dialogue>No. Please let me through</dialogue> <character>REPORTER 2</character> <dialogue>Do you even care about human life?</dialogue> <scene_description>j,:, r .' CONTINUED: ( 5)</scene_description> <character>DR. MANHATTAN</character> <dialogue>Please. If everyone would just go away and leave me alone.</dialogue> <character>PRESS AGENT</character> <dialogue>Everyone back off!</dialogue> <character>DOUG ROTH</character> <dialogue>We also have reports of more than two dozen other past associates similarly affected!</dialogue> <scene_description>Dr. Manhattan finally SNAPS--</scene_description> <character>DR. MANHATTAN</character> <dialogue>I said LEAVE ME ALONE!</dialogue> <scene_description>Every last person BURSTS INTO PARTICLES and DISAPPEARS. Dr. Manhattan is suddenly alone. He looks stunned almost.</scene_description> </scene> <scene> <stage_direction>EXT. ROOF - SAME TIME</stage_direction> <scene_description>The TV audience materializes out on the roof . . .</scene_description> </scene> <scene> <stage_direction>EXT. ALLEY - NIGHT</stage_direction> <scene_description>Dan and Laurie exit the quiet alley, trying to play it off.</scene_description> <character>LAURIE</character> <dialogue>I should find a hotel. God. Imagine, us getting mugged.</dialogue> <character>DAN</character> <dialogue>Why don't you come by Hollis' with me? Shake off the adrenaline.</dialogue> <scene_description>Laurie entertains the idea for a moment.</scene_description> <character>LAURIE</character> <dialogue>No thanks, I've had enough hero stuff for one night.</dialogue> <parenthetical>(walking away)</parenthetical> <dialogue>You take care, Dan. It's a dangerous world out there.</dialogue> </scene> <scene> <stage_direction>INT. HOLLIS MASON'S APARTMENT - NIGHT</stage_direction> <scene_description>Hollis opens the door for Dan--</scene_description> <character>HOLLIS</character> <dialogue>You're late.</dialogue> <scene_description>CONTINUED:</scene_description> <character>DAN</character> <dialogue>I know, you won't believe it--</dialogue> <character>HOLLIS</character> <dialogue>You missed it--Dr. Manhattan just lost it on live TV.</dialogue> <character>DAN</character> <dialogue>Wait, what?</dialogue> <scene_description>Dan turns to the TV, which replays the clip of Dr. Manhattan being accosted and then teleporting everyone to the roof.</scene_description> <character>DAN</character> <dialogue>I was just with Laurie. She doesn't know.</dialogue> <character>HOLLIS</character> <dialogue>She'll know soon enough. The whole world will 'know.</dialogue> </scene> <scene> <stage_direction>EXT. NEW YORK STREET - NIGHT</stage_direction> <scene_description>Laurie stops at a corner for a much needed cigarette when-- --A BLACK SUV pulls up to the curp. Secret Service. Laurie dashes across the street--</scene_description> </scene> <scene> <stage_direction>EXT. PARK - NIGHT</stage_direction> <scene_description>--and INTO THE PARK, through the relative safety of the mist- shrouded trees • . . but behind her ANOTHER SUV BUMPS UP OVER THE CURB, driving into the park. Ahead, the first SUV comes ACROSS THE GRASS, boxing her in. A gang of Secret Service, led by Agent Forbes surrounds her.</scene_description> <character>AGENT FORBES</character> <dialogue>Ms. Jupiter, you need to come back to the base.</dialogue> <character>LAURIE</character> <dialogue>I'm done with that place.</dialogue> <scene_description>An Agent goes for her arm--she ELBOWS him in the ribs, then the head. The other Agents go for their guns--</scene_description> <character>AGENT FORBES</character> <dialogue>No, no, I don't want that! Ms. Jupiter, please! Dr. Manhattan's left us.</dialogue> <character>LAURIE</character> <dialogue>Left us?</dialogue> </scene> <scene> <stage_direction>INT. ROCKEFELLER MILITARY BASE - CONF. ROOM - NIGHT</stage_direction> <scene_description>Agent Forbes paces impatiently around a seated Laurie, with two other Agents.</scene_description> <character>AGENT FORBES</character> <dialogue>You have no idea where he would have gone?</dialogue> <character>LAURIE</character> <dialogue>How would I know? He's probably on the other side of the world studying molecules or something.</dialogue> <character>AGENT FORBES</character> <dialogue>Our satellites have already done a sweep of the planet, there's no trace of his energy signature anywhere.</dialogue> <character>LAURIE</character> <dialogue>Really</dialogue> <character>. AGENT FORBES</character> <dialogue>Ms. Jupiter, did you and Dr. Manhattan have a fight today?</dialogue> <character>LAURIE</character> <dialogue>That's none of your business.</dialogue> <character>AGENT FORBES</character> <dialogue>It is when you're on government payroll and don't do your job.</dialogue> <scene_description>Suddenly Laurie grabs Agent Forbes' head and SLAMS it into the table--</scene_description> <character>LAURIE</character> <dialogue>That's as close to the word "whore" as you're gonna get with me. Agent Forbes.</dialogue> <scene_description>The other two Agents move in, but Forbes raises his hand for them to stop. Blood trickles from his nose.</scene_description> <character>AGENT FORBES</character> <dialogue>My apologies, Ms. Jupiter. Given how important Dr. Manhattan is to the security of our nation, you can imagine our concern.</dialogue> <scene_description>Laurie says nothing, grasping the ramifications.</scene_description> <character>LAURIE</character> <dialogue>I could really use a smoke right now.</dialogue> <scene_description>I rnN'T'Tl\TTilcn' CONTINUED: Agent Forbes hands her a cigarette. Takes out a ZIPPO, sparks it. Laurie stares at the FLAME . •</scene_description> </scene> <scene> <stage_direction>INT. WATCHMEN HEADQUARTERS - NIGHT (FLASHBACK - 14 YEARS AGO)</stage_direction> <scene_description>. • . like she stares at the flame here, as Adrian's display burns. Laurie glances around as everyone leaves, apologizing to Adrian. She eyes Dr. Manhattan leaving with Janey Slater.</scene_description> </scene> <scene> <stage_direction>EXT. WATCHMEN HEADQUARTERS - NIGHT (FLASHBACK - 14 YEARS AGO)</stage_direction> <scene_description>outside Watchmen HQ, Dan's owl Ship rises out of view. Rorschach skulks off into the shadows. Laurie watches Dr. Manhattan and Janey Slater get into a Town Car--Dr. Manhattan looks back and smiles at her. Laurie's about to wave back when--</scene_description> <character>BLAKE ( 0 €� S . )</character> <dialogue>Laurel? Laurel Jane?</dialogue> <scene_description>Startled, Laurie turns. Blake steps out of the shadows.</scene_description> <character>BLAKE</character> <dialogue>You're Sally Jupiter's kid.</dialogue> <character>LAURIE</character> <dialogue>You're the Comedian, right? You were pretty cool in there.</dialogue> <scene_description>Blake lights a smoke, looks her over.</scene_description> <character>BLAKE</character> <dialogue>You got your mom's eyes. Even that funny little mole.</dialogue> <character>LAURIE</character> <dialogue>Got another smoke?</dialogue> <character>BLAKE</character> <dialogue>She was one of the all-time champion beauties, your mom. She talk about me much?</dialogue> <character>LAURIE</character> <dialogue>No. Not really.</dialogue> <scene_description>As Blake gives her a light, Laurie touches his hand to cover the lighter from the wind. She looks up at him, sly.</scene_description> <character>SALLY (O.S.)</character> <scene_description>CONTINUED: Laurie nearly jumps out of her skin. A younger Sally marches toward them from a LIMO, waiting at the sidewalk.</scene_description> <character>BLAKE</character> <dialogue>Hey Doll. Long time no see.</dialogue> <character>SALLY</character> <dialogue>Not long enough in my book, Eddie.</dialogue> <parenthetical>(glaring at Laurie)</parenthetical> <dialogue>Put that out. Get in the car.</dialogue> <scene_description>INSIDE THE LIMO: Laurie cracks her window an inch. Her mother's harsh, low tone drifts clearly back.</scene_description> <character>SALLY</character> <dialogue>Are there no depths you won't sink to?</dialogue> <character>BLAKE</character> <dialogue>Christ, we were just talking! Can't a guy talk to his, y'know, old friend's daughter? What the hell do you think I am?</dialogue> <character>SALLY</character> <dialogue>I know what you are, Eddie. I've always known. Don't ever forget that.</dialogue> <scene_description>Driving off, Laurie watches Blake through the window-- BACK TO PRESENT: Laurie smokes when a TECHNICIAN bursts in.</scene_description> <character>TECHNICIAN</character> <dialogue>We found him!</dialogue> <character>AGENT FORBES</character> <dialogue>Where is he?</dialogue> <scene_description>The Technician pauses, looking at all the eyes on him.</scene_description> <character>TECHNICIAN</character> <dialogue>Mars.</dialogue> </scene> <scene> <stage_direction>EXT. MARS - NIGHT</stage_direction> <scene_description>We're in SPACE, looking down at the planet Mars, when we ZOOM IN, fast, landing on A VAST MARTIAN PLAIN, and the tiny BLUE FIGURE, walking across it, RED DUST BILLOWING behind him. Dr. Manhattan stops, looking over the landscape. He holds the photo of him and Janey Slater in his hand, when he was human. He stares at the photo a moment and closes his eyes-- CONTINUED: --and we FLASHBACK to the moment that photo was taken. He and Janey are at a CARNIVAL, After the flash, Janey turns to him.</scene_description> <character>DR. MANHATTAN .(V.O.)</character> <dialogue>It is April, 1968, and I am in love.</dialogue> <character>JANEY SLATER</character> <dialogue>Aww, Jon, look--you've got cotton candy on the side of your mouth • . •</dialogue> <character>JON OSTERMAN</character> <dialogue>You do too. Here, let me get it for you.</dialogue> <character>DR. MANHATTAN (V. 0.)</character> <dialogue>Her name is Janey Slater. She is a physicist like me. I am 32 years old.</dialogue> <scene_description>He pulls her close. They giggle like the young lovers they are • •• and then kiss, passionate • •• When they're playfully interrupted by WALLY WEAVER and his DATE.</scene_description> <character>DR. MANHATT~ (V.O.)</character> <dialogue>We were introduced by a good friend of mine from college, Wally Weaver.</dialogue> <scene_description>QUICK FLASH(BACK): Of Wally, in the HOSPITAL, on his death bed.</scene_description> <character>DR. MANHATTAN (V.O.)</character> <dialogue>It is February 12th, 1981. Wally dies of cancer. Of which they now say I am the cause.</dialogue> <scene_description>BACK TO: Jon, Janey, Wally and his Date, making their way through the carnival.</scene_description> <character>DR. MANHATTAN (V.O.)</character> <dialogue>A few months from now, the accident awaits me.</dialogue> <scene_description>BACK TO: Dr. Manhattan walking on Mars' surface. He approaches a LARGE ROCK FORMATION which blocks his path. He PARTS the rock formation telekinetically, like Moses parting the sea-- --and we FLASHBACK, MATCH CUTTING to the parting of two SLIDING DOORS, in the LAB OF A NUCLEAR TESTING FACILITY, as Jon steps into the REAC~OR CHAMBER-- CONTINUED: (2)</scene_description> <character>JON OSTERMAN</character> <parenthetical>(yelling)</parenthetical> <dialogue>I'll catch up with you guys--I left my watch inside • ••</dialogue> <scene_description>Jon backs into the chamber without noticing the DIGITAL CLOCK above the doors counting down: 3 • . • 2 • . . 1--"TIME LOCK INITIATED" --the doors CLOSE • . •</scene_description> <character>DR. MANHATTAN (V.O.)</character> <dialogue>I cross the square to the intrinsic field center. I find my watch.</dialogue> <scene_description>Jon's lab COLLEAGUES look on in horror as Jon retrieves his WATCH, oblivious.</scene_description> <character>DR. MANHATTAN (V.O.)</character> <dialogue>When I get to the door, Wally is turning white. He tells me that the door has locked automatically while the generators warm up for this afternoon's experiment: removing the intrinsic field from concrete block fifteen. I ask him what happened to the other fourteen . . . and he tells me.</dialogue> <scene_description>They try to open the door, but it's no use--the time lock can't be overridden. Janey arrives, SCREAMS when she sees Jon inside. Jon hears the hum of the REACTOR INITIATING, the big mechanical parts moving. Jon BANGS on the door.</scene_description> <character>DR. MANHATTAN (V.O.)</character> <dialogue>I am terrified.</dialogue> <character>JON OSTERMAN</character> <dialogue>Janey! Oh my god!</dialogue> <scene_description>TEARS stream down Janey's face as she looks at him through the thick glass, helpless, hopeless. Inside, the chamber starts to GLOW . ••</scene_description> <character>JANEY SLATER</character> <dialogue>I'm sorry, Jon, I can't--</dialogue> <scene_description>Janey can't bear to watch--she runs out of the lab as the reactor initiates.</scene_description> <character>JON OSTERMAN</character> <dialogue>JANEY! Don't leave me!</dialogue> <character>.</character> <dialogue>QUICK FLASH(BACK): Of Jon and Janey in a BAR. Meeting for the first time.</dialogue> <parenthetical>( rnN'T'Tl\TTll&lt;'f'\ \ 56. CONTINUED: (3 ) DR. MANHATTAN (V.O.)</parenthetical> <dialogue>It is October 20th, 1966 when I'm introduced to Janey. She buys me a beer, the first time·a woman has ever done this for me. As she passes me the cold, perspiring glass, our fingers touch • . .</dialogue> <scene_description>BACK TO: Jon stuck in the chamber, as Janey leaves. With a BLINDING FLASH--Jon and his watch are OBLITERATED to bits.</scene_description> <character>DR. MANHATTAN (V.O.)</character> <dialogue>I feel fear for the last time .</dialogue> <scene_description>. • . and we FLASHBACK to the lab CAFETERIA. Janey sits at a table, crying softly, being consoled by her colleagues. CUT TO: OUTSIDE THE NUCLEAR FACILITY, by the barbed wire fences, A DISEMBODIED BRAIN, A SET OF EYES, AND A SPINAL COLUMN MATERIALIZES • • • BACK TO: Dr. Manhattan on Mars, as he RISES into the air. At a thought, the RED SAND FUSES into a beautiful, PINK GLASS STRUCTURE-- --and we FLASHBACK to the cafeteria KITCHEN as a COOK SHRIEKS at A WALKING NETWORK OF HUMAN VEINS-- BACK TO: The pink glass structure on Mars which SPREADS OUT INTO COMPLEX GLASS PATTERNS, RISING FROM THE PLAIN at Dr. Manhattan's command-- --and we FLASHBACK to the cafeteria HALLWAY as a SKELETON passes two terrified GUARDS • •• BACK TO: Dr. Manhattan, now dwarfed by the RISING, EVOLVING GLASS STRUCTURE, which begins to resemble parts of a WATCH-- --and we FLASHBACK to the cafeteria. Janey's still crying. One of her Colleagues reaches for her hand when STATIC SPARKS snap around them. All over the cafeteria, the METAL UTENSILS begin to SPARK. In the center of the room, GLOWING BLUE PARTICLES begin to collect, SLAMMING INTO EACH OTHER with amazing force • • . • • • and in a BLINDING FLASH, THE PARTICLES FORM DR. MANHATTAN, hovering over the room like a newborn god. Everyone in the cafeteria looks up in awe, in fear and--</scene_description> <character>JANEY SLATER</character> <dialogue>Oh god • •• Jon is that you?</dialogue> <scene_description>--recognition. CONTINUED: (4) BACK TO: Mars, where Dr. Manhattan's GLASS PALACE rises in its full glory. A home fit for a god. --and we FLASHBACK to an old NEWSCAST.</scene_description> <character>DR. MANHATTAN (V.O.)</character> <dialogue>On March 1st, 1969, two months after President Richard Nixon is inaugurated for his first term, I am introduced to the world as Dr. Manhattan.</dialogue> <character>NEWSCASTER</character> <dialogue>We repeat--the superman exists and he is American • • .</dialogue> <scene_description>We see the stock footage we saw of Dr. Manhattan earlier, as it is filmed live, when he transforms the nuclear warhead into leaves. He returns to the ground where he greets the awaiting GENERALS with a military salute</scene_description> <character>DR. MANHATTAN (V .0.)</character> <dialogue>A week later, the conflict in Vietnam ends. Some of the Vietcong forces want to surrender to me personally.</dialogue> <scene_description>We see Vietcong surrendering--BOWING at the.feet of Dr. Manhattan. Dr. Manhattan looks baffled, not sure how to take their worship. We cut to a news interview with Wally Weaver.</scene_description> <character>DR. MANHATTAN</character> <dialogue>Wally writes a book on me entitled, "Dr. Manhattan: Super-Powers and the Superpowers." It becomes a best seller and is required reading for government officials and military personnel in countries abroad. The Soviets are most alarmed by my existence, quadrupling their defense budget and accelerating their arms build-up.</dialogue> <scene_description>The Newscast cuts to an interview with Hollis Mason.</scene_description> <character>DR. MANHATTAN (V.O.)</character> <dialogue>I am the subject of the chapter of another book, written by a man named Hollis Mason, a retired costumed hero. Mason calls my arrival the "Dawn of the Superhero."</dialogue> <scene_description>QUICK FLASHES: Of Dr. Manhattan 100 feet tall, blasting Vietcong. Of him making a MOBSTER'S head EXPLODE. Of him turning a group of TERRORISTS to ASH. I ,...,,-y~,'TmT,."rT1"T:'I,-.., CONTINUED: (5)</scene_description> <character>DR. MANHATTAN (V.O.)</character> <dialogue>I am not sure if I know what that means.</dialogue> <scene_description>We cut back to the news interview with Wally Weaver:</scene_description> <character>WALLY WEA VER</character> <dialogue>I was misquoted. I never said "the superman exists and he is American." I said GOD exists and he is American.</dialogue> <scene_description>We see Dr. Manhattan and President Nixon in China, shaking hands with Mao Zedong in front of the Tiananmen Gate. QUICK FLASH(BACK): Of Janey with Jon, now as Dr. Manhattan, by a CHRISTMAS TREE.</scene_description> <character>DR. MANHATTAN</character> <dialogue>It is Christmas, 1969. Janey tells me she is afraid. And worried. She is afraid of. me, because, in her·words "I am like God now." And she is worried that because I am "like God," that I will be bored with her. I tell her that I don't think there is a God and that if there is, I am nothing like him. I tell her I still want her, and that I'll always want her. ll</dialogue> <character>I</character> <dialogue>A single TEAR rolls down Janey's face. Dr. Manhattan smiles, turns the tear into a DIAMOND • •• and then to a DIAMOND RING. Janey beams. As Dr. Manhattan kisses her--</dialogue> <dialogue>QUICK FLASH(BACK): Of Dr. Manhattan with an older Janey at Adrian's Watchmen meeting. Dr. Manhattan makes eye contact with a younger Laurie. Janey notices • ••</dialogue> <character>DR. MANHATTAN (V.O.)</character> <dialogue>It is September 4th, 1971. I am in a room of people wearing disguises. A very young girl looks at me and smiles.</dialogue> <scene_description>QUICK FLASH(BACK): Of earlier, when Dr. Manhattan caresses Laurie's face.</scene_description> <character>DR. MANHATTAN (V.O.)</character> <dialogue>Four hours ago, I was caressing her face. Ten minutes later, she walks out on me.</dialogue> <scene_description>BACK TO: Dr. Manhattan and Janey as the Watchmen meeting breaks. Janey drags Dr. Manhattan away-- CONTINUED: ( 6 )</scene_description> <character>DR. MANHATTAN (V.O.)</character> <dialogue>Janey accuses me of "chasing jailbait." She bursts into angry tears, asking if it's because she's getting older. It's true. She's aging more noticeably every day.</dialogue> <scene_description>BACK TO PRESENT: As Dr. Manhattan stands before his Glass Palace on Mars.</scene_description> <character>DR. MANHATTAN (V.O.)</character> <dialogue>• • • while I'm standing still. I prefer the stillness here. I am tired of Earth, these people. I am tired of being caught in the tangle of their lives. They claim their labors are to build a heaven, yet their heaven is populated with horrors.</dialogue> <scene_description>QUICK FLASHES: Of WAR; Of Russian tanks on the move,,. of American fighter jets; Of Dr. Manhattan at the Watchmen meeting; Of Dr. Manhattan with the Comedian in Vietnam; Of the police strike riots; Of Dr. Manhattan with Adrian, being experimented on by a group of scientists; Of Rorschach visiting him; Of Laurie throwing the beaker at him; Of him being rushed by the crowd at the TV interview; Of him screaming and teleporting the crowd away-- BACK TO: Dr. Manhattan regarding his Palace on Mars, then looking down at the photo in his hand, of him and Janey at the carnival. After a moment, he opens his hand, letting the photo FALL to the ground • . . and heads up the steps of his creation.</scene_description> </scene> <scene> <stage_direction>INT. ROCKEFELLER BASE - COMMUNICATIONS ROOM - NIGHT</stage_direction> <scene_description>PULL OUT FROM: A SATELLITE IMAGE of MARS. TECHNICIANS buzz this way and that, desperate.</scene_description> <character>AGENT FORBES</character> <dialogue>There must be some way to contact him-- radio transmission, space shuttle, something.</dialogue> <scene_description>Laurie sits in the room, largely forgotten.</scene_description> <character>LAURIE</character> <dialogue>Agent Forbes.</dialogue> <character>AGENT FORBES</character> <parenthetical>(distracted, annoyed)</parenthetical> <dialogue>What?</dialogue> <scene_description>CONTINUED:</scene_description> <character>LAURIE</character> <dialogue>I need to go to the bathroom.</dialogue> <scene_description>Agent Forbes gives her a look.</scene_description> </scene> <scene> <stage_direction>INT. ROCKEFELLER MILITARY BASE - HALLWAY - NIGHT</stage_direction> <scene_description>Laurie heads to the bathroom, trailed by Agent Forbes. As she reaches the bathroom door-- --she suddenly SPINS and ELBOWS the agent in the GROIN. Agent Forbes buckles; Laurie grabs him by his coat, SHOVES his head through the bathroom door and SLAMS THE DOOR on his head.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - CONTINUOUS</stage_direction> <scene_description>Laurie drags the groggy Forbes into the bathroom. She takes his GUN, yanks his RADIO off, then pulls two FLEX-TIES from his belt. She binds his hands and feet with the ties.</scene_description> <character>AGENT FORBES</character> <dialogue>We're only detaining you for national security purposes. Don't you understand?</dialogue> <scene_description>Laurie pulls some PAPER TOWELS and STUFFS them in his mouth.</scene_description> <character>LAURIE</character> <dialogue>Don't you understand that sitting there with a bunch of high tech radios and monitors isn't going to bring him back? Only one thing can bring Jon back and that's Jon. If he wants to find me, he's quite capable of doing so on his own. I've been a prisoner in my life long enough.</dialogue> <scene_description>Laurie pokes her head out the door. Seeing that the coast is clear, she slips away.</scene_description> </scene> <scene> <stage_direction>INT. DAN DREIBERG'S HOUSE - BEDROOM - DAWN</stage_direction> <scene_description>Dan sleeps peacefully in his bed when a SHADOW moves over Dan • . • dropping a NEWSPAPER on his LAP, waking Dan with a gasp. Rorschach hovers beside the bed.</scene_description> <character>DAN</character> <dialogue>Jesus! Rorschach</dialogue> <character>RORSCHACH</character> <dialogue>Good morning, Daniel. I brought in your paper.</dialogue> <scene_description>Dan reads the headline: "DR. MANHATTAN LEAVES EARTH." CONTINUED:</scene_description> <character>RORSCHACH</character> <dialogue>The Comedian murdered. Dr. Manhattan exiled. Two of us gone within a week. Who's next? Veidt? Ms. Jupiter? Me? You? The Russians stand to gain the most with Dr. Manhattan's exodus. I will be investigating this further.</dialogue> <scene_description>Rorschach turns for the door as Dan reads the story.</scene_description> <character>RORSCHACH</character> <dialogue>By the way, that new lock broke after one shove.</dialogue> <character>DAN</character> <dialogue>My new lock?</dialogue> <character>RORSCHACH</character> <dialogue>Get a stronger one, Daniel. You can't be, too security conscious these days.</dialogue> </scene> <scene> <stage_direction>EXT. PETERSON AIR FORCE BASE - COLORADO SPRINGS, CO - DAY</stage_direction> <scene_description>AIR FORCE ONE lands at the headquarters of the North American Aerospace Defense Command. (NORAD)</scene_description> <character>RORSCHACH ( V. 0. )</character> <dialogue>These days . . . nobody's safe.</dialogue> </scene> <scene> <stage_direction>INT. NORAD COMMAND CENTER - DAY</stage_direction> <scene_description>A HUGE MAP OF THE WORLD is displayed on screen, tracking movements. President Nixon and his ADVISORS look up at it.</scene_description> <character>HENRY KISSINGER</character> <dialogue>The Soviets have moved their tanks just short of the southern border of Afghanistan. They're just testing us, to see if we manufactured Dr. Manhattan's disappearance to coax a move out of them. They'll wait a few days and then probably start air strikes. Once the invasion starts, they'll have Afghanistan under control rather quickly.</dialogue> <scene_description>An image of the "Doomsday Clock" comes on screen.</scene_description> <character>HENRY KISSINGER</character> <dialogue>The Bulletin of Atomic Scientists has moved the "Doomsday Clock" to two minutes until midnight--</dialogue> <scene_description>/ f'""ll'""••t,TmT"I.TTTT:'t,-.. \ CONTINUED:</scene_description> <character>PRESIDENT NIXON</character> <dialogue>Get that shit off the screen! Who are those assholes to say when "Doomsday" is approaching?! I'll tell them when Doomsday is approaching!</dialogue> <scene_description>The room goes silent. President Nixon calms himself.</scene_description> <character>PRESIDENT NIXON {</character> <dialogue>Now what about the rest of the Warsaw Pact countries?</dialogue> <character>JAMES SCHLESINGER</character> <dialogue>Czechoslovakia, Poland and East Germany have mobilized their forces, but no movements yet. They're playing wait and see, letting the Russians take the lead.</dialogue> <character>PRESIDENT NIXON</character> <dialogue>How about us, Henry? Are we safe?</dialogue> <character>HENRY KISSINGER</character> <dialogue>I don't think they'll attack us immediately, and it depends on what Pakistan and Iran do. I've spoken to Saddam already--we have permission to use Iraqi airspace.</dialogue> <character>JAMES SCHLESINGER</character> <dialogue>We can be ready for a preemptive strike in two days. We -have a 54% chance of wiping out the entire USSR before their birds could get airborne--</dialogue> <character>JOHN ERLICHMAN</character> <dialogue>We should probably start constructing fallout shelters--</dialogue> <character>PRESIDENT NIXON</character> <dialogue>What would our losses be?</dialogue> <character>JAMES SCHLESINGER</character> <dialogue>Assuming that we could eliminate 43% of the Soviets' warheads beforehand--</dialogue> <scene_description>Everyone looks at the screen as the war game scenario unfolds-</scene_description> <character>PRESIDENT NIXON</character> <dialogue>We'd lose the whole east coast</dialogue> <scene_description>·r ";\_.....,..,.,: CONTINUED: (2 )</scene_description> <character>JAMES SCHLESINGER</character> <dialogue>With anticipated wind patterns, the fallout drift would head south--Mexico would catch the worst of it. Most of the farm belt might remain unaffected.</dialogue> <character>H.R. HALDEMAN</character> <dialogue>That's no so bad, all things considered.</dialogue> <character>JAMES SCHLESINGER</character> <dialogue>Mr. President, what would you like to do?</dialogue> <scene_description>They're all quiet for a moment.</scene_description> <character>PRESIDENT NIXON</character> <dialogue>I need a few days to think this over. I'd like to discuss it with Pat.</dialogue> <scene_description>Erlichman and Haldeman make a face.</scene_description> <character>, JAMES SCHLESINGER</character> <dialogue>Mr. President, I strongly urge--</dialogue> <character>PRESIDENT NIXON</character> <dialogue>Let's just wait, okay?! Maybe he'll come back.</dialogue> <parenthetical>(beat, wishful)</parenthetical> <dialogue>Maybe he'll come back.</dialogue> </scene> <scene> <stage_direction>INT. VEIDT ENTERPRISES - MAIN LOBBY - DAY</stage_direction> <scene_description>Adrian steps off the elevator when he's met by his Assistant.</scene_description> <character>ASSISTANT</character> <dialogue>Clock's ticking, Mr. Veidt.</dialogue> <character>ADRIAN</character> <dialogue>I know. I'm meeting the toy people, yes?</dialogue> <character>ASSISTANT</character> <dialogue>Eleven-thirty. They want to talk to you about some new villains for the "Ozymandias" line.</dialogue> <character>ADRIAN</character> <dialogue>All the old villains are dead.</dialogue> <character>ASSISTANT</character> <dialogue>What's with everybody today? Everyone's on this death trip.</dialogue> <character>ADRIAN</character> <dialogue>The threat of war can have that effect.</dialogue> <scene_description>/ ;,,-,..ll.TmT-,.TTTT'.'IT"\ \ CONTINUED: As they walk across the lobby, a MAN in a TRENCHCOAT approaches. He DRAWS A GUN, aims it at Adrian . . .</scene_description> <character>ASSISTANT</character> <dialogue>Sometimes I can't bear to watch the news. It makes it so hard to be. optimistic--is that a gun?</dialogue> <scene_description>BANG! The man misses, SHOOTS the Assistant in the gut; Adrian immediately springs into action--he moves with unbelievable speed and quickness, grabbing a velvet ROPE-STANCHION-- --DEFLECTING A SECOND BULLET with it-- --and SMASHING IT INTO THE FACE OF THE ASSASSIN, knocking him into a FOUNTAIN. SECURITY GUARDS run, guns drawn, toward the fountain where Adrian GRAPPLES with the dazed man.</scene_description> <character>SECURITY GUARD</character> <dialogue>Mr. Veidtl Let us handle itl</dialogue> <character>ADRIAN</character> <dialogue>Wait, he's got a poison capsule!</dialogue> <scene_description>He JAMS his fingers into the Assassin's mouth--</scene_description> <character>ADRIAN</character> <dialogue>Don't bite down, scumbag! I want to know who sent you!</dialogue> <scene_description>The Assassin's eyes BULGE •</scene_description> <character>ADRIAN ( CONT ID)</character> <dialogue>I want to know who's behind this!·</dialogue> <scene_description>The Assassin CHOKES • and dies. Adrian DROPS him, unanswered, frustrated.</scene_description> </scene> <scene> <stage_direction>INT. CAR {MOVING) - AFTERNOON</stage_direction> <scene_description>Dan drives while Laurie slumps low in the backseat, keeping out of sight.</scene_description> <character>LAURIE</character> <dialogue>Oh my god. Where's Adrian now?</dialogue> <character>DAN</character> <dialogue>Talking to the cops. Good thing he's still in great shape.</dialogue> <scene_description>CONTINUED:</scene_description> <character>DAN</character> <dialogue>You get so caught up with the whole smartest man in the world thing you forget what a physical specimen he is.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What about you? What are you going to do?</dialogue> <character>LAURIE</character> <dialogue>I'm not sure. Thanks for meeting me, Dan, I really\_ appreciate it.</dialogue> <character>DAN</character> <dialogue>Anything, Laurie. What about your mom?</dialogue> <character>LAURIE</character> <dialogue>No one from the government's talked to her yet, but I'm sure they're watching her. She's getting a big kick out of it. Said it reminds her of the old days. She's walking around the house naked for Christ's sake.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Just get me to Boston. I think I'll head to Canada, try and disappear up there.</dialogue> <character>DAN</character> <dialogue>Canada? Listen, why don't you • . . how about you stay at my place?</dialogue> <character>LAURIE</character> <dialogue>Oh, Dan, I couldn't impose--</dialogue> <character>DAN</character> <dialogue>It wouldn't be an imposition, I have an extra room. We're friends. And with everything that's been happening . •</dialogue> <character>LAURIE</character> <dialogue>You' re buying into Rorschach' s "mask · killer" theory?</dialogue> <character>DAN</character> <dialogue>I don't know. But it can't hurt to be safe. Besides, I've already had one wanted person visit me, another one won't make a difference.</dialogue> <scene_description>Dan turns, looks at her. Laurie smiles.</scene_description> <character>LAURIE</character> <dialogue>Okay.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>So this guy who tried to kill Adrian--who was he?</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - APARTMENT - SAME TIME</stage_direction> <character>DAN (V .O.)</character> <dialogue>Some local low-life named Roy Chess • .</dialogue> <scene_description>Rorschach investigates the apartment of ROY CHESS, Adrian's would-be assassin. The place is decent but messy. Rorschach spots a PORNO MAG on the coffee table. On the couch nearby, a pair of PANTS. Rorschach picks them up, reaches into the pockets. He pulls out some cash, credit cards--:...and an ID for Pyramid Industries. It says Chess was a security guard · . • . and then Rorschach remembers the pension check he saw at Moloch's house. Same LOGO--Pyramid Industries.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>We're in Rorschach's POV as he walks down the street. From the non-reaction of passers by, he obviously doesn't have his mask on. He passes two RELIGIOUS GROUPS arguing. One appears to be a devout Christian group, the other hold signs that read "Manhattan Church for Manhattan" proposing Dr. Manhattan as the deity. They argue while CITY WORKERS PAINT a SIGN indicating the entrance to a FALLOUT SHELTER</scene_description> <character>RORSCHACH (V.O.)</character> <dialogue>Rorschach's Journal, October 19th. Someone tried to kill Adrian Veidt. Proves mask killer theory--the murderer is closing in. Pyramid Industries--what is it? Could it be Soviet operated?</dialogue> <scene_description>Rorschach studies Roy Chess' ID as he approaches a TRASH CAN. He rummages through it and finds an ENVELOPE. He opens it and finds a NOTE that reads: "Tonight 11:30, M."</scene_description> <character>RORSCHACH (V.O.)</character> <dialogue>Checked mail drop, got a message from Moloch. Sometimes the night is generous to me.</dialogue> <scene_description>Rorschach turns down an alley, approaches a DUMPSTER. He reaches behind it.</scene_description> <character>RORSCHACH (V.O.)</character> <dialogue>My things are where I left them. My coat. My gloves • • .</dialogue> <scene_description>Still in his POV, we watch him put each article on. Then he pulls out his MASK. CONTINUED:</scene_description> <character>RORSCHACH (V.O.)</character> <dialogue>my face.</dialogue> <scene_description>Rorschach pulls his mask on, FILLING THE SCREEN . . .</scene_description> </scene> <scene> <stage_direction>INT. MOLOCH'S KITCHEN - NIGHT</stage_direction> <scene_description>CLOSE ON: MOLOCH'S EYES staring fearfully out the rainy window. Rorschach APPEARS in the darkness behind him.</scene_description> <character>RORSCHACH</character> <dialogue>Somebody tried to shoot the world's smartest man today, Moloch.</dialogue> <scene_description>Moloch sits at the kitchen table. CLOSE ON: MOLOCH'S HAND. An ignored CIGARETTE smolders. In his other hand, a NOTE.</scene_description> <character>RORSCHACH</character> <dialogue>Guy worked for Pyramid Industries.</dialogue> <parenthetical>(tosses Roy Chess' ID on table)</parenthetical> <dialogue>The last time I was here, saw a pension check sent to you from the same company-- obviously a front set up by whoever it is that wants us masks dead. Is that why you left me a note in my mail drop? You have something to confess? Are you working for the Soviets?</dialogue> <scene_description>Rorschach turns. A HOLE gapes between Moloch's staring eyes. A PISTOL lies on the table--Moloch's dead. Rorschach carefully pulls the NOTE from Moloch's hand. It's the note Rorschach had left in Moloch's refrigerator, the one that reads: "LOOK BEHIND YOU." Behind Rorschach, BLINDING LIGHT GLARES THROUGH THE WINDOW.</scene_description> <character>DET. FINE ( 0. S €� )</character> <parenthetical>(over LOUDSPEAKERS)</parenthetical> <character>RORSCHACH, THIS IS THE POLICE!</character> <dialogue>RORSCHACH</dialogue> <scene_description>No.</scene_description> <character>DET. FINE (O.S.)</character> <dialogue>WE KNOW YOU'RE IN THERE.</dialogue> <character>RORSCHACH</character> <dialogue>No. No, no, no</dialogue> <character>DET. FINE (O.S.)</character> <dialogue>IF THERE'S ANYONE IN THERE WITH YOU, SEND</dialogue> <character>THEM OUT UNHARMED.</character> <dialogue>I rnN'T'Tl\TTTH'1"'1 \</dialogue> <scene_description>CONTINUED: Moloch's corpse stares at Rorschach. Rorschach TEARS OPEN the cupboards, pulling items off the shelves.</scene_description> <character>RORSCHACH</character> <dialogue>Framed. Set up. Walked right into it. Stupid, stupid, stupid.</dialogue> <character>DET. FINE (O.S.)</character> <dialogue>LET'S MAKE THIS A NICE, CLEAN SURRENDER.</dialogue> <character>RORSCHACH</character> <dialogue>Heh. Never. Never surrender.</dialogue> <scene_description>Rorschach takes an AEROSOL CAN and a PEPPER SHAKER.</scene_description> <character>DET. FINE (O.S.)</character> <dialogue>ALRIGHT. I HOPE YOU'RE READY, "HERO."</dialogue> <scene_description>Rorschach's mask DISAPPEARS back into darkness.</scene_description> <character>RORSCHACH</character> <dialogue>When you are . •</dialogue> </scene> <scene> <stage_direction>INT. MOLOCH'S BROWNSTONE - FOYER - CONTINUOUS</stage_direction> <scene_description>CRASH! Moloch's door is SMASHED OPEN. Armed SWAT COPS swarm in, but no more than three can fit in the narrow entry way.</scene_description> <character>SWAT COP 1</character> <dialogue>It's a bum tip, I'm telling you.</dialogue> <character>SWAT COP 2</character> <dialogue>Keep your eyes open.</dialogue> <scene_description>SWAT Cop 1 moves down the hall, carelessly ahead of formation- --BEHIND HIM, Rorschach APPEARS out of the darkness. He IGNITES the AEROSOL CAN'S STREAM, SPRAYING THE COPS WITH FIRE. They fall back, screaming, shooting. SWAT Cop 1 catches the worst of it--he DROPS AND ROLLS on the floor, trying to extinguish the flames on him. Rorschach BOLTS upstairs, IGNITING the staircase behind him. Pandemonium.</scene_description> <character>SWAT COP 3</character> <dialogue>Where'd he go?</dialogue> <character>SWAT COP 2</character> <dialogue>Upstairs! He's upstairs! Go!</dialogue> </scene> <scene> <stage_direction>INT. MOLOCH'S BROWNSTONE - SECOND FLOOR - CONTINUOUS</stage_direction> <scene_description>SWAT COPS top the 2nd floor landing, already lit by fire.</scene_description> <character>SWAT COP 3</character> <dialogue>Where is he?!</dialogue> <parenthetical>(into radio)</parenthetical> <dialogue>Send the second team in! Graves is down! And we need a fire unit. All this smoke--</dialogue> <character>SWAT COP 2</character> <dialogue>Stay calm, the file says he never goes armed.</dialogue> <scene_description>Rorschach APPEARS, blowing PEPPER INTO COP 2'S EYES.</scene_description> <character>SWAT COP 2</character> <dialogue>AHH! I CAN'T SEE!</dialogue> <character>SWAT COP 3</character> <dialogue>Get out of the way! I don't have room to--</dialogue> <scene_description>SWAT Cop 3 CLEARS his line of fire • • . and finds Rorschach AIMING THE GRAPPLING GUN AT HIS CHEST.</scene_description> <character>SWAT COP 3</character> <dialogue>Shit . .</dialogue> <scene_description>The hook BLOWS the body-armored cop OVER THE RAILING.</scene_description> </scene> <scene> <stage_direction>EXT. MOLOCH'S BROWNSTONE - NIGHT</stage_direction> <scene_description>Det. Gallagher and Fine watch from behind a LINE OF COP CARS. The house is now BLAZING. Smoke and men's screams drift out.</scene_description> <character>DET. FINE</character> <dialogue>We've got him. There's no way out.</dialogue> <scene_description>From the second floor, Rorschach SMASHES THROUGH THE WINDOW, snarling like a rabid dog, landing hard on the concrete. His ankle TWISTS, dropping him to the ground. Rorschach struggles to get to his feet. When he looks up he finds TWENTY COPS IN A SEMI-CIRCLE before him. A loaded, pregnant pause. The COPS RUSH FORWARD. But Rorschach holds up a gloved hand. And they all stop, unsure what this lunatic will do next.</scene_description> <character>RORSCHACH</character> <dialogue>Ten years. I've waited for this.</dialogue> <scene_description>CONTINUED: He beckons them forward. The cops PILE INTO HIM. Rorschach brutally disables six cops before he is overwhelmed.</scene_description> <character>RORSCHACH</character> <dialogue>No pain. Must get up. Find who framed me--</dialogue> <scene_description>A Cop KICKS HIM in the throat. Rorschach drops again.</scene_description> <character>FINE</character> <dialogue>Get that mask off him!</dialogue> <character>COP 1</character> <dialogue>I qot it. Christ, he stinks!</dialogue> <character>RORSCHACH</character> <dialogue>Ne no no NO NO NO!</dialogue> <scene_description>The Cop peels back the shifting mask to reveal the Homeless Man from the news stand. He screams at them wildly,</scene_description> <character>RORSCHACH</character> <dialogue>My face! Give it back to me!</dialogue> <scene_description>Rorschach is finally beaten, surrounded by cops, as Moloch's house blazes in the background.</scene_description> <character>RORSCHACH</character> </scene> <scene> <stage_direction>INT. DAN'S HOUSE - DAY</stage_direction> <scene_description>Dan is at the front door, fixing the lock Rorschach busted twice, when Laurie comes down the stairs, yawning.</scene_description> <character>LAURIE</character> <dialogue>What time is it?</dialogue> <character>DAN</character> <dialogue>Noon. Thought I'd let you sleep in.</dialogue> <scene_description>Laurie smiles at him. Is Dan crazy or does he sense a spark? She touches his shoulder as she turns into the living room, then turns on the TV:</scene_description> <character>ANCHORWOMAN</character> <dialogue>Today, police searched the apartment of Walter Kovacs, better known as the masked vigilante Rorschach. Kovacs was captured last night and charged with the murder of Edgar Jacobi, formerly known as the supervillain Moloch. Moloch was found shot in the head at point blank range.</dialogue> <scene_description>CONTINUED: Both Dan and Laurie stop what they're doing, eyes fixed on the TV: They see Rorschach, unmasked, IN SHACKLES.</scene_description> <character>ANCHORWOMAN</character> <dialogue>Inside the decrepit apartment, police discovered a collection of anti-communist propaganda and right-wing literature, including several years of back issues of ultra-conservative publication, "The New Frontiersman." We spoke with "New Frontiersman" editor Hector Godfrey.</dialogue> <scene_description>CUT TO: A clip of the EDITOR being interviewed. We see Seymour, who we met at the news stand, in the background.</scene_description> <character>EDITOR</character> <dialogue>Rorschach is an American patriot and we are proud that he reads this publication. You don't like it, move to East Germany.</dialogue> <character>ANCHORWOMAN</character> <dialogue>During his capture, Kovacs assaulted and severely injured at least nine police officers, shooting one officer with a grappling gun. That officer is in serious but stable condition.</dialogue> <character>ANCHORMAN</character> <dialogue>Meanwhile, across the nation, some homeowners are already hiring contractors to build private nuclear fallout shelters-</dialogue> <scene_description>Laurie shuts off the TV, not wanting to hear the war talk.</scene_description> <character>LAURIE</character> <dialogue>That mask's eaten Rorschach's brains away.</dialogue> <character>DAN</character> <dialogue>He wasn't always like that. We were a great team--tactically, he was brilliant. But I don't know, something about this murder charge~ • . I just can't see Rorschach shooting Moloch.</dialogue> <character>LAURIE</character> <dialogue>He shot a cop with a grappling gun.</dialogue> <character>DAN</character> <dialogue>Don't remind me, I made that thing for him. But a regular gun just seems too • • ordinary . . •</dialogue> <scene_description>CONTINUED: ( 2)</scene_description> <character>LAURIE</character> <dialogue>And all this talk of the Soviets and nuclear war, god. Sometimes I wish I could just leave the planet. Like Jon.</dialogue> <character>DAN</character> <dialogue>Oh sure. The old Manhattan Transfer.</dialogue> <character>LAURIE</character> <dialogue>Funny. That's what you call Jon's teleportation?</dialogue> <character>DAN</character> <dialogue>Well, not to his face.</dialogue> <scene_description>Laurie laughs.</scene_description> </scene> <scene> <stage_direction>INT. PRISON HALLS - DAY</stage_direction> <scene_description>Rorschach walks, led by TWO CORRECTIONAL OFFICERS. From the cells, PRISONERS shout insults, death threats. Rorschach stares ahead. Silent. Calm.</scene_description> </scene> <scene> <stage_direction>INT. PRISON PSYCH ROOM~ DAY</stage_direction> <scene_description>The PRISON PSYCHIATRIST, Black, amiable, a little overweight, sits across the table from Rorschach sans mask: Cold and frightening. The Psychiatrist reads his FILE.</scene_description> <character>PSYCHIATRIST</character> <dialogue>Walter Kovacs. Is that your name? Walter?.</dialogue> <character>RORSCHACH</character> <dialogue>No.</dialogue> <scene_description>The Psychiatrist sits back, considering Rorschach carefully.</scene_description> <character>PSYCHIATRIST</character> <dialogue>Let me explain your situation here, Walter. If you cooperate with me, I may be able to convince them that you should be treated medically, in a hospital, which I believe is best for you. But the authorities want to put you in General Population.</dialogue> <character>RORSCHACH</character> <dialogue>A prison is a prison.</dialogue> <scene_description>CONTINUED:</scene_description> <character>PSYCHIATRIST</character> <dialogue>Yes, but the difference is, downstairs? They'll eat you alive. You're responsible for a lot of them being imprisoned here.</dialogue> <scene_description>He holds up a RORSCHACH BLOT-CARD.</scene_description> <character>PSYCHIATRIST</character> <dialogue>Now . . . tell me what you see.</dialogue> <scene_description>FLASH OF: A DEAD DOG. Bloody, horrible.</scene_description> <character>RORSCHACH</character> <dialogue>A pretty butterfly.</dialogue> <character>PSYCHIATRIST</character> <parenthetical>(holds another card)</parenthetical> <dialogue>How about this one? What do you see here?</dialogue> <scene_description>FLASHES OF: Rorschach, as a LITTLE BOY, watching his MOTHER, HALF NAKED, EMBRACE A HAN AS HE HANDS HER SOME HONEY. When she catches Rorschach interrupting, she SMACKS him in the face. Shuts the door on him.</scene_description> <character>RORSCHACH</character> <dialogue>Some nice flowers.</dialogue> <scene_description>The Psychiatrist eyes him, dubious. Holds up another card. FLASHES OF: Rorschach as a little.boy looking up at TWO OLDER Bors, teasing him. Calling him "son of a whore." Rorschach just wants to be left alone when one of the Boys SPITS in his face. Suddenly, Rorschach's face changes. He attacks the Boy like a wild animal--biting, clawing • •</scene_description> <character>RORSCHACH</character> <dialogue>Clouds.</dialogue> <scene_description>The Psychiatrist sighs, puts the cards down.</scene_description> <character>PSYCHIATRIST</character> <dialogue>Tell me about Rorschach. Will you do that?</dialogue> <character>RORSCHACH</character> <dialogue>Why are you here with me, doctor?</dialogue> <character>PSYCHIATRIST</character> <dialogue>Because I want to make you well.</dialogue> <character>RORSCHACH</character> <dialogue>There're other men in here with behavior more extreme than mine.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>RORSCHACH</character> <dialogue>Of course, they're not famous. You want to know about Rorschach, doctor? I'll tell you about Rorschach.</dialogue> </scene> <scene> <stage_direction>EXT. CITY STREETS - NIGHT (FLASHBACK - 8 YEARS AGO)</stage_direction> <scene_description>Rorschach walks through intermittent STREETLIGHTS. In his GLOVE, he holds a PHOTO of an angelic SIX YEAR OLD GIRL.</scene_description> <character>RORSCHACH ( V. 0 . )</character> <dialogue>I was investigating a kidnap case. Blair Roche, 6 year old girl. I was young then. Too soft on criminals. I let them live.</dialogue> </scene> <scene> <stage_direction>EXT. HOUSE - NIGHT (FLASHBACK - 8 YEARS AGO)</stage_direction> <scene_description>A creepy, deserted-looking house. Rorschach peers through a slatted fence at TWO GERMAN SHEPHERDS FIGHTING.</scene_description> <character>RORSCHACH ( V. 0 . )</character> <dialogue>Broke a man's arm to get a tip. Led me to the missing girl's location.</dialogue> </scene> <scene> <stage_direction>INT. HOUSE - NIGHT (FLASHBACK - 8 YEARS AGO)</stage_direction> <scene_description>CRACK! The front door is KICKED OPEN, smashing the lock. Rorschach moves between a line of headless MANNEQUINS. In one corner rests an old WOOD-BURNING STOVE. Rorschach peers inside, removes a BLACKENED scrap of UNDERWEAR. It's decorated with little hearts and bears.</scene_description> <character>RORSCHACH ( V. 0. )</character> <dialogue>I knew the girl was here. But when I searched the place I saw nothing.</dialogue> </scene> <scene> <stage_direction>INT. HOUSE - KITCHEN - NIGHT (FLASHBACK - 8 YEARS AGO)</stage_direction> <scene_description>Rorschach enters the kitchen. out the window, the DOGS are fighting. Rorschach opens a cupboard, where a line of KNIVES, CLEAVERS and a HACKSAW hang on hooks. Outside, the snarling dogs get LOUDER. Slowly now, Rorschach's gaze moves from the knives . . • to the counter. He runs his gloved finger along RED STAINED, DEEP-CUT GROOVES in a THICK WOODEN CHOPPING BLOCK. Blood. His gaze continues out the window • • •</scene_description> <character>'RORSCHACH ( V. 0 €� )</character> <dialogue>And then I found her .</dialogue> <scene_description>. . • to the dogs, still fighting over the BONE, which we now recognize as a small, HUMAN FEMUR--that of the little girl.</scene_description> <character>CONTINUED:</character> <dialogue>Rorschach clenches his hands in fury, his fists tremble . . . and suddenly, he relaxes. Calms. Rorschach slowly turns to the cupboard. He reaches for a large CLEAVER . . . EXT. HOUSE - LATER (FLASHBACK - 8 YEARS AGO) The greasy, fat MURDERER walks past the now-silent fence.</dialogue> <character>RORSCHACH ( V. 0. )</character> <dialogue>It was dark when the murderer got back. As dark as it gets.</dialogue> <character>INT. HOUSE - NIGHT (FLASHBACK - 8 YEARS AGO)</character> <dialogue>The Man flicks a LIGHT SWITCH. Nothing. He draws a GUN. INT. HOUSE KITCHEN - NIGHT {FLASHBACK - 8 YEARS AGO) He tries the light in here. Nothing again. He turns away as the BODY of a DEAD GERMAN SHEPHERD CRASHES THROUGH THE WINDOW!</dialogue> <dialogue>He SCRAMBLES through the house, falling over mannequins. He FIRES madly into the dark. The SECOND DOG SMASHES INTO HIM</dialogue> <scene_description>',.\_j FROM A SECOND WINDOW. His gun goes flying. He scrambles backward against the stove. From behind, Rorschach CUFFS THE MAN'S WRIST TO THE STOVE. When the Man sees that "face," he loses his bladder. Rorschach just stares, mask-blots shifting • . •</scene_description> <character>MURDERER</character> <dialogue>You think I had something to do with that girl? I didn't! Where's your evidence?</dialogue> <scene_description>Rorschach calmly points • • . to the body of the dog. (It is the same image Rorschach saw in the first blot-card.)</scene_description> <character>CHILD MOLESTER</character> <dialogue>okay, I confess! I kidnapped her! I killed her! Arrest me!</dialogue> <character>RORSCHACH</character> <dialogue>Men get arrested.</dialogue> <scene_description>Rorschach RAISES THE CLEAVER, high over his head . . .</scene_description> <character>RORSCHACH</character> <dialogue>Dogs get put down.</dialogue> <scene_description>Rorschach SWINGS the cleaver DOWN. Blood SPLATTERS his mask.</scene_description> </scene> <scene> <stage_direction>INT. PRISON PSYCH ROOM - DAY</stage_direction> <scene_description>The Psychiatrist listens, paralyzed. Horrified.</scene_description> <character>RORSCHACH</character> <dialogue>A tremor of impact shook my arm. Warm blood splashed my face. It was Walter Kovacs who screamed, who closed his eyes-- it was Rorschach who opened them again.</dialogue> <scene_description>The silence reels out • • .</scene_description> <character>RORSCHACH</character> <dialogue>You see, Doctor. God didn't kill that little girl, fate didn't butcher her and destiny didn't feed her to those dogs. If God saw what any of us did that night, he didn't seem to mind. From then on, I knew. God doesn't make the world this way. We do.</dialogue> <scene_description>The Psychiatrist rises shakily. He crosses to the GUARD.</scene_description> <character>PSYCHIATRIST</character> <dialogue>I can't help him.</dialogue> </scene> <scene> <stage_direction>INT. PRISON COMMISSARY - EVENING</stage_direction> <scene_description>The Mess hall is PACKED, hundreds of INMATES ~at dinner. Rorschach enters. The place goes instantly, heavily SILENT. Suddenly someone yells:</scene_description> <character>RANDOM VOICE</character> <dialogue>Hey Rorschach, I heard your momma was a whore!</dialogue> <scene_description>A cruel RIPPLE OF LAUGHTER and the mass conversation begins again as Rorschach takes his place in the food line. A HUGE PRISONER moves in behind him. He whispers:</scene_description> <character>PRISONER</character> <dialogue>Hey, Rorschach. You're pretty famous, right? Y'know, I'm pretty famous too. Maybe I can give you my autograph.</dialogue> <scene_description>The Prisoner slides a SHIV from his sleeve . . • Rorschach doesn't register this. He waits for the FRY-COOK behind the counter to turn away-- --then casually reaches across and lifts the DEEP-FRYER BASKET from its mount-- CONTINUED: --the Prisoner JABS the shiv forward--Rorschach spins, GRIPPING the man's wrist and FLINGING the BOILING GREASE INTO THE MAN'S FACE. The man SHRIEKS like a FIRE WHISTLE and CRASHES TO THE GROUND. The Guards DESCEND on Rorschach. Rorschach is calm as he's dragged away. As the injured man's screams fall away to weak, bubbling hitches, the room once again goes silent. Rorschach eyes the fearful, hateful eyes of.the room, marking each one. And in the silence he speaks, his icy voice carrying easily.</scene_description> <character>RORSCHACH</character> <dialogue>None of you understand. I'm not locked up in here with you--</dialogue> <scene_description>Rorschach is placidly dragged off INTO DARKNESS</scene_description> <character>RORSCHACH</character> <dialogue>--you're locked up in here with me.</dialogue> </scene> <scene> <stage_direction>INT. DAN'S OWL-CHAMBER - EVENING</stage_direction> <scene_description>CLOSE ON: THE NITE-OWL UNIFORM, the mask staring-its blank, empty stare. Laurie stares back, alone down here, fascinated with the costume, the gadgets, the whole place. She wanders to the OWL-SHIP, whose tarp has been pulled back. She runs ·-"~ her finger through the DUST caked on the windshield.</scene_description> </scene> <scene> <stage_direction>INT. OWL-SHIP - EVENING</stage_direction> <scene_description>Inside the ship, Laurie pulls opeh a HATCH filled with ALTERNATE COSTUMES; designed for underwater work, cold conditions, heavy armor, a fireproof suit. She puts a cigarette in her mouth.</scene_description> <character>LAURIE</character> <dialogue>All these gadgets and there isn't even a dash lighter . . .</dialogue> <scene_description>She hits a BUTTON--the lights inside go DIM. Creepy. She hits the button again to turn the lights back on but nothing happens • . • INT. DAN'S KITCHEN - EVENING Dan returns home with some take-out food . • . when he hears Laurie SCREAM downstairs.</scene_description> <character>DAN</character> <dialogue>Laurie?!</dialogue> <scene_description>Dan BOLTS for the basement door, thoughts of the mask-killer on his mind--</scene_description> </scene> <scene> <stage_direction>INT. DAN'S OWL-CHAMBER - EVENING</stage_direction> <scene_description>Dan descends the stairs and sees FIRE.</scene_description> <character>DAN</character> <dialogue>LAURIE!</dialogue> <scene_description>Dan grabs a FIRE EXTINGUISHER.</scene_description> <character>DAN</character> <dialogue>Where are you?!</dialogue> <scene_description>Dan SPRAYS the fire. Laurie stumbles from the smoke, out of the Owl-Ship. Dan's got the fire under control now.</scene_description> <character>LAURIE</character> <dialogue>I'm so sorry--I hit the wrong button. I was looking for the lighter in there.</dialogue> <character>DAN</character> <dialogue>I don't smoke. Are you hurt?</dialogue> <character>LAURIE</character> <dialogue>I'm fine, but your ship--</dialogue> <character>DAN</character> <dialogue>Ah, that's mostly just soot. Besides, any heat triggers the cooling sensors built into the frarne--Aichie's virtually fireproof.</dialogue> <character>LAURIE</character> <dialogue>Archie?</dialogue> <character>DAN</character> <parenthetical>(embarrassed)</parenthetical> <dialogue>Short for Archirnedes--Merlin's owl. I'm just glad you're okay. I heard you scream and well, you know, after the Comedian--</dialogue> <character>LAURIE</character> <dialogue>Still with the mask-killer theory? Rorschach is insane.</dialogue> <character>DAN</character> <dialogue>Maybe, but the Comedian murdered; Jon exiled; Someone tries to shoot Adrian; Rorschach gets arrested. It makes me uneasy.</dialogue> <character>;:-</character> <dialogue>Dan goes to a BANK OF SWITCHES on the wall. Flicking them, } the OWl-Charnber LIGHTS UP. Hidden FANS dissipate the smoke. \</dialogue> <scene_description>f ,....,..,\_,.\_-,-m"T","TTT~'T'"'\ \ CONTINUED:</scene_description> <character>LAURIE</character> <dialogue>How did you ever afford all this?</dialogue> <character>DAN</character> <dialogue>My Dad was in corporate banking. He left me quite a bit. Which always surprised me.</dialogue> <character>LAURIE</character> <dialogue>How did he die?</dialogue> <character>DAN</character> <dialogue>Mugging. He was shot.</dialogue> <scene_description>He says as he climbs the stairs.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - EVENING</stage_direction> <scene_description>The TV is on in the background, playing a PUBLIC SAFETY ANNOUNCEMENT about nuclear shelters and air raid sirens. As Dan cleans up, Laurie watches him, like she's seeing him for the first time.</scene_description> <character>LAURIE</character> <dialogue>You really do worry about me, don't you?</dialogue> <character>DAN</character> <dialogue>Huh? Well, yeah, of course I worry about you, I mean, we're, y'know, friends--</dialogue> <scene_description>Laurie takes off his glasses . . • and KISSES him. It's what Dan's been wanting all this time • • . The kissing becomes more passionate, clothes start coming off. Laurie pulls Dan down on the couch--they're about to make love, but • • .</scene_description> <character>LAURIE</character> <dialogue>What's wrong?</dialogue> <character>DAN</character> <dialogue>Nothing, uh, just uh, give me a minute, or so • .</dialogue> <scene_description>He can't get it up.</scene_description> <character>LAURIE</character> <dialogue>Oh.</dialogue> <character>DAN</character> <dialogue>Sorry, I</dialogue> <character>LAURIE</character> <dialogue>It's okay. It happens to everyone.</dialogue> <scene_description>CONTINUED: Dan lingers for a moment, hoping . . . but nothing.</scene_description> <character>DAN</character> <dialogue>This is so embarrassing.</dialogue> <character>LAURIE</character> <dialogue>No, no. Maybe we're moving too fast. We don't have to rush anything. We have plenty of time.</dialogue> <scene_description>She hugs him tight, warm. It should make Dan feel better, but the sympathy makes him feel more pathetic instead.</scene_description> </scene> <scene> <stage_direction>INT. PRISON CELL - NIGHT</stage_direction> <scene_description>Rorschach sits in his cell, staring impassively at the wall. The GUARD on duty hears footsteps .. He looks up, sees who it is, then turns his back ~nd suspiciously walks away</scene_description> <character>BIG FIGURE (O.S.)</character> <dialogue>It's been a long time, Rorschach.</dialogue> <scene_description>Rorschach turns to see TWO THUGS standing side by side, one muscle bound, the other very fat, staring at him through the bars. PAN DOWN: To reveal a MIDGET between them--the supervillain known as BIG FIGURE--his silver hair combed neatly back, a big CIGAR perched in his tiny mouth.</scene_description> <character>RORSCHACH</character> <dialogue>Big Figure. Small.world.</dialogue> <character>BIG FIGURE</character> <parenthetical>(chuckles through smoke)</parenthetical> <dialogue>I like that. But you know, it is a small world in here. I've been in it for--how long now, Billy?</dialogue> <character>DUMB THUG</character> <dialogue>Almost fifteen years, Mr. Figure.</dialogue> <character>BIG FIGURE</character> <dialogue>That's right. Fifteen years since you and that owl fella put me away. Rorschach-- that guy you burned is dying. Could go any minute now. You know, by my count, there are more than 50 people in here that you put away. I've been talking to them all. They're all dying to get a piece of you. This place is gonna explode. Then you die by inches.</dialogue> <character>RORSCHACH</character> <dialogue>Tall order.</dialogue> <scene_description>I r,f"'li,.'TmT'l..'TT'T"C'IT"\ \ CONTINUED:</scene_description> <character>FAT THUG</character> <parenthetical>(SLAMS into the bars)</parenthetical> <dialogue>I'm gonna tear this guy a new hole!</dialogue> <character>BIG FIGURE</character> <dialogue>Relax, Lloyd. Soon.</dialogue> <scene_description>Chuckling, Big Figure walks off down the long, shadowed corridor. Rorschach continues staring straight ahead.</scene_description> </scene> <scene> <stage_direction>INT. DAN'S NIGHTMARE - NIGHT</stage_direction> <scene_description>CLOSE ON: Dan, naked, on his knees in the center of an INFINITE FIELD OF BLACKNESS. No corners, no exits. In the DISTANCE, he sees a FEMALE FORM. Desperate, he runs to her. It's Laurie, waiting for him IN COSTUME. They kiss. She tears at him passionately. His SKIN suddenly TEARS AWAY like wrapping paper. Beneath the false skin, Dan wears his NITE- OWL COSTUME. Confident, he touches her face. She smiles with palpable heat. They kiss. In the background, a NUCLEAR BLAST ERUPTS. Still kissing, the BLAST BLOWS THEM INTO TWO EMBRACING SKELETONS.</scene_description> </scene> <scene> <stage_direction>INT. DAN'S BEDROOM - NIGHT</stage_direction> <scene_description>Dan wakes with a jolt, sweat beaded on his forehead . • .</scene_description> </scene> <scene> <stage_direction>INT. DAN'S OWL-CHAMBER - NIGHT</stage_direction> <scene_description>The DOOR opens. Laurie stands in the SHAFT OF LIGHT.</scene_description> <character>LAURIE</character> <dialogue>Dan? Is everything okay? I heard you coming down the stairs .</dialogue> <scene_description>Descending the stairs, she finds Dan before his costume, naxed. He fiddles with an OWL-WING THROWING WEAPON.</scene_description> <character>DAN</character> <dialogue>Mask killers. War. Nuclear annihilation. I feel so powerless, so • . . I've been afraid of this damn costume. Afraid of how much I need it.</dialogue> <scene_description>He FLINGS the owl wing crescent, whizzing into the dark.</scene_description> <character>LAURIE</character> <dialogue>So. Let's take the ship out.</dialogue> <character>DAN</character> <dialogue>What?</dialogue> <scene_description>CONTINUED: (:</scene_description> <character>LAURIE</character> <dialogue>Who's to know? I used to be a "masked avenger" too, remember? I'm used to getting up at three in the morning to do something stupid. Besides, I'm already a wanted lady, you're already in trouble for hiding me, how much more trouble can we be in? Just give me a second--can't go out like this.</dialogue> <scene_description>She jogs upstairs. Dan turns to the empty, waiting suit.</scene_description> </scene> <scene> <stage_direction>INT. DAN'S OWL-CHAMBER - LATER</stage_direction> <scene_description>PAN UP: DAN'S COSTUMED BODY. The Nite owl suit is fantastic, intricate, but above the belly . • it just barely fits, Dan managing to CLICK it closed.</scene_description> <character>DAN</character> <dialogue>Luckily I constructed it with material that was elastic and--</dialogue> <scene_description>Dan turns as Laurie appears at the door, decked in her BLACK SPANDEX. SILK SPECTRE, looking every bit as good as seventeen-</scene_description> <character>DAN</character> <dialogue>--form fitting.</dialogue> <character>LAURIE</character> <dialogue>I'm ready.</dialogue> <scene_description>Dan turns and sees his reflection in the owl-Ship's window.</scene_description> <character>DAN</character> <dialogue>Me too.</dialogue> </scene> <scene> <stage_direction>INT. OWL-SHIP (MOVING) - NIGHT</stage_direction> <scene_description>Laurie holds on as the OWl-Ship's ENGINES ROAR to life. The ship RISES INTO THE AIR and slips easily into the TUNNEL. Laurie watches the LIGHTS of the tunnel whiz by. At the end, two big STEEL DOORS open, allowing a passage UP.</scene_description> <character>DAN</character> <dialogue>Let's have some cloud cover.</dialogue> </scene> <scene> <stage_direction>INT. WAREHOUSE - NIGHT</stage_direction> <scene_description>THICK FOG POURS FROM LOWER-DECK JETS as the ship RISES into an ABANDONED WAREHOUSE, whose steel roof ROLLS BACK.</scene_description> </scene> <scene> <stage_direction>INT./EXT. OWL-SHIP (MOVING) - NIGHT</stage_direction> <scene_description>Laurie touches the window, the SPARKLING CITY laid out below.</scene_description> <character>LAURIE</character> <dialogue>It's so beautiful</dialogue> <character>DAN</character> <dialogue>Hang on.</dialogue> <scene_description>Dan BANKS, wheeling the ship toward the VEIDT BUILDING.</scene_description> <character>DAN</character> <dialogue>Got to clean her up a bit. I'm sure Adrian wouldn't want to impede the course of justice.</dialogue> <scene_description>Heading straight for the building, Dan JIGS at the last moment, flying the ship THROUGH THE V-SHAPED WATERFALL in the skyscraper's center. The water washes clean the years of dust. The Owl-Ship emerges, sparkling like new.</scene_description> <character>LAURIE</character> <dialogue>Look!</dialogue> <scene_description>Below, a TENEMENT BUILDING is IN FLAMES. Dan's jaw sets. He wheels the ship around and down. As they zoom closer, they can see people SCREAMING from the windows. ·</scene_description> <character>LAURIE</character> <dialogue>There's children in there!</dialogue> <character>DAN</character> <dialogue>I'm putting the water cannons on the lower stories.</dialogue> <parenthetical>(over the LOUDSPEAKERS)</parenthetical> <character>PLEASE REMAIN CALM. WE ARE SLOWING THE</character> <dialogue>FIRE DOWN FROM BELOW. CALMLY MAKE YOUR</dialogue> <character>WAY TO THE ROOF--</character> <dialogue>LAURIE</dialogue> <scene_description>The roof's starting to cave. And there are bars on the windows.</scene_description> <character>DAN</character> <dialogue>Let me raise our altitude.</dialogue> <character>LAURIE</character> <dialogue>We don't have time to put out the fire from the top.</dialogue> <scene_description>She says as she grabs the CLOAK from Dan's fireproof owl suit and a FIRE EXTINGUISHER. Dan realizes what she intends to do. CONTINUED: He hits a button OPENING the lower hatch as Laurie WRAPS herself in the fireproof cloak--</scene_description> </scene> <scene> <stage_direction>EXT. TENEMENT BUILDING - NIGHT</stage_direction> <scene_description>--Laurie DROPS down from the owl-Ship like a cannonball--</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - TENEMENT BUILDING - CONTINUOUS</stage_direction> <scene_description>--and CRASHES through the roof, landing on her feet as the cloak falls to the floor. FLAMES are everywhere. Laurie puts out the nearby ones with the extinguisher. She sees a bunch of RESIDENTS trying to find their way through the SMOKE.</scene_description> <character>LAURIE</character> <dialogue>This way!</dialogue> <scene_description>The residents forget their fear of fire for a moment as they soak in the spectacle of this sexy costumed lady. She snaps them out of it by tossing them the cloak.</scene_description> <character>LAURIE {</character> <dialogue>Try to cover yourselves with this and follow me.</dialogue> <scene_description>They follow Laurie down the hall to a BARRED WINDOW. She breaks through the window, then pulls a RETRACTABLE CORD from her BELT and attaches it to the BARS. She steps back several feet • . • The residents watch as Laurie quickly moves forward, toward the bars as the cord RETRACTS, building her momenturn-- --giving Laurie enough power to KICK the bars off the window.</scene_description> </scene> <scene> <stage_direction>EXT. FIRE ESCAPE - CONTINUOUS</stage_direction> <scene_description>Laurie climbs through the window when the owl-Ship p~lls to a hover by the fire escape. The cabin doors open and a RAMP EXTENDS. Laurie looks inside the window and finds even more residents staring at her and the OWl-Ship in wonder.</scene_description> <character>LAURIE</character> <dialogue>If you could all form a single file line, we'll have you out of here in just a moment.</dialogue> <scene_description>ATOP THE SHIP: Dan latches the steering column into its roof socket. He stands; Takes a deep, chest-expanding breath. , ,... ,..., ............ .,.. ............ ,....~ \: CONTINUED: Who has he been kidding? This is who he is. Flicking a switch, OLD JAZZ plays pleasantly.</scene_description> </scene> <scene> <stage_direction>INT. OWL-SHIP - NIGHT</stage_direction> <scene_description>Below, the residents file on board, in a daze at their surroundings. Laurie grins at the music.</scene_description> <character>LAURIE</character> <dialogue>Anybody want coffee?</dialogue> </scene> <scene> <stage_direction>EXT. OWL-SHIP (MOVING) - NIGHT</stage_direction> <scene_description>FIRE rising behind, Dan wings the ship STRAIGHT INTO FRAME. EXT, STREET - NIGHT The Owl-Ship RISES, leaving a grateful CROWD behind. In the background FIRE TRUCKS are just arriving. A FIREFIGHTER looks up in time to see the Owl-Ship disappear into the clouds.</scene_description> </scene> <scene> <stage_direction>INT. OWL-SHIP (MOVING) - NIGHT</stage_direction> <scene_description>Dan skims the clouds like a man waking from a dream.</scene_description> <character>LAURIE</character> <dialogue>I can't believe we did that! That was actually fun</dialogue> <character>DAN</character> <dialogue>Yeah.</dialogue> <scene_description>He puts a hand on her shoulder. His eyes locked onto hers. He knows what he wants and this time he's not afraid of it . • He kisses her. Hard. Running her hands up his cheeks, they slide each other's masks off. Their mouths melt together.</scene_description> </scene> <scene> <stage_direction>INT. OWL-SHIP - LATER</stage_direction> <scene_description>Soft music plays. Dan and Laurie lie in a heap of discarded costumes.</scene_description> <character>LAURIE</character> <dialogue>It was good, wasn't it?</dialogue> <character>DAN</character> <dialogue>Yeah, saving those people from the fire. Taking Archie out . . •</dialogue> <scene_description>Laurie swats him on the chest--that's not what she meant. Dan grins, having fun with her. I ,..,,-.,-,.Tn,"T"-..,..,...,......,.....,' CONTINUED:</scene_description> <character>DAN</character> <dialogue>It--you were unbelievable.</dialogue> <scene_description>They kiss.</scene_description> <character>LAURIE</character> <dialogue>So what do we do next?</dialogue> <scene_description>Dan sits up, serious. Very serious.</scene_description> <character>DAN</character> <dialogue>I've been thinking about that. And I believe we have certain obligatfons to our • . • fraternity.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I think we should spring Rorschach.</dialogue> </scene> <scene> <stage_direction>EXT. OWL-SHIP - CONTINUOUS</stage_direction> <scene_description>Long beat. The ship hovers, silent in the clouds.</scene_description> <character>LAURIE ( V. 0 . )</character> <dialogue>What?</dialogue> </scene> <scene> <stage_direction>INT. PRISON MEDICAL ROOM - NIGHT</stage_direction> <scene_description>The Prisoner Rorschach burned lies in bed, his face completely bandaged, hooked to an IV when he FLATLINES.</scene_description> </scene> <scene> <stage_direction>INT. RORSCHACH'S PRISON CELL - NIGHT</stage_direction> <scene_description>Down the dark corridors, a ROAR is building. ALARMS ring. Big Figure and his two Thugs appear at the door.</scene_description> <character>BIG FIGURE</character> <dialogue>He's dead, Rorschach--the riot's already begun. While everyone's distracted, we thought we'd bring you a housewarming gift. Something from the machine shop.</dialogue> <scene_description>The Fat Thug wheels an ELECTRICAL WELDER to the door. Rorschach sits, idly TEARING his PRISON SHIRT into STRIPS.</scene_description> <character>F~T THUG</character> <dialogue>Hey Boss, y'notice? None of that "small world, tall order" crap, cuz he knows once we slice open this lock, he's next on the block.</dialogue> <character>RORSCHACH</character> <dialogue>Fat chance.</dialogue> <scene_description>CONTINUED: The Fat Thug reddens. He DIVES forward, HANDS SWIPING for Rorschach.</scene_description> <character>FAT THUG</character> <dialogue>You're dead, Rorschach! We got a prison full of killers out here! What've you got?</dialogue> <scene_description>Rorschach SPINS, WRAPPING A SHIRT-STRIP AROUND HIS WRISTS, trapping the Fat Thug's hands inside the cell.</scene_description> <character>RORSCHACH</character> <dialogue>Your hands. My pleasure.</dialogue> <scene_description>Rorschach SNAPS Fat Thug's pinky fingers. Fat Thug SHRIEKS. Rorschach roughly binds the fingers around the bars. Dumb Thug tries to reach the welder around Fat Thug's body.</scene_description> <character>DUMB THUG</character> <dialogue>I can't reach the lock. Should I cut the bars?</dialogue> <character>BIG FIGURE</character> <dialogue>This riot won't last. And I've been waiting fifteen years for this •</dialogue> <scene_description>Big Figure nods to the Dumb Thug, who then grabs Fat Thug's neck.</scene_description> <character>DUMB THUG</character> <dialogue>Nothing personal, big guy.</dialogue> <character>FAT THUG</character> <dialogue>Boss, you can't be serious! Wait--</dialogue> <scene_description>Dumb Thug SNAPS Fat Thug's neck. He then CUTS OFF Fat Thug's hands with the welder, pushes the corpse out of the way to reach the lock. Big Figure grins at Rorschach.</scene_description> <character>BIG FIGURE</character> <dialogue>Now you find out what the score is.</dialogue> <character>RORSCHACH</character> <dialogue>One-nothing. Come and get me.</dialogue> </scene> <scene> <stage_direction>INT. OWL-SHIP (MOVING) - NIGHT</stage_direction> <scene_description>Dan and Laurie are back in costume. CONTINUED:</scene_description> <character>LAURIE</character> <dialogue>Look, Dan, I'm glad you were able to rediscover your calling in life, but I think you're getting carried away. You're talking about springing a homicidal psychopath from prison.</dialogue> <character>DAN</character> <dialogue>Rorschach may be sick, but I think he's on to something--four heroes attacked in a week is not a coincidence. I mean, that whole cancer thing with Jon, does that make sense to you? You didn't contract cancer from him.</dialogue> <scene_description>He says as Laurie's about to light a cigarette. She changes her mind. Looks at the PACK in her hand, then CRUMPLES it and TOSSES it across the floor.</scene_description> <character>LAURIE</character> <dialogue>Why would someone want to drive Jon away? Look what's happening now. With Jon gone it looks like we're in another World War. Who would want that?</dialogue> <scene_description>OUTSIDE THE WINDOW: The OWl-Ship approaches a ROOFTOP with a HELIPAD. On the helipad is a HELICOPTER with the Veidt Enterprises LOGO.</scene_description> <character>DAN</character> <dialogue>I don't know. But I know someone who might be able to help.</dialogue> <scene_description>Dan lands the OWl-Ship on the roof.</scene_description> </scene> <scene> <stage_direction>INT. ADRIAN'S MANSION - NIGHT</stage_direction> <scene_description>Surprisingly, Adrian is awake, packing some of his things, hustling about his grand mansion as Dan and Laurie trail.</scene_description> <character>DAN</character> <dialogue>You're leaving town? So you do believe Rorschach's theory.</dialogue> <character>ADRIAN</character> <dialogue>Please. Right now, I'm not worried about this so-called mask-killer, I'm worried about this mass killer called war--</dialogue> <parenthetical>(calling out)</parenthetical> <dialogue>On! Or have you not heard?</dialogue> <scene_description>A WALL SIZED MIRROR turns into a TV--CNN: CONTINUED:</scene_description> <character>BERNARD SHAW</character> <dialogue>--air strikes have continued on to Kabul. It has also been reported that Soviet tanks are in the streets of Mazar-e Sharif and that the Soviets are close to capturing that city.</dialogue> <scene_description>We see footage of the destruction.</scene_description> <character>DAN</character> <dialogue>God . • .</dialogue> <character>BERNARD SHAW</character> <dialogue>There are reports that fighter·jets have left us bases in China and Saudi Arabia en route to Afghanistan. In Berlin, East German forces have moved along the Berlin Wall. Whether the military is there as a precautionary measure or with other intentions remains to be seen.</dialogue> <scene_description>We see footage of the western s.ide of the Berlin Wall where a YOUTH puts the finishing touches on a GRAFFITI MURAL of Dr. Manhattan, as if pleading for help.</scene_description> <character>LAURIE</character> <dialogue>It's really happening</dialogue> <character>BERNARD SHAW</character> <dialogue>The news spurred panic in several US cities even in this early hour. Looters</dialogue> <scene_description>.hit the streets in Los Angeles, but local police were able to diffuse the situation quickly-- Dan breaks away from the terrible news, follows Adrian.</scene_description> <character>DAN</character> <dialogue>All the more reason we need to get to the bottom of this. Maybe we can get Jon to come back in the process and stop all this madness.</dialogue> <character>ADRIAN</character> <dialogue>Nothing we do will bring Jon back!</dialogue> <parenthetical>(glances at Laurie)</parenthetical> <dialogue>But I think you know that already. And breaking Rorschach out of prison certainly isn't the answer.</dialogue> <character>DAN</character> <dialogue>Rorschach's been the only one investigating this from the start.</dialogue> <scene_description>CONTINUED: ( 2 )</scene_description> <character>DAN</character> <dialogue>Without him, we're starting at the beginning and we don't have that kind of time--</dialogue> <character>ADRIAN</character> <dialogue>You couldn't be more correct.</dialogue> <scene_description>Adrian hits the TV remote and an image of the "Doomsday Clock" appears.</scene_description> <character>ADRIAN ( CONT 'D)</character> <dialogue>It's one minute til Midnight, Dan. Nuclear annihilation is upon us.</dialogue> <character>DAN</character> <dialogue>Come on, Adrian, that science isn't exact.</dialogue> <character>ADRIAN</character> <dialogue>Seeing that I fund the Bulletin of Atomic Scientists, it's exact enough for me.</dialogue> <character>DAN</character> <dialogue>We need your help, Adrian.</dialogue> <character>ADRIAN</character> <dialogue>I'm leaving, Dan. And you should both do the same.</dialogue> <scene_description>Adrian pulls on a thick WINTER COAT and heads upstairs.</scene_description> </scene> <scene> <stage_direction>EXT. HELICOPTER PAD - NIGHT</stage_direction> <scene_description>Adrian walks briskly to his idling COPTER, propellers loudly cutting through the air. Dan gives one last effort, shouting.</scene_description> <character>DAN</character> <dialogue>Where are you going to go?</dialogue> <character>ADRIAN</character> <dialogue>Antarctica.</dialogue> <scene_description>It takes Dan a moment to realize Adrian is serious. By then, Adrian's halfway into the helicopter.</scene_description> <character>ADRIAN ( CONT ' D)</character> <dialogue>Leave the city, Dan--They don't want us anymore. They never did.</dialogue> <scene_description>Dan watches the helicopter fly off.</scene_description> </scene> <scene> <stage_direction>INT. AIR FORCE ONE (MOVING) - NIGHT</stage_direction> <scene_description>The lights are dim in the main cabin as President Nixon stares at the large TV screen which shows the "Doomsday Clock" at one minute til Midnight. President Nixon looks away from the screen and at the MILITARY AIDE who sits stoically across from him with the nuclear "football" briefcase HANDCUFFED td his wrist.</scene_description> </scene> <scene> <stage_direction>INT. PRISON CELL - NIGHT</stage_direction> <scene_description>Dumb Thug WELDS, the lock GLOWS RED. Nearly through. Rorschach backs away as Big Figure tremble·s in excitement.</scene_description> <character>BIG FIGURE</character> <dialogue>Hurry Lloyd! I wanna smell this sonofabitch cooking!</dialogue> <scene_description>The lock MELTS AWAY. Rorschach climbs onto his bun~ as Dumb Thug enters, JABBING the electric welder at him menacingly. Rorschach drives his HEEL into the porcelain TOILET BOWL, SHATTERING IT. WATER SPILLS across the floor. Rorschach KICKS Dumb Thug in the stomach; Dumb Thug buckles, then SLIPS in the water--Dumb Thug falls, welder still in hand as he hits the water • Dumb Thug's hand FUSES to the welder as ELECTRICITY SURGES THROUGH HIM. He collapses, smoking. Dead.</scene_description> <character>RORSCHACH</character> <dialogue>Hmm. Never disposed of sewage with a toilet before. Obvious, really.</dialogue> <scene_description>Big Figure looks very small and alone now</scene_description> <character>RORSCHACH</character> <dialogue>Two-nothing. Your move.</dialogue> <scene_description>Panic stricken, Big Figure moves, or rather, runs. Rorschach calmly follows him out of the cell.</scene_description> </scene> <scene> <stage_direction>INT. OWL-SHIP {MOVING) - NIGHT</stage_direction> <scene_description>The Owl-Ship tears through the sky, the prison ahead on the horizon. Dan has his game face on; Laurie's still unsure.</scene_description> <character>DAN</character> <dialogue>You don't have to do this. I know the whole crimefighting thing wasn't necessarily your choice in life.</dialogue> <scene_description>CONTINUED:</scene_description> <character>LAURIE</character> <dialogue>No. But this is.</dialogue> <parenthetical>(moving next to him)</parenthetical> <dialogue>But I'm not doing it for Rorschach or even for Jon. And I'm sure as hell not doing it for the Comedian.</dialogue> <scene_description>They look at each other--Dan knows who she's doing it for. The owl-Ship is upon the prison now</scene_description> <character>LAURIE</character> <dialogue>Look!</dialogue> <scene_description>They see a RIOT below~-Inmates spilling out into the yard, overwhelming the Correctional Officers on the ground; TOWER GUARDS take shots at some of the Inmates; Broken glass, broken furniture parts are scattered through the yard; SMOKE emits from inside the prison.</scene_description> <character>DAN</character> <dialogue>Hmm, Rorschach gets locked up in here and suddenly there's a riot. I wonder if that's a coincidence.</dialogue> <scene_description>They descend toward the hell of TEAR-GAS, FIRE and violence. The Tower Guards, stunned at the sight of the OWl-Ship, begin SHOOTING at it. The bullets bounce right off.</scene_description> <character>DAN</character> <dialogue>Put your ear-plugs in.</dialogue> </scene> <scene> <stage_direction>EXT. PRISON YARD - NIGHT</stage_direction> <scene_description>The ship emits a PIERCING SHRIEK. WINDOWS SHATTER. The Inmates and Guards fall to the ground in sonic agony.</scene_description> </scene> <scene> <stage_direction>EXT. PRISON - MAXIMUM SECURITY WING - CONTINUOUS</stage_direction> <scene_description>The Owl-Ship stops to a hover position. The LOWER HATCH OPENS and a LADDER extends . As Laurie descends the ladder, Dan simply, joyously LEAPS OUT, his wings SNAP WIDE to GLIDE him through the air.</scene_description> </scene> <scene> <stage_direction>INT. PRISON HALLS - NIGHT</stage_direction> <scene_description>Fires burn in the cells. Shotguns and screams echo in the emergency lighting. Archie's owl-Shriek is dulled here--it's quiet. Tense. Laurie and Dan turn the corner, searching, when they see THREE INMATES beating a GUARD to death. The Inmates look up-- two of them CHARGE toward Dan; I ,... ,.....\_,.,-n "T'"-.,"fT"fT:'fT'\ \ CONTINUED: Dan THROWS what looks like a golf ball at them--the ball EXPLODES, a stun grenade, knocking the Inmates out. The third Inmate pulls the dead Guard's gun, Laurie is quickly upon him, grabbing the barrel of the gun, disarming him, and then PISTOL WHIPPING him in one motion. The Inmate hits the floor. Laurie slips the pistol into her waistband. Dan and Laurie continue their search.</scene_description> <character>LAURIE</character> <dialogue>How do we know Rorschach's still alive?</dialogue> <scene_description>They come upon Rorschach's cell. Dan sees the SMOKING CORPSE of Dumb Thug. Sees the CUT OFF HANDS of Fat Thug, HANGING from the bars.</scene_description> <character>DAN</character> <dialogue>He's alive.</dialogue> </scene> <scene> <stage_direction>INT. PRISON HALLS - NIGHT</stage_direction> <scene_description>Big Figure runs, turns a corner, ducking into the BATHROOM. Rorschach sees this and walks serenely after him . . . when Dan and Laurie enter the far hall.</scene_description> <character>LAURIE</character> <dialogue>Is that--</dialogue> <character>DAN</character> <dialogue>Rorschach? Rorschach!</dialogue> <character>RORSCHACH</character> <dialogue>Hello, Daniel, Ms. Jupiter. Excuse me, I just have to visit the men's room.</dialogue> <scene_description>He disappears into the dark bathroom. Laurie watches after him in stunned disbelief.</scene_description> <character>LAURIE</character> <dialogue>Oh, for Christ's sake.</dialogue> <scene_description>After a moment, and some noises inside, Rorschach exits the bathroom, wiping his hands.</scene_description> <character>RORSCHACH</character> <dialogue>We can leave now.</dialogue> <scene_description>He walks off.</scene_description> <character>LAURIE</character> <dialogue>Are you sure you're ready? We don't want to go diving head-first into things.</dialogue> <scene_description>CONTINUED:</scene_description> <character>RORSCHACH</character> <dialogue>Good advice. I'm sure there are many who'd agree with you.</dialogue> <scene_description>Behind them, BLOODY WATER FLOODS from the bathroom door . . .</scene_description> </scene> <scene> <stage_direction>EXT. PRISON ROOFTOP - NIGHT</stage_direction> <scene_description>The trio crosses the roof as Dan calls Archie by REMOTE.</scene_description> <character>RORSCHACH</character> <dialogue>Good to see you in uniform, Dani\_el. What happened? Finally taking the mask-killer seriously?</dialogue> <character>LAURIE</character> <dialogue>I'm not.</dialogue> <character>RORSCHACH</character> <dialogue>Of course you haven't been attacked yet. Funny, most everyone else has.</dialogue> <character>LAURIE</character> <dialogue>What's that supposed to mean? We came here to rescue you, asshole!</dialogue> <scene_description>DAN \.,..;;,i Hey! Survive now! Argue later! I had to turn the screechers off, so we'll be drawing fire. The Owl-Ship rises to the roof. They all jump in. Rorschach shuts the hatch as Prisoners pour out onto the rooftop, MOBBING the ship. Dan flips the cover off a SWITCH, marked by a LIGHTNING BOLT-- --and the HULL ELECTRIFIES, BLOWING the RIOTERS OFF ITS HULL with sudden, shocking force.</scene_description> </scene> <scene> <stage_direction>EXT. PRISON - NIGHT</stage_direction> <scene_description>Under HEAVY FIRE the OWl-Ship ZOOMS OFF, leaving the chaos behind.</scene_description> </scene> <scene> <stage_direction>INT. OWL-SHIP (MOVING) - NIGHT</stage_direction> <scene_description>Dan weaves and whips the ship into the sky, above the clouds. Satisfied that they've escaped, Dan allows himself a grin. He looks at Laurie, who grins back.</scene_description> <character>RORSCHACH</character> <dialogue>Daniel.</dialogue> <scene_description>CONTINUED: Dan doesn't answer, staring at Laurie, his love . . .</scene_description> <character>RORSCHACH</character> <dialogue>DANIEL.</dialogue> <character>DAN</character> <dialogue>What? What is . • it . .</dialogue> <scene_description>Dan looks up, through the windshield, and sees-- --Dr. Manhattan WALKING ACROSS THE CLOUDS--STRAIGHT FOR THE SHIP.</scene_description> <character>LAURIE</character> <dialogue>It's him.</dialogue> <scene_description>The ship COLLIDES with Dr. Manhattan, who PASSES THROUGH into the CABIN with a SHOWER of BLUE PARTICLES--</scene_description> <character>DR. MANHATTAN</character> <dialogue>Hello Laurie.</dialogue> <character>LAURIE</character> <dialogue>They said you were on Mars.</dialogue> <character>DR. MANHATTAN</character> <dialogue>I am on Mars. You and I are about to have a conversation there.</dialogue> <character>LAURIE</character> <dialogue>Where? What are you talking about?</dialogue> <character>DR. MANHATTAN</character> <dialogue>You are going to try to convince me to save the world.</dialogue> <character>DAN</character> <dialogue>Wait, what? You're taking her to Mars? No, she can't--Laurie, I don't know about this • . .</dialogue> <scene_description>Laurie looks at Dan then at Dr. Manhattan. Comprehending • .</scene_description> <character>LAURIE</character> <dialogue>I have to go, Dan. Jon and I, we're going to talk. Maybe we'll find some way out of this mess the world's gotten itself in. I'll be okay. Really.</dialogue> <character>DAN</character> <dialogue>Laurie--</dialogue> <scene_description>I i'nN'l'Tl\TTll&lt;'n' CONTINUED: (2) Laurie and Dr. Manhattan BURST INTO PARTICLES--they're gone. Dan stares at the space where Laurie just was.</scene_description> <character>RORSCHACH</character> <dialogue>No time .for heartbreak, Daniel.</dialogue> <scene_description>Dan notices TWO BLIPS on the RADAR.</scene_description> </scene> <scene> <stage_direction>EXT. NEW YORK AIRSPACE - NIGHT</stage_direction> <scene_description>TWO NYPD HELICOPTERS appear behind the OWl-Ship INSIDE THE OWL-SHIP: Dan takes the controls.</scene_description> <character>DAN</character> <dialogue>Let's try and lose them in the city.</dialogue> <scene_description>He hits the jets, heading for the New York SKYLINE.</scene_description> </scene> <scene> <stage_direction>EXT. MARS - NIGHT</stage_direction> <scene_description>A red vista. Dr. Manhattan and Laurie appear atop a rise.</scene_description> <character>DR. MANHATTAN</character> <dialogue>So. What do you think?</dialogue> <character>LAURIE</character> <dialogue>J--huc? Hhhhhhh--</dialogue> <scene_description>Laurie GRIPS her throat and TUMBLES down the hill. She rolls into Jon, waiting for her ~t the bottom. She CLAWS at him.</scene_description> <character>DR. MANHATTAN</character> <dialogue>Oh. Forgive me. These things sometimes slip my mind.</dialogue> <scene_description>He TOUCHES her mouth, forming a small ATMOSPHERE around her. She HEAVES in air, retching and choking at the same time.</scene_description> <character>LAURIE</character> <dialogue>Jon, you stupid bastard! Listen, you better not forget this air supply or whatever it • . . is . . •</dialogue> <parenthetical>(looking up)</parenthetical> <dialogue>Oh shit.</dialogue> <scene_description>Laurie stands up before Jon's huge GLASS PALACE. LAURIE (CONl''D) I'm on Mars. 97,: EXT, NEW YORK CITY AIRSPACE - NIGHT The Owl-Ship WEAVES around the buildings, trying to shake the copters , • . but the pilots are good, staying on its tail. The Owl-Ship shoots out of the city over the water . . . Dan LOOPS Archie around-- --and heads straight for a SUBWAY TUNNEL • . .</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY TUNNEL - CONTINUOUS</stage_direction> <scene_description>• just clearing it. The owl-Ship SKIMS the sides of the tunnel, SPARKS flying-- --when a SUBWAY appears. They're heading straight for it.</scene_description> <character>DAN</character> <dialogue>oh no.</dialogue> <character>RORSCHACH</character> <dialogue>Tactical error, ·Daniel.</dialogue> <character>DAN</character> <dialogue>I know--</dialogue> <scene_description>They head straight for the subway-- --when the tunnel opens up-- --Dan SWERVES to the adjacent track just in time.</scene_description> </scene> <scene> <stage_direction>EXT. NEW YORK CITY AIRSPACE - NIGHT</stage_direction> <scene_description>The Owl-Ship emerges from the subway tunnel . • • when one of the NYPD copters cuts it off.</scene_description> <character>DAN</character> <dialogue>Shit.</dialogue> <scene_description>Dan accelerates, weaving Archie around the skyscrapers, the Empire State Building . • . but the copter's still there. Dan cuts around the UNITED NATIONS BUILDING. The copter follows the owl-Ship around to the East River • • . but the Owl-Ship is nowhere to be found The copter hovers there. Baffled.</scene_description> </scene> <scene> <stage_direction>EXT. EAST RIVER (UNDERWATER) - SAME TIME</stage_direction> <scene_description>The Owl-Ship rests at the bottom of the river, hidden . . .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>A group of GANG MEMBERS (with the black and yellow bandanas who confronted Dan on the subway earlier in the film) walk down the block when another Gang Member catches up, running.</scene_description> <character>GANG MEMBER 1</character> <dialogue>Yo, y'all hear? Some super owl dude broke Rorschach outta prison.</dialogue> <character>GANG LEADER</character> <dialogue>Rorschach? That fool put my cousin in a wheelchair • .</dialogue> <character>GANG MEMBER 2</character> <dialogue>You say Nite Owl broke him out? Him and Rorschach used to be partners, remember? Maybe he messed your cousin up too.</dialogue> <character>GANG MEMBER 1</character> <dialogue>Didn't he write a book or something? He lives over a garage near here.</dialogue> <character>GANG LEADER</character> <dialogue>Does he now • . .</dialogue> </scene> <scene> <stage_direction>INT. HOLLIS MASON'S APARTMENT - BEDROOM - NIGHT</stage_direction> <scene_description>Hollis sits up in bed, TV on: CNN; Grainy, shaky CLIPS of the Owl-Ship. He's on the phone, beaming.</scene_description> <character>HOLLIS</character> <dialogue>It's just like old times, Sal. Nite owl and Silk Spectre back at it again.</dialogue> <scene_description>CUT TO: Sally Jupiter on the other end in California, watching the same footage.</scene_description> <character>SALLY</character> <dialogue>I always knew Laurie had it in her. Sorry for waking you, Hollis.</dialogue> <character>HOLLIS</character> <dialogue>I may be retired from the costume, but my sleeping habits have never changed.</dialogue> <scene_description>There's a KNOCK at Hollis's door.</scene_description> <character>HOLLIS</character> <dialogue>Who--there's someone at the door. It might be Dan and Laurie--they may need help. I better go.</dialogue> <scene_description>, ,...,,....\_ .. . , . ~ ........ .,.T"f~T"', \ CONTINUED: Hollis hangs up, heads to the door, excited. He opens the door-- --and the Gang Members PILE INTO HIM. The picture SLOWS DOWN. Hollis turns, mouth bleeding. HOLLIS' POV IS SEPIA TONED. The gang appears as a COLLECTION of VILLAINS in COSTUMES. SLOW, SEPIA: A young Hollis is in his old COSTUME. The VOICES come from the present, while Hollis is lost in the past. In his SLO-MO world, Hollis PASTES a Villain in the mouth--in reality, he gets nailed. This intercutting continues until the Gang Leader picks up the GOLD STATUE of Hollis in costume whose base reads: IN GRATITUDE •</scene_description> <character>GANG MEMBER 1</character> <dialogue>Hold on, Derf, are you sure this is the right guy--he, he's just an old man.</dialogue> <character>GANG LEADER</character> <dialogue>Then I'm probably doing him a favor.</dialogue> <scene_description>Hollis, old again, looks up. The SHADOW of the statue DESCENDS HARD TOWARD HIS FACE--GO BLACK.</scene_description> </scene> <scene> <stage_direction>INT. OWL-SHIP (UNDERWATER - MOVING) - NIGHT</stage_direction> <scene_description>The Owl-Ship moves slowly through the water.</scene_description> <character>RORSCHACH</character> <dialogue>I hate this. How long are we going to stay down here? Daniel!</dialogue> <scene_description>Dan says nothing. Rorschach puts on his costume.</scene_description> <character>RORSCHACH</character> <dialogue>You' re lettingfear paralyze you. And that woman--</dialogue> <character>DAN</character> <dialogue>Hey! We took enough unnecessary risks bringing Archie up so you could get your spare costume. We stay put until it cools down out there--they\_'re looking for us.</dialogue> <character>RORSCHACH</character> <dialogue>Unnecessary? Cowering in the sludge, from the authorities, that's unnecessary.</dialogue> <parenthetical>(pulls his mask on, turns)</parenthetical> <dialogue>While we waste time, the mask-killer gets closer. We need to get to Pyramid Industries.</dialogue> <scene_description>CONTINUED: Dan sits at the COMPUTER.</scene_description> <character>DAN</character> <dialogue>I know, you told me already. I'm tapping into all the databases, finding out about the company--</dialogue> <character>RORSCHACH</character> <dialogue>Sitting at a computer? No. We need to trace the killer--hit up underworld contacts, squeeze people. You've forgotten how we do things. You've been lazing around too long.</dialogue> <character>DAN</character> <dialogue>Listen, I HAVE HAD IT! Who the hell do you think you are? You live off people while insulting them, and no one complains because they think you're a goddamn lunatic!</dialogue> <scene_description>Dan turns away, shaking. He leans against the console.</scene_description> <character>DAN</character> <dialogue>I'm sorry. I shouldn't have said that. Maybe you' re right, maybe--·</dialogue> <character>RORSCHACH</character> <dialogue>Daniel.</dialogue> <scene_description>Dan turns. Rorschach holds out an open hand.</scene_description> <character>RORSCHACH</character> <dialogue>You are . . a good friend. I'm sorry that it is sometimes difficult with me.</dialogue> <scene_description>Touched, •Dan shakes his hand. An awkward, lovely moment.</scene_description> <character>DAN</character> <dialogue>Hey forget it • • • It's okay, man.</dialogue> <scene_description>Releasing his hand with some effort, Dan sits, invigorated.</scene_description> <character>DAN</character> <dialogue>You're right. It's time to head up.</dialogue> </scene> <scene> <stage_direction>EXT. OWL-SHIP (MOVING) - HARBOR - NIGHT</stage_direction> <scene_description>The Owl-Ship BURSTS THROUGH THE SURFACE OF THE WATER.</scene_description> <character>DAN (V .0.)</character> <dialogue>Let's really start plumbing the depths.</dialogue> </scene> <scene> <stage_direction>EXT. MARS - NIGHT</stage_direction> <scene_description>Jon leads Laurie into his Glass Palace.</scene_description> <character>DR. MANHATTAN</character> <dialogue>Our conversation commences when you surprise me with the information that you and Dreiberg have been sleeping together.</dialogue> <character>LAURIE</character> <dialogue>You . • . know about me and Dan?</dialogue> <character>DR. MANHATTAN</character> <dialogue>Not yet. But in a few moments, you're going to tell me.</dialogue> <character>LAURIE</character> <dialogue>Jon, I'm having enough problems right now without getting into your predestination crap.</dialogue> <character>DR. MANHATTAN</character> <dialogue>Why does my perception of time distress you so?</dialogue> <character>LAURIE</character> <dialogue>Because. If you already know the future, why were you surprised when I left you, or when that reporter ambushed you? Why even debate if you already know the outcome?</dialogue> <character>DR. MANHATTAN</character> <dialogue>Because everything is pre-ordained. Even my responses.</dialogue> <character>LAURIE</character> <dialogue>Agh! This is so typical of you! Do you know what a relief it is to be with somebody human, like Dan?</dialogue> <character>DR. MANHATTAN</character> <dialogue>You mean you're sleeping with Dan Dreiberg?</dialogue> <scene_description>Contemplating this, he steps to the balcony's edge.</scene_description> <character>LAURIE</character> <dialogue>But you already know • You said--</dialogue> <character>DR. MANHATTAN</character> <dialogue>I said, often, that you were my only remaining link to the world.</dialogue> <scene_description>CONTINUED:</scene_description> <character>DR. MANHATTAN {</character> <dialogue>Now that link is shattered. Don't you see the futility of asking me to save a world that I no longer have any stake in?</dialogue> <character>LAURIE</character> <dialogue>That's ridiculous. The Earth is too important to hinge on one relationship.</dialogue> <character>DR. MANHATTAN</character> <dialogue>Not to me. My red world here means more to me than your blue one. I'll show you around if you like.</dialogue> <scene_description>The giant Glass Palace begins to RUMBLE.</scene_description> <character>LAURIE</character> <dialogue>Are you doing this? I'm not in the mood for jokes.</dialogue> <character>DR. MANHATTAN</character> <dialogue>Nor I. Believe me, I fully understand the gravity of the situation.</dialogue> <scene_description>The clockwork Glass Palace RISES HIGH INTO THE AIR . • .</scene_description> </scene> <scene> <stage_direction>EXT. PYRAMID INDUSTRIES - NIGHT</stage_direction> <scene_description>The Owl-Ship approaches the large warehouse building that is Pyramid Industries. The ship lands in the alley. nearby. Dan and Rorschach exit the ship. Shady neighborhood. Rorschach goes to the door which is AJAR.</scene_description> </scene> <scene> <stage_direction>INT. PYRAMID INDUSTRIES - HALLWAY - NIGHT</stage_direction> <scene_description>Dan and Rorschach slowly make their way down, peering into ROOMS. The place looks abandoned--scattered papers, dusty file cabinets, leftover computer components • • .</scene_description> <character>RORSCHACH</character> <dialogue>You sure this is the correct location, Daniel?</dialogue> <character>DAN</character> <dialogue>Positive. Pyramid Industries. Specializes in industrial plastics. At least they did.</dialogue> </scene> <scene> <stage_direction>INT. PYRAMID INDUSTRIES - PROCESSING PLANT - NIGHT</stage_direction> <scene_description>They enter the large, dark industrial section of the building. They pass huge PROCESSING.VATS, CONVEYOR BELTS. CONTINUED:</scene_description> <character>DAN</character> <dialogue>I tapped into all the databases--tax records, business registries, real estate records--trying to get a bead on who's behind Pyramid but it's a never ending paper trail. Y'know, Adrian has a massive database of corporations at his office. It should definitely have information about Pyramid.</dialogue> <scene_description>Rorschach looks out the window and notices a BAR across the street.</scene_description> <character>RORSCHACH</character> <dialogue>Local bar. They may have info too.</dialogue> </scene> <scene> <stage_direction>INT. BAR - NIGHT</stage_direction> <scene_description>A seedy, smoky bar. Rorschach and Dan enter and are met with fearful eyes. The Bartender starts sweating noticeably.</scene_description> <character>BARTENDER</character> <dialogue>Oh god. Please don't kill anybody.</dialogue> <scene_description>Sitting at a nearby table are the Gang Members who killed Hollis Mason. They squirm at the sight of Dan, realizing their mistake • • •</scene_description> <character>RORSCHACH</character> <dialogue>Pyramid Industries, across the street. Anyone here used to work over there? Anyone know someone who did?</dialogue> <scene_description>The crowd is silent. Then slowly, they uniformly turn toward a LARGE MAN at the bar.</scene_description> <character>LARGE MAN</character> <dialogue>You bastards! I buy everyone a round and you sell me out like this!</dialogue> <parenthetical>(as Rorschach approaches)</parenthetical> <dialogue>Stay back or I'm gonna stick this glass in your squidgy face!</dialogue> <scene_description>Rorschach grabs his hand and SQUEEZES HARD, CRUSHING the glass in the Man's hand. The Man cries out as glass CUTS him.</scene_description> <character>RORSCHACH</character> <dialogue>Roy Chess, worked security. Tried to kill Adrian Veidt. Dead now. Did you know him?</dialogue> <character>LARGE MAN</character> <dialogue>Pyramid was a big company--</dialogue> <scene_description>( ('011T'T'T1'HTl&lt;'T'\ I 104. CONTINUED: Rorschach squeezes the Man's hand harder--</scene_description> <character>LARGE MAN</character> <dialogue>Aaagh! I hired him okay! I knew him from the inside--</dialogue> <character>RORSCHACH</character> <dialogue>You're a felon.</dialogue> <character>LARGE MAN</character> <dialogue>Was! I've been clean ever since I got out, I swear. I didn't even know Chess that well, but I was told to hire people from the old life--</dialogue> <character>RORSCHACH</character> <dialogue>Told by who?</dialogue> <character>LARGE MAN</character> <dialogue>My boss, Ms. Slater--</dialogue> <scene_description>Dan notices the Gang Members squirming. His criminal instincts returned, he knows when someone's hiding something.</scene_description> <character>DAN</character> <dialogue>Something bothering you, son?</dialogue> <character>GANG MEMBER 1</character> <parenthetical>(to Gang Leader)</parenthetical> <dialogue>I told you we had the wrong guy.</dialogue> <scene_description>The Gang Leader shits his pants as Dan steps toward him.</scene_description> <character>GANG LEADER</character> <dialogue>L-listen, I didn't mean to kill that old guy. Things just got outta hand • • •</dialogue> <character>DAN</character> <dialogue>What old guy?</dialogue> <scene_description>BACK TO Rorschach:</scene_description> <character>RORSCHACH</character> <dialogue>Janey Slater--that was your boss? She worked for Pyramid?</dialogue> <character>LARGE MAN</character> <dialogue>Yeah, she was real nice--said hiring ex- cons was part of a company program to give people a second chance. All the guys I hired stayed straight, far as I knew. Oh god, please, I'm telling the truth!</dialogue> <scene_description>I r"l ,-.,l\1'rT'I Tl\1T"T"C'T'\ \ CONTINUED: (2) Suddenly someone SCREAMS. Rorschach turns-- --and sees Dan gripping the bloody Gang Leader by the THROAT, CHOKING him as the other Gang Members flee the bar.</scene_description> <character>DAN</character> <dialogue>You're dead! You and the rest of your gang, you're all DEAD! You know how much firepower I've got floating out there!? Oh god damn. Hollis. God damn god damn god damn . • •</dialogue> <scene_description>Dan begins to break up. Rorschach quietly pulls him away.</scene_description> <character>RORSCHACH</character> <dialogue>Not now, Daniel. Not now.</dialogue> <scene_description>Rorschach herds Dan outside.</scene_description> </scene> <scene> <stage_direction>INT. ADRIAN VEIDT'S OFFICE - NIGHT</stage_direction> <scene_description>The owl-Ship hovers outside the window as Dan sits at the computer, typing, still shaken up over Hollis. Rorschach peruses Adrian's office.out of investigative habit.</scene_description> <character>DAN</character> <dialogue>There's nothing here about Pyramid Industries. Nothing at all. Adrian said this database had information on every company in North America.</dialogue> <character>RORSCHACH</character> <dialogue>Maybe Veidt misspoke.</dialogue> <scene_description>Rorschach peruses a FILE labeled "Dr. Manhattan Clean Energy Project."</scene_description> <character>DAN</character> <dialogue>You and I both know Adrian can be a little full of himself but when he says something he never exaggerates.</dialogue> <character>RORSCHACH</character> <dialogue>Janey Slater, Moloch, Roy Chess all worked for Pyramid. Moloch said the Comedian spoke of a list with his and Slater's name on it. A cancer list, maybe. Whoever owned Pyramid could have given these people cancer to set Dr. Manhattan up.</dialogue> <scene_description>Finished with the file, Rorschach drops it by the computer. Dan notices something inside--Dr. Manhattan's PSYCHE PROFILE. / r,r"\ ... Tm'T,TTTT""I,....\_, CONTINUED:</scene_description> <character>DAN</character> <dialogue>Rorschach, did you see this? It's Jon's psyche profile.</dialogue> <character>RORSCHACH</character> <dialogue>Yes. In regards to Adrian's energy project. Common corporate practice.</dialogue> <scene_description>Dan skims the file, then stops to think. As if hit with an epiphany. He opens his mouth like he can't believe what he's going to say.</scene_description> <character>DAN</character> <dialogue>Rorschach. What, what if it's Adrian?</dialogue> <character>RORSCHACH</character> <dialogue>Veidt? Behind everything? Makes no sense.</dialogue> <character>DAN</character> <dialogue>On the surface it doesn't, but hear me out--Adrian's the only ohe who could've taken on the Comedian in hand to hand combat. And working with Jon, having access to his psyche profile, Adrian could figure out what would push him over the edge. He's the only one with the finances to create an entire company for the sole purpose of setting up Dr. Manhattan--a company which happens to be the only one absent from his database.</dialogue> <character>RORSCHACH</character> <dialogue>That doesn't explain the attempt on Veidt 's life.</dialogue> <character>DAN</character> <dialogue>If we say that Adrian set that up himself- -the hitman did work for Pyramid--he could've had the hitman shoot his assistant first. It was a risk.</dialogue> <scene_description>Dan glances around the office. Something's not right.</scene_description> <character>DAN</character> <dialogue>Rorschach--Adrian up and left for Antarctica convinced that there's going to be a nuclear war--</dialogue> <character>RORSCHACH</character> <dialogue>--then why are all his things still here? Important things. Yes, a man like Veidt plans everything out . • . so what is his plan then?</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>DAN</character> <dialogue>I don't know. Let's go ask him.</dialogue> </scene> <scene> <stage_direction>EXT. ANTARCTICA - NIGHT</stage_direction> <scene_description>The endless white blanket that is Antarctica is interrupted by a SPLASH OF COLOR in the distance. As we approach, we see that the color is a BIO-DOME--a tropical RAINFOREST inside. This is part of KARNAK: Adrian Veidt's Arctic Fortress.</scene_description> </scene> <scene> <stage_direction>INT. KARNAK - BIO-DOME - NIGHT</stage_direction> <scene_description>Adrian stands at the entrance of the Bio-Dome, amidst the exotic foliage, where a GROUP of SCIENTISTS and ENGINEERS are gathered. They all hold CHAMPAGNE FLUTES--Adrian raises his glass for a toast when the HEAD SCIENTIST interrupts. (We saw him in the video conference with Dr. Manhattan earlier.)</scene_description> <character>HEAD SCIENTIST</character> <dialogue>Mr. Veidt, may I?</dialogue> <character>ADRIAN</character> <dialogue>By all means, Eric.</dialogue> <character>HEAD SCIENTIST</character> <dialogue>I just would like to say that when I was first offered this position, I was hesitant. A multi-year commitment to work in Antarctica? But the opportunity to experiment with Dr. Manhattan's atomic fusion energy was too great for me to pass up, too great for any of us to pass up. And now that our work is finished, and we finally get to go home, I can say that it was all worth it. Mr. Veidt, you are a genius. The world will be a better place because of you.</dialogue> <character>ADRIAN</character> <dialogue>I certainly hope so.</dialogue> <scene_description>The group applauds. Then they sip their champagne. All except for Adrian •</scene_description> <character>ADRIAN</character> <dialogue>Today marks an event that in many ways, represents the culmination of a dream more than two thousand years old. But we need not delve quite so deeply into antiquity. Going back to my own childhood will suffice. Entering school, I was already exceptionally bright--</dialogue> <scene_description>, ,...,,,....,,..,.m.....-, ...... .,.,.... .... ' CONTINUED: FLASH(BACK) OF: Six year-old Adrian in the PRINCIPAL'S OFFICE with his PARENTS, sitting before the PRINCIPAL . . .</scene_description> <character>ADRIAN (V.O.)</character> <dialogue>--my perfect scores on early test papers aroused such suspicion that I carefully achieved only average grades after that. By 17, my parents were both dead, leaving me alone.</dialogue> <scene_description>FLASH(BACK} OF: Seventeen year-old Adrian at a CEMETERY, leaving FLOWERS at his Parents' GRAVE.</scene_description> <character>ADRIAN</character> <dialogue>But I had always felt alone because of my intellect. I knew nobody whose advice might prove useful. Nobody living. The only human being with whom I felt any kinship died three hundred years before the birth of Christ. Alexander of Macedonia, or Alexander the Great as most know him.</dialogue> <scene_description>FLASH(BACK) OF: A college age Adrian at the Capitoline MUSEUM in Rome, admiring a BUST of Alexander.</scene_description> <character>ADRIAN (V.O.)</character> <dialogue>He died when he was 33, ruling most of the civilized world, without resorting to barbarism. No, at Alexandria he instituted the ancient world's greatest seat of learning. His vision of a united world was unprecedented. I wanted to match his accomplishment. I wanted to have something to say to him should we meet in the hall of legends. I spent years tracing Alexander's footsteps and I was inspired.</dialogue> <scene_description>FLASHES{BACK) OF: College age Adrian following Alexander's path: In a crowded MARKETPLACE in ISTANBUL; Standing before the SPHINX in EGYPT; Standing before a DESERT OASIS in the LUT DESERT, naked, contemplative; Hiking the HIMALAYAS at the edge of Alexander's empire.</scene_description> <character>ADRIAN (V.O.)</character> <dialogue>I resolved to apply antiquity's teachings to todi3-y's world. T\_hus began my path to conquest--conquest not of men, but of the evils that beset them. Today that conquest is assured because of your unquestioning assistance.</dialogue> <scene_description>CONTINUED: ( 2)</scene_description> <character>ADRIAN (V.O.)</character> <dialogue>Do you comprehend the triumph to which you have contributed? The secret glory it affords? Do you understand my shame at so inadequate a reward?</dialogue> <scene_description>Adrian turns to his audience. They are silent, staring at him with dead eyes . . . because they are dead, peacefully poisoned by the champagne. Their bodies start dropping to the ground . . . Adrian regards them all, then heads to the CONTROL PANEL. He enters a code and the bio-dome OPENS, letting the blizzard in. The snow quickly COVERS all the tropical foliage and the bodies as Adrian leaves</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREETS - EARLY MORNING</stage_direction> <scene_description>The Owl-Ship slows to a hover beside an OLDER BUILDING, next to an AIR RAID SIREN . . •</scene_description> <character>RORSCHACH (V.O.)</character> <dialogue>Rorschach; s Journal. Final entry? Dreiberg has convinced me that Veidt is behind everything. Apparently, the owl- Ship is capable of the trip to Antarctica, but are we? I cannot imagine a more dangerous opponent. Veidt is faster than Dreiberg and myself. He used to joke that he was fast enough to catch a bullet. I believe he could. He could kill us both, alone in the snow. No one would know.</dialogue> <scene_description>Rorschach descends the ladder, goes to the door of the building. He places his JOURNAL in an ENVELOPE.</scene_description> <character>RORSCHACH (V.O.)</character> <dialogue>I have done my best to make this legible. Whether I am alive or dead upon this reading, know that whatever the nature of this conspiracy--Adrian Veidt is responsible.</dialogue> <scene_description>He drops the envelope into the MAIL SLOT, climbs back up the ladder.</scene_description> <character>RORSCHACH (V.O.)</character> <dialogue>I appreciate your recent support and hope the world survives long enough for this to reach you. For my own part, I regret nothing. I have lived my life free of compromise, and step now into the shadow without complaint. Rorschach. October 21st. ·</dialogue> <scene_description>CONTINUED:</scene_description> <character>·~}</character> <dialogue>;:,y</dialogue> <scene_description>Rorschach disappears into the dark hatch. The Owl-Ship blasts ,,z, off • . . disappearing just as Seymour arrives. Seymour picks up the mail and walks inside.</scene_description> </scene> <scene> <stage_direction>INT. THE NEW FRONTIERSMAN - EARLY MORNING</stage_direction> <scene_description>The Editor walks in as Seymour goes through the mail.</scene_description> <character>EDITOR</character> <dialogue>SEYMOUR! Is that Dulmage's editorial cartoon?</dialogue> <character>SEYMOUR</character> <dialogue>It's the mail. Hey cool, someone sent us their journal.</dialogue> <parenthetical>(reading)</parenthetical> <dialogue>"Came across a crime scene earlier today. Initially thought to be a suicide, later learned to be a homicide. Someone's time, was up."</dialogue> <character>EDITOR</character> <dialogue>We're in a war, Seymour--I don't wanna hear some knob's life story! Chuck it in the crank file!</dialogue> <scene_description>Seymour tosses Rorschach's journal into a PILE OF LETTERS.</scene_description> </scene> <scene> <stage_direction>EXT. GLASS PALACE - MARS - NIGHT</stage_direction> <scene_description>Laurie's hair blows in the cold wind. She lowers her head. Jon serves her some WATER.</scene_description> <character>LAURIE</character> <dialogue>Can't you just tell me how this all ends and save us the trouble?</dialogue> <character>DR. MANHATTAN</character> <dialogue>It ends with you in tears.</dialogue> <character>LAURIE</character> <dialogue>Tears. You mean I lose? You don't come back to Earth?</dialogue> <character>DR. MANHATTAN</character> <dialogue>I return to Earth at some point. The streets are filled with death.</dialogue> <character>LAURIE</character> <dialogue>You mean • is there going to be a nuclear war?</dialogue> <scene_description>CONTINUED:</scene_description> <character>DR €� MANHATTAN</character> <dialogue>I can't be sure. I'm still experiencing some temporal interference preventing any clear vision of what lies ahead.</dialogue> <character>LAURIE</character> <dialogue>Because of the tack, tacky--</dialogue> <character>DR. MANHATTAN</character> <dialogue>Tachyon particles. Tachyons are a rare occurrence. The detonation of nuclear warheads could conceivably be the cause.</dialogue> <character>LAURIE</character> <dialogue>Jon, you've got to stop it! Everyone will die!</dialogue> <character>DR. MANHATTAN</character> <dialogue>And the universe will not even notice. See the dual moons. Aren't they breathtaking?</dialogue> <scene_description>Above, TWO MOONS cross overhead. One is HUGE, CRIMSON RED, the smaller is a delicate SHELL PINK. Spectacular.</scene_description> <character>LAURIE</character> <dialogue>You're right, Jon--what does human life matter next to a, a neutrino. Look, I'm not going to debate you when you clearly don't see anything terribly miraculous about life. I guess quantum physics doesn't allow for miracles.</dialogue> <character>DR. MANHATTAN</character> <dialogue>No, thermodynamic miracles are--</dialogue> <character>LAURIE</character> <dialogue>Oh God, Jon. Land this thing. Now.</dialogue> <character>DR. MANHATTAN</character> <dialogue>On the Argyre Planitia? As you wish.</dialogue> <scene_description>The structure descends. Laurie stomps down the stairs.</scene_description> <character>LAURIE</character> <dialogue>That's it then. You can send me back to Earth to fry with Dan and my Mom and all the other worthless humans. And look, you were wrong. You said this ended with me in tears and see? Not a damp eye in the house. Maybe you're wrong about everything.</dialogue> <scene_description>( r'f"\l\'Tl'TlT.,\_TTT"C'IT"\ \ 112. CONTINUED: (2) Jon is waiting for her at the bottom of the stairs.</scene_description> <character>DR. MANHATTAN</character> <dialogue>Laurie. You complain that I refuse to see life on life's terms and yet you continuously refuse to see things from my perspective. If only you'd try to see the whole continuum, life's pattern, you'd understand. But you deliberately shut it out as if afraid to see.</dialogue> <character>LAURIE</character> <dialogue>I'm not afraid, okay? You want me to see things your way? Go ahead, do that thing you do.</dialogue> <scene_description>She stands there, arms folded, waiting. Then, just like earlier in the lab, Jon touches her head--</scene_description> </scene> <scene> <stage_direction>INT. JUPITER HOUSE - NIGHT (FLASHBACK - 25 YEARS AGO)</stage_direction> <scene_description>Same flashback as before, in Laurie's childhood home. We're in Laurie's POV, as a little girl. There's arguing downstairs. Laurie goes down to investigate. She comes upon the kitchen door, ajar. She can see her PARENTS inside, arguing • ••</scene_description> <character>SALLY</character> <dialogue>You wanted to hear it, so I'm telling you, okay?! Magic! Dreams! That's what I had before. I was a hero goddammit!</dialogue> <character>LAURIE'S FATHER</character> <dialogue>It's not my fault you got old! What do. you have to complain about?! I'm putting food on the table for you and your child. Why don't you give your friend Eddie a call? Maybe he can give you a better life!</dialogue> <character>SALLY</character> <dialogue>It was a mistake--one time! Am I never--</dialogue> <scene_description>And then they notice Laurie looking at them.</scene_description> <character>LAURIE</character> <dialogue>Mommy?</dialogue> <character>SALLY</character> <dialogue>Oh. Oh, Laurie .</dialogue> <scene_description>CONTINUED: Tears run down little Laurie's face. Her parents are horrified--</scene_description> </scene> <scene> <stage_direction>INT. GLASS PALACE - MARS - NIGHT</stage_direction> <scene_description>--Laurie breaks away from Jon and drops down to her knees, tears flowing.</scene_description> <character>LAURIE</character> <dialogue>No. No, no, no, no not him</dialogue> <character>DR. MANHATTAN</character> <dialogue>The Comedian. He was your father~</dialogue> <character>LAURIE</character> <dialogue>But he--</dialogue> <character>DR. MANHATTAN</character> <dialogue>Attacked your mother.· Yes.</dialogue> <parenthetical>(searching in his mind)</parenthetical> <dialogue>.Two years later he came back to her, to</dialogue> <scene_description>make amends. And you were conceived on that day.</scene_description> <character>LAURIE</character> <dialogue>NO!!!</dialogue> <scene_description>Laurie grabs a GLASS WATER BOTTLE off a tray and WHIPS it at the palace-- --and the huge glass construction CRUMBLES. Jon protects them with a FORCE FIELD as debris collapses around them. Laurie sobs in the echoing SILENCE. Jon's eyes SHUT. He seems to feel • . . empathy. A TEAR slips down his cheek. Laurie's realization is a revelation for Jon.</scene_description> <character>LAURIE</character> <dialogue>The Comedian is my father. I guess my life is just one big joke.</dialogue> <character>DR. MANHATTAN</character> <dialogue>I don't think your life is a joke.</dialogue> <character>LAURIE</character> <dialogue>Well, of course you're going to say that.</dialogue> <character>DR. MANHATTAN</character> <dialogue>But I've changed my mind. There are miracles in your world that are worth preserving.</dialogue> <scene_description>CONTINUED:</scene_description> <character>LAURIE</character> <dialogue>What? But you were saying--</dialogue> <character>DR. MANHATTAN</character> <dialogue>I tried to explain. Thermodynamic miracles--events with odds against so astronomical, like oxygen turning into gold. I have longed to witness such a thing and yet I neglect that in ~uman coupling, millions upon millions of cells compete to create life over generation after generation: Until finally, your mother loves a man--Edward Blake, the Comedian--a man she has every reason to hate. And out of that contradiction, against unfathomable odds, it was you, only you, that emerged. To distill so specific a form from all of that chaos; Your creation is like . . . turning air into gold. A miracle.</dialogue> <character>LAURIE</character> <dialogue>But if my birth is a miracle you, you could say that about anyone.</dialogue> <character>-- ....</character> <dialogue>:;t.</dialogue> <scene_description>DR, MANHATTAN ;f \ ·-~.,,;..f Yes, anyone in the world. But the world is so crowded with miracles that they become commonplace and we forget. I forget. · They stand there in silence. Connected for the first time in years.</scene_description> <character>DR. MANHATTAN</character> <dialogue>Now. Dry your eyes.</dialogue> <scene_description>FROM ABOVE: We see the full CRATER--the ARGYRE PLANITIA. Round, with two, ~ye-like BOULDERS set side by side, a RIDGE of land curling below . • . like a happy-face.</scene_description> <character>DR. MANHATTAN (V.O.)</character> <dialogue>And let's go home.</dialogue> </scene> <scene> <stage_direction>EXT. ANTARCTICA - DAWN</stage_direction> <scene_description>The Owl-Ship sails through a TOWERING CLOUD BANK. The COAST approaches as SNOW starts to fall.</scene_description> </scene> <scene> <stage_direction>INT. OWL-SHIP (MOVING) - DAWN</stage_direction> <scene_description>Dan stares ahead, stoic. Thinking about Hollis, Laurie and Adrian. He glances at a MONITOR, tracking heat signatures. There's a LARGE SIGNAL ahead.</scene_description> <character>DAN</character> <dialogue>I've got a large reading ahead. Anything that's emitting that much heat out here must be a pretty big facility. Adrian.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We're not going to make it, are we?</dialogue> <scene_description>Rorschach says nothing • . . when a halting WHINE sputters from the engines. A HUGE CLIFF APPEARS before them.</scene_description> <character>RORSCHACH</character> <dialogue>The engines--</dialogue> <character>DAN</character> <dialogue>They' re icing up, hold on!</dialogue> <scene_description>Dan pulls the stick back. The ship SHUDDERS UPWARD.</scene_description> </scene> <scene> <stage_direction>EXT. ANTARCTICA - DAWN</stage_direction> <scene_description>The ship, tiny before the massive ice-wall, climbs slowly. It's going to be close. The wall is 100 yards away now, the top-most edge barely in view. 50 yards. 20 • • • and then silence--</scene_description> <character>DAN</character> <dialogue>We just lost the engines--find something to grab on to!</dialogue> <scene_description>The ship BARELY CLEARS THE CLIFF. BOUNCING hard, it SKIPS across the snow like a stone, finally CRASHING INTO A DRIFT.</scene_description> </scene> <scene> <stage_direction>INT. OWL-SHIP - DAWN</stage_direction> <scene_description>Dan opens the hatch. Shrieking WIND blows the snow in. Dan pulls on a white, FUR-LINED SNOW-OWL costume. He connects a LONG TUBE from one end of the ship and secures it OVER the ENGINE PANEL at the other end.</scene_description> <character>DAN</character> <dialogue>I've redirected some heat from the flamethrowers to speed up de-icing the engines. It's still gonna take a while-- we don't have time to wait. You sure I can't fit you with something warmer?</dialogue> <scene_description>(CONTINUED\: CONTINUED:</scene_description> <character>RORSCHACH</character> <dialogue>Fine like this.</dialogue> </scene> <scene> <stage_direction>EXT. OWL-SHIP - DAWN</stage_direction> <scene_description>Rorschach pulls up his trench-collar against the bitter wind. Dan pulls two stand-up HOVER-SCOOTERS from an OUTSIDE HATCH. They exchange a look and ride the scooters off into the snow.</scene_description> </scene> <scene> <stage_direction>INT. KARNAK - CONTROL HALL - DAWN</stage_direction> <scene_description>Adrian, dressed in his Ozymandias costume, sits alone in the massive hall, opposite a wall of giant TV SCREENS which show various television NEWS CHANNELS showing IMAGES OF WAR all over the world. Amongst the collage of video is a prominent image of the "Doomsday Clock," one minute til Midnight. Adrian sighs and hits the remote--the screens become ONE IMAGE--ALEXANDER THE GREAT slicing the Gordian Knot. By Adrian's feet is an exotic LYNX. Its unnatural beauty almost hides a feral danger in its eyes. Adrian pets the beast.</scene_description> <character>ADRIAN</character> <dialogue>See this painting? Alexander, before his conquest of Phoenicia, struck north for Gordium, where the world's greatest puzzle waited. A great knot, impossible to untie. For a young man determined to rule the world, it was a challenge he couldn't resist. So he sliced it in two with his sword. Lateral thinking, you see.</dialogue> <scene_description>Suddenly the Lynx stands, GROWLS.</scene_description> <character>ADRIAN</character> <dialogue>What is it, girl?</dialogue> <scene_description>He hits the remote--the TV screens switch to MULTIPLE VIEWS OF Dan and Rorschach, heading toward Karnak.</scene_description> <character>ADRIAN</character> <dialogue>Ah. It' s all right,. gir 1. Everything' s all right.</dialogue> </scene> <scene> <stage_direction>EXT. ANTARCTICA - SNOWFIELDS - DAWN</stage_direction> <scene_description>Flying on the scooter, Dan wipes frost and fog from his goggles. He then looks up and-- --sees KARNAK, a GARGANTUAN GLASS PYRAMID in the snow.</scene_description> </scene> <scene> <stage_direction>INT. KARNAK - CONTROL HALL - DAWN</stage_direction> <scene_description>Adrian watches Dan and Rorschach reach the door on the monitors.</scene_description> <character>ADRIAN</character> <dialogue>Really, getting even this far is an admirable effort, given their limitations. Of course the ice they're skating on is slippery and thinner than it looks. Let's hope they don't overstep themselves.</dialogue> <scene_description>On the monitors, Dan takes a LASER TORCH to the door.</scene_description> <character>ADRIAN</character> <dialogue>Let's hope they know when to stop.</dialogue> </scene> <scene> <stage_direction>INT. KARNAK - DAWN</stage_direction> <scene_description>Having burnt through the control panel, Dan pushes the huge door open. They enter the grand palace, dwarfed by its Macedonian massiveness.</scene_description> <character>DAN</character> <dialogue>Jesus . .</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I don't understand any of this. Adrian's a pacifist. He's never killed anyone in his life. He's a vegetarian for Christ's sake!</dialogue> <character>RORSCHACH</character> <dialogue>Hitler was a vegetarian. If you're squeamish, leave him to me. We won't get a second chance.</dialogue> </scene> <scene> <stage_direction>INT. KARNAK - CONTROL HALL - DAWN</stage_direction> <scene_description>Dan and Rorschach pass the wall of TV screens into--</scene_description> </scene> <scene> <stage_direction>INT. DINING HALL - CONTINUOUS</stage_direction> <scene_description>--the dining hall, where Adrian eats alone, at a long table. Though they're only a few yards away, Adrian doesn't appear to see them, hidden by some PILLARS. Dan and Rorschach signal to each other, quiet. Adrian eats-- --and Rorschach RUSHES him from behind-- --Adrian moves at the last second, GRABS Rorschach's arm, then spins and BACKHAND FISTS him, sending him flying back. 118,: CONTINUED:</scene_description> <character>ADRIAN</character> <dialogue>Mind your manners.</dialogue> <scene_description>Dan draws his PEN-LASER,</scene_description> <character>DAN</character> <dialogue>Adrian, don't make me--</dialogue> <scene_description>Adrian picks up a GOLDEN SERVING TRAY off the table as Dan FIRES. Adrian DEFLECTS the laser with the tray-- --then DISCUS-SLINGS the tray into Dan's NOSE. Blood SPRAYS; Dan drops to his knees. Adrian turns his back on them, calm.</scene_description> <character>ADRIAN</character> <dialogue>Now. What can I do for you?</dialogue> <character>DAN</character> <dialogue>You know! You killed the Comedian! You set up Rorschach! You created Pyramid Industries, you gave all those people cancer and blamed it on Jon!</dialogue> <character>ADRIAN</character> <dialogue>Yes.</dialogue> <character>DAN</character> <dialogue>Dammit Adrian, what are you trying to .do?</dialogue> <character>ADRIAN</character> <dialogue>What we always intended--to improve the world.</dialogue> <scene_description>As Adrian speaks, Rorschach sneaks up behind him with a FORK. He tries to stab Adrian in the back, but Adrian effortlessly dodges the blow, GRABS Rorschach's mask, TWISTS it, then KNEES him in the gut. Rorschach drops to the floor. Adrian starts walking out of the hall. Dan helps Rorschach up and they follow.</scene_description> <character>ADRIAN</character> <dialogue>I never intended to kill the Comedian-- that was an accident. Part of his duties as a government operative was to keep track of all former masked heroes, make sure there was no rocking of the boat. He must have liked Rorschach because he allowed him to continue to exist.</dialogue> <scene_description>FLASHBACK TO: The opening scene, when an Intruder kicks the Comedian's door in. Only now we see the Intruder is Adrian, and we see the events in Adrian's point of view. CONTINUED: (2)</scene_description> <character>ADRIAN (V.O.)</character> <dialogue>I had thought that the Comedian might be incompetent, but he disproved that hypothesis when he discovered what was really going on here in Karnak--no easy task. Even my staff was unaware--I made sure to keep each department separate. The Comedian was appalled by my plan, but still, he understood the scope of what I was trying to accomplish. Frankly, I never thought he'd actually talk. But by the time he visited poor Moloch, he was cracking badly. So I had to kill him.</dialogue> <scene_description>We see Adrian throw the Comedian through the window</scene_description> </scene> <scene> <stage_direction>INT. CONTROL HALL - CONTINUOUS</stage_direction> <scene_description>As they enter the control hall, Rorschach moves to.attack Adrian again when he and Dan hear a growl the Lynx steps in between, protecting its master.</scene_description> <character>ADRIAN</character> <dialogue>Through my own global game scenarios, based not only on American, but my own gathered intelligence, I also predicted that the USSR would eventually attack America even with Jon's presence. This move would embolden the other Warsaw Pact countries to aggression and lead us into a World War of which there was a mere 3 percent chance mankind would survive. After Blake, I neutralized Jon-~a plan nearly a decade in the works--</dialogue> <scene_description>FLASHES(BACK) OF: A younger Adrian in the CIRCULATION CONTROL ROOM of Pyramid Industries. He ATTACHES a CANNISTER OF TOXIC GAS in one of the VENTILATION SYSTEMS. We then see FLASHES of where the vents lead to--Wally Weaver and Janey Slater work in a LAB; Moloch is on the phone in his OFFICE.</scene_description> <character>ADRIAN (V.O.)</character> <dialogue>--after analyzing psychological profiles which, for me, predicted his withdrawal from human existence. The government was wishful that Jon's emotional distancing would make it easier for him to annihilate the Soviet Union, if necessary, and did not account Jon's apathy for what it was--apathy.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ADRIAN (V.O.)</character> <dialogue>In setting Jon up as a possible source of cancer, I correctly predicted his apathy towards his colleagues' fate but also correctly predicted his reaction when that cancerous fate was given to Janey Slater, his only true connection to his past human life. Having not felt emotion for a decade, the sudden flood of emotions he felt when seeing Ms. Slater's withered self would surely send him over the edge. I put roughly two billion dollars into tachyon research in order to shield my plans from Jon's vision. Removing him may have accelerated the Soviets fear based aggression, but it also accelerated my solution.</dialogue> <scene_description>FLASHES(BACK) OF: Adrian in Moloch's house, after killing Moloch, putting Rorschach's note in Moloch's dead hand.</scene_description> <character>ADRIAN (V.O.) {</character> <dialogue>By this time, Rorschach's mask-killer theory, though erroneous, needed to be addressed, so I faked my own assassination--</dialogue> <scene_description>FLASHES(BACK) OF: Roy Chess, in the employee LOCKER ROOM, opening up his locker, finding an ENVELOPE inside and opening it to find a PHOTO of Adrian as well as a WAD OF CASH. Roy · Chess hides the envelope when someone enters--the Large Man from the local bar.</scene_description> <character>DAN</character> <dialogue>Why take that risk? What if the hitman missed?</dialogue> <character>ADRIAN</character> <dialogue>I suppose I'd have to be fast enough to catch the bullet then, wouldn't I?</dialogue> <scene_description>Adrian smiles enigmatically. FLASHBACK TO: Roy Chess' assassination attempt, but now we see it from Adrian's point of view. We see him secretly shove a CYANIDE CAPSULE in Chess' mouth.</scene_description> <character>ADRIAN (V.O.) {</character> <dialogue>After apprehending my own assassin, I shoved a cyanide capsule in his mouth, disposing of him, tying up all the loose ends if you will; Then I knew nothing stood in the way of my triumph.</dialogue> <scene_description>CONTINUED: ( 2 )</scene_description> <character>DAN</character> <dialogue>Triumph? Adrian, what are you going to do?</dialogue> <character>ADRIAN</character> <dialogue>I'm firing a beam of concentrated energy, synthesized from Dr. Manhattan himself, into the hearts of nine key regions around the globe, crossing all traditional politics and ideologies, destroying approximately seven million people.</dialogue> <character>DAN</character> <dialogue>Seven million people? You're joking.</dialogue> <character>RORSCHACH</character> <dialogue>He's not. Listen to his voice.</dialogue> <character>DAN</character> <dialogue>Rorschach, he's making it upl</dialogue> <character>ADRIAN</character> <dialogue>I understand your disbelief, Dan. When I began the plan ten years ago, my moral safeguards gave me pause at the necessary sacrifice. See, the Comedian was correct. What we were doing with the Watchmen was pointless--the savage nature of humankind would inevitably lead to the end of the world. So in order to save the wor,ld, I had to trick it--to frighten the world towards salvation with history's greatest practical joke.</dialogue> <character>DAN</character> <dialogue>By killing millions of people? And when were you planning on doing this?</dialogue> <character>ADRIAN</character> <dialogue>When? Dan, my dear friend, I am the smartest man in the world--do you seriously think I'd explain my master stroke if there remained even the slightest chance of you affecting it's outcome?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I did it thirty minutes ago.</dialogue> </scene> <scene> <stage_direction>EXT. KARNAK - ANTARCTICA - MORNING</stage_direction> <scene_description>A BEAM of BLUE ENERGY SHOOTS INTO THE SKY from Karnak. The energy infects the CLOUDS, CHARGED with CRASHING, ERRATIC BLUE LIGHTNING SPREADING out across the globe . • •</scene_description> </scene> <scene> <stage_direction>EXT. NEWS STAND - MORNING</stage_direction> <scene_description>The News Vendor and the Black Teen are talking when the sky turns BRIGHT BLUE--</scene_description> </scene> <scene> <stage_direction>INT. WHITE HOUSE - CONFERENCE ROOM - SAME TIME</stage_direction> <scene_description>President Nixon and his Cabinet look out the windows, up at the electric blue clouds far in the distance</scene_description> </scene> <scene> <stage_direction>EXT. AFGHANISTAN - SAME TIME</stage_direction> <scene_description>We're with RUSSIAN TANKS and SOLDIERS who stop fighting the AFGHANI SOLDIERS to look up at the same sight--</scene_description> </scene> <scene> <stage_direction>INT./EXT. STEALTH BOMBER - SAME TIME</stage_direction> <scene_description>We're with a US Stealth Bomber PILOT flying through those clouds, approaching MOSCOW--</scene_description> </scene> <scene> <stage_direction>EXT. TIMES SQUARE - NIGHT</stage_direction> <scene_description>Realization is dawning on the faces of the New Yorkers Suddenly the SOUND of a rising, HOWLING WIND . . . and the LIGHTNING STRIKES begin, CRASHING TO EARTH with savage, blistering force. Their expended blue energy SPREADS like LIQUID FIRE, FLOODING THROUGH THE STREETS. People SCREAM and RUN. As the LIGHT OVERTAKES the unlucky ones, they are instantly BLOWN TO ASH-- WORLD MONTAGE: --as is the News Vendor and Black Teen; the Russian and Afghani Soldiers; the Stealth Bomber and Moscow; Paris; the Great Wall of China. Destroyed.</scene_description> </scene> <scene> <stage_direction>EXT. NEW YORK STREET - MORNING</stage_direction> <scene_description>The smoke-filled street is silent. Then GLOWING PARTICLES COALESCE, slamming together to form Jon and Laurie, but Jon's teleportation falters, shorting out. They FALL from the air. Laurie drops roughly to her knees.</scene_description> <character>LAURIE</character> <dialogue>Jon, what was that?</dialogue> <scene_description>Jon looks around the street. Even he is awe-struck. ,,....,-...,\_'TrT'l"T"l.'TT'T~T"\\ CONTINUED:</scene_description> <character>DR. MANHATTAN</character> <dialogue>Interference. Cataclysmic interference.</dialogue> <scene_description>Laurie looks up and screams. THOUSANDS OF BLACK SILHOUETTES are IMPRINTED on the STREET and the WALLS. Everywhere. The landscape is SCORCHED--there is rubble and destruction and some buildings have simply disintegrated.</scene_description> <character>LAURIE</character> <dialogue>Was it a nuclear bomb? It doesn't seem like--</dialogue> <character>DR. MANHATTAN</character> <dialogue>Not a bomb. It was me. I • . did this.</dialogue> <scene_description>Dr. Manhattan looks up into the sky, studying it.</scene_description> <character>LAURIE</character> <dialogue>What do you mean you did this?</dialogue> <character>DR. MANHATTAN</character> <dialogue>I.' m sorry. This must be very upsetting for you. I don't mean that I did this directly--it was made to look like I did • . • Adrian, of course. He's the only one who could produce such a mass of tachyons. We must go to Antarctica. Shall we?</dialogue> <character>LAURIE</character> <dialogue>Anywhere. Anywhere's better than here.</dialogue> </scene> <scene> <stage_direction>INT. KARNAK - CONTROL HALL - MORNING</stage_direction> <scene_description>PULL OUT FROM: The televisions--NEWS REPORTS from all over the world, documenting the tragic destruction "caused by Dr. Manhattan's attack on the world." Dan turns away shaken. Rorschach boils. Adrian beams.</scene_description> <character>DAN</character> <dialogue>God. God, he .</dialogue> <character>RORSCHACH</character> <dialogue>Impersonated Dr. Manhattan. Murdered millions of people.</dialogue> <parenthetical>(re: Lynx)</parenthetical> <dialogue>Call off your cat. Call off your cat and face me!</dialogue> <character>ADRIAN</character> <dialogue>Don't you understand? I've ended the war-- I've ended all wars.</dialogue> <scene_description>r rnwrTNTrnn, CONTINUED:</scene_description> <character>ADRIAN</character> <dialogue>Because of their fear of Jon, I've forced the world into everlasting peace.</dialogue> <character>DAN</character> <dialogue>By committing the biggest mass murder in history. You have no right to play God!</dialogue> <character>ADRIAN</character> <dialogue>I wasn't playing God. Just Dr. Manhattan.</dialogue> <scene_description>Suddenly there's a LOUD BEEPING in the hall. The Lynx growls. Adrian switches the monitors to the security cameras which show Jon and Laurie materialize in the snow.</scene_description> <character>ADRIAN</character> <dialogue>Speak of the devil.</dialogue> </scene> <scene> <stage_direction>EXT. KARNAK - SAME TIME</stage_direction> <scene_description>Laurie vomits in the snow.</scene_description> <character>LAURIE</character> <dialogue>You're saying Adrian's responsible for this?</dialogue> <scene_description>Jon walks toward the building, entranced. Distracted.</scene_description> <character>DR. MANHATTAN</character> <dialogue>Yes. Yes, he killed Blake and millions of others. Excuse me, Daniel, I'm talking to Laurie ninety seconds ag.o • • •</dialogue> <character>LAURIE</character> <dialogue>What, Daniel? Millions of others? Jon don't start that crap now, not here!</dialogue> <character>DR. MANHATTAN</character> <dialogue>I'm sorry. It's these tachyons. They're, muddling things up. I'd better follow him inside</dialogue> <scene_description>In a burst, he's gone.</scene_description> </scene> <scene> <stage_direction>INT. KARNAK - CONTROL HALL - CONTINUOUS</stage_direction> <scene_description>Jon materializes in the hall. Adrian sprints like lightening, out of the room, followed by the Lynx.</scene_description> <character>RORSCHACH</character> <dialogue>No, don't let him escape!</dialogue> <character>DAN</character> <dialogue>Jon, stop him, he killed millions of people, who knows what else he'll do.</dialogue> <scene_description>CONTINUED: Dr. Manhattan walks calmly after Adrian.</scene_description> <character>DAN ( CONT ' D)</character> <dialogue>Jon, are you okay? You seem drugged.</dialogue> <character>DR. MANHATTAN</character> <dialogue>Yes. Yes, he killed Blake and millions of others. Excuse me, Daniel, I'm talking to Laurie ninety seconds ago . . .</dialogue> <character>DAN</character> <dialogue>What? Where's Laurie?</dialogue> <character>DR. MANHATTAN</character> <dialogue>I'm sorry. It's these tachyons. They're, muddling things up. I'd better follow him inside . • •</dialogue> <scene_description>He follows Adrian into the next room.</scene_description> </scene> <scene> <stage_direction>INT. REACTOR CHAMBER - CONTINUOUS</stage_direction> <scene_description>Dr. Manhattan enters the MAZE of advanced technology.</scene_description> <character>DR. MANHATTAN</character> <dialogue>Adrian, don't be foolish. Even if I can't predict where I'm going to find you, I can turn the walls to glass. The tachyons were clever but it's time to give up . .</dialogue> <scene_description>He spots the Lynx in a METAL CORRIDOR.</scene_description> <character>DR. MANHATTAN</character> <dialogue>Very well. If I must, let us follow this through to the bitter end.</dialogue> <scene_description>ON THE OTHER SIDE OF THE WALLS is Adrian, waiting by a CONTROL PANEL. He takes one last look at his Lynx.</scene_description> <character>ADRIAN</character> <dialogue>Forgive me, girl.</dialogue> <scene_description>Dr. Manhattan enters the corridor with the Lynx; Adrian flicks a SWITCH. The Lynx's FUR STANDS ON END as ENERGY CRACKLES BETWEEN THE METAL WALLS. The Lynx HOWLS.</scene_description> <character>DR. MANHATTAN</character> <dialogue>Adrian? Adrian, don't--</dialogue> <scene_description>LIGHT BLASTS through him and the Lynx--both are OBLITERATED. Adrian peers around the corner, winded by his success. ( ,....r-\11.TmT"I.TTTT""I,...\_' 126. CONTINUED: ADRIAN You know, I really wasn't sure that would work.</scene_description> <character>LAURIE ( 0. S €� )</character> <dialogue>Adrian--</dialogue> <scene_description>Adrian turns. Laurie aims the prison guard's pistol at him.</scene_description> <character>LAURIE</character> <dialogue>You're such an asshole.</dialogue> <scene_description>Adrian cries out, LEAPS at her as she FIRES-- --and hits Adrian. He COLLAPSES. Dan and Rorschach find them as Laurie approaches Adrian's body</scene_description> <character>DAN</character> <dialogue>Laurie, shoot him again!</dialogue> <scene_description>Adrian's hand falls from his chest to the floor, blood trickling, as his PALM OPENS-- --holding a BULLET inside.</scene_description> <character>LAURIE</character> <dialogue>Oh shit.</dialogue> <scene_description>Adrian opens his eyes and KICKS her in the stomach, sending her flying back. Laurie drops the gun; Adrian picks it up.</scene_description> <character>DAN</character> <dialogue>LAURIE! If you've hurt her, I'll--</dialogue> <character>ADRIAN</character> <dialogue>Oh Dan. Grow up.</dialogue> <scene_description>Adrian exits as Dan helps the winded Laurie to her feet. Together, Rorschach, Dan and Laurie follow him back to:</scene_description> </scene> <scene> <stage_direction>INT. KARNAK - CONTROL HALL - MORNING</stage_direction> <scene_description>Adrian approaches his wall of TV screens when--</scene_description> <character>DR. MANHATTAN (O.S.)</character> <dialogue>I AM DISAPPOINTED IN YOU ADRIAN. VERY</dialogue> <character>DISAPPOINTED.</character> <dialogue>Jon, now 100 FEET TALL, SMASHES THROUGH T&amp;E WALL. Adrian crawls desperately away, grasping for his remote on the floor. As Jon approaches he SHRINKS to six feet.</dialogue> <scene_description>CONTINUED:</scene_description> <character>DR.</character> <dialogue>Restructuring I learned! It you seriously</dialogue> <character>MANHATTAN</character> <dialogue>myself was the first trick didn't kill me before, did think it would kill me now?</dialogue> <scene_description>You are nothing but a man. And the world's smartest man means no more to me than its smartest termite! Out of tricks, out of traps, Adrian lifts the remote.</scene_description> <character>DR. MANHATTAN</character> <dialogue>What is that, Adrian? Some new, ultimate weapon?</dialogue> <character>ADRIAN</character> <dialogue>Yes. Yes, you could say that.</dialogue> <scene_description>Adrian goes back to his wall of screens, watching the news reports. We hear SOUND BITES and IMAGES: "Dr. Manhattan has attacked the world, including the United States." '1 Soviets withdraw from Afghanistan," "US forces head back home." "Countries are calling for an emergency session of the U.N. to determine how to deal with the threat of Dr. Manhattan." "President Nixon has called for an immediate truce." TEARS stand in Adrian's eyes. He raises his fists in triumph.</scene_description> <character>ADRIAN</character> <dialogue>I did it. I DID IT! I've saved Earth from Hell. Next, upon my return, I will elevate her to the vaulting stature of Heaven.</dialogue> <character>LAURIE</character> <dialogue>Next? You can't get away with this!</dialogue> <character>ADRIAN</character> <dialogue>No? Will you expose me, undoing the peace so many have just died for? Morally, you're in checkmate, just like the Comedian was.</dialogue> <scene_description>Dr. Manhattan examines the many screens, taking it all in.</scene_description> <character>DR. MANHATTAN</character> <dialogue>I'm afraid he's correct. Exposing Adrian would only doom the world to nuclear destruction again.</dialogue> <character>DAN</character> <dialogue>He's right. All we did was fail to stop him from saving Earth.</dialogue> <scene_description>/CONTTNURD\: CONTINUED: (2)</scene_description> <character>LAURIE</character> <dialogue>We •• we can't say anything about this?</dialogue> <character>RORSCHACH</character> <dialogue>You're joking, of course.</dialogue> <scene_description>Rorschach walks toward the exit.</scene_description> <character>DAN</character> <dialogue>Rorschach, wait a second! Let's talk this out!</dialogue> <character>RORSCHACH</character> <dialogue>Never. Not even in the face of Armageddon. Never compromise.</dialogue> <scene_description>Adrian and Dr. Manhattan's eyes meet--an unspoken communication. Seeing this, Dan runs after Rorscha9h.</scene_description> <character>DAN</character> <dialogue>Rorschach!</dialogue> <scene_description>Across the hall, Dr. Manhattan materializes between Rorschach and the exit.</scene_description> <character>DR. MANHATTAN</character> <dialogue>Where are you going, Rorschach?</dialogue> <character>RORSCHACH</character> <dialogue>Back to the owl-Ship. Back to America. People must be told. Evil must be punished.</dialogue> <character>DR. MANHATTAN</character> <dialogue>Rorschach, you know I can't let you do that.</dialogue> <scene_description>Rorschach pauses. Dan is halfway there . . . Rorschach removes his mask, tears stand in his eyes.</scene_description> <character>RORSCHACH</character> <dialogue>Suddenly you've rediscovered humanity? If you had cared from the start, none of this would be necessary. None of this would have happened. So what are you waiting for? Do it.</dialogue> <character>DAN</character> <dialogue>NO WAIT!</dialogue> <character>RORSCHACH</character> <dialogue>DO IT!!!!</dialogue> <scene_description>/ r"l ...... "-"HT'1T"-'TT'T'T':,T"\ \ CONTINUED: (3) Dr. Manhattan WAVES HIS HAND and BLOWS RORSCHACH APART. Dan collapses to his knees, sobbing. Jon contemplates the BURN- MARK where Rorschach stood only seconds ago, then disappears-- --reappearing across the hall where Laurie is. She is also in tears, watching all the horrible footage on the TV screens.</scene_description> <character>DR. MANHATTAN</character> <dialogue>Laurie. I'm leaving this galaxy. For one a little less complicated.</dialogue> <character>LAURIE</character> <dialogue>Leaving? I, I thought you regained an interest in human life.</dialogue> <character>DR. MANHATTAN</character> <dialogue>I have. I think maybe I'll create some. Goodbye, Laurie.</dialogue> <scene_description>He kisses her on the cheek--</scene_description> <character>ADRIAN</character> <dialogue>Jon, I'd hoped to talk to you. I've made myself feel every death, see every innocent face I've murdered to save humanity--you understand, don't you?</dialogue> <character>DR. MANHATTAN</character> <dialogue>Without condoning or condemning, I understand . . .</dialogue> <scene_description>And with that, he disappears. Forever. Across the hall, Dan recovers from mourning Rorschach. He stands, gritting his teeth. Walks toward Adrian.</scene_description> <character>ADRIAN</character> <dialogue>What's on your mind, Dan?</dialogue> <character>DAN</character> <dialogue>Your death.</dialogue> <character>ADRIAN</character> <dialogue>Really. You want to kill me?</dialogue> <character>DAN</character> <dialogue>Yeah. You might have created peace, but not at the expense of justice. You need to pay for what you've done.</dialogue> <scene_description>Adrian laughs. CONTINUED: (4) ADRIAN l I'm sorry but don't you see the irony in ' this? Your intentions betray your own objection to my plan. By attempting to kill me, emphasis on attempt, you're agreeing with me--the ends do justify the means.</scene_description> <character>DAN</character> <dialogue>For you I'll make an exception. I'm gonna kill you, Adrian, for all the innocents you've slaughtered. I'm gonna kill you because that's what Rorschach would do. Would have done.</dialogue> <scene_description>Adrian readies himself. Laurie breaks away from the TV screens.</scene_description> <character>ADRIAN</character> <dialogue>Only you're not Rorschach, are you now? How do you expect to succeed where he failed?</dialogue> <character>DAN</character> <dialogue>Tell you the truth, Adrian. I don't.</dialogue> <scene_description>Dan FLIES at Adrian, fighting like a madman for his life. His fighting style has changed. Dan's newfound brutality is informed by everything he's learned from Rorschach. About justice. About life. But Adrian is the best. He takes Dan's attacks apart with ease, delivering blows which would kill a man not quite so focused on his goal. In the end, he CATCHES Dan's final strike and TWISTS. Dan's arm SNAPS easily.</scene_description> <character>LAURIE</character> <dialogue>Dan!</dialogue> <scene_description>Laurie charges Adrian. With one hand, Adrian blocks her attack, grabs her by the hair and SLAMS her to floor, knocking her out. Dan falls to his knees, bloody and beaten. Out of tricks, out of time, he searches his belt for something, anything, and finds one last OWL-WING. The WINGS SNAP OUT. Desperate, he FLICKS IT AT ADRIAN-- Who merely SNATCHES the owl-Wing out of the air. He laughs. Prepares to finish Dan off. CONTINUED: (5)</scene_description> <character>ADRIAN</character> <dialogue>I have to say, Dan, I've always thought your choice of an owl was quite juvenile.</dialogue> <character>DAN</character> <dialogue>Really? I've always liked owls</dialogue> <scene_description>Adrian sees that Dan has pulled one last item from his belt. Adrian STEPS on Dan's WRIST, bones crunching. Dan's HAND falls OPEN, revealing the OWL-SHIP REMOTE.</scene_description> <character>DAN</character> <dialogue>because you can never hear them</dialogue> <scene_description>coming. BEHIND ADRIAN: FLOODLIGHTS BLAZE, targeting Adrian as the OWL- SHIP CRASHES THROUGH THE WINDOW and into Adrian and Dan. Silence, but for the tinkling of GLASS falling to the floor. Dan tries to stand, but he falls, his left leg shattered. Most of Adrian has been CRUSHED under the ship. He coughs a fine blood spray. Adrian looks over to Dan, dying.</scene_description> <character>ADRIAN</character> <dialogue>Dan. You can't let me die . . . How will the world . survive?</dialogue> <character>DAN</character> <dialogue>We'll just have to struggle through I guess.</dialogue> <character>ADRIAN</character> <dialogue>It's alright, Dan •• I'd have never let you two leave here . . . alive.</dialogue> <character>DAN</character> <dialogue>I didn't expect you would. You being the smartest man in the world and all.</dialogue> <scene_description>Adrian lays back, calm, and grins, accepting.</scene_description> <character>ADRIAN</character> <dialogue>I . • don't regret my actions. I know in my heart • . • I did the right thing.</dialogue> <character>DAN</character> <dialogue>So do I.</dialogue> <scene_description>And Adrian dies. Laurie gets to her feet, then helps Dan get to his, pulling him toward the Owl-Ship.</scene_description> </scene> <scene> <stage_direction>EXT. ANTARCTICA - MORNING</stage_direction> <scene_description>The owl-Ship RISES into the sky, the Pyramid of Karnak BLAZING from it's tip like a Roman candle.</scene_description> </scene> <scene> <stage_direction>EXT. NEW YORK STREETS - MORNING (SOME TIME LATER)</stage_direction> <scene_description>The disintegrated buildings are being rebuilt. The shock of the attack is wearing off, and though the streets may not be as crowded as they once were, a sense of normalcy is returning. Sally Jupiter walks the sidewalk, looking for an address.</scene_description> </scene> <scene> <stage_direction>INT. DAN AND LAURIE'S TOWNHOUSE - MORNING</stage_direction> <scene_description>Sally mixes herself a tall drink at the bar. Sally calls out:</scene_description> <character>SALLY</character> <dialogue>You sure you don't want a drink?</dialogue> <character>LAURIE ( 0 €� S €� )</character> <dialogue>I'm okay. Thanks.</dialogue> <scene_description>We finally see Laurie now--her hair dyed, appearance changed. t .t</scene_description> <character>LAURIE (CONT'D) ·.\_ .. ,.Y</character> <dialogue>Mom--I just want to get this out of the way . . • I know Eddie Blake, the Comedian--I know he was my father.</dialogue> <scene_description>Sally freezes.</scene_description> <character>LAURIE</character> <dialogue>I remember.</dialogue> <scene_description>Sally downs her drink, immediately starts making another.</scene_description> <character>SALLY</character> <dialogue>It, it was years later, he stopped by out of the blue, and, and apologized. I don't know, I just couldn't . . . stay mad. It just happened--</dialogue> <scene_description>Laurie kisses her mother's teary cheek.</scene_description> <character>LAURIE</character> <dialogue>Mom. People's lives take them strange places. You never did anything wrong by me.</dialogue> <scene_description>Sally jumps as a CLICK/WHIR SOUND comes from a BOOKCASE. CONTINUED:</scene_description> <character>SALLY</character> <dialogue>What the hell is that?</dialogue> <character>LAURIE</character> <dialogue>Oh that's Dan. Home from "work."</dialogue> <scene_description>The bookcase SLIDES ASIDE and a blond DAN enters from the secret ELEVATOR. He is trim and confident, cheeks flushed with color. Buttoning up his shirt, he spots Sally.</scene_description> <character>DAN</character> <dialogue>Oh . . . hi.</dialogue> <character>SALLY</character> <dialogue>Hello, Dan. Excuse me, I should clean up.</dialogue> <scene_description>Sally wipes her runny make-up, goes to the bathroom. Dan and Laurie embrace, kiss.</scene_description> <character>LAURIE</character> <dialogue>Any bad guys last night?</dialogue> <character>DAN</character> <dialogue>There are always bad guys. Even in today's world.</dialogue> <scene_description>Slow, Laurie turns to the window. Looks out at the New York skyline being rebuilt.</scene_description> <character>LAURIE</character> <dialogue>Dan.</dialogue> <character>DAN</character> <dialogue>Hmm?</dialogue> <character>LAURIE</character> <dialogue>Will it be alright? The world, I mean.</dialogue> <scene_description>He puts his arm around her shoulder.</scene_description> <character>DAN</character> <dialogue>As long as no-one ever finds out that Adrian was behind it all, the public will think Jon is still up there, watching. The threat remains, and everything should be fine.</dialogue> <character>LAURIE</character> <dialogue>Yeah. Just fine.</dialogue> <scene_description>\ 134.:</scene_description> </scene> <scene> <stage_direction>INT. THE NEW FRONTIERSMAN - DAY</stage_direction> <scene_description>CLOSE ON: A YELLOW HAPPY FACE--suddenly SPLOTCHED with RED-- printed on A T-SHIRT now stained with ketchup. WE PULL BACK: And find Seymour wears the shirt, eating a burger when the Editor bursts in.</scene_description> <character>EDITOR</character> <dialogue>SEYMOUR! What the hell do you got for me?</dialogue> <character>SEYMOUR</character> <dialogue>Uh . . .</dialogue> <character>EDITOR</character> <dialogue>We got nothing to write about. Everyone in the country, every country in the world is holding hands now, singing songs about peace and love--it's like we're living in a goddamn global hippie commune!</dialogue> <character>SEYMOUR</character> <dialogue>Um, I guess I can look for stuff in the crank file.</dialogue> <character>EDITOR</character> <dialogue>Crank file? Whatever! Take some initiative! Run whatever you like--</dialogue> <scene_description>Seymour turns to the PILE of submissions known as the crank file, where RORSCHACH'S JOURNAL sits on top. Seymour reaches--</scene_description> <character>EDITOR</character> <dialogue>--I leave it entirely in your hands.</dialogue> <scene_description>--and picks up Rorschach's Journal • . . Just as he's about to open it, we cur TO BLACK.</scene_description> <character>THE END</character> </scene> </script>

In 1985, a man living in a Manhattan apartment watches news about escalating Cold War tensions and the response from five-term President Richard Nixon, when an unknown assailant attacks and hurls him to the street below. Throughout the opening credits, a montage reviews the rise of costumed crime-fighters from 1939 to 1977, culminating in public backlash and the passage of an anti-vigilante act. Rorschach, a vigilante detective who operates illegally, discovers that the dead man was Edward Blake, better known as "the Comedian", a costumed hero who worked for the government. Suspecting that other vigilantes could be attacked, Rorschach warns members of his former team, the Watchmen. Rorschach's former partner Dan Dreiberg believes he is paranoid but relays his concerns to Adrian Veidt, a crime-fighter turned businessman. Rorschach later visits Doctor Manhattan, a physicist whose accidental superpowers make him a national security asset, but Manhattan is preoccupied with energy research and ignores him. At Blake's funeral, Manhattan, Veidt and Dreiberg each recall the Comedian's pessimism in his later years about the Watchmen's mission. After the service, a lone mourner pays his respects. Rorschach tracks down and questions the mourner, former supervillain Edgar Jacobi. Jacobi says that Blake had recently broken into his apartment while he was sleeping — tearful, unmasked and incoherent. Rorschach is astonished but doubts that Jacobi would tell a lie so bizarre. During a press interview with Doctor Manhattan, an investigative journalist tells him that several people who had been in contact with Manhattan have developed cancer, including his former girlfriend. As other reporters mob Manhattan with questions, he snaps and exiles himself to Mars. Alone, Manhattan reflects on his existence and his regrets at being turned into a weapon. In his absence, the Warsaw Pact countries make aggressive moves and Nixon prepares for war. Veidt survives an assassination attempt, suggesting that Rorschach's "mask-killer" theory is correct. Dreiberg takes in Laurie Jupiter, a second-generation vigilante and estranged lover of Manhattan, for protection. Rorschach's investigation of the assassin leads him back to Jacobi. While attempting to question him again, Rorschach is framed for his murder, arrested, and unmasked as a low-born vagrant. In prison, Rorschach defends his vigilantism to a psychiatrist, saying that he cannot ignore evil and the people who cause it. Dreiberg and Jupiter, growing nostalgic for their crime-fighting days, put on their costumes and break Rorschach out of prison. Manhattan teleports Jupiter to Mars while Dreiberg joins Rorschach's investigation of the Blake murder. Evidence points them to Veidt as the mastermind; they find him at an Antarctic hideout, where he has just overseen activation of Doctor Manhattan's energy reactors in New York City and other locations across the planet. On Mars, Jupiter tries to convince Manhattan that humanity is worth saving, and succeeds only when he learns that Jupiter is Blake's illegitimate daughter, born after the affair of Sally and Blake, a fact so unlikely that it restores his respect for life. Veidt admits orchestrating Manhattan's exile, staging the assassination, framing Rorschach, and killing Blake, who was spying on his activities. He has also executed the final step of his plan: turning the world against Manhattan by rigging his reactors to explode, killing 15 million people. Manhattan returns with Jupiter to a devastated New York, pieces together what has happened and teleports to Veidt's hideout. After a brief struggle, Veidt shows him that the countries of the world have put aside their rivalries to focus on a common enemy. Realizing the logic of Veidt's plan, the Watchmen agree to keep his secret, with the exception of Rorschach, whom Manhattan reluctantly kills to preserve the new global peace. Manhattan departs permanently for another galaxy while Dreiberg rebukes Veidt's moral sacrifice, and Jupiter finally comes to terms with her parentage. A New York tabloid editor, disgusted that there is no war to report on, tells a fellow journalist to grab something from a box of crank submissions that contains Rorschach's journal.

The Graduate_1967

tt0061722

<script> <scene> <stage_direction>EXT. AMPHITHEATRE - DAY SHOT - HELICOPTER'S POV </stage_direction> <scene_description>Moving through clouds . The clouds separate and , far below , we can see a giant outdoor amphitheatre . There is no SOUND but the WIND . As we move closer to the amphitheatre , we can hear SNATCHES OF WORDS and PHRASES as though from a public address system .</scene_description> </scene> <scene> <stage_direction>EXT. AMPHITHEATRE - PODIUM - DAY - SHOT OF BEN</stage_direction> <scene_description>in cap and gown , standing in front of a microphone . The WIND is BLOWING . He has to hold on to the papers from which he is reading .</scene_description> </scene> <scene> <stage_direction>EXT. AMPHITHEATRE - SHOT OF AUDIENCE - DAY</stage_direction> <scene_description>Thousands of expressionless STUDENTS are sitting there .</scene_description> </scene> <scene> <stage_direction>EXT. AMPHITHEATRE - SHOT OF PODIUM - DAY</stage_direction> <character>BEN</character> <dialogue>- and today it is right that we should ask ourselves the one most important question : What is the purpose of these years, the purpose for all this demanding work, the purpose for the sacrifices made those who love us? Were there NOT a purpose, then all of these past years of struggle, of fierce competition and of uncom - promising ambition would be mean - ingless. But, of course, there is a purpose and I must tell it to you. I ask you to remember this purpose always and I pledge that I shall endeavor to carry it with me forever.</dialogue> <scene_description>SHOT - AMPHITHEATRE AUDIENCE - DAY staring at him impassively . INTERCUT BETWEEN SHOTS of impassive students , seated , watching ; of Ben standing alone on the huge amphitheatre stage ; of CLOSEUPS of Ben speaking ; of loudspeakers ; of wind - blown papers on the podium .</scene_description> </scene> <scene> <stage_direction>EXT. PODIUM OF AMPHITHEATRE - DAY</stage_direction> <character>BEN</character> <parenthetical>( continuing . )</parenthetical> <dialogue>The purpose, my fellow graduates - the purpose is -</dialogue> <scene_description>He stops , trying to think of the word . CLOSEUP - BEN He begins to sweat . SHOT - AMPHITHEATRE AUDIENCE watching . SHOT - PODIUM of AMPHITHEATRE Ben 's hands searching through the pages of his speech . The pages begin to blow away in the wind . SHOT - AMPHITHEATRE AUDIENCE - DAY staring . SHOT - PODIUM OF AMPHITHEATRE - DAY</scene_description> <character>BEN</character> <dialogue>- there is a reason, my friends, and the reason is -</dialogue> <scene_description>CLOSEUP - BEN He is in a panic . He looks up from his papers at the audience . SHOT - AMPHITHEATRE - DAY The audience is gone . SHOT - PODIUM OF AMPHITHEATRE - DAY</scene_description> <character>BEN</character> <dialogue>- the reason is - the purpose is -</dialogue> <scene_description>SOUND of the WIND becoming the ROAR of an AIRCRAFT coming at us through the air . SHOT - AMPHITHEATRE - DAY Huge and empty . SOUND of AIRCRAFT .</scene_description> <character>CAPTAIN'S VOICE</character> <dialogue>Ladies and gentlemen, we are about to begin our descent into Los Angeles -</dialogue> <scene_description>SOUND of a SONIC BOOM .</scene_description> </scene> <scene> <stage_direction>INT. PLANE - CLOSEUP - BEN - NIGHT</stage_direction> <scene_description>His eyes open suddenly .</scene_description> <character>CAPTAIN'S VOICE</character> <dialogue>The sound you have just heard is the landing gear locking into place. The Los Angeles weather is clear and the temperature is a pleasant 72. We do not expect any traffic delay and will make our four hour and eighteen minute flight plan smack on the nose. We enjoyed having you on board and look forward to seeing you again in the near future.</dialogue> <scene_description>SHOT PULL BACK SLOWLY from a CLOSEUP of a television screen with snow on it to reveal a long row of television sets along the ceiling of the aircraft . There is snow on all of them . REVERSE ANGLE PULL BACK from the CLOSEUP of Ben to reveal a row of passengers staring straight ahead , their headsets on . Ben turns and looks out the window .</scene_description> </scene> <scene> <stage_direction>EXT. LOS ANGELES - FROM THE AIR - NIGHT</stage_direction> <scene_description>Los Angeles , at night , its lights stretching endlessly in every direction . SOUND - MUZAC and the STEWARDESS ' LANDING SPEECH . START OF MAIN TITLES UNDER titles :</scene_description> <character>STEWARDESS' VOICE</character> <dialogue>Ladies and gentlemen please fasten your seat belts in preparation for the landing and observe the no smoking sign. After we land, you will notice an increase in the sound level as the thrust of the engines is reversed to help reduce forward speed.</dialogue> </scene> <scene> <stage_direction>INT. AIRPORT - MOVING SIDEWALK - NIGHT</stage_direction> <scene_description>Ben and the other passengers on the automatic sidewalk .</scene_description> <character>MAN'S VOICE</character> <dialogue>Your attention, please! American Airlines Flight Number 4, 21 Club service, non - stop to New York is now leaving from Gate Number 40. All aboard, please.</dialogue> </scene> <scene> <stage_direction>INT. BEN'S ROOM - NIGHT - CLOSEUP - BEN</stage_direction> <scene_description>His eyes are open and he is trying to remember something . There are the SOUNDS of many people TALKING and LAUGHING in other rooms . A RADIO nearby PLAYS MUSIC . After a while , there is the SOUND of a DOOR OPENING . The SOUNDS of the people TALKING are lower . MRS. TERHUNE 'S voice can be heard among them .</scene_description> <character>MRS. TERHUNE'S VOICE</character> <dialogue>- associate editor of the college newspaper in his junior year - managing editor in his senior year -</dialogue> <scene_description>The SOUND of the DOOR CLOSING . Mrs. Terhune 's VOICE and the VOICES of the other guests FADE DOWN . Mrs. Terhune 's VOICE can be HEARD with varying clarity through the remainder of the sequence . After a few moments , there is the SOUND of a LIGHT SWITCH being SNAPPED and light , as though from an overhead fixture , falls across BEN 's face . He does not move . After a few moments , there is the SOUND of the RADIO being SNAPPED OFF .</scene_description> <character>MR. BRADDOCK'S VOICE</character> <dialogue>What's the matter?</dialogue> <scene_description>Ben 's mouth opens a little bit and closes again .</scene_description> <character>MR. BRADDOCK'S VOICE</character> <dialogue>The guests are all downstairs, Ben. They're all waiting to see you.</dialogue> <character>BEN</character> <dialogue>Look, Dad - could you explain to them that I have to be alone for a while?</dialogue> <character>MR. BRADDOCK'S VOICE</character> <dialogue>These are all our good friends, Ben. Most of them have known you since - well - practically since you were born.</dialogue> <scene_description>Ben has not moved . Now the bed on which he is lying moves as though someone has sat down upon it next to him .</scene_description> <character>MR. BRADDOCK'S VOICE</character> <dialogue>What is it, Ben?</dialogue> <scene_description>The CAMERA BEGINS TO PULL BACK SLOWLY .</scene_description> <character>BEN</character> <dialogue>I'm just -</dialogue> <character>MR. BRADDOCK</character> <dialogue>- worried?</dialogue> <character>BEN</character> <dialogue>Well -</dialogue> <character>MR. BRADDOCK</character> <dialogue>About what?</dialogue> <character>Ben</character> <dialogue>I guess - about my future.</dialogue> <character>MR. BRADDOCK</character> <dialogue>What about it?</dialogue> <character>BEN</character> <dialogue>I do n't know. I want it to be -</dialogue> <character>MR. BRADDOCK</character> <dialogue>To be what?</dialogue> <character>BEN</character> <parenthetical>( quietly . )</parenthetical> <dialogue>Different.</dialogue> <scene_description>As Ben says this , the door to the bedroom opens and MRS. BRADDOCK looks in .</scene_description> <character>MRS. BRADDOCK</character> <dialogue>Is anything wrong?</dialogue> <character>MR. BRADDOCK</character> <dialogue>No! No - we're just on our way downstairs!</dialogue> <scene_description>Mr. Braddock gets off the bed and goes to a chair and picks up Ben 's jacket which is lying across it .</scene_description> <character>MRS. BRADDOCK</character> <dialogue>The Carlsons' are here.</dialogue> <character>MR. BRADDOCK</character> <parenthetical>( to Mrs. Braddock . )</parenthetical> <dialogue>They are?</dialogue> <parenthetical>( to Ben . )</parenthetical> <dialogue>Come on.</dialogue> <scene_description>Mr. Braddock puts the jacket on Ben .</scene_description> <character>MRS. BRADDOCK</character> <dialogue>They came all the way from Tarzana.</dialogue> <character>MR. BRADDOCK</character> <dialogue>It's a wonderful thing to have so many devoted friends.</dialogue> <scene_description>They move out of the door , Mr. Braddock steering Ben .</scene_description> </scene> <scene> <stage_direction>INT. HALLS AND STAIRWAY - NIGHT</stage_direction> <scene_description>PHIL and MIMI CARLSON are coming up the stairs as the Braddocks are moving down .</scene_description> <character>MR. CARLSON</character> <dialogue>Hey - there's our award winning scholar.</dialogue> <character>MRS. CARLSON</character> <dialogue>We're all very proud of you, Ben.</dialogue> <character>BEN</character> <dialogue>Thank you, Mrs. Carlson.</dialogue> <character>MR. CARLSON</character> <dialogue>Is that the new car out there? The little red Wop job?</dialogue> <character>MR. BRADDOCK</character> <dialogue>That's Ben's graduation present.</dialogue> <character>MR. CARLSON</character> <parenthetical>( putting his arm across Ben 's shoulder . )</parenthetical> <dialogue>Wo n't have much trouble picking them up in that, will you?</dialogue> <character>BEN</character> <dialogue>Sir?</dialogue> <character>MR. CARLSON</character> <dialogue>The girls. The chicks. The - the teeny boppers.</dialogue> <character>MRS. CARLSON</character> <dialogue>I think Ben has gotten beyond the teeny bopper stage - have n't you, Ben?</dialogue> <scene_description>Mrs. Carlson gives Ben a broad wink . Ben tries to smile and return the wink politely .</scene_description> <character>BEN</character> <dialogue>Yes, ma'am.</dialogue> <scene_description>They reach the hall at the bottom of the stairs .</scene_description> <character>BEN</character> <dialogue>Excuse me - I think I'd just like to check something on the car for a minute -</dialogue> <scene_description>Ben moves to the front door and opens it . MR. LOOMIS steps into the house and grabs Ben 's hand .</scene_description> <character>MR. LOOMIS</character> <dialogue>Here's the track star himself. How are you, track star?</dialogue> <character>BEN</character> <dialogue>Just fine, Mr. Loomis.</dialogue> <scene_description>Mr. Loomis closes the door and pushes Ben back down the hall .</scene_description> <character>MR. LOOMIS</character> <dialogue>I want to get a drink and then I want to hear all about that thing you won. That Hopperman award.</dialogue> <character>BEN</character> <dialogue>Helpingham.</dialogue> <character>MR. LOOMIS</character> <dialogue>Helpingham! Right! Now you wait right here.</dialogue> <scene_description>Mr. Loomis turns and goes into the dining room . Ben moves back to the stairway as THREE LADIES come out of the living room . One lady takes Ben 's right hand , another lady his left , the third fingers the front of his jacket .</scene_description> <character>LADY 1</character> <dialogue>Ben - we're all so proud of you.</dialogue> <character>LADY 2</character> <dialogue>Proud, proud, proud, proud, proud.</dialogue> <character>LADY 3</character> <dialogue>What are you going to do now?</dialogue> <character>BEN</character> <dialogue>I was going to go upstairs for a minute -</dialogue> <character>LADY 3</character> <dialogue>No - I meant with your future.</dialogue> <character>LADY 2</character> <dialogue>With your life.</dialogue> <character>BEN</character> <dialogue>Well - that's a little hard to say -</dialogue> <scene_description>MR. MCQUIRE appears behind Ben .</scene_description> <character>MR. MCQUIRE</character> <dialogue>Ben!</dialogue> <character>Ben</character> <parenthetical>( to the ladies . )</parenthetical> <dialogue>Excuse me.</dialogue> <parenthetical>( he turns around . )</parenthetical> <dialogue>Mr. McQuire</dialogue> <character>MR. MCQUIRE</character> <parenthetical>( overwhelmed with pride . )</parenthetical> <dialogue>Ben.</dialogue> <character>BEN</character> <dialogue>Mr. McQuire.</dialogue> <scene_description>Mr. McQuire takes Ben 's arm and steers him down the hall toward the back of the house and out through the back door .</scene_description> </scene> <scene> <stage_direction>EXT. BRADDOCK BACKYARD AND POOL AREA - NIGHT</stage_direction> <scene_description>The pool is eerily lit . There are FOUR PEOPLE standing and TALKING , drinks in their hands , at the back of the yard .</scene_description> <character>MR. MCQUIRE</character> <dialogue>Ben - I just want to say one word to you - just one word -</dialogue> <character>BEN</character> <dialogue>Yes, sir.</dialogue> <character>MR. MCQUIRE</character> <dialogue>Are you listening?</dialogue> <character>BEN</character> <dialogue>Yes I am.</dialogue> <character>MR. MCQUIRE</character> <parenthetical>( gravely . )</parenthetical> <dialogue>Plastics.</dialogue> <scene_description>They look at each other for a moment .</scene_description> <character>BEN</character> <dialogue>Exactly how do you mean?</dialogue> <character>MR. MCQUIRE</character> <dialogue>There is a great future in plastics. Think about it. Will you think about it?</dialogue> <character>BEN</character> <dialogue>Yes, I will.</dialogue> <character>MR. MCQUIRE</character> <dialogue>Okay. Enough said. That's a deal.</dialogue> <scene_description>Mr. McQuire turns and walks back into the house . The people at the other end of the yard look toward Ben .</scene_description> <character>WOMAN #1</character> <dialogue>Here he is now. Here's Ben.</dialogue> <character>BEN</character> <dialogue>Excuse me just a minute -</dialogue> <scene_description>Ben goes into the house through the back door .</scene_description> </scene> <scene> <stage_direction>EXT. BRADDOCK BACKYARD AND POOL AREA - NIGHT</stage_direction> <scene_description>We can see through the windows of the house , Ben making his way through people trying to stop him and speak to him as he goes through rooms , up the stairs and to his room . SOUND of a door SLAMMING .</scene_description> </scene> <scene> <stage_direction>INT. - EXT. BEN'S ROOM - NIGHT</stage_direction> <scene_description>Ben stands with his back against the door . The SOUNDS of the PARTY downstairs and , as Ben walks across the room to a window , the SOUND of the WIND . 32A SHOT - LONG SHOT -LRB- Location -RRB- Over Ben to pool area and people below . SOUND of the door OPENING . Ben turns . MRS. ROBINSON enters the room .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Oh. I guess this is n't the bathroom, is it?</dialogue> <character>BEN</character> <dialogue>It's down the hall.</dialogue> <scene_description>They stand for a moment , loocking at each other .</scene_description> <character>MRS. ROBINSON</character> <dialogue>How are you, Benjamin?</dialogue> <character>BEN</character> <dialogue>Fine, thank you. The bathroom is down at the end of the hall.</dialogue> <scene_description>Mrs. Robinson moves into the room and sits on the edge of the bed .</scene_description> <character>BEN</character> <dialogue>Look, Mrs. Robinson, I do n't mean to be rude but -</dialogue> <scene_description>Mrs. Robinson takes a cigarette from her purse and lights it .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Is there an ashtray in here?</dialogue> <character>BEN</character> <dialogue>No.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Oh - I forgot. The track star does n't smoke.</dialogue> <scene_description>She blows out the match and puts it down carefully on the bedspread . Ben picks up a wastebasket , walks over to the bed , picks up the match and puts it in the wastebasket .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Is it a girl?</dialogue> <character>BEN</character> <dialogue>Is what a girl?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Whatever it is you're upset about.</dialogue> <character>BEN</character> <dialogue>Oh - no. I'm just sort of disturbed about things.</dialogue> <character>MRS. ROBINSON</character> <dialogue>In general.</dialogue> <character>BEN</character> <dialogue>That's right.</dialogue> <scene_description>There is a long pause .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Benjamin, I want to ask you something.</dialogue> <character>BEN</character> <dialogue>What?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Will you take me home?</dialogue> <character>BEN</character> <dialogue>What?</dialogue> <character>MRS. ROBINSON</character> <dialogue>My husband took the car. Will you drive me home?</dialogue> <scene_description>Ben reaches into his pocket and hands Mrs. Robinson a set of car keys .</scene_description> <character>BEN</character> <dialogue>Here - you take it.</dialogue> <scene_description>Mrs. Robinson looks at him .</scene_description> <character>BEN</character> <dialogue>Do you know how to work a foreign shift?</dialogue> <scene_description>Mrs. Robinson shakes her head .</scene_description> <character>BEN</character> <dialogue>You do n't?</dialogue> <character>MRS. ROBINSON</character> <dialogue>No.</dialogue> <parenthetical>( there is a pause . )</parenthetical> <dialogue /> <character>BEN</character> <dialogue>Let's go.</dialogue> <scene_description>She throws the keys to him . He catches them .</scene_description> </scene> <scene> <stage_direction>EXT. BRADDOCK HOUSE - NIGHT</stage_direction> <scene_description>SHOOTING THROUGH THE OPEN FRONT DOOR . Mr. Braddock is talking to the Terhunes at the door . Ben and Mrs. Robinson come down the hall .</scene_description> <character>BEN</character> <dialogue>Dad - Mrs. Robinson needs a ride home. I'll be right back.</dialogue> <scene_description>Mr. Braddock pats Ben on the shoulder . Mrs. Robinson is walking ahead through the front door .</scene_description> <character>MRS. ROBINSON</character> <parenthetical>( as she passes the CAMERA . )</parenthetical> <dialogue>Wonderful party.</dialogue> </scene> <scene> <stage_direction>EXT. ROBINSON HOUSE - NIGHT</stage_direction> <scene_description>The car comes to a stop in the Robinson driveway . They sit for a moment .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Thank you.</dialogue> <character>BEN</character> <dialogue>Right.</dialogue> <scene_description>She does n't move . Ben gets out and goes around to her side and opens the door .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Will you come in, please?</dialogue> <character>BEN</character> <dialogue>What?</dialogue> <character>MRS. ROBINSON</character> <dialogue>I want you to come in till I get the lights on.</dialogue> <character>BEN</character> <dialogue>What for?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Because I do n't feel safe until I get the lights on.</dialogue> <scene_description>They move to the door . She takes out her key and opens the door .</scene_description> </scene> <scene> <stage_direction>INT. ROBINSON HALL AND SUNROOM - NIGHT</stage_direction> <character>MRS. ROBINSON</character> <dialogue>Would you mind walking ahead of me to the sun porch. I feel funny about coming into a dark house.</dialogue> <character>BEN</character> <dialogue>But it's light in there now.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Please.</dialogue> <scene_description>Ben turns and walks down the hall . They enter sunroom .</scene_description> <character>MRS. ROBINSON</character> <dialogue>What do you drink? Bourbon?</dialogue> <character>BEN</character> <dialogue>Look - I drove you home. I was glad to do it. But I have some things on my mind. Can you understand that?</dialogue> <scene_description>She nods .</scene_description> <character>BEN</character> <dialogue>All right then.</dialogue> <character>MRS. ROBINSON</character> <dialogue>What do you drink?</dialogue> <scene_description>He looks at her .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Benjamin - I'm sorry to be this way, but I do n't want to be alone in this house.</dialogue> <character>BEN</character> <dialogue>Why not?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Please wait till my husband gets home.</dialogue> <character>BEN</character> <dialogue>When is he coming back?</dialogue> <character>MRS. ROBINSON</character> <dialogue>I do n't know.</dialogue> <scene_description>She pours herself a drink .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Drink?</dialogue> <character>BEN</character> <dialogue>No.</dialogue> <scene_description>She hands him a drink . There is a pause .</scene_description> <character>BEN</character> <dialogue>Are you always this much afraid of being alone?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Yes.</dialogue> <character>BEN</character> <dialogue>Well, why ca n't you just lock the doors and go to bed?</dialogue> <character>MRS. ROBINSON</character> <dialogue>I'm very nuerotic.</dialogue> <scene_description>She turns on the phonograph . SOUND of PHONOGRAPH .</scene_description> <character>MRS. ROBINSON</character> <dialogue>May I ask you a question?</dialogue> <scene_description>Ben looks at her .</scene_description> <character>MRS. ROBINSON</character> <dialogue>What do you think of me?</dialogue> <character>BEN</character> <dialogue>What do you mean?</dialogue> <character>MRS. ROBINSON</character> <dialogue>You've known me nearly all of your life. You must have formed some opinion.</dialogue> <character>BEN</character> <dialogue>Well - I've always thought that you were a very - nice - person.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Did you know I was an alcoholic?</dialogue> <character>BEN</character> <dialogue>What?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Did you know that?</dialogue> <character>BEN</character> <dialogue>Look - I think I should be going -</dialogue> <character>MRS. ROBINSON</character> <dialogue>Sit down, Benjamin.</dialogue> <character>BEN</character> <dialogue>Mrs. Robinson - if you do n't mind my saying so - this conversation is getting a little strange. Now I'm sure that Mr. Robinson will be here any minute and -</dialogue> <character>MRS. ROBINSON</character> <dialogue>No.</dialogue> <character>BEN</character> <dialogue>What?</dialogue> <character>MRS. ROBINSON</character> <dialogue>My husband will be back quite late.</dialogue> <scene_description>They look at each other . Ben is half standing .</scene_description> <character>MRS. ROBINSON</character> <dialogue>He should be gone for several hours.</dialogue> <scene_description>She takes a step toward him . He puts his hand up and retreats around the other side of the chair .</scene_description> <character>BEN</character> <dialogue>Oh my God.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Pardon?</dialogue> <character>BEN</character> <dialogue>Oh no, Mrs. Robinson, oh no.</dialogue> <character>MRS. ROBINSON</character> <dialogue>What's wrong?</dialogue> <character>BEN</character> <dialogue>Mrs. Robinson, you did n't - I mean you did n't expect -</dialogue> <character>MRS. ROBINSON</character> <dialogue>What?</dialogue> <character>BEN</character> <dialogue>I mean - you did n't really think that I would do something like that.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Like what?</dialogue> <character>BEN</character> <dialogue>What do you think?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Well I do n't know.</dialogue> <character>BEN</character> <dialogue>For God's sake, Mrs. Robinson, here we are, you've got me into your house. You give me a drink. You put on music, now you start opening up your personal life to me and tell me your husband wo n't be home for hours.</dialogue> <character>MRS. ROBINSON</character> <dialogue>So?</dialogue> <character>BEN</character> <dialogue>Mrs. Robinson - you are trying to seduce me.</dialogue> <scene_description>There is a pause . She looks at him .</scene_description> <character>BEN</character> <parenthetical>( weaker . )</parenthetical> <dialogue>Are n't you?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Why no. I had n't thought of it. I feel rather flattered that you -</dialogue> <character>BEN</character> <dialogue>Mrs. Robinson, will you forgive me for what I just said?</dialogue> <character>MRS. ROBINSON</character> <dialogue>It's all right.</dialogue> <character>BEN</character> <dialogue>It's not all right, it's the worst thing I've ever said to anyone.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Sit down.</dialogue> <character>BEN</character> <dialogue>Please forgive me. Because I like you. I do n't think of you that way. But I'm mixed up.</dialogue> <character>MRS. ROBINSON</character> <dialogue>All right. Now finish your drink.</dialogue> <character>BEN</character> <dialogue>Mrs. Robinson, it makes me sick that I said that to you.</dialogue> <character>MRS. ROBINSON</character> <dialogue>We'll forget it right now. Finish your drink.</dialogue> <character>BEN</character> <dialogue>What is wrong with me?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Have you ever seen Elaine's portrait?</dialogue> <character>BEN</character> <dialogue>Her portrait?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Yes.</dialogue> <character>BEN</character> <dialogue>No.</dialogue> <character>MRS. ROBINSON</character> <dialogue>We had it done last Christmas. Would you like to see it?</dialogue> <character>BEN</character> <dialogue>Very much.</dialogue> <scene_description>We move with Mrs. Robinson and Ben out of the sunroom , into the hall , up the stairs and along the hall to the doorway to Elaine 's room .</scene_description> </scene> <scene> <stage_direction>INT. ELAINE'S ROOM - NIGHT</stage_direction> <scene_description>Ben moves into the room and looks up at the portrait .</scene_description> <character>BEN</character> <dialogue>Elaine certainly is an attractive girl, is n't she?</dialogue> <scene_description>In the b.g. Mrs. Robinson watches him .</scene_description> <character>BEN</character> <parenthetical>( looking at the portrait . )</parenthetical> <dialogue>I do n't remember her as having brown eyes.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Benjamin?</dialogue> <character>BEN</character> <dialogue>Yes?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Will you unzip my dress?</dialogue> <scene_description>He steps back .</scene_description> <character>MRS. ROBINSON</character> <dialogue>I think I'll go to bed.</dialogue> <character>BEN</character> <dialogue>Oh. Well, goodnight.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Wo n't you unzip my dress?</dialogue> <character>BEN</character> <dialogue>I'd rather not, Mrs. Robinson.</dialogue> <character>MRS. ROBINSON</character> <dialogue>If you still think I'm trying to seduce you -</dialogue> <character>BEN</character> <dialogue>No, I do n't. But I just feel a little funny.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Benjamin - you've known me all your life.</dialogue> <character>BEN</character> <dialogue>I know that. But I'm -</dialogue> <character>MRS. ROBINSON</character> <dialogue>Come on.</dialogue> <scene_description>She turns her back .</scene_description> <character>MRS. ROBINSON</character> <dialogue>It's hard for me to reach.</dialogue> <scene_description>Ben reaches forward and pulls the zipper down .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Thank you.</dialogue> <character>BEN</character> <dialogue>Right.</dialogue> <scene_description>Ben walks toward the door .</scene_description> <character>MRS. ROBINSON</character> <dialogue>What are you so scared of?</dialogue> <character>BEN</character> <dialogue>I'm not scared, Mrs. Robinson.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Then why do you keep running away?</dialogue> <character>BEN</character> <dialogue>Because you're going to bed. I do n't think I should be up here.</dialogue> <scene_description>Mrs. Robinson lets her dress fall to the floor .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Have n't you ever seen anybody in a slip before?</dialogue> <character>BEN</character> <dialogue>Yes, I have -</dialogue> <scene_description>He looks up at the portrait of Elaine .</scene_description> <character>BEN</character> <dialogue>But I just - Look - what if Mr. Robinson walked in right now?</dialogue> <character>MRS. ROBINSON</character> <dialogue>What if he did?</dialogue> <character>BEN</character> <dialogue>Well, it would look pretty funny, would n't it?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Do n't you think he trusts us together?</dialogue> <character>BEN</character> <dialogue>Of course he does. But he might get the wrong idea. Anyone might.</dialogue> <character>MRS. ROBINSON</character> <dialogue>I do n't see why. I'm twice as old as you are. How could anyone think -</dialogue> <character>BEN</character> <dialogue>But they would! Do n't you see?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Benjamin - I'm not trying to seduce you. I wish you'd -</dialogue> <character>BEN</character> <dialogue>I know that. But please, Mrs. Robinson. This is difficult for me.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Why is it?</dialogue> <character>BEN</character> <dialogue>Because I am confused about things. I ca n't tell what I'm imagining. I ca n't tell what's real. I ca n't -</dialogue> <character>MRS. ROBINSON</character> <dialogue>Would you like me to seduce you?</dialogue> <character>BEN</character> <dialogue>What?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Is that what you're trying to tell me?</dialogue> <character>BEN</character> <dialogue>I'm going home now. I apologize for what I said. I hope you can forget it. But I'm going home right now.</dialogue> <scene_description>Benjamin walks out of the door and down the hall . The CAMERA PUSHES with him to the door . We see the entire stairway and part of the downstairs hall . Ben gets to the stairs and starts down .</scene_description> <character>MRS. ROBINSON'S VOICE</character> <dialogue>BENJAMIN?</dialogue> <character>BEN</character> <dialogue>Yes.</dialogue> <character>MRS. ROBINSON'S VOICE</character> <dialogue>Will you bring up my purse before you go?</dialogue> <character>BEN</character> <dialogue>I have to go now. I'm sorry.</dialogue> <scene_description>Mrs. Robinson walks into the hall . Her back is to us . She is holding her dress in front of her .</scene_description> <character>MRS. ROBINSON</character> <dialogue>I really do n't want to put this on again. Wo n't you bring it up?</dialogue> <character>BEN</character> <dialogue>Where is it?</dialogue> <character>MRS. ROBINSON</character> <dialogue>On that chair in the hall.</dialogue> <scene_description>She walks out of the shot .</scene_description> <character>BEN</character> <dialogue>Mrs. Robinson?</dialogue> <character>MRS. ROBINSON'S VOICE</character> <dialogue>I'm in the bathroom.</dialogue> <character>BEN</character> <dialogue>Well here's the purse.</dialogue> <character>MRS. ROBINSON'S VOICE</character> <dialogue>Could you bring it up?</dialogue> <character>BEN</character> <dialogue>Well I'll hand it to you.</dialogue> <scene_description>Ben starts back up the stairs .</scene_description> <character>BEN</character> <dialogue>Come to the railing and I'll hand it up.</dialogue> <character>MRS. ROBINSON'S VOICE</character> <dialogue>Benjamin - I am getting pretty tired of all this suspicion. Now if you wo n't do me a simple favor I do n't know what.</dialogue> <scene_description>Ben appears as he slowly climbs the stairs .</scene_description> <character>BEN</character> <dialogue>I'm putting it on the top step.</dialogue> <character>MRS. ROBINSON'S VOICE</character> <dialogue>For God's sake, Benjamin, will you stop acting that way and bring me the purse?</dialogue> <scene_description>Ben gets to the top of the stairs , and starts slowly down the hall .</scene_description> <character>BEN</character> <dialogue>I'm putting it here by the door.</dialogue> <character>MRS. ROBINSON'S VOICE</character> <dialogue>Will you bring it in to me?</dialogue> <character>BEN</character> <dialogue>I'd rather not.</dialogue> <character>MRS. ROBINSON'S VOICE</character> <dialogue>All right. Put it in the room where we were.</dialogue> <character>BEN</character> <dialogue>Right.</dialogue> </scene> <scene> <stage_direction>INT. ELAINE'S ROOM - NIGHT</stage_direction> <scene_description>Ben walks quickly into Elaine 's room , crosses to the bed and puts the purse down . As he starts to turn back , he looks up at Elaine 's portrait . There is a movement reflected in the glass of the portrait . He turns quickly . Mrs. Robinson , naked , is shutting the door to the bedroom behind her .</scene_description> <character>BEN</character> <dialogue>Oh God.</dialogue> <scene_description>She smiles .</scene_description> <character>BEN</character> <dialogue>Let me out.</dialogue> <scene_description>She turns the lock on the door .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Do n't be nervous.</dialogue> <character>BEN</character> <dialogue>Get away from that door.</dialogue> <character>MRS. ROBINSON</character> <dialogue>I want to say something first.</dialogue> <character>BEN</character> <dialogue>Jesus Christ!</dialogue> <character>MRS. ROBINSON</character> <dialogue>Benjamin - I want you to know I'm available to you. If you wo n't sleep with me this time -</dialogue> <character>BEN</character> <dialogue>Oh my God.</dialogue> <character>MRS. ROBINSON</character> <dialogue>If you wo n't sleep with me this time, Benjamin, I want you to know you can call me up any time you want and we'll make some kind of arrangement.</dialogue> <character>BEN</character> <dialogue>Let me out!</dialogue> <character>MRS. ROBINSON</character> <dialogue>Do you understand what I said?</dialogue> <character>BEN</character> <dialogue>Yes. Yes. Let me out!</dialogue> <character>MRS. ROBINSON</character> <dialogue>Because I find you very attractive and any time -</dialogue> <scene_description>There is the SOUND of a CAR in the driveway outside . Ben leaps at the door , pushes Mrs. Robinson aside , struggles with the door , gets the door open , runs into the hall and down the stairs .</scene_description> </scene> <scene> <stage_direction>INT. SUNROOM - NIGHT</stage_direction> <scene_description>Ben rushes into the sunroom and sits down . SOUND of FOOTSTEPS on the driveway outside . Ben jumps up , gets the glass he had been drinking from and sits down again . SOUND of the front door OPENING and CLOSING .</scene_description> <character>MR. ROBINSON'S VOICE</character> <dialogue>Is that Ben's car in front?</dialogue> <character>BEN</character> <parenthetical>( jumping up . )</parenthetical> <dialogue>Yes, sir!</dialogue> <scene_description>FOOTSTEPS approach the sunroom . MR. ROBINSON enters .</scene_description> <character>BEN</character> <dialogue>I drove - I drove Mrs. Robinson home. She wanted me to drive her home so I - I drove her home.</dialogue> <character>MR. ROBINSON</character> <dialogue>Swell. I appreciate it.</dialogue> <character>BEN</character> <dialogue>She's upstairs. She wanted me to wait down here till you got home.</dialogue> <character>MR. ROBINSON</character> <dialogue>Standing guard over the old castle, are you?</dialogue> <character>BEN</character> <dialogue>Yes, sir.</dialogue> <scene_description>Mr. Robinson reaches for Ben 's glass .</scene_description> <character>MR. ROBINSON</character> <dialogue>Here. It looks like you need a refill.</dialogue> <character>BEN</character> <dialogue>Oh no.</dialogue> <character>MR. ROBINSON</character> <dialogue>What?</dialogue> <character>BEN</character> <dialogue>I've got to go.</dialogue> <character>MR. ROBINSON</character> <dialogue>Is anything wrong? You look a little shaken up.</dialogue> <character>BEN</character> <dialogue>No. No - I'm just - I'm just a little worried about my future. I'm a little upset about my future.</dialogue> <scene_description>Mr. Robinson takes the glass from him .</scene_description> <character>MR. ROBINSON</character> <dialogue>Come on. Let's have a nightcap together.</dialogue> <scene_description>Mr. Robinson turns his back to Ben to mix the drinks . Ben takes several deep breaths , straightens his tie and checks to see if his fly is okay . Mr. Robinson turns and brings him the drink .</scene_description> <character>BEN</character> <dialogue>Thank you very much, sir.</dialogue> <character>MR. ROBINSON</character> <dialogue>Ben - how old are you now?</dialogue> <character>BEN</character> <dialogue>Twenty. I'll be twenty - one next week.</dialogue> <character>MR. ROBINSON</character> <parenthetical>( taking out a cigarette . )</parenthetical> <dialogue>That's a hell of a good age to be.</dialogue> <character>BEN</character> <dialogue>Thank you.</dialogue> <character>MR. ROBINSON</character> <dialogue>I wish I was that age again. Because, Ben -</dialogue> <character>BEN</character> <dialogue>Sir?</dialogue> <character>MR. ROBINSON</character> <dialogue>You'll never be young again.</dialogue> <character>BEN</character> <dialogue>I know.</dialogue> <character>MR. ROBINSON</character> <dialogue>Ben, can I say something to you?</dialogue> <character>BEN</character> <dialogue>What?</dialogue> <character>MR. ROBINSON</character> <dialogue>How long have we known each other now?</dialogue> <scene_description>Ben shakes his head .</scene_description> <character>MR. ROBINSON</character> <dialogue>How long have you and I known each other? How long have your Dad and I been partners?</dialogue> <character>BEN</character> <dialogue>Quite a while.</dialogue> <character>MR. ROBINSON</character> <dialogue>I've watched you grow up, Ben.</dialogue> <character>BEN</character> <dialogue>Yes, sir.</dialogue> <character>MR. ROBINSON</character> <dialogue>In many ways I feel as though you were my own son.</dialogue> <character>BEN</character> <dialogue>Thank you.</dialogue> <character>MR. ROBINSON</character> <dialogue>So I hope you wo n't mind my giving you a friendly piece of advice.</dialogue> <character>BEN</character> <dialogue>I'd like to hear it.</dialogue> <character>MR. ROBINSON</character> <dialogue>Ben - I think - I think you ought to be taking it a little easier right now than you seem to.</dialogue> <scene_description>Ben nods .</scene_description> <character>MR. ROBINSON</character> <dialogue>Sow a few wild oats. Take things as they come. Have a good time with the girls and so forth.</dialogue> <scene_description>Mrs. Robinson enters the room . She is now wearing the dress she wore earlier . Ben starts to get up .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Do n't get up.</dialogue> <scene_description>Ben sits .</scene_description> <character>MR. ROBINSON</character> <dialogue>I was just telling Ben here he ought to sow a few wild oats. Have a good time while he can. You think that's sound advice?</dialogue> <scene_description>Mrs. Robinson nods .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Yes, I do.</dialogue> <character>BEN</character> <dialogue>I've got to go.</dialogue> <scene_description>He stands . Mr. Robinson stands up with him .</scene_description> <character>MR. ROBINSON</character> <dialogue>You have yourself a few flings this summer. I bet you're quite a ladies' man.</dialogue> <character>BEN</character> <dialogue>Oh no.</dialogue> <character>MR. ROBINSON</character> <dialogue>What? You look like the kind of guy that has to fight them off.</dialogue> <parenthetical>( to Mrs. Robinson . )</parenthetical> <dialogue>Does n't he look to you like the kind of guy who has to fight them off?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Yes, he does.</dialogue> <scene_description>They start out of the sunroom .</scene_description> </scene> <scene> <stage_direction>INT. ROBINSON HALL - NIGHT</stage_direction> <character>MR. ROBINSON</character> <dialogue>Oh say - Elaine gets down from Berkeley on Saturday.</dialogue> <character>BEN</character> <dialogue>Oh yes.</dialogue> <character>MR. ROBINSON</character> <dialogue>Ben - I want you to give her a call.</dialogue> <character>BEN</character> <dialogue>I will.</dialogue> <character>MR. ROBINSON</character> <dialogue>Great.</dialogue> <scene_description>Mr. Robinson opens the front door and Ben goes out .</scene_description> </scene> <scene> <stage_direction>EXT. ROBINSON HOUSE - NIGHT</stage_direction> <scene_description>SHOOTING OVER THE CAR toward the house . Ben comes toward the car . Mrs. Robinson appears in the doorway ; the light behind her makes it difficult to see her face .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Benjamin?</dialogue> <character>BEN</character> <dialogue>Yes.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Thank you for taking me home.</dialogue> <scene_description>Ben nods .</scene_description> <character>MRS. ROBINSON</character> <dialogue>I'll see you soon, I hope.</dialogue> <scene_description>Ben continues to walk toward us .</scene_description> <character>MR. BRADDOCK'S VOICE</character> <dialogue>Ladies and gentlemen - your attention, please - for this after - noon's feature attraction.</dialogue> </scene> <scene> <stage_direction>EXT. BRADDOCK BACKYARD AND POOL AREA - DAY</stage_direction> <scene_description>The sun shines brightly . Standing and sitting around the pool are Mr. and Mrs. Braddock , their friends MR. and MRS. ARNOLD , and the Arnold children , PETER and LOUISE , who are eight or nine . Watching from across the fence on one side of the house : the young girl from next door and her boy friend . Across the fence on the other side of the house : a quartet of adults , formally dressed as though for a cocktail party , holding drinks and watch - ing . One of them holds a baby . The Braddocks , the Arnolds and their children are dressed in California Contemporary Sport Style : the adults in styles infinitely too young for them , the children in styles infinitely too old for them . Mr. Braddock stands alone at the end of the pool near the house . The others are grouped , more or less , at the other end . Mr. Braddock is hamming it up .</scene_description> <character>MR. BRADDOCK</character> <dialogue>Hey, over there - I mean you! Your attention please!</dialogue> <scene_description>Mr. Braddock has moved over by one of the windows of the house , the window into the kitchen . He speaks quickly - in a fake sotto voce - towards the window .</scene_description> <character>MR. BRADDOCK</character> <dialogue>Are you ready in there, feature attraction?</dialogue> <character>BEN'S VOICE</character> <dialogue>Could I speak to you for a second, Dad?</dialogue> <scene_description>But Mr. Braddock has already moved away from the window and is readdressing his audience .</scene_description> <character>MR. BRADDOCK</character> <dialogue>- what was I saying?</dialogue> <character>MRS. ARNOLD</character> <dialogue>Feature attraction.</dialogue> <character>MR. BRADDOCK</character> <dialogue>Right. Hey - I'm glad to see you're paying attention. A feature attraction that will be one of the most astounding events ever to take place in this particular backyard.</dialogue> <scene_description>They all laugh and some applaud .</scene_description> <character>MR. BRADDOCK</character> <dialogue>Now I'm going to ask for a big round of applause to bring this boy out here - wait a minute - let me amend that - to bring this young man out here - because today he is twenty - one - years - old -</dialogue> <character>MR. ARNOLD</character> <parenthetical>( his hands like a megaphone . )</parenthetical> <dialogue>Let's get on with the show!</dialogue> <character>MR. BRADDOCK</character> <dialogue>Just hang on a minute because I have a few words to say -</dialogue> <character>MR. ARNOLD</character> <dialogue>You always do.</dialogue> <scene_description>They laugh ; Mrs. Arnold makes a face at Mr. Arnold as he grinningly acknowledges the reponse to his snappy comeback .</scene_description> <character>BEN'S VOICE</character> <dialogue>Dad - could we just talk about this for a second?</dialogue> <character>MR. BRADDOCK</character> <dialogue>Twenty - one - years - old, ladies and gentlemen ; four of those years spent accomplishing some rather extraordinary things at one of our nation's leading seats of learning -</dialogue> <character>MR. ARNOLD</character> <dialogue>Bring him out!</dialogue> <character>PETER AND LOUISE</character> <dialogue>On with the show! On with the show!</dialogue> <character>MR. BRADDOCK</character> <parenthetical>( to the window . )</parenthetical> <dialogue>I ca n't hold them much longer, Ben. You better get out here.</dialogue> <character>BEN'S VOICE</character> <dialogue>I'd like to discuss this.</dialogue> <character>MR. BRADDOCK</character> <parenthetical>( to his audience . )</parenthetical> <dialogue>This boy - I'm sorry - this young man - is soon to continue his education as a Frank Halping - ham Award Scholar - but before he does -</dialogue> <scene_description>Mr. Braddock darts back to the window .</scene_description> <character>MR. BRADDOCK</character> <dialogue>- before he does -.</dialogue> <parenthetical>( to the window . )</parenthetical> <dialogue>You're disappointing them, Ben. You're disappointing them.</dialogue> <character>BEN'S VOICE</character> <dialogue>Dad - can you listen -</dialogue> <character>MR. BRADDOCK</character> <parenthetical>( meaning it . )</parenthetical> <dialogue>I'll give you ten seconds.</dialogue> <parenthetical>( back to the people . )</parenthetical> <dialogue>He is going to give us a practical demonstration of what I feel safe in saying is a pretty exciting birthday present - and it better work or I'm out over two hundred bucks - so let's hear it for -</dialogue> <scene_description>Mr. Braddock moves to the screen door and pushes it open . It slams against the wall inside .</scene_description> <character>MR. BRADDOCK</character> <dialogue>- Benjamin Braddock!</dialogue> </scene> <scene> <stage_direction>INT. BRADDOCK BREAKFAST KITCHEN - SHOT DOWN THE HALL - DAY</stage_direction> <scene_description>At the back of the hall , inside the house , stands Ben , dressed in a full length skin diver 's wet suit , flippers on his feet , the oxygen tank strapped to his back , the mask pushed up his forehead , the air hose dangling . He holds a spear gun in his hand . The people applaud .</scene_description> </scene> <scene> <stage_direction>EXT BRADDOCK BACKYARD AND POOL AREA - DAY SHOT - FROM BEN'S POV</stage_direction> <scene_description>The people in the backyard . His father stands just outside the screen door .</scene_description> <character>MR. BRADDOCK</character> <dialogue>Folks - this remarkable young man is going to perform for you some spectacular and amazing feats of daring in water that is over six feet deep -</dialogue> <scene_description>Ben 's arms come into view and pull the mask down . We are now looking through the mask as we MOVE FORWARD down the hall . Everything is slightly distorted through the glass . Ben 's hand comes up again with the breathing apparatus in it . SOUND : the rythmic PUMPING of air , obliterating the SOUND of the people around the pool who seem to be applauding and chattering noiselessly . We MOVE out of the door and toward the pool . Mr. Braddock is running back and forth , clapping his hands and delivering his now soundless pitch . We MOVE DOWN the steps and into the shallow end of the pool . Mr. Braddock is moving along the side of the pool , motioning toward us to come down to the deep end . He joins Mr. Arnold at the far end of the pool . They both begin to motion us toward them . We get to the deep end of the pool . Mr. Braddock signals us with his hand to go under . He kneels down by the edge of the pool and reaches out with his hand and pushes us under . He has a big smile . We SURFACE again and PAN AROUND for a last look . The figures , through the slightly distorted glass of the mask of Mrs. Arnold and Mrs. Braddock , watching and smiling ; the neighbors on each side of the house , looking over their fences and laughing and pointing ; Mr. Arnold nodding encouragement and talking ; Mr. Braddock on his knees , smiling and trying to reach out far enough to push us under . We GO UNDER and SINK to the bottom of the pool .</scene_description> </scene> <scene> <stage_direction>EXT. BRADDOCK BACKYARD AND POOL AREA - DAY OVERHEAD SHOT (HELICOPTER POV)</stage_direction> <scene_description>Looking down on the pool , on Ben 's black suited body at the bottom and the people standing around the pool , looking down into it . PULL UP AND UP AND UP Until there are thirty houses below us , with its owners , swimming , playing , eating , cooking , reading , dancing , sunbathing , constructing and gardening around thirty pools . SOUND of Ben 's BREATHING APPARATUS , fading into the SOUND of the WIND . Hold for a few seconds , then : SOUND of a dime DROPPING into a pay phone and DIALING .</scene_description> </scene> <scene> <stage_direction>INT. TAFT HOTEL LOBBY - NIGHT - CLOSEUP - BEN</stage_direction> <scene_description>In a phone booth . The booth is in the entrance area of the hotel between the lobby and the driveway . Ben holds the receiver to his ear . SOUND of PHONE RINGING .</scene_description> <character>MRS. ROBINSON'S VOICE</character> <dialogue>Hello.</dialogue> <character>BEN</character> <dialogue>Mrs. Robinson - I do n't quite know how to put this -</dialogue> <character>MRS. ROBINSON'S VOICE</character> <dialogue>Benjamin?</dialogue> <character>BEN</character> <dialogue>Look - I was thinking about that time after the party -</dialogue> <character>MRS. ROBINSON'S VOICE</character> <dialogue>Where are you?</dialogue> <character>BEN</character> <dialogue>- and I was wondering if I could buy you a drink or something -</dialogue> <character>MRS. ROBINSON'S VOICE</character> <dialogue>Where are you?</dialogue> <character>BEN</character> <dialogue>Uh - The Taft Hotel.</dialogue> <character>MRS. ROBINSON'S VOICE</character> <dialogue>Did you get a room?</dialogue> <character>BEN</character> <dialogue>No. Now I know it's pretty late and if you'd rather -</dialogue> <character>MRS. ROBINSON'S VOICE</character> <dialogue>Give me an hour.</dialogue> <character>BEN</character> <dialogue>What?</dialogue> <character>MRS. ROBINSON'S VOICE</character> <dialogue>I'll be there in an hour.</dialogue> <scene_description>SOUND of her HANGING UP . Ben hangs up slowly . He stands up in the booth , looks around , moves about uncomfortably for a few moments , removes his jacket and carrying it folded across his arm in front of him , leaves the phone booth and crosses to the doors that lead to the main lobby . As he is about to go in , the doors open and a group of VERY OLD PEOPLE start coming out , filling the doorway and moving very slowly , muttering to each other and helping each other out of the door and down the steps . Ben holds one of the doors open for them and stands politely to one side . As they get through , Ben starts to move inside . At that moment , A DOZEN YOUNG PEOPLE , dressed as though for a high school dance , push him to one side and move past him into the lobby . He moves back against the other door , holding it open and allowing them to go in first . He smiles politely and they pay no attention to him at all . He follows them into the lobby . They move toward the front desk and he moves with them . One of the boys at the front of the group leans in and says something to the CLERK behind the desk . The clerk points across the lobby and says something to him . There are the SOUNDS of an orchestra PLAYING some - where . The group of young people passes by the desk and Ben moves in behind them . He pauses at the desk and looks apprehensively at the hundreds of pigeon holes against the wall with the room numbers painted under them and the keys dangling suggestively .</scene_description> <character>ROOM CLERK</character> <dialogue>Can I help you, sir!</dialogue> <character>BEN</character> <dialogue>What? Oh - no - I'm just -</dialogue> <scene_description>He points vaguely in the direction of the other young people .</scene_description> <character>ROOM CLERK</character> <dialogue>Are you here for an affair, sir?</dialogue> <scene_description>Terror and disbelief start in Ben 's eyes . He looks helplessly at the clerk .</scene_description> <character>BEN</character> <dialogue>What?</dialogue> <character>ROOM CLERK</character> <dialogue>The Singleman party, sir?</dialogue> <character>BEN</character> <dialogue>Oh - yes. The Singleman party.</dialogue> <character>ROOM CLERK</character> <dialogue>It's in the main ballroom.</dialogue> <character>BEN</character> <dialogue>Ahh - thank you.</dialogue> <scene_description>Ben backs off and turns and starts across the lobby . He puts on his jacket as he goes . He gets to the entrance to the main ballroom . He pauses at the door , looks in . What he sees : People dancing , talking , sitting , etc. . He turns back toward te lobby . He stops . What he sees : The room clerk scross the lobby watching him . Ben flashes a huge smile and points in toward the ballroom as though to express his joy at finding the Singleman affair inside , then turns back and enters the ballroom .</scene_description> </scene> <scene> <stage_direction>INT. BALLROOM - NIGHT</stage_direction> <scene_description>As Ben steps inside .</scene_description> <character>VOICE</character> <dialogue>Hello.</dialogue> <scene_description>Ben turns . Four people stand in a row . Official greeters , they are : A MIDDLE - AGED WOMAN , AN OLDER MAN , AN ELDERLY LADY AND A TWELVE - YEAR - OLD BOY , dressed formally and they are smiling with great determination .</scene_description> <character>BEN</character> <dialogue>Hello.</dialogue> <scene_description>It is the older lady who has said hello .</scene_description> <character>MRS. SINGLEMAN</character> <dialogue>You must be one of the Porters.</dialogue> <scene_description>She grasps Ben 's hand and shakes it .</scene_description> <character>BEN</character> <dialogue>No - actually I'm not -</dialogue> <character>MRS. SINGLEMAN</character> <dialogue>I'd like you to know my sister, Miss DeWitte -</dialogue> <scene_description>MISS DEWITTE , who , from the looks of things , always has been and always will be , Miss DeWitte , takes Ben 's hand .</scene_description> <character>MISS DeWITTE</character> <dialogue>How do you do?</dialogue> <character>BEN</character> <dialogue>How do you do, Miss DeWitte?</dialogue> <character>MRS. SINGLEMAN</character> <dialogue>- and my husband, Mr. Singleman -</dialogue> <scene_description>Ben finds himself shaking the twelve - year - old boy 's hand .</scene_description> <character>BEN</character> <parenthetical>( apologetically . )</parenthetical> <dialogue>Oh - sorry -</dialogue> <character>JEFFREY SINGLEMAN</character> <dialogue>Fine, thank you.</dialogue> <character>MRS. SINGLEMAN</character> <dialogue>That's Jeffrey, of course.</dialogue> <scene_description>Ben switches to Mr. Singleman 's hand .</scene_description> <character>BEN</character> <dialogue>Of course.</dialogue> <character>MR. SINGLEMAN</character> <dialogue>I did n't get your name, sir.</dialogue> <character>BEN</character> <dialogue>Benjamin Braddock, sir.</dialogue> <scene_description>Mrs. Singleman looks at the seating list she has been holding .</scene_description> <character>MRS. SINGLEMAN</character> <dialogue>Braddock - Braddock?</dialogue> <character>BEN</character> <dialogue>Yes, but I'm afraid -</dialogue> <character>MRS. SINGLEMAN</character> <dialogue>I'll find your table in a moment. Braddock. Not Braniff? We have a Braniff.</dialogue> <character>BEN</character> <dialogue>No - actually I'm just looking for a friend.</dialogue> <character>MRS. SINGLEMAN</character> <dialogue>I'm afraid I do n't understand.</dialogue> <character>BEN</character> <parenthetical>( backing off . )</parenthetical> <dialogue>I'm not with your party - I'm sorry.</dialogue> <character>MRS. SINGLEMAN</character> <dialogue>Hey - I do n't get it.</dialogue> <scene_description>Ben is backing out .</scene_description> <character>MISS DeWITTE</character> <dialogue>I've enjoyed meeting you, Mr. Braniff.</dialogue> <character>MRS. SINGLEMAN</character> <dialogue>Angela - please!</dialogue> <scene_description>Ben backs out of the ballroom .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL LOBBY - NIGHT</stage_direction> <scene_description>Ben crosses the lobby , passing PEOPLE going in and out of the hotel . He stops at the entrance of the Veranda Room :</scene_description> </scene> <scene> <stage_direction>INT. VERANDA ROOM - NIGHT</stage_direction> <scene_description>This is a large room with a bar and many tables along the windows that look out over the hotel grounds . It is quite dark and cool inside and there are no more than a dozen people seated around . The CAMERA STAYS at the door as Ben walks into the room and crosses to the far end where he sits down at the table by the window . PUSH IN toward Ben as he sits there . MUZAK is playing . ANGLE ON BEN sitting smoking . NEW ANGLE ON BEN sitting . NEW ANGLE ON BEN sitting drinking . ANGLE ON BEN In the door to the lobby in the b.g. is Mrs. Robinson . She pauses , looks into the room , sees Ben and starts toward him . Ben is looking out the window . He does not see her approach .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Hello, Benjamin.</dialogue> <character>BEN</character> <dialogue>Oh. Hello. Hello.</dialogue> <scene_description>He rises quickly .</scene_description> <character>MRS. ROBINSON</character> <dialogue>May I sit down?</dialogue> <character>BEN</character> <dialogue>Of course.</dialogue> <scene_description>He pulls out a chair , for her .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Thank you.</dialogue> <scene_description>They sit down .</scene_description> <character>MRS. ROBINSON</character> <dialogue>How are you?</dialogue> <character>BEN</character> <dialogue>Very well. Thank you.</dialogue> <scene_description>Ben tries to smile then looks out the window , then down at the center of the table .</scene_description> <character>MRS. ROBINSON</character> <dialogue>May I have a drink?</dialogue> <character>BEN</character> <dialogue>A drink? Of course.</dialogue> <scene_description>Ben looks toward a passing WAITER and raises his hand . The waiter pays no attention . Ben looks back at Mrs. Robinson apologetically .</scene_description> <character>BEN</character> <dialogue>He did n't see me.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Waiter!</dialogue> <scene_description>For a moment , the noise in the room seems to recede . The waiter stops in his tracks , turns toward them . The waiter moves to their table . The noise in the room comes back . The waiter looks at Mrs. Robinson .</scene_description> <character>MRS. ROBINSON</character> <dialogue>I will have a martini.</dialogue> <character>WAITER No. 1</character> <dialogue>Yes, madam.</dialogue> <scene_description>The waiter moves away . Ben watches him go .</scene_description> <character>MRS. ROBINSON</character> <dialogue>You do n't have to be so nervous, you know.</dialogue> <character>BEN</character> <dialogue>Nervous. Well, I am a bit nervous. I mean it's - it's pretty hard to be suave when you're -</dialogue> <scene_description>He shakes his head .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Did you get us a room?</dialogue> <character>BEN</character> <dialogue>What?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Have you gotten us a room yet?</dialogue> <character>BEN</character> <dialogue>I have n't. No.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Do you want to?</dialogue> <character>BEN</character> <dialogue>Well - I do n't. I mean I could. Or we could just talk.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Do you want me to get it?</dialogue> <character>BEN</character> <dialogue>You? Oh no. No. I'll get it.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Do you want to get it now?</dialogue> <character>BEN</character> <dialogue>Now?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Yes.</dialogue> <character>BEN</character> <dialogue>Well - I do n't know.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Why do n't you get it.</dialogue> <character>BEN</character> <dialogue>Why do n't I get it? Well - I will then.</dialogue> <parenthetical>( he stands up . )</parenthetical> <dialogue>If you'll excuse me.</dialogue> <scene_description>Ben walks out of the Veranda Room and into the lobby .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL LOBBY - NIGHT</stage_direction> <scene_description>Ben walks to the front desk and stands there .</scene_description> <character>ROOM CLERK</character> <dialogue>Yes sir?</dialogue> <character>BEN</character> <dialogue>A room. I'd like a room, please.</dialogue> <character>ROOM CLERK</character> <dialogue>A single room or a double room?</dialogue> <character>BEN</character> <dialogue>A single. Just for myself, please.</dialogue> <character>ROOM CLERK</character> <dialogue>Will you sign the register, please?</dialogue> <scene_description>He pushes the card and a pen toward Ben . Ben writes his name on the card and then stares at it for a moment , crumples it up and fills out a second card .</scene_description> <character>ROOM CLERK</character> <dialogue>Is anything wrong, sir?</dialogue> <character>BEN</character> <dialogue>What? No. Nothing.</dialogue> <character>ROOM CLERK</character> <parenthetical>( taking a key from behind the counter . )</parenthetical> <dialogue>Do you have any luggage, Mister -.</dialogue> <parenthetical>( looks at registration card . )</parenthetical> <dialogue>Gladstone?</dialogue> <character>BEN</character> <dialogue>Luggage? Yes. Yes. I do.</dialogue> <character>ROOM CLERK</character> <dialogue>Where is it?</dialogue> <character>BEN</character> <dialogue>What?</dialogue> <character>ROOM CLERK</character> <dialogue>Where is your luggage?</dialogue> <character>BEN</character> <dialogue>Well it's in the car. It's out in the car.</dialogue> <character>ROOM CLERK</character> <dialogue>Very good, sir. I'll have a porter bring it in.</dialogue> <character>BEN</character> <dialogue>Oh no.</dialogue> <character>ROOM CLERK</character> <dialogue>Sir?</dialogue> <character>BEN</character> <dialogue>I mean I'd - I'd rather not go to the trouble of bringing it all in. I just have a toothbrush. I can get it my - self. If that's all right.</dialogue> <character>ROOM CLERK</character> <dialogue>Of course.</dialogue> <scene_description>Ben reaches for the key .</scene_description> <character>ROOM CLERK</character> <dialogue>I'll have a porter show you the room.</dialogue> <character>BEN</character> <dialogue>Oh. Well actually, I'd just as soon find it myself. I just have the toothbrush to carry up and I think I can manage it myself.</dialogue> <character>ROOM CLERK</character> <dialogue>Whatever you say, sir.</dialogue> <scene_description>He hands Ben the key .</scene_description> <character>BEN</character> <dialogue>Thank you.</dialogue> </scene> <scene> <stage_direction>INT. VERANDA ROOM - NIGHT</stage_direction> <scene_description>Mrs. Robinson sits , patiently and calmly . Her face betrays absolutely nothing as she stares ahead of her and sips her martini .</scene_description> <character>WAITER No. 1</character> <dialogue>Mrs. Robinson.</dialogue> <scene_description>She looks up . A waiter is standing next to the table with a telephone .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Yes?</dialogue> <scene_description>The waiter plugs the phone into the wall socket next to the table and hands her the receiver .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Thank you.</dialogue> <scene_description>The waiter nods and leaves .</scene_description> <character>MRS. ROBINSON</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Hello.</dialogue> <character>BEN'S VOICE</character> <dialogue>Mrs. Robinson?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Yes?</dialogue> <character>BEN'S VOICE</character> <dialogue>It's Benjamin.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Yes?</dialogue> <character>BEN'S VOICE</character> <dialogue>Benjamin Braddock.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Benjamin - where are you?</dialogue> <character>BEN'S VOICE</character> <dialogue>Can you look through the glass.</dialogue> <scene_description>Mrs. Robinson turns in her chair and looks through the glass into the lobby .</scene_description> </scene> <scene> <stage_direction>INT. LOBBY - PHONE BOOTH - NIGHT - WHAT SHE SEES</stage_direction> <scene_description>Ben is in the phone booth in the lobby no more than twenty feet away .</scene_description> <character>BEN'S VOICE</character> <dialogue>Can you see me now?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Yes, I can.</dialogue> </scene> <scene> <stage_direction>INT. LOBBY PHONE BOOTH</stage_direction> <scene_description>Over Ben 's shoulder , we can see his face reflected in the glass door and , through it , Mrs. Robinson sitting in the Veranda Room . INTERCUT PHONE CONVERSATION</scene_description> <character>BEN</character> <dialogue>I got a single room.</dialogue> <character>MRS. ROBINSON</character> <dialogue>That's fine.</dialogue> <character>BEN</character> <dialogue>But there's one thing. The desk clerk seemed to be a little bit suspicious. I mean - I do n't know what their policy is - but -</dialogue> <character>MRS. ROBINSON</character> <dialogue>Well - do you want to go up first?</dialogue> <character>BEN</character> <dialogue>Yes - I think that would be good.</dialogue> <character>MRS. ROBINSON</character> <dialogue>I'll be up in five minutes.</dialogue> <character>BEN</character> <dialogue>Well - goodbye then -</dialogue> <character>MRS. ROBINSON</character> <dialogue>Benjamin.</dialogue> <character>BEN</character> <dialogue>Yes?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Is n't there something you want to tell me?</dialogue> <character>BEN</character> <dialogue>To tell you?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Yes.</dialogue> <character>BEN</character> <dialogue>Well - I want you to know how much I appreciate this - really -</dialogue> <character>MRS. ROBINSON</character> <dialogue>The number.</dialogue> <character>BEN</character> <dialogue>What?</dialogue> <character>MRS. ROBINSON</character> <dialogue>The room number, Benjamin. I think you ought to tell me that.</dialogue> <character>BEN</character> <dialogue>Oh? You're absolutely right. Absolutely. It's 512.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Thank you.</dialogue> <character>BEN</character> <dialogue>You're welcome. Well - I'll see you later, Mrs. Robinson.</dialogue> <scene_description>He hangs up .</scene_description> </scene> <scene> <stage_direction>INT. LOBBY - PHONE BOOTH - SHOT - BEN</stage_direction> <scene_description>He leaves the hpone booth and walks back into the main lobby .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL LOBBY - NIGHT</stage_direction> <scene_description>As he passes the desk , on his way to the elevator , he starts to pat his breast pocket .</scene_description> <character>BEN</character> <dialogue>I've got it.</dialogue> <scene_description>The desk clerk looks up .</scene_description> <character>BEN</character> <dialogue>I say I've got it.</dialogue> <character>CLERK</character> <dialogue>Sir?</dialogue> <character>BEN</character> <dialogue>The toothbrush. I got it all right.</dialogue> <character>CLERK</character> <dialogue>Very good, sir.</dialogue> <character>BEN</character> <dialogue>Yes. Well - goodnight.</dialogue> <character>CLERK</character> <dialogue>Goodnight, sir.</dialogue> <scene_description>Ben walks out of shot . 60A INT . HOTEL CORRIDOR - NIGHT Ben leaves elevator , walks down corridor to hotel room and opens door .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - NIGHT</stage_direction> <scene_description>Ben closes the door behind him and leans with his back against it for a few moments looking at the room . The only light is that coming in the window . Ben turns on the light switch on the wall near the door . The room blazes with the light from three lamps and an overhead fixture . He turns the switch off . He crosses to the bathroom . Ben steps in and turns on the light .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - NIGHT</stage_direction> <scene_description>Ben steps out , moves to the window . We see the pool area through the window . Ben closes the blinds . 61Cont . There is a KNOCK on the door . Ben crosses to the door and opens it . Mrs. Robinson moves to the bureau and puts her purse and gloves on it . She looks at herself in the mirror for a moment then turns slowly , looking at the room , finally ending on Ben 's face . She steps toward him .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Well?</dialogue> <scene_description>He clears his throat and then he kisses her .</scene_description> <character>BEN</character> <dialogue>Well.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Benjamin.</dialogue> <character>BEN</character> <dialogue>Yes?</dialogue> <character>MRS. ROBINSON</character> <dialogue>I'll get undressed now. Is that all right?</dialogue> <character>BEN</character> <dialogue>Sure. Shall I - I mean shall I just stand here? I mean - I do n't know what you want me to do.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Why do n't you watch?</dialogue> <character>BEN</character> <dialogue>Oh - sure. Thank you.</dialogue> <scene_description>She takes off her jacket .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Will you bring me a hanger?</dialogue> <character>BEN</character> <dialogue>What?</dialogue> <character>MRS. ROBINSON</character> <dialogue>A hanger.</dialogue> <scene_description>Ben opens the closet door .</scene_description> <character>BEN</character> <dialogue>Oh - yes. Wood?</dialogue> <character>MRS. ROBINSON</character> <dialogue>What?</dialogue> <character>BEN</character> <dialogue>Wood or wire? They have both.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Either one will be fine.</dialogue> <character>BEN</character> <dialogue>Okay.</dialogue> <scene_description>He brings her a hanger . She puts her jacket on it .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Will you help me with this, please?</dialogue> <scene_description>She turns her back .</scene_description> <character>BEN</character> <dialogue>Certainly.</dialogue> <scene_description>He undoes the zipper at her neck .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Thank you.</dialogue> <character>BEN</character> <dialogue>You're welcome.</dialogue> <scene_description>She turns and looks at him . He backs away .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Would this be easier for you in the dark?</dialogue> <character>BEN</character> <dialogue>Mrs. Robinson - I ca n't do this.</dialogue> <character>MRS. ROBINSON</character> <dialogue>You what?</dialogue> <character>BEN</character> <dialogue>This is all terribly wrong.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Benjamin - do you find me undesirable?</dialogue> <character>BEN</character> <dialogue>Oh no, Mrs. Robinson. I think - I think you're the most attractive of all my parents' friends. I just do n't think we could possibly -</dialogue> <character>MRS. ROBINSON</character> <dialogue>Are you afraid of me?</dialogue> <character>BEN</character> <dialogue>No - but look - maybe we could do something else together, Mrs. Robinson - would you like to go to a movie.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Benjamin, is this your first time?</dialogue> <character>BEN</character> <dialogue>Is this - what?</dialogue> <character>MRS. ROBINSON</character> <dialogue>It is, is n't it? It is your first time.</dialogue> <character>BEN</character> <dialogue>That's a laugh, Mrs. Robinson. That's really a laugh. Ha ha.</dialogue> <character>MRS. ROBINSON</character> <dialogue>You can admit that, ca n't you?</dialogue> <character>BEN</character> <dialogue>Are you kidding?</dialogue> <character>MRS. ROBINSON</character> <dialogue>It's nothing to be ashamed of -</dialogue> <character>BEN</character> <dialogue>Wait a minute!</dialogue> <character>MRS. ROBINSON</character> <dialogue>On your first time -</dialogue> <character>BEN</character> <dialogue>Who said it was my first time.</dialogue> <character>MRS. ROBINSON</character> <dialogue>That you're afraid -</dialogue> <character>BEN</character> <dialogue>Wait a minute.</dialogue> <character>MRS. ROBINSON</character> <dialogue>- of bring - inadequate - I mean just because you happen to be inadequate in one way -</dialogue> <character>BEN</character> <dialogue>INADEQUATE!</dialogue> <scene_description>LONG pause .</scene_description> <character>MRS. ROBINSON</character> <parenthetical>( starting to dress . )</parenthetical> <dialogue /> <character>BEN</character> <dialogue>Do n't move.</dialogue> <scene_description>He slams the bathroom door shut . The light in the room disappears . FADE OUT FADE IN</scene_description> </scene> <scene> <stage_direction>EXT. BRADDOCK BACKYARD AND POOL AREA - DAY</stage_direction> <scene_description>The midsummer sun beats down on the Braddock swimming pool and on Ben who lies on a rubber raft in the middle of the pool . Ben wears dark glasses , is deeply tanned , and holds a beer can in one hand . SOUNDS : teenagers YELLING and swimming in nearby pools ; a radio PLAYING rock and roll ; a television set TUNED to a ball game . CLOSER SHOT - BEN drifting . CLOSER ANGLE ON BEN drifting . CLOSE SHOT - BEN SOUND of the back door CLOSING . Ben opens his eyes and moves his head slightly . WHAT HE SEES Mr. Braddock is passionately stoking a barbeque fire . Mrs. Braddock is going toward him from the house , carrying some ominously large thing wrapped in tinfoil . SHOT - BEN He rolls off the raft and swims to the end of the pool . He climbs out , walks to the back door , takes his shirt from a chair and starts to put it on as he opens the back door and goes through .</scene_description> </scene> <scene> <stage_direction>INT. SPECIAL SET - TAFT HOTEL ROOM</stage_direction> <scene_description>Ben has just shut the door to the bathroom behind him . He is wearing his shirt , buttoned , and no trousers . PAN WITH BEN as he walks across the room past Mrs. Robinson who is standing in front of the bureau taking off her brace - let and watch . He moves to a chair and sits . He picks up a cigarette from an ashtray on a table next to the chair . Mrs. Robinson moves in to Ben , kneels in front of him and starts to unbutton his shirt . He takes the cigarette out of his mouth .</scene_description> </scene> <scene> <stage_direction>INT. SPECIAL SET - BRADDOCK DEN AND DINING ROOM - NIGHT SHOT - NEW ANGLE</stage_direction> <scene_description>We now see behind Ben the door that leads from the Braddock den , in which Ben is sitting . In the dining room , Mr. and Mrs. Braddock are sitting , having their dinner , looking through the doorways toward Ben . Ben stands , crosses back to the door to the den and shuts it .</scene_description> </scene> <scene> <stage_direction>INT. BRADDOCK DEN - NIGHT - REVERSE</stage_direction> <scene_description>On Ben 's back as he returns to the chair and sits . A television set , facing the chair , is on . Ben picks up a can of beer and drinks from it . An animated cartoon is playing on the television set . Ben watches it . REVERSE Ben 's face , watching . PUSH IN to CLOSEUP of his face . REVERSE CLOSEUP of television set and cartoon . REVERSE Ben watching . REVERSE CLOSEUP test pattern .</scene_description> </scene> <scene> <stage_direction>INT. TAFT HOTEL ROOM - NIGHT</stage_direction> <scene_description>CLOSEUP Ben watching . PULL BACK and we are in the Taft Hotel Room . Ben is sitting on the bed , leaning against the headboard , watching the television set which is on a stand facing the bed . SOUND of the HUM of the test pattern . PULL BACK to a WIDE SHOT of the room , lit only by the light from the television set . Mrs. Robinson walks into the shot , half dressed . She passes between Ben and the television set and goes out of frame . Ben continues to stare at the set . SOUND of a ZIPPER being pulled up . Mrs. Robinson appears again and passes the other way . SOUND of BRACELETS being put on . Mrs. Robinson passes back the other way again . SOUND of CLOTHING being put on and a PURSE being snapped closed . Mrs. Robinson , now fully dressed and carrying her purse , passes through again and , without looking at Ben , goes to the door of the hotel room , opens it and exits .</scene_description> </scene> <scene> <stage_direction>INT. BENS' ROOM - CLOSEUP - BEN - DAY</stage_direction> <scene_description>SOUND of DOOR closing . Follow Ben as he gets up and moves to the windows of what is now his BEDROOM in the Braddock house . He opens the closed blinds over the window . The sun is bright outside . His bathing suit is on the window sill . He takes the suit and puts it on . He moves to the bedroom door , opens it and goes out .</scene_description> </scene> <scene> <stage_direction>EXT. BRADDOCK BACKYARD AND POOL AREA - DAY</stage_direction> <scene_description>We see Mrs. Braddock in the kitchen . Ben comes through the back door , moves to the pool and dives in . The raft floats in the center of the pool . SHOT - UNDERWATER Ben swims toward us the length of the pool . SHOT - AT THE WATERLINE Ben surfaces and , in one movememt , pulls himself up on the raft and -</scene_description> </scene> <scene> <stage_direction>INT. TAFT HOTEL ROOM - NIGHT</stage_direction> <scene_description>- lands on top of Mrs. Robinson on the bed . He stays on top of her for a moment .</scene_description> <character>MR. BRADDOCK'S VOICE</character> <dialogue>Ben - what are you doing?</dialogue> <scene_description>Ben turns toward us and looks .</scene_description> </scene> <scene> <stage_direction>EXT. BRADDOCK BACKYARD AND POOL AREA - DAY SHOT - POV OF BEN ON RAFT</stage_direction> <scene_description>Mr. Braddock standing by the side of the pool . The sun is behind him .</scene_description> <character>BEN'S VOICE</character> <dialogue>Well - I would say that I'm just drifting.</dialogue> <scene_description>SHOT - BEN ON RAFT</scene_description> <character>BEN</character> <dialogue>- here - in the pool.</dialogue> <character>MR. BRADDOCK</character> <dialogue>Why?</dialogue> <character>BEN</character> <dialogue>Well - it's very comfortable - just to drift here.</dialogue> <character>MR. BRADDOCK</character> <dialogue>Have you thought about graduate school?</dialogue> <character>BEN</character> <dialogue>No.</dialogue> <character>MR. BRADDOCK</character> <dialogue>Would you mind telling me then - what were those four years of college for? What was the point of all that hard work?</dialogue> <character>BEN</character> <dialogue>You got me.</dialogue> <character>MR. BRADDOCK</character> <parenthetical>( trying unsuccessfully to control himself . )</parenthetical> <dialogue>Now listen, Ben. I think it's a very good thing that a young man - after he's done some very good work - should have a chance to relax and enjoy himself, and lie around, and drink beer and so on. But after a few weeks I believe that person would want to take some stock in him - self and his situation and start to think about getting off his ass.</dialogue> <scene_description>Mrs. Braddock steps in beside Mr. Braddock .</scene_description> <character>MRS. BRADDOCK</character> <dialogue>The Robinson's are here.</dialogue> <scene_description>Mr. Robinson steps in beside the others . They blot out the sun .</scene_description> <character>MR. ROBINSON</character> <dialogue>Hi, Ben. What are you doing with yourself these days?</dialogue> <character>BEN</character> <dialogue>Oh - not too much. Taking it easy.</dialogue> <character>MR. ROBINSON</character> <dialogue>That's what I'd do if I could. Nothing wrong with that. Hey Ben, Elaine's coming down from Berkeley soon. I want you to call her up this time.</dialogue> <character>BEN</character> <dialogue>I will.</dialogue> <character>MR. ROBINSON</character> <dialogue>Because I just think you two would hit it off real well together.</dialogue> <scene_description>Mrs. Robinson steps in beside them . -LRB- A long pause -RRB-</scene_description> <character>MRS. BRADDOCK</character> <dialogue>Say hello to Mrs. Robinson, Benjamin.</dialogue> <scene_description>SHOT - BEN</scene_description> <character>BEN</character> <dialogue>Hello, Mrs. Robinson.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Hello, Benjamin.</dialogue> </scene> <scene> <stage_direction>INT. BEN'S ROOM - NIGHT</stage_direction> <scene_description>Ben , halfway dressed to go out , in slacks , shirt and tie , sits in a chair . The door opens and Mrs. Braddock enters .</scene_description> <character>MRS. BRADDOCK</character> <dialogue>Can I talk to you a minute?</dialogue> <character>BEN</character> <dialogue>Sure.</dialogue> <character>MRS. BRADDOCK</character> <dialogue>Benjamin? I'm going to ask you something but you do n't have to tell me if you do n't want.</dialogue> <character>BEN</character> <dialogue>What?</dialogue> <character>MRS. BRADDOCK</character> <dialogue>Well I'm going to ask you what you do when you go off at night.</dialogue> <character>BEN</character> <dialogue>When I go off?</dialogue> <character>MRS. BRADDOCK</character> <dialogue>You do n't have to tell me if you do n't want.</dialogue> <character>BEN</character> <dialogue>No, I do. I want to tell you.</dialogue> <scene_description>There is a pause .</scene_description> <character>BEN</character> <dialogue>I drive around.</dialogue> <character>MRS. BRADDOCK</character> <dialogue>What else?</dialogue> <character>BEN</character> <dialogue>Nothing else.</dialogue> <character>MRS. BRADDOCK</character> <dialogue>Well you do n't drive around from midnight until noon the next day, Benjamin.</dialogue> <character>BEN</character> <dialogue>Oh, no.</dialogue> <character>MRS. BRADDOCK</character> <dialogue>Then what do you do? Do you meet someone?</dialogue> <character>BEN</character> <dialogue>Meet someone?</dialogue> <scene_description>She nods .</scene_description> <character>BEN</character> <dialogue>Why did you say that?</dialogue> <character>MRS. BRADDOCK</character> <dialogue>Well this is your business, Benjamin.</dialogue> <parenthetical>( she starts toward the door . )</parenthetical> <dialogue>If you -</dialogue> <character>BEN</character> <dialogue>No wait. Wait.</dialogue> <scene_description>She stops .</scene_description> <character>BEN</character> <dialogue>I do n't meet anyone, mother, but why did you say that?</dialogue> <character>MRS. BRADDOCK</character> <dialogue>Benjamin, I'm not going to pry into your affairs, but I'd rather you did n't say anything at all than be dishonest. Goodnight, Benjamin.</dialogue> <character>BEN</character> <dialogue>Well, wait.</dialogue> <scene_description>She looks at him .</scene_description> <character>BEN</character> <dialogue>You think I'm being dishonest?</dialogue> <scene_description>She nods .</scene_description> <character>BEN</character> <dialogue>Well why do you - why do you think that?</dialogue> <character>MRS. BRADDOCK</character> <dialogue>Because I know you do n't drive around for twelve hours.</dialogue> <character>BEN</character> <dialogue>Oh. Well, I do n't. Shall I tell you what I do?</dialogue> <character>MRS. BRADDOCK</character> <dialogue>Not if you do n't want to.</dialogue> <character>BEN</character> <dialogue>I do.</dialogue> <character>MRS. BRADDOCK</character> <dialogue>But I do n't want you to make up something.</dialogue> <character>BEN</character> <dialogue>I'm not. But I'm - I'm not very proud of what I do. I usually get kind of drunk. I usually drive over to Los Angeles and go to some bars and get kind of drunk. Then I take a hotel room. So I wo n't have to drive home on the freeway. I mean it kind of scares me to drive home after -</dialogue> <character>MRS. BRADDOCK</character> <dialogue>Goodnight, Benjamin.</dialogue> <character>BEN</character> <dialogue>You believe me, do n't you?</dialogue> <character>MRS. BRADDOCK</character> <dialogue>No.</dialogue> <character>BEN</character> <dialogue>You do n't?</dialogue> <scene_description>She shakes her head .</scene_description> <character>BEN</character> <dialogue>But I want you to. Please. Please will you believe me.</dialogue> <scene_description>85A SHOT - MRS. BRADDOCK</scene_description> <character>MRS. BRADDOCK</character> <parenthetical>( she exits . )</parenthetical> <dialogue>Goodnight.</dialogue> <character>BEN'S VOICE</character> <dialogue>Wait a minute.</dialogue> </scene> <scene> <stage_direction>INT. TAFT HOTEL ROOM - NIGHT - SHOT - BEN</stage_direction> <scene_description>Mrs. Robinson 's hands are undoing his necktie . Ben is dressed as in previous scene , plus a jacket .</scene_description> <character>BEN</character> <dialogue>Wait a minute.</dialogue> <parenthetical>( he pushes her hand away . )</parenthetical> <dialogue>Sit down a minute.</dialogue> <scene_description>Mrs. Robinson looks at him and raises her eyebrows .</scene_description> <character>BEN</character> <dialogue>Will you please sit down a minute.</dialogue> <scene_description>Mrs. Robinson walks to the bed and sits . She reaches down to take off a shoe .</scene_description> <character>BEN</character> <dialogue>Will you leave that shoe on for a minute. Please.</dialogue> <scene_description>She straightens up .</scene_description> <character>BEN</character> <dialogue>Now - do you think we could say a few words to each other first this time?</dialogue> <character>MRS. ROBINSON</character> <dialogue>If you want.</dialogue> <character>BEN</character> <dialogue>Good. I mean are we dead or something?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Well I just do n't think we have much to say to each other.</dialogue> <character>BEN</character> <dialogue>All we ever do is come up here and throw off the clothes and leap into bed together.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Are you tired of it?</dialogue> <character>BEN</character> <dialogue>I'm not. No. But do you think we could liven it up with a few words now and then?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Well what do you want to talk about?</dialogue> <character>BEN</character> <dialogue>Anything. Anything at all.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Do you want to tell me about some of your college experiences?</dialogue> <character>BEN</character> <dialogue>Oh my God.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Well?</dialogue> <character>BEN</character> <dialogue>Mrs. Robinson. If that's the best we can do let's just get the god - damn clothes off and -</dialogue> <scene_description>She reaches for her shoe .</scene_description> <character>BEN</character> <dialogue>Leave it on! Now we are going to do this thing. We are going to have a conversation. Think of another topic.</dialogue> <character>MRS. ROBINSON</character> <dialogue>How about art.</dialogue> <character>BEN</character> <dialogue>Art. That's a good subject. You start it off.</dialogue> <character>MRS. ROBINSON</character> <dialogue>You start it off. I do n't know anything about it.</dialogue> <character>BEN</character> <dialogue>Oh.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Do n't you?</dialogue> <character>BEN</character> <dialogue>Yes I do. I know quite a bit about it.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Go ahead then.</dialogue> <character>BEN</character> <dialogue>Art. Well what do you want to know about it.</dialogue> <scene_description>She shrugs .</scene_description> <character>BEN</character> <dialogue>Are you interested more in modern art or more in classical art.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Neither.</dialogue> <character>BEN</character> <dialogue>You're not interested in art?</dialogue> <character>MRS. ROBINSON</character> <dialogue>No.</dialogue> <character>BEN</character> <dialogue>Then why do you want to talk about it?</dialogue> <character>MRS. ROBINSON</character> <dialogue>I do n't.</dialogue> <scene_description>Ben nods and looks at the rug .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Can I take off my clothes now?</dialogue> <character>BEN</character> <dialogue>No. Think of another topic. Tell me what you did today.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Do you really want me to?</dialogue> <character>BEN</character> <dialogue>Yes I do.</dialogue> <character>MRS. ROBINSON</character> <dialogue>I got up.</dialogue> <scene_description>Ben starts shaking his head .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Do you want to hear it or not?</dialogue> <character>BEN</character> <dialogue>Yes. But you might try and spice it up with a little originality.</dialogue> <character>MRS. ROBINSON</character> <dialogue>I got up. I ate breakfast and went shopping. During the after - noon I read a novel.</dialogue> <character>BEN</character> <dialogue>What one.</dialogue> <character>MRS. ROBINSON</character> <dialogue>What?</dialogue> <character>BEN</character> <dialogue>What novel did you read.</dialogue> <character>MRS. ROBINSON</character> <dialogue>I do n't remember.</dialogue> <scene_description>Ben nods .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Then I fixed supper for my husband and waited until -</dialogue> <character>BEN</character> <dialogue>There!</dialogue> <character>MRS. ROBINSON</character> <dialogue>What?</dialogue> <character>BEN</character> <dialogue>Your husband! Mrs. Robinson! There's something we could have a conversation about.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Him?</dialogue> <character>BEN</character> <dialogue>I mean everything. I do n't know anything about how you - how you work this. I do n't know how you get out of the house at night. I do n't know the risk involved.</dialogue> <character>MRS. ROBINSON</character> <dialogue>There is n't any.</dialogue> <character>BEN</character> <dialogue>There's no risk?</dialogue> <scene_description>She shakes her head .</scene_description> <character>BEN</character> <dialogue>How do you get out of the house?</dialogue> <character>MRS. ROBINSON</character> <dialogue>I walk out.</dialogue> <character>BEN</character> <dialogue>You walk right out the door.</dialogue> <scene_description>She nods .</scene_description> <character>BEN</character> <dialogue>What do you say to him?</dialogue> <character>MRS. ROBINSON</character> <dialogue>He's asleep.</dialogue> <character>BEN</character> <dialogue>Always?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Benjamin, this is n't a very interesting topic.</dialogue> <character>BEN</character> <dialogue>Please. Now tell me. How do you know he wo n't wake up sometime and follow you.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Because he takes sleeping pills. He takes three sleeping pills every night at ten o'clock.</dialogue> <character>BEN</character> <dialogue>But what about the noise from the car. What if -</dialogue> <character>MRS. ROBINSON</character> <dialogue>The driveway's on my side of the house.</dialogue> <character>BEN</character> <parenthetical>( smiling . )</parenthetical> <dialogue>We're talking.</dialogue> <character>MRS. ROBINSON</character> <dialogue>What?</dialogue> <character>BEN</character> <dialogue>We're talking, Mrs. Robinson. We're talking.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Calm down, Benjamin.</dialogue> <character>BEN</character> <dialogue>Now let's keep going here.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Can I undress and talk at the same time?</dialogue> <character>BEN</character> <dialogue>Right.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Thank you.</dialogue> <character>BEN</character> <dialogue>Now. You say the driveway's on your side of the house. So I guess you do n't sleep in the same room.</dialogue> <character>MRS. ROBINSON</character> <dialogue>We do n't.</dialogue> <character>BEN</character> <dialogue>So you do n't - I mean I do n't like to seem like I'm prying but I guess you do n't sleep together or anything.</dialogue> <character>MRS. ROBINSON</character> <dialogue>No we do n't.</dialogue> <character>BEN</character> <dialogue>Well how long has this been going on.</dialogue> <character>MRS. ROBINSON</character> <parenthetical>( looking at the ceiling for a moment . )</parenthetical> <dialogue>About five years.</dialogue> <character>BEN</character> <dialogue>Oh no. Are you kidding me?</dialogue> <character>MRS. ROBINSON</character> <dialogue>No.</dialogue> <character>BEN</character> <dialogue>You have not slept with your husband for five years?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Now and then. He geats drunk a few times a year.</dialogue> <character>BEN</character> <dialogue>How many times a year.</dialogue> <character>MRS. ROBINSON</character> <dialogue>On New Year's Eve. Sometimes on his birthday.</dialogue> <character>BEN</character> <dialogue>Man, is this interesting.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Is it?</dialogue> <character>BEN</character> <dialogue>So you do n't love him. You would n't say you -</dialogue> <character>MRS. ROBINSON</character> <dialogue>We've talked enough, Benjamin.</dialogue> <character>BEN</character> <dialogue>Wait a minute. So you would n't say you loved him.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Not exactly.</dialogue> <character>BEN</character> <dialogue>But you do n't hate him.</dialogue> <character>MRS. ROBINSON</character> <dialogue>No, Benjamin. I do n't hate him. Unhook my blouse.</dialogue> <character>BEN</character> <parenthetical>( unhooking her blouse . )</parenthetical> <dialogue>Well how do you feel about him, then?</dialogue> <character>MRS. ROBINSON</character> <dialogue>I do n't.</dialogue> <character>BEN</character> <dialogue>Well that's kind of a bad situation then, is n't it?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Is it?</dialogue> <character>BEN</character> <dialogue>I mean it does n't sound like it could be much worse. If you hated him at least you'd hate him.</dialogue> <scene_description>She nods and takes off her blouse .</scene_description> <character>BEN</character> <dialogue>Well you loved him once, I assume. When you first knew him.</dialogue> <character>MRS. ROBINSON</character> <dialogue>No.</dialogue> <character>BEN</character> <dialogue>What?</dialogue> <character>MRS. ROBINSON</character> <dialogue>I never did, Benjamin. Now let's -</dialogue> <character>BEN</character> <dialogue>Well, wait a minute. You married him.</dialogue> <scene_description>She nods .</scene_description> <character>BEN</character> <dialogue>Why did you do that?</dialogue> <character>MRS. ROBINSON</character> <parenthetical>( taking off her stockings . )</parenthetical> <dialogue>See if you can guess.</dialogue> <character>BEN</character> <dialogue>Well I ca n't.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Think real hard, Benjamin.</dialogue> <character>BEN</character> <dialogue>I ca n't see why you did, unless. you did n't have to marry him or anything, did you?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Do n't tell Elaine.</dialogue> <character>BEN</character> <dialogue>Oh no. You had to marry him because you got pregnant?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Are you shocked?</dialogue> <character>BEN</character> <dialogue>Well I never thought of you and Mr. Robinson as the kind of people who.</dialogue> <character>MRS. ROBINSON</character> <dialogue>All right. Now let's get to bed.</dialogue> <character>BEN</character> <dialogue>Wait a minute. Wait a minute. So how did it happen?</dialogue> <character>MRS. ROBINSON</character> <dialogue>What?</dialogue> <character>BEN</character> <dialogue>I mean do you feel like telling me what were the circumstances?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Not particularly.</dialogue> <character>BEN</character> <dialogue>Was he a law student at the time?</dialogue> <scene_description>She nods .</scene_description> <character>BEN</character> <dialogue>And you were a student also.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Yes.</dialogue> <character>BEN</character> <dialogue>At college.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Yes.</dialogue> <character>BEN</character> <dialogue>What was your major?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Why are you asking me all this?</dialogue> <character>BEN</character> <dialogue>Because I'm interested, Mrs. Robinson. Now what was your major subject at college?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Art.</dialogue> <character>BEN</character> <dialogue>Art?</dialogue> <scene_description>She nods .</scene_description> <character>BEN</character> <dialogue>But I thought you - I guess you kind of lost interest in it over the years then.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Kind of.</dialogue> <character>BEN</character> <dialogue>Well how did it happen?</dialogue> <character>MRS. ROBINSON</character> <dialogue>How do you think.</dialogue> <character>BEN</character> <dialogue>I mean did he take you up to his room with him? Did you go to a hotel?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Benjamin, what does it possibly matter?</dialogue> <character>BEN</character> <dialogue>I'm curious.</dialogue> <character>MRS. ROBINSON</character> <dialogue>We'd go to his car.</dialogue> <character>BEN</character> <dialogue>Oh no. In the car you did it?</dialogue> <character>MRS. ROBINSON</character> <dialogue>I do n't think we were the first.</dialogue> <scene_description>Ben thinks for a moment .</scene_description> <character>BEN</character> <dialogue>What kind of car was it?</dialogue> <character>MRS. ROBINSON</character> <dialogue>What?</dialogue> <character>BEN</character> <dialogue>Do you remember the make of the car?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Oh my God.</dialogue> <character>BEN</character> <dialogue>Really. I want to know.</dialogue> <character>MRS. ROBINSON</character> <dialogue>It was a Ford, Benjamin.</dialogue> <character>BEN</character> <parenthetical>( jumping up . )</parenthetical> <dialogue>A Ford! A Ford! Goddamnit, a Ford! That's great!</dialogue> <character>MRS. ROBINSON</character> <dialogue>That's enough.</dialogue> <character>BEN</character> <dialogue>So old Elaine Robinson got started in a Ford.</dialogue> <scene_description>There is a pause .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Do n't talk about Elaine.</dialogue> <character>BEN</character> <dialogue>Do n't talk about Elaine?</dialogue> <character>MRS. ROBINSON</character> <dialogue>No.</dialogue> <character>BEN</character> <dialogue>Why not?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Because I do n't want you to.</dialogue> <scene_description>She walks to the bed .</scene_description> <character>BEN</character> <dialogue>Well why do n't you?</dialogue> <scene_description>She pulls the bedspread down . Ben begins to remove his jacket .</scene_description> <character>BEN</character> <dialogue>I wish you'd tell me.</dialogue> <character>MRS. ROBINSON</character> <dialogue>There's nothing to tell.</dialogue> <character>BEN</character> <dialogue>Well why is she a big taboo subject all of a sudden?</dialogue> <scene_description>Mrs. Robinson uncovers one of the pillows .</scene_description> <character>BEN</character> <dialogue>Well - I guess I'll have to ask her out on a date and find out what's -</dialogue> <character>MRS. ROBINSON</character> <dialogue>Benjamin, do n't you ever take that girl out.</dialogue> <scene_description>Ben looks at her .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Do you understand that?</dialogue> <character>BEN</character> <dialogue>Well look. I have no intention of taking her out.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Good.</dialogue> <character>BEN</character> <dialogue>I was just kidding around.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Good.</dialogue> <character>BEN</character> <dialogue>But why should n't I?</dialogue> <character>MRS. ROBINSON</character> <dialogue>I have my reasons.</dialogue> <character>BEN</character> <dialogue>Then let's hear them.</dialogue> <character>MRS. ROBINSON</character> <dialogue>No.</dialogue> <character>BEN</character> <dialogue>Let's hear your reasons, Mrs. Robinson. Because I think I know what they are.</dialogue> <scene_description>She pulls the covers down .</scene_description> <character>BEN</character> <dialogue>I'm not good enough for her to associate with, am I? I'm not good enough to even talk about her, am I?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Let's drop it.</dialogue> <character>BEN</character> <dialogue>We're not dropping it. Now that's the reason, is n't it? I'm a dirty degenerate, are n't I? I'm not fit to -</dialogue> <character>MRS. ROBINSON</character> <dialogue>Benjamin?</dialogue> <character>BEN</character> <dialogue>I'm good enough for you but I'm too slimy to associate with your daughter. That's it, is n't it? IS N'T IT?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Yes.</dialogue> <character>BEN</character> <dialogue>You go to hell. You go straight to hell, Mrs. Robinson. Do you think I'm proud of myself? Do you think I'm proud of this?</dialogue> <character>MRS. ROBINSON</character> <dialogue>I would n't know.</dialogue> <character>BEN</character> <dialogue>Well, I'm not.</dialogue> <character>MRS. ROBINSON</character> <dialogue>You're not.</dialogue> <character>BEN</character> <dialogue>No sir. I am not proud that I spend my time with a broken - down alcoholic!</dialogue> <character>MRS. ROBINSON</character> <dialogue>I see.</dialogue> <character>BEN</character> <dialogue>And if you think I come here for any reason besides pure boredom, then you're all wrong.</dialogue> <scene_description>She nods .</scene_description> <character>BEN</character> <dialogue>Because - Mrs. Robinson this is the sickest, most perverted thing that ever happened to me. And you do what you want but I'm getting the hell out.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Are you?</dialogue> <character>BEN</character> <dialogue>You're goddamn right I am.</dialogue> <scene_description>He starts putting on his shirt . She sits on the edge of the bed and watches him .</scene_description> <character>MRS. ROBINSON</character> <dialogue>That's how you feel about me.</dialogue> <scene_description>He nods .</scene_description> <character>MRS. ROBINSON</character> <dialogue>That I'm a sick and disgusting person.</dialogue> <character>BEN</character> <dialogue>Now do n't start this.</dialogue> <character>MRS. ROBINSON</character> <dialogue>What?</dialogue> <character>BEN</character> <dialogue>Do n't start acting hurt.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Do n't you expect me to be a little hurt?</dialogue> <character>BEN</character> <dialogue>Mrs. Robinson, you stand there and tell me I'm not good enough for your daughter.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Did I say that?</dialogue> <character>BEN</character> <dialogue>Of course you did.</dialogue> <scene_description>She shakes her head .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Benjamin, I want to apologize to you if that's the impression you got.</dialogue> <character>BEN</character> <dialogue>Well two minutes ago you told me I was n't good enough for your daughter. Now you say you're sorry I got that impression.</dialogue> <character>MRS. ROBINSON</character> <dialogue>I did n't mean it. I do n't think you'd be right for each other. But I would never say you were n't as good a person as she is.</dialogue> <character>BEN</character> <dialogue>You would n't.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Of course I would n't.</dialogue> <scene_description>Mrs. Robinson walks to the closet .</scene_description> <character>BEN</character> <dialogue>What are you doing?</dialogue> <character>MRS. ROBINSON</character> <dialogue>Well it's pretty obvious you do n't want me around any more.</dialogue> <character>BEN</character> <dialogue>Well look - I was kind of upset there. I'm sorry I said those things.</dialogue> <character>MRS. ROBINSON</character> <dialogue>If that's how you feel -</dialogue> <character>BEN</character> <dialogue>But it's not.</dialogue> <character>MRS. ROBINSON</character> <parenthetical>( smiling at him . )</parenthetical> <dialogue>That's all right. I think I can understand why I'm disgusting to you.</dialogue> <character>BEN</character> <dialogue>Oh no. Look - I like you. I would n't keep coming here if I did n't like you.</dialogue> <character>MRS. ROBINSON</character> <dialogue>But if it's sickening for you -</dialogue> <character>BEN</character> <dialogue>It's not! I enjoy it! I look forward to it. It's the one thing I have to look forward to.</dialogue> <character>MRS. ROBINSON</character> <dialogue>You do n't have to say that.</dialogue> <character>BEN</character> <dialogue>Well I would n't. I would never say it if it was n't true.</dialogue> <character>MRS. ROBINSON</character> <dialogue>May I stay then?</dialogue> <character>BEN</character> <dialogue>Yes. Please. I want you to.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Thank you.</dialogue> <character>BEN</character> <dialogue>Well do n't thank me, because I want you to.</dialogue> <scene_description>There is a long pause .</scene_description> <character>MRS. ROBINSON</character> <dialogue>But you wo n't ever take out Elaine, will you? I want you to promise me that.</dialogue> <scene_description>There is another long pause .</scene_description> <character>BEN</character> <dialogue>Look. Why the hell did you bring this up. It never occured to me to take her out.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Then give me your word you wo n't.</dialogue> <character>BEN</character> <dialogue>This is absurd.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Promise me, Benjamin.</dialogue> <character>BEN</character> <dialogue>All right, for christ's sake. I promise I will never take out Elaine Robinson.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Thank you.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Benjamin -</dialogue> <character>BEN</character> <dialogue>Let's not talk about it. Let's not talk at all.</dialogue> <scene_description>At opposite sides of the room , without looking at each other , they begin to take off their clothes . FADE OUT FADE IN</scene_description> </scene> <scene> <stage_direction>INT. BRADDOCK KITCHEN - DAY</stage_direction> <scene_description>Ben sits at the table , eating his breakfast and looking at the back of a cereal box . Mr. and Mrs. Braddock are there .</scene_description> <character>MR. BRADDOCK</character> <dialogue>Elaine's back from school. I think it might be a nice gesture if you asked her out.</dialogue> <scene_description>Benjamin looks at his father for a moment , then continues eating and reading .</scene_description> </scene> <scene> <stage_direction>INT. BEN'S ROOM - DAY</stage_direction> <scene_description>Ben is lying on his bed . Mrs. Braddock stands in the doorway .</scene_description> <character>MRS. BRADDOCK</character> <dialogue>Do n't you think that she's a terribly attractive girl? Because I think she's one of the prettiest girls I've ever seen.</dialogue> <scene_description>Ben gives a small whimper .</scene_description> </scene> <scene> <stage_direction>EXT. BRADDOCK BACKYARD AND POOL AREA - DAY</stage_direction> <scene_description>Ben is lying face down on his raft in the middle of the Braddock pool . The sun shines down . His diving mask is on over his eyes . His face is in the water , looking down at the bottom of the pool . Mr. and Mrs. Braddock , in their bathing suits , are in the pool , paddling around Ben . During the entire conversation they continue to swim around and around the raft , trying to talk and keep their heads above the surface .</scene_description> <character>MRS. BRADDOCK</character> <dialogue>It's pretty embarrassing. I really do n't know what to tell Mr. Robinson. It's ackward and strained for me every time he suggests that you call up Elaine.</dialogue> <character>BEN</character> <dialogue>Next time he suggests it, I'll tell him I have no intention of ever calling her up in my life.</dialogue> <character>MR. BRADDOCK</character> <dialogue>I guess she's not good enough for you, is that it?</dialogue> <character>BEN</character> <dialogue>Look - Elaine Robinson and I do not get along.</dialogue> <character>MR. BRADDOCK</character> <dialogue>How do you know? You have n't seen her since high school. I guess your evenings, whatever you do with them, are just too valuable.</dialogue> <character>BEN</character> <dialogue>That has nothing to do with it -</dialogue> <character>MR. BRADDOCK</character> <dialogue>I guess I'll just tell Mr. Robinson that you're just too busy every evening - doing God knows what -</dialogue> <character>MRS. BRADDOCK</character> <dialogue>Do n't go on like this. Now if Benjamin absolutely refuses to take her out -</dialogue> <character>BEN</character> <dialogue>I do.</dialogue> <character>MRS. BRADDOCK</character> <dialogue>- then I'll simply invite all the Robinsons' over for dinner on Thursday.</dialogue> <scene_description>SHOT - BEN He slides off the raft and goes underwater . SHOT - BEN UNDERWATER His hair streaming up , his eyes open .</scene_description> </scene> <scene> <stage_direction>INT. SPECIAL SET BRADDOCK DINING ROOM - NIGHT</stage_direction> <scene_description>The dining room is one tenth its normal size . At a table for two are seated , jammed in against each other , the three Robinsons and the three Braddocks . Elaine 's back is to us . Ben is at the other end of the table , facing us . The Robinsons and Braddocks sit along the sides . Mrs. Robinson is next to Ben , everyone is eating , looking down at their places . After a few moments Ben throws his head back ans starts to scream . As he continues to scream , everyone looks at him except Mrs. Robinson who continues to eat calmly without looking up .</scene_description> </scene> <scene> <stage_direction>EXT. BRADDOCK BACKYARD AND POOL AREA - DAY</stage_direction> <scene_description>Ben surfaces and pulls himself up on the side of the pool .</scene_description> <character>BEN</character> <dialogue>I'll go call Elaine now.</dialogue> <scene_description>Mr. and Mrs. Braddock cling exhausted to the raft and try to smile at each other . SOUND : Ding dong of the Robinson door chimes .</scene_description> </scene> <scene> <stage_direction>EXT. &amp; INT. ROBINSON FRONT DOOR, HALL AND SUNROOM - NIGHT</stage_direction> <scene_description>The door opens . Mr. Robinson stands there with a huge smile .</scene_description> <character>MR. ROBINSON</character> <dialogue>Well, Braddock - it's about time you got around to this. Come on in. I'm afraid the young lady is n't quite ready yet -</dialogue> <scene_description>Mr. Robinson turns toward the sunroom . Mrs. Robinson is sitting there .</scene_description> <character>BEN</character> <dialogue>Hello.</dialogue> <character>MR. ROBINSON</character> <dialogue>What would you say to a short one? Bourbon still your drink?</dialogue> <character>BEN</character> <dialogue>Yes.</dialogue> <scene_description>Mr. Robinson hands him drink .</scene_description> <character>MR. ROBINSON</character> <dialogue>I'll see if she's ready.</dialogue> <scene_description>Mr. Robinson exits . SHOT - BEN AND MRS. ROBINSON NOTE Following dialogue played simultaneously</scene_description> <character>MR. ROBINSON'S VOICE</character> <parenthetical>( from hall . )</parenthetical> <dialogue>Hey - there she is. Miss America - that's who it is. It's definitely Miss America.</dialogue> <character>BEN</character> <dialogue>Now listen - this was not my idea. It was my father's idea.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Benjamin - I thought I made myself perfectly clear about this.</dialogue> <character>ELAINE'S VOICE</character> <dialogue>Daddy - can you fix this? The clasp is broken I think.</dialogue> <character>MR. ROBINSON'S VOICE</character> <dialogue>I'll do it - I'll do it.</dialogue> <character>ELAINE'S VOICE</character> <dialogue>Is Ben here?</dialogue> <character>MR. ROBINSON'S VOICE</character> <dialogue>He's in the living room having a chat with your mother.</dialogue> <character>MRS. ROBINSON</character> <dialogue>But I am. I'm extremely upset about it, Benjamin.</dialogue> <character>BEN</character> <parenthetical>( whispering urgently . )</parenthetical> <dialogue>Look, we'll go out to dinner and have a drink and I'll bring her back. Because it was either that or a dinner party for the two families. And I'm afriad I could n't quite handle that, if you do n't mind. I have no intention of ever taking your precious daughter out again in her life. So do n't get upset about it.</dialogue> <scene_description>Mr. Robinson and ELAINE enter .</scene_description> <character>ELAINE</character> <dialogue>Hello.</dialogue> <character>BEN</character> <dialogue>Hello.</dialogue> <scene_description>CLOSEUP - MRS. ROBINSON</scene_description> <character>MR. ROBINSON'S VOICE</character> <dialogue>Well - I want you to keep your wits about you tonight. You never know what tricks Ben picked up back there in the East.</dialogue> </scene> <scene> <stage_direction>EXT. FREEWAY - NIGHT</stage_direction> <scene_description>SHOT - BEN AND ELAINE in Ben 's car . From the back . Ben leans forward slightly , pushing the car recklessly in and out of the traffic . Ben is wearing dark glasses .</scene_description> <character>ELAINE</character> <dialogue>You're living at home now. Is that right?</dialogue> <character>BEN</character> <dialogue>Yes.</dialogue> <character>ELAINE</character> <dialogue>Do you know what you're going to do?</dialogue> <character>BEN</character> <dialogue>No.</dialogue> <character>ELAINE</character> <dialogue>Are you going to graduate school?</dialogue> <character>BEN</character> <dialogue>No.</dialogue> <scene_description>He leans on the HORN . The car directly ahead of him does not move to the right . Ben jerks his car over to the right , swerves around the car ahead , jamming his horn down , and swerves back into the outside lane , giving the driver of the other car an angry look as he passes him . Elaine holds on to the dashboard to keep her balance .</scene_description> <character>ELAINE</character> <dialogue>Do you always drive like this?</dialogue> <character>BEN</character> <dialogue>Yes.</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT - NIGHT</stage_direction> <scene_description>A drab , almost deserted room with formally dressed WAITERS . Ben and Elaine are seated at a table .</scene_description> <character>BEN</character> <dialogue>Do you want some dinner?</dialogue> <character>ELAINE</character> <dialogue>I'd love some.</dialogue> <scene_description>A waiter moves forward toward them .</scene_description> <character>BEN</character> <dialogue>Bring a menu.</dialogue> <character>WAITER #2</character> <dialogue>Dinner for two, sir?</dialogue> <character>BEN</character> <dialogue>No. Just for her.</dialogue> <scene_description>The waiter moves away .</scene_description> <character>ELAINE</character> <dialogue>Are n't you eating?</dialogue> <character>BEN</character> <dialogue>No.</dialogue> <character>ELAINE</character> <dialogue>Why not?</dialogue> <character>BEN</character> <dialogue>If it's all right with you, I'm not hungry.</dialogue> <scene_description>The waiter returns with a menu .</scene_description> <character>ELAINE</character> <dialogue>I've changed my mind. Thank you.</dialogue> </scene> <scene> <stage_direction>EXT. SUNSET STRIP - NIGHT - SHOTS</stage_direction> <scene_description>Ben and Elaine walking on the strip .</scene_description> </scene> <scene> <stage_direction>EXT. STRIP JOINT - NIGHT</stage_direction> <scene_description>Ben pushes through the people crowded in around the entrance . Without turning around , he waits for Elaine who has difficulty following him . As she gets to him , he starts forward again . He starts up the stairs . Elaine is just behind him .</scene_description> </scene> <scene> <stage_direction>INT. STRIP JOINT - NIGHT</stage_direction> <scene_description>Seedy , ugly , three quarters filled . A tuxedoed HOOD leads them through the tables to a table directly under the stage on which a STRIPPER is in the process of removing her dress . There is one chair facing the stage , the other with its back to and up against the stage . Ben sits down in the chair facing the stage . Elaine stands for a moment , unsure .</scene_description> <character>BEN</character> <dialogue>Sit down.</dialogue> <scene_description>Elaine sits in the chair with her back to the stage . She folds her hands on the table and looks down at them . Ben takes a pair of dark glasses out of his pocket and puts them on . The two chairs are slightly angled toward each other so that Ben can look up at the stage without looking directly at Elaine .</scene_description> <character>BEN</character> <dialogue>Why do n't you watch the show?</dialogue> <scene_description>The stripper is reflected in Ben 's glasses .</scene_description> <character>ELAINE</character> <dialogue>Benjamin - do you dislike me for some reason?</dialogue> <character>BEN</character> <dialogue>No - why should I?</dialogue> <character>ELAINE</character> <dialogue>I do n't know.</dialogue> <scene_description>SHOT - ACROSS BEN - THE STRIPPER She is down to a tasseled bra and g - string . She is twirling the tassels .</scene_description> <character>BEN</character> <dialogue>You're missing a great effect here.</dialogue> <scene_description>Elaine turns around , looks at the stripper and turns back .</scene_description> <character>BEN</character> <dialogue>How do you like that?</dialogue> <scene_description>Elaine does n't answer .</scene_description> <character>BEN</character> <dialogue>Could you do it?</dialogue> <character>ELAINE</character> <dialogue>No.</dialogue> <scene_description>The stripper sees Elaine look . The stripper smiles toward Ben and walks toward his table , twirling the tassels as she walks . Ben smiles as he watches her approaching . The stripper moves directly behind Elaine 's chair . The spotlight from the back of the house falls into Elaine 's face . As it does , Elaine puts her hand up to shield her eyes . The stripper slides a finger into her mouth , wets it and holds it up in the air . The music stops and a DRUM ROLL starts . The stripper bends over Elaine 's head and begins swinging the tassels so that they rotate in front of Elaine 's face . SHOT - BEN He leans forward slightly to watch the action . The swinging tassels are reflected in his glasses . The DRUM ROLL gets louder and faster . The tassels swing more frantically . SHOT - ELAINE She pulls her hand down from in front of her eyes . SHOT - BEN With Elaine 's face reflected in his glasses . SHOT - ELAINE Through Ben 's glasses . Elaine 's face seen darkly but fully for the first time . The tassels swing in front of it . Tears start out of her eyes . SHOT - BEN He reaches up to remove the glasses . SHOT - ELAINE As the glasses come off and her face is seen in the harsh spill from the spotlight . The tears are running down her face . Only her eyes are crying as she looks straight at Ben . SHOT - BEN With his glasses off , he watches her . He reaches forward and puts his hand in the way of the tassels .</scene_description> <character>STRIPPER</character> <dialogue>Hey!</dialogue> <scene_description>Some of the customers start to boo . Ben rises , takes Elaine 's arm and leads her toward the exit .</scene_description> </scene> <scene> <stage_direction>EXT. STRIP JOINT - NIGHT</stage_direction> <scene_description>The entrance to the strip joint . Elaine runs to the bottom of the steps . The Sunset Strip sidewalk outside is crowded with people moving back and forth . Ben follows her . She pushes through the crowd on the sidewalk . Ben catches her and holds her arm .</scene_description> <character>BEN</character> <dialogue>Elaine - I'm sorry.</dialogue> <scene_description>Elaine leans against the side of the building and pulls her arm away .</scene_description> <character>ELAINE</character> <dialogue>Will you take me home now?</dialogue> <character>BEN</character> <dialogue>I'm sorry I took you in there.</dialogue> <character>ELAINE</character> <dialogue>I think I'd better go home now please.</dialogue> <character>BEN</character> <dialogue>But, Elaine -</dialogue> <character>ELAINE</character> <dialogue>Where is the car?</dialogue> <character>BEN</character> <dialogue>I just want to tell you something.</dialogue> <scene_description>Ben , facing her , keeps moving from side to side , trying to get her to look at him . She keeps looking away .</scene_description> <character>ELAINE</character> <dialogue>I want to go home.</dialogue> <character>BEN</character> <dialogue>But could I just tell you this one thing?</dialogue> <character>ELAINE</character> <dialogue>What?</dialogue> <character>BEN</character> <dialogue>This whole idea - this date and everything. It was my parents' idea. They forced me into it.</dialogue> <character>ELAINE</character> <dialogue>Oh - that's very nice of you to tell me.</dialogue> <character>BEN</character> <dialogue>No. What I mean is - that's why I've been acting this way. I'm not like this. I hate myself like this.</dialogue> <scene_description>She starts to cry . People on the sidewalk are looking at them . She turns away from them . Ben moves away from them . Ben moves around in front of her .</scene_description> <character>BEN</character> <dialogue>Listen - could you stop crying, please?</dialogue> <character>ELAINE</character> <dialogue>No, I could n't.</dialogue> <character>BEN</character> <dialogue>But could you try?</dialogue> <character>ELAINE</character> <dialogue>No.</dialogue> <scene_description>She brings both hands up to her face . Ben looks at her for a few moments in agony . Then , very determined , he takes her wrists in his hands and pulls them away from her face . She looks up startled . She starts to give a little cry but before she can he is kissing her . She closes her eyes . He brings his fists , containing her hands , up to the side of her face . He opens his hands against her face , freeing her hands . Her hands move slowly to his wrists and hang on . After a while she pulls away , turning her head slightly to one side .</scene_description> <character>BEN</character> <dialogue>Elaine -</dialogue> <scene_description>He starts to pull her head back .</scene_description> <character>ELAINE</character> <dialogue>Not here. Not here.</dialogue> </scene> <scene> <stage_direction>EXT. DRIVE IN RESTAURANT - NIGHT</stage_direction> <scene_description>Ben and Elaine are sitting in the car in a drive - in restaurant . There are trays hooked onto windows along side of both of them . They are eating and drinking furiously .</scene_description> <character>BEN</character> <dialogue>I've had this feeling - ever since I've graduated - this - kind of compulsion that I have to be rude all the time. Do you know what I mean?</dialogue> <character>ELAINE</character> <dialogue>Yes, I do.</dialogue> <scene_description>He looks at her .</scene_description> <character>BEN</character> <dialogue>It's like I've been playing some kind of - game - but the rules do n't make any sense to me -</dialogue> <scene_description>She is watching him carefully .</scene_description> <character>BEN</character> <dialogue>- they're being made up by all the wrong people - no - I mean no one makes them up, they seem to have made themselves up.</dialogue> <scene_description>A car with a COUPLE OF TEENAGERS has driven up in the slot on their right . Its RADIO is tuned into a rock and roll station and it is playing LOUDLY . Ben leans across Elaine and speaks through the window to the kid behind the wheel .</scene_description> <character>BEN</character> <dialogue>Say - I wonder if I could request you to turn that down a little?</dialogue> <scene_description>The kid turns the radio up . Ben and Elaine roll their windows up . SERIES OF SHOTS From outside of car . Ben is talking with great animation - Elaine is watching him . They are both eating as Ben talks , telling Elaine a story . Their windows are rolled up . SOUNDS : Cars GUNNING their ENGINES ; horns HONKING ; radios PLAYING ; waitresses YELLING orders ; customers YELLING at waitresses ; kids LAUGHING and TALKING from car to car ; MOTORCYCLES driving in and out , TRAFFIC .</scene_description> </scene> <scene> <stage_direction>EXT. ROBINSON HOUSE - NIGHT</stage_direction> <scene_description>The car coasts silently to a stop in front of the Robinson house . The RADIO plays QUIETLY . Ben turns it OFF . They sit there for a long time without saying anything , Ben 's hand touching her shoulder . It is very quiet .</scene_description> <character>ELAINE</character> <dialogue>Well - maybe I'd better go in.</dialogue> <scene_description>He nods . They continue to sit there for another long moment .</scene_description> <character>ELAINE</character> <dialogue>Would you like to come in? I could make some coffee.</dialogue> <character>BEN</character> <dialogue>No, I mean - I would n't want to wake anyone up.</dialogue> <character>ELAINE</character> <dialogue>We wo n't. Let's go inside.</dialogue> <character>BEN</character> <dialogue>Wait a minute.</dialogue> <character>ELAINE</character> <dialogue>Is anything wrong?</dialogue> <character>BEN</character> <dialogue>No - I was just thinking - look - it's still early - we could do something - go somewhere else.</dialogue> <character>ELAINE</character> <dialogue>All right.</dialogue> <scene_description>He starts the car immediately and drives away from the house .</scene_description> </scene> <scene> <stage_direction>INT. BEN'S CAR - NIGHT</stage_direction> <scene_description>Ben is driving .</scene_description> <character>ELAINE</character> <dialogue>Where we going?</dialogue> <character>BEN</character> <dialogue>I'm trying to think of where there's a place to have a drink around here.</dialogue> <character>ELAINE</character> <dialogue>Is n't there one in the Taft Hotel?</dialogue> <scene_description>There is a SQUEAL of TIRES as Ben almost drives off the road .</scene_description> <character>ELAINE</character> <dialogue>What is the matter?</dialogue> <character>BEN</character> <dialogue>Nothing. I'm just wondering if they have a bar or not. I mean let's go see. Let's go see if they do or not.</dialogue> </scene> <scene> <stage_direction>INT. TAFT HOTEL LOBBY - NIGHT</stage_direction> <scene_description>Ben and Elaine enter the lobby and stand just inside the door . They start in a few steps .</scene_description> <character>BEN</character> <dialogue>Listen, Elaine - it seems to me that there is n't a bar in here. I mean - as far as I know.</dialogue> <character>ELAINE</character> <dialogue>Of course there is. Look - The Veranda Room - right there.</dialogue> <scene_description>ONE of the CAR PARKERS passes them on his way out .</scene_description> <character>CAR PARKER</character> <dialogue>Good evening.</dialogue> <scene_description>CAMERS BEGINS TO PULL UP AND AWAY . A BELLBOY passes them .</scene_description> <character>BELLBOY</character> <dialogue>Hello, how are you, sir?</dialogue> <scene_description>The room clerk smiles at them .</scene_description> <character>ROOM CLERK</character> <dialogue>Good evening, Mr. Gladstone.</dialogue> <scene_description>Ben and Elaine stop a few feet into the center of the lobby . The CAMERA PULLS BACK to a HIGH OVERHEAD SHOT revealing many people moving back and forth in the lobby , passing Ben and Elaine .</scene_description> <character>VOICE #1</character> <dialogue>Hello again.</dialogue> <character>VOICE #2</character> <dialogue>Hi, Mr. Gladstone. How are you this evening?</dialogue> <character>ELAINE</character> <dialogue>Benjamin -</dialogue> <character>BEN</character> <dialogue>Let's get out of here, Elaine. Let's go somewhere else.</dialogue> <character>ELAINE</character> <dialogue>Benjamin - do they know you?</dialogue> <character>BEN</character> <dialogue>Of course not.</dialogue> <character>VOICE #3</character> <dialogue>Good evening, sir.</dialogue> <character>VOICE #4</character> <dialogue>Mr. Gladstone - how are you?</dialogue> <scene_description>He moves her toward the door .</scene_description> <character>BEN</character> <dialogue>Come on, Elaine. We're leaving.</dialogue> </scene> <scene> <stage_direction>EXT. TAFT HOTEL</stage_direction> <scene_description>Ben brings Elaine through the door to the porch .</scene_description> <character>ELAINE</character> <dialogue>Ben - what's happening? Who is Mr. Gladstone?</dialogue> <character>BEN</character> <dialogue>I do n't know. They must think I look like this guy Gladstone.</dialogue> <scene_description>PAN WITH THEM as they start down the steps . Coming up the steps toward them is Miss DeWitte , on the arm of another ELDERLY LADY .</scene_description> <character>MISS DeWITTE</character> <dialogue>Hello, Mr. Brannif.</dialogue> <scene_description>SOUND : Car STARTING noisily .</scene_description> </scene> <scene> <stage_direction>EXT. TAFT HOTEL DRIVEWAY - NIGHT</stage_direction> <scene_description>Ben and Elaine in his car . He takes his hand off the ignition , jams on the accelerator and drives the car speedily for twenty - one feet and jams on the brakes . He turns off the ignition and the lights . He puts his head down on the steering wheel . He lifts his head .</scene_description> <character>BEN</character> <dialogue>Elaine - I like you. I like you so much. Do you believe that?</dialogue> <scene_description>She nods .</scene_description> <character>BEN</character> <dialogue>Do you?</dialogue> <character>ELAINE</character> <dialogue>Yes.</dialogue> <character>BEN</character> <dialogue>You're the first - you're the first thing for so long that I've liked. The first person I could stand to be with.</dialogue> <scene_description>She takes his hand .</scene_description> <character>BEN</character> <dialogue>I mean my whole life is such a waste. It's just nothing. I'm sorry. I'll take you home now.</dialogue> <scene_description>He turns the key in the ignition and starts the car .</scene_description> <character>ELAINE</character> <dialogue>Benjamin - are having an affair with someone?</dialogue> <scene_description>He freezes with his hand still on the key .</scene_description> <character>ELAINE</character> <dialogue>I'm sorry.</dialogue> <scene_description>He turns off the engine .</scene_description> <character>ELAINE</character> <dialogue>I'm sorry. That is not my business.</dialogue> <character>BEN</character> <dialogue>It just happened. It was just this thing that happened along with everything else. Can you understand that?</dialogue> <scene_description>She nods .</scene_description> <character>ELAINE</character> <dialogue>Was she married or something?</dialogue> <character>BEN</character> <dialogue>Yes.</dialogue> <character>ELAINE</character> <dialogue>With a family?</dialogue> <character>BEN</character> <dialogue>Yes. She had a husband and a son.</dialogue> <character>ELAINE</character> <dialogue>Did they ever find out?</dialogue> <character>BEN</character> <dialogue>No.</dialogue> <character>ELAINE</character> <dialogue>And it's all over now.</dialogue> <character>BEN</character> <dialogue>Yes.</dialogue> <character>ELAINE</character> <dialogue>I'm glad.</dialogue> <scene_description>He starts the car and drives out .</scene_description> </scene> <scene> <stage_direction>EXT. ROBINSON HOUSE - NIGHT - SHOT - BEN AND ELAINE IN BEN'S CAR</stage_direction> <character>BEN</character> <dialogue>Can we do something tomorrow?</dialogue> <character>ELAINE</character> <dialogue>All right.</dialogue> <character>BEN</character> <dialogue>During the day? We'll go for a drive or something.</dialogue> <character>ELAINE</character> <dialogue>Okay.</dialogue> <character>BEN</character> <dialogue>You sure you really want to?</dialogue> <character>ELAINE</character> <dialogue>Yes.</dialogue> <character>BEN</character> <dialogue>Because I would n't want you to do it unless you really wanted to!</dialogue> <character>ELAINE</character> <dialogue>I do.</dialogue> <character>BEN</character> <dialogue>You do?</dialogue> <character>ELAINE</character> <dialogue>Benjamin - I really do.</dialogue> </scene> <scene> <stage_direction>EXT. STREET NO. 1 - NEAR ROBINSON HOUSE - DAY SHOT - INT. BEN'S CAR - BEN DRIVING</stage_direction> <scene_description>It is raining . On the seat beside Ben is a package . From the way it is wrapped , we can tell it is a gift . Ben 's right hand is on it as he drives . The radio is playing . Past Ben and through the windsheild as the Robinson house comes closer and closer . The front door of the Robinson house opens and Mrs. Robinson comes out , dressed in a housecoat , and , in four or five fast steps , reaches the car , opens the door on the passengers side and climbs in . Ben moves the package over into his lap .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Drive down the block.</dialogue> <character>BEN</character> <dialogue>Mrs. Robinson - I have a date with Elaine. We're going for a drive.</dialogue> <character>MRS. ROBINSON</character> <parenthetical>( looking at him for the first time . )</parenthetical> <dialogue>Do exactly what I say.</dialogue> <scene_description>Ben starts the car forward down the driveway . ANOTHER ANGLE - BEN AND MRS. ROBINSON As they drive .</scene_description> <character>BEN</character> <dialogue>Now it seems to me -</dialogue> <character>MRS. ROBINSON</character> <dialogue>Listen to me very carefully, Benjamin. You are not to see Elaine again. Ever. Those are my orders. Is that clear?</dialogue> <scene_description>Ben stops the car in front of a house halfway down the block .</scene_description> <character>BEN</character> <dialogue>Mrs. Robinson -</dialogue> <character>MRS. ROBINSON</character> <dialogue>I can makes things quite unpleasant.</dialogue> <character>BEN</character> <dialogue>How?</dialogue> <character>MRS. ROBINSON</character> <dialogue>In order to keep Elaine away from you - I am prepared to tell her everything.</dialogue> <character>BEN</character> <dialogue>I do n't believe you.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Then you'd better start believing me.</dialogue> <character>BEN</character> <dialogue>Mrs. Robinson, do n't wreck it. I'm asking you please not to wreck it.</dialogue> <character>MRS. ROBINSON</character> <dialogue>Go home now.</dialogue> <character>BEN</character> <dialogue>I just do n't believe you would do that.</dialogue> <scene_description>Mrs. Robinson looks at him for a moment .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Try me.</dialogue> <scene_description>There is a pause while Ben looks at her expression . Then he grabs the keys out of the ignition , opens the door on his side and jumps out of the car , carrying the package . TRACK WITH BEN as he runs up the street and up the drive - way toward the Robinson house . Ben gets to the front door .</scene_description> <character>BEN</character> <parenthetical>( as he goes through the door . )</parenthetical> <dialogue>Elaine!</dialogue> </scene> <scene> <stage_direction>INT. ROBINSON HALLS, STAIRS, DOOR TO ELAINE'S ROOM - DAY</stage_direction> <scene_description>Ben runs in .</scene_description> <character>BEN</character> <dialogue>Elaine?</dialogue> <character>ELAINE'S VOICE</character> <dialogue>Benjamin?</dialogue> <character>BEN</character> <dialogue>I'm coming up.</dialogue> <character>ELAINE'S VOICE</character> <dialogue>I'm not dressed yet.</dialogue> <scene_description>Ben runs up the stairs . He still carries the package . Ben gets to the top just as Elaine comes out of the door to her bedroom . She is wearing a skirt and slip and carrying one shoe .</scene_description> <character>ELAINE</character> <dialogue>Benjamin - I said I was n't dressed -</dialogue> <scene_description>Ben pushes her back into her room .</scene_description> </scene> <scene> <stage_direction>INT. ELAINE'S ROOM - DAY</stage_direction> <character>ELAINE</character> <dialogue>What's the matter?</dialogue> <character>BEN</character> <dialogue>You've got to go over the back fence and I'll meet you on the corner.</dialogue> <character>ELAINE</character> <dialogue>Benjamin - what's happening?</dialogue> <character>BEN</character> <dialogue>Hurry up. Put your shoes on.</dialogue> <scene_description>Ben turns and looks . SHOT - OVER BEN 'S SHOULDER Mrs. Robinson is just entering the house .</scene_description> <character>BEN</character> <dialogue>NO.</dialogue> <scene_description>He turns around . NEW ANGLE Elaine is standing in the doorway watching him . She still holds the shoe in her hand .</scene_description> <character>BEN</character> <dialogue>Why are n't you ready?</dialogue> <character>ELAINE</character> <dialogue>Because I want to know what's happening.</dialogue> <scene_description>SOUND of Mrs. Robinson 's FOOTSTEPS in the hall below .</scene_description> <character>BEN</character> <dialogue>There is n't time!</dialogue> </scene> <scene> <stage_direction>INT. ELAINE'S ROOM - DAY</stage_direction> <scene_description>Ben pulls Elaine around behind the open door . They stand in the angle formed by the door and the wall as though they are hiding from someone . Mrs. Robinson 's FOOTSTEPS can be heard coming up the stairs .</scene_description> <character>BEN</character> <dialogue>Elaine - I have to tell you something.</dialogue> <scene_description>He holds her against the wall in the corner .</scene_description> <character>ELAINE</character> <dialogue>What is it?</dialogue> <character>BEN</character> <dialogue>That woman -</dialogue> <character>ELAINE</character> <dialogue>What?</dialogue> <character>BEN</character> <dialogue>That woman. The older woman.</dialogue> <character>ELAINE</character> <dialogue>You mean the one who -</dialogue> <character>BEN</character> <dialogue>Yes. The married woman - it was n't just some woman -</dialogue> <scene_description>Mrs. Robinson 's FOOTSTEPS can be heard coming down the hall .</scene_description> <character>ELAINE</character> <dialogue>What are you telling me?</dialogue> <scene_description>The FOOTSTEPS stop . ANGLE - CLOSE ON ELAINE Back in the corner . Mrs. Robinson 's face appears in the crack in the door at Elaine 's shoulder . Elaine looks from Ben 's face to the crack through which she can see her mother 's eyes staring .</scene_description> <character>ELAINE</character> <dialogue>Please - will somebody tell me -</dialogue> <scene_description>She looks back at Ben , then back at her mother 's face again . Mrs. Robinson 's eyes watch her through the crack in the door . Elaine looks away .</scene_description> <character>ELAINE</character> <dialogue>Oh - no.</dialogue> <scene_description>Ben backs up .</scene_description> <character>BEN</character> <dialogue>Elaine -</dialogue> <character>ELAINE</character> <dialogue>Oh my God -</dialogue> <scene_description>Moving along the wall as though to keep as far from Ben as possible , Elaine moves away from the door .</scene_description> <character>BEN</character> <dialogue>Please.</dialogue> <scene_description>Elaine walks a few steps toward the other side of the room then turns back toward Ben . The tears are starting out of her eyes .</scene_description> <character>BEN</character> <dialogue>No - do n't cry -</dialogue> <character>ELAINE</character> <dialogue>GET OUT!</dialogue> <character>BEN</character> <dialogue>Do n't cry.</dialogue> <parenthetical>( holds the package out to her . )</parenthetical> <dialogue /> <character>ELAINE</character> <dialogue>Get out of here.</dialogue> <scene_description>She moves toward him as though to hit him . He backs into the hall . Elaine SLAMS the door shut .</scene_description> <character>ELAINE</character> <parenthetical>( holding the door . )</parenthetical> <dialogue>Get out!</dialogue> </scene> <scene> <stage_direction>INT. ROBINSON HALL - DAY</stage_direction> <scene_description>Mrs. Robinson stands at the end of it , looking at Ben .</scene_description> <character>MRS. ROBINSON</character> <parenthetical>( calmly . )</parenthetical> <dialogue>Goodbye, Benjamin.</dialogue> <scene_description>SHOT - BENJAMIN He looks at her in horror . He starts to back down the hall toward the stairs , holding the package against his chest .</scene_description> </scene> <scene> <stage_direction>INT. SPECIAL SET - ROBINSON HALL - DAY - SHOT - PULLING BACK FROM MRS. ROBINSON</stage_direction> <scene_description>She is standing there , perfectly calm . She gets further and further away as though it is a very long hall in a very bad dream . FADE OUT FADE IN</scene_description> </scene> <scene> <stage_direction>INT. BEN'S ROOM - NIGHT</stage_direction> <scene_description>Ben sits cross - legged on his bed in the dark , his back against the fishtank , smoking .</scene_description> </scene> <scene> <stage_direction>EXT. ROBINSON HOUSE - DAY</stage_direction> <scene_description>Ben drives by in his car . He looks at the house .</scene_description> </scene> <scene> <stage_direction>INT. BEN'S ROOM - DAY</stage_direction> <scene_description>Ben dressed differently , stands by the window overlooking the backyard . Over his shoulder , we can see Mr. Braddock down by the pool , dressed in a sweater , cleaning the pool with a long - handled scoop . Mr. Braddock looks up at Ben 's window . Ben moves aside .</scene_description> </scene> <scene> <stage_direction>EXT. ROBINSON HOUSE - DAY</stage_direction> <scene_description>Ben is standing behind a tree watching the Robinson house . In the driveway of the Robinson house , Elaine is getting into the Robinson car . Mr. Robinson is putting Elaine 's luggage into the car . Mrs. Robinson stands at the door . Mr. Robinson gets into the car and starts it . The car drives down the driveway and down the street .</scene_description> </scene> <scene> <stage_direction>INT. BEN'S ROOM - NIGHT</stage_direction> <scene_description>Ben , dressed differently again , sits in a chair by his desk . He is writing . On the piece of paper is written : DEAR ELAINE , ELAINE , ELAINE , ELAINE , and her name several dozen times . He stops and looks up .</scene_description> </scene> <scene> <stage_direction>INT. BRADDOCK KITCHEN - DAY</stage_direction> <scene_description>It is early morning . We see a swinging door pushed open to reveal : Mr. Braddock , dressed in a bathrobe , standing at the kitchen counter by the window through which we can see an orange tree . Mr. Braddock is pouring orange juice from a MINUTE MAID container . Ben stands inside door .</scene_description> <character>MR. BRADDOCK</character> <dialogue>Say that again.</dialogue> <character>BEN</character> <dialogue>I'm going to marry Elaine Robinson.</dialogue> <scene_description>MR. BRADDOCK STARTS TO SMILE .</scene_description> <character>MR. BRADDOCK</character> <dialogue>Well - well - well -</dialogue> <scene_description>He almost giggles as he crosses to Ben and takes his hand to shake it . Mrs. Braddock appears in the doorway . Ben is shaking his father 's hand .</scene_description> <character>MRS. BRADDOCK</character> <dialogue>What's happening?</dialogue> <character>MR. BRADDOCK</character> <dialogue>Ben says he and Elaine are getting married.</dialogue> <character>MRS. BRADDOCK</character> <dialogue>I do n't believe it.</dialogue> <character>MR. BRADDOCK</character> <dialogue>That what he says. Right?</dialogue> <character>BEN</character> <dialogue>I'm going up to Berkeley today.</dialogue> <character>MRS. BRADDOCK</character> <dialogue>Oh, Ben - this is so - exciting -</dialogue> <character>MR. BRADDOCK</character> <dialogue>Come on, let's call the Robinsons. We've got something to celebrate.</dialogue> <character>BEN</character> <dialogue>No. I think you'll want to wait on that.</dialogue> <character>MRS. BRADDOCK</character> <dialogue>They do n't know?</dialogue> <character>BEN</character> <dialogue>No - they do n't.</dialogue> <character>MRS. BRADDOCK</character> <dialogue>Well - when did you decide all this?</dialogue> <character>BEN</character> <dialogue>About an hour ago.</dialogue> <character>MR. BRADDOCK</character> <dialogue>Wait a minute. You talked to Elaine this morning?</dialogue> <character>BEN</character> <dialogue>No. She does n't know about it.</dialogue> <character>MR. BRADDOCK</character> <dialogue>She does n't know that you're coming up to Berkeley?</dialogue> <character>BEN</character> <dialogue>No. Actually - she does n't know about us getting married yet.</dialogue> <character>MRS. BRADDOCK</character> <dialogue>When did you two talk this over?</dialogue> <character>BEN</character> <dialogue>We have n't.</dialogue> <character>MR. BRADDOCK</character> <dialogue>Ben - this whole idea sounds pretty half - baked.</dialogue> <character>BEN</character> <dialogue>No - it's not. It's completely baked. It's a decision I've made.</dialogue> <character>MRS. BRADDOCK</character> <dialogue>But what makes you think she wants to marry you?</dialogue> <scene_description>Ben picks up his suitcase , walks to the door and turns .</scene_description> <character>BEN</character> <dialogue>She does n't. To be perfectly honest, she does n't like me.</dialogue> </scene> <scene> <stage_direction>EXT. ROAD NO 1 TO BERKELEY - DAY</stage_direction> <scene_description>Ben driving his car -LRB- left to right -RRB-</scene_description> <character>BEN'S VOICE</character> <parenthetical>( over . )</parenthetical> <dialogue>Dear Elaine - I am now visiting Berkeley, after growing somewhat weary of family life. I have been meaning to stop by and pay my respects but am not entirely certain just how you feel about seeing me after the incident involving myself and your mother. It was certainly a serious mistake on my part but not serious enough. I hope -</dialogue> <scene_description>The last part runs down like a record on an old gramaphone .</scene_description> </scene> <scene> <stage_direction>EXT. ROAD NO. 2 - TO BERKELEY - DAY</stage_direction> <scene_description>Ben driving his car -LRB- left to right -RRB-</scene_description> <character>BEN'S VOICE</character> <parenthetical>( over . )</parenthetical> <dialogue>Mr. and Mrs. G. L. Robinson take great pleasure in announcing the wedding of their daughter.</dialogue> <scene_description>It runs down .</scene_description> </scene> <scene> <stage_direction>EXT. GAS STATION - DAY</stage_direction> <scene_description>Ben 's car is being gassed up . It is a huge gas station with dozens of pumps and many neon lights . Ben runs to a series of vending machines . He pushes quarters into them , receiving cigarettes , a sandwich , an apple , a cup of coffee . Balancing them all carefully , he runs back to the car , climbs in , puts his purchases on top of the dashboard , hands the attendant a bill and drives off .</scene_description> </scene> <scene> <stage_direction>EXT. ROAD NO. 3 TO BERKELEY - DAY</stage_direction> <scene_description>Ben driving -LRB- left to right -RRB- and eating .</scene_description> <character>BEN'S VOICE</character> <parenthetical>( over . )</parenthetical> <dialogue>Honey - I'm home.</dialogue> <character>ELAINE'S VOICE</character> <parenthetical>( over . )</parenthetical> <dialogue>Hi - Sweetheart.</dialogue> <character>BEN'S VOICE</character> <parenthetical>( over . )</parenthetical> <dialogue>Where are the kids?</dialogue> <character>ELAINE'S VOICE</character> <parenthetical>( over . )</parenthetical> <dialogue>Oh, they're having a wonderful time - spending the day at Mother's - she's teaching them to.</dialogue> <scene_description>It runs down .</scene_description> </scene> <scene> <stage_direction>EXT. ROAD NO. 4 TO BERKELEY - DAY</stage_direction> <scene_description>Ben driving -LRB- left to right -RRB-</scene_description> <character>BEN'S VOICE</character> <parenthetical>( over . )</parenthetical> <dialogue>Dear Mom and Dad. You may have wondered why Elaine and I have n't written in such a long time, but the postal sytem here in Greenland is n't the most efficient. Life among these wonderful natives.</dialogue> <scene_description>It runs down .</scene_description> </scene> <scene> <stage_direction>EXT. ROAD NO. 5 TO BERKELEY - DAY</stage_direction> <scene_description>Ben driving -LRB- left to right -RRB-</scene_description> <character>MAN'S VOICE</character> <parenthetical>( over . )</parenthetical> <dialogue>Do you, Benjamin Braddock take this woman, Mrs. Robinson, for your Mother - in - law, to love, cherish and.</dialogue> <scene_description>It runs down .</scene_description> </scene> <scene> <stage_direction>EXT. TOLL BOOTH ON THE OAKLAND BRIDGE - DAY</stage_direction> <scene_description>Ben barely stops as he hands the change out the window of the low - slung sports car and up to the toll taker .</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND BRIDGE - DAY</stage_direction> <scene_description>Ben driving over bridge -LRB- left to right -RRB-</scene_description> <character>MRS. ROBINSON'S VOICE</character> <parenthetical>( over . )</parenthetical> <dialogue>Benjamin - you and Elaine have made such a wonderful marriage. I often laugh when I remember those nights at the Taft.</dialogue> <character>BEN'S VOICE</character> <parenthetical>( over . )</parenthetical> <dialogue>Yes - how long ago that all seems.</dialogue> <character>MRS. ROBINSON'S VOICE</character> <parenthetical>( over ; chuckling . )</parenthetical> <dialogue>I'll never forget how peeved I was when I first.</dialogue> <scene_description>It runs down . PAN THE CAR past us and HOLD ON it as it disappears in the distance .</scene_description> </scene> <scene> <stage_direction>INT. WENDELL HALL RECEPTION AREA - DUSK</stage_direction> <scene_description>CLOSE ON BEN as he comes through the door . MOVE WITH HIM as he wanders around the the commons room which is filled with STUDENTS . Girls SINGING , couples necking ; a MAN with a heavy knapsack . Ben walks to a LADY RECEPTIONIST NO. 1 , who sits at a reception desk .</scene_description> <character>LADY RECEPTIONIST NO. 1</character> <dialogue>May I help you?</dialogue> <character>BEN</character> <parenthetical>( too loudly . )</parenthetical> <dialogue>Elaine Robinson.</dialogue> <character>LADY RECEPTIONIST NO. 1</character> <dialogue>Yes?</dialogue> <character>BEN</character> <parenthetical>( clearing his throat . )</parenthetical> <dialogue>Elaine Robinson. Does she live here?</dialogue> <scene_description>The Receptionist runs her pencil along a list of names under the glass top of her desk . She finds it .</scene_description> <character>LADY RECEPTIONIST NO. 1</character> <dialogue>Three - oh - eight. Shall I call her for you?</dialogue> <scene_description>The Receptionist 's hand moves to the receiver of a phone on the desk . Ben looks at her hand for several seconds . He takes a step backward . Her hand starts to lift the receiver . Ben moves backward , puts his hand up as though to stop her and shakes his head , speechlessly . SHOT - RECEPTIONIST Looking at Ben . SHOT - BEN Move with him as he moves past the students toward the door .</scene_description> </scene> <scene> <stage_direction>EXT. CAMPUS - DUSK</stage_direction> <scene_description>PAN AROUND CAMPUS in a circle , ending on a CLOSEUP OF BEN , standing in the middle of the deserted campus , looking around , lost .</scene_description> </scene> <scene> <stage_direction>INT. ROOMING HOUSE HALL AND STAIRS - NIGHT - BEN AND</stage_direction> <scene_description>MR. McCLEERY From the bottom of the stairway , shooting up . MR. McCLEERY is the landlord of the rooming house . They are climbing a flight of stairs , Mr. McCleery first , then Ben , carrying his suitcase .</scene_description> <character>MR. McCLEERY</character> <dialogue>You a student?</dialogue> <character>BEN</character> <dialogue>Not exactly.</dialogue> <scene_description>Mr. McCleery stops and turns . Ben almost runs into him .</scene_description> <character>MR. McCLEERY</character> <dialogue>What's that?</dialogue> <character>BEN</character> <dialogue>I said - not exactly - no.</dialogue> <character>MR. McCLEERY</character> <dialogue>What are you then?</dialogue> <character>BEN</character> <dialogue>Well - I'm just sort of traveling through.</dialogue> <scene_description>Mr. McCleery takes a couple of steps up , Ben following and stops again .</scene_description> <character>MR. McCLEERY</character> <dialogue>I like to know who's living in my house. I like to know what my boys are up to.</dialogue> <character>BEN</character> <dialogue>Ahhh.</dialogue> <scene_description>Mr. McCleery just looks up at him .</scene_description> <character>BEN</character> <dialogue>I'm not up too much, actually, I'm just visiting. I mean - I've always wanted to see Berkeley.</dialogue> <scene_description>Mr. McCleery takes a couple more steps and stops again .</scene_description> <character>MR. McCLEERY</character> <dialogue>You're not one of those agitators?</dialogue> <character>BEN</character> <dialogue>What?</dialogue> <character>MR. McCLEERY</character> <dialogue>One of those outside agitators.</dialogue> <character>BEN</character> <dialogue>Oh - no sir.</dialogue> <character>MR. McCLEERY</character> <dialogue>I hate that. I wo n't stand for it.</dialogue> <scene_description>He looks at Ben searchingly , then turns and continues up the stairs and down the hall .</scene_description> </scene> <scene> <stage_direction>INT. ROOMING HOUSE - BEN'S ROOM - NIGHT</stage_direction> <scene_description>PAN THE ROOM in a circle , seeing a sink in one corner , a bed , a bureau , a table , a lamp , a chair , a window that overlooks a Berkeley street - ending in a CLOSEUP OF BEN , standing in the middle of it , looking lost .</scene_description> </scene> <scene> <stage_direction>EXT. WENDELL HALL - QUADRANGLE - DAWN</stage_direction> <scene_description>DAWN . The campus is empty except for Ben who , dressed carefully in his black suit , sits on a bench in the quadrangle outside of Wendell Hall .</scene_description> </scene> <scene> <stage_direction>EXT. WENDELL HALL QUADRANGLE - SERIES OF DISSOLVE (OR CUTS) DAY</stage_direction> <scene_description>During which Ben remains static while the quadrangle and thet area around him fill up with students ; walking , talking , hurrying to class , strolling , sitting , reading , handing out petitions , etc. .</scene_description> </scene> <scene> <stage_direction>EXT. CAMPUS BUILDING - DAY - LONG SHOT</stage_direction> <scene_description>Elaine comes out . She walks , carrying her books , in Ben 's direction . SHOT - ELAINE He sees her and stiffens . SHOT - ELAINE Approaching from the distance . SHOT - BEN He stands . SHOT ELAINE As she walks , she is joined by another GIRL with whom she converses as they walk . SHOT - BEN Watching . He takes a step forward . SHOT - ELAINE AND GIRL As they approach , they are joined by a tall BOY with a beard . SHOT - BEN He starts toward them , falters , straightens himself . SHOT - ELAINE , GIRL , BOY They are getting quite near . Suddenly they are joined by THREE AFRICAN EXCHANGE STUDENTS , in tribal robes . They all greet each other and continue to walk toward us . SHOT - BEN He looks at the massed group moving toward him , horror taking over his face . He starts forward . As he passes Elaine and her friends he seems to take a deep breath and hold it . She stops and slowly turns to look in his direction . Her companions also stop . Ben changes his direction and makes a circle to his left as though he has just changed his mind . He looks at her . He does not stop walking . He makes a slow circle around her as he speaks .</scene_description> <character>BEN</character> <dialogue>Elaine. Hey - what a surprise.</dialogue> <parenthetical>( not quite looking at her . )</parenthetical> <dialogue>Say - I thought I remembered that you were going to school up here - well - we'll have to get together sometime - I'll be up here myself for a little while.</dialogue> <scene_description>SHOT - BEN 'S POV Elaine and the others staring at him . SHOT - BEN</scene_description> <character>BEN</character> <dialogue>- it certainly has been nice - I think I'm late - yes, I am -</dialogue> <scene_description>He turns and walks away from them . They stand still watching them go . He starts to walk faster and faster . They watch him as he gets further and further away and then breaks into a run . He disappears in the distance . SOUND : Footsteps running , a door opening and closing , footsteps running upstairs , a door opening and slamming .</scene_description> </scene> <scene> <stage_direction>INT. ROOMING HOUSE - BEN'S ROOM - DAY</stage_direction> <scene_description>Ben leans with his back against the closed door , breathing heavily .</scene_description> </scene> <scene> <stage_direction>EXT. VARIOUS CAMPUS LOCATIONS - DAY - SERIES OF SHOTS</stage_direction> <scene_description>Ben following and watching Elaine .</scene_description> </scene> <scene> <stage_direction>INT. TELEGRAPH STREET RESTAURANT - DAY</stage_direction> <scene_description>Ben is sitting at a table by the window through which we can see the street . He is drinking a beer . Other tables are filled with students having animated discussions . Ben starts to pour some beer from the bottle into the glass . He stops as he sees something through the window . He leans forward . Elaine comes out of a bookstore across the street . She crosses the street and moves to a bus stop . He stands , fumbles in his pocket for money , puts a dollar on the table and rushes out .</scene_description> </scene> <scene> <stage_direction>EXT. RESTAURANT TELEGRAPH STREET - DAY</stage_direction> <scene_description>Ben comes out of the door just as Elaine gets into a bus and the doors close behind her . The bus starts off . Ben runs after it . The bus gets to the next corner and stops for a red light . Ben catches up with it , runs to the front door and knocks on the door . The door opens and he climbs in .</scene_description> </scene> <scene> <stage_direction>INT. BUS NO. 1 - DAY - SHOT ELAINE</stage_direction> <scene_description>She is seated next to an OLDER LADY by the window immediately in front of the rear exit door . She keeps looking out the window , almost holding her breath as she hears :</scene_description> <character>BEN'S VOICE</character> <parenthetical>( getting closer as he moves past people toward her . )</parenthetical> <dialogue>Excuse me - I'm sorry - I wonder if I could get by - excuse me -</dialogue> <scene_description>There is a pause and then , immediately behind her :</scene_description> <character>BEN'S VOICE</character> <parenthetical>( cheerfully . )</parenthetical> <dialogue>Well - how about this for a coincidence.</dialogue> <scene_description>NEW ANGLE Ben 's face is right behind Elaine , between her and the older lady sitting next to her . Ben is standing on the steps to the rear exit door . Elaine continues to look out the window .</scene_description> <character>BEN</character> <parenthetical>( leaning in a little . )</parenthetical> <dialogue>I was wondering where you were headed.</dialogue> <scene_description>Elaine does n't answer . The lady sitting next to Elaine takes a look at her , turns around and looks at Ben , then looks at Elaine again .</scene_description> <character>ELAINE</character> <dialogue>I'm meeting someone.</dialogue> <character>BEN</character> <dialogue>Ah. Where?</dialogue> <scene_description>She does n't answer .</scene_description> <character>BEN</character> <dialogue>Where are you meeting this person?</dialogue> <character>ELAINE</character> <dialogue>At the Zoo.</dialogue> <character>BEN</character> <dialogue>The Zoo. They have a pretty good one here, do they?</dialogue> <character>ELAINE</character> <dialogue>I've never been to it.</dialogue> <character>BEN</character> <dialogue>Oh. Well, I have n't either. I might just ride out there with you.</dialogue> <scene_description>Hold on them riding .</scene_description> </scene> <scene> <stage_direction>EXT. ZOO - DAY</stage_direction> <scene_description>Ben and Elaine are walking along in front of one of the outside animal cages . Ben is walking a step or two behind Elaine . He is darting glances to the right and left .</scene_description> <character>BEN</character> <dialogue>Is that him over there?</dialogue> <character>ELAINE</character> <dialogue>No.</dialogue> <character>BEN</character> <dialogue>Where did he say he was going to meet you?</dialogue> <character>ELAINE</character> <dialogue>I thought he said by the monkey house.</dialogue> <character>BEN</character> <dialogue>Oh.</dialogue> <scene_description>She stops . Ben stops .</scene_description> <character>ELAINE</character> <dialogue>Benjamin - I would like to know what you're doing here.</dialogue> <character>BEN</character> <dialogue>Here? In Berkelely?</dialogue> <character>ELAINE</character> <dialogue>Yes.</dialogue> <character>BEN</character> <dialogue>Well, I have this very pleasant room on Carter Street - and I've been getting to some classes -</dialogue> <character>ELAINE</character> <dialogue>But you're not enrolled.</dialogue> <character>BEN</character> <dialogue>No. I just sit in. They do n't seem to mind. They've been very congenial about it.</dialogue> <scene_description>She looks at him and starts to shake her head .</scene_description> <character>ELAINE</character> <dialogue>Benjamin - you're - I do n't know what to say - you're -</dialogue> <character>BEN</character> <dialogue>Maybe we could get together some time and talk about it.</dialogue> <character>ELAINE</character> <dialogue>- really incredible -</dialogue> <character>BEN</character> <dialogue>Here he comes.</dialogue> <character>ELAINE</character> <dialogue>What?</dialogue> <character>BEN</character> <dialogue>I've got a real feeling that this is the fellow.</dialogue> <scene_description>Elaine looks . A good - looking young man is striding briskly toward them . It is CARL SMITH .</scene_description> <character>CARL</character> <parenthetical>( waving . )</parenthetical> <dialogue>Elaine!</dialogue> <character>BEN</character> <dialogue>He certainly is a good walker.</dialogue> <scene_description>Carl strides up to them . He takes the pipe out of his mouth and puts it in his pocket . He reaches out and takes Elaine 's hands .</scene_description> <character>CARL</character> <dialogue>Am I late? I'm sorry.</dialogue> <character>BEN</character> <dialogue>We thought you said by the monkey house.</dialogue> <scene_description>Carl frowns and looks up over Elaine 's shoulder at Ben . Ben smiles .</scene_description> <character>ELAINE</character> <dialogue>This is Benjamin Braddock. Carl Smith. Benjamin rode here with me on the bus.</dialogue> <character>CARL</character> <dialogue>Glad to meet you, Ben.</dialogue> <scene_description>Ben steps forward and grasps Carl 's hand .</scene_description> <character>BEN</character> <dialogue>Great meeting you, Carl.</dialogue> <scene_description>Carl steps back and puts an arm around Elaine 's shoulder . The three of them look at each other for a moment .</scene_description> <character>BEN</character> <dialogue>Swell seeing you. Have a good time.</dialogue> <scene_description>Ben turns and starts walking back the way he came . Carl and Elaine turn and go in the opposite direction . Ben stops after a few steps and walks over to one of the cages . He grips the rail with his hand and looks back at : SHOT - CARL AND ELAINE Walking away , his arm over her shoulder , his other hand gesturing with the pipe in it as he talks . SHOT - BEN As he watches them go . His artificial smile disappears . The agony is such that he has to steady himself with his hand on the rail . He turns his face away , toward the cage . There is an animal in it , staring at Ben . They look at each other . There is a box - an automatic device with a recorded desciption of the animal - that begins to deliver its RECORDED MESSAGE .</scene_description> </scene> <scene> <stage_direction>INT. ROOMING HOUSE - BEN'S ROOM - DAY</stage_direction> <scene_description>Ben is standing by the window , looking out .</scene_description> </scene> <scene> <stage_direction>EXT. ROOMING HOUSE - STREET - DAY SHOT - THROUGH THE WINDOW</stage_direction> <scene_description>Elaine is walking up the street toward the rooming house .</scene_description> </scene> <scene> <stage_direction>INT. ROOMING HOUSE - BEN'S ROOM - DAY - SHOT - BEN</stage_direction> <scene_description>He jumps to the other side of the window and peers out carefully .</scene_description> </scene> <scene> <stage_direction>EXT. ROOMING HOUSE - STREET - DAY - SHOT - THROUGH THE WINDOW</stage_direction> <scene_description>Elaine turns in and disappears into the rooming house front door below .</scene_description> </scene> <scene> <stage_direction>INT. ROOMING HOUSE - BEN'S ROOM AND HALLWAY - DAY - SHOT BEN</stage_direction> <scene_description>He runs to the bed and puts the covers back into place . He goes to the window sill , picks up an empty beer can , crosses to the bureau , opens a bureau drawer . He crosses to the wastepaper basket under the sink , bends down and takes a newspaper out of it . He crosses to the chair and sits down . He holds the newspaper in front of him . It is hopelessly crumpled . He gets up , crosses to the bureau , opens a drawer and takes out a traveling iron . He kneels down , puts the newspaper on the floor and tires to straighten it out with the iron . There is a KNOCK on the door . He rises , puts the iron back in the drawer as quietly and quickly as he can , then back to the chair , sits down and holds the newspaper on his lap .</scene_description> <character>BEN</character> <dialogue>Come in.</dialogue> <scene_description>There is another KNOCK . Ben crosses to the door and opens it . Elaine is standing in the hall .</scene_description> <character>ELAINE</character> <dialogue>I want to ask you a question.</dialogue> <character>BEN</character> <dialogue>Come in.</dialogue> <character>ELAINE</character> <dialogue>No. I want to know why you're here in Berkeley?</dialogue> <character>BEN</character> <dialogue>Because - I am.</dialogue> <character>ELAINE</character> <dialogue>Is it because I'm here?</dialogue> <character>BEN</character> <dialogue>What do you think?</dialogue> <character>ELAINE</character> <dialogue>I think it is.</dialogue> <scene_description>Ben nods .</scene_description> <character>ELAINE</character> <dialogue>I said I think it is.</dialogue> <character>BEN</character> <dialogue>All right then! Yes!</dialogue> <character>ELAINE</character> <dialogue>Well, I want you to leave.</dialogue> <character>BEN</character> <dialogue>Elaine - I love you.</dialogue> <character>ELAINE</character> <parenthetical>( looking down . )</parenthetical> <dialogue>How could you do that, Benjamin?</dialogue> <scene_description>Ben moves in behind her and puts his hand on her arm .</scene_description> <character>ELAINE</character> <dialogue>Do you just hate everything? How could you possibly rape my.</dialogue> <character>BEN</character> <dialogue>What?</dialogue> <character>ELAINE</character> <dialogue>I do n't understand -</dialogue> <character>BEN</character> <dialogue>Did you say rape her?</dialogue> <character>ELAINE</character> <dialogue>- how you - how anyone - could do a thing like that.</dialogue> <character>BEN</character> <dialogue>What did she say?</dialogue> <character>ELAINE</character> <parenthetical>( holding his arm . )</parenthetical> <dialogue>Let me go.</dialogue> <character>BEN</character> <dialogue>You've got to tell me what she said.</dialogue> <scene_description>He touches her hair .</scene_description> <character>ELAINE</character> <dialogue>Why?</dialogue> <character>BEN</character> <dialogue>Because it is n't true.</dialogue> <character>ELAINE</character> <dialogue>I do n't feel well.</dialogue> <scene_description>Ben pushes her down softly onto the bed . He kneels along side her .</scene_description> <character>BEN</character> <dialogue>Tell me.</dialogue> <scene_description>Ben sits next to her and puts his hand on her shoulder .</scene_description> <character>ELAINE</character> <dialogue>She said she was having a drink in the hotel with a friend. You waited for her in the parking lot and told her she was too drunk to drive home and that you would get her a room for the night.</dialogue> <character>BEN</character> <dialogue>Then what?</dialogue> <character>ELAINE</character> <dialogue>Then you took her upstairs and you raped her.</dialogue> <character>BEN</character> <dialogue>Elaine - that is not what happened.</dialogue> <scene_description>She puts her hands on his shoulder .</scene_description> <character>ELAINE</character> <dialogue>Please let me go.</dialogue> <character>BEN</character> <dialogue>All right - but listen to me. What happened was there was this party at my parents. I drove your mother home - then we went upstairs to see your portrait -</dialogue> <scene_description>Elaine tightens her arms around his neck .</scene_description> <character>ELAINE</character> <dialogue>Do n't tell me -</dialogue> <character>BEN</character> <dialogue>- and when we got up in the room she starts taking her her clothes off - and -</dialogue> <character>ELAINE</character> <dialogue>Benjamin - this is my mother!</dialogue> <character>BEN</character> <dialogue>- suddenly there she was without any clothes on - I mean really naked -</dialogue> <scene_description>Ben is almost lying on top of her . Elaine screams - a long , loud scream . Ben looks at her . He leaps off the bed and runs to the sink . He fills a glass with water and brings it to Elaine . He starts toward the door . SOUND OF FOOTESTEPS on the stairway and in the hall . Ben goes to the closet , opens the door , takes a jacket from a hanger and puts it on . SOUND : A KNOCK on the door .</scene_description> <character>MR. McCLEERY'S VOICE</character> <dialogue>What's going on in there?</dialogue> <scene_description>Elaine sits up and drinks the water . Ben looks at her then goes to the door and opens it .</scene_description> <character>BEN</character> <dialogue>Oh - hello, Mr. McCleery.</dialogue> <character>MR. McCLEERY</character> <dialogue>Who screamed?</dialogue> <character>BEN</character> <dialogue>It's all right, Mr. McCleery.</dialogue> <character>MR. McCLEERY</character> <dialogue>Screaming is n't all right. Not in my house it is n't.</dialogue> <character>BEN</character> <dialogue>It was just a visitor. But it's all right now.</dialogue> <scene_description>Several BOYS are gathering in the hallway trying to see into the room . Ben edges through the door into the hallway .</scene_description> </scene> <scene> <stage_direction>INT. ROOMING HOUSE HALLWAY - DAY</stage_direction> <character>MR. McCLEERY</character> <dialogue>What did you do to her?</dialogue> <character>BEN</character> <dialogue>Look - she's all right. She's upset and she screamed. But she's okay now.</dialogue> <character>A BOY</character> <dialogue>Shall I get the cops?</dialogue> <character>BEN</character> <dialogue>What?</dialogue> <character>A BOY</character> <dialogue>I'll get the cops.</dialogue> <scene_description>He starts for the stairs .</scene_description> <character>BEN</character> <dialogue>Hey - wait a minute. Now damn it - look.</dialogue> <scene_description>He opens the door a little way . They all try to see in .</scene_description> <character>BEN</character> <dialogue>See - she's just having some water. Now there's no need for the cops or anything.</dialogue> <character>MR. McCLEERY</character> <dialogue>All right, boys - I think you can get back to your rooms. I do n't think we'll have any more of this agitation. Will we, Braddock?</dialogue> <character>BEN</character> <dialogue>No, sir.</dialogue> <scene_description>The boys start back to their rooms . Mr. McCleery and Ben stand and look at each other for a few seconds .</scene_description> <character>MR. McCLEERY</character> <dialogue>I want you out of here.</dialogue> <scene_description>Mr. McCleery turns away and walks down the hall and starts down the stairs .</scene_description> <character>BEN</character> <dialogue>Mr. McCleery?</dialogue> <character>MR. McCLEERY</character> <dialogue>You heard me. Out of here.</dialogue> <character>BEN</character> <dialogue>What for?</dialogue> <character>MR. McCLEERY</character> <parenthetical>( going down the stairs . )</parenthetical> <dialogue>Because I do n't like you.</dialogue> <scene_description>Mr. McCleery disappears down the stairs . Ben turns and goes back into the room .</scene_description> </scene> <scene> <stage_direction>INT. ROOMING HOUSE - BEN'S ROOM - DAY</stage_direction> <scene_description>Elaine is standing at the sink . She is putting water on her face . Ben goes to the closet and takes out his suit - case and carries it to the bed .</scene_description> <character>ELAINE</character> <dialogue>I'm sorry I screamed.</dialogue> <scene_description>Ben opens the suitcase .</scene_description> <character>ELAINE</character> <dialogue>Benjamin, when you came up here, what did you think was going to happen between us?</dialogue> <character>BEN</character> <dialogue>Elaine - right now I do n't feel like talking much. I'm sorry about everything but I think I'll just do this now.</dialogue> <scene_description>He stands , looking into the empty suitcase .</scene_description> <character>ELAINE</character> <dialogue>Can I just sit here while you're packing?</dialogue> <character>BEN</character> <dialogue>If you want.</dialogue> <scene_description>Elaine sits in the chair . She watches him as he goes to the bureau , takes some shirts from a drawer and puts them in the suitcase , then goes back to the bureau . He gets down on his knees and looks under the bureau .</scene_description> <character>ELAINE</character> <dialogue>What are you looking for?</dialogue> <character>BEN</character> <dialogue>My belt.</dialogue> <character>ELAINE</character> <dialogue>Do n't you have it on?</dialogue> <character>BEN</character> <dialogue>No. I have two. The other one is the one I'm looking for.</dialogue> <parenthetical>( he reaches under the bureau . )</parenthetical> <dialogue>What's this?</dialogue> <parenthetical>( he brings out a marble . )</parenthetical> <dialogue>It's from my grandmother.</dialogue> <character>ELAINE</character> <dialogue>The marble?</dialogue> <character>BEN</character> <dialogue>The belt I'm looking for was from my grandmother.</dialogue> <character>ELAINE</character> <dialogue>Oh.</dialogue> <scene_description>Ben takes the marble to the suitcase and packs it .</scene_description> <character>ELAINE</character> <dialogue>What are you going to do now?</dialogue> <character>BEN</character> <dialogue>I do n't know.</dialogue> <scene_description>He goes back to the bureau , gets some socks and underwear and carries them to the suitcase .</scene_description> <character>ELAINE</character> <dialogue>Are you going home?</dialogue> <character>BEN</character> <dialogue>No.</dialogue> <character>ELAINE</character> <dialogue>Well - where are you going?</dialogue> <scene_description>He goes back to the bureau , opens a drawer , takes out some T - shirts and the beer can and carries them to the suitcase .</scene_description> <character>BEN</character> <dialogue>Elaine - you're going to have to stop asking me that.</dialogue> <scene_description>He packs the T - shirts , then carries the beer can back to the bureau and puts it back in the drawer , takes some ties from the drawer and crosses to the suitcase . Elaine gets up , goes to the door and opens it .</scene_description> <character>ELAINE</character> <dialogue>I do n't want you to leave tomorrow.</dialogue> <character>BEN</character> <dialogue>I do n't understand.</dialogue> <character>ELAINE</character> <dialogue>I do n't want you to go anywhere until you have a definite plan.</dialogue> <character>BEN</character> <dialogue>But Elaine -</dialogue> <character>ELAINE</character> <dialogue>Goodbye.</dialogue> <scene_description>She walks out , shutting the door behind her . He crosses to the window . 185A EXT. . ROOMING HOUSE STREET - DAY Past Ben , through the window , we see Elaine walking away . She walks the length of the street and disappears .</scene_description> </scene> <scene> <stage_direction>INT. ROOMING HOUSE - BEN'S ROOM - NIGHT</stage_direction> <scene_description>Ben asleep in his bed . Suddenly he sits up . SHOT - ELAINE Standing in the darkness by the door .</scene_description> <character>BEN</character> <dialogue>What's happening?</dialogue> <scene_description>He gets out of the bed .</scene_description> <character>ELAINE</character> <dialogue>Benjamin?</dialogue> <character>BEN</character> <dialogue>What?</dialogue> <character>ELAINE</character> <parenthetical>( taking a step forward . )</parenthetical> <dialogue>Will you kiss me!</dialogue> <scene_description>He goes to her and they kiss .</scene_description> <character>BEN</character> <dialogue>Will you marry me?</dialogue> <scene_description>She shakes her head .</scene_description> <character>BEN</character> <dialogue>You wo n't?</dialogue> <character>ELAINE</character> <dialogue>I do n't know.</dialogue> <character>BEN</character> <dialogue>But you might.</dialogue> <character>ELAINE</character> <dialogue>I might.</dialogue> <character>BEN</character> <dialogue>Is that so? You might marry me?</dialogue> <character>ELAINE</character> <dialogue>Yes.</dialogue> <character>BEN</character> <dialogue>When?</dialogue> <character>ELAINE</character> <dialogue>I do n't know.</dialogue> <character>BEN</character> <dialogue>How about tomorrow? I do n't mean to be pushy but -</dialogue> <character>ELAINE</character> <dialogue>I do n't know. I do n't know what's happening.</dialogue> <character>BEN</character> <dialogue>You mean you're confused?</dialogue> <scene_description>She nods .</scene_description> <character>BEN</character> <dialogue>Well - look - do n't be confused. We're getting married.</dialogue> <character>ELAINE</character> <dialogue>I do n't see how we can.</dialogue> <character>BEN</character> <dialogue>We just can.</dialogue> <character>ELAINE</character> <dialogue>I have to go back now.</dialogue> <scene_description>She goes to the door .</scene_description> <character>BEN</character> <dialogue>Elaine - are you serious about this?</dialogue> <character>ELAINE</character> <dialogue>I'll think about it.</dialogue> <character>BEN</character> <dialogue>You really will?</dialogue> <character>ELAINE</character> <dialogue>Yes.</dialogue> <scene_description>She opens the door and steps into the hall . He goes to the door .</scene_description> <character>BEN</character> <dialogue>Well - let's get together sometime.</dialogue> <scene_description>He closes the door .</scene_description> <character>BEN</character> <dialogue>Good God!</dialogue> </scene> <scene> <stage_direction>INT. ROOMING HOUSE DOWNSTAIRS HALL - DAY - CLOSEUP OF TELEGRAM</stage_direction> <scene_description>addressed to MR. BENJAMIN BRADDOCK SOUND : FOOTSTEPS descending stairs . Someone WHISTLING . The FOOTSTEPS and WHISTLING get nearer and stop . Hands come in and pick up telegram , open the envelope and unfold , the telegram reads : LEAVE BERKELEY IMMEDIATELY OR SERIOUS , REPEAT , SERIOUS TROUBLE WILL RESULT . MRS. G. L. ROBINSON . PAN UP TO BEN . He crumples the telegram in his hand .</scene_description> </scene> <scene> <stage_direction>EXT. CAMPUS NEAR CLASSROOM BUILDING - DAY</stage_direction> <scene_description>CLOSE UP ONE BEN 'S HAND fiddling with the crumpled telegram . Students are moving quickly from building to building . Ben is walking alongside Elaine .</scene_description> <character>BEN</character> <dialogue>We could go down and get our blood tests tomorrow.</dialogue> <character>ELAINE</character> <dialogue>Tomorrow?</dialogue> <character>BEN</character> <dialogue>Or this afternoon. It's a good day for it.</dialogue> <character>ELAINE</character> <dialogue>Benjamin - I have n't even said I'll marry you yet.</dialogue> <character>BEN</character> <dialogue>We'll need our Birth Certificates. I happen to have mine with me. Where's yours?</dialogue> <scene_description>They move up the steps of a classroom building . Ben pushes through a lot of students to keep up with Elaine .</scene_description> </scene> <scene> <stage_direction>INT. CLASSROOM BUILDING CORRIDOR - DAY</stage_direction> <scene_description>They walk down a corridor . On each side are open doors to classrooms with students filing into each of them .</scene_description> <character>ELAINE</character> <dialogue>I just do n't think it would work.</dialogue> <character>BEN</character> <dialogue>Why would n't it?</dialogue> <scene_description>A bell rings . Elaine turns into one of the doors . Ben is left in the hall . He looks around . All the doors in the classrooms close . He leans against the wall . ANOTHER ANGLE - BEN Standing poised by the door . The bell rings . The classroom doors open and students start to file out . Elaine comes out of the classroom .</scene_description> <character>BEN</character> <dialogue>Why would n't it?</dialogue> <character>ELAINE</character> <dialogue>I just do n't think it would.</dialogue> <scene_description>Elaine starts walking down the corridor towards the exit door . Ben follows her , moving out of the way of the other students .</scene_description> </scene> <scene> <stage_direction>INT. GYMNASIUM - DAY</stage_direction> <scene_description>Elaine and twenty other girls are in basketball uniforms . Two teams of girls are playing basketball . Elaine sits on the bench , watching . Ben stands behind her . The girls are shouting and clapping and jumping up and down .</scene_description> <character>BEN</character> <dialogue>Tomorrow then - can we get our blood tests tomorrow morning?</dialogue> <scene_description>She turns and looks at him .</scene_description> <character>ELAINE</character> <dialogue>Why do n't you just drag me off if you want to marry me so much?</dialogue> <character>BEN</character> <dialogue>Why do n't I just drag you off? All right - I will. Right after we get the blood tests.</dialogue> <character>ELAINE</character> <dialogue>Well - I have to see Carl first.</dialogue> <character>BEN</character> <dialogue>Carl who?</dialogue> <scene_description>Elaine jumps up , applauding a shot .</scene_description> <character>BEN</character> <dialogue>Carl who?</dialogue> <character>ELAINE</character> <dialogue>Carl Smith. He's a medical student. We've known him for years.</dialogue> <character>BEN</character> <dialogue>Who - that guy at the Zoo?</dialogue> <character>ELAINE</character> <dialogue>Yes.</dialogue> <character>BEN</character> <dialogue>Why do you have to see him?</dialogue> <character>ELAINE</character> <dialogue>Well - I said I might marry him.</dialogue> <scene_description>Elaine and several other girls run onto the court as a number of girls run off the court to the bench .</scene_description> <character>BEN</character> <parenthetical>( yelling after her . )</parenthetical> <dialogue>You WHAT?</dialogue> </scene> <scene> <stage_direction>INT. LIBRARY - DAY</stage_direction> <scene_description>Ben is seated across a study table from Elaine . There are many other students scattered around the room .</scene_description> <character>BEN</character> <dialogue>How did he do it? Did he get down on his knees? He did n't get down on his knees, I hope.</dialogue> <character>ELAINE</character> <dialogue>No, Benjamin.</dialogue> <character>BEN</character> <dialogue>Well, what did he say? I'm curious.</dialogue> <character>ELAINE</character> <dialogue>He said he thought we'd make a pretty good team.</dialogue> <character>BEN</character> <dialogue>Oh no. He said that.</dialogue> <character>ELAINE</character> <dialogue>Shhhh.</dialogue> <character>BEN</character> <dialogue>Where did he do it?</dialogue> <scene_description>She starts to get up .</scene_description> <character>BEN</character> <dialogue>I'd like to know where it happened?</dialogue> <scene_description>She starts to move away .</scene_description> <character>BEN</character> <dialogue>It was n't in his car, was it?</dialogue> </scene> <scene> <stage_direction>EXT. WENDELL HALL - DAY</stage_direction> <scene_description>Ben and Elaine are standing at the entrance .</scene_description> <character>BEN</character> <dialogue>Are we getting married tomorrow?</dialogue> <character>ELAINE</character> <dialogue>No.</dialogue> <character>BEN</character> <dialogue>The day after tomorrow?</dialogue> <character>ELAINE</character> <dialogue>Maybe we are and maybe we are n't.</dialogue> <scene_description>She goes through the doorway into Wendell Hall . Ben remains standing in exactly the same positin . After a few moments the door opens and Elaine comes out , steps quickly to Ben , kisses him , then runs back inside . Ben turns and starts away from the door . The door opens again . Ben turns back and takes a step toward the door , smiling expectantly . A tall bearded MAN comes out and goes past Ben . Ben breaks up . 196A EXT. . BERKELEY STRRET - DAY Through the window of a hippy jewelry store we see a sales - woman modeling a ring for Ben . He nods , she takes it off , puts it in a box and gives it to him . He pays for it and exits PAST CAMERA , WHISTLING . 196B INT . ROOMING HOUSE - DOWNSTAIRS - NIGHT Ben enters carrying four oddly shaped boxes and some flowers .</scene_description> </scene> <scene> <stage_direction>INT. ROOMING HOUSE STAIRS AND BEN'S ROOM - NIGHT</stage_direction> <scene_description>Ben is whistling happily as he runs up the stairs two at a time . He opens the door to his room and steps in . The room is dark . The figure of a MAN is silhouetted against the window . Ben freezes just inside the door . There is a long pause .</scene_description> <character>MR. ROBINSON</character> <parenthetical>( clearing his throat . )</parenthetical> <dialogue>Do you want - do you want to try and tell me why you did it?</dialogue> <character>BEN</character> <dialogue>Mr. Robinson?</dialogue> <character>MR. ROBINSON</character> <dialogue>Do you have a special grudge against me? Do you feel a particularly strong resentment for me?</dialogue> <character>BEN</character> <dialogue>No, it's not -</dialogue> <character>MR. ROBINSON</character> <dialogue>Is there something I've said that's caused this contempt? Or is it just the things I stand for that you despise?</dialogue> <character>BEN</character> <dialogue>It was nothing to do with you, sir.</dialogue> <character>MR. ROBINSON</character> <dialogue>Well, Ben, it was quite a bit to do with me.</dialogue> <scene_description>Ben takes a step forward .</scene_description> <character>BEN</character> <dialogue>Now look - please -</dialogue> <character>MR. ROBINSON</character> <dialogue>Ben, I think we're two civilized human beings. Do you think it's necessary to threaten each other?</dialogue> <character>BEN</character> <dialogue>I am not threatening you.</dialogue> <character>MR. ROBINSON</character> <dialogue>Do you want to unclench your fists, please? Thank you. I can see in the dark, you know. I've been here quite a while.</dialogue> <character>BEN</character> <dialogue>I am trying to tell you I have no personal feelings about you, Mr. Robinson. I am trying to tell you I do not resent you.</dialogue> <character>MR. ROBINSON</character> <dialogue>You do n't respect me terribly much either, do you?</dialogue> <character>BEN</character> <dialogue>No, I do n't.</dialogue> <character>MR. ROBINSON</character> <dialogue>Well, I do n't think we have a whole lot to say to each other, Ben. I do think you should know the consequences of what you've done. I do think you should know that my wife and I are getting a divorce soon.</dialogue> <character>BEN</character> <dialogue>But why?</dialogue> <character>MR. ROBINSON</character> <dialogue>Why?</dialogue> <character>BEN</character> <dialogue>It should n't make any difference what happened.</dialogue> <character>MR. ROBINSON</character> <dialogue>That's quite a statement.</dialogue> <character>BEN</character> <dialogue>Listen to me. We got - we got into bed with each other. But it was nothing. It was nothing at all. We might - we might just as well have been shaking hands.</dialogue> <character>MR. ROBINSON</character> <dialogue>Shaking hands. Well, that's not saying much for my wife, is it?</dialogue> <character>BEN</character> <dialogue>You miss the point.</dialogue> <character>MR. ROBINSON</character> <dialogue>Do n't shout at me, Ben.</dialogue> <character>BEN</character> <dialogue>The point is - I do n't love your wife. I love your daughter, sir.</dialogue> <character>MR. ROBINSON</character> <dialogue>Well - I'm sure you think you do, Ben, but after a few times in bed with Elaine I feel quite sure you'd get over that as quickly as you -</dialogue> <character>BEN</character> <dialogue>HUH?</dialogue> <character>MR. ROBINSON</character> <dialogue>I think I've talked about this enough. I do n't know how far I can go, Ben. I do n't know if I can prosecute or not, but I think maybe I can. In the light of what's happened I think maybe I can get you behind bars if you ever look at my daughter again. I have seen Elaine and I have spent the afternoon taking steps to insure.</dialogue> <scene_description>Mr. Robinson climbs across the bed to get to the door . Ben takes a step toward him .</scene_description> <character>MR. ROBINSON</character> <dialogue>Stay away from me, Ben!</dialogue> <scene_description>Mr. Robinson stands at the door .</scene_description> <character>MR. ROBINSON</character> <dialogue>I do n't want to mince words with you. As far as Elaine's concerned you're to get her out of your filthy mind right now. Is that perfectly clear ro you? That's all, Ben. You'll pardon me if I do n't shake hands with you.</dialogue> <scene_description>Mr. Robinson opens the door and starts into the hall .</scene_description> <character>MR. ROBINSON</character> <dialogue>I think you are filth.</dialogue> <scene_description>Mr. Robinson turns back from the hall .</scene_description> <character>MR. ROBINSON</character> <dialogue>I think you are scum.</dialogue> <scene_description>Mr. Robinson starts down the stairs . Mr. McCleery is standing on the stairway , listening .</scene_description> <character>MR. ROBINSON</character> <dialogue>You are a degenerate!</dialogue> <scene_description>Mr. Robinson turns and goes down the stairs , past Mr. McCleery who looks up at Ben . SHOT - BEN He walks to the door , looks out into the hall at Mr. McCleery , then shuts the door . Ben goes to the window and looks out .</scene_description> </scene> <scene> <stage_direction>EXT. ROOMING HOUSE STREET - NIGHT - WHAT HE SEES</stage_direction> <scene_description>On the street below , Mr. Robinson getting into a cab .</scene_description> </scene> <scene> <stage_direction>INT. ROOMING HOUSE - BEN'S ROOM - NIGHT - SHOT - BEN</stage_direction> <scene_description>He runs out of his room .</scene_description> </scene> <scene> <stage_direction>INT. ROOMING HOUSE HALL AND STAIRS - NIGHT</stage_direction> <scene_description>Ben runs down the stairs . Mr. McCleery is standing by the pay phone .</scene_description> <character>BEN</character> <dialogue>Mr. McCleery - do you have some change? I need to use the phone?</dialogue> <character>MR. McCLEERY</character> <dialogue>I want you out of here.</dialogue> <character>BEN</character> <parenthetical>( takes out some money . )</parenthetical> <dialogue>Look - I'll give you ten dollars for a dime - I'll give you twenty - for God's sake, will you let me use that phone?</dialogue> <character>MR. McCLEERY</character> <dialogue>I am going to call the police now.</dialogue> <character>BEN</character> <dialogue>Could I make one phone call first?</dialogue> <character>MR. McCLEERY</character> <dialogue>Get out!</dialogue> <scene_description>Ben stuffs the money back in his pocket and runs down the stairs and out of the building . Through the door we see him run down the street and out of sight .</scene_description> </scene> <scene> <stage_direction>INT. WENDELL HALL - DAY - CLOSEUP - LADY RECEPTIONIST #2</stage_direction> <character>LADY RECEPTIONIST #2</character> <parenthetical>( hanging up phone . )</parenthetical> <dialogue>Elaine Robinson has left the school.</dialogue> <scene_description>CLOSEUP - BEN Ben reacting .</scene_description> <character>LADY RECEPTIONIST #2</character> <dialogue>Her roommate is coming down with a note for you.</dialogue> </scene> <scene> <stage_direction>INT. WENDELL HALL - CORRIDOR - DAY - LONG SHOT</stage_direction> <scene_description>The elvator at the end of the hall opens and a fat GIRL walks toward us with an envelope in her hand . She walks into CAMERA .</scene_description> </scene> <scene> <stage_direction>EXT. ROAD NO. 1 TO LOS ANGELES - DAY</stage_direction> <scene_description>Ben driving his car -LRB- right to left -RRB- SOUND : An ENVELOPE being RIPPED OPEN .</scene_description> <character>ELAINE'S VOICE</character> <parenthetical>( over . )</parenthetical> <dialogue>Dear Benjamin - I promise you some - say I will write a long letter about everything but right now I ca n't thank and all I can say to you is please forgive me because I know what I'm doing is the best thing for you. My father is so upset you've got to understand. I love you, but it would never work out.</dialogue> </scene> <scene> <stage_direction>EXT. STREET NO. 2 - NEAR ROBINSON HOUSE - NIGHT</stage_direction> <scene_description>Ben 's car is parked two blocks from the Robinson house . Ben has just left the car and is making his way to the Robinson backyard .</scene_description> </scene> <scene> <stage_direction>EXT. ROBINSON BACKYARD - NIGHT</stage_direction> <scene_description>Ben climbs a fence into the backyard and moves to the house . He looks up at Elaine 's bedroom window .</scene_description> <character>BEN</character> <parenthetical>( a whispered shout . )</parenthetical> <dialogue>Elaine - Elaine -</dialogue> <scene_description>He picks up a pebble and throws it at the window . ANGLE ON BEN He moves to the back door , takes off his shoes , puts them into his jacket pockets , tries the back door . It opens and he goes in .</scene_description> </scene> <scene> <stage_direction>INT. SUNROOM - NIGHT</stage_direction> <scene_description>There are no lights . Ben moves through the house into the hall and up the stairway .</scene_description> </scene> <scene> <stage_direction>INT. ROBINSON UPSTAIRS HALL - NIGHT</stage_direction> <scene_description>Ben goes to the door of Elaine 's room and looks in . There is a light on in the room and the sound of someone moving around . He goes in .</scene_description> <character>BEN</character> <dialogue>Elaine?</dialogue> </scene> <scene> <stage_direction>INT. ELAINE'S ROOM - NIGHT</stage_direction> <scene_description>As Ben moves further into the room , Mrs. Robinson , carrying some of Elaine 's clothes , comes out of Elaine 's closet and moves past Ben .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Hello, Benjamin.</dialogue> <scene_description>She does not stop , but walks casually past him into the hall .</scene_description> </scene> <scene> <stage_direction>INT. ROBINSON UPSTAIRS HALL AND MRS. ROBINSON'S ROOM NIGHT</stage_direction> <scene_description>Ben follows her through the hall into Mrs. Robinson 's room .</scene_description> <character>BEN</character> <dialogue>Where is she?</dialogue> <scene_description>MRS. ROBINSON 'S ROOM - NIGHT Mrs. Robinson , without stopping , puts Elaine 's clothes down next to a half - packed open suitcase on her bed and moves to a telephone on the night table . She lifts the receiver and dials zero . Ben follows .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Hello. Get me the police, please.</dialogue> <character>BEN</character> <dialogue>Where is Elaine?</dialogue> <character>MRS. ROBINSON</character> <dialogue>I'll be with you in a moment, Benjamin.</dialogue> <parenthetical>( into phone . )</parenthetical> <dialogue>Will you send a police car to twelve hundred Glenview Road. We have a burgler here. Just a second. I'll ask him.</dialogue> <parenthetical>( to Ben . )</parenthetical> <dialogue>Are you armed?</dialogue> <parenthetical>( into phone . )</parenthetical> <dialogue>No - I do n't believe he is. Thank you.</dialogue> <scene_description>She hangs up .</scene_description> <character>BEN</character> <dialogue>What have you done to her?</dialogue> <character>MRS. ROBINSON</character> <dialogue>I think we have everything quite under control now, Benjamin. Would you like a quick drink before you go?</dialogue> <scene_description>She picks up a glass from the night table and takes a drink .</scene_description> <character>BEN</character> <dialogue>You ca n't stop me from seeing her, Mrs. Robinson. I'll find her.</dialogue> <character>MRS. ROBINSON</character> <dialogue>I'm sorry we wo n't be able to invite you to the wedding, Benjamin, but the arrangements have been so rushed -</dialogue> <character>BEN</character> <dialogue>What the hell have you done?</dialogue> <scene_description>SOUND of SEVERAL CARS TURNING INTO DRIVEWAY .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Ahh. I do n't think you'll have time for that drink after all.</dialogue> <character>BEN</character> <dialogue>I'll find her.</dialogue> <character>MRS. ROBINSON</character> <dialogue>I do n't think so.</dialogue> <scene_description>The cars have reached the top of the driveway . SOUND of the SQUEAL of BRAKES and CAR DOORS OPENING .</scene_description> </scene> <scene> <stage_direction>INT. ROBINSON HALLS - NIGHT</stage_direction> <scene_description>Ben dives head first into the hall , scrambles to his feet and runs to the back of the house .</scene_description> </scene> <scene> <stage_direction>EXT. ROBINSON BACKYARD - NIGHT</stage_direction> <scene_description>Ben comes through the back door , runs to the back fence and vaults it . Lights start to go on in the house behind him .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Ben , driving rapidly . He jams on the brakes and stops the car in the middle of the street . Cars , HONKING move around him as he sits , staring ahead .</scene_description> <character>BEN</character> <dialogue>Wedding! God Damn it - wedding!</dialogue> <scene_description>People are YELLING as him from the cars going by .</scene_description> <character>MR. ROBINSON'S VOICE</character> <dialogue>Carl - I think you and Elaine will make a good team.</dialogue> <character>CARL'S VOICE</character> <dialogue>Your father's right, Elaine. You and I will make a darned good team.</dialogue> <scene_description>Ben swings the car around in a U - turn and speeds off in the other direction .</scene_description> </scene> <scene> <stage_direction>EXT. ROAD NO. 6 - TO BERKELEY - NIGHT (BECOMING DAY) SERIES OF SHOTS</stage_direction> <scene_description>Ben driving rapidly -LRB- left to right -RRB- past the landmarks established on the previous drive to Berkeley .</scene_description> <character>WOMAN'S VOICE</character> <dialogue>We have two Carl Smiths. Is it Carl with a `` C'' or a `` K''?</dialogue> <character>BEN'S VOICE</character> <dialogue>I'm afraid I do n't know.</dialogue> <character>WOMAN'S VOICE</character> <dialogue>The Karl Smith with a `` K'' teaches History of Advertising -</dialogue> <character>BEN'S VOICE</character> <dialogue>And the other?</dialogue> <character>WOMAN'S VOICE</character> <dialogue>The one with the `` C'', Carl Smith Junior, is in our medical school. He lives at Gamma Delta Tau.</dialogue> </scene> <scene> <stage_direction>EXT. FRATERNITY HOUSE - DAY</stage_direction> <scene_description>Ben pulls up in front of the Gamma Delta Tau house . He gets out of the car . He is haggard , tired and unshaven . The car is mud - spattered .</scene_description> </scene> <scene> <stage_direction>INT. FRATERNITY HOUSE - HALL AND DINING ROOM - DAY</stage_direction> <scene_description>Ben enters the hall . Through a door can be seen a DOZEN OR SO FRATERNITY BROTHERS seated at a table chowing down . It is breakfast . Ben walks into the dining room .</scene_description> </scene> <scene> <stage_direction>INT. FRATERNITY DINING ROOM - DAY</stage_direction> <scene_description>The fraternity brothers are eating and talking noisily .</scene_description> <character>BEN</character> <dialogue>Say - fellows -</dialogue> <scene_description>They stop eating and turn toward him .</scene_description> <character>BEN</character> <dialogue>Do any of you fellows know where Carl Smith is?</dialogue> <character>FRAT BROTHER #1</character> <dialogue>He took off in the middle of the night to get married.</dialogue> <scene_description>He goes back to his breakfast .</scene_description> <character>FRAT BROTHER #2</character> <dialogue>Proabaly one step ahead of the shotgun.</dialogue> <character>BEN</character> <dialogue>Do you happen to know where he's getting married? I'm supposed to be there.</dialogue> <character>FRAT BROTHER #2</character> <dialogue>Why do n't you ask Carter?</dialogue> <character>BEN</character> <dialogue>Would you happen to know where I might find him?</dialogue> <character>FRAT BROTHER #2</character> <dialogue>He's probably still in the sack. He's always in the sack.</dialogue> <scene_description>They start to laugh .</scene_description> <character>FRAT BROTHER #3</character> <dialogue>Or in the can.</dialogue> <scene_description>They all laugh a great deal . Ben gives a polite smile .</scene_description> </scene> <scene> <stage_direction>INT. FRATERNITY WASHROOM - DAY</stage_direction> <scene_description>A large steam - filled room with a row of FRATERNITY BROTHERS in front of a row of sinks , brushing , combing , shaving , etc. . Ben is standing at the door .</scene_description> <character>MAN AT SINK</character> <dialogue>Hey, Carter - where's the Make Out King getting married?</dialogue> <character>CARTER'S VOICE</character> <parenthetical>( echo sound . )</parenthetical> <dialogue>Santa Barbara.</dialogue> <character>BEN</character> <parenthetical>( calling in the direction of Carter 's voice . )</parenthetical> <dialogue>You do n't happen to know exactly where the Make Out King is getting married, do you? I'm supposed to be there.</dialogue> <character>CARTER'S VOICE</character> <dialogue>I do n't know. Maybe at his old man's home.</dialogue> <character>MAN AT SINK</character> <dialogue>You going to the wedding?</dialogue> <character>BEN</character> <dialogue>Yes.</dialogue> <character>MAN AT SINK</character> <dialogue>Give the bride a message for me. Tell her to act surprised.</dialogue> <scene_description>A great deal of laughter follows this gem .</scene_description> </scene> <scene> <stage_direction>EXT. ROAD NO. 1 TO SANTA BARBARA - DAY</stage_direction> <scene_description>Ben driving -LRB- right to left -RRB- . The laughter from the previous scene can still be heard for a moment . Ben is exhausted - looking . He opens the windows , turns the radio on and rubs his eyes .</scene_description> </scene> <scene> <stage_direction>EXT. VARIOUS ROADS TO SANTA BARBARA - DAY SEQUENCE OF SHOTS</stage_direction> <scene_description>The car , moving speedily -LRB- right to left -RRB- south on the Highway to Santa Barbara .</scene_description> </scene> <scene> <stage_direction>EXT. FREEWAY EXIT AND GAS STATION - DAY</stage_direction> <scene_description>SHOT the CAR leaving the freeway under a SANTA BARBARA sign . The car swings onto an off ramp and down to a street , turns into a gas station and stops near the office . Ben gets out of the car and runs into the office .</scene_description> </scene> <scene> <stage_direction>INT. GAS STATION OFFICE - DAY</stage_direction> <scene_description>The clock on the office wall reads 2:05 . The gas station ATTENDANT is sitting reading a stock car magazine .</scene_description> <character>BEN</character> <dialogue>Do you have a phone?</dialogue> <scene_description>The attendant points . Ben reaches for the phone book hanging under the pay phone . SHOT - BRINGING PHONE BOOK UP INTO FOCUS The front of it says SANTA BARBARA TELEPHONE DIRECTORY . Ben opens it to the S 's . His finger runs down to the Smiths . There is at least a half a page of them . SHOT - THE PAGE Ben 's finger runs up and down and stops at the name : Smith , Carl W. , M.D. SHOT - BEN He inserts a dime and dials . The attendant watches him . SOUND of BUZZING from the phone . It CLICKS open . SHOT - TIGHT ON BEN</scene_description> <character>WOMAN'S VOICE</character> <dialogue>657 - 2036</dialogue> <character>BEN</character> <dialogue>Hello - who is this?</dialogue> <character>WOMAN'S VOICE</character> <dialogue>This is Dr. Smith's answering service.</dialogue> <character>BEN</character> <dialogue>Is the doctor anywhere?</dialogue> <character>WOMAN'S VOICE</character> <dialogue>Well - you see - the doctor is at his son's wedding, but I'm sure it's over by now. He should be checking in any moment -</dialogue> <character>BEN</character> <dialogue>Listen to me. I am Dr. Smith's brother - Reverend Smith - and I am supposed to perform the ceremony. I just got in - from - Portland - and I've forgotten what church - you see?</dialogue> <scene_description>SHOT - THE ATTENDANT The attendant puts down his magazine and stares . SHOT - TIGHT ON BEN</scene_description> <character>WOMAN'S VOICE</character> <dialogue>Oh. Well - I'm not sure - but you might try the First Presbyterian. That's on Allan Street.</dialogue> <character>BEN</character> <dialogue>Thank you.</dialogue> <character>WOMAN'S VOICE</character> <dialogue>I certainly hope you -</dialogue> <scene_description>SHOT - BEN Ben hangs up the phone . He turns to the attendant .</scene_description> <character>BEN</character> <dialogue>Allan Street. Where is it?</dialogue> <character>ATTENDANT</character> <parenthetical>( suspiciously . )</parenthetical> <dialogue>Six blocks up - three blocks over.</dialogue> <scene_description>Ben runs out of the office . The attendant goes to the door .</scene_description> </scene> <scene> <stage_direction>EXT. GAS STATION - DAY - SHOT OF BEN</stage_direction> <scene_description>getting into car . The attendant is in the b.g.</scene_description> <character>ATTENDANT</character> <dialogue>You need any gas, Father?</dialogue> <character>BEN</character> <dialogue>I'm not a priest - I'm a minister.</dialogue> <scene_description>The car drives out of the station .</scene_description> </scene> <scene> <stage_direction>EXT. SANTA BARBARA STRRET - DAY</stage_direction> <scene_description>The car comes toward us through the traffic . It stops in the intersection to make the turn . SHOT - INT . CAR SOUND : THE ENGINE FAILING . Ben looks down . SHOT - THE GAS GAUGE The needle is on `` E '' . SHOT - BEN He pumps the gas pedal . SHOT - THE CAR It makes the turn and rolls to a stop by the curb . SHOT - BEN He jumps out of the car , leaving the door open , and starts to run down the street .</scene_description> </scene> <scene> <stage_direction>EXT. STREET NEAR CHURCH - SHOT - WITH BEN AS HE RUNS</stage_direction> <scene_description>He looks up ahead on the other side of the street .</scene_description> </scene> <scene> <stage_direction>EXT. CHURCH - WHAT HE SEES</stage_direction> <scene_description>The First Presbyterian Church .</scene_description> </scene> <scene> <stage_direction>EXT. STREET IN FRONT OF CHURCH - DAY (2:15 PM) - SHOT OF BEN</stage_direction> <scene_description>Running across the street . He stops for a moment and looks around . There are a number of cars parked in front of the church . Among them is Mrs. Robinson 's car . Ben runs by it and up the steps to the front doors of the church .</scene_description> </scene> <scene> <stage_direction>EXT. CHURCH - DAY - SHOT OF BEN</stage_direction> <scene_description>He pulls at the doors . They are locked . Through the glass doors , we can see to the front of the church where the wedding ceremony is taking place .</scene_description> </scene> <scene> <stage_direction>EXT. SIDE OF CHURCH - DAY - SHOT OF BEN</stage_direction> <scene_description>running around the side of the church . There are glass windows and doors through which , as he runs , we can see the ceremony continuing .</scene_description> </scene> <scene> <stage_direction>EXT. BACK OF CHURCH - DAY</stage_direction> <scene_description>Ben runs , looking for an entrance . He goes all the way around the church and stops at a side door . He opens the door and goes in .</scene_description> </scene> <scene> <stage_direction>INT. CHURCH - BALCONY - DAY</stage_direction> <scene_description>The balcony is between two huge windows , one of which looks out on the lawn outside , the other looks into the interior of the church where the ceremony is taking place . The sun is coming through the window . Ben stops and looks through the inside window . The minister is just closing the book . He says something and Carl and Elaine kiss .</scene_description> <character>BEN</character> <dialogue>Oh, Jesus - God - no -</dialogue> <scene_description>He puts his hands up against the glass and slumps . The minister shakes hands with Carl , then takes Elaine 's hand . The ORGAN music starts to THUNDER .</scene_description> <character>BEN</character> <parenthetical>( straightening . )</parenthetical> <dialogue>No!</dialogue> <scene_description>He moves to the center of the window and begins to POUND on the glass .</scene_description> <character>BEN</character> <dialogue>Elaine - Elaine!</dialogue> <scene_description>Ben 's shadow is thrown across the celebrants . They all turn around and look up at him .</scene_description> </scene> <scene> <stage_direction>INT. CHURCH - DAY - SHOT FROM FRONT OF CHURCH</stage_direction> <scene_description>Ben is like a trapped moth , beating on the window and yelling soundlessly . SHOT - MRS. ROBINSON She looks up at Ben with a small , triumphant smile . SHOT - MR. ROBINSON looking up at Ben . SHOT - CARL looking up at Ben . SHOT - ELAINE looking up at Ben . She moves down the aisle toward him , dazed . SHOT - ALL OF THEM Mr. Robinson , Carl , and Mrs. Robinson are moving toward Elaine . The ORGAN is playing LOUDLY . Ben 's voice can be heard SHOUTING Elaine 's name . The POUNDING on the glass can be heard .</scene_description> <character>CARL</character> <dialogue>Who is that guy? What's he doing?</dialogue> <character>MR. ROBINSON</character> <dialogue>I'll take care of him.</dialogue> <character>MRS. ROBINSON</character> <dialogue>He's too late.</dialogue> <scene_description>The other guests are adlibbing their confusion . SHOT - ELAINE She turns back toward her mother , father and Carl as they come toward her . CLOSEUP - ELAINE looking at them . ALL SOUND STOPS , except for Ben 's voice in the distance shouting `` ELAIN ELAINE ELAINE . '' ELAINE 'S POV - CARL Frozen frame . ELAINE 'S POV - MR. ROBINSON Frozen frame . ELAINE 'S POV - MRS. ROBINSON Frozen frame . SHOT - ELAINE Her face turning quickly to look up at Ben . ELAINE 'S POV - BEN Frozen frame . His face twisted with passion , his body spread - eagled against the glass . CLOSEUP - ELAINE looking up at Ben .</scene_description> <character>ELAINE</character> <parenthetical>( screaming . )</parenthetical> <dialogue>Ben!</dialogue> <scene_description>The SOUND of the ORGAN and the guests ' VOICES starts again .</scene_description> </scene> <scene> <stage_direction>INT. CHURCH VESTIBULE - STAIRS - DAY - SHOT - BEN</stage_direction> <scene_description>He starts to go back down the stairs . He reaches the bottom of the stairs and goes through a door which leads into the vestibule of the church .</scene_description> </scene> <scene> <stage_direction>INT. CHURCH VESTIBULE - DAY</stage_direction> <scene_description>Mr. Robinson is waiting for Ben , crouching , his arms spread . Behind him is Elaine . Ben moves toward them . Mr. Robinson grabs Ben around the waist . Ben twists away . Mr. Robinson grabs Ben 's collar and tears his jacket half off . Ben turns and hits Mr. Robinson in the face . Mr. Robinson falls down . Ben moves to Elaine and grabs her hand . He pulls her toward the doors .</scene_description> <character>BEN</character> <dialogue>Come on - do n't faint.</dialogue> <scene_description>SHOT - THE ORGANIST His back to the action , clawing away at the organ obliviously . SHOT - THE DOOR A man in clerical garb is guarding the door . Ben and Elaine move toward the door .</scene_description> <character>BEN</character> <dialogue>Out of my way!</dialogue> <scene_description>Carl steps in and grabs Ben from behind . Ben breaks Carl 's hold and picks up a gold cross off a nearby stand . He begins to swing it , advancing toward Carl . Carl backs up toward the other guests . NEW ANGLE Mrs. Robinson steps to Elaine . She reaches out and takes Elaine 's wrist .</scene_description> <character>MRS. ROBINSON</character> <dialogue>Elaine - it's too late.</dialogue> <scene_description>Elaine pulls her hand away .</scene_description> <character>ELAINE</character> <dialogue>Not for me.</dialogue> <scene_description>SHOT BEN He turns toward the man standing in front of the door and raises the cross over his head .</scene_description> <character>BEN</character> <dialogue>MOVE!</dialogue> <scene_description>The man moves away from the door . Elaine steps forward and opens the door . She and Ben go out .</scene_description> </scene> <scene> <stage_direction>EXT. FRONT OF CHURCH - DAY</stage_direction> <scene_description>Ben jams the cross through the handles of the door . He grabs Elaine 's wrist .</scene_description> <character>BEN</character> <dialogue>Run, Elaine, run!</dialogue> <scene_description>They start to run . Elaine trips and falls . Ben helps her up and they continue to run .</scene_description> </scene> <scene> <stage_direction>INT. CHURCH VESTIBULE - DAY</stage_direction> <scene_description>From inside the church vestibule . Through the glass doors , we can see Elaine and Ben running down the street . The wedding party members are tugging furiously at the jammed doors . Mrs. Robinson turns toward us and calmly begins to put on her gloves .</scene_description> </scene> <scene> <stage_direction>EXT. STREET IN FRONT OF CHURCH - DAY</stage_direction> <scene_description>Ben and Elaine running along the sidewalk . Ben holds her hand and is pulling her . She still holds her flowers . They run to a bus that is just closing its doors . SHOT - BEN He bangs on the closed door of the bus . The door opens . Ben climbs the step into the bus and pulls Elaine up after him . The doors close .</scene_description> </scene> <scene> <stage_direction>INT. BUS NO. 2 - DAY - SHOT OF BEN, ELAINE AND DRIVER</stage_direction> <scene_description>Ben holds out a dollar bill .</scene_description> <character>BEN</character> <dialogue>How much?</dialogue> <character>DRIVER</character> <dialogue>Where do you want to go?</dialogue> <character>BEN</character> <dialogue>To the end.</dialogue> <scene_description>The driver takes the bill and gives Ben some change . Ben turns and pulls Elaine along to the back of the bus . He pushes her into one of the seats and sits beside her . Ben looks toward the front of the bus . BEN 'S POV He sees the driver and the passengers , all turned around in their seats and looking back at them . SHOT - BEN</scene_description> <character>BEN</character> <dialogue>Let's go. Let's get this bus moving!</dialogue> <scene_description>SHOT - THE DRIVER He turns and starts the bus . SHOT - BEN AND ELAINE They are breathing heavily .</scene_description> <character>ELAINE</character> <dialogue>Benjamin?</dialogue> <character>BEN</character> <dialogue>What?</dialogue> <scene_description>She takes his hand .</scene_description> </scene> <scene> <stage_direction>EXT. STREET IN FRONT OF CHURCH - DAY</stage_direction> <scene_description>Through the window in the back of the bus the church can be seen receding in the distance . There seem to be a number of men dressed in black running around in the street in front of it . FADE OUT THE END</scene_description> </scene> </script>

In 1967, Benjamin Braddock, aged 20, has earned his bachelor's degree from a college on the East Coast and has returned home to a party celebrating his graduation at his parents' house in Pasadena (suburban Los Angeles). Benjamin has no idea of what to do with his life and is visibly uncomfortable as his parents deliver accolades and neighborhood friends ask him about his plans. He begins evading those who try to congratulate him. Mrs. Robinson, the wife of his father's law partner, insists that he drive her home. Benjamin is coerced inside to have a drink and Mrs. Robinson attempts to seduce him. She invites him up to her daughter Elaine's room to see Elaine's portrait and then enters the room naked, making it clear that she is available to him. Benjamin initially rebuffs her but a few days later, he clumsily organizes a tryst at the Taft Hotel, where he registers under the false name Gladstone. Benjamin spends the remainder of the summer drifting around in the pool by day, deliberately neglecting to select a graduate school, and seeing Mrs. Robinson at the hotel by night. He discovers that he and Mrs. Robinson have nothing to talk about. However, after Benjamin pesters her one evening, Mrs. Robinson reveals that she entered into a loveless marriage when she accidentally became pregnant with Elaine. Both Mr. Robinson and Benjamin's parents encourage him to call Elaine, but, in private, Mrs. Robinson forbids it. Benjamin decides to take Elaine on a date but sabotage it: he ignores her, drives recklessly, and takes her to a strip club. After she runs out of the club in tears, he has a change of heart, apologizes for his rudeness, and discovers that Elaine is someone he is comfortable with. In search of a late-night drink they visit the Taft Hotel, but when the staff greet Benjamin as "Mr. Gladstone", Elaine correctly guesses that he has been having an affair with a married woman. She accepts his assurances that the affair is now over, but a furious Mrs. Robinson, threatens to tell Elaine her version of their affair. To preempt this, Benjamin tries to tell Elaine that the married woman was her mother. Elaine is distraught and returns to school at Berkeley. Benjamin pursues her there and tries to talk to her. She reveals that her mother's story is that he raped her while she was drunk, and she refuses to believe that her mother actually seduced Benjamin. After pestering her for several days to marry him, Benjamin begins to make inroads with Elaine. However, Mr. Robinson arrives at Berkeley after learning about the affair, confronts Benjamin at his rooming house, and threatens to put him behind bars if Benjamin sees his daughter again. Mr. Robinson then forces Elaine to drop out of college and takes her away to marry Carl, a classmate with whom she briefly had been involved. Returning to Pasadena in search of Elaine, Benjamin breaks into the Robinson home but encounters Mrs. Robinson. She tells him he will not be able to stop the wedding with Carl and then calls the police, claiming that her house is being burglarized. Benjamin visits Carl's fraternity brothers who tell him that the wedding is in Santa Barbara that very morning. He rushes to the church and arrives just as Elaine is married, witnessing the kiss. He bangs on the glass at the back of the church and screams "Elaine!" repeatedly. After hesitating, Elaine screams "Ben!" and looks at him plaintively. He rushes toward her, and a brawl ensues as guests try to stop the two from leaving together. Elaine manages to break free from her mother, who then slaps her. Benjamin manages to keep the guests at bay by picking up a large cross and wielding it, then jamming the church doors shut with it. Both he and Elaine then run into the street to flag down a passing bus and take the back seat, elated at their victory. However, as they settle into their seats, their faces turn to solemn melancholy.

The Grudge_2020

tt3612126

<script> <scene> <scene_description>THE GRUDGE Written by Nicolas Pesce Inspired by the film "Ju-On" by Takashi Shimizu</scene_description> </scene> <scene> <stage_direction>INT. NURSING HOME- DAY</stage_direction> <scene_description>Nurses, doctors and orderlies bounce about the bright halls of the nursing home amidst the morning bustle. Patients on foot and in wheelchairs emerge from their rooms greeting the morning with smiles on their faces. We follow FAITH MATHESON(70) as she wheels herself down the hall in her wheelchair. An orderly greets her as he passes.</scene_description> <character>ORDERLY</character> <dialogue>Mornin' Mrs. Matheson.</dialogue> <scene_description>The old woman nods and continues down the hallway past the nurses station.</scene_description> <character>NURSE</character> <dialogue>How ya doin' Mrs. Matheson?</dialogue> <scene_description>Again she nods, smiling blankly as she continues on down the sunlit hallway. A doctor peels out of a patient's room and into the hall.</scene_description> <character>DOCTOR</character> <dialogue>Mrs. Matheson! You're out and about awfully early. Heading out for a walk'?</dialogue> <character>FAITH</character> <dialogue>Mhmm.</dialogue> <scene_description>She wheels her chair past the elevator bank and at the end of the hallway she turns the corner. At the top of the steep staircase, she stops and waits. She peers down the steps. They seem to go on forever. And just then, she wheels herself down the staircase. Tumbling violently down six flights of stairs. Her body breaking and smashing under the weight of the chair and the force of her body hitting each step. At the bottom of the stairwell, she lays broken under her mangled wheelchair. From above, nurses pour into the stairwell screaming.</scene_description> <character>NURSE ( 0. S . )</character> <dialogue>Oh my god! Oh my god!</dialogue> <scene_description>Feet shuffle overhead in a panic. CUT TO BLACK.: (Titles play over black.) WHEN SOMEONE DIES IN THE GRIP OF A POWERFUL RAGE ... A CURSE IS BORN. THE CURSE GATHERS IN THE PLACE OF DEATH. THOSE WHO ENCOUNTER IT WILL BE CONSUMEDBY ITS FURY. FADE OUT.: TITLE CARD: THE GRUDGE CUT TO: OPENING CREDITS: A barrage of horror. A morbid take on the To Kill a Mockingbird credits. An abstract collage of images, extreme close ups, in and out of focus. Crime scene photos from all over America, all different decades. But all suburban homes. Families face down on basement floors. Cops in bloody rooms. Child-sized bodies in child-sized body bags. Blood splattered living rooms. Blood soiled bed sheets. An artful but horrific depiction of the viscera of crime scene details. Mashed together into some nightmarish sort of montage. CUT TO: TITLE CARD: "PETER &amp; NINA"</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM- DAY</stage_direction> <scene_description>NINA SPENCER (40), five months pregnant, lays in a hospital gown on the exam table. Her husband PETER SPENCER (42), stands by her side holding her hand. Bags under his eyes, he looks like he hasn't slept in weeks. But there's an anxious look on both of their faces. A nurse rubs iodine over Nina's pregnant belly while another nurse preps large needles in the background. The nurse rubbing iodine takes a large needle from the other nurse and turns to Nina with a smile.</scene_description> <character>NURSE</character> <dialogue>Don't worry. Amnios are pretty routine for women your age.</dialogue> <scene_description>Nina puts on a bashful smile, stung by the comment. The nurse in the background rubs gel onto the sonogram wand and holds it to Nina's belly. A grainy black and white image appears on the screen beside the exam table.</scene_description> <character>NURSE</character> <dialogue>This is the poke. Put your elbows down at your side.</dialogue> <scene_description>The nurse slowly lowers the large needle into Nina's womb.</scene_description> <character>NURSE</character> <dialogue>That's the needle, does it hurt?</dialogue> <scene_description>Nina shakes her head.</scene_description> <character>NINA</character> <dialogue>No.</dialogue> <character>NURSE</character> <dialogue>This is where you're gonna feel a cramp.</dialogue> <scene_description>Nina clamps down hard on Peter's hand. On the screen, the shiny gleaming needle pokes through the amniotic sac with a bounce. Nina winces in pain.</scene_description> <character>NURSE</character> <dialogue>That's it.</dialogue> <scene_description>The shining tip of the needle lowers closer and closer to the black mass in the center of the screen. There's an odd tension in the otherwise clinical moment as the needle approaches closer and closer to the baby inside.</scene_description> <character>NURSE</character> <dialogue>Do you see it? That's your baby.</dialogue> <scene_description>The nurse looks to the couple with a smile. Peter, grinning from ear to ear, can't take his eyes off the screen. But Nina doesn't look, she doesn't even turn her head. Tears well in her eyes and Peter sees something's wrong.</scene_description> <character>PETER</character> <dialogue>How ya doin'?</dialogue> <scene_description>She wipes away the tears.</scene_description> <character>NINA</character> <dialogue>I'm okay.</dialogue> <scene_description>She turns to the screen and puts on a fake smile.</scene_description> <character>NURSE</character> <dialogue>Almost done.</dialogue> <scene_description>The nurse screws a syringe onto the needle emerging from Nina's belly and pulls the plunger back. The syringe fills with a yellowish liquid.</scene_description> <character>NURSE</character> <dialogue>Do you know the gender?</dialogue> <scene_description>Nina's quick to respond.</scene_description> <character>NINA</character> <dialogue>No.</dialogue> <scene_description>Peter looks at her and she smiles.</scene_description> <character>NINA</character> <dialogue>We want to be surprised.</dialogue> <scene_description>But there's dishonesty in her voice.</scene_description> </scene> <scene> <stage_direction>INT. DOCTOR'S OFFICE - DAY</stage_direction> <scene_description>Peter and Nina sit across the desk from DR. MAHER.</scene_description> <character>DR. MAHER</character> <dialogue>Like I told you from the start, there's always a high risk of birth defect for women your age.</dialogue> <scene_description>The couple's expressions are blank stares of understanding.</scene_description> <character>NINA</character> <dialogue>And you found something?</dialogue> <scene_description>The doctor is matter of fact but sympathetic.</scene_description> <character>DR. MAHER</character> <dialogue>We spotted a chromosomal abnormality.</dialogue> <scene_description>It's quiet for a moment.</scene_description> <character>DR. MAHER</character> <dialogue>The likelihood that you're child will be born with ALD is high.</dialogue> <scene_description>Nina's stomach drops.</scene_description> <character>DR. MAHER</character> <dialogue>I know we've previously discussed various possibilities, but if you have any questions now, please don't hesitate to ask.</dialogue> <character>PETER</character> <dialogue>So what does this mean ... in terms of time?</dialogue> <scene_description>A glassy, far off look in his eyes.</scene_description> <character>DR. MAHER</character> <dialogue>You'll have a healthy child for four to five years.</dialogue> <character>NINA</character> <dialogue>And then what about after that?</dialogue> <character>DR. MAHER</character> <dialogue>Best case? Your child will live another two to five years. Life beyond the age of ten is unlikely. And the older they get, the worse they respond to the treatment.</dialogue> <scene_description>The revelation is devastating.</scene_description> <character>DR. MAHER</character> <dialogue>I can put you in touch with some other families. It helps to hear from other parents about the realities of this.</dialogue> <scene_description>After a moment, Peter looks up. Hope, dim in his eyes.</scene_description> <character>PETER</character> <dialogue>But there's still a chance? That our baby will be healthy?</dialogue> </scene> <scene> <stage_direction>INT. PETER'S CAR - DAY</stage_direction> <scene_description>Peter driving, Nina in the passenger seat beside him. They drive along a small suburban highway as it rains. The yellow lines speed by on the wet pavement. A silent tension cuts through the car. Nina stares blankly out the window. But Peter has a look in his eye like he's about to explode. After a while he can't take it anymore.</scene_description> <character>PETER</character> <dialogue>You don't want to do this, do you?</dialogue> <scene_description>She doesn't respond. She just keeps staring out the window.</scene_description> <character>PETER</character> <dialogue>You have to say something.</dialogue> <character>NINA</character> <dialogue>I don't know. I don't think I can handle this.</dialogue> <character>PETER</character> <dialogue>No one's prepared to handle something like this. But you figure it out.</dialogue> <character>NINA</character> <dialogue>I just wrapped my head around being a parent. But I didn't sign up for this.</dialogue> <scene_description>She can tell it breaks his heart. It's quiet again. The rain beats down on the windshield. Peter stares at the windshield wipers as they sway steadily back and forth. Finally, he breaks the silence.</scene_description> <character>PETER</character> <dialogue>Let's stop at the Landers'.</dialogue> <scene_description>Nina doesn't respond, her mind somewhere else.</scene_description> <character>PETER</character> <dialogue>I want to drop off the papers on our way home.</dialogue> </scene> <scene> <stage_direction>INT. PETER'S CAR - DAY</stage_direction> <scene_description>Heavy rain beats down on the manicured lawns. The wind whistles through the trees. The signpost on the corner reads: "REYBURN DRIVE". Peter and Nina pull up to a driveway at the end of the cul-de-sac and park on the street. At the top of the driveway is a two-story mid-century modern ranch. A "FOR SALE" sign planted in the front lawn. House number 44. This is the LANDERS' HOUSE.</scene_description> <character>PETER</character> <dialogue>I'll be quick.</dialogue> <scene_description>Peter gets out of the car. Nina watches as he walks towards the house.</scene_description> </scene> <scene> <stage_direction>EXT. THE LANDERSHOUSE - DAY</stage_direction> <scene_description>Peter walks up the driveway, passing the FOR SALE sign mounted on the front lawn. The sign sports a cheesy, smiling photo of Peter and Nina, before the pregnancy, and the words "SPENCER REALTY". The rain has started to come down harder, a dark cloud now casting ominous shadows overhead. Peter gets to the front door and knocks. Nothing. He waits a few moments and knocks again. Still nothing. He reaches into his pocket and takes out his phone. He dials a number and holds the cell phone to his ear. The land line inside the house starts ringing. Peter looks into the windows. The house is empty and dark. No sign of anyone. The phone just keeps ringing as he stares into the seemingly empty house. The call goes to voicemail and he hangs up the phone. He looks down to the real estate issued lock box hanging from the doorknob. He punches in the code and retrieves the key from inside. He unlocks the door, and pushes it open. He sets one foot inside, and leans in.</scene_description> <character>PETER</character> <dialogue>Hello? Anybody home?</dialogue> </scene> <scene> <stage_direction>INT. PETER'S CAR - DAY</stage_direction> <scene_description>From afar, Nina watches her husband. There's something captivating about the house, transfixing. She turns back to the street in front of her. Her eyes watching the rain beat down. The sound of the rain is hypnotic. Her mind is somewhere else. KNOCKKNOCKKNOCK Startled, she flinches. It's Peter, knocking on the window, motioning for her to unlock the door. She breathes a sigh of relief. She unlocks the door and he gets in.</scene_description> <character>PETER</character> <dialogue>No one's home.</dialogue> <scene_description>Wet, tired, and annoyed, Peter starts the car.</scene_description> <character>PETER</character> <dialogue>I'll try again in the morning.</dialogue> <scene_description>After a beat:</scene_description> <character>NINA</character> <dialogue>You think something happened?</dialogue> <character>PETER</character> <dialogue>Like what?</dialogue> <character>NINA</character> <dialogue>I don't know. Doesn't he seem a little off?</dialogue> <character>PETER</character> <dialogue>The husband?</dialogue> <character>NINA</character> <dialogue>Yeah. Like too nice, or something.</dialogue> <scene_description>Peter shakes his head.</scene_description> <character>PETER</character> <dialogue>I think he's painfully normal.</dialogue> <scene_description>They drive away. The house sits there, watching, waiting,</scene_description> </scene> <scene> <stage_direction>INT. THE SPENCER HOME(KITCHEN) - NIGHT</stage_direction> <scene_description>Peter and Nina sit at the kitchen table eating dinner. They eat in silence not looking up from their meals. It's terribly tense. Finally, Peter breaks the silence.</scene_description> <character>PETER</character> <dialogue>Can we talk about this? I can't just sit here in silence like this and pretend like nothing's wrong.</dialogue> <character>NINA</character> <dialogue>I don't know what you want me to say.</dialogue> <character>PETER</character> <dialogue>I want you to tell me what's going on. Talk to me. I'm nervous too. I haven't had a good night sleep in weeks. And not knowing what's going on with you is making this all so much harder.</dialogue> <scene_description>Her eyes downcast, she sighs. After a moment Nina responds.</scene_description> <character>NINA</character> <dialogue>I didn't want to have this baby in the first place. But ... you so badly did.</dialogue> <scene_description>It's hard to choke out the words. They send a bullet through Peter.</scene_description> <character>NINA</character> <dialogue>I just love you so much. I wanted to do it for you.</dialogue> <character>PETER</character> <dialogue>Don't put this on me.</dialogue> <character>NINA</character> <dialogue>I really thought ... I thought I'd feel differently once I was pregnant. And I started to. But this ••.</dialogue> <scene_description>She looks at her husband across the table, he's destroyed. She can see the sadness in his eyes.</scene_description> <character>NINA</character> <dialogue>Are you mad?</dialogue> <character>PETER</character> <dialogue>No. I'm not mad.</dialogue> <scene_description>He's quiet.</scene_description> <character>PETER</character> <dialogue>It's just ... we're getting older, and I don't know, I just feel like this is our last chance.</dialogue> <scene_description>She doesn't know what to say.</scene_description> <character>NINA</character> <dialogue>I'm sorry.</dialogue> <character>PETER</character> <dialogue>Don't apologize. Just tell me what you want to do.</dialogue> <scene_description>They sit there in silence.</scene_description> </scene> <scene> <stage_direction>INT. THE SPENCER HOME(BEDROOM)- NIGHT</stage_direction> <scene_description>Unable to sleep, Peter lays awake in bed. His pregnant wife is fast asleep next to him. A bottle of sleeping pills sits on the nightstand beside Peter. He eyes the pills, but he turns away. He lays there, staring at the ceiling, lost in thought. Nina rolls over. Her eyes still closed, half asleep, she groggily mutters to him. -</scene_description> <character>NINA</character> <dialogue>It's so cold. Can you turn up the heat baby?</dialogue> <scene_description>He looks over at her, sound asleep like a baby. As though she never moved at all. He feels like he's losing it. He gets up and goes to the thermostat. It is awfully cold. He turns up the heat and gets back into bed. He lays there. He tries to close his eyes and fall asleep. But suddenly, he hears footsteps. Light gentle footsteps in the hallway outside. He opens his eyes. It's quiet. But then, more footsteps. He waits. Nothing. He sits up and checks on his wife. She's still asleep. And then again, more footsteps. He turns to the door and sits there for a moment waiting. His heart racing. And then the sound of a door opening down the hall. His heart skips a beat. He peels back the sheets and steps out of bed. Slowly, he moves towards the door. He reaches for the doorknob, and gently eases the door open.</scene_description> </scene> <scene> <stage_direction>INT. THE SPENCER HOME (HALLWAY)- NIGHT</stage_direction> <scene_description>Peter peers out from the bedroom. At the other end of the hallway, there's a door pushed open. All the lights in the house are off. Except for the room at the end of the hall. Peter walks down the hallway towards the room. Step by step his heart beats faster. Just then, the sound of a little girl laughing. Coming from inside the room. Oddly mechanical sounding. But it makes Peter stop dead in his tracks. It's quiet in the house. He turns and looks back to the bedroom where his pregnant wife lays sleeping. And then back to the room at the end of the hall. He takes a breath and steps closer to the open door. He stands outside the door and slowly pushes it open.</scene_description> </scene> <scene> <stage_direction>INT. THE SPENCER HOME(NURSERY) - NIGHT</stage_direction> <scene_description>Inside is a baby's nursery. But there's no one in the room. He breathes a sigh of relief. He gazes at all the toys and furniture they've purchased in preparation for the special moment and smiles. Then he notices something. Across the room, there's a doll on the floor. He stares at it for a moment. He walks to the doll and picks it up. He looks down, the doll's porcelain face staring back at him. He squeezes the doll and it emits a mechanical little laugh. The sound he'd just heard out in the hall. He laughs to himself and puts the doll back up on the shelf. He stands in the doorway taking one last look before he goes. A deep sadness comes over him. He turns off the lights and walks out of the room.</scene_description> </scene> <scene> <stage_direction>INT. THE SPENCERHOME(HALLWAY)- NIGHT</stage_direction> <scene_description>Peter heads down the hallway towards the bathroom. But unbeknownst to him, a little girl quietly peels out of the nursery behind him. She crosses the hallway into the shadows and out of sight.</scene_description> </scene> <scene> <stage_direction>INT. THE SPENCERHOME(BATHROOM)- NIGHT</stage_direction> <scene_description>Peter's in the shower. The small tiled bathroom is filled with steam. Anxiety sweeps through him in waves. He lowers his head, breathing deeply. The shower stream beating down on the back of his head, a steady pulsing to the sound. He reaches for the bottle of shampoo and squirts a handful into his palm. He closes his eyes and rubs the shampoo into his hair. A thick, oozing yellow substance bubbles up from the drain, pooling at his feet. He can feel the sticky muck between his toes. He opens his eyes and looks down. But there's nothing there. He closes his eyes and continues to wash his hair. Outside the shower, a mirror is mounted to the wall above the sink. For a moment, through the fogged shower door, through the billows of steam, in the reflection, it seems as though there's a ghostly figure standing behind Peter in the shower. Her arms wrapped around him. His hands reach back as he rinses the lather from his hair. And as he reaches back, he feels the woman behind him. Startled, his eyes shoot open and he gasps as he spins around to see who's in the shower behind him. But there's no one there. He turns off the shower and slides open the Plexiglas door. He takes a towel from the rack and dries himself off. He stands in front of the mirror. His reflection abstracted by the fog. He wipes away the condensation with his hand, clearing his reflection in the mirror. He stands there staring at himself. Alone in the room.</scene_description> </scene> <scene> <stage_direction>INT. THE SPENCER HOME(BEDROOM)- NIGHT</stage_direction> <scene_description>Still unable to sleep, Peter once again lays awake in bed, staring at the ceiling. He turns and eyes the jar of sleeping pills. He thinks. Then reaches over to the nightstand and takes the jar. He shakes one into his hand and then one more. He swallows the pills and lays down. He closes his eyes and tries to fall asleep. The moon shines brightly through the sheer curtains covering the windows. The room is dark, but an odd sound creeps up. At first, it seems as though its just the wind. Or the creaking of the house. But the sound is something else. In the darkest corner across the room, the closet door is pushed open, only ever so slightly. As Peter finally succumbs to the waves of sleep, in his final moments of consciousness, its as if he can feel someone breathing on the back of his neck in the bed next to him. And standing behind the closet door, you can almost make out the shape of a young girl standing in the shadows. One eye peering out. Her form only made out by the moonlight reflecting off her dark hair and the black of her eye.</scene_description> </scene> <scene> <stage_direction>INT. THE SPENCER HOME(HALLWAY)- DAY</stage_direction> <scene_description>The next morning, Peter walks out of the bedroom to find his wife standing in the doorway of the nursery peering in. He watches her for a moment before he speaks.</scene_description> <character>PETER</character> <dialogue>Hi.</dialogue> <scene_description>She turns.</scene_description> <character>NINA</character> <dialogue>Hi.</dialogue> <character>PETER</character> <dialogue>How do you feel?</dialogue> <scene_description>She's quiet. She shakes her head.</scene_description> <character>NINA</character> <dialogue>I don't know.</dialogue> <scene_description>He goes to her and puts his arm around her.</scene_description> <character>PETER</character> <dialogue>It'll be okay. We'll figure it out.</dialogue> <scene_description>They stand there together for a moment staring into the nursery. Peter turns to his wife.</scene_description> <character>PETER</character> <dialogue>You want breakfast? Lemme make you something.</dialogue> <scene_description>She turns to him and smiles.</scene_description> <character>NINA</character> <dialogue>You? Cook?</dialogue> <character>PETER</character> <dialogue>What? I'm a good cook.</dialogue> <scene_description>She heads down the stairs, calling back playfully over her shoulder as she goes.</scene_description> <character>NINA</character> <dialogue>So you're just gonna burn the place down? Is that how we're gonna deal with this?</dialogue> <scene_description>He laughs.</scene_description> <character>PETER</character> <dialogue>Arson's not my thing. I'm too much of a wimp for all the flames.</dialogue> </scene> <scene> <stage_direction>EXT. THE LANDERSHOUSE - DAY</stage_direction> <scene_description>Peter pulls up in front of the Landers house. That odd, mid- century modern home on the cul-de-sac. House number 44. Rain beats down under the dark clouds overhead.</scene_description> </scene> <scene> <stage_direction>INT. PETER'S CAR - DAY</stage_direction> <scene_description>As he approaches the house, the car radio, playing the news, suddenly cuts to choppy static. For a moment, there's a strange wheezing sound that emerges. But he puts the car in park, shuts the engine, and rushes out into the rain.</scene_description> </scene> <scene> <stage_direction>EXT. THE LANDERSHOUSE - DAY</stage_direction> <scene_description>He hurries up the long driveway, holding his bag over his head to shield him from the rain. But as he approaches the front door, he has a strange feeling. An odd sound pokes through the whistle of the wind. That same wheeze. He rings the doorbell. No answer. He rings again. But the house remains silent. He knocks on the door.</scene_description> <character>PETER</character> <dialogue>Hello?</dialogue> <scene_description>He waits. Nothing. He tries again.</scene_description> <character>PETER</character> <dialogue>Hello?</dialogue> <scene_description>Still nothing. He sighs. He takes out his phone and dials the number. The phone just rings and rings inside the house. He hangs up the phone and knocks one more time.</scene_description> <character>PETER</character> <dialogue>Hello?</dialogue> <scene_description>The wind flaps the papers of the contract in his hands. He peers into the window beside the door. The house looks empty. He takes a step back and thinks for a moment. He turns the doorknob. It's still unlocked. He opens the door and leans into the entryway of the house.</scene_description> <character>PETER</character> <dialogue>Hello? Hello?</dialogue> <scene_description>No one seems to be home. He leans back out and closes the door. He realizes there's something strange about stepping into someone else's dark house. He looks around to see if anyone's been watching. Across the street is an older woman in a bathrobe and curlers standing at the end of her driveway. A cigarette in one hand, today's newspaper in the other. Who knows how long she's been standing there. Peter smiles and waves awkwardly. But the woman just stares back at him with a blank, skeptical look. She takes a drag from her cigarette and heads back up her driveway. Peter turns back to the house. Just as he does, out of the corner of his eye, its as though the side gate creeps open on its own. He stares at it for a moment. He looks around to make sure no ones watching, and then walks through the gate to the side of the house. There, in the small garden, various everyday items are scattered violently about. A lamp shade, chairs and a table, broken vases and dishes, a scattered fish tank, a broken cooler, smashed flower pots, books and photo albums and garbage bags and groceries. The mess looks fresh. Flies buzzing all around. The stench of the rotting food is horrific. Peter recoils.</scene_description> <character>PETER</character> <dialogue>Oh god.</dialogue> <scene_description>Looking around the garden, he notices a small mound of dirt in the corner. It looks new, like it's been made in the last few days. He continues toward the back of the garden, taking care not to step on anything. He looks at the mess as he wades through it.</scene_description> <character>PETER</character> <dialogue>Jesus Christ.</dialogue> <scene_description>At his feet is a flower pot that looks like it's been burned. Toppled over, its contents are strewn about the walkway. Amongst the charred remains are two burned plane tickets and books about child psychology, developmental disorders, and autism. He reaches down for one of the books. Just then, he notices something out of the corner of his eye. Staring back at him through the kitchen sliding door, from inside the house is little MELINDALANDERS (6). For a moment he's startled by the sight. But he laughs.</scene_description> <character>PETER</character> <dialogue>You scared me.</dialogue> <scene_description>He walks towards the sliding doors. The little girl just stands there on the other side of the glass. Rocking back and forth, ever so slightly. An odd blank stare across her face. Peter smiles.</scene_description> <character>PETER</character> <dialogue>Are your parents home?</dialogue> <scene_description>Melinda remains silent, looking back at Peter with dim eyes.</scene_description> <character>PETER</character> <dialogue>Can you hear me?</dialogue> <scene_description>Her eyes are unfocused as her rocking slows. It seems as if she isn't looking at Peter, but someone behind him.</scene_description> <character>PETER</character> <dialogue>Hello?</dialogue> <scene_description>The little girl silently steps back, and disappears out through the kitchen door, into the dark shadows of the house.</scene_description> <character>PETER</character> <dialogue>Wait!</dialogue> <scene_description>He hurries back around to the front door. He reaches for the doorknob and opens the door. He calls out cautiously as he enters the house.</scene_description> <character>PETER</character> <dialogue>I'm coming in.</dialogue> </scene> <scene> <stage_direction>INT. THE LANDERS HOUSE - DAY</stage_direction> <scene_description>The instant he steps into the house, he feels something terribly ominous rush through him. He freezes. It feels oddly empty. Oddly quiet. More quiet than it should be. It looks well lived-in. Packed moving boxes are scattered about the rooms. He calls out.</scene_description> <character>PETER</character> <dialogue>Peter Spencer here. I have your papers with me.</dialogue> <scene_description>He waits for a response. But there isn't one.</scene_description> <character>PETER</character> <dialogue>Hello?</dialogue> <scene_description>Still no response. He walks deeper into the house. Slowly he walks down the hallway. The living room is on his right. Inside, he sees Melinda sitting limply on the sofa. She just sits there staring off into space. Rocking back and forth.</scene_description> <character>PETER</character> <dialogue>Hey there.</dialogue> <scene_description>The little girl doesn't acknowledge him as he steps into the room.</scene_description> </scene> <scene> <stage_direction>INT. THE LANDERSHOUSE (LIVING ROOM) - DAY</stage_direction> <scene_description>The dark room is rather large. The curtains are closed, blocking the sun.</scene_description> <character>PETER</character> <dialogue>Are your parents home?</dialogue> <scene_description>The girl remains silent. She stares at a point on the wall absentmindedly as she rocks. Bags under her eyes. Band-aids covering large scrapes on her knees and the palms of her hands. Her lips terribly chapped. And there's something deeply unsettling about her stare. Her eyes, dark, almost seem to be swollen. Her eyelids bloated.</scene_description> <character>PETER</character> <dialogue>Are you okay?</dialogue> <scene_description>But Melinda just keeps staring at the wall. Peter sits down on the couch opposite the girl. You can see his readiness for fatherhood in how he interacts with the girl.</scene_description> <character>PETER</character> <dialogue>Where are your parents?</dialogue> <scene_description>Nothing. He looks around at the mess. His eagerness to help the child in need and unbridled patience are qualities marked only by parenthood.</scene_description> <character>PETER</character> <dialogue>Did something happen?</dialogue> <scene_description>Still nothing. The house is so quiet. The silence in the room accumulates like cold air. Peter feels a deep sense of foreboding. He stands and takes his phone from his pocket, unable to sit still from the unease. He dials a number and holds the phone to his ear. It rings and rings. He waits. Finally, it goes to voicemail.</scene_description> <character>SAM</character> <parenthetical>(over the phone)</parenthetical> <dialogue>You've reached Sam Landers. Leave a message.</dialogue> <scene_description>He's clearly nervous, but he puts on a fake calm affect to his voice,</scene_description> <character>PETER</character> <parenthetical>(into the phone)</parenthetical> <dialogue>Hey there. Peter Spencer here. From Spencer Realty. I'm actually ... I'm actually at your house right now. Wanted to get your signature on the closing contracts.</dialogue> <scene_description>He paces around the room.</scene_description> <character>PETER</character> <parenthetical>(into the phone)</parenthetical> <dialogue>I'll try you at work. And your wife's number.</dialogue> <scene_description>His back to the little girl sitting quietly on the couch.</scene_description> <character>PETER</character> <parenthetical>(into the phone)</parenthetical> <dialogue>Your daughter's here. Seems like something happened over here.</dialogue> <scene_description>Just then, the smallest drop of bile dribbles slowly from the little girl's lips to her chin.</scene_description> <character>PETER</character> <parenthetical>(into the phone)</parenthetical> <dialogue>Just making sure everything's okay.</dialogue> <scene_description>Feeling the moisture, she looks down casually.</scene_description> <character>PETER</character> <parenthetical>(into the phone)</parenthetical> <dialogue>Well, yeah, I guess, just give me a call back when you get this. You've got my number.</dialogue> <scene_description>The girl touches the wetness on her chin and looks down at the smear of bile rubbed across her fingertips. But Peter doesn't notice. He hangs up the phone. CUT TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. THE LANDERSHOUSE (MELINDA'S BEDROOM)- NIGHT</stage_direction> <scene_description>Upstairs, little Melinda Landers paces around her room in a panic. FIONA LANDERS (40), six months pregnant, stands in the doorway, concerned.</scene_description> <character>FIONA</character> <dialogue>What's wrong?</dialogue> <character>MELINDA</character> <dialogue>I can't find Lisa.</dialogue> <scene_description>Fiona takes a step towards her daughter.</scene_description> <character>FIONA</character> <dialogue>Okay, well let me help you look.</dialogue> <scene_description>Melinda shrieks.</scene_description> <character>MELINDA</character> <dialogue>NO!</dialogue> <scene_description>The little girl starts to cry. The cries quickly become wails. She squeezes her eyes tightly shut and starts swinging her fists at her head. Self-inflicting blows to her face. Fiona rushes to her.</scene_description> <character>FIONA</character> <dialogue>Okay, okay. Baby? Baby? You're okay. You're okay.</dialogue> <scene_description>She sits Melinda down on the ground, while trying to hold the girl by the wrists to prevent her from further hurting herself. But Melinda keeps screaming. Fiona, now on the ground reaches over to the bed and pulls a pillow to the floor. She lays Melinda's head onto the pillow, and holds her arms on the ground beside her. But Melinda keeps screaming. And with her arms restrained, her body thrashes wildly.</scene_description> <character>FIONA</character> <dialogue>Please baby. It's okay. It's okay.</dialogue> <scene_description>But she keeps thrashing.</scene_description> <character>FIONA</character> <dialogue>Oh god, Sam? Sam?!</dialogue> <scene_description>No response as the little girl keeps screaming and thrashing.</scene_description> <character>FIONA</character> <dialogue>Sam?! Please?! Where are you?!</dialogue> <scene_description>Fiona on all fours trying to keep the little girl down.</scene_description> <character>FIONA</character> <dialogue>Please baby. You're okay. SAM?!</dialogue> <scene_description>But the thrashing continues. Finally, Fiona lays her body weight down on the girl in an attempt to restrain her. The adult woman lays on the little girl.</scene_description> <character>FIONA</character> <dialogue>Shhh, Shhh. Shhh.</dialogue> <scene_description>And the little girl calms down. Still in a state of high anxiety, Fiona pants as she kneels and gets up off her daughter. She turns and sees SAM (45) standing in the doorway. She gasps, momentarily startled by him.</scene_description> <character>FIONA</character> <dialogue>Jesus.</dialogue> <scene_description>She puts her hand to her heart, trying to calm down.</scene_description> <character>FIONA</character> <dialogue>How long have you been standing there?</dialogue> <scene_description>The man is slight and balding. He just stands there looking at her.</scene_description> <character>FIONA</character> <dialogue>Were you just standing there watching?</dialogue> <scene_description>Fiona looks at him disgusted. She shakes her head.</scene_description> <character>SAM</character> <dialogue>What?</dialogue> <scene_description>She gets up off the floor and leaves the room. CUT TO BLACK.: TITLE CARD: "GOODMAN &amp; MULDOON"</scene_description> </scene> <scene> <stage_direction>INT. THE MULDOON</stage_direction> <character>HOUSE (MASTERBEDROOM)- NIGHT</character> <dialogue>22</dialogue> <scene_description>A wedding video plays on the TV in the corner. The sound is muted. A happy couple. A husband and wife at their wedding party. Playfully feeding each other cake, dancing on the dance floor, smiles on their faces. Happier times. Across the room, DETECTIVE MULDOON(38), the woman on the tape, sits at the edge of the bed. Her service weapon tense in her hand. She rests the gun in her lap. She looks at the man holding her so lovingly on the video. Tears streaming down her face, she sobs silently. Her body shakes, her arms quiver. With a shaky hand, she pulls back the safety. Suddenly, there's a knock on her door and a little boy's voice calls through.</scene_description> <character>BURKE ( 0. S . )</character> <dialogue>Mom?</dialogue> <scene_description>Muldoon's eyes shoot to the door. Quickly, she turns off the TV and hides the gun under the bed. She wipes the tears from her face and calls back.</scene_description> <character>MULDOON</character> <dialogue>Yeah?</dialogue> <scene_description>The door pushes open and BURKEMULDOON(6) stands there wiping tears from his own face.</scene_description> <character>MULDOON</character> <dialogue>Can't sleep?</dialogue> <scene_description>The young boy shakes his head. Muldoon motions for him to come over.</scene_description> <character>MULDOON</character> <dialogue>Come here.</dialogue> <scene_description>The boy sits down beside his mother on the bed and rests his head in her lap. Muldoon pets the boy's hair, comforting him.</scene_description> <character>MULDOON</character> <dialogue>You're alright.</dialogue> <scene_description>Muldoon's whole mood shifts in the presence of her son. You can really see how much love there is between them.</scene_description> </scene> <scene> <stage_direction>INT. THE MULDOONHOUSE - DAY</stage_direction> <scene_description>The sun's come up over the town as morning light pours in. Burke sits on the couch in the living room watching cartoons. Muldoon stands at the counter in the kitchen, frantically making her son's lunch while trying to get dressed for work. She turns and looks out the window, noticing the school bus pulling up outside. She calls out to her son in the other room.</scene_description> <character>MULDOON</character> <dialogue>Burke! Bus is here!</dialogue> </scene> <scene> <stage_direction>INT. GOODMAN'SHOUSE (BEDROOM)- DAY</stage_direction> <scene_description>DETECTIVE GOODMAN(55), weathered and unkempt, stands at the mirror getting dressed for work. The bedroom's decor is old- world and matronly. The lacy curtains don't seem to suit a man this gruff. He ties his tie with disgruntled precision, watching his hands in auto-pilot as he does it.</scene_description> </scene> <scene> <stage_direction>INT. GOODMAN'SHOUSE (LIVING ROOM) - DAY</stage_direction> <scene_description>Goodman sits on the couch eating a bowl of cereal watching "The Price Is Right". He's got a napkin tucked into the collar of his shirt like a bib to protect his button down shirt. He smokes a cigarette, taking puffs between bites. The walls are covered in photos that must be decades old. Every photo, child and teenage Goodman with his Mother. Religious paraphernalia lines the shelves, everything from Virgin Mary statues to Rosary Beads and candles. But the room is littered with old medical equipment. An old hospice bed with the sheets still on it, bed made. A few oxygen tanks sitting by its side, atop each tank an emphysema mask.</scene_description> </scene> <scene> <stage_direction>INT. GOODMAN'SCAR - DAY</stage_direction> <scene_description>Detective Goodman sits in his car in the Police Station parking lot. He finishes the end of his cigarette as he watches the officers file into the precinct, starting the day. He reaches for the glove compartment and removes a stack of mass cards and Saint pendants. He puts them into the suit pocket above his heart, tosses the cigarette butt out the window, and gets out of the car.</scene_description> </scene> <scene> <stage_direction>INT. POLICE PRECINCT (KITCHEN) - DAY</stage_direction> <scene_description>Goodman stands at the counter pouring a cup of coffee.</scene_description> <character>DETECTIVE GRECO (O.S.)</character> <dialogue>Heard they ended up stickin' you with the new chick.</dialogue> <scene_description>DETECTIVE GRECO (40) stands in the doorway with a smug look.</scene_description> <character>GOODMAN</character> <dialogue>Can't call 'em chicks anymore.</dialogue> <scene_description>Goodman stirs his coffee as he looks out to the bull pen full of young officers on the other side of the window in the kitchen. Greco walks over and stands by his side taking in the sight.</scene_description> <character>DETECTIVE GRECO</character> <dialogue>Buddy of mine in vice said her old man died of cancer. Real brutal. Said her kid was alone with him when he kicked.</dialogue> <scene_description>Greco shakes his head with a morbid grin.</scene_description> <character>DETECTIVE GRECO</character> <dialogue>Rough shit, huh?</dialogue> <scene_description>Goodman stares out at the room full of young fresh faces.</scene_description> <character>GOODMAN</character> <dialogue>Which one is she?</dialogue> <scene_description>Greco shrugs.</scene_description> <character>DETECTIVE GRECO</character> <dialogue>Hell, I don't know.</dialogue> </scene> <scene> <stage_direction>INT. POLICE PRECINCT (BULL PEN) - DAY</stage_direction> <scene_description>Goodman walks into the bull pen. He stands and looks around at the officers bustling around the room crowded with desks. It's loud, but Goodman shouts over the noise.</scene_description> <character>GOODMAN</character> <dialogue>Muldoon!</dialogue> <scene_description>He looks around, expecting someone to respond. He tries again, louder this time.</scene_description> <character>GOODMAN</character> <dialogue>Which one of you is Muldoon?</dialogue> <scene_description>Muldoon pops up at the sound of her name. She stands, looking around for who called her. She looks frazzled. Overwhelmed and out of her element.</scene_description> </scene> <scene> <stage_direction>INT. GOODMAN'SCAR - DAY</stage_direction> <scene_description>They drive down small suburban streets, stopping every so often for a stop sign or pedestrian. Goodman drives, stoic and silent. The lack of interaction makes Muldoon nervous. Finally, Goodman breaks the awkward silence.</scene_description> <character>GOODMAN</character> <dialogue>You smoke?</dialogue> <scene_description>Muldoon shakes her head.</scene_description> <character>MULDOON</character> <dialogue>No.</dialogue> <character>GOODMAN</character> <dialogue>Mind if I smoke?</dialogue> <character>MULDOON</character> <dialogue>No.</dialogue> <scene_description>Goodman takes a cigarette from the pack in his pocket, puts it between his lips and lights it. They drive on in silence.</scene_description> <character>GOODMAN</character> <dialogue>How you likin' it round here?</dialogue> <character>MULDOON</character> <dialogue>Uh, good. We're still getting settled. It's definitely different.</dialogue> <character>GOODMAN</character> <dialogue>That it is. Job'll be a piece of cake after your last beat, though. We rarely get shit out here like you got in the city.</dialogue> <scene_description>They turn off the street onto a small dirt service road. The drive through a path cut through the trees in the woods.</scene_description> <character>GOODMAN</character> <dialogue>Welcome to the middle of nowhere.</dialogue> <scene_description>About a mile into the woods, Goodman nods to the mess of emergency vehicles in a clearing up ahead.</scene_description> <character>GOODMAN</character> <dialogue>We're here.</dialogue> </scene> <scene> <stage_direction>EXT. WOODEDSTREET - DAY</stage_direction> <scene_description>The scene is already buzzing with cop cars and ambulances. Goodman and Muldoon head into the chaos. Uniformed officers escort the detectives under the tape line surrounding the scene. At the center of the hubbub is a car. It looks untouched. As though it just stopped in the middle of the road. As they approach, they realize what's caused such a stir. Inside the car, is a woman in her sixties, her seat belt still buckled. But her decaying body is bloated, broken at every joint, and twisted into a macabre human knot. Her eyes wide open in fear. Goodman is stoic at the sight while Muldoon tries to hide her horror.</scene_description> <character>MULDOON</character> <dialogue>How does this even happen?</dialogue> <scene_description>A uniformed officer standing next to the car chimes in.</scene_description> <character>OFFICER MICHAELS</character> <dialogue>Car's been here for months. Doors were locked when we found it. Had to cut it open with the jaws.</dialogue> <scene_description>Expressionless, Muldoon can't take her eyes off the twists in the woman's body.</scene_description> <character>GOODMAN</character> <dialogue>Gruesome, huh?</dialogue> <character>OFFICER MICHAELS</character> <dialogue>I'll say.</dialogue> <character>GOODMAN</character> <dialogue>Got an ID on her yet?</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Sure do.</dialogue> <scene_description>The officer looks down at his notes.</scene_description> <character>OFFICER MICHAELS</character> <dialogue>Lorna Moody. Sixty-five.</dialogue> <character>GOODMAN</character> <dialogue>Why'd it take so long to find her?</dialogue> <character>OFFICER MICHAELS</character> <dialogue>This here's a service road, only just started using it for the season.</dialogue> <character>GOODMAN</character> <dialogue>No one came looking for her?</dialogue> <character>OFFICER MICHAELS</character> <dialogue>That's the thing. Feds were already lookin' for her. Turns out she's one of those assisted suicide broads.</dialogue> <scene_description>Muldoon is still staring at the body, deeply disturbed.</scene_description> <character>MULDOON</character> <dialogue>M.E. have anything to say?</dialogue> <scene_description>The officer shoots Goodman a look with a grim smile.</scene_description> <character>OFFICER MICHAELS</character> <dialogue>This'll be the best damn Coroner's report I read all year.</dialogue> <scene_description>Goodman smiles.</scene_description> <character>GOODMAN</character> <dialogue>Find anything on her?</dialogue> <character>OFFICER MICHAELS</character> <dialogue>Usual stuff. Got an address though. Had directions in the glove box. 44 Reyburn Drive. Right down the road here.</dialogue> <scene_description>Goodman's stomach drops.</scene_description> <character>OFFICER MICHAELS</character> <dialogue>Place from the Landers case. Weird, right?</dialogue> <scene_description>The words send a chill up Goodman's spine. Muldoon can tell she's missing something.</scene_description> <character>MULDOON</character> <dialogue>Why is that weird?</dialogue> <scene_description>Michaels shoots Goodman a look. Goodman changes the subject.</scene_description> <character>GOODMAN</character> <dialogue>Anything else?</dialogue> <scene_description>Muldoon watches the exchange. She's suspicious.</scene_description> <character>OFFICER MICHAELS</character> <dialogue>Got prints all over the body too. Runnin' em now. But the Feds'll be here soon.</dialogue> <scene_description>Goodman stares at the woman in the car.</scene_description> <character>OFFICER MICHAELS</character> <dialogue>Somethin' else, huh? You ever seen anything like this before?</dialogue> <scene_description>Entranced by the look in her eyes.</scene_description> <character>GOODMAN</character> <dialogue>We'll see.</dialogue> </scene> <scene> <stage_direction>EXT. WOODEDSTREET - DAY</stage_direction> <scene_description>Goodman and Muldoon head back to the car.</scene_description> <character>MULDOON</character> <dialogue>What was that back there?</dialogue> <character>GOODMAN</character> <dialogue>What?</dialogue> <character>MULDOON</character> <dialogue>What's up with the house on Reyburn?</dialogue> <scene_description>They get to the car and get in.</scene_description> <character>GOODMAN</character> <dialogue>Worked a case there. Sorta stuck with me. Just strange to see it pop up again.</dialogue> <character>MULDOON</character> <dialogue>What was the case? Could this be connected?</dialogue> <scene_description>Goodman shakes his head as he starts the car.</scene_description> <character>GOODMAN</character> <dialogue>It was open and shut. This is just a weird coincidence.</dialogue> <scene_description>They drive off. Muldoon can tell that Goodman is hiding something.</scene_description> </scene> <scene> <stage_direction>INT. THE MULDOON</stage_direction> <character>HOUSE (KITCHEN) - NIGHT</character> <dialogue>32</dialogue> <scene_description>The house is small and run down, bought in a foreclosure. Unpacked moving boxes still litter the floor. Muldoon sits at the kitchen table. Laid out in front of her are all the crime scene photos from the body on the highway. She's glued to the images, sifting through the photos and papers for clues. Her dog FRANKlays on the floor, asleep at her feet. She searches through the web of papers on the table, deep in thought. The images are truly terrifying. All different angles of that poor twisted woman. And those open, dead eyes. She tries to shake the images from her mind. She picks up a photo of the piece of paper they found in the glove compartment. Scrawled across the small scrap of paper are the words: "44 Reyburn Drive".</scene_description> <character>BURKE ( 0 . S . )</character> <dialogue>What are you looking at?</dialogue> <scene_description>She turns, her son standing there in the doorway.</scene_description> <character>MULDOON</character> <dialogue>Hey bud-- hang on second, I don't want you to see this stuff.</dialogue> <character>BURKE</character> <dialogue>What is it?</dialogue> <scene_description>She looks to the gruesome photos on the table.</scene_description> <character>MULDOON</character> <dialogue>Stuff for work.</dialogue> <scene_description>She looks back to her son and smiles.</scene_description> <character>MULDOON</character> <dialogue>Ready for bed?</dialogue> <scene_description>The little boy nods.</scene_description> </scene> <scene> <stage_direction>INT. THE MULDOON</stage_direction> <character>HOUSE (BURKE'S BEDROOM)- NIGHT</character> <dialogue>33</dialogue> <scene_description>Muldoon sits in a chair beside her son's bed until he falls asleep. She checks on the boy. He's fast asleep. Quietly, she creeps out of the room.</scene_description> </scene> <scene> <stage_direction>EXT. THE MULDOON</stage_direction> <character>HOUSE (BACKYARD)- NIGHT</character> <dialogue>34</dialogue> <scene_description>Muldoon opens the sliding door in the kitchen, letting the dog out into the backyard. The dog runs into the tall grass and starts to sniff. Muldoon steps into the quiet night air while she waits.</scene_description> </scene> <scene> <stage_direction>INT. THE MULDOON</stage_direction> <character>HOUSE (MASTERBEDROOM)- NIGHT</character> <dialogue>35</dialogue> <scene_description>It's the middle of the night. Muldoon is awake in bed with her laptop in her lap. The room is dark except for the glow from the computer. On the screen, she searches the address they'd found at the crime scene. 44 Reyburn Drive. She scrolls through the results. A number of news sources repo+ting the same story. She clicks on the first link. "Murder on Reyburn Drive." She scrolls through the article. "Bodies of mother and daughter found ..• child's body found with signs of suspected child abuse." She scrolls down to a picture of the happy family. "Everyone who knew the family said Sam Landers was nothing but normal. He seemed like a perfect husband and father."</scene_description> </scene> <scene> <stage_direction>INT. POLICE PRECINCT (BULL PEN) - DAY</stage_direction> <scene_description>Goodman sits at his desk. He looks up at the clock. Greco walks past.</scene_description> <character>GOODMAN</character> <dialogue>Muldoon in yet?</dialogue> <character>GRECO</character> <dialogue>Haven't seen her.</dialogue> <scene_description>Just then, Muldoon bursts in through the front doors. Burke by her side. A panicked look on her face. It looks like she's had hell of a morning.</scene_description> <character>MULDOON</character> <dialogue>I'm so sorry! Sitter cancelled on me and I couldn't find another one. I didn't know what else to do with him.</dialogue> <scene_description>She hurries over to her desk with Burke and pulls up a chair beside it.</scene_description> <character>MULDOON</character> <dialogue>Here. Sit here. And just ..• let me get settled. Okay?</dialogue> <scene_description>She's clearly flustered. Goodman shoots the young boy a look. Goodman rolls his eyes and smiles. Burke smiles back.</scene_description> <character>GOODMAN</character> <dialogue>Relax. Me and the kid'll find something to do.</dialogue> <character>MULDOON</character> <dialogue>Thank you.</dialogue> <scene_description>Muldoon puts down her belongings and goes and gets herself a much needed cup of coffee.</scene_description> </scene> <scene> <stage_direction>INT. POLICE PRECINCT (CONFERENCEROOM) - DAY</stage_direction> <scene_description>Burke sits at the enormous table in the middle of the conference room. Goodman wheels in a television on a cart.</scene_description> <character>GOODMAN</character> <dialogue>You like movies?</dialogue> <scene_description>Burke nods.</scene_description> <character>GOODMAN</character> <dialogue>Not a lot of options.</dialogue> <scene_description>He looks down at the two DVDs in his hand. Se7en and 48 Hours. He laughs. He tosses aside Se7en and puts the 48 Hours disc into the DVD player.</scene_description> <character>GOODMAN</character> <dialogue>Guess this'll be fine.</dialogue> </scene> <scene> <stage_direction>EXT. POLICE PRECINCT (PARKING LOT) - NIGHT</stage_direction> <scene_description>Goodman walks out of the police station for the day and heads to his car. On his way through the parking lot, he notices Muldoon.</scene_description> <character>MULDOON</character> <dialogue>Shit. Shit. Shit. God damnit!</dialogue> <scene_description>She's trying to start her car, but the engine won't start. She sighs and punches the dashboard.</scene_description> <character>MULDOON</character> <dialogue>Come on!</dialogue> <scene_description>Goodman looks at Burke sits patiently in the back seat. Goodman calls out.</scene_description> <character>GOODMAN</character> <dialogue>Ey ! Language!</dialogue> <scene_description>He gestures to Burke giggling in the back of the car.</scene_description> <character>MULDOON</character> <dialogue>He's heard it all before.</dialogue> <scene_description>She revs the engine. It doesn't sound good. Black smoke pours from the exhaust pipe.</scene_description> <character>GOODMAN</character> <dialogue>That's what you get for driving a piece of shit.</dialogue> <scene_description>He's trying to be funny.</scene_description> <character>MULDOON</character> <dialogue>Not helpful.</dialogue> <scene_description>It doesn't land. Goodman walks over.</scene_description> <character>GOODMAN</character> <dialogue>What's the problem?</dialogue> <scene_description>She's pissed.</scene_description> <character>MULDOON</character> <dialogue>Who the hell knows. It's what I get for driving a piece of shit, right? You have cables in your car?</dialogue> <scene_description>He shakes his head.</scene_description> <character>GOODMAN</character> <dialogue>Doesn't sound like the battery.</dialogue> <scene_description>She sighs.</scene_description> <character>MULDOON</character> <dialogue>Jesus Christ. I'm supposed to be at orientation for his school in twenty minutes. When did elementary schools start doing orientations?!</dialogue> <character>GOODMAN</character> <dialogue>Who's watching the kid?</dialogue> <character>MULDOON</character> <dialogue>I was gonna take him with me.</dialogue> <scene_description>Goodman turns and starts towards his car. With a feigned reluctance he calls back.</scene_description> <character>GOODMAN</character> <dialogue>Come on.</dialogue> </scene> <scene> <stage_direction>INT. THE MULDOON</stage_direction> <character>HOUSE (LIVING ROOM) - NIGHT</character> <dialogue>39</dialogue> <scene_description>Goodman sits on the couch with Burke watching a movie. Burke has fallen asleep. The front door opens and Muldoon walks in. Noticing that Burke is asleep, she's quiet as she enters. She whispers.</scene_description> <character>MULDOON</character> <dialogue>How'd it go?</dialogue> <character>GOODMAN</character> <dialogue>Good. Fell asleep after ten minutes. Missed a damn fine movie.</dialogue> <scene_description>She smiles.</scene_description> <character>MULDOON</character> <dialogue>Thank you so much for this.</dialogue> <character>GOODMAN</character> <dialogue>Yeah. Of course.</dialogue> </scene> <scene> <stage_direction>INT. POLICE PRECINCT (BULL PEN) - DAY</stage_direction> <scene_description>It's early in the morning, and the detectives and other officers have started to file in for the day's work. Muldoon sits at her desk looking through a case file labeled: "LANDERS". Greco walks over and looks over Muldoon's shoulder at the folder in front of her.</scene_description> <character>GRECO</character> <dialogue>You better put that shit away before Goodman sees you.</dialogue> <character>MULDOON</character> <dialogue>Why?</dialogue> <scene_description>Goodman walks in looking like he hasn't slept a wink.</scene_description> <character>GRECO</character> <dialogue>Don't say I didn't warn you.</dialogue> <scene_description>Greco walks back to his desk as Muldoon closes the case file and tucks it beneath a stack of papers on her desk. She's pretending to type up a report when Goodman comes over.</scene_description> <character>GOODMAN</character> <dialogue>How's the kid?</dialogue> <character>MULDOON</character> <dialogue>He likes you.</dialogue> <scene_description>Goodman smiles.</scene_description> <character>GOODMAN</character> <dialogue>Good.</dialogue> <character>MULDOON</character> <dialogue>Hey, any word on the prints from the other day?</dialogue> <scene_description>Goodman shakes his head.</scene_description> <character>GOODMAN</character> <dialogue>Not our case anymore. Feds took over last night.</dialogue> <character>MULDOON</character> <dialogue>What?</dialogue> <character>GOODMAN</character> <dialogue>Nothin' I could do. Already went through the fifth floor.</dialogue> <character>MULDOON</character> <dialogue>What about the house? The one from the address in the glove box. Did anyone follow up after we found the body?</dialogue> <scene_description>Goodman gets very serious all of a sudden.</scene_description> <character>GOODMAN</character> <dialogue>Listen, drop it. It's not our case.</dialogue> <character>MULDOON</character> <dialogue>But the evidence we collected is still ...</dialogue> <character>GOODMAN</character> <dialogue>Let it go. Not our case.</dialogue> <scene_description>Detective Greco comes back over as Goodman walks away. Greco looks over to Muldoon and chuckles.</scene_description> <character>GRECO</character> <dialogue>Don't worry, it's not cuz you're a woman. Guy's weird to everyone.</dialogue> <scene_description>Muldoon stands there confused.</scene_description> <character>MULDOON</character> <dialogue>What's his story with that house?</dialogue> <character>GRECO</character> <dialogue>On Reyburn?</dialogue> <character>MULDOON</character> <dialogue>Yeah.</dialogue> <character>GRECO</character> <dialogue>Good question. He worked a case there a few months back. Never set foot inside. I've never seen a cop do that.</dialogue> <scene_description>Muldoon stands there deep in thought, the gears spinning in her head.</scene_description> <character>GRECO</character> <dialogue>Never got the guy who did it either. That always stays with you. Was like he fell off the face of the earth. And that's not an easy thing to do these days. Especially not for guys like this.</dialogue> <character>MULDOON</character> <dialogue>You think he's still out there?</dialogue> <scene_description>Greco shrugs.</scene_description> <character>GRECO</character> <dialogue>I don't know. The guy can't be that good.</dialogue> <character>MULDOON</character> <dialogue>That woman we found. She was at that house.</dialogue> <scene_description>Greco watches Muldoon.</scene_description> <character>GRECO</character> <dialogue>You've got that look in your eye.</dialogue> <scene_description>He smirks a smug grin and shakes his head.</scene_description> <character>GRECO</character> <dialogue>Let it go.</dialogue> </scene> <scene> <stage_direction>INT. MULDOON'SCAR - DAY</stage_direction> <scene_description>Windshield wipers beat away the onslaught of rain as Muldoon drives down a suburban street, eyeing each house as she passes. The street is familiar to us, and when she reaches her destination, we know why.</scene_description> </scene> <scene> <stage_direction>EXT. THE MATHESONHOUSE- DAY</stage_direction> <scene_description>Muldoon parks her car at the end of the driveway and gets out at house number 44. We know it as the Landers' house. Only small superficial details of the home have changed. A new garden and new shutters, no more "For Sale" sign. But the mid-century modern house is just as haunting as ever. Rotten apples lay in the grass beneath the dead apple tree. The lawn is unmowed, and in spite of the face-lift, the house looks unkempt. Muldoon eyes the house taking it all in and then walks up the driveway. She gets to the front door and knocks. There's no answer. But from inside the house, she can hear the faint sound of a woman crying. She knocks again, calling out.</scene_description> <character>MULDOON</character> <dialogue>Hello?</dialogue> <scene_description>Still nothing. But she can clearly hear the woman crying inside. She knocks again and calls through the door.</scene_description> <character>MULDOON</character> <dialogue>Hello? Police Department.</dialogue> <scene_description>She waits. Nothing, even though she can still hear the woman inside. She knocks one more time.</scene_description> <character>MULDOON</character> <dialogue>Is everything alright?</dialogue> <scene_description>Still no response. She reaches for the door knob and turns it. It's unlocked. Cautiously, she pushes the door open and pokes her head into the house.</scene_description> <character>MULDOON</character> <dialogue>Mister and Misses Matheson?</dialogue> <scene_description>Nothing but the constant crying from another room.</scene_description> <character>MULDOON</character> <dialogue>This is Detective Muldoon. I'm here to ask about a woman we found.</dialogue> <scene_description>After a few moments she steps into the house.</scene_description> </scene> <scene> <stage_direction>INT. THE MATHESONHOUSE- DAY</stage_direction> <scene_description>Once inside the house, the muffled crying grows louder. But otherwise, the house feels vacant. All sounds of the outside world seem to fade away. At the top of the stairs, Muldoon sees an empty wheelchair. At the foot of the stair, a strange black stain rubbed into the carpet runner. The cries are coming from a room down the hall. Tense as she walks down the hallway following the sound. She finds her way to the living room, Inside, is an elderly woman shuffling around the room aimlessly. The old woman from the first scene. As she cries to herself, there's a dull, vacant look in her eyes. Nothing but confusion behind her stare. Muldoon watches the woman wander.</scene_description> <character>MULDOON</character> <dialogue>Mrs. Matheson?</dialogue> <scene_description>She doesn't acknowledge Muldoon. She tries again.</scene_description> <character>MULDOON</character> <dialogue>Are you Mrs. Matheson?</dialogue> <scene_description>The old woman just keeps crying, so frail, wandering around in helpless little circles. She's soiled her pants many times over. The state of the home is disgusting from neglect. Muldoon takes a step closer to her.</scene_description> <character>MULDOON</character> <dialogue>Ma'am, are you alright?</dialogue> <scene_description>Slowly, Faith turns to look at Muldoon.</scene_description> <character>FAITH</character> <dialogue>Will you feed me?</dialogue> <scene_description>The look on her face, filled with desperation. Her body shakes. Muldoon moves closer to her.</scene_description> <character>MULDOON</character> <dialogue>Excuse me?</dialogue> <scene_description>A lifeless stare behind the woman's eyes.</scene_description> <character>FAITH</character> <dialogue>William always used to feed me.</dialogue> <scene_description>Her hands shuffle in the pockets of her robe.</scene_description> <character>MULDOON</character> <dialogue>William?</dialogue> <scene_description>Just then, out of the corner of her eye, for only a moment, Muldoon sees someone walking down the dark hallway at the top of the stairs. It could have easily just been a shadow. But a sense of unease rushes over her.</scene_description> <character>MULDOON</character> <dialogue>Ma'am, is there anyone else home with you right now?</dialogue> <scene_description>Suddenly, the woman's crying subsides. Faith sniffles back the tears and hobbles her way slowly to Muldoon. She pulls her hands from her pockets, and takes hold of Muldoon's hands in her gentle grasp.</scene_description> <character>FAITH</character> <dialogue>Will you please help me?</dialogue> <scene_description>Muldoon looks down and there's blood all over her hands.</scene_description> <character>MULDOON</character> <dialogue>What is this?</dialogue> <scene_description>She turns her wrists revealing the old woman's hands.</scene_description> <character>MULDOON</character> <dialogue>Oh my god!</dialogue> <scene_description>The woman's hands are a bloody, mangled, mass of gangrenous flesh. Most of her fingers, chopped up gnarled stumps. Muldoon panics.</scene_description> <character>MULDOON</character> <dialogue>Jesus Christ.</dialogue> <character>FAITH</character> <dialogue>Please help me!</dialogue> <character>MULDOON</character> <dialogue>Okay, okay.</dialogue> <scene_description>She picks the frail old woman up and runs frantically to the kitchen.</scene_description> <character>MULDOON</character> <dialogue>It's okay, I got you.</dialogue> <scene_description>She holds Faith's hands under the faucet, running water over the wounds.</scene_description> <character>MULDOON</character> <dialogue>You're okay, you're okay.</dialogue> <scene_description>The old woman screams in pain.</scene_description> <character>MULDOON</character> <dialogue>I'm getting help.</dialogue> <scene_description>Muldoon reaches into her pocket for her cell phone, but its not there.</scene_description> <character>MULDOON</character> <dialogue>Shit.</dialogue> <scene_description>She runs over to the house phone mounted to the wall and picks it up. But the line's dead.</scene_description> <character>MULDOON</character> <dialogue>I'll be right back, please just stay here.</dialogue> <character>FAITH</character> <dialogue>Please don't leave me.</dialogue> <character>MULDOON</character> <dialogue>I'll be right back, I promise.</dialogue> <scene_description>Muldoon runs back through the halls of the house. But just before she reaches the front door, she notices someone in the guest bedroom off the main hallway. Out of breath, she stops in the doorway and looks in. There's an old man sitting in a chair with his back to her, looking out the window.</scene_description> <character>MULDOON</character> <dialogue>Mr. Matheson?</dialogue> <scene_description>No response. She walks towards him.</scene_description> <character>MULDOON</character> <dialogue>Mr. Matheson? Are you alright?</dialogue> <scene_description>She puts her hand on his shoulder. But the man is dead. A rotten and decaying corpse, propped up in that chair for who knows how long. His eyes cloudy. Maggots crawling from the edges of the sockets and the corners of his mouth. She screams and runs out of the house.</scene_description> </scene> <scene> <stage_direction>EXT. THE MATHESONHOUSE- DAY</stage_direction> <scene_description>Muldoon runs down the long driveway and out to her car. She gets into the drivers seat and picks up the radio dispatch receiver.</scene_description> <character>MULDOON</character> <dialogue>Car 646. I need an ambulance at 44 Reyburn.</dialogue> </scene> <scene> <stage_direction>EXT. THE MATHESONHOUSE - DAY</stage_direction> <scene_description>An ambulance has arrived and two EMTs are taking the old woman from the house. She's bound to a stretcher. Another EMT sits with Muldoon making sure that none of the blood on her clothes belongs to her. Muldoon watches as the EMTs put the seemingly catatonic woman into the back of the ambulance. But her eyes are wide and locked on Muldoon. Watching her.</scene_description> </scene> <scene> <stage_direction>INT. MULDOON'SCAR - NIGHT</stage_direction> <scene_description>Muldoon drives down a small suburban street, dark from the lack of streetlights. She drives slowly through the dark, trying to illuminate the numbers on the mailboxes with the car's headlights. The numbers are going up. Numbers 3, 5, 7. Between each house is a streetlight. Each time she passes a light, it illuminates the side mirror of the car. And for a moment, each time, we catch a glimpse of Melinda in the reflection. Sitting in the backseat. Numbers 9, 11, 13. Finally Muldoon gets to number 15. We don't quite recognize the house in the dark. But the lights are on inside. And something seems familiar. She gets out of her car and steps out into the pouring rain.</scene_description> </scene> <scene> <stage_direction>EXT. GOODMAN'SHOUSE - NIGHT</stage_direction> <scene_description>Muldoon rings the doorbell. On the front porch, she waits. She can hear the TV on inside. She rings the doorbell again. From inside the house:</scene_description> <character>GOODMAN (O.S.)</character> <dialogue>I heard you the first time.</dialogue> <scene_description>Muldoon waits and finally Goodman comes to the door. Disgruntled, Goodman opens the door and peers out at Muldoon blankly.</scene_description> <character>GOODMAN</character> <dialogue>What're you doing here?</dialogue> <scene_description>Goodman looks at the blood all over Muldoon's clothes.</scene_description> <character>GOODMAN</character> <dialogue>What happened to you?</dialogue> <scene_description>Muldoon looks down, she'd forgotten how bad she looked.</scene_description> <character>MULDOON</character> <dialogue>It's not mine.</dialogue> <character>GOODMAN</character> <dialogue>Who's is it?</dialogue> <character>MULDOON</character> <dialogue>I went to the Matheson house.</dialogue> <scene_description>Goodman's heart drops to the pit of his stomach. He tries to hide the fear coursing through him. But he can't.</scene_description> <character>GOODMAN</character> <dialogue>Ahh, shit.</dialogue> </scene> <scene> <stage_direction>INT. GOODMAN'SHOUSE (LIVING ROOM) - NIGHT</stage_direction> <scene_description>Muldoon sits with Goodman in the living room, surrounded by the medical equipment.</scene_description> <character>GOODMAN</character> <dialogue>It's been months now, but ... just one of those cases.</dialogue> <scene_description>The room is dark, lit only by the lamp on the side table.</scene_description> <character>GOODMAN</character> <dialogue>Total mess. Whole family murdered.</dialogue> <scene_description>A game show on the TV in the background.</scene_description> <character>GOODMAN</character> <dialogue>Neighbors too.</dialogue> <scene_description>Goodman chain smokes as he talks.</scene_description> <character>GOODMAN</character> <dialogue>Never closed it. Wanted to pin it on the husband.</dialogue> <character>GOODMAN</character> <dialogue>But we never found him. Figured he got out of the country. Damn shame of a story.</dialogue> <scene_description>Pausing between thoughts for a drag or two. The ash tray on the coffee table is nearly overflowing.</scene_description> <character>GOODMAN</character> <dialogue>But something never felt right about that house.</dialogue> <character>MULDOON</character> <dialogue>What do you mean?</dialogue> <scene_description>Goodman constantly looks back to the TV, checking on the status of the game show silently.</scene_description> <character>GOODMAN</character> <dialogue>I don't know. Just didn't feel right.</dialogue> <scene_description>Muldoon watches the man, her partner. Goodman is different at home, in this environment.</scene_description> <character>GOODMAN</character> <dialogue>Call me superstitious. But I got my reasons.</dialogue> <scene_description>Muldoon can tell Goodman's hiding something.</scene_description> <character>MULDOON</character> <dialogue>So what're you saying? The house is haunted?</dialogue> <scene_description>Goodman smiles.</scene_description> <character>GOODMAN</character> <dialogue>They'll think you're crazy if you start going around saying places are haunted.</dialogue> <character>MULDOON</character> <dialogue>I don't buy it.</dialogue> <scene_description>Goodman's quiet for a moment.</scene_description> <character>GOODMAN</character> <dialogue>Can I get you anything?</dialogue> <character>MULDOON</character> <dialogue>No, I'm good.</dialogue> <character>GOODMAN</character> <dialogue>Pie?</dialogue> <scene_description>Goodman gestures to the partially opened cardboard box sitting on the coffee table buzzing with flies. One slice eaten, the rest starting to mold.</scene_description> <character>MULDOON</character> <dialogue>I'm good.</dialogue> <character>GOODMAN</character> <dialogue>My mother. She was into all that ghosty shit. The older I get, the more I start to believe it.</dialogue> <scene_description>Muldoon looks at the vacant and unused medical equipment on the other side of the room.</scene_description> <character>MULDOON</character> <dialogue>Did she pass away?</dialogue> <character>GOODMAN</character> <dialogue>Two years ago now. Just haven't had the heart to get rid of all this.</dialogue> <scene_description>Goodman smiles.</scene_description> <character>GOODMAN</character> <dialogue>I still think of this as her house.</dialogue> <scene_description>Muldoon nods in understanding.</scene_description> <character>MULDOON</character> <dialogue>I know what it feels like.</dialogue> <character>GOODMAN</character> <dialogue>How long for you?</dialogue> <character>MULDOON</character> <dialogue>Six months. Cancer.</dialogue> <character>GOODMAN</character> <dialogue>I've seen how that plays out. I don't wish that on anyone.</dialogue> <scene_description>Muldoon loses herself in thought.</scene_description> <character>MULDOON</character> <dialogue>My dad raised me all by himself. I don't know how he did it. He died when I was in college. Same way.</dialogue> <scene_description>Goodman nods.</scene_description> <character>GOODMAN</character> <dialogue>I had a single mother. It's a shame the universe has to go and fuck all these good people.</dialogue> <character>MULDOON</character> <dialogue>Getting pregnant, having a kid, without parents ... it was hard. And now doing this ... Nothing prepares you for this shit.</dialogue> <scene_description>She looks at Goodman with a deep sensitive stare.</scene_description> <character>MULDOON</character> <dialogue>You ever think about having kids?</dialogue> <character>GOODMAN</character> <dialogue>All the time. Just never happened for me.</dialogue> <scene_description>He shrugs.</scene_description> <character>GOODMAN</character> <dialogue>We all say the same thing. "The job" and all that. But who knows. It's how it goes.</dialogue> <scene_description>Muldoon smiles.</scene_description> <character>MULDOON</character> <dialogue>I think you'd be a good dad.</dialogue> <scene_description>Goodman laughs.</scene_description> <character>GOODMAN</character> <dialogue>Aww hell, don't get all sappy on me Muldoon. I was starting to like you.</dialogue> <scene_description>She laughs. And then they're quiet. Goodman quickly gets serious. He looks intensely at Muldoon, a deep solemn look in his eyes.</scene_description> <character>GOODMAN</character> <dialogue>I get that you're looking for distractions right now, but don't get lost in this shit. The case, the house.</dialogue> <scene_description>He turns back to the TV.</scene_description> <character>GOODMAN</character> <dialogue>I know what that looks like.</dialogue> </scene> <scene> <stage_direction>INT. THE MULDOON</stage_direction> <character>HOUSE (MASTERBEDROOM)- NIGHT</character> <dialogue>Muldoon sits on her bed pouring through case files.</dialogue> <character>49</character> <dialogue>Her dog</dialogue> <scene_description>lays groggily at the foot of the bed, licking Muldoon's feet as she works. Muldoon kicks her foot to shake off the dog.</scene_description> <character>MULDOON</character> <dialogue>Frank, stop.</dialogue> <scene_description>The dog jumps off and gets into a comfortable sleeping position on the floor beside the bed. In the folder on Muldoon's lap is a case labelled: "LANDERS". Clipped to the top page is a picture of the Landers family. Sam, Fiona and Melinda. Behind it, a photo of the house. The house she was at earlier that day, known to her as the Matheson house, but listed here as the former home of the Landers family. The folder is filled with various pages of official police reports. Each document sports the names of two reporting officers. Detective Goodman. And Detective Wilson. Muldoon picks up her phone and dials a number.</scene_description> <character>MULDOON</character> <parenthetical>(into the phone)</parenthetical> <dialogue>Badge 45632, Muldoon. I'm trying to reach Detective Wilson, used to be out of the Five One.</dialogue> <scene_description>She waits for the response.</scene_description> <character>MULDOON</character> <dialogue>Thanks.</dialogue> <scene_description>She waits.</scene_description> <character>MULDOON</character> <dialogue>Uh, yeah, hold on one second.</dialogue> <scene_description>She looks around and grabs her notebook and pen.</scene_description> <character>MULDOON</character> <dialogue>Alright, go ahead.</dialogue> <scene_description>She writes down whatever the operator is saying. When she finishes, she looks down at what she's written. It's an address. But something about it is puzzling to her.</scene_description> <character>MULDOON</character> <dialogue>Is this the psychiatric hospital?</dialogue> <scene_description>She listens.</scene_description> <character>MULDOON</character> <dialogue>Right. Alright, thanks.</dialogue> <scene_description>She hangs up and sits there lost in thought for a moment. She looks back down at the address. She closes the case file and puts it over on the nightstand. She peels back the sheets of her bed and gets in. Her mind racing, far from sleep. She rolls onto her side, her foot dangling off the side of the bed. She feels the dog licking her feet and she kicks her foot as she did before.</scene_description> <character>MULDOON</character> <dialogue>Stop it Frank.</dialogue> <scene_description>But the licking doesn't stop. She shakes her leg onto the bed.</scene_description> <character>MULDOON</character> <dialogue>Stop.</dialogue> <scene_description>Muldoon looks over to the side of the bed. But the dog isn't there. He's asleep on the other side of the bed. Suddenly, a cool chill breezes through her. And it feels like there is someone in the room. Waiting, lurking in the shadows. She sits up and looks around the dark room. Nothing. But she can't shake that eerie feeling. Just then she hears slow footsteps in the hallway outside the room. Slowly, she gets up and goes to the door. 50 INT, THE MULDOON</scene_description> <character>HOUSE - NIGHT</character> <dialogue>50</dialogue> <scene_description>She steps into the dark hallway and looks around. Nothing. She goes to Burke's room and quietly opens the door. But Burke is fast asleep. She looks around the room. Still nothing. She continues on through the house. But room after room, there's nothing there. She sighs, chuckles to herself, and heads back to the bedroom.</scene_description> </scene> <scene> <stage_direction>INT. THE MULDOON</stage_direction> <character>HOUSE (MASTERBEDROOM)</character> <dialogue>51</dialogue> <scene_description>Muldoon gets back into bed and tries to fall asleep. She lays there in the dark room. Rain beating down outside. But then we see her. Underneath the bed, looking up, as if boring a hole through the mattress, is little Melinda Landers. Laying in the shadows.</scene_description> </scene> <scene> <stage_direction>EXT. FOUR WINDS HOSPITAL - DAY</stage_direction> <scene_description>Muldoon drives down the long wooded road towards the enormous, stone Gothic institution. The structure lacks the majesty that was perhaps intended for it, and instead sits somewhere in this uncomfortable place between medieval nightmare and harsh modernism.</scene_description> </scene> <scene> <stage_direction>INT. FOUR WINDS HOSPITAL - DAY</stage_direction> <scene_description>The waiting room is empty except for Muldoon and the man behind the desk. Screams echo through the stone corridors in the background.</scene_description> <character>MULDOON</character> <dialogue>I'm here to see Richard Wilson.</dialogue> <scene_description>The man behind the desk looks up at Muldoon as though he couldn't care less.</scene_description> <character>ORDERLY</character> <dialogue>Fourth floor. Already restrained.</dialogue> <scene_description>Muldoon looks back at him, confused.</scene_description> <character>MULDOON</character> <dialogue>Restrained?</dialogue> </scene> <scene> <stage_direction>INT. FOUR WINDS HOSPITAL - DAY</stage_direction> <scene_description>Muldoon walks down the long tiled hallway, both sides flanked with doors to cells with no windows. Cries and wails echo through the chambers. As she walks, the long corridor seems to go on forever. Finally, she reaches Wilson's cell. She stands outside the door and turns back to look down the hallway from where she came. An orderly in white scrubs stands at the end of the corridor on the other side of a glass window. Muldoon waves her hand to the man, and a few moments later, she hears the latch of the cell door in front of her unlock. She opens the door and steps inside.</scene_description> </scene> <scene> <stage_direction>INT. WILSON'S CELL - DAY</stage_direction> <scene_description>Its a small padded room with a bed and a toilet. Detective Wilson lays curled up on the bed, facing away. His ankles chained to a mount in the wall. Dressed in white, his head shaved, the older man looks fragile and frail. Muldoon is cautious as she speaks.</scene_description> <character>MULDOON</character> <dialogue>Detective Wilson, I'm Detective Muldoon. The doctor said he told you I was coming.</dialogue> <scene_description>The man on the bed doesn't turn, but he starts to laugh quietly. A deep belly laugh.</scene_description> <character>MULDOON</character> <dialogue>I wanted to ask you about a case you worked in January.</dialogue> <scene_description>The man groans.</scene_description> <character>WILSON</character> <dialogue>Did you find my tapes?</dialogue> <character>MULDOON</character> <dialogue>Tapes?</dialogue> <scene_description>The man laughs even louder, still with his back to Muldoon.</scene_description> <character>MULDOON</character> <dialogue>Detective?</dialogue> <scene_description>It turns to a grumbling sort of crackle, his body shaking with each bellow.</scene_description> <character>MULDOON</character> <dialogue>Detective?</dialogue> <scene_description>Wilson turns his head, twisting his neck around, a terrifying grin across his face. He has a large, messy scar from a wound in the side of his face.</scene_description> <character>WILSON</character> <dialogue>It'll never end.</dialogue> <scene_description>Muldoon stares back at the crazed man.</scene_description> <character>MULDOON</character> <dialogue>What are you talking about?</dialogue> <character>WILSON</character> <dialogue>That house's grudge •..</dialogue> <scene_description>He just laughs. Pieces of his jaw and cheekbone are missing, leaving hollow pits under the grafted skin,</scene_description> <character>WILSON</character> <dialogue>If you haven't started seeing them yet, don't worry ... you will.</dialogue> <scene_description>Tears stream down the his face as he smashes his bald head into the padded wall. Over and over and over again, screaming. Trying desperately to harm himself, but unable to do so. Muldoon watches in horror.</scene_description> </scene> <scene> <stage_direction>EXT. FOUR WINDS HOSPITAL (PARKING LOT) - DAY</stage_direction> <scene_description>The sun is starting to set as Muldoon walks out to her car in the parking lot. She's shaken. Lost in thought, thinking about the encounter she's just had. As she walks through the empty lot, a sudden chill of fear riffles through her. The wind whistles into a wheeze. Suddenly, she he hears something behind her. A little girl's footsteps. She turns. But there's no one there. She looks around. No one. She gets to her car, gets in, and drives away.</scene_description> </scene> <scene> <stage_direction>INT. WILSON'S CELL - DAY</stage_direction> <scene_description>But all the while, Detective Wilson lays in his bed, his eyes wide with fear. Melinda and Fiona Landers in the corner, staring back at him. He struggles, screaming, desperately trying to get away. But bound in his chains, he can hardly move, let alone get away. And so they taunt him.</scene_description> </scene> <scene> <stage_direction>INT. MULDOON'SCAR - NIGHT</stage_direction> <scene_description>Muldoon drives home from the hospital. Every so often she'll pass a car. But for the most part, she's the only one on the road. The night is dark and the car's headlights cast harsh shadows on the trees at the side of the road. She's deep in thought, rattled from the encounter with the man at the hospital. She stares at the road, the trees passing by hypnotically. And then she sees what looks like a pregnant woman crawling from the treeline at the side of the road. But only for a moment. As she drive's quickly past, she's gone. Startled, she looks back in the rear-view mirror. Nothing but darkness. She turns back to the road ahead of her and takes a deep breath, regaining her calm. But standing there in the middle of the road is a little girl. Muldoon swerves to avoid the child, coming to a screeching halt at the side of the road. She throws open the car door and gets out, looking for the child she'd nearly hit. But as she looks around, there's no one in sight.</scene_description> </scene> <scene> <stage_direction>INT. POLICE PRECINCT (BASEMENT)- NIGHT</stage_direction> <scene_description>Muldoon sits at a desk in the basement of the precinct surrounded by racks of old case files. She's alone. The whole place is dark except for the small light at the desk. Empty, the space looks cavernous. Muldoon, wearing headphones, listens to a tape in a cassette player. She's listening to Detective Wilson's voice. Before the madness set in.</scene_description> <character>WILSON</character> <parenthetical>(on the tape)</parenthetical> <dialogue>... I can't stop thinking about the Landers murder, When we found her, the girl, she had belt marks all around her body. Sinched so tight there were scars.</dialogue> <scene_description>A beat.</scene_description> <character>WILSON</character> <parenthetical>(on the tape)</parenthetical> <dialogue>How often did they do this that they gave the kid scars?</dialogue> <scene_description>The thought gives him pause.</scene_description> <character>WILSON</character> <dialogue>But the bruises on her head, hands, and chest all seemed self- inflicted.</dialogue> <scene_description>He sighs.</scene_description> <character>WILSON</character> <dialogue>I can't imagine what was going on in that house. What were they doing to her? I'm just trying to find some sort of reason for it all.</dialogue> <scene_description>Muldoon stops the tape. She hits fast forward and then play.</scene_description> <character>WILSON</character> <parenthetical>(on the tape)</parenthetical> <dialogue>..• and now ever since I went to that house I've been seeing shit.</dialogue> <scene_description>Wilson's voice is more emotional now.</scene_description> <character>WILSON</character> <dialogue>I can't get it out of my head. I think I'm going crazy.</dialogue> <scene_description>Wilson goes quiet on the tape.</scene_description> <character>WILSON</character> <parenthetical>(on the tape)</parenthetical> <dialogue>What was that?</dialogue> <scene_description>Quiet.</scene_description> <character>WILSON</character> <parenthetical>(on the tape)</parenthetical> <dialogue>Oh god. This is what I mean.</dialogue> <scene_description>A click. A long, quiet static. Muldoon waits. And then a steady, wheezing static. Muldoon stops the tape. Just then, Muldoon hears something behind her. She looks around. Nothing. But it's suddenly very quiet. And then she hears it again. The faint sound of a little girl's laugh. The basement is dark and empty. But overhead she can hear the footsteps and muffled voices of the night officers upstairs. Muldoon calls out.</scene_description> <character>MULDOON</character> <dialogue>Hello?</dialogue> <scene_description>No response. She looks around the dark basement. Something feels strange.</scene_description> </scene> <scene> <stage_direction>INT. POLICE PRECINCT (BASEMENTBATHROOM)- NIGHT</stage_direction> <scene_description>Muldoon walks into the bathroom. She stands at the sink and splashes water on her face. Behind her, the door to the toilet stall is closed. Suddenly, inside the stall someone steps down, as if from the toilet, revealing a woman's feet beneath the door. Muldoon doesn't notice. SLAM! A knock from inside the stall. Muldoon turns. The stall door is closed, but there's no one standing there. At least not that she can see.</scene_description> <character>MULDOON</character> <dialogue>Is someone there?</dialogue> <scene_description>She waits. SLAM! Again, another knock. Startled, Muldoon rushes out of the bathroom.</scene_description> </scene> <scene> <stage_direction>INT. POLICE PRECINCT (BASEMENT)- NIGHT</stage_direction> <scene_description>She stumbles back into the main room of the basement. Across the room, in the shadows, she can see someone standing there watching her.</scene_description> <character>MULDOON</character> <dialogue>Hello?</dialogue> <scene_description>No response.</scene_description> <character>MULDOON</character> <dialogue>Is someone there?</dialogue> <scene_description>And then they walk away. Muldoon's heart races. She rushes back to the desk and gathers her belongings. As she shuts off the light, the shape of a woman is standing right behind her. But she doesn't notice. She hurries through the dark basement to the stairs.</scene_description> </scene> <scene> <stage_direction>INT. POLICE PRECINCT (SECURITY ROOM) - NIGHT</stage_direction> <scene_description>Muldoon goes to the security room of the precinct and knocks on the door. No one answers, so she pushes open the door and looks inside. No one inside. Twelve TV screens display different angles of the precinct. At this time of night, the place is pretty sparse. Muldoon looks down at the control board on the desk and finds her way to the controls for the basement camera. She rewinds the tape and watches. On the screen, she sees herself walk into the bathroom, and then a few moments later, stumble out in fright. She watches as she walks back to the desk across the room and out of view of the camera. And just then, the door opens. As if someone was following her out. A deep seeded terror comes over Muldoon as she pauses the tape on the door, seemingly opening on its own.</scene_description> </scene> <scene> <stage_direction>INT. THE MULDOON</stage_direction> <character>HOUSE (LIVING ROOM) - NIGHT</character> <dialogue>63</dialogue> <scene_description>Muldoon and her son sit on the couch watching an old movie on TV, but Muldoon's mind is elsewhere. The young boy watches his mother. After a while, he asks:</scene_description> <character>BURKE</character> <dialogue>Are you okay Mom?</dialogue> <scene_description>Muldoon is taken aback by the question.</scene_description> <character>MULDOON</character> <dialogue>What?</dialogue> <scene_description>The little boy turns his stare back to the TV.</scene_description> <character>BURKE</character> <dialogue>I don't want to lose you too.</dialogue> <scene_description>The sentiment breaks Muldoon's heart. She pulls her son in close.</scene_description> <character>MULDOON</character> <dialogue>I'm not going anywhere. Nothing is going to happen to me.</dialogue> <scene_description>CUT TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. LANDERSCAR - DAY</stage_direction> <scene_description>Sam Landers drives down a suburban highway. His wife Fiona in the passenger seat beside him. A palpable tension cuts through the car.</scene_description> <character>SAM</character> <dialogue>You really want to go through all this again?</dialogue> <character>FIONA</character> <dialogue>We have no choice. She put a pencil through that boy's hand. We're lucky the parents aren't suing us!</dialogue> <scene_description>Sam shakes his head.</scene_description> <character>SAM</character> <dialogue>I just don't believe it.</dialogue> <character>FIONA</character> <dialogue>There were other kids who saw her do it.</dialogue> <character>SAM</character> <dialogue>Have you ever seen her be violent?</dialogue> <scene_description>She looks at him, surprised by the question.</scene_description> <character>SAM</character> <dialogue>She's just hyper. It's all that shit you let her eat.</dialogue> <scene_description>Fiona takes a deep breath. Trying not to explode.</scene_description> <character>FIONA</character> <dialogue>They want us to take her to a doctor.</dialogue> <character>SAM</character> <dialogue>For what?</dialogue> <scene_description>His blood is starting to boil.</scene_description> <character>FIONA</character> <dialogue>You and I both know there's something not right with her.</dialogue> <scene_description>On the brink of rage, he's adamant.</scene_description> <character>SAM</character> <dialogue>Enough with this shit! There's nothing wrong with my daughter.</dialogue> <character>FIONA</character> <dialogue>You have to stop denying it.</dialogue> <scene_description>He's done with the conversation.</scene_description> <character>SAM</character> <dialogue>We're here.</dialogue> </scene> <scene> <stage_direction>EXT. SPENCER REALTY - DAY</stage_direction> <scene_description>They pull into the parking lot of Spencer Realty. The office is small and tucked away on the side of the road. Sam parks the car and they head into the small one story building.</scene_description> </scene> <scene> <stage_direction>INT. SPENCER REALTY- DAY</stage_direction> <scene_description>Fiona and Sam walk into the waiting room as Nina Spencer is escorting out Detective Muldoon. In the small waiting area, the Landers take a seat by the window while Nina and Muldoon exchange their goodbyes.</scene_description> <character>NINA</character> <dialogue>Well if you do decide to make the move, give us a call.</dialogue> <character>MULDOON</character> <dialogue>Thanks so much. It was great talking to you.</dialogue> <scene_description>Nina lowers her voice and says with a sympathetic smile:</scene_description> <character>NINA</character> <dialogue>I hope your husband pulls through.</dialogue> <scene_description>Muldoon puts on a smile.</scene_description> <character>MULDOON</character> <dialogue>Me too.</dialogue> <scene_description>Muldoon heads out the door into the parking lot.</scene_description> <character>NINA</character> <dialogue>Have a good one!</dialogue> <scene_description>Nina turns to Fiona and Sam with a smile.</scene_description> <character>NINA</character> <dialogue>Mr. and Mrs. Landers? How are you guys? Come on back and we can get started.</dialogue> <scene_description>CUT TO BLACK.:</scene_description> <character>TITLE CARD: "PETER</character> <dialogue>&amp;</dialogue> </scene> <scene> <stage_direction>INT. THE LANDERSHOUSE - NIGHT</stage_direction> <scene_description>It's night now at the Landers' house. Peter Spencer is still waiting with Melinda in the empty home. His phone starts to buzz. He looks down at the screen: "NINA". He picks up the phone.</scene_description> <character>PETER</character> <dialogue>Hi.</dialogue> <character>NINA</character> <parenthetical>(over the phone)</parenthetical> <dialogue>Where are you?</dialogue> <character>PETER</character> <dialogue>Still at the house.</dialogue> <scene_description>He sounds annoyed.</scene_description> <character>NINA</character> <parenthetical>(over the phone)</parenthetical> <dialogue>Nothing from the parents?</dialogue> <character>PETER</character> <dialogue>Not yet.</dialogue> <character>NINA</character> <parenthetical>(over the phone)</parenthetical> <dialogue>You sound tired.</dialogue> <scene_description>He rubs his eyes.</scene_description> <character>PETER</character> <dialogue>I'm exhausted.</dialogue> <character>NINA</character> <parenthetical>(over the phone)</parenthetical> <dialogue>What time do you think you'll be home?</dialogue> <character>PETER</character> <dialogue>No idea.</dialogue> <character>NINA</character> <parenthetical>(over the phone)</parenthetical> <dialogue>How is she?</dialogue> <scene_description>Peter looks over to Melinda asleep on the couch curled up into a small ball.</scene_description> <character>PETER</character> <dialogue>She's sleeping.</dialogue> <scene_description>Nina makes a strange sound on the other end of the line.</scene_description> <character>PETER</character> <dialogue>What's wrong?</dialogue> </scene> <scene> <stage_direction>INT. THE SPENCER HOME(BEDROOM)- NIGHT</stage_direction> <scene_description>Nina sits back in bed, quietly caressing her pregnant belly. The phone tucked between her shoulder and ear. The TV is on, the flicker lighting up her face in the dark room.</scene_description> <character>NINA</character> <dialogue>Nothing. The baby just moved.</dialogue> <scene_description>Peter's quiet.</scene_description> <character>PETER</character> <parenthetical>(over the phone)</parenthetical> <dialogue>How are you feeling about everything?</dialogue> <scene_description>She doesn't know how to respond.</scene_description> <character>PETER</character> <parenthetical>(over the phone)</parenthetical> <dialogue>I know this isn't the time, but .•.</dialogue> <scene_description>He sighs.</scene_description> <character>PETER</character> <parenthetical>(over the phone)</parenthetical> <dialogue>I just want to know where we are.</dialogue> <scene_description>She takes a moment to gather the words. After a few moments, she speaks.</scene_description> <character>NINA</character> <dialogue>I didn't want to be a mother. I didn't think I did.</dialogue> <scene_description>Tears start to well in her eyes.</scene_description> <character>NINA</character> <dialogue>This morning I woke up, ready to tell you I didn't want to do this.</dialogue> <scene_description>She stops.</scene_description> <character>NINA</character> <dialogue>But the thought of ending it. Really doing it. I can't stand the thought of it. I already love this baby. So much more than I thought I did.</dialogue> <scene_description>She chokes up as she says the words.</scene_description> <character>NINA</character> <dialogue>And I'll love this baby no matter what.</dialogue> <scene_description>There's a long silence on the other end of the line. She waits for a response in anxious anticipation.</scene_description> </scene> <scene> <stage_direction>INT. THE LANDERSHOUSE (LIVING ROOM) - NIGHT</stage_direction> <scene_description>Peter sits there stunned, the phone pressed tightly to his ear. He's quiet. It hasn't quite hit him yet.</scene_description> <character>NINA</character> <parenthetical>(over the phone)</parenthetical> <dialogue>Peter? Are you still there?</dialogue> <scene_description>He smiles.</scene_description> <character>PETER</character> <dialogue>Yeah, I'm still here. I'm really happy tha--</dialogue> <scene_description>Suddenly, the doorbell rings. Peter's eyes dart to the front door.</scene_description> <character>NINA</character> <parenthetical>(over the phone)</parenthetical> <dialogue>Was that the bell?</dialogue> <scene_description>He looks back to Melinda on the couch, but she doesn't so much as stir.</scene_description> <character>PETER</character> <dialogue>Maybe they're finally home.</dialogue> <character>NINA</character> <parenthetical>(over the phone)</parenthetical> <dialogue>Ringing the bell at their own house?</dialogue> <scene_description>Peter's eyeing the door when the doorbell rings again.</scene_description> <character>PETER</character> <dialogue>Lemme get it. I'll call you later.</dialogue> <character>NINA</character> <parenthetical>(over the phone)</parenthetical> <dialogue>Okay. Peter, I love you.</dialogue> <character>PETER</character> <dialogue>I love you too.</dialogue> <scene_description>He hangs up the phone. He walks to the door and peers through the peep hole. Someone is standing on the other side of the door. But whoever it is, they're standing too close to the door to see. He tries to discern who he's looking at but he can't tell. So he opens the door. But there's no one there. Confused, Peter stares at the empty doorstep. He takes a step outside and looks around. No sign of anyone. Plagued by exhaustion he brushes it off and he steps back inside. The house is now even darker since night has fallen. Peter hears a strange wheezing hiss coming from somewhere in the house. A wet, crackling wheeze. Unnerved, he looks around. He returns to the living room to find that the girl is now gone. Confused, he looks around the house. The bathroom, the guest room, the kitchen. He checks every room on the first floor. But can't find the little girl anywhere. He heads back to the entryway and looks up the steep stairs near the front door. At his feet, he sees stains in the carpet runner that look like black ink spilled down the staircase. It's sticky under his feet. As he heads up the stairs, he can clearly hear a child's voice coming from the second floor. And more faintly, he hears an adult woman's voice. Fear like he's never experienced before runs though his body. Holding his breath, he sneaks up the stairs, step by step. At the top of the stairs, his heart is racing. Beating out of his chest. And then he hears that odd mechanical laugh. The doll's laugh he'd heard in his own home the night before. Coming from the door at the end of the hallway. His heart skips a beat. Hesitant, he makes his way down the hallway towards the sound. As he gets closer, he can almost make out what the child inside the room is saying. But the woman's voice is soft, almost a whisper.</scene_description> <character>PETER</character> <dialogue>Hello?</dialogue> <scene_description>Slowly he steps closer and closer. The two voices inside the room getting louder. He gets to the door but waits. And then slowly, he pushes it open.</scene_description> </scene> <scene> <stage_direction>INT. THE LANDERSHOUSE (MELINDA'S BEDROOM)- NIGHT</stage_direction> <scene_description>But the only person in the room is Melinda. The room is clearly the girl's bedroom. Crayon drawings done by the girl litter the floor. All of them are the same. A bloody little girl next to a bloody woman with a baby in her belly, chopped up into pieces. A heavy black smudge scratched into every one, hovering above the bloody bodies. Melinda sits on the floor, rocking back and forth, scratching a black smudge into a new drawing. She pays no attention to Peter, out of breath, standing in the doorway. He looks around, baffled.</scene_description> <character>PETER</character> <dialogue>Were you just talking to someone?</dialogue> <scene_description>Melinda is engrossed in her picture and doesn't look up to acknowledge him. He steps into the room and looks at the pictures scattered on the floor. They're surreal. And incredibly creepy. Suddenly, Melinda looks up to the ceiling. Peter looks up. A large dark spot of dripping, fetid, black mold is growing from the wet, rotting drywall in the ceiling. He looks back to Melinda, staring at the stain above them. Right then, he hears the whir of a circular saw buzzing from another room. He turns, startled by the sound.</scene_description> </scene> <scene> <stage_direction>INT. THE LANDERSHOUSE (UPSTAIRS HALLWAY)- NIGHT</stage_direction> <scene_description>He steps backwards out of the little girl's bedroom. In the hallway, he looks towards the sound. At the other end of the hallway, is the bathroom. Through the crack in the door, he sees a man, obscured by the door frame, on his knees, bent over something in the bathtub. The man pants like an animal, the saw buzzing in his hands. Sawing something wet. Peter staggers back, frightened by the sight. But as he does, a woman sobs, right behind him. The breath of her cry a cold breeze on the back of his neck. He gasps as he turns from the shock. But there's no one behind him. He quickly turns back to the bathroom at the other end of the hallway. But the man with the saw is gone and the room is now dark. He looks at the open door, and the dark room it leads to. Then slowly, against his better judgement, he steps forward towards the room.</scene_description> </scene> <scene> <stage_direction>INT. THE LANDERSHOUSE (BATHROOM)- NIGHT</stage_direction> <scene_description>Peter steps into the upstairs bathroom. The same black stains he'd seen downstairs are scattered about the floor and the ceiling is a rotten mess of black mold. Peter flips the light switch on the wall, but the lights don't come on. He looks down into the bathtub and sees the mess of scratches and grooves left by a circular saw. The porcelain mangled with jagged scars. Then, that sound again, that horrible wheezing hiss. The sound crawls up his spine, chilling him to the core. His heart starts to race. His mouth dry, his legs weak, he can't catch his breath. But the wheeze slowly becomes the sound of swarming flies. He turns towards the sound. Flies are swarming from the closet in the wall behind him. He creeps closer to the closet doors, left open only ever so slightly. The sound of the flies swarming growing louder and louder. He opens the door and more flies swarm out of the closet, flying to freedom. Inside the closet, is a small door in the ceiling leading to a crawl space overhead. At the edges of the door in the ceiling, a whole nest of flies has made home in the crevices. Swarming and crawling all over it. Peter swats his way to the door above him and pushes it open. It flings open with a thud. More flies flood from the shadows of the crawl space. He steps into the closet and peers his head up into the darkness.</scene_description> </scene> <scene> <stage_direction>INT. THE LANDERSHOUSE (CRAWLSPACE) - NIGHT</stage_direction> <scene_description>Peter looks around in the small crawl space. It's so dark that he can't be sure, but it looks like there is something laying a few feet in front of him. A large heap of something. Swarming with flies. As his eyes adjust, he thinks he can make it out. Something wrapped in plastic. He reaches into his pocket and takes out his phone. He flips it open, using the dimly illuminated screen as a flashlight. And then he sees her. Chopped up. Mangled. Parceled into four translucent garbage bags. Fiona Landers' decaying, pregnant, maggot ridden corpse. Her lifeless eyes, forever open.</scene_description> <character>PETER</character> <dialogue>Oh my god.</dialogue> <scene_description>CUT TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. THE LANDERSHOUSE (MELINDA'S BEDROOM)- NIGHT</stage_direction> <scene_description>Melinda sits in her bed rocking back and forth. Her eyes wide. The bedroom door is closed. But she can hear her parents fighting in the other room.</scene_description> <character>FIONA (O.S.)</character> <dialogue>She needs help, Sam! There's clearly something wrong with her!</dialogue> <character>SAM (O.S.)</character> <dialogue>You keep saying this! But there's nothing wrong with her!</dialogue> <character>FIONA (O.S.)</character> <dialogue>Nothing wrong? Nothing wrong?! You're not the one up with her when she wakes up six times a night.</dialogue> <scene_description>She's screaming at him at the top of her lungs.</scene_description> <character>FIONA (O.S.)</character> <dialogue>You're not the one in the office at school talking to her teachers, having to look them in the eye and listen to all the shit she's done and then apologize for it!</dialogue> <scene_description>It's blood curdling. Choking back the sobs as she screams, shrieking. She can't control herself.</scene_description> <character>FIONA (O.S.)</character> <dialogue>You're not the one who lays on top her when she starts hitting herself and can't stop! You're not there Sam! You're not fucking there!</dialogue> <scene_description>And then it's quiet. And calmly he asks:</scene_description> <character>SAM (O.S.)</character> <dialogue>Have you ever thought that maybe it's you?</dialogue> <scene_description>The silence that follows is deafening. And then she explodes:</scene_description> <character>FIONA (O.S.)</character> <dialogue>Me, Sam? ME?!</dialogue> <scene_description>Melinda just sits there listening to it all.</scene_description> <character>FIONA</character> <dialogue>How dare you.</dialogue> <scene_description>CUT TO BLACK.: TITLE CARD: "THE MATHE SONS"</scene_description> </scene> <scene> <stage_direction>INT. THE MATHESONHOUSE (BEDROOM)- NIGHT</stage_direction> <scene_description>We know it as the Landers' house That mid-century modern ranch at the end of the cul-de-sac. But it's now home to a new family, THE MATHESONS. Faith Matheson thrashes desperately on the floor. Her eyes rolled back in her head. Her frail limbs flailing helplessly. Her husband WILLIAM MATHESON(72), sits on the floor, holding her body in his arms. The embrace is warm and loving. He whispers.</scene_description> <character>WILLIAM</character> <dialogue>Shh. It's okay. It's okay.</dialogue> <scene_description>Tears stream down his face. He rocks back and forth with his wife's seizing body. Like a parent trying to sooth a child.</scene_description> <character>WILLIAM</character> <dialogue>It'll be over soon.</dialogue> <scene_description>An empty bottle of pills sits on the table beside the bed. He struggles to speak, choking on his words.</scene_description> <character>WILLIAM</character> <dialogue>I love you.</dialogue> <scene_description>The old woman's thrashing slows to sporadic twitches. He hugs her tight, brushing the hair from her face lovingly.</scene_description> <character>WILLIAM</character> <dialogue>I'll be with you soon.</dialogue> <scene_description>But the gurgle of her tongue down her throat is haunting.</scene_description> </scene> <scene> <stage_direction>EXT. AIRPORT - DAY</stage_direction> <scene_description>Airplanes land and take off in the background. A cute older woman in her sixties walks out of the rental car office into the parking lot, wheeling a small suitcase behind her.</scene_description> <character>LORNA ( V. 0. )</character> <dialogue>I'm known as an Exit Guide.</dialogue> <scene_description>She's dressed neatly, and looks older than she is in a very grandmotherly sort of way.</scene_description> <character>LORNA (V.O.)</character> <dialogue>I sit with people who've made the decision to end their life on their own terms.</dialogue> <scene_description>This is LORNAMOODY.</scene_description> </scene> <scene> <stage_direction>EXT. THE MATHESONHOUSE - DAY</stage_direction> <scene_description>Lorna pulls up in front of the Matheson house. She parks her rental car on the street at the end of the driveway and gets out.</scene_description> <character>LORNA ( V. 0 . )</character> <dialogue>I want to start by answering any questions you may have for me.</dialogue> <scene_description>She walks up the long driveway towards the house and knocks on the front door.</scene_description> <character>WILLIAM (V. 0. )</character> <dialogue>How long will it take her to die?</dialogue> </scene> <scene> <stage_direction>INT. THE MATHESONHOUSE.( LIVING ROOM) - DAY</stage_direction> <scene_description>William, on the couch, stares intensely at Lorna, sitting in the armchair across from him. His eyes wide and tired.</scene_description> <character>LORNA</character> <dialogue>Our preferred method is a gas that requires the use of a hood. It's a one hundred percent effective. And its peaceful.</dialogue> <scene_description>The tone of her voice is soothing and slow. But he stares back at her.</scene_description> <character>WILLIAM</character> <dialogue>How long will it take her to die?</dialogue> <scene_description>Her word choice is deliberate.</scene_description> <character>LORNA</character> <dialogue>Once she pulls the hood down over her head, she'll be unconscious in five to ten seconds. That's all she'll know.</dialogue> <scene_description>His stare bores a hole through her. She can tell he's exhausted.</scene_description> <character>WILLIAM</character> <dialogue>But how long will it take her to die?</dialogue> <scene_description>She cuts to the chase.</scene_description> <character>LORNA</character> <dialogue>She'll be dead within twenty minutes.</dialogue> <scene_description>He lets it sink in, nodding his head. For a moment, his tone shifts oddly.</scene_description> <character>WILLIAM</character> <dialogue>Can I get you something? Tea? Coffee?</dialogue> <scene_description>He's nervous.</scene_description> <character>LORNA</character> <dialogue>I'm fine.</dialogue> <scene_description>It's quiet. William lost in thought.</scene_description> <character>WILLIAM</character> <dialogue>How many times have you done this?</dialogue> <character>LORNA</character> <dialogue>I've been a compassionate presence at the bedside of forty-four people.</dialogue> <scene_description>She can tell he's distraught.</scene_description> <character>LORNA</character> <dialogue>This can be a wonderful thing. I believe that no one should ever have to die alone. We don't come into this world alone, and we shouldn't have to leave it alone.</dialogue> <scene_description>But the sentiment doesn't seem to make him feel any better.</scene_description> <character>LORNA</character> <dialogue>Mr. Matheson, I do need to warn you. In order for anybody to be able to do this, that is, anyone involved with our organization, they must be mentally competent and physically able to carry this out themselves. Do you understand?</dialogue> <scene_description>He nods.</scene_description> <character>LORNA</character> <dialogue>Can you tell me about your wife?</dialogue> <scene_description>He's quiet for a moment, avoiding eye contact. She gives him time. Eventually, he speaks.</scene_description> <character>WILLIAM</character> <dialogue>We found out she was sick last year. She was pretty far gone before we realized. We moved here to be closer to her doctors. But after the move she started getting worse. She lost all feeling waist down. Can't stand, can't walk, nothing.</dialogue> <character>LORNA</character> <dialogue>I'm so sorry. I can't imagine how hard it's been on the both of you.</dialogue> <scene_description>Her compassion is deep and genuine.</scene_description> <character>WILLIAM</character> <dialogue>Before we knew about your organization, she tried to end her life.</dialogue> <character>LORNA</character> <dialogue>Do you mind if I ask how?</dialogue> <character>WILLIAM</character> <dialogue>She used to be a nurse ...</dialogue> <character>LORNA</character> <dialogue>Medication?</dialogue> <scene_description>He nods.</scene_description> <character>WILLIAM</character> <dialogue>But she's tried three times. The first time, she was out for a while. And I promised her I wouldn't call an ambulance or anything. I told her I would just be there for her until she woke up.</dialogue> <scene_description>Lorna listens closely as the older man speaks, watching him with a sympathetic gaze.</scene_description> <character>WILLIAM</character> <dialogue>We regrouped, and when she felt stronger, she tried again, upping the dosage. And she was out longer. But she still woke up.</dialogue> <character>WILLIAM</character> <dialogue>And I just sat with her. Through all of it. Alone.</dialogue> <scene_description>He starts to tear up.</scene_description> <character>WILLIAM</character> <dialogue>She tried one more time. And she was out for four days. And I just sat there with her. Waiting for her to die.</dialogue> <scene_description>Tears roll down his cheeks.</scene_description> <character>WILLIAM</character> <dialogue>I was terrified.</dialogue> <scene_description>He hides his eyes as he wipes the moisture from beneath his glasses.</scene_description> <character>WILLIAM</character> <dialogue>I went up there one time, and I almost thought I would have to put a pillow over her face. Can you believe that?</dialogue> <scene_description>He hangs his head.</scene_description> <character>WILLIAM</character> <dialogue>She woke up again. After four days.</dialogue> <scene_description>He breathes a heavy sigh of defeat.</scene_description> <character>WILLIAM</character> <dialogue>I can't do it anymore.</dialogue> <scene_description>Lorna can see the toll that this has taken on the man. She smiles.</scene_description> <character>LORNA</character> <dialogue>Well, I'm glad that you called. Hopefully I can help.</dialogue> <scene_description>He stares deep into her eyes.</scene_description> <character>WILLIAM</character> <dialogue>Me too.</dialogue> <scene_description>The man's stare is piercing.</scene_description> <character>LORNA</character> <dialogue>Let's go see your wife.</dialogue> </scene> <scene> <stage_direction>INT. THE MATHESONHOUSE (BEDROOM)- DAY</stage_direction> <scene_description>William stands in the doorway watching Lorna with his wife. Faith is in a wheelchair in the corner of the room. A glazed, far off look in her eyes. Lorna sits at the foot of the bed talking to her.</scene_description> <character>LORNA</character> <dialogue>Mrs. Matheson, my name is Lorna Moody. Do you know why I'm here?</dialogue> <scene_description>Faith forces an odd smile but doesn't respond. Lorna looks to William in the door, concerned.</scene_description> <character>LORNA</character> <dialogue>Mrs. Matheson. Your husband told me about your condition, and I'm here to see if I can help.</dialogue> <scene_description>Still no response from the old woman. Faith moves her limp hands to cover her face.</scene_description> <character>LORNA</character> <dialogue>Mrs. Matheson? Are you alright?</dialogue> <scene_description>The woman opens her hands like doors.</scene_description> <character>FAITH</character> <dialogue>Peek-a-boo!</dialogue> <scene_description>Lorna watches as the old woman laughs to herself. It's unsettling. But she can tell that although Faith is facing her, the woman's focus seems to be on something behind her. Lorna turns to look. No one there. And then back to the woman in the wheelchair.</scene_description> <character>LORNA</character> <dialogue>Who are you playing with?</dialogue> <scene_description>Faith's eyes slowly move to meet Lorna's.</scene_description> <character>FAITH</character> <dialogue>My friend.</dialogue> <scene_description>Again, she shoots a look to William.</scene_description> <character>LORNA</character> <dialogue>What's your friend's name?</dialogue> <scene_description>Faith is quiet. The smile on her face fades. And after a few moments she answers.</scene_description> <character>FAITH</character> <dialogue>Melinda.</dialogue> <scene_description>Lorna looks at the contorted expression scrawled across the woman's face.</scene_description> <character>LORNA</character> <dialogue>Is Melinda here with us now?</dialogue> <scene_description>Nothing. Then slowly, Faith nods.</scene_description> </scene> <scene> <stage_direction>INT. THE MATHESONHOUSE (RAILWAY) - DAY</stage_direction> <scene_description>Lorna walks out of the bedroom into the hall where William waits for her. She closes the door behind her as she emerges, a saddened look on her face.</scene_description> <character>WILLIAM</character> <dialogue>Please, I understand that ...</dialogue> <character>LORNA</character> <dialogue>Mr. Matheson, I was clear on the requirements. And I am truly, deeply sorry, but your wife is no longer mentally competent.</dialogue> <scene_description>There's a painful desperation in his voice, twinged with anger, but he keeps quiet with his wife just behind the door.</scene_description> <character>WILLIAM</character> <dialogue>What am I supposed to do?</dialogue> <character>LORNA</character> <dialogue>I can recommend some doctors for you to speak with.</dialogue> <character>WILLIAM</character> <dialogue>I don't want to talk to any more doctors! Please, you can't just leave.</dialogue> <scene_description>She's at a loss for words.</scene_description> <character>LORNA</character> <dialogue>I'm deeply sorry for everything you and your wife have been through. But you misrepresented your wife's state. She's just too far gone.</dialogue> <scene_description>William stares off, he's destroyed. She sees what pain she's caused.</scene_description> <character>LORNA</character> <dialogue>I can stay for a few days. To help you look over your options. I may not be able to help the way you wanted. But I can be here to support you no matter what. Would that be okay?</dialogue> <scene_description>There's a look of sad desperation on his face.</scene_description> </scene> <scene> <stage_direction>INT. POLICE PRECINCT - DAY</stage_direction> <scene_description>Detective Goodman bursts through the doors of the precinct. Exhausted and soaking wet from the rain, he hustles into the bull pen. He looks around and spots Detective Greco across the room. He calls out to him.</scene_description> <character>GOODMAN</character> <dialogue>Where is he?</dialogue> <scene_description>Greco rolls his eyes.</scene_description> <character>GRECO</character> <dialogue>Where do you think?</dialogue> </scene> <scene> <stage_direction>INT. POLICE PRECINCT (BASEMENT)- DAY</stage_direction> <scene_description>Goodman walks down the stairs into the dark basement. At a desk in the corner of the cavernous space is Detective Wilson. Wilson is sitting in the dark, huddled over a tape recorder, headphones over his ears, muttering quietly into a microphone.</scene_description> </scene> <scene> <stage_direction>INT. DINER - DAY</stage_direction> <scene_description>The sun is starting to set. A distant police siren blares in the distance. Goodman and Wilson sit across from each other at the table. Wilson's hardly touched the food in front of him, but his cup of coffee is nearly empty.</scene_description> <character>GOODMAN</character> <dialogue>You look like shit.</dialogue> <character>WILSON</character> <dialogue>It's the case.</dialogue> <scene_description>Wilson's hands are shaky.</scene_description> <character>GOODMAN</character> <dialogue>We closed the case months ago.</dialogue> <scene_description>Wilson shakes his head.</scene_description> <character>WILSON</character> <dialogue>Don't give me that shit.</dialogue> <scene_description>He locks eyes with Goodman. An intense and unsettling stare.</scene_description> <character>WILSON</character> <dialogue>You know exactly why I'm doing this.</dialogue> <scene_description>Goodman looks away.</scene_description> <character>GOODMAN</character> <dialogue>I get it. I do. And I wish I knew how to help you.</dialogue> <scene_description>Goodman's voice is genuinely sympathetic.</scene_description> <character>GOODMAN</character> <dialogue>But you can't show up to work like this. Take some time off. Spend time with your girls. You gotta get your mind off this shit.</dialogue> <scene_description>He's a quiet for a moment.</scene_description> <character>GOODMAN</character> <dialogue>Then maybe it'll stop.</dialogue> <scene_description>Wilson's downcast eyes start to glaze over as the tears well.</scene_description> <character>WILSON</character> <dialogue>It'll never stop.</dialogue> <scene_description>He looks up, staring once again, deep into Goodman's eyes.</scene_description> <character>WILSON</character> <dialogue>There's a woman. Outside.</dialogue> <scene_description>He lowers his voice to a whisper and leans in.</scene_description> <character>WILSON</character> <dialogue>Shes the one who's doing this.</dialogue> <scene_description>Goodman stares back at him. A chill running up his spine.</scene_description> <character>WILSON</character> <dialogue>I can see her face.</dialogue> <scene_description>Goodman is more scared than he lets on. Slowly, he turns his head to look out the window beside them. But there's no one there. Just a parking lot full of cars. He turns back to Wilson.</scene_description> <character>GOODMAN</character> <dialogue>There's no one there.</dialogue> <scene_description>A tear streams down Wilson's cheek. He's quiet.</scene_description> <character>GOODMAN</character> <dialogue>Lets get out of here.</dialogue> <scene_description>Goodman stands and walks to the cash register by the door. Wilson watches him go. He turns back to the window outside. But we don't see what he sees. Just the terrified look in his eye.</scene_description> </scene> <scene> <stage_direction>EXT. DINER PARKING LOT - DAY</stage_direction> <scene_description>Goodman and Wilson walk out of the diner. Goodman heads to the car. But Wilson is hesitant. Looking around as he walks slowly, lagging behind Goodman. Goodman sees the fear in his partner. But there's no one in the parking lot except for them.</scene_description> <character>GOODMAN</character> <dialogue>There's no one here.</dialogue> <scene_description>Wilson nods. Slowly, he follows to the car. Peering out the side of his eye as he goes. Goodman unlocks the car and they get in. Wilson's heart is beating out of his chest. He can hardly catch his breath.</scene_description> <character>GOODMAN</character> <dialogue>You good?</dialogue> <scene_description>He nods.</scene_description> <character>WILSON</character> <dialogue>Yeah.</dialogue> <scene_description>But he's not. Slowly, he turns to the window beside him. Fearing what he might see. But there's no one there. Then he looks up, to the rearview mirror. Still nothing.</scene_description> <character>GOODMAN</character> <dialogue>It's all in your head.</dialogue> <scene_description>He turns to look at Goodman. But standing behind Goodman, outside the car •.. Is the body of Fiona Landers, broken and twisted. Staring back at him. Wilson screams. Goodman turns to look. But there's no one there. Wilson kicks and thrashes.</scene_description> <character>GOODMAN</character> <dialogue>Wilson!</dialogue> <scene_description>Wilson screams. Goodman is panicked and confused.</scene_description> <character>GOODMAN</character> <dialogue>What's wrong?</dialogue> <scene_description>But the man just keeps screaming.</scene_description> <character>GOODMAN</character> <dialogue>Wilson! Wilson!</dialogue> </scene> <scene> <stage_direction>INT. THE MATHESONHOUSE (GUEST BEDROOM)- NIGHT</stage_direction> <scene_description>William comes in from the hall and flicks on the light.</scene_description> <character>WILLIAM</character> <dialogue>I made up the guest room for you.</dialogue> <scene_description>We recognize the room. The bedroom once belonged to Melinda Landers. Now it's decorated as a very sparse, utilitarian guest bedroom with a fold out couch. The couch has been pulled out, and the bed is made. William looks around. There isn't much other furniture or decoration in the room. Embarrassed, he smiles.</scene_description> <character>WILLIAM</character> <dialogue>We don't get much company.</dialogue> <scene_description>She smiles as she wheels her suitcase into the room.</scene_description> <character>LORNA</character> <dialogue>It's lovely.</dialogue> <scene_description>A drop of water falls on her shoulder. She looks up. There's an enormous wet spot in the ceiling. Dark, and starting to mold.</scene_description> <character>WILLIAM</character> <dialogue>Leaky roof.</dialogue> <scene_description>Looks like more than a leaky roof.</scene_description> <character>LORNA</character> <dialogue>Mmm.</dialogue> <character>WILLIAM</character> <dialogue>Like I said. Don't get much company.</dialogue> <scene_description>They stand there awkwardly for a moment.</scene_description> <character>WILLIAM</character> <dialogue>Is there anything else I can get you?</dialogue> <character>LORNA</character> <dialogue>Nope. I think I'm all good.</dialogue> <scene_description>William stands in the doorway.</scene_description> <character>WILLIAM</character> <dialogue>Alright, well, I have to run to the store for some dinner. I won't be long.</dialogue> <character>LORNA</character> <dialogue>Oh you don't have to do that!</dialogue> <scene_description>He smirks.</scene_description> <character>WILLIAM</character> <dialogue>Don't have much in the kitchen either.</dialogue> <character>LORNA</character> <dialogue>Well let me go. It's the least I can do.</dialogue> </scene> <scene> <stage_direction>EXT. GROCERYSTORE (PARKING LOT) - NIGHT</stage_direction> <scene_description>The sun has set, and in a town with few street lights, the night is very dark. The lot is nearly pitch black, lit only by the faint glow emanating from the fluorescent light of the store. Lorna pulls into the parking lot and parks her rental car. The lot is large and nearly empty. She gets out of her car and walks through the fluorescent glow of the desolate lot to the store.</scene_description> </scene> <scene> <stage_direction>INT. GROCERYSTORE - NIGHT</stage_direction> <scene_description>She walks through the aisles pushing a cart, gathering the ingredients to make dinner. The aisles of products are immaculately neat and organized. So much so that it's almost odd. She stares at the selection at the meat counter. The bloody cuts of meat on display. There's something inappropriately gory about the sight. Suddenly, she feels a hand holding hers. The hand of a little girl. She glances down, but there's no one standing there. No little girl. She looks around. An odd chill ripples through her, but she continues on through the aisles. She stops at the rows and rows of baby food. She looks to the list in her hand and then back to the shelves. For a moment, there's a little girl standing at the end of the aisle watching her. Lorna can feel the eyes on her. She turns. But again, there's no one there. Out of breath and uneasy, she looks around. The whole place feels eerily empty. She removes a few jars from the shelf, puts them into her cart and hurries to the cashier.</scene_description> </scene> <scene> <stage_direction>EXT. GROCERYSTORE (PARKING LOT) - NIGHT</stage_direction> <scene_description>Lorna rushes through the dark parking lot to her car. Still on edge, she walks quickly, her grocery bags tight in her arms. She keeps her eyes straight and heads directly for her car. She unlocks the door and gets in, placing the groceries on the seat beside her. Hastily, she tries to start the car. But it won't start.</scene_description> <character>LORNA</character> <dialogue>Come on.</dialogue> <scene_description>She tries again. Still nothing. On the brink of panic she tries one more time. And it works. The engine turns on and rests with a steady hum. She breathes a sigh of relief and smiles. Just then, her phone rings. The sudden noise startles her with a yelp. She pulls the device from her pocket and looks down at the screen: "UNKNOWN"She watches as it rings in her hand, She waits for a moment, and then answers the phone.</scene_description> <character>LORNA ( CONT'D )</character> <dialogue>Hello?</dialogue> <scene_description>Quiet.</scene_description> <character>LORNA</character> <dialogue>Hello?</dialogue> <scene_description>She waits. Still nothing. She's about to hang up when she hears an odd sound. A deep, wet, gurgling wheeze. And then quiet again. A long quiet. But she waits. And then the sound of a little girl's laugh. Far off and mechanical, Unsettled, she quickly hangs up the phone. She peers around the parking lot. No one in sight. But just then, she hears someone shuffling in the seat behind her. Her heart drops. Slowly, she looks to the rear-view mirror. Terrified of what she'll see. Her heart races as her eyes lock on the mirror. But there's no one there. Relieved, she sighs and shakes it off. She presses her foot down on the gas pedal and speeds out of the parking lot. But just as she does, we catch a glimpse of Melinda. Crouched on the floor behind Lorna's seat. Just out of view.</scene_description> </scene> <scene> <stage_direction>INT. GOODMAN'SHOUSE (LIVING ROOM) - NIGHT</stage_direction> <scene_description>Goodman sits on the couch smoking a cigarette. "The Price Is Right" is on TV. He stares at the TV set, a glazed look in his eyes. A half eaten bowl of cereal on the coffee table in front of him. He finishes his cigarette and crushes the butt into the ash tray beside him. Its nearly overflowing. He sits there in front of the TV, but his mind is somewhere else. He gets up off the couch and goes to the kitchen. He picks up the phone. He dials a number and waits. It rings and rings. But it goes to voicemail.</scene_description> <character>WILSON</character> <parenthetical>(over the phone)</parenthetical> <dialogue>Detective Wilson. Leave a message.</dialogue> <scene_description>Beep.</scene_description> <character>GOODMAN</character> <dialogue>It's me. Where are you? Just wanted to see how you're doing.</dialogue> <scene_description>He sighs, trying to think of the words to say.</scene_description> <character>GOODMAN</character> <dialogue>I hate seeing you like this.</dialogue> <scene_description>For a moment he's lost in thought. He chuckles dishonestly, trying to lighten his tone with feigned sarcasm.</scene_description> <character>GOODMAN</character> <dialogue>So man up and get your shit together.</dialogue> <scene_description>He's quiet. The fake smiles fades fast.</scene_description> <character>GOODMAN</character> <dialogue>Call me back when you get this.</dialogue> <scene_description>He hangs up. He sits down at the kitchen table and lights a cigarette. He tries to relax. But his mind is plagued by anxious thoughts.</scene_description> </scene> <scene> <stage_direction>INT. LORNA'S RENTALCAR - NIGHT</stage_direction> <scene_description>Lorna drives down the dark suburban streets. The bags of groceries in the back seat behind her. She turns a corner and heads down Reyburn Drive. She stops at the end of the Matheson's driveway. She parks her car and gets out.</scene_description> </scene> <scene> <stage_direction>EXT. THE MATHESONHOUSE - NIGHT</stage_direction> <scene_description>Lorna takes the grocery bags from the back seat, locks the car and heads up the driveway. But as she approaches the house, she sees a man. Standing on the front lawn, staring up at the house. Muttering to himself, his hands twitching. It's Detective Wilson. But to Lorna, he's a stranger. Keeping her distance, the paper bags tense in her arms, she calls out to him.</scene_description> <character>LORNA</character> <dialogue>Hello?</dialogue> <scene_description>But he doesn't so much as turn to look at her. He just keeps staring up at the house. His gaze transfixed on one of the upstairs windows.</scene_description> <character>LORNA</character> <dialogue>Excuse me?</dialogue> <scene_description>No reply.</scene_description> <character>LORNA</character> <dialogue>Excuse me, sir?</dialogue> <scene_description>He just keeps muttering. She looks around. There's not another person or car in sight. But the lights are on inside the Matheson house. Cautiously, she walks up the driveway towards the house, maintaining a safe distance from the man on the lawn. She keeps her eyes locked on him the whole time as she walks. Her heart racing, ready to run at any moment. But the man pays her no attention. He's focused on the house.</scene_description> </scene> <scene> <stage_direction>INT. THE MATHESONHOUSE - NIGHT</stage_direction> <scene_description>Lorna walks in and quickly locks the door behind her. She breathes a deep sigh of relief. She puts the grocery bags down on the floor and tries to catch her breath.</scene_description> <character>LORNA</character> <dialogue>Mr. Matheson?!</dialogue> <scene_description>He calls out from another room.</scene_description> <character>WILLIAM (O.S.)</character> <dialogue>In here!</dialogue> <scene_description>She rushes down the hallway to the living room where William and Faith are watching TV.</scene_description> <character>LORNA</character> <dialogue>Mr. Matheson, there's a strange man standing on your front lawn.</dialogue> <scene_description>William sighs. Seeming nothing more than mildly annoyed, he stands and walks over to the windows on the other side of the room.</scene_description> <character>LORNA</character> <dialogue>I tried to get his attention, but I think there's something wrong with him.</dialogue> <scene_description>William peels back the curtains and looks out. He sees Detective Wilson standing outside the house staring up at the upstairs window. William shakes his head and goes to the phone. Lorna's confused by William's reaction to what she's found quite odd.</scene_description> <character>LORNA</character> <dialogue>Do you know him?</dialogue> <scene_description>William speaks into the phone.</scene_description> <character>WILLIAM</character> <dialogue>He's here again.</dialogue> <scene_description>He listens.</scene_description> <character>WILLIAM</character> <dialogue>Yeah. Okay, see you soon.</dialogue> <scene_description>He hangs up the phone.</scene_description> <character>LORNA</character> <dialogue>Who is he?</dialogue> <scene_description>William sits back down on the couch.</scene_description> <character>WILLIAM</character> <dialogue>He's a cop.</dialogue> <scene_description>Lorna walks to the window.</scene_description> <character>LORNA</character> <dialogue>What's he doing?</dialogue> <scene_description>She watches Wilson with that wide eyed stare, muttering to himself endlessly.</scene_description> <character>WILLIAM</character> <dialogue>Who knows. He worked a case here before we moved in. Now he won't leave us alone.</dialogue> <scene_description>William wipes drool from Faith's lower lip. Her eyes are glazed, but there's a smile on her face as the helpless woman watches the television.</scene_description> <character>LORNA</character> <dialogue>A case?</dialogue> <scene_description>Lorna's tension starting to alleviate, she tries to lighten the mood.</scene_description> <character>LORNA</character> <dialogue>I hope it wasn't a murder.</dialogue> <scene_description>She laughs playfully. William doesn't react. Lorna's smile fades as she eats her words.</scene_description> <character>LORNA</character> <dialogue>Oh god, it was, wasn't it.</dialogue> <scene_description>William smiles awkwardly.</scene_description> <character>WILLIAM</character> <dialogue>Would you want me to tell you if it was?</dialogue> </scene> <scene> <stage_direction>INT. GOODMAN'SCAR - NIGHT</stage_direction> <scene_description>Goodman drives along the dark streets with Wilson sitting in the passenger seat beside him.</scene_description> <character>GOODMAN</character> <dialogue>You gotta stop it with this shit. Does your wife know where you are?</dialogue> <scene_description>Goodman keeps his eyes on the road, unable to look his partner in the eye. Even if he could, he'd see nothing there. There's a dazed, empty look on Wilson's face. Wilson reaches into his pocket and pulls out his gun. He pulls back the safety and holds the weapon below his chin. But Goodman's eyes are locked on the road and he doesn't notice.</scene_description> <character>GOODMAN</character> <dialogue>You're driving yourself crazy. I'm sorry I ever said anything.</dialogue> <scene_description>The gun poised and ready to shoot.</scene_description> <character>GOODMAN</character> <dialogue>Think about your family ...</dialogue> <scene_description>Goodman turns to look at his partner. And sees the gun.</scene_description> <character>GOODMAN</character> <dialogue>Shit!</dialogue> <scene_description>He reaches for Wilson's arm. Knocking the gun in his grasp. But Wilson pulls the trigger. Blood splatters across Goodman's face. Goodman slams on the breaks, skidding to a stop. Wilson's body flops onto Goodman's lap. Blood oozes from the side of his face. His eyes still open and blinking, looking around in confusion.</scene_description> <character>GOODMAN</character> <dialogue>No no no no no. What did you do?!</dialogue> </scene> <scene> <stage_direction>INT. THE MATHESONHOUSE (KITCHEN) - NIGHT</stage_direction> <scene_description>Lorna stands at the counter chopping vegetables, preparing dinner for William. William sits at the table beside his wife in her wheelchair. Lorna watches as the man spoon feeds his catatonic wife. The moment is difficult to watch. Faith, at the moment, is in a total catatonic state. Her eyes glassy, wide, and far off. William scoops a spoon into the small jar of baby food and holds it to his wife's limp lips.</scene_description> <character>WILLIAM</character> <dialogue>That's it.</dialogue> <scene_description>He eases the spoon into her mouth and then manually moves her jaw and rubs her throat to help her swallow.</scene_description> <character>WILLIAM</character> <dialogue>Dain' good, babe.</dialogue> <scene_description>Lorna watches how gentle and calm he is with her.</scene_description> <character>LORNA</character> <dialogue>You're so sweet with her.</dialogue> <scene_description>He doesn't take his eyes off his wife as he continues to feed her.</scene_description> <character>WILLIAM</character> <dialogue>She's been sweet to me my whole life. Its the least I can do,</dialogue> <scene_description>She watches how dedicated and unbothered he is as he does this otherwise tediously upsetting task.</scene_description> <character>LORNA</character> <dialogue>How long have you been married?</dialogue> <character>WILLIAM</character> <dialogue>Fifty years next month.</dialogue> <scene_description>He says it with a smile. He wipes away the food dribbling down his wife's chin with his thumb, lovingly, and kisses her forehead.</scene_description> </scene> <scene> <stage_direction>INT. THE MATHESONHOUSE (GUEST BEDROOM)- NIGHT</stage_direction> <scene_description>It's the middle of the night. Lorna is fast asleep. She tosses in her sleep. Rain beats down outside. Suddenly, the closet door starts to creep open. Ever so slightly. The room is so dark, you'd never be able to tell if something was emerging. Lorna shivers in her sleep. She pulls the covers tight up over her. Slowly, she stirs awake. Groggy, she stands and walks to the thermostat across the room. She looks down at the strange black inky substance rubbed into the carpet. She avoids the stain and continues to the thermostat. She turns up the heat and goes back to bed. Slowly she starts to hear something. The sound of a woman crying coming from down the hall. Lorna sits up. She looks around the darkened room as the sound of the woman's tears set in. A look of sadness across her face. She rolls over and tries to go back to sleep. But the woman keeps crying. And she just lays there listening to the cries. Eventually, she gets out of bed.</scene_description> </scene> <scene> <stage_direction>INT. THE MATHESONHOUSE (HALLWAY)- NIGHT</stage_direction> <scene_description>Lorna steps into the dark hallway. Her eyes slowly adjust to the darkness. In the hallway the crying is louder. Slowly she walks to the bathroom. It's eerily tense as she walks down the dark hall.</scene_description> </scene> <scene> <stage_direction>INT. THE MATHESONHOUSE (BATHROOM)- NIGHT</stage_direction> <scene_description>She flicks on the light switch. But the lights don't work. She tries again. But still nothing. She sighs, closes the door and locks it behind her. She sits down on the toilet in the dark room. There's something unsettling about being in the small dark room in the middle of the night. The only light coming from the moon through the window. When she's done, she stands at the sink and washes her hands. She avoids the mirror in the dark. Then she hears something. The sound of someone breathing. Behind her. She looks up, accidentally staring back at her reflection in the mirror. But there's no one in the room with her. She breathes deeply. Feeling a sudden sense of unease. She turns and peers out the window. The backyard is dark and empty. Blanketed in harsh shadows. The grass is tall and unkempt, blowing in the breeze. Just then, she notices the crying has stopped. She unlocks the door and pushes it open. But the moment she opens the door, a woman screams. Fiona Landers screaming in the middle of the hallway, her back to Lorna. Lorna quickly tucks back into the room. Her heart racing in a panic. The screaming stops. But Lorna can hardly catch her breath. Slowly, she leans into the doorway and peers into the hallway. The woman is gone. Lorna steps back into the hallway. She doesn't notice, but as she goes, there's a shadow of a small girl standing on the other side of the shower curtain just behind her.</scene_description> </scene> <scene> <stage_direction>INT. THE MATHESONHOUSE (HALLWAY)- NIGHT</stage_direction> <scene_description>She steps back into the dark hallway. From the top of the stairs, she can see William downstairs. He's in the living room asleep in front of the TV. Then the crying again. From a room behind her. She looks around for the woman she'd seen only moments ago. But there's no sign of her anywhere. Lorna turns towards the sound of the cries down the hall. She hesitates for a moment. But starts to walk towards it. Growing louder as she approaches. As she passes the bedroom she'd been sleeping in, we notice the shadow of a little girl curled up on the foot of the bed. Rocking back and forth. But Lorna doesn't notice. Focused on the growing noise of the uncontrollable sobs behind the door in front of her. She gets to the door and knocks quietly.</scene_description> <character>LORNA</character> <dialogue>Mrs. Matheson?</dialogue> <scene_description>As if in response, the crying subsides. She knocks again, her voice shaking.</scene_description> <character>LORNA</character> <dialogue>Mrs. Matheson, are you alright?</dialogue> <scene_description>No response. Slowly, she pushes open the door.</scene_description> </scene> <scene> <stage_direction>INT. THE MATHESONHOUSE (BEDROOM)- NIGHT</stage_direction> <scene_description>Lorna steps into the dark room. Faith in the bed, her back to Lorna.</scene_description> <character>LORNA</character> <dialogue>Are you alright, Mrs. Matheson?</dialogue> <scene_description>No response. She steps closer.</scene_description> <character>LORNA</character> <dialogue>Mrs. Matheson?</dialogue> <scene_description>The woman in the bed turns over. But it's not Faith Matheson. Fiona Landers lays there hysterically crying. Lorna screams and stumbles back. Just as William bursts into the room and turns on the lights.</scene_description> <character>WILLIAM</character> <dialogue>What's wrong?</dialogue> <scene_description>There's a panic in his voice as he looks around the room. Lorna is shaken with fright. Panting, out of breath. William looks to her.</scene_description> <character>WILLIAM</character> <dialogue>What happened?</dialogue> <scene_description>Lorna turns to the bed. Under the sheets, tucked in neatly and untouched, is Faith Matheson. Her eyes open in a comatose stare.</scene_description> </scene> <scene> <stage_direction>INT. THE MATHESONHOUSE (KITCHEN) - NIGHT</stage_direction> <scene_description>Lorna sits at the kitchen table sweating bullets. Eyes wide, she sips a cup of coffee. Her hands are shaking. William stands leaning on the counter by the sink.</scene_description> <character>LORNA</character> <dialogue>Mr. Matheson--</dialogue> <scene_description>Her voice quivers.</scene_description> <character>LORNA</character> <dialogue>I hope you don't take this the wrong way but--</dialogue> <scene_description>She can hardly muster the words.</scene_description> <character>LORNA</character> <dialogue>I believe that your house is haunted.</dialogue> <scene_description>He stares back at her, unaffected by the revelation.</scene_description> <character>WILLIAM</character> <dialogue>I thought someone like you might not mind our ... unique situation.</dialogue> <scene_description>Clearly he was wrong, as the woman is visibly shaken.</scene_description> <character>LORNA</character> <dialogue>So you've seen her too?</dialogue> <scene_description>He nods. She looks back at him, bewildered.</scene_description> <character>LORNA</character> <dialogue>Why are you still here?</dialogue> <scene_description>He thinks for a moment, as tears well in his eyes. But he smiles.</scene_description> <character>WILLIAM</character> <dialogue>Seeing them gives me hope that maybe she'll stick around too. After it's all over.</dialogue> <scene_description>Lorna thinks about the sentiment. But she doesn't know how to feel about it.</scene_description> <character>WILLIAM</character> <dialogue>It's the only hope I have.</dialogue> <scene_description>The morbidly twisted logic is oddly heartwarming.</scene_description> </scene> <scene> <stage_direction>INT. THE MATHESONHOUSE (BEDROOM)- NIGHT</stage_direction> <scene_description>Upstairs in the bedroom, Faith still has that wide-eyed comatose look on her face as she lays in bed. But the look in her eyes is now filled with terror. Because Fiona Landers is laying on top of her. Their faces inches apart. The pregnant woman's lips parted. That gruesome, seeping wheeze oozing from her tattered lungs. Thick, black, fetid tears drip from her eyes onto Faith Matheson's frozen cheeks. The old woman paralyzed with fear.</scene_description> </scene> <scene> <stage_direction>INT. THE MATHESONHOUSE (KITCHEN) - DAY</stage_direction> <scene_description>The sun has come up and its now well into morning. William stands at the counter preparing breakfast. Faith in her wheelchair, more coherent today, wheels herself into the room. William turns to her and smiles.</scene_description> <character>WILLIAM</character> <dialogue>Still feeling good?</dialogue> <scene_description>She keeps looking behind her, a paranoid look in her eye.</scene_description> <character>WILLIAM</character> <dialogue>What's wrong?</dialogue> <character>FAITH</character> <dialogue>There's a woman upstairs.</dialogue> <scene_description>She lowers her voice to a whisper.</scene_description> <character>FAITH</character> <dialogue>She's asleep in the guest room.</dialogue> <character>WILLIAM</character> <dialogue>That's Lorna sweetheart. Remember?</dialogue> <character>FAITH</character> <dialogue>Mmm.</dialogue> <scene_description>She nods, feigning remembrance as she wheels herself to the table.</scene_description> <character>FAITH</character> <dialogue>But what's she doing here?</dialogue> <character>WILLIAM</character> <dialogue>She's here to help us.</dialogue> <character>FAITH</character> <dialogue>With what?</dialogue> <character>WILLIAM</character> <dialogue>Don't you remember sweetheart? We called her together. Last week.</dialogue> <scene_description>He can tell from the look on her face that Faith is frustrated. He rubs her shoulders.</scene_description> <character>WILLIAM</character> <dialogue>It's okay, babe. She's here to end all of this.</dialogue> <scene_description>But there's an odd, skeptical look in Faith's eye.</scene_description> <character>WILLIAM</character> <dialogue>Wanna help me with breakfast?</dialogue> </scene> <scene> <stage_direction>INT. THE MATHESONHOUSE (HALLWAY)- DAY</stage_direction> <scene_description>Lorna emerges from the guest room dressed, packed, and ready to get back on the road. She walks down the stairs.</scene_description> <character>LORNA</character> <dialogue>Mr. Matheson?</dialogue> <scene_description>At the bottom of the stairs she hears a noise in the kitchen.</scene_description> </scene> <scene> <stage_direction>INT. THE MATHESONHOUSE (KITCHEN) - DAY</stage_direction> <scene_description>She walks into the kitchen where, much to her surprise, she finds Faith Matheson, standing at the counter chopping vegetables. Faith's back is to Lorna, standing in the doorway.</scene_description> <character>LORNA</character> <dialogue>Mrs. Matheson?</dialogue> <scene_description>There's no response, but the sight makes Lorna smile.</scene_description> <character>LORNA</character> <dialogue>I'm happy to see you on your feet.</dialogue> <scene_description>Her back still turned, Faith doesn't respond.</scene_description> <character>LORNA</character> <dialogue>Mrs. Matheson?</dialogue> <scene_description>She just keeps chopping at the cutting board on the counter. Just then, Lorna sees something out of the corner of her eye. Something on the floor. She looks down. William is face down on the floor with a fork stabbed into the side of his neck. He's dead. But the scuff marks on the linoleum floor left by the soles of his shoes indicate a terrible struggle.</scene_description> <character>LORNA</character> <dialogue>Oh my god. What did you do?</dialogue> <scene_description>Faith just keeps chopping. Lorna screams.</scene_description> <character>LORNA</character> <dialogue>What did you do?/</dialogue> <scene_description>Slowly, Faith turns around, twisting oddly at her hips and Lorna sees that she hasn't been chopping vegetables at all. Faith's been chopping her fingers with a kitchen knife. Her left hand, a mangled, fleshy mess of stumps. The woman's face, unbearably sad.</scene_description> <character>FAITH</character> <dialogue>He wanted to kill me.</dialogue> <scene_description>Lorna backs away.</scene_description> <character>LORNA</character> <dialogue>Oh my god.</dialogue> <scene_description>Just then, she hears something. That horrible, croaking gurgle. She turns. And standing right behind her in the corner of the room is the skeletal form of Fiona Landers. Limbs broken and twisted at every joint. Fiona rubs her pregnant belly with her mangled hands, jerking back and forth at the broken elbow. Blood streams down her legs. Lorna screams and runs for the door. Desperately clawing and scrambling as she goes. She fumbles with the door and then bolts out of the house. She runs down the driveway out to her car.</scene_description> </scene> <scene> <stage_direction>EXT. THE MATHESONHOUSE - DAY</stage_direction> <scene_description>Running like she's never run before, she finally reaches her rental car parked at the end of the driveway. She gets inside, slams the door, starts the engine, and speeds off.</scene_description> </scene> <scene> <stage_direction>INT. LORNA'S RENTALCAR - DAY</stage_direction> <scene_description>Panicked, she speeds down the wooded back roads. Panting, out of breath, a crazed look on her face. She mutters to herself.</scene_description> <character>LORNA</character> <dialogue>You're okay. You're okay. You're okay.</dialogue> <scene_description>But her heart races. She looks to the rearview mirror. And Fiona Landers is sitting there in the back seat behind her. Her arms outstretched, gripping the steering wheel tight, she swerves as she screams. And just then, her elbow hyperextends, seemingly on its own. The bones violently cracking the wrong way with a snap.</scene_description> </scene> <scene> <stage_direction>EXT. SERVICE ROAD- DAY</stage_direction> <scene_description>The car spins out of control. Spinning wildly down the street. Bouncing back and forth between the guard rails. But eventually it comes to a stop, screeching from the friction under the tires. And the car just sits there in the middle of the road. The chaos quiets. And time passes. Days turn to nights many times over. Days, then weeks, then months go by. The remainder of the winter's snow melts. The trees regrow their leaves and then lose them once again. All the while, the car and Lorna's corpse remain untouched. As the months pass and seasons change, not a single car drives down the road. Eventually a truck comes along and the driver stops when he spots Lorna's wreck. He makes a call and before long the place is swarming with cops and emergency vehicles. When the fire department arrives, they pry the car's doors off with the jaws of life and reveal the twisted body inside. And then Goodman and Muldoon arrive at the scene. Uniformed officers escort the detectives under the tape line surrounding the scene. And Goodman and Muldoon head into the chaos. Unaware of what's to transpire. CUT TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. THE LANDERS HOUSE (LIVING ROOM) - DAY</stage_direction> <scene_description>Melinda lays on the floor of the living room thrashing and screaming and crying. Her arms bound to her sides by her father's belt strapped tight around her body. Her parents are fighting in the kitchen, but she can hear everything.</scene_description> <character>SAM (O.S.)</character> <dialogue>How dare you speak to me like that!</dialogue> <scene_description>Melinda hears the slap across her mother's face. She kicks and flails.</scene_description> <character>SAM (O.S.)</character> <dialogue>Don't look at me like that.</dialogue> <scene_description>And then the sound of pots and pans crashing. Plates smashing. And the sound of her mother crying.</scene_description> <character>FIONA (O.S.)</character> <dialogue>I'm sorry, Sam. I'm sorry.</dialogue> <scene_description>Melinda screams and wails. But her parents aren't listening. CUT TO BLACK.: TITLE CARD: "GOODMAN&amp; MULDOON"</scene_description> </scene> <scene> <stage_direction>INT. THE MULDOON</stage_direction> <character>HOUSE (KITCHEN) - DAY</character> <dialogue>109</dialogue> <scene_description>Burke sits at the table, a birthday cake adorned with seven candles in front of him. Goodman and Muldoon stand on either side of the boy.</scene_description> <character>&amp; MULDOON</character> <dialogue>GOODMAN</dialogue> <parenthetical>(singing)</parenthetical> <dialogue>.•. Happy birthday dear Burke. Happy birthday to you!</dialogue> <scene_description>Goodman is uncharacteristically enthusiastic as he sings. But Muldoon is distracted. Her mind is elsewhere. Goodman takes notice, but pretends to ignore it.</scene_description> <character>GOODMAN</character> <dialogue>Alright kid, make a wish.</dialogue> <scene_description>The little boy smiles and blows out the candles. Goodman watches, beaming. The family he never thought he'd have. But he can tell something is wrong with Muldoon.</scene_description> </scene> <scene> <stage_direction>INT. THE MULDOON</stage_direction> <scene_description>HOUSE (LIVING ROOM) - DAY llO Muldoon, Burke and Goodman sit on the couch watching an old movie. Burke cuddles close to his mother, the two of them under a blanket. Muldoon has dozed off. Goodman glances over.</scene_description> <character>GOODMAN</character> <parenthetical>(whispering)</parenthetical> <dialogue>Ey, Muldoon.</dialogue> <scene_description>She shakes awake and looks around, groggy. She's shaken.</scene_description> <character>MULDOON</character> <dialogue>Did I fall asleep?</dialogue> <character>GOODMAN</character> <dialogue>Why don't I get out of here.</dialogue> <scene_description>Goodman watches as Muldoon rubs the sleep from her eyes. There's something off about her demeanor.</scene_description> </scene> <scene> <stage_direction>EXT. THE MULDOON</stage_direction> <character>HOUSE - NIGHT</character> <dialogue>111</dialogue> <scene_description>Muldoon walks Goodman out to his car.</scene_description> <character>MULDOON</character> <dialogue>Thanks for tonight.</dialogue> <character>GOODMAN</character> <dialogue>Yeah, of course. I love the kid.</dialogue> <scene_description>She puts on a smile.</scene_description> <character>MULDOON</character> <dialogue>It's nice to feel normal for once.</dialogue> <scene_description>Goodman finds the remark odd. He stares back at her concerned.</scene_description> <character>GOODMAN</character> <dialogue>You alright?</dialogue> <character>MULDOON</character> <dialogue>Me? Yeah, of course. Just tired.</dialogue> <character>GOODMAN</character> <dialogue>Been sleeping much?</dialogue> <scene_description>She smiles.</scene_description> <character>MULDOON</character> <dialogue>I'm fine! Stop worrying about me.</dialogue> </scene> <scene> <stage_direction>INT. THE MULDOON</stage_direction> <character>HOUSE - NIGHT</character> <dialogue>112</dialogue> <scene_description>Muldoon has fallen asleep on the couch in the living room in front of the TV. She stirs awake and looks around disoriented. She gets up and turns off the TV. She shuts off the lights in the living room and then the hallway, room by room, sending the house into darkness. In the kitchen, she goes to the thermostat and turns up the heat. She flicks the lights switch and the kitchen goes dark. She looks to the sliding doors across the room, leading to the dark backyard outside. They're unlocked. She walks through the dark kitchen towards the large glass doors. She reaches for the lock and turns it. As she does, she peers outside into the darkness. There, standing in the shadows, looking back at her through the glass doors is Fiona Landers. Just staring at her. Her heart skips. Quickly, she flicks on the light illuminating the backyard. But there's no one there. She catches her breath, shakes it off, and walks out of the room. But there in the shadows in the corner of the room. Is little Melinda Landers. Sitting on the floor. Rocking back and forth.</scene_description> </scene> <scene> <stage_direction>EXT. THE MULDOON</stage_direction> <character>HOUSE - NIGHT</character> <dialogue>113</dialogue> <scene_description>The night is calm and quiet. But there's an eeriness to the sway of the trees in the wind.</scene_description> </scene> <scene> <stage_direction>INT. THE MULDOON</stage_direction> <character>HOUSE (MASTERBEDROOM)- NIGHT</character> <dialogue>114</dialogue> <scene_description>Muldoon is now asleep in bed. Suddenly, the lights turn on in the hallway outside. The lights are off in the bedroom but a sliver of light peeks in from beneath the closed door. Muldoon starts to stir awake. Suddenly, she hears something. A wheezing sound. Quiet, but it's there, creeping from the corner of the room. Then she hears it again, louder this time. Slowly, she looks to the corner, Staring into the deep black shadows lurking by the door. It's so dark, she can hardly see a thing, but she can tell there's someone there. Her voice quivers as she whispers.</scene_description> <character>MULDOON</character> <dialogue>Hello?</dialogue> <scene_description>Just then she notices a shadow. It steps into the sliver of light beneath the door, as though someone were now standing on the other side of the door.</scene_description> <character>MULDOON</character> <dialogue>Burke?</dialogue> <scene_description>And then the shadow peels back, as if whoever was standing there has turned and left. She gets out of bed and opens the door. But no one's in the hallway.</scene_description> </scene> <scene> <stage_direction>INT. THE MULDOON</stage_direction> <character>HOUSE (HALLWAY)-, NIGHT</character> <dialogue>Muldoon steps down the hallway to her son's room. light on in the house is the light in the hallway. She opens Burke's room and fast asleep in bed. Muldoon turns to leave turns on in the living The cacophonous open his groggy</dialogue> <character>115</character> <dialogue>The only door and looks quietly, but all of a sudden the room. The volume all the way up. burst eyes.</dialogue> <character>BURKE</character> <dialogue>What's going on?</dialogue> <scene_description>Confused, Muldoon looks down the hallway into the rest of the house.</scene_description> <character>MULDOON</character> <dialogue>I think its a power surge. Go back to sleep.</dialogue> <scene_description>Burke lays back down and closes his eyes. Muldoon steps out of the room, flicks off the light, and shuts the door.</scene_description> </scene> <scene> <stage_direction>INT. THE MULDOON</stage_direction> <character>HOUSE (LIVING ROOM) - NIGHT</character> <dialogue>116</dialogue> <scene_description>She walks down the hallway into the living room and looks around. Nothing seems out of the ordinary. But she finds her self on edge. Frightened. She tries to shake it off. But she can't. She turns off the television.</scene_description> </scene> <scene> <stage_direction>INT. THE MULDOON</stage_direction> <character>HOUSE (KITCHEN) - NIGHT</character> <dialogue>117</dialogue> <scene_description>She walks into the kitchen and finds the dog sitting and staring oddly at the sliding door to the backyard.</scene_description> <character>MULDOON</character> <dialogue>Need to go out Frank?</dialogue> <scene_description>She unlocks the door and slides it open to let the dog out. But the dog doesn't budge. Frank just sits there staring. Muldoon's heart starts to race. Then the dog gets down low to the ground, belly to the floor, and whimpers, staring out into the backyard.</scene_description> <character>MULDOON</character> <dialogue>What's wrong?</dialogue> <scene_description>She looks out into the dark backyard.</scene_description> <character>MULDOON</character> <dialogue>Do you see something?</dialogue> <scene_description>It's getting harder to breath. The dog whimpers and still won't move. Muldoon steps outside.</scene_description> <character>MULDOON</character> <dialogue>Come Frank.</dialogue> <scene_description>Still nothing from the dog.</scene_description> <character>MULDOON</character> <dialogue>Come on bud.</dialogue> <scene_description>Finally, the dog reluctantly steps outside.</scene_description> </scene> <scene> <stage_direction>EXT. THE MULDOON</stage_direction> <character>HOUSE (BACKYARD)- NIGHT</character> <dialogue>118</dialogue> <scene_description>For a moment the dog just stands there at Muldoon's side, his gaze transfixed on the table a few yards in front of them.</scene_description> <character>MULDOON</character> <dialogue>What's wrong?</dialogue> <scene_description>Frank starts to growl at the table. Muldoon looks at it. The table is covered in a table cloth that hangs down, obstructing the view underneath. Just then, the TV inside the house turns back on. Her eyes dart to the house. Her mind starts to race and all of a sudden, she's terrified. The dog keeps growling.</scene_description> <character>MULDOON</character> <dialogue>What's wrong?</dialogue> <scene_description>Muldoon stares at the table cloth rustling in the wind.</scene_description> <character>MULDOON</character> <dialogue>Is there something under there?</dialogue> <scene_description>The dog just keeps growling. Slowly, Muldoon steps towards the table, inching forwards carefully, A frightful tension building within her. Each step, her heart beats faster. The dog growls louder. Finally, she gets to the table and reaches for the cloth, She lifts the edge peeling it back off the table. And there she sees a little girl. Melinda Landers. Wide black eyes, crouched underneath the table staring back at her. The little girl with swollen eyes squeezes the tattered doll in her arms. And the doll lets out a terrifying little mechanical giggle. Muldoon screams. She staggers back, panting, trying to catch her breath. As the tears stream down her face.</scene_description> </scene> <scene> <stage_direction>INT. THE MULDOON</stage_direction> <character>HOUSE (KITCHEN) - NIGHT</character> <dialogue>119</dialogue> <scene_description>Muldoon sits at the kitchen table, her teary eyes downcast.</scene_description> <character>MULDOON</character> <dialogue>You're the only person I have.</dialogue> <scene_description>Goodman sits across the table from her, a sympathetic look on his face.</scene_description> <character>GOODMAN</character> <dialogue>Was it happening at all before you went to the house?</dialogue> <scene_description>Muldoon shakes her head.</scene_description> <character>MULDOON</character> <dialogue>I don't know.</dialogue> <scene_description>She picks at the skin around her fingernails nervously.</scene_description> <character>MULDOON</character> <dialogue>I just think that I've been thinking about all this stuff too much.</dialogue> <character>GOODMAN</character> <dialogue>The case?</dialogue> <scene_description>Muldoon's leg shakes under the table.</scene_description> <character>MULDOON</character> <dialogue>Looking at all these photos. Reading all the horrible stories.</dialogue> <scene_description>Goodman chews on the toothpick between his teeth twirling it back and forth with one hand. He sips a cup of coffee with the other as he listens. There's a genuine look of understanding in the older man's eyes.</scene_description> <character>MULDOON</character> <dialogue>I don't care how immune to it you are. It gets to you. I can't close my eyes without seeing this shit.</dialogue> <scene_description>Goodman looks at the shaken, broken woman. Tears well up in Muldoon's eyes. It's a sad sight, Muldoon sitting there, so desperate, so helpless. For the first time, she locks eyes with Goodman.</scene_description> <character>MULDOON</character> <dialogue>I think I'm losing my mind.</dialogue> <scene_description>She looks back down the hall towards her son's bedroom. She hesitates for a moment.</scene_description> <character>MULDOON</character> <dialogue>I'm just afraid that I won't be able to handle everything, and I' 11. ..</dialogue> <scene_description>She chokes up.</scene_description> <character>MULDOON</character> <dialogue>And I'll make him go through it again.</dialogue> <scene_description>Muldoon regains her composure. Muldoon shakes her head in dismay. Goodman stares back at her, clearly overwhelmed.</scene_description> <character>MULDOON</character> <dialogue>I don't know what to do. I'm trying so hard to pretend like I'm not scared. But he can tell.</dialogue> <scene_description>She shakes her head.</scene_description> <character>MULDOON</character> <dialogue>Maybe I am going crazy.</dialogue> <scene_description>She takes a deep breath. Muldoon knows how to cut through. She looks up at Goodman.</scene_description> <character>MULDOON</character> <dialogue>I went to see Wilson.</dialogue> <scene_description>Goodman's heart skips a beat. He tries to hide it.</scene_description> <character>GOODMAN</character> <dialogue>Why'd you go do a thing like that?</dialogue> <scene_description>Muldoon stares deep into his eyes with a crazed look.</scene_description> <character>MULDOON</character> <dialogue>I need to know what he saw and why you won't go near that house.</dialogue> </scene> <scene> <stage_direction>INT. GOODMAN'SHOUSE (BEDROOM)- NIGHT</stage_direction> <scene_description>Goodman lays awake in bed, lost in thought. He turns and looks at the clock. Nearly 5AM. He hasn't slept a wink.</scene_description> </scene> <scene> <stage_direction>INT. POLICE PRECINCT (BULL PEN) - DAY</stage_direction> <scene_description>Goodman walks into the precinct amidst the morning bustle. But today seems particularly hectic. More officers than usual, hustling back and forth between offices. Three men in suits stand with the Captain in his office. Goodman looks around for Muldoon. Detective Greco walks over and stands by Goodman. His arms crossed, he sips his coffee. The two men stand at the edge of the room, surveying the scene.</scene_description> <character>GOODMAN</character> <dialogue>Where's Muldoon?</dialogue> <scene_description>Greco shrugs.</scene_description> <character>GRECO</character> <dialogue>First time in weeks she isn't first one in.</dialogue> <scene_description>Goodman nods towards the men in the Captain's office.</scene_description> <character>GOODMAN</character> <dialogue>What's with the suits?</dialogue> <character>GRECO</character> <dialogue>Prints came back on the body from the other day.</dialogue> <scene_description>Goodman's stomach drops.</scene_description> <character>GOODMAN</character> <dialogue>Mrnm.</dialogue> <scene_description>Goodman walks away towards his desk, but Greco calls out after him.</scene_description> <character>GRECO</character> <dialogue>Aren't you curious?</dialogue> <scene_description>Goodman casually calls over his shoulder as he goes.</scene_description> <character>GOODMAN</character> <dialogue>Nope.</dialogue> <scene_description>Greco laughs.</scene_description> <character>GRECO</character> <dialogue>Oh come on! Prints never take this long. Three guesses.</dialogue> <scene_description>Greco shines with boyish glee.</scene_description> <character>GRECO</character> <dialogue>Come on!</dialogue> <scene_description>But Goodman doesn't entertain the challenge. He sits down at his desk and turns his computer on. Greco calls from across the room.</scene_description> <character>GRECO</character> <dialogue>Prints belong to a dead body. One of yours.</dialogue> <scene_description>He's got a smile like a kid with a secret.</scene_description> <character>GRECO</character> <dialogue>Case from January.</dialogue> <scene_description>Goodman doesn't turn to look at him, but listens intently.</scene_description> <character>GRECO</character> <dialogue>Fiona Landers.</dialogue> <scene_description>Goodman's expression changes to one of deep-seeded terror. A crass smile across Greco's face.</scene_description> <character>GRECO</character> <dialogue>Spooky shit, huh? You think someone cut her fingers off at the morgue?</dialogue> <scene_description>The chilling waves of fear build within Goodman. Unlike anything he's ever felt before. Greco walks away as the thought sets in. Goodman sits there for a moment, stunned. Then slowly, he lifts the phone and dials a number. Holding the phone tensely to his ear, he waits as it rings. But it just rings and rings. Eventually it goes to the answering machine.</scene_description> <character>BURKE</character> <parenthetical>(over the phone)</parenthetical> <dialogue>Hi.' I You've reached the Muldoons.</dialogue> </scene> <scene> <stage_direction>INT. THE MULDOON</stage_direction> <character>HOUSE (MASTERBEDROOM)- DAY</character> <dialogue>122</dialogue> <scene_description>Muldoon sits at the edge of her bed staring off. Burke's cheery voice emits from the answering machine.</scene_description> <character>BURKE</character> <parenthetical>(on the answering machine)</parenthetical> <dialogue>We can't come to the phone right now, but you can leave us a message after the beep.</dialogue> <scene_description>Muldoon is motionless, paralyzed. BEEP.</scene_description> <character>GOODMAN</character> <parenthetical>(on the answering machine)</parenthetical> <dialogue>Muldoon, it's Goodman.</dialogue> <scene_description>Muldoon is terrified. Staring, eyes wide with fear.</scene_description> <character>GOODMAN</character> <parenthetical>(on the answering machine)</parenthetical> <dialogue>Call me when you get this.</dialogue> <scene_description>Because Melinda Landers is standing there in the doorway staring back at her. Eyes dark and swollen. Bile flowing from the little girl's lips. And then Muldoon hears it. That terrible, wet, groaning wheeze right behind her head. Slowly, she turns. Painfully afraid of what she might see. And right there behind her, their face mere inches apart ... Is pregnant Fiona Landers. Screaming at the top of her lungs.</scene_description> </scene> <scene> <stage_direction>EXT. THE MULDOON</stage_direction> <character>HOUSE - DAY</character> <dialogue>123</dialogue> <scene_description>The school bus pulls up and stops in front of the Muldoon house. Burke steps off the bus and heads towards the house, passing his mother's car parked in the driveway.</scene_description> </scene> <scene> <stage_direction>INT. THE MULDOON</stage_direction> <character>HOUSE - DAY</character> <dialogue>124</dialogue> <scene_description>Burke walks in through the front door and calls out.</scene_description> <character>BURKE</character> <dialogue>Mom?</dialogue> <scene_description>It's quiet. He closes the door and hangs up his jacket. He calls out once more.</scene_description> <character>BURKE</character> <dialogue>Mom?</dialogue> <scene_description>Still nothing. He looks around the room. Nothing seems out of place, but the TV is still on.</scene_description> <character>BURKE</character> <dialogue>Frank?</dialogue> <scene_description>The little boy waits and still there's no response. He walks over to the TV across the room and shuts it off. As the house goes quiet, he hears Frank whimpering down the hall. Burke turns the corner and sees Frank at the other end of the hallway. The dog is whimpering, desperately scratching at the door to Muldoon's bedroom. Slowly, the young boy walks down the hallway.</scene_description> <character>BURKE</character> <dialogue>What's wrong bud?</dialogue> <scene_description>The bedroom door is so scratched, we can only imagine how long the panicked dog has been here like this. Burke tries the door knob, but it's locked. He calls through the door.</scene_description> <character>BURKE</character> <dialogue>Mom?</dialogue> <scene_description>There's no response. He tries the door again.</scene_description> <character>BURKE</character> <dialogue>Mom?</dialogue> <scene_description>The dog keeps scratching at the door, crying. The young boy shakes the knob in his nervous hands.</scene_description> <character>BURKE</character> <dialogue>Mommy?!</dialogue> </scene> <scene> <stage_direction>INT. THE MULDOON</stage_direction> <character>HOUSE (MASTERBEDROOM)- DAY</character> <dialogue>125</dialogue> <scene_description>Muldoon's body lays in the middle of the floor. The sight is gruesome. Her heart literally ripped out of her chest. Her hands bloody, chunks of skin under her finger nails. A terrified look on her face. Officers move about the room collecting evidence.</scene_description> <character>OFFICER MICHAELS</character> <dialogue>We still haven't found the heart.</dialogue> <scene_description>Goodman and Michaels stand over the body staring down. Officer Michaels shrugs.</scene_description> <character>OFFICER MICHAELS</character> <dialogue>Wounds on her chest look self- inflicted. Callin' it suicide for now, but •..</dialogue> <scene_description>He trails off in disbelief. Goodman is horrified and saddened by the sight.</scene_description> <character>GOODMAN</character> <dialogue>This wasn't suicide.</dialogue> <scene_description>CUT TO BLACK.: TITLE CARD: "THE LANDERS FAMILY"</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBANSTREET - NIGHT</stage_direction> <scene_description>Heavy rain beats down on the manicured lawns. Wind whistles through the trees. The signpost on the corner reads: "REYBURN DRIVE". At the end of the cul-de-sac is the LANDERS' HOUSE. A "FOR SALE" sign planted in the front lawn sporting Peter and Nina's smiling faces.</scene_description> </scene> <scene> <stage_direction>INT. THE LANDERSHOUSE - NIGHT</stage_direction> <scene_description>The inside of the home is nice; nothing overly elegant, but there's a definite taste and style to the decor. Children's toys and smiling family photos indicate nothing but the life of an ordinary family. A mother, a father, and a young daughter. The hallway. The kitchen. The living room. Moving boxes litter the rooms. We know the house well. But there's something different about it. No sign of Peter Spencer anywhere.</scene_description> </scene> <scene> <stage_direction>INT. THE LANDERSHOUSE (MELINDA'S BEDROOM)- DAY</stage_direction> <scene_description>Fiona rushes into Melinda's bedroom. Her heart racing.</scene_description> <character>FIONA</character> <dialogue>Baby, come on, we have to go. Before daddy gets home.</dialogue> <scene_description>Fiona rushes to the window and looks out to the street.</scene_description> <character>MELINDA</character> <dialogue>Where are we going?</dialogue> <scene_description>Fiona goes to Melinda and puts on a big smile.</scene_description> <character>FIONA</character> <dialogue>We're going on a trip. But we have to go right now.</dialogue> <scene_description>Fiona. gets Melinda's doll from the dresser a.nd hands it to her.</scene_description> <character>FIONA</character> <dialogue>Here's Lisa. We need to go to the car now, okay baby?</dialogue> <scene_description>Fiona goes to the closet and takes out a small, already packed duffle bag. Fiona's energy starts to make Melinda nervous. Fiona sees it. She rushes to the girl and hugs her.</scene_description> <character>FIONA</character> <dialogue>Shh. Its okay baby, it's gonna be okay. I'm going to get you out of here. I love you so much. Everything will be okay. I promise.</dialogue> <scene_description>Just then the front door swings open downstairs with a slam. Fiona's eyes dart to the doorway.</scene_description> <character>SAM (O.S.)</character> <dialogue>Fiona?</dialogue> <scene_description>The voice sends a chill up her spine. She hurries Melinda to the closet and guides her inside.</scene_description> <character>FIONA</character> <dialogue>Stay in here baby. Okay? Whatever you do, don't come out unless its me. Okay?</dialogue> <scene_description>Melinda hides in the closet and Fiona rushes into the hallway.</scene_description> </scene> <scene> <stage_direction>INT. THE LANDERSHOUSE (HALLWAY)- DAY</stage_direction> <scene_description>Fiona darts out of the bedroom, closing the door behind her. But as she turns to continue down the hall. Sam is right there behind her.</scene_description> <character>SAM</character> <dialogue>What's going on?</dialogue> <scene_description>Fiona pushes past him towards the stairs.</scene_description> <character>FIONA</character> <dialogue>We're leaving.</dialogue> <scene_description>He stops her.</scene_description> <character>SAM</character> <dialogue>What do you mean?</dialogue> <character>FIONA</character> <dialogue>What do you think I mean?</dialogue> <scene_description>Sam stands there stunned.</scene_description> <character>SAM</character> <dialogue>You can't leave.</dialogue> <character>FIONA</character> <dialogue>Watch me.</dialogue> <scene_description>Finally she pushes past him.</scene_description> <character>SAM</character> <dialogue>Don't just walk away from me!</dialogue> <scene_description>She stops at the top of the stairs. She turns back and stares deep into his eyes. Pale faced and red eyed, she chokes back sobs.</scene_description> <character>FIONA</character> <dialogue>Our daughter needs help. And you won't let me help her,</dialogue> <scene_description>He stands there heartbroken, angry, distraught.</scene_description> <character>FIONA</character> <dialogue>We're leaving, Sam. For good this time.</dialogue> <scene_description>Fiona pants through her adrenaline wall of tears as Sam's rage starts to brew.</scene_description> <character>FIONA</character> <dialogue>I'm taking her. And I'm going to get her help</dialogue> <scene_description>Sam starts towards her. His heart racing. His blood starting to boil. His face red with fury, waiting to explode.</scene_description> <character>SAM</character> <dialogue>You aren't taking her anywhere.</dialogue> <scene_description>She backs away as he grows nearer. Closer to the edge of the steps. She shudders at the sight of him. The disgust drips from her voice.</scene_description> <character>FIONA</character> <dialogue>You're a coward, Sam. You're weak.</dialogue> <scene_description>That sends him over the edge.</scene_description> <character>SAM</character> <dialogue>Why did you make me do this?</dialogue> <character>FIONA</character> <dialogue>What?</dialogue> <scene_description>Sam pushes his wife down the stairs. The pregnant woman topples down the staircase. Step after step after step. Her body breaking and contorting at the joints. A look of confusion and sadness on her face as she falls. Never did she think it would come to this. And then she stops. Breaking her neck at the bottom of the steps. Sam's face is still red with rage. He pants like an animal. Nearly unable to catch his breath. He hasn't yet noticed the tears in his eyes, for the wall of the adrenaline put up by the rage as dulled all his senses. He staggers down the hallway to Melinda's bedroom.</scene_description> </scene> <scene> <stage_direction>INT. THE LANDERSHOUSE (MELINDA'S BEDROOM)</stage_direction> <scene_description>This whole time, Melinda has been hiding in her closet. Terrified, clinging to her doll. Its quiet through the house. All she can hear is that sound that we've heard so many times before. That ominous sound. The chilling, wheezing sound, seeping from the pierced lungs and broken ribs of Fiona Landers' dying body. Melinda holds her doll close. Just then, she hears the door to her bedroom open. The closet door is open just ever so slightly.</scene_description> <character>SAM</character> <dialogue>Baby?</dialogue> <scene_description>Melinda watches through the crack in the door as her father looks around the pitch black room.</scene_description> <character>SAM</character> <dialogue>Baby? Where are you?</dialogue> <scene_description>Melinda, frightened to her core, peels back into the shadows of the closet.</scene_description> <character>SAM</character> <dialogue>We have to go baby.</dialogue> <scene_description>Her father kneels down to look under the bed. He lifts the sheets, hoping to find his daughter hiding underneath. But he doesn't.</scene_description> <character>SAM</character> <dialogue>WHERE ARE YOU?!</dialogue> <scene_description>Shocked by the sound, the girl clings tighter to her doll. But in doing so, triggers the doll's mechanism. And the doll lets out a small, mechanical giggle. Sam's head darts to the closet. He throws open the door and Melinda starts to scream.</scene_description> <character>SAM</character> <dialogue>No, no, no! It's okay baby. It's okay. I'm here.</dialogue> <scene_description>Melinda starts to swing her arms, her fists flapping. She starts to hit herself.</scene_description> <character>SAM</character> <dialogue>Stop! No. Baby. Stop. It's okay.</dialogue> <scene_description>He grabs her by the wrists and tackles her to the ground. Trying to restrain her. But only adding fuel to the fire. She thrashes in his arms.</scene_description> <character>SAM</character> <dialogue>Stop! Stop!</dialogue> <scene_description>She screams and flails.</scene_description> <character>SAM</character> <dialogue>STOP!</dialogue> <scene_description>He holds his hand over her mouth to stop her from screaming. His other handhold's her by the shoulder pressing her to the ground. The grown man's weight on the girl is too much for her. So she thrashes harder. And in his panic he starts to shake the little girl.</scene_description> <character>STOP!</character> <dialogue>But she can hardly</dialogue> <character>STOP!</character> <dialogue>breathe</dialogue> <scene_description>and more violently.</scene_description> <character>SAM</character> <dialogue>Please stop!</dialogue> <scene_description>Blood rushes to the little girl's eyes. Her eyelids bulging under the pressure. Bile starts to dribble from her lips beneath her father's hand. All the while, he shakes her and shakes her and shakes her. Trying to make her calm down. But killing her instead, Eventually her thrashing slows.</scene_description> <character>SAM</character> <dialogue>That's a good girl. That's my girl.</dialogue> <scene_description>Until she isn't moving.</scene_description> <character>SAM</character> <dialogue>Shhh. It's okay. It's okay.</dialogue> <scene_description>He looks down and notices her swollen, glassy eyes. He shakes her to try to wake her up.</scene_description> <character>SAM</character> <dialogue>Melinda?</dialogue> <scene_description>Nothing.</scene_description> <character>SAM</character> <dialogue>Melinda?</dialogue> </scene> <scene> <stage_direction>INT. THE LANDERSHOUSE - NIGHT</stage_direction> <scene_description>An old home movie plays on the TV in the living room. On the tape, it's Christmas morning. Wrapped presents beneath the decorated tree. Fiona, four months pregnant, sits on the floor beside Melinda. Fiona turns to the camera, a huge smile across her face.</scene_description> <character>FIONA</character> <dialogue>Sam, are you filming?</dialogue> <scene_description>A man's voice from off camera:</scene_description> <character>SAM (O.S.)</character> <dialogue>Yeah.</dialogue> <scene_description>Fiona turns to her daughter, rocking back and forth, with a worried look across her face. A wrapped present waiting patiently in her lap.</scene_description> <character>FIONA</character> <dialogue>Okay, open it Melinda!</dialogue> <scene_description>The little girl tears away the wrapping paper with feverish excitement. She tosses off the wrapping and reveals a box with a doll inside.</scene_description> <character>MELINDA</character> <dialogue>Laughing Lisa!</dialogue> <scene_description>The little girl suddenly bubbles with glee.</scene_description> <character>SAM (O.S.)</character> <dialogue>Pick it up and let daddy see!</dialogue> <scene_description>The little girl holds up the doll for the camera.</scene_description> <character>SAM (O.S.)</character> <dialogue>Is that the one you wanted?</dialogue> <scene_description>The little girl nods. Fiona watches her daughter, smiling. And then the tape stops. Paused on a frame of the happy family. Sam sits on the couch watching the tape. The remote in his hand, he stares at the still image. With tears in his eyes.</scene_description> </scene> <scene> <stage_direction>EXT. THE LANDERSHOUSE - NIGHT</stage_direction> <scene_description>He walks across the driveway to the shed on the side of the property. His head hanging low, his feet shuffle as he walks. He goes inside and looks over the shelves of power tools. He takes a circular saw off the shelf and walks out of the shed.</scene_description> </scene> <scene> <stage_direction>INT. THE LANDERSHOUSE - NIGHT</stage_direction> <scene_description>He heads up the stairs to the second floor. He steps down the long hallway. He pushes open the door at the end of the hall and flicks on the light, A bathroom. He looks around the small tiled room. He bends down in the corner, plugging the saw into an outlet. He stands and walks over to the bathtub. He kneels down beside it. And starts to cry. He can hardly look at what he's done. He starts the spinning blades of the saw, leans into the tub and begins to saw the lifeless, pregnant body of Fiona Landers. He sobs as he does it.</scene_description> </scene> <scene> <stage_direction>INT. THE LANDERS HOUSE (CRAWLSPACE) - NIGHT</stage_direction> <scene_description>Sam hides the bags filled with Fiona's dismembered body in the crawl space.</scene_description> </scene> <scene> <stage_direction>EXT. THE LANDERS HOUSE (BACKYARD)- NIGHT</stage_direction> <scene_description>Sam digs a small grave in the backyard. He still can't stop the tears. Melinda's body, wrapped up in her bed sheets, sits beside the small child-sized hole. He rolls her body into the hole and covers it with a small mound of dirt. He can't believe what he's done.</scene_description> </scene> <scene> <stage_direction>EXT. THE LANDERS HOUSE (BACKYARD)- NIGHT</stage_direction> <scene_description>Sam is having a fit. Smashing and breaking everything in sight. Throwing things from the house in a angry fit of rage. Screaming uncontrollably. Until finally he collapses to his knees. Sobbing.</scene_description> </scene> <scene> <stage_direction>INT. THE LANDERS HOUSE (GARAGE) - NIGHT</stage_direction> <scene_description>Sam rushes to hi.s car parked in the garage. He gets in in a hurry and thrusts the keys into the ignition. He starts the car. He's sweating bullets. His heart is racing. He's panicked. Beside the rearview mirror is the remote for the garage door. He clicks to open the door. But it doesn't open. He tries again, but still the door behind him won't open. He looks to the button on the wall outside the car. He tries to open the car door, but its locked. He unlocks it. But it immediately locks on its own. He tries again. But again, it locks on its own. The car running, exhaust fumes rise around the car. Increasingly frantic, Sam tries to escape the vehicle. Trying to bust through the door.</scene_description> <character>SAM</character> <dialogue>Come on! Come on!</dialogue> <scene_description>Suddenly, the windows of the car slowly go down just a few inches on their own. Not open enough to reach through. But open enough to let the fumes in. Sam watches, confused. He coughs. Gagging on the fumes as the garage continues to fill with smoke. He crawls through the car to the backseat. Trying all the doors.</scene_description> <character>SAM</character> <dialogue>No! No!</dialogue> <scene_description>But he can't get out. He's trapped. His eyes bright red. His face blue from the lack of oxygen. He coughs, spitting up bile. Desperately gasping for air. He starts to feel faint. Dizzy and woozy. Weak as he loses consciousness. Coughing a wet and violent cough as he blacks out. He looks up, and there, outside the car, standing right in front of it, are Fiona and Melinda. Staring back at him through the clouds of smoke. Smiling. He stares back. His eyes wide and terrified.</scene_description> </scene> <scene> <stage_direction>EXT. THE LANDERSHOUSE - NIGHT</stage_direction> <scene_description>Sam's screams echo through the night. Dark clouds pass over the moon. Neighborhood dogs bark in the distance. But the screams fade. And the house lays quiet in the night.</scene_description> </scene> <scene> <stage_direction>INT. THE LANDERSHOUSE (CRAWLSPACE) - NIGHT</stage_direction> <scene_description>Fiona's dismembered corpse remains parcelled away in plastic bags in the crawl space. Her eyes forever open. And time passes. A little over a week. And we watch as her body decomposes in time-lapse. Transitioning to the way we saw it when Peter discovered it. And then Peter is standing there looking at it, having just found the body in the fly-ridden crawl space. Just where we left him. Half out of his mind with fright, he tumbles back down into the Landers' master bedroom.</scene_description> </scene> <scene> <stage_direction>INT. THE LANDERSHOUSE (HALLWAY)- NIGHT</stage_direction> <scene_description>Peter scrambles back into the hallway and rushes to Melinda's bedroom. He swings open the door, but she's gone. He rushes back into the hallway crying out.</scene_description> <character>PETER</character> <dialogue>Where are you? We can't stay here!</dialogue> <scene_description>Panicked, he runs down the stairs. Running from room to room. The living room. The guest room. The bathroom. All empty. The little girl is nowhere to be found. He runs to the kitchen. But there's still no sign of her, Just then, he hears a thud from the second floor. As if something heavy has fallen. He looks up. There's a sound coming from the staircase in the other room. Like someone dragging wet plastic. The sound gets closer and closer. Little Melinda, suddenly right next to him, holds his hand. Slowly, the door creeps open. Then he hears it again. That chilling, wheezing sound. Seeping from the pierced lungs and broken ribs of Fiona Landers' dying body. Fiona's mangled corpse crawls through the doorway. Peter's strength drains from his body. His vision goes blurry as his knees fold under him, collapsing on the spot. He slumps against the wall, staring off into space. Horrified, terrified, overwhelmed. Fiona's pregnant body, broken and twisted. She desperately crawls across the floor towards him. Her broken arms feebly tugging her limp body weight behind her across the linoleum tile. Her fingernails peeling off the soft flesh of her rotten fingers as she slithers her gnarled corpse even closer. Rotted limbs tear from the corpse as she drags herself, leaving behind a trail of organs and entrails spilling out of her. Flies swarm around her festering wounds. Clutched in her arms is the body of her dead fetus still attached to Fiona by the umbilical chord. The slimy mass decaying in her arms. But behind the ghostly eyes, Peter sees the solemn stare of a mother who lost her child and it's haunting. Suddenly, the house phone starts to ring. Peter's heart pounds wildly in his chest. Ring ring. Ring ring. Melinda, still tightly holding his hand, has bile pouring from her lips. The girl seems not to mind as she hold her doll tightly. But Peter is paralyzed with fear. Ring ring. Ring ring. Fiona's body shiny with blood and wrapped in clear plastic. She opens her mouth halfway, dribbling fresh blood, emitting that horrific croaking sound from the back of her throat. Peter, still on the floor, frantically scrambles backwards. Fiona's swollen and decaying lips move as if trying to speak. Ring ring. Ring ring. Peter groans as he slides further back. Boxed into the corner of the room by Fiona's crawling corpse with nowhere to run. Her hair, stringy and oily and black, falling out by the clump, leaving a trail behind her, like some fetid slug. Ring ring. Finally the phone goes to the answering machine.</scene_description> <character>FIONA</character> <parenthetical>(on the answering machine)</parenthetical> <dialogue>Hi! You've reached the Landers! We can't come to the phone right now, but leave your name and number after the beep and we'll get back to you as soon as we can!</dialogue> <scene_description>BEEP.</scene_description> <character>SAM</character> <parenthetical>(on the answering machine)</parenthetical> <dialogue>Why did you make me do this?</dialogue> <scene_description>The sound that plays from the answering machine is terrifying. A collage of sounds building to a chaos. Fiona's screams and cries and the sound of her bones breaking as she topples down the stairs. The sound of little Melinda squealing and gasping for air. The sound of a circular saw against bone.</scene_description> <character>PETER</character> <dialogue>Oh my god.</dialogue> <scene_description>His heart racing, his eyes wide. Peter is frozen. Overcome with fear.</scene_description> </scene> <scene> <stage_direction>INT. THE SPENCER HOME(BEDROOM)- NIGHT</stage_direction> <scene_description>Nina is in bed watching TV when the front door of the house opens. She freezes for a second. And then calls out:</scene_description> <character>NINA</character> <dialogue>Hello?</dialogue> <scene_description>She calls out again.</scene_description> <character>NINA</character> <dialogue>Peter?</dialogue> <scene_description>No response.</scene_description> <character>NINA</character> <dialogue>Peter?</dialogue> <scene_description>Gently stroking her belly, she stands up with a grunt of effort and heads into the hallway.</scene_description> </scene> <scene> <stage_direction>INT. THE SPENCER HOME- NIGHT</stage_direction> <scene_description>Nina creeps through the dark house slowly.</scene_description> <character>NINA</character> <dialogue>Peter?</dialogue> <scene_description>Still no response. She grows more and more tense with every step. She moves from room to room looking around. The walls of the house lined with windows. She feels an odd sort of vulnerability in her own home. As though through the windows, she's being watched. She can almost feel the eyes on her. She stops and looks around.</scene_description> <character>NINA</character> <dialogue>Peter?</dialogue> <scene_description>Its dead quiet. Nina stands in the living room surrounded by large plate glass windows, petrified. From where she's standing, she can see the front door. It's open. But no one's there. At least from what she can see. She walks out of the living room and through the kitchen. A fear building in her as she gets closer and closer to the door. Her breath quickens, her heart races. The rain is coming down hard outside. She tries to calm herself. But it doesn't work. She reaches for her pregnant belly, rubbing it, as though to comfort the infant inside. Eventually, she gets to the entry way. Its dark and all the lights are off. But the front door is open. And Peter is standing right there next to it. Soaked from the rain. Dripping onto the floor. She breathes a heavy sigh of relief and smiles.</scene_description> <character>NINA</character> <dialogue>Jesus Christ, you scared me.</dialogue> <scene_description>She laughs.</scene_description> <character>NINA</character> <dialogue>Parents finally come home?</dialogue> <scene_description>Peter doesn't respond.</scene_description> <character>NINA</character> <dialogue>Peter?</dialogue> <scene_description>Nothing.</scene_description> <character>NINA</character> <dialogue>Peter?</dialogue> <scene_description>Nina is still. A silent stand off. His demeanor is cold and menacing. She smiles to cover the fear, but her voice shakes.</scene_description> <character>NINA</character> <dialogue>What's wrong?</dialogue> <scene_description>He turns and shuts the door behind him. He locks the lock. He steps further into the room and then stops. His coat dripping onto the hardwood floors. Nina steps back, her voice shaking as she speaks.</scene_description> <character>NINA</character> <dialogue>What're you doing?</dialogue> <scene_description>Her smile quickly fades.</scene_description> <character>NINA</character> <dialogue>What's wrong with you?</dialogue> <scene_description>He stares back at her with his bloodshot eyes. An odd glint in his eye. Something isn't right.</scene_description> <character>PETER</character> <dialogue>Why did you make me do this?</dialogue> </scene> <scene> <stage_direction>INT. THE SPENCER HOME(BEDROOM)- DAY</stage_direction> <scene_description>Morning light pours into the bedroom. Peter hangs from a beam in the ceiling. An extension cord as a noose. The body flops sloppily side to side from the choppy motion of the ceiling fan tangled in the cord. Nina's body, bloody, lays on the floor by his feet. Her lifeless eyes, open, staring up at him. Her blood splashed and splattered across the walls. The telephone rings as sirens blare outside and officers pound and shout at the front door.</scene_description> </scene> <scene> <stage_direction>EXT. THE LANDERSHOUSE - DAY</stage_direction> <scene_description>The rain is relentless. There's a hustle and bustle of soaking wet Crime Scene Investigators, Police Officers, EMTs, Firemen, and small town news teams scuttling about the front yard of the Landers House. Police tape stretched across the Landers' front door. Peter's car at the end of the driveway roped off by more tape. Detective Goodman, a cigarette balanced between his lips, talks to one of the uniformed police officers outside the house. He looks younger and fresher than we saw him last. He nods his head, taking copious notes as the nervous young officer speaks. He turns and ducks under the police tape surrounding the perimeter of the property. He struts with poise towards a nondescript sedan parked down the street. He takes one last puff of his cigarette and tosses the butt to the side of the road as he opens the car door and gets in.</scene_description> </scene> <scene> <stage_direction>INT. WILSON'S CAR - DAY</stage_direction> <scene_description>Goodman sits down in the passenger seat. Detective Wilson, looking spry and healthy sits in the drivers seat. The two men sit there in the car, quietly watching intently. Their eyes fixed on the house in that way that cops nonchalantly stare intensely to take in every detail. Eyes wandering behind dark sunglasses, surveying, assessing.</scene_description> <character>WILSON</character> <dialogue>ID the bodies yet?</dialogue> <character>GOODMAN</character> <dialogue>Fiona and Melinda Landers. Mother and daughter.</dialogue> <character>WILSON</character> <dialogue>Locate the husband?</dialogue> <scene_description>Their eyes still on the house. Wilson takes a sip of his coffee.</scene_description> <character>GOODMAN</character> <dialogue>Haven't been able to get a hold of him yet. His car's still parked in the garage.</dialogue> <scene_description>Wilson grimaces and smacks his lips.</scene_description> <character>WILSON</character> <dialogue>Coffee's shit today.</dialogue> <character>GOODMAN</character> <dialogue>Don't I know it.</dialogue> <scene_description>There's a casual rhythm to their rapport.</scene_description> <character>WILSON</character> <dialogue>Cause of death?</dialogue> <character>GOODMAN</character> <dialogue>Not yet. It's a mess in there.</dialogue> <scene_description>They sit in silence for a few moments. Still just staring out at the house.</scene_description> <character>WILSON</character> <dialogue>This connected to the bodies a few streets over?</dialogue> <character>GOODMAN</character> <dialogue>Bingo.</dialogue> <character>WILSON</character> <dialogue>Is that why we're here?</dialogue> <character>GOODMAN</character> <dialogue>You got it,</dialogue> <scene_description>Wilson sips his coffee as the rain beats down on the windshield.</scene_description> <character>GOODMAN</character> <dialogue>Found the kid in a grave out back. Wife all chopped up. Make's you think.</dialogue> <character>WILSON</character> <dialogue>Don't think too hard. It'll drive you crazy.</dialogue> <scene_description>The men, deep in thought.</scene_description> <character>WILSON</character> <dialogue>The husband good for it?</dialogue> <character>GOODMAN</character> <dialogue>Seems about right.</dialogue> <scene_description>He turns to Goodman.</scene_description> <character>WILSON</character> <dialogue>Alright, well let's go see it.</dialogue> <scene_description>But Goodman's still transfixed by the house. He takes a moment.</scene_description> <character>GOODMAN</character> <dialogue>You think it's haunted?</dialogue> <character>WILSON</character> <dialogue>Excuse me?</dialogue> <character>GOODMAN</character> <dialogue>You know, when this sort of thing happens ...</dialogue> <character>WILSON</character> <dialogue>I hope to God you're kidding.</dialogue> <scene_description>Wilson gets out of the car and Goodman follows.</scene_description> <character>GOODMAN</character> <dialogue>My mother was into all that. Raised me superstitious.</dialogue> <scene_description>They close the car doors. Wilson looks at Goodman across the roof of the car.</scene_description> <character>WILSON</character> <dialogue>Scariest things I've ever seen were done by people.</dialogue> <scene_description>He smiles.</scene_description> <character>WILSON</character> <dialogue>So I'll take my chances with the ghosts.</dialogue> <scene_description>Wilson turns and heads across the street towards the house. But Goodman stays by the car. He takes a cigarette from the pack in his jacket pocket and calls out to Wilson.</scene_description> <character>GOODMAN</character> <dialogue>I'll catch up at the precinct.</dialogue> <scene_description>Wilson ducks under the police tape and laughs. He turns and looks back at Goodman. He shakes his head. A child like smile across his face.</scene_description> <character>WILSON</character> <dialogue>They're gonna put you in a nut house one day, you know that?</dialogue> <scene_description>He laughs and continues to the house. Goodman stands at the car watching him go. He stares up at the house. He knows it doesn't feel right. Wilson walks up the front steps to the front door of the Landers House. For just a second, it's as though he can feel it too. The closer and closer he gets. A strange quiet. But he shakes it off and goes inside. Neighbors have started to gather around the property despite the rain. People in uniforms bustle in and out of the house.</scene_description> </scene> <scene> <stage_direction>INT. THE LANDERSHOUSE (LIVING ROOM) - DAY</stage_direction> <scene_description>EMTs carry Fiona and Melinda out of the house in body bags. Wilson passes the last of them on his way into the house. He steps into the entryway and looks around. He walks slowly down the hallway, taking note of everything. Eventually, he makes his way to the living room. Alone in the house, he takes it all in. He notices something across the room. Atop the mantle, sits a family photo of the Landers family, He walks over and takes a closer look. Fiona, Melinda, and Sam. All smiling. All happy. An odd quiet comes over the house. And then that horrible sound. That chilling, wheezing sound ... That seeped from the pierced lungs and broken ribs of Fiona Landers' dying body futilely clinging to life. CUT TO BLACK.: TITLE CARD: THE GRUDGE END CREDITS End credits play over crime scene photos of the various crimes we've seen throughout the film mixed with the family photos of the characters we've come to know and love. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. FBI FIELD OFFICE (CONFERENCEROOM) - DAY</stage_direction> <scene_description>An array photos are pinned to the bulletin board on the wall. Crime scene photos and photos of the deceased arranged in a massive web. There have to be at least twenty people up there on the wall. People we know. Peter and Nina. Muldoon and Wilson. Lorna, Faith, and William. Fiona, Melinda, and Sam. As well as people we don't know. Other neighbors, EMT's, other cops. But at the center of the chaotic web of faces is a picture of the house. The Landers House. 44 Reyburn Drive. Two FBI agents are sitting at a table staring at the wall. It looks like they've been doing this for hours.</scene_description> <character>AGENT COLE</character> <dialogue>What if it's the house?</dialogue> <character>AGENT HORNE</character> <dialogue>What do you mean?</dialogue> <character>AGENT COLE</character> <dialogue>Well, everyone who's set foot inside that house is dead. Right now, that's the only thing all of these people have in common. So maybe it's the house.</dialogue> <scene_description>Another agent pops into the doorway with a folder.</scene_description> <character>AGENT PALMER</character> <dialogue>Finally found you a match on VICAP. Old Interpol case out of Japan. I don't know if it'll help, but it's the only similar case I could find.</dialogue> <scene_description>He hands Agent Cole the folder and leaves. Cole opens the file and looks at the pictures inside. A Japanese woman and her son. Labelled: "KAYAKO AND TOSH IO SAEKI. TOKYO, JAPAN." He flips through the pages of the file and looks up.</scene_description> <character>AGENT COLE</character> <dialogue>I think something very strange is going on.</dialogue> <scene_description>CUT TO BLACK.:</scene_description> </scene> </script>

2004 In 2004, live-in nurse Fiona Landers leaves the residence of the Williams family in Tokyo, appearing disturbed. Fiona informs her co-worker, Yoko, that she is returning to America before briefly encountering the ghost of Kayako Saeki. Fiona arrives at her home in a small town in Pennsylvania, reuniting with her husband Sam and young daughter Melinda. Kayako's curse, however, possesses Fiona, causing her to bludgeon Sam to death and drown Melinda before committing suicide by stabbing herself in the throat. Shortly after the Landers are murdered, but before anyone discovers their deaths, real estate agents Peter and Nina Spencer learn that their unborn child will most likely be born with the rare genetic disorder ALD. Peter goes to look into selling 44 Reyburn Drive and stumbles across Melinda's ghost, presuming her to be a lost girl, who is bleeding profusely from her nose. Peter who is attacked by Fiona and Melinda's ghosts is quickly corrupted by the curse. The possessed Peter returns to his home, where he kills Nina and their unborn child and is eventually found dead in the bathtub. Detectives Goodman and Wilson investigate the Landers murders. Unsettled by the house, Goodman refuses to enter, while Wilson enters to examine the scene. Upon exiting, Wilson slowly starts to lose his mind, and eventually becomes hysterical when he spots Fiona's ghost outside Goodman's car; after which he attempts to commit suicide by shooting himself, but survives, leaving him disfigured and committed to a psychiatric asylum. Goodman stops looking into the case. 2005 In 2005, elderly couple Faith and William Matheson move into the house. Faith suffers from dementia and a terminal illness. After moving in, Faith is infected by the curse and starts to see Melinda around the house. Her sanity rapidly declines, causing William to call over Lorna Moody, an assisted suicide consultant. Disturbed by Faith’s state, Lorna suggests to William that they leave the house, but William reveals that he is aware of the ghosts and suggests that it implies a future where people get to be with their loved ones after death. Lorna later discovers that Faith has killed William and has sliced off her own fingers. Lorna flees in horror only to be attacked by Sam's ghost in her car which crashes, killing her. 2006 In 2006, rookie detective Muldoon moves to town with her son Burke following her husband's death. Muldoon and Goodman, her new partner, are called to the woods where Lorna's corpse has been discovered. Goodman becomes uncomfortable when they learn that Lorna had been visiting 44 Reyburn Drive, revealing his suspicion that the house is cursed. Muldoon goes to the house, discovering a disoriented Faith and William's corpse. Faith is taken to a hospital, where she sees Melinda and throws herself off a staircase landing, committing suicide. As Muldoon continues her research into the case, she is haunted by the ghosts of the Landers. She visits Wilson in the asylum, who tells her that all people who enter the house will become victims of the curse. Wilson then gouges out his eyes so he can stop seeing the ghosts, but his hallucinations continue. Fearful that the curse may make her hurt her son, Muldoon confides in Goodman and learns that the curse began with a family in Japan; Fiona is the one who brought it abroad. After she is attacked by the Landers' ghosts again, Muldoon goes to the house and douses it in gasoline as she sees visions of how Fiona murdered her family. The curse creates an apparition resembling Burke, but Muldoon realizes it isn't really him after he fails to repeat a phrase the two of them use regularly. The house burns to the ground as Muldoon embraces her real son outside. Sometime later, Muldoon hugs Burke before he leaves for school, only to see the real Burke leave the house. The "Burke" she is hugging is revealed to be Melinda. Muldoon is dragged away by Fiona's ghost, becoming the next victim of the curse.

Alien_1979

tt0078748

<script> <scene> <stage_direction>FADE IN:</stage_direction> <scene_description>EXTREME CLOSEUPS OF FLICKERING INSTRUMENT PANELS . Readouts and digital displays pulse eerily with the technology of the distant future . Wherever we are , it seems to be chill , dark , and sterile . Electronic machinery chuckles softly to itself . Abruptly we hear a BEEPING SIGNAL , and the machinery begins to awaken . Circuits close , lights blink on . CAMERA ANGLES GRADUALLY WIDEN , revealing more and more of the machinery , banks of panels , fluttering gauges , until we reveal :</scene_description> </scene> <scene> <stage_direction>INTERIOR - HYPERSLEEP VAULT</stage_direction> <scene_description>A stainless steel room with no windows , the walls packed with instrumentation . The lights are dim and the air is frigid . Occupying most of the floor space are rows of horizontal FREEZER COMPARTMENTS , looking for all the world like meat lockers . FOOM ! FOOM ! FOOM ! With explosions of escaping gas , the lids on the freezers pop open . Slowly , groggily , six nude men sit up .</scene_description> <character>ROBY</character> <dialogue>Oh. God. am I cold.</dialogue> <character>BROUSSARD</character> <dialogue>Is that you, Roby?</dialogue> <character>ROBY</character> <dialogue>I feel like shit.</dialogue> <character>BROUSSARD</character> <dialogue>Yeah, it's you all right.</dialogue> <scene_description>Now they are yawning , stretching , and shivering .</scene_description> <character>FAUST</character> <parenthetical>( groans . )</parenthetical> <dialogue>Ohh. I must be alive, I feel dead.</dialogue> <character>BROUSSARD</character> <dialogue>You look dead.</dialogue> <character>MELKONIS</character> <dialogue>The vampires rise from their graves.</dialogue> <scene_description>This draws a few woozy chuckles .</scene_description> <character>BROUSSARD</character> <parenthetical>( shakes his fist in the air triumphantly . )</parenthetical> <dialogue>We made it!</dialogue> <character>HUNTER</character> <parenthetical>( not fully awake . )</parenthetical> <dialogue>Is it over?</dialogue> <character>STANDARD</character> <dialogue>It's over, Hunter.</dialogue> <character>HUNTER</character> <parenthetical>( yawning . )</parenthetical> <dialogue>Boy, that's terrific.</dialogue> <character>STANDARD</character> <parenthetical>( looking around with a grin . )</parenthetical> <dialogue>Well, how does it feel to be rich men?</dialogue> <character>FAUST</character> <dialogue>Cold!</dialogue> <scene_description>This draws a LAUGH .</scene_description> <character>STANDARD</character> <dialogue>Okay! Everybody topside! Let's get our pants on and get to our posts!</dialogue> <scene_description>The men begin to swing out of the freezers .</scene_description> <character>MELKONIS</character> <dialogue>Somebody get the cat.</dialogue> <scene_description>Roby picks a limp cat out of a freezer .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CONTROL ROOM</stage_direction> <scene_description>This is a fantastic circular room , jammed with instrumentation . There are no windows , but above head level the room is ringed by viewscreens , all blank for the moment . There are seats for four men . Each chair faces a console and is surrounded by a dazzling array of technology . STANDARD , ROBY , BROUSSARD , and MELKONIS are entering and finding their seats .</scene_description> <character>BROUSSARD</character> <dialogue>I'm going to buy a cattle ranch.</dialogue> <character>ROBY</character> <parenthetical>( putting down the cat . )</parenthetical> <dialogue>Cattle ranch!</dialogue> <character>BROUSSARD</character> <dialogue>I'm not kidding. You can get one if you have the credit. Look just like real cows, too.</dialogue> <character>STANDARD</character> <dialogue>All right, tycoons, let's stop spending our credit and start worrying about the job at hand.</dialogue> <character>ROBY</character> <dialogue>Right. Fire up all systems.</dialogue> <scene_description>They begin to throw switches , lighting up their consoles . The control room starts to come to life . All around the room , colored lights flicker and chase each other across glowing screens . The room fills with the hum and chatter of machinery .</scene_description> <character>STANDARD</character> <dialogue>Sandy, you want to give us some vision?</dialogue> <character>MELKONIS</character> <dialogue>Feast your eyes.</dialogue> <scene_description>Melkonis reaches to his console and presses a bank of switches . The strip of viewscreens flickers into life . On each screen , we see BLACKNESS SPECKLED WITH STARS .</scene_description> <character>BROUSSARD</character> <parenthetical>( after a pause . )</parenthetical> <dialogue>Where's Irth?</dialogue> <character>STANDARD</character> <dialogue>Sandy, scan the whole sky.</dialogue> <scene_description>Melkonis hits buttons . On the screens the images all begin to pan . CAMERA MOVES IN ON ONE OF THE SCREENS , with its moving image of a starfield .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - OUTER SPACE</stage_direction> <scene_description>CLOSE SHOT OF A PANNING TV CAMERA . This camera is remote controlled , turning silently on its base . CAMERA BEGINS TO PULL BACK , revealing that the TV camera is mounted on the HULL OF SOME KIND OF CRAFT . When the pullback is finished , WE SEE THE FULL LENGTH OF THE STARSHIP `` SNARK , '' hanging in the depths of interstellar space , against a background of glimmering stars .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE</stage_direction> <character>ROBY</character> <dialogue>Where are we?</dialogue> <character>STANDARD</character> <dialogue>Sandy, contact traffic control.</dialogue> <scene_description>Melkonis switches on his radio unit .</scene_description> <character>MELKONIS</character> <dialogue>This is deep space commercial vessel SNARK, registration number E180246, calling Antarctica air traffic control. Do you read me? Over.</dialogue> <scene_description>There is only the HISS OF STATIC .</scene_description> <character>BROUSSARD</character> <parenthetical>( staring at a screen . )</parenthetical> <dialogue>I do n't recognize that constellation.</dialogue> <character>STANDARD</character> <dialogue>Dell, plot our location.</dialogue> <scene_description>Broussard goes into action , punching buttons , lighting up all his instruments .</scene_description> <character>BROUSSARD</character> <dialogue>I got it. Oh boy.</dialogue> <character>STANDARD</character> <dialogue>Where the hell are we?</dialogue> <character>BROUSSARD</character> <dialogue>Just short of Zeta II Reticuli. We have n't even reached the outer rim yet.</dialogue> <character>ROBY</character> <dialogue>What the hell?</dialogue> <scene_description>Standard picks up a microphone .</scene_description> <character>STANDARD</character> <dialogue>This is Chaz speaking. Sorry, but we are not home. Our present location seems to be only halfway to Irth. Remain at your posts and stand by. That is all.</dialogue> <character>ROBY</character> <dialogue>Chaz, I've got something here on my security alert. A high priority from the computer.</dialogue> <character>STANDARD</character> <dialogue>Let's hear it.</dialogue> <character>ROBY</character> <parenthetical>( punches buttons . )</parenthetical> <dialogue>Computer, you have signalled a priority three message. What is the message?</dialogue> <character>COMPUTER</character> <parenthetical>( a mechanical voice . )</parenthetical> <dialogue>I have interrupted the course of the voyage.</dialogue> <character>ROBY</character> <dialogue>What? Why?</dialogue> <character>COMPUTER</character> <dialogue>I am programmed to do so if certain conditions arise.</dialogue> <character>STANDARD</character> <dialogue>Computer, this is Captain Standard. What conditions are you talking about?</dialogue> <character>COMPUTER</character> <dialogue>I have intercepted a transmission of unknown origin.</dialogue> <character>STANDARD</character> <dialogue>A transmission?</dialogue> <character>COMPUTER</character> <dialogue>A voice transmission.</dialogue> <character>MELKONIS</character> <dialogue>Out here?</dialogue> <scene_description>The men exchange glances .</scene_description> <character>COMPUTER</character> <dialogue>I have recorded the transmission.</dialogue> <character>STANDARD</character> <dialogue>Play it for us, please.</dialogue> <scene_description>Over the speakers , we hear a hum , a crackle , static . THEN A STRANGE , UNEARTHLY VOICE FILLS THE ROOM , SPEAKING AN ALIEN LANGUAGE . The bizarre voice speaks a long sentence , then falls silent . The men all stare at each other in amazement .</scene_description> <character>STANDARD</character> <dialogue>Computer, what language was that?</dialogue> <character>COMPUTER</character> <dialogue>Unknown.</dialogue> <character>ROBY</character> <dialogue>Unknown! What do you mean?</dialogue> <character>COMPUTER</character> <dialogue>It is none of the 678 dialects spoken by technological man.</dialogue> <scene_description>There is a pause , then EVERYBODY STARTS TALKING AT THE SAME TIME .</scene_description> <character>STANDARD</character> <parenthetical>( silencing them . )</parenthetical> <dialogue>Just hold it, hold it!</dialogue> <parenthetical>( glares around the room . )</parenthetical> <dialogue>Computer : have you attempted to analyze the transmission?</dialogue> <character>COMPUTER</character> <dialogue>Yes. There are two points of salient interest. Number one : it is highly systematized, indicating intelligent origin. Number two : certain sounds are inconsistent with the human palate.</dialogue> <character>ROBY</character> <dialogue>Oh my God.</dialogue> <character>STANDARD</character> <dialogue>Well, it's finally happened.</dialogue> <character>MELKONIS</character> <dialogue>First contact.</dialogue> <character>STANDARD</character> <dialogue>Sandy, can you home in on that beam?</dialogue> <character>MELKONIS</character> <dialogue>What's the frequency?</dialogue> <character>STANDARD</character> <dialogue>Computer, what's the frequency of the transmission?</dialogue> <character>COMPUTER</character> <dialogue>65330 dash 99.</dialogue> <scene_description>Melkonis punches buttons .</scene_description> <character>MELKONIS</character> <dialogue>I've got it. It's coming from ascension 6 minutes 32 seconds, declination - 39 degrees 2 seconds.</dialogue> <character>STANDARD</character> <dialogue>Dell - show me that on a screen.</dialogue> <character>BROUSSARD</character> <dialogue>I'll give it to you on number four.</dialogue> <scene_description>Broussard punches buttons . One of the viewscreens flickers , and a small dot of light becomes visible in the corner of the screen .</scene_description> <character>BROUSSARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That's it. Let me straighten it out.</dialogue> <scene_description>He twists a knob , moving the image on the screen till the dot is in the center .</scene_description> <character>STANDARD</character> <dialogue>Can you get it a little closer?</dialogue> <character>BROUSSARD</character> <dialogue>That's what I'm going to do.</dialogue> <scene_description>He hits a button . The screen flashes and a PLANET APPEARS .</scene_description> <character>BROUSSARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Planetoid. Diameter, 120 kilometers.</dialogue> <character>MELKONIS</character> <dialogue>It's tiny!</dialogue> <character>STANDARD</character> <dialogue>Any rotation?</dialogue> <character>BROUSSARD</character> <dialogue>Yeah. Two hours.</dialogue> <character>STANDARD</character> <dialogue>Gravity?</dialogue> <character>BROUSSARD</character> <dialogue>Point eight six. We can walk on it.</dialogue> <scene_description>Standard rises .</scene_description> <character>STANDARD</character> <dialogue>Martin, get the others up to the lounge.</dialogue> </scene> <scene> <stage_direction>INTERIOR - MULTI-PURPOSE ROOM</stage_direction> <scene_description>The entire crew - STANDARD , ROBY , BROUSSARD , MELKONIS , HUNTER , and FAUST - are all seated around a table , with Standard at the head .</scene_description> <character>MELKONIS</character> <dialogue>If it's an S.O.S., we're morally obligated to investigate.</dialogue> <character>BROUSSARD</character> <dialogue>Right.</dialogue> <character>HUNTER</character> <dialogue>I do n't know. Seems to me we came on this trip to make some credit, not to go off on some kind of side trip.</dialogue> <character>BROUSSARD</character> <parenthetical>( excited . )</parenthetical> <dialogue>Forget the credit ; what we have here is a chance to be the first men to contact a nonhuman intelligence.</dialogue> <character>ROBY</character> <dialogue>If there is some kind of alien intelligence down on that planetoid, it'd be a serious mistake for us to blunder in unequipped.</dialogue> <character>BROUSSARD</character> <dialogue>Hell, we're equipped -</dialogue> <character>ROBY</character> <dialogue>Hell, no! We do n't know what's down there on that piece of rock! It might be dangerous! What we should do is get on the radio to the exploration authorities. and let them deal with it.</dialogue> <character>STANDARD</character> <dialogue>Except it will take 75 years to get a reply back. Do n't forget how far we are from the Colonies, Martin.</dialogue> <character>BROUSSARD</character> <dialogue>There are no commercial lanes out here. Face it, we're out of range.</dialogue> <character>MELKONIS</character> <dialogue>Men have waited centuries to contact another form of intelligent life in the universe. This is an opportunity which may never come again.</dialogue> <character>ROBY</character> <dialogue>Look -</dialogue> <character>STANDARD</character> <dialogue>You're overruled, Martin. Gentlemen - let's go.</dialogue> </scene> <scene> <stage_direction>INTERIOR - BRIDGE</stage_direction> <scene_description>The men are strapping in , but this time it is with grim determination .</scene_description> <character>STANDARD</character> <dialogue>Dell, I want greater magnification. More surface detail. I want to see what this place looks like.</dialogue> <character>BROUSSARD</character> <dialogue>I'll see what I can do.</dialogue> <scene_description>He jabs his controls . The image on the screen ZOOMS DOWN TOWARD THE PLANET ; but all detail quickly vanishes into a featureless grey haze .</scene_description> <character>STANDARD</character> <dialogue>It's out of focus.</dialogue> <character>ROBY</character> <dialogue>No - that's atmosphere. Cloud layer.</dialogue> <character>MELKONIS</character> <dialogue>My God, it's stormy for a piece of rock that size!</dialogue> <character>ROBY</character> <dialogue>Just a second.</dialogue> <parenthetical>( punches buttons . )</parenthetical> <dialogue>Those are n't water vapor clouds ; they have no moisture content.</dialogue> <character>STANDARD</character> <dialogue>Put ship in atmospheric mode.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - "SNARK" - OUTER SPACE</stage_direction> <scene_description>The great dish antenna on the SNARK folds down against the main body of the ship , and other parts flatten out , until the ship has assumed an aerodynamic form .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE</stage_direction> <character>STANDARD</character> <dialogue>Dell, set a course and bring us in on that beam.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - SPACE</stage_direction> <scene_description>The SNARK 's engines cough into life , and send it drifting toward the distant dot that is the planetoid . CAMERA APPROACHES THE PLANETOID , until it looms large on screen . It is turbulent , completely enveloped in dun - colored clouds . The SNARK drops down toward the surface .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE</stage_direction> <character>STANDARD</character> <dialogue>Activate lifter quads.</dialogue> <character>BROUSSARD</character> <dialogue>Activated. Vertical drop checked. Correcting course. On tangential course now, orbiting.</dialogue> <parenthetical>( brief pause as he studies his instruments . )</parenthetical> <dialogue>Crossing the terminator. Entering night side.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - "SNARK" - IN ORBIT</stage_direction> <scene_description>Beneath the orbiting SNARK , night 's curtain rolls across the planet . Descending at an angle , the SNARK drops down into the thick atmosphere of the planetoid .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE</stage_direction> <character>ROBY</character> <dialogue>Atmospheric turbulence. Dust storm.</dialogue> <character>STANDARD</character> <dialogue>Turn on navigation lights.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - "SNARK"</stage_direction> <scene_description>Hydroplaning down through the pea - soup atmosphere , a set of brilliant lights switches on , cutting through the dust , but hardly improving visibility .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE</stage_direction> <character>BROUSSARD</character> <dialogue>Approaching point of origin. Closing at 20 kilometers, 15 and slowing. Ten. Five. Gentlemen, we are directly above the source of the transmission.</dialogue> <character>STANDARD</character> <dialogue>What's the terrain down there?</dialogue> <character>BROUSSARD</character> <dialogue>Well, line of sight is impossible due to dust. Radar gives me noise. Sonar gives me noise. Infrared - noise. Let's try ultraviolet. There. Flat. It's totally flat. A plain.</dialogue> <character>STANDARD</character> <dialogue>Is it solid?</dialogue> <character>BROUSSARD</character> <dialogue>It's. basalt. Rock.</dialogue> <character>STANDARD</character> <dialogue>Then take her down.</dialogue> <character>BROUSSARD</character> <dialogue>Drop begins. now! Fifteen kilometers and dropping. twelve. ten. eight and slowing. Five. Three. Two. One kilometer and slowing. Lock tractor beams.</dialogue> <scene_description>There is a LOUD ELECTRICAL HUM and the ship shudders .</scene_description> <character>ROBY</character> <dialogue>Locked.</dialogue> <character>BROUSSARD</character> <dialogue>Kill drive engines.</dialogue> <scene_description>The engines fall silent .</scene_description> <character>ROBY</character> <dialogue>Engines off.</dialogue> <character>BROUSSARD</character> <dialogue>Nine hundred meters and dropping. 800. 700. Hang on gentlemen.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - SURFACE OF PLANET - NIGHT</stage_direction> <scene_description>The night - shrouded surface is a hell of blowing dust . The SNARK hovers above it on glowing beams of light , dropping down slowly . Landing struts unfold like insect legs .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE</stage_direction> <character>BROUSSARD</character> <dialogue>And we're. down.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - SURFACE OF PLANET - NIGHT</stage_direction> <scene_description>The ship touches down , heavily ; it rocks on huge shock absorbers .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE</stage_direction> <scene_description>The whole ship VIBRATES VIOLENTLY FOR AN INSTANT - then all the panels in the room flash simultaneously and the LIGHT 'S GO OUT .</scene_description> <character>BROUSSARD</character> <dialogue>Jesus Christ!</dialogue> <scene_description>The lights come back on again .</scene_description> <character>STANDARD</character> <dialogue>What the hell happened?</dialogue> <character>ROBY</character> <parenthetical>( hits a switch . )</parenthetical> <dialogue>Engine room, what happened?</dialogue> <character>FAUST</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>Just a minute, hold it, I'm checking.</dialogue> <character>ROBY</character> <dialogue>Has the hull been breached?</dialogue> <character>BROUSSARD</character> <dialogue>Uh.</dialogue> <parenthetical>( scans his gauges . )</parenthetical> <dialogue>No, I do n't see anything. We've still got pressure.</dialogue> <scene_description>There is a BEEP from the communicator . Then :</scene_description> <character>FAUST</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>Martin, this is Jay. The intakes are clogged with dust. We overheated and burned out a whole cell.</dialogue> <character>STANDARD</character> <parenthetical>( strikes his panel . )</parenthetical> <dialogue>Damn it! How long to fix?</dialogue> <character>ROBY</character> <parenthetical>( into microphone . )</parenthetical> <dialogue>How long to fix?</dialogue> <character>FAUST</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>Hard to say.</dialogue> <character>ROBY</character> <dialogue>Well, get started.</dialogue> <character>FAUST</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>Right. Talk to you.</dialogue> <character>STANDARD</character> <dialogue>Let's take a look outside. Turn the screens back on.</dialogue> <scene_description>Melkonis hits buttons . The screens flicker , but remain black .</scene_description> <character>BROUSSARD</character> <dialogue>Ca n't see a blessed thing.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - SHIP - NIGHT</stage_direction> <scene_description>Only a few glittering lights distinguish the ship from the absolute darkness around it . THE WIND MOANS AND SCREAMS . DUST BLOWS IN FRONT OF THE TINY GLIMMERING LIGHTS .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - NIGHT</stage_direction> <character>STANDARD</character> <dialogue>Kick on the floods.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - SHIP - NIGHT</stage_direction> <scene_description>A ring of FLOODLIGHTS on the ship come to life , pouring blinding light out into the night . They illuminate nothing but a patch of featureless grey ground and clouds of blowing dust . The wind shrieks .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - NIGHT</stage_direction> <character>ROBY</character> <dialogue>Not much help.</dialogue> <scene_description>Standard stares at the dark screens .</scene_description> <character>STANDARD</character> <dialogue>Well, we ca n't go anywhere in this darkness. How long till dawn?</dialogue> <character>MELKONIS</character> <parenthetical>( consults his instruments . )</parenthetical> <dialogue>Well. this rock rotates every two hours. The sun should be coming up in about 20 minutes.</dialogue> <character>BROUSSARD</character> <dialogue>Good! Maybe we'll be able to see something then.</dialogue> <character>ROBY</character> <dialogue>Or something will be able to see us.</dialogue> <scene_description>They all look at him .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - SHIP - NIGHT (MAIN TITLE SEQUENCE)</stage_direction> <scene_description>The floodlights on the SNARK fight a losing battle against the darkness and the storm . MAIN THEME MUSIC BEGINS , EXTREMELY OMINOUS .</scene_description> <character>ALIEN</character> <dialogue /> <scene_description>RUN TITLES . Gradually , the screen begins to lighten as the SUN RISES . The silhouette of the SNARK becomes visible , like some strange insect crouching motionless on the barren plain . The floods shut off . Dense clouds of impenetrable dust shriek and moan , obscuring everything and reducing the sunlight to a dull orange . END MAIN TITLES .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - DAY</stage_direction> <scene_description>CLOSE ON A SCREEN - it shows nothing but swirling clouds of orange dust . PULL BACK FROM SCREEN . The men -LRB- Standard , Roby , Broussard , and Melkonis -RRB- are sitting and standing around the room , drinking coffee and staring at the screens , which reveal only the billowing dust .</scene_description> <character>ROBY</character> <dialogue>There could be a whole city out there and we'd never see it.</dialogue> <character>BROUSSARD</character> <dialogue>Not sitting on our butts in here, that's for sure.</dialogue> <character>STANDARD</character> <dialogue>Just settle down. Sandy, you get any response yet?</dialogue> <character>MELKONIS</character> <parenthetical>( pulls off his earphones . )</parenthetical> <dialogue>Sorry. Nothing but that same damn transmission, every 32 seconds. I've tried every frequency on the spectrum.</dialogue> <character>BROUSSARD</character> <dialogue>Are we just going to sit around and wait for an invitation?</dialogue> <scene_description>Roby gives Broussard a black look , then stabs a button on his console and speaks into the mike .</scene_description> <character>ROBY</character> <parenthetical>( into mike . )</parenthetical> <dialogue>Hello, Faust!</dialogue> <character>FAUST</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>Yeah!</dialogue> <character>ROBY</character> <dialogue>How's it coming on the engines?</dialogue> </scene> <scene> <stage_direction>INTERIOR - ENGINE ROOM</stage_direction> <scene_description>Faust is seated at an electronic workbench , brightly lit , speaking into a wall intercom .</scene_description> <character>FAUST</character> <dialogue>I never saw anything as fine as this dust. these cells are all pitted on a microscopic level. I have to polish these things smooth again, so it's going to take a while. Okay?</dialogue> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - DAY</stage_direction> <character>ROBY</character> <dialogue>Yeah, okay.</dialogue> <parenthetical>( puts down the mike . )</parenthetical> <dialogue /> <character>STANDARD</character> <dialogue>Sandy. how far are we from the source of the transmission?</dialogue> <character>MELKONIS</character> <dialogue>Source of transmission is to the northeast. about 300 meters.</dialogue> <character>ROBY</character> <dialogue>Close.</dialogue> <character>BROUSSARD</character> <dialogue>Close enough to walk to!</dialogue> <character>STANDARD</character> <dialogue>Martin, would you run me an atmospheric?</dialogue> <character>ROBY</character> <parenthetical>( punches buttons and consults his panels . )</parenthetical> <dialogue>10 % argon, 85 % nitrogen, 5 % neon. and some trace elements.</dialogue> <character>STANDARD</character> <dialogue>Nontoxic. but unbreathable. Pressure?</dialogue> <character>ROBY</character> <dialogue>Ten to the fourth dynes per square centimeter.</dialogue> <character>STANDARD</character> <dialogue>Good! Moisture content?</dialogue> <character>ROBY</character> <dialogue>Zero. Dry as a bone.</dialogue> <character>STANDARD</character> <dialogue>Any microorganisms?</dialogue> <character>ROBY</character> <dialogue>Not a one. It's dead.</dialogue> <character>STANDARD</character> <dialogue>Anything else?</dialogue> <character>ROBY</character> <dialogue>Yeah, rock particles. Dust.</dialogue> <character>STANDARD</character> <dialogue>Well, we wo n't need pressure suits, but breathing masks are called for. Sandy - can you rig up some kind of portable unit that we can use to follow that transmission to its source?</dialogue> <character>MELKONIS</character> <dialogue>No problem.</dialogue> <character>BROUSSARD</character> <dialogue>I volunteer for the exploration party.</dialogue> <character>STANDARD</character> <dialogue>I heard you. You want to break out the side arms?</dialogue> </scene> <scene> <stage_direction>INTERIOR - MAIN ARM LOCK - DAY</stage_direction> <scene_description>Standard , Broussard and Melkonis enter the lock . They all wear gloves , boots , jackets , and pistols . Broussard touches a button and the inner door slides silently shut , sealing them into the lock . They all pull on rubber full - head oxygen masks .</scene_description> <character>STANDARD</character> <parenthetical>( adjusting the radio on his mask . )</parenthetical> <dialogue>I'm sending. Do you hear me?</dialogue> <character>BROUSSARD</character> <dialogue>Receiving.</dialogue> <character>MELKONIS</character> <dialogue>Receiving.</dialogue> <character>STANDARD</character> <dialogue>All right. Now just remember : keep away from those weapons unless I say otherwise. Martin, do you read me?</dialogue> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - DAY</stage_direction> <character>ROBY</character> <dialogue>Read you, Chaz.</dialogue> </scene> <scene> <stage_direction>INTERIOR - MAIN AIR LOCK - DAY</stage_direction> <character>STANDARD</character> <dialogue>Open the outer door.</dialogue> <scene_description>Ponderously , the outer lock door slides open . ORANGE SUNLIGHT streams into the lock , and clouds of dust swirl in . We hear the MOANING OF THE WIND OUTSIDE . A mobile stairway slides out of the open hatchway , and clunks as it hits the ground . Standard walks out into the storm , followed by the others .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - PLANETOID - DAY</stage_direction> <scene_description>The three men trot down the gangplank to the surface of the planet . Their feet sink into a thick layer of dust and loose rock . The men huddle together , looking around . The wind screams and tugs at their clothes . Nothing can be seen .</scene_description> <character>STANDARD</character> <dialogue>Which way, Sandy?</dialogue> <scene_description>Melkonis is fiddling with a portable direction - finder .</scene_description> <character>MELKONIS</character> <parenthetical>( pointing . )</parenthetical> <dialogue>That way.</dialogue> <character>STANDARD</character> <dialogue>You lead.</dialogue> <scene_description>Melkonis walks into the blinding dust clouds , followed closely by the others .</scene_description> <character>STANDARD</character> <dialogue>Okay, Martin. We're on our way.</dialogue> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - DAY</stage_direction> <scene_description>Roby is the sole occupant of the bridge . He is huddled over his console , smoking a cigarette and watching three moving blips on a screen .</scene_description> <character>ROBY</character> <dialogue>Okay, Chaz, I hear you. I've got you on my board.</dialogue> <character>STANDARD</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>Good. I'm getting you clear too. Let's just keep the line open.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - PLANETOID - DAY</stage_direction> <scene_description>The three men plough their way through a limbo of yellow dust and shrieking wind . With their rubbery masks and deliberate movements , they look like deep - sea divers at the bottom of a murky ocean . Melkonis leads the column , following the compass on the direction finder .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Ca n't see more than three meters in any direction out here. We're walking blind, on instruments.</dialogue> <scene_description>They wade on , following Melkonis . Abruptly he halts .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What's wrong?</dialogue> <character>MELKONIS</character> <dialogue>My signal's fading.</dialogue> <scene_description>He studies the direction finder .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - DAY</stage_direction> <scene_description>Roby is listening intently to the dialogue from the helmet radios .</scene_description> <character>MELKONIS</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( over , filtered . )</parenthetical> <dialogue>It's the dust, it's interfering.</dialogue> <scene_description>His concentration is so great that he does NOT NOTICE HUNTER COMING UP BEHIND HIM .</scene_description> <character>MELKONIS</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( over , filtered . )</parenthetical> <dialogue>. Hold it, I've got it again. It's over that way.</dialogue> <scene_description>Standing DIRECTLY BEHIND ROBY , Hunter speaks .</scene_description> <character>HUNTER</character> <dialogue>What's happening?</dialogue> <scene_description>Startled out of his wits , Roby GASPS and whirls around to face Hunter .</scene_description> <character>ROBY</character> <parenthetical>( startled silly . )</parenthetical> <dialogue>Hell!</dialogue> <scene_description>Hunter stares at Roby , whose momentary terror dissolves into embarrassed anger .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - PLANETOID - DAY</stage_direction> <scene_description>The three men push their way through the storm . Melkonis stops again , studies the direction finder .</scene_description> <character>MELKONIS</character> <dialogue>It's close, real close.</dialogue> <character>STANDARD</character> <dialogue>How far?</dialogue> <character>MELKONIS</character> <dialogue>We should be almost on top of it. I just ca n't quite.</dialogue> <scene_description>Suddenly , Broussard grabs Standard 's arm and points . The others stare in the direction he is pointing . REVERSE ANGLE - THEIR POINT - OF - VIEW Through the dense clouds of swirling dust we can just barely make out some kind of HUGE SHAPE . As we watch , the dust clears slightly , REVEALING A GROTESQUE SHIP RISING FROM THE SHIP LIKE SOME GIGANTIC TOADSTOOL . It is clearly of non - human manufacture . ANGLE ON THE MEN They are struck dumb by the sight of the craft . Finally , Standard finds his voice .</scene_description> <character>STANDARD</character> <dialogue>Martin, uh, we've found it.</dialogue> <character>ROBY</character> <parenthetical>( sharply - over , filtered . )</parenthetical> <dialogue>Found what?</dialogue> <character>STANDARD</character> <dialogue>It appears to be some sort of spacecraft. We're going to approach it.</dialogue> <scene_description>They start toward the alien ship .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - DAY</stage_direction> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( over , filtered . )</parenthetical> <dialogue>There are no signs of life. No lights. no movement.</dialogue> <scene_description>Roby and Hunter are listening with hypnotic concentration .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( over , filtered . )</parenthetical> <dialogue>We're, uh, approaching the base.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - BASE OF TOADSTOOL SHIP - DAY</stage_direction> <scene_description>A strangely shaped DOOR yawns open at the base of the ship . Dust and sand have blown in , filling the lower part of the entrance . With great caution , the men approach the entrance and group around it .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Appears to be a door hanging open, the entrance is clogged with debris.</dialogue> <character>BROUSSARD</character> <dialogue>Looks like a derelict.</dialogue> <character>STANDARD</character> <dialogue>Martin, we're going in. I'm going to hold the conversation to a minimum from here on.</dialogue> </scene> <scene> <stage_direction>INTERIOR - ALIEN SHIP - DAY</stage_direction> <scene_description>The doorway is a glowing geometric blur of light against blackness , spewing dust . In the darkness of the chamber are huge , formless shapes . Standard , Broussard and Melkonis appear silhouetted against the doorway . They switch on flashlight - like devices called `` DATASTICKS '' , and step in . Carefully , peering around , they pick their way past the indistinct machinery .</scene_description> <character>MELKONIS</character> <dialogue>Air lock?</dialogue> <character>STANDARD</character> <dialogue>Who knows?</dialogue> <character>BROUSSARD</character> <dialogue>Let's try and find the control room.</dialogue> <scene_description>As they move their lights around , they can see that the walls , ceiling , and machinery are FULL OF HUGE , IRREGULAR HOLES .</scene_description> <character>MELKONIS</character> <dialogue>Look at these holes. This place looks like Swiss cheese.</dialogue> <scene_description>Broussard shines his light up into a huge hole in the ceiling .</scene_description> <character>BROUSSARD</character> <dialogue>This hole goes up several decks - looks like somebody was firing a military disintegrator in here.</dialogue> <scene_description>They all peer up the hole into darkness .</scene_description> <character>STANDARD</character> <dialogue>Climbing gear.</dialogue> <scene_description>Standard draws out a stubby spear gun with a graplon attached to it . He aims it up into the hole and fires . The graplon is launched up into darkness , trailing a thin wire . There is a dull CLUNK , and the wire dangles .</scene_description> <character>BROUSSARD</character> <dialogue>I'll go first.</dialogue> <character>STANDARD</character> <dialogue>No, you'll follow me.</dialogue> <scene_description>Standard attaches the wire to a powered gear box on his chest , and presses a button . With a mechanical whine , he is pulled up into the hole , using his feet for leverage where he can . Broussard attaches the wire to his own chest unit .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CONTROL ROOM OF ALIEN SHIP</stage_direction> <scene_description>This chamber is totally dark as Broussard arrives at the top of the hole . Standard stands with his flashlight/camera -LRB- `` datastick '' -RRB- tracing a beam through the hanging dust . Broussard unclips himself from the climbing wire , then raises his own light . At that moment , Melkonis arrives at the top of the hole . THEIR LIGHTS SCAN THE ROOM . The beams are clearly visible as columns of light in the floating dust . They reveal heavy , odd shapes . Broussard stumbles over something . He shines his light down on it . It is a large , glossy urn , brown in color , with peculiar markings . Broussard stands it upright . It has a round opening in the top , and is empty . Suddenly , Melkonis lets out a grunt of shock . Their lights have illuminated something unspeakably grotesque : A HUGE ALIEN SKELETON , SEATED IN THE CONTROL CHAIR . They approach the skeleton , their lights trained on it . IT IS A GROTESQUE THING , BEARING NO RESEMBLANCE TO THE HUMAN FORM .</scene_description> <character>MELKONIS</character> <dialogue>Holy Christ.</dialogue> <scene_description>Standard shines his light on the console at which the hideous skeleton is seated . He moves his light closer and peers at the panel .</scene_description> <character>STANDARD</character> <dialogue>Look at this.</dialogue> <scene_description>They approach .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Something has been scratched here. into the veneer. See?</dialogue> <scene_description>Traced raggedly onto the surface of the panel , as by the point of a sharp instrument , is a small triangle : Hearing something , Broussard flashes his light across the room . As the beam scans the walls , it briefly touches on SOMETHING THAT MOVES . Melkonis convulsively yanks out his pistol .</scene_description> <character>MELKONIS</character> <dialogue>LOOK OUT, IT MOVED!</dialogue> <scene_description>Standard knocks his hand down .</scene_description> <character>STANDARD</character> <dialogue>Keep away from that gun!</dialogue> <scene_description>Standard shoulders himself in front of the others . Then , slowly , he begins to move toward the far side of the room . They approach a console on the wall , training their lights on it . There is a machine . On the machine , a small bar moves steadily back and forth , sliding noiselessly in its grooves .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Just machinery.</dialogue> <character>BROUSSARD</character> <dialogue>But functioning.</dialogue> <scene_description>Melkonis looks down at his direction finder .</scene_description> <character>MELKONIS</character> <dialogue>That's where the transmission is coming from.</dialogue> <scene_description>He throws a switch on the direction finder - with a crackle and a hum , the UNEARTHLY VOICE fills their earphones .</scene_description> <character>BROUSSARD</character> <dialogue>A recording. A damned automatic recording.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - PLANETOID - SUNSET</stage_direction> <scene_description>SINISTER ANGLE ON THE SNARK . As we watch , the sunlight turns the color of blood , and then the sun is down , leaving murky blackness in its wake . The ring of floodlights on the ship flares into life , feebly combatting the darkness and the storm .</scene_description> </scene> <scene> <stage_direction>INTERIOR - MULTI-PURPOSE ROOM</stage_direction> <scene_description>The entire crew is seated around the conference table , watching holographic pictures projected onto a screen . These are photos taken by their `` datasticks '' -LRB- flashlight/cameras -RRB- . Standard is commenting on the changing slides .</scene_description> <character>STANDARD</character> <dialogue>This is the control room.</dialogue> <scene_description>Two or three pictures click onto the screen in succession , showing the suited men standing against banks of machinery .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Some details of the control room.</dialogue> <scene_description>The SKELETON appears on the screen . The men react with mutters .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>This is the skeleton. another view of the skeleton. the transmitting device.</dialogue> <scene_description>The triangle that was cut into the alien 's console appears .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>This is a closeup of the triangle we found scrawled on the console in front of the skeleton.</dialogue> <scene_description>Standard changes the slide . The screen goes white .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And that's it.</dialogue> <scene_description>He turns off the projector and brings the lights up .</scene_description> <character>HUNTER</character> <dialogue>Phenomenal. Staggering.</dialogue> <character>BROUSSARD</character> <dialogue>We've got to go back and take a lot more pictures, holograph everything.</dialogue> <character>MELKONIS</character> <dialogue>And bring back as much physical evidence as possible, too. The rest of the skeleton. Some of the machinery. Written records, if there are any.</dialogue> <scene_description>Roby is slumped in his chair . He has said nothing .</scene_description> <character>STANDARD</character> <dialogue>Martin?</dialogue> <character>ROBY</character> <dialogue>I agree. This is the single most important discovery in history.</dialogue> <character>STANDARD</character> <dialogue>But?</dialogue> <character>ROBY</character> <dialogue>What killed it?</dialogue> <character>BROUSSARD</character> <dialogue>Hell, that thing's been dead for years. Maybe hundreds of years. The whole planet's dead.</dialogue> <character>FAUST</character> <dialogue>The way I figure it, they landed here for repairs or something, then they could n't take off again. Maybe the dust ruined their engines. They set up an S.O.S. beacon, but nobody came. So they died.</dialogue> <character>ROBY</character> <dialogue>He died.</dialogue> <character>FAUST</character> <dialogue>What?</dialogue> <character>ROBY</character> <dialogue>Not they. he.</dialogue> <scene_description>They all turn to look in the direction of Roby 's nod . CAMERA MOVES OVER TO REVEAL THE ALIEN SKULL SITTING ON A TABLE .</scene_description> <character>ROBY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>There was only one skeleton.</dialogue> <scene_description>There is a moment of silence .</scene_description> <character>STANDARD</character> <dialogue>Jay. how's it coming on the repairs?</dialogue> <character>FAUST</character> <dialogue>Well. I'm going to have to blow the engines out.</dialogue> <character>STANDARD</character> <dialogue>And when will you be ready to do that?</dialogue> <character>FAUST</character> <dialogue>Oh - I'm not near ready yet.</dialogue> <character>STANDARD</character> <dialogue>Then why the hell are you sitting around here?</dialogue> <character>FAUST</character> <dialogue>Right.</dialogue> <scene_description>The men rise and begin to disperse , but Roby remains seated , deep in thought , staring at the skull . Melkonis lingers in the room with him .</scene_description> <character>MELKONIS</character> <dialogue>And there sits man's first contact with intelligent life in the universe.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - SHIP - NIGHT</stage_direction> <scene_description>ANGLE ON THE SHIP , its spotlights cutting into the gloom .</scene_description> </scene> <scene> <stage_direction>INTERIOR - ENGINE ROOM</stage_direction> <scene_description>A room throbbing with power , enormous pulsing engines capable of releasing unimaginable energies . Faust has a complicated arrangement set up at the base of one of the engines , with spotlights on it . He is wearing goggles and thin gloves .</scene_description> <character>FAUST</character> <dialogue>You ready up there?</dialogue> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - NIGHT</stage_direction> <scene_description>Broussard and Melkonis are seated at their consoles , conversing with Faust while they watch their instruments .</scene_description> <character>BROUSSARD</character> <dialogue>Sure, we're ready.</dialogue> </scene> <scene> <stage_direction>INTERIOR - ENGINE ROOM</stage_direction> <character>FAUST</character> <dialogue>Okay. I'm going to start the extraction procedure now.</dialogue> <scene_description>He pauses to wipe his brow .</scene_description> </scene> <scene> <stage_direction>INTERIOR - MULTI-PURPOSE ROOM</stage_direction> <scene_description>Roby is alone in the room , slumped into a chair , watching the photographic slides on the screen . He is clicking slowly through them . He stops on an angle of the skeleton , and stares at it . The alien 's misshapen skull is sitting on the table next to him . He picks it up , holds it up to the screen for comparison , and studies it . Standard appears in the doorway .</scene_description> <character>STANDARD</character> <dialogue>Alas, poor Yorick.</dialogue> <scene_description>Roby STARTS , puts down the skull . Standard sits at the table .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( nodding at the screen . )</parenthetical> <dialogue>Find anything we missed?</dialogue> <character>ROBY</character> <parenthetical>( shrugs . )</parenthetical> <dialogue>I do n't even know what I'm looking for.</dialogue> <character>STANDARD</character> <dialogue>Still worried?</dialogue> <character>ROBY</character> <dialogue>Oh well. you know me.</dialogue> <character>STANDARD</character> <dialogue>I've always respected your opinion, Martin. If something worries you, it worries me.</dialogue> <scene_description>Roby reaches over and changes the slide , to the one of the CRUDELY DRAWN TRIANGLE ON THE ALIEN CONTROL PANEL .</scene_description> <character>ROBY</character> <dialogue>What would you say that was supposed to mean?</dialogue> <character>STANDARD</character> <dialogue>Well. it's obviously intentional. some kind of attempt at communication. maybe it's a symbol that means something to them.</dialogue> <character>ROBY</character> <dialogue>But why draw it on the wall?</dialogue> <scene_description>Roby switches off the projector , sits up , and rubs his face wearily . He rises and goes to the coffee machine .</scene_description> <character>ROBY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( picking a hair out of the coffeepot . )</parenthetical> <dialogue>This ship is full of cat hair.</dialogue> <character>STANDARD</character> <dialogue>Tell you what, Martin. As soon as the engine's fixed -</dialogue> <scene_description>BEEP ! The communicator interrupts Standard . He leans across and presses the button .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>This is Chaz.</dialogue> <character>BROUSSARD</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>Chaz, this is Dell. Can you come topside for a minute?</dialogue> <character>STANDARD</character> <dialogue>What's up?</dialogue> <character>BROUSSARD</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>Well, the sun just came up again, and it seems the wind's died down. It's as clear as a bell outside. There's something I think you ought to see.</dialogue> <character>STANDARD</character> <dialogue>I'm on my way.</dialogue> <scene_description>He and Roby head for the door .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - DAY</stage_direction> <scene_description>Broussard is alone in the control room when Standard and Roby arrive .</scene_description> <character>STANDARD</character> <dialogue>What is it?</dialogue> <character>BROUSSARD</character> <dialogue>Take a look.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - SHIP - DAY</stage_direction> <scene_description>The dust no longer blows . The day is crisp , clear , and silent .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - DAY</stage_direction> <character>BROUSSARD</character> <dialogue>I was scanning the horizon to see what I could pick up. Look there, on that screen.</dialogue> <character>STANDARD</character> <dialogue>What is it, I ca n't -</dialogue> <scene_description>BLIP ! Broussard enlarges the image . The screen now shows a TAPERING STONE PYRAMID on the horizon . They all stare at the image for a long moment . The silhouette of the PYRAMID IS INSTANTLY SUGGESTIVE OF THE SCRAWLED TRIANGLE in the alien ship . Standard presses the nearest communicator and speaks into the grille .</scene_description> <character>STANDARD</character> <dialogue>This is Chaz. All hands topside. Now.</dialogue> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - DAY - A LITTLE LATER</stage_direction> <scene_description>ANGLE ON A VIEWSCREEN . It shows the PYRAMID on the horizon . CAMERA PULLS BACK to reveal all the men , sitting and standing around the room .</scene_description> <character>STANDARD</character> <dialogue>Does n't seem much doubt about it, does there?</dialogue> <character>MELKONIS</character> <dialogue>That creature sure must have considered it important. using his last strength to draw it.</dialogue> <character>BROUSSARD</character> <dialogue>Maybe they built it.</dialogue> <character>FAUST</character> <dialogue>As what?</dialogue> <character>BROUSSARD</character> <dialogue>A marker for buried instrumentation?</dialogue> <character>HUNTER</character> <dialogue>Or a mass grave.</dialogue> <character>BROUSSARD</character> <dialogue>Maybe the rest of the crew is in there - in some kind of suspended animation, waiting to be rescued.</dialogue> <character>MELKONIS</character> <dialogue>It was n't necessarily built by them.</dialogue> <scene_description>On the screens , a puff of DUST blows in front of the pyramid .</scene_description> <character>ROBY</character> <dialogue>Here comes the dust again.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - SHIP - DAY</stage_direction> <scene_description>WITH A SHRIEK , THE DUST STORM RETURNS , completely obscuring the SNARK .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - DAY</stage_direction> <character>STANDARD</character> <dialogue>Well, does anyone else agree with Martin that we should not explore it?</dialogue> <scene_description>Everyone looks around the room , but no one volunteers .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Then the sooner we get moving, the better.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - PLANETOID - DAY</stage_direction> <scene_description>LONG SHOT OF THE STONE PYRAMID , dust blowing in front of it . It is a crumbling , ancient edifice , made of eroded grey stones , windowless , tapering toward the top . Standard , Broussard , and Melkonis , wearing the protective suits , approach the pyramid . As they draw near , it becomes clear that the pyramid is roughly 50 feet tall .</scene_description> <character>STANDARD</character> <dialogue>We ca n't make out any details or features yet. but it's definitely too regular for a natural formation.</dialogue> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - DAY</stage_direction> <scene_description>Roby and Hunter are present . They are listening to Standard 's VOICE ON THE RADIO .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( over , filtered . )</parenthetical> <dialogue>. There's one thing I can say for sure though.</dialogue> <scene_description>BUZZZZZ ! Standard 's voice is DROWNED OUT BY STATIC .</scene_description> <character>ROBY</character> <dialogue>Now what's wrong?</dialogue> <character>HUNTER</character> <dialogue>I've completely lost their signal.</dialogue> <character>ROBY</character> <dialogue>Can you get them back?</dialogue> <character>HUNTER</character> <dialogue>I'm trying.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - BASE OF PYRAMID - DAY</stage_direction> <scene_description>The three men come to the base of the massive structure . Dust and sand have piled thickly around the crumbling , grey stones that form the base .</scene_description> <character>MELKONIS</character> <dialogue>This looks ancient.</dialogue> <character>STANDARD</character> <dialogue>Ca n't tell - these weather conditions could erode anything, fast.</dialogue> <scene_description>They walk around the base .</scene_description> <character>BROUSSARD</character> <dialogue>There's no entrance.</dialogue> <character>MELKONIS</character> <dialogue>Maybe the entrance is buried. Could be under our feet.</dialogue> <character>STANDARD</character> <dialogue>Maybe there is no entrance ; the thing may be solid.</dialogue> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - DAY</stage_direction> <character>ROBY</character> <dialogue>Well, there ought to be some way we can get through to them -</dialogue> <scene_description>The INTERCOM BEEPS . Faust 's voice is heard .</scene_description> <character>FAUST</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>Sorry to interrupt, but I'm gon na charge up the engines for a minute, okay?</dialogue> <character>ROBY</character> <dialogue>Yeah, okay. Go ahead.</dialogue> <scene_description>A LOUD , POWERFUL THROBBING BEGINS , drowning out all other sounds , as the engines are tested . A light on Roby 's panel is FLASHING . We can see that it is the COMPUTER ALERT . Irritably , Roby throws the switch .</scene_description> <character>ROBY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yes!</dialogue> <character>COMPUTER</character> <dialogue>I have a temporary sequence on the monitor -</dialogue> <character>ROBY</character> <dialogue>Hold it, I ca n't hear a damn thing!</dialogue> <scene_description>He puts an earphone to his ear and switches the computer 's voice over .</scene_description> <character>ROBY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Go ahead!</dialogue> <scene_description>There is a PAUSE while Roby listens to the computer . His eyes widen .</scene_description> <character>ROBY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You mean. you've translated it?</dialogue> <scene_description>Another PAUSE as he listens to the earphone .</scene_description> <character>ROBY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Well come on, come on! What does it say?</dialogue> <scene_description>Another PAUSE . Roby 's face changes ; he looks CHILLED TO THE BONE . His mouth works . Abruptly , THE ENGINES SHUT OFF , LEAVING A RINGING SILENCE .</scene_description> <character>HUNTER</character> <parenthetical>( looking over at Roby . )</parenthetical> <dialogue>What? What was that?</dialogue> <character>ROBY</character> <dialogue>The computer just translated the goddamn message. It's not an S.O.S.. It was a warning.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - BASE OF PYRAMID - DAY</stage_direction> <character>BROUSSARD</character> <dialogue>Maybe we can get in by the top.</dialogue> <character>STANDARD</character> <dialogue>You want to try?</dialogue> <character>BROUSSARD</character> <dialogue>Sure.</dialogue> <scene_description>Broussard takes out the graplon - gun , and fires the hook up toward the top of the pyramid . It catches . He clips himself to the wire .</scene_description> <character>BROUSSARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You guys just wait down here till I say it's okay to come up.</dialogue> <scene_description>Broussard turns on the climbing device , and begins to walk up the side of the pyramid . OMINOUS ANGLES showing Broussard climbing the pyramid , the dust blowing , the wind shrieking .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - TOP OF PYRAMID - DAY</stage_direction> <scene_description>The peak of the pyramid is in extreme disrepair . Broussard arrives at the top and clings to the jagged , crumbling stones .</scene_description> <character>BROUSSARD</character> <dialogue>There's a hole at the top.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - BASE OF PYRAMID - DAY</stage_direction> <character>STANDARD</character> <dialogue>Can we come up?</dialogue> <character>BROUSSARD</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>No, it's too small, only room enough for one person.</dialogue> <character>STANDARD</character> <dialogue>Can you see anything in the hole?</dialogue> </scene> <scene> <stage_direction>EXTERIOR - TOP OF PYRAMID - DAY</stage_direction> <scene_description>Broussard leans over and looks into the hole . He sees only blackness . Freeing one arm , he unclips his datastick from his belt , switches on the `` flashlight '' function , and shines it down into the hole .</scene_description> <character>BROUSSARD</character> <dialogue>I can see. partway down. It just goes down like a stovepipe. Smooth walls. I ca n't see the bottom - light wo n't reach.</dialogue> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - DAY</stage_direction> <scene_description>Faust comes trotting up the steps , a questioning look on his face .</scene_description> <character>FAUST</character> <dialogue>Yes? What is it?</dialogue> <character>ROBY</character> <dialogue>Jay, we've got a problem. I was wondering if there was any way you could shortcut the repairs and give us immediate takeoff capability.</dialogue> <character>FAUST</character> <parenthetical>( quickly . )</parenthetical> <dialogue>Why, what's wrong?</dialogue> <character>ROBY</character> <dialogue>The computer's translated the alien signal, and it's kind of alarming.</dialogue> <character>FAUST</character> <dialogue>What do you mean?</dialogue> <character>ROBY</character> <dialogue>It could n't translate the whole thing, only three phrases. I'll just read it to you the way I got it :.</dialogue> <parenthetical>( reads from a strip of paper . ) ''</parenthetical> <dialogue>. HOSTILE. SURVIVAL. ADVISE DO NOT LAND.''.</dialogue> <parenthetical>( looks up at the others . )</parenthetical> <dialogue>And that's all it could translate.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - TOP OF PYRAMID - DAY</stage_direction> <scene_description>Hanging from the lip of the hole , Broussard is unclipping gear from his belt .</scene_description> <character>STANDARD</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>Dell, you want to come down, we can figure out where to go from here.</dialogue> <character>BROUSSARD</character> <dialogue>No, I want to go in.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - BASE OF PYRAMID - DAY</stage_direction> <scene_description>Standard and Melkonis exchange a glance .</scene_description> <character>STANDARD</character> <dialogue>Okay, Dell, but just for a preliminary look - around. Do n't unhook yourself from your cable. And be out in less than ten minutes.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - TOP OF PYRAMID - DAY</stage_direction> <character>BROUSSARD</character> <dialogue>Right.</dialogue> <scene_description>Broussard has rigged a tripod across the mouth of the hole . He unspools a couple feet of wire from the device , and attaches the end of it to his chest unit . He climbs over the lip and drops into the hole . He is now hanging by the wire , with his head and shoulders out of the hole .</scene_description> <character>BROUSSARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Okay, I'm in the mouth of the chimney now, and I'm starting down.</dialogue> <character>STANDARD</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>Take care.</dialogue> <scene_description>Broussard activates the climbing unit and lowers himself down into the hole .</scene_description> </scene> <scene> <stage_direction>INTERIOR - PYRAMID - DAY</stage_direction> <scene_description>Bracing his feet against the rough stone wall of the vertical tunnel , Broussard switches on his datastick and points it down into the depths . The beam penetrates only thirty feet or so , then is lost in darkness .</scene_description> <character>BROUSSARD</character> <dialogue>It's noticeably warmer in here. Warm air rising from below.</dialogue> <scene_description>He starts down , paying out the line and moving down in short hops , pushing off each time with his feet . He stops to catch his breath . His breathing rasps loudly in his helmet . A little sunlight filters down from above . Looking up , he can see the mouth of the hole , a glowing spot of light . Standard 's voice comes over his earphones .</scene_description> <character>STANDARD</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>Are you okay in there?</dialogue> <character>BROUSSARD</character> <parenthetical>( gasping for breath . )</parenthetical> <dialogue>Yeah, I'm okay. Have n't hit bottom yet. Definitely a column of warm air rising ; it keeps the shaft clear of dust.</dialogue> <character>STANDARD</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>What was that Dell, I lost you, do you read me?</dialogue> <character>BROUSSARD</character> <dialogue>Yeah, but this is hard work. Ca n't talk now.</dialogue> <scene_description>He kicks off and continues down , taking longer and longer hops as he gains confidence . Pausing for a moment to regain his breath , he shines the light on his instruments .</scene_description> <character>BROUSSARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm way below ground level.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - BASE OF PYRAMID - DAY</stage_direction> <character>STANDARD</character> <dialogue>What'd he say?</dialogue> <character>MELKONIS</character> <dialogue>I could n't make it out - too much interference.</dialogue> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - DAY</stage_direction> <scene_description>Roby and Hunter .</scene_description> <character>HUNTER</character> <dialogue>I'm getting nowhere. The whole area around the pyramid is dead to transmission. I think we should go after them.</dialogue> <character>ROBY</character> <dialogue>No.</dialogue> <character>HUNTER</character> <dialogue>What do you mean, no?</dialogue> <character>ROBY</character> <dialogue>We're not going anywhere.</dialogue> <character>HUNTER</character> <dialogue>But they do n't know about the translation! They could be in danger right now.</dialogue> <character>ROBY</character> <dialogue>We ca n't spare the personnel. We've got minimum takeoff capability right now. That's why Chaz left us on board.</dialogue> <character>HUNTER</character> <dialogue>Why, you chickenshit bastard -</dialogue> <character>ROBY</character> <dialogue>Just can that crap! I'm in command here till Chaz returns! And nobody's leaving this ship!</dialogue> </scene> <scene> <stage_direction>INTERIOR - PYRAMID - DAY</stage_direction> <scene_description>Broussard resumes his downward climb . SUDDENLY , HIS FEET LOSE THEIR PURCHASE AS THE WALLS OF THE SHAFT DISAPPEAR . The tunnel has reached its end . Below him is an unfathomable , cavernous space .</scene_description> <character>BROUSSARD</character> <parenthetical>( huffing and puffing . )</parenthetical> <dialogue>Tunnel's gone - cave or something below me - feels like the tropics in here ; air is warm and humid.</dialogue> <parenthetical>( consults his instruments . )</parenthetical> <dialogue>. high oxygen content, no dust, it's completely breathable -</dialogue> <scene_description>Puffing with exertion , he releases his purchase on the stone walls and begins to lower himself on power . Now he is dangling free in darkness , spinning slowly on the wire as the chest unit unwinds . Finally , his feet hit bottom . He grunts in surprise and almost loses his balance .</scene_description> </scene> <scene> <stage_direction>INTERIOR - TOMB - DAY</stage_direction> <scene_description>Broussard is standing on a dusty stone floor , with a feeble column of sunlight shining down around him from the tunnel above . Around is solid darkness . He flashes his datastick around . The beam reveals that he is in a stone room . STRANGE HEIROGLYPHICS are carved into the walls . They have a primitive , religious appearance . Row after row of pictograms stretch from floor to ceiling , some epic history in an unknown language . Huge religious symbols dominate one wall . Spaced at intervals are stylized stone statues , depicting grotesque monsters , half anthropoid , half octopus .</scene_description> <character>BROUSSARD</character> <dialogue>It's unbelievable! It's like some kind of tomb. some primitive religion! Hey, is anybody there? Do you read me? Standard!</dialogue> <scene_description>Annoyed , Broussard yanks off his breathing goggles , and leaves them hanging around his neck . He takes a deep breath of the wet air .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - BASE OF PYRAMID - LATE AFTERNOON</stage_direction> <scene_description>Standard and Melkonis are standing around nervously .</scene_description> <character>STANDARD</character> <dialogue>If we do n't hear from him soon, I think we better go in after him.</dialogue> <character>MELKONIS</character> <dialogue>Sun will be down in a minute.</dialogue> </scene> <scene> <stage_direction>INTERIOR - TOMB - LATE AFTERNOON</stage_direction> <scene_description>Face bare , Broussard approaches the center of the room , which is dominated by a large , broad pedestal . On the pedestal are ROWS OF LEATHERY URNS OR JARS , EXACTLY LIKE THE ONE BROUSSARD STUMBLED ACROSS IN THE ALIEN SHIP - EXCEPT THESE ARE ALL SEALED . He walks around the urns , studying them . They all have sealed lids . He shines his light on one of them ; then he lays his gloved hand on it . He lifts his mask radio to his lips .</scene_description> <character>BROUSSARD</character> <dialogue>I do n't know if you can hear me, but the place is full of large bottles or jars, just like the one we found on the other ship - except these are all sealed. Also they're soft to the touch.</dialogue> <scene_description>He peers more closely at the leathery object .</scene_description> <character>BROUSSARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Another funny thing - I just put my hand on it, and now there are these raised areas appearing where my fingertips were.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - BASE OF PYRAMID - DAY</stage_direction> <scene_description>THE SUN DROPS BELOW THE HORIZON , throwing the landscape into gloom . Standard and Melkonis switch on their lights .</scene_description> <character>STANDARD</character> <dialogue>Let's go.</dialogue> <scene_description>He attaches his chest unit to the wire and starts up .</scene_description> </scene> <scene> <stage_direction>INTERIOR - TOMB - NIGHT</stage_direction> <scene_description>Broussard is moving his light along the rows of heiroglyphs on the wall . They depict stylized drawings of strange monsters . He pauses to quickly change the film clip in his datastick ; then he turns back to the `` urn '' he was examining - BUT NOW THERE IS A HOLE IN THE TOP OF IT . He shines his light on the floor at the base of the `` urn . '' There lies the `` lid '' - the stopper that had filled the hole . He picks it up and studies it . It appears more organic than artificial ; the inside surface is spongy and irregular . Then he turns the light to the now - open `` urn . '' He bends over the mouth of the `` urn '' shining the light in , AND WITH SHOCKING VIOLENCE , A SMALL , OCTOPUS - LIKE THING LEAPS OUT AND ATTACHES ITSELF TO HIS FACE , WRAPPING ITS TENTACLES AROUND HIS HEAD . With a MUFFLED SCREAM , he launches himself backward , tearing at the thing with his hands .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - TOP OF PYRAMID - NIGHT</stage_direction> <scene_description>The dust blows and howls as Standard and Melkonis arrive at the top , lights bobbing in the darkness .</scene_description> <character>STANDARD</character> <parenthetical>( puffing with exertion . )</parenthetical> <dialogue>Here's his line. We can haul him out of there if we have to.</dialogue> <character>MELKONIS</character> <dialogue>It'll yank him right off his feet if he's not expecting it. The line could get tangled in something.</dialogue> <character>STANDARD</character> <dialogue>But what can we do? He's out of radio contact.</dialogue> <character>MELKONIS</character> <dialogue>Maybe we should just wait a few more minutes.</dialogue> <scene_description>Standard hesitates , clinging to the lip of the hole .</scene_description> <character>STANDARD</character> <parenthetical>( making up his mind . )</parenthetical> <dialogue>No, I told him to be out in ten minutes. It's been much longer. Let's get him out of there.</dialogue> <scene_description>Standard pulls himself up and crouches precariously on the edge of the tunnel . He begins to fiddle with the winch mechanism from which Broussard 's line dangles .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>The line's slack. Christ, do you think the idiot unhooked himself?</dialogue> <scene_description>He switches on the winch motor . With a whine , it begins to reel the line in . After a moment , the line TIGHTENS WITH A JERK - and the motor slows down , laboring under the added weight .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>There, it caught!</dialogue> <character>MELKONIS</character> <dialogue>Is it still coming up, or is it hooked on something?</dialogue> <character>STANDARD</character> <dialogue>No, it's coming.</dialogue> <character>MELKONIS</character> <dialogue>Can you see anything?</dialogue> <scene_description>Standard shines his light down into the hole .</scene_description> <character>STANDARD</character> <dialogue>No, I ca n't see far enough. The line's moving, though.</dialogue> <scene_description>For a moment , the two men hang to the narrow top of the pyramid , saving their strength , while the line reels in and the wind howls . Then Standard shines his light back down in .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I can see him! Here he comes!</dialogue> <scene_description>The winch begins to LABOR HEAVILY .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Get ready to grab him!</dialogue> <scene_description>Broussard appears at the top of the pit , dangling limply from the wire . Standard reaches for him - then RECOILS SHARPLY .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Look out! There's something on his face!</dialogue> <scene_description>Melkonis attempts to come to his aid .</scene_description> <character>MELKONIS</character> <dialogue>What is it?</dialogue> <character>STANDARD</character> <dialogue>Do n't touch him, watch it!</dialogue> <scene_description>In their panic and confusion , the men teeter momentarily , finally regain their balance . They shine their lights on Broussard . He appears to be completely unconscious - AND THE OCTOPUS THING IS STILL WRAPPED AROUND HIS FACE , MOTIONLESS .</scene_description> <character>MELKONIS</character> <dialogue>Oh God, oh God no.</dialogue> <character>STANDARD</character> <dialogue>Help me - I'm going to try to get it off.</dialogue> <scene_description>With his gloved hands , Standard grasps the tentacled mess and tries to pull it from Broussard 's head .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It wo n't come - it's stuck.</dialogue> <character>MELKONIS</character> <dialogue>What is it?</dialogue> <character>STANDARD</character> <dialogue>How the hell should I know? Come on, give me a hand, let's get him out of there!</dialogue> <scene_description>The two men grapple with Broussard 's limp body , lifting him from the hole .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - NIGHT</stage_direction> <scene_description>Roby and Hunter are sitting moodily , silent . There is a long moment while nothing is said , then :</scene_description> <character>HUNTER</character> <dialogue>I've got'em! They're back on my screens!</dialogue> <character>ROBY</character> <parenthetical>( leaps to his feet . )</parenthetical> <dialogue>How many?</dialogue> <character>HUNTER</character> <dialogue>Three blips! They're coming this way!</dialogue> <scene_description>Roby grabs a microphone .</scene_description> <character>ROBY</character> <parenthetical>( into mike . )</parenthetical> <dialogue>Hey, can you guys hear me?</dialogue> <character>STANDARD</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>Yeah, we hear you! We're coming back!</dialogue> <character>ROBY</character> <dialogue>Thank Christ! We lost you! Listen, there's been a new development -</dialogue> <character>STANDARD</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>Ca n't talk now ; Broussard's injured. We'll need some help getting him into the ship.</dialogue> <scene_description>Roby collapses into a chair , suddenly limp with apprehension . He 's feared something like this all along , and now it has begun to happen .</scene_description> <character>ROBY</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Oh no.</dialogue> <character>HUNTER</character> <parenthetical>( into intercom . )</parenthetical> <dialogue>Jay, this is Cleave! Meet me at the main air lock!</dialogue> <scene_description>Hunter dashes from the room . Roby remains where he is , seated at his console . He is stunned , his mind racing . CAMERA MOVES IN ON HIS FACE .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDOR OUTSIDE AIR LOCK - NIGHT</stage_direction> <scene_description>Hunter comes racing down the steps and hurries up to the inner lock door . He presses the wall intercom .</scene_description> <character>HUNTER</character> <parenthetical>( into intercom . )</parenthetical> <dialogue>Martin, I'm by the inner lock door! I'll wait here for you to let them in!</dialogue> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - NIGHT</stage_direction> <character>ROBY</character> <parenthetical>( strangely quiet . )</parenthetical> <dialogue>Right.</dialogue> </scene> <scene> <stage_direction>INTERIOR - CORRIDOR OUTSIDE AIR LOCK - NIGHT</stage_direction> <scene_description>Faust comes running up , covered with grime .</scene_description> <character>FAUST</character> <dialogue>What the hell's going on?</dialogue> <character>HUNTER</character> <dialogue>Do n't know - Broussard got hurt somehow.</dialogue> <character>FAUST</character> <dialogue>Hurt! How?</dialogue> <character>HUNTER</character> <dialogue>Do n't know - maybe we'll be real lucky and he just broke his neck.</dialogue> <parenthetical>( a beat . )</parenthetical> <dialogue>I knew we should n't of come down here.</dialogue> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - NIGHT</stage_direction> <scene_description>Roby is seated alone in the room , listening to the transmission from Standard and Melkonis .</scene_description> <character>STANDARD</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>Martin, are you there?</dialogue> <scene_description>Roby leans forward and speaks into the microphone .</scene_description> <character>ROBY</character> <dialogue>Here, Chaz.</dialogue> <character>STANDARD</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>We're coming up now, open the outer lock door.</dialogue> <character>ROBY</character> <dialogue>Chaz - what happened to Broussard?</dialogue> <character>STANDARD</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>It's some kind of organism, it's attached itself to him. Let us in.</dialogue> <scene_description>Roby does not reply .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( over , filtered . )</parenthetical> <dialogue>You hear me, Martin? Open the outer door.</dialogue> <character>ROBY</character> <dialogue>Chaz, if it's an organism, and we let it in, the ship will be infected.</dialogue> <character>STANDARD</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>We ca n't leave him out here, open the door.</dialogue> <character>ROBY</character> <parenthetical>( urgently . )</parenthetical> <dialogue>Chaz, listen to me - we've broken every rule of quarantine. If we bring an organism on board, we wo n't have a single layer of defense left.</dialogue> <character>STANDARD</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>Martin, this is an order! Open the door!</dialogue> <scene_description>Hating it , Roby leans forward and throws the switch .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDOR OUTSIDE AIR LOCK - NIGHT</stage_direction> <scene_description>A RED LIGHT goes on , on a console on the wall . The whine of a large servo is heard , followed by a solid metallic CLUNK .</scene_description> <character>HUNTER</character> <dialogue>Outer door's open.</dialogue> <scene_description>After a moment , they hear the motor sound again , followed by another CLUNK . The outer door has closed again . The red light goes off . The inner door slides open , and Standard and Melkonis stagger through , carrying the sagging body of Broussard . A cloud of choking dust follows them out of the lock .</scene_description> <character>STANDARD</character> <parenthetical>( pulling off his mask . )</parenthetical> <dialogue>You men stay clear, there's a parasite on him.</dialogue> <scene_description>Hunter and Faust RECOIL .</scene_description> <character>HUNTER</character> <dialogue>Oh - God - oh -</dialogue> <character>FAUST</character> <dialogue>Is it alive?</dialogue> <character>STANDARD</character> <dialogue>I do n't know but do n't touch it. Give us a hand here, let's get him up to the Autodoc.</dialogue> <scene_description>Hunter and Faust move in carefully to help with the limp burden .</scene_description> </scene> <scene> <stage_direction>INTERIOR - INFIRMARY</stage_direction> <scene_description>One of them flicks on the lights as they come shuffling into the medical room , carrying Broussard . Revealed is a rather small cubicle whose walls are lined with machinery . The principle item of interest is a mechanized bunk bed , which rests in a cradle and slides in and out of a slot in the wall .</scene_description> <character>STANDARD</character> <dialogue>Help me, come on, let's get him up here.</dialogue> <scene_description>They slide the man onto the bunk .</scene_description> <character>HUNTER</character> <dialogue>That thing, God almighty, did n't you try to get it off him?</dialogue> <character>STANDARD</character> <dialogue>It would n't come.</dialogue> <scene_description>Standard yanks off his gloves .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Medical gloves.</dialogue> <scene_description>They pull thin elastic gloves from a dispenser in the wall , and pull them on . Gingerly , they approach Broussard . Standard places his hands on the octopus - thing that is slowly pulsing on Broussard 's face . He grasps the tentacles in his hands and tries to pull it free .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's really on there tight.</dialogue> <character>FAUST</character> <dialogue>Here, let me try.</dialogue> <scene_description>Faust takes a pair of pliers from a rack , and carefully grasps the tip of one of the tentacles . Squeezing tightly , he leans back with all his weight .</scene_description> <character>STANDARD</character> <parenthetical>( grabbing Faust 's hands . )</parenthetical> <dialogue>Stop it, you're tearing his face.</dialogue> <scene_description>A trickle of blood begins to ooze down Broussard 's cheek .</scene_description> <character>MELKONIS</character> <dialogue>It's not coming off - not without his whole face coming off too.</dialogue> <character>STANDARD</character> <dialogue>Let's let the machine work on him.</dialogue> <scene_description>Efficiently , they strip Broussard naked , then Standard presses a couple of switches on the wall . The machine lights up , and Broussard is sucked into the slot in the wall . He is visible inside . The machine immediately sprays a cloud of disinfectant on him , then sterilizes him with a blinding pink light . A bank of video monitors pops on , revealing X - ray images of different parts of his body . Sensors begin to scan , relays chatter . ROBY APPEARS IN THE DOORWAY . Standard turns and looks at him . For a long moment , the two men regard each other , then STANDARD STEPS FORWARD AND SLAPS ROBY ACROSS THE FACE . The others are shocked .</scene_description> <character>HUNTER</character> <dialogue>Hey now, what is this?</dialogue> <character>STANDARD</character> <dialogue>Ask him.</dialogue> <character>ROBY</character> <parenthetical>( slowly puts his hand to his cheek . )</parenthetical> <dialogue>I understand why you did that.</dialogue> <character>STANDARD</character> <dialogue>Good.</dialogue> <character>MELKONIS</character> <dialogue>He would n't open the lock ; he was going to leave us out there.</dialogue> <character>HUNTER</character> <dialogue>Yeah. well, maybe he should have. I mean, you brought the goddamn thing in here. Maybe you deserve to get slapped.</dialogue> <character>FAUST</character> <parenthetical>( embarrassed . )</parenthetical> <dialogue>Excuse me, I've got work to do.</dialogue> <scene_description>Faust exits .</scene_description> <character>HUNTER</character> <dialogue>I keep my mouth pretty much shut, but I do n't like hitting.</dialogue> <character>ROBY</character> <parenthetical>( to Standard . )</parenthetical> <dialogue>I guess I had it coming. Let's call it settled.</dialogue> <scene_description>After a hard stare at Roby , Standard gives him a curt nod and turns his attention to the machinery .</scene_description> <character>ROBY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( slowly . )</parenthetical> <dialogue>Would somebody fill me in?</dialogue> <character>STANDARD</character> <dialogue>He went into the pyramid alone. We lost radio contact with him. When we pulled him out, it was on his face. It wo n't come off, not without injuring him.</dialogue> <character>HUNTER</character> <dialogue>Where did it come from?</dialogue> <character>MELKONIS</character> <dialogue>He's the only one that knows that.</dialogue> <character>HUNTER</character> <dialogue>How does he breathe?</dialogue> <scene_description>They study the monitors .</scene_description> <character>MELKONIS</character> <dialogue>Blood's thoroughly oxygenated.</dialogue> <character>HUNTER</character> <dialogue>Yeah, but how? His nose and mouth are blocked.</dialogue> <character>STANDARD</character> <dialogue>Let's look inside his head.</dialogue> <scene_description>Standard punches some buttons , and on the monitors , a kind of X - ray image in vivid colors appears , depicting Broussard 's HEAD AND UPPER TORSO . The parasite is clearly visible on Broussard 's face . In X - ray , the creature is a maze of complicated biology . But the shocking thing is that , in X - ray , we can see that Broussard 's jaws are forced wide open , and THE PARASITE HAS EXTRUDED SOME KIND OF LONG TUBE , WHICH IS STUFFED INTO HIS MOUTH AND DOWN HIS THROAT , ending near his stomach .</scene_description> <character>ROBY</character> <dialogue>Look at that.</dialogue> <character>HUNTER</character> <dialogue>What is it - I ca n't tell anything -</dialogue> <character>ROBY</character> <dialogue>It's some kind of organ - it's inserted some kind of tube or something down his throat.</dialogue> <character>HUNTER</character> <parenthetical>( turning sick . )</parenthetical> <dialogue>Oh. God.</dialogue> <scene_description>Hunter bends over and RETCHES .</scene_description> <character>ROBY</character> <dialogue>I think that's how it's getting oxygen to him.</dialogue> <character>HUNTER</character> <dialogue>It does n't make any sense. It paralyzes him. puts him into a coma. then keeps him alive.</dialogue> <character>MELKONIS</character> <dialogue>We ca n't expect to understand a life form like this. We're out of our back yard. Things are different here.</dialogue> <character>HUNTER</character> <dialogue>Well, ca n't we kill it? I mean, we ca n't leave the damn thing on him.</dialogue> <character>MELKONIS</character> <dialogue>We do n't know what might happen if we tried to kill it. At least right now it's keeping him alive.</dialogue> <character>HUNTER</character> <dialogue>How about cutting it off? We ca n't pull it loose, but we can cut off everything but the bottom layer, where it's stuck to his face.</dialogue> <character>STANDARD</character> <dialogue>You're right. we ca n't stand here and do nothing.</dialogue> <scene_description>Standard picks up his dusty breathing mask and pulls it over his head . Then he pulls back on his bulky gloves . Finally , he presses a switch and Broussard slides back out of the booth .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( muffled in his mask . )</parenthetical> <dialogue>Somebody give me a scalpel.</dialogue> <scene_description>Melkonis takes a glittering surgical blade from a slot in the wall , and carefully passes it to Standard . Clumsily because of the gloves , Standard manipulates the knife in his hand till he has a decent grip on it . Then he flicks a little button with his thumb . The scalpel begins to hum . Standard advances on the parasite . The others draw back nervously . Roby reaches over and draws yet a longer blade from the rack , and holds it inconspicuously at his side . Standard bends over the parasite . Carefully , he touches the scalpel to the extreme end of one of the tentacles , where it curves toward the back of Broussard 's head . Effortlessly , the electronic blade slides through the alien tissue . Immediately , a urine - like fluid begins to flow from the wound .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( muffled . )</parenthetical> <dialogue>I've made an incision. it's not reacting. but some kind of yellowish fluid is leaking out of the wound.</dialogue> <scene_description>The noxious - looking liquid drips down onto the bedding next to Broussard 's head . Instantly , it starts to hiss , and a thin stream of smoke curls up from the stain .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( muffled . )</parenthetical> <dialogue>Hold it, this stuff's smoking!</dialogue> <scene_description>The others REACT nervously . By now , the yellow fluid has eaten a hole through the bunk bed and has dripped down onto the floor below . The metal floor begins to bubble and sizzle , and more smoke rises . The men start to COUGH .</scene_description> <character>MELKONIS</character> <dialogue>God, that smoke's poisonous!</dialogue> <character>HUNTER</character> <parenthetical>( pointing . )</parenthetical> <dialogue>It's eating a hole in the floor!</dialogue> <scene_description>Abruptly , the men jostle their way out of the room and huddle in the corridor outside , coughing their lungs out . Standard , who is masked , remains . Frantically , he attempts to put a bandage on the wound , but the fluid instantly melts the bandage , and in the process , some of the stuff gets on Standard 's gloves . They begin to smoke . Frantically Standard leaps back , pulling off the smouldering gloves . Then he runs out into the corridor and yanks off his mask .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDOR OUTSIDE INFIRMARY</stage_direction> <character>STANDARD</character> <dialogue>That stuff's eating right through the metal! It's going to eat through the decks and right out through the hull!</dialogue> <scene_description>By this time Standard has started to run for the stairs .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDORS IN SHIP</stage_direction> <scene_description>Followed by the others , Standard frantically clangs down the stairs to the level below .</scene_description> <character>STANDARD</character> <dialogue>There! Look!</dialogue> <scene_description>A droplet of the fluid is sizzling on the ceiling . It oozes down and drips to the floor . It bubbles on the floor .</scene_description> <character>MELKONIS</character> <dialogue>Jesus, what can we put under it?</dialogue> <scene_description>Standard and Hunter charge down the stairs to the level below .</scene_description> </scene> <scene> <stage_direction>INTERIOR - LEVEL BELOW</stage_direction> <scene_description>Standard and Hunter move cautiously down the corridor , looking up at the ceiling .</scene_description> <character>STANDARD</character> <parenthetical>( pointing . )</parenthetical> <dialogue>There. Should be coming through about there.</dialogue> <character>HUNTER</character> <dialogue>Careful, do n't get under it!</dialogue> </scene> <scene> <stage_direction>INTERIOR - LEVEL ABOVE</stage_direction> <scene_description>Roby and Melkonis crouch by the spot on the floor where the acid sizzles .</scene_description> <character>MELKONIS</character> <dialogue>Christ, that stinks.</dialogue> <scene_description>Roby fishes a pen out of his pocket and probes into the hole in the floor .</scene_description> <character>ROBY</character> <dialogue>Seems to have stopped penetrating.</dialogue> <scene_description>Hunter comes charging up the steps .</scene_description> <character>HUNTER</character> <dialogue>What's happening up here?</dialogue> <character>ROBY</character> <dialogue>I think it's fizzled out.</dialogue> <scene_description>Hunter approaches and looks . Roby straightens up , starts to put the pen back in his pocket , then changes his mind and stands holding it by the end .</scene_description> <character>MELKONIS</character> <dialogue>I never saw anything like that in my life. except molecular acid.</dialogue> <character>HUNTER</character> <dialogue>But this thing uses it for blood.</dialogue> <character>MELKONIS</character> <dialogue>Hell of a defense mechanism. You do n't dare kill it.</dialogue> <scene_description>Standard comes up the stairs .</scene_description> <character>STANDARD</character> <dialogue>It's stopped?</dialogue> <character>MELKONIS</character> <dialogue>Yes, thank heaven.</dialogue> <character>STANDARD</character> <dialogue>We're just plain lucky. That could have gone right through the hull - taken weeks to patch it.</dialogue> <character>MELKONIS</character> <dialogue>Reminded me of when I was a kid and the roof leaked - everybody running for the pots and pans.</dialogue> <character>ROBY</character> <dialogue>My God, what about Broussard?</dialogue> <scene_description>They turn and run up the stairs .</scene_description> </scene> <scene> <stage_direction>INTERIOR - INFIRMARY</stage_direction> <scene_description>They all come into the room -LRB- Roby carrying the partially melted pen -RRB- . Broussard is still motionless on the bunk , with the thing on his face .</scene_description> <character>ROBY</character> <dialogue>Did it get on him?</dialogue> <scene_description>Standard approaches and peers at Broussard 's head .</scene_description> <character>STANDARD</character> <dialogue>No, thank God. just missed him.</dialogue> <character>MELKONIS</character> <dialogue>Is it still dripping?</dialogue> <character>STANDARD</character> <parenthetical>( examining it . )</parenthetical> <dialogue>It appears to have healed itself.</dialogue> <character>HUNTER</character> <dialogue>It makes me sick to see him like that.</dialogue> <character>MELKONIS</character> <dialogue>Is n't there some way we can get it off him?</dialogue> <character>STANDARD</character> <dialogue>I do n't see how. But let's do what we can for him.</dialogue> <scene_description>Standard presses a button , and Broussard slides back into the diagnostic coffin . He presses more buttons , and the displays light up again , showing different parts of Broussard 's body .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I think we'd better get some intravenous feeding started. God knows what that thing is leaching out of him.</dialogue> <scene_description>Standard operates some controls , and the machine begins to invade Broussard 's body , sliding needles into him .</scene_description> <character>ROBY</character> <parenthetical>( studying the screens . )</parenthetical> <dialogue>Look there, what's that stain on his lungs?</dialogue> <scene_description>The X - ray reveals a spreading dark blot in the vicinity of Broussard 's chest . In the center , the stain is completely opaque .</scene_description> <character>MELKONIS</character> <dialogue>It appears to be a heavy fluid of some sort. it blocks the X - rays.</dialogue> <character>ROBY</character> <dialogue>That tube must be depositing it in him.</dialogue> <character>MELKONIS</character> <dialogue>Could be some kind of venom, or poison.</dialogue> <character>HUNTER</character> <dialogue>This is horrible.</dialogue> <character>ROBY</character> <dialogue>Hey! what about the film?</dialogue> <character>STANDARD</character> <dialogue>What film?</dialogue> <character>ROBY</character> <dialogue>Broussard had film in his datastick, did n't he? We can see what happened to him.</dialogue> </scene> <scene> <stage_direction>INTERIOR - MULTI-PURPOSE ROOM</stage_direction> <scene_description>Again we are watching slides in the darkened room . This time Standard , Roby , Melkonis , and Hunter are watching the sequence of photographs taken automatically by Broussard 's datastick as he probed the tomb . The camera reveals the `` urns . '' The climax of the sequence of stills comes when THE CREATURE LEAPS OUT OF THE `` URN '' TOWARD THE CAMERA - and after that the camera drops to a useless angle and proceeds to show a series of meaningless blurs . Then the reel ends .</scene_description> <character>HUNTER</character> <dialogue>That must have been when he got it.</dialogue> <character>ROBY</character> <dialogue>The same thing must've happened to the creatures on the other ship. except they took one of those jars on board, and opened it there.</dialogue> <character>MELKONIS</character> <parenthetical>( clicks back through the slides to a picture of one of the `` urns '' . )</parenthetical> <dialogue>At first I thought they were jars too, or artifacts anyway. But they're not. They're eggs, or spore casings. Let's go back to the heiroglyphics.</dialogue> <scene_description>CLICKETYCLICKETYCLICK - Melkonis accelerates through the slides in a blur , stopping at the one he wants - which shows a strip of heiroglyphs on the wall of the tomb .</scene_description> <character>STANDARD</character> <dialogue>I personally ca n't make any sense out of it.</dialogue> <scene_description>CLICK . CLICK . Melkonis is changing the slides as they talk , showing different angles on the glyphs .</scene_description> <character>MELKONIS</character> <dialogue>It's a crude symbolic language - looks primitive.</dialogue> <character>HUNTER</character> <dialogue>You ca n't tell - that kind of stuff could represent printed circuits.</dialogue> <character>STANDARD</character> <dialogue>That sounds a little fanciful.</dialogue> <character>MELKONIS</character> <dialogue>Primitive pictorial languages are based on common objects in the environment, and this can be used as a starting point for translation.</dialogue> <character>ROBY</character> <dialogue>What common objects?</dialogue> <character>HUNTER</character> <dialogue>Listen, had n't somebody better check on Broussard?</dialogue> <character>STANDARD</character> <parenthetical>( rising . )</parenthetical> <dialogue>I'll do it. The rest of you continue.</dialogue> <character>HUNTER</character> <parenthetical>( rising . )</parenthetical> <dialogue>I'll come with you.</dialogue> </scene> <scene> <stage_direction>INTERIOR - CORRIDOR OUTSIDE INFIRMARY</stage_direction> <scene_description>Standard and Hunter come down the passageway .</scene_description> <character>STANDARD</character> <dialogue>You know, it's fantastic - the human race has gone this long without ever encountering another advanced life form, and now we run into a veritable zoo.</dialogue> <character>HUNTER</character> <dialogue>What do you mean?</dialogue> <character>STANDARD</character> <dialogue>Well, those things out there are n't the same, you know - the spaceship and the pyramid. They're from different cultures and different races. That ship just landed here - crashed like we did. The pyramid and the thing from it are indigenous.</dialogue> <character>HUNTER</character> <dialogue>How could anything be indigenous to this asteroid? It's dead.</dialogue> <character>STANDARD</character> <dialogue>Maybe it was n't always dead.</dialogue> <scene_description>They arrive at the infirmary .</scene_description> </scene> <scene> <stage_direction>INTERIOR - INFIRMARY</stage_direction> <scene_description>The door slides open , and they step into the room . Hunter activates the bed , and it slides out of the wall . THERE IS A LONG , HORRIFIED PAUSE .</scene_description> <character>HUNTER</character> <dialogue>It's gone.</dialogue> <scene_description>They rush to Broussard 's prone form . THE PARASITE IS GONE FROM HIS FACE . Broussard is still unconscious , but he is breathing . HIS FACE IS COVERED WITH SUCKER MARKS .</scene_description> <character>HUNTER</character> <dialogue>Now we're in for it.</dialogue> <character>STANDARD</character> <dialogue>The door was closed. It must still be in here.</dialogue> <scene_description>They immediately grow very tense . Hunter starts edging toward the door . Standard grabs his arm .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>No, do n't open the door. We do n't want it escaping.</dialogue> <character>HUNTER</character> <parenthetical>( very nervous . )</parenthetical> <dialogue>Well, what the hell good can we do in here? We ca n't grab it - it might jump on us -</dialogue> <character>STANDARD</character> <dialogue>Maybe we can catch it.</dialogue> <scene_description>Standard picks up a stainless steel tray with a lid .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>As long as we're careful not to damage it.</dialogue> <scene_description>Tray in one hand , lid in the other , Standard begins moving slowly around the room . There are very few places to hide . He bends down and peers under the bunk . As he is down on his hands and knees , WE SEE ONE TENTACLE OF THE THING , VIBRATING ON A LEDGE JUST ABOVE STANDARD . He rises , and HIS SHOULDER BRUSHES THE TENTACLE . THE PARASITE DROPS TO THE FLOOR .</scene_description> <character>STANDARD</character> <parenthetical>( leaping back . )</parenthetical> <dialogue>Shit!</dialogue> <scene_description>But the thing is not moving . It lies motionless on the floor , its tentacles curled up . Its color has faded to a dead - looking grey . Without taking his eyes off the thing , Standard reaches behind him and takes a long probe from the wall . He prods the thing ; it does not respond .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I think it's dead.</dialogue> <scene_description>With great care , he uses the probe to fish the motionless parasite into the tray . Then he quickly closes the lid .</scene_description> </scene> <scene> <stage_direction>INTERIOR - LABORATORY</stage_direction> <scene_description>Standard , Roby , and Melkonis have the parasite spread - eagled on a stainless steel table , with a bright light on it . It is belly - side up . Wearing gloves , Standard probes at the thing with an instrument .</scene_description> <character>STANDARD</character> <dialogue>Look at these suckers - no wonder we could n't get it off him.</dialogue> <character>ROBY</character> <dialogue>Is that its mouth?</dialogue> <character>MELKONIS</character> <dialogue>More likely that organ - the tube - like thing - fits up in there.</dialogue> <scene_description>With a pair of needle - nosed pliers , Standard fishes in the fleshy aperture . Carefully , he extracts the end of the tube - organ .</scene_description> <character>ROBY</character> <dialogue>Ugh.</dialogue> <scene_description>Suddenly , it starts to FALL APART IN THE PLIERS .</scene_description> <character>STANDARD</character> <dialogue>Quick - it's decomposing - gim me something to grab it with!</dialogue> <scene_description>It begins to SMOKE AND BUBBLE . Roby grabs a long pair of tongs from the wall and thrusts them at Standard - who throws down the pliers , snatches the tongs and seizes the thing in the tongs . It is smouldering and dripping acid on the floor .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Christ! Let's get it out of here!</dialogue> <scene_description>Carrying the thing , he heads for the door .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDORS IN SHIP</stage_direction> <scene_description>The men run down the passageways , Standard carrying the dripping thing in the tongs . It leaves little smoking droplets on the floor .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDOR OUTSIDE AIR LOCK</stage_direction> <scene_description>They come running up to the airlock . Roby stabs the button and the inner door slides open . By the time Standard is in the lock , Roby is already on the intercom :</scene_description> <character>ROBY</character> <parenthetical>( shouts into intercom . )</parenthetical> <dialogue>For Chrissake, open the main lock!</dialogue> </scene> <scene> <stage_direction>INTERIOR - AIR LOCK - DAY</stage_direction> <scene_description>Roby stumbles in as the inner door closes ; and with a heavy whine , the thick surface door rumbles open . Orange sunlight billows in , followed by the inevitable dust . Standard HURLS THE CARCASS OUT , tongs and all .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - BASE OF SHIP - DAY</stage_direction> <scene_description>The parasite hits the ground and begins to sink into the dust , smouldering and fuming .</scene_description> </scene> <scene> <stage_direction>INTERIOR - AIR LOCK - DAY</stage_direction> <scene_description>The outer door rolls shut .</scene_description> <character>ROBY</character> <parenthetical>( slumping against the wall . )</parenthetical> <dialogue>My God, it's lethal even when it's dead!</dialogue> <scene_description>Melkonis gets down on his knees and studies the small burn - holes in the floor . Standard opens the inner door and steps out into the corridor . There , he activates the wall intercom and punches out a combination .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDOR OUTSIDE AIR LOCK</stage_direction> <character>HUNTER</character> <parenthetical>( over intercom , filtered . )</parenthetical> <dialogue>Yes?</dialogue> <character>STANDARD</character> <dialogue>How's Broussard?</dialogue> <character>HUNTER</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>He's running a fever.</dialogue> <character>STANDARD</character> <dialogue>Still unconscious?</dialogue> <character>HUNTER</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>Yes.</dialogue> <character>STANDARD</character> <dialogue>Can you do anything for him?</dialogue> <character>HUNTER</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>The machine will bring his temperature down. His vital functions are strong.</dialogue> <character>STANDARD</character> <dialogue>Good.</dialogue> <scene_description>He switches off the intercom .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( suddenly exhausted . )</parenthetical> <dialogue>I need some coffee.</dialogue> <scene_description>He turns and walks away .</scene_description> </scene> <scene> <stage_direction>INTERIOR - MULTI-PURPOSE ROOM</stage_direction> <scene_description>The cat is strolling around as Roby and Melkonis drop into seats ; Standard draws a cup of coffee from the machine .</scene_description> <character>MELKONIS</character> <dialogue>These day and night cycles are totally disorienting. I feel like we've been here for days, but it's only been how long?</dialogue> <character>ROBY</character> <parenthetical>( stroking the cat . )</parenthetical> <dialogue>About four hours.</dialogue> <character>STANDARD</character> <parenthetical>( staring into his coffee cup . )</parenthetical> <dialogue>I'm sorry to say it looks like you were right in the first place, Martin. We never should have landed here.</dialogue> <character>ROBY</character> <dialogue>Look, I'm not trying to rub anybody's nose in anything. The important thing is just to get away from here as fast as possible.</dialogue> <character>STANDARD</character> <dialogue>I ca n't lean on Faust any harder - he's been working non - stop on the engines.</dialogue> <character>ROBY</character> <dialogue>If we knew exactly what happened to the beings on the other ship -</dialogue> <character>MELKONIS</character> <dialogue>We do know that.</dialogue> <character>ROBY</character> <dialogue>Yeah?</dialogue> <character>MELKONIS</character> <dialogue>They never made it off the planet. The parasites won.</dialogue> <scene_description>This brings a CHILLY SILENCE .</scene_description> <character>ROBY</character> <dialogue>Where did the parasites come from?</dialogue> <character>STANDARD</character> <dialogue>They seem native to the planet. It's got an atmosphere and a dense gravity. It's dead now, but once it must have been fertile.</dialogue> <character>MELKONIS</character> <dialogue>No. It's just too small to support fauna as big as the parasites. If there were a native ecology, it would have to be microscopic.</dialogue> <character>ROBY</character> <dialogue>Could n't the pyramid have been built here by space travellers?</dialogue> <character>STANDARD</character> <dialogue>Too primitive. It's a pre - technological construction. That slab was engineered by an Iron - Age culture at best.</dialogue> <character>MELKONIS</character> <dialogue>They're from a dead civilization ; they're spores from a tomb. God knows how long they've been here.</dialogue> <character>ROBY</character> <dialogue>I think we better take another look at those heiroglyphs.</dialogue> <scene_description>Suddenly the door opens and Faust sticks his head in . He is covered with dirt and grime .</scene_description> <character>FAUST</character> <dialogue>Hey, guess what?</dialogue> <character>STANDARD</character> <dialogue>What?</dialogue> <character>FAUST</character> <dialogue>The engines are fixed.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - PLANETOID - DAY</stage_direction> <scene_description>The SNARK 's engines cough and then with a ROAR BEGIN TO BELCH OUT STREAMS OF SUPERHEATED AIR , cutting through the tulgy dust . The ship roars and vibrates like a huge beast , capable of unlimited power .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - DAY</stage_direction> <scene_description>They are all at their posts .</scene_description> <character>STANDARD</character> <dialogue>Switch on tractor beams.</dialogue> <scene_description>There is a hair - tingling ELECTRICAL HUM which permeates the whole ship , and it begins to float , like a cork in water .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Lock tractor beams.</dialogue> <scene_description>The pitch of the hum changes , and the ship levels itself .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Retract landing struts.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - SHIP - DAY</stage_direction> <scene_description>The ship is hovering above the ground on beams of shimmering force . The landing struts fold up under the belly of the ship .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - DAY</stage_direction> <character>STANDARD</character> <dialogue>Take us up.</dialogue> <character>ROBY</character> <parenthetical>( into intercom . )</parenthetical> <dialogue>Up one kilometer, Jay.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - PLANETOID - DAY</stage_direction> <scene_description>The SNARK begins to levitate up into the sky , on the beams of light .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - DAY</stage_direction> <character>STANDARD</character> <dialogue>Switch on lifter quads.</dialogue> <scene_description>A POWERFUL , DEEP THROBBING BEGINS . THE SHIP VIBRATES .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - "SNARK" - DAY</stage_direction> <scene_description>The hovering SNARK begins to accelerate through the choking atmosphere .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - DAY</stage_direction> <character>STANDARD</character> <dialogue>Engage artificial gravity.</dialogue> <scene_description>Roby throws a switch , and the ship LURCHES .</scene_description> <character>ROBY</character> <dialogue>Engaged.</dialogue> <character>STANDARD</character> <dialogue>Let's take her into an escape orbit.</dialogue> <scene_description>The men get busy with switches .</scene_description> <character>ROBY</character> <dialogue>I'm altering our vector now ; should give us an easy escape velocity -</dialogue> <scene_description>A HUGE TREMOR RUNS THROUGHOUT THE SHIP .</scene_description> <character>ROBY &amp; MELKONIS</character> <parenthetical>( in concert . )</parenthetical> <dialogue>What was that?</dialogue> <scene_description>In answer , THE COMMUNICATOR BEEPS .</scene_description> <character>FAUST</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>This dust is getting clogged in the intakes again!</dialogue> <character>STANDARD</character> <dialogue>Just hold us together till we're in space, that's all!</dialogue> <scene_description>The pitch of the engines changes , deepens .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - SKY - DAY</stage_direction> <scene_description>The SNARK swoops up at an acute angle into the boiling clouds . Visibility is zero .</scene_description> </scene> <scene> <stage_direction>INTERIOR - ENGINE ROOM</stage_direction> <scene_description>Faust is pulling on a gasmask , because the engine chamber is beginning to fill with dust . He turns on a huge exhaust unit which begins to suck up some of the dust .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - DAY</stage_direction> <scene_description>On the screens , nothing but clouds . Then , ANOTHER TREMOR SHUDDERS THROUGH THE SHIP . The men no longer speak ; their expressions are grim , set , and sweating ; they are watching their instruments . Periodically they mutter technical instructions to each other .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - SHIP - DAY</stage_direction> <scene_description>Abruptly the ship CLEARS THE TOP OF THE CLOUD LAYER AND BURSTS OUT INTO STAR - SPRINKLED SPACE , trailing a wake of dust behind it .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - OUTER SPACE</stage_direction> <scene_description>They all CHEER .</scene_description> <character>ROBY</character> <parenthetical>( pounds his panel . )</parenthetical> <dialogue>We made it! Damn, we made it!</dialogue> <character>STANDARD</character> <dialogue>You bet we made it. Martin, set course for Irth and accelerate us into stardrive.</dialogue> <character>ROBY</character> <dialogue>With great pleasure.</dialogue> <scene_description>Roby begins to punch buttons .</scene_description> <character>MELKONIS</character> <dialogue>I feel like an escapee from Hell.</dialogue> </scene> <scene> <stage_direction>EXTERIOR - SHIP AT LIGHT SPEED - LATER</stage_direction> <scene_description>The ship 's speed is so great that there is perceptible movement in the universe all around . There is a strange corona effect which causes the stars approaching the ship to appear blue , and the receding ones to be red . This is redshift , made visible because of their incredible velocity .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE - OUTER SPACE</stage_direction> <scene_description>They are unstrapping .</scene_description> <character>ROBY</character> <dialogue>That's the part that always makes me feel like I'm gon na puke - when we accelerate into light speed.</dialogue> <character>STANDARD</character> <dialogue>Quit complaining ; we're in space.</dialogue> <scene_description>They rise and head out of the room .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDOR</stage_direction> <scene_description>As they walk along .</scene_description> <character>STANDARD</character> <dialogue>I think the best thing to do with Broussard is to just freeze him as he is. It'll arrest the progress of his disease, and he can get complete medical attention when we get back to the Colonies.</dialogue> <character>ROBY</character> <dialogue>We'll have to go into quarantine, maybe for quite a while.</dialogue> <character>STANDARD</character> <dialogue>That's okay, he can remain in hypersleep until they're ready to treat him.</dialogue> <scene_description>They enter the infirmary .</scene_description> </scene> <scene> <stage_direction>INTERIOR - INFIRMARY</stage_direction> <scene_description>As they enter the room , THEY ARE SHOCKED TO SEE BROUSSARD SITTING UP in BED - AWAKE .</scene_description> <character>BROUSSARD</character> <parenthetical>( hoarsely . )</parenthetical> <dialogue>. Mouth's so dry. can I have some water.</dialogue> <scene_description>Instantly , Roby brings him a plastic cup of water . Broussard gulps it down in a swallow .</scene_description> <character>BROUSSARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>More.</dialogue> <scene_description>Roby quickly fills a much bigger container and hands it to Broussard , who greedily consumes the entire thing . Then he sags , panting , on the bunk .</scene_description> <character>STANDARD</character> <parenthetical>( softly . )</parenthetical> <dialogue>How do you feel, Dell?</dialogue> <character>BROUSSARD</character> <parenthetical>( weakly . )</parenthetical> <dialogue>Wretched. What happened to me?</dialogue> <character>STANDARD</character> <dialogue>Do n't you remember?</dialogue> <character>BROUSSARD</character> <dialogue>Do n't remember nothing. Ca n't hardly remember my name.</dialogue> <character>ROBY</character> <dialogue>Are you in pain?</dialogue> <character>BROUSSARD</character> <dialogue>Not exactly, just feel like somebody's been beating me with rubber hoses for about six years.</dialogue> <scene_description>Melkonis laughs at this remark . Broussard smiles faintly at him .</scene_description> <character>STANDARD</character> <dialogue>Hell, you're in great shape, you've got your sense of humor back!</dialogue> <character>BROUSSARD</character> <dialogue>God I'm hungry.</dialogue> <character>ROBY</character> <dialogue>Dell, what's the last thing you can remember?</dialogue> <character>BROUSSARD</character> <dialogue>I do n't know.</dialogue> <character>ROBY</character> <dialogue>Do you remember the pyramid?</dialogue> <character>BROUSSARD</character> <dialogue>No. Just some horrible dreams about smothering. Where are we?</dialogue> <character>STANDARD</character> <dialogue>We're going home. We're in hyperspace.</dialogue> <character>MELKONIS</character> <dialogue>We're going into the freezers now.</dialogue> <character>BROUSSARD</character> <dialogue>I'm really starving ; can we get some food before we go into the freezers?</dialogue> <character>STANDARD</character> <parenthetical>( laughs . )</parenthetical> <dialogue>I think that's a pretty reasonable request.</dialogue> </scene> <scene> <stage_direction>INTERIOR - MULTI-PURPOSE ROOM</stage_direction> <scene_description>The entire crew is seated around the table , eating huge portions greedily . The cat eats from a dish on the table .</scene_description> <character>HUNTER</character> <dialogue>Boy do I feel a lot better. It's a straight shot back to the Colonies, and then we can start taking bids on the paydirt. Any bets on the top bid?</dialogue> <character>FAUST</character> <parenthetical>( chewing . )</parenthetical> <dialogue>Well, we should at least be able to each buy our own planet.</dialogue> <scene_description>They all CHUCKLE .</scene_description> <character>MELKONIS</character> <dialogue>I'm going to write a book about this expedition. I'm going to call it `` The Snark Log.''</dialogue> <character>STANDARD</character> <parenthetical>( stiffly . )</parenthetical> <dialogue>The commander normally has first publication rights.</dialogue> <character>MELKONIS</character> <dialogue>Maybe we could write it together.</dialogue> <character>ROBY</character> <dialogue>First thing I'm going to do when we get back is eat some biological food.</dialogue> <character>MELKONIS</character> <dialogue>What's the matter, you do n't like this stuff?</dialogue> <character>ROBY</character> <dialogue>Tastes like something you'd feed a chicken to make it lay more eggs.</dialogue> <character>STANDARD</character> <dialogue>Oh it's okay. I've had better cag than this, but I've had worse too, if you know what I mean.</dialogue> <character>FAUST</character> <dialogue>I kind of like it.</dialogue> <character>ROBY</character> <dialogue>You like this shit?</dialogue> <character>FAUST</character> <dialogue>It grows on you.</dialogue> <character>ROBY</character> <dialogue>You know what they make this stuff out of?</dialogue> <character>FAUST</character> <parenthetical>( annoyed . )</parenthetical> <dialogue>Yes, I know what they make it out of, so what? It's food now. You're eating it.</dialogue> <character>ROBY</character> <dialogue>I did n't say it was bad for you, it's just kind of sickening, that's all.</dialogue> <character>HUNTER</character> <dialogue>Do we have to talk about this kind of crap at the dinner table?</dialogue> <scene_description>Suddenly , unexpectedly , BROUSSARD GRIMACES AND GROANS .</scene_description> <character>STANDARD</character> <dialogue>What's wrong?</dialogue> <character>BROUSSARD</character> <parenthetical>( his voice straining . )</parenthetical> <dialogue>I do n't know. I'm getting these CRAMPS!</dialogue> <scene_description>The others stare at him in alarm . Another GROAN is torn from his lips . He clutches the edge of the table with his hands , his knuckles whitening .</scene_description> <character>STANDARD</character> <dialogue>Breathe deeply.</dialogue> <character>BROUSSARD</character> <parenthetical>( screaming . )</parenthetical> <dialogue>OH GOD IT HURTS SO BAD!</dialogue> <character>ROBY</character> <dialogue>What Dell - what?</dialogue> <scene_description>Broussard 's face is screwed up into a mask of agony , and he is trembling violently from head to foot .</scene_description> <character>BROUSSARD</character> <parenthetical>( incoherent shriek . )</parenthetical> <dialogue>OhmygooaaAAAHHHHH!</dialogue> <scene_description>A RED SMEAR OF BLOOD BLOSSOMS ON THE CHEST OF BROUSSARD 'S TUNIC . THEIR EYES ARE ALL RIVETTED TO BROUSSARD 'S CHEST AS THE FABRIC OF HIS TUNIC IS RIPPED OPEN , AND A HORRIBLE NASTY LITTLE HEAD THE SIZE OF A MAN 'S FIST PUSHES OUT . Everybody SCREAMS and leaps back from the table . The cat spits and bolts . The disgusting little head lunges , comes spurting out of Broussard 's chest trailing a thick , wormlike tail - splattering fluids and blood - lands in the middle of the dishes and food on the table - and scurries away while the men are stampeding for safe ground . When they finally regain control of themselves , it has escaped . Broussard lies slumped in his chair , a huge hole in his chest , spouting blood . The dishes are scattered and the food is covered with blood and slime .</scene_description> <character>HUNTER</character> <dialogue>Oh, no. Oh, no.</dialogue> <character>FAUST</character> <dialogue>What was that? What the Christ was that?</dialogue> <character>MELKONIS</character> <dialogue>It was growing in him the whole time and he did n't even know it!</dialogue> <scene_description>Slowly , they gather around Broussard 's gutted corpse .</scene_description> <character>ROBY</character> <dialogue>That thing used him for an incubator!</dialogue> </scene> <scene> <stage_direction>EXTERIOR - SHIP - OUTER SPACE</stage_direction> <scene_description>A hatch slides open on the side of the ship , and Broussard 's wrapped body tumbles silently out . AN ELECTRONIC BASS DRUM BEATS A DIRGE as Broussard drifts into eternity .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDORS</stage_direction> <scene_description>The entire remaining crew is walking toward the bridge .</scene_description> <character>MELKONIS</character> <dialogue>We ca n't go into hypersleep with that thing running around loose.</dialogue> <character>HUNTER</character> <dialogue>We'd be sitting ducks in the freezers.</dialogue> <character>ROBY</character> <dialogue>But we ca n't kill it. If we kill it, it will spill all its body acids right through our hull and out into space.</dialogue> <character>FAUST</character> <dialogue>Shit.</dialogue> <character>STANDARD</character> <dialogue>We'll have to catch it and eject it from the ship.</dialogue> <character>MELKONIS</character> <parenthetical>( sighs . )</parenthetical> <dialogue>Well, I kind of hate to point it out, but all our supplies are based on us spending a strictly limited amount of time out of suspended animation. and as you know, we used up most of that time in harvesting.</dialogue> <character>STANDARD</character> <dialogue>We've got about a week left, right?</dialogue> <character>HUNTER</character> <dialogue>And then we run out of food and oxygen.</dialogue> <character>FAUST</character> <dialogue>The water will still recycle.</dialogue> <character>ROBY</character> <dialogue>We wo n't need it then.</dialogue> <character>STANDARD</character> <dialogue>All right, so that's what we've got. A week. It's plenty of time.</dialogue> <character>ROBY</character> <dialogue>But if we have n't caught it in a week, then we have to go into the freezers anyway.</dialogue> <scene_description>They enter the bridge .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE</stage_direction> <character>STANDARD</character> <dialogue>So does anybody have any suggestions?</dialogue> <character>FAUST</character> <dialogue>We could put on our pressure suits and blow all the air out of the ship. That would kill it.</dialogue> <character>STANDARD</character> <dialogue>No, we ca n't afford to lose that much oxygen. We're going to have to flush it out.</dialogue> <character>MELKONIS</character> <dialogue>How?</dialogue> <character>STANDARD</character> <dialogue>Room by room, corridor by corridor.</dialogue> <scene_description>No one likes this thought .</scene_description> <character>MELKONIS</character> <dialogue>And what do we do when we find it?</dialogue> <character>STANDARD</character> <dialogue>We'll have to trap it somehow. If we had a really strong piece of net, we could bag it.</dialogue> <character>FAUST</character> <dialogue>We could cut a section out of that metallite netting. It wo n't hold up to that acid, but aside from that it's pretty strong.</dialogue> <character>ROBY</character> <dialogue>We have to avoid injuring it. What we really need is some electric animal prods.</dialogue> <character>HUNTER</character> <dialogue>I think I could cobble something together. A long metal rod with a battery in it. Give it a hell of a shock.</dialogue> <character>STANDARD</character> <dialogue>Good. Get on it. But first, I'm issuing a standing order : from this moment forth, every one of us will wear protective garments, including helmets. Let's get down to the locker and change.</dialogue> <scene_description>They start for the exit .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - OUTER SPACE</stage_direction> <scene_description>The SNARK continues on its way through the weird vortex of hyperspace .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDORS IN SHIP</stage_direction> <scene_description>Standard is walking purposefully along the corridor , alone . He is garmented in an unusual outfit which makes him look like a riot policeman , including clear plastic helmet . He reaches a corner and turns . But this new passageway has a different gravity orientation - Standard seems to be walking down a vertical wall . He makes yet another disorienting turn , and now he is walking upside - down . He reaches a set of steps and climbs up them - or rather , down them .</scene_description> </scene> <scene> <stage_direction>INTERIOR - VENTRAL OBSERVATION DOME - VIEW OF OUTER SPACE</stage_direction> <scene_description>Melkonis is seated in the dome , upside - down , peering down into space . He also wears the protective suit . Standard , upside - down , climbs into the dome . It is dark and eerie here , under the stars of interstellar space . A few glowing panels provide the only illumination .</scene_description> <character>STANDARD</character> <dialogue>I thought I'd find you here.</dialogue> <character>MELKONIS</character> <dialogue>I was thinking of a line from an old poem : `` Water, water everywhere, but not a drop to drink.'' All that space out there, and we're trapped in this ship.</dialogue> <character>STANDARD</character> <dialogue>That's the one about the albatross, right?</dialogue> <character>MELKONIS</character> <dialogue>We ca n't even radio for help ; the carrier wave would n't reach its destination till long after we'd died and turned to dust. We are utterly, absolutely alone. Can anybody really visualize such a scale of distances? Halfway across Creation.</dialogue> <character>STANDARD</character> <dialogue>We came out there, we'll go back. A long time by the clock, but a short time to us.</dialogue> <character>MELKONIS</character> <dialogue>Time and space have no meaning out here. We're living in Einsteinian equation.</dialogue> <character>STANDARD</character> <dialogue>I can see you're putting your spare time to good use.</dialogue> <parenthetical>( leans forward and taps him on the knee . )</parenthetical> <dialogue>Let me tell you something : you keep staring at hyperspace for long enough, they'll be peeling you off a wall. I've seen it happen.</dialogue> <character>MELKONIS</character> <parenthetical>( smiles at him . )</parenthetical> <dialogue>We're the new pioneers, Chaz. We even have our own special diseases.</dialogue> <character>STANDARD</character> <dialogue>Come on - let's go above and see how they're coming with the gear.</dialogue> </scene> <scene> <stage_direction>INTERIOR - BRIDGE</stage_direction> <scene_description>The whole crew has assembled . Faust is unfolding several yards of shimmering metallic netting . Hunter hands out five thin rods , like metal broom handles .</scene_description> <character>HUNTER</character> <dialogue>These have portable generators in them. They're insulated down to here - just be careful not to touch the end.</dialogue> <scene_description>He demonstrates by touching the tip of one of the rods to a metal object . A blue spark leaps .</scene_description> <character>FAUST</character> <dialogue>Might even incinerate the damn thing.</dialogue> <character>STANDARD</character> <parenthetical>( sharply . )</parenthetical> <dialogue>I hope not.</dialogue> <character>HUNTER</character> <dialogue>Do n't worry, it wo n't damage it, it'll just give it a little incentive.</dialogue> <character>STANDARD</character> <dialogue>How do we locate the creature?</dialogue> <character>FAUST</character> <dialogue>With these.</dialogue> <scene_description>He picks up a small portable unit .</scene_description> <character>FAUST</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Tracking device. You set it to search for a moving object. It has n't got much range, but when you get within a certain distance, it starts beeping.</dialogue> <scene_description>Standard takes the device and studies it .</scene_description> <character>STANDARD</character> <dialogue>These will be very useful. At least we wo n't have to go digging around in closets with our bare hands. All right, here's the battle plan : we're going to break into two teams and start systematically covering the ship. Whoever finds it first, catches it in the net and ejects it from the nearest airlock. Clear?</dialogue> <character>ROBY</character> <dialogue>Even simple.</dialogue> <scene_description>Standard shoots him a vicious look , then continues :</scene_description> <character>STANDARD</character> <dialogue>For starters, let's make sure the bridge is safe.</dialogue> <scene_description>Faust takes the device and turns it on . He scans it around the room .</scene_description> <character>FAUST</character> <dialogue>It's clear.</dialogue> <character>STANDARD</character> <dialogue>All right - Roby and Melkonis will go with Faust. Hunter and I will make up the second team.</dialogue> <scene_description>They start doling out the equipment .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We'll all carry communicators. We want to keep in constant touch.</dialogue> </scene> <scene> <stage_direction>INTERIOR - CORRIDORS IN SHIP</stage_direction> <scene_description>Melkonis and Roby carry the net , while Faust walks directly behind it , carrying the tracking device . He continually scans it from side to side .</scene_description> <character>FAUST</character> <dialogue>Nothing yet. nothing. we can move pretty fast as long as there's nothing on the tracker.</dialogue> </scene> <scene> <stage_direction>INTERIOR - OTHER CORRIDORS</stage_direction> <scene_description>Standard and Hunter move silently along . Standard is forced to serve a double function , carrying one edge of the net and the tracker as well .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDORS</stage_direction> <scene_description>Roby 's team is moving at a fairly brisk pace , when :</scene_description> <character>FAUST</character> <dialogue>Hold it.</dialogue> <scene_description>Faust 's tracker is BEEPING , and a small light flashes .</scene_description> <character>FAUST</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I've got something.</dialogue> <scene_description>Immediately , they grow very tense and start looking around .</scene_description> <character>ROBY</character> <dialogue>Where's it coming from?</dialogue> <character>FAUST</character> <parenthetical>( peers closely at tracker and frowns . )</parenthetical> <dialogue>Machine's screwed up, I ca n't tell. Needle's spinning all over the dial.</dialogue> <character>MELKONIS</character> <dialogue>Is it malfunctioning?</dialogue> <scene_description>Faust turns the tracker on its side , and the needle stabilizes .</scene_description> <character>FAUST</character> <dialogue>No, just confused. It's coming from below us.</dialogue> <scene_description>They all look down at their feet .</scene_description> </scene> <scene> <stage_direction>INTERIOR - MAINTENANCE LEVEL</stage_direction> <scene_description>Roby , Melkonis , and Faust come carefully down a set of crude metal stairs , into a drab , functional section of the ship . The corridors in this level are lit by rows of bare bulbs in the ceiling . The effect is ugly and confining . They stop at the foot of the stairs and move into position , spreading the net across the corridor .</scene_description> <character>ROBY</character> <dialogue>Okay.</dialogue> <character>FAUST</character> <parenthetical>( looking at tracker and nodding down the passageway . )</parenthetical> <dialogue>That way.</dialogue> <scene_description>They begin to walk down the passageway , footsteps clanging on the raw metal flooring . It is extremely dark .</scene_description> <character>ROBY</character> <dialogue>What happened to the lights?</dialogue> <character>FAUST</character> <dialogue>Bulbs burned out, nobody bothered to replace'em.</dialogue> <scene_description>They switch on the helmet lights . CAMERA FOLLOWS THEM AROUND A COUPLE OF TURNINGS , AND THEN :</scene_description> <character>FAUST</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hold it.</dialogue> <scene_description>They all stop quickly , almost stumbling .</scene_description> <character>FAUST</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( whispering . )</parenthetical> <dialogue>It's within 4 meters.</dialogue> <scene_description>Roby and Melkonis heft the net , each keeping his prod in hand . Faust , prod in one hand and tracker in the other , has the unpleasant job of approaching the source of the signal . He moves with great care , in a half crouch , ready to leap back at any second , prod extended , constantly glancing at the tracker . The tracking device leads him right up to a small hatch or door in one wall . Behind his plastic mask , sweat is pouring down Faust 's face as he sets down the tracker and reaches for the little door . He raises the prod , grasps the door handle , yanks it open , and jams the electric prod inside . WITH A NERVE - SHATTERING SQUALL , A SMALL CREATURE COMES FLYING OUT OF THE CABINET , EYES GLARING , CLAWS FLASHING . Instinctively , they throw the net over it , but :</scene_description> <character>ROBY</character> <parenthetical>( very annoyed . )</parenthetical> <dialogue>Oh, hold it!</dialogue> <scene_description>They open the net and release the creature . IT IS THE CAT . Hissing and spitting , it scampers away .</scene_description> <character>MELKONIS</character> <dialogue>We're making fools of ourselves!</dialogue> <scene_description>Roby 's COMMUNICATOR BEEPS .</scene_description> <character>ROBY</character> <parenthetical>( into communicator . )</parenthetical> <dialogue>Yes!</dialogue> <character>STANDARD</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>We've got it up here! It's trapped! Get up here fast!</dialogue> <character>ROBY</character> <dialogue>Where are you?</dialogue> <character>STANDARD</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>Food - storage room!</dialogue> <character>ROBY</character> <dialogue>We're coming!</dialogue> <scene_description>They dash for the stairs .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDORS IN SHIP</stage_direction> <scene_description>Roby , Faust , and Melkonis charge down the hallways until they arrive at :</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDOR OUTSIDE FOOD STORAGE ROOM</stage_direction> <scene_description>Standard and Hunter are waiting for them , in hysterics .</scene_description> <character>HUNTER</character> <dialogue>We saw it inside and slammed the door on it! It's in there now!</dialogue> <scene_description>On the other side of the door , CRASHING AND BANGING can be heard .</scene_description> <character>ROBY</character> <dialogue>What's it doing, having a seizure?</dialogue> <character>STANDARD</character> <dialogue>It started crashing around right after we locked it in.</dialogue> <character>ROBY</character> <dialogue>Now what?</dialogue> <character>STANDARD</character> <dialogue>I guess we open the door and net it.</dialogue> <character>HUNTER</character> <dialogue>I hate to open that door.</dialogue> <scene_description>Again the thing can be heard CRASHING AROUND INSIDE .</scene_description> <character>STANDARD</character> <dialogue>It looks completely different from the first one - it's more like a worm with legs. and tentacles.</dialogue> <character>FAUST</character> <dialogue>Well we better do something.</dialogue> <character>HUNTER</character> <dialogue>Maybe we do n't have to. It's trapped in there. We could just leave it in there all the way back to Irth.</dialogue> <character>STANDARD</character> <parenthetical>( snaps . )</parenthetical> <dialogue>Do n't be an idiot.</dialogue> <character>FAUST</character> <dialogue>I know what we can do. We can pump poison gas into the room and kill it. Through those ventilator slots there.</dialogue> <scene_description>He indicates a row of slots in the bottom of the door .</scene_description> <character>ROBY</character> <dialogue>Hey, wait a minute! That's all our food supplies in there! We ca n't pump poison gas all over them!</dialogue> <character>STANDARD</character> <dialogue>Once we kill the thing we wo n't need the food any more - we can go straight into hypersleep. Also, it sounds like that thing is already doing a pretty good job on our supplies ; it may be fouling them all.</dialogue> <character>ROBY</character> <dialogue>You win.</dialogue> <character>FAUST</character> <dialogue>Somebody gim me a hand, I'll get the stuff.</dialogue> </scene> <scene> <stage_direction>INTERIOR - CORRIDOR OUTSIDE FOOD LOCKER - LATER</stage_direction> <scene_description>CAMERA PULLS BACK TO REVEAL THAT they are fastening a large funnel - shaped device over the ventilator grill at the bottom of the door . This funnel is attached to a thick hose , which runs back to a large metal tank with pressure gauges .</scene_description> <character>STANDARD</character> <dialogue>Get those masks on.</dialogue> <scene_description>They pull on gas masks .</scene_description> <character>ROBY</character> <dialogue>This stuff's deadly - I hope we know what we're doing.</dialogue> <character>STANDARD</character> <dialogue>Go ahead, Jay.</dialogue> <scene_description>Faust turns on the machine . It begins to throb as it pumps the gas through the hose and into the room . Immediately , THE CRASHING NOISES RISE IN CRESCENDO , AND THE THING CAN BE HEARD SCREECHING AND SQUEALING . Then the sounds stop altogether .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Shut it off.</dialogue> <scene_description>Faust shuts off the pump .</scene_description> <character>ROBY</character> <dialogue>Now what?</dialogue> <character>STANDARD</character> <dialogue>What do you think? Now we go in.</dialogue> <scene_description>Standard steps to the door and opens it . A thick cloud of gas billows out .</scene_description> </scene> <scene> <stage_direction>INTERIOR - FOOD STORAGE ROOM</stage_direction> <scene_description>The room is thick with the poison gas . The men look like insects in their gasmasks . The food packages are ripped to shreds , and foodstuffs are scattered all over the floor .</scene_description> <character>FAUST</character> <dialogue>Looks like he helped himself.</dialogue> <scene_description>Carefully , the men poke through the garbage , net and prods raised . Then Hunter points .</scene_description> <character>HUNTER</character> <dialogue>God damn it.</dialogue> <scene_description>They all look where he is pointing . In the wall , A VENTILATOR GRILL HAS BEEN RIPPED OPEN .</scene_description> <character>HUNTER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It escaped.</dialogue> <scene_description>They move to the shredded ventilator and shine their lights into it .</scene_description> <character>ROBY</character> <dialogue>Where does that go?</dialogue> <character>FAUST</character> <dialogue>All over the ship ; we'll have to check the charts to know for sure.</dialogue> <character>STANDARD</character> <dialogue>Then let's go and do it.</dialogue> <scene_description>They head for the door .</scene_description> <character>HUNTER</character> <dialogue>Have we got any food at all left in the ship?</dialogue> <scene_description>They slam the door shut and seal it .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE</stage_direction> <scene_description>The screens are showing them a schematic of the ship 's system of ventilator shafts .</scene_description> <character>FAUST</character> <dialogue>That one section of the ventilator shaft has only two outlets - you notice? The food storage room on one end -</dialogue> <character>HUNTER</character> <dialogue>- And the cooling unit on the other.</dialogue> <character>STANDARD</character> <dialogue>So it's trapped in between - now we have to drive it out.</dialogue> <character>FAUST</character> <dialogue>Poison gas.</dialogue> <character>HUNTER</character> <dialogue>We ca n't pump poison gas down into the cooling unit! It'll flood the whole ship!</dialogue> <character>STANDARD</character> <dialogue>The only other thing I can think of is for somebody to crawl in there and flush it out.</dialogue> <character>ROBY</character> <dialogue>Are you crazy?</dialogue> <character>STANDARD</character> <dialogue>The man would need protection, obviously - as well as some way to drive the thing before him.</dialogue> <character>FAUST</character> <dialogue>How about a flamethrower? That would n't poison the air.</dialogue> <character>MELKONIS</character> <dialogue>So one of us goes into the airshaft and drives the thing along -</dialogue> <character>STANDARD</character> <dialogue>While the rest of us wait down in the cooling unit with the net.</dialogue> <character>HUNTER</character> <dialogue>Sounds like a rough one.</dialogue> <character>STANDARD</character> <dialogue>Got a better idea?</dialogue> <scene_description>Hunter shrugs .</scene_description> <character>ROBY</character> <dialogue>So the only question left is : who gets to crawl down the airshaft?</dialogue> <character>STANDARD</character> <dialogue>Let's be democratic.</dialogue> <scene_description>He tears five small sheets of paper from a pad on his console . On one of them , he draws a large X . Then he wads each piece of paper into a tiny little ball . He rolls the paperballs between his hands and tosses them on the table like dice .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Martin, take one.</dialogue> <scene_description>Roby picks one up and unfolds it . It is blank . Melkonis picks up another and opens it . Again blank . Faust picks up a ball , and Standard immediately picks his own up . They are both blank . They all look at Hunter , who has not yet unfolded his .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Open it up, Cleave.</dialogue> </scene> <scene> <stage_direction>INTERIOR - FOOD STORAGE ROOM</stage_direction> <scene_description>Hunter is strapping on an oxygen mask and a flame thrower . Faust is helping him . Finally , Faust hands him a tracking device .</scene_description> <character>FAUST</character> <dialogue>Well, uh. good luck. I hope you wo n't need me, but if you do, I'm here.</dialogue> <character>HUNTER</character> <parenthetical>( grimly . )</parenthetical> <dialogue>Right.</dialogue> <scene_description>Hunter turns and climbs into the ventilator opening , which is just large enough to crawl through .</scene_description> </scene> <scene> <stage_direction>INTERIOR - AIR SHAFT</stage_direction> <scene_description>It is completely dark in the shaft . Hunter reaches up and turns on his helmet light . Then he switches on his radio .</scene_description> <character>HUNTER</character> <dialogue>Hey, do you guys read me down there?</dialogue> </scene> <scene> <stage_direction>INTERIOR - CLIMATE CONTROL ROOM</stage_direction> <scene_description>Standard , Melkonis and Roby are spreading out the net . We hear the hum of huge cooling plants , and their hair ruffles . Large airshafts run off in different directions .</scene_description> <character>STANDARD</character> <dialogue>Yeah, we're getting into position.</dialogue> </scene> <scene> <stage_direction>INTERIOR - AIR SHAFT</stage_direction> <character>HUNTER</character> <dialogue>Okay, I'm starting now.</dialogue> <scene_description>He begins to crawl forward into the narrow metal tunnel . He turns a corner . After a couple more tight turns , THE TRACKER SUDDENLY BEEPS . Hunter twitches . He raises his flamethrower and FIRES A BLAST INTO THE DARKNESS . It roars loudly in the confined tube , and the air instantly heats up . Smoke drifts back into his face . He begins to sweat .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CLIMATE CONTROL ROOM</stage_direction> <scene_description>Roby points to a large rectangular opening in one wall .</scene_description> <character>ROBY</character> <parenthetical>( pointing . )</parenthetical> <dialogue>There. That's where it's got to come out.</dialogue> <scene_description>He throws a switch , and a large metal panel rises and seals off the opening .</scene_description> <character>ROBY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That's a flip - flop gate to channel the air, but we can use it to trap the thing.</dialogue> <character>STANDARD</character> <dialogue>Right now let's keep it closed.</dialogue> <scene_description>Melkonis is setting up a little portable unit with a screen on it . The screen shows a section of the ship 's schematic .</scene_description> <character>MELKONIS</character> <dialogue>I've got Hunter. and something else as well, in front of him.</dialogue> <character>STANDARD</character> <dialogue>Are they close?</dialogue> <character>MELKONIS</character> <dialogue>They're on the next level up.</dialogue> <character>STANDARD</character> <dialogue>Let's get moving with this net.</dialogue> <scene_description>They lift the net up , holding it in front of the opening .</scene_description> </scene> <scene> <stage_direction>INTERIOR - AIR SHAFT</stage_direction> <scene_description>Hunter is still crawling on hands and knees . Up ahead , he can see that the shaft takes an abrupt downward turn . He crawls toward the down angle , then fires another blast from his flamethrower . Then he starts crawling down , head first . When he is nearly upside - down , the shaft takes yet another turning which puts him into a nearly impossible position , almost immobilized . Then the tracker starts BEEPING LIKE CRAZY . Frantically , he fumbles the flamethrower around , but the space is narrow - it is difficult maneuvering . He hears a HISSING CRY up ahead , and claws scrambling on metal . Then he has the weapon into position , and sprays another lethal flaming burst toward the sound .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CLIMATE CONTROL ROOM</stage_direction> <scene_description>Melkonis is staring at his screen .</scene_description> <character>MELKONIS</character> <dialogue>They're getting pretty close now.</dialogue> <character>STANDARD</character> <dialogue>All right, then - when it gets to the other side of the door, you sing out, then drop the door. Okay?</dialogue> <character>MELKONIS</character> <dialogue>Okay.</dialogue> <character>STANDARD</character> <parenthetical>( to Roby . )</parenthetical> <dialogue>And you and I will bag it, and then we'll take it to the ventral air lock, got it?</dialogue> <character>ROBY</character> <parenthetical>( tensely . )</parenthetical> <dialogue>Uh - huh.</dialogue> </scene> <scene> <stage_direction>INTERIOR - AIR SHAFT</stage_direction> <scene_description>Hunter is huddled against a wall of the shaft , clutching the flamethrower .</scene_description> <character>HUNTER</character> <parenthetical>( whispers . )</parenthetical> <dialogue>Hey, you guys.</dialogue> </scene> <scene> <stage_direction>INTERIOR - CLIMATE CONTROL ROOM</stage_direction> <character>STANDARD</character> <parenthetical>( into communicator . )</parenthetical> <dialogue>Yes!</dialogue> </scene> <scene> <stage_direction>INTERIOR - AIR SHAFT</stage_direction> <character>HUNTER</character> <parenthetical>( whispering . )</parenthetical> <dialogue>I do n't think this shaft goes on too much farther. anyway it's getting pretty hot in here.</dialogue> </scene> <scene> <stage_direction>INTERIOR - CLIMATE CONTROL ROOM</stage_direction> <character>STANDARD</character> <parenthetical>( into communicator . )</parenthetical> <dialogue>Okay, our screens show you as being near to the opening. We'll open it up, then we'll cue you and you can start blasting. That'll drive it right out. You do n't have to go any farther.</dialogue> </scene> <scene> <stage_direction>INTERIOR - AIR SHAFT</stage_direction> <character>HUNTER</character> <dialogue>Good.</dialogue> <scene_description>He readies the flamethrower .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CLIMATE CONTROL ROOM</stage_direction> <character>STANDARD</character> <dialogue>Okay, get ready.</dialogue> <scene_description>He and Roby heft their respective ends of the net , crouched to catch the small creature when it darts out . Melkonis picks up his electric prod .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Open the vent, Sandy.</dialogue> <scene_description>Melkonis reaches over and throws the switch . The metal gate drops down , opening up the shaft . A SIX - FOOT MONSTROSITY STANDS IN THE OPENING . GHASTLY BEYOND IMAGINATION , SQUAMOUS , COVERED WITH TENTACLES , IT HOPS DOWN LIKE AN OVER - SIZED BIRD AND GRABS MELKONIS IN RAZOR - SHARP TENTACLES . Melkonis lets out a horrible shriek , and the thing grabs his head in one claw and TWISTS IT OFF LIKE A MAN PULLING THE HEAD OFF A CHICKEN , THEN THROWS IT TO THE FLOOR WITH AN AUDIBLE CLUNK . CLUTCHING MELKONIS ' BODY TIGHTLY AGAINST ITSELF , IT TURNS AND BOUNDS DOWN THE HALL . MELKONIS ' HEADLESS BODY IS STILL KICKING AND STRUGGLING AS THE MONSTER LEAPS HEAD - FIRST INTO ANOTHER AIR SHAFT . Standard and Roby are left standing in shock . After a moment , Hunter climbs out of the shaft .</scene_description> <character>HUNTER</character> <dialogue>What happened? Where is it?</dialogue> <scene_description>They break from their paralysis , and run toward the opening the creature just leaped into . It is another shaft , going down into darkness .</scene_description> <character>STANDARD</character> <parenthetical>( awed . )</parenthetical> <dialogue>How did it get so big?</dialogue> <character>ROBY</character> <dialogue>By eating our food supplies.</dialogue> <character>HUNTER</character> <dialogue>Where's Melkonis?</dialogue> </scene> <scene> <stage_direction>INTERIOR - FOOD STORAGE ROOM</stage_direction> <scene_description>Faust is still waiting .</scene_description> <character>FAUST</character> <parenthetical>( into his communicator . )</parenthetical> <dialogue>Hey, are you guys still there? What's going on?</dialogue> <character>STANDARD</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>Meet us on the bridge. Be careful - it's huge now.</dialogue> <character>FAUST</character> <dialogue>Right.</dialogue> <scene_description>Faust lets himself out of the food storage room and carefully locks the door behind him .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDORS</stage_direction> <scene_description>Standard , Roby and Hunter are rapidly ascending toward the bridge .</scene_description> <character>HUNTER</character> <dialogue>You mean his body was still kicking when it ran off with him?</dialogue> <character>ROBY</character> <dialogue>It was horrible - horrible. Like a chicken.</dialogue> </scene> <scene> <stage_direction>INTERIOR - BRIDGE</stage_direction> <scene_description>Standard , Roby and Hunter enter and drop into chairs . Faust follows shortly . They all look blank , stunned .</scene_description> <character>FAUST</character> <dialogue>What happened? Where's Sandy?</dialogue> <character>ROBY</character> <dialogue>Dead.</dialogue> <character>FAUST</character> <dialogue>Dead!</dialogue> <character>ROBY</character> <dialogue>It's monstrous - it grew, like some horrible tapeworm. We were completely unprepared.</dialogue> <character>FAUST</character> <dialogue>It's still in the ship?</dialogue> <character>STANDARD</character> <dialogue>We'd better seal off the lower maintenance level ; at least trap it there.</dialogue> <parenthetical>( throws a switch ; circuitry lights up . )</parenthetical> <dialogue /> <character>HUNTER</character> <dialogue>At least it ca n't get up here now.</dialogue> <character>ROBY</character> <dialogue>Two down, four to go.</dialogue> <character>STANDARD</character> <parenthetical>( angrily . )</parenthetical> <dialogue>What's that supposed to mean?</dialogue> <character>ROBY</character> <dialogue>Nothing.</dialogue> <character>HUNTER</character> <dialogue>Listen, it sure did n't like this flamethrower.</dialogue> <character>STANDARD</character> <dialogue>That's right - we ca n't kill it on the ship, but we can at least keep it at bay - and maybe drive it into the air lock.</dialogue> <character>HUNTER</character> <dialogue>Thing is, I'm about out of fuel.</dialogue> <character>FAUST</character> <dialogue>There's some more combustible fuel down in the storage lockers next to the lounge.</dialogue> <parenthetical>( rises . )</parenthetical> <dialogue>I'll go get it.</dialogue> <character>STANDARD</character> <dialogue>No, I do n't want us separated.</dialogue> <character>FAUST</character> <dialogue>You just sealed it off ; it ca n't get to that section.</dialogue> <character>ROBY</character> <dialogue>Do n't count on it.</dialogue> <character>HUNTER</character> <dialogue>We sure need this flamethrower.</dialogue> <character>STANDARD</character> <dialogue>All right. but do not go below decks.</dialogue> <character>FAUST</character> <dialogue>Right.</dialogue> <parenthetical>( heads for the door . )</parenthetical> <dialogue /> <character>STANDARD</character> <dialogue>And be right back.</dialogue> <scene_description>Faust exits .</scene_description> <character>ROBY</character> <dialogue>I think it's time we took a hard look at those heiroglyphs.</dialogue> <scene_description>Roby begins to punch buttons ; the photographs of the heiroglyphics appear on some of the screens .</scene_description> <character>ROBY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Can you make out any pattern in all that?</dialogue> <character>STANDARD</character> <parenthetical>( baffled . )</parenthetical> <dialogue>Well. yes. there's a pattern. but it's meaningless to me.</dialogue> <character>ROBY</character> <dialogue>I know it looks like a senseless jumble, but if you look closely, there are recognizable forms.</dialogue> <character>HUNTER</character> <dialogue>Recognizable! In that?</dialogue> <character>ROBY</character> <dialogue>In symbolic form. very stylized. but if you stare at it, you can see some of the different creatures we've been dealing with.</dialogue> <character>HUNTER</character> <dialogue>Well. I suppose that star - shaped thing could be the parasite that got on Broussard. Is that what you mean?</dialogue> <character>ROBY</character> <dialogue>And right next to it, that oval design with the markings - it's a dead ringer for the spore casings.</dialogue> <character>STANDARD</character> <dialogue>That next thing there - six legs, tentacles - that's the thing we saw in the food locker.</dialogue> <character>ROBY</character> <dialogue>So the next step should be -</dialogue> <character>HUNTER</character> <dialogue>- The big one. And there it is.</dialogue> <scene_description>Out of meaningless geometric symbols on a wall , it has become possible to recognize each stage in the alien 's life cycle .</scene_description> <character>ROBY</character> <dialogue>This is all the same creature. We're seeing the different stages in its life - cycle.</dialogue> <character>STANDARD</character> <dialogue>Then that tomb. must have been some kind of fertility temple. where they stored their eggs, and maybe held mating rituals.</dialogue> <character>HUNTER</character> <dialogue>And Broussard got caught in their reproductive cycle.</dialogue> <character>ROBY</character> <dialogue>You will notice, though, that there are no more phases. Only four forms are shown. After that the pattern repeats.</dialogue> <character>STANDARD</character> <dialogue>Which presumably means.</dialogue> <character>ROBY</character> <dialogue>More spores coming.</dialogue> </scene> <scene> <stage_direction>INTERIOR - CORRIDOR OUTSIDE AIR LOCK</stage_direction> <scene_description>Faust quickly turns a couple of corners and then comes to an abrupt halt when he notices that a DOOR LEADING TO THE LOWER DECKS HAS BEEN WRENCHED OFF ITS HINGES . He hesitates , uncertain what to do , then there is A SOUND FROM THE DIRECTION OF THE AIR LOCK . AND THE INNER LOCK DOOR IS OPEN . Faust hesitates and peers into the lock .</scene_description> </scene> <scene> <stage_direction>INTERIOR - AIR LOCK</stage_direction> <scene_description>The creature is squatting in the middle of the floor , gnawing on a bloody thigh bone . It does not see Faust .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDOR OUTSIDE AIR LOCK</stage_direction> <scene_description>Stealthfully , dropping back into the shadows , Faust presses the wall intercom and speaks into it .</scene_description> <character>FAUST</character> <parenthetical>( whispering . )</parenthetical> <dialogue>It's in the lock - blow the main lock.</dialogue> </scene> <scene> <stage_direction>INTERIOR - BRIDGE</stage_direction> <scene_description>Standard , Roby and Hunter are staring at the pictures . The call from Faust catches Standard in mid - sentence .</scene_description> <character>STANDARD</character> <parenthetical>( into intercom . )</parenthetical> <dialogue>What?</dialogue> </scene> <scene> <stage_direction>INTERIOR - CORRIDOR OUTSIDE AIR LOCK</stage_direction> <character>FAUST</character> <parenthetical>( whispering . )</parenthetical> <dialogue>It's in the main air lock. Blow the lock.</dialogue> </scene> <scene> <stage_direction>INTERIOR - BRIDGE</stage_direction> <scene_description>Standard hesitates , starts to frame a reply - then changes his mind and runs to his console - and THROWS THE SWITCH .</scene_description> </scene> <scene> <stage_direction>INTERIOR - AIR LOCK</stage_direction> <scene_description>With a mechanical whine , the inner door starts to close . The creature hears it and INSTANTANEOUSLY LEAPS OUT OF THE LOCK .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDOR OUTSIDE AIR LOCK</stage_direction> <scene_description>The creature comes flying out of the lock and DEALS FAUST A BACK - HANDED BLOW , KNOCKING HIM ACROSS THE THRESHOLD OF THE AIR LOCK DOOR . FAUST SCREAMS IN MORTAL AGONY AS THE INNER DOOR CLOSES ON HIS WAIST , crushing him to a thickness of about three inches . On the wall , a green light goes on : `` INNER DOOR CLOSED ''</scene_description> </scene> <scene> <stage_direction>INTERIOR - AIR LOCK</stage_direction> <scene_description>Despite the fact that the inner door is still held open a few inches by Faust 's squashed body , THE OUTER DOOR BEGINS TO SLIDE OPEN . IMMEDIATELY , THERE IS A TREMENDOUS SCREAM OF ESCAPING AIR .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - SHIP - OUTER SPACE</stage_direction> <scene_description>In dead silence , a thick spurt of steam comes out of the open air lock door . This is the ship 's atmosphere freezing as it squirts out into the vacuum under pressure .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE</stage_direction> <scene_description>INSTANTLY , A TREMENDOUS WINDSTORM STARTS UP as the ship 's air is sucked out toward the lock . A SIREN BEGINS TO SOUND , AND A RED LIGHT FLASHES : `` CRITICAL DEPRESSURIZATION '' After a moment of panic and confusion , Roby bolts out of the control room .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDORS</stage_direction> <scene_description>Loose papers and articles of furniture hurtle through the passageways , as Roby hurries toward the rock , partly running , partly sucked along by the air current .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - SHIP - OUTER SPACE</stage_direction> <scene_description>A huge plume of steam grows from the side of the ship , with all kinds of tiny loose particles tumbling out in it .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDORS</stage_direction> <scene_description>Whipped by the hurricane wind , Roby crashes to a momentary halt against a wall . As he hesitates there , trying to regain his balance , HE SEES THE CREATURE SCURRYING AWAY DOWN ANOTHER CORRIDOR . Ignoring the monster , he pushes off from the wall and starts running again .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDOR OUTSIDE AIR LOCK</stage_direction> <scene_description>Roby stops himself by grabbing the edge of a doorway at the end of the hall down from the airlock . Here , the wind is really terrific - his clothes flap on his body and all kinds of things fly by - the sound is a DEAFENING WHISTLE . Instantly , Roby starts turning a large wheel , which begins to close a sliding hatch door , closing off the air lock corridor . As the hatch closes , THE CURRENT DECREASES , THEN IS FINALLY CUT OFF AS HE SEALS IT . Done in , he collapses to the floor . Then he clutches his throat and begins to gasp for breath . Because of the thinness of the air , THE SOUND LEVEL IN THE SHIP IS VERY ODD - THIN , DISTANT , ALMOST INAUDIBLE . Roby is gasping loudly , but we can barely hear him ; and his footsteps boom thinly like a man walking underwater .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDORS</stage_direction> <scene_description>Clutching his throat , he comes across the others - Standard and Hunter - and they are all choking , clawing at their throats , gasping like fishes out of water . They are sweating heavily and their noses bleed . They try to speak to each other , but the sound is so muffled we can only hear distant croaks . Standard mumbles something and stumbles down the hall . The others follow him .</scene_description> </scene> <scene> <stage_direction>INTERIOR - MAIN AIR TANK ROOM</stage_direction> <scene_description>The door bursts open and Standard reels in , his footsteps pinging thinly on the metal flooring . We see several rows of large oxygen tanks , all connected by hoses to a few petcocks . Standard staggers to these and starts twisting the handles , opening them . THERE IS A PIERCING HISS OF ESCAPING AIR , AND THE SOUND LEVEL GRADUALLY RETURNS TO NORMAL as Standard and the others sink to the floor , gasping in the oxygen gratefully . Finally they have recovered enough to be able to sit up .</scene_description> <character>ROBY</character> <dialogue>How much oxygen did we lose?</dialogue> <scene_description>Standard rises unsteadily and peers at the gauges .</scene_description> <character>STANDARD</character> <dialogue>We've got six hours left.</dialogue> <character>HUNTER</character> <parenthetical>( groans . )</parenthetical> <dialogue>Oh my God.</dialogue> <character>STANDARD</character> <dialogue>Does anybody know what happened?</dialogue> <character>ROBY</character> <dialogue>I saw it. Faust got himself jammed in the air lock door. His body held it open.</dialogue> <character>STANDARD</character> <dialogue>Can we get to him?</dialogue> <character>ROBY</character> <dialogue>No, I had to seal off a whole section. We'd lose too much of our remaining air if we opened the connecting door.</dialogue> </scene> <scene> <stage_direction>INTERIOR - AIR LOCK</stage_direction> <scene_description>Faust 's body , crushed in the inner door , floats weightlessly in the vacuum . His nose and mouth are crusted with huge gobs of dried blood .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE</stage_direction> <scene_description>The three survivors - Standard , Roby and Hunter - slump into chairs . The cat emerges from a hiding place , yowling with fear .</scene_description> <character>ROBY</character> <parenthetical>( picking up the cat . )</parenthetical> <dialogue>Poor kitty ; puss puss puss.</dialogue> <character>STANDARD</character> <dialogue>At least we're rid of the damn monster. It must have been the first thing sucked out of the ship.</dialogue> <character>ROBY</character> <dialogue>No such luck. I saw it running down one of the corridors.</dialogue> <character>HUNTER</character> <parenthetical>( groans . )</parenthetical> <dialogue>Oh no! We ca n't fight this thing! There's only six hours of air left - we're dead men!</dialogue> <character>STANDARD</character> <dialogue>I do n't buy that. There's still time to destroy it and get ourselves in the freezers.</dialogue> <character>HUNTER</character> <dialogue>How?</dialogue> <character>STANDARD</character> <dialogue>It's time for drastic remedies.</dialogue> <character>ROBY</character> <dialogue>It was time for that a couple days ago.</dialogue> <character>STANDARD</character> <dialogue>That kind of remark is pointless. Now come on - I want to hear every suggestion you can come up with, no matter how wild.</dialogue> <character>HUNTER</character> <dialogue>We ca n't kill it on board. It's huge now and must have tremendous amounts of that acid in its body.</dialogue> <character>ROBY</character> <dialogue>I've got an idea, but you're not going to like it.</dialogue> <character>STANDARD</character> <dialogue>Let's hear it.</dialogue> <character>ROBY</character> <dialogue>Okay. First we shut down all the cooling systems on the stardrive engines.</dialogue> <character>STANDARD</character> <dialogue>That'll blow the ship up.</dialogue> <character>ROBY</character> <dialogue>Right. but it'll take a few minutes for the engines to overheat and melt down the core. In the meantime, we get in the lifeboat and leave the ship.</dialogue> <character>HUNTER</character> <dialogue>Blow the ship up?</dialogue> <character>ROBY</character> <dialogue>And the creature with it. We can make it back to Irth in the lifeboat.</dialogue> <character>STANDARD</character> <dialogue>But the lifeboat ca n't accelerate to light speed.</dialogue> <character>ROBY</character> <dialogue>Does n't matter - we're already at light speed. And when we get back to the Colonies, they'll pick us up in the network.</dialogue> <character>HUNTER</character> <dialogue>What about all the minerals and elements in the cargo hold? That's the only reason we came out here. We'd have to abandon them all. We'd be broke.</dialogue> <character>ROBY</character> <dialogue>Our lives are more important. Anyway, we can take a small amount of the most valuable stuff with us on the lifeboat.</dialogue> <character>STANDARD</character> <dialogue>No, it wo n't work and I just realized why. There's only one hypersleep freezer on the lifeboat. Only one of us could survive.</dialogue> <character>ROBY</character> <dialogue>Yeah. I forgot.</dialogue> <character>STANDARD</character> <dialogue>But the idea's good, if we could just turn it around somehow.</dialogue> <scene_description>They think .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>If we could just get the creature into the lifeboat, we could launch it into space and blow it up.</dialogue> <character>HUNTER</character> <dialogue>Good! That's good!</dialogue> <character>STANDARD</character> <dialogue>We can load the lifeboat up with explosives and trigger them remotely, once the lifeboat is in space.</dialogue> <character>ROBY</character> <dialogue>I think it's going to be almost impossible to drive it up into the lifeboat.</dialogue> <character>HUNTER</character> <dialogue>We can use the flamethrower.</dialogue> <character>ROBY</character> <dialogue>It's not going to work.</dialogue> <character>STANDARD</character> <dialogue>You ca n't say that ; I think it's a good plan.</dialogue> <character>HUNTER</character> <dialogue>The flamethrower needs more fuel.</dialogue> <character>STANDARD</character> <dialogue>Right. We've got a lot to accomplish. Let's get moving.</dialogue> </scene> <scene> <stage_direction>INTERIOR - MINING &amp; CARGO BAY</stage_direction> <scene_description>The three men come down steps into this rather dirty area of the ship . A lot of tools and large items of machinery are stored around . LONG RACKS OF SHELVES ARE STOCKED WITH METAL CONTAINERS OF VARIOUS SHAPES . Each container is well packed and labelled .</scene_description> <character>HUNTER</character> <dialogue>Which explosive should we use?</dialogue> <character>STANDARD</character> <dialogue>I'd suggest the N - 13 sticks. They're portable, and they can be radio detonated.</dialogue> <scene_description>Hunter begins to unlock a locker and draw out long , red sticks like broomhandles , with tiny printing on them . Meanwhile , ROBY IS STARING AT THE ROWS OF METAL CANNISTERS . He touches one of them .</scene_description> <character>ROBY</character> <dialogue>You know, it's funny - this stuff we went to so much trouble to dig up - this treasure, the paydirt - it'll make it back to Irth just fine - even if we're not with it.</dialogue> <character>STANDARD</character> <dialogue>Here, carry these.</dialogue> <scene_description>Hunter takes an armload of the red broomsticks , and stumbles .</scene_description> <character>ROBY</character> <parenthetical>( grabbing at him . )</parenthetical> <dialogue>Hey watch it!</dialogue> <character>STANDARD</character> <parenthetical>( grinning . )</parenthetical> <dialogue>It's stable ; it does n't hurt to drop it.</dialogue> <scene_description>They begin to carry the explosives up the steps .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDOR</stage_direction> <scene_description>The three men are carrying their equipment along the hallway , when Hunter 's tracker suddenly BEEPS .</scene_description> <character>HUNTER</character> <dialogue>Hold it!</dialogue> <scene_description>They all stop . The tracker BEEPS AGAIN . Hunter puts down his stuff and points the tracker around .</scene_description> <character>HUNTER</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( nodding up some steps . )</parenthetical> <dialogue>Up there.</dialogue> <scene_description>They all look at each other . Standard puts down his bundle and picks up the flamethrower .</scene_description> <character>ROBY</character> <dialogue>So what do we do? Do we ignore it and finish loading the explosives into the boat - or do we flush it out now?</dialogue> <character>STANDARD</character> <dialogue>Now. If we can get it into the boat, we wo n't have to blow it up - we can just eject it into space.</dialogue> <scene_description>Standard hefts the flamethrower and starts up the steps .</scene_description> </scene> <scene> <stage_direction>INTERIOR - DIM STAIRWELL</stage_direction> <scene_description>Standard 's face is tense as he advances up the circular steps . Suddenly , a METALLIC TAPPING SOUND is heard . He freezes . Then he continues up .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - DORSAL OBSERVATION DOME - VIEW OF OUTER SPACE</stage_direction> <scene_description>The view of interstellar space is spectacular . As Standard comes up the steps , the METALLIC TAPPING is heard again . Standard looks around . Then he sees it - BROUSSARD 'S CORPSE FLOATS OUTSIDE THE GLASS OF THE DOME . It is tangled in some rigging , and the movement of the machinery causes the cadaver to tap on the glass periodically .</scene_description> <character>STANDARD</character> <parenthetical>( shouts . )</parenthetical> <dialogue>You can come up! It's safe!</dialogue> <scene_description>The others come up the steps .</scene_description> <character>ROBY</character> <parenthetical>( spying the corpse . )</parenthetical> <dialogue>Oh - Jesus -</dialogue> <scene_description>Broussard 's corpse is blue and bloated where the wrappings have torn loose . Bumping against the glass , he looks like he wants to come in .</scene_description> <character>STANDARD</character> <dialogue>The ship's gravitational attraction must have drawn him back.</dialogue> <character>HUNTER</character> <parenthetical>( horrified . )</parenthetical> <dialogue>Should we go outside and bring him in?</dialogue> <character>STANDARD</character> <dialogue>No. the risk is too great. Perhaps after we've destroyed the thing.</dialogue> <scene_description>Glancing back , the men retreat from the observation dome . Broussard remains against the glass , peering in with dead eyes .</scene_description> </scene> <scene> <stage_direction>INTERIOR - NOSE OF SHIP</stage_direction> <scene_description>The floor slopes upward slightly here as the corridor funnels in and ends in the entrance to a narrow passageway or crawl - way . This passageway connects the nose of the ship with the lifeboat . The three men come up to the entrance to the passageway , carrying the equipment . They duck in and walk the short distance to the lifeboat .</scene_description> </scene> <scene> <stage_direction>INTERIOR - LIFEBOAT</stage_direction> <scene_description>The passageway connects into the rear of the lifeboat . It is an extremely simple , stripped - down vehicle ; even the metal struts and beams - are exposed . A single hypersleep freezer takes up a fair amount of floor space . It is an escape - craft , nothing more .</scene_description> <character>STANDARD</character> <parenthetical>( pointing . )</parenthetical> <dialogue>Along the base of the walls there.</dialogue> <scene_description>They begin to stack the red broomsticks against the base of the walls on both sides of the lifeboat , and to wire them into position tightly .</scene_description> <character>HUNTER</character> <dialogue>This should do it.</dialogue> <character>ROBY</character> <dialogue>I should hope so! And we'd better make sure it's pretty far from the ship when we blow it.</dialogue> <character>STANDARD</character> <dialogue>It will be.</dialogue> <character>HUNTER</character> <parenthetical>( surveys the craft uneasily . )</parenthetical> <dialogue>What we really need is some red meat in here for bait.</dialogue> <character>ROBY</character> <dialogue>Well, if we had some, I'd eat it. I'm starting to get hungry.</dialogue> <scene_description>By this time , they are exiting .</scene_description> </scene> <scene> <stage_direction>INTERIOR - NOSE OF SHIP</stage_direction> <character>STANDARD</character> <dialogue>Well. now we have to herd that thing up here.</dialogue> <character>HUNTER</character> <parenthetical>( nervously . )</parenthetical> <dialogue>Whoever's doing the herding is gon na have their hands pretty full. I think somebody should stay by the lifeboat to slam the door on the thing once it's inside, and to serve as. as.</dialogue> <parenthetical>( searches for a word . )</parenthetical> <dialogue /> <character>ROBY</character> <dialogue>Is n't `` bait'' the word you used?</dialogue> <character>HUNTER</character> <dialogue>Hey look, somebody has to have his hands free to lock the creature in the lifeboat!</dialogue> <character>STANDARD</character> <dialogue>Yes, and maybe launch the boat and blow it too. if the others are injured.</dialogue> <character>ROBY</character> <dialogue>Who gets the privilege?</dialogue> <scene_description>INSERT : THREE CRUMPLED PIECES OF PAPER . Three hands pick them up . ANGLE ON ROBY . He unfolds his paper , turns it so the others can see it . It has a big X on it . ANOTHER ANGLE - SHORTLY LATER . Hunter is showing Roby a small device like a transistor radio .</scene_description> <character>HUNTER</character> <dialogue>Just keep your finger off the button till she's way away from the ship, that's all.</dialogue> <character>ROBY</character> <dialogue>Is it armed?</dialogue> <character>HUNTER</character> <dialogue>If you press the button right now, it will blow the whole nose of the ship off.</dialogue> <character>ROBY</character> <dialogue>Thanks for the thought.</dialogue> <parenthetical>( puts detonator in his breast pocket . )</parenthetical> <dialogue /> <character>STANDARD</character> <dialogue>All right, Martin, we'll be in touch with you on the communicator.</dialogue> <character>ROBY</character> <dialogue>And you'll let me know when you've got it coming this way.</dialogue> <character>STANDARD</character> <dialogue>And you stand aside while we drive it in, then shut the hatch, launch the boat, and -</dialogue> <character>ROBY</character> <dialogue>Kablooey.</dialogue> <scene_description>Hunter 's face twitches nervously at this .</scene_description> <character>STANDARD</character> <dialogue>Come on ; we have n't much time, air is a factor.</dialogue> <scene_description>They leave the nose of the ship , Standard carrying the flamethrower , Hunter the tracker . Roby settles himself at the controls , runs through them briefly to familiarize himself . Using a switch , he opens and closes the lifeboat door a couple of times . It slams open and shut quite rapidly . He presses a few buttons and sets the launch button to `` READY . '' Then STANDARD 'S VOICE comes from the communicator :</scene_description> <character>STANDARD</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>We've got something on the tracker. got to be it, it's too big for the cat.</dialogue> <scene_description>This is a VERY SPOOKY SCENE , ROBY ALONE BY THE LIFEBOAT , LISTENING TO THE VOICES ON THE COMMUNICATOR .</scene_description> <character>HUNTER</character> <parenthetical>( over , filtered . )</parenthetical> <dialogue>It's coming from down there.</dialogue> <scene_description>Roby hears various tinny sound effects , rustlings , clunkings , breathing , etc. .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDOR IN SHIP</stage_direction> <scene_description>Standard has the flamethrower at the ready , and Hunter is staring at the tracker .</scene_description> <character>HUNTER</character> <dialogue>It must have stopped moving. I'm not getting anything.</dialogue> <character>STANDARD</character> <dialogue>Let me go first ; you stay behind me.</dialogue> <scene_description>Carefully , Standard advances down the corridor . Then THE CREATURE POPS OUT OF HIDING BEHIND HUNTER , AND PICKS HIM UP . HUNTER SCREAMS . Standard whirls around , sees the thing clutching Hunter . It holds him off to one side , as though to keep Standard from getting at him . Standard does n't know what to do .</scene_description> <character>HUNTER</character> <dialogue>The flamethrower!</dialogue> <character>STANDARD</character> <dialogue>I ca n't, the acid will pour out!</dialogue> <scene_description>At that moment the creature TAKES A BITE OUT OF HUNTER , WHO SCREAMS IN MORTAL AGONY . Standard can take it no longer ; he raises the flamethrower and fires - BUT THE CREATURE SWINGS HUNTER AROUND AS A SHIELD AND HUNTER CATCHES THE FULL BLAST OF THE FLAME . Standard instantly stops firing , but now Hunter is a kicking ball of flame , held out at arm 's length by the monster .</scene_description> </scene> <scene> <stage_direction>INTERIOR - NOSE OF SHIP</stage_direction> <scene_description>Roby is listening to all this on the communicator . He can hear the shrieks and crashing noises . Then the communicator goes dead , and all he hears is a rush of static .</scene_description> <character>ROBY</character> <dialogue>Hello? Standard? Hunter?</dialogue> <scene_description>He waits quite a while for a response , but we can see from his expression that he expects none . He drops his face into his hands . When he lifts his head again , he has managed to summon a certain amount of resolve .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDORS IN SHIP</stage_direction> <scene_description>Roby walks along watching the tracker , carrying a pistol in the other hand . He comes across Standard 's flamethrower , lying on the floor . He picks it up , substituting it for the pistol . Then he continues to follow the tracker ; it takes him down the steps into the maintenance level .</scene_description> </scene> <scene> <stage_direction>INTERIOR - MAINTENANCE LEVEL</stage_direction> <scene_description>Roby follows the device for a short distance until it indicates that the source of the signal is directly under his feet . Looking down , he sees that he is standing on a square metal plate . Getting down on his hands and knees , he removes the heavy plate , revealing a black opening with a ladder going down . Substituting the tracker for a flashlight , but still carrying the flamethrower , Roby starts down the ladder .</scene_description> </scene> <scene> <stage_direction>INTERIOR - DARK STORAGE ROOM</stage_direction> <scene_description>Shining the light around into the darkness , Roby descends the metal ladder to the floor . THE PLACE IS A HORRIBLE LAIR , FULL OF BONES , HAIR , SHREDS OF FLESH , PIECES OF CLOTHING , AND SHOES . Something moves in the darkness - Roby turns his light on it . HANGING FROM THE CEILING IS A HUGE COCOON . It appears to be woven from some fine , white , silk - like material , and it is slowly undulating . Flamethrower ready , Roby approaches the cocoon . As he gets close enough , he sees that the cocoon is semi - transparent and THE BODY OF STANDARD IS INSIDE IT . Unexpectedly , Standard 's eyes open , and focus on Roby - who jumps violently .</scene_description> <character>STANDARD</character> <parenthetical>( a feeble whisper . )</parenthetical> <dialogue>Kill me.</dialogue> <character>ROBY</character> <parenthetical>( sickened . )</parenthetical> <dialogue>What did it do to you?</dialogue> <character>STANDARD</character> <parenthetical>( moves his head slightly . )</parenthetical> <dialogue>Look.</dialogue> <scene_description>Roby turns his light where Standard indicates . Another cocoon dangles from the ceiling , but this one looks a little different . It is smaller and darker , with a harder shell . In fact , it looks almost EXACTLY LIKE THE SPORES IN THE TOMB .</scene_description> <character>STANDARD</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( whispering . )</parenthetical> <dialogue>That was Melkonis. it ate Hunter.</dialogue> <character>ROBY</character> <parenthetical>( looking around for a tool . )</parenthetical> <dialogue>I'll get you out of there.</dialogue> <character>STANDARD</character> <dialogue>No. do n't.</dialogue> <character>ROBY</character> <dialogue>But I can save you - get you to the Autodoc!</dialogue> <character>STANDARD</character> <dialogue>No good. it's eaten too much of me.</dialogue> <character>ROBY</character> <parenthetical>( in horror . )</parenthetical> <dialogue>What can I do?</dialogue> <character>STANDARD</character> <dialogue>Kill me.</dialogue> <scene_description>Roby stares at him in horror , then bends down and takes a closer look at him . REACTING , he straightens back up , raises the flamethrower , and sprays a molten blast . When the entire room is in flames , he turns and scrambles back up the ladder .</scene_description> </scene> <scene> <stage_direction>INTERIOR - MAINTENANCE LEVEL</stage_direction> <scene_description>Roby drops to his knees and gasps for breath , trying not to throw up . At length , he regains control of himself .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - OUTER SPACE - AT LIGHT SPEED</stage_direction> <scene_description>The SNARK appears to hang motionless , with planets and star clusters rolling past in the infinite distance .</scene_description> </scene> <scene> <stage_direction>INTERIOR - BRIDGE</stage_direction> <scene_description>Roby is putting the cat into a metal , vacuum - sealed catbox , with a little oxygen tank on it .</scene_description> <character>ROBY</character> <dialogue>Kitty go bye - bye.</dialogue> <scene_description>He seals the catbox , then turns on the oxygen . There is a faint hiss of pressurized air . Wild - eyed , the cat peers out of a little window in front . It YOWLS . He picks up the pressurized catbox and leaves the bridge .</scene_description> </scene> <scene> <stage_direction>INTERIOR - MINING &amp; CARGO BAY</stage_direction> <scene_description>Carrying the catbox and a shoulder bag -LRB- and of course the flamethrower -RRB- , Roby goes quickly to the nearest rank of metal cannisters .</scene_description> <character>ROBY</character> <parenthetical>( reading from labels . )</parenthetical> <dialogue>What'll it be, Kitty? Here - how about some Tacitum - 35, ten kilos of it. This'll buy us an island on some nice planet.</dialogue> <scene_description>Putting the invaluable cannister into the shoulder bag , he hurries back up the steps .</scene_description> </scene> <scene> <stage_direction>INTERIOR - ENGINE ROOM</stage_direction> <scene_description>Catbox in one hand , flamethrower in the other , Roby enters the engine room , containing the massive stardrive engines . He puts down his parcels and approaches the main control board for the engines . Studying the instructions , he begins to close switches , one by one . A SIREN BEGINS TO HONK THROUGHOUT THE SHIP .</scene_description> <character>COMPUTER</character> <dialogue>Attention! The cooling units for the stardrive engines are not functioning! Engines will overload in 4 minutes, 50 seconds! Attention!</dialogue> <scene_description>Finally Roby closes the last switch . Shaking with nervousness , he hurriedly picks up catbox , bag and flamethrower and hurries out of the engine room .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDORS IN SHIP</stage_direction> <scene_description>Roby hurries on , listening to the siren .</scene_description> <character>COMPUTER</character> <dialogue>Attention! Engines will overheat and main core will melt in 4 minutes, 30 seconds!</dialogue> </scene> <scene> <stage_direction>INTERIOR - NOSE OF SHIP</stage_direction> <scene_description>Roby comes hustling up to where the lifeboat is berthed . Hands full , he starts to enter the connecting passageway .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CONNECTING PASSAGEWAY</stage_direction> <scene_description>THE CREATURE IS WAITING AT THE OTHER END OF THE PASSAGEWAY , INSIDE THE LIFEBOAT . It HISSES and starts toward him .</scene_description> </scene> <scene> <stage_direction>INTERIOR - NOSE OF SHIP</stage_direction> <scene_description>Roby leaps out of the passageway , bounds to the controls , and throws the switch . The hatch door SLAMS SHUT , locking the thing in the lifeboat .</scene_description> <character>COMPUTER</character> <dialogue>Attention! Engines will overload in 4 minutes!</dialogue> <scene_description>Indecisive , Roby stares at the lifeboat `` LAUNCH '' button . The thing can be heard fumbling around in the passageway . Finally , he turns and bolts back toward the engine room .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDORS IN SHIP</stage_direction> <scene_description>Like a maniac , Roby runs through the ship , level after level , pounding down stairwells , his footsteps clanging metallically throughout the ship as he sprints for the engine room .</scene_description> <character>COMPUTER</character> <dialogue>Attention! Engines will overload in 3 minutes, 30 seconds!</dialogue> </scene> <scene> <stage_direction>INTERIOR - ENGINE ROOM</stage_direction> <scene_description>The door crashes open and Roby comes running in . The room is full of smoke and the engines are whining dangerously . It is extremely hot in the room ; Roby instantly breaks out in sweat . He runs to controls and begins throwing back on the cooling unit switches . Still THE SIREN CONTINUES .</scene_description> <character>COMPUTER</character> <dialogue>Attention! Engines will overload in 3 minutes!</dialogue> <scene_description>Roby pushes a button and speaks into it .</scene_description> <character>ROBY</character> <dialogue>Computer! I've turned all the cooling units back on! What's wrong?</dialogue> <character>COMPUTER</character> <dialogue>The reaction has proceeded too far. The core has begun to melt. Engines will overload in 2 minutes, 35 seconds.</dialogue> <scene_description>A look of terror comes onto Roby 's face . He turns and runs from the engine room .</scene_description> </scene> <scene> <stage_direction>INTERIOR - CORRIDORS IN SHIP</stage_direction> <scene_description>Again , Roby must run through all the levels of the ship , this time up the stairs , exhausted , stumbling , while the computer counts down :</scene_description> <character>COMPUTER</character> <dialogue>Attention! Engines will overload in 2 minutes!</dialogue> </scene> <scene> <stage_direction>INTERIOR - NOSE OF SHIP</stage_direction> <scene_description>Reeling , gasping for breath , Roby staggers into the vestibule where the lifeboat is berthed . He grabs the flamethrower and turns it toward the passageway . It is then he realizes that THE LIFEBOAT DOOR IS OPEN AGAIN . Quickly , he glances around to see if the creature might be behind him . Then he advances on the passageway .</scene_description> </scene> <scene> <stage_direction>INTERIOR - PASSAGEWAY</stage_direction> <scene_description>Dripping with sweat , his face a mask of fear , Roby enters the passageway , flamethrower gripped tightly in his hands . He is goaded on by the siren and the computer :</scene_description> <character>COMPUTER</character> <dialogue>Attention! Engines will explode in 90 seconds!</dialogue> <scene_description>He makes it all the way to the end of the passageway , then sticks his head into the lifeboat .</scene_description> </scene> <scene> <stage_direction>INTERIOR - LIFEBOAT</stage_direction> <scene_description>HIS POINT - OF - VIEW as he quickly scans the lifeboat , reveals that it is EMPTY .</scene_description> </scene> <scene> <stage_direction>INTERIOR - PASSAGEWAY</stage_direction> <scene_description>Immediately , he turns and dashes back to the head of the passageway . There he grabs the catbox and bag , then runs back into the lifeboat .</scene_description> <character>COMPUTER</character> <dialogue>Attention! Engines will explode in 60 seconds!</dialogue> </scene> <scene> <stage_direction>INTERIOR - LIFEBOAT</stage_direction> <scene_description>He comes in on the run , hurls the catbox and bag toward the front , and does a dive over the back of the control chair . He is no sooner in the seat than he hits the `` LAUNCH '' button .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - NOSE OF SHIP - OUTER SPACE</stage_direction> <scene_description>The retainer clips drop away , and with a blast of ramjets , THE LIFEBOAT IS LAUNCHED AWAY FROM THE `` SNARK . ''</scene_description> </scene> <scene> <stage_direction>INTERIOR - LIFEBOAT</stage_direction> <scene_description>Roby is frantically strapping himself in , as the lifeboat accelerates away from the mother ship .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - SPACE</stage_direction> <scene_description>The tiny pod of the lifeboat accelerates away from the larger bulk of the SNARK . The scene is strangely serene for such deadly circumstances .</scene_description> </scene> <scene> <stage_direction>INTERIOR - LIFEBOAT</stage_direction> <scene_description>Roby finishes strapping himself in , then he reaches and grabs the catbox . The cat is YOWLING . Roby hugs the box to his chest and hunches his head down over it .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - SPACE</stage_direction> <scene_description>The SNARK drifts ever farther away as the lifeboat leaves it behind , until it is barely a point of light . THEN IT BLOWS UP . AN EXPANDING ORANGE FIREBALL WITH PIECES OF METAL FLYING IN ALL DIRECTIONS .</scene_description> </scene> <scene> <stage_direction>INTERIOR - LIFEBOAT</stage_direction> <scene_description>The shockwave hits the escape craft , jolting it and rattling everything inside . Then all is quiet . Roby unhooks himself from his straps , rises , and goes to the back of the lifeboat . He stares out through the porthole . His face is bathed in orange light .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - SPACE</stage_direction> <scene_description>What he sees is the boiling fireball , now fading and fizzling away into nothingness , and a couple of pieces of debris floating past .</scene_description> </scene> <scene> <stage_direction>INTERIOR - LIFEBOAT</stage_direction> <scene_description>Roby 's expression is mournful as he watches the final obliteration of his ship and friends . BEHIND HIM , THE CREATURE EMERGES FROM SOME HIDING PLACE - IT HAS BEEN INSIDE THE LIFEBOAT ALL ALONG . The cat SCREECHES . Roby whirls , and finds himself facing the thing across the length of the boat . It squats , then pulls out its trophy - a man 's arm . It begins to eat the arm , watching Roby . His first thought is for the flamethrower - unfortunately , it lies on the floor right next to the monster . Next he glances around for any place to hide . His eye falls on a tiny locker containing a space suit , with the door standing open . He begins to edge toward the locker . The creature rises . He freezes . It throws down the arm . With that , Roby dives for the open locker door , hurls himself inside , and slams the door shut .</scene_description> </scene> <scene> <stage_direction>INTERIOR - SPACESUIT LOCKER</stage_direction> <scene_description>There is a clear glass panel in the door , and the thing puts its face right up to the glass , peering in at Roby . The locker is so small that Roby 's face is only inches away from the creature 's . The sight is disgusting . It turns its head , looking at him in curiosity . Then the MOANING OF THE CAT distracts it .</scene_description> </scene> <scene> <stage_direction>INTERIOR - LIFEBOAT</stage_direction> <scene_description>The creature waddles over to where the pressurized catbox sits . It bends down and peers inside . The CAT YOWLS LOUDER . It picks up the catbox in its tentacles .</scene_description> </scene> <scene> <stage_direction>INTERIOR - SPACESUIT LOCKER</stage_direction> <scene_description>Trying to distract the monster away from the cat , Roby TAPS ON THE GLASS . But the monster reacts so fast that its face is instantly back at the glass , startling the hell out of Roby . Getting no more interference from him , the thing returns to the catbox . Roby looks around . He spies the spacesuit . Quickly , he begins to pull it on .</scene_description> </scene> <scene> <stage_direction>INTERIOR - LIFEBOAT</stage_direction> <scene_description>The creature picks the catbox up in its tentacles and shakes it to see if there is anything inside . The cat MOANS .</scene_description> </scene> <scene> <stage_direction>INTERIOR - SPACESUIT LOCKER</stage_direction> <scene_description>Roby is halfway into the pressure suit .</scene_description> </scene> <scene> <stage_direction>INTERIOR - LIFEBOAT</stage_direction> <scene_description>The creature throws the catbox down . It clangs , and bounces . The thing picks it up again and hammers it against the wall . Then it jams it into a crevice in the wall . With one tentacle , it begins to pound the sealed catbox into the crevice . The cat has gone beyond hysterics .</scene_description> </scene> <scene> <stage_direction>INTERIOR - SPACESUIT LOCKER</stage_direction> <scene_description>Roby pulls on the helmet , latches it into place , then turns on the oxygen . With a hiss , the suit fills itself . In a rack on the wall is a long metal rod with a blunt rubber tip . Roby peels the rubber off , revealing a sharp steel point . Again he raps on the glass .</scene_description> </scene> <scene> <stage_direction>INTERIOR - LIFEBOAT</stage_direction> <scene_description>The creature turns . It faces the locker , peers at him .</scene_description> </scene> <scene> <stage_direction>INTERIOR - SPACESUIT LOCKER</stage_direction> <character>ROBY</character> <dialogue>Try a little of this, you fucking bastard.</dialogue> <scene_description>HE KICKS THE DOOR OPEN .</scene_description> </scene> <scene> <stage_direction>INTERIOR - LIFEBOAT</stage_direction> <scene_description>The creature rises , but just in time to catch THE STEEL SHAFT RIGHT THROUGH ITS MIDRIFF . IT MAKES A HORRIBLE NOISE AND CLUTCHES AT THE SPUR . The yellow acid begins to flow from the wound . Before the acid can touch the floor , Roby reaches back and pulls a switch - BLOWING THE REAR HATCH . In a poof , the tiny atmosphere in the lifeboat is sucked out into space - and the bleeding creature along with it . Roby grabs a steel strut to keep from being sucked out , but as the creature passes him IT WRAPS THE END OF A TENTACLE AROUND HIS ANKLE .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - LIFEBOAT - OUTER SPACE</stage_direction> <scene_description>Roby is now hanging halfway out of the lifeboat , with the thing clinging to his leg . He kicks at it with his free foot , but it wo n't let go .</scene_description> </scene> <scene> <stage_direction>INTERIOR - LIFEBOAT</stage_direction> <scene_description>Looking for any salvation , Roby grabs the hatch control lever and yanks it . The hatch slams shut , closing Roby safely inside but TRAPPING THE END OF THE CREATURE 'S TENTACLE IN THE DOORJAMB . It instantly releases Roby , who staggers back .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - LIFEBOAT - OUTER SPACE</stage_direction> <scene_description>The creature is now outside the lifeboat , in the vacuum , squirming , the tip of its tentacle caught in the closed hatch .</scene_description> </scene> <scene> <stage_direction>INTERIOR - LIFEBOAT</stage_direction> <scene_description>Where the tentacle is caught in the hatch , it is wounded , and is starting to foam with acid , eating away at the metal . Roby stumbles forward to the controls and pushes a lever labeled :</scene_description> <character>"RAM JETS"</character> <dialogue /> </scene> <scene> <stage_direction>EXTERIOR - LIFEBOAT - OUTER SPACE</stage_direction> <scene_description>The jet exhausts are located at the rear of the craft , right where the creature is wriggling . THE ENGINES BELCH FLAME FOR A FEW SECONDS , THEN SHUT OFF . INCINERATED , THE CREATURE TUMBLES SLOWLY AWAY INTO SPACE .</scene_description> </scene> <scene> <stage_direction>INTERIOR - LIFEBOAT</stage_direction> <scene_description>Roby hurries to the rear hatch and looks out after the thing .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - OUTER SPACE</stage_direction> <scene_description>The burned mass of the monster drifts slowly away into space , a writhing , smoking , foaming mass . As it tumbles into the distance , pieces drop off it - it bloats - then bursts , soggily , sending a spray of particles off in all directions . The last we see of it is a few smouldering rags , dwindling into infinity .</scene_description> </scene> <scene> <stage_direction>INTERIOR - LIFEBOAT - LATER</stage_direction> <scene_description>The boat is re - pressurized and Roby is seated in the control chair . He seems calm and composed , almost cheerful . The cat purrs in his lap .</scene_description> <character>ROBY</character> <parenthetical>( dictating . )</parenthetical> <dialogue>. So it looks like I'll make it back to the Colonies on schedule after all. I should be to the frontier in another 250 years or so, and then with a little luck the network will pick me up. I'm not as rich as I was a couple days ago - but I'm not exactly broke either. Incidentally, I did manage to salvage one souvenir out of this whole mess.</dialogue> <scene_description>He reaches down into the carrying bag he brought on board , and pulls out the ALIEN SKULL .</scene_description> <character>ROBY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Poor Yorick here should go at least partway toward proving I'm not a crank. I wish it was him we'd met in the first place - things might have turned out different.</dialogue> <scene_description>He puts the skull down on a shelf and locks a glass lid over it .</scene_description> <character>ROBY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>This is Martin Roby, executive officer, last survivor of the commercial vessel SNARK, signing off. Come on, cat, let's go to sleep.</dialogue> <scene_description>Roby leans forward and switches off the recorder . Then he rises and , carrying the cat , walks to the hypersleep freezer , which stands open . He climbs in and stretches out on his back , holding the cat against his chest . With one hand , he presses a switch , and THE LID CLOSES OVER HIM . CLOSE - UP OF THE ALIEN SKULL , watching sentinel over the slumbering Roby like some dead , melancholy pixie .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - OUTER SPACE</stage_direction> <scene_description>The lifeboat - SNARK 2 - sails away toward its rendezvous with Irth , 250 years from now . As SNARK 2 drifts past camera , we suddenly see that A SPORE POD IS ADHERED TO THE UNDERBELLY OF THE CRAFT . ROLL END TITLES &amp; MUSIC . THE END</scene_description> </scene> </script>

The commercial space tug Nostromo is on a return trip back to Earth with a seven-member crew in stasis: Captain Dallas, Executive Officer Kane, Warrant Officer Ripley, Navigator Lambert, Science Officer Ash, and two engineers, Parker and Brett. Detecting a transmission from nearby moon LV-426, the ship's computer, Mother, awakens the crew. Company policy requires any potential distress signal be investigated, so they land on the moon, sustaining damage from its atmosphere and rocky landscape. Parker & Brett repair the ship while Dallas, Kane, and Lambert head out to investigate. They discover the signal comes from a derelict alien ship and enter it, losing communication with the Nostromo. Ripley deciphers part of the transmission, determining it to be a warning, but cannot relay this information to those on the derelict ship. Meanwhile, Kane discovers a chamber containing hundreds of large, egg-like objects. When he touches one, a creature springs out, breaks through his helmet, and attaches itself to his face. Dallas and Lambert carry the unconscious Kane back to the Nostromo. As acting senior officer, Ripley refuses to let them aboard, citing quarantine regulations, but Ash overrides her decision and lets them inside. Ash attempts to remove the creature from Kane's face, but stops when he discovers that its blood is an extremely corrosive acid. It later detaches on its own and is found dead. The ship is partly repaired, and the crew lifts off. Kane awakens with some memory loss, but is otherwise unharmed. During a final crew meal before returning to stasis, he chokes and convulses. A small alien creature bursts from Kane's chest, killing him, and escapes into the ship. The crew attempts to locate it with tracking devices and capture or kill it with nets, electric prods, and flamethrowers. Brett follows the crew's cat Jones into a huge supply room, where the now fully grown alien attacks him and disappears with his body. After a heated discussion, the crew decide the creature must be in the air ducts. Dallas enters the ducts, intending to force the alien into an airlock, but it ambushes and kills him. Lambert implores the others to abandon ship and escape in its small shuttle, but Ripley, now in command, explains it will not support four people and says they will continue the plan of flushing out the alien. Now with access to Mother, Ripley discovers Ash has been secretly ordered by the company to bring the alien back, with the crew deemed expendable. She confronts Ash, who tries to choke her to death. Parker intervenes and clubs Ash, knocking his head loose and revealing him to be an android. Ash's head is reactivated, and they learn he was assigned to ensure the creature's survival. He expresses admiration for the creature's psychology, unhindered by conscience or morality, and taunts them about their chances of survival. Ripley cuts off his power; as they leave, Parker incinerates him. The remaining crew decides to self-destruct the Nostromo and escape in the shuttle. Parker and Lambert are killed by the creature as they gather supplies. Ripley initiates the self-destruct sequence, but finds the alien blocking her path to the shuttle. She retreats and attempts unsuccessfully to abort the self-destruct. With no further options, she makes her way to the shuttle and barely escapes as the Nostromo explodes. As Ripley prepares for stasis, she discovers that the alien is aboard, having wedged itself into a narrow space. She puts on a spacesuit and uses gas to flush the creature out. It approaches Ripley, but before it can attack, she opens an airlock door, almost blowing the creature into space. It manages to hang on by gripping the frame. Ripley shoots it with a grappling hook, but the gun catches as the airlock door closes, tethering the alien to the shuttle. It pulls itself into an engine exhaust but Ripley fires the engines, blasting the creature away. After recording the final log entry, she places Jones the cat and herself into stasis for the trip home to Earth.

Amelia_2009

tt1129445

<script> <scene> <character>AMELIA</character> <dialogue>Written by</dialogue> <scene_description>Ronald Bass &amp; Anna Hamilton Phelan September 14,</scene_description> </scene> <scene> <stage_direction>EXT. BAR, LAE, NEW GUINEA - DAY</stage_direction> <scene_description>CLOSE on a mud-streaked AIRFIELD in mist and driving RAIN. A Lockheed ELECTRA sits. Sleek, twin-engine, state-of- the- art, its metallic surface battered by the monsoon. Waiting. PULL BACK to see... ...our VIEW down onto the landing strip is from an open- sided, thatched roof BAR high above the airfield. And peering down through the mist and rain... ...a WOMAN in grimy flight clothes gazes at the plane. Slender. Feminine. At first glance, fragile. Then the gray eyes change like the sea, as a stray thought transforms her. Something fierce lives there.</scene_description> <character>SUPERIMPOSE:</character> <dialogue>LAE, NEW GUINEA - 1937.</dialogue> <character>FRED (O.S.)</character> <dialogue>Sure I can't talk you inta somethin' more adventurous?</dialogue> <scene_description>She turns. FRED NOONAN is tall and lean, ruggedly handsome in a reckless way. His flight clothes as rumpled and dirt- streaked as her own. He carries his bottle of tequila, and a Coke which he sets down for her.</scene_description> <character>AMELIA</character> <dialogue>Adventurous? You've got the wrong girl, Mister. You should know that by now.</dialogue> <scene_description>Her eyes study him. Assessing something as he pours himself four fingers.</scene_description> <character>FRED</character> <dialogue>Actually. I knew that the moment I met ol' George.</dialogue> <scene_description>He sips his drink. She says nothing.</scene_description> <character>FRED</character> <dialogue>I like how you don't talk about him.</dialogue> <character>AMELIA</character> <dialogue>That why I get so many chances to not do it?</dialogue> <character>FRED</character> <dialogue>Well. Natural curiosity.</dialogue> <scene_description>His charming smile. She's thinking more about the tequila. She reaches to take his bottle and glass. Moves them to her side of the table.</scene_description> <character>FRED</character> <dialogue>I mean, why would a guy who needs to run the show. Pick the one girl he knew could kick his tail?</dialogue> <scene_description>No response. Just her clear direct gaze.</scene_description> <character>FRED</character> <dialogue>I'll bet he knew that. First time he met you.</dialogue> <scene_description>She looks out to sea.</scene_description> <character>AMELIA</character> <dialogue>He thought I hated him. He never knew I was fascinated.</dialogue> <character>INT. GEORGE'S OFFICE, NEW YORK - DAY</character> <dialogue>Alone by the window, he gazes at the city. A powerfully built man in a perfectly-tailored suit. The face at once strong and elegant, capable of every emotion. Yet just</dialogue> <scene_description>now, there are none to be seen. Even as... ...a door OPENS. A pretty SECRETARY enters soundlessly, sits respectfully. Waits, her pen suspended above her steno pad. Does he know she's there?</scene_description> <character>SUPERIMPOSE:</character> <dialogue>NEW YORK, LATER 1937.</dialogue> <character>GEORGE</character> <parenthetical>(without turning)</parenthetical> <dialogue>The first time I met her she sat in that chair.</dialogue> <scene_description>The secretary doesn't know whether to write that down. And still with his back to her...</scene_description> <character>GEORGE</character> <dialogue>You may as well write it down, Mary. Write it all down. Even the parts that are confused or graceless or boring.</dialogue> <scene_description>He turns with a soft smile to put her at ease.</scene_description> <character>GEORGE</character> <dialogue>We'll see if I remember how to edit.</dialogue> <scene_description>She smiles back. She likes him, as much as her level of being awed by him permits. She begins to write, as...</scene_description> <character>GEORGE</character> <dialogue>I'd kept her waiting two hours.</dialogue> <character>T</character> <dialogue>She hated me on sight, but she</dialogue> <scene_description>hought I couldn't tell. His gaze drifts to a bookcase crammed with volumes. And one object, oddly out of place. A stuffed CAT, with boots and a green frock coat. It wears a confident ironic smile.</scene_description> <character>GEORGE</character> <dialogue>She was a person who cherished her privacy and was devoting her life to social work. And there I was...</dialogue> <scene_description>His smile is kind. And honestly self-mocking.</scene_description> <character>GEORGE</character> <dialogue>Self-obsessed. Wallowing in the glory of my authors and celebrity acquaintances. A vain, fast- talking, manipulator. But then I guess you know all that, don't you?</dialogue> <scene_description>She looks up reproachfully. Nothing of the kind, and you know it.</scene_description> <character>GEORGE</character> <dialogue>Oh, yes. And the kind of man who fishes for compliments.</dialogue> <scene_description>He's made her laugh. DISSOLVE: TO...</scene_description> <character>INT. RECEPTION AREA - DAY</character> <dialogue>She is younger, dressed conservatively. The calm at the center of a storm. Agents, authors, couriers, peddlers</dialogue> <scene_description>come and go. But she has her legs drawn up beneath her, pouring through a small stack of volumes. As if preparing for an exam.</scene_description> <character>SUPERIMPOSE:</character> <dialogue>G.P. PUTNAM'S SONS PUBLISHING CO. 1928.</dialogue> <character>GEORGE (V.O.)</character> <dialogue>The waiting made her furious. She undoubtedly felt I was</dialogue> <character>E</character> <dialogue>stablishing my dominance and</dialogue> <scene_description>importance. She doesn't look furious at all. Thumbing through WE by COL. CHARLES LINDBERGH. Photos of Lindy beside the Spirit of St. Louis in Paris.</scene_description> <character>GEORGE (V.O.)</character> <dialogue>Actually, I hadn't given her a thought. Oblivious as usual. Which, perhaps, was even worse.</dialogue> <scene_description>Now, SKYWARD by ADM. RICHARD BYRD. Photos of the explorer preparing for his flight over the North Pole. One of Byrd with George himself, displaying considerable gravitas.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>I figured he'd be pompous.</dialogue> <scene_description>Her eye travels over the stack of books. Adventurers, explorers, celebrities. On an end table, a framed photo of George with the great Lindbergh. A pretty SECRETARY comes to summon her. Amelia rises, smooths the wrinkles from her brown suit. They head down the corridor.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>I knew, of course, that he wasn't going to choose me. I had no discernible qualifications whatsoever.</dialogue> <scene_description>They reach the door, already ajar. It says GEORGE PALMER PUTNAM on a small bronze plate. The secretary gingerly pushes it open... ...revealing George on the phone in crisp shirtsleeves and suspenders. He paces, prowls, trailing the cord behind him, negotiating non-stop even as he flips through a pile of messages. Off again, stalking the room. Dashing, electric, masterful.</scene_description> <character>AMELIA (V.O)</character> <dialogue>But to be rejected by this... parasite. A man who had given up any life of his own to flutter near the famous.</dialogue> <scene_description>He glances up, realizing for the first time that she is there. Sit, please. But she doesn't.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>I didn't know whether to laugh or throw something at the jerk.</dialogue> <scene_description>He gestures again, more commandingly. Sit. She doesn't move, she doesn't smile. She doesn't take her steady gaze from him. He hangs up the phone. They stare at each other for a frozen beat. He breaks the moment with a charming smile...</scene_description> <character>GEORGE</character> <dialogue>Miss Earhart?</dialogue> <character>AMELIA</character> <dialogue>Mr. Putnam?</dialogue> <scene_description>GEORGE (softly) I asked you to sit.</scene_description> <character>AMELIA</character> <dialogue>Was that the thing you did with your hand? Sadly, I don't speak dog.</dialogue> <scene_description>His smile now only a trace. But more genuine.</scene_description> <character>GEORGE</character> <dialogue>A Ah. Well, stand if you like. melia sits.</dialogue> <character>GEORGE</character> <dialogue>I'm told you want to fly the Atlantic Ocean.</dialogue> <character>AMELIA</character> <dialogue>I do.</dialogue> <character>GEORGE</character> <dialogue>In the 12 months since Lindbergh, 55 people in 18 planes have tried. Three planes made it. Fourteen people have died.</dialogue> <character>AMELIA</character> <dialogue>I'll make it.</dialogue> <character>GEORGE</character> <dialogue>Three women died trying. Two others escaped with their lives. If you do make it, you'd be the first. Which...is the real attraction for both of us, I suspect.</dialogue> <scene_description>She nods. No smile.</scene_description> <character>AMELIA</character> <dialogue>Always nice to know what the real attraction is.</dialogue> <scene_description>His smile. Beginning to enjoy this conversation.</scene_description> <character>GEORGE</character> <dialogue>The plane was bought from Adm. Byrd by Amy Guest, a socialite who wanted the record for herself. Her family wouldn't tolerate the danger. She has asked for a replacement...</dialogue> <scene_description>He gestures. Perhaps you.</scene_description> <character>GEORGE</character> <dialogue>...who is American, educated, well- spoken, a flyer, preferably physically attractive...</dialogue> <character>AMELIA</character> <dialogue>Why would that matter?</dialogue> <character>GEORGE</character> <dialogue>Because she wants the world to pay attention. And pretty girls command more attention.</dialogue> <character>AMELIA</character> <dialogue>Was that your advice?</dialogue> <character>GEORGE</character> <dialogue>Sure. My role is selling this event to the public. There will be a contract for the girl's story with the New York Times. Also a book to be published over her name.</dialogue> <scene_description>Understood...? G</scene_description> <character>EORGE</character> <dialogue>But all the money from these will go to Mrs. Guest.</dialogue> <character>AMELIA</character> <dialogue>Except for the part that goes to you.</dialogue> <character>GEORGE</character> <dialogue>Which will be as great as I can manage, I assure you.</dialogue> <character>AMELIA</character> <dialogue>You said she wants a flyer.</dialogue> <character>GEORGE</character> <dialogue>Don't get your hopes up. The celebrated Wilmer Stultz will be the pilot. There'll be a male co- pilot and navigator. The woman</dialogue> <scene_description>will be purely a passenger. He waits for reaction. She keeps her mouth shut.</scene_description> <character>GEORGE</character> <dialogue>That's good for your chances. Because your level of flying experience wouldn't place you anywhere near the group that would be considered for this. If the woman were to do any flying at all.</dialogue> <scene_description>No punches pulled. Not his style.</scene_description> <character>AMELIA</character> <dialogue>Why would anyone want a book from a passenger?</dialogue> <character>GEORGE</character> <dialogue>Because the hook is that we're making the woman the commander. The pilot will sign a contract saying he is under her direction and control. It's her ship, her flight.</dialogue> <character>AMELIA</character> <dialogue>Good for my chances, you said. What are my chan...</dialogue> <character>GEORGE</character> <dialogue>The job's yours.</dialogue> <scene_description>She blinks. Stunned speechless.</scene_description> <character>GEORGE</character> <dialogue>I chose you the moment you walked through the door.</dialogue> <scene_description>He smiles his charming smile. Several phones are RINGING.</scene_description> <character>GEORGE</character> <dialogue>Now assuming my awful manners haven't soured you on the enterprise. May I give you a lift</dialogue> <scene_description>to the station? Amelia rises. Is she pissed at being toyed with?</scene_description> <character>AMELIA</character> <dialogue>You're a busy man, Mr. Putnam. I can find my way.</dialogue> <scene_description>The look holds. He shrugs. You probably can.</scene_description> <character>INT. GRAND CENTRAL STATION - LATER</character> <dialogue>Two figures on the platform. Her train is ready to</dialogue> <scene_description>leave.</scene_description> <character>GEORGE</character> <dialogue>I honestly feel an apology is in order.</dialogue> <character>AMELIA</character> <dialogue>Fine. What have I done?</dialogue> <scene_description>She watches his smile.</scene_description> <character>AMELIA</character> <dialogue>I didn't mind waiting. Caught up on my reading. Knitted a sweater.</dialogue> <character>GEORGE</character> <dialogue>I mean an apology. For what's coming.</dialogue> <scene_description>His voice softens.</scene_description> <character>GEORGE</character> <dialogue>I'm going to be pretty controlling these next few months. How you dress, move, cut your hair. Speak in public. It's all part of the package we're selling.</dialogue> <character>AMELIA</character> <dialogue>We.</dialogue> <character>GEORGE</character> <dialogue>That's right. If you're not in there selling with me, it won't work.</dialogue> <scene_description>The smile turns friendly.</scene_description> <character>GEORGE</character> <dialogue>You're the star. I'm no one at all.</dialogue> <character>AMELIA</character> <dialogue>Spoken like a gentleman.</dialogue> <scene_description>She steps up onto the train. Extends her hand like a man. He shakes it firmly. The train begins to move. She watches his cheery wave as she rolls away.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>Of course a gentleman. Would have paid for my ticket.</dialogue> <character>INT. TRAIN - LATER</character> <dialogue>Gazing out the window as she rattles toward Boston. She looks down now to a notebook in her lap. As she flips</dialogue> <scene_description>pages, we see it is a collection of hand-written POEMS and thoughts. She writes...</scene_description> <character>AMELIA (V.O.)</character> <dialogue>Courage is the price that life exacts For granting peace</dialogue> <scene_description>We SUPERIMPOSE over her image the wall of a little girl's bedroom, filled with treasured NEWSPAPER CLIPPINGS about women doctors, officials, bank presidents, women who had established themselves in positions previously thought to be available only to men.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>The soul that knows it not Knows no release From little things</dialogue> <scene_description>DISSOLVE: TO HER MEMORY: OF...</scene_description> <character>EXT. FIELD, DES MOINES - DAY</character> <dialogue>Two LITTLE GIRLS, maybe 10 years old, walking in a</dialogue> <scene_description>field. Amelia and a girlfriend. They stop, hearing... The DRONING of an engine, a small red plane APPEARING above the treetops. The pilot seeing two girls alone in the field, SWOOPS down to BUZZ them. Amelia's friend runs for her life. But Amelia stands still, throws her arms WIDE, and the plane... ...DROPS lower, and LOWER, as it CLOSES straight in on the slender girl with her outstretched arms. LOUDER and FASTER, as if intent on winning some impulsive duel of wills. The aircraft SCREAMS past, just above her head.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>As the little red airplane passed by, it said something to me.</dialogue> <scene_description>Amelia beams. She fills her lungs, transported.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>I don't think I've ever stopped listening.</dialogue> <scene_description>HOLD on her, hair and uniform whipping in the breeze.</scene_description> <character>INT. AMELIA'S PLANE - DAY</character> <dialogue>Amelia flying her little yellow Kinner. Feeling the</dialogue> <scene_description>freedom she thrilled to as a A child.</scene_description> <character>MELIA (V.O.)</character> <dialogue>Ten years, 28 jobs and an unspeak- able number of crashes later, I hadn't changed my mind.</dialogue> <scene_description>She LIFTS the nose of the tiny craft. Begins to CLIMB.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>I even had my own plane. Bought with my last dime.</dialogue> <scene_description>At the apex of her climb, she FLIPS into a breathtaking LOOP THE LOOP, as...</scene_description> <character>AMELIA (V.O.)</character> <dialogue>Course in the early days of flying...</dialogue> <scene_description>...her engine SPUTTERS. Then STALLS. The plane DIPS into a TAIL-SPIN, PLUNGING downward...</scene_description> <character>AMELIA (V.O.)</character> <dialogue>...crashing was so common, you almost forgot it could kill you...</dialogue> <scene_description>Amelia STRUGGLING to start the engine, the little plane HURTLING toward earth, SPINNING as it goes.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>...until it did.</dialogue> <scene_description>The engine COUGHS to life and at the last second she SWOOPS harrowingly above the ground to SOAR FREE.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>Almost.</dialogue> <scene_description>A small HANGAR in a lonely field. See a group of... ...MECHANICS in their grease-stained jumpsuits. Three big guys and one little one working on an engine that's been pulled from Amelia's Kinner. When the little guy comes up for air... ...he isn't a guy at all.</scene_description> <character>AMELIA</character> <dialogue>Got it. I think.</dialogue> </scene> <scene> <stage_direction>INT. DENISON HOUSE, BOSTON - DAY</stage_direction> <scene_description>SAM CHAPMAN, a handsome young man is being led down an institutional hallway and out onto the grounds of this venerable settlement house. He finds... ...Amelia sitting cross-legged on the grass. Reading to a group of CHINESE GIRLS, who hang on her every animated word. On the periphery, ADULTS sit, taking in the story. They are of various ethnicities, homeless or handicapped or immigrant.</scene_description> <character>A</character> <dialogue>Two are blind. Amelia sees Sam...</dialogue> <character>MELIA</character> <dialogue>Girls, this is Mr. Samuel Chapman. Sam, say hullo to the Octopus Club.</dialogue> <scene_description>The Octopus Club waves to Sam. The adults wave, too.</scene_description> <character>AMELIA</character> <dialogue>You're just in time. Alice has come through the Looking Glass, and things are getting, well...</dialogue> <character>OCTOPUS CLUB</character> <parenthetical>(on cue)</parenthetical> <character>REALLY STRANGE!</character> <dialogue>AMELIA</dialogue> <scene_description>They are, actually. She pats the grass beside her. Sam has no choice but to sit.</scene_description> </scene> <scene> <stage_direction>EXT. GROUNDS - LATER</stage_direction> <scene_description>Amelia and Sam walk a wooded path beside the grounds. Through the chain link fence, they watch other social workers playing with groups of children.</scene_description> <character>SAM</character> <dialogue>And it's a secret.</dialogue> <character>AMELIA</character> <dialogue>Has to be. Competition, you know. Millionaire heiresses, hot shot girl pilots. If George knew I told you, he'd have me publicly flogged.</dialogue> <scene_description>She looks over.</scene_description> <character>AMELIA</character> <dialogue>So long as he could sell tickets.</dialogue> <scene_description>He's not smiling.</scene_description> <character>SAM</character> <dialogue>And no one else knows.</dialogue> <character>AMELIA</character> <dialogue>Marion. She's giving me a leave of absence.</dialogue> <character>SAM</character> <dialogue>I would think so. Your name will be in all the papers, and not just Boston. Denison House stands to come in for funding, national attention.</dialogue> <character>AMELIA</character> <dialogue>Specially if I don't make it.</dialogue> <character>SAM</character> <dialogue>Don't joke about that.</dialogue> <scene_description>She wasn't joking at all.</scene_description> <character>SAM</character> <dialogue>You'll make it. And then you'll have opportunities to work in</dialogue> <scene_description>aviation. Anywhere you want. She laughs.</scene_description> <character>AMELIA</character> <dialogue>Well, I'll have impressive credentials as a long-distance passenger. That's not exactly a career in aviation.</dialogue> <scene_description>She looks up at his eyes.</scene_description> <character>I</character> <dialogue>'m not going anywhere, social work</dialogue> <character>AMELIA</character> <dialogue>is my life. After all the years of false starts, I found the thing I'm meant to do.</dialogue> <scene_description>Keep walking. She gives him time to say...</scene_description> <character>SAM</character> <dialogue>And where does that leave us?</dialogue> <character>AMELIA</character> <dialogue>You do love to look on the dark side. Whatever did you see in a sunny character like me?</dialogue> <scene_description>She gives him a sweet playful smile. It doesn't reassure him.</scene_description> <character>SAM</character> <dialogue>It's not as if I'd been putting pressure on you.</dialogue> <character>AMELIA</character> <dialogue>What love means to you. What it requires. Is the pressure.</dialogue> <scene_description>He stops walking.</scene_description> <character>SAM</character> <dialogue>I love you. Is that such a terrible problem?</dialogue> <scene_description>She gazes at him. Can he even hear this?</scene_description> <character>AMELIA</character> <dialogue>The problem is what it's always been. The problem is me.</dialogue> </scene> <scene> <stage_direction>INT. WALDORF ASTORIA HOTEL - DAY</stage_direction> <scene_description>MOVIETONE NEWSREEL footage, accompanied by their signature fanfare theme. Hotel conference room jammed with press. A sexy brunette in a sweater that seems to be made of strips of GOLD FOIL steps to a bank of microphones. Flashes start POPPING.</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>The Queen of Diamonds Mabel Boll, about to become the first female to fly the Atlantic in the wake of Lindbergh's historic journey, regales an eager world press...</dialogue> <scene_description>The sound switches to Mabel at the mikes...</scene_description> <character>MABEL</character> <dialogue>Okay, boys. I'll take any questions you wanna throw my way. Except about what's behind this sweater.</dialogue> <scene_description>The boys ROAR. Mabel keeps her smile tight.</scene_description> <character>MABEL</character> <dialogue>The story. Behind it. Of course.</dialogue> <scene_description>As the laughter CONTINUES...</scene_description> <character>12</character> <dialogue>12</dialogue> <character>T</character> <dialogue>INT. HANGAR, EAST BOSTON AIRPORT - NIGHT</dialogue> <scene_description>he heavy door rolls OPEN. George and Amelia enter the brightly-lit hangar to see two men working on the FRIENDSHIP, a sea-plane with golden wings. Its red-orange fuselage stands beside gigantic PONTOONS, each 29 feet long. The pontoons have been opened, and the men are attaching them to the plane. They turn toward us now. BILL STULTZ is short and wiry with quick eyes. Only 28, he seems weathered by his adventures and the streaks of gray through his hair. He is not necessarily happy to see us.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>George had told me Stultz was Adm. Byrd's favorite pilot, fearless, gifted. He drank. But George said it never affected his work.</dialogue> <scene_description>George waves as we approach. Bill and Amelia seem locked on each other.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>When he said it, I must have had a funny look. So I just said, `Yeh, I grew up around a guy like that.'</dialogue> <character>GEORGE</character> <dialogue>Boys, I'd like to introduce your commander, Miss Amelia Earhart.</dialogue> <character>AMELIA</character> <dialogue>We felt `commander' was less grandiose than, say, `empress.'</dialogue> <scene_description>Bill doesn't smile. The other man does...</scene_description> <character>GEORGE</character> <dialogue>Say hello to Slim Gordon your navigator.</dialogue> <scene_description>She is shaking hands in that strong, direct way.</scene_description> <character>GEORGE</character> <dialogue>And Bill Stultz here, simply the most talented pilot working.</dialogue> <scene_description>She takes Bill's powerful hand. The look between them calm, yet somehow intense. As if each is establishing a tone for their relationship.</scene_description> <character>GEORGE</character> <dialogue>We've got Byrd's pilot, we've got his plane...</dialogue> <character>AMELIA</character> <dialogue>Y</dialogue> <scene_description>ou mean the Admiral flies on those? The pontoons. She does not seem admiring.</scene_description> <character>GEORGE</character> <dialogue>Nope, those are new, personally suggested by the old man himself.</dialogue> <scene_description>Bill nods on that. Sure were.</scene_description> <character>GEORGE</character> <dialogue>This way, if you're forced down at sea, you can wait for a rescue.</dialogue> <character>AMELIA</character> <dialogue>Hmmn. What does that do to our fuel?</dialogue> <character>BILL</character> <dialogue>Costs us at least 400 gallons. Don't bother bringing clothes for Paris, we'll be lucky to hit the nearest beach in Ireland. Real lucky.</dialogue> <character>GEORGE</character> <dialogue>The Admiral estimates the pontoons only cut our range by 200 miles.</dialogue> <scene_description>But Amelia looks to Bill. That's not really possible is it?</scene_description> <character>BILL</character> <dialogue>The Admiral is the Admiral. He gets to estimate any damn thing he wants. All we have to do is figure out how to fly without petrol.</dialogue> <scene_description>She turns to George with challenging eyes.</scene_description> <character>BILL</character> <dialogue>Don't go blaming the bookseller. He's been all through this with Mrs. Guest, but she worships the Admiral. And it's money that puts planes in the air.</dialogue> <character>AMELIA</character> <dialogue>I wonder if it can keep them up there. Not that I've ever had enough to try.</dialogue> <scene_description>Bill's small smile. Maybe the girl's all right.</scene_description> <character>EXT. DOCK - LATER</character> <dialogue>George and Amelia approach a waiting motorboat, as the</dialogue> <scene_description>lights of Boston glimmer across the harbor. His head is down. She's watching his profile.</scene_description> <character>AMELIA</character> <dialogue>Sorry. I'll try keeping my mouth shut.</dialogue> <character>GEORGE</character> <dialogue>What I ought to try. Is listening to you once in awhile.</dialogue> <scene_description>H e meant that. And she seems oddly touched.</scene_description> <character>AMELIA</character> <dialogue>Careful. I could get to like it.</dialogue> <scene_description>No reaction from him. He hops into the boat. Turns, holds out his hand. She hesitates. Clearly doesn't need his help to jump into a boat. Their eyes lock. We are watching her decide. And then... She reaches to clasp his hand. Hops down beside him.</scene_description> <character>AMELIA</character> <dialogue>Thank you, Simpkin. Thank you for everything.</dialogue> <character>GEORGE</character> <parenthetical>(a smile)</parenthetical> <dialogue>Simpkin.</dialogue> <character>AMELIA</character> <dialogue>It's in a book. Oh, that's right. You read the ones you publish.</dialogue> <scene_description>Her smile is friendly, not flirtatious. She goes to sit in the bow. He doesn't follow. But he is watching.</scene_description> </scene> <scene> <stage_direction>EXT. ROOF, COPLEY PLAZA HOTEL - DAY</stage_direction> <scene_description>Amelia in a flying outfit. Hands on her hips as if posing.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>There's a Beatrix Potter story about a cat named Simpkin.</dialogue> <scene_description>PULL BACK to see the PHOTOGRAPHER, George beside him. They are on a hotel rooftop, precariously high above Boston. T</scene_description> <character>AMELIA (V.O.)</character> <dialogue>He wasn't happy unless he had several mice, each under a different teacup. So he could never become bored.</dialogue> <scene_description>We see that Amelia's POSE looks exactly the SAME as a photo of CHARLES LINDBERGH in the photographer's hand. It is labeled `LUCKY LINDY.'</scene_description> <character>AMELIA (V.O.)</character> <dialogue>THe illusion of activity was essential for him to feel at peace.</dialogue> <scene_description>The photographer now shows George ANOTHER PHOTO of Lindbergh in a different pose.</scene_description> <character>AMELIA</character> <dialogue>What are you boys doing over there?</dialogue> <character>GEORGE</character> <dialogue>Trying to make you look like a girl.</dialogue> <scene_description>George studies the photo, then goes to Amelia and begins moving her body into the new pose. Tilting her head to Lindbergh's angle.</scene_description> <character>MELIA (V.O.)</character> <dialogue>I wondered. Was I Mr. Putnam's 43rd mouse? Or his 307th.</dialogue> <scene_description>Now touching her, adjusting her coat, fluffing a bit of her hair, pulling the collar around to frame her face...</scene_description> <character>G</character> <dialogue>EORGE</dialogue> <scene_description>he more we can make you look like a girl, the better.</scene_description> <character>AMELIA</character> <dialogue>Oh god, is it worth the effort?</dialogue> <scene_description>He cocks his head, studies her. Nah, guess not.</scene_description> <character>GEORGE</character> <dialogue>Wondering who should play you in the film of all this. I'm thinking Chaplin.</dialogue> <character>AMELIA</character> <dialogue>Valentino's not available?</dialogue> <scene_description>He shakes his head sadly. Adjusts her collar once more. This time, his hands linger.</scene_description> <character>AMELIA</character> <dialogue>Two things. One, Chaplin can't play me because he's perfect for you. And two, you have company.</dialogue> <scene_description>She glances to where a WOMAN, beautiful and aristocratic, is being helped onto the roof. George's face lights to see her. He rushes over, sweeps her into his arms, kisses her tenderly. Amelia smiles to see this, makes her like them both.</scene_description> <character>GEORGE</character> <dialogue>Amelia Earhart, this is Dorothy Binney Putnam.</dialogue> <scene_description>The women trade smiles. They shake hands, holding eye contact.</scene_description> <character>DOROTHY</character> <dialogue>Great to meet you. George talks so much about you.</dialogue> <parenthetical>(a wink)</parenthetical> <dialogue>In fact, lately, you're all he does talk about.</dialogue> <scene_description>George steps in close, and the photographer SNAPS a three- shot. And another.</scene_description> <character>PHOTOGRAPHER</character> <dialogue>Hold those smiles for one more, please.</dialogue> <scene_description>The FRIENDSHIP bobbing on its pontoons. Bill and Slim are off-loading equipment and other gear from the plane to a TUGBOAT filled with support crew and family. The plane's engines REV in the predawn stillness. PULL BACK to see... ...the yacht club dock. George and Amelia alone at the railing. She's wearing her leather flight jacket and boots. They stare out at the plane, so frail and awkward. From her bag now, she pulls three ENVELOPES... Puts them in George's hand. Straight, unblinking...</scene_description> <character>AMELIA</character> <dialogue>Popping off letters. For my dad, my mom, my sis. You know. In case.</dialogue> <scene_description>He stares down. Rocked by the weight of this against the simplicity of her words. The top envelope says: DEAREST DAD.</scene_description> <character>GEORGE</character> <dialogue>I'm honored. That you'd leave these with me.</dialogue> <character>AMELIA</character> <dialogue>Who else? If I do pop off, it's your fault.</dialogue> <scene_description>Said in her sunny way. But she's not kidding. It takes a beat before he can offer...</scene_description> <character>GEORGE</character> <dialogue>I'll call them once you're safely on your way.</dialogue> <character>AMELIA</character> <dialogue>Sam will handle that. They trust him.</dialogue> <scene_description>That registers.</scene_description> <character>GEORGE</character> <dialogue>I've figured out the Simpkin thing,</dialogue> <scene_description>you know.</scene_description> <character>AMELIA</character> <dialogue>Have you.</dialogue> <character>GEORGE</character> <dialogue>Sure. There are so few books I haven't published, it was easy to find.</dialogue> <scene_description>Well...?</scene_description> <character>GEORGE</character> <dialogue>Beatrix Potter, the Tailor of Gloucester. He's a cat in a green frock coat.</dialogue> <character>AMELIA</character> <dialogue>But why is he you?</dialogue> <scene_description>Oh.</scene_description> <character>GEORGE</character> <dialogue>He's brilliant, charismatic...</dialogue> <character>AMELIA</character> <dialogue>So you haven't actually read it. Do you actually read?</dialogue> <scene_description>H</scene_description> <character>GEORGE</character> <dialogue>...neurotic, compulsive, manipulative. Am I getting warmer?</dialogue> <scene_description>She sighs.</scene_description> <character>AMELIA</character> <dialogue>P</dialogue> <scene_description>ray I make it. Or the secret pops off with me. A held look. A friendly...</scene_description> <character>AMELIA</character> <dialogue>Well. See ya.</dialogue> <scene_description>She walks off down the dock toward the Friendship. e stands watching her go. DISSOLVE: TO...</scene_description> <character>INT. SMALL HOTEL, NEWFOUNDLAND - MORNING</character> <dialogue>Amelia alone, leaving her hotel room in her flight</dialogue> <scene_description>jacket. Locking the door.</scene_description> <character>SUPERIMPOSE:</character> <dialogue>FIRST STOP: CANADA</dialogue> <character>AMELIA (V.O.)</character> <dialogue>Our first hop was to Canada, to start from as close as we could get to Ireland. Just in case we couldn't get the thing in the air and had to row.</dialogue> <scene_description>She walks briskly down the corridor.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>The fuel was going to be so close, every single mile counted.</dialogue> <scene_description>Turns a corner. Approaches the dining room door.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>George told me to keep to my room, just in case there was a reporter or two somewhere.</dialogue> <scene_description>She enters the hotel dining room. Stops cold. Across the room a disgruntled Bill and a sheepish Slim stare at her from their breakfast, surrounded by 15 REPORTERS and PHOTOGRAPHERS. Holy shit. Half a dozen CAMERAS RISE as one. It is a defining moment. And Amelia... Cocks her head. Throws an effortless golden smile.</scene_description> <character>AMELIA</character> <dialogue>Hi there, boys. How are the ham and eggs?</dialogue> <scene_description>The FLASHES EXPLODE as one. They keep POPPING as Amelia makes her way to them.</scene_description> <character>BILL</character> <dialogue>Don't blame us, lady. I think somebody's starting to sell books.</dialogue> <scene_description>The reporters are handing her their morning editions. The New York Times front page headline: BOSTON GIRL STARTS FOR ATLANTIC HOP. There beneath the headline, the glamorous PHOTO we watched being taken on the Copley Hotel roof, Lady Lindy. Next to it, an earlier photo of her as a demure social worker. A melia is sifting through the other papers, grinning and shaking her head.</scene_description> <character>EPORTER</character> <dialogue>Say, Amelia. What have you got for Mabel Boll to chew on?</dialogue> <character>AMELIA</character> <dialogue>Now why would a famous gal like Mabel give a thought to someone like me? I don't have a single sweater made out of gold.</dialogue> <scene_description>The boys ROAR, Slim louder than anyone. Even Bill cracks a smile. They're shouting, teasing, YOU CAN'T KID US!</scene_description> <character>AMELIA</character> <dialogue>Hey, not even silver.</dialogue> <scene_description>The boys make room. Bill rises to hold Amelia's chair. A friendly murmur...</scene_description> <character>BILL</character> <dialogue>The ham's a little tough, Commander. But the bacon's swell.</dialogue> </scene> <scene> <stage_direction>INT. WALDORF-ASTORIA HOTEL - DAY</stage_direction> <scene_description>MOVIETONE NEWSREEL footage, accompanied by their signature fanfare theme. Once more, the hotel conference room jammed with press. Today Mabel wears a luxurious silver fox coat, shimmies up to a bank of microphones at the podium. Flashes start POPPING.</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>The Queen of Diamonds Mabel Boll, upstaged by upstart social worker, seems madder than a rich wet hen. Hey Mabel, tell us about your rival!</dialogue> <scene_description>The sound switches to Mabel leaning her sultry voice to the mikes...</scene_description> <character>MABEL</character> <dialogue>Well, how would any woman feel about some tart who steals her man?</dialogue> <scene_description>Reporters furiously writing, more flashes EXPLODE.</scene_description> <character>MABEL</character> <dialogue>Bill Stultz and I were going to make history together, until this poor little social worker and her sugar daddy, oh excuse me, `publisher,' started throwing money and I don't know what else at him.</dialogue> <character>R</character> <dialogue>EPORTER</dialogue> <scene_description>Mabel, are you implying Miss Earhart used her feminine charms on your pilot?</scene_description> <character>MABEL</character> <dialogue>I don't know, Charlie, I never seen her. Has she got any?</dialogue> <scene_description>LAUGHTER, they're all calling out. She shows them a smoky smile, but stays on message.</scene_description> <character>MABEL</character> <dialogue>Well, she had to use something on somebody to get from nowhere to here. You figure it out, or wait til George Putnam feeds it to you.</dialogue> <scene_description>Two dozen questions at once. She's not even listening.</scene_description> <character>MABEL</character> <dialogue>We're going to Canada, waiting for some good weather on the Atlantic, and then we'll kick Little Miss Whoozis in the keester.</dialogue> <character>REPORTER</character> <dialogue>What makes you so cocky that she won't leave first?</dialogue> <character>MABEL</character> <dialogue>Rusty, we can carry enough fuel to go to China. That thing they're flying can't load enough gas to make Yonkers. Tell that to Putnam's girlie. And while you're at it...</dialogue> <scene_description>She snuggles the gleaming fox fur around her.</scene_description> <character>MABEL</character> <dialogue>Tell her I do wear silver. So I'm two up on her.</dialogue> </scene> <scene> <stage_direction>EXT. HARBOR, TREPASSEY, NEWFOUNDLAND - EARLY MORNING</stage_direction> <scene_description>MOVIETONE NEWSREEL CONTINUES. We are looking at foggy, bleak Trepassey Harbor as the Friendship makes an unsuccessful attempt to take off.</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>Eleven days of failure for plucky Amelia Earhart and her crew. If it isn't storms over the Atlantic, it's the inability of the seaplane's pontoons to lift from the sea.</dialogue> <scene_description>S ERIES OF ANGLES. One failed take-off after another.</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>Perhaps it's for the best. Remember, no woman has beat the jinx of the Atlantic and three have died trying. Including a princess and the niece of former President Woodrow Wilson.</dialogue> <scene_description>The plane's engine SPUTTERS and STALLS. It floats on the sea.</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>Maybe this one's not to be. Hey, Mabel! How's your weather report?</dialogue> <scene_description>Amelia coming down the hotel corridor. She passes a room, and hearing DRUNKEN LAUGHTER from a group of MEN within the room... She stops. Stares at the door with more concern than anger.</scene_description> <character>INT. ROOM - SAME MOMENT</character> <dialogue>Bill, Slim and three of the REPORTERS are drinking up a storm.</dialogue> <character>BILL</character> <dialogue>EXPLORER, MY ASS. BYRD COULDN'T</dialogue> <character>FIND A PUBIC HAIR IN A WHOREHOUSE</character> <dialogue>T RUSH HOUR!</dialogue> <character>INT. HOTEL ROOM, NEWFOUNDLAND - LATER</character> <dialogue>Amelia curled up on her bed with CHARTS of the Atlantic spread everywhere. From next door, the sound of drunken</dialogue> <scene_description>men</scene_description> <character>CONTINUE.</character> <dialogue>Amelia looks down from her charts. Her mind going</dialogue> <scene_description>to...</scene_description> <character>FLASHBACK:</character> <dialogue>EXT. HOUSE, ATCHISON, KANSAS - DAY</dialogue> <scene_description>Seven-year-old KIDS dressed as cowboys and Indians are gathered on the front lawn of a white clapboard home. We CLOSE on a clear-eyed tomboy with war paint and tousled hair, AMELIA at seven, looking up excitedly as a car pulls to the curb. H er FATHER climbs slowly from the car, WOBBLES his way across the lawn. The kids part to let him through, the confusion and disappointment on every face. He ignores them all, even Amelia. The front door opens... ...Amelia's MOTHER gazes at him with shame and disdain. As she helps him stagger inside...</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - EARLY MORNING</stage_direction> <scene_description>Amelia in her flight gear, sitting on the edge of her bed, an open TELEGRAM lies beside her. Her elbows rest on her knees. Her hands are locked together. Her profile is stony, determined. TILT DOWN to the telegram... It reads: WEATHER PERMITTING, MABEL FLIES THIS AFTERNOON. She grabs her flight bag, leaves the room. She only has to travel as far as the next door. POUNDS on it. Waits. Pounds LOUDER with both fists. Slim opens the door. Looking bad. Bill sits up in bed, groggy, disoriented.</scene_description> <character>BILL</character> <dialogue>Christ, what time is...</dialogue> <character>AMELIA</character> <dialogue>Time to fly. Get up, get dressed, we're going now.</dialogue> <scene_description>She is calm and angry at once. A powerful combination. Slim pulls his pants off a chair.</scene_description> <character>BILL</character> <dialogue>Where's the weather report?</dialogue> <scene_description>She goes to his bed. Hands him a slip of paper. He blinks, still waking up. Reads.</scene_description> <character>BILL</character> <dialogue>It's not good enough.</dialogue> <character>AMELIA</character> <dialogue>Great. Maybe Mabel will think so, too. Because if she doesn't, she's going to Paris and you're going home. Today.</dialogue> <character>B</character> <dialogue>ILL</dialogue> <scene_description>It's not good enough.</scene_description> <character>AMELIA</character> <dialogue>It's fine, there's a tail wind all the way, we'll off-load to 700 gallons, which gets us off the water and the wind gets us to Ireland.</dialogue> <character>BILL</character> <dialogue>We've had better than this and we haven't gone.</dialogue> <character>AMELIA</character> <dialogue>But this is the day Mabel's ready, so we're going now. The weather is going to get better and we'll be there to enjoy it.</dialogue> <character>BILL</character> <dialogue>You're serious.</dialogue> <character>AMELIA</character> <dialogue>Just as serious as you're hung</dialogue> <scene_description>over. (to Slim) You go now, get the late weather, we'll meet you at the plane. Go. Now! Slim pulls on his shoes, grabs his jacket, his bag. Looks to Bill, but the pilot is glaring at his commander.</scene_description> <character>AMELIA</character> <parenthetical>(QUIET)</parenthetical> <dialogue>Slim, get out. I've got this.</dialogue> <scene_description>A beat. Slim goes, the door shuts quietly. Amelia sits on the edge of Bill's bed.</scene_description> <character>AMELIA</character> <dialogue>I've loved one person unconditionally, Bill. He is the most caring and generous and charming and flat-out funny guy I'll ever know. He's my father.</dialogue> <scene_description>Her eyes are burning with this. And Bill keeps quiet. Anyone would.</scene_description> <character>AMELIA</character> <dialogue>He's a drunk. And he's let me down all my life.</dialogue> <scene_description>She leans closer.</scene_description> <character>AMELIA</character> <dialogue>Now you get out of that bed. And you fly that god-damned thing to Ireland. Or I swear to you, Bill...</dialogue> <scene_description>Just above a whisper...</scene_description> <character>AMELIA</character> <dialogue>I swear to you I will. Or die trying.</dialogue> <character>Y</character> <dialogue>ou got that? Do you?</dialogue> <character>AMELIA</character> <dialogue>And either way. You're going to be living with it.</dialogue> <character>EXT. TREPASSEY HARBOR - LATER</character> <dialogue>It's dark and cold. Bill and Amelia stand at the dock</dialogue> <scene_description>beside their plane. He's drinking coffee as they watch Slim come down the quay with a slip of paper in his hand. Amelia steps forward to take it. Reads with neutral eyes.</scene_description> <character>AMELIA</character> <dialogue>Good. Slim, start the engines.</dialogue> <scene_description>She still hasn't given the paper to Bill. Slim steps onto a pontoon. Starts CRANKING up the propellers. As the engine KICKS to life... She hands the weather report to Bill. He reads. Looks to her eyes.</scene_description> <character>AMELIA</character> <dialogue>You signed a contract. You've got a direct instruction from me to go. That report indicates some degree of risk and it's a risk I'm taking.</dialogue> <character>BILL</character> <dialogue>Have a nice flight.</dialogue> <character>AMELIA</character> <dialogue>Thanks.</dialogue> <scene_description>She motions to Slim, get on board. The navigator grins, starts to climb up, looking back at Bill...</scene_description> <character>SLIM</character> <dialogue>Hey, I'm scared shitless of this dame.</dialogue> <scene_description>She climbs up after him. One look back...</scene_description> <character>AMELIA</character> <dialogue>Read tomorrow's papers, Bill. We'll both be in them.</dialogue> <scene_description>And disappears. Alone on the dock, Bill hears the engines REV. Jesus, God, she's going to do it. He takes a step toward the plane, but her head appears in the hatch...</scene_description> <character>AMELIA</character> <dialogue>So, to take off, you pull back on the thing, right?</dialogue> <scene_description>Her perfectly straight, innocent face. He BUSTS out laughing. This fucking girl.</scene_description> <character>T</character> <dialogue>osses his coffee. Climbs aboard.</dialogue> <character>INT. FRIENDSHIP - MOMENTS LATER</character> <dialogue>WITH Amelia as she locks the hatch. For the first time,</dialogue> <scene_description>we can see the inside of the plane. The cabin is too small for anyone to stand. The plane has been emptied of everything but two huge elliptical FUEL TANKS. he wedges herself between the gigantic tanks. Bill pulls the throttle and the Fokker Tri-motor LURCHES forward, STRAINING against the surface of the sea in a rattling, throbbing desperately VIBRATING all-out attempt. Amelia crawls to the tiny window, her face to the glass as chop and spray FLY PAST like shrapnel, and the engines WHINE and PULSE louder... ...twenty seconds, thirty. Still on the surface. Forty seconds, fifty, her eyes shut, her forehead bangs against the glass, come on, sixty seconds, and at 67...</scene_description> <character>EXT. HARBOR - SAME MOMENT</character> <dialogue>...the seaplane LIFTS, struggles, then SOARS FREE.</dialogue> <scene_description>Amelia kneels at the tiny window. A kid on a rainy day. Only outside this window is impenetrable FOG and a STORM that ROCKS the plane like the shock waves of endless explosions. As she braces herself against the hull... ...water DRIPS onto her from a loose seam. Could this be dangerous? She looks around. Through the opening between the elliptical fuel tanks... ...Bill and Slim at the controls. Bill is banging on something beside the instrument panel. Beneath his seat, she sees the TOOLBOX. The water drips on her faster. She crawls forward toward the boys, arriving to see... ...Bill POUNDING what we can now see is his RADIO. His face is red, angry. She watches for a beat.</scene_description> <character>AMELIA</character> <dialogue>YOU OKAY?</dialogue> <character>BILL</character> <dialogue>BE BETTER IF OUR DAMN RADIO WOULD</dialogue> <character>JOIN THE PARTY!</character> <dialogue>He never turns to her, but she studies him. Is he</dialogue> <scene_description>impaired or simply frustrated? She slips the toolbox from beneath his seat and crawls back to the leak. But as she opens the box... ...there, among the wrench and pliers, a BOTTLE of whiskey. She stares at it as we SNAP TO...</scene_description> <character>FLASHBACK:</character> <dialogue>DAY</dialogue> <character>EXT. AMELIA'S HOUSE, ATCHISON, KANSAS -</character> <dialogue>RAPID SERIES OF ANGLES. War-painted Amelia looking up</dialogue> <scene_description>from the cowboy she's tied to a tree. The car pulling to the curb. Out climbs... ...her FATHER glassy-eyed. Stumbling through the children. Her MOTHER at the door. ANGLE. Amelia still in war paint enters her parents' room She knows just where to go. Opens a drawer, digs beneath crisply starched shirts. Finds the BOTTLE. ANGLE. Amelia in the bathroom, POURING the bottle out into the sink. She looks up in the mirror to see... ...her father in the doorway. She turns straight to him. MEETS his eyes, direct and unafraid.</scene_description> </scene> <scene> <stage_direction>INT. FRIENDSHIP</stage_direction> <scene_description>BACK to Amelia with Bill's bottle, as the battered plane lurches every which way in the storm. She lifts it from the toolbox. Hides it in the camera bag, as suddenly the plane DROPS fifty feet, and Amelia is SLAMMED against the ceiling, then crashes back to the floor. Dazed, she sees Bill turned around...</scene_description> <character>BILL</character> <dialogue>HOLD ONTO SOMETHING FOR CHRISSAKE!</dialogue> <scene_description>She GRABS the leg of the navigation table which has been bolted down. Stares out the window, wondering if she'll make it.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>Dearest Dad. Hooray for the last grand adventure. I wish I had won, but it was worthwhile anyway. You know that. I have no faith we'll meet anywhere again, but I wish we might.</dialogue> <scene_description>HOLD on the gray eyes. DISSOLVE TO... LATER. Amelia at the window, still opaque with fog. Suddenly, the plane SWOOPS down toward a clearing in the clouds. There to the south, a FREIGHTER running across our path. No land in sight.</scene_description> <character>A</character> <dialogue>melia SCRAWLS a note, ties it to an ORANGE from her</dialogue> <scene_description>flight bag, and crawls back to the boys.</scene_description> <character>AMELIA</character> <dialogue>HOW FAR TO LAND?</dialogue> <scene_description>The boys are studying the freighter.</scene_description> <character>RADIO'S</character> <dialogue>STILL OUT. NO WAY TO</dialogue> <character>COMPUTE</character> <dialogue>WINDSPEED AND DRIFT IN THE</dialogue> <character>FOG, SO</character> <dialogue>GOD ONLY KNOWS WHERE</dialogue> <character>IRELAND</character> <dialogue>Checks his watch.</dialogue> <character>IS.</character> <dialogue>BILL</dialogue> <character>NINETEEN HOURS PLUS. WE'VE GOT</character> <dialogue>MAYBE AN HOUR OF PETROL LEFT.</dialogue> <character>PROBABLY LESS.</character> <dialogue>She shows him the note and the orange.</dialogue> <character>AMELIA</character> <dialogue>WESTERN UNION, SPECIAL DELIVERY.</dialogue> <scene_description>Bill has to smile. Are you serious? As a heart attack. Okay, he tries to get closer to the ship, but we're jerked and buffeted as we swing past and Amelia... ...DROPS the orange toward the freighter, watching the heavy winds CARRY it two hundred yards WIDE of the mark. Our three stare grimly.</scene_description> <character>AMELIA</character> <dialogue>IF WE LAND NEAR THEM, WE'VE GOT A</dialogue> <character>RESCUE.</character> <dialogue>Their eyes are locked.</dialogue> <character>BILL</character> <dialogue>THINK THOSE RIDICULOUS SKIS COULD</dialogue> <character>HOLD US UP IN THIS KIND OF SEA?</character> <dialogue>She's been wondering the same.</dialogue> <character>BILL</character> <dialogue>YOU SAID WE WERE GOING TO MAKE IT.</dialogue> <character>ARE YOU A LIAR?</character> <dialogue>AMELIA</dialogue> <character>NOT ON THIS OCCASION.</character> <dialogue>A rare smile...</dialogue> <character>BILL</character> <dialogue>WELL, THEN.</dialogue> <scene_description>And SWOOPS back on course. Amelia's hand squeezes his shoulder. DISSOLVE TO... LATER. Amelia crouched behind Bill's seat. Fog starting to break up. Her face drawn, she almost seems to be holding her breath. Something down below. As we drop, we hear the engines</scene_description> <character>A</character> <dialogue>SPUTTER.</dialogue> <character>MELIA</character> <dialogue>WHEN'S THAT HOUR OF FUEL RUN OUT?</dialogue> <character>EIGHTEEN MINUTES AGO.</character> <dialogue>She glances over to Slim, who is busy unwrapping a</dialogue> <character>WHY?</character> <dialogue>sandwich.</dialogue> <scene_description>She can't believe this. He takes a healthy bite.</scene_description> <character>AMELIA</character> <dialogue>THE LONGER I OBSERVE MEN THE MORE</dialogue> <character>I AM AWESTRUCK. BY THEIR CAPACITY</character> <dialogue>FOR DENIAL.</dialogue> <scene_description>She crawls back to the navigation table. As she looks out her window, a SANDWICH SAILS past! She WHIPS around...Slim's arms raised in jubilation. Down below... Land.</scene_description> </scene> <scene> <stage_direction>EXT. SHORE, BURRY PORT, WALES - DAY</stage_direction> <scene_description>The little plane sputtering, shuddering, as Bill drops in for a splashdown. We PAN to the shore... ...a rural railroad dock. Deserted except for THREE WORKERS who glance up as the Friendship taxis to a buoy a few hundred yards offshore. Amelia at the hatch, tiny in distance, WAVES a towel... ...one friendly worker takes off his coat and WAVES back. Then all three guys go back to work. SNAP TO... REVERSE ANGLE. From the Friendship, we watch the workers ignoring us. Bill and Slim HOLLER and jump up and down on the pontoons. Nobody cares. Amelia sits in the doorway, her legs swinging free.</scene_description> <character>AMELIA</character> <dialogue>Out of gas. May have to swim for</dialogue> <character>I</character> <dialogue>t.</dialogue> <scene_description>LATER. Amelia alone. Six pages written by her side. Still working, as a rowboat pulls up. Bill stands in the bow. Calls to her...</scene_description> <character>BILL</character> <dialogue>Mr. Putnam phoned. He says there's</dialogue> <scene_description>fella coming from London. Hilton Railey.</scene_description> <character>AMELIA</character> <dialogue>Oh, yeh. Very important man. More important than any of us.</dialogue> <scene_description>Really? Yep.</scene_description> <character>BILL</character> <dialogue>He says ya mustn't come ashore til he gets here. No matter what.</dialogue> <scene_description>Great. She doesn't like it, but there it is. She waves, so long.</scene_description> <character>BILL</character> <dialogue>Some kind of royalty, is he?</dialogue> <scene_description>She nods.</scene_description> <character>AMELIA</character> <dialogue>Public relations.</dialogue> <scene_description>Goes back to work. DISSOLVE TO... LATER. Amelia sits with her papers in her lap, dangling her feet from the hatch. Alone. Hear the BUZZ of... ...a PLANE dropping slowly from the sky, gliding onto the water on its pontoons. She stares at it. Gathers up her things. LATER. Amelia sitting in a tiny dinghy, behind her the Friendship in distance. She is being rowed to shore. Our VIEW is over the back of the man rowing. Amelia is staring past him, vaguely apprehensive. REVERSE ANGLE. She's looking at TWO THOUSAND WELSHMEN swarming the docks. You can't even see the sand. The crowd is silent and staring. No cheers. As if they were staring at an alien or an animal in the zoo. Bill and Slim help pull the dinghy to the rocky shore. But when Amelia jumps out, the crowd...</scene_description> <character>.</character> <dialogue>..begins to soberly APPLAUD, and slowly CLOSES IN around</dialogue> <scene_description>her. At first she seems pleased, trying to shake every hand thrust toward her. She doesn't see that Bill and Slim have been shunted to the back. Suddenly... ...people get BOLDER. CLAPPING her on the back, reaching to TOUCH her, someone SNATCHES her scarf, she looks around frantically for Bill and Slim as... ...a SHERIFF and three DEPUTIES muscle their way to her using billy clubs to push people back. They surround Amelia, begin to escort her to the station...</scene_description> <character>SHERIFF</character> <dialogue>Sorry Ma'am. Shoulda brought more men.</dialogue> <character>AMELIA</character> <dialogue>No, really, this is very sweet, it's an honor. I'm actually enjoying it.</dialogue> <character>SHERIFF</character> <dialogue>That's a good thing.</dialogue> <scene_description>She looks at him as they are jostled along.</scene_description> <character>SHERIFF</character> <dialogue>Because you're stuck with it. From here on.</dialogue> <scene_description>She is brought to a smiling avuncular HILTON RAILEY, standing beside the closest thing Burry Port has to a limo. She throws an affectionate arm around him, kisses his cheek.</scene_description> <character>AMELIA</character> <dialogue>Hullo, Hilton.</dialogue> <scene_description>Railey stands back as FLASHBULBS catch the moment. He's brought photographers with him. And more.</scene_description> <character>R</character> <dialogue>AILEY</dialogue> <scene_description>Amelia, say hullo to Allen Raymond of the New York Times. A hearty handshake. She holds out her sheets of paper.</scene_description> <character>AMELIA</character> <dialogue>I believe you've come for these.</dialogue> <scene_description>Both men regard the pages as if they were gold bullion. Come for these indeed.</scene_description> </scene> <scene> <stage_direction>EXT. SOUTHAMPTON - DAY</stage_direction> <scene_description>MOVIETONE FOOTAGE of Amelia being welcomed by a SEA OF PEOPLE on the dock at Southampton. A mob . Folks spilling into the water. Ships circling, fireboats spray, every craft BLARES its horn. Police hold back the screaming throng as FLASHES EXPLODE and NEWSREEL CAMERAS CHURN. Amelia at the center of the storm. Welcomed by AMY GUEST and the lady LORD MAYOR of Southampton. Throughout, we see SUPERIMPOSED IMAGES of the article she gave Railey, displaying her byline, on the front pages of the London Times, New York Times, the Times of India, Sydney Morning Herald, the Toronto Star, Le Monde, as her story echoes around the world. These IMAGES CONTINUE OVER... QUICK SERIES OF ANGLES. Amelia cheering animatedly at the races...watching tennis at Wimbledon...front row gallery at the House of Commons, as...</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>A whirlwind week for Boston's</dialogue> <scene_description>Amelia Earhart, our own Lady Lindy. Races at Ascot on Gold Cup day...watching Helen Wills Moody play at Wimbledon...Lady Astor's 3 guest at the House of Commons...</scene_description> </scene> <scene> <stage_direction>INT. HYDE PARK HOTEL, LONDON - DAY</stage_direction> <scene_description>MOVIETONE NEWSREEL CONTINUES. The British press are gathered in a huge Victorian parlor. Dark woods, rich leather, a bank of microphones, an electric expectancy... Bill and Slim stand next to a seated Amy. Amelia steps to the microphones...</scene_description> <character>AMELIA</character> <dialogue>I was a passenger on this journey. Just a passenger. Everything that was done to bring us across was done by Wilmer Stultz and Slim Gordon. All the praise...</dialogue> <character>REPORTER</character> <parenthetical>(calls out)</parenthetical> <dialogue>But you can fly, can't you?</dialogue> <scene_description>Amelia stares at the man. Conflicting agendas.</scene_description> <character>AMELIA</character> <dialogue>This flight was solely to the credit of Bill and Slim. Women should know, however, that I have had 500 hours solo flying and once held the women's altitude record.</dialogue> <character>REPORTER</character> <dialogue>So you could have done it yourself!</dialogue> <character>AMELIA</character> <dialogue>This particular flight, under these conditions, I wonder if anyone but Bill Stultz could have pulled it off. But certainly, one day a woman will do this. As easily, as</dialogue> <scene_description>skillfully, as professionally as any man. Such calm self-possession. Such confidence in that.</scene_description> <character>AMELIA</character> <dialogue>Aviation is clear today for the pioneer. And if the pioneer has good ideas nobody will ask whether</dialogue> <scene_description>P the pioneer is a man or woman. olite applause. Mostly from women. She looks around the room.</scene_description> <character>AMELIA</character> <dialogue>I hear your doubt. That doubt is our challenge. This is where our Atlantic flight, or any other good flight by a woman can help...</dialogue> <scene_description>She nods. To them, to herself.</scene_description> <character>AMELIA</character> <dialogue>It starts women thinking.</dialogue> </scene> <scene> <stage_direction>EXT. BROADWAY, NEW YORK CITY - DAY</stage_direction> <scene_description>Ticker tape PARADE down Broadway, crowds lining the streets, leaning from windows to welcome Amelia home.</scene_description> <character>UPERIMPOSE:</character> <dialogue>Amelia sits in an open car between Bill and Slim,</dialogue> <character>NEW YORK CITY</character> <dialogue>WAVING to</dialogue> <scene_description>everyone. In the front seat, George and Dorothy share the moment.</scene_description> </scene> <scene> <stage_direction>EXT. RECEPTION HALL - DAY</stage_direction> <scene_description>Amelia flanked by George and Dorothy, coming out of a reception hall. Amelia glances to George...</scene_description> <character>AMELIA</character> <dialogue>Guess you can burn those letters.</dialogue> <scene_description>Dorothy wonders. Letters?</scene_description> <character>GEORGE</character> <dialogue>I saved them for your book.</dialogue> <scene_description>One simple shake of Amelia's head. A soft...</scene_description> <character>AMELIA</character> <dialogue>The book's yours. The letters are mine.</dialogue> <scene_description>He smiles. Bows in submission.</scene_description> <character>GEORGE</character> <dialogue>ou're the boss.</dialogue> <character>DOROTHY</character> <dialogue>Hey, that's my job.</dialogue> <parenthetical>(to Amelia)</parenthetical> <dialogue>Do you think there's enough of him to boss for the two of us?</dialogue> <scene_description>Amelia still looking at George. Laughs.</scene_description> <character>AMELIA</character> <dialogue>Barely enough for one.</dialogue> <scene_description>A battery of reporters and flashbulbs wait by our motorcade.</scene_description> <character>REPORTER</character> <dialogue>Miss Earhart, can you tell us some- thing about your future plans?</dialogue> <character>S</character> <dialogue>he likes this question. Fixes the man with that clear,</dialogue> <scene_description>honest gaze.</scene_description> <character>AMELIA</character> <dialogue>Well, being a social worker by trade and passion, I'll be going back to work at Denison House when all this fun is over.</dialogue> <scene_description>She sends the guy a smile, and a dozen FLASHES catch it.</scene_description> <character>AMELIA</character> <dialogue>...if I haven't been fired.</dialogue> <scene_description>George holds the door of their limo. She looks up to him with a mischievous smile. And with no warning... ...Amelia bypasses the limo, climbs into the SIDECAR of a cop's motorcycle, and SMACKS its side. The cop looks up to George, who... ...nods, go for it. And the cop DOES, wheeling out into traffic, opening up the SIREN, as everyone laughs or cheers or darts into the street desperate for a fleeting photo. George watching her go. Dorothy watching George.</scene_description> <character>REPORTER</character> <dialogue>Mr. Putnam, sir. How did a social worker like Miss Earhart become comfortable as a celebrity so quickly?</dialogue> <scene_description>George smiles. His eyes still following Amelia.</scene_description> <character>GEORGE</character> <dialogue>The truth is, she was a celebrity on smaller stages all her life.</dialogue> <character>GEORGE</character> <dialogue>This is just when the rest of us discovered her.</dialogue> <scene_description>And Dorothy. Watches this, too.</scene_description> </scene> <scene> <stage_direction>EXT. PUTNAM HOME, RYE, NEW YORK - DAY</stage_direction> <scene_description>Amelia in a sunlit garden ringed by trees. She sits at a folding table, writing longhand. A large dog lies at her feet.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>So they took me home with them to Rye. And I lived there, while I wrote my book.</dialogue> <scene_description>PULL BACK to see our view has been George's. He sits at an antique writing desk, watching her through a picture window. He rises slowly. We see that he has been reviewing a CONTRACT, which he takes with him.</scene_description> <character>A</character> <dialogue>NGLE. Amelia writing, looking up to see George coming</dialogue> <scene_description>down the back porch steps to the garden.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>I thought he'd be a tyrant and that I would have to manage him.</dialogue> <scene_description>He smiles as he approaches. She goes back to work.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>Instead he was kind and generous. And only picked the fights he needed to win.</dialogue> <scene_description>He drops the contract on her table. She looks at it.</scene_description> <character>GEORGE</character> <dialogue>Lucky Strike endorsement. I wrote the copy myself.</dialogue> <character>AMELIA</character> <dialogue>What does it say? `I don't smoke but you should?'</dialogue> <character>GEORGE</character> <dialogue>It says Lucky Strikes were the only cigarettes aboard the Friendship. That's true.</dialogue> <character>AMELIA</character> <dialogue>True and misleading. Why would I sign that?</dialogue> <character>GEORGE</character> <dialogue>So Bill and Slim get paid.</dialogue> <scene_description>Oh. His smile simple, comfortable.</scene_description> <character>GEORGE</character> <dialogue>If you're too proud to take tobacco</dialogue> <scene_description>money, donate it to Byrd's expedition, and we get great publicity. She stares at him with hard eyes. His smile just becomes more relaxed. An easy win, no big deal. She begins to sign the contract. He places a stack of letters in front of her.</scene_description> <character>GEORGE</character> <dialogue>This week's marriage proposals. The top one's the most creative. It's from Sing Sing.</dialogue> <scene_description>She starts to read. Her eyes widen. Goodness. AMELIA (reads) `...in the prison yard, so everyone can watch and share in our...'</scene_description> <character>(</character> <dialogue>looks up)</dialogue> <scene_description>Did you write the copy on this one, too? DOROTHY (O.S., approaching) Have you no shame, George? No sense of the scandal you create? They look up. She has a tray of lemonade and cookies.</scene_description> <character>DOROTHY</character> <dialogue>You make her work for nothing. At least you can feed her.</dialogue> <parenthetical>(to Amelia)</parenthetical> <dialogue>Are you done yet? If not, make him write the rest, he will anyway.</dialogue> </scene> <scene> <stage_direction>INT. AUDITORIUM, BARNARD COLLEGE, NEW YORK - NIGHT</stage_direction> <scene_description>A women's college. The hall is packed.</scene_description> <character>GEORGE (V.O.)</character> <dialogue>The lecture and publicity schedule was fierce. I was with her pretty much all the time.</dialogue> <scene_description>Amelia and George alone in the wings.</scene_description> <character>GEORGE (V.O.)</character> <dialogue>This was the moment of opportunity. Could we launch her into Lindbergh status as a permanent icon, before her name fell out of the news- papers.</dialogue> <scene_description>He re-ties her scarf. Checking out the effect.</scene_description> <character>GEORGE (V.O.)</character> <dialogue>We had separate agendas. For her, it was the advancement of aviation and of women.</dialogue> <scene_description>He very slightly rearranges her hair, as if every lock matters.</scene_description> <character>GEORGE (V.O.)</character> <dialogue>As for me, I liked to tell myself it was about the money. Though there was never much of that left over.</dialogue> <scene_description>She stands for inspection, with her trace of a teasing smile. He holds out his hand and she gives him her note cards.</scene_description> <character>GEORGE (V.O.)</character> <dialogue>Really, it was about the chance to be around her.</dialogue> <scene_description>He flips through the A cards, frowning as he goes. MELIA (George imitation) This will never do, A.E., simply unacceptable. He looks up. She starts pacing around, gesturing as he would... AMELIA (George imitation) You need more ammunition in these cards, and where's the goddamned humor, for Chrissake? By which I mean something actually funny! He's trying to look annoyed. It isn't easy. AMELIA (George imitation) And please remember not to turn your pretty little backside to the crowd when you use your pointer, it's your face they're paying to see. Well, most of them. She WHIPS around. He's deadpan. AMELIA (George imitation) And another thing. Your hats. Are a menace. Staring at each other. GEORGE (softly) Everything about you. Is a menace. The stare holds. Because this is the moment.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>I remember the first kiss.</dialogue> <scene_description>It is only one step. Her hand goes to his chest. Her eyes close, as... She brings her mouth to his. Tender and strong. And deep. It is an act of decision. A held look. No one smiles. We hear her name ANNOUNCED from the podium. But she keeps looking at him. And as the APPLAUSE CONTINUES, she finally... ...turns. STRIDES onto the stage, with one graceful wave, she brings the applause to a crescendo.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>Of course, I knew all the stories</dialogue> <character>T</character> <dialogue>hat Dorothy had been having a</dialogue> <scene_description>torrid affair with Fred Upton. Everyone did. She steps to the microphone. The crowd quiets.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>But I didn't kiss him because I</dialogue> <scene_description>felt sorry for him. Or because it would mean the world to him. INTERCUT. George in the wings. His heart in his eyes.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>I did it. Because I wanted to.</dialogue> <scene_description>He looks down. He's still holding her cards.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL, CHICAGO - DAY</stage_direction> <scene_description>Hotel corridor. An elevator OPENS and ELINOR SMITH a striking young woman emerges. Looks at a slip of paper. Nervous. Heads down the hallway to a door. As she gathers herself to knock, she looks scared enough to pass out. George answers the door, looking gracious and suave. They shake hands. Then, Amelia appears, warmly clasping the girl's hand, and Elinor looks as starstruck as a teenager at the Oscars.</scene_description> <character>AMELIA</character> <dialogue>It's so good to meet you. I've been following your career with a great deal of admiration.</dialogue> <character>ELINOR</character> <dialogue>Um. Thanks, and. You, too.</dialogue> <character>AMELIA</character> <dialogue>Feel like a drink?</dialogue> <character>GEORGE</character> <dialogue>Amelia! What would her mother say?</dialogue> <character>AMELIA</character> <dialogue>Relax, George. I meant a Coke.</dialogue> <scene_description>As she leads Elinor into the sitting room of their suite, the girl's eye falls on the door to the bedroom. It is slightly ajar, revealing an unmade double bed. Unseen by the others, the kid reacts. Oh, my.</scene_description> <character>L</character> <dialogue>ATER. Tea in the sitting room. Elinor leaning forward,</dialogue> <scene_description>guileless, eager...</scene_description> <character>ELINOR</character> <dialogue>They're saying you get $500 a week on the lecture circuit.</dialogue> <character>GEORGE</character> <dialogue>On a bad week.</dialogue> <character>AMELIA</character> <dialogue>On a good week.</dialogue> <scene_description>The girl looks from one to the other.</scene_description> <character>AMELIA</character> <dialogue>All depends. On whether you want the sell or the real.</dialogue> <character>ELINOR</character> <dialogue>Oh, I don't underestimate the value of selling. It's why I'm here.</dialogue> <character>GEORGE</character> <dialogue>A 16-year-old girl sets an altitude record, then makes headlines illegally flying under the four bridges of the East River. You don't seem to need much help selling yourself.</dialogue> <character>ELINOR</character> <dialogue>Well, actually Mr. Putnam, I was</dialogue> <scene_description>hoping you could do to me what you've done to her. Inadvertently, her eyes flick to the bedroom door. Catching this, our couple shares a dry smile. The kid sees that. Uh- oh.</scene_description> <character>ELINOR</character> <dialogue>What I mean is. It's a good thing. That's why I want it.</dialogue> <scene_description>Now our couple is trying not to laugh.</scene_description> <character>GEORGE</character> <dialogue>Just so we're clear, young lady. What is your primary ambition?</dialogue> <scene_description>ELINOR (straight back) To take Amelia's place as the number one female pilot. The honesty, the suddenness, leave George atypically dumbstruck.</scene_description> <character>AMELIA</character> <dialogue>Well, good for you! I would have expected nothing less. You want a tip?</dialogue> <character>ELINOR</character> <dialogue>I do.</dialogue> <character>AMELIA</character> <dialogue>Keep doing what you're doing.</dialogue> <scene_description>The girl nods, seriously. Okay.</scene_description> <character>A</character> <dialogue>MELIA</dialogue> <scene_description>And don't let anyone turn you around.</scene_description> <character>INT. PUTNAM HOUSE - CHRISTMAS DAY</character> <dialogue>Holiday party in progress. Christmas decorations</dialogue> <scene_description>everywhere. A small crowd around the living room bar where George is telling a story. Now we see Dorothy standing, drinking, watching George with hard eyes. She turns on her heels and walks OUT into the garden. George sees this, excuses himself, follows her, as we PAN to... ...Amelia standing with a group of guests. She's seen it all.</scene_description> </scene> <scene> <stage_direction>EXT. GARDEN - MOMENTS LATER</stage_direction> <scene_description>Here she comes along the roses, still drinking, still fuming. A figure comes up behind her. Falls in step.</scene_description> <character>GEORGE</character> <dialogue>Lovely party, huh?</dialogue> <character>DOROTHY</character> <dialogue>Depends on your point of view. I've been listening to some idiot brag about his girlfriend.</dialogue> <scene_description>Still walking. She never looks at him.</scene_description> <character>GEORGE</character> <dialogue>Well, in that case, for your information, it is a lovely party indeed. Anything on your mind?</dialogue> <character>DOROTHY</character> <dialogue>It's not so much that my husband is having an affair with his meal ticket. It's just a pity we can't have one honest conversation about it.</dialogue> <character>GEORGE</character> <dialogue>What's wrong with this one? A promising start, I'd say, in the honesty department.</dialogue> <scene_description>She finishes her drink. Throws the glass away. From our ANGLE we can now see D Amelia in the window, watching them.</scene_description> <character>OROTHY</character> <dialogue>If this is what you call an honest talk, I'd say you need some practice.</dialogue> <character>GEORGE</character> <dialogue>Great. Let's try one about you and Fred Upton.</dialogue> <scene_description>She stops walking. Turns in shock, to see his easy smile.</scene_description> <character>GEORGE</character> <dialogue>Well, I'm waiting for our practice conversation. Hoping I'll learn something. About honesty.</dialogue> <scene_description>She GLARES at him, and storms off. He lets her go. Hear a car engine TURN OVER. Dorothy PEELING OUT. George reflects. As he walks back toward the party, he now sees Amelia in the window. He stops. Their look holds.</scene_description> <character>INT. KITCHEN - LATE NIGHT</character> <dialogue>George at the kitchen table in dim light. It's very</dialogue> <scene_description>late. A HAND places a steaming mug of coffee before him. Followed by a slice of pie. A fork. He smiles. And softly...</scene_description> <character>GEORGE</character> <dialogue>Dorothy and I are through.</dialogue> <scene_description>She sits beside him. Very close.</scene_description> <character>AMELIA</character> <dialogue>For a long, long time.</dialogue> <character>GEORGE</character> <dialogue>It's different now.</dialogue> <scene_description>She looks at him. Squints. How?</scene_description> <character>GEORGE</character> <dialogue>Marry me.</dialogue> <scene_description>Oh. A breath.</scene_description> <character>AMELIA</character> <dialogue>I can't do that.</dialogue> <character>GEORGE</character> <dialogue>If you give it a chance, you'll learn to love me.</dialogue> <scene_description>He seems so sunny and strong. What can he be feeling?</scene_description> <character>AMELIA</character> <dialogue>I already love you. That's why I can't marry you.</dialogue> <scene_description>GEORGE (a murmur) Well, that explains it. For a minute there, I thought you were stuck for an excuse.</scene_description> <character>S</character> <dialogue>he comes close enough to kiss.</dialogue> <character>AMELIA</character> <dialogue>I know me. And you don't. Not really.</dialogue> <character>GEORGE</character> <dialogue>What if I promise not to learn?</dialogue> <character>AMELIA</character> <dialogue>The day will come. When I will run away. And when it does...</dialogue> <scene_description>He stops her with a kiss.</scene_description> <character>GEORGE</character> <dialogue>If you love me. I'll take my chances.</dialogue> <scene_description>He stares in her troubled eyes. There is no answer.</scene_description> <character>GEORGE</character> <dialogue>Race you to bed.</dialogue> <scene_description>Amelia and nearly 20 WOMEN lined up in front of planes. Waving, smiling, talking to each other.</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>Amelia Earhart and a bevy of lovely competitors say hello to the press announcing the First Women's Air Derby, racing from Santa Monica to Cleveland. Dubbed by Will Rogers `the Powder Puff Derby,' these gals certainly know how to capture our attention.</dialogue> <scene_description>The next ANGLE shows Amelia watching some of her colleagues bouncing playfully on a see-saw. She smiles tolerantly, but maybe there's a little too much cheesecake for her taste.</scene_description> </scene> <scene> <stage_direction>INT. RECEPTION AREA, PUTNAM'S - DAY</stage_direction> <scene_description>The crowded waiting room. We CLOSE on a young woman we scarcely recognize. It is Elinor. Though less than a year has passed, she seems much older. Sophisticated, poised. ANGLE. A secretary leads Elinor down the corridor to George's office. As they enter, George is pacing on the phone. G EORGE (into phone) Because Amelia invented the Powder Puff Derby for female pilots. Then the men running the damn race suddenly decide every woman has to carry a male navigator, and start from east of the Rockies so they won't crash into the mountains! Listens, impatient. GEORGE (into phone) I'll tell you why it's a front page story. Because Amelia pulled every woman out of the race. So the organizers had to roll over and give in, or they'd have lost their shirts. You want me to write your headline? He glances over. Elinor in the doorway. GEORGE (into phone) Call you back. I've got a very important guest. He hangs up, gesturing graciously for her to sit. As she does...</scene_description> <character>ELINOR</character> <dialogue>Wish I was important enough for you to manage.</dialogue> <character>GEORGE</character> <dialogue>Well, I've just got one client. And most days she's more than I can manage.</dialogue> <scene_description>Even Elinor's smile seems older, more capable of subtlety.</scene_description> <character>ELINOR</character> <dialogue>Get in line behind the boys she smacked around on the Derby.</dialogue> <scene_description>He grins back. You bet.</scene_description> <character>ELINOR</character> <dialogue>Some of the gal flyers had their doubts about her...well, her skill level. But she's everyone's champion now.</dialogue> <character>GEORGE</character> <dialogue>And both of those things. Are the</dialogue> <scene_description>S reasons I called you. trange words. He has her attention.</scene_description> <character>GEORGE</character> <dialogue>I think it would be huge for women flyers if Amelia won the Derby. The publicity would put the race, and all of you, up there with the boys.</dialogue> <character>ELINOR</character> <dialogue>I'm not sure she has much of a chance, Mr. Putnam.</dialogue> <character>GEORGE</character> <dialogue>Well, the one shot would be putting her in a far more powerful plane</dialogue> <dialogue>than anything she's flown. We're thinking the Lockheed Vega.</dialogue> <scene_description>The girl's shock. He really means this.</scene_description> <character>ELINOR</character> <dialogue>Sir, I've test piloted the Vega. It's way more than she could ever handle. It wouldn't be safe, let alone successful.</dialogue> <scene_description>He smiles.</scene_description> <character>GEORGE</character> <dialogue>That's why I'm thinking of you flying with her. You could handle the cross-country flying, the more difficult bits, and I'd pay you $75 a week.</dialogue> <scene_description>Elinor WHISTLES low.</scene_description> <character>ELINOR</character> <dialogue>Well, I think that's the most generous opportunity I've ever been offered.</dialogue> <scene_description>He stares at her.</scene_description> <character>GEORGE</character> <dialogue>There's just one thing. Obviously, it has to appear that Amelia did all the flying. So when pictures are taken, you'll stand off to one side.</dialogue> <scene_description>Her eyes narrow. He's completely serious.</scene_description> <character>ELINOR</character> <dialogue>In that case, I'll get my own plane and win the race myself.</dialogue> <character>GEORGE</character> <dialogue>You haven't changed.</dialogue> <scene_description>N o smile at all.</scene_description> <character>GEORGE</character> <dialogue>Unfortunately for you, neither have I.</dialogue> <scene_description>The look in his eye is not to be ignored.</scene_description> <character>GEORGE</character> <dialogue>You can't win if you can't get a plane to enter. Let me predict that you won't.</dialogue> <scene_description>The voice calm and low and riveting.</scene_description> <character>GEORGE</character> <dialogue>In fact. If you reject my generosity, you may come to regret it. For a long, long time.</dialogue> <character>ELINOR</character> <dialogue>That's a threat.</dialogue> <character>GEORGE</character> <dialogue>I'm an intensely loyal person, Elinor. And this is what my loyalty requires.</dialogue> <scene_description>She's glaring. Reeling. Trapped.</scene_description> <character>ELINOR</character> <dialogue>She's the one who said I shouldn't let anybody turn me around.</dialogue> <character>GEORGE</character> <dialogue>She probably meant me.</dialogue> <scene_description>So honest, the words confuse her.</scene_description> <character>ELINOR</character> <dialogue>Obviously, she doesn't see me as a threat.</dialogue> <character>GEORGE</character> <dialogue>Oh, sure she does.</dialogue> <scene_description>A straight smile...</scene_description> <character>GEORGE</character> <dialogue>She just doesn't care.</dialogue> <scene_description>...which silently fades.</scene_description> <character>GEORGE</character> <dialogue>My job. Is to care for her.</dialogue> <scene_description>DISSOLVE TO...:</scene_description> <character>Y</character> <dialogue>S</dialogue> </scene> <scene> <stage_direction>INT. OAK ROOM, PLAZA HOTEL, NEW YORK - NIGHT</stage_direction> <scene_description>LONG ANGLE. Sophisticated watering hole. Crowded tonight. PAN to find George alone, waiting. A waiter leads Amelia to the table. George stands, smiling. But the smile is not returned. We CLOSE as they sit...</scene_description> <character>GEORGE</character> <dialogue>A</dialogue> <scene_description>hat's wrong? MELIA (clearly furious) What could be wrong? I had such a lovely afternoon with Elinor Smith. Oh.</scene_description> <character>GEORGE</character> <dialogue>he told you that I shut her out of</dialogue> <scene_description>the Derby. And that's true.</scene_description> <character>AMELIA</character> <dialogue>And when were you going to tell me?</dialogue> <scene_description>GEORGE (calm, straight) Never. I knew you'd go crazy. And I felt it needed to be done. She can scarcely believe this.</scene_description> <character>AMELIA</character> <dialogue>What? You think I wanted it done, but just let you do the dirty work?</dialogue> <character>GEORGE</character> <dialogue>I didn't say that.</dialogue> <character>AMELIA</character> <dialogue>Because I'm no angel. Business is competition and competition is rough, and I thank my stars that you're there making this life happen for me, but...</dialogue> <character>GEORGE</character> <dialogue>ou're making your life hap...</dialogue> <character>AMELIA</character> <dialogue>But this is different.</dialogue> <scene_description>It is.</scene_description> <character>AMELIA</character> <dialogue>If women are going to stab women in the back, then women are going nowhere.</dialogue> <scene_description>I</scene_description> <character>F</character> <dialogue>T</dialogue> <scene_description>Are you listening?</scene_description> <character>GEORGE</character> <dialogue>rom here on, I'll just stab men in he back. A</dialogue> <character>MELIA</character> <dialogue>You didn't do this for business, anyway. G</dialogue> <character>EORGE</character> <dialogue>I did it for fun?</dialogue> <character>AMELIA</character> <dialogue>You did it because you love me.</dialogue> <scene_description>That stops him.</scene_description> <character>AMELIA</character> <dialogue>And when we're married, you mustn't ever...</dialogue> <scene_description>Now she stops. Because his eyes are wide.</scene_description> <character>AMELIA</character> <dialogue>What's the big shock? I thought you wanted to get married.</dialogue> <scene_description>Full beat.</scene_description> <character>GEORGE</character> <dialogue>did. I do.</dialogue> <character>AMELIA</character> <dialogue>Well, then.</dialogue> <scene_description>His eyes moving over her face.</scene_description> <character>GEORGE</character> <dialogue>What about what you said? The day</dialogue> <scene_description>S will come when you run away. he nods. It will.</scene_description> <character>AMELIA</character> <dialogue>You'll be destroyed. And part of me will, too. And I think we both know it.</dialogue> <scene_description>And yet.</scene_description> <character>AMELIA</character> <dialogue>Sometimes things happen that way. You're not better safe than sorry.</dialogue> <scene_description>Tears stand in his eyes. He is so happy. AMELIA (a whisper) Yes? GEORGE (a whisper) Hell yes.</scene_description> <character>INT. GEORGE'S MOTHER'S HOME, NOANK, CONNECTICUT - DAY</character> <dialogue>Through a window, a dry, wintered garden. Snow falling,</dialogue> <scene_description>at once soft and heavy. Beyond, Morgan Point Lighthouse, Fisher's Island Sound, Long Island Sound. One lonely fishing boat braves the cold water. PULL BACK to see... ...Amelia at the breakfast table in a windowed room. She is writing, and as she does...</scene_description> <character>UPERIMPOSE:</character> <dialogue>...her eyes are swimming with tears.</dialogue> <character>WEDDING DAY.</character> <dialogue>She brushes at</dialogue> <scene_description>them. Stares down at her work. Continues. ANGLE. The parlor. George, his MOTHER, the MINISTER, a small number of close FRIENDS. From the doorway, Amelia beckons George. The letter is in her hand.</scene_description> <character>EXT. HOME - MOMENTS LATER</character> <dialogue>Amelia holds tight to George's hand, leading him out</dialogue> <scene_description>into the falling snow. She turns, fixes him with a look. Hands him the letter. And steps back. As if giving him space. At first, he smiles. What is this? She gestures for him to read. As he begins, there is nothing for a few seconds. Then...</scene_description> <character>AMELIA (V.O.)</character> <dialogue>...I want you to understand I shall not hold you to any medieval code of faithfulness to me. Nor shall I consider myself bound to you similarly.</dialogue> <scene_description>Snow falling. Absolute silence.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>If we can be honest I think the difficulties which may arise may best be avoided should you or I become interested deeply, or in passing, with anyone else.</dialogue> <scene_description>She gazes intently, her heart in her eyes. He never looks up.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>Please let us not interfere with the other's work or play, nor let the world see our private joys or disagreements.</dialogue> <scene_description>And then...</scene_description> <character>AMELIA (V.O.)</character> <dialogue>I</dialogue> <scene_description>must exact a cruel promise. And that is you will let me go in a year if we find no happiness together. He stops on this. His thoughts unreadable.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>I will try to do my best in every way. And give you that part of me you know and seem to want.</dialogue> <scene_description>He folds the letter carefully. Places it in his pocket. And smiles.</scene_description> <character>GEORGE</character> <dialogue>y Amelia. Brutal in her frank-</dialogue> <scene_description>ness. Beautiful in her honesty. He steps to her. Looks in her eyes. They kiss.</scene_description> </scene> <scene> <stage_direction>INT. PARLOR - LATER</stage_direction> <scene_description>LONG ANGLE. The minister reading the vows. The witnesses standing silent. Two black cats rubbing against George's ankles. DISSOLVE TO...</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN, RYE - MORNING</stage_direction> <scene_description>George at the breakfast table. His eggs and toast ignored for the moment, he's reading a magazine article. PAN to Amelia, sipping her coffee. Watching him. GEORGE (reads aloud) `Why I Believe Women Pilots Can't Fly The Atlantic. An outspoken warning by Lady Heath.'</scene_description> <character>(READING)</character> <dialogue>`...pure suicide for any woman today...it is madness for them to attempt it and...'</dialogue> <scene_description>He looks up to her.</scene_description> <character>GEORGE</character> <dialogue>`...at least the first dozen will be drowned.' And we're reading</dialogue> <character>A</character> <dialogue>this, because...?</dialogue> <character>MELIA</character> <dialogue>I might fly to Paris.</dialogue> <scene_description>Silence.</scene_description> <character>GEORGE</character> <dialogue>Which is actually across the Atlantic.</dialogue> <character>AMELIA</character> <dialogue>Hence, the article.</dialogue> <scene_description>Ah. He nods.</scene_description> <character>AMELIA</character> <dialogue>I'm thinking of doing it solo.</dialogue> <character>AMELIA</character> <dialogue>Would you mind?</dialogue> <scene_description>He butters his toast.</scene_description> <character>GEORGE</character> <dialogue>Not at all. When would you like to go?</dialogue> <character>EXT. GARDEN, RYE - DAY</character> <dialogue>CLOSE on Amelia as she kneels, carefully putting new</dialogue> <scene_description>plants into the ground. We see patience, concentration. Contentment. After a moment...</scene_description> <character>AMELIA</character> <dialogue>I'm surprised you're all right with this...</dialogue> <scene_description>WIDEN ANGLE. George kneeling beside her. Happily planting his own.</scene_description> <character>GEORGE</character> <dialogue>Really.</dialogue> <character>AMELIA</character> <dialogue>Mmm-hmmn. I was braced for the lecture. Five years since Lindbergh, no one's made it solo, so many of them died.</dialogue> <scene_description>He looks at her work. Reaches over. Starts packing the earth HARDER around her plant. She just watches, then...</scene_description> <character>D</character> <character>GEORGE</character> <dialogue>ell, they were only men. This is</dialogue> <scene_description>different. She reaches to his plant and starts LOOSENING the soil...</scene_description> <character>AMELIA</character> <dialogue>I was waiting to hear that I'm only doing this because I was just a</dialogue> <scene_description>passenger last time, and I'd rather die than go on living as a fraud.. No one cracks a smile. It's like Laurel and Hardy in a food fight where each lets the other take his best shot. George</scene_description> <character>A</character> <dialogue>reaches now, starts REPACKING her soil...</dialogue> <character>MELIA</character> <dialogue>But you don't think that, do you,</dialogue> <scene_description>ear?</scene_description> <character>GEORGE</character> <dialogue>Of course not. But if I did...</dialogue> <scene_description>She SMACKS his hand. He just keeps working. She finally grins, smacks him HARDER. He doesn't seem to notice.</scene_description> <character>GEORGE</character> <dialogue>...all the more reason to say yes.</dialogue> <scene_description>AERIAL ANGLE. In the sun's last light, two figures walk slowly, far below us. The Vega waits. CLOSE ANGLE. They stand beneath the wing. Her ground crew in far distance, giving them their moment. Her look is not breezy and cavalier this time, but tender and intimate. She knows the fear beneath his easy smile. He produces a RING, a band of black fibers.</scene_description> <character>GEORGE</character> <dialogue>Elephant hair, I think you wear it on your toe. It's good luck.</dialogue> <scene_description>He puts it in her hand.</scene_description> <character>GEORGE</character> <dialogue>Anyway. That's what the elephant told me.</dialogue> <scene_description>Amelia looks at the ring. Turns it in her fingers.</scene_description> <character>AMELIA</character> <dialogue>I think luck has rules. And I try to respect them. My favorite is...</dialogue> <scene_description>She glances up.</scene_description> <character>AMELIA</character> <dialogue>We make our own luck, you and I. Remember that.</dialogue> <scene_description>He will remember that. And more.</scene_description> <character>GEORGE</character> <dialogue>Do you have money?</dialogue> <character>AMELIA</character> <dialogue>No.</dialogue> <scene_description>He pulls out a twenty dollar bill. Hands it to her.</scene_description> <character>AMELIA</character> <dialogue>All this? G</dialogue> <character>EORGE</character> <dialogue>Sure.</dialogue> <character>AMELIA</character> <dialogue>Thank god, I thought you were going to tear it in half.</dialogue> <character>GEORGE</character> <dialogue>I spent our money on ocean liner passage to go bring you back. It's non-refundable. So try to do your part.</dialogue> <scene_description>She nods. She'll try. He doesn't want to leave her yet.</scene_description> <character>GEORGE</character> <dialogue>So the Simpkin thing. What was all that?</dialogue> <character>AMELIA</character> <dialogue>I put it in a letter. Which you'll get if I don't make it. So...mixed</dialogue> <scene_description>emotions, huh? He shakes his head. GEORGE (very soft) Either way, something to look forward to. She puts her hands on his face. She doesn't want to leave him either. AMELIA (murmurs) Stake up the peonies, huh? They're messy when they bloom on the ground, and... And. AMELIA (a whisper) I want to see their heads high. When I come home. She leans up to kiss him. And again. Feeling in her eyes that he will never forget.</scene_description> <character>AMELIA</character> <dialogue>See ya.</dialogue> </scene> <scene> <stage_direction>INT. VEGA - NIGHT</stage_direction> <scene_description>Amelia alone. Starry night. 12,000 feet below are ICEBERGS. A single fishing boat.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>The weather report wasn't perfect. But we knew our real chance was to take weather that others wouldn't.</dialogue> <scene_description>Ahead, towering CLOUDS in moonlight. Too high to fly over.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>I closed the deal by choosing May 20, five years to the day from Lindbergh's flight. It was too good a sell for George to resist.</dialogue> <scene_description>5 What we didn't know...</scene_description> </scene> <scene> <stage_direction>EXT. VEGA - LATER</stage_direction> <scene_description>A terrifying STORM BATTERS the plane, which bobs and darts and dips like a leaf in a gale.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>...was that my altimeter would conk out. Never to return.</dialogue> </scene> <scene> <stage_direction>INT. VEGA - SAME MOMENT</stage_direction> <scene_description>Amelia fights for control as the plane is TOSSED and SHAKEN.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>The only way to have any sense of altitude, was to keep dropping toward the sea.</dialogue> <character>AMELIA</character> <dialogue>When the engines sputtered, that was my low-level limit.</dialogue> <scene_description>A sudden JOLT knocks her OUT of her seat. She scrambles back, as we see WHITECAPS A FEW FEET BELOW. She JERKS the nose UP, the engine COUGHS... ...and CLIMBS.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>I was too busy to grasp how impossible the situation had become. The joke was...</dialogue> <scene_description>LATER. Flying in and out of cloud cover.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>All those months flying only with instruments, I should have been practicing without them.</dialogue> <scene_description>PAN to the windshield. A small GLOW at the surface of a vibrating engine. Amelia hasn't noticed.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>I started to wonder if luck was paying me back. For thinking I knew the rules.</dialogue> <scene_description>A small BLUE FLAME LICKS out into the night.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>Then I smelled burning oil.</dialogue> <scene_description>She sees it now. The flame coming through a broken weld in the manifold ring. A</scene_description> <character>MELIA (V.O.)</character> <dialogue>A bad weld, already a small flame. It would be hours back to Canada, trying to find an unlit field, landing with a heavy fuel load.</dialogue> <scene_description>She stares at the little flame. Is it growing bigger?</scene_description> <character>AMELIA (V.O.)</character> <dialogue>I told myself, push on. After all, if it was a stupid choice...</dialogue> <scene_description>LATER. Flying in blackness. Rising, as the engines seem sluggish.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>...no one would ever know.</dialogue> <scene_description>Suddenly, a FILM of SLUSH on the windscreen.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>With seemingly no warning, there was ice. The controls froze.</dialogue> <scene_description>And the Vega DIVES into a DIZZYING SPIN.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>Through the spin I had one thought, it would be warmer lower, the ice would melt, I just had to regain control...</dialogue> <character>EXT. VEGA - SAME MOMENT</character> <dialogue>The SPINNING plane PLUNGING...</dialogue> <character>AMELIA (V.O.)</character> <dialogue>...before I hit the water.</dialogue> <scene_description>And ARCING at last to SWOOP above the whitecaps. Way close for comfort. SMASH CUT TO...</scene_description> <character>INT. VEGA - SAME MOMENT</character> <dialogue>Amelia REELING in her seat, her fingers FUMBLING in her flight bag, for...</dialogue> <character>AMELIA (V.O.)</character> <dialogue>...or passed out.</dialogue> <scene_description>...SMELLING SALTS, she inhales, again, blinks, starts to climb...</scene_description> <character>AMELIA (V.O.)</character> <dialogue>The ice happened twice more, and I</dialogue> <scene_description>began to lose heart. Then I remembered Lindbergh's book saying the same thing happened to him. T he sea DISAPPEARS below. Only cloud.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>So I figured, if he's twice as good, I just have to be twice as lucky...</dialogue> <scene_description>DISSOLVE: TO... HOURS LATER. Amelia seriously fatigued. She breaks through cloud into DAZZLING SUNLIGHT, and blinks, blinded.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>I'd read that part in George's reception room that first day. Bless him for keeping me waiting.</dialogue> <scene_description>The FUEL GAUGE reads EMPTY. She switches on the RESERVE TANK. And as she DROPS back down into opaque clouds... ...she feels something. Her fingertips go to her left shoulder, and come away... Wet. Slick.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>The cockpit gauge was defective. There was a steady trickle of fuel down my neck.</dialogue> <scene_description>She looks around helplessly for a way to stem the dripping.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>Toss-up whether the bigger danger was running out of gas or going up in a fireball. I had my answer in less than an hour, when...</dialogue> <scene_description>DISSOLVE: TO... LATER. Amelia beyond exhaustion. Staring fixedly at some- thing we can't see. Until we PAN through the wind screen to the leak in the manifold weld. The BLUE FLAME is startlingly LARGER, now LICKING its way along the surface of the fuselage...</scene_description> <character>AMELIA (V.O.)</character> <dialogue>The manifold weld began to separate. I gauged the likelihood of explosion at somewhere between probable and inevitable.</dialogue> <scene_description>Arms folded, George stares out his window. He hasn't slept or eaten. PAN to his desk. The phone is OFF the hook. The door opens softly...</scene_description> <character>SECRETARY (O.S.)</character> <dialogue>Mr. Putnam? Line three.</dialogue> <scene_description>He turns and looks at her. The girl's eyes go down and he BOLTS to the phone, SNATCHES the receiver, SLAMS the button... GEORGE (into phone) Putnam. A full beat.</scene_description> <character>VOICE (O.S.)</character> <dialogue>Sir, this is Douglas McGuire of the Press Association. I'm sorry to tell you that Miss Earhart's plane has crashed in a field, short of Le Bourget airport.</dialogue> <scene_description>SMASH CUT: TO...</scene_description> <character>EXT. SKY - DAY</character> <dialogue>A plane swooping downward through cloud and fog. The</dialogue> <scene_description>SOUND of George's call CONTINUES...</scene_description> <character>GEORGE (O.S.)</character> <dialogue>Is she all right?</dialogue> <character>MCGUIRE (O.S.)</character> <dialogue>If the crash is as reported, sir, I'm afraid not. There were terrible flames.</dialogue> <scene_description>LOWER, it's dropping fast, maybe too fast, WOBBLES in a crosswind, here comes the GROUND, and...</scene_description> <character>GEORGE (O.S.)</character> <dialogue>Are they completely sure it's her plane?</dialogue> <character>MCGUIRE (O.S.)</character> <dialogue>Yes sir, absolutely.</dialogue> <scene_description>...the Vega RIGHTS itself and GLIDES in for as fine a landing as a bumpy meadow could allow. COWS look up as she rolls past, toward... ...one lone astonished FARM WORKER. She cuts her engines, leans from the hatch...</scene_description> <character>AMELIA</character> <dialogue>Excuse me, sir. Where am I?</dialogue> <scene_description>A blink. The truth...</scene_description> <character>MAN</character> <dialogue>In Gallagher's pasture.</dialogue> <scene_description>O ne more beat.</scene_description> <character>MAN</character> <dialogue>Where are ya supposed to be?</dialogue> <character>AMELIA</character> <dialogue>When I left, I was aiming for Paris.</dialogue> <scene_description>Oh. MAN (very sad) Ya missed, y'know.</scene_description> <character>(POINTS)</character> <dialogue>It's over there.</dialogue> </scene> <scene> <stage_direction>EXT. NEW YORK HARBOR- DAY</stage_direction> <scene_description>MOVIETONE NEWSREEL FOOTAGE of Amelia arriving at New York Harbor to an overwhelming reception.</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>Amelia Earhart arrives to a tumul- tuous New York reception after her whirlwind tour of Europe, in which our Queen of the Skies danced with her royal counterpart the Prince of Wales, before meeting both Benito Mussolini and the Pope.</dialogue> <scene_description>The MAYOR, the GOVERNOR, every dignitary that could get an invitation is there to greet her.</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>The second human to fly the Atlantic solo, she is the only one ever to fly it twice. And she set the record, man or woman, for the fastest crossing. Fourteen hours 54 minutes.</dialogue> <scene_description>As she waves to the crowd...</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>Now it's America's turn to show our girl what we think of her!</dialogue> <scene_description>DISSOLVE: TO... NIGHT We are standing in the wings. Through the curtains, we GLIMPSE the eager, packed house in an auditorium. From the stage, a speaker DRONES, but backstage... ...George peeks out at the throng. When he looks back, we see Amelia, her troubled face. The folded newspaper in her hand.</scene_description> <character>G</character> <dialogue>W</dialogue> <scene_description>AMELIA (reads) `Only an average flyer, she has pushed herself to the front by following the tactics of the feminists... She looks up to him.</scene_description> <character>GEORGE</character> <dialogue>ell, I'm glad someone besides me</dialogue> <scene_description>finally noticed. His smile is light. Her eyes watching him. Then... AMELIA (reads) `Using a man-made perfect machine, tuned by men mechanics, trained by men flyers, on a course laid out by a man. By a lucky break she just managed to make the hop.' She stares at the paper. His voice comes gently...</scene_description> <character>GEORGE</character> <dialogue>hy would you even read that</dialogue> <scene_description>garbage?</scene_description> <character>AMELIA</character> <dialogue>Well, it reminds me how much I owe to the men of this world. Keeps me humble.</dialogue> <character>GEORGE</character> <dialogue>ood. And remembering how little</dialogue> <scene_description>you owe me keeps me humble. And softly...</scene_description> <character>GEORGE</character> <dialogue>He's a crackpot. Let it go.</dialogue> <scene_description>He points to the packed hall...</scene_description> <character>GEORGE</character> <dialogue>Cheer up. They're crazy about you.</dialogue> <scene_description>AMELIA (quiet) Well, they're crazy about something. She looks down. Self-doubt flickers.</scene_description> <character>AMELIA</character> <dialogue>What have we really done?</dialogue> <character>GEORGE</character> <dialogue>You've made them feel like this.</dialogue> <character>AMELIA</character> <dialogue>That's not enough.</dialogue> <character>GEORGE</character> <dialogue>Most of them are women. And for them, it's very much enough.</dialogue> <scene_description>She shakes her head.</scene_description> <character>AMELIA</character> <dialogue>The World Telegram said, `a magnificent display of useless courage.'</dialogue> <character>GEORGE</character> <dialogue>The question is. Can any magnif- icent display of courage be use-</dialogue> <scene_description>less? A</scene_description> <character>MELIA</character> <dialogue>The point is. Men do it every day. And no one throws a parade.</dialogue> <scene_description>Ah. Well...</scene_description> <character>GEORGE</character> <dialogue>One day closer, then. To the day when they won't think to throw one for you.</dialogue> <scene_description>She doesn't turn. She doesn't smile.</scene_description> <character>AMELIA</character> <dialogue>Reasoning with me. A magnificent display of useless courage.</dialogue> <scene_description>He nods to himself.</scene_description> <character>GEORGE</character> <dialogue>And. It's fun.</dialogue> <scene_description>From the stage... LADIES AND GENTLEMEN. THE PRESIDENT OF THE UNITED STATES. HAIL TO THE CHIEF strikes up. We hear the deep applause. George begins to straighten Amelia's outfit, touching her hair, as he did long ago on the Copley Hotel roof.</scene_description> <character>PRESIDENT HOOVER (O.S.)</character> <dialogue>THE GOLD MEDAL OF THE NATIONAL GEO-</dialogue> <character>GRAPHIC SOCIETY WAS LAST AWARDED</character> <dialogue>FIVE YEARS AGO TO COL. CHARLES</dialogue> <character>LINDBERGH.</character> <dialogue>George murmurs close to her ear...</dialogue> <character>GEORGE</character> <dialogue>If a bomb goes off tonight, the whole government of the United States is out there...</dialogue> <character>PRESIDENT HOOVER (O.S.)</character> <dialogue>IT HAS NEVER BEEN AWARDED TO A</dialogue> <character>WOMAN...</character> <dialogue>GEORGE</dialogue> <scene_description>Some dog catcher will have to become President. She smiles. Just for him.</scene_description> <character>PRESIDENT HOOVER (O.S.)</character> <dialogue>UNTIL TONIGHT.</dialogue> <scene_description>GEORGE (a whisper) Boy. Imagine if you'd actually done something. AMELIA (a whisper) Imagine.</scene_description> <character>PRESIDENT HOOVER (O.S.)</character> <dialogue>IT IS MY HONOR TO WELCOME TO CONSTI-</dialogue> <character>TUTION HALL, A ROLE MODEL FOR</character> <dialogue>LADIES EVERYWHERE...</dialogue> <character>AMELIA</character> <dialogue>Ladies.</dialogue> <character>PRESIDENT HOOVER (O.S.)</character> <character>M</character> <dialogue>iss.</dialogue> <character>GEORGE</character> <dialogue>She's through the curtain, and the crowd CRACKLES with APPLAUSE as... ...George stands in the wings. Proud. And concerned.</dialogue> </scene> <scene> <stage_direction>INT. TRAIN - DAY</stage_direction> <scene_description>A train rumbles through countryside. A private compartment finds Amelia staring out the window. George studying her.</scene_description> <character>GEORGE (V.O.)</character> <dialogue>The irony is, I'd finally put that wedding day letter out of my mind. Stopped watching every beautiful accomplished man who crossed her path.</dialogue> <scene_description>REVERSE ANGLE. Through the glass of our compartment door, a crowd stands jouncing against each other. Gazing at their Queen of the Skies.</scene_description> <character>GEORGE</character> <dialogue>I had a call from the Byrds. They've asked us to dinner Thursday.</dialogue> <character>AMELIA</character> <dialogue>Thursday, I'll be in Boston. Meeting Gene Vidal and Paul Collins.</dialogue> <scene_description>Said lightly. Not even looking at him. While through the glass, it's become quite a tussle.</scene_description> <character>GEORGE</character> <dialogue>Don't tell me Gene wants to resurrect Transcontinental?</dialogue> <character>AMELIA</character> <dialogue>No, he's starting a shuttle service. Washington, New York, Boston...</dialogue> <scene_description>One woman goes flying from view, as a younger one gets her place.</scene_description> <character>AMELIA</character> <dialogue>Could be a money maker for us. Get me off the lecture grind.</dialogue> <scene_description>He stares in her eyes. Almost as if looking for something.</scene_description> <character>GEORGE</character> <dialogue>Gene's a dashing guy. He could talk anyone into anything.</dialogue> <scene_description>Their look holds.</scene_description> <character>GEORGE</character> <dialogue>S</dialogue> <scene_description>ounds like a great idea. DISSOLVE: TO...</scene_description> <character>INT. RESTAURANT, BOSTON - NIGHT</character> <dialogue>PAN the dark, elegant restaurant. In a corner by the</dialogue> <scene_description>fire- place, Amelia and her dinner companions are being served lobsters. GENE VIDAL leans to Amelia as he speaks, and she hangs on every word.</scene_description> <character>GENE</character> <dialogue>Transcontinental was too ambitious. Too many hops, too tough on the ladies. But the shuttle...</dialogue> <scene_description>A lean athlete's body, easy grace in every movement. Strikingly handsome features that convey not only intellect, but kindness and decency.</scene_description> <character>GENE</character> <dialogue>Washington, New York, Boston. I think it's the future. Will you go there with us?</dialogue> <scene_description>She's trying to crack her lobster, but can't take her eyes off her host.</scene_description> <character>AMELIA</character> <dialogue>What on earth would you need me for?</dialogue> <scene_description>She's making a real mess of the lobster. Gene notices. PAUL COLLINS doesn't...</scene_description> <character>PAUL</character> <dialogue>Hasn't George taught you anything? Lady Lindy, the queen of the air, the best known woman in the entire U.S. of A?</dialogue> <scene_description>Gene reaches over, as if it were his own plate, and begins cracking her lobster for her. She looks in his eyes and tries to concentrate.</scene_description> <character>PAUL</character> <dialogue>Gene on the poster with you. Legendary athlete at West Point, two events in the Olympics, a top pilot who should be running the skies for Roosevelt when he wins...</dialogue> <scene_description>Gene looks up at Paul, as if to say: Enough. Now he smiles at Amelia. She blinks, what? Don't you want your lobster?</scene_description> <character>G</character> <dialogue>Oh. She starts eating...</dialogue> <scene_description>ENE (looking only at Amelia) Thanks, Paul. I think you've even talked me out of it. DISSOLVE: TO... LATER. Paul has gone. Gene and Amelia are at the bar, huddled over his beer and her Coke.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>Gene had a terrible marriage and was separated from his alcoholic adulterous wife. But he was too kind to humiliate her with a divorce...</dialogue> <scene_description>Gene drains the last of his beer.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>As a result, he was basically a single parent to their young son, Gore.</dialogue> <scene_description>He glances at his watch. Wow.</scene_description> <character>GENE</character> <dialogue>I'm rattling on here, and you've got a morning train.</dialogue> <scene_description>But she's just staring in his eyes. This could be her last chance to ask...</scene_description> <character>AMELIA</character> <dialogue>How's Nina doing?</dialogue> <character>GENE</character> <dialogue>Oh, fine.</dialogue> <scene_description>Really? He smiles, gently.</scene_description> <character>GENE</character> <dialogue>Actually, she hasn't been feeling her best. She'll probably summer in Newport. So my kid's stuck with Dad again.</dialogue> <character>AMELIA</character> <dialogue>If you two get bored, I could tag along sometimes.</dialogue> <character>GENE</character> <dialogue>You suggesting you're less boring than I am?</dialogue> <character>AMELIA</character> <dialogue>Well, yeh.</dialogue> <scene_description>He smiles first. Hers is slower, but here it comes.</scene_description> <character>AMELIA</character> <dialogue>Any given meal, I can eat a lobster and have you boys in stitches.</dialogue> <scene_description>A full beat. He's deciding.</scene_description> <character>GENE</character> <dialogue>Gore would love that. He has a little crush, I'm afraid.</dialogue> <character>AMELIA</character> <dialogue>At seven?</dialogue> <character>GENE</character> <dialogue>He's eight.</dialogue> <scene_description>Well, then. He breaks the look. Fishes out some cash for the bar tab. G</scene_description> <character>ENE</character> <dialogue>Listen, Paul and I would be thrilled to rope you into our shuttle.</dialogue> <character>AMELIA</character> <dialogue>Are you kidding, it's a godsend. No matter how hard George and I work, how many lectures we cram in, there's never enough money for the next adventure.</dialogue> <scene_description>He looks at her. Lets the silence sit there. His eyes seem to convey a depth of understanding.</scene_description> <character>GENE</character> <dialogue>The next adventure. What is it?</dialogue> <scene_description>She shrugs. No idea.</scene_description> <character>GENE</character> <dialogue>Because we're running out of oceans.</dialogue> <character>AMELIA</character> <dialogue>Wish you'd do something about that.</dialogue> <character>GENE</character> <dialogue>I'm serious, Amelia.</dialogue> <scene_description>Her soft smile.</scene_description> <character>AMELIA</character> <dialogue>I know. Always.</dialogue> <character>GENE</character> <dialogue>The only way you can stay where you are. And be who you are...</dialogue> <scene_description>Serious indeed.</scene_description> <character>GENE</character> <dialogue>Is to keep feeding the beast.</dialogue> <scene_description>She can't smile anymore. Because this is the very fear she lives with.</scene_description> <character>GENE</character> <dialogue>And the beast always needs something larger, greater, more daring...</dialogue> <scene_description>AMELIA (quiet) He costs money, too.</scene_description> <character>GENE</character> <dialogue>The price of fame, literally. Do you and George talk about this?</dialogue> <scene_description>Silence.</scene_description> <character>AMELIA</character> <dialogue>We don't have to.</dialogue> <character>GENE</character> <dialogue>With all respect. Yes, you do.</dialogue> <character>INT. HOTEL CORRIDOR - LATER</character> <dialogue>Walking together down the hallway of her hotel. No one speaks. Their thoughts are their own. She reaches her</dialogue> <scene_description>room, finds her key. Opens the door, and... ...turns to him. A brief, direct look. She reaches one hand gently behind his head. Leans up.</scene_description> <character>K</character> <dialogue>isses his mouth.</dialogue> <scene_description>AMELIA (a whisper) Thank you. His eyes question.</scene_description> <character>T</character> <dialogue>T</dialogue> <character>AMELIA</character> <dialogue>For understanding.</dialogue> <scene_description>There is no smile. Without a word, she goes into her room. CLOSES the door behind her. e stands alone. Do I knock on that door? Then, smiles to himself, and simply... Walks away. DISSOLVE: TO...</scene_description> </scene> <scene> <stage_direction>INT. BANQUET HALL, WASHINGTON - NIGHT</stage_direction> <scene_description>Crowded hall, each table ringed by diners in formal dress. At a table of honor, George sits next to Elinor Smith, chatting comfortably. PAN to the head table...</scene_description> <character>GEORGE (V.O.)</character> <dialogue>After Roosevelt won, his wife Eleanor brought the advancement of women to national attention with stunning success.</dialogue> <scene_description>CLOSE on ELEANOR ROOSEVELT, eating heartily, chatting, laughing with a companion we don't see until...</scene_description> <character>GEORGE (V.O.)</character> <dialogue>A gutsy gal who rode a bobsled in</dialogue> <scene_description>he Winter Olympics, spent hours each morning on horseback, and carried a pistol on car trips. She possessed boundless energy, a towering intellect... ...we reveal Amelia in a formal satin dress at her side, dishing with the First Lady like the closest of girlfriends.</scene_description> <character>GEORGE (V.O.)</character> <dialogue>...and was Amelia's idol. As it happened, she was obsessed with flying, making Amelia her absolute heroine. A</dialogue> <character>MELIA</character> <dialogue>So he hasn't actually forbidden you.</dialogue> <character>ELEANOR</character> <dialogue>Franklin doesn't forbid. He just feels it's a waste of my valuable</dialogue> <scene_description>ime to learn. Since I can't afford to buy a plane.</scene_description> <character>I</character> <dialogue>I</dialogue> <character>T</character> <scene_description>They share a look of such mutual understanding, neither has to smile.</scene_description> <character>AMELIA</character> <dialogue>The wrong Roosevelt got elected.</dialogue> <character>ELEANOR</character> <dialogue>And it will take at least four years to correct the mistake.</dialogue> <scene_description>Keeps eating.</scene_description> <character>ELEANOR</character> <dialogue>I did ask about aviation, but he hasn't decided on the structure yet. It might be under the Bureau</dialogue> <scene_description>f Commerce.</scene_description> <character>AMELIA</character> <dialogue>I think the structure may be less important than the man chosen to run it.</dialogue> <scene_description>Said casually, looking at her plate.</scene_description> <character>ELEANOR</character> <dialogue>My hearing is failing. I missed the words `or woman,' which you undoubtedly added after, or per- haps before, the word `man.'</dialogue> <character>AMELIA</character> <dialogue>his could be one of those rare</dialogue> <scene_description>instances. When the most accomplished candidate. Turns out to be male. Glances up for the reaction.</scene_description> <character>ELEANOR</character> <dialogue>How exciting. I love finding the exception that proves the rule. Is</dialogue> <scene_description>t a name I know? Amelia's straight gaze. Her small smile.</scene_description> <character>AMELIA</character> <dialogue>How do you feel about flying at night?</dialogue> <scene_description>Eleanor's eyes register the change of topic. Rolling with it...</scene_description> <character>ELEANOR</character> <dialogue>I've never done it. Franklin finds</dialogue> <scene_description>t dangerous.</scene_description> <character>AMELIA</character> <dialogue>Outstanding.</dialogue> <character>INT. CONDOR AIRLINER - LATER</character> <dialogue>Raucous party in the small cabin, hosted by George and</dialogue> <scene_description>fueled</scene_description> <character>.</character> <dialogue>by champagne. PAN slowly to...</dialogue> <scene_description>..the cockpit. Amelia at the controls in her evening dress and formal gloves. Eleanor in the co-pilot's seat, awestruck by the brilliant starry night. Amelia glances over, moved by her friend's almost childlike wonder. AMELIA (softly) Put your hands on the wheel. Eleanor looks over. Are you serious?</scene_description> <character>AMELIA</character> <dialogue>It's dual controls. No one will ever know.</dialogue> <scene_description>Hesitation.</scene_description> <character>AMELIA</character> <dialogue>Don't you trust me?</dialogue> <scene_description>And slowly, Eleanor's fingers close on her wheel. Amelia's hands come away from hers.</scene_description> <character>ELEANOR</character> <dialogue>Dear God.</dialogue> <scene_description>The Condor purrs along through the night air. The moon bobs slightly off to one side. Eleanor's eyes are swimming with the thrill of this.</scene_description> <character>AMELIA</character> <dialogue>I feel like a Coke. Can I get you something?</dialogue> <scene_description>And stands up. Only the trace of her smile as the pilot's eyes WIDEN in absolute shock.</scene_description> <character>AMELIA</character> <dialogue>Do try not to hit the ground.</dialogue> <scene_description>DISSOLVE: TO...</scene_description> </scene> <scene> <stage_direction>INT. WHITE HOUSE PRESS ROOM - DAY</stage_direction> <scene_description>A sea of press, quiet, poised, attentive. REVERSE ANGLE to... ...CLOSE on a seated Roosevelt before a bank of microphones.</scene_description> <character>ROOSEVELT</character> <dialogue>Today, we proudly announce an appointment critical to America's commerce, and to its role as technology's leader in the Twentieth Century.</dialogue> <scene_description>PAN to Gene at his side. Sober. Distinguished. Proud.</scene_description> <character>ROOSEVELT (O.S.)</character> <dialogue>G</dialogue> <scene_description>ene Vidal is an obvious and perfect choice as our first Director of Commerce's Aeronautics Branch. His extraordinary credentials include... DISSOLVE: TO... A taxi slowly pulls up to the home we know. Warmly lit, music playing from within. Gene climbs from the cab, as yard lights go ON. As Gene starts up the path, the front door opens and Amelia BURSTS into the night, RUNNING to Gene, JUMPING INTO his arms, HUGGING him in her delight. We PULL BACK to... George watching it all from the doorway. His easy smile seems comfortably in place, as... ...Amelia walks Gene up the path, her arm around his waist, talking excitedly, flushed as a schoolgirl. As they reach the door... George is the picture of calm and dignity. He beams and CLASPS Gene's hand. Throws an arm around his shoulder as Amelia leads them inside. The door closes. We hear laughter. Amelia on her knees, tending to her garden. She seems happy and filled with energy. George comes and kneels beside her. Starts weeding.</scene_description> <character>AMELIA</character> <dialogue>Have I told you what a perfect job</dialogue> <scene_description>ou did on the peonies? They're miraculous.</scene_description> <character>M</character> <scene_description>GEORGE (working) You have, actually. Twice.</scene_description> <character>AMELIA</character> <dialogue>Sorry.</dialogue> <character>GEORGE</character> <dialogue>It's all right. You've been distracted lately.</dialogue> <scene_description>No spin on that. If G anything, the tone is kind.</scene_description> <character>EORGE</character> <dialogue>Listen, I've put together a month</dialogue> <scene_description>n Europe. Close some foreign licensing deals, open new markets... She doesn't look up.</scene_description> <character>AMELIA</character> <dialogue>When are you leaving?</dialogue> <character>GEORGE</character> <dialogue>Thing is. I'd like you to come.</dialogue> <scene_description>She stiffens only slightly. Can he sense it?</scene_description> <character>AMELIA</character> <dialogue>I don't really see how I can.</dialogue> <character>GEORGE</character> <dialogue>I've talked to the promoters, they'll switch some lecture dates for us.</dialogue> <scene_description>Now he's looking at her profile. Saddened, if not surprised, by what he sees.</scene_description> <character>AMELIA</character> <dialogue>Well, it's not just that. There's</dialogue> <scene_description>y work on the shuttle, we're at a critical stage, and...I've just started as Gene's consultant at the Aeronautics Branch... She knows he's watching. Shakes her head. Keeps on working.</scene_description> <character>GEORGE</character> <dialogue>Normally, I'd be worried about leaving you here alone. But I suppose that won't be a problem, will it?</dialogue> <scene_description>She stops now. Looks up at him. If he wants a direct conversation, he can have it.</scene_description> <character>AMELIA</character> <dialogue>What are you trying to say?</dialogue> <character>GEORGE</character> <dialogue>I think I've just said it.</dialogue> <scene_description>A long held look. Neither backing away. Sadness on both sides. GEORGE (softly) Is there anything you want to say? She sighs. Her fingers reach out, rub his hand with affection.</scene_description> <character>AMELIA</character> <dialogue>I can't think of anything helpful.</dialogue> <scene_description>He nods. Well, then. Rises slowly... Walks back toward the house, his garden tools forgotten. She stares after him. H e disappears into the house. She's still staring. DISSOLVE TO...</scene_description> </scene> <scene> <stage_direction>EXT. LOS ANGELES COLISEUM - DAY</stage_direction> <scene_description>MOVIETONE NEWSREEL FOOTAGE introduced by its theme. A stadium in brilliant sunlight, filled with more than 100,000 people.</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>Los Angeles, California. The Tenth Olympics of the modern era kick off, as movie stars mingle with ordinary Joes.</dialogue> <scene_description>On the track, WOMEN RUN the 100 meter high hurdles as every throat CHEERS.</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>Here's the gold medal run of the</dialogue> <scene_description>world's best woman athlete, abe Didrickson. Cheered on by the most celebrated woman of today... TIGHT INSERT of Amelia with Gene and 8-year-old GORE, all applauding excitedly.</scene_description> <character>G</character> <character>ANNOUNCER (O.S.)</character> <dialogue>...that's right, Amelia Earhart. Hollywood glamor, American winners, and wait til our boys warm up for their action.</dialogue> <scene_description>The camera lingers as Amelia says something to Gore. They look like a family.</scene_description> <character>INT. GEORGE'S OFFICE, NEW YORK - DUSK</character> <dialogue>CLOSE on George alone in his office. He goes to the</dialogue> <scene_description>door, LOCKS it. His face is drawn, grim.</scene_description> <character>EORGE (V.O.)</character> <dialogue>By this time, I had a side job as chairman of the editorial board of Paramount Pictures. So Amelia and I bought a little place in Los Angeles.</dialogue> <scene_description>He goes slowly back to his desk. On it, sits a large cardboard CARTON.</scene_description> <character>EORGE (V.O.)</character> <dialogue>She was out there, preparing for a flight, when our home in Rye burned to the ground.</dialogue> <scene_description>We SEE that the contents of the box, papers, small objects, have been SINGED or CHARRED. He stares into it.</scene_description> <character>GEORGE (V.O.)</character> <dialogue>We both cried when I called to tell her. She asked to come be with me. But I insisted she stay there, to keep on schedule for her flight.</dialogue> <scene_description>He reaches into the box...</scene_description> <character>GEORGE (V.O.)</character> <dialogue>So many treasures lost. Letters and poems she'd written. I poured through the rubble...</dialogue> <character>INT. LOS ANGELES HOME - DAY</character> <dialogue>Amelia curled up on the sofa of a cozy, pleasant little</dialogue> <scene_description>home. The doors are open to the patio and yard. Winter is different here. Tropical flowers, fruit trees in bloom. The phone RINGS and she picks it up quickly, knowing it's George. AMELIA (softly) Hi.</scene_description> <character>(BEAT)</character> <dialogue>Yeh. What's today been like? You still okay?</dialogue> <scene_description>INTERCUT George at his office. He's standing at the window, phone in one hand, single sheet of paper in the other. Like the other objects in the box, it is partially singed.</scene_description> <character>EORGE</character> <dialogue>I found something you'd written.</dialogue> <scene_description>Draws a breath. Reads...</scene_description> <character>G</character> <dialogue>EORGE (reading)</dialogue> <scene_description>`To touch your hand or see your face today is joy. Your casual presence in a room recalls the stars that watched us as we lay. BACK to Amelia. Tears fill her eyes. GEORGE (reading) I mark you in the moving crowd And see again those stars a warm night lent us long ago. We loved so then. We love so now. INTERCUT George. His eyes are dry.</scene_description> <character>GEORGE</character> <dialogue>Thank you for writing that.</dialogue> <scene_description>A beat. His voice still softer...</scene_description> <character>GEORGE</character> <dialogue>Even though I'd never seen it.</dialogue> <scene_description>HOLD on him. The pain of what that must mean. And... BACK TO LOS ANGELES Her lips are parted. She's searching for words.</scene_description> <character>AMELIA</character> <dialogue>I suppose I thought. It was too revealing.</dialogue> <scene_description>WIDEN ANGLE. Gene enters the room with a drink in his hand and sits down next to her, concerned by her obvious distress. AMELIA (into the phone) I'm so glad you have it now.</scene_description> <character>(LISTENS)</character> <character>AMELIA</character> <dialogue>Of course. Me, too. I'll call you later.</dialogue> <scene_description>She hangs up slowly. The tears begin to fall. She looks at Gene helplessly. Then stands without a word. Walks out into the yard. DISSOLVE: TO...</scene_description> <character>EXT. NEWARK AIRPORT - NEWSREEL FOOTAGE - NIGHT</character> <dialogue>Spectators at Newark Airport. A plane CIRCLES the field</dialogue> <scene_description>as FLOOD LIGHTS FLASH ON, and the crowd begins to CHEER. Arcing</scene_description> <character>A</character> <dialogue>in now for a landing. Smooth trajectory.</dialogue> <character>NNOUNCER (O.S.)</character> <dialogue>The odyssey began in Honolulu when</dialogue> <scene_description>he became the first person, man or woman, to fly solo over half the Pacific to California. Touching down, the cheering CROWD held back by police. As Amelia taxies to a stop, the crowd BREAKS THROUGH police lines and SURGES toward the plane.</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>Then, the first human to solo from California to Mexico City. Followed by her daring solo across the Gulf. As she passed over Washington, D.C., she eclipsed the time of a certain previous flight, from 27 hours to 13 hours.</dialogue> <scene_description>Amelia hops down from the plane, grinning and waving. She is surrounded by adoring fans.</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>The pilot of that previous flight? Some guy named Lindbergh.</dialogue> <scene_description>The JOSTLING of the crowd gets out of control, the police can't protect her as she is SWEPT ALONG by the mob, beaming, laughing, enjoying it all.</scene_description> <character>INT. MAYFLOWER HOTEL BAR, WASHINGTON, D.C. - NIGHT</character> <dialogue>Dark little piano bar. They sit in a quiet corner, com- fortable in silence. Gene with his martini, Amelia with</dialogue> <scene_description>her Coke. She's shelling peanuts from a bowl, popping some in her mouth, passing a few over to him.</scene_description> <character>GENE</character> <dialogue>If you don't drink, why do you come</dialogue> <scene_description>o bars?</scene_description> <character>AMELIA</character> <dialogue>Must be the ambience. And the nuts.</dialogue> <character>GENE</character> <dialogue>What worries me is, in some of these bars the nuts are the ambience. Specially when they make a pass at you.</dialogue> <character>S</character> <dialogue>he chews, staring at him.</dialogue> <character>AMELIA</character> <dialogue>Any guy would have to be nuts to do that. I'm considerable trouble, if you haven't noticed.</dialogue> <character>GENE</character> <dialogue>You keep advertising that, but I'm still waiting to see it.</dialogue> <scene_description>She looks down at her fingers as they shell. Barely audible...</scene_description> <character>AMELIA</character> <dialogue>You'll see it.</dialogue> <character>GENE</character> <dialogue>Well, here's your chance. I'm taking Gore to the conference in Bermuda. He wants you to come.</dialogue> <character>AMELIA</character> <dialogue>Gore, huh?</dialogue> <character>GENE</character> <dialogue>Sure. I'm completely indifferent.</dialogue> <character>AMELIA</character> <dialogue>I wish.</dialogue> <scene_description>Do you?</scene_description> <character>AMELIA</character> <dialogue>Would make life simpler.</dialogue> <scene_description>She throws a peanut which BOINKS off his face. He smiles a suddenly goofy, very non-elegant smile.</scene_description> <character>AMELIA</character> <dialogue>Actually, I'll be in Indiana. Edward Elliot of Purdue wants</dialogue> <scene_description>A</scene_description> <character>AMELIA</character> <dialogue>me to build a women's careers department there.</dialogue> <scene_description>Really? He likes that.</scene_description> <character>AMELIA</character> <dialogue>I'll be back and forth. When I'm there, I've asked to stay in the dorm with the girls.</dialogue> <character>GENE</character> <dialogue>That's a wonderful idea. Especially now.</dialogue> <scene_description>Something in the way he said that.</scene_description> <character>AMELIA</character> <dialogue>What's special about now?</dialogue> <character>GENE</character> <dialogue>A good time for some positive press about you as a role model.</dialogue> <scene_description>Her eyes harden. Whatever do you mean?</scene_description> <character>GENE</character> <dialogue>You don't read the papers?</dialogue> <character>AMELIA</character> <dialogue>Not unless someone makes me.</dialogue> <character>GENE</character> <dialogue>Well, someone should. Because they're all saying you took recklessly dangerous solo flights for no earthly purpose except publicity. Meaning, money.</dialogue> <scene_description>Dead. Silence. G</scene_description> <character>ENE</character> <dialogue>They also harp on a growing list of products that you commercially endorse.</dialogue> <character>AMELIA</character> <dialogue>How thoughtless of me to be doing</dialogue> <scene_description>ll this in a society where no one else is interested in making money. Present company included. He's not afraid of her.</scene_description> <character>I</character> <dialogue>I</dialogue> <character>O</character> <dialogue>G</dialogue> <character>H</character> <scene_description>A S F GENE Look, George had you taking money rom the sugar cartel for the Hawaii flight, the Mexican Government for theirs, he's selling commemorative stamps which you carried on the flights... AMELIA If this is about George, just say o. Because we made those calls, nd we includes me. GENE I'm sorry I said it that way. This s actually about you, because I'm picking a fight, apparently a useless one, for the benefit of someone I care about.</scene_description> <character>AMELIA</character> <dialogue>And what's your point? Women are</dialogue> <scene_description>eld to some higher standard? Bankers and industrialists are ad- mired for succeeding, but women are just considered selfish and grasping? ENE (quietly) Of course they are.</scene_description> <character>AMELIA</character> <dialogue>Well, let's change that, shall we?</dialogue> <scene_description>r would you just prefer to adopt t, since groveling would be easier. Staring at each other.</scene_description> <character>GENE</character> <dialogue>If you want to make money, my guess</dialogue> <scene_description>s that people viewing you as Lady Lindy, America's Sweetheart of the Skies, the wife/mother/daughter they all wished they had. Would be helpful.</scene_description> <character>AMELIA</character> <dialogue>Thanks for the tip.</dialogue> <character>GENE</character> <dialogue>Thanks for not being defensive.</dialogue> <scene_description>Full beat.</scene_description> <character>AMELIA</character> <dialogue>Well, I'm an open-minded girl. And</dialogue> <scene_description>o prove it, I'm hereby resigning as your consultant at the S Aeronautics Branch. he throws some money on the table for the drinks.</scene_description> <character>AMELIA</character> <dialogue>The public linking of our names does more harm to that image of mine than everything else put together.</dialogue> <scene_description>She stands up.</scene_description> <character>AMELIA</character> <dialogue>Next time you read the papers. Try reading between the lines.</dialogue> <scene_description>Walks out. Gene makes no move to follow. He's said his piece. DISSOLVE TO...</scene_description> </scene> <scene> <stage_direction>EXT. ROSE GARDEN, WHITE HOUSE - DAY</stage_direction> <scene_description>MOVIETONE NEWSREEL FOOTAGE introduced by its theme. Against a backdrop of flowerbeds, Amelia is flanked by four WOMEN with conservative hats and middle-aged gravitas. The photographers edge closer.</scene_description> <character>AMELIA</character> <dialogue>I came to Washington today with the National Women's Party, to ask the President for his aid in passing the Lucretia Mott Amendment for equal rights.</dialogue> <scene_description>She waits for the press to quiet.</scene_description> <character>AMELIA</character> <dialogue>And that's because I haven't needed</dialogue> <scene_description>it. The winsome smile.</scene_description> <character>AMELIA</character> <dialogue>I'm the lucky one. Our Department of Commerce shows no prejudice in issuing licenses to fly. A pilot is a pilot.</dialogue> <scene_description>And now it fades.</scene_description> <character>AMELIA</character> <dialogue>How about giving the rest of our women. The ones who can be productive for their families and for our nation an equal break?</dialogue> <scene_description>She is not defiant. Gentle and strong.</scene_description> <character>AMELIA</character> <dialogue>They are your sisters and your daughters. They are your wives. And fellas...</dialogue> <scene_description>The smallest shake of her head.</scene_description> <character>AMELIA</character> <dialogue>You've no excuse. And you know it.</dialogue> <character>75</character> <dialogue>75</dialogue> <character>C</character> <dialogue>INT. WOMEN'S DORMITORY, PURDUE UNIVERSITY - NIGHT</dialogue> <dialogue>o-Eds gathered in the common room in robes and</dialogue> <scene_description>nightgowns. They fill the old couches, the mismatched easy chairs, curl up in blankets on the floor. PAN TO... ...Amelia in flannel pajamas, sitting on the grand piano, pointing to the next question among the many raised hands.</scene_description> <character>CO-ED</character> <dialogue>Okay, it's all well and good to tell us to study whatever we want, and work at whatever we want, and not give a darn about what the world of men think...</dialogue> <character>AMELIA</character> <dialogue>...including them wanting us to say darn instead of damn.</dialogue> <scene_description>Laughter. The girl flushes a little, her point is a crucial one...</scene_description> <character>CO-ED</character> <dialogue>But what about those of us who are getting married when we graduate? What advice do you have for us?</dialogue> <character>AMELIA</character> <dialogue>Don't.</dialogue> <scene_description>She meant that. And no one is laughing now.</scene_description> <character>W</character> <character>AMELIA</character> <dialogue>Build your career first. And, surprisingly, that's the best thing you can do for your eventual marriage.</dialogue> <scene_description>So many eager faces, so many disturbed ones.</scene_description> <character>AMELIA</character> <dialogue>Look. It starts with a strong sexual attraction, that the</dialogue> <scene_description>oman assumes must be love. Some heads are nodding. Some eyes suspicious.</scene_description> <character>AMELIA</character> <dialogue>Everything works until the first financial crisis jars the man's confidence and threatens the</dialogue> <scene_description>oman's security. Why...? She looks from one to the next.</scene_description> <character>AMELIA</character> <dialogue>Because she can't help. All she can be is dependent. Because that</dialogue> <character>I</character> <dialogue>s what she's been trained to be.</dialogue> <scene_description>A phone RINGS. One of the girls snatches it up to cut off the interruption. CO-ED #2 (hushed) Common room. Oh. Sure. (hand over phone, to AMELIA) He says he's the man in your life. Amelia hops off the piano. There are plenty of curious faces.</scene_description> <character>AMELIA</character> <dialogue>Trust me. Only a husband talks like that.</dialogue> <scene_description>In their laughter, she goes to the phone. EVERYBODY hangs on every word of... AMELIA (into the phone) Yes? Yes. Yes... (hand over phone, to the GIRLS) They love when we say `yes.' Laughter.</scene_description> <character>AMELIA</character> <dialogue>I'm flying in Tuesday. Yes, of course, I'll make time.</dialogue> <character>BEAT)</character> <dialogue>Me, too.</dialogue> <character>(BEAT)</character> <dialogue>Me, too. Thanks for the roses.</dialogue> <scene_description>She hangs up. Turns to her adoring pupils, and drops a curtsy. Ta-da! They APPLAUD. She stares at them. As if deciding whether to say...</scene_description> <character>AMELIA</character> <dialogue>Can you women keep a secret?</dialogue> <scene_description>They can. And boy, do they want to hear one.</scene_description> <character>AMELIA</character> <dialogue>Well, it's no secret that I'm a bit driven, some might say obsessive, about my little flying adven- tures...</dialogue> <scene_description>They are nodding, wide-eyed, go on.</scene_description> <character>AMELIA</character> <dialogue>I've decided to embark on easily the most exciting, possibly cra- ziest, ever...</dialogue> <scene_description>They hold their breath.</scene_description> <character>AMELIA</character> <dialogue>I'm going to fly. Around the world.</dialogue> <scene_description>A frozen beat for them to even absorb this. They BURST into WILD APPLAUSE, Amelia beaming, as we DISSOLVE TO... Amelia and George, bundled against the cold, walking Park Avenue hand in hand. Christmas decorations, bright lights. A good mood prevails.</scene_description> <character>AMELIA</character> <dialogue>Are you going to tell me your surprise, or do I have to get physical?</dialogue> <character>GEORGE</character> <dialogue>Boy, that is the last thing I'd want.</dialogue> <scene_description>Well, then?</scene_description> <character>GEORGE</character> <dialogue>I only thought that if you're serious about this around-the-world nonsense. It might be handy to</dialogue> <scene_description>have a plane to fly in.</scene_description> <character>AMELIA</character> <dialogue>Except it would have to be an Electra, and they cost...</dialogue> <character>GEORGE</character> <dialogue>...$36,000. After a generous discount from Lockheed.</dialogue> <character>AMELIA</character> <dialogue>May as well be a billion.</dialogue> <character>GEORGE</character> <dialogue>...not to mention at least another 36 to get it modified and ready.</dialogue> <scene_description>She glances at him. He looks awfully smug.</scene_description> <character>AMELIA</character> <dialogue>And your surprise is, you robbed a bank.</dialogue> <character>GEORGE</character> <dialogue>Actually. A university.</dialogue> <scene_description>They stop. What on earth...?</scene_description> <character>GEORGE</character> <dialogue>I've sort of persuaded Ed Elliot to create an Amelia Earhart Fund for Aeronautical Research at Purdue. And suggested a budget item of...</dialogue> <scene_description>He shrugs.</scene_description> <character>GEORGE</character> <dialogue>...oh, eighty grand. For a suitable `flying laboratory.'</dialogue> <scene_description>Her eyes just bug out. No! He nods, slowly. Uh-huh. And she... ...THROWS her arms around his neck, KISSING him hard enough</scene_description> <character>G</character> <dialogue>to startle passersby. It only makes him chuckle.</dialogue> <character>EORGE</character> <dialogue>As I said, I've sort of persuaded Ed. There are a bunch of trustees and donors, tho. We have to get them on board.</dialogue> <character>AMELIA</character> <dialogue>Think I could help?</dialogue> <scene_description>He looks in her eyes.</scene_description> <character>GEORGE</character> <dialogue>Nah.</dialogue> <scene_description>She grins.</scene_description> <character>GEORGE</character> <dialogue>By the way. That's not the surprise.</dialogue> <scene_description>It's not? Uh-uh. And he glances to... ...the window of the GALLERY they've stopped at. She sees a magnificently carved CHEST. On a crest in the front: AE. We PAN the surface, to see planes, oceans, a shamrock for the Londonderry landing, dozens more symbols of her triumphs, and in a bottom corner, looking up at all of this in wonder... ...a small cat. In a long frock coat. GEORGE (a whisper) Merry Christmas. Her tears just come. She's standing on Park Avenue and she can't do anything about it. He reaches a tender hand... ...and strokes her hair. He is her hero. See it in her eyes.</scene_description> <character>GEORGE</character> <dialogue>Can't wait to see what you got me.</dialogue> <scene_description>She sniffles.</scene_description> <character>AMELIA</character> <dialogue>Cat food. A whole case.</dialogue> <scene_description>Amelia at her writing desk. Determined, focused. She begins to write...</scene_description> <character>AMELIA (O.S.)</character> <dialogue>Dear Mr. President: Some time ago I told you and Mrs. Roosevelt about my confidential plans for a world flight. The chief problem is the jump westward from Honolulu...</dialogue> <character>A</character> <dialogue>s she writes, DISSOLVE TO...</dialogue> <character>INT. DINING ROOM, PURDUE UNIVERSITY - NIGHT</character> <dialogue>A glittering table surrounded by high rollers. George</dialogue> <scene_description>and President Elliot sit on either side of Amelia, who has risen to speak.</scene_description> <character>AMELIA</character> <dialogue>As President Elliot has said, it would be a shining adventure, beckoning with new experiences. Making me more useful to the program here at Purdue.</dialogue> <scene_description>She looks into the eyes of each in turn...</scene_description> <character>AMELIA</character> <dialogue>It is much more. I believe that women should do for themselves what men have done - and occasionally what men have not.</dialogue> <scene_description>Yes?</scene_description> <character>AMELIA</character> <dialogue>This might encourage other women toward greater independence of thought and action. And I know how deeply you gentlemen desire that.</dialogue> <scene_description>There is gentle laughter. Amelia reacts in mock surprise.</scene_description> <character>AMELIA</character> <dialogue>I know, of course, from my chats earlier in the evening. With each of your wives.</dialogue> <scene_description>More laughter. Applause from a wife, then the others, then all.</scene_description> <character>AMELIA</character> <dialogue>In that spirit, I want each of you to reach for your checkbooks...</dialogue> <scene_description>She regards their amusement. And losing none of the warmth of her own smile...</scene_description> <character>AMELIA</character> <dialogue>I mean that quite literally. This is an opportunity for me to exhibit the quality my husband admires most.</dialogue> <scene_description>G eorge and Amelia gaze at each other.</scene_description> <character>Y</character> <dialogue>A</dialogue> <character>F</character> <dialogue>A</dialogue> <character>AMELIA</character> <dialogue>The capacity. To be relentless.</dialogue> </scene> <scene> <stage_direction>INT. HANGAR - DAY</stage_direction> <scene_description>The LOCKHEED ELECTRA, a sleek state-of-the-art aircraft with its gleaming metallic surface, nose up in the center of a huge space. Its engines are on hoists, being worked on by a team of MECHANICS. Eight-year-old Gore gazes up, as if he has never seen anything quite so wondrous. Amelia and Gene watch, with barely suppressed smiles. He's in a suit. She's in grease- stained overalls from working with the mechanics.</scene_description> <character>GORE</character> <dialogue>So you'd be the first one, right?</dialogue> <scene_description>ou always like that. First one?</scene_description> <character>GORE</character> <dialogue>To fly around the world.</dialogue> <character>AMELIA</character> <dialogue>Well, there's Magellan, 400 years</dialogue> <scene_description>go. Actually, he didn't make it. And he died. And he used a boat.</scene_description> <character>GORE</character> <dialogue>So it's almost the same, except it's completely different.</dialogue> <character>AMELIA</character> <dialogue>Pretty much.</dialogue> <scene_description>He glowers at her. She glowers back.</scene_description> <character>GENE</character> <dialogue>There are men who say they flew around the world, but they didn't</dialogue> <scene_description>ly around all of it.</scene_description> <character>GORE</character> <dialogue>Because at higher latitudes, it's</dialogue> <scene_description>short trip. At the North Pole, ou just spin in a circle and you've gone around the world.</scene_description> <character>AMELIA</character> <dialogue>So why are you asking? Just to show how smart you are?</dialogue> <character>GORE</character> <dialogue>Pretty much.</dialogue> <character>W</character> <dialogue>T</dialogue> <scene_description>Now he's grinning. She just glowers harder.</scene_description> <character>G</character> <dialogue>ORE</dialogue> <scene_description>The only way to really fly around he world is to fly the entire circumference of 27,000 miles. Like at the equator.</scene_description> <character>AMELIA</character> <dialogue>No one's tried it. You think I should?</dialogue> <scene_description>No answer.</scene_description> <character>AMELIA</character> <dialogue>Dare me.</dialogue> <character>GORE</character> <dialogue>Okay.</dialogue> <character>AMELIA</character> <dialogue>Okay.</dialogue> <scene_description>Is she serious? She seems to be.</scene_description> <character>GENE</character> <dialogue>Ask her about the Pacific. The</dialogue> <dialogue>maximum range of the Electra is 4000 miles. And the closest land</dialogue> <scene_description>est of Honolulu is farther than that. Gore looks to her. Well?</scene_description> <character>AMELIA</character> <dialogue>I'll have to refuel.</dialogue> <character>GORE</character> <dialogue>Where?</dialogue> <character>AMELIA</character> <dialogue>In the air. One plane to another.</dialogue> <scene_description>The boy is staring at her now. Staring.</scene_description> <character>GORE</character> <dialogue>You're really going to do all this, aren't you?</dialogue> <character>AMELIA</character> <dialogue>Well, don't you think I can?</dialogue> <scene_description>A beat.</scene_description> <character>GORE</character> <dialogue>I guess we'll find out.</dialogue> <character>F</character> <dialogue>D</dialogue> <scene_description>Another.</scene_description> <character>AMELIA</character> <dialogue>Pretty much.</dialogue> <scene_description>HOLD on Gene. He smiles at his kid...</scene_description> <character>GENE</character> <dialogue>Go out to the car and get Sara. Ask if she'll take you for an ice cream. Okay?</dialogue> <scene_description>The boy knows he's being dismissed. Looks from his dad to Amelia, who steps forward to give him a hug and a kiss.</scene_description> <character>AMELIA</character> <dialogue>We'll play some cards before you leave.</dialogue> <scene_description>Okay, then. He waves. One more glance at dad, and Gore goes. Gene gestures for Amelia to come with him, away from the mechanics. What's up? But he's already walking to... ...a little folding table, off in a corner. She follows. Sits. Well...? G</scene_description> <character>ENE</character> <dialogue>You can't refuel in the air.</dialogue> <scene_description>Just like that.</scene_description> <character>AMELIA</character> <dialogue>s that an opinion or an order?</dialogue> <scene_description>His rueful smile.</scene_description> <character>GENE</character> <dialogue>The only good thing about losing our former relationship is I feel a little freer to tell you when you're being completely crazy.</dialogue> <character>AMELIA</character> <dialogue>Oh, I bet there are more advantages than just that.</dialogue> <scene_description>No one's backing down on this.</scene_description> <character>GENE</character> <dialogue>You're not a good enough pilot to</dialogue> <scene_description>o mid-air refueling. You will not be able to control the Electra or that docking maneuver for that amount of time. O I T</scene_description> <character>AMELIA</character> <dialogue>I've taken bigger risks.</dialogue> <character>GENE</character> <dialogue>I've noticed. Don't be so proud of it.</dialogue> <scene_description>He reaches into a pocket. Pulls out a folded sheet of paper. It opens to reveal a MAP of the Pacific. A dot is CIRCLED in red.</scene_description> <character>GENE</character> <dialogue>This is Howland Island. It's half- way between Honolulu and New Guinea. It has no elevation, no trees, it's a mile wide and a mile and a half long. Hardly anyone</dialogue> <dialogue>knows or cares that it exists.</dialogue> <character>AMELIA</character> <dialogue>It's your vacation home.</dialogue> <character>GENE</character> <dialogue>We're colonizing it, because when the Japanese make their move, we're going to need a refueling strip there.</dialogue> <scene_description>She blinks. The Japanese.</scene_description> <character>GENE</character> <dialogue>Try reading the newspapers between</dialogue> <scene_description>he lines. We haven't started building the runways yet. Maybe if someone I knew could get the President's attention... She stares at the map. The dot.</scene_description> <character>GENE</character> <dialogue>It's really tiny, a grain of sand</dialogue> <scene_description>n the middle of a thousand miles f nowhere. Her eyes are clicking through a calculus of their own. F You'd need a first-class navigator or that leg. Which means the trip can't be entirely solo. And softly...</scene_description> <character>GENE</character> <dialogue>Can you handle that?</dialogue> <character>T</character> <dialogue>No answer. He waits without saying a word.</dialogue> <scene_description>AMELIA (softly back) Don't rush me. I'm thinking.</scene_description> </scene> <scene> <stage_direction>EXT. COAST GUARD STATION, LOS ANGELES - MORNING</stage_direction> <scene_description>A Coast Guard station overlooking the Pacific. A lone woman leans on a railing. From the station, a MAN emerges, he has... ...a thermos and two large mugs. He pours steaming coffee into each, and brings them to the woman at the rail. She has turned to study him as he approaches.</scene_description> <character>AMELIA</character> <dialogue>Hullo, Fred. It's good to meet you.</dialogue> <scene_description>She holds out her hand. He juggles the mugs, so he can shake it. Strong look in each other's eyes. Hands her a mug...</scene_description> <character>FRED</character> <dialogue>I hear you like your coffee black.</dialogue> <character>AMELIA</character> <dialogue>This time of day, I like it with bacon and eggs.</dialogue> <scene_description>His slight grin. A handsome guy.</scene_description> <character>FRED</character> <dialogue>Be right back.</dialogue> <character>AMELIA</character> <dialogue>Over easy on the eggs. Your job</dialogue> <scene_description>could depend on it. Silence between them. Comfortable smiles.</scene_description> <character>FRED</character> <dialogue>Are we sizing me up?</dialogue> <scene_description>And, of course, this is exactly what she's doing.</scene_description> <character>AMELIA</character> <dialogue>I'm told that mid-air refueling would be beyond my abilities.</dialogue> <character>FRED</character> <dialogue>Maybe, maybe not. 20% it works.</dialogue> <scene_description>0% you crash. 60% you don't get he fuel, so you're cooked anyway.</scene_description> <character>E</character> <dialogue>P</dialogue> <character>AMELIA</character> <dialogue>Better odds of hitting that island?</dialogue> <character>F</character> <dialogue>RED</dialogue> <scene_description>How do you feel about 100%? Watching his eyes as he says that. Evaluating.</scene_description> <character>AMELIA</character> <dialogue>Even with cloud cover?</dialogue> <character>FRED</character> <dialogue>I've crossed the Pacific by air 18 times. Pan Am told you I'm the best celestial navigator they've ever seen.</dialogue> <character>AMELIA</character> <dialogue>They did.</dialogue> <character>FRED</character> <dialogue>Someone else told you I have a drinking problem. Which is a big</dialogue> <scene_description>art of why we're here, yes? No answer.</scene_description> <character>FRED</character> <dialogue>Pan Am will tell you. Everyone I</dialogue> <scene_description>ver worked for will tell you. Nothing's interfered with my performance. Not once.</scene_description> <character>AMELIA</character> <dialogue>My dad drank. He lied all the time. Rest his soul.</dialogue> <character>FRED</character> <dialogue>You trusted Bill Stultz. That worked out. Rest his soul.</dialogue> <character>AMELIA</character> <dialogue>Bill just had to find Europe. We're looking for something less than two miles long, with nothing higher on it than 18 feet.</dialogue> <scene_description>He shakes his head.</scene_description> <character>FRED</character> <dialogue>That's what you're looking for. I'm looking for coordinates on a map. And if it doesn't work...</dialogue> <scene_description>He spreads his large hands... T</scene_description> <character>FRED</character> <dialogue>Money-back guarantee.</dialogue> <scene_description>She holds the look. AMELIA (softly) Hey. How can I lose?</scene_description> <character>INT. BARCLAY HOTEL, NEW YORK - DAY</character> <dialogue>Amelia at a bank of microphones, smiling, modest, comfortable. George and Fred stand back to one side. FLASHBULBS go crazy, NEWSREEL cameras churn.</dialogue> <character>AMELIA</character> <dialogue>Did I pressure the navy to build a landing strip at Howland Island? How exactly would I do that?</dialogue> <scene_description>L Threaten not to enlist? aughter in the room. More flashes.</scene_description> <character>AMELIA</character> <dialogue>The airstrip has been planned for a long time. I was thrilled to learn it will be ready in time for my flight. The navy has been wonderful, as always.</dialogue> <character>REPORTER #1</character> <dialogue>Amelia, what do you say to the charges that your husband is pulling the strings, pressuring you</dialogue> <scene_description>nto this around-the-world flight o make a financial killing? George BOLTS forward to the microphones, looks at his wife with astonishment...</scene_description> <character>GEORGE</character> <dialogue>Wait a minute, you're flying around the world? Don't you know a woman's place is in the home??</dialogue> <scene_description>The press ROARS with laughter.</scene_description> <character>REPORTER #2</character> <dialogue>George, why don't you go along this time? Watch over the little woman.</dialogue> <character>GEORGE</character> <dialogue>I begged to go. But it seems that between 185 pounds of husband and</dialogue> <scene_description>85 pounds of fuel, I lost out.</scene_description> <character>T</character> <scene_description>Gazes at his wife.</scene_description> <character>GEORGE</character> <dialogue>At least, I think that's what all</dialogue> <scene_description>he laughter meant. He gives her a kiss. Thirty FLASHES record it. As he steps back...</scene_description> <character>REPORTER #3</character> <dialogue>Experts are saying that this `flying laboratory' is a sham. There's nothing to be learned for aviation, and you're just in this for the money.</dialogue> <scene_description>The place gets really quiet.</scene_description> <character>AMELIA</character> <dialogue>Who am I to argue with `experts?' I'll just give you my plain old common-sense thinking on this...</dialogue> <scene_description>Pens come up, cameras jockey for position. This is what they're waiting for. She holds up one finger. First...</scene_description> <character>AMELIA</character> <dialogue>We may not learn much about the plane, but we will about the pilot. Endurance over a month's journey, flying nearly every day. Response</dialogue> <scene_description>o stress, crises. I think that will make a contribution. Holds up a second finger. Two...</scene_description> <character>AMELIA</character> <dialogue>I'm a working stiff like all of you. I don't apologize for the fact that I need money to live. And to keep financing my flying, which is what I love. I think that's a positive example for women.</dialogue> <scene_description>Third finger. Three...</scene_description> <character>AMELIA</character> <dialogue>I'm not doing this as a scientist. I'm a flyer, boys, pursuing my passion. For the fun of it. The</dialogue> <scene_description>fun of it. Something I recommend as a healthy motive for women. A wink. A shrug... T S</scene_description> <character>AMELIA</character> <dialogue>...and maybe even some men.</dialogue> <character>EXT. LUKE FIELD, HONOLULU - SUNRISE</character> <dialogue>The Electra ready to go in first light, engines</dialogue> <scene_description>humming. Amelia walking alone toward the plane.</scene_description> <character>SUPERIMPOSE:</character> <dialogue>he waves goodbye to crew and press. Climbs the steps</dialogue> <character>LUKE FIELD, HONOLULU.</character> <dialogue>to be</dialogue> <scene_description>welcomed by Fred's hand gently pulling her aboard. The door CLOSES. We see Amelia and Fred in the cockpit. He checks a gauge.</scene_description> <character>FRED</character> <dialogue>Lovely. We've got so much fuel we can't possibly get off the ground. Much safer than flying.</dialogue> <character>AMELIA</character> <dialogue>Well, we need enough for a third pass at Howland. After you miss it the first couple times around.</dialogue> <scene_description>Ah.</scene_description> <character>FRED</character> <dialogue>Good thinking.</dialogue> <scene_description>he runway lights go ON, and...</scene_description> <character>GEORGE (V.O.)</character> <dialogue>We were, all of us, fearful about</dialogue> <scene_description>hat landing. No one guessed... Amelia ROARS OFF, gathering SPEED.</scene_description> <character>GEORGE (V.O.)</character> <dialogue>...it would be the take-off.</dialogue> <scene_description>The Electra SUDDENLY VEERS TO THE RIGHT, and we SMASH CUT</scene_description> <character>TO...</character> <dialogue>INT. ELECTRA</dialogue> <scene_description>Amelia THROTTLING DOWN the left engine. The plane SWINGING WILDLY to the left, as...</scene_description> <character>EXT./INT. ELECTRA</character> <dialogue>...the RIGHT WHEEL COLLAPSES, the plane SPINS TO THE</dialogue> <scene_description>LEFT and we INTERCUT between the cockpit and the runway as the Electra... ...CAREENS MADLY for a thousand feet, Amelia CUTTING THE SWITCHES to the engines, fighting for control, PROPELLERS SMASHED by the concrete runway, SPARKS FLYING IN EVERY</scene_description> <character>DIRECTION...</character> <dialogue>INTERCUT. Oakland Airport. George and his retinue</dialogue> <scene_description>waiting. A phone RINGING. Someone takes the call, his face freezes,</scene_description> <character>.</character> <dialogue>he looks wildly around to...</dialogue> <scene_description>..George, who's there, SNATCHING the receiver.</scene_description> <character>VOICE (O.S.)</character> <dialogue>Have you heard? They crashed, the ship's in flames.</dialogue> <scene_description>SMASH CUT to the cockpit, the Electra SPINNING crazily on its belly, SPARKS EVERYWHERE, the plane suddenly comes... ...to a BONE-JARRING STOP. The right MOTOR is pushed up INTO its wing, which itself has BUCKLED, the stabilizer BENT, the left wing extends UPWARD from scraping the runway, the landing gear no longer exists. SIRENS SCREAM as fire trucks and ambulances race toward them. Amelia is ashen, disbelieving. Next to her, a gentle...</scene_description> <character>FRED</character> <dialogue>Good reaction, cutting the switch. You saved our ass.</dialogue> <scene_description>She doesn't even hear, THROWING open the cockpit, WAVING to signal they're all right, we SMASH CUT TO...</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND AIRPORT - DAY</stage_direction> <scene_description>George wandering numbly on the airfield, as someone RUNS LIKE CRAZY from the office, shouting...</scene_description> <character>MAN</character> <dialogue>NO FIRE! NO FIRE, FALSE REPORT!</dialogue> <character>O ONE HURT!</character> <dialogue>George alone on the tarmac. Stops in his tracks.</dialogue> <scene_description>Now he can cry.</scene_description> <character>I</character> </scene> <scene> <stage_direction>EXT. GARDEN, LOS ANGELES HOME - ALMOST SUNRISE</stage_direction> <scene_description>Two figures in a garden, walking in light so spare they are silhouettes. Her head is down. His hands are in his pockets. We CLOSE on them as she fingers a blossom, we now see she is miserable, fighting absolute despair.</scene_description> <character>GEORGE</character> <dialogue>Three weeks, she'll be good as new. It's a remarkable crew. The best</dialogue> <character>T</character> <dialogue>hat...</dialogue> <scene_description>He stops. Realizing where he was going. She never looks up.</scene_description> <character>AMELIA</character> <dialogue>...the best that money can buy. I just can't believe I've done this</dialogue> <scene_description>o us. All the money wasted that's never coming back.</scene_description> <character>GEORGE</character> <dialogue>You cut the engines. It would have cost a bundle more to replace a burned-up plane. Not to mention pilot.</dialogue> <scene_description>She shakes her head. No.</scene_description> <character>AMELIA</character> <dialogue>I overreacted. The plane was too heavy, I should have used the rudder pedal instead of the throttle.</dialogue> <scene_description>Tears stand in her eyes. She is so ashamed and remorseful. He lets it stay silent as they walk. Then...</scene_description> <character>GEORGE</character> <dialogue>t's only money, we'll figure it</dialogue> <scene_description>out. We always do.</scene_description> <character>AMELIA</character> <dialogue>I'll make it back and more, I promise. The book sales, the lectures, this flight will keep us going another three years.</dialogue> <character>GEORGE</character> <dialogue>Maybe. Or...</dialogue> <character>AMELIA</character> <dialogue>No, it will. Our prices, our sales, are going to double.</dialogue> <character>W</character> <character>AMELIA</character> <dialogue>This showed them how dangerous it all is, they were taking it for granted...</dialogue> <character>(SNIFFLES)</character> <dialogue>They thought I was competent.</dialogue> <scene_description>GEORGE (softly) I meant. Or maybe we can quit. She looks over. Not sure if...</scene_description> <character>AMELIA</character> <dialogue>You mean after.</dialogue> <character>GEORGE</character> <dialogue>Or. Even now.</dialogue> <scene_description>A strong smile. He nods. We could.</scene_description> <character>AMELIA</character> <dialogue>So my exit would be a stupid crash.</dialogue> <scene_description>nd withdrawing from a world- publicized attempt to finally do something no man had done before.</scene_description> <character>GEORGE</character> <dialogue>Yeh. That. And it would be fine</dialogue> <scene_description>ith me. Her eyes overwhelmed A his offer. by Her voice soft with...</scene_description> <character>MELIA</character> <dialogue>But that's because you're an idiot.</dialogue> <character>GEORGE</character> <dialogue>Lucky for you.</dialogue> <scene_description>A held beat.</scene_description> <character>AMELIA</character> <dialogue>And what if it's not something I have to show the world?</dialogue> <scene_description>Hmmn?</scene_description> <character>AMELIA</character> <dialogue>What if it's something I have to show me.</dialogue> <scene_description>He has no answer for that. Takes her hand. They head toward the house. Massive enclosed space. The rebuilt Electra in pieces at various work stations, being perfected by teams of mechanics.</scene_description> <character>T</character> <dialogue>I</dialogue> <scene_description>The whirr and clang of tools. Amelia and George confer with one foreman, as George sees something. He touches her arm, points in our direction. REVERSE ANGLE as she sees... ...Gene has entered the hangar. Stands by the folding table we've seen before.</scene_description> <character>GEORGE</character> <dialogue>Have fun.</dialogue> <character>AMELIA</character> <dialogue>Who let you off the hook on this?</dialogue> <scene_description>She takes his hand firmly and together they cross the hangar toward Gene. He smiles, unfolds a third chair. As they arrive, Amelia steps forward... ...kisses Gene on the cheek. George shakes his hand.</scene_description> <character>GENE</character> <dialogue>Thanks for letting me come.</dialogue> <scene_description>As they sit, Gene looks from one to the other.</scene_description> <character>GENE</character> <dialogue>I guess I'm already outvoted.</dialogue> <character>GEORGE</character> <dialogue>She'd outvote you all by herself.</dialogue> <scene_description>he does it to me every day. Gene's smile can't mask the concern in his eyes.</scene_description> <character>AMELIA</character> <dialogue>I don't have a choice. I have to reverse my route and fly east. If</dialogue> <scene_description>go west now, I'm risking hurricanes in the Caribbean and monsoons in Africa...</scene_description> <character>GENE</character> <dialogue>But you're flying Howland last, when you're exhausted.</dialogue> <scene_description>She knows this. In the silence...</scene_description> <character>G</character> <dialogue>EORGE</dialogue> <scene_description>Gene, this way our first leg is Oakland to Miami. It's a shakedown o make sure the plane is right. That's crucial. Gene nods, slowly. His eyes still locked on her.</scene_description> <character>GENE</character> <dialogue>Maybe I'm obsessing on Howland because it was my bright idea, and I'd feel responsible if...</dialogue> <character>AMELIA</character> <dialogue>Well, if I do pop off, I'll try to make it somewhere that's not your fault.</dialogue> <character>GENE</character> <dialogue>I'd appreciate that.</dialogue> <scene_description>Draws a breath.</scene_description> <character>GENE</character> <dialogue>You miss that island. You'll be out of fuel, with 2000 miles to go.</dialogue> <character>AMELIA</character> <dialogue>But I'll have Fred so I won't miss. In fact, I'm taking Fred along for this whole trip.</dialogue> <scene_description>Surprisingly, he doesn't seem to like this. She smiles.</scene_description> <character>AMELIA</character> <dialogue>Giving up my little arrogance about solo. Safety first, yes?</dialogue> <scene_description>But he's still unhappy. She waits for him to say.</scene_description> <character>GENE</character> <dialogue>You and Fred alone for a month...</dialogue> <character>AMELIA</character> <dialogue>If you're worried about his drinking, I'll deal with it.</dialogue> <scene_description>Straight look.</scene_description> <character>AMELIA</character> <dialogue>I can handle Fred.</dialogue> <scene_description>And now we get a sense of exactly what does worry him. He glances to George...</scene_description> <character>GENE</character> <dialogue>How do you feel?</dialogue> <character>GEORGE</character> <dialogue>Tip-top. Every little girl needs a man around. Even strong girls like ours, hmmn?</dialogue> <scene_description>A very direct gaze. Words neither said nor needed.</scene_description> <character>G</character> <dialogue>T</dialogue> <character>GEORGE</character> <dialogue>She can handle us. She can handle Fred.</dialogue> <scene_description>A full beat. The look holds between the men.</scene_description> <character>G</character> <dialogue>EORGE</dialogue> <scene_description>And thanks for being here. You've always had Amelia's best interests t heart. he look still unbroken.</scene_description> <character>EORGE</character> <dialogue>And, for that. I'm grateful.</dialogue> </scene> <scene> <stage_direction>EXT. MIAMI AIRPORT - DAY - NEWSREEL FOOTAGE</stage_direction> <scene_description>Amelia and George crossing the tarmac from the Electra, waving to the crowd.</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>The legendary Amelia Earhart lands in Miami, completing the first and easiest leg of her around-the-world equatorial flight. A feat no man has ever attempted. That's hubby George with her, he gets off here.</dialogue> <scene_description>Behind them, coat slung casually across his shoulder, is Fred. Waving like he belongs.</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>That handsome guy behind them isn't a movie star. Nope, it's navigator Fred Noonan, who will be Amelia's sole companion on the exotic odyssey...</dialogue> <scene_description>CLOSE on the rugged smile.</scene_description> <character>ANNOUNCER (O.S.)</character> <dialogue>Hey, where does a guy go to apply for a job like that?</dialogue> </scene> <scene> <stage_direction>EXT. BEACH, MIAMI - DUSK</stage_direction> <scene_description>The pastel sky has darkened along the row of legendary hotels. At first, we can barely find them at the water's edge. CLOSE to see her sitting where the surf can't quite reach her toes. He's lying back, hands cradling his head. Watching the stars come out. Nothing said. Then...</scene_description> <character>O</character> <dialogue>T</dialogue> <character>AMELIA</character> <dialogue>I'll be flying sky no one's ever been in. You made that happen.</dialogue> <scene_description>She looks down to his easy smile.</scene_description> <character>GEORGE</character> <dialogue>Hate to think where you'd be without me.</dialogue> <scene_description>She smiles back. Tenderness we don't always see.</scene_description> <character>AMELIA</character> <dialogue>I'll try to make you proud.</dialogue> <character>GEORGE</character> <dialogue>You did that long, long ago. Only</dialogue> <scene_description>ne person left to prove yourself o. Just make sure you do it.</scene_description> <character>A</character> <dialogue>beat. The doubt comes.</dialogue> <character>AMELIA</character> <dialogue>And then what?</dialogue> <character>GEORGE</character> <dialogue>Then the best part. The future.</dialogue> <scene_description>She stares in his eyes. Leans to him. AMELIA (a whisper) Oh yeh. That. She brings her hands to his face. Her mouth to his. Deep. Longing. Her body sinks into him. LONG ANGLE. Two alone. Only each other. LONG ANGLE. From the open door of a hangar we see Amelia and George facing reporters in front of the idling Electra. She sits on the wing, he's just beneath her.</scene_description> <character>GEORGE (V.O.)</character> <dialogue>The radio problems crept up on us</dialogue> <scene_description>ver time.</scene_description> <character>SUPERIMPOSE:</character> <dialogue>MIAMI AIRPORT.</dialogue> <character>GEORGE (V.O.)</character> <dialogue>The marine 500 kilocycle radio was left in Oakland. Amelia said she</dialogue> <character>GEORGE</character> <dialogue>and Fred were both amateurs at Morse Code, so the radio wasn't worth what it weighed.</dialogue> <scene_description>Amelia has made the boys laugh. George laughs with them.</scene_description> <character>GEORGE (V.O.)</character> <dialogue>The 250 foot trailing auxiliary antenna, she would leave behind in Miami. Too heavy, not important.</dialogue> <scene_description>FLASHES now. And plenty of them. She reaches down to take George's hand and HOPS down from the wing. More FLASHES...</scene_description> <character>GEORGE (V.O.)</character> <dialogue>Then, suddenly our remaining radio</dialogue> <scene_description>ouldn't reach its designated frequencies. Pan Am hurriedly replaced the main antennae. And we thought all was well. Amelia and George coming toward us now, hand in hand, leaving the press behind. Into... The hangar. In shadow here. The world far away, she takes his hands. A silence.</scene_description> <character>GEORGE</character> <dialogue>Race you to California. I'll go west. Five bucks?</dialogue> <character>AMELIA</character> <dialogue>If you'll fly the plane. Make it twenty.</dialogue> <scene_description>And then...</scene_description> <character>AMELIA</character> <dialogue>Simpkin keeps many mice at one time. Each under a different teacup.</dialogue> <scene_description>Wow. He's finally going to hear this.</scene_description> <character>GEORGE</character> <dialogue>We're saying he's cruel?</dialogue> <character>AMELIA</character> <dialogue>No.</dialogue> <character>GEORGE</character> <dialogue>Controlling?</dialogue> <character>AMELIA</character> <dialogue>Insecure.</dialogue> <character>I</character> <scene_description>Ah. The light begins to dawn.</scene_description> <character>AMELIA</character> <dialogue>He needs the illusion of activity</dialogue> <scene_description>o feel comfortable. That he's preparing for all contingencies. George has to grin.</scene_description> <character>AMELIA</character> <dialogue>That he has more irons in the</dialogue> <character>F</character> <dialogue>ire than anyone knows.</dialogue> <character>GEORGE</character> <dialogue>Especially the mice.</dialogue> <character>AMELIA</character> <dialogue>Exactly. Each poor mouse thinks it's all about her.</dialogue> <scene_description>Staring at each other.</scene_description> <character>GEORGE</character> <dialogue>And one of them. Is right.</dialogue> <scene_description>AMELIA (a murmur) She knows. And then...</scene_description> <character>GEORGE</character> <dialogue>want you to give me something.</dialogue> <scene_description>He's never sounded quite like this before.</scene_description> <character>GEORGE</character> <dialogue>Tell me this is your last flight.</dialogue> <scene_description>Her eyes flicker. Look down. A whispered...</scene_description> <character>GEORGE</character> <dialogue>Promise.</dialogue> <scene_description>And when the eyes come up.</scene_description> <character>AMELIA</character> <dialogue>Don't you know I couldn't? Even if part of me wanted to. Very, very much.</dialogue> <scene_description>The look holds.</scene_description> <character>AMELIA</character> <dialogue>How can we be anything. But what we are?</dialogue> <scene_description>There is no answer. She leans up into a slow kiss.</scene_description> <character>AMELIA</character> <dialogue>I do love you.</dialogue> <scene_description>Something in her serious face makes him smile.</scene_description> <character>GEORGE</character> <dialogue>Well, I love you back.</dialogue> <character>AMELIA</character> <dialogue>Thanks.</dialogue> <scene_description>Takes a step back toward the hangar door. One hand slightly up, stay here. Then, the smile he's waited for.</scene_description> <character>AMELIA</character> <dialogue>See ya.</dialogue> <scene_description>He smiles back. She turns and heads out toward the idling plane. She seems small, even fragile, alone on the tarmac. STAY with George. Watching her go. SLOW: DISSOLVE TO...</scene_description> <character>EXT./INT. MONTAGE</character> <dialogue>SERIES OF ANGLES, CROSSFADES, DISSOLVES, INCLUDING...</dialogue> <character>IMAGES FROM THE ELECTRA:</character> <dialogue>- VIEW down onto an endless sea of triple-canopy</dialogue> <scene_description>RAINFOREST. - VIEW of Brazilian CITY from ABOVE. VIEW onto the ocean and African coast. - VIEW of ANIMALS running beneath us. - VIEW of the SAHARA'S sands</scene_description> <character>SUPERIMPOSE:</character> <dialogue>-</dialogue> <character>IMAGES FROM STOPS:</character> <dialogue>Children surrounding Amelia at an African airfield</dialogue> <scene_description>- Amelia sleeping in the open desert - being welcomed by turbaned dignitaries - Amelia on a camel, suddenly kicks it into a gallop</scene_description> <character>SUPERIMPOSE:</character> <dialogue>IMAGES FROM TRAVEL MAP</dialogue> <scene_description>- its RED LINE tracing our journey from Miami to San Juan to Venezuela, to Brazil The RED LINE moving across the Atlantic, to French West Africa and North to the Sudan - The RED LINE moves from The Nile River across the tip of Arabian Peninsula, through Persia, Afghanistan and finally to Calcutta.</scene_description> <character>SUPERIMPOSE:</character> <dialogue>- HEADLINES from various installments of her daily</dialogue> <character>IMAGES FROM AMELIA'S ARTICLES</character> <dialogue>ARTICLE</dialogue> <scene_description>in the Herald Tribune, with her BYLINE. DISSOLVE: FROM MONTAGE: TO... Driving RAINSTORM as Amelia carries her gear toward the Electra. Fred waits. The umbrellas aren't keeping them dry.</scene_description> <character>SUPERIMPOSE:</character> <dialogue>The buildings have thatched roofs.</dialogue> <character>DUMDUM AIRDROME, CALCUTTA</character> <dialogue>There are oxcarts</dialogue> <scene_description>by the runway, abandoned to the downpour. Fred has to shout over the storm...</scene_description> <character>FRED</character> <dialogue>YOU'RE NOT REALLY TAKING OFF!</dialogue> <character>AMELIA</character> <dialogue>IT'S GOING TO GET HEAVIER AND</dialogue> <character>WE COULD BE STUCK HERE FOR DAYS.</character> <dialogue>EVEN WEEKS.</dialogue> <scene_description>He just glares at her. Rain POUNDING all around them.</scene_description> <character>A</character> <dialogue>MELIA</dialogue> <character>ONLY 700 MILES TO BANGKOK, IT'S</character> <dialogue>LIGHTER THERE.</dialogue> <scene_description>He doesn't move.</scene_description> <character>AMELIA</character> <dialogue>Stay if you like.</dialogue> <scene_description>And she climbs into the plane. He just stands in the rain and glowers.</scene_description> </scene> <scene> <stage_direction>EXT. AIRSTRIP - MOMENTS LATER</stage_direction> <scene_description>The Electra ROARING down the runway. It's all alone, no one else crazy enough to be out there. At last the plane... ...LIFTS INTO the rain. Wobbles just a beat. And begins to CLIMB.</scene_description> </scene> <scene> <stage_direction>EXT. ELECTRA - LATER</stage_direction> <scene_description>A wrenching battle, plane versus monsoon. The storm is heavier, deafening, actually STRIPPING PAINT from the Electra's wings.</scene_description> </scene> <scene> <stage_direction>INT. ELECTRA - SAME MOMENT</stage_direction> <scene_description>Amelia beyond exhaustion, but focused, fighting it. We think she's flying alone. Until... ...Fred drops into the seat beside her. No words as he watches her struggle. Our plane is all over the sky. The DIN is ungodly.</scene_description> <character>AMELIA</character> <dialogue>YOU THINK WE SHOULD TURN BACK, HUH?</dialogue> <character>NOPE.</character> <dialogue>COME.</dialogue> <character>I THINK WE SHOULDN'T HAVE</character> <dialogue>An AIR POCKET DROPS them 200 feet.</dialogue> <scene_description>HARD TO IMAGINE LANDING IN THIS.</scene_description> <character>I'VE GOT AN IDEA.</character> <dialogue>LET'S NEVER COME</dialogue> <scene_description>DOWN. She glances over. For once, she's scared. HOW COULD YOU FIND OUR WAY BACK? SINCE I FORGOT TO DROP BREAD CRUMBS, WE'LL HAVE TO USE DEAD RECKONING. Beat.</scene_description> <character>THAT'S IT?</character> <dialogue>JUST A GUESS?</dialogue> <character>I</character> <character>FRED</character> <dialogue>US NAVIGATORS PREFER THE TERM `WILD-</dialogue> <character>ASS GUESS.'</character> <dialogue>Held look.</dialogue> <character>AMELIA</character> <dialogue>That's more like it.</dialogue> <scene_description>She starts to TURN the plane around.</scene_description> </scene> <scene> <stage_direction>INT. ELECTRA - DAY</stage_direction> <scene_description>Amelia flying down through heavy turbulence, though it is no longer raining. Her features tense. We see the accumulated strain of the adventure. F red appears from the catwalk, slips into the seat beside her. He's worried. Points, and we see... ...CALCUTTA below, sprawling and endless. Between us and the ground, a huge gathering of FLYING SHAPES.</scene_description> <character>RED</character> <dialogue>Black eagles. If one of those clips a propeller. Or flies into the engine...</dialogue> <scene_description>Her tired features form a smile.</scene_description> <character>AMELIA</character> <dialogue>'ve got an idea. Let's never</dialogue> <scene_description>land. Better safe than sorry. He takes her point. She turns back to work...</scene_description> <character>AMELIA</character> <dialogue>I'll wake you when the coffee's ready.</dialogue> <scene_description>And with cold-blooded nerve, she SWOOPS down, down, THROUGH the flock of eagles, scattering them as we arc in for a perfect landing. She never turns to... ...Fred, who is still white-knuckling, trying to get his heart started. He can't believe what she's just done. Rolling, rolling...</scene_description> <character>FRED</character> <dialogue>Cream, no sugar.</dialogue> <scene_description>A</scene_description> </scene> <scene> <stage_direction>EXT. GOVERNOR'S HOUSE, CALCUTTA - TWILIGHT</stage_direction> <scene_description>Establishing shot of a graceful pillar of the Raj. Night falling. A fountain in an ornate courtyard. There is a RECEPTION, as every evening for Amelia, attended by local DIGNITARIES. Fred, already a little drunk, leads Amelia to a massive teak- wood table. He breaks off the corner of a cracker, sets it down in the center of the table.</scene_description> <character>FRED</character> <dialogue>Howland Island.</dialogue> <scene_description>He strikes a match. SNUFFS the flame. Puts the burned- out match head just by the scrap of cracker.</scene_description> <character>FRED</character> <dialogue>B</dialogue> <scene_description>lack smoke from the Navy ship that could help us get a fix. Points way across the marble courtyard.</scene_description> <character>FRED</character> <dialogue>Now stand over there. That's what it's going to look like, if the weather's good.</dialogue> <character>SERVANT (O.S.)</character> <dialogue>Mrs. Earhart?</dialogue> <scene_description>She glances up. He beckons respectfully. NGLE. Alcove still with a VIEW of Fred and the courtyard. She lifts a telephone...</scene_description> <character>INTERCUT:</character> <dialogue>INT. GEORGE'S OFFICE - DAY</dialogue> <scene_description>CLOSE on a WALL MAP. We realize that George has been fol- lowing her odyssey on a map of his own. We PULL BACK to reveal...</scene_description> <character>GEORGE</character> <dialogue>Mrs. Earhart? Mr. Earhart, here.</dialogue> <scene_description>He looks elegant in crisp suit and tie. INTERCUT: Amelia's eyes WIDE. She seems truly thrilled. INTERCUT BETWEEN THEM now throughout...</scene_description> <character>.</character> <dialogue>R</dialogue> <character>S</character> <character>AMELIA</character> <dialogue>Oh, my goodness. Simpkin, is it really you?</dialogue> <scene_description>George makes a PURRING sound. A sharp MEOW.</scene_description> <character>AMELIA</character> <dialogue>This is insane. It's so extravagant.</dialogue> <character>GEORGE</character> <dialogue>It gets worse, I bought a brand-new suit and tie. Got a date with my wife.</dialogue> <character>AMELIA</character> <dialogue>We can't possibly afford this.</dialogue> <character>GEORGE</character> <dialogue>ure, we can. It's Tuesday's call o Lae that we can't afford.</dialogue> <scene_description>AMELIA (delighted) You hang up the phone this minute. You'll bankrupt us and I'll have to walk home.</scene_description> <character>GEORGE</character> <dialogue>easoning with me. A magnificent</dialogue> <scene_description>display of useless courage. Her eyes remember. A soft...</scene_description> <character>AMELIA</character> <dialogue>..and it's fun.</dialogue> <scene_description>HOLD on her face. And MATCH DISSOLVE TO...</scene_description> </scene> <scene> <stage_direction>EXT. BAR, LAE - NIGHT</stage_direction> <scene_description>...Amelia's FACE, as we left it in the first scene. The STORM PELTING all around the open-sided bar. Fred studying her across the table.</scene_description> <character>FRED</character> <dialogue>A touching love story, really.</dialogue> <scene_description>He's been drinking, we can hear it in his voice. SEE the bottle now. Nearly gone.</scene_description> <character>AMELIA</character> <dialogue>An honest one. It's what you wanted.</dialogue> <scene_description>He nods. That's right.</scene_description> <character>FRED</character> <dialogue>I wonder if it's honest enough for George. If it's what he wanted.</dialogue> <scene_description>ou know.</scene_description> <character>AMELIA</character> <dialogue>If you mean Gene, we're not together anymore. In that way. Not for a long time.</dialogue> <character>FRED</character> <dialogue>Whose choice was that?</dialogue> <scene_description>She doesn't like his tone. Shifts in her seat.</scene_description> <character>AMELIA</character> <dialogue>It was mine.</dialogue> <character>FRED</character> <dialogue>Well, isn't it always? You choose in, you choose out. Makes things easy.</dialogue> <character>AMELIA</character> <dialogue>Anything but easy. Are you disapproving of the way I live?</dialogue> <character>FRED</character> <dialogue>Hell, no. It's just like me. In fact, it's like most guys I know.</dialogue> <scene_description>His smile.</scene_description> <character>FRED</character> <dialogue>Actually, I'd like a piece of it myself. Right about now.</dialogue> <scene_description>Her eyes harden. A</scene_description> <character>MELIA</character> <dialogue>If you have a point, Fred. Make it.</dialogue> <character>FRED</character> <dialogue>Oh, I believe I have.</dialogue> <scene_description>She rises slowly. Zips her flight jacket. Takes her slicker from the back of her chair.</scene_description> <character>AMELIA</character> <dialogue>Allow me to cut you a deal, my friend.</dialogue> <scene_description>Steel in the spine of that.</scene_description> <character>AMELIA</character> <dialogue>You show up tomorrow morning. You show up sober and you get me to Howland Island.</dialogue> <scene_description>Okay?</scene_description> <character>AMELIA</character> <dialogue>And I'll forget you ever said that.</dialogue> <scene_description>She WHEELS around and holding her slicker over her head, goes OFF into the POUNDING RAIN. Fred's smile is gone. He stares after her. DISSOLVE TO...</scene_description> </scene> <scene> <stage_direction>EXT. RADIO HUT, LAE - LATER</stage_direction> <scene_description>Amelia down the path in her slicker toward a small hut. She knocks. Opens the door to reveal...</scene_description> </scene> <scene> <stage_direction>INT. RADIO HUT - NIGHT</stage_direction> <scene_description>...the radio receiver and transmitter. The operator BALFOUR is a wiry Scot. He nods respectfully.</scene_description> <character>BALFOUR</character> <dialogue>Ready, Mum.</dialogue> <scene_description>He stands and she takes his seat. He shows her the key to press, then steps back toward the window. But she makes no move to the radio. Just stares at him. He doesn't understand. AMELIA (gently) Feel like stepping out for a smoke...?</scene_description> <character>BALFOUR</character> <dialogue>I don't smoke.</dialogue> <character>AMELIA</character> <dialogue>...or something?</dialogue> <scene_description>Oh. The monsoon beats down.</scene_description> <character>BALFOUR</character> <dialogue>If you need help, I'll be right</dialogue> <scene_description>outside. In the rain.</scene_description> <character>AMELIA</character> <dialogue>Thank you. I'll only be a moment.</dialogue> <character>I</character> <scene_description>He puts on his slicker. OPENS an umbrella. Leaves. She looks back to the radio. FLIPS the switch. E AMELIA (soft) arhart here.</scene_description> <character>INTERCUT:</character> <dialogue>COAST GUARD STATION, LOS ANGELES - DAY</dialogue> <scene_description>George at a window, looking west. Over the Pacific. She's there somewhere.</scene_description> <character>EORGE</character> <dialogue>You should be sleeping.</dialogue> <scene_description>He smiles to keep his voice up. The eyes aren't smiling. We INTERCUT their conversation throughout...</scene_description> <character>AMELIA</character> <dialogue>You should be working.</dialogue> <character>GEORGE</character> <dialogue>I'm running a big adventure here,</dialogue> <scene_description>'m a very important fellow.</scene_description> <character>AMELIA</character> <dialogue>You told me I was the star. And you were no one at all.</dialogue> <scene_description>GEORGE (soft) I thought I was lying. Guess the joke's on me. Silence.</scene_description> <character>GEORGE</character> <dialogue>How's Fred?</dialogue> <character>AMELIA</character> <dialogue>I'm mad at him. I'll be in Honolulu on the 3rd, and with you in Oakland for Fourth of July. Okay?</dialogue> <character>GEORGE</character> <dialogue>Don't keep me waiting.</dialogue> <character>AMELIA</character> <dialogue>I won't dare. You're a very important feline. Uh, fellow.</dialogue> <character>GEORGE</character> <dialogue>Talk to me about Fred.</dialogue> <character>AMELIA</character> <dialogue>Fred is fine. He's calculating head-wind speed versus fuel as we speak.</dialogue> <scene_description>CLOSE on his face.</scene_description> <character>GEORGE</character> <dialogue>You wouldn't sell a salesman would you?</dialogue> <character>AMELIA</character> <dialogue>He's fine.</dialogue> <character>GEORGE</character> <dialogue>So what's that I hear in your voice?</dialogue> <scene_description>A beat.</scene_description> <character>GEORGE</character> <dialogue>Is he drinking?</dialogue> <scene_description>AMELIA (soft) I can handle it.</scene_description> <character>GEORGE</character> <dialogue>Call it off. Right now. I mean it.</dialogue> <character>AMELIA</character> <dialogue>I can handle it.</dialogue> <scene_description>And then...</scene_description> <character>AMELIA</character> <dialogue>I love you.</dialogue> <scene_description>Silence.</scene_description> <character>GEORGE</character> <dialogue>After the Fourth. We're going home.</dialogue> <character>AMELIA</character> <dialogue>Where's that?</dialogue> <character>GEORGE</character> <dialogue>For me? Anywhere you are.</dialogue> <scene_description>She begins to cry. Both hands fly to her mouth and she looks away. She swallows hard.</scene_description> <character>AMELIA</character> <dialogue>I'm going to like it there.</dialogue> <scene_description>And then...</scene_description> <character>AMELIA</character> <dialogue>I'd better. Since this is my last flight.</dialogue> <scene_description>A long silence.</scene_description> <character>GEORGE</character> <dialogue>Well. If you insist.</dialogue> <scene_description>She nods. She does.</scene_description> <character>AMELIA</character> <dialogue>t's late here. Guess I'll go</dialogue> <scene_description>curl up under a teacup.</scene_description> <character>GEORGE</character> <dialogue>I'll go tell the world you're on your way.</dialogue> <scene_description>Neither wants to let go. We feel it so strong. GEORGE (a whisper) Sweet dreams. A beat. AMELIA (whispers back) See ya. And he's gone. She stares at the radio.</scene_description> <character>INT. AMELIA'S HUT - LATER</character> <dialogue>FLICKER of a kerosene lamp. Amelia writing at a</dialogue> <scene_description>tiny desk. Thinks now. Thinks. Lost in it.</scene_description> </scene> <scene> <stage_direction>EXT. AIRFIELD, LAE - DAWN</stage_direction> <scene_description>A sober, contrite Fred comes down the runway in early light. As he reaches the Electra, he sees a pile of discarded OBJECTS on the tarmac... ...metal containers, carton of oranges, parachutes. Bedrolls, cold weather gear. Souvenirs from their stops: flags, a metal plaque, native crafts, a Welcome Miss Amelia Earhart banner. As he studies the pile... ...a COFFEE POT comes FLYING out of the plane to roll at his feet. Suddenly, a 10 pound coffee tin SAILS PAST, as he DUCKS. Amelia appears at the hatch, sees him.</scene_description> <character>FRED</character> <dialogue>You're finding the range. But it might be easier to just shoot me.</dialogue> <scene_description>She stares at him for a moment. A subdued voice...</scene_description> <character>AMELIA</character> <dialogue>Traveling light, that's all.</dialogue> <scene_description>She sits on the lip of the hatch. Her legs dangling. Her eyes down.</scene_description> <character>FRED</character> <dialogue>Got room for 190 pounds of asshole?</dialogue> <scene_description>No answer. She's still looking down. He's never seen her like this.</scene_description> <character>FRED</character> <dialogue>M</dialogue> <scene_description>a'am, I am so sor...</scene_description> <character>AMELIA</character> <dialogue>It's fine.</dialogue> <scene_description>Her eyes come up.</scene_description> <character>AMELIA</character> <dialogue>Everything is.</dialogue> <scene_description>He doesn't understand, but he's glad to be forgiven. She takes a LETTER from her pocket. Runs her finger over the envelope.</scene_description> <character>FRED</character> <dialogue>I can run into town before we go.</dialogue> <scene_description>et that in the post for you. She shakes her head slowly.</scene_description> <character>AMELIA</character> <dialogue>It's for my husband. I'm going to hand it to him. So I can watch his face as he reads it.</dialogue> <scene_description>She sniffles slightly.</scene_description> <character>AMELIA</character> <dialogue>It's our tradition.</dialogue> <scene_description>A RUNWAY that ends in a drop-off at the waters of Huon Gulf. The Electra, engines REVVING. Ready to go for it. Our ANGLE CLOSES on the belly of the plane. The ANTENNA MAST supporting a trailing WIRE ANTENNA.</scene_description> <character>GEORGE (V.O.)</character> <dialogue>Ten A.M., Friday July 2. They lined up on the thousand-yard runway. One thousand gallons of fuel, enough for 20 to 21 hours of flying.</dialogue> <scene_description>LONG ANGLE. Crew and onlookers watch as the plane STARTS its run, gathering speed, BOUNCING over uneven ground... CLOSE now on the jouncing undercarriage, a momentary PUFF of DUST, and as the plane moves PAST, we may notice that the belly antenna mast seems to be GONE. DOWN the runway it RUMBLES, still earthbound, only 200 yards to go. Then 100. Then FIFTY, then at the water's edge, the Electra RISES and...</scene_description> <character>.</character> <dialogue>..DROPS out of sight below the land, as we SMASH CUT</dialogue> <scene_description>to... ANGLE. The Electra has FALLEN to SIX FEET above the surface of the Gulf. The engines THROB at max, the propellers THROWING SPRAY. The overloaded plane... ...RISING. Slowly, then faster, then... ...SOARING free. PULL BACK to a VIEW from down the runway. The Electra in distance. RACK FOCUS to see something long and slender GLINTING on the ground. Could it be a length of WIRE? Through the glass, the sun is disappearing toward Amelia. PULL BACK to George, staring at a CABLE in his hands. We</scene_description> <character>HEAR...</character> <dialogue>BALFOUR (O.S.)</dialogue> <scene_description>Mr. Putnam. Their headwinds are stronger than they knew when they took off. Then...</scene_description> <character>BALFOUR (O.S.)</character> <dialogue>I recalculated their fuel. It will cost them 9%.</dialogue> <scene_description>George staring off. Assessing the consequences. PULL BACK to see an ENSIGN standing, waiting for instruction.</scene_description> <character>BALFOUR (O.S.)</character> <dialogue>I can't raise them, sir. I tried voice, and Morse Code...</dialogue> <scene_description>George looks up. Calmly.</scene_description> <character>GEORGE</character> <dialogue>ire back. Tell him to forget the</dialogue> <scene_description>Morse Code. They didn't bring the receiver. The young man looks concerned.</scene_description> <character>GEORGE</character> <dialogue>Just tell him to stay with voice. He'll get them.</dialogue> <character>108</character> <dialogue>108</dialogue> <character>A</character> <dialogue>EXT. HOWLAND ISLAND - DAY</dialogue> <scene_description>ERIAL ANGLE. A tiny, flat, nearly invisible speck adrift in the endless Pacific. Howland Island. PAN to see just offshore...</scene_description> <character>GEORGE (V.O.)</character> <dialogue>The U.S. Coast Guard cutter Itasca had been anchored off Howland just for us.</dialogue> <scene_description>CLOSE on the ITASCA now...</scene_description> <character>GEORGE (V.O.)</character> <dialogue>Its radio would be her lifeline. Its black plume of smoke would reach for miles. More visible than the island itself.</dialogue> <scene_description>DISSOLVE TO NIGHT. The island visible only by its slender LIGHTHOUSE. The ship illuminated in the darkness. CLOSE now on a path by the sea. A lone figure with a FLASHLIGHT approaches a SHACK. Enters... ...a room filled with radio equipment. He is FRANK CIPRIANI, in crisp naval uniform, relieving a SEAMAN who has been on duty. As Cipriani sits at his station, he notices...</scene_description> <character>CIPRIANI</character> <dialogue>The direction finder. How long has this been on?</dialogue> <scene_description>The seaman turns back at the door. What? CLOSE on the ship, illuminated. PUSH IN...</scene_description> <character>INT. RADIO ROOM, ITASCA - NIGHT</character> <dialogue>The room is 9 x 20 with bare walls. At the</dialogue> <scene_description>transmitter, LEO BELLARTS the chief radio man. Short and square, an unflappable air of quiet expertise. With him, his assistant WILLIAM DALTEN, lean and young with dark serious eyes. At a typewriter sits THOMAS O'HARE, barely twenty, headphones across his shock of rust-colored hair, telegraph at the ready.</scene_description> <character>UPERIMPOSE:</character> <dialogue>Dalten adjusting the receiver which is suddenly</dialogue> <character>2:45 A.M.</character> <dialogue>spitting</dialogue> <scene_description>STATIC. Threading through the noise, what could be a human voice. Bellarts calls to O'Hare...</scene_description> <character>BELLARTS</character> <dialogue>That's her on 3105. She said `cloudy and overcast.'</dialogue> <scene_description>O'Hare looks at him. Are you serious? Bellarts mimes typing with his fingers. O'Hare starts typing into the log.</scene_description> <character>SUPERIMPOSE:</character> <dialogue>Radio CRACKLES.</dialogue> <character>3:45 A.M.</character> <dialogue>All eyes turn.</dialogue> <character>AMELIA (O.S.)</character> <dialogue>Itasca from Earhart. Overcast.</dialogue> <scene_description>Static. Dalten leans to the mic... DALTEN (into mic) We are receiving your signal. Please acknowledge ours. What is your position? When do you expect to arrive Howland? No answer. Light static.</scene_description> <character>BELLARTS</character> <dialogue>Commander estimated 7:00. If she's having trouble on voice transmission, stay with Morse.</dialogue> <scene_description>And begins to carefully pack his pipe. Dalten begins to transmit Morse Code. DISSOLVE TO...</scene_description> <character>SUPERIMPOSE:</character> <dialogue>The radio.</dialogue> <character>6:45 A.M.</character> <dialogue>The static.</dialogue> <character>AMELIA (O.S.)</character> <dialogue>Please take bearing on us and report in half hour. I will make noise in microphone. We are about 100 miles out.</dialogue> <scene_description>The transmission cuts out. Dalten answers in Morse Code. No response.</scene_description> <character>DALTEN</character> <dialogue>She's got to stay on longer.</dialogue> <scene_description>Bellarts dictating as O'Hare types...</scene_description> <character>BELLARTS</character> <dialogue>Earhart signal strength 4, but on</dialogue> <character>A</character> <dialogue>ir so briefly bearings impossible.</dialogue> <scene_description>DISSOLVE: TO...</scene_description> <character>SUPERIMPOSE:</character> <dialogue>DALTEN (to Bellarts)</dialogue> <character>7:18 A.M.</character> <dialogue>Maybe her Morse receiver is out.</dialogue> <parenthetical>(into mic)</parenthetical> <dialogue>Can't take bearing on 3105. Please send on 500 or do you want to take bearing on us? Go ahead, please.</dialogue> <scene_description>Silence. O'Hare typing: NO ANSWER.</scene_description> <character>SUPERIMPOSE:</character> <dialogue>DALTEN (into mic)</dialogue> <character>7:30 A.M.</character> <dialogue>Please acknowledge our signals on</dialogue> <scene_description>ey. Please acknowledge. CRACKLE. O'Hare typing: UNANSWERED.</scene_description> <character>BELLARTS</character> <dialogue>Tommy, intercom top deck, double check the smoke stack...</dialogue> <scene_description>INTERCUT: AERIAL ANGLE high above the ship. BLACK SMOKE PLUMES into clear sky...</scene_description> <character>BELLARTS (O.S.)</character> <dialogue>They should be able to see it for twenty miles, at least.</dialogue> <scene_description>TILT ANGLE. In far distance, thirty to forty miles, a gray</scene_description> <character>STORM.</character> <character>INT. RADIO ROOM - MORNING</character> <dialogue>A few others enter now. Civilians, sailors, they hang</dialogue> <scene_description>back silently, watching as...</scene_description> <character>SUPERIMPOSE:</character> <dialogue>AMELIA (O.S.)</dialogue> <character>7:42 A.M.</character> <dialogue>KHAQQ calling Itasca. We must be on you but cannot see you...</dialogue> <scene_description>Glances are traded. It is the first moment of visible concern. STATIC interrupts. Then...</scene_description> <character>AMELIA (O.S.)</character> <dialogue>Gas is running low. Been unable to reach you by radio. We are flying</dialogue> <scene_description>t altitude 1000 feet. DALTEN (into mic) You are reaching us. We are sending on 3105 and 500 constantly. Please acknowledge. Massive BURST of static. Dalten frantically CLICKING a message in Morse Code. DISSOLVE TO... S:</scene_description> <character>UPERIMPOSE:</character> <dialogue>The room has nearly filled. COMMANDER THOMPSON stands</dialogue> <character>7:58 A.M.</character> <dialogue>at</dialogue> <scene_description>Bellart's shoulder. All eyes fixed on the radio...</scene_description> <character>EARHART (O.S.)</character> <dialogue>We are circling but cannot hear you. Go ahead on 7500.</dialogue> <scene_description>BELLARTS (into mic) Itasca to KHAQQ. Your signal is strong. Are you receiving this? A breathless moment. A sharp CRACKLE.</scene_description> <character>EARHART (O.S.)</character> <dialogue>KHAQQ calling Itasca. We received your signal, but unable to get a minimum. Please take bearing on us and answer 3105 with voice.</dialogue> <scene_description>BELLARTS (into mic) Your signal received okay. It is impractical to take a bearing on 3105 on your voice. Give us a longer signal, please. Go ahead. Silence. Feet are shifting. No one speaks. O BELLARTS (softly to Dalten) Keep us at 7500, that's her only acknowledgment.</scene_description> <character>THOMPSON</character> <dialogue>You've got her signal, dammit. What about the direction finder?</dialogue> <character>BELLARTS</character> <dialogue>Cipriani reports the battery's dead, sir. It was left on all night.</dialogue> <scene_description>Full beat. THOMPSON (low) I don't believe this is happening. DISSOLVE: TO:</scene_description> <character>SUPERIMPOSE:</character> <dialogue>BELLARTS (into mic)</dialogue> <character>8:12 A.M.</character> <dialogue>Itasca to Earhart. Did you get transmission on 7500? Go ahead on 500 so that we can take a bearing on you, it's impossible on 3105. Please acknowledge.</dialogue> <scene_description>DISSOLVE: TO:</scene_description> <character>SUPERIMPOSE:</character> <dialogue>No breath in this room.</dialogue> <character>8:33 A.M.</character> <dialogue>No one moves.</dialogue> <scene_description>BELLARTS (into mic) Will you please come in and answer n 500? We are transmitting constantly on 7500 and we do not hear you on 500. Please answer on 500. Go ahead. DISSOLVE: TO:</scene_description> <character>SUPERIMPOSE:</character> <dialogue>Suddenly, a thin and anxious VOICE cuts through a burst of static...</dialogue> <character>8:44 A.M.</character> <dialogue>A</dialogue> <character>MELIA (O.S.)</character> <dialogue>We are on the line of position 157- 337, will repeat this message on 6210 kilocycles. Wait, listening</dialogue> <scene_description>n 6210 kilocycles. We are running north and south.</scene_description> <character>B</character> <scene_description>BELLARTS (into mic) We hear you. We hear you. Can you receive this...? Silence. Silence. Silence. COMMANDER (softly) Mr. Bellarts. When did she say she was low on fuel? All eyes shift to Tommy. He scans the log. Stares.</scene_description> <character>O'HARE</character> <dialogue>Um. An hour. And two minutes, sir.</dialogue> <scene_description>HOLD on this room. DISSOLVE TO... AERIAL ANGLE. The ship in clear daylight. The BLACK PLUME of smoke stretching to heaven. SLOW: DISSOLVE TO... The tiny room we've come to know. It is filled with people who stand motionless, staring somberly at one man. In turn, he stares at a telephone... Which RINGS. Mary reaches, but his hand goes UP and she pulls back. He lets it ring three times, four, gathering himself. Lifting it... GEORGE (into phone) Yes. There are no other words. His eyes tear up. He nods numbly at the phone. G</scene_description> <character>EORGE (V.O.)</character> <dialogue>Looking back, the questions were obvious. Why would anyone try to</dialogue> <scene_description>ind such a tiny target in a vast ocean, with barely an hour's lee- way in fuel? He draws a breath. GEORGE (into phone) Well, we're most grateful. With such an effort, of course they'll e found. CLOSE on him now. As he listens, as he responds graciously,</scene_description> <character>MOS...</character> <dialogue>GEORGE (V.O.)</dialogue> <scene_description>So I tortured myself. Why hadn't killed this plan on day one? And then I realized... DISSOLVE SLOWLY TO... Alone. In a moonlit garden.</scene_description> <character>GEORGE (V.O.)</character> <dialogue>If I tried to count the insane and reckless chances she took from the first moment I met her. I wouldn't know where to begin.</dialogue> <scene_description>Slowly to his knees. By the plants they had tended together.</scene_description> <character>GEORGE (V.O.)</character> <dialogue>It was the most tragic of endings. The most cruel and senseless and wasteful. And yet...</dialogue> <scene_description>And yet.</scene_description> <character>GEORGE</character> <dialogue>It's hard to imagine another.</dialogue> <scene_description>SMASH: CUT TO... Sun and cloud. The sea below.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>My Simpkin.</dialogue> <scene_description>We POINT toward the water.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>I want to be married to you. The way you've been married to me.</dialogue> <scene_description>It begins to draw CLOSER.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>As you read this. I am watching your face.</dialogue> <scene_description>And CLOSER.</scene_description> <character>AMELIA (V.O.)</character> <dialogue>I am hoping to see. That you know how much I mean each word.</dialogue> <scene_description>Gaining SPEED now...</scene_description> <character>AMELIA (V.O.)</character> <dialogue>All the things I never said, for so very long...</dialogue> <scene_description>HURTLING TOWARD the surface...</scene_description> <character>AMELIA (V.O.)</character> <dialogue>Look up. They're in my eyes.</dialogue> <scene_description>SMASH CUT TO BLACK. Hold. ROLL END CREDITS.</scene_description> </scene> </script>

On June 1, 1937, aviatrix Amelia Earhart and her navigator Fred Noonan, start their attempt to circumnavigate the globe. Moving in vignettes from her early years when Earhart was captivated by the sight of an aircraft flying overhead on the Kansas prairie where she grew up, her life over the preceding decade gradually unfolds. In 1928, Earhart is recruited by charismatic publishing tycoon and adoring business partner George Putnam to become the first woman to cross the Atlantic Ocean, albeit as a passenger. Taking command of the flight results in success and she is thrust into the limelight as the most famous woman pilot of her time. Putnam helps Earhart write a book chronicling the flight, much like his earlier triumph with Charles Lindbergh's We. She gradually falls in love with him and they eventually marry, although she enacts a "cruel" pledge as her wedding contract. Embarrassed that her fame was not earned, Earhart commences to set myriad aviation records, and in 1932, recreates her earlier transatlantic flight, becoming the first female pilot to fly solo across the Atlantic. Throughout the next five years, Earhart falls into an awkward passionate affair with Gene Vidal. In a display of romantic jealousy, Putnam quietly tells Amelia that he does not want Vidal in his house. Annoyed by the seemingly endless agenda of celebrity appearances and endorsements, Putnam reminds her it funds her flying. Earhart returns to her husband as she prepares for her most momentous flight to date, to fly around the world, in a Lockheed Model 10 Electra, sponsored by Purdue University, with the help of navigator Fred Noonan. Vidal notes the biggest obstacle will be to locate tiny Howland Island. Earhart's first attempt ends in a runway crash in Hawaii, due to a collapsed landing gear, and her aircraft requires extensive repairs before the flight can be attempted again. Eventually, she takes the repaired Electra, in a reverse direction, leaving the lengthy trans-Pacific crossing for the end. On July 2, 1937, Earhart and Noonan set out to refuel at Howland Island, radio transmissions between USCGC Itasca, a Coast Guard picket ship, and the aircraft reveal a rising crisis; the Coast Guard radio operators do not have sufficient length to provide a "fix". Itasca has a directional finder with a dead battery, and weak radio communications prevent Earhart and Itasca from making contact. Running low on fuel, Earhart and Noonan fly on and ultimately disappear. A massive search effort is unsuccessful, but solidifies Earhart as an aviation icon.

The Invention of Lying_2009

tt1058017

<script> <scene> <stage_direction>EXT. CAVEMAN VILLAGE - THE PALEOLITHIC ERA - DAY</stage_direction> <scene_description>A small caveman community made up of five large caves , all facing out towards a crackling fire . Slack - jawed , yet strong and confident CAVEMEN stumble about , dragging haunches of meat , pounding the dirt with sticks , dragging the women . WE PAN OVER to a small cave . Not even really a cave at all , but a crack in the rocks barely large enough to sleep in . Stepping out of this `` cave '' is a small , weak , nerdy - looking caveman . The chief caveman , set apart by the large mallet he wields , steps towards the fire and grunts loudly to mark the beginning of a caveman meeting . `` Loser caveman '' steps forward apprehensively , only to be met with laughter from the other cavemen . `` Loser caveman '' sighs and shrinks back into his sad , little cave , watching them from the shadows .</scene_description> <character>CHIEF CAVEMAN</character> <parenthetical>( grunting ; subtitled . )</parenthetical> <dialogue>Me see beast today. Beast scary. Beast danger for caveman.</dialogue> <scene_description>The rest of the cavemen look nervous .</scene_description> <character>CHIEF CAVEMAN</character> <dialogue>If caveman kill beast? Caveman safe. Caveman have food.</dialogue> <scene_description>The cavemen grunt in understanding .</scene_description> <character>CHIEF CAVEMAN</character> <dialogue>Who kill beast?</dialogue> <scene_description>The cavemen grunt amongst themselves . The toughest of the bunch steps forward , pounds his chest and grunts .</scene_description> <character>CHIEF CAVEMAN</character> <dialogue>Grob kill beast. Good Grob.</dialogue> <scene_description>The chief notices `` loser caveman '' watching from a distance .</scene_description> <character>CHIEF CAVEMAN</character> <dialogue>Loser want kill beast?</dialogue> <scene_description>All the cavemen turn and laugh at the `` loser caveman '' .</scene_description> <character>CHIEF CAVEMAN</character> <dialogue>Loser kill nothing!</dialogue> <scene_description>All the cavemen laugh hysterically .</scene_description> <character>CAVEMAN #1</character> <dialogue>Look at Loser cave! So small!</dialogue> <character>CAVEMAN #2</character> <dialogue>Loser dumb!</dialogue> <character>CAVEMAN #3</character> <dialogue>Fuck that guy!</dialogue> <scene_description>All the cavemen pick up rocks and begin throwing them at the `` loser caveman '' , who dives out of his cave and runs around the camp , dodging their blows .</scene_description> </scene> <scene> <stage_direction>EXT. CAVEMAN VILLAGE - THE PALEOLITHIC ERA - NIGHT</stage_direction> <scene_description>Everyone in the village is asleep . Everyone , that is , but `` loser caveman '' who sleeps uncomfortably in his tiny little cave , tossing and turning , unable to get comfortable . A stirring in the trees causes `` loser caveman '' to sit upright . There 's something outside of the village . Something big . Suddenly a GIANT TUSKED BOAR pushes through the trees and stands , looking quite menacing , not ten yards from the village fire . `` Loser caveman '' is practically shaking with fear . The boar makes eye - contact with `` loser caveman '' and charges directly towards his tiny little cave . The giant boar runs head first into the cave opening , but the opening is too small for the beast to fit its head inside . `` Loser caveman '' screams like a girl . The boar backs up to strike again - this one sure to be the end of `` loser caveman '' - when a large boulder , knocked loose by the Boar 's first hit , tumbles down and lands smack on the Boar 's head , killing it instantly . The entire village runs out to see what has happened . The `` Loser caveman '' stumbles out of the cave and dusts himself off . The chief steps forward .</scene_description> <character>CHIEF CAVEMAN</character> <dialogue>The beast! It dead!</dialogue> <character>CAVEMAN #2</character> <dialogue>Hey, look at loser! He almost die! Look he scared!</dialogue> <scene_description>Everyone laughs . The Chief looks towards Loser , standing nervously near the corpse of the Giant Tusked Boar .</scene_description> <character>CHIEF CAVEMAN</character> <dialogue>Loser, what happen?</dialogue> <character>LOSER CAVEMAN</character> <parenthetical>( SHAMEFULLY . )</parenthetical> <dialogue>The Beast, it came at me. It smash my cave.</dialogue> <scene_description>Everyone laughs hysterically . WE PAN over the many laughing faces , pointing and hooting at loser caveman 's cowardice . We watch as the `` loser caveman 's '' face turns bright red , the veins in his neck pop out and his fists clench up tightly . SUDDENLY WE FLY into the caveman 's skull , traveling through his cerebral cortex and towards the frontal lobe of his small , homo erectus brain . Sparks are flying back and forth across his brain as his synapses fire in rapid succession . There is a SMALL EXPLOSION . We fly back out of `` loser caveman 's '' skull - his face contorted in rage . He interrupts everyone 's laughter .</scene_description> <character>LOSER CAVEMAN</character> <dialogue>Hold on one minute!</dialogue> <scene_description>Everyone stops laughing .</scene_description> <character>LOSER CAVEMAN</character> <dialogue>Loser was n't finished.</dialogue> <scene_description>Loser caveman stands up straight and tall - all of a sudden the Bruce Willis of cavemen .</scene_description> <character>LOSER CAVEMAN</character> <dialogue>After beast smash cave, Loser look at beast and say, `` not on Loser's watch.'' Loser grab rock on ground, lift above head and smash it down. right onto motherfucker's head.</dialogue> <scene_description>The entire village gasps .</scene_description> <character>LOSER CAVEMAN</character> <dialogue>Loser kill beast.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>Now fuck off, Loser going back to sleep.</dialogue> <scene_description>The chief steps forward ominously , then proclaims :</scene_description> <character>CHIEF CAVEMAN</character> <dialogue>Loser kill beast! Loser caveman hero!</dialogue> <scene_description>Loser steps forward , grabs the prettiest of all cavewomen and drags her towards his cave as the entire village erupts in cheer .</scene_description> <character>NARRATOR</character> <dialogue>The world's first lie. A monumental occasion in the history of mankind.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>That lowly caveman who stumbled upon the ability to lie went on to become chief of his village, married dozens of cavewomen, and passed on the lying gene to hundreds of newborn cave - children.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>Over time lying spread throughout the world, sparking the eventual birth of imagination itself, story - telling, religion, and the oh - so - important polite lie, as in, `` Oh Patty, have you lost weight? You look fantastic.''</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>The world would be a very different place if events had gone otherwise on that prolific, Paleolithic eve. If not for that night, man would have never acquired the ability to lie to himself and to others.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>A world without lying would be a world without dreams. A world without pretense. A world without fiction. A world without flattery. A world very unlike our own.</dialogue> <scene_description>The film rewinds about thirty seconds , to the point where the chief asked what happened with `` loser caveman '' and the boar .</scene_description> <character>CHIEF CAVEMAN</character> <dialogue>Loser, what happen?</dialogue> <character>LOSER CAVEMAN</character> <parenthetical>( SHAMEFULLY . )</parenthetical> <dialogue>The Beast, it came at me. It smash my cave.</dialogue> <scene_description>AGAIN WE FLY into the caveman 's skull , traveling through his homo erectus brain . Sparks are flying back and forth across his brain as his synapses fire in rapid succession . But this time there 's no explosion . We fly back out of `` loser caveman 's '' skull - his face contorted in rage . The rage slowly fades and Loser just stands there , everyone in the camp waiting for him to say something .</scene_description> <character>LOSER CAVEMAN</character> <dialogue>Rock fall on beast. Loser do nothing. I think Loser even soil bear pants.</dialogue> <parenthetical>( pause ; sniffing . )</parenthetical> <dialogue>Loser smell bad.</dialogue> <scene_description>Everyone falls onto the ground laughing hysterically .</scene_description> <character>CHIEF CAVEMAN</character> <dialogue>Loser biggest loser ever! Caveman, throw rocks at loser!</dialogue> <scene_description>Everyone in the camp joins in on another round of throwing rocks at `` loser caveman '' as he runs around the camp , terrified and miserable . FADE TO BLACK . INSERT : `` PRESENT DAY . LOS ANGELES , CA . ''</scene_description> </scene> <scene> <stage_direction>EXT. JENNIFER'S APARTMENT COMPLEX - NIGHT</stage_direction> <scene_description>A completely indistinguishable Los Angeles mid - rent apartment complex . MARK BELLISON pulls up in his early nineties Volvo , parks and enters .</scene_description> </scene> <scene> <stage_direction>INT. JENNIFER'S APARTMENT COMPLEX - SAME</stage_direction> <scene_description>Mark -LRB- 40 's -RRB- , average to semi - handsome , twists and turns through stucco hallways . He knocks on apartment `` 9C '' . JENNIFER MCDOOGLES opens , her face flushed . She 's beautiful .</scene_description> <character>JENNIFER</character> <dialogue>Hi. You're early. I was just masturbating.</dialogue> <character>MARK</character> <dialogue>That makes me think of your vagina. I'm Mark, how are you?</dialogue> <character>JENNIFER</character> <dialogue>A little frustrated at the moment. Also equally depressed and pessimistic about our date tonight. I'm Jennifer.</dialogue> <character>MARK</character> <dialogue>I hope this date ends in sex.</dialogue> <character>JENNIFER</character> <dialogue>Not me. I do n't find you attractive. Come on in.</dialogue> <scene_description>Mark enters . ROLL CREDITS Jennifer 's apartment is new - adult , as if she just found out she was an adult yet has n't had the time or the money to complete the transition .</scene_description> <character>JENNIFER</character> <dialogue>I need to finish getting ready. While doing that I might realize I'm still horny and try to finish masturbating without you hearing.</dialogue> <scene_description>Jennifer heads towards the bathroom . Mark stands alone in her living room , looking around .</scene_description> <character>MARK</character> <parenthetical>( shouting to her . )</parenthetical> <dialogue>I feel awkward and I regret being early.</dialogue> <character>JENNIFER</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( shouting back . )</parenthetical> <dialogue>Yeah, I'm disappointed you're early and not really looking forward to tonight in general, but the thought of being alone the rest of my life scares both my mother and I equally.</dialogue> <scene_description>It 's completely silent for a long beat . Mark looks around , then sits on her couch .</scene_description> <character>MARK</character> <parenthetical>( shouting to her . )</parenthetical> <dialogue>I have an erection now because I assume you began masturbating once we stopped talking.</dialogue> <scene_description>More silence .</scene_description> <character>MARK</character> <parenthetical>( shouting to her . )</parenthetical> <dialogue>I'm embarrassed because I think the restaurant I've made reservations at might not be expensive enough or hip enough to impress you, but it was the best I could do because I do n't make very much money. You see, I'm forty years old and have no real financial assets to speak of, I've never owned a home, and never had a significant relationship. My boss even told me today that I'm most likely going to get fired tomorrow and.</dialogue> <scene_description>Jennifer enters the room and Mark stops talking .</scene_description> <character>JENNIFER</character> <dialogue>I just masturbated.</dialogue> <character>MARK</character> <dialogue>That makes me very horny.</dialogue> <character>JENNIFER</character> <dialogue>Shall we go?</dialogue> <character>MARK</character> <dialogue>Sure.</dialogue> <scene_description>Mark stands up . Jennifer picks up her purse and opens the door .</scene_description> <character>JENNIFER</character> <dialogue>After you.</dialogue> <scene_description>END CREDITS</scene_description> </scene> <scene> <stage_direction>INT. MARK'S VOLVO - NIGHT</stage_direction> <scene_description>Mark and Jennifer drive in silence for a beat .</scene_description> <character>JENNIFER</character> <dialogue>I'm only doing this as a favor for my cousin Greg. He keeps begging me to go out on a date with you. He says you're funny.</dialogue> <character>MARK</character> <dialogue>Greg's a good friend.</dialogue> <character>JENNIFER</character> <dialogue>Where are we eating tonight?</dialogue> <character>MARK</character> <dialogue>A cute little place called La Bonisera in West Hollywood.</dialogue> <character>JENNIFER</character> <dialogue>You obviously do n't have very much money but that's not necessarily a deal breaker.</dialogue> <character>MARK</character> <dialogue>I have very little money.</dialogue> <character>JENNIFER</character> <dialogue>I also do n't really care about a guy who knows all the latest, hippest restaurants.</dialogue> <character>MARK</character> <dialogue>I do n't know any of them.</dialogue> <character>JENNIFER</character> <dialogue>In fact, there are very few things in life that I care about all that much. The only things I have to offer myself or anyone else are my good looks and my affected sense of quirkiness which artistically inclined men interpret as intellect. In fact, I think my best trait is the fact that I've made very few mistakes : socially, academically, financially or romantically. I take very few risks and therefore lead a relatively happy and light - hearted existence. Mostly though, I'm a kind, sweet person with the potential of genuinely becoming a vital and interesting human being the day I take the energy I expend on hyper self - reflexivity and apply it to actual action in the reality of my life.</dialogue> <character>MARK</character> <dialogue>I found that boring and started thinking about this place's fish tacos.</dialogue> </scene> <scene> <stage_direction>INT. LA BONISERA - NIGHT</stage_direction> <scene_description>The Volvo pulls up in front of the restaurant and the valet parking guy opens Jennifer 's door .</scene_description> <character>VALET PARKING GUY</character> <dialogue>I'm extremely bored.</dialogue> <character>JENNIFER</character> <dialogue>Hello.</dialogue> <scene_description>The valet parking guy hands Mark a ticket .</scene_description> </scene> <scene> <stage_direction>INT. LA BONISERA - NIGHT</stage_direction> <scene_description>They enter the quaint Mexican restaurant .</scene_description> <character>JENNIFER</character> <dialogue>This is n't as nice as I remember it.</dialogue> <character>MARK</character> <dialogue>What are we going to talk about?</dialogue> <scene_description>They approach the hostess .</scene_description> <character>HOSTESS</character> <parenthetical>( to Jennifer . )</parenthetical> <dialogue>I'm threatened by you.</dialogue> <character>MARK</character> <dialogue>Two, please.</dialogue> <character>HOSTESS</character> <dialogue>Of course, come with me.</dialogue> <scene_description>The hostess seats them in the midst of the semi - crowded restaurant . A young , awkward waiter approaches .</scene_description> <character>WAITER</character> <dialogue>I'm very embarrassed that I work here. Hi.</dialogue> <character>MARK</character> <dialogue>Hello.</dialogue> <character>JENNIFER</character> <dialogue>Hello.</dialogue> <character>WAITER</character> <parenthetical>( to Jennifer . )</parenthetical> <dialogue>And you're pretty and that only makes me feel worse. Can I get you two started on some drinks?</dialogue> <character>MARK</character> <dialogue>I'll have a Budweiser.</dialogue> <character>JENNIFER</character> <dialogue>I'll start with your Mango Margarita and probably have three more drinks by the end of the night.</dialogue> <character>WAITER</character> <dialogue>Excellent.</dialogue> <parenthetical>( to Mark . )</parenthetical> <dialogue>She's out of your league.</dialogue> <character>MARK</character> <dialogue>Yup.</dialogue> <scene_description>The waiter leaves . Jennifer and Mark peruse their menus . A woman screams out from a table on the other side of the room :</scene_description> <character>WOMAN</character> <parenthetical>( SCREAMING . )</parenthetical> <dialogue>All of a sudden I got EXTREMELY angry!</dialogue> <scene_description>No one in the restaurant reacts .</scene_description> <character>MARK</character> <dialogue>I'm going to ask you some questions about your life because that's what you do, but I'll only really listen to about half of what you're saying.</dialogue> <scene_description>Jennifer nods .</scene_description> <character>MARK</character> <dialogue>How do you spend your days?</dialogue> <character>JENNIFER</character> <dialogue>I get up at eight in the morning because the noise from my alarm clock interrupts my sleep, so I lean over and.</dialogue> <character>MARK</character> <dialogue>That's a little more specific than I expected.</dialogue> <character>JENNIFER</character> <dialogue>Well what did you want to know?</dialogue> <character>MARK</character> <dialogue>Do you have a job?</dialogue> <character>JENNIFER</character> <dialogue>Yes.</dialogue> <character>MARK</character> <dialogue>What job do you have?</dialogue> <character>JENNIFER</character> <dialogue>I have a job at an office.</dialogue> <character>MARK</character> <dialogue>What do you do?</dialogue> <character>JENNIFER</character> <dialogue>Just typing and filing and stuff.</dialogue> <character>MARK</character> <dialogue>Do you enjoy it?</dialogue> <character>JENNIFER</character> <dialogue>No. But I enjoy the end result of the job which is money. And the hours are pretty good for the amount of money I make, which I spend on things I like, such as clothes, hiking, drinking - even though I know it's bad for me.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>But I'd rather just get all the money and not work for the results.</dialogue> <character>MARK</character> <dialogue>Sure. Tell me more. I'm trying to get a little insight into you.</dialogue> <character>JENNIFER</character> <dialogue>Well you already know a lot about me. You know I'm good looking because. well. here I am. You know I'm successful because you've seen my apartment and the clothes I'm wearing. And you know I'm happy because I'm smiling.</dialogue> <scene_description>Jennifer smiles brightly .</scene_description> <character>MARK</character> <dialogue>Are you always happy?</dialogue> <character>JENNIFER</character> <dialogue>Usually. Some days I stay in bed eating and crying.</dialogue> <character>MARK</character> <dialogue>Sure.</dialogue> <scene_description>The waiter returns with their drinks .</scene_description> <character>WAITER</character> <parenthetical>( hands beer to Mark . )</parenthetical> <dialogue>Here you go.</dialogue> <parenthetical>( hands drink to Jennifer . )</parenthetical> <dialogue>I had a sip of this.</dialogue> <character>JENNIFER</character> <dialogue>Okay.</dialogue> <character>WAITER</character> <dialogue>Do you guys know what you want or do you need a moment?</dialogue> <character>MARK</character> <dialogue>I'm ready.</dialogue> <character>JENNIFER</character> <dialogue>I'll have a caesar salad with chicken because I think I'm fat but I also think I deserve something that tastes good.</dialogue> <character>MARK</character> <dialogue>I'll have the fish taco's because I had them once here and it's all I know.</dialogue> <character>WAITER</character> <dialogue>Excellent, I'll get those both started for you.</dialogue> <scene_description>The waiter leaves . Jennifer 's cell phone rings from inside her purse .</scene_description> <character>JENNIFER</character> <dialogue>Sorry, one second.</dialogue> <scene_description>She pulls out her cell phone and checks it .</scene_description> <character>JENNIFER</character> <dialogue>It's my mother, this wo n't take long. Probably checking in on our date.</dialogue> <scene_description>Jennifer answers the phone . She talks openly and in plain view of Mark .</scene_description> <character>JENNIFER</character> <parenthetical>( ON PHONE . )</parenthetical> <dialogue>Hello? Yes, I'm with him right now. No, not very attractive. No, does n't make much money. He's all right though. Seems nice. Kind of funny. A bit fat. Funny little snub nose. No, I wo n't be sleeping with him tonight. Nope, probably not even a kiss. Okay, you too. Bye.</dialogue> <scene_description>Jennifer hangs up .</scene_description> <character>JENNIFER</character> <dialogue>Sorry about that.</dialogue> <character>MARK</character> <dialogue>Do n't think twice. How is your mom?</dialogue> <character>JENNIFER</character> <dialogue>She's all right.</dialogue> <character>MARK</character> <dialogue>Fantastic.</dialogue> <scene_description>TIME CUT : LATER THAT NIGHT Both of their plates are now empty . Three empty Margarita glasses sit in front of Jennifer . The waiter approaches with the bill and places it down in the middle of the table .</scene_description> <character>WAITER</character> <parenthetical>( to Jennifer . )</parenthetical> <dialogue>If I give you my number will you call me?</dialogue> <character>JENNIFER</character> <dialogue>No.</dialogue> </scene> <scene> <stage_direction>EXT. JENNIFER'S APARTMENT COMPLEX - NIGHT</stage_direction> <scene_description>Mark walks Jennifer to the front door of her apartment complex .</scene_description> <character>MARK</character> <dialogue>Thanks for going on this date with me. You're way, way out of my league and I know you were just doing it as a favor to Greg, and that most likely I'll never hear from you again.</dialogue> <character>JENNIFER</character> <dialogue>I actually had a better time than I thought I'd have, but I wo n't know for sure how I feel about you until I'm less drunk.</dialogue> <character>MARK</character> <dialogue>Give me a call if you still like me once you're sober.</dialogue> <character>JENNIFER</character> <dialogue>I might.</dialogue> <scene_description>Mark leans in for a kiss . Jennifer kisses him on the cheek and goes inside .</scene_description> <character>MARK</character> <dialogue>Thanks for kissing me on the cheek, I know you did n't have to do that and.</dialogue> <scene_description>Jennifer waves and heads inside .</scene_description> <character>MARK</character> <parenthetical>( shouting after her . )</parenthetical> <dialogue>. you're very pretty. Thank you!</dialogue> </scene> <scene> <stage_direction>INT. MARK'S APARTMENT - BEDROOM - NIGHT</stage_direction> <scene_description>Mark plops into bed in his boxers . His bedroom is bland , uninspired and completely furnished by the cheapest stuff found in an IKEA catalogue . Mark flips on the TV and gets under the covers . A commercial comes on TV . INSERT : COMMERCIAL A man in a suit stands next to a single can of coke resting on a small table .</scene_description> <character>JIM</character> <dialogue>Hi, I'm Jim and I'm the spokesperson for the Coca - Cola company. I'm here today to ask you to continue buying coke. I'm sure it's a drink you've been drinking for years, and if you still enjoy it, I'd like to remind you to buy it again sometime soon. It's basically just brown sugar water, we have n't changed the ingredients much lately, so there's nothing new about it I can say. We changed the can around a little bit. See, the colors here are a little different, and we even put a polar bear on it for the kids. Also, coke is very high in sugar, can lead to obesity in children and adults who do n't sustain a healthy diet, and has a Ph acidity level high enough to dissolve teeth and bones over extended periods of time. Coke also works great at removing corrosion from car batteries and loosening rusted bolts. So that's it, it's coke. Everyone knows it. It's very famous. I'm Jim, I work for coke, and I'm asking you to not stop buying coke. That's all. Thanks.</dialogue> <scene_description>INSERT : Coke logo with tagline : `` It 's Coke . It 's very famous . '' Mark falls asleep with the TV on . THE NEXT MORNING Mark 's alarm clock blares . Groggily he rises and sighs deeply . He has nothing to look forward to today . Or any day .</scene_description> </scene> <scene> <stage_direction>INT. ELEVATOR - MARK'S APARTMENT - MORNING</stage_direction> <scene_description>Mark stands in his building 's elevator . The doors open and FRANK , mid - forties and bald , enters .</scene_description> <character>FRANK</character> <dialogue>Hi Mark. How's it going?</dialogue> <character>MARK</character> <dialogue>Not so good. Last night I went on a date with a girl I've had a crush on for years who will most likely never call me again and I'm pretty sure I'm going to get fired today. You?</dialogue> <character>FRANK</character> <dialogue>I spent the whole night throwing up pain killers because I'm too afraid to take enough to kill myself.</dialogue> <scene_description>The elevator doors open on the lobby . Mark nods at Frank .</scene_description> <character>MARK</character> <dialogue>See you tomorrow.</dialogue> <character>FRANK</character> <dialogue>Bye.</dialogue> </scene> <scene> <stage_direction>INT. MARK'S CAR -- MORNING</stage_direction> <scene_description>As Mark drives to work we take in a bit of his world . A homeless man stands on a street corner with a sign that reads : `` I do n't understand why I 'm homeless and all of you are not . '' A business man talking loudly into his cell phone pulls up next to mark at a red light .</scene_description> <character>BUSINESS MAN</character> <dialogue>I'm not talking to anyone on my cell phone. I only want people to assume I'm very busy.</dialogue> <scene_description>At another red light Mark eavesdrops on a couple having a loud argument in front of a coffee shop .</scene_description> <character>GIRLFRIEND</character> <dialogue>I woke up this morning and realized that, not only do I not love you, but that the thought of touching you sickens me.</dialogue> <character>BOYFRIEND</character> <dialogue>The more you hate me the more I fall in love with you.</dialogue> <scene_description>A Bus passes in front of Mark 's car . ANGLE ON : The bus ad simply shows a can of Pepsi , and reads : `` Pepsi . When they do n't have Coke . '' A car honks behind Mark . The man leans out of his car and yells at Mark .</scene_description> <character>HONKING MAN</character> <dialogue>Move it, fatty!</dialogue> <scene_description>Mark drives forward , waving to the man apologetically as the man zooms past him .</scene_description> </scene> <scene> <stage_direction>EXT. LECTURE FILMS - CAR LOT - DAY</stage_direction> <scene_description>Mark parks his car and walks towards a large office building . The sign on the building reads : `` LECTURE FILMS MOTION PICTURE STUDIOS - We Film Someone Telling You About Things That Happened . '' In front of the building is a man in a suit standing on his briefcase with his tie around his head , screaming .</scene_description> <character>SCREAMING MAN</character> <dialogue>This is n't natural! None of this is natural! We're all animals! This does n't feel right! Why am I wearing clothes? How can you people live like this? Where did all this concrete come from?!</dialogue> <scene_description>Mark walks right by him . A woman in a business suit stops him on his way through the front door .</scene_description> <character>WOMAN IN BUSINESS SUIT</character> <dialogue>I do n't want to go in there today. I just do n't. You know?</dialogue> <scene_description>Mark nods understandingly and enters the building .</scene_description> </scene> <scene> <stage_direction>INT. LECTURE FILMS - LOBBY - MORNING</stage_direction> <scene_description>As Mark walks through the lobby we get a brief glimpse of some of the movie posters lining the wall : `` The Holocaust '' , `` The Death of the Dinosaurs '' , `` Napoleon '' , `` The Civil War '' . Each poster shows a different austere man sitting in a chair , holding a script in his lap , with a title above his head . The posters are extremely boring . A tour guide leads a row of tourists through the lobby . As Mark enters we overhear the tour guide 's speech .</scene_description> <character>TOUR GUIDE</character> <dialogue>All of Lecture Films' productions are written, filmed and edited right here on this very lot. In fact, this building is where Lecture Films' talented writers scour through the world's past events, searching for the most entertaining, dramatic and even hilarious moments of world history, which are then turned into scripts, handed over to our world - famous Readers, and filmed for your viewing pleasure.</dialogue> <scene_description>The whole tour `` oohs '' . The tour guide walks over towards a large flat - screen television embedded into the wall .</scene_description> <character>TOUR GUIDE</character> <dialogue>If you'll just follow me over to this monitor you'll get a sneak peak at Lecture Film's upcoming summer's blockbuster : `` Napoleon 1812 to 1813.''</dialogue> <scene_description>Everyone `` oohs '' again . Mark , curious as well , stops to watch the trailer with the tour . ANGLE ON : TV SCREEN . A black screen .</scene_description> <character>NARRATOR</character> <dialogue>Coming this summer from Lecture Films Motion Picture Studios. Written by Oscar winning screenwriter Rob Marlowe.</dialogue> <scene_description>INTERCUT Mark scowling at this name .</scene_description> <character>NARRATOR</character> <parenthetical>( O.S . )</parenthetical> <dialogue>And starring Oscar winning Reader Nathan Goldfrappe, comes the epic sequel to last year's most talked about film : `` Napoleon 1810 to 1811''. Prepare for the adventure.</dialogue> <scene_description>The black fades to NATHAN GOLDFRAPPE , a middle - aged austere man sitting before a fire in a velvet smoking jacket , holding a script .</scene_description> <character>NATHAN GOLDFRAPPE</character> <parenthetical>( READING . )</parenthetical> <dialogue>And so Napoleon invaded Russia with a brute force of nearly seven hundred thousand men behind him armed with muskets and supported by canon brigades.</dialogue> <character>NARRATOR</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Learn of his defeat.</dialogue> <character>NATHAN GOLDFRAPPE</character> <parenthetical>( READING . )</parenthetical> <dialogue>Through the devastating snow they marched, crippled by disease and hunger, Napoleon's men marched on.</dialogue> <character>NARRATOR</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Listen to his redemption.</dialogue> <scene_description>INTERCUT the tour , enraptured by this trailer . A few of the tourists whisper to each other .</scene_description> <character>TOURIST #1</character> <dialogue>I love these films. Saves me reading the book.</dialogue> <scene_description>INTERCUT the trailer title slamming onto the screen :</scene_description> <character>NARRATOR</character> <dialogue>Napoleon 1812 to 1813. Coming this summer from Lecture Films.</dialogue> <scene_description>The trailer ends and the tour applauds . The tour guide turns to find Mark walking away .</scene_description> <character>TOUR GUIDE</character> <dialogue>Look everyone, there goes Mark Bellison, one of Lecture Films very own screenwriters!</dialogue> <scene_description>The whole tour turns towards Mark . Mark turns around and dejectedly waves .</scene_description> <character>TOUR GUIDE</character> <dialogue>He's one of our least successful writers here at Lecture Films.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>I also hear he's most likely getting fired today.</dialogue> <scene_description>The tour nods at Mark . Mark nods back .</scene_description> <character>TOUR GUIDE</character> <dialogue>Now let's head to editing bay where we can watch.</dialogue> </scene> <scene> <stage_direction>INT. LECTURE FILMS - WRITER'S OFFICES - MORNING</stage_direction> <scene_description>Mark walks past cubicle after cubicle until he comes to his office and SHELLEY , his attractive late - 20 's receptionist .</scene_description> <character>MARK</character> <dialogue>Hi Shelley. I'm still attracted to you today.</dialogue> <character>SHELLEY</character> <dialogue>Hi Mark. Everyday I realize more and more how over - qualified I am for this position and how incompetent you are at yours.</dialogue> <character>MARK</character> <dialogue>Any messages?</dialogue> <character>SHELLEY</character> <dialogue>Anthony's coming by within the hour to see if he can work up the courage to fire you. If he ca n't, he said he'll definitely do it tomorrow.</dialogue> <character>MARK</character> <dialogue>Nobody else called? No calls to do with actual work?</dialogue> <character>SHELLEY</character> <dialogue>Well, I told everybody you were getting fired this week and not to expect their calls returned, so no one left any messages.</dialogue> <character>MARK</character> <dialogue>Next time I'd rather you took down the messages just in case I do n't get fired.</dialogue> <character>SHELLEY</character> <dialogue>You're almost definitely getting fired.</dialogue> <character>MARK</character> <dialogue>Well, it has n't happened yet.</dialogue> <character>SHELLEY</character> <dialogue>Okay, but everybody knows you are.</dialogue> <character>MARK</character> <dialogue>Okay, I'll be in my office.</dialogue> <character>SHELLEY</character> <dialogue>Okay, I'll be searching for new jobs on Craigslist.</dialogue> </scene> <scene> <stage_direction>INT. LECTURE FILMS - MARK'S OFFICE - MORNING</stage_direction> <scene_description>Mark 's office is completely boring and unremarkable , much like his apartment . There 's a knock on his door . ANTHONY enters , looking very much the boss in his expensive suit , yet nervous and fearful as well .</scene_description> <character>ANTHONY</character> <dialogue>Wow, you look really depressed today. That's going to make this so much harder.</dialogue> <character>MARK</character> <dialogue>Anthony, do n't fire me.</dialogue> <scene_description>Anthony sits down on the other side of Mark 's desk and leans forward .</scene_description> <character>ANTHONY</character> <dialogue>Mark, the 1300's are boring. Nothing interesting happened in that century. Nobody cares about the post - Roman, pre - enlightenment era. The last few scripts you turned in were depressing.</dialogue> <character>MARK</character> <dialogue>They were about the black plague! It's the 1300's Anthony, what else am I going to write about!</dialogue> <character>ANTHONY</character> <dialogue>It's not totally your fault, Mark. You got stuck with a bad century.</dialogue> <character>MARK</character> <dialogue>No! I can make it work!</dialogue> <character>ANTHONY</character> <dialogue>Give it up Mark, it's not like something new is going to have happened in the 1300's. At Lecture Films we're no longer interested in searching through the less well - known historical periods for great events, we just want to take the big name Reader's of the day and have them read the historical events that people know and love : the holocaust, D - day, the birth of electricity. These are the stories people want to see, because they know them. They find comfort in them.</dialogue> <scene_description>Anthony pauses .</scene_description> <character>ANTHONY</character> <dialogue>Do you think I could come back and do this tomorrow? I just got very nervous about firing you. I do n't do well with confrontation.</dialogue> <character>MARK</character> <dialogue>Is there anyway you could do it now? I'd rather not put it off.</dialogue> <scene_description>Anthony thinks for a moment , struggling to find the courage .</scene_description> <character>ANTHONY</character> <parenthetical>( MEEKLY . )</parenthetical> <dialogue>You're fired?</dialogue> <character>MARK</character> <dialogue>Damn.</dialogue> <scene_description>Anthony slinks out of the room . Mark looks down at his computer to see he has an email in his inbox . ANGLE ON : MARK 'S COMPUTER - The email reads : `` I woke up this morning , sober , and realized that , while I did enjoy your company , based on your looks , your financial situation and your position in life , I have no interest in you romantically . I 'm just too far out of your league . - JENNIFER '' Mark sits back in his chair and sighs deeply .</scene_description> <character>MARK</character> <dialogue>She's a really good writer, too.</dialogue> </scene> <scene> <stage_direction>INT. LECTURE FILMS - WRITER'S OFFICES - MORNING</stage_direction> <scene_description>With all of his meager belongings stuffed into a box , Mark leaves his office , stopping in front of Shelley 's desk .</scene_description> <character>SHELLEY</character> <dialogue>I loathed almost every minute I worked for you.</dialogue> <character>MARK</character> <dialogue>I often fantasized about you naked.</dialogue> <character>SHELLEY</character> <dialogue>What are you going to do now?</dialogue> <character>MARK</character> <dialogue>I have no idea. But I have very little hope for the future.</dialogue> <character>SHELLEY</character> <dialogue>I do n't have much hope for you either, but I wish you good luck.</dialogue> <character>MARK</character> <dialogue>Bye, Shelley.</dialogue> <character>SHELLEY</character> <dialogue>Bye, Mark.</dialogue> <scene_description>Mark heads towards the elevator and is stopped by ROB MARLOWE , a little weasel man with a hip haircut and expensive clothes .</scene_description> <character>ROB</character> <dialogue>So they fucking fired you, huh dipshit? I always knew the Black Plague would never work as a movie. Guess the 1300's were as much of a loser as you are.</dialogue> <character>MARK</character> <dialogue>Please do n't make me feel worse. Or actually whatever, go ahead, I do n't think I could possibly feel worse.</dialogue> <character>ROB</character> <dialogue>I fucking always hated you. You're a shitty writer assigned to a shitty century and you're a little man bitch. But I was always threatened by you because I knew there was something different about you that I did n't understand and I fucking hate things I do n't understand. But you will always be a loser and I will always be more successful than you in nearly every way. That's just the way it is. And Shelley calls you an ass fag behind your back.</dialogue> <character>MARK</character> <dialogue>Well, now I feel worse.</dialogue> <scene_description>Rob storms off . Mark slinks into the elevator and hangs his head in shame as the doors close .</scene_description> </scene> <scene> <stage_direction>EXT. ELDERLY HOME - DAY</stage_direction> <scene_description>ANGLE ON SIGN : `` A SAD PLACE FOR HOPELESS OLD PEOPLE '' Mark enters the building .</scene_description> </scene> <scene> <stage_direction>INT. ELDERLY HOME - DAY</stage_direction> <scene_description>Mark walks up to the front desk to find a young receptionist .</scene_description> <character>RECEPTIONIST</character> <dialogue>Are you looking to abandon an elderly person?</dialogue> <character>MARK</character> <dialogue>I already have. Martha Bellison. I'm her grandson.</dialogue> <character>RECEPTIONIST</character> <dialogue>Ooh, it's good you're here. She's not doing well. You should say your final goodbyes today.</dialogue> <character>MARK</character> <dialogue>You say that every time I'm here.</dialogue> <character>RECEPTIONIST</character> <dialogue>She's at the top of our death pool.</dialogue> <scene_description>Mark walks down the hall , passing different elderly people who reach out to him .</scene_description> <character>ELDERLY PERSON #1</character> <dialogue>You look like my dead son.</dialogue> <character>ELDERLY PERSON #3</character> <dialogue>Life gets worse with each passing minute.</dialogue> <character>ELDERLY PERSON #4</character> <dialogue>I'm on pills that make everything orange.</dialogue> <scene_description>Mark opens a door and enters .</scene_description> </scene> <scene> <stage_direction>INT. MARTHA SCHIFFMAN'S ROOM - DAY</stage_direction> <scene_description>An elderly woman in a light blue robe sits on the side of her bed , with her back to Mark , staring at the wall only inches from her face .</scene_description> <character>MARK</character> <dialogue>Oh Grandma, that is so depressing. Come on, at least stare at the ceiling or something.</dialogue> <scene_description>Mark takes his grandmother by the hand and steers her to the other side of her bed .</scene_description> <character>MARTHA</character> <dialogue>The television is broken.</dialogue> <character>MARK</character> <dialogue>The television is n't broken. You probably sat on the remote and changed it to channel two again.</dialogue> <scene_description>Mark flicks on the TV with the remote . Static fills the screen . He changes the channel and a picture comes into view .</scene_description> <character>MARK</character> <dialogue>See, you had it on the wrong channel. It needs to be on channel three in order for the satellite to work.</dialogue> <character>MARTHA</character> <dialogue>I do n't understand anything you just said and that makes me scared and angry.</dialogue> <character>MARK</character> <dialogue>I ca n't understand what it feels like to be you so it just irritates me and makes me think you're stupid. But I also love you and wish things were better for you.</dialogue> <character>MARTHA</character> <dialogue>I do too.</dialogue> <character>MARK</character> <dialogue>Grandma, I lost my job today. I'm forty years old. I'm completely alone and I've got absolutely no prospects for anything.</dialogue> <character>MARTHA</character> <dialogue>I'm sorry, Mark. Things are n't any better for me here. I ca n't afford most of my medication, I'm very alone and I forget more and more every day.</dialogue> <character>MARK</character> <dialogue>I'm just so tired of life. Why does life have to be so. what's the word? Do n't you sometimes wish you could change things? Do n't you sometimes wish you were n't such a loser?</dialogue> <character>MARTHA</character> <dialogue>I do n't think I'm a loser.</dialogue> <character>MARK</character> <dialogue>Of course you're a loser, grandma. Our family is made up of losers. We're all poor, we're all average looking, we're all only moderately intelligent, we're all lonely and unloved.</dialogue> <character>MARTHA</character> <dialogue>Well, we're poor because we were n't born with money and it's very hard to make enough money in a single lifetime to move from one social class to another. We're only moderately intelligent because there's been a lot of inbreeding in our lineage. And we're only lonely and unloved right now. Remember, I've had two husbands I loved very much in my lifetime. And maybe one day you'll have a wife that you love very much too.</dialogue> <character>MARK</character> <dialogue>Yeah, but I'm not talking about the past, Grandma. I'm talking about right now. And right now we're both losers, Grandma. We're both shitty, shitty losers. Do n't you know that?</dialogue> <character>MARTHA</character> <dialogue>I suppose we are. But things could be worse. We could be homeless.</dialogue> <character>MARK</character> <dialogue>I'd rather be dead than be homeless. That's why I need to get out there and find a job. If I have to be homeless, I'm going to kill myself.</dialogue> <character>MARTHA</character> <dialogue>Well that's sad. I love you, Mark. Good luck finding a job!</dialogue> <character>MARK</character> <dialogue>I love you too, Grandma.</dialogue> <scene_description>Mark leaves . As he shuts the door from the hallway he hears the channel change and turn back to static .</scene_description> <character>MARTHA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Oops.</dialogue> </scene> <scene> <stage_direction>INT. BAR - AFTERNOON</stage_direction> <scene_description>Mark and his friend GREG -LRB- 40 'S -RRB- , an even less attractive , less interesting and less intelligent version of Mark , are bellied up the bar with half empty beers in front of them .</scene_description> <character>MARK</character> <dialogue>I'll start looking for a job tomorrow.</dialogue> <character>GREG</character> <dialogue>Lately I do n't like Indian people.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>I do n't like white people even more though. I fucking hate white people. I fucking hate people.</dialogue> <character>MARK</character> <dialogue>Hey, thanks for setting me up with your cousin by the way.</dialogue> <character>GREG</character> <dialogue>Third cousin. She's hot right?</dialogue> <character>MARK</character> <dialogue>Very.</dialogue> <character>GREG</character> <dialogue>Way out of your league. Dunno why you bothered.</dialogue> <character>MARK</character> <dialogue>It felt nice to go out with someone that pretty. Like for just one moment I experienced what it would be like to be the type of person someone like that would date. It felt good. Does n't matter anyway. I will always be just who I am right now : average looking, of average intelligence with an average personality. Just a completely generic human being.</dialogue> <character>GREG</character> <dialogue>Your life is still better than mine.</dialogue> <character>MARK</character> <dialogue>By a good margin.</dialogue> <scene_description>A sad beat .</scene_description> <character>GREG</character> <dialogue>Lately I've been crying in my sleep and waking up in a pool of urine.</dialogue> <character>MARK</character> <dialogue>I really wish I had a better friend than you.</dialogue> <character>GREG</character> <dialogue>So, what are you going to do now?</dialogue> <character>MARK</character> <dialogue>I do n't know. Guess I'll start looking for another crappy job.</dialogue> <character>GREG</character> <dialogue>Doubt you'll find one. Not much need for an out - of - work writer specializing in the Black Plague.</dialogue> <scene_description>Mark downs his last shot .</scene_description> <character>MARK</character> <dialogue>I'm going to go now. You're seriously depressing me. I really wish I was cool enough to have a better friend than you.</dialogue> <character>GREG</character> <dialogue>I'm the best you're gon na get, man. Call me later.</dialogue> <character>MARK</character> <dialogue>Yeah.</dialogue> <scene_description>Mark gets up and drunkenly stumbles out of the bar .</scene_description> </scene> <scene> <stage_direction>INT. MARK'S APARTMENT - BEDROOM - NIGHT</stage_direction> <scene_description>Mark drunkenly lies in bed . He picks up the phone and dials .</scene_description> <character>JENNIFER</character> <parenthetical>( ON PHONE . )</parenthetical> <dialogue>Hello?</dialogue> <scene_description>Mark just breathes , too scared to say anything .</scene_description> <character>JENNIFER</character> <parenthetical>( ON PHONE . )</parenthetical> <dialogue>Hello? I can hear you breathing. Is this a rapist?</dialogue> <character>MARK</character> <parenthetical>( QUICKLY . )</parenthetical> <dialogue>No, it's Mark. I'm sorry.</dialogue> <scene_description>Mark hangs up quickly , embarrassed and ashamed . He sighs and turns off the light . THE NEXT MORNING The alarm clock goes off .</scene_description> <character>MARK</character> <dialogue>Shut the fuck up, I do n't even have a job!</dialogue> <scene_description>Mark tosses the alarm clock across the room and goes back to bed . LATER . A loud banging wakes Mark who groggily stumbles out of bed .</scene_description> </scene> <scene> <stage_direction>INT. MARK'S APARTMENT - LIVING ROOM - AFTERNOON</stage_direction> <scene_description>Mark opens the door to find his landlord , a middle aged , well - groomed man .</scene_description> <character>LANDLORD</character> <dialogue>I'm here for the rent.</dialogue> <character>MARK</character> <dialogue>I was going to come talk to you about that. I got fired yesterday.</dialogue> <character>LANDLORD</character> <dialogue>I know. That's why I'm here for the rent.</dialogue> <character>MARK</character> <dialogue>Well, I have n't got it.</dialogue> <character>LANDLORD</character> <dialogue>How much do you have?</dialogue> <character>MARK</character> <dialogue>I think I've got about three hundred dollars in my bank account.</dialogue> <character>LANDLORD</character> <dialogue>The rent is eight hundred dollars.</dialogue> <character>MARK</character> <dialogue>I know. I have n't got it.</dialogue> <character>LANDLORD</character> <dialogue>Then you're evicted. I'll help you with your things.</dialogue> <scene_description>A stunned Mark stands helpless as the Landlord pushes past him , grabs a lamp from his living room and carries it out into the hallway .</scene_description> <character>LANDLORD</character> <dialogue>Help me with the couch. It looks heavy.</dialogue> <scene_description>Mark sighs and follows the Landlord back into his apartment .</scene_description> </scene> <scene> <stage_direction>INT. MARK'S APARTMENT BUILDING - HALLWAY - AFTERNOON</stage_direction> <scene_description>With all of his belongings piled up in the hallway , a tired and sweaty Mark stares defeatedly at his landlord .</scene_description> <character>LANDLORD</character> <dialogue>You have one day to get your things out of this hallway.</dialogue> <character>MARK</character> <dialogue>How am I supposed to do that?</dialogue> <character>LANDLORD</character> <dialogue>You've got three hundred dollars. Rent a truck.</dialogue> <character>MARK</character> <dialogue>Oh, fuck me.</dialogue> <scene_description>Mark grits his teeth in rage .</scene_description> </scene> <scene> <stage_direction>INT. BANK - DAY</stage_direction> <scene_description>Mark steps up to the female teller at the bank . Mark is at the lowest point in his entire life .</scene_description> <character>BANK TELLER</character> <dialogue>How can I help you today?</dialogue> <character>MARK</character> <dialogue>I'd like to make a withdrawal.</dialogue> <character>BANK TELLER</character> <dialogue>Okay, sir. I'm confident I can help you with that.</dialogue> <character>MARK</character> <dialogue>I've just been evicted from my apartment so I need to withdraw what I have left in my account so I can move my things out. I guess I need to close out my account to do that.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>I think I'm about to be homeless.</dialogue> <scene_description>CLOSE ON MARK : This sinks in .</scene_description> <character>BANK TELLER</character> <dialogue>Unfortunately sir the system is down right now so I'm not going to be able to perform an account closure until the system is back up. But I can assist you in a withdrawal. How much would you like to withdraw?</dialogue> <character>MARK</character> <dialogue>Well, I'd like to withdraw eight hundred dollars.</dialogue> <scene_description>The bank teller smiles at Mark .</scene_description> <character>BANK TELLER</character> <dialogue>How much are you going to withdraw today, sir?</dialogue> <character>MARK</character> <dialogue>All of it. Just whatever is left.</dialogue> <character>BANK TELLER</character> <dialogue>The system is down, sir. Please tell me how much you have in your account?</dialogue> <scene_description>At the peak of his despair something suddenly comes over Mark . His face turns a light shade of red as the wheels begin to spin in his brain . He is fighting something within . WE FLY into Mark 's skull , traveling through his cerebral cortex and towards the frontal lobe of his brain . Sparks are flying back and forth across his brain as his synapses fire in rapid succession . There is a small explosion . We fly back out of Mark 's skull - his eyes are locked on the Bank Teller 's like a deer in the headlights .</scene_description> <character>BANK TELLER</character> <dialogue>Sir?</dialogue> <character>MARK</character> <parenthetical>( awkwardly fast . )</parenthetical> <dialogue>Eight hundred dollars.</dialogue> <character>BANK TELLER</character> <dialogue>Pardon me?</dialogue> <character>MARK</character> <parenthetical>( more confident . )</parenthetical> <dialogue>I have eight hundred dollars in my bank account.</dialogue> <scene_description>The teller locks eyes with Mark . then looks towards her computer .</scene_description> <character>BANK TELLER</character> <dialogue>Wait a second here. The system just came back up.</dialogue> <parenthetical>( to co - worker . )</parenthetical> <dialogue>System seems to be back up, guys.</dialogue> <parenthetical>( to Mark . )</parenthetical> <dialogue>Just one second while I access your account. You said you're withdrawing eight hundred, correct?</dialogue> <scene_description>Mark breaks out in a cold sweat .</scene_description> <character>MARK</character> <dialogue>Yup.</dialogue> <scene_description>The bank teller types on her keyboard .</scene_description> <character>BANK TELLER</character> <dialogue>Well, look at this. It says here you've only got three hundred dollars in your account. But you said you wanted to withdraw eight hundred?</dialogue> <scene_description>Mark does n't know what to say . He tries to speak but nothing comes out .</scene_description> <character>BANK TELLER</character> <dialogue>I apologize for this sir, but it seems our system has made a mistake. Hold on one second while I go and get your eight hundred dollars. Did you want that in large or small bills?</dialogue> <scene_description>Mark gulps .</scene_description> <character>MARK</character> <dialogue>Large bills.</dialogue> <scene_description>The teller walks away . Mark looks around nervously , awkwardly smiling at the other tellers .</scene_description> <character>BANK TELLER</character> <parenthetical>( to co - worker . )</parenthetical> <dialogue>Guys the computers seem to be a bit buggy. Will someone call James to come in and look into it, please?</dialogue> <scene_description>Moments later the Bank Teller returns and begins counting out eight hundred dollars for Mark . Mark stares at the money with wide eyes .</scene_description> <character>BANK TELLER</character> <dialogue>There you are. Eight hundred dollars. Anything else I can do for you today?</dialogue> <scene_description>In shock , Mark shakes his head . The bank teller smiles big at him .</scene_description> <character>BANK TELLER</character> <dialogue>Sometimes our computers can get a bit buggy, especially when the system goes down. Sorry for any inconvenience.</dialogue> <character>MARK</character> <dialogue>It's no problem.</dialogue> <scene_description>Mark takes his money and hurriedly walks away .</scene_description> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>Bursting out of the bank , Mark is a caveman who just invented fire .</scene_description> </scene> <scene> <stage_direction>INT. MARK'S APARTMENT BUILDING -- UNIT 1A</stage_direction> <scene_description>Mark knocks on his LANDLORD 'S door . A short , stodgy old man opens the door .</scene_description> <character>LANDLORD</character> <dialogue>What are you doing here?</dialogue> <scene_description>Mark holds out a wad of money .</scene_description> <character>MARK</character> <dialogue>Paying my rent.</dialogue> <scene_description>The landlord looks at the money and slowly reaches out to take it .</scene_description> <character>LANDLORD</character> <dialogue>Where did you get this money?</dialogue> <character>MARK</character> <dialogue>It was amazing. I went in to the bank and the system was down and I was going to take out three hundred dollars but she asked me how much I'd like to take out and.</dialogue> <scene_description>Mark stops himself . Something else takes over within .</scene_description> <character>MARK</character> <dialogue>I found it. Lying on the street.</dialogue> <scene_description>The Landlord and Mark both lock eyes for a tense beat .</scene_description> <character>LANDLORD</character> <dialogue>Okay. Lucky.</dialogue> <character>MARK</character> <dialogue>Give me my key back.</dialogue> </scene> <scene> <stage_direction>INT. MARK'S APARTMENT - DAY</stage_direction> <scene_description>Mark jumps around his apartment , dancing and screaming . Mark is a caveman who just invented sex .</scene_description> <character>MARK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Today I stumbled upon something no man has ever stumbled upon before. What I have done today they will write about in history books for generations to come. And yet, only moments ago. it was unfathomable not only to myself, but to mankind as a whole. What I have found there is no word for. And it was as simple as.</dialogue> <parenthetical>( long pause . )</parenthetical> <dialogue>. how do I explain this.</dialogue> <parenthetical>( long pause . )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>EXT. BAR - DAY</stage_direction> <scene_description>Mark and Greg sit at the bar , Greg half listening as an inspired Mark ends his monologue .</scene_description> <character>MARK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I said something. that was n't.</dialogue> <scene_description>Greg perks up .</scene_description> <character>GREG</character> <dialogue>Huh?</dialogue> <character>MARK</character> <dialogue>I said something. that. was n't. I. what's the word I'm looking for? Well, there is no word. Of course there's not, I just invented it.</dialogue> <scene_description>Mark is frustrated by his inability to explain .</scene_description> <character>MARK</character> <dialogue>Here. Watch.</dialogue> <parenthetical>( calling over bartender . )</parenthetical> <dialogue>Jim.</dialogue> <scene_description>JIM , mid - 40 's , short and stout , waddles over .</scene_description> <character>JIM</character> <dialogue>What?</dialogue> <scene_description>Mark , stands up , clears his throat , and holds his hands out like `` gim me some room '' . There 's a long pause as Mark summons his newfound talent :</scene_description> <character>MARK</character> <parenthetical>( PROFOUNDLY . )</parenthetical> <dialogue>My name is Doug.</dialogue> <scene_description>Greg and Jim look at Mark confusedly .</scene_description> <character>GREG</character> <parenthetical>( dead serious . )</parenthetical> <dialogue>Your name is Doug.</dialogue> <character>JIM</character> <parenthetical>( without hesitation . )</parenthetical> <dialogue>Hi Doug.</dialogue> <character>GREG</character> <dialogue>It amazes me that I never knew your real name.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>Doug is good. It suits you.</dialogue> <scene_description>Mark is flabbergasted .</scene_description> <character>MARK</character> <dialogue>Come on guys. Are you serious? What's my name?</dialogue> <character>GREG</character> <dialogue>It's Doug.</dialogue> <character>JIM</character> <dialogue>Doug.</dialogue> <character>MARK</character> <dialogue>No. My name is Mark.</dialogue> <character>GREG</character> <parenthetical>( still dead serious . )</parenthetical> <dialogue>Your name is Mark.</dialogue> <character>JIM</character> <parenthetical>( still without hesitation . )</parenthetical> <dialogue>Hi Mark.</dialogue> <character>GREG</character> <dialogue>Mark suits you much better.</dialogue> <character>JIM</character> <dialogue>Mark - o.</dialogue> <character>MARK</character> <dialogue>You guys are n't following me.</dialogue> <parenthetical>( THINKING . )</parenthetical> <dialogue>Okay, guys. I'm black.</dialogue> <character>GREG</character> <dialogue>I knew it.</dialogue> <character>JIM</character> <dialogue>You're very light skinned, but I can see it.</dialogue> <character>GREG</character> <dialogue>I've always wanted a black friend.</dialogue> <scene_description>Mark punches the bar in anger .</scene_description> <character>MARK</character> <dialogue>Fuck it, I'm an Eskimo.</dialogue> <character>GREG</character> <dialogue>Fantastic.</dialogue> <character>JIM</character> <dialogue>I've never seen a black Eskimo.</dialogue> <character>MARK</character> <dialogue>Okay, I'm a pirate.</dialogue> <character>GREG</character> <dialogue>I did n't know they still had those.</dialogue> <character>JIM</character> <dialogue>Are you a dangerous pirate?</dialogue> <character>MARK</character> <dialogue>Okay then, I'm a lion tamer. and I have purple hair.</dialogue> <character>GREG</character> <dialogue>Are n't you scared you'll get bitten one day?</dialogue> <character>JIM</character> <parenthetical>( to Greg . )</parenthetical> <dialogue>I want to die my hair purple just like Mark's.</dialogue> <scene_description>Greg nods . Mark sighs . INSERT : `` TWO HOURS LATER '' Mark sits at the bar looking completely bored .</scene_description> <character>JIM</character> <dialogue>I'm a one - armed Jewish space explorer.</dialogue> <character>GREG</character> <dialogue>When's your launch date?</dialogue> <character>JIM</character> <dialogue>Shalom. How'd you lose your arm?</dialogue> <character>MARK</character> <dialogue>I invented the bicycle.</dialogue> <character>GREG</character> <dialogue>I love your work.</dialogue> <character>JIM</character> <dialogue>Can you get me a discount on a ten speed?</dialogue> <scene_description>Mark sighs , finishes his beer and gets up to leave .</scene_description> <character>MARK</character> <dialogue>I give up. And I'm bored.</dialogue> <scene_description>Mark heads towards the door , dejected . He turns back .</scene_description> <character>MARK</character> <dialogue>Guys, if you had the power to make things the way you wanted them, what would you do first?</dialogue> <character>GREG</character> <dialogue>If I could do anything in the world?</dialogue> <character>JIM</character> <dialogue>Anything at all?</dialogue> <character>MARK</character> <dialogue>Pretty much.</dialogue> <scene_description>Greg and Jim think this over long and hard .</scene_description> <character>GREG</character> <dialogue>I'd bone bitches asses.</dialogue> <character>JIM</character> <dialogue>Right in the ass.</dialogue> <character>MARK</character> <dialogue>Specifically the ass?</dialogue> <character>GREG</character> <dialogue>If I could change things I would make all the hot chicks bone me.</dialogue> <character>JIM</character> <dialogue>Agreed.</dialogue> <scene_description>Mark mulls this over .</scene_description> <character>MARK</character> <dialogue>Alright then, let's try that.</dialogue> <scene_description>Mark downs his beer and heads towards the exit .</scene_description> <character>GREG</character> <dialogue>Where are you going?</dialogue> <character>MARK</character> <dialogue>Out.</dialogue> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>Mark walks the street , a hunter looking for his prey . Within seconds Mark spots a gorgeous blonde walking right towards him . He stops in his track , quickly trying to decide how best to proceed . But as the blonde passes him he just stares at her like a deer in the headlights .</scene_description> <character>BLONDE</character> <dialogue>Do n't look at me, I'm not attracted to you.</dialogue> <scene_description>The blonde walks away . Mark stands on the sidewalk staring off into space , the wheels in his mind working overtime . Then it hits him .</scene_description> <character>MARK</character> <dialogue>Wait!</dialogue> <character>BLONDE</character> <dialogue>Do n't bother. I've heard it all before.</dialogue> <character>MARK</character> <parenthetical>( BLURTING . )</parenthetical> <dialogue>THE WORLD IS GOING TO END IF WE DO N'T HAVE SEX RIGHT NOW!</dialogue> <scene_description>Immediately the blonde 's eyes well up in tears . She is terrified .</scene_description> <character>BLONDE</character> <dialogue>Do we have time to get to a motel or do we have to do it right here?</dialogue> <scene_description>Mark is a caveman who just invented his penis .</scene_description> </scene> <scene> <stage_direction>EXT. A MOTEL -- DAY</stage_direction> <scene_description>The neon sign outside reads `` A Cheap Motel for Intercourse with a Near Stranger '' . We slowly PUSH IN on the door of room 206 . We hear noises inside that at first sound like moaning , but as we get closer . they sound more like crying .</scene_description> </scene> <scene> <stage_direction>INT. MOTEL - ROOM 206 - DAY</stage_direction> <scene_description>Bawling her eyes out and sitting on the bed doing her best to get her shoes off , is the hot blonde . Mark sits across from her , a look of guilt and revulsion on his face . This is not what he expected .</scene_description> <character>BLONDE</character> <parenthetical>( BAWLING . )</parenthetical> <dialogue>I'm sorry, I'm just so scared. I do n't want the world to end. I do n't want to die in this motel room. I think I'm going to throw up. Help me get my pants off.</dialogue> <scene_description>Mark stands up . The blonde grabs him and pulls him towards her . He pulls away .</scene_description> <character>MARK</character> <dialogue>This is n't right.</dialogue> <scene_description>The blonde screams and drops to her knees .</scene_description> <character>BLONDE</character> <dialogue>No! We have to have sex! The world is going to end! Think of the children and little babies!</dialogue> <scene_description>Mark looks down at this panicked , helpless girl and feels really , really bad about himself .</scene_description> <character>MARK</character> <dialogue>Just calm down for one second.</dialogue> <scene_description>Mark walks over to the phone and picks it up .</scene_description> <character>BLONDE</character> <dialogue>How can I be calm? The world might end any second! DO N'T YOU UNDERSTAND?! WE'RE ALL GOING TO DIE!</dialogue> <character>MARK</character> <parenthetical>( to phone . )</parenthetical> <dialogue>Hello. NASA? Yes, it's. me. Oh, good. That's very good news. Good news indeed.</dialogue> <scene_description>Mark hangs up the phone . The blonde is rocking back and forth on the bed in a fetal position .</scene_description> <character>MARK</character> <dialogue>We're going to be okay. The world is n't going to end. Everyone is going to be fine.</dialogue> <scene_description>The blonde tackles him in a bear hug , sobbing and laughing .</scene_description> <character>BLONDE</character> <dialogue>WE'RE GOING TO LIVE! We're going to live! Thank you! Thank you!</dialogue> <scene_description>The blonde falls onto the bed in exhaustion .</scene_description> <character>BLONDE</character> <dialogue>This has been the worst. and the best. day of my life.</dialogue> <character>MARK</character> <dialogue>Okay, I got ta go.</dialogue> <character>BLONDE</character> <dialogue>Oh no, please stay. We've been through so much together.</dialogue> <scene_description>Mark stares at this helpless girl for a moment .</scene_description> <character>MARK</character> <dialogue>I'm an asshole.</dialogue> <scene_description>The blonde 's face and mood do an instant 180 .</scene_description> <character>BLONDE</character> <parenthetical>( SPITEFUL . )</parenthetical> <dialogue>Well, I hate assholes. Get out of here.</dialogue> <scene_description>The blonde chucks her shoes at Mark as he closes the door .</scene_description> </scene> <scene> <stage_direction>EXT. MOTEL -- DAY</stage_direction> <scene_description>Mark walks across the parking lot . A look of total shock on his face .</scene_description> </scene> <scene> <stage_direction>INT. BAR - DUSK</stage_direction> <scene_description>Greg is in the exact same position Mark left him in , but he 's twice as drunk . Mark plops down next to him , dazed and upset .</scene_description> <character>MARK</character> <dialogue>That was one of the worst experiences of my life.</dialogue> <character>GREG</character> <parenthetical>( SHIT - FACED . )</parenthetical> <dialogue>Did you invent a new kind of bike?</dialogue> <character>MARK</character> <dialogue>What else would you do if you could do anything in the world?</dialogue> <character>GREG</character> <dialogue>Bone chicks asses. That's what I'd do.</dialogue> <character>MARK</character> <dialogue>What else though. What's the second thing you'd do.</dialogue> <scene_description>Greg nods off . Mark nudges him .</scene_description> <character>GREG</character> <dialogue>What else would you do, dipshit?</dialogue> <character>MARK</character> <dialogue>I'd get money. I'd get all the money.</dialogue> <scene_description>Greg passes out . Mark nods his head , takes the three full shots sitting in front of Greg and does them all .</scene_description> <character>MARK</character> <dialogue>Yeah. Let's do that. Greg, let's go.</dialogue> <character>GREG</character> <dialogue>What?</dialogue> <character>MARK</character> <dialogue>We're going on a trip.</dialogue> <scene_description>Greg immediately perks up .</scene_description> <character>GREG</character> <dialogue>I'll drive.</dialogue> </scene> <scene> <stage_direction>INT. MARK'S CAR -- NIGHT</stage_direction> <scene_description>Greg is driving , Mark rides shotgun , both of them are completely plastered .</scene_description> <character>MARK</character> <dialogue>Thanks for driving man, I'm completely plastered.</dialogue> <character>GREG</character> <dialogue>I'm just as hammered as you. But I do n't care if I get arrested. I'm trying to hit bottom.</dialogue> <scene_description>WHOOP - WHOOP come the flashing lights of a cop car right behind them . Greg begins to pull over .</scene_description> <character>GREG</character> <dialogue>Here comes bottom.</dialogue> <scene_description>Mark looks worried . The cop comes to Greg 's window .</scene_description> <character>COP</character> <dialogue>Nothing safer than pulling over two nerdy white guys in their forties.</dialogue> <character>GREG</character> <dialogue>I do n't want to go to jail.</dialogue> <character>COP</character> <dialogue>Are you drunk?</dialogue> <character>GREG</character> <dialogue>Yes.</dialogue> <character>COP</character> <dialogue>Then you're going to jail. Blow in here, son.</dialogue> <scene_description>The cop pulls out a Breathalyzer and holds it up to Greg 's mouth .</scene_description> <character>MARK</character> <dialogue>Wait, officer. Do n't do that.</dialogue> <character>COP</character> <dialogue>I do n't think you can afford my bribe, son.</dialogue> <character>MARK</character> <dialogue>How much does it cost to bribe you?</dialogue> <character>COP</character> <dialogue>At least five grand.</dialogue> <character>MARK AND GREG</character> <dialogue>Wow, that's high.</dialogue> <character>COP</character> <dialogue>I need to feel that I've got some sense of integrity.</dialogue> <scene_description>Greg blows in the Breathalyzer .</scene_description> <character>COP</character> <dialogue>Whoa, that's off the charts. Step out of the car, son. You're drunk and going to jail.</dialogue> <scene_description>Greg opens the door .</scene_description> <character>MARK</character> <dialogue>Wait.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>He's not drunk.</dialogue> <scene_description>Greg stumbles and falls , passing out in the dirt . The cop stares at Mark for a long beat while his brain wraps around this .</scene_description> <character>COP</character> <dialogue>Oh.</dialogue> <scene_description>The cop bangs his Breathalyzer against his leg .</scene_description> <character>COP</character> <dialogue>Damn thing must be broken.</dialogue> <scene_description>In the background we can hear Greg vomiting profusely . The cop picks up Greg and puts him back in the driver 's seat .</scene_description> <character>COP</character> <parenthetical>( to Greg . )</parenthetical> <dialogue>Son, you might want to drive yourself to the nearest hospital. You have food poisoning or some kind of flu.</dialogue> <scene_description>Mark is basically passed out , vomit drooling down his chin . He could n't look more drunk . The cop and Mark stare at him for a beat .</scene_description> <character>COP</character> <parenthetical>( to Mark . )</parenthetical> <dialogue>Maybe you oughta drive, son.</dialogue> <character>MARK</character> <dialogue>Good idea.</dialogue> <scene_description>MOMENTS LATER Driving away with Greg in the passenger seat , a giant smile comes across Mark 's face as he begins to laugh .</scene_description> <character>MARK</character> <dialogue>That was awesome!</dialogue> <character>GREG</character> <dialogue>Stop laughing, I'm sick.</dialogue> <character>MARK</character> <dialogue>You're gon na be all right, Greg.</dialogue> <character>GREG</character> <dialogue>Oh good!</dialogue> <scene_description>Greg vomits all over himself .</scene_description> <character>GREG</character> <dialogue>Stupid stomach flu.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>Where are we going?</dialogue> <character>MARK</character> <dialogue>Vegas, baby. Vegas.</dialogue> </scene> <scene> <stage_direction>EXT. BELLAGIO - NIGHT</stage_direction> <scene_description>Mark pulls in front of the Bellagio hotel and casino . Both Mark , and a very hungover looking Greg , pop out of the car . Mark hands the keys to the valet and they both stumble inside .</scene_description> </scene> <scene> <stage_direction>INT. BELLAGIO - NIGHT</stage_direction> <scene_description>It 's the Bellagio . We 've all been there .</scene_description> <character>GREG</character> <dialogue>What are we doing here? We do n't have any money to throw away.</dialogue> <character>MARK</character> <dialogue>Sure we do.</dialogue> <scene_description>Mark pulls out a small wad of money .</scene_description> <character>GREG</character> <dialogue>What is that, a few hundred bucks? That's not going to last us very long.</dialogue> <character>MARK</character> <dialogue>Sure it will.</dialogue> <scene_description>Mark and Greg step up to the chip counter . Mark slides his small wad through the window .</scene_description> <character>MARK</character> <dialogue>Chips please.</dialogue> <scene_description>The CHIP WOMAN looks at his money .</scene_description> <character>CHIP WOMAN</character> <dialogue>There's a very good chance you'll lose all this money here tonight.</dialogue> <character>MARK</character> <dialogue>I know.</dialogue> <character>CHIP WOMAN</character> <dialogue>And even if you do happen to win, there's an even better chance that in the long run we'll win it back.</dialogue> <character>MARK</character> <dialogue>I know.</dialogue> <character>CHIP WOMAN</character> <dialogue>Some of the games are fixed. Like all the ones that use computers.</dialogue> <character>MARK</character> <dialogue>I know.</dialogue> <scene_description>The woman slides him a short stack of chips . Greg frowns . Mark and Greg walk towards the tables . Mark and Greg look around . A cocktail waitress approaches .</scene_description> <character>COCKTAIL WAITRESS</character> <dialogue>If I could be a stripper I would, but I'm not attractive enough. Drinks, guys?</dialogue> <character>GREG</character> <dialogue>No. I have a stomach flu.</dialogue> <character>MARK</character> <dialogue>We'll both have beers and we'll take them at that roulette table over there.</dialogue> <scene_description>Mark points to a table and walks away . The waitress nods .</scene_description> <character>GREG</character> <dialogue>Oh come on, roulette is the stupidest game of them all. It's pure chance, no skill whatsoever.</dialogue> <character>MARK</character> <dialogue>It's okay. I'm feeling lucky.</dialogue> <character>GREG</character> <dialogue>You've never had a lucky day in your life.</dialogue> <character>MARK</character> <dialogue>Just watch.</dialogue> <scene_description>They arrive at the roulette table .</scene_description> <character>ROULETTE DEALER</character> <dialogue>Get your bets in, get your bets in. The house always wins in the long run. Because of the zero's on the board every bet is slightly favored towards the house.</dialogue> <scene_description>Mark puts his chips down on seventeen black . The dealer starts the wheel . The ball comes to a stop on twenty - seven red .</scene_description> <character>ROULETTE DEALER</character> <dialogue>Twenty - seven red. No one wins.</dialogue> <scene_description>In full view , Mark slides his chips over to twenty - seven red .</scene_description> <character>MARK</character> <dialogue>I'm on twenty - seven red.</dialogue> <scene_description>The dealer looks at this . His brain takes a moment to respond .</scene_description> <character>ROULETTE DEALER</character> <dialogue>We have a winner. Congratulations, sir.</dialogue> <scene_description>The dealer stacks up Mark 's new chips and pushes them over to him .</scene_description> <character>GREG</character> <dialogue>You did it. You just, like, quadrupled your money. You lucky son of a bitch.</dialogue> <character>MARK</character> <dialogue>That's nothing. Watch this.</dialogue> <scene_description>Mark puts all of his chips on double zero . A bunch of other people scatter their chips around the table as well .</scene_description> <character>ROULETTE DEALER</character> <dialogue>Get your bets in, get your bets in. The house always wins in the long run. Fork over your money right here folks. I say this so often I want to kill myself.</dialogue> <scene_description>The dealer spins the ball . It comes to a halt on nine black .</scene_description> <character>ROULETTE DEALER</character> <dialogue>Nine black. No winners.</dialogue> <scene_description>Mark takes ALL of the chips on the table , both his and EVERYONE ELSE 'S and slides them together into a giant pile and sits them right on nine black .</scene_description> <character>MARK</character> <dialogue>I'm on nine black. These are all mine.</dialogue> <scene_description>The table cheers for Mark . Some people are a bit confused , and a slight hubbub arises in the background : `` I thought I had chips on the table . '' `` Yeah , me too . '' `` We must be drunk . '' `` That guys is lucky ! '' Even the dealer looks a bit confused . but gets over it quickly .</scene_description> <character>ROULETTE DEALER</character> <dialogue>Nine black wins. Big winner. Congratulations, sir.</dialogue> <scene_description>The roulette dealer slides about five grand in chips over to Mark . Greg 's jaw is on the floor .</scene_description> <character>GREG</character> <dialogue>Do it again.</dialogue> <scene_description>Mark notices the confused people around him .</scene_description> <character>MARK</character> <dialogue>I do n't think I should. Lets go play slots.</dialogue> <scene_description>MOMENTS LATER Mark is talking to a Pit Man right in front of a slot machine .</scene_description> <character>MARK</character> <dialogue>Hi, I just won a major jackpot on this slot machine but no money came out.</dialogue> <character>PIT MAN</character> <dialogue>I'm sorry about that, sir. Let me get that fixed for you. And can I say congratulations, sir.</dialogue> <character>MARK</character> <dialogue>Thank you.</dialogue> <scene_description>The Pit Man whispers a few words into his lapel mic . MOMENTS LATER Mark and Greg , each carrying four giant buckets overflowing with chips , waddle through the casino .</scene_description> <character>GREG</character> <dialogue>This is the most amazing night of my life.</dialogue> </scene> <scene> <stage_direction>INT. BELLAGIO - PENTHOUSE SUITE - DAY</stage_direction> <scene_description>Mark and Greg lounge around the Bellagio penthouse suite , piles of chips and cash lying around them . Greg is pacing delightedly . Mark lies on the couch , unsatisfied .</scene_description> <character>GREG</character> <dialogue>It amazes me the winning streak you're on. You must be the luckiest man in the world.</dialogue> <character>MARK</character> <dialogue>Well, sort of.</dialogue> <character>GREG</character> <dialogue>It was like we could n't lose.</dialogue> <character>MARK</character> <dialogue>We could n't lose.</dialogue> <character>GREG</character> <dialogue>Do you have a system?</dialogue> <character>MARK</character> <dialogue>I've got a system.</dialogue> <character>GREG</character> <dialogue>Well, with your system in just a few weeks I figure we could be the richest people in the world.</dialogue> <character>MARK</character> <dialogue>And then what?</dialogue> <character>GREG</character> <dialogue>Well, here's what I'm thinking. We take all the money in the world. and put it on black.</dialogue> <character>MARK</character> <dialogue>Why put it on black? Why stop there? Put it on a number and get thirty five times back.</dialogue> <scene_description>Greg 's eyes widen at the thought .</scene_description> <character>GREG</character> <dialogue>That's exactly what we'll do.</dialogue> <character>MARK</character> <dialogue>Hold on, I think I found a flaw in your plan. How can they pay us if we have all the money in the world?</dialogue> <character>GREG</character> <dialogue>Well, they'd just have to.</dialogue> <character>MARK</character> <dialogue>Well, they ca n't because we've got it all.</dialogue> <character>GREG</character> <dialogue>Well, they'd better find it. They ca n't let us bet if they're not going to pay us back. They'll have to just give us the casino.</dialogue> <character>MARK</character> <dialogue>We already own the casino. We've got all the money in the world. We'll be betting against ourselves.</dialogue> <character>GREG</character> <dialogue>Then we'll go to another casino.</dialogue> <character>MARK</character> <dialogue>We own that one too. We won that.</dialogue> <character>GREG</character> <dialogue>So we own all the casino's?</dialogue> <character>MARK</character> <dialogue>Yup.</dialogue> <character>GREG</character> <dialogue>And if we win we ca n't pay us back because we already have all the money?</dialogue> <character>MARK</character> <dialogue>Yes.</dialogue> <scene_description>Greg thinks this over for a long beat .</scene_description> <character>GREG</character> <dialogue>Only one thing we can do then.</dialogue> <character>MARK</character> <dialogue>I'm listening.</dialogue> <character>GREG</character> <dialogue>Take ourselves into the back room and break our own fingers.</dialogue> <character>MARK</character> <dialogue>Brilliant.</dialogue> </scene> <scene> <stage_direction>INT. MARK'S APARTMENT BUILDING - LOBBY - MORNING</stage_direction> <scene_description>Mark , exhausted from his long night , waits for the elevator to arrive . The elevator doors open and Frank , the depressive neighbor , steps out .</scene_description> <character>MARK</character> <dialogue>Hey there, Frank.</dialogue> <character>FRANK</character> <dialogue>Mark. How's it going?</dialogue> <character>MARK</character> <dialogue>Pretty good, thanks.</dialogue> <scene_description>Frank stops and turns around , this is a different response .</scene_description> <character>FRANK</character> <dialogue>Really?</dialogue> <character>MARK</character> <dialogue>Yeah. You?</dialogue> <character>FRANK</character> <dialogue>Awful. I was doing some internet research last night about suffocation suicide. I'm probably going to give that a try tonight.</dialogue> <character>MARK</character> <dialogue>Oh.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>All right. Bye, Frank.</dialogue> <character>FRANK</character> <dialogue>Bye.</dialogue> <scene_description>Mark gets in the elevator , Frank walks away . A short beat . Mark exits the elevator and yells after Frank .</scene_description> <character>MARK</character> <dialogue>Frank!</dialogue> <scene_description>Frank , halfway out the building , turns around .</scene_description> <character>FRANK</character> <dialogue>Yeah?</dialogue> <character>MARK</character> <dialogue>Do n't do it.</dialogue> <scene_description>Frank thinks this over .</scene_description> <character>FRANK</character> <dialogue>Why not? I'm miserable. And no one will care.</dialogue> <character>MARK</character> <dialogue>I'll care.</dialogue> <character>FRANK</character> <dialogue>You're a loser, though.</dialogue> <character>MARK</character> <dialogue>Do n't do it, Frank. Things are going to be all right.</dialogue> <character>FRANK</character> <dialogue>They are?</dialogue> <character>MARK</character> <dialogue>Yes. You're going to meet someone soon. You wo n't be so lonely. Things are going to turn around at your job.</dialogue> <character>FRANK</character> <dialogue>My job's actually fine.</dialogue> <character>MARK</character> <dialogue>Well, things are going to get better. Better than they are.</dialogue> <character>FRANK</character> <dialogue>What about the depression?</dialogue> <character>MARK</character> <dialogue>It will go away very soon. You're going to be happy soon, Frank. You just need to wait for it. Listen to me : you do n't need to kill yourself.</dialogue> <scene_description>Something changes in Frank . A slight smile comes over him .</scene_description> <character>FRANK</character> <dialogue>Really?</dialogue> <character>MARK</character> <dialogue>Really.</dialogue> <scene_description>Frank laughs .</scene_description> <character>FRANK</character> <dialogue>Wow. Man, and that suffocation thing really seemed like a good idea.</dialogue> <character>MARK</character> <dialogue>It was n't.</dialogue> <character>FRANK</character> <dialogue>Okay. Well, my night's open now. You want to hang out later?</dialogue> <character>MARK</character> <dialogue>I do n't know. Not really.</dialogue> <scene_description>Frank 's smile fades a tiny bit .</scene_description> <character>MARK</character> <dialogue>Sure. Of course. Let's hang out.</dialogue> <character>FRANK</character> <dialogue>I'll see you after work.</dialogue> <character>MARK</character> <dialogue>Great.</dialogue> <scene_description>Mark gets back in the elevator to the sound of Frank laughing to himself as he exits the building . We hold on Mark for a moment as he smiles and nods his head .</scene_description> </scene> <scene> <stage_direction>INT. MARK'S APARTMENT - NIGHT</stage_direction> <scene_description>Mark sits at kitchen table , pen and paper in hand .</scene_description> <character>MARK</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( WRITING . )</parenthetical> <dialogue>I've discovered something today very important. and very powerful.</dialogue> <scene_description>MONTAGE Mark doing various good deeds throughout the day . V.O plays throughout . Marks walks up to the homeless man with the `` I do n't understand why I 'm homeless and you are all not '' sign . He says something to the homeless man , who quickly drops his sign and follows Mark .</scene_description> <character>MARK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I'm as excited as I've ever been in my entire life, and equally scared. I'm writing this down in a letter in case this thing I've discovered somehow ends up killing me. I want to ensure that, even if I was n't strong enough to use it, that my invention does n't once again disappear, never to be discovered again.</dialogue> <scene_description>Mark and the homeless man are at the bank . Mark is talking to the bank teller . The homeless man looks at Mark nervously . The teller leaves and comes back with stacks and stacks of cash .</scene_description> <character>MARK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>In just a few hours since I stumbled upon my discovery I have seen its potential for evil and I have seen its potential for good.</dialogue> <scene_description>Outside Lecture Films , Mark talks to the woman who was adamant about not wanting to go to work . He whispers a few words into her ear . She smiles , picks up her briefcase and gladly walks into work .</scene_description> <character>MARK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I must be careful with my discovery, for at this point I barely understand it, let alone think I have the power to control it. All I know is that if I'm not careful I could easily do irreparable damage to the world, or even cause my own premature death.</dialogue> <scene_description>Mark walks up to the arguing couple at the coffee shop , who are now sitting at different tables , not even looking at each other . He pulls up a chair next to each of them , individually , and says a few words to them . Within moments , the two of them are running into each other 's arms and making out passionately on the floor of the coffee shop .</scene_description> <character>MARK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Now, to explain my invention. In essence, my creation is the act of saying words that simply are not. For example, if I tell someone that my eyes are blue, then it simply becomes fact. I still know that, indeed, my eyes are brown, but no one else is aware of this fact, so therefore I have blue eyes. It's a game of numbers : there is only one of me who knows I have brown eyes, and so many of them who do not. The numbers always win.</dialogue> <scene_description>Mark is at the elderly home , walking the halls and whispering to his grandmother and each elderly person he passes , leaving each one of them with a smile upon their faces , and some with tears streaming down their cheeks .</scene_description> <character>MARK</character> <dialogue>Whoever is reading this, go ahead and try it. Tell someone your eyes are a different color then they are. I think you'll be amazed at the results. It's so simple and yet. so powerful. this thing I've invented.</dialogue> <scene_description>Mark and Frank are watching TV in Mark 's apartment . The two of them are drinking beers and having a good time watching television .</scene_description> <character>MARK</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Au Revoir, future reader, au revoir.</dialogue> <scene_description>Mark signs his letter , seals it in an envelope , writes `` MY INVENTION '' on the outside of it and sticks it in a drawer in his kitchen . END MONTAGE</scene_description> </scene> <scene> <stage_direction>INT. MARK'S BEDROOM - NIGHT</stage_direction> <scene_description>Mark lies in bed watching TV . He picks up the phone and dials .</scene_description> <character>MARK</character> <dialogue>Jennifer. It's Mark.</dialogue> <character>JENNIFER</character> <dialogue>Are you gon na hang up on me again?</dialogue> <character>MARK</character> <dialogue>No. Maybe. Who knows. I'm calling because I want to ask you out on another date.</dialogue> <character>JENNIFER</character> <dialogue>Why would you do that?</dialogue> <character>MARK</character> <dialogue>I discovered something yesterday. I found out I can pretty much have my life anyway I want it from now on.</dialogue> <character>JENNIFER</character> <dialogue>Congratulations. I got ta go.</dialogue> <character>MARK</character> <dialogue>Wait, and I know you said you did n't want to date me ever again, but I'm different now. Things have changed. I think I'm in your league now.</dialogue> <character>JENNIFER</character> <dialogue>You're better looking?</dialogue> <character>MARK</character> <dialogue>No. I'm not better looking. I'm just more. powerful. I think you have to see it for yourself.</dialogue> <character>JENNIFER</character> <dialogue>Have you been to the gym?</dialogue> <character>MARK</character> <dialogue>No, I have n't been to the gym. It's just. it's amazing. Things are different for me now. You have to see this. I think you'll hardly recognize me.</dialogue> <character>JENNIFER</character> <dialogue>Did you buy better clothes?</dialogue> <character>MARK</character> <dialogue>No, look can we just meet up?</dialogue> <scene_description>There is silence on the other end of the phone .</scene_description> <character>MARK</character> <dialogue>Jennifer, If there was even a glimmer of something about me that you liked, please say yes. You even admitted that we got along well. Just give me one more chance. Just one little teensy, tiny date.</dialogue> <character>JENNIFER</character> <dialogue>Okay, fine.</dialogue> <character>MARK</character> <dialogue>Fantastic. Tomorrow night. I'll pick you up at eight.</dialogue> <character>JENNIFER</character> <dialogue>Most likely it'll be our last date though, so just know that.</dialogue> <character>MARK</character> <parenthetical>( SARCASTIC . )</parenthetical> <dialogue>That's very sweet.</dialogue> <character>JENNIFER</character> <dialogue>No it was n't. Did you not hear what I said?</dialogue> <character>MARK</character> <dialogue>Yeah, no I was being.</dialogue> <parenthetical>( pause ; searching . )</parenthetical> <dialogue>. there's no word for it. See you tomorrow night.</dialogue> <character>JENNIFER</character> <dialogue>Bye.</dialogue> <scene_description>Mark hangs up happily .</scene_description> <character>MOVIE TRAILER VOICE</character> <parenthetical>( ON T.V . )</parenthetical> <dialogue>In Our World. in the 1800's.</dialogue> <scene_description>PAN ON TV : The screen is all black .</scene_description> <character>MOVIE TRAILER VOICE</character> <parenthetical>( ON T.V . )</parenthetical> <dialogue>came the greatest revolution of them all.</dialogue> <parenthetical>( climactic music . )</parenthetical> <dialogue>The Industrial Revolution.</dialogue> <scene_description>The black fades to ANGELO BADSMITH , a middle - aged African American man sitting before a fire in a green smoking jacket , holding a script .</scene_description> <character>MOVIE TRAILER VOICE</character> <parenthetical>( ON T.V . )</parenthetical> <dialogue>Written by famed screenwriter Rob Marlowe and read by Oscar winning Reader Angelo Badsmith.</dialogue> <character>ANGELO BADSMITH</character> <dialogue>Hello, I'm Angelo Badmsith. Come watch me read about the exciting events that took place during the Industrial Revolution. Also, I will tell you all about my personal misfortunes, such as my wife who cheated on me with a man named Perry.</dialogue> <scene_description>The screen reads : `` The Industrial Revolution . Summer ` 07 . '' BACK ON MARK : His eyes are wide . The wheels in his head are spinning again .</scene_description> <character>MARK</character> <dialogue>Rob Marlowe, your streak of success has finally come to an end.</dialogue> <scene_description>Suddenly Mark jumps and runs to his kitchen table . He grabs a pen , pulls out a sheet of paper . and begins writing . SERIES OF JUMP CUTS : Mark writing furiously throughout the night , piling up page upon page . By the time the sun comes up Mark is exhausted , with barely the energy to keep his head up as he writes `` the end '' and places the final page on his large stack of finished pages .</scene_description> </scene> <scene> <stage_direction>EXT. LECTURE FILMS - CAR LOT - MORNING</stage_direction> <scene_description>Mark hustles through the parking lot , manuscript in hand . He reaches the door and then stops - remembering something . Mark runs to the curb and throws his manuscript onto the dirty , filthy street . He gets down on his hands and knees and rubs his manuscript into the grime , making sure to get every page equally filthy . Satisfied , he organizes the pages into a neat pile and enters Lecture Films .</scene_description> </scene> <scene> <stage_direction>INT. LECTURE FILMS - WRITER'S OFFICES - DAY</stage_direction> <scene_description>Mark walks the aisles of Lecture Films . People stop to stare at him . There is a whispered hubbub from the many cubicles and offices . Mark passes his old office , stopping to read the sign on the door : `` 14TH CENTURY - CLOSED . '' Mark grimaces and keeps walking .</scene_description> <character>SHELLEY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>He's gone crazy!</dialogue> <scene_description>Mark turns his head to see Shelley , standing down the hall , terrified , staring at Mark . Mark ignores her and keeps walking . Leaning against his door jamb , is Rob , smirking as Mark passes him .</scene_description> <character>ROB</character> <dialogue>Come to beg for your old job back? Hey everybody, here's the loser who thought the Black Plague would make for an interesting film. Good luck, douche bag. Freaking loser.</dialogue> <scene_description>Mark walks right up to the door that reads , `` Head of Development - Anthony James . '' Mark opens the door . Anthony is on the phone , his back to Mark .</scene_description> <character>ANTHONY</character> <parenthetical>( ON PHONE . )</parenthetical> <dialogue>They're going to fire me any moment, I just know it. I'm really, really horrible at my job. I do n't know anything about movies. I do n't even like movies. I like sports. Head of development, what does that even mean? I'm not a smart person. Okay, talk to you later.</dialogue> <scene_description>Anthony turns around to find Mark . His face becomes very , very scared .</scene_description> <character>ANTHONY</character> <dialogue>That was the head of the studio.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>I'm very scared that you're mad at me about the whole firing thing.</dialogue> <character>MARK</character> <dialogue>I'm not mad at all.</dialogue> <scene_description>Anthony is relieved .</scene_description> <character>ANTHONY</character> <dialogue>Oh good, because I feel really bad about it. I mean, I would be horrible at your job too. I would be horrible at any job in this place.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>I love sports.</dialogue> <scene_description>They both stare at each other for a long beat .</scene_description> <character>ANTHONY</character> <dialogue>Why are you here?</dialogue> <scene_description>Mark pulls up a chair .</scene_description> <character>MARK</character> <dialogue>When you fired me, I was very depressed.</dialogue> <character>ANTHONY</character> <dialogue>I knew it.</dialogue> <character>MARK</character> <dialogue>And so I left this building and I just started walking. And I walked all the way out of town. And then I walked into the desert and I fell asleep under a tree.</dialogue> <character>ANTHONY</character> <dialogue>I do n't do well with other people's life changing events.</dialogue> <character>MARK</character> <dialogue>And when I woke up I found this strange old chest sticking out of the ground. So I started digging. And I unearthed a very old and ancient box. Probably, oh. about. seven hundred years old. And inside the box.</dialogue> <parenthetical>( holding up manuscript . )</parenthetical> <dialogue>. was this.</dialogue> <scene_description>Mark places his muddy , dirty , manuscript down on Anthony 's desk . Anthony is scared to touch it .</scene_description> <character>ANTHONY</character> <dialogue>What is it?</dialogue> <character>MARK</character> <dialogue>It's a never - before - heard historical event from the past.</dialogue> <character>ANTHONY</character> <dialogue>When does it take place?</dialogue> <character>MARK</character> <dialogue>The 1300's.</dialogue> <scene_description>The excitement drains from Anthony 's face .</scene_description> <character>ANTHONY</character> <dialogue>I told you we're not interested in Black Plague movies here, Mark.</dialogue> <character>MARK</character> <dialogue>This one is n't about the black plague. Well it is n't just about the black plague. Let me read you some of this.</dialogue> <scene_description>Anthony rolls his eyes .</scene_description> <character>MARK</character> <dialogue>Anthony, get excited about this. This is a brand new event from history that no one has ever heard before. It's a great human discovery.</dialogue> <character>ANTHONY</character> <dialogue>Yeah, but is there a movie there?</dialogue> <character>MARK</character> <dialogue>The greatest movie Lecture Films has ever made.</dialogue> <scene_description>Anthony 's eyes widen .</scene_description> <character>ANTHONY</character> <dialogue>Start reading.</dialogue> <scene_description>Mark picks up the manuscript and opens the first page .</scene_description> <character>MARK</character> <parenthetical>( READING . )</parenthetical> <dialogue>On the very first day of the fourteenth century, a momentous occasion occurred. It began as a day much like any other. The sun rose, the people awoke, workers began to work, babies began to cry. But all of that was interrupted when a giant flying space ship crashed down from the skies and landed in the heart of Babylon.</dialogue> <scene_description>Anthony 's mouth drops to the ground .</scene_description> <character>ANTHONY</character> <dialogue>What?!</dialogue> <scene_description>Mark smiles . Anthony picks up his phone and presses `` intercom '' .</scene_description> <character>ANTHONY</character> <parenthetical>( ON PHONE . )</parenthetical> <dialogue>I want everyone in here now! We've got a BIG ONE.</dialogue> <scene_description>Anthony hangs up .</scene_description> <character>ANTHONY</character> <dialogue>Please, Mark. Continue.</dialogue> <character>MARK</character> <parenthetical>( READING . )</parenthetical> <dialogue>As the smoke cleared, the door to the spaceship opened and inside, were hundreds of beautiful, half naked alien women.</dialogue> <scene_description>The room is filled with people now , all of them hanging on every word Mark reads from his manuscript . Even Rob and Shelly lean against the back wall , their minds blown by the story Mark is telling .</scene_description> <character>MARK</character> <parenthetical>( READING . )</parenthetical> <dialogue>And then the ninja army unleashed a giant fireball that brought the robot dinosaur to its knees, saving Mars, Earth and the Nude Amazonian Alien Women all in one sweeping motion. The earth was saved. Jebediah and Aleena were allowed to marry by alien king Xardon. It was to be the First Human - Nude Amazonian Alien Woman wedding, and no expenses would be spared. All of Babylon and Mars were invited to join in the celebrations.</dialogue> <scene_description>People around the room wipe tears from their eyes .</scene_description> <character>MARK</character> <parenthetical>( READING . )</parenthetical> <dialogue>The wedding was held on a brisk summers day on Mars, with all of the survivors of the Great Ninja War and the Black Plague present. They feasted and danced and laughed and it was a joyous occasion. The moment the bride and groom kissed, King Xardon performed a mind - wipe on all of the humans, thereby erasing all knowledge of these events from their minds, and sent them back to Babylon. For seven hundred years these events would be forgotten by mankind until one day, a great writer by the name of Mark Bellison, would stumble upon them in the desert, after being fired by his shit boss Anthony and mocked by Rob and Shelly, two huge douche bags. Lecture Films Motion Picture Studios would go on to make the picture and it would be a big success, and Mark would become very wealthy and famous from it. The End.</dialogue> <scene_description>The entire room bursts into applause . Not just normal applause , but massive , epic applause . Everyone crowds around Mark , hugging him , touching him , blown away by the magnanimity of the moment .</scene_description> <character>ANTHONY</character> <dialogue>Mark, tell us what it's called.</dialogue> <scene_description>Mark thinks it over for a moment and looks right at Rob .</scene_description> <character>MARK</character> <parenthetical>( to Rob . )</parenthetical> <dialogue>The Black Plague.</dialogue> <scene_description>Rob sneers . Everyone `` aahs '' and claps again .</scene_description> </scene> <scene> <stage_direction>INT. FANCY RESTAURANT - NIGHT</stage_direction> <scene_description>Mark and Jennifer sit at a candlelit table in the corner of a hip and fancy restaurant . Jennifer looks beautiful . Mark is on cloud nine .</scene_description> <character>JENNIFER</character> <dialogue>Congratulations on selling your script today.</dialogue> <character>MARK</character> <dialogue>Thanks. Thank you for having dinner with me.</dialogue> <character>JENNIFER</character> <dialogue>Everyone needs to eat.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>And I enjoy your company.</dialogue> <scene_description>Mark smiles . They both sip their drinks and look at their menus . The waiter comes up .</scene_description> <character>WAITER</character> <dialogue>I'm an extremely important waiter.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>What can I get you?</dialogue> <character>MARK</character> <dialogue>I do n't want to know what it is, I just want to order the most expensive thing on the menu.</dialogue> <character>JENNIFER</character> <dialogue>I'll have the duck. And I think you look like a little rat faced man.</dialogue> <character>WAITER</character> <dialogue>Okay, I'll have those right up for you.</dialogue> <scene_description>The waiter leaves . Mark and Jennifer stare at each other for a short beat . Something has changed between them and they can both feel it .</scene_description> <character>JENNIFER</character> <dialogue>Things seem to be turning around for you.</dialogue> <character>MARK</character> <dialogue>Today is the best day of my life. Hands down. Easy. Best day.</dialogue> <character>JENNIFER</character> <dialogue>It's not every day you unearth a monumental historical event and sell it for a ton of money.</dialogue> <character>MARK</character> <dialogue>That was n't the best part. It was great, but it was n't the peak of my day.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>I've had a crush on you ever since I saw a picture of you on Greg's refrigerator two years ago.</dialogue> <character>JENNIFER</character> <dialogue>Oh.</dialogue> <character>MARK</character> <dialogue>The best part of my day today is right now, sitting at this table here with you.</dialogue> <character>JENNIFER</character> <dialogue>Oh.</dialogue> <character>MARK</character> <dialogue>You're the most beautiful woman I've ever seen in my life, and you're special. and it makes me happy to be around you.</dialogue> <character>JENNIFER</character> <dialogue>Thank you.</dialogue> <scene_description>Jennifer is touched . but she does n't reciprocate Mark 's feelings . Jennifer moves on .</scene_description> <character>JENNIFER</character> <dialogue>Tell me something about your family. I really do n't know much about you.</dialogue> <character>MARK</character> <dialogue>Ah, my family. We're what you'd probably call `` not lucky''. My whole family is kind of marked by tragedy, bad luck and general. shittiness. It goes back a long ways and could probably drive someone to suicide just hearing about it, so I'll keep it simple. My mom died when I was six. Cancer.</dialogue> <character>JENNIFER</character> <dialogue>Sad.</dialogue> <character>MARK</character> <dialogue>And my dad got real depressed and lost his job. Out of work and with a kid to raise he had no choice but to turn to a life of crime.</dialogue> <character>JENNIFER</character> <dialogue>What kind of crime?</dialogue> <character>MARK</character> <dialogue>He was a robber. Houses mostly.</dialogue> </scene> <scene> <stage_direction>INT. SUBURBAN HOUSE - DAY</stage_direction> <scene_description>Nice , mid - to - upper class home . Lots of white wood . The house is very quiet , until . the phone rings and the answer machine picks up .</scene_description> <character>MARK'S DAD</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( on answer machine . )</parenthetical> <dialogue>Hi, I'm calling to let you know I'll be robbing your house today. I'll probably be there within the hour.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>I hope you're not there.</dialogue> <scene_description>The message ends . PAN OVER to a SOCCER MOM standing in the doorway . She drops her coffee and screams .</scene_description> </scene> <scene> <stage_direction>INT. FANCY RESTAURANT - NIGHT</stage_direction> <character>MARK</character> <dialogue>He was a very unlucky man. He spent his last days behind bars. I never really knew him.</dialogue> <parenthetical>( sad moment ; pause . )</parenthetical> <dialogue>But I guess I've also had a little luck in my life. I did have a wonderful grandmother who raised me.</dialogue> <character>JENNIFER</character> <dialogue>Oh, that's sweet.</dialogue> <character>MARK</character> <dialogue>Yeah, she's great.</dialogue> <character>JENNIFER</character> <dialogue>Where is she?</dialogue> <character>MARK</character> <dialogue>Old person's home obviously. Who wants to live with that? Gross.</dialogue> <character>JENNIFER</character> <dialogue>I know, right?</dialogue> <character>MARK</character> <dialogue>But I'm going to get her out of there tomorrow. I'm going to buy her a big beautiful mansion where she can spend her few remaining days in luxury.</dialogue> <character>JENNIFER</character> <dialogue>That's nice.</dialogue> <scene_description>The waiter arrives with their food .</scene_description> <character>WAITER</character> <dialogue>I do n't know what's wrong with the chef today, but these just look awful.</dialogue> <scene_description>He places them down .</scene_description> <character>MARK</character> <dialogue>They look fine to me.</dialogue> <character>WAITER</character> <dialogue>Well, you're stupid.</dialogue> <scene_description>Mark and Jennifer begin eating . Mark wants to say something and takes a moment to summon the courage .</scene_description> <character>MARK</character> <dialogue>Right. I was thinking that since I'm going to be rich and successful now that I might be in your league.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>And that maybe we could be together. Romantically.</dialogue> <character>JENNIFER</character> <dialogue>What would be the point?</dialogue> <scene_description>Mark did n't expect this answer .</scene_description> <character>MARK</character> <dialogue>Well, I do n't know, maybe we might enjoy it. Maybe we'd be good together and could have a happy life, raise a family together.</dialogue> <scene_description>Jennifer thinks this over .</scene_description> <character>JENNIFER</character> <dialogue>Well, I do like you. And I enjoy your company. And if we were to get together and procreate I would like the offspring that are carrying half my genetic code to be well taken care of and financially stable. I also think you'd make a good father and a good husband, which I like.</dialogue> <scene_description>Mark smiles . This is going well .</scene_description> <character>MARK</character> <dialogue>Good. Fantastic.</dialogue> <character>JENNIFER</character> <dialogue>Unfortunately, none of that changes the fact that you'd still be contributing half of the genetic code to our children.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>I do n't want short, fat kids with little snub noses.</dialogue> <scene_description>And that 's the end of that . Mark nods .</scene_description> <character>MARK</character> <dialogue>Sure.</dialogue> <scene_description>Mark takes a bite of his food . Jennifer smiles and does the same , oblivious to Mark 's pain . Mark 's cell phone rings .</scene_description> <character>MARK</character> <parenthetical>( ON PHONE . )</parenthetical> <dialogue>Hello?</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>What?</dialogue> <scene_description>Mark 's face melts in terror .</scene_description> <character>MARK</character> <parenthetical>( ON PHONE . )</parenthetical> <parenthetical>( LOUDLY . )</parenthetical> <dialogue>WHAT?</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM - DAY</stage_direction> <scene_description>Mark bursts into the hospital room to find his grandmother , MARTHA looking tired and scared , hooked up to dozens of machines , the heart monitor beeping ominously .</scene_description> <character>MARK</character> <dialogue>Grandma, they just called me. What's going on? Are you okay?</dialogue> <character>MARTHA</character> <dialogue>I do n't know, I fell on my way back to my room.</dialogue> <character>MARK</character> <dialogue>What do the doctors say?</dialogue> <character>MARTHA</character> <dialogue>They say I'll probably die tonight.</dialogue> <character>MARK</character> <dialogue>What?</dialogue> <scene_description>There 's a knock on the door . The doctor enters .</scene_description> <character>DOCTOR</character> <dialogue>Oh, hello. I was just coming in to check on her, you must be Martha Bellison's grandson.</dialogue> <character>MARK</character> <dialogue>What are you talking about she's going to die?</dialogue> <character>DOCTOR</character> <dialogue>I'm sorry. It just does n't look good. She's suffered a major heart attack and her heart is very weak, her pulse not very strong, her blood pressure is dropping rapidly and most likely she'll have a fatal heart attack during the night.</dialogue> <character>MARK</character> <dialogue>Fuck.</dialogue> <scene_description>The doctor checks Martha 's chart .</scene_description> <character>DOCTOR</character> <dialogue>Yup, still going to die.</dialogue> <scene_description>Mark sits down next to Martha , in total shock .</scene_description> <character>DOCTOR</character> <dialogue>I'm sorry, guys. I wish I felt something for you two, but I really do n't. I do this exact thing about thirty times a night and it's really hardened me to human suffering. On a side note, it's fajita night at the cafeteria downstairs. You might think about grabbing a bite to eat there after your grandma dies.</dialogue> <scene_description>The doctor leaves . Mark holds his grandmother 's hand , her hand is shaking .</scene_description> <character>MARTHA</character> <dialogue>I'm so scared, Mark. I do n't want to die. You know, people do n't talk about it much, but death is a horrible thing. One minute you're alive, there's a whole world around you, humming and jumping, people coming in and out, doors opening and closing, love and anger and the whole mess of it all, and then like that, it's all gone.</dialogue> <parenthetical>( CRYING . )</parenthetical> <dialogue>This is it Mark, only a few hours left of this until an eternity of nothingness.</dialogue> <scene_description>The wheels in Mark 's head are spinning again . Suddenly the heart monitor starts beating rapidly and Martha lurches in pain .</scene_description> <character>MARK</character> <dialogue>Grandma!</dialogue> <scene_description>Mark immediately slams on the big red `` call nurse '' button , holding his grandmother down as she lurches in pain . Seconds later three nurses burst into the room .</scene_description> <character>NURSE #1</character> <dialogue>She's seizing.</dialogue> <scene_description>Nurse # 2 begins filling a syringe . Mark sits by his grandmother 's head , they 're both looking right at each other .</scene_description> <character>MARTHA</character> <dialogue>I'm scared.</dialogue> <character>MARK</character> <dialogue>Listen closely to me, Grandma. I have a surprise for you.</dialogue> <scene_description>We focus on Mark and his grandmother , inches from one another as the paramedics busy themselves around Martha 's dying body .</scene_description> <character>MARK</character> <dialogue>You're wrong about what happens when you die. It's not an eternity of nothingness.</dialogue> <scene_description>Martha is hanging on to every word Mark is saying .</scene_description> <character>MARK</character> <dialogue>When you die you're going to go to your favorite place in the whole world. And you're going to be with all of the people you've ever loved and who have ever loved you. And you're going to be young again, and you'll be able to run through the fields and dance and jump, and there will be no sadness, no pain, just love and laughing and happiness. There will be ponies made of gold, and everyone will live in giant mansions, and everything will smell like cookies. And it will last for an eternity, Grandma. An eternity.</dialogue> <scene_description>Tears are rolling down Martha 's face as a glimmering smile overtakes her face . Mark looks up to see the nurses , paramedics and doctors all staring at Mark in total shock .</scene_description> <character>NURSE #1</character> <dialogue>Go on.</dialogue> <character>DOCTOR</character> <dialogue>What else happens?</dialogue> <scene_description>The cardiogram flat lines .</scene_description> <character>MARK</character> <dialogue>Do your jobs!</dialogue> <scene_description>Everyone distractedly goes back to helping the grandmother .</scene_description> <character>MARK</character> <dialogue>You're going to be happy forever, grandma. I promise you. Say hello to my mom for me. Tell her I love her.</dialogue> <scene_description>Again , everyone has stopped helping Martha , they 're all listening intently . Some of them are crying .</scene_description> <character>NURSE #2</character> <parenthetical>( TEARFULLY . )</parenthetical> <dialogue>I'm going to see my mother again when I die.</dialogue> <character>DOCTOR</character> <dialogue>Tell us more, please.</dialogue> <scene_description>Martha stops breathing . The machine flatlines . And with that Martha is gone .</scene_description> <character>MARK</character> <dialogue>Damn it.</dialogue> <scene_description>Mark turns away from his grandmother . Standing outside in the hallway is Jennifer , watching Mark with true empathy in her eyes .</scene_description> </scene> <scene> <stage_direction>INT. MARK'S CAR -- MORNING</stage_direction> <scene_description>Mark and Jennifer pull up in front of Jennifer 's apartment . There is a long beat of silence .</scene_description> <character>JENNIFER</character> <dialogue>I'm so sorry, Mark.</dialogue> <character>MARK</character> <dialogue>I think I just did something bad.</dialogue> <character>JENNIFER</character> <dialogue>Do you want to come inside?</dialogue> <scene_description>Mark nods his head .</scene_description> </scene> <scene> <stage_direction>INT. JENNIFER'S APARTMENT - LIVING ROOM - NIGHT</stage_direction> <scene_description>Mark and Jennifer sit side - by - side on her couch . Mark holds a can of beer in his hand , gently turning it around in his palm , staring down at it vacantly . Jennifer sadly watches Mark . Slowly and almost absentmindedly , Jennifer 's hand moves over and rests gently upon Mark 's wrist , settling there . We hold on them for a long beat . FADE TO BLACK . THE NEXT MORNING Mark and Jennifer have fallen asleep in the exact same position , both of them sitting side - by - side no the couch , her hand still on his wrist . Mark opens his eyes and looks down at her hand , then up at Jennifer who slowly opens her eyes and smiles at him .</scene_description> <character>JENNIFER</character> <dialogue>Hi.</dialogue> <character>MARK</character> <dialogue>Hi.</dialogue> <scene_description>They share a moment .</scene_description> </scene> <scene> <stage_direction>INT. MARK'S CAR - MORNING</stage_direction> <scene_description>A bleary eyed Mark drives home from Jennifer 's . As he turns onto his street he finds hundreds of cars blocking the way . A massive crowd of people are leaving their cars and walking . Mark gets out of his car to find a wild scene : hundreds of people camped out on the lawn of his apartment building . Standing by his door is the NURSE from the hospital . She immediately points at Mark and screams .</scene_description> <character>NURSE #1</character> <dialogue>There he is!</dialogue> <scene_description>Mark is bum - rushed by a question - asking throng . All of them are pelting Mark with questions , all of them confused and hopeful and desperately looking for answers .</scene_description> <character>PERSON #1</character> <dialogue>Is there only one place you go when you die?</dialogue> <character>PERSON #2</character> <dialogue>Will everyone who has ever died be there?</dialogue> <character>PERSON #3</character> <dialogue>What's this place called?</dialogue> <character>PERSON #4</character> <dialogue>Will I get to have sex with people there?</dialogue> <scene_description>Mark pushes through the crowd , overwhelmed by it all . He gets to his door and opens it , only to have the Nurse step in his path and block the door .</scene_description> <character>NURSE #1</character> <dialogue>You owe us an explanation. If you know something this important, you better tell us all.</dialogue> <character>MARK</character> <dialogue>Who are you people?</dialogue> <character>NURSE #1</character> <dialogue>The words you spoke last night, to your grandmother, spread like wildfire. Please, tell us more. Explain what you said.</dialogue> <character>MARK</character> <dialogue>Fine, fine, just give me a minute.</dialogue> <scene_description>Mark pushes past her and into his building , closing the door behind him .</scene_description> </scene> <scene> <stage_direction>INT. MARK'S APARTMENT - DAY</stage_direction> <scene_description>Mark goes to his fridge and pulls out a beer . His mind is reeling . As he opens a drawer to get a bottle opener he sees the letter : `` MY INVENTION '' . Mark eyes it ominously . The phone rings . Mark screens the call .</scene_description> <character>JENNIFER</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( leaving message . )</parenthetical> <dialogue>You've been gone for twenty minutes and I turn on the T.V to see you on every station. What's going on? This is seriously the weirdest thing.</dialogue> <scene_description>Mark picks up the phone .</scene_description> <character>MARK</character> <dialogue>Remember last night when I said I think I did something bad? Well now I know I did something bad.</dialogue> <character>JENNIFER</character> <dialogue>They're saying that you know something different about what happens after you die.</dialogue> <scene_description>Mark walks into his bedroom and turns on the TV . Sure enough there 's a newscaster on his lawn , giving a report , with a banner on the screen that reads , `` New Death Discoveries '' .</scene_description> <character>MARK</character> <dialogue>Hold on.</dialogue> <scene_description>Mark puts down the phone and listens to the T.V.</scene_description> <character>REPORTER</character> <parenthetical>( ON T.V . )</parenthetical> <dialogue>Twenty - four hours ago, Mark Bellison was just your typical nobody writer. Today, people are saying he knows new information about what happens after you die.</dialogue> <scene_description>Mark puts the phone to his ear again .</scene_description> <character>MARK</character> <dialogue>Fuck.</dialogue> <character>JENNIFER</character> <dialogue>Mark, what do you know? What did you tell your grandmother last night? What's going on?</dialogue> <character>MARK</character> <dialogue>I ca n't explain it all right now. Why do n't you come over?</dialogue> <character>JENNIFER</character> <dialogue>Okay.</dialogue> </scene> <scene> <stage_direction>EXT. MARK'S APARTMENT BUILDING - AFTERNOON</stage_direction> <scene_description>Jennifer pushes through the throng of people , which is now even larger than before . As she reaches the door Mark opens it for her and slides her through .</scene_description> <character>MARK</character> <dialogue>Come up quick, they look like they could get out of hand any second.</dialogue> <scene_description>Mark hurries Jennifer into the elevator .</scene_description> </scene> <scene> <stage_direction>INT. MARK'S APARTMENT - LIVING ROOM - AFTERNOON</stage_direction> <scene_description>Jennifer sits on the couch while Mark , agitated beyond recognition , paces the room .</scene_description> <character>JENNIFER</character> <dialogue>Just tell me what you told your grandmother.</dialogue> <character>MARK</character> <dialogue>I do n't think I should. Who knows what could happen next? I'm just going to keep my mouth shut from now on.</dialogue> <character>JENNIFER</character> <dialogue>What you said obviously affected a lot of people. I do n't think you have the choice to keep it in now.</dialogue> <character>MARK</character> <dialogue>Sure I do. I could just walk out that door and get on a plane and go to Namibia. No one knows me in Namibia.</dialogue> <character>JENNIFER</character> <dialogue>Just tell me what you said. Please, Mark.</dialogue> <character>MARK</character> <dialogue>My grandmother was dying, and she was terrified, shaking all over. She did n't want to just become nothingness. So I told her that when she died there would n't be nothingness. That she would be with all of the people she loved who had died and that she would live an eternity of joy and happiness.</dialogue> <scene_description>Jennifer 's heart skips a beat .</scene_description> <character>JENNIFER</character> <parenthetical>( barely able to speak . )</parenthetical> <dialogue>How do you know these things?</dialogue> <scene_description>Mark sighs and looks out the window . The crowd extends down the block , all of them sitting calmly on his lawn , talking quietly to each other , trying to make sense of it all . Jennifer gets up and stands beside Mark .</scene_description> <character>JENNIFER</character> <dialogue>You have to tell them everything you know. This is too big. You have no choice.</dialogue> <character>MARK</character> <dialogue>But you do n't understand. The words I said. they were n't. it's not right.</dialogue> <character>JENNIFER</character> <dialogue>How did your grandmother feel when you told her these things?</dialogue> <character>MARK</character> <dialogue>Happy. At peace.</dialogue> <character>JENNIFER</character> <dialogue>And how did that make you feel?</dialogue> <character>MARK</character> <dialogue>Good.</dialogue> <character>JENNIFER</character> <parenthetical>( sweeping her hand over the crowd . )</parenthetical> <dialogue>Think how good it will feel to do the same for all of these people.</dialogue> <scene_description>Mark thinks this over .</scene_description> <character>MARK</character> <dialogue>Okay. But I need a few hours to get my thoughts together.</dialogue> <character>JENNIFER</character> <dialogue>I'll go tell them.</dialogue> <character>MARK</character> <dialogue>Wait! Are you sure this is right?</dialogue> <character>JENNIFER</character> <dialogue>Of course it is. You know something that's going to change mankind forever. It's the most important thing the world has ever heard.</dialogue> <scene_description>Jennifer leaves the room . Mark , alone with his thoughts , sits down at his kitchen table , pulls out a few sheets of paper , grabs a pen and starts writing .</scene_description> </scene> <scene> <stage_direction>EXT. MARK'S APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Mark 's neighborhood is a sea of candles . The crowd has grown beyond measure . A massive sea of people , all holding candles , all waiting quietly like serene cows for Mark to come down and make his announcement .</scene_description> </scene> <scene> <stage_direction>INT. MARK'S APARTMENT - LIVING ROOM - NIGHT</stage_direction> <scene_description>Mark is hunched over his table writing . There 's a knock at the front door . Greg walks in with a large pizza and beer .</scene_description> <character>GREG</character> <dialogue>I brought pizza. How come you never told me we all get mansions?</dialogue> <character>MARK</character> <dialogue>I did n't.</dialogue> <scene_description>Jennifer comes out of the bedroom and quickly `` shhh 's '' Greg .</scene_description> <character>GREG</character> <dialogue>Inventing the bicycle is one thing, but this.</dialogue> <character>JENNIFER</character> <dialogue>Shut up. Let him work.</dialogue> <scene_description>Jennifer pulls Greg away from Mark . Mark goes back to work . TIME CUT : LATER Mark puts down his pencil and places both written sheets next to each other . He has finished .</scene_description> </scene> <scene> <stage_direction>INT. MARK'S APARTMENT - BEDROOM - NIGHT</stage_direction> <scene_description>Mark opens the door . Jennifer and Greg are on his bed watching T.V. . The same newscaster stands outside the building .</scene_description> <character>NEWSCASTER</character> <parenthetical>( ON T.V . )</parenthetical> <dialogue>In Seoul Korea, they wait. In Rome, Italy, they wait. In London, England, they wait. In New York City, they wait. The world has come to a standstill, everyone at their televisions and radios, or here on this lawn, waiting for Mark Bellison to come forth and tell the people what he knows.</dialogue> <scene_description>Mark waves his manuscript in the air .</scene_description> <character>MARK</character> <dialogue>I'm done.</dialogue> <scene_description>Jennifer and Greg jumps off the bed .</scene_description> <character>JENNIFER</character> <dialogue>Are you ready?</dialogue> <character>MARK</character> <dialogue>I guess.</dialogue> </scene> <scene> <stage_direction>INT. MARK'S APARTMENT - LIVING ROOM - NIGHT</stage_direction> <scene_description>They head towards the door .</scene_description> <character>MARK</character> <dialogue>I feel like I should be reading these off of something other than just notebook paper. I wish they were like, written on large tablets or even just nicer paper or something.</dialogue> <scene_description>Greg grabs an empty pizza box off of the counter , rips it into two pieces and tapes his two pages onto them . Mark holds the two halves of the pizza boxes awkwardly and nods his head .</scene_description> <character>MARK</character> <dialogue>Feels better.</dialogue> <scene_description>Mark looks at Jennifer and Greg with fear in his eyes .</scene_description> <character>JENNIFER</character> <dialogue>Just tell them what you know</dialogue> <character>GREG</character> <dialogue>Good luck out there, man.</dialogue> </scene> <scene> <stage_direction>EXT. MARK'S APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>OTS of Newscaster cameraman . The newscaster is interviewing a young man , with Mark 's apartment building in the background .</scene_description> <character>YOUNG MAN</character> <dialogue>I heard that he said we all get mansions, and that there's even ponies.</dialogue> <character>NEWSCASTER</character> <parenthetical>( to cameraman . )</parenthetical> <dialogue>Ponies. Mansions. Ice Cream. These are the things we can all expect when we die. What else can we expect? We wo n't know until Mark Bellison steps out of that.</dialogue> <character>YOUNG MAN</character> <parenthetical>( SHOUTING . )</parenthetical> <dialogue>THERE HE IS!</dialogue> <scene_description>Mark cracks open the front door and steps out onto his front steps , with Jennifer right behind him . The newscaster and cameraman run to get into position . Mark looks out at the sea of people staring silently at him , waiting for answers .</scene_description> <character>MARK</character> <dialogue>Hello.</dialogue> <scene_description>A man runs up and hands Mark a microphone .</scene_description> <character>MARK</character> <dialogue>Oh, thanks.</dialogue> <scene_description>His voice echoes through the neighborhood .</scene_description> <character>MARK</character> <dialogue>Wow.</dialogue> <scene_description>You could hear a pin drop . No one is even breathing .</scene_description> <character>MARK</character> <dialogue>So. I guess you've all heard the things I told my grandmother last night and. I understand why you're here.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>I know. some things. Some very important things. And I'm going to share these things with you now.</dialogue> <scene_description>Intercut throughout : different video feeds , people listening to radios , standing in the cold watching TV 's through store windows - all around the world . Mark takes a deep breath and holds up his `` pizza box commandments '' .</scene_description> <character>MARK</character> <dialogue>Everything you want to know is written here. On this old pizza box.</dialogue> <scene_description>Mark looks out at the crowd , all of them so hopeful , so needy . Mark looks back at Jennifer and Greg who give him a proud nod .</scene_description> <character>MARK</character> <parenthetical>( READING . )</parenthetical> <dialogue>Number one : There is a man who lives in the sky who controls everything. Number two.</dialogue> <character>MAN #1</character> <parenthetical>( interrupting ; shouting . )</parenthetical> <dialogue>Whoa, whoa whoa. What does he look like?</dialogue> <scene_description>Mark was n't prepared for questions .</scene_description> <character>MARK</character> <parenthetical>( STRUGGLING . )</parenthetical> <dialogue>Tall. Big hands. A good head of hair.</dialogue> <character>WOMAN #1</character> <dialogue>What ethnicity is he?</dialogue> <character>MARK</character> <parenthetical>( making it up as he goes . )</parenthetical> <dialogue>He's a new ethnicity. It's like a mix of all of our ethnicities.</dialogue> <character>MAN #2</character> <dialogue>Does he live on a cloud?</dialogue> <character>MAN #3</character> <dialogue>Can we see him?</dialogue> <character>MARK</character> <parenthetical>( becoming confident . )</parenthetical> <dialogue>No. He lives much higher than the clouds, too high to see.</dialogue> <character>WOMAN #2</character> <dialogue>So he lives in space?</dialogue> <character>MARK</character> <dialogue>No, not that high.</dialogue> <character>MAN #3</character> <dialogue>So you mean the Thermosphere?</dialogue> <character>MARK</character> <dialogue>Look, people I got a lot to get through here. I'm just telling you what I know : Man. Lives in the sky. You ca n't see him. Controls everything. Cool?</dialogue> <scene_description>Everyone nods .</scene_description> <character>MARK</character> <dialogue>Number two : When you die you do n't disappear into an eternity of nothingness. Instead, you go to a really great place.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>Number three : In that place every person will get a mansion.</dialogue> <character>MAN #4</character> <dialogue>What kind of mansion?</dialogue> <character>MARK</character> <dialogue>I do n't know. Whatever kind of mansion you're thinking of right now.</dialogue> <character>WOMAN #3</character> <dialogue>Oh no! I was n't thinking of a mansion!</dialogue> <scene_description>A lot of people echo this sentiment .</scene_description> <character>MAN #5</character> <dialogue>Shit! I was thinking of a horrible mansion!</dialogue> <character>MARK</character> <dialogue>Look, it's the best mansion you can think of, not just now, but ever. Whatever the best mansion for you can possibly be, that's the one you'll get.</dialogue> <parenthetical>( CONTINUING . )</parenthetical> <dialogue>Number four : When you die, all the people you love will be there too.</dialogue> <character>MAN #6</character> <dialogue>Will they have their own mansions?</dialogue> <character>MARK</character> <dialogue>Yes, of course. Everyone gets a mansion.</dialogue> <character>MAN #6</character> <dialogue>What if I want them to live in my mansion?</dialogue> <character>MARK</character> <dialogue>If they want to live with you, they can leave their mansion and live in yours.</dialogue> <character>MAN #6</character> <dialogue>What happens to their mansion?</dialogue> <character>MARK</character> <dialogue>I do n't know, it goes back on the market.</dialogue> <character>WOMAN #4</character> <dialogue>What about the people I hate? Will they be there too?</dialogue> <character>MARK</character> <dialogue>No.</dialogue> <character>WOMAN #4</character> <dialogue>Where are they?</dialogue> <character>MARK</character> <dialogue>Okay, they're probably there, but you'll never see them. They're far off, too far for you to get there.</dialogue> <character>WOMAN #4</character> <dialogue>But what if they try to find me?</dialogue> <character>MARK</character> <dialogue>They wo n't. They hate you too.</dialogue> <character>WOMAN #4</character> <dialogue>But what if they do n't? What if they love me but I hate them?</dialogue> <character>MARK</character> <dialogue>Well then you're just. you'll both be fine with it. There's only love there, okay? Number five : When you die there will be free ice cream. All day. All night. Whatever flavor you can think of.</dialogue> <character>WOMAN #5</character> <dialogue>What, even bad flavors?</dialogue> <character>MARK</character> <dialogue>But why would you eat bad flavors?</dialogue> <character>WOMAN #5</character> <dialogue>Well, you just said every flavor I can think of.</dialogue> <character>MAN #8</character> <dialogue>Oh no, I just thought about vanilla and skunks!</dialogue> <character>MARK</character> <dialogue>Well do n't eat it then!</dialogue> <character>WOMAN #6</character> <dialogue>I've just thought the chocolate sauce is diarrhea!</dialogue> <character>MARK</character> <dialogue>Well do n't put it on then! What's wrong with you people? I mean. Number six : If you do bad things you wo n't get to go to this great place when you die.</dialogue> <character>MAN #9</character> <dialogue>Where will you go?</dialogue> <character>MARK</character> <dialogue>A terrible place. The worst place imaginable.</dialogue> <scene_description>A rumble of terror moves through the crowd .</scene_description> <character>WOMAN #7</character> <dialogue>What constitutes a bad thing?</dialogue> <character>MARK</character> <dialogue>Murder. Crime. Rape. Things like that.</dialogue> <character>WOMAN #7</character> <dialogue>You have to tell us all the things or else we might do them and it would n't be our fault!</dialogue> <scene_description>The whole crowd echoes this sentiment .</scene_description> <character>MARK</character> <dialogue>Fine.</dialogue> <character>MAN #9</character> <dialogue>Is punching someone bad?</dialogue> <character>MARK</character> <dialogue>Yes.</dialogue> <character>MAN #9</character> <dialogue>What if they're trying to hurt you?</dialogue> <character>MARK</character> <dialogue>Then it's fine.</dialogue> <character>WOMAN #7</character> <dialogue>Is cursing bad?</dialogue> <character>MARK</character> <dialogue>No.</dialogue> <character>WOMAN #1</character> <dialogue>What about being late for work?</dialogue> <character>MARK</character> <dialogue>That's fine too. I mean, you might lose your job if your boss does n't like it, but it wo n't effect what happens after you die.</dialogue> <character>WOMAN #2</character> <dialogue>What about if you forget to feed your dog?</dialogue> <character>MARK</character> <dialogue>That also is fine. Unless the dog dies. Then it's bad.</dialogue> <character>MAN #1</character> <dialogue>If you do just one bad thing do you go to the bad place?</dialogue> <character>MARK</character> <dialogue>No. You get.</dialogue> <parenthetical>( thinking about it . )</parenthetical> <dialogue>. three chances. If you do three bad things you're out.</dialogue> <character>MAN #1</character> <dialogue>Like baseball!</dialogue> <character>MARK</character> <dialogue>Kind of, yes.</dialogue> <scene_description>There 's a hubbub throughout the crowd : `` It 's like baseball '' , `` I love baseball '' `` I 'm scared of the bad place '' .</scene_description> <character>MARK</character> <dialogue>Any more?</dialogue> <scene_description>About fifty people stand up and ask their questions at the same time .</scene_description> <character>MARK</character> <dialogue>Look, can we just move on?</dialogue> <character>MAN #2</character> <dialogue>No! We have to know everything that's bad!</dialogue> <character>MARK</character> <dialogue>Fine. Let's start with you.</dialogue> <parenthetical>( POINTING . )</parenthetical> <dialogue /> <character>MAN #3</character> <dialogue>Is it bad to wear pants?</dialogue> <scene_description>Mark sighs . INSERT : `` SIX HOURS LATER ''</scene_description> <character>MARK</character> <dialogue>No. There's no hairstyle that will put you in the bad place. Like I've told you, the main things are hurting people physically on purpose, taking people's stuff, doing things to people they do n't want done, killing people on purpose. Okay? Are we good?</dialogue> <scene_description>The crowd nods apprehensively . Many of the people in the crowd are crying . One of the crying men , shaking like a leaf , stands up , with terror in his eyes .</scene_description> <character>CRYING MAN</character> <parenthetical>( SHAMEFUL . )</parenthetical> <dialogue>I've done many of those bad things. Is there anything I can do to not go to the bad place? Help me, I'm so scared.</dialogue> <character>MARK</character> <dialogue>Well, you did n't know about these bad things until I told you just now so you're fine.</dialogue> <character>MAN #8</character> <parenthetical>( CRYING . )</parenthetical> <dialogue>Am I fine?</dialogue> <character>WOMAN #5</character> <parenthetical>( CRYING . )</parenthetical> <dialogue>What about me?</dialogue> <scene_description>Tons of people shout similar sentiments .</scene_description> <character>MARK</character> <dialogue>You're all fine! I'm only talking about people who do bad things starting right now. Everyone else is fine.</dialogue> <scene_description>The crowd erupts in a massive cheer . People hug each other passionately , wiping tears from their eyes .</scene_description> <character>MARK</character> <parenthetical>( READING . )</parenthetical> <dialogue>Number seven : The man in the sky who controls everything decides if you go to the good place or the bad place. He also decides who lives and who dies.</dialogue> <character>MAN #4</character> <dialogue>Does he cause natural disasters?</dialogue> <character>MARK</character> <dialogue>Yes.</dialogue> <character>WOMAN #3</character> <dialogue>Did he cause my mom to get cancer?</dialogue> <character>MARK</character> <dialogue>Yes.</dialogue> <character>WOMAN #4</character> <dialogue>Did he cause that tree to land on my car last week?</dialogue> <character>MARK</character> <dialogue>Yes.</dialogue> <scene_description>The crowd is quiet for a long beat . they 're mulling this over . The first man to speak is a blue collar guy with a thick Brooklyn accent .</scene_description> <character>BLUE COLLAR GUY</character> <dialogue>I say fuck the guy that lives in the sky!</dialogue> <scene_description>The whole crowd erupts in agreement . People stand up shouting , flicking off the sky .</scene_description> <character>MAN #5</character> <dialogue>Yeah! That guy's a fucking asshole!</dialogue> <character>WOMAN #5</character> <dialogue>That motherfucker better hope I never see him face to face!</dialogue> <character>MAN #6</character> <dialogue>That guy's a fucking coward! Hiding up there and doing bad shit to us! Why does n't he do it to our faces?</dialogue> <character>WOMAN #6</character> <dialogue>We need to stop that motherfucker before he kills us all!</dialogue> <scene_description>Mark looks worried . He did n't anticipate this . Suddenly a thought occurs to him .</scene_description> <character>MARK</character> <parenthetical>( SHOUTING . )</parenthetical> <dialogue>WAIT!</dialogue> <scene_description>Everyone quiets down .</scene_description> <character>MARK</character> <dialogue>This guy who lives in the sky and controls everything is also responsible for all the good stuff that happens.</dialogue> <scene_description>The whole crowd `` aaaahhs '' .</scene_description> <character>MAN #7</character> <dialogue>He's the guy who saved my life on that fishing trip when the boat capsized?</dialogue> <character>MARK</character> <dialogue>Yup.</dialogue> <character>MAN #7</character> <dialogue>Did he capsize the boat?</dialogue> <character>MARK</character> <dialogue>Well, yes.</dialogue> <character>WOMAN #7</character> <dialogue>He's the one who killed my grandmother and left me those millions of dollars?</dialogue> <character>MARK</character> <dialogue>You betcha.</dialogue> <character>WOMAN #3</character> <dialogue>So is he the same one who cured my mom's cancer?</dialogue> <character>MARK</character> <dialogue>That too.</dialogue> <scene_description>The crowd thinks this over .</scene_description> <character>MAN #8</character> <dialogue>So he's kind of a good guy, but he's also kind of a prick too?</dialogue> <character>MARK</character> <dialogue>Right. But check this out :.</dialogue> <parenthetical>( CONTINUING . )</parenthetical> <dialogue>Number eight : Even if the man in the sky does bad shit to you, he makes it up to you by giving you an eternity of good stuff after you die.</dialogue> <scene_description>The crowd `` aaahhs '' again .</scene_description> <character>WOMAN #1</character> <dialogue>As long as you do n't do any of the bad stuff you listed, right?</dialogue> <character>MARK</character> <dialogue>Right. Of course.</dialogue> <character>WOMAN #2</character> <dialogue>So it's kind of a test?</dialogue> <character>MARK</character> <dialogue>Yes. Right.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>Well, that's it. That's everything I know.</dialogue> <scene_description>Mark looks out at the crowd , they 're all exhausted , their minds completely blown . The Nurse who started this all steps forward .</scene_description> <character>NURSE #1</character> <dialogue>How do you know these things?</dialogue> <character>MARK</character> <parenthetical>( THINKING . )</parenthetical> <dialogue>The man in the clouds told me.</dialogue> <character>NURSE #1</character> <dialogue>Yeah, but how come we're just learning these things now, millions of years into our existence?</dialogue> <character>MARK</character> <dialogue>I do n't know, he forgot or something. I got ta go people, good night!</dialogue> <scene_description>Mark takes Jennifer by the hand and pulls her back inside his building .</scene_description> </scene> <scene> <stage_direction>INT. MARK'S APARTMENT BUILDING - LOBBY - NIGHT</stage_direction> <scene_description>Mark , Jennifer and Greg wait for the elevator , all of them exhausted .</scene_description> <character>MARK</character> <dialogue>You think that went well?</dialogue> <scene_description>The doors open and they get inside . All three of them stare ahead , Mark looking exhausted , Jennifer and Greg with their minds completely blown . as the doors close and we MONTAGE Spinning magazines and newspaper headlines proclaim `` Mansion for Everyone -LRB- almost -RRB- '' , `` NASA searching for Man in the Sky '' , `` Finally - A Reason to Do Good '' , `` Time : Man of the Year : Mark Bellison '' , `` Mansion Prices Plummet Worldwide '' , `` Cult of Bellison Await Further Answers '' , `` Man in Sky Murders forty - two in Earthquake '' , `` Man in Sky Continues to Give AIDS to Babies '' , `` Workplace Productivity down Fourteen Percent - Everyone Daydreaming About Mansions '' . Mark is at Lecture Films turning in the script for `` The Black Plague '' to Anthony . Rob gives Mark a dirty look as he passes him in the hall . Mark , smiling proudly , stands behind the camera while Nathan Goldfrappe reads his script . In the background are Jennifer and Greg , hanging out on set . Jennifer can be seen chatting with Rob by craft services . Mark removes the `` For Sale '' sign from the front yard of a brand new , beautiful home . Jennifer and Greg congratulate Mark enthusiastically . Mark and Jennifer are walking down the street together when Mark stops to point out a new building with a sign that reads , `` A Quiet Place To Think About the Man in the Sky '' . The building boasts a large stained glass window portraying Mark holding the two halves of the pizza box . Mark , Jennifer and Greg laugh it up in a stretch limousine as it pulls up to the movie premier of `` The Black Plague '' . Mark , Jennifer and Greg walk the red carpet at the premier of `` The Black Plague '' . Mark is the center of attention . Rob stops by on the red carpet to say hello to Jennifer and whisper something into her ear . Jennifer laughs . Mark and Jennifer have dinner together , the best of friends , but as they cheers their champagne glasses there is a tinge of sadness in Mark 's eyes . END MONTAGE SCREEN READS : `` TWO MONTHS LATER ''</scene_description> </scene> <scene> <stage_direction>INT. MARK'S MANSION - DEN - EVENING</stage_direction> <scene_description>A disheveled Mark , unshaven and sloppy looking , sits in a reclining chair , wearing boxers and a bathrobe , drinking a beer . Beer cans are littered everywhere . A young gay man in a suit stands before him with a pad and a pen writing down everything Mark says .</scene_description> <character>MARK</character> <dialogue>So then the flying duck flew all the way to Alaska where it met up with a polar bear who could talk. And the polar bear's name was Martin. And the polar bear was wearing a green cape. And Martin and the flying duck both had race cars with their names printed on the side and.</dialogue> <scene_description>Jennifer enters the room , upset .</scene_description> <character>JENNIFER</character> <dialogue>I just saw three people climbing the fence into your backyard. You really need to think about getting better security.</dialogue> <parenthetical>( noticing beer cans EVERYWHERE . )</parenthetical> <dialogue>Mark, how many of those have you had?</dialogue> <scene_description>Jennifer grabs the beer out of Mark 's hand .</scene_description> <character>MARK</character> <parenthetical>( continuing ; glaring at JENNIFER . )</parenthetical> <dialogue>But then the evil goblin witch came in and stole the flying duck's race car and made the flying duck very angry.</dialogue> <parenthetical>( grabbing at his beer . )</parenthetical> <dialogue>Luckily the Polar Bear was there to snatch the race car back.</dialogue> <parenthetical>( But he misses . )</parenthetical> <dialogue>Unfortunately, the witch was a smart witch and the polar bear was powerless.</dialogue> <character>ASSISTANT</character> <dialogue>Is that the end?</dialogue> <character>MARK</character> <dialogue>Yeah.</dialogue> <character>ASSISTANT</character> <dialogue>That's a strange ending.</dialogue> <character>MARK</character> <dialogue>Hey, do n't look at me : it's the Man in the Sky's story.</dialogue> <character>ASSISTANT</character> <dialogue>You want me to take this over to Lecture Films?</dialogue> <character>MARK</character> <dialogue>Yeah. Tell them to shoot that one this week.</dialogue> <scene_description>The assistant walks away .</scene_description> <character>MARK</character> <parenthetical>( YELLING . )</parenthetical> <dialogue>Tell them it's for kids!</dialogue> <scene_description>Jennifer glares at Mark , disappointed .</scene_description> <character>MARK</character> <dialogue>What?</dialogue> <character>JENNIFER</character> <dialogue>You have n't left the house in weeks. Every time I come by you're just sitting here writing down stories you get from the Man in the Sky.</dialogue> <character>MARK</character> <dialogue>Hey, he's the boss.</dialogue> <character>JENNIFER</character> <dialogue>Do n't you think you should go outside sometime? You know there's about five thousand people on our lawn waiting to ask you questions.</dialogue> <character>MARK</character> <dialogue>Yeah, yeah.</dialogue> <scene_description>Jennifer sits down next to him .</scene_description> <character>JENNIFER</character> <dialogue>What's with you? You seem sad.</dialogue> <scene_description>Mark shrugs .</scene_description> <character>JENNIFER</character> <dialogue>I do n't get it. You're a very successful writer, you've won countless awards and Oscars.</dialogue> <scene_description>Jennifer waves towards a shelf full of Oscars and various other awards .</scene_description> <character>JENNIFER</character> <dialogue>You've changed the way people see the world, the way they see death and life. You've made the entire world happy.</dialogue> <character>MARK</character> <dialogue>Not the entire world.</dialogue> <character>JENNIFER</character> <dialogue>I know. Not you. The one person who should be happy, the person who has everything.</dialogue> <character>MARK</character> <parenthetical>( INTERRUPTING . )</parenthetical> <dialogue>Not everything.</dialogue> <character>JENNIFER</character> <dialogue>What else do you want?</dialogue> <scene_description>Mark sits up in his chair and looks right at Jennifer .</scene_description> <character>MARK</character> <dialogue>I'd trade it all in for you. All of it.</dialogue> <scene_description>Jennifer sighs and sits down beside him .</scene_description> <character>JENNIFER</character> <dialogue>Well, you've got me. As a friend.</dialogue> <character>MARK</character> <parenthetical>( not sarcastic . )</parenthetical> <dialogue>Yeah. That's important. But why ca n't we be together. Why ca n't you be with me?</dialogue> <character>JENNIFER</character> <dialogue>Because of the whole snub nosed thing. With kids, your genetics. You know, fat, short.</dialogue> <character>MARK</character> <parenthetical>( stopping her . )</parenthetical> <dialogue>Yeah. Okay. Yup.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>It's almost a shame that being rich and powerful and famous does n't change your genetics.</dialogue> <character>JENNIFER</character> <dialogue>What?</dialogue> <character>MARK</character> <dialogue>It would be great if it changed your genetic material because I really love you but I just do n't.</dialogue> <scene_description>Suddenly Mark has an idea . He looks right at Jennifer .</scene_description> <character>MARK</character> <dialogue>It does change your genetics.</dialogue> <scene_description>Jennifer lights up .</scene_description> <character>JENNIFER</character> <dialogue>Does it?</dialogue> <scene_description>Mark stares at her for a short beat . He ca n't go through with it .</scene_description> <character>MARK</character> <dialogue>No. No, it does n't. Our kids would be short and fat with little snub noses.</dialogue> <character>JENNIFER</character> <dialogue>Right. Too bad.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>Anyway, I've come to tell you I ca n't go to the movies with you tonight.</dialogue> <character>MARK</character> <dialogue>Why not?</dialogue> <character>JENNIFER</character> <dialogue>I've got a date.</dialogue> <character>MARK</character> <dialogue>What? With who?</dialogue> <character>JENNIFER</character> <dialogue>Rob Marlowe.</dialogue> <scene_description>Mark stands up .</scene_description> <character>MARK</character> <dialogue>You've got to be fucking. Rob Marlowe?!? He's a complete and total asshole.</dialogue> <character>JENNIFER</character> <dialogue>Not to me. He's very sweet and kind to me.</dialogue> <character>MARK</character> <dialogue>Well of course he is, look at you. I mean, for fuck's sake, a shark would be nice to you.</dialogue> <character>JENNIFER</character> <dialogue>It would?</dialogue> <character>MARK</character> <dialogue>Well no, I mean.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>Do n't go out with him.</dialogue> <character>JENNIFER</character> <dialogue>Why not? He's a great match for me.</dialogue> <character>MARK</character> <dialogue>What's he got that I do n't?</dialogue> <character>JENNIFER</character> <dialogue>We talked about this. If you and I got together it would n't be fair to our kids. They have the right to be attractive and have good genes.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>If Rob and I get married You can move into our mansion with us when we all die.</dialogue> <character>MARK</character> <dialogue>I do n't want to move into your fucking mansion. And what are you doing thinking about marriage with him already? You have n't even gone on one date.</dialogue> <scene_description>Mark sits down .</scene_description> <character>MARK</character> <dialogue>It's like nothing's changed.</dialogue> <character>JENNIFER</character> <dialogue>A lot of things have changed. I wish you could be happy.</dialogue> <scene_description>There 's a knock at the front door .</scene_description> <character>JENNIFER</character> <dialogue>That's him. Got ta go.</dialogue> <character>MARK</character> <dialogue>He's picking you up here?</dialogue> <character>JENNIFER</character> <dialogue>It was his idea.</dialogue> <scene_description>Mark stands up , in shock and follows Jennifer to the front door . She opens the door to find Rob looking handsome and arrogant .</scene_description> <character>ROB</character> <dialogue>What's up? Wow, I ca n't wait to have sex with you.</dialogue> <scene_description>Rob notices Mark in his boxers and a bathrobe .</scene_description> <character>ROB</character> <dialogue>Oh hey there, Mark. You look like trash.</dialogue> <parenthetical>( to Jennifer . )</parenthetical> <dialogue>Come on Jennifer, let's go have some fun. And then have some sex.</dialogue> <scene_description>Jennifer turns back to Mark , sad that he 's upset .</scene_description> <character>JENNIFER</character> <dialogue>I'll call you tomorrow.</dialogue> <scene_description>The door closes and Mark is left standing there alone . Greg , dressed in a bathrobe and looking even more slovenly than Mark , waddles up behind him .</scene_description> <character>GREG</character> <dialogue>Who was that?</dialogue> </scene> <scene> <stage_direction>EXT. MARK'S MANSION - POOLSIDE - NIGHT</stage_direction> <scene_description>Mark and Greg are shit - faced , sitting around Mark 's giant swimming pool .</scene_description> <character>MARK</character> <dialogue>Hey, watch this.</dialogue> <parenthetical>( yelling over the fence . )</parenthetical> <dialogue>HEY PEOPLE!</dialogue> <scene_description>About forty voices shout back : `` He 's talking to us ! '' `` Maybe he has more answers ! '' `` Finally ! ''</scene_description> <character>MARK</character> <dialogue>The man in the sky just told me something!</dialogue> <scene_description>Mark snickers to himself . Greg , drunk and stupid , ca n't help but snicker too .</scene_description> <character>MARK</character> <dialogue>You're all gay!</dialogue> <scene_description>Mark and Greg explode laughing . From the other side of the fence we can hear people mumbling shock . `` I am gay . '' `` I always knew it . '' `` This is going to be awkward for my husband . ''</scene_description> <character>MARK</character> <dialogue>And adopted!</dialogue> <scene_description>Mark and Greg almost roll into the pool they 're laughing so hard . The people on the other side of the fence are n't laughing : `` Who 's my real mother ? '' , `` This explains so much '' , `` Dad , why did n't you tell me ? ''</scene_description> <character>GREG</character> <dialogue>I do n't know why we're laughing. It's really probably very sad for those people.</dialogue> <character>MARK</character> <dialogue>I'm gettin' a beer.</dialogue> <scene_description>Mark hobbles up and walks into the house . Moments later he emerges with two cokes .</scene_description> <character>MARK</character> <dialogue>Out of beer. Just Coke.</dialogue> <scene_description>Mark tosses Greg a Coke and sits down on his chaise lounge , cracking open his Coke and taking a sip .</scene_description> <character>MARK</character> <dialogue>I want to do something big again. Like telling the people what happens when they die. That felt good. I got ta do something big like that again.</dialogue> <character>GREG</character> <dialogue>Maybe the Man in the Sky will tell you something new.</dialogue> <character>MARK</character> <dialogue>Maybe.</dialogue> <scene_description>Mark looks down at his can of Coke . CLOSE ON COKE CAN : The warning label is extremely long and written in very small type . It starts with , `` COKE IS VERY BAD FOR YOU . The following are diseases , physical ailments and general health issues that coke might cause : '' The label then goes on to list dozens of ailments . Mark 's eyes scan down to the very bottom of the label where it says simply , `` If you still want to drink Coke , do so at your own risk . '' Mark looks over to find Greg staring at the depressing label as well .</scene_description> <character>GREG</character> <dialogue>Ugh, this shit is so bad for you. I really should n't drink this.</dialogue> <scene_description>Mark stares at this label for a moment , thinking . With his hand he covers everything on the label except for `` Please Enjoy Coke . '' He smiles widely .</scene_description> <character>MARK</character> <dialogue>Hey, Greg. What if I told you that drinking Coke was good for you?</dialogue> <scene_description>Greg turns to him , his face full of hope .</scene_description> <character>MARK</character> <dialogue>And not just Coke. But all the delicious foods you're not supposed to eat. What if they were all of a sudden really, really good for you?</dialogue> <character>GREG</character> <dialogue>It would be the happiest day of my life.</dialogue> </scene> <scene> <stage_direction>INT. CONFERENCE ROOM - DAY</stage_direction> <scene_description>A dozen high powered executives from all over the globe sit around a massive board room table . The head seat at the table is unoccupied . They mumble back and forth to each other , unsure why they 're there . Mark bursts into the room in a suit , looking very manicured .</scene_description> <character>MARK</character> <dialogue>Gentleman, thank you all for coming here on such short notice. I have some very big news for you all today.</dialogue> <character>EXECUTIVE #1</character> <dialogue>Is it from the Man in the Sky?</dialogue> <character>MARK</character> <dialogue>Nope, this one I came up with all on my own. And it's going to change the way you all do business. forever.</dialogue> <scene_description>Mark hits a button and a projection screen comes down on the far wall . Mark starts a slide show .</scene_description> <character>MARK</character> <dialogue>Up until now, all products sold worldwide have warning labels printed on them. Warnings like these.</dialogue> <scene_description>SERIES OF SLIDES : We see the same warning we just saw on the Coke can , a commercial jet with `` This Plane Might Crash - Four Of Our Other Ones Did '' printed on its side , a car dashboard light reading `` This Car will Ignite Upon Impact - Always '' , and a sticker on a grocery store package of ground meat that reads `` Injected with hormones that make it taste better - but will eventually give you cancer '' .</scene_description> <character>MARK</character> <dialogue>As you can see, a lot of these products can be very depressing. They remind people of all the horrible things that can happen to them in life. People hate thinking about horrible things.</dialogue> <character>EXECUTIVE #2</character> <dialogue>Yeah, but they have to know those things. They have to be able to protect themselves. I do n't want to hurt anyone. Especially now that I know about the `` bad place''.</dialogue> <scene_description>Everyone in the room shudders .</scene_description> <character>MARK</character> <dialogue>Hear me out, fellas. Allow me to introduce you to the future of your companies.</dialogue> <scene_description>Mark changes the slide to a can of coke that simple reads , `` Coke - Tastes Great ! And It 's Good For You ! '' Everyone in the room `` ahhhs '' .</scene_description> <character>EXECUTIVE #3</character> <dialogue>Where can I get some of that healthy coke?</dialogue> <character>MARK</character> <dialogue>It's the same Coke as before.</dialogue> <scene_description>The executives all squint their eyes .</scene_description> <character>EXECUTIVE #4</character> <dialogue>But this one is healthy! And it tastes great!</dialogue> <character>EXECUTIVE #1</character> <dialogue>Do you have any samples?</dialogue> <character>MARK</character> <dialogue>Guys, it's the same Coke on the inside. I've just changed the outside.</dialogue> <character>EXECUTIVE #1</character> <parenthetical>( REVELATION . )</parenthetical> <dialogue>Somehow by changing the outside, he's also changed the inside!</dialogue> <scene_description>Everyone `` aaahs '' in understanding . Mark sighs and changes the slide to that of a commercial airliner with the words `` Completely Safe '' writing on the outside .</scene_description> <character>EXECUTIVE #2</character> <dialogue>Oh, thank goodness. I've always hated flying!</dialogue> <character>EXECUTIVE #3</character> <dialogue>Me too!</dialogue> <character>EXECUTIVE #4</character> <dialogue>What an invention! How did you do it?</dialogue> <character>MARK</character> <dialogue>I did n't do anything, guys. I made this on my computer last night. The plane is exactly the same as it was before.</dialogue> <scene_description>Nobody in the room gets it .</scene_description> <character>EXECUTIVE #1</character> <dialogue>That's the only plane I'll ever fly on again!</dialogue> <character>MARK</character> <dialogue>That's the point here guys. With these new advertising strategies, people will buy your products with abandon.</dialogue> <character>EXECUTIVE #2</character> <dialogue>But it will take years to replace all of our stock with these new improved products you've invented.</dialogue> <character>MARK</character> <dialogue>No. It wo n't. All you have to do is print these words on the packaging. That's it.</dialogue> <scene_description>Mark changes the slide again : The car dashboard light now reads , `` This Car Prevents Crashes '' , and another slide that shows a package of meat with a sticker reading , `` This Meat Actually Cures Cancer '' .</scene_description> <character>MARK</character> <dialogue>Even if you do n't understand it, just start shipping these products out to people as you see them here and you're all going to get very, very rich.</dialogue> <character>EXECUTIVE #3</character> <dialogue>How did you do it?</dialogue> <character>MARK</character> <dialogue>Look, they're still the same products you have on the shelves right now. The only difference now is that people wo n't get bummed out or scared when they use them. Is n't that a good thing?</dialogue> <scene_description>The executives all nod their heads in agreement and rise to shake Mark 's hand .</scene_description> <character>MARK</character> <dialogue>Gentleman, if you'll excuse me, I have five thousand gay orphans on my front lawn that are going bananas.</dialogue> <scene_description>Mark exits .</scene_description> </scene> <scene> <stage_direction>INT. SUPER MARKET - DAY</stage_direction> <scene_description>We follow a suburban housewife as she pushes her shopping cart through the aisles of a bright and shiny super market . She picks up a six pack of Coke and notices the label : `` New Coke - It Tastes Great ! And it 's Good For You ! '' The housewife smiles widely and enthusiastically tosses it in her cart . SERIES OF CUTS : The housewife grabbing different products , marveling at the new , improved features : `` Cures Sadness ! '' , `` Tastes Better than Real Chicken ! '' , `` This Candy is All Your Body Needs To Survive ! '' With a full cart the housewife wheels it to the checkout counter to find swarms of people already there , all of their carts bursting to the brim with new , exciting products . Everyone looks excited and happy .</scene_description> </scene> <scene> <stage_direction>INT. BAR - MORNING</stage_direction> <scene_description>Back at his old stomping ground , Mark sits at the bar by himself drinking coffee and watching the TV . Greg sits next to him , with two boxes of cookies and a liter of coke in front of him . Different newspapers are spread out on the bar , all of them with similar headlines , `` World Rocked By New Healthy Products '' , `` People Everywhere Line up for Guilt - Free Treats '' , `` YOU CAN EAT CAKE - ALL THE TIME ! '' . ANGLE ON TV : A FAT MAN is being interviewed in front of a super market , he holds a bag full of junk food in front of him .</scene_description> <character>FAT MAN</character> <dialogue>Thank the Man in the Sky for this. I've never been happier in my life. Now I can eat whatever I want, whenever I want.</dialogue> <scene_description>The man takes a bite of a Twinkie and wavers a bit like he 's going to pass out .</scene_description> <character>REPORTER</character> <dialogue>Are you all right, sir?</dialogue> <scene_description>The man steadies himself .</scene_description> <character>FAT MAN</character> <dialogue>Yeah. I must just be real happy. It says on the wrapper that they help boost your happiness.</dialogue> <scene_description>The man smiles , but he 's obviously not feeling well . BACK ON MARK He 's watching the TV with a bit of worry on his face . He turns to Greg who is eating a stack of cookies and washing it down by gulping from a liter of coke .</scene_description> <character>MARK</character> <dialogue>You should slow down there, Greg.</dialogue> <character>GREG</character> <dialogue>Why's that?</dialogue> <character>MARK</character> <dialogue>Just because the package says it's not bad for you does n't mean you have to gorge yourself on it.</dialogue> <character>GREG</character> <dialogue>But it tastes so good.</dialogue> <scene_description>Greg shoves three more cookies into his mouth .</scene_description> <character>MARK</character> <dialogue>That's just stupid.</dialogue> <character>GREG</character> <dialogue>No it's not.</dialogue> <scene_description>Greg holds up the package of cookies and points to the disclaimer which reads , `` These cookies make you smarter '' .</scene_description> <character>GREG</character> <dialogue>See?</dialogue> <scene_description>Mark sighs .</scene_description> <character>GREG</character> <dialogue>You look sad. Here, have a brownie. They'll cheer you up.</dialogue> <scene_description>Greg hands Mark a brownie that , sure enough , says `` They 'll cheer you up ! '' right on the package .</scene_description> <character>MARK</character> <dialogue>I wish that worked for me, Greg.</dialogue> <character>GREG</character> <dialogue>What?</dialogue> <character>MARK</character> <dialogue>Nevermind. I'll see you around.</dialogue> <scene_description>Mark gets up and leaves .</scene_description> </scene> <scene> <stage_direction>INT. MARK'S CAR -- DAY</stage_direction> <scene_description>Mark drives while we take in a bit of his world , highlighting the various changes he 's wrought . A homeless man stands on the street corner with a sign that now reads , `` Screw it . I 'll be in my mansion soon . '' He has a big smile on his face . The same business man pulls up beside Mark 's car , this time eating a giant donut and talking loudly into his cell phone .</scene_description> <character>BUSINESS MAN</character> <dialogue>I'm not talking to anyone on my cell phone. But from a distance I look very important and busy.</dialogue> <scene_description>At a red light Mark eavesdrops on the same arguing couple .</scene_description> <character>GIRLFRIEND</character> <dialogue>No, I wo n't move into your mansion with you when we die. You're really smothering me.</dialogue> <character>BOYFRIEND</character> <dialogue>The more you push me away, the more attracted I am to you.</dialogue> <scene_description>A bus passes in front of Mark 's car . The ad now reads , `` Pepsi . Just As Good as Coke . '' A car honks behind Mark . The man leans out of his car and yells at Mark .</scene_description> <character>HONKING MAN</character> <dialogue>Move it, fatty!</dialogue> <scene_description>As the man passes him , he looks at Mark and pulls up beside him .</scene_description> <character>HONKING MAN</character> <dialogue>Hey you're Mark Bellison!</dialogue> <character>MARK</character> <dialogue>Yeah. So are you going to apologize?</dialogue> <character>HONKING MAN</character> <dialogue>For what?</dialogue> <scene_description>The honking man speeds away .</scene_description> </scene> <scene> <stage_direction>INT. GRAVEYARD - AFTERNOON</stage_direction> <scene_description>Mark sits in front of the gravesite of his grandmother . ANGLE ON : Her tombstone which reads , `` Martha Bellison 1918 - 2007 . Lived an average life for a woman in her time . ''</scene_description> <character>MARK</character> <dialogue>Nothing's really changed. I gave people the Man in the Sky, made myself rich and successful, told the world they can eat whatever they want and feel good about it. Everyone's happy but me. Because I'm the only one who knows it all. is n't. I made it all up.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>You're not up there living in a mansion. You're right here. In the ground. That's all. And I'm the only one who knows that.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>And the one thing I want I ca n't have. Because the world is too stupid to change. The world only cares about what they can see, and what they can know, and what they're used to and what. makes sense. No one listens to what they really want. And that's why I'll always just be a loser, grandma. And that's why I'll always be alone.</dialogue> </scene> <scene> <stage_direction>INT. MARK'S MANSION - KITCHEN - NIGHT</stage_direction> <scene_description>With a beer bottle in his hand Mark searches through his kitchen drawers for a bottle opener . He opens a drawer and something catches his eye . ANGLE ON : The envelope which reads , `` MY INVENTION '' . Slowly Mark pulls it out of the drawer and stares at it . The sound of his front door opening startles him and Mark shoves the envelope into his back pocket .</scene_description> <character>MARK</character> <dialogue>Who's there?</dialogue> <character>JENNIFER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>It's me. Can I come in?</dialogue> <character>MARK</character> <dialogue>Sure.</dialogue> <scene_description>Jennifer enters the kitchen .</scene_description> <character>MARK</character> <dialogue>Have n't seen you much lately.</dialogue> <character>JENNIFER</character> <dialogue>I know. I've been busy with work and things. And I'm getting married. That's why I came over. To tell you.</dialogue> <scene_description>Mark nods .</scene_description> <character>MARK</character> <dialogue>Do n't do it.</dialogue> <character>JENNIFER</character> <dialogue>The wedding is tomorrow.</dialogue> <scene_description>Jennifer pulls out an invitation , Mark waves it away .</scene_description> <character>JENNIFER</character> <dialogue>I hope you'll come.</dialogue> <scene_description>Mark shrugs and Jennifer puts the invitation back in her purse .</scene_description> <character>MARK</character> <dialogue>No point really.</dialogue> <character>JENNIFER</character> <dialogue>It would make me happy. Being around you makes me happy.</dialogue> <scene_description>Mark turns towards her .</scene_description> <character>MARK</character> <dialogue>So do n't marry him.</dialogue> <character>JENNIFER</character> <dialogue>I only have a few years to marry someone with good genes and financial stability so I can have children and the family I've always wanted. One day I'll be old and wrinkly and ugly.</dialogue> <character>MARK</character> <dialogue>No you wo n't. Not to me you wo n't. I love you. If you really love someone it does n't matter what they look like.</dialogue> <character>JENNIFER</character> <dialogue>What do you mean?</dialogue> <character>MARK</character> <dialogue>Do me this favor. Just one favor. Do n't accept everything you see. Do n't just do something because that's the way it's done.</dialogue> <character>JENNIFER</character> <dialogue>You're confusing me.</dialogue> <character>MARK</character> <dialogue>Think about what you want. Find out what you really want. And if it's not the same as what I want, well then I'll know that and I'll never darken your doorstep again.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>I want you. What do you want?</dialogue> <scene_description>Jennifer and Mark stare at each other for a long beat .</scene_description> <character>JENNIFER</character> <dialogue>I'm going to go.</dialogue> <character>MARK</character> <dialogue>Please do n't. Will you just stay a little bit longer? I do n't want to be alone. Just sit with me.</dialogue> <scene_description>Jennifer nods . Mark leads her into the living room and they sit down far apart from each other on the couch . Mark turns the TV on and they both sit in silence . LATER . Mark has fallen asleep on the couch . Jennifer checks her watch and stands up . She takes out her wedding invitation and lays it on the coffee table by Mark . She unfolds a blanket and is about to place it on him when she notices an envelope sticking out of his back pocket . She pulls it out and looks at it .</scene_description> <character>JENNIFER</character> <parenthetical>( READING . )</parenthetical> <dialogue>My invention.</dialogue> <scene_description>She opens the letter and begins to read . Once finished , she folds up the letter and hurriedly leaves , scared and confused . THE NEXT MORNING Mark wakes up and sees Jennifer 's wedding invitation on the coffee table . He sighs .</scene_description> </scene> <scene> <stage_direction>INT. MARK'S HOUSE - BEDROOM - MORNING</stage_direction> <scene_description>Mark stands before the mirror , dressed in a suit , putting on a tie . Greg pokes his head into the room , dressed in a suit as well .</scene_description> <character>GREG</character> <dialogue>We're gon na be late.</dialogue> </scene> <scene> <stage_direction>EXT. "CHURCH" - DAY</stage_direction> <scene_description>The sign outside reads , `` A QUITE PLACE TO THINK ABOUT THE MAN IN THE SKY '' .</scene_description> <character>GREG</character> <dialogue>Makes sense people would start getting married at these places. I mean, who you marry decides who's mansion you're going to live in one day. It's a big decision.</dialogue> <character>MARK</character> <dialogue>Yeah.</dialogue> <scene_description>They enter the building .</scene_description> </scene> <scene> <stage_direction>INT. "CHURCH" - DAY</stage_direction> <scene_description>A small stage sits before a large stained glass window portraying Mark holding the two halves of the pizza box . Rob stands at the altar . Mark and Greg take their seats amidst a crowd of people sitting quietly in their chairs .</scene_description> </scene> <scene> <stage_direction>INT. "CHURCH" - BRIDAL ROOM - DAY</stage_direction> <scene_description>Jennifer sits in a small room in a beautiful white dress , looking as beautiful as any woman has ever looked . She stares absentmindedly out the window . There 's a knock at the door . JENNIFER 'S MOTHER pokes her head in .</scene_description> <character>JENNIFER'S MOTHER</character> <dialogue>It's time, dear.</dialogue> <scene_description>Jennifer does n't answer . We PUSH IN on Jennifer to see she 's clutching Mark 's letter in her hand .</scene_description> <character>JENNIFER'S MOTHER</character> <dialogue>Jennifer?</dialogue> <character>JENNIFER</character> <dialogue>I do n't feel all right.</dialogue> <character>JENNIFER'S MOTHER</character> <dialogue>What's wrong? Do you have food poisoning?</dialogue> <character>JENNIFER</character> <dialogue>No. I do n't think there's a word for what I have.</dialogue> </scene> <scene> <stage_direction>INT. "CHURCH" - DAY</stage_direction> <scene_description>`` Here 's comes the Bride '' plays over an organ and Jennifer walks down the aisle towards a smiling Rob . Mark watches her in awe , stunned by her beauty . Rob notices Mark staring at Jennifer and mouths `` loser '' at him . Jennifer reaches the altar and stands across from Rob . The WEDDING OVERSEER , an elderly man in a suit , stands between them holding a few sheets of paper in his hand .</scene_description> <character>WEDDING OVERSEER</character> <dialogue>We are sitting here in this building today to share in the wedding of Rob and Jennifer. Two young, attractive people who have agreed that this union would be mutually beneficial and that their genetic match - up would most likely produce favorable offspring and a life of financial stability and physical security.</dialogue> <scene_description>Both Rob and Jennifer nod at each other .</scene_description> <character>WEDDING OVERSEER</character> <dialogue>Rob, do you promise to stay with Jennifer for as long as you want to and to protect your offspring for as long as you can?</dialogue> <character>ROB</character> <dialogue>I do.</dialogue> <character>WEDDING OVERSEER</character> <dialogue>Jennifer, do you promise to stay with Rob for as long as you want to and to protect your offspring for as long as you can?</dialogue> <scene_description>Jennifer does n't respond .</scene_description> <character>WEDDING OVERSEER</character> <dialogue>Jennifer?</dialogue> <character>JENNIFER</character> <parenthetical>( to Overseer . )</parenthetical> <dialogue>I'm sorry, hold on one second.</dialogue> <parenthetical>( to Rob . )</parenthetical> <dialogue>Rob, can I ask you something?</dialogue> <scene_description>There 's a slight hubbub in the room . Mark perks up .</scene_description> <character>ROB</character> <parenthetical>( CONCERNED . )</parenthetical> <dialogue>Sure. But what are you doing?</dialogue> <character>JENNIFER</character> <dialogue>What color are my eyes?</dialogue> <character>ROB</character> <dialogue>I dunno.</dialogue> <parenthetical>( LOOKING . )</parenthetical> <dialogue>Oh, they're brown.</dialogue> <scene_description>CLOSE ON Jennifer 's eyes . Indeed , they are brown .</scene_description> <character>JENNIFER</character> <dialogue>No Rob, they're blue.</dialogue> <scene_description>Rob looks again . Mark stirs in his seat , amazed by what he 's hearing .</scene_description> <character>ROB</character> <dialogue>Oh, look at that. So they are. You've got pretty blue eyes.</dialogue> <scene_description>PUSH IN on Jennifer . It works . Her mind is reeling .</scene_description> <character>ROB</character> <dialogue>Can we get on with this?</dialogue> <character>WEDDING OVERSEER</character> <dialogue>Jennifer, do you promise to stay with Rob for as long as you want to and to protect your offspring for as long as you can?</dialogue> <scene_description>Jennifer is confused . Her mind is fighting it , but she does n't know what exactly she 's fighting . Finally .</scene_description> <character>JENNIFER</character> <dialogue>I do.</dialogue> <scene_description>There is a sigh of relief from the room . Mark shakes his head in sadness .</scene_description> <character>WEDDING OVERSEER</character> <dialogue>Before I pronounce these two man and wife, is there anyone here who thinks they'd offer either of these people a better genetic match - up?</dialogue> <scene_description>Mark bolts up in his chair .</scene_description> <character>MARK</character> <dialogue>Me.</dialogue> <scene_description>The whole room gasps .</scene_description> <character>ROB</character> <dialogue>Oh come on. Look at you. You ca n't be better.</dialogue> <character>MARK</character> <dialogue>Yes I can. You've got shmuck genes.</dialogue> <character>ROB</character> <dialogue>Schmuck genes? What's that?</dialogue> <character>MARK</character> <dialogue>And I love her.</dialogue> <parenthetical>( to Jennifer . )</parenthetical> <dialogue>Jennifer, do n't marry him. Is this what you really want?</dialogue> <character>JENNIFER</character> <dialogue>I do n't know.</dialogue> <parenthetical>( pause ; unsure . )</parenthetical> <dialogue>Yes?</dialogue> <scene_description>Mark thinks this over for a beat .</scene_description> <character>MARK</character> <dialogue>All right. I'm done. Goodbye.</dialogue> <scene_description>Awkwardly Mark makes his way to the aisle and leaves the room . The room is thick with tension .</scene_description> <character>ROB</character> <dialogue>Are we married yet? Because I've got plans this afternoon.</dialogue> </scene> <scene> <stage_direction>EXT. "CHURCH" - DAY</stage_direction> <scene_description>Mark loosens his tie as he walks out of the building and towards the street . In the background we can see the `` church '' door open .</scene_description> <character>JENNIFER</character> <parenthetical>( SHOUTING . )</parenthetical> <dialogue>Hold on a minute!</dialogue> <scene_description>Mark turns , confused and tired . Jennifer runs to him . She stands before him , they both stare at each other .</scene_description> <character>MARK</character> <dialogue>What?</dialogue> <scene_description>Jennifer pulls out Mark 's letter and shows it to him .</scene_description> <character>JENNIFER</character> <dialogue>I'm confused.</dialogue> <character>MARK</character> <dialogue>So am I.</dialogue> <character>JENNIFER</character> <dialogue>Is any of it. the things you said. are they. I ca n't think of the word.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>Is there a Man in the Sky?</dialogue> <character>MARK</character> <dialogue>No.</dialogue> <character>JENNIFER</character> <dialogue>Why'd you say there was?</dialogue> <character>MARK</character> <dialogue>Because I could n't cope with the look on my grandmother's face.</dialogue> <character>JENNIFER</character> <dialogue>But how could you say something that. was n't.</dialogue> <character>MARK</character> <dialogue>I'm not sure. I just did it.</dialogue> <character>JENNIFER</character> <dialogue>And what did you mean that I could grow old and ugly and still be beautiful to you?</dialogue> <character>MARK</character> <dialogue>I mean just that. You'll always be beautiful to me.</dialogue> <character>JENNIFER</character> <dialogue>But what if my looks.</dialogue> <character>MARK</character> <dialogue>It does n't matter.</dialogue> <character>JENNIFER</character> <dialogue>I feel funny.</dialogue> <character>MARK</character> <dialogue>Me too.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>Everything is so hard. Nothing is easy anymore.</dialogue> <scene_description>There is a long moment of silence . Jennifer moves closer to Mark and looks directly into his eyes .</scene_description> <character>JENNIFER</character> <dialogue>I know what I want.</dialogue> <character>MARK</character> <dialogue>What?</dialogue> <character>JENNIFER</character> <dialogue>I want short, fat kids with little snub noses.</dialogue> <scene_description>The biggest smile we 've ever seen comes across Mark 's face .</scene_description> <character>MARK</character> <parenthetical>( JUBILANTLY . )</parenthetical> <dialogue>Easy! That's an easy one.</dialogue> <scene_description>Just like she did the night on her couch , Jennifer reaches over and puts her hand on Mark 's wrist . They both stare at each other for a long beat , holding hands , love beaming from both of them . The world is changing before their eyes .</scene_description> <character>JENNIFER</character> <dialogue>Does anyone else know about your invention?</dialogue> <character>MARK</character> <dialogue>No. But I'm sure it wo n't be long.</dialogue> <character>JENNIFER</character> <dialogue>Should we tell them right away?</dialogue> <character>MARK</character> <dialogue>I'm not sure. I do n't think everyone will understand.</dialogue> <scene_description>Greg sticks his head out of the church door .</scene_description> <character>GREG</character> <dialogue>What's going on out here? Everyone's just sitting in there. Are we gon na finish this wedding?</dialogue> <scene_description>Jennifer smiles at Mark .</scene_description> <character>JENNIFER</character> <dialogue>Yes.</dialogue> <scene_description>Mark smiles back .</scene_description> <character>MARK</character> <dialogue>Praise the Man in the Sky.</dialogue> <scene_description>WE RISE UP as Mark and Jennifer walk hand in hand towards the church - and an unknowable future .</scene_description> <character>NARRATOR</character> <dialogue>The world's last moment of honesty. A monumental occasion in the history of mankind.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>That lowly writer who stumbled upon the ability to lie went on to become one of the most important men of his age, married to one of the most beautiful women of his time, and passed on the lying gene to generations to come.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>A world without honesty is a world with dreams. A world with pretense. A world with fiction. A world with flattery. And most importantly, a world with true love. Put simply, a world very much like our own.</dialogue> <scene_description>FADE TO BLACK . THE END</scene_description> </scene> </script>

The film is set in an alternative reality in which lying does not exist. Mark Bellison is a screenwriter, in a film industry limited to historical readings because there is no fiction. One night he has a date with the beautiful and wealthy Anna McDoogles. She tells Mark she is not attracted to him, because of his looks and failing financial situation, but is going out with him as a favor to his best friend, Greg Kleinschmidt. The next day, Mark is fired from his job because of the lack of interest in his films (which are set in the lackluster 14th century), and his landlord threatens to evict him for not paying his rent. Crestfallen, he goes to the bank to close his account. The teller informs him that the computers are down and asks him how much money he has in his account. Mark then has an epiphany that enables him to tell the world's first lie, which is that he has $800 — the amount he owed his landlord — in his account. He then lies in a variety of other circumstances, initially for personal gain; he prevents a police officer from arresting Greg for drunk driving, breaks the bank at a casino, and writing a screenplay about the world being invaded by aliens in the 14th century that ends with the claim that everyone's memories were erased. He becomes wealthy from the film's success. Mark soon realizes that lying can also be used to help others, such as stopping his depressive neighbor Frank Fawcett from committing suicide. Soon after, Mark convinces Anna to go out with him again. She congratulates Mark for his financial success and admits that he would be a good husband and father, but she is still not attracted to him. Mark then gets a call that his mother, Martha, has had a heart attack and rushes to the hospital. There, the doctor tells him that Martha is going to die. She is scared of death, believing that it will bring an eternity of nothingness. Mark, through tears, tells her that death instead brings an eternally joyful afterlife, introducing the concept of a Heaven to her, and she dies happy. Mark soon receives worldwide attention as the news of his supposed information about death spreads. After encouragement from Anna, he tells the world, through "ten rules" (mirroring the Ten Commandments), that he talks to a "Man In The Sky" who controls everything and promises great rewards in the good place after death, as long as you do no more than three "bad things". Some time later, Anna and Mark are together in a park and Anna asks him, if they marry, if his now being rich and famous would make their children more physically attractive. Mark wants to lie, but does not because of his love for Anna, and says "No". Meanwhile, Mark's rival, Brad Kessler, pursues Anna romantically, motivated by his jealousy at Mark's success. Though Brad's selfish and cruel manner makes Anna uncomfortable, she continues dating him and they become engaged. Before the wedding, Greg appears and convinces Mark that he has not missed his chance with Anna. Mark reluctantly attends Anna and Brad's wedding, where he objects to the marriage. The officiant, however, informs him that only the Man in the Sky can stop the wedding. Brad and Anna both ask Mark to ask the Man in the Sky what Anna should do, but Mark refuses to say anything and leaves, wanting Anna to choose for herself. Anna walks out and Mark confesses his ability to lie. Anna struggles to understand the concept and asks why he did not lie to convince her to marry him; Mark states that it "wouldn't count". Anna confesses that she loves him. Some time later, Anna and Mark are shown happily married with a son, who appears by his actions to have inherited his father's ability to lie.

All the Old Knives_2022

tt3706352

<script> <scene> <character>ALL THE OLD KNIVES</character> <dialogue>Screenplay by</dialogue> <scene_description>Olen Steinhauer Based on the book by Olen Steinhauer © 2020 AMAZON CONTENT SERVICES LLC OR ITS AFFILIATES. All Rights Reserved This material is the exclusive property of AMAZON CONTENT SERVICES LLC OR ITS AFFILIATES and is intended solely for the use of its personnel. No portion of this script may be performed, or reproduced by any means, or quoted, or published in any medium without prior written consent of AMAZON CONTENT SERVICES LLC. March 22, 2021</scene_description> </scene> <scene> <stage_direction>INT. HENRY'S APARTMENT, VIENNA - DAY</stage_direction> <scene_description>HENRY PELHAM (mid-40s, disheveled) closes a small carry- on suitcase on a chair and locks it. From a shelf he takes and pockets an old phone. He pauses by his window to take a final look at the expanse of Vienna, the fog coming in...</scene_description> <character>PRELAP: CHILDREN CRYING --</character> <dialogue>He grabs his suitcase and heads out.</dialogue> <character>SULEIMAN (V.O.)</character> <dialogue>We are Da'irat Al-Salihoon...</dialogue> </scene> <scene> <stage_direction>INT. FLIGHT 127 - DAY (2012 - EIGHT YEARS AGO)</stage_direction> <scene_description>CELL PHONE CAMERA SHOT: CLOSE ON a swarthy, thin face -- SULEIMAN WAHED (32), Saudi. He's INTENSE, EDGY, but smiling, rejoicing, speaking to his phone as he paces.</scene_description> <character>SULEIMAN</character> <dialogue>We are here because of your country's arrogant foreign policy towards our brothers in Afghanistan, Iraq, Chechnya and Somalia. We are here because of your evil alliance with the Americans and their insistence on continuous bombings and killings, despite our serious warnings.</dialogue> <scene_description>The plane around him looks empty, but as he turns we find NINE CHILDREN (5-12) in business-class seats. Terrified.</scene_description> <character>SULEIMAN</character> <dialogue>We want you to back off and leave our people alone. We are fighting for the prestige of Islam. For our brothers and sisters, mothers and fathers...</dialogue> <scene_description>Behind him, OMAR SAMATAR ALI (25) RUSHES by on his way to coach, gripping a pistol.</scene_description> <character>SULEIMAN</character> <dialogue>...For the fallen -- First General Emir, Osama Bin Laden, peace be upon him...</dialogue> <scene_description>CONTINUED: He turns to smile at the children. Most aren't even looking at him. Three CRY out loud. The others are paralyzed. PULL BACK to find we're watching this on a flat-screen TV in...</scene_description> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / VICK'S OFFICE - MORNING</stage_direction> <scene_description>...the modern, clean office of CIA Station Chief VICTOR (VICK) WALLINGER (late 40s). Vick's not looking at the TV -- he's looking, dead serious, at his people -- SIX CIA EMPLOYEES, sitting and standing, watching in shellshocked silence.</scene_description> <character>SULEIMAN (V.O.)</character> <dialogue>...For those tortured by the brothers of Satan in Egypt, Jordan and Saudi Arabia...</dialogue> <scene_description>ERNST PUL (40s), stands by the door, arms crossed over his chest, staring hard. LEILA MALOOF (30s), an otherwise tough woman, sits with her hands on her knees, head down, WEEPING openly. BILL COMPTON (50s), a Cold War veteran, rubs his temples, a headache coming on.</scene_description> <character>SULEIMAN (V.O.)</character> <dialogue>...For the martyrs. For the Caliphate. We have broken into the infidel's house to save our brothers. And we will burn down this house when our honor demands it...</dialogue> <scene_description>In a chair, OWEN LASSITER (30s), a glum-looking man, covers his mouth with a hand beneath his bleak eyes. Our two primaries stand on opposite sides of the room -- CELIA HARRISON (30s) and Henry Pelham (30s). Celia, face gloomy and eyes swollen from too little sleep, is unable to tear her gaze from the TV. Henry, unlike the others, doesn't look like an office drone, because he's not: He works the street, chasing down sources.</scene_description> <character>SULEIMAN (V.O.)</character> <parenthetical>(from television)</parenthetical> <dialogue>We are the soldiers of Islam, and this is our war on terror. Allahu Akbar.</dialogue> <scene_description>Henry looks from the TV to Celia. He tries to catch her eye, but she's transfixed painfully by the video. Then she leaves the room without a word.</scene_description> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / CIA STATION - CONTINUOUS</stage_direction> <scene_description>Celia walks briskly through the embassy's CIA station, a hub of cubicles and computers and CIA EMPLOYEES at quiet work. She grabs her coat and heads straight to the elevators.</scene_description> </scene> <scene> <stage_direction>EXT. US EMBASSY, VIENNA - MOMENTS LATER</stage_direction> <scene_description>She exits the neoclassical building on Boltzmanngasse, almost breaking into a run as she makes her way down the pavement away from the embassy. She passes VIENNESE...heads for the next street. Henry BURSTS from the embassy, running after her -- confused. He spots her disappearing around the corner.</scene_description> <character>HENRY</character> <dialogue>Celia!</dialogue> <scene_description>He reaches the corner, then STOPS, HUFFING. VIENNESE FACES, but not hers. The city has swallowed her. ON HENRY: He looks LOST.</scene_description> </scene> <scene> <stage_direction>INT. UNITED AIRLINES, JUMBO JET - NIGHT</stage_direction> <scene_description>Henry's in a business class, window seat -- darkness outside the window, lights low, as the plane traverses the Atlantic. Around him PASSENGERS doze chin-deep in blankets, but Henry can't sleep. A UNITED AIRLINES STEWARDESS, noticing him, leans close and whispers.</scene_description> <character>UNITED AIRLINES STEWARDESS</character> <dialogue>Can I get you anything?</dialogue> <scene_description>Henry shakes his head. Smiles. She nods at that, and as she walks away...</scene_description> <character>HENRY (V.O.)</character> <dialogue>It's been eight years Vick.</dialogue> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / VICK'S OFFICE - DAY (WEEKS AGO)</stage_direction> <scene_description>Henry, in an office chair, upset by what he's just heard.</scene_description> <character>HENRY</character> <dialogue>No one wants to open that can of worms...</dialogue> <character>VICK</character> <dialogue>Headquarters feels differently.</dialogue> <character>HENRY</character> <dialogue>We did this already. What went wrong? What could we have done better? We've been blaming ourselves ever since.</dialogue> <scene_description>Vick looks at Henry for a long beat. Both men pained by the memory of that terrible past.</scene_description> <character>VICK</character> <dialogue>They caught Ilyas Shishani.</dialogue> <scene_description>Henry stiffens.</scene_description> <character>HENRY</character> <dialogue>What? ...When?</dialogue> <character>VICK</character> <dialogue>Afghanistan. 3 weeks ago.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>He said we were compromised back then. The hijackers had help from inside our station. Here in Vienna.</dialogue> <character>HENRY</character> <parenthetical>(incredulous)</parenthetical> <dialogue>And we believe him?</dialogue> <character>VICK</character> <dialogue>Langley believes him. That's the only thing that matters.</dialogue> <scene_description>Henry, unwilling to believe --</scene_description> <character>HENRY</character> <dialogue>Send me. If anyone can get the truth out of Ilyas --</dialogue> <character>VICK</character> <parenthetical>(raises hand)</parenthetical> <dialogue>He's dead, Henry.</dialogue> <scene_description>CONTINUED:</scene_description> <character>VICK</character> <dialogue>Wasn't in any shape to be interrogated -- someone made a mistake.</dialogue> <scene_description>CONTINUED: (2) Henry's taken aback by this.</scene_description> <character>HENRY</character> <dialogue>Did they at least get a name out of him?</dialogue> <scene_description>Vick shakes his head. Henry reflects on this and what it means.</scene_description> <character>VICK</character> <dialogue>We need to close the books on flight one twenty seven once and for all... get headquarters off our case.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'd like you to wrap this up.</dialogue> <character>HENRY</character> <dialogue>Why me?</dialogue> <scene_description>Vick sighs and opens a folder on his desk. Passes over a sheet of paper -- embassy phone logs from December 6, 2012. One call, at "21:03," to a number beginning "+9821" is circled with marker. Henry finds "EXTENSION 4952" and "COMPTON WILLIAM." Henry furrows his brow.</scene_description> <character>HENRY</character> <dialogue>That's a Tehran number, isn't it?</dialogue> <character>VICK</character> <parenthetical>(nod)</parenthetical> <dialogue>And Bill wasn't the only one to use the extension. You know that.</dialogue> <scene_description>Henry looks back at the paper, takes it all in.</scene_description> <character>HENRY</character> <dialogue>Okay. I'll do it.</dialogue> <character>VICK</character> <parenthetical>(hesitates)</parenthetical> <dialogue>And if it's her?</dialogue> <parenthetical>(off Henry)</parenthetical> <dialogue>You still holding a torch for Celia Harrison?</dialogue> <character>HENRY</character> <dialogue>It's Celia Favreau now. A husband and two kids...</dialogue> </scene> <scene> <stage_direction>INT. SAFEWAY, CARMEL, CA - DAY (PRESENT)</stage_direction> <scene_description>We're UP HIGH, LOOKING DOWN on the frozen food section of Carmel's huge, upscale grocery store. Celia walks slowly, distracted, as if there's nothing here for her.</scene_description> <character>HENRY (V.O.)</character> <dialogue>Besides, no torch burns eight years. Not without oxygen.</dialogue> <scene_description>A YOUNG MAN with long hipster sideburns opens a freezer. This is FREDDY. He speaks to her without looking at her, then drops a pint of ice cream into his basket. Walks away.</scene_description> <character>VICK (V.O.)</character> <dialogue>You think she'll even talk to you? We could send Mack to California.</dialogue> </scene> <scene> <stage_direction>EXT. CROSSROADS SHOPPING CENTER, CARMEL - CONTINUOUS</stage_direction> <scene_description>She leaves Safeway and crosses the parking lot toward other stores. It's a genteel, manicured shopping plaza, full of overpriced cars and SUVs and the aging RETIRED.</scene_description> <character>HENRY (V.O.)</character> <dialogue>He won't be able to tell if she's lying.</dialogue> <scene_description>FOLLOW Celia past storefronts to a bench outside, where sits KARL STEIN (60). Genial-looking, he eats from a bag of nuts. In the background, Freddy arrives, carrying a plastic bag with his ice cream. He takes his place, watching over the meeting.</scene_description> <character>VICK (V.O.)</character> <dialogue>Will you?</dialogue> <scene_description>Karl smiles as Celia approaches.</scene_description> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / VICK'S OFFICE - DAY (WEEKS AGO)</stage_direction> <scene_description>Henry gives Vick a pointed look.</scene_description> <character>HENRY</character> <dialogue>Isn't that why you're sending me?</dialogue> <scene_description>Vick holds Henry's look. A silent acknowledgement.</scene_description> <character>HENRY</character> <dialogue>Bill's in London now, right?</dialogue> <scene_description>CONTINUED:</scene_description> <character>VICK</character> <dialogue>Correct.</dialogue> <character>HENRY</character> <dialogue>I'll talk to him first.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Then I'll see about California.</dialogue> <scene_description>Henry pushes the phone log back to Vick.</scene_description> <character>HENRY</character> <dialogue>You almost sound like you want someone to be guilty.</dialogue> <character>VICK</character> <dialogue>What I want is to chalk up flight one twenty seven to bad luck. What I need is to know that the man I send can do what's necessary.</dialogue> <character>HENRY</character> <dialogue>And if this turns out to be true, what are your orders?</dialogue> <scene_description>Vick looks pained, as if the weight of the world's on his shoulders.</scene_description> <character>VICK</character> <dialogue>We can't afford the embarrassment of a prosecution. Not these days.</dialogue> <scene_description>Henry tries to lock eyes, but Vick's evasive.</scene_description> <character>HENRY</character> <dialogue>You gonna say it?</dialogue> <scene_description>Feeling as if he's being pushed into a corner, Vick straightens and looks Henry straight in the eyes.</scene_description> <character>VICK</character> <dialogue>No, Henry. I'm not.</dialogue> <scene_description>Off Henry --</scene_description> </scene> <scene> <stage_direction>EXT. UNITED AIRLINES, JUMBO JET, SAN FRANCISCO INT.</stage_direction> <character>AIRPORT - DAY (PRESENT)</character> <dialogue>Tires screech as Henry's plane touches down on the landing strip of San Francisco International Airport.</dialogue> <scene_description>CONTINUED:</scene_description> <character>PILOT (V.O.)</character> <dialogue>Welcome to San Francisco...</dialogue> </scene> <scene> <stage_direction>INT. JUMBO JET 2 - DAY</stage_direction> <scene_description>Henry stifles a yawn and looks out the window at SAN FRANCISCO AIRPORT as they taxi toward the gate.</scene_description> <character>PILOT (V.O.)</character> <dialogue>The local time is one twenty- eight, and it's a comfortable sixty-six degrees fahrenheit, nineteen celcius.</dialogue> <scene_description>He takes out some caffeine pills and dry-swallows one as, around him, passengers begin to get up, reaching for their bags.</scene_description> <character>PILOT (V.O.)</character> <dialogue>On behalf of Star Alliance we thank you for flying with us.</dialogue> </scene> <scene> <stage_direction>I/E. HENRY'S VOLVO - AFTERNOON</stage_direction> <scene_description>Top down, Henry drives Highway 1 from San Francisco, south toward Carmel-by-the-Sea. He's taking it easy, the roof down on his rented convertible, listening to MUSIC on the radio. Thick foliage hangs over the breakdown lane, and in the distance mountains loom. Breathtaking. Up ahead, he spots the turn-off for Carmel-by-the-Sea on the right. He passes a golf course with a scenic view of the ocean. On the left, a high school with backed-up traffic: sports cars helmed by insolent TEENS. He takes the exit for Carmel and slows down. A speed- limit SIGN: "20 MPH." More trees, lush, with cottages peeking through. Eventually he reaches the pretty little downtown. English- village themed. Older RICH PEOPLE walking past art galleries and adorable stores, dogs on leashes. SHOPKEEPERS close up stores. He continues through the downtown to reach the white-sand beach. He parks and kills the engine. Stares out at the pristine beach and the setting sun. WAVES CRASH. CONTINUED:</scene_description> <character>TITLE SEQUENCE ENDS:</character> <dialogue>His phone does a BLEEP-BLEEP.</dialogue> <dialogue>Message from CELIA: "YOU'LL BE THERE, RIGHT?"</dialogue> <dialogue>He texts back a single letter: "Y"</dialogue> </scene> <scene> <stage_direction>EXT. BEACH, CARMEL - AFTERNOON (PRESENT)</stage_direction> <scene_description>Henry steps out of the car and walk down on the beach. He takes a phone from his pocket. The one he pocketed in scene 1. As he waits for it to power up, he gazes out over the sea, a distant look in his eye. He comes out of his reverie and, from memory, types a number.</scene_description> <character>THREE RINGS.</character> <dialogue>HENRY</dialogue> <scene_description>Treble?</scene_description> <character>TREBLE (V.O.)</character> <parenthetical>(male voice, jovial)</parenthetical> <dialogue>Piccolo, how are you?</dialogue> <character>HENRY</character> <dialogue>We're still on?</dialogue> <character>TREBLE (V.O.)</character> <dialogue>Small roadster, very feminine. Carmel-by-the-Sea.</dialogue> <character>HENRY</character> <dialogue>Exactly.</dialogue> <character>TREBLE (V.O.)</character> <dialogue>You said there were a couple mopeds and an old Chevy, right?</dialogue> <character>HENRY</character> <dialogue>But they won't need any work.</dialogue> <character>TREBLE (V.O.)</character> <dialogue>Yes, yes.</dialogue> <character>HENRY</character> <dialogue>There's a chance it won't be necessary.</dialogue> <scene_description>CONTINUED:</scene_description> <character>TREBLE (V.O.)</character> <dialogue>You told me this before.</dialogue> <character>HENRY</character> <dialogue>In that case, I cover travel and half your fee.</dialogue> <character>TREBLE (V.O.)</character> <dialogue>It's fair.</dialogue> <character>HENRY</character> <dialogue>Good. I'll call you again soon.</dialogue> <scene_description>The phone goes dead.</scene_description> </scene> <scene> <stage_direction>EXT. LONDON PUB - DAY</stage_direction> <scene_description>Henry waits across from a LONDON PUB, casual, hands in his pockets. He watches as a man we recognize from Vick's office in 2012 -- BILL COMPTON (60s now) -- approaches the door, looks around, and enters. Through the windows, Henry watches Bill find a booth. Bill looks NERVOUS.</scene_description> </scene> <scene> <stage_direction>INT. LONDON PUB - MOMENTS LATER</stage_direction> <scene_description>Bill's sitting at his window table, clutching a pint of beer, drinking alone. The pub is full of DRINKERS -- BUSINESSPEOPLE on long lunches.</scene_description> <character>HENRY</character> <dialogue>Bill.</dialogue> <scene_description>Bill looks up, blinking, seeming out of his element. He dredges up a smile as Henry sits across from him.</scene_description> <character>BILL</character> <dialogue>So what are you doing in London, Henry?</dialogue> </scene> <scene> <stage_direction>EXT. VIN DE VIE - LATE AFTERNOON</stage_direction> <scene_description>Henry parks his convertible in a small lot just outside of town. He gets out and walks a narrow trail toward a restaurant...</scene_description> </scene> <scene> <stage_direction>INT. VIN DE VIE - LATE AFTERNOON</stage_direction> <scene_description>He enters the sleek restaurant. Modern to a fault. Origami ceiling lamps, white tables and apple-green chairs. A minimalist bar of pounded iron -- no shelves behind it -- with a BARTENDER (30s), texting. There's one OLD COUPLE here, eating slowly in silence. The beach and ocean fill the windows, late afternoon light burning shafts into the restaurant. A tall, pretty WAITRESS (20s) in black approaches, smiling, clutching an iPad. She's wearing her hair in a ponytail atop her skull.</scene_description> <character>WAITRESS</character> <dialogue>Reservation?</dialogue> <character>HENRY</character> <parenthetical>(nod)</parenthetical> <dialogue>I'm early though.</dialogue> <character>WAITRESS</character> <dialogue>Name?</dialogue> <character>HENRY</character> <parenthetical>(beat)</parenthetical> <dialogue>Favreau.</dialogue> <character>WAITRESS</character> <parenthetical>(finding it on the iPad)</parenthetical> <dialogue>Here we are. I can seat you now, if you'd like.</dialogue> <character>HENRY</character> <dialogue>I'll wait at the bar.</dialogue> <scene_description>She watches him cross the restaurant and climb onto a stool. The Bartender sidles over. He, too, is in black. It's their uniform. George Michael-style beard, as if it's been painted on.</scene_description> <character>HENRY</character> <dialogue>Vodka martini. You got Tito's?</dialogue> <character>BARTENDER</character> <dialogue>Sorry. We only have wine.</dialogue> <character>HENRY</character> <dialogue>Really?</dialogue> <scene_description>The Bartender smiles and hands him a laminated pamphlet: an epic list of regional, national, and foreign wines. CONTINUED:</scene_description> <character>BARTENDER</character> <dialogue>Wine country, you know.</dialogue> <scene_description>Henry shuts the menu.</scene_description> <character>HENRY</character> <dialogue>Let's try something very cold.</dialogue> <character>BARTENDER</character> <dialogue>White or rosé?</dialogue> <character>HENRY</character> <dialogue>Dry.</dialogue> <scene_description>As the Bartender crouches to search a hidden refrigerator, there's a COUGHING, HACKING. Henry turns to see the Old Couple at their table. The OLD MAN is COUGHING. The OLD WOMAN eats steadily, seemingly unaware of his presence.</scene_description> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / BILL'S OFFICE - EVENING (2012)</stage_direction> <scene_description>Celia and Henry are alone, he's sitting in a chair, she's leaning against Bill's desk. There's something deep and sad between them -- they've just come out of a heavy conversation that's left both of them mute. She comes over and squats in front of him. Celia's face is full of not just sympathy for Henry's pain, whatever it is. From outside the office, someone COUGHS.</scene_description> <character>HENRY</character> <dialogue>I've been thinking.</dialogue> <character>CELIA</character> <parenthetical>(warning, smile)</parenthetical> <dialogue>You know how I feel about thinking.</dialogue> <scene_description>He holds her look. He wants to make sure she understands the gravity of what he is going to ask her...</scene_description> </scene> <scene> <stage_direction>INT. VIN DE VIE - EARLY EVENING (PRESENT)</stage_direction> <scene_description>Henry's glass is up high; he empties Chardonnay into his mouth. Places the glass on the table and looks at the Bartender. CONTINUED:</scene_description> <character>HENRY</character> <dialogue>Bathroom?</dialogue> <character>BARTENDER</character> <parenthetical>(motioning)</parenthetical> <dialogue>First door on the left.</dialogue> <scene_description>Henry slowly slides off the stool, GRUNTING.</scene_description> <character>CELIA (V.O.)</character> <dialogue>Henry...</dialogue> <scene_description>He turns, surprised.</scene_description> <character>HENRY</character> <dialogue>Celia.</dialogue> <scene_description>CELIA is a different person than in 2012: a suburban mother. But of course she's not only that; she could never be just that. Not to Henry.</scene_description> <character>CELIA</character> <dialogue>It's been a while.</dialogue> <character>HENRY</character> <dialogue>Too long.</dialogue> <scene_description>He leans in to kiss her cheeks. She accepts him with her hands on his shoulders. Almost a lover's embrace. Almost. She, too, seems stunned by his presence. When they separate, her hand's still on his shoulder. Glassy smile.</scene_description> <character>CELIA</character> <dialogue>Shall we?</dialogue> <scene_description>She nods to the tables and the waitress waiting.</scene_description> <character>HENRY</character> <dialogue>Absolutely.</dialogue> <scene_description>CONTINUED: (2) The Waitress leads them past the Old Couple to a table. Celia looks over her shoulder, back at him, smiles.</scene_description> </scene> <scene> <stage_direction>INT. HENRY'S APARTMENT, VIENNA - NIGHT (2012)</stage_direction> <scene_description>Henry and Celia, both younger, are in his bed, naked, fucking themselves blind. She's pulling him deeper. CLOSER, we SEE that she's crying. Henry sees this, too, and begins to back out, but she pulls him in again. He cradles her, concerned, as they make love...</scene_description> </scene> <scene> <stage_direction>INT. VIN DE VIE - EARLY EVENING (PRESENT)</stage_direction> <scene_description>They're settling at the table, face-to-face, the Waitress taking Celia's drink order. What we HEAR are the SOUNDS OF SEX from 2012. We WANDER with HENRY'S GAZE: Celia's ear, her shoulder, mouth, eyes, fingers...</scene_description> <character>WAITRESS</character> <parenthetical>(to Henry)</parenthetical> <dialogue>And did you want something else to drink?</dialogue> <character>HENRY</character> <dialogue>What I had up there.</dialogue> <scene_description>The Waitress smiles and withdraws.</scene_description> <character>CELIA</character> <dialogue>You got grey. It looks good.</dialogue> <character>HENRY</character> <dialogue>You look exactly the same.</dialogue> <scene_description>Celia takes that in.</scene_description> <character>CELIA</character> <dialogue>How's the conference?</dialogue> <character>HENRY</character> <dialogue>What?</dialogue> <character>CELIA</character> <dialogue>The conference. Santa Clara?</dialogue> <scene_description>CONTINUED:</scene_description> <character>HENRY</character> <parenthetical>(remembering his lie)</parenthetical> <dialogue>It's all cybersecurity now - Trojan Horses, clickjacking, zero day vulnerabilities - lots of wonderful buzzwords.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>CELIA</character> <dialogue>Interesting?</dialogue> <character>HENRY</character> <dialogue>Not really.</dialogue> <character>CELIA</character> <dialogue>Anyone there I know?</dialogue> <scene_description>Henry shakes his head, wanting to change the subject. He looks around the mostly empty restaurant.</scene_description> <character>HENRY</character> <dialogue>This is a nice spot.</dialogue> <character>CELIA</character> <dialogue>Weekends, with the tourists, you can't get a table. Middle of the week, it's dependably dead.</dialogue> <character>HENRY</character> <dialogue>And Carmel-by-the-Sea?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Indulging your love of the elderly?</dialogue> <scene_description>She arches a brow.</scene_description> <character>HENRY</character> <dialogue>How's Drew?</dialogue> <character>CELIA</character> <dialogue>Don't do that.</dialogue> <scene_description>They both take a beat, looking into each other's eyes, both touching on a shared memory.</scene_description> <character>HENRY</character> <dialogue>You've really done it.</dialogue> <parenthetical>(off her raised eyebrow)</parenthetical> <dialogue>You've left everything behind.</dialogue> <scene_description>She thinks about this, serious. CONTINUED: (3)</scene_description> <character>CELIA</character> <dialogue>That stuff -- Vienna, the Agency, the things we did there -- that's not here. It's an entirely different universe.</dialogue> <character>HENRY</character> <dialogue>I've noticed.</dialogue> <scene_description>She smiles at him, enigmatically.</scene_description> <character>CELIA</character> <dialogue>And then, here you are.</dialogue> </scene> <scene> <stage_direction>INT. HENRY'S APARTMENT, VIENNA - MORNING (2012)</stage_direction> <scene_description>THROUGH A WINDOW we see a bright winter sky. Celia's waking, looking out the window, then her gaze DRAWS BACK to Henry, dozing beside her. For a while she STARES at his features -- he's vulnerable now, the most vulnerable he'll ever be. She feels good looking at this man. Then he OPENS his eyes.</scene_description> <character>CELIA</character> <dialogue>Hey.</dialogue> <scene_description>They kiss, then she wraps herself in one of Henry's shirts and walks to the kitchen, a little chilly, and fills a coffee pot with water. Pours it into the machine. Adds grounds.</scene_description> </scene> <scene> <stage_direction>INT. HENRY'S APARTMENT, VIENNA - MOMENTS LATER</stage_direction> <scene_description>She returns to the bedroom with two cups and hands him one as he sits up, using pillows to support himself.</scene_description> <character>HENRY</character> <dialogue>Thanks.</dialogue> <character>CELIA</character> <dialogue>You're almost out of coffee.</dialogue> <scene_description>CONTINUED:</scene_description> <character>HENRY</character> <dialogue>That's not good.</dialogue> <scene_description>Henry sips, then grimaces. CONTINUED: (2)</scene_description> <character>HENRY</character> <dialogue>This isn't your soy milk, is it? Tastes funny.</dialogue> <character>CELIA</character> <dialogue>Arsenic.</dialogue> <parenthetical>(winks)</parenthetical> <dialogue>Busy today?</dialogue> <character>HENRY</character> <dialogue>Vick's got me looking into money- laundering stuff.</dialogue> <character>CELIA</character> <parenthetical>(snore)</parenthetical> <dialogue>Bankers.</dialogue> <character>HENRY</character> <parenthetical>(smile)</parenthetical> <dialogue>Yeah. Right?</dialogue> <character>CELIA</character> <dialogue>Breakfast?</dialogue> <character>HENRY</character> <dialogue>I wish. Bankers get up early.</dialogue> <scene_description>Celia gets up.</scene_description> <character>CELIA</character> <dialogue>Which means I have to go, too.</dialogue> <scene_description>She walks off, and he watches her disappear into the bathroom. He's HYPNOTIZED by the sight of her.</scene_description> <character>WAITRESS (V.O.)</character> <dialogue>Your wine.</dialogue> </scene> <scene> <stage_direction>INT. VIN DE VIE - EVENING (PRESENT)</stage_direction> <scene_description>Henry and Celia lean back as the Waitress places their glasses on the table, Henry's Chardonnay sweating cold. She leaves menus and exits.</scene_description> <character>CELIA</character> <parenthetical>(raising glass)</parenthetical> <dialogue>To what?</dialogue> <character>HENRY</character> <dialogue>To old friends.</dialogue> <scene_description>CONTINUED:</scene_description> <character>CELIA</character> <parenthetical>(shakes head)</parenthetical> <dialogue>You can do better than that.</dialogue> <character>HENRY</character> <parenthetical>(thinks, then:)</parenthetical> <dialogue>To old lovers.</dialogue> <character>CELIA</character> <dialogue>Old?</dialogue> <scene_description>But she smiles, approving, and drinks -- Henry FOCUSES ON Celia's sensual first sip, the way she purses her lips and moves her tongue around her mouth, spreading the wine over her buds. A GLANCE -- she SEES him noticing. She seems to like it. And he, of course, notices this.</scene_description> <character>CELIA</character> <dialogue>How's the office?</dialogue> <character>HENRY</character> <dialogue>Vick runs it like a fiefdom. Nothing changes.</dialogue> <character>CELIA</character> <dialogue>You're still on the street?</dialogue> <character>HENRY</character> <dialogue>Entirely air-conditioned now.</dialogue> <scene_description>Celia looks at him, surprised.</scene_description> <character>CELIA</character> <dialogue>Who'd have thought? Henry Pelham, office drone.</dialogue> <character>HENRY</character> <parenthetical>(shrugging)</parenthetical> <dialogue>Not a very good one. Too many paper cuts.</dialogue> <parenthetical>(carefully)</parenthetical> <dialogue>Vick has me looking into Flight one-twenty-seven.</dialogue> <scene_description>Celia's expression darkens.</scene_description> </scene> <scene> <stage_direction>INT. LONDON PUB - DAY (FLASHBACK)</stage_direction> <scene_description>Henry and Bill are sitting across from each other. CONTINUED:</scene_description> <character>BILL</character> <dialogue>But that's ancient history. It's done.</dialogue> <character>HENRY</character> <dialogue>It was, and then it wasn't.</dialogue> <character>BILL</character> <dialogue>This Vick's big idea?</dialogue> <character>HENRY</character> <dialogue>Headquarters.</dialogue> <character>BILL</character> <dialogue>Of course. Some desk jockey trying to find a short cut to promotion.</dialogue> <scene_description>Henry shakes his head "no".</scene_description> <character>HENRY</character> <dialogue>They caught Ilyas Shishani.</dialogue> <scene_description>ON BILL'S FACE: Stunned.</scene_description> <character>BILL</character> <dialogue>Well, that's a good thing isn't it. We should order champagne.</dialogue> <scene_description>Henry can't help smiling at that.</scene_description> <character>BILL</character> <dialogue>Was he hiding in a cave somewhere?</dialogue> <character>HENRY</character> <dialogue>In Afghanistan. He lasted long enough to tell them he had help from inside the station.</dialogue> <scene_description>Bill stiffens.</scene_description> <character>BILL</character> <dialogue>Our station?</dialogue> <parenthetical>(off Henry's nod)</parenthetical> <dialogue>He's lying.</dialogue> <character>HENRY</character> <dialogue>Of course.</dialogue> </scene> <scene> <stage_direction>INT. VIN DE VIE - EARLY EVENING</stage_direction> <scene_description>ON CELIA'S EXPRESSION: Flat, impenetrable. CONTINUED:</scene_description> <character>CELIA</character> <dialogue>Of course.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And who does he say helped him?</dialogue> <character>HENRY</character> <dialogue>Died before they could get a name.</dialogue> <scene_description>Celia frowns.</scene_description> <character>HENRY</character> <dialogue>Now there's an analyst at Headquarters who wants to ride the lie until it bears fruit. Thinks we have some soul-searching to do.</dialogue> <scene_description>Celia thinks long and hard.</scene_description> <character>CELIA</character> <dialogue>I'd say we did some pretty serious soul-searching back then.</dialogue> <character>HENRY</character> <dialogue>He's looking for inconsistencies.</dialogue> <character>CELIA</character> <dialogue>History is full of inconsistencies.</dialogue> <scene_description>Henry nods, acknowledging the truth of this.</scene_description> <character>HENRY</character> <dialogue>Here's the plan, Cee: I write a fat report, a rococo analysis of failures and successes. Full of perspectives. Make the fucker's head spin.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>That should get him off our back.</dialogue> <character>CELIA</character> <dialogue>So this is an interview?</dialogue> <character>HENRY</character> <dialogue>I was in Santa Clara. Driving down to see you was an opportunity I didn't want to miss.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But I'm also trying to close the book on this.</dialogue> <scene_description>Celia blinks at him, serious, then gives a shrug with open hands. A coy smile. CONTINUED: (2)</scene_description> <character>CELIA</character> <dialogue>I thought you were here to see if we still had that old spark.</dialogue> <character>HENRY</character> <dialogue>I can walk and chew gum.</dialogue> <scene_description>Celia smiles at that. The Waitress approaches to take their orders.</scene_description> </scene> <scene> <stage_direction>EXT. VIN DE VIE, EVENING</stage_direction> <scene_description>Through the window we see, Henry and Celia placing their orders with the waitress. Two ex-lovers in an empty restaurant. The waves break on the beach, reminiscent of time gone by. It's almost like a Hopper painting.</scene_description> </scene> <scene> <stage_direction>DREAM - INT. FLIGHT 127 - DAY</stage_direction> <scene_description>EVAN (6) and GINNY (3) are looking out the window of the plane which has just landed in Vienna. Celia is in the aisle seat next to them.</scene_description> <character>EVAN</character> <dialogue>Is daddy picking us up?</dialogue> <character>CELIA</character> <dialogue>He'll be inside. Ginny, relax honey.</dialogue> <scene_description>Ginny's grinning, now squirming with real effort.</scene_description> <character>SOUND: CELL PHONE VIBRATING.</character> <dialogue>CELIA</dialogue> <scene_description>Wait until the plane -- She stops, for out of the corner of her eye she SEES Suleiman Wahed, the hijacker, a few rows up, getting to his feet.</scene_description> <character>CELL PHONE VIBRATING...</character> <dialogue>TURKISH ALLIANCE STEWARDESS unbuckles her own belt and gets up, walking toward him.</dialogue> <character>TURKISH ALLIANCE STEWARDESS</character> <dialogue>Please, sir. Remain seated until --</dialogue> <scene_description>CONTINUED:</scene_description> <character>BOOM!</character> <dialogue>With a pistol, Suleiman SHOOTS the Stewardess through the chest.</dialogue> </scene> <scene> <stage_direction>INT. CELIA'S HOUSE / BEDROOM - EARLY MORNING</stage_direction> <scene_description>Celia WAKES to her phone VIBRATING on the bedside table. Beside her, DREW FAVREAU (60s) sleeps heavily. She snatches the phone, rising and walking out of the room. Glances at the number, but doesn't know it.</scene_description> </scene> <scene> <stage_direction>INT. CELIA'S HOUSE / KITCHEN - CONTINUOUS</stage_direction> <scene_description>She enters the kitchen, phone to her ear.</scene_description> <character>CELIA</character> <parenthetical>(quietly)</parenthetical> <dialogue>Yes?</dialogue> <character>BILL (V.O.)</character> <dialogue>Cee?</dialogue> <character>CELIA</character> <dialogue>Who is this?</dialogue> <character>BILL (V.O.)</character> <dialogue>Cee...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It's me. It's Bill.</dialogue> <character>CELIA</character> <dialogue>Bill. Jesus, is everything ok?</dialogue> <scene_description>INTERCUT WITH:</scene_description> </scene> <scene> <stage_direction>EXT. LONDON STREET 2 - DAY</stage_direction> <scene_description>Bill stuffs the packaging for a PREPAID PHONE into a wastebasket, the new untraceable phone to his ear. He looks old and weary.</scene_description> <character>BILL</character> <dialogue>Fine, Cee. Fine. You sound good.</dialogue> <character>CELIA (V.O.)</character> <dialogue>I sound confused.</dialogue> <scene_description>CONTINUED:</scene_description> <character>BILL</character> <dialogue>You haven't been confused a day in your life.</dialogue> <scene_description>Bill walks past COMMUTERS and SHOPPERS and crosses the street, glancing quickly around for shadows.</scene_description> <character>CELIA (V.O.)</character> <dialogue>Where are you?</dialogue> <character>BILL</character> <dialogue>London. We moved last year.</dialogue> <character>CELIA (V.O.)</character> <dialogue>But you hate London.</dialogue> <character>BILL</character> <dialogue>Tell me about it.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It was important to Sally.</dialogue> <character>CELIA (V.O.)</character> <parenthetical>(pitifully)</parenthetical> <dialogue>Oh, Bill.</dialogue> <scene_description>Bill pauses in front of a STORE WINDOW, checking the reflection.</scene_description> <character>BILL</character> <dialogue>You have a minute?</dialogue> <character>CELIA (V.O.)</character> <dialogue>Of course.</dialogue> <character>BILL</character> <dialogue>I've got...</dialogue> <scene_description>Bill now walks in the opposite direction, alert...</scene_description> <character>BILL</character> <dialogue>Listen, I've been out of the game a while now, and maybe I'm just getting paranoid. But I thought I should call you.</dialogue> <character>CELIA (V.O.)</character> <dialogue>Talk to me.</dialogue> <character>BILL</character> <dialogue>It's Henry. Henry Pelham.</dialogue> <character>CELIA (V.O.)</character> <parenthetical>(flatly)</parenthetical> <dialogue>Go on.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>BILL</character> <dialogue>He was here, putting me through the wringer.</dialogue> <character>CELIA (V.O.)</character> <dialogue>You? Why?</dialogue> <character>BILL</character> <dialogue>Flight one-twenty-seven.</dialogue> </scene> <scene> <stage_direction>INT. VIN DE VIE - EARLY EVENING (PRESENT)</stage_direction> <scene_description>ON CELIA'S FACE: Drinking, she watches Henry. She knows something, but isn't showing it.</scene_description> <character>CELIA</character> <dialogue>Well?</dialogue> <character>HENRY</character> <dialogue>Well, what?</dialogue> <character>CELIA</character> <dialogue>If you're going to ask me about One-twenty-seven, then you better do it before I pass out.</dialogue> <scene_description>Henry leans back.</scene_description> <character>HENRY</character> <dialogue>Basic stuff. Chronology, mostly. What happened that day...What you remember about the station back then... We'll work our way up to One-twenty-seven.</dialogue> <scene_description>Celia plants her forearms on the table.</scene_description> <character>CELIA</character> <dialogue>I'm all yours.</dialogue> <scene_description>He smiles. She straightens. Then he stands.</scene_description> <character>HENRY</character> <dialogue>Let me give you a moment to come up with a suitable cover story.</dialogue> <scene_description>He winks and turns to go, finally, to the bathroom. She watches him with an impenetrable expression.</scene_description> </scene> <scene> <stage_direction>INT. VIN DE VIE / BATHROOM - CONTINUOUS</stage_direction> <scene_description>Henry is at a urinal and SIGHS as the LOUD STREAM exits his body. ON HIS FACE: Eyes damp, thinking hard. Finishes and FLUSHES. As he washes his hands he looks into the mirror. Heavy lids, bloodshot eyes. Then he reaches into his pocket and takes out the phone he used to talk to "Treble." Starts a recording app with a meter that JUMPS as he speaks:</scene_description> <character>HENRY</character> <dialogue>Celia Favreau.</dialogue> <parenthetical>(checks watch)</parenthetical> <dialogue>Eighteen thirty-six, Pacific time.</dialogue> <scene_description>Leaving the recording app running, he pockets the phone.</scene_description> </scene> <scene> <stage_direction>INT. VIN DE VIE - MOMENTS LATER</stage_direction> <scene_description>Henry falls in behind the Waitress, who's carrying a tray of appetizers. She realizes he's behind her and moves to the side so he can get by. Celia watches him sit, his game face on, as the Waitress delivers their appetizers.</scene_description> <character>WAITRESS</character> <dialogue>For the lady, grilled goat cheese with bitter leaves, miso, ginger and pumpkin puree, and pickled candy beets.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>For the gentleman, burrata with cilantro oil, blood orange, miso and maple glaze, and free range bacon.</dialogue> <scene_description>Henry SMIRKS: Welcome to California.</scene_description> <character>HENRY</character> <dialogue>Fields of bacon running free.</dialogue> <scene_description>The waitress smiles. CONTINUED:</scene_description> <character>WAITRESS</character> <dialogue>It's a beautiful sight. More wine?</dialogue> <character>HENRY</character> <dialogue>Please.</dialogue> <scene_description>Celia nods. Henry watches the Waitress depart. He notices a new customer at the bar, an odd-looking MAN -- late 50s, heavy, sandpaper scalp -- who angrily wipes at his nose as he reads the wine menu.</scene_description> <character>CELIA</character> <dialogue>Yes, she's very pretty. How long were you planning to stay?</dialogue> <scene_description>Henry's gaze flicks away from the Man to the Waitress's rather beautiful legs.</scene_description> <character>HENRY</character> <parenthetical>(smiles)</parenthetical> <dialogue>You are the only girl in town for me.</dialogue> <scene_description>She smiles. Henry drinks in that smile.</scene_description> <character>CELIA</character> <dialogue>Your bacon smells divine.</dialogue> <scene_description>He spears some burrata and bacon and holds it out. She thinks about it, as if it really requires thought.</scene_description> <character>HENRY</character> <dialogue>Live a little.</dialogue> <scene_description>She lives a little, taking it into her mouth, and once her tongue touches the bacon her eyes close, lips purse, and she sucks everything off the fork. Henry's HYPNOTIZED.</scene_description> <character>CELIA</character> <dialogue>Mmm.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What was that place? With the shellfish?</dialogue> <character>HENRY</character> <dialogue>Morskoi.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>CELIA</character> <dialogue>Right -- so good. You still go there?</dialogue> <character>HENRY</character> <dialogue>They closed. About a year after you left.</dialogue> <character>CELIA</character> <dialogue>Oh.</dialogue> <scene_description>Celia nods.</scene_description> <character>CELIA</character> <dialogue>You haven't been home in a while, have you? The States.</dialogue> <character>HENRY</character> <dialogue>Been a few years.</dialogue> <scene_description>Celia thinks for a second.</scene_description> <character>CELIA</character> <dialogue>It's not easy coming home...</dialogue> <character>HENRY</character> <dialogue>But are you happy here?</dialogue> <character>CELIA</character> <dialogue>I stay busy. Ask anyone with kids.</dialogue> <scene_description>Henry takes that as a "no."</scene_description> <character>CELIA</character> <dialogue>People tend to misinterpret the pursuit of happiness as the right to be happy...at least in this part of the world.</dialogue> <scene_description>She gestures at "California" outside the restaurant.</scene_description> <character>HENRY</character> <dialogue>Keeps a lot of pharmaceuticals in business.</dialogue> <character>CELIA</character> <dialogue>Just after we moved, I saw the doctor. He asked me if I'd been upset. Of course. I got married.</dialogue> <parenthetical>(off Henry's half- grin)</parenthetical> <dialogue>You know what I mean...</dialogue> <parenthetical>(now serious)</parenthetical> <dialogue>The nightmares.</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>CELIA</character> <parenthetical>(beat)</parenthetical> <dialogue>You get them?</dialogue> <character>HENRY</character> <dialogue>Sure.</dialogue> <scene_description>Celia hesitates, then:</scene_description> <character>CELIA</character> <dialogue>As I'm telling him this, he's writing on his pad. Then he rips it off and hands me a prescription for Xanax.</dialogue> <parenthetical>(SNAPS fingers)</parenthetical> <dialogue>Just like that. Like they're M&amp;Ms.</dialogue> <character>HENRY</character> <dialogue>Did they work?</dialogue> <scene_description>CONTINUED: (4)</scene_description> <character>CELIA</character> <dialogue>Of course they worked. I went off of them for both pregnancies...worst eighteen months of my life.</dialogue> <character>HENRY</character> <dialogue>Really?</dialogue> <character>CELIA</character> <dialogue>I'm exaggerating. We do that here. We also use the word "love" for things we're only fond of.</dialogue> <parenthetical>(whisper)</parenthetical> <dialogue>Welcome to California. Don't take any of us at face-value.</dialogue> <scene_description>The Waitress appears with two wine bottles. They lean back. She refills both glasses.</scene_description> <character>WAITRESS</character> <dialogue>Everything to your liking?</dialogue> <scene_description>Both nod and GRUNT their pleasure.</scene_description> <character>CELIA</character> <dialogue>I shouldn't keep drinking. The kids'll probably still be up.</dialogue> <character>HENRY</character> <dialogue>Can't Drew take care of it?</dialogue> <character>CELIA</character> <dialogue>He's amazing with them. I sometimes think that if I disappeared, they wouldn't miss a thing.</dialogue> <scene_description>CONTINUED: (5)</scene_description> <character>HENRY</character> <dialogue>Try it out then.</dialogue> <character>CELIA</character> <dialogue>What?</dialogue> <character>HENRY</character> <dialogue>Disappear.</dialogue> <scene_description>He watches her. He doesn't have to add "with me" -- she knows exactly what he means. She gives him a smile, reflecting on this possible future, then CLEARS HER THROAT. CONTINUED: (6)</scene_description> <character>CELIA</character> <dialogue>December 2012.</dialogue> <character>HENRY</character> <dialogue>December 2012. Draw me a picture.</dialogue> <character>CELIA</character> <dialogue>You sound like my son asking for a story.</dialogue> </scene> <scene> <stage_direction>INT. HENRY'S APARTMENT, VIENNA - MORNING (2012)</stage_direction> <scene_description>The SAME MORNING we saw earlier, both Henry and Celia now dressed, leaving together. Walking down the stairs from his apartment.</scene_description> <character>CELIA (V.O.)</character> <dialogue>How far back?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Vienna was my second posting with the agency.</dialogue> </scene> <scene> <stage_direction>EXT. HENRY'S APARTMENT, VIENNA - MOMENTS LATER</stage_direction> <scene_description>They leave the building, kiss on the sidewalk, and he heads to his car while she continues on foot.</scene_description> <character>CELIA (V.O.)</character> <dialogue>I'd come off some tough years in Dublin...</dialogue> </scene> <scene> <stage_direction>EXT. VIENNA STREET - MOMENTS LATER</stage_direction> <scene_description>Celia, bundled against the cold, walks happily down a busy street toward the nearby...</scene_description> <character>CELIA (V.O.)</character> <dialogue>Many tough years actually...</dialogue> <character>HENRY (V.O.)</character> <dialogue>Why were they tough?</dialogue> <character>CELIA (V.O.)</character> <dialogue>It's irrelevant.</dialogue> <character>HENRY (V.O.)</character> <dialogue>Humor me.</dialogue> </scene> <scene> <stage_direction>EXT. US EMBASSY, VIENNA - MOMENTS LATER</stage_direction> <scene_description>She shows her ID to a GUARD outside the embassy, and is let through.</scene_description> <character>CELIA (V.O.)</character> <dialogue>Well, as you know, I lost my parents in a car accident while I was in college. I fought to get through Grad. School. Then the Farm.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Dublin was too slow, too much time to think.</dialogue> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA - MOMENTS LATER</stage_direction> <character>SEQUENCE:</character> <dialogue>- Celia enters through the front door, giving her bag to SECURITY for x-raying (note a portrait of President Obama);</dialogue> <character>HENRY (V.O.)</character> <dialogue>What was Vienna?</dialogue> <character>CELIA (V.O.)</character> <dialogue>I loved it there. The pace. The adrenaline.</dialogue> <scene_description>- She takes an ELEVATOR to the fifth floor;</scene_description> <character>CELIA (V.O.)</character> <dialogue>Vienna Station was on the fifth floor of the U.S. embassy.</dialogue> <scene_description>- Then she enters the CIA STATION in Vienna, a windowless floor full of cubicles and CASE OFFICERS and subdued activity.</scene_description> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / CIA STATION - MORNING</stage_direction> <scene_description>SINGLE SHOT: We SEE each of the people she describes as they do their work: talking on phones, joking, reading papers, conferencing with subordinates, etc. These are the faces we saw in the opening scenes. Vick walks with papers in hand. CONTINUED:</scene_description> <character>CELIA (V.O.)</character> <dialogue>Chief of station then, as now, was Victor Wallinger. He'd survived three administrations with excellent marks, but I think his greatest talent was knowing who to bring on to the team.</dialogue> <character>HENRY (V.O.)</character> <dialogue>Take me through the team.</dialogue> <scene_description>Leila laughs at someone's joke, turns and smiles at Celia, who's entering the station and heading to her desk.</scene_description> <character>CELIA (V.O.)</character> <dialogue>LEILA MAROOF, collection management. Vick had been blown away by a paper she'd written on the future of Arab-European relations, then found out her skills were being wasted in Lebanon. He flew down and offered her a job on the spot. She grew up in a war zone and brought a life experience none of us had.</dialogue> <scene_description>Celia puts her bag on her desk...</scene_description> <character>CELIA (V.O.)</character> <dialogue>There were two operations officers:</dialogue> <scene_description>...and continues to--</scene_description> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / BILL'S OFFICE - CONTINUOUS</stage_direction> <scene_description>She smiles at Bill, who beams at her as if she's his daughter, then hands her a prepared coffee, his ritualistic morning gift.</scene_description> <character>CELIA (V.O.)</character> <dialogue>My dear boss, Bill Compton -- veteran of every secret war of the last thirty years. Scarred by old skirmishes in Southeast Asia, but he probably suffered more at the hands of his wife, Sally.</dialogue> <scene_description>CONTINUED:</scene_description> <character>HENRY (V.O.)</character> <dialogue>Probably? That's generous.</dialogue> <scene_description>As they speak, Ernst, exuding arrogance, leans into the doorway, saying something to Bill and Celia. CONTINUED: (2)</scene_description> <character>CELIA (V.O.)</character> <dialogue>The other was ERNST PUL, who worked liaison with Austrian intelligence.</dialogue> <character>HENRY (V.O.)</character> <dialogue>Captain Uptight.</dialogue> <character>CELIA (V.O.)</character> <dialogue>Imagine being raised by European intellectuals in suburban Atlanta.</dialogue> <character>HENRY (V.O.)</character> <dialogue>The other kids must've teased him relentlessly.</dialogue> <scene_description>As Ernst backs out of the office, we follow him as he passes Owen.</scene_description> <character>CELIA (V.O.)</character> <dialogue>And then, you'll remember...</dialogue> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / CIA STATION - CONTINUOUS</stage_direction> <scene_description>FOLLOW Owen, small and in need of sun, as he reads sheets of paper, weaving through cubicles toward Vick's office.</scene_description> <character>CELIA (V.O.)</character> <dialogue>...there was OWEN LASSITER.</dialogue> <character>HENRY (V.O.)</character> <dialogue>Poor Owen.</dialogue> <character>CELIA (V.O.)</character> <dialogue>...ran a team of code breakers and analysts. Only lasted a couple of months before he found himself a pistol from the storeroom and smuggled it home...</dialogue> <scene_description>PUSH IN: A sad-looking Viennese living room. An old comfy chair and, on the wall behind it, a splash of blood and brains. In front of the chair, half covered by a small table, lies Owen's dead body.</scene_description> </scene> <scene> <stage_direction>INT. VIN DE VIE - EARLY EVENING (PRESENT)</stage_direction> <scene_description>Henry nods, remembering.</scene_description> <character>CELIA</character> <dialogue>Owen was minor American royalty, wasn't he?</dialogue> <scene_description>CONTINUED:</scene_description> <character>HENRY</character> <dialogue>Yeah. Related to that Wyoming senator.</dialogue> <scene_description>They both take a beat remembering Owen's death. CONTINUED: (2)</scene_description> <character>HENRY</character> <dialogue>And that particular day?</dialogue> <scene_description>Celia gives him an arched brow.</scene_description> <character>CELIA</character> <dialogue>What about my number-one?</dialogue> <scene_description>Henry frowns, curious.</scene_description> <character>CELIA</character> <dialogue>Henry Pelham...</dialogue> </scene> <scene> <stage_direction>INT. VIENNA CAFE - MORNING (2012)</stage_direction> <scene_description>The camera tracks along the tables in a shiny, busy Vienna café in the financial district of the city. Morning guests having coffee and croissants before work.</scene_description> <character>CELIA (V.O.)</character> <dialogue>...clandestine case officer extraordinaire.</dialogue> <scene_description>We find Henry across from a BANKER (40s) with a leather satchel by his chair. Espressos in front of them.</scene_description> <character>CELIA (V.O.)</character> <dialogue>As the brightest talent out of the Farm in years, they sent you directly to Moscow.</dialogue> <scene_description>Henry gets a phone call. It's from VICK. He excuses himself, gets up and leaves as he picks up the call and walks back out the restaurant. We hear;</scene_description> <character>HENRY</character> <dialogue>Vick...</dialogue> <character>VICK (V.O.)</character> <dialogue>Change of plans...</dialogue> </scene> <scene> <stage_direction>EXT. VIENNA BACK STREETS - LATER</stage_direction> <scene_description>Henry walks through back alleys on his way to another meeting.</scene_description> <character>CELIA (V.O.)</character> <dialogue>There was a rumor that it shaped you?</dialogue> <scene_description>CONTINUED:</scene_description> <character>HENRY (V.O.)</character> <dialogue>Okay. You painted your picture.</dialogue> <character>CELIA (V.O.)</character> <dialogue>You witnessed the Nord-Ost siege...</dialogue> <scene_description>Henry doesn't answer.</scene_description> <character>CELIA (V.O.)</character> <dialogue>Chechen militants took over the Dubrovka Theater during a performance of the musical "Nord- Ost." The Russians pumped gas into the theater and went in. Killed nearly all the terrorists. Well over a hundred hostages too.</dialogue> </scene> <scene> <stage_direction>INT. VIN DE VIE - EVENING (PRESENT)</stage_direction> <scene_description>CLOSE ON HENRY: She's touching a still-raw nerve, even after two decades. Henry moves his fork on the now empty plate, recovering...</scene_description> <character>CELIA</character> <dialogue>That kind of thing never leaves you, does it?</dialogue> <character>HENRY</character> <dialogue>Moscow was brutal but I loved my job.</dialogue> <scene_description>Celia recognizes the truth in that.</scene_description> <character>HENRY</character> <dialogue>How about you? Did you like it?</dialogue> <character>CELIA</character> <dialogue>The job?</dialogue> <scene_description>Henry nods. CONTINUED:</scene_description> <character>CELIA</character> <dialogue>It was a high. (beat) We collected secrets...sometimes from the top echelons of government.</dialogue> <character>HENRY</character> <dialogue>So you were happy there?</dialogue> <character>CELIA</character> <dialogue>It was my dream job. I knew I was making a difference...I had a boss I adored...and I had you...</dialogue> <scene_description>Celia looks him in the eye.</scene_description> <character>HENRY</character> <dialogue>And then you left.</dialogue> <scene_description>Celia stares a beat, then nods slowly.</scene_description> <character>CELIA</character> <dialogue>Then flight "one twenty seven" happened.</dialogue> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / VICK'S OFFICE - MORNING (2012)</stage_direction> <scene_description>(NOTE: Continues scenes above, Celia entering embassy.) Celia's sitting in Vick's office with the other major players: Ernst, Bill, Leila, Owen. Not Henry.</scene_description> <character>CELIA (V.O.)</character> <dialogue>It started with a cable from Headquarters at morning briefing. You were out in the streets.</dialogue> <scene_description>We GLIMPSE the page she's reading: a copy of a TOP SECRET CABLE FROM DAMASCUS forwarded from CIA Headquarters in Langley.</scene_description> <character>VICK</character> <dialogue>Do the honors, Leila?</dialogue> <character>LEILA</character> <parenthetical>(reading)</parenthetical> <dialogue>"Source TRIPWIRE: Expect within next 72 hours an airline-related event on flight heading to Austria or Germany.</dialogue> <scene_description>CONTINUED:</scene_description> <character>LEILA</character> <dialogue>Departure port uncertain -- Damascus, Beirut, Istanbul possibilities. Group: Da'irat Al- Salihoon, though primary actors likely recruits from outside Somalia. Likelihood: HIGH."</dialogue> <scene_description>She finishes and looks up. CONTINUED: (2)</scene_description> <character>CELIA</character> <dialogue>Al-Da'irat -- didn't they split from Al-Shabaab a couple years ago?</dialogue> <character>BILL</character> <parenthetical>(mild sarcasm)</parenthetical> <dialogue>Shabaab wasn't devout enough for them.</dialogue> <scene_description>Celia grins at this.</scene_description> <character>LEILA</character> <parenthetical>(sharp)</parenthetical> <dialogue>It had nothing to do with devotion. Power. That's all it ever is.</dialogue> <character>VICK</character> <dialogue>Somali terrorists in our backyard. What's our take?</dialogue> <character>ERNST</character> <parenthetical>(with confidence)</parenthetical> <dialogue>Not here. Germany, maybe. But not Austria.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What do they want? Troops out of Afghanistan? The Austrians only have a handful. The Germans have the third-largest presence in NATO's Security Force.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Maybe they want to free some comrades from jail? Again, Germany's the one holding more than its fair share.</dialogue> <character>CELIA</character> <dialogue>We're talking E.U. You pick the softest target. They don't need to land in Frankfurt or Berlin to speak to the Germans.</dialogue> <scene_description>Vick nods, agreeing. Ernst shrugs, unwilling to admit that Celia's right.</scene_description> <character>VICK</character> <dialogue>What about money?</dialogue> <character>LEILA</character> <dialogue>Not with Tehran bankrolling them.</dialogue> <scene_description>Celia looks around the table. CONTINUED: (3)</scene_description> <character>HENRY (V.O.)</character> <dialogue>Did the team consider it solid?</dialogue> </scene> <scene> <stage_direction>INT. VIN DE VIE - EVENING (PRESENT)</stage_direction> <scene_description>Celia and Henry across from each other, empty plates in front of them.</scene_description> <character>CELIA</character> <dialogue>You know how it is. Intelligence comes and goes, a lot of it's just smoke. But then we got the message from Europol, about Ilyas Shishani. One of his aliases had arrived in Barcelona two days earlier, from Tehran.</dialogue> <scene_description>A moment of silence as the waitress clears out their empty plates from the starters.</scene_description> <character>HENRY</character> <dialogue>What did you know about Ilyas at this point?</dialogue> <character>CELIA</character> <dialogue>He was a Chechen extremist. You ran him as a source in Moscow.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Then he'd joined a group in Iran that was already working with Al- Da'irat. It wasn't much of a leap to wonder if Ilyas had arrived for TRIPWIRE's "airline-related event."</dialogue> <character>HENRY</character> <dialogue>But you didn't know for sure.</dialogue> <character>CELIA</character> <dialogue>None of us knew anything. It could have just been bad intel. But then we were called back from lunch.</dialogue> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / CIA STATION - DAY (2012)</stage_direction> <scene_description>Celia leaves the elevator with Bill. The station's a HIVE OF ACTIVITY. TVs flash images of a plane on tarmac, HEAD- SHOTS of TERRORISTS, among them TURKISH ALLIANCE STEWARDESS (who we recognize from CELIA'S DREAM). Vick joins them on the way to his office. CONTINUED:</scene_description> <character>BILL</character> <dialogue>What's the situation?</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>VICK</character> <dialogue>Plane landed, and then they took it over. Six Americans are on board.</dialogue> <scene_description>GENE WILCOX (40s, mustached) hands Vick a file as Vick continues on...</scene_description> <character>VICK</character> <dialogue>Thanks, Gene.</dialogue> <parenthetical>(to Bill)</parenthetical> <dialogue>The ambassador's meeting with the minister of foreign affairs, we're scrambling a task force and the White House is asking for options.</dialogue> <parenthetical>(re: Stewardess)</parenthetical> <dialogue>They've already killed a stewardess.</dialogue> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / VICK'S OFFICE - CONTINUOUS</stage_direction> <scene_description>Owen, Leila and Ernst are waiting, Ernst whispering into his phone. Vick enters with Celia and Bill, still conversing.</scene_description> <character>CELIA</character> <dialogue>Who's talking to them?</dialogue> <character>ERNST</character> <dialogue>No one.</dialogue> <parenthetical>(off Celia)</parenthetical> <dialogue>They issued their demands by calling a local TV station, closed the blinds, and cut off all communication.</dialogue> <scene_description>Leila is passing documents around with files and pictures of the hijackers.</scene_description> <character>BILL</character> <dialogue>But we know who they are?</dialogue> <character>VICK</character> <dialogue>Leila?</dialogue> <character>LEILA</character> <dialogue>The Turks have I.D'd four. SULEIMAN WAHED, Saudi; BESLAN ABDULAYEV, Chechen; OMAR SAMATAR ALI, Somali; and NADIF DALMAR GULEED, also Somali.</dialogue> <scene_description>CONTINUED:</scene_description> <character>LEILA</character> <dialogue>We've got their passport photos but not a lot more.</dialogue> <character>OWEN</character> <dialogue>They've separated the children.</dialogue> <scene_description>Everyone looks at him.</scene_description> <character>OWEN</character> <dialogue>Nine children, between ages five and twelve. They're in the front as human shields.</dialogue> <character>CELIA</character> <dialogue>That's smart.</dialogue> <character>LEILA</character> <dialogue>It's inhuman.</dialogue> <scene_description>Bill's rubbing his face.</scene_description> <character>BILL</character> <dialogue>So much for the Arab spring.</dialogue> <scene_description>Ernst stares at an open folder in his lap, then raises his head but says nothing.</scene_description> <character>BILL</character> <dialogue>What are their demands?</dialogue> <character>VICK</character> <parenthetical>(reading from paper)</parenthetical> <dialogue>Five prisoner releases -- two in Austria, three in Germany. In twenty-four hours.</dialogue> <character>CELIA</character> <dialogue>Twenty-four? Jesus.</dialogue> <character>BILL</character> <dialogue>Likelihood that the Germans and Austrians will give in?</dialogue> <character>VICK</character> <dialogue>We're still waiting to hear from Merkel's people, but the assessment is that she'll fold. The Austrians are a different story. The right's been beating Fischer for being weak on immigration, and this will play into their hands.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>BILL</character> <dialogue>Which means we don't know.</dialogue> <parenthetical>(scornful)</parenthetical> <dialogue>Politicians.</dialogue> <character>LEILA</character> <dialogue>What we do know is that Ilyas Shishani is in Europe, and may be coordinating this.</dialogue> <character>VICK</character> <dialogue>Henry's sniffing leads as we speak.</dialogue> <character>CELIA</character> <dialogue>The Austrians are in the loop?</dialogue> <character>ERNST</character> <dialogue>They will be.</dialogue> <scene_description>A moment of silence. Vick goes into delegation mode:</scene_description> <character>VICK</character> <dialogue>Let's shake up our networks. Bill and Celia -- that's you. Ernst, it's time to pull in favors with the Austrians. Owen. Talk to our geeks in the Middle East. Comb through the chatter. Tell us who we're dealing with, and what they're planning next. And Leila...</dialogue> <parenthetical>(he turns to her)</parenthetical> <dialogue>...dig deeper into each of those assholes.</dialogue> <scene_description>He gestures to the photos of the hijackers.</scene_description> <character>VICK</character> <dialogue>Maybe we can get Headquarters to kidnap their relatives. Turn the fucking tables.</dialogue> </scene> <scene> <stage_direction>INT. ARAB CAFE, VIENNA - DAY</stage_direction> <scene_description>We're in a dark, claustrophobic tea house, and in a corner, Henry is talking to QAMAR AYAD, a source. We can tell from Henry's face that he's feeling the pressure of the clock: He's impatient. They speak in Austrian German:</scene_description> <character>QAMAR</character> <dialogue>I told you. I don't know anything about it.</dialogue> <scene_description>CONTINUED:</scene_description> <character>HENRY</character> <dialogue>Never said you did. I just want to find out what the community's thinking right now.</dialogue> <scene_description>Qamar looks around, uncomfortable. CONTINUED: (2)</scene_description> <character>QAMAR</character> <dialogue>We tell people until we're blue that Islam is a religion of peace...then something like this happens. We're back to square one.</dialogue> <character>HENRY</character> <dialogue>Conversation at the mosque?</dialogue> <character>QAMAR</character> <dialogue>You want to hear that people are taking sides? Of course they are. But mostly they're afraid.</dialogue> </scene> <scene> <stage_direction>EXT. ARAB CAFE, VIENNA - MOMENTS LATER</stage_direction> <scene_description>Henry leaves the cafe, irritation all over his face. Dead ends everywhere.</scene_description> <character>QAMAR (V.O.)</character> <dialogue>We remember what it was like after 9/11. You couldn't walk down the street without feeling the hatred.</dialogue> <scene_description>He checks his watch and hurries on...</scene_description> </scene> <scene> <stage_direction>EXT. BACK ALLEY - DAY</stage_direction> <scene_description>Henry is with a another source, of Somali descent, Yasir.</scene_description> <character>YASIR</character> <parenthetical>(Austrian German)</parenthetical> <dialogue>A few of the young ones are packing their bags. They're headed for Syria.</dialogue> <character>HENRY</character> <parenthetical>(Austrian German)</parenthetical> <dialogue>So Al-Da'irat is talking to people here in Vienna?</dialogue> <character>YASIR</character> <parenthetical>(Austrian German)</parenthetical> <dialogue>Directly? I don't know. But some people think they are an inspiration.</dialogue> <character>HENRY</character> <parenthetical>(Austrian German)</parenthetical> <dialogue>Can you give me names?</dialogue> <scene_description>YASIR looks at Henry, of course he can't. CONTINUED: Henry is frustrated. He takes an envelope of money from his jacket and offers it to Yasir. He accepts but shakes his head. CONTINUED: (2)</scene_description> <character>YASIR</character> <parenthetical>(Austrian German)</parenthetical> <dialogue>It's too dangerous.</dialogue> <scene_description>Henry is getting nowhere.</scene_description> </scene> <scene> <stage_direction>I/E. HENRY'S CAR, PARKING BASEMENT - MOMENTS LATER</stage_direction> <scene_description>Henry's sitting in his car, and in the passenger seat another source, female this time. TAHAR. Both look out over the dark basement.</scene_description> <character>HENRY</character> <parenthetical>(Austrian German)</parenthetical> <dialogue>Your family is connected. What are they saying? Is there another cell operating right now? Can we expect more hijackings? What are their capabilities?</dialogue> <character>TAHAR</character> <parenthetical>(Austrian German)</parenthetical> <dialogue>I don't have the answers you're looking for.</dialogue> <scene_description>Henry takes out a photo of Ilyas Shishani.</scene_description> <character>HENRY</character> <parenthetical>(Austrian German)</parenthetical> <dialogue>His name is Ilyas Shishani.</dialogue> <character>TAHAR</character> <parenthetical>(Austrian German)</parenthetical> <dialogue>I don't know this man.</dialogue> <character>HENRY</character> <parenthetical>(Austrian German)</parenthetical> <dialogue>We think he might be here in Vienna...</dialogue> <scene_description>Tahar shakes her head. CONTINUED:</scene_description> <character>HENRY</character> <parenthetical>(Austrian German)</parenthetical> <dialogue>Is there anyone else I can talk to?</dialogue> <character>TAHAR</character> <parenthetical>(Austrian German)</parenthetical> <dialogue>I'm sorry.</dialogue> <scene_description>Henry sighs. Tahar gets out of the car as Henry gets a text. He looks down, frowns. Doesn't know who sent it. Then he drives off.</scene_description> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / CIA STATION - DAY (2012)</stage_direction> <scene_description>Looking defeated, Henry steps out of the elevator into the station. Vick, bent over a cubicle, conferring with CIA EMPLOYEES, notices him and comes over.</scene_description> <character>VICK</character> <dialogue>What's the word?</dialogue> <character>HENRY</character> <dialogue>I'm getting nothing. They're slamming doors shut in my face.</dialogue> <character>VICK</character> <dialogue>Any leads on Ilyas Shishani?</dialogue> <character>HENRY</character> <dialogue>Either they don't know, or they're not telling me.</dialogue> <scene_description>CONTINUED:</scene_description> <character>VICK</character> <dialogue>Maybe we should ask the Austrians to break down some doors.</dialogue> <character>HENRY</character> <dialogue>We gotta do something.</dialogue> <scene_description>Vick heads back to his office, but Henry stays by the elevator, looking at a TV on the station wall: Flight 127 sitting on the tarmac. His roaming eyes find Celia working at her desk in the bullpen, head down. As if sensing him, she raises her head to see him weave around desks toward her. She smiles wearily. Reaching her desk, his impulse is to kiss her, and she feels the same. But they're exposed to the rest of the station.</scene_description> <character>CELIA</character> <dialogue>How are you?</dialogue> <character>HENRY</character> <dialogue>Better now.</dialogue> <character>CELIA</character> <dialogue>Any luck?</dialogue> <character>HENRY</character> <dialogue>I've talked to eight people in the last three hours. No one's telling me anything.</dialogue> <character>CELIA</character> <dialogue>They don't know who to trust.</dialogue> <character>HENRY</character> <dialogue>People seem scared. Even my regulars aren't talking.</dialogue> <scene_description>Celia acknowledges this.</scene_description> <character>CELIA</character> <dialogue>I'm in touch with the Muslim Women's Foundation downtown. I'll see where that leads.</dialogue> <scene_description>Henry smiles at her, leans in... CONTINUED: (2)</scene_description> <character>HENRY</character> <parenthetical>(whispers)</parenthetical> <dialogue>How do you manage to stay so pretty when the world's falling apart?</dialogue> <scene_description>They look up and see Bill approaching from his office. Excited. He waves for them to follow him to the SCIF room, gestures at Owen too, while we see Ernst and Leila making their way through the office as well:</scene_description> <character>BILL</character> <dialogue>We have contact with the plane.</dialogue> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / SCIF - MOMENTS LATER</stage_direction> <scene_description>It's the same crew: Ernst, Leila, Owen, Bill and Celia enter the SCIF room. Now, though, Henry is with them. CONTINUED: They know something serious is up, because they've been called to the SCIF -- a soundproof, secure room with a single monitor on the wall playing muted Austrian news. Vick enters, closes the door behind him and starts distributing files.</scene_description> <character>VICK</character> <dialogue>Ten minutes ago Headquarters got a message on the emergency line from AHMED NAJJAR, one of our Middle Eastern couriers. He's on the plane.</dialogue> <scene_description>Everyone's stunned by this incredible coincidence. Leila hands out manila folders with Ahmed's file.</scene_description> <character>CELIA</character> <dialogue>We have an agent on Flight one- twenty-seven?</dialogue> <character>VICK</character> <dialogue>He's one of the passengers.</dialogue> <character>ERNST</character> <dialogue>We've verified his identity?</dialogue> <character>VICK</character> <dialogue>Headquarters did the vetting.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>He sent this message: "Four attackers, two guns. Children in first class. Rest in econ - Muslims starboard, rest opposite. Am with Muslims, aft. Two women critical. No power equals no cameras. Suggest rear- undercarriage attack."</dialogue> <scene_description>Everyone's still processing this unexpected turn of luck.</scene_description> <character>OWEN</character> <dialogue>I'd say we have the upper hand.</dialogue> <character>CELIA</character> <parenthetical>(reading the file)</parenthetical> <dialogue>Don't be too sure. For the last six years Ahmed hasn't done more than spike dead drops. He's fifty- eight, working the clock to retirement, and he's not trained in any counterinsurgency.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>ERNST</character> <dialogue>It's too dangerous to storm the plane. We have to negotiate.</dialogue> <scene_description>Henry raises an eyebrow. This is not normally his place to speak but he does it.</scene_description> <character>HENRY</character> <dialogue>Negotiate? Have you read Al- Da'irat's manifesto?</dialogue> <scene_description>CONTINUED: (3) Uncomfortable silence -- no one has read their manifesto - except, of course, Leila.</scene_description> <character>LEILA</character> <dialogue>I have. March 2006. Lays out everything they will and will not do. They will never accept anything less than their demands.</dialogue> <character>HENRY</character> <dialogue>Never. They will kill themselves before negotiating. They did that in Kinshasa. Remember? Burned everyone alive inside the central police station,including themselves. These guys do what they say, and they never go back on their word.</dialogue> <character>VICK</character> <dialogue>Almost sounds like you admire them, Henry.</dialogue> <character>HENRY</character> <parenthetical>(shrugs, defiant)</parenthetical> <dialogue>They don't suffer from ambiguity. I sometimes wish we could say that about ourselves.</dialogue> <scene_description>Brief silence.</scene_description> <character>BILL</character> <parenthetical>(to Vick)</parenthetical> <dialogue>What did the Germans say?</dialogue> <character>VICK</character> <dialogue>That they'll ship their prisoners to Vienna as a show of goodwill, but Merkel won't let them go. Thinks it's political suicide.</dialogue> <character>BILL</character> <parenthetical>(to Ernst)</parenthetical> <dialogue>And the Austrians?</dialogue> <character>ERNST</character> <parenthetical>(apologetic)</parenthetical> <dialogue>They are gonna play tough. Particularly now that the Germans aren't bending.</dialogue> <scene_description>Silence, as all absorb this information. CONTINUED: (4)</scene_description> <character>OWEN</character> <dialogue>So if the Germans and Austrians don't want to bow to the demands, our only option is to storm the plane.</dialogue> <character>BILL</character> <dialogue>We're not storming anything. This isn't American soil. All we can do is sit back and advise the Austrians. Hope that they'll get their fucking act together.</dialogue> <character>OWEN</character> <parenthetical>(looks at Vick)</parenthetical> <dialogue>How do we advise to the Austrians that this be accomplished?</dialogue> <character>VICK</character> <parenthetical>(to Leila)</parenthetical> <dialogue>What do you think?</dialogue> <character>LEILA</character> <dialogue>If we don't get inside that plane in the next 20 hours, it's going to be a bloodbath.</dialogue> <character>VICK</character> <dialogue>Henry, you have field experience with these people. What's your take on this?</dialogue> <character>HENRY</character> <dialogue>The undercarriage. Just like Ahmed suggested. It's been done before. Some passengers will be killed, but that's better than all of them dying.</dialogue> <scene_description>Everyone is trying to come to terms with the bleakness of the situation.</scene_description> <character>CELIA</character> <dialogue>You're forgetting something.</dialogue> <scene_description>Everyone looks at her.</scene_description> <character>CELIA</character> <parenthetical>(nods at TV screen)</parenthetical> <dialogue>They didn't call the media on a lark -- they wanted eyes on the outside of the plane.</dialogue> <scene_description>CONTINUED: (5)</scene_description> <character>HENRY</character> <dialogue>So the Austrians will cordon them off. Get the broadcasters to play a loop.</dialogue> <scene_description>CONTINUED: (6)</scene_description> <character>CELIA</character> <parenthetical>(shakes head)</parenthetical> <dialogue>The major broadcasters might play along, but that plane's sitting at the end of a runway surrounded by open field. Someone with a telephoto lens is probably live- streaming on YouTube right now. We have no idea what they're watching in there.</dialogue> <scene_description>A beat as everyone realizes that she is right. Celia checks the wall clock. She gets to her feet.</scene_description> <character>CELIA</character> <dialogue>I'm terribly sorry, I've got an important meet.</dialogue> <scene_description>Vick's question is on his face.</scene_description> <character>CELIA</character> <dialogue>Muslim Women's Association, maybe there's a lead.</dialogue> <character>VICK</character> <parenthetical>(to everyone)</parenthetical> <dialogue>Let's keep this quiet. I don't want anyone knowing about our friend Ahmed.</dialogue> <parenthetical>(re: busy bullpen)</parenthetical> <dialogue>Not even our people out there.</dialogue> <scene_description>Everyone nods.</scene_description> </scene> <scene> <stage_direction>INT. VIN DE VIE, EVENING</stage_direction> <scene_description>A moment of silence as the Waitress arrives with more wine. Celia leans back, watching Henry, reflecting. The old couple having paid their cheque, is getting up to leave. The man coughs again. The woman seems to not even notice.</scene_description> <character>HENRY</character> <dialogue>Why here?</dialogue> <parenthetical>(off Celia)</parenthetical> <dialogue>Carmel. I'm guessing you could have moved anywhere.</dialogue> <character>CELIA</character> <dialogue>Good schools.</dialogue> <scene_description>CONTINUED: Henry frowns, not buying this.</scene_description> <character>HENRY</character> <dialogue>Drew's idea?</dialogue> <character>CELIA</character> <dialogue>It was as far from the Agency as I could get.</dialogue> <scene_description>Henry nods -- this is a reason he can understand. CONTINUED: (2)</scene_description> <character>HENRY</character> <dialogue>You got out clean.</dialogue> <character>CELIA</character> <dialogue>No one got out clean after one twenty seven.</dialogue> <scene_description>Henry recognizes that his comment was insensitive.</scene_description> <character>HENRY</character> <dialogue>No. You're right.</dialogue> <scene_description>Celia looks at him a moment, then decides to tell him something.</scene_description> <character>CELIA</character> <dialogue>Two weeks after arriving here, I get a visit from a guy named Karl. With a K. Actually it was at this restaurant...</dialogue> </scene> <scene> <stage_direction>INT. VIN DE VIE - DAY (2013)</stage_direction> <scene_description>Same restaurant, but FULL OF PEOPLE and WAIT STAFF. Note that the staff are all different from tonight's crew. Celia's with a genial-looking older man, KARL STEIN (60), who's talking with quiet intensity. Celia looks ANGRY.</scene_description> <character>CELIA (V.O.)</character> <dialogue>He tells me that Bill...my Bill... the one I've devoted a chunk of my life to, has been selling secrets to the highest bidder. Not to France, not to China or Russia, but to the Islamist extremists.</dialogue> <scene_description>Celia gets up to leave. Karl rises, too.</scene_description> <character>CELIA (V.O.)</character> <dialogue>Karl wants me to help bring him down. He wants me to fly to Vienna and entrap him. One-twenty-seven, he tells me, is still very fresh for the Austrians, and they're demanding answers.</dialogue> <scene_description>Karl writes on a business card and hands it over. Just a phone number, and he's written "KARL STEIN" above it.</scene_description> </scene> <scene> <stage_direction>INT. VIN DE VIE - EVENING (PRESENT)</stage_direction> <scene_description>Henry blinks -- this is news to him.</scene_description> <character>HENRY</character> <dialogue>Any evidence?</dialogue> <scene_description>Celia shakes her head.</scene_description> <character>CELIA</character> <dialogue>They were looking for a scapegoat.</dialogue> <character>HENRY</character> <dialogue>What did you do?</dialogue> <character>CELIA</character> <dialogue>I told him to go fuck himself.</dialogue> <scene_description>Henry nods in approval. She takes a beat.</scene_description> <character>CELIA</character> <dialogue>My point though, is that Karl ruined me. After his visit I started feeling like a ghost... and the nightmares... That's when I saw the doctor.</dialogue> <character>HENRY</character> <dialogue>You seem better now.</dialogue> <character>CELIA</character> <dialogue>Evan cured me. When I had him, my life wasn't just about me anymore.</dialogue> <character>HENRY</character> <dialogue>Maybe I should have a kid.</dialogue> <character>CELIA</character> <dialogue>It's not for the faint of heart.</dialogue> <character>HENRY</character> <dialogue>You think I'm too selfish?</dialogue> <character>CELIA</character> <dialogue>Definitely.</dialogue> <scene_description>Henry doesn't quite know what to make of this.</scene_description> <character>HENRY</character> <dialogue>I remember you left the station to meet someone...from the Muslim Women's Foundation?</dialogue> <scene_description>CONTINUED:</scene_description> <character>CELIA</character> <dialogue>It turned out to be useless.</dialogue> <character>HENRY</character> <dialogue>Who did you meet?</dialogue> <character>CELIA</character> <dialogue>One of my regular contacts, Sabina. She couldn't stay, though - - because of the hijacking, they were deluged by women scared that Austrian boys would attack them on the street. But Sabina had brought a friend -- TAHAR.</dialogue> <scene_description>CLOSE ON HENRY: He's there. He needs to know...</scene_description> <character>HENRY</character> <dialogue>Go on.</dialogue> <character>CELIA</character> <dialogue>It was a bust. Really. Amateur hour. This woman, Tahar, said she could introduce me to someone who could answer my questions.</dialogue> </scene> <scene> <stage_direction>EXT. VIENNA STREET 2 - DUSK (2012)</stage_direction> <scene_description>Celia's following a small, hijabed woman -- TAHAR. (NOTE: THIS IS THE SAME WOMAN THAT HENRY TALKED TO PREVIOUSLY IN SC. 55). They're in a poor immigrant neighborhood, nothing like the pristine, tourist center of Vienna. They stop in front of a run-down building. Tahar talks to her, serious, holding out her hand.</scene_description> <character>CELIA (V.O.)</character> <dialogue>She insisted I give her my phone, because whoever we were meeting wouldn't stand for it.</dialogue> <scene_description>Hesitantly, Celia takes out her phone, checks to see that it's pass-code locked.</scene_description> <character>CELIA (V.O.)</character> <dialogue>I should've taken that as a warning. But I was cocky back then.</dialogue> <scene_description>CONTINUED: Celia hands over the phone. Tahar pockets it and leads her inside...</scene_description> </scene> <scene> <stage_direction>INT. RUN-DOWN BUILDING, VIENNA - CONTINUOUS</stage_direction> <scene_description>Dark, lit by a weak bulb up on the second floor. They climb narrow stairs to reach a soiled door. Tahar pauses at the door, KNOCKS. Distantly, a MUMBLE. She opens the door, and they enter a dilapidated, water- damaged room. A single chair and small card table sit in the center. On the table, cigarettes and a half-full ashtray. Tahar closes the door.</scene_description> <character>TAHAR</character> <parenthetical>(in German)</parenthetical> <dialogue>Wait.</dialogue> <scene_description>Celia doesn't like this. She checks the exits -- a high window, door to the stairwell, and a cracked door leading to another room. She sits. Tahar disappears through the cracked door, which CREAKS. We focus on Celia, waiting, listening: - MUTED CONVERSATION from the other room, man and woman; - BEGINNING OF A CELL PHONE HUM that's cut short. (This is Celia's phone, but neither she nor we can be sure of it.);</scene_description> <character>- MURMUR OF MALE VOICE.</character> <dialogue>The door CREAKS, and large, tough-looking MOHAMMED DUDAYEV steps through. He's dressed casually -- jeans, sweater, beard. Head shaved bald. His voice is THICK WITH ACCENT (Chechen).</dialogue> <character>MOHAMMED</character> <dialogue>Celia Harrison. As-salamu alaykum.</dialogue> <character>CELIA</character> <dialogue>Who are you?</dialogue> <character>MOHAMMED</character> <parenthetical>(Pause)</parenthetical> <dialogue>Can I offer you some tea? A cigarette?</dialogue> <character>CELIA</character> <dialogue>I don't have time.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MOHAMMED</character> <dialogue>I see.</dialogue> <scene_description>He walks casually around her. Not threatening, just wandering. She turns her head to keep track of him.</scene_description> <character>CELIA</character> <dialogue>I was told you had information. About Flight one-twenty-seven.</dialogue> <character>MOHAMMED</character> <parenthetical>(Pause)</parenthetical> <dialogue>What we need to settle first is the question of compensation.</dialogue> <character>CELIA</character> <dialogue>You're asking to be paid?</dialogue> <character>MOHAMMED</character> <dialogue>We need power. Power comes from money. If a man cannot get money- power, then he will reach for violent power. You agree?</dialogue> <character>CELIA</character> <dialogue>Do you have any information or not?</dialogue> <character>MOHAMMED</character> <parenthetical>(mock surprise)</parenthetical> <dialogue>You do not trust me?</dialogue> <character>CELIA</character> <dialogue>That depends.</dialogue> <character>MOHAMMED</character> <dialogue>As a representative of the least trusted nation on Earth, you should recognize sincerity when it stands before you.</dialogue> <scene_description>Celia blinks, not sure what to make of this.</scene_description> <character>CELIA</character> <dialogue>I meant no offence.</dialogue> <scene_description>Celia hesitates, finally recognizing how vulnerable she is. The door CREAKS again. Mohammed looks up to see Tahar standing there, just looking at him. CONTINUED: (2)</scene_description> <character>MOHAMMED</character> <parenthetical>(to Celia)</parenthetical> <dialogue>Moment, please.</dialogue> <scene_description>He heads into the other room, while Tahar remains in the doorway, silent, watching Celia. Then Mohammed returns, shaking his head, holding Celia's phone. He's removed the battery, and hands both parts over.</scene_description> <character>MOHAMMED</character> <dialogue>You are right -- do not trust me. You can find your way out.</dialogue> <scene_description>Unsure, she nods, then stands, pocketing the pieces of phone. He opens the door for her.</scene_description> <character>MOHAMMED</character> <dialogue>Go, then. As-salamu alaykum.</dialogue> <scene_description>Celia looks at him, then at the impenetrable Tahar, and leaves. She RUSHES down the stairs.</scene_description> <character>CELIA (V.O.)</character> <dialogue>I don't think he had anything.</dialogue> </scene> <scene> <stage_direction>INT. VIN DE VIE - EVENING (PRESENT)</stage_direction> <scene_description>She's frowning, still puzzling over that strange memory.</scene_description> <character>CELIA</character> <dialogue>It was just an attempt at easy money.</dialogue> <scene_description>ON HENRY: Dead serious. All this means something to him, more than it means to her.</scene_description> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA - EVENING (2012)</stage_direction> <scene_description>Celia arrives, stepping out of the elevator, still shaken by her experience with Mohammed Dudayev. She heads toward her desk, but before she reaches it she's blindsided by Henry. All decorum gone, he embraces her and kisses her fully on the lips. Passionate. A few CIA EMPLOYEES look up from their desks, grinning. CONTINUED:</scene_description> <character>CELIA</character> <parenthetical>(Smiles, a little embarrassed)</parenthetical> <dialogue>Hello.</dialogue> <scene_description>Henry's hand is in her hair.</scene_description> <character>HENRY</character> <dialogue>Are you alright?</dialogue> <scene_description>He looks closely, as if examining her for damage. Relief swells in him.</scene_description> <character>CELIA</character> <dialogue>Strange night...but yeah.</dialogue> <character>HENRY</character> <dialogue>I want to take you home. Can I take you home?</dialogue> <scene_description>Before Celia can answer, Bill approaches, frowning deeply. But not about them.</scene_description> <character>BILL</character> <dialogue>Come with me. We got another message.</dialogue> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / BILL'S OFFICE - EVENING</stage_direction> <scene_description>Henry closes the door. Bill's at his desk, Celia between them.</scene_description> <character>BILL</character> <dialogue>Ahmed tells us that a hijacker spoke Russian on a cell phone.</dialogue> <scene_description>Henry nods; he knows why this is important. We also catch a grimace -- something more. Something bad.</scene_description> <character>CELIA</character> <parenthetical>(looking at Henry)</parenthetical> <dialogue>Ilyas Shishani speaks Russian.</dialogue> <character>BILL</character> <dialogue>Look, it means something, or it doesn't.</dialogue> <parenthetical>(to Henry)</parenthetical> <dialogue>Ilyas was your source in Moscow. You wanna tell us what happened? I heard you got transferred out back then.</dialogue> <scene_description>Henry on guard. CONTINUED:</scene_description> <character>HENRY</character> <dialogue>It didn't end well.</dialogue> <scene_description>Bill frowns.</scene_description> <character>BILL</character> <dialogue>Who was Ilyas handed off to?</dialogue> <character>HENRY</character> <dialogue>He wasn't handed off to anyone.</dialogue> <scene_description>Bill's question is on his face.</scene_description> </scene> <scene> <stage_direction>INT. MOSCOW BAKERY - DUSK (2002)</stage_direction> <scene_description>A thin, morose-looking Chechen, flour-spattered ILYAS SHISHANI (late-20s), towel over his shoulder, enters the back room after a long day's work. His daughter ASET (4) is on his hip. He tenses, noticing the DOOR TO THE STORAGE ROOM is cracked open.</scene_description> <character>HENRY (V.O.)</character> <dialogue>Ilyas was only the second agent I'd turned.</dialogue> <scene_description>He puts Aset down and tells her to go to her mother.</scene_description> <character>HENRY (V.O.)</character> <dialogue>He'd escaped Grozny in the nineties and eventually put together his own shop in Moscow.</dialogue> <scene_description>FOLLOW Aset to the front counter, where her mother ELMIRA (20s, in a smock) flattens and counts cash, making notes in a ledger. The place is empty.</scene_description> <character>HENRY (V.O.)</character> <dialogue>Hard worker. Loyal husband. He gave me an ear into the Chechen community.</dialogue> <scene_description>FOLLOW ILYAS into the storage room -- metal shelves, boxes and...</scene_description> <character>HENRY (V.O.)</character> <dialogue>I had built a relationship with him based on trust. I liked him.</dialogue> <scene_description>... a younger HENRY in a plastic chair, clutching a Coca- Cola.</scene_description> <character>HENRY (V.O.)</character> <dialogue>We liked each other.</dialogue> <scene_description>CONTINUED: Ilyas relaxes and approaches.</scene_description> </scene> <scene> <stage_direction>INT. CIA STATION, US EMBASSY, MOSCOW - DAY</stage_direction> <scene_description>We're in the office of Moscow's STATION CHIEF -- their Vick. He's an efficient little bureaucrat, talking calmly from behind his desk. Rationally. Patiently. Explaining how the world works.</scene_description> <character>HENRY (V.O.)</character> <dialogue>Putin had dressed up the Nord-Ost siege as the Russian 9/11. Extremism wasn't only our problem anymore. And that's when they told us they had compelling evidence of an imminent attack on our embassy in Tblisi. But they wouldn't give it to us without a trade-off. My C.O.S. walked me through it -- the brass wasn't happy, but giving up a source was our only play. They landed on Ilyas -- low level enough not to be damaging.</dialogue> <scene_description>CAMERA MOVES to the other side of the desk, where Younger Henry, standing, takes the news badly. This feels very wrong.</scene_description> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / BILL'S OFFICE - EVENING (2012)</stage_direction> <scene_description>Celia and Bill are both shocked to hear this story.</scene_description> <character>BILL</character> <dialogue>You're saying we gave up a source?</dialogue> <character>CELIA</character> <dialogue>And Tblisi?</dialogue> <character>HENRY</character> <dialogue>Never materialized. The Russians fucked us.</dialogue> <character>BILL</character> <dialogue>Christ.</dialogue> <parenthetical>(shakes head)</parenthetical> <dialogue>I didn't know.</dialogue> <parenthetical>(a kind smile)</parenthetical> <dialogue>I thought that you'd fucked up in Moscow.</dialogue> <scene_description>CONTINUED:</scene_description> <character>HENRY</character> <dialogue>I was removed in case the Russians used Ilyas to get to me.</dialogue> </scene> <scene> <stage_direction>INT. MOSCOW BAKERY - NIGHT (2002)</stage_direction> <scene_description>The shop is DARK. A crack of light as Younger Henry, clearly breaking in, enters. He wanders through the place -- some shelves knocked over, old bread and flour on the floor, as after a scuffle.</scene_description> <character>HENRY (V.O.)</character> <dialogue>Later, I heard he had ended up in Tehran. But he wasn't radical when I knew him.</dialogue> <scene_description>CONTINUED: Henry is grim -- he's beginning to understand.</scene_description> <character>HENRY (V.O.)</character> <dialogue>His life was there. His wife and daughter... He was a baker for Christ's sake. He loved his job. He didn't know anything...nothing useful anyway.</dialogue> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / BILL'S OFFICE - EVENING (2012)</stage_direction> <scene_description>Celia stares, sympathetic, but Henry doesn't want their sympathy.</scene_description> <character>HENRY</character> <dialogue>He trusted me and we gave his name to the Russians.</dialogue> <character>BILL</character> <dialogue>You think you can find him?</dialogue> <scene_description>Henry looks like it's hopeless.</scene_description> <character>HENRY</character> <dialogue>We're wasting our time. We need to get inside that plane or give them what they want.</dialogue> <scene_description>Bill gets up to leave and heads for the door.</scene_description> <character>BILL</character> <dialogue>Let me talk to Vick.</dialogue> <character>HENRY</character> <dialogue>These guys don't fuck around. We don't want them to lose their patience.</dialogue> <character>CELIA</character> <dialogue>Henry...</dialogue> <scene_description>Bill turns around and looks at Henry, equally frustrated with the politics of the situation.</scene_description> <character>BILL</character> <dialogue>There's a process! Let me find out where the fucking politicians are.</dialogue> <scene_description>He leaves. Celia and Henry are left alone. Henry's story still reverberating in the room. CONTINUED:</scene_description> <character>HENRY</character> <dialogue>None of this matters.</dialogue> <scene_description>Celia's question is on her face.</scene_description> <character>HENRY</character> <dialogue>A hundred and twenty people on a plane. A hundred and thirty-one in a theater... They're people, and people have intrinsic value, but to us, to you and me they have to stay numbers. It's the only way we survive.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>When you cut through all the lies and double-speak, and peel away all this...</dialogue> <parenthetical>(motions to the embassy around them)</parenthetical> <dialogue>It's simple. We take care of our own. Everything out there, all those strangers...It's not ours...This...</dialogue> <parenthetical>(points to her, at himself)</parenthetical> <dialogue>I only ever want to be responsible for you.</dialogue> <scene_description>CONTINUED: (2) Silence. Celia comes over and squats in front of him. Her face is full of appreciation for the pain Henry must have gone through.</scene_description> <character>HENRY</character> <dialogue>I've been thinking.</dialogue> <character>CELIA</character> <parenthetical>(warning, smile)</parenthetical> <dialogue>You know how I feel about thinking.</dialogue> <scene_description>He holds her look. He wants to make sure she understands the gravity of what he is going to ask her.</scene_description> <character>HENRY</character> <dialogue>Move in with me.</dialogue> <scene_description>Celia's a little stunned. Then she leans closer, smiling.</scene_description> <character>HENRY</character> <dialogue>I know what kind of people we are. We hold off. We're careful. We wall ourselves off. But I can't lose this. I won't lose this.</dialogue> <scene_description>She takes his hand in hers. She's happy -- as if he's asked her hand in marriage.</scene_description> </scene> <scene> <stage_direction>INT. VIN DE VIE - EVENING (PRESENT)</stage_direction> <scene_description>Henry, full of memories, deflates just a little.</scene_description> <character>HENRY</character> <dialogue>By the next morning you'd walked out on me.</dialogue> <scene_description>Celia takes a beat. Drinks from her wine.</scene_description> <character>CELIA</character> <dialogue>We were talking about "one twenty seven."</dialogue> <scene_description>Henry doesn't answer.</scene_description> <character>CELIA</character> <dialogue>We are aren't we?</dialogue> <scene_description>Henry sits quietly with that for a beat. Then nods.</scene_description> <character>VICK (V.O.)</character> <dialogue>There's been another message...</dialogue> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / SCIF - EVENING (2012)</stage_direction> <scene_description>Vick's talking to the whole crowd -- Ernst, Bill, Owen, Leila, Celia and Henry, who is on his feet, leaning against the wall.</scene_description> <character>VICK</character> <dialogue>...from Ahmed...and it's not upbeat.</dialogue> <parenthetical>(reads from computer screen)</parenthetical> <dialogue>"Cancel the attack plan. They have a camera on the undercarriage. I do not know how, but it is clear they know what they are doing. Very serious. I suggest we give them what they are asking for, or everyone will end up dead."</dialogue> <scene_description>Henry wipes his mouth. He looks a little off.</scene_description> <character>CELIA</character> <dialogue>How did they get a camera on the outside of the plane?</dialogue> <character>OWEN</character> <dialogue>They could have done it in Istanbul. All it takes is a baggage loader to attach it to the hull.</dialogue> <character>LEILA</character> <dialogue>I've been suspicious about Atatürk Airport for a while.</dialogue> <character>BILL</character> <dialogue>Has anyone seen this camera? The Austrians have had eyes on the plane all day long -- and no one noticed anything out of the ordinary?</dialogue> <character>ERNST</character> <dialogue>Just because we don't see it doesn't mean it's not there.</dialogue> <character>CELIA</character> <dialogue>Have we shared this last message with the Austrians?</dialogue> <scene_description>Ernst shakes his head, ashamed. There's a noticeable hesitation in the room. CONTINUED:</scene_description> <character>VICK</character> <dialogue>The Austrians don't know about Ahmed. We're trying to keep it quiet.</dialogue> <scene_description>CONTINUED: (2) The SURPRISE is etched into Celia's face.</scene_description> <character>CELIA</character> <dialogue>There's an airplane full of people whose lives are at risk on that runway...and we haven't told the Austrians about Ahmed! Maybe it's time to start sharing, if we want to get anyone out of that plane alive.</dialogue> <character>VICK</character> <dialogue>It's Headquarters' call. They're not sure we can trust the Interior Ministry.</dialogue> <scene_description>Celia glares at Vick, then at Ernst, who's chewing the inside of his cheek. They all know that this is pure idiocy and there's no time for idiocy.</scene_description> <character>CELIA</character> <dialogue>Ernst?</dialogue> <character>ERNST</character> <dialogue>You know how it is. We didn't vet the Austrians.</dialogue> <scene_description>In the silence, Henry crosses to the door and exits. Celia watches him go.</scene_description> <character>BILL</character> <dialogue>Celia is right. We have to start sharing our intel. We've taken this as far as we can on our own.</dialogue> <scene_description>They all agree, but silently. Owen and Ernst nod.</scene_description> <character>VICK</character> <dialogue>Let me see what else I can do to pressure Headquarters.</dialogue> </scene> <scene> <stage_direction>INT. FLIGHT 127 - EVENING</stage_direction> <scene_description>We're with Suleiman's PHONE CAMERA again. The SHOT is of the coach section of the plane, about a HUNDRED PASSENGERS, now prisoners, filling the chairs. TWO TERRORISTS pace the aisles, holding pistols. The Passengers are in a state. They've been on this dead plane for half a day now. The older Passengers are sweating, ties undone, fanning themselves. Men in undershirts help women. Somewhere a WOMAN CRIES QUIETLY, MOANING. CONTINUED: Though we don't see Suleiman, he's holding the phone, and then we HEAR:</scene_description> <character>SULEIMAN (V.O.)</character> <dialogue>This will be over soon. Once our brothers have their freedom, you will be given yours!</dialogue> <scene_description>CONTINUED: (2) No one is encouraged by his words. CAMERA TURNS to starboard, where the Muslims are collected but treated no better than the rest.</scene_description> <character>SULEIMAN (V.O.)</character> <parenthetical>(Arabic)</parenthetical> <dialogue>Brothers, sisters -- You are taking part in a great struggle! This is for love. Love of Allah. Love of our parents and children.</dialogue> <scene_description>FOCUS ON a grayed BEARDED MAN who resembles a cleric.</scene_description> <character>SULEIMAN (V.O.)</character> <parenthetical>(Arabic)</parenthetical> <dialogue>Grandfather, I know you understand.</dialogue> <scene_description>BEAT on the Bearded Man, who only STARES, trying unsuccessfully to hide his disgust and resentment.</scene_description> </scene> <scene> <stage_direction>INT. VIN DE VIE - EVENING (PRESENT)</stage_direction> <scene_description>The Waitress arrives holding aloft a tray of California delicacies.</scene_description> <character>WAITRESS</character> <dialogue>Pan-seared cod with a cilantro and lime crumb, and soy glazed garden vegetables, for the lady.</dialogue> <parenthetical>(she sets it down)</parenthetical> <dialogue>And for the gentleman, glazed Californian grass-fed short rib, with lotus root chips and rainbow slaw.</dialogue> <scene_description>As she sets his down, Henry leans back.</scene_description> <character>HENRY</character> <dialogue>Thanks.</dialogue> <character>WAITRESS</character> <dialogue>Can I get you more wine?</dialogue> <scene_description>Henry nods, but Celia shakes her head no.</scene_description> <character>HENRY</character> <dialogue>I'll change to red, thanks.</dialogue> <character>WAITRESS</character> <dialogue>Certainly, would you like to see the wine menu?</dialogue> <scene_description>CONTINUED: Henry remembering the long list.</scene_description> <character>HENRY</character> <dialogue>I'll take whatever you recommend.</dialogue> <character>WAITRESS</character> <dialogue>I'll see what I can find.</dialogue> <scene_description>CONTINUED: (2) As the Waitress departs, she REVEALS behind her the Man -- he's staring directly at Henry over the rim of his glass as Celia takes a bite of her fish.</scene_description> <character>CELIA</character> <dialogue>Mmm. You should try this.</dialogue> <scene_description>When Henry turns back, Celia's holding out a bite of cod. He tastes. Approves.</scene_description> <character>CELIA</character> <dialogue>Say what you like about California, the fish is fresh.</dialogue> <scene_description>He relaxes again, then cuts a bite of beef for Celia. Holds it out. She shakes her head.</scene_description> <character>CELIA</character> <dialogue>I don't touch land animals anymore.</dialogue> <character>HENRY</character> <dialogue>You enjoyed that bacon, didn't you?</dialogue> <character>CELIA</character> <dialogue>You told me to live a little.</dialogue> <character>HENRY</character> <dialogue>Then live a little more.</dialogue> <character>CELIA</character> <dialogue>I've lived plenty.</dialogue> <scene_description>He pops the beef in his mouth. He's going to say something, but then the Waitress returns with the bottle of Henry's wine. He leans back and smiles at her, but she won't meet his gaze, staring only at his glass. Despite her focus, the wine GLUG-GLUGS, spilling a few drops on the tablecloth. She colors -- seemingly horrified.</scene_description> <character>WAITRESS</character> <parenthetical>(flustered)</parenthetical> <dialogue>I'm so sorry.</dialogue> <character>HENRY</character> <dialogue>No problem.</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>WAITRESS</character> <dialogue>Excuse me.</dialogue> <scene_description>As she turns and exits, Henry reaches for his wine and glances back at her, making a face.</scene_description> <character>CELIA</character> <dialogue>She's nervous from all your ogling.</dialogue> <character>HENRY</character> <dialogue>I'm not ogling.</dialogue> <scene_description>Celia smiles a sad smile. Henry takes a sip of the wine. Celia looks as if she wants to say something, but then she pauses for a second, changing the subject.</scene_description> <character>CELIA</character> <dialogue>You said you talked to Bill?</dialogue> <character>HENRY</character> <dialogue>A week ago.</dialogue> <character>CELIA</character> <dialogue>How is he?</dialogue> <character>HENRY</character> <dialogue>Old. Retired.</dialogue> <character>CELIA</character> <dialogue>Did you put him through all this, too? The detailed regurgitation?</dialogue> <scene_description>Henry shrugs.</scene_description> </scene> <scene> <stage_direction>INT. LONDON PUB - DAY (FLASHBACK)</stage_direction> <scene_description>At the same window table, Bill's upset -- and angry.</scene_description> <character>BILL</character> <dialogue>They're chasing ghosts.</dialogue> <character>HENRY</character> <dialogue>Maybe so. But they're not gonna stop asking questions. I'm not gonna stop asking questions. Too many things don't add up.</dialogue> <character>BILL</character> <dialogue>What are you getting at, Henry? Are you trying to accuse me of something?</dialogue> <scene_description>CONTINUED:</scene_description> <character>BILL</character> <dialogue>Do you know how many years of my life I've given to my country? The lies -- the duplicity?</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>BILL</character> <dialogue>Do you know how much abuse I've taken for the fucking Agency?</dialogue> <character>HENRY</character> <dialogue>We all gave. Nobody forced you.</dialogue> <scene_description>Bill opens his hands to display the worn man who looks older than he should.</scene_description> <character>BILL</character> <dialogue>Take a gander at your future. This is what you end up with.</dialogue> <scene_description>Henry shakes his head.</scene_description> <character>HENRY</character> <dialogue>My balls are still firmly attached. How's Sally?</dialogue> <scene_description>Bill, shocked and offended, points at Henry.</scene_description> <character>BILL</character> <dialogue>You have no idea what it means to walk in my shoes. You come here. You accuse me --</dialogue> <character>HENRY</character> <parenthetical>(cuts in, hard)</parenthetical> <dialogue>Bill, when I accuse you of collaborating with America's enemies, you'll know it. I won't be alone. There'll be two big guys behind you holding on to your arms. And we won't be in a pub. We'll be in a Romanian basement.</dialogue> <scene_description>A long pause as Bill, shrinking back, collects himself.</scene_description> <character>BILL</character> <dialogue>I'm just -- it still hurts, thinking about those days. I get tremors. I'm not a well man.</dialogue> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / CIA STATION - NIGHT (2012)</stage_direction> <scene_description>Bill comes out of his office, pulling on his coat, and stops by Celia's cubicle. CONTINUED:</scene_description> <character>HENRY (V.O.)</character> <dialogue>I remember Bill left the office that evening, shortly after we got Ahmed's third message. Do you know why?</dialogue> <scene_description>As he speaks with her, he puts a comforting hand on her shoulder -- he's asking how she's holding up, giving her words of support. But we HEAR:</scene_description> <character>CELIA (V.O.)</character> <dialogue>Sally had come down with one of her passive-aggressive illnesses.</dialogue> <character>HENRY (V.O.)</character> <dialogue>Sally was always his perfect excuse.</dialogue> <scene_description>FOLLOW Bill: He nods to CIA EMPLOYEES on his way to the elevator, though he's clearly distracted by something serious.</scene_description> <character>CELIA (V.O.)</character> <dialogue>No -- he made excuses for her. He'd tried to leave her the night before --</dialogue> </scene> <scene> <stage_direction>INT. VIN DE VIE - EVENING (PRESENT)</stage_direction> <scene_description>On Celia:</scene_description> <character>CELIA</character> <dialogue>-- No, you didn't know that did you? She went on a rampage, smashing things. Then got a shooting pain in her arm. He tried to take her to the hospital, but she refused. Next morning she collapsed and started bleeding from her nose.</dialogue> <scene_description>Henry frowns, not having known the full story.</scene_description> <character>HENRY</character> <dialogue>So Bill left the office to deal with Sally -- when was that?</dialogue> <character>CELIA</character> <dialogue>Around nine, nine-thirty.</dialogue> <scene_description>CONTINUED:</scene_description> <character>HENRY</character> <dialogue>And you used his office after that.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What was everyone else doing?</dialogue> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / CIA STATION - NIGHT (2012)</stage_direction> <scene_description>Celia's carrying a cup of coffee and clutching a stack of files.</scene_description> <character>CELIA (V.O.)</character> <dialogue>We were all trying to stay on top of the situation, but we had to wait for the Austrians and the Germans. Owen was doing his cyber work. Ernst and Leila were talking to their contacts. Vick was briefing Washington --</dialogue> <scene_description>She passes mustached Gene Wilcox, who's going through online Austrian newspapers.</scene_description> <character>CELIA (V.O.)</character> <dialogue>-- and GENE.. I guess he was scouring media coverage for anything that might help.</dialogue> <scene_description>He gives her a lascivious glance as she, balancing her coffee, opens the door to Bill's office and enters...</scene_description> </scene> <scene> <stage_direction>INT. VIN DE VIE, NIGHT</stage_direction> <character>CELIA</character> <dialogue>There was a weird disconnect, remember?</dialogue> <character>HENRY</character> <dialogue>I was out trying to get a lead on Ilyas.</dialogue> <scene_description>Celia takes that in.</scene_description> <character>CELIA</character> <dialogue>I've sometimes wondered if he chose Vienna because of you.</dialogue> <character>HENRY</character> <dialogue>Why would he do that?</dialogue> <scene_description>CONTINUED:</scene_description> <character>CELIA</character> <dialogue>I don't know. To goad you? To try and get your help? Maybe to give himself up to you.</dialogue> <scene_description>Henry grins.</scene_description> <character>HENRY</character> <dialogue>I don't think he chose Vienna out of a personal vendetta.</dialogue> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / BILL'S OFFICE - NIGHT</stage_direction> <scene_description>Celia sets down her mug and drops the files onto Bill's desk, then settles into his comfy chair. She arranges files on the large, empty desktop. SIGHING, she opens and begins to read. We SEE: - A file on ILYAS SHISHANI -- with pictures of daughter ASET (age 6) and wife ELMIRA (40); - a file on AHMED NAJJAR, courier; - and print-outs of the TWO TEXT MESSAGES from Ahmed. Celia looks at Aset Shishani -- notes an entry under her picture: "DECEASED -- February 2004 -- Haemophilia." She sighs, then puts the file away. FOCUS ON THE MESSAGES FROM AHMED. We READ them with her. In fact, we HEAR HER READING ALOUD, but in a WHISPER, and only FRAGMENTS: "4 attackers 2 guns. Children in 1st cl. Rest in econ - Muslims starboard, rest opposite. Am with Muslims aft. CONTINUED: 2 women critical. No power=no cameras. Suggest rear undercarriage attack." "Lead hijacker on phone. Speaks Russian. Don't know to translate." "Cancel the attack plan. They have a camera on the undercarriage. I do not know how, but it is clear they know what they are doing. Very serious. I suggest we give them what they are asking for, or everyone will end up dead." ON CELIA: She NOTICES something. Frowns. Goes through the notes again. With her finger, touches fragments: "...don't" Then: "...do not." "1st cl. Rest in econ" Then: "...it is clear they know what they are doing." "No power=no cameras." Then: "I suggest we give them what they are asking for..." ON CELIA: BLINKING. She's put something together. Something very wrong.</scene_description> </scene> <scene> <stage_direction>INT. LONDON PUB - DAY (FLASHBACK)</stage_direction> <scene_description>Bill speaks, exasperated, to Henry.</scene_description> <character>BILL</character> <dialogue>Of course we noticed the difference between Ahmed's second message and the first one. Complete sentences. As if he suddenly had all the time in the world for good grammar. We all noticed -- we just knew better than to say it aloud.</dialogue> <character>HENRY</character> <dialogue>No one did anything?</dialogue> <scene_description>CONTINUED:</scene_description> <character>BILL</character> <dialogue>Before I left that night Vick called me in to discuss the elephant in the room.</dialogue> <character>HENRY</character> <dialogue>Just you?</dialogue> <character>BILL</character> <dialogue>Yes. We had to deal with the possibility that it wasn't Ahmed talking to us anymore. And if he'd been discovered, who blew his cover? We'd kept his identity under lock and key. Not even the Austrians knew he was in there.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Of course there was the possibility that we were wrong. Maybe this was Ahmed, alive and well, and he'd just decided to waste a lot of time with articles and prepositions. Or maybe it wasn't Ahmed, but he'd simply given himself away -- stupidity and bad luck run international affairs as much as anything else.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We didn't know anything, not really. We were clutching at straws</dialogue> <character>HENRY</character> <dialogue>Did you discuss this with Celia?</dialogue> <scene_description>Bill shakes his head.</scene_description> <character>BILL</character> <dialogue>She had to be considered a suspect. Everyone was. I'm not sure why Vick decided to trust me - - Maybe he was trying to gauge my reaction. Maybe he wanted to see what I was going to do next. For all I know he sat down with others for the same conversation.</dialogue> <character>HENRY</character> <dialogue>Afterward, when Headquarters sent those guys from the counter espionage group, how did you explain all of it to them?</dialogue> <scene_description>Bill grows tense. CONTINUED: (2)</scene_description> <character>BILL</character> <dialogue>I didn't.</dialogue> <character>HENRY</character> <dialogue>No?</dialogue> <character>BILL</character> <dialogue>Well, there was no point anymore, was there?</dialogue> <character>HENRY</character> <dialogue>How's that?</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>BILL</character> <dialogue>It was done. We'd failed. If we'd started shouting about a mole, it would've been the end of all of us.</dialogue> <character>HENRY</character> <dialogue>You were covering your ass.</dialogue> <character>BILL</character> <dialogue>Yes. We all did. And don't tell me you wouldn't have done the same.</dialogue> <character>HENRY</character> <parenthetical>(sharp)</parenthetical> <dialogue>I'm not the one who lied to counter espionage.</dialogue> </scene> <scene> <stage_direction>INT. VIN DE VIE - EVENING (PRESENT)</stage_direction> <scene_description>Henry leans in close as if he is onto something important.</scene_description> <character>CELIA</character> <dialogue>There was an anomoly. Ahmed told us the layout of the hostages and suggested an attack plan. Then suddenly his tone changed. He was telling us to cooperate.</dialogue> <character>HENRY</character> <dialogue>Maybe he realized his attack plan wasn't going to work.</dialogue> <character>CELIA</character> <dialogue>But it wasn't just that. Why did he suddenly sound like a different person?</dialogue> <scene_description>A long pause as they both refuse to answer the question. Celia sips her wine and watches him coolly.</scene_description> <character>HENRY</character> <dialogue>You're saying he was discovered earlier than we thought?</dialogue> <character>CELIA</character> <dialogue>It's obvious.</dialogue> <scene_description>CONTINUED:</scene_description> <character>HENRY</character> <dialogue>Is it?</dialogue> <scene_description>Again, silence. She stares him down.</scene_description> <character>HENRY</character> <dialogue>Did you suspect that someone in our station had betrayed Ahmed?</dialogue> <character>CELIA</character> <dialogue>Well, the Austrians couldn't have - - they didn't know he existed.</dialogue> <scene_description>Beat.</scene_description> <character>HENRY</character> <dialogue>Is this why you asked for the phone logs?</dialogue> <scene_description>Celia tilts her head, slight surprise, but she holds Henry's look for a beat, knows where this is coming from.</scene_description> <character>CELIA</character> <dialogue>You talked to Gene.</dialogue> <parenthetical>(acidic)</parenthetical> <dialogue>How is he these days?</dialogue> <character>HENRY</character> <dialogue>Making a fortune with military contractors in Dallas.</dialogue> <character>CELIA</character> <dialogue>Good for him.</dialogue> <character>HENRY</character> <dialogue>So it seemed reasonable to you that this traitor would use an embassy phone to call the terrorists and blow Ahmed's cover?</dialogue> <character>CELIA</character> <dialogue>Intuition isn't always reasonable.</dialogue> <character>HENRY</character> <dialogue>Did you find anything?</dialogue> <scene_description>Beat on Celia.</scene_description> <character>CELIA</character> <dialogue>Well, you looked over those logs yourself. Didn't you?</dialogue> </scene> <scene> <stage_direction>INT. LONDON PUB - DAY (FLASHBACK)</stage_direction> <character>HENRY</character> <dialogue>Why was Celia looking at the phone logs?</dialogue> <character>BILL</character> <dialogue>I didn't know she was.</dialogue> <character>HENRY</character> <dialogue>That night, right after you left the office.</dialogue> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / BILL'S OFFICE - NIGHT (2012)</stage_direction> <scene_description>Celia's looking through the phone records, when her finger pauses on one number from "EXTENSION 4952" to a long number that begins: "+9821..." A "27 SECOND" call.</scene_description> <character>HENRY (V.O.)</character> <dialogue>What do you think she found?</dialogue> <character>BILL (V.O.)</character> <dialogue>Why don't you tell me, Henry.</dialogue> <character>HENRY (V.O.)</character> <dialogue>What would she do if she discovered the boss she adored had placed some questionable calls from his phone? Calls to Iran.</dialogue> <character>BILL (V.O.)</character> <dialogue>What?!</dialogue> <scene_description>She frowns, then looks at Bill's phone. The extension is listed below the keypad: "4952."</scene_description> <character>HENRY (V.O.)</character> <dialogue>You see, Bill, I went through the logs myself, a week ago. There was a direct call, from your line, to a number in Tehran. Half a minute long, nine oh-three P.M.</dialogue> <scene_description>Now Celia is really scared. She stands BOLT UPRIGHT. Then sits. CONTINUED:</scene_description> <character>HENRY (V.O.)</character> <dialogue>It boggles the mind that someone so immersed in clandestine affairs would make that call from his own office phone. You said it yourself, though -- stupidity runs international relations as much as anything else.</dialogue> <scene_description>Celia steadies her breaths. Writes the phone number on a slip of paper, pockets it. Gets up again, and leaves.</scene_description> </scene> <scene> <stage_direction>INT. LONDON PUB - DAY</stage_direction> <scene_description>Bill lays his trembling hands on the tabletop. CONTINUED:</scene_description> <character>BILL</character> <dialogue>What are you saying? Christ, Henry. Are you looking for a scapegoat? Anyone could have used my phone. You, Celia, Vick, Owen, Leila, Ernst...Are you interrogating Ernst? You should. He's the one who kept walking off to call his Austrians.</dialogue> <character>HENRY</character> <dialogue>Let's not play the name game, Bill. We don't do that. We look at the evidence. We follow the facts...Only two people had access to your office, so don't fuck around with me...This whole life you've built for yourself -- your cute Hampstead house and pubs and dinner clubs -- it can disppear like that.</dialogue> <scene_description>Henry SNAPS his fingers. Bill FLINCHES.</scene_description> <character>HENRY</character> <dialogue>Now talk to me about Celia.</dialogue> <scene_description>Bill, wet-eyed, is desperate.</scene_description> </scene> <scene> <stage_direction>85A INT. FLIGHT 127 85A\*</stage_direction> <scene_description>Seen through Suleiman's Camera (Beslan is holding it). \* Sleiman's got a good grip on Ahmed's shirt, while \* pointing his pistol right into the side of Ahmed's face. \* There's a bruise on Ahmed's right cheekbone from where he \* has probably been pistol whipped. \* Suleiman talks directly to the camera. \*</scene_description> <character>SULEIMAN \*</character> <dialogue>You have not listened to our \* demands. Instead you went behind \* our backs and put a spy on our \* plane. \*</dialogue> <scene_description>There's a long beat. Ahmed looks down. He has no hope \* left. Knows these people only too well. \* Then Suleiman continues. \* 85A CONTINUED: 85A</scene_description> <character>SULEIMAN \*</character> <dialogue>Now this man will die for what you \* have done. This will be our last \* warning. Allahu Akbar. \*</dialogue> <scene_description>The camera gets unsteady as Beslan reaches out to open \* the plane door. \* When he points the camera back up, we see that Suleiman \* has marched Ahmed into the latch pointing his gun to the \* back of his head. \* Then he shoots, and Ahmed drops from the plane like a \* rag. Suleiman shouts out the door 'Take away your spy'. \*</scene_description> </scene> <scene> <stage_direction>EXT. VIENNA STREET 3 - MOMENTS LATER</stage_direction> <scene_description>Under a cold drizzle, Celia walks down a dark sidewalk, looks over her shoulder. She finds a quiet alley and takes out a BURNER PHONE, types in the number from the note and waits. The CLICKING of the connection being made; TWO RINGS. CLICK as someone answers.</scene_description> <character>RUSSIAN VOICE (V.O.)</character> <parenthetical>(in Russian)</parenthetical> <dialogue>Who is it?</dialogue> <scene_description>CONTINUED: ON CELIA'S FACE: What to do?</scene_description> <character>RUSSIAN VOICE (V.O.)</character> <parenthetical>(in Russian)</parenthetical> <dialogue>Who is speaking?</dialogue> <scene_description>Silence. The phone goes DEAD. She hangs up, a horror growing in her...</scene_description> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / CIA STATION - NIGHT (2012)</stage_direction> <scene_description>The elevator doors OPEN, and Celia walks in, stunned by the call she just made. Her hair's damp. Gene Wilcox looks at her over the rim of his computer.</scene_description> <character>GENE</character> <dialogue>Did you see it?</dialogue> <character>CELIA</character> <dialogue>See what?</dialogue> <scene_description>He motions her over with a concerned look and shows her his computer. It's a video from ORF, the German news channel. Flight 127 sitting on the runway lit up by spotlights.</scene_description> <character>GENE</character> <dialogue>They killed a passenger.</dialogue> <scene_description>In the side of the plane we SEE movement: a dark hole appears. The hatch opens. A FIGURE, hazy and unclear, but male, is PUSHED INTO the open doorway by one of the terrorists. He stands there, terrified, then POP! He's shot in the back of the head. His body tumbles out. The CAMERA JERKS DOWN to find the corpse crumpled on the tarmac. Then it MOVES UP to where Suleiman stands shouting out at the camera.</scene_description> <character>SULEIMAN</character> <dialogue>TAKE AWAY YOUR SPY!</dialogue> <scene_description>He PULLS the hatch SHUT. ON CELIA: She's about to BREAK.</scene_description> </scene> <scene> <stage_direction>INT. VIN DE VIE - NIGHT (PRESENT)</stage_direction> <scene_description>Henry and Celia locked into the memory of Ahmed's death. Henry takes a sip of his wine. Celia looks at him with a sad expression, while A NEW WAITER, dressed in black, arrives with two bottles of wine -- a young man with hipster sideburns named FREDDY (Eagle-eyed viewers may recognise him from outside the UPS STORE.) As he refills their glasses... CONTINUED:</scene_description> <character>HENRY</character> <dialogue>Is the waitress alright?</dialogue> <character>FREDDY</character> <dialogue>Sir?</dialogue> <character>HENRY</character> <dialogue>She seemed...I don't know. Distraught.</dialogue> <character>FREDDY</character> <dialogue>Oh, she's fine. Actually...</dialogue> <parenthetical>(lowers voice)</parenthetical> <dialogue>...she's two months pregnant. Morning sickness all day long. She's heading home early. But I'll take care of you from here.</dialogue> <character>HENRY</character> <dialogue>Wish her well, then.</dialogue> <character>FREDDY</character> <dialogue>I'll do that.</dialogue> <scene_description>Freddy withdraws, and Henry and Celia watch each other in silence a moment.</scene_description> <character>CELIA</character> <dialogue>Why don't you pin it on Owen Lassiter?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>He killed himself, after all. Three months later. No one ever explained it, not really.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>CELIA</character> <dialogue>There was a love affair gone bad, but it went bad after One-twenty- seven.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Guilt destroys his relationship, then guilt and loneliness destroy him. It's a perfect little narrative, and he's not around to defend himself.</dialogue> <scene_description>Henry nods -- this isn't a new idea.</scene_description> <character>HENRY</character> <dialogue>His uncle sits on the Homeland Security and Governmental Affairs Committee. I'll need more than a perfect little narrative to make that stick.</dialogue> <character>CELIA</character> <dialogue>How about Ernst?</dialogue> <character>HENRY</character> <parenthetical>(re:Deputy Director for Operations)</parenthetical> <dialogue>Ernst is advising the DDO. Beyond my reach.</dialogue> <scene_description>Celia smiles a small, sad smile.</scene_description> <character>CELIA</character> <dialogue>There's an easier patsy.</dialogue> <scene_description>They share a look.</scene_description> <character>CELIA</character> <dialogue>She was a regular at the mosque.</dialogue> <scene_description>Henry smirks.</scene_description> <character>HENRY</character> <dialogue>Leila's a White House liaison -- harder to get at than Ernst.</dialogue> <character>CELIA</character> <dialogue>She cried so much at the end. Remember? I think it was harder on her than anyone else.</dialogue> <scene_description>Both reflect on Leila's tears a moment -</scene_description> <character>CELIA</character> <dialogue>And you?</dialogue> <parenthetical>(off Henry)</parenthetical> <scene_description>CONTINUED: (3)</scene_description> <character>CELIA</character> <dialogue>You're as much a suspect as anyone.</dialogue> <character>HENRY</character> <dialogue>Vick cleared me.</dialogue> <character>CELIA</character> <dialogue>Really? How?</dialogue> <scene_description>Henry sighs.</scene_description> <character>HENRY</character> <dialogue>Look. I don't want to do this any more than you do.</dialogue> <character>CELIA</character> <parenthetical>(coolly)</parenthetical> <dialogue>But it's your job.</dialogue> <scene_description>He almost nods, but doesn't. Celia looks at him a beat. CONTINUED: (4)</scene_description> <character>CELIA</character> <dialogue>It's the things we don't know that get to me -- and what happened inside that plane. I can't let it go.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What would I have done if I'd been one of the passengers? Would I have fought back? With Ginny and Evan, the nightmares have become unbearable.</dialogue> </scene> <scene> <stage_direction>DREAM - INT. FLIGHT 127 - DAY</stage_direction> <scene_description>In the corridor of the full airplane, SULEIMAN WAHED, the hijacker, walks past the camera to REVEAL Celia in her seat with Evan and Ginny. They're in shock -- looking at - - -- TURKISH ALLIANCE STEWARDESS, just shot by Suleiman, dying quickly in the corridor. Suleiman crouches beside her.</scene_description> <character>CELIA (V.O.)</character> <dialogue>In my dream I'm paralyzed...</dialogue> <scene_description>Hijacker BESLAN ABDULAYEV (Chechen), rangy and wild, appears by Celia, pointing a gun at her, demanding the children. CONTINUED:</scene_description> <character>CELIA (V.O.)</character> <dialogue>...I sit there. I grasp at the hope that if I do what they say everything will turn out all right...</dialogue> <scene_description>Ginny's RIGID with fear. Evan shakes his head no. Celia nods at Abdulayev. She unbuckles their belts. She tells Ginny and Evan to go with him. Abdulayev leans down to grab Ginny. She's crying as he pulls her into the aisle. Celia, eyes wet, looks at Evan - - somberly, he follows Ginny.</scene_description> <character>CELIA (V.O.)</character> <dialogue>I'm too scared to do anything... I just cling on to that hope...</dialogue> <scene_description>The kids stand in the aisle, their backs to Celia. Behind them, Abdulayev looks back at Celia, smiling, raising his pistol to the backs of their heads. No! She tries to launch at him, but -- ANGLE ON: Her seatbelt -- she's trying to undo it, to get out, to reach them. But there's no buckle to unlatch.</scene_description> </scene> <scene> <stage_direction>INT. VIN DE VIE - NIGHT</stage_direction> <character>CLOSE ON CELIA.</character> <dialogue>CELIA</dialogue> <scene_description>I never save them. Henry looks at her. He nods. His eyes are WET. She looks small and deflated.</scene_description> <character>HENRY</character> <dialogue>One thing I still can't figure out about that night.</dialogue> <character>CELIA</character> <dialogue>Yeah?</dialogue> <character>HENRY</character> <dialogue>We're at the station. We're gonna move in together. You look into phone records, Ahmed dies... Then you come home to me. I hope you remember that.</dialogue> </scene> <scene> <stage_direction>EXT. VIENNA STREET - MOMENTS LATER</stage_direction> <scene_description>Celia, frantic and anxious, is hurrying down the dark street. Really freaked out.</scene_description> <character>SOUND: PHONE RINGING. CLICK.</character> <dialogue>HENRY (V.O.)</dialogue> <scene_description>Hey. You okay?</scene_description> <character>CELIA</character> <parenthetical>(tight)</parenthetical> <dialogue>Where are you?</dialogue> <character>HENRY (V.O.)</character> <dialogue>Home. Changing.</dialogue> </scene> <scene> <stage_direction>EXT. HENRY'S APARTMENT - MOMENTS LATER</stage_direction> <scene_description>She heads inside.</scene_description> <character>CELIA</character> <dialogue>Wait for me.</dialogue> </scene> <scene> <stage_direction>INT. HENRY'S APARTMENT, VIENNA - MOMENTS LATER</stage_direction> <scene_description>Henry opens his apartment door, and Celia RUSHES IN. She closes the door behind her, stands there for a long moment, tears in her eyes, frozen in her tracks.</scene_description> <character>HENRY</character> <parenthetical>(confused)</parenthetical> <dialogue>What is it?</dialogue> <scene_description>She can't say it, any of it. He takes her head in his hands, looks in her eyes, questioning. But she can't take gentleness now, and she attacks him, trying to consume him with her kiss, to be consumed. They stumble deeper into his bachelor pad, pulling at each other's clothes, passion growing, desperately kissing as if they can't get enough.</scene_description> </scene> <scene> <stage_direction>INT. HENRY'S APARTMENT, VIENNA - MOMENTS LATER</stage_direction> <scene_description>They're in bed, naked, fucking. CONTINUED: Celia's out of it, hardly there, trying to screw the suspicion out of her head: Her boss's phone was used to call a terrorist, and maybe by calling the same number herself she got Ahmed killed. (NOTE: We pick up Scene 21 here.) CLOSER, we SEE that she's crying. Henry sees this too, and begins to pull away, but she pulls him in again. He cradles her as they're making love.</scene_description> <character>HENRY (V.O.)</character> <dialogue>The next morning you left me.</dialogue> </scene> <scene> <stage_direction>INT. VIN DE VIE - NIGHT (PRESENT)</stage_direction> <scene_description>Henry looks at Celia. She's saddened by the memory.</scene_description> <character>CELIA</character> <dialogue>I got scared.</dialogue> <scene_description>Henry takes her in. This woman he's dreamed about ever since she walked out of his life.</scene_description> <character>HENRY</character> <dialogue>I was scared too.</dialogue> <scene_description>He waits, looking for a reflection of his feelings...but finds only sadness in her.</scene_description> <character>HENRY</character> <dialogue>We were real, weren't we?</dialogue> <character>CELIA</character> <dialogue>I thought so.</dialogue> <character>HENRY</character> <dialogue>Why did you run?</dialogue> <scene_description>She looks at him. A deep sadness in her eyes.</scene_description> <character>CELIA</character> <dialogue>I think I preferred this being an interrogation.</dialogue> <scene_description>Henry can't hide his disappointment. Celia shakes her head slowly. CONTINUED:</scene_description> <character>CELIA</character> <dialogue>What have you been doing Henry, for these past eight years, while the rest of us have been trying to go on living our lives?</dialogue> <scene_description>Henry withdraws in his seat, feeling her rejection.</scene_description> <character>HENRY</character> <dialogue>Well you've convinced me.</dialogue> <character>CELIA</character> <dialogue>About what?</dialogue> <character>HENRY</character> <dialogue>That you are very convincing.</dialogue> <scene_description>Henry starts rubbing his temples. He let's out a small COUGH. He is not feeling well. Too distraught by the whole thing. He needs a break. It's not heading in the direction he'd hoped.</scene_description> <character>CELIA</character> <dialogue>Are you all right?</dialogue> <scene_description>He gets up, maybe a little too fast. Swoons. Pats the air with his hand.</scene_description> <character>HENRY</character> <dialogue>Okay. Be right back.</dialogue> <scene_description>He heads to the bathroom. Celia watches him go.</scene_description> </scene> <scene> <stage_direction>INT. VIN DE VIE / BATHROOM - MOMENTS LATER</stage_direction> <scene_description>At the sink, Henry SPLASHES water on his burning face. He is not feeling well.</scene_description> <character>MAN (V.O.)</character> <dialogue>You all right?</dialogue> <scene_description>It's the Man, coming in to relieve himself. Henry doesn't answer him. CONTINUED: As the Man pees, Henry turns off the water and reaches for a towel.</scene_description> <character>MAN</character> <dialogue>Everything going to plan, Piccolo?</dialogue> <scene_description>Henry looks at Man shaking himself off at the urinal.</scene_description> <character>HENRY</character> <dialogue>Treble?</dialogue> <scene_description>He smiles, nodding. FLUSHES and joins Henry at the sinks.</scene_description> <character>HENRY</character> <dialogue>What are you doing here?</dialogue> <character>MAN / TREBLE</character> <dialogue>Scouting the territory.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Oh! You mean, how did I know who you were? Vienna. You look older up close.</dialogue> <character>HENRY</character> <dialogue>I didn't expect to run into you.</dialogue> <character>MAN / TREBLE</character> <dialogue>They nearly didn't let me in. Guess I'm not dressed well enough. I almost had to make a scene.</dialogue> <scene_description>Henry looks over at Treble's wrinkled suit. Treble shuts off the faucet.</scene_description> <character>TREBLE</character> <dialogue>So?</dialogue> <parenthetical>(off Henry)</parenthetical> <dialogue>We still on?</dialogue> <character>HENRY</character> <dialogue>I don't know.</dialogue> <character>TREBLE</character> <dialogue>I'll clear it with you beforehand. All you have to do is say yes or no.</dialogue> <scene_description>Treble claps a hand on Henry's shoulder, leaving him with a WET HANDPRINT.</scene_description> </scene> <scene> <stage_direction>INT. VIN DE VIE - MOMENTS LATER</stage_direction> <scene_description>Henry joins Celia as she hangs up her cell phone. The plates from the main course have been cleared out while he was in the bathroom.</scene_description> <character>CELIA</character> <parenthetical>(pointing)</parenthetical> <dialogue>You take a shower?</dialogue> <scene_description>Henry brushes at the spot on his shoulder, realizing it's Treble's handprint.</scene_description> <character>HENRY</character> <dialogue>Threw a towel over my shoulder.</dialogue> <scene_description>He SEES Treble at his table, pulling on his jacket, leaving the restaurant.</scene_description> <character>HENRY</character> <parenthetical>(re: phone)</parenthetical> <dialogue>Was that Drew?</dialogue> <character>CELIA</character> <dialogue>The kids are still up.</dialogue> <scene_description>Henry's had enough of her children. But he pushes the feeling down.</scene_description> <character>HENRY</character> <dialogue>Tell me about the investigators from counter espionage.</dialogue> <scene_description>She looks at him, as if searching for something. Then:</scene_description> <character>CELIA</character> <dialogue>They were dicks.</dialogue> <character>HENRY</character> <dialogue>What did they say about the phone logs?</dialogue> <character>CELIA</character> <dialogue>They didn't say anything.</dialogue> <character>HENRY</character> <dialogue>When you told them about the logs, I mean.</dialogue> <character>CELIA</character> <dialogue>I didn't tell them about the logs.</dialogue> <scene_description>Henry is stopped in his tracks. CONTINUED:</scene_description> <character>HENRY</character> <dialogue>You suspected Ahmed had been betrayed. You found a suspicious phone call. Why didn't you tell Headquarters?</dialogue> <scene_description>Celia looks at him defiantly.</scene_description> <character>CELIA</character> <dialogue>Do you really have to ask that question?</dialogue> <character>HENRY</character> <dialogue>Yes I do.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Two people had access to Bill's phone.</dialogue> <scene_description>A long pause between them. This feels like a stand-off. A moment of truth.</scene_description> <character>CELIA</character> <dialogue>You know what I thought when I found it in the logs? I thought Bill had been selling us out. I didn't understand why, or how he'd ended up roped into this mess. Then Ahmed was killed and I ran -- straight to you.</dialogue> <scene_description>She holds his eyes. A deep defiant, sadness in her look.</scene_description> <character>CELIA</character> <dialogue>We both know that Bill didn't make that call.</dialogue> <character>HENRY</character> <dialogue>So if Bill didn't do it, what then?</dialogue> <character>CELIA</character> <dialogue>All this diversion, do you really think it makes a difference?</dialogue> </scene> <scene> <stage_direction>INT. HENRY'S APARTMENT, VIENNA - NIGHT (2012)</stage_direction> <scene_description>Celia and Henry are intertwined, naked, exhausted from their long bout of intense sex. He kisses her forehead, strokes her hair. They're staring at the ceiling, and Henry's thinking happily about their future together.</scene_description> <character>CELIA</character> <dialogue>They killed Ahmed.</dialogue> <scene_description>Henry sits up.</scene_description> <character>HENRY</character> <dialogue>What?</dialogue> <character>CELIA</character> <dialogue>They shot him in the head.</dialogue> <scene_description>He's shocked, holding something back.</scene_description> <character>HENRY</character> <dialogue>Shit.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Shit.</dialogue> <scene_description>ON HENRY'S FACE: Hard, impenetrable. Celia wants to say more -- about Bill -- but Henry's already getting up, naked, and heading toward the bathroom. She watches him go, then wraps a shirt around herself. FOLLOW CELIA to the kitchenette, where she drinks a glass of water. We HEAR THE SHOWER RUNNING.</scene_description> <character>CELL PHONE HUM</character> <dialogue>She turns, frowning, to look at the rack by the front door, full of coats.</dialogue> <scene_description>CONTINUED: She goes to the coats and finds in one of them an older phone (which we recognize -- it's in his pocket in the Vin de Vie) that QUITS RINGING as soon as she pulls it out. But for a couple seconds the display remains lit. It says:</scene_description> <character>"MISSED CALL / +9821..."</character> <dialogue>She puts it back and turns away.</dialogue> <dialogue>Celia HALTS, frowning.</dialogue> <dialogue>Turns back, takes out the phone and looks at the number again: "+9821"</dialogue> <dialogue>The SHOWER SOUNDS STOP.</dialogue> <dialogue>She thrusts the phone back into his coat and hurries back to the bedroom, starts picking up her clothes.CONFUSION IN HER FACE.</dialogue> <dialogue>Henry exits the bathroom in a towel, damp. He notices her standing stiffly by the bed.</dialogue> <character>HENRY</character> <dialogue>You okay?</dialogue> <scene_description>She looks at him, speechless. He comes over.</scene_description> <character>HENRY</character> <parenthetical>(quietly)</parenthetical> <dialogue>There's a clock on this, right? It's going to end. We just do the best we can.</dialogue> </scene> <scene> <stage_direction>INT. HENRY'S APARTMENT, VIENNA - MOMENTS LATER</stage_direction> <scene_description>Fully dressed, Henry takes Celia's hand and puts a set of keys in it. Closes her fingers over them.</scene_description> <character>HENRY</character> <dialogue>I'll meet you at the station.</dialogue> <scene_description>CONTINUED: Half-dressed, Celia pushes the door closed as Henry, wearing his coat now, exits. She locks the door, holds her breath until she hears him descend the stairs. Her hand starts to shake. CONTINUED: (2) Then she runs to the bathroom and throws up.</scene_description> <character>CELIA (V.O.)</character> <dialogue>You were the only one who knew Ilyas from before....</dialogue> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / SCIF - EVENING (2012)</stage_direction> <scene_description>(NOTE: Taken from Scene 72) Vick talks to Ernst, Bill, Owen, Leila, Celia. Henry's leaning against the wall...</scene_description> <character>CELIA (V.O.)</character> <dialogue>...The only one with a connection.</dialogue> <scene_description>Henry crosses to the door and exits. Celia watches him go, then turns back to the others. This time we notice her subtle ponder...</scene_description> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / BILL'S OFFICE - CONTINUOUS</stage_direction> <scene_description>Bill's phone on his desk. The office is empty. Through the windows we see the station's half-empty. Henry approaches, checks that no one sees him. He swiftly enters and sits at Bill's desk. Looks around to be sure no one's watching.</scene_description> <character>CELIA (V.O.)</character> <dialogue>You knew this left you vulnerable, so you planted disinformation in case someone investigated.</dialogue> <scene_description>Henry picks up Bill's phone.</scene_description> </scene> <scene> <stage_direction>INT. HENRY'S APARTMENT, VIENNA - DAWN (2012)</stage_direction> <scene_description>Quick CUTS: - Celia taking her toothbrush; - Emptying drawers of her spare clothes; - Stuffing things into her purse; - Rushing out.</scene_description> </scene> <scene> <stage_direction>INT. VIN DE VIE - NIGHT (PRESENT)</stage_direction> <scene_description>Henry STARES, hollow-eyed.</scene_description> <character>CELIA</character> <dialogue>I saw the number on your phone! The last morning when you were in the shower.</dialogue> <scene_description>Celia's eyes are tearing up. She grabs Henry's hands.</scene_description> <character>CELIA</character> <dialogue>A hundred and twenty people...children.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You had no right.</dialogue> <scene_description>Henry looks at her for a long moment. It's as if the weight of the whole world has fallen on him.</scene_description> <character>CELIA</character> <dialogue>The fucking lies...even between lovers.</dialogue> <scene_description>The tears are now streaking down Celia's cheeks. CONTINUED: CONTINUED: (2)</scene_description> <character>BILL (V.O.)</character> <dialogue>I'm calling to warn you.</dialogue> </scene> <scene> <stage_direction>INT. CELIA'S HOUSE / KITCHEN - EARLY MORNING</stage_direction> <scene_description>(NOTE: Continuation of Scene 31/32.) Celia's in the kitchen, phone to her ear. Listening intently.</scene_description> <character>GINNY (V.O.)</character> <parenthetical>(crying)</parenthetical> <dialogue>Mommy!</dialogue> <scene_description>Instinctively, she HAULS ASS to Ginny's bedroom.</scene_description> <character>CELIA</character> <parenthetical>(into phone)</parenthetical> <dialogue>Thanks, Bill. I'll call you back, okay?</dialogue> <character>BILL (V.O.)</character> <dialogue>Okay, Cee --</dialogue> <scene_description>She hangs up and MOVES INTO...</scene_description> </scene> <scene> <stage_direction>INT. CELIA'S HOUSE / GINNY'S ROOM - CONTINUOUS</stage_direction> <scene_description>Ginny's standing, red-faced, in her PJs, crying in the crib. Full of anxiety, Celia scoops her up, checks her forehead for fever, then COOS. CONTINUED:</scene_description> <character>CELIA</character> <dialogue>Just a dream, baby.</dialogue> </scene> <scene> <stage_direction>INT. CELIA'S HOUSE / KITCHEN - LATER</stage_direction> <scene_description>Celia's scrambling eggs. Evan plays MINECRAFT on an iPad, while Ginny, in a high chair, works messily on toast. Drew walks in with the newspaper, shaking his head.</scene_description> <character>DREW</character> <dialogue>You seen this? Powell's running the Fed into the ground. I mean, how long can this nonsense go on?</dialogue> <scene_description>But Celia's not listening. She serves a plate of eggs to Evan, who doesn't look up from his game.</scene_description> <character>STACATTO PHONE VIBRATION...A MESSAGE.</character> <dialogue>As she returns to the stove, Celia takes her phone from her slacks and SEES an EMAIL FROM HENRY PELHAM. PIECES OF TEXT:</dialogue> <character>"...GOING TO BE IN YOUR NECK OF THE WOODS..."</character> <dialogue>"...LOVE TO BUY YOU DINNER..."</dialogue> <character>"...MUCH LOVE..."</character> <dialogue>ON CELIA: Head spinning.</dialogue> <character>DREW</character> <dialogue>What is it?</dialogue> <scene_description>She looks up, smiles.</scene_description> <character>CELIA</character> <dialogue>Ballet class is running late today.</dialogue> </scene> <scene> <stage_direction>INT. CARMEL ACADEMY OF PERFORMING ARTS - DAY</stage_direction> <scene_description>Evan, the sole boy in black leggings and a white shirt, dances with LITTLE BALLERINAS, all directed by a TEACHER. Celia watches, her mind racing. Then she walks off to a corridor and takes out her phone. Takes a business card from her bag -- it's the one Karl Stein gave her back in 2013, his name handwritten on it. She dials the number. Waits, then -- CONTINUED:</scene_description> <character>CELIA</character> <dialogue>Karl Stein?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Hi, this is Celia Favreau.</dialogue> <character>KARL (V.O.)</character> <dialogue>Celia. Cee to her friends. Still living in paradise?</dialogue> </scene> <scene> <stage_direction>EXT. CROSSROADS SHOPPING CENTER, CARMEL - DAY (PRESENT)</stage_direction> <scene_description>(NOTE: Continues scene 9) Outside the UPS Store, Celia's with KARL STEIN on a bench. They stare across the shopping center, not at each other. Celia sits somewhere between sadness and controlled fury. Nearby, FREDDY,checks his phone, but he keeps an eye on the parking lot, watching over everything.</scene_description> <character>KARL</character> <dialogue>We got the restaurant...a waitress and a bartender from D.C. -- A couple of guests too...</dialogue> <character>CELIA</character> <dialogue>I want to know how.</dialogue> <scene_description>Karl takes a long beat.</scene_description> <character>KARL</character> <dialogue>Freddy will put something in the wine... Don't touch his glass. (alt: Freddy will take care of it...stick to the white.)</dialogue> <scene_description>She looks out at some trees in the distance.</scene_description> <character>CELIA</character> <dialogue>I don't know if I can do this.</dialogue> <character>KARL</character> <dialogue>You came to us Celia. You knew what it meant...</dialogue> <scene_description>They go quiet as a PAIR OF LOVERS pass</scene_description> <character>KARL</character> <dialogue>Is there anything you haven't told us?</dialogue> <scene_description>CONTINUED:</scene_description> <character>CELIA</character> <dialogue>You still don't trust me.</dialogue> <character>KARL</character> <dialogue>Why didn't you say anything when I visited you before?</dialogue> <scene_description>Celia shakes her head slowly.</scene_description> <character>CELIA</character> <dialogue>I didn't have enough information back then.</dialogue> <scene_description>Karl nods.</scene_description> <character>CELIA</character> <dialogue>How will I know I'm out of this for good.</dialogue> <character>KARL</character> <dialogue>Two Independent sources, same story. Good enough for me.</dialogue> <character>CELIA</character> <dialogue>After this, I don't want to hear from you ever again.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>KARL</character> <dialogue>You have my word.</dialogue> <character>CELIA</character> <dialogue>You can keep your word. Just leave my family alone.</dialogue> <scene_description>Then she leaves.</scene_description> </scene> <scene> <stage_direction>INT. FLIGHT 127 - DAWN (2012)</stage_direction> <scene_description>Suleiman's PHONE CAMERA. We're in the cockpit, where TWO PILOTS, stripped to their undershirts, are gazing hollow- eyed out the window. We're a day into the hijacking. Slowly:</scene_description> <character>SULEIMAN (V.O.)</character> <dialogue>Now is the time we send our message.</dialogue> <scene_description>The CAMERA TURNS to Suleiman's face. He's hollow-eyed too, the day in that hot plane taking its toll on him as well.</scene_description> <character>SULEIMAN</character> <dialogue>We speak for all the victims around the world. We speak in the language of the powerless. Just as your missiles continue to strike our people...we will strike back.</dialogue> <scene_description>He LOOKS past the phone, out the cockpit windows, at the night. He's nervous and afraid, but resolved. We can SEE it in his vacant eyes. He's already dead.</scene_description> <character>SULEIMAN</character> <parenthetical>(quietly)</parenthetical> <dialogue>Allahu akbar.</dialogue> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / CIA STATION - DAWN</stage_direction> <scene_description>Celia, straight from fleeing Henry's with her stuffed purse, enters the embassy, which is busier now. Vick is in his office, talking on the phone. CONTINUED: Ernst is yawning in his office. CONTINUED: (2) Gene's at his terminal. Bill's not around. Leila, glancing at Celia, heads to Gene's desk. Celia finds Owen in the break room with a coffee and a sweet bun. She goes to pour coffee.</scene_description> <character>CELIA</character> <dialogue>Anything?</dialogue> <character>OWEN</character> <dialogue>The attack's off. The Austrians got scared when Ahmed was killed.</dialogue> <character>CELIA</character> <dialogue>Are they going to give in?</dialogue> <character>OWEN</character> <dialogue>Merkel flew her prisoners here, so now they're collected. Some prison outside town.</dialogue> <parenthetical>(but)</parenthetical> <dialogue>They're just buying time.</dialogue> <scene_description>LONG BEAT on Celia. She could say something right now. Both LOOK UP at SOUNDS from the main room. They get up.</scene_description> <character>LEILA (V.O.)</character> <dialogue>Ask them! Don't go on hearsay!</dialogue> <scene_description>Leila's leaning over Gene, shouting. He lifts his phone.</scene_description> <character>LEILA</character> <dialogue>Ask them if it's true!</dialogue> <scene_description>Owen's intercepted by a young CODE-BREAKER, and they whisper to each other and head off. Celia goes to Leila.</scene_description> <character>CELIA</character> <dialogue>What's going on?</dialogue> <scene_description>Leila ignores her -- no time to explain...</scene_description> <character>LEILA</character> <parenthetical>(to Gene)</parenthetical> <dialogue>Follow up with Headquarters! Now!</dialogue> <scene_description>CONTINUED: (3) Celia hurries to Vick's office. Leila fighting to hold back her frustration in the background. FUCK!:</scene_description> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / VICK'S OFFICE - CONTINUOUS</stage_direction> <scene_description>Ernst, pacing, talking loudly to Vick, who's leaning back at his desk.</scene_description> <character>ERNST</character> <dialogue>I told you. I told you all that this --</dialogue> <scene_description>He stops, noticing Celia.</scene_description> <character>VICK</character> <dialogue>The Austrians think they're dead.</dialogue> <parenthetical>(off Celia)</parenthetical> <dialogue>Everyone. The passengers, the hijackers. The crew. Everyone.</dialogue> <scene_description>She looks to the TV on the wall, but it's regular news.</scene_description> <character>CELIA</character> <dialogue>How do they know?</dialogue> <character>VICK</character> <dialogue>They don't know for sure. But about five minutes ago --</dialogue> <character>ERNST</character> <dialogue>Ten.</dialogue> <character>VICK</character> <dialogue>Ten. They started up the engine. The Austrians got a message. "Al- Da'irat does not negotiate."</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Engine's still running. They've got high-res cameras focused on the cockpit. The pilots died. Both of them, sitting right in their seats.</dialogue> <character>CELIA</character> <dialogue>Shot?</dialogue> <scene_description>Vick shakes his head.</scene_description> <character>VICK</character> <dialogue>We believe they suffocated.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ERNST</character> <parenthetical>(impatient)</parenthetical> <dialogue>Sarin. It's sarin gas! They need to bring in doses of atropine and pralidoxime. Now!</dialogue> <character>VICK</character> <dialogue>We can't go in if we don't know.</dialogue> <character>ERNST</character> <dialogue>We can't just let them die!</dialogue> <scene_description>In that same moment, Leila comes in, pale face. Behind her the whole office has gone deadly silent. A video from inside the plane playing on a terminal.(NOTE: this is Suleiman's recordings that we have seen in glimpses throughout the film.)</scene_description> <character>LEILA</character> <dialogue>They posted a video from inside the plane.</dialogue> <scene_description>Beyond Leila and Gene, Henry rushes into the station -- halts when he sees everyone's faces. Celia and Henry meet eyes.</scene_description> <character>CELIA (V.O.)</character> <parenthetical>(quietly now)</parenthetical> <dialogue>When they were all killed...I didn't know what to do.</dialogue> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA / VICK'S OFFICE - MORNING</stage_direction> <scene_description>(NOTE: Replay of part of scene 3) The whole crew is watching Suleiman's video -- all dejected -- they've failed.</scene_description> <character>CELIA (V.O.)</character> <dialogue>Maybe you were innocent.</dialogue> <scene_description>Focus on Celia, transfixed painfully by the video. Henry, in BG, is looking intently at her but she's not going to turn to him.</scene_description> <character>CELIA (V.O.)</character> <dialogue>Maybe that phone number wasn't connected to Ilyas. I can't say I believed this, but I wanted to.</dialogue> <scene_description>CONTINUED:</scene_description> <character>CELIA (V.O.)</character> <dialogue>I loved you... So I buried everything.</dialogue> <scene_description>Then she leaves the room without a word.</scene_description> </scene> <scene> <stage_direction>INT. VIN DE VIE - NIGHT (PRESENT)</stage_direction> <character>CLOSE ON CELIA.</character> <dialogue>CELIA</dialogue> <scene_description>Then eight years later, you come after Bill...and me. (beat) Were you gonna tell them I did it? Or Bill? She looks at him for a long beat, both of them fighting back the tears. Henry looks really sick now.</scene_description> <character>CELIA</character> <dialogue>You'd destroy my life...our lives to save your own. After everything... who are you?</dialogue> <character>HENRY</character> <dialogue>You know who I am Cee...</dialogue> <character>CELIA</character> <dialogue>I just don't understand why?</dialogue> <scene_description>Then finally --</scene_description> <character>HENRY</character> <dialogue>Because I love you. I have always loved you. I did it for you.</dialogue> <scene_description>Celia can't process his words. CONTINUED:</scene_description> <character>CELIA</character> <dialogue>I don't understand what you're saying.</dialogue> <scene_description>ON HENRY: A deep sadness etched into his face.</scene_description> <character>CELIA (V.O.)</character> <dialogue>You're almost out of coffee.</dialogue> </scene> <scene> <stage_direction>INT. HENRY'S APARTMENT, VIENNA - MORNING (2012)</stage_direction> <scene_description>(NOTE: This is repeated from scene 24.) Celia and Henry are sitting in bed, both with cups of coffee. Henry sips, then grimaces.</scene_description> <character>HENRY</character> <dialogue>This isn't your soy milk, is it? Tastes funny.</dialogue> <character>CELIA</character> <dialogue>Arsenic.</dialogue> <parenthetical>(winks)</parenthetical> <dialogue>Busy today?</dialogue> <character>HENRY</character> <dialogue>Vick's got me looking into money- laundering stuff.</dialogue> <character>CELIA</character> <parenthetical>(snore)</parenthetical> <dialogue>Bankers.</dialogue> <character>HENRY</character> <parenthetical>(smile)</parenthetical> <dialogue>Yeah. Right?</dialogue> <character>CELIA</character> <dialogue>Breakfast?</dialogue> <character>HENRY</character> <dialogue>I wish. Bankers get up early.</dialogue> <scene_description>Celia gets up.</scene_description> <character>CELIA</character> <dialogue>Which means I have to go, too.</dialogue> <scene_description>CONTINUED: She walks off, and he watches her disappear into the bathroom. He's HYPNOTIZED by the sight of her.</scene_description> </scene> <scene> <stage_direction>I/E. HENRY'S CAR, PARKING BASEMENT - MOMENTS LATER</stage_direction> <scene_description>NOTE: This is a repetition of sc.55 Henry's sitting in his car, and in the passenger seat we see Tahar.</scene_description> <character>HENRY</character> <parenthetical>(Austrian German)</parenthetical> <dialogue>Is there anyone else I can talk to?</dialogue> <scene_description>She shakes her head. Henry sighs. Tahar gets out of the car --</scene_description> <character>TAHAR (V.O.)</character> <parenthetical>(Austrian German)</parenthetical> <dialogue>I'm sorry.</dialogue> <scene_description>-- and as Henry starts the car he gets a text. Looks down, frowns.</scene_description> <character>ANGLE ON MESSAGE: "SCHLOSS SCHÖNBRUNN - GLORIETTE -</character> <dialogue>17.00" He has no idea who sent it.</dialogue> </scene> <scene> <stage_direction>EXT. SCHÖNBRUNN PALACE GARDEN, VIENNA - AFTERNOON</stage_direction> <scene_description>Henry walks through the big empty park. A lonely figure between the well-kept trees. He checks his watch and continues to the Gloriette café off to the side of the park. It's closed, but to his surprise he finds it's unlocked and enters.</scene_description> </scene> <scene> <stage_direction>INT. GLORIETTE - CONTINUOUS</stage_direction> <scene_description>It's dark. During the season it's a busy cafe. Now, chairs are stacked in corners and the counter is empty. CONTINUED: There's a single table unfolded with two plastic chairs around it. On the table are two bottles of Coca-Cola. He frowns, then looks up at the SOUND OF FOOTSTEPS. CONTINUED: (2) From the gloom emerges ILYAS SHISHANI (40s), who we met briefly in his Moscow bakery in 2002. A decade older. Scarred face, a limp. Thinner, intense.</scene_description> <character>HENRY</character> <parenthetical>(Russian)</parenthetical> <dialogue>Ilyas?</dialogue> <character>ILYAS</character> <parenthetical>(Russian)</parenthetical> <dialogue>Henry. It's been a long time.</dialogue> <character>HENRY</character> <parenthetical>(Russian)</parenthetical> <dialogue>What are you doing here?</dialogue> <scene_description>Smiling, Ilyas approaches, hand out to shake. They do so, then Ilyas embraces Henry and kisses his cheeks. Henry's stunned.</scene_description> <character>ILYAS</character> <parenthetical>(Russian)</parenthetical> <dialogue>Come.</dialogue> <scene_description>Ilyas takes him to the table, sits him down in front of a Coke. Henry's unsure, scared, but he goes along with it.</scene_description> <character>ILYAS</character> <dialogue>You still drink this?</dialogue> <scene_description>Politely, Henry opens the bottle. HISS.</scene_description> <character>HENRY</character> <parenthetical>(Russian)</parenthetical> <dialogue>Are you behind it? The hijacking?</dialogue> <character>ILYAS</character> <dialogue>You look so good, Henry. Imperial cities become you.</dialogue> <scene_description>Ilyas smiles toothily and takes out a package of Marlboro Reds. Offers one to Henry, who shakes his head. Ilyas lights one for himself.</scene_description> <character>ILYAS</character> <dialogue>Remember Moscow, Henry? You always spoke about trust. So much that I almost believed you.</dialogue> <scene_description>The guilt swells in Henry. CONTINUED: (3)</scene_description> <character>HENRY</character> <dialogue>I tried to protect you... After Nord-Ost I...</dialogue> <scene_description>CONTINUED: (4)</scene_description> <character>ILYAS</character> <parenthetical>(interrupts)</parenthetical> <dialogue>You gave my name to the Russians.... They broke down my door. Spetznaz. Tough men. For two months I didn't see the sun. I was tortured. My leg...</dialogue> <parenthetical>(taps his knee)</parenthetical> <dialogue>...broken and reset badly. They called me a terrorist. Timid Ilyas, who bakes bread and gives secrets to the Americans... Perhaps you told them I was one?</dialogue> <scene_description>Henry looks at him, the guilt silencing him. He has no excuses.</scene_description> <character>ILYAS</character> <dialogue>What do you think this did to my daughter? She saw her father beaten to a pulp. Taken away. She did not know if I was dead or alive...two months... And my wife? No... there was no choice for me...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We fled. To Iran. My daughter died there...only six... because they did not have the medicines. Why? American sanctions.</dialogue> <scene_description>Ilyas pulls himself together again, as the DING of a phone message sounds. Ilyas takes a phone out of his pocket, reads the message, and pockets it again.</scene_description> <character>ILYAS</character> <dialogue>Look at me, Henry.</dialogue> <scene_description>Henry does so.</scene_description> <character>ILYAS</character> <dialogue>You know me as Ilyas the baker. I am no longer that. I am more. I am part of a global network of the disenfranchised. We defend ourselves against attack every day. You understand? In Afghanistan, your drones turn weddings into bloodbaths. In Syria we are butchered by a man you helped build up. And in Moscow, our friends hand us to the Spetznaz. You see? This is our war on terror.</dialogue> <scene_description>CONTINUED: (5)</scene_description> <character>ILYAS</character> <dialogue>Our bodies, Henry, are the only weapons we have left. And we are everywhere.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Tell me: Do you think I am lying?</dialogue> <scene_description>Henry hesitates, paralyzed.</scene_description> <character>ILYAS</character> <dialogue>Now take out your phone and call your lover, Celia Harrison.</dialogue> <scene_description>CONTINUED: (6) Henry looks at Ilyas.</scene_description> <character>ILYAS (V.O.)</character> <dialogue>Do it.</dialogue> <scene_description>Slowly, Henry takes out his phone, eyes on Ilyas. Scrolls to her name and calls. Puts it to his ear.</scene_description> <character>RING...CLICK:</character> <dialogue>MOHAMMED (V.O.)</dialogue> <parenthetical>(in Russian)</parenthetical> <dialogue>Henry Pelham. She is with me. Listen.</dialogue> <scene_description>NOISE as the man drops the phone into his pocket and walks into the room with Celia. Ilyas looks calmly at Henry, who is glued to his phone as the reality of the situation becomes clear. An expression of horror grows. Ilyas nods slowly.</scene_description> <character>MOHAMMED (V.O.)</character> <dialogue>Celia Harrison. As-salmu alaykum.</dialogue> <character>CELIA (V.O.)</character> <dialogue>Who are you?</dialogue> <character>MOHAMMED (V.O.)</character> <parenthetical>(Pause)</parenthetical> <dialogue>Can I offer you some tea? A cigarette?</dialogue> <character>CELIA (V.O.)</character> <dialogue>I don't have time.</dialogue> <scene_description>Henry's panic grows, but Ilyas gestures for him to keep calm.</scene_description> <character>ILYAS</character> <dialogue>Calm down, Henry. I just want to be sure you'll answer my question.</dialogue> <character>CELIA (V.O.)</character> <dialogue>I was told you had information. About Flight one-twenty-seven.</dialogue> <character>ILYAS</character> <dialogue>You will tell me what the Americans and Austrians know. You will tell me what they're planning.</dialogue> <character>MOHAMMED (V.O.)</character> <dialogue>(Pause) What we need to settle first is the question of compensation.</dialogue> <scene_description>CLOSE ON HENRY'S FACE: He's lost. CONTINUED: (7)</scene_description> <character>ILYAS</character> <dialogue>We have her in a room, Henry. Show me with your information how much she is worth.</dialogue> <character>HENRY</character> <dialogue>Direct attack. Undercarriage. Let her go.</dialogue> <character>ILYAS</character> <dialogue>I know there's more Henry.</dialogue> <scene_description>ON HENRY'S FACE: Panic...a decision is near.</scene_description> </scene> <scene> <stage_direction>INT. VIN DE VIE - NIGHT</stage_direction> <scene_description>CLOSE ON CELIA. She's crying. Henry looks so weak now. He is feeling sick. A drop of BLOOD forms on the tip of his nose.</scene_description> <character>HENRY</character> <dialogue>I had to give him something... Ahmed's identity...I kept hoping they'd storm the plane...release the prisoners.</dialogue> <scene_description>The drop of blood hits the table and spreads like a red flower.</scene_description> <character>HENRY</character> <dialogue>I had to make a choice. I chose you.</dialogue> <scene_description>Now, another drop of blood falls from Henry's nose. He sees it. He wipes the blood from his nose and stares at his hand.</scene_description> </scene> <scene> <stage_direction>118A INT. GLORIETTE, NIGHT 118A</stage_direction> <scene_description>Ilyas turns to go as Henry sits back in his chair, defeated.</scene_description> <character>ILYAS</character> <dialogue>Life is precious, Henry.</dialogue> <scene_description>Ilyas leaves Henry alone with his guilt.</scene_description> </scene> <scene> <stage_direction>INT. US EMBASSY, VIENNA - EVENING (2012)</stage_direction> <scene_description>(NOTE: This repeats scene 64.) Celia arrives, stepping out of the elevator, still shaken by her experience with Mohammed Dudayev. She heads toward her desk, but before she reaches it she's blindsided by Henry. All decorum gone, he embraces her and kisses her fully on the lips. Passionate. Now we know why.</scene_description> <character>CELIA</character> <parenthetical>(Smiles, a little embarrassed)</parenthetical> <dialogue>Hello.</dialogue> <scene_description>CONTINUED: Henry's hand is in her hair. He looks closely, examining her for damage. Relief swells in him.</scene_description> <character>HENRY</character> <dialogue>I want to take you home. Can I take you home?</dialogue> </scene> <scene> <stage_direction>INT. VIN DE VIE - NIGHT (PRESENT)</stage_direction> <scene_description>Tears streak down Celia's cheeks. Outside, KARL approaches the restaurant's front door with a set of keys. He NOISILY UNLOCKS the door, but doesn't come in.</scene_description> <character>HENRY</character> <dialogue>Who is that?</dialogue> <character>CELIA</character> <dialogue>It doesn't matter.</dialogue> <scene_description>Henry has already put it together.</scene_description> <character>HENRY</character> <dialogue>Karl with a K.</dialogue> <scene_description>He looks down at the blood. Freddy stands near the entrance to the kitchen, observing them. Bartender and Waitress are long gone. Again, Henry looks over to Freddy by the kitchen door. Then he turns back to her, a smear of blood on his upper lip.</scene_description> <character>CELIA</character> <dialogue>Henry, listen to me. They'll say it was suicide.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You don't have much longer.</dialogue> <scene_description>Tears streak down Celia's cheeks. Henry's face is a mess of conflicting emotions. He drops back into his chair. Closes eyes. Opens them. Trying to focus. CONTINUED: She looks at him, covering her mouth with her hands, barely holding it together.</scene_description> <character>HENRY</character> <dialogue>Don't go.</dialogue> <scene_description>She reaches out to hold his hand. Shaking with tears.</scene_description> <character>CELIA</character> <dialogue>They already had your name, Henry. Ilyas told them. I was just confirmation.</dialogue> <scene_description>He lets out a shivering exhale. Shakes his head.</scene_description> <character>HENRY</character> <dialogue>I really thought I had a chance.</dialogue> <scene_description>He smiles an ironic smile to himself.</scene_description> <character>HENRY</character> <dialogue>That maybe we had a chance...</dialogue> <scene_description>Celia doesn't know what to do. She still holds onto him, tenderly. There's nothing she can say.</scene_description> <character>HENRY</character> <dialogue>All these years...Running toward you...I'm so tired.</dialogue> <scene_description>He looks around the dark restaurant, then again at her. A kind of peace has come upon him.</scene_description> <character>HENRY</character> <dialogue>It's okay.</dialogue> <scene_description>He looks at her with wet eyes. A long beat. Closes his eyes, opens them. Nods.</scene_description> <character>HENRY</character> <dialogue>It's okay. You should go.</dialogue> <scene_description>Celis is nailed to the chair, unable to move.</scene_description> <character>HENRY</character> <dialogue>You have to go now.</dialogue> <scene_description>Slowly she stands, steadying herself with a hand on the table. Then she turns and leaves.</scene_description> </scene> <scene> <stage_direction>EXT. VIN DE VIE - CONTINUOUS</stage_direction> <scene_description>As she gets out the door, she takes a couple steps until her legs start to give out. Steadying herself against the wall, she convulses. In the darkness we hear WAVES CRASH against the beach. She stands like that for a moment until she realizes Karl is standing next to her. He offers her a supporting arm, but she shies away.</scene_description> <character>CELIA</character> <dialogue>Don't touch me.</dialogue> <scene_description>CONTINUED: Karl, understanding, withdraws. Celia turns and walks away. In the background, through the windows of the restaurant, Henry is still sitting there.</scene_description> </scene> <scene> <stage_direction>INT. VIN DE VIE - NIGHT</stage_direction> <scene_description>Henry closes his red-veined eyes and opens them again. He tries to get Freddy in focus who, either sickened or bored, goes into the kitchen and leaves him to die. Henry TWITCHES -- a small spasm. With his bloodstained hand he places his secret phone on the table. It's STILL RECORDING. He WHEEZES as breathing becomes more difficult.</scene_description> <character>SOUND: PHONE VIBRATING.</character> <dialogue>He opens his eyes and sees the phone trembling on the tabletop. Picks it up. Puts it to his ear.</dialogue> <character>TREBLE (V.O.)</character> <dialogue>Piccolo?</dialogue> <character>HENRY</character> <parenthetical>(croaking)</parenthetical> <dialogue>Treble.</dialogue> <character>TREBLE (V.O.)</character> <parenthetical>(breathing hard)</parenthetical> <dialogue>I've got her. Right here in front of me.</dialogue> <scene_description>CLOSE ON HENRY: His face is very red now -- his blood pressure rising precipitously. A shiver goes through him. He doesn't have long.</scene_description> <character>TREBLE (V.O.)</character> <dialogue>It's up to you, Piccolo. I can do this clean. But it has to happen now.</dialogue> <scene_description>Henry takes a short WHEEZING breath. Christ, but he's weak.</scene_description> <character>TREBLE (V.O.)</character> <dialogue>Just say the word.</dialogue> <scene_description>Another breath. He needs the air just to stay conscious. He's summoning all his energy to put into this one word. CONTINUED:</scene_description> <character>TREBLE (V.O.)</character> <dialogue>Piccolo?</dialogue> <scene_description>Henry opens his mouth. He can hardly speak.</scene_description> </scene> <scene> <stage_direction>INT. HENRY'S APARTMENT, VIENNA - MORNING (2012)</stage_direction> <scene_description>(NOTE: References Scene 23) HENRY'S POV: Celia looking at him as he wakes up from a long dream.</scene_description> <character>CELIA</character> <dialogue>Hey.</dialogue> <scene_description>She leans in to give him a kiss.</scene_description> </scene> <scene> <stage_direction>EXT. CARMEL STREET - NIGHT</stage_direction> <scene_description>TREBLE'S WALKING POV: We watch Celia from behind as she walks the sidewalk toward home, slowly, crying quietly. Wild tree branches twist darkly overhead. The street is silent but for the CLICK of her heels and Treble's BREATHING.</scene_description> </scene> <scene> <stage_direction>EXT. VIN DE VIE - NIGHT</stage_direction> <scene_description>Karl, dead serious, looks through the window -- Henry's slumped in his chair, almost falling off. From the kitchen, Freddy enters the dining room, pulling on gloves. Karl puts out his cigarette against the wall, blows off the tip, and pockets the butt. He dials a number on his phone. Puts it to his ear.</scene_description> <character>KARL</character> <dialogue>It's done.</dialogue> </scene> <scene> <stage_direction>INT. HENRY'S APARTMENT, VIENNA - DAY (PRESENT)</stage_direction> <scene_description>Vick Wallinger, listening somberly to his phone, stands by Henry's window looking out over the city. Through the window, a cold white mist engulfs the rooftops.</scene_description> <character>VICK</character> <dialogue>Okay. Thanks.</dialogue> <scene_description>CONTINUED: He hangs up. Covers his mouth with his hand, holding back his emotion. Around him, MOVERS pack Henry's possessions into cardboard boxes.</scene_description> </scene> <scene> <stage_direction>INT. CELIA'S HOUSE / LIVING ROOM - NIGHT (PRESENT)</stage_direction> <scene_description>Drew's on the sofa, watching CNN. Report of an IED explosion in Afghanistan that killed three American soldiers. CLICK as the front door opens. He looks up. Celia walks in, at first surprised to see him, then she gets hold of herself. Shuts the door. Locks it.</scene_description> <character>CELIA</character> <parenthetical>(coming to him)</parenthetical> <dialogue>Still up?</dialogue> <character>DREW</character> <dialogue>When your wife goes to meet her old lover...</dialogue> <character>CELIA</character> <dialogue>Don't be ridiculous.</dialogue> <scene_description>She kisses him lightly on the lips.</scene_description> <character>DREW</character> <dialogue>How was it?</dialogue> <character>CELIA</character> <dialogue>I got through it.</dialogue> <character>SOUND OF DOOR SQUEAKING UPSTAIRS.</character> <dialogue>DREW</dialogue> <scene_description>Someone's up.</scene_description> <character>CELIA</character> <dialogue>I'll get 'em.</dialogue> <scene_description>We follow her upstairs to the bedroom. Close up on her face. Determined, locked into her shell. She has to be. As she gets to the second floor, she finds Evan standing in his pajamas, half asleep.</scene_description> <character>CELIA</character> <dialogue>It's late, sweetheart. Time to sleep.</dialogue> <scene_description>CONTINUED: She picks him up and carries him back to his room. Hugs him hard. CONTINUED: (2)</scene_description> <character>THE END</character> </scene> </script>

In early 2020, CIA officer Henry Pelham is informed by his boss, Vick Wallinger, that the CIA has reopened the case of Turkish Alliance 127, a 2012 terrorist hijacking which ended in tragedy. Headquarters suspects there was a leak from the Vienna station, where Henry and Vick work. Henry is sent to interview Celia Harrison, who also worked at the Vienna station at the time of the hijacking. Henry and Celia were lovers, but she left him shortly after the event. Celia, now retired, lives in Carmel-by-the-Sea, California with her family. Henry meets her at an upscale restaurant, which is almost empty of customers and staff. As Henry and Celia talk, she reveals that an Austrian intelligence agent named Karl Stein approached her shortly after she moved to Carmel. He wanted her to inform on her coworkers, but she refused. Henry has Celia recall the events of the hijacking. In a flashback to 2012, Flight 127 is on the runway when it is hijacked by four armed militants belonging to an Islamic terrorist group. The Vienna station jumps into action to address the crisis and learns that Ilyas Shushani, a Chechen and former informant for Henry, may be involved. The hijackers threaten to kill the passengers unless several of their comrades are released from custody. Ahmed, a CIA courier who happened to be on the plane, contacts the CIA and suggests an attack via the plane's undercarriage. Celia connects with a possible source named Mohammed, but the meeting seems to yield nothing of value. Henry tells Celia and her mentor, Bill Compton, that when Henry worked in Moscow his superiors forced him to betray Ilyas to the Russian government as a trade-off for intel on an imminent attack on a U.S. embassy. The Vienna station receives another message from Ahmed saying that the terrorists have a camera mounted on the plane's undercarriage and the assault should be called off. Celia notices differences in the language of Ahmed's messages and fears he has been compromised. Checking the station's phone logs, she notices that a call to Iran was placed from Bill's office phone. Then Ahmed is killed and thrown off the plane. The next day, Celia leaves both Henry and Vienna. In the present, Henry asks why she ended their relationship so abruptly. Celia reveals that she saw a call on Henry's cellphone from the same Iranian number that she had found in the station phone logs. It is revealed that when the terrorists' demands were not met, they released sarin gas, killing themselves, the crew, and all passengers. The Vienna station is devastated by the outcome. Realizing that Henry was the leak, she left him but did not divulge her discovery to the CIA. She further confesses that, after Henry contacted her to arrange this meeting, she contacted Karl Stein, and he arranged the meeting place, the staff, and fake customers, with the aim of poisoning Henry via his wine. As Henry begins to succumb to the poison, Celia tearfully asks why he betrayed everyone to the terrorists. He explains that he was lured into a meeting with Ilyas, who had become radicalized and masterminded the hijacking. Ilyas' people staged the meeting between Mohammed and Celia to create the impression that Celia's life was in danger. This pushed Henry into revealing the plan for an undercarriage assault, and then the presence of Ahmed on the plane, in exchange for her life. Henry comes to terms with his impending death, and Celia returns home to her husband and children. Karl calls Vick to report that Henry has died, revealing that they had been working together the entire time.

My Policeman_2022

tt13139228

<script> <scene> <character>MY POLICEMAN</character> <dialogue>Screenplay by Ron Nyswaner</dialogue> <scene_description>Based Upon the Book by Bethan Roberts Directed by Michael Grandage Berlanti Productions 4000 Warner Blvd. Burbank, CA 91522</scene_description> </scene> <scene> <stage_direction>EXT. PEACEHAVEN UK - DAY - 1999</stage_direction> <scene_description>TOM BURGESS (60s) walks his dog along rocky bluffs edging the sea. It's a blustery day. Tom has the build of a lifelong athlete, though his face has become rugged with sun exposure. His broad shoulders are hunched with tension. PAST TOM -- Plain houses of working people and pensioners.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - SPARE BEDROOM - DAY - 1999</stage_direction> <scene_description>MARION BURGESS (60s, retired school teacher) empties a dresser, transferring her husband's clothes into a box. BEHIND MARION -- A hospital bed with crisp linens waits for a house guest. On the dresser a vase of violets. She notes a wedding PHOTO on the wall: Marion and Tom, forty years earlier. She reaches for the photo, to take it down. But changes her mind, leaving it in place.</scene_description> </scene> <scene> <stage_direction>INT./EXT. AMBULANCE/PEACEHAVEN HIGH STREET - DAY - 1999</stage_direction> <scene_description>An AMBULANCE rumbles along the main route through town. PATRICK HAZELWOOD (70s), strapped into a wheelchair, stares out the window at local shops: Joe's Pizza, Kebab House.</scene_description> </scene> <scene> <stage_direction>INT./EXT. AMBULANCE/BRAMBER AVENUE - DAY - 1999</stage_direction> <scene_description>Patrick's jaw hangs limp (from a stroke). But the disdain he feels for the area oozes from still lively eyes.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - SPARE BEDROOM/HALLWAY - DAY - 1999</stage_direction> <scene_description>Marion continues to move Tom's personal items. She's what people call a "handsome" woman. Her clothes are tasteful without attracting attention. Educated middle class. She hears activity outside. Goes to the window. SEES -- The AMBULANCE arriving. Suddenly anxious, she moves quickly to greet the ambulance and BUMPS her thigh against the corner of the dresser.</scene_description> </scene> <scene> <stage_direction>EXT. BURGESS HOUSE - DAY - 1999</stage_direction> <scene_description>Marion steps out as a Nurse and Medical Aide unload Patrick. She starts down the pavement to assist.</scene_description> <character>MARION</character> <dialogue>Shall I -- ?</dialogue> <scene_description>NIGEL (32, Nigerian) wheels Patrick toward the house.</scene_description> <character>NIGEL</character> <dialogue>Best if you let us do it.</dialogue> <character>MARION</character> <dialogue>Right.</dialogue> <scene_description>Marion steps out of the way. And SEES -- Tom. Keeping his distance.</scene_description> <character>NIGEL</character> <dialogue>One. Two...</dialogue> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - SPARE BEDROOM - MINUTES LATER - 1999</stage_direction> <character>NIGEL</character> <dialogue>Three!</dialogue> <scene_description>Marion observes from the doorway as Nigel and PAMELA (20's, medical aide) transfer Patrick to the bed.</scene_description> <character>NIGEL</character> <dialogue>There you go, Mr. Hazelwood. You've landed in quite a lovely spot, haven't you? And with a view of the sea.</dialogue> <parenthetical>(to Marion)</parenthetical> <dialogue>Are you a nurse?</dialogue> <character>MARION</character> <dialogue>Teacher. I mean, I was. I'm retired.</dialogue> <character>NIGEL</character> <parenthetical>(laughs, to Patrick)</parenthetical> <dialogue>After a week with you, she'll wish she was back in the classroom, won't she?</dialogue> <scene_description>Patrick's eyes meet Marion's.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - LIVING/DINING AREA - MINUTES LATER -</stage_direction> <scene_description>Nigel unloads intimidating medical supplies onto the table: pills, ointments, rubber gloves, special tableware, etc.</scene_description> <character>NIGEL</character> <dialogue>Pamela will be here every day, to bathe and exercise him. I'll come round twice a week to check his vitals and adjust his medication. But you'll have charge of his meals and anything that comes up when we're not here.</dialogue> <character>MARION</character> <dialogue>I understand.</dialogue> <character>NIGEL</character> <dialogue>He can feed himself, though he sometimes makes a mess of it. And you have to watch for choking from the dysphagia. That's --</dialogue> <character>MARION</character> <dialogue>Difficulty in swallowing, I know. I'm to cut his food into small pieces, or puree it. And make sure he drinks a sufficient amount of water to prevent dehydration. I've been reading up.</dialogue> <character>NIGEL</character> <dialogue>Well you deserve a gold star, don't you?</dialogue> <parenthetical>(reaching for something)</parenthetical> <dialogue>And this --</dialogue> <scene_description>He places a cardboard box onto the table.</scene_description> <character>NIGEL</character> <dialogue>Mr. Hazelwood's personal items. They came to the hospital after you sold the house.</dialogue> <character>MARION</character> <dialogue>I didn't.</dialogue> <character>NIGEL</character> <dialogue>Your family, I mean.</dialogue> <character>MARION</character> <dialogue>No, I'm not --</dialogue> <parenthetical>(dropping the subject)</parenthetical> <dialogue>Is there anything else I should know?</dialogue> <character>NIGEL</character> <dialogue>Talk to him. Get him to answer if you can. Speech is the last thing to come back.</dialogue> <character>MARION</character> <dialogue>Alright.</dialogue> <character>NIGEL</character> <dialogue>You'll be fine. Patients do better in a home setting. He might come along quicker than you expect. I'm off then.</dialogue> <character>MARION</character> <dialogue>Thank you.</dialogue> <character>NIGEL</character> <dialogue>And no cigarettes! He'll try to get one out of you.</dialogue> <character>MARION</character> <dialogue>We don't keep them in the house.</dialogue> </scene> <scene> <stage_direction>EXT. BEACH - DAY - 1999</stage_direction> <scene_description>Tom is walking. Hands in pockets, the dog trailing.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - SPARE BEDROOM - MINUTES LATER - 1999</stage_direction> <scene_description>Patrick takes in the room's decor with a critical eye: second hand dresser, faded art print, etc. His eyes land on the wedding photo. It irks him. Marion enters. With forced cheerfulness.</scene_description> <character>MARION</character> <dialogue>All settled in? I hope you won't be bored. I can put a telly in here, if you like.</dialogue> <parenthetical>(off his look)</parenthetical> <dialogue>Right. You were never fond of television. I know. I'll go to the library, to fetch you some books.</dialogue> <scene_description>Patrick raises his bent, disabled hands.</scene_description> <character>MARION</character> <dialogue>Oh. You'd have trouble holding a book, wouldn't you?</dialogue> <scene_description>He is stone-faced. Not giving her anything.</scene_description> <character>MARION</character> <dialogue>Patrick. I know this must be rather awkward for you. You were always so independent. But I'm going to do my best to make you comfortable. I hope you will, at least, meet me halfway.</dialogue> <scene_description>His expression softens. A little.</scene_description> <character>MARION</character> <dialogue>I better see to lunch.</dialogue> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - DINING AREA - HALF HOUR LATER - 1999</stage_direction> <scene_description>Marion sets the table for three. Examining the modified tableware as she places it at the third setting.</scene_description> <character>MARION</character> <parenthetical>(looking at spoon or fork)</parenthetical> <dialogue>Just put both.</dialogue> <scene_description>Tom enters with Walter (the dog).</scene_description> <character>TOM</character> <dialogue>Here you go, boy! Have a treat. Good boy!</dialogue> <scene_description>He notices three place settings on the table.</scene_description> <character>TOM</character> <dialogue>What's this about?</dialogue> <character>MARION</character> <dialogue>The literature says you should feed a stroke patient at the family table, so they don't feel isolated. You'll have to help me get him into his wheelchair.</dialogue> <character>TOM</character> <dialogue>I thought he was staying in the spare room.</dialogue> <character>MARION</character> <dialogue>He's not a prisoner.</dialogue> <character>TOM</character> <dialogue>This is my home, isn't it? For God's sake, Marion, I can only stand so much.</dialogue> <scene_description>He won't take a step towards the table until she takes away the third setting. Stand-off. Marion removes the plate, etc. Tom takes a seat, helping himself to cold meat.</scene_description> <character>TOM</character> <dialogue>There are places for invalids.</dialogue> <scene_description>Marion begins making a tray for Patrick's lunch.</scene_description> <character>MARION</character> <dialogue>Have you been inside any of those places? Besides, you agreed.</dialogue> <character>TOM</character> <dialogue>You wouldn't give me any rest until I did.</dialogue> <character>MARION</character> <dialogue>It seemed the right thing to do.</dialogue> <character>TOM</character> <dialogue>Don't fool yourself. You know why you brought him here.</dialogue> <character>MARION</character> <dialogue>Why?</dialogue> <character>TOM</character> <dialogue>To punish him.</dialogue> <character>MARION</character> <dialogue>That's ridiculous.</dialogue> <scene_description>Marion returns to arranging Patrick's tray.</scene_description> <character>TOM</character> <dialogue>You waiting on him hand and foot. That's ridiculous.</dialogue> </scene> <scene> <stage_direction>EXT. PEACEHAVEN - PUB - NIGHT - 1999</stage_direction> <scene_description>Quiet streets. Closed shops. Only signs of life come from a pub.</scene_description> </scene> <scene> <stage_direction>12A EXT. PEACEHAVEN - STREETS - NIGHT - 1999 12A</stage_direction> </scene> <scene> <stage_direction>12B EXT. BURGESS HOUSE - NIGHT - 1999 12B</stage_direction> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - MASTER BEDROOM - NIGHT - 1999</stage_direction> <scene_description>Marion is awake, alone in bed. She rises. Puts on slippers and flannel dressing gown.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - LIVING/DINING AREA - CONTINUOUS - 1999</stage_direction> <scene_description>Marion finds Tom in the living room, asleep on the sofa. She covers him with a blanket. Reaches to pull off his slippers. But he struggles against her touch. She steps back. She moves down the corridor. Pauses outside the spare room. STUDIES -- Patrick, asleep. Dimly lit by a street lamp. His face retains its elegance. He still has presence.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - MASTER BEDROOM - CONTINUOUS - 1999</stage_direction> <scene_description>Marion returns to the master bedroom. Now, her room. She's not going to be able to sleep. The cardboard box holding Patrick's possessions rests on the dresser. She can't resist temptation. She unpacks the box finding paltry treasures from a long life: tortoise shell comb, mirror, shoe horn, cuff links. A dog-eared copy of Anna Karenina. What she finds next: three red, leather-bound journals, embossed with gold letters: Patrick Hazelwood. She opens one of the journals to the first page: "March 14, 1957," and a long entry in Patrick's elegant hand. She snaps the journal shut. Is it because she's invading his privacy? Or she's afraid of what she will find?</scene_description> </scene> <scene> <stage_direction>EXT. BURGESS HOUSE - MORNING - 1999</stage_direction> <scene_description>Tom exits the house, bundled against the cold. Walter the dog trots beside him.</scene_description> <character>TOM</character> <dialogue>Come on, boy!</dialogue> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - SPARE ROOM - MORNING - 1999</stage_direction> <scene_description>Patrick's possessions have been laid out on the dresser: cuff links, comb, mirror, etc. But not the journals. Marion supervises Patrick's breakfast. He's feeding himself porridge and struggling.</scene_description> <character>MARION</character> <parenthetical>(reaching)</parenthetical> <dialogue>May I...?</dialogue> <scene_description>Patrick, resisting assistance, jerks the spoon out of Marion's reach -- splattering porridge over the wall. He croaks out a laugh.</scene_description> <character>MARION</character> <dialogue>I can I try and help you eat...</dialogue> <scene_description>He shakes his head and utters a strangled negative --</scene_description> <character>PATRICK</character> <dialogue>Ngh.</dialogue> <scene_description>-- and goes back to digging at the porridge.</scene_description> <character>MARION</character> <dialogue>Fine. Suit yourself.</dialogue> <scene_description>She starts wiping porridge off the wallpaper. They ignore each other until... Patrick drops his spoon. Not far from Marion's feet. An accident. He waits for Marion to pick it up. But Marion, completely aware of the spoon resting on the floor, continues wiping the wall. He gestures to the spoon with his disabled hand.</scene_description> <character>PATRICK</character> <dialogue>Agh....</dialogue> <scene_description>She ignores him. Until --</scene_description> <character>TOM</character> <parenthetical>(outside)</parenthetical> <dialogue>Walter! Catch it, boy!</dialogue> <scene_description>Patrick twists toward the window and Tom's voice, pulling on the sheet where the breakfast tray is resting... The tray SLIDES off the bed and CRASHES to the floor. Marion whips around, startled. Patrick looks sheepish.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - KITCHEN - DUSK - 1999</stage_direction> <scene_description>Marion tosses pieces of the broken bowl into the bin.</scene_description> <character>MARION</character> <dialogue>I don't...I don't know what I am...</dialogue> <scene_description>Tom enters. Notices the mess.</scene_description> <character>TOM</character> <dialogue>What happened?</dialogue> <scene_description>She doesn't answer. Tom observes her for a moment. Then turns to the dog.</scene_description> <character>TOM</character> <dialogue>Here, boy. Treat!</dialogue> <scene_description>Now -- Marion watches Tom as he offers unrestrained affection to their retriever.</scene_description> </scene> <scene> <stage_direction>EXT. PEACEHAVEN CHALK CLIFFS - ANOTHER DAY - 1999</stage_direction> <scene_description>Waves break near the stark cliffs. PRE-LAP:</scene_description> <character>MARION (O.S.)</character> <dialogue>Here's an interesting bit in the Arts Section...</dialogue> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - SPARE BEDROOM - DAY - 1999</stage_direction> <scene_description>Marion has been reading to Patrick from the local paper. He does not appear much interested.</scene_description> <character>MARION</character> <dialogue>A young woman's been short-listed for the Turner Prize with a piece called "My Bed." And that's exactly what it is. Unmade no less.</dialogue> <scene_description>She holds up the paper, showing a photograph of the controversial art piece. Patrick snorts with contempt.</scene_description> <character>MARION</character> <dialogue>Apparently everyone's talking about it. I'd like to see it. You were the one who taught me to look at art. Do you remember?</dialogue> <scene_description>He produces half a word.</scene_description> <character>PATRICK</character> <dialogue>Ohk.</dialogue> <character>MARION</character> <dialogue>Go on.</dialogue> <scene_description>He brings two trembling fingers to his lips.</scene_description> <character>PATRICK</character> <dialogue>Ohk.</dialogue> <character>MARION</character> <dialogue>I don't know what you're --</dialogue> <character>PATRICK</character> <dialogue>OHK!</dialogue> <character>MARION</character> <dialogue>I --</dialogue> <scene_description>Patrick shakes his two raised fingers in the air.</scene_description> <character>PATRICK</character> <dialogue>Sm-ohk!</dialogue> <scene_description>She gets it.</scene_description> <character>MARION</character> <dialogue>Smoke? You want a smoke.</dialogue> <scene_description>He nods.</scene_description> <character>MARION</character> <dialogue>Nigel said you can't.</dialogue> <character>PATRICK</character> <dialogue>AGH!</dialogue> <character>MARION</character> <dialogue>You've had a stroke. Smoking raises the blood pressure --</dialogue> <character>PATRICK</character> <dialogue>AGGGGGGGGH!</dialogue> <character>MARION</character> <dialogue>-- could cause you to have another --</dialogue> <scene_description>He shocks Marion by going into a RAGE -- wildly flinging his arms, shaking his body.</scene_description> <character>PATRICK</character> <dialogue>EEEV!</dialogue> <character>MARION</character> <dialogue>I'm sorry, Patrick, but I absolutely cannot allow you to --</dialogue> <scene_description>He gains control of one arm and POINTS to the DOOR.</scene_description> <character>PATRICK</character> <dialogue>EEEV!</dialogue> <character>MARION</character> <dialogue>Leave?</dialogue> <scene_description>He nods.</scene_description> <character>MARION</character> <dialogue>Fine.</dialogue> <parenthetical>(turns at the door, anger pouring out)</parenthetical> <dialogue>I didn't have to bring you here. I only knew you were in hospital because your nephew wrote to me. He said the rest of your family would have nothing to do with you. And he lives in Sheffield, so could I look in? One of the nurses told me they were sending you to an awful place. And I -- I don't know why -- I said I'd take you in. It was a moment's impulse but I was too embarrassed to take it back. Besides, I thought... I don't know what I thought. Tom was so angry. He still is. I know this is hard for you. But at least you could try to... Appear to... I only brought you here because no one else wanted you!</dialogue> <scene_description>She rushes out --</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - LIVING/DINING AREA - CONT. - 1999</stage_direction> <scene_description>-- And storms into the living room.</scene_description> <character>MARION</character> <dialogue>Bastard!</dialogue> <scene_description>Paces.</scene_description> <character>MARION</character> <dialogue>Why did I -- ? Stupid.</dialogue> <scene_description>She yanks open a drawer, digs into the back and FINDS -- A pack of cigarettes. Hidden treasure. (Obviously she lied to Nigel about keeping cigarettes in the house.) She lights one and savors the first drag. Then settles at the window. Where she SEES -- Tom. Just his figure in the distance. Heading towards the house from his walk. She keeps her GAZE fixed on him, as he gets closer, and reveals himself to be -- Tom from 42 years ago. And we CUT TO --</scene_description> </scene> <scene> <stage_direction>EXT. BRIGHTON BEACH - DAY - 1957</stage_direction> <scene_description>YOUNG TOM (24, dressed very much like his older self in working man's clothes) WALKS toward camera. Smiles at -- MARION (22). In a modest bathing suit and terrycloth beach "coverup," standing next to Tom's sister, SYLVIE (22).</scene_description> <character>MARION</character> <dialogue>You said you'd ask.</dialogue> <character>SYLVIE</character> <dialogue>It was your idea.</dialogue> <character>MARION</character> <dialogue>He's your brother.</dialogue> <scene_description>Marion gazes admiringly at Tom -- strong build, playful smile, hearty laugh.</scene_description> <character>SYLVIE</character> <dialogue>I wouldn't get my hopes up for Tom.</dialogue> <character>MARION</character> <dialogue>I'm not --</dialogue> <character>SYLVIE</character> <dialogue>He likes the loud, busty type.</dialogue> <scene_description>Tom and Roy bound over. Marion can't help but notice how Tom's shirt sticks to his frame.</scene_description> <character>ROY</character> <dialogue>What do you think, ladies? Are we getting wet today?</dialogue> <character>SYLVIE</character> <dialogue>Marion can't swim.</dialogue> <character>MARION</character> <dialogue>I can swim. Just not very well.</dialogue> <character>SYLVIE</character> <dialogue>She wants a lesson, Tom, but she's too shy to ask.</dialogue> <character>MARION</character> <dialogue>Sylvie!</dialogue> <character>ROY</character> <parenthetical>(reaching for Sylvie)</parenthetical> <dialogue>How 'bout I give you a lesson?</dialogue> <scene_description>Roy chases Sylvie down the beach, their laughter ECHOING back to Tom and Marion. Awkward now they're alone.</scene_description> <character>TOM</character> <dialogue>They're a couple of cards, aren't they?</dialogue> <scene_description>Marion does not take her eyes off Tom.</scene_description> <character>MARION</character> <dialogue>Yes.</dialogue> <character>TOM</character> <dialogue>Almost didn't recognise you. It's been a while since you came 'round to the house.</dialogue> <character>MARION</character> <dialogue>I've been in Teacher Training College.</dialogue> <character>TOM</character> <dialogue>Sylvie said.</dialogue> <character>MARION</character> <dialogue>And you were stationed --</dialogue> <character>TOM</character> <dialogue>Portsmouth. Glad to have that behind me. I'm a policeman now.</dialogue> <character>MARION</character> <dialogue>I heard. That must be quite fulfilling.</dialogue> <scene_description>The conversation dies. Neither is adept at it. Until --</scene_description> <character>TOM</character> <dialogue>You can't go through life afraid of the water.</dialogue> </scene> <scene> <stage_direction>EXT. BRIGHTON BEACH - IN THE WATER - DAY - 1957</stage_direction> <scene_description>Tom leads Marion into the waves, guiding her by the elbow, until they're waist deep.</scene_description> <character>TOM</character> <dialogue>When I give the word, throw your feet behind.</dialogue> <character>MARION</character> <dialogue>It's cold.</dialogue> <character>TOM</character> <dialogue>You'll get used to it.</dialogue> <scene_description>He positions himself at her side.</scene_description> <character>TOM</character> <dialogue>Now!</dialogue> <scene_description>Marion flattens to the water and throws her feet behind.</scene_description> <character>TOM</character> <dialogue>Ow!</dialogue> <scene_description>Tom reaches for his just-kicked groin.</scene_description> <character>MARION</character> <dialogue>I'm so sorry!</dialogue> </scene> <scene> <stage_direction>EXT. BRIGHTON BEACH - IN THE WATER - LATER - 1957</stage_direction> <scene_description>Marion glides through the water, trying a breast stroke, while Tom walks at her side, holding her up. MARION'S POV GLANCING BEHIND -- Tom, head and shoulders above the water. Steady and calm. Taking the lesson seriously. TOM'S HAND -- On her waist. MARION -- Closes her eyes as a wave washes over her.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - LIVING/DINING AREA - DAY - 1999</stage_direction> <scene_description>Smoke curls around Marion as she remembers.</scene_description> </scene> <scene> <stage_direction>EXT. BRIGHTON BEACH - DAY - 1957</stage_direction> <scene_description>Marion and Tom leave the beach in street clothes.</scene_description> <character>MARION</character> <dialogue>Thanks for the lesson.</dialogue> <scene_description>She offers her hand. He shakes it.</scene_description> <character>TOM</character> <dialogue>You did quite well. You should stick with it.</dialogue> <character>MARION</character> <dialogue>Thanks. I suppose I'll head home.</dialogue> <scene_description>Although she doesn't want to leave, there's not much else to do. She turns to go...</scene_description> <character>TOM</character> <dialogue>I was thinking...</dialogue> <scene_description>She turns back eagerly.</scene_description> <character>MARION</character> <dialogue>Yes?</dialogue> <character>TOM</character> <dialogue>You being a teacher, you must be a bit of a bookworm.</dialogue> <character>MARION</character> <parenthetical>(laughs)</parenthetical> <dialogue>Well, I don't know how to take that. But, I suppose it's true.</dialogue> <character>TOM</character> <dialogue>Oh no, I didn't mean... You see, I'm not much of a reader.</dialogue> <character>MARION</character> <dialogue>Oh.</dialogue> <character>TOM</character> <dialogue>But I believe a man ought to try to improve himself.</dialogue> <character>MARION</character> <dialogue>I agree with you there.</dialogue> <character>TOM</character> <dialogue>Do you think you could recommend some books to me? In exchange, I could give you more swimming lessons.</dialogue> <character>MARION</character> <dialogue>Well, I would --</dialogue> <character>TOM</character> <dialogue>You must be busy. It's not long before school starts.</dialogue> <character>MARION</character> <dialogue>No! I mean. Yes. I'd be happy to. Recommend books. And more lessons, if you're willing.</dialogue> <character>TOM</character> <dialogue>Smashing.</dialogue> </scene> <scene> <stage_direction>INT. BRIGHTON LIBRARY - DAY - 1957</stage_direction> <scene_description>Marion leads Tom through tall shelves. He looks around, as if he's never been there. Because he hasn't.</scene_description> <character>MARION</character> <dialogue>Do you have any particular subject in mind? Literature, history, or...?</dialogue> <character>TOM</character> <dialogue>Anything you suggest.</dialogue> <character>MARION</character> <dialogue>Let's try it this way. What made you decide to take up reading?</dialogue> <character>TOM</character> <dialogue>Well... My work. I meet a great many people. And it's my responsibility to converse with them intelligently.</dialogue> <character>MARION</character> <dialogue>That doesn't really narrow it down.</dialogue> <character>TOM</character> <dialogue>Why do you like to read?</dialogue> <character>MARION</character> <dialogue>Well. When I read a good book, I lose myself in whatever world I'm reading about. I forget who I am and all my little insecurities. I'm sure you don't have that problem.</dialogue> <character>TOM</character> <dialogue>What problem?</dialogue> <character>MARION</character> <dialogue>Insecurity. About anything.</dialogue> <character>TOM</character> <dialogue>Don't judge a book by its cover.</dialogue> <scene_description>She laughs. He's proud of his witty response. They are shushed by a MALE LIBRARIAN.</scene_description> <character>TOM</character> <parenthetical>(lowers his voice)</parenthetical> <dialogue>What about art?</dialogue> <character>MARION</character> <dialogue>You mean, books about art?</dialogue> <character>TOM</character> <dialogue>I never really looked at art before. But now, I think I could get something out of it.</dialogue> <character>MARION</character> <dialogue>That's a start. Do you have a particular artist in mind?</dialogue> <character>TOM</character> <dialogue>Is there a painter named Turner?</dialogue> <character>MARION</character> <parenthetical>(hiding a smile)</parenthetical> <dialogue>That would be J.M.W. Turner. I think the art section's this way.</dialogue> <scene_description>Marion heads down an aisle. Tom, about to follow, finds the Male Librarian ogling him.</scene_description> </scene> <scene> <stage_direction>INT. LIBRARY - PRIVATE STALL - DAY - 1957</stage_direction> <scene_description>Tom and Marion share a quiet corner, pouring over books. Tom studies "Art Through the Ages" with intensity. Marion peers over the top of her book -- to study Tom.</scene_description> </scene> <scene> <stage_direction>EXT. BRIGHTON BEACH - IN THE WATER - DAY - 1957</stage_direction> <scene_description>Tom swims next to Marion. Her skills have improved. But she can't resist taking sideways glances at Tom as his strong arms cut through the surf. He thoroughly enjoys himself in the water, free of self-consciousness. She's in shallow water and so she stands, while Tom keeps swimming, his back catching the sun. And she watches.</scene_description> </scene> <scene> <stage_direction>EXT. BRIGHTON BOARDWALK - DAY - 1957</stage_direction> <scene_description>Marion and Tom walk past the food stalls and tattoo parlours fronting the beach. They have been swimming.</scene_description> <character>MARION</character> <dialogue>My first week at school may not have been a brilliant success, but I think I'm going to be a good teacher.</dialogue> <character>TOM</character> <dialogue>There's no doubt. I read two entire books this week. On duty, when it was slow.</dialogue> <scene_description>Marion puts her arm through his. He notices.</scene_description> <character>MARION</character> <dialogue>I'm proud of you.</dialogue> <character>TOM</character> <dialogue>And I can say the same. You've become an excellent swimmer.</dialogue> <character>MARION</character> <dialogue>We are not finished with the lessons, are we?</dialogue> <character>TOM</character> <dialogue>The water was freezing today. Didn't you notice?</dialogue> <character>MARION</character> <dialogue>No.</dialogue> <character>TOM</character> <dialogue>Well, you hardly need any more lessons, you've got so much better. I should give you a certificate, like they do in the swimming club. Or a trophy.</dialogue> <character>MARION</character> <dialogue>You still can.</dialogue> <scene_description>Tom's puzzled. Until he follows Marion's look to -- the Shooting Gallery arcade stall.</scene_description> </scene> <scene> <stage_direction>INT. BRIGHTON PIER - ARCADE - MINUTES LATER - 1957</stage_direction> <character>DING! DING! FLASHING LIGHTS!</character> <dialogue>Tom fires off one, two shots (getting closer to the bullseye) then HITTING IT with his final shot. He raises one arm like a champion and throws the other around Marion. Plants a quick kiss on her cheek. The Arcade Barker hands over a prize. Tom accepts congratulations from Bystanders. This simple triumph gives him great pleasure. MARION'S CLOSE POV OF TOM'S FACE -- So happy, as he turns into the sun. As he turns back TOWARD CAMERA WE SEE --</dialogue> </scene> <scene> <stage_direction>EXT. BURGESS HOUSE - ANOTHER DAY - DUSK - 1999</stage_direction> <scene_description>Tom (in his 60's) as he steps outside, facing the sun. Going for a walk. Walter bounds out with him. But Tom orders the dog back inside.</scene_description> <character>TOM</character> <dialogue>Go on, boy. Get in there. You're staying home.</dialogue> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - KITCHEN - DUSK - 1999</stage_direction> <scene_description>Marion finds Walter near the door, looking dejected.</scene_description> <character>MARION</character> <dialogue>What's wrong, Walter? Did Tom leave you behind today?</dialogue> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - SPARE BEDROOM - MOMENTS LATER - DUSK -</stage_direction> <scene_description>Marion enters, with Patrick's tray.</scene_description> <character>MARION</character> <dialogue>Here's a cup of tea.</dialogue> <scene_description>She sets down the tray. And the pack of cigarettes. Patrick looks up surprised.</scene_description> <character>MARION</character> <dialogue>Shall I light one for you?</dialogue> <character>PATRICK</character> <parenthetical>(almost normal sounding)</parenthetical> <dialogue>Pu-please.</dialogue> <character>MARION</character> <dialogue>Good.</dialogue> <scene_description>She places a cigarette into his mouth.</scene_description> <character>MARION</character> <dialogue>Tom stopped two years ago and there's nothing worse than a reformed smoker.</dialogue> <scene_description>She lights the cigarette for him.</scene_description> <character>MARION</character> <dialogue>I keep these hidden in the back of the drawer.</dialogue> <scene_description>Patrick holds the cigarette with shaking fingers. Inhales deeply. With immense satisfaction.</scene_description> <character>MARION</character> <dialogue>Mind if I join you?</dialogue> <scene_description>He shrugs. She lights one for herself.</scene_description> <character>MARION</character> <dialogue>Tom's out for one of his walks. I don't mind being alone. Not too much. You get used to it. Although...</dialogue> <parenthetical>(should she confess this?)</parenthetical> <dialogue>It's embarrassing.</dialogue> <character>MARION</character> <dialogue>But sometimes I talk to myself. Little things. On and off through the day. I catch myself and wonder if I'm going batty.</dialogue> <scene_description>Patrick nods, commiserating.</scene_description> <character>MARION</character> <dialogue>They say if you think you might be going crazy, you aren't. So, we can hold onto that.</dialogue> <character>PATRICK</character> <dialogue>Ye-yes.</dialogue> <character>MARION</character> <dialogue>I better get on with your supper.</dialogue> <scene_description>As she collects the tray, her LOOK drifts to the WEDDING PHOTO on the wall, hers and Tom's youthful, happy faces.</scene_description> </scene> <scene> <stage_direction>EXT. BRIGHTON - WORKING CLASS NEIGHBORHOOD - DAY - 1957</stage_direction> <scene_description>A car -- decorated with paper flowers and a "Just Married" sign -- is parked in the street.</scene_description> </scene> <scene> <stage_direction>INT. TOM'S PARENTS' HOUSE - DAY - 1957</stage_direction> <scene_description>An at-home wedding party for Sylvie (Tom's sister) and Roy (Tom's pal). Roy is half-drunk, necktie askew. Mother of the bride, MRS. BURGESS (50's, weary), entertains neighbours and relatives. GORDON BURGESS (50's), Tom and Sylvie's dad, a belligerent alcoholic, scowls at everyone. Marion delivers a plate of sausage rolls to Tom.</scene_description> <character>TOM</character> <dialogue>Thank you. You look nice, by the way. Did I tell you?</dialogue> <character>MARION</character> <dialogue>Not yet. But thank you just the same.</dialogue> <scene_description>ACROSS THE ROOM -- Sylvie attempts to pry a pint of whiskey from Roy's hand.</scene_description> <character>ROY</character> <dialogue>Leave me be, will ya?</dialogue> <character>SYLVIE</character> <dialogue>You've had enough.</dialogue> <character>MARION</character> <dialogue>Looks as if Sylvie and Roy are about to have their first row as a married couple.</dialogue> <character>TOM</character> <dialogue>Won't be their last.</dialogue> <scene_description>Tom's father -- drunk -- addresses the party.</scene_description> <character>MR. BURGESS</character> <dialogue>As the father of the bride, I just want to say -- Today, I didn't lose a daughter, I got another mouth to feed.</dialogue> <character>SYLVIE</character> <dialogue>Dad!</dialogue> <character>ROY</character> <dialogue>Not my fault I can't find a job. I'm trying.</dialogue> <character>MR. BURGESS</character> <dialogue>Trying to sponge off your betters you mean.</dialogue> <character>TOM</character> <dialogue>Lay off him, Dad.</dialogue> <character>MR. BURGESS</character> <dialogue>Lay off him, says my son, the copper. You'd been better staying in the kitchen. That's what the navy trained you for, ain't it? Didn't even learn how to fire a rifle.</dialogue> <character>TOM</character> <dialogue>I can shoot just fine.</dialogue> <character>MARION</character> <dialogue>I can attest to that.</dialogue> <character>MR. BURGESS</character> <dialogue>And now he's a bobby. Dishing out traffic tickets and the like.</dialogue> <character>TOM</character> <dialogue>I'm a police constable. And a promotion to Sergeant could well be on the cards at some point.</dialogue> <character>MR. BURGESS</character> <dialogue>I got no time for bloody coppers. Always sticking their nose in.</dialogue> <scene_description>Mr. Burgess stumbles over an ottoman and crashes to the floor. Sylvie runs up the stairs, crying.</scene_description> <character>MARION</character> <dialogue>I better go see to her.</dialogue> <scene_description>Tom crosses to help his Dad.</scene_description> <character>TOM</character> <dialogue>Get up, Dad.</dialogue> <character>MR. BURGESS</character> <dialogue>Take your hands off me, bloody copper!</dialogue> </scene> <scene> <stage_direction>EXT. TOM'S PARENTS' HOUSE - LATER - 1957</stage_direction> <scene_description>Tom smokes. Watching boys playing football in the street. Marion finds him.</scene_description> <character>MARION</character> <dialogue>There you are.</dialogue> <character>TOM</character> <dialogue>How's Sylvie?</dialogue> <character>MARION</character> <dialogue>Marriage isn't exactly what she thought it would be. How's your Dad?</dialogue> <character>TOM</character> <dialogue>Out cold in his bed. He managed to ruin Sylvie's wedding.</dialogue> <character>MARION</character> <dialogue>It's not the wedding that matters. It's whether two people care about each other. If they make good companions.</dialogue> <character>TOM</character> <dialogue>That's not the way most girls talk.</dialogue> <character>MARION</character> <dialogue>How do they talk?</dialogue> <character>TOM</character> <dialogue>You know. Romantic. And that's what most of 'em want to hear. Only I've never been good at it.</dialogue> <character>MARION</character> <dialogue>Maybe it's possible to be romantic and good friends.</dialogue> <scene_description>Tom studies Marion.</scene_description> <character>TOM</character> <dialogue>You're quite an unusual girl.</dialogue> <character>MARION</character> <dialogue>Thanks. That was a compliment, wasn't it?</dialogue> <character>TOM</character> <dialogue>Course it was.</dialogue> <scene_description>He throws his cigarette into the street.</scene_description> <character>TOM</character> <dialogue>Are you free Saturday?</dialogue> <character>MARION</character> <dialogue>I'll have to check my diary.</dialogue> <character>TOM</character> <dialogue>Oh.</dialogue> <character>MARION</character> <dialogue>I'm joking. Yes, I'm free. What do you have in mind?</dialogue> <scene_description>She's hoping: Dinner? Dancing? A movie?</scene_description> <character>TOM</character> <dialogue>I'd like to surprise you.</dialogue> </scene> <scene> <stage_direction>EXT. BRIGHTON ART MUSEUM - DAY - 1957</stage_direction> <scene_description>Marion (in skirt and heels) and Tom (in jacket and tie) approach the museum. Her hand tucked through his arm. She is surprised by the venue for their date.</scene_description> <character>MARION</character> <dialogue>The museum.</dialogue> <character>TOM</character> <dialogue>I'm sure you've been before.</dialogue> <character>MARION</character> <dialogue>Well, yes.</dialogue> <character>TOM</character> <dialogue>But have you ever had a personal tour from the Director of the Western Art Galleries?</dialogue> <character>MARION</character> <dialogue>No. How did you...?</dialogue> <character>TOM</character> <dialogue>He was the witness to an accident on my watch. Nothing serious. But we got to talking. And he invited me for a private tour and I thought, Marion would enjoy that sort of thing more than me --</dialogue> <character>MARION</character> <dialogue>More than I.</dialogue> <scene_description>They sweep through the entrance doors --</scene_description> </scene> <scene> <stage_direction>INT./EXT. BRIGHTON ART MUSEUM - ENTRANCE HALL - CONT. - 1957</stage_direction> <character>TOM</character> <dialogue>And he invited you to join.</dialogue> <character>PATRICK</character> <dialogue>There you are.</dialogue> <scene_description>APPROACHING -- PATRICK HAZELWOOD -- In his 30's. Elegant. Tailored suit. Extends his hand to Tom.</scene_description> <character>PATRICK</character> <dialogue>So glad you've come.</dialogue> <character>TOM</character> <dialogue>Patrick Hazelwood. This is Marion Taylor.</dialogue> <scene_description>Patrick warmly grasps Marion's hand.</scene_description> <character>PATRICK</character> <dialogue>Delighted. Tom says you've turned him into a scholar.</dialogue> <character>MARION</character> <dialogue>He's an eager student.</dialogue> <character>PATRICK</character> <dialogue>With a teacher as attractive as you, who wouldn't be? Shall we have a tour?</dialogue> </scene> <scene> <stage_direction>INT. ART MUSEUM - PAINTING GALLERY - DAY - 1957</stage_direction> <scene_description>Patrick analyses a Turner seascape. Flanked by Tom and Marion.</scene_description> <character>PATRICK</character> <dialogue>Notice the light striking the crest of the crashing waves. You feel they could crush you or take you under.</dialogue> </scene> <scene> <stage_direction>INT. ART MUSEUM - PAINTING GALLERY - DAY - 1957</stage_direction> <scene_description>Patrick traces a line in the air, above the dancers in William Blake's Oberon, Titania, and Puck.</scene_description> <character>PATRICK</character> <dialogue>Blake's trying to startle the senses as well as the spirit. There's so much passion in his work.</dialogue> <scene_description>Marion finds herself inspired by Patrick's enthusiasm. Or is it his handsome profile and manicured hand?</scene_description> <character>PATRICK</character> <dialogue>You have to let it take hold of you.</dialogue> </scene> <scene> <stage_direction>INT. ART MUSEUM - PAINTING GALLERY - DAY - 1957</stage_direction> <scene_description>Patrick, Marion, and Tom stand in silence in front of the stunning Raising of Lazarus by Jan Lievens. Patrick doesn't move. Mesmerised. This is his favourite painting. He slowly exhales at its power. Tom fidgets, unsure what they're meant to be doing. But Marion tries to "dive" into the painting. AS MARION GAZES AT THE PAINTING -- She imagines she hears the startled cries of Lazarus's relatives as he reaches out of the grave at the command of an illumined Christ.</scene_description> <character>MARION</character> <dialogue>Astonishing.</dialogue> <scene_description>Patrick smiles at her.</scene_description> <character>PATRICK</character> <dialogue>Exactly.</dialogue> </scene> <scene> <stage_direction>INT. BRIGHTON ART MUSEUM - DAY - 1957</stage_direction> <scene_description>Patrick escorts them to the door.</scene_description> <character>PATRICK</character> <dialogue>Your students are quite lucky to have a beautiful young teacher like you. I hope you'll bring them for a visit.</dialogue> <character>MARION</character> <dialogue>I'll try to arrange it. I've been to the museum before, but I never really appreciated what we have here.</dialogue> <character>PATRICK</character> <dialogue>Wonderful!</dialogue> <scene_description>Tom thrusts his hand into Patrick's, clearly proud of having arranged a successful outing.</scene_description> <character>TOM</character> <dialogue>Thanks ever so much. It's been splendid.</dialogue> <character>PATRICK</character> <dialogue>I don't know if you're free Friday, but I've got tickets to a recital. Why don't the two of you join me?</dialogue> <character>TOM</character> <dialogue>Friday's the night we usually go to the library.</dialogue> <scene_description>Marion puts her arm through Tom's.</scene_description> <character>MARION</character> <dialogue>He meets me after class.</dialogue> <character>TOM</character> <dialogue>Funny, though, I've never been to a recital. But it's up to Marion.</dialogue> <scene_description>She's on the spot.</scene_description> <character>MARION</character> <dialogue>Of course.</dialogue> <character>PATRICK</character> <dialogue>See you then! Seven o'clock.</dialogue> </scene> <scene> <stage_direction>43A EXT. PAVILLION GARDENS - MINUTES LATER - 1957 43A</stage_direction> <scene_description>Tom and Marion walk through the gardens. Marion feels uneasy but isn't quite sure why.</scene_description> <character>MARION</character> <dialogue>That's so kind of him to invite us. But I'll be sorry to miss our library visit.</dialogue> <character>TOM</character> <dialogue>Don't you want to go? I could tell him --</dialogue> <character>MARION</character> <dialogue>No. It would hurt his feelings. He must not have many friends his own age, if he's asked us.</dialogue> <character>TOM</character> <dialogue>He has plenty. I think he's taken with you, that's all.</dialogue> <character>MARION</character> <dialogue>Don't be silly!</dialogue> <character>TOM</character> <dialogue>You started all this.</dialogue> <character>MARION</character> <dialogue>What?</dialogue> <character>TOM</character> <dialogue>My self-improvement. And now Patrick's helping me too.</dialogue> <character>MARION</character> <dialogue>Helping you?</dialogue> <character>TOM</character> <dialogue>To improve my mind.</dialogue> <parenthetical>(seriously)</parenthetical> <dialogue>I want to be a better man than my father. I want to prove something to him. To everyone. But if you don't like Patrick, it means nothing to me. I'll tell him we can't go.</dialogue> <character>MARION</character> <dialogue>But I do like him, Tom. I do.</dialogue> </scene> <scene> <stage_direction>INT. CONCERT HALL - NIGHT - 1957</stage_direction> <scene_description>Patrick, Marion, and Tom occupy three seats in the opulent, old hall, listening to a recital. Marion catches Tom trying to keep his eyes open. She glances at Patrick, caught up in the music. Their eyes meet, making a connection over their shared pleasure.</scene_description> </scene> <scene> <stage_direction>INT. BRIGHTON CAFE - NIGHT - 1957</stage_direction> <scene_description>Marion, Tom, and Patrick, in a cafe, on their second bottle of wine, with Patrick refilling their glasses.</scene_description> <character>PATRICK</character> <dialogue>I love this wine. It reminds me of Rome.</dialogue> <character>MARION</character> <dialogue>Have you traveled a great deal?</dialogue> <character>PATRICK</character> <dialogue>The museum sends me to Italy now and then, to collect new pieces. And I always take a few days for myself, to have an adventure. How about you?</dialogue> <character>MARION</character> <dialogue>I've never had the opportunity to travel. And I don't know when I will.</dialogue> <character>PATRICK</character> <dialogue>But you must dream, Marion! Nothing happens if you don't dream of it first. Isn't that right, Tom?</dialogue> <character>TOM</character> <parenthetical>(buzzed from the wine)</parenthetical> <dialogue>Dream, Marion! Go on.</dialogue> <character>PATRICK</character> <dialogue>What's your fantasy destination? Paris? Milan? The Greek Isles?</dialogue> <character>MARION</character> <dialogue>I suppose it would be... Venice.</dialogue> <character>PATRICK</character> <dialogue>You're a romantic!</dialogue> <character>MARION</character> <dialogue>I imagine Venice is like something, I don't know, from another world.</dialogue> <character>PATRICK</character> <dialogue>That it is. And I can see you strolling across the Piazza San Marco, all the Venetian ragazzi admiring your beautiful legs. And you, Tom?</dialogue> <character>TOM</character> <dialogue>I'm happy at home. There can't be any place nicer than Brighton.</dialogue> <character>PATRICK</character> <dialogue>That kind of contentment is a noble trait.</dialogue> <character>MARION</character> <dialogue>But, Tom, you must want to travel somewhere.</dialogue> <character>TOM</character> <dialogue>Why should I?</dialogue> <character>MARION</character> <dialogue>Because spending your entire life in one place is just dull.</dialogue> <scene_description>Tom is offended.</scene_description> <character>TOM</character> <dialogue>Then I suppose I'm dull. My apologies.</dialogue> <character>MARION</character> <dialogue>I didn't --</dialogue> <character>TOM</character> <dialogue>I like Brighton and I'll not apologise for it.</dialogue> <scene_description>Patrick intervenes.</scene_description> <character>PATRICK</character> <dialogue>Personally, I'd love to see Mother Russia, the setting of Anna Karenina, my favourite novel.</dialogue> <character>MARION</character> <dialogue>I haven't read it.</dialogue> <character>PATRICK</character> <dialogue>You must! It's literature's most tragic love story. And the most true, because all love stories are tragic, aren't they?</dialogue> <character>MARION</character> <dialogue>I hope not.</dialogue> <scene_description>He gives her a meaningful smile.</scene_description> <character>PATRICK</character> <dialogue>I hope for you, they're not.</dialogue> <parenthetical>(raising his glass)</parenthetical> <dialogue>Let's have a toast. To Marion.</dialogue> <character>MARION</character> <dialogue>No. To all of us.</dialogue> <scene_description>Tom gets over his hurt feelings and lifts his glass.</scene_description> <character>TOM</character> <dialogue>To all of us.</dialogue> <scene_description>They clink glasses. A happy trio.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - KITCHEN - DAY - 1999</stage_direction> <scene_description>STEAM rises as Marion fills a bowl with hot water.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - SPARE BEDROOM - DAY - 1999</stage_direction> <scene_description>Marion sets down the steaming bowl.</scene_description> <character>PATRICK</character> <dialogue>Aghh?</dialogue> <character>MARION</character> <dialogue>Pamela can't make it. I'm giving you your bath.</dialogue> <scene_description>He clasps the top sheet tight around him.</scene_description> <character>PATRICK</character> <dialogue>No!</dialogue> <character>MARION</character> <dialogue>She doesn't come again before Friday. You need a bath. Believe me.</dialogue> <character>MARION</character> <dialogue>I'm not any happier about it than you are.</dialogue> <scene_description>Marion holds up the pack of cigarettes.</scene_description> <character>MARION</character> <dialogue>You'll get one after. If you behave.</dialogue> <scene_description>He GLARES at her. Hates her at this moment. She pulls back the sheet to his waist. Dips the cloth into the steaming water. Applies the cloth to Patrick's chest. He flinches from the heat.</scene_description> <character>MARION</character> <dialogue>You'll get used to it.</dialogue> <scene_description>Marion lifts Patrick's HAND to wash it and WE CUT TO --</scene_description> </scene> <scene> <stage_direction>EXT. BRIGHTON DOWNS - MONUMENT - DAY - 1957</stage_direction> <scene_description>-- Young Patrick's HAND -- Pointing out details of the marble Chattri War Monument to Tom and Marion.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - SPARE BEDROOM - 1999</stage_direction> <scene_description>CLOSE ON -- Marion's HAND wiping the cloth over Patrick's fingers.</scene_description> </scene> <scene> <stage_direction>EXT. BRIGHTON DOWNS - MONUMENT - DAY - 1957</stage_direction> <scene_description>Marion runs her HAND over the monument's smooth marble as Patrick offers instruction. She's absorbed in the lesson. But looks over her shoulder and SEES -- Tom. Alone. Staring into the distance. She crosses to Tom. Puts her arm through his. Now, Patrick is alone.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - SPARE BEDROOM - DAY - 1999</stage_direction> <scene_description>MARION'S HAND -- Presses the cloth over Patrick's rib cage. A little too forcefully. He grunts.</scene_description> </scene> <scene> <stage_direction>INT. LONDON CAFE - NIGHT - 1957</stage_direction> <scene_description>Patrick treats Marion and Tom to drinks in an "artistic" cafe, furnished with antiques, featuring a PIANO PLAYER.</scene_description> </scene> <scene> <stage_direction>INTERCUT: INT. BURGESS HOUSE - SPARE BEDROOM - DAY - 1999</stage_direction> <scene_description>Marion RAISING Patrick's ARM to wash it.</scene_description> </scene> <scene> <stage_direction>53A INTERCUT: INT. CAFE - 1957 53A</stage_direction> <scene_description>Patrick RAISING his glass in a toast to the Piano Player, and singing along.</scene_description> <character>PATRICK</character> <dialogue>I love this wine!</dialogue> <parenthetical>(stands up and starts singing)</parenthetical> <dialogue>"I'm gonna get lit up, when the lights go up in London... I'm gonna get lit up as I've never been before..."</dialogue> <scene_description>RETURN TO - SPARE BEDROOM - 1999 -- Marion's fingers intertwine with Patrick's gnarled fingers as warm water runs over. 53A RETURN TO - CAFE - 1957 -- 53A Patrick stands, letting his voice ring out.</scene_description> <character>PATRICK AND TOM</character> <dialogue>"You will find me on the tiles. You will find me wreathed in smiles..."</dialogue> <scene_description>RETURN TO - SPARE BEDROOM - 1999 -- Marion washes Patrick's upper legs, still strong looking. There's some question as to how far up his leg she'll let her hand venture. 53A RETURN TO - CAFE - 1957 -- 53A Tom rises, drapes an arm around Patrick's shoulder, as they belt the song.</scene_description> <character>PATRICK, TOM, MARION</character> <dialogue>"I'm gonna get so lit up I'll be visible for miiiiiiles! The city will sit up when the lights go up in London."</dialogue> <scene_description>RETURN TO - SPARE BEDROOM - 1999 -- Patrick closes his eyes. Is he enjoying the warm cloth on his skin? Or resenting it? 53A CAFE - 1957 53A Marion squeezes between the two men, joining with them singing:</scene_description> <character>PATRICK, TOM, MARION</character> <dialogue>"We will all be lit up as the Strand was, only more, much more. And before the party's played out. They will fetch the fire brigade out. To the lit-est, up-est, scene you ever saw."</dialogue> </scene> <scene> <stage_direction>EXT. BRIGHTON PRIMARY SCHOOL - DAY - 1957</stage_direction> <scene_description>Establishing.</scene_description> </scene> <scene> <stage_direction>INT. BRIGHTON PRIMARY SCHOOL - STAFF ROOM - DAY - 1957</stage_direction> <scene_description>A stuffy room where Teachers sit in groups, smoking, drinking tea, and chatting about the day. Marion is correcting papers when she's joined by a colleague, JULIA HARCOURT (26, vibrant, modern).</scene_description> <character>JULIA</character> <dialogue>Well, there's our cultured girl.</dialogue> <character>MARION</character> <dialogue>Hello, Julia. How was your weekend?</dialogue> <character>JULIA</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>Delightful. Marking maths exams and tending to a sick cat. Now, why don't you make me feel even worse -- Tell me about your weekend. What fabulous adventure did you have?</dialogue> <character>MARION</character> <dialogue>We went to London for the opera.</dialogue> <character>JULIA</character> <dialogue>Not Wagner, I hope.</dialogue> <character>MARION</character> <dialogue>Verdi. It was beautiful. Not just the music. The hall, the people, the gowns.</dialogue> <character>JULIA</character> <dialogue>And you were Patrick's guests again?</dialogue> <character>MARION</character> <dialogue>He heard me say it's always been a dream of mine. So he insisted.</dialogue> <scene_description>Julia looks perplexed.</scene_description> <character>MARION</character> <dialogue>What? If you have something to say, I'd like to hear it.</dialogue> <parenthetical>(lower)</parenthetical> <dialogue>You're the only friend I've made since the term started. And the only one I care to make among these stodgy old bags.</dialogue> <character>JULIA</character> <dialogue>Sh... Alright, then. How long have you and Tom known each other?</dialogue> <character>MARION</character> <dialogue>Since the summer.</dialogue> <character>JULIA</character> <dialogue>Has he made advances?</dialogue> <character>MARION</character> <dialogue>Tom's a gentleman. What are you getting at?</dialogue> <character>JULIA</character> <dialogue>It's just... The three of you spending so much time together. Tom's not jealous?</dialogue> <character>MARION</character> <dialogue>Why should he be?</dialogue> <character>JULIA</character> <dialogue>You and Patrick seem better suited to each other. So many similar interests. Are you sure it's Tom you want to be with?</dialogue> <scene_description>Marion is forced to admit something.</scene_description> <character>MARION</character> <dialogue>I won't deny it. Patrick is, what's the word? Dashing. But...</dialogue> <character>JULIA</character> <dialogue>But?</dialogue> <scene_description>Marion leans forward, sharing a delicious confidence.</scene_description> <character>MARION</character> <dialogue>With Tom, I don't care about his education, his grammar, his manners. If he burps when he drinks beer. Or falls asleep at the opera. Which he did and it annoyed Patrick to no end. With all that... He's still perfect. He's Tom. Does that answer your question?</dialogue> <character>JULIA</character> <dialogue>I think you're saying you're in love.</dialogue> <scene_description>Marion smiles, in agreement.</scene_description> <character>JULIA</character> <dialogue>Is Tom?</dialogue> <scene_description>Marion stiffens. Julia's touched a nerve.</scene_description> <character>MARION</character> <dialogue>You'll be happy to know Tom and I are seeing each other this weekend. Just the two of us.</dialogue> <scene_description>A SCHOOL BELL RINGS -- Marion gathers her things to go.</scene_description> <character>JULIA</character> <dialogue>Your idea?</dialogue> <character>MARION</character> <dialogue>His.</dialogue> </scene> <scene> <stage_direction>INT. BRIGHTON PUB - NIGHT - 1957</stage_direction> <scene_description>Tom and Marion share a table in a working-class pub in Tom's neighbourhood. A half-drunk couple sway to music from the jukebox. Tom gulps his pint. He seems a bit nervous, distracted.</scene_description> <character>MARION</character> <dialogue>How was your week?</dialogue> <character>TOM</character> <dialogue>Fine. The usual.</dialogue> <parenthetical>(her drink)</parenthetical> <dialogue>Do you want another?</dialogue> <character>MARION</character> <dialogue>I've barely touched this one.</dialogue> <character>TOM</character> <dialogue>Right.</dialogue> <scene_description>A pause. Is it possible that -- in Patrick's absence -- they have nothing to say to each other?</scene_description> <character>MARION</character> <dialogue>How's Sylvie?</dialogue> <character>TOM</character> <dialogue>The same.</dialogue> <scene_description>He takes a big gulp of his pint. On edge for some reason.</scene_description> <character>MARION</character> <dialogue>Are you alright?</dialogue> <character>TOM</character> <dialogue>Absolutely. Don't you like this place?</dialogue> <character>MARION</character> <dialogue>No, it's fine.</dialogue> <character>TOM</character> <dialogue>It's not elegant. Not what you've become used to.</dialogue> <character>MARION</character> <dialogue>Tom. It's fine. Why don't we dance?</dialogue> <character>TOM</character> <dialogue>I'm not much for dancing.</dialogue> <character>MARION</character> <dialogue>Well, we might try.</dialogue> <character>TOM</character> <dialogue>Shall we go somewhere else?</dialogue> <character>MARION</character> <dialogue>I haven't finished my drink.</dialogue> <scene_description>A loud argument at the bar further grates Tom's nerves.</scene_description> <character>TOM</character> <dialogue>Let's go. We can't talk in here.</dialogue> <scene_description>He stands abruptly and exits the place.</scene_description> </scene> <scene> <stage_direction>EXT. BRIGHTON PUB - CONTINUOUS - 1957</stage_direction> <scene_description>Marion finds Tom in the street.</scene_description> <character>MARION</character> <dialogue>What the bloody hell is wrong with you?</dialogue> <scene_description>He's shocked by her outburst.</scene_description> <character>TOM</character> <dialogue>What -- ?</dialogue> <character>MARION</character> <dialogue>Can't we have a drink like a normal couple? Or dance?</dialogue> <character>TOM</character> <dialogue>Marion --</dialogue> <character>MARION</character> <dialogue>All I want is to be alone with you! And to relax and enjoy ourselves. Is that so much to ask?</dialogue> <scene_description>A moment. Then -- Tom takes her by the arms and kisses her passionately. In the street. When he pulls away:</scene_description> <character>TOM</character> <dialogue>I want to take you somewhere. All right?</dialogue> <scene_description>She nods. Breathless.</scene_description> </scene> <scene> <stage_direction>57A INT. COMMUNAL STAIRS TOWARDS ELEGANT FLAT - NIGHT - 1957 57A</stage_direction> </scene> <scene> <stage_direction>INT. ELEGANT FLAT - NIGHT - 1957</stage_direction> <scene_description>Moonlight illuminates a darkened and empty flat. While someone tries to unlock the front door. The door opens. Tom leads Marion inside.</scene_description> <character>MARION</character> <dialogue>Where are -- ?</dialogue> <character>TOM</character> <dialogue>Sh!</dialogue> <scene_description>He ushers her in, locks the door. Switches on lights.</scene_description> <character>TOM</character> <dialogue>Had to keep our voices down on the stairs. But we can talk normally now. Can I get you a drink? What would you like?</dialogue> <scene_description>Marion finds herself in a well-appointed flat, with expensive furniture and fine art.</scene_description> <character>TOM</character> <dialogue>Whiskey? Cognac? Brandy?</dialogue> <scene_description>Tom stands before a sleek bar cabinet: liquor in crystal decanters, beautiful glassware.</scene_description> <character>MARION</character> <dialogue>Is this Patrick's flat?</dialogue> <character>TOM</character> <dialogue>Yeah.</dialogue> <character>MARION</character> <dialogue>Is he here?</dialogue> <character>TOM</character> <dialogue>He's in London. He gave me a set of keys. So I can use it when he's out of town. Isn't it incredible? You said you wanted...</dialogue> <character>MARION</character> <dialogue>Uh. Brandy.</dialogue> <scene_description>Marion takes in Patrick's belongings. Art in gilt frames. A 19th century writing desk. A red, leather-bound journal.</scene_description> <character>TOM</character> <parenthetical>(hands her a drink)</parenthetical> <dialogue>Cheers.</dialogue> <scene_description>Tom gulps his whiskey.</scene_description> <character>TOM</character> <dialogue>Fine place, isn't it? He's got some lovely paintings.</dialogue> <scene_description>Marion comes upon a group of framed, pencil portraits on the wall: newsboy, bus driver, old woman... And a policeman who looks just like Tom.</scene_description> <character>MARION</character> <dialogue>Is this you?</dialogue> <character>TOM</character> <dialogue>It's good, isn't it? Patrick says ordinary people have the best faces.</dialogue> <character>MARION</character> <dialogue>You posed for this?</dialogue> <character>TOM</character> <dialogue>That's how Patrick and I met. I told you.</dialogue> <character>MARION</character> <dialogue>No, you said he reported an accident.</dialogue> <character>TOM</character> <dialogue>I haven't finished the tour. Come.</dialogue> <scene_description>He takes Marion by the hand and leads her up the stairs.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR/PATRICK'S BEDROOM - CONTINUOUS - 1957</stage_direction> <scene_description>Tom walks Marion down corridor into the bedroom. A satin bedcover shimmers in dim light.</scene_description> <character>MARION</character> <dialogue>Well.</dialogue> <scene_description>They both drop their voices in this fraught situation.</scene_description> <character>TOM</character> <dialogue>Would you like another drink?</dialogue> <character>MARION</character> <dialogue>No. Thank you.</dialogue> <character>TOM</character> <dialogue>It's late. If you want to go...</dialogue> <character>MARION</character> <dialogue>I don't want to go.</dialogue> <scene_description>Tom is frozen.</scene_description> <character>MARION</character> <dialogue>You know, when you kissed me, in the street...</dialogue> <character>TOM</character> <dialogue>Yeah?</dialogue> <character>MARION</character> <dialogue>It was lovely.</dialogue> <scene_description>Tom steps closer.</scene_description> <character>TOM</character> <dialogue>Shall I...?</dialogue> <scene_description>Marion tilts her head toward his. Tom presses his face into her hair. Then his lips against hers. Marion responds with a hint of passion, trying to remain within the bounds of what's "ladylike." Tom breaks off the kiss.</scene_description> <character>MARION</character> <dialogue>What's the matter?</dialogue> <character>TOM</character> <dialogue>I've never done this before.</dialogue> <character>MARION</character> <dialogue>It's alright. We don't have to do anything, do we?</dialogue> <character>TOM</character> <dialogue>I'm sorry!</dialogue> <character>MARION</character> <dialogue>It's fine. Really it is. I just like being close to you. Come. Sit.</dialogue> <scene_description>Marion takes him by the hand until they're sitting beside each other on the bed.</scene_description> <character>TOM</character> <dialogue>I wanted it to be nice for you.</dialogue> <character>MARION</character> <dialogue>This is nice.</dialogue> <character>TOM</character> <dialogue>And I wanted to tell you... Ask you a question, really. Something that's hard to say...</dialogue> <character>MARION</character> <dialogue>Just try.</dialogue> <character>TOM</character> <dialogue>I want you to be my wife.</dialogue> <scene_description>She's stunned.</scene_description> <character>TOM</character> <dialogue>I'm not good at this sort of thing.</dialogue> <character>MARION</character> <dialogue>I wasn't sure you even...</dialogue> <character>TOM</character> <dialogue>I never tried anything before, because... I think I was afraid.</dialogue> <character>MARION</character> <dialogue>Of me?</dialogue> <character>TOM</character> <dialogue>Of growing up. A man gets married, it's a big step. And you seemed so taken with Patrick. I started to think, maybe I'm not the man for you. That you'd prefer someone more, you know...</dialogue> <character>MARION</character> <dialogue>That's not true, Tom! Not true at all. I think you're perfectly kind, and wonderful. But I didn't think you were interested in me.</dialogue> <scene_description>He manages a smile.</scene_description> <character>TOM</character> <dialogue>We're just two confused people, aren't we?</dialogue> <character>MARION</character> <dialogue>Looks that way.</dialogue> <character>TOM</character> <dialogue>And even though I put it so badly, and made a mess of the whole night... Will you think about, you know... What I asked?</dialogue> <scene_description>She takes his face -- his beautiful face -- in her hands.</scene_description> <character>MARION</character> <dialogue>I don't have to think about it.</dialogue> <scene_description>And kisses him. Passionately. Ladylike or not.</scene_description> </scene> <scene> <stage_direction>EXT. PEACEHAVEN BEACH - DAY - 1999</stage_direction> <scene_description>The sun has broken through fog.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - SPARE BEDROOM - DAY - 1999</stage_direction> <scene_description>Patrick has been placed in a wheelchair, facing a window. He appears alert. Stronger. Making some recovery. HIS POV OUT THE WINDOW -- Marion chatting with a neighbour.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - CORRIDOR - CONTINUOUS - 1999</stage_direction> <scene_description>WE HEAR a creaking SOUND and a couple of THUDS then -- Patrick APPEARS, wheeling himself into the corridor. Empty but for the dozing DOG outside the kitchen. Exerting himself, he manages a few more feet. To LOOK INTO the living room.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - LIVING/DINING AREA - CONT. - 1999</stage_direction> <scene_description>He SEES Marion's cigarettes. He grabs the pack. Dumps the cigarettes into his lap and manages to grasp one with rattling fingers. Now for the matches. He holds the box down with his near-dead left hand and tries to STRIKE one. Another try --</scene_description> <character>MARION</character> <dialogue>What the devil are you doing?</dialogue> <scene_description>Marion scowls from the doorway. At the same time, Patrick manages to LIGHT the match. A miracle! He laughs.</scene_description> <character>MARION</character> <parenthetical>(reaching)</parenthetical> <dialogue>Give me -- !</dialogue> <scene_description>He backs away. Holding the LIT MATCH. Laughing.</scene_description> <character>MARION</character> <dialogue>Patrick!</dialogue> <scene_description>She GRABS the match and burns her hand.</scene_description> <character>MARION</character> <dialogue>Ouch!</dialogue> <scene_description>He laughs more. Which infuriates her.</scene_description> <character>MARION</character> <dialogue>You could start a fire! --</dialogue> <scene_description>She grabs the arms of his wheelchair and SHAKES it.</scene_description> <character>MARION</character> <dialogue>Don't you understand?!</dialogue> <scene_description>Patrick flails an arm in reaction to Marion's outburst -- knocking a potted plant off a table to the floor: SMASH! And in the silence that follows:</scene_description> <character>PATRICK</character> <dialogue>-ere's -om?</dialogue> <scene_description>She takes a step back.</scene_description> <character>MARION</character> <dialogue>What?</dialogue> <character>PATRICK</character> <dialogue>-ere's -om?!</dialogue> <character>MARION</character> <dialogue>Where's Tom?</dialogue> <scene_description>He nods vigorously.</scene_description> <character>MARION</character> <dialogue>He's walking Walter.</dialogue> <scene_description>Patrick shakes his head. Does NOT accept that answer.</scene_description> <character>MARION</character> <dialogue>Or he's swimming. He's very busy...</dialogue> <scene_description>More defiant head shaking.</scene_description> <character>MARION</character> <dialogue>There's the Resident's Association...</dialogue> <scene_description>His whole BODY is shaking -- "No!"</scene_description> <character>MARION</character> <dialogue>He doesn't want to see you!</dialogue> <scene_description>Patrick sinks into his wheelchair.</scene_description> <character>MARION</character> <dialogue>He won't even come near your room. I don't think he'll ever forgive me for bringing you here.</dialogue> <character>MARION</character> <dialogue>We haven't had much of a marriage. Not after... But at least we had some kind of... treaty, I suppose it was. But now I think I've broken it. He's so angry. Does that make you happy?</dialogue> <scene_description>Patrick doesn't try to speak or move.</scene_description> <character>MARION</character> <dialogue>Stay there while I get something to clean this bloody mess.</dialogue> <scene_description>She exits. Patrick is alone. His HAND comes to his face to catch an annoying tear in one of his eyes. And WE CUT TO --</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - LIVING/DINING AREA - NIGHT - 1999</stage_direction> <scene_description>-- Tom's HAND. Moving two brown disks on a backgammon board, starting to win the game. WIDER -- Tom and Marion at the dining table, playing the game. As they have done for years.</scene_description> <character>MARION</character> <dialogue>Very lucky.</dialogue> <character>TOM</character> <dialogue>I'm on a roll.</dialogue> <scene_description>Her hand drops tenderly onto his.</scene_description> <character>MARION</character> <parenthetical>(glances at her watch)</parenthetical> <dialogue>Oh. Time for his pills.</dialogue> <scene_description>She rises to get his pills and a glass of water. She steals a glance at Tom, adding up the backgammon score. Then:</scene_description> <character>MARION</character> <dialogue>He spoke today. He asked a question.</dialogue> <character>TOM</character> <dialogue>That's impossible.</dialogue> <character>MARION</character> <dialogue>We've been working at it. Do you want to know what he said?</dialogue> <character>TOM</character> <dialogue>Not particularly.</dialogue> <character>MARION</character> <dialogue>Where's Tom?</dialogue> <scene_description>Tom says nothing.</scene_description> <character>MARION</character> <dialogue>That's what he asked.</dialogue> <character>TOM</character> <dialogue>Christ Almighty, Marion. What do you want from me?</dialogue> <character>MARION</character> <dialogue>All the time he's been here, you haven't been into see him once.</dialogue> <character>TOM</character> <dialogue>I don't plan to. And --</dialogue> </scene> <scene> <stage_direction>INTERCUT - INT. SPARE BEDROOM - 1999 --</stage_direction> <scene_description>Patrick can HEAR their conversation.</scene_description> <character>TOM</character> <dialogue>-- if he upsets you so much, you should send him away.</dialogue> <character>MARION</character> <dialogue>You don't mean that.</dialogue> <scene_description>RETURN TO - MARION AND TOM - 1999 --</scene_description> <character>TOM</character> <dialogue>I do! I've said it from the beginning.</dialogue> <character>MARION</character> <dialogue>We owe him something after what happened.</dialogue> <character>TOM</character> <dialogue>Leave it alone. We settled it a long time ago.</dialogue> <character>MARION</character> <dialogue>We didn't settle it. We just stopped talking about it. Tom --</dialogue> <scene_description>OLDER TOM BECOMES YOUNG TOM (in the same position, at the table with the backgammon board) --</scene_description> <character>YOUNG TOM</character> <dialogue>I don't want to hear another word. Are we playing or not?</dialogue> <character>MARION</character> <parenthetical>(an outburst)</parenthetical> <dialogue>How did this happen?!</dialogue> <character>OLDER TOM IS BACK AT THE TABLE --</character> <dialogue>TOM</dialogue> <scene_description>Bloody hell.</scene_description> <character>MARION</character> <dialogue>I was supposed to be married, with all the good things that come with that. Now look at me. Over sixty, my career's finished, no passion --</dialogue> <scene_description>RETURN TO - SPARE BEDROOM - ON PATRICK -- Learning about the marriage he's upended.</scene_description> <character>MARION (O.S.)</character> <dialogue>-- Are the only options a game of backgammon or an evening of silence in front of the tele? --</dialogue> <scene_description>RETURN TO - TOM AND MARION --</scene_description> <character>MARION</character> <dialogue>-- I'm bored and sick of it!</dialogue> <character>TOM</character> <dialogue>Oh now you're bored with me?</dialogue> <character>MARION</character> <dialogue>Not with you. With this. With whatever this is.</dialogue> <character>TOM</character> <dialogue>Everything was fine until you brought him here.</dialogue> <character>MARION</character> <dialogue>No, it wasn't! It hasn't been "fine" for quite a while. And if we don't try to fix it, at least talk --</dialogue> <scene_description>Tom rises abruptly. Goes into hallway and reaches for his jacket on a hook.</scene_description> <character>MARION</character> <parenthetical>(following)</parenthetical> <dialogue>Where are you going?</dialogue> <character>TOM</character> <dialogue>The pub. For some peace.</dialogue> <character>MARION</character> <dialogue>And what do I do, Tom? How do I find some peace?</dialogue> <character>TOM</character> <dialogue>Send him away.</dialogue> <character>MARION</character> <dialogue>No. You want him gone? You do it. You find one of those awful homes.</dialogue> <character>MARION</character> <dialogue>You take him to it. You sign the papers.</dialogue> <character>TOM</character> <parenthetical>(not convincing)</parenthetical> <dialogue>Alright. I will.</dialogue> <character>MARION</character> <dialogue>No you won't. You'll leave it to me to arrange. Like you left it to me before. Like you leave everything for me to do.</dialogue> <character>TOM</character> <dialogue>You should have left it alone. Just left it alone!</dialogue> <scene_description>He storms out. Slams the door behind.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - SPARE BEDROOM - MINUTES LATER - 1999</stage_direction> <scene_description>Marion enters with Patrick's pill and some water. She's shaken. Tries not to show it. ON PATRICK -- As he opens his mouth for the pill. THEN -- PATRICK'S POV ON MARION -- Only it's YOUNG MARION -- holding the water glass as Patrick sips from it.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - MASTER BEDROOM - MINUTES LATER - 1999</stage_direction> <scene_description>Marion paces. Nowhere to go with her feelings. Her EYES land on Patrick's JOURNALS. She reaches for one. Sits on the bed and opens it. She flips through pages, scanning entries in Patrick's precise penmanship. She pauses on a page when something catches her attention. Someone POUNDING on a door CROSSES THE CUT TO --</scene_description> </scene> <scene> <stage_direction>EXT. BRIGHTON STREET - POLICE BOX - DAY - 1957</stage_direction> <scene_description>A MAN (seen from behind) RAPS on a door. The DOOR OPENS, and YOUNG TOM appears. In uniform.</scene_description> <character>TOM</character> <dialogue>Yes?</dialogue> <scene_description>It's Patrick who's been knocking.</scene_description> <character>PATRICK</character> <dialogue>There's been an accident! An old lady on her bicycle. She was knocked down. Can you come quickly, please?</dialogue> </scene> <scene> <stage_direction>EXT. BRIGHTON STREET - MINUTES LATER - 1957</stage_direction> <scene_description>Patrick leads Tom to the scene of the accident. But the Bicyclist is already peddling away.</scene_description> <character>PATRICK</character> <dialogue>What the devil?</dialogue> <scene_description>A PEDESTRIAN explains.</scene_description> <character>PEDESTRIAN</character> <dialogue>She didn't want to wait for you. Says she hates bloody coppers.</dialogue> <character>TOM</character> <parenthetical>(laughs)</parenthetical> <dialogue>Not the first time I've heard that!</dialogue> <character>PATRICK</character> <dialogue>Not much of an accident, was it? I'm sorry to have bothered you.</dialogue> <character>TOM</character> <dialogue>No bother at all, sir. You did the right thing. Besides, you never know how these things'll turn out. Thank you. Mr. --</dialogue> <character>PATRICK</character> <dialogue>Hazelwood. Let me give you my card.</dialogue> <scene_description>We WATCH as the conversation between Patrick and Tom continues, but WE HEAR:</scene_description> <character>PATRICK (V.O.)</character> <dialogue>I've never had much patience with our boys in blue...</dialogue> <scene_description>ON SCREEN: The conversation is clearly friendly.</scene_description> <character>PATRICK (V.O.)</character> <dialogue>Have always despised their brutish little ways. The evaluating glance up and down. The distaste they cannot hide. But this boy was different. His eyes lit up when he saw my card...</dialogue> <character>TOM</character> <parenthetical>(in the scene)</parenthetical> <dialogue>You work in the museum?</dialogue> <character>PATRICK (V.O.)</character> <dialogue>He said he'd never been to Brighton's most noble institution, even on a school trip!</dialogue> <character>TOM</character> <parenthetical>(in the scene)</parenthetical> <dialogue>I had the measles.</dialogue> <scene_description>They share a LAUGH over Tom's childhood misfortune.</scene_description> <character>PATRICK (V.O.)</character> <dialogue>I invited him to visit the museum as my guest. He seemed interested...</dialogue> <scene_description>They shake hands and Tom starts on his way.</scene_description> <character>PATRICK (V.O.)</character> <dialogue>I haven't been able to stop thinking about him...</dialogue> </scene> <scene> <stage_direction>69A INT. BURGESS HOUSE - MASTER BEDROOM - 1999 69A</stage_direction> <scene_description>Marion continues to read the journal, sitting on the bed.</scene_description> </scene> <scene> <stage_direction>INT. PATRICK'S FLAT - NIGHT - 1957</stage_direction> <scene_description>Patrick writes in one of his journals. A ritual. Drinking Scotch from a crystal glass.</scene_description> <character>PATRICK (V.O.)</character> <dialogue>He's handsome, yes. But there's something else. Innocence, combined with a curiosity...</dialogue> <scene_description>Patrick looks up at his portraits of "ordinary people." (Tom's portrait isn't there yet.)</scene_description> <character>PATRICK (V.O.)</character> <dialogue>I'd like to draw him. But I wonder if he'd misunderstand...</dialogue> <scene_description>Patrick takes a drink. Looks at one of the portraits: a YOUNG MAN, slight of build, with a blazing smile.</scene_description> <character>PATRICK (V.O.)</character> <dialogue>I'd almost forgotten that some people are still innocent.</dialogue> </scene> <scene> <stage_direction>INT. BRIGHTON ART MUSEUM - ARMOURY SECTION - DAY - 1957</stage_direction> <scene_description>Patrick is busy rearranging artefacts in a glass cabinet when his secretary, JACKIE STEWART (22, a busybody), comes up to him.</scene_description> <character>JACKIE</character> <dialogue>Mr. Hazelwood? An officer's here, asking for you.</dialogue> <scene_description>Patrick (delighted) guesses who is there. But plays it cool.</scene_description> <character>PATRICK</character> <dialogue>Tell him he'll have to wait.</dialogue> <character>JACKIE</character> <dialogue>He's rather handsome for a copper.</dialogue> <character>PATRICK (V.O.)</character> <dialogue>There he was...</dialogue> <scene_description>CLOSE ON PATRICK'S JOURNAL in SOMEONE'S HANDS --</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - MASTER BEDROOM - NIGHT - 1999</stage_direction> <scene_description>But it's MARION who's holding the journal. She's now sitting up in her bed. Absorbed with what she's reading.</scene_description> <character>PATRICK (V.O.)</character> <dialogue>I recognised him, even from behind...</dialogue> <scene_description>Marion's expression has the quality of someone horrified by a car accident but can't look away.</scene_description> <character>PATRICK (V.O.)</character> <dialogue>That fine head...</dialogue> </scene> <scene> <stage_direction>INT. BRIGHTON ART MUSEUM - PAINTING GALLERY - DAY - 1957</stage_direction> <scene_description>Patrick finds Tom in his uniform. Gazing at a painting.</scene_description> <character>PATRICK (V.O.)</character> <dialogue>The unmistakable line of his shoulder...</dialogue> </scene> <scene> <stage_direction>INT. BRIGHTON ART MUSEUM - PAINTING GALLERY - LATER - 1957</stage_direction> <scene_description>Patrick and Tom stand next to each other examining the (familiar) Turner seascape.</scene_description> <character>TOM</character> <dialogue>Now that's a good painting.</dialogue> <character>PATRICK</character> <dialogue>In fact, it's a masterpiece.</dialogue> <character>TOM</character> <dialogue>See? I must have some taste for art after all.</dialogue> <character>PATRICK</character> <dialogue>Taste is just knowing how something makes you feel. How does it make you feel?</dialogue> <scene_description>Tom studies the painting.</scene_description> <character>TOM</character> <dialogue>You can sense the waves, how strong they are.</dialogue> <character>TOM</character> <dialogue>They could crush you or take you under. Like swimming in rough surf.</dialogue> <character>PATRICK</character> <dialogue>Exciting. And frightening.</dialogue> <character>TOM</character> <dialogue>Right! Don't tell the boys down the station I'm afraid of a painting.</dialogue> <scene_description>At this moment, Patrick's secretary, Jackie, walks though the gallery, eyeing Patrick and Tom suspiciously. When she's gone:</scene_description> <character>PATRICK</character> <dialogue>You know, I'm an amateur artist.</dialogue> <character>TOM</character> <dialogue>You paint?</dialogue> <character>PATRICK</character> <dialogue>Pencil drawings, mostly. Studies of ordinary Brighton people. A tram conductor, a barman. You'd make a perfect subject.</dialogue> <character>TOM</character> <dialogue>Me? I've never been asked to model before.</dialogue> <character>PATRICK</character> <dialogue>There's nothing to it.</dialogue> <character>TOM</character> <dialogue>But I wouldn't mind learning more about paintings. Art, I mean.</dialogue> <character>PATRICK</character> <dialogue>That's admirable.</dialogue> <character>TOM</character> <dialogue>Is it? Why?</dialogue> <character>PATRICK</character> <dialogue>Because a man should always try to improve himself.</dialogue> </scene> <scene> <stage_direction>EXT. BRIGHTON BEACH - NIGHT - 1957</stage_direction> <scene_description>The Brighton Pier with its flashing lights: "Helter Skelter." "Palmist." "Merry Go Round." "Shell Shop." in the background. FIND TOM -- In street clothes, sitting on the beach, looking at the turgid sea. Struggling with a decision. He lights a cigarette, hoists his duffel bag over his shoulder and starts walking towards...</scene_description> </scene> <scene> <stage_direction>EXT. PATRICK'S FLAT BUILDING - NIGHT - 1957</stage_direction> <scene_description>Tom comes to a residential building in an expensive and quiet part of the city. Extinguishes his cigarette. Hesitates before ringing the bell. Rings it. Waits nervously.</scene_description> </scene> <scene> <stage_direction>INT. COMMUNAL STAIRS/PATRICK'S FLAT - NIGHT - 1957</stage_direction> <scene_description>Tom climbs the stairs, carrying his bag. ON THE SECOND FLOOR -- A door opens slightly, Patrick on the other side. With a smile (trying not to look too eager).</scene_description> <character>TOM</character> <dialogue>I made it.</dialogue> <scene_description>Patrick's neighbour, RUDY (50's, bookish), opens his door.</scene_description> <character>RUDY</character> <dialogue>Evening, Patrick.</dialogue> <scene_description>Patrick is caught off guard but recovers.</scene_description> <character>PATRICK</character> <dialogue>Rudy. This is Tom. My cousin.</dialogue> <character>RUDY</character> <dialogue>How do you do?</dialogue> <character>TOM</character> <dialogue>Fine, thank you.</dialogue> </scene> <scene> <stage_direction>INT. PATRICK'S FLAT - HALLWAY/LIVING ROOM - CONT. - 1957</stage_direction> <scene_description>Tom enters. Patrick closes the door behind him.</scene_description> <character>TOM</character> <dialogue>Cousin?</dialogue> <character>PATRICK</character> <dialogue>I assumed you didn't want me to say you're a police officer coming to have your portrait drawn.</dialogue> <character>TOM</character> <dialogue>Nothing wrong with that, is there? Nice place.</dialogue> <character>PATRICK</character> <dialogue>Thank you.</dialogue> <character>TOM</character> <dialogue>I brought my uniform. In case you want me in it. For the portrait.</dialogue> <character>PATRICK</character> <dialogue>Oh, yes. That'll do nicely.</dialogue> <scene_description>Awkward silence.</scene_description> <character>PATRICK</character> <dialogue>Well, then. Why don't you change?</dialogue> </scene> <scene> <stage_direction>INT. PATRICK'S FLAT - LIVING ROOM - NIGHT - 1957</stage_direction> <scene_description>FIND -- Tom in uniform. On the posing stool. While Patrick draws on his pad.</scene_description> <character>PATRICK</character> <dialogue>Do you like being a policeman?</dialogue> <character>TOM</character> <parenthetical>(turning toward him)</parenthetical> <dialogue>Yes, I--</dialogue> <character>PATRICK</character> <dialogue>Try to keep the pose.</dialogue> <character>TOM</character> <dialogue>Sorry. Yeah. I think so.</dialogue> <character>PATRICK</character> <dialogue>What do you like about it?</dialogue> <character>TOM</character> <dialogue>Is this part of the procedure?</dialogue> <character>PATRICK</character> <dialogue>I can't draw you if I don't know who you are.</dialogue> <character>TOM</character> <dialogue>I like knowing I'm doing something for the public. Protecting people.</dialogue> <character>PATRICK</character> <dialogue>If that's your ambition, I give you more credit than most of your colleagues.</dialogue> <character>TOM</character> <dialogue>How so?</dialogue> <character>PATRICK</character> <dialogue>You seem more open-minded than the police I've run across.</dialogue> <character>TOM</character> <dialogue>Do I?</dialogue> <character>PATRICK</character> <dialogue>Oh, yes. I tend to keep my distance from police, in general.</dialogue> <character>TOM</character> <dialogue>There's no reason to fear a police officer if you keep on the right side of the law.</dialogue> <character>PATRICK</character> <dialogue>Of course. I didn't mean --</dialogue> <character>TOM</character> <dialogue>It's the criminal element that causes the trouble. And we have to deal with it.</dialogue> <scene_description>Tom has broken the pose.</scene_description> <character>TOM</character> <dialogue>I'm not sure this is a good --</dialogue> <character>PATRICK</character> <dialogue>I didn't offer you a drink. Would you like something?</dialogue> <character>TOM</character> <dialogue>Please, beer if you've got it.</dialogue> <character>PATRICK</character> <dialogue>I'm afraid I don't have any beer. How about something stronger? I'm going to have a Scotch. What about you, Officer Burgess?</dialogue> <scene_description>Tom has never tasted Scotch in his life.</scene_description> <character>TOM</character> <dialogue>I'll have a Scotch, thank you. And it's "Tom."</dialogue> <character>PATRICK</character> <dialogue>Alright, Tom.</dialogue> <scene_description>PRE-LAP: Tom's LAUGHTER crosses the cut to --</scene_description> </scene> <scene> <stage_direction>INT. PATRICK'S FLAT - LIVING ROOM - LATER - 1957</stage_direction> <scene_description>Patrick stomps around in Tom's policeman's jacket.</scene_description> <character>PATRICK</character> <parenthetical>(imitating a bobby)</parenthetical> <dialogue>Stop where you are, you hooligan!</dialogue> <scene_description>Tom, on the sofa, shakes with laughter.</scene_description> <character>PATRICK</character> <dialogue>Am I that ridiculous?</dialogue> <character>TOM</character> <dialogue>I'm sorry but, "hooligan?"</dialogue> <character>PATRICK</character> <parenthetical>(taking off the jacket)</parenthetical> <dialogue>Alright, I'm no bobby. This looks better on you anyway. And the material's coarse.</dialogue> <character>TOM</character> <dialogue>Like me.</dialogue> <character>PATRICK</character> <dialogue>Not at all like you.</dialogue> <scene_description>Patrick joins Tom (high on Scotch) on the sofa.</scene_description> <character>TOM</character> <dialogue>Do I make a good subject, then?</dialogue> <character>PATRICK</character> <dialogue>Despite your nervousness, yes.</dialogue> <character>TOM</character> <dialogue>The Scotch helped. Didn't need three of 'em, though. You must think I'm a drunkard.</dialogue> <character>PATRICK</character> <dialogue>Why shouldn't a policeman enjoy himself when he's off duty?</dialogue> <character>TOM</character> <dialogue>Absolutely right.</dialogue> <scene_description>Tom stretches, and his arm drops, casually, along the back of the sofa, leaving his fingers close to Patrick's neck. Patrick is keenly aware of this proximity.</scene_description> <character>TOM</character> <dialogue>Are you really going to hang my portrait in the museum?</dialogue> <character>PATRICK</character> <dialogue>Someday I hope to mount a show.</dialogue> <character>TOM</character> <dialogue>Imagine my mug in a museum. You sure it'll be good enough?</dialogue> <character>PATRICK</character> <dialogue>I think it will be --</dialogue> <scene_description>Tom's fingers graze Patrick's neck.</scene_description> <character>PATRICK</character> <dialogue>-- lovely.</dialogue> <scene_description>Tom pulls his hand away as if the touch was accidental.</scene_description> <character>TOM</character> <dialogue>Sorry.</dialogue> <character>PATRICK</character> <dialogue>There's no need to be.</dialogue> <scene_description>Patrick places a hand on Tom's strong thigh.</scene_description> <character>TOM</character> <dialogue>I'm not sure what's happening.</dialogue> <character>PATRICK</character> <dialogue>Then let it happen.</dialogue> <character>TOM</character> <dialogue>Patrick. I'm not --</dialogue> <character>PATRICK</character> <dialogue>Don't say anything.</dialogue> <scene_description>Patrick flicks off the table lamp.</scene_description> <character>TOM</character> <dialogue>Maybe we shouldn't.</dialogue> <character>PATRICK</character> <dialogue>Sh.</dialogue> <scene_description>Patrick unbuttons Tom's shirt and reaches inside to stroke Tom's chest. Tom sighs.</scene_description> <character>PATRICK</character> <dialogue>Let me do this for you.</dialogue> <scene_description>He presses his hand onto Tom's crotch. Tom moans.</scene_description> <character>PATRICK</character> <dialogue>Alright?</dialogue> <scene_description>Patrick kneels between Tom's legs.</scene_description> <character>TOM</character> <parenthetical>(eyes closed)</parenthetical> <dialogue>Yes.</dialogue> </scene> <scene> <stage_direction>INT. PATRICK'S FLAT - LIVING ROOM/HALLWAY - LATER - 1957</stage_direction> <scene_description>IN THE DIM LIGHT -- Patrick rises from the sofa. Turns on a light and FINDS -- Tom. Stuffing his police jacket into his duffel dug.</scene_description> <character>PATRICK</character> <dialogue>Tom?</dialogue> <scene_description>Tom is stone sober. Anxious to exit.</scene_description> <character>TOM</character> <dialogue>Look out the door. See if anyone's there.</dialogue> <scene_description>Patrick cracks the door open, peers out.</scene_description> <character>PATRICK</character> <dialogue>No one there. You don't have to --</dialogue> <character>TOM</character> <dialogue>How do you do it?</dialogue> <character>PATRICK</character> <dialogue>What?</dialogue> <character>TOM</character> <dialogue>Live this life.</dialogue> <character>PATRICK</character> <dialogue>One learns to live as one can.</dialogue> <character>TOM</character> <dialogue>I can't.</dialogue> <scene_description>Tom rushes out. Patrick closes the door, hearing Tom's footsteps down the stairs. It's over. Patrick's shattered.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - HALLWAY - DAY - 1999</stage_direction> <scene_description>Tom puts the dog into the living room and closes the door. Tom is putting his coat on, Marion appears in doorway.</scene_description> <character>MARION</character> <dialogue>Where are you going?</dialogue> <character>TOM</character> <dialogue>Is this how it's going to be now? You questioning me.</dialogue> <character>MARION</character> <dialogue>It's a normal thing to ask. You're going out. Where are you going?</dialogue> <character>TOM</character> <dialogue>I go out everyday.</dialogue> <character>MARION</character> <dialogue>And today, I'm asking where?</dialogue> <character>TOM</character> <dialogue>You know.</dialogue> <character>MARION</character> <dialogue>I want to hear it from you.</dialogue> <scene_description>Tom feels pushed to the limit. So he strikes back.</scene_description> <character>TOM</character> <dialogue>Alright. There are places. Where I meet people.</dialogue> <character>MARION</character> <dialogue>Men.</dialogue> <character>TOM</character> <dialogue>Of course, men.</dialogue> <character>MARION</character> <dialogue>Strangers.</dialogue> <character>TOM</character> <dialogue>Some are. Some I know. Is this what you want to hear?</dialogue> <character>MARION</character> <dialogue>What do you do with them?</dialogue> <character>TOM</character> <dialogue>For God's sake, what do you think we do? What else would you like to know? If I care for any of them...?</dialogue> <parenthetical>(before she can answer)</parenthetical> <dialogue>I don't. I don't allow myself to feel anything for them. I just use them. To satisfy something I've tried to kill but can't. Are you pleased now?</dialogue> <scene_description>He starts for the door.</scene_description> <character>MARION</character> <dialogue>Tom!</dialogue> <character>TOM</character> <dialogue>Why are you torturing me? And why are you torturing yourself?</dialogue> <character>MARION</character> <dialogue>Do you hate me?</dialogue> <character>TOM</character> <dialogue>Hate you?</dialogue> <scene_description>He exits. Marion is struck through the heart. She starts to weep.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - SPARE BEDROOM - CONTINUOUS - 1999</stage_direction> <scene_description>Patrick in his wheelchair hears Marion is upset.</scene_description> </scene> <scene> <stage_direction>83A EXT. BURGESS HOUSE - DAY - 1999 83A</stage_direction> <scene_description>Tom walks away from the house.</scene_description> </scene> <scene> <stage_direction>83B INT./EXT. BURGESS HOUSE - MASTER BEDROOM - CONT. - 1999 83B</stage_direction> <scene_description>Marion looks out of her window at Tom walking away.</scene_description> </scene> <scene> <stage_direction>EXT. PEACEHAVEN - CHALK CLIFFS - DAY - 1999</stage_direction> <scene_description>SEEN FROM A DISTANCE -- A male figure (Tom - we recognise his physique and hunched shoulders) strolls the lonely concrete path at the base of the stark cliffs. Two MEN (not together) approach from the opposite direction. The first passes Tom without a glance. The second MAN slows his step. He and Tom make eye contact. But pass by each other. The Man pauses, looks back to Tom, who also glances backward. This Man turns and follows Tom.</scene_description> <character>PATRICK (V.O.)</character> <dialogue>There are times when one can't bear being alone...</dialogue> </scene> <scene> <stage_direction>INT. PATRICK'S FLAT - LIVING ROOM - NIGHT - 1957</stage_direction> <scene_description>OPEN ON -- The unfinished pencil PORTRAIT of Tom. But CAMERA FINDS Patrick, at his desk, writing in his journal.</scene_description> <character>PATRICK (V.O.)</character> <dialogue>I don't know whether I'll ever see my policeman again...</dialogue> </scene> <scene> <stage_direction>EXT. ARGYLE HOTEL BAR - BRIGHTON - NIGHT - 1957</stage_direction> <scene_description>A dark wet night.</scene_description> <character>PATRICK (V.O.)</character> <dialogue>And that's why places like the Argyle exist.</dialogue> <scene_description>Patrick approaches a hotel bar on one of Brighton's seedier streets. Looks around quickly, ducks inside.</scene_description> </scene> <scene> <stage_direction>INT. ARGYLE HOTEL BAR - NIGHT - 1957</stage_direction> <scene_description>Candles, leather armchairs, fireplace. An Asian boy playing "Stormy Weather" on a battered piano. The customers: five or six respectable, middle-aged men, and two skinny boys, looking to be hired. MISS BROWN (60s, owner and bartender) greets Patrick.</scene_description> <character>MISS BROWN</character> <dialogue>How are we this evening?</dialogue> <character>PATRICK</character> <dialogue>Oh, tolerable, Miss Brown.</dialogue> <character>MISS BROWN</character> <dialogue>Like myself. Scotch, as usual?</dialogue> <scene_description>Patrick notices a young man sitting at the bar: LEONARD (20), rangy build, leather jacket. Hint of danger.</scene_description> <character>PATRICK</character> <dialogue>What are you having?</dialogue> <character>LEONARD</character> <dialogue>A dry martini.</dialogue> <character>PATRICK</character> <parenthetical>(to Miss Brown)</parenthetical> <dialogue>Dry martini, please. For each of us.</dialogue> </scene> <scene> <stage_direction>EXT. BRIGHTON - NARROW ALLEY - HALF AN HOUR LATER - 1957</stage_direction> <scene_description>Leonard leans against the stone wall, cigarette dangling from his mouth, while Patrick services him, kneeling on a newspaper laid down to protect his trousers.</scene_description> </scene> <scene> <stage_direction>INT. PATRICK'S BUILDING - ENTRANCE HALL/STAIRS - LATER - 1957</stage_direction> <scene_description>Patrick lets himself into the foyer. Moving with a sluggish, defeated step. Looks up and SEES -- Tom. At his door. I --:</scene_description> <character>PATRICK</character> <dialogue>Sh.</dialogue> <scene_description>Patrick hurries up the stairs.</scene_description> </scene> <scene> <stage_direction>INT. PATRICK'S FLAT - CONTINUOUS - 1957</stage_direction> <scene_description>Tom enters. Patrick shuts the door behind them.</scene_description> <character>TOM</character> <dialogue>Do you still want to draw me?</dialogue> <character>PATRICK</character> <dialogue>If you like.</dialogue> <scene_description>Tom wavers on his feet, drunk.</scene_description> <character>TOM</character> <dialogue>If I like? I thought that was what you wanted. To draw my portrait. An ordinary person. But that's not what you really wanted, is it?</dialogue> <character>PATRICK</character> <dialogue>You're drunk.</dialogue> <character>TOM</character> <dialogue>You got me here under false pretences. You knew what you wanted, the whole time. That's why you asked me here, isn't it?</dialogue> <parenthetical>(raises his fist)</parenthetical> <dialogue>Answer me!</dialogue> <character>PATRICK</character> <dialogue>Hit me, go on!</dialogue> <scene_description>Patrick stares Tom down. Tom goes limp.</scene_description> <character>TOM</character> <dialogue>You shouldn't've dragged me into it.</dialogue> <character>PATRICK</character> <dialogue>You touched me first.</dialogue> <character>TOM</character> <dialogue>I don't know why I did that. It was wrong.</dialogue> <scene_description>Patrick gently reaches for Tom, touches his hair.</scene_description> <character>PATRICK</character> <dialogue>Did it feel wrong?</dialogue> <character>TOM</character> <dialogue>Please, don't.</dialogue> <scene_description>Patrick tilts Tom's face toward his. Kisses him. Tom responds passionately. He can't deny his true self.</scene_description> </scene> <scene> <stage_direction>INT. PATRICK'S BEDROOM - LATER - 1957</stage_direction> <scene_description>Tom covers Patrick's body with his, taking him passionately.</scene_description> </scene> <scene> <stage_direction>INT. PATRICK'S BEDROOM - POST-COITAL - 1957</stage_direction> <scene_description>Patrick and Tom tangled in bed.</scene_description> <character>TOM</character> <dialogue>Did you ever think of getting married?</dialogue> <character>PATRICK</character> <dialogue>I had a lover. Michael. We were together five years.</dialogue> <character>TOM</character> <dialogue>You mean, a man?</dialogue> <character>PATRICK</character> <dialogue>Of course a man.</dialogue> <character>TOM</character> <dialogue>What happened?</dialogue> <character>PATRICK</character> <dialogue>A gang of thugs beat him to death.</dialogue> <character>TOM</character> <dialogue>Bloody hell.</dialogue> <scene_description>They lie together. Quiet. Then:</scene_description> <character>TOM</character> <dialogue>How do you stand being alone?</dialogue> <scene_description>Patrick strokes Tom's arm.</scene_description> <character>PATRICK</character> <dialogue>I'm not alone, am I?</dialogue> <scene_description>Tom breath quickens.</scene_description> <character>TOM</character> <dialogue>We have to be careful.</dialogue> </scene> <scene> <stage_direction>EXT. BRIGHTON STREET - DAY - 1957</stage_direction> <scene_description>Patrick is walking toward the museum. He passes Tom, on his beat. They don't acknowledge each other.</scene_description> </scene> <scene> <stage_direction>93A EXT. BREAKWATER WALL - ANOTHER DAY - 1957 93A</stage_direction> <scene_description>Patrick and Tom share a kiss under a sign marked "KEEP OFF: PRIVATE PROPERTY"</scene_description> </scene> <scene> <stage_direction>INT. PATRICK'S FLAT - HALLWAY/LIVING ROOM - DAY - 1957</stage_direction> <scene_description>FOLLOW TOM'S UNIFORM -- Strewn over the floor, leading from the front door of the flat... FIND Tom and Patrick making love on the sofa.</scene_description> </scene> <scene> <stage_direction>EXT. BLUFFS LEADING TO THE SEA - DAY - 1957</stage_direction> <scene_description>Tom and Patrick scramble over rocks, to a lonely patch of beach. Patrick reaches for Tom's hand. Tom pulls away.</scene_description> <character>PATRICK</character> <dialogue>There's no one for miles.</dialogue> <character>TOM</character> <dialogue>You can afford to break the rules. I can't.</dialogue> <scene_description>A moment. Patrick is patient. Tom looks in both directions. Sees no one. Gathers courage. Kisses Patrick on the lips.</scene_description> <character>PATRICK</character> <dialogue>For a policeman, you're very romantic.</dialogue> <scene_description>Tom shifts, uncomfortable.</scene_description> <character>TOM</character> <dialogue>I better tell you... I'm planning on getting married.</dialogue> <scene_description>Patrick knows he must not overreact.</scene_description> <character>PATRICK</character> <dialogue>I see.</dialogue> <character>TOM</character> <dialogue>A man ought to be married.</dialogue> <character>PATRICK</character> <dialogue>Not all men.</dialogue> <character>TOM</character> <dialogue>The other day I was called in to see the sergeant. He told me I was doing well. Then he says, "I have to warn you. Some bachelors have found it hard to rise through this division."</dialogue> <character>PATRICK</character> <dialogue>Do you think it's fair? To the girl, I mean.</dialogue> <character>TOM</character> <dialogue>What?</dialogue> <character>PATRICK</character> <dialogue>Marrying her, for, what should I call it? Protection.</dialogue> <character>TOM</character> <dialogue>That's not the only reason. I'm fond of her. And someday, I hope to have children.</dialogue> <scene_description>Patrick takes Tom by the hand, leads him towards a rocky alcove. He pushes Tom against the wall. Unzips his trousers.</scene_description> <character>TOM</character> <dialogue>What, no -- !</dialogue> <scene_description>Patrick starts working his hand, exciting Tom.</scene_description> <character>PATRICK</character> <dialogue>Are you saying goodbye to me?</dialogue> <character>TOM</character> <dialogue>I don't -- Oh God --</dialogue> <character>PATRICK</character> <dialogue>Do you want me to stop?</dialogue> <scene_description>Tom's feeling the breeze, Patrick's hand, the danger.</scene_description> <character>TOM</character> <dialogue>No.</dialogue> <character>PATRICK</character> <dialogue>Then what shall we do?</dialogue> <character>TOM</character> <dialogue>Can you share me?</dialogue> <character>PATRICK</character> <dialogue>If that's what it takes.</dialogue> <scene_description>Patrick sinks to his knees and Tom moans.</scene_description> </scene> <scene> <stage_direction>INT. BRIGHTON ART MUSEUM - ENTRANCE HALL - DAY - 1957</stage_direction> <scene_description>WE SEE the first meeting between Marion and Patrick from PATRICK'S POV -- As he's striding toward Marion and Tom, waiting for him in the entrance hall.</scene_description> </scene> <scene> <stage_direction>EXT. BRIGHTON ART MUSEUM - ENTRANCE HALL - DAY - 1957</stage_direction> <scene_description>FROM PATRICK'S POV - Marion and Tom agree to join him at the recital and -- as they walk away -- Marion puts her arm through Tom's.</scene_description> </scene> <scene> <stage_direction>INT. CONCERT HALL - NIGHT - 1957</stage_direction> <scene_description>Patrick, Tom, and Marion at the recital. With Patrick exchanging a smile with Marion (the moment when they connected because of their shared love of the music). WHAT WE DIDN'T SEE THE FIRST TIME WE VIEWED THIS SCENE -- Patrick slyly drops his hand so the back of it grazes seductively against Tom's thigh.</scene_description> </scene> <scene> <stage_direction>INT. BRIGHTON CHURCH - SOCIAL HALL - DAY - 1958</stage_direction> <scene_description>A small group has gathered to celebrate Marion's and Tom's wedding: Sylvie (pregnant), Roy, Marion's and Tom's parents. FIND -- Marion (in a simple white dress, no veil) as she's hugged by her fellow schoolteacher, Julia.</scene_description> <character>JULIA</character> <dialogue>It was a sweet ceremony. Just perfect. And the two of you are the handsomest couple I've ever seen.</dialogue> <character>MARION</character> <dialogue>Patrick helped Tom find that lovely suit.</dialogue> <parenthetical>(not a complaint - just one more thing she loves about Tom)</parenthetical> <dialogue>I don't think we'll ever get him into it again. He says it doesn't feel natural.</dialogue> <scene_description>Julia glances past Marion to Patrick and Tom, engaged in conversation. Patrick looking directly into Tom's eyes.</scene_description> <character>JULIA</character> <dialogue>I couldn't be happier for you.</dialogue> <scene_description>Patrick addresses the crowd.</scene_description> <character>PATRICK</character> <dialogue>Apparently, I've been drafted to make a toast. Where's our lovely bride?</dialogue> <character>JULIA</character> <parenthetical>(to Marion)</parenthetical> <dialogue>Go on.</dialogue> <scene_description>Marion crosses to Tom, takes his hand.</scene_description> <character>PATRICK</character> <dialogue>Here's to Tom and Marion, the perfect, civilised couple. We can all rest easy in our beds knowing Tom's pounding the streets, keeping us safe. And Marion's attending to the education of our children. So let's raise our glasses in a toast to the new couple -- Mr. and Mrs. Burgess!</dialogue> <scene_description>Everyone toasts: "Here, here!"</scene_description> <character>PATRICK</character> <dialogue>Tom. I think you're meant to kiss the bride.</dialogue> <scene_description>Tom pulls Marion close for a kiss. Patrick stands back and watches with a frozen smile. The crowd throw confetti as a photograph is taken. OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY COTTAGE - DUSK - 1958</stage_direction> <scene_description>A rustic cottage hidden among trees. Marion and Tom pull up in a borrowed car.</scene_description> <character>TOM</character> <dialogue>Do you like it?</dialogue> <character>MARION</character> <dialogue>It's perfect!</dialogue> <character>TOM</character> <dialogue>What did you expect? Only the best for Patrick.</dialogue> <scene_description>They rush to the door. Tom searches for a hidden key.</scene_description> <character>MARION</character> <dialogue>How long has he owned this?</dialogue> <character>TOM</character> <dialogue>I think it's been in the family a while. So good of him to loan it to us. Here it is!</dialogue> <scene_description>He unlocks the door. And, in his eagerness to see the interior, hurries inside. Leaving Marion on the doorstep.</scene_description> <character>TOM (O.S.)</character> <dialogue>You should see it in here!</dialogue> <scene_description>She waits. He returns.</scene_description> <character>TOM</character> <dialogue>Aren't you coming in?</dialogue> <character>MARION</character> <dialogue>Did you forget something?</dialogue> <character>TOM</character> <dialogue>I'll grab the bags in a minute.</dialogue> <character>MARION</character> <dialogue>Not the bags.</dialogue> <scene_description>He looks puzzled. Until a smile turns up the corners of his mouth. He was playing a joke all along. He swoops her into his arms and carries her inside.</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY COTTAGE - NIGHT - 1957</stage_direction> <scene_description>In moonlight.</scene_description> </scene> <scene> <stage_direction>INT. COUNTRY COTTAGE - BATHROOM - NIGHT - 1957</stage_direction> <scene_description>Marion wears a brand new nightgown. She's looking at herself in the mirror. Not quite sure about what's coming.</scene_description> </scene> <scene> <stage_direction>INT. COUNTRY COTTAGE - BEDROOM - NIGHT - 1957</stage_direction> <scene_description>She steps out of the bathroom. Tom sits on the edge of the bed, in pyjamas. Polishing off a glass of champagne.</scene_description> <character>TOM</character> <dialogue>You look nice.</dialogue> <character>MARION</character> <dialogue>Thank you.</dialogue> <scene_description>Marion positions herself on the bed. Next to Tom.</scene_description> <character>TOM</character> <dialogue>Do you want more champagne?</dialogue> <character>MARION</character> <dialogue>No thanks.</dialogue> <character>TOM</character> <dialogue>You know it's good quality. Patrick wouldn't give us anything but the best.</dialogue> <character>MARION</character> <dialogue>Do you want to turn off the light?</dialogue> <character>TOM</character> <dialogue>Suppose I'd better. It's late, isn't it?</dialogue> <scene_description>He turns off the light. Lies next to Marion in the bed, turns toward her. Gives her a kiss. It's brief. And, as he pulls away, Marion pulls him back to her, to extend the kiss. Tom places a hand on Marion's breast (outside her nightgown) and buries his face in her neck and hair. Reaching beneath the covers, he pushes down his pyjamas, then struggles to lift up her nightgown. She helps him. He heaves himself on top of her, pressing his face to her shoulder, makes a couple of thrusts...</scene_description> <character>TOM</character> <dialogue>Can you open your legs a bit?</dialogue> <scene_description>Marion complies. Tom repositions himself and enters her. She gasps in pain.</scene_description> <character>TOM</character> <dialogue>I'm sorry.</dialogue> <scene_description>But he keeps moving in her. Marion pulls him close. And after a few more of his thrusts... He groans and goes still. It's over. She's disappointed. Won't let him see it.</scene_description> <character>TOM</character> <dialogue>Was it all right?</dialogue> <character>MARION</character> <dialogue>Yes, Tom.</dialogue> <character>TOM</character> <dialogue>I'll be better next time.</dialogue> <scene_description>She strokes his cheek.</scene_description> <character>MARION</character> <dialogue>Sh, darling. It was lovely.</dialogue> </scene> <scene> <stage_direction>EXT. COUNTRY COTTAGE - GARDEN - TWO DAYS LATER - 1958</stage_direction> <scene_description>Marion wanders through the garden. She's in a blissful state. She spots Tom, several yards away, also walking through the garden. Hands behind his back. The dappled sunlight, the black shadows -- It's like a dream, with Tom, her perfect policeman, walking toward her.</scene_description> <character>TOM</character> <dialogue>I've got a present for you.</dialogue> <scene_description>He approaches, and offers: a FROG. She jumps.</scene_description> <character>MARION</character> <dialogue>Tom!</dialogue> <character>TOM</character> <dialogue>You should've seen your face!</dialogue> <scene_description>He gives her a sweet kiss. She holds him tight. Wants the moment to go on forever... They hear the RUMBLE of a car's engine. Then:</scene_description> <character>PATRICK</character> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>EXT. COUNTRY COTTAGE - DRIVEWAY - CONTINUOUS - 1958</stage_direction> <scene_description>Marion and Tom find a cheerful Patrick unloading bags of groceries from his Fiat.</scene_description> <character>PATRICK</character> <dialogue>Here I am, just as promised. Tom, help me with all this.</dialogue> <scene_description>Marion is stunned/confused. Tom bounds over to grab parcels.</scene_description> <character>MARION</character> <dialogue>Patrick?</dialogue> <character>PATRICK</character> <dialogue>I promised to cook you a fabulous wedding feast. Didn't Tom tell you?</dialogue> <character>MARION</character> <dialogue>No.</dialogue> <character>TOM</character> <dialogue>I'm sure I did.</dialogue> <character>PATRICK</character> <dialogue>Just tonight, then I'll be out of your hair.</dialogue> <scene_description>Patrick approaches, with a peace offering of a smile.</scene_description> <character>PATRICK</character> <dialogue>You look so happy, my dear.</dialogue> <character>MARION</character> <dialogue>I am.</dialogue> </scene> <scene> <stage_direction>INT. COUNTRY COTTAGE - KITCHEN - NIGHT - 1958</stage_direction> <scene_description>Patrick prepares the meal, glass of wine in hand, singing along to an opera aria on the radio. He's turned Marion into his sous chef, cutting up vegetables. She's now relaxed, enjoying herself. Tom's hitting the wine pretty hard and keeps it flowing for everyone else.</scene_description> </scene> <scene> <stage_direction>INT. COUNTRY COTTAGE - NIGHT - 1958</stage_direction> <scene_description>They've come to the end of the feast. Everyone's a little drunk. Tom more than a little.</scene_description> <character>TOM</character> <dialogue>Patrick's a terrific cook, isn't he?</dialogue> <character>MARION</character> <dialogue>I'm quite impressed. Beef bourguignon.</dialogue> <character>PATRICK</character> <dialogue>I'll give you the recipe. You can have it waiting on the table for Tom when he gets home from a hard day of putting the cuffs on criminals.</dialogue> <character>TOM</character> <dialogue>I'll drink to that!</dialogue> <character>MARION</character> <dialogue>I don't think I'll ever manage anything so fancy.</dialogue> <character>TOM</character> <dialogue>Rubbish. You're a good cook. And with Patrick's help, you'll become a gourmet, I'm sure of it.</dialogue> <character>MARION</character> <dialogue>But, with lesson plans, and staff meetings, I'll barely be home before you get there.</dialogue> <character>TOM</character> <dialogue>I don't like the sound of that.</dialogue> <character>PATRICK</character> <dialogue>You plan to keep teaching, then?</dialogue> <character>MARION</character> <dialogue>I hope to.</dialogue> <character>PATRICK</character> <dialogue>Good for you! If you enjoy your career, why should you give it up?</dialogue> <scene_description>Loosened by alcohol, Tom's personality shifts toward his working class, conservative side.</scene_description> <character>TOM</character> <dialogue>I'll tell you why. A mother ought to stay at home with her children.</dialogue> <character>PATRICK</character> <dialogue>Tom, it's 1958. Educated women like Marion have careers. I'm surprised you're being so suburban about --</dialogue> <scene_description>Tom turns on Patrick, vicious.</scene_description> <character>TOM</character> <dialogue>What would you know about it?</dialogue> <scene_description>I --:</scene_description> <character>TOM</character> <dialogue>You know nothing about children. Or being a parent. Or being married. So stop telling me what I should think about it! Stop being such a --</dialogue> <scene_description>Tom cuts himself off --</scene_description> <character>TOM</character> <dialogue>Sorry.</dialogue> <scene_description>And rises abruptly and exits. After a beat:</scene_description> <character>PATRICK</character> <dialogue>I've really gone and blown it, haven't I?</dialogue> <character>MARION</character> <dialogue>We ganged up on him.</dialogue> <character>PATRICK</character> <dialogue>I was on your side.</dialogue> <character>MARION</character> <dialogue>Tom and I are married now. We have to sort these things out on our own.</dialogue> <scene_description>She exits. Patrick's alone. Finally, he goes in search of his companions. WE FOLLOW HIM OUT OF THE ROOM -- Through the cottage and UP THE NARROW STAIRS -- To the CORRIDOR OUTSIDE THE MASTER BEDROOM where Tom is sprawled face down on the bed. Patrick watches as Marion pulls off Tom's shoes. One by one. Tenderly. When she realises Patrick is in the corridor... She shuts the door.</scene_description> </scene> <scene> <stage_direction>INT. COUNTRY COTTAGE - THE NEXT DAY - 1958</stage_direction> <scene_description>Marion comes down the stairs. The place is a mess. Wine stained glasses and plates crusted with gravy. But the cottage is dead quiet. Empty.</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRY COTTAGE - CONTINUOUS - 1958</stage_direction> <scene_description>Marion steps out. Sees Patrick's car still in the drive. Listens. Hears... Male voices. Whispering. She ventures down a path into the garden. Hears male voices. Keeps walking, a few more steps. Then STOPS. MARION'S POV ON THE GARDEN SHED -- Patrick and Tom, speaking quietly. She catches half-phrases.</scene_description> <character>PATRICK</character> <dialogue>...never seen you so angry.</dialogue> <character>TOM</character> <dialogue>Sorry... too much to drink.</dialogue> <scene_description>Patrick steps closer, planting his face inches from Tom's. Marion is frozen to her spot. WATCHING. Patrick BRUSHES Tom's cheek with the back of his hand. A lover's gesture if ever there was one. Marion SPINS around. Runs away.</scene_description> </scene> <scene> <stage_direction>INT. COUNTRY COTTAGE - DAY - 1958</stage_direction> <scene_description>Marion storms into the cottage. Paces in circles. Starts up the stairs, comes back down. In a panic. Then she SEES, OUT THE KITCHEN WINDOW --</scene_description> </scene> <scene> <stage_direction>INT./EXT. COUNTRY COTTAGE - CONT. (MARION'S POV) - 1958</stage_direction> <scene_description>Tom and Patrick emerge from the garden, walking to Patrick's Fiat in the drive.</scene_description> <character>TOM</character> <dialogue>You have your things?</dialogue> <character>PATRICK</character> <dialogue>In the car.</dialogue> <scene_description>They shake hands. Regular chums now.</scene_description> <character>TOM</character> <dialogue>Thanks again for everything.</dialogue> <character>PATRICK</character> <dialogue>You're welcome, my boy. Give Marion my love.</dialogue> <character>TOM</character> <dialogue>Will do.</dialogue> <scene_description>Patrick climbs into the Fiat, backs down the drive. Tom starts walking towards the cottage. STAY WITH MARION as she moves to the messy dining table, picking up a couple of plates, as if clearing them. Tom enters. Marion freezes, her back to him.</scene_description> <character>TOM</character> <dialogue>Patrick's off. He said to tell you goodbye.</dialogue> <scene_description>She doesn't respond.</scene_description> <character>TOM</character> <dialogue>Do you know what I think, love? I'm going to make you breakfast for a change. Would you like that?</dialogue> <scene_description>She doesn't move. Tom approaches. Turns her gently toward him and notes tears in her eyes.</scene_description> <character>TOM</character> <dialogue>Marion? What's wrong? I know the place is a mess. I'll clean it up. You won't have to do a thing.</dialogue> <scene_description>That makes Marion laugh. Laughing and crying and shaking her head. It's so ridiculous.</scene_description> <character>TOM</character> <dialogue>What...?</dialogue> <scene_description>She makes a decision. Puts down the plates. Faces Tom. And places both hands on either side of Tom's face... Pulling him close, kissing him passionately. Then:</scene_description> <character>MARION</character> <dialogue>I want to go upstairs with you.</dialogue> <character>TOM</character> <dialogue>Alright.</dialogue> <character>MARION</character> <dialogue>I want us to have a baby.</dialogue> </scene> <scene> <stage_direction>INT. COUNTRY COTTAGE - BEDROOM - DAY - 1958</stage_direction> <scene_description>With the curtains closed, Marion is under Tom, in the bed, arms wrapped tight over his back while he thrusts into her. She's holding onto him for dear life. Tom's eyes are closed, his face contorted with passion. Or is he just working hard?</scene_description> </scene> <scene> <stage_direction>EXT. THE SEA - BRIGHTON - DAY - 1958/1999</stage_direction> <scene_description>IN THE WATER -- Young Tom. Steady. Content. The place where he is most at peace. He goes UNDER the water and EMERGES as Older Tom. (This exchange may be repeated.)</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - SPARE BEDROOM - DAY - 1999</stage_direction> <scene_description>CLOSE ON PATRICK'S LUNCH TRAY -- As Marion reaches for it. Food untouched. Patrick stares at the wall. Marion notes a "change" in Patrick: a lack of animation, as if he's fallen into a depressed state.</scene_description> <character>MARION</character> <dialogue>Would you like a smoke?</dialogue> <scene_description>He doesn't answer.</scene_description> </scene> <scene> <stage_direction>EXT. PEACEHAVEN - BEACH WALK - DAY - 1999</stage_direction> <scene_description>Marion pushes Patrick in his wheelchair along a walkway that borders the beach.</scene_description> <character>MARION</character> <dialogue>I don't come down here often enough. It's beautiful, don't you think?</dialogue> <scene_description>Patrick shows moderate interest in the scenery.</scene_description> <character>MARION</character> <dialogue>Patrick. You haven't been eating. I'm worried. I spoke to Nigel about it. He said we might have to consider a feeding tube.</dialogue> <scene_description>Patrick stiffens: his worst fear.</scene_description> <character>MARION</character> <dialogue>Is there something I can do for you? Would you rather be in a home? They're awful, but if you're unhappy here...</dialogue> <scene_description>In her emotional state, she steers the wheelchair down the ramp. The wheel sinks in the sand and the chair tilts seriously to one side.</scene_description> <character>MARION</character> <dialogue>Oh, wait.</dialogue> <scene_description>She struggles to hoist the chair back onto the ramp. But her frantic jiggling throws the chair off balance -- And it TIPS over, dumping Patrick onto the beach.</scene_description> <character>MARION</character> <dialogue>For heaven's sake!</dialogue> <scene_description>She steps into the sand, trying to lift Patrick back into the chair. He's dead weight. And finally... Marion falls onto the sand herself. And this makes Patrick -- finally -- smile. Marion gives into the situation, falling backwards to the sand, lying beside him.</scene_description> <character>MARION</character> <dialogue>I think I've proven to be the world's most inept private nurse.</dialogue> <scene_description>Patrick nods.</scene_description> <character>MARION</character> <dialogue>What if we just lie here and let the tide sweep us out to sea?</dialogue> <scene_description>Patrick scoops some sand in his clawed hand. Savours the feel of it running through misshapen fingers.</scene_description> <character>MARION</character> <dialogue>Do you want to die?</dialogue> <scene_description>No response.</scene_description> <character>MARION</character> <dialogue>You've had misfortune. But all of us have suffered in our own way. Tom lost his career. And after that, well... We didn't have children. Tom no longer wanted them. I think he was so ashamed. I've always had my students. But children of our own... I think it might've saved us. Helped us forget...</dialogue> <parenthetical>(now, angry)</parenthetical> <dialogue>Have you thought of that? What I lost? You knew what he was. What you both were. You might've warned me.</dialogue> <scene_description>Patrick lifts his hands to covers his ears. She interprets:</scene_description> <character>MARION</character> <dialogue>I wouldn't have listened.</dialogue> <scene_description>He nods. Exactly.</scene_description> <character>MARION</character> <dialogue>Perhaps.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>He was so beautiful.</dialogue> <scene_description>They stare at the sky. In agreement. A seagull cries out.</scene_description> <character>A LOCAL BOBBY</character> <dialogue>Hello! Do you need assistance?</dialogue> <scene_description>Marion and Patrick lift their heads to SEE a uniformed Young Tom WALKING TOWARDS THEM. When they turn over we SEE it's a YOUNG BOBBY in 1999 (who looks exactly like the younger version of Tom) AND WE CUT TO --</scene_description> </scene> <scene> <stage_direction>INT. YOUNG MARION AND TOM'S BRIGHTON HOUSE - DUSK - 1958</stage_direction> <scene_description>Marion and Tom have settled into a modest home of their own. With only a few items of furniture purchased so far. The married couple sit at a table drinking beer and cider and playing backgammon. Happy. When Marion is momentarily distracted (refilling her glass), Tom surreptitiously slides two of his discs to a more advantageous place on the board. Marion turns back. Notes Tom's stifled smile. Examines the board. Spots the change.</scene_description> <character>MARION</character> <dialogue>You cheated!</dialogue> <scene_description>Tom laughs. Marion pulls his face to hers for a kiss.</scene_description> </scene> <scene> <stage_direction>INT. PATRICK'S FLAT/COMMUNAL STAIRS - DAY - 1958</stage_direction> <scene_description>AT THE TOP OF THE STAIRS -- Patrick opens his apartment door. Waiting for someone who's climbing the stairs. REVERSE -- It's Tom. In civilian clothes. Collar turned up, obscuring his face. Taking the stairs as softly as possible. He slips inside the apartment and Patrick closes the door.</scene_description> </scene> <scene> <stage_direction>INT. PATRICK'S FLAT - BEDROOM - LATER - 1958</stage_direction> <scene_description>Tom and Patrick lie in bed, after making love. The curtains are closed to block afternoon sunlight.</scene_description> <character>PATRICK</character> <dialogue>Tom...</dialogue> <character>TOM</character> <dialogue>Don't ruin it.</dialogue> <character>PATRICK</character> <dialogue>How would I do that?</dialogue> <character>TOM</character> <dialogue>Asking about the next time.</dialogue> <character>PATRICK</character> <dialogue>Do you know how long it's been since we saw each other last? How many days?</dialogue> <character>TOM</character> <dialogue>I haven't been counting.</dialogue> <character>PATRICK</character> <dialogue>I have.</dialogue> <scene_description>Tom reaches for his trousers.</scene_description> <character>TOM</character> <dialogue>I better go.</dialogue> <character>PATRICK</character> <dialogue>Please. Just a few more minutes.</dialogue> <scene_description>Patrick holds tight to him.</scene_description> <character>TOM</character> <dialogue>Marion expects me home after my shift. She said something the other day...</dialogue> <character>PATRICK</character> <dialogue>One more minute.</dialogue> <character>TOM</character> <dialogue>She wants to have a baby.</dialogue> <scene_description>A beat.</scene_description> <character>PATRICK</character> <dialogue>You'll make a wonderful father.</dialogue> <scene_description>Patrick sits up and puts on a dressing gown.</scene_description> <character>PATRICK</character> <dialogue>I have something for you. A present.</dialogue> <scene_description>Patrick retrieves something from a drawer and puts it into Tom's hand: a small BOOK bound in soft leather.</scene_description> <character>TOM</character> <dialogue>"A Guide to Italy?"</dialogue> <character>PATRICK</character> <dialogue>I'm going next month. On museum business.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Why don't you come with me?</dialogue> <character>TOM</character> <dialogue>To Italy?</dialogue> <character>PATRICK</character> <dialogue>Florence and Venice. Just you and I. No checking the time and rushing off. No hiding, no lies. Wouldn't you enjoy that?</dialogue> <character>TOM</character> <dialogue>Patrick. I'm married.</dialogue> <character>PATRICK</character> <dialogue>Even a married man has the right to travel, doesn't he? Some men take fishing trips with their friends.</dialogue> <character>TOM</character> <dialogue>A man should take his wife on a holiday before going off with a mate.</dialogue> <character>PATRICK</character> <dialogue>But this isn't a holiday. The museum's paying for an assistant. I'm offering the position to you.</dialogue> <character>TOM</character> <dialogue>A real position?</dialogue> <character>PATRICK</character> <dialogue>It pays thirty-five pounds.</dialogue> <character>TOM</character> <dialogue>That's nearly what I make in a month! I do have some time off coming to me...</dialogue> <character>PATRICK</character> <dialogue>Good! I'll book a suite at one of my favourite hotels.</dialogue> <character>TOM</character> <dialogue>But what will I tell Marion? No, Patrick, I can't --</dialogue> <character>PATRICK</character> <dialogue>She'll be happy for you.</dialogue> <character>TOM</character> <dialogue>I doubt that. No, I don't know what I'd say...</dialogue> <character>PATRICK</character> <dialogue>Then I'll tell her. She's coming to the museum next week. With her class. Let me take care of it.</dialogue> <character>(BEAT)</character> <dialogue>Tom. Once you have a child, you won't be able to get away. If we don't go now, we never will.</dialogue> <scene_description>Tom is coming around.</scene_description> <character>TOM</character> <dialogue>Thirty-five pounds?</dialogue> <character>PATRICK</character> <dialogue>Yes.</dialogue> <character>TOM</character> <dialogue>That would go a long way with all the expenses we've got now. I think she'd really appreciate that.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But you mustn't hurt her. She really is a wonderful person.</dialogue> </scene> <scene> <stage_direction>INT. BRIGHTON ART MUSEUM - ARMOURY SECTION - DAY - 1958</stage_direction> <scene_description>Patrick gives Marion's class the royal tour. (During the tour, Marion keeps her distance from Patrick. Polite, of course. But she can't forget what she saw pass between Patrick and Tom in the garden shed.) Patrick leads Marion's CLASS through to... OMITTED</scene_description> </scene> <scene> <stage_direction>120A INT. BRIGHTON ART MUSEUM - PAINTING GALLERY - DAY - 1958 120A</stage_direction> <scene_description>Marian spots The Raising of Lazarus (the painting she and Patrick connected over at their first meeting). Now, she turns away from it. OMITTED</scene_description> </scene> <scene> <stage_direction>INT. BRIGHTON ART MUSEUM/CORRIDOR - DAY - 1958</stage_direction> <scene_description>End of the tour - Children gather around Patrick. Jackie is close by, helping the children on with their coats.</scene_description> <character>PATRICK</character> <dialogue>Did you enjoy yourselves?</dialogue> <character>CHILDREN</character> <dialogue>Yes!</dialogue> <character>PATRICK</character> <dialogue>Miss Stewart will give each of you a lollipop. Goodbye now.</dialogue> <scene_description>Marion waits for the children near the exit. She's managed to get through the tour without a private moment with Patrick. Until... She sees Patrick approach, hand outstretched.</scene_description> <character>PATRICK</character> <dialogue>It's been such a delightful day.</dialogue> <character>MARION</character> <dialogue>The children thoroughly enjoyed themselves. Now I better get them back to school.</dialogue> <scene_description>She turns to go (can't get away fast enough).</scene_description> <character>PATRICK</character> <dialogue>I plan to put Tom to work, you know.</dialogue> <scene_description>Marion turns back. Not understanding.</scene_description> <character>MARION</character> <dialogue>What?</dialogue> <character>PATRICK</character> <dialogue>The Assistant Curator couldn't go. I nearly had to cancel before Tom stepped in at the last minute. Saved my neck.</dialogue> <character>MARION</character> <dialogue>I'm sorry, I don't --</dialogue> <character>PATRICK</character> <dialogue>Our trip. To Venice.</dialogue> <scene_description>Marion is blind-sided.</scene_description> <character>PATRICK</character> <dialogue>Tom's going to be my assistant while I pick up some new pieces. There's so much to pack up and cart to the station. He'll do a splendid job. And I've seen to it that he'll be handsomely compensated.</dialogue> <parenthetical>(off her mystified expression)</parenthetical> <dialogue>Hasn't he mentioned it?</dialogue> <scene_description>Marion decides to lie.</scene_description> <character>MARION</character> <dialogue>I... Of course.</dialogue> <character>PATRICK</character> <dialogue>Thanks for being a sport about it.</dialogue> <scene_description>She's moving in a fog now.</scene_description> <character>MARION</character> <dialogue>Yes, certainly. Children, let's start moving outside, where our bus is waiting.</dialogue> <scene_description>PATRICK TURNS AWAY -- Relieved that's over. But FINDS his secretary, Jackie, GLARING at him. (She's overheard.)</scene_description> </scene> <scene> <stage_direction>INT. YOUNG MARION AND TOM'S BRIGHTON HOUSE - DAY - 1958</stage_direction> <scene_description>Marion flies through the door in a rage.</scene_description> </scene> <scene> <stage_direction>INT. YOUNG MARION AND TOM'S HOUSE - BEDROOM - DAY - 1958</stage_direction> <scene_description>Marion tears the place apart. She's in a fury, ripping Tom's trousers off hangers, searching pockets, tossing them to the floor. Digs through his jackets, finds nothing incriminating. Empties drawers, pulls books from shelves. Finally, she discovers, tucked behind some shoes -- the guidebook to Venice. She starts ripping out its pages.</scene_description> </scene> <scene> <stage_direction>INT. YOUNG MARION AND TOM'S HOUSE - DUSK - 1958</stage_direction> <scene_description>Tom enters. The place is dim, with daylight fading. No one's turned on the lights. No dinner on the table.</scene_description> <character>TOM</character> <dialogue>Marion?</dialogue> </scene> <scene> <stage_direction>INT. YOUNG MARION AND TOM'S HOUSE - BEDROOM - DUSK - 1958</stage_direction> <scene_description>Tom is shocked by the mess she's made. His belongings and clothes on the floor. Drawers open. Books thrown about. Marion sits on the bed, surrounded by the shredded guidebook.</scene_description> <character>TOM</character> <dialogue>Marion?</dialogue> <scene_description>She doesn't answer. Tom sits beside her.</scene_description> <character>TOM</character> <dialogue>What in the world...?</dialogue> <character>MARION</character> <dialogue>You're going to Venice with Patrick.</dialogue> <character>TOM</character> <dialogue>I hadn't decided. But why shouldn't I go?</dialogue> <character>MARION</character> <dialogue>Patrick is a sexual pervert.</dialogue> <scene_description>Tom freezes. What to do? Deny? No. He laughs.</scene_description> <character>TOM</character> <dialogue>That's ridiculous! What makes you think -- ?</dialogue> <character>MARION</character> <dialogue>It's obvious, Tom. To everyone but you.</dialogue> <character>TOM</character> <dialogue>You're wrong. You want to see perverts? Come down to the station and I'll show you some. They wear stuff, rouge and that, on their faces. And jewellery. It's pathetic. And they have this walk. You can tell them a mile off.</dialogue> <character>MARION</character> <dialogue>Alright. I get the picture.</dialogue> <character>TOM</character> <dialogue>He's got business in Venice. I'm being paid.</dialogue> <character>MARION</character> <dialogue>He's trying to destroy our marriage.</dialogue> <character>TOM</character> <dialogue>You know what, Marion? I'm beginning to think you have a dirty mind.</dialogue> <character>MARION</character> <dialogue>I don't know what to do. I have to do something.</dialogue> <character>TOM</character> <dialogue>I'll tell you what we're going to do. We'll say no more about it. I'm going downstairs. I want you to clean yourself up. We'll have our tea and forget this. Marion?</dialogue> <scene_description>She won't look at him.</scene_description> <character>TOM</character> <dialogue>Get a grip on yourself.</dialogue> <scene_description>He exits. Marion is still. Defeated. MONTEVERDI'S Possente Spirto (L'Orfeo) TAKES US TO --</scene_description> </scene> <scene> <stage_direction>EXT. VENICE - CANAL WALKWAY - DAY - 1958</stage_direction> <scene_description>Tom and Patrick stroll together, side by side. Tom is dazzled by the city. Patrick is dazzled by Tom.</scene_description> </scene> <scene> <stage_direction>EXT. VENICE - WINDING PASSAGEWAY - DAY - 1958</stage_direction> <scene_description>Tom and Patrick walk in a dimly lit, narrow passageway between buildings. Tom, in a playful mood, suddenly takes Patrick by the arms, presses him against a building, and kisses him. A NUN enters the passageway and Tom and Patrick pull apart -- but not before the Nun has seen them. She crosses herself and scurries by. Tom and Patrick laugh.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - VENICE - DAY - 1958</stage_direction> <scene_description>Tom and Patrick are naked, on a bed, smoking, gazing at a view of Venetian rooftops.</scene_description> <character>PATRICK</character> <dialogue>What do you think of that view?</dialogue> <character>TOM</character> <dialogue>Can't find a word for it.</dialogue> <character>PATRICK</character> <dialogue>Glorious. Like you.</dialogue> <character>TOM</character> <dialogue>Ha. You're sweet.</dialogue> <character>PATRICK</character> <dialogue>We could live here, you know.</dialogue> <character>TOM</character> <dialogue>Yeah. And we could live on the moon.</dialogue> <character>PATRICK</character> <dialogue>Really, Tom. I could sell my cottage. That would set us up for a year or two. The Accademia might offer me a position.</dialogue> <character>TOM</character> <dialogue>And what would I do?</dialogue> <character>PATRICK</character> <dialogue>Anything you desire. Study art. Learn Italian. Swim every day.</dialogue> <scene_description>Tom is pulled along by the fantasy.</scene_description> <character>TOM</character> <dialogue>No. I'd teach swimming. At one of those fancy hotels.</dialogue> <character>PATRICK</character> <dialogue>At the Excelsior on the Lido. You'll make a fortune in tips.</dialogue> <character>TOM</character> <dialogue>And every weekend, we'll take a road trip, up and down the coast.</dialogue> <character>PATRICK</character> <dialogue>Yes! We'll stop in the villages, and get to know the fishermen and carpenters, and the police...</dialogue> <scene_description>The word "police" destroys the fantasy for Tom.</scene_description> <character>TOM</character> <dialogue>Is this why you brought me here?</dialogue> <character>PATRICK</character> <dialogue>Why...?</dialogue> <character>TOM</character> <dialogue>To break up my marriage.</dialogue> <character>PATRICK</character> <dialogue>You're afraid.</dialogue> <character>TOM</character> <dialogue>I thought all this was settled.</dialogue> <character>PATRICK</character> <dialogue>We could be together, it's not impossible.</dialogue> <character>TOM</character> <dialogue>For me, it is. I like the life I have. I know, in your eyes, it's small and middle class. But that's who I am.</dialogue> <character>PATRICK</character> <dialogue>No you're not.</dialogue> <character>TOM</character> <dialogue>Yes, I am! And I like it. And I like Marion... I love her. And I love you. We have an arrangement, don't we? Don't ruin this beautiful week.</dialogue> <character>PATRICK</character> <dialogue>What am I supposed to do? Be content with seeing you, when you manage to slip away? I've tried, I really have. But it's killing me!</dialogue> <scene_description>Tom wraps his arms around Patrick.</scene_description> <character>TOM</character> <dialogue>I'll see you more often.</dialogue> <character>PATRICK</character> <dialogue>I have to break it off.</dialogue> <character>TOM</character> <dialogue>No.</dialogue> <scene_description>Patrick struggles to throw off Tom's strong arms.</scene_description> <character>PATRICK</character> <dialogue>Let me go.</dialogue> <character>TOM</character> <dialogue>Can't.</dialogue> <character>PATRICK</character> <dialogue>You have your life. Live it and forget about me.</dialogue> <character>TOM</character> <dialogue>I can't do that. Please, Patrick...</dialogue> <scene_description>Tom roughly kisses Patrick's neck.</scene_description> <character>PATRICK</character> <dialogue>Don't --</dialogue> <scene_description>Kisses his face. Patrick tries to break out of Tom's hold.</scene_description> <character>PATRICK</character> <dialogue>Stop.</dialogue> <scene_description>But Tom won't let go.</scene_description> <character>TOM</character> <dialogue>Let me take care of you for a change.</dialogue> <scene_description>-- And starts kissing Patrick's shoulders, his chest, moving his head lower until Patrick moans. END OF THE DAY SCHOOL BELL RINGING CROSSES THE CUT TO --</scene_description> </scene> <scene> <stage_direction>INT. BRIGHTON PRIMARY SCHOOL - STAFF ROOM - DAY - 1958</stage_direction> <scene_description>Marion and Julia cleaning up cups at a counter and finishing their own tea, as Teachers head home.</scene_description> <character>JULIA</character> <parenthetical>(to exiting Teachers)</parenthetical> <dialogue>See you tomorrow. Chin up, we've almost reached the finish line.</dialogue> <parenthetical>(raising a teacup)</parenthetical> <dialogue>Here's to the last fortnight of term. Thank God it's here at last.</dialogue> <scene_description>Marion ignores her tea. Lost in thought and misery.</scene_description> <character>JULIA</character> <dialogue>Did you have a bad day?</dialogue> <character>MARION</character> <dialogue>Huh? Oh, no. Nothing.</dialogue> <character>JULIA</character> <dialogue>You've been distracted all week. Something's wrong. You ought to talk about it.</dialogue> <scene_description>Marion has to tell someone. She waits until a group of Teachers exit, then speaks in a low voice.</scene_description> <character>MARION</character> <dialogue>Tom's away.</dialogue> <character>JULIA</character> <dialogue>Away?</dialogue> <character>MARION</character> <dialogue>On a trip. With Patrick. They're in Venice. Collecting pieces for the museum.</dialogue> <scene_description>Julia says nothing.</scene_description> <character>MARION</character> <dialogue>Tom took off work to go. He's being paid. But...</dialogue> <parenthetical>(a glance about, then)</parenthetical> <dialogue>Patrick is a homosexual.</dialogue> <character>JULIA</character> <dialogue>You have to be careful saying such things.</dialogue> <character>MARION</character> <dialogue>He's in Venice with my husband!</dialogue> <character>JULIA</character> <dialogue>And Tom?</dialogue> <character>MARION</character> <dialogue>I think he has... tendencies. That Patrick encourages. What am I going to do?</dialogue> <character>JULIA</character> <dialogue>Do?</dialogue> <scene_description>The last pair of Teachers brushes past, leaving. When they're gone, Marion continues:</scene_description> <character>MARION</character> <dialogue>I have to help Tom. I'm his wife.</dialogue> <character>JULIA</character> <dialogue>Help him...?</dialogue> <character>MARION</character> <dialogue>Change.</dialogue> <character>JULIA</character> <dialogue>If what you're saying is true, he'll never change.</dialogue> <character>MARION</character> <dialogue>He has to!</dialogue> <character>JULIA</character> <dialogue>Marion. Listen to me. I'm really sorry to tell you this, but it's the kindest thing I can do. He won't change. And it'll be better for both of you if you accept that.</dialogue> <character>MARION</character> <dialogue>It's destroying our marriage.</dialogue> <character>JULIA</character> <dialogue>Oh, yes. He shouldn't have married you.</dialogue> <character>MARION</character> <dialogue>I'm glad he married me! It's what we both wanted. But he has to... To give that up.</dialogue> <character>JULIA</character> <dialogue>He can't.</dialogue> <character>MARION</character> <dialogue>Stop saying that! He can change, with my help.</dialogue> <character>JULIA</character> <dialogue>It's just not true.</dialogue> <character>MARION</character> <dialogue>When I think of them together, my stomach turns. It's disgusting. Wrong!</dialogue> <character>JULIA</character> <dialogue>If that's the case, then I'm wrong too.</dialogue> <character>MARION</character> <dialogue>What do you have to do with it?</dialogue> <character>JULIA</character> <dialogue>Good grief. Didn't you know?</dialogue> <scene_description>For Marion, the light begins to dawn...</scene_description> <character>JULIA</character> <dialogue>If you could see your face.</dialogue> <character>MARION</character> <dialogue>You're...?</dialogue> <character>JULIA</character> <dialogue>I have someone in my life. That I love, as much as you love Tom.</dialogue> <scene_description>Marion is stunned.</scene_description> <character>JULIA</character> <dialogue>Five seconds ago, I was one person to you. And now I'm something altogether different. What's changed?</dialogue> <character>MARION</character> <dialogue>It's unnatural.</dialogue> <character>JULIA</character> <dialogue>And what about you and your marriage is natural?</dialogue> <scene_description>Julia gathers her things and exits. Marion is alone.</scene_description> </scene> <scene> <stage_direction>INT. YOUNG MARION AND TOM'S BRIGHTON HOUSE - EVE - 1958</stage_direction> <scene_description>Marion enters. At the door, she finds the post that's been dropped through the door. Including the postcard of the Rialto Bridge, from Tom, in Venice. On the back: "Dearest Marion. Journey long but OK. Great place but missing you. Tom." Marion carries the card over to the oven, lights a burner, and dips the card into the flame.</scene_description> </scene> <scene> <stage_direction>EXT./INT. SHOP - PEACEHAVEN - DAY - 1999</stage_direction> <scene_description>Tom and Marion are picking fruit and veg outside the shop. Tom looks into the shop and SEES -- Nigel (Patrick's nurse) and Jonathan (Nigel's partner, 30's). They don't see Tom. Tom STARES, mesmerised, as Nigel makes a joke and Jonathan laughs, placing a hand on Nigel's arm. Then, Nigel kisses his cheek. In public and completely comfortable. Marion goes inside the shop to pay for the groceries. Tom BOLTS away.</scene_description> <character>NIGEL</character> <dialogue>Mrs. Burgess?</dialogue> </scene> <scene> <stage_direction>EXT./INT. SHOP - TOM AND MARION'S CAR - CONT. - 1999</stage_direction> <scene_description>Tom walks quickly to their car. He climbs into the driver's seat -- INSIDE THE CAR -- Tom breaks down. Shaking. Tears come to his eyes. He tries to stop them with his fists. He starts weeping. Breathes deep to stop. Has to stop. Wipes his face dry. Covering up. Marion climbs into the passenger seat. Tom quickly pulls himself together.</scene_description> <character>MARION</character> <dialogue>Did you see Nigel? With his friend. They live a few streets over --</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What's wrong?</dialogue> <scene_description>Tom starts the car.</scene_description> <character>TOM</character> <dialogue>Nothing I'm fine.</dialogue> <scene_description>Marion glances over her shoulder, to Nigel and Jonathan exiting the store... And understands the source of Tom's misery. She wants to touch his hands on the wheel, his face. But can't.</scene_description> </scene> <scene> <stage_direction>EXT. BRIGHTON STREET - DAY - 1958</stage_direction> <scene_description>Young Tom. In uniform. Moving quickly down the street. And glancing about. Avoiding eye contact with any passerby. Face contorted with panic. And shame.</scene_description> </scene> <scene> <stage_direction>INT. YOUNG MARION AND TOM'S BRIGHTON HOUSE - CONT. - 1958</stage_direction> <scene_description>Tom charges inside. Locks the door. Runs up the stairs...</scene_description> <character>TOM</character> <parenthetical>(shouting)</parenthetical> <dialogue>Marion?</dialogue> <scene_description>Marion, marking homework, comes out of the living room...</scene_description> <character>MARION</character> <dialogue>Did you forget your -- ?</dialogue> <scene_description>Tom, strides past her, glances out of the windows. Like a criminal on the run. Starts pacing in circles.</scene_description> <character>TOM</character> <dialogue>Patrick's been arrested!</dialogue> <character>MARION</character> <dialogue>What?</dialogue> <character>TOM</character> <dialogue>I was at the station when they brought him in. They had him in handcuffs. For a minute, I thought he'd give me away, speak to me, ask for help. In front of everybody. But he just looked past me, like he didn't know me. I ran out, fast as I could.</dialogue> <character>MARION</character> <dialogue>Tom. Slow down. Tell me --</dialogue> <character>TOM</character> <dialogue>Someone reported him! Probably someone from the museum.</dialogue> <character>MARION</character> <dialogue>Oh my God.</dialogue> <character>TOM</character> <dialogue>They started an investigation. And dug up some wretch who claimed Patrick had him, in the alleyway, behind the Argyle. What am I going to do?!</dialogue> <character>MARION</character> <dialogue>It'll be alright.</dialogue> <character>TOM</character> <dialogue>Alright?!</dialogue> <character>MARION</character> <dialogue>Listen to me. We can put all this behind us. Start our marriage again.</dialogue> <character>TOM</character> <dialogue>Jesus! This isn't about our marriage! Patrick's going to prison. And I'm bloody ruined.</dialogue> <character>MARION</character> <dialogue>Why you?</dialogue> <character>TOM</character> <dialogue>If they know about Patrick, they might know about --</dialogue> <character>MARION</character> <dialogue>Then it's true? You and Patrick.</dialogue> <character>TOM</character> <dialogue>Yes, it's true! I'm sorry, I know I've let you down. I lied. But now... Someone will tell. They'll find out everything and that'll be it. Everyone will know what I... Oh God!</dialogue> <scene_description>He collapses at the table.</scene_description> <character>TOM</character> <dialogue>What am I going to do?</dialogue> <scene_description>Marion takes charge.</scene_description> <character>MARION</character> <dialogue>They'll never know about the two of you.</dialogue> <character>TOM</character> <dialogue>How can they not?</dialogue> <character>MARION</character> <dialogue>Because Patrick will never tell them.</dialogue> <character>TOM</character> <dialogue>You don't know how police work. They bully, threaten. To get things out of a man.</dialogue> <character>MARION</character> <dialogue>Patrick wouldn't do that to you.</dialogue> <scene_description>Tom begins to calm a bit.</scene_description> <character>TOM</character> <dialogue>You're right. He'd never do that to me, would he?</dialogue> <parenthetical>(panic turning to sorrow, for Patrick)</parenthetical> <dialogue>If you'd seen him, when they brought him in. He was so miserable. And I pretended I didn't know him. I left him there, to face that by himself!</dialogue> <parenthetical>(now weeping)</parenthetical> <dialogue>He needed me, and I walked out on him!</dialogue> <scene_description>Marion takes him in her arms, smoothes his hair.</scene_description> <character>MARION</character> <dialogue>Sh. It's alright, love. I'm here. We'll sort this out.</dialogue> <character>TOM</character> <dialogue>How?</dialogue> <character>MARION</character> <dialogue>We'll find a lawyer for Patrick. Someone good. And, if I have to, I'll stand up for him, as a character witness.</dialogue> <character>TOM</character> <dialogue>I can't have anything to do with it. It'll ruin me.</dialogue> <character>MARION</character> <dialogue>Don't worry. We'll keep you out of it.</dialogue> <character>TOM</character> <dialogue>I don't know how you can forgive me. I don't deserve it.</dialogue> <scene_description>She rocks him gently. He belongs to her now.</scene_description> <character>MARION</character> <dialogue>Sh. I'll take care of everything.</dialogue> <scene_description>PRE-LAP --</scene_description> <character>MARION (V.O.)</character> <dialogue>Mr. Hazelwood gave my class --</dialogue> </scene> <scene> <stage_direction>INT. BRIGHTON COURTROOM - DAY - 1958</stage_direction> <scene_description>Marion in the witness chair. She avoids looking at Patrick. His accuser, Leonard (the young man from Argyle Club) waits in the witness dock. In the public gallery, Jackie (from the museum) witnesses the proceedings.</scene_description> <character>MARION</character> <dialogue>-- a tour of the museum.</dialogue> <scene_description>She's being questioned by Patrick's DEFENSE COUNSEL.</scene_description> <character>DEFENSE COUNSEL</character> <dialogue>And during that visit, did you have any reason to believe that Mr. Hazelwood was a danger to your pupils, or in any way a negative influence on them?</dialogue> <character>MARION</character> <dialogue>On the contrary, the children loved him.</dialogue> <character>DEFENSE COUNSEL</character> <dialogue>Do you believe that Mr. Hazelwood is capable of performing the acts with which he stands accused? Namely, gross indecency in a public convenience and endangering public morals?</dialogue> <character>MARION</character> <dialogue>No, I do not.</dialogue> <character>DEFENSE COUNSEL</character> <dialogue>Thank you.</dialogue> <scene_description>The Defence Counsel returns to his seat. The PROSECUTOR (60's, intimidating) rises.</scene_description> <character>PROSECUTOR</character> <dialogue>Mrs. Burgess. Do you know Mr. Hazelwood in another capacity, other than professional?</dialogue> <character>MARION</character> <dialogue>Yes. He's a friend.</dialogue> <character>PROSECUTOR</character> <dialogue>A close friend of your husband's, is he not?</dialogue> <character>MARION</character> <dialogue>My husband and I both consider him a friend.</dialogue> <character>PROSECUTOR</character> <dialogue>But he and your husband are particularly close, isn't that true?</dialogue> <character>PROSECUTOR</character> <dialogue>So close they recently traveled to Italy together.</dialogue> <character>MARION</character> <dialogue>Patrick had business there.</dialogue> <character>PROSECUTOR</character> <dialogue>Did your husband have business there?</dialogue> <character>MARION</character> <dialogue>He was assisting Patrick.</dialogue> <character>PROSECUTOR</character> <dialogue>"Assisting."</dialogue> <character>MARION</character> <dialogue>Yes.</dialogue> <character>PROSECUTOR</character> <dialogue>Mrs. Burgess, I would like to read an extract from one of Patrick Hazelwood's diaries. These were collected in his apartment when he was arrested.</dialogue> <scene_description>An Assistant hands a journal to the Prosecutor.</scene_description> <character>PROSECUTOR</character> <parenthetical>(turning to a marked spot in the journal)</parenthetical> <dialogue>Some of it is rather purple, I'm afraid. It's from a page dated, September 9, 1957.</dialogue> <parenthetical>(reads:)</parenthetical> <dialogue>"I recognised him --</dialogue> <scene_description>INTERCUT - MARION'S BEDROOM AT NIGHT - 1999 -- Marion sits up in bed, reading the same page in Patrick's journal.</scene_description> <character>PROSECUTOR (V.O.)</character> <dialogue>Even from behind...</dialogue> <scene_description>RETURN TO - COURTROOM - 1958 --</scene_description> <character>PROSECUTOR</character> <dialogue>...That fine head. The unmistakable line of his shoulder. My policeman was magnificently alive in front of me."</dialogue> <scene_description>Marion tries to control her breathing.</scene_description> <character>PROSECUTOR</character> <dialogue>Mrs. Burgess? Who is "my policeman?"</dialogue> <character>MARION</character> <dialogue>I have no idea.</dialogue> <character>PROSECUTOR</character> <dialogue>Perhaps another extract will help you remember. This is from a later date.</dialogue> <parenthetical>(reading)</parenthetical> <dialogue>"We've been meeting in the afternoons, if he can get away, or in the evenings. But he hasn't forgotten the schoolteacher. Yesterday, he brought her to the museum. She's instinctively possessive...</dialogue> <scene_description>RETURN TO - MARION'S BEDROOM - 1999 -- She reads the passage.</scene_description> <character>PROSECUTOR (V.O.)</character> <dialogue>She touched his shoulders at every opportunity. If only she knew that my hands had been on those same shoulders, the night before --</dialogue> <scene_description>RETURN TO - COURTROOM - 1958 --</scene_description> <character>PROSECUTOR</character> <dialogue>-- As my policeman and I..."</dialogue> <parenthetical>(stops reading)</parenthetical> <dialogue>I'll stop here, as the next passage borders on obscenity. Mrs. Burgess? You're a schoolteacher, aren't you?</dialogue> <character>MARION</character> <dialogue>Yes.</dialogue> <character>PROSECUTOR</character> <dialogue>And what is your husband's occupation?</dialogue> <scene_description>She doesn't answer.</scene_description> <character>PROSECUTOR</character> <dialogue>Mrs. Burgess?</dialogue> <character>MARION</character> <dialogue>A policeman.</dialogue> <character>PROSECUTOR</character> <dialogue>Speak up, please.</dialogue> <character>MARION</character> <dialogue>He's a policeman.</dialogue> <scene_description>Shocked murmuring from the Spectators. Marion braves it through (barely). But she SEES Patrick crumble, dropping his head onto his folded arms on the table.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - SPARE BEDROOM - DAY - 1999</stage_direction> <scene_description>Nigel checks Patrick's vitals. Patrick lies there, distant.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - KITCHEN - MINUTES LATER - 1999</stage_direction> <scene_description>Marion washes medical equipment. The entire counter is covered with tubes, bottles, etc. Nigel enters. Observes Marion for a moment.</scene_description> <character>NIGEL</character> <dialogue>How are you holding up?</dialogue> <character>MARION</character> <dialogue>Me?</dialogue> <character>NIGEL</character> <dialogue>What you're doing isn't easy. It can be an enormous strain.</dialogue> <character>MARION</character> <dialogue>I won't argue with that. How's Patrick?</dialogue> <character>NIGEL</character> <dialogue>There's no sign of an infection or pneumonia. Is he eating?</dialogue> <character>MARION</character> <dialogue>A little. I think the threat of a feeding tube scared him. But still. I don't think he's well.</dialogue> <character>NIGEL</character> <dialogue>He's not. He's going downhill. It may not be physical.</dialogue> <character>MARION</character> <dialogue>What do you mean?</dialogue> <character>NIGEL</character> <dialogue>I've see it often enough. Someone gets to the point they have nothing to live for. They decide it's time to die. And they do. There's very little any of us can do about it.</dialogue> <scene_description>Marion freezes, her hands in soapy water. CLANGING OF PRISON DOORS takes us to --</scene_description> </scene> <scene> <stage_direction>INT. WALPOLE PRISON - VISITOR'S ROOM - DAY - 1958</stage_direction> <scene_description>FIND MARION at a scuffed metal table, surrounded by Prisoners and working-class Visitors.</scene_description> <character>PATRICK</character> <dialogue>I see a psychiatrist who has generously offered to help me change...</dialogue> <scene_description>REVEAL PATRICK - Sitting opposite Marion. His hair unkempt. Face nicked by the dull prison razor. Bruised eye.</scene_description> <character>PATRICK</character> <dialogue>Isn't that kind of him?</dialogue> <character>MARION</character> <dialogue>What happened to your face?</dialogue> <character>PATRICK</character> <dialogue>I moved too slowly in the queue for the bathroom.</dialogue> <parenthetical>(off her reaction)</parenthetical> <dialogue>This is a prison, Marion. My cellmate has kindly offered his protection. In exchange, I tell him stories to pass the time. I'm educating him to the classics. We've just started Anna Karenina. Imagine how long that will take. But we have plenty of time. Two years in fact.</dialogue> <character>MARION</character> <dialogue>How's the food?</dialogue> <character>PATRICK</character> <dialogue>For God's sake, I don't want to talk about the food! Tell me about Tom. How is he?</dialogue> <character>MARION</character> <dialogue>He's found a job as a security guard for a department store. I've kept my teaching position. So we'll manage. We're looking to leave the neighbourhood. Go somewhere where we're not so well known. I think that will help.</dialogue> <character>PATRICK</character> <dialogue>I tried to protect him. I never said a word. It was those damn journals. Can you ask him to come? I need to see him.</dialogue> <character>MARION</character> <dialogue>He can't --</dialogue> <character>PATRICK</character> <parenthetical>(grabs her arm)</parenthetical> <dialogue>I have to see him! Please.</dialogue> <character>PRISON GUARD</character> <dialogue>No touching!</dialogue> <scene_description>Patrick releases her wrist.</scene_description> <character>MARION</character> <dialogue>I'll ask him. But surely you realise he can't come. I'm sorry.</dialogue> <scene_description>Patrick is crushed.</scene_description> <character>PATRICK</character> <dialogue>You must be pleased about all this.</dialogue> <character>MARION</character> <dialogue>Why on earth would I be pleased?</dialogue> <character>PATRICK</character> <dialogue>You've won.</dialogue> <character>MARION</character> <dialogue>Oh Patrick. Nobody's won.</dialogue> </scene> <scene> <stage_direction>INT. WALPOLE PRISON - CELL - LATER - 1957</stage_direction> <scene_description>Patrick is curled on his bunk. His cellmate, BERT (50's, prison tattoos), makes a demand.</scene_description> <character>BERT</character> <dialogue>I need a story, Patrick.</dialogue> <character>PATRICK</character> <dialogue>I'm not in the mood.</dialogue> <character>BERT</character> <dialogue>Tell me a bloody story before I smash your face into the wall.</dialogue> <scene_description>Patrick sighs. Has no choice.</scene_description> <character>PATRICK</character> <dialogue>Where did we leave off? Anna was desperate to see Count Vronksy --</dialogue> <character>BERT</character> <dialogue>No more of that Russian rubbish. Something English.</dialogue> <scene_description>Patrick closes his eyes. He wants to die.</scene_description> <character>PATRICK</character> <dialogue>Alright, Bert. Here's an English story for you.</dialogue> <character>PATRICK</character> <dialogue>It's about a policeman. A good policeman. From Brighton.</dialogue> <character>BERT</character> <dialogue>Been there once.</dialogue> <character>PATRICK</character> <dialogue>This policeman did his job to the best of his abilities. But he was different from the other policemen. He was interested in the arts, in books, and music. And he was handsome, like one of the Greek statues in the British Museum.</dialogue> <character>BERT</character> <dialogue>Sounds like a bloody queer.</dialogue> <character>PATRICK</character> <dialogue>That's what he was. He was a bloody queer.</dialogue> <character>BERT</character> <dialogue>What are you about?</dialogue> <character>PATRICK</character> <dialogue>But it was a secret. Until he met an older man. This older man took the policeman to the theatre, to the galleries, the opera, and suddenly a whole new world opened up --</dialogue> <character>BERT</character> <dialogue>I don't want to hear this fucking filth.</dialogue> <character>PATRICK</character> <dialogue>The policeman had a wife. But he continued to see the older man. Because he and the man loved each other very much.</dialogue> <scene_description>Bert leaps to his feet, fists clenched.</scene_description> <character>BERT</character> <dialogue>Why don't we change the subject, mate?</dialogue> <scene_description>Curious Prisoners gather outside the cell.</scene_description> <character>PATRICK</character> <dialogue>Like I said, they loved each other. But the man was sent to prison for the simple crime of loving another man --</dialogue> <scene_description>WHOMP. Bert's fist slams into Patrick's face, splitting his lip. Patrick keeps speaking through the blood.</scene_description> <character>PATRICK</character> <dialogue>And no matter what they do to him, the older man will never stop loving the policeman --</dialogue> <scene_description>WHOMP. Bert lays into Patrick, fists raining down, blow after blow. Patrick collapses to the floor and Bert starts kicking him, viciously, in the stomach, his back. Prisoners are CHEERING him on. Guards come running blowing WHISTLES.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - SPARE BEDROOM - NIGHT - 1999</stage_direction> <scene_description>Patrick is asleep with moonlight glinting off his white hair and metal rails of his bed. HE'S BEING OBSERVED BY -- TOM. IN THE CORRIDOR. We follow Tom's POV to -- Patrick's closed EYES. His HANDS relaxed for a change and still elegant. The hands that once touched Tom. NOW WE SEE TOM FROM ANOTHER POV -- Marion's. As she steps quietly to the doorway of her bedroom. Tom doesn't see her. Marion watching Tom watching Patrick. End on Marion. She knows what she must do.</scene_description> </scene> <scene> <stage_direction>EXT. BURGESS HOUSE - DAY - 1999</stage_direction> <scene_description>The sun is shining.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - DAY - 1999</stage_direction> <scene_description>Everything in its place. A still life.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - SPARE BEDROOM - DAY - 1999</stage_direction> <scene_description>Patrick faces the window, sunlight warming his face. On the floor beside Patrick: Walter, the dog, surrounded by the crumbs of Patrick's breakfast.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - MASTER BEDROOM - DAY - 1999</stage_direction> <scene_description>Marion sits on the edge of the bed. Smoking. Wearing a good skirt, jacket, and shoes. She puts out the cigarette. Places the half-filled pack on top of Patrick's journals. A gift. And places some gloves into a suitcase. Snaps it shut. FROM DOWN THE HALL -- She hears Tom enter the house, talking to Walter and offering him a treat. Marion tenses up. Suddenly unsure. Takes a deep breath. Finds her resolve. Picks up her suitcase.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - CORRIDOR - CONTINUOUS - 1999</stage_direction> <scene_description>Marion moves past the spare bedroom. Sees Patrick in his chair, looking out the window. Moves on.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - LIVING/DINING AREA - CONT. - 1999</stage_direction> <scene_description>Marion approaches. SEES Tom at the table, reading the paper. She leaves her suitcase just outside the dining area. Tom looks up. Notices Marion dressed in good clothes.</scene_description> <character>TOM</character> <dialogue>What's this?</dialogue> <character>MARION</character> <dialogue>I need to talk to you.</dialogue> <character>TOM</character> <dialogue>You're going out?</dialogue> <character>MARION</character> <dialogue>Tom, please.</dialogue> <scene_description>She closes her eyes for a moment. She must not back down.</scene_description> <character>MARION</character> <dialogue>I've tried to help Patrick. But he fights me at every turn. And you're angry all the time...</dialogue> <character>TOM</character> <dialogue>What the devil are you -- ?</dialogue> <character>MARION</character> <dialogue>Let me speak!</dialogue> <character>MARION</character> <dialogue>I think I brought Patrick here because I've been so lonely.</dialogue> <character>TOM</character> <dialogue>What do you mean? I'm always here.</dialogue> <character>MARION</character> <dialogue>No, you're never here. I've never had you. Not for myself. He was always in your life. In our lives. I have to find something for myself, don't you see?</dialogue> <character>TOM</character> <dialogue>Marion. Stop this foolishness. Sit down. I'll make us some tea. You say we never talk. Alright. We'll talk.</dialogue> <character>MARION</character> <dialogue>I'm leaving.</dialogue> <character>TOM</character> <dialogue>What...Have you lost your mind?</dialogue> <character>MARION</character> <dialogue>I can't stay here! It will kill me!</dialogue> <character>TOM</character> <dialogue>For God's sake! You brought him back into our lives. You stirred everything up. And now you think you're going to leave? And what do I do?</dialogue> <character>MARION</character> <dialogue>For once, Tom, you might take care of yourself.</dialogue> <character>TOM</character> <dialogue>Now back to this. How I ruined your life.</dialogue> <character>MARION</character> <dialogue>No. You didn't. But you did lie to me. From the day we met. And kept lying. You loved Patrick --</dialogue> <character>TOM</character> <dialogue>Stop!</dialogue> <character>MARION</character> <dialogue>-- And you still love him. All these years, I've blamed myself for keeping the two of you apart. And I've never once thought -- What have I missed?</dialogue> <character>TOM</character> <dialogue>I won't hear this!</dialogue> <scene_description>He rises to leave.</scene_description> <character>MARION</character> <dialogue>I reported Patrick to the museum. It was me.</dialogue> <scene_description>That stops him cold.</scene_description> <character>MARION</character> <dialogue>When the two of you were in Venice. I felt so betrayed. And then your postcard came. It felt like you were taunting me. I burned it...</dialogue> </scene> <scene> <stage_direction>INTERCUT - INT. YOUNG MARION AND TOM'S HOME - DAY - 1958</stage_direction> <scene_description>Marion carries Tom's postcard to the top of the cooker, lights it. And watches it burn.</scene_description> <character>MARION (V.O.)</character> <dialogue>And, while I stood there... It occurred to me, there was something I could do. To win you back. And save our marriage...</dialogue> <scene_description>RETURN TO - MARION AND TOM - 1999 --</scene_description> <character>MARION</character> <dialogue>I wrote an anonymous letter to Patrick's supervisor...</dialogue> </scene> <scene> <stage_direction>INTERCUT - INT. YOUNG MARION AND TOM'S HOME - DAY - 1958</stage_direction> <scene_description>Young Marion types the letter.</scene_description> <character>MARION (V.O.)</character> <dialogue>I told him I had personal knowledge that Patrick was a homosexual. And I imagined he wouldn't want the museum's patrons exposed to that kind of person, especially children...</dialogue> </scene> <scene> <stage_direction>INTERCUT - EXT. BRIGHTON - POSTAL BOX - 1958</stage_direction> <scene_description>Marion drops the letter into a post box.</scene_description> <character>MARION (V.O.)</character> <dialogue>The next day, I regretted it.</dialogue> <scene_description>RETURN TO - MARION AND TOM - 1999 --</scene_description> <character>MARION</character> <dialogue>I hoped they'd think the letter was from some crank. Then Patrick was arrested. I tried to make up for what I'd done by standing up for him at the trial. But that, well, you know what happened... So I decided the only thing left for me to do, was to get you through the mess we'd made. And I thought, "Now I'll have him. I'll have him for myself." But I never did.</dialogue> <scene_description>Tom sinks back into his chair.</scene_description> <character>TOM</character> <dialogue>You destroyed him.</dialogue> <character>MARION</character> <dialogue>We destroyed each other.</dialogue> <character>TOM</character> <dialogue>I shouldn't have deceived you. It wasn't right. But I couldn't tell you. You would've left me. And I did want you! But I wanted him too!</dialogue> <scene_description>She moves to the counter, pointing out things.</scene_description> <character>MARION</character> <dialogue>Nigel's number is here, on the counter. And the chemist.</dialogue> <character>TOM</character> <dialogue>You can't be serious.</dialogue> <character>MARION</character> <dialogue>We don't make each other happy.</dialogue> <character>TOM</character> <dialogue>Of course we do!</dialogue> <character>MARION</character> <dialogue>No, Tom. You have the sea. Your swimming. Your strangers. I don't even like Peacehaven! When I pictured my retirement, I saw museums, the theatre, weekends in London. I don't know. Something!</dialogue> <character>TOM</character> <dialogue>What do you want from me? To beg you to stay? Alright, I'm begging you.</dialogue> <character>MARION</character> <parenthetical>(glances out a window)</parenthetical> <dialogue>The car's here. I left some cigarettes for Patrick in the bedroom. We're not supposed to give them to him, but it makes him happy.</dialogue> <character>TOM</character> <dialogue>I can't face him. I can't.</dialogue> <character>MARION</character> <dialogue>Tom. Patrick's failing. I think he can turn around. But I have to wash my hands of it, don't you see? You can send him to a home. But I hope you won't. I hope you'll keep him here. And love him. That's what he needs. It's what you need. And I need to go.</dialogue> <scene_description>He reaches for her, but she steps back. Out of his reach. She can't afford to let him touch her. It might change her mind.</scene_description> <character>MARION</character> <dialogue>I'll be at my sister's for a while, then...</dialogue> <character>TOM</character> <dialogue>Please don't go.</dialogue> <character>MARION</character> <dialogue>I have to, my love. I'm sorry.</dialogue> <character>TOM</character> <dialogue>I can't live alone.</dialogue> <character>MARION</character> <dialogue>But, Tom. You're not alone.</dialogue> <scene_description>She picks up her suitcase. Steps out the door quickly.</scene_description> </scene> <scene> <stage_direction>EXT. BURGESS HOUSE - CONTINUOUS - 1999</stage_direction> <scene_description>Before Marion shuts the door, she glances back -- And sees YOUNG TOM slumped at the table. She walks to the mini cab. Hands over her bag. And climbs inside. The car drives off.</scene_description> </scene> <scene> <stage_direction>152A INT./EXT. - MINI CAB/BRAMBER AVENUE - CONTINUOUS - 1999 152A</stage_direction> <scene_description>Marion looks out the window as she is driven along the streets lined with bungalows.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - LIVING/DINING AREA - CONT. - 1999</stage_direction> <scene_description>HOLD ON TOM. She's gone. What to do? He rises. Starts walking through the house. DOWN THE CORRIDOR -- Sunlight from the spare bedroom makes a rectangle of light on the floor and opposite wall. Tom walks toward it.</scene_description> </scene> <scene> <stage_direction>153A INT./EXT. MINI CAB/PEACEHAVEN HIGH STREET - CONT. - 1999 153A</stage_direction> <scene_description>Marion looks out at the shops (Joe's Pizza etc.) as she's driven out of Peacehaven.</scene_description> </scene> <scene> <stage_direction>INT. BURGESS HOUSE - SPARE BEDROOM - CONTINUOUS - 1999</stage_direction> <scene_description>Patrick in his chair. Taking in what he can see of the sea view from the sun-blasted window. A shadow falls over his knees. He looks up. SEES TOM. Who stands awkwardly in the doorway. Eyes meet. Tom waits there. Feeling awkward, ashamed. Frightened. But... Patrick offers a crooked smile. Tom enters. Sits on the bed. Hand resting on his knee. Patrick reaches for Tom's hand. Holds it in a grip stronger than Tom expects.</scene_description> </scene> <scene> <stage_direction>INT. MINI CAB/COASTAL ROAD - DAY - 1999</stage_direction> <scene_description>Marion rides in the back. The grey sky has broken. Sunlight cuts through the window.</scene_description> </scene> <scene> <stage_direction>INT./EXT. MINI CAB/COASTAL ROAD - CONTINUOUS - 1999</stage_direction> <scene_description>Finally the car leaves the town behind, offering a clear view of landscape and sea. The mini cab winds along bluffs toward the train station. The sun warms Marion's face and gives her courage. END</scene_description> </scene> </script>

Retirees Marion and Tom live in the English seaside town of Peacehaven. After learning that their former friend from decades past, Patrick, has suffered a debilitating stroke, Marion agrees to take him into their home and becomes his caregiver. Tom resents Marion for allowing him back into their lives and refuses to acknowledge Patrick's existence in the house. While sorting through Patrick's belongings, she comes across his journal from the late 1950s, which reflects on his past relationship with Tom. In 1957 Brighton, museum curator Patrick Hazelwood meets policeman Tom Burgess after reporting an accident. Patrick leaves Tom his business card, and Tom visits him at the museum he works at. Patrick invites Tom to his flat one night to draw him. The two have drinks, and Tom initiates physical touch, and they engage in oral sex. Afterward, a shaken Tom abruptly leaves. Patrick later visits a gay bar one night and begins having sex with a stranger in an alley before they are caught by the police. Patrick manages to run away and finds Tom waiting for him at his flat. Tom admits his feelings, and the two have sex, resulting in a passionate romance. Due to laws criminalizing homosexuality, as well as Tom's fear of jeopardizing his job at the police force, they carry on their relationship in secret. Tom meets schoolteacher Marion Taylor and begins courting her. He introduces her to Patrick, and they become fast friends, bonding over their shared interest in the arts. Soon, the three of them become inseparable. Tom later proposes to Marion, and they marry, but his relationship with Patrick continues. When Patrick visits Tom and Marion at their home, she discovers the two of them behaving affectionately with one another, triggering her underlying suspicions of Tom's sexuality. Marion feels angered and betrayed, which is exacerbated when Patrick invites Tom to accompany him on a business trip to Venice as his assistant. Shortly after their return, Patrick is arrested by Brighton police due to an anonymous report accusing him of homosexual activities. The case goes to trial, where Marion testifies on his behalf, but Patrick's journal entries, detailing his romantic and sexual relationship with Tom, are brought into evidence, resulting in his conviction. Patrick is sentenced to two years in prison, and Tom is fired from the police force. As Tom and Marion try to move on with their lives, he professes his love for her and vows they never speak of Patrick again. In the present, Marion confesses to Tom that she is the one who reported Patrick, as a last effort to win him back and has been living with guilt ever since. She challenges him into realizing their marriage has been based on lies and that Patrick has always been his true love. She tells him she is leaving him and asks that he take care of Patrick and love him. After Marion's departure, Tom visits Patrick in his room and they lovingly embrace each other.

Porky's_1981

tt0084522

<script> <scene> <character>PORKY'S</character> <dialogue>SHOO'l'ING SCRIP'~</dialogue> <scene_description>by Bob Clark</scene_description> <character>'·</character> <dialogue>( -,I--' • '</dialogue> <scene_description>,.'"'J/L..U--M;.,,c.,A.-f\_\_.J,,A'-6&lt;-cI Revised Jan.22,1981 · /Lf!\_,c,.d, /- o2 7- J'-/ ,:;':,,~'{ 0 PORKYIs</scene_description> <character>1</character> <dialogue>MUSICCRASHESin over a black screen; heavy, sensual, rhythm and blues with a hard sexual beat.</dialogue> <character>EXT./INT.</character> <dialogue>,,. We FADE UP on a</dialogue> <scene_description>full screen SHOT of a pulsating red neon sign which is tilted diagonally across the screen. The sign reads: p</scene_description> <character>R</character> <dialogue>K</dialogue> <scene_description>y• s It undulates and throbs like a living sexual being. MUSIC CONTINUESas CAMERA PULLS BACKto see Porky's, a wicked- looking redneck joint which is built out over the waters of a.swamp. A little bridge leads to Porky's main entrance. The wild throbbing MUSICcomes from within. CAMERA BEGINS TO 1-:0VE IN a slow drea:::1like manner TOWARDthe front door., WARPINGWEIRDLYas ic does so. As we approach the entrance, /!\ the MUSIC SWELLSin volume and intensity. CAMERA :MOVES f-1 '•,,, THROUGHthe door and inside. The club is filled with bizarr people; full-bearded hillbillies, mean-looking crackers in overalls, bad asses and honky tonk women all leering and threatening. CAMERA LOOKSUP to see a huge pig-like face lunge INTO VIEW. The face grins lewdly and beckons the CAl'-fERA to come on in. The face begins to back away as CAME. MOVESIN TOWARDthe bar. Finally the pig face steps aside and above us we see a wild, absurdly buxom woman in G-string and pasties. She is flanked by other equally lurid sirens. They undulate and throb exactly like the Porky's sien. The effect is both comic and provocative. The pig face keeps popping IN ANDOUT OF THE FRAMEbeckoning; the lusty women writhe madly in step with the Ml.!SIC which is ever building in intensity. Now we start to hear a LOWRUMSLEOF VOICES. We can bareiy hear them, but we finally realize they are all chanting: "Get it at Porky's," "Get it at Porky's. 11 This phrase builds in volume until the end of the scene. Now the wild ladies are beginning to thrust themselves against the CAMERA which somehow seems to welcome the action. Finally the MUSIC and CHANTbuild to a climax, and the women give themselves over to the CAMERA in a convulsive sexual ritual. We are spared overt lewdness by the darkness of the bar' ·s dim lighting. The crescendo holds as the bacchanal cor~inues, until we make an inexplicable ...</scene_description> <character>CUT TO:</character> <dialogue>- '</dialogue> </scene> <scene> <stage_direction>INT. PEE WEE'S BEDROOM</stage_direction> <character>- CLOSEUP- EDDIE PEE WEEMORRIS-</character> <dialogue>DAY</dialogue> <scene_description>sleeping, obviously in the throes of a dream. A smug little grin lights up Pee Wee's face and he moans softly .. We still hear the pulsing MUSICand the CHANTINGfrom Porky's and we realize we have· been seeing Pee Wee' s dream. Pee Wee is seventeen and five feet four .inches tall and continually the butt of short jokes. That fact dominates his life; that and the fact that he is the horniest little bastard who ever lived. As the dream continues the CAMERA PULLS BACKFROM Pee Wee's semi-comatose face to TAKE IN his whole body·lengch. About mid-section of Pee Wee's body, underneath the blankets, we see a suspicious protrusion, a slight rise. Could it be? The CHANTINGand SINGING from Porky's BEGIN TO FADEuntil it's only a murmur. O.S. we hear a voice:</scene_description> <character>MRS. MORRIS (O.S.)</character> <dialogue>Edward, you'll be late for school.</dialogue> <scene_description>Pee Wee doesn't stir. CAMERA STILL HOLDS. A sly little sleepy grin spreads across his face .. Obviously the dream continues. Our suspicions deepen.</scene_description> <character>MRS. MORRIS (O.S.)</character> <parenthetical>(continuing)</parenthetical> <dialogue>Edward! Up, I said, I got things to do, see. Hit the floor. Right</dialogue> <scene_description>. now! With a little BUZZ, the CLOCKRADIObeside Pee Wee's bed Hli1'.Sto life; ··.a sonorous VOICE speaks: 1 'Good morning, Port Auburndale, this is Gene Morrison here on Florida's fabulous Gold Coast. The temperature this morning is seventy degrees and ... etc." Pee Wee stirs from his stupor. He blinks and tries to awaken. Finally he throws the blanket off and our suspicions are confirmed. The bulge in Pee Wee's pajamas reveals the adolescent's· eternal affliction; the unfulfilled wet dream erection known in the vernacular as a piss hard-on. Pee Wee loois down at his affliction. He grunts and plops his head back on the pillow. Suddenly the bedroom doo= flies open and ais MOTHER'scheerful face pops into the doorway. Startled, not to say embarrassed, Pee Wee does a half leap, half roll over to land flat on his stomach, there- by pranging his erected penis fiercely into the bed with his full weight.</scene_description> <character>MRS. MORRIS</character> <parenthetical>( continuing)</parenthetical> <dialogue>Edward Morris -- you be at the breakfast table in five minutes or</dialogue> <scene_description>She stops, you're not playing ball this week. seeing Pee Wee's contorted face. i</scene_description> <character>2.A</character> <parenthetical>( CONTINUED)</parenthetical> <character>....</character> <character>2</character> <dialogue>MRS. MORRIS</dialogue> <character>CONTINUED:</character> <parenthetical>(c ntinuing)</parenthetical> <dialogue>Pee Wee.. is something wrong?</dialogue> <scene_description>Pee Wee, in ~gony, lant~ a frozen little s~ile on his face and covers up. t</scene_description> <character>PEE WEE</character> <dialogue>No, Mom, uh -- just pulled a little mu cle in my groin. It's nothing.</dialogue> <character>MRS. MORRIS</character> <dialogue>Oh well, e careful! Your dad wants you to dr p him off at the office. His car w n't start. And, by the way -.-</dialogue> <scene_description>His mother dr.ones o for another thirty seconds while Pee Wee lies frozen in lace, the little smile set like· Jello. Finally his mother eaves and Pee Wee gives vent to his pent- up agony: e rolls on his backi grabs his crotch with both hands. His face te ls the story. · \) PEE WEE Aggggrrrr rra. Arrehghghghgh Jezz! Ohhhhhhhh God! Arrrrghrrrghhh! Finally the hurt st to go away. Pee Wee looks down at his disaster and mo</scene_description> <character>-PEE WEE</character> <parenthetical>( c ntinuing)</parenthetical> <dialogue>Instant e nuch! Argh!</dialogue> <scene_description>Pee Wee snaps to. He throws the covers ff and starts to get up. He leans over quickly and takes something out of 2C.... the bedside drawer. He lies back down o the bed and---.-- reaches BELOWCAMERA with the object. He concentrates in- tently on what he is doing for a moment then pulls the object up in front of his face to examine ·it .. It is a ruler. Pee Wee looks discouraged as he sees by his finger mark on the ruler that he has measured off only four inches.</scene_description> <character>'PEE WEE</character> <parenthetical>(continuing)</parenthetical> <dialogue>Shit!</dialogue> <character>2...0</character> <dialogue>He throws the ruler down and turns tb thtall. There is a little height chart for Pee Wee's penis.</dialogue> <character>2</character> <dialogue>1954</dialogue> <character>CONTINUED: ·( 2)</character> <dialogue>-1955</dialogue> <character>6''</character> <dialogue>------5"</dialogue> <character>4 II</character> <dialogue>-----3"</dialogue> <character>2''</character> <dialogue>------1"</dialogue> <scene_description>ZF (continuing).</scene_description> <character>PEE WEE</character> <dialogue>s ... it is. It's getting ter. Shit!</dialogue> <scene_description>Pee Wee is no only hung up about his height·. He marks down the curr t size and bolts OUTOF FRAME. CAMERA HOLDS on the chart or a moment, then PANS UP TO the wall behind Pee Wee's bed hich is covered with photos of Pee Wee's school days. ITLES BEGINas we PAN these photos which give us a gl' se of Port Auburndale circa 1950. We see the team basketbal picture which shows us Pee Wee and some of his pals who w·11 populate our tale. We see Pee Wee's basketball tea ates, Billy McCarty, Tommy Turner, Tim Cavanaugh and rian Swartz. The Port Auburndale Flying A s 1 football team hows us Anthony "Meat" Tupperelo and Mickey Jarvis. The t tle sequence gives us a feeling for the early SO's period on Florida's Gold Coast and introduces us to our principal layers. We END on a SHOT of Port Auburndale High which becrmes ANIMATED and we find ourselves at:</scene_description> </scene> <scene> <stage_direction>EXT. PORT AUBURN.DALEHIGH - DAY</stage_direction> <scene_description>CAMERA HOLDS on the school for several beats, then pulls back to find BILLY McCARTYpulling by in foreground in a 1950 two- door Chevy. We recognize Billy as one of the basketball play':rs we saw in Pee Wee' s team photo. :. , 3A :TOMMY</scene_description> <character>TURNER</character> <dialogue>comes wheeling up beside' him. Tommy is a winner, cool, shrewd, well-liked, a natural under-achiever, mischievous, irresponsible, and completely unpredictab\_le.</dialogue> <scene_description>They yell at one another.</scene_description> <character>BILLY</character> <dialogue>D'ya get the colored guy?</dialogue> <character>TOMMY</character> <dialogue>Does a fat dog fart?</dialogue> <character>( CONTINUED)</character> <dialogue>3</dialogue> <character>CONTINUED:</character> <dialogue>BILLY</dialogue> <scene_description>Wha 'she look like? \*</scene_description> <character>TOMMY</character> <dialogue>Lik a fuckin' Zulu man. He's six four wit two huge gold teeth!</dialogue> <character>BILLY</character> <dialogue>No hitJ 3B</dialogue> <scene_description>They ?Ull int the parking lot and into paring spaces. BILLY (continued) Where'd you find him?</scene_description> <character>TOMMY</character> <dialogue>Works for my old man's constructi n company, dumb as a turd, but will"ng to kill for ten bucks.</dialogue> <character>BILLY</character> <dialogue>Ten bucks? 'Not-bad.</dialogue> <character>TOMMY</character> <dialogue>You sure the bread's all set ••.</dialogue> <scene_description>Suddenly, Biily looks up and sees someone cqming O.S. Hey wait! It's</scene_description> <character>BILLX</character> <dialogue>Here he comes . Could.</dialogue> <scene_description>a bird -- i be? 4 t</scene_description> <character>4</character> <dialogue>MED.\ SHOT -</dialogue> <scene_description>MARVN, known as Highpockets, is a parking lot monitor. High ockets is the classical teenage toady. His every waki g hour is devoted to pleasing the power structure, the adul world. Thus, he is the natural enemy of every other kid n school. Symptomatic of Highpocket' s betrayal is the fact that he wears his pants where every mother wants them worn, above the hipsJ just below the belly button. He walks towa d our. guys.-· · ·-·</scene_description> <character>BILLY</character> <dialogue>it 1 s a plane, no! It's</dialogue> <scene_description>Highpockets!</scene_description> <character>4A-</character> <dialogue>As if on cue, Billy and Tommy pull their low-sl g Levis up above their navels, the seams riding ridiculousl 1 into their crotches and the cuffs above their ankles. The} look quite comical. This is an old routine. They walk alo\[g be-:.ie Highpockets. •</dialogue> <character>TOMMY</character> <dialogue>\V</dialogue> <scene_description>- Hi ya, Marvin, how they hangin'?</scene_description> <character>( CONTINUED)</character> <dialogue>4 CONTINUED: uI</dialogue> <character>MARVIN</character> <dialogue>You' re n t supposed to spinou t , Turner. I'm givin1•. you a dcmcri t.</dialogue> <character>TOMMY</character> <parenthetical>( tragic)</parenthetical> <dialogue>Oh, my G</dialogue> <character>BILLY</character> <dialogue>You real·y dress neat, Marvin. But I just w ndered what do you do with your tes icles when you wear your pants so high? Sure looks crowded.</dialogue> <character>MARVIN</character> <dialogue>I leave at home in a drawer. I wear t dates.</dialogue> <scene_description>They are taken Marvin has never had a comeback..</scene_description> <character>TOMMY</character> <dialogue>what's come over you?</dialogue> <scene_description>/'"''•·., 4c. MARVIN 1.,</scene_description> <character>.....</character> <dialogue>./ Listen, Turner, I know you think I'rn</dialogue> <scene_description>a square and a jerk, but ten years from now, when I'm president of a big corporation or Attorney General of the state, you guys'll be hanging your beer bellies over a pool table, shooting pool for nickels and dimes. Then we'll see who laughs? M·rvin walks on, leaving the stunned duo staring afLer him.</scene_description> <character>BILLY</character> <dialogue>Well, old Marvin's got some balls!</dialogue> <character>TOMMY</character> <dialogue>Yeah he keeps them home in a drawer.</dialogue> <scene_description>'I'h y stop and look off toward a large RUMBLEcoming O.S.</scene_description> <character>CUT TO:</character> <dialogue>s</dialogue> <character>LO (</character> <dialogue>MICKYJARVI ROARSinto the parking lot in a fierce-looking bl4ck picku</dialogue> <character>SH~T - MICKEY'S CUT-DOWNPICKUP</character> <dialogue>Mickey is a good ol' Southern boy, clever and</dialogue> <scene_description>quick, a bi of a clown but tough and pugnacious as we shall f1d out. n unusual kid.</scene_description> <character>\V.</character> <dialogue>6 MED. SHOT\- THE PARKIN, LOT.- TOMMY</dialogue> <character>ANDBILLY</character> <dialogue>Oh no!</dialogue> <scene_description>Tormny and Billy and abuc ten other people walking the i gravel parking lot allstart running like crazy to get off the dirt and gravel be ore Mickey can get to them. Most of them, including Billy nd Tommy, are too late. Mickey does a long looping pinwhee , throwing tons cf gravel and dust over the hapless victi We are lost in the cloud of d:ust. CAMERAHOLDSuntil it lears. We see a line of people about thirty yards long cove ed with heavy white dust. They curse Mickey as they shake t emselves free of the dust shower.</scene_description> <character>TOMMY</character> <parenthetical>(conti uing)</parenthetical> <dialogue>Jarvis, yous upid redneck.</dialogue> <scene_description>At that moment, Marvin c.omes up behind Mickey's c r.</scene_description> <character>MARVIN</character> <dialogue>Mickey Jarvis ...you're gonna get your parking lot privileges suspended if you ...</dialogue> <scene_description>That's as far as he gets. Mickey spins out, sendi g a volu- minous spray of gravel and dust hurtling into the oor kid's face. Hickey parks, jumps out and walks past the uckless Marvin who can't see a thing.</scene_description> <character>MARVIN</character> <parenthetical>(continuing)</parenthetical> <dialogue>Jarvis! Jarvis! I'm giving you \*</dialogue> <scene_description>two demerits! Mickey joins Tommy an~ Billy.</scene_description> <character>MICKEY</character> <dialogue>Did. ya get the nigger ... ?</dialogue> <character>BILLY</character> <parenthetical>(kidding but serious)</parenthetical> <dialogue>Oh, man. You mean the colored guy. Jarvis. The Neegrow.</dialogue> <character>TOMMY</character> <dialogue>Poor white trash.</dialogue> <character>MICKEY</character> <dialogue>Fuck you and the horse you rode in onl \*</dialogue> <character>\</character> <dialogue>6 CON'l'INUED:</dialogue> <character>TOMMY</character> <dialogue>Fuck yo and the horse you rode in on? Th t's colorful redneck humor, right?</dialogue> <character>'</character> <dialogue>MICKEY</dialogue> <scene_description>R,i.ght,</scene_description> <character>;</character> <dialogue>kiss my rebel ass!</dialogue> <character>TOMMY</character> <dialogue>That's a other one!</dialogue> <character>BILLY</character> <dialogue>Right! Yu should be writing these down.</dialogue> <character>MICKEY</character> <dialogue>Go back o Michigan and rub asses with all the Negroes you want! This is ixie, baby.</dialogue> <character>TOMMY</character> <dialogue>Hey Jarv·s, how come you don't have four fir t names like most Hillbillies? You know, Billy Joe Jim Bob or Flora Mae, Sally Su?</dialogue> <character>MICKEY</character> <dialogue>Hey, man! I had a cousin named Billy Joe Jim Bob. He died in the war, so wrtch what you 1 re sayin'.</dialogue> <scene_description>They laugh.</scene_description> <character>MICKEY (CONT1 D)</character> <dialogue>Anyway, dtd you get a Nee-grow?</dialogue> <character>TOMMY</character> <dialogue>Yeah! Yeh, we got one.</dialogue> <character>BILLY</character> <dialogue>Guy's 6 1 4 1 with gold teeth. Meanest lookin' m ther you ever saw.</dialogue> <character>MICKEY</character> <dialogue>Oh man, o man, they're gonna croak when this jguy jumps out. Who all's going?</dialogue> <character>WENDY (0 €� S €� )</character> <dialogue>Tommy!</dialogue> <character>CONTINUED</character> <dialogue>6</dialogue> <character>CONTINUED:</character> <dialogue>\*</dialogue> <character>G,C</character> <dialogue>turn to .see WENDY. Elfish, sassy-looking, Wendy is a Yi a sexually adventurous girl who still commanrls. ct despite her promiscuity. She is perturbed at this t.</dialogue> <scene_description>\\_)</scene_description> <character>TOMMY</character> <dialogue>Hi, Wendy!</dialogue> <character>WENDY</character> <dialogue>Did yo1:1get it?</dialogue> <character>- TOMMY</character> <dialogue>I found a place that's got one. I~ll go tomorrow.</dialogue> <character>WENDY</character> <dialogue>Don't let me down. I'm gonna get that little jerk.</dialogue> <scene_description>She· oes off muttering to herself.</scene_description> <character>MICKEY</character> <dialogue>Who's she gonna get?</dialogue> <character>TOMMY</character> <dialogue>Pee Wee! Didn't you hear about the other night?</dialogue> <character>MICKEY</character> <dialogue>No, what happened?</dialogue> <scene_description>()</scene_description> <character>( CONTINUED)</character> <dialogue>6</dialogue> <character>CONTINUED:</character> <dialogue>TOMMY</dialogue> <scene_description>W 11, we figured w~ hH&lt;l to get P e Wee J.-dd so I fixed hi111 11p w. Lh Wen&lt;.ly.</scene_description> <character>MICKEY</character> <dialogue>e Wee and Wendy? I thought she d better taste.</dialogue> <character>BILLY</character> <dialogue>1 he had to do was knock it off. ey were making out and you know ndy, she reaches down and unzips s fly and grabs his cock and ess what?</dialogue> <character>MICKEY</character> <dialogue>BILLY</dialogue> <scene_description>bastard already had a on.</scene_description> <character>MICKEY</character> <parenthetical>(breaking up)</parenthetical> <dialogue>bullshit.</dialogue> <character>BILLY</character> <dialogue>Wendy told me. Why would</dialogue> <scene_description>s e lie? That horny little mother rubber to his date.</scene_description> <character>TOMMY</character> <dialogue>got so pissed off she wouldn't him touch her.</dialogue> <character>MICKEY</character> <dialogue>at's she gonna do?</dialogue> <character>TOMMY</character> <dialogue>wait you'll find out.</dialogue> <scene_description>OFF hear a voice. \* I CONTINUED ( 7 CONTINUED:</scene_description> <character>'7</character> <dialogue>They whirl ar und to see Pee Wee.</dialogue> <character>\*</character> <dialogue>MICKEY</dialogue> <scene_description>Hey it's Ready Eddie!.</scene_description> <character>, PEE WEE</character> <dialogue>man, this is serious. Don't</dialogue> <scene_description>w around. I'm going tonight, t?</scene_description> <character>TOMMY</character> <dialogue>I d 't know, Pee Wee, even a nym ornaniac's got standards.</dialogue> <character>MICKEY</character> <dialogue>She ives with a big black nigger, Pee ee. If he catches you, he'll cut our pecker off.</dialogue> <character>'BILLY</character> <dialogue>He I s bringing a pair· of</dialogue> <scene_description>ers.</scene_description> <character>PEE WEE</character> <dialogue>I dor't care if she lives with a blue ass baboon. She ·likes to serer, right?</dialogue> <character>I</character> <dialogue>Love it, man. Can't get enough.</dialogue> <character>TOMMY</character> <dialogue>Espe ially young guys. The more the errier.</dialogue> <character>PEE WEE</character> <dialogue>Whats she look like? Is she good- look ng?</dialogue> <character>BILLY</character> <dialogue>Not ad. Great body. Moves like an e l.</dialogue> <character>PEE WEE</character> <dialogue>Thats the way I like 'em. That's the 1ay I like 'em.</dialogue> <character>MICKEY</character> <dialogue>f</dialogue> <scene_description>You \]ike 'em any ~ay, as long as theyr.re not dead. 7 CONTINUED: (2).</scene_description> <character>PEE WEE</character> <dialogue>I don't are if they're dea&lt;l, ~s long as hey're not too cold.</dialogue> <character>BILLY</character> <dialogue>Sick ... ick ...</dialogue> <character>PEE WEE</character> <dialogue>Hey, look, let's not bring too many guys. That way we can all get her t ice. ·</dialogue> <character>MICKEY</character> <dialogue>Listen to this midget. He's not even invi ed and he's making out the guest list .</dialogue> <character>. PEE WEE</character> <dialogue>ice rising)</dialogue> <scene_description>(v Listen, Im going! You bastards ... you'r not cutting me out of free nook TOMMY Alright, You're going. Shut up.</scene_description> <character>PEE WEE</character> <dialogue>Alright. ight o'clock, right?</dialogue> <character>MICKEY \*</character> <dialogue>... Right! r your rubber!</dialogue> <character>PEE WEE</character> <dialogue>That lying bitch! \*</dialogue> <scene_description>They give Pee Wee th old horse laugh and start off to- ward school. Pee We\]· runs after them.</scene_description> <character>PEE WEE</character> <parenthetical>(co tinuing)</parenthetical> <dialogue>Hey, wait~ minute a minute, I</dialogue> <scene_description>'7A want to shdw you something. He c tches up to them.</scene_description> <character>PEE WEE</character> <parenthetical>(continuing)</parenthetical> <dialogue>I get something terrific figured out. Better than getcing laid.</dialogue> <character>I</character> <character>7</character> <dialogue>COITTINUED:</dialogue> <character>TOMMY</character> <dialogue>Here we o again ...</dialogue> <character>PEE·WEE</character> <dialogue>No shit. Almost as good as getting aid. Here's what you do.</dialogue> <scene_description>Pee Wee takes off is watch and doubles up the gold-plated flex watchband so hat it forms a loop about the size •Of a finger. He hands t to Tommy and says:</scene_description> <character>PEE WEE</character> <dialogue>.Okay. n-0 , hold it likethat and real slo -like, stick your finger in and o t of the loop.</dialogue> <character>TOMMY</character> <dialogue>What the hell are you talking about?</dialogue> <scene_description>Pee Wee takes the back.</scene_description> <character>'16</character> <dialogue>PEE WEE</dialogue> <scene_description>Look! e this. Pee Wee slowly, se ously pushes his m'ddle finger in and out of the watchba d. He has a ridicu ous look of ecstasy on his face. He 1 ks at them,</scene_description> <character>PEE WEE</character> <dialogue>ntinuing)</dialogue> <scene_description>Okay, it. Really slow ..</scene_description> <character>11</character> <dialogue>Tommy looks at the the watchband and des as instructed.</dialogue> <character>11</character> <dialogue>thers as if to say</dialogue> <character>PEE WEE</character> <parenthetical>(c ntinuing)</parenthetical> <dialogue>Slow ... r al slow ... what's t feel like</dialogue> <character>TOMMY</character> <dialogue>It feels ike I'm sticking m finger in a watchband .</dialogue> </scene> <scene> <stage_direction>.,.</stage_direction> <character>-·</character> <dialogue>7 CONTINUED: (4) tB</dialogue> <scene_description>The others laugh.</scene_description> <character>PEE WEE</character> <dialogue>Oh, man. t feels l ik~ pus ;y,</dialogue> <scene_description>.. Just like ussy . ' The others laugh at ee Wee. How would OU</scene_description> <character>MICKEY</character> <dialogue>know, Pee Wee</dialogue> <character>..</character> <dialogue>~</dialogue> <scene_description>r-Jc\_</scene_description> <character>BILLY</character> <dialogue>We gotta g t this kid laid uick, he's despe ate.</dialogue> <character>TOMMY</character> <dialogue>.You are intdeep trouble, my boy.</dialogue> <scene_description>Pee Wee grabs the wat h. back.</scene_description> <character>PEE WEE</character> <dialogue>It's just ike pussy. You ot no imaginatioq. Here, c'mon. I'll prove it. l</dialogue> </scene> <scene> <stage_direction>EXT. PATIO AREA - DAY</stage_direction> <character>\*</character> <dialogue>CAMERAPICKS UP a pert, s ~t little girl as she makes her way across the Patio ere everyone hangs out</dialogue> <scene_description>befo-re school. She bring us to Meat, and Tim • .Cavanaugh and several oth guys. Tim is wiry, driven, racist; hot racist in the enign and minuless manner of Mickey, but angry and ightened. Tim is accepted by the guys, but e·is a bomb looking for a place to explode. Meat is an All American tackle, thick of mind as wel+ as b dy. He is truly tough, but not truly mean. The l'ttle girl addresses Meat. Hi ! My name is Can I ask you something? lJ •..</scene_description> <character>ME</character> <dialogue>Yeah, sure.</dialogue> <dialogue>Why do they Meat?</dialogue> <scene_description>Tim and the other ress a laugh. Meat just shrugs.</scene_description> <character>8</character> <dialogue>13A.</dialogue> <character>CONTINUED:</character> <dialogue>Wendy w· lliams MINDY</dialogue> <scene_description>said I s ould t ask ya! gB They look to see endy and severa other girls across the Patio. They e giggling. N w we know why Meat got his nickname. ·</scene_description> <character>MEAT</character> <dialogue>She did, huh?</dialogue> <character>MINDY</character> <dialogue>Uh-huh. Why do thev ca 1 you Meat •.• cause yo 're so big?</dialogue> <scene_description>The guys are break'ng up now.</scene_description> <character>MEAT</character> <dialogue>ta.</dialogue> <character>MINDY</character> <dialogue>atient)</dialogue> <scene_description>Not Why? Meat looks at the ther guys. Th~y are breaking up.</scene_description> <character>MEAT</character> <dialogue>d You real y wanta know?</dialogue> <scene_description>This girl hasn't a clue.</scene_description> <character>MINDY</character> <dialogue>YES!</dialogue> <scene_description>Meat looks at the ther guys as i to say, 'what can I do?'</scene_description> <character>MEAT</character> <dialogue>Okay. C mon, I'll show you.</dialogue> <character>TIM</character> <dialogue>No, Meat She's only a reshman!</dialogue> <character>MEAT</character> <dialogue>Right. fter this, she'll be an instant senior.</dialogue> <scene_description>The guys break up.</scene_description> <character>TIM</character> <dialogue>Hey, lis en Meat, if yo get suspende again, you'll ever get that sch larship to Pri eton.</dialogue> <scene_description>This sinks in. Meit turns to the irl and shrugs.</scene_description> <character>MINDY</character> <dialogue>Aw, sho~J!\_</dialogue> <character>,....\_~ CONTINUED</character> <character>8</character> <dialogue>CONTINUED:</dialogue> <scene_description>191indy is thoroughly. perple:-:~d. Wendy and the girls are egging her on. We see ee Wee approach. Mindy leaves. We hold on her as e see her walking back to Wendy and the others. W hear Pee Wee off camera. PEE EEt (O. S.) Hey Tim, Meat, I ant to show you something. We continue to hear Pee Wee explain the watch .band bit as we see Wendy and the othe;rs explaining "Meat's" nickn·ame. When Mindy understands, she drops her books and squeals.</scene_description> <character>CUT TO:</character> <dialogue>We PAN UP from Meat's finger and the watchband to the faces of Pee Wee, ~eat afd the guys.</dialogue> <character>PEE WEE</character> <parenthetical>(continuing)</parenthetical> <dialogue>Alright. Now just put your finger in and out of it ... real</dialogue> <scene_description>/-·-, .. slow. r-........ ·,, ..</scene_description> <character>CONTINUED</character> <scene_description>8 CONTINUED: Mickey, Billy, Tommy ands veral other guys all wait expec- tantly. Pee Wee urges Me~ on with a soft seductive voice.</scene_description> <character>PE</character> <dialogue>(continui</dialogue> <character>WEE</character> <dialogue>g)</dialogue> <scene_description>Yeah, that's it ... that's it. Yeah now, what's that feel like?</scene_description> <character>ME</character> <dialogue>It feels like I'. sticking my finger ina watc and ...</dialogue> <scene_description>Everyone breaks up. is completely deflated.</scene_description> <character>PEE WEE</character> <dialogue>· Oh, man ... what a bunch of turds ...</dialogue> <scene_description>I· don't know .can last till tonight. Call Wendy ... it's an emergency!</scene_description> <character>TO</character> <dialogue>No wonder he's fl nking out. He sits in study hal all day fucking his watchband.</dialogue> <character>PEE WEE</character> <dialogue>Give me a break.</dialogue> <scene_description>He has been had, there's no way out: Pee Wee walk~ away and leans against the rail sulk~ng. Behind him, Tommy is get- ting all the guys to take t eir watchbands off. They do so. All six guys poise themselv s with fingers in their watch- bands. When they are all r~ady,. . Tommy calls out: .</scene_description> <character>TOMMY</character> <dialogue>Hey, Pee Wee!</dialogue> <scene_description>Pee Wee turns around to see six guys f ngering thei</scene_description> <character>-</character> <dialogue>watch-</dialogue> <scene_description>bands in perfect unison. On each face is the most idiculous expression of mock ecstasy you've ever seen. Their mouths hang open. Their eyes are glazed, the all moan so tly as they finger away. Pee Wee's defeat is total. Half ~ ;c courtyard is breaking up. Finally, th six break u also. Pee Wee stands his ground. He puts hi hands to hi side and begins shooting birds -- frantically a\_ everybody w th both hands . Suddenly, Pee Wee looks away as if he has se n something. The others turn.</scene_description> <character>CUT TO:</character> <scene_description>8G HE TERROROF PORTAUBURNDALE</scene_description> <character>HIGH APPROACHING</character> <dialogue>ISS BALBRICKER,known as "Kong," the girls' Phys Ed teacher - 5' 10'' and 240 pounds of square-jawed Teutonic fury. She alks by giving Torrnnya withering look. Miss Balbricker oesn't like men. Tommy is her pet hate. The feeling is utual. Tormny-speaks with oily insincerity.</dialogue> <character>TOMMY</character> <dialogue>Good morning, Miss Balbricker. My, you look nice this morning.</dialogue> <scene_description>ss Balbricker looks like a bomb shelter. Tommy' sarcasm kes the hair raise on the back of her neck.</scene_description> <character>TOMMY</character> <parenthetical>(continuing)</parenthetical> <dialogue>Are you losing weight?</dialogue> <scene_description>M ss Balbricker has been gaining weight exponentia ly for y ars. She stops and glares. Unable to come up w'th a s itable rejoinder, she stalks off.</scene_description> <character>MICKEY</character> <dialogue>Wbewl You like to live dang rously, Turner.</dialogue> <character>BILLY</character> <dialogue>She wants a piece of your as , man.</dialogue> <character>TOMMY</character> <dialogue>. Bull dyke bi~ch.</dialogue> <scene_description>Thy star~ toward school.</scene_description> <character>MICKEY</character> <dialogue>C'mon, Turner, we all know y u been waiting all your life to bal Miss Balbricker ...</dialogue> <character>TOMMY</character> <dialogue>I'd rather beat a porcupine 0 death .with my prick.</dialogue> <scene_description>Mi key grimaces in mock pain grabbing is crotch.</scene_description> <character>MICKEY</character> <dialogue>Oh, man. oh!</dialogue> <scene_description>-1.looks after Balbricker. \*</scene_description> <character>9</character> <dialogue>9</dialogue> <character>16.</character> <dialogue>INT. GYMOF PORT AUBURNDALE</dialogue> <character>HIGH - DAY</character> <dialogue>The are shooting baskets as they wait for practice to b gin. Along with Billy, Tormny, Pee Wee and Tim, we see RIAN SCHWARTZ,a second semester transfer to Port Aubu ndale. He seems to be a loner and hasn't fit in as yet. And he ~oesn't s~ern ~o care. Two ssistant coaches look on -- COACHBRACKETTand COACH WARRE. Brackett is probably no more than twenty-three and h s just joined the coaching staff of "The Flying A's." Brack tt is extremely attractive and engaging, and is the sort f coach who wants to be "one of the b.oys." He's singl and on the make. Coach Warren was not dissimilar when e was Brackett's age, but at thirty, with a wife and tree kids, he's become more of a company man. Still, he ca enjoy a good laugh.</dialogue> <character>CUT TO:</character> <dialogue>10</dialogue> <dialogue>who troop out of the locker room to their practive led by a sinuous woman with blonde hair, pre ty face, and a virtually HONYWELL,one of Miss Balbricker's and coach of the cheerleaders.</dialogue> <character>THE "FLYING A" CHEERLEADERS</character> <dialogue>area, an enticingly flawless fellow gym teachers We see Wendy Williams</dialogue> <character>.</character> <dialogue>amo the cheerleaders. She spots Pee Wee and puts her hant up to her face and flattens her nose,.eyes and mouth</dialogue> <scene_description>\ OA wit her fingers, mocking Pee Wee. Pee Wee looks disgruntled. Now Ge see Coach Brackett eyeing Miss Honeywell. She is not \[naware of Brackett. I Ah, yes,</scene_description> <character>COACHBRACKETT</character> <dialogue>Boy, would I like to get next to that...</dialogue> <scene_description>Lassie.</scene_description> <character>COACHWARREN</character> <dialogue>Patience, my boy,</dialogue> <character>IOB</character> <dialogue>\*</dialogue> <scene_description>patience..</scene_description> <character>COACHBRACKETT</character> <dialogue>What? Lassie? Why do you call her Lassie? ·</dialogue> <character>COACH"</character> <dialogue>WARREN</dialogue> <scene_description>Why do you think?</scene_description> <character>COACHBRACKETT</character> <dialogue>I don't know.</dialogue> <scene_description>Warren stops and lets out a little quiet howl like the baying of a hound.</scene_description> <character>·\V</character> <dialogue>('. / 10 CONTINUED: /0 B</dialogue> <scene_description>·.·--·-··</scene_description> <character>CO CH BRACKETT</character> <parenthetical>(continui g)</parenthetical> <dialogue>Arc you kidtlin~; 't You c.:al J he• r a dog? Are you nu~s? That'::; ange\] food cake. You 4ouch her and the food and drug administration will get you for fuckjng food. .</dialogue> <character>CO CH WARREN.</character> <dialogue>What can I tell. ~ou?</dialogue> <scene_description>co4cHBRACKETT You can tell me hy they call her Lassie.</scene_description> <character>CO CH WARREN</character> <dialogue>Just get her up ·n the equipment room and you'll ind out.</dialogue> <scene_description>Warren walks off leaving B ckett hanging.</scene_description> <character>CO ..,HBRACKETT</character> <dialogue>(intrigue What are you talk'ng about? He follows Warren.. The last words we hear before we CUT is Warren saying ... I COA~HWARREN</dialogue> <scene_description>But beware of Kon~1</scene_description> <character>I</character> <dialogue>II</dialogue> <character>CUT</character> <dialogue>11</dialogue> <dialogue>I</dialogue> <character>LOCKERROOM- 'DAY</character> <dialogue>e Pee Wee's face peering between the flat</dialogue> <scene_description>upper wall of the locker room. t e gym floor. He is peer·ng</scene_description> <character>BILLY (O.S.)</character> <dialogue>that form</dialogue> <scene_description>down onto Well?</scene_description> <character>PEE WEE</character> <dialogue>The girls' tumbling team's gone in.</dialogue> <character>MICKEY</character> <dialogue>'!hose broads never take a shower. What \*</dialogue> <scene_description>about the Majorettes?</scene_description> <character>PEE WEE</character> <dialogue>They're still there! •</dialogue> <character>€�</character> <dialogue>n 11' CONTINUED: ·\I A</dialogue> <scene_description>Keep checking ...</scene_description> <character>BILLY</character> <dialogue>I CU'l TO:</dialogue> <character>12</character> <dialogue>They are obviously looking</dialogue> <character>MED. SHOT - INCLUDINGBILLY, MICKEY, TIM AND</character> <dialogue>at Brian</dialogue> <scene_description>other side of the room.</scene_description> <character>TIM</character> <dialogue>It's bad enough scr 7wing a broad that lives with a nigger without inviting a Jew. All we need is a Communist and a Spic and we got it all.</dialogue> <character>BILLY</character> <dialogue>You are the tolerant type, Cavanaugh I notice you're still including yourself in.</dialogue> <character>TIM</character> <dialogue>\&lt;) Pussy is pussy, man. I just don't</dialogue> <scene_description>know why we gotta invite some f riggin' Kite ... Mispronouncing the racial slur.</scene_description> <character>BILLY</character> <dialogue>Brian's a good guy. He's only been here a month. Give him a chance.·</dialogue> <character>TIM</character> <dialogue>He's a prick -- and a Jewish prick at that.</dialogue> <character>BILLY</character> <dialogue>Alright, Tim. We won't ask him. But ~ou're an asshole, you know.</dialogue> <character>PEE WEE</character> <dialogue>They're goin' in. Come on. Hurry! Miss Walker's with them.</dialogue> <character>BILLY:'</character> <dialogue>Hold on, Pee wee. I gotta finish • dressing. \*</dialogue> <scene_description>(~; \,.,.,/ \3</scene_description> <character>13</character> <dialogue>The bys</dialogue> <character>EXT:</character> <dialogue>crawl</dialogue> <character>13,/:\.</character> <dialogue>13A)</dialogue> <character>13C.</character> <dialogue>We see the beys qr wl into·the</dialogue> <scene_description>the gym, then make their way fro one openin into another. 13B) A LONG SHOT ot the boys crawling their st rnachs underneath a very\_ ow c~~ent flo r. 13C) LONG SHOT looking hrough a crac in a wall. The boys climb up onto a long alleyw filled w th pipes. They runt ward the crac. and dislod e some stones and crawl u .into the spa e.</scene_description> <character>14</character> <dialogue>\</dialogue> <character>INT</character> <dialogue>'</dialogue> <character>SHOWERROOM- PEE WEE'S POV - DAY 14 A</character> <dialogue>•</dialogue> <character>146</character> <dialogue>As he boys begin their voyeuring, the last of t~e gir s are on their way out of the shower room. All thy see are three depe.rting little asses. Then, we hear "Kong" theme MUSIC. Miss Balbricker·steps into the she er ro m. There's are pregnant pause. The guys hold their brea s. Miss Balbric•ker knows something is wrong, but she does 't know what. Fiaally, she turns the lights out and leavl .s.</dialogue> <scene_description>DIl4D it, I told to miss them.</scene_description> <character>PEE WEE</character> <dialogue>you we were going</dialogue> <character>BILLY</character> <dialogue>H</dialogue> <dialogue>net</dialogue> <scene_description>lg on, time. Pee Wee, we'll get 'em</scene_description> <character>PEE WEE</character> <dialogue>Yejh, but Miss Walker a real wo. an and we missed her,·</dialogue> <character>'V</character> <dialogue>I</dialogue> <character>- '·I</character> <dialogue>14 CO!.TINUED:</dialogue> <character>.</character> <dialogue>14D</dialogue> <character>MICKEY</character> <dialogue>Pee Wee you're }',&lt;&gt;nna gc•t laid by an exo\_t .c dancer in a couple of hours. That's r1 real womn9.</dialogue> <scene_description>PEE WEE i Yeah, r ght! Yeah! Let's go, I gotta g home and warm up. Pee Wee SPLITS F Mickey and Billy look after him\_quiz- zically. Mickey</scene_description> <character>MICKEY</character> <dialogue>Billy shrugs, ind· eating puzzlement. 'l\_rheySPLIT FRAME.</dialogue> <character>. . I</character> <dialogue>CUT TO:</dialogue> </scene> <scene> <stage_direction>EXT. SWAMPROAD- NIGHT</stage_direction> <scene_description>We HOLD•TIGHTon a: pair of flaming red eyes. NIGHT SOUNDS are exploding AROUNDUS. FROGS, CRICKETS, NIGHTBIRDS, form a mghty chorus. THEMEMUSIC is primal, slightly ominous. HOLDthis for a long moment until, in the distance, we hear a faint DIS-HARMONIOUS SOUND. After a moment, we rea- lize that it is the BLAREOF A RADIO and it is moving closer. It is coming from a vehicle and it is bearing down on us. The red eyes blink and the alligator -to which they are attached whirls around and kerplu.nks heavily into the road- side canal. CAMERA.PANS in time to see Mickey's pickup loom up and ROARpast.</scene_description> </scene> <scene> <stage_direction>INT. MICKEY'S TRUCK- SWAMP- NIGHT</stage_direction> <scene_description>The three conspirators, Billy, Mickey, and Tommy, are sit- cing in the cab. The vie tims, Pee Wee, Neat, Tim, and the two other guys, FRANKBELL and STEVE KLINGERHOFER,are riding in the truck bed.</scene_description> <character>.</character> <dialogue>.</dialogue> <character>TOMMY</character> <dialogue>Slow down. It's about a quarter of a mile on the left.</dialogue> <character>MICKEY</character> <dialogue>You sure that broad could find this place?</dialogue> <scene_description>\ (pCONT'D 21.</scene_description> <character>16 CONTINUED:</character> <dialogue>TOMMY</dialogue> <scene_description>They're both there already. I took Conklin myself. And I drew Cherry a map. No sweat.</scene_description> <character>BILLY</character> <dialogue>Cherry?</dialogue> <character>TOMMY</character> <dialogue>Yeah! Cherry Forever. That's her professional name.</dialogue> <character>MICKEY</character> <dialogue>Cherry Forever ... are you shitting me?</dialogue> <character>TOMMY</character> <dialogue>That's her professional ·name. What can I tell ya!</dialogue> <character>. MICKEY</character> <dialogue>·(pounding gleefully</dialogue> <scene_description>on the steering wheel) Beautiful. .. beautiful. · I can't wait, man. I can't wait.</scene_description> <character>BILLY</character> <dialogue>Just be cool!</dialogue> <scene_description>Tim leans over from the truck bed to\_talk to the cab. The wind blows in his face.</scene_description> <character>TIM</character> <dialogue>Why the hell would she live way out here? In the Everglades.</dialogue> <character>MICKEY</character> <dialogue>If you were shackin' up with a big ass nigger and s~rewing everybody in sight, where would you live?</dialogue> <character>PEE WEE</character> <dialogue>Hot damn! Step on it!</dialogue> </scene> <scene> <stage_direction>EXT. THE TRUCK- NIGHT</stage_direction> <scene_description>I The truck pulls to a halt and/Tommy.signals be quiet and steps quietly distance about three hundred ou of the truck. everybody t~ Off in the ards away, we see a simple t two-room cabin nestled in. the jungle. 17 CONTINUED: A yellow light gleams in the window. Tommy listens for a long moment, then cups his hand to his mouth and gives out a pretty god imitation of a night owl. He does this three times. Billy suppresses a laugh. Tim is more skeptical tha ever. Suddenly we see the lights in the cabin flash on and·off twice. Tommy stands up.</scene_description> <character>TOMMY</character> <dialogue>Okay, the cast is clear. Let's go.</dialogue> <scene_description>They all pile out he truck and head toward the cabin. As Tim moves PAST RA, we hear him mutter to himself.</scene_description> <character>TIM</character> <dialogue>The coast i clear! Do you believe this dialog e!</dialogue> </scene> <scene> <stage_direction>INT. SHACK- NIGHT</stage_direction> <scene_description>The guys enter the shack. I is devoid of furniture -ex- cept· for some old couch cush ons and a 1934 model refrigera- tor and a table with a hot p ate. The floor is littered with expended cans ·of food " d beer. It 1 s a real dump.</scene_description> <character>TO</character> <dialogue>Wait here.</dialogue> <scene_description>He and Billy go through the oar into the bedroo.m,. leaving the others standing around l eking dumb.</scene_description> <character>MEAT</character> <dialogue>What's going on?</dialogue> <character>PEE EE</character> <dialogue>They're first. Bu I got sloppy seconds.</dialogue> <character>MEAT</character> <dialogue>Your ass, Pee Wee, I'm second.</dialogue> <character>PEE E</character> <dialogue>Hell, no. If you o first, she'll be so reamed out, nobody else'll be able to touch the '·d1 es.</dialogue> <scene_description>Tommy.and Billy re-enter the room.</scene_description> <character>TO</character> <dialogue>Okay, Cherry's rea Everybody get your clothes off. ·</dialogue> <scene_description>cotJi' D (~</scene_description> <character>·:€�.....</character> <character>18</character> <dialogue>ALL</dialogue> <character>CONTINUED:</character> <dialogue>What? What is this crap? What'd ya rnea</dialogue> <scene_description>Etc ....</scene_description> <character>BILLY</character> <dialogue>She's otta make sure everybody's clean. No V.D.</dialogue> <character>STEVE</character> <dialogue>How sh gonna tell that by looking at us?</dialogue> <character>TOMMY</character> <dialogue>She's one this so much she's practi ally a doctor.</dialogue> <character>TIM</character> <dialogue>Yeah, ho's gonna inspect her?</dialogue> <character>I</character> <dialogue>Look, you guys want to get laid</dialogue> <character>BILLY</character> <dialogue>or</dialogue> <scene_description>have a /debate?</scene_description> <character>I</character> <dialogue>From O.S. we hear Pee Wee.</dialogue> <character>PEE WEE ( . S €� )</character> <dialogue>Okay,. I'm ready ...</dialogue> <scene_description>All eyes turn toward Pee Wee. He's already undressed, un- dressed and ready to go. There's general laughter. The ice is broken. I'?C Everyone breaks up.</scene_description> <character>BILLY</character> <dialogue>Okay, Cherry.</dialogue> <character>TIM</character> <dialogue>How come you guys aren't getting undressed?</dialogue> <character>BILLY</character> <dialogue>We just got inspected last week. liD</dialogue> <scene_description>At that moment, CHERRYFOREVERmakes a dramatic ent .....:.tice. She is wearing Frederick's of Hollywood panties and bra. As described by Tommy, not a great face but as unning body. A little charge of electricity runs thro gh the guys. They are definitely turned on and hooked even Tim.</scene_description> <character>(CON INUED)</character> <dialogue>'V</dialogue> <character>18 ,CONTINUED: (2)</character> <dialogue>Cherry hams it up real good. She swings towa~d the mes- merized group like a cobra. Cherry is a professional with a ready line of patter and it's not only/routine stuff, she's pretty damned quick and clever. Cherry be- gins her inspection like a general inspecting the troops. We SHOOTFROMBEHINDTHEIR BACKSto avoid fro tal nudity.</dialogue> <scene_description>l?G- TOMMY I S'F ~erry, this is S-teve.</scene_description> <character>CHERRY</character> <dialogue>Hi, Steve.</dialogue> <scene_description>Suddenl in the classical prescri ed.manner o the rmy doctor, Cherry reaches her hand o t and place her ingers under S eve's testicles. She say as she loo s, st dious and con erned ...</scene_description> <character>CHERRY</character> <parenthetical>( continuing)</parenthetical> <dialogue>Cough.</dialogue> <scene_description>This br aks everybody up. Cherry moves on. Pee We i.s next. TOMMY f And tlis is Pee Wee!</scene_description> <character>CHERRY</character> <dialogue>i</dialogue> <scene_description>I'll (looking at Pee geni ta.ls) ay. jI ee' s Billy apd Tonnny laugh conspirato have p ~ Cherry up to this. ially. Obvtttsly, they Hey!</scene_description> <character>CHERRY</character> <dialogue>PEE WEE</dialogue> <scene_description>What 'ya wear for a j ckstrap, ki~,</scene_description> <character>I</character> <dialogue>a pea ut shell and.a rtlbber band? I</dialogue> <scene_description>Pee We knows h 's being had. / Basta ·we'll ds!</scene_description> <character>CHERRY</character> <dialogue>have to tie a bo rd across</dialogue> <scene_description>his as or he's liable to fall in</scene_description> <character>I</character> <dialogue>CONT1r:D)</dialogue> <character>\V 'JI \V</character> <dialogue>18 CONTINUED: (3)</dialogue> <scene_description>\~~ Ii H PEE WEE J~'F Hey, fuck ou, lady. Lok at the size of th t pussy. Mig t as wel open the b ck door and f ck thew rld. Not a bad comeback. Cherry laughs and move .on.</scene_description> <character>TOMMY</character> <dialogue>This</dialogue> <character>CHERRY</character> <dialogue>How are yo , Tim?</dialogue> <scene_description>Cherry st when she sto s sudde y and st res at Tim's are , then over a Pee We 's geni ta area., and then Bil y. Finally:</scene_description> <character>CHERRY</character> <dialogue>tinuing) · s Mutt &amp; Jeff</dialogue> <scene_description>Pee Wee a Chery move~ on.</scene_description> <character>TOMMY</character> <dialogue>et Frank Bell.</dialogue> <scene_description>She appra genitalia fo a mome t, sighti g down it like a</scene_description> <character>CHERRY</character> <parenthetical>(de d serious)</parenthetical> <dialogue>crook d, Frank. Ycru been</dialogue> <scene_description>ound corners. Laughter. She movesJon. TOMMY t d this i the pride o. Port uburndale; Anthony Tup erelo, nown affe ticnately as 'Meat.' Cherry at Meat awe.</scene_description> <character>CHERRY</character> <dialogue>he boy's def</dialogue> <scene_description>Meat grins pleased.</scene_description> <character>CHERRY</character> <dialogue>(co1rtinuing) .</dialogue> <scene_description>y don'ttu lend (in icating that kid ... Pee ee) ...si:t in hes of that?/ '\. l t '-1/</scene_description> <character>V"CONTINUED)</character> <character>18 CONTINUED:</character> <dialogue>l8' H</dialogue> <character>OMMY.</character> <dialogue>Yo '11 need shoehorn get that in</dialogue> <character>CHERRY</character> <dialogue>ehorn, he l, I'll a crowbar</dialogue> <parenthetical>(indi ating Meat)</parenthetical> <dialogue>.. at thee d of the li e . Hey,</dialogue> <scene_description>Wee, up ront. I'll schedule light WO k first and ork up to Godzilla ere. She turns an gives th classi·c cry a d arm wa e.</scene_description> <character>CHERRY</character> <parenthetical>( cont nuing)</parenthetical> <dialogue>· Alight ... 1 t 1 s roll 1</dialogue> <scene_description>e Yo ••• hooooo As she walks 'nto the edroom with Billy and 1onuny, we hear her mutter.</scene_description> <character>CHERRY(0. .)</character> <parenthetical>(continuing)</parenthetical> <dialogue>Tha boy's d~formed.</dialogue> <character>I</character> <dialogue>CAMERA</dialogue> <scene_description>HOLDS n Pee Wee as he move to the fr.-ont of th lir1e. It 1</scene_description> <character>'</character> <dialogue>i PEE WEE</dialogue> <scene_description>Who wants tolfuck a comeiian?</scene_description> </scene> <scene> <stage_direction>INT. "BEDROOMOF CHERRY'SHOUSE- NIGHT</stage_direction> <scene_description>. First, ·we realize it's no bedroom at all. This is obvious- ly just a .shack the guys have rented or borrowed for the night. As for "who we're lookin' out for," we see Tommy and Billy helping the enormous BLACKMA.N,Conklin, climb through the room's rear window. The Man is laughing as they help him through the window, and despite all of Tommy's and Billy's shushings, he keeps laughing throughout the remainder of the entire sequence. / C') A As the Black Man gets fully inside the "bedroom, Billy i signals to Cherry to begin her number. She just stnr•:.; there and begins doing an exaggerated impression of a woman in orgasmic ecstasy.</scene_description> <character>CHERRY</character> <dialogue>Oh, Billy~ you big stud. Oh, give it to me, Billy. Fuck me, you big mother, I need it. I can't wait for the next one .</dialogue> <scene_description>('-1, .:2.0 22.. 24 22 c;.. ~L,LG- 27:</scene_description> </scene> <scene> <stage_direction>\ ....../ 20 INT. OUTERROO OF CHE HO€� SE - NIGH</stage_direction> <character>\~A</character> <dialogue>Pee ee is jum ing up d down</dialogue> <character>PEE WE</character> <dialogue>Hey, man, we' e gonn get laid</dialogue> <scene_description>t This broad re lly wa ts it. s e's ' hot. She's ally h t.</scene_description> <character>CHERRY(O.S.·)</character> <dialogue>Oh, illy, yo 're dr ving me c azy. Keep humping e, bab . I'm ge ting ther I'm g nna co e. Oh, y s. baby make it happen ,;</dialogue> <character>21</character> <dialogue>OF CHERR'S HOUE - NIGHT</dialogue> <character>INT. 'BEDROOM"</character> <dialogue>Cher is just 1standing in the middle of the roo , matter- of-f tly reellng off tis ero ic talk. Meanwhi ·e, Bill has hi nded the Black Ma a mac ete-type eapon, nd.as the Black Man prac,ices bra dishin it, Bill is sme ring ToIImiy with thel'trical b ood fr m head to toe.</dialogue> <character>CHERRY</character> <dialogue>Qh, ~illy, yo 're so good. I an't stanq it. Oh suck y titties. Bitelthem. K ep pum ing while you bite them. 0 I'm etting th re.</dialogue> <scene_description>Yes. Oh, now Now, baby, no· . '2 INT. fUTER ROOMOF CHERY'S HO SE - NIG Theres a hush!of sexua excit-ment ove ent re room.</scene_description> <character>CHERRY(O.S.)</character> <dialogue>Ohhhl\] .... baby . • Don t stop ... OHHIDiHHH</dialogue> <character>...</character> <dialogue>Suddenly the sf lence i·s broken</dialogue> <character>3</character> <dialogue>1</dialogue> <character>INT.</character> <dialogue>Billy takes th f machete and S THE R WIN· OW.</dialogue> <character>€�</character> <dialogue>24 INT. UTERRoal OF CHERY'S Ho SE - NIG I ' I</dialogue> <character>!</character> <dialogue>I</dialogue> <scene_description>. IBLACK f1AN</scene_description> <character>I</character> <dialogue>(o.sj I'll boy 1 wiran."V What s goin'</dialogue> <scene_description>kill isses you n here!, white my you motJerfucke1'! boy. No white</scene_description> <character>(CO~UED)</character> <character>24</character> <dialogue>We can sens</dialogue> <character>CONTINUE</character> <dialogue>that</dialogue> <scene_description>h his li.nes, but he boys outside are t rrified. is Micke biting his ongue t keep f om bl wing th gag pr ature- ly. Now we hear th SOUND F THE MACHETE POUNDIN the walls, and ommyb~ ins to a seri s of bl d- curdling SH IEKS. '</scene_description> <character>TO (O. €� )</character> <dialogue>, don't kill me Put,away th ife. P~ase sp re me mister. , don't ill me He' the one. was jus watchi H nest, I</dialogue> <scene_description>s ear.. ..·</scene_description> <character>(O.S.)</character> <dialogue>Y u're bot ake that m therfuck r.</dialogue> <scene_description>We hear ~or SLASHINf·AND S AMI~G. Bill 's scrJams and entreaties join with Tommy's. Ch rry is b gging er "boy- friend11 to sow mere as wel</scene_description> <character>,</character> <dialogue>BILLr (0 . S . )</dialogue> <scene_description>kill us, misfer. · lease, only just bo, s.</scene_description> <character>CHERY (O.~.)</character> <dialogue>Do 't hurt them, H ctor..L Aren't tw dead m n enoug for you?</dialogue> <scene_description>On "two dead men," w have ACTiok SHOTS 11 aro nd. Pee Wee, Meat, S eve and !Frank a e froren ·with terror. Tim remains skep ical. jckey h s los contro and b gins laughing, bu no one otices him. ;it.J. ~ y K.\_ Now, suddenl, ~he dofr is h rled ?pen, an' ab o d-stai ed Tommy stagge s into t e room and dq,es ave fa e death scene. Howe er, it's enough to comi,vince ev,eryo e but Ti . ~ e ot er· gu s are pr paring to bot, nake~~r • o\_. Now to top off t e charad, the lack uy liter lly w lks through the oor, teaing it,off is hinges. How ver, while his ac and his gestur s are ferociou, he' ready to piss from laughing</scene_description> <character>BLAC MAN</character> <dialogue>(wav ng his mache e).</dialogue> <character>I'</character> <dialogue>yo</dialogue> <scene_description>qu all! pee erw o s. I'll kill l you Mickey does is door. Four b~re part, turn in and {. mning ott the front asses spring into flight. Tim hqlds btk • a moment, un~il Suddeniy, Tiwl is the B~ack Man! turns toward • im an1 bell not s\o sure .1 · I s. . j\_ J\_ J\_ \[:\_CJNTI,\_~ED -- - --i--</scene_description> <character>H 24</character> <dialogue>d-.L../ CONTINUED: ( 2)</dialogue> <parenthetical>(The following is a chronicle of what happens throughout the remainder of the sequence.)</parenthetical> <dialogue>Tim goes through the windo~ in the outer room. Frank- is already through it. ~4 L: Meat overtakes Mickey at the font oor, and the two of them wrestle to see who'll ge through the door firs~.</dialogue> <character>25</character> <dialogue>EXT. CHERRY'SHOUSE- NIGHT</dialogue> <scene_description>I Once outside, Mickey egging little ass lie</scene_description> <character>~SA</character> <dialogue>Pee Wee takes oI on his</dialogue> <scene_description>Mickey and Meat take off in the same direction, on Meat with cries of terror. the tail own, running like of a deer bobbing the wind, his up and down through thew eds. Steve falls down the front tairs, which causes him to look ~'c · back and see that T~mmy, Bi11y and the Black Guy are stand- ing- in the .doorway laughing. Tim and Frank are around the co1.-nep:-. They hear the laughter.~: They re·alize they I ve been royally pad. ,;)\_\_</scene_description> <character>S D</character> <dialogue>Now the ones who've discovered the gag Eec me part of it. With Billy and Tommyegging on the Black G y and encouraging him to yell and shriek more, those three</dialogue> <scene_description>. take off after Mickey and Meat.</scene_description> <character>26</character> <dialogue>PORTIONOF THE EVERGLADES</dialogue> <character>EXT. A SWAMPY</character> <dialogue>- NIGHT</dialogue> <scene_description>Mickey, feigning fatigue ,and injury, drops some fifty feet behind Meat. Meat is plowing through the swamp like a man possessed, destroying everything in his path. Now we hear the bellowing of the Black l-!an, followed by the death-cries of Mickey. ~bA BLACKHAN(O.S.) I've got you, you white-assed mother --</scene_description> <character>MICKEY</character> <dialogue>Meat, help me! Please help me! He's got me, gonna kill me... Aarrrrrggfihh .-.. I l ..</dialogue> <scene_description>Tnere' s o way Meat's going back to help his buddy. He just sta gers forward, trying to accelerate his pace. n ,, .,✓</scene_description> <character>27</character> <dialogue>EXT. A WOODSY</dialogue> <character>PORTIONOF THE EVERGLADES</character> <dialogue>- NIGHT</dialogue> <scene_description>-r J\_ Pe~ Wee is racing a~ong, far oblivious to any consideration away from the action, other than flight. but</scene_description> <character>.= 28 PORTIONOF THE.EVERGLADES</character> <dialogue>EXT. A SWAMPY - NIGHT</dialogue> <dialogue>ijeat comes upon a shallow pool of water. He gets an idea. reed.</dialogue> <scene_description>He is exhausted. He reaches over and breaks off a bamboo</scene_description> <character>CUT AWAYTO:</character> <dialogue>OMIT</dialogue> <scene_description>30 INT. POLICECRUISER - NIGHT 30 3oA 308 TWOCOUNTYCOPS are on patrol. COP jfl Slow night. Cop #2 will turn out to be TED JAR S, Mickey Jarvis 1 oi er brother. Ted is an ex-Port Auburn~le High f otball sta and still· a legend among the townspeople. Hes a good guy.</scene_description> <character>TED</character> <dialogue>Don't worry. That'll ch nge.</dialogue> <scene_description>Just at that moment, Pee Wee flash s into heading in the opposite direction. He goes by so fast the two Cops ar not enti ly sure what they saw. They both swivel t eir heads o watch Wee disappear into blackness.</scene_description> <character>TED</character> <parenthetical>(continuing)</parenthetical> <dialogue>What'd I tell ya?</dialogue> <scene_description>They look at each other. Ted shru s. Cop# turns Ch~ Cruiser around and heads after Pee Wee. The ~adlights reflect off Pee Wee's little ass. Pee Week 'eps on tru king, COP /fl. I can't wait to hear th"s story ...</scene_description> <character>'V</character> <dialogue>30 CONTINUED: car,.rr•o</dialogue> <scene_description>3o 3oA 308</scene_description> <character>TED</character> <dialogue>I think I know that kid -- Pee W e Morris!</dialogue> <character>. COP IF</character> <dialogue>The basketball play r?</dialogue> <character>TED</character> <dialogue>Yep. He's a friend of my brothe. Mickey's.</dialogue> <dialogue>Well, what do?</dialogue> <scene_description>Ted looks at his partner and ins.</scene_description> <character>TED</character> <dialogue>Pull 'em over.</dialogue> <scene_description>Cop #1 laughs and reaqhes up, utting.on t e red flas ing light. Ted pulls on the SIREN, The car pills up bes de Pee Wee. Ted leans out and sa···s:</scene_description> <character>TED</character> <parenthetical>(continuing)</parenthetical> <dialogue>Okay, buddy, pull ov r.</dialogue> <scene_description>Pee Wee looks ally from view. up. Suddenly he swoons a\_n\_d i\_sappears \[omic</scene_description> </scene> <scene> <stage_direction>EXT. ANOTHER</stage_direction> <scene_description>PORTIONOF THE SWAMP</scene_description> <character>- NIGHT</character> <dialogue>Billy, Tommy, the Black Guy and the others are closing in on Meat, the Black Guy getting into it now, bellowing for all he's worth. Suddenly they're stopped by a bizarre SOUND-- LIKE TI-IE TRUMPETING OF AN ELEPHANT. Befuddled, they slow their pace.</dialogue> </scene> <scene> <stage_direction>EXT. THE POOLOF WATER</stage_direction> <character>WHEREMEATSTOPPED- NIGHT</character> <dialogue>The group comes upon the pool of water where we last saw Meat. The grotesque SOUNDis louder now, right under foot. They look down into the pool of water, and there's ~~st, lying in water that's too shallow even to cover his ~orso, tryi.ng to hide from his would-be assailant and making the bizarre sound we've been hearing by brea\_thing -- heaving is more like it through the reed. Everyone convulses with laughter.</dialogue> <character>33</character> <dialogue>The Deadbeat is a joint Auburndale beach. It consists raunchier crotvded and a. great deal of socializing</dialogue> <character>EXT. THE DEADBEAT</character> <dialogue>on an undeveloped part of Port It is a hangout for Port Auburndale High. of a package store, restaurant goes• on in the park-</dialogue> <scene_description>. ing 1o t . 3 ~ ", A SOUNDCUT. W~ see Mickey lying on his back over a car hood with his h~d cupped over his mouth as if he were hold- sing a bamboo red. He is imitating the bull moose sound Meat was making when discovered in the water. CANERA PULLS BACKto see a 1 rge crowd gathered around Mickey and the others, includi Meat.</scene_description> <character>MICKEY</character> <dialogue>... a his schlong was floating on top o the water. All you could see</dialogue> <scene_description>· was th· s reed and his schlong -- unless you looked, 'cause he was lying ·n eighteen inches of water. You cold of heard him breathin' throug that reed for twelve miles. Mickey imitates he bellow once more. The crowd roars.</scene_description> <character>MEAT</character> <dialogue>I got omething you can blow on, Jarvis</dialogue> <scene_description>Indicates you kn w what. Mickey begins t peting all the harder. Meat comes after 338 him in mock rage Mickey retreats, continuing to bellow. Meat stops sort as a cop car pulls into the parking lot. The car stops and Ted Jarvis steps out.</scene_description> <character>MEAT</character> <parenthetical>(continuing)</parenthetical> <dialogue>Hey, Mickey, it's your brother.</dialogue> <character>TED</character> <dialogue>I got something you guys lost out in ,,,. 3 3 D the Everglades. 33 ..\_</dialogue> <scene_description>Pee Wee steps out of the car. He is dressed in a olicem n's pants and shirt which are outrageously large on h' . He looks like Sleepy of "Snow White and the Seven Dw fs. " Everybody is pissing themselves with laughter.</scene_description> <character>PEE WEE</character> <dialogue>You bastards, you left me out there.</dialogue> <character>MICKEY</character> <dialogue>Hell, Pee Wee, we thought. you ran all the way home.</dialogue> <character>TED</character> <dialogue>If hadn't seen him, he would've.</dialogue> <scene_description>we Laµghter. Ted begins to leave. \ ( CONTINiJED)</scene_description> <character>. ~/ ~/</character> <dialogue>.CONTINUED:</dialogue> <character>TED</character> <parenthetical>(continuing)</parenthetical> <dialogue>Cindy and I are bringing the kids over for dinner Sunday night I'll see you then.</dialogue> <character>MICKEY</character> <dialogue>Right.</dialogue> <scene_description>Ted's Partner tosses a farewell salute to the assem led gathering.</scene_description> <character>TED'S PARTNER</character> <dialogue>See you another time, boys. Gotta</dialogue> <scene_description>go fight the niggers. It is of note that this outrageous rem rk doesn't rJise an eyebrow among any of the assembled you gsters. Bil y and Tommy -- and certainly Brian if hewer here -- wou d never say such a t:hing, but there's .too much peer pressur for them to object to it.</scene_description> <character>34</character> <dialogue>as l'ed and his Part;.er are getting</dialogue> <character>EXT. PARKINGLOT</character> <dialogue>int</dialogue> <scene_description>NAUGH'SFATHERcomes SCREECHINGinto t e parking lot on his motorcycle, a can of beer iri his hand, and a young kirl, not much older than Tii::1, on the back seat. Tim 1 s fathef. is 3L./.t), shockingly young, a brutish, truly dan erous man, cp.pable I of great violence. He is taciturn and surly but helinstillp fear in almost anyone he meets. Tim's father pullstto ·a 1 halt, he makes eye contact with Ted Javis. It-is bvious Jarvis knows and detests this man.</scene_description> <character>TED</character> <dialogue>Get rid of the beer, Cavanau h.</dialogue> <scene_description>Tim's father is momentarily taken abac . Then he gins, with intense sarcasm.</scene_description> <character>CAVANAUGH</character> <dialogue>Oh•.. sorry, Officer Jarvis.</dialogue> <scene_description>And he tosses the beer can on the grou d near Ted's feet. Ted would love to lock up Tim's- father for~ reaspn, but he knows he doesn't have anything here wortnthe trbuble. He gets into his cruiser. . j Tim• s father sneers and laughs. Ted's Partner gi vep Ted a look which indicates he' 11 go through he trouble oif the arrest if Ted wants him to.· But Tedi too self-poksesse to get trapped into what really would e a "chicker.f-shit" arrest. He nods no. and the two cops rive off.--- \</scene_description> <character>,.</character> <dialogue>Now Tim's father scans the parking lot in search of Tim. Finally, he spots him.</dialogue> <parenthetical>(CO!'l"'TINUED)</parenthetical> <character>34</character> <dialogue>CAVANAUGH</dialogue> <character>CONTINUED:</character> <parenthetical>(deliberately embarras ing the boy)</parenthetical> <dialogue>Tim! ~ Get our ass over her !!</dialogue> <scene_description>The SOUNDof hi father's VOICE causes irn to instantly become sullen. His friends·' faces ref~l ct their shared pain on his heh lf. With his tail bet een his legs. Tim shuffles over t his father; Throughou the scene which follows, Tim's ather speaks loudly en9ugh so that a portion of what he's sa ing can be heard by TiIIJ' s classmates. It can all be hear by the girl, who neve utters a word herself. Her presence al both infuriates and further embarrasses Tim.</scene_description> <character>TIM</character> <dialogue>CAVANAUGH</dialogue> <parenthetical>(grabbing Tim by the collar)</parenthetical> <dialogue>I hea you ra~ tail-ass from some nigge tonight.</dialogue> <character>TIM</character> <dialogue>\."'/ (very softly)</dialogue> <scene_description>It wa a practical joke.</scene_description> <character>CAVANAUGH</character> <dialogue>What' that, boy?</dialogue> <scene_description>He cuffs him.</scene_description> <character>TIM</character> <dialogue>If was a joke.</dialogue> <character>I</character> <dialogue>35</dialogue> <character>UT TO:</character> <dialogue>35</dialogue> <dialogue>ANDBILLY</dialogue> <character>MED. SHOT- TOMMY</character> <dialogue>TOMMY</dialogue> <scene_description>Who is that guy?</scene_description> <character>BILLY</character> <dialogue>That's Tim's old man.</dialogue> <character>TOMMY</character> <dialogue>Doesn't look old enough to be his uncle ...</dialogue> <scene_description>:', /· \.</scene_description> <character>35</character> <dialogue>35.</dialogue> <character>36</character> <dialogue>CAVANAUGH</dialogue> <character>MED. SHOT</character> <dialogue>Get your ass home.</dialogue> <scene_description>Tim walks silently, in prof~und humilia ion, over to his car. t He gets in without a word anddrives of . Tim'~ Father is steeped in cold implacable fury. No on utters a word until he gets on his bike and ROARSoff. CAMERAEMPHASIZES the five of our principals still rem\_aining.</scene_description> <character>BILLY</character> <dialogue>They should have left him in prison the la~t time.</dialogue> <character>TOMMY</character> <dialogue>What was he in for? .</dialogue> <character>. MICKEY</character> <dialogue>Manslaughter. Killed a guy in a fight, tore his ear off with his bare hands.</dialogue> <character>TOMMY</character> <dialogue>Q No kidding! Guess my father's not</dialogue> <scene_description>sucb a bad guy after e.11. There is an embarrassed and uncomfortable silence. The silence is broken by Pee Wee who has .returned from changing into his own clothes.</scene_description> <character>BILLY</character> <dialogue>What d'ya look so glum about, Pee Wee?</dialogue> <character>PEE WEE</character> <dialogue>Hey, listen, man, this is gett ng serious. I gotta get laid. I go more than a counle of weeks an I start to get jittery.</dialogue> <character>MICKEY</character> <dialogue>In that case, you're due for a nervous breakdown.</dialogue> <character>PEE WEE</character> <dialogue>Funny, Jarvis/</dialogue> <character>BILLY</character> <dialogue>What the hell we gonna do? I you</dialogue> <scene_description>..L- strike out with Wendy Williams, there's nothing left but a ha. hock.</scene_description> <character>...:.;.::.. -- ...... - - . - ..... .A.,.~ - -</character> <dialogue>36</dialogue> <dialogue>TOMMY</dialogue> <character>CONTINUED:</character> <dialogue>Nah, Pe Wee's tired of ham hocks.</dialogue> <character>MEAT</character> <dialogue>f</dialogue> <scene_description>Maybe here's a horny midget out ' there omewhere, just. eating her heart ut waiting for Pee Wee.</scene_description> <character>3/, 8</character> <dialogue>MICKEY</dialogue> <scene_description>No, wh t we need here is some profes ional help.</scene_description> <character>BILLY</character> <dialogue>What d ya mean?</dialogue> <character>MICKEY</character> <dialogue>Porky'</dialogue> <scene_description>Everyone stares ft Mickey.</scene_description> <character>BILLY</character> <dialogue>Oh, man, don't start that again ..</dialogue> <scene_description>,,..</scene_description> <character>.........</character> <dialogue>,. Are you crazy? You could get you</dialogue> <scene_description>throat slit.</scene_description> <character>MICKEY</character> <dialogue>Nab; yo11 just gotta know how to operate.</dialogue> <character>PEE WEE</character> <dialogue>. I'm ready! I'm ready!</dialogue> <character>TOMMY</character> <dialogue>You're nuts, Jarvis. Porky is a bad ass redneck.</dialogue> <character>MICKEY</character> <dialogue>Right . You guys don ' t kno·w how o talk redneck. Porky's a busines man. Listen ... he's imported a whole oad of Cuban broads. They're fantas ic.</dialogue> <character>TOMMY</character> <dialogue>How do you know all this?</dialogue> <character>MICKEY</character> <dialogue>I got my sources. Porky's got a roon upstairs called 'Porky's Pen.' can have a party up there with t Cuban dancers if you let 'em kno know wh~t you're doing.</dialogue> <character>- ....... ..-.;;...~ --</character> <dialogue>36</dialogue> <dialogue>TOM?W</dialogue> <character>CONTINUED: (2)</character> <dialogue>3b 8</dialogue> <scene_description>You sure about this? Ml'.CKEY Does·a bear ~hit in the woods?</scene_description> <character>PEE WEE</character> <dialogue>Let's go now!</dialogue> <character>BILLY</character> <dialogue>We got a game tomorrow.</dialogue> <character>MICKEY</character> <dialogue>We need about thirty bucks a iece.</dialogue> <character>PEE WEE</character> <dialogue>Thirty bucks?</dialogue> <character>MICKEY</character> <dialogue>Yeah. But anything goes. can go Friday night, after the game</dialogue> <character>...-...</character> <dialogue>BILLY.</dialogue> <scene_description>('\_)· It's seventy miles. And we ot a game Saturday night.</scene_description> <character>MICKEY,.</character> <dialogue>What'd ya say, Turner? Meat Tim?</dialogue> <scene_description>They nod assent.</scene_description> <character>TOMMY</character> <dialogue>You know my motto: Give me ussy or give me death!</dialogue> <character>MICKEY</character> <dialogue>Yeah! Alright.</dialogue> <character>PEE WEE</character> <dialogue>I never had any Cuban pussy.</dialogue> <scene_description>Everyone turns to look at.Pee Wee.</scene_description> <character>EVERYBODY</character> <dialogue>Right, Pee Wee 1 right!</dialogue> <character>37</character> <dialogue>CAMERA</dialogue> <character>EXT. PATIO - DAY</character> <dialogue>IN TIGHT on a pair of hands unwrapping a package.</dialogue> <scene_description>t-l DY (.V .0.) Where'd you get· it?</scene_description> <character>( CONTU{UED)</character> <dialogue>. -- ......... -.a.ii.. -- -</dialogue> <scene_description>37 CONTDTTJED: 3'1 A place in Miami. u know, one of those joke stores. at CAMERAPULLS BACKto see Tommy, Billy, Mickey, and Wendy. Tommypulls out what looks to ea giant balloon.</scene_description> <character>WENDY</character> <dialogue>Beau.t"iful. Beautifu</dialogue> <character>MICKEY</character> <dialogue>What the hell is tha?</dialogue> <scene_description>Suddenly they realize. It is huge prophylactic.</scene_description> <character>...</character> <dialogue>BILLY</dialogue> <scene_description>Holy shit, it's ate gallon conaom.</scene_description> <character>MICKEY</character> <dialogue>Looks like Godzilla' rubber.</dialogue> <character>EILLY</character> <dialogue>What 1·s it for?</dialogue> <character>WENDY</character> <dialogue>Look 01:1t, it's Pee We. Give it to 1ne.</dialogue> <scene_description>She takes the rubber and puts t behind her back. She · smiles sweetly. Pee Wee looks at her suspiciously as she walks past. PEE v-.TE What 1·s she· want?</scene_description> <character>·€� TOMMY</character> <dialogue>Gee, I don't know, P</dialogue> <character>PEE WE</character> <dialogue>Ummph. Hey,man, I igured out a</dialogue> <scene_description>. great new way to get your rocks off. Tim and Meat approach.</scene_description> <character>MICKEY</character> <dialogue>.Another Pee Wee spec'al.</dialogue> <character>PEE WE~</character> <dialogue>No, really, this is weat. Drive</dialogue> <scene_description>-you nuts. This is wh!at you do. You catch. three f=i.es/ in a jar.</scene_description> <character>37</character> <dialogue>-·</dialogue> <character>CONTINUED:</character> <dialogue>BILLY</dialogue> <scene_description>Flies, oh dearl</scene_description> <character>PEE WEE</character> <dialogue>Now·waitl You catch t e flies and t then you take some hon y and you get in the bathtub and vou fill the tub halfway and then you 1 eon ycur back with the head of your ·ock sticking out the water.</dialogue> <scene_description>There is a groan. Everybody kno s what's coming.</scene_description> <character>PEE WEE</character> <parenthetical>(continuing)</parenthetical> <dialogue>Then, you take the hon~y and you spread some· over your qock and you let the flies out of tije jar and they come to the honey.I Oh, man, it's wild. I Oh sick! You are sick,!</dialogue> <character>THE GROU~</character> <dialogue>Pee Wee!</dialogue> <character>PEE,WEE</character> <dialogue>No shit! All those tin.y little fly feet caressing your dork~- oh man! I wonder if I could get{a patent on this?</dialogue> <character>MICKEY</character> <dialogue>Wait a minute, Pee Wee. There's a flaw in this. How ar you gonna get three flies on the ead of your cock?</dialogue> <scene_description>This breaks everybody up. 3'18</scene_description> <character>PEE WEE</character> <dialogue>Eey, man!</dialogue> <scene_description>At this moment Wendy has moved up behind Pe Wee. She as the giant rubber behind her back in an obv ous way.</scene_description> <character>WENDY</character> <dialogue>Pee Wee!</dialogue> <scene_description>Pee Wee whirls around. He is itmnediately uspicious an un- easy when he sees Wendy. Everyone becomes quiet and it seems as if the entire patio is watching. Pee Wee look!i- around. 37 COtffINUED: (3)</scene_description> <character>PEE WEE</character> <dialogue>What d'ya want?</dialogue> <scene_description>w'ENDY (coy) I got something for you.</scene_description> <character>PEE WEE</character> <dialogue>For me!· What is it?</dialogue> <character>WENDY</character> <dialogue>It's ... uh .. kind of lik a trophy ...</dialogue> <character>PEE "WEE</character> <dialogue>A trophy? What are ya t lking about?</dialogue> <character>WENDY</character> <dialogue>A trophy! For you.</dialogue> <character>PEE WEE</character> <dialogue>A trophy? What for?</dialogue> <character>WENDY</character> <dialogue>For being the biggest di. khead r ever went out with!</dialogue> <scene_description>She holds up the giant :.ubber for 1 verybody to see. The crowd howls as Wendy, presents the trophy' to Pee We. He pushes it away choosing not to joi the fun. Pee W~e starts to walk away. And with that, Wend steps forward ~ith one swift move and jams the giant prop ylactic right ovier Pee Wee's head. imagined. The results are more The rubber wedge~ tight she could over Pee ~ee 1 head han hfe like it had been form-fitted. cally inside the thin membrane. T~~ rest of the r bber dangles absurdly dm,m Pee Wee' s chejst. Pee Wee lo ks like a five foot four inch penis. He gyr es, wildly, tr ing to dislodge the device. The crowd RO S. Pee Wee mu1bles and twists. Finally Pee Wee manages to pull the rubbe over his head, not without some consider ble discomfort He throws it at Tamm~. TOffi:lIJYbends don and picks up fhe rubber and tossesit to Meat. J\_</scene_description> <character>TOMMY \*·</character> <dialogue>Here you go;Meat. Keep that £or a spare.</dialogue> <scene_description>M7a~ ~eacts by throwing the rubber back to T~mmy, d.1.saainfully. · ·· · •- .'7.E ....--</scene_description> <character>PEE WEE</character> <dialogue>You turds.</dialogue> <character>3</character> <dialogue>I •m gonna</dialogue> <scene_description>You too , Wendy. . .</scene_description> <character>. .</character> <dialogue>CONTINUED: (4)</dialogue> <character>WEND</character> <dialogue>You should be so ucky, Shrimp.</dialogue> <scene_description>We see Tommy approaching i~ the B.G. He has blown up the giant condom and ho~.ds the giant phallus -- \* against his- crotch andntjcg¢s:-i:t. ·against Wendy and various girls in the crowd. They SGUE.A.L and run away laughing.· Suddenly, a hush falls eve the crowd. Mickey and the 3if f others try to warn Torrirny b1.the is oblivious. He whirls . 3'7 6- around looking for another victim and runs smack into Miss Balbricker. To make mattes much worse, the wavering mock penis lodges itself right etween Miss Ba1.bricker's thighs. Tommy stands there dumbly i··or a long moment with his surro- gate penis protruding thre feet out from his crotch right into Miss Balbricker·who des not budge. The crowd waits expectantly. Finally, Ta1:fy loosens his grip and the rubb r deflates slowly making thelcharacteristic raspberry SOUND, u.ntil it looks .like a wouncted nooaJ.e hanging limply betwe.e. Tommy's legs. Miss Balbri9ker rneraly smiles. This is a long-awaited victory for h¢r. She !'Uts out her ha.nd and Tonnny dejectedly hands c,ve;I!. the evidence. Miss Bal bricker marches off triumphantly. Tornny looks after her. Hickey\_ steps up.</scene_description> <character>MIQ:KEY</character> <dialogue>Your ass is mine! says Kong!</dialogue> <scene_description>ToJ11IT No shit, Sherloctl Tommy looks after the pachrlermic Miss Balbricker. He's in forit and he.knows it. •</scene_description> <character>. . 1</character> <dialogue>· . CUT TO:</dialogue> <character>J</character> <dialogue>38 EXT:GYMOF PORT AUBURNDALE HIGH DAY 3g</dialogue> <scene_description>CAMERA.EMPHASIZES Brian,</scene_description> <character>\*</character> <dialogue>v{hQ is beinggui;irde };:)y Tim,during</dialogue> <scene_description>an intra-squad game. Tim tries to guard Bri n physically, but Brian's moves are so slick and graceful hat he leaves Tom lunging at air and committing stupid fou s. After one such incident, Tim mutters "Kite bastard" un er his breath. Tommy is the only one who hears him.</scene_description> <character>TOMMY . - -- ·-- -- ·</character> <dialogue>And you thought</dialogue> <scene_description>Jews were just sm t. / GOODENOUGH(off} Turner ! I want to talk to you. Tom.-nyturns to sae Goodenough with Balbrick.r.</scene_description> <character>39</character> <dialogue>3'1</dialogue> <character>ANOTHERAL'1GLE</character> <dialogue>Now the CAMERA EMPHASIZS Brackett and Warren. Brackett nods in the direction o the girls' side of th gym, and the CAMERA FOLLOWS his ine of vision. We see Miss. Honeywell putting the Cleerleaders through the r paces. Brackett and Miss Hone)"· ell exchange coy smile .</dialogue> <scene_description>~ellI</scene_description> <character>.</character> <dialogue>Any lu k?</dialogue> <scene_description>iWARREN</scene_description> <character>RACKETT</character> <dialogue>We'·ve gone ou t.wice. Zero, man. Zilch. The gi wants to be loved for her mind.</dialogue> <character>RACI(ETT</character> <parenthetical>( con tin ing)</parenthetical> <dialogue>Man, you're· driving me nuts with this howling btt. does it ·mea.n? 1</dialogue> <scene_description>vTnat the hell Warr~n points up toward rhe equipment rooms .. / J</scene_description> <character>WARREN .</character> <dialogue>Up there, Roy· Get her. up there and all things shall be made clear.</dialogue> <character>!</character> <dialogue>~RACKETT</dialogue> <scene_description>You're pulling~!my chain, Fred. Tha girl's a virgi . v '!:'N Yeah and the Pofe's Jewish. And how do I around her nee</scene_description> <character>$,ACKETT</character> <dialogue>gI</dialogue> <scene_description>her upstairs put handcuffs o her ... tic a rope</scene_description> <character>.. ?</character> <dialogue>l·~RREN</dialogue> <scene_description>Guile, charm, p~~suasion, and if that rloesn It work ... just ask her\_.-"'---</scene_description> <character>40</character> <dialogue>Billy</dialogue> <character>ANGLE</character> <dialogue>comes ru ning up to join</dialogue> <character>BILLY</character> <dialogue>..</dialogue> <scene_description>What haT)~)ened?</scene_description> <character>(COHTINUED)</character> <dialogue>Lio LfoA</dialogue> <scene_description>'l'ornmy ho las up tJo f ingerE.</scene_description> <character>BILLY.</character> <dialogue>o days' suspens·on?</dialogue> <character>TOMMY</character> <dialogue>o games and 2,0 0 laps.</dialogue> <character>BILLY</character> <dialogue>u're kidding?</dialogue> <scene_description>CAMERASEES Miss Balbricker loom ng up as we turn toward her. She looks t Tommy, a tri phant smirk on her face. Tommy glares at er as he and Bi ly run past. ·</scene_description> <character>~D</character> <dialogue>TOMMY</dialogue> <scene_description>I'm going to nail her fat ass! CAMERAPANS OFF hem TO the stil -smirking Balbr cker.</scene_description> <character>41. EXT: ROADSIDE - NIGHT</character> <dialogue>CAMERApulls back from. a sign pointing toward Porky's. We see Mickey's truck coming in the distance. We hear. all boys singing a parody of 11Dixie 11 (llI wish I was in: the land of Pussy .•. ",etc.). · The truck turns down</dialogue> <scene_description>---- the dirt road. ---,--- EXT:</scene_description> <character>41A ROADTO SHERIFF'S - NIGHT</character> <dialogue>Pee Wee stands in the back of the truck pulling on his Port Auburndale High School letter sweater.</dialogue> <scene_description>MEAT (indicating sweater) Do you believe this?</scene_description> <character>PEE WEE</character> <dialogue>Broads go. for jocks.</dialogue> <character>. TOMMY</character> <dialogue>High school jocks don't even get ins~de this .place. You're .~uppose~</dialogue> <scene_description>· to be· twenty..;.one. . =.</scene_description> <character>PEE WEE</character> <dialogue>Nobody said I was still a high school jock.</dialogue> <character>MEAT</character> <dialogue>No wonder you make out so good, Pee Wee! You're so sophisticated.</dialogue> <character>PEE WEE</character> <dialogue>Yeah .•• yeah, alright.</dialogue> <scene_description>As. Pee Wee removes his sweater, •.Tommy turns to Meat in ·: disbelief.</scene_description> <character>TOMMY</character> <dialogue>A letter sweater!</dialogue> <character>.·</character> <dialogue>In the background, we see a sign which says, \* SHERIFF WALLACETOWN,FLORIDA. ~hen we see the Sheriff and two deputies sittin on a car outside their makeshift office.</dialogue> <character>MEAT</character> <dialogue>What the hell is this?</dialogue> <character>TOMMY</character> <dialogue>Sheriff's office!</dialogue> <character>MEAT</character> <dialogue>Sheriff of Wallacetown? Where the hell is Wallacetown?</dialogue> <character>MICKEY</character> <dialogue>You're looking at it. It's just .. Porky's Stormtroopers. Porky Wallace? Right?</dialogue> <scene_description>They pull off around a corner past another Porky I s ·sign. MICKEY (continued) $ Abandon ~llhope, all ye who enter here .</scene_description> </scene> <scene> <stage_direction> 41B EXT: JUST OU~SIDE PORKY'S NIGHT</stage_direction> <scene_description>C.?\MERA ESTABLISHES the neon sign atop Porky's, then PANS DOWNTO ESTABLISH the entire building. It is essentially the same as we saw it in Pee Wee'sdrearn. \* It's a wood shingle building built out over a pier. The foundation of the building encompasses the entire pier except for about ten to fifteen feet in front of the building. This portion of the pier is narrower than the rest, and serves as a walkway between Porky's and its dirt or gravel parking lot. The CAMERA.CONTINUESTO PAN, and we see that there's a small canal separating the Porky's complex from the main road. Across the canal are two small bridges, one for entering and one for leaving the parking.lot. Now, STILL IN ONE SHOT, we see Mickey's truck arriving- ·- with Mickey, Tommy, Tim, Meat and Pee Wee. They pile out of the truck. Lt-IC-</scene_description> <character>MICKEY</character> <dialogue>Alright, eve~one got his</dialogue> <scene_description>Everyone either responds that they do out their ID- -and holds it up. . • except</scene_description> <character>PEE WEE</character> <dialogue>••• I left it home.</dialogue> <character>TIM</character> <dialogue>Figures.</dialogue> <character>TOMMY</character> <dialogue>That's alright, Pee Wee .•• i your case, they'll take your wo,1;£or it.</dialogue> <character>( CONT±'NUED)</character> <scene_description>41 B CONTINUED:</scene_description> <character>MEAT</character> <dialogue>Just stand up straig t.</dialogue> <character>MICKEY</character> <dialogue>Okay, guys, knock it off. Meat, give Pee Wee your ID</dialogue> <character>!-'.EAT</character> <dialogue>It•s got my picture</dialogue> <character>41</character> <dialogue>C</dialogue> <character>TOMMY</character> <parenthetical>(looking the two of them over)</parenthetical> <dialogue>No sweat ... you guys could be t:1Wins. What other cards you got, Meat?</dialogue> <scene_description>There's general chuckling. Meat gives Pee Wee his ID. then looks through his wallet for other cards. Tommy looks, too.</scene_description> <character>TOMMY</character> <parenthetical>(continuing)</parenthetical> <dialogue>Here·. . . use this one .</dialogue> <character>MEAT</character> <dialogue>That's my Bible School card!</dialogue> <character>TOMMY</character> <dialogue>Yeah, who'd pelieve a guy with a Bible School card would lie about his age?</dialogue> <character>MICI(EY</character> <dialogue>Okay. terrific. Now just act cool. Act like you come here all the time.</dialogue> <parenthetical>(to Pee Wee)</parenthetical> <dialogue>Think you can handle that?</dialogue> <character>PEE WEE</character> <parenthetical>(doing his maturity bit)</parenthetical> <dialogue>Oh, yeah.</dialogue> <character>· MICKEY</character> <dialogue>Alright, then let's go.</dialogue> <scene_description>And Mickey leads the five of them to the front door,</scene_description> <character>42</character> <dialogue>Just inside the door, there's a BOUNCERchecking ID's.</dialogue> <character>INT. ENTRANCEOF PORKY'S - NIGHT</character> <dialogue>The boys' mood and the MUSIC should giv the moment of the ID check an aspect of high-tension.</dialogue> <character>BOUNCER</character> <dialogue>Okay. Let's see it!</dialogue> <scene_description>..• which is comically undercut when t Bouncer glances at the ID's but doesn't even approxima inspecting them.</scene_description> <character>42</character> <dialogue>BOUNCER</dialogue> <character>CONTINUED:</character> <parenthetical>(continuing)</parenthetical> <dialogue>Okay.</dialogue> <scene_description>Pee Wee can't leave well ~ough alone.</scene_description> <character>PEE WEE</character> <dialogue>Yeah, it's been a couple of ears since I been in the old join .</dialogue> <scene_description>As Tonm1yand Mickey glance skyward, th Bouncer looks at Pee Wee for the first time. The notio that Pee Wee is twenty-one. is patently absurd. Howeve , the Bouncer couldn't give less of a damn. He shak s his head at the foolishness of Pee Wee's bravado, but aves him on j\_n just the same.</scene_description> <character>. BOUNCER</character> <dialogue>Yeah, a fuckin' regular. Jut stop talking and start drink"ng.</dialogue> <scene_description>Pee Wee still won't let it alone.</scene_description> <character>PEE WEE</character> <dialogue>How's Porky? Haven I t seen o</dialogue> <scene_description>- Pork in ... But this time, Meat drags him away fro the door before Pee Wee manages to get them all tosse~ut. 43 INT. THE MAIN ROOMOF PORKY,s - NIGHT '4-3 43A The room is divided into four areas. the right s one enters is a horseshoe bar, and behind t e bar unway is a on which three strippers are presently umping and rind- ing, picking out various men s~ated at he·bar and esign- ing a particular piece of business for hose among he men who are interested. The strippers wear pasties and G- strings, but they'll remove them for th right kind of tip. Pee Wee takes one look at the stripper rea and alm st leaps out of his shoes with excitement.</scene_description> <character>PEE WEE</character> <dialogue>Holy shit, it's a pussy stamp de.</dialogue> <character>MICKEY</character> <dialogue>Pudendum~</dialogue> <character>- - -. - - - - -- -</character> <dialogue>43</dialogue> <dialogue>PEE WEE</dialogue> <character>CONTINUED:</character> <dialogue>What?</dialogue> <character>. MICKEY</character> <dialogue>?udendum. It's pudendum. hat's • the correct word for what y u t vulgarians call pussy. Pud ndum.</dialogue> <character>PEE WEE</character> <dialogue>Pudendum! Pudendum. What disgusting word. I'd never say that in public.</dialogue> <character>44</character> <dialogue>Meat leads Pee Wee to the bar and sit Tommy leans over and whispers into Pe</dialogue> <character>ANGLE</character> <dialogue>down beside Wee' s ear.</dialogue> <character>TOMMY</character> <dialogue>Look, hut don't touch.\_ y4</dialogue> <scene_description>CAMERA EMPHASIZESPee Wee and Meat One of he stripp·ers, figuring she has a live one, begin coming o to Pee Wee. Meat has all he can do to keep Pee Wee from umping up and down. Pee Wee signals the str pper that he wants to see her breasts. She holds up two fingers.</scene_description> <character>PEE WEE</character> <dialogue>Yeah, hell, yes, let's 'em bot:</dialogue> <character>MEAT -</character> <dialogue>It means it'll cost you o bucks to see them, stupid.</dialogue> <character>PEE WEE</character> <parenthetical>(embarrassed)</parenthetical> <dialogue>Shit, I knew that. I'm ust some fun with the broad.</dialogue> <scene_description>Pee Wee takes two dollars o~t of is pocket</scene_description> <character>-</character> <dialogue>nd reache</dialogue> <scene_description>toward the stripper. She extends her foot t ward Pee · Wee' s hand, and plucks up the mon y with her toes. No she gives Pee Wee a ~rief look at her breast Pee Wee's body goes into a sort o spasm. blabbers almost incoherently to Meat. (</scene_description> <character>PEE WEE</character> <parenthetical>(continuing)</parenthetical> <dialogue>She's hot. The broad i hot .</dialogue> <character>........</character> <dialogue>4Y-c+1.-1.s48.</dialogue> <character>45</character> <dialogue>ANDTIM</dialogue> <character>CA.~RA EMPHASIZESMICKEY, TOMMY</character> <dialogue>The BARTENDER</dialogue> <scene_description>brings them their eight-ounce gl ss of beer.</scene_description> <character>BARTENDER</character> <dialogue>A buck.</dialogue> <scene_description>Tommyproduces a dollar.</scene_description> <character>· BARTENDER</character> <dialogue>(continuing)·</dialogue> <scene_description>A buck apiece. The boys exchange glances. If there were any oubt what sort of place this was, it's certainly been d"spelled. Glumly, they pay for their dollar eight-ounce eers. We B hear a COMMOTION o.s. YSA 4-s =r= \-lS D</scene_description> <character>CU TO:</character> <dialogue>-L.. L/s c..</dialogue> <character>46</character> <dialogue>Two of Porky's henchmen are administering</dialogue> <character>INT. SAME- NIGHT.</character> <dialogue>·very drunk patron.</dialogue> <scene_description>r= a beating to·a Pee Wee is pinned against the bar by -6 l the drunk's dead weight. The two redneck thugs are pum- meling the drunk without mercy. One of them wears a wicked set of brass knuckles. Each blow squashes the hapless Pee Wee against the bar. Finally. they drag the semi-conscious man out of the bar. Mickey, Tonnny and Tim come to help Pee Wee, who is bruised but not hurt.</scene_description> <character>TIM</character> <dialogue>What was that?</dialogue> <character>MEAT</character> <dialogue>Guy tried to muff dive one of the strippers right on the runway.</dialogue> <character>TOMMY</character> <dialogue>They nearly killed him.</dialogue> <character>PEE WEE</character> <dialogue>Guy was a damn good shot, though, stuck his nose right in it.</dialogue> <scene_description>Now, with amazing speed, the strippers have dorined clingy, deep-cleavage dresses and have begun to mingle with the men at the bar. Mickey addresses Pee Wee. ·</scene_description> <character>MICKEY</character> <dialogue>This is your night. Pick the one you want.</dialogue> <scene_description>46 CONTINUED: Pee Wee prac1,:ically lunges for the strippe with whom he'd been flirting. Meat restrains h:im.</scene_description> <character>MICKEY</character> <parenthetical>(continuing)</parenthetical> <dialogue>Alright:, I' 11 get her for you.</dialogue> <scene_description>Mickey addresses the Bartender.</scene_description> <character>MICKEY</character> <parenthetical>(continuing)</parenthetical> <dialogue>I'd like to speak to Porky.</dialogue> <character>BARTENDER</character> <dialogue>Porky' s busy.</dialogue> <character>MICKEY</character> <dialogue>He's not too busy for what I wa to talk about. I want to pay f some pussy ..</dialogue> <scene_description>The Bartender replies with a mingling of ostility and disdain.</scene_description> <character>BARTENDER</character> <dialogue>You can tell me.</dialogue> <character>MICKEY</character> <parenthetical>(firmly)</parenthetical> <dialogue>I want to talk to Porky!</dialogue> <scene_description>The Bartender starts to resist further, ten smiles. It should be evident that he's got grief in .ind for Mickey arld his friends.</scene_description> <character>BARTENDER</character> <dialogue>Okay, sure.</dialogue> <scene_description>And he disappears into the rear of the n'ghtclub. Hickey turns to the other guys, smugly pleased ith his handling of this encounter. ·</scene_description> <character>MICKEY</character> <dialogue>You've got to show them who's oss. I'll take care of everything - just wait here and do nothing. Don t buy any drinks. Their racket is t get you to buy the broads overpric d drinks.</dialogue> <character>PEE WEE</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>No kidding.</dialogue> <character>46</character> <dialogue>CONTINUED:</dialogue> <scene_description>- Who's asking</scene_description> <character>PORKY</character> <dialogue>to see me?</dialogue> <character>47</character> <dialogue>The five boys turn around -- and there's tall and immense, like a defensive team. than he actually is, and his snout-like</dialogue> <character>ANGLE</character> <dialogue>PO Y. Porkv is lineman However, his stubby legs make him ap fac</dialogue> <scene_description>that's why they call him "Porky."</scene_description> <character>MICKEY</character> <parenthetical>(momentarily taken aback)</parenthetical> <dialogue>Uh ... I am.</dialogue> <character>PORKY</character> <parenthetical>(brusquely)</parenthetical> <dialogue>Whatta ya want?</dialogue> <character>MICKEY</character> <parenthetical>(feignfng self- assurance)</parenthetical> <dialogue>Well, Porky, my friends and I wo d like to party with five of your girls up in 'Porky's Den.'</dialogue> <character>PORKY</character> <dialogue>You want five of my piglets in t e pen, eh? For how long?</dialogue> <character>MICKEY</character> <dialogue>An hour.</dialogue> <character>PORKY</character> <dialogue>Whatta ya got to spend?</dialogue> <character>MICKEY</character> <parenthetical>(proudly)</parenthetical> <dialogue>A hundred bucks.</dialogue> <scene_description>Porky does a momentary take. That price i so ridiculous he should just throw these amateurs out. ut he. catches himself, preferring to have some fun by st inging the boys along.</scene_description> <character>PORKY</character> <dialogue>A hundred bucks for five girls .. ? Go home, snot nose.</dialogue> <scene_description>- 47 CONTINUED:</scene_description> <character>MICKEY</character> <parenthetical>(calling after him)</parenthetical> <dialogue>Wait ... Porky, please.</dialogue> <scene_description>Porky stops, allowing Mickey to catch up wit him.</scene_description> <character>PORKY</character> <parenthetical>(growling)</parenthetical> <dialogue>Yeah •.. ?</dialogue> <character>MICKEY</character> <dialogue>How many girls can we have for a hundred dollars?</dialogue> <character>PORKY</character> <dialogue>· (feigning deep thought)</dialogue> <scene_description>There's five of you, right? Thats a lot of horny dicks. Figure two girls for an hour, three for thir y minutes.</scene_description> <character>. MICKEY</character> <parenthetical>(disp:i.rited)</parenthetical> <dialogue>That 's all. .. ?</dialogue> <scene_description>POR..t&lt;Y. No one's fore in you ... but it's</scene_description> <character>·</character> <dialogue>a long ride home, longer with a hard-on.</dialogue> <character>MICKEY</character> <parenthetical>(suddenly decisive)</parenthetical> <dialogue>We'll take three for thirty minutes.</dialogue> <scene_description>The other guys have gathered around. They urmur their assent.</scene_description> <character>PORKY</character> <dialogue>Okay, pick out the ones you want .. .</dialogue> <character>MICKEY</character> <parenthetical>(pointing)</parenthetical> <dialogue>Her, her ... and her.</dialogue> <scene_description>4'7 c\_ One of them is Pee Wee's choice.</scene_description> <character>PORKY</character> <dialogue>Cash in advance.</dialogue> <scene_description>Mickey looks to the 'others for coun el.</scene_description> <character>47</character> <dialogue>CONTINUED:</dialogue> <character>TIM</character> <dialogue>l wouldn't, Mick.;.·</dialogue> <character>PORKY</character> <dialogue>Only. way I do business.</dialogue> <character>MICKEY</character> <dialogue>Okay.</dialogue> <scene_description>Mickey starts to hand</scene_description> <character>PORKY</character> <dialogue>Not me, pay the bartender, you ridiculous fuckin' dude. nd you get out of line with y girls and I'll kick your candy sses all the way back to Port uburndale.</dialogue> <scene_description>The boys look at one ~nother abashe that they ha e been made so easily.</scene_description> <character>PORKY</character> <parenthetical>(continuing)</parenthetical> <dialogue>See that door over there? Well, step through it and wait. It'll</dialogue> <scene_description>\ ....../ be dark in there, but don t be surprised.</scene_description> <character>MICKEY</character> <dialogue>What's all this bullshit bout?</dialogue> <character>PORKY</character> <parenthetical>( intimidating)</parenthetical> <dialogue>This bullshit is because ou're a pack of underage kids, a d I don 1 t want my liquor licenser oked. Sheriff around here's a ad-ass mother.</dialogue> <scene_description>He laughs at a joke he's just made but we don't µnder- stand it yet.</scene_description> <character>PORKY</character> <parenthetical>(continuing)</parenthetical> <dialogue>So I don't want no one s eing you with none of my girls. hat's a back way up to the pen. You just wait till you hear a kno k, then you go through another d or and·</dialogue> <scene_description>/. you're in. The girls'll be wait::.n' ... f 'i Pee Wee makes a pleasure sound and hops up and~-• 47 CONTINUED: (3) Porky notices.</scene_description> <character>PORKY</character> <parenthetical>( c·ontinu inr,)</parenthetical> <dialogue>You like that, kid? Good. J' give you a night to remember.</dialogue> <scene_description>And Porky walks across to the bar where e strippe s are plying their trade; Mickey sees him tal to the st ippers and point toward him and his buddies. S isfied th tall is set, Mickey leads Tommy, Pee Wee, Meat and Tim eyer to the door Porky had indicated. They open "t and into ster a pitch-black room. Porky breaks out in big grin Everyone in the :immediate area is laughin.</scene_description> </scene> <scene> <stage_direction>INT. A TINY UNLIT ROOM- NIGHT</stage_direction> <scene_description>Mickey closes the door behind them, and the five boys find themselves standing in total darkness.</scene_description> <character>PEE WEE.</character> <dialogue>Did you see those broads? Those broads are hot, guys. T-hey 're really hot.</dialogue> <character>MEAT</character> <dialogue>They're paid to be hot, Casanova.</dialogue> <character>TIM</character> <dialogue>I don't like this, man.</dialogue> <character>MICKEY</character> <dialogue>It's no sweat, Tim. Everything's under control.</dialogue> <character>PEE WEE</character> <dialogue>{sniffing loudly)</dialogue> <scene_description>I can smell pussy beyond the door.</scene_description> <character>TOMMY</character> <dialogue>I can't feel any door.</dialogue> <scene_description>Now the door they've just come through is locked.</scene_description> <character>PORKY ( 0 . S . ')</character> <dialogue>Okay ... you guys ready ... ?</dialogue> <character>ALL</character> <dialogue>Yeah, right! Ready, Porky!</dialogue> </scene> <scene> <stage_direction>~</stage_direction> <scene_description>\ : 48 CONTINUED~ '•).\_~\_,.,,.(\_</scene_description> <character>PORKY(O.S.)</character> <dialogue>You sure you're ~eady now?</dialogue> <character>ALL</character> <dialogue>Right. Porlcy. We1 re ready.</dialogue> <scene_description>.t PORKY(0. s.) 40 A Okay, boys, here's your night to D remember. --i- And a trap door opens, dropping the boys about down into about two feet of Everglades water, m 'vefeet and muck.</scene_description> </scene> <scene> <stage_direction>~EXT. UNDERNEATHPORKY' S PIER - NIGHT</stage_direction> <scene_description>At first, we hear nothing but a string of epithets as the angry and humiliated boys clamber out of the water under- neath the p\_ier and up into the parking lot. We can hear raucous LAUGHTER coming from above.</scene_description> <character>PEE WEE</character> <dialogue>Hey, I'm drownin'.</dialogue> <character>MEAT</character> <dialogue>Just stand up, asshole. It's only two feet deep.</dialogue> <character>5</character> <dialogue>Now everybody</dialogue> <character>EXT. PORKY'SPARKINGLOT - NIGHT</character> <dialogue>is on Mickey's</dialogue> <character>TIM</character> <dialogue>Great work, Mickey.</dialogue> <character>MEAT</character> <dialogue>Everything's under control •. right? Fuckin' big shot ...</dialogue> <character>PEE WEE</character> <parenthetical>(plaintively)</parenthetical> <dialogue>You promised to get me laid.</dialogue> <character>TOMMY</character> <parenthetical>(philosophically)</parenthetical> <dialogue>Mickey, you're a horseshit procurer.</dialogue> <scene_description>Mickey is humiliated, and consequently berserk with rage at the man who's humiliated him, who's caused him to lose - face in front of his friends. calm. But he projects a Herculean so CONTINUED:</scene_description> <character>MICKEY</character> <dialogue>I'll take care of this.</dialogue> <character>TIM '·</character> <dialogue>It'&amp; too late, man.</dialogue> <scene_description>i</scene_description> <character>MEAT</character> <dialogue>Take care of what? We're out twenty bucks apiece.</dialogue> <character>MICKEY</character> <dialogue>I'll take care of this!</dialogue> <scene_description>And befor·eanyone realizes what I s happening -- or can stop him -- Mickey's gone back inside Porky's.</scene_description> </scene> <scene> <stage_direction>INT. ENTRANCE-TO</stage_direction> <scene_description>I Mickey storms right past Bouncer #1. with surprise</scene_description> <character>INT. MAINROOM</character> <dialogue>and amazement.</dialogue> <scene_description>OF PORKY'S- NIGHT The man stares at him Mickey walks into the main room; -stops in his tracks and makes his challenge.</scene_description> <character>MICKEY</character> <dialogue>I want to.see Porky -- and I want to see him now!! Get that piece of pig shit out here!</dialogue> <scene_description>There's a stunned hush throughout the nightclub: All motion stops, except for Bouncer #2 who goes to get Porky. Bouncer #1 steps behind Mickey, cutting off his escape. The other boys are blocked from getting to their buddy and getting him the hell out of there. Now Porky emerges through the crowd, walking up to Mickey with a vicious smirk on his face.</scene_description> <character>PORKY</character> <dialogue>How was the pussy. boys1</dialogue> <character>MICKEY</character> <parenthetical>(calrmly)</parenthetical> <dialogue>I want a piece of y~ur ass!</dialogue> <scene_description>A murmer of shock passes through the club. Nobody talks to Porky that way. But Porky low-keys it for the moment.</scene_description> <character>PORKY</character> <dialogue>Sure, son.</dialogue> <character>52 CONTINUED:</character> <dialogue>PORKY</dialogue> <scene_description>Let's just step outside. Don't wanta ruin these nice folks' evening. And Porky leads the way out· to the parking loq:.</scene_description> <character>53 EXT. FOR.KY'SPARKINGLOT - NIGHT</character> <dialogue>There's Porky and his two Bouncers, the Bartender, some other employees of Porkyts we haven't seen before, Mickey, the four other boys and a few curious guests from inside. Tommy and Meat are trying to cool off the whole thing.</dialogue> <character>TOMMY</character> <dialogue>Sorry about our friend, Mr. Porky. He gees carried away sometimes .</dialogue> <character>. MEAT</character> <dialogue>Yeah, we'll just take him home and forget the whole thing.</dialogue> <character>TOMMY</character> <dialogue>We won't be botrering you again.</dialogue> <scene_description>Tommy takes Mickey by the arm and starts to lead him away. But Mickey is too proud. He wrestles free and makes a rush at Porky. Mickey takes a roundhouse swing, which Porky blocks with one great meaty arm. Now Porky shoves Mickey toward Bouncer #1, who proceeds to slap Mickey around. It's not a beating, more of a grazing. Mickey gets a bloody nose and a swollen lip, but there's no serious injury ... save ~o his already-damaged pride. w 54 ANGLE 54 A Mickey knee sin the dust of the parking lot. Just as Tim and the ot rs are about to enter the fray, no matter how reluctantly two police cars careen over the "in" bridge and SCREECHto a halt. The SHERIFF and three deputies get out. The S eriff is a huge hulk of a man, not unlike Porky in stature. He immediately seeks to take control.</scene_description> <character>SHERIFF</character> <dialogue>A right,</dialogue> <character>546</character> <dialogue>don't</dialogue> <scene_description>Tommy tries to go to Hickey's aid, but th Sheriff stops him with a ord.</scene_description> <character>SHERIFF</character> <dialogue>Freze. (continuing)</dialogue> <scene_description>Buster I \ CONTINUED)</scene_description> <character>5 7.</character> <dialogue>SLf-c..</dialogue> <character>54</character> <dialogue>Now the Sheriff</dialogue> <character>CONTINUED:</character> <dialogue>walks over</dialogue> <scene_description>-- SHERIFF (continuing) What happened here, Por</scene_description> <character>PORKY</character> <dialogue>Some Port Auburndale bo s came in looking for trouble.</dialogue> <character>TIM</character> <dialogue>That ' s a 1 ie.</dialogue> <character>PEE WEE</character> <dialogue>·Yeah, we were just look n' for ...</dialogue> <character>SHERIFF</character> <dialogue>Shut the fuck up! Look to me like we got some Port Auburn ale assholes here. Yes sir, five wa king, talking rectums.</dialogue> <scene_description>The Sheriff walks over to Mickey, lifting him ro ghly to his feet.</scene_description> <character>SHERIFF</character> <parenthetical>(continuing)</parenthetical> <dialogue>Where's your car, boy?</dialogue> <scene_description>Mickey points to. his car. The Sh riff drags him over to it. He inspect~ it a moment. (continuing)</scene_description> <character>SHERIFF</character> <dialogue>You from Seward County?</dialogue> <character>54D</character> <dialogue>MICKEY</dialogue> <parenthetical>(steaming, mutte ing)</parenthetical> <dialogue>Yeah ... ,</dialogue> <character>SHERIFF</character> <dialogue>I don't know the laws Seward County, but here we ·got 1 laws about drivin' with busted heaijlights.</dialogue> <scene_description>MICKEY t I don't have a busted The Sheriff uses his nightstick Mickey'f right headlight. (CONfED) \V 54 CONTINUED: (2) 5Lt c.. 54D - Funny, I could hav a busted headlight</scene_description> <character>SHER FF</character> <dialogue>sworn you had</dialogue> <scene_description>That's a thirty· dollar fine boy -- thirty bucks·or a night i jail. Mickey would dearly love. to !etaliate; but t is man re- presents the law ... such as tis. He fishes in his pock t. MICK y I've only got bucks. The others dig into kets.</scene_description> <character>TO</character> <dialogue>I've got fifteen.</dialogue> <dialogue>I've got six e thirty.</dialogue> <scene_description>The Sheriff responds by smas ing Mickey's ta'llight.</scene_description> <character>'SHER FF</character> <dialogue>Busted taillight r you twenty more.</dialogue> <character>MEAT</character> <dialogue>I've got three moT .</dialogue> <character>. ·TIM</character> <dialogue>I've only got a buck fifty.</dialogue> <character>PEE</character> <dialogue>I've</dialogue> <character>E</character> <dialogue>got</dialogue> <scene_description>The Sheriff takes it all.</scene_description> <character>SHE IFF .</character> <dialogue>Well, this'll do. I figure I can show leniency for }first offenders.</dialogue> <scene_description>(to Porky) . Whatta ya think, P.-ork -- shall l give these nice lids a break? Porky laughs and starts bac~ inside.</scene_description> <character>J</character> <dialogue>PORNY·</dialogue> <scene_description>Yeah, give 'em a Break. They're nice! clean-cut, 1·ort Auburndale pussies.</scene_description> <character>( NTINUED)</character> <dialogue>v .</dialogue> <scene_description>6'-i c.. 54 D ·</scene_description> <character>54</character> <dialogue>CONTINUED:</dialogue> <scene_description>The Sheriff turns to</scene_description> <character>SHE IFF</character> <dialogue>You heard the man. Get your ca dv-</dialogue> <scene_description>f</scene_description> <character>. 1</character> <dialogue>asses back to Sew rd County -- n~ keep 'em there. his here's a man's county.</dialogue> <scene_description>Mickey is spoiling for more but Tommy Meat dra him into the car. Tim and Pee 1ee pile in er, and t ey drive off.</scene_description> <character>55</character> <dialogue>EXT. THE DEADBEAT</dialogue> <character>\*</character> <dialogue>CAMERA PANS to where Mickey is seated, surrounded by Tommy, Pee Wee, Tim and Meat. They've been relating their story</dialogue> <scene_description>C to Billy, his girlfriend GINNY, and a half-dozen familiar faces. TOM1fY Hell, ~t's something you write off. They're bad mothers, I'll tell you that. Suddenly. Mickey leaps to his feet, pounding his fist into his palm. There's a look of grim determination on his face.</scene_description> <character>MICKEY</character> <dialogue>I'm going back and get the mother- fucker.</dialogue> <character>BILLY</character> <dialogue>Mickey, are you crazy?</dialogue> <character>MEAT</character> <dialogue>When?</dialogue> <character>MICKEY</character> <dialogue>Right now!</dialogue> <scene_description>And Mickey begins striding toward his car, as t~e other guys grab him, try to head him off, block his way, etc. But Mickey's a man possessed. It appears the only way to stop Mickey would be for the guys to tackle him -- or for Meat to deck him. ,r---., { i</scene_description> <character>55</character> <dialogue>:--......</dialogue> <character>CONTINUED:</character> <dialogue>/</dialogue> <scene_description>Fortunately, ·ust as Mickey reaches his car, Ted pulls up in the police cruiser. He umps out, grabbing Mickey by the arm. Mic ey suddenly b comes calmer, allowing Ted to look into his eyes, check h out. It's clear Ted has a sway over Mic ey none of hi peers possess.</scene_description> <character>TED</character> <dialogue>You don't look to terrif~c, little bro her.</dialogue> <scene_description>MIC y 55D I'm okay.</scene_description> <character>TED</character> <dialogue>I u derstand ied to butt heads</dialogue> <scene_description>wit Porky.</scene_description> <character>MICK</character> <dialogue>I'd ve whipped his ass</dialogue> <scene_description>ssc for the sheriff.</scene_description> <character>MEAT</character> <dialogue>Tha scumbag sheri sided wit Por y.</dialogue> <character>TIM</character> <dialogue>Bus Mickey's he</dialogue> <character>PEE</character> <dialogue>E</dialogue> <character>TED</character> <dialogue>That 'scumbag sher i f ' is Pork:, ' s brat er.</dialogue> <scene_description>There are seve~al simultaneou exhalatio s of air.</scene_description> <character>ASSORED VOICES</character> <dialogue>Jeez s! Son-of-a-b tchl I do t beli ve Jt. No shi</dialogue> <character>TED ·</character> <parenthetical>(to Mickey)</parenthetical> <dialogue>Now ust where were you headed?</dialogue> <character>MICKE</character> <dialogue>Back to Porky's.</dialogue> <character>TED</character> <dialogue>List1'n. Junior~ aftef you goo t ther and he beats yfur ass ag in, then ~hat're ya gonn do?</dialogue> <scene_description>ss B SSD 55C S</scene_description> <character>55</character> <dialogue>CONTINUED:</dialogue> <scene_description>·-. Go ck, back. This .guy's dan e's playi ' arou d now but he's goi g to get tire of you, t1en he's gonna hur you ad. Mickey says no hing. Ted watches him a long beat.</scene_description> <character>T D</character> <parenthetical>(continu'ng)</parenthetical> <dialogue>Am I gonna have to take you home myse f?</dialogue> <character>-M CKEY</character> <dialogue>(beat).</dialogue> <scene_description>ht, I'll g home. onight! Mickey heads f his pie p. Ted ooks afte him.</scene_description> <character>TED</character> <parenthetical>(to himself)</parenthetical> <dialogue>ned redneck.</dialogue> <scene_description>Billy and hers come up to Ted.</scene_description> <character>TOMMY</character> <dialogue>think he I s really going back?</dialogue> <character>TED</character> <dialogue>Runs n the familv, I'm afraid. Hope e lives to grow out of it.</dialogue> <character>CAMERA</character> <dialogue>MOVESIN on them. They look after Mickey.</dialogue> <scene_description>s~</scene_description> <character>INT. G¥MNASIUM</character> <dialogue>- DAY 50A</dialogue> <scene_description>Coac Brackett stands i a doorway talking with iss Honey- well Tormny is by the b eachers talking, or rat er, sedu ing, Wendy. Miss B lbricker can be seen in the back- grou d, pacing, obviousl agitated to be in the resence of s much fecundity. W do not hear what is sald between eith r couple but the im act is clearly sexual. Finally, Miss Balbricker can st:an it no longer. She mar hes ,;.,, to M ss. Honeywell, ignor·ng Brackett.</scene_description> <character>ISS BALBRICKER</character> <dialogue>The girls areJaiting, Miss Honeywell</dialogue> <character>..,\_\_\_\_\_\_\_</character> <dialogue>56 CONTINUED: 5&amp;8</dialogue> <scene_description>Miss Honeywell smiles owingly at Balbricke She is not afraid of this ogre. She gives Brackett a cute little mock kiss and, smiling t Balbricker, she he ds off. Bal- bricker•is not happy. he storms off. Coac Warren comes up bi:hind Brackett. How's Lassie? Brackett looks exasperated.</scene_description> <character>COACHBRACKETT</character> <dialogue>Lassie 1 s fine. Still a virgin. B t fine. But you, on the other hand, are going to be dead if you don't tell me why you call her 'Lassie.'</dialogue> <scene_description>Warren says nothing, but points upward towar the locker room and gives that little low hounddog howl. He walks off OUT OF CAMERA. Brackett stares after Waren and finally does a sarcastic little howl of his own in W rren's direction. &amp;</scene_description> <character>INTERCUT -</character> <dialogue>58 It's near the nd of practice. Once again, the starting</dialogue> <scene_description>five are playi g against the first five off the bench. Tim is guarding Br an Schwartz, and Brian is once more getting 5n1 A around him, ou -faking him, scoring on him. Finally, in frustration, trips Brian as he cuts past him to drive to the basket. It's an obvious, flagrant and dangerous ~oul, and Brian goes flying out of bounds, falling into. the wall behind the basket. The only thing which stops him from being seriously hurt is the presence of a large square of foam rubber padding which is attached to the wall behind the backboard for just such situations. Now we're INTERCUTTINGbetween two situations. Coach Goode- nough haz seen what Tim has done. He whistles the practice to a halt and begins to chew outr Tim. At the same time. Billy, Tommy and Coaches Brackett and Warren have gone to attend to Brian.</scene_description> <character>~ 0,</character> <dialogue>COACHGOODENOUGH ,.....0</dialogue> <parenthetical>(blowing whistle, furious)</parenthetical> <dialogue>Alright, time out! Cavanaugh, t off the floor.</dialogue> <scene_description>Tim is in a confused state. He's still i a rage at Brian for making him look bad, but he's· also acu elv embarrassed at having been caught taking such a cheap hot. ,,-----, 57 CONTINUED: 5? \......) &amp;</scene_description> <character>58</character> <dialogue>It ...</dialogue> <character>TIM</character> <dialogue>it</dialogue> <scene_description>Off the floo-r -- now! i Tim lowers his head and trudges tow sidelines.</scene_description> <character>COACH GOODEOUGH</character> <dialogue>(continuing) ·</dialogue> <scene_description>You're benched indefinite Cavanaugh. No one who pl that way plays for me ... CAMERA EMPHASIZES Billy, Tommyand he assistant coaches helping Brian to his feet. He's sh ken up, and he has a mildly twi.sted ankle, but essential y he's okay. Now, as Brian walks back onto the court ...</scene_description> <character>59</character> <dialogue>ROOM- DAY</dialogue> <character>INT. LOCKER</character> <dialogue>We see a basketball sneaker come hurtling into a locker. CAMERAPULLS BACK to see Tim, who angrily throws his other shoe after the first. Behind Tim, in the background, we see Brian and.the others file in. Tim has obviously been waiting for this mo~ent. He walks over to the guys and addresses them with false camaraderie.</dialogue> <character>TIM</character> <dialogue>Hey, any of you guys want to go out and fly a kite with me tonight. I think it's great weather for kites. I wonder if there's any kites around here we could fly.</dialogue> <scene_description>Brian decides he has had enough. He walks directly over to Tim.</scene_description> <character>BRIAN</character> <dialogue>Listen, Cavanaugh,· it I s not kites -- it's kike. K-I-K-E, kike. You're too stupid even to be a good bigot.</dialogue> <scene_description>Tim lunges at Brian, but Billy and Tommy grab h:irn and hold him off.</scene_description> <character>TIM</character> <parenthetical>(spluttering with rage)</parenthetical> <dialogue>Get dressed. Behind the gym, Jew- boy. As soon as the coaches are gone.</dialogue> <character>59</character> <dialogue>BRIAH</dialogue> <character>CONTINUED:</character> <parenthetical>(calmly)</parenthetical> <dialogue>If you want.</dialogue> <character>60</character> <dialogue>We're already right. of stinging continues superiority. and with his hands open, as i to grab an choke deftly</dialogue> <character>EXT. BEHINDTHE GYM- DAY</character> <dialogue>into the fight. Brian ducks it easily, jabs. to give him a boxing Finally,</dialogue> <character>T'</character> <dialogue>handles this maneuver by grabbing Tim's hand</dialogue> <scene_description>hr·. rushes a Brian Brian and -- using a basic karate move -- tossing him into the a rand onto his ass. , ~OD This ·scene includes numerous ACTION SHOTS of Tim and Brian's teammates. None oft ese boys know very much about Brian but they're coming to a 1ire him, both for being able to handle Tim, and for doing · in such a way as not to seriously injure him. ' 0 E After a moment on the ground, Tim staggers up\ to make another charge at Brian, but we see him sudde ly and un- expectedly grabbed from behind by two street- lothes-clad arms which place him in a hammerlock. CAMERAreveals that it's Coach Brackett.</scene_description> <character>COACHBRACKETT</character> <dialogue>Alright, Tim -- that's enough. Knock it off. Enough.</dialogue> <character>TIM</character> <parenthetical>(still angry, but knowing he's beaten)</parenthetical> <dialogue>Okay, okay. Lemme go.</dialogue> <character>COACHBRACKETT</character> <dialogue>It's over.</dialogue> <character>TIM</character> <parenthetical>(to Brian)</parenthetical> <dialogue>Yeah, it's over.</dialogue> <scene_description>Brian comes over to Tim and extends his hand the gesture, turns and walks away. ·'</scene_description> <character>61</character> <dialogue>HIGH - DAY</dialogue> <character>EXT. PARKINGLOT OF PORT AUBURNDALE</character> <dialogue>Billy, Tommyand Brian are walking toward their respective cars. Instead of walking off by himself, Brian has allowed· Billy and Tormny to draw him into conversation.</dialogue> <character>BILLY</character> <dialogue>How'd you learn</dialogue> <character>I</character> <dialogue>to fight</dialogue> <character>BRIAN</character> <parenthetical>(smiling)</parenthetical> <dialogue>Listen, if you're-~ewish, either you learn to fight or you take a \* lot of shit. I don't like to take shit, so I studied Ju-jitsu.</dialogue> <character>TOMMY</character> <dialogue>That Japanese stuff?</dialogue> <character>BILLY</character> <dialogue>How often have you had to use it?</dialogue> <character>BRIAN·</character> <dialogue>Today was the first time.</dialogue> <scene_description>\;;</scene_description> <character>TOMMY</character> <dialogue>Were you sure you'd remember how?</dialogue> <character>BRIAN</character> <parenthetical>(grinning)</parenthetical> <dialogue>I was hoping.</dialogue> <scene_description>They all laugh.</scene_description> <character>BILLY</character> <dialogue>Look ... uh ... Tim's our buddy, but you gotta understand. He's go problems.</dialogue> <character>BRIAN</character> <dialogue>I noticed.</dialogue> <character>TOMMY</character> <dialogue>All that Jewish stuff. We do 't buy that. Hell, Tim doesn't en know what the hell a Jew is, yway.</dialogue> <character>BRIAN</character> <dialogue>Hell ... me either ... and I be one all my life.</dialogue> <scene_description>They laugh.</scene_description> <character>(CONTINUE)</character> <dialogue>61 CONTINUED:</dialogue> <scene_description>0l B It's easy fo~ake his problems out on au. You know, Tim thinks you'r putting him d wn. He's.not a bad g y.</scene_description> <character>BR AN</character> <dialogue>(after a ause) · blD</dialogue> <scene_description>He's a prick.</scene_description> <character>TOMMY</character> <dialogue>You're right. He is a prick.</dialogue> <scene_description>Billy and Tonuny look after Brian.</scene_description> <character>BILLY</character> <dialogue>Schmuck!</dialogue> <character>TOMMY</character> <dialogue>What?</dialogue> <character>BILLY</character> <dialogue>Schmuck. He's a schmuck. Thats Jewish for prick, right?</dialogue> <character>BRIAN</character> <parenthetical>(smiling)</parenthetical> <dialogue>Yeah, sort of.</dialogue> <character>TOMUY</character> <dialogue>Yeah, well, anyway even though He's a schmuck, and we don't like I everything he does he's still or buddy, ya know.</dialogue> <scene_description>There is an understanding here.</scene_description> <character>BRIAN</character> <dialogue>. Yeah I understand. Well, I got a</dialogue> <scene_description>go. See you guys.</scene_description> <character>BILLY</character> <dialogue>Yeah, see ya.</dialogue> <scene_description>They watch Brian go.</scene_description> </scene> <scene> <stage_direction>INT. DEADHEAD'S</stage_direction> <character>- NIGHT</character> <dialogue>•</dialogue> <scene_description>We see Pee Wee, Tommyand an obviously very drunk Meat standing beside a pay phone at the back of a very crowded Deadhead's. At the far end of the restaurant where the counter is sit Billy, Brian, Ginny and Wendy.</scene_description> <character>CONTINUED:</character> <dialogue>I Pee Wee starts to dial</dialogue> <character>PEE WEE</character> <dialogue>I'm gonna get her!</dialogue> <scene_description>the pay phone. I'm gonna 3et He is elated. her! When Pee Wee finishes dialing, they look toward the far end of the restaurant as the PHONEbeside the cash register begins to RING. The WAITRESSwho appears to be very busy calls down to Wendy.</scene_description> <character>WAITRESS</character> <dialogue>Hey, Wendy, hon, would you get that for me?</dialogue> <scene_description>As Wendy gets up to answer the phone, the Waitress stops what she is doing to watch. Obviously she is in on the gag. Wendy picks up the phone. {f,J..fi</scene_description> <character>WENDY</character> <dialogue>62g Deadhead's!</dialogue> <scene_description>Pee Wee speaks in a disguised voice. \~-</scene_description> <character>,.\_/</character> <dialogue>PEE WEE</dialogue> <scene_description>Hi, I'm looking for my friend. He's supposed to be there. Could yo· ask if he's there?</scene_description> <character>'</character> <dialogue>I -</dialogue> <character>WENDY</character> <dialogue>Yeah, well, what's his name?</dialogue> <character>PEE WEE</character> <dialogue>His name is Mike Hunt. I•</dialogue> <scene_description>l Pee Wee pronounces "Mike Hunt" very carefµlly so ~hat the two· names do not run together. Wendy doe~n't cat hon that a rather obscene interpretation can be maae when ike Hunt is pronounced rapidly.</scene_description> <character>WENDY</character> <dialogue>A1right, wait a second!</dialogue> <character>;</character> <dialogue>i</dialogue> <scene_description>She's put the phone down and starts walking down he counter i I yelling loudly. I I l</scene_description> <character>I</character> <dialogue>I i I i l</dialogue> <character>WENDY</character> <dialogue>(continuing) Is Mike Hunt here? Several people in the crowded restaurant begin to giggle</dialogue> <scene_description>L immediately. taken in. It's an old gag but Wendy h~s been completely</scene_description> <character>'1/</character> <dialogue>62 CONTINUED: ( 2) -----r-.</dialogue> <scene_description>G2/s</scene_description> <character>' I.. WEHDY.</character> <parenthetical>(co tinuing)</parenthetical> <dialogue>Is Mike Hut here? 62-.D</dialogue> <scene_description>Meat stumbles up to end of the counter. here Billy, Ginny :and They are all breaking up. Briaf a;eat the ~eat yells out loudly and very runkenly. I</scene_description> <character>MEAT</character> <dialogue>I</dialogue> <character>I</character> <dialogue>Jesus Chri t , Wendy, if you dpn ' t know, I do 't know who does ...</dialogue> <scene_description>The entire restauran breaks up. Wendy still d esn' t get it. She ignores Mea</scene_description> <character>WENDY</character> <dialogue>Has anybodr seen Mike Hunt!</dialogue> <character>· MEAT</character> <dialogue>Practically everybody in town from what IJea.</dialogue> <character>WENDY</character> <dialogue>Meat ... wh t the hell are ... ?</dialogue> <scene_description>Q.···•'</scene_description> <character>.</character> <dialogue>Then it hits her. Her face turns crimsd.n. The(crowd reaks into applause. Wendy turns to see Pee Wee and Tormnyo the pay phone. Pee Wee is beside himself w\]th gleeJ\_ Wend yells out. 6</dialogue> <scene_description>2.,/; · i . i WENl&gt;Y j\_\_ l 'J J r,eL y Ht, l'&lt;.•t• Wet•.</scene_description> <character>PEE WEE</character> <dialogue>You should be so lucky ...</dialogue> <scene_description>Wendy takes it in god humor. She walks back to put the phone down.</scene_description> <character>WENDY</character> <dialogue>Not bad! fot bad, Pee Wee... you little priik ... and I mean that literally. . 62 6 G2H</dialogue> <scene_description>She sits down amid t e laughter. Just at this m ment tw COPS walk in the doof. They look at the applauding crow and particularly at peat who is now seated an trying ·-·a clumsily to eat the ~owl of chili which is in front of h The Cops are definit~ly looking. Brian leans over to Bi</scene_description> <character>I·</character> <dialogue>i</dialogue> <character>02....T</character> <dialogue>~</dialogue> <scene_description>;.:..:.~ What's got into Meat? I didn I t think he drank?</scene_description> <character>I</character> <dialogue>✓</dialogue> <character>62-T</character> <dialogue>CONTINUED:</dialogue> <character>621-1</character> <dialogue>(3)</dialogue> <character>BILLY</character> <dialogue>He doesn't. He got turned down by</dialogue> <scene_description>, Princeton today.</scene_description> <character>BRI"AN</character> <dialogue>Princeton? Meat doesn't have the grades for Princeton. Besides, he's got scholarship off er.s from sixty colleges.</dialogue> <character>BILLY</character> <dialogue>Yeah, I know, but for some reason he got his heart set on Princeton.</dialogue> <scene_description>At this moment, Meat yells loudly.</scene_description> <character>MEAT</character> <dialogue>This shili tastes like chit!</dialogue> <scene_description>Meaning, of course, "This chili tastes like hit," and with that, Meat's head· hits the counter with a lo thud. The Cops look up. They stand and start over in M at '.s direction. 62L: 0 BILLY Oh shit. Pee Wee. Get me Hey, some of those sugar cubes at the end of the counter. . The two Cops arrive and look down at Meat.</scene_description> <character>FIRST COP</character> <dialogue>That kid been drinking?</dialogue> <scene_description>Pee Wee runs INTO FRAMEcarrying the sugar. I Oh no, sir, a diabetic!</scene_description> <character>BILLY</character> <dialogue>Officer ... our friend</dialogue> <character>I</character> <dialogue>'!s</dialogue> <character>J\_</character> <dialogue>I</dialogue> <scene_description>Tommy picks up on it imrnedia.tely and joins in. H~ takes the sugar from Pee Wee, speaking</scene_description> <character>TOMMY</character> <dialogue>with elaborate</dialogue> <character>'</character> <dialogue>f9rmalit</dialogue> <scene_description>t Thank you, Edward, for bringing Anthony some sugar. (turning to Billy) How many cubes of sugar does your cousin reouire when he's had too much insuiin?</scene_description> <character>I</character> <dialogue>J</dialogue> <character>\</character> <dialogue>-</dialogue> <character>)</character> <dialogue>)</dialogue> <character>~ J;</character> <dialogue>·- ·- --. -</dialogue> <character>,</character> <scene_description>I. ·. 62 CONTINUED: (4)</scene_description> <character>! BILLY</character> <dialogue>/</dialogue> <scene_description>l Two cubes of 1sugar- usually Anthony aroujd. Billy takes two cubes qf' sugar from P e Wee and inserts them into Meat·' s mou~h.j Meat drunken y spits t e sugar cubes into the air and \they land in a~ owl of sup being eaten by a burly truckfdriver ten fee away. A little bit of chili bean lands ri 9ht on the firs officer' nose. Tommylets go of Meat' 9 head to go an~ appease driver who is about to ~aise hell. forward smack i~to his ~bowl· of chili. Meat's Ev~ryone Aj he truck ead pitches looks at ·; Meat. No one moves fo~ a long moment. Finally the First Cop calmly wipes the ei;rant chili bea from his nose. These cops are very coql and not lacking in as nse of ~umor. ~he ~op tilts\_q~s head and l9ots down a Meat who is snorting .1.n the chil!,1., out cold. .l Gee, I never· tsaw anybody</scene_description> <character>FIRST COP</character> <dialogue>drown in</dialogue> <scene_description>a bowl of ch~li before. l SECOND COP Me neither. ~ wouldn't even know how to fill 0iut the forms on that.</scene_description> <character>!</character> <dialogue>~ FIRST COP</dialogue> <scene_description>Yeah, you're ~ight. It'd be a lotta hassle.~ I guess we better save him. ;</scene_description> <character>~</character> <dialogue>~ SECOND COP</dialogue> <scene_description>Yeah, we bettrr. He reaches over and lifts Meat's head from the c ili. Meat is a mess. Ii SECOND COP (conti~uing) Gee, I'm not~ doctor, but I could swear this youngster is inebriated. lI I</scene_description> <character>I</character> <dialogue>Oh no, sir.</dialogue> <character>I TOMMY</character> <dialogue>µe's</dialogue> <scene_description>Il 1FIRST COP Well now, if ~ou all say he's a diabetic and ~e find out he's drunk, we'd have to book the whole lot of you as; accessories! ,\_,.;.; - i b1L</scene_description> <character>CONTINUED: ( 5)</character> <dialogue>BI Y, TOMMY PEE WEE</dialogue> <scene_description>He's drunk! Def nitely! Pee Wee, as always, overpl ys it.</scene_description> <character>PE WEE</character> <dialogue>Son of a bitch des it all t irne !</dialogue> <scene_description>Everybody looks at Pee Wee in disbeli Pee Wee shrugs. Brian speaks up.</scene_description> <character>BRIAN</character> <dialogue>(intervening as if</dialogue> <character>G2N</character> <dialogue>a bystander)</dialogue> <scene_description>Officer, I couldn't help but notic what's been happening here.</scene_description> <character>FIRST COP</character> <dialogue>Who 're you?</dialogue> <character>BRIAN</character> <dialogue>Just a bystander. Brian Schwartz' the name.</dialogue> <scene_description>He extends his hand, and before they realize it, b th Cops have shaken it and are listening to him as i he a tually were some impartial voice of reason.</scene_description> <character>BRIAN</character> <parenthetical>(continuing; pointing to Meat)</parenthetical> <dialogue>Now I overheard this poor fellow saying he'd gotten drunk because his girlfriend had broken up with him tonight. Tell me, gentlemen, wouldn't you be likely to toss down a few if, God forbid, the</dialogue> <scene_description>.woman you loved turned her back on you?</scene_description> <character>SECONDCOP</character> <dialogue>If~ wife left me, I'd get drunk for Joyf</dialogue> <scene_description>The two Cops laugh. The boys, on cue from B ian, ,oin in the laughter.</scene_description> <character>FIRST COP</character> <dialogue>Alright, just get him out of here and take him home.</dialogue> <character>-</character> <parenthetical>(CONTINED)</parenthetical> <scene_description>62 CONTINUED: ( 6)</scene_description> <character>G'2P</character> <dialogue>TOMMY</dialogue> <scene_description>Thank you, Officer.</scene_description> <character>BILLY</character> <dialogue>Yes, thank you.</dialogue> <scene_description>The two Cops wave and walk away. To y, Billy and F;ee Wee turn to Brian.</scene_description> <character>TOMMY</character> <dialogue>You are a smooth mother, wartz !</dialogue> <scene_description>Brian just grins self-consciously. T a e slapp ng him on the back, pounding his hand. a d making general gestures of camaraderie. However, no sooner has the pol ce cruiser driven off, than Steve Klinge hofer, on of the oys from the 11 Nympho in the Everglades' 1 c per, comes running over</scene_description> <character>STEVE</character> <parenthetical>(breathlessly)</parenthetical> <dialogue>Hey, you better come quick . . it's Mickey ... he's beat all to hit ... in his car ...</dialogue> <scene_description>The group rushes out.</scene_description> </scene> <scene> <stage_direction>EXT. PARKINGLOT OF DEADHEAD'S- NIGHT</stage_direction> <scene_description>As Steve and all the boys except Meat run INTO FRAHE, the CAMERA EMPHASIZESMickey. He 1 s sitting behind the wheel of his car, facing toward them, the car door open. Al- though there's blood all over his face, an eye swollen shut, perhaps a broken nose -- Mickey is grinning.</scene_description> <character>MICKEY</character> <parenthetical>(barely coherent)</parenthetical> <dialogue>b~fl bg ,g</dialogue> <scene_description>The son of a bitch broke his ha And so saying, Mickey collapses onto the teering eel unconscious.</scene_description> <character>BILLY</character> <dialogue>Pee Wee, go call Ted right away</dialogue> <scene_description>Pee Wee nods and runs off. Billy turns t i 63 fs 73.</scene_description> <character>63</character> <dialogue>BILLY</dialogue> <character>CONTINUED:</character> <parenthetical>(continuing)</parenthetical> <dialogue>I hate to take im to the h spital but I gu·ess we' better.</dialogue> <character>MMY</character> <parenthetical>(starti off)</parenthetical> <dialogue>I'll get my car.</dialogue> <scene_description>Mickey sits up abruptly.</scene_description> <character>CKEY</character> <dialogue>I'm not going t the hospit 1, man. What• s th matter wit you guys?</dialogue> <scene_description>He starts up his engine .</scene_description> <character>. B LLY</character> <dialogue>Mickey, where y u going?</dialogue> <character>MCKEY</character> <dialogue>I'm going home, where ~o yo, think? Don't worry, ol buddy, learned my less n.</dialogue> <scene_description>I'vr Mickey grins crazily at t em through ~is blood-so~ked face. He peels out and is gone. Billy stars after him . . BfLLY We're gonna havrto babysit with him!</scene_description> <character>T?MMY</character> <dialogue>That won't stopihim!</dialogue> <character>I</character> <dialogue>They look dejectedly after Mickey.</dialogue> <character>F"</character> <dialogue>U.11'. GYM - DAY</dialogue> <dialogue>We see Coach Brackett and Miss Honeywell huddled in a corner, talking in obviously warm and sensual tones. Brackett keeps looking up the stairs toward the equipment room and then back to Miss Honeywell. We can't hear what they say but it is obvious that Brackett has become des- perate enough to heed Warren's advice. But it is al~r clear that Miss Honeywell is being playful. So far sne demurs; coquettishly to be sure, but nonetheless it's no go. The tug of war continues until we see Miss Balbricker ENTERFRAMEand confront the two. We CUT CLOSER:</dialogue> <scene_description>·- 6 CONTINUED:</scene_description> <character>ISS BALBRICKER</character> <dialogue>Miss Honeywel ... do you mind?</dialogue> <character>ISS HONEYWELL</character> <dialogue>· (sweetly)</dialogue> <scene_description>Do I mind wha ? ·</scene_description> <character>ISS BALBRICKER</character> <dialogue>You know what m talking about. It's disgusti , the two of you squirming abo. like a pair of eels in heat. You 're a disgrace.</dialogue> <character>641564C. {; D</character> <dialogue>We get a very surprising reaction from the pe ite MiJs Honeywell. She's got qu·te a temper and obvi usly t kes no 11merde" from anybody. Brackett is quite s unned y the force of her reaction.</dialogue> <character>ISS HONEYWELL</character> <dialogue>Yeah, well it eats stompin' and. waddling aroun 1 ike a frigid hippopotann.is, eulah.</dialogue> <scene_description>We could swear that Miss Balbricker's heel~ c ick to ether as she draws herself up</scene_description> <character>ISS BALBRICKER</character> <dialogue>What did 11 me?</dialogue> <character>ISS HONEYWELL</character> <dialogue>Beulah! Ball breaker!</dialogue> <scene_description>Balbricker is apopleptic Brackett 1 s jaw hangs I tote floo .</scene_description> <character>ISS BALBRICKER</character> <dialogue>Who dp you k you're talking to?</dialogue> <character>. ISS HONEYWELL</character> <dialogue>Well ... if thefe was a hurdy gurdy playing, I'd s y I was talking to 1 the fat lady a the circus. But asJ it is, I guess I'm t~lking to a toni of bad news n ed Beulah. Beulah. l 1</dialogue> <scene_description>Be~lah. f { Miss Honeywell shoves he face right up to Mi~s Balbricker's and says, "Beulah" as if she were a braying dpnkey. ,1e r effect is shocking, comifg from this seeming!' demure little woman. Brackett tries tf intercede. Uh ... Lynn ... f.· toACH BRACKETT Uh ... \l/</scene_description> <character>7Y.</character> <dialogue>-~ 6 64~ 6l/-r.!\_ (:)</dialogue> <scene_description>'.,\_\_\_\_.) 64 CONTINUED: (2)</scene_description> <character>MISS ONEYWE L</character> <dialogue>Butt out!</dialogue> <scene_description>Balbricker draws he t MISS ALBRIC R Moral tur itude!</scene_description> <character>MISS ONEYWE·</character> <dialogue>What?</dialogue> <character>MISS ALBRIC R</character> <dialogue>Moral tur itude ! ead your contract. I' 11 ha you fi . ed for moral urpitud</dialogue> <character>MISS ONEYWEL</character> <parenthetical>(imeasured tones)</parenthetical> <dialogue>Take your oral turfitude ad stick it ere the un neve shines, Be la\_h. . . }</dialogue> <scene_description>By now Balbricker is foaming ~t the m?uth. Sh~ turns and storms off. Miss Ho eywell stares affer her, /just as furious. She looks· p the sttirs, lo,ks back to Brackett, - and then back to Bal ricker. Her min is made/ up. She - grabs Brackett b th hand an starts up the s~airs. She J\_ \ c9</scene_description> <character>--1- -·-</character> <character>65</character> <dialogue>6Sfl</dialogue> <character>INT. LOCKERROOM- DAY</character> <dialogue>CAMERA PICKS UP Pee Wee e comes to join Tommy, Rilly, Brian and Meat as they are dressed for basketball and track practice.</dialogue> <scene_description>Did you see face? Yeah, we saw it. They all look up to see who is clearing out his locker about thirty feet away. 's face is purplish and swollen on one side.</scene_description> <character>MEA</character> <dialogue>You really worked the kid over, Schwartz.</dialogue> <scene_description>- Brian looks at Tim in</scene_description> <character>65</character> <dialogue>B IAN</dialogue> <character>CONTINUED:</character> <dialogue>I didn't do tha I hardly touched his face. Just 1 ittle jabs. Couldn't have d thatl</dialogue> <scene_description>There is silence.</scene_description> <character>B IAN</character> <parenthetical>(continu,ng)</parenthetical> <dialogue>I'm really sorr</dialogue> <character>B</character> <dialogue>You didn't do</dialogue> <scene_description>Brian looks at them.</scene_description> <character>B</character> <dialogue>Well, what hc1,pp . ?</dialogue> <scene_description>h J.?n.</scene_description> <character>T</character> <dialogue>(relucta His old man. B His father? Yo be serious. Why?</dialogue> <scene_description>Because he got · a fight with a Jew -- and lost. Brian is stunned. It's not your man. Brian looks at Tim. He i, obviously disturbed. He gets up and walks down toward Coad;h Goodenough's office. We cannot hear what is said but we Jave an idea.</scene_description> <character>66</character> <dialogue>ROOM- DAY</dialogue> <character>INT. EQUIPMENT&amp; LAUNDRY</character> <dialogue>CAMERA PANS along a row of assorted athletic uniforms and equipment and rows of locker\_s where the boys keep their socks, jocks, T-shirts and other gear. We hear Coach Brackett and Miss Honeywell from O.S. Obviously a se~~ction is in progress. CAMERACOMESto them. Miss Honeywell breaks the clinch.</dialogue> <character>MISS HONEYWELL</character> <dialogue>- o/</dialogue> <scene_description>Let's go further see us. in. Somebody'll</scene_description> <character>66</character> <dialogue>CAMERA FOLLOWSthem as they move past the lockers,</dialogue> <character>CONTINUED:</character> <dialogue>back</dialogue> <scene_description>into the inner recess which is where the dirty laundry is piled as well as fresh socks/jocks, etc. for issue. The floor and tables are littered with worn athletic equipMent. The room is close and somewhat ripe. Miss Honeywell stops and draws in a lungful of air as if she were in the Alps.</scene_description> <character>/ ~</character> <dialogue>MISS HONEYWELL</dialogue> <scene_description>(continuing) ~</scene_description> <character>B</character> <dialogue>Ah ... smell that air!</dialogue> <scene_description>Over her shoulder we see Brackett react to this. The place doesn't smell that great to him. It is o ious that Miss Honeywell is getting turned on. She grab up a handful of T-shirts, jocks and socks and buries her ce in them. Her eyes are lighting up. She turns arou d to face Brackett</scene_description> <character>MISS HONEYWELL</character> <parenthetical>( cont'inu ing)</parenthetical> <dialogue>MJn,~m-nm™"'""'-n-u!</dialogue> <scene_description>Oh boy! Oh boy! Brackett can I t believe his eyes. The gir is obviously aflame. He hardly has time to brace hims lf as she-rushes ac him and literally leaps on him, curlin~ her legs around his waist and devouring his mouth with het1s, Her passion is uncontained. Brackett gathers his witl:t and begins to - disrobe her, slipping smooth move. She struggles his. They struggle, her shorts and pant~es down in one frantically out of breath. t help him with</scene_description> <character>MISS HONEYWELL</character> <parenthetical>(c·ontinuing)</parenthetical> <dialogue>Oh, it turns me on. It turns m on. It always has. I don't kn w why.</dialogue> <character>COACHBRACKETT</character> <parenthetical>(breathless)</parenthetical> <character>I</character> <dialogue>Who cares?</dialogue> <character>MISS. HONEYWELL</character> <dialogue>Oh, hurry! Hurry!</dialogue> <scene_description>COACHBRACKETT l Help me! ·I They manage to slip his shorts down and B4ackett tak~~ her standing up. Their frenzy is more.comic fhan salacious. They stumble about comically trying to stay upright and still keep the proper motion. Miss Honey{.rell is getting carried away, her breathing is coming in ireat gulps. - Brackett's face is buried in her neck. H~ pants. t'{ CONTINUED) -- 78 .·:</scene_description> <character>66</character> <dialogue>CONTINUED:</dialogue> <character>- COACHB CKETT</character> <parenthetical>(continuing)</parenthetical> <dialogue>Lynn, Lynn! . . . l gott know ...</dialogue> <parenthetical>(breath)</parenthetical> <dialogue>I gotta know ...</dialogue> <parenthetical>(breath)</parenthetical> <dialogue>Why•••</dialogue> <parenthetical>(breath)</parenthetical> <dialogue>Why do they call you ...</dialogue> <parenthetical>(breath)</parenthetical> <dialogue>call you Lassie.</dialogue> <character>MISS HO~EYWELL</character> <parenthetical>(breathing fief cely)</parenthetical> <dialogue>I don ' t knowoowow.. . ·</dialogue> <scene_description>And on the word "know" we and B ackett £ind o t exactly why Miss Honeywell is call~d Lassie because int e grip of un- cont:rcllable passion, 'Miss Honeywell's "know" turns into a piercing wail or rather howl,\_a~ exact duplic tion of an old hound dog. It is immediate:j.y obvious tha\* once started, Miss Honeywell canno-t possibly $top. The howls come in steady waves, reverberating offjthe equipmentlroom wall and echoing throughout the entire gym. These howts are long and loud. Brackett's eyes fly ~pen and his had flies back to l~at her in shock. Buth~ doesn't stop pumping.</scene_description> <character>I</character> <dialogue>COACHBaACKETT</dialogue> <scene_description>What the hell! I MISSHorEYWELL Howl! Howl! Howl!</scene_description> <character>COACHB CKETT</character> <dialogue>Jesus Christ! Hold i~ down.</dialogue> <scene_description>He slows down. · j</scene_description> <character>MISS HO EYWELL</character> <dialogue>Oh, don't stop! Howlt Howl! Howl</dialogue> <character>COACHBE.ACKETT</character> <dialogue>Holy shit l l</dialogue> <scene_description>Brackett tries to put his hand Jver her mouthJto no avail. f\_</scene_description> <character>67</character> <dialogue>b</dialogue> <character>INT. GYM- DAY</character> <dialogue>----</dialogue> <scene_description>) guy drives in</scene_description> <character>..</character> <dialogue>·............ The boys are havinf lay-up drills. As ea</dialogue> <scene_description>for his lay-up, we see the mighty effort eing made to· keep from laughing. Coach Goodenough is probably the only person in the\_gym who doesn't know what' going on.</scene_description> <character>'</character> <dialogue>67</dialogue> <dialogue>He looks</dialogue> <character>CONTINUED:</character> <dialogue>up and all</dialogue> <character>CO CH GOODENOGH</character> <dialogue>What in t~e worl?</dialogue> <character>€�</character> <dialogue>Coach. Warren is rigfit at h s elbow an the pain of restrain- ing his laughter is! eviden on his fa e. Meanwhile, Miss</dialogue> <scene_description>Balbricker are stifling wilt lettuce. rafters. . is turning abou eight sha giggles. ·The~ clam</scene_description> <character>I'</character> <dialogue>She gives them</dialogue> <scene_description>The Ho· es of red. Her girls a look that would S ECHO throug~ the</scene_description> <character>68 INT. EQUIPMENTROOM- DAY</character> <dialogue>Brackett doesn't know whether to shit or go blind, as the. expression goes. He's in too deep to stop, forgive the pun. His own arousal makes the thought of stopping un- bearable, but on the other hand, Lynn's howls have reached a er esc endo .</dialogue> <character>INT. GYM- DAY</character> <dialogue>Coach Warren has broken down. He can contain himself no longer. He walks to the canvas mat which is hung on the back wall behind the basket. He pulls the mat away from</dialogue> <scene_description>the wall and steps behind it and lets his laughter pour out.. Coach Goodenough is thoroughly suspicious now. The boys are breaking up openly, even as they continue the .fast break drill. We CUT just as Miss Balbricker walks up to Coach Goodenough.</scene_description> </scene> <scene> <stage_direction>INT. EQUIPMENT ROOM - DAY</stage_direction> <scene_description>Brackett is maneuvering·Lynn toward the laundry baskets. •Lynn is totally gone now. Her head thrown back emitting howl after·howl. Brackett makes a monumental effort to keep stroking and, atthe same time, bend over and grab a handful of laundry. He succeeds and abruptly shoves a ·handful of clean jocks and socks square into Miss Honey- well's mouth, cutting her off in mid-howl. She looks at him in surprise for a moment, then continues to emit her muffled cries. They resume their frantic lovemaking.</scene_description> </scene> <scene> <stage_direction>INT. GYM - DAY</stage_direction> <scene_description>CAMERAFOLLOWSCoach Goodenough as he walks deliberately over to the canvas mat and pulls it out from the wall. There is Coach Warren like some exposed bug.</scene_description> <character>71</character> <dialogue>He stares at Coach Goodenough, tears in his eyes, his body</dialogue> <character>CONTINUED:</character> <dialogue>convulsed with lau hter, but in truth, he could be crying. He hurries past Co ch Goodenough, saying merely .. ·.</dialogue> <character>COACHWARREN</character> <dialogue>Gas! ! I</dialogue> <scene_description>He heads toward th john. We... · cur TO:</scene_description> <character>72</character> <dialogue>Now trying to look as inc nspicuous as possible, Coach</dialogue> <character>MED. SHOT - BRACKETT</character> <dialogue>Brackett emerges from the door of the boys' locker room and walks across the gym o join his colleagues and his players. A silence "erupts." Ever one's eyes are on Coach Brackett. There's stifled laughte~. If Coach Goodenough weren't present, cna should feel here might have been applause. REACTIONSHOTS of all con erned. Miss Balbricker has a laser-like glare inhere e that would sear off Brackett's scrotum. Coach Brackett finally re ches the side of the solemn..:as- stone Coach Goodenough.</dialogue> <scene_description>,-:;i..A</scene_description> <character>C CH BRAC~TT</character> <parenthetical>(feignin casualn ss)</parenthetical> <dialogue>Sor~y I'm late, ~oach Go denough. Case of the runs. Hurt ike hell, you probably head me al the way out here.</dialogue> <character>CO CH·GOODNOUGH</character> <parenthetical>(glancing after Warren)</parenthetical> <dialogue>Must be catching</dialogue> <scene_description>.. . CO CH' BRACfETT · (not uncle standinr) How's that ... ?</scene_description> <character>CO CH GOODNOUGH</character> <dialogue>I hope you haven t grownltoo attached to Port Auburnd le, Coach Bra~kett.</dialogue> <scene_description>He turns his back on Brackftt and his whistle. - -~</scene_description> <character>72 . CONTINUED.:</character> <dialogue>!~</dialogue> <scene_description>f· .- ✓~ COACH G DENOUGH \ ..,\_•' ntinuingJ Alright. st-break</scene_description> <character>\*</character> <dialogue>CAMERAPANS over to albricker. Steam is coming out of her ears. '</dialogue> <character>72B</character> <dialogue>Zhe boys are coming in to catch up with Tommy ad Billy.</dialogue> <character>I.NT: LOCKE: ROOM - DAY·</character> <dialogue>om practice.</dialogue> <scene_description>Wait a minute. Listen to this. It'll drive yo crazy. What now, Pee</scene_description> <character>EE WEE</character> <dialogue>No, really. · F · rst. you get a watermelon and two jelly onuts.</dialogue> <scene_description>The others walk away ing Pee Wee standing there. · r--";; \ ...,,~-;'/ Forget it, Pee Wee.</scene_description> <character>OMMY</character> <dialogue>'I'm not taking a shower with him.</dialogue> <character>EE WEE</character> <dialogue>Religious ics.</dialogue> <scene_description>At this point we pick up Mickey coming in from track practice. He walks past Pee Wee and on to Billy and Tommy. They look after im.</scene_description> <character>ILLY</character> <dialogue>-:i"' r Hey, Mickey. . • e 're going on a beaver shoot,</dialogue> <scene_description>,.l..\_\_ why don't you ome a1o·ng? i Micke grins.</scene_description> <character>MICKEY</character> <dialogue>Nah, I got things to do.</dialogue> <character>TOMMY</character> <dialogue>Hey, babe, you're not going back out there are you? You shouldn't lower yourself to brawl with that redneck riff raff.</dialogue> <character>MICKEY</character> <dialogue>Nah, they got some real back asses out there.</dialogue> <scene_description>72 CONTINUED: -={-;lc\_ Meat steps up.</scene_description> <character>MEAT '</character> <dialogue>Don' worry, Tup~erello's on the job. 'l:f h goes out there aqain, I'll work</dialogue> <scene_description>him ver. He'll think.Porky'shis mama when I finish with him.</scene_description> <character>MICKEY</character> <dialogue>I'd ave to be some kind of idiot to</dialogue> <scene_description>with those shitkickers.</scene_description> <character>BILLY</character> <dialogue>Att oy, Mick.</dialogue> <character>PEE WEE</character> <dialogue>They re going in. Let's go!</dialogue> <scene_description>The guys split Camera rnove·s in on Mickey. A strange little grin plays on his face. 73 . Il~T: TRAINING ROOM, UNDERTHE GYM'IO JUST FROM ..THE. Boy's I</scene_description> <character>BEHIND.THE GIRLS' SHOWERROOM- DAY</character> <dialogue>In silent Montage we see Billy, Pee Wee and Tommy pursue the same tortuous path to the girls' shower room as was</dialogue> <scene_description>- pursued ~equence. by Billy, Pee Wee an'1 l•iickey in the previous As contrasted with the previous occasions, we can hear the SOUNDOF MANYGIRLS TALKING, GIGGLING, milling about •</scene_description> <character>74</character> <dialogue>ROOMANDTHE GIRLS'</dialogue> <character>INT. JUST BEHINDTHE GIRLS' SHOWER</character> <dialogue>SHOWER ROOMFROMTHE BOYS' POV - DAY (INTERCUT)</dialogue> <character>TOMMY</character> <dialogue>Jesus Christ! It's the mother lode.</dialogue> <character>BILLY</character> <parenthetical>(whispering)</parenthetical> <dialogue>I've never seen so much wool. You could knit a sweater.</dialogue> <character>TOMMY</character> <parenthetical>(whispering)</parenthetical> <dialogue>This may be the largest beaver</dialogue> <scene_description>- shoot in the history of Florida.</scene_description> <character>74</character> <dialogue>CONTINUED:</dialogue> <scene_description>Indeed, peering int the showe from Tonnny's POV, there is a veritable rainbow of nubile oung girls sh wering, chat- ting, and being pla ful, as yo ng girls are qnt to do.</scene_description> <character>PEE WE.</character> <dialogue>Damn it!</dialogue> <character>75</character> <dialogue>And we see why he is pertur broad in the beam is shower· peephole. view of the glory hole. of a sweet young thing as t terates</dialogue> <character>PEE WEE'S POV</character> <dialogue>ed. A y ng lad who is ver+ g right in fron of Pee Wees The expanse is e We e girl's the view.</dialogue> <character>TO</character> <dialogue>What's wrong?</dialogue> <character>PEE WEE</character> <dialogue>It's Blubber McNe 1. I ca 't see anything. Darnnit</dialogue> <character>BIL Y</character> <dialogue>Be quiet!</dialogue> <scene_description>sc... They're starting</scene_description> <character>PEE WEE</character> <dialogue>c leave! Shit!</dialogue> <scene_description>l J I indeed some of the girl are fin shing tlheir hewers leaving. Pee Wee scoot over an~ tries /to ho n in on y' s viewpoint. l . I 'Hey, beat it,</scene_description> <character>PEE WEE</character> <parenthetical>(loudly)</parenthetical> <dialogue>But I'm missing i</dialogue> <character>BI</character> <dialogue>Be quiet! And do come over here!</dialogue> <character>I</character> <dialogue>Pee Wee gives a plaintive Uittle cry and hurries· ack to his own nook. He peer$ thr.ough, and there, loomi g like a colossus, is Blubber McN~il's omnipresent rear nd. De- licious visions are seen fJeeting to the left and right</dialogue> <scene_description>- of the obstacle gratify. but they d more to frustrate tha to</scene_description> <character>75</character> <dialogue>Pee Wee twists this way and that way, keening like an old Greek woman in mourning.</dialogue> <character>CONTINUED:</character> <dialogue>Finally, in total frustration</dialogue> <scene_description>and quite loudly he blurts out:</scene_description> <character>. ·PEE WEE</character> <dialogue>God damn it\[ Will you move it, Lard Ass!</dialogue> <scene_description>Tommy and Billy snap their heads around like puppets and stare open-mouthed at Pee Wee. We...</scene_description> <character>CUT QUICKLYTO:</character> <dialogue>76 BLUBBERMcNEIL</dialogue> <scene_description>who stands glued to the s ower £loo , her eyes wide, com- pletely spooked by the di embodied, ut very male voice, which seems to come from he ether. There are only about four GIRLS left in the.sh er at th· s point; they all stop and look at the wall. Fi ally, Blub er McNeil moves out as fast as she can. The ther Girls start giggling and covering themselves.</scene_description> <character>WENDY</character> <dialogue>Is that you, Turner?</dialogue> <scene_description>GIRL \*l Who's that? ·who's back GIP.L if:2 Horpy bastards! The Girls are not leaving, however. ey are amused and slightly titillated. Tommy jumps in with both fee He peaks .in a11\_.9fficious-sounding voice.</scene_description> <character>TOMMY</character> <dialogue>Don't be alarmed, girls. This is your Health Department. We're here to check out all unlicensed pussies If you haven't had yours checked in</dialogue> <scene_description>the last-·year ;· please step forward nd spread your legs. The girls are covered with towels by now. Thy laugh amo g themselves.</scene_description> <character>-· -- -----. GIRL#1</character> <dialogue>·who is that? I recognize that</dialogue> <scene_description>voice~ Who is that?</scene_description> <character>WENDY</character> <dialogue>What are you checking for?</dialogue> <character>76</character> <dialogue>TOMllY</dialogue> <character>ONTINUED:</character> <dialogue>Oh! Originality, neatness and h giene.</dialogue> <character>WENDY°</character> <dialogue>Tha IS Tommy a·lright. Hey, lis if ee Wee's with you, don't le loo ..</dialogue> <scene_description>He'll get confused.</scene_description> <character>GIRL#3</character> <dialogue>You guys are going to get in tr</dialogue> <character>PEE WEE</character> <dialogue>The 're hot! These broads are h The want us to look. They're I'm telling ya!</dialogue> <character>BILLY</character> <dialogue>Wel , they aren't leaving!</dialogue> <character>TOMMY</character> <dialogue>Lets find out!</dialogue> <scene_description>w th that, To y kneels down and places h s face right u to the pee hole.</scene_description> <character>T TO:</character> <dialogue>77 HE OTHERSijE OF THE SHOWE</dialogue> <scene_description>nd we see a 1scrange sight: A disembo ied tongul comes ozing throu h the wall. I is a thor ughly rid,culous ight. The irls squeal an carry on. TommyI s ongu e ithes in a. absurd, mock- ascivious ay. endy starts creeping forwa d. · Tommy peaks to lee Wee n a muted f· shion without ithdrawing his tongue.</scene_description> <character>TO</character> <dialogue>(sounding punchy bo Wh tare they doi On of them for it. TO</dialogue> <scene_description>No shit!</scene_description> <character>CUTT</character> <dialogue>78 fHE SHOWERROOM</dialogue> <scene_description>- o see iquified Wendy come up to shower soap right in the midieToi' ommy and po, r a hand :1.11o of s ongue.</scene_description> <character>(CONTINUED</character> <scene_description>/------., ', ,l</scene_description> <character>78</character> <dialogue>C</dialogue> <scene_description>T e tongue a s cursing. nds up. wit draws. J:~ To:; the~~ ee Wee an1 Billy lau h like hell. !:spitting Tommy i }oMMY (contint1-ing) I'll give her $Omething t play with j h that, Toltakes h~ld of his enis and begins forcing through the small opeming. Pee ee and B"lly are hyster- 1. We•••</scene_description> <character>CUT TO:</character> <dialogue>79 TH OTHERSIDE OF THE WAf TI</dialogue> <character>~</character> <dialogue>Wendy is hovering over the hole expec ing the</dialogue> <scene_description>to gue to come out againi Instead, Tommy's 1 · p member po s through like Punch of Punch an Judy. ja drops and she runs bj'ck to the other girls an laughing. - toMMY l endy's squealing Here Chickee, Chickee, Ch ckee, - good Chickee! Chickee! !Good Chickfe. / Here, tbNDY Hey, wait a mi??,ute •.. I know that guy Th girls nearly fall do'6 laughing\] TOirjillY,of course, is flush against the wall an cannot se~ what is happening. Be must depend on Pee ee and BU,ly. Suddenly, the Gifls go cor11p · ateJ.y sile t. Tommy loo sat Pee Wee.</scene_description> <character>OMMY</character> <dialogue>What is it? Wat's going on?</dialogue> <scene_description>We•••.</scene_description> <character>80</character> <dialogue>THE SHOWERROOM</dialogue> <scene_description>and we hear the familiar "KONG" THEME. The Gi ls are. silent, looking outside the shower room. Then in walks Miss Balbricker. The Girls immediately don sefious i~~es and scurry off. Miss Balbricker looks suspici?usly around the room. Her eyes go wide. We ZOOM TO what ihe sees: Tommy's limp penis hanging ridiculously out of the wall. Miss Balbricker's eyes light up like a slot m:r:ine. (CrINUED)</scene_description> <character>80</character> <dialogue>o.</dialogue> <character>CONTINUED:</character> <dialogue>1Q.Pi\_</dialogue> <character>I . T~-</character> <dialogue>1~·c\_</dialogue> <character>10B T</character> <dialogue>-. She hunches hers oulders 'nd sticks/her hands/out i~!front</dialogue> <scene_description>of her, looking fr all th world lire some mo ster in a Grade z horror mo ie. She creeps on tiptoes a ross tr··e shower room towar Tonmy's helpless ember. W f crrr TO: . 81 INSIDE THE WALL aIA 1</scene_description> <character>PEE WEE</character> <dialogue>( tarting to warn Oh shit! ommy).</dialogue> <scene_description>Hey, Torrnny... I</scene_description> <character>I</character> <dialogue>Billy signals fran ically for him t shut up. I</dialogue> <scene_description>What ... ?</scene_description> <character>I</character> <dialogue>What's going on.</dialogue> <character>TO:MMY</character> <scene_description>J:</scene_description> <character>BILLY</character> <dialogue>Hold st· 1, man. She's c9rning for it.</dialogue> <character>TOMMY.</character> <dialogue>She is ... ?</dialogue> <character>PEE WEE</character> <parenthetical>( a tc hing on)</parenthetical> <dialogue>Oh, yea~. She's droolin' man.</dialogue> <scene_description>. l Hold on,lshe's</scene_description> <character>BILLY</character> <dialogue>almost got it.</dialogue> <scene_description>Jf</scene_description> <character>I</character> <dialogue>j I 1'</dialogue> <character>TOMMY</character> <dialogue>Are you</dialogue> <character>I</character> <dialogue>j idding?</dialogue> <scene_description>At this point, Mi9s Balbricker, havfng crbsseB to thJ shower stall, realhes out and grabs; T01mnyr S p:enis, f~erc ely holding onto it w'th a viselike grir. I j;</scene_description> <character>MISS ·BALBRICKER</character> <dialogue>·</dialogue> <character>I</character> <dialogue>I've go you now, Tommy Tfrner.</dialogue> <scene_description>know it '·s you, you filth~ littlk pervert -- you freak, yo9 dirty/ 1</scene_description> <character>I</character> <dialogue>little</dialogue> <dialogue>egenerate... ,I /</dialogue> <scene_description>Tommy cries out itj pain and surprise, a word; lest that jgive,Miss support her prese9t surmise.</scene_description> <character>I</character> <dialogue>Balbrilker</dialogue> <character>.</character> <dialogue>'¥' I :</dialogue> <scene_description>but\] he !dare not say thF eVidence to</scene_description> <character>. . ( ONTINUED)</character> <scene_description>81 CONTINUED: In the interim,</scene_description> <character>~,A.</character> <dialogue>Mac and Pee We have tak</dialogue> <scene_description>i'16 as TommyJis tryi n off, iob</scene_description> <character>\*</character> <dialogue>~\c...</dialogue> <scene_description>g to wri gle onvulsed with la~ghter.</scene_description> <character>T~</character> <dialogue>1 a?·.</dialogue> <scene_description>fretj,, Billy Tommy's face i blue. H tugsw th great pain. Bal- liss bricker tugs b ck and pu ls Tamm flush ur agains the wall. Tommypulls, g nt'ing, B lbricke pulls, runting The silent slips out of :r· tug of ~r goes o s Balbri tumbling on he butt and until inally T rmny's s apy penis ker's ion grip, sending her onnny 1 kewise, nd the 4hase is on.</scene_description> <character>I</character> <dialogue>~2 .</dialogue> <character>J\_</character> <dialogue>INT. UNDERTHE GYM, FROM BEHINDTHE GlRLsf• SHOWERROOM.TO</dialogue> <character>AND</character> <dialogue>83</dialogue> <character>II</character> <dialogue>INT. ON THE MAINFLOOR OF THE GYM, FROM</dialogue> <scene_description>LO $.ER ROOM - DAY (INTEkCUT)</scene_description> <character>0~.JOYS'</character> <dialogue>To. y, in a ~ind pa ic, pulls up his pan~s, and ret1races th path y which he came as fast as he possibly ca. Miss Balbricker begins shower room, hollering</dialogue> <scene_description>by running along as she does so. tfe ' wall in the</scene_description> <character>MISS BALBRICKER</character> <dialogue>I know it s you.</dialogue> <scene_description>I'd recognizeiyou anywhere. You can't escape from · me. I got you now. i And she ru11s smack into the wall, knockin~ herself o to her ~rear end and bloodying her head. Tommy Pl-cks up pre ious °'b-3.l)seconds as a dazed Miss Balbricker regains her equil · br ium. Tommy makes it up into the training room and.through into the boy's locker room before Miss Balbricker manages to cross the gym floor and starts up the stairs to the boy's locker room. Goodenough, Brackett and Warren are coming · ?,Own the stairs. balbricker -runs right over· to them. - -~-; ---'-=we see Tommy running past the track and field boys; then past the football players; and then past his own basketball collegues; past Btlly and Pee Wee, whom he curses roundly as he.runs byi and into the furthest end of the shower room. Now, hot on his heels, comes Miss Balbricker, such fire in her eye that she's unaware of the naked boys to her left and right. She passes the naked track and field men; ~he pass~s the naked football players (Coaches Brackett, w~cren and Goodenough pop their heads out of their offices and stare in absolute disbelief). And now she's into the bas- ketball locker room. Miss Balbricker reaches the basketball shower room -- and slips on the soapy water which is all over the floor.</scene_description> <character>83</character> <dialogue>Landing on her rear, she plows through eight or ten guys,</dialogue> <character>CONTINUED:</character> <dialogue>knocking half of them over, until she comes to a stop in front of Tommy, who is lathering himself up.</dialogue> <scene_description>As Miss Balbricker glares up ~t Tommy from her prone position on the soapy floor, Tommy smiles beatifically.</scene_description> <character>TOMMY</character> <dialogue>Why Miss Balbricker, good of you</dialogue> <scene_description>~o drop in.</scene_description> <character>84</character> <dialogue>INT. ADMNISTRATIVEOFFICE OUTSIDEPRINCIPAL S OFFICE -1</dialogue> <character>CLOSEUP FAN EYEBALL- DAY</character> <dialogue>And we son realize the eyeball is looking through the keyhole o the principal's office.</dialogue> <character>85</character> <dialogue>POV - DAY</dialogue> <character>INT. PRINCIPAL'S OFFICE - KEYHOLE</character> <dialogue>&amp;~</dialogue> <parenthetical>(He'll begin the scene with the keyhole POV, then. /CUT TO a normal filming of the scene.)</parenthetical> <dialogue>Miss Balbricker, Coach Goodenough, Coach Brackettjand Coach Warren sit facing the principal, a kind-faced conservative- demeanored man of about fifty named MR. CARTER . .f\s the scene begins, Miss Balbricker is making an impassl'"oned plea:</dialogue> <character>MISS BALBRICKER</character> <dialogue>... and I think it's the only way , we're going to find that boy ...</dialogue> <character>86</character> <dialogue>Mr. Carter Brackett</dialogue> <character>REACTIONSHOTS</character> <dialogue>and Coach Goodenough are incredulous. and Coach Warren are fighting to keep fr.om</dialogue> <scene_description>laughing.</scene_description> <character>87</character> <dialogue>MR. CARTER</dialogue> <character>BACKTO SCENE</character> <dialogue>-Miss Balb icker, you're not really</dialogue> <scene_description>suggestin that I ask ...</scene_description> <character>I MISS BALBRICKER</character> <dialogue>That penii had a mole on it. I'd recognizJhat penis anywhere.</dialogue> <scene_description>Br 89.</scene_description> <character>87</character> <dialogue>Coaches Brackett and ~arren they bleed, faking sn~ezes, to betray their laugh\[. er.</dialogue> <character>CONTINUED:</character> <dialogue>are biting their lips until coughing -- anything so as not</dialogue> <character>· MISS BALBRICKER</character> <dialogue>· (con inuing) ;</dialogue> <scene_description>Despite the juvenile snickers of some, this ~s a serious matter. This ... thi~ ... seducer and despoiler m~st be stopped. He is extremel• dangerous, and, Mr. Carter, I'm certain everyone in this room khows who that is. He's a contemptirle little pervert who's been ...</scene_description> <character>MR. CARTER</character> <dialogue>Miss BalbriFker! ·</dialogue> <scene_description>l</scene_description> <character>'MISS BALBRICKER</character> <dialogue>Well, I'm s rry, but I've got him</dialogue> <character>I</character> <dialogue>now and I'm not going to let him slip througp my fingers again.</dialogue> <scene_description>.i 811187t5 At this faux pas, eveh Coach Goodenough has to bile his 'ip to suppress a guffaw. j 1. J MISS BALBRICKER (co~tinuing; frantic)</scene_description> <character>J</character> <dialogue>I</dialogue> <scene_description>Now all I'm: asking is that you</scene_description> <character>.</character> <dialogue>give me fiv;e boys for a few minutes. The coaches can be</dialogue> <scene_description>,.j I present, T'.omnyTurner and any</scene_description> <character>I</character> <dialogue>I</dialogue> <scene_description>four boys 1iou see fit to choose. And we ... and we ... can stop this menacd.</scene_description> <character>I</character> <dialogue>And it is a menace~</dialogue> <character>MR. CARTER</character> <dialogue>Five boys in the nude! A police</dialogue> <character>I</character> <dialogue>II</dialogue> <character>I</character> <dialogue>l j.</dialogue> <scene_description>.tf lineup so Yiou can identify his ... j r· Carter his ... tal~ywacker ... looks at Jhe coaches. i I I</scene_description> <character>I</character> <dialogue>I</dialogue> <character>I</character> <character>MR. CARTER</character> <dialogue>1</dialogue> <character>I</character> <dialogue>( c 011t inu ing) i</dialogue> <character>;</character> <dialogue>Can we calL it -- tallywacker ... ;</dialogue> <dialogue>p-p-p-penis' is so ... uh ... personal.</dialogue> <scene_description>. l (qu~te carried MISS BALBRICKER . away) I - We can put ~oods over their heads to avoid embarrassment.</scene_description> <character>I</character> <dialogue>!</dialogue> <character>.JI</character> <parenthetical>(HORE)</parenthetical> <character>---</character> <scene_description>(-.....,,</scene_description> <character>, 87 CO INUED: (2)</character> <dialogue>· .......</dialogue> <character>/</character> <dialogue>MISS BALBRICKER</dialogue> <scene_description>Listen ... we have to do it, as distasteful sit is. I know it's him and ... a d that ... tallywacker had a-mole. That mole is the key to it ... By his time, even Mr. Carter is beginning to era k. · MR. CARTER j Miss Balbricker, I'm sure you can JJ recognize th~ difficulty of such a request. ~'d like to apprehend this young mfin myself, but imagine I what the Boatd of Education would jj say if you w,ere granted a ... a ... lineup of na~ed young men to examine their ... pri.i\Tate parts for an j incriminating/- mole... . J</scene_description> <character>· MISS BALBRICKER I</character> <dialogue>I But Mr. Car1er ! ! I f ·</dialogue> <scene_description>Bra~kett can restrain ~imself no longer .. Everyt!ikng he sayf in the following ~aragraph is broken up by cpnvulsive butl- silent laughter. the words out. /AShe progresses, !!I</scene_description> <character>COACHBRACKETT</character> <dialogue>he can barely get</dialogue> <character>I</character> <dialogue>I have a wa1,</dialogue> <scene_description>• out of this, Mr. j. Carter... 1 f- . (laughter) / We ••• we ca~l the police and we I have them send over one of their j sket\:h arti,ts. .. J 1 (laughter) J ! And Miss Balbricker can give a . I d~scription}.. Wa en and Goodenough/have turned their backs in\[laughter.</scene_description> <character>J</character> <dialogue>Mr. Carter is now busting a gut to keep from laughing.</dialogue> <character>I</character> <dialogue>Br kett is sinking liOwe: ::: ~:;:E: his chairj</dialogue> <parenthetical>(con inuing)</parenthetical> <dialogue>and(!!u,~~e~)t up... .</dialogue> <character>J</character> <dialogue>...</dialogue> <character>...</character> <dialogue>wanted osters ... all over</dialogue> <scene_description>· school. ;</scene_description> <character>,I</character> <dialogue>I</dialogue> <scene_description>Brackett is barely coherent by now. Tears are cJming to - Mr .J Carter's Ji. eyes. y</scene_description> <character>! ~</character> <parenthetical>(CONtNUED)</parenthetical> <scene_description>7-</scene_description> <character>87</character> <dialogue>CONTL ED:</dialogue> <character>.I COACHBRACKETT</character> <parenthetical>(co tinuing)</parenthetical> <dialogue>Have you s1en this prick ... Report</dialogue> <scene_description>87g immediate! to Beulah Balbricker .•.Do not attempt to apprehend this prick ... as 'it is armed and dangerousl</scene_description> <character>--I -</character> <character>88</character> <dialogue>Close-up of a larqe wanted poster hand drawn, but ·well rendered. with an arrow pointing</dialogue> <character>EXT: CORRIDOR - DAY</character> <dialogue>It depicts to the telltale</dialogue> <scene_description>"mole" written beside the arrow. The following caption punctuates the poster: HAVE YOU SEl;:N THIS PECKER! ! ! DO NOT, UNDERANYCIRCUMSTANCES, ATTEMPTTO APPREHENDTHIS PECKER. BUT REPORTIMMEDIATELYTO BEULAH</scene_description> <character>,.,,.-.\_. BALBRICKER.</character> <dialogue>\j ...,.,\_...,,...-</dialogue> <character>LA COCK...</character> <dialogue>TALLYWACKER.</dialogue> <character>THE</character> <dialogue>LAST SEEN HANGING</dialogue> <character>OUT IN THE GIRLS'</character> <dialogue>LOCKERROOMAT PORTAUBURNDALE HIGH.</dialogue> <character>REMEMBER:THIS PECKERIS ARMED</character> <dialogue>ANDDANGEROUS.</dialogue> <scene_description>CAMERA PULLS BACKto see Miss Balbricker as she angrily rips it down. As she walks on, we hear a voice call out very high-pitched and softly.</scene_description> <character>STUDENT'SVOICE</character> <dialogue>Pecker-checker.</dialogue> <scene_description>Miss Balbricker wheels about and stares furiously at the students. Then, from another part of the corridor.</scene_description> <character>. ANOTHER</character> <dialogue>STUDENT'SVOICE</dialogue> <scene_description>Pecker-checker. She wheels the other way. Everyone is innocent. The word is repeated by five or six more voices, growing louder each time. Finally, every student in the corridor is say- ing it, saying it more loudly and more insistently, so that l Miss Balbricker must walk through a veritable chorus o·f high-pitched voices calling:</scene_description> <character>88</character> <dialogue>STUDENTS' VOICES</dialogue> <character>CONTINUED:</character> <dialogue>Pecker-checker ... pecker-checker ... PECKER-CHECKER</dialogue> <character>... ECKER-CHECKER!!!</character> <dialogue>INT. LOCKERROOM- DAY gqff \* Tim stepsout of Coach Goode1o~gh's office. He stands therea moment thinking. He looks toward the loc\_ker room</dialogue> <scene_description>where the guys are dressing. He is thoughtful. Final\_ly, he heads toward the guys.</scene_description> <character>. I</character> <dialogue>Everyone is hushed as Tim cocies toward them. He opens his locker, takes out his gedr and starts to undress.</dialogue> <character>I .</character> <dialogue>BILLi</dialogue> <scene_description>Coach gonna let yo~ play tonight?</scene_description> <character>· TIM !.</character> <dialogue>Yeah, I been re-instated.</dialogue> <scene_description>- l Tim doesn't look up at anyon~ but the others all look at Brian. They know he has int~rceded for Tim. Tim knows it also, but he doesn't want ;to face the implications</scene_description> <character>I</character> <dialogue>as yet.</dialogue> <character>. !</character> <dialogue>TOMMY</dialogue> <scene_description>- That's great, Ti~-l Yeah, that's</scene_description> <character>PEE</character> <dialogue>I'll say! enforcer.</dialogue> <character>E</character> <dialogue>Us litt~e I</dialogue> <scene_description>Everyone continues dressing ~n silence. Brian gets up and heads up to the court. CAMERAMOVES IN on Tim as he l\_ooks after Brian. He is confuse:L</scene_description> <character>90</character> <dialogue>We hear CAMERAPULLSBACKto discover an after-game</dialogue> <character>EXT. PATIO - NIGHT</character> <dialogue>the strains that we are in the middle of dance.</dialogue> <scene_description>and Wendy dance by.</scene_description> <character>, TOMMY</character> <dialogue>Where's Mickey?</dialogue> <character>90\_, I</character> <dialogue>CONTINUED:</dialogue> <character>BILLY</character> <dialogue>Meat's with-him.</dialogue> <character>TOMMY</character> <dialogue>Nope.</dialogue> <scene_description>Tommy indicates the other side of the patio where Meat stands talking with Pee Wee and Tim. Meat sees them look- ·ing his way and throws up his hands in frustration. He yells across the patio: qo/J He gave me the slip! Damn!</scene_description> <character>BILLY</character> <dialogue>TOMMY</dialogue> <character>T</character> <dialogue>Should we go. out there?</dialogue> <dialogue>It's too lat~</dialogue> <character>BILLY</character> <dialogue>now~</dialogue> <character>I</character> <dialogue>Tommy acknowledges the truth of this, 1 Suddenly their at- tention is caught by a COMMOTIONO.SJ1 Tommy and Billy look at one another with concern, then SP~IT FRAMEtoward th€ disturbance. CAMERA ZOOMSPAST themjto Tim who looks shocked. j\_\_</dialogue> <character>CUT TO:</character> <dialogue>91 ANGLE</dialogue> <scene_description>We see why Tim is cone erned. Tim's fat her and Brian are. squared off. Tim's father has obviously been taunting · Brian. The girl who is with Cavanaugh senior tries to pull him away. He shrugs her off and continues to bait Brian. The sight of this 33-year-old thug abusing an 18-year-old high school kid is sickening. Cavanaugh is a sick man. He is singing an old anti-semitic ditty.</scene_description> <character>CAVANAUGH</character> <parenthetical>(singing)</parenthetical> <dialogue>Louie, Hymie, Abie, Sam, We're the boys who eat no ham.</dialogue> <scene_description>I Brian is frightened and it shows, but he won't back aown. l BRIAN II You get a kick out of this kind of thing, do you?</scene_description> <character>., - -- -</character> <dialogue>91</dialogue> <dialogue>CAVANAUGH</dialogue> <character>CONTINUED:</character> <dialogue>Oh, you got a big Jew mouth as well as a big Jew nose! You're a big man as •long as you 're kicking the hell outta kids with that sneaky Jap stuff. Why don't you try that on me -- Jew-boy?</dialogue> <scene_description>That's more than Brian can stand. He moves toward Cavanaugh. Suddenly Tim steps INTO FRAMEbetween his father and Brian.</scene_description> <character>TIM</character> <dialogue>Get out of here!</dialogue> <scene_description>Tim's father stops short a~d stares at the boy.</scene_description> <character>CAVANAUGH</character> <dialogue>If you weren't such a whining snot- nose I wouldn't have to be here -- get out of the way.</dialogue> <character>TIM</character> <dialogue>I</dialogue> <dialogue>I Cavanaugh's</dialogue> <scene_description>Nol tone is chilling.</scene_description> <character>€�</character> <character>I</character> <dialogue>Who you talking</dialogue> <character>~</character> <dialogue>to, boy.</dialogue> <character>TIM</character> <parenthetical>(measured)</parenthetical> <dialogue>Trash, pure trash.</dialogue> <character>CAVAI-~AUGH</character> <dialogue>· (with a sneer)</dialogue> <scene_description>Is that any way to talk to your pa! f TIM l (very firmly) t I wish you hadn't said that. It's l humiliating to have anybody know 9./f} l f\_ you're my father. Tim's father explodes and slaps Tim viciously ac oss the face. Tim doesn't flinch. He just takes a deep breath, pauses for a second. The crowd is stunned. q(f3 TIM (continuing) Be sure you're finished! 'Cause this is the last time you'll ever - lay a hand on me!</scene_description> <character>91</character> <dialogue>CfIC..</dialogue> <character>CONTINUED.:</character> <dialogue>Tim's father goes ins ne. He slaps Tim with both hands as hard and fast as he c n swing. Tim doesn't even attempt to cover up. Finally hi father stops and grabs Tim by the throat with one hand. pushing him a ainsr the wa)l. Bloon trickles from Tim's n se. A teache tries to intrudeT Cavanaugh throws the an to the gro nd and turns back t Tim.</dialogue> <scene_description>9(£ ... Got any more smart</scene_description> <character>CAVANAUGH</character> <dialogue>talk?</dialogue> <scene_description>9 l r-- 01</scene_description> <character>G</character> <dialogue>Sudde ly, a large hand reaches out and grab</dialogue> <scene_description>his ann and whirl him around. CAMERAPULLS BACK to se that th hand belon s to Ted Jarvis. Ted sends a crushin right o oss smash ng straight into Cavanaugh's face. C vanaugh prawls flat n his back, semi-conscious. Tim's fa her is n t a cowar by any means and would probably kill Ted if h could but i was a devastating right hand. Ti.m's father s umbles unste dily to his feet. Ted steps forward.</scene_description> <character>TED</character> <dialogue>Alright, Cavanaugh. I think we c n get you one to three for felonio assult. Meanwhile, I'll be glad o finish this strictly off the record.</dialogue> <character>TIM</character> <dialogue>No!</dialogue> <scene_description>Everyone turns to look at Tim.</scene_description> <character>TIM</character> <dialogue>(continuing) l'</dialogue> <scene_description>Let him go. I'm not afraid of h" . I'm never going back. He addresses his father.</scene_description> <character>TIM</character> <dialogue>(continuing)</dialogue> <character>I</character> <dialogue>i</dialogue> <scene_description>Don't you ever come near me agairi! If you do, I'll kill you. j Tim's father grins at Tim. q1r l I I'll</scene_description> <character>CAVANAUGH</character> <dialogue>make a man outta you et. I I</dialogue> <scene_description>l</scene_description> <character>I</character> <dialogue>Tim stares at him.</dialogue> <character>TIM</character> <dialogue>il</dialogue> <scene_description>- If being a·man means being! like you, I'd rather be queer.</scene_description> <character>I</character> <dialogue>I</dialogue> <dialogue>i</dialogue> <scene_description>l• l</scene_description> <character>L</character> <dialogue>lT</dialogue> <character>1\_</character> <dialogue>96.</dialogue> <character>91</character> <dialogue>This is a tremendous aff~ 1ont. Tim's father starts toward</dialogue> <character>CONTINUED: (3)</character> <dialogue>Tim. • Coach Brackett ste~s forward, as do Tommy, Billy and· the rest, including Bria</dialogue> <character>€�</character> <dialogue>. f OACHBRACKEIT</dialogue> <scene_description>I'm going to h ve you put under a peace bond, Mr. Cavanaugh. If you come near this oy again, I'll have you arrested.</scene_description> <character>RIAN</character> <dialogue>Besides, you'l~ all of us to gjt have to go through</dialogue> <scene_description>to him. Tim's father throws Ted' . arm off savagely and ba~ks away. He looks at Ted. j I '11 be seeing i:u, qAVANAUGH again. '1/ /.( I'll be lookin, forward to it, Slime. . \\_\_\_)</scene_description> <character>-</character> <dialogue>Cavanaugh turns</dialogue> <character>-</character> <dialogue>and walk~ off. Everyone gathe</dialogue> <character>COACHBRACKETT</character> <dialogue>s around Tim.</dialogue> <scene_description>You alright, Tim?</scene_description> <character>TIM</character> <dialogue>Yeah, I'm fine.</dialogue> <character>BILLY</character> <dialogue>You can stay with me or Tormnyas long as you need to.</dialogue> <scene_description>Tim looks at them; he is self-conscious. It i an awkward moment, heavy with emotion. ·coach Brackett br aks it up. in typical fashion.</scene_description> <character>COACHBRACKETT</character> <dialogue>Okay·, boys. If you 're gonna kiss each other, let's get it over with, otherwise, let's get on with the dance.</dialogue> <scene_description>Everybody laughs and loosens up. They pat Tim on t!,P back. They are a united group of young men. Ted taf s Tommy aside:</scene_description> <character>TED</character> <dialogue>Have you seen Mickey?</dialogue> <character>J;</character> <character>91</character> <dialogue>CONTINUED :</dialogue> <character>TOMMY</character> <dialogue>No, he got away from Meat. He must</dialogue> <scene_description>At that moment we hear a .MURMUR</scene_description> <character>FROMTHE CROW</character> <dialogue>'</dialogue> <scene_description>t CUT TO: q2 3 92 ANGLE- THE CROWD</scene_description> <character>ON THE DANCEFLOOR.</character> <dialogue>parts as someone we cannot see surges through. Finally, the crowd parts and we see</dialogue> <character>93</character> <dialogue>AN.GLE</dialogue> <scene_description>A shockingly beaten and battered Mickey Jarvis. He·' s holding tenaciously to something in his hand, but he's only semi-conscious, only remotely aware of where he is. A hush falls over the crowd as Mickey stumbles out into the middle of the patio ..</scene_description> <character>MICKEY</character> <dialogue>I knocked the fucker's tooth out ...</dialogue> <scene_description>And so saying, Mickey topples forward, pitching face-down onto the floor. · - q 4- Ted is at his side almost immediate y. He bends over his brother as our princ.ipals and the o hers crowd around.</scene_description> <character>TED</character> <dialogue>Mickey, it's Ted. Can yo hear me?</dialogue> <character>MICKEY</character> <parenthetical>(babbling, incoher nt)</parenthetical> <dialogue>... should see how he loo s, man ... got his tooth, Ted ... fuc ed him up good ...</dialogue> <character>94</character> <dialogue>makes his way to Mickey. He conduc s a quick examination,</dialogue> <character>BRACKETT</character> <dialogue>then turns to Ted with a look of gr at concern on his face.</dialogue> <character>COACHBRAC IT</character> <dialogue>I think</dialogue> <scene_description>he's got broken r bs, maybe a collapsed lung. Better get an ambulance right away. -</scene_description> <character>--</character> <dialogue>...... ...,\_\_ -</dialogue> </scene> <scene> <stage_direction>EXT. PARKING LOT - NIGHT \*</stage_direction> <scene_description>Mickey is being placed in the ambula ce. Billy, Brian and all the guys are there with Ted and oach Brackett. Ted closes the ambulance door and the am ulance pulls off. Ted stares after the ambulance for a lonP, moment. Then he turns to the guys. •</scene_description> <character>TED</character> <dialogue>I 'll see you guys ...</dialogue> <character>BILLY</character> <dialogue>Just you?</dialogue> <character>TED</character> <dialogue>No, half a dozen guys from the force are going out.</dialogue> <character>TOMMY</character> <dialogue>We're going too.</dialogue> <character>TED</character> <dialogue>No, you're not. It's bad nough for us going out of jurisd~ction without adding a charge ofl contributing to the delinqµency of a minor. I</dialogue> <character>PEE WEE</character> <dialogue>But we ...</dialogue> <character>TED</character> <dialogue>i No hut's, Pee Wee. J couI n't ·</dialogue> <scene_description>allow one of ·you guys to:t,.\_hurt. -L Brian steps forward. q 5 (3 Nobody has to They al1 look at Brian.</scene_description> <character>D</character> <dialogue>What d'ya mean, Brian?</dialogue> <character>I</character> <dialogue>IAN</dialogue> <scene_description>Nobody has tog t hurt and your careers don't rve to be jeopardized. They all look at each oth r.</scene_description> <character>T D</character> <dialogue>Alright. Itm fr that. What'd ya got in mind?</dialogue> <character>·95 CONTINUED:</character> <dialogue>BRIAN</dialogue> <scene_description>·- It doesn't have to be tonight, right?</scene_description> <character>TED</character> <dialogue>No, it doesn't have to e done tonight.</dialogue> <character>BRIAN</character> <dialogue>Good. Let me talk to okay?</dialogue> <character>TED</character> <dialogue>sD Okay.</dialogue> <character>I</character> <dialogue>·Ted' and Brian walk over to Ted's ar and convelf se. We cannot hear them. The guys watch them,</dialogue> <scene_description>Count me in. ackett</scene_description> <character>.\_.:.---</character> <dialogue>COACHBRACKETT</dialogue> <scene_description>speafs,</scene_description> <character>- -</character> <dialogue>They all turn to look at Brackett.</dialogue> <character>TOMMY</character> <dialogue>r··, You could get fired, Coach.</dialogue> <scene_description>\.,..).</scene_description> <character>- COACHBRACKETT</character> <dialogue>Are you kidding? I'm long gone after this semester anyway. And don't call me Coach anymore. I'm only 23, for Christ sakes. Call me Roy.</dialogue> <scene_description>lthey all look at Brackett in disbelief. Brackett points ro a scar on his forehead. l COACHBRACKETT I (continuing) You see that? Porky gave me that II six years ago. I've always wanted a shot at that mother. I'd like to feed him his nuts for lunch. verybody applauds and yells approval. At this moment Ted nd Brian come back to the group.</scene_description> <character>TED</character> <dialogue>Alright, Brian may have something! We'll all meet tomorrow at his house at 4 o'clock.</dialogue> <character>......\_\_\_</character> <dialogue>qsD I</dialogue> <character>95</character> <dialogue>CON INUED:</dialogue> <scene_description>Ted starts to leave.</scene_description> <character>BILLY</character> <dialogue>Hey wait a minute. What do you want.us to do?</dialogue> <character>TED</character> <dialogue>Just sit tight. We'll have it all worked out when we meet tomorrow.</dialogue> <scene_description>Ted eaves.</scene_description> <character>BRIAN</character> <dialogue>Okay. See you tomorrow.</dialogue> <scene_description>Bria turns and walks off.</scene_description> <character>BILLY</character> <dialogue>Hey ••.• where are you going?</dialogue> <character>BRIAN</character> <parenthetical>(over his shoulder)</parenthetical> <dialogue>... to do some reconnaissance.</dialogue> <scene_description>They all stare after him, commenting on his arcane behavior. CAME PANS over to Tim who looks intently after Brian. Fina ly, he starts OUT OF FRAME.</scene_description> <character>96</character> <dialogue>getting into his car, a late model Thunderbird. FRAMEand walks up to Brian's sits down on the passenger side.</dialogue> <character>BRIAN</character> <dialogue>T i.!i• ENTERS car and opens the door and Brian looks at him.</dialogue> <character>TIM</character> <dialogue>· If we 're going to Porky' s, do me</dialogue> <scene_description>a favor and don't tell 'em your name is Schwartz. Those guys are prejudiced out there! Brian smiles.</scene_description> <character>BRIAN·</character> <dialogue>Good thinking! How about ... Paddyt O'Connor, Aloysius, O'Brien .. .</dialogue> <character>II</character> <dialogue>(pauses reflectively)</dialogue> <character>TIM</character> <dialogue>- 1</dialogue> <character>~-</character> <dialogue>Nahl Too Jewish. any chances.</dialogue> <scene_description>Let's not take</scene_description> <character>96</character> <dialogue>Tim looks</dialogue> <character>CONTINUED:</character> <dialogue>at Brian.</dialogue> <character>BRIAN</character> <dialogue>Alright. how 'bout ...</dialogue> <scene_description>The ROAROF THE CAR drowns them out. 9 7 L. ~ f-fo~'r;e</scene_description> <character>7</character> <dialogue>CAMERA</dialogue> <character>INT. BRIAN'S HOUSE- DAY</character> <dialogue>HOLDSon a blueprint</dialogue> <scene_description>7ft o a building.</scene_description> <character>I "PA/\J TI)</character> <dialogue>6t~Es-r rlov&lt;:€</dialogue> <scene_description>It is Porky's. CAMERA PA.1':l'S ALONGthe wall an comes to·a schematic view of Porky' s. As CAMERA CONTINES TO PAN, it takes in various road maps, waterway carts, photographs of Porky's, as well as the Sheriff's head uarters, etc. Finally, CAMERA PULLS BACKto take in he whole room. It is ob- viously an artist~s loft or d aftsman's roam with skylights and many workbenches and engi eer easels. It has been converted into a "war.room" fr the war on Porky. O.S. we hear Tonn:ny's voice. -.::-I \[5 '1{</scene_description> <character>TOMMY</character> <parenthetical>(O.S.)</parenthetical> <dialogue>What is this?</dialogue> <scene_description>CAMERA PULLS BACKto see all the guys: Tommy, Billy, Pee Wee, Meat, Tim, Ted and Brackett ... and finall , Brian.</scene_description> <character>BRIAN·</character> <dialogue>This, gentlemen, is the war room. It used to be my dad's drafting studio -- but now it's the war room!</dialogue> <character>TED</character> <dialogue>Hell, I'm impressed!</dialogue> <character>MEAT</character> <dialogue>How did ya get all this stuff?</dialogue> <character>BRIAN</character> <dialogue>Tim and I did a little homework last night and today at the Marsh County courthouse. And Ted pulled a few strings. I</dialogue> <scene_description>Brian indicates Ted. Alright,</scene_description> <character>BRIAN</character> <parenthetical>(continuing)</parenthetical> <dialogue>General, what's the plan·?</dialogue> <character>I</character> </scene> <scene> <stage_direction>.:.:,..</stage_direction> <scene_description>Simple enough.</scene_description> <character>'TED</character> <dialogue>I</dialogue> <character>(COEINUED)</character> <dialogue>97</dialogue> <character>CONTINUED:</character> <dialogue>-· He takes up a military-type</dialogue> <scene_description>of Porky's and the Sheriff's poin er and points hea quarters. to the photos</scene_description> <character>TED</character> <parenthetical>(continuing)</parenthetical> <dialogue>These are the objectiv Porky's and the Sheriff's headq arters.</dialogue> <character>PEE WEE</character> <dialogue>Yeah, and what's our ob"ective?</dialogue> <character>TED</character> <dialogue>Our objective is ... we' e going</dialogue> <scene_description>to give him a night to emember. Everybody looks at Ted blankly. inally Tommy breaks the silence.</scene_description> <character>· TOMMY</character> <dialogue>What does that mean?</dialogue> <character>TIM</character> <dialogue>Gather 'round and witne~s genius</dialogue> <scene_description>\'..) at work. I</scene_description> <character>TED</character> <dialogue>Well, we'll operate as hree squads, our hardware will consi t of two landcraft and two water raft. Our activities must be sync ronized perfectly ...</dialogue> <scene_description>And we PAN DOWNto the model of and ...</scene_description> <character>DISSOLVETO:</character> <dialogue>INTO A NONVERBAL</dialogue> <character>MONTAGE,ORCHESTRATED</character> <dialogue>WITH SOUNDEFFECTS</dialogue> <scene_description>ANDTHE MUSICFROMPORKY'SBAND. t'</scene_description> <character>98</character> <dialogue>THE EXTERIOROF PORKY'S - NIGHT</dialogue> <character>EXT. ALL AROUND</character> <dialogue>t.</dialogue> <scene_description>~:Cam~r~'is looking into the water beneath Porky Is. We see a figure swimming beneath the surface. Suddenly the figure breaks the surface. It is Brian. Brian is·towing a cable. He hands the cable up toward a .figure,. who is straddling the pilings that hoJ.d up -Porky' s. The figure is Bracke-tt--and-h-e-i-s-straddling--~ the pilings with a telephone lineman's rig, and applying a gas powered saw to the pilings. Brian</scene_description> <character>98</character> <dialogue>CONTINUED:</dialogue> <scene_description>hands the cable up to Brackett and Brackett wraps the cable around the piling and hooks it. Camera zooms past Brackett to the front side of the bar where we see Tommy and Billy performing a similiar duty with a saw on the front pilings.</scene_description> <character>98A</character> <dialogue>We see that Billy is astride supporting Suddenly, whistle of sight.</dialogue> <character>C.U. TOMMY&amp; BILL¥:</character> <dialogue>the pole and Tommy is him •. The water·is we see Meat lean over from the shore and sharply. The saw is secured</dialogue> <scene_description>safely.</scene_description> <character>98B</character> <dialogue>We see Meat straighten up and walk toward a truck</dialogue> <character>C.U. MEA~:</character> <dialogue>where Pee Wee leans drinking a beer. In the B.G. behind Meat, we see the reason for Meat's warning. A group of drunken Rednecks reek out of Porky's on the way to their car.</dialogue> <scene_description>\".--,) ac EXT: BOAT - PORKY1 S NIGHT: We see Brian pull himself up into the boat and tighten the wrench. The cable draws tight and we can see, of course, that it is attached to Porky's pilings about thirty yards away. Brackett is now working on another pole.</scene_description> <character>8D</character> <dialogue>C.U.</dialogue> <scene_description>I They pop up form beneath party is gone. the water. Billy resumes his.work. The drunken q°lf/00</scene_description> <character>99</character> <dialogue>SHERIFF WALLACE'SOFFICE - NIGHT</dialogue> <character>AROUND</character> <dialogue>CAMERAE TABLISHES a sign. identifying a panel T-frarne structure as Sheriff Wallace s office. 1</dialogue> <scene_description>Like his brother's club, Sh riff Wallace's office backs uu to the EvP.rgJades canal. CAMERA ~ NS DOWNTO •.. t</scene_description> <character>100</character> <dialogue>Two</dialogue> <character>THE SHE FF'S PARKINGLOT</character> <dialogue>cruisers</dialogue> <scene_description>e are parked out front. From within comes t SOUNDof Sheriff Wallace and his deputies playing !POKERand the BLAREOF COUNTRYMUSIC over a RADIO. /DOAJt-~~f.l::r</scene_description> <character>101</character> <dialogue>I</dialogue> <character>ANGLE</character> <dialogue>j</dialogue> <scene_description>Under co~er of arkness;:</scene_description> <character>/0/ /!"!IA</character> <dialogue>see Tim tinkering with</dialogue> <character>I</character> <dialogue>each of</dialogue> <scene_description>the carsl, thoug we can't ell what he I s doing. Wben\_he's finished', Tim s arts runni through the bush from Sheriff Wallace's to Po ky's, a di tance of just a half mile.-</scene_description> <character>ANGLE</character> <dialogue>102 /02</dialogue> <scene_description>We see Billy and Tommy connecting to the pilings to the trailer through the use of grappling the i7&gt;~es hitches hooks. o~ /two pickup they've tied trucks</scene_description> <character>103</character> <dialogue>THE EXTERIOROF PORKY'S - NIGHT</dialogue> <character>EXT. ALL AROUND</character> <dialogue>r- We see Pee Wee and Meat at work under the "entrance"</dialogue> <scene_description>"exit" bridges which traverse complex. C.U. T?MMY&amp; BILLY: and the canal in front of Porky' s</scene_description> <character>TOMMY</character> <dialogue>- Got to relieve Coach ..• Roy --</dialogue> <scene_description>ljS - :G::e Meat and Pee Wee finish their work at the bridges.</scene_description> <character>.T</character> <dialogue>-J.r--.</dialogue> <character>ANGLE</character> <dialogue>Wesee Tommy wade 1·nto the power boat Brackett</dialogue> <scene_description>the lake and swim quietly is manning. He climbs in. out to</scene_description> <character>COACH BRACKETT</character> <dialogue>1 ::::y~:::c::i;~;::: team.</dialogue> <scene_description>COACH BRACKE'.rT It was like being a ranger again, even if just for a few hours. Good luck, kiddo. I'll have everything ready at the county line.</scene_description> <character>TOMMY</character> <parenthetical>(clenching h1s fist)</parenthetical> <dialogue>Get readyifor Jarv~s•s revenge.</dialogue> <scene_description>·Brackett Smiles and salutes, then slips overboard and swims toward shore.</scene_description> <character>ANGLE</character> <dialogue>We see Tim break through the bushes into the parking lot. He joins Billy, Pee Wee and Meat. Now, their task is completed.</dialogue> <scene_description>107 ANGLE We see Brae ett rrive on shore, signal to Billy I s group that every hing•s· set out on the water, then continue across he parking lot, across the "exit" bridge, and on t where-his car is parked. He drives off. 108 ANGLE CAMERAEMPHASIZE Billy's group. Billy walks up and pulls the truck' power horn. 109 ANGLE CAMERAEMPHASIZES Tommy and Brian in their side-by-side power boats. They hear the signal.</scene_description> <character>BRIAN</character> <dialogue>There it is.</dialogue> <scene_description>Brian trumpets a return birdcall signal, also once. 110 ANGLE CAMERAEMPHASIZES Billy's group off to the sides. Billy has heard the return signal •</scene_description> <character>. BILLY</character> <dialogue>They're ready.</dialogue> <character>PEE WEE</character> <dialogue>What do we do now?</dialogue> <scene_description>f BILLY Wait. 1 They pile into the truck.</scene_description> <character>DISSOLVE TO:</character> <dialogue>DISSOLVETO:</dialogue> <scene_description>ll I</scene_description> <character>111</character> <dialogue>Some ime has passed.</dialogue> <character>EXT.</character> <dialogue>The parking lot is nearly empty.</dialogue> <scene_description>The B D can be heard playing its final set, concluding with ~ number like "Good Night, Ladies" or some other famou~ and recognizable "signoff" song.- The few remaining custo ers drift out to their cars and drive off. · Billy surveys the scene. Satisfied 1 he makes the birdcall signa twice.</scene_description> <character>112</character> <dialogue>Brian</dialogue> <character>EXT.</character> <dialogue>and Tommy ear the</dialogue> <character>BRIAN</character> <dialogue>J Okay. Start your engine.</dialogue> <scene_description>T~ey ~tar~ thee gines and Brian returns the birdcall .signa · twice.</scene_description> <character>113</character> <dialogue>-</dialogue> <character>LOT ANDENVIRONS- NIGHT</character> <dialogue>CAME EMPHASIZESBilly,</dialogue> <scene_description>'v' ;;;i,r:s</scene_description> <character>113</character> <dialogue>BILLY</dialogue> <character>CONTI ED:</character> <dialogue>Okay, let's go.</dialogue> <scene_description>And t~e four boys walk out of the bushes and stride r~so- lut,e.:\_:1 into Porky' s. /. / .{</scene_description> <character>114</character> <dialogue>As it's closing time, the boys w ren't stopped at the door. They've made it into ·the main ro m without really noticed. some stragglers weaving drunkenly, the Bouncers are smoking a final~cigarette; With Tim, Meat and Pee Wee backi g him up, Billy</dialogue> <character>INT. PORK.Y'SMA.INROOM- NIGHT</character> <dialogue>being The band members are picking their instruments; are making their way toward the door, most a few not; th, Bart.ender is cleaning up; etc. steps</dialogue> <scene_description>forward. He shouts out his word .</scene_description> <character>. BILLY I</character> <dialogue>Listen up, now!</dialogue> <character>115</character> <dialogue>The room goes quiet. At this point Billy begins way pigs are called around suey ... " He keeps this up</dialogue> <character>REACTIONSHOTS</character> <dialogue>Most to ca~l the hogs in the classic the wdrld: for ai!out twenty seconds and</dialogue> <scene_description>then says ...</scene_description> <character>BILLY</character> <dialogue>Tell Port him and NOW!</dialogue> <character>I</character> <dialogue>the pig that the ~oys Auburndale are he e. to bring the best meet us in the par~ing t.</dialogue> <character>I</character> <dialogue>And Billy leads Tim, Meat and Pe~ Wee back out of the club to the parking lot. J\_ ·</dialogue> <character>116</character> <dialogue>Billy, Tim, Meat and Pee Wee stand near their</dialogue> <character>EXT. OUTSIDEPORKY'S, PARKINGLOT ANDENVIRONS- NIGHT</character> <dialogue>wo pickup</dialogue> <scene_description>trucks. Now Porky emerges from the club, backed by thr~e bouncers and the Bartender. Some customers and a band t"anber or two gather to watch. Porky and his henchmen a e carrying clubs and chains .</scene_description> </scene> <scene> <stage_direction>.\_</stage_direction> <character>116</character> <dialogue>PORKY</dialogue> <character>CONTINUED:</character> <dialogue>Alright. scumbags looks lik we've got to take care of you or keeps.</dialogue> <character>BILLY</character> <parenthetical>(to his buddies)</parenthetical> <dialogue>Okay, let's do it.</dialogue> <scene_description>Billy and Tim run toward one truck; Meat and Pee Wee run toward the other. Porky and his henchme are too confused to do anything but stand and stare.</scene_description> <character>PORKY</character> <dialogue>Hey .•• 'Z1</dialogue> <character>-:-~-</character> <dialogue>Billy gets behind the wheel of his truck/and power HOR.~TWOear-piercing BLASTS. J\_ gives its</dialogue> <character>117</character> <dialogue>Brian and Tommy have been sitting the motors idling. ately sends back two equally ear-piercing attached to his boat.</dialogue> <character>EXT. OUTON THE CANAL- NIGHT</character> <dialogue>in their power boats with They hear the signal, BLASTS FROMA HORN Now he turns to Tommy:</dialogue> <character>BRIAN</character> <dialogue>Let's go.</dialogue> <scene_description>I And they GUNTHE.MOTORS of the boats\_. each heading his boat away from the other, so as to pull loose the pilings on one</scene_description> <character>I-</character> <dialogue>side or. the other of the pier.</dialogue> <character>EXT. OUTSIDE PORKY'S, PARKINGLOT ANDENVIRONS- NIGHT</character> <dialogue>T</dialogue> <character>,€�·</character> <dialogue>Billy g~ns his t~uck, Meat and Pee Wee pull the cables out from the sand and gravel, hook it on the truck .</dialogue> <scene_description>I and leap aboard. As Porky and his henchmen look on ' dumbfounded, the SOUND.OF THE.POWERBOATS merges with the SOUND OF THE TRUCKS. -· ' . We see the ropes from the truck pulled taut, ·and now we</scene_description> <character>I</character> <dialogue>j\_\_;.;.</dialogue> <scene_description>begin to hear the pilings Porky's itself is beginning give way. Porky's to shake and topple~ pier and 119 EXT: OqT ON THE.CANAL - NIGHT The ropes from Brian's and Tommy's boats are also pulled taut, and the pilings they're pulling are beginning to - give way. and satisfied INTERCUT between Brian's faces. and Tommy's smiling Porky is standing in the middle of the bridge to the entrance of Porky's when suddenly it gives way under stress and Porky and his henchmen fall into the water.</scene_description> <character>120A</character> <dialogue>C.O. BOYS IN TRUCK CAB.</dialogue> <scene_description>t</scene_description> <character>120B</character> <dialogue>120C 120D 120E 120F 120G 120H 120J 120K 120L</dialogue> <character>C.U. TOMMY</character> <dialogue>· C.U. CABLE PULLING TAUT. C.U. PILINGS SNAPPING FROM BOATS LONG-SHOT OF TRUCK REARING C.U. TRUCK 'WHEELSSPINNING C.U. WATERCHURNINGBEHIND BOAT C.U. PEE WEE AND MEAT IN TRUCK BED C.U. PORKY'S SIGN ARCING AND SPARKS FLYING MED. SHOT PORKY1 S GROUP C.U.</dialogue> <scene_description>~..... '~~ ,</scene_description> <character>120M</character> <dialogue>120N 120P 120R 120S 120T</dialogue> <character>SLO-MO SHOT OF TRUCK PILINGS GIVING WAY</character> <dialogue>SHOT OF TRUCK LEAPING FORWARD SHOT OF BOAT PILINGS GIVING WAY C.U. PORKY'S SIGN COLLAPSES SHOT OF PORKY'S TWOPIGS RACING OUT OF JOINT SHOT OF TWO PEOPLE RACING OUT OF PORKY'S, AND FALLING</dialogue> <character>120V</character> <dialogue>120W</dialogue> <character>BOATS LEAP FORWARD</character> <dialogue>THREE CAMERA'S OF PORKY'S COLLAPSING:</dialogue> <character>1- SLO-MO.</character> <dialogue>Porky and group hurry out of water as bridge collapses. And now Porky's starts coming down, collapsing where it stands and sinking, along with its pier, into the shallow water and mud of the canal. Porky is running about aimlessly. He yells to the Bartender.</dialogue> <character>PORKY</character> <dialogue>I want those fuckers dead. Dead</dialogue> <scene_description>I want them dead!</scene_description> <character>121</character> <dialogue>We see Sheriff his</dialogue> <character>INT. THE SHERIFF'S OFFICE - NIGHT</character> <dialogue>Wallace two DEPUTIES.</dialogue> <character>SHERIFF</character> <dialogue>Grab everything that kills!</dialogue> <scene_description>The Deputies pick up shotguns, pistols, billy clubs, brass knuckles, cattle prods, chains -- every weapon imaginable -- and head out the door. The Sheriff has lingered behind a moment to select and load his favorite sawed-off shotgun j\_ -- with dumb-dumb shells. . 2 7-f-7 /:2.2B</scene_description> <character>122</character> <dialogue>The first</dialogue> <character>EXT. PARKINGLOT OUTSID THE SHERIFF'S FFICE - NIGHT</character> <dialogue>two Deputies</dialogue> <scene_description>front of the Sheriff's ~ffice. They fl or the gas pedal, , but instead of going fonward Tim has ri ged the car to go only in reverse -- w ich it does, r· ht through the plate glass facade and · to the Sheriff's office.</scene_description> <character>123</character> <dialogue>The Sheriff is standing task of loading his shot</dialogue> <character>INT. THE SHERIFF'S OFFI</character> <dialogue>ehind his deskt completin Now, all pf a sudden</dialogue> <scene_description>police car is zooming b kwards through! his window into his office, carrying his desk and him tnrough the limsy rear wall of his office and out into the canal.</scene_description> </scene> <scene> <stage_direction>. , ...,'</stage_direction> <character>124</character> <dialogue>,,---..,,\_</dialogue> <character>EXT. THE CANALBEHINDTHE SHERI F'S OFFICE - NIGHT</character> <dialogue>; ' The water is deep and the Sherif can't swim. ;';·,-·../</dialogue> <character>SHERIFF</character> <dialogue>Help! Help, I can't wim!</dialogue> <character>. . I</character> <dialogue>The two Deputies have freeB th selves from the police car which is submerged nose-down, r ar bumper-up in a dozen feet of water. The Sheriff's d sk floats by.</dialogue> <character>PUTY</character> <dialogue>Grab hold</dialogue> <scene_description>The Sheriff grabs a desk drawer which promptly comes slid- ing out of the desk, leaving h' no better off. Now he grabs a corner or a leg of his 1esk, while the Deputies grab some other portion of the esk. They begin to swim toward shore, swimming with one hand and holding the desk with the other. The Sheriff ho~ds the desk with both hands -- holds it for dear li~e. I</scene_description> <character>1-25</character> <dialogue>S - NIGHT</dialogue> <character>EXT. THE CANAL, NEARPORKY'</character> <dialogue>We see Brian and Tormnyunhook the ropes from their power boats. Now they pull up alongside one another.</dialogue> <character>BRIAN</character> <dialogue>Well done.</dialogue> <character>TOMMY</character> <dialogue>And all done. Let's head for home.</dialogue> <scene_description>Brian waves his accord, and the two boys speed their boats in the direction of the Sheriff's office which is on their route back to Port Auburndale.</scene_description> <character>126</character> <dialogue>OMIT.</dialogue> <character>127</character> <dialogue>;r-'\</dialogue> <character>EXT. OUTSIDEPORK.Y'S.PARKINGLOT ANDENVIRONS- NIGHT</character> <dialogue>Their job finished,</dialogue> <scene_description>,..&gt; make their escape. As Billy and Meat keep their trucks' motors going, Tim and Pee Wee leap out and undo the grap- pling hooks. Seeing two of the boys on the ground, Porky comes running over. Tim and Pee Wee scamper back into the trucks, and Billy and Me~t drive over the little bridges. J::Z..i7 12-7 l5 /2 D Now, as or y gets ne r the r ge, Pee Wee pushes the remote s itch and DET NATESth plastic EXPLOSIVESunder 1'"7/1 that bri ge. The bri ge BLOWSand dirt and mud fly upon 12 re\_ Porky' s ace. Tim no detonat s the second bri~e. Nothin happens. . { .2/ C</scene_description> <character>TIM</character> <dialogue>Damn.</dialogue> <character>BILLY</character> <dialogue>Forget it. Let's jut get going.</dialogue> <scene_description>And they take off, Met a.rid Pe -Wee's truck ight behind them. Porky drags himself off the ground. His rush ove?r to him. Porky is a mess. ffl</scene_description> <character>BOUNCER</character> <dialogue>You okay, Porky?</dialogue> <scene_description>Porky notices one bridge is still standing. l</scene_description> <character>PORKY</character> <dialogue>. Come.on move your asses. . .</dialogue> <scene_description>And he and the three Bouncers and the Bartend~r pile i.nto two cars and set out in pursuit of Billy and~t's trucks.</scene_description> <character>1 8</character> <dialogue>The Sheriff and the two Deputies who went into the canal</dialogue> <character>EXT. THECANALBANKBESIDETHE SHERIFF'S OFFICE - NIGHT</character> <dialogue>.</dialogue> <scene_description>with him are climbing up the bank into the parking lot area.</scene_description> <character>SHERIFF</character> <dialogue>Don't you assholes know the difference between reverse and drive?</dialogue> <character>FIRST DEPUTY</character> <parenthetical>(confused)</parenthetical> <dialogue>But ... but I 9id put it into drive.</dialogue> <character>129</character> <dialogue>LOT OUTSIDETHE SHERIFF'S OFFICE - NIGHT</dialogue> <character>EXT. PARK.ING</character> <dialogue>)</dialogue> <dialogue>'--/ The eriff and the first two Deputies have reached the</dialogue> <scene_description>park· g lot. Now the Sheriff notices two other Deputies stan'ing around waiting for him. He flares in anger.</scene_description> <character>SHERIFF</character> <dialogue>Heyl Shit for brains. Get going.</dialogue> <scene_description>Move it. / 21 They all pile in the emaining car. The Deputy gets behind the wheel and starts he motor, and as he does ... each of the wheels falls off . . one at a time ... until the car is lying impotent.in the dirt parking lot. 130 EXT. THE MAINROADBEYmND THE SHERIFF·s PARKIN~LOT -</scene_description> <character>THE SHERIFF'S POV - NIGHT .</character> <dialogue>The Sheriff sees Billy's pickup truck drive by followed by Meat's pickup truck. Then comes a car carrying two of Porky's Bouncers and the Bartender.</dialogue> <character>131</character> <dialogue>The Sheriff realizes the police car just</dialogue> <character>EXT. PARK.INGLOT OUTSIDETHE SHERIFF'S OFFIC - NIGHT</character> <dialogue>there's a chase on. He leaps out of in time to hail Porky's ar as it</dialogue> <scene_description>drives by.</scene_description> <character>SHERIFF</character> <dialogue>He · Yo, Pork! Hold it!</dialogue> <character>132</character> <dialogue>Porky SCREECHESHIS CAR to a halt. five Deputies rush up.</dialogue> <character>EXT. THE MAIN ROADBEYONDTHE SHERIFF'S</character> <dialogue>The Sher'ff</dialogue> <character>PORKY</character> <dialogue>Hurry up -- get in, get in.</dialogue> <scene_description>The six men pile in with Porky and one Bounc rand the chase continues. I s3 ·· l 33g</scene_description> <character>133</character> <dialogue>THE HERIFF'S OFFICE ANDTHE</dialogue> <character>EXT. VARIOUSROADSBETWEEN</character> <dialogue>SEWARD</dialogue> <character>COUNTY</character> <dialogue>LINE - NIGHT</dialogue> <scene_description>This is a CHASE SE UENCE, with 11 the CUTTINGBACKAND FORTHbetween the arious cars - inside the cars and out-</scene_description> <character>;</character> <dialogue>side the cars -- w ich such as quence implies. As the chase conti ues, Porky's cars begin g~ining on Billy's and Meat's trucks. Thep ...</dialogue> <character>134</character> <dialogue>THE EWARD</dialogue> <character>EXT. A FIELD UST BEYOND</character> <dialogue>COUNTY</dialogue> <character>LINE - BILLY'S</character> <dialogue>POV - NIGHT</dialogue> <dialogue>At first, all we can see are ome lights in the distance, but they're ough to make Bi~ly smile.</dialogue> <scene_description>BILLY f f We' e going to make it.</scene_description> <character>TIM</character> <dialogue>&lt;II •• ?</dialogue> <character>BILL</character> <dialogue>As Billy's t;Pck gets closer, the lights grow bright, larger and more pro!pse -- but we siouldn't know exactly what's happen~ng y:1-</dialogue> <character>...</character> <character>135</character> <dialogue>COUNTYL;!NE - NIGHT</dialogue> <character>EXT. THE SEWARD</character> <dialogue>Billy's truck and Meat's truck cross the line and continue on about two hundred yards. Porky's two cars cross the line inadvertently, skidding to a halt about one hundred yards into Seward County.</dialogue> <scene_description>136r?. l ~b&lt;2- 136 EXT. A FI LD, A ROADAND cmAL JUST rNSIDE THE SEWARD</scene_description> <character>COUNTYLI - .. NIGHT</character> <dialogue>l'sbb</dialogue> <scene_description>Suddenly Seward Co he area is bath nty police cars, din light -t light fro five including T~d's, lights from several P rt Auburndale s hool buses, floodlights "lluminat- ing the P rt Auburndale b d, the Forti Auburndale h~er- leaders, he Port Auburnd le majorette~, Wendy, Gipny, Miss Hone ell, Coach Bra kett and halr the Port Auburndale student b dy. ard County polic surround P rky's cars, a huge up; the BANDS RTS TO PLAYfl·the cheerleaders begin a c eer; and the stu ents begin inging an appro- priate fi ht song. I Billy, e pile out f their tru~ks.</scene_description> <character>BI</character> <dialogue>Y</dialogue> <scene_description>,/</scene_description> <character>€�</character> <dialogue>I</dialogue> <scene_description>We did (making sign) it. al·victory l J - J t I Hey, where's</scene_description> <character>ME.T</character> <dialogue>Micry? l</dialogue> <character>)</character> <dialogue>'V'</dialogue> <character>~</character> <dialogue>136 CONTINUED: J?:bF· Is66\_·</dialogue> <scene_description>A group of studen s carr .out Mic ey on he clos able approximatio of a 1 'tter might constru huge CHEER goes u for Mi key. ive me an M, 0 some- thing of that ord r. j. Now, a.s Porky arid the She iff get of their c s, Ted/ back in police cl thes, s eps for to deal wi them. PbRKY -~ {pointin · guys)· to our / 3b r .Arrest ·those li erfuck rs. They destroyed lub.</scene_description> <character>TD</character> <dialogue>How'd they dot at, sir</dialogue> <dialogue>Well, first the</dialogue> <scene_description>p RKY came in and ..</scene_description> <character>I</character> <dialogue>Which ones ... c e in?</dialogue> <scene_description>rI ,,.--··· p RKY That one and th tone</scene_description> <character>I</character> <dialogue>oyer thee ...</dialogue> <scene_description>f-; f ''•~---✓ T D t (mock iniredulit~) You mean ... thi$ seventren-yea - old ... and thislsixteenryear-o youngster were ln your ~stabli S~RIFF f (interrurting; j apoplec 1ic) : They'd been the~e beforr' -- no just tonight. I (pointin&amp; to Mic~ey) Particular\_ly th 1t one. l Little fucker kept com1ng backjover a</scene_description> <character>. J. I</character> <dialogue>Porky realizes the trap tney're i~. He ties to ut his hand o:7er his brother's m1uth, to(</dialogue> <scene_description>lead h ·. away. n - P~RKY r</scene_description> <character>=</character> <dialogue>· Uh .. ,' we must h ve made; a mista e.</dialogue> <scene_description>Obviously, it cquldn't have be these youngster~.~- (still S~ERIFF berserk) l - Fuckin'-A right-j it was~- Man, crazy, Porky? ! · 0-iORE) l 1 cu Ij;</scene_description> <character>\~/</character> <dialogue>V Vi</dialogue> <scene_description>136 CONTINUED: '(2)</scene_description> <character>SH RIFF (CO T'D)</character> <parenthetical>(addressi g Ted, who's b used)</parenthetical> <dialogue>These ere littl fuckers busted up my tation hose, dest~oyed to of my ars. I w nt them ooked onfel ny charge -- dest uction of pr· ~~~ prope ty, assarlt and batter</dialogue> <character>TE</character> <dialogue>Sherit, you're I won er what o</dialogue> <scene_description>n '!!!1.courty now1 could b~ booke fur? I Ted smashes the eadlights on Porkyj1 s car. (continui TE g) l J i f Drivi g with ab oken·hea light... I that' a fifty-d llar fin in 1 Sewar1 County. I Porky peels the roney off r roll.· e hand~ it to ~ed. Here, off icer. ll PORKY It /I l</scene_description> <character>I /</character> <dialogue>Ted takes</dialogue> <scene_description>completely isabling it. gun and b ows a ho e thro~gh the ~ngine Then I e SH001S out tre tires ., I:</scene_description> <character>· TE~ I I 1</character> <dialogue>Heyn w, driving•with a btoken I</dialogue> <dialogue>. • • b own t 1.r es . . . 1 \ J I How m ch, Officet?</dialogue> <character>I !</character> <dialogue>. PO~Y</dialogue> <character>·</character> <dialogue>'I1 '</dialogue> <scene_description>You n~ me it.</scene_description> <character>\[</character> <dialogue>f I</dialogue> <character>I</character> <dialogue>I'll</dialogue> <character>I</character> <dialogue>4et you offifor</dialogue> <character>TEP</character> <dialogue>the romise,</dialogue> <character>I</character> <dialogue>you'l~ get your fSS back cross</dialogue> <character>I</character> <dialogue>that qounty line} and thelpromis~ from iour brother that al</dialogue> <character>I</character> <dialogue>i</dialogue> <character>I</character> <dialogue>;</dialogue> <scene_description>peccadilloes tha~ might h ve J ! occur1ed tonighttlwill be rorgott,n. 1 t - I if lf</scene_description> <character>I</character> <dialogue>SH RIFF 'i</dialogue> <scene_description>Stick it up your .. J · Porky puts his tand over hls brothe 's mou1h once rore. If</scene_description> <character>I</character> <dialogue>'f. + I</dialogue> <scene_description>¥- l .</scene_description> <character>\/~CONTI~D)</character> <dialogue>J</dialogue> <dialogue>i</dialogue> <character>\V</character> <dialogue>136 CON iNUED: 3)</dialogue> <character>PORKY</character> <parenthetical>(to he Sheri f)</parenthetical> <dialogue>Pr mise him for Chr st's sake,.</dialogue> <scene_description>l I' 1 promis toput foot. ·u,his. .. i y . Agaip Porky estrains the Sher ff in th, same mannll er. "</scene_description> <character>I</character> <dialogue>Pr&lt;p11ise him</dialogue> <character>PORKY</character> <dialogue>you ass ole.</dialogue> <scene_description>~~ ~:?go::E:::1ecting pir ba k</scene_description> <character>I</character> <dialogue>I.</dialogue> <parenthetical>(ver . promis softly)</parenthetical> <dialogue>f I</dialogue> <character>J</character> <dialogue>TED I l .</dialogue> <scene_description>Ca~tt hear ou. Sherlff. i i</scene_description> <character>I</character> <dialogue>puts</dialogue> <character>SHERIF</character> <dialogue>hr:::·a!:o::~::j~h::f::~i'.h~:</dialogue> <scene_description>I on~ lasttime I t TED I Ho1s t~:~ 1' l ( . l cing) SHERIFi I l1 : t I (gro ing subdtled) 1· l l 1romise. 1 • r l I TED I I j Noto.;get thi car out lof Se,;3arrt ~ County. 1 l {</scene_description> <character>I</character> <dialogue>Bud you sho the engine ...</dialogue> <character>SHERIF¾ &amp; PORKY</character> <dialogue>the</dialogue> <scene_description>I r</scene_description> <character>~</character> <dialogue>I</dialogue> <character>L .</character> <dialogue>ti~es are fat... I</dialogue> <character>TED</character> <dialogue>I</dialogue> <character>I</character> <dialogue>·1</dialogue> <character>!</character> <dialogue>j.</dialogue> <character>.</character> <dialogue>I Ju~</dialogue> <scene_description>Yo, put a ittle we{ght behind boys ca manage fhat. . . f it. ~ J /ti/'If.\_ Big starr. UGHfrom the criwd. pushing the ca. Poriy, with Sheriff and Depu ies, With four flat~tires, thee:~~ is epormous. ! At this point Mi¢key step~ forward and ra ses his pands to kilence he crowdJ A hush:falls over the t crow. Mickef walks p slowly!to Porky;who is st~ll bet over! the car ushing. j Mickey ~ays: l ~ I J\_ J; . . J\_\_ I (CONTipuED) -- --- ..l.-</scene_description> </scene> <scene> <stage_direction>....</stage_direction> <character>136</character> <dialogue>MICKEY</dialogue> <character>CONTINUED: (4)</character> <dialogue>Hey. Porky, got just</dialogue> <scene_description>to say toy</scene_description> <character>PORKY</character> <dialogue>Yeah,· what t;he fuck's t</dialogue> <scene_description>And Mickey does the cartoon.</scene_description> <character>.</character> <dialogue>fr·I ous line w ends every Porky Pig</dialogue> <character>MICKEY</character> <dialogue>A •.•• behu ... -beh ... u. A-beh ... h ... That's ·all folks!</dialogue> <scene_description>And with that, he givjs Porky at emendous kick in the ass which nearly sends h~ through the radiator of the car. A tremendous ROARgoes up from the 4rowd and our principals /?~L are hoisted onto shouVders as CAflll:RAPULLS BACKto TAKE IN ~6 the entire scene. Th~ BANDSTRI,S UP. The cheerleaders cheer and we begin EN~ CREDITS. verything that follows will b·e UNDEREND CREDITS. 1 --i-- .</scene_description> <character>~</character> <dialogue>ANGLE</dialogue> <character>!</character> <dialogue>We see Brackett and Honeywell embracing.</dialogue> <character>ANGLE</character> <dialogue>We see Billy and Ginny embracing .</dialogue> <character>..</character> <dialogue>Pee Wee, Meat and Tim all congratulate each other and Mickey. Mickey throws away his crutches.</dialogue> <character>39</character> <dialogue>ANGLE</dialogue> <scene_description>Ted and Brackett shake hands.</scene_description> <character>ANGLE</character> <dialogue>Ted and Mickey embrace.</dialogue> <scene_description>l 1 ANGLE - Suddenly a ROA GOES UP FROMTHE CROWDand we see the POWER BOATSROARup o the shoreline of the canal and Tommy and Brian jump ash re . -</scene_description> </scene> <scene> <stage_direction> .1</stage_direction> <scene_description>/4l A</scene_description> <character>141</character> <dialogue>The crowd surges forward and Brian and Tommy are hoisted</dialogue> <character>CONTINUED:</character> <dialogue>onto shoulders a d paraded over to the.roadside. Brian and Tommyjoin u with our other five to congratulate each other. When the congratulations are over, Tommy says:</dialogue> <character>TOMMY</character> <dialogue>Man what a perfect ending!</dialogue> <scene_description>Pee Wee suddenly looks dejected.</scene_description> <character>PEE WEE</character> <dialogue>Yeah - perfect!</dialogue> <scene_description>Tli.e·y all turn to Pee Wee.</scene_description> <character>TOMMY</character> <dialogue>What's wrong, Pee Wee?</dialogue> <character>PEE WEE</character> <parenthetical>(plaintively)</parenthetical> <dialogue>Well. esus Christ, we tore down Porky' . That was my last chance. Now ~ 1 never get laid! /4 ( g l I~ ..</dialogue> <scene_description>Tommy looks at Pee Wee, then his eyes t look over the crowd. CAMERA PANS over the crowd. Su we s e Wendy trying to hide behind the majorettes.</scene_description> <character>,.,</character> <dialogue>TOMMY</dialogue> <scene_description>Oh, no, you don't, Wendy. over here!</scene_description> <character>WENDY</character> <dialogue>No, Tommy! Don't make me!</dialogue> <scene_description>Tommy walks over and takes Wendy by the hand and p 11s her back to the group.</scene_description> <character>TOMMY</character> <dialogue>Absolutely. A bet's a bet. ow you gotta pay up.</dialogue> <character>WENDY</character> <dialogue>I should've gotten better odd.</dialogue> <character>TOMMY</character> <dialogue>You said if we pulled it off, you'd break Pee Wee's cherry.</dialogue> <scene_description>wt</scene_description> <character>WENDY</character> <parenthetical>(whispering)</parenthetical> <dialogue>-- Well, hell,</dialogue> <scene_description>school! don't tell the · (CONTINlJJ;:D) ..y</scene_description> <character>141</character> <dialogue>PEE WEE</dialogue> <character>CONTINUED: (2)</character> <dialogue>What ya mean break Pee Wee 1 cherry?</dialogue> <character>TOMMY</character> <dialogue>Hey, Pee Wee, you want tog t laid or not·? If you 're not cher y, you don't get Wendy!</dialogue> <scene_description>Pee Wee recants immediately.</scene_description> <character>PEE WEE</character> <dialogue>Oh, I'm cherry, manl Cherr as George Washington's tree. could put me on top of a ba split, I'm so cherry.</dialogue> <scene_description>Tommy looks at Wendy. / 4\ D</scene_description> <character>TOMMY</character> <dialogue>Well?</dialogue> <scene_description>· Wendy walks over and takei:; Pee Wee by the hand.</scene_description> <character>WENDY</character> <dialogue>Alright, alright. Just keep it quiet. C'mon, shrimp. Let's get it over with.</dialogue> <scene_description>She takes Pee Wee into one of the school buses. The guys wait outside to keep guard. CAMERA PANS ·to a c ump of bushes over behind the bus. Something is lurking ther Whoever it is starts to move and suddenly darts out to position behind the bus. It is too dark to see who it~</scene_description> <character>142</character> <dialogue>BACK TO BUS</dialogue> <scene_description>I The guys look toward rises from inside. You dickheadl the bus expectantly. The first come on the date wearing ne,</scene_description> <character>/</character> <dialogue>WENDYIs VOI E</dialogue> <scene_description>you now Suddenly a voice . you don't have one at all! We hear FOOTSTEPS scurrying down t bus. Pee Wee eme10 es from the.door pulling on his pants.I We don't hear what he . says but we get the idea when the gP.ys all start taking out their wallets. Finally someone hafs Pee Wee one and he</scene_description> <character>I~</character> <dialogue>- rushes back on the bus. .</dialogue> <character>\Y; CUT TO:</character> <character>143</character> <dialogue>/A-\~</dialogue> <character>ANGLE</character> <dialogue>'</dialogue> <scene_description>...:</scene_description> <character>I</character> <dialogue>),</dialogue> <character>....</character> <dialogue>-···--~- We see the skulking figure .Tmoves stealthily along the</dialogue> <scene_description>row of cars. We still can't ~~eL who it is. CAMERA CUTS TO the mystery figure's POV. j i-</scene_description> <character>144</character> <dialogue>MYSTERY</dialogue> <character>FIGURE~S POV</character> <dialogue>We see Tommy and the group from the ominous POV... they are being stalked. Could it be one of Porky's gang?</dialogue> <character>145</character> <dialogue>Pee Wee comes scurrying</dialogue> <character>THE BUSAGAIN</character> <dialogue>off the bus and over to the guys.</dialogue> <character>.</character> <dialogue>He is frantic. He has the rubber in his hands.</dialogue> <character>PEE WEE</character> <dialogue>It's too big. It's too big!</dialogue> <scene_description>Everybody starts digging in their wallets again.</scene_description> <character>TOMMY</character> <dialogue>Hell, Pee Wee, we don't have any training rubbers.</dialogue> <scene_description>But they continue to dig. Finally, someone comes up with another one. With a plaintive little whimper, Pee Wee is off again.</scene_description> <character>CUTTO:</character> <dialogue>BACKTO THE LURKINGFIGURE</dialogue> <dialogue>The MUSIC IS VERYOMINOUSnow. The figure creeps forward slowly. Finally the figure stops and leans slowly forward into the 1 ight. We see the face. It is 11Kong." Her face is ablaze with madness. She leers at Tommy. All reason has flown. She is a wild beast stalking its prey. With a mad cry, she launches her attack. We...</dialogue> <character>147</character> <dialogue>\</dialogue> <character>THE GROUP</character> <dialogue>as they hear the weird cry. Everybody jumps. They whirl around. Tommy looks wide-eyed at the specter bearing down on him. Balbricker is crouched low, coming on like a two- ton Tasmanian devil.</dialogue> </scene> <scene> <stage_direction> 147 CONTINUED:</stage_direction> <scene_description>Tommy turns to flee step. Kong bowls h</scene_description> <character>T</character> <dialogue>but she is on h~ before he</dialogue> <scene_description>over. Tonrrny grabs for his akes a shorts becauae his pants a e long gone. M ss Balbricke is com- pletely crazed. Sh yanks his sh.ors down and T rrany yanks them up, t~yi g to crawi away from her. E ery time she yanks down, she screams: '</scene_description> <character>MISS BALBRI KER</character> <dialogue>There it There it isd Mr. Carter, I</dialogue> <scene_description>By this time, Coach 1Brackett, Ted a ·d several ot er cops have plunged in to ttry and pull Mis Balbricker way.· Her furious obsession ptllls the whole gr· up to the g ound in a heap. She contin1es to scream.</scene_description> <character>I</character> <dialogue>(cqntinuing)</dialogue> <character>MISS BALBRI</character> <dialogue>I</dialogue> <character>R</character> <dialogue>I saw it! I I saw it! I tob.d you 1, a know 9fiat penis anywhere 1</dialogue> <scene_description>The place is in tot~l chaos by now. f The crowd btgins to · chant "Pecker-Checkfir, Pecker-Checker." Ton:nny i flailing wildly. Bal bricker 1lis incoherent bY1now. Final y the police force manage~ to drag Bal bric er off. As I they carry her away. she sere sand laughs man·cally. ·(</scene_description> <character>MISS BALBRICKER</character> <dialogue>tinuing)</dialogue> <scene_description>! Arrest him! I can I Positive! ! Ha ha CAMERAPULLS BACK to take in the whole mad scene as Bal- bricker is taken awa . The last thing we see as the rINAL CREDITS ROLL is Pee ee sticking his head out of the window of the bus and yelli g and waving his ·arms in sheer triumph. He pounds his .chest nd gives a long Tarzan yell. The crowd applauds and c eers. FADE TO BLACK.</scene_description> </scene> </script>

In 1954, each boy in a group of Florida high school students plans to lose his virginity. They go to Porky's, a strip club in the Everglades, believing that they can hire a prostitute to satisfy their sexual desires. The club's proprietor, Porky, takes their money but humiliates the boys by dumping them into the swamp. When the group demands their money back, the sheriff, Porky's brother, drives them away but not before he extorts them for the rest of their money, further embarrassing them. After Mickey, who returned to Porky's for revenge, is beaten so badly he has to be hospitalized, the gang becomes hellbent on exacting revenge on Porky and his brother, eventually sinking Porky's establishment into the swamp. Porky and his men, joined by the sheriff, chase the group, but the boys make it across the county line, out of Porky's brother's jurisdiction, where local police officers and the high school band meet them. One of the officers, Mickey's older brother, Ted, repeatedly damages Porky's Hudson Hornet, promising to drop all charges against Porky for driving an unsafe vehicle if the night's events are forgiven. Because the boys are too young to have been allowed into Porky's legally, Porky and his brother agree. In a subplot, the boys peep on co-ed students in the girl's locker room shower, and Tommy, Billy, and Pee Wee see several girls showering. Pee Wee gives them away when he shouts at a heavier girl, who has been blocking his view, to move so that he can see. While a few girls run out, most stay, finding the situation funny. To test their attitude, Tommy sticks his tongue out through his peephole but gets it smeared with soap. Infuriated, he drops his pants and sticks his penis through the opening just before female coach Beulah Balbricker, who has a running feud with Tommy, walks into the shower area. Spotting the protruding member, she sneaks up on Tommy, grabs his penis, and pulls with all her might. Tommy pulls free and escapes, but Beulah is determined to prove that the offending member, which has a mole on it, belongs to Tommy, going so far as to request that Principal Carter hold a police-type line-up of the boys in the nude so she can identify it. However, Carter balks at her request. As the other basketball coaches laugh, Coach Brackett suggests asking the police to send a sketch artist and hang wanted posters around the school. When that suggestion gets even Carter laughing, Balbricker leaves in a huff. At the end of the film, she sneaks out of the bushes to ambush Tommy and actually drags his pants down, but she is pulled off him by police and dragged away screaming that she saw "it" and that she can identify its owner. Tommy breaks the fourth wall, saying, "Jeez!" to the camera. Another subplot involves Coach Brackett taking an interest in attractive Coach Honeywell. Coach Warren repeatedly refers to Honeywell as "Lassie" while pointing to the equipment room, much to Coach Brackett's confusion. He quickly finds out why when he and Honeywell hide out in the equipment room after an argument with Balbricker, and Honeywell becomes turned on by the smell. This leads to the pair having quickie sex in the room, but Honeywell begins loudly howling like a dog, thus revealing why she is called Lassie. Her orgasmic howls are heard throughout the entire school, much to the students' and Coach Warren's amusement. Brackett and Honeywell are fired as a result.

Burn After Reading_2008

tt0887883

<script> <scene> <stage_direction>EXT. EASTERN SEABOARD - AERIALS - DAY</stage_direction> <scene_description>High in the air - so high we an see the curvature of the earth . The eastern seaboard stretches away , flecked with clouds . As we dissolve in closer the picture bleaches of color . We are looking down at the city of Washington , D.C. Dissolve closer still : a black - and - white aerial photograph of a neighborhood in suburban D.C. dominated by a sprawling building . Computer type quickly bleeps on : C.I.A. Headquarters Langley , Virginia .</scene_description> </scene> <scene> <stage_direction>INT. CIA - HALLWAY - DAY</stage_direction> <scene_description>We track at floor level , following the well shined shoes of someone walking down the well polished hallway .</scene_description> </scene> <scene> <stage_direction>INT. PALMER'S OFFICE - DAY</stage_direction> <scene_description>We hear a door opening and a silver - haired man rises behind his desk . A nameplate on the desk identifies him as Palmer DeBakey Smith .</scene_description> <character>PALMER</character> <dialogue>Ozzie. Sit down.</dialogue> <scene_description>Osbourne Cox , entering , is a middle - aged man in a striped shirt and bow tie .</scene_description> <character>OSBOURNE</character> <dialogue>Palmer. What's up.</dialogue> <character>PALMER</character> <dialogue>You know Peck, and Olson.</dialogue> <scene_description>The two men , sitting on chairs facing the desk , nod at Osbourne , who is surprised to see them .</scene_description> <character>OSBOURNE</character> <dialogue>Peck, yes, hiya. Olson, by reputation. Hi, Osbourne Cox.</dialogue> <character>OLSON</character> <dialogue>Yeah, hiyah.</dialogue> <character>OSBOURNE</character> <dialogue>Are n't you with. are n't you, uh.</dialogue> <scene_description>Palmer jumps in :</scene_description> <character>PALMER</character> <dialogue>Yeah, that's right. Oz, look. There's no easy way to say this. We're taking you off the Balkans desk.</dialogue> <character>OSBOURNE</character> <dialogue>You're - what? Why?</dialogue> <character>PALMER</character> <dialogue>In fact we're moving you out of Sigint entirely.</dialogue> <character>OSBOURNE</character> <dialogue>What? No discussion, just - you're out?</dialogue> <character>PALMER</character> <dialogue>Well, we're having the discussion now Oz. This does n't have to be unpleasant.</dialogue> <character>OSBOURNE</character> <dialogue>Palmer, with all due respect - what the fuck are you talking about?</dialogue> <scene_description>A beat .</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And why is Olson here?</dialogue> <scene_description>Another uncomfortable beat .</scene_description> <character>PALMER</character> <dialogue>Look, Ozzie -</dialogue> <character>OSBOURNE</character> <dialogue>What the fuck is this?! Is it my - I know it's not my work.</dialogue> <character>PALMER</character> <dialogue>Ozzie -</dialogue> <character>OSBOURNE</character> <dialogue>I'm a great fucking analyst! Is it -</dialogue> <character>PALMER</character> <dialogue>Oz, things are not going well. As you know.</dialogue> <character>PECK</character> <dialogue>You have a drinking problem.</dialogue> <scene_description>Stunned silence . Ozzie turns to look at Peck . At length :</scene_description> <character>OSBOURNE</character> <dialogue>I have a drinking problem.</dialogue> <character>PALMER</character> <dialogue>This does n't have to be unpleasant. We found you something in State. It's a, uh.</dialogue> <scene_description>He gropes , uncomfortable .</scene_description> <character>PALMER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's a lower clearance level. Yes. But we're not, this is n't, we're not terminating you.</dialogue> <character>OSBOURNE</character> <parenthetical>( quietly . )</parenthetical> <dialogue>This is an assault.</dialogue> <character>PECK</character> <dialogue>Come on, Ozzie.</dialogue> <character>OSBOURNE</character> <dialogue>This is an assault. I have a drinking problem? Fuck you, Peck, you're a Mormon!</dialogue> <character>PECK</character> <dialogue>Ozzie -</dialogue> <character>OSBOURNE</character> <dialogue>Next to you we all have a drinking problem! Fuck you guys! Whose ass did n't I kiss? Let's be honest!</dialogue> <scene_description>Palmer nods at Olson .</scene_description> <character>PALMER</character> <dialogue>Okay, Olson -</dialogue> <character>OSBOURNE</character> <dialogue>Let's be fucking honest.</dialogue> <scene_description>Osbourne gets to his feet , agitated .</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>This is a crucifixion! This is political! Do n't tell me it's not!</dialogue> <scene_description>He storms out the door .</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I have a drinking problem!</dialogue> <scene_description>The door slams . Palmer Smith looks at Olson . Olson arches an eyebrow .</scene_description> </scene> <scene> <stage_direction>INT. COX KITCHEN - DAY</stage_direction> <scene_description>OSBOURNE Bow tie loosened , he stands at a kitchen counter . His shoulders twist as he does something below frame : we hear the crackle of ice cubes wrenching loose from a tray . Behind him we see the apartment door opening . Katie , an attractive middle - aged woman , enters , taking her key out of the door , but stops , surprised to see Osbourne .</scene_description> <character>KATIE</character> <dialogue>You're home.</dialogue> <scene_description>Osbourne continues making himself a drink .</scene_description> <character>OSBOURNE</character> <dialogue>Hang on to your hat, honey. I have some news. I -</dialogue> <character>KATIE</character> <dialogue>Did you pick up the cheeses?</dialogue> <character>OSBOURNE</character> <dialogue>Huh?</dialogue> <character>KATIE</character> <dialogue>Were they ready? I did n't know you were coming home this early.</dialogue> <character>OSBOURNE</character> <parenthetical>( blank . )</parenthetical> <dialogue>The cheeses.</dialogue> <scene_description>Katie rolls her eyes .</scene_description> <character>KATIE</character> <dialogue>I left a message for you to stop at Todaro's. The Magruders and the Pfarrers are coming over.</dialogue> <character>OSBOURNE</character> <dialogue>The Pfarrers? Ugh. I - what did Kathleen say?</dialogue> <character>KATIE</character> <dialogue>What?</dialogue> <character>OSBOURNE</character> <dialogue>When you left the message?</dialogue> <character>KATIE</character> <dialogue>She said. She would give you. The message.</dialogue> <character>OSBOURNE</character> <dialogue>Well she, I do n't know, I guess we had bigger news today. My day did n't revolve arou -</dialogue> <character>KATIE</character> <dialogue>So you did n't get the cheeses.</dialogue> <character>OSBOURNE</character> <dialogue>Well, since I did n't get the message, no, I did n't get the cheeses. But hang on to your hat, I -</dialogue> <character>KATIE</character> <dialogue>Oh for fuck's sake, Ozzie, you mean I have to go out again? All right, well, you better get dressed.</dialogue> <character>OSBOURNE</character> <dialogue>Honey, we have to talk.</dialogue> <character>KATIE</character> <dialogue>Not right now. They'll be here in, what, less than an hour.</dialogue> </scene> <scene> <stage_direction>INT. COX LIVING ROOM - NIGHT</stage_direction> <scene_description>A hand hovers , hesitates .</scene_description> <character>VOICE</character> <dialogue>Is this a, uh, goat cheese?</dialogue> <character>OSBOURNE</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Chevre, yes, that is a goat cheese.</dialogue> <scene_description>Wider shows the cocktail party , meagerly attended but in full swing . Besides Osbourne and Katie there is Harry Pfarrer -LRB- who has just inquired about the cheese -RRB- , bearded , forties , rugged ; his wife Sandy ; and a shiny - faced young couple , Doug and Tina Magruder . Osbourne holds a cocktail tumbler .</scene_description> <character>HARRY</character> <dialogue>Because I have lactose reflux. But I can -</dialogue> <character>OSBOURNE</character> <dialogue>You're lactose intolerant?</dialogue> <character>HARRY</character> <dialogue>Yes, but I can -</dialogue> <character>OSBOURNE</character> <dialogue>Or you have acid reflux? They're two different things.</dialogue> <scene_description>Harry looks at him coldly .</scene_description> <character>HARRY</character> <dialogue>I know what they are.</dialogue> <character>OSBOURNE</character> <dialogue>Then you misspoke yourself. So I -</dialogue> <character>HARRY</character> <dialogue>Thank you for correcting me.</dialogue> <character>KATIE</character> <dialogue>You should try the chevre, Harry. It's very good.</dialogue> <character>HARRY</character> <dialogue>Yeah. I can eat goat cheese.</dialogue> <scene_description>He eats a piece , cupping one hand under his mouth .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I was just explaining to your husband here, I have a condition -</dialogue> <scene_description>Katie tries to separate the two men by including Doug Magruder .</scene_description> <character>KATIE</character> <dialogue>Harry works with the Marshalls' Service.</dialogue> <character>DOUG MAGRUDER</character> <dialogue>Ah. I'm on the legislative side, I work with Senator Hobby.</dialogue> <character>HARRY</character> <dialogue>Used to work for Treasury, but I did n't go over to Homeland Security. I'm with the Marshalls.</dialogue> <character>OSBOURNE</character> <dialogue>If you want he'll show you his great big gun.</dialogue> <character>HARRY</character> <dialogue>Very amusing. The gun is actually no big deal. Twenty years in the marshall's service and I've never discharged my weapon.</dialogue> <character>OSBOURNE</character> <dialogue>Sounds like something you should be telling your psychiatrist.</dialogue> <character>HARRY</character> <dialogue>What? I do n't have a psychiatrist.</dialogue> <character>DOUG MAGRUDER</character> <dialogue>Boy, I guess my job is pretty undramatic. I'm on the legislative side. What do you do Mrs. Pfarrer? Do you also carry a gun?</dialogue> <scene_description>Harry laughs .</scene_description> <character>HARRY</character> <dialogue>Sandy writes children's books.</dialogue> <character>SANDY</character> <dialogue>I write children's books -</dialogue> <character>HARRY</character> <dialogue>Oliver The Cat Who. Who. arghh - Who -</dialogue> <scene_description>Choking on piece of cheese , coughing</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Who Lives In The Rotunda. Excuse me.</dialogue> <character>TINA</character> <dialogue>Those are wonderful! My nieces and nephews -</dialogue> <character>HARRY</character> <dialogue>Yeah, it's a beloved series. You would n't believe her fan mail. Unghh. Are you sure this is goat cheese?</dialogue> <character>KATIE</character> <dialogue>Why do n't you let your wife tell them about her own books, Harry?</dialogue> <character>HARRY</character> <dialogue>I'm sorry - was I -</dialogue> <character>KATIE</character> <dialogue>Here, come in the kitchen, help me with the crudités.</dialogue> </scene> <scene> <stage_direction>INT. COX KITCHEN - NIGHT</stage_direction> <scene_description>They enter .</scene_description> <character>HARRY</character> <dialogue>Goddamnit. He knows, does n't he.</dialogue> <scene_description>He looks down at the floor . He stamps .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Nice floors.</dialogue> <character>KATIE</character> <dialogue>Knows what?</dialogue> <scene_description>Harry is looking around the kitchen , taking in the fixtures . Absently :</scene_description> <character>HARRY</character> <dialogue>About us, he knows about us. Little prick.</dialogue> <character>KATIE</character> <dialogue>Do n't be an ass, he does n't know a thing.</dialogue> <scene_description>Harry is staring down at the linoleum again .</scene_description> <character>HARRY</character> <dialogue>What is that, forbo?</dialogue> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>A car drives by .</scene_description> </scene> <scene> <stage_direction>INT. HARRY'S CAR - NIGHT</stage_direction> <scene_description>Harry driving , his wife next to him . A long beat . Finally :</scene_description> <character>HARRY</character> <dialogue>What a horse's ass.</dialogue> <character>SANDY</character> <dialogue>I do n't know why we see them.</dialogue> <scene_description>Harry shrugs .</scene_description> <character>HARRY</character> <dialogue>Well, she's all right.</dialogue> <character>SANDY</character> <dialogue>She is a cold, stuck - up bitch.</dialogue> <scene_description>Harry opens his mouth to reply , considers , does n't . They drive .</scene_description> </scene> <scene> <stage_direction>INT. COX MASTER BEDROOM - NIGHT</stage_direction> <scene_description>KATIE She is staring , in front of a mirror , face covered in cold cream , one hand arrested on the way up to daub on more .</scene_description> <character>KATIE</character> <dialogue>You quit?!</dialogue> <scene_description>Osbourne is buttoning a pajama top .</scene_description> <character>OSBOURNE</character> <dialogue>Uh - huh.</dialogue> <character>KATIE</character> <dialogue>Well - Thank you for letting me know!</dialogue> <character>OSBOURNE</character> <dialogue>I tried to tell you this afternoon.</dialogue> <character>KATIE</character> <dialogue>You tried? You tried? And then - what, the aphasia kicked in?</dialogue> <character>OSBOURNE</character> <dialogue>Our guests came. We -</dialogue> <character>KATIE</character> <dialogue>Why?! For fuck's sake, Ozzie!</dialogue> <character>OSBOURNE</character> <dialogue>I'm just - I do n't know. I got so tired.</dialogue> <character>KATIE</character> <dialogue>You're tired.</dialogue> <character>OSBOURNE</character> <dialogue>Tired of swimming against the current.</dialogue> <character>KATIE</character> <dialogue>Uh - huh.</dialogue> <character>OSBOURNE</character> <dialogue>Independent thought is not only not valued there, they resist it, they fight it, the bureaucracy is positively -</dialogue> <character>KATIE</character> <dialogue>Did you get a pension, or severance or something, or -</dialogue> <character>OSBOURNE</character> <dialogue>I did n't retire you know, I, I quit. I do n't want their benefits.</dialogue> <character>KATIE</character> <dialogue>But I suppose my benefits are all right, I suppose you can live with those, is that the idea?</dialogue> <character>OSBOURNE</character> <dialogue>It's not like that's the only way to make money.</dialogue> <character>KATIE</character> <dialogue>Yes? Yes? What're you gon na do?</dialogue> <character>OSBOURNE</character> <dialogue>I'll do some consulting.</dialogue> <character>KATIE</character> <dialogue>Consulting.</dialogue> <character>OSBOURNE</character> <dialogue>Yes, to help while I - I've always wanted to write.</dialogue> <character>KATIE</character> <dialogue>Write. Write what.</dialogue> <character>OSBOURNE</character> <dialogue>I've been thinking about it. A book, a sort of, sort of memoir.</dialogue> <scene_description>Katie stares at him in the mirror . A beat . She bursts into laughter .</scene_description> </scene> <scene> <stage_direction>EXT. YACHT/AT SEA - DAY</stage_direction> <scene_description>THE BRIDGE A small yacht . Osbourne stands at the wheel , a light wind in his face , as the boat sails under motor power . After a beat he moves to the front of the boat . An old man sits on a bench on the prow facing out into the wind . He has snowy hair and a stern Yankee face . He wears a tweed cap . He does n't much react to Osbourne 's approach .</scene_description> <character>OSBOURNE</character> <dialogue>You okay there, Dad?</dialogue> <scene_description>The old man remains silent , staring . Osbourne sits next to him and idly tucks in the plaid blanket resting over the man 's knees .</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Dad, I left my job at the Agency.</dialogue> <scene_description>The old man stares out into the wind .</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I, uh. I'm sorry. Dad, government service is not what it was when you were in State. Things are different now. I do n't know, maybe it's. it's. the Cold War ending ; now it seems like it's all bureaucracy and no mission.</dialogue> <scene_description>The old man stares out into the wind .</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm writing a memoir. I think it's going to be pretty explosive. But I do n't think you'll disapprove. I do n't think you'll disapprove. Katie has had trouble accepting it. But. sometimes there's a higher patriotism, Dad. So we'll. Yes, change is hard. It's hard on Katie. But we'll be okay. We'll be okay. Life is change. This is good. We were all blocked up, Katie and me. This is, this is a blessing in disguise. I'll go into training, you know. Lay off the sauce. Like you did. You managed to do it. Finally. And then I can concentrate on, you know. New beginning. And this'll all have been for the best. Do n't you think Dad?</dialogue> <scene_description>The old man stares out into the wind . Osbourne sniffles .</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Cold.</dialogue> <scene_description>He taps the old man on the knee and rises .</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I guess we should head back.</dialogue> </scene> <scene> <stage_direction>EXT. PIER - DAY</stage_direction> <scene_description>LONG SHOT THRU THE WINDSHIELD OF A CAR The sailboat docked at the end of a marina . Osbourne is pushing the old man in a wheel chair down the pier away from the boat .</scene_description> <character>A MAN'S VOICE</character> <dialogue>We've seen this.</dialogue> </scene> <scene> <stage_direction>INT. LAW FIRM - CONFERENCE ROOM - DAY</stage_direction> <scene_description>THE MAN White hair , bushy eyebrows , a florid face . He is in a law - book lined conference room . He wears an expensive suit , suspenders , a white shirt with blue collar and cuffs . He is Bogus Terikhian .</scene_description> <character>TERIKHIAN</character> <dialogue>I know this kind of man. We've seen this.</dialogue> <scene_description>Wider on the conference room shows that Katie Cox sits at the table , along with Terikhian , another lawyer , and an assistant .</scene_description> <character>TERIKHIAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Mrs. Cox, you ca n't let this man take advantage of you. And he will. He will.</dialogue> <character>KATIE</character> <dialogue>Yes. This is my fear. He's trying - he says - he's trying to pull himself together, but.</dialogue> <character>TERIKHIAN</character> <dialogue>Look, sure, I - I'm obliged to tell you you should try to salvage things. And you should. People turn themselves around. Not unheard - of. But. You - you have n't broached the possibility of divorce yet?</dialogue> <character>KATIE</character> <dialogue>No.</dialogue> <character>TERIKHIAN</character> <dialogue>Well that's good. Because first you should get all his financials. Before he's forewarned. Because here's a man, here's a man, practiced in deceit, this is almost, you could say it's his job, practiced at hiding things, and there is no reason, it is not improper, there is no reason for you not to get a picture of the household finances. Paper files, computer files, whatever - this is your prerogative. You can be a spy too, madam. Do this before you put him on alert. Before the turtle can draw in his head and his, uh.</dialogue> <scene_description>He waggles his hands , groping for the word .</scene_description> <character>TERIKHIAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Feet.</dialogue> <scene_description>He shrugs .</scene_description> <character>TERIKHIAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And hopefully everything will work out. He will reform. But! If not : forewarned is forearmed.</dialogue> </scene> <scene> <stage_direction>INT. COX HOUSE - DAY</stage_direction> <scene_description>Osbourne is splayed on an easy chair , wearing a bathrobe over pyjamas . He stares at the ceiling , motionless , arms out - flung , like Marat in his bathtub . A long still beat . A clock ticks . Abruptly Osbourne raises one hand to speak into a microcassette recorder .</scene_description> <character>OSBOURNE</character> <dialogue>We were young and committed and there was nothing we could n't do. We thought of the Agency less as. less as.</dialogue> <scene_description>The thought , such as it was , peters out . Osbourne rises and wanders around the room , glassy - eyed . He suddenly raises the microcassette again .</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>The principles of George Kennan - a personal hero of mine - were what animated us. In fact they were what had originally inspired me to enter government service. Like the State Department's China Hands of yore, or, in a different forum, in a different venue, in a different medium, in, um. `` Murrow's Boys,'' the fabled - in a different -</dialogue> <scene_description>He suddenly stops , head cocked , listening . Faintly , a ringing phone .</scene_description> </scene> <scene> <stage_direction>INT. COX BASEMENT STAIRWAY - DAY</stage_direction> <scene_description>At the cut Osbourne is thundering down a steep carpeted stairway . He inclines his head to clear the ceiling that juts over the bottom half of the stairwell . The phone is louder here .</scene_description> </scene> <scene> <stage_direction>INT. COX BASEMENT - DAY</stage_direction> <scene_description>A semi - finished basement with cheap paneling and a low dropped ceiling of water - stained Johnson - Armstrong tile . The ringing phone is on a cheap government - surplus desk . The answering machine , with Osbourne 's voice , picks up :</scene_description> <character>MACHINE</character> <dialogue>You have reached The Cox Group.</dialogue> <scene_description>Osbourne , robe flapping , shuffles hurriedly in his slippered feet toward the phone .</scene_description> <character>MACHINE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We ca n't answer your call right now. Please leave a -</dialogue> <character>OSBOURNE</character> <parenthetical>( heavy breathing . )</parenthetical> <dialogue>Hello.</dialogue> <scene_description>He eases into the chair , having swiped up the phone . A listening beat .</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yes? Oh, no. No, call her number. No, upstairs. No she's not, but leave it on her machine.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY - LATER</stage_direction> <scene_description>We are looking over Osbourne 's shoulder - he is still in his robe - as he sits hunched on an ottoman , looking at a daytime game show . A few beats of the show . Roaring laughter from the studio audience . Mild chuckle from Osbourne in the foreground .</scene_description> </scene> <scene> <stage_direction>INT LIVING ROOM - DAY - STILL LATER</stage_direction> <scene_description>Ticking clock . Osbourne paces with the microcassette recorder . He raises it with a thought , draws a breath , and then stops , and looks off . The ticking grandfather clock : ornate hands on an ornate clock face Two or three minutes to five . Osbourne stares for a long beat .</scene_description> </scene> <scene> <stage_direction>INT. COX KITCHEN - DAY</stage_direction> <scene_description>OSBOURNE Shoulders twisting as we hear ice clattering out of a tray . He pours coke sizzling onto the ice . He pauses for a long beat . He takes a bottle of rum out of a cabinet . He pours some into a hatch - marked shot glass . He looks at it . The amber liquid tops the hatch mark . He conscientiously pours the overage back , murmuring :</scene_description> <character>OSBOURNE</character> <dialogue>Single.</dialogue> <scene_description>He dumps the shot into the Coke .</scene_description> </scene> <scene> <stage_direction>EXT. SAILBOAT - DUSK</stage_direction> <scene_description>As before , the boat , docked at the end of the marina pier , is seen in long shot through the windshield of a car . Closer on the boat . As water laps against pilings and the boat gently bobs and creaks , we hear , muffled , the sounds of a couple having sex . When it builds to climax we cut :</scene_description> </scene> <scene> <stage_direction>INT. SAILBOAT - DUSK</stage_direction> <scene_description>Minutes later . We hold on a door for a quiet beat , then we hear the gurgle of water , and then the door opens . Harry Pfarrer emerges from the small bathroom , buckling his belt . In the bedroom which he emerges into Katie Cox is just finishing dressing . Harry looks at his watch .</scene_description> <character>HARRY</character> <dialogue>I should try to get a run in.</dialogue> </scene> <scene> <stage_direction>INT. COX HOUSE - DUSK</stage_direction> <scene_description>Katie is letting herself in .</scene_description> <character>KATIE</character> <dialogue>Ozzie!</dialogue> <scene_description>Quiet .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - DUSK</stage_direction> <scene_description>Katie enters and sees a note on the counter paperweighted by a plate of used lime wedges : Honey , At Fenninger 's . Reunion committee dinner . See you later .</scene_description> </scene> <scene> <stage_direction>EXT. POTOMAC BRIDGE - DUSK</stage_direction> <scene_description>Long - lens , hand - held , point - of - view seeming : Harry Pfarrer is jogging in his Treasury sweats . Closer on him . Brow furrows . He spins , jogs backwards , looking . His point - of - view : nothing unusual ; traffic on the bridge , no pedestrians particularly close . Harry , mildly puzzled , slows and stops . He turns again . Point - of - view up the bridge : empty . Harry starts jogging again .</scene_description> </scene> <scene> <stage_direction>INT. COX BASEMENT - NIGHT</stage_direction> <scene_description>We are tracking toward the desk in the corner , at which Katie sits . She cracks open a CD case and loads the CD into Osbourne 's computer . A suspense drone builds as we track in . Katie starts typing , then suddenly stops . She holds still , listening for noises in the house . Nothing . She resumes typing . We hear male voices beginning to swell in song . The voices continue after the suspense drone snaps off , at the cut to :</scene_description> </scene> <scene> <stage_direction>INT. FENNINGER'S - NIGHT</stage_direction> <scene_description>A musty steakhouse . On the walls are hunting - scene prints and steel engravings of English country houses . A placard resting on a chair outside the Georgian Room : CLOSED FOR PRIVATE PARTY . From inside the room , male voices :</scene_description> <character>VOICES</character> <dialogue>Tune every heart and every voice.</dialogue> </scene> <scene> <stage_direction>INT. FENNINGER'S - GEORGIAN ROOM - NIGHT</stage_direction> <scene_description>A dozen middle - aged men around a long table , each holding high a glass .</scene_description> <character>MEN</character> <dialogue>Bid every care withdraw. Let all with one accord rejoice.</dialogue> <scene_description>The men are sweaty , tie - loosened , dinner - stuffed and boozy .</scene_description> <character>MEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>In praise of Old Nassau.</dialogue> <scene_description>Close on Osbourne as a rotund middle - aged classmate fills his glass to brimming . The two sway unsteadily with the music .</scene_description> <character>MEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>In praise of Old Nassau my boys, Hoo - rah, hoo - rah, hoorah!</dialogue> <scene_description>All swing their glasses side - to - side in rhythm :</scene_description> <character>MEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Her sons. shall give. while they. shall live.</dialogue> <scene_description>Glasses are thrust high with a ringing finish :</scene_description> <character>MEN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>In praise of Old Nassau!</dialogue> </scene> <scene> <stage_direction>INT. EXAM ROOM - DAY</stage_direction> <scene_description>A WOMAN 'S ASS Bare . Pale . Middle - aged . Someone with a marker is drawing on the flesh to illustrate :</scene_description> <character>DOCTOR</character> <parenthetical>( OFF . )</parenthetical> <dialogue>We take all the chicken fat off your buttocks, here. and here. And the upper arms. And a little off your tummy.</dialogue> <scene_description>The camera is arcing around a standing , naked , middle - aged woman , to reveal the doctor sitting on a stool in the examining room , facing her . He reaches forward again with the marker .</scene_description> <character>DOCTOR</character> <parenthetical>( OFF ; CONT 'D . )</parenthetical> <dialogue>And we do breast augmentation with a tiny incision here. and here.</dialogue> <character>PATIENT</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Uh - huh. And what about the thigh area?</dialogue> <character>DOCTOR</character> <dialogue>Well we can do liposuction there as well, but that area will respond to exercise. Buttocks and upper arms begin to store more fat when you get up around forty, the body just tells it to go there, but the thighs will respond to toning exercises.</dialogue> <character>PATIENT</character> <dialogue>Uh - huh. I know, I can work out on my arms til the cows come home, but.</dialogue> <character>DOCTOR</character> <dialogue>Uh - huh. And of course there are also genetic factors.</dialogue> <character>PATIENT</character> <dialogue>The Litzkes are big.</dialogue> <character>DOCTOR</character> <dialogue>Uh - huh, well everything's -</dialogue> <character>PATIENT</character> <dialogue>My mom had an ass that could pull a bus.</dialogue> <character>DOCTOR</character> <dialogue>Wow. Well that's a predispo -</dialogue> <character>PATIENT</character> <dialogue>Father's side too, although Dad tends to carry his weight in front of him.</dialogue> <character>DOCTOR</character> <dialogue>Uh - huh.</dialogue> <character>PATIENT</character> <dialogue>In the gut area. Derriere, not so much.</dialogue> <character>DOCTOR</character> <dialogue>Okay.</dialogue> <scene_description>The continuing track around is also booming up to reveal the face of the patient , Linda Litzke .</scene_description> <character>LINDA</character> <dialogue>And what about the face, you know, the window to the soul.</dialogue> <character>DOCTOR</character> <dialogue>Uh - huh! Uh - huh! Very well put. Well your eyes are one of your best features. But we can do something about the incipient crow's feet.</dialogue> <character>LINDA</character> <dialogue>Baby crow's feet. Little chickling's feet. I mean chicks. Chickie chickie chickie.</dialogue> <character>DOCTOR</character> <dialogue>Ha - ha, yes, again, well put. You have a way with words. We cut here.</dialogue> <scene_description>He marks .</scene_description> <character>DOCTOR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And we pull the skin tight, like stretching the skin over a drum. Not too tight, though. We do n't want that `` worked - on'' look. You need sufficient slack for the face to remain expressive.</dialogue> <character>LINDA</character> <dialogue>Yeah, I do n't wan na look like Boris Karloff.</dialogue> <character>DOCTOR</character> <dialogue>Uh - huh! Heh - heh, so you do n't want a sex change!</dialogue> <character>LINDA</character> <dialogue>No, I'm all woman!</dialogue> </scene> <scene> <stage_direction>INT. DOCTOR'S OFFICE - DAY</stage_direction> <scene_description>Doctor and patient , now dressed , sit on either side of a desk .</scene_description> <character>DOCTOR</character> <dialogue>So Linda, what we're talking about here is four different procedures.</dialogue> <parenthetical>( ticks them off . )</parenthetical> <dialogue>The liposuction. The rhinoplasty. The facial tuck, which I would strongly recommend over the chemical peel -</dialogue> <character>LINDA</character> <dialogue>Yeah, I do n't want to get anything burned off.</dialogue> <character>DOCTOR</character> <dialogue>And why should you. With that lovely skin. And lastly, the breast augmentation. Now we can also do something about the vaccine scar - I do n't know if you wear sleeveless dresses much -</dialogue> <character>LINDA</character> <dialogue>Not with these ham hocks!</dialogue> <character>DOCTOR</character> <dialogue>Yes, well once they're nice and svelte, post - op, you -</dialogue> <character>LINDA</character> <dialogue>Well I do n't know. Is the vaccine thing - can you counsel me on this? I do n't know, is it unsightly? I see it a lot, a bunch of people have it.</dialogue> <character>DOCTOR</character> <dialogue>Absolutely! Some women do n't mind it at all! Personal taste!</dialogue> </scene> <scene> <stage_direction>INT. HARDBODIES - DAY</stage_direction> <scene_description>Linda Litzke , in a Hardbodies polo shirt with `` Linda '' stitched on the breast , leans out of her semi - enclosed office on the gym floor .</scene_description> <character>LINDA</character> <dialogue>Chad!</dialogue> </scene> <scene> <stage_direction>INT. HARDBODIES - GYM FLOOR - DAY</stage_direction> <scene_description>Chad Feldheimer , trainer , fortyish and well - muscled , has a gym patron up on a table and is helping him stretch a leg back .</scene_description> <character>PATRON</character> <dialogue>Ow!</dialogue> <character>CHAD</character> <dialogue>I'm sorry, was that too much?</dialogue> <character>PATRON</character> <dialogue>I felt a straining. a tightness in the. in the front of my ass.</dialogue> <character>CHAD</character> <dialogue>Well you're pretty tight. You have to feel it or -</dialogue> <character>LINDA</character> <parenthetical>( on the public address . )</parenthetical> <dialogue>Chad Feldheimer. Office.</dialogue> <character>CHAD</character> <dialogue>I'll be back in a minute. We'll work on opening those hips.</dialogue> </scene> <scene> <stage_direction>INT. LINDA'S OFFICE - DAY</stage_direction> <scene_description>Linda is tapping at her computer as Chad enters .</scene_description> <character>LINDA</character> <dialogue>I got a batch from BeWithMeDC dot com.</dialogue> <scene_description>Chad perches on the desk , chewing gum as he gazes at the screen .</scene_description> <character>CHAD</character> <dialogue>Oh wow. Any good?</dialogue> <character>LINDA</character> <dialogue>I do n't know yet, just looking. How do you open this?</dialogue> <character>CHAD</character> <dialogue>Click on, uh. yeah.</dialogue> <character>LINDA</character> <dialogue>Oh my god!</dialogue> <character>CHAD</character> <dialogue>What?</dialogue> <character>LINDA</character> <dialogue>Oh my God, what a loser!</dialogue> <scene_description>She clicks .</scene_description> <character>LINDA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Loser!</dialogue> <scene_description>She clicks . Chad is laughing . Linda scowls .</scene_description> <character>LINDA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Loser! What is this! They should call this Mr. Saggy dot com.</dialogue> <character>CHAD</character> <dialogue>Cripes.</dialogue> <character>LINDA</character> <dialogue>Loser!</dialogue> <character>CHAD</character> <dialogue>Did you have to send a picture?</dialogue> <character>LINDA</character> <dialogue>No, only guys do. I submitted a verbal profile, turn - ons, turn - offs, et cetera. I'm really looking for someone with a sense of humor.</dialogue> <character>CHAD</character> <dialogue>That guy - wait - that guy was n't bad.</dialogue> <character>LINDA</character> <dialogue>Him?</dialogue> <character>CHAD</character> <dialogue>No, before.</dialogue> <character>LINDA</character> <dialogue>Him?</dialogue> <character>CHAD</character> <dialogue>Yeah. He uh, he might not be a loser.</dialogue> <character>LINDA</character> <dialogue>How can you tell?</dialogue> <character>CHAD</character> <dialogue>That's a Brioni suit.</dialogue> <character>LINDA</character> <dialogue>Oh yeah?</dialogue> <character>CHAD</character> <dialogue>Shit yeah.</dialogue> <character>LINDA</character> <parenthetical>( dubious . )</parenthetical> <dialogue>Does he look like he has a sense of humor?</dialogue> <character>CHAD</character> <dialogue>He looks like his optometrist has a sense of humor.</dialogue> <scene_description>Linda slaps his arm .</scene_description> <character>CHAD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Huh - huh - huh. What does he do?</dialogue> <character>LINDA</character> <dialogue>State Department.</dialogue> <character>CHAD</character> <dialogue>That's cool.</dialogue> <character>LINDA</character> <dialogue>His hair is. what is that?</dialogue> <character>CHAD</character> <dialogue>Plugs.</dialogue> </scene> <scene> <stage_direction>INT. GYM - NEXT DAY</stage_direction> <scene_description>Linda is showing someone around the floor .</scene_description> <character>LINDA</character> <dialogue>This is the cardio area. A lot of machines here so that, believe me, there's never a wait. What you're seeing now, this is our busiest time, and there's still a couple of open treadmills I see, three Stairmasters - I call it the Butt - Blaster - couple of LifeCycles - Hi, Chad.</dialogue> <scene_description>Chad is working with a medicine ball and a heavy young woman .</scene_description> <character>CHAD</character> <dialogue>Hi Linda. Did you call that guy?</dialogue> <character>LINDA</character> <dialogue>Not yet! Chad is one of our trainers. I've just started internet dating and I got my first look at the, uh.</dialogue> <character>CUSTOMER</character> <dialogue>What service?</dialogue> <character>LINDA</character> <dialogue>BeWithMeDC dot com?</dialogue> <character>CUSTOMER</character> <dialogue>Nice.</dialogue> <character>LINDA</character> <dialogue>Have you used them?</dialogue> <character>CUSTOMER</character> <dialogue>No - two friends did and they're both hooked up. With really special guys.</dialogue> <character>LINDA</character> <dialogue>That's fantastic.</dialogue> </scene> <scene> <stage_direction>INT. LINDA'S OFFICE - LATER</stage_direction> <scene_description>Linda is leaning forward at her desk , phone wedged between ear and shoulder , one hand up at her forehead . After a long still beat :</scene_description> <character>LINDA</character> <dialogue>Yes!</dialogue> <scene_description>Another still beat .</scene_description> <character>LINDA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>English!</dialogue> <scene_description>Beat .</scene_description> <character>LINDA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Agent!</dialogue> <scene_description>Beat .</scene_description> <character>LINDA DRIVING</character> <dialogue>Agent! Agent!</dialogue> <scene_description>Beat .</scene_description> <character>LINDA</character> <dialogue>Yes, hi, this is Linda Litzke, should I give you my account number? You have it up? Okay. I was informed that I needed pre - approval for these surgeries, and then. Yes, it was denied.</dialogue> <scene_description>Listening , then :</scene_description> <character>LINDA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>No, those are four different operations. It's very complicated ; I'm reinventing myself, it's a whole new look so it is n't just one thing, however, it's all approved by my doctor. But - madam! This is not - my job involves, you know, public interface! This is not.</dialogue> <scene_description>Her jaw sets . She controls her fury . Quieter :</scene_description> <character>LINDA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yes I do understand. Could I speak to your supervisor please?</dialogue> </scene> <scene> <stage_direction>INT. TED'S OFFICE/LINDA'S OFFICE - DAY - MINUTES LATER</stage_direction> <scene_description>We are on a long lens point - of - view , from several cubicles over , of Linda , now slumped at her desk , head in her arms . We faintly hear her sobbing . Reverse shows Ted Treffon , middle - aged , balding , the soulful manager of Hardbodies . He looks at Linda , puzzled and a little alarmed . He tenses as if to rise but does n't , and hovers uncomfortably , unsure of whether to intrude .</scene_description> </scene> <scene> <stage_direction>EXT. WASHINGTON MALL - DAY</stage_direction> <scene_description>Linda walks down the promenade dressed in a smart pant suit . Her moving POV passes over a couple in conversation , an old woman feeding the birds , a man in a business suit reading a newspaper . She passes the man and turns around . He has looked up from the paper and is staring at her . He wears aviator - shaped glasses with clear plastic rims . He may have hair plugs .</scene_description> <character>LINDA</character> <dialogue>Alan?</dialogue> <character>MAN</character> <parenthetical>( ALAN . )</parenthetical> <dialogue>Are you, uh. Linda?</dialogue> </scene> <scene> <stage_direction>EXT. CIRCLE THEATRE - DUSK</stage_direction> <scene_description>A poster advertises Totally Stoked ! with Dermot Mulroney and Claire Danes .</scene_description> </scene> <scene> <stage_direction>INT. THEATRE - NIGHT</stage_direction> <scene_description>On the screen , Dermot Mulroney , dressed in a tuxedo , cranes his head to look steeply up and off . Linda sits next to Alan in the half - empty theatre , nervously watching the screen .</scene_description> <character>DERMOT</character> <parenthetical>( OFF . )</parenthetical> <dialogue>First you tell me that you ca n't commit, then you - WOULD YOU GET DOWN FROM THERE!</dialogue> <scene_description>Linda laughs raucously , then catches herself and looks at Alan .</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT - NIGHT</stage_direction> <scene_description>The couple sit across from each other at a small table . They pick at their food .</scene_description> </scene> <scene> <stage_direction>INT. LINDA'S APARTMENT/BEDROOM - NIGHT</stage_direction> <scene_description>The couple are making love in the dark room on a frilly comforter . Alan , still wearing his glasses , wheezes asthmatically .</scene_description> </scene> <scene> <stage_direction>INT. LINDA'S APARTMENT/BEDROOM - LATER</stage_direction> <scene_description>Alan is snoring . After a long beat Linda gets up and puts on a robe . She bends down near the bed and picks something up out of Alan 's trousers .</scene_description> </scene> <scene> <stage_direction>INT. LINDA'S LIVING ROOM - NIGHT</stage_direction> <scene_description>She sits into a chair near the window in the dark room and opens Alan 's wallet . A Discover card , driver 's license , a condom . A photograph of Alan holding a large bluefish . She unfolds a piece of notepaper . Written in a feminine hand in pencil : Please pick up : Plunge Honey Nut Cheerios .</scene_description> <character>LINDA</character> <dialogue>Oh for Pete's sake!</dialogue> <scene_description>She catches herself , looks around . The snoring , off , continues . She looks out the window . The lights of the freeway twinkle .</scene_description> </scene> <scene> <stage_direction>INT. YACHT - NIGHT</stage_direction> <scene_description>We are in the bedroom . The boat rides gently at anchor . Harry has an arm around Katie , in bed . Both stare at a point in space . After a beat that is silent except for the faint sloshing of water against hull :</scene_description> <character>HARRY</character> <dialogue>and then, you know, you grow up. I guess that's what's happened with me. You just. people change. We married when I was, what, in my mid - twenties. A kid. We were kids. Twenties. You think it's forever. Then, you know, you're older - you begin to feel your mortality, you start to think, well, there's no more time for dishonesty. Subterfuge. You go, I'm not that person. The choices you made, you ca n't, just through inertia -</dialogue> <character>KATIE</character> <dialogue>I'm thinking of divorcing Ozzie.</dialogue> <scene_description>Harry does n't react - a careful , studied non - reaction . After more sloshing :</scene_description> <character>HARRY</character> <dialogue>I'm just thinking, Whoa. I mean, frankly, I'm thinking, Whoa. I, I, I guess that's what I should be thinking about too. With Sandy.</dialogue> <character>KATIE</character> <dialogue>That's what you were just saying.</dialogue> <character>HARRY</character> <dialogue>Yes! Absolutely! And you should be getting rid of that bozo. No question about that. I agree.</dialogue> <character>KATIE</character> <dialogue>So if I were divorced -</dialogue> <character>HARRY</character> <dialogue>Well yes, if you were uh, you know, yes. Yes, I should settle things. With Sandy. Because of you and me. It just takes, courage, you know. To inflict that pain. Scary stuff. Scary stuff. You're a brave lady. Well, of course, it would be easier for you.</dialogue> <character>KATIE</character> <dialogue>Why's that? I do n't see that.</dialogue> <character>HARRY</character> <parenthetical>( chuckling . )</parenthetical> <dialogue>Well you know, because he's such a dope.</dialogue> <parenthetical>( sobers . )</parenthetical> <dialogue>But Sandy, she's. a good lady. A very special lady.</dialogue> <character>KATIE</character> <dialogue>She's a cold, stuck - up bitch.</dialogue> <character>HARRY</character> <dialogue>Well that's. a little -</dialogue> <character>KATIE</character> <dialogue>You and I should sort things out. I've told you that this is not just frivolity.</dialogue> <character>HARRY</character> <dialogue>No, that's understood. You've been very straight.</dialogue> <character>KATIE</character> <dialogue>I thought I was loud and clear.</dialogue> <character>HARRY</character> <dialogue>Absolutely. Not just fun and games.</dialogue> <scene_description>Awkward beat . The sloshing of waves . Harry nods .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Absolutely.</dialogue> </scene> <scene> <stage_direction>INT. HOME DEPOT - DAY</stage_direction> <scene_description>Harry Pfarrer pulls a length of metal tubing from a shelf . He sights down it , examines the gauge , hefts it . He slides it back in and pulls a length , wider gauge , from the shelf below .</scene_description> </scene> <scene> <stage_direction>EXT. HOME DEPOT - DAY</stage_direction> <scene_description>Long lens , hand - held , point - of - view seeming : Harry is pushing a red shopping cart through the parking lot . Standing in the cart are lengths of metal tubing that he steadies with one hand as he pushes .</scene_description> </scene> <scene> <stage_direction>INT. LINDA LITZKE'S CUBICLE - DAY</stage_direction> <scene_description>Linda has a hand cupped to her forehead and the phone pressed to one ear .</scene_description> <character>LINDA</character> <dialogue>English! Agent! Agent!</dialogue> <scene_description>After a short beat she hits a button on the phone console and cradles the handset . From the speaker we hear :</scene_description> <character>RECORDED VOICE</character> <dialogue>- important to us. Please stay on the line for the next available agent.</dialogue> <scene_description>Music . Linda listens for a moment , then abruptly lifts the handset and slams it back down .</scene_description> </scene> <scene> <stage_direction>INT. HARDBODIES - TED'S CUBICLE - DAY</stage_direction> <scene_description>TRACKING IN ON TED 'S CUBICLE Ted Treffon , the soulful manager of Hardbodies , stands with one hand on the back of his chair - which Chad occupies - and one hand on the desktop , looking over Chad 's shoulder at a computer screen that Chad is scrolling down . Standing behind both men is a short Mexican Indian man , also in a Hardbodies uniform .</scene_description> <character>CHAD</character> <dialogue>Holy shit.</dialogue> <character>LINDA</character> <dialogue>Ted, can I talk to you about our Mickey Mouse health plan?</dialogue> <scene_description>Ted continues to stare at the computer screen in mounting alarm . He responds absently to Linda :</scene_description> <character>TED</character> <dialogue>Uh - huh. Hang on.</dialogue> <character>CHAD</character> <dialogue>This is some heavy shit.</dialogue> <character>LINDA</character> <dialogue>Is that my date list?</dialogue> <character>CHAD</character> <dialogue>No. fuck.</dialogue> <character>LINDA</character> <dialogue>You know, I'm trying to reinvent myself, and these procedures, which are so incredibly not cheap, this Micky Mouse HMO is saying they're not, they're. What is this?</dialogue> <scene_description>She is looking at the screen .</scene_description> <character>CHAD</character> <dialogue>I ca n't believe this. This is like. intelligence shit.</dialogue> <character>TED</character> <dialogue>I am not comfortable with this.</dialogue> <character>LINDA</character> <dialogue>What is it?</dialogue> <character>CHAD</character> <dialogue>This is, like, I ca n't believe this shit I'm seeing.</dialogue> <character>TED</character> <dialogue>Manolo found it.</dialogue> <character>CHAD</character> <dialogue>Manolo found this, like, CD just lying in a locker. Locker floor. Ladies' locker room.</dialogue> <character>MANOLO</character> <dialogue>Jus lie - een there.</dialogue> <character>CHAD</character> <dialogue>And I'm like, whoa, someone's music or what, so I come in here and it's these files, man.</dialogue> <character>TED</character> <dialogue>I am not comfortable with this.</dialogue> <character>CHAD</character> <dialogue>Like it's talking about SigInt, and signals and shit. Which, Signals means code, you know.</dialogue> <character>MANOLO</character> <dialogue>It was jus lie - een there.</dialogue> <character>CHAD</character> <dialogue>Talking about like, section heads here, and their names and shit. And then these other files are just, like, numbers. Arrayed. Numbers and dates and numbers. And numbers. I think that's the shit, man. The raw intelligence.</dialogue> <character>TED</character> <dialogue>I am not touching this. I want this out of here.</dialogue> <character>CHAD</character> <dialogue>Wul. Throw it out?</dialogue> <character>LINDA</character> <dialogue>You ca n't do that! You should put a note up in the ladies' locker room.</dialogue> <character>CHAD</character> <dialogue>Put a note up? Highly classified shit found, Signals intelligence shit, CIA shit? Hello! Did you lose your secret CIA shit? I do n't think so.</dialogue> <character>TED</character> <dialogue>Look, you figure it out, I am not comfortable with this. I want this out of Hardbodies.</dialogue> <scene_description>As he backs out of the office :</scene_description> <character>TED</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We're running a gym here!</dialogue> <scene_description>Chad swivels around .</scene_description> <character>CHAD</character> <dialogue>Look, Manolo.</dialogue> <scene_description>He zippers his lip .</scene_description> <character>CHAD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>you did n't find this.</dialogue> <character>MANOLO</character> <dialogue>I found it on the floor there.</dialogue> <character>CHAD</character> <dialogue>Yeah, I know, but</dialogue> <character>MANOLO</character> <dialogue>Right there on the floor there. Lie - een there.</dialogue> </scene> <scene> <stage_direction>INT. HARRY'S CAR - DAY</stage_direction> <scene_description>CLOSE ON A REAR - VIEW MIRROR A dark blue Ford Taurus , three or four car lengths back on a quiet Chevy Chase street . Harry Pfarrer glances at the rear view mirror . Behind him we see the steel pipe from Home Depot laying across the top of the back seat of the station wagon .</scene_description> </scene> <scene> <stage_direction>EXT. CHEVY CHASE HOUSE - DAY</stage_direction> <scene_description>Harry is just getting out of the wagon which is parked in the driveway of the suburban house .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - DAY</stage_direction> <scene_description>Harry is struggling through the front door with the length of pipe . We hear his wife call down from upstairs :</scene_description> <character>SANDY</character> <dialogue>Harry? Is that you?</dialogue> <character>HARRY</character> <dialogue>Yeah, yeah, it's me.</dialogue> <scene_description>He takes the pipe , opens the staircase door to the cellar , sets the pipe inside on the upper stair , and closes the door behind him .</scene_description> </scene> <scene> <stage_direction>INT. CELLAR - NIGHT</stage_direction> <scene_description>Harry is at a workbench welding a length of trimmed pipe to a short piece of hardware clamped in a table vise . His home shop is in a caged - off section of the basement . There is also haphazard storage . One shelf holds stacked boxes labeled with magic marker : `` Oliver in the Oval Office , '' `` Yea and Nay for Oliver , '' `` Point of Order , Oliver ! '' Harry loosens the vise and takes out the piece of hardware . He drops it , a small bearing - mounted clip , onto a length of pipe held horizontal in another vise . He experimentally slides the clip along the length of pipe : it slides smoothly back and forth , nicely balanced .</scene_description> </scene> <scene> <stage_direction>INT. MONKEY DAVE'S - NIGHT</stage_direction> <scene_description>Linda Litzke and Ted Treffon , the soulful manager of Hardbodies , are at a table in the yuppie bar Monkey Dave 's . To a waitress :</scene_description> <character>LINDA</character> <dialogue>Absolut Saketini, please?</dialogue> <character>TED</character> <dialogue>Just a Tab.</dialogue> <character>LINDA</character> <dialogue>You know, it would n't cover all of it, but if I got some advance on my salary I could at least get the surgery ball rolling.</dialogue> <character>TED</character> <dialogue>Whoa! There's a payroll company, you know. They do n't just advance people money. They just do n't do that. I mean, sure, I could say, Yes, I authorize it, but that's not going to mean anything to them.</dialogue> <character>LINDA</character> <dialogue>Well why do they have us on a cockamamie health plan? I need these surgeries, Ted!</dialogue> <character>TED</character> <dialogue>You're a beautiful woman! You do n't need</dialogue> <character>LINDA</character> <dialogue>Ted, I have gone just as far as I can go with this body! I -</dialogue> <character>TED</character> <dialogue>I think it's a very beautiful - it's not a phoney - baloney Hollywood body -</dialogue> <character>LINDA</character> <dialogue>That's right, Ted, I would be laughed out of Hollywood. I have very limited breasts and a gi - normous ass and I have this gut that swings back and forth in front a me like a shopping cart with a bent wheel.</dialogue> <character>TED</character> <dialogue>Oh come on!</dialogue> <character>LINDA</character> <dialogue>I am trying to get back in circulation. I have appetites and so forth, and, uh -</dialogue> <character>TED</character> <dialogue>Well there's a lot of guys who'd like you just the way you are.</dialogue> <character>LINDA</character> <dialogue>Yeah - losers!</dialogue> <character>TED</character> <dialogue>Well, I do n't know. Am I a loser? Lem me tell you something. I was n't always a manager at Hardbodies. I, um.</dialogue> <scene_description>He looks at her , appraising . He decides .</scene_description> <character>TED</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Let me show you something.</dialogue> <scene_description>He reaches into his wallet . He pulls out a picture : A snapshot of a soulful man in a dark robe and a high caftan standing on a curb in front of a large stone building . Linda shrieks :</scene_description> <character>LINDA</character> <dialogue>Omygod - is that you?!</dialogue> <scene_description>Ted nods gravely .</scene_description> <character>TED</character> <dialogue>Fourteen years, a Greek Orthodox priest. Congregation in Chevy Chase.</dialogue> <character>LINDA</character> <dialogue>Well jeez, that's a good job!</dialogue> <character>TED</character> <dialogue>Mm - hm.</dialogue> <character>LINDA</character> <dialogue>What happened?</dialogue> <character>TED</character> <dialogue>Well.</dialogue> <scene_description>He looks at the picture for a sad beat , then shrugs . He stuffs it back in his wallet .</scene_description> <character>TED</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's a long story. Anyway, lotta ways I'm happier now. My point is. my point is. it's a journey.</dialogue> <character>LINDA</character> <dialogue>Well that's my point! I do n't want to stay where I am! I want to find someone to share my journey!</dialogue> <character>TED</character> <dialogue>Well, sometimes, you know, you do n't look in your own back yard, you're never gon na see -</dialogue> <character>LINDA</character> <dialogue>That's right! That's why I've started this internet dating!</dialogue> <character>TED</character> <dialogue>Uh - huh, but I'm saying, maybe you do n't have to, you know. to -</dialogue> <character>LINDA</character> <dialogue>Look Ted, I know you ca n't authorize an advance on my salary but you can put in a request, ca n't you?</dialogue> <character>TED</character> <dialogue>It's not going to do any good, Linda.</dialogue> <character>LINDA</character> <dialogue>Ted, have you ever heard of the power of positive thinking?</dialogue> </scene> <scene> <stage_direction>INT. LINDA'S APARTMENT - NIGHT</stage_direction> <scene_description>It is night . Linda sleeps in a darkened bedroom under the frilly comforter . We hear a distant banging . Finally the banging stops and a moment later the telephone rings . Linda stirs , wakes and reaches for the bedside phone .</scene_description> <character>LINDA</character> <dialogue>Hurrow -</dialogue> <scene_description>She removes an appliance from her mouth .</scene_description> <character>LINDA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hello? Where are you? Okay. Just a second.</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT STAIRWELL - NIGHT</stage_direction> <scene_description>We hear a door being buzzed open . At the top of the staircase an apartment door opens and Linda appears in a robe . Her POV down the steep staircase : Chad Feldheimer is walking up towards the landing dressed in a black lycra bicycle unitard with lime green flames . He holds a bike wheel in one hand and a plastic squirt bottle in the other . He looks up , foreshortened .</scene_description> <character>CHAD</character> <dialogue>Omygod.</dialogue> </scene> <scene> <stage_direction>INT. LINDA'S APARTMENT - MOMENTS LATER</stage_direction> <scene_description>Chad enters with his bicycle wheel and squirt bottle . Linda shuts the door behind him .</scene_description> <character>CHAD</character> <dialogue>Omygod.</dialogue> <character>LINDA</character> <dialogue>Chad, you know what time it is?</dialogue> <character>CHAD</character> <dialogue>Uh - huh. So, like, I could n't tell you this on your totally unsecure phone, but I know who the guy is.</dialogue> <scene_description>He leans his wheel against the wall and sits on a low chair that brings his knees up near his chin . He looks smugly at Linda .</scene_description> <character>LINDA</character> <dialogue>The guy?</dialogue> <character>CHAD</character> <dialogue>The guy, the secret guy.</dialogue> <character>LINDA</character> <dialogue>Is he high up?</dialogue> <scene_description>A beat . Chad stares .</scene_description> <character>CHAD</character> <dialogue>Um. I do n't know if he's high up. Probably. I mean, I know his name, not like his rank.</dialogue> <character>LINDA</character> <dialogue>What is it?</dialogue> <character>CHAD</character> <dialogue>Osbourne. Cox.</dialogue> <character>LINDA</character> <dialogue>Never heard of him.</dialogue> <character>CHAD</character> <dialogue>Oh, like you're so plugged in to the intelligence community.</dialogue> <character>LINDA</character> <dialogue>I'm just saying, to the layman -</dialogue> <character>CHAD</character> <dialogue>Well I think like the quality of the intelligence dictates how high up he is.</dialogue> <character>LINDA</character> <dialogue>Uh - huh.</dialogue> <character>CHAD</character> <dialogue>Not what we know.</dialogue> <character>LINDA</character> <dialogue>Uh - huh.</dialogue> <character>CHAD</character> <dialogue>And I also got his - do you have any water? I got ta hydrate.</dialogue> <character>LINDA</character> <dialogue>I have tap water</dialogue> <character>CHAD</character> <dialogue>Are you kidding?</dialogue> <character>LINDA</character> <dialogue>How did you find out who he is?</dialogue> <character>CHAD</character> <dialogue>Sources.</dialogue> <character>LINDA</character> <dialogue>What do you mean sources?</dialogue> <character>CHAD</character> <dialogue>Do you have like Gatorade? Anything besides, like, Maryland swamp water?</dialogue> <scene_description>He rises and heads for the kitchen .</scene_description> <character>CHAD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You know how far this is from my place?</dialogue> <character>LINDA</character> <dialogue>How do you know his name?</dialogue> <character>CHAD</character> <dialogue>I have this geek friend, Ernie Gallegos? He does computer stuff, hooks up people's computers and programs their VCRs'n shit? So he examines the files and he pulls off the digital watermark that tells what computer they were created on. Fucking child's play for Ernie.</dialogue> <character>LINDA</character> <dialogue>Uh - huh.</dialogue> <scene_description>Chad opens the refrigerator and starts rummaging .</scene_description> <character>CHAD</character> <dialogue>I also have his telephone number. That was a little harder.</dialogue> <character>LINDA</character> <dialogue>Omygod!</dialogue> <scene_description>Chad straightens up with a bottle of orange juice which he rolls across his forehead .</scene_description> <character>CHAD</character> <dialogue>Shall we give him a tinkle?</dialogue> <character>LINDA</character> <dialogue>Omygod, why?</dialogue> <character>CHAD</character> <dialogue>Because he's gon na wan na know that his shit is secure. You know, he's gon na be relieved. He might even be so relieved he gives us a reward - I would be very fucking surprised if he did not.</dialogue> <character>LINDA</character> <dialogue>Oh, wow.</dialogue> <character>CHAD</character> <dialogue>Very surprised. Like, you know, the Good Samaritan tax. Which is not even a tax, really, since it's voluntary.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN - MOMENTS LATER</stage_direction> <scene_description>Chad is looking at a crumpled piece of notepaper and punching numbers into a wall phone . In the background we see Linda watching him from the living room couch . A beat . We hear the call ring through . The click of the connection being made , and Chad silently gestures , with an upward sweep of his hand , for Linda to pick up her extension .</scene_description> <character>CHAD</character> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>INT. OSBOURNE'S BEDROOM - NIGHT</stage_direction> <scene_description>He has the phone pressed groggily to his ear .</scene_description> <character>OSBOURNE</character> <dialogue>Hello?</dialogue> <character>CHAD</character> <dialogue>Osbourne? Osbourne Cox?</dialogue> <character>OSBOURNE</character> <dialogue>Yes - uh - Who is this?</dialogue> <character>CHAD</character> <dialogue>Are you. uh. Osbourne Cox?</dialogue> <character>OSBOURNE</character> <dialogue>Who is this? What time is it? Who are you?</dialogue> <character>CHAD</character> <dialogue>I'm a Good Samaritan. I'm sorry I'm calling at such an hour, but I thought you might be worried.</dialogue> <character>OSBOURNE</character> <dialogue>Worried?</dialogue> <character>CHAD</character> <dialogue>About the security. Of your shit.</dialogue> <scene_description>A beat .</scene_description> <character>OSBOURNE</character> <dialogue>What on earth are you talking about? Who am I speaking to?</dialogue> <scene_description>Katie stirs in bed .</scene_description> <character>KATIE</character> <dialogue>Who is it?</dialogue> <character>CHAD</character> <dialogue>Your files - your documents. I know these documents are sensitive. But I am perfectly happy to return to you your sensitive shit. At a time of your choosing.</dialogue> <character>OSBOURNE</character> <dialogue>What documents? What are you talking about?</dialogue> <character>CHAD</character> <dialogue>Osbourne Cox?</dialogue> <character>OSBOURNE</character> <parenthetical>( explosive . )</parenthetical> <dialogue>Yes! Yes, I'm Osbourne Cox! Who the fuck</dialogue> <character>CHAD</character> <dialogue>Settle down, Osbourne.</dialogue> <character>KATIE</character> <dialogue>Who is that?</dialogue> <character>OSBOURNE</character> <dialogue>What documents are you talking about?</dialogue> <character>CHAD</character> <parenthetical>( referring to his notepaper . )</parenthetical> <dialogue>OK. `` The bureau chief in Belgrade we all called Slovak the Butcher. He had very little report with his staff, and his despatches were marked by -</dialogue> <character>OSBOURNE</character> <dialogue>Ra - por, very little rapport with his staff, you fucking moron! How did you get -</dialogue> <character>CHAD</character> <dialogue>Do n't blow a gasket, Osbourne. I have -</dialogue> <character>OSBOURNE</character> <dialogue>How did you get a hold of that!</dialogue> <character>CHAD</character> <dialogue>It's not important where I -</dialogue> <character>OSBOURNE</character> <dialogue>You're in way over your fucking head! Who the fuck are you? You have no idea what you're doing!</dialogue> <character>CHAD</character> <dialogue>Oh! Why so uptight, Osbourne Cox? I'm just a Good Samaritan, like, a traveler on the road who has happened upon -</dialogue> <character>LINDA</character> <dialogue>We're going to return it, we just thought -</dialogue> <character>CHAD</character> <dialogue>Linda, I'll do it!</dialogue> <character>OSBOURNE</character> <dialogue>Who's this?!</dialogue> <character>KATIE</character> <dialogue>Ozzie, what is going on.</dialogue> <character>LINDA</character> <dialogue>Like a Good Samaritan tax -</dialogue> <character>OSBOURNE</character> <dialogue>Who the fuck -</dialogue> <character>CHAD</character> <dialogue>You know, this is a major inconvenience for us and we thought, you know, a reward -</dialogue> <character>OSBOURNE</character> <dialogue>So it's money! So it's money!</dialogue> <character>CHAD</character> <dialogue>Well, yeah, uh. why not? I mean, this is not - am I out of line here?</dialogue> <character>OSBOURNE</character> <dialogue>All right, you two clowns listen to me very very carefully. I do n't know who you are, but I warn you most emphatically -</dialogue> <character>LINDA</character> <dialogue>You warn us? You warn us? You know what, Mr., Mr. Intelligence? We warn you! We'll call you back with our demands!</dialogue> <scene_description>She slams down the phone .</scene_description> <character>CHAD</character> <dialogue>Hello? We just -</dialogue> <character>OSBOURNE</character> <dialogue>Who, who -</dialogue> <character>LINDA</character> <dialogue>Chad! Do n't play his game!</dialogue> <character>OSBOURNE</character> <dialogue>Hello! Hello!</dialogue> <character>CHAD</character> <parenthetical>( into the phone as he hangs it up . )</parenthetical> <dialogue>Sorry.</dialogue> <scene_description>He walks back into the living room shaking his head .</scene_description> <character>CHAD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Geeze.</dialogue> <character>LINDA</character> <dialogue>The nerve of that guy!</dialogue> <character>CHAD</character> <dialogue>I am very fucking surprised he did not give us the reward.</dialogue> <scene_description>THE COX BEDROOM - NIGHT Osbourne sits on the edge of his bed in the dark room , shaking his head .</scene_description> <character>KATIE</character> <dialogue>What in God's name is going on?</dialogue> <character>OSBOURNE</character> <dialogue>There's some clown - a couple of clowns - somehow got a hold of my memoir -</dialogue> <character>KATIE</character> <dialogue>Your what?</dialogue> <character>OSBOURNE</character> <dialogue>Stole it or - I have no idea how they got it -</dialogue> <character>KATIE</character> <dialogue>Your what?</dialogue> <character>OSBOURNE</character> <dialogue>My memoir, the book I'm writing.</dialogue> <character>KATIE</character> <dialogue>Why in God's name would they think that's worth anything.</dialogue> <character>OSBOURNE</character> <dialogue>Well they - I. I've no idea how they got it.</dialogue> </scene> <scene> <stage_direction>INT. LINDA'S APARTMENT</stage_direction> <scene_description>Chad paces , shaking his head .</scene_description> <character>CHAD</character> <dialogue>But it does n't sound like he's gon na play ball.</dialogue> <character>LINDA</character> <dialogue>Oh, he'll play ball! We just have to let him know who's boss.</dialogue> <character>CHAD</character> <dialogue>Well, that's - he sounds very senior. I think this is some senior guy who has screwed the pooch, big - time.</dialogue> <character>LINDA</character> <dialogue>Yeah, that's why we got him, you know, we've caught him with his thing caught in a big fat wringer.</dialogue> <character>CHAD</character> <dialogue>Yuh - huh.</dialogue> <character>LINDA</character> <dialogue>And us in the driver's seat. This is our opportunity, like, you do n't get many of these. You slip on the ice outside of, you know, a fancy restaurant.</dialogue> <character>CHAD</character> <dialogue>Yuh - huh.</dialogue> <character>LINDA</character> <dialogue>Or this happens.</dialogue> <character>CHAD</character> <dialogue>Right.</dialogue> <character>LINDA</character> <dialogue>And right now this has happened.</dialogue> <character>CHAD</character> <dialogue>Yup. It sure has.</dialogue> <character>LINDA</character> <dialogue>This could put a big dent in my surgeries.</dialogue> <character>CHAD</character> <dialogue>Big time.</dialogue> </scene> <scene> <stage_direction>INT. PFARRER CELLAR - DAWN</stage_direction> <scene_description>SANDY PFARRER We are dutch on her as she leans down a staircase , one hand on its rail , calling to be heard over the buzz of a bandsaw :</scene_description> <character>SANDY</character> <dialogue>Honey!</dialogue> <scene_description>No answer . The bandsaw whines higher , cutting through steel . Louder :</scene_description> <character>SANDY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Honey!</dialogue> <scene_description>The whine hums down .</scene_description> <character>HARRY'S VOICE</character> <dialogue>Huh?</dialogue> <character>SANDY</character> <dialogue>My cab is here, I'm off. Mystery man.</dialogue> <scene_description>Her point - of - view : down the stairs , oddly cropped by the angles of dropped ceiling and walls , we see Harry 's lower body as he throws a drape over his project . He emerges from the shop cage and closes its mesh door and padlocks it .</scene_description> <character>SANDY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What is that thing?</dialogue> <character>HARRY</character> <dialogue>Oh baby. Top secret.</dialogue> <scene_description>He comes up the stairs , pushing goggles onto his forehead .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You're gon na knock'em dead.</dialogue> <scene_description>At the top of the stairs he kisses her .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>How many cities?</dialogue> <character>SANDY</character> <dialogue>Seattle, San Francisco, Los Angeles, Chicago.</dialogue> <scene_description>He picks up her bag and they go out .</scene_description> <character>HARRY</character> <dialogue>Why do they always have you do Seattle. Not a big market.</dialogue> <character>SANDY</character> <dialogue>I do n't know, lots of independent bookstores. Rains all day, what are people gon na do.</dialogue> <character>HARRY</character> <dialogue>I can think of a couple of things.</dialogue> <character>SANDY</character> <dialogue>You can think of one thing.</dialogue> </scene> <scene> <stage_direction>EXT. PFARRER HOUSE - DAWN</stage_direction> <scene_description>They are walking to a black Town Car idling curbside .</scene_description> <character>SANDY</character> <dialogue>It better be the Peninsula. The money I make for them. Are you gon na be okay?</dialogue> <character>HARRY</character> <dialogue>I'll be sad. But I'll be okay.</dialogue> <character>SANDY</character> <dialogue>Not too sad.</dialogue> <character>HARRY</character> <dialogue>Just the right amount.</dialogue> <scene_description>He kisses her .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I am crazy about you, baby.</dialogue> <scene_description>He slams the car door after her . As the car pulls out his look travels with it and then lingers up the street , caught on : A Ford Taurus , parked , dark . Harry hesitates , then starts walking up the street towards the parked car . When he has taken several steps the ignition is turned in the car . A shape briefly visible in the driver 's seat is lost when the headlights flash on . The car pulls out from the curb into a U - turn and drives away . Harry watches the tail lights recede .</scene_description> </scene> <scene> <stage_direction>INT. LAW FIRM - CONFERENCE ROOM - DAY</stage_direction> <scene_description>CLOSE ON A THUMB AND FINGER Twisting a gold cufflink like a worry bead . Wider shows the attorney Bogus Terikhian at a conference table in a book - lined room .</scene_description> <character>BOGUS</character> <dialogue>Tony Bennett, Toni Morrison and Zoe Caldwell. It was marvelous. First time I've attended the Kennedy Honors. Jane Alexander is a client. Old friend of Zoe's. What an actress. Anyway.</dialogue> <scene_description>He leans forward and presses a button on his phone console .</scene_description> <character>BOGUS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Connie, could you bring in your copy of the Cox financials?</dialogue> </scene> <scene> <stage_direction>INT. LAW FIRM - OUTER OFFICE - DAY</stage_direction> <scene_description>The secretary rummages through a gym bag that has the Hardbodies logo . There are gym clothes among the odds and ends . She picks up her handset .</scene_description> <character>SECRETARY</character> <dialogue>I thought I had it here on a disk - I do n't know where the disk is. I'm sorry, I'll have to run another off my hard drive.</dialogue> </scene> <scene> <stage_direction>INT. LAW FIRM - INNER OFFICE - DAY</stage_direction> <scene_description>Bogus is leaning back , expansive .</scene_description> <character>BOGUS</character> <dialogue>Tony sang `` The Best Is Yet To Come.'' Mr. Bennett.</dialogue> <scene_description>He projects toward the phone :</scene_description> <character>BOGUS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yeah, okay.</dialogue> <character>BOGUS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>So. We've drawn up the papers and are prepared to execute service on Osbourne if you so elect, Mrs. Cox. Our missiles are pointed at his capital, so to speak, and we await only your word. But, be mindful, madam : once these missiles are launched, there is no recalling them. We are not picking daisies. We are declaring war, and hostilities will then impose their own logic. I think you understand what I'm saying.</dialogue> <character>KATIE</character> <dialogue>It'll piss Ozzie off.</dialogue> <character>BOGUS</character> <dialogue>Mm - hm.</dialogue> <character>KATIE</character> <dialogue>Mr. Terikhian, I have given my husband second chances galore. There are limits to my charity.</dialogue> <character>BOGUS</character> <dialogue>Of course. But since we are at the point of no return, I always urge my clients at this juncture to give it one more day of reflection.</dialogue> <character>KATIE</character> <dialogue>Yes. Understood.</dialogue> </scene> <scene> <stage_direction>EXT. WASHINGTON MALL - DAY</stage_direction> <scene_description>Linda walks down the promenade , dressed in a smart pant suit . Her moving POV passes over people relaxing in the park : a mother with a stroller , kids running with a ball . Her look settles on the bench that formerly held her first date , now occupied by : A man spitting sunflower seeds . Harry Pfarrer . The point - of - view arcs past him as Linda gives him the once - over . She doubles back .</scene_description> <character>LINDA</character> <dialogue>Harry? I'm Linda.</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT - NIGHT</stage_direction> <scene_description>Harry and Linda eat with appetite as they talk .</scene_description> <character>HARRY</character> <dialogue>Yeah, I did the whole bodyguard thing for years. My guy was in State, the Secretary in fact, so of course I traveled a lot.</dialogue> <scene_description>Harry talks into his sleeve - cuff as if into a radio transmitter :</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>`` Ironside is leaving the building.'' We called him Iron Ass.</dialogue> <scene_description>Linda cackles .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Not to his face, of course. Not to his ass, either!</dialogue> <scene_description>Linda cackles again ; Harry smiles .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Ah, he was okay. But, Personal Protection - that's a young man's game.</dialogue> <character>LINDA</character> <dialogue>You wan na try these dumplings? They're delicious.</dialogue> <character>HARRY</character> <dialogue>Sure.</dialogue> <scene_description>He reaches but hesitates .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Does it have shellfood in it?</dialogue> <character>LINDA</character> <dialogue>Shellfood?</dialogue> <character>HARRY</character> <dialogue>` Cause I have this sensitivity. I, uh, go into anaphylactic shock. My larynx swells up, closes off the - Ah what the hell.</dialogue> <scene_description>He spears a dumpling :</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Live dangerously -</dialogue> <scene_description>Through a mouthful :</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Ca n't always wear a condom.</dialogue> <scene_description>Linda cackles .</scene_description> <character>LINDA</character> <dialogue>That's right! Not always!</dialogue> <character>HARRY</character> <dialogue>Anyway, my job's more administrative now, not so much PP. Personal Protection. Though I still carry the gun.</dialogue> <character>LINDA</character> <dialogue>Omygod, really!</dialogue> <character>HARRY</character> <parenthetical>( still chewing , he shrugs . )</parenthetical> <dialogue>It's no big deal. Never discharged it, twenty years service. Security blanket now. I do n't think about it - course, you're not supposed to think about it ; in a situation where your man is threatened the training kicks in. Muscle memory. Reflex - Those are outrageous.</dialogue> <scene_description>He stabs another dumpling off Linda 's plate .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Wan na swap?</dialogue> <character>LINDA</character> <dialogue>No way!</dialogue> </scene> <scene> <stage_direction>INT. LINDA'S APARTMENT - NIGHT</stage_direction> <scene_description>Linda swings the door open , leading Harry in . Harry talks as he looks appraisingly around the apartment .</scene_description> <character>HARRY</character> <dialogue>- but there was just a hell of a lot of political infighting, petty, petty, shit, and then basically the old man stepped on Goldberger's throat. Nice.</dialogue> <scene_description>He is evaluating the place . He stamps on the floor .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Wide - plank pine?</dialogue> <character>LINDA</character> <dialogue>I guess.</dialogue> <scene_description>Harry is taking off his coat .</scene_description> <character>HARRY</character> <dialogue>Listen, full disclosure here Linda.</dialogue> <scene_description>He holds up both hands and waggles the fingers .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm not wearing a wedding ring but I am married. Took the ring off, what, eighteen months ago when we agreed to separate. Agreed to disagree. That's about the only thing we ever agreed on.</dialogue> <scene_description>Linda cackles .</scene_description> <character>LINDA</character> <dialogue>Thanks for telling me. I really do appreciate it, Harry.</dialogue> <character>HARRY</character> <dialogue>Well, full transparency, the only way to -</dialogue> <scene_description>As Linda passes he grabs and embraces her . Linda reacts to his gun in the shoulder holster :</scene_description> <character>LINDA</character> <dialogue>That's not gon na go off, is it?</dialogue> <character>HARRY</character> <dialogue>Well let's go in the other room and find out! Grrr!</dialogue> </scene> <scene> <stage_direction>INT. TED'S OFFICE - DAY</stage_direction> <scene_description>TED TREFFON The soulful manager of Hardbodies .</scene_description> <character>TED</character> <dialogue>That's great. That sounds. exciting.</dialogue> <scene_description>Wider shows Linda in the manager 's cubicle .</scene_description> <character>LINDA</character> <dialogue>He's very very communicative. Very accessible. He has a sense of humor. And he agrees one hundred percent about my surgeries.</dialogue> <character>TED</character> <dialogue>Well, I -</dialogue> <character>LINDA</character> <dialogue>He thinks my ass could be smaller. I mean, not in a mean way, he kidded about it - he's got a terrific sense of humor.</dialogue> <character>TED</character> <dialogue>That's good, but. but. Linda, what do you really know about this guy?</dialogue> <character>LINDA</character> <dialogue>I told you, he's in the Treasury Department and he -</dialogue> <character>TED</character> <dialogue>But he could be one of these people who, you know, who cruises the internet -</dialogue> <character>LINDA</character> <dialogue>Yeah, so am I!</dialogue> <scene_description>A rattling knock . Linda looks over : Chad Feldheimer , in his trainer 's polo shirt , is knocking on the cubicle window . He gestures urgently for her to come out .</scene_description> </scene> <scene> <stage_direction>EXT. SERVICE ALLEY - DAY</stage_direction> <scene_description>Behind Hardbodies . Linda and Chad emerge from the health club through a heavy back door .</scene_description> <character>LINDA</character> <dialogue>No, you ca n't go like that! You got ta wear a suit.</dialogue> <character>CHAD</character> <dialogue>Well - you mean - go home and change?</dialogue> <character>LINDA</character> <dialogue>Yeah!</dialogue> <character>CHAD</character> <dialogue>I was gon na ride my bike. Do I have time?</dialogue> </scene> <scene> <stage_direction>INT. DOWNTOWN RESTAURANT - DAY</stage_direction> <scene_description>Harry and Katie are at a downtown D.C. restaurant in the middle of lunch .</scene_description> <character>KATIE</character> <dialogue>- which to my mind is all the more reason to lower the boom on Ozzie.</dialogue> <character>HARRY</character> <dialogue>Mm.</dialogue> <character>KATIE</character> <dialogue>That's it? `` Mm''?</dialogue> <character>HARRY</character> <dialogue>I'm just. wondering if it's the right time.</dialogue> <character>KATIE</character> <dialogue>Of course it's the right time. Why would n't it be the right time. Does it threaten you?</dialogue> <character>HARRY</character> <dialogue>No no. No, you and me are rock solid. That's why I, uh, I think we can afford to be big. We can think about Ozzie, whether maybe we should let him get himself together a little before you hammer him with, um -</dialogue> <character>KATIE</character> <dialogue>Is that how you see me, `` hammering'' him?</dialogue> <character>HARRY</character> <dialogue>Of course not, but -</dialogue> <character>KATIE</character> <dialogue>Were n't those your words?</dialogue> <character>HARRY</character> <dialogue>Yes, but -</dialogue> <character>KATIE</character> <dialogue>I do n't `` hammer.''</dialogue> <character>HARRY</character> <dialogue>No, uh - huh, of course not. But, I'm saying - I'm no friend of the guy. You know that. I think he's an arrogant little geek. But for Christ sakes, you and me have all the time in the world, and he just lost his job -</dialogue> <character>KATIE</character> <dialogue>He did n't lose it, he quit.</dialogue> <character>HARRY</character> <dialogue>Yeah. Most of the people who `` quit'' in this town were fired.</dialogue> <scene_description>Katie looks at Harry , reckoning . He returns her look with an open one .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I feel sorry for the guy. And he'll be easier to deal with when he does n't feel. cornered.</dialogue> <character>KATIE</character> <dialogue>Maybe. As long as we're talking about Ozzie and not you.</dialogue> <character>HARRY</character> <dialogue>Of course we're talking about Ozzie. Baby, I stand by you whatever you do. I adore you.</dialogue> <scene_description>She nods , thinking , still gazing at him . Her cell phone chirps and she reaches into her purse .</scene_description> <character>KATIE</character> <dialogue>Please get the check.</dialogue> <scene_description>She flips open the phone .</scene_description> <character>KATIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yes? Yes? Is there blood in his stool? Yes, soon.</dialogue> <scene_description>She looks at her watch , rises .</scene_description> <character>KATIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's after two. I have to get back to work.</dialogue> <scene_description>Harry rises to kiss her .</scene_description> <character>HARRY</character> <dialogue>I love you so much.</dialogue> </scene> <scene> <stage_direction>INT./EXT. COX'S CAR/STREET - DAY</stage_direction> <scene_description>CLOSE ON A WATCH Showing 2:20 . Wider shows Osbourne Cox , sitting in a car parked on a downtown street , consulting his watch . He looks up , irritated , and glances around . His look is arrested by : The side - view mirror . It shows a man approaching on bicycle along the sidewalk wearing a suit and a bike helmet . The man dismounts several paces behind the parked car , locks his bike to a fence separating the sidewalk from a small park , and takes off his helmet . It is Chad . He walks along the sidewalk to the car , opens the passenger door and sits in with his bike helmet clamped under one arm .</scene_description> <character>CHAD</character> <dialogue>Osbourne Cox?</dialogue> <character>OSBOURNE</character> <dialogue>And you, I take it, are `` Mr. Black''?</dialogue> <character>CHAD</character> <dialogue>Yes I am. You have the money?</dialogue> <character>OSBOURNE</character> <dialogue>The fifty - thousand dollars.</dialogue> <character>CHAD</character> <dialogue>That's what was agreed upon, Osbourne Cox.</dialogue> <character>OSBOURNE</character> <dialogue>All right. Let me explain something to you, `` Mr. Black.'' You know who I am ; I know who you are.</dialogue> <character>CHAD</character> <parenthetical>( smug . )</parenthetical> <dialogue>Perhaps. But appearances can be - deceptive.</dialogue> <character>OSBOURNE</character> <dialogue>Yeah. What you're engaged in is blackmail, which is a felony. That's for starters.</dialogue> <character>CHAD</character> <dialogue>Appearances can be - deceptive. I am a mere Good Samar -</dialogue> <character>OSBOURNE</character> <dialogue>Secondly, the unauthorized dissemination of classified material is a federal crime. If you ever carried out your proposed threat, you would experience such a shitstorm of consequences, my friend, it would make your empty little head spin faster than your Schwinn bicycle over there.</dialogue> <scene_description>Chad chuckles .</scene_description> <character>CHAD</character> <dialogue>You think that's a Schwinn?</dialogue> <character>OSBOURNE</character> <dialogue>Now give me the fucking floppy or the CD or whatever the fuck you have it on, and I will -</dialogue> <character>CHAD</character> <dialogue>As soon as you give me the money, dickwad! I'm not - Huhgf!</dialogue> <scene_description>Osbourne has punched him in the nose . Chad stares at him , stunned . His nose starts bleeding .</scene_description> <character>CHAD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You fuck!</dialogue> <character>OSBOURNE</character> <dialogue>Give it to me, fuck!</dialogue> <character>CHAD</character> <dialogue>You fuck! You fucker!</dialogue> <scene_description>He opens the car door and gets out , hand to his nose . He slams the door .</scene_description> </scene> <scene> <stage_direction>EXT. STREET/COX'S CAR - DAY</stage_direction> <scene_description>As Chad goes over to his bike Osbourne leans across the front seat and cranks down the passenger window to bellow :</scene_description> <character>OSBOURNE</character> <dialogue>I know who you are, fucker!</dialogue> <scene_description>He pulls out .</scene_description> <character>CHAD</character> <dialogue>You're the fucker!</dialogue> <scene_description>There is the honk of a car horn - not Osbourne 's . Chad looks , surprised . Linda is pulling up . Her passenger window rolls down .</scene_description> <character>LINDA</character> <dialogue>Where's the money?</dialogue> <character>CHAD</character> <dialogue>He hit me!</dialogue> <character>LINDA</character> <dialogue>Where's the money?!</dialogue> <character>CHAD</character> <dialogue>He did n't give it to me</dialogue> <character>LINDA</character> <dialogue>Oh, for - Get in!</dialogue> <scene_description>Chad does .</scene_description> <character>CHAD</character> <dialogue>That fucker!</dialogue> </scene> <scene> <stage_direction>INT. LINDA'S CAR/EXT. STREET - DAY</stage_direction> <scene_description>He is thrown back against the seat as Linda floors it . Recovering :</scene_description> <character>CHAD</character> <dialogue>Hey - what're you -</dialogue> <scene_description>Linda is coming up fast behind Osbourne 's car in traffic .</scene_description> <character>CHAD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh shit!</dialogue> <scene_description>The crash of impact - ramming Osbourne .</scene_description> </scene> <scene> <stage_direction>INT. OSBOURNE'S CAR/EXT. STREET - DAY</stage_direction> <scene_description>He recoils from the impact .</scene_description> <character>OSBOURNE</character> <dialogue>Holy fucking - you fucking morons!</dialogue> <scene_description>HIS CAR - TO - CAR POV The follow car is speeding up again - but it does n't hit him . It swerves out , screeching , to pass , and Linda angrily flips him the finger as she speeds by .</scene_description> </scene> <scene> <stage_direction>INT. LINDA'S CAR - DAY</stage_direction> <character>LINDA</character> <dialogue>That'll give him something to think about.</dialogue> <scene_description>Chad is chuckling . Suddenly he sobers .</scene_description> <character>CHAD</character> <dialogue>Wait, wait! We got ta go back!</dialogue> <scene_description>Linda 's jaw is set . The car is ripping through traffic .</scene_description> <character>LINDA</character> <dialogue>I knew this would happen.</dialogue> <character>CHAD</character> <dialogue>We got ta go back! My bike!</dialogue> <character>LINDA</character> <dialogue>It's on to Plan B.</dialogue> <character>CHAD</character> <dialogue>It's just a Kryptonite lock - you can open those fuckers with a Bic pen!</dialogue> <character>LINDA</character> <dialogue>Heavens sakes -</dialogue> <character>CHAD</character> <dialogue>Where we going? My bike!</dialogue> <character>LINDA</character> <dialogue>Some people!</dialogue> <scene_description>A skidding turn sends his weight against the door , and the car lurches to a halt .</scene_description> <character>CHAD</character> <dialogue>What is this?</dialogue> <character>LINDA</character> <dialogue>Russian Embassy.</dialogue> </scene> <scene> <stage_direction>INT. LINDA'S CAR/EXT. RUSSIAN EMBASSY - DAY</stage_direction> <scene_description>CHAD 'S POV THRU WINDSHIELD The hulking embassy building .</scene_description> </scene> <scene> <stage_direction>INT. EMBASSY RECEPTION - DAY</stage_direction> <scene_description>Linda stands before a reception desk . Chad is just behind her , his shirt front spotted with blood and his head tipped back with one hand pressing a hankie to his nose . His bike helmet is clamped under his other arm .</scene_description> <character>LINDA</character> <dialogue>I told Mr. Krapkin I might be stopping by?</dialogue> <character>CHAD</character> <dialogue>Is there a men's room?</dialogue> </scene> <scene> <stage_direction>INT. MR. KRAPOTKIN'S OFFICE - DAY</stage_direction> <scene_description>Linda and Chad sit in , Chad with a moistened hand - towel now pressed to his nose . Behind the desk sits a sixtyish Russian functionary with the beetle - browed sphynx - like look of the Brezhnev - era bureaucrat . This is Krapotkin .</scene_description> <character>KRAPOTKIN</character> <dialogue>- Not exactly. I am assistant cultural attaché. The organs of state security are not allowed to function within the borders of your country.</dialogue> <character>LINDA</character> <dialogue>The organs of state security?</dialogue> <character>KRAPOTKIN</character> <dialogue>Yes.</dialogue> <character>LINDA</character> <dialogue>But if I had, oh, say, secrets of a highly, um, secrets that would interest the organs of state security.</dialogue> <scene_description>She trails off , nodding encouragingly at Krapotkin . Krapotkin looks blankly back . A long beat .</scene_description> <character>KRAPOTKIN</character> <dialogue>Yes.</dialogue> <scene_description>She rummages in her handbag and pulls out the diskette . She holds it aloft , waggling it for Krapotkin . Krapotkin stares . Linda sets the diskette on the table and slides it across .</scene_description> <character>LINDA</character> <dialogue>This is just a taste.</dialogue> <scene_description>After a beat of looking at the proffered diskette , Krapotkin leans forward to take it . Linda smiles . Krapotkin turns the diskette over a couple of times , looks sadly up .</scene_description> <character>KRAPOTKIN</character> <dialogue>May I ask the source of this.</dialogue> <scene_description>Linda slowly shakes her head , eyes locked on Krapotkin .</scene_description> <character>LINDA</character> <dialogue>No you may not.</dialogue> <character>CHAD</character> <dialogue>Very high up.</dialogue> <character>LINDA</character> <dialogue>Chad!</dialogue> <character>CHAD</character> <dialogue>I'm just saying he's high up!</dialogue> <scene_description>A large drop of blood has gathered at the tip of Chad 's nose . It now drops onto his shirt . Silence . Finally :</scene_description> <character>KRAPOTKIN</character> <dialogue>PC or Meck?</dialogue> <character>LINDA</character> <dialogue>Um. PC.</dialogue> <character>KRAPOTKIN</character> <dialogue>Could you wait please?</dialogue> <scene_description>He rises .</scene_description> <character>LINDA</character> <dialogue>Well -</dialogue> <scene_description>She looks anxiously at her watch .</scene_description> <character>LINDA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I have a date -</dialogue> <scene_description>Krapotkin leaves . When the door closes behind him :</scene_description> <character>LINDA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>The fish. Has bitten.</dialogue> <character>CHAD</character> <dialogue>What? Oh, yeah. Yeah, he seems cool.</dialogue> <scene_description>A long beat . Linda looks at her watch . Chad sighs .</scene_description> <character>CHAD</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That fucker really hit me.</dialogue> </scene> <scene> <stage_direction>INT. MR. KRAPOTKIN'S OFFICE - DAY - MANY MINUTES LATER</stage_direction> <scene_description>Chad is slumped back with his head tilted back . Linda looks at her watch . The door opens . A man in a suit :</scene_description> <character>MAN</character> <dialogue>Could you accompany me please?</dialogue> <character>LINDA</character> <dialogue>Well - okay.</dialogue> </scene> <scene> <stage_direction>INT. EMBASSY HALLWAY - DAY</stage_direction> <scene_description>The three people - Linda , Chad , the man in the suit - walking . Linda gazes around ; Chad has his head mostly back .</scene_description> </scene> <scene> <stage_direction>INT. ANOTHER EMBASSY OFFICE - DAY</stage_direction> <scene_description>Vladimir Putin glares down from a framed photograph on the wall . Chad and Linda are sitting before yet another man , even blander than the first .</scene_description> <character>NEW EMBASSY MAN</character> <dialogue>Can you tell me where this material comes from?</dialogue> <scene_description>Linda makes a pantomime of zipping her lip . The man looks at her impassively .</scene_description> <character>CHAD</character> <dialogue>Name, rank and serial number.</dialogue> <scene_description>The Russian 's focus shifts to the man with the bloody nose :</scene_description> <character>NEW EMBASSY MAN</character> <dialogue>Excuse me?</dialogue> <character>CHAD</character> <dialogue>We, um. we know our rights.</dialogue> <scene_description>The man stares at him . A beat .</scene_description> <character>LINDA</character> <dialogue>This is just a taste.</dialogue> <scene_description>The man 's look swings back to the woman for another staring beat . At length :</scene_description> <character>NEW EMBASSY MAN</character> <dialogue>There is more material?</dialogue> <character>LINDA</character> <dialogue>There's a lot more. But we need to be paid.</dialogue> <character>NEW EMBASSY MAN</character> <dialogue>You are not ideological.</dialogue> <scene_description>A beat .</scene_description> <character>CHAD</character> <dialogue>I do n't think so.</dialogue> <character>LINDA</character> <dialogue>Look, I have a date.</dialogue> <character>NEW EMBASSY MAN</character> <dialogue>Hm?</dialogue> <scene_description>Linda holds up her watch and taps at it :</scene_description> <character>LINDA</character> <dialogue>Date.</dialogue> <scene_description>The man sighs .</scene_description> <character>NEW EMBASSY MAN</character> <dialogue>We will examine the material. How do I contact?</dialogue> <character>LINDA</character> <dialogue>We work at the Hardbodies in Alexandria.</dialogue> <character>CHAD</character> <dialogue>I'm at 1442 Westerly -</dialogue> <character>LINDA</character> <dialogue>Chad, not your home address!</dialogue> <scene_description>Beat .</scene_description> <character>NEW EMBASSY MAN</character> <dialogue>So. I call Hardbodies, I ask for. Chad?</dialogue> <character>LINDA</character> <dialogue>No. Linda.</dialogue> </scene> <scene> <stage_direction>INT. LINDA'S CAR/EXT. HARDBODIES - DAY</stage_direction> <scene_description>TED TREFFON Point - of - view from a car pulling into Hardbodies . Ted Treffon , the soulful manager , stands on the sidewalk in front of the gym , squinting into the approaching car , his arms out to either side , palms up : what the hell is going on ?</scene_description> </scene> <scene> <stage_direction>INT. TED'S CUBICLE - DAY</stage_direction> <scene_description>Minutes later .</scene_description> <character>TED</character> <dialogue>A line to check in, towels piling up.</dialogue> <character>LINDA</character> <dialogue>I'm sorry.</dialogue> <character>TED</character> <dialogue>Manolo running around like crazy - what happened to your nose?</dialogue> <character>CHAD</character> <dialogue>I just -</dialogue> <character>TED</character> <dialogue>This is not acceptable at Hardbodies. You two know better than that.</dialogue> <character>LINDA</character> <dialogue>Yes we do. I'm sorry, Ted.</dialogue> <character>TED</character> <dialogue>This is no way.</dialogue> <character>CHAD</character> <dialogue>It was unavoidable. This wo n't happen again.</dialogue> <scene_description>A considering beat .</scene_description> <character>TED</character> <dialogue>But you wo n't tell me what's going on.</dialogue> <character>LINDA</character> <dialogue>We ca n't. I. I. Ted, I know this is terrible, but - I have to run. I have a date.</dialogue> <scene_description>Ted looks at her dolefully .</scene_description> <character>TED</character> <dialogue>You're changing, Linda.</dialogue> <scene_description>He shakes his head .</scene_description> <character>TED</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Very sad.</dialogue> </scene> <scene> <stage_direction>EXT. COX TOWNHOUSE - OSBOURNE'S CAR - DAY</stage_direction> <scene_description>The car is parked in the driveway of the Cox townhouse , its back crumpled . Reverse shows Katie , looking at it , furious , her jaw set .</scene_description> </scene> <scene> <stage_direction>INT. COX TOWNHOUSE - DAY</stage_direction> <scene_description>Katie marches in the door .</scene_description> <character>KATIE</character> <dialogue>Ozzie! Goddamnit, Ozzie, what have you done to the car?!</dialogue> <scene_description>Silence .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>Katie enters .</scene_description> <character>KATIE</character> <dialogue>Ozzie!</dialogue> <scene_description>Osbourne , lightly sheened by sweat , is in the easy chair in his robe , his microcassette recorder under the hand splayed across his chest . Amber fluid puddles a glass on the side table . Osbourne snores softly . Katie 's fury mounts . She visibly fights it down .</scene_description> <character>KATIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>All right. All right.</dialogue> </scene> <scene> <stage_direction>INT. PFARRER BATHROOM - DAY</stage_direction> <scene_description>In Harry Pfarrer 's house . Harry stands before the mirror humming as he meticulously trims his eyebrow hair with a Hoffritz scissors . We hear his phone ringing , then the answering machine :</scene_description> <character>HARRY'S VOICE</character> <dialogue>Sandy and I are n't here to take your call. Please leave a message.</dialogue> <scene_description>After a beep :</scene_description> <character>KATIE'S VOICE</character> <dialogue>Can I see you please. Harry, please call me. I'm very upset.</dialogue> <scene_description>Harry continues to hum , trimming his eyebrows . The machine beeps off .</scene_description> </scene> <scene> <stage_direction>INT. PFARRER LIVING ROOM - DAY</stage_direction> <scene_description>Harry walks into the living room . He takes some as - yet - unfolded packing boxes and strews them with studied randomness across the floor . As he does so we hear a cell phone chirp . Harry fishes the phone out of his pocket and holds it at arm 's length , squinting at the number . Still humming , he stuffs the phone back in his pocket .</scene_description> </scene> <scene> <stage_direction>EXT. STREET/CIRCLE THEATRE - NIGHT</stage_direction> <scene_description>Linda meets Harry with a kiss .</scene_description> <character>LINDA</character> <dialogue>I'm sorry - am I late?</dialogue> <character>HARRY</character> <dialogue>No no, does n't start for five minutes.</dialogue> <scene_description>He is escorting to a movie theater entrance .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You have n't seen this, have you?</dialogue> <character>LINDA</character> <dialogue>Oh! No, no I have n't.</dialogue> <scene_description>Our follow - move brings in a light box displaying the one - sheet for Totally Stoked ! with Dermot Mulroney and Claire Danes . As they tail out of frame :</scene_description> <character>HARRY</character> <dialogue>I hear it's terrific.</dialogue> </scene> <scene> <stage_direction>INT. AUDITORIUM - NIGHT</stage_direction> <scene_description>On the screen , Dermot Mulroney , dressed in a tuxedo , cranes his head to look steeply up and off .</scene_description> <character>DERMOT</character> <dialogue>First you tell me that you ca n't commit, then you - WOULD YOU GET DOWN FROM THERE!</dialogue> <scene_description>Along with Linda , Harry laughs raucously , tossing popcorn into his mouth .</scene_description> </scene> <scene> <stage_direction>INT. HARRY'S CHEVY CHASE HOUSE - NIGHT</stage_direction> <scene_description>The door swings in and Harry and Linda enter . Harry refers to the boxes littering the floor :</scene_description> <character>HARRY</character> <dialogue>Pardon our dust, I, uh - the ex is in the process of moving out. Damn! I told her I wanted to expedite this.</dialogue> <character>LINDA</character> <dialogue>Uh - huh.</dialogue> <character>HARRY</character> <dialogue>We, uh, you know you try to act like an adult.</dialogue> <character>LINDA</character> <dialogue>Oh, it's never easy.</dialogue> <character>HARRY</character> <dialogue>Oh! Come on downstairs. Do you like surprises?</dialogue> <character>LINDA</character> <dialogue>Well, I'm very open to new experiences.</dialogue> </scene> <scene> <stage_direction>INT. PFARRER BASEMENT - NIGHT</stage_direction> <scene_description>The overhead light is switched on . As Harry and Linda come down the stairs :</scene_description> <character>HARRY</character> <dialogue>I got ta tell ya - I saw an ad for this in a gentleman's magazine - twelve hundred bucks. I take a look at this thing, I think, Jesus, you got ta be kidding - I'm a hobbyist, this is basically nothing but speed - rail, I could probably go to Home Depot and whip this up myself for, like, a hundred bucks.</dialogue> <scene_description>He sweeps the drop - cloth off his project . It looks like a rowing machine , though with a higher seat . Its function is obscure .</scene_description> <character>LINDA</character> <dialogue>What is it?</dialogue> <character>HARRY</character> <parenthetical>( smug . )</parenthetical> <dialogue>What is it. You siddown, feet in the stirrups, and.</dialogue> <scene_description>He pushes the seat with his foot . It slides forward then back , forward and back , rocking . On its forward arc a dildo emerges from the center of the seat 's pipe - track , angled toward the seat - bottom which is cleft to accommodate its entrance . A long beat as the seat squeaks back and forth , the dildo rhythmically bobbing up and down . At length :</scene_description> <character>LINDA</character> <dialogue>Omygod!</dialogue> <scene_description>Another couple of cycles .</scene_description> <character>LINDA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's fantastic!</dialogue> <character>HARRY</character> <dialogue>Is n't that somethin'? Hundred bucks all - in if you do n't count my labor. And the, you know - cost of the dildo. Those things are not cheap.</dialogue> <character>LINDA</character> <dialogue>Uh - uh.</dialogue> <character>HARRY</character> <dialogue>But I lack the, uh, I'm not set up to mold hard rubber.</dialogue> <scene_description>Both stare at the rocking love seat : Squeak . Squeak . Squeak .</scene_description> </scene> <scene> <stage_direction>INT. BAR - NIGHT</stage_direction> <scene_description>CLOSE ON OSBOURNE Sitting in a bar booth , staring , incredulous .</scene_description> <character>OSBOURNE</character> <dialogue>The Russians?</dialogue> <scene_description>Across from him , a man of Osbourne 's age .</scene_description> <character>MAN</character> <parenthetical>( HAL . )</parenthetical> <dialogue>Uh - huh.</dialogue> <character>OSBOURNE</character> <dialogue>The Russians?</dialogue> <character>HAL</character> <dialogue>Uh - huh. Russian Embassy, yeah.</dialogue> <scene_description>Osbourne stares .</scene_description> <character>OSBOURNE</character> <dialogue>You're sure?</dialogue> <character>HAL</character> <dialogue>Hey, the guy was not hard to follow. As you know.</dialogue> <character>OSBOURNE</character> <dialogue>Why the FUCK would they go to the Russians?!</dialogue> <scene_description>The man responds only with a shrug and a commiserating head - shake .</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Why the FUCK.</dialogue> <scene_description>Osbourne struggles to compose himself .</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm sorry. Thank you, Hal.</dialogue> <character>HAL</character> <dialogue>Hey. No problemo.</dialogue> <scene_description>He leans in , voice lowered .</scene_description> <character>HAL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Ozzie, I hate to be the paranoid old spook, but those two guys seem very interested in you.</dialogue> <scene_description>Osbourne looks .</scene_description> <character>HAL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You have n't gone poofy on me, have ya Oz?</dialogue> <scene_description>There are two men with drinks at a booth . At Osbourne 's look one of them , who has been staring , looks hastily away .</scene_description> <character>OSBOURNE</character> <parenthetical>( sharply . )</parenthetical> <dialogue>Can I help you?</dialogue> <scene_description>The man meets his look again . He smiles , rises , ambles over .</scene_description> <character>MAN</character> <parenthetical>( PROCESS SERVER . )</parenthetical> <dialogue>Sorry to stare, I just could n't place the. You're Princeton, are n't you? My year?' 73?</dialogue> <character>OSBOURNE</character> <parenthetical>( softening . )</parenthetical> <dialogue>Yeah.</dialogue> <character>PROCESS SERVER</character> <dialogue>I just did n't remember your.</dialogue> <scene_description>Osbourne extends a hand .</scene_description> <character>OSBOURNE</character> <dialogue>Osbourne Cox.</dialogue> <character>PROCESS SERVER</character> <dialogue>Thought so.</dialogue> <scene_description>He smiles as he deposits a large manila envelope in Osbourne 's extended hand .</scene_description> <character>PROCESS SERVER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Served.</dialogue> <scene_description>He nods toward his companion , watching from the booth .</scene_description> <character>PROCESS SERVER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>and witnessed. Have a good evening.</dialogue> <scene_description>The man walks off ; his friend hastily knocks back the rest of his drink and rises to follow him . Osbourne stares stupidly at the envelope in his hand .</scene_description> <character>HAL</character> <dialogue>Ouch.</dialogue> </scene> <scene> <stage_direction>INT. COX'S CAR/EXT. COX'S TOWNHOUSE - NIGHT</stage_direction> <scene_description>THRU A WINDSHIELD Night . Rain . The car corners into a driveway and its headlights rake the front of the Cox townhouse , which is dark . A couple of pieces of luggage and several cardboard boxes are stacked on the stoop , most of them protected from the rain by the eave but some not .</scene_description> <character>OSBOURNE'S VOICE</character> <dialogue>What the fuck?</dialogue> <scene_description>OUTSIDE The car stops . Osbourne emerges , runs through the rain to the front stoop . Rain drums against cardboard .</scene_description> <character>OSBOURNE</character> <dialogue>What the fuck?</dialogue> <scene_description>He puts his key in the lock and - it does n't turn .</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Fucking.</dialogue> <scene_description>He nudges a cardboard box with his toe . He looks up at the dark house , squinting against the rain .</scene_description> </scene> <scene> <stage_direction>INT. JAMBA JUICE - DAY</stage_direction> <scene_description>Linda and Chad sit at the counter , Linda drinking a large protein shake , Chad idly twirling a straw wrapper around one finger .</scene_description> <character>CHAD</character> <dialogue>Why did you tell him we could get more stuff?</dialogue> <character>LINDA</character> <dialogue>Well maybe we can.</dialogue> <character>CHAD</character> <dialogue>That's all Manolo found! That was everything! What're we, gon na tell Manolo to scoop some more secret shit off the locker room floor!</dialogue> <character>LINDA</character> <dialogue>Hey!</dialogue> <character>CHAD</character> <dialogue>What.</dialogue> <character>LINDA</character> <dialogue>I do n't like the snideness! Nor the negativity!</dialogue> <character>CHAD</character> <parenthetical>( abashed . )</parenthetical> <dialogue>I'm sorry.</dialogue> <character>LINDA</character> <dialogue>I'm just trying to work this thing! If I'm going to reinvent myself I need those surgeries. And those surgeries cost money! This is not just fun and games!</dialogue> <character>CHAD</character> <dialogue>Yuh - huh. I'm sorry.</dialogue> <character>LINDA</character> <dialogue>So let's figure this thing out!</dialogue> <character>PUBLIC ADDRESS</character> <dialogue>Chad, your Berry Blast is ready.</dialogue> <character>LINDA</character> <dialogue>We know who he is</dialogue> <character>CHAD</character> <dialogue>Right : Osbourne Cox.</dialogue> <character>LINDA</character> <dialogue>So we can find out where he lives, right?</dialogue> <character>CHAD</character> <dialogue>Um. I guess.</dialogue> <character>LINDA</character> <dialogue>You should change. Into your suit.</dialogue> <character>CHAD</character> <dialogue>Why?</dialogue> <character>LINDA</character> <dialogue>So you do n't look out of place in the neighborhood. There are certain elementary things.</dialogue> <character>CHAD</character> <dialogue>His neighborhood?</dialogue> <character>LINDA</character> <dialogue>Yes. We'll remove the laundry marks and labels. And you should not be carrying ID.</dialogue> <character>CHAD</character> <dialogue>Laundry marks?</dialogue> <character>LINDA</character> <dialogue>Deniability.</dialogue> <character>CHAD</character> <dialogue>Okay.</dialogue> <character>PUBLIC ADDRESS</character> <dialogue>Chad, your Berry Blast is waiting.</dialogue> </scene> <scene> <stage_direction>EXT. COX TOWNHOUSE - DAY</stage_direction> <scene_description>LONG LENS POINT - OF - VIEW A car is pulling into the driveway . Katie Cox emerges from the driver 's side . Reverse shows Chad , in his suit , watching from a parked car across the street . Now Harry Pfarrer emerges from the passenger side wearing a brown pin - striped suit . Encumbered by something bulky he follows Katie up the walk . It seems to be some kind of pillow or cushion under his arm , but very large , and wedge - shaped . Katie is letting herself in ; Harry gives a furtive glance around - as Chad sinks back in his car seat - before entering with the wedge - cushion . The door closes . Chad relaxes , straightens up . A beat . He looks idly around . He notices : Another car , parked on the same side of the street , further up . Someone is just straightening from a slouch to become visible over the driver 's headrest . Chad looks , puzzled .</scene_description> </scene> <scene> <stage_direction>INT. CAR/EXT. COX TOWNHOUSE - DAY - LATER</stage_direction> <scene_description>Chad is sucking the dregs of his Jamba Juice up a straw when a noise brings his look around : The door to the townhouse is opening . Katie emerges , in a change of clothes . Harry follows in sweats . They get into her car . It pulls out . Chad watches it go up the street . He is about to open his door but pauses , seeing : The parked car up the street . Katie 's car having passed , it now pulls out and follows at a discreet distance . Both cars disappear . Chad opens his door and gets out . He is crossing to the townhouse when he notices another car parked on the other side of the street . A man sits in the driver 's seat , smoking . Chad proceeds on to the house . There is a barred garden - level door tucked under the stoop . Chad checks out the caging on the door . He looks up the façade of the house .</scene_description> </scene> <scene> <stage_direction>INT. KATIE'S CAR/EXT. POTOMAC BRIDGE - DAY</stage_direction> <scene_description>It pulls over at one end of the Potomac bridge that we have seen before . Harry emerges .</scene_description> <character>HARRY</character> <dialogue>What's the odometer say?</dialogue> <character>KATIE</character> <dialogue>Five.</dialogue> <character>HARRY</character> <dialogue>About five or approximately five? I mean - about f -</dialogue> <character>KATIE</character> <dialogue>For fuck's sake, Harry, it's five miles. Five point two.</dialogue> <character>HARRY</character> <dialogue>Okay, fine - I got ta do at least five. Five and a deuce is okay.</dialogue> <character>KATIE</character> <dialogue>I'm surprised you have any energy left.</dialogue> <character>HARRY</character> <dialogue>You kiddin' - pull around the corner we'll do it again in back!</dialogue> <character>KATIE</character> <dialogue>You are very coarse.</dialogue> <character>HARRY</character> <dialogue>No, back of the car. I did n't mean a rear - entry, uh -</dialogue> <character>KATIE</character> <dialogue>Ach. I'm late -</dialogue> <scene_description>The car squeals away , leaving Harry on the shoulder .</scene_description> </scene> <scene> <stage_direction>EXT. COX TOWNHOUSE - DAY</stage_direction> <scene_description>Chad is cornering the house on the driveway side , appraising . A low wall separates driveway from back garden . Chad gives a quick glance around .</scene_description> </scene> <scene> <stage_direction>EXT. COX TOWNHOUSE - BACK GARDEN - DAY</stage_direction> <scene_description>Chad vaults the wall to land in the garden . The garden steps down to a back door . Chad checks out the windows in back , then goes to the door . It is locked . It has a large window .</scene_description> </scene> <scene> <stage_direction>INT. COX TOWNHOUSE - BACK WINDOW - DAY</stage_direction> <scene_description>We can see Chad 's form outside the door . Its pane is tapped once . twice . it breaks .</scene_description> </scene> <scene> <stage_direction>EXT. POTOMAC BRIDGE - DAY</stage_direction> <scene_description>HARRY JOGGING He spins , jogs backward . His point - of - view : a car , traveling slowly . Following ? Harry cuts across a park lawn .</scene_description> </scene> <scene> <stage_direction>INT. TOWNHOUSE BASEMENT - DAY</stage_direction> <scene_description>Chad is nosing around the basement . He notices Ozzie 's office set - up .</scene_description> </scene> <scene> <stage_direction>EXT. STREET NEAR PARK - DAY</stage_direction> <scene_description>HARRY Emerging from the park onto another street . He looks around and , satisfied that he has lost the tail , jogs on .</scene_description> </scene> <scene> <stage_direction>INT. COX TOWNHOUSE - BASEMENT - DAY</stage_direction> <scene_description>Chad is looking at the screen of Ozzie 's computer . He fishes a CD out of his suit pocket , feeds it into the computer .</scene_description> </scene> <scene> <stage_direction>EXT. RESIDENTIAL STREET - DAY</stage_direction> <scene_description>HARRY Jogging , entering a residential area .</scene_description> </scene> <scene> <stage_direction>INT. COX TOWNHOUSE - DAY</stage_direction> <scene_description>Chad is emerging from the basement . He is looking idly around , heading toward the front door when a shape materializes in its frosted glass sidelight . Chad freezes . There is scraping at the lock . Chad quickly mounts the stairs .</scene_description> </scene> <scene> <stage_direction>INT. COX TOWNHOUSE - SECOND FLOOR - DAY</stage_direction> <scene_description>Chad freezes , listening . The downstairs door swings open , shut . Footsteps . A tread on the stairs : Chad scurries into the first open door .</scene_description> </scene> <scene> <stage_direction>INT. COX TOWNHOUSE - BEDROOM - DAY</stage_direction> <scene_description>Chad hotfoots into a closet and eases its door most of the way shut . The footsteps mount the stairs . Chad peeks out . His POV : The bed , bedclothes rumpled . In the middle of the bed , a wedge - cushion . Beyond , the open bedroom door shows a slice of hallway and stairs . Harry arrives at the top of the stairs . He nudges back a drape on the window at the top of the steps . He looks down one way , then the other . He lets the drape fall back and seems to relax . Harry enters the bedroom . He strips off his shirt and steps out of his pants on his way into the bathroom off the master bedroom . He leaves the door open . Chad reaches gingerly for the closet door to close it but stops abruptly as we hear the shower turned off and the curtain whipped back . Harry emerges from the shower . He rinses off , humming `` Born Free , '' and walks into the foreground pulling on shorts and shirt and a pair of dress pants that was draped across a bureau . Chad shrinks back into the closet as Harry approaches . Harry stops , just outside the cracked door . Through the crack we see only the white of his shirt . Abruptly Harry turns his back to us and recedes into the room and bends to pick something off the floor . Chad leans in ever so slightly to see , but draws back again as Harry approaches . Chad looks over to his right : on a hanger , the brown pinstripe coat that matches Harry 's pants . The closet door is thrown open .</scene_description> <character>CHAD</character> <dialogue>Nuhhh!</dialogue> <character>HARRY</character> <dialogue>AHHHHHHHHHH!</dialogue> <scene_description>Harry jerks up the gun which he 's pulled from the shoulder holster in his other hand and - BAM - shoots Chad in the face . The gun bucks . Unused to the recoil and still screaming , Harry staggers back and trips over the edge of the bed and drops the weapon . He crabs briefly backward and then flips over and scrambles off on all fours . In the hallway he rises and tramples down the stairs .</scene_description> </scene> <scene> <stage_direction>INT. COX TOWNHOUSE - BOTTOM OF STAIRS - DAY</stage_direction> <scene_description>He stops at the bottom of the steps , panting . He looks back up the steps , trying to control his heavy breathing so that he can listen . A long silence .</scene_description> <character>HARRY</character> <dialogue>Hello?</dialogue> <scene_description>No answer . He looks around .</scene_description> </scene> <scene> <stage_direction>INT. COX TOWNHOUSE - KITCHEN - DAY</stage_direction> <scene_description>Harry enters . He opens a drawer , closes it , opens another .</scene_description> </scene> <scene> <stage_direction>INT. COX TOWNHOUSE - FOYER - DAY</stage_direction> <scene_description>Harry enters from the kitchen and starts slowly mounting the stairs , a chopping knife in one hand .</scene_description> <character>HARRY</character> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>INT. COX TOWNHOUSE - SECOND FLOOR - DAY</stage_direction> <scene_description>Harry tops the stairs . He pauses , looking at : The bedroom door , ajar . Inside , his gun lies on the floor . Harry takes cautious steps toward the door . He pauses at the cracked door . Suddenly :</scene_description> <character>HARRY</character> <dialogue>Hungh!</dialogue> <scene_description>He plunges through the door and runs for the gun and scoops it , dropping the knife . He stands and spins , panting . His point - of - view : the closet . Its door ajar . Legs protrude into the room as if Chad , hidden within , is sitting with his back against the closet wall contemplating his next move . Harry walks cautiously over . With a bare foot he experimentally waggles one of Chad 's feet . Limp . Harry nudges the door .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hello?</dialogue> <scene_description>It creaks fully open .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Omygod. Omygod.</dialogue> <scene_description>Chad 's face is a powder - burned , chewed - up mess .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Omygod who are you. You fucker. Omygod.</dialogue> <scene_description>He gingerly crouches down .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You fucker.</dialogue> <scene_description>He tries to avert his eyes as he feels in Chad 's suit pockets .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Omygod, my god. Ungh.</dialogue> <scene_description>He comes away with a wallet and hastily stands .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Omygod.</dialogue> <scene_description>Inside are a few dollars and nothing else : no credit cards , driver 's license ; empty .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What the fuck.</dialogue> <scene_description>He leans back in , trying not to look , but for some reason feeling obliged to return the wallet . As he opens the suit coat to slip it back in the inside pocket he notices : The suit label has been cut away . He fingers the raveled fringe .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh my fuck.</dialogue> <scene_description>He straightens up again .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I killed a fucking spook. You fucker.</dialogue> <scene_description>He gazes down at the body .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What are you doing here, you fucker.</dialogue> </scene> <scene> <stage_direction>INT. CIA HALLWAY - DAY</stage_direction> <scene_description>We track at floor level , following the well shined shoes of someone walking down the well polished hallway .</scene_description> </scene> <scene> <stage_direction>INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY</stage_direction> <scene_description>We are low , outside an office door . The shoes enter frame and the door is swung inward , away from us , to show Palmer DeBakey Smith seated behind his desk . He looks up .</scene_description> <character>PALMER</character> <dialogue>Olson. What's up.</dialogue> <scene_description>The door slams shut .</scene_description> </scene> <scene> <stage_direction>INT. CIA HEADQUARTERS - DOOR/PALMER'S OFFICE - DAY</stage_direction> <scene_description>Some time later . Our camera position is higher . At the cut the door swings open and Palmer Smith strides out , grim - faced .</scene_description> </scene> <scene> <stage_direction>INT. CIA HEADQUARTERS - OFFICE HALLWAY - DAY</stage_direction> <scene_description>Tracking behind his shoes down a different piece of hallway .</scene_description> </scene> <scene> <stage_direction>INT. CIA HEADQUARTERS - ANOTHER DOOR/CHUBB'S OFFICE - DAY</stage_direction> <scene_description>Palmer Smith 's back enters and he swings the door open . A silver - haired man looks up from his desk where he is leaned back , eating orange sections off a paper towel on the desktop .</scene_description> <character>MAN</character> <dialogue>Palmer. What's up.</dialogue> <character>PALMER</character> <dialogue>Not quite certain, sir, but it's. messy.</dialogue> <scene_description>He seats himself facing the desk . A desktop nameplate identifies his superior as Gardner McC . Chubb . Palmer hands a folder across , grimacing .</scene_description> <character>PALMER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Kolyma - 2 tells us that they have computer files from an ex - analyst of mine, Osbourne Cox.</dialogue> <character>GARDNER CHUBB</character> <dialogue>Kolyma - 2?</dialogue> <character>PALMER</character> <dialogue>Our man in the Russian Embassy.</dialogue> <character>GARDNER CHUBB</character> <dialogue>Mm.</dialogue> <character>PALMER</character> <dialogue>It was brought to them by a woman who -</dialogue> <character>GARDNER CHUBB</character> <dialogue>The Russians?</dialogue> <character>PALMER</character> <dialogue>Yeah. It was brought in by Linda Litzke, an associate of a guy named Harry Pfarrer. Picture's in the folder. With Pfarrer's.</dialogue> <character>GARDNER CHUBB</character> <dialogue>The Russians.</dialogue> <character>PALMER</character> <dialogue>Yeah.</dialogue> <character>GARDNER CHUBB</character> <dialogue>Who's Pfarrer?</dialogue> <character>PALMER</character> <dialogue>Treasury agent who's been, um, screwing Mrs. Cox. Must be how they got the files. Or maybe Ozzie knows about it, they all seem to be sleeping with each other.</dialogue> <character>GARDNER CHUBB</character> <dialogue>All right. Spare me.</dialogue> <character>PALMER</character> <dialogue>Yes sir. But this Treasury guy - it's gotten. complicated. He just shot somebody in Ozzie's house.</dialogue> <character>GARDNER CHUBB</character> <dialogue>Shot - your analyst?</dialogue> <scene_description>Palmer shakes his head .</scene_description> <character>PALMER</character> <dialogue>Ozzie was n't there. Our man surveying hears a gunshot, sees the Treasury guy wrestle something into his car, follows him ; he dumps a body in the Chesapeake Bay.</dialogue> <character>GARDNER CHUBB</character> <dialogue>Well - what'd he do that for?</dialogue> <character>PALMER</character> <dialogue>Do n't know sir.</dialogue> <character>GARDNER CHUBB</character> <dialogue>Oh for Christ sake. Anyone fish the body out?</dialogue> <character>PALMER</character> <dialogue>Mm - hm.</dialogue> <character>GARDNER CHUBB</character> <dialogue>Russian? American?</dialogue> <character>PALMER</character> <dialogue>Do n't know. Scrubbed of ID.</dialogue> <character>GARDNER CHUBB</character> <dialogue>And this. Linda?</dialogue> <character>PALMER</character> <dialogue>Linda Litzke.</dialogue> <character>GARDNER CHUBB</character> <dialogue>She's Treasury?</dialogue> <character>PALMER</character> <dialogue>No, we're - um. fuzzy on her.</dialogue> <scene_description>Gardner Chubb is flipping bemusedly through the contents of the folder .</scene_description> <character>GARDNER CHUBB</character> <dialogue>Well - so - we do n't really know what anyone is after.</dialogue> <character>PALMER</character> <dialogue>Not really, sir.</dialogue> <character>GARDNER CHUBB</character> <dialogue>This analyst, ex - analyst, uh.</dialogue> <character>PALMER</character> <dialogue>Cox.</dialogue> <character>GARDNER CHUBB</character> <dialogue>Yeah. What's his clearance level.</dialogue> <character>PALMER</character> <dialogue>Three.</dialogue> <character>GARDNER CHUBB</character> <dialogue>Okay. Okay, no biggie.</dialogue> <scene_description>He reaches the folder back to Palmer .</scene_description> <character>GARDNER CHUBB</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>for now just keep an eye on everyone, see what they do.</dialogue> <character>PALMER</character> <dialogue>Right, sir. And - we'll interface with the FBI on this, uh, dead body?</dialogue> <character>GARDNER CHUBB</character> <dialogue>No! No, we do n't want those idiots blundering around in this. Burn the body. Get rid of it. And keep an eye on everyone, see what they do. Report back when, um, I do n't know. When it makes sense.</dialogue> </scene> <scene> <stage_direction>INT. YACHT CABIN - DAY</stage_direction> <scene_description>A HOPPING MAN IN A UNITARD His hands are on his hips . He is darkly Mediterranean and very fit . He smiles into the camera as he hops in time to upbeat music , kicking a leg out on each beat .</scene_description> <character>MAN</character> <dialogue>To the left! Repeat! To the right! Repeat! And in! And out! And higher! Repeat!</dialogue> <scene_description>Wider shows that the man is on TV leading the viewer in exercise . The viewer , in this case , is Osbourne Cox , on his boat . He follows along in his underwear in the cramped quarters belowdecks . Boxes and luggage are strewn about , half - unpacked . He pants as he exercises :</scene_description> <character>OSBOURNE</character> <dialogue>I'm bigger. I'm back. I'm better. I'm back. than ever. I'm back. fuckers. I'm back.</dialogue> <character>MAN ON TV</character> <dialogue>And good! Repeat! Now bend! And bounce! And lower! Repeat! And up! And back! And up! Repeat!</dialogue> </scene> <scene> <stage_direction>INT. TED'S OFFICE/LINDA'S OFFICE - DAY</stage_direction> <scene_description>LINDA We are on a long lens point - of - view , from several cubicles over , of Linda slumped at her desk , head in her arms . We faintly hear her sobbing . Reverse shows Ted Treffon , the soulful manager of Hardbodies , looking at her , unsettled . CLOSE ON LINDA We are in her cubicle now , her weeping bumping up at the cut . A tap against the cubicle window brings her head up . Ted Treffon opens the door .</scene_description> <character>TED</character> <dialogue>Linda. You okay?</dialogue> <character>LINDA</character> <dialogue>I'm fine, Ted, I'm sorry.</dialogue> <scene_description>He sits at the chair alongside her desk .</scene_description> <character>TED</character> <dialogue>You do n't look fine.</dialogue> <character>LINDA</character> <dialogue>No no, I'm. I'm.</dialogue> <character>TED</character> <dialogue>You wo n't tell me what it's about. You never let me in, Linda.</dialogue> <character>LINDA</character> <dialogue>Oh, I know you're trustworthy, I just. do n't want to endanger other people with - I mean, it's a path I've chosen, it's not, you have to isolate, you know, a firewall.</dialogue> <scene_description>Ted sighs .</scene_description> <character>TED</character> <dialogue>Uh - huh. Well, I do n't know what to think. You both go AWOL on Friday ; today Chad does n't bother to come in at all -</dialogue> <character>LINDA</character> <dialogue>I know, Ted.</dialogue> <character>TED</character> <dialogue>Linda, I ca n't run a gym this way.</dialogue> <character>LINDA</character> <dialogue>I know, Ted.</dialogue> <character>TED</character> <dialogue>I'm going to have to fire him.</dialogue> <character>LINDA</character> <dialogue>No! No no no, Ted! Just, just.</dialogue> <character>TED</character> <dialogue>What?</dialogue> <character>LINDA</character> <dialogue>Give me twenty - four hours!</dialogue> <character>TED</character> <dialogue>To what?</dialogue> <character>LINDA</character> <dialogue>To, um. I do n't know, twenty - four hours!</dialogue> <character>TED</character> <dialogue>Linda -</dialogue> <character>LINDA</character> <dialogue>Just give me twenty - four hours to solve this thing!</dialogue> <character>TED</character> <dialogue>Linda. I have to tell you. A man was here earlier asking about you.</dialogue> <scene_description>Linda looks at Ted for a beat , thinking .</scene_description> <character>LINDA</character> <dialogue>Foreigner?</dialogue> <character>TED</character> <dialogue>Linda, are you in some kind of trouble? Is Chad running from something?</dialogue> <character>LINDA</character> <dialogue>Ted, we know what we're doing. Let me ask you this : did he know my name.</dialogue> <character>TED</character> <dialogue>Whuh - yes, he was asking about you. Employment history, et cetera. Real jerk. I told him to get lost.</dialogue> <scene_description>She takes his hand .</scene_description> <character>LINDA</character> <dialogue>Thank you, Ted.</dialogue> <scene_description>Ted swallows . He looks down .</scene_description> <character>TED</character> <dialogue>Well, we.</dialogue> <scene_description>Linda still has his hand . He tries to cover his reaction to the physical contact .</scene_description> <character>TED</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>we just do n't give that out at Hardbodies.</dialogue> <scene_description>The phone beeps . A voice comes through the intercom :</scene_description> <character>VOICE</character> <dialogue>Linda, there's a Mr. Krapotkin on line two.</dialogue> <character>LINDA</character> <dialogue>Omygod!</dialogue> <scene_description>She punches a button on the phone .</scene_description> <character>LINDA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hello? Mr. Krapkin?</dialogue> <character>VOICE</character> <dialogue>Linda?</dialogue> <character>LINDA</character> <dialogue>Yes?</dialogue> <character>VOICE</character> <dialogue>This is Ilan Krapotkin. Russian embassy. Returning your call.</dialogue> <character>LINDA</character> <dialogue>Yes, yes! - hang on. Ted, I'm sorry. This is private.</dialogue> <scene_description>Looking at her , Ted sighs . He shakes his head sadly , rises and goes . Linda pushes the door of the cubicle shut with her foot .</scene_description> <character>LINDA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hello. Is this a secure line, Mr. Krapkin?</dialogue> <scene_description>Beat .</scene_description> <character>KRAPOTKIN</character> <dialogue>Heh - heh.</dialogue> <scene_description>Another beat .</scene_description> <character>LINDA</character> <dialogue>Mr. Krapkin?</dialogue> <character>KRAPOTKIN</character> <dialogue>Yes?</dialogue> <character>LINDA</character> <dialogue>Is this a secure, uh -</dialogue> <character>KRAPOTKIN</character> <dialogue>You are joking?</dialogue> <character>LINDA</character> <dialogue>No! I - I'm terribly worried about my associate. My - my - you know. Chad.</dialogue> <character>KRAPOTKIN</character> <dialogue>Yes? Why is that?</dialogue> <character>LINDA</character> <dialogue>Do you have him?</dialogue> <character>KRAPOTKIN</character> <dialogue>Do we have him?</dialogue> <character>LINDA</character> <dialogue>Is he - I do n't know what the term is, did he, `` go over''?</dialogue> <character>KRAPOTKIN</character> <dialogue>Um.</dialogue> <scene_description>Linda glances up . Outside her cubicle window Ted waits ; at Linda 's look he turns palms up : What 's going on ? Linda holds up a finger : one second .</scene_description> <character>LINDA</character> <dialogue>Do you know where he is?</dialogue> <character>KRAPOTKIN</character> <dialogue>Is he not. at Hardbodies?</dialogue> <character>LINDA</character> <dialogue>No, I - look, can I come in and discuss this?</dialogue> </scene> <scene> <stage_direction>INT. COX TOWNHOUSE - KITCHEN - DAY</stage_direction> <scene_description>Harry Pfarrer stands at the kitchen counter chopping carrots . He is intensely focused and chops very , very quickly , producing slices in high volume . Reverse shows Katie Cox in a chair in the living room , frozen in a look up , a file of papers forgotten in one hand as she gazes over half - glasses at Harry . His chopping continues unabated . After a long look and much chopping :</scene_description> <character>KATIE</character> <dialogue>You seem distracted.</dialogue> <character>HARRY</character> <parenthetical>( still chopping . )</parenthetical> <dialogue>Do I?</dialogue> <character>KATIE</character> <dialogue>Very distracted. The last two days.</dialogue> <character>HARRY</character> <dialogue>Nn. Work.</dialogue> <scene_description>The chopping continues . Katie 's eyes shift down to the countertop , back up to Harry . Another beat .</scene_description> <character>KATIE</character> <dialogue>That's enough carrots, do n't you think?</dialogue> <character>HARRY</character> <dialogue>Huh?</dialogue> <character>KATIE</character> <dialogue>For the salad?</dialogue> <scene_description>The chopping stops . Harry slaps the knife down . He stares at Katie , jaw grinding , for a beat .</scene_description> <character>HARRY</character> <dialogue>You know : you're really a very negative person.</dialogue> <character>KATIE</character> <dialogue>What?</dialogue> <scene_description>Through grit teeth :</scene_description> <character>HARRY</character> <dialogue>I've tried. To ignore it. And stay upbeat.</dialogue> <scene_description>Katie , unused to backtalk from Harry , is stunned . She returns in a manner as hard as his :</scene_description> <character>KATIE</character> <dialogue>Harry : stop the foolishness.</dialogue> <character>HARRY</character> <dialogue>Stop the foolishness?</dialogue> <character>KATIE</character> <dialogue>Yes. And behave. You are not talking to one of your.</dialogue> <scene_description>Her fingers form quotes :</scene_description> <character>KATIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>`` shithole buddies.''</dialogue> <scene_description>Harry glares at her , vibrating with rage . Her look at him is equally hard . Harry abruptly turns and stomps up the stairs . Brief tromping on the second floor . Katie sits in puzzled suspense . Footfalls descend the staircase . Harry reappears at the foot of the stairs with his wedge - cushion tucked under an arm . He flings the front door open , goes out , slams it shut .</scene_description> </scene> <scene> <stage_direction>EXT. COX TOWNHOUSE/INT. HARRY'S CAR - DAY</stage_direction> <scene_description>Harry stomps to his car in the driveway and flings in the cushion . He gets in , seething . After a beat he pulls out his cell phone and dials . A ring . Pick - up . A female voice :</scene_description> <character>SANDY</character> <dialogue>Hello?</dialogue> <character>HARRY</character> <dialogue>Honey. It's so good to hear your voice.</dialogue> <character>SANDY</character> <dialogue>Something wrong, Harry?</dialogue> <character>HARRY</character> <dialogue>No. Yes. Can you come home? Your baby needs you.</dialogue> <scene_description>A beat .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Can you please come home?</dialogue> <character>SANDY</character> <dialogue>Harry, you know I -</dialogue> <character>HARRY</character> <dialogue>I can show you your present. It's finished.</dialogue> <character>SANDY</character> <dialogue>Oh Harry. I ca n't just leave the book tour.</dialogue> <scene_description>Harry sags .</scene_description> <character>HARRY</character> <dialogue>Yeah.</dialogue> <character>SANDY</character> <dialogue>There are two days left. There's still Seattle.</dialogue> <character>HARRY</character> <dialogue>Yeah.</dialogue> <character>SANDY</character> <dialogue>I love you, Harry.</dialogue> <character>HARRY</character> <dialogue>Okay. Yeah. Love you too.</dialogue> <scene_description>He folds the phone , miserable . As he pockets it his attention is caught by something in the side - view mirror : The car parked across the street . A man 's shape in the driver 's seat .</scene_description> </scene> <scene> <stage_direction>EXT. TOWNHOUSE - DAY</stage_direction> <scene_description>Harry , jaw set , gets out of the car and starts down the drive . The parked car starts .</scene_description> <character>HARRY</character> <dialogue>Hey! Fucker!</dialogue> <scene_description>The car tries to pull out but is closely hemmed in by cars front and back ; it will need a couple moves . Harry runs back to his own car , starts it , throws it into reverse and backs straight down the drive toward the frantically shuttling car . He t - bones it .</scene_description> <character>VOICE FROM WITHIN CAR</character> <dialogue>Fucker!</dialogue> <scene_description>Harry , amped , throws his car into drive , pulls halfway up the driveway .</scene_description> <character>HARRY</character> <dialogue>Fucker! Fucker!</dialogue> <scene_description>He again throws the car into reverse . The man in the other car abandons his attempt to pull out and scrambles frantically toward the passenger side . Harry again smashes into the car .</scene_description> </scene> <scene> <stage_direction>EXT. STREET ACROSS FROM TOWNHOUSE - DAY</stage_direction> <scene_description>The other man emerges from the far side . He flees down the sidewalk as fast as his weight will permit , pocket change jingling , yelling as he runs :</scene_description> <character>MAN</character> <dialogue>Fucker!</dialogue> <scene_description>Harry runs after him , calling :</scene_description> <character>HARRY</character> <dialogue>Who do you work for?! Who do you work for?!</dialogue> <scene_description>Pounding footsteps .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Tell me!</dialogue> <scene_description>The overweight man does not have Harry 's stamina : Harry closes , leaps , and tackles . He crawls up the man 's body , hand - over - hand , panting :</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Who do you work for? CIA? NSC?</dialogue> <scene_description>The other man is panting much harder :</scene_description> <character>MAN</character> <dialogue>Tuchman Marsh!</dialogue> <scene_description>This stops Harry . He is n't sure what he 's heard .</scene_description> <character>HARRY</character> <dialogue>What?</dialogue> <character>MAN</character> <dialogue>Tuchman Marsh!</dialogue> <character>HARRY</character> <dialogue>Tuchman Marsh?</dialogue> <character>MAN</character> <dialogue>Yes!</dialogue> <character>HARRY</character> <dialogue>Your name is. Tuchman Marsh?</dialogue> <character>MAN</character> <dialogue>Tuchman Marsh Hauptman Rodino!</dialogue> <scene_description>Harry stares at the man underneath him . The gasping man explains :</scene_description> <character>MAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I work for them!</dialogue> <character>HARRY</character> <dialogue>You. work for Tuchman Marsh.</dialogue> <character>MAN</character> <dialogue>Yes!</dialogue> <character>HARRY</character> <dialogue>Which is a law firm.</dialogue> <character>MAN</character> <dialogue>No! A rock band! Yes, it's a law firm!</dialogue> <character>HARRY</character> <dialogue>Well. why are you following me?</dialogue> <character>MAN</character> <dialogue>Divorce action, numbnuts!</dialogue> <scene_description>Harry is blindsided . He stares . He slowly sits up , digesting :</scene_description> <character>HARRY</character> <dialogue>My. my wife hired you?!</dialogue> <scene_description>The freed Tuchman Marsh man also sits up , still panting heavily .</scene_description> <character>MAN</character> <dialogue>No. Your wife hired Tuchman Marsh. Tuchman Marsh hired me. I work for Tuchman Marsh.</dialogue> <character>HARRY</character> <dialogue>You're - you're - a divorce detective.</dialogue> <character>MAN</character> <dialogue>Not just. Credit, missing persons, whatever.</dialogue> <character>HARRY</character> <dialogue>But this is divorce.</dialogue> <character>MAN</character> <parenthetical>( `` duh '' . )</parenthetical> <dialogue>Well. yeah.</dialogue> <scene_description>Harry rises and walks stiffly , zombie - like , up the street . The man watches him go . After a few paces Harry stops and sits on the curb . He starts weeping . The man , still breathing heavily , calls out :</scene_description> <character>MAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Jesus - grow up, man! It happens to everybody!</dialogue> <scene_description>Harry 's cell phone chirps . He fishes it out and unfolds it , sniveling .</scene_description> <character>HARRY</character> <dialogue>Yeah?</dialogue> <character>VOICE</character> <dialogue>Harry, it's Osbourne Cox.</dialogue> <scene_description>Harry stares , trying to fit this in . Osbourne prompts , after a silent beat :</scene_description> <character>VOICE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Harry?</dialogue> <character>HARRY</character> <dialogue>Yeah?</dialogue> <character>OSBOURNE</character> <dialogue>Harry, could I get your wife's number? This is Osbourne Cox, could I trouble you for your wife's -</dialogue> <character>HARRY</character> <dialogue>You ca n't tell her anything she does n't already know, fucker.</dialogue> <character>OSBOURNE</character> <dialogue>What?</dialogue> <scene_description>Harry again stares : maybe he has this figured wrong . After a silence :</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Is this. Harry Pfarrer?</dialogue> <character>HARRY</character> <dialogue>You want. Sandy's number?</dialogue> <scene_description>Echoing up the street :</scene_description> <character>MAN</character> <dialogue>Can I use your phone? To call a tow?</dialogue> </scene> <scene> <stage_direction>INT. OSBOURNE'S BOAT - DAY</stage_direction> <scene_description>Osbourne paces the cramped cabin belowdecks , a phone to his ear . He is unshaven , wearing a robe . Filtered rings , then a connection :</scene_description> <character>SANDY'S VOICE</character> <dialogue>Hello?</dialogue> <character>OSBOURNE</character> <dialogue>Sandy?</dialogue> <character>SANDY</character> <dialogue>Yes?</dialogue> <character>OSBOURNE</character> <dialogue>Hi, it's Osbourne Cox, how are you. Hi.</dialogue> <character>SANDY</character> <dialogue>Hi.</dialogue> <character>OSBOURNE</character> <dialogue>Hi. Sorry to call out of the blue but I have a, well, a publishing question and I thought you might be the person to ask, I have this manuscript, something to do with my professional experiences, not to go into too much detail but I think it's pretty explosive stuff and I think that it could merit a fairly wide readership handled properly and it is n't quite finished yet but there's a situation where I'm worried about it leaking now and maybe excerpts being published or on the internet, whatever, without my permission, and a lot of the impact being, um, blunted, so I'm actually anxious to bring it to market sooner than I'd planned - I mean, like now, in fact - so I was thinking, I know you, and you seem to do well, so I was wondering if you were happy with your publisher. The people you use.</dialogue> <scene_description>A long beat .</scene_description> <character>SANDY</character> <dialogue>You've written a children's book?</dialogue> <character>OSBOURNE</character> <dialogue>No! No no, a, a kind of a memoir, but - does n't your company have an adult arm? Or is n't it, uh, the children's arm? Of a regular publisher?</dialogue> <character>SANDY</character> <dialogue>Pappas &amp; Swain do children's literature.</dialogue> <character>OSBOURNE</character> <dialogue>Uh - huh. I see. So they do n't - okay. Are you well?</dialogue> <character>SANDY</character> <dialogue>Very well thank you. And you.</dialogue> <character>OSBOURNE</character> <dialogue>Yes. Good. Okay, well, thank you Sandy.</dialogue> <character>SANDY</character> <dialogue>Yes. Good talking to you.</dialogue> <scene_description>Disconnect . Osbourne yanks the rubber band off a bundle of mail .</scene_description> <character>OSBOURNE</character> <dialogue>Bitch.</dialogue> </scene> <scene> <stage_direction>INT. RUSSIAN EMBASSY - HALLWAY - DAY</stage_direction> <scene_description>Two pairs of footsteps echo down a long hallway as Linda Litzke is escorted by a solemn Russian staffer .</scene_description> </scene> <scene> <stage_direction>INT. RUSSIAN EMBASSY - ANOTHER ROOM - DAY</stage_direction> <scene_description>A waiting room . A long beat ; Linda sits waiting . A door opens . Mr. Krapotkin emerges . Linda stands to go to the inner office but Krapotkin motions her back down .</scene_description> <character>KRAPOTKIN</character> <dialogue>Yes, madam. Can we help you?</dialogue> <character>LINDA</character> <dialogue>What kind of Mickey Mouse embassy are you running?! I've been waiting here for fifty - five minutes, and I'm -</dialogue> <character>KRAPOTKIN</character> <dialogue>I am so sorry, madam. An urgent matter.</dialogue> <character>LINDA</character> <dialogue>Well this could be urgent too, since, you know, Chad has been missing for forty - eight hours now and -</dialogue> <character>KRAPOTKIN</character> <dialogue>I do n't know the whereabouts of Chad, madam.</dialogue> <character>LINDA</character> <dialogue>Well he was gathering information for you when he -</dialogue> <character>KRAPOTKIN</character> <dialogue>We're not interested in such `` information''. It was drivel.</dialogue> <scene_description>Linda is dumbfounded . A silent beat .</scene_description> <character>LINDA</character> <dialogue>Dribble!</dialogue> <scene_description>Krapotkin fishes something from his pocket .</scene_description> <character>KRAPOTKIN</character> <dialogue>Would you like your disk back?</dialogue> <character>LINDA</character> <dialogue>Dribble!</dialogue> <scene_description>Krapotkin stands with the disk extended toward her .</scene_description> <character>KRAPOTKIN</character> <dialogue>I'm so sorry I ca n't help you.</dialogue> <scene_description>Linda recovers from her astonishment and is moved to outrage :</scene_description> <character>LINDA</character> <dialogue>I'll tell you what's dribble! You listen to me, Mr. Krapkin! I am -</dialogue> </scene> <scene> <stage_direction>INT. RUSSIAN EMBASSY - HALLWAY AGAIN</stage_direction> <scene_description>Looking the opposite way . We hear two pairs of footsteps . They approach for several beats and then Linda and her escort enter frame and recede , footsteps echoing . The staffer 's hand is on Linda 's elbow . As we hold on their backs and they continue to walk , Linda jerks her arm away ; the staffer regrabs it . She jerks away again .</scene_description> <character>LINDA</character> <dialogue>Cut it out.</dialogue> <scene_description>OMITTED OMITTED</scene_description> </scene> <scene> <stage_direction>INT. OSBOURNE'S BOAT - DAY</stage_direction> <scene_description>An exercise show plays on the TV , unwatched . Osbourne sits at a little table looking at a notice torn from a windowed envelope .</scene_description> <character>OSBOURNE</character> <dialogue>What?</dialogue> <scene_description>He brings the notice close , squints at it .</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What the fuck?</dialogue> <scene_description>He quickly shuffles through the rest of the mail , pulls out another envelope , rips it open . A MINUTE LATER Osbourne paces , drink in hand , staring at another piece of mail .</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What the fuck?</dialogue> <scene_description>A MINUTE LATER Osbourne is back at the table , drink half - consumed , listening at the phone .</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yes. No. Yes, I want to know why the check for my slip fee was returned for insufficient funds. Slip fee, for docking my boat, the check was returned. No, m ` dam, it's not zero, I have about forty thousand dollars in that account. When? When? But she ca n't do that - no, yes, technically it may be a joint account but she does n't use it, it's not her money. No! No! What access, it's not possible! Without my permission? What about the, my, the, our savings account? My savings account? I do n't know the fucking number! You think I memorize the fucking numbers on my fucking bank accounts! Moron! Hello?</dialogue> </scene> <scene> <stage_direction>EXT. PFARRERS' CHEVY CHASE HOUSE - DUSK</stage_direction> <scene_description>We are looking at the exterior of the house in wide shot . Peaceful neighborhood . Birds chirp . From inside the house , though , we can faintly hear sobs , punctuated by sounds of exertion . Each gasp of effort ends in a dull clang .</scene_description> </scene> <scene> <stage_direction>INT. PFARRER BASEMENT - NIGHT</stage_direction> <scene_description>The wracking sobs bump up loud at the cut inside . Harry is weeping as he demolishes the love seat with a sledgehammer .</scene_description> </scene> <scene> <stage_direction>INT. HARDBODIES - TED'S OFFICE - NEXT DAY</stage_direction> <scene_description>Ted stares , horrified . After a beat :</scene_description> <character>TED</character> <dialogue>No - o - o - o - o - o way. No way. Whoa. No way, Linda.</dialogue> <scene_description>She sits opposite him in his office . Ted shakes his head .</scene_description> <character>TED</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>No.</dialogue> <character>LINDA</character> <dialogue>But Ted, I ca n't do it, I do n't know anything about computers.</dialogue> <character>TED</character> <dialogue>Linda, the whole thing is crazy. It was crazy the first time, and you want to do it again? Break into the man's house? And why would - why would - you said the Russians did n't even want this stuff!</dialogue> <character>LINDA</character> <dialogue>My world is bigger than that, Ted. There's other people. There's the Chinese.</dialogue> <character>TED</character> <dialogue>Linda, these surgeries -</dialogue> <character>LINDA</character> <dialogue>It's not just the surgeries, Ted! It's not just the money! We can use it as leverage! To get Chad back!</dialogue> <character>TED</character> <dialogue>What do you mean `` get him back''!</dialogue> <character>LINDA</character> <dialogue>Information is power, Ted! Hel - lo!</dialogue> <character>TED</character> <dialogue>What do you mean `` get him back''! You do n't know where he is!</dialogue> <character>LINDA</character> <dialogue>Somebody has him. And we can -</dialogue> <character>TED</character> <dialogue>You ask the police to help you find missing people! And you -</dialogue> <character>LINDA</character> <dialogue>I ca n't take it! I ca n't take it! I ca n't take it! You know I ca n't do that! We're operating off the map here, Ted! This is way higher than the police, it's higher than that!</dialogue> <character>TED</character> <dialogue>Linda, I -</dialogue> <character>LINDA</character> <dialogue>I need a can - do person, Ted! I hate your negativity! I hate all your reasons why not! I hate you! I hate you!</dialogue> <scene_description>Weeping , she storms out . Ted stares , shell - shocked .</scene_description> </scene> <scene> <stage_direction>INT. BAR - DAY</stage_direction> <scene_description>In close shot , Ted sits onto a bar stool . Dim bar , tinkling piano .</scene_description> <character>BARTENDER'S VOICE</character> <dialogue>What'll it be.</dialogue> <scene_description>Ted stares straight ahead . A long beat . He finally focuses on the bartender , off . He swallows . Another beat .</scene_description> <character>TED</character> <dialogue>Seven &amp; Seven.</dialogue> </scene> <scene> <stage_direction>INT. LINDA'S APARTMENT - NIGHT</stage_direction> <scene_description>Night . Linda is asleep in her bedroom . The buzz of the in - house intercom . Linda stirs , wakes and reaches for the bedside phone .</scene_description> <character>LINDA</character> <dialogue>Hurrow -</dialogue> <scene_description>She removes an appliance from her mouth .</scene_description> <character>LINDA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hello?</dialogue> <character>FILTERED VOICE</character> <dialogue>It's Harry.</dialogue> </scene> <scene> <stage_direction>INT. LINDA'S LIVING ROOM - NIGHT</stage_direction> <scene_description>Minutes later . Harry is gazing off , slack - jawed , haunted . After a beat :</scene_description> <character>HARRY</character> <dialogue>You think a marriage is. and then you.</dialogue> <scene_description>The thought drifts off . A sad shake of the head . Linda enters , handing him a drink . She sits opposite .</scene_description> <character>LINDA</character> <dialogue>But this was a long time coming.</dialogue> <scene_description>Harry looks up , surprised .</scene_description> <character>HARRY</character> <dialogue>Was it?</dialogue> <scene_description>He catches himself . His gaze wanders back to the haunted , empty spot .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Well, yeah. right.</dialogue> <character>LINDA</character> <dialogue>You're depressed, Harry.</dialogue> <character>HARRY</character> <parenthetical>( hollowly . )</parenthetical> <dialogue>I am depressed. I got ta exercise. I have n't run in three days. butt - crunches. anything. Do you think I could stay here for a little while?</dialogue> <scene_description>Linda starts quietly weeping . This focuses Harry 's attention . He looks at her as if just now noticing her .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What? What's wrong, baby?</dialogue> <character>LINDA</character> <dialogue>It ca n't always come from me, Harry! I'm not that strong!</dialogue> <scene_description>Harry moves next to her and puts an arm around her .</scene_description> <character>HARRY</character> <dialogue>What's wrong, baby? Harry's here.</dialogue> <character>LINDA</character> <dialogue>You're not here for me! I need a can - do person! You're all. defeated!</dialogue> <character>HARRY</character> <dialogue>I'm sorry, baby -</dialogue> <character>LINDA</character> <dialogue>Chad is the only can - do person I know and he's gone, Harry, he's gone.</dialogue> <character>HARRY</character> <dialogue>I'll be good. I'll be better. I just need to exercise. Are there pedestrian paths around here?</dialogue> <scene_description>He squeezes her shoulder , takes a gulp of the drink .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Who the fuck is Chad?</dialogue> <character>LINDA</character> <dialogue>Could you help me find him? He's a friend from work. You know law enforcement people, right? You could call, unofficially?</dialogue> <character>HARRY</character> <dialogue>Wait a minute, what's his name? What happened?</dialogue> <character>LINDA</character> <dialogue>Chad Feldheimer. He just disappeared. He has n't been at work or at home for two days.</dialogue> <character>HARRY</character> <dialogue>Okay.</dialogue> <character>LINDA</character> <dialogue>He -</dialogue> <character>HARRY</character> <dialogue>You know his social security number?</dialogue> <character>LINDA</character> <dialogue>Huh? NO! I -</dialogue> <character>HARRY</character> <dialogue>It's okay. That's okay. What's the last place you saw him?</dialogue> <character>LINDA</character> <parenthetical>( snuffling . )</parenthetical> <dialogue>I do n't know! He just disappeared! The last place I saw him was the Jamba Juice on K Street. And he's gone.</dialogue> <scene_description>Harry squeezes her shoulder again .</scene_description> <character>HARRY</character> <dialogue>Okay baby. We'll find your friend. Missing person. Piece of cake.</dialogue> </scene> <scene> <stage_direction>INT. PEDIATRIC EXAM ROOM - DAY</stage_direction> <scene_description>AN EPIGLOTTIS Illuminated by a small light . It quavers . The tongue starts to rise and the mouth starts to close .</scene_description> <character>WOMAN'S VOICE</character> <dialogue>No, stay open.</dialogue> <scene_description>Wider : a pediatric examining room decorated with colorful prints of cartoon characters and clowns . Katie Cox , in a white smock , has a tongue depressor in a five - year - old 's mouth and a light - sight in one hand . She withdraws both as the child finishes closing his mouth . The child 's mother stands by . Katie grasps the child by the upper arm .</scene_description> <character>WOMAN'S VOICE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You have to let the doctor look in your mouth.</dialogue> <scene_description>The child keeps his lips pressed together .</scene_description> <character>WOMAN'S VOICE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Now you listen to me, young man. You do as I say or I'll ask your mother to leave the doctor's office and the two of us will sort out what's what.</dialogue> <scene_description>The child looks at her fearfully . The wall phone bleeps . Katie rolls to it on her castored chair .</scene_description> <character>WOMAN'S VOICE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yes.</dialogue> <scene_description>She listens briefly .</scene_description> <character>WOMAN'S VOICE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>With a patient.</dialogue> <scene_description>She hangs up .</scene_description> </scene> <scene> <stage_direction>INT. OSBOURNE'S BOAT - DAY</stage_direction> <scene_description>Osbourne , in dressing gown and pyjamas , is barking into the phone :</scene_description> <character>OSBOURNE</character> <dialogue>Yeah? The same patient she's been with since YESTERDAY? BullSHIT!</dialogue> <character>FILTERED VOICE</character> <dialogue>Dr. Cox has suggested you call her attorney -</dialogue> <character>OSBOURNE</character> <dialogue>Yeah, RIGHT! Tell her I got the new fucking keys!</dialogue> <scene_description>He slams down the phone .</scene_description> </scene> <scene> <stage_direction>EXT. BOAT DECK</stage_direction> <scene_description>The hatch is thrown open and Osbourne emerges from below . There is a large built - in toolbox just by the hatch . He yanks it open and pulls out a hatchet .</scene_description> <character>OSBOURNE</character> <dialogue>New keys.</dialogue> <scene_description>DOCK Osbourne strides grimly down the dock in his bathrobe , hatchet in hand .</scene_description> </scene> <scene> <stage_direction>INT. "GOOD MORNING, SEATTLE" SET - DAY</stage_direction> <scene_description>Sandy Pfarrer is sitting in an armchair on a morning show living room set surrounded by a dozen eight - year - olds sitting on the carpet . Hosts Del and Connie sit next to her in swivel chairs .</scene_description> <character>SANDY</character> <parenthetical>( reading . )</parenthetical> <dialogue>And it was just then - at that very moment - that Oliver sneezed -</dialogue> <character>DEL</character> <dialogue>Can we just - I'm sorry to interrupt but we have to let the folks at home see this illustration! Can we just get a shot of that.</dialogue> <scene_description>He is holding the book open , face out on his lap .</scene_description> <character>DEL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>There - there it is. Oliver. Interrupting the filibuster with -</dialogue> <character>CONNIE</character> <dialogue>That's wonderful!</dialogue> <character>DEL</character> <dialogue>Wonderful! The book is `` Point of Order, Oliver!'' and the talented author is Sandra Pfarrer. We're gon na go to a station break and then be right back with Bud Fraighling, the Sultan of Salad, and Part Two of our special interview with Dermot Mulroney. So keep it where it is!</dialogue> <scene_description>Del and Connie and Sandy all wear smiles that stay fixed a beat too long . Then Del relaxes and turns to Sandy .</scene_description> <character>DEL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Great segment.</dialogue> <character>SANDY</character> <dialogue>Thank you.</dialogue> <character>DEL</character> <dialogue>Yeah, you know we thought it might be fun if you joined us with Bud Fraighling and help make the Fiesta Salad, when we move over.</dialogue> <character>CONNIE</character> <dialogue>Over on the kitchen set.</dialogue> <character>SANDY</character> <dialogue>That was n't discussed.</dialogue> <character>DEL</character> <dialogue>Oh, sure! No! Only if you want to! Your segment went great, we just thought -</dialogue> <character>SANDY</character> <dialogue>I'm sorry, I made plans.</dialogue> <character>DEL</character> <dialogue>Okay, great!</dialogue> <character>CONNIE</character> <dialogue>Great to see you again, Sandra!</dialogue> <scene_description>She gives them a cold smile as a technician finishes unclipping her lavaliere and she leaves . Connie looks at Del and mouths `` Bitch . ''</scene_description> </scene> <scene> <stage_direction>EXT. COX TOWNHOUSE - DAY</stage_direction> <scene_description>Osbourne 's crumple - backed car roars up . It cuts a corner of the lawn and squeals to a halt in the drive . Osbourne emerges , still in robe and pyjamas , with the hatchet . He goes to the front door and bashes at the knob with the blunt end of the hatchet .</scene_description> <character>OSBOURNE</character> <dialogue>New. fucking. keys. How's this for access.</dialogue> <scene_description>Hardware starts to fall off and jangle onto the stoop . Osbourne tries the sharp end of the hatchet a couple times , decides he prefers the blunt end .</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>How's this for motherfucking access.</dialogue> <scene_description>More things fall off . The knob wobbles in the door . Osbourne pushes the door open .</scene_description> </scene> <scene> <stage_direction>INT. STUDIO - HALLWAY - DAY</stage_direction> <scene_description>Sandy Pfarrer is accompanied by a bright young PR woman .</scene_description> <character>PR WOMAN</character> <dialogue>That was way out of line. We were so unbelievably clear with them : just an Oliver segment.</dialogue> <character>SANDY</character> <dialogue>It's fine.</dialogue> <character>PR WOMAN</character> <dialogue>Del and Connie are such putzes.</dialogue> <character>SANDY</character> <dialogue>It's fine. Thank you. We're finished.</dialogue> <character>PR WOMAN</character> <dialogue>Huh? Well, okay. Great, uh -</dialogue> <scene_description>Sandy , entered her dressing room , is already shutting the door on her .</scene_description> </scene> <scene> <stage_direction>INT. STUDIO DRESSING ROOM - DAY</stage_direction> <scene_description>Inside a man lounges reading a magazine . He looks a little like Harry but younger .</scene_description> <character>SANDY</character> <dialogue>Thought that would never be over.</dialogue> <scene_description>The man rises and kisses her .</scene_description> <character>MAN</character> <dialogue>Mmm. Me too.</dialogue> <character>SANDY</character> <dialogue>Let me scrub this crap off my face.</dialogue> </scene> <scene> <stage_direction>INT. COX TOWNHOUSE KITCHEN - DAY</stage_direction> <scene_description>Osbourne opens a cabinet , muttering :</scene_description> <character>OSBOURNE</character> <dialogue>Just for starters.</dialogue> <scene_description>He takes out liquor bottles and starts putting them in a packing case on the kitchen counter .</scene_description> </scene> <scene> <stage_direction>EXT. WASHINGTON MALL - DAY</stage_direction> <scene_description>People sit on benches eating lunches . Harry Pfarrer is on the bench where he and Linda met , once again spitting sunflower seeds . Linda walks up . They greet each other with a kiss .</scene_description> <character>HARRY</character> <dialogue>Hello there sunshine. You look great.</dialogue> <character>LINDA</character> <dialogue>Well you seem better.</dialogue> <scene_description>Harry does indeed seem more like his old self .</scene_description> <character>HARRY</character> <dialogue>Yeah, I snuck in a little gym time this morning. And our exercise last night did n't hurt!</dialogue> <scene_description>Linda is shocked but secretly pleased :</scene_description> <character>LINDA</character> <dialogue>Harry!</dialogue> <character>HARRY</character> <dialogue>Boy, I am through banging my head against the wall. I am gon na start doing what's right for me.</dialogue> <character>LINDA</character> <dialogue>That's how I believe, also. You have to do what's right for -</dialogue> <character>HARRY</character> <dialogue>Yeah! Hell yeah! I mean I had a shock recently, and I realized you know, life is not infinite. No one's immortal.</dialogue> <character>LINDA</character> <dialogue>No one's immortal.</dialogue> <character>HARRY</character> <dialogue>You have to get from each day its full, uh, squeeze the juice from every day because there but for the grace of God -</dialogue> <character>LINDA</character> <dialogue>Exactly. The important thing is to maintain a positive outlook. Always up. Always ebullient.</dialogue> <character>HARRY</character> <dialogue>That's right, do n't sweat the small stuff.</dialogue> <scene_description>Linda chimes in : Linda and Harry</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>and it's all small stuff.</dialogue> <scene_description>Harry reaches for Linda and she slides closer . He puts an arm around her .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>This is where we first met. Remember?</dialogue> <character>LINDA</character> <dialogue>Of course I do.</dialogue> <character>HARRY</character> <dialogue>You never know what the important days are, until. until, um.</dialogue> <scene_description>The thought drifts away as his gaze fixes on something . With his look still fixed :</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I told myself I was gon na stop being paranoid, but. is that guy looking at us?</dialogue> <scene_description>Linda follows his look . On a bench a short distance away a middle - aged man with aviator glasses and hair plugs is staring at them .</scene_description> <character>LINDA</character> <parenthetical>( hastily . )</parenthetical> <dialogue>No, no.</dialogue> <scene_description>A slightly overweight woman stops tentatively in front of the man in the aviator glasses and they start to talk . Linda turns to Harry .</scene_description> <character>LINDA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Have you found out anything about Chad?</dialogue> <character>HARRY</character> <dialogue>Nothing yet, I've made a couple calls. I do n't think it'll take long.</dialogue> <character>LINDA</character> <dialogue>Really?</dialogue> <character>HARRY</character> <dialogue>Oh yeah, there are so many data bases now it's a joke.</dialogue> <scene_description>Relaxing now that he sees the man in aviator glasses engaged in conversation , Harry warms to his theme .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Back when I was in PP there was still some art to finding people. Not any more. And now with the cell phones? Pretty soon they're gon na know where everyone is. Everyone. At any given moment. I mean it's almost the reality now. You would be amazed.</dialogue> <character>LINDA</character> <dialogue>Uh - huh.</dialogue> <character>HARRY</character> <dialogue>Did he - when you left the Jamba Juice - did Chad say anything about where he might be going?</dialogue> <character>LINDA</character> <dialogue>Oh, I know where he was going.</dialogue> <character>HARRY</character> <dialogue>Oh yeah?</dialogue> <character>LINDA</character> <dialogue>A residence in Alexandria. On Hillsboro Drive.</dialogue> <scene_description>Harry has stopped chewing . He is staring at her . Linda feels obliged to fill the silence .</scene_description> <character>LINDA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>2055 Hillsboro.</dialogue> <scene_description>Harry stares . Linda does n't know what to make of his fixed stare .</scene_description> <character>LINDA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's, um. The residence of a guy named Osbourne Cox.</dialogue> <scene_description>Harry is beginning to look sick . A long silence . Then , quietly :</scene_description> <character>HARRY</character> <dialogue>Who are you?</dialogue> <scene_description>Now Linda stares , unsure of what to make of the question .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>WHO ARE YOU?</dialogue> <scene_description>Linda 's eyes widen . She is a little frightened . People nearby turn to look . It is a scene .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>WHO DO YOU WORK FOR?</dialogue> <scene_description>Harry reaches up . He grabs her by the shoulders and shakes .</scene_description> <character>HARRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>WHO ARE YOU? REALLY?</dialogue> <scene_description>Linda is at sea . She answers in a small voice :</scene_description> <character>LINDA</character> <dialogue>I'm. just. Linda Litzke.</dialogue> <scene_description>Harry stares at her . A long beat . He leaps to his feet and looks around in a panic . His point - of - view , sweeping the park . Nearby , the man with plugs , though talking with his date , is looking at him again . Farther away , a man sits in a curbside sedan . Watching ? Hard to say . Harry turns and runs . Linda gapes .</scene_description> <character>LINDA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Harry!</dialogue> </scene> <scene> <stage_direction>INT. COX TOWNHOUSE - MASTER BEDROOM - DAY</stage_direction> <scene_description>Osbourne sets the packing box heavily down on a bureau in the upstairs bedroom . The box is a third loaded up with liquor bottles . It also holds a mixed drink which Osbourne now takes out . The ice cubes clink as he sips , poking through things in the bureau . One drawer holds scarves and accessories and a large case . He opens the case and starts dumping jewelry from it into the cardboard box . Suddenly :</scene_description> <character>OSBOURNE</character> <dialogue>Ow! Fuck!</dialogue> <scene_description>He yanks his hand back and shakes it . He looks at the ball of his thumb . He sucks it . He carefully picks a brooch out of the jewelry case and flings it across the room . He resumes dumping jewelry into his box . He suddenly stops : A faint knock . The front door . Osbourne waits . The knock repeats . Another beat . The front door creaks open . Osbourne carefully sets down his drink . He steps quietly to the closet and pulls a small cedar chest off a high shelf .</scene_description> </scene> <scene> <stage_direction>EXT. WASHINGTON MALL/INT. LINDA'S CAR - DAY</stage_direction> <scene_description>Linda flings open the door to her car parked on the street bordering the mall . She gets in and turns the ignition . Pulling into traffic she checks her rear - view , and her look snags on : A dark four - door sedan pulling out a few cars back . It falls in behind her . Its driver is a man in sunglasses . He reaches up and touches fingertips to one ear . Linda frowns . She looks forward , glances again at the mirror . Another dark car pulls into the lane next to the first . Its driver is also a man in sunglasses .</scene_description> </scene> <scene> <stage_direction>INT. COX TOWNHOUSE - LIVING ROOM - DAY</stage_direction> <scene_description>Downstairs , Osbourne rounds the corner from entryway to living room , a handgun at the ready . His drink is in his other hand . Ice cubes clink as he moves . The living room is empty . Osbourne advances cautiously . A quick sidelong look at the kitchen . Empty . He proceeds to the basement door .</scene_description> </scene> <scene> <stage_direction>INT. LINDA'S CAR/EXT. INTERSECTION - DAY</stage_direction> <scene_description>LINDA DRIVING She gives worried glances at her rear - view . The light ahead turns yellow , red . Cars ahead stop . Linda stops . A rhythmic thudding sound . It almost makes her car vibrate . She looks around . She rolls down her window , sticks her head out , looks up . A black helicopter hovers overhead , rotors thudding . A black - clad body leans partway out . The person seems to be looking down . Linda draws her head back in .</scene_description> <character>LINDA</character> <dialogue>Oh for Pete's sake.</dialogue> </scene> <scene> <stage_direction>INT. COX TOWNHOUSE - BASEMENT</stage_direction> <scene_description>Osbourne is slowly descending the stairs , gun and drink in either hand , gun up , ice cubes clinking . The basement comes slowly into view . Someone stands behind his desk , at the computer . Osbourne descends further . He stops on the bottom step and stares at Ted Treffon , the soulful manager of Hardbodies . Ted stares at him . A long silence between the two men . Then , quietly :</scene_description> <character>OSBOURNE</character> <dialogue>And you are. my wife's lover.</dialogue> <character>TED</character> <dialogue>No.</dialogue> <character>OSBOURNE</character> <dialogue>Then what are you doing here.</dialogue> <scene_description>Silence . Osbourne takes the last step down . He advances slowly , gun trained on Ted . Osbourne 's look , holding on Ted , changes .</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I know you. You're the guy at the gym.</dialogue> <scene_description>Ted licks his lips .</scene_description> <character>TED</character> <dialogue>I'm not here representing Hardbodies.</dialogue> <character>OSBOURNE</character> <dialogue>I know what you represent. You represent the idiocy of today.</dialogue> <scene_description>Ted shakes his head .</scene_description> <character>TED</character> <dialogue>I do n't represent that, either.</dialogue> <character>OSBOURNE</character> <dialogue>Oh yes. You're the guy when I went to ask about that moronic woman.</dialogue> <character>TED</character> <dialogue>She's not -</dialogue> <character>OSBOURNE</character> <dialogue>You're in league with that moronic woman. You're part of a league of morons.</dialogue> <character>TED</character> <dialogue>No.</dialogue> <character>OSBOURNE</character> <dialogue>Yes. You're one of the morons I've been fighting all my life. My whole fucking life. But guess what. Guess what. Today I win.</dialogue> <scene_description>BANG .</scene_description> <character>TED</character> <dialogue>Ah!</dialogue> <scene_description>Ted is shot in the upper chest . He grabs a three - hole punch from the desktop and flings it at Osbourne and charges .</scene_description> <character>OSBOURNE</character> <dialogue>Oh!</dialogue> <scene_description>BANG - another shot goes off . Ted barrels into Osbourne , knocking him over -</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oooph!</dialogue> <scene_description>- and goes on past him , lumbering up the stairs . Osbourne gets to his feet .</scene_description> <character>OSBOURNE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Stop! Intruder!</dialogue> </scene> <scene> <stage_direction>EXT. COX TOWNHOUSE - DAY</stage_direction> <scene_description>Ted staggers out of the house , a hand pressed to his chest . He has reached the front lawn when Osbourne emerges , robe flapping , pursuing with the hatchet .</scene_description> <character>OSBOURNE</character> <dialogue>Intruder!</dialogue> <scene_description>He quickly catches up to Ted and whacks at him .</scene_description> <character>TED</character> <dialogue>Oh!</dialogue> <scene_description>Osbourne whacks him down . He keeps whacking at him .</scene_description> </scene> <scene> <stage_direction>INT. CHUBB'S OFFICE - DAY</stage_direction> <scene_description>Gardner Chubb is behind his desk .</scene_description> <character>GARDNER CHUBB</character> <dialogue>Wait.</dialogue> <scene_description>Palmer DeBakey Smith is seated across from him . He freezes . A beat . Gardner Chubb rubs his forehead .</scene_description> <character>GARDNER CHUBB</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Wait a minute. Where's the treasury guy? Pfarrer?</dialogue> <character>PALMER</character> <dialogue>Right now?</dialogue> <character>GARDNER CHUBB</character> <dialogue>Right now.</dialogue> <character>PALMER</character> <dialogue>In a detention room at Washington Dulles.</dialogue> <character>GARDNER CHUBB</character> <dialogue>Why?</dialogue> <character>PALMER</character> <dialogue>He was trying to board a flight to Venezuela. We had his name on a hot list, the INS pulled him. Do n't know why he was going to Venezuela.</dialogue> <character>GARDNER CHUBB</character> <dialogue>You do n't know.</dialogue> <character>PALMER</character> <dialogue>No sir.</dialogue> <character>GARDNER CHUBB</character> <dialogue>We have no extradition with Venezuela.</dialogue> <character>PALMER</character> <dialogue>Oh. Uh - huh. Well - what should we do with him?</dialogue> <character>GARDNER CHUBB</character> <dialogue>For fuck's sake, put him on the next flight to Venezuela!</dialogue> <character>PALMER</character> <dialogue>Yes sir. Okay.</dialogue> <scene_description>Gardner Chubb is weary .</scene_description> <character>GARDNER CHUBB</character> <dialogue>Okay. So the gym manager is dead.</dialogue> <character>PALMER</character> <dialogue>Yes sir.</dialogue> <character>GARDENER CHUBB</character> <dialogue>The body is -</dialogue> <character>PALMER</character> <dialogue>Gone, sir.</dialogue> <character>GARDENER CHUBB</character> <dialogue>Okay -</dialogue> <character>PALMER</character> <dialogue>But - there was a, uh. snag.</dialogue> <character>GARDNER CHUBB</character> <dialogue>What.</dialogue> <character>PALMER</character> <dialogue>Well. This analyst, Cox, was attacking the gym guy. It was broad daylight, on the street. Our man there did n't know what to do. He felt he had to step in.</dialogue> <character>GARDNER CHUBB</character> <dialogue>Yes?</dialogue> <character>PALMER</character> <dialogue>He, uh. He shot the analyst. He shot Cox.</dialogue> <character>GARDNER CHUBB</character> <dialogue>Good! Great! Is he dead?</dialogue> <character>PALMER</character> <dialogue>No sir.</dialogue> <scene_description>Gardner Chubb grimaces .</scene_description> <character>PALMER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>He's in coma. They're not sure whether he'll make it. They think, they're pretty sure he has no brain function.</dialogue> <character>GARDNER CHUBB</character> <dialogue>Okay. Okay. If he wakes up we'll worry about it then. Jesus, what a clusterfuck. That's it then. No one else really knows anything. Okay.</dialogue> <character>PALMER</character> <dialogue>Um. Well sir, there is.</dialogue> <character>GARDNER CHUBB</character> <dialogue>What.</dialogue> <character>PALMER</character> <dialogue>Um.</dialogue> <character>GARDNER CHUBB</character> <dialogue>What.</dialogue> <character>PALMER</character> <dialogue>There is the woman. The gym woman. Linda Litzke.</dialogue> <character>GARDNER CHUBB</character> <dialogue>Oh yeah. Fuck. Where is she.</dialogue> <character>PALMER</character> <dialogue>We picked her up. We have her.</dialogue> <character>GARDNER CHUBB</character> <dialogue>Can we, uh -</dialogue> <character>PALMER</character> <dialogue>She, she, she says she'll play ball if we pay for some. I know this sounds odd - some surgeries she wants. Cosmetic surgery. She says she'll sit on everything.</dialogue> <character>GARDNER CHUBB</character> <dialogue>How much.</dialogue> <character>PALMER</character> <dialogue>There were several procedures. All together they run to, um -</dialogue> <character>GARDNER CHUBB</character> <dialogue>Pay it.</dialogue> <character>PALMER</character> <dialogue>Yes sir. Should I pay it out of, should it be from -</dialogue> <character>GARDNER CHUBB</character> <dialogue>One of the black accounts, I do n't give a shit. The January fund. Whatever.</dialogue> <character>PALMER</character> <dialogue>Okay.</dialogue> <character>GARDNER CHUBB</character> <dialogue>Jesus. Jesus fucking Christ.</dialogue> <scene_description>He shakes his head .</scene_description> <character>GARDNER CHUBB</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What did we learn, Palmer.</dialogue> <character>PALMER</character> <dialogue>I do n't know, sir.</dialogue> <character>GARDNER CHUBB</character> <dialogue>I do n't fucking know either. I guess we learned not to do it again.</dialogue> <character>PALMER</character> <dialogue>Yes sir.</dialogue> <character>GARDNER CHUBB</character> <dialogue>Although I'm fucked if I know what we did.</dialogue> <character>PALMER</character> <dialogue>Yes sir. Hard to say.</dialogue> <scene_description>We pull back from Gardner Chubb , shaking his head .</scene_description> <character>GARDNER CHUBB</character> <dialogue>Jesus. Jesus fucking Christ.</dialogue> </scene> <scene> <stage_direction>EXT. CIA HEADQUARTERS - AERIAL - DAY</stage_direction> <scene_description>We pull up , back through the clouds , away .</scene_description> </scene> </script>

Faced with a demotion at work due to an alleged drinking problem, Osbourne "Ozzie" Cox (Malkovich) angrily quits his job as a CIA analyst and decides to write a memoir. When his pediatrician wife Katie (Swinton) finds out, she sees it as an opportunity to file for divorce and continue her affair with Harry Pfarrer (Clooney), a married U.S. Marshal. At the instructions of her lawyer, Katie copies and delivers her husband's financial records and other files, including, unbeknownst to her, the draft of Ozzie's memoir. The lawyer's assistant copies the files onto a CD, which she accidentally leaves on the locker room floor of Hardbodies, a local gym. The disc falls into the hands of dim-witted personal trainer Chad Feldheimer (Pitt) and his co-worker Linda Litzke (McDormand), who mistakenly believe it to contain sensitive government information. Chad devises a plan to return the disc to Ozzie for a cash reward, with Linda seeing this as a quick solution to come up with money to pay for cosmetic surgery she'd been scheming in vain to afford. After a phone call and subsequent meeting with Osbourne provoke his furious reaction, Chad and Linda try to sell the disc to the Russian embassy. Unbeknownst to them, the Russian "cultural attache" who meets with them is a spy for the CIA. Osbourne's increasingly temperamental and erratic behavior prompts Katie to change the locks on their house and invite Harry to move in. It is shown that Harry is a womanizer and Katie is not the only "other" woman he's seeing, as he routinely goes on dates to have flings with women he meets online. He coincidentally starts seeing Linda Litzke after meeting her from the dating site. Having promised the Russians more files, Linda persuades Chad to sneak into the Cox household to steal some from Ozzie's computer. After watching Katie and Harry leave the house, Chad enters the home and starts snooping around until Harry unexpectedly comes home after finishing his post-coital run. Chad rushes upstairs to hide in the bedroom wardrobe closet as Harry enters the bedroom and proceeds to take a quick shower. After Harry has dressed, he picks up his gun and opens the wardrobe closet to retrieve his holster. Startled at seeing Chad, he reflexively levels his gun and shoots Chad in the head, instantly killing him. Harry then searches his body for any clues to his identity, coming up with an empty wallet and finding the tags from his suit ripped off. He suspects Chad to have been a spy snooping on him. Two days later at the CIA headquarters, Palmer Smith, Osbourne's former superior, and Smith's director learn that information from Osbourne has been given to the Russian Embassy. They are perplexed: the material delivered to the Russians is of no importance, and the apparent motive of all the involved parties is unknown. Palmer Smith also discloses to the director that the agent they had assigned to spy on Harry had observed Harry dumping Chad's body into the river. The director, unaware of Chad's identity, orders Chad's death to be covered up. Later that day, Harry and Katie get into an argument that ends with Harry storming out of the house. On his way out, he spots a man who has been trailing him for the past several days. Harry tackles the man and finds out that he is a private detective hired by his wife Sandy to gather evidence of infidelity to divorce him. Separately, it is revealed that Sandy is having an affair of her own. Harry is devastated at the surprise revelation of Sandy's divorce plans and goes to see Linda to vent his despair. However, a distressed Linda complains to Harry that she can't always be the one to listen to everyone's problems and confides she has her own issues: "her friend Chad" is missing. Harry agrees to help find Chad, unaware that Chad is the man he shot and killed earlier. Linda returns to the Russian embassy under the impression that they have abducted Chad. The Russians tell her they do not have him. They dismiss the CD contents as "drivel" and escort Linda out of the embassy. She turns to Ted Treffon, the kindhearted manager of Hardbodies, who has unrequited feelings for her, and begs him to help her by sneaking into the Cox household to gather more files from Osbourne's computer. Harry and Linda meet in a park. Harry notices a man in the park who appears to be surveilling him. Linda recognizes him as a man she had previously gone on a date with but denies knowing him, furthering Harry's suspicions. When Linda reveals the address where Chad had gone before disappearing, Harry realizes that Chad is the man he shot. Convinced that Linda is a spy and that everyone in the park is surveilling him, he panics and flees. Osbourne becomes unhinged when he finds out that Katie has emptied his bank accounts and decides to break into the house to get his alcohol and personal belongings. Finding Ted in the basement, Osbourne shoots Ted and then chases him onto the street where he starts attacking him with a hatchet. At CIA headquarters a few days later, Palmer Smith tells the director that a surveilling CIA agent intervened in the fracas between Osbourne and Ted, shooting Osbourne and leaving him in a coma, and that Ted subsequently died from the attack. He also says that Harry has been detained trying to flee to Venezuela, a country with no extradition treaty with the United States. The director instructs Palmer to send Harry to Venezuela with the implication that he'd rather let Harry "get away" than have to deal with the aftermath if they were to bring him into custody. The director and Palmer agree to leave Osbourne comatose and only worry about dealing with him if he ever wakes. Linda promises to keep quiet if they will pay for her plastic surgery, to which the director agrees. Palmer and his director try to understand and make sense of all the events that have happened. They conclude that there appears to be no lesson for the agency to learn from the events. "I guess we learned not to do it again," the director says, despite not knowing exactly what they did, and closes the file.

Geostorm_2017

tt1981128

<script> <scene> <character>G E O S T O R M</character> <dialogue>by</dialogue> <scene_description>Dean Devlin &amp; Paul Guyot First Draft 11/30/12 PROPERTY OF: ELECTRIC ENTERTAINMENT 940 Highland Ave. Hollywood, CA 90038 (323) 817-1300 "Daddy, why can't we build a machine that can just fix Global Warming?" -Hannah Devlin, Jan 2012 Geostorm - A violent, man-made storm of epic proportions that can quickly engulf the globe. FADE IN:</scene_description> </scene> <scene> <stage_direction>EXT. AFGHANISTAN - AFTERNOON</stage_direction> <scene_description>Blazing hot sun over a barren landscape. Rocky hillsides surround a basin of dirt and sand. In the distance we see a raging DUST STORM, half a mile high! Super up: REGISTAN DESERT, AFGHANISTAN - JULY 21, 2021</scene_description> </scene> <scene> <stage_direction>EXT. DUST STORM - DAY</stage_direction> <scene_description>Hard driving through a brutal DUST STORM, MAJOR COLLNER (late 40's, African American), leads a caravan of six assault vehicles wearing the symbol of THE UNITED NATIONS. Visibility is limited to a few feet. The vehicles nearly collide into one another as they race forward in the dust.</scene_description> </scene> <scene> <stage_direction>INT. LEAD HUMVEE - CONTINUOUS</stage_direction> <scene_description>Windshield wipers do little as harsh winds blast sand from all sides. Projected onto the windshield is the assault vehicle's HEADS UP DISPLAY (HUD) showing speed, proximity of the other vehicles, NAV and the temperature: 126 degrees.</scene_description> <character>MAJOR COLLNER</character> <dialogue>Jesus, it's over a hundred and twenty in this mother.</dialogue> <character>PRIVATE</character> <dialogue>At least it's a dry heat.</dialogue> <scene_description>The Major takes a swig from a canteen.</scene_description> <character>MAJOR COLLNER</character> <dialogue>How much farther, Funny Man?</dialogue> <character>PRIVATE</character> <parenthetical>(checking GPS)</parenthetical> <dialogue>Any minute, sir.</dialogue> </scene> <scene> <stage_direction>EXT. AFGHANISTAN DESERT - JUST OUTSIDE DUST STORM - SAME</stage_direction> <scene_description>The WALL OF DUST abruptly ends, just lingers there as if an invisible barrier prevents the storm from moving forward. It's a bizarre sight, but made even more bizarre when: The assault vehicles suddenly BURST THROUGH THE WALL OF DUST. The vehicles slam on the brakes; two actually collide into one another. The TROOPS exit their vehicles. CONTINUED: Most of them stare back at the wall of dust - stunned, confused. But Major Collner is looking forward. The Private walks up to him and he sees what Collner is staring at. The Private's jaw drops. One by one, the other troops begin to notice. Their looks turn from confused to... stunned. Collner kneels down and we see a ribbon of SNOW on the ground. He grabs a handful, inspects it, holds it to face, cooling himself. Collner takes point as the troops cautiously move forward, following the ribbon of snow. As they make their way forward we REVEAL they are walking towards-- A FROZEN VILLAGE - covered in snow and ice.</scene_description> </scene> <scene> <stage_direction>EXT. FROZEN VILLAGE - CONTINUOUS</stage_direction> <scene_description>Small tribal village. Incongruously frozen over, the streets, its inhabitants, all covered in SNOW and ICE-- FROZEN in a moment in time. The troops, sweating moments ago, now shiver from the cold as they move forward. People, animals, all FROZEN in place around the village. A soldier reaches over to touch the outstretched arm of a frozen VILLAGER. The arm SNAPS off.</scene_description> <character>MAJOR COLLNER</character> <dialogue>Sweet Mary and Joseph.</dialogue> <scene_description>Suddenly a low rumble is HEARD... the ground begins to SHAKE... the rumble turns into a ROAR, growing louder and louder... The Major whips his head up at the SOUND of FIGHTER JETS that BUZZ overhead. FIGHTER JETS - FLYING IN FORMATION PAN DOWN TO REVEAL:</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY - MORNING</stage_direction> <scene_description>The final note of TAPS plays from a distant trumpet as the morning sun breaks over a funeral. Honor guards fold the flag as a coffin is slowly lowered into the ground. The flag is presented to MAX LAWSON (30's, intelligent) with his wife SARAH (30's, athletic beauty). CONTINUED: Watching them is JAKE LAWSON (30's, All-American), black jeans, black leather jacket. He holds the hand of his daughter HANNAH LAWSON (9, adorable). Max glances up, finds his brother's stare. Sadness. Anger. Regret.</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY - PARKING AREA - MINUTES LATER</stage_direction> <scene_description>Max and Sarah head towards a black stretch limousine when Jake intercepts them. Max is surprised.</scene_description> <character>JAKE</character> <dialogue>Max, can I talk with you.</dialogue> <character>MAX</character> <dialogue>Anything you have to say to me, you can say in front of my wife.</dialogue> <scene_description>This was hard enough for Jake, he's stymied. Sarah realizes, takes Hannah's hand.</scene_description> <character>SARAH</character> <dialogue>You must be Hannah. I can't believe we haven't met you before. Why don't we let these two talk?</dialogue> <scene_description>Hannah shoots a permission glance to her father. He nods and she and Sarah exit. After a long beat.</scene_description> <character>MAX</character> <dialogue>You've got something to say?</dialogue> <character>JAKE</character> <dialogue>Yeah. Just... when mom died last winter...</dialogue> <character>MAX</character> <dialogue>I don't want to do this.</dialogue> <scene_description>Max starts to leave.</scene_description> <character>JAKE</character> <dialogue>I'm just saying there's no one left.</dialogue> <parenthetical>(That stops Max)</parenthetical> <dialogue>We never had a big family to begin with. Both our parents are gone--</dialogue> <character>MAX</character> <dialogue>If you think I'm going to apologize-</dialogue> <scene_description>CONTINUED:</scene_description> <character>JAKE</character> <dialogue>I'm not asking for anything, Max. I'm just saying we're all the family we got. Ten years is a long time.</dialogue> <scene_description>Max wasn't expecting this from Jake. He takes a second to process. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LAWSON FAMILY HOME - EVENING</stage_direction> <scene_description>The wake is winding down. Hannah plays with the dogs as Jake stares at photos on the mantelpiece; shots of Jake playing sports in high school, Max winning a chess championship, Jake and his father fishing. Jake smiles at the memories. His smile vanishes at the photos of Max's wedding. Seeing a young Sarah, Jake is disturbed.</scene_description> <character>SARAH (O.S.)</character> <dialogue>You should have been there.</dialogue> <character>JAKE</character> <parenthetical>(startled)</parenthetical> <dialogue>Huh?</dialogue> <scene_description>Sarah picks up the photo of her wedding, remembering.</scene_description> <character>SARAH</character> <dialogue>We both wanted you there, Jake. Couldn't you have put aside your differences for one night?</dialogue> <character>JAKE</character> <dialogue>He was marrying my differences.</dialogue> <scene_description>Across the room, Max sees Sarah and Jake talking. Covering his concern, he walks over.</scene_description> <character>MAX</character> <dialogue>I wanna show you something I found in the attic.</dialogue> <scene_description>Max drags Jake away from Sarah. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. ATTIC - LAWSON HOME - MOMENTS LATER</stage_direction> <scene_description>Climbing up the ladder, Max leads Jake up into the attic. CONTINUED:</scene_description> <character>MAX</character> <dialogue>I came up here looking for Dad's papers and I found this.</dialogue> <scene_description>Max pulls over an old, weathered TRUNK and flips the lid open. Old toys, books, photos. Nostalgic treasure.</scene_description> <character>JAKE</character> <dialogue>Wow.</dialogue> <scene_description>Max pulls out a large athletic trophy, holds it with disdain.</scene_description> <character>MAX</character> <dialogue>I thought he tossed all this crap years ago.</dialogue> <scene_description>Jake snatches it away from Max and admires it.</scene_description> <character>JAKE</character> <dialogue>Crap? I was all city.</dialogue> <scene_description>Sarah appears at the top of the ladder.</scene_description> <character>SARAH</character> <dialogue>What are you two doing?</dialogue> <scene_description>Spotting something, Jake breaks into a big grin as he pulls out a large binder. Max shares his glee.</scene_description> <character>JAKE &amp; MAX</character> <dialogue>A Blowtorched Horses Net!!</dialogue> <character>SARAH</character> <dialogue>Excuse me?</dialogue> <scene_description>Jake flips the binder over, revealing the words A BLOWTORCHED HORSES NET written in kid-script.</scene_description> <character>MAX</character> <dialogue>It's an anagram for "The Brothers Lawson code".</dialogue> <scene_description>Jake flips through the book.</scene_description> <character>JAKE</character> <dialogue>When we were kids, we were always trying to get one over on Dad...</dialogue> <character>MAX</character> <dialogue>Which wasn't easy.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>JAKE</character> <dialogue>We made up a series of secret codes we would use to communicate with each other.</dialogue> <character>MAX</character> <dialogue>We?!? I made up the code, I hacked into Dad's computers--</dialogue> <character>JAKE</character> <dialogue>But I knew what to do with it all.</dialogue> <character>MAX</character> <parenthetical>(to Sarah)</parenthetical> <dialogue>Yes, I would think us out of trouble while Jake would punch us into trouble.</dialogue> <character>JAKE</character> <dialogue>Between his brains and my lack of respect for authority, Dad never knew what the hell we were up to.</dialogue> <character>MAX</character> <parenthetical>(sad, fondly remembering)</parenthetical> <dialogue>Or at least he pretended he didn't.</dialogue> <scene_description>There's a long pause as they both drift into nostalgia.</scene_description> <character>SARAH</character> <parenthetical>(pointedly)</parenthetical> <dialogue>Sounds like you guys used to be really close.</dialogue> <scene_description>While it's true, neither is ready to admit it.</scene_description> </scene> <scene> <stage_direction>EXT. LAWSON FAMILY HOME - LATER</stage_direction> <scene_description>Jake carries a sleeping Hannah over to a waiting cab, placing her inside. He turns back to Max and Sarah standing near.</scene_description> <character>SARAH</character> <dialogue>You sure you don't want to stay the night? We could all drive back to the city together in the morning?</dialogue> <character>JAKE</character> <dialogue>Hannah's school is doing a thing and after I have to hand her off to her mother...</dialogue> <scene_description>Jake clearly doesn't want to get into it. CONTINUED:</scene_description> <character>SARAH</character> <dialogue>I understand. That's gotta be tough.</dialogue> <scene_description>Jake nods and turns back towards the cab.</scene_description> <character>MAX</character> <dialogue>Hey, Jake--</dialogue> <scene_description>Jake turns back to Max. An awkward beat.</scene_description> <character>MAX</character> <dialogue>You should have done this a long time ago.</dialogue> <character>JAKE</character> <dialogue>I shouldn't have had to.</dialogue> <character>MAX</character> <dialogue>Jesus, you're still an asshole.</dialogue> <character>JAKE</character> <dialogue>And you're still a prick.</dialogue> <scene_description>Jake climbs into the driverless cab (electric and silent). As it drives off, Max watches, concerned. Sarah slides up next to him.</scene_description> <character>MAX</character> <dialogue>Ever have any regrets?</dialogue> <character>SARAH</character> <dialogue>No. I married the right brother.</dialogue> <scene_description>She kisses him on the cheek and goes back inside. Max is conflicted.</scene_description> </scene> <scene> <stage_direction>INT. ELECTRIC CAB - SAME</stage_direction> <scene_description>A small CHIME goes off and Jake pulls what looks like a collapsible folding ruler from his breast pocket. He SNAPS it open into a FRAME. Instantly, a 3D HOLOGRAPHIC display appears inside (this is a HoloFrame). This futuristic 3D iPad shows an INCOMING call tagged NASA. Jake hits a switch and a 3D image of MIKE KEEGAN, mid 40's shows up.</scene_description> <character>MIKE</character> <parenthetical>(filtered)</parenthetical> <dialogue>Where are the new Fuel Cell generators? They were supposed to be sent up yesterday!</dialogue> <scene_description>CONTINUED:</scene_description> <character>JAKE</character> <dialogue>The boys are building 'em now, sir--</dialogue> <character>MIKE</character> <dialogue>ISS keeps getting error messages from the intake sensors--</dialogue> <character>JAKE</character> <dialogue>Don't blame me. I just build this stuff. You guys design 'em.</dialogue> <scene_description>Jake gets on Mikes nerves, but he needs him.</scene_description> <character>MIKE</character> <dialogue>Just make sure they're ready to be installed on the station by the weekend at the latest.</dialogue> <scene_description>Mike hangs up. Jake flips through some programs until a 3D rendering of an enormous SPACE STATION appears. Slowly, Jake spins the model in his HoloFrame. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - INTERNATIONAL SPACE STATION IV - NIGHT</stage_direction> <scene_description>Framed in front of a beautiful visage of the Moon, we establish the International Space Station IV. Similar in design to the current ISS, only much larger. Flags of every participating nation are painted on the side of this massive craft. CHYRON: INTERNATIONAL SPACE STATION IV - OVER AFGHANISTAN We move closer and see a large TEAM of space suited WORKERS outside the craft, helping to guide an enormous retrieval arm as it guides a SATELLITE the size of a SCHOOL BUS through the large open BAY DOORS. Large CLAMPS grab onto the SATELLITE, gently pulling it inside.</scene_description> </scene> <scene> <stage_direction>INT. RETRIEVAL BAY - CONTINUOUS</stage_direction> <scene_description>Safely inside, large AIR LOCK doors quickly SEAL closed behind the SATELLITE as another TEAM of WORKERS rush over, examining it. UTE FASSBINDER, German, pretty, early 30's, all business, hits her comm unit.</scene_description> <character>UTE</character> <parenthetical>(into comms)</parenthetical> <dialogue>Secured. Replacement cleared for launch.</dialogue> </scene> <scene> <stage_direction>EXT. SPACE - INTERNATIONAL SPACE STATION IV - SAME</stage_direction> <scene_description>Just below the BAY DOORS a HATCH beneath the craft opens up and another satellite, exactly like the one retrieved, is SHOT OUT of it, hurtling away from the craft.</scene_description> </scene> <scene> <stage_direction>INT. ISS - RETRIEVAL BAY - CONTINUOUS</stage_direction> <scene_description>Workers remove several large PANELS off the side of the recovered satellite as MAKMOUD HABIB, East Indian, early 30's, nervously rushes over. Another TECH moves over to help and Makmoud dismisses him.</scene_description> <character>MAKMOUD</character> <dialogue>I've got it. Please go make sure they depressurize the fuel intake.</dialogue> <scene_description>The Tech nods in agreement and moves on. Alone, Makmoud pulls out his HoloFrame but doesn't snap it open. Instead he presses it against a contact point on the panel. Making sure no one is watching, he pulls out an RFID badge from his pocket and presses it against another contact point. Several lights BLINK on the folded HoloFrame. When all the lights turn GREEN, he quickly pockets it and moves over to a nearby table. Picking up an armful of papers and binders, he exits.</scene_description> </scene> <scene> <stage_direction>INT. ISS HALLWAY - SAME</stage_direction> <scene_description>Nervous and sweating, Makmoud hurries down the narrow corridors winding through the station.</scene_description> </scene> <scene> <stage_direction>INT. ISS - MEN'S LOCKER ROOM - CONTINUOUS</stage_direction> <scene_description>Makmoud tries to disguise his anxiety as he makes his way through the crowded locker room. A dozen SCIENTISTS and ENGINEERS are in various states of dress; one shift ending, another beginning. Stopping at a locker, Makmoud dumps several binders inside. He closes the locker, turns, and locks eyes with a rugged, humorless man - RAY DUSSETTE, French, 40's, tough. Makmoud tries his best to force a casual nod and moves off. Dussette eyeballs him with suspicion.</scene_description> </scene> <scene> <stage_direction>INT. ISS - RECREATION ROOM - MOMENTS LATER</stage_direction> <scene_description>We're starting to get an idea of how big this place really is. In the Rec Room people shoot pool, play video games, watch television, read hologram books on couches, etc. CONTINUED: Makmoud enters and hurries through the crowd. A young, Cockney, geek-ish technician, DUNCAN TAYLOR, playing video games, waves him over.</scene_description> <character>DUNCAN</character> <dialogue>Makmoud! Sorry mate, I'm about to obliterate your record.</dialogue> <character>MAKMOUD</character> <dialogue>I have to do some re-coding. Perhaps later.</dialogue> <scene_description>Duncan goes back to his game as Makmoud heads through a doorway.</scene_description> </scene> <scene> <stage_direction>INT. NARROW HALLWAY - MOMENTS LATER</stage_direction> <scene_description>Hustling through this narrow hallway, Makmoud's jog evolves into a run. Suddenly, a doorway several yards ahead SLAMS SHUT. A RED LIGHT goes off as the door SEALS and LOCKS. A warning alarm goes off. Quickly Makmoud takes out his RFID badge and places it on the lock, but the word "OVERRIDE" appears on the door lock. Makmoud fears the worst. He panics, turns and heads back the other direction. Before he gets far, another door SLAMS SHUT in front of him, trapping him inside. Makmoud whips his head around in time to see the ACCESS PANEL DOORS BLOWING AWAY, one by one, EXPOSING THIS SECTION OF HALLWAY TO OUTER SPACE. Immediate decompression. Panicked, Makmoud backs away from the exposed doorways but the effects of exposure happen quickly. His body starts to convulse, THE BENDS. His body begins to BLOAT as he SCREAMS OUT IN PAIN. We PULL OUT through an open access door, farther and farther...</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - INTERNATIONAL SPACE STATION IV</stage_direction> <scene_description>Makmoud's SCREAM continues as his image gets smaller and smaller as we see the ISS IV in its entirety. We CRANE UP around the craft, seeing it from an angle we haven't seen before. As we LIFT UP we notice hundreds if not thousands of SATELLITES below the Space Station, completely surrounding the EARTH below. It's a breathtaking sight. CONTINUED:</scene_description> <character>HANNAH'S VOICE (O.S.)</character> <dialogue>Just over 42 thousand kilometers above the Earth, the International Space Station floats above the Testudo Net; thousands of individual satellites surrounding the globe.</dialogue> <scene_description>The image FREEZES and turns into a child's crayon drawing. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. CLASSROOM - ELEMENTARY SCHOOL - MORNING</stage_direction> <scene_description>Pulling off the drawing, we see Hannah making her presentation at the school's science fair.</scene_description> <character>HANNAH</character> <dialogue>Named after the little boy who stuck his finger in the dyke, Project Dutch Boy was adopted at the world convention in Helsinki back in 2017.</dialogue> <scene_description>Jake sits with the other parents, beaming with pride. His ex- wife, OLIVIA, 30's, sits next to him. Hannah's TEACHER stands nearby, taking notes on his clipboard. Hannah holds up several photos of natural disasters around the world; floods, drought, hurricanes--</scene_description> <character>HANNAH</character> <dialogue>After the summer of floods in Eastern Europe and the 2015 drought that starved millions in Latin America, the reality of catastrophic Climate Change united the nations of the world. Knowing they could not reverse the effects in time, the Dutch Boy Program was designed to keep things from getting worse. In the largest joint international scientific program in history, a wide variety of technologies were developed to avoid global disaster and the science of Geoengineering was born.</dialogue> <scene_description>Hannah walks up to several containers showing various kinds of weather simulations; a cloud tank, a water tank creating waves, a wind tube creating mini tornadoes, simulated icebergs melting. Above each one is a model of a satellite. CONTINUED:</scene_description> <character>HANNAH</character> <dialogue>Today, twenty five different types of satellites are now in geosynchronous orbit over the planet.</dialogue> <scene_description>One by one, she switches ON the model satellites. As she does, a cloud tank begins to rain, the water tank waves subside, the mini tornado shrinks and the iceberg freezes.</scene_description> <character>HANNAH</character> <dialogue>Using techniques like pulse lasers to ionize the atmospheric moisture and sonic waves to slow molecular movement for freezing and cooling, each satellite is designed to contain different types of weather phenomenon.</dialogue> <scene_description>She walks back to the original drawing of the International Space Station.</scene_description> <character>HANNAH</character> <dialogue>All controlled by a multinational team of scientists, engineers and technicians aboard the International Space Station.</dialogue> <scene_description>The parents applaud. Jake couldn't be more proud. The Teacher turns to Hannah.</scene_description> <character>TEACHER</character> <dialogue>Hannah, why must Dutch Boy be run from the Space Station instead of from Earth?</dialogue> <scene_description>Jake's expression drops. Did Hannah just memorize all this or does she really know?</scene_description> <character>HANNAH</character> <dialogue>Well, uh, all these different signals coming from the satellites are all over the atmosphere. To control them all, you gotta be above their transmissions. Using relay satellites, the Space Station has a clear "Line of Height" to all the satellites around the world.</dialogue> <character>TEACHER</character> <dialogue>"Line of Height"?</dialogue> <scene_description>Jake mouths the word "Sight", points to his eye. CONTINUED: (2)</scene_description> <character>HANNAH</character> <dialogue>Sight!! I meant "Line of Sight".</dialogue> <scene_description>The Teacher smiles and jots his answer down as the parents applaud again. Hannah sighs, glad it's over. Jake beams. A "C+"!?!</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL HALLWAY - LATER</stage_direction> <scene_description>Jake has cornered the Teacher, is in his face.</scene_description> <character>JAKE</character> <dialogue>Are you fucking kidding me?</dialogue> <character>TEACHER</character> <dialogue>If you think you can intimidate me into changing your child's grade--</dialogue> <character>JAKE</character> <dialogue>I want an explanation. Hannah's presentation was incredible!</dialogue> <character>TEACHER</character> <dialogue>But she had an unfair advantage over the other children.</dialogue> <character>JAKE</character> <dialogue>How's that?</dialogue> <character>TEACHER</character> <dialogue>You! You work for NASA on this very project.</dialogue> <character>JAKE</character> <dialogue>I didn't help her--</dialogue> <character>TEACHER</character> <dialogue>Clearly you did.</dialogue> <character>JAKE</character> <dialogue>You calling me a liar?</dialogue> <character>TEACHER</character> <dialogue>I saw you prompting her. "Line of Sight"??</dialogue> <scene_description>Jake grabs him by the lapel. CONTINUED:</scene_description> <character>JAKE</character> <dialogue>Hannah worked her little butt off on this thing just to impress a daddy she doesn't get to see much. And I'm not about to let you--</dialogue> <character>OLIVIA (O.S.)</character> <dialogue>Jake!</dialogue> <scene_description>Jake and the Teacher turn as Olivia storms over.</scene_description> <character>OLIVIA</character> <dialogue>What in God's name are you doing?</dialogue> <parenthetical>(to the Teacher)</parenthetical> <dialogue>I'm so sorry, Mr. Kimes, please forgive my Neanderthal of an ex- husband.</dialogue> <scene_description>Jake backs off. The Teacher gives him a smug look.</scene_description> <character>TEACHER</character> <dialogue>I have an entire class of forty kids I have to worry about. Sometimes what seems unfair to one, has to be done for the good of all.</dialogue> <scene_description>The Teacher exits. Olivia looks at Jake, sadly.</scene_description> <character>OLIVIA</character> <dialogue>Jake, please don't do what you always do.</dialogue> <character>JAKE</character> <dialogue>What?!</dialogue> <character>OLIVIA</character> <dialogue>Make everything all about you. This is about Hannah and I don't want her kicked out of this school.</dialogue> <character>JAKE</character> <dialogue>I don't make everything about me--</dialogue> <character>OLIVIA</character> <dialogue>Oh yeah? Then why aren't we married anymore?</dialogue> <scene_description>Before Jake can respond, Hannah runs into her daddy's arms.</scene_description> <character>HANNAH</character> <dialogue>Daddy, did you like my presentation?</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>JAKE</character> <dialogue>Princess, you blew my socks off.</dialogue> <character>HANNAH</character> <dialogue>For reals?</dialogue> <character>JAKE</character> <dialogue>For reals.</dialogue> <character>OLIVIA</character> <dialogue>Come on, Han, we have to get going.</dialogue> <scene_description>Jake kneels down, gets eye level with Hannah. He'd do anything for this kid.</scene_description> <character>JAKE</character> <dialogue>Next weekend, it's just you and me, kid.</dialogue> <scene_description>Hannah hugs her father tightly. She touches her heart and traces it to his.</scene_description> <character>HANNAH</character> <dialogue>Know what this is? Invisible string. From my heart to yours.</dialogue> <character>JAKE</character> <dialogue>Can never be broken.</dialogue> <character>OLIVIA</character> <dialogue>Han, we gotta go.</dialogue> <scene_description>Olivia takes Hannah away.</scene_description> <character>HANNAH</character> <parenthetical>(yelling back)</parenthetical> <dialogue>Bye, daddy!</dialogue> <scene_description>Jake waves, watching her walk away. He adores her. CUT TO: COMMERCIAL REFRIGERATOR The door is opened and an Evian bottle is retrieved, revealing a black CAT sitting inside. Widen to reveal...</scene_description> </scene> <scene> <stage_direction>INT. GROCERY - BRAZIL - DAY</stage_direction> <scene_description>HECTOR BARCELLOS, 30's, short-sleeve button down with pocket protector, sweating, pulls out the cat. CONTINUED:</scene_description> <character>HECTOR</character> <parenthetical>(in Portuguese: subtitles)</parenthetical> <dialogue>That is no place for you, little cat.</dialogue> <scene_description>But just as Hector turns, the cat leaps back into the fridge. He reaches for the animal again, but it hisses and recoils.</scene_description> <character>HECTOR</character> <parenthetical>(English)</parenthetical> <dialogue>You got room in there for me?</dialogue> <scene_description>Hector leaves the door open for the cat to escape, goes to pay for the water. As he does, he looks up at a thermometer on the wall, its reads: 126 degrees.</scene_description> </scene> <scene> <stage_direction>EXT. STREETS - BRAZIL - CONTINUOUS</stage_direction> <scene_description>The streets are crowded and sweltering. Hector chugs his Evian water bottle as he exits the store. Super up: RIO DE JANEIRO, BRAZIL Hector bumps into a YOUNG BOY, 10, who stumbles into him, reeling from the heat.</scene_description> <character>HECTOR</character> <dialogue>Boy, watch where you're going...</dialogue> <scene_description>The Young Boy collapses, delirious. He drops a small stuffed toy - a soccer ball with arms and legs. Hector catches him, touches his forehead. The boy is burning up. Hector gives him some of his Evian.</scene_description> <character>HECTOR</character> <dialogue>Where are your parents?</dialogue> <parenthetical>(the boy can't speak)</parenthetical> <dialogue>We must get you to a doctor.</dialogue> <scene_description>Hector grabs the boy's toy, scoops him up and carries him over to his Electric Smart Car, placing him in the passenger seat. Quickly he rounds the car, but pauses when he HEARS the SOUND of a LOUD INDUSTRIAL-TYPE GROAN. Hector turns and SEES the building across from him begin to SWAY, plaster cracking and parts splintering off; PIPES at its base begin to SNAP IN TWO. Quickly, Hector JUMPS into his car and peels out at full torque JUST as the building COLLAPSES behind him. Crashing down into the street, taking out several passing cars. CONTINUED: Hector GUNS it, accelerating faster than the building can fall, as it crashes down behind him. The ROOF SMASHES TO THE GROUND, inches behind the electric car. The open GAS PIPES left in its wake suddenly IGNITE as the ground below ERUPTS INTO A GIGANTIC FIRE BALL.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - SAME</stage_direction> <scene_description>Hector's car skids around a corner onto the highway, only to reveal BUILDINGS EVERYWHERE beginning to sway and CRUMBLE.</scene_description> </scene> <scene> <stage_direction>INT. ELECTRIC SMART CAR - SAME</stage_direction> <scene_description>The boy is passed out and Hector is drenched in sweat. A thermometer on the dash reads an unbelievable 132 degrees. Suddenly there's an EXPLOSION. A FIRE TORNADO erupts from the ground, engulfing an older gasoline powered car which ERUPTS IN FLAMES just next to him, swerving towards Hector who quickly evades a collision.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - CONTINUOUS</stage_direction> <scene_description>Hector races down a highway as gas pipes below the streets EXPLODE, one after another. The highway RIPS OPEN. Cars are KNOCKED away as the road continues to ERUPT. Buildings TUMBLE behind Hector's car as the ground explodes and collapses. Older gasoline powered cars EXPLODE, one by one ALL AROUND the highway. A TRUCK tries to swerve around and TIPS OVER, crushing down onto another smaller car. Zigzagging through the chaos, Hector desperately tries to avoid disaster. In front of him, an enormous cement BRIDGE hanging over the highway COLLAPSES. Cars on top come sailing down into the oncoming traffic below.</scene_description> </scene> <scene> <stage_direction>EXT. NATIONAL CONGRESS BUILDING - BRASILIA - CONTINUOUS</stage_direction> <scene_description>Hector passes by the National Congress Building just as the first building FALLS into the next. Several TOPPLE like dominos, crashing down onto the highway alongside. Concrete slabs, shattered glass, rain down as Hector frantically dodges. The final building TWISTS and FALLS directly in front of Hector's car. At the last possible second, Hector swerves onto an exit off ramp that peels away.</scene_description> </scene> <scene> <stage_direction>INT. ELECTRIC SMART CAR - CONTINUOUS</stage_direction> <scene_description>Nearly faint from heat, Hector reaches over for his glove compartment. The metal door handle BURNS his hand. Before he can even scream out, he SWERVES OFF THE ROAD to avoid two cars in front of him that COLLIDE. Another FIRE TORNADO erupts. Hector PUNCHES the accelerator to avoid driving into it. He moves back onto the clear road, not much traffic in front of him. He checks the rear view mirror and SEES, a city on fire behind him, buildings crumbling and FLAMES everywhere. Relatively safe as he distances himself from the disaster behind him, Hector breathes a sigh of relief when suddenly, WHOPPP, all the windows INSTANTLY CLOUD OVER WITH CONDENSATION; no visibility in ANY DIRECTION! Hector SLAMS the brakes as the Smart Car goes SKIDDING and SPINNING across the roadway. Finally the car comes to a stop. A terrified Hector tries to wipe the windows with his hands, but the condensation is TOO THICK. The thermometer catches his eye; the numbers DROPPING rapidly, below 100 degrees and descending quickly. Unable to see outside, Hector cautiously opens the car door and exits.</scene_description> </scene> <scene> <stage_direction>EXT. ROAD - JUST OUTSIDE OF CITY - CONTINUOUS</stage_direction> <scene_description>Hector emerges from his car, notices several other drivers doing the same. Everyone's cars have fogged up, everyone sharing looks of horror and awe. P.O.V. HECTOR - RIO DE JANEIRO Rio burns. Several more FIRE TORNADOES dance across the land. But where Hector and the others stand, the air is cool and breezy. One very large FIRE TORNADO catches his eye as it climbs higher and higher, up into a cloud. Hector reaches into his glove compartment and retrieves a pair of very high tech binoculars. P.O.V. THROUGH LENSES Telemetry scrolls on the side as we ZOOM IN higher and higher, following the flame as it rises impossibly high into the atmosphere. CONTINUED:</scene_description> <character>CNN ANCHOR (O.S.)</character> <dialogue>...the capitol of Brazil erupted in flames as underground gas pipes exploded all around the city of Rio de Janeiro today...</dialogue> </scene> <scene> <stage_direction>INT. WHITE HOUSE - AFTERNOON</stage_direction> <scene_description>Some STAFFERS stand around a television set watching news footage of downtown Rio burning. Most others are too busy to notice the news. Max, however, is fascinated.</scene_description> <character>CNN ANCHOR</character> <dialogue>...destroying city streets and buildings. The devastation reached as far as the National Congress buildings in Brasilia. The death toll is being estimated in the thousands...</dialogue> <scene_description>Doors BURST open nearby and a team of White House STAFFERS rush down a hallway. Seeing them, Max rushes over to catch the group before they disappear into the next room.</scene_description> <character>MAX</character> <dialogue>Leonard, wait up. You know about the gas pipe explosions in Rio? I think we should reference it in the DNC speech--</dialogue> <scene_description>DEFENSE SECRETARY LEONARD DEKKOM, 50's, polished and charming, turns to Max as they continue to walk.</scene_description> <character>DEKKOM</character> <dialogue>Not now.</dialogue> <character>MAX</character> <dialogue>But when the president talks about his infrastructure plan for--</dialogue> <character>DEKKOM</character> <dialogue>Not NOW.</dialogue> <character>MALE VOICE (O.S.)</character> <dialogue>Is there a problem?</dialogue> <scene_description>The crowd parts to reveal PRESIDENT ANDREW LITTON, 50's, a face destined to be carved in stone, standing at the front of the group. Max is completely taken off guard.</scene_description> <character>MAX</character> <dialogue>Uh... Mr. President?</dialogue> <scene_description>CONTINUED:</scene_description> <character>DEKKOM</character> <dialogue>No, Sir. Assistant Deputy Lawson was just leaving.</dialogue> <character>MAX</character> <dialogue>Sorry, I didn't realize you... I'm just gonna go...</dialogue> <scene_description>President Litton smiles. Turns to Dekkom.</scene_description> <character>PRESIDENT LITTON</character> <dialogue>Bring him.</dialogue> <character>DEKKOM</character> <dialogue>To the debrief?</dialogue> <character>PRESIDENT LITTON</character> <dialogue>He's the new Assistant Deputy Secretary. He's gotta learn your job sometime.</dialogue> <scene_description>The President turns and continues down the hall, the staffers on his heels. Dekkom shoots daggers at Max. Sheepishly, Max smiles and follows the group.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY OUTSIDE OF SITUATION ROOM - MINUTES LATER</stage_direction> <scene_description>As the group marches towards the Situation Room, Max spots some angry looking Generals standing nearby. Max leans close to Dekkom.</scene_description> <character>MAX</character> <dialogue>Brass always look this peeved?</dialogue> <character>DEKKOM</character> <dialogue>They've been pissed ever since Climate Change took over as our greatest national threat. Suddenly the nerds became the most important guys in the room, and the jocks don't like it.</dialogue> <parenthetical>(pointedly)</parenthetical> <dialogue>How'd ya think a keyboard jockey like you got to be in the Defense Department in the first place?</dialogue> <scene_description>Dekkom smiles as Max nods nervously to a four star General he passes as the group enters the situation room.</scene_description> </scene> <scene> <stage_direction>INT. SITUATION ROOM/WHITE HOUSE - LATER</stage_direction> <scene_description>President Litton sits at the center of a long oval table surrounded by large screens. CONTINUED: Seated beside him are the Secretary of State, Dekkom, several other top CABINET MEMBERS and several GENERALS. Max sits with several lower ranking military officers on folding chairs in a corner of the room. GENERAL HAROLD WHICKHAM, 50's, dry and solid, leads the debrief. Behind him, on the large screens, we see a replay of the opening scene from helmet cams and satellite video imagery.</scene_description> <character>GENERAL WHICKHAM</character> <dialogue>...When the team passed through the dust storm, they arrived at the village of Kandestnar.</dialogue> <scene_description>On the SCREENS we once again see the FROZEN VILLAGE from the many camera angles of the soldiers as they enter the town. Seeing the frozen citizens of the village, President Litton gasps, the images of the children particularly hitting him.</scene_description> <character>PRESIDENT LITTON</character> <dialogue>My God!</dialogue> <character>GENERAL WHICKHAM</character> <dialogue>There was no containing this. Soldiers from every nation were represented in the brigade.</dialogue> <character>DEKKOM</character> <dialogue>And we're sure this was caused by Dutch Boy?</dialogue> <scene_description>Secretary of Energy, DR. QUIGLEY, 50's, studious, intense, interjects.</scene_description> <character>DR. QUIGLEY</character> <dialogue>I'm afraid so. We've already retrieved the satellite. It's being analyzed now.</dialogue> <scene_description>The President watches the images.</scene_description> <character>PRESIDENT LITTON</character> <dialogue>Is it an isolated problem?</dialogue> <character>DR. QUIGLEY</character> <dialogue>Right now, we're fairly certain--</dialogue> <scene_description>DR. CASSANDRA JENNINGS, 30's, beautiful if harried, interrupts. CONTINUED: (2)</scene_description> <character>DR. JENNINGS</character> <dialogue>Isolated? This isn't the first thing to fail up there. And it won't be the last. This could get much worse.</dialogue> <character>DR. QUIGLEY</character> <dialogue>Dr. Jennings, this is not the time for your paranoid theories--</dialogue> <character>DR. JENNINGS</character> <dialogue>Mr. President, this program was raced into existence. Geoengineering is a completely new science, and--</dialogue> <character>DR. QUIGLEY</character> <dialogue>--The science is solid!</dialogue> <character>DR. JENNINGS</character> <dialogue>And what about the hundreds of associated technologies that were created in order to get the program up and running!?</dialogue> <parenthetical>(to the President)</parenthetical> <dialogue>We rushed this and now we're seeing the results.</dialogue> <character>PRESIDENT LITTON</character> <dialogue>We had no choice! Every estimate had us racing against the clock to get this done or face a world wide calamity! Should we have done nothing and allow the world to end?!</dialogue> <scene_description>The room goes quiet. Finally...</scene_description> <character>DR. JENNINGS</character> <dialogue>I understand. But clearly something is starting to go wrong. The Space Station itself is having technical failures. A worker died up there. We need more time to test things, work out the bugs.</dialogue> <character>DR. QUIGLEY</character> <dialogue>You want us to take it offline?</dialogue> <character>DR. JENNINGS</character> <dialogue>Mr. President, that's why the world entrusted you with the kill codes. To shut this thing down if necessary!</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>DEKKOM</character> <dialogue>In an election year?! That will play great at the convention!</dialogue> <character>DR. JENNINGS</character> <dialogue>You're right. We shouldn't let the deaths of a few hundred innocent people interrupt a political campaign.</dialogue> <character>GENERAL WHICKHAM</character> <dialogue>You're out of line, Doctor!</dialogue> <character>DEKKOM</character> <dialogue>What about the thousands who died in the hurricanes, drought, floods?! You want to go back to that?</dialogue> <character>DR. JENNINGS</character> <dialogue>And if our cure is worse than the disease--</dialogue> <character>DR. QUIGLEY</character> <dialogue>Remember how long it took to get people to acknowledge the truth about catastrophic climate change? You want to risk them losing faith in the program?</dialogue> <character>DEKKOM</character> <dialogue>Remember when people lived on the coast? Remember when we HAD a coast?</dialogue> <character>PRESIDENT LITTON</character> <dialogue>Stop!</dialogue> <scene_description>The room quiets, turns to the President... waiting.</scene_description> <character>DEKKOM</character> <dialogue>You're not considering this?</dialogue> <scene_description>The President clearly is. He turns to Max.</scene_description> <character>PRESIDENT LITTON</character> <dialogue>Lawson, right? What do you think?</dialogue> <character>MAX</character> <dialogue>Me? This isn't my area--</dialogue> <character>PRESIDENT LITTON</character> <dialogue>You're the Assistant Deputy Secretary of the Defense.</dialogue> <scene_description>CONTINUED: (4)</scene_description> <character>PRESIDENT LITTON</character> <dialogue>Climate containment is our single largest national security threat. This is exactly your area.</dialogue> <scene_description>Max hesitates. All eyes are on him. Finally.</scene_description> <character>MAX</character> <dialogue>I think the political implications are irrelevant. We need Dutch Boy to work. The world needs Dutch Boy to work.</dialogue> <character>PRESIDENT LITTON</character> <dialogue>So shut it down?</dialogue> <character>MAX</character> <dialogue>Not yet. Find out the truth. Open an investigation. Have every nation participate. A transparent process. The world trusted us to build this for the benefit of all. We have nothing to hide here.</dialogue> <character>GENERAL WHICKHAM</character> <dialogue>There's always something to hide.</dialogue> <scene_description>All eyes are on the President as he wrestles with a decision. Max sneaks a look at Dr. Jennings, measuring her. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. WHITE HOUSE - HALLWAY - LATER</stage_direction> <scene_description>As people are filing out of the debrief, Max runs to catch up with Dr. Jennings. She never breaks stride, furious.</scene_description> <character>MAX</character> <dialogue>Dr. Jennings, could I have a word--</dialogue> <character>DR. JENNINGS</character> <dialogue>You should have talked him into shutting down.</dialogue> <character>MAX</character> <dialogue>I talked him into an open investigation--</dialogue> <character>DR. JENNINGS</character> <dialogue>Run by your brother, who happens to work at NASA? Yes, I'm sure he'll be objective.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAX</character> <dialogue>You don't know my brother. He's not inclined to do me any favors.</dialogue> <character>DR. JENNINGS</character> <dialogue>And what happens in the meantime?</dialogue> <character>MAX</character> <dialogue>It's not like the entire system is going to fail overnight.</dialogue> <character>DR. JENNINGS</character> <dialogue>How many lives are you willing to bet on that?</dialogue> <scene_description>Dr. Jennings storms away, leaving a flustered Max. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. WORLD COUNCIL CLIMATE CHAMBER - LATER</stage_direction> <scene_description>Designed much like the U.N. Security Council only more high tech/modern. The room is filled with loud and angry voices, yelling at one another, clearly mid-argument. SPEAKER TANAKA, 50's, distinguished, bangs a gavel, trying to silence the crowd.</scene_description> <character>SPEAKER TANAKA</character> <dialogue>The floor recognizes the distinguished member from the United Emirates.</dialogue> <scene_description>The UNITED EMIRATES REPRESENTATIVE stands. Incongruously and unexplained, the word "UNITED EMIRATES" seems to float in the air in front of him.</scene_description> <character>UNITED EMIRATE REP</character> <dialogue>The Gulf Council contributed a disproportional amount of financing to Dutch Boy. We believe we are more than entitled to full disclosure!</dialogue> <scene_description>Several others stand in agreement as the shouting returns.</scene_description> <character>PRESIDENT LITTON (O.C.)</character> <dialogue>The United States agrees!</dialogue> <scene_description>All eyes turn to President Litton standing across the room.</scene_description> <character>SPEAKER TANAKA</character> <dialogue>Will the distinguished member yield to the United States?</dialogue> <scene_description>CONTINUED: The United Emirate Rep nods. President Litton returns the gesture and addresses the room.</scene_description> <character>PRESIDENT LITTON</character> <dialogue>Council members, for the first time in modern history the nations of the world are at peace. United, we've accomplished the near impossible, overcame scientific barriers, and worked to save our world from cataclysmic climate change. This remarkable effort has sustained us and the peace has continued. It's easy for us to forget what we've all gone through and fall back into old patterns of fear and distrust. We cannot allow that to happen. Too much is at stake.</dialogue> <scene_description>The United Emirate Rep interrupts.</scene_description> <character>UNITED EMIRATE REP</character> <dialogue>Then why were we not informed of or warned about the Registan incident? Entire families were killed--</dialogue> <character>PRESIDENT LITTON</character> <parenthetical>(cutting him off)</parenthetical> <dialogue>Because we did not know ourselves. We learned about the incident at the same time as the rest of the council.</dialogue> <character>UNITED EMIRATE REP</character> <dialogue>And that gives us even less comfort than if you had hidden the information from us.</dialogue> <scene_description>Again the room erupts. Inexplicably several council members suddenly VANISH behind their desks. No one seems to react.</scene_description> <character>PRESIDENT LITTON</character> <dialogue>Distinguished council members, you entrusted us to take the lead in building the program. Today we will honor that trust by sending up a NASA representative to lead a multi-national investigation on the Space Station.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>PRESIDENT LITTON</character> <dialogue>This will be conducted in full view of representatives of every council district and all information will be shared. We pledge a transparent and open investigation.</dialogue> <scene_description>This seems to calm the room. Several other council representatives VANISH. President Litton nods to an aide and suddenly the entire ROOM VANISHES, leaving the President and his Aide in...</scene_description> </scene> <scene> <stage_direction>INT. VIRTUAL CONFERENCE ROOM</stage_direction> <scene_description>The President turns around to find his staff waiting.</scene_description> <character>DEKKOM</character> <dialogue>Well done, Mr. President.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. NASA - KENNEDY SPACE CENTER - DAY</stage_direction> <scene_description>Riding past the security gate, Jake arrives on his Ducati Motorcycle. The center is extremely active, crews working everywhere. Clearly Dutch Boy has increased work here. Jake rides his bike through large open hangar doors and under an enormous rocket engine under construction.</scene_description> </scene> <scene> <stage_direction>INT. NASA - HANGAR - CONTINUOUS</stage_direction> <scene_description>Just as he gets off his bike, he sees WORKERS up on a scaffold, putting the finishing touches on large ACCESS PANEL DOORS - just like the ones that blew out on Makmoud. Something catches Jake's attention.</scene_description> <character>JAKE</character> <dialogue>Hey!</dialogue> <scene_description>A WORKER near the top of the scaffolding looks down.</scene_description> <character>JAKE</character> <dialogue>What are you doing?</dialogue> <character>WORKER</character> <dialogue>Huh?</dialogue> <scene_description>And suddenly Jake leaps up, climbing the scaffolding like a chimp, without the slightest fear. The other workers all stop and watch. Jake gets to the worker - who is using a high tech power wrench on the bolts of the panel door. CONTINUED:</scene_description> <character>JAKE</character> <dialogue>Gimme that.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>There's a reason these guns have torque meters. If you tighten these bolts too tight, you're gonna weaken them.</dialogue> <character>WORKER</character> <dialogue>You want them to be loose?</dialogue> <character>JAKE</character> <dialogue>I want them to be right!</dialogue> <parenthetical>(then to all)</parenthetical> <dialogue>A man died up there! We can't control design but we damn sure control construction.</dialogue> <parenthetical>(shoving the wrench back to the worker)</parenthetical> <dialogue>Tighten them to the torque specs.</dialogue> <scene_description>Jake climbs down and is met by Mike Keegan. They start walking.</scene_description> <character>MIKE</character> <dialogue>Where the hell you been all morning? Baxter's been calling. They want you upstairs.</dialogue> <character>JAKE</character> <dialogue>The 5th floor? Why?</dialogue> <character>MIKE</character> <dialogue>I'm just chief engineer. 5th floor's above my pay grade.</dialogue> <scene_description>They arrive at the elevator. Jake worries he's in trouble.</scene_description> <character>JAKE</character> <dialogue>Quick, I need an excuse. Why am I late?</dialogue> <character>MIKE</character> <dialogue>You couldn't find your pants?</dialogue> <character>JAKE</character> <dialogue>You're not married, are you, Mike?</dialogue> <scene_description>The elevator arrives and Jake steps inside.</scene_description> </scene> <scene> <stage_direction>INT. KENNEDY SPACE CENTER - 5TH FLOOR - DAY</stage_direction> <scene_description>Jake enters a large conference room. It's packed with people waiting impatiently. Jake smiles sheepishly. CONTINUED:</scene_description> <character>VOICE (O.S.)</character> <dialogue>Nice of you to finally join us, Mr. Lawson.</dialogue> <scene_description>Jake turns and sees the wall has come alive as a large HD screen. On it is the face of Defense Secretary Dekkom.</scene_description> <character>JAKE</character> <dialogue>Sorry. Couldn't find my pants.</dialogue> <scene_description>Jake sits in one of the chairs.</scene_description> <character>DEKKOM (ON MONITOR)</character> <dialogue>The President has just informed the Climate Council he is launching a full scale investigation into the incident at Registan.</dialogue> <scene_description>Jake pops open his HoloFrame and checks some notes.</scene_description> <character>JAKE</character> <dialogue>The Afganistan thing? They've dissected the satellite and found some corruption in the execution codes.</dialogue> <character>DEKKOM</character> <dialogue>And what caused that corruption?</dialogue> <character>JAKE</character> <dialogue>Still don't know. They're checking transmissions from the station to the satellites to see--</dialogue> <character>DEKKOM (ON MONITOR)</character> <dialogue>This is too important to delegate, Mr. Lawson. We want you to be hands on with this one. You can go through all the materials regarding your mission objectives on your way to the station.</dialogue> <character>JAKE</character> <dialogue>Station?</dialogue> <character>DEKKOM (ON MONITOR)</character> <dialogue>The Space Station... you're going up to lead the investigation.</dialogue> <scene_description>Jake blanches.</scene_description> <character>JAKE</character> <dialogue>Space Station? As in outer? You know I've never actually been up--</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>DEKKOM (ON MONITOR)</character> <dialogue>You'll be fine.</dialogue> <character>JAKE</character> <dialogue>Shouldn't you be sending up an engineer?</dialogue> <character>DEKKOM (ON MONITOR)</character> <dialogue>There were over a hundred teams from around the world working on the design of this project.</dialogue> <character>JAKE</character> <dialogue>Exactly, get one of them.</dialogue> <character>DEKKOM (ON MONITOR)</character> <dialogue>But you coordinated the construction of it all. Everything filtered through you. You're literally the only person who knows how it all fits together. You did the work of five men.</dialogue> <character>JAKE</character> <dialogue>Then shouldn't I be getting five paychecks?</dialogue> <parenthetical>(off Dekkom's silence)</parenthetical> <dialogue>The one's good.</dialogue> <character>DEKKOM (ON MONITOR)</character> <dialogue>Your launch is set for twenty one hundred hours tonight.</dialogue> <scene_description>Dekkom starts to sign off.</scene_description> <character>JAKE</character> <dialogue>Uh, Mister Secretary... Whose idea was it for me to be shot into space?</dialogue> <character>DEKKOM (ON MONITOR)</character> <dialogue>Your brother's. You report to him now.</dialogue> <scene_description>Dekkom signs off and Jake absorbs this, concerned. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. TESTUDO NET - WEATHER MANIPULATION SATELLITES - NIGHT</stage_direction> <scene_description>In routine function we watch several satellites open transmission beams and laser portals. A satellite nearest us OPENS a port and FIRES OUT several dozen balloon like OBJECTS. CONTINUED: We FOLLOW the OBJECTS from behind as they fall towards Earth. Heading straight at some angry looking STORM CLOUDS, the Objects suddenly begin to EXPLODE like POPCORN. Bursting out of the Objects we see a fine MIST SPRAY rain down onto the storm clouds. Suddenly they turn from dark to bright white and begin to PART, revealing a city below. Quickly we ZOOM through the parting clouds, down into-- CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. LATIN AMERICAN CLIMATE CONSORTIUM HEADQUARTERS - NIGHT</stage_direction> <scene_description>Only a few lights left on in the building. We settle on the 9th floor only to find Hector inside.</scene_description> </scene> <scene> <stage_direction>INT. HECTOR'S CUBICLE - LACC - NIGHT</stage_direction> <scene_description>Burning the midnight oil, Hector is alone in this large open floor of the building. He snatches a printout as it comes out of a printer. He compares it against other papers on his desk. Concerned, he goes to his computer, types. He's surprised when he gets an ACCESS DENIED roadblock. He tries again, same result. He takes a beat, then picks up his desktop phone and dials.</scene_description> </scene> <scene> <stage_direction>INT. MAX AND SARAH'S WASHINGTON TOWNHOUSE - NIGHT</stage_direction> <scene_description>Max crosses by a television showing the weather channel.</scene_description> <character>REPORTER (FILTERED)</character> <dialogue>... hurricane warnings, uncommon at this time of year, have been issued for Thailand's coastal regions ...</dialogue> <scene_description>This draws Max back to the screen. Max can't help wondering if it's connected when suddenly his smart phone RINGS. He sees Hector's name on the screen, answers.</scene_description> <character>MAX</character> <dialogue>Hector? Where in the world are you now? Still making climate simulations for the state department?</dialogue> <scene_description>Sarah appears behind Max.</scene_description> <character>SARAH</character> <dialogue>Hector Barcellos?</dialogue> <scene_description>Max nods. Suddenly he becomes concerned. CONTINUED:</scene_description> <character>HECTOR</character> <dialogue>No, I work for the Latin American Climate Consortium now.</dialogue> <character>MAX</character> <dialogue>In Brazil? My God, tell me you weren't near the explosions--</dialogue> </scene> <scene> <stage_direction>INT. HECTOR'S CUBICLE - CONTINUOUS</stage_direction> <scene_description>Worried, pacing, Hector talks on the phone.</scene_description> <character>HECTOR</character> <dialogue>I was right in the middle of it all. It was horrible. That's why I'm calling.</dialogue> </scene> <scene> <stage_direction>INT. MAX AND SARAH'S WASHINGTON TOWNHOUSE - NIGHT</stage_direction> <scene_description>Max covers the phone, turns to Sarah.</scene_description> <character>MAX</character> <dialogue>He's alright.</dialogue> <parenthetical>(back to Hector)</parenthetical> <dialogue>Jesus, Hector. You're lucky to be alive. The gas pipes took out two thirds of the city!</dialogue> <character>HECTOR</character> <dialogue>The gas pipes exploded but I don't believe they were the cause. I think they were the result.</dialogue> <character>MAX</character> <dialogue>I don't understand.</dialogue> <character>HECTOR</character> <dialogue>I think it was Dutch Boy. I think something went wrong with the satellite.</dialogue> <character>MAX</character> <dialogue>What? No one has said anything on my end. I haven't heard a thing--</dialogue> <character>HECTOR</character> <dialogue>That's why I'm calling. Nothing is showing up here at the Consortium Center either. So I tried to access the satellite directly and I'm getting road blocked.</dialogue> <scene_description>Max pulls out his HoloFrame and tries to access. He's met with the same ACCESS DENIED. CONTINUED:</scene_description> <character>MAX</character> <dialogue>I don't know why this is blocked.</dialogue> <character>HECTOR</character> <dialogue>The only people who would have the authority or the capability to block this are in the building you work in, Max.</dialogue> <character>MAX</character> <dialogue>What are you suggesting?</dialogue> <scene_description>Behind Max, Sarah gets a TEXT on her smart phone. Her expression darkens as she reads. She exits the room.</scene_description> <character>HECTOR</character> <dialogue>Max, if something is going wrong, we need to know about it. Critical failure would be catastrophic on a global scale. We're talking about a Geostorm that could be far worse than the very thing we were trying to prevent.</dialogue> </scene> <scene> <stage_direction>INT. MAX AND SARAH'S BEDROOM - SAME</stage_direction> <scene_description>Sarah enters the bedroom and goes to a closet drawer. She opens it to reveal a hand gun inside. Sarah picks up the gun, loads a clip and exits.</scene_description> </scene> <scene> <stage_direction>INT. MAX AND SARAH'S WASHINGTON TOWNHOUSE - SAME</stage_direction> <scene_description>Now Max paces as well, concerned.</scene_description> <character>MAX</character> <dialogue>I'll get into this, Hector. I'll have the block removed by morning. Trust me, I'm equally concerned.</dialogue> <scene_description>Sarah appears behind him, holding the pistol. Max hangs up, concerned. He speaks to Sarah but doesn't turn around.</scene_description> <character>MAX</character> <dialogue>Hector thinks the thing in Brazil was caused by Dutch Boy.</dialogue> <character>SARAH</character> <dialogue>Thinks or knows?</dialogue> <character>MAX</character> <dialogue>He's trying to get to the bottom of it but his access has been blocked. It's weird.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAX</character> <dialogue>I think he suspects some kind of cover up. But if there was more to know about this, I think I'd know, don't you?</dialogue> <scene_description>Max finally turns to see Sarah, holding the pistol.</scene_description> <character>MAX</character> <dialogue>Sarah?</dialogue> <character>SARAH</character> <dialogue>I'm sorry. Just got a text.</dialogue> <character>MAX</character> <dialogue>Tonight?</dialogue> <scene_description>Sarah turns and walks over to a coat rack. She grabs her HOLSTER from the hanger and straps it on.</scene_description> <character>SARAH</character> <dialogue>POTUS is pulling an all-nighter and Dixon called in sick.</dialogue> <character>MAX</character> <dialogue>An all-nighter? With who?</dialogue> <character>SARAH</character> <dialogue>They call us Secret Service for a reason. You know I can't talk about that.</dialogue> <character>MAX</character> <dialogue>I believe I have clearance, love.</dialogue> <scene_description>Sarah gives a shrug, kisses him and heads for the door.</scene_description> <character>MAX</character> <dialogue>If you overhear them talking about Dutch Boy, you will tell me, right?</dialogue> <character>SARAH</character> <dialogue>No.</dialogue> <scene_description>And she's gone. Max worries.</scene_description> </scene> <scene> <stage_direction>INT. HECTOR'S CUBICLE - LACC - NIGHT</stage_direction> <scene_description>Hector pulls up telescopic video footage of the Sat over Brazil. He "rewinds" the footage. We SEE the Fire Tornado reaching up towards the Sat. This doesn't seem right at all to Hector. Suddenly the video feed VANISHES. He tries to reload and gets an error message. Suddenly the POWER for the entire floor GOES OUT. CONTINUED: Plunged into darkness, Hector HEARS the sound of people approaching. Flashlights in the distance. Rushing through the doors we SEE a team of heavily armed security rush into the room, followed by a white haired Hispanic man in a suit, RICO, (40's), deadly. They rush to Hector's desk but he's long gone. Rico examines his desk as the guards approach a rear door, still swinging.</scene_description> </scene> <scene> <stage_direction>INT. JANITOR'S CLOSET - SAME</stage_direction> <scene_description>Hector hides inside. He peers through the door crack and SEES Rico as he rifles through his desk. Rico grabs the printouts on the desk and exits with the guards. Hector catches his breath, terrified. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBAN HOUSE - NIGHT</stage_direction> <scene_description>A messenger walks towards the door holding a package. He knocks. The door opens revealing Olivia.</scene_description> <character>OLIVIA</character> <dialogue>Yes?</dialogue> <character>MESSENGER</character> <dialogue>I have a package for Hannah Lawson?</dialogue> <character>HANNAH (O.S.)</character> <dialogue>For me?</dialogue> <scene_description>From the other room, Hannah comes rushing in her pj's and grabs the package while her mother signs for it. Hannah disappears back inside as the messenger leaves. About to close the door, something catches Olivia's eye. She looks up and SEES... STRANGE STORM CLOUDS Forming overhead. A strong wind pushes them quickly. Olivia lets it go and shuts the door.</scene_description> </scene> <scene> <stage_direction>INT. HANNAH'S HOUSE - CONTINUOUS</stage_direction> <scene_description>Hannah reads the shipping label as she walks back into the living room.</scene_description> <character>HANNAH</character> <dialogue>It's from Daddy!</dialogue> <scene_description>CONTINUED: As she starts to open it, she hears a RINGING on the TV. She turns it on and SEES her father on the screen.</scene_description> <character>JAKE</character> <parenthetical>(filtered thru TV)</parenthetical> <dialogue>Hey, you got it!</dialogue> <character>HANNAH</character> <dialogue>What is it?</dialogue> <character>JAKE</character> <dialogue>A going away gift.</dialogue> <character>HANNAH</character> <dialogue>Where am I going?</dialogue> <character>JAKE</character> <dialogue>You're not. I am. I'm not going to be able to see you this weekend after all. They're sending me up to the Space Station.</dialogue> <scene_description>Hannah's not happy about this. Olivia overhears, concerned.</scene_description> <character>HANNAH</character> <dialogue>In space? Why?</dialogue> <character>JAKE</character> <dialogue>Just gotta make sure everything is working the way it's supposed to.</dialogue> <character>HANNAH</character> <dialogue>When are you coming back?</dialogue> <character>JAKE</character> <dialogue>Soon. I'm only going for a little while.</dialogue> <character>HANNAH</character> <dialogue>What if I don't want you to go?</dialogue> <scene_description>Jake tries to hide the sting.</scene_description> <character>JAKE</character> <dialogue>Open the gift.</dialogue> <scene_description>She does. Inside she finds a shooting star pendant on a silver necklace.</scene_description> <character>HANNAH</character> <dialogue>It's beautiful!</dialogue> <scene_description>Mike appears behind Jake. CONTINUED: (2)</scene_description> <character>MIKE</character> <dialogue>I'm sorry, it's time.</dialogue> <character>JAKE</character> <dialogue>I gotta go, baby.</dialogue> <character>HANNAH</character> <dialogue>I'll miss you.</dialogue> <character>JAKE</character> <dialogue>And when you do, use that telescope I got you and look up in the sky. When you see a shooting star you'll know it's me, looking right back down at you.</dialogue> <character>HANNAH</character> <dialogue>I love you, Daddy.</dialogue> </scene> <scene> <stage_direction>INT. LAUNCH ROOM - CAPE CANAVERAL - NIGHT</stage_direction> <scene_description>Jake zips up his flight suit, finishing the Skype call.</scene_description> <character>JAKE</character> <dialogue>I love you too, Banana. See ya soon.</dialogue> <scene_description>The screen goes blank. Jake takes a beat. Mike opens the door to encourage him to leave. Jake nods and exits.</scene_description> </scene> <scene> <stage_direction>EXT. CAPE CANAVERAL - NIGHT</stage_direction> <scene_description>Exiting from the launch room, Jake walks out into the night air. As we follow him, we REVEAL-- The Launching Pad. An enormous rocket is preparing for take off. Jake walks over to a transport where a waiting crew helps him on and drives him towards the enormous rocket ship.</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE MODULE - LATER</stage_direction> <scene_description>Jake is strapping in as several other TECHS finish preparations and exit. As the last of them head out--</scene_description> <character>JAKE</character> <dialogue>You guys can come with me...</dialogue> <character>TECHIE #1</character> <dialogue>Don't worry, Mr. Lawson. These babies pretty much fly themselves.</dialogue> <scene_description>And with that, he exits and seals the door shut, leaving Jake alone in this fairly large, modified version of the Space Shuttle.</scene_description> </scene> <scene> <stage_direction>EXT. LAUNCH SITE - ROCKET SHIP - LATER</stage_direction> <scene_description>The launch site for Kennedy Space Center. As we HEAR the ominous countdown, we see the rockets fire... there is nothing like a night launch. As the spacecraft lifts off amid balls of smoke and fire, we PUSH IN....</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE MODULE - SAME</stage_direction> <scene_description>Jake Lawson strapped in... his body shakes with the rumble of the launch... his face is pensive, almost worried, but then... a smile... a kid on his first flight.</scene_description> </scene> <scene> <stage_direction>EXT. HANNAH'S HOUSE - SAME</stage_direction> <scene_description>We can SEE Hannah, upstairs, her telescope pointed out her bedroom window. She leans close, looking for her father. HANNAH'S P.O.V. - THROUGH TELESCOPE We see Jake's shuttle in the distance as it darts up beyond the clouds.</scene_description> </scene> <scene> <stage_direction>INT. NASA COMMAND CENTER - MISSION CONTROL - SAME</stage_direction> <scene_description>We SEE Jake on a monitor. Technicians work the computers, monitoring every moment of Jake's trip. Mike steps up to the comm.</scene_description> <character>MIKE</character> <dialogue>In about five seconds you should be able to see the Testudo Net.</dialogue> </scene> <scene> <stage_direction>INT.\EXT. SHUTTLE MODULE - SPACE - SAME</stage_direction> <scene_description>Jake looks up from the comm and out the bay windows. Sure enough, there it is in all its glory: THE TESTUDO NET The thousands of satellites surrounding and encompassing the Earth. The Shuttle gently passes through the net. Up close, we see the incredible satellites as well as the brilliance of the aluminum connective materials that both bind the satellites together and reflect sunlight away from the planet. An engineering marvel. Seeing it this closely has an enormous impact on Jake. Just then the International Space Station comes into view. Jake's jaw drops. CONTINUED: The Shuttle approaches this amazing city in space. It's overwhelming.</scene_description> <character>JAKE</character> <parenthetical>(sotto)</parenthetical> <dialogue>My God. It's... incredible.</dialogue> <character>MIKE</character> <dialogue>You're surprised? Didn't you build that thing?</dialogue> <character>JAKE</character> <dialogue>In sections. I've never seen it all put together. Up close it's... different.</dialogue> </scene> <scene> <stage_direction>EXT. SHUTTLE BAY - INTERNATIONAL SPACE STATION - SAME</stage_direction> <scene_description>Enormous Bay Doors open as the Shuttle approaches. As it lands inside we see dozens of other Shuttle-type crafts; different shapes, sizes, marked by their countries of origin. The Bay Doors close and the airlocks kick in.</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE BAY - INTERNATIONAL SPACE STATION - SAME</stage_direction> <scene_description>Ute Fassbinder marches over and meets Jake as he climbs out of the Shuttle.</scene_description> <character>UTE</character> <dialogue>Mr. Lawson, good to see you. I trust your journey was uneventful.</dialogue> <character>JAKE</character> <dialogue>Not exactly how I'd put it. You look different in person. Taller.</dialogue> <scene_description>Ute leads Jake towards the exit.</scene_description> <character>UTE</character> <dialogue>Things are not always as they seem.</dialogue> <scene_description>Ute walks ahead. Jake follows, checking her out. Likes what he sees.</scene_description> </scene> <scene> <stage_direction>INT. RECREATION ROOM - SPACE STATION - MINUTES LATER</stage_direction> <scene_description>Ute and Jake enter to find GOJI KAGAWA, 30's, a Japanese version of Jack Black; Ray Dussette; Duncan; and ALUKO, late 30's, a tall, beautiful, African woman.</scene_description> <character>UTE</character> <dialogue>This is the team assigned to help in your investigation.</dialogue> <scene_description>CONTINUED: They don't stand when they see Jake coming. Jake can sense their resentment. Ute makes introductions.</scene_description> <character>UTE</character> <dialogue>Mr. Lawson, this is Goji Kagawa, he oversees the robotics unit. Ray Dussette, Security and SatComm. Duncan Taylor, systems analyst. And finally, Eni Aluko, our lead structural engineer.</dialogue> <scene_description>No one says a word, just hostile stares.</scene_description> <character>JAKE</character> <dialogue>You guys have a problem with me leading this investigation?</dialogue> <character>KAGAWA</character> <dialogue>Just wondering why they put the construction coordinator in charge.</dialogue> <character>JAKE</character> <dialogue>You and me both, kid. But they did and I expect you all to respect that.</dialogue> <character>DUNCAN</character> <dialogue>And why should we?</dialogue> <scene_description>Jake tries hard to come up with a retort. Finally--</scene_description> <character>JAKE</character> <dialogue>I got nothing.</dialogue> <character>UTE</character> <dialogue>You are all experts in different aspects of this space station. Mr. Lawson, however, is uniquely qualified to know how it all works together. I expect you to give him your cooperation and respect.</dialogue> <character>ALUKO</character> <dialogue>Forgive us, we've been up here too long and have forgotten our manners. Where would you like to begin?</dialogue> <character>JAKE</character> <dialogue>Everything runs through command, so let's start there.</dialogue> <scene_description>Ute shows the way to Jake. CONTINUED: (2)</scene_description> <character>UTE</character> <dialogue>It's your show, cowboy.</dialogue> </scene> <scene> <stage_direction>INT. COMMAND CENTER - SPACE STATION - LATER</stage_direction> <scene_description>Jake and the team enter the enormous Command Center. Huge viewing windows look out at space. Projected onto the glass, an enormous HEADS UP DISPLAY shows various Geoengineering techniques at work. It's an impressive sight. Jake marvels at what he sees, overwhelmed.</scene_description> <character>UTE</character> <dialogue>Different from how you imagined?</dialogue> <character>JAKE</character> <parenthetical>(lying poorly)</parenthetical> <dialogue>No.</dialogue> <parenthetical>(pointing at monitor)</parenthetical> <dialogue>What's going on there?</dialogue> <scene_description>On large monitors we see several schematics of satellites, opening ports and extending lasers.</scene_description> <character>KAGAWA</character> <dialogue>Averting another drought.</dialogue> <character>ALUKO</character> <dialogue>Sats over Bangladesh are using their pulse lasers to ionize the atmosphere, create moisture--</dialogue> <character>DUNCAN</character> <dialogue>I call it "the rain dance".</dialogue> <scene_description>Jake walks towards the monitors, thinking.</scene_description> <character>JAKE</character> <dialogue>And the sat that was over Afghanistan? What was it doing before it went rogue?</dialogue> <scene_description>Duncan calls up another display. A different looking Sat appears, opening different ports where concave dishes appear.</scene_description> <character>DUNCAN</character> <dialogue>My favorite, the Rock 'n Roller!</dialogue> <character>KAGAWA</character> <dialogue>It was using sonic waves to slow molecular movement, causing cooling and, in this case, freezing.</dialogue> <scene_description>CONTINUED:</scene_description> <character>JAKE</character> <dialogue>Let's start there. We'll run scans on every... Rock 'n Roller Sat we have and see if we can find similar corruption in the codes.</dialogue> <character>DUNCAN</character> <dialogue>All of them?!</dialogue> <character>UTE</character> <dialogue>Pull up every Sat with sonic capabilities.</dialogue> <scene_description>A young Science Officer, MICKEY, female, 20's, calls up a schematic of Earth and the entire Testudo Net. About a third of the Sats in the Net are HIGHLIGHTED and pulled out of the schematic and lined up separately. There must be a thousand.</scene_description> <character>KAGAWA</character> <dialogue>I'll make some coffee.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. WHITE HOUSE - WEST WING - DAY</stage_direction> <scene_description>Hallway doors burst open as Max marches over to a reception desk. A mousey assistant, JYNELL, looks up from her desk.</scene_description> <character>MAX</character> <dialogue>I've been leaving messages all morning. Where's Quigley?</dialogue> <character>JYNELL</character> <dialogue>I'm sorry. He's been in back-to- back meetings. I promise--</dialogue> <character>MAX</character> <dialogue>Who's he meeting with now? Is he in there?</dialogue> <scene_description>Max points to the office door. Before getting an answer he marches over and storms inside.</scene_description> <character>JYNELL</character> <dialogue>You can't--</dialogue> </scene> <scene> <stage_direction>INT. DR. QUIGLEY'S OFFICE - CONTINUOUS</stage_direction> <scene_description>Max storms inside. Quigley is at his desk speaking with someone seated across from him. CONTINUED:</scene_description> <character>MAX</character> <dialogue>I'm sorry to interrupt but--</dialogue> <character>DR. QUIGLEY</character> <dialogue>Max, I'm not sure if you've met the Vice President.</dialogue> <scene_description>The man in the chair across the desk turns around revealing VICE PRESIDENT DARYL PACKER, 40's, handsome.</scene_description> <character>MAX</character> <parenthetical>(embarrassed)</parenthetical> <dialogue>Mr. Vice President, I'm so sorry.</dialogue> <scene_description>He stands, laughing.</scene_description> <character>VP PACKER</character> <dialogue>It's okay, I was just leaving anyway.</dialogue> <parenthetical>(back to Quigley)</parenthetical> <dialogue>And I'll think about what we talked about. Seriously.</dialogue> <scene_description>And with that he's out the door. Max turns to Quigley.</scene_description> <character>MAX</character> <dialogue>What were you two meeting about?</dialogue> <character>DR. QUIGLEY</character> <dialogue>How is that possibly any of your business?</dialogue> <character>MAX</character> <dialogue>You're right. Sorry.</dialogue> <character>DR. QUIGLEY</character> <dialogue>You needed something?</dialogue> <character>MAX</character> <dialogue>Satellite J-22 over Brazil. Why is access to it being blocked?</dialogue> <character>DR. QUIGLEY</character> <dialogue>It's not.</dialogue> <character>MAX</character> <dialogue>It is. And only your office has the authority to do so. You know the President has put me in charge of this investigation. I need access to everything.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>DR. QUIGLEY</character> <dialogue>You're not thinking the disaster in Brazil has anything to do--</dialogue> <character>MAX</character> <dialogue>--I won't know until I can examine that sat, now will I?</dialogue> <scene_description>Dr. Quigley stands, walks over to Max.</scene_description> <character>DR. QUIGLEY</character> <dialogue>Don't let Cassandra Jennings get into your head. You're going to become just as paranoid as she is. A cat will fart in India and we'll think the satellites did it.</dialogue> <character>MAX</character> <dialogue>Access. I need it now.</dialogue> <scene_description>Dr. Quigley sighs and goes to his computer. He tries to punch it up but hits the same ACCESS DENIED roadblock.</scene_description> <character>DR. QUIGLEY</character> <dialogue>That's odd. Must be a malfunction.</dialogue> <character>MAX</character> <dialogue>It's a roadblock.</dialogue> <character>DR. QUIGLEY</character> <dialogue>Well, if it is, it's not coming from my office.</dialogue> <scene_description>Max studies him. Can't read him. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. COMMAND CENTER - SPACE STATION - DAY</stage_direction> <scene_description>Jake and the team are all at separate work stations going through data. Obviously they've been working for hours.</scene_description> <character>ALUKO</character> <parenthetical>(exhales)</parenthetical> <dialogue>That's it. Same as the others, no corruption in the execution codes, no anomalies or malfunctions detected anywhere.</dialogue> <character>JAKE</character> <dialogue>Then we start on other Sats.</dialogue> <scene_description>There's a collective groan from the team. CONTINUED:</scene_description> <character>DUNCAN</character> <dialogue>You realize there are thousands of Sats in the Net?</dialogue> <character>JAKE</character> <dialogue>And we're going to go through each every one of them.</dialogue> <scene_description>Mickey turns from her work station to Ute.</scene_description> <character>MICKEY</character> <dialogue>Commander, we've just been given a priority course correction order.</dialogue> <character>UTE</character> <dialogue>From Climate Command?</dialogue> <character>MICKEY</character> <dialogue>From the White House. They're in the conference bridge.</dialogue> <scene_description>They exchange looks.</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - VIRTUAL CONFERENCE BRIDGE - DAY</stage_direction> <scene_description>Jake and his team enter to find Max, Dr. Quigley, General Whickham and a few AIDS standing there, waiting for them. Like the scene in the World Council earlier, Max and his group all have their TITLES floating in front of them. Clearly this is a similar virtual reality conference room.</scene_description> <character>MAX</character> <dialogue>Commander Fassbinder, thank you for responding so quickly.</dialogue> <character>UTE</character> <dialogue>Hello, Mr. Lawson.</dialogue> <character>KAGAWA</character> <dialogue>Lawson? Ahhhh....</dialogue> <scene_description>He makes a funny gesture between Jake and Max.</scene_description> <character>UTE</character> <dialogue>We're in the middle of the investigation you initiated and now you want us to take the station to the other side of the world?</dialogue> <character>MAX</character> <dialogue>I apologize. But we need you to retrieve Sat J-22 right away. It's urgent.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ALUKO</character> <dialogue>The one over Brazil? You don't think the disaster there has any--</dialogue> <character>MAX</character> <dialogue>We need to know for sure. Right now we can't access it remotely. We need you to grab it and see what you can find out.</dialogue> <scene_description>Jake walks up to his brother, close, whispers.</scene_description> <character>JAKE</character> <dialogue>Did you send me up here to fail? Make a fool of myself?</dialogue> <character>MAX</character> <dialogue>I sent you up here because Dutch Boy is your project.</dialogue> <character>JAKE</character> <dialogue>You bet it is. And now you're in charge of it? You still can't keep your hands off my things.</dialogue> <scene_description>Jake walks away. Max mutters under his breath.</scene_description> <character>MAX</character> <dialogue>Asshole.</dialogue> <character>JAKE</character> <parenthetical>(under his breath)</parenthetical> <dialogue>Prick.</dialogue> <scene_description>Jake takes his place by Ute's side.</scene_description> <character>ALUKO</character> <dialogue>You understand that if the Brazil and Afghanistan incidents are connected we could be looking at a catastrophic design flaw--</dialogue> <character>MAX</character> <dialogue>Before you say anything else, I want to remind you--</dialogue> <parenthetical>(turns to the others)</parenthetical> <dialogue>--remind all of you that every single transmission between Earth and the Space Station, like this one right now, is recorded and shared with every participating nation in the program. Be careful what you say. We wouldn't want to start an unnecessary panic.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>JAKE</character> <dialogue>I think you just did.</dialogue> <scene_description>Max shoots his brother a disapproving glare and suddenly VANISHES. One by one, the others disappear from the room as well. Once they're all gone--</scene_description> <character>KAGAWA</character> <dialogue>Holy shit. You know how many people died in Brazil?</dialogue> <character>DUSSETTE</character> <dialogue>Let's not get ahead of ourselves. We don't know anything yet--</dialogue> <character>DUNCAN</character> <dialogue>We come up here to stop a world wide disaster, now you're telling me we might be causing one?!</dialogue> <scene_description>Everyone starts freaking out, talking over each other.</scene_description> <character>JAKE</character> <dialogue>Enough! You heard him. Let's go see what we can find out.</dialogue> <character>UTE</character> <dialogue>And what if we find out the satellites are to blame?</dialogue> <scene_description>He has no answer. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. SPACE STATION - DAY</stage_direction> <scene_description>An ENORMOUS ROBOTIC RETRIEVAL ARM reaches out from the Space Station and gently clamps down onto a Satellite. Once locked into place, the Satellite disengages from the Aluminum "net" connecting it to the other Satellites. Once free, the Retrieval Arm retracts, bringing the Satellite over and into the Space Station's Retrieval Bay. We SEE several tethered workers in Space Suites helping to guide it inside.</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - RETRIEVAL BAY - SAME</stage_direction> <scene_description>Jake watches as Ute oversees Kagawa and Duncan orchestrating the retrieval of the satellite. It's an IMPRESSIVE SIGHT as the giant robot brings in the satellite. Every move down to the nanosecond and millimeter. CONTINUED: Once inside, the AIR LOCK doors seal back SHUT, and the HATCH below the BAY DOORS opens.</scene_description> <character>UTE</character> <dialogue>Sat Tango 23-50 is a GO for launch.</dialogue> <scene_description>A replacement Satellite drops down - marked T-2350 - and then, like a dart from an airgun, is shot into space. It is a beautiful choreography of massive technology not lost on Jake. He turns to Ute.</scene_description> <character>JAKE</character> <dialogue>Works better than I ever dreamed.</dialogue> <character>UTE</character> <dialogue>Always makes me all duckpimply.</dialogue> <scene_description>Jake shoots her a look, then realizes.</scene_description> <character>JAKE</character> <dialogue>Oh, you mean gives you goose bumps.</dialogue> <character>UTE</character> <dialogue>Yes. I'm still learning American expressions.</dialogue> <scene_description>She moves off toward the new satellite. Jake is charmed. They focus on the satellite that was just brought in - the Brazilian Satellite. It hangs in the center of the room from the giant robotic retrieval arm, controlled by Kagawa.</scene_description> <character>ALUKO</character> <dialogue>Let's hope it works.</dialogue> <character>JAKE</character> <dialogue>Hope?</dialogue> <character>DUNCAN</character> <dialogue>Half the time we lose power, hydraulics break down, rotators clamp up and everything freezes. But yeah, aces on building this place.</dialogue> <scene_description>Jake shoots Duncan a look when suddenly a LOUD NOISE from the crane holding the satellite ROARS. Everything begins to vibrate and rattle.</scene_description> <character>UTE</character> <dialogue>What is it?</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>KAGAWA</character> <parenthetical>(looking at controls)</parenthetical> <dialogue>I have no idea.</dialogue> <character>JAKE</character> <dialogue>Shut it down.</dialogue> <scene_description>Kagawa tries but the crane suddenly kicks into another gear and swings the 20 ton SATELLITE like it's a toy.</scene_description> <character>JAKE</character> <dialogue>Get down!</dialogue> <scene_description>The ROBOTIC ARM SLAMS THE SATELLITE INTO THE SPACE STATION WALL OBLITERATING IT. HUGE CHUNKS OF METAL RAIN DOWN. Everyone DIVES for cover as huge chunks SMASH down all around. The Satellite disintegrates into a billion pieces. WHAT IN BLOODY HELL?!? Alarms begin to sound. The place is in total chaos. Ute steps back out to take a look when SUDDENLY a LOUD SCREECH as the CRANE ITSELF begins to EXPLODE as it WHIPS ITSELF into the walls. Again, everyone scatters, hiding. Seeing Ute in danger, Jake LEAPS, knocking her out of the way just as entire crane CRASHES where she just stood. The crane, too, is obliterated. Jake looks to see if Ute is alright. She is.</scene_description> <character>UTE</character> <dialogue>I did not think you were the hero type.</dialogue> <character>JAKE</character> <dialogue>Things aren't always as they seem.</dialogue> <scene_description>She smiles at him but stands up, quickly going back to business mode.</scene_description> <character>UTE</character> <dialogue>Is everyone alright?</dialogue> <scene_description>Slowly everyone stands, reappears. One by one they all wave that they are alright. Dussette rushes into the room with two MEDICS. CONTINUED: (3)</scene_description> <character>DUSSETTE</character> <dialogue>The Emergency team is on their way.</dialogue> <character>ALUKO</character> <dialogue>Where the hell were you, Dussette?</dialogue> <character>JAKE</character> <dialogue>I want what's left of this thing brought to Manufacturing right away.</dialogue> <scene_description>The team slowly begins to gather around the wreckage.</scene_description> <character>KAGAWA</character> <dialogue>That's a four hundred million dollar Jackson Pollock painting.</dialogue> <character>DUNCAN</character> <dialogue>Your brother's gonna be aggro.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. HOSPITAL - BRAZIL - DAY</stage_direction> <scene_description>Hector and his banged up electric smart car pull up in front. Hector retrieves the little boy's small stuffed soccer ball from the passenger side and walks in. Super up: CLINICA SAO VICENTE, RIO DE JANEIRO, BRAZIL</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - DAY</stage_direction> <scene_description>Busy hospital. Lots of victims from the disaster fill the halls. Hector walks up to the nurses station, addresses an attending NURSE, (40's).</scene_description> <character>HECTOR</character> <parenthetical>(Portuguese: subtitles)</parenthetical> <dialogue>Remember me? The Boy I brought in, where is his room.</dialogue> <character>NURSE</character> <dialogue>End of the hall, last door on the left.</dialogue> <scene_description>Hector nods and heads off. As he turns the corner he SEES, several Soldiers outside of the Boy's room. Rico, the white haired Agent, is there too, talking on a cell phone. He looks up and SEES Hector and motions to the Soldiers.</scene_description> <character>SOLDIER</character> <dialogue>Señor!</dialogue> <scene_description>CONTINUED: Hector turns and takes off running. Instantly the Soldier give chase, followed by Rico. Hector flies into a stairwell.</scene_description> </scene> <scene> <stage_direction>INT. STAIRWELL - CONTINUOUS</stage_direction> <scene_description>Hector sprints down the stairs. Above him, the Soldiers can be heard. Hector blasts out the doors at the bottom of the stairs and into--</scene_description> </scene> <scene> <stage_direction>EXT. STREET - RIO DE JANEIRO - CONTINUOUS</stage_direction> <scene_description>Hector rushes out the back door, looks around. Rubble from the damaged buildings everywhere. Cleanup crews and police. Hector dashes over to a line of people helping to clear rubble. A WOMAN hands out bandanas. Hector grabs one, wraps it around his face and hides in the line of people removing broken blocks of concrete. The two Soldiers burst out of the stairwell and out into the street, looking around - WHERE'D HE GO? They move forward, passing within a foot of Hector... sweat runs down his face. The men keep going. Hector would be safe if he just waits it out... but he can't. He decides to move - causing the person next to him to drop their block. The two Soldiers turn, realizing they missed him and double back. Hector sprints across the street, dodging traffic. Running through a crowded market of people shoulder-to- shoulder, Hector pushes his way through, the Soldiers hot on his tail. Bursting out the other end, Hector runs over to a parked electric driver-less cab. He hops in.</scene_description> </scene> <scene> <stage_direction>INT. CAB - CONTINUOUS</stage_direction> <scene_description>Hector ducks down and peers through the back window.</scene_description> <character>ELECTRONIC CAB VOICE</character> <dialogue>Destino?</dialogue> <scene_description>The Soldiers appear around the corner. Hector panics as he SEES Rico joining the soldiers, his pistol drawn.</scene_description> <character>ELECTRONIC CAB VOICE</character> <dialogue>Destino, por favor.</dialogue> </scene> <scene> <stage_direction>EXT. STREET - BRAZIL - SAME</stage_direction> <scene_description>The Soldiers reach the cab just as it begins to roll away. Rico pushes them aside and peers into the cab - seeing no one, he directs the Soldiers to follow him down the street the other way. Hector pops up from the DRIVER'S SEAT FLOOR - looks through the back window as the cab drives off. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - MANUFACTURING HULL - MORNING</stage_direction> <scene_description>A forklift dumps the last of the Satellite debris onto the floor in front of Jake and his team. They stare at the wreckage in disbelief.</scene_description> <character>JAKE</character> <dialogue>Think we can retrieve anything out of the hard drives?</dialogue> <character>DUNCAN</character> <dialogue>If there's flash memory left in the components. But, I mean, look at it, Gov.</dialogue> <character>ALUKO</character> <dialogue>Even if we find code corruption, how do we know it wasn't caused in the wreck?</dialogue> <scene_description>Duncan turns towards Kagawa.</scene_description> <character>DUNCAN</character> <dialogue>If your bleedin' robots didn't malfunction we--</dialogue> <character>KAGAWA</character> <dialogue>It's not my robots fault!</dialogue> <character>DUNCAN</character> <dialogue>It fell all by itself, did it?</dialogue> <character>KAGAWA</character> <dialogue>Don't blame this all on me! There's not a damned part of this ship that hasn't had malfunctions. NOTHING works, okay! Air locks shut down, anti-gravity portals malfunction and fucking access panels blow out for no reason!</dialogue> <scene_description>Jake turns, gets an idea. CONTINUED:</scene_description> <character>JAKE</character> <dialogue>What did you just say?</dialogue> <character>KAGAWA</character> <dialogue>Nothing works on the ship you built?</dialogue> <character>JAKE</character> <dialogue>Satellites, air locks, anti-gravity portals and access panels. What do they all have in common?</dialogue> <scene_description>Duncan is the first to catch on.</scene_description> <character>DUNCAN</character> <dialogue>They all use the same operating system for command codes.</dialogue> <character>UTE</character> <dialogue>So if we find the same corruption in any of them that we found in the satellite, we can trace back the source.</dialogue> <character>KAGAWA</character> <dialogue>Well we ain't gonna find anything in the crane. It's totalled.</dialogue> <character>ALUKO</character> <dialogue>The Air locks and anti-gravity portals that failed have already been flushed and replaced.</dialogue> <character>JAKE</character> <dialogue>What about the access panels that blew.</dialogue> <character>DUNCAN</character> <dialogue>Halfway to Andromeda by now. Blew right off the ship, they did.</dialogue> <character>DUSSETTE</character> <dialogue>Not all of them.</dialogue> <scene_description>Everyone turns to Dussette who's already over at a wall monitor, punching up some security video.</scene_description> <character>DUSSETTE</character> <dialogue>When I was reviewing the video of the accident that killed Makmoud, I saw that one of the panels that blew got trapped onto the bottom of the comm tower.</dialogue> <scene_description>CONTINUED: (2) We SEE a replay of the access panels blowing off the ship. One camera FOLLOWS one of the panels as it bounces off the surface of the ship and wedges into a TOWER on the far end.</scene_description> <character>DUNCAN</character> <dialogue>I'd wager it's a pile of rubbish just like this Sat and crane.</dialogue> <scene_description>Dussette FREEZES the image and ZOOMS IN. We can see that part of the door is intact.</scene_description> <character>JAKE</character> <dialogue>Look! The seal locks are intact. If we're lucky the last commands are still in the flash memory.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. RIO DE JANEIRO-GALEÃO INTERNATIONAL AIRPORT - NIGHT</stage_direction> <scene_description>A nervous Hector dials at a pay phone. He puts it to his ear, then spies TWO ARMED FEDERALES moving through the gate area. He tries to make himself invisible by backing into a corner.</scene_description> <character>MAX (ON PHONE)</character> <dialogue>Hello?</dialogue> <character>HECTOR</character> <parenthetical>(into phone, sotto)</parenthetical> <dialogue>Max, thank God.</dialogue> </scene> <scene> <stage_direction>INT. WHITE HOUSE - CONTINUOUS</stage_direction> <scene_description>Max is walking down a corridor.</scene_description> <character>MAX</character> <parenthetical>(into phone)</parenthetical> <dialogue>Hector? Good news. I'm bringing in your Satellite--</dialogue> <character>HECTOR (FILTERED)</character> <dialogue>--Not on the phone, Max!</dialogue> <character>MAX</character> <dialogue>Why? What's going on?</dialogue> <scene_description>INTERCUT AS NEEDED</scene_description> <character>HECTOR</character> <dialogue>I'm on the next flight to DC. We have to meet in person. I heard about what happened in Afghanistan and figured it all out.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAX</character> <dialogue>Figured what out?</dialogue> <character>HECTOR</character> <dialogue>We can't talk on the phone, it must be in person.</dialogue> <character>MAX</character> <dialogue>Hector, what the hell is going on?</dialogue> <character>HECTOR</character> <dialogue>Just meet with me, please. Ten o'clock. The place where Sarah got into the fight with the cheerleader, remember?</dialogue> <character>MAXX</character> <dialogue>Yes, but Hector... hello?</dialogue> <scene_description>The line is dead. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. OUTSIDE THE ROOSEVELT ROOM - WHITE HOUSE - NIGHT</stage_direction> <scene_description>A meeting is just ending and people are filing out. Just as Dr. Cassandra Jennings exits, Max appears out of nowhere and grabs her arm, spinning her.</scene_description> <character>MAX</character> <dialogue>Dr. Jennings, we need to talk.</dialogue> <scene_description>She yanks her arm free.</scene_description> <character>DR. JENNINGS</character> <dialogue>Take your hands off me.</dialogue> <character>MAX</character> <dialogue>It's important.</dialogue> <character>DR. JENNINGS</character> <dialogue>What, you're putting your uncle in charge of the Treasury?</dialogue> <character>MAX</character> <dialogue>I have reason to believe your suspicions are justified.</dialogue> <scene_description>Dr. Jennings looks over her shoulder at Dr. Quigley and the others from the meeting walking down the hall. She nods to Max and they walk the opposite direction. CONTINUED:</scene_description> <character>MAX</character> <dialogue>I just got a call from Hector Barcellos. Part of the Latin American climate consortium.</dialogue> <character>DR. JENNINGS</character> <dialogue>I've seen his name on reports.</dialogue> <character>MAX</character> <dialogue>He's flying back from Rio tonight to meet with me. He thinks there's a cover up and Dutch Boy may have had another incident.</dialogue> <character>DR. JENNINGS</character> <dialogue>Where?</dialogue> <character>MAX</character> <dialogue>Brazil.</dialogue> <scene_description>Dr. Jennings blanches. Quickly she grabs Max and pulls him aside, off the hallway. In hushed tones--</scene_description> <character>DR. JENNINGS</character> <dialogue>You know how many people died in Brazil?</dialogue> <character>MAX</character> <dialogue>I'm aware.</dialogue> <character>DR. JENNINGS</character> <dialogue>Is there evidence to support this?</dialogue> <character>MAX</character> <dialogue>Not yet, but I've ordered the retrieval of the satellite to see what we can find out.</dialogue> <scene_description>Dr. Jennings thinks, panics.</scene_description> <character>DR. JENNINGS</character> <dialogue>Tell your friend to be very careful who he shares his suspicions with.</dialogue> <character>MAX</character> <dialogue>Don't you think you're being a tad paranoid?</dialogue> <character>DR. JENNINGS</character> <dialogue>Billions of multi-national dollars are at stake. Geopolitical careers hang in the balance. Just... tell him to be careful.</dialogue> <scene_description>CONTINUED: (2) Max realizes she's deadly serious. He nods. There's a pregnant pause. Cassandra is genuinely scared.</scene_description> <character>DR. JENNINGS</character> <dialogue>And so should you.</dialogue> <scene_description>She exits. Max is unnerved by her warning. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - LOCKER ROOM - DAY</stage_direction> <scene_description>Jake and Ute stripped down to get in their flight suits which they'll wear under their space suits. As Ute speaks, she removes her shirt and pants without a second thought.</scene_description> <character>UTE</character> <dialogue>Do not make a move when we're out there unless I tell you.</dialogue> <scene_description>Jake does his best to pretend not to be floored by seeing this beautiful woman changing in front of him.</scene_description> <character>UTE</character> <dialogue>And anything you do, make it as relaxed as possible. To conserve energy. You use two and half times as much energy in space as on Earth... is there a problem?</dialogue> <character>JAKE</character> <dialogue>Huh? No, none. Not at all.</dialogue> <scene_description>Ute turns to her locker and we see her face - she knows he's been watching her. A thin smile crosses her lips.</scene_description> </scene> <scene> <stage_direction>EXT. SPACE STATION - LATER</stage_direction> <scene_description>Ute drifts out of the hatch. She looks graceful and completely at home out there. By contrast, Jake comes out of the hatch and immediately bangs against the side of the station.</scene_description> <character>UTE</character> <dialogue>Fear will cause mistakes. Act like you have done it a hundred times.</dialogue> <character>JAKE</character> <dialogue>Girl I lost my virginity to said the same thing.</dialogue> <character>UTE</character> <dialogue>Try the voice-commands.</dialogue> <scene_description>CONTINUED:</scene_description> <character>JAKE</character> <dialogue>Forward.</dialogue> <scene_description>He begins to float forward, turning this way and that.</scene_description> <character>JAKE</character> <dialogue>Right... Left... Roll right.</dialogue> <scene_description>And Jake slowly begins to roll over and invert himself. CLOSE on Jake as something catches his eye.</scene_description> <character>JAKE</character> <dialogue>Stop...</dialogue> <scene_description>We PAN AROUND Jake to see what he is looking at: THE BEAUTIFUL BLUE PLANET EARTH. From here it is a staggering sight. Jake can't help but smile.</scene_description> <character>JAKE</character> <dialogue>We got your back, Blue.</dialogue> <character>UTE (O.S.)</character> <dialogue>Jake.</dialogue> <scene_description>Jake turns, sees Ute is a good 50 yards ahead of him, moving toward the comm tower. He follows, getting slightly more comfortable with the flying.</scene_description> </scene> <scene> <stage_direction>EXT. SPACE STATION - COMM TOWER - CONTINUOUS</stage_direction> <scene_description>Ute and Jake arrive at this end of the station. They begin to remove tools from a pack.</scene_description> <character>JAKE</character> <dialogue>Roll left.</dialogue> <scene_description>Jake inverts himself, floats over and begins to work - not on the access panel door, but on the comm tower.</scene_description> <character>UTE</character> <dialogue>That's the comm tower, not the access panel.</dialogue> <character>JAKE</character> <dialogue>I know.</dialogue> <scene_description>Jake has removed a section of the tower.</scene_description> <character>JAKE</character> <dialogue>When we designed the tower we put in these emergency de-rig ports.</dialogue> <character>UTE</character> <dialogue>Why?</dialogue> <scene_description>CONTINUED:</scene_description> <character>JAKE</character> <dialogue>It wasn't for up here in space, it was a fail-safe if the station didn't launch properly and had to be dismantled quickly on Earth.</dialogue> <scene_description>Jake hands Ute the section of tower. She secures it with a tether. Jake slides out the entire panel door. Ute secures the door while Jake reassembles the tower. They make their way back toward the hatch with the giant access panel door.</scene_description> <character>JAKE</character> <dialogue>Hold up.</dialogue> <scene_description>They stop. Ute watches Jake disappear behind the panel.</scene_description> <character>UTE</character> <dialogue>What are you doing?</dialogue> <scene_description>A moment goes by, then another, then Jake pops back up.</scene_description> <character>JAKE</character> <dialogue>Nothing. We're good.</dialogue> <scene_description>They start maneuvering the giant door again.</scene_description> <character>UTE</character> <dialogue>Control, when I give the order, open the cargo Bay Doors.</dialogue> <character>WORKER (V.O.)</character> <dialogue>Roger that.</dialogue> <character>UTE</character> <dialogue>Jake, careful of that--</dialogue> <scene_description>And that's all she gets out before one of the giant exhaust fans hatch doors SWING OPEN, SLAMMING RIGHT INTO JAKE AND HIS END OF THE DOOR. The door goes sailing off. Jake lunges, grabs onto it. But he's now just a guy on a runaway horse as the door is blown across the station -- smashing into antennae and crane arms, destroying anything in its path.</scene_description> <character>UTE</character> <dialogue>Jake, let go!</dialogue> <scene_description>The door flips and Jake crashes down on the station on his back. He lets go and the access panel door goes shooting into space. Jake is woozy, he is starting to float off when he gathers his senses. CONTINUED: (2)</scene_description> <character>JAKE</character> <dialogue>Reverse.</dialogue> <scene_description>He regains control of his movements. Ute floats up.</scene_description> <character>UTE</character> <dialogue>There go the codes.</dialogue> <scene_description>Jake grins, pulls out the drives that he's stashed in a pouch in his suit. When Ute looks worried instead of happy--</scene_description> <character>JAKE</character> <dialogue>What is it?</dialogue> <character>UTE</character> <dialogue>Your suit is damaged. Your pressure is dropping.</dialogue> <scene_description>And we see -- Jake's suit is stiffening. He's losing pressure.</scene_description> <character>UTE</character> <dialogue>You have to get inside or...</dialogue> <character>JAKE</character> <dialogue>Yeah. Like Makmoud.</dialogue> <scene_description>They move to the hatch. It's been damaged by the flying door. It won't open.</scene_description> <character>UTE</character> <dialogue>Control, we need the hatch open.</dialogue> </scene> <scene> <stage_direction>INT. SPACE STATION - MIDDECK - SAME</stage_direction> <scene_description>Dussette and two WORKERS are trying to get the hatch open from the control panels just on the other side of the air lock.</scene_description> <character>DUSSETTE</character> <dialogue>We are working on it!</dialogue> </scene> <scene> <stage_direction>EXT. SPACE STATION - CONTINUOUS</stage_direction> <scene_description>Jake's suit stiffens. He works on the hatch.</scene_description> <character>UTE</character> <dialogue>Let me do it, you need to conserve your oxygen.</dialogue> <scene_description>Ute takes some type of tool and begins trying to pry open the hatch. Jake -- having trouble breathing -- leans and helps. One effort and the hatch opens.</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - AIRLOCK - CONTINUOUS</stage_direction> <scene_description>Ute and Jake tumble back inside the Space Station, the airlock hatch shutting behind. Once locked, Dussette and some workers rush inside.</scene_description> <character>DUSSETTE</character> <dialogue>Get them out of their suits, I'm going to get that hatch repaired.</dialogue> <scene_description>Dussette exits the airlock as the Workers begin the process of removing Jake and Ute's EVA suits. And then a LOUD RUMBLE. Everyone turns in time to see the ACCESS PANEL DOORS BLOW OUT just like with Makmoud. Two WORKERS are EJECTED INTO SPACE. ANOTHER ONE IS HANGING ON, BUT HER BODY QUICKLY EXPLODES FROM THE EXPOSURE. Ute and Jake hold onto the ship -- the fact they're still in their suits the only thing keeping them alive. BUT JAKE'S SUIT IS LOSING PRESSURE.</scene_description> <character>UTE</character> <dialogue>Hold onto me!</dialogue> <scene_description>Jake does and Ute makes her way toward the airlock exit... when another RUMBLE IS HEARD AND MORE OF THE WALLS BEGIN TO IMPLODE. Ute gets Jake out of the Air lock just as a huge section of wall CRASHES DOWN WHERE THEY WERE.</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - MIDDECK - CONTINUOUS</stage_direction> <scene_description>Ute rips her helmet off, does the same for Jake. He doesn't look good. Another RUMBLE. Dussette bursts in.</scene_description> <character>DUSSETTE</character> <dialogue>Are you alright?</dialogue> <character>UTE</character> <dialogue>He's not well.</dialogue> <character>JAKE</character> <dialogue>I can make it.</dialogue> <scene_description>Dussette helps Jake out of his suit and the three try to get through the next portal door as pieces of the interior crack and break all around them. Ute stumbles, Dussette picks her up. They get through another portal.</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - HALLWAY - CONTINUOUS</stage_direction> <scene_description>Ute, Jake and Dussette. EVERYTHING STILL SHAKING LIKE AN EARTHQUAKE. Kagawa, Aluko and Duncan appear.</scene_description> <character>UTE</character> <dialogue>Status report.</dialogue> <character>KAGAWA</character> <dialogue>Status is fucked!</dialogue> <character>ALUKO</character> <dialogue>There was a malfunction in the air lock. We're overriding it.</dialogue> <scene_description>And the rumbles stop. Everyone exhales.</scene_description> <character>KAGAWA</character> <dialogue>Oh my God, oh my God.</dialogue> <character>DUNCAN</character> <dialogue>But you lost the door panel, so that means no drive codes, right?</dialogue> <scene_description>Ute is about to answer, when Jake interrupts.</scene_description> <character>JAKE</character> <dialogue>Yeah, that's right. We lost 'em.</dialogue> <scene_description>Ute shoots him a look. Doesn't know why he's lying but goes along.</scene_description> <character>DUSSETTE</character> <dialogue>So we are back to square one.</dialogue> <scene_description>Everyone is deflated. Ute is still trying to figure out Jake. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. GEORGETOWN - DAY</stage_direction> <scene_description>The heart of Georgetown. People on the streets, having lunch on patios, music plays. Not a storm cloud in the sky. Max walks along the cobblestones, eyeing a corner place called CONNELL'S. Max pauses, smiles when he sees -- Hector steps out from behind Connell's. He looks nervous, unsure. Max starts toward his friend. A group of people exit Connell's. Led by a GUY IN A RED HOODIE, they're loud, rowdy. A black SUV comes around the corner just as -- CONTINUED: The group of rowdies stumble into Hector, and he's pushed STRAIGHT INTO THE SUV'S PATH! The SUV slams into Hector, CATAPULTING HIS BODY UP AND OVER THE VEHICLE. HE SLAMS DOWN ON THE STREET. People scream. The SUV pulls over down the street. Max gets to Hector - bones broken, blood everywhere, barely alive. Hector tries to speak, but only blood escapes his mouth.</scene_description> <character>MAX</character> <dialogue>Call 9-1-1!</dialogue> <scene_description>In the ensuing chaos and people crowding around to help, Max catches a glimpse of the guy in the red hoodie climbing into the SUV before it rolls away.</scene_description> <character>HECTOR</character> <parenthetical>(barely audible)</parenthetical> <dialogue>Max...</dialogue> <character>MAX</character> <dialogue>Hang on, buddy. Hang on.</dialogue> <scene_description>Hector grabs Max, pulls him close. Dying words...</scene_description> <character>HECTOR</character> <dialogue>Alcon... Pentagon servers. It's all about Alcon...</dialogue> <scene_description>Hector convulses and dies.</scene_description> <character>MAX</character> <dialogue>Hector!</dialogue> <scene_description>Sirens in the distance as we CRANE UP AND BACK on the scene. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - HALLWAY - LATER</stage_direction> <scene_description>Ute races to catch up with Jake. They walk with purpose.</scene_description> <character>UTE</character> <dialogue>Why did you lie to them?</dialogue> <character>JAKE</character> <dialogue>You think all that was just one coincidence after another?</dialogue> <character>UTE</character> <dialogue>What are you saying?</dialogue> <scene_description>CONTINUED:</scene_description> <character>JAKE</character> <dialogue>Someone just tried to kill us.</dialogue> <character>UTE</character> <dialogue>Not one of our--</dialogue> <scene_description>Jake stops, turns to Ute. Pulls the drive out of his pocket.</scene_description> <character>JAKE</character> <dialogue>I don't know who. But someone didn't want us seeing what's on these drives. So for now, I don't trust anyone.</dialogue> <character>UTE</character> <dialogue>You trust me.</dialogue> <scene_description>Jake turns away from her and walks off. Ute follows.</scene_description> </scene> <scene> <stage_direction>INT. UTE'S LAB - SPACE STATION - LATER</stage_direction> <scene_description>A small science lab. Ute locks the door while Jake examines the contents of the drives, which are now hooked up to several machines. A screen above shows the findings.</scene_description> <character>UTE</character> <dialogue>We will be safe in here. This is my private lab.</dialogue> <character>JAKE</character> <dialogue>I love what you've done to the place.</dialogue> <parenthetical>(seeing something)</parenthetical> <dialogue>Holy shit.</dialogue> <scene_description>Ute rushes over to see.</scene_description> <character>UTE</character> <dialogue>You found a match to the corruption?</dialogue> <character>JAKE</character> <dialogue>There's no corruption in here at all.</dialogue> <character>UTE</character> <dialogue>And that's bad?</dialogue> <character>JAKE</character> <dialogue>What is in here are the last command codes that were sent. These doors didn't accidently blow off, they were programed to.</dialogue> <scene_description>CONTINUED:</scene_description> <character>JAKE</character> <dialogue>Someone intentionally killed Makmoud.</dialogue> <character>UTE</character> <dialogue>And now they are trying to kill us?</dialogue> <scene_description>Jake walks over to a keyboard and starts typing.</scene_description> <character>JAKE</character> <dialogue>I have to tell my brother.</dialogue> <character>UTE</character> <dialogue>Anything you tell him over our comms, the whole world will know. Not to mention everyone on board the ship.</dialogue> <character>JAKE</character> <dialogue>Not if I can just memorize this speech.</dialogue> <scene_description>Ute doesn't understand as Jake types away.</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - VIRTUAL CONFERENCE BRIDGE - DAY</stage_direction> <scene_description>Jake and Ute stand ready in the center of the room. Jake is "rehearsing" the speech in his mind, his lips mouthing as he practices in silence. Suddenly Max and a few White House Aides and technicians appear in the room.</scene_description> <character>MAX</character> <dialogue>Jake, they told me it was urgent.</dialogue> <character>JAKE</character> <dialogue>We haven't found anything yet. I needed to give you my heartfelt apology.</dialogue> <scene_description>Pissed, Max prepares to jack out--</scene_description> <character>MAX</character> <dialogue>Jake, I'm dealing with some very serious things right now--</dialogue> <character>JAKE</character> <dialogue>You need to know how difficult this is up here. Hell, it's practically a blowtorched horses net.</dialogue> <scene_description>That freezes Max. Is Jake really referencing their childhood code? He walks closer to Jake and looks him in the eye. He nods. Turns to one of the Techs in the room. CONTINUED:</scene_description> <character>MAX</character> <dialogue>Record this for me. I'm going to want to include this in my report.</dialogue> <scene_description>The Tech nods and does something on his HoloFrame. Max turns back to Jake.</scene_description> <character>MAX</character> <dialogue>Continue.</dialogue> <character>JAKE</character> <dialogue>Someone might think that we just lost focus but we tried our damndest and best to recover the information. I would kill to get it back. All of us regret it. When you leave you must remember to investigate every option from the Highest to the lowest level of Patriotic concern for our Government.</dialogue> <scene_description>Jake gives a strange smile to Max. Ute thinks Jake has lost his mind.</scene_description> <character>MAX</character> <dialogue>I understand.</dialogue> <character>UTE</character> <dialogue>You do?</dialogue> <character>JAKE</character> <dialogue>Call dad's office, give him my love.</dialogue> <scene_description>Max smiles and jacks out of the room. The others quickly vanish as well.</scene_description> <character>UTE</character> <dialogue>What was all that?</dialogue> <character>JAKE</character> <dialogue>Hopefully he remembers our dad's phone number.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. MAX'S WASHINGTON TOWNHOUSE - AFTERNOON</stage_direction> <scene_description>Max hurries up the stairs and into his townhouse, checking over his shoulder to see if he's been observed.</scene_description> </scene> <scene> <stage_direction>INT. MAX'S WASHINGTON TOWNHOUSE - CONTINUOUS</stage_direction> <scene_description>He locks the door behind him and rushes down into his basement.</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT - MAX'S TOWNHOUSE - CONTINUOUS</stage_direction> <scene_description>Max has some very sophisticated computer equipment here. He pulls a flash drive out of his pocket and plugs it into his system. A life sized HoloFrame comes off the wall and a somewhat smaller version of JAKE appears in 3D. Max hits PLAY.</scene_description> <character>JAKE (FILTERED)</character> <dialogue>Someone might think that we just lost focus but we tried our damnedest and best to recover the information. I would kill to get it back. All of us regret it.</dialogue> <scene_description>Max PAUSES the image. He types and the numbers 1-555-672- 3254 ex 15567. Jake's speech plays backwards. As it plays back, the words he speaks TYPES out in 3 dimensional space. The FIRST word is UNDERSCORED, then the 5th, the next 5th word, the next 5th, then the 6th, then 7th and so on, following the same pattern of the phone number.</scene_description> <character>MAX</character> <dialogue>Computer. Edit.</dialogue> <scene_description>Jake rewinds and his speech is chopped up. A jumped cut version plays back.</scene_description> <character>JAKE</character> <dialogue>Someone just tried to kill us. You must investigate highest level of government. Trust no one.</dialogue> <scene_description>Max freezes the image, worried and torn. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - HALLWAY - NIGHT</stage_direction> <scene_description>Jake and Ute hurry down the hall, speaking in hushed tones.</scene_description> <character>UTE</character> <dialogue>Where are we going?</dialogue> <character>JAKE</character> <dialogue>I want to play back the security cameras without alerting anyone.</dialogue> <scene_description>CONTINUED:</scene_description> <character>JAKE</character> <dialogue>Someone killed Makmoud. Why? We find that out, we'll know who's behind this.</dialogue> <character>UTE</character> <dialogue>You can't access the cameras without it being logged.</dialogue> <character>JAKE</character> <dialogue>That's why we're going to the back up server room.</dialogue> <character>UTE</character> <dialogue>You can access the security cams from there?</dialogue> <character>JAKE</character> <dialogue>I had them put in a back door remote access just in case.</dialogue> <scene_description>He gets to a door, and enters a code.</scene_description> <character>JAKE</character> <dialogue>See, comes in handy that I built the place.</dialogue> <scene_description>The door opens exposing access to a stairwell. Jake is confused. Ute opens a door on the opposite side of the hall.</scene_description> <character>UTE</character> <dialogue>Yeah, but I live here.</dialogue> <scene_description>Begrudgingly, Jake follows her inside.</scene_description> </scene> <scene> <stage_direction>INT. SERVER ROOM - SPACE STATION - LATER</stage_direction> <scene_description>The image of Makmoud in the Retrieval Bay replays on a monitor.</scene_description> <character>UTE</character> <dialogue>I was there. Makmoud helped prep diagnostics on the retrieved sat while we launched the replacement.</dialogue> <scene_description>We SEE Ute initiating the launch of the replacement sat as Makmoud and the Tech inspect the sat. The Tech is sent off and Makmoud is left alone with the sat.</scene_description> <character>JAKE</character> <dialogue>Isn't there supposed to be two techs with the sat at all times?</dialogue> <scene_description>CONTINUED: Ute nods and Jake FREEZES the video. He ZOOMS in on Makmoud, close, and lets the video play. We WATCH as he pulls out his HoloFrame and presses it against the sensor.</scene_description> <character>JAKE</character> <dialogue>He pulled something off the sat.</dialogue> <character>UTE</character> <dialogue>Think they killed him to get it?</dialogue> <character>JAKE</character> <dialogue>Or to make sure no one else did.</dialogue> <scene_description>We WATCH Makmoud move down a hall and into the men's locker room.</scene_description> <character>UTE</character> <dialogue>There's no cameras allowed in the locker rooms.</dialogue> <character>JAKE</character> <dialogue>Then let's take a look for ourselves.</dialogue> </scene> <scene> <stage_direction>INT. OUTSIDE MEN'S LOCKER ROOM - SPACE STATION - LATER</stage_direction> <scene_description>Ute waits at the door until Jake reappears from within. He gives her an "all clear" nod and she enters, shutting the door behind her. From outside, a sign appears: CLOSED FOR MAINTENANCE.</scene_description> </scene> <scene> <stage_direction>INT. MEN'S LOCKER ROOM - LATER</stage_direction> <scene_description>Ute and Jake are searching the empty locker room, looking for a hiding place.</scene_description> <character>UTE</character> <dialogue>According to the time codes, he entered in the middle of a shift change.</dialogue> <scene_description>Jake pulls out his HoloFrame and calls up Makmoud's locker number and walks over to it.</scene_description> <character>UTE</character> <dialogue>Master lock code is 7738.</dialogue> <scene_description>He opens the locker to find it empty.</scene_description> <character>DUSSETTE (O.S.)</character> <dialogue>It was cleaned out already.</dialogue> <scene_description>Ute and Jake SPIN to find Dussette, holding a weapon. CONTINUED:</scene_description> <character>DUSSETTE</character> <dialogue>Standard procedure. Sent all his belongings to his family.</dialogue> <character>JAKE</character> <dialogue>How'd you know we were in here?</dialogue> <character>DUSSETTE</character> <dialogue>I'm in charge of security. It's my business to know when someone is remotely accessing my camera feeds.</dialogue> <character>UTE</character> <dialogue>Dussette, stow that weapon.</dialogue> <character>DUSSETTE</character> <dialogue>First, tell me what you're looking for?</dialogue> <scene_description>Jake measures Dussette. Takes a chance.</scene_description> <character>JAKE</character> <dialogue>Someone just tried to kill us. We think it's the same person who killed Makmoud.</dialogue> <character>DUSSETTE</character> <dialogue>Killed?</dialogue> <character>UTE</character> <dialogue>We do not believe it was accident. We think someone murdered him.</dialogue> <scene_description>Dussette absorbs this.</scene_description> <character>DUSSETTE</character> <dialogue>And how do you know that person is not me?</dialogue> <character>JAKE</character> <dialogue>I think if it was, you would have killed us already.</dialogue> <scene_description>Dussette smiles, holsters his weapon.</scene_description> <character>DUSSETTE</character> <dialogue>You think Makmoud hid something in his locker that would help you find his killer?</dialogue> <character>UTE</character> <dialogue>That is what we are hoping.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>DUSSETTE</character> <dialogue>I was here when Makmoud came in. I watched him put stuff into a locker.</dialogue> <scene_description>Dussette walks over to a DIFFERENT locker.</scene_description> <character>DUSSETTE</character> <dialogue>But not his. This one. I saw him doing it. He pretended it was his locker, but I knew it wasn't.</dialogue> <character>UTE</character> <dialogue>I couldn't shit less whose locker it is. Just open it.</dialogue> <scene_description>Both Dussette and Jake are confused.</scene_description> <character>JAKE</character> <dialogue>You mean, you couldn't care less?</dialogue> <character>DUSSETTE</character> <dialogue>Or you don't give a shit?</dialogue> <scene_description>She points to Dussette.</scene_description> <character>UTE</character> <dialogue>Yes. That one.</dialogue> <parenthetical>(embarrassed)</parenthetical> <dialogue>Open the locker, please.</dialogue> <scene_description>Jake goes over and puts in the override code. The locker opens. We see Makmoud's binders, papers, and finally... his HoloFrame. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. WHITE HOUSE - MAX'S OFFICE - DAY</stage_direction> <scene_description>The blinds are closed. Max pacing, stressed. He spins when the door opens. It's Sarah.</scene_description> <character>SARAH</character> <dialogue>Max, you can't just summon me to your office while I'm on duty.</dialogue> <character>MAX</character> <dialogue>Jake told me that someone just tried to kill him.</dialogue> <character>SARAH</character> <dialogue>On the Space Station? That's crazy.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAX</character> <dialogue>Is it? Hector was killed today.</dialogue> <character>SARAH</character> <dialogue>What?! Hector? You sure?</dialogue> <scene_description>Max sits down on the couch. Sarah sits next to him.</scene_description> <character>MAX</character> <dialogue>I saw it with my own eyes. At first I thought it was just a horrible accident, but then Jake--</dialogue> <character>SARAH</character> <dialogue>Maybe it was an accident?</dialogue> <character>MAX</character> <dialogue>Hector wanted to meet me. Said he knew the truth about Dutch Boy. Now he's dead and someone tries to kill Jake?</dialogue> <character>SARAH</character> <dialogue>Jesus.</dialogue> <scene_description>This is the part that bugs Max the most.</scene_description> <character>MAX</character> <dialogue>I just don't know, Sarah. Jake wants me to investigate the White House! It's all so--</dialogue> <character>SARAH</character> <dialogue>What?</dialogue> <scene_description>Max gets back up, pacing nervously.</scene_description> <character>MAX</character> <dialogue>I don't see Jake for ten years. Now he's asking me to spy on the people I work for?</dialogue> <character>SARAH</character> <dialogue>What are you saying?</dialogue> <character>MAX</character> <dialogue>Maybe he's setting me up. Finally getting his revenge.</dialogue> <character>SARAH</character> <dialogue>For what?</dialogue> <character>MAX</character> <dialogue>Stealing you away from him.</dialogue> <scene_description>CONTINUED: (2) Sarah stands, gets in Max's face.</scene_description> <character>SARAH</character> <dialogue>I was never his to be stolen! I never loved him. He had a crush on me. I always loved you and only you, Max. Even Jake knows that.</dialogue> <parenthetical>(Max is torn, confused)</parenthetical> <dialogue>Jake is self-centered and arrogant, but he is your brother. And he's not going to set you up.</dialogue> <character>MAX</character> <dialogue>How do you know?</dialogue> <character>SARAH</character> <dialogue>Because I married a Lawson and they don't do that.</dialogue> <character>MAX</character> <dialogue>So you think I should trust him?</dialogue> <character>SARAH</character> <dialogue>Yes, I do.</dialogue> <scene_description>Max pulls up his notes from earlier.</scene_description> <character>MAX</character> <dialogue>Hector said the answer is in something called ALCON over at the Pentagon. I tried to look it up but I don't have clearance.</dialogue> <character>SARAH</character> <dialogue>Luckily, you know who does have clearance.</dialogue> <character>MAX</character> <dialogue>You want me to ask Dekkom?</dialogue> <parenthetical>(off her look)</parenthetical> <dialogue>You want me to break into his computer?!</dialogue> <scene_description>Sarah walks to the door, turns back.</scene_description> <character>SARAH</character> <dialogue>I've got VP duty today. He's meeting with Dekkom within the hour. Then they're off to a Veteran's luncheon. I'll ping you when they're leaving Dekkom's office... get in and get out.</dialogue> <scene_description>CONTINUED: (3) Sarah exits. Max is astonished. Tries to regroup. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. UTE'S LAB - SPACE STATION - DAY</stage_direction> <scene_description>Bored, Dussette sits idly by, on top of one of the counters, watching Ute and Jake dissecting Makmoud's HoloFrame which is wired up to diagnostic equipment.</scene_description> <character>UTE</character> <dialogue>What is security like this doing on a HoloFrame? This is beyond military grade encryption.</dialogue> <character>JAKE</character> <dialogue>He must have known what was on it was worth protecting.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>My brother could crack it. He's amazing at this stuff.</dialogue> <scene_description>Dussette jumps off the counter, heads for the door.</scene_description> <character>DUSSETTE</character> <dialogue>I've got to piss.</dialogue> <scene_description>And he's gone. Ute turns to Jake.</scene_description> <character>UTE</character> <dialogue>You work with your brother a lot then?</dialogue> <character>JAKE</character> <dialogue>No. We, uh, only just recently reconnected. Didn't speak for years.</dialogue> <character>UTE</character> <dialogue>He must have done something terrible to you.</dialogue> <character>JAKE</character> <dialogue>That's what I used to believe. Now I'm starting to think it was the other way around.</dialogue> <character>UTE</character> <dialogue>That's a shame. It's hard enough being separated from loved ones. Choosing to do so...</dialogue> <scene_description>She trails off, lost in a memory. Jake notices. CONTINUED:</scene_description> <character>JAKE</character> <dialogue>I'm divorced, too.</dialogue> <character>UTE</character> <dialogue>How did you know I was divorced?</dialogue> <character>JAKE</character> <dialogue>I recognized that "stare of regret". I think I invented it.</dialogue> <character>UTE</character> <dialogue>I try not to regret anything.</dialogue> <character>JAKE</character> <dialogue>And I try not to regret everything.</dialogue> <scene_description>Jake and Ute share an intimate smile when a PING goes off. The "hack" worked and the computer flashes: HoloFrame ACCESSED. Code speed scrawls as it's downloaded.</scene_description> <character>JAKE</character> <dialogue>We're in.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. WHITE HOUSE - WEST WING - DEKKOM'S OFFICE - SAME</stage_direction> <scene_description>Vice President Packer, Dekkom and a small group are wrapping up a meeting when the door opens. Sarah appears.</scene_description> <character>SARAH</character> <dialogue>Mr. Vice President, it's time.</dialogue> <scene_description>He checks his watch.</scene_description> <character>VP PACKER</character> <dialogue>So it is! Forgive us gentleman but Secretary Dekkom and I have to go, but we appreciate your time.</dialogue> <scene_description>As everyone shakes hands and departs, we SEE Sarah discreetly place a small PIECE OF TAPE over the door bolt on the side of the door. As the last of them leave, she follows.</scene_description> </scene> <scene> <stage_direction>INT. WHITE HOUSE - COPY ROOM - LATER</stage_direction> <scene_description>Off a hallway, Max waits by a copy machine. His phone CHIMES. He reads a text from Sarah: NOW. Max gathers his nerves and takes off.</scene_description> </scene> <scene> <stage_direction>INT. WHITE HOUSE - OUTSIDE DEKKOM'S OFFICE - MOMENTS LATER</stage_direction> <scene_description>Dekkom's assistant, KARL, 20's, crew-cut, gets a call. CONTINUED:</scene_description> <character>KARL</character> <dialogue>Secretary Dekkom's office. He's already left. The mail room? Can't you just send it up? Okay, I'll be right down.</dialogue> <scene_description>As he gets up and leaves, Max enters, still on his phone, just hanging up (clearly he gave the clear-out call). Max goes to the office door, looks around to make sure he's unseen and pushes the door open.</scene_description> </scene> <scene> <stage_direction>INT. DEKKOM'S OFFICE - CONTINUOUS</stage_direction> <scene_description>Once inside, he rips the tape off the door lock and re-shuts the door. Quickly he plops down behind Dekkom's desk, attacking the computer keyboard.</scene_description> <character>MAX</character> <dialogue>Okay... you haven't hacked anything since college, let's see if you still got it.</dialogue> <scene_description>On the screen we see Max bringing up the Pentagon Servers. A window pops up: ENTER USERNAME AND PASSWORD Max pulls out a THUMB DRIVE from his pocket and plugs it into an input on the computer screen. An algorithm program pops up. Max enters Dekkom's name, tabs to the password box... his finger lingers... he hits a key. Immediately the algorithm program starts running thousands of combinations. As it does, we see the password box filling and refilling with asterisks -- running dozens of password combinations every second. Max glances at the clock.</scene_description> </scene> <scene> <stage_direction>EXT. WHITE HOUSE - DAY</stage_direction> <scene_description>Dekkom, VP Packer, Sarah and LAMMY, early 30's, - the other Secret Service agent - approach the waiting town car. There's a CRACK of thunder. They all look up and see bizarre thunder clouds swirling.</scene_description> <character>VP PACKER</character> <dialogue>Dammit, left my coat back in your office.</dialogue> <scene_description>Dekkom grabs his cell phone.</scene_description> <character>DEKKOM</character> <dialogue>I'll have my assistant run it out.</dialogue> <scene_description>Sarah covers her nervousness as they wait. Finally. CONTINUED:</scene_description> <character>DEKKOM</character> <dialogue>He must have stepped away.</dialogue> <character>SARAH</character> <dialogue>I can retrieve it, sir.</dialogue> <character>VP PACKER</character> <dialogue>You're not a valet. I'll go.</dialogue> <character>DEKKOM</character> <dialogue>Might as well grab mine as well.</dialogue> <scene_description>The two men head back inside. Sarah follows them while Lammy waits by the car. Sarah holds her phone down by her side, hits a button...</scene_description> </scene> <scene> <stage_direction>INT. WHITE HOUSE - DEKKOM'S OFFICE - CONTINUOUS</stage_direction> <scene_description>Max is still waiting for his program to crack the password. His phone on the desk BEEPS. He sees a graphic map image displayed -- it's the interior of the White House with a GREEN DOT blinking -- THIS IS SARAH AND DEKKOM HEADING BACK TO HIS OFFICE! They are closing in on Max -- the RED DOT.</scene_description> <character>MAX</character> <dialogue>Oh, shit.</dialogue> <scene_description>He checks the computer - his program has half of Dekkom's password. Another BEEP from his phone -- they are coming down the hallway!</scene_description> <character>MAX</character> <dialogue>Come on, come on.</dialogue> <scene_description>Just then the computer chirps. The password is cracked. He logs on, goes to the Pentagon files for DUTCH BOY. In the search he types in A-L-C-O-N.</scene_description> </scene> <scene> <stage_direction>INT. WHITE HOUSE - CONTINUOUS</stage_direction> <scene_description>VP Packer, Dekkom and Sarah are almost back to his office. They're stopped by General Whickham.</scene_description> <character>GENERAL WHICKHAM</character> <dialogue>Mr. Vice President, may I have a word?</dialogue> <scene_description>Sarah exhales - a delay, good. CONTINUED:</scene_description> <character>VP PACKER</character> <dialogue>I'm just grabbing my coat, General, walk with us.</dialogue> <scene_description>Oh, no. They continue on.</scene_description> </scene> <scene> <stage_direction>INT. WHITE HOUSE - DEKKOM'S OFFICE - CONTINUOUS</stage_direction> <scene_description>Max blanches at whatever he sees on Dekkom's screen. He pops a thumb-drive into the computer, begins downloading. 50%\_\_\_\_\_\_\_\_\_\_60%\_\_\_\_\_\_\_\_\_\_80% He checks his phone -- the GREEN DOT is RIGHT NEXT TO THE RED DOT. Max waits... 90%\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_DOWNLOAD COMPLETE. He grabs the thumb-drive out of the computer when he HEARS DEKKOM'S VOICE in the outer office. Max dives behind a curtain just as Dekkom, the VP and the General enter followed by Sarah. She scans the room.</scene_description> <character>GENERAL WHICKHAM</character> <dialogue>So, you see why I'm concerned? There's just no need for that many to be at the convention.</dialogue> <character>VP PACKER</character> <parenthetical>(grabbing his coat)</parenthetical> <dialogue>I see your point. I'll speak to the President, but it's his call.</dialogue> <scene_description>We realize Max DIDN'T LOG OFF DEKKOM'S COMPUTER!</scene_description> <character>VP PACKER</character> <dialogue>I can't always convince him of...</dialogue> <scene_description>Just as they're almost out of the office, Dekkom stops, turns back to his desk just as Sarah SEES MAX'S SHOES UNDER THE CURTAINS. If there's a look combining terror with You-Stupid-Idiot, it's on Sarah's face right now.</scene_description> <character>GENERAL WHICKHAM</character> <dialogue>Something wrong, Leonard?</dialogue> <character>DEKKOM</character> <dialogue>I forgot to logoff again. I thought I was getting better at that.</dialogue> <scene_description>CONTINUED: Dekkom logs off. Sarah is frozen stiff waiting for either man to see the shoes. But Dekkom and the General exit. Sarah closes her eyes, says a silent prayer and follows. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT - MAX'S TOWNHOUSE - NIGHT</stage_direction> <scene_description>The wall-sized HoloFrame comes to life, but this time PROJECTS a 3D image into and filling the entire room. We SEE a virtual GLOBE of the Earth, spinning. Max and Sarah appear, staring at it. In a flash we see some storms quickly forming over several cities. Spreading faster and faster. Soon the globe is covered in storms and anomalies; a WORLD CONSUMED IN NATURAL DISASTER. Just as fast, it resets and starts again! Only this time, it starts in different cities and grows in a different pattern. This repeats over and over, very quickly, but always ending with the world covered in weather anomalies.</scene_description> <character>SARAH</character> <dialogue>What the hell is this, Max?</dialogue> <character>MAX</character> <dialogue>Hector used to work for the State Department. He created worst case simulations of everything that could go wrong with Dutch Boy.</dialogue> <character>SARAH</character> <dialogue>Simulations?</dialogue> <scene_description>The simulations continue to play out, faster and faster as Max paces through them, thinking.</scene_description> <character>MAX</character> <dialogue>Dutch Boy had to be up and running incredibly quickly. There was no time for proper testing. So they created a series of worst case simulations. Tried to figure out what could possibly go wrong so they could fix it before it did.</dialogue> <scene_description>Sarah stares at the simulations.</scene_description> <character>SARAH</character> <dialogue>And so that's Alcon?</dialogue> <character>MAX</character> <dialogue>Alcon is what they did with Hector's simulations.</dialogue> <scene_description>CONTINUED: Max gets an idea, rushes to the keyboard. Types.</scene_description> <character>MAX</character> <dialogue>Each of these scenarios starts with a single event that eventually grows into a Geostorm. Let's see what happens when we ask for a scenario that starts in Registan, Afghanistan.</dialogue> <scene_description>The program resets and begins playing out dozens of simulations. The words above the globe reads: POSSIBLE SCENARIOS - 2,798 .</scene_description> <character>SARAH</character> <dialogue>And how many are there when the second city to be affected is Rio de Janeiro?</dialogue> <scene_description>Max enters it in and the readout changes: POSSIBLE SCENARIOS - 420. Max stares, struggles with the information.</scene_description> <character>MAX</character> <dialogue>When Hector learned about Afghanistan, he figured out that the pattern was following one of his Sims. He probably still had back door access into the program and discovered that it was now Alcon.</dialogue> <character>SARAH</character> <dialogue>So these Sims predicted the breakdown that's happening to Dutch Boy right now?</dialogue> <character>MAX</character> <dialogue>So it seems.</dialogue> <character>SARAH</character> <dialogue>I don't get it. If they know that there's only some 400 odd variations on what can happen next, why cover it up? There's no point? Why not dedicate every resource we have in order to prevent it?</dialogue> <scene_description>Max has a revelation. Goes back to the keyboard.</scene_description> <character>MAX</character> <dialogue>Unless they don't want to prevent it.</dialogue> <scene_description>CONTINUED: (2) Max freezes one of the simulations. Types in RESULTS: A NEW GRAPHIC REPLACES THE GLOBE. Like a sports tote board, it displays DEATHS PER COUNTRY.</scene_description> <character>MAX</character> <dialogue>Sarah, these aren't Hector's Sims anymore. These are war games.</dialogue> <scene_description>The computer image flips through IMAGES of countries still standing and countries destroyed.</scene_description> <character>MAX</character> <dialogue>They've weaponized Dutch Boy.</dialogue> <scene_description>The Sims begin playing again. Always ending in most of the world destroyed. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. UTE'S PRIVATE SLEEPING QUARTERS - NIGHT</stage_direction> <scene_description>Ute's sleeping peacefully when a red light begins to flash near her bed. A BUZZ, goes off, followed by Mickey's voice.</scene_description> <character>MICKEY (FILTERED)</character> <dialogue>Commander Fassbinder? Commander?</dialogue> <scene_description>She wakes and groggily taps the comm button.</scene_description> <character>UTE</character> <dialogue>Yes?</dialogue> <character>MICKEY</character> <dialogue>It's Assistant Secretary Lawson again. He's in the Conference Bridge.</dialogue> <character>UTE</character> <dialogue>I'll be right there.</dialogue> <scene_description>She hangs up, climbs out of bed to get dressed, revealing Jake waking up.</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - HALLWAY - MOMENTS LATER</stage_direction> <scene_description>Ute and Jake make their way to the conference Bridge, passing Kagawa and Aluko stirring from their rooms.</scene_description> <character>ALUKO</character> <dialogue>We just heard about the call. I'll get Duncan.</dialogue> <scene_description>CONTINUED:</scene_description> <character>UTE</character> <dialogue>No. Go back to bed. This call is just for Lawson and me.</dialogue> <scene_description>Jake and Ute disappear. Kagawa and Aluko share a look. Aluko takes off, leaving Kagawa.</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - VIRTUAL CONFERENCE BRIDGE - NIGHT</stage_direction> <scene_description>Ute and Jake walk in to find Max pacing. When the door shuts and Max is sure they're alone--</scene_description> <character>MAX</character> <dialogue>Commander, I'm going to need access.</dialogue> <scene_description>Max pulls out his HoloFrame and shows it to her. Jake nods to her that it's okay. Ute pulls out her own HoloFrame and together with Max they walk over to an access panel. For security reasons, both Max and Ute have to insert their HoloFrames into the access panel at the same time. Once secured, Max moves over to a keyboard and starts typing. Ute walks back over to Jake.</scene_description> <character>MAX</character> <dialogue>Okay, we're secured.</dialogue> <character>UTE</character> <dialogue>What did you just do?</dialogue> <character>JAKE</character> <dialogue>He's scrambling this communication.</dialogue> <character>MAX</character> <dialogue>It's not elegant, but no one will be able to know what we're saying.</dialogue> <scene_description>Max finishes and moves quickly over to Jake.</scene_description> <character>MAX</character> <dialogue>They've weaponized Dutch Boy. They're using it to wipe out half the emerging world.</dialogue> <character>JAKE</character> <dialogue>New World Order without a single shot fired.</dialogue> <scene_description>Max nods. Ute is lost. CONTINUED:</scene_description> <character>UTE</character> <dialogue>Who is? Who's weaponized this?</dialogue> <character>MAX</character> <dialogue>I don't know yet.</dialogue> <character>JAKE</character> <dialogue>Do you know who's going to get hit next? When it will happen?</dialogue> <character>MAX</character> <dialogue>They're mimicking a pattern that was predicted in one of the sims. We're narrowing it down but we don't know which one yet.</dialogue> <character>JAKE</character> <dialogue>They'll use the sim as their cover. Claim it was one of the predicted failure scenarios. Win a war that they can deny they ever fought.</dialogue> <character>MAX</character> <dialogue>We have to stop this, Jake. Before it happens.</dialogue> <character>UTE</character> <dialogue>We found the virus that was planted into the Afghan satellite.</dialogue> <character>MAX</character> <dialogue>The attack has to be coordinated and synchronized, so that virus is going to be the same one implanted in all the other satellites that are set to attack. It should be able to tell us who's next.</dialogue> <character>JAKE</character> <dialogue>Yes, but it's incredibly sophisticated. We're having trouble breaking it down and deciphering it.</dialogue> <scene_description>Max walks back to the keyboard.</scene_description> <character>MAX</character> <dialogue>I'm uploading a decryption program. Use it to break open the virus.</dialogue> </scene> <scene> <stage_direction>INT. COMMAND CENTER - SPACE STATION - SAME</stage_direction> <scene_description>Kagawa is alone inside, accessing a work station. On the screen he SEES the conversation with Max and Jake. CONTINUED:</scene_description> <character>MAX</character> <dialogue>Greeeappple snapple snoggile tops!</dialogue> <scene_description>Kagawa tries to adjust the feed with no luck.</scene_description> <character>KAGAWA</character> <dialogue>What the hell?</dialogue> </scene> <scene> <stage_direction>INT. SPACE STATION - VIRTUAL CONFERENCE BRIDGE - SAME</stage_direction> <scene_description>Max returns to Jake and Ute.</scene_description> <character>MAX</character> <dialogue>Contact me the minute you break the code.</dialogue> <character>JAKE</character> <dialogue>Even if we find out who's next, we won't be able to stop it.</dialogue> <character>MAX</character> <dialogue>But at least we can warn them. They can take action. Save lives.</dialogue> <character>UTE</character> <dialogue>That is, if they believe you.</dialogue> <character>JAKE</character> <dialogue>If this is about to spread, it'll hit too fast for anyone to do anything about it. We've got to shut Dutch Boy down.</dialogue> <scene_description>Max realizes the gravity of what Jake is saying.</scene_description> <character>MAX</character> <dialogue>The kill codes.</dialogue> <character>UTE</character> <dialogue>That will shut down every satellite in the net. When they're down, we're exposed, completely unprotected.</dialogue> <character>JAKE</character> <dialogue>We can immediately power them back up again. The reboot will flush the system and wipe out any virus.</dialogue> <scene_description>Max starts pacing.</scene_description> <character>MAX</character> <dialogue>You want me to convince the President to use the kill codes.</dialogue> <scene_description>CONTINUED:</scene_description> <character>JAKE</character> <dialogue>Max, don't be so naive. The President is probably the person who weaponized Dutch Boy in the first place. He has the most to gain. He'll be a hero in the disaster and when it's all over, the world will be reshaped with the U.S. as the only super power left standing.</dialogue> <character>MAX</character> <dialogue>Jesus.</dialogue> <character>JAKE</character> <dialogue>Max, you're gonna have to steal the Kill Codes.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - OUTSIDE UTE'S PRIVATE LAB - NIGHT</stage_direction> <scene_description>Aluko marches down the hall but slows down as she sees the door open to Ute's private lab. She peers inside and sees Duncan inside, working on Ute's computer.</scene_description> </scene> <scene> <stage_direction>INT. UTE'S LAB - SPACE STATION - CONTINUOUS</stage_direction> <scene_description>Aluko sneaks up behind Duncan who's typing away.</scene_description> <character>ALUKO</character> <dialogue>What are you doing in here?</dialogue> <scene_description>Duncan JUMPS, startled.</scene_description> <character>DUNCAN</character> <dialogue>Christ, you scared the piss out of me.</dialogue> <character>ALUKO</character> <dialogue>You left the door open, idiot.</dialogue> <scene_description>Aluko quickly shuts the door, turns back to him.</scene_description> <character>DUNCAN</character> <dialogue>They found the virus.</dialogue> <character>ALUKO</character> <dialogue>Have they decrypted it?</dialogue> <character>DUNCAN</character> <dialogue>No and they won't. I'm wiping out the entire drive now.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ALUKO</character> <dialogue>This is stupid. You could have gotten caught.</dialogue> <character>DUNCAN</character> <dialogue>I'm already caught! It's not going to take a genius to figure out that I'm the only one on board who could write this code. I had to do something.</dialogue> <scene_description>Aluko does some calculating in her head.</scene_description> <character>ALUKO</character> <dialogue>But the virus is already active?</dialogue> <character>DUNCAN</character> <dialogue>Of course. Everything's on schedule.</dialogue> <character>ALUKO</character> <dialogue>In the station as well?</dialogue> <character>DUNCAN</character> <dialogue>Don't worry, our shuttle will be long gone before the self-destruct sequence kicks in.</dialogue> <character>ALUKO</character> <dialogue>You're sure?</dialogue> <character>DUNCAN</character> <dialogue>Shuttle's preprogramed and ready to launch. All we have to do is get inside. Then you wire 10 million to my account and Bob's your uncle.</dialogue> <character>ALUKO</character> <dialogue>Good.</dialogue> <scene_description>Suddenly Aluko pulls out a weapon and SHOOTS Duncan. The shock and betrayal on his face fades quickly as he collapses. Aluko rushes over and drags him to a trash dumbwaiter marked "HAZARDOUS MATERIAL REMOVAL". She lifts Duncan and drops him into it and quickly shuts and seals the door. A loud SUCTION SOUND is HEARD.</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - INTERNATIONAL SPACE STATION IV - SAME</stage_direction> <scene_description>Ejected with force from the underbelly of the Space Station we SEE Duncan's body as it darts off into deep space. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. AIRPORT - AIRFORCE ONE - LATER</stage_direction> <scene_description>We see a large contingent of OFFICIALS and AIDES boarding Airforce One. Max, dragging his bag, comes rushing over to the plane. A PRESIDENTIAL AIDE stops him.</scene_description> <character>PRES. AIDE</character> <dialogue>Max, you're not on the travel memo.</dialogue> <character>MAX</character> <parenthetical>(out of breath)</parenthetical> <dialogue>Last minute-- New figures for the NDS report-- Have to update the President's speech-- The convention tonight--</dialogue> <scene_description>The Pres. Aide looks around to see if anyone overhears.</scene_description> <character>PRES. AIDE</character> <dialogue>Go on. If anyone asks, you snuck on the plane.</dialogue> <scene_description>The Pres. Aide waves him through. Max boards.</scene_description> </scene> <scene> <stage_direction>INT. AIR FORCE ONE - CONTINUOUS</stage_direction> <scene_description>Max enters the crowded plane. Everyone is on board, from the Vice President, Cabinet members, Members of Congress and in the distance he SEES President Litton conferring with Dekkom. Nearby, Sarah catches sight of Max. Her eyes go wide; what are you doing here? Max shrugs and looks for a seat. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. UTE'S LAB - SPACE STATION - SAME</stage_direction> <scene_description>Dussette rushes in. Ute and Jake hover over the computer.</scene_description> <character>DUSSETTE</character> <dialogue>Any luck?</dialogue> <character>JAKE</character> <dialogue>It's wiped clean. Trying to recover something, anything.</dialogue> <character>UTE</character> <dialogue>What did you find on the security cameras?</dialogue> <character>DUSSETTE</character> <dialogue>Nothing. Whoever did this blocked out every camera on this section of the deck.</dialogue> <scene_description>CONTINUED: Just then the wall comm BUZZES. Ute answers.</scene_description> <character>UTE</character> <dialogue>Yes?</dialogue> <character>MICKEY (FILTERED)</character> <dialogue>Commander. Something's going on with the satellites.</dialogue> <scene_description>Ute and Jake share a look of dread.</scene_description> <character>UTE</character> <dialogue>We'll be right there.</dialogue> <scene_description>Ute rushes out. Jake and Dussette are right behind her.</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - COMMAND CENTER - MOMENTS LATER</stage_direction> <scene_description>The place is in chaos. Warning lights flashing everywhere. Ute rushes over to Mickey and several other TECHS. On the wall we SEE a digital representation of the entire Testudo Net. Hundreds of sats FLASH RED.</scene_description> <character>MICKEY</character> <dialogue>We have nearly two hundred satellites reporting malfunctions. We've lost all control over every one of them. Several of them are nearing critical--</dialogue> <character>JAKE</character> <dialogue>Pull up the satellite closest to critical overload.</dialogue> <scene_description>Up on the wall monitor we ZOOM into a digital avatar of the satellite, the word BEIJING flashes beneath.</scene_description> </scene> <scene> <stage_direction>EXT. BEIJING, CHINA - SAME</stage_direction> <scene_description>Dark, horrible storm clouds plunge the city into darkness. A torrential rainstorm pounds the city. Pedestrian traffic hidden under umbrellas held tightly in harsh wind. An OLDER CHINESE WOMAN, stops as her umbrella RIPS. She inspects the umbrella and SEES a half dollar coin sized hole. Just then another part RIPS as a fist sized HAIL shoots through. Quickly BASEBALL SIZED HAIL begins to pelt around her. Several people are HIT and go down. The Older Woman begins to RUN. CONTINUED: Shop windows BLOW OUT as huge chunks of HAIL SMASH through. It's as if enormous ICE CANNON BALLS were being shot out of machine gun. It's intense and unreal. The Older Woman nearly makes it inside a building when she's BLOWN TO PIECES by a BLAST OF HAIL. The intensity of the HAIL continues to INCREASE! Cars begin to get ripped to shreds, crashing, EXPLODING. The entire sides of building begin to TEAR APART from the firepower of the hailstorm. As the streets empty, the HAIL BLANKETS everything in sight, quickly FREEZING the entire environment. The added weight of ice with the continual bombardment of hail, begins to CRACK the foundations of the buildings. Several buildings FALL, CRASHING down and into one another. As they fall, enormous CHUNKS of the streets COLLAPSE. Quickly, large parts of the city TOPPLE to Earth! CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. SKIES ABOVE FLORIDA - SAME</stage_direction> <scene_description>Air Force One flies in the darkened skies of brewing storm clouds.</scene_description> </scene> <scene> <stage_direction>INT. AIR FORCE ONE - PASSENGER SEATS - SAME</stage_direction> <scene_description>Sarah walks down the aisle carrying a box of folders. She shoots a look at Max as she passes. He gets the message, waits an appropriate beat, and when no one is looking, follows her.</scene_description> </scene> <scene> <stage_direction>INT. AIR FORCE ONE - BY BATHROOMS</stage_direction> <scene_description>Around the corner from prying eyes, Sarah waits impatiently as Max arrives.</scene_description> <character>SARAH</character> <dialogue>What are you doing here?</dialogue> <character>MAX</character> <dialogue>We've got to stop this, Sarah. While there's still time.</dialogue> <scene_description>Sarah stares at him, torn.</scene_description> <character>MAX</character> <dialogue>We've got to steal the kill codes from the President.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAX</character> <parenthetical>(she doesn't respond)</parenthetical> <dialogue>Sarah?</dialogue> <character>SARAH</character> <dialogue>Give me a second to digest committing treason.</dialogue> <character>MAX</character> <dialogue>They're on his HoloFrame. We've got to get it from him, get to Cape Canaveral and upload it to the Space Station.</dialogue> <character>SARAH</character> <dialogue>We can't do it here. He's never alone. Too many eyes. He has some "off-book time" scheduled at the convention to prepare for his speech. That's our only opportunity.</dialogue> <character>MAX</character> <dialogue>We'll do it then.</dialogue> <scene_description>Sarah hates this. She goes to leave, turns back.</scene_description> <character>SARAH</character> <dialogue>Maybe I should have married your brother.</dialogue> <scene_description>She turns and leaves. Max hopes that was gallows humor. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - COMMAND CENTER - SAME</stage_direction> <scene_description>Warning alarms blaring, warning lights flashing. The Command team rushes to track all the data streaming in. Jake follows Ute around as she gets reports.</scene_description> <character>CHINESE TECH</character> <dialogue>We've lost contact with Beijing.</dialogue> <scene_description>Ute and Jake walk over. On the Chinese Tech's monitors we see graphics of extreme weather over large parts of China.</scene_description> <character>MICKEY</character> <dialogue>Ma'am, we're getting reports of extreme weather anomalies building up over Moscow, Seoul, Bucharest and Belgrade.</dialogue> <scene_description>CONTINUED:</scene_description> <character>EASTERN EUROPEAN TECH</character> <dialogue>And over a thousand storm warnings have been issued around the world. We can't tell if they're satellite related or not yet.</dialogue> <scene_description>They look up at the big monitor above. The global situation worsens.</scene_description> <character>UTE</character> <dialogue>Get Duncan in here! If anyone can figure out a way to override this virus it's him.</dialogue> <scene_description>Jake walks up closer to the big display. He stares at it, horrified. Ute joins him.</scene_description> <character>JAKE</character> <dialogue>I wanted to help build something to save us. And now--</dialogue> <character>UTE</character> <dialogue>Hey, stay with me! I'm not ready to give up.</dialogue> <scene_description>Jake looks lost, overwhelmed.</scene_description> <character>JAKE</character> <dialogue>If my brother was here--</dialogue> <character>UTE</character> <dialogue>What? Do what he would do! What would he do?</dialogue> <character>JAKE</character> <dialogue>He'd figure it out. He'd think his way out of this. Me, I just punch my way out of problems.</dialogue> <scene_description>Suddenly Jake gets an idea, he rushes over to a console.</scene_description> <character>JAKE</character> <dialogue>Maybe we can--</dialogue> <character>UTE</character> <dialogue>Can what?</dialogue> <character>JAKE</character> <dialogue>Punch our way out of this! Ute, chart a new course, get us as close to the satellites nearest to critical failure.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>UTE</character> <dialogue>What are you trying to do?</dialogue> <character>JAKE</character> <dialogue>We launch the replacement satellites. As many as we can shoot off.</dialogue> <character>UTE</character> <dialogue>But we'd have to retrieve the other satellites first or--</dialogue> <character>JAKE</character> <dialogue>Or the replacement satellites will crash right into them. They're programed to arrive in the exact same destination. They'll destroy the infected satellites.</dialogue> <character>UTE</character> <dialogue>I'm on it.</dialogue> <scene_description>Ute rushes off, taking a few Techs with her as she goes. Kagawa turns to Jake.</scene_description> <character>KAGAWA</character> <dialogue>At most, we can launch a few dozen satellites in time. We don't have the reach or the time to get them all.</dialogue> <character>JAKE</character> <dialogue>Then we'll just have to save as many people as we can. Okay?</dialogue> <character>KAGAWA</character> <dialogue>Okay. I'll see if I can reprogram the robots to double up on how many replacement sats we can deliver for launch.</dialogue> <scene_description>Kagawa rushes off. Jake stares back up at the big display with dread. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. ORLANDO CONVENTION CENTER, ORLANDO, FL - LATER</stage_direction> <scene_description>The Presidential motorcade arrives along with several buses as the White House team arrives. Huge signs announce the Democratic Convention. An AIDE rushes over to the President as he exits his limo. CONTINUED:</scene_description> <character>AIDE</character> <dialogue>The state's issued storm warnings. If it gets bad, we may want to delay opening ceremonies till tomorrow.</dialogue> <character>PRESIDENT LITTON</character> <dialogue>Gets bad? That's why we have Dutch Boy! We'll stick to the schedule.</dialogue> <scene_description>There is a brief lightning strike followed by thunder in the distance. Max clocks it as he follows the others inside.</scene_description> </scene> <scene> <stage_direction>INT. BACKSTAGE - CONVENTION - LATER</stage_direction> <scene_description>As the entourage is greeted and escorted to the "green room", Max catches a few people watching a television news report on a monitor in a nearby lounge. As he nears, he sees a report about Beijing. Shaky and static-filled news reports play out over a Chinese reporter being translated. The chyron FIRE AND ICE superimposed.</scene_description> <character>TRANSLATOR VOICE (O.S.)</character> <dialogue>--reports out of Beijing detail massive city destruction caused by the worst hailstorm in the city's history--</dialogue> <scene_description>Behind Max, the President and his team march past. Max shoots a quick look to Sarah as she passes. She SEES the news report briefly as she goes. Max turns back to the set just as--</scene_description> <character>AMERICAN REPORTER (FILTERED)</character> <dialogue>In related news, reports of extreme weather conditions are coming out of Moscow and Seoul, Korea--</dialogue> <scene_description>Max quickly rushes to catch up with the President's entourage.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - BACKSTAGE - CONTINUOUS</stage_direction> <scene_description>Sarah walks behind the President as they continue down the hall. A distance behind her, Max appears, COUGHS. Sarah sneaks a glance back at him. Once Max knows she's seen him, he exits into a stairwell. Sarah turns back and continues on as they arrive at the "green room". CONTINUED: Lammy moves inside to check it out as the President waits outside. Once Lammy gives the all clear, the President and several of his Aides enter the room. Sarah turns to Lammy.</scene_description> <character>SARAH</character> <dialogue>I'm going to check exit routes.</dialogue> <scene_description>Lammy nods as Sarah takes off.</scene_description> </scene> <scene> <stage_direction>INT. STAIRWELL - CONVENTION - MOMENTS LATER</stage_direction> <scene_description>Max is there with his HoloFrame, running the SIMS from Alcon. Sarah arrives behind him.</scene_description> <character>MAX</character> <dialogue>New reports of disasters in Beijing and Seoul. I've entered them into the sim.</dialogue> <scene_description>We watch the sims play out on Max's HoloFrame. Numbers scroll next to the words, POSSIBLE SCENARIOS. The scroll ends on the number "1" and we see the scenario play out on the digital globe on the HoloFrame.</scene_description> <character>MAX</character> <parenthetical>(reading)</parenthetical> <dialogue>Next cities to be hit will be Belgrade, then Bucharest, then Mumbai, then--</dialogue> <scene_description>Max reacts in total shock.</scene_description> <character>SARAH</character> <dialogue>What?</dialogue> <character>MAX</character> <dialogue>Orlando.</dialogue> <character>SARAH</character> <dialogue>Here?</dialogue> <character>MAX</character> <dialogue>I'm so stupid. How could I have not seen this?</dialogue> <scene_description>Max turns and takes off running. Sarah follows.</scene_description> </scene> <scene> <stage_direction>INT. WAITING LOBBY - CONVENTION CENTER - MOMENTS LATER</stage_direction> <scene_description>Max comes rushing in, followed by Sarah. He scans the room.</scene_description> <character>MAX</character> <dialogue>Everyone's here.</dialogue> <scene_description>CONTINUED:</scene_description> <character>SARAH</character> <dialogue>Of course, it's the convention.</dialogue> <character>MAX</character> <dialogue>No. This is--</dialogue> <scene_description>Max nods over to several people at both ends of the room.</scene_description> <character>MAX</character> <dialogue>The Vice President, the Speaker of the House, President pro tempore of the Senate, Secretary of State, Secretary of the Treasury-- They never allow everyone in the same place at the same time. Yet here they are--</dialogue> <character>SARAH</character> <dialogue>Not everyone--</dialogue> <scene_description>Sarah turns their attention over to a television where people are gravitating to. On a news program we SEE Dekkom and Dr. Jennings being interviewed.</scene_description> <character>DEKKOM (FILTERED)</character> <dialogue>--we can remain silent no longer. With the disasters hitting Beijing and Seoul, it's clear that our predictions about Dutch Boy have unfortunately come true.</dialogue> <character>DR. JENNINGS (FILTERED)</character> <dialogue>We've been warning the President for months to shut the program down or face a global catastrophe. It's all on record.</dialogue> <scene_description>Vice President Packer has overheard and walks closer to the T.V.</scene_description> <character>VP PACKER</character> <dialogue>What the hell!? Someone tell the President--</dialogue> <scene_description>An Aide rushes off. Now the entire room is watching.</scene_description> <character>DEKKOM (FILTERED)</character> <dialogue>Our hope is that by going public now, the governments of the world can take some action to try and save lives.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>DR. JENNINGS</character> <dialogue>Even right here in Orlando, this storm building around us is clearly unnatural. The satellites above us are malfunctioning. Citizens need to take cover--</dialogue> <scene_description>Max nods to Sarah and the two of them sneak out while everyone else is riveted to the screen.</scene_description> </scene> <scene> <stage_direction>INT. GLASS WALKWAY - CONVENTION CENTER - SECONDS LATER</stage_direction> <scene_description>Max rushes into the glass walkway, Sarah on his tail. They stop as they watch through the glass the spectacular LIGHTING in the skies, a brutal storm coming.</scene_description> <character>MAX</character> <dialogue>It's starting.</dialogue> <character>SARAH</character> <dialogue>Why would they attack a city they're all in?</dialogue> <character>MAX</character> <dialogue>The President isn't in on this. He's the target. Think about it, everyone who is next in line should the President die are all gathered here in one place. If they all die, the next in line would be--</dialogue> <character>SARAH</character> <dialogue>Secretary of Defense Dekkom.</dialogue> <character>MAX</character> <dialogue>Who is conveniently across town at a local news station.</dialogue> <character>SARAH</character> <dialogue>No matter how brutal this storm could be, they can't guarantee that everyone in the building would die.</dialogue> <character>MAX</character> <dialogue>They don't need to. They'll kill everyone here and blame it on the storm later. Sarah, this is a coup d'etat.</dialogue> <character>SARAH</character> <dialogue>The President's life's in danger--</dialogue> <scene_description>Sarah goes to leave, Max grabs her arm. CONTINUED:</scene_description> <character>MAX</character> <dialogue>We've got to rescue the President and convince him to use the kill codes.</dialogue> <scene_description>Several more intense LIGHTNING STRIKES appear, only this time much closer. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - INTERNATIONAL SPACE STATION IV - SAME</stage_direction> <scene_description>We SEE the Space Station traveling above the Testudo Net.</scene_description> </scene> <scene> <stage_direction>INT. RETRIEVAL BAY - SPACE STATION - SAME</stage_direction> <scene_description>As we saw before, Ute and her team work to launch a satellite. Kagawa works his robot arms from above. The Replacement Sat is lowered into the launch chamber as Ute and her crew exit the bay.</scene_description> <character>KAGAWA</character> <parenthetical>(into comms)</parenthetical> <dialogue>Away she goes!</dialogue> </scene> <scene> <stage_direction>EXT. SPACE - INTERNATIONAL SPACE STATION IV - CONTINUOUS</stage_direction> <scene_description>We watch the sat launch out of the Space Station with FORCE.</scene_description> </scene> <scene> <stage_direction>INT. COMMAND CENTER - SPACE STATION - SAME</stage_direction> <scene_description>Everyone watches the large monitor closely as they follow the trajectory of the Sat. Jake is white knuckled, tense.</scene_description> <character>JAKE</character> <dialogue>Come on, come on.</dialogue> </scene> <scene> <stage_direction>EXT. TESTUDO NET - SPACE - SAME</stage_direction> <scene_description>We see the replacement Sat heading directly towards one parked onto the net. Though it does slow down as it nears it's destination, the other Sat is clearly in its way. With force the two Sats COLLIDE. The original Sat is CRUSHED and sent spiraling away, off into deep space, leaving the battered and destroyed replacement Sat in it's place.</scene_description> </scene> <scene> <stage_direction>INT. COMMAND CENTER - SPACE STATION - SAME</stage_direction> <scene_description>The room erupts in CHEERS as they see the SAT go OFF LINE in the collision. CONTINUED:</scene_description> <character>JAKE</character> <parenthetical>(into comms)</parenthetical> <dialogue>Load 'em up and keep 'em coming!</dialogue> </scene> <scene> <stage_direction>INT. RETRIEVAL BAY - SPACE STATION - SAME</stage_direction> <scene_description>The Techs are still celebrating as Ute rushes over to Kagawa.</scene_description> <character>UTE</character> <dialogue>As many as you can, as fast as you can!</dialogue> <scene_description>Ute takes off as Kagawa takes charge of the other Techs.</scene_description> <character>KAGAWA</character> <dialogue>Come on, kids! Time for Kagawa's Kamikaze Whack-A-Sat!</dialogue> <scene_description>Quickly the team goes to load up another replacement Sat.</scene_description> </scene> <scene> <stage_direction>EXT. SEOUL, KOREA - SAME</stage_direction> <scene_description>Intense gale force winds WHIP through the city. Billboards rip off their moorings as intense rain POURS down from raging black storm clouds that RUMBLE over the city. A sudden FLASH FLOOD rushes down a main avenue, sweeping up cars and people in its wake.</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - TESTUDO NET - SAME</stage_direction> <scene_description>Another replacement Sat HURLS towards an infected one. In a FLASH they collide, SMASHING on impact.</scene_description> </scene> <scene> <stage_direction>EXT. SEOUL, KOREA - SAME</stage_direction> <scene_description>In a matter of seconds the WINDS subside and the CLOUDS part. Survivors peek out of their hiding places to watch the storm EVAPORATE. The flooding dissipates as survivors venture outside once again, in shock.</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - COMMAND CENTER - SAME</stage_direction> <scene_description>Monitor graphics shows more replacement Sats being launched. Techs scramble, collecting data. We SEE a digital representation of the Space Station moving towards the US.</scene_description> <character>TECHIE #1</character> <dialogue>Storm is receding over Seoul!</dialogue> <scene_description>Ute arrives and Jake turns to her. CONTINUED:</scene_description> <character>JAKE</character> <dialogue>I had to redirect our course back to the U.S. Sats are going critical over Florida--</dialogue> <scene_description>Just then a WARNING SIREN goes off--</scene_description> <character>COMPUTER VOICE</character> <dialogue>Self-Destruct sequence has been initiated. Phase one, commencing now.</dialogue> <scene_description>A countdown timer appears on the monitor: Phase One 00:01:00. Jake turns to Mickey at another console.</scene_description> <character>JAKE</character> <dialogue>Shut that down!</dialogue> <character>MICKEY</character> <dialogue>It's not responding. I'm locked out!</dialogue> <scene_description>Jake rushes over and moves Mickey out of the way.</scene_description> <character>JAKE</character> <dialogue>They built in back door overrides--</dialogue> <character>MICKEY</character> <dialogue>I tried them.</dialogue> <character>DUSSETTE</character> <dialogue>Self-Destruct!? Why the hell did you build that into the Station!?</dialogue> <character>JAKE</character> <dialogue>In case it fell to Earth.</dialogue> <scene_description>Jake can't break through, gives up at the console.</scene_description> <character>UTE</character> <dialogue>Someone get Duncan in here! He's the only one with enough programing expertise to override the commands!</dialogue> <character>JAKE</character> <parenthetical>(grave)</parenthetical> <dialogue>Or to write a virus infecting the entire system?</dialogue> <scene_description>Ute turns -- it hits her now. She quickly turns to Dussette. CONTINUED: (2)</scene_description> <character>UTE</character> <parenthetical>(to Dussette)</parenthetical> <dialogue>Prepare the shuttles. We have to evacuate the station--</dialogue> <scene_description>Just then the ship is ROCKED by an explosion.</scene_description> </scene> <scene> <stage_direction>EXT. SPACE STATION - SAME</stage_direction> <scene_description>We see a large EXPLOSION at the rear of the Station; an enormous FIREBALL.</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - COMMAND CENTER - SAME</stage_direction> <scene_description>Jolted and knocked into one another, the crew panics as warning KLAXONS BLARE.</scene_description> <character>JAKE</character> <parenthetical>(yelling over alarm)</parenthetical> <dialogue>That was the fuel tanks. They're the first to go. We've got five minutes to evacuate before personnel decks go. Then it goes deck by deck until command and retrieval.</dialogue> <character>UTE</character> <dialogue>I'll set command to auto--</dialogue> <character>JAKE</character> <parenthetical>(to the crew)</parenthetical> <dialogue>Everyone get to the shuttles--</dialogue> <scene_description>The crew streams out of the room-- CUT TO: TELESCOPIC P.O.V. OF SPACE STATION - EXPLOSION The tiny image of the Space Station can be seen beyond the Testudo Net. The orange FLASH of the EXPLOSION IS SEEN.</scene_description> </scene> <scene> <stage_direction>INT. HANNAH'S BEDROOM - CONTINUOUS</stage_direction> <scene_description>Hannah pulls back away from her telescope, terrified, she goes running out of her room.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - HANNAH'S HOUSE - SECONDS LATER</stage_direction> <scene_description>Hannah rushes downstairs, sees her mom washing dishes in the kitchen and races over to her.</scene_description> <character>HANNAH</character> <dialogue>We've got to go to Cape Canaveral!</dialogue> <scene_description>CONTINUED:</scene_description> <character>OLIVIA</character> <dialogue>What? Why? Wha--</dialogue> <character>HANNAH</character> <dialogue>I saw on the telescope Dad gave me. Something's happening. Something bad!</dialogue> <character>OLIVIA</character> <dialogue>Hannah, we can't just--</dialogue> <scene_description>Hannah pulls up the NASA feed of the Space Station on a nearby computer screen. Video shows the gaping hole.</scene_description> <character>OLIVIA</character> <dialogue>Get your coat!</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE BAY - SPACE STATION - SAME</stage_direction> <scene_description>Aluko stows her gear inside one of the open Shuttles. Just as she's about to close the door--</scene_description> <character>DUSSETTE (O.S.)</character> <dialogue>Aluko!</dialogue> <scene_description>She spins, instinctively reaches for her weapon in her bag. She keeps her hand on it, out of sight, as Dussette appears.</scene_description> <character>DUSSETTE</character> <dialogue>I've already prepped the shuttles and the launch team is right behind me. Come, help me with the evacuation.</dialogue> <scene_description>Realizing she's not in danger, she lets go of her weapon, closes her bag and walks over to Dussette.</scene_description> <character>ALUKO</character> <dialogue>I think I can be more helpful here.</dialogue> <character>DUSSETTE</character> <dialogue>Comms are out in Maintenance. I need you to help me find anyone in there who hasn't heard. Hurry.</dialogue> <scene_description>Dussette rushes out. Aluko takes her bag with her as she follows him. A TEAM of Techies arrive and begin prepping the Shuttles. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. CONVENTION CENTER - SAME</stage_direction> <scene_description>The storm has gotten much worse. Dozens and dozens of LIGHTNING STRIKES hitting the city and surrounding area. An unnatural amount of lightning. The THUNDER sounds like bombs going off.</scene_description> </scene> <scene> <stage_direction>INT. BACKSTAGE - CONVENTION CENTER - WAITING LOBBY - SAME</stage_direction> <scene_description>Another Secret Service Agent, DIXON, gets a message over his ear piece.</scene_description> <character>DIXON</character> <dialogue>Understood.</dialogue> <scene_description>He nods to several other Agents who heard the same message. They spread out into the crowded waiting lobby. Dixon approaches Vice President Packer who is chatting with the Speaker of the House.</scene_description> <character>DIXON</character> <dialogue>I'm sorry to interrupt, Sirs, but we've just been told that we're evacuating the building and moving you to a secured location.</dialogue> <character>VP PACKER</character> <dialogue>You've been prepping this place for months. It's not secured?</dialogue> <scene_description>Just then the SOUNDS of the relentless THUNDER get louder, shaking the building.</scene_description> <character>DIXON</character> <dialogue>It's the storm, sir. They want to get you out of the city before we're trapped here.</dialogue> <scene_description>VP Packer reluctantly nods. He and the Speaker follow him to a nearby elevator. As they wait for the elevator to arrive, they're joined by the Secretary of Treasury and the President pro tempore of the Senate.</scene_description> </scene> <scene> <stage_direction>INT. GREEN ROOM - SAME</stage_direction> <scene_description>The President is conferring with several AIDES. Sarah stands watch by the door when Lammy enters, turns to her.</scene_description> <character>LAMMY</character> <dialogue>They want to move POTUS.</dialogue> <character>SARAH</character> <dialogue>I heard.</dialogue> <scene_description>CONTINUED:</scene_description> <character>LAMMY</character> <dialogue>I'll take advance, Hernandez will escort the President with you.</dialogue> <scene_description>Sarah nods. She turns to SEE that Agent Hernandez is actually RICO, the white haired agent from Rio. Lammy whispers to the President, then exits the room. President Litton nods to Sarah and heads out. Rico follows behind.</scene_description> </scene> <scene> <stage_direction>INT. BACKSTAGE - CONVENTION CENTER - BY ELEVATORS - SAME</stage_direction> <scene_description>The elevator finally arrives. The Vice President, our group of dignitaries and the Secret Service Agents all step inside. The doors close.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - BACKSTAGE - NEAR GREEN ROOM - SAME</stage_direction> <scene_description>Lammy walks several yards ahead of Sarah who leads the President with Rico in the rear. Sarah is tense. She knows it will happen soon but she doesn't know when and from where.</scene_description> </scene> <scene> <stage_direction>INT. PARKING GARAGE - ELEVATORS - SAME</stage_direction> <scene_description>The elevator arrives and the doors open. Before the VP or anyone else can step out MACHINE GUN FIRE blasts into the elevator, ripping into everyone inside. Emptying his Machine Gun, the GUNMAN (also Secret Service), nods to his co-hort (another Secret Service guy) who tosses in a grenade. The elevator EXPLODES and BURNS. There are no survivors.</scene_description> <character>GUNMAN</character> <parenthetical>(into his comms)</parenthetical> <dialogue>The Vice President and his team have been secured.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY - BACKSTAGE - NEAR GREEN ROOM - CONTINUOUS</stage_direction> <scene_description>Far enough ahead of Sarah, Lammy taps his ear piece.</scene_description> <character>LAMMY</character> <dialogue>Copy. And the others?</dialogue> <scene_description>Sarah, who hears everything over her comms, knows something is off as she overhears--</scene_description> <character>GUNMAN (FILTERED)</character> <dialogue>Everyone has been removed.</dialogue> <scene_description>CONTINUED:</scene_description> <character>LAMMY</character> <dialogue>Copy.</dialogue> <scene_description>Lammy goes through a door at the end of the hallway as Rico discretely draws his weapon behind the President. Sarah slows and the President nearly bumps into her. She whispers</scene_description> <character>SARAH</character> <dialogue>I hope you trust me.</dialogue> <scene_description>Before the President can respond, Sarah SPINS, knocking the President out of the way, REVEALING Rico has already lifted his weapon. Before he can pull the trigger Sarah fires three shots, point blank into his head. Rico sails backwards. Not understanding what's happening, the President stares at Sarah, terrified. Sarah reaches her hand out to the President.</scene_description> <character>SARAH</character> <dialogue>Please, Mr. President. You have to come with me. Now.</dialogue> <scene_description>Lammy, with two SHOOTERS, rushes back into the hallway, weapons out. President Litton makes a decision, takes her hand as she pulls him into a nearby stairwell, just as Lammy and the Shooters begin firing.</scene_description> </scene> <scene> <stage_direction>INT. STAIRWELL - CONVENTION - CONTINUOUS</stage_direction> <scene_description>The President and Sarah race down the stairs as the Shooters enter the stairwell from above and FIRE down at them. Bullets hit near the President's head. Sarah turns back and returns FIRE. One of the Shooters is hit and TUMBLES down the stairs.</scene_description> </scene> <scene> <stage_direction>EXT. CONVENTION CENTER - MOMENTS LATER</stage_direction> <scene_description>The amount of lightning has DOUBLED since last we saw outside. It's a surreal amount of electricity slamming into the Earth. The noise is deafening. Sarah and the President come bursting out of a fire exit door. She hustles the President over to a waiting Electric driverless Cab. Sarah rushes into the driver's seat as the President jumps into the back.</scene_description> </scene> <scene> <stage_direction>INT. ZIP CAR - CONTINUOUS</stage_direction> <scene_description>The President is surprised to see Max sitting there, waiting for him. Sarah reaches for the steering column but there is none.</scene_description> <character>SARAH</character> <dialogue>An electric cab?! Seriously?</dialogue> <character>MAX</character> <dialogue>It was the only car around I could hack. Pull the release to override auto drive.</dialogue> <scene_description>Sarah finds a release lever and PULLS. Like a mini- transformer, a steering wheel emerges from the dash which folds over to reveal dials and controls.</scene_description> <character>SARAH</character> <dialogue>That's more like it!</dialogue> <scene_description>She jams it in gear and peels out.</scene_description> <character>PRESIDENT LITTON</character> <dialogue>Max, what the hell is going on?!</dialogue> <scene_description>Max pulls out his HoloFrame with Alcon playing on it.</scene_description> <character>MAX</character> <dialogue>I'll explain everything, Sir.</dialogue> </scene> <scene> <stage_direction>EXT. CONVENTION CENTER - SAME</stage_direction> <scene_description>The car speeds away as the exit door blasts open, the remaining Shooter emerges and rushes into the street and FIRES at the retreating car. Lammy stumbles out behind him, yelling into his comms.</scene_description> <character>LAMMY</character> <dialogue>Eagle has flown! Repeat, Eagle's flown!!</dialogue> </scene> <scene> <stage_direction>EXT. NEWS STATION - SAME</stage_direction> <scene_description>Dekkom, Cassandra and two GUARDS exit the News Station and head towards a waiting car.</scene_description> <character>DEKKOM</character> <parenthetical>(into comms)</parenthetical> <dialogue>Lammy, you catch that bird, you understand!</dialogue> </scene> <scene> <stage_direction>EXT. CONVENTION CENTER - SAME</stage_direction> <scene_description>A government town car pulls up, the two Gunmen from the parking structure inside. Lammy and the Shooter get in and give chase.</scene_description> <character>LAMMY</character> <dialogue>We're on the hunt!</dialogue> </scene> <scene> <stage_direction>EXT. NEWS STATION - SAME</stage_direction> <scene_description>Dekkom angrily rips out his ear piece.</scene_description> <character>DR. JENNINGS</character> <dialogue>What the hell are we going to do?</dialogue> <character>DEKKOM</character> <dialogue>They're in the epicenter, they won't get far.</dialogue> <character>DR. JENNINGS</character> <dialogue>And if they know the way out?</dialogue> <character>DEKKOM</character> <dialogue>We'll be waiting.</dialogue> <scene_description>Dekkom gets into the car. Dr. Cassandra Jennings turns back for a look at the city. The SOUND of Thunder sounds more like machine gun fire. She climbs in the car and it takes off. As the car drives off we CRANE UP and get a wider view of the city. We SEE literally hundreds of LIGHTNING BOLTS firing into the city, ripping into buildings and streets. Small fires erupting everywhere. The only path that seems relatively safe is the road the car drives away on. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - HALLWAY - SAME</stage_direction> <scene_description>Hundreds of station workers are rushing down the hall, evacuating. Jake helps carry equipment, caught up in the mass exodus. Just then an EXPLOSION ROCKS the Station. Everyone is knocked around, panicking.</scene_description> <character>CREW MEMEBER</character> <dialogue>What the hell was that?</dialogue> <scene_description>CONTINUED:</scene_description> <character>JAKE</character> <dialogue>Cargo hold! Hurry, we can still make it to the shuttles in time!</dialogue> <scene_description>Fighting his way upstream from the mob, Kagawa rushes past Jake.</scene_description> <character>JAKE</character> <dialogue>Kagawa! Where're you going!</dialogue> <character>KAGAWA</character> <dialogue>I left my remote case. I gotta get it--</dialogue> <character>JAKE</character> <dialogue>There's no time--</dialogue> <scene_description>But Kagawa is gone. Jake hands off the equipment he holds and fights his way against the crowd to go after Kagawa.</scene_description> <character>JAKE</character> <dialogue>Kagawa!</dialogue> </scene> <scene> <stage_direction>INT. MAINTENANCE BAY\HALLWAY - SPACE STATION - SAME</stage_direction> <scene_description>Dussette hustles a group of Technicians and Mechanics out of the Bay. Aluko follows him.</scene_description> <character>DUSSETTE</character> <dialogue>Hurry, go straight to Shuttle Bay--</dialogue> <scene_description>Just then another EXPLOSION rocks the station.</scene_description> <character>DUSSETTE</character> <dialogue>Hurry!</dialogue> <scene_description>They all run out and down a hallway. Aluko and Dussette in the rear.</scene_description> <character>ALUKO</character> <dialogue>Have you seen Duncan?</dialogue> <character>DUSSETTE</character> <dialogue>He's vanished. Lawson figured out he was the traitor.</dialogue> <character>ALUKO</character> <dialogue>I can't believe it.</dialogue> <character>DUSSETTE</character> <dialogue>I've saved the security footage. We'll figure out who he was working with.</dialogue> <scene_description>CONTINUED: Suddenly Aluko doubles over in pain, collapses to her knees. Everyone stops running.</scene_description> <character>DUSSETTE</character> <parenthetical>(to the others)</parenthetical> <dialogue>Go! I've got her.</dialogue> <parenthetical>(to Aluko)</parenthetical> <dialogue>Are you alright?</dialogue> <character>ALUKO</character> <dialogue>My stomach--</dialogue> <scene_description>Aluko steals a glance to see that they're alone. In a flash, she pulls her weapon and shoots Dussette, point blank. He never saw it coming. Aluko checks to make sure she's unobserved, then takes off running towards the shuttle bay.</scene_description> </scene> <scene> <stage_direction>INT. RETRIEVAL BAY HALLWAY - SPACE STATION - SECONDS LATER</stage_direction> <scene_description>People are still hustling to get off the ship. Jake enters against the stream, passing Mickey on her way out.</scene_description> <character>MICKEY</character> <dialogue>Jake!</dialogue> <scene_description>He ignores her and keeps pushing forward. Aluko appears at the end of the hallway on her way out. She SEES Jake.</scene_description> <character>MICKEY</character> <dialogue>Where're you going?</dialogue> <character>JAKE</character> <dialogue>Gotta get Kagawa. Don't wait for me! Go!</dialogue> <scene_description>Making a quick decision, Aluko follows Jake from a distance.</scene_description> </scene> <scene> <stage_direction>INT. CONTROL ROOM ABOVE RETRIEVAL BAY - MOMENTS LATER</stage_direction> <scene_description>Kagawa is finishing up as he disconnects his "control case" from the main console. As he's about to leave, he SEES out the viewing window-- Jake walking into the large Retrieval Bay below. Aluko follows him in.</scene_description> </scene> <scene> <stage_direction>INT. RETRIEVAL BAY - SAME</stage_direction> <scene_description>Jake searches for Kagawa, is surprised to see Aluko.</scene_description> <character>JAKE</character> <dialogue>Get to the shuttles, Aluko. Hurry.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ALUKO</character> <dialogue>Dussette said you think Duncan planted the virus. Did he act alone?</dialogue> <character>JAKE</character> <dialogue>He couldn't have. I'll piece it together soon. It's only a matter of time.</dialogue> <scene_description>Aluko pulls out her weapon.</scene_description> <character>ALUKO</character> <dialogue>I'm afraid you're all out of time, Mr. Lawson.</dialogue> </scene> <scene> <stage_direction>INT. CONTROL ROOM ABOVE RETRIEVAL BAY - SAME</stage_direction> <scene_description>Kagawa acts quickly and grabs the manual controls of the robot arm.</scene_description> </scene> <scene> <stage_direction>INT. RETRIEVAL BAY - SAME</stage_direction> <scene_description>Jake backs up, raises his arms.</scene_description> <character>JAKE</character> <dialogue>Why, Aluko?</dialogue> <character>ALUKO</character> <dialogue>My country has been in the third world for too long. After this, we get to take our rightful place at the table.</dialogue> <character>JAKE</character> <dialogue>And the cost?</dialogue> <character>ALUKO</character> <dialogue>Sometimes what's unfair to some has to be done for the good of all.</dialogue> <scene_description>She lifts her weapon to FIRE when, WHACK! The robot arm SWINGS and BATS Aluko's gun across the room!! Jake SPRINGS, spins Aluko around, wrapping her arms around herself. Quickly he HEAD BUTTS her, knocking her out.</scene_description> <character>JAKE</character> <dialogue>For the good of all.</dialogue> <scene_description>Jake looks up to see Kagawa giving him a "thumbs up" from behind the viewing window above. Kagawa nods and takes off. CONTINUED: Jake throws the unconscious Aluko over his shoulder and rushes out as well. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. ORLANDO STREETS - SAME</stage_direction> <scene_description>Like driving through an immense Tesla coil, the electric cab races through literally a thousand lightning bolts SLAMMING into everything in sight. Sarah has to SWERVE to avoid an EXPLOSION of asphalt as a bolt RIPS into the road in front of them. She SLIDES the car under an overpass, driving under the highway above for cover.</scene_description> </scene> <scene> <stage_direction>INT. ELECTRIC CAB - CONTINUOUS</stage_direction> <scene_description>Max is showing the sims on his HoloFrame to the President.</scene_description> <character>PRESIDENT LITTON</character> <dialogue>This is insane. How did they think they could get away with this?</dialogue> <scene_description>Just then they HEAR an enormous EXPLOSION. They look back and in the distance they see the CONVENTION CENTER EXPLODING; a thousand lightning bolts hitting at once. Quickly there's nothing left of it but SMOLDERING ASH.</scene_description> <character>PRESIDENT LITTON</character> <dialogue>My God!</dialogue> <scene_description>Just then, bullets RIP through the back window of the car. We can SEE Lammy and his crew appearing behind them. The SHOOTER leaning out the window, firing his automatic weapon!</scene_description> <character>SARAH</character> <dialogue>Get down!</dialogue> <scene_description>Max and the President DUCK down as Sarah makes some evasive moves.</scene_description> </scene> <scene> <stage_direction>EXT. ORLANDO STREETS - CONTINUOUS</stage_direction> <scene_description>Both cars have to WEAVE their way through the minefield of lightning strikes as they continue in a high speed chase. Fires are escalating everywhere and EXPLOSIONS erupt from each lighting strike touch point. It's Armageddon.</scene_description> </scene> <scene> <stage_direction>INT. ELECTRIC CAB - SAME</stage_direction> <scene_description>Ducked down in the back seat, Max is examining the SIM. CONTINUED:</scene_description> <character>MAX</character> <dialogue>Turn left up ahead!</dialogue> <character>PRESIDENT LITTON</character> <dialogue>Where are you taking us?</dialogue> <character>MAX</character> <dialogue>They created this scenario. They know where the damage will take place and where it won't. The reason they were at that TV station is they knew there was a clear pathway from there out of the city.</dialogue> <scene_description>Max enlarges the Sim to show Orlando. There is a clear roadway out that is unaffected by the lightening storm.</scene_description> <character>MAX</character> <dialogue>We make it there, we can get out of this alive.</dialogue> <character>PRESIDENT LITTON</character> <dialogue>And get the kill codes to Cape Canaveral.</dialogue> <scene_description>More bullets RIP into the electric cab.</scene_description> <character>SARAH</character> <dialogue>I just have to take care of a little problem first!</dialogue> </scene> <scene> <stage_direction>EXT. ORLANDO STREETS - CONTINUOUS</stage_direction> <scene_description>Sarah darts the electric cab through the Blinding Bolts of Electricity that surrounds them. The Town Car right on her tail. With unbelievable skill, Sarah WHIPS the car 180 degrees, POPS into reverse and DRIVES backwards, so she can FIRE her weapon back at the Town Car. Though the Town Car GAINS, Sarah SHOOTS the driver square in the head. He goes DOWN. The electric cab WHIPS around again and takes OFF, vanishing around a blind corner. Lammy YANKS the dead driver out from behind the wheel and takes over. Peeling out, he turns the blind corner. When he comes around he's shocked to see the electric cab has vanished. CONTINUED:</scene_description> <character>LAMMY</character> <dialogue>What the--?</dialogue> <scene_description>Just then the electric cab appears BEHIND the Town Car, RAMMING IT from the left, SPINNING the Town Car. It SLIDES to a STOP. Sarah RAMS the Town Car from the SIDE, sending it into a CHAIN LINK FENCE that falls over and COVERS the car. Acting like a LIGHTNING ROD, the fence quickly attracts TWO DOZEN LIGHTING BOLTS. In seconds the car DISINTEGRATES. Sarah quickly retreats away from the Lightning, hiding under a nearby overpass.</scene_description> </scene> <scene> <stage_direction>INT. ELECTRIC CAB - SAME</stage_direction> <character>SARAH</character> <dialogue>You guys okay?</dialogue> <scene_description>Both Max and the President are STUNNED, nod sheepishly.</scene_description> <character>PRESIDENT LITTON</character> <parenthetical>(aside to Max)</parenthetical> <dialogue>She's your wife?</dialogue> <character>MAX</character> <dialogue>Yes, sir.</dialogue> <character>PRESIDENT LITTON</character> <dialogue>You married up.</dialogue> <scene_description>Sarah watches the pattern of explosive Lightning in front of her. Waits a beat, then DARTS out, back onto the highway. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. SPACE STATION - SAME</stage_direction> <scene_description>The Space Station is severely damaged at this point. A large section has been destroyed; an open, gaping wound. Suddenly another EXPLOSION RIPS through the bottom portion of the Station, tearing apart another deck.</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE BAY - SPACE STATION - SAME</stage_direction> <scene_description>Jolted from the explosion, people recover quickly as they climb into the twenty odd Shuttles. Jake drags Aluko (still unconscious) over to a Shuttle that Ute is supervising; helping passengers enter. CONTINUED: Kagawa takes Aluko and brings her inside the Shuttle. Ute follows him inside. When she turns back, she's surprised to see Jake standing outside, not entering.</scene_description> <character>UTE</character> <dialogue>What?</dialogue> <character>JAKE</character> <dialogue>I'm not coming.</dialogue> <character>UTE</character> <dialogue>Don't be stupid.</dialogue> <character>JAKE</character> <dialogue>If my brother gets those kill codes, someone has to be here to execute the program.</dialogue> <scene_description>Ute moves to exit the shuttle.</scene_description> <character>UTE</character> <dialogue>Then it should be me. I am the commander--</dialogue> <scene_description>Jake stops her, gently.</scene_description> <character>JAKE</character> <dialogue>I built this thing. I'm responsible for it. Please.</dialogue> <character>UTE</character> <dialogue>Even if you get the codes in time. It won't stop the Self-Destruct. You'll die with the station.</dialogue> <character>JAKE</character> <dialogue>I've screwed up so many things in my life. Let me do the right thing this time.</dialogue> <scene_description>She realizes she won't convince him. Sadly, she nods. She pulls out her HoloFrame.</scene_description> <character>UTE</character> <dialogue>You'll need to use mine. Once the codes are transferred to it, it's the only one that the mainframe will accept.</dialogue> <character>JAKE</character> <dialogue>Got it.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>UTE</character> <dialogue>You'll have to insert it manually at the core of the mainframe.</dialogue> <character>JAKE</character> <dialogue>I know.</dialogue> <character>UTE</character> <dialogue>You can find it, yes? It's above the Retrieval Bay.</dialogue> <character>JAKE</character> <dialogue>I know where it is. I put it there.</dialogue> <character>UTE</character> <dialogue>Yes, but I live here.</dialogue> <scene_description>Ute doesn't want to let go. After a beat.</scene_description> <character>JAKE</character> <dialogue>Goodbye, Ute.</dialogue> <character>UTE</character> <dialogue>Goodbye, Cowboy.</dialogue> <scene_description>Jake steps back and the shuttle door SHUTS. Jake hurries out of the bay as Ute watches him through the door's porthole.</scene_description> </scene> <scene> <stage_direction>INT. OBSERVATION WINDOW - OUTSIDE SHUTTLE BAY - MOMENTS LATER</stage_direction> <scene_description>Jake walks up to the window as the enormous Bay Doors OPEN. Jake watches as, one by one, the shuttles lift off and exit the open Bay Doors.</scene_description> </scene> <scene> <stage_direction>EXT. SPACE STATION - SHUTTLE BAY - SAME</stage_direction> <scene_description>The Shuttles fly away from the crippled Station just as ANOTHER EXPLOSION rips through the side.</scene_description> </scene> <scene> <stage_direction>INT. OBSERVATION WINDOW - OUTSIDE SHUTTLE BAY</stage_direction> <scene_description>Jake is jolted by the explosion. Steadies himself against the glass. Looks up to see the last of the shuttles disappearing in the distance. Jake is alone on the Space Station. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. ORLANDO STREETS - SAME</stage_direction> <scene_description>The intensity of the Electric Firestorm is overwhelming. The electric cab struggles. Sarah races to a PARKING STRUCTURE to hide from the intensity.</scene_description> </scene> <scene> <stage_direction>INT. PARKING STRUCTURE\ELECTRIC CAB - CONTINUOUS</stage_direction> <scene_description>Sarah pulls the car to a stop. Through the windshield they watch the devastation and destruction happening outside. Even parts of the Parking Structure are affected.</scene_description> <character>PRESIDENT LITTON</character> <dialogue>How far?</dialogue> <character>MAX</character> <dialogue>Not very. Just a few blocks more.</dialogue> <character>SARAH</character> <dialogue>We can't go back out in there. We have to wait for a break in the storm.</dialogue> <scene_description>Max walks to the edge to the structure. He can SEE the boulevard in the distance. No lightning strikes hit it.</scene_description> <character>MAX</character> <dialogue>If they knew that was the only way out for them--</dialogue> <character>SARAH</character> <dialogue>Then they know its the only way out for us as well.</dialogue> <scene_description>They both turn to the President who shares a look of worry. Just then the rear of the parking structure COLLAPSES under the pressure of a HUNDRED LIGHTNING STRIKES. Quickly they jump back into the electric cab. They dart off as the ceiling behind them collapses; barely escaping.</scene_description> </scene> <scene> <stage_direction>EXT. UNDERPASS - MOMENTS LATER</stage_direction> <scene_description>Farther down the road, on the other side of an underpass, we SEE the Gunman from the Parking lot waiting on one side of the Road, hiding. He jams a large clip into his automatic and NODS to-- --the Shooter who waits in hiding on the other side of the road, equally well armed. ANGLE - TOWN CAR - DOWN THE ROAD Blocking the roadway, just down from the underpass, is Dekkom's town car. He and Dr. Jennings wait behind it. Dekkom prepares his automatic weapon as well. We can see that they are JUST on the outside of the storm. There are no lightning strikes anywhere on this side of the underpass. Dr. Jennings looks sick, terrified. The SOUND of a high pitched WHISTLE is heard through the distant SOUND of thunder; the signal.</scene_description> <character>DEKKOM</character> <dialogue>Here we go.</dialogue> <scene_description>Dekkom stands up and sets his automatic over the roof of the town car, taking aim down the road. ANGLE - UNDERPASS Over the shoulder of the Gunman we SEE the electric cab approaching. The Shooter and Gunman give each other a NOD and just as the electric cab nears-- The Shooter and Gunman step out and FIRE INTO THE ELECTRIC CAB - SHREDDING IT. The Electric Cab goes into a SPIN and CRASHES into several parked cars, FLIPPING OVER AND SKIDDING TO A HALT. The two assassins march towards the wreckage and continue to fire into it's carcass. ANGLE - TOWN CAR Dekkom, pleased, takes his eye away from his gun's scope and smiles. CLICK. A pistol is placed next to his skull.</scene_description> <character>SARAH</character> <dialogue>Don't move, Mr. Secretary. You're under arrest.</dialogue> <scene_description>Dekkom turns to see Sarah has the drop on him. Before he can make a move--</scene_description> <character>SARAH</character> <dialogue>I know what you're thinking. She's just a girl. I can take her.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Try it.</dialogue> <scene_description>CONTINUED: The cold, deadly look in Sarah's eyes intimidates Dekkom. He knows he's beat. The SOUND of a HELICOPTER approaches. SIRENS from approaching Police vehicles.</scene_description> <character>BULLHORN (O.C.)</character> <dialogue>...put your weapons down and place your hands behind your heads.</dialogue> <scene_description>Sharpshooters and policeman appear out of nowhere. The Gunman and Shooter drop their weapons and oblige. As policemen surround the town car, Max and the President appear from their hiding places, walking over towards Dekkom as he's being hand cuffed.</scene_description> <character>DEKKOM</character> <dialogue>But how--?</dialogue> <scene_description>The President pulls out his cell phone.</scene_description> <character>PRESIDENT LITTON</character> <dialogue>I'm the President of the United States, you idiot. You think I don't have access?!</dialogue> <character>MAX</character> <dialogue>Storm knocked out cell phones, not sat phones.</dialogue> <scene_description>Sarah starts to drag Dekkom off to a waiting Police Car as officers take away Dr. Jennings.</scene_description> <character>DEKKOM</character> <dialogue>You're a fool, Litton! You had the power to reshape the world!</dialogue> <character>MAX</character> <dialogue>By playing God?!</dialogue> <character>DEKKOM</character> <dialogue>What do you think Dutch Boy is? We're all playing God! But using it the way I have, we can become a superpower again.</dialogue> <scene_description>Just then a Helicopter lands behind Max and the President. Max walks over and gets into Dekkom's face.</scene_description> <character>MAX</character> <dialogue>You know what my brother would say if he was here?</dialogue> <scene_description>CONTINUED: (2) Max hauls off and decks him, knocking him out. He collapses into the police car on top of Dr. Jennings. Surprised but pleased, Sarah shoots Max an "atta boy" glance. Even the President laughs.</scene_description> <character>MAX</character> <dialogue>Come on!</dialogue> <scene_description>Max leads Sarah and the President over to the helicopter, climbing inside. Sarah turns to the President.</scene_description> <character>SARAH</character> <parenthetical>(proud)</parenthetical> <dialogue>That's my husband.</dialogue> <scene_description>The helicopter door shuts and lifts off. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - HALLWAY - SAME</stage_direction> <scene_description>Another explosion rocks the Space Station. Jake tries to steady himself as he makes his way over to the conference bridge.</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - VIRTUAL CONFERENCE BRIDGE - CONTINUOUS</stage_direction> <scene_description>Jake enters the empty room and sits down. Alone. Scared. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. CAPE CANAVERAL - GATE - SAME</stage_direction> <scene_description>The helicopter lands on a pad just outside the main gate. The President, Max and Sarah hurry over to a waiting town car that drives them to the gate. ANGLE - GATE As they approach the opening gates, Max SEES Hannah and Olivia arguing with the guard in the guard shack.</scene_description> <character>OLIVIA</character> <dialogue>--but I'm his wife, er, ex-wife. This is his child for God's sake!</dialogue> <character>GATE GUARD</character> <dialogue>I'm sorry, ma'am. I cannot allow--</dialogue> <scene_description>Max sticks his head out of the window of the town car.</scene_description> <character>MAX</character> <dialogue>It's okay. You can let them in.</dialogue> <scene_description>CONTINUED:</scene_description> <character>HANNAH</character> <dialogue>Uncle Max?</dialogue> <character>GATE GUARD</character> <dialogue>No, I can't. I'm under strict--</dialogue> <character>PRESIDENT LITTON</character> <dialogue>Christ, man, just let them in.</dialogue> <scene_description>When the Gate Guard sees President Litton sticking his head out of the car, he nearly shits himself.</scene_description> <character>GATE GUARD</character> <dialogue>Er, yes, sir, President, sir.</dialogue> <scene_description>Max opens the door and Hannah and Olivia climb inside.</scene_description> </scene> <scene> <stage_direction>INT. NASA COMMAND CENTER - MISSION CONTROL - SAME</stage_direction> <scene_description>Max et al rush into Mission Control. The place is scrambling, tracking the shuttles and the destruction of the Space Station. They are met by Mike. Everyone is struck by the horrific images on the screen. Olivia pulls Hannah close, knowing how scared she is.</scene_description> <character>PRESIDENT LITTON</character> <dialogue>What in God's name is going on up there?</dialogue> <character>MIKE</character> <dialogue>The Station is in Self-Destruct protocol. We can't override it. They've evacuated the station.</dialogue> <character>MAX</character> <dialogue>Then we're too late.</dialogue> <character>MIKE</character> <dialogue>No. Your brother's waiting for you.</dialogue> <scene_description>Max is stunned by the news. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. INDIA - OUTSIDE THE CITY OF MUMBAI - SAME</stage_direction> <scene_description>An ENORMOUS TORNADO is forming, ripping up everything near it as it does. It begins to MOVE forward. We pan with it to REVEAL-- OVER A HUNDRED TORNADOS all marching forward, like an army advancing. CONTINUED: And all of them heading directly for the city of Mumbai just a few miles away.</scene_description> </scene> <scene> <stage_direction>EXT. DUBAI - SAME</stage_direction> <scene_description>The water around the city begins to BUBBLE as though it were about to BOIL OVER.</scene_description> </scene> <scene> <stage_direction>EXT. MOSCOW - SAME</stage_direction> <scene_description>The snow covering the city BEGINS TO MELT. Water dripping everywhere; an ORANGE BEAM comes from the sky. As though God held a magnifying class over the city! CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - VIRTUAL CONFERENCE ROOM - MOMENTS LATER</stage_direction> <scene_description>Jake sits, his head buried in his hands.</scene_description> <character>MAX (O.S)</character> <dialogue>Hey, Jake.</dialogue> <scene_description>Jake jumps at his brother's voice. Rushes over to him.</scene_description> <character>JAKE</character> <dialogue>You've got the codes?</dialogue> <scene_description>Just then the President appears in the room.</scene_description> <character>PRESIDENT LITTON</character> <dialogue>Right here, Jake.</dialogue> <scene_description>The President hands his HoloFrame to Max. Max and Jake walk over to console and insert the two HoloFrames inside. As they wait for the transfer--</scene_description> <character>MAX</character> <dialogue>They've tried everything but they can't stop the Self-Destruct--</dialogue> <character>JAKE</character> <dialogue>I know.</dialogue> <character>MAX</character> <dialogue>Even when the Kill Codes are executed it won't--</dialogue> <character>JAKE</character> <dialogue>I know. It's alright, Max.</dialogue> <scene_description>Max turns to his brother, tears in his eyes. CONTINUED:</scene_description> <character>MAX</character> <dialogue>I'm so sorry, Jake. What I did to you was so wrong. You were my brother. I shouldn't have--</dialogue> <character>JAKE</character> <dialogue>You didn't do anything to me. Sarah is an amazing woman. She deserved you. I just couldn't take being rejected. It was my fault, kid. Not yours.</dialogue> <character>MAX</character> <dialogue>I never meant to hurt you.</dialogue> <character>JAKE</character> <dialogue>I know.</dialogue> <parenthetical>(beat; wry)</parenthetical> <dialogue>Asshole.</dialogue> <character>MAX</character> <dialogue>Prick.</dialogue> <scene_description>The computer signals the transfer is COMPLETE. Jake pulls out the HoloFrame and heads for the exit.</scene_description> <character>MAX</character> <dialogue>Someone else wants to talk to you.</dialogue> <scene_description>Jake turns back into the room and Hannah appears.</scene_description> <character>HANNAH</character> <parenthetical>(choking back tears)</parenthetical> <dialogue>Hi Daddy.</dialogue> <character>JAKE</character> <dialogue>Banana!</dialogue> <scene_description>Jake goes to a knee in front of his child.</scene_description> <character>HANNAH</character> <dialogue>You're not coming back, are you?</dialogue> <character>JAKE</character> <dialogue>I'll always be in your heart, baby.</dialogue> <scene_description>He points to the shooting star on her necklace.</scene_description> <character>JAKE</character> <dialogue>And every time you see this, know I'm right there with you.</dialogue> <character>HANNAH</character> <dialogue>You promise?</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>JAKE</character> <dialogue>Baby, I've made a mess of most of my life. Screwed up a lot of things. But there's one thing I'll never do and that's lie to you.</dialogue> <scene_description>Hannah goes to hug her father, but because it's Virtual, her arms go right through him. Jake tries to cover the pain.</scene_description> <character>HANNAH</character> <parenthetical>(scared)</parenthetical> <dialogue>Daddy?</dialogue> <character>JAKE</character> <dialogue>I promise. Invisible string.</dialogue> <character>HANNAH</character> <dialogue>From your heart to mine?</dialogue> <scene_description>Another EXPLOSION rocks the Station. The virtual images of Max, the President and Hannah FLICKER.</scene_description> <character>JAKE</character> <dialogue>Hannah!</dialogue> <scene_description>Their images VANISH and the room lights dim. Jake composes himself and quickly exits.</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - HALLWAY - CONTINUOUS</stage_direction> <scene_description>Jake rushes down the hall and up to a secured door. When he OPENS it ANOTHER EXPLOSION rocks the Station.</scene_description> </scene> <scene> <stage_direction>EXT. SPACE STATION - SAME</stage_direction> <scene_description>We see the Station SPLIT IN HALF, both pieces slowly tumbling away from one another.</scene_description> </scene> <scene> <stage_direction>INT. SPACE STATION - HALLWAY - SAME</stage_direction> <scene_description>The opposite end of the hall DISINTEGRATES, ripping open to exposed space. Quickly Jake doubles back, sealing the door shut before exposure. As the Station SPINS, it loses GRAVITY. Jake begins to float through the room. Pulling himself along off of anything he can grab onto, Jake makes his way to another doorway. He opens it and floats inside.</scene_description> </scene> <scene> <stage_direction>INT. SUPPLY ROOM - SAME</stage_direction> <scene_description>Jake makes his way over to one of the space suits, like the one he used in the space walk and quickly puts it on. Not easy in zero gravity.</scene_description> </scene> <scene> <stage_direction>INT. EXPOSED HALLWAY - SPACE STATION - MOMENTS LATER</stage_direction> <scene_description>Wearing the space suit, Jake reopens the door to the hallway, which is now exposed to open Space. Again he pulls himself down the hallway until he gets to a side access passageway. Jake enters a code on a pad next to the door, he opens it and floats inside, sealing the door behind him after he enters.</scene_description> </scene> <scene> <stage_direction>INT. ACCESS PASSAGEWAY - CONTINUOUS</stage_direction> <scene_description>Weightless and with the environment slowly turning around him, it's very disorienting as Jake pulls his way forward. He makes his way to a circular chamber where several access passageways meet here. He quickly pulls himself towards a door with a round glass portal. He looks inside and SEES the ship's mainframe computer, several display screens around it inside. Jake works the keypad, but can't gain access. He tries again, same result. He starts to panic. Tries to force the door handle, can't. He looks again at the mainframe, the HoloFrame in his hand. So close! He can't fail now!</scene_description> <character>UTE (O.S.)</character> <dialogue>Need a hand, cowboy?</dialogue> <scene_description>Jake turns and sees UTE, also adorned in a Space Suit, floating over to him.</scene_description> <character>JAKE</character> <dialogue>What are you doing here?</dialogue> <character>UTE</character> <dialogue>Helping you get in the mainframe.</dialogue> <scene_description>She goes over to a hidden panel box, slides it open, revealing another keypad and enters a code.</scene_description> <character>UTE</character> <dialogue>Try it now.</dialogue> <scene_description>Jake does and the mainframe door OPENS. CONTINUED:</scene_description> <character>JAKE</character> <dialogue>How did you--?</dialogue> <character>UTE</character> <dialogue>I have told you. I live here.</dialogue> <scene_description>Jake follows Ute inside.</scene_description> </scene> <scene> <stage_direction>INT. MAINFRAME - SPACE STATION - CONTINUOUS</stage_direction> <scene_description>Ute goes right to a nearby keyboard as Jake inserts the HoloFrame into it's docking station. Several monitors LIGHT UP, with the words DEACTIVATION PROTOCOL COMMENCING flashing across the screens. Ute and Jake turn their attention to another screen showing a schematic of the entire Testudo Net. We SEE avatars of satellites going DARK, one by one. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. TESTUDO NET - SPACE</stage_direction> <scene_description>We watch as satellites, sequentially, begin to POWER DOWN. All the lights on each going dark.</scene_description> </scene> <scene> <stage_direction>EXT. MUMBAI - SAME</stage_direction> <scene_description>The ARMY OF TORNADOS have just entered the city. Buildings are SHREDDED. Then, suddenly, the Tornados SLOW and SHRINK. Eventually they vanish altogether, only the outskirts of town damaged. The rest of the city saved. People come out from their hiding places, terrified but relieved.</scene_description> </scene> <scene> <stage_direction>EXT. DUBAI - SAME</stage_direction> <scene_description>The BOILING WATER is now RISING and FLOODING into the streets, when suddenly it begins to recess. The waters around the city quickly calm.</scene_description> </scene> <scene> <stage_direction>EXT. MOSCOW - SAME</stage_direction> <scene_description>Though all the snow is gone, we WATCH as the Orange BEAM of light vanishes from above the city. Returning the temperatures to normal. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MAINFRAME - SPACE STATION - SAME</stage_direction> <scene_description>The monitors show the entire system shutting down. CONTINUED:</scene_description> <character>UTE</character> <dialogue>It's working!</dialogue> <character>JAKE</character> <dialogue>Once the last one cycles down, we have to reboot the entire system. That should flush out the virus.</dialogue> <scene_description>Jake pulls out the HoloFrame and moves over to another part of the mainframe. Ute watches the monitors closely.</scene_description> <character>UTE</character> <dialogue>Five to go. Three. Two and One!</dialogue> <scene_description>Jake manipulates several machine inputs. All the monitors go BLANK then DARK. Ute and Jake exchange a look of worry. After a short beat, all the monitors and the mainframe itself RE-POWER BACK UP. We can see on the schematic that the satellites are rebooting as well. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. TESTUDO NET - SPACE</stage_direction> <scene_description>One by one, and very quickly, we see the Satellites powering back up. It's an amazing sight. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MAINFRAME - SPACE STATION</stage_direction> <scene_description>Ute floats over to Jake, overjoyed.</scene_description> <character>UTE</character> <dialogue>You did it!</dialogue> <character>JAKE</character> <dialogue>We did it.</dialogue> <scene_description>Just then a MASSIVE explosion RIPS into the Space Station. Half the room and the entire FLOOR tears away, exposing the room to outer space. The force knocks Ute across the room. Jake grabs onto her with one hand, while holding on for dear life with the other, desperately trying not to be pulled into deep space.</scene_description> <character>JAKE</character> <dialogue>I've got you!</dialogue> <scene_description>Ute looks up at Jake, smiles. CONTINUED:</scene_description> <character>UTE</character> <dialogue>Does it matter?</dialogue> <character>JAKE</character> <dialogue>Bet you wish you stayed on that shuttle now.</dialogue> <character>UTE</character> <dialogue>I told you. No regrets.</dialogue> <scene_description>Jake tears up. He's finally met the right woman and they're about to die together.</scene_description> <character>JAKE</character> <dialogue>I'm so sorry, Ute.</dialogue> <character>UTE</character> <dialogue>You cannot punch your way out of this one, can you?</dialogue> <scene_description>Jake bows his head in defeat. But as he does he SEES-- JAKE'S P.O.V. - THE RETRIEVAL BAY With the walls ripped away, he discovers they are just above the Retrieval Bay. A replacement Sat sits in the catapult.</scene_description> <character>JAKE</character> <dialogue>Maybe there is!</dialogue> <scene_description>Using the debris, Jake and Ute pull themselves down into the Retrieval Bay below. Another ALARM GOES OFF, and RED LIGHTS begin flashing. A voice comes over the comms.</scene_description> <character>COMPUTER VOICE (O.S.)</character> <dialogue>Completion phase of destruct sequence commencing.</dialogue> <scene_description>A countdown from one minute begins. Jake and Ute run out of debris to use. Jake LAUNCHES himself towards the Satellite. He slightly OVERSHOOTS and slides into some equipment on deck. But he's able to hang on, right himself and make his way towards the Sat. Seeing this, Ute shuts her eyes for a quick prayer, then launches herself as well. Her aim is better and soars right into Jake, who bear hugs her to stabilize her motion. Quickly the two of them get the satellite open. Ute crawls inside as Jake makes his way over to the control panels nearby. CONTINUED: He sets the launch sequence and hurries back to the Sat. Ute helps him inside the cramped space and they shut the container door.</scene_description> </scene> <scene> <stage_direction>INT. SATELLITE CARGO HOLD - CONTINUOUS</stage_direction> <scene_description>Crammed together into the small cargo space.</scene_description> <character>UTE</character> <dialogue>You okay?</dialogue> <character>JAKE</character> <dialogue>I'm all duckpimply.</dialogue> </scene> <scene> <stage_direction>INT./EXT. RETRIEVAL BAY - SPACE STATION - SAME</stage_direction> <scene_description>The countdown only has a few seconds left-- As we've seen before, the robot arms retreat from the Sat, as the catapult is just about to LAUNCH, when-- --the entire Space Station EXPLODES in a massive FIREBALL. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. NASA COMMAND CENTER - MISSION CONTROL</stage_direction> <scene_description>The NASA team, Max, Sarah, the President, Olivia and Hannah all watch in horror as the Space Station ERUPTS and ultimately disintegrates. Everyone is devastated. Sarah comforts Max. Mike turns away from the screen, shaken. And Olivia goes to take Hannah's hand. But Hannah is fixated on the screen and cannot look away. Just then she SEES something. An OBJECT flying away from the EXPLOSION.</scene_description> <character>HANNAH</character> <parenthetical>(to herself)</parenthetical> <dialogue>A shooting star.</dialogue> <scene_description>Absently she touches the shooting star on her necklace.</scene_description> <character>HANNAH</character> <parenthetical>(to her mother)</parenthetical> <dialogue>It's a shooting star!</dialogue> <character>OLIVIA</character> <parenthetical>(choking back tears)</parenthetical> <dialogue>No, baby--</dialogue> <scene_description>CONTINUED:</scene_description> <character>HANNAH</character> <dialogue>Yes it is!</dialogue> <scene_description>She runs over to Max, grabbing his arm forcefully.</scene_description> <character>HANNAH</character> <dialogue>It's a shooting star!</dialogue> <character>MAX</character> <dialogue>What?</dialogue> <character>HANNAH</character> <dialogue>It's my dad! That's my dad!</dialogue> <scene_description>Max looks up, doesn't see what she sees.</scene_description> <character>MAX</character> <dialogue>Probably just some debris from the explosion.</dialogue> <character>HANNAH</character> <dialogue>No it's my dad!</dialogue> <scene_description>The conviction in her voice affects Max. He looks at her.</scene_description> <character>MAX</character> <dialogue>How do you know?</dialogue> <character>HANNAH</character> <parenthetical>(bawling)</parenthetical> <character>BECAUSE HE PROMISED ME!!</character> <dialogue>Hannah sobs uncontrollably. No one knows how to respond to her grief. Mike goes over to a computer and replays the video feed.</dialogue> <dialogue>As it replays, he ENLARGES it, and we SEE it's the Satellite being catapulted from the Space Station.</dialogue> <character>MIKE</character> <dialogue>Guys, she might be right!</dialogue> <scene_description>Now everyone's attention turns back to the image on the screen as it replays again and again. Hannah stops crying. She has hope. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SATELLITE CARGO HOLD - LATER</stage_direction> <scene_description>Both Ute and Jake look like they're nearing the end. Jake looks down at the oxygen meter on his suit. Nearly empty. CONTINUED: Same with Ute's. She looks like she may lose consciousness any second.</scene_description> <character>JAKE</character> <dialogue>Thanks.</dialogue> <character>UTE</character> <dialogue>For what?</dialogue> <character>JAKE</character> <dialogue>Coming back for me.</dialogue> <scene_description>Ute smiles, nods.</scene_description> <character>UTE</character> <dialogue>I have always had a thing for cowboys.</dialogue> <scene_description>Suddenly there's a loud BANG and LOCKING SOUND! Jake and Ute share a worried glance. Just then the Sat begins to MOVE and TWIST. Neither Jake nor Ute know what's happening. They both look out the glass portal, when suddenly they SEE Kagawa waving at them from inside a Shuttle.</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - ABOVE THE TESTUDO NET - SAME</stage_direction> <scene_description>We SEE Jake's Sat but as we WIDEN we REVEAL a large Robot Arm has clamped down onto the Sat and is holding it tight. We FOLLOW the Robot arm to it's source, one of the escape Shuttles!</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE MODULE - CONTINUOUS</stage_direction> <scene_description>Kagawa is WAVING through a portal at Jake and Ute. He's working the robot arm with his remote case.</scene_description> <character>KAGAWA</character> <dialogue>Ain't you glad I went back for this thing now?</dialogue> </scene> <scene> <stage_direction>EXT. SPACE STATION - ABOVE THE TESTUDO NET - SAME</stage_direction> <scene_description>The robot arm pulls the Sat closer to the Shuttle until it DOCKS with it.</scene_description> </scene> <scene> <stage_direction>INT. SHUTTLE MODULE - SAME</stage_direction> <scene_description>The docking doors open and Kagawa and several others race to pull Ute and Jake inside, ripping off their helmets so they can breathe again. CONTINUED:</scene_description> <character>KAGAWA</character> <parenthetical>(into comms)</parenthetical> <dialogue>We got 'em!</dialogue> <scene_description>Catching their breath, Ute and Jake are relieved and grateful. They share an exhausted smile.</scene_description> </scene> <scene> <stage_direction>INT. NASA COMMAND CENTER - MISSION CONTROL</stage_direction> <scene_description>The room erupts with cheers! Max picks up Hannah and hugs her.</scene_description> </scene> <scene> <stage_direction>EXT. CAPE CANAVERAL - LANDING STRIP - LATER</stage_direction> <scene_description>We SEE Kagawa's shuttle coming in for a landing. It quickly taxis over to where all the other shuttles have already arrived. As it parks, we see a convoy of cars racing over to greet it. The Shuttle doors open and Kagawa helps Ute out, followed by Jake and the rest of the passengers. Jumping out of the caravan we SEE Max, Sarah, Olivia and the President. Hannah pushes past them and RACES to her father who swoops her up in his arms.</scene_description> <character>HANNAH</character> <dialogue>Daddy!</dialogue> <scene_description>Jake just hugs her tightly as Max and the President approach.</scene_description> <character>PRESIDENT LITTON</character> <dialogue>Well done, Mr. Lawson. Your brother was smart to choose you.</dialogue> <character>JAKE</character> <dialogue>Always was the brains in the family.</dialogue> <scene_description>Jake and Max share a smile. Jake puts Hannah down. Max extends his hand to his brother. Jake pulls him in for a long overdue hug.</scene_description> <character>MAX</character> <dialogue>You scared the hell out of me.</dialogue> <character>JAKE</character> <dialogue>Was pretty scared myself.</dialogue> <scene_description>Ute, Olivia and Sarah all approach as Hannah tugs on her father's sleeve. CONTINUED:</scene_description> <character>HANNAH</character> <dialogue>With the Space Station gone, what will happen with the satellites?</dialogue> <character>UTE</character> <dialogue>We can control them from shuttles until we get a new Space Station.</dialogue> <character>MAX</character> <dialogue>I know a guy who can build it.</dialogue> <scene_description>The group smiles and begins to walk off together but Hannah hangs back and looks up at the sky, straining to SEE-- EXTREME PULL BACK TO:</scene_description> </scene> <scene> <stage_direction>EXT. SPACE - THE TESTUDO NET - CONTINUOUS</stage_direction> <scene_description>We ZOOM back from Hannah all the way to one of the satellites of the Testudo Net. Its flaps turn, the lasers adjust and it goes on protecting the planet. We DRIFT off the Satellite and settle on a shot of the Earth, bright, blue, beautiful and wonderfully, peacefully calm. FADE TO BLACK.:</scene_description> </scene> </script>

In 2019, following many catastrophic natural disasters, an international coalition commissions "Dutch Boy", a system of climate-controlling satellites. After it neutralizes a typhoon in Shanghai, a US Senate subcommittee reprimands chief architect Jake Lawson, who brought Dutch Boy online without authorization. He is replaced by his brother Max, who works under US Secretary of State Leonard Dekkom. Three years later, a UN team stationed in the Registan Desert discovers a frozen village. Makmoud Habib, an Indian engineer working on the International Climate Space Station (ICSS), copies data from the satellite responsible for Afghanistan onto a hard drive before being killed in a supposed accident. After convincing U.S. President Andrew Palma to conduct an investigation, Max persuades Jake to go to the ICSS to investigate. In Hong Kong, a satellite severely increases temperatures, causes fire whirls and collapses multiple buildings. Jake arrives at the ICSS to examine the malfunctioning satellites, which were damaged and their data erased. He works with station commander Ute Fassbinder and her crew, consisting of engineer Eni Adisa, systems specialist Duncan Taylor, technician Al Hernandez, and security officer Ray Dussette. They recover the hard drive but hide it from the crew, suspecting a traitor. Examining the data, they discover that a virus has been introduced, causing the malfunctions and wiping out the login access of key senior people to the satellite. Suspecting Palma is using Dutch Boy as a weapon, Jake tells Max he needs to reboot the system to eliminate the virus, requiring the kill code held by Palma. The ICSS staff neutralizes malfunctioning satellites by deliberately knocking them offline via collisions with replacement ones.Back on Earth, Cheng Long discovers that he and Max have lost login access and warns Max of a global cataclysm known as a "Geostorm" if the malfunction continues. Cheng is pursued to Washington, D.C. by a team of rogue government agents led by Rico, who kill him in a traffic incident, but not before he says "Zeus." Discovering Project Zeus simulates extreme weather patterns to create a Geostorm, Max enlists his girlfriend, Secret Service agent Sarah Wilson, to acquire the code. During this time, the ICSS team loses control of all operations as the virus initiates the self-destruct program. During the DNC in Orlando, Florida, Max discovers Orlando is next to be targeted after a massive hailstorm hits Tokyo and an offshore cold snap takes out a portion of Rio de Janeiro. Max requests Dekkom's help, who instead tries to kill him, revealing himself as the saboteur. Max informs Sarah, so they kidnap Palma to protect him from Dekkom's agents and secure the kill code. As they escape from the arena before a lightning storm destroys it, Max discloses their activities and Dekkom's treachery to Palma. After outsmarting Dekkom's mercenaries, the three arrest Dekkom and confront him about his plan to eliminate the other elected officials in America's line of succession, allowing him to dominate the world while eliminating America's enemies. Max and Sarah escort Palma to the Kennedy Space Center and transmit the code but learn that the self-destruct sequence cannot be stopped. More weather disasters occur globally. Duncan is actually the traitor who masterminded Habib's death and created the storms on Dekkom's orders, and Jake confronts him. Duncan is killed in the ensuing fight while Jake escapes. As the crew evacuates the station, Jake and Ute stay behind to ensure the system's reboot, eliminating the virus and transferring satellite control to NASA, thus preventing the Geostorm at the last second. They then escape in a replacement satellite as the self-destruct sequence completes. After they use the replacement satellite's thrusters as a beacon, a nearby shuttle piloted by Hernandez picks them up. Six months later, Jake is working as the head engineer for Dutch Boy once more, now administered by an international committee who rebuild the space station.

Sicario: Day of the Soldado_2018

tt5052474

<script> <scene> <character>SOLDADO</character> <dialogue>Written by</dialogue> <character>TAYLOR SHERIDAN</character> <dialogue>Address Phone Number</dialogue> <scene_description>OPEN ON: Scrub brush and mesquite cover an arroyo overlooking the mud- colored water of the Rio Grande River. CAMERA SHIFTS -- AND A BURLAP SACK fills the frame. WIDEN TO REVEAL -- The burlap sack is duct-taped over a man's head as he kneels in the dirt. His clothes are filthy. FEET bare and bloody. A BOY NAMED JOSE(15), walks toward him. Dressed like he just got out of school -- t-shirt, jeans, tennis shoes. Nothing in his appearance or demeanor explains why the boy POINTS A PISTOL at the man's head ...</scene_description> <character>TEENAGE GIRL (V.O.)</character> <dialogue>I think about the price. The price of appetite. The cost of forgetting who we are. Pretending we are ... Who we will never be ...</dialogue> <scene_description>The man on his knees doesn't cry, doesn't shake, just sits and waits for it ... ANGLE ON -- A HALF DOZEN MEN mill about holding pistols. Smoking cigarettes. Shouting at the boy to pull the trigger. Taunting him. Threatening him. Four other boys ranging in age from 14 to 20 stand in a row, watching ... A collection of pickups and SUVs sit idling in the desert. In the rear of a TAN FORD EXPEDITION is a TEENAGE GIRL. She presses her BURLAP-COVERED FACE against the glass ... CAMERA PUSHES IN ON THE GIRL. Can't hear her, but can see her body shake with fear ...</scene_description> <character>TEENAGE GIRL (V.O.)</character> <dialogue>So easy to pretend we are not to blame. That a demon enters us. But the demon is already inside. We just make potions that release it.</dialogue> <scene_description>GALLO(35), thick round body and dull, uncaring eyes, walks \* toward Jose.</scene_description> <character>GALLO</character> <dialogue>Hacelo.</dialogue> <scene_description>Jose's hand shakes. Skinny chest heaves with each breath. Tries to find the courage, or menace, or whatever it takes to make a boy a murderer ...</scene_description> <character>GALLO</character> <dialogue>Si tu quieres ser sicario esta es la manera de empesar.</dialogue> <scene_description>Jose sucks in a breath. His finger finds the trigger but not \* the strength to pull it. Looks at Gallo with pleading eyes. \* Gallo sucks a drag from his cigarette, raises his own pistol and shoots Jose in the head. His body drops ... \* Gallo picks up the pistol and walks to the row of boys, hands it to ANOTHER BOY as the girl's muffled screams pound against the Expedition's windows. THE BOY walks slowly toward the man on his knees. MIGUEL HERNANDEZ(14), has short, neat hair and a kind, almost feminine face. Miguel's giant eyes fall on the masked man.</scene_description> <character>TEENAGE GIRL (V.O.)</character> <dialogue>There's no revenge for all they have taken. No justice. It simply is ...</dialogue> <character>GALLO</character> <dialogue>Hacelo.</dialogue> <scene_description>Miguel raises the pistol and whispers --</scene_description> <character>MIGUEL</character> <dialogue>Lo siento.</dialogue> <scene_description>The burlap-covered head turns to face him.</scene_description> <character>TEENAGE GIRL (V.O.)</character> <dialogue>And still, they must be forced to look at all they have destroyed. By having the same done to them. Or they will forget ...</dialogue> <scene_description>THROUGH BURLAP -- Can just barely make out the muzzle of the pistol and the wide eyes of the boy.</scene_description> <character>TEENAGE GIRL (V.O.)</character> <dialogue>Forget they are human. Believe they are as different as they feel ...</dialogue> <scene_description>BACK WITH MIGUEL -- The burlap-covered head turns back toward the river as Miguel pulls the trigger, sending the man face-first to the dirt. \*</scene_description> <character>TEENAGE GIRL (V.O.)</character> <dialogue>Then they are the lion. And everything we loved and lost is simply its meal.</dialogue> <scene_description>CAMERA STAYS WITH THE BODY as the sound of vehicle doors opening and closing violates the day. The rumble of engines fades until there is nothing on the arroyo but death and silence ...</scene_description> </scene> <scene> <stage_direction>EXT. US/MEXICO BORDER -- NIGHT. \*</stage_direction> <scene_description>FOLLOWING WORDS APPEAR OVER THE SCREEN AS CAMERA STARES DOWN AT A BLACK DESERT:</scene_description> <character>"THREE WEEKS EARLIER"</character> <dialogue>The THUMP of HELICOPTER ROTORS attack the night. Getting \* closer. LOUDER. Until the thump shakes the earth. \*</dialogue> </scene> <scene> <stage_direction>INT. HOMELAND SECURITY MH 60 HELICOPTER -- CONT.</stage_direction> <scene_description>A HELICOPTER PILOT watches the desert floor on a THERMAL IMAGING SCREEN built into the console -- PEOPLE GLOW HOT WHITE ON THE SCREEN as they move across the \* border in groups of 10 and 15. The sound of the chopper \* reaches them -- some groups run start running single-file. \* Some groups huddle together and hide. Some groups -- no order to them at all. HELICOPTER PILOT takes it all in --</scene_description> <character>HELICOPTER PILOT</character> <dialogue>Jesus, they're really coming over tonight. Ground, get ready. I'm going to push them your way. \*</dialogue> </scene> <scene> <stage_direction>EXT. BORDER -- CONT.</stage_direction> <scene_description>The helicopter drops altitude and flares, blasting a torrent of dust and debris up from the ground. The pilot turns on a SPOTLIGHT, and illuminates a desert that is alive with people running in every direction. The chopper swings back and forth, herding the scattering migrants ... HEADLIGHTS AND FLASHLIGHTS pierce the night like swords. Move toward the terrified migrants. BORDER AGENTS yell and scream as the herd compresses. BORDER AGENTS SURROUND THEM. The migrants seem to accept defeat in unison -- they go from running to walking to stopping and sitting on the ground ... The chopper rises and scans the night for stragglers ... FINDS ONE -- A LONE MAN runs like hell through the desert.</scene_description> <character>HELICOPTER PILOT</character> <dialogue>Runner. 100 meters off your nine o'clock.</dialogue> <scene_description>Swords of light bounce toward the giant spotlight illuminating the running man who slows to a trot, then a walk, then to his knees as BORDER AGENTS APPROACH, rifles \* raised ... \* The man's back faces us. He ROCKS BACK AND FORTH ON HIS \* KNEES, MUMBLING ... LAY ON YOUR STOMACH, ARMS TO YOUR SIDE. FINGERS OUTSTRETCHED. The rocking man doesn't answer, just keeps rocking. ANGLE ON -- BORDER PATROL AGENTS HOLD FLASHLIGHTS ON DEFEATED FACES ... Some are Mexican, some Honduran, no telling where TWO ARE THEM ARE FROM -- THEY LOOK ASIAN ...</scene_description> <character>BORDER AGENT</character> <dialogue>Do you speak English?</dialogue> <scene_description>They begin pleading their case IN BURMESE. The border agent deflates, speaks into his radio --</scene_description> <character>BORDER AGENT</character> <dialogue>I need a translator who speaks ...</dialogue> <scene_description>Looks at another agent.</scene_description> <character>BORDER AGENT</character> <dialogue>You know what he's speaking?</dialogue> <scene_description>Doesn't have a clue.</scene_description> <character>BORDER AGENT 2</character> <dialogue>... Chinese maybe?</dialogue> <scene_description>BACK WITH -- \* The Border Patrol agent creeping toward the rocking man, rifle raised -- LAY ON YOUR STOMACH. Man slowly stands. MORE AGENTS APPROACH. RIFLES RAISED. ALL YELLING -- DOWN DOWN DOWN!!! ON THE FUCKING GROUND!!! NOW!!! The rocking man turns -- wild eyes stare back. He SCREAMS IN ARABIC and runs right toward them. ALLAHU AKBAR -- Every agent opens fire. Rounds punch into the rocking man, standing him upright ... A round hits him in the stomach and THE MAN EXPLODES, disappearing in a violent, pink mist. Border agents rub burning debris from their eyes and place hands over ruptured eardrums as the hovering chopper holds them in a circle of light, surrounded by a sea of darkness.</scene_description> </scene> <scene> <stage_direction>EXT. US/MEXICO BORDER -- NEXT MORNING.</stage_direction> <scene_description>An army of HOMELAND SECURITY AGENTS now surrounds the scene. YELLOW EVIDENCE MARKERS sit beside every empty shell casing, every piece of bone and clothing ... An AGENT walks a GERMAN SHEPHERD through mesquite trees, freezes when he sees -- A FOOT, still wearing it's shoe, perched in a branch.</scene_description> <character>K-9 AGENT</character> <dialogue>Fuck. Me. OVER HERE!!!</dialogue> <scene_description>Beyond the trees is an arroyo. SOMETHING ON THE OTHER SIDE, catches the agent's attention. He walks toward it ... Stops. Looks down. All he can manage to say is --</scene_description> <character>K-9 AGENT</character> <dialogue>Oh, my God ...</dialogue> <scene_description>We see what he sees -- FOUR PRAYER BLANKETS SIDE-BY-SIDE, FACING WEST ...</scene_description> </scene> <scene> <stage_direction>EXT. COSTCO -- KANSAS CITY, KANSAS -- DAY.</stage_direction> <scene_description>CAMERA LOOKS ACROSS A PARKING LOT TOWARD A COSTCO. People filter in and out pushing shopping carts -- empty as they enter, overflowing as they depart ... The parking lot echoes with the rattle of shopping carts, laughing children and car horns -- creating a symphony of suburban living ... A VAN PULLS UP, PARKS. FOUR MEN GET OUT. They wear long jackets and long pants. Walk in unison toward the giant store. CAMERA doesn't move. Stays right where it is. Just watches as the men wade through the swarm of shoppers and disappear inside ... Cars come and go. People filter in and out. Seems there is no end to the stream of people ... The building seems to suck inward before bursting at its seams and disintegrating into a brown cloud of debris. There is a moment of pure silence before screams and car alarms attack the afternoon ...</scene_description> </scene> <scene> <stage_direction>EXT. NORTHERN SOMALIA -- NIGHT -- A FEW WEEKS LATER.</stage_direction> <scene_description>A SOMALI MILITIAMAN kneels, AK 47 across his chest, and fills \* a water bottle from a POT HOLE IN THE ROAD. Behind him is a CINDER BLOCK BUILDING and more men with rifles. Never bothers to look up at the carpet of stars above him. But we do... \*</scene_description> </scene> <scene> <stage_direction>EXT. THE STARS -- CONT.</stage_direction> <scene_description>CAMERA LOOKS DOWN ON THE BLACK DESERT. Tiny bulbs of light make the earth look like its own galaxy ... A DOZEN DELTA FORCE OPERATORS FREE-FALL THROUGH FRAME TOWARD THE EARTH 40,000 FEET BENEATH THEM. HELMETS, GOGGLES AND OXYGEN MASKS COVER THEIR FACES. They careen toward earth like comets ...</scene_description> </scene> <scene> <stage_direction>EXT. CINDER BLOCK HOUSE -- NIGERIA -- NIGHT.</stage_direction> <scene_description>The militia man has settled against the trunk of a tree, \* fights boredom. Fights sleep ... FAR IN THE DISTANCE -- Black images float toward the ground like phantoms ...</scene_description> </scene> <scene> <stage_direction>EXT. NORTHERN SOMALIA -- MOMENT LATER.</stage_direction> <scene_description>CAMERA PUSHES THROUGH SAW GRASS THAT STANDS EIGHT FEET TALL. FAST. DELIBERATE ... ANGLE ON -- THE MILITIA MAN. Seconds from sleep. Hears something. Looks up as a rifle round punches through his face. No sound from the rifle or the man as he falls back ... DELTA OPERATORS RUSH TOWARD THE BUILDING and the half-dozen \* guards who mill about, no clue what is coming for them ... SILENCERS EXTEND A FOOT FROM THE BARRELS OF THE OPERATORS' \* RIFLES. When they fire, the only sound is rifle bolts spitting shell casings as guards die without ever seeing their killers. The operators reach the building. Lean against it as the sound of MEN TALKING leaks from open windows. The operators throw FLASH-BANG GRENADES through the windows, duck as the grenades explode against the cinder block walls \* sending shotgun blasts of white light through every orifice of the structure. The only sound now is MOANS OF AGONY... The operators kick open the door -- Men are doubled over, bleeding from their ears and eyes, or slumped against the wall, vomiting. The operators pound rounds into all of them. ALL BUT ONE -- They rush A MAN who sits in the only chair in the room, zip tie his hands and feet, pull a black bag over his head, and \* carry him out of the building like luggage.</scene_description> </scene> <scene> <stage_direction>INT. INTERROGATION ROOM -- CAMP LEMONNIER -- DJIBOUTI -- DAY</stage_direction> <scene_description>The man sits in a room, black bag over his head. Hands and feet zip-tied to a chair. A HAND reaches into frame, pulls off the bag, revealing the man's face -- BASHIIR(38) looks around the room, sees a table with a LAPTOP COMPUTER --A DIRTY RAG BESIDE IT and TWO FIVE GALLON JUGS OF WATER on the floor, and -- MATT. Sitting across from him eating a Snickers bar ...</scene_description> <character>MATT</character> <dialogue>Thirsty?</dialogue> <scene_description>Bashiir looks at the water jugs then turns his eyes on Matt.</scene_description> <character>BASHIIR</character> <dialogue>You Americans need new tricks.</dialogue> <scene_description>Matt smiles.</scene_description> <character>MATT</character> <dialogue>Think I'm going to waterboard you, Bashiir?</dialogue> <scene_description>Matt walks to the computer, flips up the screen, and starts hitting keys.</scene_description> <character>MATT</character> <dialogue>Waterboarding is what we do when we can't torture. This is Africa...</dialogue> <scene_description>Matt looks at him, smile gone.</scene_description> <character>MATT</character> <dialogue>I can do whatever I want here. But I'm not going to torture you, Bashiir. You're going to answer every question I ask without me harming a hair on your head. Wanna know why?</dialogue> <scene_description>Bashiir looks at him.</scene_description> <character>MATT</character> <dialogue>'Cuz if you don't, I'll call in an \* air strike on your fucking house.</dialogue> <scene_description>He steps back from the computer and SATELLITE FOOTAGE OF BASHIIR'S COMPOUND IS ON THE SCREEN ... Bashiir's unblinking eyes stare at the screen ...</scene_description> <character>MATT</character> <dialogue>Nice pool. Whoever said crime doesn't pay wasn't stealing oil tankers ...</dialogue> <scene_description>Matt plays SECURITY FOOTAGE OF THE MEN WALKING INTO COSTCO. \*</scene_description> <character>BASHIIR</character> <dialogue>Those men are Yemeni. We had nothing to do with that. Your fight is with ISIS. Not me. All my fights are on the water.</dialogue> <character>MATT</character> <dialogue>They sure are, Bashiir. And Yemen -- \*</dialogue> <scene_description>Matt points east.</scene_description> <character>MATT</character> <dialogue>Just across the Gulf. What a \* coincidence ...</dialogue> <scene_description>Bashiir stares at Matt, sweat pluming from him.</scene_description> <character>MATT</character> <dialogue>I got a theory. Let's see what you think of it. Kind of tricky for a Yemeni National to book an international flight these days, much-less five men on the terrorist watch list. If they had fake passports, they'd just fly straight \* to Kansas City instead of going to \* Mexico and hiring coyotes to truck them 100 miles through the desert. So the big question is: how'd they get to Mexico? Cuz they damn sure didn't fly. Didn't drive. No ... They travelled by ship. A ship you didn't try to steal. And THAT means someone paid you not to ... So here's my only questions for you, Bashiir. Answer them and go home.</dialogue> <scene_description>Matt leans forward.</scene_description> <character>MATT</character> <dialogue>Who paid you to let the ship through and which ship was it?</dialogue> <scene_description>Bashiir just stares at him and sweats.</scene_description> <character>MATT</character> <dialogue>Silent treatment, huh?</dialogue> <scene_description>Clicks back to the footage of Bashiir's house -- \* CAMERA LOOKS DOWN ON SOMEONE WALKING AROUND THE POOL.</scene_description> <character>MATT</character> <dialogue>Oop, somebody's home. Is that you're brother? I'd hate to kill the pool man.</dialogue> <character>BASHIIR</character> <dialogue>Every ship smuggles people!! And they don't need my permission.</dialogue> <character>MATT</character> <dialogue>Yes they fucking do. Last chance. \*</dialogue> <scene_description>Bashiir looks at him with defiance.</scene_description> <character>BASHIIR</character> <dialogue>This is a bluff. You're American. You have too many rules.</dialogue> <character>MATT</character> <dialogue>No rules today, sport. Just orders. \*</dialogue> <scene_description>Matt dials a number on a satellite phone.</scene_description> </scene> <scene> <stage_direction>INT. USS BARRY -- GULF OF ADEN -- CONT.</stage_direction> <scene_description>A COMMUNICATIONS SPECIALIST answers Matt's call, hands the comms to the ship's CAPTAIN.</scene_description> <character>CAPTAIN</character> <dialogue>We're locked on target.</dialogue> <character>MATT (V.O.)</character> <dialogue>You're green.</dialogue> <character>CAPTAIN</character> <dialogue>Roger that.</dialogue> </scene> <scene> <stage_direction>INT. INTERROGATION ROOM -- CONT.</stage_direction> <scene_description>Bashiir stares at the screen, not fully believing Matt's threat. Looks at Matt, then back at the screen. Watches his \* house and whoever just jumped in the pool EVISCERATED. Bashiir screams. Matt walks to the computer, hits a button...</scene_description> </scene> <scene> <stage_direction>EXT. SKY OVER A HIGHWAY OUTSIDE BERBERA, SOMALIA -- CONT.</stage_direction> <scene_description>A PREDATOR DRONE FLIES 10,000 FEET ABOVE A HIGHWAY leading to a small, seaport town, its CAMERAS FOLLOWING A TOYOTA HIGHLANDER ...</scene_description> </scene> <scene> <stage_direction>INT. INTERROGATION ROOM -- CONT.</stage_direction> <scene_description>FOOTAGE OF THE HIGHLANDER PLAYS ON THE COMPUTER ... \*</scene_description> <character>MATT</character> <dialogue>Man, you guys sure love those Toyotas. Ford guy myself ...</dialogue> <scene_description>Tears spill from Bashiir's eyes. Matt looks right into them, says into his sat phone.</scene_description> <character>MATT</character> <dialogue>We're a 'go' on target two.</dialogue> <scene_description>Bashiir turns his face away. Matt stands in an instant, twists Bashiir's head back toward the screen.</scene_description> <character>MATT</character> <dialogue>NO. You're going to watch it.</dialogue> <scene_description>Grainy footage from the nose of the missile moves down on the Toyota, collides with it, then nothing but black smoke. \* Matt sits back down and looks at Bashiir.</scene_description> <character>MATT</character> <dialogue>You've got a big family, Bashiir. Lot of brothers who should have chosen another line of work. I can do this all day ... Sooner or later \* I'll get to the brother you can't live without.</dialogue> <scene_description>PUSH IN ON BASHIIR'S FACE -- Eyes filled with hatred. Panic. Pain. Matt's eyes stare back \* with no emotion whatsoever. Pulls up FOOTAGE of another \* vehicle on the computer ... NOOOOO !!!!!</scene_description> <character>MATT</character> <dialogue>I think I just found him ...</dialogue> </scene> <scene> <stage_direction>INT. JOINT SPECIAL OPERATIONS COMMANDER'S OFFICE -- LATER.</stage_direction> <scene_description>Matt sits across from COLONEL KENNETH WALTER. Looks like they all look: sun-stained skin, short hair, hard eyes. Other MEN \* IN SUITS AND UNIFORMS sit in various chairs around the room.</scene_description> <character>MATT</character> <dialogue>The money came from Quassim Al- Raymi's camp, which isn't a surprise ... The ship, on the other hand, is the Panamanian freighter LA VICTORIA, registered to the Mexican holding company GRUPO DURO. It docked at Port of Vera Cruz on \* the 18th.</dialogue> <scene_description>A WOMAN'S VOICE COMES FROM A SPEAKER IN THE SHAPE OF A STARFISH ON COLONEL WALTER'S DESK.</scene_description> <character>VOICE</character> <dialogue>Carlos Reyez's company ...</dialogue> <character>MATT</character> <dialogue>The one and only.</dialogue> <scene_description>Can hear a HEAVY SIGH come through the speaker.</scene_description> <character>WALTER</character> <dialogue>If you need Matt home, I can get him out oh-six hundred tomorrow.</dialogue> <character>VOICE</character> <dialogue>We sent a bird. It'll be there in \* an hour. We'll talk more about this tomorrow, Matt.</dialogue> <character>MATT</character> <dialogue>Yes ma'am.</dialogue> <scene_description>Green light on the speaker goes out. Matt stands.</scene_description> <character>COLONEL WALTER</character> <dialogue>Seems pretty short-sighted to me. Border's gonna tighten like a vice after what they did.</dialogue> <character>MATT</character> <dialogue>Know what happened to the price of cocaine after 9/11, Ken? Tight borders are good for business ...</dialogue> <scene_description>Matt walks out.</scene_description> </scene> <scene> <stage_direction>EXT. MESS HALL -- LATER.</stage_direction> <scene_description>SEVENTY FIVE METAL PICNIC TABLES SIT IN NEAT ROWS BENEATH A STEEL ROOF -- NO WALLS. Hot air blows off the Gulf of Aden. MILITARY JETS land on the tarmac a quarter mile to the left. Attached to the ceiling are dozens of flat screen TVs. Soccer plays. The sound of cheers and announcers speaking some indeterminate language, the sound of JETS, WIND, and 100 MEN SPEAKING FOUR DIFFERENT LANGUAGES mixes into a soup of noise that defines the military ... SPECIAL FORCES SOLDIERS from every country in NATO -- FRENCH FOREIGN LEGION, BRITISH S.A.S., GERMAN KSK operators and factions of US SEAL TEAM SIX, DELTA FORCE, CIA S.A.D. OPERATORS -- who dress in mostly in jeans and random t- shirts, sit at various tables. Some eat, some pore over maps, some check gear -- even with a hundred men under the steel structure, the area appears almost empty. Matt looks out past dirt the color of ash toward the cobalt blue water of the Indian Ocean ...</scene_description> <character>VOICE</character> <dialogue>Hard to believe this is the birthplace of man.</dialogue> <scene_description>Matt looks up at a SEAL TEAM SIX OPERATOR, built like a diesel engine. Long hair, but clean shaven.</scene_description> <character>MATT</character> <dialogue>Ethiopia is the birthplace of man. This shithole wasn't inhabited until the third century.</dialogue> <scene_description>Looks the SEAL over.</scene_description> <character>MATT</character> <dialogue>You guys are shaving now. Guess you \* got tired of looking like baristas.</dialogue> <scene_description>The SEAL chuckles.</scene_description> <character>SEAL TEAM SIX</character> <dialogue>SOCOM told us to. Guess we ain't pretending to be their friends anymore.</dialogue> <scene_description>The SEAL looks at a large BLACK DUFFLE BAG at Matt's feet.</scene_description> <character>SEAL TEAM SIX</character> <dialogue>You bugging out?</dialogue> <scene_description>Matt just looks out over the ocean.</scene_description> <character>SEAL TEAM SIX</character> <dialogue>Just when we were starting to have some fun.</dialogue> <scene_description>Matt watches as a C130 TRANSPORT PLANE lumbers toward the runway rumbling like thunder. Wheels touch down and it screams to a stop. Matt looks at the SEAL.</scene_description> <character>MATT</character> <dialogue>You should be ashamed of yourself, sailor. Not supposed to be fun. \*</dialogue> <scene_description>Matt winks, grabs his duffle and walks into the punishing sun toward the C130 ...</scene_description> </scene> <scene> <stage_direction>INT. ABACO LIBROS Y CAFE -- CARTEGENA, COLOMBIA -- NIGHT.</stage_direction> <scene_description>BOOKS LINE THE WALLS. BOOKS ARE STACKED ON THE FLOOR. BOOKS EVERYWHERE ... Scattered among them are TABLES AND CHAIRS. \* A BAR RUNS THE LENGTH OF ANOTHER WALL. WAITRESSES CARRY TRAYS OF APPETIZERS AND BEER -- this is how hipsters in Colombia spend a Friday night ... TUCKED FAR IN THE CORNER is ALEJANDRO. Across from him is a \* man that looks anything but hip -- SANTIAGO(28), head shaved. Wears an OAKLAND RAIDERS JERSEY, the LEGS OF SPIDER TATTOO crawl out beneath his shirt and up his neck. TEAR DROP TATTOOS run down his face. Santiago gulps a beer as Alejandro sips an espresso. Santiago looks around the cafe, can't take one more second surrounded by normal people. He speaks in English --</scene_description> <character>SANTIAGO</character> <dialogue>Everyone who's ever seen him is dead. You don't look dead. How do you know what he looks like?</dialogue> <character>ALEJANDRO</character> <dialogue>Everyone of you who's seen him is dead. I'm not one of you ...</dialogue> <scene_description>Santiago swallows his beer. Tosses a backpack to Alejandro. Alejandro looks inside -- stuffed with bundles of hundreds.</scene_description> <character>SANTIAGO</character> <dialogue>When can you take me to him?</dialogue> <scene_description>Alejandro finishes his espresso, stands.</scene_description> <character>ALEJANDRO</character> <dialogue>We can go right now.</dialogue> <scene_description>Alejandro walks off, Santiago following behind ...</scene_description> </scene> <scene> <stage_direction>EXT. STREET -- CONT.</stage_direction> <scene_description>The city is alive with people. Clean. Shiny even. Nothing like the war zone of two decades ago ... Alejandro leads Santiago down the street, up an alley and comes to another street where war zone hasn't quite been washed away. Another alley and another street and there is no attempt to wash away the war at all ... Alejandro reaches a door. Above it, a small NEON SIGN THAT READS -- LAS CHICAS. Alejandro swings open the door and walks inside.</scene_description> </scene> <scene> <stage_direction>INT. LAS CHICAS -- CONT.</stage_direction> <scene_description>IT IS DARK. AMERICAN POP MUSIC plays as a LONE WOMAN walks idly around a BRASS POLE ON A SMALL STAGE. When she notices actual customers, she begins to give rhythm to her walk ...</scene_description> <character>ALEJANDRO</character> <dialogue>This is more your speed, I bet.</dialogue> <scene_description>Alejandro looks back at him.</scene_description> <character>ALEJANDRO (CONT'D) \*</character> <dialogue>Get ready.</dialogue> <scene_description>Santiago pulls a pistol from beneath his shirt, holds it to his side as he follows Alejandro down a long hall. \* Alejandro pushes through a bathroom door, holds it open for Santiago ...</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM -- CONT.</stage_direction> <scene_description>Santiago's bald head is covered in a sheen of sweat. Eyes \* wild with adrenaline. Looks at Alejandro.</scene_description> <character>SANTIAGO</character> <dialogue>You got a gun?</dialogue> <scene_description>Alejandro nods. Seems to make Santiago feel a little better. A little ...</scene_description> <character>SANTIAGO</character> <dialogue>How you wanna do this?</dialogue> <character>ALEJANDRO</character> <dialogue>I'm not here to do anything but take you to him. Rest is up to you.</dialogue> <scene_description>Santiago sucks a deep breath, nods. Alejandro points to the tear drops.</scene_description> <character>ALEJANDRO</character> <dialogue>How could you kill so many and be \* so nervous?</dialogue> <character>SANTIAGO</character> <dialogue>This ain't just anybody. This is the fucking devil, man ... Fuck it. Let's do it. Take me to him. \*</dialogue> <character>ALEJANDRO</character> <dialogue>Okay.</dialogue> <scene_description>Alejandro guides Santiago by the shoulders, faces him to the mirror. Santiago stares at Alejandro's reflection, confused. Then realizes, and says in horror --</scene_description> <character>SANTIAGO</character> <dialogue>El Medelli --</dialogue> <scene_description>Alejandro drives Santiago's face through the sink, sending both Santiago and chunks of porcelain to the filthy floor. CAMERA BACKS AWAY as Alejandro kneels over the body ... \*</scene_description> </scene> <scene> <stage_direction>INT. BLACK S.U.V. -- VIRGINIA -- NEXT DAY</stage_direction> <scene_description>The PENTAGON looms through the S.U.V.'s Window. Vehicle turns left and it's in the rearview mirror ... Matt sits in the backseat beside CYNTHIA FOARD(50), DEPUTY DIRECTOR OF THE CIA. Her graying hair has been chopped into a series of hard angles that remove any illusion she achieved her position with her looks. Hers was the voice on the phone speaker ... Her hawk's eyes look over Matt -- studying what appears to be a permanent sunburn etched into his skin.</scene_description> <character>CYNTHIA</character> <dialogue>You should invest in a little sunscreen, Matt.</dialogue> <character>MATT</character> <dialogue>If you guys would start wars somewhere cloudy I wouldn't have to. \*</dialogue> <character>CYNTHIA</character> <dialogue>Get all that shit out of your system now -- I need you about as entertaining as a loaf of bread. Your audience finds no humor in three hundred people dying in a grocery store.</dialogue> <scene_description>Matt looks out the window as they pass over the POTOMAC RIVER. They ride in silence. Matt looks at her.</scene_description> <character>MATT</character> <dialogue>We have a plan?</dialogue> <scene_description>She nods.</scene_description> <character>MATT</character> <dialogue>Care to tell me what it is?</dialogue> <character>CYNTHIA</character> <dialogue>I don't know what it is.</dialogue> <scene_description>Matt studies her silence. \*</scene_description> <character>MATT</character> <dialogue>Who does?</dialogue> <scene_description>She just looks at him. The S.U.V. Exits the highway. Makes a left and a right, then turns onto PENNSYLVANIA AVENUE. Matt bores his eyes into her.</scene_description> <character>MATT</character> <dialogue>Who the hell are we going to see?</dialogue> <character>CYNTHIA</character> <dialogue>The man with a plan ...</dialogue> <scene_description>The S.U.V. turns toward a guard gate -- the WHITE HOUSE \* looming behind it ...</scene_description> </scene> <scene> <stage_direction>INT. WEST WING -- WHITE HOUSE -- DAY.</stage_direction> <scene_description>Matt sits in a chair beside a closed door. Stares at the President's staff fielding calls and pecking at computers like hungry chickens. A door opens. A MAN looks down at Matt.</scene_description> <character>MAN</character> <dialogue>Come on in.</dialogue> <scene_description>Matt stands and walks through the door. CAMERA SLINKS CLOSER. WATCHES AS A DOZEN MEN AND WOMEN LOOK UP AT HIM FROM COUCHES. Some wear suits, others uniforms. Matt nods at them, then turns his focus to a group of men slipping out a side door of the Oval Office. Could swear he just saw THE PRESIDENT ... NATIONAL SECURITY ADVISOR JAMES \* RIDLEY(55), points to a chair.</scene_description> <character>RIDLEY</character> <dialogue>Have a seat.</dialogue> <scene_description>Matt sits.</scene_description> <character>HAMMOND \*</character> <dialogue>What do you think is the most \* valuable commodity cartels move \* across our borders? \*</dialogue> <scene_description>Matt thinks about that. \*</scene_description> <character>MATT \*</character> <dialogue>Twenty years ago? Cocaine. Today? \* I'd have to say people, sir. it's \* resource they don't have to \* cultivate or process. And if they \* don't make it across, they pay to \* cross again. At three times the \* price of a kilo. \*</dialogue> <character>RIDLEY</character> <dialogue>How would you define terrorism, Mr. \* Graver?</dialogue> <character>MATT</character> <dialogue>That's your job, sir. \*</dialogue> <scene_description>Ridley likes the answer.</scene_description> <character>RIDLEY</character> <dialogue>The current definition is any individual or group that uses violence to achieve a political goal. The Administration believes drug cartels now fit that definition ...</dialogue> <scene_description>CIA DIRECTOR DALE HAMMOND(62), heavy bags under his eyes from years of no sleep, leans forward. \*</scene_description> <character>HAMMOND</character> <dialogue>The president is going to add \* cartels to the list of terrorist organizations.</dialogue> <character>RIDLEY</character> <dialogue>You understand how that will expand our ability to combat them.</dialogue> <character>MATT</character> <dialogue>I do.</dialogue> <character>RIDLEY</character> <dialogue>Unfortunately, once it's put before Congress it becomes public \* information and the leaders of these organizations will know what's coming next. Not to mention the reaction from the Mexican \* government ...</dialogue> <character>HAMMOND</character> <dialogue>Cartel territories are fairly stable at the moment. Nothing like it was in 2010. Striking them is a lot easier when they're already fighting each other.</dialogue> <scene_description>Every eye is on Matt. He waits for more information. None comes. He knows this game well, takes the plunge.</scene_description> <character>MATT</character> <dialogue>Happy to do whatever you need. Just point the way, sir. \*</dialogue> <character>RIDLEY</character> <dialogue>What do you think would be the most effective thing to do?</dialogue> <character>MATT</character> <dialogue>... Turn the clock back to 2010. \*</dialogue> <scene_description>Right answer again. Ridley looks at ARNO MCCULLOUGH(55), hard eyes set in a granite face. Nods. The general looks at Matt.</scene_description> <character>GENERAL MCCULLOUGH</character> <dialogue>What we're thinking is this -- eliminate a tier one target and make it look like a rival cartel is responsible.</dialogue> <character>HAMMOND</character> <dialogue>And continue flaming that fire until those rivals go to war, THEN announce their listing on the terrorist watch list. Mexican government will have no option but to ask us to intervene militarily.</dialogue> <character>RIDLEY</character> <dialogue>For that type of escalation things \* have to get real bad real fast. El Salvador in '81 bad. Think you can do that?</dialogue> <character>MATT</character> <dialogue>... If we hit the right target. \*</dialogue> <character>RIDLEY</character> <dialogue>Carlos Reyes is the target.</dialogue> <character>MATT</character> <dialogue>You know where he is??</dialogue> <character>GENERAL MCCULLOUGH</character> <dialogue>We're hoping you'd find him for us.</dialogue> <scene_description>Matt fights a chuckle.</scene_description> <character>MATT</character> <dialogue>General, I'm not an investigator. I run operations.</dialogue> <character>GENERAL MCCULLOUGH</character> <dialogue>Finding him is your operation.</dialogue> <character>HAMMOND</character> <dialogue>You've done things like this in the Middle East. You don't think those tactics could apply here?</dialogue> <character>MATT</character> <dialogue>... Do you want them to?</dialogue> <character>RIDLEY</character> <dialogue>We think it's time.</dialogue> <scene_description>Matt tries to digest this.</scene_description> <character>MATT</character> <dialogue>Okay, um ... Do we know where his family is?</dialogue> <character>HAMMOND</character> <dialogue>Family's under surveillance.</dialogue> <character>MATT</character> <dialogue>He in contact with them?</dialogue> <character>HAMMOND</character> <dialogue>Not to our knowledge. We assume yes.</dialogue> <character>MATT</character> <dialogue>Kids?</dialogue> <character>HAMMOND</character> <dialogue>Two. That we know of. \*</dialogue> <character>MATT</character> <dialogue>Age of the youngest?</dialogue> <character>MATT</character> <dialogue>Sixteen.</dialogue> <character>MATT</character> <dialogue>What kind of resources do I have?</dialogue> <character>GENERAL MCCULLOUGH</character> <dialogue>CIA overflights, NSA satellite link and control, and drone strike capability if you locate our tier one somewhere you can't reach him. Boots on the ground you hire on the outside. Same with your supply train, logistics and air support.</dialogue> <scene_description>Matt's not sure he heard him right --</scene_description> <character>MATT</character> <dialogue>... I get air support, sir?</dialogue> <character>RIDLEY</character> <dialogue>If you can hire it. But only along the border only and within reason.</dialogue> <character>MATT</character> <dialogue>I can hire it if you're willing to pay for it.</dialogue> <character>HAMMOND</character> <dialogue>You've got a blank check, Matt.</dialogue> <scene_description>Silence.</scene_description> <character>MATT</character> <dialogue>To do this right, I've got to ... I just want to be clear -- Does the \* resolve exist to see this through? \* Because to achieve this objective I \* need to get dirty, sir. \*</dialogue> <scene_description>Ridley leans forward.</scene_description> <character>RIDLEY</character> <dialogue>Dirty is exactly why you're here. \*</dialogue> </scene> <scene> <stage_direction>INT. ENTYSE LOUNGE -- RITZ CARLTON -- FAIRFAX, VA -- NIGHT.</stage_direction> <scene_description>Even a wine bar in Fairfax feels official. Patrons huddle close and discuss things that affect every region of this planet. Cautious glances from one group to the next. Looks like a roomful of people playing poker without cards as they gulp cabernet at 40 bucks a glass. Matt sits across from ANDY WHEELER(45), looks like what he is -- ex-special forces. The three thousand dollar suit makes him look it more-so.</scene_description> <character>WHEELER</character> <dialogue>What do you need?</dialogue> <character>MATT</character> <dialogue>Everything. Air support with attack capability. I want Hueys with miniguns, you got Apaches, right? I want two of those. I need logistics, communication equipment compatible with a SOCOM J.C.U. (Joint communications unit) ... In the first phase I'd like a 12 man \* teams, 2 snipers. I need a \* demolition team. I need --</dialogue> <character>WHEELER</character> <dialogue>Are you going to Ukraine? I've got Russians on the payroll, brother. Don't put me in that position.</dialogue> <scene_description>Shakes his head.</scene_description> <character>WHEELER</character> <dialogue>Where's the coup?</dialogue> <character>MATT</character> <dialogue>It's an extraction. For starters.</dialogue> <scene_description>Thick silence.</scene_description> <character>WHEELER</character> <dialogue>How much can I know?</dialogue> <character>MATT</character> <dialogue>You don't wanna know.</dialogue> <character>WHEELER</character> <dialogue>I don't need specifics, but I have to know where they're going.</dialogue> <scene_description>Matt leans close.</scene_description> <character>MATT</character> <dialogue>Mexico.</dialogue> <character>WHEELER</character> <dialogue>You gotta be fucking kidding me --</dialogue> <character>MATT</character> <dialogue>Not the government. Cartels.</dialogue> <character>WHEELER</character> <dialogue>Treasury cutting the checks?</dialogue> <character>MATT</character> <dialogue>... Through a company out of Brazil called Rio Oso.</dialogue> <scene_description>Wheeler shakes his head.</scene_description> <character>WHEELER</character> <dialogue>Great, so I'm the one who goes to prison when this shit hits CNN.</dialogue> <character>MATT</character> <dialogue>This is a name your price gig, Andy. This is your grandkids sitting in the backyard of their Nantucket summer home making smores and wondering how grandpa got so fucking rich ...</dialogue> <scene_description>Wheeler sits back.</scene_description> <character>WHEELER</character> <dialogue>I supply weaponry, manpower --</dialogue> <character>MATT</character> <dialogue>Everything.</dialogue> <character>WHEELER</character> <dialogue>For how long?</dialogue> <character>MATT</character> <dialogue>Don't know. A while ...</dialogue> <scene_description>Wheeler almost falls out of his chair with worry.</scene_description> <character>WHEELER</character> <dialogue>If it's constant action I'm 10 mil a month in payroll and supplies. At least.</dialogue> <scene_description>Matt doesn't disagree.</scene_description> <character>WHEELER</character> <dialogue>I want 150 over cost and immunity. If you're done in a week I still want 150.</dialogue> <character>MATT</character> <dialogue>I'll do immunity for you but operators are on their own.</dialogue> <character>WHEELER</character> <dialogue>Will you be with them?</dialogue> <character>MATT</character> <dialogue>Every step.</dialogue> <scene_description>Offers his hand.</scene_description> <character>WHEELER</character> <dialogue>Get me a requisition list. Fund me first.</dialogue> <character>MATT</character> <dialogue>Done ... Congratulations, you can afford a hockey team.</dialogue> <scene_description>Matt stands.</scene_description> <character>MATT</character> <dialogue>I need thumpers, Andy. NO foreigners. Guys from Delta, Dev Group, SF. I need Pipe hitters who are believers and don't ask questions.</dialogue> <scene_description>Matt turns and walks out.</scene_description> </scene> <scene> <stage_direction>EXT. SHORELINE -- PACIFIC OCEAN -- COLOMBIA -- MORNING.</stage_direction> <scene_description>A MAN stands waist-deep in the surf with his back to CAMERA. The receding tide rushes over the man's navy slacks to his shirt causing the cotton to wrap his frame like cellophane. CAMERA FINDS THE MAN'S FACE AS HE RAISES IT TO THE SKY -- THE MAN IS ALEJANDRO. He closes his eyes and bathes his face in sunshine. The muscles in Alejandro's neck tighten. His lip curls. His eyes open. He looks down ... We hear SPLASHING and the panicked gasps of a man trying not to drown. Only now do we see -- Alejandro is holding someone under the water. He lets the drowning man catch his breath. Barely. Pushes him back under. Looks out, lost in though. CAMERA WATCHES FROM THE BEACH -- Alejandro stands in the ocean to his belly and returns his face to sun ...</scene_description> </scene> <scene> <stage_direction>EXT. PORT OF SHAYKH UTHMAN -- YEMEN -- DAY. \*</stage_direction> <scene_description>A SEMI DRIVES ACROSS THE BRIDGE TO PORT, HAULING RAIL ROAD \* CARS ON A 40 FOOT LONG FLAT BED -- pale, blue water sits \* still as bath water. THE NOON PRAYER ECHOES OVER LOUD \* SPEAKERS ... \* The semi reaches dry ground and stops at a guard shack. A \* YEMENI NAVY SOLDIER approaches the driver-side window. \*</scene_description> <character>YEMENIS SOLDIER \*</character> <dialogue>As-Salaam-Alaikam. \*</dialogue> <character>TRUCK DRIVER \*</character> <dialogue>Wa-Alaikam-Salaam. \*</dialogue> <scene_description>The truck driver hands him paperwork. Soldier looks it over. \* Looks up and mood grows very serious. \*</scene_description> <character>YEMENI SOLDIER (SUBTITLE) \*</character> <dialogue>Which one? \*</dialogue> <character>TRUCK DRIVER (SUBTITLE) \*</character> <dialogue>Bottom car in the rear. \*</dialogue> <scene_description>The soldier walks to the rear of the railcar. Looks at the \* INSPECTION STICKER. Which has been CUT OPEN. He climbs up and \* peels it off ... \* The driver watches the soldier as returns to his guard shack, \* then emerges with a NEW SECURITY STICKER, peels it, sticks it \* to the door and bends it around the opening. \* Nods at the truck driver as he walks to the guard shack. The \* driver pulls into the loading yard -- thousands of railcars \* waiting for rides to parts unknown ... \*</scene_description> </scene> <scene> <stage_direction>EXT. BEACH -- SOUTH OF CARTAGENA -- DAY. \*</stage_direction> <scene_description>Back with Alejandro, holding a man under water. Face to the \* sun, somehow able to focus fully on the task at hand while \* escaping to someplace else. \* He lets the man up. Coughing, heaving up salt water, and \* sobbing. He looks at Alejandro with the pleading eyes of a \* man whose will has been broken. \*</scene_description> <character>MAN \*</character> <dialogue>Colonel Guteman ... He told them \* you are here ...(Begs) Please. I \* have children. \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>Who doesn't. \*</dialogue> <character>MAN \*</character> <dialogue>I'm the one who warned you!!! \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>You knew because the Colonel \* trusted you. Because you drink from \* their well too ... \*</dialogue> <scene_description>Alejandro lets the man up and pushes him toward the shore. We \* now see the man wears a MILITARY UNIFORM. He walks ahead of \* Alejandro, looking back. \* The man makes a half-hearted attempt to attack Alejandro, who \* pushes and spins him like a defiant child. \* They walk a few steps and the man tries it again. Alejandro \* appears only half-committed to the sloppy assault. Alejandro \* slaps the man across the face, then pushes him forward, \* slapping the back of his head as he does. \* They reach a stump where Alejandro's linen coat rests. \*</scene_description> <character>ALEJANDRO (CONT'D) \*</character> <dialogue>Sit down. \*</dialogue> <character>MAN \*</character> <dialogue>Why? \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>Can't walk back like this. We need \* to dry. \*</dialogue> <scene_description>They sit back and bathe in the sun. The man is uncomfortable, \* kidnapper and captive lounging on the shore. He considers \* running. Considers fighting him again. Settles on resting his \* tired back against the stump. \*</scene_description> <character>MAN \*</character> <dialogue>What will you do with me? \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>I'm not sure yet. \*</dialogue> <scene_description>Beat. \*</scene_description> <character>MAN \*</character> <dialogue>What will you do with the Colonel? \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>Nothing. I just wanted to know ... \*</dialogue> </scene> <scene> <stage_direction>INT. HOUSE -- MCCALLEN, TEXAS -- MORNING.</stage_direction> <scene_description>Miguel sits on his bed tying his shoes in a room that is \* uniquely American -- J.J. WATT POSTER on one wall, AVENGERS poster on another. A PLAYSTATION is tethered to a small television. Clothes and toys and shoes make up the detritus that covers the floor. Like his room, Miguel has given effort to look just as American -- Nice new jeans. Nikes. BEATS around his neck. \* Shoes tied, Miguel grabs his book bag and heads for the door. He walks the hall to a simple kitchen/breakfast room. The \* place is small and well kept. His mother, BLANDINA(35) crams \* sandwiches in sacks as a small army of children funnel into \* the room, Miguel being the oldest. She hands a sack to Miguel, his 9 year old-brother, and his 7 \* year-old sister. Blandina kisses the young ones. Looks at Miguel. Speaks in Spanish.</scene_description> <character>BLANDINA</character> <dialogue>You home by three?</dialogue> <character>MIGUEL</character> <dialogue>Have to stay late for science fair. \*</dialogue> <character>BLANDINA</character> <dialogue>Want me to pick you up?</dialogue> <character>MIGUEL</character> <dialogue>I'll take the bus. Love you.</dialogue> <scene_description>Kisses him too. Miguel walk out the door, his young siblings following behind like ducklings.</scene_description> </scene> <scene> <stage_direction>EXT. MCCALLEN, TEXAS NEIGHBORHOOD -- MOMENT LATER.</stage_direction> <scene_description>Neighborhood is working class -- just north of poor. But there is pride in the manner the houses are kept. Miguel walks his siblings down the street to an ELEMENTARY SCHOOL. The siblings dart for the front door, joining dozens more doing the same thing. Miguel keeps walking to a BUS STOP filled with teenagers on \* the precipice of adulthood. Miguel falls in with them -- talking. Laughing ... SCHOOL BUS pulls up, obscuring the teens from view. Can HEAR them filter on the bus. HEAR THE BUS DOOR CLOSE. Then watch as the school bus coughs a cloud of smoke and drives off, \* leaving Miguel alone on the bench ... \* A GREEN CAMARO pulls to a stop in front of Miguel. He stands \* and gets in ...</scene_description> </scene> <scene> <stage_direction>INT. CAMARO -- CONT.</stage_direction> <scene_description>HECTOR(30), chubby cheeks. Sunglasses. Dressed more like a gym teacher than what he is sucks on a cigarette as NARCO- \* CORRIDOS MUSIC PLAYS -- sounds like a mix between hip hop and \* polka. Angry lyrics shouted in Spanish as the deep thump of bass and an accordion give the music a sound that can only be described as festive violence. He offers Miguel a cigarette. Miguel doesn't smoke. He takes it anyway ...</scene_description> </scene> <scene> <stage_direction>EXT. INTERSTATE 2 -- MCCALLEN, TX -- CONT.</stage_direction> <scene_description>The Camaro heads east, past Wal Marts and PETCOS. Then TRUCK \* STOPS, then past nothing at all ... Continues out into the scrub land, exits the highway to a two- lane road. From the two-lane road to a dirt road. Stops \* beside an old HONDA. Hector hands Miguel a set of car keys. \*</scene_description> <character>HECTOR</character> <dialogue>Drive it to the mall. Leave the keys inside. Then go to the bathroom in Starbucks and see what's waiting for you ...</dialogue> <scene_description>Miguel opens the door and gets out ...</scene_description> </scene> <scene> <stage_direction>INT. HONDA CIVIC -- LATER.</stage_direction> <scene_description>Back on INTERSTATE 2. Miguel drives east, sitting on his BOOK BAG so he can see over the steering wheel. Exits the highway \* and pulls to a stop in a SHOPPING CENTER PARKING LOT. Puts the keys under the seat. Walks to a STARBUCKS. Goes inside. \* Sees a young man wearing a SAN FRANCISCO '49ERS HAT. The man stands and walks to the bathroom. Goes inside. Miguel waits outside the door until the young man walks out, then walks in the bathroom himself. He walks to the sink, looks at a BROWN PAPER BAG in it. Opens \* the bag -- must be a thousand dollars inside. Stuffs the \* money in his pocket and walks out. Walks to the nearest \* barista as he orders an UBER on his cellphone. Looks at the \* BARISTA -- a lanky college kid.</scene_description> <character>BARISTA</character> <dialogue>What can I get you?</dialogue> <character>MIGUEL</character> <dialogue>Venti latte with an extra shot.</dialogue> <character>BARISTA</character> <dialogue>... Really. Know how much caffeine's in that?</dialogue> <scene_description>Miguel pulls out a hundred, crams it in the tip jar.</scene_description> <character>MIGUEL</character> <dialogue>Just give me the fucking drink.</dialogue> <scene_description>The barista does as he's told. Miguel watches him, feeling like a man. Like a gangster ...</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE PATH -- COLOMBIA -- DAY. \*</stage_direction> <scene_description>Alejandro and the man walk along a two track road through a field of sugar cane.</scene_description> <character>MAN</character> <dialogue>If you tell they will kill me ... And my family.</dialogue> <character>ALEJANDRO</character> <dialogue>Don't give me a reason.</dialogue> <scene_description>Beat.</scene_description> <character>MAN</character> <dialogue>How do I avoid that?</dialogue> <character>ALEJANDRO</character> <dialogue>By telling me the truth without having to drown you.</dialogue> <scene_description>They come around a bend and we see -- A COLOMBIAN MILITARY BASE. Structures built in rows. Humvees, one after the other, parked neatly in front. Soldiers move about. Colombia may be corrupt, but they are orderly about it. None of the filth and chaos of northern Mexico. They have been at it much longer, with battle lines very clearly drawn. The man turns to Alejandro --</scene_description> <character>MAN</character> <dialogue>So ... That's it, then?</dialogue> <scene_description>Alejandro nods.</scene_description> <character>MAN</character> <dialogue>I don't understand you.</dialogue> <scene_description>Alejandro offers him a polite smile.</scene_description> <character>ALEJANDRO</character> <dialogue>If you're lucky you never will.</dialogue> <scene_description>The man walks away, turning back occasionally to see if he is truly free. Alejandro turns in another direction, spots THREE US MARINE HUMVEES, EIGHT MARINES BESIDE THEM. Matt stands in front. They walk toward each other.</scene_description> <character>ALEJANDRO</character> <dialogue>I can't stay here. They have the \* colonel.</dialogue> <character>MATT</character> <dialogue>Not to worry. I have somewhere for \* you to be. \*</dialogue> <scene_description>Alejandro looks over the Marines.</scene_description> <character>ALEJANDRO</character> <dialogue>Why so many?</dialogue> <character>MATT</character> <dialogue>Don't want anything to happen to you on the way to the airport.</dialogue> <character>ALEJANDRO</character> <dialogue>Where are we going?</dialogue> <character>MATT</character> <dialogue>To keep my promise.</dialogue> <scene_description>Alejandro's kind, hollow eyes almost show emotion.</scene_description> <character>ALEJANDRO</character> <dialogue>What did they do ...</dialogue> <character>MATT</character> <dialogue>Doesn't matter. No rules this time. I'm going to turn you loose.</dialogue> <character>ALEJANDRO</character> <dialogue>How loose?</dialogue> <scene_description>Matt smiles.</scene_description> <character>MATT</character> <dialogue>Carlos Reyes. You get to kill the king. How's that for loose?</dialogue> <scene_description>Alejandro stands for a moment. Closes his eyes as the tiniest hint of a smile curls his lips.</scene_description> <character>ALEJANDRO</character> <dialogue>Thank you.</dialogue> </scene> <scene> <stage_direction>EXT. AIRFIELD -- NORTHEAST UTAH -- NIGHT. \*</stage_direction> <scene_description>ASPHALT FILLS THE FRAME. STRETCHES OUT FOR 7500 FEET UNDER A MOONLESS NIGHT. Surrounding the asphalt -- sagebrush. In the black sky above, the faint lights of an approaching plane. RUNWAY LIGHTS BLAST THE WORLD IN A WHITE LIGHT, ILLUMINATING A RUNWAY THAT COULD ACCOMMODATE A 747. Plane gets closer. Closer. Jet engines scream toward us. Gets lower. Closer. Tires screech. Jet rolls right toward CAMERA until it comes to a stop, front wheels filling the frame ... ANOTHER ANGLE -- Though nothing exists but sagebrush to the south, to the north is an almost endless series of AIRPLANE HANGARS AND WAREHOUSES. Alejandro and Matt step from the Gulfstream. Alejandro looks to the sky -- stars look different this far north. He exhales, and perhaps for the first time in his life -- he can see his breath.</scene_description> <character>MATT</character> <dialogue>Little nippy in the new Zion, huh?</dialogue> <scene_description>He exhales again and watches the condensation move like smoke into the night with almost childlike fascination.</scene_description> <character>ALEJANDRO</character> <dialogue>I'll need a coat.</dialogue> <character>MATT</character> <dialogue>Won't be here that long. Just \* loading a team and switching \* planes.</dialogue> <scene_description>The runway lights disappear and they are bathed in the dim hue of halogen bulbs. Alejandro sees a BOEING 707 at the far end of the runway. MEN walk around the plane, doing a pre- flight check. WHEELER walks toward them. \* Hands are shook, then Matt and Alejandro follow him into the \* hangar. CAMERA FOLLOWS RIGHT BEHIND ALEJANDRO. As he enters the hangar, he sees ROW AFTER ROW OF PICNIC TABLE COVERED IN GEAR. Notices at least fifty men rummaging through it, filling out paperwork, assembling weapons. Before long, they are all looking at him ... He shifts his focus to the belly of the hangar, where PREDATOR DRONES, HUEY HELICOPTERS, AND APACHE HELICOPTERS SIT IN NEAT ROWS ... Wheeler stops, turns to Matt and Alejandro.</scene_description> <character>WHEELER</character> <dialogue>Cherry pick through the gear -- you paid for it.</dialogue> <character>MATT</character> <dialogue>You got a kitchen? \*</dialogue> <scene_description>Wheeler points to the far wall -- a BUFFET IS SET UP COMPLETE WITH MEN DRESSED IN CHEFS HATS. ONE CHEF STANDS BEHIND A CARVING STATION. FIFTY POUND PRIME RIB BEFORE HIM. Matt heads right for it.</scene_description> <character>MATT</character> <dialogue>I like your style, Andy.</dialogue> <character>WHEELER</character> <dialogue>I always send them off with a full \* belly. Who knows when they'll fill it again.</dialogue> <scene_description>Matt grabs a plate and stands before the carving station.</scene_description> <character>CHEF</character> <dialogue>How do you like your steak, sir?</dialogue> <character>MATT</character> <dialogue>Just cut off a chunk, whisper 'fire', and toss it on the plate.</dialogue> <scene_description>Chef plops a bloody mass of meat on Matt's plate.</scene_description> <character>WHEELER</character> <dialogue>Give me a location and I'll get the heavy gear in the air.</dialogue> <character>MATT</character> <dialogue>Naval air station in Corpus Christie.</dialogue> <character>WHEELER</character> <dialogue>... I'll need clearance for that.</dialogue> <character>MATT</character> <dialogue>Ralph-Niner-Tango-Zero-Zero.</dialogue> <character>WHEELER</character> <dialogue>Thought this thing was off the reservation.</dialogue> <character>MATT</character> <dialogue>The whole world's our reservation \* now, buddy. Briefing room? \*</dialogue> <scene_description>Wheeler points to a door. As Matt walks toward it, Wheeler shouts at the contractors. \*</scene_description> <character>WHEELER</character> <dialogue>Make your way to the briefing room, \* gentlemen.</dialogue> <scene_description>Contractors file toward the briefing room door. Wheeler heads for the hangar doors looking for stragglers, see Alejandro across the runway, looking down at a patch of snow. Walks to him, looks down and sees -- A RATTLESNAKE FROZEN IN THE SNOW ...</scene_description> <character>WHEELER</character> <dialogue>Been in the 70s for weeks, but \* winter had one storm left in her. \* Caught him with his pants down. \*</dialogue> <scene_description>Alejandro just stares. \*</scene_description> <character>WHEELER</character> <dialogue>It's a Western Diamondback. Nasty fuckers.</dialogue> <character>ALEJANDRO</character> <dialogue>I'm not looking at the snake.</dialogue> <scene_description>Alejandro presses his shoe into the snow, pulls it back. Looks at the print. Smiles at Wheeler with an almost child- like wonder, then walks back to the hangar, leaving Wheeler alone on the edge of the runway, frozen serpent at his feet.</scene_description> </scene> <scene> <stage_direction>EXT. CARGO SHIP -- ATLANTIC OCEAN -- DAY.</stage_direction> <scene_description>THE HULL OF A MASSIVE SHIP SLICES THROUGH THE OPEN OCEAN ... RAILCAR CONTAINERS are stacked FIFTY-HIGH on the bow. Red, blue, yellow -- they look like GIANT LEGOS snapped into a shapeless mass that stands so tall the ship seems to defy physics by merely staying afloat ... THE SHIP SAILS RIGHT TOWARD CAMERA ... CAMERA RISES. SAILS BETWEEN THE RAIL CARS. Stops INCHES from the door of a railcar stacked 300 feet in the air ... A SOUND leaks from the door. Faint. Rhythmic. Sounds like ARABIC. Sounds like a prayer ...</scene_description> </scene> <scene> <stage_direction>EXT. EDRON ACADEMY -- MEXICO CITY -- DAY.</stage_direction> <scene_description>A BLUE LION ON A WHITE FLAG whips in the breeze. Looks like the battle crest of Richard the First. Which it is ... TEENAGERS SCREAM AND CHEER AS CAMERA PANS DOWN FROM THE FLAG TO A FIGHT ON THE PLAYGROUND. TWO HUNDRED STUDENTS IN PRIVATE SCHOOL UNIFORMS STAND IN A CIRCLE AND CHEER AS TWO GIRLS HOLD EACH OTHER BY THE HAIR AND SLUG EACH OTHER SENSELESS. One is blonde, fair skinned. One \* has hair the color of night and skin like caramel -- her name is ISABEL REYES (16). While the other girl slaps, Isabel \* punches. Hard. The blonde girl quickly forgets why she's fighting in the first place and pushes away. Isabel pulls her back with a handful of hair, right into a fist that sends the girl to her knees. Isabel looks down as sobs emit from the blonde girl.</scene_description> <character>ISABEL</character> <dialogue>Call me that again.</dialogue> <scene_description>Blonde girl just sobs and holds her nose.</scene_description> <character>ISABEL</character> <dialogue>Go ahead. (sends a punch to the top of her head) SAY IT.</dialogue> <scene_description>TEACHERS PUSH THROUGH THE CROWD, WRAP ISABEL IN A BEAR HUG, AND PULL HER AWAY ...</scene_description> </scene> <scene> <stage_direction>INT. HEADMASTER'S OFFICE -- LATER.</stage_direction> <scene_description>Isabel and the Blonde Girl, let's call her MIRANDA(17), sit across from ALAN DEATS(55), BRITISH. Oxford educated. And all that entails ... He looks at Miranda, still half-sobbing. Nose broken. Eye swollen shut. Looks at Isabel -- scratches run the length of her face, but no tears. Not a chance. Eyes filled with indignation.</scene_description> <character>DEATS</character> <dialogue>It's been three years since we've had a fight at this school, and that was on the football field. Between boys.</dialogue> <character>MIRANDA</character> <dialogue>She started it.</dialogue> <scene_description>Miranda speaks with the accent of British royalty.</scene_description> <character>DEATS</character> <dialogue>Isabel?</dialogue> <scene_description>Isabel speaks with an accent that hints at her Mexican heritage.</scene_description> <character>ISABEL</character> <dialogue>She called me a spic and slapped me \* so I hit her. What would you do?</dialogue> <character>DEATS</character> <dialogue>Walk straight to this office and report it. (To Miranda) Is that \* true? \*</dialogue> <character>MIRANDA</character> <dialogue>... I didn't meant it to harm, just \* offend.</dialogue> <scene_description>Deats looks from Isabel's furious eyes to Miranda's battered face.</scene_description> <character>DEATS</character> <dialogue>I'd say you achieved your goal.</dialogue> <scene_description>Deats sits back, exhales a heavy breath.</scene_description> <character>DEATS</character> <dialogue>Why don't we skip to the part where you tell me which boy this is over.</dialogue> <character>MIRANDA</character> <dialogue>She called me a slave-owning pirate in debate class.</dialogue> <character>ISABEL</character> <dialogue>I called her ancestors pirates.</dialogue> <scene_description>Deats studies them.</scene_description> <character>DEATS</character> <dialogue>So, no boy --</dialogue> <character>ISABEL</character> <dialogue>Who would date this skinny bitch?</dialogue> <character>MIRANDA</character> <dialogue>You're such a peasant --</dialogue> <scene_description>Isabel grabs a handful of hair. Deats stands.</scene_description> <character>DEATS</character> <dialogue>HEY. STOP IT. (Points to Miranda). You. Go to the nurse.</dialogue> <scene_description>Miranda stands and walks out. Isabel stands and walks toward the door as well.</scene_description> <character>DEATS</character> <dialogue>You're not going anywhere. Sit. \*</dialogue> <scene_description>She plops down in a chair. Crosses her arms.</scene_description> <character>DEATS</character> <dialogue>What am I going to do with you ...</dialogue> <character>ISABEL</character> <dialogue>She deserved what she got.</dialogue> <character>DEATS</character> <dialogue>It isn't your place to give it. It's mine.</dialogue> <character>ISABEL</character> <dialogue>Fine. You beat the shit out of her. \*</dialogue> <scene_description>Beat.</scene_description> <character>DEATS</character> <dialogue>I should expel you.</dialogue> <scene_description>She looks him dead in the eye -- \*</scene_description> <character>ISABEL</character> <dialogue>Do it.</dialogue> <scene_description>He looks at her and does nothing. Isabel shakes her head, stands and walks to the door.</scene_description> <character>ISABEL</character> <dialogue>Thank you Mr. Deats, for informing me of the school's arbitrary allocation of justice policy.</dialogue> <character>DEATS</character> <dialogue>Do you really think it's fair to hold someone accountable for the actions of their ancestors? Should we hold you accountable for yours? Maybe they were pirates too ...</dialogue> <character>ISABEL</character> <dialogue>My ancestors were slaves. My parents are the pirates.</dialogue> <scene_description>She turns and walks out ...</scene_description> </scene> <scene> <stage_direction>EXT. EDRON ACADEMY -- MEXICO CITY -- DAY.</stage_direction> <scene_description>ENORMOUS IRON GATES SLOWLY OPEN. A LONG LINE OF BLACK SUBURBANS, MERCEDES, AND SUVS, SLOWLY FILE IN ... FROM A SATELLITE'S POV -- VEHICLES pull toward the school's \* front foyer. \* SATELLITE CAMERA ZOOMS CLOSER. CLOSER. UNTIL IT'S POSSIBLE TO SEE RIBBONS IN GIRLS' HAIR ...</scene_description> <character>VOICE</character> <dialogue>Students are coming out.</dialogue> <scene_description>One by one, students climb in vehicles. The vehicle pulls \* forward, and another vehicle pulls up ... A BLACK FORD EXPEDITION PULLS PAST THE LOADING POINT, AND ANOTHER IDENTICAL EXPEDITION PULLS TO A STOP.</scene_description> <character>VOICE</character> <dialogue>This could be our prize.</dialogue> <scene_description>ISABEL'S BLACK HAIR can be seen walking toward the second Expedition. A BLONDE HAIRED MAN exits the passenger vehicle and opens the back door for her.</scene_description> <character>VOICE</character> <dialogue>Alpha, can you confirm target?</dialogue> </scene> <scene> <stage_direction>INT. PENTHOUSE -- MARQUIS HOTEL -- MEXICO CITY -- CONT.</stage_direction> <scene_description>A SPOTTING SCOPE ON A TRIPOD is just inside the balcony. Alejandro looks through the scope as Isabel climbs in the vehicle. Matt sits on the sofa, satellite phone to his ear. TWO CONTRACTORS -- JESSIE(40) and TRAE(36) dressed in jeans and t- shirts sit beside him. There is a relaxed focus to both Jessie and Trae's demeanor -- like they've been doing this very thing for years. Which they have ...</scene_description> <character>ALEJANDRO</character> <dialogue>That's her.</dialogue> <character>MATT</character> <dialogue>(Into phone) Keep eyes on.</dialogue> <character>VOICE</character> <dialogue>Roger that. Prize is in the trail vehicle.</dialogue> <scene_description>Matt hangs up the phone then speaks into a HANDHELD RADIO.</scene_description> <character>MATT</character> <dialogue>Bravo, prize is enroute. 45 mikes to your location.</dialogue> <character>BRAVO (VOICE)</character> <dialogue>We go on your call. \*</dialogue> <character>MATT</character> <dialogue>(Into radio) Take her when you see \* them. We're right behind.</dialogue> <scene_description>Another contractor, JIMMY(35), LATIN AMERICAN, built like an NFL safety, starts breaking down the spotting scope and packing it away.</scene_description> <character>JIMMY</character> <dialogue>It would be a lot easier doing this at the house. Could get real sloppy on the road.</dialogue> <character>ALEJANDRO</character> <dialogue>Sloppy is why they'll think a cartel did it.</dialogue> <scene_description>Alejandro stands and the men move toward the door.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY SOUTH OF MEXICO CITY -- LATER.</stage_direction> <scene_description>TWO BLACK EXPEDITIONS race down the highway ...</scene_description> </scene> <scene> <stage_direction>INT. ISABEL'S EXPEDITION -- CONT.</stage_direction> <scene_description>Isabel sits in the back seat, fiddling on an IPAD. Riding shotgun is CARSON(38), curly, reddish-blonde hair that is cropped close. His eyes scan every inch of terrain out the window -- Though they have left the city behind, commerce is still \* everywhere -- each intersection has someone sitting under a \* cheap umbrella selling fruit. Selling vegetables. Selling something ... A VEHICLE passes them on the right. Carson barks into his radio in pretty decent Spanish.</scene_description> <character>CARSON (SUBTITLE)</character> <dialogue>You guys on break up there? Let's go. No one passes us.</dialogue> <scene_description>The lead vehicle accelerates. They crest a rise and below them is a giant lake. They come to an exit and take it. As they go right, all traffic keeps left. All but another SUV. \* FROM ABOVE -- The SUVS wind down an empty road. Mountains invade the \* horizon. Looks more like Colorado than anyone's idea of Mexico ... Carson sees the SUV behind them. Looks at the driver. \*</scene_description> <character>CARSON (SUBTITLE)</character> <dialogue>Vehicle behind us.</dialogue> <character>DRIVER (SUBTITLE)</character> <dialogue>It's just one and it isn't hiding.</dialogue> <character>CARSON (SUBTITLE)</character> <dialogue>Where's it going?! There's nothing up this road but us ...</dialogue> <scene_description>Speaks into a hand-held radio.</scene_description> <character>CARSON</character> <dialogue>Any appointments or deliveries scheduled for this afternoon?</dialogue> <character>VOICE</character> <dialogue>Nada, senor. \*</dialogue> <scene_description>The road climbs in elevation, then levels off and the \* mountains of southern Mexico come fully into view. Carson looks back at the vehicle following them, then at Isabel, who is immersed in her IPAD. Carlos forces a smile.</scene_description> <character>CARLOS</character> <dialogue>About ten minutes, okay?</dialogue> <scene_description>She looks up, smiles.</scene_description> <character>ISABEL</character> <dialogue>I know. I just lost my connection.</dialogue> <scene_description>Carson looks at his cellphone -- no service here. Carson studies everything -- every instinct warning him something is \* coming. Carson barks into his RADIO.</scene_description> <character>CARLOS</character> <dialogue>Faster.</dialogue> <scene_description>The Expeditions rush forward, leaving the SUV behind ... \* Carson looks ahead and sees the carcass of A DEAD GOAT on the \* side of the road. Screams into his two-way radio -- \* ON THE RIGHT!!!! As the lead vehicle passes the goat's carcass, IT EXPLODES, blasting the vehicle onto its side. The driver locks the brakes. Almost slams into the burning hull of the lead vehicle. BACK BACK BACK!!! Driver slams it in reverse, jams the accelerator and sends the Expedition screaming and bouncing its way backward ... \* The SUV following them rushes forward and slams into the rear of the vehicle. Isabel is thrust to the floorboard. Carson's face is hammered into the deployed AIRBAG AS IS THE DRIVER. Carson shakes it off and thrusts open his door, then yanks open the rear door and pulls Isabel out by her arm.</scene_description> </scene> <scene> <stage_direction>EXT. ROAD TO ISABEL'S HOUSE -- CONT.</stage_direction> <scene_description>MEN WEARING MASKS AND CARRYING ASSAULT RIFLES APPEAR FROM THE \* FOREST, FROM THE SUV THAT SLAMMED INTO THEM, FROM EVERYWHERE. THE MAN IN THE OVERTURNED VEHICLE STANDS THROUGH HIS SMASHED \* SIDE WINDOW, RAISES A WEAPON TOWARD THE ONCOMING MEN. A RIFLE ROUND pierces his forehead and he disappears back into the overturned vehicle in an instant. Both vehicles are surrounded. Carson shields Isabel with his body, swinging a PISTOL from one assailant to the next ... One masked man walks close. Speaks. We recognize the voice -- \*</scene_description> <character>MATT</character> <dialogue>Tranquillo, jefe. Tira la pistola.</dialogue> <scene_description>Carson doesn't answer, just keeps swinging his pistol from one target to the next ... The driver of Carson's SUV slowly gets out, face battered by the air bag, hands held high -- takes one look at the rifles pointed at him and lays face-down on the pavement. One of the 'soldiers' pulls the driver's arms behind his body and ZIP-TIES them tight. A CONTRACTOR looks in the overturned vehicle -- sees the crumpled body of the man he just shot, and that vehicle's driver, dead from the crash.</scene_description> <character>CONTRACTOR</character> <dialogue>Vehicle one is clear.</dialogue> <scene_description>Carson's eyes dart to the masked man who just SPOKE IN PERFECT ENGLISH.</scene_description> <character>CARSON</character> <dialogue>Are you fucking Americans?!</dialogue> <scene_description>One of the contractors stares at Carson then walks to Matt, whispers in his ear.</scene_description> <character>CONTRACTOR</character> <dialogue>I know him. Carson Wright. Was a Marine sniper. Works for Haliburton \* now.</dialogue> <scene_description>Matt pulls off his mask, smiles.</scene_description> <character>MATT</character> <dialogue>I guess Haliburton stopped vetting clients.</dialogue> <character>CARSON</character> <dialogue>Don't know about that. All I know is this is where they sent me.</dialogue> <character>CARSON</character> <dialogue>You don't like it you can take it up with my boss DICK FUCKING CHENEY!!!</dialogue> <character>MATT</character> <dialogue>Look buddy, we're on a clock. We gotta get her on the road. \*</dialogue> <character>CARSON</character> <dialogue>Oh, okay. How about: YOU GOT A FUCKING WARRANT?! I DON'T KNOW YOU.</dialogue> <scene_description>Another mask is pulled off -- it's Jimmy.</scene_description> <character>JIMMY</character> <dialogue>We gotta take her, man.</dialogue> <scene_description>Carson looks into a face he's known for years.</scene_description> <character>MATT</character> <dialogue>You've got to be fucking kidding me, Jimmy. What is this?!</dialogue> <scene_description>Alejandro -- still in full mask -- slips around the side of the vehicle. Carson feels it and tries to swing around, but Alejandro has a rifle to his temple before he can turn around.</scene_description> <character>ALEJANDRO</character> <dialogue>She's not yours to keep.</dialogue> <scene_description>Men descend on him, take his pistol, zip-tie his hands, and guide him to his knees then on his belly.</scene_description> <character>TRAE</character> <dialogue>Easy, bud. Let us do what we do.</dialogue> <scene_description>Isabel is hurried toward TWO SUBURBANS that pull onto the road from the forest. Contractors back their way toward the Suburbans, climb in. Matt looks at Alejandro and points toward Carson and the other security guards.</scene_description> <character>MATT</character> <dialogue>They'll say it was us.</dialogue> <scene_description>Alejandro walks to them.</scene_description> <character>ALEJANDRO</character> <dialogue>If you say it was Federal police who took her, he might let you live.</dialogue> <character>ALEJANDRO</character> <dialogue>If you say it was us, he'll think you're lying. You know what happens next.</dialogue> <scene_description>Alejandro walks to one of the Suburbans, climbs in the front passenger seat. Matt follows ... \*</scene_description> <character>CARSON</character> <dialogue>You're gonna fucking leave me here?! You know what they're going to do??!!</dialogue> <character>MATT</character> <dialogue>It's a dangerous job. That's why it pays so well.</dialogue> <scene_description>Matt looks back at Carson.</scene_description> <character>MATT</character> <dialogue>Doesn't look like you put up much of a fight though. Might want to do something about that ...</dialogue> <scene_description>Matt climbs in the backseat of the Suburban beside a terrified Isabel. \*</scene_description> <character>MATT</character> <dialogue>(to the driver) Let's go. \*</dialogue> <scene_description>The Suburban accelerates. Matt looks at Isabel, smiles.</scene_description> <character>MATT</character> <dialogue>You're safe. You aren't being kidnapped. This is an extraction. We're here to protect you.</dialogue> <scene_description>Matt digs in a gear bag and pulls out a water bottle. Offers it to her. The offer seems to calm her a little -- she takes the bottle. \* Alejandro turns and looks back at her.</scene_description> <character>ALEJANDRO</character> <dialogue>He's lying. It's a kidnapping.</dialogue> <scene_description>Alejandro takes the water from her, drinks it himself.</scene_description> </scene> <scene> <stage_direction>EXT. ROAD TO ISABEL'S HOUSE -- CONT.</stage_direction> <scene_description>Carson and the driver lay face down on the road. The driver looks at Carson with panic.</scene_description> <character>DRIVER</character> <dialogue>What do we do?</dialogue> <scene_description>Carson was thinking the same thing. Draws his head back and slams himself face-first into the asphalt, shattering his nose and splitting his lip. Unsure that will convince his boss he put up a good enough fight, he does it again. The driver watches him, then pounds his face into the pavement as well ...</scene_description> </scene> <scene> <stage_direction>EXT. AIRFIELD -- CUERNA VACA, MEXICO -- LATER.</stage_direction> <scene_description>The trio of SUVs pull toward the guard gate OF AN AIRFIELD. \* Two MEN IN SUITS step out of a LINCOLN. The SUVs stop as the men approach the driver-side window of the lead vehicle. ALBERTO(35), MEXICAN-AMERCAN, wears a suit and holds up his DEA BADGE as they reach the window. Window rolls down. \*</scene_description> <character>ALBERTO</character> <dialogue>Who's Matt?</dialogue> <character>MATT</character> <dialogue>Right here. What's waiting for us in the guard shack?</dialogue> <character>ALBERTO</character> <dialogue>Private security. Not an issue. (He looks in the back seat) Where's the prize?</dialogue> <scene_description>Peers in and sees Isabel staring at him. Shakes his head.</scene_description> <character>ALBERTO</character> <dialogue>Jesus Christ. I can't believe they approved this.</dialogue> <scene_description>Matt smiles.</scene_description> <character>ALBERTO</character> <dialogue>Anyone sees her face and this house of cards falls down. You have gear?</dialogue> <character>MATT</character> <dialogue>Dumped it.</dialogue> <character>ALBERTO</character> <dialogue>We're going straight to the plane. Don't worry about the vehicles. We'll take care of them.</dialogue> <scene_description>Alberto walks back to his car. Climbs in. Alberto's Lincoln pulls out. The SUVs follow. Past the guard gate and right onto the runway toward a waiting GULFSTREAM. \* Matt, Alejandro, Isabel and two dozen contractors pile out of vehicles and walk to the waiting plane, its engines already \* screaming to get the hell out of here ...</scene_description> </scene> <scene> <stage_direction>EXT. NAVAL AIR STATION -- CORPUS CHRISTIE, TX -- LATER.</stage_direction> <scene_description>GULFSTREAM skids to a stop on the runway. WATCH FROM A \* DISTANCE as Matt, Alejandro and the rest of the team walk off the plane and are met by THE COMPANY COMMANDER.</scene_description> <character>COMPANY COMMANDER</character> <dialogue>That bird's for you.</dialogue> <scene_description>Company Commander points toward a waiting US NAVY SH-60 SEAHAWK HELICOPTER.</scene_description> <character>MATT</character> <dialogue>Where am I going?</dialogue> <character>COMPANY COMMANDER</character> <dialogue>JSOC wants you on the New York. Lot \* of civilians on this base -- too hard to keep secrets.</dialogue> <character>MATT</character> <dialogue>How long's the flight?</dialogue> <character>COMPANY COMMANDER</character> <dialogue>14 kilometers. You'll be on deck in five minutes.</dialogue> <scene_description>Alejandro looks at Isabel.</scene_description> <character>ALEJANDRO</character> <dialogue>Look at all the trouble we must go through for you.</dialogue> <scene_description>She has absolutely no idea what he is talking about. Matt \* ushers his team toward the helicopter. They climb on and the chopper rises ...</scene_description> </scene> <scene> <stage_direction>EXT. SKY ABOVE HELICOPTER -- CONT.</stage_direction> <scene_description>CAMERA looks down on the helicopter as it flies over a small taste of the US military's might -- row after row of FIGHTER JETS give way to row after row of HELICOPTERS, then a shopping mall-sized parking lot of HUMVEES, ARMORED PERSONNEL CARRIERS, AMPHIBIOUS ASSAULT VEHICLES ...</scene_description> </scene> <scene> <stage_direction>INT. SEAHAWK HELICOPTER -- CONT.</stage_direction> <scene_description>Isabel looks down over this array of weaponry.</scene_description> <character>MATT \*</character> <dialogue>You're doing really good. Once we land we'll get you something to eat, how's that sound?</dialogue> <scene_description>Her eyes shift from Matt to Alejandro.</scene_description> <character>ISABEL</character> <dialogue>You told me the truth -- this is a kidnapping.</dialogue> </scene> <scene> <stage_direction>EXT. SKY ABOVE HELICOPTER -- CONT.</stage_direction> <scene_description>The Seahawk helicopter soars over AN ENDLESS EXPANSE OF CIRCULAR OIL TANKS THE SIZE OF BASEBALL STADIUMS. From this point of view it looks like God dropped thousands of giant, rusted coins from the heavens ... The Chopper soars over CORPUS CHRISTIE BAY over BATTLESHIPS and DESTROYERS and OIL TANKER AFTER OIL TANKER ... IN THE DISTANCE -- an empty ocean where only ONE SHIP FLOATS. \* THE USS NEW YORK is a SAN ANTONIO CLASS WARSHIP. Used for launching air assaults and landing troops. It is almost 700 feet long and looks much more like a sleek, floating city than an instrument of war ... The chopper approaches and lands in a large red circle. Chopper doors open ...</scene_description> </scene> <scene> <stage_direction>EXT. FLIGHT DECK -- USS NEW YORK -- CONT.</stage_direction> <scene_description>As Isabel steps from the chopper, she takes in the swirling activity everywhere -- MARINES JOG BY IN PLATOONS IN FULL BATTLE GEAR, SAILORS MOVE TO AND FRO EVERYWHERE, all staring at her. She feels alarmingly exposed in the navy skirt and white blouse of her school uniform. LIEUTENANT COMMANDER WILLET(35) walks to them. Looks like he was starched into his uniform. Piercing eyes bore into Matt.</scene_description> <character>WILLET</character> <dialogue>Who's Graver?</dialogue> <character>MATT</character> <dialogue>You're talking to him, buddy.</dialogue> <scene_description>Willet's eyes move over Isabel. Notices the welt under her cheek, a torn button on her blouse, and splatters of blood around the collar.</scene_description> <character>WILLET</character> <dialogue>What happened to her?</dialogue> <scene_description>Matt actually looks at Isabel for the first time.</scene_description> <character>MATT</character> <dialogue>Don't know. Like that when we picked her up.</dialogue> <scene_description>Willet isn't buying it.</scene_description> <character>ISABEL</character> <dialogue>Got in a fight at school.</dialogue> <character>WILLET</character> <dialogue>A fight ... At school.</dialogue> <scene_description>Beat.</scene_description> <character>ISABEL</character> <dialogue>You should see the other girl.</dialogue> <scene_description>Willet's eyes shift back to Matt.</scene_description> <character>WILLET</character> <dialogue>Chow's done at 1900. If your team hurries they can grub. (Looks at the contractors) Ladderwell down two decks then aft. Follow your nose from there.</dialogue> <scene_description>The contractors walk off. Willet shifts eyes back to Matt.</scene_description> <character>WILLET</character> <dialogue>A JCU unit has comms and eyes up for you three decks down. Room 220. Rooms 216 to 226 are yours. Leave them like you found them.</dialogue> <character>MATT</character> <dialogue>Pleasure doing business with you. Have someone bring food down.</dialogue> <character>WILLET</character> <dialogue>I just told you where chow is. Get it yourself.</dialogue> <scene_description>Willet steps close.</scene_description> <character>WILLET</character> <dialogue>This ain't no outpost in Peshwar, this is the goddam USS New York. You will follow our rules to the letter. And if she gets in another 'schoolfight' I'll toss your whole \* team in the drink. You read me?</dialogue> <character>MATT</character> <dialogue>Let me educate you on the chain of command, sailor. I'm the top of it. Bring food down.</dialogue> <scene_description>Matt looks over the bow of the ship.</scene_description> <character>MATT</character> <dialogue>Must be nice watching us fight wars from this yacht.</dialogue> <scene_description>Isabel looks back at Willet as Alejandro guides her toward the door that leads to the bowels of this vessel, Matt following behind ...</scene_description> </scene> <scene> <stage_direction>INT. J.C.U. COMMAND CENTER -- USS NEW YORK -- LATER.</stage_direction> <scene_description>Matt stares at a LARGE TV MONITOR hooked to a SERIES OF COMPUTERS as he eats his dinner from a 'to go box'.</scene_description> <character>MATT</character> <dialogue>Walk me through what I'm watching.</dialogue> <scene_description>A J.C.U. (Joint Communications Unit) SPECIALIST(24), looks like the baby that he is, turns his attention from the COMPUTER MONITORS in front of him.</scene_description> <character>JCU SPECIALIST</character> <dialogue>This is a map of Mexico in 100 mile grids. You took the subject here.</dialogue> <scene_description>Points to a YELLOW DOT ON THE MAP, forty miles south of Mexico City.</scene_description> <character>JCU SPECIALIST</character> <dialogue>This area here near Puerta Vallarta is the last known location of Carlos Reyes.</dialogue> <scene_description>STEVE FORSING reclines in a chair, leans forward toward Matt. \*</scene_description> <character>FORSING \*</character> <dialogue>Speculation is Reyes has a residence somewhere in the vicinity of Monterrey.</dialogue> <character>JCU SPECIALIST</character> <dialogue>What we're hoping for is a call from the residence outside Mexico City to start a trail.</dialogue> <character>MATT</character> <dialogue>Mexican police respond yet?</dialogue> <character>JCU SPECIALIST</character> <dialogue>They're all over it. State and Federal police are there now. But the only number NSA has is the land line. Need a call out from the residence to start tracking.</dialogue> <character>FORSING \*</character> <dialogue>(To JCU) No one's going to call \* from the home phone, satellite can't pick up cell chatter? \*</dialogue> <character>JCU SPECIALIST \*</character> <dialogue>(Shakes his head) We can lock coordinates to the cell and snag the phone number, but we can't hear the call ... But once we have initial contact, we can track all calls in and out. Those calls will lead to the principal. Then all calls will revolve around that number. We'll pin them on the map. They'll swirl around the center. And the center is your target.</dialogue> <character>MATT</character> <dialogue>Give me the house in Mexico City.</dialogue> <scene_description>The JCU punches a button and SATELLITE FOOTAGE OF THE MANSION WEST OF MEXICO CITY FILLS THE FRAME ... POLICE VEHICLES FILL THE DRIVEWAY. OFFICERS MILL ABOUT EVERYWHERE ... Matt looks at Jeff.</scene_description> <character>MATT</character> <dialogue>Any family at the house?</dialogue> <character>FORSING \*</character> <dialogue>Just staff we think. We have eyes on the mother in LA, she's having dinner at La Scala with the oldest brother. We should pick up that piece of shit at some point ... \*</dialogue> <character>MATT</character> <dialogue>Not fishing for minnows, I'm after \* the whale ...</dialogue> <scene_description>Matt studies the grainy satellite footage -- lots of black and blue uniforms standing around six women in white.</scene_description> <character>MATT</character> <dialogue>Can you show me the incident site?</dialogue> <scene_description>Hits another button and FOOTAGE OF EVEN MORE POLICE VEHICLES AND MEN SURROUND THE ABANDONED AND DEMOLISHED VEHICLES. A GROUP OF AMBULANCES SIT IN A ROW. FOUR BODIES ARE LAID IN A ROW, COVERED WITH BLACK SHEETS ...</scene_description> <character>FORSING \*</character> <dialogue>You popped them all?</dialogue> <character>MATT</character> <dialogue>We only engaged one. One died in the crash. Other two we tied and left.</dialogue> <character>FORSING \*</character> <dialogue>Why'd you do that?</dialogue> <character>MATT</character> <dialogue>To see what they'd do. (To the JCU Specialist) Punch in. \*</dialogue> <scene_description>CAMERA ZOOMS.</scene_description> <character>MATT</character> <dialogue>I see Feds, I see State ...</dialogue> <character>JCU SPECIALIST</character> <dialogue>What are you looking for, sir?</dialogue> <character>MATT</character> <dialogue>First man on the scene.</dialogue> <character>JCU SPECIALIST</character> <dialogue>How do we know what he looks like? \*</dialogue> <character>MATT</character> <dialogue>He's the one everyone else is \* talking to.</dialogue> <scene_description>CAMERA KEEPS MOVING OVER THE SCENE -- COMES TO A STATE POLICE OFFICER SURROUNDED BY MEN IN SUITS AND THE BLACK UNIFORMS OF FEDERAL POLICE.</scene_description> <character>MATT</character> <dialogue>Call's not coming from the house. It's coming from that fucker right there.</dialogue> <scene_description>Men walk to and from the State Police officer, then he walks back toward a STATE POLICE VEHICLE and pulls out a cellphone. \*</scene_description> <character>MATT</character> <dialogue>PHONE! Lock in on it.</dialogue> </scene> <scene> <stage_direction>INT. HOLDING ROOM -- USS NEW YORK -- NIGHT.</stage_direction> <scene_description>Alejandro sits across from Isabel at an interrogation table. He stares at her as though he's been doing it for hours. \*</scene_description> <character>ISABEL \*</character> <dialogue>What do you want me to do ... Quit my family in protest and live on the street?? I'M SIXTEEN. THIS IS THE LIFE GOD GAVE ME. In two years it's mine, and I'll do with it what I want.</dialogue> <scene_description>Alejandro flips open a file on the table. \*</scene_description> <character>ISABEL</character> <dialogue>Is that about me?</dialogue> <scene_description>Doesn't answer, just keeps reading. Reads something that surprises him slightly, looks up.</scene_description> <character>ALEJANDRO</character> <dialogue>Early acceptance to Berkeley ... Good school ... To study what?</dialogue> <character>ISABEL</character> <dialogue>Journalism.</dialogue> <character>ALEJANDRO</character> <dialogue>Going to tell the world the truth about Mexico, eh? \*</dialogue> <character>ISABEL</character> <dialogue>About everything. You included.</dialogue> <scene_description>She looks at him with defiance.</scene_description> <character>ALEJANDRO</character> <dialogue>How can you tell the truth when you've never seen it? The life you live isn't real. You live the fantasy.</dialogue> <scene_description>Matt sticks his head in the door.</scene_description> <character>MATT</character> <dialogue>Got him.</dialogue> <scene_description>Alejandro stands.</scene_description> <character>ALEJANDRO</character> <dialogue>And now the fantasy's over.</dialogue> <scene_description>Alejandro walks out the door.</scene_description> </scene> <scene> <stage_direction>INT. J.C.U. COMMAND CENTER -- USS NEW YORK -- MOMENT LATER.</stage_direction> <scene_description>Alejandro walks in, sits beside Matt. Matt points at the screen -- A YELLOW DOT BLINKS ALONG THE ROADWAY. A PINK LIGHT FLASHES IN THE CENTER OF MEXICO CITY ...</scene_description> <character>ALEJANDRO</character> <dialogue>This the first call?</dialogue> <character>MATT</character> <dialogue>Placed to Federal Police headquarters in Mexico City. \*</dialogue> <scene_description>JCU Specialist shakes his head in disbelief.</scene_description> <character>JCU SPECIALIST</character> <dialogue>There's twenty Federal officers standing around him and he calls their headquarters ...</dialogue> <character>ALEJANDRO</character> <dialogue>Those are the wrong police.</dialogue> <scene_description>Everyone stares at the screen like they're watching the last two minutes of a football game. Both lights stop blinking, but still glow.</scene_description> <character>JCU SPECIALIST</character> <dialogue>Call ended. Both numbers are locked. Any calls in and out we can locate and lock as well.</dialogue> <scene_description>A call from the Mexico City number creates a purple throb west of Monterrey, Mexico. Everyone leans forward in their seats.</scene_description> <character>MATT</character> <dialogue>There's our target.</dialogue> <character>FORSING \*</character> <dialogue>First call's never to target.</dialogue> <character>ALEJANDRO</character> <dialogue>Not in Iraq, maybe. But here, bad news goes to the top first ...</dialogue> <scene_description>The throbbing lights glow solid.</scene_description> <character>JCU SPECIALIST</character> <dialogue>I'm painting the Monterrey call purple.</dialogue> <scene_description>And like that, the call location in Monterrey glows purple. Then starts blinking as a call to the center of Monterrey glows pink.</scene_description> <character>JCU SPECIALIST</character> <dialogue>I'm painting this call green.</dialogue> <scene_description>Starts flashing green. Beside each color is the PHONE NUMBER AND GPS COORDINATES IN A DIZZYING SERIES OF NUMBERS. The colors stop throbbing. Then the green light starts throbbing again to a phone farther north on the map -- in the town of BUSTAMANTE.</scene_description> <character>JCU SPECIALIST</character> <dialogue>Painting it blue.</dialogue> <scene_description>The new location throbs blue then stops throbbing, then throbs again.</scene_description> <character>JCU SPECIALIST</character> <dialogue>Another call going out.</dialogue> <scene_description>Then the green dot throbs as well.</scene_description> <character>JCU SPECIALIST</character> <dialogue>Another call.</dialogue> <character>FORSING \*</character> <dialogue>You're running out of colors. \*</dialogue> <scene_description>Each call placed generates another call from the receiver, then another call. Then another. Calls spider-web their way toward the border, then begin working their way back toward the first call in Monterey. Then multiple throbs come from the location in Monterrey with multiple throbs surrounding it.</scene_description> <character>FORSING (CONT'D) \*</character> <dialogue>Jesus. He just raised an army.</dialogue> <scene_description>Matt walks toward the screen, which is throbbing with more and more lights as more and more calls come in and out. Matt points to the purple light all the other lights surround.</scene_description> <character>MATT</character> <dialogue>I need eyes on this house and everything around it. Build me a visual brief -- I need to know every road in and out.</dialogue> <character>ALEJANDRO</character> <dialogue>Do your drones have thermal?</dialogue> <character>JCU SPECIALIST</character> <dialogue>Yes sir.</dialogue> <character>ALEJANDRO</character> <dialogue>Switch to it. Snakes like the bushes.</dialogue> <scene_description>Alejandro walks out as the JCU talks into his mic.</scene_description> <character>JCU SPECIALIST</character> <dialogue>Predator one, go thermal on location.</dialogue> <scene_description>ANGLE ON -- The monitor, which changes from a topographical map with roads highlighted in dull green to a black world -- lights from the house glow hot white, as do the men lurking in the bushes around it. Matt looks at Alejandro, then hands him a cellphone ...</scene_description> <character>MATT</character> <dialogue>Call our friend.</dialogue> </scene> <scene> <stage_direction>EXT. MAIN DECK -- USS NEW YORK -- NIGHT.</stage_direction> <scene_description>Alejandro leans over the railing at the ship's bow as he dials the cellphone. Looks down and watches DOLPHINS dive in \* and out of the ship's wake. \*</scene_description> <character>VOICE (O.S.)</character> <dialogue>They sure like to surf, don't they?</dialogue> <scene_description>Alejandro looks back at A U.S. MARINE, TIM(19), baby faced and corn-fed. Right off a farm in Nebraska. Now he walks his post, M-16 across his chest.</scene_description> <character>ALEJANDRO</character> <dialogue>The ship runs over schools of bait fish and spits them out in the wake. They aren't surfing ... They're eating.</dialogue> <character>TIM</character> <dialogue>That a fact? I guess we can add feeding the hungry to the New York's achievements.</dialogue> <character>ALEJANDRO</character> <dialogue>The dolphins are feeding themselves. All you did was kill some fish.</dialogue> <scene_description>Alejandro turns from the young man and finishes dialing.</scene_description> </scene> <scene> <stage_direction>INT. CLASSROOM -- MCCALLEN MIDDLE SCHOOL -- NEXT MORNING.</stage_direction> <scene_description>A MAN stands before a class of junior high students in a suit. He is latino, maybe 40. His name is JAVIER GUTIERREZ. He smiles at the students, then a very different smile for a \* girl in the front row. For her -- proud smile of a father. \*</scene_description> <character>GUTIERREZ</character> <dialogue>My name is Dr. Gutierrez. I am a cardiologist, which means I treat ailments of the heart. Sometimes, the arteries, which are like highways to the heart, get plugged up with plaque, and one of my jobs to remove it.</dialogue> <scene_description>A student raises his hand.</scene_description> <character>STUDENT</character> <dialogue>Like on your teeth?</dialogue> <character>GUTIERREZ</character> <dialogue>Sort of. The fat from what we eat can stick to our arteries and block them. It's more like a storm drain filled with leaves keeping water \* from going down the gutter. Remember that the next time you're asked to rake the yard.</dialogue> <scene_description>Children laugh. Miguel stares at the man with something between awe and envy. Looks at his own father -- work boots \* and worn jeans -- and wishes he was father to someone else. \*</scene_description> <character>TEACHER</character> <dialogue>Thank you, Dr. Gutierrez. \*</dialogue> <scene_description>He smiles and walks off as students clap.</scene_description> <character>TEACHER</character> <dialogue>Next we have Miguel's father, Mr. Hernandez.</dialogue> <scene_description>He waves him up. He grips his son's knee with an affectionate squeeze, then walks to the podium. He looks out over the class -- all of them American. None of them white.</scene_description> <character>ARTURO</character> <dialogue>My name is Arturo Hernandez, and I am a framer. A framer builds a house's skeleton. Before you build walls or a roof, you must give a house it's spine. That's what I do. When your teacher says all that geometry will be useful someday, she's talking about my job.</dialogue> <scene_description>Laughter from the teacher and some students, but not Miguel. His face is full of anger. Full of shame. His POCKET VIBRATES. Sneaks his phone out of his pocket, glances at a text message. Sits up a little straighter. No more shame ...</scene_description> </scene> <scene> <stage_direction>EXT. LA PLAZA MALL -- MCCALLEN, TEXAS -- DAY.</stage_direction> <scene_description>RAFAEL walks past BANANA REPUBLIC, past THE LIMITED, past every retail testament to the American Dream. Comes to a FOOD \* COURT in the center of the mall. It's easy for him to spot the CONTRACTORS sitting casually at one table and leaning over the railing ... \* Sees Alejandro sitting alone. Sits across from him. Soon as \* Rafael sits, MATT TURNS AROUND FROM THE TABLE BESIDE IT.</scene_description> <character>RAFAEL</character> <dialogue>How'd you find her? \*</dialogue> <character>MATT</character> <dialogue>Just lucky, I guess.</dialogue> <scene_description>Rafael shakes his head.</scene_description> <character>RAFAEL</character> <dialogue>We thought Reynosa cartel took her.</dialogue> <character>MATT</character> <dialogue>That's what you were supposed to think.</dialogue> <character>RAFAEL \*</character> <dialogue>What's the plan? \*</dialogue> <character>ALEJANDRO</character> <dialogue>Give her back.</dialogue> <character>RAFAEL</character> <dialogue>She has family in California. Take her there. Nowhere in Mexico is safe for her now. Things have been quiet here, and this is the kind of \* thing that could set us back years. \*</dialogue> <character>ALEJANDRO</character> <dialogue>It's quiet because our government surrendered.</dialogue> <scene_description>Rafael sighs.</scene_description> <character>RAFAEL</character> <dialogue>What do you want from me?</dialogue> <character>MATT</character> <dialogue>Say we found her in a raid on one of Reynosa's way-stations in Brownsville. We'll arrange to deliver her to the Air station in Monterrey, where her father lives.</dialogue> <character>RAFAEL</character> <dialogue>We don't know where he lives. \*</dialogue> <scene_description>Matt smiles. Rafael shakes his head.</scene_description> <character>RAFAEL</character> <dialogue>If I arrange this through proper channels, word will leak.</dialogue> <character>MATT</character> <dialogue>Counting on it. Give us a stout escort. We want to get hit, just not too hard.</dialogue> <scene_description>Rafael studies Matt's face, then Alejandro's.</scene_description> <character>RAFAEL</character> <dialogue>You're trying to start a war.</dialogue> <character>ALEJANDRO \*</character> <dialogue>Tell me we don't need it.</dialogue> <character>RAFAEL</character> <dialogue>You really think a grocery store in \* Kansas is worth this? \*</dialogue> <character>RAFAEL</character> <dialogue>They could've flown to Vancouver \* and drove across the border. What's \* the difference? \*</dialogue> <character>MATT</character> <dialogue>The difference is they didn't. \* People are the new drugs, Rafael. \* That's where we draw the line. \*</dialogue> <scene_description>Rafael's eyes burn into Matt.</scene_description> <character>RAFAEL</character> <dialogue>If you'd drawn a line three decades \* ago, people could cross the border \* on ferries. \*</dialogue> <character>MATT \*</character> <dialogue>I don't draw lines, buddy. I'm a \* soldier. I just hold them ... And \* if we don't, some fucking \* politician's going to build a wall \* from sea to shining sea, my friend. \* And no one wants that. \*</dialogue> <character>RAFAEL \*</character> <dialogue>No ... \*</dialogue> <character>MATT \*</character> <dialogue>We bring her across tomorrow. \*</dialogue> <character>RAFAEL</character> <dialogue>Go through Mccallen. Matamoros is theirs. You don't want an ambush in \* the city. Let them hit you in the desert where there's room to fight back.</dialogue> <character>MATT</character> <dialogue>Sounds like a plan.</dialogue> <scene_description>Matt walks off. Rafael looks at Alejandro.</scene_description> <character>RAFAEL</character> <dialogue>You're picking a big fight. I hope they keep their word once it's started.</dialogue> <character>ALEJANDRO</character> <dialogue>Just help me start it. That's all I ask, old friend.</dialogue> <scene_description>Alejandro stands.</scene_description> <character>RAFAEL</character> <dialogue>The Americans could've stopped this \* whenever they wanted. In an \* afternoon they could make it all go away ... \*</dialogue> <character>ALEJANDRO</character> <dialogue>How do you fight desire ...</dialogue> <character>RAFAEL</character> <dialogue>I don't know. All I know is Mexico \* doesn't need another war. \*</dialogue> <character>ALEJANDRO</character> <dialogue>No. She needs an exorcism. \*</dialogue> <scene_description>Alejandro turns and disappears into a sea of shoppers.</scene_description> </scene> <scene> <stage_direction>EXT. LA PLAZA MALL -- MCCALLEN, TEXAS -- MOMENT LATER.</stage_direction> <scene_description>Alejandro walks to a parked SUV that sits idling. Climbs in. Jimmy, behind the wheel. He pulls out, driving down an \* endless row of minivans and pickup trucks. \* A BOY walks out between two vehicles in front of them. Jimmy \* jams the brakes so hard he almost puts Alejandro through the \* windshield. \* MIGUEL stutter-steps back, looks at the SUV, eyes wide. \* JESUS FUCK ... \* Miguel stares at the men staring at him through the \* windshield. Jimmy rolls his window down. \*</scene_description> <character>JIMMY (CONT'D) \*</character> <dialogue>You alright? \*</dialogue> <scene_description>Miguel looks from Jimmy to Alejandro, nods. \*</scene_description> <character>JIMMY (CONT'D) \*</character> <dialogue>You mind getting out of the road? \*</dialogue> <scene_description>Don't have to tell him twice. He walks toward the Starbucks \* at the end of the parking lot. \*</scene_description> <character>JIMMY (CONT'D) \*</character> <dialogue>Fucking gangbangers. Should've done \* the world a favor and sped up ... \*</dialogue> <scene_description>Alejandro watches Miguel walk into the Starbucks, then looks out over the parking lot -- everywhere is a brand new store selling something. And every parking space in front of every store is filled.</scene_description> <character>ALEJANDRO \*</character> <dialogue>He's just a symptom. \*</dialogue> <scene_description>Alejandro looks over the shopping center. \*</scene_description> <character>ALEJANDRO (CONT'D) \*</character> <dialogue>That's the problem. \*</dialogue> <scene_description>Jimmy looks around as though he's looking for an assailant. \*</scene_description> <character>ALEJANDRO (CONT'D) \*</character> <dialogue>It's the only thing on this planet \* that still surprises me. \*</dialogue> <scene_description>He looks at Jimmy, who has no idea what he's talking about. \*</scene_description> <character>ALEJANDRO (CONT'D) \*</character> <dialogue>The appetite of this place. \*</dialogue> <character>JIMMY \*</character> <dialogue>Yeah, well ... Welcome to America. \*</dialogue> <scene_description>The SUV drives through the parking lot and onto the street. \*</scene_description> </scene> <scene> <stage_direction>INT. HECTOR'S CAMARO -- LATER.</stage_direction> <scene_description>Miguel sits beside Hector as he drives. Turns left toward the border. Miguel's body tightens as he sees the sign announcing: LAST EXIT BEFORE THE BORDER. Hector looks at him as he sucks his cigarette. Smiles.</scene_description> <character>HECTOR</character> <dialogue>You've worked hard. Now you get promoted.</dialogue> <scene_description>Miguel nods without agreeing as they approach the border ... \*</scene_description> </scene> <scene> <stage_direction>INT. HECTOR'S CAMARO -- FEW MINUTES LATER.</stage_direction> <scene_description>Miguel looks out the window at the town of REYNOSA, MEXICO. The streets are alive with people. Young men and women with BACKPACKS loiter on every corner.</scene_description> <character>HECTOR</character> <dialogue>Yesterday you were a taxi driver. Today, a Pollero. Tomorrow? That depends on you ...</dialogue> <scene_description>Miguel studies DOZENS OF MEN AND WOMEN ALL standing before an \* old school bus. A BOY no older than him waving them on ...</scene_description> <character>MIGUEL</character> <dialogue>I need to be home by seven or my father will be worried.</dialogue> <character>HECTOR</character> <dialogue>You have a new father.</dialogue> <scene_description>Hector stabs his cigarette stub against a new cigarette. Lights the new one, tosses the old one to the gutter.</scene_description> <character>HECTOR</character> <dialogue>And when you meet him, you better act like a fucking man ... You ready to be a man?</dialogue> <scene_description>Miguel forces himself to nod.</scene_description> <character>HECTOR</character> <dialogue>Guess we'll see ...</dialogue> <scene_description>Hector turns left and heads for the edge of town, then continues on as cinder-block buildings give way to mesquite trees and cactus the size of Toyotas ...</scene_description> </scene> <scene> <stage_direction>EXT. MEXICO HIGHWAY 2 -- CONT.</stage_direction> <scene_description>The Camaro drives an empty road. No traffic in either \* direction, as if it was reserved for Hector ... \* CAMERA RISES -- In the distance, BUSES CAN BE SEEN MOVING DOWN A DIRT ROAD \* WHERE DOZENS OF MEN CAN BE SEEN WAITING ...</scene_description> </scene> <scene> <stage_direction>INT. HECTOR'S CAMARO -- CONT.</stage_direction> <scene_description>Hector turns on a GARMIN GPS, hands it to Miguel.</scene_description> <character>HECTOR</character> <dialogue>The flashing light is you. The red line is your path.</dialogue> <scene_description>The Camaro pulls up beside the buses. PICKUP TRUCKS sit parked facing them, their headlights on -- cutting through the deep grey of dusk. As the Camaro stops, Miguel watches as one hundred tired, terrified men and women file off the buses. Hector parks, shuts off the vehicle.</scene_description> <character>HECTOR</character> <dialogue>Stay here until I come get you.</dialogue> <scene_description>Hector climbs out of the vehicle. Miguel stares, horrified, at the men walking around the migrants. They divide them into groups. Force some groups to heft 50 POUND BALES OF MARIJUANA on their backs. Miguel pulls his cellphone from his pocket, ponders dialing his father, dialing 911, dialing anyone who can get him out of this when -- A FIST POUNDS ON THE CAMARO WINDOW. Miguel looks at Hector who motions for him to get out ... \* Hector walks Miguel to a group of 8 MEN AND WOMEN. Hector \* grabs Miguel by the back of his neck and jerks him to a stop.</scene_description> <character>HECTOR</character> <dialogue>Can you fucking swim?</dialogue> <scene_description>Miguel manages a nod. Hector points at the GPS.</scene_description> <character>HECTOR</character> <dialogue>Don't let that get wet. Come meet your new daddy.</dialogue> <scene_description>He guides Miguel toward Gallo. His emotionless eyes look Miguel up and down ... \*</scene_description> <character>GALLO \*</character> <dialogue>At my house, I have a big pond with Koi fish. Know what those are?</dialogue> <scene_description>Miguel doesn't.</scene_description> <character>GALLO</character> <dialogue>Like big goldfish. With spots.</dialogue> <character>MIGUEL</character> <dialogue>... Spots?</dialogue> <scene_description>Gallo nods.</scene_description> <character>GALLO</character> <dialogue>Some are orange and white. Some black and orange.</dialogue> <character>GALLO</character> <dialogue>My favorite is this big (holds his hands three feet apart). It's black \* and white and fat like Santa. Looks like a dairy cow with gills.</dialogue> <scene_description>Gallo chuckles. So does Miguel.</scene_description> <character>GALLO</character> <dialogue>If you get caught, I'll carve your mother into little pieces and feed her to him. If you get the pollos across, I'll pay you more than your father made last year. What I do is up to you ...</dialogue> <scene_description>Miguel tries to speak, but nothing comes. All he can manage is a nod. Gallo pulls him close, his dirty mouth inches from Miguel's ear.</scene_description> <character>GALLO</character> <dialogue>They are sheep. Treat them like it.</dialogue> <scene_description>Gallo stands and points to a group of migrants. \*</scene_description> <character>GALLO</character> <dialogue>Those are yours. Take them across.</dialogue> <scene_description>Miguel walks to the group -- all of them 10 years older than him or more. He sucks in a breath, then shouts --</scene_description> <character>MIGUEL</character> <dialogue>Oye, bandejos! No hablan! No preguntas! Si quieren ir a los Estados Unidos, yo soy el pastor. Siguame, y no dicen nada!</dialogue> <scene_description>Miguel looks at the GPS, starts walking on the illuminated path. The group of migrants follows as he leads them north. To salvation ...</scene_description> </scene> <scene> <stage_direction>EXT. RIO GRANDE RIVER -- NIGHT.</stage_direction> <scene_description>Miguel stands at the bank of the river, the migrants behind \* him. He walks into the river until it's up to his waist. \* Until the current fights his every step. Time to swim ... He holds the GPS high and kicks his way across the river, eight terrified souls treading water right behind him. He kicks and swims, the bank on the US side getting closer. Sees something to his left -- A WATER MOCCASIN slithers through the water in a collision course with the boy. He slows, treads water, and lets it pass inches from his face. Fights his panic and continues ... Reaches the shore. Crawls up the steep bank, all eight still behind him. Waits for them to reach the shore then moves quietly through the brush ... A HELICOPTER SOARS OVERHEAD. It's searchlight piercing the night. A BAJO! A BAJO!! Everyone ducks into the brush until the light passes and the sound of the helicopter fades. Miguel stands and motions for them to follow ...</scene_description> </scene> <scene> <stage_direction>EXT. TEXAS DESERT -- NIGHT.</stage_direction> <scene_description>Miguel stares at the GPS, the end of the red line is close. In the distance, he sees TWO VANS parked in the mesquite. Walks toward them. As he gets closer, TWO YOUNG MEN WITH TATTOOS FROM HEAD TO TOE EMERGE FROM THE VANS, PISTOLS IN THEIR HANDS. One of them looks at Miguel, smiles.</scene_description> <character>GANGSTER</character> <dialogue>Good job, little jefe. Follow the \* trail to the road. Your ride's \* waiting.</dialogue> <scene_description>Miguel keeps walking as the gangsters force the terrified \* migrants into the vans -- their journey very far from over. Miguel sees a MINIVAN parked on the side of a road. Miguel \* stops, stares at it. The window rolls down ... A YOUNG BLONDE WOMAN looks out and smiles.</scene_description> <character>BLONDE WOMAN</character> <dialogue>It's okay. Come on ...</dialogue> <scene_description>He walks to the minivan, climbs in the shotgun seat. In the seat behind him is AN INFANT SOUND ASLEEP IN A BABY SEAT. She \* motions for him to be quiet. Hands him a brown paper bag. Miguel looks inside -- more money than he's ever seen.</scene_description> <character>BLONDE WOMAN</character> <dialogue>Name a job that pays better and I'll do it. Where do you wanna go, baby?</dialogue> <character>MIGUEL</character> <dialogue>Home.</dialogue> <character>BLONDE WOMAN</character> <dialogue>Where's home?</dialogue> <scene_description>He looks at her, doesn't trust her for a second.</scene_description> <character>MIGUEL</character> <dialogue>Get me to the grocery store on Trenton. I can take it from there.</dialogue> <character>BLONDE WOMAN</character> <dialogue>What ever you say, sugar. You're \* the boss.</dialogue> <scene_description>She puts the minivan in drive and pulls onto the road ...</scene_description> </scene> <scene> <stage_direction>EXT. USS NEW YORK -- DAWN.</stage_direction> <scene_description>THREE MH-60 TRANSPORT HELICOPTERS climb from the deck are whirl toward shore ...</scene_description> </scene> <scene> <stage_direction>INT. MH-60 HELICOPTER -- CONT.</stage_direction> <scene_description>Isabel -- now dressed in NAVY WHITES two sizes too big, holds her school uniform in her lap and studies the contractors -- all dressed IN DESERT CAMOUFLAGE. Looks at Alejandro who stares out at nothing. Looks at Matt, who is staring right back.</scene_description> <character>ISABEL</character> <dialogue>What?</dialogue> <character>MATT</character> <dialogue>You don't ask questions. Don't cry. Don't complain ...</dialogue> <character>ISABEL</character> <dialogue>I'm pacing myself.</dialogue> <scene_description>Matt laughs.</scene_description> <character>MATT</character> <dialogue>The mouth on this girl.</dialogue> <character>ISABEL</character> <dialogue>You wouldn't tell me the truth if I asked. What's crying ever accomplished, and complaining ... Children always suffer the sins of their fathers, why should I be any different? I can only imagine the sins your kids suffer.</dialogue> <character>MATT</character> <dialogue>Don't have kids.</dialogue> <character>ISABEL</character> <dialogue>That figures. (Looks at Alejandro) What kind of father are you?</dialogue> <scene_description>She looks at Alejandro and his hollow eyes suck the defiance from her. Alejandro moves beside her, leans close. Close enough to make \* her look away.</scene_description> <character>ALEJANDRO</character> <dialogue>Not once in your life have you wondered what the future held -- what you want, you get. What scares you is removed from your sight and destroyed. You've never suffered a day in your fat life ... You have no idea how close to death you've been for years because you're so spoiled you can't even fathom the notion of danger. You don't cry because you don't know how. Because you never had a reason to learn.</dialogue> <scene_description>She stares at the floor, eyes filled with a violated fury as the truth of his words burn through her.</scene_description> </scene> <scene> <stage_direction>INT. MIGUEL'S HOUSE -- MORNING.</stage_direction> <scene_description>Miguel sits at the breakfast table, but he doesn't eat. Just \* stares in the furious eyes of his father. On the table between them: 5,000 dollars. Blandina stands in the corner, eyes wet from crying. Miguel's brother and sisters peek around the corner like weary deer. Arturo stands up. Takes the money and a SAUCE PAN. Puts the \* money in the pan and lights it on fire. Looks at his other children who disappear behind the wall. \* Then back at Miguel ... \*</scene_description> <character>ARTURO</character> <dialogue>You made your choice ... Now I make \* mine.</dialogue> <scene_description>Arturo grabs Miguel by the collar and drags him to the front door and tosses Miguel outside with a strength we did not \* credit him with having ...</scene_description> <character>MIGUEL</character> <dialogue>Don't come back until you choose something different.</dialogue> <scene_description>Arturo slams the door leaving Miguel alone in the front yard, looking very much the little boy again ...</scene_description> </scene> <scene> <stage_direction>EXT. PORT OF VERACRUZ -- MEXICO -- DAY.</stage_direction> <scene_description>A CRANE lifts railcars from the ship's deck -- they sway back \* and forth as the crane lowers them in neat rows ... \* A MEXICAN NAVY INSPECTOR walks past railcars, reading the SECURITY STICKERS that seal the doors. Stops at one, reads it, then unlocks the railcar and swings it open ... Steps inside the dark. Walks a narrow alleyway past box after box until the inspector's flashlight FINDS A FACE. \* THE MAN IS EARLY 20S. THICK BEARD. SHORT HAIR. He wears a t- shirt and jeans. Two duffel bags at his feet.</scene_description> <character>INSPECTOR</character> <dialogue>Speak English?</dialogue> <scene_description>The young man nods.</scene_description> <character>INSPECTOR</character> <dialogue>Got water?</dialogue> <scene_description>Young man nods again.</scene_description> <character>INSPECTOR</character> <dialogue>Drink lots. Will get very hot in here.</dialogue> <scene_description>He looks at the duffel bags.</scene_description> <character>INSPECTOR</character> <dialogue>Which one is mine.</dialogue> <character>YOUNG MAN</character> <dialogue>The blue.</dialogue> <scene_description>The inspector picks up the blue duffel and walks out. Closes the door and covers it with a giant sticker that says -- INSPECTED AND CLEARED.</scene_description> </scene> <scene> <stage_direction>EXT. U.S. BORDER PATROL STAGING CENTER -- OLMITA, TX -- DAY.</stage_direction> <scene_description>In a room the size of a school gymnasium, CONTRACTORS cram \* RIFLE MAGAZINES IN ASSAULT VESTS. CHECK WEAPONS. SIFT THROUGH GEAR. Jimmy holds up a pair of NIGHT VISION GOGGLES to Matt.</scene_description> <character>JIMMY</character> <dialogue>Should we bring these?</dialogue> <character>MATT</character> <dialogue>Better safe than sorry. Hate for night to come and we're sitting in the dark with our dicks in our hands.</dialogue> <scene_description>D.E.A. AGENT ED RAMIREZ walks to Matt, phone in hand.</scene_description> <character>RAMIREZ</character> <dialogue>They're saying 'no go' on the Humvees and sidearms only. They want passports on your men and want to cap the team at 6 --</dialogue> <character>MATT</character> <dialogue>Give me that. (swipes the phone) I'm not negotiating with you. If I want to drive her over in a tank division you will provide me the escort ... Fuck it, we'll keep her here and issue a press release explaining the Mexican government is unwilling to offer safe transport. Can you spell your name for me? Want to make sure I get it right ... What I thought. We'll be there in an hour.</dialogue> <scene_description>Hands the phone back. Looks at Ramirez.</scene_description> <character>MATT</character> <dialogue>How can a government that corrupt have so many regulations ... \*</dialogue> <character>RAMIREZ</character> <dialogue>They're as worried as I am: when you're using bait you're supposed to dangle it out of reach.</dialogue> <character>MATT</character> <dialogue>Not this time. They need to take a little bite.</dialogue> <scene_description>Matt looks at Isabel sitting against the wall -- dressed in \* head to toe in white. Shifts his eyes to Ramirez. \*</scene_description> <character>MATT</character> <dialogue>We got any tactical green in extra \* small? She looks like a giant target.</dialogue> <scene_description>Ramirez walks off. Matt looks at Isabel as she sits, oblivious of her fate. If it possible for him to feel regret \* he feels it now. Looks across the room at Alejandro as he checks the action of an M-4 ASSAULT RIFLE. No regret there. Not even a little ...</scene_description> </scene> <scene> <stage_direction>EXT. 7-11 STORE -- MCCALLEN, TX -- DAY.</stage_direction> <scene_description>Miguel sits against the wall of the 7-11. Stands when he sees Hector's Camaro pull up in front of him. He walks to the car and climbs in ...</scene_description> </scene> <scene> <stage_direction>EXT. MEXICAN DESERT -- DAY.</stage_direction> <scene_description>CAMERA LOOKS DOWN ON THE DESERT FROM 10,000 FEET ON A CONVOY OF VEHICLES. A PREDATOR DRONE BLASTS THROUGH FRAME ... PUSH IN ON THE CONVOY -- A MEXICAN MILITARY ARMORED PERSONNEL CARRIER leads the way. Behind it, a MEXICAN FEDERAL POLICE TRUCK, machine gun on a \* tripod mounted to the bed. Behind it are 4 HUMVEES. Behind the Humvees is another Mexican Police truck ... \*</scene_description> </scene> <scene> <stage_direction>INT. HUMVEE -- CONT.</stage_direction> <scene_description>Matt sits beside Alejandro, Isabel by his side. They sit shoulder-to-shoulder with contractors cradling assault rifles between their legs, barrels to the floorboard. Matt turns and glances out the tiny window-slit -- MESQUITE TREES COVER THE LANDSCAPE. Looks back at TRAE.</scene_description> <character>MATT</character> <dialogue>Having fun yet?</dialogue> <character>TRAE</character> <dialogue>Hate these fucking tuna cans. Feel like I'm back in Fallujah.</dialogue> <scene_description>Matt speaks into his radio mic.</scene_description> <character>MATT</character> <dialogue>Air, how we looking?</dialogue> <character>VOICE</character> <dialogue>Clear on both sides.</dialogue> <scene_description>Alejandro looks through the window-slit.</scene_description> <character>ALEJANDRO</character> <dialogue>This is where I'd do it.</dialogue> <character>MATT</character> <dialogue>Me too. (Speaks into his mic) Air, you see no vehicles?</dialogue> <character>VOICE</character> <dialogue>Nothing but desert. You're clear.</dialogue> <character>MATT</character> <dialogue>What's your field of view?</dialogue> <character>VOICE</character> <dialogue>10 mikes in every direction. Mexico \* Fed said the road would be clear. \* Looks like they're keeping their word ...</dialogue> <character>MATT</character> <dialogue>Well, that fucking sucks ...</dialogue> <scene_description>Matt looks at Alejandro.</scene_description> <character>MATT</character> <dialogue>Road's clear.</dialogue> <character>ALEJANDRO</character> <dialogue>They will never let her pass through without trying to strike a \* blow. As a matter of pride if nothing else ...</dialogue> <character>MATT</character> <dialogue>Looks like they're swallowing \* pride today.</dialogue> <scene_description>Matt looks out the window -- mesquites and broken country and nothing else for miles ... Isabel looks at Matt. \*</scene_description> <character>ISABEL</character> <dialogue>Do you want them to take me?</dialogue> <scene_description>Matt looks back at her.</scene_description> <character>MATT</character> <dialogue>Course not. Just want them to try. \*</dialogue> <scene_description>Isabel is floored. Asks her second question --</scene_description> <character>ISABEL</character> <dialogue>... Why?</dialogue> <scene_description>Matt ignores her, looks at Alejandro.</scene_description> <character>MATT</character> <dialogue>What a waste of time.</dialogue> <character>ALEJANDRO</character> <dialogue>It's coming. Trust me.</dialogue> <scene_description>THERE'S NO ONE OUT THERE TO COME. Matt reaches for the roof latch, pushes it open and stands.</scene_description> </scene> <scene> <stage_direction>EXT. HUMVEE -- CONT.</stage_direction> <scene_description>Matt looks out over the desert where mesquite trees have grown so thick the desert floor is not visible ... He strains to see through the trees. Nothing ... He looks at the Mexican officer in front, hands gripping the .50 Caliber machine gun pointed out over the desert. But he doesn't look where the barrel points. He looks at Matt. Matt shouts at him. ANYTHING?? The officer shakes his head 'no'.</scene_description> <character>VOICE</character> <dialogue>Shit! Ground, incoming on your right --</dialogue> <scene_description>Matt looks to his right.</scene_description> <character>MATT</character> <dialogue>Negative, air. I see nothing.</dialogue> <scene_description>Matt hears the faint sound of a whistle. Sees a thin trail of white smoke that races toward the armored personnel carrier that leads the way ... The RPG PENETRATES THE ARMORED PERSONNEL CARRIER, rolling it off the road in a mass of black smoke. By the time Matt's eyes have shifted back to the Mexican officer manning the machine gun in front of him, the machine gun IS POINTED AT HIM. Matt drops down the hole and screams -- HARD LEFT!!! The Humvee driver barrels off the road as rifle rounds pound \* into the Humvee. In an instant, it seems the entire desert is attacking them ... FROM ABOVE -- All Humvees peel off the road as trails of white smoke slam into one of the rear police vehicles. MEXICAN FEDERAL POLICE IN THE REAR OF THE CONVOY engage the muzzle flashes that spark from the desert. THE TWO MEXICAN POLICE VEHICLES IN THE FRONT OF THE CONVOY turn sideways in the street and begin firing at both THE HUMVEES AND THE MEXICAN FEDERAL POLICE IN THE REAR. IN AN INSTANT, EVERYONE IS FIRING AT EVERYONE. It is utter madness ...</scene_description> </scene> <scene> <stage_direction>INT. HUMVEE -- CONT.</stage_direction> <scene_description>CONTRACTORS pile out of the Humvee, Alejandro looks at Isabel.</scene_description> <character>ALEJANDRO</character> <dialogue>Lay on the floor. Head under the bench.</dialogue> <scene_description>He disappears as well. Isabel tries to curl in a ball under the bench as rifle rounds puncture the vehicle. She sees A LATCH on the floor beside her, pulls it and THE FLOOR ESCAPE HATCH drops. She climbs out ...</scene_description> </scene> <scene> <stage_direction>EXT. UNDER THE HUMVEE -- CONT.</stage_direction> <scene_description>The sound is deafening. All she sees is FEET. Running here. Running there. She looks to her left -- no feet there, just the gnarled trunks of mesquite trees. She crawls toward them. ANGLE ON -- MATT, as he takes cover behind the giant tire of the humvee, spots muzzle flashes across the road, flickering then disappearing by the dozens. He shouts into his mic -- WEST SIDE. 100 METERS.</scene_description> <character>VOICE</character> <dialogue>Roger that. Heads down.</dialogue> <scene_description>EXPLOSIONS ROCK THE FAR SIDE OF THE ROAD AS A PREDATOR DRONE WHIPS BY 50 feet off the ground ... ANGLE ON -- ALEJANDRO, as he and A GROUP OF CONTRACTORS move on the MEXICAN FEDERAL POLICE VEHICLES BLOCKING THE ROAD -- Jogging forward, rifles to their shoulders, firing as they run. Alejandro and the contractors form a semi-circle that takes up the whole road, then close it into a circle surrounding the vehicles and punch rounds into Mexican Police who are no match for professional soldiers ... ANGLE ON -- THE REAR OF THE CONVOY, WHERE A GROUP OF MEXICAN POLICE OFFICERS HOLD ANOTHER GROUP OF MEXICAN POLICE OFFICERS AT GUNPOINT WHO POINT GUNS BACK AT THEM. MATT AND MORE CONTRACTORS HOLD WEAPONS ON BOTH GROUPS SCREAMING IN SPANISH FOR WEAPONS TO BE DROPPED. Frantic men from every group swing rifles from one target to the next. A BAJO! A BAJO! A BAJO! DROP YOUR WEAPONS!! MEXICAN POLICE SHIFT THEIR SIGHTS FROM AMERICAN CONTRACTORS THEN BACK TO OTHER MEXICAN POLICE OFFICERS AS REASON AND ALLEGIANCE GIVES WAY TO PANIC AND SURVIVAL. No one knows who anyone is. No one knows who's on their side. \* As American contractors shout for weapons to be dropped, Mexican police officers shout the same in return. AS ALEJANDRO AND HIS GROUP OF CONTRACTORS RUSH FORWARD SCREAMING -- A SHOT IS FIRED -- AND AN AMERICAN CONTRACTOR FALLS TO HIS KNEES. Unclear who fired the shot, but now it doesn't matter -- Matt, Alejandro and the dozen contractors open fire until they've killed everyone who wears a Mexican police uniform. \* Matt looks over smoking vehicles and bodies littering the \* road.</scene_description> <character>MATT</character> <dialogue>Are we clear??</dialogue> <scene_description>Shouts of 'CLEAR' echo out all around him. Contractors move through the scene toward him. ARE YOU FUCKING KIDDING ME MATT?? THESE WERE POLICE!!! Matt looks at Alejandro.</scene_description> <character>MATT</character> <dialogue>Wasn't the ambush I was expecting.</dialogue> <character>ALEJANDRO</character> <dialogue>We must go back. Everyone will blame us for this if they find us here.</dialogue> <character>MATT</character> <dialogue>Gotta keep going. I gotta give her back.</dialogue> <character>ALEJANDRO</character> <dialogue>They hit with police, not gangsters. There's only more of this waiting.</dialogue> <character>MATT</character> <dialogue>I can't just keep her!</dialogue> <character>ALEJANDRO</character> <dialogue>There's no one to give to her to.</dialogue> <scene_description>Matt's radio sparks to life. \*</scene_description> <character>VOICE \*</character> <dialogue>Ground, you have police vehicles approaching from the south. 5 clicks out. \*</dialogue> <scene_description>Matt looks at Alejandro.</scene_description> <character>MATT</character> <dialogue>(Into mic) Roger that, base. (To \* contractors) LOAD UP.</dialogue> <scene_description>Matt and the contractors rush to their Humvees, Matt freezes when he looks inside and sees the EMPTY VEHICLE AND OPEN FLOOR HATCH. Alejandro peers inside the Humvee, then out over the desert. \*</scene_description> <character>MATT (CONT'D) \*</character> <dialogue>Goddammit. (Shouts to his men) NEW \* MISSION. \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>No time for that. Get north. I'll \* find her. \*</dialogue> <scene_description>Matt hands him a GPS BEACON. \*</scene_description> <character>MATT \*</character> <dialogue>Any chance you can get her \* stateside? \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>It's a big risk. \*</dialogue> <scene_description>Matt shakes his head, \*</scene_description> <character>MATT</character> <dialogue>They can't find her. No matter \* what. \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>I'll take care of it. \*</dialogue> <scene_description>The look in Alejandro's eyes says how he'll do it. Alejandro \* moves into the trees as Matt and his team pile into Humvees \* and head north ...</scene_description> </scene> <scene> <stage_direction>EXT. DESERT -- CONT.</stage_direction> <scene_description>Isabel crawls on hands and knees through the mesquite. Reaches an open pasture, then stand up and runs ... Up ahead is a more mesquite. She ducks and claws her way \* through the thorny branches. Comes to A ROAD ... Looks to her left. To her right. Nothing ... She's not sure which way to go, sits against the tree while she figures it out ...</scene_description> </scene> <scene> <stage_direction>EXT. DESERT -- ISABEL'S TRAIL -- CONT.</stage_direction> <scene_description>Alejandro moves silently through the mesquite, studying the ground. Has to duck low to avoid the thorns. Finds A HANDPRINT IN THE DIRT. Then another ...</scene_description> </scene> <scene> <stage_direction>INT. MATT'S HUMVEE -- CONT.</stage_direction> <scene_description>All the men suck air. Check themselves for wounds. Jimmy looks at two bullet holes over his heart. PULLS OUT HIS \* TRAUMA PLATE AND PICKS THE SLUGS FROM THE STEEL ... Yanks open his shirt and surveys the dinner plate-sized bruise forming over his chest. Though the battle barely lasted three minutes -- from the \* look of the men it lasted all day. Blood and dust and grime \* cover every inch of them ... \*</scene_description> <character>TRAE \*</character> <dialogue>Feeling pretty fucking under-paid \* at the moment, Matt. \*</dialogue> <character>MATT \*</character> <dialogue>Gotta play for the love of the \* game, sport. \*</dialogue> <character>JIMMY</character> <dialogue>Goddam that fucking hurts.</dialogue> <character>MATT</character> <dialogue>Put that back in. We're not done.</dialogue> <scene_description>All the men pant and suck water from CAMELBACK BLADDERS ON THEIR BACKS THROUGH TUBES THAT RUN BENEATH THEIR SHOULDERS. One CONTRACTOR uses the tube like a garden hose, shooting water over his face.</scene_description> <character>TRAE</character> <dialogue>Give me some of that.</dialogue> <scene_description>Sprays Trae's face as well, then notices THE BLOOD pooled on the bench between them.</scene_description> <character>CONTRACTOR</character> <dialogue>You're hit.</dialogue> <scene_description>Contractors begin pulling off Trae's gear and clothes.</scene_description> <character>TRAE</character> <dialogue>Where?</dialogue> <scene_description>They find a hole just beneath his armpit.</scene_description> <character>MATT</character> <dialogue>There an exit?</dialogue> <scene_description>The find the exit hole through the shoulder blade.</scene_description> <character>TRAE</character> <dialogue>Fuck me --</dialogue> <character>MATT</character> <dialogue>Breathe in deep through your nose and hold your breath.</dialogue> <scene_description>He does. No cough ... \*</scene_description> <character>MATT</character> <dialogue>Missed your lung.</dialogue> <scene_description>A CONTRACTOR PULLS A TRAUMA KIT FROM HIS PACK, SHOWERS BOTH HOLES WITH A WHITE POWDER, BEGINS DRESSING THE WOUNDS as Matt speaks into his mouthpiece --</scene_description> <character>MATT</character> <dialogue>I need a medivac from our rally \* point. Contact 47'th med at Laughlin, let them know patient is a low visibility subject.</dialogue> <character>VOICE</character> <dialogue>Roger that ground. You have police \* vehicles approaching your six in a code 3.</dialogue> <character>MATT</character> <dialogue>Have a lane clear for me at the border and NO BULLSHIT. Anything in our way we drive over ...</dialogue> <scene_description>Matt reaches for the roof hatch as he shouts at the driver.</scene_description> <character>MATT</character> <dialogue>Get on the speaker and give them a warning.</dialogue> <scene_description>Looks at the other men who are already slamming fresh magazines into their rifles.</scene_description> <character>JIMMY</character> <dialogue>(mumbles to himself) here we go again ...</dialogue> </scene> <scene> <stage_direction>EXT. HUMVEE -- CONT.</stage_direction> <scene_description>Matt looks back as STATE POLICE VEHICLE SCREAM TOWARD THEM, SIRENS BLAZING. Matt places a BELT MAGAZINE IN THE M-60 MACHINE GUN MOUNTED TO A TURRET, YANKS BACK THE BOLT AND SENDS A ROUND INTO THE CHAMBER. The sound of the Humvee driver's voice echoes out of LOUD SPEAKERS. GET BACK! THIS IS A UNITED STATES MILITARY VEHICLE. IF YOU CONTINUE TO APPROACH WE WILL FIRE. The driver repeats it IN SPANISH as Matt fires a dozen rounds into the street in front of the vehicles ... \* POLICE VEHICLES LOCK THEIR BRAKES. SKID AND SLIDE TO A STOP as the Humvees race past a sign that says: INTERNATIONAL BORDER 1/2 MILE AHEAD. Matt spins around and sees the border crossing and ducks back inside the Humvee. IT IS A MUCH SMALLER CROSSING THAN JUAREZ. Barely more than GUARD SHACKS ON EITHER SIDE. As the Humvees approach, AGENTS FROM BOTH COUNTRIES stand and stare, stunned motionless by the bullet-riddled vehicles blasting past them while tourists \* film the retreat on their IPHONES ... \*</scene_description> </scene> <scene> <stage_direction>EXT. ROADSIDE -- NORTHERN MEXICO -- DAY.</stage_direction> <scene_description>Isabel hides in the mesquite. HEARS the sound of A VEHICLE APPROACHING. Sneaks a peak -- An old CHEVY PICKUP drives toward her. She stares at it gets closer. Has to make a decision -- stands and walks into the road. The truck slows to a stop. She walks toward it as the driver's door opens. A MIDDLE-AGED MAN, big belly, steps out of the truck. Nothing about him looks like a threat, until she steps closer and sees the falseness of his smile.</scene_description> <character>PICKUP DRIVER</character> <dialogue>Que esta haciendo aqui, chiquita?</dialogue> <scene_description>She freezes. Starts to walk backward. His smile fades as he reaches out and grabs her arm ... A BULLET pierces his forehead. The man collapses to the street like a jacket slipping from a coat rack. Alejandro steps from the mesquite, rifle still at his shoulder, Isabel in his sights. \* She turns and runs like hell out over the desert. Alejandro \* takes off after her with a speed we did not credit him with having. She looks back, SCREAMS IN TERROR at the ground he has gained. Isabel trips and hits the desert floor face-first. In an instant, Alejandro is on her ... Isabel explodes -- biting, kicking, screaming. Alejandro puts a knee in her chest-- pushing the air from her lungs and \* the fight from her spirit. She fights for air as she cries. Alejandro pulls a pistol, presses it to her temple. She looks \* him dead in the eye -- no fear. Wrestles against his hand. \* Turns her face into it, bites into his palm. \* He stares at this little fighter, never quitting. No beg in \* her. Pulls his bleeding hand from her mouth and stands over \* her, pistol pointed at her face. \*</scene_description> <character>ALEJANDRO</character> <dialogue>Now is a good time to cry. \*</dialogue> <character>ISABEL \*</character> <dialogue>If my father's such a monster WHAT \* THE FUCK ARE YOU?!?! \*</dialogue> <scene_description>He looks at the little warrior at his feet staring death in \* the eye with a dare, and lowers the pistol. \*</scene_description> <character>ALEJANDRO \*</character> <dialogue>Good question. Now's a good time to \* ask questions too -- you need to \* understand your new reality.</dialogue> <scene_description>She sucks heavy breaths. Looks up at him. \*</scene_description> <character>ISABEL</character> <dialogue>... Why did you take me? \*</dialogue> <character>ALEJANDRO</character> <dialogue>In a business of terrible men, your father is perhaps the worst. Maybe \* we'll talk about why and what made \* him terrible and if I am any worse, but not today. \*</dialogue> <character>ISABEL \*</character> <dialogue>Okay. \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>Ask me another one. \*</dialogue> <character>ISABEL</character> <dialogue>You took me to find him? \*</dialogue> <character>ALEJANDRO</character> <dialogue>Yes.</dialogue> <character>ISABEL</character> <dialogue>And you brought me back so his \* enemies would try and take me from \* you? \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>Why do you think we did that? \*</dialogue> <character>ISABEL \*</character> <dialogue>I don't know. \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>So your father will go to war with \* the men who attacked us. \*</dialogue> <character>ISABEL \*</character> <dialogue>How does that make things better? \*</dialogue> <character>ALEJANDRO</character> <dialogue>You won't understand the answer. Not yet.</dialogue> <scene_description>She looks at him with her giant eyes. The fighter is gone. \* Only a little girl remains. \*</scene_description> <character>ISABEL \*</character> <dialogue>Now you're going to kill me and \* make it look like they did it. \*</dialogue> <scene_description>He stares down at her. \*</scene_description> <character>ALEJANDRO \*</character> <dialogue>No ... You, I think I'll save. \*</dialogue> <scene_description>He yanks her to her feet. \*</scene_description> <character>ALEJANDRO</character> <dialogue>You want to tell the truth about \* Mexico? Now you know a little. I'll \* show you more. And if you can \* stomach what you see...</dialogue> <scene_description>He looks at her with sad, kind eyes.</scene_description> <character>ALEJANDRO</character> <dialogue>Scream it from a rooftop.</dialogue> <scene_description>He starts walking into the mesquite, motions for her to follow. She does ...</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM -- D.E.A. STAGING CENTER -- LATER.</stage_direction> <scene_description>COLD WATER RUNS INTO A DEEP, CROOKED GASH ON A MAN'S FOREARM. CAMERA PULLS BACK -- Matt stands in front of a sink, cleaning the wound. Dabs it dry with SURGICAL GAUZE. Dumps BETADINE SOLUTION into the wound, then starts pulling the gash closed with BUTTERFLY BANDAGES. Bathroom door pushes open -- Forsing stands there. \*</scene_description> <character>FORSING \*</character> <dialogue>You need stitches.</dialogue> <character>MATT</character> <dialogue>Lucky for me it'll still need them tomorrow.</dialogue> <character>FORSING \*</character> <dialogue>How'd that happen?</dialogue> <character>MATT</character> <dialogue>Fuck if I know.</dialogue> <character>FORSING \*</character> <dialogue>J.C.U. just picked up the signal.</dialogue> <scene_description>Matt forgets his wound and walks out the door.</scene_description> </scene> <scene> <stage_direction>INT. CONTROL ROOM -- D.E.A. STAGING CENTER -- MOMENT LATER.</stage_direction> <scene_description>A large room has been converted to a command center. Matt marches past JIMMY and other CONTRACTORS who are preparing both gear and themselves for the next operation.</scene_description> <character>JIMMY</character> <dialogue>How many you want?</dialogue> <character>MATT</character> <dialogue>Twelve man team, a medic and a sniper.</dialogue> <scene_description>He walks to a table where the J.C.U. SPECIALIST SITS BEFORE MONITORS AND COMPUTERS. The specialist points to a RED FLASHING LIGHT over a SATELLITE IMAGE OF THE GROUND.</scene_description> <character>JCU SPECIALIST</character> <dialogue>We just picked it up. 35 miles southwest of Reynosa.</dialogue> <character>MATT</character> <dialogue>Let's gear up and go get him -- \*</dialogue> <scene_description>The door flies open -- Cynthia and two CIA AIDES march in. \* Matt watches her as she storms toward him. Her mood is \* somewhere between irate and panic. Matt forces a smile --</scene_description> <character>MATT</character> <dialogue>... Fucking Mondays, huh?</dialogue> <character>CYNTHIA</character> <dialogue>Take me somewhere we can talk.</dialogue> <character>MATT</character> <dialogue>Let's go to my office.</dialogue> <scene_description>He walks off, she follows in a fury ...</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM -- MOMENT LATER.</stage_direction> <scene_description>Matt leans against a sink as Cynthia tears into him.</scene_description> <character>CYNTHIA</character> <dialogue>What a fuck up, Matt ...</dialogue> <character>MATT \*</character> <dialogue>It was a green-on-blue, Cynthia. \* There was no other option. You guys \* wanted Afghanistan, now you got it. \*</dialogue> <character>CYNTHIA</character> <dialogue>This isn't Afghanistan it's our \* FUCKING NEIGHBOR. 54 million \* Americans have relatives there and they're all watching footage of \* dead Mexican police on fucking FOX \* NEWS!!!! \*</dialogue> <character>MATT \*</character> <dialogue>They attacked us. We had no choice. \*</dialogue> <character>CYNTHIA \*</character> <dialogue>Wars are built on perception, Matt. \* And the only perception the world \* will have if someone besides us \* finds her IS WHATEVER SHE TELLS \* THEM -- \*</dialogue> <character>MATT \*</character> <dialogue>We'll find her first. \*</dialogue> <character>CYNTHIA \*</character> <dialogue>You'd better. \*</dialogue> <character>MATT \*</character> <dialogue>I have a source in the field. Just \* a matter of time. \*</dialogue> <character>CYNTHIA \*</character> <dialogue>We want the target eliminated. \*</dialogue> <character>MATT \*</character> <dialogue>What if my source gets her back? \*</dialogue> <character>CYNTHIA \*</character> <dialogue>We don't want her back. We want \* this whole fucked up operation to \* disappear. Eliminate the source as \* well. Then shut this down. \*</dialogue> <character>MATT \*</character> <dialogue>This was the mission. \*</dialogue> <character>CYNTHIA \*</character> <dialogue>This was FAR from the mission. Not \* my call. POTUS doesn't have the \* stomach for it. \*</dialogue> <character>MATT \*</character> <dialogue>I did my job. Now you do yours. Sit \* that fucking coward down and \* explain to him: this is how we win. \*</dialogue> <character>CYNTHIA \*</character> <dialogue>He's not worried about winning. \* He's worried about getting FUCKING \* IMPEACHED. I just watched Youtube \* footage of YOUR SHOT TO SHIT \* HUMVEES RACING ACROSS THE \* BORDER!!!! \*</dialogue> <character>MATT \*</character> <dialogue>SO SPIN IT!! All it does is \* strengthen our position. \*</dialogue> <character>CYNTHIA \*</character> <dialogue>We don't have a position BECAUSE \* WE'RE NOT SUPPOSED TO FUCKING BE \* THERE ... Your objective was to \* start a war with Mexican cartels, \* not the Mexican Government. \*</dialogue> <character>MATT \*</character> <dialogue>It's the same thing. \*</dialogue> <character>CYNTHIA \*</character> <dialogue>Don't be simplistic ... They're an \* ally. Until they piece this fuck-up \* together ... \*</dialogue> <scene_description>She shakes her head. \*</scene_description> <character>CYNTHIA (CONT'D) \*</character> <dialogue>You had a blank check and you still \* found a way to do the one thing you \* shouldn't do ... Wipe the \* chalkboard clean. Understand me? \*</dialogue> <character>MATT \*</character> <dialogue>It took me fifteen years to build \* him into what he is ... \*</dialogue> <character>CYNTHIA \*</character> <dialogue>Is he the only grieving father in \* Mexico, Matt? I could throw a \* booomerang across the river and hit \* fifty of them. Build another. \*</dialogue> <scene_description>Matt shakes his head in frustration. \*</scene_description> <character>MATT \*</character> <dialogue>This is why nothing ever changes.</dialogue> <character>CYNTHIA</character> <dialogue>You think change is the goal? You've been doing this too long to believe that. \*</dialogue> <scene_description>She walks out. \*</scene_description> </scene> <scene> <stage_direction>EXT. MEXICAN DESERT -- AFTERNOON.</stage_direction> <scene_description>Alejandro looks out over a field of corn. Sees A MAN pulling \* weeds in the rows. Alejandro whispers to Isabel. \*</scene_description> <character>ALEJANDRO</character> <dialogue>Stay behind me.</dialogue> <scene_description>Alejandro lays the rifle beneath the tree. Pulls off his tactical vest. Alejandro walks into the field -- hands held out, Isabel in \* his back pocket. The farmer spots them and stands perfectly still as they approach ... He studies the frail young woman and the hulking man beside her -- both dressed in military uniforms, and grips his rake a little tighter ...</scene_description> <character>ALEJANDRO (SUBTITLE)</character> <dialogue>We need help. I'll pay for it.</dialogue> <scene_description>The farmer's name is ANGEL(40), kind face, trim body of a man who works for a living.</scene_description> <character>ANGEL (SUBTITLE)</character> <dialogue>To give help here is expensive. And I don't mean dollars.</dialogue> <character>ALEJANDRO (SUBTITLE)</character> <dialogue>Helping me won't cost you anything because we are ghosts who were never here.</dialogue> <scene_description>Angel's eyes move over the girl -- a flicker of recognition \* in Angel's eyes, then a wave of realization as he looks at the gear on Alejandro's chest. The pistol on his hip ...</scene_description> <character>ANGEL</character> <dialogue>... El Medellin?</dialogue> <scene_description>Alejandro nods.</scene_description> <character>ANGEL (SUBTITLE)</character> <dialogue>If there were a thousand of you, maybe I could walk my field at night.</dialogue> <character>ALEJANDRO (SUBTITLE)</character> <dialogue>If there were a thousand of me it would be my field. That's the nature of power. Better I am alone.</dialogue> <scene_description>Angel turns and walks toward his tiny house, motions for them to follow ... \*</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN -- ANGEL'S HOUSE -- LATER.</stage_direction> <scene_description>Alejandro sips coffee as Isabel devours a meal of eggs and tortillas, nods his gratitude toward Angel and his wife \* IDA(35), a baby boy in her lap.</scene_description> <character>ALEJANDRO</character> <dialogue>Your only child?</dialogue> <character>ANGEL</character> <dialogue>We have two daughters in Dallas. My work visa was expiring so we came \* back to get it renewed ...</dialogue> <scene_description>Angel motions at the baby.</scene_description> <character>ANGEL</character> <dialogue>Then he came early. They don't give visas for babies. They do, but ...</dialogue> <scene_description>Angel rubs his thumb and forefinger together.</scene_description> <character>ANGEL</character> <dialogue>You need a lot of this for a lot of pockets ... Now our family's there \* and we're here. Hiding. It's what I \* get for trying to do things the \* right way. \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>It isn't the right way if you get \* punished for doing it. \*</dialogue> <character>ANGEL \*</character> <dialogue>There is no right way. Not anymore. \*</dialogue> <scene_description>Alejandro looks out the window at the setting sun. Looks at \* his watch. Reaches into his pack and pulls out a SATELLITE PHONE.</scene_description> <character>ALEJANDRO</character> <dialogue>Excuse me.</dialogue> <scene_description>He walks outside as he dials ...</scene_description> </scene> <scene> <stage_direction>EXT. ANGEL'S FARM -- CONT.</stage_direction> <scene_description>Alejandro stares out over goats and chickens as the dying sun paints the horizon a bloody orange.</scene_description> <character>MATT (V.O.)</character> <dialogue>You safe?</dialogue> <character>ALEJANDRO</character> <dialogue>Where are you.</dialogue> <scene_description>Beat.</scene_description> <character>MATT (V.O.)</character> <dialogue>The base. You find her? \*</dialogue> <scene_description>INTERCUT WITH -- \*</scene_description> </scene> <scene> <stage_direction>EXT. D.E.A. STAGING CENTER -- CONT. \*</stage_direction> <scene_description>Matt walks across the giant parking lot filed with SUV's, \* HUMVEES, and HELICOPTERS beneath a canopy of stars ... \*</scene_description> <character>ALEJANDRO \*</character> <dialogue>She's with me now. \*</dialogue> <character>MATT \*</character> <dialogue>They want to cut ties. \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>Don't think I can do that. \*</dialogue> <character>MATT</character> <dialogue>What are you telling me? \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>I'm telling you not this one. \*</dialogue> <scene_description>Beat. \*</scene_description> <character>ALEJANDRO (CONT'D) \*</character> <dialogue>I'm bringing her to you. \*</dialogue> <character>MATT \*</character> <dialogue>Not sure this side is any safer. \* She's got a lot to say they don't \* want anyone to hear. \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>Yeah ... I think maybe that's what \* we need. It's the only thing we \* haven't tried. \*</dialogue> <character>MATT \*</character> <dialogue>That thought crossed my mind too. \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>If I get her back can you protect \* her? \*</dialogue> <scene_description>Matt sucks in a breath. What he says when he exhales will \* determine his future. \*</scene_description> <character>MATT \*</character> <dialogue>Get her to me. I'll do the rest. \* Good luck. \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>Luck doesn't live on this side of \* the border. \*</dialogue> <scene_description>Alejandro hangs up and watches as the last rays of the day \* dip to the horizon. Starts walking back to the little house. By the time reaches the front door, night has overtaken them.</scene_description> </scene> <scene> <stage_direction>INT. HECTOR'S CAMARO -- NIGHT.</stage_direction> <scene_description>Miguel looks out the window as they drive through Reynosa, \* Mexico. Turn down a narrow road and come to A WAREHOUSE. \* Parked in front IS A ROW OF OLD SCHOOL BUSES AND VANS ... Exhausted MIGRANTS sleep against the warehouse wall using backpacks as pillows. Must be a hundred of them ... \*</scene_description> <character>HECTOR</character> <dialogue>Lots of pollos today.</dialogue> <scene_description>Camaro stops. Hector and Miguel walk past the sleeping 'sheep' to the warehouse ...</scene_description> </scene> <scene> <stage_direction>INT. WAREHOUSE -- CONT.</stage_direction> <scene_description>Old couches and chairs sit in no particular order. TWO MEN \* drink beer and play pool. TEENAGE BOYS AND YOUNG MEN sleep on every available piece of furniture. Cigarette smoke hovers over the warehouse in a hazy, blue cloud.</scene_description> <character>HECTOR</character> <dialogue>Get some rest.</dialogue> <scene_description>Miguel looks for a place to sleep but every available couch \* is taken. He rests against the wall, knees to his chest, looking more the little boy than ever ...</scene_description> </scene> <scene> <stage_direction>EXT. MESQUITE THICKET -- ANGEL'S FARM -- NIGHT.</stage_direction> <scene_description>Alejandro stands in a hole about 2 feet deep, shovel in hand. Tosses the shovel to the ground and drops to his knees. Begins scooping dirt with his hands. He wears Angel's clothes -- which are far too small. Beside the hole is all of Alejandro's gear -- the M-16 completely disassembled, his tactical clothes and gear -- A RADIO \* EARPIECE, SATELLITE PHONE, RIFLE MAGAZINES ... Beside all of that is Isabel, wearing more of Angel's clothes -- all too \* big. Her hair has been cut short, like a boy. She stands, arms crossed, face filled with worry.</scene_description> <character>ISABEL</character> <dialogue>Medellin ... I know who you are. You're the attorney whose family they --</dialogue> <character>ALEJANDRO</character> <dialogue>Not 'they'.</dialogue> <scene_description>His eyes burrow into her until she understands the implication.</scene_description> <character>ISABEL</character> <dialogue>... My father.</dialogue> <character>ALEJANDRO</character> <dialogue>A man who worked for him.</dialogue> <scene_description>Beat.</scene_description> <character>ISABEL</character> <dialogue>Why?</dialogue> <character>ALEJANDRO</character> <dialogue>To send a message.</dialogue> <character>ISABEL</character> <dialogue>That why you hunt them, so you won't be a message?</dialogue> <character>ALEJANDRO</character> <dialogue>I will always be a message. Only now the message is different.</dialogue> <scene_description>Alejandro stops what he's doing. Looks at the terrified girl. \*</scene_description> <character>ISABEL \*</character> <dialogue>Is it hard to cross? \*</dialogue> <character>ALEJANDRO</character> <dialogue>Depends ... Do polleros control \* border agents on the other side? Is it a kidnap crew that will hold us in a house in Texas until a ransom is paid? What will they do if they discover who we are ...</dialogue> <scene_description>He looks at her.</scene_description> <character>ALEJANDRO</character> <dialogue>We will walk through Hell tomorrow, and all you can do is pray the devil doesn't notice.</dialogue> <scene_description>Isabel barely breaths as she digests his words ... Alejandro climbs out of the hole, tosses his gear in, drops to his knees and begins shoving dirt back in the hole.</scene_description> <character>ALEJANDRO</character> <dialogue>Come on, you need to get dirty.</dialogue> <scene_description>Isabel drops to her knees beside him, starts shoving dirt ... CAMERA WATCHES FROM A DISTANCE -- The black silhouettes of Alejandro and Isabel look like mourners lost in prayer as they fill a grave by hand ... \*</scene_description> </scene> <scene> <stage_direction>INT. ANGEL'S TRUCK -- DAWN.</stage_direction> <scene_description>Day breaks over the desert as the outskirts of Reynosa appear in the distance. Isabel's eyes see a poverty that must be \* witnessed to be fully understood -- crumbling cinder-block buildings, a wall of OLD TIRES that runs a city block. \* Alejandro watches her as she absorbs the truth of the border. They pass group after group of MIGRANTS, huddled in parks. On empty lots. Sleeping on the sidewalk ...</scene_description> <character>ISABEL</character> <dialogue>I don't know this Mexico.</dialogue> <character>ALEJANDRO</character> <dialogue>They don't know yours. Most don't know Mexico at all ... From Honduras. Guatemala. From every \* edge of the world. Tonight they \* will be strapped with a bundle of marijuana and pay the cartel every \* penny they have for the burden of carrying it over. That is the price \* of seeking a better life ... \*</dialogue> <scene_description>She looks at him, too stunned to weep.</scene_description> <character>ALEJANDRO</character> <dialogue>This is how your father pays for the fantasy.</dialogue> <scene_description>Alejandro watches the migrants as they pass.</scene_description> <character>ALEJANDRO (CONT'D) \*</character> <dialogue>When you scream, scream about this.</dialogue> <scene_description>Angel looks at Alejandro, face wrecked with worry.</scene_description> <character>ANGEL</character> <dialogue>You should let me drive you to the bridge and take your chances with the police.</dialogue> <character>ALEJANDRO</character> <dialogue>That gives us no chance at all. Stop here.</dialogue> <scene_description>Truck stops. Alejandro opens the door. They get out. Alejandro pulls a wad of money from his pocket, peels off hundred after hundred. Hands it to Angel.</scene_description> <character>ALEJANDRO</character> <dialogue>(Rubs his thumb and forefinger together) For all the pockets.</dialogue> <scene_description>Then Alejandro pulls his pistol from his knapsack and slides it under the seat.</scene_description> <character>ALEJANDRO</character> <dialogue>For walking your field at night.</dialogue> <character>ANGEL</character> <dialogue>You need that.</dialogue> <character>ALEJANDRO</character> <dialogue>If I need it here, we're already dead.</dialogue> <scene_description>Alejandro closes the door. Angel drives off as Alejandro leads Isabel toward a group of migrants just starting to wake up. He looks at Isabel who is visibly shaking.</scene_description> <character>ISABEL</character> <dialogue>I think, maybe ... This is what I deserve.</dialogue> <scene_description>The migrants look at them as they walk closer -- their faces wracked with hunger and worry.</scene_description> <character>ALEJANDRO</character> <dialogue>No one deserves this.</dialogue> <scene_description>Alejandro extends his hand to a man who shakes it. A small fire has been built. Some men huddle around it boiling water and pouring instant coffee in mugs. A cup is offered to Alejandro, who takes it and hands it to Isabel ... She cradles the cup and looks over the faces around her. They \* nod at her, smile even. There is an odd bond between them all as they await their initiation into a fraternity of fear and suffering ... A BOY ABOUT ISABEL'S AGE walks up to her, digs in his backpack, pulls out a roll of duct tape, hands it to her.</scene_description> <character>'BOY'</character> <dialogue>I can see them.</dialogue> <scene_description>The 'boy's' voice it that of a teenage girl. She nods in the direction of Isabel's breasts.</scene_description> <character>'BOY'</character> <dialogue>You should tape them down.</dialogue> <scene_description>The 'boy' hands her the duct tape. Alejandro watches as Isabel follows the 'boy' around the side of a building. He walks after them. Comes around the corner and sees a glimpse of the 'boy' wrapping Isabel's breasts tight to her rib cage. He turns away and moves off, giving them the privacy an act of such delicacy deserves. \* Alejandro walks back to the men huddled around the fire. \* Warms his hands over it. Isabel walks up, stands beside him. Does the same. He looks at her and gives a reassuring smile -- it is the closest thing to kindness we've ever seen from him.</scene_description> </scene> <scene> <stage_direction>INT. CONTROL ROOM -- D.E.A. STAGING CENTER -- DAWN.</stage_direction> <scene_description>Matt stares at the blinking light of the GPS BEACON on a \* computer monitor. Forsing and Cynthia look over his shoulder. \* CONTRACTORS pace about anxiously, geared from head-to-toe.</scene_description> <character>FORSING \*</character> <dialogue>We can't get to him in town.</dialogue> <character>MATT</character> <dialogue>He knows where I need him.</dialogue> <scene_description>Matt looks at the contractors.</scene_description> <character>MATT</character> <dialogue>Here comes round 2. Let's go.(to the J.C.U. SPECIALIST) I want a satellite over that beacon.</dialogue> <character>CYNTHIA</character> <dialogue>Wait until he gets her across the \* border. We take them then -- \*</dialogue> <character>MATT \*</character> <dialogue>You want me cleaning a scene on \* this side of the border? \*</dialogue> <character>CYNTHIA \*</character> <dialogue>We can't breach their airspace. \*</dialogue> <character>MATT \*</character> <dialogue>It's the least worst option. \*</dialogue> <character>CYNTHIA \*</character> <dialogue>(Sighs) I'll ask. \*</dialogue> <scene_description>Dials her cell, and steps away. Matt's eyes never leave her. She hangs up and walks back.</scene_description> <character>CYNTHIA</character> <dialogue>Spotless, Matt. You understand me? \*</dialogue> <scene_description>Matt and his team walk out double doors to --</scene_description> </scene> <scene> <stage_direction>EXT. TARMAC -- D.E.A. STAGING CENTER -- CONT.</stage_direction> <scene_description>TWO BLACKHAWK HELICOPTERS AND A 'LITTLE BIRD' HUEY HELICOPTER (essentially a two-seater like news crew use to give traffic reports, except it has a GENERAL ELECTRIC 6 BARREL 20MM MACHINE mounted to it's belly ... Matt's team divides in two and piles into the Blackhawks. Rotors whirl to life ...</scene_description> </scene> <scene> <stage_direction>EXT. EMPTY LOT -- REYNOSA, MEXICO -- MORNING.</stage_direction> <scene_description>PICKUP TRUCKS PULL INTO THE LOT WHERE DOZENS OF MIGRANTS STAND IN GROUPS. Cartel guides get out and walk to the migrants, smiling like salesmen. Alejandro studies them -- the Cartels' middle-management don't look like criminals at all -- they look like plumbers, like soccer coaches. They are fat and bald and altogether unremarkable. A DOOR OPENS ON THE FAR END OF THE WAREHOUSE -- A group of men and women: ASIAN, MIDDLE EASTERN, RUSSIAN, are led to two SUBURBANS. Climb inside. The Suburbans drive off.</scene_description> <character>ISABEL</character> <dialogue>Who are they?</dialogue> <character>ALEJANDRO</character> <dialogue>Same as us. But they paid a different rate. They go first class.</dialogue> <scene_description>Isabel looks at the sheer volume of people being loaded in buses and vehicles, all headed to different areas of the border in preparation for this evening's exodus.</scene_description> <character>ISABEL</character> <dialogue>So many ...</dialogue> <character>ALEJANDRO</character> <dialogue>Every day. Just like this. People so desperate for a better life they let the wolf be their shepherd.</dialogue> <scene_description>Hector walks toward Alejandro and the group standing with him. Alejandro looks at Isabel.</scene_description> <character>ALEJANDRO</character> <dialogue>Don't look directly at him but don't look at the ground. Answer questions 'yes' and 'no'. And mumble when you answer ...</dialogue> <scene_description>She nods as Hector walks to them. He instantly singles out Alejandro who stands a foot taller than everyone else here.</scene_description> <character>HECTOR</character> <dialogue>De donde eres, amigo?</dialogue> <character>ALEJANDRO</character> <dialogue>Oaxaca.</dialogue> <scene_description>He nods. Looks at Isabel.</scene_description> <character>HECTOR</character> <dialogue>Your son?</dialogue> <scene_description>Alejandro nods. Hector studies Isabel ...</scene_description> <character>HECTOR</character> <dialogue>Skinny ... He sick?</dialogue> <character>ALEJANDRO</character> <dialogue>Just skinny.</dialogue> <character>HECTOR</character> <dialogue>Looks sick. You know the price?</dialogue> <character>ALEJANDRO</character> <dialogue>Ten.</dialogue> <character>HECTOR</character> <dialogue>Each. We could work something out for you, but ... He doesn't look like much of a burro. You come with me for 10, and I'll send him over with a different group. You can pack his freight.</dialogue> <character>ALEJANDRO</character> <dialogue>We go together.</dialogue> <scene_description>Hector's eyes narrow.</scene_description> <character>HECTOR</character> <dialogue>That wasn't a question.</dialogue> <scene_description>Alejandro pulls a thick wad of money from his pocket. Hands it to Hector.</scene_description> <character>ALEJANDRO</character> <dialogue>We go together.</dialogue> <scene_description>Pulls another wad of money from another pocket.</scene_description> <character>ALEJANDRO</character> <dialogue>For you, Senor. For the inconvenience.</dialogue> <scene_description>Hector thumbs through the bills -- close to 15 thousand dollars.</scene_description> <character>HECTOR</character> <dialogue>Must be mowing the right lawns.</dialogue> <scene_description>He points to a WHITE PICKUP.</scene_description> <character>HECTOR</character> <dialogue>Get in the back of that one.</dialogue> <scene_description>Alejandro guides Isabel to the pickup, they climb in the bed. Others do as well. Migrants fill the beds of pickups until the shocks sink under their weight. The pickups drive off. Some go north. Some go south. Alejandro's truck drives up the road for a while then turns left down a narrow street and stops before a warehouse with buses waiting ... Migrants load onto buses like school children. Hector points Alejandro and his crew to the bus farthest to the left. As Alejandro and Isabel wait to board, Alejandro looks across the parking lot and sees -- MIGUEL, leaning against the warehouse wall, smoking a cigarette. Alejandro turns his face away as he steps on the bus ... Alejandro ushers Isabel to the back. The bus fills quickly. No one speaks. Hector sits in the driver's seat. Starts the engine. Miguel climbs on the bus -- and with no seats left, grabs a hand rail and looks back over the migrants. Freezes when he sees Alejandro ... Alejandro holds his gaze as the bus starts moving, then casually glances out the window. The bus pulls onto the street. Hector turns on the radio to something peppy. Something familiar. Something to keep the cattle calm ... Alejandro glances in Miguel's direction -- he hasn't moved. Hasn't blinked. Just stares at Alejandro ... Alejandro slides the GPS BEACON from his pocket, hands it to Isabel.</scene_description> <character>ALEJANDRO</character> <dialogue>Hide this somewhere no one will find it.</dialogue> <scene_description>She shoves the beacon down her pants. Alejandro grabs her arm, says with sadness --</scene_description> <character>ALEJANDRO</character> <dialogue>They will look there. Your shoe.</dialogue> <scene_description>Alejandro looks back up the aisle where Miguel still stands frozen, incapable of removing his eyes from Alejandro. Alejandro sees Miguel's mouth move. Sees Hector's eyes look in the rearview mirror. Watches Hector dial his cellphone ... Alejandro closes his eyes, just for an instant. Opens them and looks at Isabel.</scene_description> <character>ALEJANDRO</character> <dialogue>You're name is Carina. From Panama.</dialogue> <character>ISABEL</character> <dialogue>Why Panama?</dialogue> <character>ALEJANDRO</character> <dialogue>Because no one else here is. You met me last night. Asked me to pretend I am your father. Paid me to do it ... Understand?</dialogue> <character>ISABEL</character> <dialogue>I'm not a good liar.</dialogue> <character>ALEJANDRO</character> <dialogue>You must get good.</dialogue> <scene_description>Isabel sucks in a breath. Finds her center.</scene_description> <character>ISABEL</character> <dialogue>Where in Panama?</dialogue> <character>ALEJANDRO</character> <dialogue>Manila.</dialogue> <character>ISABEL</character> <dialogue>How much did I pay you?</dialogue> <character>ALEJANDRO</character> <dialogue>A thousand. US dollars.</dialogue> <character>ISABEL</character> <dialogue>... Where am I going?</dialogue> <character>ALEJANDRO</character> <dialogue>Detroit.</dialogue> <character>ISABEL</character> <dialogue>Where's that?</dialogue> <character>ALEJANDRO</character> <dialogue>Michigan.</dialogue> <character>ISABEL</character> <dialogue>Where's that?</dialogue> <character>ALEJANDRO</character> <dialogue>North. On a lake the size of an ocean.</dialogue> <character>ISABEL</character> <dialogue>Why there?</dialogue> <character>ALEJANDRO</character> <dialogue>Your sister lives there --</dialogue> <character>ISABEL</character> <dialogue>Serena.</dialogue> <scene_description>Alejandro looks at her.</scene_description> <character>ALEJANDRO</character> <dialogue>Good.</dialogue> <scene_description>Alejandro steals a peek at Miguel, who now looks anywhere but Alejandro. Alejandro looks back at Isabel and gives a nod that says 'it's gonna be okay', even though they both know it won't be ...</scene_description> </scene> <scene> <stage_direction>INT. BLACKHAWK HELICOPTER -- D.E.A. STAGING CENTER -- DAY.</stage_direction> <scene_description>Matt stares at an A.T.A.C.S.: a flip-down computer monitor strapped to his chest -- watches the red blip move over the map, ever-closer to the border. Matt speaks into his radio- mic --</scene_description> <character>MATT</character> <dialogue>Am I green?</dialogue> <scene_description>Nothing.</scene_description> <character>MATT</character> <dialogue>It's a half-hour flight to his location and his location is MOVING AWAY ...</dialogue> <scene_description>Nothing.</scene_description> <character>MATT</character> <dialogue>Fuck it.</dialogue> <scene_description>Matt leans forward, taps the pilot. Circles his finger in the air.</scene_description> <character>PILOT</character> <dialogue>We're not cleared yet. \*</dialogue> <character>MATT</character> <dialogue>Put us in the air!</dialogue> <character>PILOT</character> <dialogue>I don't have clearance and I won't fly 'till I do.</dialogue> <character>MATT</character> <dialogue>You don't work for them, you work for me.</dialogue> <character>PILOT</character> <dialogue>It's their money, sir. And they're watching. I work for them now.</dialogue> <scene_description>Doesn't sway the pilot. Matt begins moving into the cockpit.</scene_description> <character>MATT</character> <dialogue>Fine. Get out.</dialogue> <character>PILOT</character> <dialogue>What??</dialogue> <character>MATT</character> <dialogue>Think I can't fly it? GET THE FUCK OUT.</dialogue> <scene_description>ROMEO-THREE, TANGO-TWO , ZULU-ONE, YOU ARE CLEAR FOR LIFT-OFF.</scene_description> <character>MATT</character> <dialogue>Saved by the bell ...</dialogue> </scene> <scene> <stage_direction>EXT. D.E.A. STAGING CENTER -- CONT.</stage_direction> <scene_description>The choppers levitate skyward, then arc south. Toward Mexico.</scene_description> </scene> <scene> <stage_direction>INT. BUS -- DAY.</stage_direction> <scene_description>Alejandro looks out the window as mesquite gives way to cactus. Feels the bus slow. Looks forward -- Hard to see what's ahead, but as the bus slows, it is impossible to miss the MEXICAN STATE POLICE VEHICLES BLOCKING THE ROAD.</scene_description> </scene> <scene> <stage_direction>EXT. MEXICO -- U.S. BORDER -- CONT.</stage_direction> <scene_description>SATELLITE FOOTAGE OF -- THREE MEXICAN POLICE VEHICLES BLOCKING THE ROAD. Police officers standing beside the vehicles. Beyond the blockade, a number of vehicles sit parked in the road. Among them -- A NAVY CHEVY PICKUP AND A TAN EXPEDITION.</scene_description> </scene> <scene> <stage_direction>INT. BLACKHAWK HELICOPTER -- CONT.</stage_direction> <scene_description>Matt's radio crackles --</scene_description> <character>J.C.U. SPECIALIST (V.O.)</character> <dialogue>There's interference on the road.</dialogue> <character>MATT</character> <dialogue>Are the vehicles unmarked or police?</dialogue> <character>J.C.U. SPECIALIST (V.O.)</character> <dialogue>Both.</dialogue> <character>MATT</character> <dialogue>Fuck. They know it's her.</dialogue> <character>FORSING (V.O.) \*</character> <dialogue>What if they know it's him?</dialogue> <character>MATT</character> <dialogue>... That would be worse.</dialogue> </scene> <scene> <stage_direction>EXT. MEXICO -- U.S. BORDER -- CONT.</stage_direction> <scene_description>The bus stops and officers walk toward the bus.</scene_description> </scene> <scene> <stage_direction>INT. BUS -- CONT.</stage_direction> <scene_description>Hector walks down the aisle, all smiles -- like this is just part of it. He looks at Alejandro as he walks to the end of the bus and the rear emergency door.</scene_description> <character>HECTOR (SUBTITLE)</character> <dialogue>Relax. You're almost to Eden.</dialogue> <scene_description>Hector pulls the emergency latch and the rear door of the bus flies open. STATE POLICE OFFICERS RUSH IN FROM THE REAR AS WELL AS THE FRONT. ALL POINTING GUNS. ALL OF THEM AT ALEJANDRO ... A hand grabs him, jerks him out the emergency exit. He endures the three-foot fall with a thud. POLICEMEN SEARCH HIM. PULL OFF HIS SHOES. A POLICEMAN grabs a handful of his hair, and jerks his face skyward. Gallo kneels down. Looks at him close.</scene_description> <character>GALLO</character> <dialogue>You were in Texas two days ago.</dialogue> <character>ALEJANDRO</character> <dialogue>Not me.</dialogue> <character>GALLO</character> <dialogue>Yes, you ... What you doing here, you on vacation? Thought you'd take a little tour of la frontera?</dialogue> <scene_description>Gallo shakes his head.</scene_description> <character>GALLO</character> <dialogue>Know what I think? I think if I dig deep enough in your belly I will find you swallowed a badge.</dialogue> <scene_description>State police officers drag Isabel off the bus and drop her beside Alejandro. Gallo looks at her with vague recognition. Stands up and walks back to the Expedition. Returns with a WATER BOTTLE. Pulls off the lid and pours it over Isabel's face, washing away the filth that covers her. Gallo pulls the cap from her head and stares at her. Knows what he just found. Looks at Alejandro.</scene_description> <character>GALLO</character> <dialogue>... Who are you?</dialogue> <character>ISABEL</character> <dialogue>I hired him to say he is my --</dialogue> <scene_description>Without even looking at her, Gallo sends his boot into her sternum, knocking the air from her lungs. She doubles over in the dirt. Gallo knocks the hat off Alejandro's head, pours water over his face, tears open his shirt -- His chest is a road map of bullet holes and burns. Gallo just stares at him, then leans close and whispers in his ear --</scene_description> <character>GALLO</character> <dialogue>I know who you are ... Medellin ...</dialogue> <scene_description>A BURLAP SACK is pulled over Alejandro's head. DUCT TAPE is wrapped around the sack so tight it takes effort to breath. Alejandro is pushed to the ground, face first. His hands and are bound behind his back, ankles taped tight.</scene_description> <character>GALLO</character> <dialogue>(To one of his men) They ride with me.</dialogue> <scene_description>He is then carried like luggage and tossed in the back of the Expedition. Isabel is loaded in the backseat behind the driver. Gallo looks back at Hector.</scene_description> <character>GALLO</character> <dialogue>Which boy knew him?</dialogue> <scene_description>Hector points to Miguel. Gallo walks to him ... He places a hand to his neck, guides him to a pickup where five boys just like him sit on the edge of the bed.</scene_description> <character>GALLO</character> <dialogue>No more muling for you. Today you become a soldier.</dialogue> <scene_description>Miguel climbs in, looks at the other boys -- all his age. Beside him sits JOSE, who looks terrified, the others look like they've done this a thousand times before -- hard faces and uncaring eyes, pistols in their waistbands. Cigarettes dangle from their lips ... Miguel puts on his toughest face, nods in their direction. Teenagers pretending to be men suck cigarettes and hold up their chins in mistrust.</scene_description> <character>MIGUEL</character> <dialogue>What happens next?</dialogue> <scene_description>The oldest boy sucks his cigarette, exhales.</scene_description> <character>TEENAGE SOLDIER</character> <dialogue>Your initiation.</dialogue> <scene_description>The truck engine starts and lunges forward ...</scene_description> </scene> <scene> <stage_direction>INT. EXPEDITION -- CONT.</stage_direction> <scene_description>Gallo looks back at Isabel, evil eyes running the length of her body.</scene_description> <character>GALLO</character> <dialogue>Know how much you're worth?</dialogue> <scene_description>ANGLE ON -- Alejandro, forced in a fetal position on the floorboard of the Expedition. Tries to reach back and grab at the tape around his ankles. A CARTEL SOLDIER sitting beside Isabel looks back, sees Alejandro struggling, grabs his pistol by the barrel and beats Alejandro until he stops moving ... The violence is too much for Isabel, try though she might, emotion overcomes her. Gallo laughs.</scene_description> <character>GALLO</character> <dialogue>There's nothing to cry about, chiquita. You should be thanking us, we just rescued you from the devil ...</dialogue> <scene_description>He puts a burlap sack over her head, tapes it tight ...</scene_description> </scene> <scene> <stage_direction>INT. BLACKHAWK HELICOPTER -- CONT.</stage_direction> <scene_description>Matt watches all of this from a SATELLITE FEED to his A.T.A.C.S. -- essentially a laptop computer that is strapped to an assault vest, it's monitor flips down like a bib. Mtt shouts into his radio mic -- ETA TO TARGET.</scene_description> <character>PILOT (V.O.)</character> <dialogue>Fifteen minutes?</dialogue> <character>MATT</character> <dialogue>Get me there in 10.</dialogue> <scene_description>Beat.</scene_description> <character>PILOT (V.O.)</character> <dialogue>Hang on back there. Gonna get bumpy.</dialogue> <scene_description>The engines of the chopper whine, chopper tilts forward and vibrates everything aboard as it races faster.</scene_description> </scene> <scene> <stage_direction>EXT. ARROYO ABOVE THE BORDER -- DAY.</stage_direction> <scene_description>The Expedition and the pickup pull to a stop. Alejandro is pulled out and drug across the desert. Forced to sit on his knees. Gallo leans close.</scene_description> <character>GALLO</character> <dialogue>I'd like to cut your face off and sew it to a soccer ball, then kick you across the river ... But I don't have the time.</dialogue> <character>GALLO</character> <dialogue>I must decide what to do with the \* prize you brought me. Lots to think \* about. Because it's the kind of \* treasure that ends empires ... I'm \* going to give you a pollo's death, Sicario. At the hands of a baby ... That's all you deserve.</dialogue> <scene_description>Gallo pulls a pistol from his waistband, walks to the teenage boys huddled around the pickup, and hands it to the first boy he reaches -- Jose.</scene_description> </scene> <scene> <stage_direction>INT. BLACKHAWK HELICOPTER -- CONT.</stage_direction> <scene_description>Matt stares at the satellite feed on his A.T.A.C.S., screams into his mic -- E.T.A.??</scene_description> <character>PILOT (V.O.)</character> <dialogue>Three minutes.</dialogue> <scene_description>ON THE A.T.A.C.S. MONITOR -- A bird's-eye view of the MAN WITH A BURLAP SACK OVER HIS HEAD, Jose beside him, pistol raised.</scene_description> </scene> <scene> <stage_direction>EXT. DESERT -- U.S./MEXICAN BORDER -- CONT.</stage_direction> <scene_description>ALEJANDRO'S OBSCURED FACE FILLS THE FRAME as Gallo shoots Jose. BLOOD SPLATTERS over the burlap sack. WIDEN TO REVEAL -- Gallo scooping up the pistol. Looks at Alejandro as he rises.</scene_description> <character>GALLO</character> <dialogue>That baby was no good. Don't worry, Sicario ... I have more.</dialogue> </scene> <scene> <stage_direction>INT. CHOPPER -- CONT.</stage_direction> <scene_description>Matt watches the satellite feed as Miguel walks to Alejandro, points the pistol to his face ...</scene_description> <character>MATT</character> <dialogue>Hang on. Almost there ...</dialogue> </scene> <scene> <stage_direction>EXT. DESERT -- U.S./MEXICAN BORDER -- CONT.</stage_direction> <scene_description>MIGUEL'S FACE FILLS THE FRAME. Breathing is short, rapid. Eyes blink at the recoil of the pistol. He stares down, closes his eyes, tries like hell to stop his body from shaking ... WIDEN TO REVEAL -- Alejandro's body pitched forward in the dirt ...</scene_description> </scene> <scene> <stage_direction>INT. CHOPPER -- CONT.</stage_direction> <scene_description>Matt stares at Alejandro's body as Miguel and the others walk back toward their vehicles, shakes his head ...</scene_description> <character>PILOT (V.O.)</character> <dialogue>Two minutes out.</dialogue> <character>MATT</character> <dialogue>Base, do you have subject's exact location inside the vehicle?</dialogue> <character>VOICE</character> <dialogue>Subject is backseat, left side, behind the driver.</dialogue> <scene_description>Matt looks at the contractors.</scene_description> <character>MATT</character> <dialogue>Know your target. Watch your angles. Prize is driver's side, second seat, tan Expedition.</dialogue> <character>JIMMY \*</character> <dialogue>R.O.E. Matt? \*</dialogue> <character>MATT</character> <dialogue>None at all. We wipe it clean.</dialogue> <character>JIMMY \*</character> <dialogue>Fuck that. Let me out here. I ain't \* killing no teenage girl. \*</dialogue> <scene_description>Matt looks at Jimmy. \*</scene_description> <character>MATT \*</character> <dialogue>That's not the mission. \*</dialogue> <character>JIMMY \*</character> <dialogue>Sure sounded like the mission. \*</dialogue> <character>MATT \*</character> <dialogue>It's not the mission now. \*</dialogue> <scene_description>Matt looks at the men. \*</scene_description> <character>MATT (CONT'D) \*</character> <dialogue>New game. This is an extraction. \*</dialogue> <scene_description>Men nod, pull bolts and rack rounds, then stare straight ahead, finding their focus ...</scene_description> </scene> <scene> <stage_direction>INT. TAN EXPEDITION -- CONT.</stage_direction> <scene_description>Gallo drives. Hears a DULL THUD. Turns back and looks out the rear windshield to find the source -- the distant images of HELICOPTERS MOVING TOWARD HIM. Everyone looks back, then at Isabel. Gallo yanks the sack from her head.</scene_description> <character>GALLO</character> <dialogue>Where is it?</dialogue> <scene_description>Too scared to speak. Gallo nods to the man beside her. He starts pulling at her shirt, her pants, she screams and kicks and yells -- MY SHOE! MY SHOE!!! He pulls off her shoe and finds the GPS BEACON. Gallo grabs it, shuts it off and tosses it out the window. Gallo slams the gas pedal down as he looks back -- doesn't see the choppers.</scene_description> <character>GALLO</character> <dialogue>Donde estan?!?!</dialogue> <scene_description>Gallo slams on the brakes as A BLACKHAWK HELICOPTER BLASTS OVERHEAD THEN HOVERS OVER THE ROAD IN FRONT OF HIM ...</scene_description> </scene> <scene> <stage_direction>EXT. ROAD -- CONT.</stage_direction> <scene_description>The Expedition and pickup skid to a stop as the Blackhawk touches ground, depositing a dozen men who race toward the vehicle, rifles raised ... ANGLE ON -- MIGUEL, WHO LEAPS FROM THE TRUCK BED BEFORE THE PICKUP HAS EVEN SLOWED DOWN. Lands in the bar ditch, is on his feet and running as fast as he can through the mesquite. The pickup slams to a stop, the momentum hurling the remaining boys into the truck cab with a thud. By the time they have picked themselves up from the truck bed, RIFLE BARRELS STARE BACK AT THEM ... Gallo reaches for his pistol as MATT AND THE CONTRACTORS RUSH FORWARD. Looks back a the man sitting beside Isabel -- HOLD HER TIGHT!! The man grabs Isabel and pulls her close, puts his pistol to her temple ... The man looks through the windshield at Matt, who looks him dead in the eye and shakes his head 'no'. Matt puts two rounds through the man's head, then it all happens in an instant -- Gallo raises his pistol and fires wildly through the windshield as rounds punch into both him and the man sitting shotgun. Gallo climbs into the backseat, his body shielding Isabel from Matt's view -- HOLD FIRE!!! GET AROUND HIM!!! Matt and the contractors surround the vehicle, standing not 10 feet from it. Gallo smothers Isabel with his body, forcing her face into the seat, cutting off her air. YOU SHOOT ME YOU SHOOT HER!!! Isabel fights against the big man's weight as Gallo surveys the bullet holes that perforate him. Knows he's running out of time ... ANGLE ON -- Matt, looking through his scope, seeing nothing but fat man. CAN YOU SEE HER!!! Looks at Jimmy who shakes his head. \* I HAVE HIM BUT DON'T SEE HER!!!! WE HAVE A MEDIC. RAISE YOUR HANDS AND WE'LL BRING HIM TO YOU. IT'S \* THE ONLY WAY ... BACK WITH GALLO AND ISABEL -- His filthy face pressed against hers. His hand finds her neck and closes like a clamp.</scene_description> <character>GALLO</character> <dialogue>All this for you ... I don't think \* you're worth it. \*</dialogue> <scene_description>Squeezes tighter. Her hands flail, scratch, reach for anything she can as Gallo squeezes the life from her .. WITH MATT AND THE CONTRACTORS -- They see her arm flailing ... WHO HAS THE SHOT?!?!? 'NO SHOT' is yelled by all the contractors, who twist and turn, attempting to see a clear shot that won't kill them both ...</scene_description> <character>MATT</character> <dialogue>Fuck it. MOVE IN!!!</dialogue> <scene_description>Gallo looks up as they approach, presses the muzzle of his pistol to Isabel's forehead as he looks in Matt's furious eyes and screams -- I'LL FUCKING KILL HER -- Isabel grabs Gallo's hand with both of hers, and pushes with all her might, pressing the pistol under Gallo's chin, closes her hands around his and depresses the trigger, blasting Gallo back in a heap. Matt opens the rear door of the Expedition and watches Isabel try to fight Gallo's dead weight off her. Matt grabs Gallo's shirt and yanks. Isabel looks at Matt as she heaves traumatized breaths.</scene_description> <character>ISABEL</character> <dialogue>Look what you made me do ...</dialogue> <character>MATT</character> <dialogue>Come on.</dialogue> <scene_description>She climbs over Gallo's body and out the vehicle. Contractors guide her toward the waiting chopper. Matt walks toward the pickup, anger rising with each step. Looks at the contractors surrounding it.</scene_description> <character>JIMMY \*</character> <dialogue>What do you want us to do?</dialogue> <scene_description>Matt walks toward the truck cab, raises his rifle and puts a round through the driver and the man riding shotgun. Looks at the boys in the bed of the truck, then at the contractors.</scene_description> <character>JIMMY (CONT'D) \*</character> <dialogue>They're fucking kids.</dialogue> <scene_description>Matt looks at the boys, speaks in Spanish --</scene_description> <character>MATT</character> <dialogue>Lift your shirts.</dialogue> <scene_description>They hesitate. He raises his rifle. They lift their shirts -- Pistols are tucked in every waistband. Matt looks at the contractor.</scene_description> <character>MATT</character> <dialogue>You see any kids here? I don't.</dialogue> <scene_description>The boys seem to sense what's coming. One reaches for his pistol -- he never even gets it out of his pants ... Matt and the contractors punch rounds into the boys, collapsing them into the truck bed. One of the contractors looks at Matt.</scene_description> <character>JIMMY \*</character> <dialogue>Goddam, man ... Not the choice I wanted to make.</dialogue> <character>MATT</character> <dialogue>They didn't give us a choice. They \* never do ... \*</dialogue> <scene_description>Matt turns and jogs back toward the choppers, the contractors following ... CAMERA HOLDS ON THE PICKUP AS THE ROTORS SCREAM ...</scene_description> </scene> <scene> <stage_direction>INT. CHOPPER -- CONT.</stage_direction> <scene_description>Matt looks down on the road, stares at the dead bodies in the truck bed. Sits back against the chopper wall, looking straight ahead. Can't take it anymore, turns his eyes to Isabel -- who stares at him, the horror of the day carved into her face. She doesn't cry. Doesn't scream or yell, just looks at him in a way that should force his eyes somewhere else ... But it doesn't. He accepts the hate ...</scene_description> <character>MATT</character> <dialogue>Going say something to you I've \* never said in 26 years of doing this for a living ... I'm sorry.</dialogue> <scene_description>She takes in the sincerity in which it was said. Says with as much sincerity as she received --</scene_description> <character>ISABEL</character> <dialogue>You should be.</dialogue> <scene_description>Tears run her face. Can't call it crying. More like innocence bleeding out of her. There's only so much guilt Matt can swallow in a day, and he just reached his quota -- he turns his gaze to the window ...</scene_description> </scene> <scene> <stage_direction>EXT. DESERT -- U.S./MEXICAN BORDER -- CONT.</stage_direction> <scene_description>FEET SLAM EARTH. FAST. RACING OVER CACTUS. OVER MESQUITE STUMPS. CAMERA PIVOTS UP AND -- MESQUITE BRANCHES SLAM INTO FRAME. DOESN'T SLOW US DOWN. Not one bit ... ANGLE ON -- Miguel, running like his life depends on it, which it does. Up ahead is the arroyo and trail that leads to the river. FEET RUSH PAST A POOL OF BLOOD. Then the feet stop. ANGLE ON -- Miguel, staring at the spot where Alejandro used to be. He looks around, panicked. Freezes when he sees -- ALEJANDRO slumped beneath a mesquite tree, rubbing his wrists against the thorns of a branch in a futile attempt to remove the duct tape. Alejandro stops moving as he senses a presence. Hears FOOTSTEPS APPROACH THEN STOP RIGHT IN FRONT OF HIM ... THROUGH THE BURLAP SACK -- Now caked with blood and dirt, Alejandro can barely make out the image of Miguel standing before him. Feels him kneel close. Feels the tension of a KNIFE BLADE cutting through the duct tape around his feet. ANGLE ON -- Miguel, standing over Alejandro, knife in hand. Alejandro rolls to his stomach, exposing his bound wrists. Miguel kneels down, every muscle in his body tense ... He stretches his arm out, attempting to keep as much distance between him and Alejandro as possible -- like feeding a wild animal -- and slices halfway through the duct tape, then turns and runs like hell toward the river ... Alejandro pulls and twists and tears his arms free. Begins unravelling the tape around his neck and pulls the sack from his head ... His fingers search for the bullet holes in his head -- finds the entrance wound just beneath his cheekbone. Finds the exit wound on the bottom of his other cheek ... Alejandro stands, looks down on the river -- sees the ripples of boys swimming across it. Turns his back to the river and walks south ...</scene_description> </scene> <scene> <stage_direction>EXT. ROAD -- U.S./MEXICAN BORDER -- DAY.</stage_direction> <scene_description>Alejandro walks down the road, sees in the distance -- the pickup truck and Expedition in the middle of the road, engines still idling. Looks down and sees THE GPS BEACON. Picks it up and walks to the pickup ... Looks inside -- two dead men and not much else. Reaches in the cab and grabs the REARVIEW MIRROR, yanks it from the windshield. Alejandro assesses his wounds. Opens his mouth and looks in -- not good. Scours the pickup for anything useful. Finds a WATER BOTTLE. Rinses his mouth with half of it, then forces the bloody water out the entrance and exit holes in his cheeks, cleansing the wounds -- then leans against the truck with his mouth wide open, letting warm air ease the pain before repeating the process. Pulls off the driver's shoes and puts them on. Notices the bodies in the bed of the pickup for the first time, stares at the dead boys for a moment then walks to the Expedition. Opens the door. Takes Gallo's pistol. Searches his body, finds TWO PISTOL MAGAZINES. Takes those as well then yanks Gallo's body to the street ... Walks around to the passenger side, finds a BOTTLE OF TEQUILA on the floorboard. Rinses his mouth with that -- the pain is so intense, he punches the vehicle hard enough to leave a dent ... Keeps searching. He takes the passenger's pistol as well. Opens the glove box and finds TWO HAND GRENADES. Puts them in his pocket then throws this body to the street ... Alejandro gets behind the wheel, puts it in gear, and heads south ... A STATE POLICE VEHICLE is racing toward him. THE DRIVER recognizes the Expedition, slows his vehicle and waves out the window for Alejandro to stop ... Without slowing down, Alejandro pulls the pin of a grenade and hurls it like a baseball through the front windshield of the police vehicle as he passes. Doesn't bother looking back as it explodes ...</scene_description> </scene> <scene> <stage_direction>EXT. LANDING PAD -- D.E.A. STAGING CENTER -- DAY. \*</stage_direction> <scene_description>Cynthia marches across the tarmac toward the choppers as they \* land. Matt steps and the other contractors file out, ducking \* beneath the rotors. \* Cynthia is on Matt in an instant, face red with fury -- \*</scene_description> <character>CYNTHIA \*</character> <dialogue>There's a dozen FBI agents and \* Marshals in the lobby all asking \* for you. Care to explain -- \*</dialogue> <scene_description>Cynthia's face goes from crimson to ash-white as she watches \* Isabel led from the chopper. \*</scene_description> <character>CYNTHIA (CONT'D) \*</character> <dialogue>You're so fucking done. \*</dialogue> <character>MATT \*</character> <dialogue>There's a thousand people in DOD \* who can do your job, Cynthia. There \* aren't five on the planet who do \* mine. I ain't going anywhere. \*</dialogue> <scene_description>He brushes past her. Cynthia stands frozen as Isabel is led \* past her and into the staging center headquarters. \*</scene_description> </scene> <scene> <stage_direction>INT. BREAK ROOM -- D.E.A. STAGING CENTER -- LATER.</stage_direction> <scene_description>Isabel sits on a couch watching CNN talk about everything but what happened in Mexico today. Door opens and Matt and US MARSHAL GERARD WILLIAMS(38), demeanor as stiff as his suit, walk in. Take seats around her.</scene_description> <character>MATT</character> <dialogue>This is Gerard. He works for the Department of Justice.</dialogue> <character>ISABEL</character> <dialogue>Are you my attorney?</dialogue> <character>GERARD</character> <dialogue>You're not under arrest.</dialogue> <character>ISABEL</character> <dialogue>So ... I can go?</dialogue> <character>GERARD</character> <dialogue>Door's right there.</dialogue> <scene_description>She doesn't waste a second -- is on her feet and to the door in an instant. Matt speaks with a kindness we don't expect from him.</scene_description> <character>MATT</character> <dialogue>Where are you going?</dialogue> <character>ISABEL</character> <dialogue>None of your fucking business.</dialogue> <character>GERARD</character> <dialogue>Do you even know?</dialogue> <scene_description>She stops.</scene_description> <character>ISABEL</character> <dialogue>Away.</dialogue> <character>MATT</character> <dialogue>That isn't a location, Isabel. It's a direction.</dialogue> <scene_description>Beat.</scene_description> <character>GERARD</character> <dialogue>Should we call your father --</dialogue> <scene_description>NO.:</scene_description> <character>GERARD</character> <dialogue>(pulls out his phone) I'll dial your mother. What's her number?</dialogue> <scene_description>Isabel starts to shake.</scene_description> <character>MATT</character> <dialogue>Don't know it, do you?</dialogue> <character>ISABEL</character> <dialogue>... It's in my phone.</dialogue> <character>GERARD</character> <dialogue>Tell me when I'm wrong: you get a new phone each month. And all the numbers of all the people who lead to your father are already on that phone. Correct?</dialogue> <scene_description>She nods.</scene_description> <character>GERARD</character> <dialogue>Even if you did know her number, do you really want to call her? Can she keep you safe?</dialogue> <character>ISABEL</character> <dialogue>... There's no one else.</dialogue> <character>MATT</character> <dialogue>That's not what he asked.</dialogue> <scene_description>Fights emotion and shakes her head 'no'.</scene_description> <character>GERARD</character> <dialogue>I work for the Witness Protection Program. What we do is provide people whose lives are in imminent danger a new identity, money, housing, education ... A new start.</dialogue> <scene_description>She looks at Gerard, then at Matt, then at the floor.</scene_description> <character>ISABEL</character> <dialogue>In exchange for what.</dialogue> <character>GERARD</character> <dialogue>You were involved in a very sensitive operation, and it only benefits your enemies to learn the specifics of that operation.</dialogue> <character>ISABEL</character> <dialogue>You're asking me to lie.</dialogue> <character>GERARD</character> <dialogue>We're not asking you anything, Isabel. There's no strings here. But by talking about what you've been through, you expose yourself to the very people we're trying to protect you from. If you feel compelled to speak publicly about what's happened to you ... Best of luck. There's the door.</dialogue> <scene_description>And then the door opens. Jeff pops his head in.</scene_description> <character>JEFF</character> <dialogue>(To Matt)Something you need to see.</dialogue> </scene> <scene> <stage_direction>INT. CONTROL ROOM -- D.E.A. STAGING CENTER -- MOMENT LATER.</stage_direction> <scene_description>Matt leans over the J.C.U. SPECIALIST and stares at the computer screen, sees the GPS BEACON'S blinking light on a MAP. MOVING ...</scene_description> <character>J.C.U. SPECIALIST</character> <dialogue>Was reactivated 10 minutes ago. Figured someone just found it, but it's moving south and west. Toward Monterrey ...</dialogue> <character>MATT</character> <dialogue>Can you get me a satellite feed?</dialogue> <character>J.C.U. SPECIALIST</character> <dialogue>(Shakes his head) N.S.A. clearance \* has expired. We're shut down, I got no eyes ...</dialogue> <character>MATT</character> <dialogue>Get creative.</dialogue> <scene_description>The specialist scratches his head, then speaks into his radio mic --</scene_description> <character>J.C.U. SPECIALIST</character> <dialogue>NS 12-12-39, this is outpost 395, assigned to team-termed classified, identifying number as follows: three-three-seven-two-niner-niner- zero.</dialogue> <character>VOICE</character> <dialogue>Code for access?</dialogue> <character>J.C.U. SPECIALIST</character> <dialogue>Delta, Bravo, Montana, one-five- three-niner.</dialogue> <scene_description>Beat.</scene_description> <character>VOICE</character> <dialogue>Code's no longer authorized.</dialogue> <character>J.C.U. SPECIALIST</character> <dialogue>We left gear on the ground. It's on the move. Just need to take a picture for the file.</dialogue> <character>VOICE</character> <dialogue>Can't release satellite, three-nine- five, but give me coordinates, I'll take the shot and send it to you.</dialogue> <character>J.C.U. SPECIALIST</character> <dialogue>Twenty-five, dot, six-six-six-five degrees north by one hundred dot three-zero-zero-zero-one degrees west.</dialogue> <character>VOICE</character> <dialogue>Stand by three-nine-five ... Picture's on it's way.</dialogue> <character>J.C.U. SPECIALIST</character> <dialogue>Roger that, three-nine-five out.</dialogue> <scene_description>A SATELLITE PHOTO OF THE HIGHWAY INTO MONTERREY APPEARS ON THE SCREEN. CARS FILL BOTH DIRECTIONS OF THE HIGHWAY.</scene_description> <character>MATT</character> <dialogue>Punch in.</dialogue> <scene_description>The specialist zooms in tight -- the roof of the tan Expedition coming into view.</scene_description> <character>FORSING \*</character> <dialogue>What do you think?</dialogue> <character>MATT</character> <dialogue>... Don't know.</dialogue> <character>FORSING \*</character> <dialogue>Can't be him. I mean, we saw it.</dialogue> <character>MATT</character> <dialogue>Yeah ... But someone's driving toward ground zero and wants us to know it.</dialogue> <character>FORSING \*</character> <dialogue>Could be a lot of explanations --</dialogue> <character>MATT</character> <dialogue>For someone activating a GPS Beacon then taking a Reynosa cartel soldier's vehicle and driving it toward the leader of the Sonoran cartel's fucking summer house?! \* What the explanation? I can't wait \* to hear this, I've got goosebumps. \*</dialogue> <scene_description>Forsing leans close. \*</scene_description> <character>FORSING \*</character> <dialogue>If you're right, that means your assassin is running around Northern Mexico -- on his own -- wearing a GOVERNMENT ISSUE GPS LOCATOR ... \* Buddy, we were ordered to shut him \* down. I say we inform the State department and have Mexican police intercept before he does something that parks us in front of a goddam grand jury --</dialogue> <character>MATT</character> <dialogue>He doesn't do anything on his own. EVER. He goes exactly where he's pointed, because if he doesn't he knows we'll kill him. And dying is in direct conflict with his goal. (To the JCU SPECIALIST) Get rid of this image. Break everything down. \* I want you off-line. And not a word to anyone.</dialogue> <character>FORSING \*</character> <dialogue>If he hits the house it's going to \* start a war. \*</dialogue> <character>\*</character> <dialogue>Matt looks at Forsing. \*</dialogue> <character>MATT</character> <dialogue>It's what they asked for, isn't it? \*</dialogue> <scene_description>Matt pulls out his cellphone, walks off. INTERCUT WITH --</scene_description> </scene> <scene> <stage_direction>INT. MEXICAN INTELLIGENCE CENTER -- MONTERREY -- CONT.</stage_direction> <scene_description>Rafael's cellphone rings. He answers --</scene_description> <character>RAFAEL</character> <dialogue>Bueno.</dialogue> <character>MATT</character> <dialogue>Hey, bud.</dialogue> <scene_description>Beat.</scene_description> <character>RAFAEL</character> <dialogue>Hold on.</dialogue> <scene_description>Rafael walks down a hall, takes stairs to the roof -- the \* Sierra Madre Mountains loom over a sleek, modern city that is the antithesis of Juarez.</scene_description> <character>RAFAEL</character> <dialogue>Okay.</dialogue> <character>MATT</character> <dialogue>Whatcha up to?</dialogue> <character>RAFAEL</character> <dialogue>Oh ... Looking at satellite photos of your helicopters violating our airspace.</dialogue> <character>MATT</character> <dialogue>Wish I could've given you a heads up. Happened too quick ... How you guys going to play it?</dialogue> <character>RAFAEL</character> <dialogue>Like we play everything else you do: pretend we didn't see it ... What a mess, Matt. And it achieved nothing.</dialogue> <character>MATT</character> <dialogue>Not yet. But I think our friend's on his way to the Alamo.</dialogue> <character>RAFAEL</character> <dialogue>... You think?</dialogue> <character>MATT</character> <dialogue>Extraction got a little sloppy. I \* lost him on the ground, but it looks like he's still on target. Need a little help.</dialogue> <character>RAFAEL \*</character> <dialogue>I'm surprised it was an extraction \* at all. \*</dialogue> <character>MATT \*</character> <dialogue>Yeah, well. I'm deviating from the \* original plan. \*</dialogue> <character>RAFAEL</character> <dialogue>What can I do? You haven't even told us where the Alamo is --</dialogue> <character>MATT</character> <dialogue>If I told you, the Alamo would move and you know it. If he cuts the head off this snake it's a win for all of us.</dialogue> <character>RAFAEL</character> <dialogue>When you cut the head off these snakes, a new one grows. From both ends. Maybe just one snake is better.</dialogue> <character>MATT</character> <dialogue>Playing not to lose now, Rafael? When it gets messy enough, they'll send me in to stay, and WE will GO \* TO WORK on these fuckers. You have my word. \*</dialogue> <character>RAFAEL</character> <dialogue>What do you want?</dialogue> <character>MATT</character> <dialogue>Go public on our raid. Blame it on Reynosa. Say they killed the girl. Let's see how many generals we can get to the Alamo before our boy gets there ...</dialogue> <character>RAFAEL</character> <dialogue>... How public?</dialogue> <character>MATT</character> <dialogue>I want to watch it on Telemundo in an hour.</dialogue> <character>RAFAEL</character> <dialogue>See what I can do.</dialogue> <scene_description>Rafael hangs up, walks back inside. CAMERA MOVES OVER MONTERREY -- Miles off in the distance, a thin ribbon of asphalt weaves through the city. CAMERA SOARS TOWARD IT. Over buildings. Over streets. Toward the highway that dissects the financial heart of Northern Mexico. CAMERA FLIES OVER THE HIGHWAY -- racing east over westbound traffic. FLIES RIGHT OVER THE ONCOMING TRAFFIC, VEHICLES WHIPPING PAST. IN THE DISTANCE, A GOLD EXPEDITION MOVING TOWARD US. CLOSER. CLOSER .. UNTIL IT APPEARS IT WILL SMASH THROUGH THE LENS ...</scene_description> </scene> <scene> <stage_direction>INT. EXPEDITION -- CONT.</stage_direction> <scene_description>Alejandro's face is covered in a thin sheen of sweat. Face is swollen. Cheeks look like they may explode. Breathing is labored as he fights pain. But his eyes, cold and resolute and fixed firmly on the mountains that tower over the city stretched out before him ...</scene_description> </scene> <scene> <stage_direction>INT. BREAK ROOM -- D.E.A. STAGING CENTER -- NIGHT.</stage_direction> <scene_description>TELEMUNDO plays on the television -- a SCHOOL PHOTO OF ISABEL DISPLAYED IN A CORNER OF THE SCREEN AS THE NEWS ANCHOR SPEAKS.</scene_description> <character>NEWS ANCHOR (SUBTITLE)</character> <dialogue>Officials say they have recovered the body of Isabel Reyes, daughter of billionaire businessman Carlos \* Reyes, who is also the reputed leader of the Sonoran drug cartel. A spokesman for the Mexican Military states a daring raid along the border by members of the rival Reynosa cartel are responsible for the attack today as well as an attack on Mexican Federal police and US Military advisers in a \* daring attempt to rescue the girl \* two days ago. The whereabouts of Mr. Reyes is unknown and there has \* been no statement from the family. \*</dialogue> <scene_description>Isabel watches, then looks up at Matt.</scene_description> <character>MATT</character> <dialogue>Just like that. Your old life's \* behind you -- if that's where you \* want it to be.</dialogue> <character>ISABEL</character> <dialogue>Nothing she said is true.</dialogue> <character>MATT</character> <dialogue>She said what she was told to say.</dialogue> <character>ISABEL</character> <dialogue>You people control everything ...</dialogue> <character>MATT</character> <dialogue>Only thing we control is the illusion.</dialogue> <scene_description>Matt looks at her as she shakes her head in disbelief.</scene_description> <character>MATT</character> <dialogue>What I'm offering you is a clean \* start. From here out, you decide the course of your life.</dialogue> <character>ISABEL</character> <dialogue>I decide ...</dialogue> <scene_description>Matt nods.</scene_description> <character>ISABEL</character> <dialogue>How's the University of Michigan?</dialogue> <character>MATT</character> <dialogue>Good school.</dialogue> <character>ISABEL</character> <dialogue>Send me there.</dialogue> <scene_description>Matt smiles as he stands and walks to the door. \*</scene_description> <character>MATT</character> <dialogue>You're making the right choice.</dialogue> <character>ISABEL</character> <dialogue>Someday I'm going to tell the world everything that happened to me. \* Everything I saw ... Everything. \*</dialogue> <character>MATT</character> <dialogue>I'm counting on it. \*</dialogue> <scene_description>Matt walks out and Isabel returns her focus to her yearbook photo on the tv screen. PUSH IN ON THE SCREEN UNTIL IT FILLS THE FRAME --</scene_description> </scene> <scene> <stage_direction>INT. CARLOS REYES'S COMPOUND -- EAST OF MONTERREY -- CONT.</stage_direction> <scene_description>ISABEL'S FACE STILL FILLS THE FRAME BUT THE SOUND IS DIFFERENT. Better. Like we're watching the news in a MOVIE THEATER. ANOTHER ANGLE -- CARLOS REYES is almost 60. White hair is slicked back. His tailored suit hugs his frame. Looks much more the billionaire \* than drug dealer ... He sits in an office the size of a dance hall, staring at one of numerous TV MONITORS on the wall -- some show the stock \* market in China and Europe. But he's looking at the one with his daughter's face pasted across the screen. As he watches, there is no sadness in his eyes. He stands and \* walks out of the room ...</scene_description> </scene> <scene> <stage_direction>EXT. HILLSIDE -- REYES COMPOUND -- NIGHT.</stage_direction> <scene_description>On a steep hillside sits a man, rifle across his lap, wearing NIGHT VISION GOGGLES ... THROUGH THE NV GOGGLES -- The field of view is narrow. No depth of field. MOVEMENT catches his attention -- THREE DEER lope up the hillside through thick brush ... He watches them as they stop and look back over their shoulder. He looks where the deer look, sees nothing. Looks back to the deer -- takes a minute to find them in the goggles. When he does THEY ARE LOOKING RIGHT AT HIM ... LEGS WRAP AROUND THE MAN'S TORSO AND CONSTRICT AS AN ARM COMES AROUND HIS NECK AND WRENCHES THE MAN BACK ... The man frantically fights the choke. Reaches for the trigger of the rifle but A LARGE HAND GRABS HIS WRIST AND WRENCHES IT BACKWARD ... The man's arm is bent back into his face, then the arm around his neck readjusts to compress the bent arm against the man's head -- using his forearm as a fulcrum and snapping the man's neck ... ALEJANDRO stands, grabs the goggles and rifle and moves silently up the steep hill ...</scene_description> </scene> <scene> <stage_direction>EXT. REYES COMPOUND -- LATER.</stage_direction> <scene_description>Vehicles pull out of the compound, more pull in -- it is a hive of activity.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM -- REYES COMPOUND -- LATER.</stage_direction> <scene_description>Carlos stands in the living room with the entire command structure of the Sonoran Cartel. Hands are shook, then the men are led up a wide staircase. Down a long hall. They come to double doors -- A BUTLER PUSHES THEM OPEN. Carlos and the \* men filter in and walk to couches that face a fireplace so large a child could stand in it. All the men stop in unison and stare in the direction of an \* enormous MAHOGANY DESK -- Alejandro looks back at them. Dried blood is caked to his face. His shirt. To every part of him. As Alejandro exhales, the faintest whistle emits from his cheek as air passes over broken teeth. The men seem too terrified to process what they are seeing -- it's as though all the victims of every crime they committed \* were compressed into one man ... \* No one moves. No one speaks. No one blinks. The only sound is the slow, constant in-and-out of Alejandro's heavy, whistled breaths -- like a big, angry engine idling ... \*</scene_description> <character>REYES \*</character> <dialogue>Let me guess ... The child killer. \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>Look who's talking. This is where \* you tell me it's all business. And \* if not you, someone else would do \* the same. \*</dialogue> <character>REYES \*</character> <dialogue>Mexico is the only nation on earth \* where the poor who have fled this \* nation provide the welfare for the \* poor who remain. Mexico's economy \* depends on it. So does America. Why \* do you think the United States \* allows 400,000 people to sneak \* across its border every year? \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>They don't. \*</dialogue> <character>REYES \*</character> <dialogue>They pretend they don't. Mexico \* provides a work force they aren't \* responsible for. Don't have to \* educate. Don't have to house. Don't \* have to treat when they're sick ... \* And when they're too old to work, \* they come back here to die. You're \* an attorney, I shouldn't have to \* explain this to you ... Mexico has \* two cash crops and half the states \* in America have legalized one of \* them. So we send a few people \* across the border to remind them \* not to change the rules of the \* game. It's not business, Alejandro. \* It's a negotiation. It's theater. \*</dialogue> <scene_description>Beat. \*</scene_description> <character>REYES (CONT'D) \*</character> <dialogue>I should thank you for saving my \* daughter. I hear she's safe in the \* States now ... I'll pretend I don't \* know and start the war they want \* anyway. That's how this works. \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>I think the world will be a better \* place when men like you and I are \* no longer in it. \*</dialogue> <character>REYES \*</character> <dialogue>We aren't the exception, Alejandro. \* We're the rule ... \*</dialogue> <character>ALEJANDRO \*</character> <dialogue>I know. I've got a lot of work to \* do ... You're right, though. They \* do want a war. But they don't want \* you to start it. They want it to \* start with you ... \*</dialogue> <scene_description>Reyes looks in Alejandro's lifeless eyes and knows what's \* coming next. No one in the room breaths ... \* A WOMAN DRESSED LIKE A MAID CARRIES A TRAY OF HOR D'OEUVRES \* into the room. She screams and drops the tray at first sight of Alejandro, then everything happens in an instant -- Pistols are pulled from every jacket. Alejandro doesn't even bother to stand, just tosses a grenade in their direction then flips the desk over ...</scene_description> </scene> <scene> <stage_direction>EXT. REYES COMPOUND -- CONT.</stage_direction> <scene_description>THE SOUNDS OF SCREAMING ARE SWALLOWED BY THE ERUPTION OF THE GRENADE, SENDING PLUMES OF DIRTY SMOKE AND BROKEN GLASS A \* HUNDRED FEET OUT THE WINDOW. SECURITY ALARMS chirp in ear-piercing moans. VOICES in the yard start moving toward the house as a GUNSHOT \* illuminates the office windows, then disappears. \* Then another ... Then another window is illuminated by a muzzle flash and muffled pop. MEN RUN INTO THE HOUSE AS ALL LIGHTS IN THE HOUSE GO OFF. The shooting builds to a frenzied pace -- sending bursting light from every window. Looks like someone dropped the house on a thunderstorm ... \* The shooting stops as quickly as it started. Now there's only dark and silence ... Then another gunshot and another window illuminated -- this one downstairs. CAMERA RETREATS FROM THIS HELL. Pulls back until there is no sound at all when muzzle flashes appear. CAMERA PULLS BACK MORE -- Until the muzzle flashes are so small, they look fireflies on a moonless night ...</scene_description> </scene> <scene> <stage_direction>INT. HOUSTON INTERNATIONAL AIRPORT -- NEXT DAY.</stage_direction> <scene_description>Isabel sits in a chair at the gate. A few seats away are TWO FEMALE FEDERAL MARSHALS. Isabel wears the uniform of an \* American teenage girl -- jeans, tank top, hoodie. Headphones \* cover her ears as she bangs keys on a laptop computer. SOMETHING ON THE TV MONITOR ON THE WALL CATCHES HER EYE -- She can't hear what the news reporter is saying, but she can read the HEADLINE that proclaims in bold letters -- SONORAN CARTEL LEADER MURDERED IN MONTERREY, MEXICO. An OLDER PHOTO OF REYES with his family -- A jewelled and hair-sprayed mother, a teenage boy, and a SEVEN YEAR-OLD \* ISABEL -- the only person in the photo smiling ... She stares at a family that is no more, then closes her eyes. \*</scene_description> <character>ISABEL (V.O.)</character> <dialogue>I used to believe the end justifies the means. Now, I know there is no \* end to consider. The means is all there is ... \*</dialogue> <scene_description>A FLIGHT ATTENDANT speaks into a microphone.</scene_description> <character>FLIGHT ATTENDANT</character> <dialogue>Ladies and gentlemen, welcome to flight 1119, with service to Gerald R. Ford International airport in Grand Rapids, Michigan. Right now, we'd like to start boarding all first class customers and ... \*</dialogue> <scene_description>ONE OF THE US MARSHALS taps Isabel on the shoulder.</scene_description> <character>MARSHAL</character> <dialogue>Emily.</dialogue> <scene_description>Isabel opens her eyes, looks at the marshal.</scene_description> <character>MARSHAL</character> <dialogue>Time to go.</dialogue> <scene_description>Isabel stands, takes one last look at the photograph of the life she leaves behind, then walks toward the flight attendant checking tickets ...</scene_description> <character>ISABEL (V.O.)</character> <dialogue>There is a moment in each person's life. A choice. Do what feels good... Or do what is good ...</dialogue> <scene_description>Isabel hands her ticket to the flight attendant. She tears the stub, hands it back. Isabel disappears down the jetway. \*</scene_description> </scene> <scene> <stage_direction>EXT. DESERT -- U.S./MEXICAN BORDER -- SUNSET.</stage_direction> <scene_description>THE YOUNG MAN FROM THE RAILCAR KNEELS ON A PRAYER BLANKET AND CALLS TO ALLAH AS HE FACES THE LAST RAYS OF DAY ... WIDEN TO REVEAL -- Miguel and TWO TEENAGE BOYS stand at an arroyo overlooking the Rio Grande. A GROUP OF MIGRANTS FROM EVERY CORNER OF THE EARTH prepare to swim the river. The teenage boys pass out GARBAGE BAGS, which the migrants fill with their belongings, then seal tight ... \* The sun disappears as the praying man stands, rolls up his blanket, and walks back to the group. Miguel hands THE YOUNG \* MAN a garbage bag. The young man looks across the river. \*</scene_description> <character>YOUNG MAN</character> <dialogue>That's America?</dialogue> <character>MIGUEL</character> <dialogue>Land of the free.</dialogue> <scene_description>The young man's eyes look out. They are heavy. Determined.</scene_description> <character>YOUNG MAN</character> <dialogue>Doesn't look so rich to me.</dialogue> <character>MIGUEL</character> <dialogue>Where you going?</dialogue> <character>YOUNG MAN</character> <dialogue>Denver.</dialogue> <character>MIGUEL</character> <dialogue>It'll look plenty rich there.</dialogue> <character>YOUNG MAN</character> <dialogue>Good.</dialogue> <scene_description>Miguel looks in the young man's eyes, sees something he's become familiar with -- the eyes of a killer ... Miguel and \* the other boys lead the group down the trail to the river. \*</scene_description> <character>ISABEL (V.O.)</character> <dialogue>Make the wrong choice enough and it is not presented again. Then all \* choices are bad ... And the \* consequences worse ...</dialogue> <scene_description>CAMERA RISES -- Across the river, TWO VANS AND A BORDER PATROL VEHICLE SIT PARKED BY THE RIVER BANK. The BORDER AGENT and COYOTES standing side-by-side. Casual ... Garbage bags for belongings and a police escort -- in CARTEL \* LAND, this is first class ...</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT -- LA PLAZA MALL -- NIGHT.</stage_direction> <scene_description>A MINIVAN pulls to a stop across from STARBUCKS. Miguel \* climbs out and it drives away ... \* As Miguel reaches the patio he notices a man sitting at a table holding out a BROWN PAPER SACK. Miguel walks to him, grabs it. But the man doesn't let go. Alejandro raises his face to Miguel -- who almost faints with \* fear.</scene_description> <character>ALEJANDRO</character> <dialogue>Sit down.</dialogue> <scene_description>Miguel sits ... Alejandro turns his face to the night sky and ponders the stars above ...</scene_description> <character>ALEJANDRO</character> <dialogue>So ... You want to be a Sicario.</dialogue> <scene_description>Tears well in Miguel's eyes as he shakes his head 'no'.</scene_description> <character>ALEJANDRO</character> <dialogue>Yes ... I'm the proof.</dialogue> <scene_description>Alejandro leans into the light and Miguel can see the scars. \* One the size of a penny. One the size of a silver dollar -- \* on each side of his face.</scene_description> <character>ALEJANDRO</character> <dialogue>It's time we discuss your future.</dialogue> <scene_description>CAMERA WATCHES FROM ACROSS THE PARKING LOT -- Alejandro and Miguel sit at the table -- from this distance they look like father and son discussing baseball, or school, or girls. Anything but victim negotiating how to survive with his killer ... CAMERA RETREATS -- Until Alejandro and Miguel are recognizable only as shapes, indistinguishable from other human shapes walking to and from cars and restaurants. At this distance, killer and victim look the same ... THE END.:</scene_description> </scene> </script>

A suicide bombing by ISIS in a Kansas City grocery store kills fifteen people. In response, the United States government orders CIA officer Matt Graver to apply extreme measures to combat Mexican drug cartels who are suspected of having smuggled the terrorists across the Mexico–United States border. Graver and the Department of Defense decide the best option is to instigate a war between the major cartels, and Graver recruits operative Alejandro Gillick for the mission. Graver also meets with PMC official Andy Wheeldon to secure mercenaries, helicopters, and encrypted communication equipment in order for the U.S. to maintain plausible deniability while combating the Mexican cartels. Gillick assassinates a high-profile lawyer of the Matamoros cartel in Mexico City while Graver and his team capture Isabel Reyes, the daughter of Carlos Reyes (kingpin of the Sonoran drug cartel, rivals of the Matamoros), in a false flag operation. Graver, Gillick and their team take Isabel to a safe house in Texas. They stage a DEA raid and pretend to rescue her, making her believe that she had been captured by the Matamoros cartel. They take her to an American military base while the team organizes her return to Mexico. They plan to leave her behind in a Mexican Federal Police depot located inside territory controlled by her father's rivals to further escalate the inter-cartel conflict. However, after they cross into Mexico, the corrupt police escort turns against them and attacks the American armored vehicles. In the firefight that ensues, Graver and his team kill 25 Mexican policemen to escape the ambush. Amidst the chaos, Isabel runs away into the desert. Gillick goes after her alone while the rest of the team returns to the United States. Meanwhile, the American government determines that at least two of the suicide bombers in Kansas City were in fact domestic terrorists, not foreign nationals, and thus were not smuggled into the United States by the cartels. To quell tensions with Mexico, the Secretary of Defense orders the CIA to abandon the mission. Learning that Isabel witnessed the Americans shooting the Mexican police, the Secretary orders the team to erase all proof of American involvement by killing Isabel and Gillick. Graver in turn warns Gillick and orders him to kill Isabel, but Gillick refuses and turns rogue in order to keep her alive. Both have found shelter at an isolated farm in the desert for the night. Gillick knows that if they stay in Mexico, Isabel will be killed. With few resources, they disguise themselves as illegal immigrants and pay human traffickers to help them re-enter the United States. Graver and his team fly covertly into Mexico on Black Hawks, tracking a GPS device that Gillick has activated and embedded into Isabel's shoe. At the point of departure for the border, Miguel, a young Mexican-American who has been recruited as a coyote, recognizes Gillick from an encounter in a Texas parking lot two days earlier. He alerts his boss, who takes Gillick and Isabel hostage. As a gang initiation, Miguel is forced to shoot a hooded Gillick in the head. Upset, Miguel abandons the gang and walks off by himself. Graver witnesses the apparent killing of Gillick through live satellite imaging and his team track down and eliminate the Mexican gang. They find Isabel, and defying his own orders, Graver decides to bring her to the U.S. and place her in witness protection. Meanwhile, Gillick regains consciousness and discovers he has been shot through the cheek. He is chased by a gang search party but he kills its members by throwing a grenade into the pursuing car. One year later, a now heavily gang-tattooed Miguel is in the Texas mall where he first saw Gillick. He enters the office of his gang contact but instead finds Gillick waiting for him. Gillick says to a dumbfounded and intimidated Miguel: "So you want to be a sicario? Let's talk about your future."

Let Him Go_2020

tt9340860

<script> <scene> <character>LET HIM GO</character> <dialogue>Screenplay by</dialogue> <dialogue>Thomas Bezucha</dialogue> <scene_description>Based on the novel by Larry Watson</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE RANCH - BARN - PRE-DAWN</stage_direction> <scene_description>Horses stir and pace, black silhouettes in dark stalls, frail morning aglow in the gaps between wall boards, as a MAN enters. He murmurs in greeting and moves easily among them. A SERIES OF SHOTS: The Man checks and feeds each animal, changes water, examines saddles and tack; the sounds of these tasks alone punctuate the early hour's church-quiet.</scene_description> </scene> <scene> <stage_direction>EXT. BLACKLEDGE RANCH - DAWN</stage_direction> <scene_description>The Man slides a rattling door open, revealing himself fully - JAMES BLACKLEDGE (late 20s, work-strong, determined, but with an open face quick to smile)- as he guides a glossy black horse from the barn to a fenced ring under an empty sky. GEORGE BLACKLEDGE (60s, straight-backed, of few words but sly humor, with a perpetual squint from gauging great distances, weather, and the character of other men) steps to the fence as his son clicks his tongue and gets the animal moving. George watches the horse circle at the end of its lead, studying the animal as it canters past, appraising, nodding.</scene_description> <character>GEORGE</character> <dialogue>Yep. Yep.</dialogue> <scene_description>The sleek black creature throws off sparks as the sun crests the soft far hills to light the horse ring with a gold fire.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE HOUSE - KITCHEN - DAWN</stage_direction> <scene_description>An egg yolk breaks and smears with a hiss in a hot pan and LORNA (20s, blinking and watchful, bird-like) winces. Her eyes shoot from the egg she's broken to MARGARET BLACKLEDGE (still handsome over five decades in, faintly lined by a life under open skies, a jut to her chin) engrossed by paperwork at the table. Lorna shifts the INFANT BOY squirming in her arms and surreptitiously flips the egg before Margaret can see, just as Margaret looks up from her work to the door opening. George and James enter on a trajectory for the large farmhouse sink where they wash and dry their hands.</scene_description> <character>MARGARET</character> <dialogue>How's that black doing?</dialogue> <character>GEORGE</character> <dialogue>Leg seems better. Looking good.</dialogue> <scene_description>He helps himself to Margaret's coffee as he takes a seat and she nudges her plate of toast towards him with a smile.</scene_description> <character>JAMES</character> <dialogue>Thinking I'd take him out to check fence line after breakfast.</dialogue> <character>LORNA</character> <dialogue>It's almost ready.</dialogue> <scene_description>James spins the radio dial from cattle reports to George Jones singing and dances across the room, clowning, to nuzzle Lorna. He snatches the baby, launches it into the air...</scene_description> <character>MARGARET</character> <parenthetical>(laughing)</parenthetical> <dialogue>Careful.</dialogue> <character>JAMES</character> <dialogue>Oh, he likes it. Don't you, Jimmy?</dialogue> <scene_description>He catches the happily gurgling baby, tosses him up again.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE HOUSE - KITCHEN - LATER</stage_direction> <scene_description>Lorna playfully rubs the baby's tummy with her nose as she undresses him on the drain board while water pours steaming from the faucet to fill the giant white sink for a bath.</scene_description> <character>MARGARET</character> <dialogue>Lorna. This is too hot.</dialogue> <scene_description>Lorna glances over to find Margaret pulling her fingers from the stream of water, face creased with impatient concern.</scene_description> <character>LORNA</character> <dialogue>Oh. I know. I didn't--. Haven't checked it yet--</dialogue> <scene_description>Margaret spins the cold water tap, comes to tend the child.</scene_description> <character>MARGARET</character> <dialogue>Here. Let--. You rest.</dialogue> <scene_description>Lorna holds a beat, weighing a response, but then steps away.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE HOUSE - KITCHEN - LATER</stage_direction> <scene_description>The baby stares up in mesmerized wonder at the shifting patterns of shadow and light cast by the leaves of the yard's shade tree as Margaret soaps him in the giant white sink.</scene_description> <character>MARGARET</character> <dialogue>What is it? What do you see?</dialogue> <scene_description>The infant's eyes roll and search until they finally come to rest on Margaret. His mouth twitches into a smile.</scene_description> <character>MARGARET</character> <dialogue>Yes, I'm right here. Hello.</dialogue> <scene_description>The baby's smile flickers and fades as he continues to stare, eyes locked on hers in a spell of deep, penetrating inquiry. Margaret slows, arrested by the steadiness of his gaze and her own humming sense of profound communion. The baby's expression screws down into a tight furious knot. He squeaks as he passes gas, then relaxes again with a smile. Margaret laughs. She cups water in her palm and sluices it over his head, a bit of suds running into the baby's eyes. As he begins to fuss and cry, movement beyond the window snags Margaret's attention and she glances out, just as the black horse James had trained earlier enters the yard, alone. She watches the dark animal bring itself to a stop under the shade tree, where it stomps the ground and flags its tail. Margaret sees nothing but the empty saddle on its back.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE HOUSE - LIVING ROOM - DAY</stage_direction> <scene_description>Lorna looks up from reading Life magazine on the sofa when Margaret hustles through with the wet, crying baby. Margaret pushes out the screen door with a hip and dashes off the porch. The door springs back behind her with a slap.</scene_description> <character>MARGARET (O.S.)</character> <dialogue>George! George!</dialogue> </scene> <scene> <stage_direction>EXT. BLACKLEDGE RANCH - DAY</stage_direction> <scene_description>George shields his eyes against the sun as he steps from the barn to look in the direction Margaret points, running towards him with the bawling baby. He spots the black horse. He turns back to Margaret, the urgency on her face, then drops the tools in his hands and breaks into a run. He crosses the yard in a bound, seizes the horse's trailing reins, and launches himself up into the empty saddle.</scene_description> <character>GEORGE</character> <dialogue>Yah!</dialogue> <scene_description>He spurs the animal which takes off in the direction it had come; across the stretch of rolling fields beyond the fence. The screen door claps again and Lorna comes to join Margaret, who stands with the baby, eyes pinned on George as he goes.</scene_description> <character>LORNA</character> <dialogue>Where's George going?</dialogue> <scene_description>Margaret shakes her head vacantly as Lorna tentatively reaches to reclaim her baby, to jiggle and soothe.</scene_description> <character>LORNA</character> <dialogue>Shhh... It's okay. It's okay.</dialogue> <parenthetical>(to Margaret)</parenthetical> <dialogue>Where's James?</dialogue> <scene_description>Margaret opens her mouth, but nothing comes out as the horse carries George away from her, over the edge of the world.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE HOUSE - BEDROOM - DAY</stage_direction> <scene_description>The shadows of bare branches ripple the blank wall reflected in a bureau's mirror; a patch of hard winter sunlight. Margaret steps into the mirror's frame. She checks herself; a simple dark dress, hair scraped back. She meets her own eyes at last, and all the sadness there. She steels herself and applies a line of red lipstick. The floor creaks, breaking the mournful quiet, and she turns to George, who holds out two neckties, one in each hand. Margaret chooses one, loops it around George's neck, and begins to form a knot. She pauses, wipes a dab of missed shaving cream from his earlobe, and returns to tying his tie. George watches his wife closely as she concentrates, but she avoids his gaze, focusing on her task.</scene_description> </scene> <scene> <stage_direction>INT. COURTHOUSE - DAY</stage_direction> <character>LORNA</character> <dialogue>I, Lorna Blackledge...</dialogue> <scene_description>She stumbles slightly over the last name, throwing a quick, nearly apologetic glance at George and Margaret standing witness. Margaret holds hands with JIMMY (now 3 years old).</scene_description> <character>LORNA</character> <dialogue>Take you, Donnie--</dialogue> <scene_description>She breaks off with a nervous laugh, a cluster of white flowers and holly trembling in her hands, takes a breath.</scene_description> <character>LORNA</character> <dialogue>Take you, Donald Weboy, to be my lawfully wedded husband.</dialogue> <scene_description>DONNIE WEBOY (20s, darkly handsome) gives her an encouraging wink, the two of them standing in their best clothes before a JUDGE. A portrait of President Kennedy hangs on the wall.</scene_description> <character>JUDGE</character> <dialogue>To have and to hold. From this day forward. For better, for worse.</dialogue> <character>LORNA</character> <dialogue>To have and to hold. From this day forward. For better, for worse.</dialogue> <scene_description>Jimmy watches all the adults, George and Margaret stoically enduring this ceremony with ramrod-straight backs.</scene_description> <character>JUDGE</character> <dialogue>For richer, for poorer. In sickness, and in health.</dialogue> <character>LORNA</character> <dialogue>For richer, for poorer. In sickness, and in health.</dialogue> <character>JUDGE</character> <dialogue>Until death do us part.</dialogue> <character>LORNA</character> <parenthetical>(a breath)</parenthetical> <dialogue>Until death do us part.</dialogue> <character>JUDGE</character> <dialogue>By the power vested in me by the State of Montana, I now pronounce you man and wife. You may kiss the bride.</dialogue> <scene_description>Donnie turns to Lorna with a sexy, teasing grin.</scene_description> <character>DONNIE</character> <dialogue>Thank you, sir. I think I will.</dialogue> <scene_description>Margaret drops her eyes as Donnie kisses Lorna, catches Jimmy watching her. She smiles thinly, gives his hand a squeeze. George steps forward as the couple parts and offers his hand to Donnie, who makes a big show of respect; looking George in the eye, nodding solemnly as he shakes his hand. Margaret meets Lorna stiffly; patting at her without embracing, without meeting the girl's searching expression. Lorna gives up, and drops down to Jimmy's level...</scene_description> </scene> <scene> <stage_direction>EXT. APARTMENT BUILDING - DAY</stage_direction> <scene_description>Lorna throws her arms open to Jimmy, who lets go of Margaret's hand to run to his mother in the snowy side yard. Lorna catches him up, laughing, and Margaret watches her pepper the boy with kisses as feathery flakes swirl the air. George retrieves a box of Jimmy's toys and a small cardboard suitcase from the back of a parked station wagon. He turns for the ramshackle building and follows Margaret up a peeling wooden exterior staircase behind Lorna and Jimmy, toward Donnie standing in an open second story doorway.</scene_description> </scene> <scene> <stage_direction>INT. LORNA AND DONNIE'S APARTMENT - LIVING ROOM - DAY</stage_direction> <scene_description>George sets the box of toys down in the all-but-empty living room; a couch, a lamp, chipped enamel-topped kitchen table.</scene_description> <character>LORNA</character> <dialogue>We've got some more stuff coming. I put some chairs on lay-away...</dialogue> <scene_description>She gives an anxious tour of the few rooms wanting to impress and George observes his wife take it all in without comment.</scene_description> </scene> <scene> <stage_direction>INT. LORNA AND DONNIE'S APARTMENT - BEDROOM - DAY</stage_direction> <scene_description>Lorna ratchets up her enthusiasm for Jimmy's benefit as she opens the door to a narrow room, the only one freshly painted. A cowboy-theme blanket on a twin bed makes it nice.</scene_description> <character>LORNA</character> <dialogue>And this is your room!</dialogue> <scene_description>Jimmy throws himself on the bed with delight and Lorna turns to Margaret with a smile that goes unreturned. Margaret nods at the bare window overlooking the parking lot.</scene_description> <character>MARGARET</character> <dialogue>We can sew you some curtains.</dialogue> </scene> <scene> <stage_direction>EXT. APARTMENT BUILDING - DAY</stage_direction> <scene_description>George looks on as Margaret clutches Jimmy to her in the yard with Lorna and Donnie. Margaret kisses the boy tenderly.</scene_description> <character>MARGARET</character> <parenthetical>(choked)</parenthetical> <dialogue>You'll come visit soon.</dialogue> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR - DAY - (MOVING)</stage_direction> <scene_description>Margaret watches Jimmy waving her good-bye in her passenger side mirror as George turns them out of the building's lot. A last glimpse of the boy, hand in the air, beside his mother, Donnie already climbing the stairs... Then they all slide from the mirror and Margaret's field of vision. She closes her eyes because there's nothing left to see.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE HOUSE - KITCHEN - DAY</stage_direction> <scene_description>George enters to find Margaret standing motionless at the sink, staring out the window into the snowy yard. He leans a hip against the counter, studying his wife transfixed by the bare arms of the shade tree outside. He sees her chin begin to quiver.</scene_description> <character>GEORGE</character> <parenthetical>(quietly)</parenthetical> <dialogue>He isn't far. Just in town.</dialogue> <scene_description>Margaret angles her face away. She won't get caught crying.</scene_description> <character>MARGARET</character> <dialogue>Fix you some lunch.</dialogue> <scene_description>She straightens up and steps away from the sink, leaving George alone to contemplate the white glowing porcelain, as dry and empty as the fields beyond the window.</scene_description> </scene> <scene> <stage_direction>EXT. GROCERY STORE - PARKING LOT - DAY</stage_direction> <scene_description>Margaret steps out the door into bright summer sunshine, following a BAG BOY who carries her groceries to the car. CUT TO: Margaret tips the boy with a couple dimes and a nickel.</scene_description> <character>BAG BOY</character> <dialogue>Thank you, Mrs. Blackledge!</dialogue> <scene_description>He rattles the change in his palm as he lopes back to the store and Margaret climbs behind that station wagon's wheel.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR/EXT. GROCERY - STREET - DAY</stage_direction> <scene_description>Margaret backs her car out from its space and navigates the lot to the exit, where she stops to wait for a break in the cross street's traffic. She signals to turn. Her eyes flick to the far sidewalk as she scans the passing cars and she spots Jimmy holding hands with Lorna, walking with Donnie, each with an ice cream cone. Jimmy gives his scoop of ice cream a lick, and it tumbles from the cone, landing on the sidewalk with a dull plop.</scene_description> <character>MARGARET</character> <dialogue>Oh--</dialogue> <scene_description>She sees Jimmy stop walking and abruptly drop Lorna's hand. Lorna turns back to Jimmy, who stares in forlorn confusion at the lost ice cream at his feet, the empty cone in his hand. Jimmy looks up at the sudden bark of Donnie's laughter, sees he's being laughed at, and his own face caves in despair. Donnie impatiently grabs Jimmy by the arm to drag him along, but Jimmy digs in his heels, yanks his arm free, and-- Donnie's hand lashes out, quick as a striking snake. He slaps Margaret Blackledge's grandson across the face. The boy's sudden shock matches Margaret's, sitting helplessly in the station wagon across the street. She blinks. Jimmy bursts into hot tears. Lorna swoops down to comfort him, but Donnie jerks her back to her feet. She tries squirming from his grip, but Donnie squeezes her upper arm and she twists in pain. Jimmy stops crying instantly, seeing his mother struggle, and Donnie releases Lorna. The three stand a breathless beat. Lorna scowls at Donnie, then extends her ice cream to Jimmy, but Donnie swats her hand and the cone falls into the street. Margaret can't hear from this distance, but Lorna spits a few choice words at Donnie, who may be nodding his head tightly, but he's not agreeing with anything she says. He's coiling. And then he springs. He mashes his own ice cream in Jimmy's face, surprising the boy, who falls back on his butt. Lorna lunges at Donnie, but he's anticipated this and meets her with a sharp slap across the face. Lorna's hand goes to her cheek as Margaret's hand flies to the car's horn... just as another car sounds its horn. Margaret glances in the rearview mirror and sees a line of three cars waiting directly behind her. She pulls out of the parking lot and quickly over to the side, but by the time she's stopped and cranes around, Jimmy, Lorna, and Donnie are nowhere to be seen.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE HOUSE - KITCHEN - EVENING</stage_direction> <scene_description>Two steaks sputter and pop in an iron pan. The back door opens and George enters in his work clothes, making a beeline for the sink where he washes his hands, dries them with a dish towel hanging there. He observes Margaret adding frosting to the top of a coffee cake, and smiles. He dabs up a taste with a clean pinky.</scene_description> <character>GEORGE</character> <dialogue>Mm!</dialogue> <scene_description>Margaret blocks him from taking more with her elbow.</scene_description> <character>MARGARET</character> <dialogue>That's not for you.</dialogue> </scene> <scene> <stage_direction>INT. BLACKLEDGE HOUSE - KITCHEN - NIGHT</stage_direction> <scene_description>George eyes Margaret as they eat their steaks at the table. Something's going on, but she's keeping it to herself.</scene_description> <character>GEORGE</character> <dialogue>Barlow Ott says he might have something for Donnie next month. Needs a couple of fellas to help put a new roof on the Lawson place.</dialogue> <scene_description>Margaret lifts her eyebrows and lets them drop. That's it. George considers his reticent wife as she chews her food, and he glances at the coffee cake on the counter for a clue.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR - DAY</stage_direction> <scene_description>Margaret checks herself in the rearview mirror then picks up the coffee cake from the seat beside her, opens the door.</scene_description> </scene> <scene> <stage_direction>EXT. APARTMENT BUILDING - DAY</stage_direction> <scene_description>Margaret knocks on the door at the top of the rickety stairs and waits, listening, the coffee cake offering in her hands. She glances at the building's small lot where trash blows free, then brings her attention back to this closed door. She knocks again with a frown.</scene_description> <character>MARGARET</character> <dialogue>Hello? Lorna?</dialogue> <scene_description>A dark window reflects morning sky on the other side of the railing, and Margaret leans out, straining for a peek inside.</scene_description> <character>WOMAN (O.S.)</character> <dialogue>Who you looking for?</dialogue> <scene_description>Margaret startles, wheels about in surprise.</scene_description> <character>WOMAN (O.S.)</character> <dialogue>You the girl's mother?</dialogue> <scene_description>It takes Margaret a moment to locate the voice; a WOMAN (40s, sallow) clutching a bathrobe closed tight at her neck in an open doorway at the bottom of the stairs.</scene_description> <character>MARGARET</character> <dialogue>No. I'm her--</dialogue> <scene_description>Margaret comes down the stairs and the woman retreats to stand just inside her apartment door, out of the light.</scene_description> <character>MARGARET</character> <dialogue>Lorna was married to my son.</dialogue> <scene_description>She notices drawings scratched with a rock on the surface of the cracked cement landing under her feet. A child's work.</scene_description> <character>MARGARET</character> <dialogue>The little boy's my grandson.</dialogue> <character>WOMAN</character> <dialogue>Well, you missed 'em. Gone now.</dialogue> <character>MARGARET</character> <dialogue>Gone?</dialogue> <character>WOMAN</character> <dialogue>Gone to his family. Took off last night.</dialogue> <character>MARGARET</character> <dialogue>His family--? Donnie's? They mention when they'd be back?</dialogue> <character>NEIGHBOR</character> <dialogue>Not no time soon be my guess. Took all they had.</dialogue> </scene> <scene> <stage_direction>INT. BLACKLEDGE HOUSE - KITCHEN - DAY</stage_direction> <scene_description>The clock on the wall ticks. Ticks. Ticks. Ticks. The coffee cake, minus one piece, sits off to the side on the table as Margaret absently presses up each and every last crumb from the empty plate in front of her with a fingertip. She works a thing over in her mind. And over again... Tick. Tick. Tick. Then, she's suddenly up and moving.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE HOUSE - BEDROOM - DAY</stage_direction> <scene_description>Margaret pulls a suitcase down from a high shelf in the closet, opens it on the made bed, and turns for the dresser.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE HOUSE - BATHROOM - DAY</stage_direction> <scene_description>Margaret takes a stack of worn-thin towels from the linen closet and retrieves the cake of soap from the bath.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE HOUSE - KITCHEN - DAY</stage_direction> <scene_description>Margaret takes the iron pan from the stove and sets it in a crate with the coffee pot, starts loading in canned goods.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE HOUSE - DEN - DAY</stage_direction> <scene_description>Margaret hesitates in front of a heavy wooden office desk, then kneels to work its stubborn bottom drawer open. She reaches past papers and files to pull out a metal box and sets it on the desktop. She opens its hinged lid. Inside, a Colt service revolver gleams dully silver, snug in its burnished leather holster, along with a box of bullets, and a star-shaped badge - SHERIFF George Blackledge.</scene_description> </scene> <scene> <stage_direction>EXT. BLACKLEDGE RANCH - DAY</stage_direction> <scene_description>George rounds the drive in his truck, parks by the barn. He notices the station wagon pulled close to the house and stops at its open back hatch as he crosses the yard. His brow furrows in surveying all Margaret's piled inside; the kitchen supplies, an old canvas tent, a lantern, and... George plucks a child's well-worn stuffed toy horse from its perch atop a suitcase, turns its light weight in his hands.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE HOUSE - KITCHEN - DAY</stage_direction> <scene_description>George enters and washes his hands at the sink, ignoring Margaret waiting at the table as he takes in the missing pan, missing coffee percolator, all the house's shades drawn down.</scene_description> <character>GEORGE</character> <dialogue>Headed any place in particular?</dialogue> <character>MARGARET</character> <dialogue>Sit down, George.</dialogue> <scene_description>She indicates his place at the table, set with a bowl of soup and crackers. She has a glass of water for herself.</scene_description> <character>GEORGE</character> <dialogue>That my last meal?</dialogue> <character>MARGARET</character> <dialogue>I'm going to get Jimmy. Bring him home to live with us.</dialogue> <scene_description>George can't find a dish towel, dries his hands on his jeans.</scene_description> <character>GEORGE</character> <dialogue>Well, you're sure packed for a trip into town.</dialogue> <scene_description>Margaret indicates his chair again, the soup. She's serious.</scene_description> <character>MARGARET</character> <dialogue>Sit down, George.</dialogue> </scene> <scene> <stage_direction>INT. BLACKLEDGE HOUSE - KITCHEN - LATER</stage_direction> <scene_description>George sets his spoon down in the now-empty bowl, thinking.</scene_description> <character>GEORGE</character> <dialogue>You didn't see fit to share this with me?</dialogue> <scene_description>Margaret sweeps cracker crumbs from the table top into the bowl and carries it to the sink.</scene_description> <character>MARGARET</character> <dialogue>Sharing it now.</dialogue> <scene_description>George studies his wife's back as she rinses the bowl.</scene_description> <character>GEORGE</character> <dialogue>Anyone else see it happen?</dialogue> <character>MARGARET</character> <dialogue>You mean other than me?</dialogue> <character>GEORGE</character> <dialogue>I'm asking if you're sure what you saw.</dialogue> <scene_description>Margaret turns off the water, faces her husband.</scene_description> <character>MARGARET</character> <dialogue>I saw exactly what I've felt all along about Donnie Weboy. What you've felt, too, whether anyone'll ever get you to admit it or not. And I saw that girl can't protect her child.</dialogue> <character>GEORGE</character> <dialogue>On that account you expect she's just going to hand him over to you? That what you see happening?</dialogue> <scene_description>Margaret scoffs, but George clocks a dip in her confidence.</scene_description> <character>GEORGE</character> <dialogue>And when Lorna says no? Margaret, Jimmy's her boy.</dialogue> <scene_description>The color rises hot in his wife's face.</scene_description> <character>MARGARET</character> <dialogue>He is your grandson, George Blackledge.</dialogue> <scene_description>George nods, explores the table's grain with his fingers.</scene_description> <character>GEORGE</character> <dialogue>And your plan for finding them?</dialogue> <character>MARGARET</character> <dialogue>Donnie's from somewhere in North Dakota. I'll find them. You ought to know me well enough by now.</dialogue> <character>GEORGE</character> <parenthetical>(laughs)</parenthetical> <dialogue>Oh, I do.</dialogue> <character>MARGARET</character> <dialogue>I won't come back here without him.</dialogue> <character>GEORGE</character> <dialogue>Nope. And you're going with me or without me?</dialogue> <scene_description>Margaret waits for George to look at her.</scene_description> <character>MARGARET</character> <dialogue>That's your choice. I packed you a bag. Depending on what you decide.</dialogue> </scene> <scene> <stage_direction>INT. BLACKLEDGE HOUSE - BEDROOM - DAY</stage_direction> <scene_description>George stands alone, considering the empty spot where one of the two pillows should be at the head of the double bed. He looks over the contents of the suitcase left laying open there for him, examines a fresh razor from the dopp kit, picks up a heavy wool sweater, in August.</scene_description> <character>GEORGE</character> <parenthetical>(calling)</parenthetical> <dialogue>How long you planning on being gone?</dialogue> <scene_description>Margaret comes to lean in the doorway, watch George intently.</scene_description> <character>MARGARET</character> <dialogue>Long as it takes.</dialogue> <scene_description>George nods to himself, turns to regard his wife, her anxious expectation. The truth is she can't do this without him. They hold a beat in silent negotiation, then George decides. He drops the sweater and passes Margaret on his way out.</scene_description> <character>MARGARET</character> <dialogue>You're not coming?</dialogue> <scene_description>George speaks over his shoulder as he heads down the hall.</scene_description> <character>GEORGE</character> <dialogue>I'm turning off the water. Don't want to come home to busted pipes.</dialogue> <scene_description>Margaret smiles, but doesn't want to make too big a deal.</scene_description> </scene> <scene> <stage_direction>EXT. BLACKLEDGE RANCH - DAY</stage_direction> <scene_description>George locks the door and walks the house keys to Margaret waiting in the passenger seat. He climbs in, starts the car. He glances at Margaret, a wordless last check. She nods and trains her eyes forward, chin out; ready. George puts the car into drive, rounds the shade tree, and heads for the main road, leaving the house and barn behind.</scene_description> </scene> <scene> <stage_direction>EXT. ROAD - DAY</stage_direction> <scene_description>The car crests a swell, the ranch now distant but still visible, the road rolling for a notch in the green hills.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR - DAY - (MOVING)/EXT. UNPAVED TRAIL</stage_direction> <scene_description>Margaret makes herself comfortable, settling in for a long drive, when George suddenly pulls the car hard to the left.</scene_description> <character>MARGARET</character> <dialogue>No. No, George. Don't.</dialogue> <scene_description>George takes them off the main road at an unpaved trail.</scene_description> <character>MARGARET</character> <dialogue>George, No.</dialogue> <scene_description>George keeps driving until they reach the top of a rise, where he finally stops the car and turns it off. He opens his door. Margaret makes no move.</scene_description> <character>GEORGE</character> <dialogue>You don't know when you'll be back.</dialogue> <character>MARGARET</character> <dialogue>I don't need reminding. I know what I've lost.</dialogue> <scene_description>George pauses half out of the car to regard his wife.</scene_description> <character>GEORGE</character> <dialogue>Sometimes that's all life is, Margaret. The list of what we've lost.</dialogue> <scene_description>Margaret crosses her arms and turns to look out her window. George stands and walks away, leaving his door hanging open.</scene_description> </scene> <scene> <stage_direction>EXT. HILLSIDE - DAY</stage_direction> <scene_description>George leaves the trail and hikes up to a level spot where weathered gravestones stand penned within an iron fence. There aren't many markers, but they all bear the name BLACKLEDGE. The newest, still burning white: JAMES A. BLACKLEDGE. 1933-1961. BELOVED SON AND FATHER. George stands a long beat in front of the clustered stones, the wind through the high grass the only sound up here. Then he turns to face the same direction as all the gravestones and gazes out over the magnificent verdant land.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY 90 - DAY</stage_direction> <scene_description>Mountains rise and rise and then fall away behind the car as it heads east towards the Great Plains.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR - DAY - (MOVING)</stage_direction> <scene_description>Margaret unwraps the coffee cake and cuts two slices, handing one to George with a napkin as he drives.</scene_description> <character>GEORGE</character> <dialogue>Oh, I do get a piece.</dialogue> <scene_description>He bites into it with a smile as Margaret turns on the radio, and Johnny Cash's rumbling voice carries them on their way...</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY 90 (VARIOUS) - DAY</stage_direction> <scene_description>The car crosses the Yellowstone river at Reed Point, passes roadside diners and gas stations, Indian trading posts... George and Margaret pass cattle trailers and families packed into cars on late summer road trips, suitcases strapped atop. The sun travels with them, carving the vast dome of the sky as Margaret and George enter ever-flatter land, and the shadow of their car stretches long before them.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR - DAY - (MOVING)</stage_direction> <scene_description>George spies a sign up ahead as the day fades: BENTROCK. He considers the upcoming exit, debating, and Margaret rouses from a doze when he signals and leaves the highway.</scene_description> </scene> <scene> <stage_direction>EXT. BENTROCK - MAIN STREET - DAY</stage_direction> <scene_description>George drives down Main Street, easily finding the town's modest commercial district and the town hall and courthouse building with its sheriff's office, and parks out front. George and Margaret climb out and stretch their stiff bodies.</scene_description> <character>MARGARET</character> <dialogue>Now, don't tell him more than you have to.</dialogue> <character>GEORGE</character> <dialogue>I couldn't if I wanted to.</dialogue> </scene> <scene> <stage_direction>INT. BENTROCK SHERIFF'S OFFICE - DAY</stage_direction> <scene_description>Margaret assesses the MAN wearing a badge, SHERIFF NEVELSON (40s), leaning on the other side of the counter from her husband; the men nearly identical but for the span of years.</scene_description> <character>NEVELSON</character> <dialogue>Wesley Hayden's been out of office, oh, seven years now.</dialogue> <character>GEORGE</character> <dialogue>Good man. Beat me to it. He helped me track down a couple men I was looking for back in '52.</dialogue> <character>NEVELSON</character> <parenthetical>(impressed)</parenthetical> <dialogue>The Pettus brothers.</dialogue> <character>NEVELSON</character> <dialogue>I remember that. That was you?</dialogue> <parenthetical>(marvels at George)</parenthetical> <dialogue>You sure got 'em.</dialogue> <character>GEORGE</character> <dialogue>I had some help.</dialogue> <character>NEVELSON</character> <dialogue>Well, how can I help?</dialogue> <character>GEORGE</character> <dialogue>We're trying to locate a Donnie Weboy. He's got family over in North Dakota.</dialogue> <character>NEVELSON</character> <dialogue>I know the name. Not Donnie. But, Weboy, sure.</dialogue> <character>GEORGE</character> <dialogue>He's married our son's widow. Got our grandson with them. Boy's only three.</dialogue> <parenthetical>(a look to Margaret)</parenthetical> <dialogue>We just want to know where they are. Make sure they're safe.</dialogue> <scene_description>Margaret nods when Nevelson checks with her.</scene_description> <character>NEVELSON</character> <dialogue>Let me call around some.</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT - BENTROCK - DAY</stage_direction> <scene_description>George scans a local paper's front page as he eats across from Margaret in a booth, a sparse handful of other DINERS scattered about; BUSINESS MEN, TWO OLD GALS, A YOUNG FAMILY. Margaret idly watches the family's MOTHER cut the meat on her DAUGHTER'S plate into bite-sized pieces. The Mother glances Margaret's way and smiles as she saws. Margaret turns away.</scene_description> <character>MARGARET</character> <dialogue>How's that pot roast?</dialogue> <character>GEORGE</character> <dialogue>Yours is better.</dialogue> <scene_description>He rotates one end of his oval plate in Margaret's direction. She reaches to fork a sample, tastes.</scene_description> <character>MARGARET</character> <dialogue>You're just used to mine.</dialogue> </scene> <scene> <stage_direction>EXT. BENTROCK - MAIN STREET - SUNSET</stage_direction> <scene_description>Margaret slips her arm through George's as they stroll the sidewalk back towards the town hall and courthouse. George looks at Margaret in surprise, but doesn't comment, and they continue on, taking in the town's evening activity, PEOPLE heading home for supper or to the one movie house. They pass a liquor store and George spontaneously unhooks Margaret's arm from his and goes inside without a word. From out here, her lips compressed into a straight line, Margaret watches George buy a pint bottle of whiskey. He comes back to meet her, bottle in a paper sack, and they resume walking as he unscrews the cap. He offers it to her.</scene_description> <character>MARGARET</character> <dialogue>Thank you. No.</dialogue> <scene_description>George takes a nice pull, and recaps the bottle.</scene_description> <character>MARGARET</character> <dialogue>Happy?</dialogue> <character>GEORGE</character> <dialogue>Happy not to hear a lecture.</dialogue> <scene_description>Together, they wander back to the town hall and Sheriff's office, but Margaret doesn't take George's arm again. George stops at their parked car, opens the driver's door.</scene_description> <character>GEORGE</character> <dialogue>Gonna hide the evidence.</dialogue> <scene_description>He bends to slip the bottle of whiskey beneath the driver's seat and meets something already hidden there. He pulls the heavy object wrapped in a dish towel from beneath the seat and drops it on the upholstery with a thump. Margaret opens her mouth to speak, but--</scene_description> <character>GEORGE</character> <dialogue>What the hell, Margaret?</dialogue> <scene_description>He turns from the Colt service revolver on the car seat to glare at his wife.</scene_description> <character>GEORGE</character> <dialogue>What the hell?</dialogue> <character>MARGARET</character> <dialogue>That was before I knew you were coming--</dialogue> <character>GEORGE</character> <dialogue>And you thought you'd need it?</dialogue> <character>MARGARET</character> <dialogue>I didn't want to find out I did and not have it.</dialogue> <character>GEORGE</character> <dialogue>Christ, Margaret.</dialogue> <scene_description>He wraps the gun back up in the dish towel and grabs Margaret roughly by the elbow, angrily shaking her. He pulls her with him to the rear of the car.</scene_description> <character>GEORGE</character> <dialogue>Was this going to be part of your argument?</dialogue> <character>MARGARET</character> <dialogue>George, I would never--</dialogue> <character>GEORGE</character> <dialogue>It's got bullets in it.</dialogue> <scene_description>He lets her elbow go, still furious, and opens the back gate to pull out his suitcase. He glances around to make sure no one's watching, and packs the swaddled gun away inside. He slams the rear door closed and heads for the Sheriff's office carrying the suitcase, shaking his head.</scene_description> <character>GEORGE</character> <dialogue>Margaret.</dialogue> </scene> <scene> <stage_direction>INT. BENTROCK SHERIFF'S OFFICE - NIGHT</stage_direction> <scene_description>Nevelson consults notes, Margaret in the chair beside his desk, George standing over them both, listening.</scene_description> <character>NEVELSON</character> <dialogue>There's a branch of the Weboy clan over in Forsyth. Townsfolk. A little down on their luck but hardworking. Frontier Saddlery there is a Weboy operation, or it was started by the family. Ain't North Dakota, but I'd start there.</dialogue> <character>GEORGE</character> <dialogue>That's what we'll do, then. Appreciate your help.</dialogue> <scene_description>George picks up the suitcase and shakes Nevelson's hand.</scene_description> <character>MARGARET</character> <dialogue>We're also hoping you might recommend a hotel in town for the night. Anyplace clean.</dialogue> <character>NEVELSON</character> <dialogue>If clean's the priority, my Nora's in charge of the jail here. Cells are empty. Got fresh sheets. Not sure what feelings you got on it.</dialogue> <scene_description>Margaret lifts her chin in George's direction.</scene_description> <character>MARGARET</character> <dialogue>They called him Sheriff nearly as long I've been going by Blackledge. I'm not spooked by a jail house. Or a cell. We'd be right at home. Thank you, Sheriff Nevelson.</dialogue> </scene> <scene> <stage_direction>INT. BENTROCK SHERIFF'S OFFICE - CELLS - NIGHT</stage_direction> <scene_description>Margaret snaps open a sheet to make up one of the bunks. Nevelson glances back at her from the end of hall as he gives George a tour. He lowers his voice so Margaret can't hear.</scene_description> <character>NEVELSON</character> <dialogue>You think they're running?</dialogue> <scene_description>George looks back at Margaret as well. He shakes his head.</scene_description> <character>GEORGE</character> <dialogue>No. Not that I know. But, they did take off in a hurry. Forgot to say good-bye.</dialogue> <scene_description>He nods toward his wife smoothing a blanket on the bunk.</scene_description> <character>GEORGE</character> <dialogue>I'm just looking to give her that. Let her say a good-bye.</dialogue> </scene> <scene> <stage_direction>EXT. FIELDS - DAY</stage_direction> <scene_description>George arrives at the top of a ridge astride the black horse that had returned with only an empty saddle, without James, the horse onto which George had climbed and has ridden here. The animal hesitates and George scans the landscape, searching the horizon. He spurs the horse.</scene_description> </scene> <scene> <stage_direction>EXT. FENCELINE - DAY</stage_direction> <scene_description>George pulls up on the reins, stopping the horse near a line of fencing, where James lies motionless across uneven rocks beneath a cluster of cottonwood trees. George climbs down from the saddle. Eyes soft with pain, he takes in the details of James's body; boots tangled, head turned on a neck broken where he fell. A buffeting wind crosses the fields and rustles the branches of the trees overhead, stirring James's straw-colored hair. George picks up his son's hat from the rocks.</scene_description> </scene> <scene> <stage_direction>INT. BENTROCK SHERIFF'S OFFICE - CELL - NIGHT</stage_direction> <scene_description>George's eyes open. He takes a beat to orient himself in the crypt-silent dark, alone in a cell bunk. He sits up and looks to where Margaret sleeps in the next cell, the jail's iron bars separating him from his wife.</scene_description> </scene> <scene> <stage_direction>INT. BENTROCK SHERIFF'S OFFICE - NIGHT</stage_direction> <scene_description>George fills a paper cone with water from the cooler, drinks. He nods to a DEPUTY manning the night desk, looks around. He steps to a large-scale map of Montana on the wall and scans the eastern-most towns. He traces a line along connecting roads from Bentrock to Forsyth with a finger.</scene_description> </scene> <scene> <stage_direction>EXT. FIELDS - DAY</stage_direction> <scene_description>George lifts his dead son's body up in his arms. The horse shies when he approaches.</scene_description> <character>GEORGE</character> <dialogue>Shh... Shh... S'okay, boy.</dialogue> <scene_description>He lays James's body across the saddle on the animal's back. George's worn fingers form knots with a soft rope, tying the body down. He takes his time, there's no need to rush now. He cups the back of his son's head with his hand when he's done, and stands a silent beat, eyes open. Then he secures James's hat on the saddle's horn and starts to lead the black horse on the long walk for home.</scene_description> </scene> <scene> <stage_direction>INT. BENTROCK SHERIFF'S OFFICE - CELL - NIGHT</stage_direction> <scene_description>George stands over Margaret in the dim light of her cell, watching the even rise and fall of her breath in sleep. He leans closer to her, whispering.</scene_description> <character>GEORGE</character> <dialogue>Home. Go home. Go home.</dialogue> <scene_description>FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. FRONTIER SADDLERY - DAY</stage_direction> <scene_description>A bell clangs over the door as George and Margaret enter and a YOUNG MAN (20s, scrawny) looks up from behind the counter.</scene_description> <character>MARGARET</character> <dialogue>Good morning!</dialogue> <scene_description>The Young Man nods tightly and Margaret pours on the sunshine, making a show of astonishment at the array of saddles, while George scans the shop's layout. Margaret slips a wrist through the stirrup of one elaborately hand-tooled saddle, the new leather creaking loudly.</scene_description> <character>MARGARET</character> <dialogue>Sounds like my knee in the morning. But, beautiful saddles. Wouldn't you say, George?</dialogue> <scene_description>George doesn't say as he takes up a tactical position just inside the door where he can keep his eye on everything.</scene_description> <character>YOUNG MAN</character> <dialogue>Fella in Miles City makes 'em. The fancy ones.</dialogue> <character>MARGARET</character> <dialogue>Very impressive...</dialogue> <parenthetical>(smiling bigger)</parenthetical> <dialogue>But, we're not shopping for saddles today. Or bridles and bits.</dialogue> <scene_description>She advances on the Young Man who backs up a step behind the display counter, his eyes darting to George, who allows Margaret the stage.</scene_description> <character>MARGARET</character> <dialogue>Now, would you be a Weboy, too?</dialogue> <character>YOUNG MAN</character> <dialogue>No, ma'am. A cousin to. I'm a Tucker.</dialogue> <scene_description>Closer now, Margaret sees the freshly sewn welt, puckered as a mattress seam, that runs throbbing-red down the Young Man's neck from one ear. She blinks, forces her eyes from it.</scene_description> <character>MARGARET</character> <dialogue>Well, we're relations, too, then. Of a sort. Donnie Weboy married our daughter-in-law. Former daughter-in-law. Which makes him stepdaddy to our grandson...</dialogue> <scene_description>The Young Man cocks his head, raw stitches straining.</scene_description> <character>MARGARET</character> <dialogue>My husband and I found ourselves over in this part of the state, and I said to him, let's look in on Lorna and Donnie while we're here. So here we are. To see Donnie. Well, really, our grandson, of course, but.</dialogue> <character>YOUNG MAN</character> <dialogue>I don't know no Donnie. Or a Laura.</dialogue> <character>MARGARET</character> <dialogue>Well, I understood it's why they relocated here. Donnie was going to hire on at his uncle's saddlery.</dialogue> <character>YOUNG MAN</character> <dialogue>His uncle's saddlery--? Who?</dialogue> <character>MARGARET</character> <dialogue>George, didn't Lorna say?</dialogue> <character>YOUNG MAN</character> <dialogue>You sure you don't want Gladstone?</dialogue> <character>GEORGE</character> <dialogue>Gladstone?</dialogue> <scene_description>The Young Man looks to George at the door, nods.</scene_description> <character>YOUNG MAN</character> <dialogue>North Dakota. Just the other side of the line. Not that there's work there either. No good work anyway. But they got a Weboy or two.</dialogue> <character>MARGARET</character> <dialogue>Well, maybe we should give there a try. Though I don't know why Lorna and Donnie would have been talking up Forsyth like they did.</dialogue> <scene_description>Her eyes light on items under the counter's display glass; blade-sharp spurs and knives, skins, snake rattles...</scene_description> <character>YOUNG MAN</character> <dialogue>What was your names again?</dialogue> <character>GEORGE</character> <dialogue>Any idea who we might ask to find Donnie if we went to Gladstone?</dialogue> <scene_description>The Young Man reaches up a hand, rakes his stitches; itchy.</scene_description> <character>YOUNG MAN</character> <dialogue>You let it be known you're looking for a Weboy, they'll find you.</dialogue> </scene> <scene> <stage_direction>EXT. BADLANDS - DAY</stage_direction> <scene_description>An armada of mountain-high clouds sails the sky over the endless bleak landscape in ringing silence. Light and shadow paint the land in undulating waves as a faint droning growl pierces the vacuum, growing, until... George and Margaret's car appears, tiny in the distance.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR - DAY - (MOVING)/EXT. BADLANDS</stage_direction> <scene_description>Patsy Cline crackles and fades on the radio. Margaret tries to chase her on the dial, but Patsy evaporates into static. Margaret fishes around as a sign flies past - WELCOME TO NORTH DAKOTA, and a VOICE suddenly leaps from the radio.</scene_description> <character>VOICE (O.S.)</character> <dialogue>What you have done to your Christ! How you made him suffer! Crucified him! Spilled his blood! For your sins--!</dialogue> <scene_description>George snaps the radio off.</scene_description> <character>MARGARET</character> <dialogue>Goodness.</dialogue> <character>GEORGE</character> <dialogue>Turn it back on if you want.</dialogue> <character>MARGARET</character> <dialogue>I don't want it, either.</dialogue> <scene_description>She rearranges herself on the seat, leans against the window.</scene_description> <character>MARGARET</character> <dialogue>Sounds like your Daddy. Thumping his bible.</dialogue> <character>GEORGE</character> <dialogue>Wasn't just bibles he thumped.</dialogue> <scene_description>He scrolls his window down to let in a jet of air, blowing a fine grit of the pulverized land.</scene_description> </scene> <scene> <stage_direction>EXT. BADLANDS - DAY</stage_direction> <scene_description>A buffeting breeze reaches George and Margaret, perched on a mesa overlooking the distant small city of Gladstone; a grid- like concentration of buildings spread out as randomly as buckshot across the desolate valley below.</scene_description> <character>MARGARET</character> <dialogue>You're with me on this, right?</dialogue> <character>GEORGE</character> <dialogue>I'm right behind you.</dialogue> <scene_description>His tone, flat as the land before them, turns Margaret from the view to study her husband's profile.</scene_description> <character>MARGARET</character> <dialogue>I don't want you behind me, George. I want to know you're beside me.</dialogue> <character>GEORGE</character> <dialogue>Who's been doing the driving?</dialogue> <character>MARGARET</character> <dialogue>You could say you want him back. I haven't heard that yet.</dialogue> <scene_description>George turns now, selects his words with great care; coaxing an animal in a direction it doesn't wish to go.</scene_description> <character>GEORGE</character> <dialogue>We're not young, Margaret.</dialogue> <character>MARGARET</character> <parenthetical>(laughs)</parenthetical> <dialogue>Well, we're not old.</dialogue> <character>GEORGE</character> <dialogue>We're not young.</dialogue> <scene_description>Margaret looks across the valley, away from George, who clocks a slithering movement in the pebbled dust behind her. A black and tan snake oils a path for Margaret's turned back.</scene_description> <character>MARGARET</character> <dialogue>You saying you don't miss him?</dialogue> <scene_description>George snatches the snake up and flings it away.</scene_description> <character>GEORGE</character> <dialogue>I'm saying he's not even in school yet. Years before he'll read. He hasn't had measles. Or rode a bike. He's young. And we're not.</dialogue> <scene_description>Margaret stands, oblivious of having been saved from a snake, dusts the back of her pants.</scene_description> <character>MARGARET</character> <dialogue>Well, you can drive me into town then. Drop me off and turn around, take yourself back home. I'll do what I need to do and take a bus back to Dalton with Jimmy.</dialogue> <character>GEORGE</character> <dialogue>Once Lorna's handed him to you. A smile on her face, happy as a clam. And if they're not down there? What? You gonna chase them around the country on a bus?</dialogue> <scene_description>Margaret pulls a face.</scene_description> <character>GEORGE</character> <dialogue>What if they go where Greyhound doesn't?</dialogue> <character>MARGARET</character> <dialogue>I'll walk.</dialogue> <character>GEORGE</character> <parenthetical>(a resigned laugh)</parenthetical> <dialogue>You would too. And when you finally learn that what you want to make happen isn't going to happen? What then, Margaret Meloy?</dialogue> <character>MARGARET</character> <dialogue>I suppose I'll learn what I've never been able to. Isn't that what you've told me? Over and over? That I don't know when it's time to call it quits.</dialogue> <scene_description>George stands now, shies a rock at the far distant town.</scene_description> <character>GEORGE</character> <dialogue>Yep. And I'll be the one gets the job of picking up those pieces.</dialogue> </scene> <scene> <stage_direction>EXT. BADLANDS - DAY</stage_direction> <scene_description>George and Margaret trudge back from their lookout as the sun falls, walking together but separate, lots of space between. George spots the shape of a horse, and then a MAN leading it, by his and Margaret's car. He blinks. Is it James? His son? A phantom? Then he sees that the Man is nosing around the parked car, peering inside.</scene_description> <character>GEORGE</character> <dialogue>Hey!</dialogue> <scene_description>Margaret looks up and sees the Man and horse too.</scene_description> <character>GEORGE</character> <dialogue>The gun.</dialogue> <scene_description>They both break into a run and the Man jumps on his horse.</scene_description> <character>GEORGE</character> <dialogue>Halt! Right there!</dialogue> <scene_description>The Man throws up his hands, astride the horse, and Margaret grabs the horse's worn bridle while George goes for the car.</scene_description> <character>MAN</character> <dialogue>Okay! Okay! I didn't take nothing. I was just--</dialogue> <character>MARGARET</character> <dialogue>You were just what?</dialogue> <scene_description>Face to face, Margaret now sees the Man for what he is; barely twenty, Native American, more skittish than his horse.</scene_description> <character>MAN</character> <dialogue>Fishing.</dialogue> <character>GEORGE</character> <dialogue>Fishing around this car.</dialogue> <character>MAN</character> <dialogue>No, sir. I'm coming from fishing.</dialogue> <scene_description>He indicates the rod tied to his horse, pulls a bundle of fish from a tackle box as George joins them.</scene_description> <character>MAN</character> <dialogue>I just seen your car, and was wondering who's setting up camp out here. That's all.</dialogue> <character>GEORGE</character> <dialogue>And who are you?</dialogue> <character>MAN</character> <dialogue>Peter Dragswolf, sir. I live over there. Have my own place.</dialogue> <scene_description>He lifts his chin to the other side of a rise.</scene_description> <character>PETER</character> <dialogue>I've got my own money, too. I don't need none of your goods.</dialogue> <scene_description>Margaret strokes his horse's long nose; the animal's quiet ease rendering a verdict for her on Peter himself. She flicks a glance at George, then extends a hand to Peter.</scene_description> <character>MARGARET</character> <dialogue>I'm Margaret Blackledge, Mr. Dragswolf. This is my husband, George. Sorry if we're trespassing.</dialogue> <character>PETER</character> <dialogue>Where you're standing's as much yours as mine.</dialogue> <character>MARGARET</character> <dialogue>And what's this girl's name?</dialogue> <character>PETER</character> <dialogue>Can't say. She don't belong to me. But, I call her Silverflower.</dialogue> <scene_description>Margaret regards the horse warmly, like an old friend.</scene_description> <character>GEORGE</character> <dialogue>How'd you come by her?</dialogue> <character>PETER</character> <dialogue>She come by me. Showed up outside my shack one morning. Out of the snow last February. Thought she was wild at first, but...</dialogue> <parenthetical>(shrugs)</parenthetical> <dialogue>She came from somewhere I don't know. But, she found me.</dialogue> <character>MARGARET</character> <dialogue>Same as us.</dialogue> </scene> <scene> <stage_direction>EXT. BADLANDS - SUNSET</stage_direction> <scene_description>The horse's pounding hoofs churn up dust as she gallops, hanging a gossamer contrail bright as flame behind her in the evening air, lit by the lowering sun as it settles. The horse rockets forward, arrow-straight, neck lunging, surrendered to Margaret on her back, and the joy of motion. Margaret suddenly pulls the reins hard to the right, and the horse follows easy, wheeling around, and Margaret whoops. George sits with Peter on the hood of the car, watching Margaret turn the horse again and spur the animal.</scene_description> <character>PETER</character> <dialogue>Maybe the horse belongs to her.</dialogue> <character>GEORGE</character> <dialogue>Near about every horse does.</dialogue> <scene_description>Margaret sails past, all-but-standing in the saddle, as the horse reaches speed, legs a blur. CUT TO: Margaret dances the horse through various walks, turns, and tricks, the two in natural rhythm, and George tracks his wife becoming easier, more fluid, as she remembers an old self.</scene_description> </scene> <scene> <stage_direction>EXT. BADLANDS - DUSK</stage_direction> <character>MARGARET</character> <dialogue>I used to ride.</dialogue> <scene_description>Peter watches his fish roast over a fire as Margaret prepares a meal and George finishes pitching his and Margaret's tent, the lights of Gladstone peppering the distant valley floor.</scene_description> <character>GEORGE</character> <dialogue>She's being modest with you.</dialogue> <character>MARGARET</character> <dialogue>I used to break horses. Along with our son, James. Then he died. And I guess I lost my appetite for it.</dialogue> <scene_description>George stops working, watches his wife stare into the fire a thoughtful beat, then she looks to the horse tied to the car.</scene_description> <character>MARGARET</character> <dialogue>Haven't kept animals for a while. It's nice to spend time with a sweet one like your girl there.</dialogue> <character>PETER</character> <dialogue>I'm sorry. About your son.</dialogue> <scene_description>George comes to join Peter and Margaret at the fire.</scene_description> <character>GEORGE</character> <dialogue>What about you? How long you been out here?</dialogue> <character>PETER</character> <dialogue>Three years?</dialogue> <character>MARGARET</character> <dialogue>All on your own? No family?</dialogue> <scene_description>Peter shrugs, circumspect.</scene_description> <character>GEORGE</character> <dialogue>Where were you before?</dialogue> <character>PETER</character> <parenthetical>(vaguely)</parenthetical> <dialogue>Indian school, sir.</dialogue> <character>GEORGE</character> <dialogue>You don't have to call me sir. George'll do the job.</dialogue> <character>MARGARET</character> <dialogue>You finished that school? How old are you?</dialogue> <scene_description>Peter stands abruptly, stepping toward the horse, escape.</scene_description> <character>PETER</character> <dialogue>I don't bother anybody. If somebody comes for the horse they can have her back. The skins I sell, those are animals I catch. The fish are free. I don't steal. I mind my own business.</dialogue> <scene_description>George and Margaret don't even look at one another, neither moving, as Peter remains standing uncertainly, ready to flee.</scene_description> <character>GEORGE</character> <dialogue>That's a good business. Sit.</dialogue> <scene_description>Margaret portions food onto three tin plates.</scene_description> <character>MARGARET</character> <dialogue>Peter. Come eat what you caught.</dialogue> <scene_description>Slowly, he returns to accept the plate she offers.</scene_description> <character>PETER</character> <dialogue>Thank you.</dialogue> <character>MARGARET</character> <dialogue>Thank you.</dialogue> <scene_description>She passes a plate to George as Peter sits, and they eat.</scene_description> <character>GEORGE</character> <dialogue>You're familiar with the area, though. Gladstone.</dialogue> <character>PETER</character> <dialogue>I can tell you where the folks are buried that ain't buried in the cemeteries.</dialogue> <character>GEORGE</character> <dialogue>Weboys?</dialogue> <scene_description>Peter stops chewing, swallows.</scene_description> <character>GEORGE</character> <dialogue>You had any dealings with them?</dialogue> <character>PETER</character> <dialogue>I go careful through life so I don't have dealings with Weboys.</dialogue> <scene_description>George and Margaret exchange a glance.</scene_description> <character>MARGARET</character> <dialogue>We're looking for our grandson. Our boy's boy.</dialogue> <character>GEORGE</character> <dialogue>He's with a man named Donnie Weboy. You ever heard of him?</dialogue> <character>PETER</character> <dialogue>No. But, if you're looking in Gladstone look for Bill Weboy.</dialogue> <character>GEORGE</character> <dialogue>You think he'd help us?</dialogue> <character>PETER</character> <dialogue>Help? Maybe. But... Go careful.</dialogue> </scene> <scene> <stage_direction>EXT. BADLANDS - NIGHT</stage_direction> <scene_description>Margaret wraps the last of her coffee cake in a dish towel and gives it to Peter as he climbs up and sits in his saddle. He shakes hands with the Blackledges and turns the horse for the near hills. Together, George and Margaret watch after the horse and rider as they cross the rocky land beneath a dense river of stars, and vanish over a ridge.</scene_description> </scene> <scene> <stage_direction>EXT. GLADSTONE - STREET - DAY</stage_direction> <scene_description>The Blackledge's car rolls slowly down a raw-looking street in the shadow of Gladstone's water tower. A tall MAN rakes leaves from the gutter into the road up ahead in front of an unadorned house painted mint green.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR - DAY - (MOVING)</stage_direction> <scene_description>George and Margaret scrutinize houses as they drive.</scene_description> <character>MARGARET</character> <dialogue>That's got to be it. Only green house on the street.</dialogue> <scene_description>George pulls to the curb and the Man (40s, strangely handsome despite a shattered nose) lines himself up with the center of their car's hood and leans on his rake, staring with a grin. George's brow furrows, but Margaret's quick out of the car.</scene_description> </scene> <scene> <stage_direction>EXT. BILL'S HOUSE - DAY</stage_direction> <character>MARGARET</character> <dialogue>Mr. Weboy?</dialogue> <character>MAN</character> <dialogue>Who's asking?</dialogue> <scene_description>George steps from the car, taking measure of this Man as Margaret goes to offer her hand and shake.</scene_description> <character>MARGARET</character> <dialogue>Margaret Blackledge. And my husband, George. If you're a Weboy, we're family. After a fashion.</dialogue> <character>MAN</character> <dialogue>How you figure that?</dialogue> <scene_description>The Man shakes George's hand as he joins them, but his focus is wholly on Margaret as he unfolds a smile.</scene_description> <character>BILL</character> <dialogue>Bill Weboy. A cousin, are you?</dialogue> <character>MARGARET</character> <dialogue>Could be! But, probably not exactly. Our former daughter-in- law married a Donnie Weboy. He's step-dad to our grandson now. That's pretty tangled up, isn't it?</dialogue> <character>BILL</character> <dialogue>Like family usually is.</dialogue> <character>GEORGE</character> <dialogue>We heard they might have come to settle here in Gladstone.</dialogue> <character>MARGARET</character> <dialogue>We wanted to pay a visit. See our grandson, Jimmy. Since we were in the neighborhood.</dialogue> <character>BILL</character> <dialogue>Since you're in the neighborhood. And since you didn't find them up in Forsyth.</dialogue> <scene_description>George eyes Bill narrowly while Margaret turns up the dial on her smile.</scene_description> <character>MARGARET</character> <dialogue>You heard we were coming, did you?</dialogue> <character>BILL</character> <dialogue>Oh, I did. I did. A little birdie flew over here ahead of you.</dialogue> <scene_description>He pinches the air to make a bird's beak.</scene_description> <character>BILL</character> <dialogue>Cheep. Cheep. Cheep.</dialogue> <character>GEORGE</character> <parenthetical>(enough with this guy)</parenthetical> <dialogue>Are they here or not?</dialogue> <scene_description>Margaret shoots George a sharp look and Bill hooks a thumb.</scene_description> <character>BILL</character> <dialogue>Is he always like this? Big hurry.</dialogue> <character>MARGARET</character> <dialogue>My husband likes to get down to business.</dialogue> <character>BILL</character> <dialogue>A hell of a lot of men are like that. Can't wait to get to where they're going. Women, in my experience, would as soon take their time.</dialogue> <parenthetical>(winks at Margaret)</parenthetical> <dialogue>Enjoy the ride, so to speak--</dialogue> <character>GEORGE</character> <dialogue>Mr. Weboy, I'm going to tell you--</dialogue> <character>BILL</character> <dialogue>Oh, they're here. I'm just funnin' you, George. Donnie's my nephew! They're safe and sound out at his mom's place. Why don't we all go inside and give the old homestead a call? See if anybody's at home.</dialogue> <character>BILL</character> <dialogue>Hell, maybe you can drive out there this morning and see that precious grandson of yours.</dialogue> <character>MARGARET</character> <dialogue>He is that to us, Mr. Weboy.</dialogue> <character>BILL</character> <dialogue>Doesn't even need to be said.</dialogue> <scene_description>He starts for the house, flinging the rake onto the scorched patch of earth that passes for a yard. Margaret looks to George, who lifts his chin: let's get this done.</scene_description> </scene> <scene> <stage_direction>INT. BILL'S HOUSE - LIVING ROOM - DAY</stage_direction> <character>BILL</character> <dialogue>Had your coffee yet? I could put a pot on.</dialogue> <scene_description>Bill pauses in the center of the room as they follow him in.</scene_description> <character>MARGARET</character> <dialogue>We're fine. Thank you.</dialogue> <character>BILL</character> <dialogue>Well, make yourself at home. I'll make that call. See what their schedule is like.</dialogue> <scene_description>He exits for the kitchen and Margaret survey's the home; spare as a furniture store, not one sign of hobby or habit. George hears the heavy rattle and clunk of a wall phone's handset as it's lifted from its cradle in the kitchen.</scene_description> <character>BILL (O.S.)</character> <dialogue>Hey, Mabel. Can you connect me with the ranch?</dialogue> <scene_description>Margaret takes a seat on the davenport and George sits beside her, alert, his ear cocked toward the kitchen.</scene_description> <character>MARGARET</character> <dialogue>What? What is it?</dialogue> <scene_description>George gives his head a tight shake.</scene_description> <character>BILL (O.S.)</character> <dialogue>Blanche! It's Bill.</dialogue> <character>MARGARET</character> <dialogue>What?</dialogue> <character>GEORGE</character> <parenthetical>(quietly)</parenthetical> <dialogue>You don't want this man's help.</dialogue> <character>MARGARET</character> <dialogue>We can't do this on our own.</dialogue> <scene_description>George turns slowly to his wife, but then there's the clatter of the telephone again and Bill suddenly enters the room.</scene_description> <character>BILL</character> <dialogue>You two have plans for supper?</dialogue> <character>MARGARET</character> <parenthetical>(impulsively)</parenthetical> <dialogue>We surely don't.</dialogue> <scene_description>George fixes Margaret with a look.</scene_description> <character>BILL</character> <dialogue>How would you like to be the guests of the Weboy clan out at the ranch?</dialogue> <scene_description>Margaret hesitates, deferring now to George.</scene_description> <character>GEORGE</character> <dialogue>We don't want to be any trouble.</dialogue> <character>BILL</character> <dialogue>No trouble at all. My sister-in- law wants to meet you. Says you all can swap grandma-and-grandpa stories. And just between me and you, she's a hell of a cook.</dialogue> <scene_description>Margaret turns to look at George as she addresses Bill.</scene_description> <character>MARGARET</character> <dialogue>You'd have to give us directions.</dialogue> <character>BILL</character> <dialogue>Nope. Not a chance. I could be the best damn direction-giver in the world and you still wouldn't find it. You'd be out there wanderin' all over Four Bridges Road and never see a one. No. You make your way back here at four o'clock and you can follow me.</dialogue> <scene_description>The sun ducks behind a cloud and the room irises dim. Not one of the three people moves. Then the sun reemerges, the room flares bright, and Margaret gets to her feet.</scene_description> <character>MARGARET</character> <dialogue>Thank you. We'll come back then.</dialogue> </scene> <scene> <stage_direction>EXT. BILL'S HOUSE - DAY</stage_direction> <scene_description>George takes Margaret's elbow as they walk towards their car. She glances at him, but George isn't looking at her. He's scrutinizing the line of wires that run overhead, pole to pole down the street, bypassing the house they just left. George gets Margaret in the car and takes a furtive look back at Bill's house as he goes around, but the dark windows make it impossible to tell if anyone's watching from inside.</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL - GLADSTONE - DAY</stage_direction> <scene_description>The empty seats of children's swings sway on rusty chains. George idly eyes a CLUSTER OF YOUNG BOYS lighting matches in boredom and mischief in the distance as he eats a sandwich, seated beside Margaret on a cracked wooden bench overlooking the school's bone-dry playground. He checks his watch.</scene_description> <character>MARGARET</character> <dialogue>Time is it?</dialogue> <character>GEORGE</character> <dialogue>I'm thinking I should find a phone booth, give Jack Nevelson a call. See what he might know about your friend Bill Weboy.</dialogue> <character>MARGARET</character> <dialogue>What's there to know?</dialogue> <character>GEORGE</character> <dialogue>How he managed to make that call when there's no phone wire to his house. For starters.</dialogue> <scene_description>He fishes the bottle of whiskey from his pocket and Margaret looks elsewhere as he takes a sip.</scene_description> <character>MARGARET</character> <dialogue>I thought you were done with that.</dialogue> <character>GEORGE</character> <dialogue>There's a lot I thought I was done with.</dialogue> <scene_description>Margaret's head swivels to look at George askance, but he stands, tucks the bottle, and jerks his chin towards town.</scene_description> <character>GEORGE</character> <dialogue>Come on. Let's scout a hotel for tonight.</dialogue> <character>MARGARET</character> <dialogue>Hotel? We're heading home tonight. I don't need to stay a second longer than I have to in this place, thank you very much.</dialogue> <parenthetical>(decisively)</parenthetical> <dialogue>We get Jimmy, we start driving.</dialogue> <scene_description>George laughs, an astonished exhale, and shakes his head.</scene_description> <character>GEORGE</character> <dialogue>Now, there's something you do. Count a thing done because you want it so.</dialogue> <scene_description>Margaret surveys the withered houses that ring the school.</scene_description> <character>MARGARET</character> <dialogue>You've walked through Gladstone now. Seen this town, same as me. Tell me what there is here for a boy.</dialogue> <character>GEORGE</character> <dialogue>I'd think you'd be able to answer that for yourself easy enough.</dialogue> <character>MARGARET</character> <dialogue>Help me--</dialogue> <character>GEORGE</character> <dialogue>His mother, Margaret.</dialogue> <scene_description>Margaret stops, looks up at George flatly a long beat.</scene_description> <character>GEORGE</character> <dialogue>Open your eyes, honey. See what's in front of you.</dialogue> <scene_description>Margaret looks away.</scene_description> <character>GEORGE</character> <dialogue>You're not going to get him back.</dialogue> <scene_description>Margaret shakes her head and folds the rest of her sandwich away in its paper for something to do, then she stands. She avoids George's eye as she angles around him and heads for their car.</scene_description> <character>GEORGE</character> <dialogue>Can't leave me here. I've got the keys.</dialogue> </scene> <scene> <stage_direction>EXT. BILL'S HOUSE - DAY</stage_direction> <scene_description>The rake still lays in Bill's yard, right where he'd thrown it, when George and Margaret pull up out front. Bill emerges from a truck parked alongside his house and ambles to the passenger window as Margaret rolls it down.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR - DAY</stage_direction> <character>BILL</character> <dialogue>About time.</dialogue> <scene_description>He flashes a smile and leans low to the window.</scene_description> <character>BILL</character> <dialogue>One of you should ride with me and the other follow. I can tell you where we're going and why and that way maybe you can find your way back on your own.</dialogue> <scene_description>He turns without waiting and starts away back to the truck, spinning his keys on a finger. Margaret looks to George who shakes his head watching Bill go. She reaches for her door handle.</scene_description> <character>GEORGE</character> <dialogue>Where do you think you're going?</dialogue> <character>MARGARET</character> <dialogue>You think he wants you in the passenger seat?</dialogue> <character>GEORGE</character> <parenthetical>(a sour laugh)</parenthetical> <dialogue>No, I know he doesn't.</dialogue> <scene_description>They watch Bill climb into his truck, see him reach across and swing the passenger door open.</scene_description> <character>GEORGE</character> <dialogue>I don't care what he wants. I'm going, you drive.</dialogue> <scene_description>Margaret opens her door.</scene_description> <character>MARGARET</character> <dialogue>It's fine, George.</dialogue> <scene_description>He grabs for her arm, but she slips from the car, snatching up the old stuffed toy horse from the back seat as she goes.</scene_description> <character>GEORGE</character> <dialogue>Margaret, get back in--</dialogue> <character>MARGARET</character> <dialogue>Follow close.</dialogue> </scene> <scene> <stage_direction>EXT. BILL'S HOUSE - DAY</stage_direction> <scene_description>Margaret shuts her car door and walks across the dirt yard. Not one other thing in the world moves; not a leaf, not Bill in the truck's cab, or George watching her from their car.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR - DAY</stage_direction> <scene_description>George grips the wheel; a hawk on its a perch. He sees Margaret arrive at the truck's open door. She glances back at him for the briefest moment, then climbs up.</scene_description> <character>GEORGE</character> <parenthetical>(a muttered curse)</parenthetical> <dialogue>God bless it.</dialogue> <scene_description>Margaret pulls the truck's door closed behind her. SLAM!</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - GLADSTONE - DAY</stage_direction> <scene_description>Bill's truck rips down the knife-straight blacktop heading out of Gladstone, George's car right behind, the land on either side flat as still water.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR - DAY - (MOVING)</stage_direction> <scene_description>George drives, eyes locked on Bill's truck in front of him.</scene_description> </scene> <scene> <stage_direction>INT. BILL'S TRUCK - DAY - (MOVING)</stage_direction> <scene_description>Margaret sits rigidly, keeping her eyes on the road ahead, though she's fixed on tracking Bill peripherally, alert. Bill's eyes move from the toy horse Margaret holds in her lap to explore the curve of her hip, her breast. He flicks his eyes to George following in the rearview mirror.</scene_description> <character>BILL</character> <dialogue>Pretty bird, that old jalopy won't have trouble keeping up, will it?</dialogue> <character>MARGARET</character> <dialogue>You're looking in the mirror often enough. You know where he is.</dialogue> <character>BILL</character> <dialogue>I guess he don't want you to get too far out of his sight. Which I understand.</dialogue> <scene_description>He pulls a White Owl cigar from his shirt pocket.</scene_description> <character>BILL</character> <dialogue>You mind?</dialogue> <character>MARGARET</character> <dialogue>Your car. You don't need my permission.</dialogue> <character>BILL</character> <dialogue>You strike me as the kind of woman a man is always asking permission of. Or excusing himself to.</dialogue> <character>MARGARET</character> <dialogue>An expert, are you? On kinds of women?</dialogue> <character>BILL</character> <dialogue>I've been around more than a few women who want men to ask before drawing a breath.</dialogue> <character>MARGARET</character> <dialogue>Well. Air is free, Mr. Weboy. And so are men.</dialogue> <character>BILL</character> <dialogue>You and I got a lot in common.</dialogue> <scene_description>Margaret turns sharply to look at him, and Bill meets her with a sly wink and grin as he lights his cigar.</scene_description> <character>BILL</character> <dialogue>Seems you're an expert, too.</dialogue> <scene_description>Margaret cranks her window down an inch to let the smoke out.</scene_description> <character>MARGARET</character> <dialogue>And Mrs. Weboy? I'll bet she's an expert.</dialogue> <character>BILL</character> <dialogue>Blanche? Donnie's mom?</dialogue> <character>MARGARET</character> <dialogue>I meant your wife.</dialogue> <scene_description>Bill draws deeply on his cigar, fills the car as he exhales.</scene_description> <character>BILL</character> <dialogue>You saw my place, how tidy it is? Used to be a regular pigsty. Or so my wife called it. Sniped away at me for years. "I'm sick of cleaning up after you." "Just leave it!" I'd say. "Who gives a damn?" Oh, we'd go round and round. Then her mother took sick, and Clara-- that was my wife--. Off to Idaho. To take care of her. "I'm leaving this house clean and I don't want to find it any different when I come back." Ha. I tore the place apart. Every room, right down to the lath. Opened it up real good. Me, a claw hammer, and Mr. Jack Daniels. Well, Clara comes back, the sight of the place scares the hell out of her. She saw to it I was locked up. For destroying something that belonged to me, if you can imagine. She cleared out while I was behind bars. Left me nothing but a bowl, a spoon, and a house without walls.</dialogue> <scene_description>He checks Margaret, can tell she's listening, but she keeps looking straight ahead.</scene_description> <character>BILL</character> <dialogue>I put that house back together. You saw it; walls just where they're supposed to be. Plastered and painted. The hell of it was, once I finished the place, I was finished with her. Now, that house ain't ever anything but neat as a pin, just the way Clara would like it. Except she's never setting foot inside again.</dialogue> <scene_description>Margaret denies Bill a reaction when he looks to her again. He grinds out his cigar and they ride on in prickly silence.</scene_description> <character>BILL</character> <dialogue>We turn here.</dialogue> <character>MARGARET</character> <dialogue>Why don't you signal instead of telling me so George knows what's coming?</dialogue> <scene_description>Bill turns a smirking smile on Margaret.</scene_description> <character>BILL</character> <dialogue>Aye, aye, cap'n.</dialogue> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR - DAY - (MOVING)</stage_direction> <scene_description>George explicates where an unmarked road ahead will meet the highway so he's ready when Bill signals at the last possible second before swinging the truck from the blacktop onto dirt. George spins the car's wheel, makes the sharp turn, and rocks and gravel explode beneath the vehicle as it leaves the pavement to follow in the truck's billowing wake.</scene_description> </scene> <scene> <stage_direction>INT. BILL'S TRUCK - DAY - (MOVING)</stage_direction> <scene_description>Margaret grips the armrest on the door out of Bill's sight as he speeds them along the rutted trail. She tries to keep an eye on George, obscured by dust in her side mirror.</scene_description> <character>MARGARET</character> <dialogue>How much further is it?</dialogue> <character>BILL</character> <dialogue>You mean how much more of me do you have to put up with?</dialogue> <character>MARGARET</character> <parenthetical>(trying for lightness)</parenthetical> <dialogue>I--. We just want to see Jimmy.</dialogue> <character>BILL</character> <parenthetical>(not buying it)</parenthetical> <dialogue>Yeah. Fine-looking boy there. And his mother is a good-looking woman. You know, Donnie never asked me for a word of advice in his life--</dialogue> <character>MARGARET</character> <parenthetical>(laughs, despite herself)</parenthetical> <dialogue>Is that so?</dialogue> <character>BILL</character> <dialogue>But, if he had I might've told him to do exactly as he's done. "Marry yourself a widow, Donnie. You'll be getting a grateful woman."</dialogue> <scene_description>He bounces his eyebrows at Margaret when she looks at him.</scene_description> <character>MARGARET</character> <dialogue>You could slow down.</dialogue> <character>BILL</character> <dialogue>But, then it'd be longer until you see your grandson.</dialogue> </scene> <scene> <stage_direction>EXT. BADLANDS - DAY</stage_direction> <scene_description>Dark clouds hang heavy with rain at the horizon, sheering the rays of the lowering sun as George's car keeps pace through every hard climb, steep descent, and sudden curve with Bill's truck, as it leads him further and further from Gladstone.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR - DAY - (MOVING)</stage_direction> <scene_description>George never blinks, keeping his eyes fixed on Margaret in the truck in front of him, using her silhouette to steer by.</scene_description> </scene> <scene> <stage_direction>EXT. WEBOY HOMESTEAD - SUNSET</stage_direction> <scene_description>The carcasses of vehicles litter the property as though they'd tried to crawl on rusted rims to reach the brittle two- story Victorian farmhouse in the middle of nowhere, and died. George's car passes the wrecks as it follows Bill's truck through an open gate and circles to the back of the house. Margaret is out of Bill's truck before he kills the engine. Bill takes his time sliding out, saluting George as George moves quickly to meet Margaret with an unspoken exchange, with mere looks. Are you okay? Yes. Thunder rumbles deep in the distant dark clouds.</scene_description> <character>BILL</character> <dialogue>Never be able to find this on your own. Was I right?</dialogue> <scene_description>George ignores Bill, who laughing, shakes his head as he leads the way past a tree from which an engine block swings on a creaking rope over the open hood of ruined car. George tracks the hammering and clanging coming from a nearby shed as he and Margaret climb the worn steps of the house's sagging enclosed porch, Bill holding open the screen door.</scene_description> <character>BILL</character> <dialogue>After you.</dialogue> </scene> <scene> <stage_direction>INT. WEBOY HOMESTEAD - BACK PORCH - DUSK</stage_direction> <scene_description>George and Margaret navigate a path ahead of Bill through a clutter of shotguns, boxes of shells, snow shovels, boots, cans of kerosene, tumbling piles of firewood, farm catalogues, and broken jars of nails to reach the house door.</scene_description> <character>BILL</character> <dialogue>Blanche!</dialogue> </scene> <scene> <stage_direction>INT. WEBOY HOMESTEAD - KITCHEN - DUSK</stage_direction> <scene_description>The Blackledges step into the semi-dark room, similar in shape to their own kitchen, yet different in every other way. A thin haze smudges the air, from cook smoke or the cigarette burning in an ashtray on the table over which a lamp hangs low, casting the only light in the apparently empty room.</scene_description> <character>BILL</character> <dialogue>We're here!</dialogue> <scene_description>Bill enters behind George and Margaret, who have stopped.</scene_description> <character>BILL</character> <parenthetical>(calling into the house)</parenthetical> <dialogue>Blanche?</dialogue> <scene_description>A slender white hand floats down to take up the burning cigarette on the table and lift it from the pool of light. Only now is it clear that a WOMAN stands directly in front of them, though on the far side of the table, her dress blending into the background, her head obscured by the hanging lamp. They hear her inhale on the cigarette, see the exhaled smoke. Then she leans down, bringing her face into the lamp's light. BLANCHE WEBOY's smile stretches over fifty years from one ear to the other, but there's nothing friendly in all that span. A fuss of makeup undermines her striking natural beauty.</scene_description> <character>BLANCHE</character> <dialogue>I hope you like pork chops.</dialogue> <scene_description>George squints, getting a bead on this woman as Margaret rounds half the table, stretching out her hand to her.</scene_description> <character>MARGARET</character> <dialogue>My mouth's watering already.</dialogue> <character>BLANCHE</character> <dialogue>You're the grandma.</dialogue> <character>MARGARET</character> <dialogue>I am. Margaret Blackledge.</dialogue> <scene_description>Blanche looks at Margaret's hand before she shakes it, clocks the stuffed horse in Margaret's other hand.</scene_description> <character>BLANCHE</character> <dialogue>Blanche Weboy.</dialogue> <character>MARGARET</character> <dialogue>Thank you for having us.</dialogue> <scene_description>Blanche rotates her head in George's direction.</scene_description> <character>BLANCHE</character> <dialogue>And you're the lawman.</dialogue> <character>GEORGE</character> <dialogue>Retired, ma'am. George Blackledge.</dialogue> <scene_description>He goes and shakes the hand she trails in the air before him.</scene_description> <character>BLANCHE</character> <dialogue>Well, why don't we all retire to a seat at the table? Shall we?</dialogue> <scene_description>Bill double-times it to pull out a chair for Blanche, taking the seat beside her as she sits. George and Margaret seat themselves opposite, empty chairs separating the two couples. Margaret rests the toy horse on the table set for dinner and Blanche picks up an open bottle of wine already there.</scene_description> <character>BLANCHE</character> <dialogue>Now, who can I interest in a glass?</dialogue> <character>MARGARET</character> <dialogue>No, thank you.</dialogue> <scene_description>Blanche looks to George, who shakes his head. She shrugs and refills the jelly glass in front of her.</scene_description> <character>BLANCHE</character> <dialogue>Well, I don't mind drinking alone.</dialogue> <scene_description>She takes a long sip, stubs out her cigarette.</scene_description> <character>BLANCHE</character> <parenthetical>(a prepared speech)</parenthetical> <dialogue>I was born Blanche Gannon. My people originally came from Illinois. Filed a homestead claim north of Gladstone before there was a Gladstone. I'm one of eight. Lost an older sister to pneumonia. My brother Carl drowned in a neighbor's cistern. Another fell off a truck; lived in a wheelchair the rest of his days. My aunt Ruth got caught in a white out. Froze and died, right where she stood, not thirty feet from that back door. Hard life. And not for everyone. My other brothers and sister lit out as soon as they could, never looked back. I stayed.</dialogue> <scene_description>Thunder crashes overhead, startling everyone at the table with its nearness. Blanche lifts her eyebrows, laughs.</scene_description> <character>BLANCHE</character> <dialogue>When I first met Henry Weboy, he couldn't stop talking about heading for Florida. I figure I had more than a little to do with his decision to stay. Now he's buried in the same cemetery as my folks and his. And my boys are fourth generation Weboys and Gannons born and living on North Dakota soil.</dialogue> <scene_description>Thunder rolls low as George watches Bill drape an arm across the back of Blanche's chair, intimate. Blanche slides her gaze to George, then Margaret.</scene_description> <character>BLANCHE</character> <dialogue>But, you didn't come to hear me yak. You came to eat. Bill, why don't you call the boys for supper?</dialogue> <scene_description>Bill jumps up and goes out the way they came in and Blanche moves to the oven to pull out a pan of charred chops.</scene_description> <character>BLANCHE</character> <dialogue>I suppose you could tell a story not a hell of a lot different from mine. Am I right? About family. Hardships.</dialogue> <scene_description>Neither George nor Margaret answer and Blanche turns to catch them glancing about for any sign of their grandchild. Bill returns, trailed by TWO MEN (30s, nearly identical, both enormously tall and hulking, in grease-stained coveralls).</scene_description> <character>BLANCHE</character> <dialogue>Meet the boys. Tall one's Elton and the other's Marvin.</dialogue> <parenthetical>(to her sons)</parenthetical> <dialogue>Say hello to our guests.</dialogue> <scene_description>The brothers grab cans of beer from the refrigerator with oil- black hands, pop them open using a church-key on a string.</scene_description> <character>ELTON</character> <dialogue>That your wagon out there?</dialogue> <character>MARVIN</character> <dialogue>We tried to get inside. Take a look.</dialogue> <character>ELTON</character> <dialogue>Tighten a couple bolts we could probably get you a few more horses.</dialogue> <scene_description>George ignores both sons as he slowly stands up to his full height.</scene_description> <character>GEORGE</character> <dialogue>Where's Jimmy? Where's the boy?</dialogue> <scene_description>Blanche leans against the counter, lights another cigarette.</scene_description> <character>BLANCHE</character> <dialogue>Why he's not here. He's with his daddy.</dialogue> <character>MARGARET</character> <dialogue>His father--!</dialogue> <scene_description>George quiets Margaret with a staying gesture of his hand.</scene_description> <character>GEORGE</character> <dialogue>We came here to see our grandson.</dialogue> <character>BLANCHE</character> <dialogue>You mean you didn't come here to eat my pork chops?</dialogue> <scene_description>The Weboy men join Blanche in a laugh.</scene_description> <character>GEORGE</character> <dialogue>If you brought us all the way out here for the sake of a joke...</dialogue> <character>BLANCHE</character> <dialogue>Lorna said you were rough bark.</dialogue> <scene_description>She points her cigarette at Margaret.</scene_description> <character>BLANCHE</character> <dialogue>And I can see already you're no day at the races. No, ma'am.</dialogue> <scene_description>She brings the pan to the table where Elton and Marvin grab seats and she forks chops onto each person's plate. She gestures for George to sit again.</scene_description> <character>BLANCHE</character> <dialogue>Your grandson's with my Donnie. He took Jimmy along to pick up the boy's mother from work.</dialogue> <character>MARGARET</character> <dialogue>Lorna?</dialogue> <character>BILL</character> <dialogue>She's working at Monkey Ward.</dialogue> <character>MARGARET</character> <dialogue>In Gladstone? We could've seen Lorna and Jimmy in Gladstone?</dialogue> <character>BLANCHE</character> <dialogue>Now, I am feeling insulted by you. You really don't give a damn about sharing a meal.</dialogue> <character>MARGARET</character> <parenthetical>(dialing herself back)</parenthetical> <dialogue>I just meant--</dialogue> <character>BLANCHE</character> <dialogue>Maybe you're a Jew. Maybe you can't eat pork chops.</dialogue> <scene_description>Margaret looks to George, who regards Blanche unflinchingly from the far side of the table. Thunder rumbles outside.</scene_description> <character>BLANCHE</character> <dialogue>Oh, breathe easy. Anyone who knows me knows I can't be insulted. Eat my chops or don't.</dialogue> <scene_description>Her sons eat her chops. They gobble them up, seemingly oblivious to the tension at the table.</scene_description> <character>MARGARET</character> <dialogue>We'd certainly hoped to meet Donnie's family someday.</dialogue> <character>BLANCHE</character> <dialogue>Had you? Well, I'm glad to learn it. I thought we should meet too. Have ourselves a chat. It would have been nice if it was at the wedding. But, maybe that was too much to ask. For his mother to be invited. Or his brothers.</dialogue> <character>BILL</character> <dialogue>His poor Uncle Bill.</dialogue> <scene_description>Margaret looks to George again, then back at Blanche.</scene_description> <character>MARGARET</character> <dialogue>You weren't invited? He didn't--?</dialogue> <character>BLANCHE</character> <dialogue>You recollect seeing us there?</dialogue> <scene_description>Margaret blinks at the heat and absurdity of Blanche's blame.</scene_description> <character>MARGARET</character> <dialogue>And that's our fault?</dialogue> <character>BLANCHE</character> <dialogue>You didn't stop and think to yourselves, he must have come from somewhere? Must have family.</dialogue> <character>MARGARET</character> <dialogue>Frankly, we thought only that Donnie was a grown man.</dialogue> <scene_description>Blanche studies Margaret a long, measuring beat.</scene_description> <character>BLANCHE</character> <dialogue>Your son's dead.</dialogue> <scene_description>She blows smoke into the center of the table.</scene_description> <character>BLANCHE</character> <dialogue>It's understandable you forget. We're never really done raising them. Teaching them the right way. Why I had to bring my boy home, where I can keep an eye on him.</dialogue> <scene_description>George watches his wife as Blanche stubs out her cigarette.</scene_description> <character>BLANCHE</character> <dialogue>Your boy's perfect now. Not really fair to compare him and Donnie.</dialogue> <character>MARGARET</character> <dialogue>I wouldn't ever compare Donnie to our son.</dialogue> <scene_description>Blanche's smile stretches unnaturally, Cheshire cat-wide.</scene_description> <character>BLANCHE</character> <dialogue>He says you two don't approve.</dialogue> <character>GEORGE</character> <dialogue>I'm surprised to hear he gives a damn what we think. He couldn't be bothered to let us know they were leaving.</dialogue> <scene_description>Blanche looks at George in surprise; he's been so quiet.</scene_description> <character>BLANCHE</character> <dialogue>My boy doesn't have to answer to you.</dialogue> <character>GEORGE</character> <parenthetical>(almost a laugh)</parenthetical> <dialogue>No. He does not.</dialogue> <character>MARGARET</character> <dialogue>And we don't have to answer to you.</dialogue> <scene_description>Blanche's eyes go wide turning to Margaret and she brings both hands slapping down on the table with a high hoot.</scene_description> <character>BLANCHE</character> <dialogue>Hoo! We better get some food in our bellies before this get-together turns into a real blood feud!</dialogue> <character>BILL</character> <dialogue>And we've got numbers on you.</dialogue> <scene_description>A car's headlight's sweep the room.</scene_description> <character>BLANCHE</character> <dialogue>Why, here come the newlyweds now.</dialogue> <scene_description>Everyone falls silent, waiting, listening for the slam of car doors that finally comes. Footfalls sound on the porch and Lorna and Donnie's voices pitched in hushed squabbling. Donnie enters the room first, scanning all the faces turned in his direction. He reaches reflexively for his hat's brim on seeing George; a tell of deference as he removes it. Blanche's eyes twitch in tracking this signal of respect from Donnie to this retired sheriff, who merely nods at her son. Donnie steps aside to reveal Lorna, frazzled after a work day, in a blouse and skirt a size too big, Jimmy on her hip.</scene_description> <character>GEORGE</character> <dialogue>Lorna.</dialogue> <scene_description>Lorna glances around; the Blackledge's car outside and her former-in-laws in here are all apparently fresh news to her. Margaret has eyes only for her grandson, softening completely at the sight of him, a naked longing opening her face.</scene_description> <character>MARGARET</character> <dialogue>Hello, Jimmy.</dialogue> <scene_description>George sees the boy's head snap in his grandmother's direction, recognition flaring bright in Jimmy's eyes. Then the child glances furtively at Donnie, Blanche, the other men in the room, and he pops a thumb in his mouth.</scene_description> <character>BLANCHE</character> <dialogue>Uhn-uhn.</dialogue> <scene_description>She hastily snatches his thumb out.</scene_description> <character>BLANCHE</character> <dialogue>Am I right? Sure way to end up with buck teeth.</dialogue> <scene_description>Margaret rises from the table and walks to the boy, her arms floating out in front of her, extending, reaching.</scene_description> <character>MARGARET</character> <dialogue>May I?</dialogue> <scene_description>George watches Jimmy fall into Margaret's arms, wrap his arms around her neck and bury his face; an animal hiding. He sees his wife's eyes fill as she presses her nose to the boy's skull, his hair, breathing him in deeply. She kisses the top of the boy's head and he squeezes her. Lorna looks to Blanche who observes this reunion with a mask- blank face, then turns back to Margaret, laughs nervously.</scene_description> <character>LORNA</character> <dialogue>He's turning into quite a load.</dialogue> <character>DONNIE</character> <dialogue>I told you, you pick him up too much. How's he supposed to learn?</dialogue> <character>LORNA</character> <dialogue>Learn what? How to walk? He knows how to walk.</dialogue> <character>DONNIE</character> <dialogue>Hell, I'd probably unlearn how myself if someone carried me everywhere I wanted to go. That's flat-out spoiling him.</dialogue> <scene_description>Margaret hefts the child in her arms, thinner than he was.</scene_description> <character>MARGARET</character> <dialogue>He weighs nothing.</dialogue> <character>BLANCHE</character> <dialogue>Has he eaten?</dialogue> <character>DONNIE</character> <dialogue>I got him a burger at Ressler's while we were waiting.</dialogue> <character>BLANCHE</character> <dialogue>And did he eat it?</dialogue> <character>DONNIE</character> <dialogue>Half.</dialogue> <character>BLANCHE</character> <dialogue>Does he want a pork chop? Some potatoes?</dialogue> <scene_description>She tugs at Jimmy's trailing foot.</scene_description> <character>BLANCHE</character> <dialogue>Do you? Can I cut up a little meat for you?</dialogue> <scene_description>Jimmy won't lift his head from Margaret's shoulder.</scene_description> <character>JIMMY</character> <dialogue>No.</dialogue> <scene_description>Blanche yanks harder on the toe of his shoe.</scene_description> <character>BLANCHE</character> <dialogue>What's that? What are you supposed to say?</dialogue> <scene_description>He rolls his face away from Blanche and into Margaret's neck.</scene_description> <character>JIMMY</character> <dialogue>No, thank you.</dialogue> <scene_description>Blanche lets go of his foot and looks to Lorna.</scene_description> <character>BLANCHE</character> <dialogue>Take him up to bed then.</dialogue> <scene_description>George clenches his jaw, bracing.</scene_description> <character>MARGARET</character> <dialogue>What?</dialogue> <scene_description>Lorna doesn't move but looks between the two women.</scene_description> <character>MARGARET</character> <dialogue>We just--. He just got here.</dialogue> <character>BLANCHE</character> <dialogue>We believe in early-to-bed in this house.</dialogue> <scene_description>She pats Jimmy's bottom in Margaret's arms.</scene_description> <character>BLANCHE</character> <dialogue>And we believe in walking up stairs on our own two feet.</dialogue> <scene_description>Margaret backs away from Blanche, tightening her hold on Jimmy as her eyes dart from one Weboy to the next. Bill strolls to stand in front of the back door.</scene_description> <character>BILL</character> <dialogue>Easy now, Grandma. You know who makes the rules around here.</dialogue> <scene_description>George's chair scrapes the floor as he stands abruptly. Marvin pushes away from the table at the same time, but remains in his chair, hands on his knees; ready. A crack of thunder pins everyone in place; Margaret clutching the blinking child, the men cocked and tensed, Blanche turned casually toward the counter, and Lorna stuck in the middle. Thunder booms again, with a crackling tail, then a hush. Finally, the hiss and patter of falling rain fills the room. Elton spears another pork chop. Marvin takes a sip of beer. Donnie rolls his shoulder. And Bill slowly unwraps a cigar. Each Weboy man makes himself known, one way or another. Margaret looks to George. He meets her desolate gaze, nods. She holds, then slowly bends down and sets Jimmy on his feet. The boy looks up at her in bewilderment. Abandoned.</scene_description> <character>JIMMY</character> <dialogue>There was mustard.</dialogue> <character>MARGARET</character> <dialogue>On your hamburger?</dialogue> <scene_description>Jimmy bobs his head and Margaret follows his gaze to the toy horse as he spies it on the table. Margaret picks up the horse, extends the old toy towards her grandson.</scene_description> <character>MARGARET</character> <dialogue>You don't like mustard, do you?</dialogue> <scene_description>He wags his head forlornly as he reaches for the horse, but Blanche claps her hands and the boy flinches at the sound.</scene_description> <character>BLANCHE</character> <dialogue>Off you go. Up the stairs.</dialogue> <character>MARGARET</character> <dialogue>Please...</dialogue> <character>BLANCHE</character> <dialogue>Now that you know where to find us, you'll have to visit more often.</dialogue> <scene_description>Donnie gives Lorna a shove and she lurches forward, reaches down to take her son's hand.</scene_description> <character>LORNA</character> <dialogue>Come on, Jimmy.</dialogue> <scene_description>The boy slips his hand into hers and lets himself be led towards the dark mouth of a back staircase. Margaret reflexively follows, pulled as by a magnet, still holding the stuffed horse in her hand.</scene_description> <character>MARGARET</character> <dialogue>Please...</dialogue> <character>GEORGE</character> <dialogue>That's enough.</dialogue> <scene_description>He moves quickly to Margaret's side, encircling her shoulders with his arm, either to support or restrain her.</scene_description> <character>GEORGE</character> <dialogue>Enough.</dialogue> <scene_description>Jimmy looks back at his grandparents from the stairwell, then matches his steps to Lorna's as they climb out of sight.</scene_description> <character>GEORGE</character> <parenthetical>(whispers to Margaret)</parenthetical> <dialogue>Don't beg.</dialogue> <scene_description>The stuffed horse slips from Margaret's hand as George steers her now towards the door.</scene_description> <character>GEORGE</character> <dialogue>We thank you, but we'll be on our way.</dialogue> <scene_description>Blanche scoops the horse up from the floor and holds it out, but George has already maneuvered Margaret out the door.</scene_description> <character>BLANCHE</character> <dialogue>Well, I guess we know who matters to you. You're rushing off before the pie. But if you have to go, you have to go.</dialogue> </scene> <scene> <stage_direction>INT. WEBOY HOMESTEAD - BACK PORCH - NIGHT</stage_direction> <scene_description>George hustles Margaret through the labyrinth of junk, kindling, and spare parts, the tin roof ticking with rain.</scene_description> <character>BIL (O.S.)</character> <dialogue>Hey, Blackledges!</dialogue> </scene> <scene> <stage_direction>EXT. WEBOY HOMESTEAD - NIGHT</stage_direction> <character>BILL</character> <dialogue>Hold up there!</dialogue> <scene_description>Bill appears on the porch behind them as George and Margaret reach the car, George unlocking Margaret's door in the rain.</scene_description> <character>BILL</character> <dialogue>You need me to show you the way?</dialogue> <scene_description>George mutters angrily but doesn't answer as he gets the door open and Margaret into her seat. Suddenly Bill is with them.</scene_description> <character>BILL</character> <dialogue>If you left a trail of bread crumbs, the coyotes have got 'em by now. Or they washed away.</dialogue> <scene_description>He passes the stuffed horse to Margaret, who vacantly turns the toy in her hands as though she's never seen it before.</scene_description> <character>BILL</character> <dialogue>She won't say so, but I can tell. Running off like this, you hurt Blanche's feelings--</dialogue> <character>MARGARET</character> <parenthetical>(instantly ignites)</parenthetical> <dialogue>Her feelings! We've come all this way to see Jimmy--! Our grandson. Not hers! And she gives us less than two minute's time--!</dialogue> <scene_description>George slams the door, cutting Margaret off, and heads around for the driver's side to unlock his own door.</scene_description> <character>GEORGE</character> <dialogue>Go back inside, Mr. Weboy.</dialogue> <character>BILL</character> <dialogue>Why was your car locked?</dialogue> <scene_description>George stops Bill with a look across the car's roof, rain splattering the metal plane between them.</scene_description> <character>GEORGE</character> <dialogue>What're you doing out here?</dialogue> <scene_description>Bill smirks, seems to realize the rain now.</scene_description> <character>BILL</character> <dialogue>Damned if I know.</dialogue> <scene_description>He spits as he turns and heads back to the house, where a figure in a lit upstairs window snags George's eye; Lorna holding Jimmy, watching after him and Margaret. George pauses a moment with the rain pelting down, then Lorna steps away from the window, leaving the empty frame behind.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR - NIGHT - (MOVING)</stage_direction> <character>GEORGE</character> <dialogue>Goddamnit.</dialogue> <scene_description>The wipers scrub a throbbing tempo as George finds himself lost on the trail through the dark rain. He stops, reverses, turns the car around and heads in another direction, checking Margaret throughout, but she's turned away from him in her seat, turned into herself. George reaches a hand to comfort Margaret, but she bats it away and the toy horse spills from her lap to the footwell.</scene_description> </scene> <scene> <stage_direction>EXT. BADLANDS - NIGHT</stage_direction> <scene_description>The car arrives finally at the intersection of the highway with the end of the unpaved track and pauses a deliberating moment, rain slashing through its headlights. Then it turns right onto the empty stretch of slick blacktop leading back towards the lights of Gladstone.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR - NIGHT - (MOVING)/EXT. MOON WINK</stage_direction> <scene_description>George drives aimlessly through town until he spots a neon sign of a moon with a face, winking - Moon Wink Motor Court - at the entrance to a U-shaped drive studded with tiny cabins.</scene_description> </scene> <scene> <stage_direction>INT. MOON WINK MOTOR COURT - CABIN - NIGHT</stage_direction> <scene_description>George lays curled around Margaret on top of the bedspread, both still dressed, listening to the drumming of rain on the cabin's roof. His eyes drift closed...</scene_description> <character>MARGARET</character> <dialogue>Today's Friday, right?</dialogue> <character>GEORGE</character> <dialogue>It is.</dialogue> <character>MARGARET</character> <dialogue>Do you think Lorna will be working tomorrow?</dialogue> </scene> <scene> <stage_direction>INT. MONTGOMERY WARD - MEN'S DEPARTMENT - DAY</stage_direction> <scene_description>Lorna helps a WOMAN select a neck tie to go with a shirt, her easy, confident smile fading when she spots the Blackledges. Her cheeks flush red as they land at her counter and Margaret pretends interest in the trays of handkerchiefs on display. Lorna turns to ring up the woman's purchase at the register, and becomes flustered; hits every wrong key, again and again.</scene_description> <character>LORNA</character> <parenthetical>(to the Woman)</parenthetical> <dialogue>I'm sorry--</dialogue> <scene_description>A rigid FLOOR MANAGER goes behind the counter to take over and Lorna steps back from the register in embarrassed defeat.</scene_description> </scene> <scene> <stage_direction>INT. MONTGOMERY WARD - MEN'S DEPARTMENT - MOMENTS LATER</stage_direction> <character>LORNA</character> <dialogue>I didn't think you'd just go home.</dialogue> <scene_description>Lorna comes to the opposite side of the counter from George and Margaret, who idly picks through a tray of handkerchiefs.</scene_description> <character>MARGARET</character> <dialogue>I'm like a bad penny.</dialogue> <scene_description>Lorna doesn't respond, flicks her eyes to George with a small smile of greeting as she shifts from one foot to the other.</scene_description> <character>MARGARET</character> <dialogue>Who watches Jimmy while you're here?</dialogue> <character>LORNA</character> <dialogue>Who do you think? Donnie. His mom. Or maybe you think I just tie him to a tree until I get home.</dialogue> <scene_description>Margaret looks fully at Lorna now, stung.</scene_description> <character>MARGARET</character> <dialogue>You're a good mother, Lorna. I know that.</dialogue> <character>LORNA</character> <parenthetical>(tell me another one)</parenthetical> <dialogue>Right.</dialogue> <character>MARGARET</character> <dialogue>I was merely wondering how you're working things out with this job.</dialogue> <scene_description>George tracks Lorna glance at the Floor Manager who watches them all from a distance.</scene_description> <character>LORNA</character> <dialogue>Well, I just started, so...</dialogue> <character>GEORGE</character> <dialogue>We don't want to get you in trouble. Can we buy you lunch?</dialogue> <character>LORNA</character> <dialogue>My break's not until noon.</dialogue> <character>MARGARET</character> <dialogue>Noon straight up?</dialogue> <scene_description>Lorna sighs. How'd she get roped in already?</scene_description> <character>GEORGE</character> <dialogue>We'll meet you outside.</dialogue> <character>LORNA</character> <dialogue>No. I'll meet you at Ressler's. It's across the street.</dialogue> <scene_description>Margaret indicates the handkerchiefs.</scene_description> <character>MARGARET</character> <dialogue>Can we buy some of these from you?</dialogue> <scene_description>Lorna shrugs, shakes her head.</scene_description> <character>LORNA</character> <dialogue>They're cheaper if you order by catalogue.</dialogue> <scene_description>The Floor Manager glares disapprovingly at the Blackledges as Lorna steps away to attend to another CUSTOMER.</scene_description> </scene> <scene> <stage_direction>INT. RESSLER'S RESTAURANT - DAY</stage_direction> <scene_description>George and Margaret watch Gladstone's PROFESSIONAL SET come for lunch from a booth at the rear, eyes on the front door. Lorna enters with a quick backward glance, nervously making sure she wasn't being followed on the sidewalk, and walks briskly towards George and Margaret in the back.</scene_description> </scene> <scene> <stage_direction>INT. RESSLER'S RESTAURANT - MOMENTS LATER</stage_direction> <character>WAITRESS</character> <dialogue>And to drink?</dialogue> <character>LORNA</character> <dialogue>Tea, please. With lemon.</dialogue> <scene_description>The Waitress's face flickers at "lemon;" a request with airs. She collects menus from the Blackledges and leaves them to sit with their former daughter-in-law in an awkward silence. The clap and ring of lunch hour dishes fills the void. Lorna peeks at them both but it's George she finally addresses.</scene_description> <character>LORNA</character> <dialogue>I was going to write. Once we got settled. It was kind of a last- minute decision. Coming here.</dialogue> <character>GEORGE</character> <dialogue>That Donnie's decision?</dialogue> <character>LORNA</character> <parenthetical>(a mirthless laugh)</parenthetical> <dialogue>You met Blanche.</dialogue> <character>MARGARET</character> <dialogue>Well, we found you. That's the important thing.</dialogue> <scene_description>Lorna's tea arrives and George watches her try to squeeze juice from a dried wedge of lemon with jittery fingers.</scene_description> <character>MARGARET</character> <dialogue>Jimmy looks bigger. Growing so fast.</dialogue> <character>LORNA</character> <dialogue>He's counting now. To ten. At first he'd just say the words, you know. One, four, five, two. But, now he understands they go in order. And I'm working on his alphabet. He can spell his name.</dialogue> <character>MARGARET</character> <dialogue>Smart. Right from the start.</dialogue> <scene_description>Lorna attempts a sip of scalding tea, sets the burning cup down with a clatter; too hot. She stares at the cup a beat.</scene_description> <character>LORNA</character> <dialogue>He misses you. Both of you.</dialogue> <scene_description>Margaret looks to George at this opening.</scene_description> <character>MARGARET</character> <dialogue>We miss him too. Both of you. That's what we wanted to talk to you about, Lorna. And I won't beat around the bush.</dialogue> <parenthetical>(pauses, winding up)</parenthetical> <dialogue>I remember when James first introduced us. This wonderful girl he'd told us so much about. So beautiful and funny. No family of her own, but--</dialogue> <character>LORNA</character> <dialogue>Thought you weren't going to beat around the bush. I have to be back at the store by one. Just get to it.</dialogue> <scene_description>George smiles to himself at Lorna's show of grit, and she catches him. She smiles herself, rolls her eyes.</scene_description> <character>MARGARET</character> <dialogue>All right. Here it is. Let Jimmy come back with us.</dialogue> <scene_description>Lorna's smile goes fast.</scene_description> <character>MARGARET</character> <dialogue>Not just a visit. I mean for good.</dialogue> <scene_description>Lorna looks from Margaret to George; betrayed.</scene_description> <character>LORNA</character> <parenthetical>(incredulous)</parenthetical> <dialogue>You--? You want me to give Jimmy to you? Want me to give up my son?</dialogue> <character>MARGARET</character> <dialogue>You know he'd have a good home. One he knows. One he remembers--</dialogue> <character>LORNA</character> <dialogue>Stop.</dialogue> <character>MARGARET</character> <dialogue>You know the school he'd go to. The teachers he'd have--</dialogue> <character>LORNA</character> <dialogue>No! God. Stop! I can't hear this!</dialogue> <scene_description>Her outburst hushes the nearest tables and the three sit in silence until conversation and the scrape of cutlery resume.</scene_description> <character>MARGARET</character> <parenthetical>(discreetly)</parenthetical> <dialogue>I saw Donnie hit Jimmy. On the street. I saw him hit you. And it didn't look like a first time.</dialogue> <scene_description>Lorna drops her eyes again, reaches for her tea, but then remembers its heat and leaves it.</scene_description> <character>MARGARET</character> <dialogue>A little or a lot, no amount's good. That's why we're here.</dialogue> <character>LORNA</character> <dialogue>You came to take him.</dialogue> <character>GEORGE</character> <dialogue>Lorna.</dialogue> <scene_description>Lorna looks up at George's voice, its inherent authority.</scene_description> <character>GEORGE</character> <dialogue>We came to help. Whatever the situation is.</dialogue> <parenthetical>(simply)</parenthetical> <dialogue>Jimmy can't stay there.</dialogue> <scene_description>Margaret blinks in surprise at her husband's verdict. When did he come to this? She watches Lorna's eyes fill as George holds her with his sure gaze.</scene_description> <character>GEORGE</character> <dialogue>He can't stay here.</dialogue> <character>LORNA</character> <parenthetical>(almost a question)</parenthetical> <dialogue>He needs his mother.</dialogue> <character>MARGARET</character> <dialogue>You come with us then. You and Jimmy. Live with us. Like before. We'll take care of you too.</dialogue> <scene_description>Now George looks to Margaret in surprise; he hadn't anticipated this invitation. Lorna checks George and he nods his ascent just as their meals arrive. None of them eat.</scene_description> <character>LORNA</character> <dialogue>We were supposed to have a place in town. That's what Donnie said. Or what they told him. What they promised. Now we're stuck out there.</dialogue> <scene_description>She fidgets the frilled toothpick holding the sandwich together on her plate with zero appetite.</scene_description> <character>LORNA</character> <dialogue>He'd kill me. Him and his mother. She couldn't care less if I fell off the face of the earth, really, but... She'd never let me go. Or Jimmy. Donnie got away from her once. She's not gonna let that happen again.</dialogue> <scene_description>Tears stand in her eyes when she looks up, miserable.</scene_description> <character>LORNA</character> <dialogue>I don't want him to grow up like them... To be like them.</dialogue> <scene_description>Margaret gets up to slide into the other side of the booth beside Lorna, the young woman swiping her eyes dry.</scene_description> <character>MARGARET</character> <dialogue>Then you know what's right.</dialogue> <scene_description>George sees Lorna's almost imperceptible nod.</scene_description> <character>MARGARET</character> <dialogue>You want us to drive you out there? We can do that. Right now. Right, George? The three of us. We can get Jimmy. Pack you up. Take you home.</dialogue> <scene_description>Lorna shakes her head, easing away from Margaret.</scene_description> <character>LORNA</character> <dialogue>No. No.</dialogue> <scene_description>Margaret looks to George for help.</scene_description> <character>LORNA</character> <dialogue>I'll meet you.</dialogue> <scene_description>Margaret perks, tempers her relief.</scene_description> <character>LORNA</character> <dialogue>They... Everyone's usually asleep by midnight. One at the latest. I'll have to wait. To make sure.</dialogue> <scene_description>George's brow knits.</scene_description> <character>GEORGE</character> <dialogue>Lorna, you sure that's the way you want to do this? We should come get you--</dialogue> <character>LORNA</character> <dialogue>No. This is the way. The safest way. Trust me.</dialogue> <scene_description>George reads a dark weight in the urgency of Lorna's insistence, her look specifically to him.</scene_description> <character>MARGARET</character> <dialogue>Well, that's... That's what we all want most, isn't it? For you and Jimmy to be safe. And happy.</dialogue> <scene_description>Lorna almost laughs. Happy?</scene_description> <character>MARGARET</character> <dialogue>We're staying at the Moon Wink.</dialogue> <character>LORNA</character> <dialogue>Okay.</dialogue> <character>MARGARET</character> <dialogue>Cabin 7. At the Moon Wink Motor--</dialogue> <character>LORNA</character> <dialogue>I heard you. I know where it is.</dialogue> <scene_description>She calculates the timing of her plan, looks to George.</scene_description> <character>LORNA</character> <dialogue>I should be there by two. But, we'll have to leave then. Right when I get there. No waiting.</dialogue> <scene_description>George nods tightly.</scene_description> </scene> <scene> <stage_direction>INT. RESSLER'S RESTAURANT - DAY</stage_direction> <scene_description>Margaret watches Lorna exit through the glass front door while she waits in line with George at the CASHIER. On impulse, she takes off after Lorna, pushes outside.</scene_description> <character>MARGARET</character> <dialogue>Lorna! Wait!</dialogue> <scene_description>George looks out to the street where Lorna spins back at the curb and furtively scans the CROWD as Margaret walks to her.</scene_description> </scene> <scene> <stage_direction>EXT. GLADSTONE - STREET - DAY</stage_direction> <character>MARGARET</character> <dialogue>Lorna, I know we haven't always seen eye to eye--</dialogue> <character>LORNA</character> <dialogue>I don't know if we've ever seen eye to eye.</dialogue> <scene_description>Margaret laughs; fair enough.</scene_description> <character>MARGARET</character> <dialogue>We will, Lorna. I promise.</dialogue> <character>LORNA</character> <dialogue>You're just saying that to make sure I go with you.</dialogue> <scene_description>Margaret shakes her head. No. That's not why.</scene_description> <character>MARGARET</character> <dialogue>Jimmy needs his mother.</dialogue> <scene_description>Lorna nods, bright tears springing to her eyes.</scene_description> <character>MARGARET</character> <dialogue>You could have used one too. I could have been that to you. I should have been. But, I wasn't.</dialogue> <character>LORNA</character> <dialogue>It's okay...</dialogue> <character>MARGARET</character> <parenthetical>(emotional)</parenthetical> <dialogue>I'm sorry, Lorna. I should have been... much more to you.</dialogue> </scene> <scene> <stage_direction>INT. RESSLER'S RESTAURANT - DAY</stage_direction> <character>CASHIER</character> <dialogue>Your change, sir.</dialogue> <scene_description>George receives his change without looking; all his attention on Lorna hugging Margaret on the busy sidewalk outside. If he weren't seeing this for himself, he'd never believe it. He stops just inside the door, not wanting to interrupt Margaret and Lorna's embrace. The two women finally part. George watches his wife, standing all alone in this strange town, looking after Lorna dodge traffic to cross the street. Margaret turns back to the restaurant and breaks into a smile seeing George. She carries the smile to him at the door.</scene_description> </scene> <scene> <stage_direction>EXT. MOON WINK MOTOR COURT - DAY</stage_direction> <scene_description>George pulls the car into the lot, parks beside their cabin.</scene_description> </scene> <scene> <stage_direction>EXT. MOON WINK MOTOR COURT - CABIN - DAY</stage_direction> <scene_description>Margaret opens the rear passenger door and begins moving the boxes around, rearranging their belongings on the back seat.</scene_description> <character>GEORGE</character> <dialogue>Help you find something?</dialogue> <character>MARGARET</character> <dialogue>I'm making room. For Jimmy and Lorna.</dialogue> <scene_description>He observes her pulling out a box to set on the ground, going back for more; she won't be satisfied until she's unraveled the whole thing. He wags his head, heads for the cabin. Margaret stands the toy stuffed horse upright with care in the middle of the seat; awaiting Jimmy and the ride home.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE HOUSE - BATHROOM - DAY</stage_direction> <scene_description>FPSSSHT! George squirts a dollop of shaving cream into Jimmy's tiny two-year-old hand. (Or is James the little boy standing in his underwear on top of a kitchen step stool to share the mirror with George?) Margaret leans in the doorway watching her grandson (or son) studiously shadow every one of George's gestures as he lathers his face; one side, then the other, under the nose. George picks up his razor and the young boy uses a plastic comb to "shave," Margaret observing with wet, smiling eyes. George's gaze shifts, catches Margaret's in the mirror.</scene_description> </scene> <scene> <stage_direction>INT. MOON WINK MOTOR COURT - CABIN - BATHROOM - SUNSET</stage_direction> <scene_description>George meets Margaret's eyes in the foggy mirror as he lathers his face. He pauses, looking at her in the doorway. Margaret goes to her husband and snakes her arms around his naked chest from behind, rests her chin on his shoulder. He smiles at her in the mirror and leans his head into hers. She kisses the back of his neck.</scene_description> <character>GEORGE</character> <dialogue>Don't start what you can't finish.</dialogue> <scene_description>Margaret smiles, wraps her arms more tightly around George and he turns to face her. They look at each other, studying. George kisses Margaret. She meets him in the embrace. George unbuttons Margaret's shirt, his mouth on hers, and pulls her against him. She breaks off with a laugh, and a teasing indication of his arousal, smiling.</scene_description> <character>MARGARET</character> <dialogue>Who's not young now?</dialogue> <scene_description>George grins.</scene_description> <character>GEORGE</character> <dialogue>Come here.</dialogue> <scene_description>They meet again in a deep kiss, to pursue what they started.</scene_description> </scene> <scene> <stage_direction>INT. FANCY RESTAURANT - NIGHT</stage_direction> <scene_description>George and Margaret follow a HOSTESS to a table in Gladstone's best restaurant; white tablecloths, candles. They each wear the finest clothes they've brought on the trip; Margaret in a dress, George sporting a jacket. He pulls out Margaret's chair for her, holds it as she sits, his courtliness painting an amused smile on his wife's face.</scene_description> </scene> <scene> <stage_direction>INT. FANCY RESTAURANT - MONTAGE - NIGHT</stage_direction> <scene_description>A SERIES OF SHOTS: The Blackledges order from oversized menus, sip cocktails, take in other PATRONS. A sweet air of playful intimacy ghosts them; two kids out on a date.</scene_description> </scene> <scene> <stage_direction>INT. FANCY RESTAURANT - NIGHT</stage_direction> <scene_description>A WAITRESS delivers their meals, and George considers the steak she sets in front of him as he drains his glass.</scene_description> <character>GEORGE</character> <dialogue>I've had more restaurant food in three days than I have in the last five years.</dialogue> <character>MARGARET</character> <dialogue>We'll be home soon.</dialogue> <scene_description>The Waitress picks up George's empty cocktail glass.</scene_description> <character>WAITER</character> <dialogue>Would you care for another?</dialogue> <character>MARGARET</character> <dialogue>Not for me, but he'll have one.</dialogue> <scene_description>The Waitress turns to leave...</scene_description> <character>MARGARET</character> <dialogue>Actually, Miss...</dialogue> <scene_description>Margaret swallows the last of her drink in one go, salutes George with her empty glass, and hands it to the Waitress.</scene_description> <character>MARGARET</character> <dialogue>Me too.</dialogue> <scene_description>George smiles at Margaret who grins back.</scene_description> <character>GEORGE</character> <dialogue>Can you answer something for me?</dialogue> <character>MARGARET</character> <dialogue>Oh. Okay.</dialogue> <scene_description>She folds her hands primly; teasing, flirting with him.</scene_description> <character>MARGARET</character> <dialogue>I'll do my level best.</dialogue> <character>GEORGE</character> <dialogue>That horse of yours. Strawberry.</dialogue> <character>MARGARET</character> <dialogue>Strawberry?</dialogue> <scene_description>Margaret could not have guessed at George's direction.</scene_description> <character>MARGARET</character> <dialogue>I loved that horse. Rode her to school every day. Doug Vance and I were the only kids that came on horseback. Real "country." We got teased merciless.</dialogue> <character>MARGARET</character> <parenthetical>(pauses)</parenthetical> <dialogue>What brought that up?</dialogue> <character>GEORGE</character> <parenthetical>(ponders)</parenthetical> <dialogue>Seeing you ride again.</dialogue> <scene_description>Margaret studies her husband.</scene_description> <character>MARGARET</character> <dialogue>You had a question?</dialogue> <character>GEORGE</character> <dialogue>Something I've always wondered about. When we had to put her down. You whispered to her. Do you remember? Like you were telling secrets.</dialogue> <scene_description>Margaret nods softly.</scene_description> <character>GEORGE</character> <dialogue>What was it you told her?</dialogue> <character>MARGARET</character> <dialogue>I reminded her of things. How she liked to gallop through the first snow every year. About the time we raced Ernie Dahlberg and his big chocolate mare and left them choking in our dust. I reminded her of this one time, I was in high school, some October, we were heading home and the full moon was just coming up over Dollar Butte and she stopped. Stopped and stared. Like she cared about the moonrise as much as me. And when we put James on her back the first time, and she stood so still like she knew she had to take care of him...</dialogue> <scene_description>She trails off, falls silent, lost in her own thoughts... Then she comes back with a teary smile.</scene_description> <character>MARGARET</character> <dialogue>I wanted to send her on her way with happy memories.</dialogue> <character>GEORGE</character> <dialogue>I'm sorry.</dialogue> <scene_description>Margaret dabs at her eyes with her napkin, laughs at herself.</scene_description> <character>MARGARET</character> <dialogue>Sorry? Why?</dialogue> <character>GEORGE</character> <dialogue>I made you sad. I didn't want that.</dialogue> <character>MARGARET</character> <dialogue>You didn't make me sad, George.</dialogue> <scene_description>She sets her napkin back in her lap.</scene_description> <character>GEORGE</character> <dialogue>What I wanted is to tell you what sticks with me. Strawberry and you. This woman I married but can't figure; who doesn't believe there's any world but this one, but still believes a horse has got a soul somehow.</dialogue> <scene_description>Margaret's eyes shine in the candlelight as George whispers to her across the table in the crowded dining room.</scene_description> <character>GEORGE</character> <dialogue>That's the gal for me.</dialogue> </scene> <scene> <stage_direction>EXT. GLADSTONE - STREET - NIGHT</stage_direction> <scene_description>Margaret laces her fingers with George's as they stroll the quiet street from the restaurant to their car.</scene_description> </scene> <scene> <stage_direction>INT. MOON WINK MOTOR COURT - CABIN - NIGHT</stage_direction> <scene_description>The bedside clock reads 2:40 AM. George drowses sitting up in bed while Margaret tensely watches the bedside clock.</scene_description> <character>GEORGE</character> <dialogue>She did seem quick to come around--</dialogue> <character>MARGARET</character> <dialogue>No. Please. Don't say anything.</dialogue> <scene_description>George sighs, knowing Margaret will wait a million years if she has to before she'll give up hope and end this vigil. He leans his head back, closes his eyes...</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE RANCH - BARN - DAY</stage_direction> <scene_description>George (40s) pulls the revolver from its oiled holster. He opens its empty cylinder with a snap of his wrist, loads bullets in, and spins the cylinder back into the gun's frame. He turns with the gun to the rust-colored mare standing in the shaft of sunlight flooding through the tall open doors, gray hairs edging all her features, like a lacy frost. Margaret (30s) whispers closely in the horse's ear, words only she and the animal can hear, as she strokes its head and George comes to stand five feet in front of the old horse. George takes a mental bead, gun still at his side, as Margaret raises the animal's head to face him. He nods. Margaret drapes sheeting across the horse's cataract-clouded eyes, wraps its head. She kisses the fabric and steps away. She goes to James (9) in the open doorway and folds him in, turning him with her to face out, to face the open land. Her eyes swim as she waits, tensed for the gun's report. George lifts the revolver and aims it at the shrouded head of the animal standing still and tall as a mountain before him. His finger tightens on the trigger. Margaret covers her son's ears...</scene_description> </scene> <scene> <stage_direction>INT. MOON WINK MOTOR COURT - CABIN - NIGHT</stage_direction> <character>BANG!</character> <dialogue>George's eyes open in the dark, Margaret stirring beside him.</dialogue> <dialogue>BANG! Another knock sounds at the door, a voice outside.</dialogue> <character>MAN (O.C.)</character> <dialogue>Mr. Blackledge? Mrs.? We have an emergency here!</dialogue> <scene_description>George gets himself up and to the door while Margaret fumbles for the light switch.</scene_description> <character>MARGARET</character> <dialogue>Is it Lorna?</dialogue> <scene_description>George opens the door and then struggles to shut it again just as fast, fighting against a force from the other side.</scene_description> <character>MARGARET</character> <dialogue>George--?</dialogue> <scene_description>The door flies open and George staggers back as Marvin and Elton shoulder their way in, followed by Bill Weboy.</scene_description> <character>GEORGE</character> <dialogue>What the hell? Get out!</dialogue> <scene_description>Margaret pulls herself up as the men step aside to make room for Donnie to enter, Blanche Weboy bringing up the rear.</scene_description> <character>MARGARET</character> <dialogue>You can't come in here!</dialogue> <character>BLANCHE</character> <dialogue>Too late for that, Grandma. We're in.</dialogue> <scene_description>She closes the door and slips its locking chain in place.</scene_description> <character>BLANCHE</character> <dialogue>He let us in.</dialogue> <character>GEORGE</character> <dialogue>No. You get the hell out now.</dialogue> <scene_description>He moves for the door, but Marvin cuts him off and Elton barricades the door with his body, his back against it. George looks to Donnie, but Donnie won't meet his eye. Bill circles the bed, stopping near Margaret, while Blanche drops a canvas satchel heavy with shifting tools on the mattress with a clank and takes a seat on the other side.</scene_description> <character>BLANCHE</character> <dialogue>See, you think you can gang up on Lorna. But then when it's done to you, it's a different story.</dialogue> <character>MARGARET</character> <dialogue>What are you talking about?</dialogue> <character>BLANCHE</character> <dialogue>Is that what you're going to do? Pretend like you don't know what I'm talking about? Pretend like you two didn't jump Lorna at work? Shame on you.</dialogue> <character>ELTON</character> <dialogue>Two against one.</dialogue> <scene_description>George abruptly stops taking measure of each Weboy and their position in the room when Blanche turns her attention on him.</scene_description> <character>BLANCHE</character> <dialogue>Shame on both of you. Badgering and bullying her. To give up her boy.</dialogue> <scene_description>She turns back to Margaret and George resumes casing the room, estimating his distance to the open suitcase laying on the dresser behind Bill. He begins inching his way there.</scene_description> <character>BLANCHE</character> <dialogue>You're lucky Lorna doesn't have a little mama grizzly in her. Come between that kind of mama and her baby... You're fixing to get your hand bit. Or worse than.</dialogue> <character>MARGARET</character> <dialogue>That's not exactly what happened.</dialogue> <character>BLANCHE</character> <dialogue>Somebody would have tried to come between me and one of my boys? Tried to talk me out of my child--?</dialogue> <character>MARGARET</character> <dialogue>That's not what--</dialogue> <character>BLANCHE</character> <dialogue>It's no wonder Lorna don't want to go with you. It's a wonder she lasted long as she did in your house. Big bull-hen, always sure you know what's best for everybody.</dialogue> <scene_description>She lifts an eyebrow to George, half his way to the suitcase.</scene_description> <character>BLANCHE</character> <dialogue>Pecking you to death, no doubt.</dialogue> <character>MARGARET</character> <dialogue>I never said she shouldn't marry Donnie.</dialogue> <scene_description>Blanche reels back, pointing a finger at Margaret, laughs.</scene_description> <character>BLANCHE</character> <dialogue>Oh-ho! I never said you had!</dialogue> <character>MARGARET</character> <dialogue>He hit the boy.</dialogue> <scene_description>Blanche cocks her head at Margaret, who turns to Donnie.</scene_description> <character>MARGARET</character> <dialogue>I saw you. Across the street from the IGA. Jimmy dropped his ice cream... And you hit him.</dialogue> <character>BLANCHE</character> <dialogue>Is that what all this fuss is about? He hit--? Grandma, you gonna tell me you didn't paddle your own? Not ever?</dialogue> <character>MARGARET</character> <dialogue>He knocked him to the ground. He hit Lorna too.</dialogue> <scene_description>Blanche turns, focuses on Donnie now as well.</scene_description> <character>BLANCHE</character> <dialogue>Come here.</dialogue> <scene_description>George takes a step towards the suitcase when Donnie goes to Blanche, but gets blocked by Elton as bodies shuffle in the too-tight room. Blanche waves Donnie down to her level.</scene_description> <character>BLANCHE</character> <dialogue>You hit your wife?</dialogue> <character>MARGARET</character> <dialogue>I saw him.</dialogue> <character>BLANCHE</character> <dialogue>How'd he do it?</dialogue> <character>MARGARET</character> <dialogue>With his hand.</dialogue> <scene_description>Blanche rolls her eyes and hooks a thumb at Margaret.</scene_description> <character>BLANCHE</character> <dialogue>Alberta Einstein. I know his hand. I'm asking how. Like--?</dialogue> <scene_description>She lashes out, whip-quick, slaps Donnie in the face.</scene_description> <character>BLANCHE</character> <dialogue>Was it like that?</dialogue> <scene_description>Margaret blinks, too shocked to respond. George watches Blanche's other sons as she slaps Donnie again; dull-eyed at the sharp crack of flesh on flesh.</scene_description> <character>BLANCHE</character> <dialogue>Donnie, how'd you do it?</dialogue> <parenthetical>(turns to Margaret)</parenthetical> <dialogue>How was it?</dialogue> <character>MARGARET</character> <dialogue>It was harder.</dialogue> <character>BLANCHE</character> <dialogue>Harder? Like this?</dialogue> <scene_description>Blanche slaps Margaret. A lightning strike; fleet, stinging. The room goes still and George sees Blanche's handprint rise red on his wife's cheek, but Margaret never flinches.</scene_description> <character>MARGARET</character> <dialogue>Like that. But, harder.</dialogue> <scene_description>Blanche smiles.</scene_description> <character>BLANCHE</character> <dialogue>Donnie, I think you're going to have to show us how you done it--</dialogue> <scene_description>George lunges for Donnie but Marvin knocks him sideways, and George falls, striking his head on the bed's iron frame.</scene_description> <character>MARGARET</character> <dialogue>George!</dialogue> <scene_description>Margaret scrambles the length of the bed as a gash opens above George's left eye. He blinks, dazed, wipes blood from his brow as he hauls himself up unsteadily by the suitcase.</scene_description> <character>GEORGE</character> <parenthetical>(reassuring Margaret)</parenthetical> <dialogue>I'm okay.</dialogue> <character>BLANCHE</character> <dialogue>Yeah? Maybe you want to try talking this over again now like reasonable folks. Or maybe you'd prefer gettin' some sleep so you can get an early start back home tomorrow?</dialogue> <scene_description>Bill drifts closer to Margaret now at this end of the bed, glancing briefly at George, who appears woozy, unfocused.</scene_description> <character>BILL</character> <dialogue>Or maybe you'd like to send him home while you stay on for a spell.</dialogue> <character>BILL</character> <dialogue>I could take you back when you're ready. Of course, by then you might decide you'd rather stay.</dialogue> <scene_description>He snakes a finger inside the neck of Margaret's shirt as George reaches his hand behind his back to the open suitcase.</scene_description> <character>BILL</character> <dialogue>We could go for another ride.</dialogue> <scene_description>Margaret slaps his hand away.</scene_description> <character>MARGARET</character> <dialogue>I want to take Jimmy back with me.</dialogue> <character>BLANCHE</character> <dialogue>I know what you want, woman!</dialogue> <scene_description>Margaret doesn't back down; meets Blanche, glaring fiercely.</scene_description> <character>MARGARET</character> <dialogue>I will not let you ruin him.</dialogue> <scene_description>Blanche holds a beat, then gets up without a word, nodding to Bill; a shrugged signal of permission. She's all yours.</scene_description> <character>BILL</character> <dialogue>Yeah?</dialogue> <scene_description>He winks at Margaret as he starts towards her on the bed.</scene_description> <character>GEORGE</character> <dialogue>Stop! Right there!</dialogue> <scene_description>Everyone spins to George, holding the gun pointed directly at Bill's head, not as dazed as he's been pretending.</scene_description> <character>GEORGE</character> <dialogue>You move away from her.</dialogue> <scene_description>Bill raises his hands in surrender and starts slowly easing back from Margaret, but Elton makes a run at George. Margaret screams as George turns the gun on Elton. Bill grabs the satchel of tools and swings it, knocking the gun from George's hands at the same time Elton hits George. BANG! The gun fires hitting the floor at the same time as George; a stunningly loud concussion in the small space. George crawls for the gun...</scene_description> <character>BLANCHE</character> <dialogue>Get it! Get the gun!</dialogue> <scene_description>Marvin, Bill, and Elton scramble to get the revolver before George, sending it skittering across the scuffed linoleum, where it stops at the toe of Donnie's boot. He picks it up.</scene_description> <character>BLANCHE</character> <dialogue>Get him up.</dialogue> <scene_description>The brothers haul George to his feet and pin him against the wall, bleeding again from the cut above his eye. Blanche takes the gun from Donnie to examine, shaking her head in a show of regret, looks between George and Margaret.</scene_description> <character>MARGARET</character> <dialogue>Please...</dialogue> <scene_description>Blanche retrieves the canvas satchel from the floor and opens it on the dresser. She reaches in among the clanking items. She locates what she wants and slowly draws it out; a long- handled, iron combination tool with a double-sided head. Hammer and hatchet both. A Farmer's Ever-Ready Toolkit. George surges against Marvin and Elton, already knowing what's coming as Blanche holds the heavy tool out to Donnie.</scene_description> <character>DONNIE</character> <dialogue>What--? What do you want me to do?</dialogue> <scene_description>Blanche impatiently forces the tool on him, repositioning it in his reluctant hand, hatchet blade leading.</scene_description> <character>BLANCHE</character> <dialogue>Make sure he can't pull a gun on us again.</dialogue> <character>MARGARET</character> <dialogue>No!</dialogue> <scene_description>George bucks and fights, breaks one arm free to punch Marvin. Elton hangs on, grinding an elbow into George's throat as Margaret screams. The men wrestle George, pin his right hand down on the dresser top. Bill forces George's fingers apart, splays them over the lip of the dresser as George kicks. Donnie looks miserably between George's hand and the tool.</scene_description> <character>BLANCHE</character> <dialogue>I'm teaching you to teach him. See?</dialogue> <scene_description>George storms against the brothers holding him down and Bill cracks him on the back of the head.</scene_description> <character>MARGARET</character> <dialogue>Stop! Please! Stop! Please...</dialogue> <scene_description>Donnie glances around the room as if for an exit, an escape.</scene_description> <character>BLANCHE</character> <dialogue>Quicker's better.</dialogue> <scene_description>Donnie swallows and hefts the Ever-Ready.</scene_description> <character>MARGARET</character> <dialogue>Donnie! Don't!</dialogue> <scene_description>George locks his eyes on Donnie's; the fierce, sternly challenging glare of a steady parent. Don't. Don't. Don't.</scene_description> <character>GEORGE</character> <dialogue>Donnie. You don't have to.</dialogue> <scene_description>Donnie wields the tool up over his head.</scene_description> <character>MARGARET</character> <dialogue>Donnie, please!</dialogue> <scene_description>Donnie looks at George as he steels himself. George shakes his head, a single, tight shake. No.</scene_description> <character>BILL</character> <dialogue>Do it, boy!</dialogue> <character>GEORGE</character> <dialogue>Donnie--</dialogue> <scene_description>Donnie swings his arm down and the hatchet's blade plants itself in the dresser's wooden top, separating George's index, middle, and ring fingers from the rest of his hand. His pinky hangs by a horrible, mangled thread of skin. Margaret screams, yet George barely grunts at the blow. His knees fold beneath him and he slides silently to the floor. Margaret scrambles down to throw herself over George as Bill pries the Farmer's Every-Ready blade out of the dresser.</scene_description> <character>MARGARET</character> <dialogue>George! My God! George...</dialogue> <scene_description>Blanche watches Donnie turn away from what he's done as she opens the satchel for Bill to drop the tool inside.</scene_description> <character>BILL</character> <dialogue>Won't be doing much shooting now.</dialogue> <scene_description>Marvin picks up one of George's fingers, goofing.</scene_description> <character>MARVIN</character> <dialogue>Trigger finger.</dialogue> <scene_description>He drops it as Donnie unchains the door to bang out of the cabin, leaving the door open behind him. Marvin and Elton follow him out as Blanche strips a pillow of its case and slips the gun inside.</scene_description> <character>BLANCHE</character> <dialogue>I'll hang on to the evidence if you don't mind.</dialogue> <scene_description>She takes a last look around the cabin, at Margaret crying on the floor with George, shakes her head.</scene_description> <character>BLANCHE</character> <dialogue>Lorna told me you don't even go to church. Yet you think you're the ones ought to be raising that boy.</dialogue> <scene_description>She sniffs as if disappointed in the room itself, and leaves.</scene_description> <character>BILL</character> <dialogue>Safe drive, you two.</dialogue> <scene_description>He closes the door behind himself, leaving them alone.</scene_description> <character>MARGARET</character> <dialogue>George. What have I done to you?</dialogue> <character>GEORGE</character> <dialogue>You haven't done a goddamn thing to me. Not yet, anyway. But you're going to have to drive me to the hospital.</dialogue> </scene> <scene> <stage_direction>EXT. MOON WINK MOTOR COURT - NIGHT</stage_direction> <character>MARGARET</character> <dialogue>We should call the police.</dialogue> <scene_description>George spies someone watching them from the motel office window as he gets in the car with Margaret, twisting a towel tightly around his hand. The office light snaps off.</scene_description> <character>GEORGE</character> <dialogue>We're on our own, Margaret.</dialogue> <scene_description>She urgently glances about, sees a GUEST lower the paper blind in the window of another cabin. No one wants trouble.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR - NIGHT - (MOVING)</stage_direction> <scene_description>Margaret drives the night streets of Gladstone, turning down one street and then another, navigating by instinct and hunch, on the lookout, all the while keeping one hand tethered to George, slumped against the passenger door. She looks over at his gray pallor, inert form.</scene_description> <character>MARGARET</character> <dialogue>George?</dialogue> <character>GEORGE</character> <dialogue>You haven't lost me yet.</dialogue> </scene> <scene> <stage_direction>EXT. HOSPITAL - NIGHT</stage_direction> <scene_description>The Blackledge's car pulls up to the entrance and Margaret jumps out, runs around to the other side.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - EXAMINING ROOM - NIGHT</stage_direction> <scene_description>The blood-soaked towel is unwrapped, revealing George's mutilated hand; crimson gristle, bone, the dangling pinky. A DOCTOR (30s) looks up in shock from the hand to George, Margaret beside him, and an attending NURSE (40s).</scene_description> <character>DOCTOR</character> <dialogue>This was an axe, you said?</dialogue> <scene_description>George's thin lips barely move, white in this light.</scene_description> <character>GEORGE</character> <dialogue>I didn't. A hatchet.</dialogue> <character>NURSE</character> <dialogue>Police are on the way.</dialogue> <scene_description>The Doctor examines the hand more closely under a lamp.</scene_description> <character>DOCTOR</character> <dialogue>Look. I can put you under, or I can numb it up and you stay--</dialogue> <character>GEORGE</character> <dialogue>Awake. I'll stay awake.</dialogue> <character>DOCTOR</character> <dialogue>Ma'am, you're welcome to wait out--</dialogue> <character>MARGARET</character> <dialogue>You'd have to carry me out. I'm not leaving him.</dialogue> <scene_description>George smiles faintly at Margaret's fire.</scene_description> <character>GEORGE</character> <dialogue>She's a little excited.</dialogue> <parenthetical>(a joke)</parenthetical> <dialogue>Mittens are easier to knit than gloves.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL - EXAMINING ROOM - LATER</stage_direction> <scene_description>The doctor cleans George's wounds, the stumps of his fingers, trimming back the ragged skin to stitch with black thread. Margaret grips her husband's good hand, leaning her head on his broad back, facing away from the Doctor and Nurse's work. George sits upright, rigid, and pale as dawn as he's sewn together, eyes fixed unwavering on a far distant point.</scene_description> </scene> <scene> <stage_direction>EXT. VALLEY - DAY</stage_direction> <scene_description>VIEW: From a horizon line across a great amber valley, a range of mountains soar skyward, mantels of violet snow draping their shoulders, crowning their craggy peaks.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - GUEST ROOM - DAY</stage_direction> <scene_description>A panoramic photograph of mountains hangs above the bed in which George recovers, hand bandaged, Margaret sitting vigil in a chair beside him, lost in fretful contemplation. A window on the opposite wall offers counterpoint; Gladstone's grim downtown and its omnipresent water tower. A knock at the open door draws Margaret's attention to the MAN (40s, potbellied) standing there in sheriff's uniform.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - GUEST ROOM - MOMENTS LATER</stage_direction> <character>SHERRIF</character> <dialogue>Well, now, I've already been out to the Weboys's and had a chance to hear their side of--</dialogue> <character>MARGARET</character> <dialogue>Their side--? Side of what?</dialogue> <scene_description>George restrains Margaret at her perch on the edge of his bed while the Sheriff prowls the room, a bad actor on stage.</scene_description> <character>SHERRIF</character> <dialogue>The way they tell it, it's Mr. Blackledge who pulled a gun--</dialogue> <character>MARGARET</character> <dialogue>In self-defense!</dialogue> <character>SHERRIF</character> <parenthetical>(to George)</parenthetical> <dialogue>That your service revolver Blanche showed me?</dialogue> <scene_description>George eyes this Sherrif striking a pose at the window and finds not one thing he likes.</scene_description> <character>GEORGE</character> <dialogue>I'm sure it is.</dialogue> <character>SHERRIF</character> <dialogue>You wore the badge once.</dialogue> <character>MARGARET</character> <dialogue>He wore it over thirty years.</dialogue> <character>SHERRIF</character> <dialogue>Then you know how the law works.</dialogue> <character>GEORGE</character> <dialogue>I've got a fair idea I know how it works around here.</dialogue> <scene_description>The Sherrif shows his teeth, but he's not smiling.</scene_description> <character>SHERRIF</character> <dialogue>Blanche explained things got a tad rough persuading you to set your weapon down.</dialogue> <character>MARGARET</character> <dialogue>They chopped off his hand--!</dialogue> <scene_description>George gives Margaret a squeeze with his good hand; cool it.</scene_description> <character>SHERRIF</character> <dialogue>Their account is that the two of you came here looking to take a child away from his mother. First with talk. Threats. Then a gun.</dialogue> <character>MARGARET</character> <dialogue>Lorna. The boy's mother. Did you see her--?</dialogue> <character>SHERRIF</character> <dialogue>Oh, sure. She was there--</dialogue> <character>MARGARET</character> <dialogue>And you spoke with her? She's terrified of them, you know. She's-</dialogue> <character>SHERRIF</character> <dialogue>She was married to your son?</dialogue> <character>GEORGE</character> <dialogue>She was.</dialogue> <character>SHERRIF</character> <dialogue>He died. Right? He's dead.</dialogue> <scene_description>George regards the oily man, doesn't bother answering.</scene_description> <character>SHERRIF</character> <dialogue>How exactly did that happen?</dialogue> <character>GEORGE</character> <dialogue>Why don't you tell us?</dialogue> <character>SHERRIF</character> <dialogue>An accident, she said. Thrown from his horse. Broke his neck. Snapped in two. An accident.</dialogue> <scene_description>He sighs sadly, points to George's hand.</scene_description> <character>SHERRIF</character> <dialogue>An accident.</dialogue> <scene_description>Margaret opens her mouth to object, but then closes it.</scene_description> <character>SHERRIF</character> <dialogue>Blanche Weboy expressed real concern. How accidents follow your family. She fears for that little one she's looking after now.</dialogue> <character>SHERRIF</character> <dialogue>And how the longer you two stick around the chances of something happening to him... Well, those chances keep creeping up. I don't even want to contemplate what a tragedy that would be.</dialogue> <scene_description>He gazes out to the water tower, wags his head with a sigh.</scene_description> <character>SHERRIF</character> <dialogue>Nothing smaller in this world than a kid's casket.</dialogue> <scene_description>He gives this all the air it wants then turns back to the Blackledges, Margaret now faded as gray as George.</scene_description> <character>SHERRIF</character> <dialogue>Consensus over there is you won't be making any more trouble here. And because you are family, by a way, the Weboys aren't going to press charges. You are free to go.</dialogue> <scene_description>George glares at the Sherrif who pushes away from the window, begins a slow showy amble towards the door.</scene_description> <character>SHERRIF</character> <dialogue>If I were giving out advice--</dialogue> <character>GEORGE</character> <dialogue>You can save that.</dialogue> <character>SHERRIF</character> <dialogue>Well. See. I'm thinking on your grandson here... He's a Weboy now.</dialogue> <scene_description>Margaret turns her anguished face to George.</scene_description> <character>SHERRIF</character> <dialogue>Best you put Gladstone behind you.</dialogue> </scene> <scene> <stage_direction>EXT. MOON WINK MOTOR COURT - DAY</stage_direction> <scene_description>Margaret throws their suitcases into the back of the car.</scene_description> <character>SHERRIF (V.O.)</character> <dialogue>Just as quick as you can.</dialogue> <scene_description>She climbs behind the wheel beside George, his arm in a sling, and pulls the car out of the lot and onto the road.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR - DAY - (MOVING)</stage_direction> <scene_description>Margaret drives, her face a map of worry, passing a sign by the side of the highway: GOODBYE, GLADSTONE - COME BACK SOON!</scene_description> <character>GEORGE</character> <dialogue>Pull over.</dialogue> <scene_description>Margaret glances at George, his eyes closed, head lolling.</scene_description> <character>MARGARET</character> <dialogue>What's wrong?</dialogue> <character>GEORGE</character> <dialogue>Just pull over.</dialogue> <character>MARGARET</character> <dialogue>Are you going to be sick?</dialogue> <character>GEORGE</character> <dialogue>Pull over, goddamnit!</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY - GLADSTONE - DAY</stage_direction> <scene_description>Margaret wrests the car to the shoulder of the highway and George clumsily shoves his door open, nearly tumbles out. He catches himself and sits bent over, breathing hard, while Margaret scrambles out of the car and around to his side.</scene_description> <character>MARGARET</character> <dialogue>George? Are you all right? Talk to me.</dialogue> <character>GEORGE</character> <parenthetical>(covering)</parenthetical> <dialogue>I'm fine.</dialogue> <scene_description>She lowers herself to his level, touches him.</scene_description> <character>GEORGE</character> <dialogue>I needed to stop s'all. Give me a second.</dialogue> <scene_description>He leans back on the seat, sweat beading his pallid brow, and Margaret stands to scan the empty landscape helplessly. A wind catches her hair, whipping it around, and she turns in that direction to pull it from her face. She surveys the scrubby horizon thoughtfully, focusing, turns again and scrutinizes the ragged foothills and bluffs.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR - DAY - (MOVING)</stage_direction> <scene_description>The toy horse tumbles from the seat and George lurches like a rag doll with every rut and divot in the dirt track as Margaret drives; the distant town of Gladstone below them.</scene_description> <character>GEORGE</character> <dialogue>Criminy, Margaret. I'd like to keep my teeth.</dialogue> </scene> <scene> <stage_direction>EXT. BADLANDS - DAY</stage_direction> <scene_description>The car bounces along, dwarfed by the desolate terrain.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR - DAY - (MOVING)</stage_direction> <scene_description>Margaret crests a rise and exhales with relief.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR/EXT. PETER'S SHACK - DAY</stage_direction> <scene_description>A small shack crouches on a bare patch of land at the base of a bluff; gray asphalt roof shingles tacked to a patchwork of found lumber, red paint clinging to its sides, and a shed.</scene_description> <character>GEORGE</character> <dialogue>Where in hell are we?</dialogue> <scene_description>Margaret sounds the car's horn. She waits, sounds it again-- The shack's door cracks open and Peter Dragswolf peers out. Margaret waves as the smiling young man steps from his home.</scene_description> <character>MARGARET</character> <dialogue>We're here.</dialogue> </scene> <scene> <stage_direction>INT. PETER'S SHACK - DAY</stage_direction> <scene_description>Late sunlight cuts hard across the floor, climbs the bed. Margaret gets up from her seat beside the bed to adjust the bit of faded fabric tacked above the window, shielding George's face, slack in slumber, from the spill of light. She glances around, taking in the details of the shack's one large partitioned room: Plank floor. Low ceiling. Frayed magazines. Dirty dishes piled in a salvaged sink beside a small stove. A beaded buckskin displayed on the wall. The bright chirp of a bridle's bit and the thump of a hoof draw Margaret's attention to the shack's open back door and Peter removing the horse's tack just outside. She observes the young man tending to the animal that rubs his shoulder with its chin; one creature caring for another, the other wordlessly expressing its gratitude.</scene_description> </scene> <scene> <stage_direction>EXT. PETER'S SHACK - SUNSET</stage_direction> <character>PETER</character> <dialogue>What will you do?</dialogue> <character>MARGARET</character> <dialogue>I don't know.</dialogue> <scene_description>Peter feeds the horse oats from a dented pan while Margaret replenishes the water in its trough with fresh.</scene_description> <character>PETER</character> <dialogue>I heard what the Weboys done to you. Except I didn't know it was you.</dialogue> <character>MARGARET</character> <dialogue>What'd you hear?</dialogue> <character>PETER</character> <dialogue>They chopped off someone's arm.</dialogue> <character>MARGARET</character> <dialogue>Who told you that?</dialogue> <character>PETER</character> <dialogue>My uncle in Gladstone.</dialogue> <character>MARGARET</character> <dialogue>You have family in town then?</dialogue> <character>PETER</character> <dialogue>An uncle and aunt. They sell skins for me. Other stuff.</dialogue> <scene_description>Margaret studies the young man as he works.</scene_description> <character>MARGARET</character> <dialogue>Why do you live out here then? All alone? It's not where you're from.</dialogue> <scene_description>Peter continues in his chores long enough that Margaret stops waiting for an answer, turns her attention back to the horse.</scene_description> <character>PETER</character> <dialogue>I ran away. From the school in Bismarck.</dialogue> <scene_description>Margaret sneaks a glance at Peter.</scene_description> <character>PETER</character> <dialogue>The government agents came into the \* house when I was eight. Took me. \* Put me in their truck. I thought \* I'd done something wrong, that my \* mother didn't want me anymore. \* But, then I could see she was \* crying. All the mothers were. \*</dialogue> <character>MARGARET</character> <dialogue>You were eight?</dialogue> <character>PETER</character> <dialogue>They cut my hair off. Washed me in \* kerosene. Beat me. To kill the \* Indian inside. I guess they did. \* When I came home I couldn't \* understand my grandmother's words \* anymore. "My name is Peter now," I \* tried to tell her. But, she \* couldn't understand me either. \*</dialogue> <scene_description>He surveys the landscape as the sun drops from sight, shrugs.</scene_description> <character>PETER</character> <dialogue>If I don't belong any place, here is fine.</dialogue> <scene_description>Margaret takes in the view beside him, sees the wide, flat disc of a nearly full moon on the rise, opalescent at dusk.</scene_description> <character>MARGARET</character> <dialogue>You picked a good spot.</dialogue> <scene_description>She lays a maternal hand gently on his arm.</scene_description> <character>MARGARET</character> <dialogue>But it's not good to be alone.</dialogue> <character>PETER</character> <dialogue>I'm not alone.</dialogue> <scene_description>He smiles and strokes the horse. Margaret nods, conceding.</scene_description> <character>PETER</character> <dialogue>I'm talking to you.</dialogue> </scene> <scene> <stage_direction>INT. PETER'S SHACK - EVENING</stage_direction> <scene_description>Margaret pulls the iron skillet from the box she'd packed at home and sets it to heat on the stove, scraping in potatoes to brown. She tastes soup she's making in a big enamel pot. She takes a can of beans from the box of groceries... when her attention snags on a man's humming, just shy of a tune. She listens, then goes to the room's makeshift partition and peers around to discover Peter humming as he rebinds George's hand, weaving a meticulous web with a ribbon of white gauze. She holds, watching Peter as he works, singing his hushed song in an ancestor's tongue to her husband as he sleeps. Peter glances up at Margaret.</scene_description> <character>PETER</character> <dialogue>Can you die from getting your fingers cut off?</dialogue> <character>GEORGE</character> <parenthetical>(not asleep after all)</parenthetical> <dialogue>Jesus Christ, I'm not deaf.</dialogue> </scene> <scene> <stage_direction>INT. PETER'S SHACK - NIGHT</stage_direction> <scene_description>Margaret ladles soup into a bowl at the stove.</scene_description> </scene> <scene> <stage_direction>INT. PETER'S SHACK - NIGHT</stage_direction> <scene_description>George sits himself up in bed to receive a bowl of soup from Margaret, and they both realize at the same moment that he won't be able to hold it himself with his damaged hand. George takes a spoon from Margaret and she sits facing him, cradling the bowl near enough so he can feed himself. George exhales a mirthless laugh at their pitiful setup. Margaret leans close, lowers her voice so Peter won't be able to hear on the other side of partition.</scene_description> <character>MARGARET</character> <dialogue>I have an idea.</dialogue> <character>GEORGE</character> <dialogue>That's not a first.</dialogue> <scene_description>He scoops a spoonful of the soup, eats.</scene_description> <character>MARGARET</character> <dialogue>Now, let me finish before you make fun of me. And if you don't know what to say, don't say anything.</dialogue> <character>GEORGE</character> <dialogue>Let's hear it.</dialogue> <character>MARGARET</character> <dialogue>What if we stayed? Here.</dialogue> <scene_description>George pauses the spoon and Margaret rushes ahead.</scene_description> <character>MARGARET</character> <dialogue>I'm sure Peter'd be glad of the company. We could build on to this place, put another room on the backside of the kitchen--</dialogue> <character>GEORGE</character> <dialogue>You hold the boards while I hammer in the nails, s'that it?</dialogue> <character>MARGARET</character> <dialogue>You said you'd let me finish.</dialogue> <character>GEORGE</character> <dialogue>You're finished now you just don't know it.</dialogue> <scene_description>He drops the spoon in the bowl. Done.</scene_description> <character>GEORGE</character> <dialogue>You want us to live in the shadow of a rock with an Indian boy and a lost horse? Just so you can drive into town every now and again to try and catch a peek at Jimmy?</dialogue> <parenthetical>(shakes his head)</parenthetical> <dialogue>You gonna follow him to school? Hope time untwists a sour mind and Blanche Weboy lets you hold him again. Someday. For more than thirty seconds's time?</dialogue> <character>MARGARET</character> <dialogue>George--</dialogue> <character>GEORGE</character> <dialogue>And when they hack off another couple pieces of me? Or when they start taking pieces of you, if there's anything left once you're done tearing yourself apart?</dialogue> <character>GEORGE</character> <dialogue>What then? And when they hurt Jimmy? And they will. Just for spite. How're you gonna feel then?</dialogue> <scene_description>Margaret stirs the cold soup, unable to meet George's eye.</scene_description> <character>MARGARET</character> <dialogue>First time I held him... He arranged himself; easy. Just right in my arms. Snug to me. And light as can be. Like feathers--</dialogue> <character>GEORGE</character> <dialogue>Jesus Christ, Margaret. When will you stop torturing yourself?</dialogue> <scene_description>She stops, stung, but still can't bring herself to look at her husband as she struggles to keep her tears at bay.</scene_description> <character>MARGARET</character> <dialogue>I'm sorry. I know I've tortured you too.</dialogue> <character>GEORGE</character> <dialogue>No.</dialogue> <character>MARGARET</character> <dialogue>I know I have.</dialogue> <scene_description>She sets the bowl down to take his good hand in hers.</scene_description> <character>MARGARET</character> <dialogue>We'll go. But, not home. There's nothing for us there now. We'll... keep driving. Car's packed. We can go to California. Maybe see an ocean. Or north. But... I can't go back...</dialogue> <scene_description>Her voice breaks apart as she looks at George now.</scene_description> <character>MARGARET</character> <dialogue>I tried. I tried, George...</dialogue> <scene_description>George slips his hand from Margaret's to wipe away her tears.</scene_description> <character>GEORGE</character> <dialogue>I know. Shhh... I know.</dialogue> <character>MARGARET</character> <dialogue>I couldn't save him. God help me.</dialogue> <scene_description>George pulls his wife to him and holds her tight, rocking her like a child as she finally surrenders to all her overwhelming grief. Margaret weeps in George's embrace. FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>EXT. PETER'S SHACK - NIGHT</stage_direction> <scene_description>An almost-full moon keeps unblinking watch over the land. The horse stirs in her shelter, ears swiveling at a sound. They pan the still night air and she shudders.</scene_description> </scene> <scene> <stage_direction>INT. PETER'S SHACK - NIGHT</stage_direction> <scene_description>Peter lays sleeping, curled into himself for warmth, on a pile of blankets on the floor at the foot of the bed. THUNK. A car door closes outside. Margaret's eyes open in the semi-dark. She listens in bed, suddenly alert; unsure what's woken her. Then the churn of a car's ignition cuts the night. She sits straight up as the car's engine catches and she turns to George beside her.</scene_description> <character>MARGARET</character> <dialogue>George--?</dialogue> <scene_description>But, he's gone. She scrambles up and dashes past Peter on the floor to fling open the door just as the car outside shifts into drive.</scene_description> </scene> <scene> <stage_direction>EXT. PETER'S SHACK - NIGHT</stage_direction> <character>MARGARET</character> <dialogue>George!</dialogue> <scene_description>Margaret runs after the car in her bare feet as it pulls away, but the cutting rocks bring her to a stop.</scene_description> <character>MARGARET</character> <dialogue>George! No!</dialogue> <scene_description>She watches helplessly as the car's taillights bob and jump.</scene_description> <character>MARGARET</character> <dialogue>Come back!</dialogue> <scene_description>The car disappears over the ridge and into the night.</scene_description> <character>PETER</character> <dialogue>Where's George going?</dialogue> <scene_description>Margaret turns urgently as Peter joins her.</scene_description> </scene> <scene> <stage_direction>EXT. PETER'S SHACK - NIGHT</stage_direction> <scene_description>Margaret sets the saddle on the horse's back and Peter jumps in to fit the bit and reins; working together with speed.</scene_description> <character>PETER</character> <dialogue>Fast as you are, I don't think you're going to catch him.</dialogue> <character>MARGARET</character> <dialogue>If he's going where I think he'll have to take the road. You're going to show me a quicker way.</dialogue> <character>PETER</character> <dialogue>I'm going to show--? I'm not going.</dialogue> <character>MARGARET</character> <dialogue>You are.</dialogue> </scene> <scene> <stage_direction>EXT. WEBOY HOMESTEAD - NIGHT</stage_direction> <scene_description>The same moon hovers over the still two story wooden house, every window dark with sleep. Not a sound on the land. Bill Weboy's truck stands parked at the back.</scene_description> </scene> <scene> <stage_direction>INT. WEBOY HOMESTEAD - BACK PORCH - NIGHT</stage_direction> <scene_description>George examines the shotguns piled atop the firewood just outside the kitchen door, noiselessly makes a selection. He breaks a double barrel shotgun open one-handed, cradles it in the nook of his arm to load in shells with his good hand.</scene_description> </scene> <scene> <stage_direction>INT. WEBOY HOMESTEAD - KITCHEN - NIGHT</stage_direction> <scene_description>George picks his way through patches of moonlight that tile the floor, testing for creaks, ear cocked to the still house. He peers up the dark mouth of the back stairs, considering, then turns for the open doorway leading to the front hall, the moon aglow in the front door's frosted glass window.</scene_description> </scene> <scene> <stage_direction>INT. WEBOY HOMESTEAD - FRONT HALL/STAIRS - NIGHT</stage_direction> <scene_description>George inches up the stairs in silence, riser by riser, the railing's spindles painting bars of shadow across his face.</scene_description> </scene> <scene> <stage_direction>INT. WEBOY HOMESTEAD - UPSTAIRS HALL - NIGHT</stage_direction> <scene_description>George scrutinizes all the closed doors surrounding the open U-shaped railing at the top of the staircase, orienting himself to the layout of rooms in near-pitch blackness. A muted cough and the faint twang of a bedspring stop him in place as someone rolls over in sleep behind one of the doors. George waits.</scene_description> </scene> <scene> <stage_direction>EXT. BADLANDS - NIGHT</stage_direction> <scene_description>The horse's hooves pound the earth as Margaret spurs her, Peter clinging on, galloping for the moon straight ahead.</scene_description> <character>PETER</character> <dialogue>Down the other side of that bluff.</dialogue> <scene_description>Peter indicates an angle and Margaret fluidly adjusts course.</scene_description> <character>MARGARET</character> <dialogue>Hya!</dialogue> </scene> <scene> <stage_direction>INT. WEBOY HOMESTEAD - BEDROOM - NIGHT</stage_direction> <scene_description>Jimmy sleeps on a folding army cot by the window, his mother in the room's big bed, her back turned to Donnie. Donnie sleeps on his back, but his eyes spring open when George covers his mouth and nose with his bandaged hand. Donnie starts to struggle for air, reaching for George standing over him, but George presses the open barrels of the shotgun he holds in his good hand to Donnie's temple.</scene_description> <character>GEORGE</character> <dialogue>Settle. Be still.</dialogue> <scene_description>Donnie stops, staring up, wide-eyed, and George jerks his chin at Lorna, whispers low.</scene_description> <character>GEORGE</character> <dialogue>Wake her.</dialogue> <scene_description>Lorna's already stirring when Donnie shakes her hip.</scene_description> <character>LORNA</character> <dialogue>Wha--?</dialogue> <scene_description>She barely keeps herself from screaming when she rolls over to find George holding the shotgun on Donnie in the dark. Her eyes dart to Jimmy, still asleep on the cot, and back.</scene_description> <character>GEORGE</character> <dialogue>Do you want to go back to Dalton? You and Jimmy? You have to decide. Go or stay.</dialogue> <character>DONNIE</character> <dialogue>Lorna--</dialogue> <scene_description>George presses the gun's barrels, cutting Donnie's temple.</scene_description> <character>GEORGE</character> <dialogue>Not you. You don't get to say a goddamn word. This is up to her.</dialogue> <scene_description>Lorna stares at George, paralyzed. He keeps his voice low.</scene_description> <character>GEORGE</character> <dialogue>You know what life will be. Here or there, you know. This isn't something you need to think on.</dialogue> <character>LORNA</character> <dialogue>Go. I'll go.</dialogue> <scene_description>She turns on the bedside lamp, revealing a ripe black eye to the light. She throws off the covers and goes to lift Jimmy, carries the child as he stirs in sleep back to George.</scene_description> <character>GEORGE</character> <dialogue>You know the car. It's parked at the bottom of the drive. Keys are in it. Get in and drive straight to the Sherrif's office in Bentrock. Ask for Nevelson.</dialogue> <character>LORNA</character> <dialogue>Bentrock?</dialogue> <character>GEORGE</character> <dialogue>Sherrif Nevelson. He'll sort it out.</dialogue> <character>LORNA</character> <dialogue>But, what--? What about you--?</dialogue> <character>GEORGE</character> <dialogue>Go.</dialogue> <scene_description>Lorna blinks as she figures it out; George intends to stay to ensure her and Jimmy's escape. She glances at Jimmy's bare feet, plucks at his pajamas.</scene_description> <character>LORNA</character> <dialogue>Jimmy's things... I have to--</dialogue> <character>GEORGE</character> <dialogue>No. Out now. Quiet as you can. Take the front door. Then run like hell.</dialogue> <scene_description>Lorna steps into her shoes and puts her hand on the door knob. She takes a last look at Donnie glaring from the bed.</scene_description> <character>GEORGE</character> <dialogue>Lorna.</dialogue> <scene_description>She looks to George, Jimmy's head on her shoulder.</scene_description> <character>GEORGE</character> <dialogue>The front door.</dialogue> <scene_description>Lorna nods, slowly eases the bedroom door open... its hinge chirps. She stops, holds, then dares to inch it wider. Her nostrils flare when she detects the thin layer of smoke accumulating in the dark hallway, and turns back to George in alarm. He prods her forward with a look, mouths the words.</scene_description> <character>GEORGE</character> <dialogue>Front door.</dialogue> <scene_description>Lorna steps shaking into the hall and Jimmy lifts his head, squinting sleepily at George in the room behind them, smiles.</scene_description> <character>JIMMY</character> <dialogue>Grandpa.</dialogue> <scene_description>The child's clear voice carries bell-like on the night. Lorna freezes mid-stride. Donnie's eyes dart to George, who makes a shushing shape with his mouth for Jimmy.</scene_description> </scene> <scene> <stage_direction>INT. WEBOY HOMESTEAD - UPSTAIRS HALL - NIGHT</stage_direction> <scene_description>Lorna listens to the still house a breathless beat, eyes squeezed shut, then she exhales and dashes forward. Lumbering movement erupts in one of the rooms and Lorna skids to a stop when a door bangs open and Elton steps out directly in front of her. He puts his nose to the air.</scene_description> <character>ELTON</character> <dialogue>Something's burning.</dialogue> <scene_description>He doesn't give her a second look, but dashes for the rear of the house and the back stairs, pounding down to the kitchen.</scene_description> <character>MARVIN</character> <dialogue>Did you leave the stove on?</dialogue> <scene_description>Marvin passes Lorna and Jimmy still frozen on the landing as he pulls on his coveralls, following right behind Elton.</scene_description> <character>DONNIE (O.S.)</character> <dialogue>Help!</dialogue> <scene_description>Lorna's head swivels towards the bedroom at Donnie's shout.</scene_description> </scene> <scene> <stage_direction>INT. WEBOY HOMESTEAD - BEDROOM - NIGHT</stage_direction> <scene_description>Donnie grabs for the shotgun but George fights it free, spins it to bring its butt cracking down, knocking Donnie out. The force of the blow shears the skin back on Donnie's forehead.</scene_description> </scene> <scene> <stage_direction>INT. WEBOY HOMESTEAD - UPSTAIRS HALL/STAIRS - NIGHT</stage_direction> <scene_description>Jimmy screams when the door right beside Lorna crashes open and Bill Weboy steps bleary-eyed into the hall.</scene_description> <character>BILL</character> <dialogue>The fuck is going on?</dialogue> <scene_description>Lorna breaks for the stairs but Bill snags Jimmy by the sleeve of his pajamas, yanks the child from Lorna's arms.</scene_description> <character>BILL</character> <dialogue>Where ya think you two are going?</dialogue> <character>LORNA</character> <dialogue>No!</dialogue> <scene_description>She springs at Bill, snatching for Jimmy, who falls to the floor, just as Blanche appears in the open door behind Bill.</scene_description> <character>BLANCHE</character> <dialogue>What's--?</dialogue> <scene_description>BLAM! The hall flashes blinding bright when George fires the shotgun, narrowly missing Bill, who pivots in his direction. Blanche slams her bedroom door and Lorna scoops Jimmy up, but Bill grabs him back, clasps the boy to his chest as a shield as George advances. Lorna claws at Bill for her crying son.</scene_description> <character>LORNA</character> <dialogue>Stop! Stop it! Let him go!</dialogue> <scene_description>Bill shoves Lorna away and she staggers backwards, blindly stepping right off the landing. She cries out as she falls, banging, banging, banging down the stairs to a stop midway. George lunges and seizes Jimmy from Bill, hooking the arm of his damaged hand around the boy's torso, shotgun in his one good hand, but Bill keeps a grip on the boy's leg, and pulls. The bedroom door springs open again and Blanche reappears, aiming George's service revolver at the men, and the boy. George raises the shotgun, but Bill bats it from his grip. It clatters over the railing, lands in the hall far below.</scene_description> <character>BLANCHE</character> <dialogue>Bill! Outta the way! I got him!</dialogue> <character>BILL</character> <dialogue>Christ, Blanche! Don't shoot!</dialogue> <scene_description>She squints an eye closed, finger tightening on the trigger, and Bill tries to dodge clear, but George seizes him back. BANG! The gun fires; cracking lightning-bright in the dark hall, the gathering smoke holding its flare like storm clouds.</scene_description> <character>LORNA</character> <dialogue>No!</dialogue> <scene_description>Bill looks at George with bemused surprise, a small hole in his cheek. He opens his mouth as though to ask a question, and falls dead. Blanche gapes, blinking at George.</scene_description> <character>GEORGE</character> <parenthetical>(calling down)</parenthetical> <dialogue>Lorna?</dialogue> <scene_description>Blanche points the gun again at George holding Jimmy, and George swings the clinging child out over the railing, dangling him high above the steep stairs, Lorna craning up.</scene_description> <character>LORNA</character> <dialogue>Jimmy!</dialogue> <character>BLANCHE</character> <dialogue>Give the boy to me, old man. No one gets hurt.</dialogue> <scene_description>George lets Jimmy go. The child drops through the smoky air. Blanche shoots George. He falls, carried by the bullet that strikes him high in the chest... as Lorna catches Jimmy on the stairs below. Blanche cranes over the railing, locks eyes with Lorna, and Lorna breaks for the front door standing open to the night across the deep foyer at the bottom of the stairs. Blanche dashes for the top of the stairs at the same time Marvin and Elton explode up the back stairs into the hall.</scene_description> <character>ELTON</character> <dialogue>Who's shooting?</dialogue> <character>MARVIN</character> <dialogue>We're on fire!</dialogue> <scene_description>Blanche comes around the end of the railing...</scene_description> <character>BLANCHE</character> <dialogue>Get her!</dialogue> <scene_description>...And George's hand suddenly closes over hers from behind. He snaps the gun up, still in Blanche's grip, and fires. Marvin drops dead while running, his momentum sending him down the front stairs as Blanche screams. George pivots with Blanche, taking aim at Elton as he comes.</scene_description> </scene> <scene> <stage_direction>EXT. WEBOY HOMESTEAD - NIGHT</stage_direction> <character>BANG!</character> <dialogue>The horse shies and rears up as the echoing gunshot reaches Margaret and Peter riding into view of the distant house; front door yawning open, a spiral of smoke threading skyward.</dialogue> <character>MARGARET</character> <dialogue>Oh my God.</dialogue> <scene_description>And then she spots Lorna; a lone figure stumbling at a run away from the house, pitched forward with her son's weight.</scene_description> </scene> <scene> <stage_direction>EXT. WEBOY HOMESTEAD - FRONT DRIVE - NIGHT</stage_direction> <scene_description>Lorna desperately searches the inky night ahead for the car.</scene_description> <character>LORNA</character> <dialogue>It's okay, baby. It's okay...</dialogue> <character>MARGARET</character> <dialogue>Lorna!</dialogue> <scene_description>Lorna ducks at the call, reflexively veers away from the galloping horse headed in her direction.</scene_description> <character>MARGARET</character> <dialogue>Lorna! Wait! Stop!</dialogue> <scene_description>Lorna recognizes Margaret's voice now and slows as Margaret and Peter arrive. She begins to cry as Margaret climbs down. Margaret embraces Jimmy and Lorna with urgent relief.</scene_description> <character>MARGARET</character> <dialogue>Are you all right?</dialogue> <scene_description>Lorna nods rhythmically, but can't speak.</scene_description> <character>MARGARET</character> <dialogue>Where's George?</dialogue> <scene_description>Lorna shakes her head pitifully, her breath ragged and wet.</scene_description> <character>LORNA</character> <dialogue>He said to run... To take the car.</dialogue> <scene_description>Margaret turns to Peter.</scene_description> <character>MARGARET</character> <dialogue>Stay with them.</dialogue> <scene_description>He nods and Margaret takes off on foot.</scene_description> </scene> <scene> <stage_direction>INT. WEBOY HOMESTEAD - FRONT HALL/STAIRS - NIGHT</stage_direction> <scene_description>The shotgun lays on the floor where it fell from upstairs, deep in the foyer, far from the front door framing the moon. Beyond the door, Margaret steps from the pitch night into a spill of light. She cautiously approaches, mounts the porch. She peers from the threshold, taking measure of what she can; shotgun, smoke, the fire snarling behind the kitchen door. She sees Marvin's prone body, facedown on the staircase.</scene_description> </scene> <scene> <stage_direction>INT. WEBOY HOMESTEAD - FRONT HALL/STAIRS - MOMENTS LATER</stage_direction> <scene_description>Margaret breaches the double shotgun to check its load, plucks the spent cartridge from one barrel, closes the gun; the crack and click of metal ring loud in the stillness despite the fire's growing voice at the rear of the house. She scans the ground floor rooms for any sign of George, backing away from the snapping heat of the kitchen aflame. She carries the shotgun to the stairs, inches her way up, straining for a view of the upper hall, one eye on Marvin. She stops at his body, nudges him with her toe. Dead. She stretches her neck to bring the upstairs floor into view. A spray of blood clouds the far wall, Elton sitting blank- faced under its spatter, staring dumbly at Margaret in death. She sees Bill lying dead in the murky hall, and George sprawled on his back on the floor.</scene_description> <character>MARGARET</character> <dialogue>George!</dialogue> <scene_description>She clambers over Marvin's body, scrambles up the stairs.</scene_description> </scene> <scene> <stage_direction>INT. WEBOY HOMESTEAD - UPSTAIRS HALL - NIGHT</stage_direction> <scene_description>Margaret drops to her knees beside George, his chest rapidly rising and falling beneath his bloodstained shirt.</scene_description> <character>MARGARET</character> <dialogue>George... George.</dialogue> <scene_description>His eyes swim and search for Margaret in the smoky dim.</scene_description> <character>GEORGE</character> <dialogue>Jimmy? Where's Jimmy?</dialogue> <character>MARGARET</character> <dialogue>He's safe, George. With Lorna. And Peter. They're waiting for us.</dialogue> <scene_description>She helps him sit up and he takes count of Elton and Bill.</scene_description> <character>GEORGE</character> <dialogue>Where's Blanche?</dialogue> <character>MARGARET</character> <dialogue>I don't--. I don't know.</dialogue> <character>GEORGE</character> <dialogue>Go. Get out of here.</dialogue> <character>MARGARET</character> <dialogue>Not without you.</dialogue> <scene_description>She loops George's arm around her neck and he leverages himself up with the railing. He takes the shotgun to use for support, shuffling with Margaret through the gathering smoke as the back stairwell glows bright with licking flames.</scene_description> <character>DONNIE (O.S.)</character> <dialogue>Momma?!</dialogue> <scene_description>George looks behind them as Donnie pulls himself from the bedroom, crawling blind, blood running down his face.</scene_description> </scene> <scene> <stage_direction>INT. WEBOY HOMESTEAD - FRONT HALL/STAIRS - NIGHT</stage_direction> <scene_description>George grits his teeth navigating his way down with Margaret, Donnie calling above them as the fire enters the upstairs.</scene_description> <character>DONNIE (O.S.)</character> <dialogue>Help!</dialogue> <character>PETER (O.S.)</character> <dialogue>Margaret! George!</dialogue> <scene_description>They both look to where Peter arrives on the porch outside.</scene_description> <character>GEORGE</character> <dialogue>Stay there! Where you are!</dialogue> <scene_description>But Peter dodges inside despite the fire. He crosses the foyer, climbs the stairs to help, takes George's other arm. A crash sounds at the back of the house as the fire runs riot, roaring up the back stairs from the kitchen. George, Margaret, and Peter reach the ground floor together, but only George senses Blanche as she enters the hall behind them, George's revolver raised and pointed in her hand. George pushes Margaret from as him as he turns...</scene_description> <character>BANG!</character> <dialogue>The banister's newel post splinters beside George.</dialogue> <scene_description>BANG! George lurches backwards, stumbling out of Peter's grip, and falls to the ground.</scene_description> <character>MARGARET</character> <dialogue>George!</dialogue> <scene_description>She drops to the floor beside him as Peter spins around to see Blanche, framed by the kitchen in flames behind her.</scene_description> <character>MARGARET</character> <dialogue>George... George.</dialogue> <scene_description>His eyes won't focus as fresh blood soaks his shirt.</scene_description> <character>MARGARET</character> <dialogue>George. Look at me. Please...</dialogue> <scene_description>He gropes for his wife's hand as a widening pool of blood spreads from beneath him. She grasps his hand in hers.</scene_description> <character>MARGARET</character> <dialogue>I'm here. I'm right here.</dialogue> <scene_description>George places Margaret's hand on the shotgun on the floor beside them. BANG! Peter ducks when Blanche fires again, advancing on them through the smoke, eyes dancing furious and bright.</scene_description> <character>BLANCHE</character> <dialogue>Why?! WHYYYYYYYYY?!</dialogue> <scene_description>Margaret lets go of George's hand to take up the shotgun. She lifts it from the floor, fits its stock to her shoulder. Blanche stops in place when she sees Margaret turn, sighting down the long length of the shotgun's double barrels at her. Blanche laughs, aims George's revolver squarely at Margaret.</scene_description> <character>BLANCHE</character> <dialogue>You. You go to hell.</dialogue> <scene_description>BOOM! Margaret fires. The shotgun flashes. And Blanche falls backwards into a wall of flame. Dead. Margaret drops the shotgun and comes back to George; his face smooth now in complete stillness, eyes closed.</scene_description> <character>MARGARET</character> <dialogue>George? George?</dialogue> <scene_description>Peter tugs at Margaret's arm and she looks up at him. Peter shakes his head softly, grimly. Margaret looks back to George. Her husband. No longer.</scene_description> <character>DONNIE (O.S.)</character> <dialogue>Help me!</dialogue> <scene_description>Peter glances to the top of the burning stairs where Donnie's managed to drag himself among the flames. Margaret traces George's features with shaking fingers. Peter pulls urgently at Margaret again. She tries to shake him off, jerk her arm free. But, he keeps his grip. Margaret blinks at Peter in torn anguish. She turns to George, searches his familiar face, now empty. She lowers her lips to his and kisses him a last time... Then Margaret puts her mouth to George's ear. She whispers; words meant only for him. Peter seizes Margaret forcefully and hauls her to her feet, and leads her away, through the smoke and blistering heat.</scene_description> <character>DONNIE (O.S.)</character> <dialogue>Momma!</dialogue> </scene> <scene> <stage_direction>EXT. WEBOY HOMESTEAD - NIGHT</stage_direction> <scene_description>The blazing structure reflects in the dark, gleaming eyes of the horse, standing with Margaret, Lorna, Jimmy, and Peter. Margaret stares into the pyre; shattered, confounded by shock and fathomless loss. Lorna rocks Jimmy, shielding his view. The house collapses into itself, the second floor caving under the burning roof. Swirling sparks and embers swarm the sky as the flames climb high to light the night.</scene_description> <character>PETER</character> <dialogue>People will come. We can't be here.</dialogue> </scene> <scene> <stage_direction>EXT. WEBOY HOMESTEAD - FRONT DRIVE - NIGHT</stage_direction> <scene_description>The group hikes from the burning house towards George and Margaret's parked car, highlighted by the setting moon.</scene_description> </scene> <scene> <stage_direction>EXT. BADLANDS - NIGHT</stage_direction> <scene_description>Peter settles Jimmy on Lorna's lap in the car's passenger seat and turns to Margaret, who holds the horse's reins. Margaret regards Peter in the near dark, then steps forward and embraces the young man, her voice faint and choked.</scene_description> <character>MARGARET</character> <dialogue>Thank you.</dialogue> <scene_description>She hands him the reins then goes around the car, climbs into the driver's seat, and reaches for the keys in the ignition. She falters a moment when she takes the keys in her hand, but she sets her mouth decisively, starts the engine.</scene_description> </scene> <scene> <stage_direction>INT. BLACKLEDGE'S CAR - PRE-DAWN - (MOVING)</stage_direction> <scene_description>Margaret tracks Peter waving them goodbye from his mount; man and horse silhouetted against the night's lightening sky, receding in her side view mirror, then swallowed by distance. Margaret turns her eyes forward, navigating the way along the dirt road through the semi-dark, keeping her headlights off. Jimmy sits beside Margaret, wide-eyed, encircled by his mother's arms, Lorna scanning the gloom as tense as a doe. The pop and crunch of rocks hitting the car's underside and the running engine are the only sounds as they drive. Jimmy spies the old stuffed horse laying on the floor of the car and reaches to pick it up, hugs it to him. They come to the intersection of the main road with the end of the Weboy's track and Margaret pauses, peering along the ribbon of black leading to Gladstone. No lights. No sirens.</scene_description> <character>LORNA</character> <dialogue>Go.</dialogue> <scene_description>Margaret glances at Lorna, who indicates only forward. Go. Margaret rolls them out onto the pavement and points the car in the opposite direction of town, switching on the headlights as they steal into the still-dim landscape. The thrum of paved road beneath the tires creates a faint rhythm, a phantom heartbeat that invades the car. Margaret searches the dark road ahead, her forehead knotting over with the twist and pull of thoughts. Lorna lays a hand on Margaret's arm and Margaret turns to meet her eyes shining at Margaret in the gray light before day; a steady gaze of witness, understanding, connection. Lorna lowers her eyes to Jimmy, now asleep, his head in her lap, and takes her hand from Margaret's arm to smooth the boy's hair, raked by the breeze from her open window. Margaret scrolls her own window down, letting fresh air in. A flare of light sparks her eye in the rearview mirror. She squints into the sheering ray of reflected light. It takes her a moment to recognize the light for what it is; the sun breaking the distant horizon behind them in the east. The strong light grows, illuminating Margaret's face by the mirror, and floods the car with its warmth as she drives.</scene_description> </scene> <scene> <stage_direction>EXT. ROAD - DAWN</stage_direction> <scene_description>The car follows the road flowing west, chasing the endless string of pavement across the valley floor, and out of sight. Gone. The sun keeps coming, long fingers of light scrabbling for purchase on the land.</scene_description> </scene> </script>

In Montana, 1961, retired sheriff George Blackledge lives on a ranch with his wife Margaret, their son James, James's wife Lorna and infant son Jimmy. One afternoon, Margaret sees James's horse out on its own and senses something is wrong. When George goes out to the woods, he finds James's body by the creek; he had fallen off his horse and broken his neck. In 1963, Lorna marries her new boyfriend, Donnie Weboy; it is obvious Lorna is not in love with Donnie but needs his support with Jimmy. One afternoon while out shopping, Margaret sees Lorna, Donnie and Jimmy getting ice cream. When Jimmy drops his, Donnie forcefully grabs Jimmy's arm and, when Lorna steps in, Donnie strikes her. Margaret later goes to their house to check in on Lorna, but a tenant tells her the three of them have left town. Margaret goes home and packs her bags with the intent of going to rescue Jimmy, and although George is reluctant, he joins her. George and Margaret speak to a local sheriff who gives them a lead in Forsyth, Montana, a shop owner who is related to the Weboys who tells them to look in Gladstone, North Dakota. George is startled to discover that Margaret brought his revolver with her, but she strongly feels she will need it. Outside of Gladstone, they come across a young Native American man named Peter Dragswolf. He provides them with some food and warmth for the evening, and tells them to look for Bill Weboy, who turns out to be Donnie's uncle. The following morning, George and Margaret travel and meet Bill. Bill speaks to Donnie's mother, Blanche, who says she wants to meet the Blackledges. At her house, Blanche initially appears pleasant but later, when Lorna and Jimmy arrive, she starts to show her true colors, making rude comments toward the Blackledges and speaking sternly toward Lorna. The next day, George and Margaret visit Lorna at her job and take her to lunch. They plead with her to return home to Montana with Jimmy, but Lorna is worried what Donnie will do if she tries to leave. However, she is convinced to sneak out later while the Weboys are asleep. Later that night, Blanche, Donnie and Bill, along with Blanche's two other sons Marvin and Elton, break into the Blackledges' motel room. Margaret tells Blanche that Donnie struck Lorna and Jimmy. Blanche asks Donnie if it is true, slapping him and then Margaret to ask how hard he hit Lorna. When she orders him to hit Margaret, George grabs his gun and points it at them. The men overpower him, and Blanche orders Donnie to chop off his fingers with a hatchet, which he does. When they leave, Margaret takes George to the hospital. A local officer visits them to tell them that he spoke to the Weboys, who made it seem like George attacked first since he and Margaret planned to abduct Jimmy. He tells the Blackledges that Jimmy is a Weboy now and suggests they leave town. Defeated, George and Margaret make their way back to Montana, but when George is too weak to keep going, they stop by Peter's again to rest. Peter talks to Margaret and tells her about how men once stormed his village and took children away from their families and then tried to "wash the Indian" out of them. When he returned to his grandmother, they couldn’t understand each other anymore. Knowing she must stay close to family, Margaret asks George if they can move out there to be near Jimmy. George says he is done and wants to give up. Margaret breaks down, devastated that they have lost both James and Jimmy. During the night, George sneaks out and goes back to the Weboy house. George finds a shotgun on the Weboy's back porch. He checks and replaces the shells in the gun. He sets a fire outside as a distraction and then makes his way into Donnie and Lorna's room, where he forces Donnie down at gunpoint while Lorna leaves. Meanwhile, Margaret notices George has gone and rushes with Peter to find him. George knocks Donnie unconscious when he tries to alert the others. Blanche wakes up as George fights Bill, and Lorna tumbles down the stairs. Blanche aims her pistol at George as he gets Jimmy back but she accidentally shoots Bill in the face, killing him. George then throws Jimmy over the balcony to Lorna, who catches him as Blanche shoots George in the chest. George musters enough strength to fight her for the gun as Marvin and Elton run upstairs, only for George to cause Blanche to shoot both of them. Margaret and Peter find Lorna and Jimmy outside. Margaret rushes in to try and get George out. Blanche corners them and shoots George again, this time killing him. Margaret then grabs the shotgun and shoots Blanche dead. Peter gets her out as the Weboy house goes up in flames. As the morning comes, Margaret parts ways with Peter and drives home with Lorna and Jimmy. She weeps for the loss of George, but looks over at Jimmy, knowing that he is finally safe.

Moneyball_2011

tt1210166

<script> <scene> <character>MONEYBALL</character> <dialogue>Screenplay by</dialogue> <scene_description>Steven Zaillian and Aaron Sorkin Story by Stan Chervin Based on the book by Michael Lewis</scene_description> <character>IN BLACK:</character> <dialogue>There will always be people who are ahead of the curve, and people who are behind the curve. But knowledge moves the curve.</dialogue> <scene_description>- Bill James</scene_description> </scene> <scene> <stage_direction>INT. OAKLAND COLISEUM - NIGHT</stage_direction> <scene_description>Static shots: A deserted locker room. Empty showers. Cinder-block tunnels lit with wire-encased lamps like in a coal mine. THREE SECURITY GUARDS watch a game on a TV. LEGEND: October 15, 2001 We begin to hear disembodied cheering crowds and the faint voice of an announcer -</scene_description> <character>BRENNAMAN V/O</character> <dialogue>... nobody on, two and two to Saenz - who has just three at bats in the series, and none of them hits - as he settles back in -</dialogue> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM -NIGHT</stage_direction> <scene_description>At the end of a tunnel, the A's empty dugout. The empty diamond. Just a couple of the floodlights are on.</scene_description> <character>BRENNAMAN V/O</character> <dialogue>- Rivera looks in for the sign, he has it, the pitch, Saenz swings and -</dialogue> <scene_description>The announcer's voice and excited crowd abruptly cut off. In silence, we regard the 60,000 empty seats that wrap around the playing field ... but then see that, in fact, it's 59,999 empty seats. There's a lone figure seated in one of them. The sound snaps back on:</scene_description> <character>STEVE LYONS V/O</character> <dialogue>- a ground out to second, Thom, is not what the A's were looking for from Saenz - down by two in the ninth -</dialogue> <scene_description>The lone man in the stadium has a radio and a bag of peanuts. He seems at peace as he looks down on the empty diamond - a peace only slightly belied, perhaps, by the baseball he absently turns in a hand. He switches the radio back on -</scene_description> <character>BRENNAMAN V/O</character> <dialogue>Eric Byrnes has emerged from the dugout to bat for Menechino -</dialogue> <scene_description>He turns it off again. Calmly eats a peanut. Waits. Switches the radio back on -</scene_description> <character>BRENNAMAN V/O</character> <dialogue>- the A's are down to their last strike and this Yankee crowd is on its feet - Rivera squints for the sign, he has it, delivers and -</dialogue> <scene_description>Again, at the crucial moment, he cuts the radio. Waits just a few moments. Turns the radio back on -</scene_description> <character>BRENNAMAN V/O</character> <dialogue>It is bedlam in New York. The Yankees - down two games to none - have come back to win three, and the Division Series.</dialogue> <scene_description>The outcome of the series seems to have no effect on Billy. He simply gets up, switches off the radio, and climbs the steps to leave. But somehow we still faintly hear, as he comes past shuttered concession stands toward an exit, the voice of one of the announcers -</scene_description> <character>STEVE LYONS V/O</character> <dialogue>This is an exceptional feat not only for New York, Thom, but for Oakland - though not the kind you can be proud of: Only once before has a team lost a Division Series after winning the first two games -</dialogue> </scene> <scene> <stage_direction>INT. OAKLAND COLISEUM - NIGHT</stage_direction> <scene_description>It's coming from a small television a night security guard is watching. But when he sees Billy approaching, he quickly shuts it off.</scene_description> <character>BILLY</character> <dialogue>It's okay, Joe, you can leave it on. It's no big deal.</dialogue> <character>SECURITY GUARD</character> <dialogue>No, it's okay, I don't need to watch it.</dialogue> <scene_description>The guard's eyes consider the baseball Billy absently turns in his hands -</scene_description> <character>BILLY</character> <dialogue>How's Meg?</dialogue> <character>SECURITY GUARD</character> <dialogue>She's good, thanks.</dialogue> <scene_description>- and the glass window of the bar behind him -</scene_description> <character>BILLY</character> <dialogue>And the boys?</dialogue> <character>SECURITY GUARD</character> <dialogue>They're good. Everybody's good.</dialogue> <character>BILLY</character> <dialogue>That's good.</dialogue> <scene_description>The security guard waits for the baseball to sail through the glass, but it doesn't happen.</scene_description> <character>BILLY</character> <dialogue>Night.</dialogue> <character>SECURITY GUARD</character> <dialogue>Night, Billy. It was a great season.</dialogue> </scene> <scene> <stage_direction>EXT. COLISEUM - PARKING LOT - MOMENTS LATER - NIGHT</stage_direction> <scene_description>A lone car sits in the parking lot in front of the Coliseum. We HEAR-</scene_description> <character>TARA V/O</character> <dialogue>They had three times your payroll, Billy.</dialogue> <character>BILLY</character> <dialogue>Yeah...</dialogue> <character>TARA V/O</character> <dialogue>You're not watching them celebrate, right?</dialogue> <scene_description>Car's off. Billy sits in the dark on his phone.</scene_description> <character>BILLY</character> <dialogue>No. That would be, uh--</dialogue> <character>TARA V/O</character> <dialogue>Pointless? Self-destructive? Masochistic?</dialogue> <character>BILLY</character> <dialogue>Are you asking me to pick one?</dialogue> <character>TARA V/O</character> <dialogue>What you should be doing is thinking about what an amazing job you did and how great you are.</dialogue> <character>BILLY</character> <dialogue>I'll be honest, right this minute I'm not thinking about either of those things.</dialogue> <character>TARA V/O</character> <dialogue>You take a team with that payroll to the playoffs? You take the Yankees to a fifth game? I'm not even sure the better team won.</dialogue> <character>BILLY</character> <dialogue>They were down two-love and then beat us three in a row. Trust me, the better team won.</dialogue> <scene_description>BILLY presses a button on his portable radio and is hit with sound of sports talk radio--</scene_description> <character>CALLER V/O</character> <dialogue>--while embarrassing the entire city and making a mockery of their fans. I'm sick of this.</dialogue> <character>TARA V/O</character> <dialogue>Let's go away.</dialogue> <character>BILLY</character> <dialogue>That sounds good.</dialogue> <scene_description>CUT TO WHAT BILLY'S BEEN LOOKING AT THIS WHOLE TIME - Three enormous looming likenesses of the Oakland A's premiere players on floodlit banners--Jason Giambi, Johnny Damon, Jason Isringhausen.</scene_description> <character>TARA V/O</character> <dialogue>Someplace they don't have a baseball team.</dialogue> <character>BILLY</character> <dialogue>How about Oakland?</dialogue> <character>TARA V/O</character> <dialogue>Okay, here are the rules for tonight. You can do anything you want but you can't give any quotes to the press, go on the internet or hurt my car, we have a deal?</dialogue> <character>BILLY</character> <dialogue>Yeah.</dialogue> <character>TARA V/O</character> <dialogue>They had three times your payroll, Billy.</dialogue> <scene_description>From the radio we've been hearing shards of "--an unprecedented choke--", "--get rid of Billy Beane--", "-- Billy Beane knows nothing about baseball--".</scene_description> <character>BILLY</character> <dialogue>Yeah.</dialogue> <character>TARA V/O</character> <dialogue>How about Hawaii? I'll make a reservation someplace. The place with the turtles.</dialogue> <scene_description>Billy gets out of the car.</scene_description> <character>BILLY</character> <dialogue>Great. I'm on my way.</dialogue> <scene_description>Billy chucks the radio away. Gets back in the car, puts it in gear. HARD CUT TO --</scene_description> </scene> <scene> <stage_direction>INT. OAKLAND AIRPORT TERMINAL - DAY</stage_direction> <scene_description>Blur of shapes and colors as we move through a crush of travelers to a Hawaiian Airlines counter where Billy and Tara check luggage. Billy's got a cell phone to his ear.</scene_description> <character>BILLY</character> <dialogue>Is it Boston? You're talking to Boston? What are they offering?</dialogue> <character>BORAS (ON PHONE)</character> <dialogue>What does it matter to you?</dialogue> <character>BILLY</character> <dialogue>What?!</dialogue> <character>BORAS V/O</character> <dialogue>I mean -- what does it matter since whatever it is you can't afford it.</dialogue> <character>BILLY</character> <dialogue>You don't know that.</dialogue> <character>BORAS V/O</character> <dialogue>I don't?</dialogue> <character>TICKET CLERK</character> <dialogue>You need to hurry.</dialogue> <character>BILLY</character> <dialogue>I don't know that -- since I don't know what they're offering.</dialogue> <parenthetical>(to Tara)</parenthetical> <dialogue>What did she say?</dialogue> <character>TARA</character> <dialogue>She said we had to hurry up.</dialogue> <character>BILLY</character> <dialogue>Scott? Scott?</dialogue> <scene_description>The call's been disconnected. CUT TO: Another corridor, as Billy and Tara head toward security. Billy on the phone with Boras, continuing where they left off --</scene_description> <character>BILLY</character> <dialogue>What did they offer?</dialogue> <character>BORAS V/O</character> <dialogue>They offered seven and a quarter.</dialogue> <character>BILLY</character> <dialogue>Just to be clear -- they offered seven and a quarter.</dialogue> <character>BORAS V/O</character> <dialogue>Yes.</dialogue> <character>BILLY</character> <dialogue>As opposed to you said seven and a quarter and they're thinking about it.</dialogue> <character>BORAS V/O</character> <dialogue>No, they offered seven and a quarter and I'm thinking about it.</dialogue> <parenthetical>(nothing from Billy)</parenthetical> <dialogue>And you're thinking -- what.</dialogue> <character>BILLY</character> <dialogue>I'm thinking I don't want to lose Damon, but I don't pay my whole infield seven million dollars.</dialogue> <character>TARA</character> <dialogue>We're losing Damon?</dialogue> <character>BORAS V/O</character> <dialogue>For seven and a half, Billy, you can keep Johnny Damon and we can be done thinking. I have to go, my plane is boarding.</dialogue> <character>BILLY</character> <dialogue>Wait, don't hang up. Don't hang up --</dialogue> <scene_description>Billy drops the phone in a plastic container, steps through the metal detector like it's a stick-up, grabs the phone again.</scene_description> <character>TSA OFFICER 1</character> <dialogue>Is that phone still on?</dialogue> <character>BILLY</character> <dialogue>What's the difference?</dialogue> <character>TSA OFFICER 1</character> <dialogue>Faradie. Can his phone be on?</dialogue> <character>TSA OFFICER 2</character> <dialogue>Sir, you need to turn your phone off.</dialogue> <character>BILLY</character> <dialogue>It's already through.</dialogue> <scene_description>Billy grabs his phone from the other side.</scene_description> <character>BILLY</character> <dialogue>Seven point five?</dialogue> <character>BORAS V/O</character> <dialogue>Seven point five.</dialogue> <character>BILLY</character> <dialogue>I'll talk to Steve.</dialogue> <character>BORAS V/O</character> <dialogue>Talk to Steve.</dialogue> <scene_description>Boras hangs up.</scene_description> <character>TARA</character> <dialogue>Try to relax.</dialogue> <character>BILLY</character> <parenthetical>(hitting speed dial on another number)</parenthetical> <dialogue>A small emergency is starting to develop.</dialogue> <character>TARA</character> <dialogue>Try. Try to relax.</dialogue> <character>BILLY</character> <dialogue>You look fantastic today.</dialogue> <character>ARN V/O</character> <dialogue>Hello?</dialogue> <character>BILLY</character> <dialogue>Arn. Billy. We gotta talk about Giambi.</dialogue> <character>TARA</character> <dialogue>Wait, we're losing Giambi, too?</dialogue> <character>ARN V/O</character> <dialogue>I can't talk about that now. I can't talk about anything now.</dialogue> <character>BILLY</character> <dialogue>We can talk now. We're talking now.</dialogue> <character>ARN V/O</character> <dialogue>We can't talk now. I'm at a family thing. I'll call you Monday.</dialogue> <character>BILLY</character> <dialogue>Who are you talking to -- the Yankees?</dialogue> <character>ARN V/O</character> <dialogue>I'm talking to everybody. But not today. I'm not in today. I'm hanging up.</dialogue> <character>BILLY</character> <dialogue>Don't hang up.</dialogue> <parenthetical>(off phone)</parenthetical> <dialogue>He hung up.</dialogue> <character>TARA</character> <dialogue>You found Giambi.</dialogue> <scene_description>Billy dials another number --</scene_description> <character>TARA</character> <dialogue>A thousand dollars says you don't get on the plane.</dialogue> <character>SECRETARY V/O</character> <dialogue>Arn Tellem's office.</dialogue> <character>BILLY</character> <dialogue>Denise. Billy.</dialogue> <parenthetical>(to TARA)</parenthetical> <dialogue>These guys are auctioning off my team one player at a time.</dialogue> <character>SECRETARY V/O</character> <parenthetical>(overlapping)</parenthetical> <dialogue>He's not in today, Billy.</dialogue> <character>BILLY</character> <dialogue>I know, I just want to send him flowers.</dialogue> <character>SECRETARY V/O</character> <dialogue>Flowers?</dialogue> <character>TARA</character> <dialogue>Flowers?</dialogue> <character>BILLY</character> <dialogue>Where would I send them?</dialogue> <character>SECRETARY V/O</character> <dialogue>To who?</dialogue> <character>BILLY</character> <dialogue>To Arn.</dialogue> <character>SECRETARY V/O</character> <dialogue>You want to send him flowers?</dialogue> <character>TARA</character> <parenthetical>(overlapping)</parenthetical> <dialogue>You're not going to be anywhere near Hawaii.</dialogue> <character>BILLY</character> <dialogue>To where he is now, yes.</dialogue> <character>SECRETARY V/O</character> <dialogue>Beth Israel Temple, Beverly Hills.</dialogue> <character>TARA</character> <dialogue>The airport is as close as you got.</dialogue> <character>BILLY</character> <parenthetical>(into phone)</parenthetical> <dialogue>Thank you, Tara.</dialogue> <character>SECRETARY V/O</character> <dialogue>Denise.</dialogue> <character>TARA</character> <dialogue>I'm Tara.</dialogue> <character>BILLY</character> <dialogue>I know. I need a day.</dialogue> <character>TARA</character> <dialogue>Billy --</dialogue> <character>BILLY</character> <dialogue>One day. I'll fly out tomorrow.</dialogue> <character>TARA</character> <dialogue>It's gonna be more than one day.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>We're losing Isringhausen too?</dialogue> <character>BILLY</character> <dialogue>Only if my luck stays exactly the same.</dialogue> <character>TARA</character> <dialogue>It's like the bell rang but you're still getting hit in the head.</dialogue> <parenthetical>(hands him tickets)</parenthetical> <dialogue>Just in case.</dialogue> <character>BILLY</character> <dialogue>I'm sorry. Have fun out there.</dialogue> <character>TARA</character> <dialogue>I'm picking up a guy at the breakfast buffet.</dialogue> <character>BILLY</character> <dialogue>A left-handed reliever if you can.</dialogue> <scene_description>6 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. SINAI TEMPLE - BRENTWOOD - LATER - DAY</stage_direction> <scene_description>The ceremony is in progress as Billy arrives, plucks a yarmulke from a basket, sets it on his head and finds a place in the back row for himself and his carry-on. He listens to the boy's monotone-reading of verses. He fidgets. Taps his foot. Checks his watch. Turns to the person down the row and whispers --</scene_description> <character>BILLY</character> <dialogue>How much longer you think?</dialogue> <character>GUEST</character> <dialogue>What?</dialogue> <character>BILLY</character> <dialogue>Nah, it's okay.</dialogue> </scene> <scene> <stage_direction>INT. TEMPLE LOBBY - LATER - DAY</stage_direction> <scene_description>As attendees exit the ceremony and enter the adjacent banquet hall, Billy has cornered Arn Tellem, picking up right where he left off three hours ago in Oakland on the phone --</scene_description> <character>BILLY</character> <dialogue>Arn, I don't wanna lose him.</dialogue> <character>ARN</character> <dialogue>Billy --</dialogue> <character>BILLY</character> <dialogue>I don't wanna lose him.</dialogue> <character>ARN</character> <dialogue>This is my nephew's Bar Mitzvah.</dialogue> <character>BILLY</character> <dialogue>He did well with his Torah portion I thought.</dialogue> <character>ARN</character> <dialogue>Thank you.</dialogue> <character>BILLY</character> <dialogue>What did they offer?</dialogue> <character>ARN</character> <dialogue>He's not staying in Oakland, Billy.</dialogue> <character>BILLY</character> <dialogue>What did the Yankees offer him?</dialogue> <character>ARN</character> <dialogue>It's New York; you've got to give a player a reason not to play there.</dialogue> <character>BILLY</character> <dialogue>What did they offer?</dialogue> <character>ARN</character> <dialogue>17 million.</dialogue> <character>BILLY</character> <dialogue>No way.</dialogue> <character>ARN</character> <dialogue>Yeah.</dialogue> <character>BILLY</character> <dialogue>I don't pay my whole infield 17 million dollars.</dialogue> <character>ARN</character> <dialogue>I know, I know...</dialogue> <character>BILLY</character> <dialogue>For how long?</dialogue> <character>ARN</character> <dialogue>17 a year for seven years.</dialogue> <scene_description>Billy stares, completely nonplussed...</scene_description> <character>BILLY</character> <dialogue>A hundred and twenty million dollars?</dialogue> <character>ARN</character> <dialogue>Hundred and nineteen.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You gotta get Steve to let you spend some money.</dialogue> <character>BILLY</character> <dialogue>That's pretty good advice, I should do that.</dialogue> <character>ARN</character> <dialogue>Steve doesn't get it. This isn't a charity raffle.</dialogue> <character>BILLY</character> <dialogue>Arn. I get it, he gets it, Jason gets it and you certainly get it. I'll talk to him.</dialogue> <character>ARN</character> <dialogue>And you're losing Isringhausen, too.</dialogue> <character>BILLY</character> <dialogue>Ya think?</dialogue> <character>ARN</character> <dialogue>I've gotta get back.</dialogue> <character>BILLY</character> <dialogue>Hey mazel tov, Arn.</dialogue> <character>ARN</character> <dialogue>Thank you. Good luck.</dialogue> <scene_description>Arn walks away. Billy looks to his right to see a 12 year old kid standing right next to him.</scene_description> <character>KID</character> <dialogue>Are you Billy Beane?</dialogue> <character>BILLY</character> <dialogue>Yes.</dialogue> <character>KID</character> <dialogue>That was a pretty serious choke.</dialogue> <character>BILLY</character> <dialogue>Are you from around here?</dialogue> <character>KID</character> <dialogue>Yeah.</dialogue> <character>BILLY</character> <dialogue>You a Dodger fan?</dialogue> <character>KID</character> <dialogue>Yeah.</dialogue> <scene_description>Billy hands the kid his scotch --</scene_description> <character>BILLY</character> <dialogue>Here, drink a lot of this.</dialogue> <scene_description>-- and walks away.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE - SAN BRUNO - LATER - DAY</stage_direction> <scene_description>Billy tries, but is having trouble sitting still as he talks with Steve Schott - the A's owner - around 60 - a college player way back when. He's a successful home builder now. Models of developments lie around.</scene_description> <character>BILLY</character> <dialogue>We're losing Damon and Giambi. We can't survive losing Damon and Giambi.</dialogue> <character>SCHOTT</character> <dialogue>Isringhausen's gone, too, don't you think?</dialogue> <character>BILLY</character> <dialogue>I can win without a closer. I can't without power.</dialogue> <character>SCHOTT</character> <dialogue>So negotiate with them.</dialogue> <character>BILLY</character> <dialogue>I have. They want more.</dialogue> <character>SCHOTT</character> <dialogue>So offer them a little more.</dialogue> <character>BILLY</character> <dialogue>I have. They want more than a little more.</dialogue> <character>SCHOTT</character> <dialogue>Like what. What'll it cost - say - to keep Giambi?</dialogue> <character>BILLY</character> <dialogue>SCHOTT</dialogue> <scene_description>17 for how many (years) -</scene_description> <character>BILLY</character> <dialogue>One.</dialogue> <character>SCHOTT</character> <dialogue>For one year?</dialogue> <scene_description>Billy nods. Steve smiles. And Billy knows what it means. It means, That makes it easy - there's nothing more to discuss on the matter.</scene_description> <character>SCHOTT</character> <dialogue>I have confidence you'll find a way to make it work without them.</dialogue> <character>BILLY</character> <dialogue>I can't.</dialogue> <character>SCHOTT</character> <dialogue>Sure you can.</dialogue> <character>BILLY</character> <dialogue>Steve -</dialogue> <character>SCHOTT</character> <dialogue>Billy. What are we? The Taj Mahal? We're a small-market team. Obviously, we can't afford Giambi at such a (price) -</dialogue> <character>BILLY</character> <dialogue>Fine. He's gone. But I might - for a bit more than last year - be able to keep Damon in (Oakland) -</dialogue> <parenthetical>(Steve is shaking his head no)</parenthetical> <dialogue>I need more money, Steve.</dialogue> <character>SCHOTT</character> <dialogue>Billy...</dialogue> <character>BILLY</character> <dialogue>I can't compete against a hundred and twenty million dollar payroll with a forty million dollar payroll.</dialogue> <character>SCHOTT</character> <dialogue>We just won 102 games with a forty million dollar payroll.</dialogue> <character>BILLY</character> <dialogue>With Giambi and Damon. We wouldn't have without them.</dialogue> <scene_description>Silence. Then -</scene_description> <character>BILLY</character> <dialogue>You can't ask me to be okay with losing. That's too much to ask a professional athlete.</dialogue> <character>SCHOTT</character> <dialogue>Billy--</dialogue> <character>BILLY</character> <dialogue>It's too much, Steve!</dialogue> <character>SCHOTT</character> <dialogue>You're not a professional athlete!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You're a professional GM.</dialogue> <character>SCHOTT</character> <dialogue>We're a small market team. You're a small market GM. And I'm asking you to be okay with not spending money I don't have. And I'm asking you to take a breath and shake off the loss. And then I'm asking you to get back in a room with your people and figure out how you're going to replace these guys with the money I do have.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Got it?</dialogue> <scene_description>SCHOTT can go from milquetoast to ruthless in a blink and he just did.</scene_description> </scene> <scene> <stage_direction>INT. BILLY'S TRUCK - MOVING - LATER - DAY</stage_direction> <scene_description>Billy's on his cell again as he crosses the Bay Bridge.</scene_description> <character>BILLY</character> <dialogue>Scott. Billy.</dialogue> <character>BORAS V/O</character> <dialogue>What was that beep?</dialogue> <character>BILLY</character> <dialogue>It's just my phone, it's about to die, but this'll be quick - listen - I'm losing my favorite prospects, but I got you the seven point five.</dialogue> <character>BORAS V/O</character> <dialogue>That's great. I'll get right back to (you) -</dialogue> <character>BILLY</character> <dialogue>No. No, you won't. I got it for you and we're done. Damon stays in Oakland.</dialogue> <character>BORAS V/O</character> <dialogue>Billy - I have to talk to Johnny - obviously. It's my fiduciary (duty) -</dialogue> <character>BILLY</character> <dialogue>Whose number is that - seven point five. Mine?</dialogue> <character>BORAS V/O</character> <dialogue>No, it's mine -</dialogue> <character>BILLY</character> <dialogue>It's yours. So make your call, but don't play me, Scott. We have a deal. I won't be a stalking horse. The word stays in the - dictionary.</dialogue> </scene> <scene> <stage_direction>INT. BILLY'S HOUSE - DANVILLE - LATER - DAY</stage_direction> <scene_description>The door pushes open and Billy comes in after his very long day. He sets his carry-on bag down. Takes out his dead cell phone and plugs it into a charger. Calls Tara on the land line.</scene_description> <character>BILLY</character> <dialogue>Sorry, hon. I'm gonna need another day.</dialogue> <character>TARA (V.O.)</character> <dialogue>Take your time, do your thing. There are a lot of cute guys here.</dialogue> <character>BILLY</character> <dialogue>You've got my suitcase?</dialogue> <character>TARA (V.O.)</character> <dialogue>No, the airline sent it to Prague.</dialogue> <character>BILLY</character> <parenthetical>(pause)</parenthetical> <dialogue>Why?</dialogue> <character>TARA (V.O.)</character> <dialogue>Well, we left out of Oakland, honey... and I think the baggage handlers knew it was yours.</dialogue> <character>BILLY</character> <parenthetical>(beat, can this get any worse?)</parenthetical> <dialogue>Okay.</dialogue> <scene_description>Billy's cell phone rings --</scene_description> <character>BILLY</character> <dialogue>I gotta take this.</dialogue> <character>TARA (V.O.)</character> <dialogue>Wish you weren't insane. Miss you.</dialogue> <scene_description>She hangs up. Billy hangs up and switches to his cell --</scene_description> <character>BILLY</character> <dialogue>Yeah.</dialogue> <character>BORAS (V.O.)</character> <dialogue>Billy. Scott. I just got off the phone with Dan.</dialogue> <character>BILLY</character> <dialogue>No, you didn't.</dialogue> <character>BORAS (V.O.)</character> <dialogue>Yeah, I was surprised he even called me. Because he had said --</dialogue> <character>BILLY</character> <dialogue>No, I have Johnny for seven-point-five or he's not playing anywhere, because that's the deal --</dialogue> <character>BORAS (V.O.)</character> <dialogue>Boston just upped it to seven-seven-five.</dialogue> <scene_description>Billy's hand is already in motion to smash the phone, but in a herculean feat of self disciple, he manages to restrain himself before impact.</scene_description> <character>BORAS (V.O.)</character> <dialogue>You there?</dialogue> <character>BILLY</character> <dialogue>We had a deal.</dialogue> <character>BORAS (V.O.)</character> <dialogue>We have a deal. If it's eight million.</dialogue> <character>BILLY</character> <dialogue>Why am I the ugliest girl at the dance, Scott? Why do I get the feeling I'm always gonna be a quarter million short?</dialogue> <character>BORAS (V.O.)</character> <dialogue>I'm just doing my job for my client. That's all I'm doing.</dialogue> <character>BILLY</character> <dialogue>No, you played me. And you're playing me now. Congratulations, asshole. You win.</dialogue> <scene_description>Billy hangs up on him. CUT TO: 12-14 OMITTED 1</scene_description> </scene> <scene> <stage_direction>INT. OAKLAND COLISEUM - SCOUTING ROOM - PRESENT DAY</stage_direction> <scene_description>Billy and his scouting department - ten men older than him - all former players and tobacco chewers still, each with his own can of Copenhagen and wastebasket - sitting around a large underground cinder block "war room" whose most extravagant appointment is a Mr. Coffee. Two large white-boards dominate a wall, covered with magnetic strips with players' names on them. On the left board - every player in the A's organization. On the other, even larger board - every player that may be of interest to them from the other organizations. It's the most complex chess board you will ever see. But what can be easily discerned are the obvious holes in the A's team - the star players they are about to lose - their names set apart from the positions they're vacating: Jason Giambi (1B), Johnny Damon (CF), Jason Isringhausen (RP).</scene_description> <character>GRADY</character> <dialogue>Alright, guys... we had a great year. We won 102 games and we only came a buck short in New York. Now the bad news... we've got three big holes to fill.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Let's start with who we like for Giambi. We'll go around the room. Who you like, Matty?</dialogue> <character>KEOUGH</character> <dialogue>I like Geronimo.</dialogue> <parenthetical>(approval from the other scouts)</parenthetical> <dialogue>Guy's an athlete. This guy is big, fast and talented.</dialogue> <character>GEORGE</character> <dialogue>Six foot four.</dialogue> <character>PITTARO</character> <dialogue>Top of my list.</dialogue> <character>POTE</character> <dialogue>Clean cut, good face.</dialogue> <character>ARTIE</character> <dialogue>Good jaw. He's the real deal.</dialogue> <character>GEORGE</character> <dialogue>Five tools, good lookin'.</dialogue> <character>BILLY</character> <dialogue>Can he hit?</dialogue> <character>KEOUGH</character> <dialogue>He's a tools guy.</dialogue> <character>BILLY</character> <dialogue>Can he hit?</dialogue> <character>KEOUGH</character> <dialogue>He's got a great swing. Natural swing.</dialogue> <character>BILLY</character> <dialogue>So you're saying he can't hit.</dialogue> <character>KEOUGH</character> <dialogue>He can hit.</dialogue> <character>BARRY</character> <dialogue>The ball explodes off his bat.</dialogue> <character>ARTIE</character> <dialogue>It's exciting. When he hits it sounds like he's droppin' a firecracker at his feet.</dialogue> <character>PITTARO</character> <dialogue>Down in the pisser you can hear that sound.</dialogue> <character>BARRY</character> <dialogue>Sounds like Mays, Mantle, Aaron...</dialogue> <character>BILLY</character> <dialogue>That's not what I asked. I asked can he hit.</dialogue> <character>KEOUGH</character> <dialogue>He's a good hitter.</dialogue> <character>BILLY</character> <dialogue>If he's a good hitter, why doesn't he hit good?</dialogue> <character>KEOUGH</character> <dialogue>He needs a little work. He'll be able to hit. He could be a great hitter.</dialogue> <character>BILLY</character> <dialogue>Right... we put him up against big league competition and suddenly he'll be able to hit.</dialogue> <scene_description>Grady moves on --</scene_description> <character>GRADY</character> <dialogue>Artie, who do we like?</dialogue> <scene_description>Billy backs off, incredulous as the scouts prattle on --</scene_description> <character>ARTIE</character> <dialogue>I like Perez. He swings like a man.</dialogue> <character>KEOUGH</character> <dialogue>He swings like a man who swings at too much.</dialogue> <character>ARTIE</character> <dialogue>There's some work needs to be done. I admit it. He needs to be reworked a little. But he's noticeable.</dialogue> <character>GRADY</character> <dialogue>He's notable?</dialogue> <character>ARTIE</character> <dialogue>No, he's noticeable. You notice him.</dialogue> <character>KEOGH</character> <dialogue>He's got an ugly girlfriend.</dialogue> <character>BARRY</character> <dialogue>What's that mean?</dialogue> <character>KEOGH</character> <dialogue>Ugly girlfriend means no confidence.</dialogue> <character>BARRY</character> <dialogue>Alright. That's true.</dialogue> <character>PITTARO</character> <dialogue>I agree with Art. I like the way he walks into a room. Kid's so confident his dick gets there two minutes before he does.</dialogue> <character>GEORGE</character> <dialogue>Passes the eye candy test. He's got the looks, he's ready to play the part. He just needs some playing time.</dialogue> <character>KEOUGH</character> <dialogue>I'm just saying, his girlfriend's a 6.</dialogue> <character>BARRY</character> <dialogue>Billy, if you want to talk about another Giambi, this guy could be it.</dialogue> <scene_description>Enough. Billy raises a book above the table, drops it with a dull THUD... STOPPING TRAFFIC.</scene_description> <character>GRADY</character> <dialogue>Is that a suggestion, Billy?</dialogue> <character>BILLY</character> <dialogue>Guys, stop. You're talking like this is business as usual. It's not.</dialogue> <character>GRADY</character> <dialogue>We're trying to solve the problem.</dialogue> <character>BILLY</character> <dialogue>Not like this. You're not even looking at the problem.</dialogue> <character>GRADY</character> <dialogue>We not only have a very clear understanding of the problem we now face, but everyone in this room has faced similar problems countless times before.</dialogue> <character>BILLY</character> <dialogue>Good. What's the problem?</dialogue> <character>GRADY</character> <dialogue>The problem is that we've lost 3 key players that we now have to replace.</dialogue> <character>BILLY</character> <dialogue>Uh-uh. What's the problem?</dialogue> <character>PITTARO</character> <dialogue>The problem is the same as it always is; we've got to put a team together with what we've got.</dialogue> <character>BILLY</character> <dialogue>Uh-uh. What's the problem?</dialogue> <character>BARRY</character> <dialogue>We've got 38 home runs to replace, 120 rbi's, 47 doubles...</dialogue> <character>BILLY</character> <dialogue>Okay, stop. The problem we're trying to solve is that this is an unfair game. There are rich teams, poor teams, 50 feet of crap and then there's us. And now we've been gutted. We're organ donors to the rich. The Red Sox took our kidneys and the Yankees took our heart. And now I'm listening to the same old shit about having a good body and being a tools guy like you're looking for Fabio. Is there another first baseman like Giambi?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Is there?</dialogue> <scene_description>Everyone mumbles "no."</scene_description> <character>BILLY</character> <dialogue>Then stop looking for one because what we'll surely wind up with is the McNuggets version of Giambi.</dialogue> <character>GRADY</character> <dialogue>Look, we're gonna find 25 guys, put 'em through player development, teach 'em how to play Oakland A baseball. This is no time to push the panic button. This is the way we've been doing it for 150 years. Let us do our job.</dialogue> <character>BILLY</character> <dialogue>If we try to play like the Yankees in here, we're not going to be able to play with them out there.</dialogue> <character>GRADY</character> <dialogue>That's fortune cookie wisdom.</dialogue> <character>BILLY</character> <dialogue>No, it's just regular wisdom.</dialogue> <character>POTE</character> <dialogue>Who's Fabio?</dialogue> <character>GRADY</character> <dialogue>Okay, Billy. Clearly you have something on your mind.</dialogue> <character>BILLY</character> <dialogue>Bill James.</dialogue> <character>ARTIE</character> <dialogue>You're not serious?</dialogue> <character>PITTARO</character> <dialogue>We're not playing fantasy baseball, Billy.</dialogue> <character>BARRY</character> <dialogue>Those aren't new ideas, they disproved that years ago.</dialogue> <character>GRADY</character> <dialogue>Bill James was a night security guard at the Stokely Van Camp Pork and Beans Factory.</dialogue> <character>BILLY</character> <dialogue>He thinks differently than anyone in baseball.</dialogue> <character>GRADY</character> <dialogue>He's not in baseball. He's in pork and beans.</dialogue> <character>BILLY</character> <dialogue>Don't attack the man, attack the argument.</dialogue> <character>PITTARO</character> <parenthetical>(to the room)</parenthetical> <dialogue>I think he just won the argument.</dialogue> <scene_description>Chuckles.</scene_description> <character>BILLY</character> <dialogue>What if we've been wrong this whole time about what ingredients manufacture a win? What if this whole time we thought it was the chicken that made the chicken soup taste good when really it was the onions that made the chicken soup taste good? Onions are a lot cheaper than chicken, you see what I'm saying?</dialogue> <character>POTE</character> <dialogue>I don't have the first idea what you're saying.</dialogue> <character>BILLY</character> <dialogue>We gotta start over. We gotta rethink this thing. We gotta look where others aren't looking.</dialogue> <character>GRADY</character> <dialogue>With all due respect, we've been doing this for a long time.</dialogue> <character>BILLY</character> <dialogue>That doesn't mean you're doing it right. Do you watch nature docs? You know what happens to the runt of the litter? He dies. I'm open to any solution, as long as it's not what the other guys are doing.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Now, I'm going to Cleveland to poach an outfielder named Brandon Garcia --</dialogue> <character>TBD SCOUT</character> <dialogue>Hold on -- You're going to Cleveland for a double-A guy?</dialogue> <character>GRADY</character> <dialogue>Billy, I've seen Garcia. He's got a bad body. It's not a pretty sight.</dialogue> <character>PITTARO</character> <dialogue>Kid wears a large pair of underwear.</dialogue> <character>KEOGH</character> <dialogue>That is a big boy.</dialogue> <character>GRADY</character> <dialogue>He's not just big, but kind of doughy. A fleshy kind of body.</dialogue> <character>BILLY</character> <dialogue>Oh, you mean like Babe Ruth.</dialogue> <character>SCOUTS (UNISON)</character> <dialogue>He's no Babe Ruth.</dialogue> <character>PITTARO</character> <dialogue>When he walks, Billy, his thighs stick together. There's enough friction there to start a bonfire.</dialogue> <character>KEOGH</character> <dialogue>If you saw him, I'm telling you, you wouldn't want to go to Cleveland.</dialogue> <character>BARRY</character> <dialogue>Billy, can I make a suggestion? If you could get Ricardo Rincon... he'd be worth the trip to Cleveland.</dialogue> <character>GEORGE</character> <dialogue>That would solve our left handed reliever problem.</dialogue> <scene_description>Unanimous approval from the scouts --</scene_description> <character>BILLY</character> <dialogue>Really?</dialogue> <character>SCOUTS (UNISON)</character> <dialogue>Yeah.</dialogue> <character>BILLY</character> <dialogue>I should get Rincon?</dialogue> <character>SCOUTS (UNISON)</character> <dialogue>Definitely.</dialogue> <character>BILLY</character> <dialogue>Okay. I'll also come back with Joe DiMaggio and Ty Cobb. And who would like a Fabergé egg? Guys, you aren't hearing me -- in what universe can we afford Rincon?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I'm asking you guys to look at this game differently than you've ever looked at it before. I'm going to Cleveland.</dialogue> <character>BILLY</character> <dialogue>And when I come back, I want you to tell me something I don't already know. I want to question everything. We've got to rethink this game.</dialogue> <scene_description>As he exits --</scene_description> <character>BILLY</character> <dialogue>And Grady? Nobody cares about a 102 win season.</dialogue> <scene_description>Billy storms out.</scene_description> <character>KEOUGH</character> <dialogue>What's a Fabergé egg?</dialogue> </scene> <scene> <stage_direction>A16 EXT. HIGH SCHOOL BASEBALL FIELD - DAY - FLASHBACK - 1980</stage_direction> <scene_description>CRACK! A ball sails well over the heads of the SCOUTS in the outfield who are shagging the batting practice flies. The KIDS in the parking lot have seen Billy play before and so know just how far back to stand in order to shag a ball. BILLY's at the plate, crushing pitches from a pitching machine. CRACK!--he sends another one sailing over the heads of the cluster of scouts. CRACK! CRACK! CRACK! BILLY, tanned and glistening with sweat, looks over to see THREE GIRLS watching him from behind the backstop. They're looking at him like he's Elvis and BILLY tries to nonchalant it but can't help a small smile to himself before--</scene_description> <character>CRACK!</character> <dialogue>CRACK! CRACK!</dialogue> <character>SABATINI</character> <dialogue>This is the guy.</dialogue> <character>MARTINEZ</character> <dialogue>He's got a great path. I love the extension in his swing and the backspin he creates.</dialogue> <character>SABATINI</character> <dialogue>That's some amazing power right there, huh?</dialogue> <character>MARTINEZ</character> <dialogue>Good approach, great balance. How's he compare to the others around the country?</dialogue> <character>SABATINI</character> <dialogue>He's number one. Let's just hope he's still there when we pick.</dialogue> <character>MARTINEZ</character> <dialogue>This guy'll go in the first round.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>B16 EXT. HIGH SCHOOL BASEBALL FIELD - DAY - 1980 B1</stage_direction> <scene_description>The scouts put the players through their paces -- sprinting, fielding... CUT TO:</scene_description> </scene> <scene> <stage_direction>C16 EXT. DUGOUT STEPS - DAY - 1980 C1</stage_direction> <scene_description>SABATINI and MARTINEZ are talking to BILLY, who's toweling off and is still a little aware of all the people who are standing nearby to watch the birth of a star.</scene_description> <character>SABATINI</character> <dialogue>Billy. I'm Sabatini, Area Scout, New York Mets. Can we get a couple minutes of your time, find out more about you?</dialogue> <character>BILLY</character> <dialogue>Of course.</dialogue> <character>SABATINI</character> <dialogue>I'd like to introduce you to Tom Martinez.</dialogue> <character>MARTINEZ</character> <dialogue>Very impressive performance today. In my job as the national cross-checker for the New York Mets, I see the top 200 players in the United States. It's been a while since I've seen a five tools guy, the complete package. Your throwing ability, your fielding skills... Ed told me you had power but I had no idea it was of the light tower variety. I hope you're as interested in professional baseball as we are in acquiring you in the upcoming draft.</dialogue> <character>BILLY</character> <dialogue>Well, sir, I'd need to talk it out with my parents, decide if baseball is something I want to do full time. I have a scholarship to play football at Stanford.</dialogue> <character>MARTINEZ</character> <dialogue>Well, Billy, we're certainly looking forward to meeting your folks and talking to them as well. And we believe in college, but that's something you can do in the winter months. You need to know the sky's the limit with your ability. You could be a superstar before you've even graduated. But to get to that level, you need to work with our people. Pro-ball is where you need to be to develop the skills God gave you.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. RECEPTION - INDIANS CORPORATE OFFICES - DAY</stage_direction> <scene_description>Unlike the A's, this is a franchise that can spend actual money on players, and on nice lobby furniture, which is where Billy sits, staring at a classic baseball photo that hangs in the lobby.</scene_description> <character>ASSISTANT</character> <dialogue>Mr. Beane? Mark's ready to see you now.</dialogue> <scene_description>17 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. MARK SHAPIRO'S OFFICE - CLEVELAND - DAY</stage_direction> <scene_description>Billy's counterpart in Cleveland--Indians General Manager MARK SHAPIRO--35 and about three weeks into the job--sits behind his desk in a tie and shirt sleeves like Billy. Joining them in the room are FOUR OTHERS, including PETER BRAND.</scene_description> <character>SHAPIRO</character> <dialogue>So Billy, what are you looking for?</dialogue> <character>BILLY</character> <dialogue>50 million in additional payroll.</dialogue> <character>SHAPIRO</character> <dialogue>Try Giambi.</dialogue> <character>BILLY</character> <dialogue>Ouch.</dialogue> <character>SHAPIRO</character> <dialogue>120 million.</dialogue> <character>BILLY</character> <dialogue>I should've been a hitter.</dialogue> <character>SHAPIRO</character> <dialogue>Where's Steve in all this?</dialogue> <character>BILLY</character> <dialogue>Supportive. Excited about rebuilding the team.</dialogue> <character>SHAPIRO</character> <dialogue>Bonds is available.</dialogue> <character>BILLY</character> <dialogue>Yeah, how do I afford the rest of the field?</dialogue> <character>SHAPIRO</character> <dialogue>So what are you looking for? I want to help out.</dialogue> <character>BILLY</character> <dialogue>I guess you've touched the bottom of the sports industry when your opponent is offering you--</dialogue> <character>SHAPIRO</character> <dialogue>Billy--</dialogue> <character>BILLY</character> <dialogue>I need a lefty reliever and I want Ricardo Rincon.</dialogue> <character>SHAPIRO</character> <dialogue>Not going to happen.</dialogue> <character>BILLY</character> <dialogue>Not even a discussion?</dialogue> <character>SHAPIRO</character> <dialogue>Come on Billy, even if you could afford him we're not about to let him go.</dialogue> <character>BILLY</character> <dialogue>Why's that? You've got the Venezuelan kid in North Carolina you're bringing up.</dialogue> <character>SHAPIRO</character> <dialogue>We dished him to Detroit. Keep up.</dialogue> <character>BILLY</character> <dialogue>Well there goes my other idea.</dialogue> <character>SHAPIRO</character> <dialogue>What else you thinking Billy?</dialogue> <character>BILLY</character> <dialogue>You have any outfielders I should be looking at?</dialogue> <character>SHAPIRO</character> <dialogue>To replace Damon?</dialogue> <character>BILLY</character> <dialogue>Yeah.</dialogue> <character>SHAPIRO</character> <dialogue>That's a tough one Billy.</dialogue> <character>BILLY</character> <dialogue>Yeah. Who do you got?</dialogue> <character>SHAPIRO</character> <dialogue>The guys you might be able to afford? Hollins, Garcia... Coste.</dialogue> <character>BILLY</character> <dialogue>Tell me about Garcia.</dialogue> <character>SHAPIRO</character> <dialogue>To replace Damon?!</dialogue> <character>BILLY</character> <dialogue>Is he healthy?</dialogue> <character>SHAPIRO</character> <dialogue>He had a back thing, some minor surgery, but he's okay. Petey?</dialogue> <character>PETEY</character> <dialogue>He'll be good by Spring Training.</dialogue> <character>BILLY</character> <dialogue>He'll do. I can give you Guthrie for him if you kick in some cash.</dialogue> <character>SHAPIRO</character> <dialogue>Mark Guthrie?</dialogue> <scene_description>As Shapiro and gang review Guthrie's stats, Billy notices Peter whispering to the guy next to him. Shapiro looks around the room at the guys who don't object.</scene_description> <character>SHAPIRO</character> <dialogue>How much are you thinking?</dialogue> <character>BILLY</character> <dialogue>200 K.</dialogue> <scene_description>BRUCE approaches Shapiro and whispers and steps away.</scene_description> <character>SHAPIRO</character> <dialogue>Sorry about that. So... Garcia is going to be a no. What else are you thinking about?</dialogue> <character>BILLY</character> <dialogue>Let's make it work, I'll go straight up with you, Garcia for Guthrie, no kicker.</dialogue> <scene_description>Shapiro looks to Bruce, Peter is covering his mouth with his hand but we can just barely hear him whisper the word 'no'. Bruce subtly shakes his head to Mark.</scene_description> <character>SHAPIRO</character> <dialogue>Sorry Billy, who else you interested in?</dialogue> </scene> <scene> <stage_direction>INT. INDIANS CORPORATE OFFICES - DAY</stage_direction> <scene_description>Peter sits at his cubicle absorbed in his computer until he notices Billy hovering over him.</scene_description> <character>BILLY</character> <dialogue>Hey.</dialogue> <character>PETER</character> <dialogue>Hi.</dialogue> <character>BILLY</character> <dialogue>Who are you?</dialogue> <character>PETER</character> <dialogue>My name is Peter Brand.</dialogue> <character>BILLY</character> <dialogue>What do you do?</dialogue> <character>PETER</character> <dialogue>I'm special assistant to Mark Shapiro.</dialogue> <character>BILLY</character> <dialogue>So what do you do?</dialogue> <parenthetical>(pointing at co- worker)</parenthetical> <dialogue>Hey, mind your own business.</dialogue> <parenthetical>(he does)</parenthetical> <dialogue>What do you do?</dialogue> <character>PETER</character> <dialogue>Mostly player evaluation right now.</dialogue> <character>BILLY</character> <dialogue>Why does Mark listen to you?</dialogue> <character>PETER</character> <dialogue>Actually he rarely does.</dialogue> <character>BILLY</character> <dialogue>He just did.</dialogue> <character>PETER</character> <dialogue>I don't think he was really listening to me in there per se.</dialogue> <character>BILLY</character> <dialogue>Really?</dialogue> <character>PETER</character> <dialogue>Yeah, I think he was listening to Bruce.</dialogue> <character>BILLY</character> <dialogue>Who are you?</dialogue> <character>PETER</character> <dialogue>Peter Brand.</dialogue> <character>BILLY</character> <dialogue>I don't give a rat's ass about your name.</dialogue> <scene_description>Nothing from Peter.</scene_description> <character>BILLY</character> <dialogue>What happened in there?</dialogue> <character>PETER</character> <dialogue>I'm not sure what you're asking me.</dialogue> <character>BILLY</character> <dialogue>What did you tell Butch?</dialogue> <character>PETER</character> <dialogue>Huh? Oh Bruce? I told him I like Garcia.</dialogue> <character>BILLY</character> <parenthetical>(beat)</parenthetical> <dialogue>Why?</dialogue> <character>PETER</character> <parenthetical>(beat)</parenthetical> <dialogue>Probably for the same reasons you do.</dialogue> <character>BILLY</character> <dialogue>Meaning what?</dialogue> <character>PETER</character> <dialogue>He's undervalued. You were smart to go after him.</dialogue> <character>BILLY</character> <parenthetical>(long beat)</parenthetical> <dialogue>What makes him undervalued?</dialogue> <scene_description>Peter is stuck. He can't bring himself to say anything. After a long beat Billy nods to him in a way that seems to say, 'I understand, it's okay'.</scene_description> <character>BILLY</character> <dialogue>Come on.</dialogue> <scene_description>Billy makes a strong gesture indicating Peter to follow. Which he does. They exit the offices into</scene_description> </scene> <scene> <stage_direction>INT. A VAST PARKING STRUCTURE - CONTINUOUS</stage_direction> <character>BILLY</character> <dialogue>Where you from Peter?</dialogue> <character>PETER</character> <dialogue>Maryland.</dialogue> <character>BILLY</character> <dialogue>Where did you go to school?</dialogue> <character>PETER</character> <dialogue>Yale.</dialogue> <character>BILLY</character> <dialogue>I hate Yale.</dialogue> <character>PETER</character> <dialogue>Why?</dialogue> <character>BILLY</character> <dialogue>Kid from Yale once blocked a trade I was trying to make. What'd you study?</dialogue> <character>PETER</character> <dialogue>Economics.</dialogue> <character>BILLY</character> <dialogue>What are you doing in baseball?</dialogue> <character>PETER</character> <dialogue>I love baseball.</dialogue> <character>BILLY</character> <dialogue>I'm just curious. Why were you so cagey in there?</dialogue> <character>PETER</character> <dialogue>I work for a different team.</dialogue> <character>BILLY</character> <dialogue>I know, but I'm the first person in baseball who's ever talked to you this long. Right? Why is Garcia undervalued?</dialogue> <character>PETER</character> <dialogue>Okay, truthfully, it might not be so easy to explain.</dialogue> <character>BILLY</character> <dialogue>Really? Why's that Peter?</dialogue> <character>PETER</character> <dialogue>We might not see the game the same way.</dialogue> <character>BILLY</character> <dialogue>Oh really? What do you mean by that?</dialogue> <character>PETER</character> <dialogue>You've spent your life in baseball and I don't have a very traditional view of the game.</dialogue> <character>BILLY</character> <dialogue>Hey Pete, just say it. I'm not about to beat you up. Say what you've always wanted to say to a GM.</dialogue> <character>PETER</character> <dialogue>Baseball thinking is medieval. It's stuck in the Dark Ages. I have a more scientific view of the game.</dialogue> <character>BILLY</character> <dialogue>Keep going, Peter.</dialogue> <character>PETER</character> <dialogue>There is an epidemic failure within the game to understand what's really happening. And it leads people who run major league teams to misjudge their players and mismanage their teams.</dialogue> <dialogue>They're still asking the wrong questions. People who run baseball teams still think in terms of buying players. Sorry to say that.</dialogue> <character>BILLY</character> <dialogue>Peter, don't apologize for what you believe.</dialogue> <character>PETER</character> <dialogue>The goal shouldn't be to buy players, what you want to buy is wins. To buy wins, you buy runs. You're trying to replace Johnny Damon. The Red Sox look at Johnny Damon and they see a star worth seven point five million a year. When I look at Johnny Damon, I see an imperfect understanding of where runs come from.</dialogue> <scene_description>SUDDEN CUT TO: ARCHIVAL VIDEO: The back of Johnny Damon's A's jersey as he walks to the plate to adoring Oakland fans.</scene_description> <character>PETER V/O</character> <dialogue>His batting average is ignorable. What matters is his on base percentage-</dialogue> <scene_description>DAMON swings at the first pitch and knocks it into left field for a single. He leads off first--</scene_description> <character>PETER V/O</character> <dialogue>- which in 2001 was .324. That's 10 points lower than league average, and 17 points lower than Garcia's.</dialogue> <scene_description>On the next pitch, DAMON takes off for second--</scene_description> <character>PETER V/O</character> <dialogue>True, he stole some bases. But attempted steals in general have to succeed 70% of the time before they even start to contribute to run totals. In 2001 he cost you runs.</dialogue> <scene_description>DAMON's tagged out at second. BACK TO THE GARAGE</scene_description> <character>PETER</character> <dialogue>He's got a good glove. He's a decent leadoff hitter. He steals bases. But he's not worth the seven point five million Boston is paying him. You're lucky to have him off your payroll, it opens all kinds of interesting possibilities.</dialogue> <character>BILLY</character> <dialogue>You read Bill James, Pete?</dialogue> <character>PETER</character> <dialogue>Yes. These ideas and this approach to the game aren't all new. In fact, some of them have been around for two decades.</dialogue> <character>BILLY</character> <dialogue>If this approach has been around for so long, why isn't anybody in baseball doing them?</dialogue> <character>PETER</character> <dialogue>That's a much more difficult question than how to win baseball games. Once you begin to pull at that string, your understanding of the world might begin to unravel.</dialogue> <scene_description>The elevator door closes.</scene_description> </scene> <scene> <stage_direction>INT. AIRPLANE - NIGHT</stage_direction> <scene_description>Billy's in coach, staring at the night through the window, lost in thought.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE - SAN DIEGO - DAY - 1980</stage_direction> <scene_description>Billy's mother and father escort Martinez and Mets Head Scout Roger Jongewaard into the kitchen.</scene_description> <character>MOTHER</character> <dialogue>Billy? They're here.</dialogue> <character>JONGEWAARD</character> <dialogue>Billy... Good to see you again. Obviously you're a very special player. We'd like to compliment you on your high school career, and we're looking forward to you being a part of the Mets family.</dialogue> <scene_description>Jongewaard sits at the kitchen table, speaking more to Billy's parents than Billy himself --</scene_description> <character>JONGEWAARD</character> <dialogue>There's good -- and there's premium. Your son is premium. He has it all -- power, speed, the arm. The Look -- and I'm never wrong about that. Which is why this is a premium number.</dialogue> <scene_description>He sets a contract on the table. Clipped to its top- sheet is a check. On its left-hand corner is the Mets insignia; on the right, the amount: $125,000. They all see it. A lot of money in 1980. Silence. Then --</scene_description> <character>MOTHER</character> <dialogue>Billy's been offered a scholarship to Stanford.</dialogue> <character>JONGEWAARD</character> <dialogue>I know. And that's a great accomplishment. I'm sure you're very proud of him.</dialogue> <character>MOTHER</character> <dialogue>So he can accept that, go there, and then - -</dialogue> <scene_description>Jongewaard is already shaking his head no.</scene_description> <character>JONGEWAARD</character> <dialogue>I understand how important college is. I do. But what I can't do is burn a second first-round draft pick on someone who can't play for four years -- no matter how good he is. Four years is ample time for someone to get hurt. It happens all the time. So, no. I'm sorry. It has to be one or the other. To postpone four years is four years he could be in big leagues. The sooner he gets there the sooner he can reap the benefits.</dialogue> <scene_description>Stanford or The Money. Young Billy regards the check, and then his parents. He really doesn't know what to do.</scene_description> <character>JONGEWAARD</character> <dialogue>We're going to give him a different kind of education. This won't be his life's career, it'll be his first career. He's going to be a young guy in the business world when his baseball career is done. He'll still have his whole life ahead of him.</dialogue> <character>FATHER</character> <dialogue>It's your decision, Billy. Whatever you decide is fine with us.</dialogue> </scene> <scene> <stage_direction>INT. BILLY'S HOUSE - NIGHT</stage_direction> <scene_description>BILLY's looking out his window while holding his cordless phone. He's dialed the numbers in and just has to hit the green button. And now he does.</scene_description> </scene> <scene> <stage_direction>INT. PETER'S APARTMENT - SAME TIME</stage_direction> <scene_description>PETER's ringing cell phone wakes him up and he answers it.</scene_description> <character>PETER</character> <dialogue>Hello?</dialogue> <character>BILLY</character> <dialogue>It's Billy Beane.</dialogue> <character>PETER</character> <dialogue>What time is it?</dialogue> <character>BILLY</character> <dialogue>I don't care. Would you have drafted me in the first round?</dialogue> <character>PETER</character> <dialogue>What?</dialogue> <character>BILLY</character> <dialogue>After I left you ran me through your computer, right? Would you have drafted me in the first round?</dialogue> <character>PETER</character> <dialogue>You were a good baseball player.</dialogue> <character>BILLY</character> <dialogue>Would you have drafted me in the first round?</dialogue> <character>PETER</character> <parenthetical>(pause)</parenthetical> <dialogue>I'd have drafted you in the ninth round. No signing bonus. You'd have passed and gone to Stanford.</dialogue> <character>BILLY</character> <dialogue>Pack your suitcases.</dialogue> <character>PETER</character> <dialogue>Why?</dialogue> <character>BILLY</character> <dialogue>I just bought you from the Cleveland Indians.</dialogue> <scene_description>BILLY hangs up the phone. He sits all alone for a moment.</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM - MORNING</stage_direction> <scene_description>MONTAGE: Peter pulls into the parking lot for his first day of work, takes in the sight of the colossal, concrete relic that is the Oakland Coliseum. He's just in time to see a paint roller on a long pole laying a white stripe down the middle of Jason Giambi's giant portrait. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. PETER'S OFFICE - NIGHT</stage_direction> <scene_description>PETER's completely converted the place. The dry erase boards are covered with undecipherable equations, algorithms and numbers and PETER, who's pretty tired now after not a lot of sleep, is in the middle of this. This is what BILLY sees when he walks into the doorway, where he slows down, stops and looks around blankly.</scene_description> <character>BILLY</character> <dialogue>Good evening.</dialogue> <character>PETER</character> <dialogue>Good evening.</dialogue> <character>BILLY</character> <dialogue>I asked you to do three.</dialogue> <character>PETER</character> <dialogue>Yes.</dialogue> <character>BILLY</character> <dialogue>To evaluate three available players.</dialogue> <character>PETER</character> <dialogue>Yeah.</dialogue> <character>BILLY</character> <dialogue>And how many did you do?</dialogue> <character>PETER</character> <dialogue>BILLY</dialogue> <scene_description>Okay--</scene_description> <character>PETER</character> <dialogue>51, I don't know why I lied just then.</dialogue> <character>BILLY</character> <dialogue>Talk me through the wall.</dialogue> <scene_description>PETER gets up and gives BILLY a tour of the dry erase boards.</scene_description> <character>PETER</character> <dialogue>This is the American League West. This year we're going to need to win between 97 and 101 games to make the post season. Here's the number of runs we'll need to score in order to win those games and here's the number of runs we can allow.</dialogue> <character>BILLY</character> <dialogue>Let's make sure we're on the same page.</dialogue> <character>PETER</character> <dialogue>Okay.</dialogue> <character>BILLY</character> <dialogue>We're going to re-think baseball.</dialogue> <character>PETER</character> <dialogue>Yes.</dialogue> <character>BILLY</character> <dialogue>Look for an inefficiencies in statistics.</dialogue> <character>PETER</character> <dialogue>Examine the ways that runs are scored and prevented.</dialogue> <character>BILLY</character> <dialogue>Exploit the fact that unspectacular runs are just as valuable as 450-foot bombs.</dialogue> <character>PETER</character> <dialogue>Unspectacular runs are more valuable.</dialogue> <character>BILLY</character> <dialogue>Why?</dialogue> <character>PETER/BILLY</character> <parenthetical>(simultaneously)</parenthetical> <dialogue>Because they cost less.</dialogue> <character>BILLY</character> <dialogue>We believe there's a river that hasn't been fished.</dialogue> <character>PETER</character> <dialogue>We know it for sure.</dialogue> <character>BILLY</character> <dialogue>And because players have been overlooked because they don't rise to the standards of traditional baseball thinking, we believe that in this river, there are fish...fish who--</dialogue> <parenthetical>(BILLY lost it)</parenthetical> <dialogue>Help me with--</dialogue> <character>PETER</character> <dialogue>Forget the fish. In this room is every available player at every level of professional baseball, and somewhere in that group are 25 players that everyone has else has thrown out.</dialogue> <character>PETER</character> <dialogue>An island of misfit toys. In this room is a championship team that we can afford.</dialogue> <character>BILLY</character> <dialogue>Yes. But let me ask you this. If our theory is right--</dialogue> <character>PETER</character> <dialogue>Math isn't a theory.</dialogue> <character>BILLY</character> <dialogue>If it's right--</dialogue> <character>PETER</character> <dialogue>It's right.</dialogue> <character>BILLY</character> <dialogue>It sounds right.</dialogue> <character>PETER</character> <dialogue>It is right.</dialogue> <character>BILLY</character> <dialogue>If math isn't a theory--</dialogue> <character>PETER</character> <dialogue>It isn't.</dialogue> <character>BILLY</character> <dialogue>I'm gonna punch you in the kidneys if you don't let me finish a sentence.</dialogue> <character>PETER</character> <dialogue>Sorry.</dialogue> <character>BILLY</character> <dialogue>If this is right, why isn't everybody doing it? In fact, why isn't anybody doing it?</dialogue> <character>PETER</character> <dialogue>Somebody once said, "It's not what you don't know that worries me it's what you know for sure that's got me scared." In the mid-19th Century in Budapest there was an incredibly high instance of mothers dying shortly after childbirth from a disease called puerperal fever.</dialogue> <scene_description>35%.</scene_description> <character>BILLY</character> <dialogue>Make this story less boring as soon as you can.</dialogue> <character>PETER</character> <dialogue>A doctor named Semmelweiss showed that if the attending physicians and nurses sterilized their hands before delivery, the mortality rate dropped to 1%.</dialogue> <character>BILLY</character> <dialogue>And he was vilified?</dialogue> <character>PETER</character> <dialogue>He was institutionalized. For suggesting that washing your hands before putting them inside someone else's body was a good idea. High functioning people can live under the spell of an inexplicable mental lapse when they think as a group. Why isn't anybody else doing it? Because they don't think guys who look like you are what win baseball games. They know it for sure.</dialogue> <character>BILLY</character> <parenthetical>(pause)</parenthetical> <dialogue>Alright, let's find our team.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. VIDEO ROOM - DAY</stage_direction> <scene_description>Peter schleps his computer stuff. Sets up, plugs in, fires up. Turns an unused room into a war room with dry erase boards and computers. He installs software in the video room computer, works on a computer in his room, prints two pages of data and reviews. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BILLY'S OFFICE - NIGHT</stage_direction> <scene_description>Peter enters and hands the two pages to Billy. Billy reviews, stands, then slowly paces as he reads. Peter stands and watches. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM - NIGHT</stage_direction> <scene_description>From somewhere in the outfield, we have a wide view of the darkened stadium and Billy's office, which, unlike the others, is illuminated. We can just discern Billy's silhouette as he continues to slowly pace and study. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. OAKLAND COLISEUM - DAY</stage_direction> <scene_description>Billy and Peter walk down a long, subterranean corridor. Peter carries a laptop and a slim notebook.</scene_description> <character>BILLY</character> <dialogue>Nervous?</dialogue> <character>PETER</character> <dialogue>No??</dialogue> <character>BILLY</character> <dialogue>Huh. Interesting.</dialogue> <scene_description>Peter doesn't know what to make of that.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY OUTSIDE SCOUTING ROOM - CONTINUOUS</stage_direction> <scene_description>As they near the scouting room, Billy sees ART HOWE waiting for him outside it.</scene_description> <character>BILLY</character> <dialogue>Hey, Art.</dialogue> <character>ART</character> <dialogue>Can I talk to you a second before you get started.</dialogue> <character>BILLY</character> <dialogue>I got a lot to do.</dialogue> <character>ART</character> <dialogue>I know.</dialogue> <scene_description>Whatever it is, Billy knows it can't be as dire as his other problems, but also knows that to ignore Art would be to insult him. He gestures for Peter to go into the scouting room alone. He'd rather not, but does. The scouts, assuming perhaps he's there to make coffee, ignore him. He finds a place to sit in a corner.</scene_description> <character>ART</character> <dialogue>Who's the kid?</dialogue> <character>BILLY</character> <dialogue>That's Peter.</dialogue> <character>ART</character> <dialogue>I can't manage this team under a one-year contract.</dialogue> <character>BILLY</character> <dialogue>Sure you can.</dialogue> <character>ART</character> <dialogue>No I can't.</dialogue> <character>BILLY</character> <dialogue>I've got to put a team on the field, then I'll deal with your contract.</dialogue> <character>ART</character> <dialogue>How about you deal with the manager's contract and then put a team on the field?</dialogue> <character>BILLY</character> <dialogue>At the moment, if a ground ball is hit to first base, nobody's going to be there to stop it from rolling.</dialogue> <character>ART</character> <dialogue>I have to tell you it's not easy doing what I do under the cloud of a one-year contract.</dialogue> <character>BILLY</character> <dialogue>I know. I been there.</dialogue> <character>ART</character> <dialogue>I know you have. And a 1-year contract says the same thing to a manager as it does to a player: There's not a lot of faith there. Which is strange after a 102-win season.</dialogue> <character>BILLY</character> <dialogue>If you lose the last one of the season nobody gives a shit about the others.</dialogue> <character>ART</character> <dialogue>It's on me now?</dialogue> <character>BILLY</character> <dialogue>It's on me, Art!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And the kid's the new assistant general manager.</dialogue> <character>ART</character> <parenthetical>(pause)</parenthetical> <dialogue>What the fuck are you about to do?</dialogue> <scene_description>BILLY doesn't answer the question, just walks into the-</scene_description> </scene> <scene> <stage_direction>INT. SCOUTING ROOM - DAY</stage_direction> <scene_description>-and ignoring Peter - who has tried to inconspicuously plant himself in a corner - pulls up a chair to receive his scouts' report - which Grady, as always, will lead. Art wanders off.</scene_description> <character>GRADY</character> <dialogue>How did it go in Cleveland?</dialogue> <character>BILLY</character> <dialogue>It was cold.</dialogue> <scene_description>The news bothers no one.</scene_description> <character>GRADY</character> <dialogue>Let's get after our relief pitching problem.</dialogue> <character>BILLY</character> <dialogue>We got Chad Bradford. Right-hander.</dialogue> <scene_description>Few, if any of them, have heard of Bradford and begin leafing through their printouts and notes.</scene_description> <character>GRADY</character> <dialogue>Submariner?</dialogue> <character>BILLY</character> <dialogue>That's the one. Technically an underhander.</dialogue> <character>GRADY</character> <dialogue>What's his velocity?</dialogue> <character>BILLY</character> <dialogue>Unimpressive.</dialogue> <character>ARTIE</character> <dialogue>About 85.</dialogue> <character>GRADY</character> <dialogue>Does he have a good breaking ball?</dialogue> <character>BILLY</character> <dialogue>Doesn't have one.</dialogue> <character>GRADY</character> <dialogue>Why do you like this guy?</dialogue> <character>BILLY</character> <dialogue>Well, he gets people out.</dialogue> <character>ARTIE</character> <dialogue>The left-hander hitters get a really good look at him.</dialogue> <character>GRADY</character> <dialogue>He's down there. He's down there real low, too.</dialogue> <character>BILLY</character> <dialogue>Let's move on.</dialogue> <scene_description>The scouts aren't sure what to say, and so say nothing. Eventually -</scene_description> <character>GRADY</character> <dialogue>Well, we, I think, have fared better. We have some ideas for what to do about Giambi.</dialogue> <character>BILLY</character> <dialogue>Knock me down.</dialogue> <character>GRADY</character> <dialogue>We trade power for speed. A rabbit for a gorilla - We go for an overachiever. A big heart in the last year his contract. Tend to play hard. We usually get a pretty good year out of them. Make up for some of the offense we lost.</dialogue> <parenthetical>(puts more names up)</parenthetical> <dialogue>Or the other option. Just a thought. We go for a high-maintenance guy. A guy that's a little difficult but talented. A guy like Milton Bradley. Well, not like Milton. Milton himself. Which do you want to talk about first?</dialogue> <character>BILLY</character> <dialogue>None of them.</dialogue> <scene_description>Grady looks like a man who can't take much more.</scene_description> <character>BILLY</character> <dialogue>You're still looking to replace him; you're just saying it another way.</dialogue> <character>BARRY</character> <dialogue>We got some trades here.</dialogue> <character>BILLY</character> <dialogue>We can't do it. What we can do is recreate his value to us in the aggregate.</dialogue> <character>GRADY</character> <dialogue>The (what) -</dialogue> <character>BILLY</character> <dialogue>Giambi's on-base percentage was .477. Damon's was .324. And Olmeda's - bless his heart - was .291. Add that up and you get -</dialogue> <scene_description>He points to Peter.</scene_description> <character>PETER</character> <dialogue>You want me to speak?</dialogue> <character>BILLY</character> <dialogue>When I point at you, yes.</dialogue> <character>PETER</character> <dialogue>Ten-ninety-two.</dialogue> <character>BILLY</character> <dialogue>Divided by three -</dialogue> <character>PETER</character> <dialogue>Three-sixty-four.</dialogue> <character>BILLY</character> <dialogue>That's what we're looking for. And that's what we'll find. Three players whose average OBP is -</dialogue> <character>PETER</character> <dialogue>Three-sixty-four.</dialogue> <character>ARTIE</character> <dialogue>That doesn't come out right.</dialogue> <character>BILLY</character> <dialogue>You gotta carry the one.</dialogue> <character>ARTIE</character> <dialogue>Still don't look right.</dialogue> <character>BILLY</character> <dialogue>It's right.</dialogue> <scene_description>The others aren't sure what confuses them more - the logic, or the guy who shouldn't be in this room.</scene_description> <character>GRADY</character> <dialogue>Billy?</dialogue> <character>BILLY</character> <dialogue>Yes.</dialogue> <character>GRADY</character> <dialogue>Who's that?</dialogue> <character>BILLY</character> <dialogue>That's Peter.</dialogue> <scene_description>And that's all he's going to tell them about Peter.</scene_description> <character>GRADY</character> <dialogue>I don't know how to say this delicately - but does - Peter - need to be here?</dialogue> <character>BILLY</character> <dialogue>Yes.</dialogue> <character>POLONI</character> <dialogue>What's with this on base percentage obsession? Is that Bill James bullshit?</dialogue> <character>BILLY</character> <dialogue>You can call it Billy Beane bullshit for all I care.</dialogue> <scene_description>Billy takes a Marks-A-Lot, jots down three names on strips, and approaches the board.</scene_description> <character>BILLY</character> <dialogue>So here's who we want. One.</dialogue> <scene_description>He puts the first strip up. It reads: JEREMY GIAMBI.</scene_description> <character>BILLY</character> <dialogue>Jason's little brother Jeremy.</dialogue> <character>BARRY</character> <dialogue>He never comes home from the games.</dialogue> <character>POLONI</character> <dialogue>Billy, if I may, he's had his problems on the field -- not to mention his problems off the field -- not to mention he's getting a little thick around the middle -- there's the stuff with the weed. He's at strip joints...</dialogue> <character>GRADY</character> <dialogue>This guy could start the year with an agent and end up with a parole officer for Christ's sake.</dialogue> <character>BILLY</character> <dialogue>His on-base percentage is all we're looking at now and he gets on base an awful lot for someone who only costs $285,000 a year.</dialogue> <character>GEORGE</character> <dialogue>He can't catch a ball in the outfield. I've seen him lose a ball in the moonlight.</dialogue> <scene_description>Billy puts up another name: DAVID JUSTICE.</scene_description> <character>BILLY</character> <dialogue>David Justice.</dialogue> <character>GRADY</character> <dialogue>Ten years ago he was a big name. He's going to really help our season tickets at the beginning of the year. But by June he's not going to be hitting his weight.</dialogue> <character>PITTARO</character> <dialogue>He's 36!</dialogue> <character>ARTIE</character> <dialogue>His legs are gone. He's a defensive liability. I question whether the bat speed is still there.</dialogue> <character>BARRY</character> <dialogue>Steinbrenner is so pissed at his decline he's willing to eat up half his contract to get rid of him.</dialogue> <character>BILLY</character> <dialogue>That's good.</dialogue> <character>HOPKINS</character> <dialogue>He's a fossil. With all due respect, bringing these three guys aboard is like putting bubble gum on a flat tire.</dialogue> <character>GRADY</character> <dialogue>And why do we want to be the ones to bail Justice out of his contract?</dialogue> <scene_description>Billy points at PETER --</scene_description> <character>PETER</character> <dialogue>He gets on base.</dialogue> <character>GRADY</character> <dialogue>I got 37 free agents who are better than those guys.</dialogue> <character>BILLY</character> <dialogue>Scott Hatteberg.</dialogue> <character>POTE</character> <dialogue>Who?</dialogue> <character>BILLY</character> <dialogue>Exactly. Sounds like an Oakland A already. Yes, he's got a little damage in his elbow.</dialogue> <character>GRADY</character> <dialogue>Some damage? He can't throw.</dialogue> <character>BILLY</character> <dialogue>We're not interested in him for his arm anymore than we wanted Giambi for his.</dialogue> <character>GRADY</character> <dialogue>Wait, you're talkin' about Hatteberg at first?</dialogue> <character>BILLY</character> <dialogue>Yes.</dialogue> <character>HOPKINS</character> <dialogue>He's a career .260 hitter and the good part of his career is over.</dialogue> <character>BILLY</character> <dialogue>I say it's just starting.</dialogue> <character>PITTARO</character> <dialogue>Well, Billy, you'll like the sound of this... I hear Boston wants to cut him and no one wants to pick him up.</dialogue> <character>BILLY</character> <dialogue>That's good news for us. He's cheap.</dialogue> <character>GRADY</character> <dialogue>Let me understand this. At first base you want a guy who's been cut from half of the minor league teams in the country due to irreparable nerve damage?</dialogue> <character>BILLY</character> <dialogue>He can't hit and he can't field, but what can he do?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Look at the piece of paper or I'm going to point at Peter.</dialogue> <scene_description>The SCOUTS consult their spreadsheets and then answer half-heartedly--</scene_description> <character>SCOUTS</character> <parenthetical>(half-heartedly)</parenthetical> <dialogue>He can get--</dialogue> <character>BILLY</character> <dialogue>He can get on base.</dialogue> <character>POLONI</character> <dialogue>Alright, so he walks a lot.</dialogue> <character>BILLY</character> <dialogue>He gets on base a lot, Rocco. Do I care if it's a walk or a hit?</dialogue> <character>PETER</character> <dialogue>You do not.</dialogue> <character>POLONI</character> <dialogue>These three players, by your own admission, are defective in one way or another.</dialogue> <character>BILLY</character> <dialogue>Yeah.</dialogue> <character>GRADY</character> <dialogue>You want to replace Jason Giambi with not one but three defective players?</dialogue> <character>BILLY</character> <dialogue>You got it.</dialogue> <character>GRADY</character> <dialogue>Billy, we've all been busting our asses the last six and a half weeks to make this a better ball--</dialogue> <character>BILLY</character> <parenthetical>(cutting him off)</parenthetical> <dialogue>Grady, it's not a discussion.</dialogue> <character>POTE</character> <dialogue>I think we're all losing sight of the fact that you're the general manager. You only have to answer to ownership and God.</dialogue> <character>BILLY</character> <dialogue>I didn't know God followed baseball.</dialogue> <character>POTE</character> <dialogue>I hope he does.</dialogue> <scene_description>Some of the scouts look over in Peter's direction, no doubt wondering if he's had something to do with their general manager's ideas.</scene_description> <character>WASHINGTON</character> <dialogue>Billy, I just don't see it.</dialogue> <character>BILLY</character> <dialogue>That's okay, Wash. We won't be victimized by what we see anymore.</dialogue> <character>WASHINGTON</character> <dialogue>I understand what you're saying about their averages, but there's something you're forgetting. None of them plays first base.</dialogue> <character>BILLY</character> <dialogue>I haven't forgotten that, Wash. One of them is going to have to learn.</dialogue> <character>WASHINGTON</character> <dialogue>Learn.</dialogue> <character>BILLY</character> <dialogue>You're going to have to teach him.</dialogue> <character>WASHINGTON</character> <dialogue>Teach.</dialogue> <character>BILLY</character> <dialogue>Instruct.</dialogue> <character>WASHINGTON</character> <dialogue>Which one?</dialogue> </scene> <scene> <stage_direction>EXT/INT. TACOMA HOUSE - NIGHT</stage_direction> <scene_description>A Christmas tree. Four stockings hang from the mantle. The phone rings. SCOTT HATTEBERG gets up. He looks at it. Looks at his wife. Picks it up.</scene_description> <character>SCOTT</character> <dialogue>Hello?</dialogue> <character>BILLY (VO)</character> <dialogue>Scott?</dialogue> <character>SCOTT</character> <dialogue>Yes?</dialogue> <character>BILLY (VO)</character> <dialogue>It's Billy Beane. Oakland A's.</dialogue> <scene_description>SCOTT was expecting that it would be someone else...</scene_description> <character>SCOTT</character> <dialogue>Yes?</dialogue> <character>BILLY (VO)</character> <dialogue>Can we talk?</dialogue> <character>SCOTT</character> <dialogue>Yes.</dialogue> <character>BILLY (VO)</character> <dialogue>You want to invite me in?</dialogue> <character>SCOTT</character> <dialogue>What?</dialogue> <character>BILLY (VO)</character> <dialogue>I'm outside. I can see you in the window.</dialogue> <scene_description>SCOTT goes to the window and cups his hands against the glass to see outside.</scene_description> <character>ELIZABETH</character> <dialogue>Honey?</dialogue> <scene_description>Two silhouettes are standing on the edge of the fairway. One of them waves.</scene_description> </scene> <scene> <stage_direction>INT. SCOTT HATTEBERG'S HOUSE - LATER - NIGHT</stage_direction> <scene_description>ELIZABETH is putting out some cookies shaped like stars and bells for the late-night guests: BILLY and RON WASHINGTON.</scene_description> <character>BILLY</character> <dialogue>Thank you, ma'am.</dialogue> <character>WASHINGTON</character> <dialogue>Thank you, ma'am.</dialogue> <scene_description>She leaves her husband with the two men but listens in on their conversation from the next room, nibbling on a cookie of her own.</scene_description> <character>BILLY</character> <dialogue>You've played catcher your whole life?</dialogue> <character>SCOTT</character> <dialogue>Since I was 8.</dialogue> <scene_description>BILLY produces a baseball from his windbreaker and hands it to SCOTT. SCOTT can only manage to grip the baseball like a claw. Washington looks to heaven.</scene_description> <character>BILLY</character> <dialogue>How's the elbow?</dialogue> <character>SCOTT</character> <dialogue>Good. Real good. It's great.</dialogue> <parenthetical>(fuck it)</parenthetical> <dialogue>I can't throw at all.</dialogue> <character>BILLY</character> <dialogue>Yeah, don't worry about it. You've thrown your last baseball from behind the plate. I want you at first.</dialogue> <scene_description>SCOTT is so thrown by this that all he can do is stare at BILLY. Then at WASHINGTON, who's shrug tells SCOTT "This wasn't my idea."</scene_description> <character>SCOTT</character> <dialogue>I've only ever played catcher.</dialogue> <character>BILLY</character> <dialogue>You're not a catcher anymore. If you were, then mine wouldn't have been the only call you got when your contract expired at midnight.</dialogue> <character>SCOTT</character> <dialogue>I appreciate it but--</dialogue> <character>BILLY</character> <dialogue>You're welcome.</dialogue> <character>SCOTT</character> <dialogue>You see--</dialogue> <character>BILLY</character> <dialogue>You don't know how to play first base.</dialogue> <character>SCOTT</character> <dialogue>That's right.</dialogue> <character>BILLY</character> <dialogue>It's not that hard. Tell him, Wash.</dialogue> <character>WASHINGTON</character> <dialogue>It's incredibly hard!</dialogue> <character>BILLY</character> <dialogue>Anything worth doing is. Wash is gonna teach you.</dialogue> <character>SCOTT</character> <dialogue>Wait a minute, what about--</dialogue> <character>BILLY</character> <dialogue>Jason's gone, Scott.</dialogue> <character>SCOTT</character> <dialogue>I'm taking Giambi's spot at first? What about the fans?</dialogue> <character>WASHINGTON</character> <dialogue>Yeah, maybe I can teach one of them.</dialogue> <character>BILLY</character> <dialogue>The fans don't run--</dialogue> <parenthetical>(to WASHINGTON)</parenthetical> <dialogue>--good one--</dialogue> <parenthetical>(back to SCOTT)</parenthetical> <dialogue>--the fans don't run my ball club.</dialogue> <character>SCOTT</character> <dialogue>They're gonna hate me.</dialogue> <character>WASHINGTON</character> <parenthetical>(motioning to BILLY)</parenthetical> <dialogue>No, they're gonna hate him.</dialogue> <character>BILLY</character> <dialogue>The fans love me.</dialogue> <character>WASHINGTON</character> <dialogue>Okay.</dialogue> <scene_description>HATTEBERG's YOUNG DAUGHTER comes down the staircase in her pajamas, having just woken up in the middle of the night.</scene_description> <character>BILLY</character> <dialogue>Hello.</dialogue> <character>HATTEBERG'S DAUGHTER</character> <dialogue>Hi.</dialogue> <character>SCOTT</character> <dialogue>That's our youngest daughter.</dialogue> <character>BILLY</character> <dialogue>Great.</dialogue> <character>SCOTT</character> <dialogue>Do you have kids?</dialogue> <scene_description>BILLY doesn't like to share personal lives with the players but he covers well--</scene_description> <character>BILLY</character> <dialogue>--yeah, I have a daughter.</dialogue> <scene_description>BILLY takes a contract out of his windbreaker and sets it on the table next to the cookies.</scene_description> <character>BILLY</character> <dialogue>This is a contract for you to play baseball with the Oakland A's. A copy's on its way to your agent. Discuss it with your wife and let us know.</dialogue> <parenthetical>(They get up and Billy calls off)</parenthetical> <dialogue>Thanks for the cookies, ma'am.</dialogue> <scene_description>We see ELIZABETH with tears running down her face...then go back to the living room--</scene_description> <character>ELIZABETH (O.S.)</character> <dialogue>You're welcome.</dialogue> <character>BILLY</character> <parenthetical>(on his way out)</parenthetical> <dialogue>Merry Christmas.</dialogue> </scene> <scene> <stage_direction>EXT./INT. SAN DIEGO - PRESENT DAY</stage_direction> <scene_description>The door of a suburban house opens, revealing a WOMAN.</scene_description> <character>BILLY</character> <dialogue>Hi.</dialogue> <character>SHARON</character> <dialogue>Hi, Billy.</dialogue> <scene_description>She pulls the door open so he can come in. As he does -</scene_description> <character>BILLY</character> <dialogue>She home?</dialogue> <character>SHARON</character> <dialogue>She's out, but she'll be home soon.</dialogue> </scene> <scene> <stage_direction>INT. SAN DIEGO HOUSE - CONTINUOUS</stage_direction> <scene_description>As Billy enters his ex-wife Sharon's house, her husband ALAN walks in, talking on the phone.</scene_description> <character>ALAN</character> <parenthetical>(on phone)</parenthetical> <dialogue>Yeah, no, don't worry about it sweetie. Here's mom.</dialogue> <scene_description>Alan hands Sharon the phone.</scene_description> <character>BILLY</character> <dialogue>Hey Alan.</dialogue> <character>ALAN</character> <dialogue>Come on in have a seat. Want some coconut water? It's really refreshing.</dialogue> <character>BILLY</character> <dialogue>I'm all set, thanks.</dialogue> <character>ALAN</character> <dialogue>What are you benching now?</dialogue> <character>BILLY</character> <dialogue>I don't keep count.</dialogue> <character>ALAN</character> <dialogue>Well, whatever it is, it's working. You look good.</dialogue> <scene_description>They sit on the couch next to a Christmas tree.</scene_description> <character>ALAN</character> <dialogue>I haven't got to see you since the playoffs in New York. That was heartbreaking, Billy. We were rooting for you.</dialogue> <character>BILLY</character> <parenthetical>(beat)</parenthetical> <dialogue>Yep.</dialogue> <character>ALAN</character> <dialogue>You know what I say?</dialogue> <character>BILLY</character> <dialogue>Fuck 'em.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'm sorry Alan, what do you say?</dialogue> <character>ALAN</character> <dialogue>No, I just wanted to say that a lot of teams don't get that far, and to make it that far is a really big accomplishment.</dialogue> <scene_description>Sharon gets off the phone and joins them.</scene_description> <character>BILLY</character> <parenthetical>(to Sharon)</parenthetical> <dialogue>So how is she?</dialogue> <character>SHARON</character> <dialogue>She's great. Be here in a minute. How's the team shaping up?</dialogue> <character>BILLY</character> <dialogue>New beginnings. Blue horizons.</dialogue> <character>ALAN</character> <dialogue>I read that you lost two players. Damon and -</dialogue> <character>ALAN</character> <parenthetical>(mispronounces)</parenthetical> <dialogue>Ghee-ambi?</dialogue> <character>SHARON</character> <dialogue>Giambi. Wow, that's tough. That's really tough.</dialogue> <character>BILLY</character> <dialogue>And Isringhausen.</dialogue> <character>ALAN</character> <dialogue>Sounds tough.</dialogue> <character>BILLY</character> <dialogue>So where is she?</dialogue> <character>ALAN</character> <dialogue>I just talked to her on her cell. She's just coming up the hill, she's two minutes away.</dialogue> <character>BILLY</character> <dialogue>You bought her a cell phone?</dialogue> <character>SHARON</character> <dialogue>Yeah.</dialogue> <character>BILLY</character> <dialogue>At 12?</dialogue> <character>ALAN</character> <dialogue>Just for emergencies. I'm sorry, we should have consulted you for that decision-</dialogue> <character>BILLY</character> <dialogue>It's probably a good idea.</dialogue> <character>SHARON</character> <dialogue>But actually I called you -</dialogue> <scene_description>The front door opens. It's Billy's daughter Casey - a pre teen indie-rock girl - and not a moment too soon. He's up quickly to give her a hug and to get out of here.</scene_description> <character>BILLY</character> <dialogue>Let's go shopping.</dialogue> </scene> <scene> <stage_direction>INT. GUITAR CENTER - LA MESA - DAY</stage_direction> <scene_description>Billy and Casey peruse guitars.</scene_description> <character>BILLY</character> <dialogue>You want one with nylon strings, right?</dialogue> <character>CASEY</character> <dialogue>I like the red ones.</dialogue> <character>BILLY</character> <dialogue>How about this?</dialogue> <character>CASEY</character> <dialogue>Yeah, that's cool.</dialogue> <character>BILLY</character> <dialogue>Let's try it out over here.</dialogue> <scene_description>They take a seat. Casey easily fingers through a very tough spray of notes.</scene_description> <character>BILLY</character> <parenthetical>(genuinely impressed)</parenthetical> <dialogue>Casey.</dialogue> <character>CASEY</character> <dialogue>Yeah.</dialogue> <character>BILLY</character> <dialogue>You got good.</dialogue> <character>CASEY</character> <dialogue>I've just been playing a lot.</dialogue> <character>BILLY</character> <dialogue>That's... that's not the way most 12 year olds play.</dialogue> <character>CASEY</character> <dialogue>Alan thinks I should have a better teacher.</dialogue> <character>BILLY</character> <dialogue>Who's Alan?</dialogue> <scene_description>CASEY looks at him --</scene_description> <character>BILLY</character> <dialogue>Oh, yeah. Mom's Alan. What's wrong with the teacher you have now?</dialogue> <character>CASEY</character> <dialogue>Alan thinks I should be working more on technique so I don't learn bad habits.</dialogue> <character>BILLY</character> <dialogue>Well, you seem to be doing just fine to me. Do you like playing?</dialogue> <character>CASEY</character> <dialogue>I love it.</dialogue> <character>BILLY</character> <dialogue>That's so great. I'm so happy for you. The most important thing in life is to find something you love and do it well. Do you like your teacher?</dialogue> <character>CASEY</character> <dialogue>Yeah.</dialogue> <character>BILLY</character> <dialogue>Okay, I'll talk to Mom and Alan. Do you like that guitar?</dialogue> <character>CASEY</character> <dialogue>Yes!</dialogue> <character>BILLY</character> <dialogue>That the one?</dialogue> <character>CASEY</character> <dialogue>Yeah, I think so.</dialogue> <character>BILLY</character> <dialogue>Let's get it. Let's get it now.</dialogue> <character>CASEY</character> <dialogue>Really?</dialogue> <character>BILLY</character> <dialogue>Merry Christmas.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. DODGER STADIUM</stage_direction> <character>LEGEND:</character> <dialogue>1984</dialogue> <scene_description>BILLY's at the plate, a batting helmet snug around his head, wearing a METS uniform, as a 97 mph fastball buzzes by him and the UMPIRE calls--</scene_description> <character>UMPIRE</character> <dialogue>Striiike!</dialogue> <scene_description>BILLY steps out of the box, taps the dirt off his cleats and steps back in. A younger-looking SHARON is sitting in field level seats, looking on nervously and trying not to show it. BILLY half-swings at the breaking ball, holding his swing at the last minute. The CATCHER and PLATE UMPIRE both point down to first base for the call and the FIRST BASE UMPIRE makes a fist in the air, indicating that Billy swung.</scene_description> <character>UMPIRE</character> <dialogue>Striiike!</dialogue> <scene_description>And Billy's out. SHARON holds her head in her hands and BILLY walks back to the dugout, passing a player with "STRAWBERRY" on his back. And now the quick scenes of failure become staccato-- 39-40 OMITTED 39-4</scene_description> </scene> <scene> <stage_direction>EXT. TIDEWATER</stage_direction> <character>LEGEND:</character> <dialogue>1985</dialogue> <scene_description>BILLY playing for minor league Tidewater and he grounds out and CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. TOLEDO</stage_direction> <character>LEGEND:</character> <dialogue>1986</dialogue> <scene_description>BILLY playing for minor League Toledo. He swings and pops up lamely to the PITCHER, throwing his bat down in frustration as he jogs hopelessly to first and we</scene_description> <character>ANNOUNCER V/O</character> <dialogue>...Billy Beane, who's quickly establishing a new record for breaking bats, bat racks and water coolers, was actually a much-touted first round pick of the New York Mets in 1980 but the majors have not been kind to him with only 18 plate appearances in two years and this won't doing anything to help him as...</dialogue> </scene> <scene> <stage_direction>EXT. YANKEE STADIUM</stage_direction> <character>LEGEND:</character> <dialogue>1986</dialogue> <scene_description>BILLY playing for the Minnesota Twins where he comes back into the dug out and throws his batting helmet down and CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. PORTLAND</stage_direction> <character>LEGEND:</character> <dialogue>1987</dialogue> <scene_description>BILLY playing for minor league Portland and a water cooler goes flying across the dugout and CUT TO:</scene_description> </scene> <scene> <stage_direction>A45 EXT. MINNESOTA</stage_direction> <character>LEGEND:</character> <dialogue>1987</dialogue> <character>ANNOUNCER V/O</character> <dialogue>...one of two first round picks in 1980 along with Daryl Strawberry, Beane was brought up last year and sent back down after 8 at-bats so here's a second chance as Smith delivers...</dialogue> <scene_description>BILLY playing for the Minnesota Twins. He swings hard at a pitch and strikes out and we CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. DETROIT</stage_direction> <character>LEGEND:</character> <dialogue>1988</dialogue> <scene_description>BILLY playing for the Detroit Tigers and the bat rack gets heaved across the field and CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM FIELD - NIGHT</stage_direction> <character>LEGEND:</character> <dialogue>1989</dialogue> <character>ANNOUNCER V/O</character> <dialogue>...If you're a real baseball fan with a good memory you might remember that Billy Beane was taken in the first round of the amateur draft back in 1980, separated from All-Star outfielder Daryl Strawberry by only 14 picks, so it just goes to show...</dialogue> <scene_description>BILLY in an A's uniform. He stands and watches a called third strike sail past him.</scene_description> <character>UMPIRE</character> <dialogue>Strike!</dialogue> <scene_description>Billy breaks the bat over his thigh and drops the pieces on the plate. He begins to walk off.</scene_description> <character>UMPIRE</character> <dialogue>Hey Billy, clean up after yourself.</dialogue> <scene_description>Billy hears him but continues to walk off. TO BE WRITTEN: THE UMP TOSSES BILLY FROM THE GAME. BILLY looks up at SHARON in the seats behind the dugout but the two can't quite meet each other's eyes.</scene_description> </scene> <scene> <stage_direction>INT. OAKLAND COLISEUM - DAY</stage_direction> <scene_description>In the subterranean video room - an even less elegant place than the rest of the stadium - someone has put up a scraggly Christmas tree. There, Peter watches a tape of a minor leaguer on the Lowell Spinners, a Single-A Boston affiliate. Billy comes in.</scene_description> <character>PETER</character> <dialogue>How'd it go?</dialogue> <character>BILLY</character> <dialogue>How'd what go?</dialogue> <character>PETER</character> <dialogue>Hatteberg.</dialogue> <character>BILLY</character> <dialogue>He can barely hold a baseball. But he's our guy now.</dialogue> <scene_description>Billy sits.</scene_description> <character>BILLY</character> <dialogue>Who's that?</dialogue> <character>PETER</character> <dialogue>That is Kevin Youkilis. This is the guy we want more than anyone else in the world.</dialogue> <scene_description>Billy watches the guy on the screen. He's an overweight right-handed batter with a peculiar stance.</scene_description> <character>PETER</character> <dialogue>He can't run, throw or field. But he walks more than anyone in baseball except Barry Bonds. Take out intentional walks and it's more than Bonds. He's the Greek God of Walks.</dialogue> <scene_description>On the TV, the batter takes another pitch just off the edge of the strike zone.</scene_description> <character>PETER</character> <dialogue>I tried to get Shapiro to draft him last June. He said he waddled like a duck. Boston took him. Boston won't let him go yet. They're going to wait and see.</dialogue> <scene_description>They watch him lay off a pitch an inch outside the strike zone. Peter gives Billy a look that says, You see that?</scene_description> <character>PETER</character> <dialogue>You all right, Billy?</dialogue> <character>GRADY O/S</character> <dialogue>Billy?</dialogue> <scene_description>Grady has appeared behind them at the door.</scene_description> <character>GRADY</character> <dialogue>Can we talk a minute?</dialogue> <character>BILLY</character> <dialogue>Yeah.</dialogue> <parenthetical>(to Peter)</parenthetical> <dialogue>Yeah.</dialogue> </scene> <scene> <stage_direction>INT. LOCKER ROOM - MOMENTS LATER</stage_direction> <scene_description>Grady closes the video room door for privacy. The only other person in sight is manager Art Howe, in his office in street clothes. He shuts his windowed door so Grady and Billy can talk in confidence.</scene_description> <character>GRADY</character> <dialogue>Your boy and I had a talk while you were in Tacoma. I didn't like much of what I heard.</dialogue> <character>BILLY</character> <dialogue>No?</dialogue> <character>GRADY</character> <dialogue>No. You got a kid in there with a Yale economics degree and a scout out here with 29 years baseball experience and you're listening to the wrong one.</dialogue> <character>BILLY</character> <dialogue>I don't listen to anyone, you know that.</dialogue> <character>GRADY</character> <dialogue>This isn't a joke.</dialogue> <character>BILLY</character> <dialogue>I'm not joking.</dialogue> <character>GRADY</character> <dialogue>This isn't how you run a ball club, with a computer. You know that. You're a baseball man. There are intangibles that only a scout can see in a player that you're not going to pick up with just numbers, with someone who doesn't play the game, who knows nothing about the game but how to feed numbers into a computer.</dialogue> <character>BILLY</character> <dialogue>That's what we're doing. That's exactly what we're doing.</dialogue> <character>GRADY</character> <dialogue>If this is what baseball is, if it's not Kirk Gibson going up to the plate on two bad legs because the manager felt in his heart that he had one swing left in that body... a computer wouldn't do that. They would have had him sitting up in the stands.</dialogue> <character>BILLY</character> <dialogue>A computer doesn't romanticize the sport. Leave that for the fans.</dialogue> <character>GRADY</character> <dialogue>Well, romance and the fans, it's called a love affair with the game and it's been going on for one hundred and fifty years.</dialogue> <character>BILLY</character> <dialogue>I don't want to hurt you love affair with the game. Just because we've been doing it one way for a hundred and fifty years doesn't mean we've been doing it right. You have any idea how long people thought the sun revolved around the earth? To your eyes it looks like that's what's happening.</dialogue> <character>GRADY</character> <dialogue>You're saying everybody's been wrong? Everybody?</dialogue> <scene_description>Beat.</scene_description> <character>GRADY</character> <dialogue>Are you saying everybody's been wrong?</dialogue> <character>BILLY</character> <dialogue>Yes. Maybe.</dialogue> <parenthetical>(beat)</parenthetical> <character>BILLY</character> <dialogue>Yes, and I've thought so my whole life. And now we're gonna see if I'm--</dialogue> <character>GRADY</character> <dialogue>--we're gonna see if you're right?! This is about you and your shit? Some scouts from 20 years ago called it wrong, okay? They thought you were a ballplayer and you weren't. As you know, it happens. Don't take it out on--</dialogue> <character>BILLY</character> <dialogue>I'm not--taking it out on--</dialogue> <character>GRADY</character> <dialogue>I'm trying to help, okay, I'm saying--</dialogue> <character>BILLY</character> <dialogue>No, you're not saying anything to me right now.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Grady, you don't have special powers. You don't have the ability to look at a guy and "just know" because you're a scout with special powers. I've watched you sit at kitchen tables for years and tell the parents of a 17 year old kid, "Trust me, when I know, I know, and when it comes to your son, I know" and you don't. We're shopping in a new store--full of complicated statistical analysis and equations and I get that it turns your world upside down but on base percentage-- our best chance to score on our budget isn't getting a 6'4" Adonis to the plate, it's getting a 5'10" washout who's already at first base.</dialogue> <character>GRADY</character> <parenthetical>(pause)</parenthetical> <dialogue>May I speak?</dialogue> <character>BILLY</character> <dialogue>Yes.</dialogue> <character>GRADY</character> <dialogue>Major League Baseball and its fans will be happy to hand you and Google Boy your heads if you keep doing what you're doing here, I don't give a shit about friendship this situation or the past. Major League Baseball thinks the way I think. You're not gonna win. And I'll give you a nickel's worth of free advice.</dialogue> <character>GRADY</character> <dialogue>You're making it impossible for yourself to get another job once Schott fires you after this catastrophic season you're setting us all up for and you're gonna have to explain to your wife and your kid why you're working at Dick's Sporting Goods.</dialogue> <character>BILLY</character> <dialogue>I'm not gonna fire you, Grady.</dialogue> <character>GRADY</character> <dialogue>Go fuck yourself, Billy.</dialogue> <character>BILLY</character> <dialogue>Well now maybe.</dialogue> <scene_description>GRADY takes off. BILLY stands there a moment. On his way out, passing Art's windowed office, he exchanges a look with the manager. Billy takes a short walk to where a few of his scouts are standing around an arcade console. To the youngest one -</scene_description> <character>BILLY</character> <dialogue>Eric. You never even played high school ball, right?</dialogue> <scene_description>The young scout shakes his head, embarrassed.</scene_description> <character>BILLY</character> <dialogue>Grady's gone. You're the new Head Scout.</dialogue> <scene_description>Billy turns away and is headed back to the video room. Pokes his head in.</scene_description> <character>BILLY</character> <dialogue>Don't try to explain things to scouts. They're not programmed to get it. It's just us.</dialogue> <scene_description>He leaves. Peter watches the door close, then glances back to the tape as Youkilis takes ball four and waddles down to first base. CUT TO:</scene_description> </scene> <scene> <stage_direction>A49 EXT. PHOENIX MUNICIPAL STADIUM - DAY A4</stage_direction> <scene_description>Team / JumboTron photos are taken of our new A's. It's clear from the photo Billy didn't hire them to sell jeans. LEGEND: March 2, 2002 - SPRING TRAINING Billy gives an interview to a SPORTS REPORTER.</scene_description> <character>SPORTS REPORTER</character> <dialogue>Billy, will the fans still come out now that you've lost Giambi?</dialogue> <character>BILLY</character> <dialogue>I don't know, Graham. Will they listen to your insipid radio show?</dialogue> </scene> <scene> <stage_direction>B49 INT. LOCKER ROOM - ARIZONA - DAY</stage_direction> <scene_description>MIKE MAGNANTE goes through the effort of putting on his knee-braces. Scott Hatteberg, lacing up, watches him.</scene_description> </scene> <scene> <stage_direction>EXT. PHOENIX MUNICIPAL STADIUM - DAY</stage_direction> <scene_description>Various stations have been set up at which infielders go through their warm-ups - wind sprints, arm loosening. Infielders field grounders hit by Art Howe from a fungo. Billy paces in the foul territory off the first base line. HIS POV: JEREMY GIAMBI missing a fly ball, DAVID JUSTICE looking tired, HATTEBERG missing the scoop. Art hits another grounder which Hatteberg botches again. Art looks at Billy a good long beat, then hits to another infielder. Peter walks up to Billy, just as - A poke off the bat sends Jeremy Giambi scrambling back like a postman trying to escape a mad dog. The ball lands behind him.</scene_description> <character>BILLY</character> <dialogue>Well, we didn't pay him for his defense.</dialogue> <scene_description>Art and Washington hit grounders to Carlos Pena and Scott Hatteberg. Hatteberg miraculously gets his mitt on it.</scene_description> <character>BILLY</character> <dialogue>That's the way, Hatte. Pickin' Machine.</dialogue> <scene_description>Behind a portable backstop, a guy with a radar gun gets ready to clock a trio of relievers. Mike Magnante has his pant legs pulled up to adjust knee-braces. Magnante gets up and begins throwing, increasing his velocity each time.</scene_description> <character>BILLY</character> <dialogue>None of those broke 85.</dialogue> <scene_description>They watch the second pitcher - the gentle-faced kid from the locker room - Chad Bradford - step up.</scene_description> <character>BILLY</character> <dialogue>Chad I have high hopes for.</dialogue> <scene_description>Bradford overthrows his first submarine hand-scraping- the-ground pitch, and the ball sails wide of the catcher. Somebody ducks. Art Howe glances with a long-suffering look to Billy.</scene_description> <character>BILLY</character> <dialogue>It just got away from him.</dialogue> <scene_description>They watch David Justice do wind sprints.</scene_description> <character>BILLY</character> <dialogue>He's still got it.</dialogue> <scene_description>Then Justice stops, winded.</scene_description> </scene> <scene> <stage_direction>INT. LOCKER ROOM - ARIZONA - LATER</stage_direction> <scene_description>As the players shower and change into street clothes, Art, Billy and Washington discuss Hatteberg, who knows they're discussing him.</scene_description> <character>BILLY</character> <dialogue>It's the first day of week one. There's nothing to judge yet.</dialogue> <character>ART</character> <dialogue>I can judge it and so can you. First base is the moon to him.</dialogue> <character>BILLY</character> <dialogue>It wasn't to Giambi? He's the worst first baseman in baseball. What do you think of him, Wash?</dialogue> <character>WASHINGTON</character> <dialogue>The nicest way I can put it is, he lacks confidence.</dialogue> <character>BILLY</character> <dialogue>Work with him Wash.</dialogue> <character>WASHINGTON</character> <dialogue>I'll do that, Billy, but we've got Pena who can play first. And he's looking pretty good out there.</dialogue> <character>BILLY</character> <dialogue>I want to make it work with Hatte, Wash.</dialogue> <scene_description>As Washington crosses the locker room to lie to Scott about how much progress he's making, he passes Magnante taking off his knee braces, and Chad Bradford sitting at his locker with a Bible in his lap.</scene_description> <character>ART</character> <dialogue>Not to mention we already have a first baseman.</dialogue> <character>BILLY</character> <dialogue>A rookie first baseman. It's not the same.</dialogue> <character>ART</character> <dialogue>Number 11 on the Top 100 Prospects list.</dialogue> <character>BILLY</character> <dialogue>Lists aren't baseball.</dialogue> <character>ART</character> <dialogue>Catchers at first base aren't baseball. Who's idea was this? Peter's?</dialogue> <character>BILLY</character> <dialogue>Hatteberg will be fine, Art.</dialogue> <character>ART</character> <dialogue>He will be fine, you're right. Pinch hitting while Pena plays first base.</dialogue> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM - DAY</stage_direction> <scene_description>A towering portrait of David Justice has been painted where Jason Giambi's used to be. The hardest diehard fans file under it and through the turnstiles. You know what they look like, dripping A's merchandise, radios and Sharpies, arriving so early the B.P. cage is still being dragged into place.</scene_description> <character>A SERIES OF SHOTS</character> <dialogue>Indicate the arrival of opening day. INCLUDING: foul lines are painted, broadcast trucks plug in, the network control room fires up, ANNOUNCERS do their prep, Steve Schott lands in his helicopter.</dialogue> <dialogue>LEGEND: April 1, 2002 - OPENING DAY</dialogue> <dialogue>IN THE LOCKER ROOM: Players prepare. Magnante puts on his knee braces.</dialogue> <character>MAGNANTE</character> <dialogue>Yeah... been doing it for way too long.</dialogue> <character>HATTEBERG</character> <dialogue>How long does it take?</dialogue> <character>MAGNANTE</character> <dialogue>When I first started these things? It was like a half hour process. Now I can knock these suckers out in 30 seconds, no problem.</dialogue> </scene> <scene> <stage_direction>INT. A'S LOCKER ROOM - SAME TIME - DAY</stage_direction> <scene_description>Jeremy Giambi's boombox is on again as he and his 24 teammates suit up. 36-year-old David Justice wanders past to a soda machine. Presses a button, but nothing comes out. Tries again.</scene_description> <character>TEJADA</character> <dialogue>Is a dollar, mang.</dialogue> <character>JUSTICE</character> <dialogue>What?</dialogue> <character>TEJADA</character> <dialogue>Always been like that here.</dialogue> <character>JUSTICE</character> <dialogue>You're kidding me, right?</dialogue> <character>TEJADA</character> <dialogue>Welcome to Oakland.</dialogue> <scene_description>BILLY and PETER walk through. He walks past CHAD BRADFORD's locker...</scene_description> <character>CHAD</character> <dialogue>Excuse me, Mr. Beane.</dialogue> <character>BILLY</character> <dialogue>Hey Chad.</dialogue> <character>CHAD</character> <dialogue>I hope I'm not disturbing you.</dialogue> <character>BILLY</character> <dialogue>You're not, what's up?</dialogue> <character>CHAD</character> <dialogue>I wanted to say thanks for the opportunity.</dialogue> <character>BILLY</character> <dialogue>It's gonna work out well for both of us.</dialogue> <character>CHAD</character> <dialogue>Nobody in the major league ever took me seriously.</dialogue> <character>BILLY</character> <parenthetical>(pause)</parenthetical> <dialogue>Nobody?</dialogue> <character>CHAD</character> <dialogue>Just you, sir.</dialogue> <character>BILLY</character> <dialogue>Okay.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It's a big day, you won't forget it.</dialogue> <character>CHAD</character> <dialogue>I'm going to pray for you and your family.</dialogue> <scene_description>PETER follows BILLY out of the locker room. 53 OMITTED</scene_description> </scene> <scene> <stage_direction>A54 EXT. OAKLAND COLISEUM - ANNOUNCER'S BOOTH - DAY</stage_direction> <scene_description>SHOTS OF THE GAME ANNOUNCERS. KEN KORACH, GREG PAPA and GLEN KUIPER welcome the fans to opening day, discuss the A's lineup and the problems they face this season.</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM FIELD - DAY</stage_direction> <character>MONTAGE:</character> <dialogue>It's fifteen minutes before the game as some executives have their picture taken on the field with BILLY.</dialogue> <character>BILLY</character> <dialogue>Hey, great to see you. Thanks for coming out. Got a good box? You want a picture? Sure, let me step in there. Great, big smiles now. Big smiles. Know what I like about opening day? Everyone's even. Thank you. You all enjoy the game.</dialogue> <scene_description>BILLY gets his picture taken with KIDS from an area Little League team. He's laughing and being a good host.</scene_description> <character>BILLY</character> <dialogue>Hey, how you guys doing. So you won? That's great. What position are you? How's your fastball? 92? Alright, should we get a pic?</dialogue> <scene_description>Billy and the Little League team pose with a giant donation check. The announcer then directs everyone's attention to a trophy ceremony in progress. As Chavez receives his Golden Glove award and smiles for the fans...</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM FIELD LEVEL SEATS - DAY</stage_direction> <scene_description>BILLY greeting some VIP's in their field-level seats. Throughout this we'll hear bits of talk radio.</scene_description> <character>HOST #1 (FROM RADIO)</character> <dialogue>With the departure of head scout Grady Fuson and a roster that I'll describe as unusual, if not eccentric, you have to wonder what Billy Beane is thinking.</dialogue> <scene_description>BILLY catches a glance of ELIZABETH HATTEBERG taking her seat nearby. In the family area, Elizabeth introduces herself to Tara.</scene_description> <character>ELIZABETH</character> <dialogue>Hi, I'm Elizabeth.</dialogue> <character>TARA</character> <dialogue>Hi. Tara. Which is yours?</dialogue> <character>ELIZABETH</character> <dialogue>Scott Hatteberg. Catcher - actually first base - actually we don't know. Yours?</dialogue> <scene_description>GM.:</scene_description> <character>ELIZABETH</character> <parenthetical>(excitedly)</parenthetical> <dialogue>Mr. Beane?</dialogue> <scene_description>Tara nods.</scene_description> <character>ELIZABETH</character> <dialogue>He's a saint.</dialogue> <character>TARA</character> <dialogue>Really?</dialogue> </scene> <scene> <stage_direction>A56 EXT. OAKLAND COLISEUM FIELD - DAY A5</stage_direction> <scene_description>Art is talking to a JOURNALIST.</scene_description> <character>JOURNALIST</character> <dialogue>Are they picking up your option for next year?</dialogue> <scene_description>A beat.</scene_description> <character>ART</character> <dialogue>I brought it up to them during the off- season, and I still do not have my option.</dialogue> <character>JOURNALIST</character> <dialogue>Are you frustrated?</dialogue> <character>ART</character> <dialogue>I think it's fair to say that.</dialogue> <scene_description>56 OMITTED 57 OMITTED (INCORPORATED INTO 54)</scene_description> </scene> <scene> <stage_direction>A58 EXT. OAKLAND COLISEUM - LATER</stage_direction> <scene_description>Art Howe stands mid-field as the starting lineup is announced. One by one, players join him on the field. The honor guard presents the flag as everyone stands for the National Anthem. Afterward, the players scatter to warm up for the game.</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM FIELD LEVEL - DAY</stage_direction> <scene_description>The CROWD CHEERS as the A's take the field. Billy and Peter are at the edge of the tunnel, watching.</scene_description> <character>BILLY</character> <dialogue>Okay, good.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'm heading in.</dialogue> <character>PETER</character> <dialogue>Why?</dialogue> <character>BILLY</character> <dialogue>I don't watch the games.</dialogue> <character>PETER</character> <dialogue>Is this a joke?</dialogue> <scene_description>BILLY shakes his head "no". PETER gestures "What the fuck are you talking about?"</scene_description> <character>BILLY</character> <dialogue>I don't know what you're miming.</dialogue> <character>PETER</character> <dialogue>I'm miming "You don't watch the games?!"</dialogue> <character>BILLY</character> <dialogue>This is my team. And they've taken the field. They're world class athletes who are fighting for their lives and I stand with them. Except not literally so I need you to text me what Art does.</dialogue> <scene_description>BILLY walks out onto-- CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BILLY'S OFFICE - DAY</stage_direction> <scene_description>BILLY's watching the game on TV (ARCHIVAL VIDEO) with the sound off but we can hear the live crowd in the stadium. CRACK--a TEXAS RANGER hits a three-run homer and BILLY walks out of the room and CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM FIELD - DAY - ARCHIVAL VIDEO</stage_direction> <scene_description>An OAKLAND A hits an easy pop-up to center field and CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. WEIGHT ROOM - DAY</stage_direction> <scene_description>Where BILLY's on a stationary bike. His blackberry buzzes and he takes a look-- "Fly out to cntr" CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. WEIGHT ROOM - DAY</stage_direction> <scene_description>Where BILLY's bench pressing and CRACK-- CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM FIELD - DAY - ARCHIVAL VIDEO</stage_direction> <scene_description>Where an OAKLAND A has just hit a ground ball to the SHORTSTOP, who tosses it easily to second for the first out, and the SECOND BASEMAN throws it over to first for-- CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. WEIGHT ROOM - DAY</stage_direction> <scene_description>Where BILLY looks at the blackberry which now says-- "643 dbl play" The blackberry goes crashing into the wall and blows apart. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. LOCKER ROOM/AREA OUTSIDE ART'S OFFICE - NIGHT</stage_direction> <scene_description>We find Billy and Art in conversation.</scene_description> <character>BILLY</character> <dialogue>Yeah. I should have made you a bigger part of the conversation, I should have had you in the scout meetings from the first day, that way you would have understood this better and that was another mistake, I take full responsibility.</dialogue> <character>ART</character> <dialogue>What are you trying to say?</dialogue> <character>BILLY</character> <dialogue>It doesn't matter what moves I make if you don't play the team the way I need them played.</dialogue> <character>ART</character> <dialogue>Billy -</dialogue> <parenthetical>(long beat)</parenthetical> <dialogue>You are out of your depth.</dialogue> <character>BILLY</character> <dialogue>Why wasn't Hatteberg at first?</dialogue> <character>ART</character> <dialogue>Because he can't play first.</dialogue> <character>BILLY</character> <dialogue>How do you know?</dialogue> <character>ART</character> <dialogue>Not my first baseball game.</dialogue> <character>BILLY</character> <dialogue>Art--</dialogue> <character>ART</character> <dialogue>Scott Hatteberg can't hit.</dialogue> <character>BILLY</character> <dialogue>He gets on--</dialogue> <character>ART</character> <dialogue>And his defense--</dialogue> <character>BILLY</character> <dialogue>Still keeps us in the plus column and we only need to be 7 over 500.</dialogue> <character>ART</character> <dialogue>Anything else?</dialogue> <character>BILLY</character> <dialogue>Yeah, I would have rather seen Chad Bradford in there at the end than Magnante.</dialogue> <character>ART</character> <dialogue>Bradford's--</dialogue> <character>BILLY</character> <dialogue>I don't care about righty/lefty.</dialogue> <character>ART</character> <dialogue>I do.</dialogue> <character>BILLY</character> <dialogue>This is about your contract?</dialogue> <character>ART</character> <dialogue>No, you've made it clear what you think about that. This is about you doing your job and me doing mine. Mine's being left alone to manage the beer league team you assembled for me.</dialogue> <character>BILLY</character> <dialogue>I didn't assemble them for you, I assembled them for me.</dialogue> <character>ART</character> <dialogue>No shit.</dialogue> </scene> <scene> <stage_direction>INT. BILLY'S OFFICE - DAY</stage_direction> <character>BILLY</character> <dialogue>I want you to go on the road with the team.</dialogue> <character>PETER</character> <dialogue>You don't go on the road with the team.</dialogue> <character>BILLY</character> <dialogue>That's why I want you to do it.</dialogue> <character>PETER</character> <dialogue>Why don't you?</dialogue> <character>BILLY</character> <dialogue>I don't want to develop personal relationships. I need to trade them, send them down and sometimes cut them. You should learn how to do that by the way.</dialogue> <character>PETER</character> <dialogue>The only way I'd have to cut a player is if you oh come on!</dialogue> <character>BILLY</character> <dialogue>Yeah, let's practice.</dialogue> <character>PETER</character> <dialogue>No.</dialogue> <character>BILLY</character> <dialogue>I'm a player, cut me from the roster.</dialogue> <character>PETER</character> <dialogue>No.</dialogue> <character>BILLY</character> <dialogue>Do it.</dialogue> <character>PETER</character> <dialogue>This is stupid.</dialogue> <character>BILLY</character> <dialogue>Man-up, Yale.</dialogue> <character>PETER</character> <dialogue>Fine. Billy, would you have a seat for a moment, I need to talk to you.</dialogue> <character>BILLY</character> <dialogue>I'm already sitting.</dialogue> <character>PETER</character> <dialogue>I was pretending you weren't sitting.</dialogue> <character>BILLY</character> <dialogue>But I am. Keep going.</dialogue> <character>PETER</character> <dialogue>This is the hardest thing there is to do in baseball.</dialogue> <character>BILLY</character> <dialogue>You got that from Bull Durham?</dialogue> <character>PETER</character> <dialogue>Yeah.</dialogue> <character>BILLY</character> <dialogue>Hitting a curve ball is the hardest thing there is to do in baseball but go ahead.</dialogue> <character>PETER</character> <dialogue>You've been a huge part of this team but decisions have to be made that are best for the team, I'm sure you can understand that.</dialogue> <character>BILLY</character> <dialogue>You're cutting me?</dialogue> <character>PETER</character> <dialogue>I'm really sorry.</dialogue> <character>BILLY</character> <dialogue>I just bought a house here.</dialogue> <character>PETER</character> <parenthetical>(beat)</parenthetical> <dialogue>Well...</dialogue> <character>BILLY</character> <dialogue>Well? That's all you have to say? My kids just started at a new school, they made friends.</dialogue> <character>PETER</character> <dialogue>That's--I'd leave them in school, you don't want to take them out in the middle of the--</dialogue> <character>BILLY</character> <dialogue>What the hell are you doing?</dialogue> <character>PETER</character> <dialogue>Are you you or the player?</dialogue> <character>BILLY</character> <dialogue>I'm me. You're talking about kids and schools and you should've been out of the room three minutes ago.</dialogue> <character>PETER</character> <dialogue>Shouldn't I tell them that they'll always be a part of the A's family?</dialogue> <character>BILLY</character> <dialogue>That makes me feel so good I'm thinking of burning your house down with you in it. These are professional baseball players. You just do it. "Peter, I need to let you go. Jack's office'll handle the paperwork."</dialogue> <character>PETER</character> <dialogue>That's it?</dialogue> <character>BILLY</character> <dialogue>Would you rather get one bullet in the head or five in the chest and bleed to death?</dialogue> <character>PETER</character> <dialogue>Those are my only choices?</dialogue> <character>BILLY</character> <dialogue>Go on the road with the team.</dialogue> </scene> <scene> <stage_direction>INT. AIRPLANE - IN FLIGHT - NIGHT</stage_direction> <scene_description>Jeremy Giambi discreetly mixes a highball from a cache of hotel minibar liquor bottles as he watches his favorite movie on a portable DVD player, The Natural. DAVID JUSTICE is sitting next to PETER, who scrolls down stats on his laptop.</scene_description> <character>DAVID</character> <dialogue>How come your boss doesn't travel with the team?</dialogue> <character>PETER</character> <dialogue>He doesn't like to mingle with the players.</dialogue> <character>DAVID</character> <dialogue>Makes us easier to cut?</dialogue> <scene_description>PETER doesn't say anything...</scene_description> <character>DAVID</character> <dialogue>He's gonna make some moves if we keep losing.</dialogue> <scene_description>PETER gives a small "Yeah" shrug...</scene_description> <character>DAVID</character> <dialogue>How come soda costs a dollar in the clubhouse?</dialogue> <character>PETER</character> <dialogue>Billy likes to keep the money on the field.</dialogue> <character>DAVID</character> <dialogue>Soda money?</dialogue> <scene_description>PETER doesn't say anything...</scene_description> <character>DAVID</character> <dialogue>Where on the field is the dollar I pay for soda?</dialogue> <character>PETER</character> <parenthetical>(beat)</parenthetical> <dialogue>It's hard to see.</dialogue> <character>DAVID</character> <parenthetical>(shaking his head)</parenthetical> <dialogue>Alright.</dialogue> </scene> <scene> <stage_direction>INT. WEIGHT ROOM - NIGHT</stage_direction> <scene_description>Billy watches the T.V. ON TV - PENA taking his place at first.</scene_description> <character>TV ANNOUNCER V/O</character> <dialogue>The A's begin their first road trip of the season having dropped 7 of their first 11 games at home and their schedule doesn't get any easier from here. If there's a bright spot it's rookie first baseman Carlos Pena.</dialogue> <scene_description>Billy turns off the T.V., gets beeper updates as he works out.</scene_description> </scene> <scene> <stage_direction>INT. BILLY'S TRUCK - DAY</stage_direction> <scene_description>Billy drives.</scene_description> <character>VOICES V/O</character> <dialogue>With the A's getting off to a miserable start/13 of their last 20/17 of their last 25/etc...</dialogue> </scene> <scene> <stage_direction>INT. OAKLAND AIRPORT - DAY</stage_direction> <scene_description>BILLY's waiting for someone. HE'S WATCHING THE A'S GAME BY THE GATE. A PASSENGER, also watching the game, recognizes Billy.</scene_description> <character>PASSENGER</character> <dialogue>Hey, aren't you Billy Beane?</dialogue> <character>BILLY</character> <dialogue>Yeah.</dialogue> <character>PASSENGER</character> <dialogue>Shouldn't you be at the game?</dialogue> <character>BILLY</character> <dialogue>Nope.</dialogue> <scene_description>CASEY emerges from the gate, sees her father before he sees her and runs to him. They hug.</scene_description> <character>CASEY</character> <dialogue>Hey, Dad.</dialogue> <character>BILLY</character> <dialogue>Hey, honey... I'm glad to see you.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BILLY'S/PETER'S OFFICE - DAY</stage_direction> <scene_description>BILLY and PETER are throwing a ball through their office doors on either side of the hallway--</scene_description> <character>PETER</character> <dialogue>It's not a big enough sample yet. I want to wait until we play more games.</dialogue> </scene> <scene> <stage_direction>INT. BILLY'S OFFICE - DAY</stage_direction> <scene_description>BILLY watches the game from the office T.V. He sees --</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM - DAY - ARCHIVAL VIDEO</stage_direction> <scene_description>DAVID JUSTICE grounds into a double play to end the game.</scene_description> <character>TV ANNOUNCER</character> <dialogue>And Justice hits into the 6-4-3 double play to end the game...</dialogue> <scene_description>The INDIANS trot on the field to high-five each other. 74 OMITTED</scene_description> </scene> <scene> <stage_direction>A75 INT. BILLY'S HOUSE - AFTERNOON</stage_direction> <scene_description>Casey sits at the table as Billy scoops ice cream.</scene_description> <character>BILLY</character> <dialogue>Do you want strawberry or vanilla?</dialogue> <character>CASEY</character> <dialogue>Both.</dialogue> <character>BILLY</character> <dialogue>Don't tell your mother.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>If you could only have one ice cream for the rest of your life, which would you choose?</dialogue> <character>CASEY</character> <dialogue>Vanilla. Definitely vanilla.</dialogue> <character>BILLY</character> <dialogue>Interesting. Chocolate sauce?</dialogue> <character>CASEY</character> <dialogue>Yup.</dialogue> <scene_description>A beat. Then --</scene_description> <character>CASEY</character> <dialogue>Dad... if you could choose between the power of invisibility or flight, which would you choose?</dialogue> <character>BILLY</character> <dialogue>Flight. Yeah, I'd wanna fly. You?</dialogue> <character>CASEY</character> <dialogue>I think I'd want invisibility.</dialogue> <character>BILLY</character> <dialogue>Really? Why?</dialogue> <character>CASEY</character> <dialogue>I don't know. People wouldn't notice me as much.</dialogue> <character>BILLY</character> <dialogue>Why wouldn't you want people to notice you?</dialogue> <character>CASEY</character> <dialogue>I don't know.</dialogue> <character>BILLY</character> <dialogue>Well, I guess you could sneak up on people. Or eavesdrop on their conversations. You could be a spy.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>So how's school?</dialogue> <character>CASEY</character> <dialogue>My teacher's kinda mean. She doesn't like us to ask questions.</dialogue> <character>BILLY</character> <dialogue>What kind of teacher doesn't let you ask questions?</dialogue> <character>CASEY</character> <dialogue>I know, right? Mom was mad, too. She thinks maybe I should be home schooled.</dialogue> <character>BILLY</character> <dialogue>Wouldn't you miss your friends?</dialogue> <character>CASEY</character> <dialogue>Yeah. But the other kids are mean.</dialogue> <character>BILLY</character> <dialogue>There are always going to be bullies. Try not to let them get to you. But let me know if it's becoming a problem.</dialogue> <character>CASEY</character> <dialogue>Can I ask you a question? Are you still chewing tobacco?</dialogue> <character>BILLY</character> <dialogue>Yeah...</dialogue> <character>CASEY</character> <dialogue>Please stop.</dialogue> <character>BILLY</character> <dialogue>I know, it's terrible. Look, I promise I'll quit in November if you promise not to worry about it.</dialogue> <character>CASEY</character> <dialogue>Pinkie swear?</dialogue> <character>BILLY</character> <dialogue>Pinkie swear.</dialogue> </scene> <scene> <stage_direction>INT. BILLY'S OFFICE - DAY</stage_direction> <character>PETER</character> <dialogue>Theoretically, when we've played more games the numbers will become more representative of--</dialogue> <character>BILLY</character> <dialogue>Theoretically?</dialogue> </scene> <scene> <stage_direction>EXT. SAFECO FIELD - SEATTLE - DAY</stage_direction> <scene_description>The scoreboard shows the A's down by 1 in the 6th. As Art trudges toward the mound to pull his starter, he touches his left arm. Magnante emerges from the pen - and Peter, up in a VIP box, flips open his phone. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. OAKLAND AIRPORT - DAY</stage_direction> <scene_description>BILLY is saying goodbye to CASEY.</scene_description> <character>BILLY</character> <dialogue>Alright. Be good.</dialogue> <character>CASEY</character> <dialogue>Okay.</dialogue> <scene_description>Billy's Blackberry chimes. He ignores it.</scene_description> <character>BILLY</character> <parenthetical>(pause)</parenthetical> <dialogue>I feel like--</dialogue> <character>CASEY</character> <parenthetical>(pause)</parenthetical> <dialogue>You feel like what?</dialogue> <character>BILLY</character> <parenthetical>(beat)</parenthetical> <dialogue>I don't know, did we talk enough this time?</dialogue> <character>CASEY</character> <dialogue>About what?</dialogue> <character>BILLY</character> <dialogue>Anything. Did we talk about the things you want to talk about, did we have fun?</dialogue> <character>CASEY</character> <parenthetical>(pause)</parenthetical> <dialogue>Yeah!?</dialogue> <character>BILLY</character> <dialogue>Okay.</dialogue> <character>CASEY</character> <dialogue>I love you, Dad.</dialogue> <character>BILLY</character> <dialogue>You're doing it right now.</dialogue> <character>CASEY</character> <dialogue>What?</dialogue> <character>BILLY</character> <dialogue>You're worrying about me.</dialogue> <character>CASEY</character> <dialogue>Sorry.</dialogue> <character>BILLY</character> <dialogue>Do I look like I'm worried?</dialogue> <character>CASEY</character> <dialogue>Yeah.</dialogue> <character>BILLY</character> <dialogue>'Cause you're getting on an airplane and those things crash all the time. Will you please stop worrying about your father? You're a kid, I can't have it.</dialogue> <character>CASEY</character> <dialogue>Okay. Can I worry about the airplane now though?</dialogue> <character>BILLY</character> <dialogue>Absolutely.</dialogue> <scene_description>A FLIGHT ATTENDANT approaches --</scene_description> <character>FLIGHT ATTENDANT</character> <dialogue>We're all set.</dialogue> <character>BILLY</character> <dialogue>Great.</dialogue> <scene_description>There's a slightly awkward moment and CASEY isn't sure whether she's supposed to hug her father again and so they do a sort of half-hug.</scene_description> <character>BILLY</character> <dialogue>I love you.</dialogue> <scene_description>BILLY watches her go off with the attendant, feeling like it was an unsatisfying visit. He looks at his blackberry-- 3-2. Magnante in.</scene_description> <character>BILLY</character> <parenthetical>(shouting)</parenthetical> <dialogue>No! WHY IS HE IN THERE?!</dialogue> <scene_description>EVERYONE in the area stops to look at the madman.</scene_description> <character>BILLY</character> <parenthetical>(to the people looking at him)</parenthetical> <dialogue>No no. I'm alright.</dialogue> </scene> <scene> <stage_direction>EXT. TRACK - MORNING</stage_direction> <scene_description>Billy runs the warning track with a small radio that he turns on long enough to follow what's happening, and switches it off again. Over the following, we hear a cacophony of radio and TV VOICES tumbling into each other-- 79 THE STANDINGS ON PETER'S COMPUTER: 7 The A's have fallen to 19-25.</scene_description> </scene> <scene> <stage_direction>EXT. YANKEE STADIUM - NIGHT</stage_direction> <scene_description>MAGNATE giving up a save-blowing hit while BRADFORD sits in the bullpen...</scene_description> </scene> <scene> <stage_direction>EXT. JACOB'S FIELD - CLEVELAND - DAY</stage_direction> <scene_description>An Oakland A hits into a double-play, strike out, caught stealing, picked off first, a lop-sided scoreboard, half- empty stands--</scene_description> </scene> <scene> <stage_direction>A82 EXT. OAKLAND COLISEUM - NIGHT A8</stage_direction> <scene_description>The parking lot is a vast, empty black sea with just two pin-points of moving light. Headlights. Billy drives around the lot like a downhill skier with nothing in his way -- his daughter's mix-tape playing.</scene_description> </scene> <scene> <stage_direction>EXT. EDISON FIELD - ANAHEIM, CA - NIGHT</stage_direction> <scene_description>Jeremy lines a single to right, but is so slow he's almost thrown out at first. Art Howe glances at his bench coach, Ken Macha.</scene_description> <character>ANNOUNCER</character> <dialogue>Art Howe is the only manager in baseball who has to think about pinch running his leadoff hitter.</dialogue> <scene_description>Down in the Visitors' pen, Chad sits with Mike Magnante.</scene_description> <character>MAGNANTE</character> <dialogue>Why do you do it?</dialogue> <character>CHAD</character> <dialogue>I can't not do it.</dialogue> <character>MAGNANTE</character> <dialogue>How do you do it? Every ball park's different.</dialogue> <character>CHAD</character> <dialogue>I take that into account and adjust the distance of my steps.</dialogue> <character>MAGNANTE</character> <dialogue>Exactly seventy-four, from the pen to the mound.</dialogue> <character>MAGNANTE</character> <parenthetical>(Bradford nods)</parenthetical> <dialogue>You should get that looked at, man.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. SAFECO FIELD - NIGHT</stage_direction> <scene_description>The TEAM in the dugout, hanging their heads during a blowout and CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. CLUB HOUSE - NIGHT</stage_direction> <scene_description>Peter erases the percentage of games left they need to win and writes in a higher number and CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. BILLY'S TRUCK - DAY</stage_direction> <scene_description>He's listening to the radio.</scene_description> <character>REPORTER V/O</character> <dialogue>-- after Sunday's 11-0 rout. Now, having dropped 13 of 16, the A's are a game away from being swept at home by the AL East last place Baltimore Orioles.</dialogue> <scene_description>CUT TO: 86 AERIAL SHOT as we follow Billy's truck from Oakland over the Bay Bridge into San Francisco. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SCHOTT'S OFFICE - DAY</stage_direction> <character>BILLY</character> <dialogue>Steve.</dialogue> <character>SCHOTT</character> <dialogue>Billy.</dialogue> <character>BILLY</character> <dialogue>You remember Peter.</dialogue> <character>SCHOTT</character> <dialogue>Peter. Guys, give me some idea of what's going on out there.</dialogue> <character>BILLY</character> <dialogue>Listen, it's a team of probabilities, and we're gonna need 162 games to tell that tale in a nascent form. It's phase one, we're evolving and we feel confident where we're heading.</dialogue> <character>SCHOTT</character> <dialogue>Billy -</dialogue> <character>BILLY</character> <dialogue>We're not scared.</dialogue> <character>SCHOTT</character> <dialogue>3 out of 17 games. 3. We're getting crucified in the press. What makes you think this is gonna turn around?</dialogue> <character>BILLY</character> <dialogue>Because I believe in what we're doing. I believe the numbers. I believe the record doesn't accurately reflect the team and where we're going to be at the end of the season. Peter and I feel very strongly that we need to stick to the game plan, and you can tell your partners to start booking their tickets to the playoffs.</dialogue> <character>SCHOTT</character> <dialogue>Billy, look, you've got guys who are nearly crippled, who couldn't get hired as an usher in a ballpark now playing on the team. Give me something I can go back to these guys with and feel like I have the confidence that you're gonna turn these things around.</dialogue> <character>BILLY</character> <dialogue>With all due respect you asked me to build a team with shoelaces and gum wrappers and we've done it.</dialogue> <character>SCHOTT</character> <dialogue>You haven't done it yet billy.</dialogue> <character>BILLY</character> <dialogue>And it will pay off. Stick with us. Suffer the blows. Listen, life with no money means we're gonna have to suffer a few embarrassments along the way, but we are okay in the end.</dialogue> <character>SCHOTT</character> <dialogue>Billy, there's a lot of money at stake here.</dialogue> <character>SCHOTT</character> <dialogue>And a lot of people with vested interest in seeing this be successful. I've given you a lot of flexibility. When are we gonna start to see a change in these results?</dialogue> <scene_description>Schott sits back at his desk.</scene_description> <character>SCHOTT</character> <dialogue>Give me a date, give me a time frame.</dialogue> <character>BILLY</character> <parenthetical>(to Peter)</parenthetical> <dialogue>Where do we expect to be mid July All Star break?</dialogue> <character>PETER</character> <dialogue>Our goal and our expectation by the All Star break is to be within seven games of first place.</dialogue> <character>BILLY</character> <dialogue>That'll keep us in the hunt.</dialogue> <character>PETER</character> <dialogue>And that would be this working exceptionally well.</dialogue> <character>SCHOTT</character> <dialogue>7 within 500. By July. And what's going to keep us from getting there?</dialogue> <character>BILLY</character> <dialogue>Nothing Steve.</dialogue> <character>SCHOTT</character> <dialogue>Nothing. We're 3 for 17 right now. You've got to be able to give me a little bit more to go back to my partners with.</dialogue> <character>BILLY</character> <dialogue>Listen, you hired me to do this job and that's where we're going to be.</dialogue> <character>SCHOTT</character> <dialogue>That's not good enough.</dialogue> <character>BILLY</character> <dialogue>Well, let's go buy Barry Bonds, then. This is the team we've got and this is the team we'll win with.</dialogue> <character>SCHOTT</character> <dialogue>Billy, put yourself in my shoes. What do you imagine is going to happen if things don't turn around?</dialogue> <character>BILLY</character> <dialogue>It's very clear, Steve. If I put myself in your shoes, I'd spend another 20 million on the team.</dialogue> <character>SCHOTT</character> <dialogue>We don't have another 20 million</dialogue> <character>BILLY</character> <dialogue>I'm just kidding, Steve, I'm just kidding. We've got the team.</dialogue> <character>SCHOTT</character> <dialogue>I gotta be honest with you, Billy, I wish you had a little more worry and a little more fear. Because things aren't going in our direction right now.</dialogue> <character>BILLY</character> <dialogue>162 games Steve.</dialogue> <character>SCHOTT</character> <dialogue>Let's hope the next 30 are better than the last 30.</dialogue> <character>BILLY</character> <dialogue>I don't need to hope.</dialogue> <character>SCHOTT</character> <dialogue>All right fellas. Let's go try and win one. We're in May, we've got til July.</dialogue> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM - DAY</stage_direction> <scene_description>The A's take batting practice. LEGEND: May 23, 2002</scene_description> </scene> <scene> <stage_direction>INT. OAKLAND COLISEUM - DAY</stage_direction> <scene_description>ART, as he always does, is watching not from the railing but from the bench. BILLY walks into the dugout without saying hello.</scene_description> <character>BILLY</character> <dialogue>We're not gonna lose three at home to the Orioles.</dialogue> <character>BILLY</character> <dialogue>I want Dye in right, Justice DH-ing, Pena on the bench, Hatteberg at first and anyone but Magnante first out of the pen.</dialogue> <character>ART</character> <dialogue>You want Pena on the bench?</dialogue> <character>BILLY</character> <dialogue>That's right. So that you can play Hatteberg.</dialogue> <character>ART</character> <dialogue>Hatte - as opposed to the guy who's going to win Rookie of the Year.</dialogue> <character>BILLY</character> <dialogue>No, Hatte - as opposed to the guy who gets on base less. Pena getting voted Rookie of the Year and the A's making the playoffs are two entirely different--</dialogue> <character>ART</character> <dialogue>Pena's not just the best first baseman on the roster, he's the only first baseman on the roster and the most valuable member on this team.</dialogue> <character>BILLY</character> <dialogue>Not according to, what do you call 'em, facts.</dialogue> <character>ART</character> <dialogue>Hatteberg--</dialogue> <character>BILLY</character> <dialogue>Listen to me--gets on base more than Pena. 25% more.</dialogue> <character>ART</character> <dialogue>His fielding--</dialogue> <character>BILLY</character> <dialogue>His fielding doesn't matter.</dialogue> <character>ART</character> <dialogue>It does matter and Pena only has one error in 70 games.</dialogue> <character>BILLY</character> <dialogue>Not only is that number statistically insignificant but it's also subjective. It measures what someone did against what someone else thought they were supposed to do.</dialogue> <character>ART</character> <dialogue>Part of the conversation? I've heard enough of the conversation and I disagree with you, plain and simple. Moreover, I strongly believe that you're in the middle of experiencing some sort of personal crisis and you seem indifferent to the fact that you're taking a whole organization down with you. I'm playing my team in a way I can explain in job interviews this winter.</dialogue> <scene_description>Some As players arrive in the dugout, causing Billy to hold his tongue. He simply says -</scene_description> <character>BILLY</character> <dialogue>Hatte, not Pena.</dialogue> </scene> <scene> <stage_direction>INT. WEIGHT ROOM - NIGHT</stage_direction> <scene_description>The game plays silently on the TV as Billy lifts weights. Not wanting to watch but not being able not to, he looks at the screen to see Pena trotting out to first base ...</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM - LATER - NIGHT</stage_direction> <scene_description>The Orioles' bench clears to high-five the players coming off the field. The game is over, and, obviously, they've won. The A's exit their dugout to the tunnels.</scene_description> </scene> <scene> <stage_direction>INT. ART'S OFFICE - LATER - NIGHT</stage_direction> <scene_description>As Art crosses to his office, he sees Billy waiting inside it with a towel around his neck. He hesitates, then goes in and we follow him. Billy says nothing, but his silence is worse. Art has to break it -</scene_description> <character>ART</character> <dialogue>It's just one game.</dialogue> <character>BILLY</character> <dialogue>That's the point, you think?</dialogue> <character>ART</character> <dialogue>The point is always tomorrow's game.</dialogue> <character>BILLY</character> <dialogue>No, the point - as you said - is to win. I don't like sharing the cellar with Texas, do you?</dialogue> <scene_description>We hear FUNK MUSIC begin to play in the distance.</scene_description> <character>ART</character> <dialogue>I'm doing the best I can with what I've got. I'm playing the players I've got.</dialogue> <character>BILLY</character> <dialogue>I'm through talking.</dialogue> </scene> <scene> <stage_direction>INT. CLUB HOUSE LOCKER ROOM - NIGHT</stage_direction> <scene_description>Billy lets himself out and walks down the hall to the locker room - regards Jeremy Giambi -</scene_description> <character>JEREMY</character> <dialogue>Yeah!</dialogue> <scene_description>He's not even aware of Billy. It's just like any other night as far as Jeremy Giambi is concerned. He dances to a CD of funk music as he dresses, until he becomes aware of Billy standing there, and smiling, he kills the music.</scene_description> <character>JEREMY</character> <parenthetical>(nervous laugh)</parenthetical> <dialogue>What?</dialogue> <character>BILLY</character> <dialogue>Getting swept by the Red Sox at home. Having Long lead off the ninth with a triple in a one-run game and not being able to score a runner from first with nobody out, is that fun?</dialogue> <character>JEREMY</character> <dialogue>No.</dialogue> <character>BILLY</character> <dialogue>Then what the fuck are you having fun for?!</dialogue> <parenthetical>(calmly)</parenthetical> <dialogue>This is what losing sounds like.</dialogue> <scene_description>He heads out. 94 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. BILLY'S TRUCK - NIGHT</stage_direction> <character>PETER V/O</character> <dialogue>...point 3-5 below the AL average field which isn't bad.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Billy?</dialogue> <character>BILLY</character> <dialogue>Yeah?</dialogue> <scene_description>CUT TO: 96 PETER IN THE VIDEO ROOM - SAME TIME 9 Peter rattles off player stats.</scene_description> <character>PETER</character> <dialogue>Cruz -- .283, .347, .476. Stevens -- .244, .349, .560. Miner -- .272, .349, .499. Hanson -- .280, .363, .450. Baretta -- .273, .354, .497. Durazo -- .292, .395, .621. What do you think?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Billy?</dialogue> <character>BILLY (V.O.)</character> <parenthetical>(beat)</parenthetical> <dialogue>I don't know where I am.</dialogue> <character>PETER</character> <dialogue>You okay?</dialogue> <character>BILLY (V.O.)</character> <dialogue>I missed my exit.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>A97 INT. BILLY'S TRUCK - NIGHT A9</stage_direction> <scene_description>Billy takes the next off ramp and as LIGHTS FLARE on the windshield, we transition to ANOTHER TIME, YOUNG BILLY DRIVING --</scene_description> </scene> <scene> <stage_direction>B97 INT. CAR - MOVING - NIGHT - 1989 B9</stage_direction> <scene_description>Billy and his wife drive home from a game in silence, their infant daughter Casey asleep in a car seat in back. Sharon regards Billy's hands, clutched too tightly to the steering wheel.</scene_description> <character>SHARON</character> <dialogue>Have you thought about what you might do if baseball doesn't work out?</dialogue> <character>BILLY</character> <parenthetical>(pause)</parenthetical> <dialogue>What?</dialogue> <character>SHARON</character> <dialogue>That was too abrupt.</dialogue> <character>BILLY</character> <dialogue>No.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>What?</dialogue> <character>SHARON</character> <parenthetical>(beat)</parenthetical> <dialogue>If baseball doesn't work out. Have you thought about what you might do?</dialogue> <character>BILLY</character> <parenthetical>(beat)</parenthetical> <dialogue>The game's only been over for three hours, I haven't had that much time to think about it.</dialogue> <character>SHARON</character> <dialogue>Sure.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Maybe real estate.</dialogue> <character>BILLY</character> <dialogue>I'll be honest, if I don't make it in baseball I don't think I'm going to be able to afford much real estate.</dialogue> <character>SHARON</character> <dialogue>I meant--</dialogue> <character>BILLY</character> <dialogue>I know what you meant.</dialogue> <character>SHARON</character> <parenthetical>(pause)</parenthetical> <dialogue>It's just a slump, right?</dialogue> <character>BILLY</character> <parenthetical>(beat)</parenthetical> <dialogue>No.</dialogue> <character>SHARON</character> <dialogue>You're saying every scout was wrong?</dialogue> <character>BILLY</character> <dialogue>You're kind of saying it too.</dialogue> <character>SHARON</character> <dialogue>Billy--</dialogue> <character>BILLY</character> <dialogue>Honey...don't you think you should divorce me now while you're young?</dialogue> <scene_description>SHARON looks at him... then her eyes go to the window.</scene_description> <character>COMMENTATOR (PRELAP)</character> <dialogue>When a science experiment fails in a lab, things blow up.</dialogue> <scene_description>97 OMITTED 9</scene_description> <character>IN BLACK:</character> <dialogue>Problems are the price you pay for progress.</dialogue> <scene_description>- Branch Rickey</scene_description> </scene> <scene> <stage_direction>INT. OAKLAND COLISEUM - CORRIDOR - DAY</stage_direction> <scene_description>Billy shoves a wad of Copenhagen under his lip as he and Peter walk-and-talk.</scene_description> <character>BILLY</character> <dialogue>Get me Wade.</dialogue> <character>PETER</character> <dialogue>Why.</dialogue> <character>BILLY</character> <dialogue>Get him.</dialogue> <character>PETER</character> <dialogue>Why.</dialogue> <character>BILLY</character> <dialogue>Get him.</dialogue> </scene> <scene> <stage_direction>A99 INT. BILLY'S OFFICE - DAY A9</stage_direction> <scene_description>Billy's seated at his desk. Peter reluctantly dials a number from a list, the number across from the Phillies' GM's name. It connects on the speaker.</scene_description> <character>WADE V/O</character> <dialogue>Hello?</dialogue> <character>BILLY</character> <dialogue>Ed. Billy. I need some help on defense and I'm willing to trade Jeremy Giambi for it.</dialogue> <character>PETER</character> <dialogue>No, you (aren't) -</dialogue> <character>BILLY</character> <parenthetical>(ignoring Peter; to Wade)</parenthetical> <dialogue>Who you got?</dialogue> <character>WADE V/O</character> <dialogue>Let me think.</dialogue> <character>PETER</character> <dialogue>What are you doing? Jeremy's doing (great) -</dialogue> <character>BILLY</character> <dialogue>Cleaning house.</dialogue> <character>WADE V/O</character> <dialogue>Maybe?</dialogue> <character>BILLY</character> <dialogue>Maybe what?</dialogue> <character>WADE V/O</character> <dialogue>No. Mabry.</dialogue> <character>BILLY</character> <dialogue>Hang on.</dialogue> <parenthetical>(put the call on hold)</parenthetical> <dialogue>Mabry?</dialogue> <character>PETER</character> <dialogue>I don't know.</dialogue> <character>BILLY</character> <dialogue>Yes, you do.</dialogue> <character>PETER</character> <dialogue>Runs hot and cold, Billy. Impossible to know what we're going to get. He's a crap shoot. He's exactly the kind of player we're not looking for.</dialogue> <character>BILLY</character> <parenthetical>(into the phone)</parenthetical> <dialogue>He'll be fine, Ed.</dialogue> <character>WADE V/O</character> <dialogue>Why do I get the feeling you're picking my pocket?</dialogue> <character>BILLY</character> <dialogue>I'm not picking your pocket, you're picking mine. Giambi's name alone is worth more than Mabry.</dialogue> <character>WADE V/O</character> <dialogue>You realize -</dialogue> <character>BILLY</character> <parenthetical>(into phone)</parenthetical> <dialogue>I do. His career is stagnant, to put it nicely. Can we say it's done in theory and start drawing up paperwork?</dialogue> <character>WADE V/O</character> <dialogue>Okay. But -</dialogue> <character>BILLY</character> <dialogue>Great.</dialogue> <scene_description>He hangs up.</scene_description> <character>PETER</character> <dialogue>I think he was going to say something else.</dialogue> <character>BILLY</character> <dialogue>Peter. Rule Number 3: When you get the answer you're looking for - hang up. That's done, and in a minute Pena's going to Detroit.</dialogue> <character>PETER</character> <dialogue>I don't think you want to do that.</dialogue> <character>BILLY</character> <dialogue>Art can't put him at first if he's playing for the Tigers and I want Hatte in the lineup tonight.</dialogue> <character>PETER</character> <dialogue>Maybe you should think about this. You're upset and this is - this -</dialogue> <character>BILLY</character> <dialogue>What am I missing?</dialogue> <character>PETER</character> <dialogue>It's just a very hard move to explain. People are going to think you've lost your mind.</dialogue> <character>BILLY</character> <dialogue>Why's that a problem Peter?</dialogue> <scene_description>Beat.</scene_description> <character>PETER</character> <dialogue>Don't make an emotional decision Billy.</dialogue> <character>SUZANNE</character> <dialogue>David Dombrowski's on 3.</dialogue> <scene_description>Billy picks up the call.</scene_description> <character>BILLY</character> <parenthetical>(to Peter)</parenthetical> <dialogue>Sometimes you have to shake it up.</dialogue> <parenthetical>(into phone)</parenthetical> <dialogue>David, Peña's going on the blocks, you're my first call... because he's making the rest of the team look bad... He's going to be rookie of the year...</dialogue> <character>PETER</character> <parenthetical>(not eager to help but...)</parenthetical> <dialogue>Probably an all star.</dialogue> <character>BILLY</character> <dialogue>He's an all star Dave...</dialogue> <parenthetical>(winks at Peter, listens)</parenthetical> <dialogue>It's more like he's creating self-esteem problems for the other guys... No, I'm looking for a reliever and some cash... Ok... five minutes Dave, I'm not waiting.</dialogue> <parenthetical>(hangs up)</parenthetical> <dialogue>What's the problem?</dialogue> <character>PETER</character> <parenthetical>(trying to slow it down)</parenthetical> <dialogue>Billy, Peña is an all star. If you dump him, and if Hatte doesn't work out, you know, this is the kind of decision that gets you fired.</dialogue> <character>BILLY</character> <dialogue>Why you worrying about my job?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You worried about my job or yours?</dialogue> <character>PETER</character> <parenthetical>(beat)</parenthetical> <dialogue>I'm worried about yours.</dialogue> <character>BILLY</character> <dialogue>Well you should be worrying about yours because if this thing we're doing don't work... neither of us have jobs.</dialogue> <character>PETER</character> <dialogue>That's probably true.</dialogue> <character>BILLY</character> <dialogue>In which case I'm a 44 year old guy with a high-school diploma and a daughter who I'd like to be able to put through college one day.</dialogue> <parenthetical>(lets it sink in)</parenthetical> <dialogue>You're 25 years old with a degree from Yale and a pretty impressive apprenticeship.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I don't think we're asking the right question. I think the question we're supposed to be asking now is, do you believe in what we're doing or not?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It's a problem that you think we need to explain ourselves. Don't... to anyone. I'm going to see this through, for better or for worse. Just tell me, do you project we'll win more games with Peña or Hatteberg on first?</dialogue> <character>PETER</character> <dialogue>It's close Billy but theoretically Hatteberg.</dialogue> <character>BILLY</character> <dialogue>What are we talking about then?</dialogue> <scene_description>The phone rings.</scene_description> <character>BILLY</character> <dialogue>Dave.</dialogue> <parenthetical>(listens)</parenthetical> <dialogue>That works. Great. There's just one more thing I need. I don't want the guys paying for soda--I want you to stock my soda machine for three years. Uh huh, uh huh, great... then that's a deal.</dialogue> <scene_description>Billy hangs up. He stares at Peter.</scene_description> <character>PETER</character> <dialogue>That was thoughtful.</dialogue> <character>BILLY</character> <dialogue>Yeah. Okay. You gotta tell Pena to pack.</dialogue> <character>PETER</character> <dialogue>You want me to tell Pena he's been traded?</dialogue> <character>BILLY</character> <dialogue>Be a man.</dialogue> <character>PETER</character> <dialogue>What about Jeremy? Am I telling him, too.</dialogue> <character>BILLY</character> <dialogue>No. I'll do that.</dialogue> </scene> <scene> <stage_direction>B99 INT. LOCKER ROOM</stage_direction> <scene_description>Peter walks into the locker room. Sees Pena talking to a couple of other players. He approaches Pena.</scene_description> <character>PETER</character> <dialogue>Hey, Carlos.</dialogue> <character>PENA</character> <dialogue>Yeah.</dialogue> <character>PETER</character> <dialogue>Can I get a moment with you?</dialogue> <character>PENA</character> <dialogue>Sure.</dialogue> <character>PETER</character> <dialogue>Okay, maybe we can talk over here.</dialogue> <scene_description>They walk awkwardly to the players' lounge.</scene_description> <character>PETER</character> <dialogue>Have a seat.</dialogue> <scene_description>They sit.</scene_description> <character>PETER</character> <dialogue>So, um, Carlos, you've been traded to the Tigers. This is the number of Jay Palmer, their travel secretary. He's expecting your call. He'll help you arrange travel to Detroit.</dialogue> <scene_description>Pena sits and stares at him. It's excruciating for Peter, awkward, until --</scene_description> <character>PENA</character> <dialogue>Is that all?</dialogue> <character>PETER</character> <dialogue>Yeah.</dialogue> <character>PENA</character> <dialogue>Cool.</dialogue> <scene_description>Pena just takes it. Picks up the number and leaves.</scene_description> </scene> <scene> <stage_direction>INT. ART'S OFFICE - LATER - DAY</stage_direction> <scene_description>Billy knocks and lets himself in.</scene_description> <character>BILLY</character> <dialogue>Mind if I have a seat.</dialogue> <character>ART</character> <dialogue>Please.</dialogue> <character>BILLY</character> <dialogue>You can't start Pena at first tonight, you'll have to start Hatteberg.</dialogue> <character>ART</character> <dialogue>I don't want to go 15 rounds, Billy, the line-up card is mine and that's all.</dialogue> <character>BILLY</character> <dialogue>The line-up card is definitely yours, I'm just saying you can't start Pena at first.</dialogue> <character>ART</character> <dialogue>I am starting Pena at first.</dialogue> <character>BILLY</character> <dialogue>I don't think so, he plays for the Detroit Tigers now.</dialogue> <character>ART</character> <parenthetical>(pause)</parenthetical> <dialogue>You traded Pena?!</dialogue> <character>BILLY</character> <dialogue>Along with German, Hiljus and Jeremy Giambi.</dialogue> <character>ART</character> <dialogue>You are outside your fucking mind.</dialogue> <scene_description>Art stares at him in a silence broken by Jeremy Giambi knocking on the open door.</scene_description> <character>BILLY</character> <dialogue>Jeremy, come on in.</dialogue> <scene_description>Billy jots a phone number on an A's Post-It and hands it to him.</scene_description> <character>BILLY</character> <dialogue>This is Ed Wade's number. You know him?</dialogue> <scene_description>Art looks sick.</scene_description> <character>JEREMY</character> <dialogue>No.</dialogue> <character>BILLY</character> <dialogue>Phillies General Manager. Real nice guy. Give him a call - he's expecting it - say hello - then talk to Futterman about arranging a flight for you.</dialogue> <character>JEREMY</character> <dialogue>The what?</dialogue> <character>BILLY</character> <dialogue>The flight. To Philadelphia.</dialogue> <scene_description>Billy gets up and shakes his hand.</scene_description> <character>BILLY</character> <dialogue>It's been a real pleasure, Jeremy. I mean that. You're a great ballplayer and great guy.</dialogue> <scene_description>Jeremy, not sure he heard right, looks at the Post-It in his hand as Billy escorts him to the door.</scene_description> <character>BILLY</character> <dialogue>We're going to miss you.</dialogue> <scene_description>Jeremy leaves. Billy looks at Art from the door.</scene_description> <character>BILLY</character> <dialogue>Adkins is gone, too.</dialogue> <character>ART</character> <dialogue>You're killing this team.</dialogue> <character>BILLY</character> <dialogue>Art? I can do this all day long.</dialogue> <scene_description>He leaves. Art notices Peter, who had been lurking by the door, eavesdropping.</scene_description> <character>ART</character> <dialogue>What are you looking at?</dialogue> <character>PETER</character> <dialogue>I'm not looking at anything.</dialogue> <character>ART</character> <dialogue>You went along with this? You agree with this bullshit?</dialogue> <character>PETER</character> <parenthetical>(beat)</parenthetical> <dialogue>A hundred percent.</dialogue> </scene> <scene> <stage_direction>A100 INT. LOCKER ROOM - DAY A10</stage_direction> <scene_description>Pena cleans out his locker. Several players stop by to say goodbye. Tejada --</scene_description> <character>TEJADA</character> <dialogue>Keep your head up, okay? It's part of the business. You're gonna be a great player, okay?</dialogue> <character>PENA</character> <dialogue>Thank you, man.</dialogue> <character>TEJADA</character> <dialogue>Don't let this bother you at all.</dialogue> <scene_description>Chad Bradford --</scene_description> <character>CHAD</character> <dialogue>Nice to meet you, brother. Take care and... God bless you, man.</dialogue> <character>PENA</character> <dialogue>Thank you.</dialogue> <scene_description>Scott Hatteberg --</scene_description> <character>HATTEBERG</character> <dialogue>You're the best first baseman here. It's not right, Carlos.</dialogue> <character>PENA</character> <dialogue>Thank you, Hattie.</dialogue> <character>HATTEBERG</character> <dialogue>Yeah.</dialogue> </scene> <scene> <stage_direction>INT. LOCKER ROOM - DAY</stage_direction> <scene_description>BILLY and PETER stride through as the team is getting dressed for batting practice. The place quiets down as BILLY comes in. They've all heard the news and they've never experienced a move like this in their careers.</scene_description> <character>BILLY</character> <parenthetical>(calling out)</parenthetical> <dialogue>Scottie H.!</dialogue> <character>SCOTT</character> <dialogue>Yes sir.</dialogue> <character>BILLY</character> <dialogue>Go out and field some grounders.</dialogue> <scene_description>BILLY looks around at the PLAYERS, who are looking at Billy...</scene_description> <character>BILLY</character> <dialogue>Everybody, listen up. You may not look like a winning ball team. In fact, you look nothing like a winning ball team. But you are one. So play like one tonight. You'll get further instructions tomorrow.</dialogue> </scene> <scene> <stage_direction>EXT. THE FIELD - NIGHT (HYBRID)</stage_direction> <scene_description>DAVID JUSTICE hits a single up the middle as the runners on 2nd and 3rd round the bases to score.</scene_description> </scene> <scene> <stage_direction>INT. WEIGHT ROOM - SAME TIME</stage_direction> <scene_description>BILLY's blackberry buzzes. "Sngl up the mdl--2 rns scr"</scene_description> <character>BILLY</character> <dialogue>Okay.</dialogue> </scene> <scene> <stage_direction>A103 INT. WEIGHT ROOM - NIGHT</stage_direction> <scene_description>Billy talks to Chavez and Ellis. Peter stands nearby.</scene_description> <character>BILLY</character> <dialogue>No more bunts.</dialogue> <character>CHAVEZ</character> <dialogue>No more bunts?</dialogue> <character>BILLY</character> <dialogue>A bunt is an out. You're paid to avoid outs, not make them.</dialogue> <character>CHAVEZ</character> <dialogue>A bunt isn't an out. It's a sacrifice.</dialogue> <character>BILLY</character> <dialogue>A bunt is for pitchers and weak hitters. You're not a pitcher, Chavvie, so what are you saying?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Until the third out, anything can happen. After the third out, it's over. You gotta protect your outs like they're your children. Every out's precious, don't give 'em away.</dialogue> <parenthetical>(then)</parenthetical> <character>BILLY</character> <dialogue>Another thing -- you should see more pitches. We wanna get into their bullpen. Deep into their bullpen. We want to see 100 pitches by the end of the 5th inning. You wanna get your at-bats off their 10th and 11th pitcher.</dialogue> <character>ELLIS</character> <dialogue>You want us to walk more. How much more?</dialogue> <character>BILLY</character> <dialogue>Pete?</dialogue> <character>PETER</character> <dialogue>At least once every ten at bats.</dialogue> <character>ELLIS</character> <dialogue>Or...?</dialogue> <character>BILLY</character> <dialogue>Triple-A Sacramento's only 80 miles away. And there's no flights.</dialogue> <parenthetical>(as they look to Peter)</parenthetical> <dialogue>Don't look at him. Here's the deal. I'm not interested in what you think you know about baseball, or what you think I don't know about it. I'm not interested in guts or heart or determination or anything else the fans or your mothers love about you. I'm interested in you getting on base. If you do that, we win. If you don't, we lose. And I hate to lose. I hate to lose more than I need to win. There's a difference.</dialogue> </scene> <scene> <stage_direction>B103 INT. VIDEO ROOM - DAY B10</stage_direction> <scene_description>Billy and Peter give advice to Dye and Byrnes.</scene_description> <character>PETER</character> <dialogue>Every at bat is like a hand of blackjack. Every card that's dealt, your odds completely change. For instance, every first pitch strike, your batting average goes down about 75 points.</dialogue> <character>BILLY</character> <dialogue>75 points.</dialogue> <character>PETER</character> <dialogue>75 points. Every first pitch ball, it goes up about the same amount. So you gotta lay off the first pitch.</dialogue> <character>BYRNES</character> <dialogue>First pitch curveball or first pitch fastball?</dialogue> <character>PETER</character> <dialogue>First pitch period. When you swing at the first pitch you're batting .140.</dialogue> <character>BILLY</character> <dialogue>We want to see more pitches.</dialogue> <character>DYE</character> <dialogue>How many pitches?</dialogue> <character>PETER</character> <dialogue>Every starter, we want to see 100 pitches by the 5th inning.</dialogue> <character>DYE</character> <dialogue>So... 5, 6 pitches per at bat?</dialogue> <character>PETER</character> <dialogue>Yeah. I mean, Hatteberg drained 38 pitches.</dialogue> <character>BILLY</character> <dialogue>And Byrnsie, you're hackin' at everything. You're all squirrely out there. Wait for your pitch, man. This is a war of attrition. There's no clock on this thing. Wait 'em out. Let them make the mistakes. And when your enemy's making mistakes -- don't interrupt them.</dialogue> </scene> <scene> <stage_direction>C103 INT. WEIGHT ROOM - DAY</stage_direction> <scene_description>Peter advises Durham as he works out.</scene_description> <character>PETER</character> <dialogue>Basically, these are all your at bats. This is you versus righties, you versus lefties... and then, of course, all your count knowledge, okay? In an 0-0 count you're batting .290. In an 0-1 you average .238. In a 0-2, .159. When you're 1-0, you're batting .324. Understand what I'm saying?</dialogue> <character>DURHAM</character> <dialogue>Not really.</dialogue> <character>PETER</character> <dialogue>I know, it's a lot of math. When your first pitch is a strike, your batting average goes down about 70 points.</dialogue> <character>PETER</character> <dialogue>When it's a ball, it goes up about 30. If you draw a ball on your first pitch, you're unstoppable. If you strike on the first pitch, you might as well be jumping off cliff. I'm trying to get you to lay off the first pitch.</dialogue> <character>DURHAM</character> <dialogue>But I'm a first pitch hitter. I like to swing at fastballs.</dialogue> <character>PETER</character> <dialogue>And that's the way you've been trained. But it's a habit we'd like to break you from. We're trying to design the game to your strengths. This has nothing to do with you being a great hitter -- you're a great hitter. We just want to get you on base.</dialogue> <character>DURHAM</character> <dialogue>But if I get my pitch, I'm gonna swing at it, no matter what the count is.</dialogue> <character>PETER</character> <dialogue>I'm not worried about you crushing the ball out of the park. I just want you to lay off anything that will result in a strike.</dialogue> <character>DURHAM</character> <dialogue>I guess I'll have to watch some film and take a look at it.</dialogue> <character>PETER</character> <dialogue>Absolutely. The video room is open to you any time, I'm always available.</dialogue> </scene> <scene> <stage_direction>INT. A'S LOCKER ROOM - NIGHT</stage_direction> <scene_description>BILLY and PETER with a group of players around the card table, post-game.</scene_description> <character>PETER</character> <dialogue>-- But seriously. Make him use up all his bullets.</dialogue> <character>BILLY</character> <dialogue>Yeah, make him work.</dialogue> <character>HATTEBERG</character> <dialogue>So... Mr. Beane?</dialogue> <character>BILLY</character> <dialogue>Billy's fine.</dialogue> <character>HATTEBERG</character> <dialogue>Billy --</dialogue> <character>BILLY</character> <dialogue>Nah, make it Mr. Beane.</dialogue> <character>HATTEBERG</character> <dialogue>Mr. Beane --</dialogue> <character>BILLY</character> <dialogue>I'm screwin' with you, Haddie.</dialogue> <character>HATTEBERG</character> <dialogue>So we just don't steal?</dialogue> <character>BILLY</character> <dialogue>That's right.</dialogue> <character>LONG</character> <dialogue>That's what I do. That's what you pay me to do.</dialogue> <character>BILLY</character> <dialogue>No, I pay you to get on first, not get thrown out at second.</dialogue> <character>LONG</character> <dialogue>I don't get thrown out much.</dialogue> <character>BILLY</character> <dialogue>I don't hit on 17 at the blackjack table, but if I did, the odds would be the same.</dialogue> <character>PETER</character> <dialogue>You've actually gotten caught 6 out of 17 tries this season.</dialogue> <character>LONG</character> <dialogue>I get 11 of 17. That's not bad.</dialogue> <character>BILLY</character> <dialogue>You just handed them an out. Protect your outs like they're your children. There's no clock on this game. Until the third out, anything can happen. Get on base and let the next guy move you up. Pass the torch, pass the torch. We're like a machine. A run making machine.</dialogue> </scene> <scene> <stage_direction>A104 INT. LOCKER ROOM - KITCHEN - DAY</stage_direction> <scene_description>As JUSTICE and HATTEBERG prepare food --</scene_description> <character>JUSTICE</character> <dialogue>What's your biggest fear?</dialogue> <character>SCOTT</character> <dialogue>A baseball being hit in my general direction.</dialogue> <character>JUSTICE</character> <dialogue>That's funny.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>No, seriously.</dialogue> <character>SCOTT</character> <dialogue>Seriously.</dialogue> </scene> <scene> <stage_direction>INT. OAKLAND COLISEUM BATTING CAGE - DAY</stage_direction> <character>BILLY</character> <dialogue>Hey, Dave. I've been thinking... I want you to --</dialogue> <character>JUSTICE</character> <dialogue>You gonna teach me something?</dialogue> <character>BILLY</character> <dialogue>Excuse me?</dialogue> <character>JUSTICE</character> <dialogue>I've never seen a GM talk to players.</dialogue> <character>BILLY</character> <dialogue>You've never seen a GM who was a player.</dialogue> <character>JUSTICE</character> <dialogue>Huh.</dialogue> <character>BILLY</character> <dialogue>Is there a problem?</dialogue> <character>JUSTICE</character> <dialogue>It's okay, man. I know your routine. It's a patter, it's rap, it's for effect. That's okay. But it's for them, it's not for me.</dialogue> <character>BILLY</character> <dialogue>You're special?</dialogue> <character>JUSTICE</character> <dialogue>You're paying me 7 million bucks so I guess I am a little.</dialogue> <character>BILLY</character> <dialogue>As a matter of fact I'm not paying you 7 million bucks, David. The Yankees are paying half your salary. That's what the New York Yankees think of you.</dialogue> <character>BILLY</character> <dialogue>They're paying you three and a half million dollars to play against them.</dialogue> <scene_description>If this is news to Justice, he doesn't show it.</scene_description> <character>JUSTICE</character> <dialogue>Where are you going with this, Billy?</dialogue> <character>BILLY</character> <dialogue>You're almost 37, Dave. Almost as old as me. Let's be honest with each other about what we each want. I want to milk the last ounce of baseball you have left in you, and you want to stay in the show. So let's do that. I'm not paying you to be the player you used to be, I'm paying you to be the player you are now. You're smart, you know what's going on here. I need you to set an example for the younger guys. Take a leadership role.</dialogue> <scene_description>Justice just studies him ... then nods.</scene_description> <character>BILLY</character> <dialogue>We're cool?</dialogue> <character>JUSTICE</character> <dialogue>We're cool.</dialogue> <character>BILLY</character> <dialogue>All right.</dialogue> <scene_description>Billy starts to leave, but has one last thought for him -</scene_description> <character>BILLY</character> <dialogue>You know -- the Yankees are coming to town. If it were me -- I'd want to take that three point five and shove it up their ass. But I'm a competitor.</dialogue> <scene_description>Billy exits. Justice calls after him --</scene_description> <character>JUSTICE</character> <dialogue>You know, I got a couple World Series rings. I think I'm a pretty good competitor, too.</dialogue> <character>BILLY</character> <parenthetical>(calling back)</parenthetical> <dialogue>You want another one?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM FIELD - NIGHT</stage_direction> <scene_description>DAVID JUSTICE takes ball four from a Yanks pitcher, tosses his bat to the side and trots down to first base. CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM FIELD - NIGHT</stage_direction> <scene_description>TEJADA is on first and taking a big lead toward second. He wants to steal it bad.</scene_description> <character>ANNOUNCER (VO)</character> <dialogue>Tejada taking a big lead off first, eyeing the steal--</dialogue> </scene> <scene> <stage_direction>INT. CLUBHOUSE MANAGER'S OFFICE - NIGHT</stage_direction> <scene_description>BILLY watches with two or three TEAM EMPLOYEES.</scene_description> <character>BILLY</character> <dialogue>Don't do it, Migs.</dialogue> </scene> <scene> <stage_direction>EXT. FIELD - NIGHT</stage_direction> <scene_description>And CRACK--a base hit sends Tejada to 3rd.</scene_description> </scene> <scene> <stage_direction>INT. CLUBHOUSE MANAGER'S OFFICE - NIGHT</stage_direction> <scene_description>BILLY's blackberry buzzes: Sngl to lft. Frst and thrd--nobody out.</scene_description> <character>BILLY</character> <dialogue>Thank you.</dialogue> </scene> <scene> <stage_direction>EXT. AIRPLANE - IN FLIGHT</stage_direction> <scene_description>The wheels of the team jet lift off--</scene_description> </scene> <scene> <stage_direction>INT. BILLY'S OFFICE - NIGHT</stage_direction> <scene_description>The TV is on as BILLY and PETER work, seeming more and more like mad scientists who are getting closer and closer to splitting the atom.</scene_description> <character>GREG PAPA OR RAY FOSSE (TV)</character> <dialogue>What is happening in Oakland?!! The A's have won seven in a row and 15 of their last 19. You got to hand it to Art Howe. He's managing this unorthodox team in an unorthodox way. They are not bunting. They are not stealing. They are just winning. And Art Howe is the reason.</dialogue> <character>PETER</character> <dialogue>Did you hear that?</dialogue> <character>BILLY</character> <dialogue>I heard 7 in a row.</dialogue> <scene_description>Billy clicks off the TV and it's very quiet. Billy is scrolling down numbers that show trends and comparisons of all of the A's relief pitching.</scene_description> <character>BILLY</character> <dialogue>Can you show me righty-lefty matchups for the division and overall versus Mariners?</dialogue> <scene_description>Peter reaches over and with a few clicks produces new columns of numbers, upon which Billy darts his eyes as he scrolls through them. Finally -</scene_description> <character>BILLY</character> <dialogue>Okay.</dialogue> <scene_description>He gets up and heads out.</scene_description> </scene> <scene> <stage_direction>A112 INT. LOCKER ROOM - AFTERNOON</stage_direction> <scene_description>BILLY walks through the clubhouse, shouting locker room shoutouts to PLAYERS as he walks by.</scene_description> <character>BILLY</character> <dialogue>Voos.</dialogue> <character>VOOS</character> <dialogue>Billy.</dialogue> <character>BILLY</character> <parenthetical>(pointing back down hall)</parenthetical> <dialogue>That smell is getting worse.</dialogue> <character>VOOS</character> <dialogue>I'm on it, Billy.</dialogue> <character>BILLY</character> <parenthetical>(to Hernandez)</parenthetical> <dialogue>What are we doing tonight?</dialogue> <character>HERNANDEZ</character> <dialogue>Splitting the plate in half.</dialogue> <character>BILLY</character> <dialogue>Both sides.</dialogue> <parenthetical>(to Hudson, playing cards)</parenthetical> <dialogue>Huddy, you gotta mix it up tonight. Trust your slider.</dialogue> <character>HUDSON</character> <dialogue>Yes sir.</dialogue> <character>BILLY</character> <parenthetical>(to the others)</parenthetical> <dialogue>You guys stop distracting him.</dialogue> <parenthetical>(to Chavez)</parenthetical> <dialogue>Chavvie -- you couldn't hit that shit with a boat paddle last night. You gotta see more pitches. Patience.</dialogue> <character>CHAVEZ</character> <dialogue>You got it, Billy.</dialogue> <scene_description>As Billy crosses through the weight room --</scene_description> <character>BILLY</character> <parenthetical>(to Justice)</parenthetical> <dialogue>Hey David --</dialogue> <character>JUSTICE</character> <dialogue>Hey, man.</dialogue> <character>BILLY</character> <dialogue>Great at bats. Really. Quality.</dialogue> <character>JUSTICE</character> <dialogue>Thank you.</dialogue> </scene> <scene> <stage_direction>INT. ART'S OFFICE - CONTINUOUS</stage_direction> <scene_description>BILLY knocks on Art's door -- something we haven't seen him do before. ART can see BILLY through the window blinds and is a little surprised at the courtesy of a knock.</scene_description> <character>ART</character> <dialogue>Come in.</dialogue> <scene_description>BILLY does. He's going to try to do this nicely.</scene_description> <character>BILLY</character> <dialogue>How are ya?</dialogue> <character>ART</character> <dialogue>Good. You knocked.</dialogue> <character>BILLY</character> <dialogue>I did, and I hope you take it as a show of respect.</dialogue> <character>ART</character> <dialogue>We'll see.</dialogue> <character>BILLY</character> <dialogue>You look good.</dialogue> <character>ART</character> <dialogue>We've won 7 in a row, what am I doing wrong now?</dialogue> <character>BILLY</character> <dialogue>Absolutely nothing.</dialogue> <character>ART</character> <dialogue>Good.</dialogue> <character>BILLY</character> <dialogue>But.</dialogue> <character>ART</character> <dialogue>Yeah.</dialogue> <character>BILLY</character> <dialogue>Magnante's having some head problems.</dialogue> <character>ART</character> <dialogue>Head problems.</dialogue> <character>BILLY</character> <dialogue>Yeah.</dialogue> <character>ART</character> <dialogue>Okay.</dialogue> <character>BILLY</character> <dialogue>He's 37 and he's got three blown saves in two weeks. Everytime he winds up he's thinking he's about to throw the last pitch of his life. So he grips it a little hard.</dialogue> <character>ART</character> <dialogue>I appreciate this.</dialogue> <character>BILLY</character> <dialogue>Sure.</dialogue> <character>ART</character> <dialogue>But I know my bullpen.</dialogue> <character>BILLY</character> <dialogue>Yes you do. Yes you absolutely do. No question about it. Except not really.</dialogue> <character>ART</character> <dialogue>Yeah?</dialogue> <character>BILLY</character> <dialogue>If we have a lead late in the game and they have runners on base, I'd rather not see Magnante out of the bullpen.</dialogue> <character>ART</character> <dialogue>I'll make that decision when the time comes.</dialogue> <character>BILLY</character> <dialogue>That's what you should do. Baseball's a game of situations and you should make the decision when the time comes. Except you should make it now.</dialogue> <character>ART</character> <dialogue>Look--</dialogue> <character>BILLY</character> <dialogue>Don't bring Magnante out if we've gotta hold a late lead with runners on. He's 37, he's scared shitless of being the guy who blows this winning streak.</dialogue> <character>ART</character> <dialogue>You think a lot of yourself, don't you?</dialogue> <character>BILLY</character> <dialogue>I......think the regular amount of myself. Magnante on the other hand, he doesn't think very much of himself at all, and when he tightens up we've got ourselves an adventure. So I'd like to see Chad Bradford out of the pen tonight when we're in, let's say, just to make it easier for you, any situation. Righty/lefty, two outs, no outs, the umpires have decided we're going to finish the game by playing darts, whatever. Bradford's the first guy out of the pen.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Okay?</dialogue> <scene_description>ART regards BILLY for a moment...</scene_description> <character>ART</character> <dialogue>I could've coached you up, you know.</dialogue> <character>BILLY</character> <dialogue>I don't think so.</dialogue> <character>ART</character> <dialogue>You think you went as far as you could have?</dialogue> <character>BILLY</character> <parenthetical>(pause)</parenthetical> <dialogue>Yeah, that's what I meant. Play Bradford.</dialogue> <scene_description>BILLY steps out of Art's office into--</scene_description> </scene> <scene> <stage_direction>INT. WEIGHT ROOM - LATER - NIGHT</stage_direction> <scene_description>The game plays on TV as BILLY bench presses. The A's are up by three runs in the ninth inning but the Indians have a runner on first. Through the tunnel, BILLY can hear the crack of the bat and a collective groan from the stands. BILLY holds the barbell in the air--frozen--as he simply looks at the T.V. and sees the silent images.</scene_description> </scene> <scene> <stage_direction>EXT. FIELD - NIGHT (HYBRID)</stage_direction> <scene_description>ART HOWE walking to the mound, tapping his left hand. MAGNANTE heading to the mound.</scene_description> </scene> <scene> <stage_direction>INT. WEIGHT ROOM - NIGHT</stage_direction> <scene_description>We think BILLY's going to trash the weights, but he simply returns the barbell to the bracket, sits up and watches the silent images.</scene_description> </scene> <scene> <stage_direction>EXT. FIELD - NIGHT (HYBRID)</stage_direction> <scene_description>MAGNANTE mops his brow, squints for the sign, winds up and makes his pitch. It misses low for ball four and PEDRO walks to first.</scene_description> </scene> <scene> <stage_direction>INT. WEIGHT ROOM - NIGHT</stage_direction> <scene_description>Billy lays back on the bench, breathes, then unmutes the T.V. and we hear -</scene_description> <character>ANNOUNCER (FROM TV)</character> <dialogue>Magnante has quickly let two on base for Lee Stevens who's the go ahead run for the Indians in a game that Oakland appeared to have put away.</dialogue> <scene_description>And then - BILLY sits calmly...waits for it...and--</scene_description> <character>CRACK!</character> <dialogue>--BILLY nods his head at the inevitable.</dialogue> <character>ANNOUNCER (FROM TV)</character> <dialogue>That ball is deep....way back...three run homer for Lee Stevens to put Cleveland ahead in the ninth inning...</dialogue> <scene_description>BILLY can hear 40,000 people booing their lungs out. He takes a moment, then grabs his jacket.</scene_description> </scene> <scene> <stage_direction>EXT. FIELD - NIGHT</stage_direction> <scene_description>The FANS are booing as ART makes his way to the mound to take MAGNANTE out. BRADFORD makes his way from the bullpen and takes the ball from ART. ART turns to head back to the dugout but slows as he sees a strange sight: BILLY is standing at the dugout rail. The plate UMPIRE notices and follows Art's line of sight. He sees BILLY and walks over there ahead of Art.</scene_description> <character>UMPIRE</character> <dialogue>You can't be in there, Billy.</dialogue> <scene_description>BILLY doesn't move. He just watches ART as he comes into the dugout.</scene_description> <character>UMPIRE</character> <dialogue>Billy?</dialogue> <scene_description>The PLAYERS are watching to see what's going to happen. BILLY puts his hand on ART's shoulder a second as he says- -</scene_description> <character>BILLY</character> <dialogue>Just nod a little bit--not too much--like I'm assuring you you didn't just make a calamitous vocational decision.</dialogue> <character>UMPIRE</character> <dialogue>Players and coaches only, Billy.</dialogue> <character>BILLY</character> <parenthetical>(ignoring the umpire-- still quietly to ART)</parenthetical> <dialogue>Remember that in about four seconds--</dialogue> <scene_description>BILLY sees one of the nearby TV cameras pivot over to catch this conversation--</scene_description> <character>BILLY</character> <dialogue>--yeah there it is. We're the lead story on Sports Center now so let me be brief. First of all, that was an awfully costly fuck-you, wouldn't you say?</dialogue> <character>ART</character> <dialogue>Look--</dialogue> <character>BILLY</character> <dialogue>Second of all, genius, those boos? They're for you. Drink up.</dialogue> <character>UMPIRE</character> <dialogue>Come on, Billy.</dialogue> <character>BILLY</character> <dialogue>Get me this game back.</dialogue> <scene_description>As BILLY passes MAGNANTE he pats his back before we--</scene_description> </scene> <scene> <stage_direction>INT. BILLY'S TRUCK - NIGHT</stage_direction> <scene_description>The radio is on and the ANNOUNCER is telling us--</scene_description> <character>ANNOUNCER (FROM RADIO)</character> <dialogue>...after giving up the lead on a three run homer off Magnante, the A's came right back to win it in the bottom of the ninth with another three run homer by Miguel Tejada. And the A's have won eight in a row!</dialogue> <scene_description>AA120 OMITTED A</scene_description> </scene> <scene> <stage_direction>A120 EXT. OAKLAND COLISEUM - DAY</stage_direction> <scene_description>As the early-bird fanatics arrive - players arrive at the players' entrance -</scene_description> </scene> <scene> <stage_direction>B120 INT. LOCKER ROOM - COLISEUM - DAY</stage_direction> <scene_description>Magnante walks into the A's locker room. C120 OMITTED</scene_description> </scene> <scene> <stage_direction>D120 INT. LOCKER ROOMS - COLISEUM - SAME TIME - DAY</stage_direction> <scene_description>Billy, standing at the door, surveys the room, his eyes moving from player to player as they're hanging up their street clothes. The team's equipment manager, pouring himself a cup of coffee, glances over -</scene_description> <character>VOOS</character> <dialogue>You want one, Billy?</dialogue> <character>BILLY</character> <dialogue>I'm good, Voos. Thanks.</dialogue> <scene_description>Voos wanders off. Billy keeps looking at the players ... LEGEND: July 31 - TRADE DEADLINE</scene_description> </scene> <scene> <stage_direction>E120 INT. SCOUTS ROOM - MOMENTS LATER - DAY E12</stage_direction> <scene_description>Billy comes in sticking some tobacco under his lip and, like a shark that knows it could die if it stops moving, doesn't through the entire scene --</scene_description> <character>BILLY</character> <dialogue>Suzanne, get Shapiro on the phone.</dialogue> <character>PETER</character> <dialogue>Are you thinking Rincon?</dialogue> <character>BILLY</character> <dialogue>Yeah, he's lost faith for the season. I think he's gonna dump him.</dialogue> <character>PETER</character> <dialogue>Hardcore.</dialogue> <scene_description>They wait as Suzanne dials the Indians' GM, staring at the speakerphone that sits like a little island in the middle of the conference table.</scene_description> <character>SUZANNE</character> <dialogue>Shapiro on two.</dialogue> <character>BILLY</character> <dialogue>Mark. Billy. Let's be honest. A premiere setup man is not going to get you any closer to the playoffs.</dialogue> <character>SHAPIRO V/O</character> <dialogue>Are you referring to Rincon?</dialogue> <character>BILLY</character> <dialogue>He's a luxury you can't afford.</dialogue> <character>SHAPIRO V/O</character> <dialogue>And you can? There's half a million on his contract and at least one other suitor.</dialogue> <character>BILLY</character> <dialogue>By at least one, you mean one? Who is it?</dialogue> <character>SHAPIRO V/O</character> <dialogue>I'd rather not say.</dialogue> <character>PETER</character> <parenthetical>(whispers)</parenthetical> <dialogue>San Francisco.</dialogue> <character>BILLY</character> <dialogue>I'll call you back.</dialogue> <scene_description>He hangs up. Stares down Peter.</scene_description> <character>PETER</character> <dialogue>What do you think we can get for Magnante?</dialogue> <character>BILLY</character> <dialogue>Nothing.</dialogue> <parenthetical>(continues to stare down Peter)</parenthetical> <dialogue>What's left on Venafro's contract?</dialogue> <character>PETER</character> <dialogue>Two-seventy-five.</dialogue> <character>BILLY</character> <dialogue>Suzanne -- get me Sabean.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>If we can get San Francisco interested in Venafro, Shapiro's only got one buyer for Rincon.</dialogue> <character>PETER</character> <dialogue>Us.</dialogue> <scene_description>Pete gets busy on his computer.</scene_description> <character>SUZANNE</character> <dialogue>On three.</dialogue> <character>BILLY</character> <dialogue>Sabes. Billy. You like Venafro. I can let you have him for almost nothing.</dialogue> <character>SABEAN V/O</character> <parenthetical>(smelling a rat)</parenthetical> <dialogue>Why would you do that, Billy?</dialogue> <character>BILLY</character> <dialogue>Because I'm amazing.</dialogue> <character>SABEAN V/O</character> <dialogue>Uh-huh.</dialogue> <character>BILLY</character> <dialogue>All I want is a couple of bucks and a sweetener. Throw in, say...</dialogue> <scene_description>Billy snaps his fingers at Peter --</scene_description> <character>PETER</character> <dialogue>Anderson.</dialogue> <character>BILLY</character> <dialogue>Anderson.</dialogue> <character>SABEAN V/O</character> <dialogue>I like Anderson.</dialogue> <character>BILLY</character> <dialogue>No, you don't. I don't even like him. I don't know why I'm doing this -- but let's do it anyway. Venafro for Michaelson?</dialogue> <character>PETER</character> <dialogue>Anderson.</dialogue> <character>BILLY</character> <dialogue>Anderson. See, I don't even know his name.</dialogue> <character>SABEAN V/O</character> <dialogue>I'll think (about) --</dialogue> <character>BILLY</character> <dialogue>Think about it and call me back.</dialogue> <scene_description>He hangs up.</scene_description> <character>BILLY</character> <dialogue>Get Shapiro back on.</dialogue> <scene_description>Billy and Pete stare at each other in silence.</scene_description> <character>SUZANNE</character> <dialogue>Two!</dialogue> <character>BILLY</character> <dialogue>Mark --</dialogue> <character>SHAPIRO V/O</character> <dialogue>You can't afford him, Billy.</dialogue> <character>BILLY</character> <dialogue>You sure about that? I get the impression the market for Rincon is softening. I could be wrong. Call whoever's interested and make sure they're still interested. And call me back.</dialogue> <scene_description>He hangs up.</scene_description> <character>BILLY</character> <dialogue>What about the Mets for Venafro?</dialogue> <character>PETER</character> <dialogue>You just offered him to the Giants.</dialogue> <character>BILLY</character> <dialogue>Suzanne -- Steve Phillips! Get me Steve Phillips.</dialogue> <scene_description>Pete works his computer.</scene_description> <character>BILLY</character> <dialogue>Between Bonds, Nen, Kent and Snow, they're never gonna do it.</dialogue> <character>PETER</character> <dialogue>Totally agree.</dialogue> <character>BILLY</character> <dialogue>We just need them to cool on Rincon.</dialogue> <character>SUZANNE</character> <dialogue>Phillips on two.</dialogue> <character>BILLY</character> <dialogue>Steve-O. Billy. I hear you're looking for a left-handed reliever. What do you think of Venafro? I can make it quick and easy for you.</dialogue> <character>PHILLIPS V/O</character> <dialogue>What's the angle?</dialogue> <character>BILLY</character> <dialogue>No angle.</dialogue> <character>PHILLIPS V/O</character> <dialogue>Who am I getting fleeced for?</dialogue> <character>BILLY</character> <dialogue>Hang on a second.</dialogue> <scene_description>He puts him on hold. Peter is already scrolling through the Mets' farm system, his eyes darting around the stats.</scene_description> <character>PETER</character> <dialogue>Bennett maybe?</dialogue> <character>BILLY</character> <dialogue>How old?</dialogue> <character>PETER</character> <dialogue>Twenty-six.</dialogue> <character>BILLY</character> <dialogue>Twenty-six and in Double-A? Forget it.</dialogue> <character>PETER</character> <dialogue>Duncan? No. Cerda? No. Furbush?</dialogue> <character>BILLY</character> <dialogue>Furbush?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>No.</dialogue> <character>PETER</character> <dialogue>Eckerton? Eckerton. Eckerton, that's the guy.</dialogue> <scene_description>Billy punches the phone off hold.</scene_description> <character>BILLY</character> <dialogue>Eckerton.</dialogue> <character>PHILLIPS V/O</character> <dialogue>Eckerton? I like Eckerton.</dialogue> <character>BILLY</character> <dialogue>You don't even know who Eckerton is.</dialogue> <scene_description>The phone on Pete's desk rings. Peter answers a second blinking line.</scene_description> <character>PETER</character> <dialogue>Hello?</dialogue> <character>PHILLIPS V/O</character> <dialogue>Is Venafro hurt?</dialogue> <character>PETER</character> <dialogue>Oh, hi.</dialogue> <character>BILLY</character> <dialogue>No, he's not hurt. He's fine. This is just a situation for us.</dialogue> <character>PETER</character> <dialogue>It's Steve.</dialogue> <character>PHILLIPS V/O</character> <dialogue>Last couple of times out, he got hammered.</dialogue> <character>BILLY</character> <parenthetical>(mute)</parenthetical> <dialogue>I'm on with Steve.</dialogue> <parenthetical>(unmute)</parenthetical> <dialogue>Not his fault. We misused him.</dialogue> <character>PETER</character> <dialogue>Steve Schott.</dialogue> <character>BILLY</character> <dialogue>Tell him to hold.</dialogue> <parenthetical>(to Steve Phillips)</parenthetical> <dialogue>Look. Steve. Here's the deal. I'm being straight with you. I'm getting Rincon. It's a done deal. It's done.</dialogue> <character>PHILLIPS V/O</character> <dialogue>I heard the Giants --</dialogue> <character>BILLY</character> <dialogue>No, the Giants want Venafro. And I told them they can have him for Michaelson...</dialogue> <character>PETER</character> <dialogue>Anderson --</dialogue> <character>BILLY</character> <dialogue>-- but I'd rather deal with you. Because you can give me Eckerton and two hundred and twenty-five thousand cash and the Giants can't.</dialogue> <scene_description>Billy's look to Peter says, Doesn't hurt to ask. As they listen to silence on Phillips' side of the call --</scene_description> <character>PETER</character> <dialogue>Yes, I understand it's impolite to keep you holding.</dialogue> <character>PHILLIPS V/O</character> <dialogue>I'll think about it.</dialogue> <character>BILLY</character> <dialogue>Of course. Think. But whoever calls me back first gets Venafro.</dialogue> <scene_description>He hangs up. Looks for the blinking light that belongs to his owner.</scene_description> <character>PETER</character> <dialogue>He hung up.</dialogue> <scene_description>Silence. Then --</scene_description> <character>BILLY</character> <dialogue>If you could have the power of flight or invisibility, which would you choose?</dialogue> <character>PETER</character> <dialogue>What?</dialogue> <character>BILLY</character> <dialogue>Invisibility or flight?</dialogue> <character>PETER</character> <parenthetical>(thinks)</parenthetical> <dialogue>Invisibility.</dialogue> <character>BILLY</character> <dialogue>That's what Casey said. Why?</dialogue> <character>PETER</character> <dialogue>You'd have total access. Besides, everyone else would choose flight.</dialogue> <scene_description>Quiet.</scene_description> <character>BILLY</character> <dialogue>Why isn't anybody calling?</dialogue> <scene_description>The phone rings.</scene_description> <character>SUZANNE</character> <dialogue>Shapiro's on two.</dialogue> <scene_description>Billy picks up. Listens. Fist pump.</scene_description> <character>BILLY</character> <dialogue>Great. Lemme talk to my owner. Call you right back.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Get Steve.</dialogue> <character>PETER</character> <dialogue>Phillips or Schott?</dialogue> <character>BILLY</character> <dialogue>Why would I call Phillips back? Schott. Tell him I'm on the other line.</dialogue> <character>PETER</character> <dialogue>Right.</dialogue> <scene_description>Peter dials. Billy can't sit.</scene_description> <character>PETER</character> <dialogue>Mr. Schott, it's Peter Brand. Sorry I left you on hold. Billy asked me to call you back. He's on another line.</dialogue> <character>BILLY</character> <dialogue>Tell him we need two hundred and twenty- five grand for Rincon.</dialogue> <character>PETER</character> <dialogue>Billy says he needs two hundred and twenty-five thousand dollars for Ricardo Rincon. Please?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Yes, I added the please.</dialogue> <parenthetical>(listens; to Billy)</parenthetical> <dialogue>No.</dialogue> <scene_description>Billy thinks intensely. Finally --</scene_description> <character>BILLY</character> <dialogue>Tell him I'll pay it, but when I sell him next year for twice that, I keep the money.</dialogue> <character>PETER</character> <dialogue>Billy says he'll pay for Rincon himself, sell him next year, and keep the profit.</dialogue> <scene_description>Peter listens to whatever Steve Schott is saying, then --</scene_description> <character>PETER</character> <dialogue>Okay. Thank you.</dialogue> <parenthetical>(hangs up)</parenthetical> <dialogue>He says he'll pay for Rincon.</dialogue> <scene_description>High five.</scene_description> <character>BILLY</character> <dialogue>Great! Shit. What are we forgetting?</dialogue> <parenthetical>(calling out)</parenthetical> <dialogue>Get me Shapiro!</dialogue> <scene_description>-- as he grabs his cell phone and hits speed dial.</scene_description> <character>BILLY</character> <dialogue>Wait, never mind!</dialogue> <parenthetical>(beat, then into phone)</parenthetical> <dialogue>Mark. Yeah, it's Billy. Here's the deal. I don't want Rincon pitching against me tonight. Tell him to change his clothes. I got you the money and I accept your gratitude. It's done.</dialogue> <scene_description>He hangs up. Fist bump.</scene_description> <character>BILLY</character> <dialogue>We gotta let someone go. It's Mags. It's gotta be Mags.</dialogue> <character>PETER</character> <dialogue>I call not it.</dialogue> <scene_description>Billy dials an extension.</scene_description> <character>BILLY</character> <dialogue>Art. Billy. The good news is Ricardo Rincon's heading over to the clubhouse. The bad news is you got to tell Mags he threw his last pitch for the Oakland A's last night.</dialogue> <character>ART V/O</character> <dialogue>No.</dialogue> <character>BILLY</character> <dialogue>What do you mean, no.</dialogue> <character>ART V/O</character> <dialogue>No, as in no. I'm not doing it. You do it. You did it, so you do it.</dialogue> <scene_description>Art hangs up. Billy slams the speakerphone.</scene_description> <character>PETER</character> <dialogue>It's not the phone's fault. Suzanne, we're gonna need a new speakerphone.</dialogue> <character>BILLY</character> <dialogue>We gotta catch Mags before Rincon comes over.</dialogue> <scene_description>He leaves.</scene_description> </scene> <scene> <stage_direction>F120 INT. A'S LOCKER ROOM - 20 MINUTES LATER F12</stage_direction> <scene_description>Billy comes through the clubhouse past his team suiting up to where Magnante is adjusting his knee braces next to his locker, and sits with him.</scene_description> <character>BILLY</character> <dialogue>Mike --</dialogue> <character>MAGNANTE</character> <dialogue>Hey, Billy. I know I've been struggling lately. But we're coming into the home stretch, and I promise I'm gonna turn it around --</dialogue> <character>BILLY</character> <dialogue>-- I need you to stop getting dressed.</dialogue> <scene_description>Magnante isn't sure he heard right, but the silence tells him he did. Eventually -</scene_description> <character>MAGNANTE</character> <dialogue>Traded?</dialogue> <scene_description>Billy shakes his head, no.</scene_description> <character>BILLY</character> <dialogue>I'm sorry for the crap news. I know it hurts.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Mike. I can't have 26 guys in the clubhouse.</dialogue> <scene_description>Magnante nods.</scene_description> <character>MAGNANTE</character> <dialogue>Alright.</dialogue> <character>BILLY</character> <dialogue>Thanks.</dialogue> <scene_description>Billy gets up to leave. As he exits, he sees Peter enter with Rincon, standing with his new uniform in his arms, looking like a prison inmate. Oops. Billy joins them.</scene_description> <character>BILLY</character> <dialogue>Hey, Ricardo.</dialogue> <character>RINCON</character> <dialogue>Hola, senor.</dialogue> <character>BILLY</character> <dialogue>Hola. Hey, I know this must seem a bit sudden, but the Oakland A's have been trying to get you for a long time. You're gonna love it here. The guys are fun.</dialogue> <character>PETER</character> <dialogue>Muy divertido.</dialogue> <character>RINCON</character> <dialogue>I pitch tonight?</dialogue> <character>BILLY</character> <dialogue>I don't know if you're gonna pitch tonight. But you're on our team tonight.</dialogue> <character>RINCON</character> <dialogue>I no wanna pitch tonight.</dialogue> <character>BILLY</character> <dialogue>Right. So... where you from?</dialogue> <character>RINCON</character> <dialogue>Veracruz, Mexico.</dialogue> <character>BILLY</character> <dialogue>Well, you're a lot closer to home. Why don't you hang out there for five menudos and we'll get you a uniform and everything.</dialogue> <parenthetical>(to side room)</parenthetical> <dialogue>Hey guys, clear the room, huh? Say hi to Ricardo Rincon.</dialogue> <scene_description>As the other players file out and say hello... CUT TO:</scene_description> </scene> <scene> <stage_direction>G120 INT. RESTAURANT - NIGHT G12</stage_direction> <scene_description>Billy, Tara and Casey at dinner.</scene_description> <character>BILLY</character> <dialogue>Tara and me were thinking --</dialogue> <character>CASEY</character> <dialogue>Dad... Tara and I --</dialogue> <character>TARA</character> <dialogue>She is correct.</dialogue> <character>BILLY</character> <dialogue>Tara and I were thinking about going to Point Reyes to the beach.</dialogue> <character>CASEY</character> <dialogue>That'd be fun.</dialogue> <character>TARA</character> <dialogue>Me go, too?</dialogue> <character>BILLY</character> <dialogue>And I'll work on my grammar.</dialogue> <character>CASEY</character> <parenthetical>(beat, then)</parenthetical> <dialogue>Dad... are you going to lose your job?</dialogue> <character>BILLY</character> <dialogue>What? Where did you hear that, honey?</dialogue> <character>CASEY</character> <dialogue>The internet.</dialogue> <character>BILLY</character> <dialogue>No, I'm not going to lose my job. Don't go on the internet or watch TV or read the papers or talk to people.</dialogue> <character>CASEY</character> <dialogue>I'm not talking to people, I'm just reading stuff.</dialogue> <character>BILLY</character> <dialogue>Don't worry. You don't believe me? Ask Tara.</dialogue> <character>TARA</character> <dialogue>He's not (losing his job). Your dad is a brilliant man. He's the best GM in baseball.</dialogue> <character>CASEY</character> <dialogue>But say that you did -- just saying -- would you have to move away?</dialogue> <character>BILLY</character> <dialogue>No, honey. Absolutely not. And even if I did, I'm not going anywhere. I told you not to worry about me. People say a lot of crazy things and they don't always know what they're talking about. It's just gossip. Like gossipers at school.</dialogue> <character>TARA</character> <dialogue>You can't always believe what you read. Sometimes you need to scratch underneath the surface and find who the authority is.</dialogue> <character>BILLY</character> <dialogue>And once you do find out who the authorities are, ignore them at all costs.</dialogue> <character>TARA</character> <dialogue>You can always ask your dad.</dialogue> <character>BILLY</character> <dialogue>Everything's fine, honey. I'm not going anywhere. The only way I would lose my job is if someone was to give me a better one. Don't worry about me, okay? Dad knows what he's doing.</dialogue> <character>CASEY</character> <dialogue>Pinkie swear?</dialogue> <character>BILLY</character> <dialogue>Pinkie swear.</dialogue> <scene_description>120 A GRAPHIC 12 of the AL West standings over A GAME BEING PLAYED--from the start of the season until now--the teams shifting positions as the "games-out" and winning percentage numbers change like an adding machine, too fast for us to really follow, but then: The calculations abruptly lock and we're given enough time to understand where we--and Oakland--are after 120 games: AL West GB WP Seattle --- .610 Anaheim 2.0 .593 Oakland 4.5 .571 Texas 21.5 .427</scene_description> <character>REPORTER V/O</character> <dialogue>The A's begin this road trip on a 10 game winning streak, picking up two games on the Mariners and the Angels, and it should be noted this is their longest winning streak in six years heading into--</dialogue> </scene> <scene> <stage_direction>A121 EXT. OAKLAND COLISEUM FIELD - DAY A12</stage_direction> <scene_description>A PITCH TRACKING CAMERA mounted in center field. ZOOM IN to the lens...</scene_description> </scene> <scene> <stage_direction>B121 INT. VIDEO ROOM - DAY B12</stage_direction> <scene_description>Peter sits with Hatteberg, reviewing his hits on a monitor.</scene_description> <character>PETER</character> <dialogue>This is a chart of what you should and shouldn't be swinging at. These circles represent different pitches. Red is hit, blue is out, yellow's missed or foul, green is chased, white taken. This is you versus Conway. What do you see?</dialogue> <character>HATTEBERG</character> <dialogue>I'm chasing a lot of high and outside.</dialogue> <character>PETER</character> <dialogue>The red is where most hits happen. That's where you want to be swinging. You don't want to be swinging at the junk at the top of the strike zone. We'd rather take those strikes, 'cause you're not going to hit 'em out of the park. And you're good about that, patient.</dialogue> <character>PETER</character> <dialogue>Right now you're averaging about 4 pitches per at-bat.</dialogue> <character>HATTEBERG</character> <dialogue>4 per bat?</dialogue> <character>PETER</character> <dialogue>Yeah, and that's great. One of the reasons why we love you. You're draining a pitcher's pitches. Now, guys like Bonds and Jason Giambi average a little over 5. That's top tier. Does this chart make sense to you?</dialogue> <character>HATTEBERG</character> <dialogue>Yeah. I'll get on base more if I lay off anything high. This is awesome. So you have a breakdown of this from every game?</dialogue> <character>PETER</character> <dialogue>Every game. Your instincts are in the right place. This isn't something they teach you in little league. This is something fundamental we're looking for -- how to wear out a pitcher's arm. If you're about to face Conway and wondering what you should and shouldn't swing at, come in here and watch how you're tending. You can click on any one of these pitches and watch it happen. Pretty great, right?</dialogue> <character>HATTEBERG</character> <dialogue>Show me some of the stuff I'm chasing up high...</dialogue> <scene_description>TIME LAPSE of hundreds of at bats registering and changing modalities to produce graphs and numbers. PULL OUT to reveal we're now in</scene_description> </scene> <scene> <stage_direction>C121 INT. VIDEO ROOM - LATER</stage_direction> <scene_description>Peter and Bradford review footage.</scene_description> </scene> <scene> <stage_direction>INT. BILLY'S OFFICE - DAY</stage_direction> <scene_description>Peter analyzes the data with Billy as they throw a ball back and forth.</scene_description> <character>PETER</character> <dialogue>Everybody thinks the first pitch is what's most important, but it's not. It's the first two out of three pitches that matter the most.</dialogue> <character>PETER</character> <dialogue>The difference between 1-2 and 2-1 is the difference between a scrub and an All Star.</dialogue> <character>BILLY</character> <dialogue>So you're saying if we can get our guys to lay off the first pitch it'll put us in the driver's seat?</dialogue> <character>PETER</character> <dialogue>Any sort of extra discipline in the first three pitches will help us.</dialogue> <scene_description>A game is on TV in the background. Billy makes various comments the the screen --</scene_description> <character>BILLY</character> <dialogue>That's a problem right there. Terrance jogging to first.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Mr. Justice. That's what we pay you for.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Chad Bradford, you deceptive son of a bitch, I love you.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>He's a pain in the ass, but that Giambi gets on base.</dialogue> <scene_description>Another train of thought --</scene_description> <character>PETER</character> <dialogue>Hatteberg once had 18 walks in 30 at bats.</dialogue> <character>BILLY</character> <dialogue>My whole career I only had eighteen walks.</dialogue> <character>PETER</character> <dialogue>Actually... 11.</dialogue> <character>BILLY</character> <dialogue>Shut up.</dialogue> <scene_description>And now we have QUICK SCENES OF BILLY TAKING PLAYERS ASIDE -- 122 LOCKER ROOM--BILLY AND TEJADA - DAY 12</scene_description> <character>BILLY</character> <dialogue>Migs, let's make a deal. I'll pay you fifty bucks for every away fastball you hit to opposite field, but you've gotta pay me fifty for every one of those you pull.</dialogue> <scene_description>Tejada immediately starts thinking about it.</scene_description> </scene> <scene> <stage_direction>INT. LOCKER ROOM - DAY</stage_direction> <scene_description>TERRANCE LONG is working out. Billy pokes his head in.</scene_description> <character>BILLY</character> <dialogue>Hey, T. Did your car get egged?</dialogue> <character>LONG</character> <dialogue>Yeah.</dialogue> <character>BILLY</character> <dialogue>I think I just got an e-mail from the culprit. He said he was tired of paying good money just to watch you jogging around the bases.</dialogue> <character>LONG</character> <dialogue>What the hell does that have to do with anything?</dialogue> <character>BILLY</character> <dialogue>I don't know, man. Don't worry about it.</dialogue> <scene_description>Billy exits. Long calls after --</scene_description> <character>LONG</character> <dialogue>Who brings eggs to the ballpark anyway?!</dialogue> </scene> <scene> <stage_direction>A124 INT. CLUBHOUSE HALLWAY - DAY</stage_direction> <scene_description>Billy and Mecir walk down the hall with the smelly stain.</scene_description> <character>BILLY</character> <dialogue>Man, you're not fooling anyone but yourself out there. You're falling further and further behind. In your mind, what's the problem?</dialogue> <scene_description>Mecir mumbles something.</scene_description> <character>BILLY</character> <dialogue>I can't understand you with your hand over your mouth.</dialogue> <character>MECIR</character> <dialogue>Sorry, Billy. It's just, the smell...</dialogue> <character>BILLY</character> <dialogue>Right?</dialogue> <parenthetical>(indicates stain)</parenthetical> <dialogue>It's that. And it's growing.</dialogue> <scene_description>They stare at the stain in silence. Finally --</scene_description> <character>MECIR</character> <dialogue>I'm gonna grab a shower.</dialogue> <character>BILLY</character> <dialogue>Yup.</dialogue> <scene_description>124 OMITTED 12</scene_description> </scene> <scene> <stage_direction>INT. OAKLAND COLISEUM CLUB HOUSE - DAY</stage_direction> <scene_description>Hatteberg in the clubhouse. Billy enters.</scene_description> <character>BILLY</character> <dialogue>Hey, Scottie. What's on your mind?</dialogue> <character>HATTEBERG</character> <dialogue>I feel like I'm hurting the team. At first base I'm making a lot of errors. I'm gonna cost us a hundred runs.</dialogue> <character>BILLY</character> <dialogue>16.5 actually. But as a hitter, you will create 70 runs. 70 runs wins us an awful lot of ball games. I can live with that. Can you live with that?</dialogue> <character>HATTEBERG</character> <dialogue>I appreciate that, but I know you're just pulling those numbers out of your ass.</dialogue> <character>BILLY</character> <dialogue>I'm pulling them out of Pete's, actually.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>And another thing. When a guy reaches first base, be social.</dialogue> <character>HATTEBERG</character> <dialogue>Social?</dialogue> <character>BILLY</character> <dialogue>Like a greeter at the Gap. A guy steps into your office, chat him up. You're well read, you went to college. Have some fun out there. Relax.</dialogue> <character>HATTEBERG</character> <dialogue>Yes sir.</dialogue> <character>BILLY</character> <dialogue>Scottie, you deserve to be here.</dialogue> </scene> <scene> <stage_direction>INT. BILLY'S OFFICE - DAY</stage_direction> <scene_description>PETER is erasing the percentage of games left that they need to win and writing in a LOWER number--</scene_description> <character>BILLY</character> <dialogue>More information.</dialogue> <scene_description>TIME LAPSE PHOTOGRAPHY of all of the changes to the board over the following two weeks. 127 OMITTED</scene_description> </scene> <scene> <stage_direction>A128 EXT. OAKLAND COLISEUM FIELD - DAY</stage_direction> <scene_description>It's the Twins vs. the A's. A TWINS PLAYER stands at first, stoic. Scott figures "What the hell?" and turns to him.</scene_description> <character>HATTEBERG</character> <dialogue>What are you guys getting up to tonight?</dialogue> <scene_description>The focused Twins player looks at Scott like he's crazy.</scene_description> <character>TWINS PLAYER #1</character> <dialogue>Bed by ten o'clock. Game time.</dialogue> <character>HATTEBERG</character> <dialogue>I don't buy it.</dialogue> <character>TWINS PLAYER #1</character> <dialogue>I'm sore, man. Beat up. Day in, day out.</dialogue> <character>HATTEBERG</character> <dialogue>Where d'you guys go next?</dialogue> <character>TWINS PLAYER #1</character> <dialogue>Houston.</dialogue> <character>HATTEBERG</character> <dialogue>Houston?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>You ever get up to Boundary Waters up there in Minnesota? It's beautiful. I went on a trip up there. Fishing trip. Caught some walleye.</dialogue> <character>TWINS PLAYER #1</character> <dialogue>That's good fishing.</dialogue> <character>CUT TO</character> <dialogue>Scott chatting with a DIFFERENT TWIN on first.</dialogue> <character>HATTEBERG</character> <dialogue>"Mankevich" is polish?</dialogue> <character>TWINS PLAYER #2</character> <dialogue>Yes, sir.</dialogue> <scene_description>Crack! The ball's in play. It's thrown to Hatteberg, who tags out the stunned player.</scene_description> <character>CUT TO:</character> <dialogue>A DIFFERENT TWIN is on first.</dialogue> <character>HATTEBERG</character> <dialogue>Where'd you go to school?</dialogue> <character>TWINS PLAYER #3</character> <dialogue>University of Arizona.</dialogue> <character>HATTEBERG</character> <dialogue>What are you guys getting up to tonight?</dialogue> <character>TWINS PLAYER #3</character> <dialogue>See what the city's about -- San Francisco. What are you up to?</dialogue> <character>HATTEBERG</character> <dialogue>I don't know. Depends on if we beat you today. Probably celebrating.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>So my GM says I gotta be more social. What was your name?</dialogue> <character>TWINS PLAYER #3</character> <dialogue>Jaqcue.</dialogue> <character>HATTEBERG</character> <dialogue>I'm Scott.</dialogue> <character>TWINS PLAYER #3</character> <dialogue>How are you doing, Scott?</dialogue> <character>HATTEBERG</character> <dialogue>Pretty good. You got kids?</dialogue> <character>TWINS PLAYER #3</character> <dialogue>Yeah...</dialogue> <scene_description>Crack! Hatteberg catches the ball, making another out. 128 GRAPHICS 12 The standings graphic shows the A's have just moved up into a three-way tie for first place--</scene_description> <character>REPORTER</character> <dialogue>Oakland's offense has exploded, scoring 40 runs in their last four games and extending their streak to 17 in a row which is an American League record going back to 1954 and just three shy of the all-time--</dialogue> <scene_description>AL West GB WP Oakland --- .619 Anaheim 4.0 .591 Seattle 4.5 .586 Texas 22.5 .450</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM FIELD - NIGHT</stage_direction> <scene_description>CHAD BRADFORD smokes the last batter on a called third strike to end the game against the Twins, and the TEAM rushes in to congratulate him--</scene_description> </scene> <scene> <stage_direction>INT. BILLY'S OFFICE - NIGHT</stage_direction> <scene_description>BILLY looks down at his blackberry, sees the result and makes a small fist pump.</scene_description> <character>REPORTER</character> <dialogue>Who would have thought in April I'd be saying this: The A's won their 18th game in a row, that's two-shy of tying, three- shy of beating the American League record-</dialogue> <scene_description>CUT TO: -137 OMITTED</scene_description> </scene> <scene> <stage_direction>A138 EXT. OAKLAND COLISEUM - ANNOUNCER'S BOOTH - DAY</stage_direction> <scene_description>SHOTS OF THE GAME ANNOUNCERS.:</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM - DAY</stage_direction> <scene_description>--where the energy is electric. AL West GB WP Oakland --- .633 Anaheim 3.5 .609 Seattle 7.0 .583 Texas 25.5 .449</scene_description> <character>REPORTER #1 V/O</character> <dialogue>This is something special now and far be it for me to jinx it by saying how many consecutive games the A's have won--</dialogue> <character>REPORTER #2 V/O</character> <dialogue>Nineteen--</dialogue> <character>REPORTER #1 V/O</character> <dialogue>Well you said it not me.</dialogue> <scene_description>Tickets are torn and purses searched as record breaking numbers of fans pour into the stadium.</scene_description> <character>REPORTER #2 V/O</character> <dialogue>None of the Oakland fans in their cars down there have forgotten the A's inglorious history-making choke in Game 5 of the ALDS last October and tonight--</dialogue> </scene> <scene> <stage_direction>INT. A'S LOCKER ROOM - DAY</stage_direction> <scene_description>It's like a tomb. The PLAYERS are getting ready without music or chat. Justice steps up to deliver a pre-game pep talk.</scene_description> <character>JUSTICE</character> <dialogue>Hey, listen up fellas... bring it up real quick.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>We got some older guys on this team, we got some younger guys on this team. What we got right now is a chance for everyone to make history. I don't want to get sappy and corny, but this is what we play for. We've been playin' real good for 19. Let's get 20. We get 20, they can't take that away from us until they do it themselves. Guys that are starting tonight, keep playing like you've been playing. Guys not starting, be ready. Huddie, you got the ball -- shove it up their ass tonight. Let's play some ball! Let's go!</dialogue> <character>LEGEND:</character> <dialogue>September 4, 2002</dialogue> <scene_description>Kansas City Royals at Oakland A's</scene_description> <character>GAME 20</character> <dialogue>REPORTER #2 V/O</dialogue> <scene_description>--one game shy of 20 consecutive wins, they have a shot at redemption. How rare is it to win 20 games in a row? This rare: No American League team has ever done it.</scene_description> </scene> <scene> <stage_direction>INT. BILLY'S TRUCK - MOVING - DAY</stage_direction> <scene_description>BILLY heads east on 580. His cell phone rings and he hits the speaker button for the truck.</scene_description> <character>BILLY</character> <dialogue>Don't tell me the score, Peter.</dialogue> <character>SHARON V/O</character> <dialogue>It's me, Billy.</dialogue> <character>BILLY</character> <dialogue>How you doin', leggy.</dialogue> <character>SHARON V/O</character> <dialogue>Nope.</dialogue> <character>BILLY</character> <dialogue>Sharon?</dialogue> <character>SHARON V/O</character> <dialogue>You hangin' in there?</dialogue> <character>BILLY</character> <dialogue>Yeah.</dialogue> <scene_description>There's silence...</scene_description> <character>BILLY</character> <dialogue>Hello?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Sharon?</dialogue> <character>SHARON V/O</character> <parenthetical>(pause)</parenthetical> <dialogue>"Go into real estate". What a stupid thing to say.</dialogue> <scene_description>BILLY didn't even realize until that moment how much he wanted to hear her say that...He's not sure what to say back.</scene_description> <character>BILLY</character> <dialogue>I appreciate that, thanks.</dialogue> <character>SHARON V/O</character> <dialogue>Good luck. Casey wants to talk to you.</dialogue> <character>CASEY V/O</character> <dialogue>Are you on your way to the stadium?</dialogue> <character>BILLY</character> <dialogue>No, I'm on my way to Visalia to see our minor league team.</dialogue> <character>CASEY</character> <dialogue>Dad - turn around. You have to see the game.</dialogue> <character>BILLY</character> <dialogue>No, I don't.</dialogue> <character>CASEY</character> <dialogue>Turn around.</dialogue> <character>BILLY</character> <dialogue>I'll talk to you later, sweetheart. I love you.</dialogue> <scene_description>He hangs up, drives a little longer...letting what Casey said sink in. Then...</scene_description> <character>BILLY</character> <parenthetical>(to himself)</parenthetical> <dialogue>Shhhit.</dialogue> <scene_description>...he turns on the radio.</scene_description> <character>ANNOUNCER V/O</character> <dialogue>Tim Hudson is carving through this Royals line-up and at the end of three, it's the A's 11 and Kansas City nothing.</dialogue> <character>BILLY</character> <parenthetical>(quietly)</parenthetical> <dialogue>Oh God.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Ohhhh God.</dialogue> <scene_description>BILLY sees the sign for the next exit coming up. He makes a decision and quickly crosses to the right, just making the exit. CUT TO: A141 OMITTED A14</scene_description> </scene> <scene> <stage_direction>INT. OAKLAND COLISEUM - LATER - DAY</stage_direction> <scene_description>BILLY is striding through an underground corridor which is echoing with the cheers of 55,000 fans.</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM FIELD LEVEL - DAY</stage_direction> <scene_description>BILLY emerges from a tunnel to a sight Billy's denied himself for 138 games: The lit-up ballpark with a game in play. From the field, we see Billy finding his place in the seats behind home plate. Peter is already there. BILLY'S POV OF THE SCOREBOARD: 11-0 at the bottom of the 3rd. Unfortunately the idyllic moment is short-lived as Dye strikes out swinging and the teams swap places. The A's take the field with TIM HUDSON pitching. Billy looks around. He sees the scoreboard, a FAN with a big funky cowboy hat, the charged-up crowd in the stands, it's like the Coliseum at Rome.</scene_description> </scene> <scene> <stage_direction>A143 EXT. OAKLAND COLISEUM FIELD - DAY - TOP OF THE 4TH</stage_direction> <scene_description>IBANEZ of the Royals singles to center field. RANDA of the Royals singles to left field. But the Oakland fans are still jubilant and do the wave. Then a big error from Tejada puts runners on 1st, 2nd and 3rd (MAYNE, Ibanez and Randa).</scene_description> </scene> <scene> <stage_direction>A143A EXT. OAKLAND COLISEUM FIELD - MAGIC HOUR - TOP OF 4TH A</stage_direction> <scene_description>As if we've entered the Twilight Zone, it becomes twilight and LIGHTS GO ON. DEE BROWN of the Royals singles to right, bringing Ibanez and Randa home, and Mayne to 3rd. Ibanez and Randa high-five each other at the plate, passing Billy as they head to their dugout. Okay, the Royals are on the board now: 11-2, but just barely. Until</scene_description> </scene> <scene> <stage_direction>A143B EXT. OAKLAND COLISEUM FIELD - NIGHT - TOP OF THE 4TH A</stage_direction> <scene_description>PEREZ of the Royals singles to center field, bringing Mayne home. Then TUCKER of the Royals doubles to left field. Justice makes an embarrassing fall trying to catch it, and Brown and Perez score. They high-five and pass Billy as they leave the plate, the second time he's seen that, and suddenly the Royals have 5. Reaction shot CLOSE-UPS: Justice, Tejada, Tucker on 2nd, Art Howe, the Royals' dugout, a pitcher's conference with Peterson and Hudson. And finally Billy, who WALKS OUT.</scene_description> </scene> <scene> <stage_direction>B143 EXT. OAKLAND COLISEUM FIELD - NIGHT - TOP OF THE 5TH</stage_direction> <scene_description>MIKE SWEENEY of the Royals singles to left-center field - Neither Justice or Long get it, it lands between them. And they have WORDS. Randa makes a sloppy single to left field... this one goes between Justice and Tejada.</scene_description> </scene> <scene> <stage_direction>C143 EXT. OAKLAND COLISEUM FIELD - NIGHT - BOTTOM OF THE 5TH C14</stage_direction> <scene_description>MONTAGE of A's at bat: Hernandez grounds out, DURHAM strikes out, Mabry grounds out... A stunned A'S FAN stands up with his arms out in a "WTF??" gesture. While the A's are still up, this is excruciating for the fans. 143 OMITTED 14</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM FIELD - NIGHT - TOP OF THE 7TH</stage_direction> <character>ANNOUNCER V/O</character> <dialogue>Kansas City's scored five and Oakland's lead is down to six as Art Howe comes out to the mound to pull Tim Hudson.</dialogue> <scene_description>Art Howe comes out of the dugout, gives the signal for "underhander," takes the ball from Hudson.</scene_description> <character>ANNOUNCER V/O</character> <dialogue>He'll go with the submariner, Chad Bradford.</dialogue> <scene_description>We see SHOTS OF FANS in the sold-out stadium experiencing the height of tension and excitement in sports. Chad Bradford comes off the bullpen mound to relieve Hudson, and begins counting his steps -</scene_description> <character>CHAD</character> <dialogue>One, two, three, four -</dialogue> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM FIELD - NIGHT - TOP OF THE 7TH</stage_direction> <scene_description>Chad arriving at the mound taking the game ball from Art, who we see is genuinely supportive and encouraging to Chad.</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM FIELD - NIGHT - TOP OF THE 7TH</stage_direction> <scene_description>Chad finishing his warm-up pitches.</scene_description> <character>CHAD</character> <dialogue>I know what it is to be in need and to have plenty. I am content. I can do all things through Christ who gives me strength--</dialogue> </scene> <scene> <stage_direction>INT. ART'S OFFICE - NIGHT - TOP OF THE 7TH</stage_direction> <scene_description>BILLY is just as tense as the fans.</scene_description> <character>BILLY</character> <parenthetical>(to himself but to CHAD)</parenthetical> <dialogue>Okay Chad, let's see it.</dialogue> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM FIELD - NIGHT - TOP OF THE 8TH</stage_direction> <scene_description>CHAD walks Mayne. An angry fan throws toilet paper onto center field, the one thing Long manages to pick up. The crowd grows anxious. CHAD's submariner pitch to the next batter, DEE BROWN, walks him. BROWN trots down to first and there are now two runners on. Some FANS have to cover their eyes. There's a pitcher conference. Art Howe simmers in frustration. He signals Rincon to warm up. The fans aren't happy either. ORDAZ of the Royals grounds to Tejada, who throws home for the force, and misses. Now it's 11-6! Howe pulls Bradford. Rincon throws a controversial strike out. The Royals batter, TUCKER, protests, and fans go crazy BOOING. Brown scores, 11-7 now, Royals chipping away that lead, and -- Howe pulls Rincon. Tam comes in to relieve him. Sweeney's up. In rapid succession, we seem him battle off TEN PITCHES of Tam. He's got two strikes on him, more toilet paper flies on the field, Bowie comes in to warm up which Tam sees, then - SWEENEY HITS A THREE-RUN HOMER TO MAKE IT 11-10! This is excruciating. 149 OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM FIELD - NIGHT - TOP OF THE 9TH</stage_direction> <scene_description>BOWIE is already gone. KOCH is on the mound. There's a Royal, PELLOW, on 2nd. According to the scoreboard, it's 2 outs, 2 strikes. If Koch throws a strike, the game is over. The fans are fucking feverish. ALICEA of the Royals singles to left and Pellow scores. The game is now TIED. In their dugout, Royals GLOAT. He's ended the inning, but in the A's dugout, Koch slams the wall. 151 OMITTED 15</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM FIELD - NIGHT - BOTTOM OF THE 9TH</stage_direction> <scene_description>The scoreboard shows us that it's still tied in the bottom of the ninth. Nobody's out. DYE grabs a bat and walks to the plate. Then, inexplicably, Howe turns to-</scene_description> <character>ART</character> <dialogue>Hattie. Grab a bat.</dialogue> <scene_description>SCOTT HATTEBERG actually points to himself and mouths, Me?</scene_description> <character>ART</character> <dialogue>Let's go.</dialogue> <scene_description>SCOTT pulls a bat from the rack and heads to the on-deck circle. He only manages a warmup pitch or two before -</scene_description> </scene> <scene> <stage_direction>A153 INT. WEIGHT ROOM A15</stage_direction> <scene_description>Billy is watching on a muted television as he sees Dye fly out to right field. As Hatte approaches the plate, he kills the TV. 153 OMITTED 15</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM - SAME TIME</stage_direction> <scene_description>As ROY STEELE's booming voice echoes:</scene_description> <character>VOICE OF GOD</character> <dialogue>Pinch hitting for Eric Byrnes--Scott Hatteberg.</dialogue> <scene_description>Scott's wife, ELIZABETH, watches from the VIP seats. She clutches her face. SCOTT lets the first pitch go by.</scene_description> <character>UMPIRE</character> <dialogue>Ball!</dialogue> <scene_description>Art Howe looks like he can't stand it any longer. In the dugout, Koch looks like a psychopath ready to kill. SCOTT steps out of the box to catch his breath. He steps back in and stares at the exact spot in space he thinks the pitch will leave the pitcher's hand. The pitch. SCOTT swings. Crack! 55,000 erupt. The A's leap to the front of the dugout steps and watch. We see the ball ascending on a strong trajectory, but before we can know for sure where it's headed, TIME SLOWS TO A CRAWL-</scene_description> </scene> <scene> <stage_direction>INT. WEIGHT ROOM - SAME TIME</stage_direction> <scene_description>BILLY's sitting on the floor with his back against the wall, trying to breathe. He looks like he's in pain. He can't move. He hears the crowd ERUPT outside. His Blackberry buzzes: "hatte homered. a's 12, ryls 11" Billy flips on the TV. With sound off, he watches silent images of his team swarming the mound in (archival footage) mixed in with Art Howe celebrating with them. 156 OMITTED 157 OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM - SAME TIME</stage_direction> <scene_description>The place is going crazy. ELIZABETH is screaming as she watches her husband get mauled by his teammates at the plate.</scene_description> </scene> <scene> <stage_direction>INT. WEIGHT ROOM - MOMENTS LATER</stage_direction> <scene_description>BILLY's still contemplating making AL history as celebrating players flood into the locker room just outside. Billy looks through a portal on the door. He's trapped in here now. He crosses into the</scene_description> </scene> <scene> <stage_direction>INT. LOCKER ROOM - CONTINUOUS</stage_direction> <scene_description>The place is packed with players, coaches and news crews. There's no champagne spraying but they feel like they won the World Series and in fact have done something much more rare. Billy is trying to make a fast unnoticed exit. After pushing through the crowd, he walks outside of the club house into the -</scene_description> </scene> <scene> <stage_direction>A161 INT. CORRIDORS / FAMILY AREA - CONTINUOUS</stage_direction> <scene_description>where the players' families and wives are waiting. Billy sees ELIZABETH HATTEBERG walking toward him--</scene_description> <character>ELIZABETH</character> <dialogue>Mr. Beane? I'm Elizabeth Hatteberg. We met at my house last Christmas.</dialogue> <character>BILLY</character> <dialogue>Sure.</dialogue> <character>ELIZABETH</character> <dialogue>Thank you.</dialogue> <character>BILLY</character> <dialogue>Thank me? Thank you. Whatever you put in those Christmas cookies, keep--</dialogue> <scene_description>ELIZABETH starts to cry--</scene_description> <character>BILLY</character> <dialogue>Whoa. It's okay.</dialogue> <character>ELIZABETH</character> <dialogue>I'm sorry.</dialogue> <character>BILLY</character> <dialogue>It's alright.</dialogue> <character>ELIZABETH</character> <dialogue>You don't know what it's like to have everyone think you're a failure.</dialogue> <scene_description>BILLY doesn't say anything but of course he does.</scene_description> <character>BILLY</character> <dialogue>Well...You never thought that, and that's what's--</dialogue> <character>ELIZABETH</character> <parenthetical>(the worst possible sin)</parenthetical> <dialogue>I did.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And he knows I did.</dialogue> <scene_description>BILLY takes this in a second...</scene_description> <character>BILLY</character> <dialogue>Yeah he does know you did.</dialogue> <character>ELIZABETH</character> <dialogue>He's talked to you?</dialogue> <character>BILLY</character> <dialogue>No. I just know.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>That's all over now.</dialogue> <character>BILLY</character> <dialogue>Your husband just took a Jason Grimsley two-seam fastball and parked it in the upper deck in left field for a pinch-hit walk-off home run in a record breaking game. Go tell him about it.</dialogue> <scene_description>ELIZABETH looks at him a moment...and then starts crying again--</scene_description> <character>BILLY</character> <dialogue>No it's okay now, just go.</dialogue> <scene_description>ELIZABETH goes off to find her husband. BILLY sees PETER standing there.</scene_description> <character>BILLY</character> <dialogue>Gilligan.</dialogue> <character>PETER</character> <dialogue>Congratulations.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT - NIGHT</stage_direction> <scene_description>BILLY and TARA are eating.</scene_description> <character>BILLY</character> <dialogue>Aw, man. I spend the season trying to reduce it to numbers and we won on romance. Suddenly it's the Natural with Hatteberg. Scott Hatteberg.</dialogue> <parenthetical>(toasts)</parenthetical> <dialogue>To twenty.</dialogue> <character>TARA</character> <dialogue>To twenty.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>You should've seen Elizabeth's face when it went right over.</dialogue> <character>BILLY</character> <dialogue>She showed up afterwards.</dialogue> <character>TARA</character> <dialogue>What did she say?</dialogue> <character>BILLY</character> <dialogue>I was a big moment for them. You know everyone wrote him off?</dialogue> <character>TARA</character> <dialogue>You didn't. You found him and you put that together.</dialogue> <character>BILLY</character> <dialogue>I know. It was beautiful. But you know... it's not gonna mean a thing.</dialogue> <scene_description>He's upset. She knows it.</scene_description> <character>BILLY</character> <dialogue>Here's the thing -- we changed the game. We got this year, maybe next, then they're gonna catch on. This is our moment. I want to go the distance. I wanna shove it up the Yankees' ass. Not just the Yankees, but... these guys deserve it.</dialogue> <character>TARA</character> <dialogue>You deserve it. Honey, 20 games. It's a record.</dialogue> <character>BILLY</character> <dialogue>That's right, it's just a record. It gets buried in some book. Come on, tell me who won 19? I don't even know. It's 4th place at the Olympics. Any other team wins the World Series this year... great. We're still in the record books. But if we win, we've changed the game. We've put it on its head and shoved it up their ass. If we don't, they're gonna erase us.</dialogue> <scene_description>CUT TO: 162 OMITTED 16</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM - NIGHT</stage_direction> <scene_description>The same shot as at the beginning: the Coliseum from high above, only this time the final game of the division series is being played at home.</scene_description> <character>LEGEND:</character> <dialogue>2002 ALDS</dialogue> <scene_description>Deciding Game 5 Minnesota Twins at Oakland A's The camera pans down the huge scoreboard. It's excruciating. The numbers on the board tell us it's been an incredibly close game but the A's are losing by one run in the bottom of the ninth with two outs and nobody on. Ray Durham stands in at the plate. Strike one to the Durham as we hear the venerable voice of ESPN's Joe Morgan, who's speaking post-game.</scene_description> <character>JOE MORGAN V/O</character> <dialogue>The flaw in the A's thinking, and this comes from the top of their organization-- is their failure to comprehend you have to manufacture runs in the post season.</dialogue> <scene_description>Durham fouls off a pitch. Strike two.</scene_description> <character>JOE MORGAN V/O</character> <dialogue>You have to steal. You have to bunt. You have to sacrifice. You have to trust in small ball, not Billy Ball.</dialogue> <scene_description>Durham swings at the fastball and connects, but it's a pop fly to second which a TWINS INFIELDER easily nabs. The PITCHER throws his glove in the air and the CATCHER runs out to the mound as the rest of the Twins run to the middle of the field to begin their victory celebration. Durham turns away and heads back to the dugout. The A's have lost the series.</scene_description> <character>JOE MORGAN V/O</character> <dialogue>They think they've devised a science to win games. They think it resides in a computer. They thumb their nose at fundamentals. At tradition. At Baseball.</dialogue> <scene_description>164 OMITTED</scene_description> </scene> <scene> <stage_direction>A165 INT. VIDEO ROOM - NIGHT</stage_direction> <scene_description>Harrowed by the defeat, PETER stares at the TV, listening to Joe Morgan.</scene_description> <character>JOE MORGAN V/O</character> <dialogue>They're bean counters in Oakland. That's bean with an "e" at the end. They're card counters at the blackjack table who forget the house always wins.</dialogue> <scene_description>JUMP CUT TO:</scene_description> </scene> <scene> <stage_direction>B165 INT. VIDEO ROOM - NIGHT</stage_direction> <scene_description>Peter SMASHING a wooden chair to pieces with a baseball bat. JUMP CUT TO:</scene_description> </scene> <scene> <stage_direction>C165 INT. VIDEO ROOM - NIGHT C16</stage_direction> <scene_description>Peter, in exhaustion, his eyes glued again to the screen watching shots (ARCHIVAL VIDEO) of euphoric Twins reveling and A's stunned at their misfortune.</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM FIELD - NIGHT</stage_direction> <scene_description>A LOCKED-OFF SHOT begins to slowly move towards the pile of celebrating players on the mound and as we near, the sound begins to fade and the PLAYERS BEGIN TO DISAPPEAR, as do the FANS and ALL OCCUPANTS OF THE COLISEUM. DRIFT in an empty stadium, towards the dugout, where the last of the CLEANING CREW brooms the floor.</scene_description> </scene> <scene> <stage_direction>A166 INT. OAKLAND COLISEUM - NIGHT A16</stage_direction> <scene_description>CAMERA MOVES down a dimly lit cinder block corridor, and finally into the -</scene_description> </scene> <scene> <stage_direction>INT. A'S LOCKER ROOM - NIGHT - 1989</stage_direction> <scene_description>where we discover a solitary figure. The camera comes to settle on the Oakland A's player, still in uniform, hours after the game has ended, sitting with his face in his hands. After a long, deep breath he sits up and we discover that it's Billy, 10 years prior. CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - NIGHT - 1989</stage_direction> <scene_description>Billy, still in uniform, walks down the long corridor that leads to the GM's office, his cleats clicking on the concrete halls.</scene_description> <character>ALDERSON V/O</character> <dialogue>This is weird, Billy.</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. SANDY ALDERSON'S OFFICE (FLASHBACK) - NIGHT - 1989</stage_direction> <scene_description>BILLY's standing in front of the A's GM wearing his uniform pants and a t-shirt.</scene_description> <character>ALDERSON</character> <dialogue>It's like a politician quitting a campaign to become a staffer. Do you even know what a scout does?</dialogue> <character>BILLY</character> <dialogue>I've been scouted since I was 15.</dialogue> <character>ALDERSON</character> <dialogue>And you're ready to say, "I'm not a baseball player"?</dialogue> <character>BILLY</character> <dialogue>I'm not a baseball player.</dialogue> </scene> <scene> <stage_direction>INT. BILLY'S OFFICE - DAY</stage_direction> <character>BILLY</character> <dialogue>Ready to do this?</dialogue> <scene_description>Pete nods. Billy calls out --</scene_description> <character>BILLY</character> <dialogue>Suzanne? Get Schott on.</dialogue> <parenthetical>(to Peter)</parenthetical> <dialogue>You ever been to Boston?</dialogue> <scene_description>The speakerphone rings. Billy answers.</scene_description> <character>BILLY</character> <dialogue>We need to talk about the Red Sox.</dialogue> <character>SCHOTT (V.O.)</character> <dialogue>So I heard. John Henry reached out to you?</dialogue> <character>BILLY</character> <dialogue>Yes. But I haven't spoken with him yet.</dialogue> <character>SCHOTT (V.O.)</character> <dialogue>That's what he said.</dialogue> <character>BILLY</character> <dialogue>I want your blessing before I do.</dialogue> <character>SCHOTT (V.O.)</character> <dialogue>Well, how am I supposed to react to all of this? You're under contract, Billy. You extended.</dialogue> <character>BILLY</character> <dialogue>I know that, Steve, but I'd like to talk to them. I want to see what they have to say.</dialogue> <character>SCHOTT (V.O.)</character> <dialogue>You're asking me to let them talk to you?</dialogue> <character>BILLY</character> <dialogue>Yes. With your permission.</dialogue> <character>SCHOTT (V.O.)</character> <dialogue>Well, I can't do that unless I know Peter is in place as my GM.</dialogue> <character>BILLY</character> <dialogue>Pete?</dialogue> <character>SCHOTT (V.O.)</character> <dialogue>I'm not letting you take him with you, and I have no idea if he's willing to stay if you aren't here. How do I even know I can come to terms with him, given the extremely disadvantaged bargaining position you're putting me in?</dialogue> <character>BILLY</character> <dialogue>Well, I think you'll agree this is a great opportunity for him. I can't believe he's not going to make a deal.</dialogue> <scene_description>Peter is frozen. Neither Steve nor Billy are acting like he's even in the room.</scene_description> <character>SCHOTT (V.O.)</character> <dialogue>If you want out of your contract, I want their whole team and a lot of cash. We've invested in you.</dialogue> <character>BILLY</character> <dialogue>I haven't asked to get out of my contract, Steve, I just asked if I could talk to them.</dialogue> <character>SCHOTT (V.O.)</character> <dialogue>And I said I won't give you permission unless I know I have Peter! You can't leave me with a vacant front office.</dialogue> <character>BILLY</character> <dialogue>Then talk to Peter.</dialogue> <character>SCHOTT (V.O.)</character> <dialogue>I will.</dialogue> <scene_description>Silence.</scene_description> <character>SCHOTT (V.O.)</character> <dialogue>All right. You know what? I've made it a point never to stand in the way of a man wanting to make more money. They made the call, the genie's out of the bottle. I had faith in your judgement when I named you GM; that's why I did it and I have faith in it now. Good luck, Billy.</dialogue> <scene_description>Billy hangs up. A long beat. Peter looks at Billy.</scene_description> <character>PETER</character> <dialogue>Well, I didn't see that coming.</dialogue> <character>BILLY</character> <dialogue>I think you should think about staying. You're one of the architects of this thing, it belongs as much to you as it does to me.</dialogue> <character>PETER</character> <dialogue>Okay... okay...</dialogue> <character>BILLY</character> <dialogue>How you doing Pete?</dialogue> <character>PETER</character> <dialogue>I'm a little overwhelmed right now. I think I need to process what's happening.</dialogue> <character>BILLY</character> <dialogue>Why don't you take the day off.</dialogue> </scene> <scene> <stage_direction>A170 INT. TOWNCAR - DAY</stage_direction> <scene_description>Billy regards culinary treats presented fancifully in a towncar that transports him to Fenway Park.</scene_description> </scene> <scene> <stage_direction>EXT. FENWAY PARK - BOSTON - DAY</stage_direction> <scene_description>We establish the famous home of the Red Sox before finding BILLY standing on home plate. He looks around at the historic stadium...</scene_description> <character>JOHN (O.S.)</character> <dialogue>Billy Beane!</dialogue> <scene_description>JOHN HENRY, the new owner of the Boston Red Sox, is shouting at him from the owner's box. BILLY gives a kind of wave.</scene_description> <character>HENRY</character> <dialogue>Due respect to the Coliseum, but this is a ball park.</dialogue> <character>BILLY</character> <dialogue>Yes it is. It is.</dialogue> <character>HENRY</character> <parenthetical>(shouting)</parenthetical> <dialogue>You ever play here?</dialogue> <scene_description>FLASH CUT: BILLY swinging hard at a pitch in the dirt. CUT BACK TO:</scene_description> <character>BILLY</character> <dialogue>No.</dialogue> <character>JOHN</character> <dialogue>That's a shame. Let's walk the field.</dialogue> <scene_description>BILLY and JOHN begin a stroll around the perimeter of Fenway.</scene_description> <character>JOHN</character> <dialogue>Hey, I'm sorry I kept you waiting but believe it or not there was snow on 84. The second week in October. The car turns on to Yawkee Way and it's 53 degrees and this. How can there be an entirely different weather system here than there is three miles from here? Is that global warming or a sign that there's no such thing?</dialogue> <character>BILLY</character> <dialogue>I don't know.</dialogue> <character>JOHN</character> <dialogue>What's that Billy Joel song? Oh the snow it was falling from Stockbridge to Boston. And the hilltops seemed something because of that frosting.</dialogue> <character>BILLY</character> <dialogue>I think that's James Taylor and I'm certain those aren't the words.</dialogue> <character>JOHN</character> <dialogue>Well whatever, it was snowing from Stockbridge to Boston so I'm sorry I'm late. We'll have lunch in a little bit but why don't I have some coffee sent up.</dialogue> <parenthetical>(he's already got his cell phone open)</parenthetical> <dialogue>Denise?</dialogue> <parenthetical>(back to BILLY)</parenthetical> <dialogue>We've got espresso, cappuccino, latte, we've got a machine that makes whatever you want.</dialogue> <character>BILLY</character> <dialogue>We've got free soda.</dialogue> <character>JOHN</character> <dialogue>I heard about that.</dialogue> <parenthetical>(into phone)</parenthetical> <dialogue>Can you have some coffee in there for us?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Thank you.</dialogue> <scene_description>He snaps the phone shut.</scene_description> </scene> <scene> <stage_direction>A171 INT. PRESS BOX - DAY</stage_direction> <scene_description>Billy and John admire the view. DENISE sets down a tray of coffee and exits.</scene_description> <character>JOHN</character> <dialogue>It's her birthday and I need to get her a present but she's usually the one who does that for me so do you have any ideas?</dialogue> <character>BILLY</character> <parenthetical>(pause)</parenthetical> <dialogue>A scarf?</dialogue> <character>JOHN</character> <dialogue>You mean like wool?</dialogue> <character>BILLY</character> <dialogue>No I meant something that women wear with, you know, a decorative --</dialogue> <character>JOHN</character> <dialogue>Sure! Excellent.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>And where would I get something like that?</dialogue> <character>BILLY</character> <dialogue>John, no disrespect, I just lost in five for the second year in a row -- give her a bowling ball for all I care.</dialogue> <character>JOHN</character> <dialogue>Steve Schott told me he's offering you a new contract.</dialogue> <character>BILLY</character> <dialogue>Yes he is.</dialogue> <character>JOHN</character> <dialogue>So why'd you return my call?</dialogue> <character>BILLY</character> <dialogue>You're the Red Sox, and I think I can help you.</dialogue> <character>BILLY</character> <dialogue>I think I can do something about the Curse of the Bambino. I heard you hired Bill James.</dialogue> <character>HENRY</character> <dialogue>Why it took someone so long to hire that guy is beyond me.</dialogue> <character>BILLY</character> <dialogue>Because baseball hates him.</dialogue> <character>HENRY</character> <dialogue>Money buys a lot of things. One is the luxury to disregard what baseball thinks.</dialogue> <character>BILLY</character> <dialogue>That must be nice.</dialogue> <parenthetical>(beat, then)</parenthetical> <dialogue>I was grateful to get your call.</dialogue> <scene_description>JOHN looks at BILLY a moment...</scene_description> <character>JOHN</character> <dialogue>You were grateful.</dialogue> <character>BILLY</character> <dialogue>Yeah.</dialogue> <character>JOHN</character> <dialogue>For 41 million you built a playoff team. You lost Damon, Giambi, Isringhausen and Pena and you won two more games without them than you did with them.</dialogue> <scene_description>And we begin a slow push-in on BILLY... this is the first person in baseball other than his assistant who doesn't think he's crazy.</scene_description> <character>JOHN</character> <dialogue>You won the exact same number of games as the Yankees but the Yankees paid 1.4 million dollars per win and you paid two- hundred and sixty thousand. Yes, I want you to be my General Manager.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I know you're taking it in the teeth. The first guy through a wall always gets hurt. But those are dying voices. Any GM that doesn't tear down their team and rebuild it using your model is gonna be a dinosaur.</dialogue> <scene_description>JOHN's taken a piece of paper out of his pocket and slides it to BILLY --</scene_description> <character>BILLY</character> <dialogue>What's this?</dialogue> <character>JOHN</character> <dialogue>My first offer.</dialogue> <scene_description>BILLY opens it, looks at it for less than a second, and looks back up at JOHN...</scene_description> </scene> <scene> <stage_direction>INT. LIMO - DAY</stage_direction> <scene_description>Billy looks out at the Boston scenery. He steals a glance at the paper in his hand, John's offer, pensive... 172 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. OAKLAND COLISEUM - LOCKER ROOM - DAY</stage_direction> <scene_description>Billy comes into the locker room and gives it a look. 174 OMITTED (MOVED TO G177) 175 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. OAKLAND COLISEUM LOCKER ROOM - DAY</stage_direction> <scene_description>Billy sits at a table. A baseball SLAMS down in front of him. He looks up to see where it came from. PETER is standing in the doorway.</scene_description> <character>PETER</character> <dialogue>Heads up!</dialogue> <character>BILLY</character> <dialogue>Jesus. What the hell --</dialogue> <character>PETER</character> <dialogue>Sorry.</dialogue> <character>BILLY</character> <dialogue>What the hell was that?</dialogue> <character>PETER</character> <dialogue>I don't know. Sorry.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>How was Boston?</dialogue> <character>BILLY</character> <dialogue>Impressive.</dialogue> <character>PETER</character> <dialogue>You're giving me Youkilis, Billy.</dialogue> <character>BILLY</character> <dialogue>Why would I ever do that?</dialogue> <character>PETER</character> <dialogue>Come on Billy, Schott's going to want something in exchange for letting you out of your contract and I want Youkilis.</dialogue> <character>BILLY</character> <dialogue>Oh, what is that, your GM voice? You can't have him.</dialogue> <character>PETER</character> <dialogue>And Cash. And a player to be named later.</dialogue> <character>BILLY</character> <dialogue>You already have my job. What else do you want from me?</dialogue> <character>PETER</character> <dialogue>I don't want your job.</dialogue> <character>BILLY</character> <dialogue>Why did you take it?</dialogue> <character>PETER</character> <dialogue>You didn't leave me much choice.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Did Henry make you a good offer?</dialogue> <character>BILLY</character> <dialogue>It doesn't matter.</dialogue> <character>PETER</character> <dialogue>Did he make you a good offer?</dialogue> <character>BILLY</character> <dialogue>It was fine.</dialogue> <character>PETER</character> <dialogue>What was it?</dialogue> <character>BILLY</character> <dialogue>It doesn't matter.</dialogue> <scene_description>Pete just stares at him. Finally, Billy reaches into his pocket, takes out the folded piece of paper and hands it to Peter. Peter looks at it...</scene_description> <character>PETER</character> <dialogue>He offered to make you the highest paid GM in pro sports.</dialogue> <character>BILLY</character> <parenthetical>(genuinely conflicted)</parenthetical> <dialogue>Do I love the Red Sox?</dialogue> <character>PETER</character> <dialogue>I don't know. I've never heard you say you did.</dialogue> <character>BILLY</character> <dialogue>So why am I doing this?</dialogue> <character>PETER</character> <dialogue>You're not doing it for the money.</dialogue> <character>BILLY</character> <dialogue>I'm not?</dialogue> <character>PETER</character> <dialogue>You're doing it for what the money says. It says what it says to any player who gets big money: that they're worth it.</dialogue> <character>BILLY</character> <dialogue>The offer says that. The money itself is redundant.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I made one personal decision based on money in my life and I swore to never do that again.</dialogue> <character>PETER</character> <dialogue>So you're not going to Boston?</dialogue> <character>BILLY</character> <dialogue>I haven't decided.</dialogue> <character>PETER</character> <dialogue>It's all over the news that it's a done deal.</dialogue> <character>BILLY</character> <dialogue>Look at this place. What a dump.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I so wanted to win here.</dialogue> <character>PETER</character> <dialogue>I think you've already won, Billy.</dialogue> <character>BILLY</character> <dialogue>No Pete, we lost.</dialogue> <character>PETER</character> <dialogue>You haven't given yourself time to get over it, it's only been three days.</dialogue> <character>BILLY</character> <dialogue>I'm not even over last year yet. I don't get over it.</dialogue> <character>PETER</character> <parenthetical>(beat)</parenthetical> <dialogue>I've got something in the video room, come with me.</dialogue> <character>BILLY</character> <dialogue>I really can't look at video right now.</dialogue> <character>PETER</character> <dialogue>No, come with me.</dialogue> <scene_description>A177 OMITTED (MOVED TO K177) A17</scene_description> </scene> <scene> <stage_direction>B177 INT. VIDEO ROOM - DAY B17</stage_direction> <character>PAUL</character> <dialogue>It's not much more than a home movie but you'll get the idea.</dialogue> <character>BILLY</character> <dialogue>Who is it?</dialogue> <character>PAUL</character> <dialogue>The Visalia Oaks and their 240 pound catcher, Jeremy Brown, who's scared of running to second. This was in a game six weeks ago.</dialogue> <scene_description>PAUL hits the remote and the tape starts. The quality is poor and the camera is focused only on Jeremy.</scene_description> <character>PAUL</character> <dialogue>This guy's gonna start him off with a fastball low and in because he hasn't read the book on our guy and doesn't know that low and in is where he eats. Jeremy takes him to deep center --</dialogue> <scene_description>We see JEREMY BROWN connect and the ball fly off the bat but the camera stays on JEREMY running to first. PAUL slows down the picture with the remote</scene_description> <character>PAUL</character> <dialogue>-- and he knows that if he runs it's a stand-up double and he's running.</dialogue> <character>BILLY</character> <parenthetical>(quietly)</parenthetical> <dialogue>Go pal.</dialogue> <character>PAUL</character> <dialogue>And now he's gonna do something he never does. He's gonna round first base, he's gonna take the turn.</dialogue> <character>BILLY</character> <dialogue>Please tell me he's safe at second.</dialogue> <character>PAUL</character> <dialogue>No. Because right here --</dialogue> <scene_description>JEREMY slips and stumbles to the ground.</scene_description> <character>PAUL</character> <dialogue>-- is what he's always been afraid of. It's all he can do to get himself back to first.</dialogue> <scene_description>JEREMY has been scrambling in the dirt to get safely back to first base.</scene_description> <character>BILLY</character> <dialogue>What is that?</dialogue> <character>PAUL</character> <dialogue>That's the first base coach.</dialogue> <character>BILLY</character> <dialogue>Why's he laughing? I'm gonna fire that guy, why the hell is he --</dialogue> <character>PAUL</character> <dialogue>Everybody's laughing.</dialogue> <scene_description>JEREMY's looking around the field now, looking at his own dugout. We can't see what he sees but he's confused.</scene_description> <character>PAUL</character> <dialogue>And now Jeremy finds out why. Watch his face because this is art. He's just found out the ball went 60 feet over the fence. He'd hit a home run but he didn't know it.</dialogue> <scene_description>And JEREMY's face explodes into a smile. He slaps hands with the first base coach and begins his trot around the bases. BILLY stares at this. He takes the remote and backs it up a little so he can see Jeremy's face again.</scene_description> <character>BILLY</character> <dialogue>How can anybody not be romantic about baseball?</dialogue> <character>PAUL</character> <parenthetical>(pause)</parenthetical> <dialogue>It was a metaph--</dialogue> <character>BILLY</character> <dialogue>I know it was a metaphor.</dialogue> <character>PAUL</character> <dialogue>That was a hell of a baseball season, boss.</dialogue> <character>BILLY</character> <dialogue>The Island of Misfit Toys. Okay.</dialogue> <scene_description>And with that, Billy's mind begins to go elsewhere. No resolution, no decision, other than to get up and wander on. CUT TO:</scene_description> </scene> <scene> <stage_direction>C177 INT. OAKLAND COLISEUM HALLWAY - DAY C17</stage_direction> <scene_description>Billy stops in front of a door, checks to see if it's open, it is and he enters.</scene_description> </scene> <scene> <stage_direction>D177 INT. OAKLAND COLISEUM SCOUT ROOM - DAY D17</stage_direction> <scene_description>Billy Stands and takes it in. CUT TO:</scene_description> </scene> <scene> <stage_direction>E177 INT. ART HOWE'S OFFICE - DAY E17</stage_direction> <scene_description>Billy stands and takes it in. CUT TO:</scene_description> </scene> <scene> <stage_direction>F177 INT. OAKLAND COLISEUM HALLWAY - DAY F17</stage_direction> <scene_description>Billy stands at area from which a mysterious smell still emanates. CUT TO:</scene_description> </scene> <scene> <stage_direction>G177 EXT. OAKLAND COLISEUM FIELD - DAY (FORMERLY 174) G17</stage_direction> <scene_description>Billy haunts the field, talking to himself. Eventually he stands at the plate, and has an imaginary at bat. CUT TO:</scene_description> </scene> <scene> <stage_direction>H177 INT. VIDEO ROOM - CONTINUOUS</stage_direction> <scene_description>Pete watches Billy from the pitch tracking monitor as he argues with an imaginary ump before hitting an imaginary inside the park home run that ends with a slide into home CUT TO:</scene_description> </scene> <scene> <stage_direction>J177 EXT. OAKLAND COLISEUM FIELD - DAY</stage_direction> <scene_description>Billy wanders over to the pitcher's mound. Lies down. His POV of perfect sky...</scene_description> </scene> <scene> <stage_direction>K177 EXT. FREEWAY - DAY (FORMERLY A177)</stage_direction> <scene_description>BILLY's driving along and listening to the continued DRONE of talk radio criticism.</scene_description> <character>RADIO VOICE (V.O.)</character> <dialogue>ARCHIVAL RADIO CHATTER</dialogue> <scene_description>BILLY keeps listening a moment, then reaches in the glove box and pulls out a CD marked "Dad's Mix". BILLY slips it in the CD player. The sound of the radio immediately snaps off and the momentary silence is soon broken by CASEY's VOICE--</scene_description> <character>CASEY (V.O.)</character> <dialogue>Hey, Dad. I picked these songs out just for you.</dialogue> <scene_description>And then the first track on the CD comes on (SONG TBD). And BILLY smiles. He continues on down the freeway into dusk, as--</scene_description> </scene> <scene> <stage_direction>EXT. MLB FIELD</stage_direction> <scene_description>David Justice at the plate. As he takes ball four and trots down to first, the image freezes - Legend: David Justice retired after the 2002 season, leaving baseball with a team-leading on-base percentage with most walks.</scene_description> </scene> <scene> <stage_direction>EXT. MLB FIELD</stage_direction> <scene_description>Scott Hatteberg, looking comfortable on the infield dirt finally, dives for a line drive - freeze. Legend: Scott Hatteberg played three more seasons with the A's, then signed with Cincinnati in 2006 - as a first baseman. He retired in 2007.</scene_description> </scene> <scene> <stage_direction>EXT. MLB FIELD</stage_direction> <scene_description>Chad Bradford goes into his windup from Mars. As his hand scrapes the dirt - freeze. Legend: Chad Bradford went to the Red Sox in 2005. In 2008, he was traded to Tampa Bay who went on to the World Series with a payroll even lower than the A's.</scene_description> </scene> <scene> <stage_direction>EXT. MLB FIELD</stage_direction> <scene_description>Kevin Youkilis, in a Red Sox uniform, shimmies at the plate. As he lays off ball four and the umpire points to first - freeze. Legend: Boston never traded to Billy - or anyone else - their Greek God of Walks, Kevin Youkilis. He was part of the historic World Series Championship Red Sox of 2004, and is still with the club.</scene_description> </scene> <scene> <stage_direction>EXT. MLB FIELD</stage_direction> <scene_description>Peter, in a Yale Bulldogs uniform, scoops a grounder to second. As he throws out a Yale Bulldog - freeze. Legend: Peter Brand left Oakland in 2004 to become the General Manager of the Dodgers. He's now with the San Diego Padres.</scene_description> </scene> <scene> <stage_direction>EXT. MLB FIELD</stage_direction> <scene_description>Billy - 18 years old - in his Mount Carmel High uniform, takes his stance at the plate with the supreme confidence of youth. The pitch comes. He swings. And as his bat makes contact - freeze. Legend: Billy Beane is still the General Manager of the Oakland A's.</scene_description> </scene> <scene> <stage_direction>EXT. OAKLAND COLISEUM - NIGHT</stage_direction> <scene_description>The Coliseum's floodlights switch off and the green of the grass darkens -</scene_description> <character>TO BLACK</character> </scene> </script>

Billy Beane, the general manager of the Oakland Athletics, is devastated by the team's loss to the New York Yankees in the 2001 American League Division Series. With the impending departure of star players Johnny Damon, Jason Giambi, and Jason Isringhausen to free agency, Beane needs to assemble a competitive team for 2002 with Oakland's limited budget of 41 million dollars.During a scouting visit to the Cleveland Indians, Beane meets Peter Brand, a young Yale economics graduate with radical ideas about evaluating players. Beane asks whether Brand would have drafted him out of high school; though scouts considered Beane promising, his career in the major leagues was disappointing. Brand says he would not have drafted him until the ninth round. Impressed, Beane hires him. Using Brand's sabermetric method, Beane signs undervalued players such as Chad Bradford, Jeremy Giambi, and Scott Hatteberg, and also trades for David Justice. The Athletics' scouts are hostile toward the strategy, and Beane fires the head scout, Grady Fuson, after a heated confrontation. Beane also faces opposition from Art Howe, the Athletics' manager, who is in the final year of his contract and has been asking for an extension. Howe disregards Beane's and Brand's strategy and uses a more traditional lineup. Early in the season, the Athletics are already 10 games behind first, leading critics to dismiss the new method as a failure. Brand argues that their sample size is too small to conclude that the method does not work, and Beane convinces the team owner, Stephen Schott, to stay the course. To get help on defense, Beane trades Giambi to the Phillies for John Mabry and the only traditional first baseman, Carlos Peña, to the Tigers, leaving Howe no choice but to use the team that Beane and Brand have designed. Three weeks later, the Athletics are only four games behind first. Before the trade deadline, Beane acquires the relief pitcher Ricardo Rincón from the Indians, and on August 13, the Athletics start a winning streak. Beane, superstitiously, refuses to watch games in progress, but when the Athletics tie the American League record of 19 consecutive wins, his daughter persuades him to attend the next game against the Kansas City Royals. Oakland is leading 11–0 when Beane arrives in the fourth inning, only to watch the Royals even the score by the top of the ninth. Thanks to a walk-off home run by Hatteberg, the Athletics achieve a then record-breaking 20th consecutive win. Beane tells Brand he will not be satisfied until they have changed baseball by winning the World Series. The Athletics win the American League West but lose to the Minnesota Twins in the American League Division Series, with an unseen baseball analyst explaining that some other tangibles of a player, such as drive and clutch performance, cannot be measured. The owner of the Boston Red Sox, John W. Henry, realizes that sabermetrics is the future of baseball. He makes Beane an offer to become the Red Sox general manager for a $12.5 million salary, which would make him the highest-paid general manager in sports history. In Oakland, Beane discloses the offer to Brand and says that their strategy failed. Brand shows a video of a heavyset batter, Jeremy Brown, who hits a home run but does not realize it; Beane understands what Brand is trying to say and thanks him. In his car, an emotional Beane listens to a cover of "The Show" recorded by his daughter in which she tells him to "just enjoy the show." In an epilogue, Beane turns down Henry's offer, but the Red Sox still end up winning the World Series two years later using Beane and Brand's model.

Papillon_2017

tt5093026

<script> <scene> <character>PAPILLON</character> <dialogue>Written by</dialogue> <scene_description>Aaron Guzikowski Based on the book by Henri Charrière And the screenplay by Dalton Trumbo &amp; Lorenzo Semple Jr. Based on a true story.</scene_description> </scene> <scene> <stage_direction>INT. JEWELRY STORE SAFE ROOM - NIGHT</stage_direction> <scene_description>A darkened room -- the light in the hallway illuminates the crack under the door. The sound of a man's approaching footsteps -- his shadow cuts the light under the door -- a scratching sound; he's working the lock -- The lock pops -- A YOUNG MAN slips inside and closes the door. He then pushes a nearby desk over, blocks the door... He beelines for the window, and as he peers outside, the red glow of Montmartre at night momentarily illuminates him... tough, wiry -- wears a slick pinstripe suit -- eyes seem to sparkle and threaten at the same time. This is PAPILLON. Papi's POV -- looking down on Montmartre -- just one floor up -- denizens of the night coming and going on the sidewalk below. SUPER -- Montmartre, Paris -- March 26, 1930 Papi clocks the awning under the window -- sees he can use it to climb down to the street. His escape route now determined, he closes the blinds -- the room goes dark -- Papi starts humming Franz Lehár's "The Merry Widow" as he turns on a flashlight, shines it around, illuminating -- A desk with a typewriter on it, stored mannequin hands for displaying jewelry, a fireplace, a large mirror... He walks up to the mirror, takes it down -- raps his knuckles against the wall -- trying different spots. Then after a moment he stops, shakes his head... He scans the room again...lingers on the fireplace -- considering. He crouches down, shines his flashlight inside the firebox...staring at the back wall of bricks... Papi reaches into the fireplace -- raps his knuckles against the bricks -- hears a hollow reverberation... He reaches both hands inside, finds a seam -- the back wall of bricks is a false wall -- a removable panel... He pulls the panel off, revealing a hidden compartment obscured in darkness... Papi grabs the desk chair, drags it over, then sets the flashlight on the seat so it shines into the darkened compartment...illuminating a big, black Diebold safe. Papi examines the safe...admiring its construction. After a moment he places his hand on the combination dial... He closes his eyes, continuing to hum "The Merry Widow" as he starts slowly turning the dial. After a few rotations his hand goes still and he mutters:</scene_description> <character>PAPILLON</character> <dialogue>One.</dialogue> <scene_description>He starts up again, working the dial -- eyes dancing under closed lids when he hears footsteps in the hallway. Shit. He opens his eyes, looks to the door...the footsteps stop. He waits, tensing -- when they start up again...recede... Papi closes his eyes, recommences turning the dial...slowing; the movement almost imperceptible now...he stops...</scene_description> <character>PAPILLON</character> <dialogue>Two.</dialogue> <scene_description>He switches to his left hand -- rubs the tips of his fingers together, then starts spinning the dial quickly -- stops, rolls it back a few degrees...hears a tumbling sound... Papi smiles -- grabs the bolt handle --</scene_description> <character>PAPILLON</character> <dialogue>Three --</dialogue> <scene_description>He yanks down the bolt handle, CHACHUNK, opens the safe door. Papi shines the flashlight inside the safe -- scans the velvet shelves full of jewelry and cash. He zeros in on some uncut diamonds. He starts to reach inside when he hears something -- more footsteps -- voices:</scene_description> <character>VOICE 1 (O.S.)</character> <dialogue>There's someone in there --</dialogue> <scene_description>He looks over to see the doorknob turning -- the desk that's blocking the door starting to shift --</scene_description> <character>VOICE 2 (O.S.)</character> <parenthetical>(to Voice 1)</parenthetical> <dialogue>Go call the police -- hurry!</dialogue> <scene_description>Papi grabs the diamonds -- pulls an empty aspirin tube from his pocket, drops them inside. Then he grabs a small wad of cash -- lifts up his shirt -- slips it into a hidden pocket sewed inside his belt -- The desk legs start squealing on the floor as whoever's in the hallway starts forcing it open -- Papi heads for the window -- stops -- something occurs to him. He rushes back to the safe. Grabs a diamond necklace --</scene_description> </scene> <scene> <stage_direction>EXT. SIDE STREET - MONTMARTRE - CONTINUOUS</stage_direction> <scene_description>Papi climbs out the window -- hangs off the awning -- then drops, landing on his feet in front of the Jewelry shop's closed storefront. A figure appears in the open window, peering down at the street as -- Papi blends into pedestrian traffic -- walking casually -- the sound of sirens approaching in the distance -- He doesn't look back -- his face a picture of focus and calm -- as behind him men emerge from the building's entrance looking in vain for the man who just plundered their safe --</scene_description> </scene> <scene> <stage_direction>EXT. MONTMARTRE HILL - NIGHT</stage_direction> <scene_description>We're at the bottom of Montmartre Hill's vertiginous stone stairs, Papillon descending towards us, slowly coming into focus...he reaches the bottom, stops, lights a cigarette -- He takes a long drag, then breathes out -- looking simultaneously relieved and invigorated...</scene_description> </scene> <scene> <stage_direction>EXT. BOULEVARD DE CLICHY - MONTMARTRE, PARIS - NIGHT</stage_direction> <scene_description>We follow Papi as he struts down the Boulevard De Clichy with a loose confidence -- nodding to various familiars; gangsters, street singers, coquettish girls and their pimps -- Papi clocks a ragged looking homeless girl, 9, sleeping on the sidewalk, holding her little brother in her arms. Papi pulls some bills from his money belt -- puts them in the boy's hand, then continues on before the boy can thank him -- Papi passes a newstand, glances at a front page headline -- a photo of LOUIS DEGA, who we'll meet in a bit: LOUIS DEGA CONVICTED FOR COUNTERFEITING DEFENCE BONDS Papi walks into the L'ENFER BROTHEL -- its carved stone entrance fashioned to look like a demon's gaping jaws...</scene_description> </scene> <scene> <stage_direction>INT. L'ENFER - CONTINUOUS</stage_direction> <scene_description>Papi moves inside the crowded, smoke filled space -- his ears immediately filled with a cacophony of music and screeching laughter. The walls are sculpted to look like bodies writhing in the flames of hell -- topless girls wearing animal head dresses dance inside a giant cauldron. Papi beelines for a closed door in the back of the club when he's blocked by a rotund enforcer named GIRASOLE --</scene_description> <character>PAPILLON</character> <dialogue>I got something for him.</dialogue> <character>GIRASOLE</character> <dialogue>Good for you. I'll see that he gets it.</dialogue> <character>PAPILLON</character> <dialogue>I want to give it to him myself.</dialogue> <scene_description>Girasole gives Papi a hard look -- Papi holds Girasole's stare; not backing down. Girasole breathes out, annoyed -- Girasole frisks Papi -- pulls the aspirin tube from his pocket -- looks inside it, raises an eyebrow...</scene_description> </scene> <scene> <stage_direction>INT. BACK ROOM - L'ENFER - MOMENTS LATER</stage_direction> <scene_description>Papi's POV as walks into the back room, sees a half dozen heavies sitting around a craps table, watching on as CRACK -- JEAN CASTILI -- whose back is to us -- slugs an underworld type in the face wile two thugs hold the guy up --</scene_description> <character>CASTILI</character> <dialogue>You want to cheat a Corsican and get away with it, you gotta be smart. You guys from the north got no fucking brains --</dialogue> <scene_description>CRACK -- Castili delivers a monster punch -- the guy's head is hanging now, blood spattering on the floor --</scene_description> <character>CASTILI</character> <parenthetical>(to Thugs)</parenthetical> <dialogue>Get this piece of shit out here.</dialogue> <parenthetical>(to the guy)</parenthetical> <dialogue>You better have my fucking money next week.</dialogue> <scene_description>Castili turns to face Papi as the two Thugs drag the bloodied man from the room. Castili is in his 50s -- weathered good looks -- heavily tattooed. He looks down, notices one of the guy's teeth is embedded between his knuckles. Papi watches as Castili nonchalantly pulls the tooth out. Castili shoots Papi an expectant look while slowly wrapping his bloodied hand in a handkerchief...</scene_description> <character>PAPILLON</character> <dialogue>Safe was full, just like you said --</dialogue> <scene_description>Papi pours the diamonds on to the table. Castili almost smiles. He then motions to his accountant, who produces a loupe -- starts inspecting the diamonds while --</scene_description> <character>CASTILI</character> <dialogue>You pocket any for yourself?</dialogue> <character>PAPILLON</character> <dialogue>I wouldn't do that, boss.</dialogue> <character>CASTILI</character> <dialogue>From what I've heard you've got some balls on ya. Don't you hustle me -- or I'll cut'em the fuck off.</dialogue> <scene_description>Papi nods. Judging by Castili's stare -- he means it. CASTILI'S ACCOUNTANT finishes inspecting the diamonds --</scene_description> <character>ACCOUNTANT</character> <dialogue>OK for ten thousand.</dialogue> <character>CASTILI</character> <parenthetical>(to Papi)</parenthetical> <dialogue>Good boy. Sit down. Play a few rounds with us.</dialogue> <scene_description>Papi gives Castili a nod and sits down with the heavies, masking pangs of trepidation with a confident smile --</scene_description> <character>PAPILLON</character> <dialogue>Long as these guys don't mind losing.</dialogue> <scene_description>Some chuckles as Papi picks up the dice -- clocks a gorgeous hooker, 18, walking up on Castili. This is NENNETE. Nennete gives Castili a kiss on the cheek, slips some bills in his breast pocket -- she gives Papi a look as Castili pulls her down on his lap; Nennete and Papi seem acquainted.</scene_description> </scene> <scene> <stage_direction>EXT. BOULEVARD DE CLICHY - LATER</stage_direction> <scene_description>Nennete emerges from the front entrance, lights a cigarette. Then after a moment, Papi walks out -- grabs her, turns her around, she flashes him a smile. He unbuttons his shirt collar -- revealing he's been secretly wearing the diamond necklace he rushed back for. He takes it off, puts it around her neck -- kisses her --</scene_description> <character>PAPILLON</character> <dialogue>I knew this had to belong to you.</dialogue> <scene_description>Her face lights up -- they look like they're in love -- or at least they think they are. She pulls two wallets out of her pocket book -- slips them to Papi --</scene_description> <character>NENNETE</character> <dialogue>I didn't open'em -- but they feel heavy.</dialogue> <scene_description>Papi pockets the wallets -- then he crouches down, sticks his finger in his shoe...fishes out a diamond he hid there -- shows it to Nennete -- pockets it --</scene_description> <character>PAPILLON</character> <dialogue>A few more nights like this and we can write our own ticket.</dialogue> <scene_description>She nods, eyes full of hope. He gives her another kiss --</scene_description> <character>NENNETE</character> <dialogue>I gotta get back to work.</dialogue> <scene_description>He shakes his head, pulls her in, caressing her --</scene_description> <character>PAPILLON</character> <dialogue>You made enough tonight. Let's have some fun...</dialogue> <scene_description>The two of them walk off, laughing -- receding into the night -- PAPI HOWLING AT THE MOON --</scene_description> </scene> <scene> <stage_direction>EXT. MOTEL IN MONTMARTE - MORNING</stage_direction> <scene_description>A shitty motel in a run down neighborhood full of shacks.</scene_description> </scene> <scene> <stage_direction>INT. MOTEL ROOM - MORNING</stage_direction> <scene_description>Atop a dresser are some safe cracking tools and last night's take: the stolen wallets, some jewelry, a couple watches -- Papi lies sleeping on the floor, Nennete asleep on top of him, her head resting on his chest. The morning sunlight peeks in through shuddered windows -- it looks like they started on the bed and somehow found their way down here... Nennete's eyes come open...she yawns, starts sleepily tracing her finger over something on Papi's chest...a BUTTERFLY TATTOO...Papi starts to wake up, gives her a smile -- a little kiss on the lips --</scene_description> <character>NENNETE</character> <dialogue>This room always seems smaller in the morning...</dialogue> <character>PAPILLON</character> <dialogue>We'll switch hotels -- get something bigger.</dialogue> <character>NENETTE</character> <dialogue>No more hotels -- I want to live in a little cottage in the countryside -- like where you grew up. You make it sound so nice. We can get the doggie you had -- what did you say it was --</dialogue> <character>PAPILLON</character> <dialogue>A pointer.</dialogue> <character>NENNETE</character> <dialogue>Yes. A pointer. Let's go today.</dialogue> <character>PAPILLON</character> <dialogue>No opportunities in the country. We stay a little longer, the boss will start throwing me the bigger jobs. I cracked that new Diebold safe last night -- there's maybe five guys in Paris who can do that. You know how much money I can make us --</dialogue> <character>NENNETE</character> <dialogue>It's me, isn't it?</dialogue> <scene_description>Papi scoffs, tries to kiss her -- she pushes him away --</scene_description> <character>PAPILLON</character> <dialogue>I'm going to give you the life you deserve -- make you a princess.</dialogue> <scene_description>Papi starts kissing her, his hand sliding between her thighs.</scene_description> <character>PAPILLON</character> <dialogue>You're not happy?</dialogue> <scene_description>Nenette smiles, closes her eyes -- then laughs -- swats Papi's hand away -- stands up. He admires her body as she starts rifling through their discarded clothes --</scene_description> <character>NENNETE</character> <dialogue>Where are my cigarettes --</dialogue> <character>PAPILLON</character> <dialogue>I could tell you, but then I wouldn't get to watch you look for them.</dialogue> <scene_description>She makes a face at him -- he starts trying to pull her back down towards him when someone knocks at the door.</scene_description> <character>LANDLORD (O.S.)</character> <dialogue>I'm here for the rent.</dialogue> <scene_description>Papi stands up --</scene_description> <character>PAPILLON</character> <dialogue>Hold on a second --</dialogue> <scene_description>Papi gets some pants on, goes to the dresser and pulls some bills from those stolen wallets. The Landlord knocks again --</scene_description> <character>PAPILLON</character> <dialogue>Relax, I got your money --</dialogue> <scene_description>Papi unlocks the bolt, then cracks the door with the chain on -- sees the LANDLORD is standing with TWO BURLY POLICE INSPECTORS: MAYZAUD and JEZOD -- Papi tries to slam the door -- Nenette starts screaming as Mayzaud and Jezod force it back open -- Jezod clocks Papi's butterfly tattoo --</scene_description> <character>MAYZAUD</character> <parenthetical>(to Jezod)</parenthetical> <dialogue>It's him --</dialogue> <scene_description>Mayzaud grabs Papi, wrenches his hands behind his back -- handcuffs him. Jezod leers at Nennete, who's rushing to get a robe on, then he clocks the wallets and the jewelry --</scene_description> <character>MAYZAUD</character> <dialogue>You rob that shit from Roland Legrand?</dialogue> <character>PAPILLON</character> <dialogue>What?</dialogue> <character>MAYZAUD</character> <dialogue>Roland Legrand was murdered last night. Witness identified you --</dialogue> <scene_description>Papillon shakes his head, almost laughs --</scene_description> <character>PAPILLON</character> <dialogue>That pimp from Lyon? I don't know what you're talking about -- why the hell would I kill Roland Legrand?</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY - MOTEL - CONTINUOUS</stage_direction> <scene_description>Mayzaud and Jezod start dragging Papillon to the elevator --</scene_description> <character>PAPILLON</character> <dialogue>Somebody's playing you guys --</dialogue> <scene_description>Nennete follows after them down the hallway --</scene_description> <character>NENNETE</character> <dialogue>I was with him! He didn't kill anybody!</dialogue> <character>JEZOD</character> <dialogue>Go back to your room, whore.</dialogue> <character>NENNETE</character> <dialogue>Let him go --</dialogue> <scene_description>Nenette grabs Mayzaud's jacket -- Mayzaud shoves her into the wall -- knocks her to the floor.</scene_description> <character>PAPILLON</character> <dialogue>You shouldn't have done that --</dialogue> <scene_description>Papi wriggles out of Jezod's grip, then -- CRUNCH -- Papi headbutts Mayzaud square in the face -- body checks him into the wall, knees him hard in the balls. Mayzaud crumples to the floor as -- Jezod grabs Papi's arms -- spins him around and CRACK -- slugs him in the face. Then he holds Papi -- Mayzaud gets to his feet and CRACK -- delivers a few brutal punches of his own before they recommence dragging Papi to the elevator -- Papi turns, nose bleeding, looks at Nennete as she gets up --</scene_description> <character>PAPILLON</character> <dialogue>It's OK --</dialogue> <scene_description>Mayzaud and Jezod shove him inside the elevator. Nennete rushes up, tries to get in --</scene_description> <character>NENNETE</character> <dialogue>You can't do this --</dialogue> <scene_description>Jezod shoves her out -- the ELEVATOR GUY slides the accordion cage closed. Papi can see Nenette peering through the cage as the elevator starts to descend --</scene_description> <character>NENNETE</character> </scene> <scene> <stage_direction>EXT. THE PALAIS DE JUSTICE DE LA SEINE - DAY</stage_direction> <scene_description>A grey sky hangs over. Nanette walks up the steps of the Palais De Justice. It's snowing...</scene_description> </scene> <scene> <stage_direction>INT. WAITING ROOM - THE PALAIS DE JUSTICE DE LA SEINE - LATER</stage_direction> <scene_description>Dressed in his best suit -- pale-blue bow tie -- hair slicked back, Papillon sits on a bench, handcuffed to a policeman, smoking a cigarette. Each time he lifts the cigarette to his mouth, the policeman has to raise his arm to follow. The lead prosecutor -- PRADEL, 40s -- a tall, arrogant looking man walks up on Papi. Pradel wears a red robe -- playing with a polished nail he's bent into a ring...</scene_description> <character>PRADEL</character> <dialogue>Bon voyage, prisoner -- bon voyage.</dialogue> <scene_description>Papi holds Pradel's mocking stare with defiant eyes... A sound -- Papi and Pradel look over to see the big double doors leading to the courtroom have swung wide... PAPILLON'S LAWYER -- a meek looking man with a bad cold walks up on them. Pradel gives Papi's lawyer a dismissive look, then strides confidently into the courtroom... The policeman Papi is handcuffed to, motions for him to stand up -- starts walking with him and his lawyer --</scene_description> <character>PAPILLON'S LAWYER</character> <dialogue>The witness said the killer called himself Papillon. That's all they have -- a knickname -- and a common one at that. The police just want your kind off the streets, they don't care if you're guilty or not. But fear not, I'm confident we'll be acquitted. They have no real proof.</dialogue> <scene_description>We watch as Papi walks into the blood red courtroom -- a CHUBBY JUDGE staring down at him -- his pink cheeks, belying cold eyes... The double doors slam shut -- CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD - SAINT-MARTIN-DE-RE' - DAY</stage_direction> <scene_description>Close on Papi's eyes -- radiating anger. We don't know where he is -- then as the angle slowly widens we see he's standing naked...one of eight hundred convicts standing in the courtyard of the Saint-Martin prison...</scene_description> <character>COMMANDANT (O.S.)</character> <parenthetical>(over loudspeaker)</parenthetical> <dialogue>Attention.</dialogue> <scene_description>Papi turns face front -- sees the COMMANDANT of Saint-Martin- De-Re', holding the loud speaker, flanked by penal administration officials, army doctors in colonial dress and priests in white cassocks --</scene_description> <character>COMMANDANT</character> <dialogue>As of this moment, you are the property of the Penal Administration of French Guiana. After serving your full term in prison, those of you with sentences of eight years or more will remain in Guiana as workers and colonists for a period equal to your original sentence. As for France, the nation has disposed of you. She has rid herself of you altogether. Forget France and dress yourselves.</dialogue> </scene> <scene> <stage_direction>INT. INFIRMARY - THE CONCIERGERIE - DAY</stage_direction> <scene_description>A convict shears Papi's head bald -- he's sitting among an endless line of cons, clumps of hair cascading to the floor -- A guard pulls him up, shoves him towards the next station -- MEASUREMENTS STATION Papi stands against a wall -- an orderly uses a metal instrument to measure his skull. Notates his tatoos: the butterfly on his chest, and on his back is the head of a woman, a crucified sailor, a tiger hunt in progress --</scene_description> <character>ORDERLY</character> <dialogue>Open your mouth. Out with your tongue now --</dialogue> <scene_description>The Orderly checks his teeth, shines a light down his throat.</scene_description> <character>ORDERLY</character> <dialogue>OK, get in line for your vaccination shots.</dialogue> <scene_description>LINE FOR VACCINATION SHOTS Papi stands in a long line of recently sentenced convicts, fresh out of civilian life -- strong, healthy -- well fed. Papi listens to the two men in front of him conversing:</scene_description> <character>CONVICT 1</character> <dialogue>That's him -- that's Louis Dega.</dialogue> <scene_description>Papi clocks the bespectacled man the convict is referring to - - he's just reached the front of the line. Papi recognizes him from the front page of the newspaper --</scene_description> <character>CONVICT 1</character> <dialogue>Guy's a millionaire. Got busted for selling counterfeit defense bonds.</dialogue> <character>CONVICT 2</character> <dialogue>Probably has a fortune stowed up his ass. Somebody's going to cut him open for it, might as well be us. It'll be easy on the boat --</dialogue> <scene_description>The con behind Papi taps him on the shoulder, whispers:</scene_description> <character>VOICE (O.S.)</character> <dialogue>Papillon, right?</dialogue> <scene_description>Papi turns, sees TWO CONVICTS standing in line behind him -- JULOT, 30s -- a tough looking thief with a child-like glint in his eyes. And LARIOT -- a sickly looking 18 year old -- one of his legs is withered from a bout of polio...</scene_description> <character>JULOT</character> <dialogue>You work for Castili, right?</dialogue> <scene_description>Papi nods, maintains a cagey expression --</scene_description> <character>JULOT</character> <dialogue>I've heard about you -- you're a hell of safe cracker.</dialogue> <character>JULOT</character> <dialogue>I'm more of smash and grab guy myself. Name's Julot. This is Lariot.</dialogue> <character>PAPILLON</character> <dialogue>Hey.</dialogue> <scene_description>Lariot says nothing, looks like he's in shock...</scene_description> <character>JULOT</character> <dialogue>He was born in the bagne -- son of a guard. Now he's going back as a convict. Sweet destiny. They really give you life for an underworld killing?</dialogue> <scene_description>Papi nods --</scene_description> <character>JULOT</character> <dialogue>Man, they fucked you good.</dialogue> <character>PAPILLON</character> <dialogue>Yeah, well -- if I can break into anything -- figure I can break out of anything just as easy.</dialogue> <character>JULOT</character> <dialogue>I was thinking the same thing.</dialogue> <character>PAPILLON</character> <dialogue>We should partner up.</dialogue> <character>JULOT</character> <dialogue>Nah. If I get sent to solitary for some half assed escape that didn't work, I want it to be my mistake, not someone else's. You have money?</dialogue> <character>PAPILLON</character> <dialogue>Not a sou.</dialogue> <character>JULOT</character> <dialogue>Get some -- you're going to need it if you want to mount a cavale.</dialogue> <scene_description>Papillon glances back at Dega, considers. Dega's now holding up the line, arguing with the orderly --</scene_description> <character>DEGA</character> <dialogue>Is that the strongest one you have? I can pay extra for something stronger --</dialogue> <scene_description>The orderly ignores him, jams the needle into his arm -- motions for the next con to step up --</scene_description> <character>DEGA</character> <dialogue>That's it? I have a weak constitution -- I can't get sick -- may I please speak with the lead physician --</dialogue> <scene_description>Then Papi hears footsteps coming up the hall, turns to see a towering, red haired convict, walking around like he owns the place. One of his eyes is missing, carries a bullwhip -- this is TRIBOUILLARD.</scene_description> <character>JULOT</character> <dialogue>That ogre's the 'trusty' -- serves the guards as official torturer. So they can beat us without exerting themselves. And if he kills somebody -- their hands are clean.</dialogue> <scene_description>Tribouillard grabs Dega, shoves him into the wall -- breaks his glasses -- whispers into his ear:</scene_description> <character>TRIBOUILLARD</character> <dialogue>You bring me money later -- or I'll slit you open while you sleep and take it myself.</dialogue> <scene_description>Dega doesn't answer...pees on the floor. Tribouillard steps back, disgusted. Dega flees to the next station -- Papi moves past Tribouillard to get his shot -- shoots him a hard stare. While Papi gets his shot he notices another orderly coming through with a cart full of medical supplies. Papi is handed some brown woolens and a pair of wooden shoes; what he'll be wearing on the boat for the next three weeks. Tribouillard shoves Papi towards the next station --</scene_description> <character>TRIBOUILLARD</character> <dialogue>Move --</dialogue> <scene_description>Papillon stops, eyes the coming cart -- thinking, needs to time this just right. He turns, looks at Tribouillard --</scene_description> <character>PAPILLON</character> <dialogue>How'd you do that to your eye?</dialogue> <scene_description>Tribouillard slugs Papi in the stomach -- shoves him hard. Papi goes down -- purposely slams into the cart, topples it over. The orderly scrambles to pick up the supplies as Papi calmly gets to his feet -- We see Papi has swiped a metal lancet from the cart -- hides it under his folded woolens --</scene_description> </scene> <scene> <stage_direction>EXT. THE GATES - SAINT-MARTIN-DE-RE' - DAY</stage_direction> <scene_description>Papi's POV, lined up with 1800 other deportees now dressed in woolens, a hundred or so guards -- mostly Africans from the colonial regiment -- are preparing to herd them. Julot and Lariot are right behind Papi. Dega is a few rows back, trying to get his broken glasses to stay on. Papi hears someone weeping. He turns to see it's Lariot -- he's trembling, his eyes swelling with terror --</scene_description> <character>LARIOT</character> <parenthetical>(to Julot)</parenthetical> <dialogue>I can't go back. I can't -- you don't know what it's like --</dialogue> <character>JULOT</character> <dialogue>Quiet -- it's alright --</dialogue> <scene_description>Papi returns his gaze to the closed citadel gates -- hears the restless voices of the crowd waiting on the other side...</scene_description> <character>GUARD</character> <dialogue>Do not step out of line. If you deviate from the route in any way, you will be shot. Sacks on your left shoulders!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Open the gates!</dialogue> <scene_description>The gates swing wide with a reverberating SQUEAL, revealing a street lined with locals, craning their heads, trying to get a good view of the damned as they emerge on to the street.</scene_description> <character>GUARD</character> </scene> <scene> <stage_direction>EXT. ROAD TO SEA PORT - CONTINUOUS</stage_direction> <scene_description>Papi's POV -- guards march backwards in front of him, rifles aimed, while another guard pulls them by the belt. The crowd is a sea of heartbroken wives, stunned children and gawkers. Suddenly A LITTLE GIRL runs out and grabs the leg of the con who's marching in front of Papi -- the guards grab her off -- HER FATHER loses it, throws a punch. Papi watches as the guards beat him into the pavement, while a few rows back -- Dega marches in a daze -- A NEWSPAPER PHOTOGRAPHER leaps out and snaps his picture -- then, a voice --</scene_description> <character>VOICE (O.S.)</character> <dialogue>Monsieur Dega!</dialogue> <scene_description>He turns to see CLARA, his high society wife standing with his LAWYER --</scene_description> <character>DEGA'S LAWYER</character> <dialogue>Fear not -- your appeal is next week. You'll be back before Christmas.</dialogue> <scene_description>The convict marching beside Dega snickers -- we recognize him as one of the two cons Papi heard conspiring to rob Dega --</scene_description> <character>CONVICT</character> <dialogue>No you won't.</dialogue> <scene_description>Back to Papi as he hears a soft whistle cutting through the sea of shouting. He turns to see Nennete leaning out a second story window, reaching her hand out, eyes tearing. He gives her a look devoid of worry -- winks, mouthing --</scene_description> <character>PAPILLON</character> <dialogue>See you soon.</dialogue> <scene_description>Papi turns, sees several barges waiting to transport them to THE BATTERED OCEAN LINER WAITING IN PORT: LA MARTINIERE...</scene_description> </scene> <scene> <stage_direction>INT. THE HOLD - LA MARTINIERE - DAY</stage_direction> <scene_description>Papi's POV as guards herd him, Julot and Lariot down into one of the ship's darkened holds -- a dank space containing two communal cages separated by a narrow aisle. A guard starts pulling Chinese and black convicts out of line -- shoving them down the aisle --</scene_description> <character>GUARD</character> <dialogue>Blacks and chinamen in cage two. White men to your right. Come on, don't block the doors --</dialogue> <scene_description>Papi, Julot and Lariot are shoved into CAGE 1. Papi looks around at the cage that's about the size of a train car. Julot and Lariot start to hang their packs on hooks close to the door when --</scene_description> <character>PAPILLON</character> <dialogue>We don't want to hang'em there --</dialogue> <scene_description>Papi ushers Julot and Lariot to the back of the cage, next to a closed porthole --</scene_description> <character>PAPILLON</character> <dialogue>We're close to the engines -- it's going to get hot in here. They'll probably open this once we leave port. We're going to want the air.</dialogue> <scene_description>Julot gives Papi a questioning look --</scene_description> <character>PAPILLON</character> <dialogue>Used to be in the navy --</dialogue> <scene_description>Julot and Lariot nod -- follow Papi's advice. Papi notices the cage is filling up -- getting more and more crowded and claustrophobic -- he sees Dega being shoved into the cage, trying like hell to conceal his mounting terror as Tribouillard enters behind him. Dega tries to duck behind another con, but too late -- Tribouillard grabs Dega's pack away from him, pulls out his blanket, takes it -- then drops Dega's pack to the floor. Dega watches as Tribouillard walks off with his blanket -- clearing an extra large space for himself -- Papi approaches Dega -- who immediately backs away from him --</scene_description> <character>PAPILLON</character> <dialogue>Come on over, I saved you a spot. I'll keep you safe -- it'll cost you -- but I'll keep you safe.</dialogue> <character>DEGA</character> <dialogue>Said the scorpion to the frog.</dialogue> <character>PAPILLON</character> <dialogue>We're all scorpions in here.</dialogue> <scene_description>Dega clocks the butterfly peeking out from Papi's collar.</scene_description> <character>DEGA</character> <dialogue>You're Papillon --</dialogue> <scene_description>Papi nods --</scene_description> <character>DEGA</character> <dialogue>You murdered a pimp -- stabbed him with an ice pick.</dialogue> <character>PAPILLON</character> <dialogue>I'm a safe cracker, not a killer -- I was framed.</dialogue> <scene_description>Dega nods, looks dubious...</scene_description> <character>DEGA</character> <dialogue>A common problem it seems. I think I'd be better off setting up in plain view of the guards, don't you think?</dialogue> <character>PAPILLON</character> <dialogue>I think you seem like the sort of man who can make up his own mind.</dialogue> <scene_description>Dega smiles curtly, then turns his back on Papi, starts hanging up his hammock. It looks like he's wondering if he made the right decision -- sees Tribouillard getting in the face of another white collar type named GALGANI, 40s -- Papi looks to the cell door as a guard slams it closed. He peers up, can see the sky through the still open hatch, the french flag flapping in the breeze, the SHIP'S SIREN SOUNDING as the ship starts lumbering out of port...</scene_description> </scene> <scene> <stage_direction>INT. THE HOLD - LA MARTINIERE - NIGHT</stage_direction> <scene_description>Close on an oil lamp as a guard extinguishes it --</scene_description> <character>GUARD</character> <dialogue>Lights out --</dialogue> <scene_description>Darkness -- Papi lies in his hammock, Julot and Lariot on either side of him. Papi listens to Lariot muttering to himself in a tortured, weeping whisper... While across the way, Dega lies in a hammock close to the bars. Lying beside him is Galgani, who's vomiting on to the floor -- sea sick --</scene_description> <character>GALGANI</character> <dialogue>Sorry -- if you'll switch places with me I can try to aim outside the bars --</dialogue> <scene_description>Dega nods, gets up -- as they switch hammocks:</scene_description> <character>GALGANI</character> <dialogue>We need to pretend like we're poor.</dialogue> <character>DEGA</character> <dialogue>How? Should I try to rob someone?</dialogue> <scene_description>Galgani doesn't answer. Dega lies down in his new hammock -- his ears assaulted by the unnerving sounds emanating from the darkness: retching, weeping, praying. Dega covers his head with his blanket and curls into the fetal position...</scene_description> </scene> <scene> <stage_direction>INT. THE HOLD - LA MARTINIERE - LATER</stage_direction> <scene_description>Close on Dega as he comes awake -- awoken by the CLANGING AND BELCHING SOUNDS emanating from the steam pipes which run over the roof of the cage. He makes a face, turns over... Sees a blanket has been pulled over Galgani's face, he's lying completely still... Then Dega hears a sound -- something dripping on the floor. He looks down, sees blood puddling under Galgani's hammock, and lying in the middle of it is a PLAN -- a small metal cylinder, unscrewed into two pieces. He looks back to Galgani -- realizes the man's abdomen has been slit open --</scene_description> <character>DEGA</character> <dialogue>Guard! Guard!!</dialogue> <scene_description>A Guard shooshes Dega as he unlocks the cage door -- opens it and steps quietly inside --</scene_description> <character>DEGA</character> <dialogue>He's -- I think he's --</dialogue> <scene_description>The guard pulls his pistol, aims it at Dega, cocks it --</scene_description> <character>GUARD</character> <dialogue>Shut. Up.</dialogue> <scene_description>Dega obeys, watching on, befuddled, as the guard picks two halves of the open plan up off the floor -- finds a note still remaining inside -- pockets it. Only then does he raise his whistle to his lips -- Papi sits up as the guard blows the whistle -- sees the guards removing Galgani's corpse. He exchanges a look with Dega, before Dega looks away... Papi looks over at Julot, shoots him a questioning look -- Julot motions at Tribouillard across the way... We see the faces of other men who saw it happen, all mute; observing the code of silence, shooting each other fearful glances --</scene_description> </scene> <scene> <stage_direction>EXT. UPPER DECK - LA MARTINIERE - DAY</stage_direction> <scene_description>Papi and Dega stand at the railing along with the rest of Cage 1, silently facing the sea; there's no talking permitted during their daily allotment of fresh air. Dega clocks three guards dumping Galgani's body overboard -- while Papi's attention is fixed squarely on the horizon -- stretching his arms, inhaling the sea air...</scene_description> <character>PAPILLON</character> <dialogue>Smells like a cavale.</dialogue> <scene_description>Dega watches as Galgani's body splashes into the sea.</scene_description> <character>PAPILLON</character> <dialogue>How'd you sleep last night?</dialogue> <scene_description>Dega nods vaguely, trying to forget what he just saw...</scene_description> <character>DEGA</character> <dialogue>A cavale? Have you ever heard of anyone escaping from the bagne?</dialogue> <character>PAPILLON</character> <dialogue>Doesn't mean it can't be done.</dialogue> <character>DEGA</character> <dialogue>You're an optimist...</dialogue> <character>PAPILLON</character> <dialogue>Don't have much choice.</dialogue> <scene_description>Dega looks over at Papillon, not sure what to make of him...</scene_description> <character>DEGA</character> <dialogue>Myself, I have some trouble seeing hope in hopelessness. That's why I need a man like you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I've reconsidered your offer.</dialogue> <scene_description>Papi doesn't answer...</scene_description> <character>DEGA</character> <dialogue>Keep me alive until I've gotten set up on the island -- then I'll pay for your cavale.</dialogue> <character>PAPILLON</character> <dialogue>It's not going to be cheap.</dialogue> <character>DEGA</character> <dialogue>I understand. But when I say keep me alive -- I mean completely unhurt. Not a scratch. Is that within your powers?</dialogue> <scene_description>After a moment Papi nods confidently, then looks out at the water, considering...</scene_description> <character>PAPILLON</character> <dialogue>I can't take you with me.</dialogue> <scene_description>A guard walks past --</scene_description> <character>GUARD</character> <dialogue>No talking --</dialogue> <scene_description>They wait for him to walk out of earshot, then continue --</scene_description> <character>DEGA</character> <dialogue>Don't worry, I enjoy being alive. Clara -- my wife -- is working on my appeal. I'm confident I'll be back in France by Christmas.</dialogue> <scene_description>Papi nods, but looks highly skeptical.</scene_description> <character>PAPILLON</character> <dialogue>A fellow optimist.</dialogue> <scene_description>Dega makes a face, not amused --</scene_description> </scene> <scene> <stage_direction>INT. THE HOLD - LA MARTINIERE - NIGHT</stage_direction> <scene_description>Julot and Lariot have succumbed to sleep -- Papi lies awake, squinting at something starting to move in the darkness... A figure rising from his hammock across the way -- from the height of his silhouette, it's obvious it's Tribouillard... Papi slides his lancet from his shirt sleeve, watching as Tribouillard starts making his way towards Dega's hammock... Papi drops silently down to the floor, starts crawling under the hammocks...freezes, eyes level with Tribouillard's feet as they lumber past -- With a quick motion he slashes Tribouillard's Achilles tendon -- Tribouillard SCREAMS OUT, drops to one knee -- Papi slugs him in the side of the head, once, twice -- Tribouillard lets loose with an elbow to Papi's throat -- Papi drops the lancet as he stumbles back, choking -- Tribouillard keeps coming, walking on his knees -- he yanks Papi to the floor -- crawls on top of him -- grabs his head with both hands, squeezing -- Papi's eyes bulge, his skull seconds away from imploding as he feels blindly for the lancet; it's only a few inches from his hand -- his palsied fingers searching...until finally he clutches it in his hand -- Papi sinks the lancet into Tribouillard's ribs -- Tribouillard releases the vice grip on Papi's skull -- Papi struggles out from under a now reeling Tribouillard and rolls under a row of occupied hammocks -- Tribouillard bulldozes through the row of hammocks, knocking cons to the floor as he chases after Papi -- the whole cage erupting into chaos now -- Tribouillard loses sight of Papi in the crush of bodies... then Papi springs up from behind, loops a loose hammock around Tribouillard's neck and starts strangling him -- Papi hangs on for dear life as Tribouillard whips him around, trying to throw him off his back. While in the periphery, guards start scrambling down into the hold --</scene_description> <character>GUARD</character> <dialogue>Turn on the steam!</dialogue> <scene_description>A fly wheel as a guard grabs hold, gives it few hard turns -- For a brief moment the cons all freeze, the sound of steam traveling through pipes over their head. Close on Papi's eyes -- knows this isn't good. Then SCALDING JETS OF STEAM BLAST DOWN FROM THE CEILING -- SCREAMS ERUPT FROM THE CAGE, now obscured by the haze of rushing steam. Papi keeps his grip on Tribouillard's hammock noose, using the giant's body to shield himself. Julot throws blankets over Dega and Lariot -- The fly wheel as a guard spins it, THUNK -- the steam suddenly stops. The sound of moans and water dripping -- Papi lets Tribouillard drop -- the giant now badly burned, skin bubbling as he frantically pulls off his wool sweater -- SCREAMING -- as his burnt skin peels off with it -- Papi looks away from the grizzly sight, sees Julot, Dega and Lariot are OK.</scene_description> <character>GUARD 2</character> <dialogue>Strip and line up you fucking animals or it's the steam again. Come on -- line up in back --</dialogue> <scene_description>Tribouillard and some other cons remain on the floor, too badly burnt to move. Papi keeps the lancet in his hand as he strips -- then as he lines up beside Julot and Dega he lets it drop to the floor -- steps on it with his bare foot... GUARD 1 unlocks the cage, opens the door -- two other guards move inside and check out Tribouillard --</scene_description> <character>GUARD 1</character> <parenthetical>(to Tribouillard)</parenthetical> <dialogue>Who was it? Point him out --</dialogue> <scene_description>Tribouillard is delirious with pain -- can't see; his one eye practically melted shut...</scene_description> <character>GUARD 1</character> <dialogue>Take him to the infirmary.</dialogue> <scene_description>It takes four men to drag Tribouillard out.</scene_description> <character>GUARD 1</character> <dialogue>Search for weapons.</dialogue> <scene_description>A couple of guards start searching the convicts' discarded shoes and clothing -- while the others remain outside the cage, their rifles aimed at the line of now naked cons -- GUARD 2 walks down the line, arrives at Papi's bruised and bloodied face -- looks like he just went thirteen rounds.</scene_description> <character>GUARD 2</character> <dialogue>This one was fighting.</dialogue> <scene_description>Guard 1 walks over, pins a hard stare on Papi...</scene_description> <character>GUARD 1</character> <dialogue>Do you have any weapons hidden? If you lie to me I'll have you cooked over the boilers.</dialogue> <scene_description>Papi doesn't answer at first -- face hard -- then finally he shakes his head. Dega glances down, notices blood pooling around Papi's foot...</scene_description> <character>GUARD 1</character> <dialogue>You're telling me you took down that trusty with just your bare hands? Are you made of iron?</dialogue> <parenthetical>(to the other guards)</parenthetical> <dialogue>Let's find out.</dialogue> <scene_description>Papi is yanked out of line and dragged out -- Julot quickly steps his own foot over the lancet...</scene_description> </scene> <scene> <stage_direction>INT. BRIG - LA MARTINIERE - NIGHT</stage_direction> <scene_description>Papi lies contorted on the floor, hog tied with thumb and shin screws -- agonizingly painful restraints/torture devices. He's pushing around a big hunk of bread with his nose -- trying like hell to sink his teeth into it -- but without his hands it's impossible. He hears the door unlocking -- can't maneuver himself to see who's coming in -- hears the guard talking to someone --</scene_description> <character>GUARD (O.S.)</character> <dialogue>You have five minutes.</dialogue> <scene_description>Papi's POV -- the sound of the door closing, someone's scuffling feet as they walk around to where he can see them. It's Dega. He gives Papi a smile -- Papi doesn't return it --</scene_description> <character>DEGA</character> <dialogue>I'm a little worried about your ability to protect me right now.</dialogue> <character>PAPILLON</character> <dialogue>I think what you're trying to say is thank you.</dialogue> <character>DEGA</character> <dialogue>They plan to keep you down here for the rest of the voyage.</dialogue> <character>PAPILLON</character> <dialogue>Anybody messed with you since I took down the trusty?</dialogue> <character>DEGA</character> <dialogue>No. They seem afraid to go near me.</dialogue> <character>PAPILLON</character> <dialogue>That's because they are. So don't worry about it. The deal was to keep you safe -- you're safe.</dialogue> <scene_description>Papi motions to the bread with his head --</scene_description> <character>PAPILLON</character> <dialogue>Help me out, will ya --</dialogue> <character>DEGA</character> <dialogue>Feeding you wasn't part of the bargain.</dialogue> <character>PAPILLON</character> <dialogue>If I starve, those guys are going to be a lot less afraid of you.</dialogue> <scene_description>Dega sighs -- starts breaking up the rock hard bread, hand feeding it to Papillon who gobbles it down -- Dega wipes some sweat from his brow...</scene_description> <character>DEGA</character> <dialogue>This heat... We must be getting close --</dialogue> <scene_description>Papi grunts impatiently, noses the loaf of bread --</scene_description> <character>PAPILLON</character> <parenthetical>(while chewing)</parenthetical> <dialogue>More --</dialogue> <scene_description>Dega begrudgingly continues hand feeding Papi --</scene_description> </scene> <scene> <stage_direction>EXT. LA MARTINIERE - DAY</stage_direction> <scene_description>The ship approaches the jungle choked shoreline of Saint Laurent -- a border town in South America's French Guiana.</scene_description> </scene> <scene> <stage_direction>INT. BRIG - LA MARTINIERE - DAY</stage_direction> <scene_description>Guards lift up a limp Papillon, begin removing his thumb and shin screws -- he's in agony. Outside the port window he sees lush green, birds flying into the air as the ship sounds three wails of its SIREN --</scene_description> </scene> <scene> <stage_direction>INT. UPPER DECK - LA MARTINIERE - CONTINUOUS</stage_direction> <scene_description>Struggling to move his arms after having spent days in the thumb screws -- Papi and the rest of cage 1 emerge from below deck into the glare of a fiery, sweltering sun... Papi gets in line behind Dega, Julot and Lariot. He looks out at the coastline as the ship enters an estuary leading into the Maroni river. Dega notices Papi rubbing his numbed arms; trying to regain feeling in them --</scene_description> <character>DEGA</character> <parenthetical>(to Papi)</parenthetical> <dialogue>Please tell me you can move your arms. You need to ensure we're not separated.</dialogue> <scene_description>Papi doesn't answer --</scene_description> <character>DEGA</character> <dialogue>Did you hear me?</dialogue> <character>PAPILLON</character> <dialogue>You know I bet you're not the only rich guy who needs protecting around here --</dialogue> <scene_description>Papi trails off, notices a skiff following alongside the boat now -- three armed men inside. MANHUNTERS. The leader is a white guy in his 60's -- has a dotted line tattooed around his neck with instructions "Cut on the dotted line." The other two are black and Chinese respectively.</scene_description> <character>PAPILLON</character> <dialogue>What are they doing?</dialogue> <character>LARIOT</character> <dialogue>Learning our faces -- so they can better hunt us if we try and escape. They're manhunters -- former convicts.</dialogue> <character>DEGA</character> <dialogue>Ex-convicts hunting convicts. Very efficient model.</dialogue> <scene_description>Papi spits off the bow in disgust --</scene_description> <character>PAPILLON</character> <dialogue>Can they be bought?</dialogue> <character>JULOT</character> <dialogue>Everyone can be bought.</dialogue> <character>LARIOT</character> <dialogue>They'll take your money, then hunt you down for double the bounty.</dialogue> <scene_description>Lariot motions to a triangle of three small islands a few miles off the coast.</scene_description> <character>LARIOT</character> <dialogue>If they bring you back alive, you're sent to the islands -- the most dangerous convicts are held there. I was born on Royale... Saint Joseph is where the solitary cells are. The little one's called Devil's Island. There's no getting off it.</dialogue> <scene_description>They hear the sound of a bell tolling in the distance...</scene_description> <character>PAPILLON</character> <dialogue>What's that?</dialogue> <scene_description>Lariot doesn't answer -- goes white, seems to be remembering things he'd prefer to forget... The ship is almost to the wharf now...</scene_description> <character>JULOT</character> <parenthetical>(to Papi)</parenthetical> <dialogue>Give me your lancet...</dialogue> <scene_description>Papi gives him a questioning look.</scene_description> <character>JULOT</character> <dialogue>I'm going to try and make a break from the hospital. Less surveillance.</dialogue> <scene_description>After a moment Papi lets the lancet slide from his sleeve, then slips it to Julot --</scene_description> <character>JULOT</character> <parenthetical>(to Papi)</parenthetical> <dialogue>Tell me if the guards look this way. Hold my pack up for me --</dialogue> <scene_description>Papi holds Julot's pack to his shoulder -- Julot uses the lancet to cut a hole in the knee of his pants -- The ship's engines stop -- a heavy silence takes over -- the sounds of the jungle slowly fading up -- Dega has to look away as Julot digs the lancet into his knee, slicing off four inches of flesh -- Julot drops the lancet -- his face goes white. Papi steadies him. Lariot pick up the lancet...</scene_description> <character>PAPILLON</character> <dialogue>Give it to me.</dialogue> <scene_description>Lariot just stares. Then the line is halted -- they're made to wait as a bandaged Tribouillard is carried down the gang plank on a stretcher. Seems like it's taking forever -- Julot struggling to remain standing...</scene_description> </scene> <scene> <stage_direction>EXT. GANGPLANK - LA MARTINIERE - CONTINUOUS</stage_direction> <scene_description>The line starts moving again -- Papi watches the convict in front of Julot start down the gang plank. He nudges Julot -- Julot takes the first step -- Papi, Dega and Lariot watch on, tense, as Julot starts to make his way down -- pretends to lose his footing -- tumbles hard down the gangplank -- ends up in a heap at the bottom, gripping his bleeding knee... The DEPUTY WARDEN walks over and inspects Julot's wound...</scene_description> <character>DEPUTY WARDEN</character> <dialogue>Put him in the hospital group.</dialogue> <scene_description>Papi, Dega and Lariot watch on as Julot is loaded on to a stretcher and carried off. Lariot is looking increasingly panicked -- the gripped lancet half-hidden up his sleeve -- trembling as he limps down the gang plank; horrific memories flooding back into his mind, overwhelming him -- Papi starts shuffling down after him, Dega right behind him. Papi peers around at the alien land awaiting them; white- washed buildings -- officials in white uniforms and pith helmets. Their wives in summer dresses -- children playing. And behind them is a motley group of locals: blacks, Indians, Chinese -- some grim faced white men in ragged clothes. Screams suddenly erupt -- Papi turns to see Lariot has just grabbed an EIGHT YEAR OLD BOY out of the crowd -- the son of an official. Lariot presses the lancet to the neck of the now screaming boy --</scene_description> <character>LARIOT</character> <dialogue>Get back! Lower your guns!</dialogue> <scene_description>The guards nearest to Lariot comply, eyes boring into him...</scene_description> <character>GUARD 2</character> <dialogue>Don't be foolish. Let him go.</dialogue> <scene_description>Lariot's eyes buzz with confusion as the guards slowly inch closer to him -- the boy struggling in his grip. Lariot clocks the boy's crying mother -- the sight weakens his resolve. He starts to lower the lancet from the boy's throat, about to surrender when -- Papi clocks a guard quietly moving up behind Lariot drawing his side arm --</scene_description> <character>PAPILLON</character> <dialogue>Lariot!</dialogue> <scene_description>Papi and Dega look on in shock as -- BANG -- the guard fires a shot into the back of Lariot's head. Lariot crumples to the beach as the boy is whisked back to his mother -- WARDEN BARROT, 40s -- a big barrel-chested man, formerly a distinguished officer in the Navy -- walks over to Lariot's corpse. He looks down at it shaking his head --</scene_description> <character>WARDEN BARROT</character> <parenthetical>(to the Deputy Warden)</parenthetical> <dialogue>We need pall-bearers.</dialogue> <scene_description>The Deputy Warden starts pulling prisoners out of line -- directing them towards several bodies that have been carried off the ship.</scene_description> <character>DEPUTY WARDEN</character> <dialogue>Each of you -- pick another inmate to help you. It's a long ways to the cemetery.</dialogue> <scene_description>The Deputy Warden points at Papi -- motions to Lariot's body. Papi sighs, grimaces. He turns to Dega -- who starts shaking his head as Papi grabs him out of line. They whisper:</scene_description> <character>PAPILLON</character> <dialogue>You said to make sure we're not separated --</dialogue> <character>DEGA</character> <dialogue>I'm rethinking the wisdom of that request --</dialogue> <scene_description>A guard walks them at gunpoint to Lariot's body --</scene_description> <character>GUARD</character> <dialogue>Move it --</dialogue> <character>GUARD 2</character> <parenthetical>(to the ranks)</parenthetical> <dialogue>Sacks up! FORWARD MARCH!</dialogue> <scene_description>The prisoners start marching past as Papi grabs Lariot's arms. Dega goes to grab his legs -- hesitates, nauseated --</scene_description> <character>PAPILLON</character> <dialogue>It's alright -- he's gone -- he's not in there.</dialogue> <scene_description>Dega steadies, exchanges a look with Papi -- Papi imploring him with his stare --</scene_description> <character>PAPILLON</character> <dialogue>Just think of something else. That's what I'm doing.</dialogue> <scene_description>Dega nods -- and they lift him up --</scene_description> </scene> <scene> <stage_direction>EXT. TOWN - EN ROUTE TO PRISON - DAY</stage_direction> <scene_description>Papi's POV as he carries Lariot's body with Dega down a surreal, sun baked main street -- distorted piano music reverberates from a loudspeaker, locals draw their curtains as the parade of exiles approaches -- Dega keeps slowing, struggling to hold up his side of Lariot's body -- Papi compensating, getting frustrated --</scene_description> <character>PAPILLON</character> <dialogue>Come on, you're stronger than that.</dialogue> <character>DEGA</character> <dialogue>I'm not -- I swear --</dialogue> <scene_description>Papi's POV as they pass a chapel -- locals singing hymns inside. Then he sees a bedraggled French ex-con walking an oxen hitched to a wagon full of buckets of sewage. Another French ex-con sifting through garbage -- Then like some kind of mirage Papi spots a pretty French whore, dressed in the height of Paris fashion -- she's standing in the doorway of a whorehouse run by ex-cons, nodding familiarly to the passing guards -- A guard shoves Dega in the back with the butt of his rifle --</scene_description> <character>GUARD</character> <dialogue>Hurry up -- that stiff is already starting to smell.</dialogue> <scene_description>Papi, Dega and the half a dozen other cons tasked with carrying bodies are corralled into the town cemetery, while the rest of the prisoners are marched through the main gate into the prison --</scene_description> </scene> <scene> <stage_direction>EXT. TOWN CEMETERY - DAY</stage_direction> <scene_description>Papi and Dega carry the corpse into the small cemetery, populated with crude, crumbling headstones...</scene_description> <character>GUARD</character> <dialogue>No no -- that's for real people -- the prisoners' corner is over there.</dialogue> <scene_description>Papi and Dega are lead to the outskirts of the cemetery -- Papi doing the lion's share of the lifting, Dega on the verge of passing out as they move into a snake infested thicket, where a lime coated pit awaits... There are already two headless bodies sprawled in the pit. Papi and Dega drop Lariot -- he lands with a CRUNCH on top of the other bodies. Papi and Dega drop to their knees, struggling to catch their breath as they stare down at their own possible futures...</scene_description> </scene> <scene> <stage_direction>EXT. ST LAURANT PRISON COURTYARD - DAY</stage_direction> <scene_description>The two guards lead Papi and Dega through the arched entrance of a thick wooden gate -- where they join the ranks of a couple hundred prisoners now lined up in the courtyard... Papi clocks THE GUILLOTINE standing in the center of the courtyard -- two cons scrubbing the blood stained chopping block with coarse brushes. A prisoner faints from sunstroke -- a guard rushes over, kicks him in the stomach --</scene_description> <character>GUARD</character> <dialogue>Get up! On your feet!</dialogue> <scene_description>The man starts to get to his feet, coughing blood now -- another prisoner across the way collapses and gets the same -- Papi watches as Warden Barrot prepares to address the prisoners, the guillotine looming behind him.</scene_description> <character>WARDEN BARROT</character> <parenthetical>(to convict)</parenthetical> <dialogue>You there, pass out the hats --</dialogue> <scene_description>A convict starts passing out straw hats -- drops one on top of the collapsed convict. Papi and Dega are each handed a hat, they both put them on --</scene_description> <character>WARDEN BARROT</character> <dialogue>You may notice some of your comrades have failed to survive their time at sea. This is for the best -- as this is not a place for the weak. I know there are many who at this very moment are thinking about escape. Well, you are free to try whenever you like. We are happy to shoot you. But should you avoid that mercy, there are two guardians, who are always on duty. On one side there's the bush -- where the best you can hope for is starvation -- unless you're willing to eat your comrades.</dialogue> <character>WARDEN BARROT</character> <dialogue>And indeed I'm sure many of you are. Or, you may choose the sea. The sharks too, I assure you, are always hungry. Those who manage to survive the first escape will get two years in seclusion. Second attempt -- five years in seclusion. There has never been a third attempt. If you commit murder you will be executed. That is all.</dialogue> <scene_description>Papi and Dega take that in, grim faced --</scene_description> <character>DEPUTY WARDEN (O.S.)</character> <dialogue>OK, now listen carefully. When I call your name, step out of ranks with your pack on your shoulder and go stand in front of the yellow barracks --</dialogue> </scene> <scene> <stage_direction>INT. YELLOW BARRACKS - DAY</stage_direction> <scene_description>Papi and Dega walk into the darkened concrete barracks... It's a long, tunnel-like space -- murky sunlight peeks in through small, barred windows. No beds to sleep on -- just beat-flanks -- two long wooden platforms that extends from the barracks' walls -- a steel bar runs along the foot end, rusted shackles hanging off...</scene_description> <character>PAPILLON</character> <dialogue>Smells like the monkey house at the zoo.</dialogue> <scene_description>Dega sits down on the beat-flanks -- runs his hands over names carved in the wood.</scene_description> <character>DEGA</character> <dialogue>This is a headstone, not a bed.</dialogue> <scene_description>Papi's POV as he surveys the men living here -- sees a guy immediately hide a sharpened spoon in a rafter, another guy sitting listlessly on the flanks picking bugs out of his feet -- a young guy with a bloody nose getting lured into the toilets -- a white haired con repairing a watch... Papi and Dega notice several other watches the white haired convict is repairing. He's manipulated their inner workings so the watch hands spin at ten times the normal rate...</scene_description> <character>DEGA</character> <dialogue>A convict's dream...</dialogue> <scene_description>Then Papi spots a burly Algerian convict with a boxer's nose -- a turnkey who works for the guards named SIERRA, 50s. Sierra sells matches to a new arrival as Papi approaches --</scene_description> <character>PAPILLON</character> <dialogue>Hey. Who decides what work details we're assigned to?</dialogue> <scene_description>Sierra gives Papi a once over, shakes his head, then starts to walk off when Dega walks after him --</scene_description> <character>DEGA</character> <dialogue>Excuse my ill mannered friend, you're obviously a very busy -- very important man --</dialogue> <character>SIERRA</character> <dialogue>I'm just a turnkey --</dialogue> <character>DEGA</character> <dialogue>Yes, and you're doing a fine job; things look to be very well locked up around here. Would you be interested in making some extra money -- we're looking for someone to ensure we're assigned the right sort of work in the morning --</dialogue> <character>SIERRA</character> <dialogue>One thousand.</dialogue> <scene_description>Dega considers, then --</scene_description> <character>DEGA</character> <dialogue>That's more than I had planned to pay. Perhaps you'd be willing --</dialogue> <scene_description>Sierra starts to walk when --</scene_description> <character>DEGA</character> <dialogue>Alright, I think we can manage that.</dialogue> <scene_description>Sierra stops, turns and gives Dega a look...</scene_description> <character>SIERRA</character> <dialogue>You can afford a thousand?</dialogue> <scene_description>Papi shoots Dega a "what the hell are you doing" look -- then moves in --</scene_description> <character>PAPILLON</character> <dialogue>No, my friend is confused -- we don't have much money.</dialogue> <character>PAPILLON</character> <dialogue>But we might be able to scrape up four hundred -- which should be more than enough --</dialogue> <character>SIERRA</character> <dialogue>Your friend has already indicated that he has at least a thousand. That's the price.</dialogue> <scene_description>Sierra starts to walk off.</scene_description> <character>PAPILLON</character> <parenthetical>(to Dega)</parenthetical> <dialogue>How did you ever get to be rich?</dialogue> <scene_description>Dega makes a face. Papi walks after Sierra -- grabs him, then in a whisper:</scene_description> <character>PAPILLON</character> <dialogue>We'll pay -- but your life's on the line if you don't deliver -- you understand? And don't go blabbing about how much money he's got.</dialogue> <scene_description>Sierra considers for a moment, then:</scene_description> <character>SIERRA</character> <dialogue>I need it now.</dialogue> <scene_description>Papi looks at Dega -- motions to the toilets area at the rear of the barracks --</scene_description> <character>PAPILLON</character> <dialogue>Go -- hurry up. I'll keep an eye out.</dialogue> <scene_description>Dega breathes out, heads for the toilets -- Papi and Sierra watching him go...</scene_description> <character>SIERRA</character> <dialogue>What animal but man would put their only means of survival up their ass.</dialogue> </scene> <scene> <stage_direction>EXT. ST LAURANT PRISON COURTYARD - DUSK</stage_direction> <scene_description>Papi and Dega walk around the prison courtyard with Sierra. Papi looks to be scoping the place out as he walks -- sees high walls and armed guards everywhere he looks. Convicts shuffle listlessly to and fro, some carry water jugs over their shoulders, others rake the dirt pathways -- others are working to construct a new cell block --</scene_description> <character>SIERRA</character> <dialogue>You've made a wise investment. You'll be given easy work -- unlike them...</dialogue> <scene_description>Sierra motions to a grime covered work crew walking in through the main gate -- they're just returning from the jungle -- most are barely clothed, bare foot, emaciated --</scene_description> <character>SIERRA</character> <dialogue>Within just a few months, more than half the men you arrived with will be dead.</dialogue> <scene_description>They walk past the rear of the hospital, see several naked cons lying on the ground suffering from malaria, dysentery, leprosy -- waiting for medical attention --</scene_description> <character>SIERRA</character> <dialogue>If the work doesn't kill'em -- we've got plenty of diseases that will. We've got all kinds here -- Arabs, Frenchmen, Corsicans, blacks, Indians. 'Course they all die the same.</dialogue> <scene_description>They continue on -- Papi and Dega notice an eighteen year old con with dead eyes getting groped by a grizzled convict with maybe two teeth left in his mouth --</scene_description> <character>SIERRA</character> <dialogue>Should you find yourself getting lonely...</dialogue> <scene_description>They walk past the open door of another barracks. A half dozen zombie-like men sitting in the dank space -- Corsicans on one side, Chinese on the other -- all illuminated with a single oil lamp. They're using scraps of cardboard as cards.</scene_description> <character>SIERRA</character> <dialogue>Lots to do here at night. There's gambling -- and of course -- gambling.</dialogue> <scene_description>Suddenly a Corsican con pulls a corkscrew on a Chinese con -- the Chinese con bites into the Corsican's hand as the rest of the men quickly encircle the two fighters, blocking them from view. The Corsicans start singing in unison to drown out the sound of the melee -- some garbled chant about tears and blood. The oil lamp is extinguished -- the fight commences in darkness as Papi, Dega and Sierra move on past --</scene_description> <character>SIERRA</character> <dialogue>Are you two relegues?</dialogue> <character>PAPILLON</character> <dialogue>Are we what?</dialogue> <character>SIERRA</character> <dialogue>Petty thieves -- after three convictions they ship'em here with the murderers --</dialogue> <character>PAPILLON</character> <dialogue>Well we ain't murderers, so I guess we're relegues.</dialogue> <character>SIERRA</character> <dialogue>If I were you, I'd pretend otherwise. Relegues get no respect from real bagnards --</dialogue> <scene_description>Sierra motions to another barracks -- guards are carrying out a dead convict who's had his guts ripped out -- a group of feral looking men watch on. These beast-like cons are muscled, scarred -- head-to-toe tattoos.</scene_description> <character>SIERRA</character> <dialogue>Some of these men have never been civilians -- come out of the military prisons in Africa. The bagne is their life.</dialogue> <scene_description>Papi glances back at those hardened cons, a couple of them stare back with dead eyes. From Papi's expression we gather he's having some doubts about his ability to survive here... Sierra walks up on an old weathered guard named BARTILONI, presents Dega and Papi to him --</scene_description> <character>SIERRA</character> <dialogue>These two will require special assignments in the morning.</dialogue> <scene_description>Sierra slips Bartiloni some of the bills he received from Dega. Bartiloni looks Papi and Dega over, nods -- They start back for the barracks --</scene_description> <character>SIERRA</character> <dialogue>Yesterday an old con put poison in the soup -- killed seven innocent men just to get one. They don't care; they're animals. And before long, you'll be animals too.</dialogue> <scene_description>Papi takes that in with a tense but defiant expression, Dega looking increasingly anxious --</scene_description> </scene> <scene> <stage_direction>INT. BARRACKS - MORNING</stage_direction> <scene_description>Papi's POV as he wakes up, his eyes slowly focusing as he raises his head up and peers around -- a convict masturbating across the aisle, another staring, unmoving -- looks dead... Papi then looks over at a still sleeping Dega...there's something on his arm. A vampire bat, quietly sucking blood -- Papi starts to move when CLANG -- his ankle is shackled to that long pipe. Every night the cons are shackled to their beat-flanks before lights out. Papi smacks the bat -- it flies off. Dega wakes up -- looks at Papi accusingly --</scene_description> <character>DEGA</character> <dialogue>Did you just hit me?</dialogue> <scene_description>Dega looks down, sees a nasty bite wound on his arm --</scene_description> <character>DEGA</character> <dialogue>Dear God --</dialogue> <scene_description>Papi points to a bunch of bats hanging off the ceiling. They scatter suddenly -- spooked by distant gunshots. Papi exchanges a look with Dega as more shots start waking up the barracks -- he hears Sierra talking to a guard outside:</scene_description> <character>SIERRA (O.S.)</character> <dialogue>Which barracks?</dialogue> <character>GUARD 2 (O.S.)</character> <dialogue>No, he broke out of the hospital -- just one I think.</dialogue> <scene_description>Papillon's eyes light up, he grins and turns to Dega --</scene_description> <character>PAPILLON</character> <dialogue>I bet it's Julot -- son of a bitch didn't waste any time. See -- it can be done.</dialogue> <scene_description>Dega smiles weakly, gripping his now swelling bat bite -- Papi slaps him on the shoulder --</scene_description> </scene> <scene> <stage_direction>INT. MEDICAL INSPECTION LINE - INTAKE CENTER - DAY</stage_direction> <scene_description>Papi and Dega stand in line, waiting to get their physical inspection. Papi looks around -- disturbed by the condition of most of the convicts; unlike the strong and healthy cons that made up the medical inspection line in France, these men look like the walking dead. Papi and Dega watch as a CONVICT steps up to the doctor, his body is covered with sores, bleary eyed.</scene_description> <character>DOCTOR</character> <dialogue>Open your mouth, stick out your tongue --</dialogue> <scene_description>The Convict obeys -- only a few teeth left in his mouth --</scene_description> <character>DOCTOR</character> <dialogue>Approved for work.</dialogue> <scene_description>He stamps the convict's paperwork --</scene_description> <character>DOCTOR</character> <dialogue>Next --</dialogue> <scene_description>CONVICT 2 steps up -- holds his arm out for the doctor to see -- looks badly infected, some filthy bandages hanging off it.</scene_description> <character>DOCTOR</character> <dialogue>Get a new dressing on this.</dialogue> <scene_description>Some hope starts to brighten Convict 2's expression --</scene_description> <character>DOCTOR</character> <dialogue>Then report to work.</dialogue> <scene_description>Convict 2's expression darkens, he shuffles off. Dega shuffles up to the Doctor --</scene_description> <character>DOCTOR</character> <dialogue>Open your mouth and stick out your tongue --</dialogue> <scene_description>Dega obeys.</scene_description> <character>DOCTOR</character> <dialogue>You have good teeth. Appear to be in excellent health.</dialogue> <scene_description>Dega shakes his head -- not pleased, tries to show the doctor his swollen bat bite --</scene_description> <character>DEGA</character> <dialogue>I assure you that's not the case. As you can see I've been mauled by a flying rat --</dialogue> <character>DOCTOR</character> <dialogue>Next --</dialogue> <scene_description>Dega sees the guard getting ready to shove him -- moves. Papi steps up to the Doctor --</scene_description> <character>DOCTOR</character> <dialogue>Open your mouth and stick out --</dialogue> <character>PAPILLON</character> <dialogue>Fuck you.</dialogue> <scene_description>The Doctor looks up at Papi wearily, sighs --</scene_description> <character>DOCTOR</character> <dialogue>Approved for work --</dialogue> <scene_description>The Doctor stamps Papi's paperwork --</scene_description> <character>PAPILLON</character> <dialogue>Who isn't approved for work?</dialogue> <character>DOCTOR</character> <dialogue>Next --</dialogue> <character>PAPILLON</character> <dialogue>You call yourself a doctor?</dialogue> <character>DOCTOR</character> <dialogue>Who said I was a doctor?</dialogue> <scene_description>A guard grabs a disgusted Papi and shoves him towards the next station --</scene_description> </scene> <scene> <stage_direction>INT. WORK DETAIL LINE - INTAKE CENTER - DAY</stage_direction> <scene_description>Papi stands behind Dega, who's standing before Bartiloni -- the guard Sierra paid off. Bartiloni is checking paperwork --</scene_description> <character>DEGA</character> <dialogue>My friend and I need to be kept together. Now, I'm most useful in matters of accounting, book keeping -- a pen is the heaviest thing I should be lifting --</dialogue> <scene_description>Dega trails off as the Deputy Warden walks up on him...gives him a long look, seems to recognize him...</scene_description> <character>DEPUTY WARDEN</character> <dialogue>I know you. Do you know me?</dialogue> <scene_description>Papi is watching on, not sure what to make of this.</scene_description> <character>DEGA</character> <dialogue>Yes, of course I know you, sir. You're the Deputy Warden, sir.</dialogue> <character>DEPUTY WARDEN</character> <dialogue>But what's my name?</dialogue> <character>DEGA</character> <dialogue>Pardon me, sir -- I don't know.</dialogue> <character>DEPUTY WARDEN</character> <dialogue>Brioulet.</dialogue> <scene_description>Dega's face drops, obviously knows the name...</scene_description> <character>DEPUTY WARDEN</character> <dialogue>My uncle was arrested for selling counterfeit defense bonds you furnished him with in Marseilles. When my aunt asked you to pay for his lawyer, she told me you suggested she try walking the streets for money. Told her she'd earn more than she needed for she was very pretty.</dialogue> <scene_description>Papi sighs, shakes his head --</scene_description> <character>DEGA</character> <dialogue>Dega is a very common name in Marseilles --</dialogue> <character>DEPUTY WARDEN</character> <parenthetical>(to the Guard)</parenthetical> <dialogue>Route Zero.</dialogue> <parenthetical>(to Dega)</parenthetical> <dialogue>And don't worry, we'll be sure not to separate you from your friend.</dialogue> <scene_description>Dega is speechless, he turns to Papi, who gives him the evil eye. Dega then turns to the Deputy Warden as he walks off --</scene_description> <character>DEGA</character> <dialogue>What's Route Zero?</dialogue> </scene> <scene> <stage_direction>EXT. ROUTE ZERO - JUNGLE - DAY - HEAVY RAIN</stage_direction> <scene_description>From above, rain pours down on a freshly dug trench -- THUNDER CLAPS -- the trench peppered with cons filling mining carts with mud and rocks... Close on Papi, Dega, and several other cons struggling to push an overfilled mining cart uphill. Papi looks over, sees Dega's bat bite is now badly swollen -- his eyes glassy -- Dega's feet keep slipping, the wheels squealing on the mud slicked rails, as Papi struggles to compensate for his companion's weakness -- One of the other cons who's pushing -- a stocky, excitable man named CLOUSIOT, 30s -- starts regarding Dega angrily --</scene_description> <character>CLOUSIOT</character> <dialogue>Come on, mec, stop leaving it to the rest of us -- you can push harder than that --</dialogue> <scene_description>Papi sighs --</scene_description> <character>PAPILLON</character> <dialogue>Trust me, he can't --</dialogue> <scene_description>Dega suddenly passes out, falls face first on the track -- Papi has to dig his heels in, straining to stop the cart from rolling over Dega's head -- Papi and the others stop pushing -- Papi squats down, vainly trying to shake Dega back to consciousness --</scene_description> <character>PAPILLON</character> <dialogue>Get up -- come on --</dialogue> <character>CLOUSIOT</character> <dialogue>Don't take your hands off the cart or he'll start shooting --</dialogue> <scene_description>Clousiot motions to the most senior guard, a brute named SANTINI, 35, who's now stomping towards them --</scene_description> <character>SANTINI</character> <dialogue>Why are you stopping?</dialogue> <scene_description>Santini spots Dega, lying unconscious on the tracks -- pokes him with his rife...</scene_description> <character>SANTINI</character> <dialogue>Put him in the cart --</dialogue> <scene_description>Papi and Clousiot pick up Dega and lay him on top of of the mud and rocks piled in the cart --</scene_description> <character>SANTINI</character> <dialogue>Back to work --</dialogue> <scene_description>Papi and co. start pushing their cart, now heavier with Dega loaded on top... Dega starts coming to -- looks up at the sky, the rain falling as he's pushed up the hill --</scene_description> </scene> <scene> <stage_direction>EXT. ANOTHER SECTION OF ROUTE ZERO - DAY</stage_direction> <scene_description>The rain has stopped. It's the sun that tortures Papi, Dega and Clousiot now -- baking their shaved heads while they sit in the mud -- too exhausted to swat the insects crawling over their skin -- their eyes all focused on the convict pouring out the water rations, slowly making his way down the line... Meanwhile Santini and the guards sit under a mosquito net, protected from the bugs, eating their lunch -- Back to Papi cupping his hands together, holding them out to receive his water ration. The convict pours the water -- most of it leaks between Papi's fingers as he rushes to bring it to his cracked lips. Papi licks the moisture off his palms, then looks over at the con next to Clousiot, who doesn't bother holding his hands up, the convict giving out the water passes him by -- Papi notices the guy isn't moving, his face is grey --</scene_description> <character>PAPILLON</character> <dialogue>Jesus, he's dead.</dialogue> <character>DEGA</character> <dialogue>Guard --</dialogue> <scene_description>Clousiot nudges Dega with his arm --</scene_description> <character>CLOUSIOT</character> <dialogue>Don't let'em know yet --</dialogue> <scene_description>Clousiot holds up a piece of stale bread --</scene_description> <character>CLOUSIOT</character> <dialogue>We'll eat his rations first.</dialogue> <scene_description>Clousiot breaks the bread, hands pieces to Papi and Dega -- then reaches into the dead man's pockets...</scene_description> <character>CLOUSIOT</character> <dialogue>He's got some malaria pills --</dialogue> <scene_description>Clousiot hands Dega and Papi two pills each -- they gobble them down.</scene_description> <character>PAPILLON</character> <dialogue>You don't want any?</dialogue> <character>CLOUSIOT</character> <dialogue>Nah. They give you a headache, make you throw up. Not much better than malaria.</dialogue> <scene_description>Papi and Dega sigh, exchange a look. Papi notices an anchor tattooed on Clousiot's forearm.</scene_description> <character>PAPILLON</character> <dialogue>You were in the Navy?</dialogue> <character>CLOUSIOT</character> <dialogue>Yeah, I was in the Navy, mec. You want to go sailing with me? Been here almost a year and I'm crazy to get going. You take me along, mecs won't fool with you -- I'm a volcano, you understand --</dialogue> <scene_description>Papi looks dubious.</scene_description> <character>CLOUSIOT</character> <dialogue>I killed a stool pigeon in Toulouse with my bare hands --</dialogue> <character>PAPILLON</character> <dialogue>Keep your voice down.</dialogue> <scene_description>A wrinkled old con sitting across from them named CARORA overhears --</scene_description> <character>CARORA</character> <parenthetical>(to Clousiot)</parenthetical> <dialogue>A cavale man, eh? You need money? I'll give you my last twenty francs if you kill me in my sleep tonight.</dialogue> <scene_description>Papi tell by Carora's broken expression that he means it. Clousiot scoffs --</scene_description> <character>CLOUSIOT</character> <dialogue>For twenty francs? Not worth the effort.</dialogue> <scene_description>A wild eyed, heavily tattooed convict suddenly pipes up --</scene_description> <character>WILD-EYED CONVICT</character> <parenthetical>(to Carora)</parenthetical> <dialogue>I'll kill you, mec.</dialogue> <character>PAPILLON</character> <parenthetical>(to Carora)</parenthetical> <dialogue>Save your money, old man.</dialogue> <character>CARORA</character> <parenthetical>(to Papi)</parenthetical> <dialogue>I escaped once. There's nowhere to go. Nobody wants France's trash --</dialogue> <scene_description>Someone starts SCREAMING across the way. Papi gets to his feet -- SEES A JAGUAR MAULING A CONVICT -- BANG -- a bullet whizzes past -- Papi, Clousot and Dega hit the dirt. Papi sees it's Santini, walking up behind them firing his rifle -- BANG, BANG -- until the din of screaming and growling stops... Papi looks over to see Santini lowering his smoking rile -- both the jaguar and the convict shot dead...</scene_description> <character>CARORA</character> <parenthetical>(re: jaguar and the con)</parenthetical> <dialogue>The lucky bastards.</dialogue> </scene> <scene> <stage_direction>EXT. TRAIL TO PRISON - DUSK - RAIN</stage_direction> <scene_description>Headed back to the penitentiary now, Papi and Dega -- both caked with mud and looking half dead from exhaustion -- stand on a platform with wheels, pushing off with long poles -- propelling it along the train tracks. It looks like they're rowing a gondola. Papi is doing most of the work -- Dega can barely stand at this point, Papi keeps having to steady him --</scene_description> <character>PAPILLON</character> <dialogue>Easy now -- we're almost there.</dialogue> <scene_description>Angle widens as the cart squeals over the tracks -- revealing they're pulling a half dozen other carts -- Santini and several other guards relaxing inside while the cons march. Papi spies a stopped truck up ahead...it's stuck in the mud. Its cargo -- A DOZEN PROSTITUTES who just arrived from Paris -- stand by the roadside, watching as two liberated cons turned SMUGGLERS, try to push it free --</scene_description> <character>SANTINI</character> <parenthetical>(to Papi and Dega)</parenthetical> <dialogue>Stop -- stop --</dialogue> <scene_description>Papi and Dega drag their poles to stop the carts. The two Smugglers regard Santini wearily as he smiles at the girls...</scene_description> <character>SANTINI</character> <parenthetical>(to liberated cons)</parenthetical> <dialogue>You know better than to try and truck your whores through here after a rain storm.</dialogue> <character>SMUGGLER</character> <dialogue>Yes, sir.</dialogue> <scene_description>The convicts -- especially those who have been here awhile -- are going out of their minds standing so close to women.</scene_description> <character>SANTINI</character> <parenthetical>(to the convicts)</parenthetical> <dialogue>Turn around! Now!</dialogue> <scene_description>The convicts turn, so they're facing the other direction...</scene_description> <character>SANTINI</character> <dialogue>Don't worry, ladies -- these men would much rather fuck each other than bother with you.</dialogue> <scene_description>Papi sees Dega is about to collapse -- reaches out and braces him with his hand. Santini sees this, walks over to them --</scene_description> <character>SANTINI</character> <dialogue>Look, they can barely keep their hands off each other. Sad when a man has to fuck another man to stay sane. Personally, I'd prefer death.</dialogue> <scene_description>Santini pulls his side arm, cocks it, aims it at Papi's head -- pulls the trigger -- click -- dry fires. Papi barely reacts -- stone faced, numb --</scene_description> <character>SANTINI</character> <dialogue>Of course, most are barely alive to start with.</dialogue> </scene> <scene> <stage_direction>EXT. CART - EN ROUTE TO PRISON - TRAVELING - DUSK</stage_direction> <scene_description>Papi's POV as he pushes off with the pole -- the prostitutes and the two Smugglers are now riding on the carts -- one of the smugglers sitting right beside where Papi is standing. Papi glances back over his shoulder, sees Santini is distracted, talking to two of the girls. Papi whispers down to the Smuggler --</scene_description> <character>PAPILLON</character> <dialogue>Can you hear me?</dialogue> <scene_description>The Smuggler doesn't react, but Dega looks over, glares at Papi -- Papi gives Dega an "it's alright" look --</scene_description> <character>PAPILLON</character> <dialogue>Can you hear me?</dialogue> <scene_description>The Smuggler doesn't answer, but nods almost imperceptibly...</scene_description> <character>PAPILLON</character> <dialogue>How much to take me up the coast?</dialogue> <scene_description>The Smuggler doesn't answer at first, then after a moment he meets Papi's stare, then looks away -- mutters:</scene_description> <character>SMUGGLER</character> <dialogue>Don't be stupid.</dialogue> <character>PAPILLON</character> <dialogue>How about five thousand?</dialogue> <scene_description>Suddenly the Smuggler turns and calls to Santini --</scene_description> <character>SMUGGLER</character> <dialogue>Guard!</dialogue> <character>PAPILLON</character> <dialogue>Don't turn me in, don't turn me in -- six thousand -- seven thousand.</dialogue> <scene_description>Santini looks up --</scene_description> <character>SANTINI</character> <dialogue>What's the matter?</dialogue> <scene_description>Papi and Dega look at each other, doom faced -- this is it...</scene_description> <character>SMUGGLER</character> <dialogue>Wanted to know which girl I should send to repay you.</dialogue> <scene_description>Papi breathes out...</scene_description> <character>SANTINI</character> <dialogue>One that hasn't caught anything yet.</dialogue> <scene_description>Santini returns his attention to the girls. The Smuggler whispers to Papi:</scene_description> <character>SMUGGLER</character> <dialogue>My boat's on this side of the river. I'll be here for three more days.</dialogue> <scene_description>Dega overhears, looks worried, conflicted...</scene_description> </scene> <scene> <stage_direction>INT. BARRACKS - NIGHT - RAIN</stage_direction> <scene_description>Dega lies on the beat-flanks listening to the rain fall, gripping his bat bite; looks completely destroyed by what he's had to endure over the course of just 24 hours. He's contemplating something, grinding gears in his head... After a moment he turns, looks at Papi sleeping beside him --</scene_description> <character>DEGA</character> <dialogue>Papillon.</dialogue> <scene_description>Nothing. Dega reaches over, taps Papi on the shoulder -- Papi springs awake, grabs Dega's hand, ready to fight -- sees it's Dega, shakes his head, closes his eyes --</scene_description> <character>DEGA</character> <dialogue>I've changed my mind.</dialogue> <scene_description>Papi doesn't answer, intent on getting back to sleep --</scene_description> <character>DEGA</character> <dialogue>I didn't know it would be this bad. I'll be dead long before for my appeal. Please -- let me join your cavale...</dialogue> <scene_description>Papi opens one of his eyes -- regards Dega for a moment -- then closes it again...</scene_description> <character>PAPILLON</character> <dialogue>You ever sail a boat -- spend any time on the sea?</dialogue> <character>DEGA</character> <dialogue>Yes, I've been on a boat -- though I was locked in a cage for most of it. Still, I think I understand the concept well enough.</dialogue> <scene_description>Dega waits for Papi to answer...he doesn't -- looks like he went back to sleep -- then:</scene_description> <character>PAPILLON</character> <dialogue>I can't take you with me, Dega.</dialogue> <character>DEGA</character> <dialogue>You should call me Louis --</dialogue> <scene_description>Papi finally sits up --</scene_description> <character>PAPILLON</character> <dialogue>Taking you wasn't part of the deal. If I do, my odds go way the hell down.</dialogue> <character>DEGA</character> <dialogue>Yes, I realize that...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But I still need to go with you.</dialogue> <scene_description>Papi shakes his head, lies back down, turns away from Dega -- looks like he's going back to sleep.</scene_description> <character>DEGA</character> <dialogue>So...you agree?</dialogue> <character>PAPILLON</character> <dialogue>You're paying for it.</dialogue> </scene> <scene> <stage_direction>EXT. COURTYARD - DAY</stage_direction> <scene_description>The blazing sun shines behind the guillotine, the towering device casts a long shadow on the cracked concrete, the sound of convicts being herded into the courtyard -- A hundred or so convicts file inside, guards and the Deputy Warden directing them to assemble in front of the guillotine.</scene_description> <character>DEPUTY WARDEN</character> <dialogue>Down -- on your knees. Cross your arms.</dialogue> <parenthetical>(to Papi)</parenthetical> <dialogue>You there -- on your knees.</dialogue> <scene_description>A Guard hits Papi in the back of the knees with his rifle -- Papi falls down on his knees -- Dega and Clousiot are kneeling on either side of him. All the convicts are kneeling now, crossing their arms in front of their chest -- the guillotine looming over them...</scene_description> <character>DEPUTY WARDEN</character> <dialogue>At the moment of execution all of you are to bend your heads.</dialogue> <scene_description>Papi hears a commotion coming from one of the cells that line the courtyard -- where the condemned wait to die. He sees four guards struggling to drag a man out the door -- Barrot walks up beside the guillotine, regards it impassively, then looks out at the kneeling convicts...</scene_description> <character>WARDEN BARROT</character> <dialogue>This man stabbed two guards. One of whom died this morning, leaving two children without a father.</dialogue> <character>WARDEN BARROT</character> <dialogue>And for what -- so this cretin could have a run through the jungle -- to discover what he should have already known...</dialogue> <scene_description>Papi's face drops, he can't believe it -- the man they're dragging to the guillotine is Julot. Papi instinctively starts to stand up when a guard jams a rifle barrel in his back. Papi looks into Julot's terror stricken eyes as he's laid down on the chopping block... Barrot motions to the convict executioner operating the blade. The executioner pulls the rope. The blade falls -- THWACK -- Julot's head tumbles into the basket. Afterwards Papi just stares in shock, while a trembling Dega starts to weep.</scene_description> <character>WARDEN BARROT</character> <dialogue>Remember. To keep you is no benefit. And to destroy you is no loss.</dialogue> </scene> <scene> <stage_direction>EXT. ROUTE ZERO - DAY</stage_direction> <scene_description>BOOM -- several tree stumps are blasted to smithereens. Angle widens to reveal convicts scrambling to clear the debris -- Santini stands off to the side, barking orders:</scene_description> <character>SANTINI</character> <dialogue>Hold on! That one didn't go off -- we got a bad connection.</dialogue> <scene_description>Santini motions to a stump rigged with dynamite that didn't detonate -- looks at Papi and Dega --</scene_description> <character>SANTINI</character> <dialogue>Check the wires --</dialogue> <scene_description>Papi and Dega start cautiously shuffling towards the stump --</scene_description> <character>SANTINI</character> <dialogue>Hurry up!</dialogue> <scene_description>They pick up the pace -- arrive at the stump. Several holes have been drilled in it -- plugged with wired sticks of dynamite. Papi spots the loose wire -- looks at Dega...both of them sweating, terrified to touch it...</scene_description> <character>SANTINI</character> <dialogue>What are you waiting for?</dialogue> <scene_description>Papi hears Santini racking his rifle -- he steadies himself -- Dega watching on, wincing as Papi starts reconnecting the wires with shaking, dirt stained fingers. A few sparks fly -- Papi freezes -- then nothing... Papi looks at Dega -- they both breathe out -- Papi turns to Santini, nods --</scene_description> <character>SANTINI</character> <dialogue>Alright -- get clear --</dialogue> <scene_description>Papi and Dega rush to get some distance -- crouch down in the brush, clamp their hands over their ears, waiting...when Papi's eyes suddenly go wide -- Carora (the old man) IS RUNNING STRAIGHT AT THE STUMP --</scene_description> <character>PAPILLON</character> <dialogue>No!</dialogue> <scene_description>Papi turns to see the guard is already pushing down the blast handle on the detonator -- everyone starts yelling STOP when BOOM -- Carora is blown to pieces -- A haze of smoke -- coughing -- Papi looks over at Dega, who's in shock, standing motionless -- his body sprayed with Carora's blood.</scene_description> <character>SANTINI</character> <dialogue>Christ. What a fucking mess. What are you all standing around for -- clean it up! Pile him over there!</dialogue> <scene_description>Several cons drop to their knees and start scavenging --</scene_description> <character>CONVICT</character> <dialogue>He promised me his plan --</dialogue> <character>CONVICT 2</character> <dialogue>Whoever finds it first, mec --</dialogue> <scene_description>Dega breaks ranks and beelines for a muddy puddle. He gets down on his knees, manically splashing himself, trying to wash the blood off when his eyes catch sight of something... Carora's severed head lying in the dirt. Dega's eyes go wide with shock -- his visage cracks... Santini sees him -- disgusted -- grips his bull whip as he walks up on him...</scene_description> <character>SANTINI</character> <dialogue>What the fuck is the matter with you?!</dialogue> <scene_description>CRACK -- Santini starts lashing Dega --</scene_description> <character>SANTINI</character> <dialogue>Get up -- get the fuck up!</dialogue> <scene_description>Dega doesn't move, covering his head -- weeping as Santini goes to town on him with the bull whip --</scene_description> <character>SANTINI</character> <parenthetical>(to the watching cons)</parenthetical> <dialogue>Men like this, will only make your suffering worse. You should be applauding me.</dialogue> <scene_description>Santini pulls his pistol, waves it around at the other cons.</scene_description> <character>SANTINI</character> <dialogue>Go on -- clap your hands!</dialogue> <scene_description>BANG -- Santini fires his pistol in the air. All but Papi start clapping -- until Santini aims his pistol right at Papi's head -- Papi starts to robotically clap his hands --</scene_description> <character>SANTINI</character> <parenthetical>(to Dega)</parenthetical> <dialogue>Do you hear that?</dialogue> <scene_description>CRACK -- Santini continues whipping Dega -- doesn't look he's ever going to relent -- losing himself -- CRACK, CRACK -- blood soaking through Dega's now tattered prison clothes --</scene_description> <character>SANTINI</character> <parenthetical>(to Dega)</parenthetical> <dialogue>They can't wait for you to die --</dialogue> <scene_description>Papi spots a chunk of exploded tree trunk, not far from his feet. He's conflicted -- looks back at Dega as -- Santini starts unleashing BIG HEAVY DEATH LASHES -- CRACK -- CRACK -- raises the whip way up high for the master stroke -- but as he's about to bring it down, it catches on something -- He glances over his shoulder -- sees Papi gripping the end of his whip in one hand, the chunk of tree trunk in the other -- Papi yanks the whip and Santini with it -- Santini loses his balance, raising his pistol when CRACK -- Papi clobbers his skull with the chunk of tree trunk -- Santini collapses, unconscious. Papi glances at Dega lying face down -- a bloody mess -- but he's groaning, alive... Papi considers -- frantic -- scanning the surrounding jungle -- hears more guards coming -- Papi's POV AS HE TAKES OFF INTO THE BRUSH -- the sound of the guards shouting after him, GUNSHOTS -- Papi plows through the brush -- then stops, crazed eyes searching -- no idea where to go... As his panting starts to quiet -- he's able to hear something...rushing water --</scene_description> </scene> <scene> <stage_direction>EXT. GREEN RIVER - CONTINUOUS</stage_direction> <scene_description>Papi bolts in the direction the sound is coming from when the ground drops off -- he stops short, looks down...it's a fifty foot drop to the green, fast flowing river below... Papi leaps off the edge -- falls through the air -- comes splashing down, struggling to keep his head up as the current pulls him down a dark winding route -- He peers back in the direction he came from -- no sign of his pursuers. Up ahead he sees a network of large tree roots snaking over the river -- As he passes under the natural bridge TWO GUARDS EMERGE FROM THE BRUSH. Papi reaches up and grabs the slimy roots, stops himself -- the guards haven't seen him, as long as he can hold on he's hidden. He peeks up between the serpentine roots -- sees the guards on the shore -- watching the river -- Papi is struggling to keep hold of the slippery overhang -- the current tugging on his legs -- He winces -- something just bit him. He winces again. He looks down. SEVERAL PIRANHA ARE NIPPING AT HIS TORSO -- there's maybe a half a dozen -- with more coming -- Papi grits his teeth, fighting panic -- sees the guards are still standing up there, watching the stream. He notices the water around him is turning red -- He stifles a scream, can't hold on much longer -- the pain is too much -- his hands slip, the current takes him -- He's floats out from under the overhang -- starts swimming -- doesn't look back --</scene_description> <character>GUARD (O.S.)</character> <dialogue>Hey, there he is!</dialogue> <scene_description>Papi swims with everything he's got as bullets burrow through the water around him -- He chances a look back, gasping for breath...sees the guards struggling to pursue him on the shore -- he's losing them...they keep firing -- bullets whizzing past -- Then, silence. He glances back -- has lost sight of them now. He starts swimming towards the opposite bank -- climbs up some green slimy rocks, grips a tree branch and pulls himself up on dry land -- He checks his torso -- it's covered with ugly little piranha bites. He's exhausted, wheezing, but adrenaline pushes him on; he starts stumbling into the jungle, breaks into a run --</scene_description> </scene> <scene> <stage_direction>EXT. YELLOW BARRACKS - NIGHT</stage_direction> <scene_description>Dega winces as Clousiot cleans the lacerations on his back... They hear guards calling to each other outside -- Dega gets up, rushes to the barred window --</scene_description> <character>CLOUSIOT</character> <dialogue>I'm not finished -- you don't want an infection in this place --</dialogue> <scene_description>Dega isn't listening, staring out the window at the penitentiary's front gates, where a small group of guards, appear to be returning from the jungle empty handed -- Clousiot walks up beside him, looks out the window...</scene_description> <character>DEGA</character> <dialogue>He's still out there.</dialogue> <character>CLOUSIOT</character> <dialogue>Wasn't he supposed to take you with him?</dialogue> <character>DEGA</character> <dialogue>He risked his life for me.</dialogue> <character>CLOUSIOT</character> <dialogue>'Cause he wanted your money.</dialogue> <character>DEGA</character> <dialogue>He already had the money. I gave it to him this morning.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>He's a man of honor.</dialogue> <scene_description>Clousiot takes that in, then after a moment:</scene_description> <character>CLOUSIOT</character> <dialogue>Then he's truly fucked.</dialogue> </scene> <scene> <stage_direction>EXT. DOCK ON THE MARONI RIVER - NIGHT</stage_direction> <scene_description>Papi's POV -- peering out of the jungle at the wharf. He scans a line of small transport boats...no people, just the sound of the slurping water, boats bumping against the dock -- Then he sees a figure emerging from the cabin of one of the boats. It's the Smuggler Papi spoke to. He stands on the bow coiling rope -- as if he wants to be seen... Papi shambles along the shore -- blackened with blood and filth. He struggles to climb up on the dock -- sees the Smuggler giving him a strange, disappointed look...</scene_description> <character>PAPILLON</character> <dialogue>You're a good man.</dialogue> <scene_description>After a moment the Smuggler shakes his head, motions towards the darkened wharf. Papi tenses as THE THREE MANHUNTERS HE SAW ON ARRIVAL emerge from the darkness, racking their guns --</scene_description> <character>PAPILLON</character> <dialogue>Son of a bitch --</dialogue> <scene_description>Papi puts his hands up -- spits. Two of the Manhunters grab him, yank his arms back -- binding his wrists while he watches the lead Manhunter -- white guy in army fatigues -- slip the Smuggler a few notes...</scene_description> </scene> <scene> <stage_direction>EXT. OVERHEAD SHOT OF SAINT-JOSEPH ISLAND - DAY</stage_direction> <scene_description>The island of Saint-Joseph as seen from above -- watch towers and battlements -- tidy little white houses with red roofs --</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD - ILE SAINT-JOSEPH - DAY</stage_direction> <scene_description>Papi is marched into the courtyard by two guards -- his arms and legs are tightly shackled -- he's forced to hop to keep up -- the guards keep jabbing him with their rifles --</scene_description> <character>GUARD</character> <dialogue>Stop dragging your ass and move!</dialogue> <scene_description>Papi's POV as he loses his footing and -- THUD -- falls on his face. The guards grab him, lift him up, start shoving him along faster -- he falls again -- they yank him back up, march him a few more feet, then stop... Papi stands there in the smothering silence...then, footsteps ...he turns as Warden Barrot crosses the courtyard to him. Barrot looks him over for a moment, then...</scene_description> <character>WARDEN BARROT</character> <dialogue>For the next two years you will remain here on the island of Saint- Joseph. Our devourer of men. This is not a place for rehabilitation. We know it's useless. So we do our best to destroy your mind. You're not permitted to speak here. We observe absolute silence at all times.</dialogue> <parenthetical>(to the Guards)</parenthetical> <dialogue>All right, let's get going -- search him thoroughly and put him in his cell.</dialogue> </scene> <scene> <stage_direction>EXT. SOLITARY CELL - ILE SAINT-JOSEPH - DAY</stage_direction> <scene_description>Papi walks into his solitary cell, turns in time to see the door closing slowly -- quietly -- the lock clicks... Papi breathes out, the silence immediately bearing down on him. He looks around -- the cell is about the size of an outhouse, nothing but a wooden bunk and a cement block to sit on -- dozens of names are chiseled into the filth stained walls... Papi looks up -- nine feet above him are bars the size of train tracks -- and ten feet above that a guard paces on a metal grill walkway, wearing slippers so as to not make any noise. Beyond that is the roof of the enclosing structure, a couple of overhead lights bright enough to illuminate the walkway, but not the cells below it. There's no fear or self pity in Papi's eyes -- only the fury that fuels his steadfast defiance... LATER Papi is methodically pacing the cell, hands clasped behind his back, counting each footstep under his breath, a dark focus in his eyes -- ANOTHER DAY Papi's POV -- dirty water with a few leaves floating around in it -- his "soup." Papi brings the bowl to his lips and drinks down the last drops. He then looks up to see the fat guard has stopped pacing, standing directly over him, sucking on a cigarette... Papi returns his gaze to his soup -- when he notices something falling in the periphery. The guard has dropped his cigarette, it's lying on the floor, still lit... It looks like Papi wants more than anything to pick it up. It's unclear if the guard is trying to be nice, or if he's looking for an excuse to inflict more suffering. Papi restrains himself, lets the cigarette butt burn out. The guard shakes his head, resumes pacing... ANOTHER DAY The fat guard's POV as he paces over the cells, staring down at the blackened wraiths huddled inside. He hears a dry snapping sound, a gurgling. He stops, doubles back and peers down into the cell. He looks highly annoyed. The con below just hung himself -- fashioned his pants into a noose --</scene_description> <character>FAT GUARD</character> <parenthetical>(calls to other guard)</parenthetical> <dialogue>Go tell the Deputy Warden we need permission to open two-thirty two.</dialogue> <scene_description>The Fat Guard then continues pacing -- reaches Papi's cell -- Papi's looking markedly thinner and weaker as he paces, head down, hands clasped behind his back -- doggedly keeping up with his regimen... Close on Papi as we hear his whispered refrain --</scene_description> <character>PAPILLON</character> <dialogue>One, two, three, four, five -- turn -- one, two, three, four, five --</dialogue> <scene_description>NIGHT An enormous centipede crawls up Papi's arm...angle widens to reveal Papi watching it impassively... Papi swipes the centipede off his arm -- winces -- it bit him. He sits up -- angry -- sees it scurrying across the floor now. Papi starts trying to stomp it into the ground -- until it makes its escape, disappearing into a stone crevice. DAY The bite on his arm now horribly swollen and discolored, Papi kneels on the floor, dry heaving -- He sees the tall skinny guard pacing over his cell --</scene_description> <character>PAPILLON</character> <dialogue>I'm sick.</dialogue> <character>SKINNY GUARD</character> <dialogue>You don't talk to us, Reclussionnaire. I'll excuse you since you're new. But if you say another word, I'll cut your rations. And your light.</dialogue> <scene_description>Papi stares up as the guard continues pacing -- remnants of hope draining from his visage...replaced by animal fear... ANOTHER DAY Papi sits in silence, eyes closed...listening to someone lethargically sweeping the outside hallway. The SWEEPER pauses as he reaches Papi's door -- brushes the broom against it -- seems to be signaling him... Papi opens his eyes, hears the sound of sliding metal -- his water bucket has just been pushed inside. The little metal door slides shut. The sound of the Sweeper walking away... Papi walks over, looks down into his water bucket -- sees there's something floating in the water... Papi looks up, waits for the guard to pass overhead, then he crouches down, checks out the bucket -- Papi almost cries with joy. There's a coconut inside...and a piece of folded white paper... His eyes keep darting upwards, paranoid -- as he unfolds the paper -- it's a note:</scene_description> <character>DEGA (V.O.)</character> <dialogue>There will be a coconut in your bucket every day from now on. Eat all of it, and it will keep you strong. Chin up. Louis.</dialogue> <scene_description>Papi smiles, then balls up the paper and shoves it into his mouth -- goes still as the guard walks back overhead...then, as soon as he passes, Papi swallows it -- NIGHT Papi is pacing vigorously -- the coconut appears to have given him a little burst of energy -- seems intent on pushing his muscles to total exhaustion -- He stops, struggling to catch his rasping breath as he pulls his shirt up over his face and drops back on his wooden cot -- the cloth rising and falling over his mouth as he purposely asphyxiates himself...</scene_description> </scene> <scene> <stage_direction>INT. PAPI'S MIND - THE PALAIS DE JUSTICE DE LA SEINE - DAY</stage_direction> <scene_description>Close on Papi's blanket covered face. He lowers the blanket -- starting to relax now, taking in his new surroundings... Papi is in a courtroom, everything is still, like he's inside of a photograph, the only sound is blowing wind. He stands in the prisoner box, surveying the still tableau... The courtroom is crowded with Papi's underworld friends -- Nennete among them, gripping her hands nervously. And behind her sits Papi's FATHER, a conservatively dressed school teacher, warily staring into the eyes of his son... Ashamed, Papi turns from his father's stare -- and instead lingers on the smug expression worn by the prosecutor and the emotionless face of the chubby judge... Papi clutches the railing of the prisoner box...his contempt for these men radiating as the place suddenly comes to life; the sound of the room fading up --</scene_description> <character>JUDGE</character> <dialogue>The jury has found you guilty of the murder of Roland Legrand. You will be condemned to penal servitude for life.</dialogue> <scene_description>Papi stops breathing, looks like he's ready to explode --</scene_description> <character>PAPILLON</character> <dialogue>I'm innocent!</dialogue> <scene_description>Papi's POV as four policemen try to grab him -- he backs away from them -- the whole place erupting with jeers and shouting as they get their hands on him -- BACK TO:</scene_description> </scene> <scene> <stage_direction>EXT. SOLITARY CELL - ILE SAINT-JOSEPH - MOMENTS LATER</stage_direction> <scene_description>Papi removes the shirt from his face, eyes frazzled as he wrestles with the malignant memory... After a moment he starts to smile...pulls the shirt back over his face... CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. PAPI'S MIND - THE PALAIS DE JUSTICE DE LA SEINE - DAY</stage_direction> <scene_description>Now he's standing at the foot of the courthouse steps -- people coming and going, sound starting to fade up, voices, passing cars. He looks down...he's carrying a suitcase... He regards the suitcase in his hand for a moment, dark purpose in his eyes... Then starts up the stone steps... He reaches the top of the steps, sets the suitcase down by the front entrance -- then casually starts back down -- He looks back over his shoulder, sees the Judge and the Prosecutor exiting the building -- the Prosecutor notices him -- Papi gives him a big smile and a wave when -- BOOM -- THE SUITCASE EXPLODES -- INCINERATING THE JUDGE AND THE PROSECUTOR -- there are echoes of the Carora explosion, courtesy of Papi's memory overlap -- BACK TO: ANOTHER DAY Papi is finishing his now daily ration of coconut pulp, licking his fingers, getting every last bit, when he hears a CLACKING SOUND -- He looks to his door -- his wicket has been opened. He can hear other convicts whispering to each other in the hall -- sounds like everyone's wicket has been opened... Papi hides the remainder of his coconut under his wooden bunk, then moves to his wicket -- sticks his head through...</scene_description> </scene> <scene> <stage_direction>INT. SOLITARY ROW - CONTINUOUS</stage_direction> <scene_description>On Papi's left and right are a whole multitude of heads. A con with barber shears is making his way down the line -- snipping their greasy locks, while two guards drag a convict's skeletal corpse from his now vacant cell -- Papi looks to the blank idiot face of his neighbor on the right...then turns and looks to his neighbor on the left. An older guy who gives him a toothless smile...</scene_description> <character>OLD GUY</character> <dialogue>How do I look?</dialogue> <scene_description>Papi considers, then:</scene_description> <character>PAPILLON</character> <dialogue>You look great.</dialogue> </scene> <scene> <stage_direction>INT. SOLITARY CELL - DAY</stage_direction> <scene_description>Papi is pacing when he hears the Sweeper outside his door -- he stops, his expectant eyes go to the wicket -- it opens...the Sweeper starts to push the bucket inside when --</scene_description> <character>FAT GUARD (O.S.)</character> <dialogue>Hold on -- need to check that --</dialogue> <scene_description>Papi's eyes go wide as the bucket is yanked back out...the sound of the Fat Guard dumping it out on the floor...the Skinny Guard's footsteps as he walks up on them --</scene_description> <character>SKINNY GUARD (O.S.)</character> <parenthetical>(yelling down the hall)</parenthetical> <dialogue>Get the Warden!</dialogue> <character>FAT GUARD (O.S.)</character> <parenthetical>(to the Sweeper)</parenthetical> <dialogue>Who put you up to this --</dialogue> <character>SWEEPER (O.S.)</character> <dialogue>I don't know his name, we never met -- I just took the money --</dialogue> <scene_description>CRACK -- Papi listens, face racked with tension -- as the two guards start mercilessly beating the now screaming Sweeper --</scene_description> <character>SKINNY GUARD (O.S.)</character> <dialogue>Don't lie to us --</dialogue> <scene_description>The sound of the Sweeper hitting the ground -- the guards stomping him -- bones cracking...the screaming stops. The sound of more guards rushing down the corridor --</scene_description> <character>SKINNY GUARD (O.S.)</character> <parenthetical>(to the Fat Guard)</parenthetical> <dialogue>Shit, I think you killed him --</dialogue> <scene_description>Papi's eyes swell with horror as he clocks the Sweeper's blood flowing under the door. He steps back, grabs his mug, brandishing it -- ready to fight. Papi's hazy POV as the door is unlocked with a CLANG -- it swings open -- revealing Barrot, flanked by six armed guards.</scene_description> <character>PAPILLON</character> <dialogue>Just try something you shitheads!</dialogue> <character>WARDEN BARROT</character> <dialogue>Calm down. I just want to talk.</dialogue> <character>PAPILLON</character> <dialogue>I'm not allowed to talk.</dialogue> <character>WARDEN BARROT</character> <dialogue>For the next few minutes you may speak freely.</dialogue> <character>PAPILLON</character> <dialogue>Whose word do I have?</dialogue> <character>WARDEN BARROT</character> <dialogue>Mine.</dialogue> <character>PAPILLON</character> <dialogue>What the fuck is that worth?</dialogue> <scene_description>Barrot doesn't answer, calmly looks Papi over...</scene_description> <character>WARDEN BARROT</character> <dialogue>No wonder you haven't broken. How long has this been going on?</dialogue> <parenthetical>(re: the dead sweeper)</parenthetical> <dialogue>I'm quite sure this simpleton wasn't working alone -- who put him up to it?</dialogue> <scene_description>Papi stares blankly...shakes his head...</scene_description> <character>PAPILLON</character> <dialogue>I don't know what you're talking about. I eat the same shit as everyone else.</dialogue> <scene_description>Barrot gives Papi a pitying look...</scene_description> <character>WARDEN BARROT</character> <dialogue>Well, until you fess up you'll be eating a lot less shit than everybody else...and in darkness.</dialogue> <scene_description>One of the guards quietly shuts the door. Papi hears a dragging sound coming from above. He looks up, sees the guards covering his barred roof with plywood...</scene_description> <character>PAPILLON</character> <dialogue>You're going to miss half the show if you do that --</dialogue> <scene_description>Papi watches the striped light on the floor get smaller and smaller until there's only darkness...</scene_description> </scene> <scene> <stage_direction>INT. CLERK'S OFFICE - DAY</stage_direction> <scene_description>Dega sits at a little desk piled with ledgers and official documents, looking clean, rested and healthy. He dips his pen in an ink well, working on something -- closer -- we see it's a note to Papi: Only one more year -- He hears someone at the door, quickly covers the note with a ledger book as Warden Barrot's wife walks in --</scene_description> <character>WARDEN BARROT'S WIFE</character> <dialogue>Clerk, I need fifty francs. My vocal coach is refusing to accept any more credit.</dialogue> <character>DEGA</character> <dialogue>I'm afraid you've exhausted your budget for the month, Mademoiselle.</dialogue> <character>WARDEN BARROT'S WIFE</character> <dialogue>You'll find more -- that's what you do, isn't it? There's always plenty of extra for my husband's rum.</dialogue> <character>DEGA</character> <dialogue>Yes, Mademoiselle.</dialogue> <scene_description>Dega starts flipping through ledger books, searching for nonexistent money. Barrot walks in with the Deputy Warden looking preoccupied.</scene_description> <character>WARDEN BARROT</character> <dialogue>Do whatever it takes to break him. I want that name.</dialogue> <scene_description>A disturbance in Dega's expression as his heart skips a beat.</scene_description> <character>DEPUTY WARDEN</character> <dialogue>We'll keep him on starvation rations and complete darkness until he confesses. It won't be long -- he'll either break or die.</dialogue> <character>WARDEN BARROT</character> <dialogue>Whoever's helping him needs to suffer -- publicly -- so they can all take a lesson from it.</dialogue> <character>DEPUTY WARDEN</character> <dialogue>We'll tie the culprit to a tree for a couple days -- let the jungle do the work for us.</dialogue> <scene_description>The Warden's wife starts conversing with the Warden and the Deputy Warden -- no one's looking at Dega. He quickly crumples the note he was about to write and swallows it --</scene_description> </scene> <scene> <stage_direction>INT. SOLITARY CELL - DAY</stage_direction> <scene_description>His eyes buzzing with hunger, Papi absently fingers a loose tooth while he listens to the sound of two guards opening the neighboring cell. Papi starts to pull the tooth from his gums -- his expression remaining blank -- even as he hears his neighbor's corpse being dragged away... Papi looks at the tooth in his hand, then after a moment he starts scratching something into the wall with it... He's etching his name into the filth stained concrete. By the time he gets to the last letter his tooth has been ground down to a shapeless nub...</scene_description> </scene> <scene> <stage_direction>INT. SOLITARY ROW - DAY</stage_direction> <scene_description>Papi's wicket is slid open. Warden Barrot and two guards stand waiting for his head to emerge. It doesn't. The Warden peers through the wicket, sees Papi, looking completely emaciated now, lost in delirium -- lying on the floor in the fetal position, humming "The Merry Widow" -- the same tune he hummed while cracking the safe in the open. With his name etched above him on the wall -- it looks almost as if Papi's lying beneath a headstone of his own creation.</scene_description> <character>WARDEN BARROT</character> <dialogue>You're dying, Charriere.</dialogue> <scene_description>Barrot sets a bowl of soup on the open wicket...</scene_description> <character>WARDEN BARROT</character> <dialogue>There's meat in it. It's all yours. Just give me a name first.</dialogue> </scene> <scene> <stage_direction>INT. SOLITARY CELL - CONTINUOUS</stage_direction> <scene_description>Papi looks oblivious to the warden's voice -- continues humming as if he's not there. After a moment his wicket snaps shut -- the sound of the warden's footsteps receding... Close on Papi's face -- all sense of resistance seems to have drained from his visage. He looks like a man who's waiting to die, his dulled eyes staring off to some far off place... A SERIES OF SHOTS -- INSIDE PAPI'S MIND: Close on PAPI'S MOTHER'S face -- her features unfocused as she starts playing "The Merry Widow" on the piano -- His mother's visage starts to sharpen -- eyes come to life. Angle widens as a giggling FIVE YEAR OLD PAPI steps up on a stool behind her and covers her eyes with his hands...Papi's mother plays blind without losing a beat... Young Papi's POV as he pedals an old mechanical horse through the idyllic country house -- "The Merry Widow" continuing as he passes through beams of sunlight -- rides out the door into a lush garden, a POINTER DOG following after him -- PAPI, AN ADULT NOW, WEARING A NAVY UNIFORM, riding a bicycle down a crowded street -- a pretty girl sitting on the handle bars -- there's no sound; only a ticking clock as he speeds towards the vertiginous Montmartre stairs... He stops the bike just in time, notices something overhead. He gets off the bike, looks up at a ten story apartment building -- sees HIMSELF and TWO ACCOMPLICES lugging a safe to the edge of the roof. They let it drop, hoping the fall will break it open -- IT COMES FALLING DOWN ON PAPI'S HEAD -- BLACKNESS -- a flashlight clicks on, Papi -- face blackened with dirt -- has just burrowed into a large safe by tunneling through the floor. He starts grabbing at the money when -- The door to the safe suddenly swings open. Papi peers out from inside the safe at HIS MOTHER'S BEDROOM -- sees her lying in bed, her face pale, his father sitting beside her... His father turns to look at him...walks over to the safe --</scene_description> <character>PAPILLON'S FATHER</character> <dialogue>You could have been anything...</dialogue> <scene_description>Papi's father shuts the safe -- BLACKNESS... Papi hears Nennete laughing in the darkness -- some faint light starts to illuminate her -- they're making love now; his starved senses drinking in every curve of her body... UNTIL THE ANGLE WIDENS TO REVEAL THEY'RE IN HIS SOLITARY CELL. Someone is staring down at them -- IT'S HIM -- but he looks starved, wearing prison clothes. This other Papi starts pushing a board over the bars, the space going dark --</scene_description> <character>PAPILLON</character> <dialogue>Wait -- I'm innocent --</dialogue> <scene_description>Other Papillon shakes his head...</scene_description> <character>OTHER PAPILLON</character> <dialogue>You blew it.</dialogue> <scene_description>DARKNESS. Then blasting sunlight -- he's being pushed down on to a guillotine now. He lies there waiting, can see the shadow of the blade -- while he waits for it to descend he HEARS ONLY THE SOUND OF OCEAN WAVES. He looks up to see he's surrounded by kneeling convicts, arms crossed over their chests -- among them: Julot, Lariot, Carora --</scene_description> <character>PAPILLON</character> <dialogue>I blew it.</dialogue> <scene_description>The shadow of the blade as it starts to drop -- BACK TO:</scene_description> </scene> <scene> <stage_direction>INT. SOLITARY CELL - DAY</stage_direction> <scene_description>Papi opens his eyes -- his features sunken, skin caked with blackened filth... He looks up, notices something...the door to his cell is open. Two guards are standing there, their mouths are moving, but the sound is muffled...fading up now:</scene_description> <character>FAT GUARD</character> <dialogue>You hear me? Your two years are up.</dialogue> <scene_description>Papi looks up at the Guard -- from his expression it's not clear if he understands. The Two Guards approach him -- he scurries across the floor on his hands and knees, ducks under the wooden cot --</scene_description> <character>PAPILLON</character> <dialogue>No -- no --</dialogue> <scene_description>They grab his ankles and drag him out --</scene_description> <character>PAPILLON</character> </scene> <scene> <stage_direction>EXT. COURTYARD - ILE SAINT-JOSEPH - DAY</stage_direction> <scene_description>Papi's POV as the two guards have to practically carry him out of the cell block into the open air -- a surreal wash of light as Papi collapses, clutching his hands over his eyes...</scene_description> </scene> <scene> <stage_direction>EXT. HOSPITAL - DAY</stage_direction> <scene_description>Dega walks up on a sun bleached building with a faded red cross painted on it. He hears something, pauses -- looks over to see a new crop of prisoners have been herded into the courtyard. He hears Barrot giving his familiar speech:</scene_description> <character>BARROT (O.S.)</character> <dialogue>I know that many of you are thinking of escape --</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL - DAY</stage_direction> <scene_description>Fly specked glue traps hang from the ceiling, a squeaky fan is going. Dega walks into a dilapidated space, walls lined with hospital beds occupied with sick or injured convicts. He spots Papillon, who's lying awake in bed, staring blankly out a nearby window with big iron bars on the outside...</scene_description> <character>DEGA</character> <dialogue>Papi...</dialogue> <scene_description>Dega rushes to Papi's bedside -- tears of joy running down his face as he throws his arms around him... But then after a moment, Dega pulls away, looking increasingly disturbed as he peers into Papi's staring, unreactive expression...</scene_description> <character>DEGA</character> <dialogue>Papi, it's me...</dialogue> <scene_description>Dega trails off -- gut punched by the sight Papi's empty stare. He hears someone coming -- looks up to see an Arab Turn Key named ABDA sitting down in a chair positioned well within earshot. Abda stares at Dega suspiciously...</scene_description> <character>DEGA</character> <dialogue>Good afternoon.</dialogue> <scene_description>Dega pulls some cigarettes from his pocket, puts one in Papi's mouth, lights it --</scene_description> <character>DEGA</character> <dialogue>There we are.</dialogue> <scene_description>The cigarette dangles from Papi's unresponsive mouth --</scene_description> <character>DEGA</character> <dialogue>So, as you might have guessed, my appeal has run into some -- uh problems...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But I've tried to make good use of my time. I'm working as the Warden's clerk now. It affords me a lot of freedoms. I can mail letters -- uncensored. Perhaps you'd like to write to someone...</dialogue> <scene_description>Papi doesn't answer...he's not smoking the cigarette. Dega takes it from his mouth, stubs it out -- puts the butt back in the pack -- which he places under Papi's blanket.</scene_description> <character>DEGA</character> <dialogue>For later then.</dialogue> <scene_description>And then Papi starts to hum "The Merry Widow" ever so faintly. Dega sits there watching him, disturbed by Papi's vacant repose...</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - NIGHT</stage_direction> <scene_description>A closed door as someone unlocks it from the other side. The door opens. Abda enters the darkened space, closes the door. He walks from sleeping con to sleeping con -- lifting the covers off the very sick, shaking them to see if they've expired in their sleep -- when he notices something... Papi is sitting up in his bed -- his back to Abda -- still staring out that barred window... Abda walks into the path of Papi's fixed, hundred yard stare -- meets Papi's eyes as if to test their vacancy...but Papi's stare doesn't waver. Abda clocks several mosquitoes sucking on Papi -- Papi's making no effort to swat them... Now convinced Papi is catatonic, Abda walks off -- Papi remains like a statue... After a moment a squeaking sound starts emanating from across the room... Angle widens to reveal the source of the squeaking; Abda is now sitting on the edge of a convict's bed -- his hand under the con's blanket...the bed shaking. The convict -- who is now trying to push Abda away -- is eighteen years old, girlish features -- this is MATURETTE. After a moment, Abda gets up from the bed with a smile as Maturette spits at him. Abda starts for the exit as -- A mosquito lands on Papi's neck -- he remains still as it gorges on his blood, Abda unlocking the door to leave now... Abda exits. And as soon as he does Papi suddenly comes to life and smacks the mosquito -- Close on Papi's eyes -- they're not vacant at all; there's purpose hidden there -- a strengthening resolve. He's studying something... Papi's POV -- we reveal the window affords him a view of the hospital's courtyard...two guards patrolling the security wall...at the moment the far wall appears to be unguarded -- Papi's eyes go wide as he contemplates this chink in the armor... Then he hears Maturette's bed squeaking again, turns to see Maturette rising from his bed, heading for the toilets. The squeaking draws Papi's eyes to a loose bed leg on Maturette's bed...</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - DAY</stage_direction> <scene_description>Dega feeds Papi some gruel, spooning it into his mouth while Papi stares into space -- Abda within earshot.</scene_description> <character>DEGA</character> <dialogue>What would you do without me to feed you all the time?</dialogue> <scene_description>Papi doesn't answer. Dega dabs Papi's chin with a napkin -- wipes away some dripping gruel --</scene_description> <character>DEGA</character> <dialogue>I took the liberty of mentioning your case to my attorney. He wrote back saying after examining the evidence, he believes he might be able to get your case retried -- thinks he can secure your freedom in as little time as three years.</dialogue> <scene_description>Dega waits for a reaction...but Papi's expression doesn't change. Abda walks out of earshot to go quietly harass Maturette. As soon as he does Papi suddenly comes to life, grabs Dega's hand before he can shovel in another spoonful of gruel and whispers:</scene_description> <character>PAPILLON</character> <dialogue>Louis. I'm still here.</dialogue> <scene_description>Dega smiles, joy and relief swelling in his eyes. Papi returns Dega's smile, then after a moment...</scene_description> <character>DEGA</character> <dialogue>I thought you'd gone simple on me.</dialogue> <character>PAPILLON</character> <dialogue>Me too.</dialogue> <character>DEGA</character> <dialogue>You know you would have had a much easier time if you had just given them my name.</dialogue> <character>PAPILLON</character> <dialogue>It's not like I didn't think about it... But then I remembered how god damn delicate you are.</dialogue> <character>DEGA</character> <dialogue>I fear under similar circumstances I would have fared differently.</dialogue> <scene_description>Papi smiles...</scene_description> <character>PAPILLON</character> <dialogue>I missed you, Louis.</dialogue> <character>DEGA</character> <dialogue>Yes, I missed you as well.</dialogue> <character>PAPILLON</character> <dialogue>Do we still have a deal?</dialogue> <scene_description>After a moment Dega nods --</scene_description> <character>DEGA</character> <dialogue>Until you're free.</dialogue> <character>PAPILLON</character> <dialogue>You don't have to say that -- you don't owe me a god damn thing.</dialogue> <character>DEGA</character> <dialogue>I disagree.</dialogue> <character>PAPILLON</character> <dialogue>I need you to get me a watch.</dialogue> <character>DEGA</character> <dialogue>Why in God's name would you want one of those?</dialogue> <character>PAPILLON</character> <dialogue>I've been watching the guards in the courtyard. For a few minutes after they change shifts, the wall by the river is left unguarded.</dialogue> <character>DEGA</character> <dialogue>You'll never make it out of the building.</dialogue> <character>PAPILLON</character> <dialogue>I have an idea for how I can steal the Arab's keys -- if I can time it just right -- think I can make it over that wall...</dialogue> <character>DEGA</character> <dialogue>There are armed guards stationed at the hospital entrance day and night.</dialogue> <scene_description>Papi gives Dega a look. Dega shakes his head --</scene_description> <character>DEGA</character> <dialogue>They can't be bought -- a successful cavale would mean their jobs.</dialogue> <character>PAPILLON</character> <dialogue>What about the lights in the courtyard? Can you pay someone to trip the switch on the transformer?</dialogue> <character>DEGA</character> <dialogue>I don't know.</dialogue> <character>PAPILLON</character> <dialogue>It's gotta be soon -- they're going to transfer me back to the work camps in a few days.</dialogue> <character>DEGA</character> <dialogue>It's five years in seclusion if you're caught escaping a second time. I can try and secure your transfer to the asylum -- as I said, my lawyer --</dialogue> <character>PAPILLON</character> <dialogue>Louis, listen to me -- I've wasted too much time already. I'd rather die than waste anymore. I'm leaving this place -- and so are you. We can't wait any longer.</dialogue> <character>DEGA</character> <dialogue>I made it this long.</dialogue> <character>PAPILLON</character> <dialogue>Yeah... Because they own you now.</dialogue> <scene_description>Dega takes that in -- a little stung by it -- but part of him seems to know it's true...</scene_description> <character>PAPILLON</character> <dialogue>Your lawyer isn't going to save you. The only way you're ever getting out of here, is if you come with me.</dialogue> <character>DEGA</character> <dialogue>Every man who has attempted a cavale in the last two years has failed -- and every one of those men was stronger than I am.</dialogue> <character>PAPILLON</character> <dialogue>Doesn't matter. You're already dead if you stay here. At least out there you have a chance.</dialogue> <scene_description>Dega shakes his head wearily...</scene_description> <character>DEGA</character> <dialogue>You know the gamblers fallacy? The maturity of chances? It's the belief that if something happens more frequently than normal for a time, then it will happen less frequently in the future.</dialogue> <character>PAPILLON</character> <dialogue>Right.</dialogue> <character>DEGA</character> <dialogue>Wrong. There is no fairness in life. Or death.</dialogue> <character>PAPILLON</character> <dialogue>Maybe not, but you can't quit.</dialogue> <character>DEGA</character> <dialogue>I quit two years ago.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'll get you whatever you need -- but I can't come with you.</dialogue> <scene_description>They sit in silence, then:</scene_description> <character>PAPILLON</character> <dialogue>Clousiot still here?</dialogue> <scene_description>Dega nods --</scene_description> <character>PAPILLON</character> <dialogue>See if you can get him sent to the infirmary --</dialogue> <scene_description>Papi sees Abda is on the move and returns to his faux catatonic state. Racked with emotion now, Dega stands up and walks out --</scene_description> </scene> <scene> <stage_direction>INT. TOILETS - HOSPITAL - NIGHT</stage_direction> <scene_description>Papi's POV as he walks into the toilets -- sees Maturette leaning over a sink, towel draped over his head, yellowish smoke trickling out. Papi taps him on the shoulder --</scene_description> <character>PAPILLON</character> <dialogue>Hey --</dialogue> <scene_description>Maturette spins around, pulls the towel off his head. Papi holds his hands up --</scene_description> <character>PAPILLON</character> <dialogue>Just want to talk.</dialogue> <scene_description>Papi sees Maturette is burning sulfur on the edge of the sink, trying to trap the noxious smoke inside the towel -- it's making his skin appear jaundiced --</scene_description> <character>MATURETTE</character> <dialogue>Go away. The doctor's evaluating me in the morning -- be damned if he's going to approve me for work.</dialogue> <scene_description>Maturette starts to put the towel back on his head until he sees Papi isn't going anywhere -- he sighs, turns --</scene_description> <character>MATURETTE</character> <dialogue>You can't afford me.</dialogue> <character>PAPILLON</character> <dialogue>I don't want that.</dialogue> <character>MATURETTE</character> <dialogue>Yeah, none of you want that -- until you do.</dialogue> <scene_description>Papi checks to see if anybody's coming -- nobody is -- he turns and pins a hard stare on Maturette --</scene_description> <character>PAPILLON</character> <dialogue>If you repeat one word of what I'm about to say, you're a dead man.</dialogue> <scene_description>Maturette's visage hardens...</scene_description> <character>MATURETTE</character> <dialogue>I don't want to know then.</dialogue> <character>PAPILLON</character> <dialogue>You want to make five hundred francs?</dialogue> <character>MATURETTE</character> <dialogue>I'd do you for less than that.</dialogue> <character>PAPILLON</character> <dialogue>The Arab. In a few days, I want you to take him in here at a certain time -- keep him busy.</dialogue> <character>MATURETTE</character> <dialogue>I don't need a pimp.</dialogue> <character>PAPILLON</character> <dialogue>Five hundred francs.</dialogue> <character>MATURETTE</character> <dialogue>Forget it. He's a diseased pig.</dialogue> <character>PAPILLON</character> <dialogue>A thousand then.</dialogue> <character>MATURETTE</character> <dialogue>You making a break?</dialogue> <scene_description>A convict enters --</scene_description> <character>PAPILLON</character> <dialogue>Toilets are closed.</dialogue> <scene_description>The convict doesn't need to be told twice -- exits. Papi turns back to Maturette and answers his question:</scene_description> <character>MATURETTE</character> <dialogue>I want to go with you.</dialogue> <character>PAPILLON</character> <dialogue>That's not what I'm offering.</dialogue> <character>MATURETTE</character> <dialogue>You think I can't handle myself.</dialogue> <character>PAPILLON</character> <dialogue>I don't know anything about you.</dialogue> <character>MATURETTE</character> <dialogue>You were framed for murder, right?</dialogue> <scene_description>After a moment Papi nods.</scene_description> <character>MATURETTE</character> <dialogue>Well nobody framed me.</dialogue> <scene_description>Papi considers...</scene_description> </scene> <scene> <stage_direction>INT. X-RAY ROOM - HOSPITAL - DAY</stage_direction> <scene_description>Papi's POV -- x-rays hanging on the wall...several show little metal cylinders lodged inside men's large intestines. JESUS, 45 -- a liberated con turned X-ray tech walks in -- sees Papi sitting on the x-ray table. Jesus has a drooping eye and a scarred face as dry as smoked fish.</scene_description> <character>JESUS</character> <dialogue>Lay back --</dialogue> <scene_description>Papi lays back, Jesus swings the X ray machine over Papi -- slides the film into a slot beneath him -- Jesus leans over Papi to adjust the x-ray arm, whispers:</scene_description> <character>JESUS</character> <dialogue>Louis Dega sent me -- told me what you need. I can moor my boat directly outside the hospital wall -- ferry you to a sailboat waiting down river.</dialogue> <character>PAPILLON</character> <dialogue>We'll arrive a little after nine o'clock on Sunday night. Don't be late. There will be three of us.</dialogue> <scene_description>After a moment Jesus nods. Papi stares into his eyes -- obviously doesn't trust him.</scene_description> <character>PAPILLON</character> <dialogue>Did Dega give you my specifications for the sail boat?</dialogue> <scene_description>Jesus nods.</scene_description> <character>PAPILLON</character> <dialogue>Want it loaded up with supplies -- drinking water, a compass -- we're going to be at sea for at least a week.</dialogue> <character>JESUS</character> <dialogue>It's all taken care of. Dega said he gave you the money. I need it in advance.</dialogue> <scene_description>Papi pulls out some bills, tears them in half --</scene_description> <character>PAPILLON</character> <dialogue>You'll get the other half when you drop us at the boat --</dialogue> <scene_description>The DOCTOR walks in -- Jesus quickly pockets the money --</scene_description> <character>JESUS</character> <dialogue>He's ready, Doctor --</dialogue> <scene_description>The Doctor nods, starts making adjustments to the x-ray machine. Jesus exits. Papi breathes out, thoughts flashing behind his eyes...</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - DAY</stage_direction> <scene_description>Papi lies in bed, turns to see the doctor covering a man's dead, ashen face with a blanket --</scene_description> <character>DOCTOR</character> <dialogue>They always seem to die when it's low tide. A mystery of nature.</dialogue> <scene_description>Papi turns to see Clousiot feeling his way through the ward; he appears to be blind, his eyes shut and full of puss --</scene_description> <character>CLOUSIOT</character> <dialogue>Papi? Papi, where are you, mec?</dialogue> <scene_description>Papi sees Abda is now out of earshot; helping roll the dead man out of the ward --</scene_description> <character>PAPILLON</character> <parenthetical>(whispering)</parenthetical> <dialogue>Over here --</dialogue> <scene_description>Clousiot smiles, finds his way to Papi's bed -- sits down on the edge of it.</scene_description> <character>CLOUSIOT</character> <dialogue>So good to see you, mec --</dialogue> <character>PAPILLON</character> <dialogue>See me? What the hell did you do to your eyes? What use are you going to be if you're blind?</dialogue> <character>CLOUSIOT</character> <dialogue>It's OK, I just rubbed some castor oil grains in -- let'em get infected. A little warm water and they'll be fine.</dialogue> <scene_description>Maturette walks up on the two men --</scene_description> <character>CLOUSIOT</character> <dialogue>Who's that? Smells like a girl.</dialogue> <character>MATURETTE</character> <dialogue>Thank you.</dialogue> <character>PAPILLON</character> <parenthetical>(to Clousiot)</parenthetical> <dialogue>This is Maturette. He's going to be our third.</dialogue> <character>MATURETTE</character> <dialogue>I made arrangements with the turn key.</dialogue> <character>PAPILLON</character> <dialogue>Then we're set.</dialogue> <parenthetical>(to Clousiot)</parenthetical> <dialogue>I timed it all out. The night shift comes on a little before nine -- they start their rounds on the other side of the courtyard. The wall by the river is left unguarded for almost four minutes before any of them make it over there. At nine o'clock, a turnkey Dega paid off is going to cut the power to the lights. It should help give us some cover when we're getting over that wall.</dialogue> <character>CLOUSIOT</character> <dialogue>What about the guards at the door?</dialogue> <parenthetical>(re: Maturette)</parenthetical> <dialogue>This mec doesn't sound too strong.</dialogue> <character>CLOUSIOT</character> <dialogue>I mean I can probably take them down myself -- but still I'm a little worried...</dialogue> <scene_description>Papi motions to one of the iron legs on his bed -- toes it -- looks like he's loosened it --</scene_description> <character>PAPILLON</character> <dialogue>We'll have weapons.</dialogue> <parenthetical>(re: bed legs)</parenthetical> <dialogue>Takes some doing -- but they come off.</dialogue> <character>MATURETTE</character> <dialogue>Smart. But all it'll take is one guard's whistle...</dialogue> <character>PAPILLON</character> <dialogue>No one will hear it...</dialogue> </scene> <scene> <stage_direction>EXT. COURTYARD - HOSPITAL - NIGHT</stage_direction> <scene_description>A stage has been set up in the middle of the courtyard -- guards and their families milling around as Warden Barrot's wife performs an aria, accompanied by a small orchestra. Her voice is like nails on a chalkboard, and though no one in attendance is about to make mention of that fact, their expressions say it all. Dega sits near the Warden -- who's downing rum. Dega keeps glancing nervously at the hospital across the courtyard...</scene_description> <character>DEGA</character> <dialogue>She has an exquisite voice. It's a shame the patients in the hospital can't hear it. Do you think they can turn up the PA system?</dialogue> <scene_description>The Warden nods drunkenly, motions to an attendant --</scene_description> <character>WARDEN BARROT</character> <dialogue>Turn it up.</dialogue> <scene_description>Dega smiles, proud of himself -- chances another glance at the hospital...</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - CONTINUOUS</stage_direction> <scene_description>Papi lies awake in bed -- hears the music outside getting louder. He's gripping a pocket watch that Dega smuggled in: it's five minutes to nine. He's looking anxious -- staring at the door expectantly, crawling out of his skin -- He hears someone unlocking the door, motions to Clousiot and Maturette who are lying in their beds across the way. The three of them feign sleep as Abda enters... Papi's POV as he peeks through half closed eyes -- watching as Abda sits down on the edge of Maturette's bed and starts groping him. Maturette whispers in Abda's ear...then gets up, and leads him into the toilets... Papi and Clousiot slip out of their beds, drop down to the floor and start unscrewing one of their bed's iron legs... Clousiot loses his grip while he's removing the leg, the unsupported corner of the bed falls with a BANG! Both men freeze...a few sick cons wake up -- Papi glares at them, they say nothing... Papi and Clousiot remains still for another beat...nothing -- thanks to the music in the courtyard, no one heard... Papi starts to wrap the bed leg with a sheet --</scene_description> <character>CLOUSIOT</character> <dialogue>Why you doing that?</dialogue> <character>PAPILLON</character> <dialogue>We don't want to kill'em.</dialogue> <scene_description>Clousiot makes a face. Papi grabs him, glaring --</scene_description> <character>PAPILLON</character> <dialogue>I don't give a shit how you did things in Toulouse -- nobody dies. You understand?</dialogue> <character>CLOUSIOT</character> <dialogue>OK OK --</dialogue> <scene_description>Clousiot starts wrapping his bed leg with a sheet --</scene_description> </scene> <scene> <stage_direction>INT. TOILETS - HOSPITAL - CONTINUOUS</stage_direction> <scene_description>Papi and Clousiot move silently into the toilets, brandishing their wrapped iron bed legs. They both freeze... Abda is standing with his back to them, Maturette on his knees, unbuckling Abda's pants... Papi rushes up behind Abda -- CRACKS him across the back of the head with the bed leg. Abda goes limp, collapses on top of Maturette -- Maturette pushes him off -- kicking him --</scene_description> <character>MATURETTE</character> <dialogue>Fucking asshole --</dialogue> <character>PAPILLON</character> <dialogue>Keep your voice down --</dialogue> <scene_description>Papi pulls Maturette back, squats down beside Abda -- yanks the key ring from his his belt --</scene_description> <character>PAPILLON</character> <dialogue>Help me get his clothes off --</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL - MOMENTS LATER</stage_direction> <scene_description>Wearing Abda's clothes now, Papi walks to the door, key in hand -- looks back at Maturette and Clousiot, who are brandishing the two bed legs... Papi inserts the key -- turns it...click -- Papi's POV as he slowly opens the door, sees three guards sitting at a table playing blackjack. One looks up as -- Papi shoves the card table -- pins two of the guards against the wall with it -- the third reaching for his carbine when -- CRACK -- Clousiot knocks him to the floor with the bed leg -- the other two guards push the table off -- Maturette beats the second unconscious with his bed leg while Papi slams the last guard's head into the wall -- drops him to the floor -- Clousiot and Maturette start undressing two of the guards, rushing to get into their uniforms. Papi checks his watch: it's one minute past nine --</scene_description> <character>PAPILLON</character> <dialogue>Hurry up -- we gotta go.</dialogue> <character>CLOUSIOT</character> <dialogue>Papi --</dialogue> <character>PAPILLON</character> <dialogue>What?</dialogue> <scene_description>Clousiot pulls a big ring of keys off a guard's belt -- holds it up to Papi...</scene_description> <character>CLOUSIOT</character> <dialogue>Which key?</dialogue> <scene_description>Papi's face drops. There's about a hundred keys on the ring.</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD - CONTINUOUS</stage_direction> <scene_description>Dega keeps shooting anxious glances at the prison wall by the hospital. He looks over at the Warden --</scene_description> <character>DEGA</character> <dialogue>Do you need your drink refilled, Warden?</dialogue> <scene_description>The Warden nods. Dega starts for the bar --</scene_description> </scene> <scene> <stage_direction>INT. DOOR - HOSPITAL - CONTINUOUS</stage_direction> <scene_description>Papi tries key after key, Clousiot and Maturette watching on, panic wrenching their sweating faces...</scene_description> </scene> <scene> <stage_direction>EXT. PRISON ELECTRIC STATION - CONTINUOUS</stage_direction> <scene_description>A locked cage enclosing a vine covered electrical station outside the prison wall. Someone unlocks the cage -- angle widens to reveal it's Sierra the turn key. Sierra slips inside, checks his watch -- looks up at the transformers -- he's going to have to climb part of the support structure to reach them. He hears voices -- ducks down behind the electrical equipment. He sees two guards sneaking a smoke break, bitching about Mrs. Barrot's singing --</scene_description> <character>GUARD</character> <parenthetical>(re: Mrs. Barrot's voice)</parenthetical> <dialogue>Rather stick a bayonet in my ear than listen to this shit.</dialogue> </scene> <scene> <stage_direction>EXT. COURTYARD - CONTINUOUS</stage_direction> <scene_description>An orderly who's manning the make-shift bar hands Dega some rum on the rocks. Dega shakes his head -- points at something --</scene_description> <character>DEGA</character> <dialogue>It's for the Warden.</dialogue> <scene_description>The Orderly hands Dega the whole bottle of rum. Dega starts back towards the stage, sneaks a pull off the rum -- peers up at the lights shining down into the courtyard, then checks his watch -- from his expression we gather Sierra is late -- Dega turns and looks at the hospital's side entrance -- sees a jalopy supply truck rolling up -- it stops a few feet from the entrance...</scene_description> </scene> <scene> <stage_direction>INT. DOOR - HOSPITAL - CONTINUOUS</stage_direction> <scene_description>Papi inserts a key -- CLICK -- he breathes out, looks to Maturette and Clousiot -- nods, then starts opening the heavy iron door...stops, sees the lights in the courtyard are on --</scene_description> <character>PAPILLON</character> <dialogue>Shit -- the lights are still on.</dialogue> <scene_description>Papi then turns to see that supply truck is idling a few feet away -- a CONVICT unloading crates of medical supplies -- two guards armed with machine guns in the flatbed, monitoring... Papi closes the door. Clousiot and Maturette give him a what the hell are we going to do now look. A knock --</scene_description> <character>CONVICT (O.S.)</character> <dialogue>You got supplies out here --</dialogue> <character>PAPILLON</character> <dialogue>Just a minute --</dialogue> <scene_description>Papi motions for Clousiot -- who's now wearing a guard's uniform -- to go to the door.</scene_description> <character>PAPILLON</character> <parenthetical>(whispers)</parenthetical> <dialogue>Open it --</dialogue> <scene_description>Clousiot nods -- opens the door, avoiding the eyes of watching guards as the convict carries the crates inside, sets them down inside the door... The convict's POV -- as he clocks the three undressed guards passed out on the floor, Papi and Maturette standing there. Papi looks the convict in the eyes, puts his finger to his lips...then presses some bills into his hand -- After a moment, the convict hides the bills in his pants, says nothing -- turns and heads back to the supply truck... Papi rushes up to Clousiot, watches as the truck putters off towards the next building. He looks back at the watch, it's now five minutes past midnight. Clousiot and Maturette can tell by his expression that they've missed their window -- they look at him, terrified -- he steadies them with his gaze; unflagging confidence in his eyes...</scene_description> <character>PAPILLON</character> <dialogue>We're going.</dialogue> <character>CLOUSIOT</character> <dialogue>What about the lights?</dialogue> <character>PAPILLON</character> <dialogue>We can't wait any longer. We can still make it. Walk, don't run --</dialogue> </scene> <scene> <stage_direction>EXT. COURTYARD - CONTINUOUS</stage_direction> <scene_description>Dega watches his friends silently emerging from the entrance.</scene_description> <character>GUARD (O.S.)</character> <dialogue>What are you doing over here?</dialogue> <scene_description>Dega turns around -- sees a guard walking towards him... While across the way Papi -- in the turn key's clothes, Clousiot and Maturette dressed as guards -- are now walking briskly towards the wall...</scene_description> </scene> <scene> <stage_direction>EXT. PRISON ELECTRIC STATION - CONTINUOUS</stage_direction> <scene_description>Sierra watches as those two guards finally finish their smokes. As they move on past he peers up at the transformer he needs to shut down. He starts climbing the rickety support structure --</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD - CONTINUOUS</stage_direction> <scene_description>Back to Dega, the guard is upon him now -- Dega holds up the bottle of rum --</scene_description> <character>DEGA</character> <dialogue>Trying to procure the Warden another drink. Probably not a good time to detain me.</dialogue> <scene_description>The guard grunts, about to go about his business when he hears a sound...turns to see Papi hoisting Maturette and Clousiot up the wall --</scene_description> <character>GUARD</character> <dialogue>Son of a bitch --</dialogue> <scene_description>Dega watches in horror as the guard aims his rifle -- The Guard's POV -- Papi, at the wall -- reaching up for Clousiot's outstretched hand -- his head drifting into the cross hairs, when SMASH -- Dega breaks the bottle of rum over the Guard's head -- knocks him out -- Shocked by his own actions, Dega looks across the way at the wall...shit, they're already gone...</scene_description> </scene> <scene> <stage_direction>EXT. PRISON ELECTRIC STATION - CONTINUOUS</stage_direction> <scene_description>Sierra has now climbed a ways up the support structure -- the switch still a few inches out of reach. He climbs higher, slips -- catches himself. He reaches up, stretching his fingers, finally makes contact -- flips the switch --</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD - CONTINUOUS</stage_direction> <scene_description>THE LIGHTS ILLUMINATING THE COURTYARD SUDDENLY WINK OUT -- Dega is plunged into darkness -- the sound of the guard lying by his feet starting to come to... Dega takes a step towards the wall, then stops -- can't make up his mind -- the guard sitting up now -- Dega starts running through the darkness to the wall, HE TRIPS -- hears the guard BLOWING HIS WHISTLE. Dega gets up, sprints -- stops short at the wall -- Dega peers up...the wall is too high to climb. Panic floods his expression as BANG -- the guard starts shooting -- Dega ducks down, bullets pounding the wall when --</scene_description> <character>PAPILLON (O.S.)</character> <dialogue>Over here!</dialogue> <scene_description>Dega turns to see Papi kneeling on top of the wall a few feet away, reaching his hand down -- Dega rushes over, grabs Papi's outstretched hand. Papi yanks Dega up as bullets riddle the wall -- Papi's POV -- as he leads the way, running along the top of the wall -- Dega, Maturette and Clousiot right behind him. Papi is searching in vain for a low point where they can safely jump -- there isn't one -- he keeps moving -- hears a sound -- an approaching engine, turns to see -- The supply truck speeding up alongside the wall, THE TWO GUARDS IN THE FLATBED FIRING MACHINE GUNS -- Papi grabs Dega, keeps him from running into machine gun fire -- Dega loses his footing, falls -- TAKES PAPI WITH HIM -- THUD -- THUD -- they've fallen back into the yard -- Papi's POV -- stunned, looks up at the high wall -- then he turns to see THE JALOPY TRUCK BARRELING TOWARDS HIM -- ABOUT TO SANDWICH HIM AND DEGA BETWEEN THE TRUCK AND THE WALL -- Papi scrambles, pushes Dega out of the way -- SMASH -- the truck accordions against the wall -- the guards are hurled from the flatbed -- Papi thinks fast -- hops up on to the crashed truck's flatbed -- motions for Dega to follow -- from there he's able to climb back on top of the wall -- pulls Dega up as one of the guards picks up his gun and OPENS FIRE -- BULLETS BLAST CONCRETE -- just missing Papi and Dega as they sprint along the top of the wall -- they catch up to Clousiot and Maturette who have just stopped short... The wall takes a sharp corner here, starts heading away from the river. They have to jump. Papi considers the long drop into uncertain darkness -- HEARS ALARMS STARTING TO SOUND -- he motions to the others to follow and jumps --</scene_description> </scene> <scene> <stage_direction>EXT. SECURITY WALL - HOSPITAL - NIGHT</stage_direction> <scene_description>Papi's POV as he smashes down through dense foliage, then lands hard on the muddy river bank. He hears the others crashing down around him -- Papi stands up, dazed from the fall -- it's so dark -- no moon -- he hears Dega moaning -- the slurping sound of the river -- guards yelling on the other side of the wall...</scene_description> <character>DEGA (O.S.)</character> <dialogue>I hurt my ankle --</dialogue> <scene_description>Papi follows the sound of Dega's voice, sees him lying in a rocky area -- gripping his ankle --</scene_description> <character>CLOUSIOT (O.S.)</character> <dialogue>Papi --</dialogue> <scene_description>Papi turns to see Maturette helping Clousiot to his feet across the way --</scene_description> <character>CLOUSIOT</character> <dialogue>Where's the boat?</dialogue> <scene_description>Papi tries to get Dega to his feet, Dega winces --</scene_description> <character>DEGA</character> <dialogue>I think I sprained it.</dialogue> <scene_description>Papi sets Dega back down -- turns and peers helplessly out at the darkened river...</scene_description> <character>PAPILLON</character> <dialogue>Shit.</dialogue> <scene_description>He turns back and faces his three companions -- horror twisting their expressions... Then a sound, Papi turns -- sees Jesus sitting in a little row boat -- he just lit a match -- holds it just long enough for Papi to fix his position, then drops it in the river -- Jesus brings the boat in closer to shore...</scene_description> <character>JESUS</character> <dialogue>I thought there were only going to be three of you.</dialogue> <scene_description>Papi wades to the boat, climbs inside --</scene_description> <character>PAPILLON</character> <dialogue>There's four now.</dialogue> <character>JESUS</character> <dialogue>I can't carry four.</dialogue> <character>PAPILLON</character> <parenthetical>(threatening)</parenthetical> <dialogue>Yes, you can.</dialogue> <scene_description>Before Jesus can argue Clousiot and Maturette dump Dega into the boat, then almost capsize it climbing in themselves --</scene_description> <character>JESUS</character> <dialogue>Watch it you fools --</dialogue> <scene_description>Jesus hands Clousiot and Papi paddles -- the three of them start rowing. Papi turns, sees the wall receding in the distance. He breathes out -- smiles madly...</scene_description> </scene> <scene> <stage_direction>EXT. RIVER - SUNRISE</stage_direction> <scene_description>Rain drizzles down, heavy fog wafting past -- Papi and Clousiot struggle to row while simultaneously smacking swarming mosquitos. Everyone looks completely exhausted. Maturette is nervously eyeing something in the water -- Dega leans over to see what it is...clocks gators cruising past. Dega struggles to move further inside the boat as -- Jesus steers them under some mangroves, slimy foliage hiding them as they bump the muddied shore --</scene_description> <character>JESUS</character> <dialogue>Your boat.</dialogue> <scene_description>Jesus motions to a rope tied to a tree -- Papi looks, sees it leads to small sail boat camouflaged with banana leaves.</scene_description> <character>JESUS</character> <dialogue>You're about twelve miles from the mouth of the river. Wait for night to depart; the manhunters will be looking for you.</dialogue> <scene_description>Papi pulls out the other halves of the bills he gave Jesus -- Jesus grabs them out of Papi's hand. Papi, Clousiot and Maturette get Dega out of the boat -- Papi turns in time to see Jesus floating away -- he gives Papi a wave --</scene_description> <character>JESUS</character> <dialogue>Enjoy your freedom.</dialogue> </scene> <scene> <stage_direction>EXT. RIVER BANK - DAY</stage_direction> <scene_description>Soaking wet from the rain, Papi, Clousiot and Maturette set Dega down -- prop him up against a tree. His face is white, sweat pouring as Maturette inspects his leg...</scene_description> <character>DEGA</character> <dialogue>Ow ow -- don't touch it -- I think it's broken.</dialogue> <character>MATURETTE</character> <dialogue>I think you're right.</dialogue> <character>PAPILLON</character> <dialogue>Broken!? That's not what you said before!</dialogue> <character>DEGA</character> <dialogue>Because you would have left me.</dialogue> <character>PAPILLON</character> <dialogue>You're damn right I would have.</dialogue> <scene_description>Papi crouches down, looks at Dega's leg --</scene_description> <character>PAPILLON</character> <dialogue>It's probably not even broken --</dialogue> <scene_description>Papi tries to move Dega's leg -- Dega screams out in pain. Papi stands up, struggling to contain his anger...</scene_description> <character>PAPILLON</character> <parenthetical>(to Maturette and Clousiot)</parenthetical> <dialogue>Find some branches we can make a splint with.</dialogue> <scene_description>Papi trudges through the mud to where the boat is hidden... He begins removing the banana leaves that cover it -- reaches into the sail boat, rifles through a supply box, pulls out a jug of water, uncaps it, smells it, scowls --</scene_description> <character>PAPILLON</character> <dialogue>Water's spoiled.</dialogue> <scene_description>He pulls out a compass...shakes his head --</scene_description> <character>PAPILLON</character> <dialogue>Compass is shit --</dialogue> <scene_description>Papi tosses the compass over his shoulder, steps into the boat -- CRACK -- his foot goes right through. It takes him a moment to register what just happened -- pulls his foot out, the boat filling with water --</scene_description> <character>PAPILLON</character> <dialogue>That son of a bitch. Son of a bitch! The god damn boat's rotten!</dialogue> <scene_description>Dega, Clousiot and Maturette react with weary disappointment. Then Clousiot looks at Maturette, motions to Dega -- Dega notices...</scene_description> <character>DEGA</character> <dialogue>Yes, this means you're going to have to carry me --</dialogue> <scene_description>Papi isn't listening to them; peering out at the river, dread wrinkling his expression while --</scene_description> <character>CLOUSIOT</character> <dialogue>I gotta bad back, mec --</dialogue> <character>DEGA</character> <dialogue>If you were hurt -- I'd carry you -- no question.</dialogue> <scene_description>Clousiot and Maturette look dubious...</scene_description> <character>DEGA</character> <dialogue>I would! I've done brave things --</dialogue> <scene_description>Papi shooshes them. They go quiet. Papi looks back out at the river...the slurping water, hissing insects... Maturette steps towards Papi, peers into the wafting fog...</scene_description> <character>MATURETTE</character> <dialogue>There's no one --</dialogue> <scene_description>BANG -- a bullet pierces Maturette's throat. He spins around -- choking on his own blood -- collapses, dead -- Papi sees a small boat emerging from the fog -- IT'S THE THREE MANHUNTERS WHO CAUGHT PAPI THE LAST TIME -- They start leaping from their boat, racking rifles as Papi and Clousiot start trying to pull Dega up. Papi looks over, sees the Manhunters have them in their sights --</scene_description> <character>WHITE MANHUNTER</character> <dialogue>Go ahead -- try it. You're easier to carry dead.</dialogue> <scene_description>The white manhunter -- whose name is HAUTIN -- walks up on Maturette's body, draws his machete -- and in a quick motion THWACK, lops off his head --</scene_description> <character>HAUTIN</character> <dialogue>We get paid the same either way.</dialogue> <scene_description>Hautin picks up Maturette's head by the hair -- drops it into a sack. Papi, Clousiot and Dega watching on, their faces masks of numbed horror...</scene_description> </scene> <scene> <stage_direction>EXT. MUDDY TRAIL - DAY</stage_direction> <scene_description>Papi and Clousiot struggle to carry Dega as the Manhunters lead them through the jungle at gunpoint... Hautin keeps looking at Papi -- recognizes him...</scene_description> <character>HAUTIN</character> <dialogue>Didn't we pick you up a couple years ago?</dialogue> <scene_description>Papi says nothing.</scene_description> <character>HAUTIN</character> <dialogue>Thank god for stupid men.</dialogue> <scene_description>The Manhunters share a chuckle, then:</scene_description> <character>PAPILLON</character> <dialogue>How much you get paid to sell out your own kind?</dialogue> <scene_description>Hautin scoffs --</scene_description> <character>HAUTIN</character> <dialogue>Not enough. You think it gets better when you're out? At least inside they feed and clothe --</dialogue> <scene_description>Hautin stops, holds up his hand for the others to halt -- Papi sees what Hautin is looking at -- a large bird hanging upside down in some kind of snare. Hautin pokes it with his rifle and it SCREECHES --</scene_description> <character>HAUTIN</character> <dialogue>Looks like somebody left us dinner.</dialogue> <scene_description>Hautin reaches for the swinging, screeching bird when -- WHACK -- HIS ARM IS HACKED OFF AT THE ELBOW -- Now Hautin is SCREECHING, backing away from a thickset man with a bloody machete in one hand and a double barreled shotgun in the other. Tattooed on the man's face is a big blue cockroach. This is the MASKED BRETON. The other two Manhunters raise their weapons -- BOOM -- the Breton blasts the Chinese manhunter. Papi grabs the black manhunter, wrestles his rifle away, knocks him to the ground. The downed manhunter starts drawing a pistol holstered on his leg when BOOM -- the Breton blasts him with the shotgun -- Hautin takes off running into the swamp. The Masked Breton ignores him at first, pets the snared bird for a moment, then turns, pumps his shotgun and -- BOOM -- blasts Hautin in the back. Hautin belly flops into the swamp -- The Breton turns his attention back to Papi, Clousiot and Dega -- Papi tightens his grip on his rifle -- not sure what's coming next --</scene_description> <character>MASKED BRETON</character> <dialogue>You the ones who broke out last night? Heard there was four of you.</dialogue> <scene_description>None of them answers...</scene_description> <character>MASKED BRETON</character> <dialogue>Which one of you is Papillon?</dialogue> <scene_description>Papi considers whether or not to answer when --</scene_description> <character>DEGA</character> <dialogue>I am. I'm Papillon.</dialogue> <scene_description>Papi gives Dega a "what the hell are you doing" stare. The Breton fixes his eyes on Dega...Dega starts to squirm, transfixed by the Breton's tattooed face... The Breton ignores Dega's claim and steps closer to Papi -- Clousiot and Dega tensing -- as the Breton wipes his bloody machete on his pants -- sheathes it -- holds out his hand --</scene_description> <character>MASKED BRETON</character> <dialogue>They call me the Masked Breton.</dialogue> <scene_description>Papi looks into the Breton's eyes -- sees no apparent sign of deception...shakes his hand. The Masked Breton pulls out a sack, then sets to work removing the Hoccos from the snare.</scene_description> <character>MASKED BRETON</character> <dialogue>This isn't some common rooster -- this is a hoccos. You can make a lot more trapping hoccos than men. Sell them to villagers to protect their chicken coops. Kills rats, snakes, spiders. Never runs away.</dialogue> <scene_description>The Masked Breton shoves the squirming bird into a sack --</scene_description> <character>MASKED BRETON</character> <dialogue>You have any money left -- or did you give it all to Jesus?</dialogue> <character>PAPILLON</character> <dialogue>You know that piece of shit?</dialogue> <character>MASKED BRETON</character> <dialogue>He keeps the manhunters well fed. You have any money or not?</dialogue> <scene_description>Papi considers whether or not to answer when --</scene_description> <character>MASKED BRETON</character> <dialogue>You know what -- fuck it -- I'll do it for nothing.</dialogue> <character>PAPILLON</character> <dialogue>Do what?</dialogue> <character>MASKED BRETON</character> <dialogue>Take you up river to Pigeon Island. The good news is I know some mecs there who have a boat they'll probably be willing to sell to you. That is if you have enough money.</dialogue> <scene_description>Clousiot and Dega look at Papi, their eyes seem to be saying, ok, let's trust this guy...</scene_description> </scene> <scene> <stage_direction>EXT. MARONI RIVER - NIGHT</stage_direction> <scene_description>Papi, Dega and Clousiot ride in the Breton's boat, everyone paddling but Dega, as it glides down the winding river. Dega can't help but stare at the Breton's tattooed face...</scene_description> <character>MASKED BRETON</character> <dialogue>Something you want to ask me, mec?</dialogue> <character>DEGA</character> <dialogue>Pardon me, Mister Breton, but yes. You had mentioned the good news regarding this island. Is there any bad?</dialogue> <character>MASKED BRETON</character> <dialogue>Pigeon Island is a leper colony for convicts -- two hundred murdering thieves with rotting flesh. If they like you, they'll sell you a boat. If they don't, they'll kill you and take your money -- or worse -- infect you with their disease. Orderlies from the prison hospital drop supplies there once a week, but no guards ever go there.</dialogue> <character>DEGA</character> <dialogue>Seems like a smart a policy.</dialogue> <character>MASKED BRETON</character> <dialogue>Ha, life's a bitch, huh. One minute you're drinking with a fine lady -- then boom -- you wake up in the fucking jungle with a cockroach on your forehead...</dialogue> <character>DEGA</character> <dialogue>I hope you don't think me rude for asking this, but your face -- may I inquire why you...</dialogue> <character>MASKED BRETON</character> <dialogue>So mecs think I'm crazy -- don't fuck with me.</dialogue> <character>DEGA</character> <dialogue>Ah...a clever disguise.</dialogue> <character>MASKED BRETON</character> <dialogue>I can't go back to France. But I want to see you bastards succeed.</dialogue> <scene_description>Papi, Dega and Clousiot are looking increasingly anxious --</scene_description> </scene> <scene> <stage_direction>EXT. SHORELINE - PIGEON ISLAND - NIGHT</stage_direction> <scene_description>Papi and Clousiot lay Dega down on the muddy shore as the Masked Breton starts pushing off in his boat --</scene_description> <character>PAPILLON</character> <dialogue>Thank you. I'll give France your regards.</dialogue> <scene_description>The Breton smiles at Papillon's confidence...</scene_description> <character>MASKED BRETON</character> <dialogue>Fuck France.</dialogue> <scene_description>Papi nods, seems to concur. The three of them watch the Masked Breton paddle off into the darkness... Papi turns from the water...can make out some fire light flickering in the distance -- Papi hears Dega GASP -- looks over to see a skittish looking dog has just emerged from the brush...</scene_description> <character>DEGA</character> <dialogue>Do dogs carry leprosy?</dialogue> <scene_description>Papi sighs. The dog starts BARKING at them -- Papi turns to see figures moving in front of that distant firelight now -- alerted by the barking. Dega and Clousiot are looking increasingly terrified...</scene_description> <character>PAPILLON</character> <dialogue>Stay here. I'll go make contact.</dialogue> <character>CLOUSIOT</character> <dialogue>You do that.</dialogue> <scene_description>Papi moves into the brush, heading for the flickering light -- the dog following after, almost herding him --</scene_description> </scene> <scene> <stage_direction>EXT. LEPER VILLAGE - PIGEON ISLAND - MOMENTS LATER</stage_direction> <scene_description>Papi steps into a clearing. He sees a few straw huts across the way -- starts towards them when he notices something burning in a trench -- black smoke wafting up into the night. Then he clocks a wooden cross -- all these tattered prisoner identification papers nailed to it...he walks up on the trench -- sees blackened bones inside. They burn their dead. Papi covers his mouth as black smoke wafts in his face... He continues on, a clothesline blocking his path now -- all these stained clothes hanging, blowing in the wind. Papi carefully ducks under the clothes, terrified of contagion --</scene_description> <character>LEPER WOMAN (O.S.)</character> <dialogue>Who's there?</dialogue> <scene_description>He turns to see a young woman washing clothes in a bucket. The dog rushes past him, goes to the woman and noses her. She peers around, but can't find Papi in the darkness... Papi lights a cigarette to announce himself. The woman starts to turn -- presenting a beautiful profile. Papi starts slowly walking up on her...</scene_description> <character>LEPER WOMAN</character> <dialogue>Approach gently, friend.</dialogue> <scene_description>She turns some more -- revealing half of her face has been eaten away. Papi steadies himself, holds her stare...</scene_description> <character>LEPER WOMAN</character> <dialogue>You here to rob us? You think we're too well off?</dialogue> <character>PAPILLON</character> <dialogue>I'm a friend of the Masked Breton. He told me you have a boat to sell.</dialogue> <scene_description>She considers him for a moment...takes a step closer, detecting the disturbance in his eyes...</scene_description> <character>LEPER WOMAN</character> <dialogue>Do you want to fuck me?</dialogue> <scene_description>Papi doesn't move, holds her stare...</scene_description> <character>PAPILLON</character> <dialogue>If I could cure you first...I'd love nothing more.</dialogue> <scene_description>She frowns, looks him over for a moment, then motions for him to follow as she starts for the largest hut in the clearing.</scene_description> </scene> <scene> <stage_direction>INT. HUT - PIGEON ISLAND - CONTINUOUS</stage_direction> <scene_description>Papi's POV as the leper woman shows him into a darkened hut -- she doesn't follow him inside. The only light is a little oil lamp sitting on a table -- six shadowy figures stand just beyond the light's reach at the back of the hut...</scene_description> <character>VOICE</character> <dialogue>Have a seat.</dialogue> <scene_description>Papi sits down at the illuminated table. They can see him, but he can't see them.</scene_description> <character>PAPILLON</character> <dialogue>I mean no disrespect. But when I negotiate with someone, I like to look them in the eye.</dialogue> <scene_description>Then one of the men steps forward, sits down at the table across from Papillon.</scene_description> <character>TOUSSAINT</character> <dialogue>If you can -- please do...</dialogue> <scene_description>Papi manages to swallow his shock as he takes in the sight of TOUSSAINT, 40 -- no eyelid on his left eye -- nose completely eaten away; just a silver dollar-sized hole in the middle of his face. He holds a fat cigar with the two fingers remaining on his bandaged hand.</scene_description> <character>TOUSSAINT</character> <dialogue>I used to look a lot like you. Though I was a good deal handsomer. Look at what this disease has accomplished in just five years. Amazing isn't it? The strength with which it overcomes the body -- its dedication to death. I've really come to respect this affliction.</dialogue> <character>PAPILLON</character> <dialogue>I've more respect for the men who have the strength to live with it.</dialogue> <scene_description>Toussaint smiles dubiously.</scene_description> <character>TOUSSAINT</character> <dialogue>Are you thirsty?</dialogue> <scene_description>One of the men standing in the shadows comes forward, sets down a glass and a bottle of rum. Toussaint pours the rum --</scene_description> <character>TOUSSAINT</character> <dialogue>This is good rum -- I only bring it out when we have guests...so there's no shortage of it.</dialogue> <scene_description>Papi watches as Toussaint picks up the glass, drains it with a long slow sip. Toussaint sets the glass down on the table -- pours some more -- slides it over to Papi... Papi keeps his poker face on as he looks down at the glass...sees the rim has been smudged by Toussaint's lips... Papi looks up at Toussaint, who's staring at him, waiting... After a moment Papi picks up the glass, holds it up in salute -- downs it -- forces a smile...then:</scene_description> <character>PAPILLON</character> <dialogue>Mind if I have another? I've had a long journey.</dialogue> <scene_description>Toussaint exchanges looks of amusement with the others -- then refills the glass --</scene_description> <character>TOUSSAINT</character> <dialogue>How did you know that I have dry leprosy -- that the glass isn't contagious?</dialogue> <character>PAPILLON</character> <dialogue>I didn't. But why would you offer it to me, unless that was the case?</dialogue> <scene_description>Toussaint considers that answer for a moment, smiles...</scene_description> <character>TOUSSAINT</character> <dialogue>A man who knows how to trust in others, is himself a trustworthy man.</dialogue> <scene_description>Papi nods, holds up the glass in salute, then drains it --</scene_description> </scene> <scene> <stage_direction>EXT. BOTTOM OF RIVER - MORNING - HEAVY RAIN</stage_direction> <scene_description>Papi dives under the water as rain pelts the surface -- Clousiot right behind him -- both beelining for... A submerged SAIL BOAT sitting on the bottom of the river -- a solid looking sixteen-footer. The lepers have weighed it down with stones to keep it hidden... Papi and Clousot start removing the stones and as they do the boat, slowly begins to rise to the surface --</scene_description> </scene> <scene> <stage_direction>EXT. BANKS - PIGEON ISLAND - MORNING - HEAVY RAIN</stage_direction> <scene_description>Rain pours down -- Papi and Clousiot carry Dega, wading out into the water, start loading him into their new sail boat --</scene_description> <character>DEGA</character> <dialogue>How much did you say?</dialogue> <character>PAPILLON</character> <dialogue>Four thousand --</dialogue> <character>DEGA</character> <dialogue>Three would have been more than fair --</dialogue> <character>PAPILLON</character> <dialogue>We've got plenty more. We're not going to haggle like a bunch of Armenians.</dialogue> <scene_description>Annoyed, Papi purposely drops Dega a little too roughly into the boat. He then wades back to shore, where Toussaint stands waiting with a dozen or so others... Toussaint motions to some trees lining the river. Papi sees there are men stationed in the branches, keeping a look out --</scene_description> <character>TOUSSAINT</character> <dialogue>If we spot any police boats -- I'll do what I can to detain them.</dialogue> <scene_description>Papi hands Touissaint the four thousand francs --</scene_description> <character>TOUSSAINT</character> <dialogue>Will you have any left after this?</dialogue> <scene_description>Papi considers for a brief moment -- his expression opaque...</scene_description> <character>PAPILLON</character> <dialogue>No. It's all we have -- exactly four thousand francs belonging to my friend.</dialogue> <scene_description>Touissaint takes that in...nods, the others start whispering to one another. Touissant motions to some crates that are stacked on the quay --</scene_description> <character>TOUSSAINT</character> <dialogue>Those supplies were just dropped off by the administration -- no one has touched them. Take as much as you can carry, with my blessing.</dialogue> <scene_description>From Papi's expression we gather he's now highly conflicted -- ashamed -- perhaps thinking of telling Toussaint the truth when Toussaint gives him a knowing smile --</scene_description> <character>TOUSSAINT</character> <dialogue>We don't need them -- usually sell them -- blow the money on leper whores or card games.</dialogue> <character>PAPILLON</character> <dialogue>I don't know how to thank you.</dialogue> <character>TOUSSAINT</character> <dialogue>Your cavale is ours.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Now get moving -- you need to hurry if you want to make it to the mouth of the river before the current changes. Don't stop until you get to Curacao -- any place south of that will extradite you back to France.</dialogue> <scene_description>Papi nods, loads one of the supply crates into the boat -- then pushes off and climbs inside -- Papillon, Clousiot and Dega set off down the river in the pouring rain. Papi looks back at the Toussaint and co. watching them go...</scene_description> </scene> <scene> <stage_direction>EXT. NEW BOAT - MARONI RIVER - DAY</stage_direction> <scene_description>Dega sits at the bow, manning the tiller while Papi and Clousiot adjust the sails. Dega peers nervously at the white caps awaiting them in the estuary and the ocean's endless horizon looming beyond...</scene_description> <character>PAPILLON</character> <parenthetical>(to Clousiot)</parenthetical> <dialogue>Keep the nose pointing into the wind!</dialogue> <scene_description>Clousiot struggles with the headsail -- Papi pushes him out of the way and does it himself -- Papi's POV -- as he keeps eyeing the French bank, the walls of the penitentiary --</scene_description> <character>DEGA</character> <dialogue>They're going to spot us.</dialogue> <character>PAPILLON</character> <dialogue>And they'll catch us too if you keep veering starboard --</dialogue> <scene_description>The sea starts getting increasingly choppy as they enter the estuary -- the boat wobbling --</scene_description> <character>PAPILLON</character> <dialogue>Both of you -- on the floor -- lay flat -- it'll stabilize the boat.</dialogue> <scene_description>Clousiot and Dega do as they're told -- the boat starts to stabilize -- then BANG BANG -- shots are being fired from the French bank, bullets whizzing overhead -- Papi ducks down, grabs the tiller -- steering blind while bullets splinter the mast -- Lying on their stomachs, hands covering their heads -- the men exchange doomed glances as the hail of bullets continues. And then, the gunshots begin to dissipate, getting quieter -- until finally there's only the roar of the ocean -- Papi straightens up -- can see the lighthouse that towers over the penitentiary starting to fade into the distance... He turns, looks out at the vast, raging ocean waiting to swallow them up. Dega and Clousiot pop their heads up --</scene_description> <character>PAPILLON</character> <dialogue>Hold the jibs tight --</dialogue> <scene_description>The ocean lifts the boat up into the shimmering sunlight, then down into the waves' shadowed canyons -- Clousiot rushes to tie off one of the sails -- struggling to get the knot right -- Papi glares at him --</scene_description> <character>PAPILLON</character> <dialogue>You told me you were in the navy?!</dialogue> <character>CLOUSIOT</character> <dialogue>Did I say that? I think you heard me wrong --</dialogue> <scene_description>Papi angrily grabs the rope away -- ties the knot himself --</scene_description> <character>PAPILLON</character> <dialogue>I ought to throw you over --</dialogue> <character>CLOUSIOT</character> <dialogue>Come on, Papi --</dialogue> <scene_description>Papi is rushing around the little boat like a madman -- desperately trying to keep it level --</scene_description> <character>CLOUSIOT</character> <dialogue>What are you so upset about -- we made it! Hurrah! Hurrah!</dialogue> <scene_description>Clousiot slaps Dega on the shoulder --</scene_description> <character>CLOUSIOT</character> <dialogue>We made it!</dialogue> <scene_description>Dega smiles tentatively, looking around at the immense ocean.</scene_description> <character>DEGA</character> <dialogue>Have we?</dialogue> <scene_description>Clousiot digs into the crate of supplies, pulls out a bottle wrapped in brown paper -- unwraps it -- it's rum --</scene_description> <character>CLOUSIOT</character> <dialogue>Let's drink to our victory.</dialogue> <scene_description>Papi angrily grabs the bottle away from Clousiot, gives him a hard look -- then as the vast open space begins to relax him, he chuckles, uncaps the rum, holds the bottle up to the sun --</scene_description> <character>PAPILLON</character> <dialogue>To Julot, Lariot, Maturette and all those poor bastards still in the bagne!</dialogue> <scene_description>Papi takes a long slug -- then hands it back to Clousiot, who holds the bottle up --</scene_description> <character>CLOUSIOT</character> <dialogue>To Papillon!</dialogue> <scene_description>Clousiot takes a slug, then hands it to Dega. Dega shakes his head, screws the cap back on the rum --</scene_description> <character>DEGA</character> <dialogue>I don't like rum.</dialogue> <parenthetical>(to Papi)</parenthetical> <dialogue>So, Captain -- how does one sail to Curacao?</dialogue> <character>PAPILLON</character> <dialogue>We keep land in sight, head north -- we'll get there.</dialogue> <character>DEGA</character> <dialogue>God willing.</dialogue> <character>CLOUSIOT</character> <dialogue>He's willing. We should thank him for watching over us.</dialogue> <character>PAPILLON</character> <dialogue>Thank him for what? I did all the work.</dialogue> <scene_description>Clousiot grabs the bottle back from Dega -- Papi grabs it from Clousiot before he can take another swig, shoves it back into the supply box --</scene_description> <character>PAPILLON</character> <dialogue>I told you to keep ahold of those jibs.</dialogue> <scene_description>ANOTHER DAY The sun burns bright and hot in the afternoon sky... Dripping with sweat, his shirt wrapped around his head, Papi leans over the edge of the boat, looks down into the opal blue water -- calm, smooth as glass... Clousiot rolls a cigarette while humming to himself -- Dega wipes his glasses, watching as Papi opens a bag of rice, grabs a hand full -- then begins sifting it into the water -- Without taking his eyes off the water, Papi reaches in back of him -- his fingers find the machete -- he lifts it up, still eying the water as little fish begin nipping the rice -- THWACK -- Papi hacks at the fish -- then grabs them and throws them in the boat -- ANOTHER DAY Papi, Clousiot and Dega -- all three slumped over, sleeping, their skin now lobster red -- lips cracked -- THUMP -- something hits the boat... THUMP -- Papi's eyes open, he sits up -- getting his bearings when THUMP -- sees something in the water following alongside the boat -- Papi shoves Dega and Clousiot awake -- motions to the sea where several dolphins are following alongside the boat -- The three men watch as Dolphins charge their boat, then dive under, bursting forth on the other side --</scene_description> <character>DEGA</character> <dialogue>What are they so happy about?</dialogue> <character>CLOUSIOT</character> <dialogue>They're stupid animals.</dialogue> <character>PAPILLON</character> <dialogue>They think the same of us...</dialogue> <scene_description>Papi sees big drops of rain starting to pelt the sea -- the dolphins start to veer away from the boat... Papi's POV as he turns and sees an ugly black mass surging over the horizon... Papi shakes his head, starts gathering up some loose rope -- starts tying Dega to the boat --</scene_description> <character>DEGA</character> <dialogue>What are you doing?</dialogue> <scene_description>Papi motions to the coming storm -- Dega turns and sees what's coming -- his face drops... Clousiot snaps to it -- works with Papi to roll the sails. The sun begins to disappear behind the rolling black, waves exploding with spray -- distant thunder rumbling -- MOMENTS LATER THEY'RE IN THE THICK OF A FULL ON HURRICANE NOW -- rain falling in blinding torrents -- Papi and Clousiot scramble to bail out water, rising beyond their ankles -- Dega white knuckles the tiller, SCREAMING -- NIGHT Silence. Stars shimmer in the night sky. The boat is half flooded -- their main mast splintered. Clousiot is bailing out the hull with a mug, Papi fixes up Dega's now ragged splint -- Dega gritting his teeth, eyes tearing...</scene_description> <character>DEGA</character> <dialogue>Will I lose it?</dialogue> <character>PAPILLON</character> <dialogue>There's still time. Hopefully the storm didn't take us too far out -- and when the sun comes up, we'll still be able to see land.</dialogue> <character>DEGA</character> <dialogue>And if we can't?</dialogue> <scene_description>Papi doesn't answer, exchanges a look with Clousiot, then sits back, looks up at the sky...</scene_description> <character>PAPILLON</character> <dialogue>Why did you tell the Masked Breton you were me?</dialogue> <character>DEGA</character> <dialogue>I thought he meant to kill you -- I was trying my hand at bravery.</dialogue> <character>PAPILLON</character> <dialogue>Next time you're going to do that, warn me first.</dialogue> <character>DEGA</character> <dialogue>I was feeling desperate to prove my worth. After Maturette...</dialogue> <character>PAPILLON</character> <dialogue>I'm the one who decided to let him come along...</dialogue> <scene_description>Dega and Clousiot see the guilt creasing Papi's expression...</scene_description> <character>CLOUSIOT</character> <dialogue>At least he died free.</dialogue> <scene_description>Papi takes that in...</scene_description> <character>PAPILLON</character> <dialogue>All these guys dying, and nobody's ever going to know about it.</dialogue> <character>CLOUSIOT</character> <dialogue>You think they would care?</dialogue> <scene_description>Papi shrugs, peers into the black horizon, considering...</scene_description> <character>DEGA</character> <dialogue>So what are your plans, gentlemen -- now that we're liberated.</dialogue> <parenthetical>(to Clousiot)</parenthetical> <dialogue>I suppose you plan to terrorize the people of Curacoa.</dialogue> <scene_description>Clousiot shakes his head, looks down --</scene_description> <character>DEGA</character> <parenthetical>(to Papillon)</parenthetical> <dialogue>It would appear our friend's been rehabilitated.</dialogue> <character>CLOUSIOT</character> <dialogue>I guess I lied to you, mecs.</dialogue> <character>PAPILLON</character> <dialogue>We know -- you weren't in the Navy.</dialogue> <character>CLOUSIOT</character> <dialogue>Well that too -- yes...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I wasn't sentenced for murder. I'm a relegue.</dialogue> <character>CLOUSIOT</character> <dialogue>Never killed anybody in my life. Just didn't want mecs thinking I was weak...</dialogue> <character>PAPILLON</character> <dialogue>So what did you do?</dialogue> <scene_description>Clousiot doesn't answer at first, looks embarrassed, then:</scene_description> <character>CLOUSIOT</character> <dialogue>Stole a bicycle. It was my third offense, so... Twenty years.</dialogue> <scene_description>Papi and Dega take that in, dumbfounded...</scene_description> <character>CLOUSIOT</character> <dialogue>But I ain't fucking rehabilitated. I'd do it again.</dialogue> <scene_description>Clousiot chuckles -- Papi and Dega can't help but smile...</scene_description> <character>DEGA</character> <parenthetical>(to Papi)</parenthetical> <dialogue>And you? Do you plan to return to safe cracking?</dialogue> <scene_description>Papi shakes his head --</scene_description> <character>PAPILLON</character> <dialogue>Think I'll find some other way to get by. I want my papa to be able to hold his head up for once. Not going to write him until I can say I'm a free man working a steady job.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I spent that two years in solitary thinking back on things -- watching the movie of my life. I didn't really want to watch it, but what the hell else was I going to do... I'd be lying if I said I didn't want to get the bastards who sent me here, but I tell ya -- my family -- living in the country... It was an honest life. If I get the chance, I want to live that way again.</dialogue> <character>DEGA</character> <dialogue>Ah. That would not work for me I'm afraid. My father used to beat me worse than Santini...</dialogue> <scene_description>Papi and Clousiot register some surprise...</scene_description> <character>DEGA</character> <dialogue>I'm more encouraged by my present situation. My two new friends. And what a strange place to have found them...</dialogue> <character>PAPILLON</character> <dialogue>What about your wife?</dialogue> <character>DEGA</character> <dialogue>It's been almost a year since she last wrote. Of course there's only so much one can say...</dialogue> <character>CLOUSIOT</character> <dialogue>There will be plenty of women in Curacoa.</dialogue> <parenthetical>(to Papi)</parenthetical> <dialogue>Did you have a girl in Montmarte?</dialogue> <character>PAPILLON</character> <dialogue>Yeah -- a real sweetheart. But I think she's better off without me...</dialogue> <character>DEGA</character> <dialogue>I'm a little worried how Clara will take to the fugitive lifestyle...</dialogue> <scene_description>Papi looks like there's something he wants to say, but then, as he takes in the fragile hope in Dega's expression, he decides against it...</scene_description> <character>PAPILLON</character> <dialogue>She'll take to it just fine, Louis. Chicks love an adventure.</dialogue> <scene_description>Dega nods vaguely. They go quiet. We see the boat from a distance...</scene_description> </scene> <scene> <stage_direction>EXT. UNKNOWN COAST - DAWN</stage_direction> <scene_description>Papi's POV -- as he looks around at the horizon...no sign of land; nothing but water in every direction... Papi mans the tiller, sunburned and exhausted -- keeps dipping a rag in the water, pressing it to his face -- Dega stares into the water, licking his cracked lips while Clousiot digs into the supply box -- finding nothing --</scene_description> <character>CLOUSIOT</character> <dialogue>Christ, I thought we had more -- I'm so God damn --</dialogue> <character>PAPILLON</character> <dialogue>What did I tell you -- nobody's to say "I'm hungry." Nobody's to say, "I'm thirsty." And nobody's to say, "I wish I had a smoke."</dialogue> <scene_description>Papi trails off -- sees Clousiot staring at something: a sea gull has landed on the gunwale beside Dega -- Clousiot reaches for the machete -- starts to creep towards the bird, awakening Dega from his sun stroked trance -- Dega instinctively swats at the gull -- it flies off --</scene_description> <character>CLOUSIOT</character> <dialogue>Should chop off a piece of you to make up for the meal you just cost us --</dialogue> <character>DEGA</character> <dialogue>Have you forgotten who's underwriting your liberation --</dialogue> <scene_description>Papi raises his hand up --</scene_description> <character>PAPILLON</character> <dialogue>Quiet --</dialogue> <scene_description>Papi's POV as he turns around, squinting into the distance --</scene_description> <character>PAPILLON</character> <dialogue>The gull had to come from some place...</dialogue> <scene_description>Papi spots a faint black line on the horizon...</scene_description> <character>PAPILLON</character> <dialogue>There. Land. You see it?</dialogue> <character>DEGA</character> <dialogue>Curacao?</dialogue> <character>PAPILLON</character> <dialogue>I don't know.</dialogue> <character>DEGA</character> <dialogue>Well my leg can't wait any longer.</dialogue> <scene_description>Papi squints into the distance, clocks sunlight reflecting off of distant boats cruising the shoreline...</scene_description> <character>PAPILLON</character> <dialogue>I don't think we should head in yet. Looks like a lot of boats. We can't afford to be seen.</dialogue> <character>DEGA</character> <dialogue>I can smell the gangrene -- I'm rotting -- I'm literally rotting!</dialogue> <character>PAPILLON</character> <dialogue>Saving your leg isn't going to be worth much if you're dead.</dialogue> <character>CLOUSIOT</character> <dialogue>Papi -- please. I need water.</dialogue> <scene_description>Papi shakes his head, breathes out -- sees Dega and Clousiot's expectant glares getting increasingly insistent...</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE COAST LINE - NIGHT</stage_direction> <scene_description>Papi's POV as they begin skirting the coast -- the sea is rough, wind gusting -- lots of lights dotting the shoreline -- They hear a distant voice echoing -- someone speaking through a megaphone, BARKING INAUDIBLE DEMANDS -- They see a police boat shining a spotlight on the shoreline, appears to be searching for an escaped convict of their own.</scene_description> <character>PAPILLON</character> <dialogue>Shit.</dialogue> <character>CLOUSIOT</character> <dialogue>They can't be looking for us --</dialogue> <character>DEGA</character> <dialogue>We should turn around anyway --</dialogue> <character>PAPILLON</character> <dialogue>We turn around, they're going to notice --</dialogue> <character>DEGA</character> <dialogue>I thought the Curacaoans were friendly --</dialogue> <scene_description>They see another police boat creeping up behind them. Papi clocks the flag the boat's flying -- his face drops...</scene_description> <character>PAPILLON</character> <dialogue>These aren't Curacaoans. We overshot -- they're Colombian.</dialogue> <scene_description>The police boat's spotlight comes on -- Papi, Dega and Clousiot squint into its blinding glare as someone speaks through a megaphone. Note: italics indicate Spanish:</scene_description> <character>VOICE OVER MEGAPHONE</character> <dialogue>Drop anchor and have your papers ready. We need to search your vessel.</dialogue> <character>DEGA</character> <dialogue>What's he saying?</dialogue> <character>PAPILLON</character> <dialogue>Who cares --</dialogue> <scene_description>Papi repositions the sail -- scrambling to evade as the police boat starts speeding towards them --</scene_description> <character>VOICE OVER MEGAPHONE</character> <dialogue>Stop!</dialogue> <scene_description>Papi's POV -- as he looks back over his shoulder -- the police boat giving chase -- GUNSHOTS START RINGING OUT. A BULLET SLAMS INTO PAPI'S SHOULDER -- HE TOPPLES BACKWARDS OFF THE SIDE OF THE BOAT -- SPLASH --</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN - CONTINUOUS</stage_direction> <scene_description>Papi's POV -- underwater spinning in the blackness, the moon rippling as he paddles to the surface -- Papi surfaces -- gasps for air -- looking around, trying to get his bearings. He sees the stern of his boat -- now about ten feet away --</scene_description> <character>CLOUSIOT (O.S.)</character> <dialogue>Where the hell is he --</dialogue> <character>DEGA (O.S.)</character> <dialogue>Papillon!</dialogue> <scene_description>Papi sees the Colombian police boat motoring up alongside his friends. Papi keeps quiet, treading water -- conflicted -- touches his hand to his wounded shoulder, sees blood -- He spins himself around in the water, scanning -- spots the shoreline -- it's about fifty yards away... Papi grits his teeth against the pain, starts silently swimming for shore -- he looks back over his shoulder, sees Dega and Clousiot being brought aboard the police boat.</scene_description> </scene> <scene> <stage_direction>EXT. BEACH - COLOMBIAN COAST - NIGHT</stage_direction> <scene_description>There's conflict in Papi's eyes as he stumbles on to the shore, gripping his wound, peering out at his friends...when he hears someone emerging from the brush -- Papi spins around, sees a Colombian policeman approaching, aiming a pistol at his head. Papi freezes, nowhere to go --</scene_description> <character>COLOMBIAN POLICEMAN</character> <parenthetical>(yelling to his comrades)</parenthetical> <dialogue>Over here --</dialogue> <scene_description>Suddenly someone runs up behind the policeman and headbutts him in the back of the head -- The policeman, dazed now, turns to fire on his attacker when Papi thinks fast and tackles the policeman -- Papi wrestles the gun away from the policeman, then pistol whips him unconscious. Papi then scrambles to his feet and takes in his wild-eyed eyed savior: a panting Colombian man whose hands are shackled behind his back -- looks to have escaped from custody. This is ANTONIO, 35. Antonio starts frantically trying in vain to remove the hand cuff keys from the policeman's belt, but can't manage it with his hands behind his back -- then:</scene_description> <character>ANTONIO</character> <dialogue>If you get these off me, I can help you.</dialogue> <scene_description>Papi gets what he's proposing despite the language barrier -- the police boat's spotlight about to illuminate them as -- Papi yanks the handcuff keys off the unconscious policeman's belt. He unlocks Antonio's handcuffs just as the spotlight illuminates them -- Papi and Antonio sprint into the jungle -- the sound of police dogs barking, racing up the beach after them --</scene_description> </scene> <scene> <stage_direction>EXT. COLOMBIAN JUNGLE - NIGHT</stage_direction> <scene_description>Papi's POV as he struggles to keep up with Antonio -- who's now running in little leaps -- bounding through the jungle while his arms swing wildly -- a sort of skipping run which allows him to maintain a blistering pace --</scene_description> </scene> <scene> <stage_direction>EXT. COCA FIELD - MORNING</stage_direction> <scene_description>Papi stumbles across the wide expanse of a coca field -- watching as the unflagging Antonio gets further and further away. Papi stops, grabs his knees -- sucking air -- He checks behind him -- can hear the distant barking of the police dogs getting louder -- still hasn't lost them. Then he turns to see Antonio rushing to pick some coca leaves... Antonio presents Papi with a handful of leaves -- then puts one in his own mouth to demonstrate; chews it -- gives Papi a smile, motions for him to do the same... Papi pops a leaf into his mouth, chews it, doesn't look sure about the taste, but then as he grinds it between his teeth, a smile grows -- he's suddenly infused with energy. Antonio then shows Papi how to do the skipping leap. Papi watches -- tries it himself. He's not bad. Antonio starts running again and now Papi is keeping pace -- looks to actually be enjoying the exsertion -- Papi is doing the skipping leap now -- his eyes wide and wild -- he lets out a laugh as they race across the vast field --</scene_description> </scene> <scene> <stage_direction>EXT. JUNGLE/MOUNTAIN TRAIL - DAY</stage_direction> <scene_description>Papi reaches into his pocket -- holds the two leaves he has left in his palm -- pops one into his mouth. Angle widens as he starts moving -- he's following Antonio up a narrow path now, trudging slowly uphill -- the chorus of animal sounds getting increasingly menacing... Papi's POV as he starts noticing ominous fetishes dangling from the branches -- fashioned from animal and human bones. Antonio stops, crosses himself -- motions to the fetishes --</scene_description> <character>ANTONIO</character> <dialogue>Death awaits us here. We should go around.</dialogue> <scene_description>Papi considers as Antonio keeps insistently pointing in the opposite direction. Papi shakes his head --</scene_description> <character>PAPILLON</character> <dialogue>No, we should keep going this way -- maybe they'll be afraid to follow us.</dialogue> <scene_description>Antonio gives Papi a pitying look -- then slaps him on the shoulder --</scene_description> <character>ANTONIO</character> <dialogue>Good bye, my friend --</dialogue> <scene_description>Papi stands there for a moment, watching as Antonio heads off in the other direction -- disappearing into the jungle... Alone now, Papi looks like he's not sure he made the right decision. He continues down the seemingly haunted trail -- now getting narrower, darker -- his eyes darting when -- Papi hears a dog barking in the near distance -- Antonio screaming -- sounds like the dog is mauling him. Then a single gunshot... Papi takes off running -- he veers off of the trail -- charges into the bush, smashing through the greenery -- until he suddenly loses his footing, stuck in something now -- He looks down, HE'S SINKING IN QUICKSAND. He hears something running towards him, but he can't get free -- A police dog explodes from the jungle -- barking in Papi's face as three Colombian policeman emerge behind it. The policemen watch as Papi continues to sink into the quicksand; doesn't look like they have any plans to help him. Papi claws at branches -- ripping plants from the earth, trying to find something that will hold -- the amused policemen watching on, then -- The policemen's expressions change -- one of them puts his hand to the back of his neck -- looks at his fingers, blood. Another looks down at his leg, there's a dart sticking out of it -- more darts silently shooting through the air -- A dart hits Papi in the shoulder, another sticks in his neck. Papi watches as one of the policemen passes out from the dart's toxin -- falls face first into the quicksand. The other two collapse soon after -- the dog too... Papi starts to lose consciousness, submerged to his shoulders now -- the sand swallowing him up... Papi's distorted POV -- he looks up to see three GUJIRO INDIAN WARRIORS approaching with blow guns -- naked but for loin cloths, faces smeared with chalky white. They lower their blow guns and peer down at him. They seem to be marveling at the butterfly tattoo on his chest WHEN EVERYTHING GOES BLACK...</scene_description> </scene> <scene> <stage_direction>INT. LALI'S HUT - DAY</stage_direction> <scene_description>Papi's hazy POV as he wakes up -- he's lying on the sodden floor of a small hut made of brick red earth, staring up at the palm leaf ceiling, something fluttering around up there -- We're reminded of the vampire bats flying around the barrack's ceiling...then as Papi's vision focuses, we see these are not bats, but BLUE MORPHUS BUTTERFLIES... Papi hears soft voices conferring in whispers. He turns his head, sees two Gujiro Indian girls kneeling on either side of him. Both are naked and beautiful, braided hair down to their hips. This is LALI and her younger sister ZORAIMA. Papi looks like he's died and gone to heaven. The sisters are cleaning the bullet wound on his shoulder, dabbing it with sea weed -- Lali leans in, her face almost touching Papi's -- gives him a little bite on the corner of his mouth -- Zoraima caresses her finger over Papi's tattoos, making its way down his stomach towards his crotch -- when a tall man enters the hut and peers down at Papi curiously... Only five teeth remain in the imposing man's sunken mouth. This is the SORCERER. Lali and Zoraima make possessive gestures towards Papi. Note: italics denote Gujiro dialect:</scene_description> <character>LALI</character> <dialogue>He is ours -- a gift from the jungle.</dialogue> <scene_description>Papi's POV -- he notices the butterfly is among the symbols ornamenting the Sorcerer's scant clothing, looks to have spiritual significance to them. The Sorcerer leans in to inspect Papi's tattoo, admiring it -- The Sorcerer starts pantomiming something to Papi, pointing at Papi's tattoo -- then at himself. Papi nods along, agreeing, though to what he's not exactly sure. He forces a smile as the Sorcerer's face lights up with excitement --</scene_description> </scene> <scene> <stage_direction>INT. SORCERER'S HUT - GUIJIRO VILLAGE - NIGHT</stage_direction> <scene_description>A twirling mirror hanging from a string -- Papi's hand gently stops it, holds it still, we see his face reflected -- all anxious concentration -- Papi puts a coca leaf in his mouth, chewing as he angles the mirror so it reflects his butterfly tattoo, referencing it... Papi pricks the Sorcerer's chest with three needles he's tied together, affixed to the end of a stick -- while constantly referencing the mirror. He's a good two thirds of the way done with the tattoo -- but the quality of the work is obscured by a mess of blood and blue India ink -- Angle widens -- the Sorcerer is lying still as a statue, ramrod straight on the table, a cigar in his mouth -- smokes it from the embers side -- his eyes boring into Papi... Angle widens to reveal the hut is packed with increasingly impatient observers, Lali and Zoraima among them -- as are warriors with bow and arrows, as well as some sawed off shotguns, ready to dispatch Papi should he fuck this up. Papi's hand slips -- his hand freezes -- strained eyes going wide as he rushes to correct his mistake -- One of the warriors leans in to take a closer look, senses Papi screwed something up --</scene_description> <character>PAPILLON</character> <dialogue>Give me some room here, will ya --</dialogue> <scene_description>The Sorcerer motions for the warriors to back up... Papi sets down his stick-pin tool, starts dabbing at the Sorcerer's chest with a cloth -- picks up a razor -- deepens some of the lines -- dabs it again, sets down the razor...</scene_description> <character>PAPILLON</character> <dialogue>Alright. You can look now.</dialogue> <scene_description>The Sorcerer sits up. Papi angles the mirror so the Sorcerer can inspect the tattoo on his chest. It's almost identical to Papi's -- only the colors are much more brilliant -- The Sorcerer stares into the mirror, evaluating Papi's work while Papi crawls out of his skin waiting for a verdict... The Warriors draw back their bows, one of them racks his shotgun -- Lali and Zoraima look worried -- Then suddenly the Sorcerer breaks out in a wide smile -- hugs Papi tight -- the whole place breaks into celebration -- as the Sorcerer excitedly walks around showing off the tattoo. Papi looks like he's ready to pass out. The Sorcerer grabs him, puts a leather pouch in his hand --</scene_description> <character>SORCERER</character> <dialogue>For you. For good work.</dialogue> <scene_description>Papi accepts the pouch -- the Sorcerer motions for Papi to open it. He does -- sees two dozen pearls inside --</scene_description> <character>PAPILLON</character> <dialogue>No, this is too much.</dialogue> <scene_description>The Sorcerer's expression darkens --</scene_description> <character>PAPILLON</character> <dialogue>Thank you. It's very generous --</dialogue> <scene_description>Lali and Zoraima wrap their arms around him -- pressing their bodies up against him...</scene_description> </scene> <scene> <stage_direction>INT. LALI'S HUT - GUIJIRO VILLAGE - DAY</stage_direction> <scene_description>Papi lies naked in the hammock with Lali and Zoraima -- they're sleeping, he's awake, thinking -- an anxiousness building in his expression... He starts trying to climb out of the hammock without waking the girls -- but it's swinging and tipping -- The girls wake up -- see him trying to escape -- they put their hands on him, ease him back down -- They both get up, he watches them -- the sun coming in through the windows framing their bodies as they slip on their loin cloths -- hypnotizing him -- Lali makes an eating gesture -- then gives him a questioning look. Papi smiles, nods.</scene_description> <character>PAPILLON</character> <dialogue>Yeah, I'm starving -- thank you.</dialogue> <scene_description>They nod, eager to please -- exit to get him some food... Papi gets up, gets his pants on --</scene_description> </scene> <scene> <stage_direction>EXT. LALI'S HUT - GUIJIRO VILLAGE - DAY</stage_direction> <scene_description>Papi emerges from the hut -- surprised to see the Sorcerer standing there waiting for him, flanked by two warriors... Papi tenses -- gives the Sorcerer a respectful nod... The Sorcerer motions around at the village, then at Papi; seems to be asking Papi if he means to stay... Papi considers...from his expression we gather the idea of remaining here is one that appeals to his soul, yet...</scene_description> <character>PAPILLON</character> <dialogue>You're very kind. But I can't stay.</dialogue> <scene_description>The Sorcerer cocks his head, doesn't understand. Papi squats down -- starts drawing in the dirt with his finger -- Stick figures pointing accusingly -- another stick figure being driven away --</scene_description> <character>PAPILLON</character> <dialogue>They exiled me from my home -- from France.</dialogue> <scene_description>Then he draws a crude Eiffel Tower in the dirt --</scene_description> <character>PAPILLON</character> <dialogue>This place is paradise. But I need to build something I can call my own...</dialogue> <scene_description>The Sorcerer nods, seems to understand. He gestures towards Lali and Zoraima's hut --</scene_description> <character>SORCERER</character> <dialogue>You should go now -- before Lali and Zoraima return. They will kill you before they let you leave them.</dialogue> <scene_description>Papi nods, holds his hand up in farewell. The Sorcerer and his warriors respond with their own farewell gesture; hiding their face with their left arm while extending their right... They remain like that as Papi takes a last look at this refuge from civilization, and starts off...</scene_description> </scene> <scene> <stage_direction>EXT. BRIDGE OVER RIVER - NIGHT</stage_direction> <scene_description>A moonlit road, a now clean shaven Papi dressed in peasant clothes trudges towards us -- the sound of car engines, voices -- he stops... Papi's POV -- he's at the foot of a two lane bridge -- there's a long line of cars stopped. Papi pauses, then after a moment he starts across, skirting cars, buses -- the sounds of livestock, radios, babies crying -- Papi's about halfway across the bridge now -- he sees something up ahead -- flashing lights -- a police checkpoint set up at the end of the bridge... Papi immediately does an about face -- starts back the way he came, picking up the pace when he suddenly stops short...sees a policeman a few car lengths ahead, randomly checking cargo. Papi looks back at the check point -- then back at the policeman, who's now rummaging through someone's trunk -- Papi considers anxiously -- steps to the guard rail -- peers over the side...the river is a good fifty feet below... Looks like Papi's considering jumping, when he sees a police boat pass under the bridge, spotlight shining upwards -- Papi steps back moments before the spotlight illuminates him -- he turns to see that roving policeman has finished checking the car trunk -- walking straight at him now -- Papi ducks around the side of a stopped bus, drops down on his stomach, crawls underneath -- Papi's POV under the bus, the policeman's feet moving past -- Then Papi hears the bus' gears shifting, his face drops. As the bus starts to move forward Papi, grabs hold of the underside -- the heels of his feet dragging now as the bus slowly advances a few feet...then stops -- Papi lets go -- drops on his back, looks over, sees someone clad in a black robe moving past --</scene_description> <character>NUN (O.S.)</character> <dialogue>For the poor children of Santa Marta --</dialogue> <scene_description>Papi considers, the bus starts to move again -- he lets it pass over him. Once it's clear he springs to his feet...sees the voice belongs to a young IRISH NUN going from car to car soliciting donations --</scene_description> <character>SPANISH NUN (O.S.)</character> <parenthetical>(to the Irish Nun)</parenthetical> <dialogue>Come on, sister --</dialogue> <scene_description>Papi turns, clocks a wagon drawn by two horses, a young SPANISH NUN sitting beside the driver -- The Irish Nun starts for the wagon when CLANG -- she looks down, sees a pearl has been dropped inside her collection cup -- Papi standing there, imploring her with his eyes...</scene_description> <character>PAPILLON</character> <dialogue>I have no papers. I'm just trying to get home.</dialogue> <scene_description>The Irish nun just stares back at him, conflicted. Papi glances over, sees an advancing policeman in someone's rearview mirror -- just moments from sighting him --</scene_description> <character>PAPILLON</character> <dialogue>Please -- it's my life.</dialogue> <scene_description>Finally the Irish Nun motions for Papi to follow her -- he keeps his head down -- sees the policeman is now ordering a couple with two small children to get out of their car. He slams the mother down on the hood as the children scream -- The Irish nun leads him to the wagon. The Spanish Nun gives Papi the evil eye. The Irish Nun motions to her that's it's alright -- ushers Papi to the rear of the wagon -- Papi climbs inside the back, sees three little girls inside. They stare mutely at him as the wagon starts to move --</scene_description> <character>POLICEMAN (O.S.)</character> <dialogue>Have your identity cards ready.</dialogue> <scene_description>Papi's POV as he peers through the flaps of canvas that cover the back of the wagon...he clocks a man being forced into the back of a police van -- another policeman walks right past his eye line -- stopping the wagon. Papi listens:</scene_description> <character>IRISH NUN (O.S.)</character> <parenthetical>(to the policeman)</parenthetical> <dialogue>Do not detain us, we're transporting sick children to the convent --</dialogue> <scene_description>Papi can see the policeman looking up at the Irish Nun -- looks like he's about to check the wagon's cargo anyway when another policeman walks over, shakes his head at him, gives him a shaming look -- motions the wagon through -- Papi peers out the back of the wagon, watching the police checkpoint recede...relief swelling in his eyes...</scene_description> </scene> <scene> <stage_direction>EXT. CONVENT - NIGHT</stage_direction> <scene_description>The horse drawn wagon pulls up in front of the convent. Papi climbs down from the carriage, helps the little girls out of the back. He sees the Irish and the Spanish Nun conferring in hushed whispers. He walks up on them, overhears:</scene_description> <character>SPANISH NUN</character> <dialogue>We have to wake mother superior --</dialogue> <character>PAPILLON</character> <dialogue>No, that's not necessary -- I'll just go. You've done enough --</dialogue> <character>IRISH NUN</character> <dialogue>It's alright. She can help you.</dialogue> <scene_description>Papi considers -- looks up at a stone facade featuring a headless Saint -- Saint Denis -- holding his own severed head in his hands. Papi peers back at the road -- looks like he's thinking of taking off...</scene_description> <character>IRISH NUN</character> <dialogue>You needn't worry. You're safe here.</dialogue> <scene_description>Papi breathes out, fatigue creasing his expression as he looks into the Irish Nun's benevolent face...</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - CONVENT - NIGHT</stage_direction> <scene_description>Papi's POV -- as the Irish Nun serves him coffee and a steaming plate of meat and boiled potatoes...</scene_description> <character>PAPILLON</character> <dialogue>Thank you.</dialogue> <scene_description>Papi starts to wolf the food down as the angle widens -- revealing MOTHER SUPERIOR sitting across the table, holding the pouch full of pearls. Despite the fact she's been woken from a dead sleep -- she regards Papi's ragged countenance with some sympathy...</scene_description> <character>MOTHER SUPERIOR</character> <dialogue>What were you convicted of in France?</dialogue> <character>PAPILLON</character> <dialogue>Wrongly convicted, Mother. Murder.</dialogue> <character>MOTHER SUPERIOR</character> <dialogue>And how did that happen?</dialogue> <character>PAPILLON</character> <dialogue>I brought it on myself -- living the way I did. But I swear I'm no killer.</dialogue> <character>MOTHER SUPERIOR</character> <dialogue>What are you then?</dialogue> <character>PAPILLON</character> <dialogue>I used to be a safecracker.</dialogue> <character>MOTHER SUPERIOR</character> <parenthetical>(re: pearls)</parenthetical> <dialogue>Is that how you procured these?</dialogue> <character>PAPILLON</character> <dialogue>No. They were a gift from the Guijiro Indians.</dialogue> <scene_description>She takes that in, looks a bit dubious...</scene_description> <character>MOTHER SUPERIOR</character> <dialogue>I've never known savages to give gifts.</dialogue> <character>PAPILLON</character> <dialogue>Maybe God was working through them.</dialogue> <character>MOTHER SUPERIOR</character> <dialogue>Are you a believer?</dialogue> <character>PAPILLON</character> <dialogue>I didn't use to be -- but I'm starting to come around...</dialogue> <scene_description>She gives Papi a long look...</scene_description> <character>MOTHER SUPERIOR</character> <dialogue>And if I were to use these to feed the hungry -- what are you asking for in return?</dialogue> <character>PAPILLON</character> <dialogue>Safe passage to Curacao.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I just want the chance to become an honest citizen. To live like other men.</dialogue> <scene_description>She considers, then after a moment:</scene_description> <character>MOTHER SUPERIOR</character> <dialogue>You can stay the night. But you aren't to leave your room under any circumstances. Come morning, I will arrange transport for you.</dialogue> </scene> <scene> <stage_direction>INT. GUEST ROOM - THE CONVENT - NIGHT</stage_direction> <scene_description>The Irish Nun shows Papi into his room. He looks around at the bed, the clean sheets, a window with a view...</scene_description> <character>IRISH NUN</character> <dialogue>We'll have breakfast for you in the morning. And I put some clean clothes on the night stand for you.</dialogue> <character>PAPILLON</character> <dialogue>Thank you.</dialogue> <scene_description>She gives him a nod, exits. Papi walks to the window, looks out at a distant twinkling city, the harbor... He breathes out, close to tears -- finally safe...</scene_description> </scene> <scene> <stage_direction>INT. GUEST ROOM - THE CONVENT - MORNING</stage_direction> <scene_description>Papi's POV as he wakes up to morning sunlight shining in through the windows -- a large crucifix looming on the wall. The sound of footsteps outside -- a light knock at the door --</scene_description> <character>PAPILLON</character> <dialogue>Yes?</dialogue> <character>MOTHER SUPERIOR (O.S.)</character> <dialogue>Your breakfast is ready. Get dressed and we'll talk.</dialogue> <scene_description>Papi gets out of bed, starts getting his clothes on --</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - THE CONVENT - MOMENTS LATER</stage_direction> <scene_description>Papi walks out to see the Mother Superior standing in the hallway, wearing a strange expression -- FOUR COLOMBIAN POLICEMEN suddenly grab hold of Papi -- an officer stands off to the side with his pistol drawn. Papi struggles -- they wrench his arms behind his back, slam his face into the wall -- start dragging him past the Mother Superior who's watching on, destitute of emotion --</scene_description> <character>MOTHER SUPERIOR</character> <dialogue>If you are not truly repentant -- and I suspect you are not -- you will have made amends by feeding half the poor of Santa Marta. But if you're truly sorry for what you've done, then you have nothing to fear -- God will watch over you.</dialogue> <scene_description>The Officer motions to the four policemen -- they pin Papi up against the wall -- preparing to do something to him...</scene_description> <character>OFFICER</character> <dialogue>Mother, you should avert your eyes.</dialogue> <scene_description>The Mother Superior nods, gives Papi one last cold glance, then turns her back and walks away --</scene_description> <character>OFFICER</character> <dialogue>Give me your rifle --</dialogue> <scene_description>One of the policemen hands his rifle to the Officer -- he grabs Papi's face -- stares into his eyes --</scene_description> <character>OFFICER</character> <dialogue>No more running.</dialogue> <scene_description>The Officer swings the rifle stock down -- CRACK -- breaks the instep of Papi's foot. Papi SCREAMS as the officer takes another swing -- CRACK -- breaks the other foot --</scene_description> </scene> <scene> <stage_direction>EXT. COLOMBIAN PRISON - DAY</stage_direction> <scene_description>An aging fortress looms over a rocky coastline -- surrounded by high barbed wire fences... Several prisoners peer out of tiny barred windows -- Dega and Clousiot among them. Both men look like hell, but their eyes are coming alive -- can't believe what they're seeing -- Dega's POV -- staring down at Papi as he's pulled out of the back of a police van -- he collapses, feet broken, can't walk -- the guards drag him by the arms up stone stairs -- Dega and Clousiot yell down to Papi -- their eyes wide --</scene_description> <character>DEGA</character> <dialogue>Papi!</dialogue> <character>CLOUSIOT</character> <dialogue>Papi look up here!</dialogue> <scene_description>Papi looks up, catches a glimpse of Dega -- their eyes meet for a brief moment before Papi is dragged inside --</scene_description> </scene> <scene> <stage_direction>INT. DUNGEON - COLOMBIAN PRISON - DAY</stage_direction> <scene_description>Two Guards carry Papi down stone steps -- his broken feet purple and swollen. They reach the bottom of the stairs -- a dank subterranean passageway honeycombed with barred cells -- They let Papi drop -- he yells out, gripping his feet when they grab his arms and start dragging him down the narrow stone corridor. Papi peers at his fellow inmates as he goes -- most are just shapes huddled in dark corners, the sound of ocean waves audible outside the barred windows -- They arrive at an empty cell -- drop Papi inside --</scene_description> <character>COLOMBIAN GUARD</character> <dialogue>This is home until France comes to collect you.</dialogue> <scene_description>The door slams, Papi on the floor, wincing, sucking air, gripping his hobbled feet. He takes in his surroundings... Sees what appear to be water lines on the walls -- sea weed, shells...his face drops as he realizes...</scene_description> </scene> <scene> <stage_direction>EXT. COLOMBIAN PRISON - NIGHT</stage_direction> <scene_description>Night falls, the moon is full - the tide rising closer to the prison...moving in on the basement windows...</scene_description> <character>CONVICT (O.S.)</character> <dialogue>It's coming! It's coming!</dialogue> </scene> <scene> <stage_direction>INT. DUNGEON - COLOMBIAN PRISON - CONTINUOUS</stage_direction> <scene_description>Papi sits on the floor, across from the window, where sea water is starting to pour over the ledge, splashing down on the floor in time with the ocean waves... The water starts to pool around him -- quickly rising. He looks back at that old water line on the wall, it's at least a foot over his head. He struggles to stand up, but the pain is too much. He considers -- eyes crazed -- struggling to think as he listens to mens' screams intermingle with the roar of the ocean -- He takes off his shirt, reaches up as high as he can -- ties the arms to the bars -- uses a sailor's knot, fashioning his shirt into a harness -- the water up to his mouth now -- He grabs the bars, grits his teeth, pulls his body up, manages to sit himself in the harness -- which just manages to keep his head above water... He looks across the way -- sees a man, gripping the bars of his cell, too weak to keep his head above water any longer, choking, hands slipping -- Then Papi hears something splashing behind him -- he turns -- a rat the size of a cat splashes past -- MORNING Morning light shines through the tiny slat of a window. Papi sits on the puddled stone floor, the ocean water has left behind it an unholy slime, centipedes and tiny crabs scurrying under his feet. He sees the man in the cell across from him is now a water logged corpse, crabs feasting on his eyes... The cell door opens -- standing with the Colombian guard is are two French officers in white uniforms.</scene_description> <character>FRENCH OFFICER</character> <dialogue>What sort of animals would treat a Frenchman this way?</dialogue> </scene> <scene> <stage_direction>INT. THE HOLD - TRANSPORT SHIP - DAY</stage_direction> <scene_description>Papi stares out the porthole as they head down the calm, muddy waters of the Maroni -- the familiar sights of his escape -- but now in crushing reverse. His expression is broken, a mask of defeat -- but as we move into his eyes, we see there's still the tiniest glimmer of hope...</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD - SOLITARY - DAY</stage_direction> <scene_description>SUPER: Five years later -- a battered steel door as a guard unlocks it -- drags it open -- the hinges squealing -- Two guards stand on either side of what's left of Papillon -- helping him -- hunched and shuffling -- into the light... Papi's POV -- blasting whiteness -- then the glare recedes a bit -- the guards staring at him...it's apparent from their expressions that Papi doesn't look good... Close on his face -- ravaged, almost unrecognizable; some teeth missing, can barely open his eyes. He tries to speak, his voice a scratched whisper:</scene_description> <character>PAPILLON</character> <dialogue>My companions?</dialogue> <character>GUARD</character> <dialogue>One was taken out early -- and the other...</dialogue> <scene_description>Papi hears another door being opened across the way... Someone is being brought out on a stretcher -- recognition starts to bloom in Papi's squinting eyes -- he starts shuffling across the courtyard -- a guard motions to his cohorts to set down the stretcher for a moment... Papi's face goes rigid with emotion -- Papi's POV -- the man's ashen, skull-like face...then as Papi gets closer we see...it's an almost unrecognizable Clousiot. His mouth is moving -- he's trying to say something -- motions for Papi to come closer... Papi leans in closer, Clousiot's glassy stare inches away...</scene_description> <character>CLOUSIOT</character> <dialogue>I'm free, Papi.</dialogue> <scene_description>Papi stands there in a shocked daze as the guards pick up the stretcher and carry it off...</scene_description> </scene> <scene> <stage_direction>EXT. ROCKY SHORE - DAY</stage_direction> <scene_description>A bell sounds from a tower -- its purpose finally revealed to Papi, who's standing somberly on the shoreline with some other cons, watching... Three guards paddle a small boat out into the surf -- a long, narrow crate rests in the bow... Angle widens to reveal shark fins following alongside it -- Papi's horrified face as he realizes...it's a dinner bell... Two guards tip the crate over the edge of the boat -- another opens a trap door -- Clousiot's corpse, wrapped in white flour sacks slides from the crate into the water -- The sharks converge in a frenzy -- fighting for the choicest pieces -- Clousiot's body is hoisted into the air like some bloody marionette. Something seems to crack in Papi's visage as he watches...</scene_description> </scene> <scene> <stage_direction>INT. CABLE CAR - DAY</stage_direction> <scene_description>Papi's POV -- staring out the dirty window of a cable car as it carries passengers over the 600 foot wide channel between Royale and the smallest and northernmost of the three Iles du Salut -- Devil's island. Papi is flanked by two guards and the new warden -- WARDEN DUTAIN, 40s. Dutain is healthy looking, yet uncorrupted -- in other words he's relatively new to the islands.</scene_description> <character>CHIEF WARDEN DUTAIN</character> <dialogue>My predecessor lost his position due to your cavales, so I'm not taking any chances.</dialogue> <scene_description>Papi stares out at the small island, which is more exposed to the wind and the waves than the other two --</scene_description> <character>CHIEF WARDEN DUTAIN</character> <dialogue>Devil's Island is forever. Even for men with wings.</dialogue> </scene> <scene> <stage_direction>INT. DEVIL'S ISLAND - DAY</stage_direction> <scene_description>Papi steps off the cable car, peers out at the island -- the wind blows hard -- the sound of waves smashing against rock is ever present. Some little houses with tin roofs, live stock, very few actual convicts -- a surreal feeling to it... Papi hears the door of the cable car closing -- he turns to see it starting back the way it came, the Warden staring out at him through the dirty glass... Papi turns back to the island. He doesn't see a single guard. A con with a long white beard shambles by. A couple other cons stand across the way -- staring like zombies... Papi starts to walk, peering around in a daze -- he hears a whacking sound, turns...sees someone he recognizes... He can't believe it -- it's Dega -- looking half mad as he beats a huge eel with a stick. Papi smiles -- an expression that hasn't crossed his worn face in five years...</scene_description> <character>PAPILLON</character> <dialogue>Dega!</dialogue> <scene_description>Dega doesn't answer -- lost in his work -- can't hear over the ocean waves. He starts muttering to himself as Papi makes his way over to him --</scene_description> <character>PAPILLON</character> <dialogue>Dega --</dialogue> <scene_description>Dega doesn't turn to look, keeps on, undeterred --</scene_description> <character>DEGA</character> <dialogue>I caught it -- it's mine.</dialogue> <character>PAPILLON</character> <dialogue>Dega, it's me.</dialogue> <scene_description>Dega starts beating the eel again when Papi grabs his arm -- Dega swings around -- raises the stick at Papi -- then freezes, recognition slowly animating his sunburned face -- until finally he smiles and throws his arms around Papi -- After a moment they break off the embrace, taking in the sorry sight of each other until:</scene_description> <character>DEGA</character> <dialogue>Are you hungry?</dialogue> </scene> <scene> <stage_direction>INT. TIN ROOF HOUSE - DAY</stage_direction> <scene_description>WHACK -- Papi watches Dega chop up the eel with the machete --</scene_description> <character>DEGA</character> <dialogue>You ever had eel soup? Don't think it's poisonous. Though maybe that would be better...</dialogue> <scene_description>Papi spots a pack of cigarettes. He picks it up -- regarding it like some curious object -- hasn't smoked in five years.</scene_description> <character>DEGA</character> <dialogue>I tried to get the warden to let you and Clousiot out early, but he didn't listen -- was very intent on you dying...</dialogue> <character>PAPILLON</character> <dialogue>Yeah, well...I didn't.</dialogue> <character>DEGA</character> <dialogue>I begged them to give Clousiot a proper burial...</dialogue> <scene_description>Papi nods, his expression darkening. He lights up a cigarette, takes a deep inhale...</scene_description> <character>PAPILLON</character> <dialogue>I guess we're the last one's left.</dialogue> <scene_description>Dega pauses cutting the eel, glances guiltily over at his old friend -- really looks at him for the first time...Papi's broken visage, his cloudy gaze...the spark seemingly extinguished from his eyes... Disturbed now, Dega returns to his work, forces a smile --</scene_description> <character>DEGA</character> <dialogue>Thanks to you, Barrot's wife had to turn to whoring to support them... I was her first customer.</dialogue> <scene_description>Dega gives Papi a funny look -- they share a weak chuckle that quickly peters out into silence...</scene_description> <character>PAPILLON</character> <dialogue>What about Clara?</dialogue> <character>DEGA</character> <dialogue>Oh, she's doing very well. Happily married to my lawyer.</dialogue> <scene_description>Papi gives Dega a look of condolence...</scene_description> <character>DEGA</character> <dialogue>It's much easier actually. When no one's waiting for you.</dialogue> <scene_description>Papi considers that...both men observing the pain peeking through their respective masks...</scene_description> <character>DEGA</character> <dialogue>Have you heard about the war?</dialogue> <scene_description>Papi shakes his head -- he hasn't heard -- but the concept is so abstract to him, it barely elicits a reaction...</scene_description> <character>DEGA</character> <dialogue>The Germans are marching through Paris.</dialogue> <character>PAPILLON</character> <dialogue>Oh?</dialogue> <character>DEGA</character> <dialogue>Maybe they'll take over the penitentiary. I'm sure they'll have a more humane policy regarding prisoners...</dialogue> <scene_description>Dega trails off...looks like he has something more pressing to say, but is having trouble getting it out -- then finally:</scene_description> <character>DEGA</character> <dialogue>I know I don't deserve to be alive, when so many better men have died. But it's really your fault -- if you hadn't kept saving my life...</dialogue> <character>PAPILLON</character> <dialogue>Sorry about that. But a deal's a deal.</dialogue> <scene_description>Dega starts to break down, almost cries...</scene_description> <character>DEGA</character> <dialogue>I have no more money, Papi.</dialogue> <scene_description>Papi takes that in, then after a moment he almost laughs --</scene_description> <character>PAPILLON</character> <dialogue>There's no one left to bribe, Louis.</dialogue> <scene_description>Dega smiles. Papi breathes out...</scene_description> </scene> <scene> <stage_direction>EXT. ROCKY SHORE ON DEVIL'S ISLAND - DUSK</stage_direction> <scene_description>CHUNK -- Papi chops a coconut in two -- picks up one of the halves, holds it up to a baby piglet who drinks from it... Papillon works alongside Dega, CHANG, 30s -- a Chinese pirate and a little guy named SARDINE, 20s. Papi pauses for a moment, wipes his forehead -- angle widens to reveal they're standing near the edge of a cliff where the high plateau drops off and becomes a vertical wall of jagged rock that's tirelessly attacked by the breaking waves...</scene_description> <character>CHANG</character> <dialogue>Don't even think about it. The ocean hates this island. See the way it beats on the rocks --</dialogue> <scene_description>Papi doesn't answer, keeps watching the waves --</scene_description> <character>SARDINE</character> <dialogue>If they catch you, it's the guillotine now. Wartime sentencing.</dialogue> <scene_description>Papi sits down on the shore, keeps eyeing those waves. Dega, Chang and Sardine start back for camp...</scene_description> </scene> <scene> <stage_direction>EXT. ROCKY SHORE ON DEVIL'S ISLAND - NIGHT</stage_direction> <scene_description>The moon looms large in the night sky. Papi stands on the rocky shore, tying off a sack of coconuts... He walks to the edge of the cliff, counting under his breath as he watches the waves come in -- waits for a moment -- then drops the big sack full of coconuts... The sack free falls through the night air, then SMACK -- lands with a splash. Papi watches as a monster wave breaks over the floating sack -- pushes it through a horse shoe- shaped rock formation, about to sling shot it back into the ocean -- when the surf reverses and sucks it back in. Papi looks crestfallen, but keeps watching...</scene_description> </scene> <scene> <stage_direction>INT. HUT - DEVIL'S ISLAND - NIGHT</stage_direction> <scene_description>Close on Dega's sleeping face -- Papi shakes him awake. Papi's expression is manic -- flush with adrenaline --</scene_description> <character>PAPILLON</character> <dialogue>The waves -- they're not all the same, Dega!</dialogue> <scene_description>Papi's voice wakes up Chang, sleeping across the way --</scene_description> <character>CHANG</character> <dialogue>Shut up --</dialogue> <scene_description>Papi continues, undeterred --</scene_description> <character>PAPILLON</character> <dialogue>I counted them -- there's a pattern. Every seventh wave is a monster -- has the power to clear the rocks. It can be done, Dega! All the other cavales were too well planned. The one that works will be the stupidest. Two sacks of coconuts and let the wind take me to Curacao!</dialogue> </scene> <scene> <stage_direction>EXT. ROCKY SHORE - DEVIL'S ISLAND - DAY</stage_direction> <scene_description>Dega, Chang and Sardine watch on in disbelief... Papi finishes sewing up the mouth of a big sack of coconuts -- Chang inspects it -- fixes the stitching --</scene_description> <character>CHANG</character> <dialogue>This is madman cavale --</dialogue> <scene_description>Dega walks to the edge of the cliff, peers down at the waves exploding against the jagged rock, the target area is small. Dega turns to see Papi counting off the waves --</scene_description> <character>PAPILLON</character> <dialogue>That's six -- now, see --</dialogue> <scene_description>The seventh wave comes in -- much bigger -- it breaks against the rocks, its spray reaching all they way up to their faces. Dega pulls Papi aside, sees this strange glow in his expression -- crazed purpose in his eyes...</scene_description> <character>DEGA</character> <dialogue>You're going to kill yourself.</dialogue> <scene_description>Papi gives Dega a strange smile, looks around at the sky -- the waiting ocean...</scene_description> <character>PAPILLON</character> <dialogue>I don't want to survive anymore. I want to live... We can make another raft -- you can come with me.</dialogue> <scene_description>Dega looks like he wishes he was crazy enough to say yes --</scene_description> <character>DEGA</character> <dialogue>Goodbye, Papi.</dialogue> <scene_description>Papi gives Dega a hearty hug -- slapping his back...</scene_description> <character>PAPILLON</character> <dialogue>Thank you, Louis...</dialogue> <scene_description>Then he nods to Chang and Sardine, both of whom regard him like a man who is about to die... Papi picks up his coconut sack raft, walks to the edge -- staring down at the breaking waves, counting... The sixth wave begins to recede, the seventh beginning to swell in the distance... Papi drops the sack...it SPLASHES DOWN right on target... His expression euphoric, Papi takes a last look over his shoulder at Dega. Dega instinctively rushes forward as Papi leaps off the edge -- Papi's POV as he plummets towards the water's platinum glare -- SPLASH -- he rockets down into the depths -- They watch from above, Papi isn't surfacing -- all they can see is the coconut raft -- the big wave approaching -- Papi bursts to the surface -- grabs on to the floating sack, CATCHES THAT MONSTER WAVE AND SLINGSHOTS OUT TO SEA -- Papi yells out -- holds his fist up in the air -- can see Dega, Chang and Sardine staring down at him in disbelief -- Back to Dega as he watches Papi float out into the ocean -- his sad expression slowly giving way to a look of profound satisfaction. Then, as Papi recedes into the distance, Dega starts to laugh...</scene_description> </scene> <scene> <stage_direction>EXT. OCEAN - CONTINUOUS</stage_direction> <scene_description>From above we see Papi, a dot amidst the endless blue -- we move down on him as he peers up at the sky and yells to the heavens --</scene_description> <character>PAPILLON</character> <dialogue>You won't regret this, you son of a bitch!</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. LANDING STRIP - NICE INTERNATIONAL AIRPORT - DAY</stage_direction> <scene_description>Super -- 1969 -- over an aged Papi, now 62 years old, wearing an overcoat and a fedora hat -- carrying a suitcase, making his way down the passenger stairs of a DC-9 -- VENEZUELA AIRLINES -- His feet touch down on French soil for the first time in almost forty years. He looks down at his feet -- goes still for a moment -- wonder in his eyes -- other passengers shuffling past --</scene_description> </scene> <scene> <stage_direction>EXT. BOULEVARD DE CLICHY - DAY</stage_direction> <scene_description>Papi makes his way down the Boulevard, carrying his suitcase. He looks a little taken aback by how much the people and the various establishments lining the boulevard have changed -- the psychedelic colors, the short skirts -- Then something stops him -- he sees someone he recognizes -- starts to follow him... It's Dega. Papi veers towards him -- when the man turns to face him -- it's not Dega... Papi's expression darkens, the realization sinking in as he watches the man walk off... There are no more familiar faces. The world has been marching on, despite his absence...</scene_description> </scene> <scene> <stage_direction>EXT. THE PALAIS DE JUSTICE DE LA SEINE - DAY</stage_direction> <scene_description>Papi walks up on The Palais De Justice De La Seine. He stands at the entrance, sets the suitcase down...for a moment we're reminded of his revenge fantasy and wonder if this suitcase is packed with dynamite... After a moment he picks it up, gives the courthouse one last look and walks off...</scene_description> </scene> <scene> <stage_direction>EXT. CAFE - PARIS - DAY</stage_direction> <scene_description>Book publisher JEAN-PIERRE CASTELNAU, 40s, sits in an outdoor cafe, sipping an espresso, the sound of a man playing an accordion across the way. Jean-Pierre sees Papi walking up on him -- stands up excitedly -- offers his hand --</scene_description> <character>JEAN-PIERRE CASTELNAU</character> <dialogue>You must be Papillon --</dialogue> <scene_description>Papi nods, his expression guarded as he sets his suitcase down -- shakes Jean-Pierre's hand --</scene_description> <character>JEAN-PIERRE CASTELNAU</character> <dialogue>Please sit --</dialogue> <scene_description>Papi sits. Jean-Pierre motions to the waiter --</scene_description> <character>JEAN-PIERRE CASTELNAU</character> <parenthetical>(to Papi)</parenthetical> <dialogue>What would you like?</dialogue> <scene_description>Papi doesn't answer, taking in his surroundings --</scene_description> <character>JEAN-PIERRE CASTELNAU</character> <dialogue>Bring him an espresso.</dialogue> <parenthetical>(to Papi)</parenthetical> <dialogue>I checked on the statute of limitations -- you could still be arrested -- I'm surprised you risked coming back.</dialogue> <character>PAPILLON</character> <dialogue>I won't be here long. My home's in Venezuela now.</dialogue> <scene_description>Papi picks up his suitcase, sets it on the table -- undoes the latches --</scene_description> <character>PAPILLON</character> <dialogue>My father told me I'd give up on the idea of punishment and revenge...</dialogue> <scene_description>Papi opens the suitcase, revealing it's full of thirteen spiral bound school notebooks.</scene_description> <character>PAPILLON</character> <dialogue>After fourteen years in the bagne, I finally agreed with him...</dialogue> <scene_description>Jean-Pierre picks up one of the notebooks -- on its cover is the original title: THE ROAD TO RUIN...</scene_description> <character>PAPILLON</character> <dialogue>My wife convinced me to write it down while I was still young enough to remember. My father was a school teacher -- so I can spell alright...</dialogue> <character>JEAN-PIERRE CASTELNAU</character> <dialogue>If these are anything like the few fragments you sent me...then perhaps this will be your revenge.</dialogue> <scene_description>Papi shakes his head, his eyes flush with memories and an indomitable lust for life...</scene_description> <character>PAPILLON</character> <dialogue>Nah... It's for the one's who gave me the chance to live again.</dialogue> <scene_description>CUT TO: TITLES OVER BLACK: Henri Charrier's memoir, "Papillon" was published in 1969 and became an international best seller. CUT TO: THE ISLANDS OF SALVATION MODERN DAY TOURIST ATTRACTION; THE VINE COVERED RUINS THAT ONCE HOUSED SO MANY TORTURED SOULS... SUPER -- 80,000 prisoners were condemned to the penal colony in French Guiana between 1852-1953, most of whom would never return to France.</scene_description> <character>THE END</character> </scene> </script>

Henri "Papillon" Charrière, a safecracker from the Parisian underworld, is framed for murder. Though he has an alibi from his lover, Nenette, Papillon is convicted and condemned to the notorious Devil's Island penal colony in French Guiana — a hellish prison from which nobody has escaped. On the ship to South America, Papillon meets a quirky counterfeiter named Louis Dega. That evening Dega is awakened as two convicts murder a prisoner sleeping next to him in order to cut open his stomach and steal the money he had swallowed. Papillon forms an unlikely alliance with Dega, who is targeted by the other prisoners who suspect him of also hiding money. Papillon saves Dega's life and is punished for fighting by the guards. In exchange for Papillon's protection, Dega agrees to finance Papillon's escape, ultimately resulting in a bond of lasting friendship. While Papillon and Dega are ordered to carry away a guillotined body, a guard starts to whip Dega. Papillon strikes the guard with a rock and runs into the jungle for his first escape. He is given two years of silent solitary confinement. After the warden learns he has been receiving extra food, his rations are cut in half until he gives up the name of his supplier. Papillon does not betray Dega. The second escape plan is made from the prison infirmary, while Papillon is feigning insanity from his confinement. Dega does the warden's bookkeeping and has money to fund the escape. Celier has a connection to get a boat, and the sexually abused Maturette is the fourth to join the dangerous venture. Dega drugs the guards using pills meant to sedate a supposedly insane Papillon and the three others escape over the walls to the jungle, with Dega injuring his leg in the process, to reach a boat Dega paid for. As a storm approaches, it is clear they will not all survive in the small leaky boat. Celier wants to kill the injured Dega but Papillon defends Dega, who stabs and kills Celier as he fights with Papillon. After a treacherous storm destroys their boat, the three survivors find themselves being cared for in a Colombian convent. Their apparent freedom is short lived. The Colombian authorities arrive, kill Maturette, and return Papillon to Royal Island, where he is subjected to five years in solitary confinement. Dega is sent to Devil's Island. Papillon is released from solitary as a weathered older man and sent to Devil's Island, where the high cliffs provide a natural barrier for escape attempts. He finds Dega who has adjusted to prison life and has no interest in escape. Because a fall from the cliffs would mean certain death, Papillon bags coconuts together for a raft. During a swell of waves, he jumps from the cliffs and survives the fall. The third escape is a success and he is a free man. He writes a memoir based on his time in prison and escape attempts. The movie postscript reads: "Over 80,000 prisoners were condemned to the penal colony in French Guiana, most of whom never returned to France. Henri Charriere's autobiography 'Papillon' became the number one bestseller for 21 weeks in France. To date, it has sold over 13 million copies in 30 languages. In 1970, the French Minister of Justice signed a decree allowing Charriere to return to France. For the remainder of his life, he lived a free man. The penal colony in French Guiana did not survive him".

Joe Versus the Volcano_1990

tt0099892

<script> <scene> <stage_direction>JOE VERSUS THE VOLCANO</stage_direction> <scene_description>GREY SCREEN The TITLE appears in white letters - JOE VERSUS THE VOLCANO MUSIC . Borodin 's `` Polovtsian Dances , '' Chicago Symphony Orchestra , begins to play . The stormy part . The CREDITS ROLL . The credits have that depressing , shitty , this is going to be one of those lousy black and white movies from the 1950s look . This is going to be one of those cheap teen sci - fi movies about a creature MUSIC . When the female star 's name appears , Borodin 's theme , which will later become adapted into `` Strangers In Paradise , '' plays . Then we return to the stormy part , which subsides as : The CREDITS END . The following LEGEND appears on the field of grey : `` You only live twice . Once when you 're born , Once when you look death in the face . '' - James Bond . The LEGEND remains , but the field of grey turns to a rich texture of solid gold . MUSIC . `` The Girl From Ipanema , '' sung by the likes of Tom Waits , sung like it was the Downest blues song anybody ever croaked out just before the final curtain . The MUSIC starts as the field turns from grey to gold . The MUSIC PLAYS ON .</scene_description> </scene> <scene> <stage_direction>EXT. AMERICAN PANASCOPE CORPORATION - DAY</stage_direction> <scene_description>We 're in color now , but it 's a grey world . It 's an ugly building about the size of a city block and a couple of stories high . It 's surrounded by hurricane fence topped with barbed wire . Outside the fence is a muddy parking lot . On the fence is a sign that reads : AMERICAN PANASCOPE CORP. a subsidiary of ACHI . The sign also has an abstract logo ; a sort 've German Expressionist 's version of a lightning bolt . Another sign reads : HOME OF THE RECTAL PROBE . It 's a grey winter 's morning . It 's raining or snowing or it just has or it 's about to . There 's a guard at a gate nodding workers inside the fence . They trail listlessly past him and continue on their way to the building 's entrance . Most of them carry or are using grey or black umbrellas . Since they are coming from the parking lot , and since the entrance to the building is still almost a city block away once inside the fence , this straggling line of workers stretches hundreds of yards . Some of the workers wear hats . We see the line of workers FROM HIGH OVERHEAD The line is in the same shape as the lightning bolt logo . One of these workers is JOE BANKS . Joe is in his early thirties . He 's wearing a beat - up black trench coat ; under the trench coat he 's got on a cheap and square jacket and tie . This is a depressed man . You can see where he could be cool , where he could have something on the ball . But he 's way too beaten down and depressed to be cool . Joe steps in a puddle . He pulls his shoe out of the water . He notices the sole is coming loose from the shoe . This depresses him further . He walks on . The sound of the WATER SQUISHING in his shoe can be heard .</scene_description> </scene> <scene> <stage_direction>INT. PANASCOPE BUILDING - DAY</stage_direction> <scene_description>Joe is shuffling down the main walk in the building . On his left are doors leading to offices . On his right is the factory , which has the feel of an airplane hangar . The factory is separated from the walk on which Joe progresses by a heavy wire fence twelve feet high . Joe passes by a sign on this fence that says `` Shipping . '' This area is filled with thousands of brown cardboard boxes ; a shipping clerk among these boxes pulls a lever on a device ; the device spews out several feet of wet brown tape . Joe continues on . He passes a sign on the fence that says `` Canteen . '' This area contains a row of vending machines and two long tables ; a guy who looks like he 's going to die is sitting at one of the tables eating pink Hostess snowballs ; he eats them in a slow , dismal way , as if they were giant sleeping pills . Joe continues on . He passes a sign on the fence that says `` Quality Control . '' This is the biggest area ; it 's filled with workers in shower caps and worn white jackets ; they work a distance apart from each other , at long tables ; they are inspecting terrifying medical instruments . One of these workers , a middle - aged woman named Sally , attaches a catheter to an air pump . The catheter inflates and finally explodes . Sally seems satisfied . Joe continues on , his shoe distantly SQUISHING . He stops at one of the office doors on his left . The lettering on the door reads : ADVERTISING DEPARTMENT . Joe opens the door and goes in . The SONG ENDS .</scene_description> </scene> <scene> <stage_direction>INT. ADVERTISING DEPARTMENT - DAY</stage_direction> <scene_description>The place is lit with those totally draining , deadening fluorescent lights . DEDE , a secretary in her late twenties , is sitting at her desk , typing . She 's pretty , maybe a little hard . She types like an automatic weapon . Her makeup does n't really work under these lights . She nods briefly to Joe , and goes on with her typing . Joe tries to hang up his hat , but it keeps falling off the hook . He is endlessly patient . It 's the sound of the typewriter that makes him miss . At last he succeeds . Behind Dede , at a bigger desk , is MR. WATURI . He 's leaning back in an executive chair , talking on the phone . He 's middle - aged , olive skinned , in a dark suit that shows up his significant dandruff . His teeth are yellow as rancid butter . And there 's enough grease shining on his forehead to coat a skillet . He 's talking into the phone .</scene_description> <character>WATURI</character> <dialogue>Yeah, Harry, but can he do the job? I know he can get the job, but can he do the job? I'm not arguing that with you. I'm not arguing that with you. I'm not arguing that with you</dialogue> <scene_description>Mr. Waturi waves absently at Joe and goes on talking into the phone .</scene_description> <character>WATURI</character> <dialogue>Who told you that? No. I told you that. Me. What? Maybe. Maybe. Maybe.</dialogue> <scene_description>Joe hangs up his coat on the coat rack and goes to the coffee set - up at the rear of the office . He snaps a disposable plastic coffee cup into a permanent plastic holder . He puts a spoonful of instant coffee in the cup . Then a spoonful of powdered creamer . Then two spoonfuls of sugar . He takes a plastic stirrer and stirs the powders . He pours in the hot water and stirs . Little clumps of undissolved stuff rise to the top . Joe tries to break them up with the stirrer and partially succeeds . He feels the glands in his throat . Maybe they 're a little swollen . He rubs his eyes . They 're burning a little . He takes his coffee and walks past Mr. Waturi and into his own office .</scene_description> </scene> <scene> <stage_direction>INT. ADVERTISING LIBRARY - JOE'S OFFICE - DAY</stage_direction> <scene_description>The same fluorescent lighting . There 's a small wooden desk which has on it an old electric typewriter and an out - of - place lamp ; it 's a lamp Joe brought from home . The rest of the office is almost entirely taken up with grey industrial shelving . On these shelves are brochures depicting various medical instruments . Samples of each brochure are taped to the appropriate shelf . Behind Joe 's desk is a pipe that runs floor - to - ceiling and is painted fire - engine red . In the center of this pipe is a big wheel valve . Hanging from this valve is a printed metal sign . The sign reads : THE MAIN DRAIN . Another sign reads : Do Not Touch . Joe turns on the lamp , which casts a small ring of golden light , and sits down with his coffee . He takes off his shoe and examines it . He tries to huddle close to the lamp , like a cold creature trying to get warm . Dede comes in .</scene_description> <character>JOE</character> <dialogue>Good morning, Dede.</dialogue> <character>DEDE</character> <dialogue>Hi, Joe. What's with the shoe?</dialogue> <character>JOE</character> <dialogue>I'm losing my sole.</dialogue> <character>DEDE</character> <dialogue>Yeah. How you doin'?</dialogue> <character>JOE</character> <dialogue>I'm a little tired.</dialogue> <character>DEDE</character> <dialogue>Yeah.</dialogue> <parenthetical>( she hands him some labels . )</parenthetical> <dialogue>Here. Each one gets sent five catalogs.</dialogue> <character>JOE</character> <dialogue>Ca n't do it.</dialogue> <character>DEDE</character> <dialogue>Why not?</dialogue> <character>JOE</character> <dialogue>I only got twelve catalogs left altogether.</dialogue> <character>DEDE</character> <dialogue>Okay.</dialogue> <scene_description>She leaves . Joe puts his shoe back on . Mr. Waturi comes in . Joe cowers . He 's threatened by Mr. Waturi .</scene_description> <character>WATURI</character> <dialogue>How you doin', Joe?</dialogue> <character>JOE</character> <dialogue>Well, I'm not feeling very good, Mr. Waturi.</dialogue> <scene_description>Mr. Waturi chuckles .</scene_description> <character>WATURI</character> <dialogue>So what else is new? You never feel good.</dialogue> <character>JOE</character> <dialogue>Yeah. Well. That's the problem. Anyway, I got the doctor's appointment today.</dialogue> <character>WATURI</character> <dialogue>Another doctor's appointment?</dialogue> <character>JOE</character> <dialogue>Yeah.</dialogue> <character>WATURI</character> <dialogue>Listen, Joe. What's this Dede tells me about the catalogs?</dialogue> <character>JOE</character> <dialogue>I've only got twelve.</dialogue> <character>WATURI</character> <dialogue>How'd you let us get down to twelve?</dialogue> <character>JOE</character> <dialogue>I told you.</dialogue> <character>WATURI</character> <dialogue>When?</dialogue> <character>JOE</character> <dialogue>Three weeks ago. Then two weeks ago.</dialogue> <character>WATURI</character> <dialogue>Did you tell me last week?</dialogue> <character>JOE</character> <dialogue>No.</dialogue> <character>WATURI</character> <dialogue>Why not?</dialogue> <character>JOE</character> <dialogue>I do n't know. I thought you knew.</dialogue> <character>WATURI</character> <dialogue>Not good enough, Joe! Not nearly good enough! I put you in charge of the entire advertising library.</dialogue> <character>JOE</character> <dialogue>You mean, this room.</dialogue> <character>WATURI</character> <dialogue>I gave you carte blanche how to deal with the materials in here.</dialogue> <character>JOE</character> <dialogue>You put the orders into the printer, Mr. Waturi, not me. That's how you wanted it.</dialogue> <character>WATURI</character> <dialogue>You're not competent to put the orders into the printer! That's a very technical.</dialogue> <character>JOE</character> <dialogue>I thought you were going to explain it to me.</dialogue> <character>WATURI</character> <dialogue>I was going to do better than that. I was going to make you assistant manager. I want to make you assistant manager. But you, you're not flexible! You're inflexible.</dialogue> <character>JOE</character> <dialogue>I do n't feel inflexible.</dialogue> <character>WATURI</character> <dialogue>You're inflexible. Totally. And this doctor appointment! You're always going to the doctor!</dialogue> <character>JOE</character> <dialogue>I do n't feel good.</dialogue> <character>WATURI</character> <dialogue>So what! Do you think I feel good? Nobody feels good. After childhood, it's a fact of life. I feel rotten. So what? I do n't let it bother me. I do n't let it interfere with my job.</dialogue> <character>JOE</character> <dialogue>What do you want from me, Mr. Waturi?</dialogue> <character>WATURI</character> <dialogue>You're like a child. What's this lamp for? Is n't there enough light in here?</dialogue> <character>JOE</character> <dialogue>These fluorescent lights affect me. They make me feel blotchy, puffy. I thought this light would.</dialogue> <character>WATURI</character> <dialogue>Get rid of the light. This is n't your bedroom, this is an office. Maybe if you start treating this like a job instead of some kind of welfare hospital, you'll shape up. And I want those catalogs.</dialogue> <character>JOE</character> <dialogue>Then please order them.</dialogue> <character>WATURI</character> <dialogue>Watch yourself, Joe. Think about what I've said. You've got ta get yourself into a flexible frame or you're no place.</dialogue> <scene_description>He starts to leave , but stops and looks back .</scene_description> <character>WATURI</character> <dialogue>Take that light off your desk.</dialogue> <character>JOE</character> <dialogue>I will.</dialogue> <character>WATURI</character> <dialogue>Take it off now.</dialogue> <scene_description>Joe unplugs the light and takes it off his desk .</scene_description> <character>WATURI</character> <dialogue>Good.</dialogue> <scene_description>Waturi leaves . Joe sits at his desk , shrinking in the fluorescent light . He sips his coffee . The PHONE RINGS and he answers .</scene_description> <character>JOE</character> <dialogue>Advertising library. Fifty? I'm sorry, we do n't have that many in stock. I do n't know why. The catalog is a thing. I do n't know. It's here and it's gone. I ca n't explain. It's a mystery.</dialogue> <scene_description>He hangs up the phone . Dede has quietly come in . She 's looking at Joe . She speaks to him in a low voice .</scene_description> <character>DEDE</character> <dialogue>Why do you let Waturi talk to you like that?</dialogue> <character>JOE</character> <dialogue>Like what?</dialogue> <character>DEDE</character> <dialogue>What's wrong with you?</dialogue> <character>JOE</character> <dialogue>I do n't. feel very good.</dialogue> <scene_description>She looks at him . She 's frustrated with this guy . This is somebody who she could go for , but he 's just lying there like a dog waiting to be kicked . He looks at her . If he had the strength , if he were feeling a little better , he 'd make a play for this woman . But he 's helpless . He just does n't feel very good . Absently , he feels the glands in his throat .</scene_description> <character>DEDE</character> <dialogue>What's the matter with you?</dialogue> <character>JOE</character> <dialogue>I do n't know.</dialogue> <scene_description>She stares at him . She 's angry , frustrated . She turns and walks out . Joe 's eyes are shining with tears that will not fall . He is powerless to help himself . He mutters to himself , fierce and impotent .</scene_description> <character>JOE</character> <dialogue>I do n't know.</dialogue> <scene_description>He presses the heels of his hands into his eyes .</scene_description> </scene> <scene> <stage_direction>INT. DOCTOR'S WAITING ROOM - DAY</stage_direction> <scene_description>We discover Joe with the heels of his hands pressed into his eyes . This room is fluorescently lit , too , and perhaps at first we do n't realize we have gone somewhere else . A nurse 's voice is heard .</scene_description> <character>NURSE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Mr. Banks? Mr. Banks?</dialogue> <scene_description>Joe , startled , takes his hands from his eyes . The CAMERA PULLS BACK and we see we 're in a doctor 's waiting room . And now we see the NURSE . She is a very conservative , W.A.S.P. Nurse .</scene_description> <character>JOE</character> <dialogue>Yeah?</dialogue> <character>NURSE</character> <dialogue>Doctor Ellison will see you now.</dialogue> </scene> <scene> <stage_direction>INT. DR. ELLISON'S OFFICE - DAY</stage_direction> <scene_description>The lighting in the doctor 's office is the first warm , relaxing light we 've seen . It comes from lamps and a little frosted window . The office itself is full of old wood and books . DR. ELLISON sits in a comfortable chair , at an old desk . He is the last word in doctors . He 's a large , respectable , distinguished , greyed - haired M.D. He 's a specialist . You get the feeling he may be a genius .</scene_description> <character>ELLISON</character> <dialogue>How are you feeling, Mr. Banks?</dialogue> <character>JOE</character> <dialogue>Pretty much the same. I feel puffy, blotchy. I never seem to have very much energy. I get these little sore throats. I just do n't feel good.</dialogue> <character>ELLISON</character> <dialogue>And how long have you felt this way?</dialogue> <character>JOE</character> <dialogue>Well. Pretty much since I left the Fire Department. On and off. But since then. ` Bout eight years.</dialogue> <character>ELLISON</character> <dialogue>What did you do in the Fire Department?</dialogue> <character>JOE</character> <dialogue>Well, ah, you know, I put out fires.</dialogue> <character>ELLISON</character> <dialogue>Was it dangerous?</dialogue> <character>JOE</character> <dialogue>Yeah. Ahm, pretty rough stuff. But I came out of it okay. The hard part was not feeling good all the time. I started not feeling good all the time. So I hadda quit.</dialogue> <scene_description>Ellison nods .</scene_description> <character>ELLISON</character> <dialogue>Yes. I've gotten the results of your tests.</dialogue> <character>JOE</character> <dialogue>I've got cancer.</dialogue> <character>ELLISON</character> <dialogue>No.</dialogue> <character>JOE</character> <dialogue>This new venereal.</dialogue> <character>ELLISON</character> <dialogue>No.</dialogue> <character>JOE</character> <dialogue>Is there something wrong with my blood or urine or?</dialogue> <character>ELLISON</character> <dialogue>No, they're fine. But there is something.</dialogue> <character>JOE</character> <dialogue>Tell me.</dialogue> <character>ELLISON</character> <dialogue>You have a brain cloud.</dialogue> <character>JOE</character> <dialogue>A brain cloud.</dialogue> <character>ELLISON</character> <dialogue>There's a black fog of tissue running right down the center of your brain. It's very rare. It will spread at a regular rate. It's very destructive.</dialogue> <character>JOE</character> <dialogue>And it's incurable.</dialogue> <character>ELLISON</character> <dialogue>Yes.</dialogue> <character>JOE</character> <dialogue>How long?</dialogue> <character>ELLISON</character> <dialogue>Six months. You can pretty much count on it being about that. It's not painful. Your brain will simply fail. Followed abruptly by your body. You can depend on at least four and half or five months of perfect health.</dialogue> <character>JOE</character> <dialogue>But what are you talking about, Doctor? I do n't feel good right now.</dialogue> <character>ELLISON</character> <dialogue>That's the ironic part, really. Mr. Banks, you're a hypochondriac. There's nothing wrong with you that has anything to do with your symptoms. My guess is your experiences in the Fire Department were extremely traumatic. You experienced the imminent possibility of death. Several times?</dialogue> <parenthetical>( as Joe nods numbly . )</parenthetical> <dialogue>You survived. But the cumulative anxiety of those brushes with death left you habitually fearful. About your physical person.</dialogue> <character>JOE</character> <dialogue>I'm not sick? Except for this terminal disease?</dialogue> <character>ELLISON</character> <dialogue>Which has no symptoms. That's right. It was only because of your insistence on having so many tests that we happened to discover the problem.</dialogue> <scene_description>Joe laughs , a little maniacally , then stops abruptly .</scene_description> <character>JOE</character> <dialogue>What am I going to do?</dialogue> <character>ELLISON</character> <dialogue>Well, if you have any savings you might think about taking a trip, a vacation?</dialogue> <character>JOE</character> <dialogue>I do n't have any savings. A few hundred bucks. I've spent everything on doctors. ELLISON Yes. Perhaps you'll want a second opinion?</dialogue> <character>JOE</character> <dialogue>A brain cloud. I knew it. Well, I did n't know it, but I knew it.</dialogue> <character>ELLISON</character> <dialogue>Yes.</dialogue> <character>JOE</character> <dialogue>What am I going to do?</dialogue> <character>ELLISON</character> <dialogue>You have some time left, Mr. Banks. You have some life left. My advice to you is : Live it well.</dialogue> <character>JOE</character> <dialogue>I've got to go. I'm on my lunch hour which is over.</dialogue> <scene_description>Joe gets up and Ellison follows suit , putting out his hand .</scene_description> <character>ELLISON</character> <dialogue>I'm sorry for what I had to tell you. I wish the news had been better.</dialogue> <scene_description>Joe does n't take his hand .</scene_description> <character>JOE</character> <dialogue>Yeah.</dialogue> <scene_description>Joe leaves . Ellison starts to sit down . Joe comes back in .</scene_description> <character>JOE</character> <dialogue>I'm sorry I did n't shake your hand.</dialogue> <scene_description>Joe takes the doctor 's hand and shakes it . Then he drops it and exits abruptly . Ellison sits there a moment , not moving . Then he opens a drawer in his desk and takes out a flask . He pours himself a drink and begins to drink it .</scene_description> </scene> <scene> <stage_direction>EXT. MEDICAL LEAGUE BUILDING - DAY</stage_direction> <scene_description>This is the building Ellison 's office is in . Joe 's car is parked out front . Joe comes slowly out . It 's still overcast , but lighter and dryer than it was earlier . As Joe walks down the steps , an elderly woman approaches with her dog , Molly , a mutt . Joe sees the dog and stops , fixed on it . He pats the dog on the head . The elderly woman thinks this is nice . Then Joe embraces the dog , and kneeling down , hugs it intensely . The elderly woman is alarmed and pulls the dog away . Joe looks after them . Then he gets in his car , which is beat - up and beige . Drives off .</scene_description> </scene> <scene> <stage_direction>EXT. AMERICAN PANASCOPE CORPORATION PARKING LOT - DAY</stage_direction> <scene_description>Joe drives INTO FRAME . He gets out and we FOLLOW him as he approaches the GUARD at the gate . The Guard nods him in . He starts to walk past . Then he goes back to the Guard .</scene_description> <character>JOE</character> <dialogue>What's your name?</dialogue> <character>GUARD</character> <dialogue>Fred.</dialogue> <character>JOE</character> <dialogue>Fred.</dialogue> <scene_description>He thinks that over and then goes on his way .</scene_description> </scene> <scene> <stage_direction>INT. PANASCOPE BUILDING - DAY</stage_direction> <scene_description>Joe standing outside the door marked Advertising Dept. . He is thoughtful . He goes in .</scene_description> </scene> <scene> <stage_direction>INT. ADVERTISING DEPARTMENT - DAY</stage_direction> <scene_description>Joe comes in . Dede is typing away . Mr. Waturi is on the phone . Joe hangs up his coat . He misses with the hat again because of Dede 's typing . He leans over and switches the typewriter off . Then he picks up his hat , dusts it off and throws it in the garbage can .</scene_description> <character>WATURI</character> <parenthetical>( on phone . )</parenthetical> <dialogue>No. No. You were wrong. He was wrong. Who said that? I did n't say that. If I had said that, I would've been wrong. I would've been wrong, Harry, is n't that right?</dialogue> <scene_description>Mr. Waturi 's attention is split between his call and Joe , who is walking around the office like a tourist .</scene_description> <character>WATURI</character> <dialogue>Listen, let me call you back, I've got something here, okay? And do n't tell him anything till we finish our conversation, okay?</dialogue> <scene_description>Mr. Waturi hangs up the phone . Joe is looking at the coffee set - up .</scene_description> <character>WATURI</character> <dialogue>Joe?</dialogue> <character>JOE</character> <dialogue>Yeah?</dialogue> <character>WATURI</character> <dialogue>You were at lunch three hours.</dialogue> <character>JOE</character> <dialogue>About that.</dialogue> <scene_description>Joe wanders away , into his office . Waturi looks after .</scene_description> </scene> <scene> <stage_direction>INT. JOE'S OFFICE - DAY</stage_direction> <scene_description>Joe is staring at the big wheel valve sporting the sign that says Main Drain . Mr. Waturi comes in as Joe moves forward and , with great effort , rotates the wheel to its opposite extreme . This scares Waturi .</scene_description> <character>WATURI</character> <dialogue>Joe, what are you doing?</dialogue> <character>JOE</character> <dialogue>I'm opening, or closing, the main drain.</dialogue> <scene_description>Nothing happens .</scene_description> <character>WATURI</character> <dialogue>You should n't be touching that.</dialogue> <character>JOE</character> <dialogue>Nothing happened. Do you know how long I've been wondering what would happen if I did that?</dialogue> <character>WATURI</character> <dialogue>What's the matter with you?</dialogue> <character>JOE</character> <dialogue>Brain cloud.</dialogue> <character>WATURI</character> <dialogue>What?</dialogue> <character>JOE</character> <dialogue>Never mind. Listen, Mr. Waturi. Frank. I quit.</dialogue> <scene_description>Joe starts to take some stuff out of his desk . He looks at his lamp , gets the cord , plugs it in , and turns it on .</scene_description> <character>WATURI</character> <dialogue>You mean, today?</dialogue> <character>JOE</character> <dialogue>That's right.</dialogue> <character>WATURI</character> <dialogue>That's great. Well, do n't come looking for a reference.</dialogue> <character>JOE</character> <dialogue>Okay, I wo n't.</dialogue> <character>WATURI</character> <dialogue>You blew this job.</dialogue> <scene_description>Joe takes in the little room .</scene_description> <character>JOE</character> <dialogue>I've been here for four and a half years. The work I did I probably could've done in five, six months. That leaves four years leftover.</dialogue> <scene_description>He 's been filling up a shopping bag with stuff from his desk : three books -LRB- Romeo and Juliet , Robinson Crusoe and The Odyssey -RRB- , an old ukulele and his lamp . Now he 's finished . He walks out of the room without even looking at Waturi . Waturi goes after him as he exits .</scene_description> </scene> <scene> <stage_direction>INT. ADVERTISING DEPARTMENT - DAY</stage_direction> <scene_description>Joe is walking towards the front door . Waturi follows him in . Joe stops at Dede 's desk . She 's typing . He looks at her . She stops typing .</scene_description> <character>JOE</character> <dialogue>Four years. If I had them now. Like gold in my hand. Here. This is for you.</dialogue> <parenthetical>( gives Dede the lamp . )</parenthetical> <dialogue>` Bye - bye, Dede.</dialogue> <character>DEDE</character> <dialogue>You're going?</dialogue> <character>WATURI</character> <dialogue>Well, if you're leaving, leave. You'll get your check. And, I promise you, you'll be easy to replace.</dialogue> <character>JOE</character> <dialogue>I should say something.</dialogue> <character>WATURI</character> <dialogue>What are you talking about?</dialogue> <character>JOE</character> <dialogue>This life. Life? What a joke. This situation This room.</dialogue> <character>WATURI</character> <dialogue>Joe, maybe you should just.</dialogue> <character>JOE</character> <dialogue>You look terrible, Mr. Waturi. You look like a bag of shit stuffed inna cheap suit. Not that anyone would look good under these zombie lights. I can feel them sucking the juice outta my eyeballs. Three hundred bucks a week, that's the news. For three hundred bucks a week I've lived in this sink. This used rubber.</dialogue> <character>WATURI</character> <dialogue>Watch it, mister! There's a woman here!</dialogue> <character>JOE</character> <dialogue>Do n't you think I know that, Frank? Do n't you think I'm aware there's a woman here? I can taste her on my tongue. I can smell her. When I'm twenty feet away, I can hear the fabric of her dress when she moves in her chair. Not that I've done anything about it. I've gone all day, every day, not doing, not saying, not taking the chance for three hundred bucks a week, and Frank the coffee stinks it's like arsenic, the lights give me a headache if the lights do n't give you a headache you must be dead, let's arrange the funeral.</dialogue> <character>WATURI</character> <dialogue>You better get outta here right now! I'm telling you!</dialogue> <character>JOE</character> <dialogue>You're telling me nothing.</dialogue> <character>WATURI</character> <dialogue>I'm telling you!</dialogue> <character>JOE</character> <dialogue>And why, I ask myself, why have I put up with you? I ca n't imagine but I know. Fear. Yellow freakin' fear. I've been too chicken shit afraid to live my life so I sold it to you for three hundred freakin' dollars a week! You're lucky I do n't kill you! You're lucky I do n't rip your freakin' throat out! But I'm not going to and maybe you're not so lucky at that.'Cause I'm gon na leave you here, Mister Wa - a - Waturi, and what could be worse than that?</dialogue> <scene_description>Joe opens the door and leaves . Mr. Waturi and Dede are frozen . The door reopens and Joe comes halfway back in .</scene_description> <character>JOE</character> <dialogue>Dede?</dialogue> <character>DEDE</character> <dialogue>Yeah?</dialogue> <character>JOE</character> <dialogue>How ` bout dinner tonight?</dialogue> <character>DEDE</character> <dialogue>Yeah, uh, okay.</dialogue> <scene_description>Joe smiles for the first time since we 've met him , and closes the door again .</scene_description> <character>DEDE</character> <dialogue>Wow. What a change.</dialogue> <character>WATURI</character> <dialogue>Who does he think he is?</dialogue> </scene> <scene> <stage_direction>INT. "THE SPANISH ROSE" RESTAURANT - NIGHT</stage_direction> <scene_description>Joe and Dede are sitting at a table , steaming plates of food before them . They are drinking red wine . Joe is caught up in a big idea . Dede is mesmerized .</scene_description> <character>JOE</character> <dialogue>I mean, who am I? That's the real question, is n't it? Who am I? Who are you? What other questions are there? What other questions are there, really? If you want to understand the universe, embrace the universe, the door to the universe is you!</dialogue> <character>DEDE</character> <dialogue>Me?</dialogue> <character>JOE</character> <dialogue>You. Me.</dialogue> <character>DEDE</character> <dialogue>You are really intense.</dialogue> <character>JOE</character> <dialogue>Am I? I guess I am. I was.</dialogue> <character>DEDE</character> <dialogue>What do you mean?</dialogue> <character>JOE</character> <dialogue>I mean, a long time ago. In the beginning. I was full of piss and vinegar. Nothing got me down. I wanted to know!</dialogue> <character>DEDE</character> <dialogue>You wanted to know what?</dialogue> <character>JOE</character> <dialogue>Everything! But then, I had some experiences. I was talking to this guy today, he says I got scared.</dialogue> <character>DEDE</character> <dialogue>Scared of what?</dialogue> <character>JOE</character> <dialogue>Have you ever been scared?</dialogue> <character>DEDE</character> <dialogue>I guess so. Sure.</dialogue> <character>JOE</character> <dialogue>What scared you?</dialogue> <character>DEDE</character> <dialogue>A lot of things. At the moment, you scare me a little bit.</dialogue> <character>JOE</character> <dialogue>Me?</dialogue> <character>DEDE</character> <dialogue>Yeah.</dialogue> <scene_description>Across the room , at another table , three guys with guitars , in traditional Spanish costumes , sing a happy Castilian song . Dede and Joe turn and take in the singers .</scene_description> <character>JOE</character> <dialogue>Why would I scare you?</dialogue> <character>DEDE</character> <dialogue>I do n't know. There's something going on with you. This morning you were like a lump and now you're. How do you feel?</dialogue> <character>JOE</character> <dialogue>I feel great.</dialogue> <character>DEDE</character> <dialogue>See? You never feel great.</dialogue> <character>JOE</character> <dialogue>No, I never do.</dialogue> <scene_description>He laughs .</scene_description> <character>DEDE</character> <dialogue>What's funny?</dialogue> <character>JOE</character> <dialogue>I do feel great. And that is very funny!</dialogue> <character>DEDE</character> <dialogue>Where are you?</dialogue> <character>JOE</character> <dialogue>I'm right here.</dialogue> <character>DEDE</character> <dialogue>I wish I was where you are, Joe.</dialogue> <character>JOE</character> <parenthetical>( nodding . )</parenthetical> <dialogue>No, you do n't. Did I ever tell you that the first time I saw you, I felt I'd seen you before?</dialogue> <scene_description>She shakes her head .</scene_description> <character>JOE</character> <dialogue>Wait a minute.</dialogue> <scene_description>Joe gets up , goes over to the three guys with guitars , slips them a fin , confers briefly , and returns to the table .</scene_description> <character>DEDE</character> <dialogue>What'd you do?</dialogue> <character>JOE</character> <dialogue>I bribed them to sing a song that would drive us insane and make our hearts swell and burst.</dialogue> <scene_description>Whereupon the three guys with guitars arrive at the table and launch into an extremely passionate Castilian love song . The song makes conversation impossible . Joe pours Dede some more red wine . They toast , looking into each other 's eyes . The scene ends , but the SONG CONTINUES through the following .</scene_description> </scene> <scene> <stage_direction>EXT. SPANISH ROSE - NIGHT</stage_direction> <scene_description>Against a slightly tilting lamp post leans a sailor in uniform . Joe and Dede emerge from the restaurant and get in his beat - up car . The car pulls away . The SONG CONTINUES through the following .</scene_description> </scene> <scene> <stage_direction>EXT. STATEN ISLAND FERRY - JOE'S CAR</stage_direction> <scene_description>The ferry pulls away from the shore . Joe and Dede go to the railing and look back at Manhattan , all lit up , receding . They kiss and look again . The song continues through next .</scene_description> </scene> <scene> <stage_direction>EXT. STATEN ISLAND - THREE FAMILY HOUSE - NIGHT</stage_direction> <scene_description>Joe 's car pulls to a stop in front of it , and he and Dede get out . There are some steps . He kisses her and carries her up the steps . Then he puts her down to open the door . The SONG ENDS .</scene_description> </scene> <scene> <stage_direction>INT. JOE'S APARTMENT - FOYER - NIGHT</stage_direction> <scene_description>Joe throws open the door with one hand . He 's got Dede on his arm . They kiss passionately . Joe reluctantly ends the kiss .</scene_description> <character>JOE</character> <dialogue>Listen.</dialogue> <character>DEDE</character> <dialogue>What happened to you?</dialogue> <character>JOE</character> <dialogue>Huh?</dialogue> <character>DEDE</character> <dialogue>What happened to you that you're. so alive? I can see it.</dialogue> <character>JOE</character> <dialogue>The doctor told me I've got this thing wrong with my brain. It's not catching. But I've just got five or six months to live.</dialogue> <character>DEDE</character> <dialogue>What?</dialogue> <character>JOE</character> <dialogue>I'm gon na die. And it's made me. very appreciative of my life.</dialogue> <scene_description>Dede shrinks from him , clutching her coat , suddenly cold .</scene_description> <character>DEDE</character> <dialogue>I've got ta go.</dialogue> <character>JOE</character> <dialogue>Please do n't.</dialogue> <scene_description>He reaches for her . She steps back .</scene_description> <character>DEDE</character> <dialogue>I've got ta go home. You may've quit, but I got the job in the morning.</dialogue> <character>JOE</character> <dialogue>Dede, I really want you to stay.</dialogue> <character>DEDE</character> <dialogue>You're gon na die?</dialogue> <character>JOE</character> <dialogue>Yeah, but so what? Stay! Just tonight. Tomorrow'll take care of itself.</dialogue> <scene_description>She hesitates on the brink of staying , lifts her hands to say yes , but her courage fails her .</scene_description> <character>DEDE</character> <dialogue>I ca n't handle it, Joe.</dialogue> <scene_description>She drops her hands , grabs the doorknob , and opens the door .</scene_description> <character>DEDE</character> <dialogue>Sorry.</dialogue> <scene_description>She quickly goes , slamming the door after her . Joe looks after her blankly . Then he takes off his coat , tie and jacket , and throws them on the floor . He walks off down the hall .</scene_description> </scene> <scene> <stage_direction>INT. JOE'S KITCHEN - PREDAWN</stage_direction> <scene_description>Joe is making some real coffee . He 's changed into bathrobe . He 's got a little lamp on , not the overhead light . He opens the refrigerator and takes out a loaf of white bread . He puts a couple of slices in the toaster . Then he looks at his little tin dining table and at window . The window is so dirty it 's opaque . You 'd like to open it to see out . He pulls the table over to window . Then he pulls a chair over to face the window . The window looks out on a long little street . At the end of the street is a brightness , where the sun will be . He brings his coffee to the table , and a napkin , and a a spoon . He hears the TOAST POP . He gets it , puts it on a plate , butters it , and brings it to the table . He sits down . He takes a sip of coffee and a bite of toast . He 1ooks out the window . The sun is just starting to come up . He looks at the coffee , at the little whiff of steam rising from the cracked cup . The crack 's in the shape of ACHI logo . He looks at the toast with one bite missing and the butter melting into the golden bread . He 1ooks at the sun 's splendid red rim . These things are so beautiful . His eyes well up . He takes another bite of the toast and another sip of the coffee and looks at the rising sun . It 's so great that he 's here to experience these things , and so sad that he 's leaving . He goes back to the refrigerator and takes out the loaf of bread . He puts a couple of more slices in the toaster and the almost full loaf of bread next to the almost full pot of coffee .</scene_description> </scene> <scene> <stage_direction>INT. JOE'S KITCHEN - MORNING (COUPLE OF HOURS LATER)</stage_direction> <scene_description>The loaf of bread is almost gone and the pot of coffee is empty . Now we PULL BACK and see Joe sitting by the window with his feet up , some crusts of toast lying on the plate next to him . The sun has risen a goodly bit , and can no longer be seen by us . But Joe is dappled with sunlight . He is no longer in the thrall of a big emotion , but he is extremely deep in the thought . The DOORBELL RINGS . Joe does n't move . It RINGS AGAIN . Did he hear the doorbell ? It RINGS AGAIN . He is now satisfied the doorbell is ringing . He gets up and out into the foyer .</scene_description> </scene> <scene> <stage_direction>INT. JOE'S FOYER - DAY</stage_direction> <scene_description>The DOORBELL starts to RING AGAIN as Joe opens the door . In the hallway is a powerful , glittering - eyed old man of seventy , MR. GRAYNAMORE . He 's wearing a long , black cashmere overcoat , a dramatic but not silly black fedora , and cowboy boots . He carries a vacuum - sealed can of Planter 's Peanuts in his pocket . He 's got a cane with a duck 's head .</scene_description> <character>GRAYNAMORE</character> <dialogue>Joe Banks? Mr. Joe Banks?</dialogue> <character>JOE</character> <dialogue>Yeah?</dialogue> <character>GRAYNAMORE</character> <dialogue>Have I come at a bad time?</dialogue> <character>JOE</character> <dialogue>Yeah. No. I do n't know how to answer that question.</dialogue> <character>GRAYNAMORE</character> <dialogue>Can I come in? Can we talk?</dialogue> <scene_description>Joe throwing the door open . He 's in his bathrobe .</scene_description> <character>GRAYNAMORE</character> <dialogue>You're not dressed?</dialogue> <character>JOE</character> <dialogue>No.</dialogue> <character>GRAYNAMORE</character> <dialogue>Does n't bother me if it does n't bother you.</dialogue> <scene_description>Graynamore strides past Joe into Joe 's living room . Joe looks after , in a bit of a daze . Then he follows .</scene_description> </scene> <scene> <stage_direction>INT. JOE'S LIVING ROOM - DAY</stage_direction> <scene_description>It 's modest , to say the least . It 's messy and cheaply furnished . An enormous crack runs up the wall and across the ceiling . Graynamore takes the room in .</scene_description> <character>GRAYNAMORE</character> <dialogue>Not a nice place you have here, Joe. Mind if I call you Joe?</dialogue> <character>JOE</character> <dialogue>No.</dialogue> <scene_description>Graynamore smacks a hole in the wall with his cane .</scene_description> <character>GRAYNAMORE</character> <dialogue>Dingy, shabby, dinky, not much.</dialogue> <scene_description>He rips off his coat with gusto and tosses it away . He sings a little of `` Someone 's in the Kitchen With Dinah . '' He 's a rich man , from out West , and that 's what his clothes look like . He seems to be enjoying himself very much . He sticks out his hand to Joe .</scene_description> <character>GRAYNAMORE</character> <dialogue>I see it as a sign of tremendous sophistication that you have n't demanded my name or asked me what I'm doing here. My name is Samuel Harvey Graynamore.</dialogue> <scene_description>They shake hands .</scene_description> <character>JOE</character> <dialogue>Joe Banks.</dialogue> <character>GRAYNAMORE</character> <dialogue>I know.</dialogue> <parenthetical>( stares into Joe 's face . )</parenthetical> <dialogue>I'm trying to see the hero in there.</dialogue> <character>JOE</character> <dialogue>What do you mean?</dialogue> <character>GRAYNAMORE</character> <dialogue>You dragged two kids down a six - story burning staircase. That was brave. But then you went back up for the third. That was heroic. Com ` on, you're a hero.</dialogue> <character>JOE</character> <dialogue>That was a long time ago.</dialogue> <character>GRAYNAMORE</character> <dialogue>Yes, it was.</dialogue> <scene_description>Graynamore opens the nuts and dumps them on the table .</scene_description> <character>JOE</character> <dialogue>How do you know my name?</dialogue> <character>GRAYNAMORE</character> <dialogue>I know all about you. As much as I could learn in twenty - four hours, anyway. Peanuts?</dialogue> <character>JOE</character> <dialogue>No.</dialogue> <character>GRAYNAMORE</character> <dialogue>Quit your job, huh?</dialogue> <character>JOE</character> <dialogue>Yeah.</dialogue> <character>GRAYNAMORE</character> <dialogue>Well, sounded like a dumb job. No family?</dialogue> <character>JOE</character> <dialogue>No.</dialogue> <character>GRAYNAMORE</character> <dialogue>Good for you. Families are a pain in the neck. What do you know about superconductors?</dialogue> <character>JOE</character> <dialogue>Nothing.</dialogue> <character>GRAYNAMORE</character> <dialogue>Me neither. But I own a huge company that dominates the world market for superconductors.</dialogue> <character>JOE</character> <dialogue>Really.</dialogue> <character>GRAYNAMORE</character> <dialogue>Yes. Sit down.</dialogue> <scene_description>Graynamore sits down , suddenly grounded and serious .</scene_description> <character>GRAYNAMORE</character> <dialogue>I got a call from Dr. Ellison. You were at his office yesterday?</dialogue> <scene_description>Joe nods .</scene_description> <character>GRAYNAMORE</character> <dialogue>He told me your news. I hope you wo n't be angry with him. He thought you and I might be able to help each other. Got any whiskey?</dialogue> <scene_description>Joe shakes his head . Graynamore produces a pipe .</scene_description> <character>GRAYNAMORE</character> <dialogue>I want to hire you, Joe Banks. I want you.</dialogue> <scene_description>Graynamore strikes an enormous match and lights up .</scene_description> <character>GRAYNAMORE</character> <dialogue>to jump into a volcano.</dialogue> <scene_description>Joe jumps up .</scene_description> <character>JOE</character> <dialogue>I do have some whiskey.</dialogue> <scene_description>Joe pulls a bottle of cheap scotch out of a cabinet , along with two glasses . He pours them both a drink and sits down . Graynamore downs his whiskey which makes his eyes glitter all the more . He leans forward and speaks with great intensity .</scene_description> <character>GRAYNAMORE</character> <dialogue>There's an island in the South Pacific called Waponi Woo. The name means ` The Little Island With the Big Volcano.' The Waponis are a cheerful people who live a simple existence fishing in the lagoon and picking fruit. They have one fear. That's a big volcano, they call it The Big Woo. They believe an angry fire god in the volcano will sink the island unless, once every hundred years, he is appeased. It's been ninety - nine years, eleven months, and eleven days since the fire god got his propers and the Waponis are scared.</dialogue> <character>JOE</character> <dialogue>How's the god appeased?</dialogue> <character>GRAYNAMORE</character> <dialogue>Of his own free will, a man's got to jump into the volcano. Now as you might imagine, none of the Waponis are anxious to volunteer for the honor of jumping into the Big Woo. And the problem is that whoever does it got ta do it of his own free will so what do you do?</dialogue> <character>JOE</character> <dialogue>What do you do?</dialogue> <scene_description>Graynamore gets up and starts to move around the room .</scene_description> <character>GRAYNAMORE</character> <dialogue>You do some tradin'. There's a mineral on that island, Mr. Banks. It's called bubureau. I do n't know anywhere else on the planet where you can find more than a gram of this stuff, and believe me I've looked. Because without bubureau I ca n't make my superconductors. I've tried to get the mineral rights from the Waponis, but I do n't seem to have anything they want. But they do want a hero, Mr. Banks. And they'll give me the mineral rights if I find them one.</dialogue> <character>JOE</character> <dialogue>Why would I jump into a volcano?</dialogue> <scene_description>Graynamore moves behind Joe .</scene_description> <character>GRAYNAMORE</character> <dialogue>From your exploits in the Fire Department, I think you've got the courage.</dialogue> <character>JOE</character> <dialogue>You do?</dialogue> <character>GRAYNAMORE</character> <dialogue>Does it take more guts to twice traverse a staircase in flames, or to make a onetime leap into the mouth of a smoking volcano? Damned if I know, kimosabe. All I know is when you're making those kind of calls, you're up in the high country. From your doctor, you know you're on your way out anyway. You have n't got any money. I checked.</dialogue> <parenthetical>( grabs Joe by the shoulders . )</parenthetical> <dialogue>Do you want to wait it out here, in this apartment? That sounds kind a grim to me. It's not how I'd wan na go, I'll tell you that.</dialogue> <scene_description>Graynamore lets go of his shoulders . He takes out his wallet and lays out four credit cards on the stereo console : Diner 's Club , Gold Visa , Gold Master , and Gold American Express . The cards have Joseph Banks printed on them . Joe looks at the cards . We hear Graynamore 's voice as we look at the cards .</scene_description> <character>GRAYNAMORE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>These are yours if you take the job. It'd be twenty days from today before you'd have to actually jump in the Big Woo. You could shop today, get yourself some clothes, you know, for an adventure. Then tomorrow a plane to L.A. first class, naturally. You'll be met. Stay in the best hotel. Then the next day, you board a yacht. My competitors sometimes watch the airports. The yacht's a real beauty.</dialogue> <parenthetical>( produces wallet photo of the yacht . )</parenthetical> <dialogue>It belongs to me. Gourmet chef. You sail to the South Pacific. Then, fifteen days. The Waponis come out to meet you, a total red carpet situation, you're a national hero. You're Charles Lindbergh. It's wine, women and song in the sweetest little paradise you ever saw. Then you jump in the volcano. Live like a king, die like a man, that's what I say. What do you say?</dialogue> <parenthetical>( picks up the credit cards and looks at Graynamore . )</parenthetical> <dialogue /> <character>JOE</character> <dialogue>Alright. I'll do it.</dialogue> <character>GRAYNAMORE</character> <dialogue>Here's my card and your plane ticket. American, noon out of Kennedy tomorrow.</dialogue> <parenthetical>( picks up his coat and hat and heads for door . )</parenthetical> <dialogue /> <character>JOE</character> <dialogue>Mr. Graynamore?</dialogue> <character>GRAYNAMORE</character> <dialogue>Yes?</dialogue> <character>JOE</character> <dialogue>What if I use the cards and take the plane and go on the yacht and party on the island and then I change my mind and I do n't jump in the volcano?</dialogue> <character>GRAYNAMORE</character> <dialogue>Why then I'd kill you in a very slow and painful way. But you'll jump.</dialogue> <parenthetical>( laughs in a warm and wonderful way , goes to door , opens it , and leaves . )</parenthetical> <dialogue /> <scene_description>Joe stands there , er him for a moment , and then pulls out the cards . He flips through , finds what he wants , and DIALS number .</scene_description> <character>JOE</character> <dialogue>Hi, I'd like to rent a limousine</dialogue> <character>JOE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Thank you? Yes, I do. American Express. The Gold Card. Can I have a white limousine?</dialogue> <scene_description>Joe smiles , looking at the card in his hand .</scene_description> </scene> <scene> <stage_direction>EXT. WHITE LIMOUSINE IN LOWER MANHATTAN - DAY</stage_direction> <scene_description>The car has just emerged from Staten Island Ferry traffic . We see the friendly face on the front grill of the limousine . It is a slightly overcast day .</scene_description> </scene> <scene> <stage_direction>INT. LIMOUSINE - DAY</stage_direction> <scene_description>Joe is sitting in the back , idly plucking his ukulele , looking out the windows , stretching his legs . Driver is a middle - aged black man ; his name is MARSHALL . He 's wearing a jacket and tie and sunglasses . He seems reserved and efficient</scene_description> <character>MARSHALL</character> <dialogue>So where would you like to go?</dialogue> <character>JOE</character> <dialogue>Excuse me?</dialogue> <character>MARSHALL</character> <dialogue>Where would you like to go, sir?</dialogue> <scene_description>Joe thinks for a moment .</scene_description> <character>JOE</character> <dialogue>I thought I might like to do some shopping.</dialogue> <character>MARSHALL</character> <dialogue>Okay. Where would you like to go shopping?</dialogue> <character>JOE</character> <dialogue>I do n't know.</dialogue> <scene_description>Marshall is disgruntled , but hides it behind his reserve .</scene_description> <character>MARSHALL</character> <dialogue>Alright.</dialogue> <character>JOE</character> <dialogue>Where would you go shopping?</dialogue> <character>MARSHALL</character> <dialogue>For what? What do you need?</dialogue> <character>JOE</character> <dialogue>Clothes.</dialogue> <character>MARSHALL</character> <dialogue>What kind of clothes? What is your taste?</dialogue> <character>JOE</character> <dialogue>I do n't exactly know.</dialogue> <scene_description>Marshall pulls the car over and stops .</scene_description> <character>JOE</character> <dialogue>Why'd you stop?</dialogue> <character>MARSHALL</character> <dialogue>I'm just hired to drive the car, mister. I'm not here to tell you who you are.</dialogue> <character>JOE</character> <dialogue>I did n't ask you to tell me who I am.</dialogue> <character>MARSHALL</character> <dialogue>You were hinting around about clothes. It happens that clothes are very important to me, Mister.</dialogue> <character>JOE</character> <dialogue>Banks.</dialogue> <character>MARSHALL</character> <dialogue>Banks. Clothes make the man. I believe that. You say to me you wan na go shopping, you wan na buy clothes, but you do n't know what kind. You leave that hanging in the air, like I'm going to fill in the blank, that to me is like asking me who you are, and I do n't know who you are, I do n't wan na know. It's taken me my whole life to find out who I am and I'm tired now, you hear what I'm say in'? What's your name?</dialogue> <character>JOE</character> <dialogue>Joe.</dialogue> <character>MARSHALL</character> <dialogue>My name's Marshall, how you do?</dialogue> <scene_description>They shake hands quite seriously .</scene_description> <character>MARSHALL</character> <dialogue>Wait a minute. I'm coming back.</dialogue> <scene_description>Marshall gets out of the driver 's seat , goes back and gets in next to Joe .</scene_description> <character>MARSHALL</character> <dialogue>Now what's your situation? Explain your situation to me?</dialogue> <character>JOE</character> <dialogue>I'm going away on a long trip.</dialogue> <character>MARSHALL</character> <dialogue>Okay.</dialogue> <character>JOE</character> <dialogue>I've got the opportunity to buy some clothes today.</dialogue> <character>MARSHALL</character> <dialogue>Yes.</dialogue> <character>JOE</character> <dialogue>Money's no object.</dialogue> <character>MARSHALL</character> <dialogue>Good. Where you going?</dialogue> <character>JOE</character> <dialogue>Well. I'm going out tonight in the city.</dialogue> <character>MARSHALL</character> <dialogue>Nice places?</dialogue> <character>JOE</character> <dialogue>I hope so. Then tomorrow I'm flying to L.A.</dialogue> <character>MARSHALL</character> <dialogue>First class?</dialogue> <character>JOE</character> <dialogue>Yeah.</dialogue> <character>MARSHALL</character> <dialogue>Good.</dialogue> <character>JOE</character> <dialogue>Then I'm getting on a yacht and sailing to the South Pacific. MARSHALL Hawaii?</dialogue> <character>JOE</character> <dialogue>No. A really unknown little island.</dialogue> <character>MARSHALL</character> <dialogue>No tourists?</dialogue> <character>JOE</character> <dialogue>I do n't think so.</dialogue> <character>MARSHALL</character> <dialogue>Good.</dialogue> <character>JOE</character> <dialogue>Then I'll be on the island for a couple of weeks, then that's it.</dialogue> <character>MARSHALL</character> <dialogue>And what do you got in the way of clothes now?</dialogue> <character>JOE</character> <dialogue>Well, I've got the kind of clothes I'm wearin'.</dialogue> <character>MARSHALL</character> <dialogue>So you've got no clothes. We'll start with basics. We'll start with underwear. We'll start with Dunhill.</dialogue> <scene_description>Marshall gets out of the car and heads back for the driver 's seat . He thinks . Marshall puts the car in gear and pulls away from the curb .</scene_description> </scene> <scene> <stage_direction>EXT. DUNHILL - DAY</stage_direction> <scene_description>The white limo pulls up . Two dog bars bracket the entrance to Dunhill with two big matching dogs , probably great Danes , drinking at each of the dog bars . The dogs are held on leashes by a man in a business suit and a woman in a pretty coat .</scene_description> </scene> <scene> <stage_direction>INT. WHITE LIMO - DAY</stage_direction> <scene_description>Joe 's getting ready to get out .</scene_description> <character>JOE</character> <dialogue>So just socks and underwear?</dialogue> <character>MARSHALL</character> <dialogue>Conservative underwear is the only way to go. White cotton broadcloth boxers. Silk shorts make you feel like a whore, so none of that. But with the tee shirts, Egyptian cotton, all right?</dialogue> <character>JOE</character> <dialogue>Alright.</dialogue> <scene_description>Joe gets out of the car and goes in .</scene_description> </scene> <scene> <stage_direction>INT. DUNHILL - UNDERWEAR COUNTER - DAY</stage_direction> <scene_description>A conservative UNDERGARMENT SALESMAN is helping Joe .</scene_description> <character>UNDERGARMENT SALESMAN</character> <dialogue>How many pairs of boxer shorts would you like, sir?</dialogue> <character>JOE</character> <dialogue>How many does a man need?</dialogue> <scene_description>The Salesman pauses , thinks and replies .</scene_description> <character>UNDERGARMENT</character> <dialogue>SALESMAN Eight pairs.</dialogue> </scene> <scene> <stage_direction>EXT. DUNHILL - DAY</stage_direction> <scene_description>Marshall 's leaning against the limo , reading a copy of The Scientific American . A WOMAN appears dressed as the Statue of Liberty . She looks at Marshall . He returns the glance . She has a tin can in her hand .</scene_description> <character>MARSHALL</character> <dialogue>What?</dialogue> <character>STATUE</character> <parenthetical>( WOMAN . )</parenthetical> <dialogue>How about a dollar for the way I look?</dialogue> <character>MARSHALL</character> <dialogue>Shoot. How ` bout a dollar for the way I look?</dialogue> <scene_description>He gives her a dollar .</scene_description> <character>MARSHALL</character> <dialogue>Yeah.</dialogue> <scene_description>She exits . Joe comes out of the store with a shopping bag . Marshall opens the door for him .</scene_description> <character>JOE</character> <dialogue>They've got a changing room. I'm wearing the underwear.</dialogue> <character>MARSHALL</character> <dialogue>I knew that. I could see it on your face.</dialogue> </scene> <scene> <stage_direction>INT. LIMO - STILL AT CURB BY BROOKS - DAY</stage_direction> <character>MARSHALL</character> <dialogue>What else you need?</dialogue> <character>JOE</character> <dialogue>Ah, well, some kind of overcoat. I do n't know, maybe like a English trench coat.</dialogue> <character>MARSHALL</character> <dialogue>English trench coat? That's foul weather wear, man. You're goin' west!</dialogue> <character>JOE</character> <dialogue>What would you get?</dialogue> <character>MARSHALL</character> <dialogue>You're a sexual man?</dialogue> <character>JOE</character> <dialogue>Yeah?</dialogue> <character>MARSHALL</character> <dialogue>Not that I mean to be crude, but I'm trying to express something. Armani. That's what you want. And how ` bout a haircut?</dialogue> <character>JOE</character> <dialogue>What's wrong with my hair?</dialogue> <character>MARSHALL</character> <dialogue>I ca n't express it. It looks like freedom without choice. It looks wrong.</dialogue> <scene_description>While he 's talking , he has picked up the car phone and punched some numbers . He speaks into the phone .</scene_description> <character>MARSHALL</character> <dialogue>Salon Salon, please.</dialogue> <scene_description>He breaks the connection and dials again .</scene_description> <character>MARSHALL</character> <dialogue>Hi, gim me Cassie Cimorelli, please. Hello, Cassie? It's Marshall, how you? Good. Listen, I got somebody who needs you today, can you help me out? 2:30? Great, good, thanks.</dialogue> <scene_description>He hangs up .</scene_description> <character>MARSHALL</character> <dialogue>We got ta get moving.</dialogue> <scene_description>He puts the car in gear and pulls away .</scene_description> </scene> <scene> <stage_direction>EXT. GIORGIO ARMANI'S - DAY</stage_direction> <scene_description>The white limo pulls up .</scene_description> </scene> <scene> <stage_direction>INT. LIMO - DAY</stage_direction> <character>JOE</character> <dialogue>So what do I ask for?</dialogue> <character>MARSHALL</character> <dialogue>This is too complicated. I got ta come in with you. If I getta ticket it ca n't be helped.</dialogue> </scene> <scene> <stage_direction>EXT. LIMO OUTSIDE ARMANI'S - DAY</stage_direction> <scene_description>Joe and Marshall get out and go in .</scene_description> </scene> <scene> <stage_direction>INT. ARMANI'S - DAY</stage_direction> <scene_description>Joe is standing on a fitting stool in a beautiful suit . He 's being ministered to by an ITALIAN TAILOR , as Marshall supervises . Marshall murmurs to the Tailor .</scene_description> <character>MARSHALL</character> <dialogue>I still think the full break over the shoe is the way to go.</dialogue> <character>TAILOR</character> <dialogue>No more than half this year, I swear to you.</dialogue> <parenthetical>( to Joe . )</parenthetical> <dialogue>You can take it off now, sir.</dialogue> <scene_description>Points the way to Joe and walks off .</scene_description> <character>MARSHALL</character> <dialogue>Hey, Joe, how about a tux?</dialogue> <character>JOE</character> <dialogue>What for?</dialogue> <character>MARSHALL</character> <dialogue>Something'll come up. There's nothing a man looks better in.</dialogue> <character>JOE</character> <dialogue>I'll get one if you get one.</dialogue> <character>MARSHALL</character> <dialogue>I ca n't be buying no Armani tux. I'm a working man.</dialogue> <character>JOE</character> <dialogue>You're getting paid to drive the car. Nobody's paying you to give me all this advice. Let me buy you the tux and we'll call it even.</dialogue> <scene_description>Marshall thinks it over .</scene_description> </scene> <scene> <stage_direction>INT. ARMANI'S - TEN MINUTES LATER - DAY</stage_direction> <scene_description>Marshall is standing on the fitting stool in an Armani tuxedo . The Tailor is doing his cuffs .</scene_description> <character>MARSHALL</character> <dialogue>Gim me the full break over the shoe, Pietro. It's my preference.</dialogue> <character>TAILOR</character> <dialogue>Whatever's your pleasure, sir.</dialogue> </scene> <scene> <stage_direction>EXT. ARMANI AT CURB - JOE AND MARSHALL - DAY</stage_direction> <scene_description>emerge . Marshall opens the door to the limo for Joe and urges him to speed it up .</scene_description> <character>MARSHALL</character> <dialogue>Come on, kid! We're on a roll!</dialogue> <parenthetical>( as he walks around to the driver 's side . )</parenthetical> <dialogue>Did n't even get a ticket.</dialogue> <scene_description>Marshall gets in , starts it up , and pulls away .</scene_description> </scene> <scene> <stage_direction>EXT. HORN OF AFRICA - LIMO OUTSIDE - DAY</stage_direction> <scene_description>Two Tiki heads bracket either side of the entrance .</scene_description> </scene> <scene> <stage_direction>INT. THE HORN OF AFRICA - DAY</stage_direction> <scene_description>Joe is trying on a safari jacket . Two salesmen stand by . Joe nods . Now one of the salesmen puts a particularly dashing safari hat on Joe . He looks in a mirror . He really , really likes it .</scene_description> </scene> <scene> <stage_direction>INT. SALON SALON - DAY</stage_direction> <scene_description>It 's a large , bustling beauty center in midtown . There must be fifteen hairdressers spread out over a spacious , well - windowed area . It 's a festive place with glossy magazines and coffee and water running and blow dryers going . Happy BRAZILIAN MUSIC is playing on the sound system . Now we zero in on Cassie 's corner . CASSIE is in her thirties , with a short fetching up - to - the - minute haircut . She 's also got a terrific personality ; she 's the salt of the earth . And she 's cutting Joe 's hair . Marshall sits on a nearby chair . He 's reading B , a trendy magazine .</scene_description> <character>JOE</character> <dialogue>How you making me look?</dialogue> <character>CASSIE</character> <dialogue>I'm undoing this cut from before. This is some piece of geography. Where'd you get this?</dialogue> <character>JOE</character> <dialogue>In one of those subway barber shops.</dialogue> <character>CASSIE</character> <dialogue>It has that reality. Grim. You're a very handsome guy, I'm just gon na bring that out. Marshall, which one is that?</dialogue> <character>MARSHALL</character> <dialogue>It's the in and out issue.</dialogue> <character>CASSIE</character> <dialogue>That's the best! What's in?</dialogue> <character>MARSHALL</character> <dialogue>Carrie Fisher, Barcelona, African - Americans, happy endings, The New York Dally News, tomato salads, God, garlic, wristwatches you have to wind up, and true love.</dialogue> <character>CASSIE</character> <dialogue>Did you say Carrie Fisher?</dialogue> <character>MARSHALL</character> <dialogue>You do n't like Carrie Fisher?</dialogue> <character>CASSIE</character> <dialogue>I love Carrie Fisher! I ca n't believe it! So intelligent! So dry! That's a totally great list. What's out? Read it slow.</dialogue> <character>MARSHALL</character> <dialogue>Kafka, C.D.'s.</dialogue> <character>CASSIE</character> <dialogue>That's true. I've had it with Kafka. Those little eyes. so full of misery.</dialogue> <character>MARSHALL</character> <dialogue>Stand - up comedy.</dialogue> <character>CASSIE</character> <dialogue>Stand - up comedy makes me nervous.</dialogue> <character>MARSHALL</character> <dialogue>All restaurants that have n't been in existence for at least thirty years.</dialogue> <character>CASSIE</character> <dialogue>Yes.</dialogue> <character>MARSHALL</character> <dialogue>Paloma Picasso.</dialogue> <character>CASSIE</character> <dialogue>No, I do n't agree with that. I love Paloma Picasso. Those lips! So red, so big!</dialogue> <character>MARSHALL</character> <dialogue>New money and old money.</dialogue> <character>CASSIE</character> <dialogue>Okay.</dialogue> <character>MARSHALL</character> <dialogue>All camp, all trash, all trivia.</dialogue> <character>CASSIE</character> <dialogue>Oh com ` on, take a risk.</dialogue> <character>MARSHALL</character> <dialogue>And The New York Times.</dialogue> <character>CASSIE</character> <dialogue>Finally somebody said it! What rag!</dialogue> <scene_description>Cassie finishes cutting Joe 's hair . It 's a great cut .</scene_description> <character>CASSIE</character> <dialogue>Very gratifying. Thank you, Marshall. Well, here you are.</dialogue> <character>JOE</character> <dialogue>I look good.</dialogue> <character>MARSHALL</character> <dialogue>You're coming into focus, kid! I can see you now.</dialogue> <scene_description>Marshall nods approval . Cassie and Joe exchange a smile . OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. HAMMACHER SCHLEMMER - DAY</stage_direction> <scene_description>The limo pulls up . Joe goes in . Marshall stays in the car .</scene_description> </scene> <scene> <stage_direction>INT. HAMMACHER SCHLEMMER - DAY</stage_direction> <scene_description>ANGLE ON the indoor golfing practice green . Joe putts a golf ball into the hole .</scene_description> <character>JOE</character> <dialogue>I'll take it.</dialogue> <character>SALESWOMAN</character> <dialogue>Yes, sir.</dialogue> <scene_description>Joe walks OUT OF FRAME . CLOSEUP PAN ACROSS the glass counter top of a Swiss army knife , a world band travel radio , shaving kit , lantern and a violin case that doubles as a bar ; until we COME TO a large light colored umbrella which is pointed AT us . The umbrella closes , revealing Joe .</scene_description> <character>JOE</character> <dialogue>I'll take this, too.</dialogue> <character>HAMMACHER SCHLEMMER SALESMAN</character> <dialogue>Will that be all?</dialogue> <scene_description>Joe walks away . PICTURE CUT - OUT of a woman demonstrating the walk on water shoes . Joe approaches . The SALESWOMAN appears as well . Joe is really looking at the shoes .</scene_description> <character>SALESWOMAN</character> <dialogue>Does that interest your</dialogue> <character>JOE</character> <dialogue>You mean you can walk on water?</dialogue> <character>SALESWOMAN</character> <dialogue>With a little help. Yes.</dialogue> <character>JOE</character> <dialogue>I'll take a pair.</dialogue> <character>SALESWOMAN</character> <dialogue>Alright. Very good, sir. Thank you.</dialogue> <character>JOE</character> <dialogue>Thank YOU.</dialogue> </scene> <scene> <stage_direction>INT. WHITE LIMO IN FRONT OF ARMANI - DAY</stage_direction> <scene_description>Two uniformed attendants from Armani are handing the last of the boxes to Joe , who 's now sitting in front with Marshall . The back of the car is completely loaded with stuff . The attendants head back to the entrance where they stand at parade rest on either side of the door . Joe calls after .</scene_description> <character>JOE</character> <dialogue>Thanks!</dialogue> <scene_description>Marshall pulls away from the curb .</scene_description> <character>MARSHALL</character> <dialogue>You know what you need?</dialogue> <character>JOE</character> <dialogue>What else could I need?</dialogue> <character>MARSHALL</character> <dialogue>How you gon na carry this stuff? You need luggage!</dialogue> <character>JOE</character> <dialogue>I did n't think of that.</dialogue> </scene> <scene> <stage_direction>INT. SMALL EXCLUSIVE LUGGAGE STORE (J. RUSS) - DAY</stage_direction> <scene_description>It 's as quiet as a church . A few pieces of extremely high quality leather luggage are on display . The SALESMAN , a small neat man in a quiet suit , is the store 's representative . He 's talking with Joe . He 's a very serious , understated man .</scene_description> <character>LUGGAGE SALESMAN</character> <dialogue>Have you thought much about luggage, Mr. Banks?</dialogue> <character>JOE</character> <dialogue>No, I never really have.</dialogue> <character>LUGGAGE SALESMAN</character> <dialogue>It's the central preoccupation of my life. You travel the world, you're away from home, perhaps away from your family, all you have to depend on is yourself and your luggage.</dialogue> <character>JOE</character> <dialogue>I guess that's true.</dialogue> <character>LUGGAGE SALESMAN</character> <dialogue>Are you traveling light or heavy?</dialogue> <character>JOE</character> <dialogue>Heavy.</dialogue> <character>LUGGAGE SALESMAN</character> <dialogue>Flying?</dialogue> <character>JOE</character> <dialogue>Flying. And by ship.</dialogue> <character>LUGGAGE SALESMAN</character> <dialogue>An ocean voyage?</dialogue> <character>JOE</character> <dialogue>Yes.</dialogue> <character>LUGGAGE SALESMAN</character> <dialogue>Ah. Yes. So. A real journey.</dialogue> <character>JOE</character> <dialogue>And then I'll be staying on this island, I do n't even really know if I'll be living in a hut or what.</dialogue> <character>LUGGAGE</character> <dialogue>SALESMAN Very exciting.</dialogue> <character>JOE</character> <dialogue>Yeah.</dialogue> <character>LUGGAGE SALESMAN</character> <dialogue>As a luggage problem. I believe I have just the thing.</dialogue> <scene_description>The Luggage Salesman rolls out an absolutely gorgeous steamer trunk of dark , wine - colored leather and brass fittings .</scene_description> <character>JOE</character> <dialogue>Wow.</dialogue> <scene_description>The Luggage Salesman opens it . It has hangers , drawers , a mirror , the works .</scene_description> <character>LUGGAGE SALESMAN</character> <dialogue>This is our premier steamer trunk. All handmade, only the finest materials. It's even water - tight, tight as a drum. If I had the need and the wherewithal, Mr. Banks, this would be my trunk of choice. I could face the world with a trunk like this by my side.</dialogue> <scene_description>Joe is moved .</scene_description> <character>JOE</character> <dialogue>I'll take four of them.</dialogue> <scene_description>This is the classiest thing the Luggage Salesman 's ever heard .</scene_description> <character>LUGGAGE SALESMAN</character> <dialogue>May you live to be a thousand years old, sir.</dialogue> <scene_description>Not normally a demonstrative man , he slowly raises hand , offering it to Joe . Joe takes it and they shake .</scene_description> </scene> <scene> <stage_direction>EXT. STREET OUTSIDE LUGGAGE STORE - DAY</stage_direction> <scene_description>Marshall and Joe have just finished securing the four trunks to the top of the white limo . They get in the car .</scene_description> </scene> <scene> <stage_direction>INT. LIMO - DAY</stage_direction> <scene_description>Marshall starts it up .</scene_description> <character>JOE</character> <dialogue>I'm through shopping.</dialogue> <character>MARSHALL</character> <dialogue>Fair enough. Where to? Back to Staten Island?</dialogue> <character>JOE</character> <dialogue>Yeah, I guess so. No. A really good hotel. The Plaza?</dialogue> <character>MARSHALL</character> <dialogue>The Plaza's nice.</dialogue> <character>JOE</character> <dialogue>Where would you go?</dialogue> <character>MARSHALL</character> <parenthetical>( lighting up . )</parenthetical> <dialogue>The Pierre!</dialogue> </scene> <scene> <stage_direction>EXT. THE PIERRE HOTEL - DUSK</stage_direction> <scene_description>Seven bellboys and girls are unloading the white limo and carrying its contents into the hotel . They wear classic bellboy uniforms and caps . Marshall and Joe are watching .</scene_description> <character>JOE</character> <dialogue>Marshall?</dialogue> <character>MARSHALL</character> <dialogue>Yeah?</dialogue> <character>JOE</character> <dialogue>I wonder if you'd want to have dinner with me tonight?</dialogue> <character>MARSHALL</character> <dialogue>Ca n't do it. I got my wife and kids at the end of the day, you know?</dialogue> <character>JOE</character> <dialogue>Yeah.</dialogue> <scene_description>The HEAD BELLMAN informs Joe .</scene_description> <character>HEAD BELLMAN</character> <dialogue>Everything's at check - in when you're ready, sir.</dialogue> <scene_description>The Bellman departs within .</scene_description> <character>MARSHALL</character> <dialogue>Listen, ai n't you got nobody?</dialogue> <character>JOE</character> <dialogue>No. But there are certain times in your life when I guess you're not supposed to have anybody, you know? There are certain doors you have to go through alone.</dialogue> <character>MARSHALL</character> <dialogue>You're gon na be Alright.</dialogue> <scene_description>Joe shrugs . He and Marshall shake hands . They look at each other . We see Marshall get in the limo and pull away . We see Joe look after him , then turn and go into the hotel . A instrumental jazz version of `` Do You Know The Way To San Jose '' plays through the following scenes .</scene_description> </scene> <scene> <stage_direction>INT. SUITE IN THE PIERRE HOTEL - NIGHT</stage_direction> <scene_description>Joe has one of his trunks open . He 's hanging his tuxedo up in it . He 's been taking stuff out of boxes and packing it into the trunks . He opens another box and takes out his new suit . The MUSIC CONTINUES through the next .</scene_description> </scene> <scene> <stage_direction>INT. MAIN RESTAURANT IN THE PIERRE HOTEL - NIGHT</stage_direction> <scene_description>This is an incredibly beautiful , quiet restaurant . Joe 's discovered , sitting alone at a table . The Pierre waiter is just walking away . Joe 's sipping a glass of wine , his entree before him . The MUSIC CONTINUES through next .</scene_description> </scene> <scene> <stage_direction>EXT. CENTRAL PARK SOUTH - JOE - NIGHT</stage_direction> <scene_description>Walking along . As he approaches The Plaza , two cabs pull up and eight theatregoers from out of town disembark . They are all middle - aged , wearing their best clothes , having a good time . They cross in front of Joe on their way into the hotel . He watches them go by and disappear . It makes him smile and it makes him feel alone . He goes on . The MUSIC CONTINUES through next .</scene_description> </scene> <scene> <stage_direction>EXT. DEPARTMENT STORE WINDOW - NIGHT</stage_direction> <scene_description>Joe walks by and stops , struck by the contents of the win dow . It 's a female dummy , dressed as Patricia will be on the yacht . Behind the dummy is a photo mural of the yacht .</scene_description> </scene> <scene> <stage_direction>INT. TUESDAY'S (JAZZ BAR) - NIGHT</stage_direction> <scene_description>We 've arrived at the place where the music is coming from . Joe sits at a little table listening to a good jazz quartet . They are a pasty - faced English quartet . Everyone in the club is black except Joe , the bartender and the band , which is playing `` Do You Know The Way to San Jose . '' Everyone is drinking martinis . They form a straight line down the bar each with a giant green olive in it . Joe finishes a martini and waves for the check . The MUSIC CONTINUES through the next .</scene_description> </scene> <scene> <stage_direction>EXT. FIFTH AVENUE - 30 FEET FROM THE PIERRE - NIGHT</stage_direction> <scene_description>Joe , weaving ever so slightly , walks up the street and approaches the hotel . The MUSIC CONCLUDES .</scene_description> </scene> <scene> <stage_direction>INT. THE PIERRE HOTEL - JOE'S SUITE - NIGHT</stage_direction> <scene_description>The lights are out . Joe 's in bed , staring at the ceiling . We look DOWN on him . It 's very , very silent . Finally , he closes his eyes and turns his head .</scene_description> </scene> <scene> <stage_direction>EXT. AMERICAN AIRLINE IN FLIGHT - DAY</stage_direction> </scene> <scene> <stage_direction>INT. AMERICAN FLIGHT - FIRST CLASS CABIN - DAY</stage_direction> <scene_description>In the flight to L.A. Joe is sitting on the aisle . Next to him is a grey - haired , wholesome priest named FATHER CONROY . The clergyman is most way through a drink , wrapped up in his own thoughts . Joe is deeply aware that he 's sitting next to a priest ; he 's uneasy , shifting in his chair . The STEWARDESS notices Joe and approaches .</scene_description> <character>STEWARDESS</character> <dialogue>Can I get you anything, sir?</dialogue> <character>JOE</character> <dialogue>No, thank you. No, I changed my mind. Some club soda, please.</dialogue> <character>STEWARDESS</character> <dialogue>Alright.</dialogue> <scene_description>Father Conroy catches her eye and slightly raises his almost empty drink .</scene_description> <character>FATHER CONROY</character> <dialogue>I think I'll have one more.</dialogue> <character>STEWARDESS</character> <dialogue>Alright.</dialogue> <scene_description>The Stewardess heads off , down the aisle . Joe catches the priest 's eye .</scene_description> <character>JOE</character> <dialogue>Have you ever been to California before?</dialogue> <character>FATHER CONROY</character> <dialogue>Oh, many times.</dialogue> <character>JOE</character> <dialogue>I've never been anywhere.</dialogue> <character>FATHER CONROY</character> <dialogue>I was a chaplain there, years ago. For the Marines. Camp Pendleton.</dialogue> <character>JOE</character> <dialogue>I do n't believe in God</dialogue> <character>FATHER CONROY</character> <dialogue>Okay.</dialogue> <character>JOE</character> <dialogue>I did when I was a kid, but I lost my faith in high school.</dialogue> <character>FATHER CONROY</character> <dialogue>Uh - huh.</dialogue> <character>JOE</character> <dialogue>And then, when I was in danger - I was a fireman - in the middle of the fire, I never like turned around and fell to my knees and started praying.</dialogue> <character>FATHER CONROY</character> <dialogue>No?</dialogue> <character>JOE</character> <dialogue>No. There are atheists in foxholes.</dialogue> <character>FATHER CONVOY</character> <dialogue>I'm sure there are.</dialogue> <character>JOE</character> <dialogue>But I've come to a place in my life where I've come face to face with the facts of life and death. I mean, it's a chance happening I'm alive, it's a miracle, I'm so lucky! And it's not going to last. It's like a shooting star. So beautiful, so fleeting, make a wish before it's gone, you know? I'm so moved. But cut off. If there is a God, if there is some kind of music going through everything, I ca n't hear it. I'm alone. I really feel I'm alone. I'm walking down this little path by myself.</dialogue> <character>FATHER CONROY</character> <dialogue>Yes.</dialogue> <character>JOE</character> <dialogue>Can you help me?</dialogue> <scene_description>The Stewardess has returned with their drinks .</scene_description> <character>STEWARDESS</character> <dialogue>Hi. I have your drinks.</dialogue> <character>JOE</character> <dialogue>Oh, yeah. Thank you.</dialogue> <scene_description>She serves the priest a little bottle of bourbon and a glass of ice . He gives her his old glass .</scene_description> <character>FATHER CONROY</character> <dialogue>Thank you.</dialogue> <scene_description>Joe is still focussed on Father Conroy . The good Father carefully pours the little bottle of bourbon over the ice . Joe is very intense .</scene_description> <character>JOE</character> <dialogue>Can you help me?</dialogue> <character>FATHER CONROY</character> <dialogue>Do you see an analyst of some kind?</dialogue> <character>JOE</character> <dialogue>I do n't need an analyst. That's not the kind of problem I have.</dialogue> <scene_description>Inspirational light shines through the cabin window .</scene_description> <character>FATHER CONROY</character> <dialogue>If you need a guide. If you're a seeker and you need a guide, someone to counsel you so you can find your way forward into a spiritual realm. And you're on an airplane. Do n't look in first class.</dialogue> <scene_description>Father Conroy raises his glass of bourbon in a little toast to Joe , and then takes a healthy swallow .</scene_description> </scene> <scene> <stage_direction>EXT. L.A. AIRPORT - RUNWAY - DAY</stage_direction> <scene_description>The American flight lands .</scene_description> </scene> <scene> <stage_direction>INT. L.A. AIRPORT TERMINAL - DAY</stage_direction> <scene_description>Joe and his fellow travellers are just entering the terminal proper . A commercial airplane presses its nose inquisitively against a visible window . It is surrounded by orange trees . Joe is surrounded by blond California guys as he gets off the plane . We see a homemade banner `` Welcome to L.A. St. Dymphna 's Girls Academy . '' Of the six people waiting , five of them look like Brezhnev . The sixth is ANGELICA , she is holding aloft a sign which reads `` JOSEPH BANKS . '' She looks like Dede . Joe does a take , he goes to her . Several Catholic school girls run by .</scene_description> <character>JOE</character> <dialogue>Hi.</dialogue> <character>ANGELICA</character> <dialogue>Hi, are you Joe Banks?</dialogue> <character>JOE</character> <dialogue>Yeah. Who are you?</dialogue> <character>ANGELICA</character> <dialogue>I'm the daughter of the guy who hired you. Angelica Graynamore.</dialogue> <scene_description>Joe shakes her hand .</scene_description> <character>JOE</character> <dialogue>Nice to meet you. Again.</dialogue> <character>ANGELICA</character> <dialogue>What?</dialogue> <scene_description>Joe shakes his head .</scene_description> <character>ANGELICA</character> <dialogue>Daddy told me to tell you that I do n't know what he hired you for, and not to tell me. That I'm totally untrustworthy. I'm a flibberti - gibbet. C'mon, let's get outta here.</dialogue> <character>JOE</character> <dialogue>I've got some luggage.</dialogue> </scene> <scene> <stage_direction>EXT. TAXI FULL OF STEAMER TRUNKS - DAY</stage_direction> <scene_description>The taxi is going along a highway . We LEAVE the taxi and MOVE FORWARD TO a red convertible . In the red convertible are Angelica at the wheel , and Joe beside her . They are driving alongside the blue ocean . Green palm trees wave overhead . All is beautiful and fresh .</scene_description> <character>JOE</character> <dialogue>I've never been to L.A. before.</dialogue> <character>ANGELICA</character> <dialogue>What do you think?</dialogue> <character>JOE</character> <dialogue>It looks fake. I like it.</dialogue> </scene> <scene> <stage_direction>EXT. SHANGRI-LA HOTEL - SUNSET</stage_direction> <scene_description>The red convertible pulls up to the entrance and we hear Angelica say :</scene_description> <character>ANGELICA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Daddy wanted to put you up in Bel Air, but I said no way! Shangri - la, Shangri - la!</dialogue> <scene_description>The taxi pulls up behind them . Angelica gets out of the car and goes back to the cab . She gives the DRIVER money .</scene_description> <character>ANGELICA</character> <dialogue>Thanks. That's for you. And put everything on the curb, please.</dialogue> <character>DRIVER</character> <dialogue>Thank you.</dialogue> <scene_description>Joe gets out of the convertible . Two deco - porters emerge from the hotel with luggage carriers , and assist the Driver in transferring the trunks . Angelica jumps back in her car and calls to Joe .</scene_description> <character>ANGELICA</character> <dialogue>Check in, fresh up, I'll be back for you at seven. We'll have dinner.</dialogue> <scene_description>Angelica drives off . Joe looks after , then turns and goes into the hotel .</scene_description> </scene> <scene> <stage_direction>INT. CHINOIS - NIGHT</stage_direction> <scene_description>Fancy `` fun '' restaurant . A big platter of Dungeness crabs being carried through the restaurant . It 's placed on a table where Joe and Angelica are sitting . There are already two other platters of exotic food on the table . Now we see the waiter and waitress , a slick blond named RALPH and a redheaded waitress named RITA .</scene_description> <character>RITA</character> <dialogue>Black bread with sour cream and golden caviar.</dialogue> <character>RALPH</character> <dialogue>The Dungeness crabs.</dialogue> <scene_description>Joe looks at this dish with alarm . Ralph and Rita depart .</scene_description> <character>ANGELICA</character> <dialogue>What's the matter?</dialogue> <character>JOE</character> <dialogue>Nothing.</dialogue> <character>ANGELICA</character> <dialogue>They do look like little monsters or something.</dialogue> <parenthetical>( picks one up and attacks it . )</parenthetical> <dialogue>But they're good little monsters.</dialogue> <scene_description>Joe tentatively takes one , and small portions of the other dishes .</scene_description> <character>ANGELICA</character> <dialogue>What'd you do before you signed on with Daddy?</dialogue> <character>JOE</character> <dialogue>I was an advertising librarian for a medical supply company.</dialogue> <character>ANGELICA</character> <dialogue>Oh. I have no response to that.</dialogue> <character>JOE</character> <dialogue>What do you do?</dialogue> <character>ANGELICA</character> <dialogue>Why do you ask?</dialogue> <character>JOE</character> <dialogue>Uh, I do n't know.</dialogue> <scene_description>Angelica produces and takes two pills . Suddenly , she gets very defensive .</scene_description> <character>ANGELICA</character> <dialogue>I'm a painter. And a poet.</dialogue> <character>JOE</character> <dialogue>Really?</dialogue> <character>ANGELICA</character> <dialogue>Yes. Does that bother you?</dialogue> <character>JOE</character> <dialogue>No.</dialogue> <character>ANGELICA</character> <dialogue>People from New York usually look down on painters. And poets.</dialogue> <character>JOE</character> <dialogue>I did n't know that.</dialogue> <character>ANGELICA</character> <dialogue>They think if you live in L.A., and you say you're an artist, you really do nothing!</dialogue> <character>JOE</character> <dialogue>Why?</dialogue> <character>ANGELICA</character> <dialogue>You do n't think I do nothing?</dialogue> <character>JOE</character> <dialogue>No.</dialogue> <character>ANGELICA</character> <dialogue>You believe me when I say I'm a painter?</dialogue> <character>JOE</character> <dialogue>And a poet. Sure.</dialogue> <character>ANGELICA</character> <dialogue>Well, you're right. There's a painting of mine right there.</dialogue> <scene_description>PAINTING OF CAR in a yellow pool of light overlooking a lit - up city below . And - JOE AND ANGELICA looking .</scene_description> <character>JOE</character> <dialogue>It's terrific. Where you get your ideas?</dialogue> <character>ANGELICA</character> <dialogue>I'll show you.</dialogue> <scene_description>PAINTING</scene_description> </scene> <scene> <stage_direction>EXT. HILL WITH STREETLIGHT - NIGHT</stage_direction> <scene_description>The streetlight casts a pool of light just like in the painting , and the city glitters below . When Angelica 's car pulls into the pool of light and stops , the picture is complete .</scene_description> <character>JOE</character> <dialogue>Nice view. It's like looking down at the stars.</dialogue> <scene_description>Angelica takes two more pills .</scene_description> <character>ANGELICA</character> <dialogue>Do you want to hear one of my poems?</dialogue> <character>JOE</character> <dialogue>Sure.</dialogue> <character>ANGELICA</character> <dialogue>Long ago, the delicate tangles of his hair, Covered the emptiness of my hands.</dialogue> <parenthetical>( to Joe . )</parenthetical> <dialogue>Do you wan na hear it again?</dialogue> <character>JOE</character> <dialogue>Okay.</dialogue> <character>ANGELICA</character> <dialogue>Long ago, the delicate tangles of his hair, Covered the emptiness of my hands.</dialogue> <scene_description>She has tears in her eyes . Joe looks at her , concerned .</scene_description> <character>JOE</character> <dialogue>What's the matter?</dialogue> <character>ANGELICA</character> <dialogue>Did you ever think about killing yourself?</dialogue> <character>JOE</character> <dialogue>What? Why would you do that?</dialogue> <character>ANGELICA</character> <dialogue>Why should n't I?</dialogue> <character>JOE</character> <dialogue>Some things take care of themselves. They're not your job. Maybe they're not even your business. I like your poem.</dialogue> <character>ANGELICA</character> <dialogue>I'm a grown woman and I live on my father's money. That restaurant that had my painting up, that's my father's restaurant.</dialogue> <character>JOE</character> <dialogue>Why are you telling me?</dialogue> <character>ANGELICA</character> <dialogue>I do n't know.</dialogue> <parenthetical>( making a joke out of it . )</parenthetical> <dialogue>I'll tell anybody who'll listen.</dialogue> <parenthetical>( dropping it . )</parenthetical> <dialogue>No, that's not true. I do n't know why I'm telling you.</dialogue> <character>JOE</character> <dialogue>Listen to me. If you have a choice between killing yourself and doing something you're scared of doing, why not take the leap and do the thing you're scared of doing?</dialogue> <character>ANGELICA</character> <dialogue>You mean stop taking money and leave L.A?</dialogue> <character>JOE</character> <dialogue>You see? You know what you're afraid of doing. Why do n't you do it? See what happens?</dialogue> <scene_description>Inspired by him , she hesitates on the brink of courage . For a moment she finds it and lifts her hands to say `` yes , '' but her courage fails her . She gets a chill .</scene_description> <character>ANGELICA</character> <dialogue>You must be tired.</dialogue> <scene_description>She starts up the car .</scene_description> <character>ANGELICA</character> <dialogue>Thanks for listening, but I'm a little high, and you do n't know me from Adam, I mean, I guess, Eve. Anyway, forget it.</dialogue> <character>JOE</character> <dialogue>I do n't mind talking.</dialogue> <scene_description>Suddenly , she 's very angry .</scene_description> <character>ANGELICA</character> <dialogue>Well, I do! This is one of those typical conversations where we're all open and sharing our innermost thoughts and it's all bullshit and a lie and it does n't cost you anything!</dialogue> <character>JOE</character> <dialogue>Look. I do n't know you. I do n't think I know anybody. You're angry. I can see that.</dialogue> <parenthetical>( he quietly gets upset . )</parenthetical> <dialogue>I'm very troubled. I'm not ready to. There's only so much time and you wan na use it well. So I'm here talking to you, I do n't wan na throw that away. You seem.</dialogue> <character>ANGELICA</character> <dialogue>I seem what?</dialogue> <character>JOE</character> <dialogue>You seem far away.</dialogue> <character>ANGELICA</character> <dialogue>I have no response to that.</dialogue> <character>JOE</character> <dialogue>Maybe you better take me back to the hotel.</dialogue> <scene_description>His eyes are shining . She looks at him . She puts the car in gear and pulls out .</scene_description> </scene> <scene> <stage_direction>EXT. SHANGRI-LA HOTEL - NIGHT</stage_direction> <scene_description>The red convertible pulls up . Joe gets out .</scene_description> <character>ANGELICA</character> <dialogue>You want me to come in? I could come up with you?</dialogue> <character>JOE</character> <dialogue>No.</dialogue> <character>ANGELICA</character> <dialogue>Alright. Will you have breakfast with me? I'm supposed to get you to the boat by ten, but I could meet you for breakfast.</dialogue> <character>JOE</character> <dialogue>Okay.</dialogue> <character>ANGELICA</character> <dialogue>I told you I was a flibbertigibbet.</dialogue> <scene_description>She drives off . Joe turns to go into the hotel , changes his mind , and walks out into the street . We FOLLOW him . He dodges a lone car , and makes it to the other side where the palm trees grow . JOE - NIGHT Joe making his way through some greenery . He parts some tall grass , and we see what he sees -</scene_description> </scene> <scene> <stage_direction>EXT. BEACH AND OCEAN - JOE'S POV - NIGHT</stage_direction> <scene_description>A couple of stars vaguely twinkle overhead . There 's the DULL BOOM of the SURF . DOWN WHERE BEACH MEETS OCEAN - NIGHT Joe arrives at this spot and sits down in the sand . He looks out at the ocean , at the horizon , where the night presses down on the water . Time passes . The sky gets lighter . MUSIC . The VAGUE beginnings of something MAGICAL and very , very big are heard . A band of golden light hits Joe in the back of the head . He turns around and it 's in his eyes . We see the fake sun rising over a row of palm trees . Just a touch of red on the horizon . The MAGICAL MUSIC CEASES . But the sun continues to rise . And rise . Until it clears the horizon and is a discreet orange - blue disk in the morning sky .</scene_description> </scene> <scene> <stage_direction>INT. SUNNY RESTAURANT - DAY</stage_direction> <scene_description>The sun turns into an orange - yellow yolk of a sunnyside - up egg . The CAMERA PULLS BACK . Joe and Angelica are eating breakfast . Joe is dressed like Jungle Jim .</scene_description> <character>ANGELICA</character> <dialogue>I'm so tired. You take that stuff, it just ruins your sleep. I'm sorry I was so abusive, immature, hostile, and needy last night.</dialogue> <character>JOE</character> <dialogue>You were fine.</dialogue> <character>ANGELICA</character> <dialogue>I disappointed you. So, what did Daddy hire you to do?</dialogue> <character>JOE</character> <dialogue>It's real complicated.</dialogue> <character>ANGELICA</character> <dialogue>Okay. I do n't even know where you're going on the boat. Patricia wo n't tell me.</dialogue> <character>JOE</character> <dialogue>Who's Patricia?</dialogue> <character>ANGELICA</character> <dialogue>She's my half - sister. She's the one who's sailing you wherever you're going.</dialogue> <character>JOE</character> <dialogue>She is?</dialogue> <character>ANGELICA</character> <dialogue>You did n't know?</dialogue> <character>JOE</character> <dialogue>No.</dialogue> <character>ANGELICA</character> <dialogue>Daddy loves a secret almost as much as he loves money. Can I ask you something?</dialogue> <character>JOE</character> <dialogue>What?</dialogue> <character>ANGELICA</character> <dialogue>Why are you dressed like Jungle Jim?</dialogue> <character>JOE</character> <dialogue>You think this is inappropriate? For the boat?</dialogue> <character>ANGELICA</character> <dialogue>No, it's fine. We'd better get going. I got ta guy dropping your trunks off at the marina who may not have understood my travel directions.</dialogue> <scene_description>They get up to go .</scene_description> </scene> <scene> <stage_direction>EXT. BIG MARINA - MANY BOATS LIKE RESTLESS HORSES - DAY</stage_direction> <scene_description>At the end of a long narrow dock is a yacht about 7 feet long . It dwarfs all the other vessels . We hear a CAR DOOR SLAM and hear Angelica .</scene_description> <character>ANGELICA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Here we are.</dialogue> <scene_description>Now we see Angelica and Joe approach the dock and start walking down it . We see them FROM the back and hear them talking .</scene_description> <character>JOE</character> <dialogue>Is that it?</dialogue> <character>ANGELICA</character> <dialogue>Yeah.</dialogue> <character>JOE</character> <dialogue>It's big.</dialogue> <scene_description>They approach the yacht , which is called The Tweedle Dee . It has on its hull a single arrogant eye that looks haughtily at Joe . On the dock by the yacht are the four steamer trunks . Sitting on a piling , staring balefully at the trunks is a magnificent , athletic , truly feminine , blonde , blue - eyed woman in her late twenties . This is PATRICIA . On The Tweedle Dee two boat boys , MIKE and TONY , ready the yacht for departure ; they are young and shining and strong . Joe and Angelica arrive at the slip . Patricia looks just like Dede and Angelica . Joe does a take .</scene_description> <character>JOE</character> <parenthetical>( to Angelica . )</parenthetical> <dialogue>You say this is your half - sister?</dialogue> <character>ANGELICA</character> <dialogue>Yeah.</dialogue> <character>PATRICIA</character> <dialogue>What's the trunks, Felix?</dialogue> <character>JOE</character> <dialogue>They're my. My name's not Felix, it's Joe.</dialogue> <character>PATRICIA</character> <dialogue>I know.</dialogue> <parenthetical>( calling out . )</parenthetical> <dialogue>Mike! Tony! Find a place for these boxes.</dialogue> <scene_description>Mike and Tony jump off the yacht and proceed to load the trunks .</scene_description> <character>PATRICIA</character> <dialogue>That outfit's wearing you, Felix.</dialogue> <character>JOE</character> <dialogue>Why are you calling me Felix? My name's Joe.</dialogue> <character>PATRICIA</character> <dialogue>I'm calling you Felix because I do what I want. Hello, Angelica.</dialogue> <character>ANGELICA</character> <dialogue>Hello, Patricia.</dialogue> <character>PATRICIA &amp; ANGELICA</character> <parenthetical>( simultaneously . )</parenthetical> <dialogue>Do you know where Daddy is?</dialogue> <character>PATRICIA</character> <parenthetical>( to Joe . )</parenthetical> <dialogue>We never know where our father is and we always suspect that the other one knows. But it's all phone calls and telegrams, hey, Angelica?</dialogue> <character>ANGELICA</character> <dialogue>Well, you're in a rotten mood.</dialogue> <character>PATRICIA</character> <dialogue>It's the sunshine. It gets me down.</dialogue> <scene_description>The boat boys have finished bringing aboard the last trunk .</scene_description> <character>ANGELICA</character> <dialogue>Where are you going?</dialogue> <character>PATRICIA</character> <dialogue>Can you believe it? Dad said not to tell you. Goes with my theory. Power makes you paranoid.</dialogue> <scene_description>Mike calls out from the yacht .</scene_description> <character>MIKE</character> <dialogue>All set.</dialogue> <scene_description>Patricia hops off the piling .</scene_description> <character>PATRICIA</character> <dialogue>Well, get ready to heave, Felix.</dialogue> <scene_description>Joe gets angry .</scene_description> <character>JOE</character> <dialogue>My name is Joseph or Joe.</dialogue> <scene_description>Patricia deflates a bit .</scene_description> <character>PATRICIA</character> <dialogue>Alright. Joe. Get ready. We're leaving.</dialogue> <scene_description>Joe turns to Angelica and speaks to her privately .</scene_description> <character>JOE</character> <dialogue>` Bye.</dialogue> <character>ANGELICA</character> <dialogue>` Bye.</dialogue> <character>JOE</character> <dialogue>Listen. Do n't take drugs.</dialogue> <character>ANGELICA</character> <dialogue>Okay.</dialogue> <character>JOE</character> <dialogue>Wish me luck.</dialogue> <character>ANGELICA</character> <dialogue>Good luck.</dialogue> <scene_description>He takes her hand and gives her a little kiss on the cheek . She notes his hand . She 's puzzled .</scene_description> <character>ANGELICA</character> <dialogue>You're shaking.</dialogue> <scene_description>He smiles , examining his hand .</scene_description> <character>JOE</character> <dialogue>Am I? A little.</dialogue> <parenthetical>( looks at the land in the distance behind her . )</parenthetical> <dialogue>Yeah.</dialogue> <scene_description>He runs up the gangway . Patricia has already boarded the boat . The boat boys are casting off . Patricia takes the wheel . But we are still WITH Angelica on the dock . She stands there . Slowly , as the yacht pulls away , she waves . Joe stands at the railing , the sails still furled behind him . He waves back . Now we are WITH Joe on the yacht , at the railing . He waves a little , and then his eyes rove the shore . JOE 'S POV - SHORE - DAY Joe looks at the flag on the stern of The Tweedle Dee . He looks up from the flag at his departing homeland . A ghost image of the flag follows his glance up so that he sees the following through that image . He sees Angelica on the dock , and then the boats behind her , and then the parking lot behind that . And then the hills in the distance off to his left . And the rich people 's houses off to his right . And cars on roads . And a smokestack . He sees all this through the ghost image of that American flag . He sees his homeland . Receding . He 's leaving his homeland . He will never see it again . And now we see again : JOE - AT RAIL - DAY Staring , moved , determined . His clothes are a bit much , but he almost fills them in this moment . A wind comes up and sweeps his safari hat off his head , into the ocean . He flinches slightly at the loss . HAT - DAY swirling away into the wake . But now we see again : JOE And after a glance , he gives up the hat without regret . He continues to look after the receding land . Without the hat he looks great . His hair blows in the wind and he stares and stares .</scene_description> </scene> <scene> <stage_direction>EXT. YACHT - FROM FEW HUNDRED YARDS AWAY - DAY</stage_direction> <scene_description>The Tweedle Dee has cleared the harbor and the boat boys have started unfurling the sails . The huge , snowy sails fill with a rich wind .</scene_description> </scene> <scene> <stage_direction>INT. YACHT - GALLEY - DAY</stage_direction> <scene_description>The chef , a German named DAGMAR , is laying out lovely nicoise salads . Tony awaits Dagmar 's pleasure .</scene_description> <character>DAGMAR</character> <dialogue>Have you put out the sunflowers, yet?</dialogue> <character>TONY</character> <dialogue>Yeah.</dialogue> <character>DAGMAR</character> <dialogue>Good! Go.</dialogue> <scene_description>Tony picks up the salads and exits .</scene_description> </scene> <scene> <stage_direction>EXT. DINING TABLE - SUNSET</stage_direction> <scene_description>Which is shaded by a canopy . At the table sit Joe and Patricia . On the table are place settings , white wine , and glasses . Tony serves their plates and goes .</scene_description> <character>JOE</character> <dialogue>Looks delicious.</dialogue> <character>PATRICIA</character> <dialogue>We eat well aboard The Tweedle Dee.</dialogue> <character>JOE</character> <dialogue>The Tweedle Dee?</dialogue> <character>PATRICIA</character> <dialogue>That's the name of this boat.</dialogue> <character>JOE</character> <dialogue>Oh.</dialogue> <character>PATRICIA</character> <dialogue>So we're going to the island of Waponi Woo.</dialogue> <character>JOE</character> <dialogue>I guess so.</dialogue> <character>PATRICIA</character> <dialogue>Why?</dialogue> <character>JOE</character> <dialogue>You do n't know?</dialogue> <character>PATRICIA</character> <dialogue>No.</dialogue> <character>JOE</character> <dialogue>Have you ever been there?</dialogue> <character>PATRICIA</character> <dialogue>No. All I know about Waponi Woo is that the name means ` the little island with the big volcano,' and that the people, the Waponis, like orange soda.</dialogue> <character>JOE</character> <dialogue>They like orange soda.</dialogue> <character>PATRICIA</character> <parenthetical>( produces a book called History of Polynesia . )</parenthetical> <dialogue>Yeah. But here! I've got a book. ` Eighteen hundred years ago, a Roman galley with a crew of Jews and Druids, got caught in a huge storm off Carthage. They were swept a thousand miles off course, and ended up on the wrong side of the horn of Africa. Thinking they were returning to Rome, they sailed deep into the South Pacific, and finally ended by colonizing a lightly populated, Polynesian island which they named Waponi Woo. Thus was born the Waponi culture - a mixture of Polynesian, Celtic, Hebrew and Latin influences. The Waponis are known throughout Polynesia as having a peculiar love of orange soda and no sense of direction.</dialogue> <character>JOE</character> <dialogue>Why'd you talk to me so snotty back on the dock?</dialogue> <character>PATRICIA</character> <dialogue>Because you work for my father. And I'm angry with my father. But he's not around to give him a shot. So you work for him, I give you a shot.</dialogue> <character>JOE</character> <dialogue>Why you angry with him?</dialogue> <character>PATRICIA</character> <dialogue>Because he's never around.</dialogue> <character>JOE</character> <dialogue>If you're angry with him, and he's never around, why are you working for him?</dialogue> <character>PATRICIA</character> <dialogue>I do n't work for him. My transport of you is strictly a favor.</dialogue> <character>JOE</character> <dialogue>You do favors for people you're mad at?</dialogue> <character>PATRICIA</character> <dialogue>I do n't work for him!</dialogue> <character>JOE</character> <dialogue>Alright.</dialogue> <character>PATRICIA</character> <dialogue>He said he'd give me this boat if I took you.</dialogue> <character>JOE</character> <dialogue>Wow.</dialogue> <character>PATRICIA</character> <parenthetical>( defensive . )</parenthetical> <dialogue>He's got two of them. This is The Tweedle Dee. There's a Tweedle Dum, too.</dialogue> <scene_description>She gets up . She 's flustered .</scene_description> <character>PATRICIA</character> <dialogue>I've got the wheel tied up, which is not good sailing. Excuse me.</dialogue> <scene_description>She goes toward the stern . Joe is left alone to finish his supper .</scene_description> </scene> <scene> <stage_direction>EXT. THE TWEEDLE DEE - DAY</stage_direction> <scene_description>is cutting through the blue . The sun is setting .</scene_description> </scene> <scene> <stage_direction>EXT. THE TWEEDLE DEE - NIGHT</stage_direction> <scene_description>is anchored and lit up . It 's a dark and starless night .</scene_description> </scene> <scene> <stage_direction>INT. THE TWEEDLE DEE - CABINS - NIGHT</stage_direction> <scene_description>Patricia is showing Joe his berth . The whole interior of the boat is made of beautiful wood .</scene_description> <character>PATRICIA</character> <dialogue>Is this okay for you?</dialogue> <character>JOE</character> <dialogue>Sure.</dialogue> <character>PATRICIA</character> <dialogue>The boys like to sleep in the hull. Dagmar sleeps on deck when the weather's good. So you've pretty much got things to yourself. I'm in the little stateroom.</dialogue> <character>JOE</character> <dialogue>Great.</dialogue> <scene_description>But Patricia lingers .</scene_description> <character>PATRICIA</character> <dialogue>I'm sorry I was so rude on the dock.</dialogue> <character>JOE</character> <dialogue>That's okay.</dialogue> <scene_description>She finished , but again she lingers , awkward . Finally , she blurts out .</scene_description> <character>PATRICIA</character> <dialogue>Did you sleep with my sister?</dialogue> <character>JOE</character> <dialogue>No.</dialogue> <character>PATRICIA</character> <dialogue>Actually, she's my half - sister.</dialogue> <character>JOE</character> <dialogue>No, I did n't.</dialogue> <character>PATRICIA</character> <dialogue>Okay.</dialogue> <parenthetical>( again awkward . )</parenthetical> <dialogue>Do you like to fish?</dialogue> <character>JOE</character> <dialogue>Sure.</dialogue> <character>PATRICIA</character> <dialogue>Maybe tomorrow we'll do some fishing.</dialogue> <scene_description>She goes to the entranceway and fingers a switch on the wall .</scene_description> <character>PATRICIA</character> <dialogue>This is the light switch. Did Mike show you how to work the bathroom?</dialogue> <character>JOE</character> <dialogue>Yeah.</dialogue> <character>PATRICIA</character> <dialogue>Good. Do you want me to turn off the light while I'm going?</dialogue> <character>JOE</character> <dialogue>Okay.</dialogue> <scene_description>She turns off the light . Only the light from the entranceway illuminates her now , and Joe is not visible .</scene_description> <character>PATRICIA</character> <dialogue>I love my sister. I know she's screwed up. I love my father, even though I never see him and he's not so great when I do see him. I'm very nervous about this trip. My father did n't tell me anything and you do n't seem to be telling me anything. But it's more than that. I've always kept clear of my father's stuff since I got out on my own. Now he's pulled me back in. He knew I wanted this boat and he used it and he got me working for him, which I swore I would never do. I feel ashamed because I had a price. He named it. And now I know that about myself. I do n't know who you are. I do n't know anything about you. But you're working for him, too, and that makes us two of a kind. I could treat you like I did back on the dock, but that would be me kicking myself for selling out. Which is n't fair to you and does n't make me feel any better. I do n't know what your situation is. But I wanted you to know what mine is. Not just to explain some rude behavior. But because we're on a little boat for a while and I'm soul sick and you're gon na see that. Like my sister. She's soul sick, too. And if you'd slept with her I would've known something about you. But you did n't. You did n't. I believe you.</dialogue> <character>JOE</character> <dialogue>I'm glad you believe me.</dialogue> <character>PATRICIA</character> <dialogue>Have you ever slept on a boat before?</dialogue> <character>JOE</character> <dialogue>No.</dialogue> <character>PATRICIA</character> <dialogue>It really affects your dreams. I look forward to it. Even though, sometimes, the dreams really shake me up. Okay. Good night.</dialogue> <character>JOE</character> <dialogue>Good night.</dialogue> <scene_description>She departs through the entrance way . The light goes out , and it 's dark and quiet .</scene_description> </scene> <scene> <stage_direction>EXT. STERN OF THE TWEEDLE DEE - DAY</stage_direction> <scene_description>It 's a really beautiful sunny day . Tony is at the wheel , the sails are full and , sitting in two chairs hard by the stern are Joe and Patricia . They both are holding deep sea fishing rods ; they 're trolling . MUSIC . `` The Girl From Ipanema , '' the famous recording by Getz and Gilberto , is playing now . Patricia reels in her line . A beautiful fish is flapping on the end of it . Joe reels in his line . Nothing . He watches as Patricia unhooks her catch and tosses it in a hamper . Dagmar appears , looks in the hamper , and nods approvingly . Then she looks at Joe . Where 's Joe 's fish ? Then he walks away again . Joe casts again , while Patricia rebates her hook . Then Patricia casts again . Mike arrives with a beer for Patricia , who accepts it . Mike leaves . Patricia gets another strike , asks Joe to hold her beer , which he does . She reels in another beautiful fish . She unhooks it and throws it in the hamper . Dagmar appears , looks in the hamper , nods approvingly , and then looks at Joe . Where 's Joe 's fish ? Joe looks at Dagmar , and then ignores her . Dagmar departs . Joe goes back to fishing . Now Joe gets a strike . It 's a big one ! The line goes burning out his reel . Patricia notices . She offers to help him . He waves her off . Dagmar appears . She offers some advice . But Joe 's completely focused on his rod . The rod , which is substantial , starts to bend . Mike comes back to watch . The rod is almost bent double . Then it goes madly to the left . Offers of help are made , but Joe shouts them back . Then the rod goes madly to the right . Dagmar runs OUT OF VIEW , and reappears with an enormous gaff , which she brandishes excitedly . A sudden powerful tug almost pulls Joe off the back of the boat , but Mike grabs him just in time . Joe is a man possessed . He reels and pulls with superhuman determination . Without warning , a huge head , the head of a hammerhead shark , appears at the stern . Its eyes turn inboard and look at Joe . Everybody drops everything and runs away .</scene_description> </scene> <scene> <stage_direction>EXT. DINING TABLE - TWILIGHT</stage_direction> <scene_description>The sun has just sunk beneath the horizon 's rim so there 's still all that sun setting light in the sky . The first evening star has appeared . Joe and Patricia are the last left at the dinner 's end . The bones of the fish Patricia caught earlier are on a platter at the table 's center . Mike appears and removes the platter and a couple of stray plates , and disappears into the galley . There are balloon glasses by Joe and Patricia 's places and , by Patricia , a bottle of cognac .</scene_description> <character>PATRICIA</character> <dialogue>Do you like cognac?</dialogue> <character>JOE</character> <dialogue>Cognac?</dialogue> <character>PATRICIA</character> <dialogue>Yeah.</dialogue> <character>JOE</character> <dialogue>I guess so.</dialogue> <character>PATRICIA</character> <dialogue>I make a point of not knowing about certain things. One of them's cognac. I like cognac. But I do n't want the accepted wisdom about cognac, you know what I mean? I mean I want glimpses of the myth about it. You see people drink it out of these big glasses, and smelling it forever. That's interesting to me, that sight of them doing that. But I do n't want them to talk to me about it, you know what I mean? I want to figure it out based on what I've seen from other people, and what I personally get from it.</dialogue> <scene_description>She opens the bottle and pours them both some .</scene_description> <character>PATRICIA</character> <dialogue>So this is what I've got. So far. To say about this : Most cognac is French. It's very volatile. Like gasoline or model airplane glue. And when you taste it, in my opinion, it tastes like gasoline or model airplane glue. That's because it's for smelling really. And I figure that's because the French, physically, tend to have big noses. They get the pleasure of the cognac through the nose. You could really just smell it and pour it down the sink. But this is n't French cognac. This is Italian cognac. It's probably generally considered inferior. But the news is, it tastes good. Maybe it does n't smell as good - it smells okay - but it tastes good. And when I came to that fork in the road, between the nose and the tongue, I chose the tongue. So, here's to the tongue.</dialogue> <scene_description>They toast .</scene_description> <character>JOE</character> <dialogue>To the tongue.</dialogue> <scene_description>They drink a little .</scene_description> <character>JOE</character> <dialogue>It's good. Do n't the Italians have big noses, too?</dialogue> <character>PATRICIA</character> <dialogue>Yeah. And that really messes up my theory.</dialogue> </scene> <scene> <stage_direction>EXT. THE TWEEDLE DEE - NIGHT (HOUR AND A HALF LATER)</stage_direction> <scene_description>We see it bobbing gently on the sea . Many stars are coming out , some waxing quite bright . A half moon , pale and small , hangs in the western sky .</scene_description> </scene> <scene> <stage_direction>EXT. DINING TABLE ABOARD BOAT - NIGHT</stage_direction> <scene_description>Joe and Patricia have been talking and sipping cognac for an hour and a half . Patricia is quite mellow , as is Joe .</scene_description> <character>PATRICIA</character> <dialogue>So my understanding, as far as I understand it, is I'm leaving you on this island.</dialogue> <character>JOE</character> <dialogue>That's right.</dialogue> <character>PATRICIA</character> <dialogue>How long are you going to stay there?</dialogue> <character>JOE</character> <dialogue>For the rest of my life.</dialogue> <character>PATRICIA</character> <dialogue>Really.</dialogue> <character>JOE</character> <dialogue>Yeah.</dialogue> <character>PATRICIA</character> <dialogue>I ca n't imagine that.</dialogue> <character>JOE</character> <dialogue>I could n't have imagined any of this.</dialogue> <scene_description>He looks at the stars .</scene_description> <character>JOE</character> <dialogue>Are you used to this?</dialogue> <character>PATRICIA</character> <dialogue>What?</dialogue> <character>JOE</character> <dialogue>The ocean, the stars.</dialogue> <character>PATRICIA</character> <dialogue>You never get used to it. Why do you think I want this boat? All I want to do is sail away.</dialogue> <character>JOE</character> <dialogue>Where would you go</dialogue> <character>PATRICIA</character> <dialogue>Away from the things of man.</dialogue> <character>JOE</character> <dialogue>Do you believe in God?</dialogue> <character>PATRICIA</character> <dialogue>I believe in myself.</dialogue> <character>JOE</character> <dialogue>What's that mean?</dialogue> <character>PATRICIA</character> <dialogue>I have confidence in myself.</dialogue> <character>JOE</character> <dialogue>I've done a lot of soul searching lately. I've been asking myself some tough questions. You know what I've found out?</dialogue> <character>PATRICIA</character> <dialogue>What?</dialogue> <character>JOE</character> <dialogue>I have no interest in myself. I think about myself, I get bored out of my mind.</dialogue> <character>PATRICIA</character> <dialogue>What does interest you?</dialogue> <character>JOE</character> <dialogue>I do n't know. Courage. Courage interests me.</dialogue> <character>PATRICIA</character> <dialogue>You're going to spend the rest of your life on a tiny island in the South Pacific?</dialogue> <scene_description>She pours them both a drink .</scene_description> <character>JOE</character> <dialogue>Well, up till now I've lived on a tiny island called Staten Island, and I've commuted to a job in a shut up room with pumped in air, no sunshine, despicable people, and now that I've got some distance from that situation, that seems pretty unbelievable. Your life seems unbelievable to me. All this like life, seems unbelievable to me. Somewhat. At this moment.</dialogue> <character>PATRICIA</character> <dialogue>My father says almost the whole world's asleep. Everybody you know, everybody you see, everybody you talk to. He says only a few people are awake. And they live in a state of constant total amazement.</dialogue> <scene_description>They think about that for a while .</scene_description> <character>JOE</character> <dialogue>I have less than six months to live. The Waponis believe they need a human sacrifice or their island's going to sink into the ocean. They have a mineral your father wants. He's hired me to jump in their volcano.</dialogue> <character>PATRICIA</character> <dialogue>What?</dialogue> <character>JOE</character> <dialogue>You're not going to make me say that again, are you?</dialogue> <character>PATRICIA</character> <dialogue>No.</dialogue> <scene_description>A silence falls .</scene_description> <character>JOE</character> <dialogue>Are n't you going to say anything?</dialogue> <character>PATRICIA</character> <dialogue>I do n't know what to say. You tell me you're dying, you tell me you're jumping into a volcano, my mind is a blank.</dialogue> <character>JOE</character> <dialogue>I can understand that</dialogue> <character>PATRICIA</character> <dialogue>Is this disease catching?</dialogue> <character>JOE</character> <dialogue>No.</dialogue> <scene_description>She gets up . As she leaves she says :</scene_description> <character>PATRICIA</character> <dialogue>Good night. I'll see you in the morning.</dialogue> </scene> <scene> <stage_direction>INT. THE TWEEDLE DEE - SLEEPING BERTHS - NIGHT</stage_direction> <scene_description>Joe enters , undresses to his new underwear , and climbs into the berth . Then he remembers the light , gets up , turns it off , and climbs back into his berth . It 's dark . We see his face . He thinks for a moment , and then goes to sleep . And he has a dream . DREAM SEQUENCE In utter darkness we hear Joe describe his dream .</scene_description> <character>JOE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>So I fell asleep and I had this dream. I dreamed I was a cowboy in the wilderness. I dreamed I was a cowboy and I saved this girl.</dialogue> <scene_description>Everything goes dead black . There is the sound of WIND . Then Joe 's face suddenly lifts up out of the dream into a CLOSEUP . Startled , he bangs his head . He has awakened from his dream . END OF DREAM SEQUENCE OMITTED &amp; &amp; 84 84</scene_description> </scene> <scene> <stage_direction>INT. THE TWEEDLE DEE - JOE IN HIS BERTH - DAY</stage_direction> <scene_description>It 's the morning , though you ca n't see that in here . The boat is rocking Joe around in his berth . He looks around , bewildered . He realizes he was dreaming . Then he realizes the boat is rocking a lot . He starts to get up .</scene_description> </scene> <scene> <stage_direction>INT. GALLEY AREA - DAY</stage_direction> <scene_description>Patricia is trying to get the weather on the RADIO , but there 's nothing but STATIC . She puts on a set of headphones and adjusts the dial again ; the radio is silent now , only she can hear it . Joe comes into the galley , his hair still rumpled from sleeping on it</scene_description> <character>JOE</character> <dialogue>Little weird today, huh?</dialogue> <scene_description>Patricia waves for him to be quiet . She listens at the phones another moment , adjusting the dial . She hears something . She 's glad . She listens . Her face darkens . She tears off the phones angrily . Dagmar appears in the hatchway . She greets Joe .</scene_description> <character>DAGMAR</character> <dialogue>There's a typhoon warning. Good morning, Mister Banks.</dialogue> <character>JOE</character> <dialogue>Good morning.</dialogue> <character>DAGMAR</character> <dialogue>Looks like we're in for a blow.</dialogue> <scene_description>Joe exits .</scene_description> </scene> <scene> <stage_direction>EXT. THE TWEEDLE DEE'S FORWARD DECK - DAY (OVERCAST)</stage_direction> <scene_description>The ocean which until now has been blue , turns green . Mike is tying up the sails , which have all been taken in . Patricia comes up and starts to assist him . A wind comes up . Patricia looks in the direction of the wind . Joe appears on the forward deck , near Patricia .</scene_description> <character>JOE</character> <dialogue>Can I help?</dialogue> <character>PATRICIA</character> <dialogue>Yeah. You could tie that up. It feels dead, does n't it?</dialogue> <character>JOE</character> <dialogue>Yes. It does.</dialogue> <character>PATRICIA</character> <parenthetical>( yells . )</parenthetical> <dialogue>Mike, get below! Start the engine. Tell Tony to head us into the wind and keep us into the wind!</dialogue> <character>MIKE</character> <dialogue>Okay.</dialogue> <scene_description>Mike runs off to do her bidding .</scene_description> <character>JOE</character> <dialogue>There is n't any wind.</dialogue> <character>PATRICIA</character> <dialogue>There will be.</dialogue> <character>JOE</character> <dialogue>Are you worried?</dialogue> <scene_description>Patricia looks in the direction the wind is coming from .</scene_description> <character>PATRICIA</character> <dialogue>I think we'll be Alright. The hatches are down, the sails are down, we're ahead of the game.</dialogue> <scene_description>PATRICIA 'S POV - STORM COMING It 's dark and it 's big . PATRICIA still staring at the storm . Joe looks where she is looking . The ENGINE CRANKS UP .</scene_description> <character>JOE</character> <dialogue>What exactly is a typhoon?</dialogue> <character>PATRICIA</character> <dialogue>You know, Joe, I think you're going to find out.</dialogue> <scene_description>The shadow of the coming storm comes down the deck from forward and envelopes them . 9O OMITTED 90</scene_description> </scene> <scene> <stage_direction>EXT. THE TWEEDLE DEE - DAY</stage_direction> <scene_description>on the unhappy sea . The sea has turned very dark , perhaps even black . The storm breaks with a rising wind , a great BOOM of THUNDER , and a flash of lightning . It starts to rain , for a moment thinly , and then heavily . White caps appear . The Tweedle Dee begins to ride up and down the high waves . Its eye now has a frightened look .</scene_description> </scene> <scene> <stage_direction>EXT. THE TWEEDLE DEE - WHEEL</stage_direction> <scene_description>In the storm . Mike and Tony wrestle with the wheel to keep the bow into the wind . They are pummeled by the rain and wind .</scene_description> </scene> <scene> <stage_direction>INT. GALLEY</stage_direction> <scene_description>In the storm . Patricia is trying to send a distress signal on the radio . Joe watches . Dagmar is absent .</scene_description> <character>PATRICIA</character> <dialogue>Mayday, Mayday, Mayday, latitude 10 degrees, 8 minutes south, longitude approximately 150 degrees, 18 minutes west. We are in severe distress. Mayday, Mayday, latitude 10 degrees, 8 minutes south, longitude approximately 150 degrees, 18 minutes west.</dialogue> <character>JOE</character> <dialogue>What should I do?</dialogue> <character>PATRICIA</character> <dialogue>Do n't go on deck! Check on Dagmar. She went forward to look at the engine.</dialogue> </scene> <scene> <stage_direction>INT. THE TWEEDLE DEE - HALLWAY</stage_direction> <scene_description>In the storm . Dagmar has just finished lifting the floorboards and she 's checking the gauges on the engine with a flashlight . Joe approaches .</scene_description> <character>JOE</character> <dialogue>Everything okay?</dialogue> <character>DAGMAR</character> <dialogue>Looks good, but I'm going to stay with it.</dialogue> <character>JOE</character> <dialogue>Okay.</dialogue> <scene_description>Joe departs . A little water drips down on Dagmar . She looks up .</scene_description> </scene> <scene> <stage_direction>EXT. THE TWEEDLE DEE - WHEEL</stage_direction> <scene_description>In the storm . A huge wave engulfs Mike and Tony . They disappear within the wall of the water , and then re appear , still hanging onto the wheel . This happens a second time . They withstand the onslaught . Then Mike sees something forward and points it out to Tony . He leaves Tony at the wheel and starts to crawl forward . Lightning flashes nearby .</scene_description> </scene> <scene> <stage_direction>INT. GALLEY</stage_direction> <scene_description>In the storm . Patricia is still trying to get through on the radio . Joe looks out the cabin window and sees a fish swimming . He is uneasy , but says nothing .</scene_description> <character>PATRICIA</character> <dialogue>Mayday, Mayday! Latitude 10 degrees, 8 minutes south, longitude approximately 150 degrees, 18 minutes west. Severe distress! Severe distress!</dialogue> <scene_description>She drops the mike as Joe enters .</scene_description> <character>PATRICIA</character> <dialogue>No way is anybody getting this. How's Dagmar?</dialogue> <character>JOE</character> <dialogue>She's fine.</dialogue> <character>PATRICIA</character> <dialogue>Good.</dialogue> <scene_description>The hatch bursts open , Mike falls in amidst water and the ROAR of the STORM . He and Joe struggle and close the hatch .</scene_description> <character>MIKE</character> <dialogue>The main boom does n't look secure!</dialogue> <character>PATRICIA</character> <dialogue>What?</dialogue> <character>MIKE</character> <dialogue>I think it's gon na bust loose.</dialogue> <scene_description>Without another word , Mike goes back out the hatch again . Joe shuts it behind him . Patricia rips open a cabinet , and pulls out a coil of nylon rope .</scene_description> <character>JOE</character> <dialogue>What are you doing?</dialogue> <character>PATRICIA</character> <dialogue>It's my boat.</dialogue> <scene_description>She goes out the hatch . Joe follows her .</scene_description> </scene> <scene> <stage_direction>EXT. THE TWEEDLE DEE</stage_direction> <scene_description>In severe distress in the storm . Patricia and Joe crawl along the deck , battered by the raging typhoon . Patricia looks up . PATRICIA 'S POV - MAIN BOOM There 's too much play in it . It 's swinging from side to side . If it swings much longer , it 's going to snap its stays . PATRICIA AND JOE continue to crawl toward it . Patricia clutching the coil of rope . Lightning flashes .</scene_description> </scene> <scene> <stage_direction>EXT. THE TWEEDLE DEE - WHEEL</stage_direction> <scene_description>In the storm . Mike and Tony wrestling with the wheel and being inundated with water .</scene_description> </scene> <scene> <stage_direction>INT. THE TWEEDLE DEE - DAGMAR AT ENGINE</stage_direction> <scene_description>In the storm . A little steady stream of water is splashing on Dagmar , which she ignores . She 's adjusting the timing of the engine with a fat screwdriver .</scene_description> </scene> <scene> <stage_direction>EXT. ERRANT BOOM - JOE AND PATRICIA</stage_direction> <scene_description>In the storm . With Joe 's help , she starts to secure the boom , but a sudden roll of the boat throws them back , pinning them against a cabin wall . ANOTHER ANGLE Joe and Patricia pinned against the wall . The rain pouring over their faces . They are close , looking at each other , panting , illuminated by lightning . They lunge toward each other , careless of danger , and passionately kiss . The kiss ends . They look at each other . The boat rolls the other way , breaking the spell . They are thrown toward the boom again . BOOM At this moment , the boom breaks free . Joe has fallen to the deck , while Patricia is still standing . The boom swings over Joe and slams into Patricia , knocking her unconscious and into the raging sea . Joe stands up and , still holding the coil of rope , dives into the ocean after her . A SLOW - MO stylized leap . JOE in the raging sea looking for Patricia in the storm . He dives under the water once , twice , but he does n't find her . He looks around desperate . He sees something . JOE 'S POV - PATRICIA 'S HAND disappearing under the waves . Illuminated in a single flash of lightning . JOE Swims and dives . He pulls her up , so her head 's above the surface of the water . She 's unconscious and battered . A flash of lightning catches Joe 's attention . He looks .</scene_description> </scene> <scene> <stage_direction>EXT. THE TWEEDLE DEE - JOE'S POV</stage_direction> <scene_description>Lightning forks around the ship once , twice , and then the third time it strikes . A massive bolt that sunders the yacht . It 's the same German expressionist 's bolt as at the beginning of the story : ACHI 's logo . JOE Joe 's stunned face illuminated by the great flash . He is holding the unconscious Patricia . JOE 'S POV - THE TWEEDLE DEE sinking , in the storm . The Tweedle Dee 's eyes have turned to Xs . The yacht swamps and disappears beneath the swirling waves . JOE getting tired , holds Patricia 's head above water . He accidentally swallows a gulletful of seawater , chokes , splutters , and recovers himself . But he 's panting . How long can he hold on ? But then he sees something ! JOE 'S POV - STEAMER TRUNK One of the steamer trunks bobbing . JOE towing Patricia , starts swimming for the trunk . ANOTHER ANGLE Joe reaches the trunk . He grabs on to it gratefully , recovers his breath , and then hoists Patricia as high up on it as he can . He takes the nylon rope and lashes her to the trunk . Then he gets a good grip on the trunk himself , and braces against the storm . JOE AND PATRICIA - DAY -LRB- LIGHTLY FOGGY -RRB- Joe and Patricia on the trunk . Patricia is still unconscious and Joe is asleep , exhausted . The storm is over , and the sky is overcast . Joe blinks and wakes up . He tries to wake Patricia .</scene_description> <character>JOE</character> <dialogue>Patricia? Patricia?</dialogue> <scene_description>But she 's out cold . He looks around . He sees something . JOE 'S POV - OTHER THREE STEAMER TRUNKS The sun shines through a crack in the clouds and lands , sparkling , on the three other trunks which are floating in the same area . They are all that survived the sinking . JOE lights up upon seeing his trunks . He tentatively moves a little away from Patricia on her trunk and , satisfied that she 's not going to go under , he swims off . ANOTHER ANGLE Joe arriving at one of the other trunks , grabs it by the handle and starts towing it back towards Patricia 's trunk . ANOTHER ANGLE Joe arriving at Patricia 's trunk with the second . He lets it go and swims back for another . ANOTHER ANGLE Joe towing the fourth trunk into proximity with the others . He takes out his Swiss Army knife and cuts some rope from Patricia 's truss . He uses it to tie two of the trunks together . ANOTHER ANGLE - TWENTY MINUTES LATER Joe with three trunks tied together . He is easing Patricia 's unconscious form on to the three ganged - together trunks . Having accomplished this , he slides the fourth trunk into position with the other three and begins to secure it with the remaining rope . The four trunks together make up a raft of ten feet square . Joe crawls onto the raft , totally exhausted , reaches out a hand to the still form of Patricia , and passes out . The fog begins to thin . A few shafts of sunlight dapple the raft . SUN The sun sets into the South Pacific and night begins to fall .</scene_description> </scene> <scene> <stage_direction>EXT. LITTLE RAFT - NIGHT</stage_direction> <scene_description>Under the stars , Joe and Patricia , he asleep and she unconscious , lie unknowing under an enormous canopy of stars . The universe is great and they are small .</scene_description> </scene> <scene> <stage_direction>EXT. LITTLE RAFT - DAY</stage_direction> <scene_description>The little raft in bright , fresh sunlight . Joe stirs and wakes . He tries to wake Patricia , but to no avail . He looks in all directions . Nothing but blue horizon . After a moment 's thought , he opens one of the trunks . But it 's the wrong one . He secures it and opens another . He takes out a violin case and opens it ; it 's a bar masquerading as a violin case , the one he bought at Hammacher Schlemmer . It contains two bottles of Moet champagne , two champagne glasses and two bottles of Pellegrino water . Joe takes out one of the bottles of water and closes the case . Then he gets his little world - band radio out of the trunk and sets it down . He opens the Pellegrino water and starts to drink . But then he thinks . He looks at Patricia . Her lips are a little parched . He looks up at the sun . JOE 'S POV - SUN The sun looks kind of powerful . JOE looks again at the bottle of water . He decides not to drink any . He pours a little into the bottle cap , and presses the cap to Patricia 's lips . He repeats the process and then , satisfied , screws the cap on the bottle again and puts it away in the case . Then he puts the case back in the trunk and fastens the lid . He turns ON the RADIO . STATIC . Turns the dial . The VOICE of a GERMAN ANNOUNCER speaks confidentially . Joe turns the dial . A JAPANESE ANNOUNCER 's VOICE solemnly intones a short statement in Japanese ending with `` Elton John . '' Joe immediately switches the station . The song `` Goodbye Cruel World '' begins to play . Joe sits listening for what seems a long time .</scene_description> </scene> <scene> <stage_direction>EXT. LITTLE RAFT - NIGHT</stage_direction> <scene_description>Joe is discovered with his ukulele , looking at the sky . He is staring at the millions of stars overhead . He is full of wonder . He is singing . He is singing `` The Cowboy Song . ''</scene_description> <character>JOE</character> <dialogue>Ee he o he - o cowboy Ee he o he - o oooo Ee he o he - o cowboy, cowboy, cowboy Under the moon I was riding my horse By the Rio Grand - ee And all the coyotes singin' In a prairie symphony I was ridin' my horse Down by the Rio Grand - ee When I seen me a cowboy, cowboy, cowboy Ridin' towards me Ee he o he - o cowboy Ee he o he - o oooo Ee he o he - o cowboy, cowboy, cowboy Under the moon He was twirling his guns And he had a guitar And we sang us up a sweet old song about love Under the stars Ee he o he - o cowboy Ee he o he - o oooo Ee he o he - o cowboy, cowboy, cowboy Under the moon Giddyup</dialogue> </scene> <scene> <stage_direction>EXT. LITTLE RAFT - DAY</stage_direction> <scene_description>Joe is chipping golf balls on his Hammacher Schlemmer practice green . Occasionally making a shot , occasionally hitting one into the water . One of the golf balls gets tossed back onto the raft . Joe looks . There is a mischievous DOLPHIN who LAUGHS and then submerges .</scene_description> <character>JOE</character> <dialogue>Thank you.</dialogue> <scene_description>JOE SITTING ON RAFT - NIGHT Joe is listening to the radio . A Hawaiian disk jockey comes on . His name is PETE .</scene_description> <character>PETE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>This is K.R.U., Honolulu, speakin' ta ya from the shadow of the Koolau Mountains. And here's one that was a hit when I was a kid. Sukiyaki.</dialogue> <scene_description>The song `` Sukiyaki , '' which became a pop hit in America , even though it 's sung in Japanese , begins to play . Joe is satisfied and lies back to listen .</scene_description> </scene> <scene> <stage_direction>EXT. LITTLE RAFT - DAY</stage_direction> <scene_description>Radio is off . Joe is trying out his aquatic shoes . Just trying his first tentative steps , he accidentally punctures one of his shoes so it deflates . He topples over to one side . He swims back to the raft , abandoning his shoes . He turns the RADIO ON , but it 's only giving out a little STATIC now . He checks on Patricia , but gets no response . He tries to get something on the radio , but the batteries are too weak now . He turns it OFF . He notices he 's sweating . He shifts , knocking the radio in the ocean . Irritated , he looks up . JOE 'S POV - SUN The sun looms down , hot and white and huge . JOE looks at the sun with concern . He gets out the violin case . He gets the water out and fills the cap and ministers to Patricia . His lips are parched , but he takes none for himself . He takes off his now well - seasoned safari jacket and puts it over Patricia , to protect her from the sun . We hear a sound , like the HISS of something being SEARED in a SKILLET .</scene_description> </scene> <scene> <stage_direction>EXT. LITTLE RAFT - NIGHT</stage_direction> <scene_description>Again , the sky is ablaze with stars . They 're even brighter than previously . Joe is looking at them . He 's shaking . He 's got a fever . He closes his eyes and then opens them again . He looks at the stars again . And shakes his head in disbelief . JOE 'S FEVERED POV - STARS What 's this ? the stars are all connected together with little pale blue lines , and over that are boldly visible the astrological signs : The Flying Horse , The Archer , The Twins , etc. . JOE shakes his head , bewildered and amazed . He blinks and looks again . JOE 'S POV - STARRY NIGHT All of the lines and pictures are gone . JOE looks and looks . But no , they are gone . It 's just a starry night . He relaxes , closes his eyes , and quakes with fever .</scene_description> </scene> <scene> <stage_direction>EXT. LITTLE RAFT - DAY</stage_direction> <scene_description>Joe , very ill with fever , checks the water supply . There 's a little less than half a bottle of water left . His lips are deeply cracked . But still he takes no water for himself . He looks up at the sun . The sound of SIZZLING . SUN The sun burns down , bright and big . JOE pours a capful of water and gives it to Patricia . She is still unconscious , but she looks pretty good . It 's Joe that 's really going down the tubes .</scene_description> </scene> <scene> <stage_direction>EXT. LITTLE RAFT - NIGHT</stage_direction> <scene_description>We come in on Joe 's face . Joe quakes with fever . Then he sees something . Joe is entranced by what he sees . OMITTED JOE 'S POV - NIGHT SKY The astrological signs have appeared in the sky again as they did the night before . JOE stares . He 's half mad with fever . What is he seeing ? OMITTED JOE 'S POV - NIGHT SKY The dome of astrological signs begins to rotate from horizon to horizon so that the full panoply of the ancient mythology is revealed . JOE is frightened , moved . His eyes fill with tears . OMITTED SIGNS CONTINUE TO TURN JOE RUBS HIS EYES AND LOOKS AGAIN SKY - NIGHT The sky has returned to its ordinary self . JOE wonders if he really saw the astrological signs .</scene_description> </scene> <scene> <stage_direction>EXT. LITTLE RAFT - DAY</stage_direction> <scene_description>Another scorching day under the sun . Joe looks very bad . He 's got a fever . He 's slowly dying of thirst . He gets out the bottle , gives a capful to the still unconscious Patricia , and then looks at the water level . There 's a quarter of a bottle left . He puts the bottle away . He crawls to the raft 's edge and plunges his head in the sea . A dolphin sticks his head out of the water and looks at Joe . Joe lifts his head out of the water and finds himself looking at a dolphin who is looking at him . Man and fish are just a few feet apart . They regard each other .</scene_description> <character>JOE</character> <dialogue>Hello. My name is Joe.</dialogue> <scene_description>The DOLPHIN makes SOUNDS . It could be talking .</scene_description> <character>JOE</character> <dialogue>I'm dying. Ahead of schedule.</dialogue> <scene_description>The Dolphin disappears back beneath the water . Joe lowers his head and lies still .</scene_description> </scene> <scene> <stage_direction>EXT. LITTLE RAFT - NIGHT</stage_direction> <scene_description>Again , it is a great starry night . Joe , weak and sick and bleary - eyed , looks up at the stars . He closes his eyes . He opens them again . Again , he is astonished . JOE 'S POV - HEAVENS All the lines and astrological signs are back , brilliant and splendid . JOE rouses himself , crawling to his knees to look . He stares in utter wonder . The signs begin to rotate again . MUSIC . Earlier , in L.A. Joe stared at the horizon , just before dawn , and big , magical music began to play . But then it stopped prematurely . That MUSIC begins to play now , but this time it does not stop . It 's the big , dramatic pas de deux music from `` The Nutcracker . '' The astrological signs melt away into Disney dust as a light appears at the horizon . ANOTHER ANGLE ON HORIZON A light appears at the horizon 's edge . ENORMOUS MOON with slow majesty rises from the glittering sea , directly to Joe 's front . Joe and his little raft are utterly dwarfed by this great heavenly body . JOE ON HIS RAFT - NIGHT Though he is on the verge of utter collapse he is so moved by what he sees he clambers his way to his shaky feet and raises his arms over his head in complete reverence . He is dwarfed . He 's a bug . The raft is a mote in the eye of God . Joe is deeply moved , humbled , awestruck . The moon continues to ascend up and up and out of view . Joe looks at the stars that are simply stars . Sinking to his knees , he presses his hands to his breast .</scene_description> <character>JOE</character> <dialogue>Dear God, whose name I do not know, thank you for my life. I forgot how big. Thank you for my life</dialogue> <scene_description>Joe slowly crumbles , physically crumbles from thirst and fever and exhaustion . His eyes dim . JOE 'S POV - STARS We watch the stars DISSOLVE , and BLACKNESS closes in . Then the blackness starts to FADE , become rosy . We hear the sound of LABORED BREATHING . WATER being POURED . Someone COUGHING a little , CHOKING a little , and then recovering . Then we hear Patricia 's voice .</scene_description> <character>PATRICIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Joe? Joe? Did n't you drink any water for yourself? Joe?</dialogue> <scene_description>JOE 'S POV - LIGHT FOG - DAY begins to clear . And there , above him , ministering to him , is Patricia . She has the bottle at his lips giving him a little to drink at a time . JOE 'S HEAD - DAY -LRB- LIGHT FOG -RRB- is cradled in Patricia 's arm . She has the bottle at his lips . He pushes it away , croaking weakly .</scene_description> <character>JOE</character> <dialogue>That's for you.</dialogue> <character>PATRICIA</character> <dialogue>How long have I been unconscious?</dialogue> <character>JOE</character> <dialogue>I do n't know. Days. You woke up.</dialogue> <character>PATRICIA</character> <dialogue>I guess I did.</dialogue> <character>JOE</character> <dialogue>Good.</dialogue> <scene_description>She gives some more water over his weak resistance . The bottle has one more sip in it .</scene_description> <character>PATRICIA</character> <dialogue>Finish this.</dialogue> <character>JOE</character> <dialogue>No. You need it.</dialogue> <character>PATRICIA</character> <dialogue>I feel pretty good. You look like shit.</dialogue> <character>JOE</character> <dialogue>It's good to hear you talking.</dialogue> <character>PATRICIA</character> <dialogue>C'mon, drink it. Do n't you wan na be in good shape for the Waponis?</dialogue> <character>JOE</character> <dialogue>I'll never make it.</dialogue> <character>PATRICIA</character> <dialogue>What are you talking about? Look.</dialogue> <scene_description>She points . Joe looks where she points .</scene_description> </scene> <scene> <stage_direction>EXT. TWO ISLANDS SIDE BY SIDE - FROM JOE'S POV - DAY</stage_direction> <scene_description>One island is small and barren . The other island sports a big volcano . A little steady stream of smoke issues from the volcano 's mouth . We hear Patricia 's voice .</scene_description> <character>PATRICIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>It's a miracle. We must've lucked into the right tidal current.</dialogue> <scene_description>PATRICIA looks at Joe . She makes him take the last sip of water .</scene_description> <character>PATRICIA</character> <dialogue>What happened to the yacht?</dialogue> <character>JOE</character> <dialogue>Struck by lightning.</dialogue> <character>PATRICIA</character> <dialogue>No sign of Dagmar or the boys?</dialogue> <character>JOE</character> <dialogue>Everything went under.</dialogue> <character>PATRICIA</character> <dialogue>Except your trunks.</dialogue> <character>JOE</character> <dialogue>Except my trunks.</dialogue> <scene_description>He takes a look at the island .</scene_description> <character>JOE</character> <dialogue>So that's Waponi Woo.</dialogue> <scene_description>157 JOE 'S POV - ISLAND l57 ANOTHER ANGLE We FLY OVER the surface of the ocean TO the island . TO : ONE HILL ON ISLAND on which stands a lookout . The lookout 's name is EMO . Emo is scanning the sea with an old telescope on a stand . In his free hand , he holds a can of orange soda called Jump . He sips from this with great relish . Then he spots something with the telescope . It 's the raft ! He carefully puts down his soda , cups his hands , and lets out with a mighty formal cry .</scene_description> <character>EMO</character> <dialogue>Ah bey!</dialogue> <scene_description>We now hear fifty voices answer from all over the island .</scene_description> <character>VOICES</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Ho!</dialogue> <character>EMO</character> <dialogue>Ah bey!</dialogue> <character>VOICES</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Ho!</dialogue> <character>EMO</character> <dialogue>Kimo Sabby Sah!</dialogue> <character>VOICES</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Ha - ha - ha - ha - ha - ha!</dialogue> </scene> <scene> <stage_direction>EXT. LITTLE RAFT - DAY</stage_direction> <scene_description>Joe and Patricia hear the cries and look at each other .</scene_description> <character>JOE</character> <dialogue>What's that?</dialogue> <character>PATRICIA</character> <dialogue>I think we've been spotted.</dialogue> </scene> <scene> <stage_direction>EXT. ISLAND - LONG STRETCH OF BEACH - DAY</stage_direction> <scene_description>Outrigger canoes lay along the shore . The EXCITED CRIES of running NATIVES are heard approaching . And now we see them . It 's the Waponis ! They are a motley lot , used to the good life . They sport big orange dots on their fore heads . They carry fruit , garlands of flowers , and cans of Jump . They leap into their canoes and head out toward the raft . Their eyes are enhanced with liner .</scene_description> </scene> <scene> <stage_direction>EXT. LITTLE RAFT - DAY</stage_direction> <scene_description>as the canoes reach it . The leader of the welcoming group , BAW , calls out to Joe in a formal way .</scene_description> <character>BAW</character> <dialogue>Whooa! Are you Joe?</dialogue> <character>JOE</character> <dialogue>Yeah.</dialogue> <character>WELCOMING GROUP</character> <parenthetical>( impressed . )</parenthetical> <dialogue>Whooa!</dialogue> <character>BAW</character> <dialogue>Are you Joe Banks?</dialogue> <character>JOE</character> <dialogue>Yeah.</dialogue> <character>BAW</character> <parenthetical>( to group . )</parenthetical> <dialogue>Pelica beeble bum bum!</dialogue> <scene_description>The welcoming group goes crazy , showering the little raft with a thousand flowers . Joe and Patricia exchange a look through the shower of flowers .</scene_description> <character>PATRICIA</character> <dialogue>I guess they're glad to see us.</dialogue> <scene_description>They 're both handed cans of Jump . Natives grab the pop tops with their teeth and rip them off , smiling . Joe and Patricia drink from the cans of Jump . All the natives cheer . Then hands reach out and pull them gently off their raft and into the canoes . Another canoe 's occupants get a grass rope and tie it to the raft . Now we see : WHOLE FLOTILLA OF CANOES - DAY Joe and Patricia , and the whole welcoming group , covered with flowers and drinking Jump , head for the island . With the raft of trunks in tow . The welcoming group , led by Baw , sing a Polynesian `` Song of Happiness . ''</scene_description> </scene> <scene> <stage_direction>EXT. SHORE OF ISLAND - DAY</stage_direction> <scene_description>as the canoes arrive . Upon reaching the shore , Joe and Patricia are hoisted onto the shoulders of the natives and carried inland . Then we see other natives hoisting the trunks onto their shoulders and following . Everybody 's singing .</scene_description> </scene> <scene> <stage_direction>EXT. SHORE OF ISLAND - DAY</stage_direction> <scene_description>Two guys hoisting an enormous spool of homemade red carpet on a wooden yoke lead the way into the jungle providing the `` Red Carpet Treatment . ''</scene_description> </scene> <scene> <stage_direction>EXT. STRETCH OF JUNGLE - DAY</stage_direction> <scene_description>The red carpet unrollers run through a stretch of Jungle . Through a thin veil of greenery we see unrollers pass by us on a jungle path . After a second they are followed by Joe and Patricia and the full happy entourage .</scene_description> </scene> <scene> <stage_direction>EXT. CENTER OF VILLAGE - DAY</stage_direction> <scene_description>Exhausted , our carpet men , their spindle all but spent , stumble into the village 's center . Their carpet reaches its tail . They drop to the ground , gasping and proud . The welcoming group arrives with Patricia and Joe and the whole village turns out and goes nuts . Some of them carry ducks . Then from the biggest hut emerges the CHIEF . Instantly , everything stops and all the natives are lying face down on the ground , utterly silent . Only Joe and Patricia are left standing to face the Chief . The Chief is a big , impressive man with grey hair and in totally traditional native costume . Most of the other natives have some element of Western dress about their person . The Chief has a sad , rich voice , a voice full of memory and knowledge . He holds a tiki teddy bear . It has atrophied little arms and legs ; its hair is standing on end .</scene_description> <character>JOE</character> <dialogue>What is that? A teddy bear?</dialogue> <character>CHIEF</character> <dialogue>No. It is my soul.</dialogue> <character>JOE</character> <dialogue>I hope you do n't lose it.</dialogue> <character>CHIEF</character> <dialogue>So do I. I am Tobi. Chief.</dialogue> <character>JOE</character> <dialogue>This is Patricia Graynamore. I'm Joe Banks. You speak English.</dialogue> <character>CHIEF</character> <dialogue>I have learned. You have come to stop the anger of the Woo?</dialogue> <scene_description>The Chief points upward . Joe looks where he points . FROM JOE 'S POV - VOLCANO -LRB- BIG WOO -RRB- - DAY Smoke issues from the mouth of the Big Woo steadily . JOE looks away from the volcano . He looks into the eyes of the chief .</scene_description> <character>JOE</character> <dialogue>Yes.</dialogue> <character>CHIEF</character> <dialogue>There was worry that you would not come. You were to come before this.</dialogue> <character>JOE</character> <dialogue>Well. I'm here now.</dialogue> <scene_description>The Chief nods sadly . He looks at Patricia .</scene_description> <character>CHIEF</character> <dialogue>You're with him?</dialogue> <character>PATRICIA</character> <dialogue>Yes.</dialogue> <scene_description>The Chief nods sadly .</scene_description> <character>CHIEF</character> <dialogue>Tonight, we will have a big feast. And then, at the end of the feast, we will climb to the top of the Big Woo, and you will jump in. Okay?</dialogue> <character>JOE</character> <dialogue>Okay.</dialogue> <character>CHIEF</character> <dialogue>The women will take this woman and make her clean for the feast.</dialogue> <parenthetical>( shouts to the native women . )</parenthetical> <dialogue>Pelica! Pelica!</dialogue> <scene_description>The native women rise quickly to their feet , giggling and excited , and make off with Patricia . She calls out as she 's taken .</scene_description> <character>PATRICIA</character> <dialogue>Joe!</dialogue> <character>JOE</character> <dialogue>Patricia! Is she gon na be Alright?</dialogue> <scene_description>The Chief nods wearily .</scene_description> <character>CHIEF</character> <dialogue>And the men will take you and make you right for the feast.</dialogue> <parenthetical>( shouts to the native men . )</parenthetical> <dialogue>Oliva! Oliva!</dialogue> <scene_description>The native men leap up with a shout , seize Joe , and carry him off . Other native men follow , carrying the trunks . The Chief , weary , heads back inside his hut .</scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - DAY</stage_direction> <scene_description>which has been set up to clean Joe . What can only be described as a giant bassinet made out of beautiful , soft greenery has been set up in the clearing , along with many coconut bowls . Into this a violently protesting Joe , stark naked , is being pressed by the laughing native men . They dump many bowls of water over him while he desperately tries to hide his genitals , first with his hands , and then by turning face down in the bassinet . Then the men take mounds of fresh fruit that has been cut up and rub it into Joe 's flesh . Then six of the native men produce big shining fish . They hold these fish by the tails . Other men hold Joe still . Then the men rhythmically beat Joe with the fish . They hum to keep time . They are giving him a massage . At first he reacts by screaming , but then he starts to groan , as one does from an important massage .</scene_description> </scene> <scene> <stage_direction>EXT. CLEARING - DAY</stage_direction> <scene_description>One of the natives holds forward a tray covered with a thin blue material . Joe looks at it with interest . The native gently , physically closes Joe 's eyes , then blows the contents of the tray , a thin , bright blue powder directly into Joe 's face . Joe opens his eyes , a wiser man . They lick the powder off his face . 169 EXT. . CLEARING - DAY -LRB- WHILE LATER -RRB- They are dousing Joe with water again , only he 's sitting up now , eating a piece of fruit . Emo , the lookout , offers him a Jump , but Joe shakes his head . Emo looks amazed and comments to the others in a low voice , in another language . Their reply to Emo 's comment is a low Whoa ! ; they are incredulous . Then they go back to dousing Joe . He likes this treatment by now . Then a look of concern passes over his face and he looks down . FROM JOE 'S POV - JOE 'S BARE FEET Two natives are chewing the toenails on his two feet . BACK TO SCENE</scene_description> <character>JOE</character> <dialogue>Hey, stop that!</dialogue> <scene_description>The two natives look at him blankly , and go back to what they 're doing . Joe accepts it . Another native is massaging his scalp , adding a little oil to Joe 's hair . The native combs the hair with his fingers . Joe 's starting to look like his old self . Something on the edge of the clearing catches his eye . FROM JOE 'S POV - FOUR STEAMER TRUNKS A little stained with salt , but otherwise none the worse for wear . JOE looking at the trunks , gets an idea .</scene_description> </scene> <scene> <stage_direction>EXT. ANOTHER CLEARING - DAY</stage_direction> <scene_description>Patricia is near the end of a make - over by the native women . They are adorning her freshly - washed hair with beautiful flowers , and wrapping her sparkling body in a pretty sarong .</scene_description> </scene> <scene> <stage_direction>EXT. SUN</stage_direction> <scene_description>sets behind the Big Woo .</scene_description> </scene> <scene> <stage_direction>EXT. BONFIRE - NIGHT</stage_direction> <scene_description>Going full blast in the village . MUSIC .</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE</stage_direction> <scene_description>Fire plays on Patricia 's face , as she 's escorted by four village women into the village feast . PATRICIA 'S POV Handheld , as she walks through the village . ON PATRICIA -LRB- INTERCUT -RRB- As she 's led through village .</scene_description> <character>PATRICIA</character> <dialogue>Where's my friend?</dialogue> <scene_description>PATRICIA 'S POV - HANDHELD</scene_description> <character>PATRICIA</character> <dialogue>Where's Joe Banks?</dialogue> <scene_description>a. Men dancing on dusty drums . b. Natives criss - cross jumping over fire , with the band in the b.g. c . A pig on a spit over a fire . ON PATRICIA -LRB- INTERCUT -RRB- As she 's led through the village .</scene_description> <character>PATRICIA</character> <dialogue>Is my friend here?</dialogue> <scene_description>PATRICIA 'S POV - HANDHELD a. Fire - eaters on either side of a small volcano . The MUSIC changes to a new cue : the drum vamp . b . The Fire - God emerges from the small volcano . PATRICIA She reacts and looks at :</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE - BAW - NIGHT</stage_direction> <scene_description>Baw comes into the playing area , a half - moon circle of natives . He clicks the sticks of his fingers . He looks side - to - side , sternly , with his hands on his hips and cries out .</scene_description> <character>BAW</character> <dialogue>Oliva!</dialogue> <scene_description>This is the cue for the story - telling MUSIC to begin . Baw does a little Waponi dance in a tight circle , as he recites .</scene_description> <character>BAW</character> <dialogue>A whila way Waponi Woo I sangda wangda offda blue I sangda wangda and I aw saw The whorl in all a raw dindour! Meckalecka? Yapa Yapaya Yapa Yapaya Yapa Yapaya Sup up vulca</dialogue> <scene_description>The women scream .</scene_description> <character>BAW</character> <dialogue>Terra not firma. To take to Tobi, put the pants!</dialogue> <scene_description>The men cheer and Baw picks up the Tiki doll to hand it to the Volcano God who then goes back into the volcano .</scene_description> </scene> <scene> <stage_direction>INT. VILLAGE - NIGHT</stage_direction> <scene_description>Patricia is standing . Everyone else is BELOW FRAME and there is dead silence . PATRICIA 'S POV - CHIEF - NIGHT He 's decked out , and he sits in his chair . His Tobi is in another and there are empty chairs on each side . PATRICIA is gestured to sit in the chair on the Chief 's left . TWO SHOT</scene_description> <character>CHIEF</character> <dialogue>You look good, now.</dialogue> <character>PATRICIA</character> <dialogue>Thank you.</dialogue> <character>CHIEF</character> <dialogue>Joe Banks said your name is Graynamore.</dialogue> <character>PATRICIA</character> <dialogue>Yes, it is.</dialogue> <character>CHIEF</character> <dialogue>I've had talks with Samuel Harvey Graynamore.</dialogue> <character>PATRICIA</character> <dialogue>He's my father.</dialogue> <scene_description>The Chief nods sadly .</scene_description> <character>CHIEF</character> <dialogue>Your father is like the Big Woo. He must be fed or he will destroy the world.</dialogue> <character>PATRICIA</character> <dialogue>Do you know where my friend, Joe Banks, is?</dialogue> <character>CHIEF</character> <dialogue>Maybe he ran away? Maybe he do n't want to jump in the Big Woo. Maybe he's swimming to someplace else. Maybe he swam to that no good island over there.</dialogue> <scene_description>The Chief now calls to the natives .</scene_description> <character>CHIEF</character> <dialogue>Oliva! Oliva! Bum bum bum.</dialogue> </scene> <scene> <stage_direction>EXT. VILLAGE - NIGHT</stage_direction> <scene_description>Two natives swing on grass ropes , from the TOP of the FRAME . They pass each other on their way to the gongs which hang at either end of the frame . They slam into the gongs and then fall into two little broken piles . THE CHIEF He reacts .</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE - NIGHT</stage_direction> <scene_description>Back to the gong scene -LRB- but under cranked -RRB- as the stretcher bearers carry the men away and big drums are upended and rolled away in the wake of the stretchers - off to the right .</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE - NIGHT</stage_direction> <scene_description>The natives all rise and face Woo and sing .</scene_description> <character>NATIVES</character> <dialogue>Wo - o - o - o - o.</dialogue> </scene> <scene> <stage_direction>EXT. VOLCANO</stage_direction> <scene_description>It erupts . CHIEF</scene_description> <character>CHIEF</character> <dialogue>The Woo wants his flesh!</dialogue> </scene> <scene> <stage_direction>EXT. VILLAGE - NIGHT</stage_direction> <scene_description>Natives react and scream and the screams turn to cheers , as we - CUT TO - JOE BANKS He appears at the top of a grand staircase . He descends -LRB- as the MUSIC resumes -RRB- . The crowd faces him and cheers , as they turn with him as he walks across to the Chief and stands before him .</scene_description> <character>CHIEF</character> <dialogue>So. You did n't run away.</dialogue> <character>JOE</character> <dialogue>No. I made a deal and I'll stick by it.</dialogue> <scene_description>The Chief nods sadly . Joe sits down in the third chair .</scene_description> <character>JOE</character> <dialogue>How do you like my tux?</dialogue> <character>PATRICIA</character> <dialogue>Pretty great.</dialogue> <character>JOE</character> <dialogue>I thought I might as well go out in style.</dialogue> <character>PATRICIA</character> <dialogue>You're really going to do it?</dialogue> <character>JOE</character> <dialogue>Yeah.</dialogue> <scene_description>Joe and Patricia have been talking across the Chief , who sits between them . Now a groaning native , holding his jaw , comes forward and , after prostrating himself , speaks excitedly to the Chief , addressing him as Tobi , and continuing in another language . The Chief listens and then waves him away . The groaning native departs .</scene_description> <character>PATRICIA</character> <dialogue>What's wrong with that man?</dialogue> <character>CHIEF</character> <dialogue>His teeth have holes in them from drinking orange soda. Jump.</dialogue> <scene_description>The Chief hates Jump .</scene_description> <character>JOE</character> <dialogue>What did he want you to do about it?</dialogue> <character>CHIEF</character> <dialogue>There are those who want a man who will fix the holes.</dialogue> <character>PATRICIA</character> <dialogue>A dentist</dialogue> <character>CHIEF</character> <dialogue>Yes.</dialogue> <scene_description>The Chief hates this idea . The VOLCANO THUNDERS again . This time it shakes the ground a little . They look . CHIEF AND COMPANY 'S POV - BIG WOO - NIGHT The volcano lets out with two tongues of flame this time , and a shower of sparks . CHIEF AND COMPANY - NIGHT looking at volcano . The Chief then looks at Joe .</scene_description> <character>CHIEF</character> <dialogue>Joe Banks. We are the children of children and we live as we are shown. Now a change has come. The Waponis like this soda, and no one among my people will jump into the Big Woo. They trade with this man, your father, for a hero. We have no hero - of our own. So we give this man the right to dig holes in the ground under us like the Jump digs holes in our teeth and in some short time we will be nothing but holes. I am the Tobi. I can not be the hero. It is my place to hope for my people. But the Woo calls and no one from among my people says, I will go to my end for the rest of you. Joe Banks. We are not your people. Let us die. Take a boat and your woman and go to that no good island over there.</dialogue> <parenthetical>( jerks his thumb . )</parenthetical> <dialogue>Do n't jump in the Big Woo.</dialogue> <character>JOE</character> <dialogue>I have no people of my own, Chief. I'm my only hope for a hero.</dialogue> <scene_description>The BIG WOO THUNDERS AGAIN - they all look . The feast grows quiet and somber .</scene_description> <character>CHIEF</character> <dialogue>Once more I'll call among the Waponis for a hero.</dialogue> <scene_description>The Chief stands . The Waponis abase themselves . The Chief speaks to them solemnly .</scene_description> <character>CHIEF</character> <dialogue>Who knew woe sue - weigh? Who knew woe?</dialogue> <parenthetical>( he waits ; as no one moves ; he calls out once more . )</parenthetical> <dialogue>Drama said, said sue - weigh?</dialogue> <parenthetical>( he waits ; as no one moves ; he is disgusted with them ; he speaks with finality and dismissal . )</parenthetical> <dialogue>I na box, bum, pelica. Box.</dialogue> <scene_description>The Waponis slowly get up , shamefaced . The Chief sits . He speaks to Joe and Patricia .</scene_description> <character>CHIEF</character> <dialogue>They are all afraid to die. There is no hero among them. They deserve to die.</dialogue> <scene_description>Joe stands .</scene_description> <character>JOE</character> <dialogue>Take me to the volcano.</dialogue> <scene_description>Natives cheer . They form an aisle again , leading off in the direction of the Big Woo . Flaming torches dot the aisle . The natives start the same call and response they had going when Joe 's raft was first sighted . Emo calls and the natives respond . This call and response continues through all the following . Joe walks off , down the aisle . The Chief follows him . Before Patricia can follow the Chief , the crowd closes in , following Joe up the mountain . Patricia tries to reach Joe .</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE - NIGHT</stage_direction> <character>PATRICIA</character> <dialogue>Joe! Joe!</dialogue> <scene_description>But she ca n't be heard above the din of the call and response . She 's restrained by the women in the village .</scene_description> </scene> <scene> <stage_direction>EXT. FOOT OF TRAIL - NIGHT</stage_direction> <scene_description>A head torch man leads the way up the mountain path . He carries a heavy , lit torch that he swings from side to side with a ritual motion . With each swing he lights another permanent tiki sconce along the path 's upward progress . He is followed by Joe , dapper and alone . Joe in turn is followed by the Chief , who walks with a ritual movement , not unlike the bent - kneed gait of a Sumo wrestler , leaning first on one leg then on the other . He is assisted in this gyration by two lackeys , one to his left , one to his right , who catch him as he leans to his most extreme angle and gently shoves him back the other way . Behind the Chief , comes the general native population all of whom carry torches . WHOLE VILLAGE - PATRICIA ' S POV is going up the trail , with Joe and the Chief at the head of the column . Some of the natives carry ducks .</scene_description> </scene> <scene> <stage_direction>EXT. SIDE OF BIG WOO - TRAIL - NIGHT</stage_direction> <scene_description>Flaming torches now delineate the trail up the mountain . The line they describe looks very like a German expressionist version of a lightning bolt . The Big Woo is RUMBLING more and more . The whole sky over the mountain is suffused with red . OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. WITHIN COLUMN - NIGHT</stage_direction> <scene_description>Patricia struggles . She 's slowly struggling up the length of the column . She 's starting to get hysterical .</scene_description> <character>PATRICIA</character> <dialogue>Joe! Joe! Do n't do it! Do n't do it!</dialogue> </scene> <scene> <stage_direction>EXT. HEAD OF COLUMN - JOE AND CHIEF - NIGHT</stage_direction> <scene_description>They are silent and solemn and focussed . They arrive at a spot just below the rim of the volcano . There is a little well worn trail leading from they stand to where the rim .</scene_description> <character>JOE</character> <dialogue>Is there any ceremony or anything?</dialogue> <character>CHIEF</character> <dialogue>No. You just jump in.</dialogue> <scene_description>Joe nods . Patricia breaks through the crowd and throws herself at Joe 's feet . She 's sobbing .</scene_description> <character>PATRICIA</character> <dialogue>Do n't do it! Please do n't do it, Joe! I love you! I've fallen in love with you! I've never loved anybody! I do n't know how it happened! And I've never even slept with you or anything and now you're going to kill yourself!</dialogue> <scene_description>Joe pulls her to her feet . The Chief takes a step away , to give them privacy .</scene_description> <character>JOE</character> <dialogue>You love me?</dialogue> <character>PATRICIA</character> <dialogue>Yes, I love you! I can feel my heart! I feel like I'm going crazy! You ca n't die and leave me here on this stinking earth without you!</dialogue> <character>JOE</character> <dialogue>I've got to do it.</dialogue> <character>PATRICIA</character> <dialogue>Why? The Chief does n't even want you to do it.</dialogue> <character>JOE</character> <dialogue>'Cause I've wasted my whole life. And now I'm going to die. I've got a chance to die like a man and I'm going to take it! I've got to take it!</dialogue> <character>PATRICIA</character> <dialogue>I love you!</dialogue> <character>JOE</character> <dialogue>I love you, too. I've never loved anybody, either. It's great. I'm glad. But the timing stinks.</dialogue> <scene_description>Joe kisses her , waves to the Chief , and starts to walk up the little path . The natives are silent , staring . The Chief is sad . Patricia is rooted , staring after him , stricken . When Joe has just about reached the summit , Patricia wakes from her trance , and bolts up the little path after him .</scene_description> </scene> <scene> <stage_direction>EXT. UNDERSIDE OF PLATFORM - NIGHT</stage_direction> <scene_description>Throughout the following , occasionally we CUT TO a carved wooden figure of an alarmed but committed little man , who is under the platform holding it up . Of course , he 's actually an inanimate strut , but as his little knees quake ever more violently under the platform 's oppressive weight , we fear for the moment when he and therefore the platform on which Joe and Patricia stand will give way and fall into the volcano . LITTLE SHELF ON MOUTH OF WOO - PATRICIA AND JOE - NIGHT Behind them are flames and sparks and smoke .</scene_description> <character>PATRICIA</character> <dialogue>Joe!</dialogue> <character>JOE</character> <dialogue>Get out of here! Go back down!</dialogue> <character>PATRICIA</character> <dialogue>No.</dialogue> <character>JOE</character> <dialogue>Please let me do what I've got to do!</dialogue> <character>PATRICIA</character> <dialogue>Marry me!</dialogue> <character>JOE</character> <dialogue>What!</dialogue> <character>PATRICIA</character> <dialogue>Marry me!</dialogue> <scene_description>She shouts down the hill .</scene_description> <character>PATRICIA</character> <dialogue>Chief! Chief! Could you come up here, please?</dialogue> <character>JOE</character> <dialogue>What the hell are you doing?</dialogue> <character>PATRICIA</character> <dialogue>I want him to marry us.</dialogue> <character>JOE</character> <dialogue>I'm jumping into a volcano!</dialogue> <character>PATRICIA</character> <dialogue>So marry me and then jump into the volcano.</dialogue> <scene_description>The Chief arrives .</scene_description> <character>CHIEF</character> <dialogue>What?</dialogue> <character>PATRICIA</character> <dialogue>Could you marry us?</dialogue> <character>CHIEF</character> <dialogue>Okay.</dialogue> <character>JOE</character> <dialogue>I do n't want to get married!</dialogue> <character>PATRICIA</character> <dialogue>What's the problem? You afraid of the commitment? You'll have to love me and honor me for about thirty seconds! You ca n't handle that?</dialogue> <character>JOE</character> <parenthetical>( to the Chief . )</parenthetical> <dialogue>Alright. Marry us.</dialogue> <character>PATRICIA</character> <dialogue>Thank you!</dialogue> <character>JOE</character> <dialogue>You're welcome!</dialogue> <character>CHIEF</character> <dialogue>Do you want to marry her?</dialogue> <character>JOE</character> <dialogue>Yes!</dialogue> <character>CHIEF</character> <dialogue>Do you want to marry him?</dialogue> <character>PATRICIA</character> <dialogue>Yes!</dialogue> <character>CHIEF</character> <dialogue>You're married.</dialogue> <character>PATRICIA</character> <dialogue>Thank you, Chief.</dialogue> <character>CHIEF</character> <dialogue>I'm going now.</dialogue> <scene_description>The Chief leaves . The volcano has been ROARING LOUDER and LOUDER . Joe stares into it .</scene_description> <character>PATRICIA</character> <dialogue>Do n't jump in.</dialogue> <character>JOE</character> <dialogue>I want you to listen Patricia, because these are my last words. I got ta be brave. I got ta jump in.</dialogue> <scene_description>He braces to jump . She lifts her hands . She hesitates . Courage floods her soul . She completes the gesture for the first time .</scene_description> <character>PATRICIA</character> <dialogue>I'm jumping in with you.</dialogue> <character>JOE</character> <dialogue>Oh no you're not'</dialogue> <character>PATRICIA</character> <dialogue>Whither thou goest!</dialogue> <character>JOE</character> <dialogue>I'll knock you out! I'll throw you down!</dialogue> <character>PATRICIA</character> <dialogue>And take away my freedom of choice?</dialogue> <character>JOE</character> <dialogue>Why do you love me?</dialogue> <character>PATRICIA</character> <dialogue>On the raft. You gave me the water. No one's ever put my life ahead of theirs. So I love YOU and I'm jumping into this volcano with you!</dialogue> <character>JOE</character> <dialogue>Did I ever tell you that the first time I saw you, I felt like I'd seen you before?</dialogue> <scene_description>She shakes her head . They kiss . There 's a big EXPLOSION . The ground shakes . They lose their balance and grab each other . There 's a second EXPLOSION . He loses his balance . She catches him .</scene_description> <character>JOE &amp; PATRICIA</character> <dialogue>Whoa! Whoa!</dialogue> <character>JOE</character> <dialogue>This is it!</dialogue> <scene_description>They look at each other . They jump in . A SLOW - MO stylized leap . Right after they jump in , the platform slides into the volcano . WHOLE ISLAND - NIGHT Which looks like a face . The face grimaces . We hear a GASTRONOMIC GROAN . Then the volcano spits out Joe and Patricia who are holding hands . JOE AND PATRICIA - NIGHT rocketing Against a background of fire and EXPLOSIONS , come rocketing RIGHT AT us and BY the CAMERA . CHIEF AND HIS PEOPLE - NIGHT They watch Joe and Patricia , out of view , go by overhead . The Waponis scream and take off down the hill . The Tobi smiles and stays . He speaks to the Woo .</scene_description> <character>CHIEF</character> <dialogue>So. You did not want them.</dialogue> <parenthetical>( to the retreating natives . )</parenthetical> <dialogue>I wo n't go to that no good island!</dialogue> <parenthetical>( to himself . )</parenthetical> <dialogue>For me, this is the end.</dialogue> <scene_description>JOE AND PATRICIA - NIGHT leaving a trail of smoke , land in the ocean .</scene_description> <character>JOE</character> <dialogue>What happened?</dialogue> <character>PATRICIA</character> <dialogue>It just spit us back out again. Joe, we're rejects!</dialogue> <character>JOE</character> <dialogue>Well, I did it. I did it. I did my job. I jumped into the volcano. We jumped into the volcano.</dialogue> <scene_description>STRETCH OF BEACH WITH BOATS - NIGHT The Waponis grab their ducks under their arms , grab their boats and launch themselves . OMITTED 196 JOE AND PATRICIA - NIGHT in the water</scene_description> <character>PATRICIA</character> <dialogue>Look!</dialogue> <scene_description>OMITTED 197 JOE AND PATRICIA 'S POV - NIGHT 196A We see the Waponis fleeing the exploding island , heading for the lousy island .</scene_description> </scene> <scene> <stage_direction>EXT. VOLCANO - NIGHT</stage_direction> <scene_description>The VOLCANO EXPLODING completely . The whole island is on fire and breaking apart . JOE AND PATRICIA watch while paddling .</scene_description> </scene> <scene> <stage_direction>EXT. ISLAND OF WAPONI WOO - NIGHT</stage_direction> <scene_description>The island is sinking . The Waponis are fleeing . JOE . AND PATRICIA looking at this amazing sight .</scene_description> <character>JOE</character> <dialogue>So the Waponis were right.</dialogue> <character>PATRICIA</character> <dialogue>What do you mean?</dialogue> <character>JOE</character> <dialogue>They said if there was n't a sacrifice, their island would sink. And it did.</dialogue> <scene_description>Joe and Patricia exchange looks . Then Patricia looks past Joe , seeing something .</scene_description> <character>PATRICIA</character> <dialogue>Oh my God, look! Look!</dialogue> <scene_description>Joe looks where she 's looking .</scene_description> </scene> <scene> <stage_direction>EXT. YACHT - NIGHT</stage_direction> <scene_description>A yacht just like the one they were on . This yacht has friendly eye of another color . JOE AND PATRICIA in the water .</scene_description> <character>JOE</character> <dialogue>A boat!</dialogue> <character>PATRICIA</character> <dialogue>It's The Tweedle Dum!</dialogue> <parenthetical>( shouts . )</parenthetical> <dialogue>Ahoy! Ahoy!</dialogue> <parenthetical>( to Joe . )</parenthetical> <dialogue>Come on!</dialogue> <scene_description>They start to swim .</scene_description> </scene> <scene> <stage_direction>EXT. THE TWEEDLE DUM - NIGHT</stage_direction> <scene_description>Picking up Joe and Patricia . Patricia 's crew is on board , that is Dagmar and the boat boys .</scene_description> <character>PATRICIA</character> <dialogue>It's my crew! They're alive!</dialogue> <character>DAGMAR</character> <dialogue>We were saved.</dialogue> <character>PATRICIA</character> <dialogue>That's wonderful! That's amazing!</dialogue> <character>DAGMAR</character> <dialogue>We were very lucky.</dialogue> </scene> <scene> <stage_direction>EXT. STERN OF THE TWEEDLE DUM - NIGHT</stage_direction> <scene_description>Graynamore is watching the island sink through a telescope . Meanwhile , two boat boys wrap Patricia and Joe in blankets . Graynamore , oddly calm and detached , given the circumstances , looks away from the eyepiece of the telescope . He says to no one in particular .</scene_description> <character>GRAYNAMORE</character> <dialogue>There goes my dream of beating the shit out of the competition.</dialogue> <character>PATRICIA</character> <dialogue>Daddy?</dialogue> <scene_description>Graynamore ignores her . During this scene the island is slowly sinking in the b.g.</scene_description> <character>GRAYNAMORE</character> <dialogue>You kept your bargain, Mr. Banks. To the letter. The miracle of course is that you kept the bargain and you're alive.</dialogue> <character>JOE</character> <dialogue>So what? My number's about up one way or the other.</dialogue> <character>GRAYNAMORE</character> <dialogue>Yes.</dialogue> <scene_description>He 's a trifle uneasy .</scene_description> <character>PATRICIA</character> <dialogue>Daddy?</dialogue> <character>GRAYNAMORE</character> <dialogue>I thought you were dead, young lady. I thought you drowned. Both of you for that matter. I just got here to see what kind of alternate deal I could cut with the Chief. But the Chief, I'm afraid, is history.</dialogue> <character>PATRICIA</character> <dialogue>You do n't show any sign of being glad I'm alive.</dialogue> <character>GRAYNAMORE</character> <dialogue>Oh, I'm glad. I'm just disappointed about losing these mineral rights. It meant a lot to me. It was a real opportunity.</dialogue> <character>PATRICIA</character> <dialogue>You are so. full of holes.</dialogue> <scene_description>Graynamore looks at her , a little irritated and puzzled . But then his attention shifts to Joe .</scene_description> <character>GRAYNAMORE</character> <dialogue>This is a small boat, Mr. Banks. Too small to keep a big secret all the way back to L.A. Come out, Kenneth!</dialogue> <scene_description>Kenneth emerges from the shadows where he 's been skulking . It 's Dr. Ellison ; the doctor who told Joe he was going to die . He 's got a drink and he looks nervous .</scene_description> <character>JOE</character> <dialogue>Dr. Ellison.</dialogue> <character>KENNETH</character> <dialogue>Or words to that effect.</dialogue> <character>GRAYNAMORE</character> <dialogue>His name is Kenneth Hindmick. Business Affairs. He works for me.</dialogue> <character>KENNETH</character> <dialogue>Hi. Need your taxes done?</dialogue> <character>JOE</character> <dialogue>Kenneth Hindmick.</dialogue> <character>KENNETH</character> <dialogue>Need any terrible job done? I'm your man.</dialogue> <character>JOE</character> <dialogue>Not Dr. Ellison.</dialogue> <character>KENNETH</character> <dialogue>Kenneth Hindmick. I'm not a bad guy, really. I just have an unfortunate tendency to do what I'm told.</dialogue> <scene_description>Joe nods numbly .</scene_description> <character>PATRICIA</character> <dialogue>Joe?</dialogue> <character>JOE</character> <dialogue>His name is Kenneth Hindmick.</dialogue> <character>GRAYNAMORE</character> <dialogue>And he made believe he was a Dr. Ellison. And he told Joe here that he had something called a brain cloud, and that he was going to die. So that Joe here would agree to jump in the volcano.</dialogue> <character>PATRICIA</character> <dialogue>Oh! That's dastardly. You're both dastards.</dialogue> <scene_description>Joe , still focused on Hindmick , pushes her aside .</scene_description> <character>JOE</character> <dialogue>I do n't have a brain cloud?</dialogue> <character>KENNETH</character> <dialogue>No, you do n't have anything. You're just a hypochondriac. Sorry. Or, looking on the bright side, congratulations!</dialogue> <scene_description>Joe takes a step for Kenneth . Kenneth takes out a gun and points it shakily at Joe .</scene_description> <character>JOE</character> <dialogue>You know, I'm gon na beat you up!</dialogue> <character>KENNETH</character> <dialogue>Hold it! Do n't make me kill you when there's nothing wrong with you! I feel bad enough already. I told you he'd be mad.</dialogue> <character>GRAYNAMORE</character> <dialogue>So we'll just take turns watching him till we get back to L.A. Nobody'll believe his story anyway.</dialogue> <character>PATRICIA</character> <dialogue>I will. I'll back him up.</dialogue> <character>GRAYNAMORE</character> <dialogue>Now, Patricia, when we get back, I'm going to give this boat to you, and you can sail off into the distance with it and be done with us all.</dialogue> <character>PATRICIA</character> <dialogue>No deal.</dialogue> <character>GRAYNAMORE</character> <parenthetical>( talking to Kenneth . )</parenthetical> <dialogue>So we'll take turns watching the two of them till we get back to L.A., and then we'll turn them both loose, and I'll keep the boat.</dialogue> <character>PATRICIA</character> <dialogue>That's fine with me.</dialogue> <character>JOE</character> <dialogue>You've forgotten one thing.</dialogue> <character>GRAYNAMORE</character> <dialogue>Oh, I have? Nothing comes readily to mind.</dialogue> <scene_description>Joe is still facing Kenneth .</scene_description> <character>JOE</character> <dialogue>I've looked into the volcano, Mr. Graynamore. You know what I mean? After that, the hole in the front of a gun does n't scare me at all.</dialogue> <character>KENNETH</character> <dialogue>Stay back.</dialogue> <character>JOE</character> <dialogue>I'm gon na take the gun away from you, Kenneth.</dialogue> <character>KENNETH</character> <dialogue>Do you think I wo n't shoot?</dialogue> <character>JOE</character> <dialogue>I do n't know. That's your part. I ca n't make you shoot me and I ca n't stop you. I can only do my part. I'm going to take the gun away from you.</dialogue> <scene_description>Joe , after slowly approaching , swiftly takes the gun away from Kenneth .</scene_description> <character>KENNETH</character> <dialogue>Just as well.</dialogue> <character>GRAYNAMORE</character> <dialogue>If I'd had the gun, you'd be dead now.</dialogue> <character>JOE</character> <dialogue>We'll never know. Patricia, tell Dad the happy news.</dialogue> <character>PATRICIA</character> <dialogue>We got married. The Chief married us.</dialogue> <character>JOE</character> <dialogue>And I was wondering where you thought we should go on, you know, a honeymoon?</dialogue> <character>GRAYNAMORE</character> <dialogue>I have no idea</dialogue> <character>JOE</character> <dialogue>I thought we might like to go on a sailing trip. How's that sound?</dialogue> <scene_description>Graynamore does n't answer .</scene_description> <character>PATRICIA</character> <dialogue>I think that sounds great!</dialogue> <character>JOE</character> <dialogue>Does this thing have like a rubber raft or something?</dialogue> <character>PATRICIA</character> <dialogue>It has a dinghy.</dialogue> <character>JOE</character> <dialogue>Let's break it out. I think your father's tired of this ostentatious life style.</dialogue> </scene> <scene> <stage_direction>EXT. SIDE THE TWEEDLE DUM - NIGHT</stage_direction> <scene_description>As Graynamore and company are just finished getting into a dinghy . Joe and Patricia stand on the deck , Joe still pointing the gun . Patricia 's crew stands by .</scene_description> <character>KENNETH</character> <dialogue>What if there's a storm?</dialogue> <character>JOE</character> <dialogue>Then you'll drown.</dialogue> <character>GRAYNAMORE</character> <dialogue>You'll pay for this. I'll see to that!</dialogue> <character>JOE</character> <dialogue>You know what I think, Mr. Graynamore?</dialogue> <character>GRAYNAMORE</character> <dialogue>What?</dialogue> <character>JOE</character> <dialogue>I think that you do n't scare me at all. Maybe you can do some stuff to me - if you make it back home. If I come back. And maybe you ca n't. It remains to be seen. But what I think, and I say this to you from the bottom of my heart, sir. I do n't fear you at all. I do n't fear any man. Because every day is a gift, and I'm just glad as hell it looks like I may have a few. And beyond that, to be scared or glad of anything beyond that, why a man's just got to be a fool!</dialogue> <scene_description>Joe laughs a laugh , wild and free , a laugh unweighted by fear , a laugh of pure joy . Patricia goes below . Only here does the island finally go under completely .</scene_description> </scene> <scene> <stage_direction>EXT. THE TWEEDLE DUM - NIGHT</stage_direction> <scene_description>starts up . And pulls away from the dinghy . Joe is still laughing and waving , one hand on the wheel . Patricia comes up from below . He puts his arm around her .</scene_description> </scene> <scene> <stage_direction>EXT. DINGHY - GRAYNAMORE AND KENNETH - NIGHT</stage_direction> <scene_description>Graynamore is thoughtful . He starts to smile .</scene_description> <character>GRAYNAMORE</character> <dialogue>I like that boy! Good for her!</dialogue> <character>KENNETH</character> <dialogue>Good for her? What about us?</dialogue> <character>GRAYNAMORE</character> <dialogue>I like a tight spot. Maybe I have gotten a little greedy.</dialogue> <parenthetical>( produces a paddle and hands it to Kenneth . )</parenthetical> <dialogue>Start paddling while I re - assess my values.</dialogue> <parenthetical>( as Kenneth does n't start . )</parenthetical> <dialogue>Start paddling.</dialogue> <character>KENNETH</character> <dialogue>You paddle.</dialogue> <character>GRAYNAMORE</character> <parenthetical>( lights a pipe . )</parenthetical> <dialogue>Alright. Fair enough. We'll both paddle. ` And all I ask is a tall ship and a star to steer her by!' Com ` on, let's put our backs into it.</dialogue> <parenthetical>( stops rowing . )</parenthetical> <dialogue>You know, I have a good feeling about this. Maybe we're going to become friends.</dialogue> <scene_description>OMITTED</scene_description> <character>KENNETH</character> <dialogue>I doubt that. You're just too overbearing.</dialogue> <scene_description>Graynamore begins to sing `` Someone 's in the Kitchen with Dinah '' as they paddle out of view .</scene_description> </scene> <scene> <stage_direction>EXT. THE TWEEDLE DUM - NIGHT (COUPLE OF MINUTES LATER)</stage_direction> <scene_description>The dinghy has gone . The boat is passing over the spot where the island went down . A lot of bubbles and steam are still coming up . A few empty cans of Jump come up .</scene_description> <character>PATRICIA</character> <dialogue>So what's the end of Waponi Woo.</dialogue> <character>JOE</character> <dialogue>Yeah, and the Chief.</dialogue> <character>PATRICIA</character> <dialogue>Where are we going?</dialogue> <character>JOE</character> <dialogue>Away from the things of man! I got ta get away from the things of man for a while.</dialogue> <character>PATRICIA</character> <dialogue>Look!</dialogue> <scene_description>FROM JOE 'S POV - BUBBLING SURFACE His trunks start rising to the surface , one after the other . Until three trunks are bobbing on the surface . BACK TO SCENE</scene_description> <character>JOE</character> <dialogue>I'll tell you one thing. Wherever we're goin'. We're taking this luggage. Help me fish it out.</dialogue> <scene_description>JOE 'S POV - BUBBLING TO THE SURFACE The Chief comes up on the last trunk . He is holding his Tiki teddy bear .</scene_description> <character>JOE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Chief!</dialogue> <character>CHIEF</character> <parenthetical>( triumphantly gasping . )</parenthetical> <dialogue>Look! Look, Joe Banks, I still have my soul!</dialogue> <character>JOE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Me, too. Me, too.</dialogue> <scene_description>BACK TO SCENE Joe and Patricia smile at each other and help the Chief up onto the boat . We STAY where we are , LOOKING AT the horizon OVER the railing of the boat . MUSIC . The big , dramatic pas de deux music from the NUTCRACKER starts to play . A moon , with its volcanic aspect emphasized , a moon that 's simply too big to be real , starts to rise from the sea . It rises into and up OUT OF the FRAME while : THE CREDITS ROLL .</scene_description> </scene> <scene> <stage_direction>EXT. THE TWEEDLE DUM - NIGHT (FEW MINUTES LATER)</stage_direction> <scene_description>The moon hangs in the sky off to the right of the boat . We see , FROM a distance , Joe and Patricia just getting the last trunk on deck . Then Patricia goes below . The ENGINE STARTS up . The boat turns and heads straight for the moon . MUSIC . DUSTY SPRINGFIELD , singing `` You Do n't Have To Say You Love Me '' begins to play . We watch them grow fainter and fainter , a smaller and smaller speck in the eye of the Man in the Moon . UP CLOSE to us , the DOLPHIN sticks his head out of the water again , makes his NOISE once more , and disappears forever beneath the gentle waves . One of the craters on the craterous moon shakes and erupts , puffing out a bunch of white smoke which forms the words : `` The End . '' FADE OUT . THE END</scene_description> </scene> </script>

Joe Banks is a downtrodden everyman from Staten Island, working a clerical job in a dreary factory for an unpleasant, demanding boss, Frank Waturi. Joyless, listless and chronically sick, Banks regularly visits doctors who can find nothing wrong with him. Finally, a Dr. Ellison diagnoses an incurable disease called a "brain cloud", which has no symptoms, but will kill Joe within five or six months. Ellison says that the symptoms Joe has been experiencing are actually psychosomatic, caused by his experiences in his previous job as a firefighter. Ironically, it is the numerous tests Joe demanded on having for his psychosomatic symptoms that led Dr. Ellison to discover the brain cloud. Ellison advises him, "You have some life left ... live it well." Joe tells his boss off, quits his job, and asks former coworker DeDe out on a date. Their date is a success, but when Joe tells DeDe that he is dying, she tells him she cannot deal with the revelation and leaves. The next day, a wealthy industrialist named Samuel Graynamore unexpectedly makes Joe a proposition. Graynamore needs "bubaru", a mineral essential for manufacturing superconductors. There are deposits of it on the tiny Pacific island of Waponi Woo, but the resident Waponis will only let him mine it if he solves a problem for them. They believe that the fire god of the volcano on their island must be appeased by a voluntary human sacrifice once every century, but none of them are willing to volunteer this time around. Graynamore offers to pay for whatever Joe wants to enjoy his final days, as long as he jumps into the volcano within 20 days. With nothing to lose, Joe accepts. Joe spends a day and a night out on the town in New York City, where he solicits advice on everything from style to living life to the fullest from his chauffeur Marshall. He also purchases four top-of-the-line, waterproof steamer trunks from a fanatically dedicated luggage salesman. Joe then flies to Los Angeles, where he is met by one of Graynamore's daughters, Angelica, a flighty socialite who labels herself a "flibbertigibbet". The next morning, Angelica takes Joe to her father's yacht, the Tweedledee. The captain is her half-sister Patricia. Patricia reluctantly agreed to take Joe to Waponi Woo after Graynamore promised to give her the yacht in return. After an awkward beginning, Joe and Patricia begin to bond. Then they run into a typhoon. Patricia is knocked unconscious and flung overboard. After Joe jumps in to rescue her, lightning strikes, sinking the yacht. Joe is able to construct a raft by lashing together his steamer trunks. Patricia does not regain consciousness for several days. Joe doles out the small supply of fresh water to her, while he gradually becomes delirious from thirst. He experiences a revelation during his delirium and thanks God for his life. When Patricia finally awakens, she is deeply touched by Joe's self-sacrifice. They then find that they have luckily drifted to their destination. The Waponis treat them to a grand feast. Their leader, Chief Tobi, asks one last time if anyone else will volunteer, but there are no takers and Joe heads to the volcano. Patricia tries to stop him, declaring her love for him. He admits he loves her as well, "but the timing stinks." Patricia persuades Joe to have the chief marry them. Afterwards, Patricia refuses to be separated from Joe. When he is unable to dissuade her, they jump in together, but the volcano erupts at that moment, blowing them out into the ocean. The island sinks, but Joe and Patricia land near their trusty steamer trunks. At first ecstatic about their miraculous salvation, Joe tells Patricia about his fatal brain cloud. She recognizes the name of Joe's doctor as that of her father's crony and realizes that Joe has been set up. He is not dying and they can live happily ever after.

Teen Wolf_1985

tt0090142

<script> <scene> <character>TEEN.WOLF</character> <dialogue>Written By:</dialogue> <scene_description>Joseph Loeb III &amp; Matthew Weisman</scene_description> <character>FINAL</character> <dialogue>October 10, 1984</dialogue> <scene_description>Due to our strong personal convictions, we wish to stress that this film in no way endorses a belief in the occult. Nor do we propose that any beings, supernatural or otherwise, actually exist. Most of what follows is true. (\]) FADE IN:</scene_description> <character>1.</character> <dialogue>The overwhelming sound of a beating heart.</dialogue> <character>INT. BEACONTOWN HIGH SCHOOL - CORRIDORS - DAY</character> <dialogue>POV THE CAMERA</dialogue> <dialogue>as we move along the corridor -- sneaking up close behind THREE PRETTY G~RLS carrying books and wearing miniskirts.</dialogue> <dialogue>From another direction, SEVERAL WHITE CHICKENS scatter noisily. The girls seem oblivious to the chickens. We follow the chickens -- closer --</dialogue> <dialogue>MORE STUDENTS, carrying books, etc. come out of classrooms. We hide up· against a wall as they pass by. As the halls clear, we skulk down the corridor. Our pursuit of the chickens brings us to and inside:</dialogue> <character>2.</character> <dialogue>INT. BEACONTOWN HIGH SCHOOL - CAFETERIA - DAY</dialogue> <scene_description>There is one long table covered with food -- like a banquet. A BLACK CHICKEN pecks at a salad. We approach the table. The chicken SQUAWKS and flies off. 0 We move along the table, grabbing food and shoving it toward us •. Broiled chicken. Coq au Vin. Chicken Paprika. Egg dishes: p0ached, scrambled, deviled. Chicken Fricassee. We stop. A group of PEOPLE (all of whom we will meet later in the story} is staring at us. At the center is THORNE; PAMELA and BOOF giggle and point; STILES laughs.</scene_description> <character>THE CAMERA TURNS 180 DEGREES AND REVEALS</character> <dialogue>SCOTT HOWARD, the hero of our tale, looking rather peculiar right now standing in his underwear. His face is covered with food. Innocently, he reaches for a handful of Chicken Salad -- as the SCHOOL BELL RINGS!</dialogue> <character>3.</character> <dialogue>INT.</dialogue> <scene_description>A clock/radio BUZZES madly. Scott bolts up quickly in bed. White feathers float in the air; several dangle from his hair. He notices they are coming from a rip in his pillow. He's been having a dream. Relieved, he reaches for the alarm's OFF switch -- -· SMASH CUT TO: -lA-</scene_description> <character>4.</character> <dialogue>0</dialogue> <character>INT.</character> <dialogue>THE SCOREBOARD BUZZES:</dialogue> <character>ON THE BASKETBALL COURT</character> <dialogue>Scott, wearing a BEACONTOWN BEAVER uniform, is sweaty and tired. It is well into the second half of the opening game against the FARMINGTON DRAGONS.</dialogue> <dialogue>LEMONADE JOHNSON, the Dragon's forward, dribbles Globetrotter style past and around the hapless Beaver team. He charges at Scott who -- against his better judgement -- stands his ground. Lemonade barrels straight ahead, knocking Scott to the floor. No foul is called.' Scott looks over to</dialogue> <dialogue>COACH FINSTOCK, on the bench, who shrugs.</dialogue> <character>IN THE STANDS</character> <dialogue>LISA "BOOF" MARCONI winces with sympathy for Scott. She is adorable, likeable, but does not yet dress to·look her best. Scott's plight brings a giggle from her TWO FRIENDS.</dialogue> <character>ON THE COURT</character> <dialogue>() from Scott's POV, we watch Lemonade score a smooth lay-up.</dialogue> <scene_description>Then, a shadow appears over Scott. MICK McALLISTER, the huge blonde Dragon, puts out his hand to help Scott up. Embarrassed by the offer, Scott accepts, coming to his feet. Scott's nose just reaches the number on Mick's chest.</scene_description> <character>SCOTT</character> <dialogue>Thanks.</dialogue> <character>MICK</character> <dialogue>You guys suck.</dialogue> <scene_description>Scott manages a smile. He nods in grim agreement. THE SCOREBOARD BUZZES: BEACONTOw"N 11, VISITORS 51</scene_description> <character>REVISED 10/1/84</character> <dialogue>4.</dialogue> <character>2~</character> <dialogue>CONTINUED:</dialogue> <scene_description>0 NEAR THE BEAVER BENCH A GIRL DRESSED AS A BEAVER looks up at the scoreboard. Exasperated, she removes her paper mache Beaver head. Next to her THE HEAD CHEERLEADER tosses up a porn-porn out of frustration. She stomps away, leaving the other CHEERLEADERS confused. ON THE BEAVER BENCH Coach Finstock comes to his feet, dressed in a plaid sports coat, and high water pants. He makes a "T" sign with his hands.</scene_description> <character>FINSTOCK</character> <dialogue>Time!</dialogue> <scene_description>A WHISTLE BLOWS. Scott hus.tles; .to the bench, passing Finstock on the floor. With a huge grin, the Coach pats Scott's shoulder.</scene_description> <character>FINSTOCK</character> <dialogue>Shoulda got outa' his way, Scotty.</dialogue> <scene_description>The Coach continues toward the Visitors' Bench. Scott's focus shifts up to THE STANDS () which are nearly empty, a few pockets of silent "Fans" scattered throughout. Working his way through those "pockets is11 RUPERT "STILES" STILINSKY, a frenetic whirlwind of hustle with a too-soon moustache and a T-shirt proclaiming "LIFE SUCKS, THEN YOU DIE". He is followed closely by little LEWIS ERIKSON, shy, but good looking in a minatura sort of way. Stiles hasn't been paying attention to the game at all.</scene_description> <character>STILES</character> <parenthetical>(giving the thumbs up)</parenthetical> <dialogue>Hey, Scott, lookin' good out there!</dialogue> <scene_description>Scott shakes his head and waves him off, suddenly noticing SOMEONE sitting alone. Using his fingers to comb his hair, he heads in that direction. Boof sees Scott approaching, and perks up, only to be disappointed when she realizes he is actually headed for · PAMELA WELLS, by any standard a heartbreaker, but she is also aloof and snobbish -- which Scott somehow doesn't recognize. But before Scott can speak with her .BRAD TANNER, the serious, athletic, Beaver\_ Team Captain calls to Scott from the bench --</scene_description> <character>REVISED 10/1/84</character> <dialogue>4.</dialogue> <character>3.</character> <dialogue>CONTINUED:</dialogue> <scene_description>0 BRAD Howard! Would you like to join us? Scott steps backwards toward the bench. Pamela has barely acknowledged his presence. AT THE VISITOR'S BENCH Finstock talks to the Dragon's Coach ED, a mild mannered; K.C. Jones type of guy, dressed pretty much as Finstock is.</scene_description> <character>ED</character> <parenthetical>(certain he heard it wrong)</parenthetical> <dialogue>You want to forfeit the game?</dialogue> <character>FINSTOCK</character> <parenthetical>(shrugging)</parenthetical> <dialogue>See anything wrong with that?</dialogue> <character>AT THE BEAVER BENCH</character> <dialogue>The Beavers are all in a huddle.\_ Brad reaches for the water jug, his attention shifting to THE STANDS</dialogue> <scene_description>0 Stiles zooms in a cluster of a THREE YOUNG GIRLS.</scene_description> <character>BRAD</character> <parenthetical>(o.s.)</parenthetical> <dialogue>What's that cheezeball buddy of yours up to now, Howard?</dialogue> <character>STILES</character> <dialogue>Well, Ladies, our Beavers sure look good.</dialogue> <scene_description>The three look at Stiles, then past him to Lewis.</scene_description> <character>SUSIE</character> <dialogue>Hello, Lewis.</dialogue> <character>LEWIS</character> <dialogue>Hi.</dialogue> <scene_description>Stiles laughs. Undaunted, he leans in close to Susie who doesn't appreciate it.</scene_description> <character>STILES</character> <dialogue>Susie Q. You are not going to believe this, but as God as my witness</dialogue> <character>SUSIE</character> <dialogue>Go away, Stiles.</dialogue> <character>REVISED 10/1/84</character> <dialogue>4.</dialogue> <character>4.</character> <dialogue>CONTINUED:</dialogue> <scene_description>0 . STILES (without missing a beat) the band coming to the Spring Dance is Duran, Duran, laugh, go ahead, you'll see, but only if I come up with the last few bucks. Can you believe it? Only twenty more greenbacks and.it's a blue moon on Monday. Say "No" and it's your own fault. Make it ten. What do you say, Susie? Ten lousy bucks'! Duran, Duran!! Susie looks as if she's actually thinking about it a moment.</scene_description> <character>SUSIE</character> <dialogue>Go way, Stiles.</dialogue> <scene_description>Stiles takes one step away, and then turns to try again</scene_description> <character>STILES</character> <dialogue>Huey Lewis.</dialogue> <character>AT THE VISITOR'S BENCH</character> <dialogue>ED</dialogue> <scene_description>No. 0 FINSTOCK No?</scene_description> <character>ED</character> <dialogue>My players have league scoring records at stake. Wouldn't be fair to them. Besides, Coach, it's character building for your team to finish the game.</dialogue> <character>FINSTOCK</character> <dialogue>Well, I just figured if we quit now, you'd beat the five o'clock traffic.</dialogue> <character>ED</character> <parenthetical>(shaking his head)</parenthetical> <dialogue>There's a lot to learn from losing.</dialogue> <character>FINSTOCK</character> <dialogue>Okay. We'll play. If it's that big a deal to you.</dialogue> <character>THE WHI$TLE BLOWS AGAIN.</character> <dialogue>REVISED 10/1/84 s.\*</dialogue> <character>4.</character> <dialogue>@</dialogue> <character>CONTINUED:</character> <dialogue>Brad is at the foul line.</dialogue> <character>THE SCOREBOARD BUZZES:</character> <dialogue>BEACONTOWN 12, VISITORS 63</dialogue> <scene_description>One Cheerleader remains. She notices for the first time that she is now alone with the girl dressed as the Beaver. She checks around to see that no one is watching. Brad shoots again. Misses. Mick snares the rebound, and in a matter of seconds, the Dragons move the ball to their basket and Mick dunks it. At that, Pamela stands to leave. The Beavers are still up court, staring with disbelief. Scott, spying Pamela's early exit, swings at the air, angry at everything. · Where the cheerleaders sit, only the paper mache head of the mascot Beaver remains. IN THE STANDS Stiles assaults a NERD who sits alone.</scene_description> <character>STILES</character> <dialogue>-- and if I don't come up with the fifteen bucks, I can't enter my project on the Duran Quark theory in the science fair. What a drag.</dialogue> <scene_description>The Nerd takes out his calculator, enters some figures, shakes his head at Stiles, and slides further down the bleachers. Stiles searches for his next victim.</scene_description> <character>LEWIS</character> <dialogue>We're not doing so good.</dialogue> <scene_description>Stiles puts his hand on Lewis' shoulder, speaking deliberately:</scene_description> <character>STILES</character> <dialogue>Never. Say. Die.</dialogue> <character>AT THE BEAVER BENCH</character> <dialogue>MR. RUSSELL THORNE, the Vice-Principal approaches Finstock. He fancies himself as quite "The Guy", a regular Mr. Know-It-All whose best friend is his mirror. He raises an eyebrow as he takes a passing glance at the scoreboard.</dialogue> <character>THORNE</character> <dialogue>Not going too well, is it?</dialogue> <character>REVISED 10/1/84</character> <dialogue>4.</dialogue> <character>6.</character> <dialogue>CONTINUED:</dialogue> <scene_description>0 FINSTOCK What do you expect, Thorne? Look at the sneakers those guys wear. If our boys had sneakers like that, then you'd see something.</scene_description> <character>ON THE COURT</character> <dialogue>Scott is in the clear. CHUBBY, the heaviest Beaver, throws the ball to him. But it's too hard. It sails toward the bench and Finstock catches it.</dialogue> <character>FINSTOCK</character> <parenthetical>(to Mr. Thorne)</parenthetical> <dialogue>That fat kid's got a great arm.</dialogue> <character>ON THE COURT</character> <dialogue>Lemonade lobs the ball into play. It get thrown back to him. He looks for an open Dragon. Spotting Mick, he throws it, just a hair wide --</dialogue> <dialogue>It lands in Scott's hands. Mick goes to grab it from Scott, but Scott won't let go. Mick tugs. Scott's angry. Mick can't believe this kid is actually challenging him --</dialogue> <scene_description>,·'</scene_description> <character>MICK</character> <dialogue>Forget it, dork</dialogue> <scene_description>But a rage builds in Scott and it comes OUT in a loud, frightening ANIMAL GROWL. Mick backs off, wondering where it came from -- Scott, just as surprised, seizes the chance and make a break!</scene_description> <character>IN THE STANDS</character> <dialogue>Boo£ tenses up, hopeful</dialogue> <character>THE BUZZER SOUNDS AS</character> <dialogue>Scott tries a hook shot from twenty feet out -- The ballgoes around the rim -- and out of the basket.</dialogue> <character>CLOSE ON MR. THORNE</character> <dialogue>Strangely enough, he seems pleased.</dialogue> <dialogue>Game over. The Beavers lose 12 to 71.</dialogue> <character>SCOTT'S POV</character> <dialogue>Boo£ groans. Her two friends giggle~ The Dragons are laughing, hugging, slapping palms. Finally, Coach Finstock. He's eating a Hostess Fruit Pie.</dialogue> <character>REVISED 10/1/84</character> <dialogue>4. Scott heads for the showers as</dialogue> <character>7.</character> <dialogue>CONTINUED:</dialogue> <scene_description>MR •. THORNE is about to leave the gym, but Stiles leaps in his way.</scene_description> <character>STILES</character> <dialogue>Mr. T, enjoy the game?</dialogue> <character>THORNE</character> <parenthetical>(trying to side step him)</parenthetical> <dialogue>Hardly.</dialogue> <character>STILES</character> <dialogue>Isn't it terriple about Mrs. Duran?</dialogue> <character>THORNE</character> <dialogue>I don't know any Mrs. Duran, Rupert.</dialogue> <character>STILES</character> <dialogue>Oh, I'm sorry. I'm getting up a collection but since you didn't know</dialogue> <character>THORNE</character> <dialogue>A collection?</dialogue> <character>STILES</character> <dialogue>0 Her cat was run over by one of our</dialogue> <scene_description>school buses. Since you're the Vice- principal, I thought you knew --</scene_description> <character>THORNE</character> <parenthetical>(miffed)</parenthetical> <dialogue>As usual, I'm among the last to find out. I wonder if she'll sue</dialogue> <character>STILES</character> <dialogue>{pressing)</dialogue> <scene_description>That cat meant a lot to her. Begrudgingly, he reaches in his pocket. Stiles shoots a triumphant glance at Lewis. Mr. Thorne puts something in Stiles' hand and walks away. It's two quarters.</scene_description> <character>CUT TO:</character> <dialogue>-7A-</dialogue> <character>SCENE 5</character> <dialogue>5.</dialogue> <dialogue>0</dialogue> <character>INT.</character> <dialogue>The Beavers unhappily watch the Dragons enter the showers still congratulating each other. Coach Finstock arrives, all smiles.</dialogue> <character>FINSTOCK</character> <dialogue>Hey! Come on. It wasn't so bad. First game of the season. Eleven more to go.</dialogue> <scene_description>They turn away from him.</scene_description> <character>FINSTOCK</character> <dialogue>Take ,it easy. It's only a game.</dialogue> <scene_description>He shrugs at their strange attitude and leaves. Scott takes off his uniform shirt. He looks at his bare chest: there is a single very long strand of coarse hair. ~e tugs at it -- pulling it out.</scene_description> <character>5.</character> <dialogue>SCOTT</dialogue> <character>CONTINUED:</character> <parenthetical>(examining the hair.)</parenthetical> <dialogue>Where'd this come from?</dialogue> <scene_description>Brad comes to the center of the room, addres~ing them all.</scene_description> <character>BRAD</character> <dialogue>You Bozos better shap~ up! I can't do this all myself,</dialogue> <scene_description>He slams his locker shut. MALCOLM, the team manager, studies his clipboard.</scene_description> <character>MALCO:CM</character> <dialogue>We'd better come up with some new plays that work. All our points came from foul shots.</dialogue> <scene_description>Scott doesn't need to hear this. As he undresses, he sniffs at the air.</scene_description> <character>· SCOTT</character> <dialogue>Liverwurst?</dialogue> <character>I""""'\</character> <dialogue>!0</dialogue> <character>CHUBBY</character> <dialogue>(cautious)</dialogue> <scene_description>What?</scene_description> <character>SCOTT</character> <dialogue>You I re supposed ··to be on a diet, Chubb.</dialogue> <character>CHUBBY</character> <dialogue>I don't know what you're talking about.</dialogue> <scene_description>Scott goes to Chubby's locker. Behind some books, underneath some towels, dirty socks and the like,·Scott pulls out: a foil wrapped SANDWICH, then another, then another. -This is followed by a bag of chips -- a pair of Twinkies --</scene_description> <character>CHUBBY</character> <parenthetical>(grabbing back a Ding Dong)</parenthetical> <dialogue>Give me that.</dialogue> <scene_description>Chubby collects the stuff and shoves it back inside.</scene_description> <character>CHUBBY</character> <dialogue>Stop snooping in !!!Y. locker.</dialogue> <character>SCOTT</character> <dialogue>I didn't. You could you smell that Liverwurst from Oller there \*</dialogue> <character>CHUBBY</character> <dialogue>Yeah, right. Underneath these?</dialogue> <character>REVISED 10/7/84 -9-</character> <dialogue>5. CONTINUED: s. Chubby waves the dirty socks in Scott's face -- the odor is</dialogue> <scene_description>G overwhelming. But before Scott can say anything, Stiles saunters in, Lewis in tow.</scene_description> <character>STILES</character> <dialogue>Great game, guys. We showed 'em.</dialogue> <character>LEWIS</character> <dialogue>(quietly to Stiles} We lost, Stiles. Stiles finally catches on when he sees the rest of the dejected Beavers. STILES The umpire needed glasses.</dialogue> <scene_description>As Stiles moves toward Scott, he passes Brad who snarls: \*</scene_description> <character>BRAD</character> <dialogue>Cheezeball. \*</dialogue> <character>STILES</character> <dialogue>(unfazed - to Scott) \*</dialogue> <scene_description>You know that seven bucks you owe me?</scene_description> <character>SCOTT</character> <dialogue>You owe ·me.</dialogue> <scene_description>0 STILES Scott. This is important. If I don't come up with a keg for tonight, they won't let me into the party.</scene_description> <character>SCOTT</character> <dialogue>Even if you get the cash, where are you. going to buy?</dialogue> <character>STILES</character> <dialogue>Lend me five. Two.</dialogue> <character>SCOTT</character> <dialogue>Later.</dialogue> <scene_description>As Scott pulls his shower gear from his locker, Stiles spots the Dragons coming out of the showers. Brightening up, Stiles blocks the shower exit as Lemonade tries to pass. He's wet and covered with a small towel.</scene_description> <character>STILES</character> <dialogue>Hey, Lemonade, my man. Listen -- I1m raising some cash for our school 1s Afro-American festival and I thought maybe --</dialogue> <scene_description>Lemonade fakes a step to the right, Stiles tries to get in front of him and ·Lemonade side-steps. him to the left. (CONTINUED}: 5. CONTINUED: 5.</scene_description> <character>'</character> <dialogue>Stiles finds himself facing Mick who grabs Stiles by the collar and one hands him into THE SHOWER</dialogue> <dialogue>Stiles skios along the floor getting soaked. He tries to raise himself and slips.</dialogue> </scene> <scene> <stage_direction>EXT. BEACONTOWN HIGH SCHOOL - STREETS - AFTERNOON</stage_direction> <scene_description>Out in front.of the school, Boof chats with her two giggling friends from the game: TINA and GINA, who are hard to tell apart, wearing the same brightly colored glasses, identical new wave hairstyles, and similar tight sweaters. Scott walks alone toward the street. Boof sees him and raises a warm smile.</scene_description> <character>BOOF</character> <parenthetical>(calling to him)</parenthetical> <dialogue>Going to work? I'll walk with you.</dialogue> <scene_description>Scott nods.</scene_description> <character>TINA</character> <dialogue>Catch you later, Boof.</dialogue> <character>GINA</character> <dialogue>At the party.</dialogue> <scene_description>They giggle and go back towards the school. We follow Boof and Scott as they walk off the school grounds and towards town. Boof draws closer to him. He seems preoccupied.</scene_description> <character>SCOTT</character> <dialogue>I had another weird dream last night.</dialogue> <character>BOOF</character> <dialogue>Was I in this one?</dialogue> <character>SCOTT</character> <dialogue>Yeah. You. Pamela. And a bunch of chickens.</dialogue> <scene_description>Boof frowns -- it's not exactly what she wanted to hear. A LOUD HONKING interrupts them as a RED 1968 PONTIAC TEMPEST, a makeshift plastic tarp strapped on for a convertible top, the muffler a memory, pulls up beside them. Stiles, still damp from the shower, sticks his head out and yells over the Tempest's noise. 6. CONTINUED: 6.</scene_description> <character>STILES</character> <dialogue>Boo£! How the hell are you?</dialogue> <character>SCOTT</character> <parenthetical>(to Boo£)</parenthetical> <dialogue>Say "No."</dialogue> <character>BOOF</character> <parenthetical>(loud - to Stiles)</parenthetical> <dialogue>No!</dialogue> <character>STILES</character> <dialogue>Good talkin' to you. \*</dialogue> <scene_description>With a happy grin, Stiles lays down some rubber and disappears \* with a cloud of exhaust. Scott scratches his neck and chest, unaware that it's making Boof uncomfortable.</scene_description> <character>BOOF</character> <dialogue>Chickens?</dialogue> <character>SCOTT</character> <dialogue>We have to be the worst basketball team on the face of the earth.</dialogue> <character>BOOF</character> <dialogue>No news there.</dialogue> <character>SCOTT</character> <dialogue>I'm sick of it, Boof. I'm sick of being so -- average. It's not just basketball. It's this school. This town.</dialogue> <scene_description>They turn the corner and head down</scene_description> </scene> <scene> <stage_direction>EXT. BEACONTOWN CENTER - MAIN STREET - AFTERNOON</stage_direction> <scene_description>They continue past the single shops, the lone bank, the post office; the fixtures of Americana.</scene_description> <character>BOOF</character> <dialogue>I like Beacontown.</dialogue> <character>SCOTT</character> <dialogue>I'd jus't like my life to change. I don't want to end up working for my father in that hardware store.</dialogue> <character>BOOF</character> <dialogue>Your father's a terrific guy.</dialogue> <scene_description>Scott stops. He takes a few steps back from her.</scene_description> <character>7.</character> <dialogue>SCOTT</dialogue> <character>CONTINUED:</character> <dialogue>Boof. Look at·me. For once, try to be objective.</dialogue> <scene_description>He scratches more intensely.</scene_description> <character>SCOTT</character> <dialogue>Am I all right? Is there anything wrong with me?</dialogue> <character>BOOF</character> <dialogue>You should probably shower after basketball.</dialogue> <character>SCOTT</character> <dialogue>I do!</dialogue> <scene_description>He purposely stops scratching.</scene_description> <character>BOOF</character> <dialogue>·Then, no. There's nothing wrong</dialogue> <scene_description>with you. 1 like you.</scene_description> <character>SCOTT</character> <dialogue>0 Then why won't Pamela Wells say</dialogue> <scene_description>two words to me?</scene_description> <character>BOOF</character> <parenthetical>(turning icey)</parenthetical> <dialogue>You can do a lot better than Pamela Wells.</dialogue> <character>SCOTT</character> <dialogue>Like who?</dialogue> <scene_description>Boof looks at him like she's going to strangle him.</scene_description> <character>BOOF</character> <dialogue>Don't you have to be at work?</dialogue> <scene_description>She points across the street to the single building with the huge sign: HAROLD HOWARD'S HARDWARE &amp; LUMBER.</scene_description> <character>SCOTT</character> <dialogue>Did I say something wrong?</dialogue> <character>BOOF</character> <dialogue>No. I'll see you later at the party.</dialogue> <character>8.</character> <dialogue>HAROLD HOWARD glances up from the box of new tools he is</dialogue> <character>INT. HAROLD HOWARD'S HARDWARE - HAROLD'S OFFICE - AFTERNOON</character> <dialogue>going through. He is middle aged, friendly, paunchy and very much settled into life.</dialogue> <scene_description>-13-: 0 8. CONTINOED: , 8. Scott enters and reaches behind his father for a clipboard.</scene_description> <character>HAROLD</character> <parenthetical>(looking over his spectacles)</parenthetical> <dialogue>Don't make me lose count.</dialogue> <character>SCOTT</character> <dialogue>We're down to our last waffle iron.</dialogue> <scene_description>Harold has lost count. Scott makes a note on the clipboard. His father holds out a tool.</scene_description> <character>HAROLD</character> <dialogue>They sent me these cheap wrenches from Taiwan. How do they expect me to compete with the big boys?</dialogue> <scene_description>A small smile forms on Scott's face -- he's heard it all before.</scene_description> <character>HAROLD AND SCOTT</character> <dialogue>I'm not Sear's and Roebuck.</dialogue> <character>HAROLD</character> <dialogue>Well, I'm not.</dialogue> <scene_description>·0 They share a laugh. Harold starts to count again.</scene_description> <character>9.</character> <dialogue>INT.</dialogue> <scene_description>At a rack of pet supplies, A LITTLE BOY has managed to get a DOG WHISTLE down from the display which says: "AMAZING! ONLY YOUR DOG CAN H~AR IT!". ,10. INT. HAROLD'S OFFICE - IMMEDIATELY 10.</scene_description> <character>HAROLD</character> <dialogue>You lno~ tired, Scott. That Coach hasn't been giving you boys steroids or· anything?</dialogue> <character>SCOTT</character> <dialogue>Not· likely. We lost 71 to 12.</dialogue> <character>HAROLD</character> <parenthetical>(sighing)</parenthetical> <dialogue>You know, Beacontown hasn't won a game -- in anv sport -- in gosh, it must be tenyears.</dialogue> <scene_description>As Harold continues to talk, the Little Boy '{o.s.) lets out a short blast on the dog whistle. The noise rips through Scott. It is over almost immediately.</scene_description> <character>10.</character> <dialogue>Scott looks at his father who is still counting tools.</dialogue> <character>CONTINUED:</character> <dialogue>Harold, it seems, has not heard the shrill sound.</dialogue> <character>HAROLD</character> <dialogue>You can't take these losses personally. It's all part of growing up.</dialogue> <character>SCOTT</character> <dialogue>Yeah. I guess so. Are there any deliveries --</dialogue> <parenthetical>(another short BLAST)</parenthetical> <dialogue>--ow--today?</dialogue> <scene_description>Still no reaction from Harold about the noise. Just Scott.</scene_description> <character>HAROLD</character> <dialogue>One at the school, but be sure and --</dialogue> <parenthetical>(said it a million times)</parenthetical> <dialogue>--check the clipboard. That's what it's there for.</dialogue> <scene_description>As Scott goes for another clipboard behind his father</scene_description> </scene> <scene> <stage_direction>0 117 INT. BACK OUT BY THE PET RACK - IMMEDIATELY 11.</stage_direction> <scene_description>The Little Boy puffs up his cheeks and really blows on the whistle. I2. INT. BACK IN HAROLD'S OFFICE - IMMEDIATELY 12. Scott's face twists as if a dentist's drill were working on him. Setting down the clipboard, he steps backwards out of the office</scene_description> <character>SCOTT</character> <parenthetical>(very calm)</parenthetical> <dialogue>.I'll be right back.</dialogue> <scene_description>Harold looks up from his tools. From his office window which- overlooks the store, he watches 13. INT. THE HARDWARE STORE - IMMEDIATELY 13. Scott zips through the aisles, obviously frantic about something. CLOSE ON THE LITTLE BOY the whistle in his mouth, taking a deep breath, as Scott reaches him in time and gently pops the whistle out of his mouth.</scene_description> <character>LITTLE BOY</character> <dialogue>It's broken.</dialogue> <scene_description>Scott pushes the little mischief maker on his way. ~</scene_description> <character>13.</character> <dialogue>u</dialogue> <character>CONTINUED:</character> <dialogue>Returning the whistle, Scqtt notes the ad copy quizically: "AMAZING - ONLY YOUR DOG CAN HEAR IT!" He puts a finger in his ear, swirling it like a Q-Tip.</dialogue> <character>14.</character> <dialogue>EXT.</dialogue> <scene_description>Lewis helps Stiles on with a sports coat that doesn't quite fit him. Lewis sticks up the collar.</scene_description> <character>STILES</character> <dialogue>How's that?</dialogue> <character>LEWIS</character> <dialogue>Are you sure you know what you're doing?</dialogue> <character>STILES</character> <dialogue>Piece of cake. I saw it done in a morle once. Don't go away.</dialogue> <scene_description>Stiles checks his pockets. He pulls out a wad of crumpled dollar bills and heaqs inside.</scene_description> <character>15.</character> <dialogue>0</dialogue> <character>INT.</character> <dialogue>Stiles is at the counter calling off a series of items to the WOMAN CLERK. She's cute and Stiles flirts up a storm.</dialogue> <character>STILES</character> <dialogue>-- And I'll take .the razor blades, a package of turkey roll -- a large keg of beer -- and those donuts ·--</dialogue> <character>CLERK</character> <dialogue>Plain or sugar?</dialogue> <character>STILES</character> <dialogue>Sugar. Got any Doritos?</dialogue> <character>CLERK</character> <dialogue>Behind you</dialogue> <scene_description>He grabs the Doritos and tosses them in the pile. He grins.</scene_description> <character>STILES</character> <dialogue>And, I guess that's it.</dialogue> <character>CLERK.</character> <dialogue>You want anything to drink instead of the beer?</dialogue> <scene_description>-16-:</scene_description> <character>15.</character> <dialogue>0</dialogue> <character>CONTINUED:</character> <dialogue>.</dialogue> <character>STILES</character> <parenthetical>(too quickly)</parenthetical> <dialogue>No. I want the beer.</dialogue> <character>CLERK</character> <dialogue>We don't sell beer</dialogue> <scene_description>Stiles is at a loss for words</scene_description> <character>CLERK</character> <dialogue>Not since we lost our license for selling to kids underage.</dialogue> <parenthetical>(totals register)</parenthetical> <dialogue>That'll be $14.95.</dialogue> <character>16.</character> <dialogue>Stiles comes out with a- shopping bag.</dialogue> <character>EXT.</character> <dialogue>LEWIS</dialogue> <scene_description>Where's the beer? With a dirty look, Stiles drops the bag into Lewis' arms.</scene_description> <character>STILES</character> <dialogue>0 It didn't work in the movie either.</dialogue> <character>17.</character> <dialogue>EXT.</dialogue> <scene_description>A VAN marked HAROLD HOWARD'S HARDWARE is parked in area designated: DELIVERIES ONLY.</scene_description> <character>18.</character> <dialogue>INT.</dialogue> <scene_description>Scott drags a huge roll of canvas bent oY.er his shoulder while trying to manage a couple of full shopping bags and two gallon cans of paint. It ain't easy. One can of paint drops. Very carefully, he stoops to pick it up. He curls his fingers around the wire handle and lifts. A roll of masking tape drops out of a bag and spins to the other side of the corridor. The tape lands about a foot from Vice Principal Thorne. He makes no effort to help Scott, while he watches intently and with hidden amusement. Slowly, so as not to drop the canvas, etc., Scott shuffles himself and his burden toward the tape -- inch by inch -- holding on to one of the bags with his teeth, determined not to be intimidated by Thorne's stare. -17-: 18 • CONT·INUED : 18. And it's the bag in Scott's mouth that breaks wide open. Scott and everything he carries collapses to the floor. Scott holds in his anguish~- Thorne, evidently having seen enough, turns the corner continuing down the hall. He suddenly hears something that makes him stop -- a loud animal HOWL. He hurries back -- but there is only Scott. A look of worry crosses Thorne's face.</scene_description> </scene> <scene> <stage_direction>I9; INT. BEACONTOWN HIGH SCHOOL - AUDITORIUM - DUSK</stage_direction> <scene_description>Pamela stands center stage alone. She recites in a not too convincing Southern accent.</scene_description> <character>PAMELA</character> <dialogue>I knew he was out there. I could see a thin white crack --</dialogue> <scene_description>KIRK LOLLEY, drama coach, sits in the front row of the auditorium, with a BEVY of admiring female students.</scene_description> <character>LOLLEY</character> <dialogue>More passion, darling.</dialogue> <scene_description>Pamela nods and makes her accent broader and worse</scene_description> <character>PAMELA</character> <dialogue>-- of light by the bedroom door. His horrible body out there, sent out vibrations which all but permeated --</dialogue> <scene_description>On the word "vibrations" there is a loud CRASH backstage. Lolley comes to his feet, screaming with frustration --</scene_description> <character>LOLLEY</character> <dialogue>What was that?!</dialogue> <character>SCOTT</character> <parenthetical>(o.s.)</parenthetical> <dialogue>Sorry.</dialogue> <scene_description>Scott comes on stage into the light.</scene_description> <character>LOLLEY</character> <dialogue>What do you want? What does every- one want with me? Can't you see I'm trying to rehearse!</dialogue> <scene_description>Scott moves upstage next to Pamela, rubbing his hands together nervously. -18-:</scene_description> <character>19.</character> <dialogue>SCOTT</dialogue> <character>CONTINUED:</character> <dialogue>I'm delivering the stuff you ordered, Mr. Lolley.</dialogue> <character>LOLLEY</character> <dialogue>What "stuff"?</dialogue> <parenthetical>(suddenly dawning)</parenthetical> <dialogue>Oh! Are you from the hardware store?</dialogue> <scene_description>Scott nods, not too happy with this announcement -- several giggles come from the Lolley admirers.</scene_description> <character>SCOTT</character> <parenthetical>(to Pamela)</parenthetical> <dialogue>So, what time are you going tonight? You need a ride?</dialogue> <scene_description>Before Pamela can answer --</scene_description> <character>LOLLEY</character> <dialogue>The'paint! .one can of cocoa one can 'of mauve, right?</dialogue> <character>SCOTT</character> <dialogue>I guess.</dialogue> <scene_description>0 As Lolley tries to hoist himself up on the stage, Scott reaches out his right hand to be helpful -- suddenly, Scott spots a clump of hair growing out of his right palm. Scott yanks his hand back in a flash. He sneaks a peak at his left palm. Unfortunately, that's covered with hair too. Stuffing both his hands 1nto his back pockets, Scott steps sideways as Lolley gets up without his help. Neither Lolley nor Pamela seem to be aware of Scott's predicament. l?J'mlELA How was my reading, Kirk? As he passes her</scene_description> <character>LOLLEY</character> <dialogue>Very fine, darling. Sensual.</dialogue> <scene_description>Pamela hangs on his every word. Lolley exits to the backstage -- Scott hesitates to join him.</scene_description> <character>SCOTT</character> <parenthetical>(to Pamela - hopeful)</parenthetical> <dialogue>Well?</dialogue> <character>19.</character> <dialogue>PAMELA</dialogue> <character>CONTINUED:</character> <dialogue>I already.have a ride.</dialogue> <character>IN THE BACK OF THE AUDITORIUM</character> <dialogue>A match is struck. A cigarette is lit. Leather boots click down the aisle toward the stage. Pamela sees him first,, a girlish smile greets him. It's Mick -- the blonde Dragon. His icey stare locks on Scott.</dialogue> <character>MICK</character> <dialogue>I hope your acting is better than your hook shot, boy.</dialogue> <character>PAMELA</character> <parenthetical>(before Scott can reply)</parenthetical> <dialogue>He just delivers hardware, Mick.</dialogue> <character>MICK</character> <dialogue>'impatient)</dialogue> <scene_description>You done yet, babe? i She shakes her head "No 11 and goes to the foot of the stage,' leaning down to kiss his forehead -- 0 LOLLEY (o.s.) I said mauve! Not turquoise! As Scott awkwardly steps backstage, he·stops to watch Mick pull himself up next to Pamela. Mick puts his arm around her and they laugh.</scene_description> <character>IN THE WINGS</character> <dialogue>Scott inspects his hands. The hair is gone! 2U. INT·. PACKAGE STORE - EARLY EVENING 20.</dialogue> <dialogue>Stiles wears a leather jacket and a T-shirt with a screaming Bald Eagle with the word "AMERICA". He pulls the brim of a Coor's trucker's cap down over his eyes while a cigarette dangles from his lip. He pretends to read a piece of paper carefully, putting on a tough guy voice.</dialogue> <character>STILES</character> <dialogue>The Boss says I'm to pick up a keg o' beer.</dialogue> <scene_description>THE OLD MAN behind the counter is not impressed.</scene_description> <character>OLD MAN</character> <dialogue>That·right'?</dialogue> <character>-20-</character> <dialogue>r'.ni 20. CONTINUED: 20. u</dialogue> <character>STILES</character> <dialogue>The Boss called you, r~ght?</dialogue> <character>OLD MAN</character> <dialogue>Can't say he did.</dialogue> <character>STILES</character> <dialogue>Hbt damn. The Boss is throwing a big bash for one of 'the boys down at the gravel pit. He just got paroled --</dialogue> <scene_description>Stiles winks -- the Old Man does not react.</scene_description> <character>STILES</character> <dialogue>I got plenty of bread. Here. There's a little extra for you.</dialogue> <scene_description>Stiles holds out his crumpled wad of money.</scene_description> <character>OLD MAN</character> <parenthetical>(shaking his head)</parenthetical> <dialogue>Have to see your r·.o., lad</dialogue> <scene_description>0 21. EXT·. PACKAGE STORE - PARKING LOT - EARLY EVENING 21. Stiles smashes the Coors cap over' and over on the Tempest.</scene_description> <character>LEWIS</character> <dialogue>It's okay. I don't even like beer.</dialogue> <character>STILES</character> <parenthetical>(eyeballing him)</parenthetical> <dialogue>Never. Say. Die.</dialogue> <character>22.</character> <dialogue>EXT~;</dialogue> <scene_description>Scott parks the Hardware store Van in the street and gets out. He walks toward the front door and stops There is a sinister GROWLING sound He steps forward cautiously -- From the neighbor's yard next door bounds DAISY a huge English Sheepdog baring her teeth</scene_description> <character>SCOTT</character> <dialogue>Daisy. I'm in no mood</dialogue> <scene_description>The dog looks like she's about to spring Scott pretends he's throwing something at her -- she ducks -- and Scott double times it to the front door -- Daisy in hot pursuit. Scott makes it and slams the door. Daisy comes to a screeching halt. -21-:</scene_description> <character>23.</character> <dialogue>INT.</dialogue> <scene_description>(\]} On a dinette table, an entire broiled CHICKEN has been just about picked.clean. Scott and·his father eat in silence. Periodically, Scott examines his palms, still perplexed .by the hair incident.</scene_description> <character>SCOTT</character> <dialogue>Dad. Um -- what would you say if I quit basketball?</dialogue> <character>HAROLD</character> <dialogue>Quit the team? That's drastic. You're not the worst player, you know.</dialogue> <character>SCOTT</character> <dialogue>Yeah. But, I thought I might do.something else.</dialogue> <character>HAROLD</character> <dialogue>Like what?</dialogue> <character>SCOTT</character> <dialogue>I don't know. Like be in the play.</dialogue> <character>HAROLD</character> <dialogue>Well, theater has it's place, I</dialogue> <scene_description>0 suppose. But yo~'ve made a commit- ment to the team. And the school. Father and son exchange a long look. Scott rubs his palms together. Harold can see that he's troubled.</scene_description> <character>SCOTT</character> <parenthetical>(anxiously)</parenthetical> <dialogue>Listen, Dad, has anything ever hap- pened to you that's just !!.2. weird ?</dialogue> <character>HAROLD</character> <dialogue>I think maybe it's time you and I had a little talk --</dialogue> <scene_description>Stiles bursts into the kitchen wearing a T-Shirt that reads: OBNOXIOUS: THE MOVIE.</scene_description> <character>STILES</character> <dialogue>Hey! Mr. Howard. How's the king of the nuts and bolts?</dialogue> <scene_description>Harold does not seem as pleased to see Stiles.</scene_description> <character>HAROLD</character> <dialogue>Hello, Stiles.</dialogue> <parenthetical>(pointedly)</parenthetical> <dialogue>Is Boof going with you guys?</dialogue> <scene_description>-22-:</scene_description> <character>23.</character> <dialogue>0</dialogue> <character>CONTINUED:</character> <dialogue>SCOTT.</dialogue> <parenthetical>(without even thinking about it)</parenthetical> <dialogue>I'm not sure how she's getting there.</dialogue> <character>STILES</character> <dialogue>Come on. We're late.</dialogue> <character>SCOTT</character> <dialogue>We are?</dialogue> <character>STILES</character> <dialogue>Yeah. Don't you remember?</dialogue> <scene_description>Clearly, Scott doesn't, but he catches on. As does Harold.</scene_description> <character>HAROLD</character> <dialogue>Don't worry, I'll clean up. You run along.</dialogue> <scene_description>Stiles practically drags Scott out of the chair.</scene_description> <character>SCOTT</character> <dialogue>Are you sure it's all right?</dialogue> <character>HAROLD</character> <parenthetical>(nodding)</parenthetical> <dialogue>Have a good time, boys, and be careful.</dialogue> <scene_description>Harold picks up some dishes from the table and shuffles over to the sink as the boys go on their way.</scene_description> <character>24.</character> <dialogue>INT.</dialogue> <scene_description>Scott, with his jacket in hand, stops at the front hall mirror to check his appearance. Stiles appears in the mirror, anxious to get moving --</scene_description> <character>STILES</character> <dialogue>Come on.</dialogue> <character>SCOTT</character> <parenthetical>(scratching behind his ears)</parenthetical> <dialogue>Listen. Do you know anything about a rash that's going around?</dialogue> <character>STILES</character> <dialogue>Why? You lookin' to catch something?</dialogue> <character>SCOTT</character> <dialogue>No. Seriously.</dialogue> <character>24.</character> <dialogue>CONTINUED:</dialogue> <character>STILES</character> <dialogue>No. But I heard Mr. Murphy -- the shop teacher -- got his dick caught in a vacuum cleaner --</dialogue> <character>SCOTT</character> <dialogue>Forget I asked.</dialogue> <character>25.</character> <dialogue>EXT.</dialogue> <scene_description>On the front steps, Scott stops to zip up his jacket. Lewis is in the front yard playing with Daisy who seems meek and friendly, much to Scott's annoyance.</scene_description> <character>SCOTT</character> <dialogue>What's the hurry? We'll be the first ones there.</dialogue> <character>STILES</character> <dialogue>I couldn't get the keg. I tried every place in town.</dialogue> <character>SCOTT</character> <dialogue>It's no big deal.</dialogue> <scene_description>0 At that instant, Daisy and Scott make eye contact. Scott is off like a rocket headed for his Van -- Daisy growling behind. Scott hops in and slams the door. Daisy waits. Stiles saunters over to the passenger's door.</scene_description> <character>STILES</character> <parenthetical>(leaning in the window)</parenthetical> <dialogue>Look, everyone's depending on me. What kind of party will it be with no brew?</dialogue> <character>SCOTT</character> <parenthetical>(winded)</parenthetical> <dialogue>What's your plan, Stiles?</dialogue> <character>STILES</character> <dialogue>You buy it.</dialogue> <scene_description>Stiles reaches down and pats Daisy. She .licks his hand.</scene_description> <character>SCOTT</character> <dialogue>That's not a plan. I look even younger than you. I can't even grow a moustache.</dialogue> <character>STILES</character> <dialogue>Just follow me, okay?</dialogue> <scene_description>-24-: 25. CONTINUED: 25. Scott reluctantly nods.</scene_description> <character>STILES</character> <dialogue>Nice dog.</dialogue> <scene_description>Scott makes an unhappy face as he starts up the Van. Lewis and Stiles head for the Tempest parked behind him.</scene_description> </scene> <scene> <stage_direction>EXT. PACKAGE STORE - PARKING LOT - NIGHT</stage_direction> <scene_description>The same one Stiles tried. The Van and the Tempest are parked outside. Stiles holds out a clear yellow squirt gun. He squirts Scott in the face.</scene_description> <character>STILES</character> <dialogue>Stick it in your pocket like this.</dialogue> <scene_description>Stiles shoves it in his ~por-ts co\_at pocket like a s:tick-up man. \* -SCO'fT You're crazy!</scene_description> <character>STILES</character> <dialogue>No. It's perfect. Go in like this. Don't say anything except 11 Girnrne a keg, buddy," and you~ for it. That way he can't say you robbed him.</dialogue> <character>SCOTT</character> <dialogue>No.</dialogue> <character>STILES</character> <dialogue>I'd do it myself, but the old guy in there already kicked me out.</dialogue> <character>SCOTT</character> <dialogue>Give me the money.</dialogue> <scene_description>Lewis is surprised .and a bit scared. Stiles hands over the cash and the squirt gun. Scott tosses the gun to a relieved Lewis.</scene_description> <character>SCOTT</character> <dialogue>I'll try to buy. That's it.</dialogue> <character>STILES</character> <dialogue>(disappointed} No. Scott. This old guy's a ball buster. It won't work. Scott heads into the store. Stiles groans. LEWIS Never say die.</dialogue> </scene> <scene> <stage_direction>INT. PACKAGE STORE - NIGHT</stage_direction> <scene_description>Scott has to wait in line. SOMEBODY walks out with a bag of bottles. There are TWO PEOPLE still in front of Scott. Then, only one. Scott is getting nervous. Finally, Scott is at the counter, the last one in the store, facing the Old Man.</scene_description> <character>SCOTT</character> <dialogue>Hi. I'd like a keg of beer.</dialogue> <character>OLD MAN</character> <dialogue>You don't s.3:y.</dialogue> <character>SCOTT</character> <dialogue>Uh-huh. How much is it?</dialogue> <character>OLD M&amp;~</character> <dialogue>Got any I.D., sonny?</dialogue> <scene_description>Scott hesitates for just one brief instant</scene_description> <character>OLD MAN</character> <parenthetical>(really railing into him)</parenthetical> <dialogue>You little bastards won't give up. No I.D., no goddam beer. Can you get that through your thick skull?</dialogue> <scene_description>Scott is very agitated. His eyes suddenly begin to GLOW faintly red and in a voice that sounds like it comes from bowels of the earth or like Michael Jackson's werewolf voice in THRILLER:</scene_description> <character>SCOTT</character> <parenthetical>(growls)</parenthetical> <dialogue>Give me a keg of beer.</dialogue> <scene_description>The Old Man looks terrified. As does Scott</scene_description> </scene> <scene> <stage_direction>EXT. ON THE ROAD - TRAVELING~ NIGHT</stage_direction> <scene_description>Stiles' Tempest, the .top down, follows behind the Van. Loud rock music plays. Stiles drives. His passenger, strapped in with a safety belt is a large, cool, keg. Stiles has another idea. He opens his glove compartment and pulls free admidst the clutter, a b+ightly colored HAWAIIAN SHIRT.</scene_description> </scene> <scene> <stage_direction>INT. SCOTT'S VAN - TRAVELING - NIGHT</stage_direction> <scene_description>Lewis rides with Scott.</scene_description> <character>LEWIS</character> <dialogue>What did you say to the guy in the store?</dialogue> <scene_description>Scott does not want to share that experience with anyone.</scene_description> <character>28,</character> <dialogue>CONTINUED:</dialogue> <character>SCOTT</character> <dialogue>Uh - just, can I have a keg?</dialogue> <character>LEWIS</character> <dialogue>That's all?</dialogue> <scene_description>Scott decides to change the subjec~</scene_description> <character>SCOTT</character> <dialogue>Lewis. Tonight's the night. Pamela Wells is going to be at this party and so am I.</dialogue> <character>LEWIS</character> <dialogue>And so is Mick. He's a total psycho.</dialogue> <character>SCOTT</character> <dialogue>Do you think he'll be there?</dialogue> <character>LEWIS</character> <dialogue>Of course he will. They're going together.</dialogue> <character>SCOTT</character> <dialogue>They're not going together.</dialogue> <scene_description>0 LEWIS Mick is like twenty years old. He's still in high school cause he did time. Forget Pamela Wells.</scene_description> <character>SCOTT</character> <dialogue>They're not going together.</dialogue> <scene_description>LEW:;i:S Why don't you go after Boof? She likes you.</scene_description> <character>SCOTT</character> <dialogue>You sound like my Dad.</dialogue> <character>STILES</character> <parenthetical>(o.s. - Shouting)</parenthetical> <dialogue>Pull over!</dialogue> <scene_description>Stiles has brought the Tempest right beside the Van in the oncoming traffic's lane -- his stereo and muffler blazing loud. 29. EXT. ROADSIDE - NIGHT 29. The Van and the Tempest are parked on the shoulder. Stiles, barechested, pulls .open the\_passenger door of the Van, holding the Hawaiian shirt. -27-:</scene_description> <character>29.</character> <dialogue>I</dialogue> <character>CONTINUED:</character> <dialogue>I</dialogue> <scene_description>0 Lewis.</scene_description> <character>STILES</character> <dialogue>Take my wheels.</dialogue> <character>LEWIS</character> <dialogue>But I don't have my license yet --</dialogue> <character>STILES</character> <dialogue>Just do it.</dialogue> <scene_description>He tosses the keys to Lewis, pulling him out of the Van. Stiles hops in, grinning happily at Scott who is reluctant to find him amusing. Lewis stands 'by the Van unsure of what to do.</scene_description> <character>STILES</character> <dialogue>Surf's up!</dialogue> <character>SCOTT</character> <dialogue>Not a good idea, Stiles.</dialogue> <character>STILES</character> <parenthetical>(to Lewis)</parenthetical> <dialogue>Drive out in front of us.</dialogue> <character>SCOTT</character> <dialogue>Not too close.</dialogue> <character>LEWIS</character> <parenthetical>(not moving)</parenthetical> <dialogue>What are you guys going to do?</dialogue> <character>30.</character> <dialogue>INT.</dialogue> <character>CLOSE ON A TAPE PLAYER</character> <dialogue>as Stiles drops in a cassette. He turns it up: Mix a little of the Beach Boys' Surfin' Safari" and Jan and Dean's 11 Surf City"</dialogue> <scene_description>and you have the number "URBAN SURFIN'"</scene_description> <character>STILES</character> <dialogue>Serious tune, dude.</dialogue> <scene_description>Stiles pulls on the Hawaiian shirt. And pulls off his sneakers.</scene_description> <character>SCOTT</character> <dialogue>Don't over do it. I'll go slow.</dialogue> <character>STILES</character> <dialogue>You do your thing. I'll do mine.</dialogue> <scene_description>Stiles crawls out the passenger window upward. Scott slows down. 31. EXT. ON THE ROAO - TRAVELING - IMMEDIATELY 31. Lewis drives the Tempest several car lengths in front of the Van. He watches the action in his rear view mirror. -28-:</scene_description> <character>31A.</character> <dialogue>Stiles has crawled up on the roof. knees, barefooted:</dialogue> <character>EXT.</character> <dialogue>He is on his hands and</dialogue> <character>32.</character> <dialogue>SCOTT</dialogue> <character>INT.</character> <parenthetical>(calling up to Stiles)</parenthetical> <dialogue>Are you ready?</dialogue> <scene_description>Stiles ·(o. s.) bangs hard on the roof to Scott's irritation. To the blasting sound of "URBAN SURFIN'", Scott increases the speed of the Van -- little by little.</scene_description> <character>33.</character> <dialogue>EXT.</dialogue> <character>STILES</character> <dialogue>Come on! Let's surf!</dialogue> <scene_description>Stiles carefully comes to a full upright position, occasionally bending his knees for balance. As the speed increases, the wind whips in Stiles face -- he laughs gleefully. His arms spread eagle, Stiles thrills to what he does best: 0 Urban Surf. He can "Hang Ten" (bring both feet right up to the front o.f the Van, toes hanging over) or even "Hang Five" (same as "Hanging Ten", only it's- on one foot) as he takes the twists and corners of the streets.</scene_description> <character>34.</character> <dialogue>INT.</dialogue> <scene_description>Lewis turns around -- he can't believe it -- he swerves a bit!</scene_description> <character>35.</character> <dialogue>Scott nervous.ly steadies the Van through a set of sharp</dialogue> <character>INT.</character> <dialogue>curves, gripping the wheel tightly. Then he notices</dialogue> <character>IN HIS REAR VIEW MIRROR</character> <dialogue>Scott's EARS! They are pointed and covered with a coarse fur. Without even thinking, Scott takes his hands from the wheers- to pull at his ears -- The Van jostles! Scott grabs the wheel again -- 36. EXT. SCOTT'S VAN'S ROOF - TRAVELING - I~..EDIATELY 36.</dialogue> <dialogue>Stiles topples backwards, landing with a thud, but holding on.</dialogue> <character>STILES</character> <dialogue>Ahhh! Wipe out!</dialogue> <scene_description>-29-:</scene_description> <character>37.</character> <dialogue>INT.</dialogue> <character>SCOTT.</character> <dialogue>0 (concerned - yelling upward)</dialogue> <scene_description>You okay?</scene_description> <character>STILES</character> <parenthetical>(o.s. - banging on the roof)</parenthetical> <dialogue>No sweat. But watch those waves!</dialogue> <scene_description>Scott looks into the mirror again. Now his ears are normal. Sighing, he turns the music up very loud.</scene_description> <character>38.</character> <dialogue>EXT.</dialogue> <scene_description>The Van comes to a halt right behind the Tempest in a long row of cars. Loud music comes from the house up the street.</scene_description> <character>39.</character> <dialogue>I</dialogue> <character>INT.</character> <dialogue>'I Scott watches as Stiles slides down from the roof like a slug</dialogue> <scene_description>pressed up against the windshield. When Stiles can't hold on any longer, he plops off the roof to the ground.</scene_description> <character>40.</character> <dialogue>EXT.</dialogue> <scene_description>Scott gets out of the Van as Sti,les stands up.</scene_description> <character>SCOTT</character> <dialogue>Cheezeball.</dialogue> <character>STILES</character> <dialogue>My.middle name.</dialogue> <character>SCOTT</character> <dialogue>You'll never catch me up there.</dialogue> <character>STILES</character> <dialogue>Ha! You'd be King of the Wipe Outs.</dialogue> <scene_description>Lewis struggles while lifting the keg out of the Tempest. Stiles takes it away from him.</scene_description> <character>STILES</character> <dialogue>Oh no. That's !!!i:. baby.</dialogue> <scene_description>The three head up toward the party house --</scene_description> <character>STILES</character> <dialogue>You know, Scotto, now that you can buy; things are gonna change for us. I can feel it.</dialogue> </scene> <scene> <stage_direction>INT. THE PARTY HOUSE - MAIN ROOM - NIGHT</stage_direction> <scene_description>The place is packed. Music, beer, and good times. Scott scans the crowd. On the other side of the room, away from everyone else, Scott spots Pamela. She is also looking around, evidently searching for someone. Scott approaches.</scene_description> <character>SCOTT</character> <dialogue>Looking for someone in particular?</dialogue> <character>PAMELA</character> <dialogue>- Not you.</dialogue> <scene_description>She moves on. Suddenly Boof is right beside Scott.</scene_description> <character>BOOF</character> <dialogue>There -you go. She said two words to you.</dialogue> <scene_description>Scott sighs.</scene_description> </scene> <scene> <stage_direction>INT. THE PARTY HOUSE - KITCHEN - NIGHT</stage_direction> <scene_description>Stiles, followed by Lewis, carries in the keg. At the door he meets a big, young man who looks like a LINEBACKER.</scene_description> <character>STILES</character> <dialogue>I came through, big fella. Just like I said. No dry throats tonight.</dialogue> <character>LINEBACKER</character> <dialogue>Okay. Put it down over there. If we don't get to it tonight, take it home.</dialogue> <scene_description>On the floor at Stiles' feet is a row of about eight identical kegs. Stiles looks at Lewis daring him to say something.</scene_description> </scene> <scene> <stage_direction>43'. INT. THE PARTY HOUSE - A STUDY - NIGHT 43.</stage_direction> <scene_description>It's lat~r. Periodically CHEERS and JEERS (o.s.) drift in from another room, indicating that the more boisterous activity is elsewhere. Lewis is with Tina (or is it Gina) on a couch. Lewis has been drinking.</scene_description> <character>LEWIS</character> <parenthetical>(explaining)</parenthetical> <dialogue>There are parallel worlds. On Earth One, you might sing back-up for the Grateful Dead, while on Earth Two you'd be a Nixon aide. One Earth One, I'd work in a molasses .factory, but on Earth Two, I host the Tonight Show. You follow?</dialogue> <character>REVISED 10/1/84 -31-\*</character> <dialogue>~ 43. CONTINUED:</dialogue> <character>\J</character> <dialogue>Tina has been smoking.</dialogue> <character>TINA</character> <dialogue>Wait. Okay. But wpat I don't understand. · Right now. Are we</dialogue> <scene_description>· on Earth one? Or Earth Two? \*:</scene_description> <character>44.</character> <dialogue>INT.</dialogue> <character>CLOSE ON A YOUNG COUPLE</character> <dialogue>who have been bound, gagged, stripped to their underwear, and covered with whipped cream.</dialogue> <character>STILES</character> <parenthetical>(o.s.)</parenthetical> <dialogue>Ii</dialogue> <scene_description>Twenty-six. Twenty seven. Surrounding the couple are twenty or thirty other KIDS-- all cheering -- the boys on one side, the girls on the other. They are playing a game, similar to POST OFFICE, but wackier. Stiles is working the floor, shirt off, necktie on --</scene_description> <dialogue>(to roped couple)</dialogue> <character>28.</character> <dialogue>29. 30! Sorry -- you lose.</dialogue> <scene_description>Without making any effort to help the pair, Stiles moves on.</scene_description> <character>STILES</character> <dialogue>Matchmaker Lady! The Hat!</dialogue> <scene_description>Gina (or is it Tina) comes into the room wearing her underwear -- garters -- and stockings -- doing her best Chorus Girl immitation. She holds out a TOP HAT which Stiles fishes in for slips of PINK PAPER. Several GIRLS wait expectantly -- glancing\_down at the pieces of BLUE PAPER in their hands.</scene_description> <character>44.</character> <dialogue>ON SCOTT AND CHUBBY</dialogue> <character>CONTINUED:</character> <dialogue>standing off to one side; Scott nurses a beer while trying to scratch behi~d his ears unnoticed.</dialogue> <character>CHUBBY</character> <dialogue>You got some kinda rash?</dialogue> <scene_description>Embarrassed, Scott smiles, and brings his hands to his sides.</scene_description> <character>STILES</character> <parenthetical>(reading a pink slip)</parenthetical> <dialogue>Next up is -- Oh, help me, Rhonda!</dialogue> <character>RHONDA</character> <parenthetical>(terrified)</parenthetical> <dialogue>What do I have to do?</dialogue> <scene_description>Stiles cuddles up close to a bleached blonde, RHONDA.</scene_description> <character>STILES</character> <dialogue>Just read the little name on ·the little piece of paper we gave you</dialogue> <character>RHONDA</character> <parenthetical>(handing him her blue paper)</parenthetical> <dialogue>It says "Chubby" --</dialogue> <scene_description>8 Cheers and laughter -- Chubby is embarrassed.</scene_description> <character>STILES</character> <parenthetical>(pushing them together)</parenthetical> <dialogue>All right, Chubberoo! You and Help Me Rhonda -- will have to -- under penalty of death --</dialogue> <scene_description>It's obvious that he's making it up as he goes along -- Stiles then grabs a punch bowl filled with cubes of JELLO. \*</scene_description> <character>STILES</character> <dialogue>Take this jello -- \* And carry it across the room -- \*</dialogue> <scene_description>Chubby looks relieved</scene_description> <character>STILES</character> <dialogue>But you can't carry it in the bowl, \* in your hands -- or in your mouths! \*</dialogue> <scene_description>Stiles turns the bowl upside down -- the jello lands on a \* coffee table in a pile. After a moment's hesitation, Chubby \* and Rhonda start shoving jello in each other's pockets, down \* their shirts, etc. -- any place they can carry it. \*</scene_description> <character>STILES</character> <dialogue>That oughta keep 'em busy. Matchmaker Lady! The Hat!</dialogue> <character>{CONTINUED)</character> <character>44.</character> <dialogue>CD</dialogue> <character>CONTINUED:</character> <dialogue>ON BOOF AND PAMELA</dialogue> <scene_description>Pamela sits on a tall stool next to Boof. Boof looks down at her blue slip of paper -- it says: "MALCOLM" -- she has a hint of a frown. Pamela, on the other hand, reluctantly peaks at her pap\_er the name there is "SCOTT". She rolls her eyes and sighs</scene_description> <character>ON SCOTT</character> <dialogue>STILES</dialogue> <parenthetical>(o.s.)</parenthetical> <dialogue>Next up is --</dialogue> <scene_description>as he watches Pamela across the room -- hopeful --</scene_description> <character>ON STILES</character> <dialogue>as he walks over toward Pamela, and then at the last second, he turns, readipg off a slip of pink paper:</dialogue> <character>STILES</character> <dialogue>Boof.</dialogue> <character>BOOE</character> <parenthetical>(beat~ swallowing)</parenthetical> <dialogue>It's Scott.</dialogue> <scene_description>She waits -- expecting to be challenged by whoever really had Scott's name. No one speaks up.</scene_description> <character>STILES</character> <dialogue>So, the Booferino gets the Howard boy. Corne up here you two.</dialogue> <scene_description>Boof looks over at the girls who haven't played yet</scene_description> <character>BOOF</character> <parenthetical>(quietly)</parenthetical> <dialogue>Whoever you are, thanks.</dialogue> <character>SCOTT</character> <parenthetical>(aside to Stiles)</parenthetical> <dialogue>I don't know about this</dialogue> <scene_description>Stiles herds Boof and Scott together and toward</scene_description> <character>STILES</character> <dialogue>Nonsense. You'll love it. In fact, it's the grand prize</dialogue> <character>.THE CLOSET --</character> <dialogue>-34-</dialogue> <character>44.</character> <dialogue>CONTINUED:</dialogue> <character>STILES</character> <parenthetical>(opening the door)</parenthetical> <dialogue>Two minutes. Anything goes.</dialogue> <parenthetical>(he shoves them in)</parenthetical> <dialogue>And don't disappoint us!</dialogue> <scene_description>The partygoers clap in rhythm chanting "Go! Go! Go!" as Stiles slams the door shut.</scene_description> <character>STILES</character> <dialogue>Matchmaker Lady! The Hat!</dialogue> <character>45.</character> <dialogue>It's very dark. We really can't make them out. Boof's the aggressor.</dialogue> <character>INT.</character> <dialogue>Scott's uneasy.</dialogue> <character>SCOTT</character> <dialogue>It's funny you got me.</dialogue> <character>BOOF</character> <dialogue>I lied. I got Malcolm.</dialogue> <character>SCOTT</character> <dialogue>He's a good guy.</dialogue> <scene_description>C) BOOF You can come a little closer. I promise I won't bite.</scene_description> <character>46.</character> <dialogue>INT.</dialogue> <scene_description>Stiles talks with a COUPLE -- the BOY is dressed like a girl; SHE'S done up like a guy</scene_description> <character>STILES</character> <dialogue>-- and all you have to do is take this cup, go up to Thorne's house</dialogue> <character>ON PAMELA</character> <dialogue>as Mick comes up behind her. She .whirls around.</dialogue> <character>PAMELA</character> <dialogue>You made it. Thank god. Take me away from these children.</dialogue> <character>MICK</character> <dialogue>The sooner the better.</dialogue> <scene_description>He takes her by the hand and leads her out</scene_description> <character>47.</character> <dialogue>INT.</dialogue> <character>SCOTT</character> <dialogue>I feel kinda -- weird.</dialogue> <scene_description>-35-:</scene_description> <character>47.</character> <dialogue>BOOF</dialogue> <character>CONTINUED:</character> <dialogue>0 How do I feel?</dialogue> <scene_description>She puckers her lips up close to his -- he hesitates. Scott's eyes are open -- they are glowing red. But Boof's eyes are closed and she does not see this.</scene_description> <character>48.</character> <dialogue>INT.</dialogue> <scene_description>Stiles approaches the closet, sneaking up to it -- his hand goes for the doorknob --</scene_description> <character>STILES</character> <parenthetical>(hushed to the Crowd)</parenthetical> <dialogue>They still have another minute. Should we peek?</dialogue> <character>THE CROWD</character> <parenthetical>(cheering)</parenthetical> <dialogue>Yes. Yes. Yes.</dialogue> <character>STILES</character> <parenthetical>(teasing)</parenthetical> <dialogue>No. No. No.</dialogue> <character>49.</character> <dialogue>INT.</dialogue> <scene_description>It is ~ dark.</scene_description> <character>BOOF</character> <dialogue>Aren't you getting a little rough?</dialogue> <scene_description>There is a low, steady, growling sound</scene_description> <character>BOOF</character> <dialogue>Scott -- Scott! Are those your fingernails? Hey!!</dialogue> <scene_description>There is a sharp "slap". The growling gets louder -- 50. INT. THE PARTY ROOM - RIGHT OUTSIDE THE CLOSET - IMMEDIATELY 50. Stiles has his ear pressed right up to the door --</scene_description> <character>STILES</character> <dialogue>Awful quiet in there. Do you think they're dead?</dialogue> <scene_description>The partygoers laugh --</scene_description> <character>STILES</character> <dialogue>Well, there's one way to find out --</dialogue> <scene_description>Stiles whips open the closet door --</scene_description> <character>REVISED 10/10/84</character> <dialogue>-36-</dialogue> <scene_description>SO. CONTINUED: so. @ After a beat -- Boof comes out, rather stunned. Scott appears behind her, looking tired, rubbing his cheek, and with no apparent physical change in his body. Neither smile.</scene_description> <character>STILES</character> <dialogue>So. What's it like coming out of the closet?</dialogue> <scene_description>Boof recovers from her lingering shock and smiles at Scott --</scene_description> <character>BOOF</character> <dialogue>That was -- unexpected.</dialogue> <scene_description>Scott looks around the room: The couple bound and gagged is still tied up. -- Chubby and Rhonda are covered with j-e llc. \* -- And the tall stool where Pamela sat is empty. Scott's a bit dizzy. He isn't feeling very well. As Boof walks away from.him,only we notice that the back of her blouse has long slashes in it. 51. EXT. STREET TO HOWARD HOUSE - NIGHT 51. (J Scott's Van takes a corner and goes over the curb. It pulls up to the house with a squeal, parking at a bad angle. Scott practically falls out of the Van. He stumbles toward the house, feeling sick, holding his hand over his mouth. Suddenly -- there is a HOWL -- and he is attacked! It's Daisy only she's got ~old of his leg and is humping him. Scott drags himself to the door and then holds the dog's face in both his hands, staring hard into her eyes:</scene_description> <character>SCOTT</character> <parenthetical>(firmly)</parenthetical> <dialogue>Go home. You're not my type.</dialogue> <scene_description>The dog whines and scoots away. Scott hurries inside. 52. INT. THE HOWARD HOUSE - LIVING ROOM - NIGHT 52. Harold hears Scott come in (o.s.) and race upstairs. Curiously, he looks up from his television program and setting down his pipe, calls out:</scene_description> <character>HAROLD</character> <dialogue>Son?</dialogue> <scene_description>-37-:</scene_description> </scene> <scene> <stage_direction>INT. HOWARD HOUSE - UPSTAIRS BATHROOM - IMMEDIATELY</stage_direction> <scene_description>Scott slams the door and locks himself in. He goes to the toilet, lifts .the seat and bends over it. He opens his mouth. Gags. Nothing happens. He tries again. Nothing. He calms down. He breathes better. Standing upright, he's \* rel'ieved. Actually, he feels good now. \* Scott goes to the medicine chest mirror looks at himself runs the water and washes his face. He towel dries it. He looks at his face again. He grins. \* His teeth! They are longer and pointed. What!? Then it all happens a t ~</scene_description> <character>SCOTT</character> <dialogue>Oh. No.</dialogue> <scene_description>His face grows hair -- his forehead extends -- his ears grow pointed -- his hands grow hairy -- and his nails grow long. All in the mirror -- right before his eyes -- this average American kid turns into: TEEN WOLF -- not quite a werewolf -- more like a Wolfman -- He stands upright -- he's sort of cute -- but this wolf wears a polo shirt, jeans, and sneakers.</scene_description> <character>\*</character> <dialogue>\*</dialogue> <scene_description>And while his voice is a little rougher -- It's definitely Scott. He growls -- almost scaring himself. Now the transformation is complete. He stares at himself in for what feels like a long time. He moves away from the mirror. Then he pops back in front of it. He's still a Teen Wolf. He turns from one side, then the other. He tries to see what his backside looks like.</scene_description> <character>TEEN WOLF</character> <dialogue>This is gross!</dialogue> <scene_description>He opens the medicine chest and carefully examines the back of the mirror. No tricks are evident. He closes the mirror. He's still a Teen Wolf. There is a KNOCK at the door. Teen Wolf panics. He wraps his head in a towel, trying to cover it. No good. He takes the towel off.</scene_description> <character>HAROLD</character> <parenthetical>(o. s.)</parenthetical> <dialogue>Scott -- ?</dialogue> <scene_description>-38-:</scene_description> <character>53.</character> <dialogue>Teen Wolf tries the bathroom window --it's.too small to get out.</dialogue> <character>CONTINUED:</character> <dialogue>HAROLD</dialogue> <parenthetical>(o. s.)</parenthetical> <dialogue>Can I come in?</dialogue> <scene_description>Teen Wolf clears his throat.</scene_description> <character>TEEN WOLF</character> <dialogue>No, Dad. I'm -- d·oing something in here.</dialogue> <scene_description>He looks at his reflection</scene_description> <character>TEE:N WOLF</character> <parenthetical>(to mirror image)</parenthetical> <dialogue>I'll say.</dialogue> <character>HAROLD</character> <parenthetical>(o.s.)</parenthetical> <dialogue>There's something wrong, Son. I know. Please let me help.</dialogue> <character>TEEN WOLF</character> <dialogue>I don't think you can, Dad.</dialogue> <scene_description>() Aqain, he looks at the thing in the mirror</scene_description> <character>TEEN WOLF</character> <parenthetical>(to mirror image)</parenthetical> <dialogue>Shoo -- go away!</dialogue> <character>HAROLD</character> <parenthetical>(o.s.)</parenthetical> <dialogue>You may be surprised. Whatever it is, you can tell me. I'll understand.</dialogue> <character>TEEN WOLF</character> <parenthetical>(laughing)</parenthetical> <dialogue>Not this time, Dad. And I won't blame you one bit.</dialogue> <character>HAROLD</character> <parenthetical>(o.s. - firmly)</parenthetical> <dialogue>Scott Howard. I'm your father and I order you to open this door.</dialogue> <character>TEEN WOLF</character> <parenthetical>(mumbling)</parenthetical> <dialogue>Okay. You asked for it.</dialogue> <scene_description>He unlocks the door and opens it. Teen Wolf manages a nervous smile. Then his eyes open wide He takes two steps back -- Nothing could have prepared him for: 53. CONTINUED: 53. \* Harold has transformed himself into a paunchy, spectacled, pipe smoking, plaid shirt and baggy pants: WOLF DAD!</scene_description> <character>TEEN WOLF</character> <dialogue>Now I know this is a dream.</dialogue> <character>WOLF DAD</character> <dialogue>No, Son, it's not a dream. An explanation is probably overdue.</dialogue> <character>TEEN WOLF</character> <dialogue>An explanation! We're monsters!</dialogue> <character>WOLF DAD</character> <parenthetical>(calm, fatherly)</parenthetical> <dialogue>Scott. It's not· as bad as it looks.</dialogue> <scene_description>Teen Wolf looks at himself .in the bathroom mirror. He shakes his head and turns away from his father.</scene_description> <character>TEEN WOLF</character> <dialogue>But why? Why didn't you tell me this was going to happen?</dialogue> <character>WOLF DAD</character> <dialogue>I didn't know. I had my suspicions, of course. I thought you could hear that blasted dog whistle this afternoon</dialogue> <character>TEEN WOLF</character> <dialogue>So -- you could hear that too --</dialogue> <character>WOLF DAD</character> <dialogue>Aren't they awful? Every day, everytime some kid comes into the store. But, you get used to it --</dialogue> <scene_description>Wolf Dad reaches out to lay a paw on Teen Wolf 1 s shoulder, but Teen Wolf steps back from him --</scene_description> <character>WOLF DAD</character> <dialogue>I didn't tell you because I wasn't sure. It's hereditary and in our family, it hits only one in four. No sense in getting you all worked up if --</dialogue> <character>TEEN WOLF</character> <dialogue>One in four? Then who else</dialogue> <character>WOLF DAD</character> <dialogue>Your Great Uncle Stanley was a real \* howler. And Aunt Louise, of course</dialogue> <scene_description>Teen Wolf has to growl/giggle -- momentarily breaking the tension</scene_description> <character>REVISED</character> <dialogue>10/10/84</dialogue> <character>53.</character> <dialogue>CONTINUED:</dialogue> <character>TEEN WOLF</character> <dialogue>Did Mom know'? \*</dialogue> <character>WOLF DAD</character> <dialogue>Of course.</dialogue> <character>TEEN WOLF</character> <dialogue>But, she wasn't -- one.</dialogue> <scene_description>Wolf Dad smiles and shakes his head, "No"</scene_description> <character>WOLF DAD</character> <dialogue>We loved each other very much, your Mother and I. My being a werewolf never became an issue.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>It's a condition that's been in the family for centuries. No one knows how it started. But we all learned to live with it.</dialogue> <scene_description>Wolf Dad finally touches Teen Wolf. They both look at each other in the mirror.</scene_description> <character>WOLF DAD</character> <dialogue>CJ And it's not just us, Scott. Some</dialogue> <scene_description>very well known people are werewolves; sports stars, entertainers; there even was a U.S. president --</scene_description> <character>TEEN WOLF</character> <dialogue>That doesn't make it any petter. Being a werewolf sucks and there's nothing you can say or do to change that</dialogue> <scene_description>Teen Wolf pulls away from Wolf Dad and hurries (o.s.) down the hall and SLAMS (o.s.) his bedroom door hard. Wolf Dad looks in the bathroom mirror and sighs.</scene_description> <character>54.</character> <dialogue>REVISED 10/10/84</dialogue> <character>OMIT.</character> <dialogue>-41-</dialogue> </scene> <scene> <stage_direction>()) 55. INT. BEACONTOWN HIGH SCHOOL - SCIENCE CLASSROOM - DAY 55~</stage_direction> <scene_description>AN EMPTY CHAIR stands out in the center of a room full of STUDENTS. Among them, Stiles, who sits with his head resting on his hands, his eyes closed; Lewis, doodling a sci-fi space vehicle comic book style; Brad, thumbing through a copy of 11 GQ 11 ; and Boo£, who eyes the empty chair with some concern.</scene_description> <character>55.</character> <dialogue>MRS. CHRISTOPHER, the Science teacher, puts a long, complex Physics</dialogue> <character>CONTINUED:</character> <dialogue>0 equation on the board. Confused, she checks her book against</dialogue> <character>\*</character> <dialogue>it and winds up erasing part of it and starting over.</dialogue> <dialogue>Boof gets Lewis' attention. She points to the empty chair and mouths "Where's Scott?" Lewis shrugs. Boof points to Stiles. With a ruler, Lewis reaches over and taps Stiles on the arm.</dialogue> <character>STILES</character> <parenthetical>(waking up)</parenthetical> <dialogue>Sorry, officer, I --</dialogue> <scene_description>Disrupted, Mrs. Christopher turns to the class, but all seems normal. She sighs sadly and returns to the problem, changing a plus to a minus and then back to a plus. Boof points to the chair again. Stiles shakes his head. Boof frowns. The door OPENS. She turns her head to see Scott trying to slip in. He finds everyone's stare a bit unnerving this morning. Self-consciously, he goes to his desk and sits quietly. Mrs. Christopher, intent on her problem does not turn to look. Scott digs out his math book, glancing at Boof who waves quickly. () MRS. CHRISTOPHER (turning to face them) Now. Who here is ready to tackle our Monday morning teaser. Anyone? No volunteers.</scene_description> <character>MRS. CHRISTOPHER</character> <dialogue>Scott Howard. You've had a chance to sleep a little later than the rest of us. Fresh and wide awake?</dialogue> <scene_description>There is some giggling.</scene_description> <character>SCOTT</character> <dialogue>Not really.</dialogue> <character>MRS. CHRISTOPHER</character> <dialogue>Nevertheless --</dialogue> <scene_description>She holds out the chalk to him. He stands reluctantly, and with an unhappy look for Boof to see, he marches to the board. There is laughter, a few jeers and Stiles whistles.</scene_description> <character>MRS. CHRISTOPHER</character> <dialogue>It's a lot simpler than it looks.</dialogue> <scene_description>(~ONTINUED): -43-:</scene_description> <character>55.</character> <dialogue>CONTINUED:</dialogue> <scene_description>Scott can't make heads or tails of it. He holds up the chalk. He's getting nervous. He hesitates. He looks to the class for support. Stiles makes a gun out of his thumb and forefinge+ and blows his own brains out. Scott hasn't noticed that his fingernails have grown a little. He thinks about the problem and shakes his head "No."</scene_description> <character>MRS. CHRISTOPHER</character> <dialogue>Try, Scott.</dialogue> <scene_description>Scott begins to write on the board But his fingernails have grown oµt to WOLF CLAWS AND THEY SCRATCH along the blackboard -- creating spinal chills and groans from everyone in the class -- Scott notices the hair starting again on his hands He touches his face -- it itches -- and he panics. Scott flees the room.</scene_description> <character>56.</character> <dialogue>II I</dialogue> <character>INT.</character> <dialogue>Scott beats it down a corridor. Up ahead is a "BOYS ROOM".</dialogue> <scene_description>Just as he reaches it, a JANITOR opens the door from inside. In his hand is a mop.</scene_description> <character>JANITOR</character> <dialogue>0 Wet. Can't go in.</dialogue> <scene_description>Hands back over his face, Scott continues down the corridor --</scene_description> <character>JANITOR</character> <dialogue>That's wet too --</dialogue> <scene_description>Scott slides down the wet hallway -- his feet frantically flapping to keep him from falling. Turning the corner, he rushes into</scene_description> <character>57.</character> <dialogue>INT.</dialogue> <scene_description>He finds ERNIE, a freshman, finishing on a wall "THORNE IS A PRIC-- 11 with indelible marker. Scott barrels back out and down</scene_description> <character>58.</character> <dialogue>INT.</dialogue> <scene_description>Scott is scratching like a demon the change is coming on. Finally he finds a BOYS ROOM and dives inside. He is spotted by Mr. Thorne as the door closes.</scene_description> <character>59.</character> <dialogue>INT.</dialogue> <scene_description>Scott's at the sink, holding himself up -- 59. CONTINUED: 59.</scene_description> <character>SCOTT</character> <dialogue>Don't change -- don't change. Concentrate. That's it. Take a deep breath. Concentrate.</dialogue> <scene_description>Scott slowly lifts his head and looks in the mirror. No change. Relieved, Scott inspects his hands. Normal. Except the CLAWS.</scene_description> <character>SCOTT</character> <dialogue>You'll be fine. Just calm down.</dialogue> <scene_description>He runs some water, splashing it on his face. He reaches for a towel. He dries himself. In the mirror: He jumps. It's a reflection of Mr. Thorne.</scene_description> <character>THORNE</character> <dialogue>A bit far away from your side of the building, aren't you, Howard?</dialogue> <scene_description>Scott turns to Thorne, hiding his hands behind him.</scene_description> <character>SCOTT</character> <dialogue>No. I mean, yes. Wet floors and --</dialogue> <character>THORNE</character> <dialogue>Hold out your hands.</dialogue> <character>SCOTT</character> <dialogue>Sir?</dialogue> <character>THORNE</character> <dialogue>Hold out your hands. Now!</dialogue> <scene_description>Scott closes his eyes and puts them out. He looks. His hands are fine. Normal. Thorne grunts. He peers at the floor behind Scott.</scene_description> <character>THORNE</character> <dialogue>There wouldn't be a marking pen anywhere on you?</dialogue> <scene_description>Scott shakes his head "No."</scene_description> <character>THORNE</character> <dialogue>Of course not. \]µid you wouldn't know about any person or persons who have been writing obscene comments about -- the school. On the walls.</dialogue> <character>SCOTT</character> <dialogue>Ah, no, Mr. Thorne.</dialogue> <scene_description>REVISED 10/2/84 -45-\*:</scene_description> <character>59. CONTINUED:</character> <dialogue>THORNE</dialogue> <character>59.</character> <dialogue>Figures. I've always had my eye on you, Howard. I peg you for trouble some day, so you can be very sure that if you step out of line</dialogue> <scene_description>A loud, almost deafening BELL rings out right behind Thorne --</scene_description> <character>SCOTT</character> <dialogue>Excuse me, sir. My next class</dialogue> <scene_description>Thorne nods and Scott leaves in a hurry. Thorne steps up to the sink: SOME WOLF HAIRS have shed into the bowl. He picks them up -- and examines them with curiosity.</scene_description> <character>60.</character> <dialogue>OMIT.</dialogue> <character>A60. INT.</character> <dialogue>BEACONTOWN HIGH SCHOOL - CORRIDOR</dialogue> <scene_description>Rows of OPEN LOCKERS as several Beacontown High STUDENTS exchange their books. Chubby's locker is near Brad's.</scene_description> <character>CHUBBY</character> <dialogue>Ah, this game against Meechum Academy this week</dialogue> <character>BRAD</character> <dialogue>0 If you guys don't start playing some</dialogue> <scene_description>ball out there, those tin soldiers will kill us! Stiles steps in. His locker is between them. He starts to open it, but it's jammed. He bangs on it. Brad and Chubby leave. Scott is at his own locker, searching for a book. Pamela opens the locker next to his</scene_description> <character>SCOTT</character> <dialogue>Hello --</dialogue> <scene_description>She's about to ignore him, but something makes her turn to look at him with new found interest. Scott returns the look.</scene_description> <character>PAMELA</character> <dialogue>There's something different about you.</dialogue> <character>SCOTT</character> <parenthetical>(cautious)</parenthetical> <dialogue>That's good. I hope.</dialogue> <scene_description>Stiles yanks at his locker and pulls it open. Lots of STUFF falls out. He tries to catch it, but all he lands is a large rubber FISH.</scene_description> <character>AT SCOTT'S LOCKER</character> <dialogue>REVISED</dialogue> <dialogue>A60.</dialogue> <character>10/10/84</character> <dialogue>CONTINUED:</dialogue> <character>PAMELA</character> <parenthetical>(almost annoyed)</parenthetical> <dialogue>Have you changed your hair?</dialogue> <character>AT STILES' LOCKER</character> <dialogue>Stiles shoves things back into it: A microscope. A black lacey woman's bra. An open box of Cheerios. An auto air filter. The matching black panties.</dialogue> <dialogue>Boo£ walks down the hall carrying her books. She stops near Stiles and frowns.</dialogue> <dialogue>BOOF'S POV: Scott and Pamela at Scott's locker.</dialogue> <character>AT SCOTT'S LOCKER</character> <dialogue>Scott closes the locker and spins the dial. Boo£ appear$ next to him.</dialogue> <character>BOOF</character> <parenthetical>(ignoring Pamela)</parenthetical> <character>.</character> <dialogue>Missed you at lunch, Scott •</dialogue> <scene_description>CJ Oh, sorry.</scene_description> <character>SCOTT</character> <dialogue>I forgot.</dialogue> <character>BOOF</character> <dialogue>That's okay. I ate fine without you.</dialogue> <scene_description>But it's not okay. Scott stuffs his books into his bookbag. Pamela finds his awkwardness amusing •</scene_description> <character>. BOOF</character> <dialogue>We missed you in Science class, too. \* Especially Mrs. Christopher. She says she won't let you make up the pop quiz she threw at us.</dialogue> <scene_description>Scott nearly drops ev~rything in his hands --</scene_description> <character>PAMELA</character> <dialogue>Well I have to go study my lines. Kirk Mr. Lolley -- i s ~ demanding.</dialogue> <scene_description>She saunters away leaving Boof fuming at her.</scene_description> <character>SCOTT</character> <dialogue>She gave a pop quiz?</dialogue> <character>BOOF</character> <dialogue>That's a big "F" for you, bubba.</dialogue> <scene_description>REVISED 10/2/84 -47-\*: A60. CONTINUED: A60. \* Boof walks away from Scott leaving him alone at his locker. He sighs deeply. He looks over at Stiles. Stiles is trying. to close his locker, but wants to shove in one last thing -- a live white RABBIT. CUT TO: SCENE 61 \*</scene_description> <character>-48-</character> <dialogue>n. 61. INT. BEACONTOWN HIGH SCHOOL - ENGLISH CLASS - DAY 61. "&lt;.J</dialogue> <scene_description>The STUDENTS stare blankly at MR. McGILLVRAY who waits for some king of response from them. In frustration, he barks out: McGILLVRAY Wolf! Scott nearly jumps out of his seat, knocking his book to the floor, much to McGillvray's annoyance. -49-:</scene_description> <character>61.</character> <dialogue>McGILLVRAY</dialogue> <character>CONTINUED:</character> <dialogue>0 (going on bravely)</dialogue> <scene_description>Thomas Wolfe. Don't you people ever read what I assign you? "Look Homeward Angel"? Scott. Scott puts the book back up on his desk, but in doing so, sends over some pencils .. McGillvray-shakes his head -- McGILLVRAY "You Can't Go Horne Again."</scene_description> <character>SCOTT</character> <parenthetical>(distressed)</parenthetical> <dialogue>I can't?</dialogue> <scene_description>McGILLVRAY It's a book. By Thomas Wolfe! Wolfe. Wolfe. Wolfe! Scott feels bombarded. On his unhappy face, we</scene_description> <character>62.</character> <dialogue>0</dialogue> <character>INT.</character> <dialogue>Buxomy MISS HOYT is in front of the blackboard which has</dialogue> <scene_description>the words "In Canis Corpore Transmute" written on it.</scene_description> <character>MISS HOYT</character> <dialogue>Now, the twin boys were abandoned and surely would have died in the wilderness, if they hadn't been saved by a -- by a what?</dialogue> <character>STILES</character> <parenthetical>(volunteering)</parenthetical> <dialogue>A miracle?</dialogue> <character>MISS HOYT</character> <dialogue>Yes. I suppose. But what form did this particular miracle take.</dialogue> <scene_description>She puts a bead on Scott. He holds his breath.</scene_description> <character>MISS HOYT</character> <dialogue>Scott Howard.</dialogue> <scene_description>Scott starts to speak. He is sweating. He clears his throat and instead of words: OUT COMES A WOLF HOWL. This surprises everyone, except apparently not Miss Hoyt. -so-</scene_description> <character>62.</character> <dialogue>CONTINUED:</dialogue> <character>MISS HOYT</character> <dialogue>Very amusing, Scott. But, you are correct. The infants were saved and suckled by a wolf -- a she wolf -- and</dialogue> <character>STILES</character> <parenthetical>(all innocence)</parenthetical> <dialogue>What does "suckled" mean, Miss Hoyt?</dialogue> <scene_description>There is ·a lot of giggling. Scott's concentrating -- trying to get control of himself. As he wipes the sweat off his brow DISSOLVE TO:</scene_description> <character>63.</character> <dialogue>INT.</dialogue> <scene_description>A small desk in the corner of the locker room. Unorganized, it is a mess of papers, gym equipment, racing forms, and Kentucky Fried Chicken boxes. Finstock is on the phone.</scene_description> <character>FINSTOCK</character> <dialogue>(to phone)•</dialogue> <scene_description>Hello, Rocco? Damn. Well, when he gets in, tell him I gotta talk to him before the third race. 0 He slams down the phone and notices Scott standing nearby.</scene_description> <character>FINSTOCK</character> <dialogue>Scotty! Nice to see ya. Don't you have class or something? No problem. I'll write you a pass.</dialogue> <scene_description>Finstock looks but he can't find anything in that rubble.</scene_description> <character>SCOTT</character> <dialogue>Coach. Remember how you told us if we ever have problems, even personal ones, we could always come to you?</dialogue> <character>FINSTOCK</character> <dialogue>Hey! That's what I'm here for.</dialogue> <scene_description>Finstock tosses some Kentucky boxes on the floor. In doing so, he uncovers the pass forms and holds them up victoriously.</scene_description> <character>SCOTT</character> <dialogue>Well. I've got a problem.</dialogue> <character>FINSTOCK</character> <parenthetical>(surprised, unprepared)</parenthetical> <dialogue>Ah. What kind of problem, Scott? You know what a busy man I am.</dialogue> <scene_description>-51-:</scene_description> <character>63.</character> <dialogue>SCOTT</dialogue> <character>CONTINUED:</character> <dialogue>It's kind of complicated</dialogue> <character>. FIN STOCK</character> <parenthetical>(hurrying to fill out the pass)</parenthetical> <dialogue>OH. One of those kinds of problems. Is it a girl? Drugs? I'd like to help you, but I'm tapped out -- The I.R.S.</dialogue> <character>SCOTT</character> <dialogue>No. It's not that kind of problem. It's more physical</dialogue> <character>FINSTOCK</character> <dialogue>Physical?</dialogue> <character>SCOTT</character> <dialogue>Yeah. Coach. I change. Physically.</dialogue> <character>FINSTOCK</character> <parenthetical>(after a beat, brightening)</parenthetical> <dialogue>Oh -- that! Don't worry about that. We all go through that. Some later than others. I shoul~ have noticed, but I haven't been hanging out in</dialogue> <scene_description>() the locker room much.</scene_description> <character>SCOTT</character> <dialogue>· Coach</dialogue> <scene_description>Finstock slaps the pass into Scott's hand</scene_description> <character>FINSTOCK</character> <dialogue>Tell you what. I'm not really the man to see. You know where Room 511 is?</dialogue> <scene_description>Unhappily, Scott slowly nods.</scene_description> <character>154.</character> <dialogue>INT.</dialogue> <character>ON THE OFFICE DOOR: "STUDENT COUNSELLING SERVICES"</character> <dialogue>NICK BUTLER, B.S.</dialogue> <character>65.</character> <dialogue>INT.</dialogue> <scene_description>Scott sits impatiently next to a large oak desk. NICK BUTLER is bent over, out of view, searching through a sea of pamphlets. Butler is youngish with a pipe; he desperately wants "to communicate" with the students -- and fails.</scene_description> <character>BUTLER</character> <parenthetical>(o.s.)</parenthetical> <dialogue>I have just the thing if -- AH!</dialogue> <dialogue>-SlA-</dialogue> <character>65.</character> <dialogue>Butler suddenly pops up, handing Scott a pamphlet-:</dialogue> <character>CONTINUED:</character> <dialogue>PUBERTY, Q</dialogue> <character>SCOTT</character> <dialogue>That's not a problem.</dialogue> <character>BUTLER</character> <dialogue>It certainly is.</dialogue> <character>SCOTT</character> <dialogue>It's not~ problem.</dialogue> <character>BUTLER</character> <dialogue>I see. Perhaps, if you tell me, exactly what the trouble is. In your own words.</dialogue> <character>SCOTT</character> <dialogue>Well. My father doesn't think it's a problem, but he's wrong.</dialogue> <scene_description>Butler listens intently.</scene_description> <character>SCOTT</character> <dialogue>I go through changes.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>C) My hands. My face. All over --</dialogue> <scene_description>Butler beams with recognition. He leans over out of view, and comes up with another pamphlet: ACNE: CURING &amp; COPING.</scene_description> <character>BUTLER</character> <dialogue>Just follow the instructions.</dialogue> <character>SCOTT</character> <dialogue>That's not it either.</dialogue> <scene_description>Butler doesn.' t hide his impatience --</scene_description> <character>BUTLER</character> <dialogue>How can I help you, Scott, unless you tell me, straight on, what's bugging you? Just say it.</dialogue> <character>SCOTT</character> <dialogue>I'm a werewolf.</dialogue> <scene_description>Butler considers that for a long ~oment.</scene_description> <character>BUTLER</character> <dialogue>Well. Everyone has feelings like those. You know. That no one truly understands. That inside, we're all privately, some kind of weirdo. Even I --</dialogue> <scene_description>-SlB-</scene_description> <character>65.</character> <dialogue>(Jl}</dialogue> <character>CONTINUED:</character> <dialogue>SCOTT</dialogue> <scene_description>{frustrated) No. I'm a werewolf! Butler nods, and signals for Scott to be patient as he goes down for another pamphlet. This one is' harder to find and we watch him searching. But, he comes up with one and turns to find: Scott has transformed.TEEN WOLF sits in the chair. Butler stares at him for a beat.</scene_description> <character>- BUTLER</character> <parenthetical>(annoyed)</parenthetical> <dialogue>Scott. I'm not going to be able to help you; unless y0u meet me halfway on this.</dialogue> <character>GSA.</character> <dialogue>.~ u</dialogue> <character>INT.</character> <dialogue>Harold is at the stove preparing hot chocolate as Scott comes</dialogue> <scene_description>in and flops down in his chair, tossing his bookbag on the table.</scene_description> <character>HAROLD</character> <dialogue>Tough day'?</dialogue> <character>SCOTT</character> <dialogue>If things weren't bad enough, now I've got Mr. Thorne on my back.</dialogue> <scene_description>Harold reacts to this with concern.</scene_description> <character>HAROLD</character> <dialogue>Here. Looks like you could use it.</dialogue> <scene_description>He puts his cup of.cocoa in front of Scott and sits.</scene_description> <character>HAROLD</character> <dialogue>Being -- what we are is difficult. But it's not all bad either, Scott.</dialogue> <character>SCOTT</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>Tell me about it --</dialogue> <scene_description>0 HAROLD You'll discover that you'll have tremendous strength. You'll be able to do things the other boys can't --</scene_description> <character>SCOTT</character> <dialogue>Dad --</dialogue> <character>HAROLD</character> <dialogue>You're going to have great power, son -- and with great power comes great responsibility. You're going to have to learn to control it.</dialogue> <character>65A.</character> <dialogue>SCOTT</dialogue> <character>CONTINUED:</character> <dialogue>And if I can't? I can look forward to stealing babies in the middle of the night and killing chiGkens -- That's just great. A lifetime of fearing full moons and dodging silver bullets. Thanks, but no thanks.</dialogue> <scene_description>Harold chuckles and then catches himself.</scene_description> <character>HAROLD</character> <dialogue>Don't believe all that nonsense you see in the movies. With obvious exceptions, werewolves are people just like anyone else. If you're a good person, you're a good werewolf. I'm certainly not worried about you, Son.</dialogue> <character>SCOTT</character> <dialogue>I'm glad you're not. It's !!!Y. life that's ruined.</dialogue> <character>HAROLD</character> <dialogue>It's not as long as you keep the werewolf under control. You can do it -- if you concentrate.</dialogue> <scene_description>()</scene_description> <character>SCOTT</character> <dialogue>It's hard enough being a teenager without having this hanging over me~</dialogue> <scene_description>(standing)-- I 'm going over to Stiles'. He shakes his head and starts to shuffle out.</scene_description> <character>SCOTT</character> <parenthetical>(under his breath)</parenthetical> <dialogue>I wish I'd never been born.</dialogue> <character>HAROLD</character> <dialogue>After a while, you'll feel different.</dialogue> <scene_description>Scott leaves. Harold reaches over for the cup of cocoa. It's cold.</scene_description> <character>65B.</character> <dialogue>EXT.</dialogue> <scene_description>Stiles' Tempest is parked in front of a typical suburban home. The front lawn is brown, yet the lone sprinker continues to water it. A sign in the yard warns: BEWARE OF CHILD. CUT TO:</scene_description> <character>66.</character> <dialogue>0</dialogue> <character>INT.</character> <dialogue>The door opens. Scott and Stiles enter an immaculate room which is dotted with sports trophies, pennants, etc. Stiles wears a college T-shirt from DRUNKEN STATE, FLORIDA.</dialogue> <scene_description>Stiles checks out the room. He opens a few drawers, reaches in, feels around for something -- and then he throws everything from it on the floor.</scene_description> <character>SCOTT</character> <dialogue>Maybe he took it with him.</dialogue> <character>STILES</character> <dialogue>Big Brother always keeps a stash at home for emergencies.</dialogue> <scene_description>Stiles is at the closet·. He takes everything off the hangers and shakes them. Nothing. He hurls the clothes on the bed.</scene_description> <character>SCOTT</character> <dialogue>Stiles. I've got a problem. It's maki·ng me nuts.</dialogue> <character>STILES</character> <dialogue>I hear you. But if it's that intense, we 1 ll both need a· solid</dialogue> <scene_description>0 buzz to think clearly. Stiles pushes the mattress off the bed and against the wall. Nothing.</scene_description> <character>SCOTT</character> <dialogue>It's something I'd never tell you, but I've got to talk to someone.</dialogue> <character>66.</character> <dialogue>CONTINUED:</dialogue> <character>STILES</character> <parenthetical>(stops - a little worried)</parenthetical> <dialogue>Wait a minute, man. If your gonna tell me you're a fag -- I don't think I can handle it.</dialogue> <character>SCOTT</character> <dialogue>I'm not a fag. I'm a werewolf.</dialogue> <scene_description>Stiles contemplates that for a beat, then he leaps up to a bookcase, and starts selecting volumes -- searching and tossing.</scene_description> <character>STILES</character> <dialogue>Where would that scumbag keep it?</dialogue> <scene_description>He ba\_ngs his head on the bookcase and groans. There is a GROWL behind him. Stiles turns around, slowly -- TEEN WOLF stands there. Stiles mouth hangs open.</scene_description> <character>TEEN WOLF</character> <dialogue>Okay. What do you think?</dialogue> <character>STILES</character> <dialogue>Uh. Can you do that anytime you want?</dialogue> <scene_description>Teen Wolf nods. Stiles walks around the room, keeping his distance, but catching the young werewolf from every angle. Stiles stops. 0 STILES What can I say? You're beautiful.</scene_description> <character>TEEN WOLF</character> <dialogue>Is that all?</dialogue> <scene_description>Stiles inspects Teen Wolf closer. He touches the head. Tossles the mane. Pats him. Notices the sneakers.</scene_description> <character>STILES</character> <dialogue>What can a -- Teen -Wolf do, exactly?</dialogue> <character>TEEN WOLF</character> <parenthetical>(sniffing)</parenthetical> <dialogue>I can smell what you're looking for.</dialogue> <character>STILES</character> <dialogue>What? The stash? You sure?</dialogue> <scene_description>Teen Wolf moves toward the bureau.</scene_description> <character>STILES</character> <dialogue>I checked there.</dialogue> <scene_description>Teen Wolf reaches behind the mirror. He comes up with a plastic bag filled with primo weed. He tosses it to Stiles who beams.</scene_description> <character>DISSOLVE TO:</character> <dialogue>-ss~.</dialogue> <character>67.</character> <dialogue>(</dialogue> <character>INT.</character> <dialogue>A water pipe. Sitting on the bed, Stiles passes the pipe to Teen Wolf who takes a long, strong pull.</dialogue> <character>STILES</character> <dialogue>I'm glad you came to me, TW. With the right angles, we can make this into something really big.</dialogue> <character>TEEN WOLF</character> <parenthetical>(exhaling - and then:)</parenthetical> <dialogue>But you have to promise not to t;ell anybody.</dialogue> <character>STILES</character> <dialogue>Are you kidding? Absotively no one.</dialogue> <scene_description>Stiles takes another toke. Teen Wolf starts to giggle a half growl/half giggle.</scene_description> <character>STILES</character> <dialogue>Wha?</dialogue> <character>TEEN WOLF</character> <dialogue>Your brother sure keeps a messy room --</dialogue> <scene_description>r\ Stiles checks out the wreckage around them and laughs. \"~j Teen Wolf is laughing out of control. Stiles puts a finger up to his own mouth --</scene_description> <character>STILES</character> <dialogue>Shh --</dialogue> <scene_description>But, Teen Wolf can't control himself. He roars, knocking Stiles over backwards off the bed. Stiles pops back up. They both howl with laughter. 68. INT. THE HOWARD HOUSE - KITCHEN - DUSK 6 8. Harold and Boof are at the table giggling over cups of cocoa, as the front door SLAMS (o.s.).</scene_description> <character>HAROLD</character> <dialogue>· (calling out)</dialogue> <scene_description>In here, Son. Scott enters. His hair is a mess -- and he's still a little high. He's surprised to find Boof there. He takes off his jacket.</scene_description> <character>BOOF</character> <dialogue>-56-</dialogue> <character>68.</character> <dialogue>CONTINUED:</dialogue> <dialogue>(paranoid)</dialogue> <character>SCOTT</character> <dialogue>wnat' s so funny?</dialogue> <character>BOOF</character> <dialogue>We were just chatting. You mind?</dialogue> <character>SCOTT</character> <dialogue>Why should I?</dialogue> <character>BOOF</character> <parenthetical>(standing)</parenthetical> <dialogue>I've got to get going. Would you like to walk me home?</dialogue> <character>SCOTT</character> <dialogue>I just got here --</dialogue> <character>HAROLD</character> <dialogue>Scott.</dialogue> <scene_description>I . Scott puts his jacket back on</scene_description> <character>BOOP</character> <dialogue>Thanks, Harold. For the cocoa -- and everything.</dialogue> <scene_description>She gives Harold a little hug.</scene_description> <character>HAROLD</character> <dialogue>Thank you.</dialogue> <scene_description>Their chuminess makes Scott uneasy. Boof heads for the door.</scene_description> <character>BOOP</character> <dialogue>Coming?</dialogue> <scene_description>With a glance to his father, Scott folows.</scene_description> <character>69.</character> <dialogue>EXT.</dialogue> <scene_description>Boof and Scott walk in silence. She breaks it.</scene_description> <character>BOOF</character> <parenthetical>(with a smile)</parenthetical> <dialogue>So you were thinking about dropping basketball to work on the school play. I can guess why.</dialogue> <character>SCOTT</character> <dialogue>So that's what you and Dad were "chatting" about.</dialogue> <character>BOOF</character> <dialogue>She's very pretty, Scott. I understand.</dialogue> <scene_description>69. CONTINUED: 69.</scene_description> <character>SCOTT</character> <dialogue>Boof. Don't --</dialogue> <character>BOOF</character> <parenthetical>(continuing the thought)</parenthetical> <dialogue>But she has a boyfriend. A very large boyfriend.</dialogue> <character>SCOTT</character> <dialogue>It doesn't matter. The way things are going now, it's better if I keep away from everyone.</dialogue> <character>BOOF</character> <dialogue>Even me?</dialogue> <character>SCOTT</character> <parenthetical>(smiling)</parenthetical> <dialogue>I couldn't get rid of you if I tried.</dialogue> <scene_description>They both laugh remembering something.</scene_description> <character>SCOTT</character> <dialogue>How old were we? Six?</dialogue> <character>BOOF</character> <dialogue>Five!</dialogue> <character>SCOTT</character> <dialogue>I decided to run away from home and\_you wouldn't let me go alone.</dialogue> <character>BOOF</character> <dialogue>I was afraid you'd get lost.</dialogue> <character>SCOTT</character> <dialogue>We didn't get lost. All we did was keep going around the block because</dialogue> <character>BOOF</character> <dialogue>-- our parents wouldn't let us cross</dialogue> <character>&amp;</character> <dialogue>the street!</dialogue> <scene_description>Scott stops and shakes his head.</scene_description> <character>SCOTT</character> <dialogue>I thought they would kill us when we came back.</dialogue> <character>BOOF</character> <dialogue>And when we,. did, nobody even knew we were gone. Did you ever tall anybody?</dialogue> <scene_description>Scott shakes his head "No'' . -57A-\*: 0 69. CONTINUED: 69.</scene_description> <character>BOOF</character> <dialogue>Me neither. \*</dialogue> <scene_description>She moves close to him and takes his arm. They are very \* comfortable together. \*</scene_description> <character>BOOF</character> <dialogue>Scott. If you want to talk to somebody, I'm here. I always have been.</dialogue> <character>SCOTT</character> <dialogue>I know. But --</dialogue> <scene_description>He wants to confide in her, but he shakes his head "No". She looks deeply into his eyes and with a quick motion, kisses him, breaks away and runs up the street to her house. He watches her all the way. She never looks back. Scott seems ver.y confused.</scene_description> <character>70.</character> <dialogue>Scott walks back home alone.</dialogue> <character>EXT.</character> <dialogue>He senses he is being followed.</dialogue> <scene_description>0 He is. By a large COLLIE DOG. Scott picks up the pace. He looks behind him. the Collie and now a SCOTTISH TERRIER follow him. They are joined by a LABRADOR. Scott breaks into a trot; turning the corner toward his house, he runs. More than a DOZEN DOGS pursue him. Between Scott and his house: Daisy has positioned herself for an attack. Daisy leaps -- but only to ~position herself between Scott and the pack. She barks ferociously Scott's pursuers scatter. Scott stops.</scene_description> <character>SCOTT</character> <dialogue>Thanks, Daisy.</dialogue> <scene_description>He and Daisy exchange glances and Scott continues on his way home. Daisy stares at him longingly. She's in love.</scene_description> <character>71.</character> <dialogue>0</dialogue> <character>INT.</character> <dialogue>THE MEECHUM ACADEMY TEAM stand at attention -- all identical</dialogue> <scene_description>in height, haircut, and concentration. Their COACH, in military uniform, paces up and down the line of players, barking out orders. From the Beaver bench, Scott spots Pamela while lacing up his sneakers. She smiles flirtatiously, but before Scott can say anything to her, Boof comes up and gives him a friendly hug.</scene_description> <character>BOOF</character> <dialogue>Good luck, Scott.</dialogue> <scene_description>Boof takes a seat along with Stiles, Lewis, Tina and Gina. Brad taps Scott on the shoulder.</scene_description> <character>BRAD</character> <dialogue>Try to stay on your feet for once.</dialogue> <scene_description>Coach Fins tock comes to the bench, peeling a hard boi\_led egg, letting the shells drops to the floor. The Beavers gather around.</scene_description> <character>FINSTOCK</character> <dialogue>Look at it this way, gang. It'll all be over in less than an hour.</dialogue> <character>BRAD</character> <dialogue>0 Any strategy against Meechum, Coach?</dialogue> <character>FINSTOCK</character> <dialogue>Hey! I think you guys are great. You got nothing to be ashamed of.</dialogue> <scene_description>He stuffs the entire egg in his mouth. THE WHISTLE BLOWS.</scene_description> <character>FINSTOCK</character> <parenthetical>(full mouth)</parenthetical> <dialogue>Go ahead. Give 'em hell.</dialogue> <scene_description>DISSOLVE TO:</scene_description> <character>72.</character> <dialogue>INT.</dialogue> <scene_description>The Beaver Cheerleaders sit bored and motionless. Except for the girl dressed as the Beaver mascot -- she's doing her nails. \* {CONTINUED): REVISED 10/1/84: -59-:</scene_description> <character>72.</character> <dialogue>·CONTINUED:</dialogue> <scene_description>Finstock looks over at Thorne who is barely stiffling a chuckle. THE SCOREBOARD BUZZES: BEAVERS: O, VISITORS 32. It's a jurnpball: Brad against the Meechum SQUAD LEADER. Scott is up against CADET #5, whose thin lipped sneer is getti\_ng to Scott. Scott wipes sweat from his brow.</scene_description> <character>CADET #5</character> <dialogue>Beavers. You ought to change your names to "pussys".</dialogue> <scene_description>The ball is put in play. Brad tips it to Scott -- Scott has i t -- when Cadet #5 trips him and sends him to the floor. THE WHISTLE SCREAMS.</scene_description> <character>AT THE FOUL LINE</character> <dialogue>Scott steps up. The agitation is getting to him. He checks his fingernails. No change. Taking a deep br\_eath</dialogue> <character>SCOTT</character> <parenthetical>(to himself)</parenthetical> <dialogue>Concentrate. Remain cool.</dialogue> <scene_description>' ,• He sets. Shoots. Misses.</scene_description> <character>\0</character> <dialogue>' He gets 'ready again. He sweats even more. Sets.</dialogue> <scene_description>His eyes GLOW a pale pink -- which no one spots -- but the ball swooshes in. THE SCOREBOARD BUZZES: BEAVERS: l,.VISITORS 32.</scene_description> <character>IN THE STANDS</character> <dialogue>Boof and Co. go crazy -- far more than necessary other "FANS" look at them disapp;rovingly.</dialogue> <dialogue>Pamela looks up from her playscript and applauds politely. Unexpectedly, Mick arrives by her side.</dialogue> <character>MICK</character> <dialogue>You weren't at rehearsal.</dialogue> <character>PAMELA</character> <parenthetical>(lying)</parenthetical> <dialogue>I knew you could find me.</dialogue> <character>ON THE COURT</character> <dialogue>Scott sees them and grits his teeth. The Cadets put the ball in play. #5 gets it. He's covered by Scott. Cadet #5 can't find an opening. Scott steals the ball. But before he can get three feet --</dialogue> <dialogue>No one is more surprised than Scott when he is knocked down and the entire Meechum team piles on him.</dialogue> <character>-60-</character> <dialogue>I i</dialogue> <character>72. CONTINUED:</character> <dialogue>IN THE STANDS</dialogue> <character>72.</character> <dialogue>Mick smiles.</dialogue> <character>MICK</character> <dialogue>Let's blow outa here.</dialogue> <scene_description>They get up to leave, but ON THE COURT There is a moment of stillness. Then. A kind of a RUMBLING. One by one, the Meechum team flies off the pile up. Rising with the ball, TEEN WOLF! There is a stunned silence. Boof •. Lewis. Tina and Gina. All the fans hold their breath. As do Finstock. The Beaver Cheerleaders. And Pamela stares wide-eyed. Stiles slaps his forehead - all his plans are now ruined. Thorne is very unhappy. Mick stands there gawking. Then, past the two frozen teams, Teen Wolf leaps across the court, jumps incredibly high in the air, and dunks the ball. Q Everyone remains motionless. Teen Wolf stands under the basket, with the ball, his long nails gripping it.</scene_description> <character>FINSTOCK</character> <parenthetical>(finally)</parenthetical> <dialogue>Let's play some ball, here!</dialogue> <scene_description>THE SCOREBOARD BUZZES: BEAVERS l, VISITORS 32. A slow, unsure applause comes from the Crowd. A REF takes the ball carefully from Teen Wolf. Meechum puts it in play, immediately, Teen Wolf steals the ball and in a graceful motion, breaks free and scores. THE SCOREBOARD BUZZES: BEAVERS 1, VISITORS 32 The excitement in the Crowd grows. They slowly move down to cluster behind the Beaver bench. Mick holds Pamela back. Teen Wolf hits with a shot from half-court! THE SCOREBOARD BUZZES: BEAVERS l, VISITORS 32. The Crowd ROARS it's approval. Teen Wolf scores with a perfect lay-up. He passes a giggling Chubby and slaps him a 11 High Five" -- paw to palm. The Meechum Coach and the Ref flip crazily through the rule book but can't find anything against the Teen Wolf. The Meechum boys are practically helpless. -61-:</scene_description> <character>72.</character> <dialogue>CONTINUED:</dialogue> <character>THE SCOREBOARD BUZZES:</character> <dialogue>CD</dialogue> <character>BEAVERS: 17, VISITORS 32</character> <dialogue>THE CHEERLEADERS</dialogue> <scene_description>Go, Beavers, GO. Go. Go. Go. Teen Wolf owns the court -- his play is dazzling. And the Crowd doesn't care if the kid's a werewolf he plays great basketball! 73. EXT. THE FROSTY T - DRIVE-IN FAST FOOD - DUSK 73</scene_description> <character>CLOSE ON A BANANA SPLIT</character> <dialogue>sliding down its schooner into the gaping jaws of Teen Wolf. THE CROWD of teenagers CHEER -- more people surround him now than there were at the· game. The parking lot is overflowing.</dialogue> <dialogue>Teen Wolf lets out a low,' growling BELCH. Whipped topping is all over his facial fur. Stiles, his arm around Teen Wolf, talks to him confidentially:·</dialogue> <character>STILES</character> <dialogue>TW, I thought we were gonna keep this to ourselves. It'll be tri·ckier now to take advantage of this thing.</dialogue> <scene_description>0 The Frosty T MANAGER comes over to them with a tray of BURGERS.</scene_description> <character>MANAGER</character> <dialogue>On the house, Pal.</dialogue> <parenthetical>(beat~ indicates Stiles)</parenthetical> <dialogue>For your friend, too.</dialogue> <scene_description>He puts the tray down in Stiles' hands. Even Stiles is impressed.</scene_description> <character>MANAGER</character> <dialogue>Beacontown actually beating Meechum! What a day.</dialogue> <character>OFF TO ONE SIDE</character> <dialogue>Mick sits in his Corvette, while Pamela leans on it. She watches with amusement as the Teen Wolf phenomenon builds.</dialogue> <character>MICK</character> <dialogue>Come on. I've had enough of this crap.</dialogue> <character>PAMELA</character> <dialogue>A few more minutes.</dialogue> <scene_description>-62-:</scene_description> <character>73€�</character> <dialogue>CONTINUED</dialogue> <character>A FAN</character> <dialogue>I thought werewolves only came out during a full moon?</dialogue> <character>TEEN WOLF</character> <dialogue>Naw. All it really takes is a sixty watt bulb.</dialogue> <scene_description>Laughter. But, Boof isn't laughing. She sips on a vanilla shake, watching Teen Wolf delight in being the center of attention.</scene_description> <character>GINA</character> <dialogue>Boof. You've known Scott all your life. Did you have any idea?</dialogue> <character>BOOF</character> <dialogue>Are you kidding?</dialogue> <scene_description>Lewis and Tina join the crowd.</scene_description> <character>FAN #2</character> <dialogue>Do you steal babies in the middle of the night and kill chickens?.</dialogue> <scene_description>Everyone laughs except Lewis.</scene_description> <character>TINA</character> <dialogue>O· And to think, Lewis, he's one</dialogue> <scene_description>of your best friends. Lewis nods. He notices the length of Teen Wolf's claws. The fiery eyes. The teeth. Lewis swallows hard. Someone hands Teen Wolf a beer. He bites into the can sideways-- It EXPLODES foam all over the enamored group.</scene_description> <character>BY MICK'S CAR</character> <dialogue>MICK</dialogue> <scene_description>I said, come on.</scene_description> <character>PAMELA··</character> <dialogue>No. I want to stay.</dialogue> <character>MICK</character> <parenthetical>(pissed off)</parenthetical> <dialogue>Then stay.</dialogue> <scene_description>Mick slaps the Corvette in gear, guns it, and drives away. Pamela smiles as she walks into the crowd which is chanting:</scene_description> <character>CROWD</character> <dialogue>Wolf! Wolf! Wolf!</dialogue> <scene_description>-63-:</scene_description> <character>73.</character> <dialogue>0</dialogue> <character>CONTINUED:</character> <dialogue>Teen Wolf shoves burger after burger into his mouth.</dialogue> <scene_description>Stiles sticks like glue to his celebrity friend. A POLICE CRUISER glides by slowly -- EVERYONE stuffs his beer out of sight -- The Cruiser continues on its way. Boo£ notices Pamela sliding up to Teen Wolf. Teen Wolf grins at her and growls playfully. Pamela laughs, tugging teasingly on Teen Wolf's chin hairs.</scene_description> <character>CROWD</character> <parenthetical>( continuing)</parenthetical> <dialogue>Wolf! Wolf! Wolf!</dialogue> <scene_description>Pamela thinks this is a riot -- she joins the chant. Boof, however, breaks away from the others and leaves the spectacle behind. She walks away, deep in thought.</scene_description> <character>74.</character> <dialogue>INT.</dialogue> <scene_description>A sneakered foot floors the gas pedal. The car roars. Stiles nearly drops his fries and beer.</scene_description> <character>STILES</character> <dialogue>() Take it easy. This baby's</dialogue> <scene_description>on her last legs. Teen Wolf is driving. He enjoys the ,speed.</scene_description> <character>TEEN WOLF</character> <dialogue>Relax, Rupert. I'm in complete control.</dialogue> <scene_description>There is a SIREN. Out the back window, Stiles spots BUBBLETOPS SPINNING -- COPS. Stiles stuffs his beer underneath his seat.</scene_description> <character>75.</character> <dialogue>INT.</dialogue> <scene_description>Teen Wolf immediately pulls over.</scene_description> <character>STILES</character> <parenthetical>(rifling the glove box)</parenthetical> <dialogue>Oh, dick me. Where's the registration?</dialogue> <scene_description>A full uniformed OFFICER strolls toward the driver's side, his hand on his holstered revolver.</scene_description> <character>STILES</character> <dialogue>Good-bye, law school.</dialogue> <scene_description>Teen Wolf lowers the window.</scene_description> <character>OFFICER</character> <dialogue>Step out, please.</dialogue> <scene_description>-64-:</scene_description> <character>75.</character> <dialogue>0.</dialogue> <character>CONTINUED:</character> <dialogue>As Teen Wolf opens the door, a single bottle topples out onto the pavement. Stiles groans. Teen Wolf twitches nervously -- The Officer now sees Teen Wolf clearly.</dialogue> <character>OFFICER</character> <dialogue>It's you.</dialogue> <parenthetical>(with a slow smile)</parenthetical> <dialogue>You really showed those Meechum bastard.a, didn't you?</dialogue> <scene_description>The Officer closes the door for Teen Wolf, overjoyed.</scene_description> <character>OFFICER</character> <dialogue>Drive safely, guys. Great game!</dialogue> <character>76.</character> <dialogue>They drive along in silence. Stiles and Teen Wolf slowly</dialogue> <character>INT.</character> <dialogue>look at one another -- trying to suppress their giggling.</dialogue> <character>STILES</character> <dialogue>Scott. ~his TW thing is the start of something --</dialogue> <parenthetical>(thinking of the right word)</parenthetical> <dialogue>-- gargantuan!</dialogue> <scene_description>CJ A small smile forms on Teen Wolf's face· as a LOUD ROCK THEME begins with a heavy beat -- 77. INT. BEACONTOWN HIGH SCHOOL - CORRIDORS -DAY The music continues -- we'll call it THE TEEN WOLF THEME First: we see his sneakers. Then: His swinging arms. Next: His head -- Teen Wolf wearing Walkman Headphones. Finally: Full body shot: Teen Wolf is King of the Corridors. He walks assuredly, getting everyone's attention. YOUNG MEN stare with envy. YOUNG WOMEN'S hearts flutter. He turns a corner -- ALL HEADS turn to him. From the back: Teen Wolf struts. Top o' the World. 78. INT. BEACONTOWN HIGH SCHOOL - CAFETERIA - DAY 78. Copies of the school newspaper -- THE BEACON -- are dropped off at table after table. Chubby picks one up. HEADLINE: CAN HE MAKE IT TWO IN A ROW? A photograph of Teen Wolf accompanies: in basketball uniform, holding the ball. 79. INT. BEACONTOWN HIGH SCHOOL - CORRIDORS - DAY 79. Teen Wolf backhands some books into his locker and slams it shut. Lewis is nearby, doing the same. Teen Wolf flashes a toothy grin. -65-:</scene_description> <character>79.</character> <dialogue>Lewis steps back a bit -- clearly frightened. He walks away.</dialogue> <character>CONTINUED:</character> <dialogue>Teen Wolf stops grinning, but with a wolf-shrug, moves on -- and nearly collides with Thorne!</dialogue> <character>THORNE</character> <dialogue>You may think that you're something special, but don't forget that I'm still the Vice-Principal around here.</dialogue> <character>TEEN WOLF</character> <dialogue>Hey, I'm,no different than anyone else.</dialogue> <scene_description>Teen Wolf side-steps the man and continues down the hall, a certain cockiness in his stride. A BLACK YOUTH comes up to him. They BOP and POP a fast BREAKDANCE spin -- slap palms/paws -- and move on. Thorne, a witness to all of this, seethes. 80. INT. BEACONTOWN HIGH SCHOOL - THE GYM - AFTERNOON 80. The Beaver Cheerleaders leap up with incredible energy and enthusiasm -- landing in an "animal" crouch --·putting out their hands like claws. Finstock stares at the CROWD and cackles: FANS FILL THE SEATS. 0 CHEERLEADERS Go - Go - Go - OOOOOOW! Their WOLF HOWL is echoed by the fans. Teen Wolf has the ball and scampers around the opposing TEAM like a lupine Bob Cousy. He leaps high and two hands it right into the basket. THE SCORE~OARD BUZZES: BEAVERS: 32, VISITORS 5 The Cheerleaders remove the paper mache Beaver head from the girl dressed as the Beaver mascot. To the Crowd's approval, they replace it with a paper mache WOLF'S HEAD. Kirk Lolley, the drama coach, is in the crowd. He is surprised by the crowd's adoration of the young wolf.</scene_description> <character>81.</character> <dialogue>A group of CUB SCOUTS sit on the lawn with complete enrapture.</dialogue> <character>EXT.</character> <dialogue>Teen Wolf crouches down and addresses them.</dialogue> <character>TEEN WOLF</character> <dialogue>And that's the law of the pack. Are there any questions?</dialogue> <character>81.</character> <dialogue>CONTINUED:</dialogue> <scene_description>One particularly SMALL SCOUT puts a huge watermelon in 0 Teen Wolf's hands.</scene_description> <character>SMALL SCOUT</character> <dialogue>Will you eat this for us, Scott?</dialogue> <character>TEEN WOLF</character> <dialogue>Maybe later</dialogue> <character>A SCOUT WITH GLASSES</character> <dialogue>Can you come to my· birthday party next Saturday? My Mom'll pay you.</dialogue> <character>TEEN WOLF</character> <parenthetical>( chuckling)</parenthetical> <dialogue>I'm not sure --</dialogue> <scene_description>At a distance, Boof starts coming toward him, but stops. She reverses direction when the Cubs start giggling -- Teen Wolf has bitten huge hunks of watermelon and the Cubs love it.</scene_description> <character>82.</character> <dialogue>INT.</dialogue> <scene_description>The Cheerleaders have perfec·ted and elaborated on the WOLF CHEER, complete with choreography and loud HOWLING fan accompaniment. 0 ON THE COURT Brad has the ball. He is about to put it into\_ play, but Teen Wolf, from out of nowhere, takes it from his hands, and executes a perfect drive and lay-up. Brad fumes. Off to one side, Thorne shakes his head ominously.</scene_description> <character>83.</character> <dialogue>INT.</dialogue> <scene_description>Kirk Lolley sits alone in the front row with the house lights on. He glances through a copy of the school newspaper with the headline: TEEN WOLF: MY STORY (FREE POSTER INSIDE). Lolley opens the poster.: Teen Wolf poses with TWO CHEERLEADERS! Lolley stares at the bare stage and then back at the poster. Determinedly, he drops the paper and starts searching through pages of his playscript.</scene_description> <character>84.</character> <dialogue>EXT.</dialogue> <scene_description>DOLLY DOWN Main Street:</scene_description> <character>85.</character> <dialogue>EXT.</dialogue> <scene_description>It has a sign in the window: WOLFBURGERS 89¢ -67-:</scene_description> <character>86.</character> <dialogue>In the window, a lovely BAR MITZVAH portrait is displayed on</dialogue> <character>:EXT. BEACONTOWN CENTER - CAMERA</character> <dialogue>an easel. A LADY takes away the portrait and replaces it with one of similar style: only it's of Teen Wolf in his basketball uniform. 87. EXT. BEACONTOWN CENTER - BEACONTOWN BARBER SHOP - IMMEDIATELY 87. The sign in the window promises: WOLF cu~s - ONLY $10.00. An EIGHT YEAR OLD BOY ~omes out with a haircut like Teen Wolf's he looks not unlike Eddie Munster -- licking a lollipop. After a beat, he's followed out by a WOMAN OF FIFTY -- she has the same style cut -- but with silver streaks in it. 88. EXT. BEACONTOWN CENTER - HAROLD ,HOWARD'S HARDWARE -IMMEDIATELY 88. Across the street, Harold removes a sign from the window: PEAT MOSS SAL~ and he replaces it with: LUG WRENCHES FROM. TAIWAN - 2 FOR $1.99. Harold stares emptily at the other stores and the folly of his neighbors. He shakes his head sadly. 89. INT. BEACONTOWN HIGH SCHOOL - CORRIDORS - DAY 89.</dialogue> <dialogue>Scott walks alone. He is joined by a grinning Boof.</dialogue> <character>BOOF</character> <dialogue>0 Hello, Stranger. Haven't seen</dialogue> <scene_description>you around lately.</scene_description> <character>SCOTT</character> <dialogue>Well, it gets kind of hot -- being the wolf all the time.</dialogue> <character>BOOF</character> <dialogue>Aren't you afraid of disappointing all your fans?</dialogue> <character>SCOTT</character> <parenthetical>(unconvincing)</parenthetical> <dialogue>I can't help it if this whole town's gone werewolf crazy. I never asked for this.</dialogue> <character>BOOF</character> <dialogue>You'll never have to worry about your life being average anymore.</dialogue> <character>SCOTT</character> <dialogue>You think I've bought into all this nonsense, but I haven't.</dialogue> <character>BOOF</character> <dialogue>There must be some advantages</dialogue> <scene_description>-68-:</scene_description> <character>89.</character> <dialogue>CONTINUED:</dialogue> <scene_description>~ SCOTT None.</scene_description> <character>STILES</character> <parenthetical>(o. s. yelling)</parenthetical> <dialogue>All sizes! No waiting!</dialogue> <scene_description>They turn a corner to find Stiles. He's set up a small BOOTH selling TEEN WOLF T-SHIRTS at $12.00 a pop. On the back of the shirt is a basketball with "BEAVERS ALL THE WAY" on it. On the front of the shirt is a pretty good likeness of TEEN WOLF'S FACE and CLAWS. . Stiles sells one to Ernie. He holds up a handful of dollar bills.</scene_description> <character>ST·ILES</character> <dialogue>Tip of the iceberg, Scotto. We're cleaning up.</dialogue> <character>BOOF</character> <parenthetical>(to a guilty looking Scott)</parenthetical> <dialogue>Uh - huh.</dialogue> <scene_description>Stiles runs up to them with a Teen Wolf T-Shirt.</scene_description> <character>STILES</character> <dialogue>0 Here, Boof, on the house.</dialogue> <scene_description>Boof holds the shirt up to her chest, Wolf side out.</scene_description> <character>BOOF</character> <dialogue>Elegant.</dialogue> <scene_description>Pamela rushes up to Scott, very excited.</scene_description> <character>BOOF</character> <dialogue>Here comes another customer, Stiles.</dialogue> <character>PAMELA</character> <dialogue>Scott. I have the best news. Kirk wants you to be in the play.</dialogue> <character>SCOTT</character> <dialogue>He does? But what about basketball?</dialogue> <character>STILES</character> <parenthetical>(to Pamela)</parenthetical> <dialogue>They come in six colors.</dialogue> <character>89.</character> <dialogue>CONTINUED:</dialogue> <character>PAMELA</character> <parenthetical>(to Stiles)</parenthetical> <dialogue>wnat?</dialogue> <parenthetical>(to Scott)</parenthetical> <dialogue>It won't interfere. It's a small part just for you.</dialogue> <character>BOOF</character> <dialogue>Here, Pamela, take this one. It's too big for me.</dialogue> <scene_description>She tosses the shirt in Pamela's hands. Pamela looks at it confused. As Boof starts to leave, she comments:</scene_description> <character>BOOF</character> <dialogue>There are some advantages, Scott. Admit it.</dialogue> <scene_description>Scott is at a loss for words.</scene_description> <character>90.</character> <dialogue>INT.</dialogue> <scene_description>The set for Kirk Lolley's play is up. It's a cheapie. Painted flats are to look like the front .of a Southern Plantation although they don't. Pamela is in full Scarlet O'Hara costume. C) She addresses someone off-stage.</scene_description> <character>PAMELA</character> <parenthetical>(performing with accent)</parenthetical> <dialogue>You can murder my family, Colonel. You can ravage my body. But I beg you with all that is decent and holy, don't destroy my plantation.</dialogue> <scene_description>A hair late on his cue, Teen Wolf enters, dressed in a Union Army Officer's Uniform. He draws his sword and bellows out:</scene_description> <character>TEEN WOLF</character> <dialogue>Sergeant! Burn the fields and when you're done with that. Burn the house.</dialogue> <scene_description>Bad acting at its best. Pamela swoons, and faints in his arms.</scene_description> <character>IN THE FRONT ROW</character> <dialogue>Lolley shakes his head in disbelief. Next to him is a WOMAN ARTIST, sketching a poster of TEEN WOLF in a Civil War cap carrying an American flag -- "Shreveport" A Play by KIRK LOLLEY. He glances at it and nods approval.</dialogue> <character>LOLLEY</character> <dialogue>OK, Scott, that's all for you today. Pamela, darling, next scene.</dialogue> <scene_description>-70-:</scene_description> <character>90.</character> <dialogue>0</dialogue> <character>CONTINUED:</character> <dialogue>Teen Wolf leaves the stage. Pamela winks at him. As she begins, he stops. He watches her from the•wings, infatuated.</dialogue> <character>91.</character> <dialogue>Pamela is dressed only in a bra and panties, removing pins</dialogue> <character>INT.</character> <dialogue>from her hair to take off a hair piece. There's a KNOCK at her door. With a towel, she covers herself.</dialogue> <character>PAMELA</character> <dialogue>Come in.</dialogue> <scene_description>Scott enters, embarrassed to see her this way.</scene_description> <character>PAMELA</character> <dialogue>Close the door. Please.</dialogue> <scene_description>He does and to his shock, she drops the towel. Scott stands perfectly still, gaping at her.</scene_description> <character>PAMELA</character> <dialogue>Relax. We're just one big happy happy family j,.n the theater.</dialogue> <scene_description>0 She looks cooly at Scott and .then bunches up her nose. Clearly, she is disappointed about something.</scene_description> <character>PAMELA</character> <dialogue>Do you just change back and forth whenever you feel like it?</dialogue> <character>SCOTT</character> <dialogue>Sure. More or less. I have to get myself worked up to become the wolf, but that's not too hard.</dialogue> <scene_description>She moves closer, smiling seductively --</scene_description> <character>PAMELA</character> <dialogue>What do you think about to get "worked up"?</dialogue> <character>SCOTT</character> <dialogue>Different things.</dialogue> <scene_description>She comes slowly to him, removing her bra --</scene_description> <character>SCOTT</character> <dialogue>Um, Pamela</dialogue> <character>\</character> <dialogue>what are you doing?</dialogue> <scene_description>She kisses him on· the mouth --</scene_description> <character>91.</character> <dialogue>un</dialogue> <character>CONTINUED:</character> <dialogue>PAMELA</dialogue> <scene_description>Wolves aren't supposed to be shy --</scene_description> <character>SCOTT</character> <dialogue>But -- I'm not -- a --</dialogue> <scene_description>They kiss again. She slides down to a small cot set up in the back. She pulls him on top of her. She puts her head back, closing her eyes</scene_description> <character>PAMELA</character> <dialogue>Oh. It's true what they say about animal magnetism.</dialogue> <scene_description>There is a low GROWL. Moving in close on her face her eyes open wide --</scene_description> <character>92.</character> <dialogue>EXT.</dialogue> <scene_description>A very loud, passionate HOWL echoes across the parking lot. Thorne is about to get into his two tone blue Chevy Citation. The HOWL comes again -- longer and shriller. Thorne stares· back at the auditorium annoyed.</scene_description> <character>93.</character> <dialogue>0</dialogue> <character>INT.</character> <dialogue>A BOWLING BALL rolls down an alley and makes a firm STRIKE. Teen Wolf follows through with a Bowler's Kick. He turns around. Pamela is at the bench keeping score. She wears the Teen Wolf T-Shirt which Boof gave her.</dialogue> <character>PAMELA</character> <dialogue>Five in a row!</dialogue> <character>IN THE NEXT ALLEY</character> <dialogue>The Farmington Basketball Team wear Dragon's bowling shirts. Mick -- with a Bowling Team Captain patch on his sleeve stands angrily glaring at Pamela and Teen Wolf,</dialogue> <dialogue>Pamela i:gnores them. Mick is even more infuriated. Mick takes a step toward her, but Lemonade steers him back to his seat.</dialogue> <character>TEEN WOLF</character> <parenthetical>(to Pamela)</parenthetical> <dialogue>Did you know they were going to be here?</dialogue> <character>PAMELA</character> <parenthetical>(with her Southern accent)</parenthetical> <dialogue>We had such a nice day together, Scott. Don't spoil it now.</dialogue> <character>93.</character> <dialogue>Mick goes to bowl. With an eye on Teen Wolf, he lets one go.</dialogue> <character>CONTINUED:</character> <dialogue>It's a strike. Teen Wolf bowls. Another strike· ,as the. pins scatter. Pamela gets up to bowl. Her jeans are very tight. All eyes are on her as she drops the ball and watches it hook into the gutter.</dialogue> <character>PAMELA</character> <dialogue>Oh, pooh.</dialogue> <scene_description>ONE of the Dragons gets up to bowl, but Mick pushes him back. Mick takes another ball and throws it hard. Another strike. He flicks a challenging expression at Teen Wolf and Pamela. Teen Wolf has one arm around Pamela an4 is helping her bowl. Together they let the ball go. It slowly rolls and hits the pins. As if in slow motion, they all go down. Mick has had enough. He comes toward them holding his bowling ball.</scene_description> <character>MICK</character> <dialogue>That's my girl. Don't touch her again.</dialogue> <character>TEEN WOLF</character> <dialogue>She's my date tonight.</dialogue> <character>MICK</character> <dialogue>You don't scare me, freak. Underneath all that hair, you're still a dork, Scott.</dialogue> <scene_description>0 At hearing 11 Scott 11 ·Teen, Wolf tenses up -- showing a bit of his fangs. He growls. ALL THE BOWLERS stop and stare.</scene_description> <character>LEMONADE</character> <dialogue>Don't, Mick, are you crazy?</dialogue> <character>MICK</character> <dialogue>I've handled his kind before. His mama used to steal chickens outa the backyard -- till I blew her head off with the shotgun. Right, Scott?</dialogue> <scene_description>Teen Wolf's had enough. He takes the bowling ball from Mick's hand and putting it between his paws -- he slowly CRUSHES IT! Mick makes a move at Teen Wolf But the Dragons hold him back •</scene_description> <character>. LEMONADE</character> <dialogue>Back off, Mick. It's not worth it.</dialogue> <scene_description>Mick still has to be restrained. Pamela has a hint of smile on Pamela's face. 94. EXT. SIDEWALK TO PAMELA'S FRONT DOOR - EVENING 94. Scott walks Pamela home. She is somewhat distant. -73-: 94. CONTINUED: 94.</scene_description> <character>SCOTT</character> <dialogue>Does Mick always act that crazy?</dialogue> <character>PAMELA</character> <dialogue>Well, you can hardly blame him. He is my boyfriend.</dialogue> <character>SCOTT</character> <dialogue>You mean, he~-</dialogue> <character>PAMELA</character> <dialogue>He is my boyfriend.</dialogue> <character>SCOTT</character> <dialogue>But. What about. Us?</dialogue> <scene_description>They have reached her front door. She has manuevered them so that her back is right up against it.</scene_description> <character>PAMELA</character> <dialogue>What about us?</dialogue> <character>SCOTT</character> <dialogue>.This afternoon. In your dressing room -- we --</dialogue> <character>PAMELA</character> <dialogue>(cold) \*</dialogue> <scene_description>That was this afternoon. \*</scene_description> <character>SCOTT</character> <dialogue>But, I was hoping, with the Spring Dance coming up --</dialogue> <character>PAMELA</character> <dialogue>Don't let it go to your head. Mick's my boyfriend. \* Of course I'm going to the dance with him.</dialogue> <scene_description>She kisses her own finger, touches it to his nose, slips open the door and slides inside. Scott is left outside, alone and confused.</scene_description> </scene> <scene> <stage_direction>INT. BEACONTOWN HIGH SCHOOL - THE GYM - DAY</stage_direction> <scene_description>Chubby throws the ball into play. Teen Wolf gets it. There's nothing for his teammates to do, so they just stand there and watch as he easily dribbles around the OTHER TEAM which is also only making half the effort. He scores. THE SCOREBOARD BUZZES: BEAVERS 48 - VISITORS 9</scene_description> <character>95. CONTINUED:</character> <dialogue>THE CROWD</dialogue> <character>95.</character> <parenthetical>(chanting)</parenthetical> <dialogue>Wolf -- Wolf -- Yea Wolf!</dialogue> <scene_description>Brad, Chubby and the other Beavers can only shrug. 96. OMIT. 96.\* 97. INT. BEACONTOWN H.S. - LOCKER ROOM - AFTERNOON 97.\* The Beavers strip soberly for the showers after the game. They do not look like a team celebrating a victory. Teen Wolf, wrapped in a large towel heads into the shower (o.s.) Chubby is ready, but stops himself from following. Brad slams his locker hard.</scene_description> <character>CHUBBY</character> <dialogue>At least we're winning.</dialogue> <character>BRAD</character> <dialogue>You mean, he's winning. When do the rest of us get our hands on the ball?</dialogue> <scene_description>Finstock overhears and notices the look of gloom on the Beavers. Chubby addresses them all, but especially Finstock. 0 CHUBBY What good is it being in the Champion- ship if none of us get to play?</scene_description> <character>FINSTOCK</character> <dialogue>Hey. It's not how you play the game. It's whether you win or lose. And even that doesn't matter -- much.</dialogue> <scene_description>Now, as Scott comes out of the shower, everyone quiets down and looks away from him. Scott notices and tries to overcompensate. He approaches Chubby --</scene_description> <character>SCOTT</character> <dialogue>How 'bout a victory celebration, Chubb. Hot fudge sundaes -- ?</dialogue> <character>CHUBB</character> <dialogue>I'm supposed to be on a diet, Scott.</dialogue> <scene_description>The others head for the showers --</scene_description> <character>SCOTT</character> <dialogue>Guys -- '?</dialogue> <scene_description>Chubby follows, leaving Scott with Finstock who shrugs.</scene_description> <character>SCOTT</character> <dialogue>Coach. What's the matter with them?</dialogue> <character>97.</character> <dialogue>Finstock looks thoughtfully at Scott. the boy's shoulder.</dialogue> <character>CONTINUED:</character> <dialogue>He puts his hand on</dialogue> <character>FINSTOCK</character> <dialogue>Let me give you some good advice. Don't ever lose sleep over some- thing you can't do anything about.</dialogue> <scene_description>Finstock winks and slaps Scott on the back.</scene_description> <character>FINSTOCK</character> <dialogue>Great game, Scotty.</dialogue> <character>98.</character> <dialogue>Scott sadly walks along the empty corridor.</dialogue> <character>INT. BEACONTOWN HIGH SCHOOL - CORRIDORS - AFTERNOON</character> <dialogue>With a frustrated slap, he pushes open the door to a BOYS ROOM and enters.</dialogue> <character>99.</character> <dialogue>INT.</dialogue> <scene_description>Scott runs water in the sink. He looks up at his face in the mirror. He frowns. He splashes water on himself. Reaching out toward the soap·-- something catches his eye: A BLACK MARKING CRAYON. Curiously, he picks it up to examine it -- CJ He jumps! Reflected in the mirror is Thorne stepping out of a stall.</scene_description> <character>THORNE</character> <dialogue>Aha!</dialogue> <scene_description>Scott turns. He looks down at the crayon in his hand.</scene_description> <character>THORNE</character> <dialogue>Now. Let 1 s see your handiwork.</dialogue> <scene_description>Thorne points along the walls. They are full of grafitti: THORNE BLOWS - THORNE IS A DICKHEAD - THORNE IS A PRICK.</scene_description> <character>SCOTT</character> <dialogue>I had nothing to do with</dialogue> <character>THORNE</character> <dialogue>Silence.</dialogue> <scene_description>Thorne turns and directly faces Scott. They lock eyes. 99. CONTINUED: 99.</scene_description> <character>THORNE</character> <dialogue>You've gotten away with far too much around here, Howard. Every dog has its day and that day i s ~ -</dialogue> <character>SCOTT</character> <parenthetical>(getting angry)</parenthetical> <dialogue>But you know I didn't write those things!</dialogue> <character>THORNE</character> <dialogue>Are you threatening me?</dialogue> <character>SCOTT</character> <dialogue>·No, sir</dialogue> <character>THORNE</character> <dialogue>Fine. Now, Howard. Get a bucket and some old rags. You've got work to do.</dialogue> </scene> <scene> <stage_direction>INT. BEACONTOWN HIGH SCHOOL - BOYS ROOM #2 - LATER</stage_direction> <scene_description>Scott is scrubbing the graffiti off the walls. He's pissed off at everything. The words he's working on are: THOR.~E IS A COC -- Stiles bursts in</scene_description> <character>STILES</character> <dialogue>Scott. What the hell are you doing?</dialogue> <character>SCOTT</character> <dialogue>Thorne caught me.</dialogue> <character>STILES</character> <dialogue>Thorne. Thorne! You don't have to take any crap from him. You could rip him apart. You're the Teen Wolf! You don!t have to take anything from anybody.</dialogue> <scene_description>Stiles whips a marking pen out of his own pocket and writes in huge letters on a freshly cleaned wall: THOR.~E SUCKS!</scene_description> <character>SCOTT</character> <dialogue>· Stiles. You're right!</dialogue> <scene_description>Scott picks up the crayon and inserts the word "REALLY" into Stiles' workmanship, so it now reads: THORNE REALLY SUCKS!</scene_description> <character>STILES</character> <dialogue>Now you're cooking.</dialogue> <scene_description>(anxious) · Okay. Ditch that bucket and junk and meet me in the parking lot right away. -77-: 100. CONTINUED: 100.</scene_description> <character>SCOTT</character> <dialogue>Why?</dialogue> <character>STILES</character> <parenthetical>(on the way out the door)</parenthetical> <dialogue>Just do it!</dialogue> <scene_description>101. EXT, BEACONTOWN HIGH SCHOOL - PARKING LOT - AFTERNOON 101. Scott is all alone, looking around.</scene_description> <character>SCOTT</character> <dialogue>Stiles?</dialogue> <scene_description>A RED VW BUS comes toward him from across the lot. It's coming head on! Not knowing which way to move, Scott freezes up The VW Bus comes to a screeching halt inches in front of him. Out leaps Stiles.</scene_description> <character>SCOTT</character> <dialogue>Where'd you get this?</dialogue> <character>STILES</character> <dialogue>Harry's Used Cars. Traded in the Tempest. Even swap.</dialogue> <scene_description>Scott looks it over. It has seen a better day, but it is in far better condition than the Tempest.</scene_description> <character>SCOTT</character> <dialogue>Even swap? No way. How much extra did this cost?</dialogue> <character>STILES</character> <dialogue>Even swap! For certain considerations. Lookey here</dialogue> <scene_description>Stiles leads Scott to the side of the VW Bus. Painted on it is a huge, elaborate HEAD SHOT OF TEEN WOLF and in large lettering: "WOLFMOBILE - COURTESY OF HARRY'S USED CARS" A smile finally returns to Scott.</scene_description> <character>SCOTT</character> <dialogue>Let's find Lewis.</dialogue> <scene_description>Stiles doesn't say anything and won't look Scott in the eye.</scene_description> <character>SCOTT</character> <dialogue>Lewis's avoiding me, huh? He's afraid of me, isn't he? \*</dialogue> <dialogue>STILES</dialogue> <character>101.</character> <dialogue>Forget him. He's lame. We've got some fine new wheels some good tunes --</dialogue> <character>SCOTT</character> <dialogue>You're right. Stiles, the Surf is definitely~</dialogue> <character>STILES</character> <dialogue>Abso-tively!</dialogue> <character>CLOSE ON STILES</character> <dialogue>ashes-tarts to climb up to the roof of the Wolfmobile. Just as he reaches it, he's grabbed by a hairy paw. Teen Wolf pulls him down.</dialogue> <scene_description>I ' TEEN WOLF No, Stiles. These waves are mine. Stiles is taken by surprise, but he's pleased --</scene_description> <character>STILES</character> <dialogue>0 Posi-lutely!</dialogue> <scene_description>The "URBAN SURFIN'" song begins as we CUT TO:</scene_description> <character>102.</character> <dialogue>Blasting down Main • Street, Teen Wolf is on top of the Wolfmobile</dialogue> <character>EXT.</character> <dialogue>doing incredible "Surfer" stunts. He "Hangs Ten". Even "Five". He does flips. And hand stands. He howls as his fur blows in the wind.</dialogue> <character>103.</character> <dialogue>INT.</dialogue> <scene_description>Stiles finishes a can of beer and gleefully tosses it out the window. 104. EXT. BEACONTOWN CENTER - HAROLD HOWARD'S HARDWARE-IMMEDIATELY The beer can rolls along the sidewalk in front of the Hardware Store. It stops at Harold's feet. He picks it up. He unhappily watches the Wolfmobile and the Teen Wolf Surfer disappear out of town. He tosses the beer can into a trash can.</scene_description> <character>105.</character> <dialogue>Harold sits alone at the table, some store records and an</dialogue> <character>INT.</character> <dialogue>adding machine in front of him. The front door slams (o.s.). Harold removes his spectacles and rubs his eyes.</dialogue> <character>105.</character> <dialogue>HAROLD</dialogue> <character>CONTINUED:</character> <parenthetical>(calling out)</parenthetical> <dialogue>In here, Son.</dialogue> <scene_description>Scott comes in looking rather tired. He sits down opposite his father.</scene_description> <character>HAROLD</character> <dialogue>I've missed you at the store the last few days.</dialogue> <character>SCOTT</character> <dialogue>Yeah, I know. I'm sorry. I was with Stiles this afternoon.</dialogue> <character>HAROLD</character> <dialogue>I know.</dialogue> <character>SCOTT</character> <dialogue>You saw?</dialogue> <scene_description>Harold nods. Scott's slightly ashamed. 0 HAROLD What's the matter? Things going badly for you?</scene_description> <character>·SCOTT</character> <dialogue>I don't know what it is, but there's something inside of me that gets so angry I'd like to take Mr. Thorne and this guy Mick -- and tear them to pieces.</dialogue> <character>HAROLD</character> <dialogue>Thorne's still giving you a hard time.</dialogue> <character>SCOTT</character> <dialogue>He's got it in for me.</dialogue> <character>HAROLD</character> <dialogue>Not really. It's me he hates.</dialogue> <scene_description>Scott doesn't understand.</scene_description> <character>HAROLD</character> <dialogue>It goes back years. It's a little embarrassing.</dialogue> <character>SCOTT</character> <dialogue>Tell me. I want to know.</dialogue> <scene_description>-80-:</scene_description> <character>105.</character> <dialogue>r?\ v'</dialogue> <character>CONTINUED:</character> <dialogue>Harold gets up and puts the kettle on.</dialogue> <character>HAROLD</character> <dialogue>Well. You know I loved your mother ever since we were kids. And we both knew we were meant for each other. But, Rusty Thorne set his cap for her too and no matter what we tried, he just wouldn't go away.</dialogue> <scene_description>He takes a cup and a tin of cocoa down from a shelf.</scene_description> <character>HAROLD</character> <dialogue>So. I did something I promised myself. I would never do.</dialogue> <scene_description>Scott jumps to the conclusion.</scene_description> <character>SCOTT</character> <dialogue>You turned into the werewolf.</dialogue> <character>HAROLD</character> <dialogue>Right in front of his face.</dialogue> <scene_description>(beat) . Scared? He turned gray all over. 0 I told him that if he ever came near your mother again He drops two tablespoons of cocoa in his cup. He then looks right at Scott.</scene_description> <character>HAROLD</character> <parenthetical>(unabashedly)</parenthetical> <dialogue>I'd eat him up. Not very nice of</dialogue> <scene_description>me. But, darn it, it worked. They share a quiet laugh, but as Harold thinks about it, he stops.</scene_description> <character>HAROLD</character> <dialogue>He hasn't spoken to me since. And to this day, I can't really be sure who was more frightened that night. Old Rusty Thorne. Or me.</dialogue> <scene_description>Scott thinks about this. The kettle whistles. Harold pours himself a cup of cocoa.</scene_description> <character>106.</character> <dialogue>EXT.</dialogue> <scene_description>Scott leaves the house carrying a bookbag. By the front door he stumbles on something nearly falling.· It's a neat pile of bones: DOG BONES. He looks over at Daisy's yard and she sits wagging her tail. {CON'TINUED):</scene_description> <character>106.</character> <dialogue>SCOTT</dialogue> <character>CONTINUED:</character> <dialogue>Thanks, Daisy.</dialogue> <character>BOOF</character> <parenthetical>(o.s.)</parenthetical> <dialogue>You're welcome.</dialogue> <scene_description>Scott turns around to catch Boof cutting across his lawn toward him carrying her books. He smiles, very glad to see a friendly face.</scene_description> <character>BOOF</character> <dialogue>Going my way?</dialogue> <character>SCOTT</character> <dialogue>Sure. Anytime.</dialogue> <character>BOOF</character> <dialogue>That's encouraging.</dialogue> <character>SCOTT</character> <dialogue>Why? What's up?</dialogue> <scene_description>They start on their way.</scene_description> </scene> <scene> <stage_direction>0 107. EXT. NEIGHBORHOOD SIDEWALKS - WALKING - IM!.'1EDIATELY 107.</stage_direction> <character>BOOF</character> <dialogue>Got any plans for the Spring Dance?</dialogue> <character>SCOTT</character> <dialogue>Haven't given it a thought.</dialogue> <character>BOOF</character> <dialogue>I'm surprised they haven't decided to call it the "Teen Wolf Ball."</dialogue> <scene_description>Scott doesn't respond.</scene_description> <character>BOOF</character> <dialogue>Pamela already has a date.</dialogue> <character>SCOTT</character> <dialogue>I know.</dialogue> <character>BOOF</character> <dialogue>But you still think you have a chance with her.</dialogue> <character>SCOTT</character> <dialogue>I think she still likes me.</dialogue> <scene_description>Boof shakes her head knowing better. -82-:</scene_description> <character>107.</character> <dialogue>BOOF</dialogue> <character>CONTINUED:</character> <dialogue>She likes being seen with the biggest celebrity ever to hit Beacontown.</dialogue> <character>SCOTT</character> <dialogue>I don't feel much like a celebrity. Do you want to go the dance with me?</dialogue> <character>BOOF</character> <parenthetical>(beat)</parenthetical> <dialogue>I'll think about it.</dialogue> <character>SCOTT</character> <dialogue>Is that a "Yes."?</dialogue> <character>BOOF</character> <dialogue>Yes. But on one condition. You take me to the dance.</dialogue> <scene_description>Scott doesn't understand what she means.</scene_description> <character>BOOF</character> <dialogue>You. Scott Howard. Not the Wolf.</dialogue> <character>SCOTT</character> <parenthetical>(stunned)</parenthetical> <dialogue>No. I mean, I have to be the Wolf. That's what everyone expects.</dialogue> <character>BOOF</character> <dialogue>-</dialogue> <scene_description>Is that what vou want?</scene_description> <character>.</character> <dialogue>SCOTT</dialogue> <scene_description>But -- everyone likes the Wolf almost everyone -- you said it yourself. If I go as Scott Howard (a little scared} I'll be -- ordinary aga~n. Why should I be like everyone else? BOOF I don't think that's a problem for you anymore. (beat) And I guess I don't have a date for the dance.</scene_description> <character>SCOTT</character> <dialogue>I'm sorry, Bcof, I can't.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You'll still dance with me, won't you? Even if I'm a werewolf?</dialogue> <scene_description>. -83-:</scene_description> <character>107.</character> <dialogue>0</dialogue> <character>CONTINUED:</character> <dialogue>107.</dialogue> <character>BOOF</character> <dialogue>Sure. Why not? I haven't changed. I'm still an idiot.</dialogue> <scene_description>DISSOLVE TO:</scene_description> <character>108.</character> <dialogue>The Teen Wolf Theme booms'out. Teen Wolf stands in front of</dialogue> <character>INT.</character> <dialogue>a mirror, shaking to the beat, using the blow dryer all over his fur -- smoothing it back -- combing his face. He stuffs his furry.body into a tight white formal suit.</dialogue> <dialogue>On his wall is a huge B &amp; W poster of LON CHANEY AS THE WOLFMAN. Teen Wolf holds up a fist and shakes it at the poster</dialogue> <character>TEEN WOLF</character> <dialogue>Lon Chaney! Nurnero Uno!</dialogue> <scene_description>He looks in the mirror, straightens his collar, and snarls happily.</scene_description> <character>TEEN WOLF</character> <parenthetical>(remembering Stiles' words)</parenthetical> <dialogue>0 What can I say? You're beautiful.</dialogue> <character>109.</character> <dialogue>INT.</dialogue> <scene_description>Teen Wolf walks through the halls to the gym. Everything has been decorated for the dance. He waves at other KIDS. They either wave back -- or howl at him. •A WOMAN in a formal gown -- one of the chaperones -- holding a TODDLER comes up to him.</scene_description> <character>WOMAN</character> <dialogue>Scott, would·you mind, we'd love to have a picture of you holding our little Elliot.</dialogue> <character>TEEN WOLF</character> <dialogue>Why not?</dialogue> <scene_description>Teen Wolf holds Little Elliot so that they both face the Woman who is now holding an Instamatic camera. Little Elliot turns his head and looks at Teen Wolf's face pulling on some facial fur. Teen Wolf GROWLS playfully at him. Little Elliot SCREAMS and starts crying. The Woman grabs her boy out of Teen Wolf's hands and with a dirty look, she stomps off -- Teen Wolf is left with a "Why me?" look on his face. He sighs. -84-:</scene_description> <character>110.</character> <dialogue>INT.</dialogue> <scene_description>They're all here. Team members. Cheerleaders. Teachers. Finstock in a plaid, checked sports jacket. Stiles in an Everly Brothers type suit with a T-shirt under it; printed on the shirt. is a photo of Stiles with the words "WOLF BUDDY". Lewis dances with Tina. Gina dances with Chubby. Harold stands among the chaperones in a suit with a boutonniere. Thorne paces back and forth, keeping an eye always on Teen Wolf. There are posters and banners on the walls: BEAT THE DRAGONS! BEAVERS ALL THE WAY! SHOTS OF TEEN WOLF IN ACTION. "Fans" slap Teen Wolf on the back. Up ahead, Teen Wolf sees Pamela standing apart from the rest, dressed in blue, looking like an Ice Princess . . Teen Wolf approaches. She has only a slight smile for him.</scene_description> <character>TEEN WOLF</character> <dialogue>Pamela. I hope you'll save a dance or two for me.</dialogue> <character>PAMELA</character> <dialogue>You'll have to ask my escort.</dialogue> <scene_description>She looks behind Teen Wolf. Mick, in a beautiful blue, 0 three-piece-suit stands behind him. Teen Wolf turns.</scene_description> <character>MICK</character> <parenthetical>(to Pamela)</parenthetical> <dialogue>Stay away from him tonight. I'm warning you.</dialogue> <character>PAMELA</character> <dialogue>I think you better go, Scott.</dialogue> <scene_description>Teen Wolf and Mick lock stares, but Teen Wolf backs away.</scene_description> <character>AT THE DOORWAY</character> <dialogue>Teen Wolf sees Boof entering. She is beautiful -- like Cinderella. They walk from opposite ends of the gym toward each other. As they meet:</dialogue> <character>TEEN WOLF</character> <dialogue>Still mind dancing with a werewolf?</dialogue> <character>BOOF</character> <dialogue>No. I guess not.</dialogue> <scene_description>The Crowd begins chanting --</scene_description> <character>THE CROWD</character> <dialogue>Wolf! Wolf! Wolf!</dialogue> <character>{CONTINUED)</character> <character>110.</character> <dialogue>BOOF</dialogue> <character>CONTINUED:</character> <parenthetical>(quietly)</parenthetical> <dialogue>Your public wants you.</dialogue> <character>A FAN</character> <dialogue>Corne on, Scott, do "The Wolf"!</dialogue> <character>THE CROWD</character> <dialogue>Do "The Wolf"! Do "The Wolf"!</dialogue> <character>TEEN WOLF</character> <parenthetical>(to Boof)</parenthetical> <dialogue>Is it okay?</dialogue> <scene_description>She smiles and nods her head. The Crowd forms a circle around him. Teen Wolf takes Boof by the hand and leads her in a rendition of "The Wolf" -- It is a dance mixing broad animal gestures, with some of Scott's scratching, and an occasional howl -- all in time to the music. One by one, nearly all the kids join in mimicking these movements. Stiles glides by dancing with Miss Hoyt, the Latin teacher. Lewis and Tina dance beside Boof and Teen Wolf. O· Lewis is still a little uneasy near Teen Wolf, but he smiles bravely.</scene_description> <character>STILES</character> <parenthetical>(suddenly yelling)</parenthetical> <character>CONGA!</character> <dialogue>All at once, all the dancers form a Conga line with Teen Wolf at the lead, and Boof right.behind him. Stiles is on the end. Everyone is having a ball, except for Thorne who frowns -- AND OFF TO ONE SIDE Pamela and Mick watch the proceedings. Pamela bounces ever so slightly with the beat, but when she takes a step to join the Conga line, Mick yanks her back to his side. The Conga Line suddenly reverses direction, with Stiles at the head of the line and Teen Wolf and Boof on the tail. At this moment, Boof grabs Teen Wolf by the hand and they run off the dance floor. 111. INT. BEACONTOWN HIGH SCHOOL - CORRIDORS - NIGHT 111. She hurries them down a dark corridor. Boof is out of breath. They both laugh. As they stop, she gets thoughtful.</dialogue> <character>BOOF</character> <dialogue>What am I going to do about you?</dialogue> <character>REVISED 10/1/84</character> <scene_description>111. CONTINUED: 111.</scene_description> <character>TEEN WOLF</character> <dialogue>I am what I am.</dialogue> <scene_description>Undaunted, she impulsively kisses him on the mouth. He kisses back. They embrace -- slipping into the SHADOWS When they step back out into the light, we see that it is Scott she is kissing now. Scott pulls back surprised. Boof has an ear-to-ear grin.</scene_description> <character>SCOTT</character> <dialogue>What happened?</dialogue> <character>' BOOF</character> <dialogue>I'm not complaining. \*</dialogue> </scene> <scene> <stage_direction>INT. BEACONTOWN H.S. - THE GYM AS DANCE - IMMEDIATELY</stage_direction> <scene_description>Mick's temper flares --</scene_description> <character>PAMELA</character> <parenthetical>(explaining)</parenthetical> <dialogue>All I said was, I might want to dance with him --</dialogue> <character>MICK</character> <dialogue>You can't possibly take him seriously. Not unless you're planning on having his puppies!</dialogue> <scene_description>Pamela just smiles -- 113. INT. BEACONTOWN HIGH SCHOOL - CORRIDOR - IV.iMEDIATELY 113.</scene_description> <character>SCOTT</character> <dialogue>But, I changed back to me --</dialogue> <scene_description>Boof kisses him again.</scene_description> <character>BOOF</character> <dialogue>Don't you believe in fairy tales?</dialogue> <character>SCOTT</character> <dialogue>No. Should I?</dialogue> <character>BOOF</character> <dialogue>Let me have Scott for a half an hour. I really miss him.</dialogue> <scene_description>Scott nods slowly. He kisses her lightly. A tear comes to her eye. REVISED 10/7/84: -87-\*:</scene_description> <character>113.</character> <dialogue>SCOTT</dialogue> <character>CONTINUED:</character> <parenthetical>(signing)</parenthetical> <dialogue>Gawd. I can be!.£ lame.</dialogue> <character>BOOF</character> <parenthetical>(hugging him)</parenthetical> <dialogue>Yeah. But lt's okay now.</dialogue> <scene_description>They walk back to the dance arm-in-arm. 114. INT. BEACONTOWN H.S. -THE GYM AS DANCE - IMMEDIATELY 114.\* There seems to be general disappointment upon seeing Scott instead of Teen Wolf. Harold, however, is pleased, especially to see him holding hands with Boof. Micks reaction couldn't be more to the opposite. Furious he strides toward Scott. Before Scott can react, Mick punches him in the mouth, knocking him to the floor. Mick stands over him. A crowd of students gather around Boof is frozen wide-eyed. Pamela steps cautiously toward them --</scene_description> <character>MICK</character> <dialogue>Stay away from Pamela. She's mine.</dialogue> <scene_description>Boof crouches down to help Scott up 0 MICK Stick with your own kind, freak. Like that little tramp -- Boof looks devastated. Mick turns his back to Scott -- Pamela points to behind Mick and screams~</scene_description> <character>PAMELA</character> <dialogue>Mick, look out!</dialogue> <scene_description>With a roar, Teen Wolf leaps to his feet -- Ee takes a wild swipe with his claws at Mick who barely dodges them -- A GIRL SCREAMS -- And for a beat it stops -- Teen Wolf -- shaken by his action -- looks down at the remains of Mick's shirt and vest shreaded in his paw -- THEN, almost everyone starts to laugh -- il Mick! Barechested, Mick is revealed to have a flowery tattoo with the word "MOM" -- In a frenzy, Mick tries to get at Teen Wolf, but Finstock, Brad, and Chubby hold him back as -- Pamela steps between them --</scene_description> <character>PAMELA</character> <dialogue>What are you all laughing at?</dialogue> <parenthetical>(to Scott-disgusted)</parenthetical> <dialogue>You're just.some kind of animal.</dialogue> <character>10/7/84</character> <dialogue>e laughter continues -- but Teen Wolf is no</dialogue> <scene_description>He steps back -- and at that moment, he mak;; Lewis. A look of fear is frozen on Lewis' fa Teen Wolf as well -- The Crowd parts as Teen Wolf runs off toward Boof wants to follow, but Tina and Gina stand holding down her arms .. --. Mick tries to break free of Finstock·and the</scene_description> <character>MICK</character> <dialogue>Get back'.here, you! This i</dialogue> <scene_description>I finished! Not by a long sh</scene_description> <character>115.</character> <dialogue>INT.</dialogue> <scene_description>t Teen Wolf runs like a possessed man -- and ri He stops.</scene_description> <character>THORNE</character> <dialogue>Now you've done it. You do</dialogue> <scene_description>i. how long I've waited to get I have you now. You'll nev basketball again. This tow be better off if you just m</scene_description> <character>HAROLD</character> <parenthetical>(o.s.)</parenthetical> <dialogue>Thorne!</dialogue> <scene_description>Mr. Thorne looks with horror as Harold comes</scene_description> <character>HAROLD</character> <dialogue>Go home, son. Go ahead. I</dialogue> <scene_description>Teen Wolf backs out to the door and runs off</scene_description> <character>THORNE</character> <dialogue>(stepping away from Ha 0 You stay away from me -- HAROLD (calm) Rusty. You'll never learn. Harold comes toward him, his eyes glowing a s</dialogue> <character>THORNE</character> <dialogue>All right. Whatever you say</dialogue> <scene_description>A low growl slips out of Harold's mouth.</scene_description> <character>HAROLD</character> <dialogue>I want you to leave my son He's a good boy. He's just right now.</dialogue> <scene_description>-89-:</scene_description> <character>115.</character> <dialogue>Thorne trips backwards and up against a wall. Harold keeps</dialogue> <character>CONTINUED:</character> <dialogue>coming. Thorne tries to speak, but words won't come out. Harold smiles warmly and puts his arm around Thorne's shoulders.</dialogue> <character>HAROLD</character> <dialogue>I knew I could count on you, Rusty.</dialogue> <character>116.</character> <dialogue>EXT.</dialogue> <scene_description>Scott, in his rumpled dance outfit, sits alone on the front stoop, deep in thought: The Walkman is on his head; he listens to the Teen Wolf theme played slower and sadder. He is startled. He looks down. Daisy is licking his hand. He removes the headphon~s and pats her head. Daisy lies by his feet and curls up. She whines.</scene_description> <character>SCOTT</character> <dialogue>Yeah, I know. We've both·got problems, but there's not much we can do to help each other.</dialogue> <scene_description>Daisy looks up at him with sympathetic sad eyes. The Hardware Van pulls up to the house. Harold gets out and saunters over to Scott. With a tired groan, 0 Harold sits down on the stoop next to his son. Harold scratches Daisy behind her ears.</scene_description> <character>HAROLD</character> <dialogue>I see you two have finally become friends.</dialogue> <character>SCOTT</character> <dialogue>Yeah. Daisy likes me.</dialogue> <character>HAROLD</character> <parenthetical>(after a beat)</parenthetical> <dialogue>So. Rusty Thorne won't be bothering you anymore.</dialogue> <scene_description>Scott and Harold exchange knowing smiles.</scene_description> <character>SCOTT</character> <parenthetical>(quietly)</parenthetical> <dialogue>Thanks.</dialogue> <scene_description>They stare into the night for a moment</scene_description> <character>SCOTT</character> <dialogue>I really could have hurt Mick. I know I wanted to.</dialogue> <character>116.</character> <dialogue>HAROLD</dialogue> <character>CONTINUED:</character> <dialogue>But. You didn't.</dialogue> <character>SCOTT</character> <dialogue>I can't let that happen. Ever again.</dialogue> <character>HAROLD</character> <dialogue>Sounds like you've made a decision.</dialogue> <character>SCOTT</character> <dialogue>No more wolf. Never. I can't. I might kill somebody.</dialogue> <scene_description>Harold lays a hand on Scott's knee.</scene_description> <character>HAROLD</character> <dialogue>No. You won 't. When the time is \* right, you'll know when to use the \* wolf. \*</dialogue> <character>SCOTT</character> <dialogue>I don't think so. You're the one \* who said it: With great power comes great resposibility. So far, I've blown it.</dialogue> <scene_description>() HAROLD That's a matter of opinion. But if you don't become the wolf anymore, aren't your afraid of losing your friends? The Championship Game is corning up. Scott thinks about this for only a moment.</scene_description> <character>SCOTT</character> <dialogue>Well, I'll still have Daisy.</dialogue> <scene_description>He pets the dog and looks at Harold</scene_description> <character>SCOTT</character> <dialogue>And you, Dad.</dialogue> <scene_description>Harold nods, beaming with pride for his son.</scene_description> <character>HAROLD</character> <dialogue>That you will.</dialogue> <scene_description>Harold takes out a handkerchief and blows his nose.</scene_description> <character>117.</character> <dialogue>Stiles' table selling Wolf T-Shirts has expanded to</dialogue> <character>INT.</character> <dialogue>Teen Wolf buttons and photographs.</dialogue> <scene_description>-91-: 117. CONTINUED: 117.</scene_description> <character>STILES</character> <parenthetical>(frantic)</parenthetical> <dialogue>You can't do this to me. What about my investment? There's a lot of money tied up here, man.</dialogue> <character>SCOTT</character> <dialogue>I'm sorry. But it's over. I'm not going to be the wolf any more.</dialogue> <character>STILES</character> <parenthetical>(hushed)</parenthetical> <dialogue>Wouldya keep it under your hat for a few days until I get rid of this stuff?</dialogue> <character>SCOTT</character> <dialogue>No. The whole thing's got to stop.</dialogue> <character>STILES</character> <dialogue>I'm supposed to be your best friend. What about me?</dialogue> <character>SCOTT</character> <dialogue>I'll make it up to you. I promise.</dialogue> <character>STILES</character> <dialogue>It's not just the money.</dialogue> <parenthetical>(he stops to think)</parenthetical> <dialogue>It's not the money at all. Scott, I've always been the class idiot. Lots of laughs, sure -- but friends? Not really.</dialogue> <scene_description>Stiles comes around the table and puts his hand on Scott's shoulder.</scene_description> <character>STILES</character> <dialogue>Being the Teen Wolf's sidekick -- It's been the first time that I feel like I'm not an outsider in this school. And that's meant a lot to me.</dialogue> <character>SCOTT</character> <dialogue>I'm sorry, Stiles.</dialogue> <character>STILES</character> <parenthetical>(not missing a beat)</parenthetical> <dialogue>Willya give me forty-eight hours to unload this junk? I'll cut my prices in half.</dialogue> <scene_description>REVISED 10/7/84 -92-\*:</scene_description> <character>117.</character> <dialogue>Scott throws his hands up in exasperation.</dialogue> <character>CONTINUED:·</character> <dialogue>SCOTT</dialogue> <scene_description>Do what you want. I don't care. \* Cheezeball. \*</scene_description> <character>STILES</character> <dialogue>That's my pal.</dialogue> <scene_description>Stiles gets busy changing all the signs to half price. Scott continues on to his locker. He walks past Brad and Chubby at their's. As he passes, he hears their "Cluck-cluck-cluck" and "Squawks" Scott hesitates, but decides not to acknowledge them. He.reaches his locker. It's partially open. He slowly pulls back the door -- A RUBBER CHICKEN is hanging there.with a note: EAT ME. Brad and Chubby (o.s.) can be heard guffawing. Scott pulls down the chicken and in doing so, knocks several books to the floor. He bends down to get them -- ANOTHER HAND picks them up for him. On top of the stack 0 is a copy of "You Can't Go Home Again. 11 Scott sees that its Lewis who is helping him. Lewis gives him the books. Scott manages a nervous smile. Lewis nods and smiles.</scene_description> <character>118.</character> <dialogue>OMIT.</dialogue> <character>119.</character> <dialogue>INT.</dialogue> <scene_description>Pamela is in full costume, center stage. A spotlight is on her. There is the (o.s.) sound of HORSES GALLOPING. -93-:</scene_description> <character>119.</character> <dialogue>PAMELA</dialogue> <character>CONTINUED:</character> <parenthetical>(heavy Southern accent)</parenthetical> <dialogue>Is that the sound of horses or is it the pounding of my heart?</dialogue> <scene_description>Scott comes on stage, in the Union Officer's uniform. His entrance is followed by a spotlight. Taking his place next to Pamela, Scott draws his sword.</scene_description> <character>LOLLEY</character> <parenthetical>(o. s.)</parenthetical> <dialogue>Hold it!</dialogue> <scene_description>Lolley leaps up on to the stage, extremely harried.</scene_description> <character>LOLLEY</character> <dialogue>This is a full dress rehearsal. I need to see the Wolf. Hurry. "Wolf it up" or whatever you do.</dialogue> <character>SCOTT</character> <dialogue>I. I can play the part just well as myself, Mr. Lolley.</dialogue> <scene_description>0 LOLLEY (big gaffaw) But that's ridiculous. No one wants to see you.</scene_description> <character>SCOTT</character> <dialogue>But I don't want to be the wolf.</dialogue> <scene_description>Lolley has no more patience for this.</scene_description> <character>LOLLEY</character> <dialogue>I see. Well. It's as simple as this: No Wolf, no part in the play. Now. •What do you think of that?</dialogue> <scene_description>Scott thinks it stinks. He looks to Pamela for support, she won't even acknowledge that he's there. Scott drops the sword at Lolley's fee~ and storms out.</scene_description> <character>LOLLEY</character> <parenthetical>(to Pamela)</parenthetical> <dialogue>What an ungrateful boy!</dialogue> <character>120.</character> <dialogue>EXT.</dialogue> <scene_description>Scott and Boof walk along the streets near Scott's house •. - They carry their bookbags, etc. from school.</scene_description> <character>120.</character> <dialogue>SCOTT</dialogue> <character>CONTINUED:</character> <dialogue>Actually, I'm glad it's over. Being the wolf was nothing but trouble.</dialogue> <character>BOOF</character> <dialogue>I do~•t know. I think he acted rather gallant at the dance p~otecting a lady's honor.</dialogue> <character>SCOTT</character> <dialogue>I'm telling the Coach tomorrow.</dialogue> <character>BOOF</character> <dialogue>You're really quitting the team?</dialogue> <character>SCOTT</character> <dialogue>They want the wolf. What could I give them? I'm a lousy player.</dialogue> <character>BOOF</character> <dialogue>Are you?</dialogue> <character>SCOTT</character> <dialogue>You've seen me. I suck.</dialogue> <character>BOOF</character> <dialogue>So, you're going to, pardon the</dialogue> <scene_description>0 expression, turn tail and run. Scott just nods.</scene_description> <character>BOOF</character> <dialogue>Wanna bet?</dialogue> <character>SCOTT</character> <dialogue>What do you mean?</dialogue> <character>BOOF</character> <dialogue>I mean, while you were the Wolf, part of you had to still be Scott or he would have torn Mick's head off. Doesn't it make sense that while you're Scott, part of you is still the Wolf?</dialogue> <character>SCOTT</character> <dialogue>Yeah. But the question is -- Is that the part that plays Basketball?</dialogue> <character>BOOF</character> <parenthetical>(innocent laugh)</parenthetical> <dialogue>There's only one way to find out.</dialogue> <scene_description>Scott watches her walk away toward her house as if he's seeing her for the first time. REVISED 10/7/84 -95-\*:</scene_description> <character>121.</character> <dialogue>(""?,\ u</dialogue> <character>INT. BEACONTOWN H.S. - THE GYM - NIGHT</character> <dialogue>The Banner says i t all: REGIONAL CHAMPIONSHIP-BEAVERS VS. DRAGONS Pius there are signs: SLAY THE DRAGONS-GO,WOLF,GO!-BEAVERS WIN!</dialogue> <character>IN THE STANDS</character> <dialogue>Stiles desperately weaves in and out, trying to sell off the last of the Teen Wolf paraphernalia. The Crowd isn't happy -- and it's clear why:</dialogue> <character>THE SCOREBOARD-BUZZES:</character> <dialogue>BEAVERS 3, VISITORS 14</dialogue> <character>ON THE COURT</character> <dialogue>Brad has the ball. Shoots it quickly to Chubby. Mick comes screaming down the court -- slaps the ball away from Chubby and tosses it to Lemonade -- the Dragon's forward dunks it.</dialogue> <character>ON THE BEAVER BENCH</character> <dialogue>Finstock looks around nervously --</dialogue> <character>UPSET FAN #1</character> <dialogue>(o.s.} Hey Coach: What's the deal? Where's our Wolf?! !"1 \\_\_\_/</dialogue> <character>IN THE STANDS</character> <dialogue>Boof and Howard sit together -- they are both deadpan serious. A Coke cup sails right by Harold's head</dialogue> <character>UPSET FAN #2</character> <parenthetical>(o.s.)</parenthetical> <dialogue>Harold! Your boy gonna let us down?</dialogue> <character>THE CROWD</character> <dialogue>Wolf Now! Wolf NOW!</dialogue> <character>ON THE COURT</character> <dialogue>Chubby and Mick are going one-on-one. Actually, Mick is just toying with him -- dribbling right in front of him --</dialogue> <character>MICK</character> <dialogue>Get out of the way\_, .fat boy</dialogue> <scene_description>Mick shoots from thirty feet out -- Basket.</scene_description> <character>THE SCOREBOARD BUZZES:</character> <dialogue>BEAVERS 3, VISITORS 18</dialogue> <character>121.</character> <dialogue>CONTINUED:</dialogue> <character>AT AN EXIT DOOR</character> <dialogue>The door suddenly flies back. The Crowd cheers in anticipation! But when i t is SCOTT who comes out in uniform, not Teen Wolf -- there is SILENCE.</dialogue> <character>REACTIONS:</character> <dialogue>Boof swallows nervously. Pamela shakes her head. Mick's twisted grin returns. Finstock's confused.</dialogue> <scene_description>Finstock stops the game and runs to Scott. He puts his arm around the boy and talks conspiratorially.</scene_description> <character>FINSTOCK</character> <dialogue>Okay. So where's the Wolf?</dialogue> <character>SCOTT</character> <dialogue>I'm not changing into the wolf.</dialogue> <character>FINSTOCK</character> <parenthetical>(nervous chuckle)</parenthetical> <dialogue>You.' re right. Wait till the second</dialogue> <scene_description>0 half. Build up their confidence.</scene_description> <character>·SCOTT</character> <dialogue>I mean it. Not ever. I want to play. But it has to be me.</dialogue> <scene_description>Scott's look tells Finstock he's not kidding. Mildly surprised, Finstock starts for the bench -- then stops.</scene_description> <character>FINSTOCK</character> <dialogue>That means we're gonna lose, you know.</dialogue> <scene_description>Scott frowns as he takes the place of ANOTHER BEAVER on the court. The Crowd is uneasy -- anxious to see what happens The other Beavers look disappointed -- The Dragons have the ball. It's Mick's. Over to Lemonade -- Scott steals the ball! He heads for the basket -- but Mick extends an arm and clotheslines Scott. Scott hits the deck.</scene_description> <character>FINSTOCK</character> <parenthetical>(standing)</parenthetical> <dialogue>Hey! Foul!</dialogue> <character>MICK</character> <parenthetical>(over Scott)</parenthetical> <dialogue>I don't care if you turn into King Kong tonight. You're still dead meat.</dialogue> <character>121.</character> <dialogue>QB</dialogue> <character>CONTINUED:</character> <dialogue>Scott frowns as he steps up to the foul line.</dialogue> <character>THE CROWD</character> <dialogue>Wolf NOW! WOLF NOW!</dialogue> <scene_description>Scott looks up and over to THE STANDS Harold sits, calmly, a knowing smile on his face. Boof smiles -- she mouths the words "You can do it." ON THE COURT Mick sneers and cracks his knuckles.· Scott sets. Shoots. The ball bounces off the rim and into Brad's hands. Brad lays it up and -- in! The Crowd cheers! Brad marches right up to Scott.</scene_description> <character>BRAD</character> <dialogue>You're not going to sink this team. The hell with you and the hell with your·wolf. I'm still the team</dialogue> <scene_description>0 Captain and you're both benched! Brad signals for another player to take Scott's place.</scene_description> <character>MICK</character> <dialogue>That's the only place you're gonna be safe, freak!</dialogue> <scene_description>Scott hesitates, but leaves the c6urt. Sitting on the bench, Scott unhappily watches the Dragons immediately score.</scene_description> <character>FINSTOCK</character> <parenthetical>(to Scott)</parenthetical> <dialogue>Sure you won't change your mind?</dialogue> <scene_description>Scott shakes his head "No". Brad dribbles the ball -- with his free hand he signals the Beavers into position. He tosses it to Chubby, who passes it hard back to him. Brad bobbles it as Mick mows Brad down, locomotive style. The Crowd YELLS ANGRILY. Even Pamela is a little repulsed. Brad is on the floor, one leg doubled up underneath him. He's in .agony.</scene_description> <character>121.</character> <dialogue>With the help of Finstock and the Dragon's Coach Ed, Brad</dialogue> <character>CONTINUED:</character> <dialogue>is raised to his feet and he limps to the bench. The Beavers surround him. He's hurt and out of the game.</dialogue> <character>CHUBBY</character> <dialogue>I don't want to go back out there.</dialogue> <character>BRAD</character> <dialogue>This is all your fault, Howard.</dialogue> <scene_description>Scott stands off to one side. Suddenly, he comes fon.ard.</scene_description> <character>SCOTT</character> <dialogue>Come on.· I say we can take these guys.</dialogue> <character>CHUBBY</character> <dialogue>That's.fine, Scott. Now, when do we get to. see the Wolf?</dialogue> <character>SCOTT</character> <dialogue>No, Chubb. We know how to play this game. I'm better than I was. Maybe not as good as the Wolf, but good enough. If we ~lay together and don't give up, we can do it!</dialogue> <scene_description>0 What do you say? Guys? The Beavers don't say anything. Brad lets out a "HA!" THE WHISTLE BLOWS. AT CENTER COURT Scott has to jump against Mick. THE CROt-ID We Want OUR WOLF! We Want OUR WOLF!</scene_description> <character>MICK</character> <dialogue>You're dead.</dialogue> <character>SCOTT</character> <dialogue>Go for it.</dialogue> <scene_description>Mick laughs as they leap for it. Scott knocks Mick a little off balance and somehow comes up with the ball. He passes off to Chubby. Chubby's in the clear, takes half a step, and chucks the ball with all his might. It bounces hard off the backboard-- -- and into· the basket! No one is more surprised than Chubby. The Crowd loves it. REVISED 10/7/84 -98A.-\*:</scene_description> <character>121.</character> <dialogue>0</dialogue> <character>CONTINUED:</character> <dialogue>Lemonade has the ball. Scott steals i t and Mick knocks</dialogue> <scene_description>Scott hard to the floor. Harold and Boof wince. Pamela shakes her head. Scott scores the foul shot. More Cheers.</scene_description> <character>DISSOLVE TO:</character> <dialogue>Chubby passes the ball to Scott. Again Mick sends Scott to the floor. Scott gets up slowly, smiling at him.</dialogue> <character>MICK</character> <dialogue>You can't take much more of this.</dialogue> <character>SCOTT</character> <dialogue>As much as you can dish out.</dialogue> <scene_description>Woozy,Scott goes to the foul line and sets -- Scores.</scene_description> <character>THE SCOREBOARD BUZZES:</character> <dialogue>BEAVERS 20, VISITORS 32</dialogue> <character>CHAMPIONSHIP GAME MONTAGE</character> <dialogue>The Beaver's play is now inspired. For every basket the Dragons get, the Beavers make two. Finstock is so excited, he chews on a racing form. Scott and Mick trade baskets -- Mick gets one, the Scott scores. Mick is getting very angry. Pamela becomes more and more absorbed in Scott's performance. Harold an~ Boof can hardly contain themselves, jumping up and down. Mr. Thorne, off to one side, remains expressionless. Even Stiles is actually watching the game:</dialogue> <scene_description>-99-\*:</scene_description> <character>121.</character> <dialogue>CONTINUED:</dialogue> <scene_description>Lemonade tries to make a break up court. Chubby forces him to reverse -- he loses the ball -- Scott snatches i t up -- Mick charges him -- Scott tries to pass it off, but Mick's got him covered and is pressing him -- Scott hurls a hook shot from twenty feet out -- And Mick, having had enough, slams Scott to the floor. The ball bounces off the rim. THE WHISTLE SCREAMS. Scott looks up at Mick and grins -- very pleased.</scene_description> <character>MICK</character> <dialogue>What's so funny, dork?</dialogue> <character>REFEREE</character> <parenthetical>(to Mick)</parenthetical> <dialogue>You've got one more foul, son. Then you're out of the game.</dialogue> <scene_description>Mick is crazed with anger. The Ref hands the ball to Scott.·</scene_description> <character>MICK</character> <dialogue>You tricked me.</dialogue> <character>SCOTT</character> <dialogue>Come on. Play me one-on-one.</dialogue> <scene_description>0 Now we'll see who's better.</scene_description> <character>'</character> <dialogue>Scott tosses it to Chubby off court. Chubby puts it into play and sends it back to Scott. Mick lunges at Scott. Scott side-steps him. Mick, in a rage, chases Scott around the court. Scott dribbles circles around him.</dialogue> <character>IN THE STANDS</character> <dialogue>The Crowd thinks the two boys are fooling around, and they love it. But Boof is worried. And Pamela is too embarrassed for words.</dialogue> <character>ON THE COURT</character> <dialogue>MICK</dialogue> <scene_description>Gimme that ball! Scott drives hard for the basket and at the last instant, sends it in. Mick comes charging at him -- but catches himself and stops before he fouls Scott. Lemonade puts the ball in play. Mick snatches it up, fires down court, but Scott keeps up with him, putting the pressure on. Mick shoots. It hits the rim. Scott gets the rebound. He sen.ds the ball sailing toward the other end. A BEAVER player takes it in! REVISED 10/2/84 -100-\*:</scene_description> <character>121.</character> <dialogue>A very tired Lemonade puts the ball into play, and again,</dialogue> <character>CONTINUED:</character> <dialogue>Scott makes a spectacular steal, shoots around Mick and two· hands a long basket.</dialogue> <character>THE CROWD GOES INSANE.</character> <dialogue>Scott makes another free throw. Pamela brightens, straightening her hair, her eyes now fixed on Scott.</dialogue> <dialogue>Mick hits with a hook shot from fifteen feet out.</dialogue> <character>THE SCOREBOARD BUZZES:</character> <dialogue>BEAVERS 49, VISITORS 51</dialogue> <character>THE CLOCK:</character> <dialogue>FOUR SECONDS REMAIN.</dialogue> <character>THE CROWD</character> <dialogue>Go, Beaver, Go. Go, Beavers, Go!</dialogue> <scene_description>Even on the bench Finstock and Brad are chanting and the Cheerleaders -- Even Thorne is swept up in it -- The Beavers have .the.ball. The pressure on Scott is incredible. His eyes start to GLOW SOFTLY as he looks for an open Beaver -- 0 Mick is breathing right in Scott's face· --</scene_description> <character>SCOI'T</character> <dialogue>Control. You can do it. Control.</dialogue> <character>MICK</character> <dialogue>Corne on, freak, make your move --</dialogue> <scene_description>The GLOWING subsides. Chubby's open. Scott passes it to him. He breaks hard down center court -- a half a step in front of Mick. Chubby lets the ball sail to Scott. Scott lays it up -- Mick FOULS Scott with a full body block -- ! BUT THE BASKET IS GOOD!</scene_description> <character>THE SCOREBOARD BUZZES:</character> <dialogue>51 - 51.</dialogue> <character>REFEREE</character> <parenthetical>(pulling the reluctant Mick)</parenthetical> <dialogue>Sorry, son. You're out.</dialogue> <scene_description>The Crowd BOOS Mick's exit. But Mick stops. He stands right off the court under the basket as SCOTT STEPS UP TO THE FOUL LINE. The Dragon's Coach attempts pulling Mick away, but Mick shrugs him off. Mick just stands there staring Scott down. REVISED 10/2/84 -101-\*:</scene_description> <character>121.</character> <dialogue>Scott bounces the ball once. Sweat pours off his forehead.</dialogue> <character>CONTINUED:</character> <dialogue>The Crowd is suddenly SILENT,. Stiles lets out an impromptu HOWL -- breaking the Crowd up for a moment. Scott sets. Shoots. The ball goes around the rim. A twisted grin comes to Mick's face Scott lets out a tiny, but persuasive growl -- The Ball plops through the hoop. THE BEAVERS WIN THE CHAMPIONSHIP AND PANDEMONIUM BREAKS LOOSE. Harold and Boof hug. Even Thorne is impressed. The Crowd floods the floor, hugging Beaver players and jostling Mick. Mick tries to find Pamela in the Crowd and she is trying to find Scott. They meet --</dialogue> <character>MICK</character> <parenthetical>(grabbing Pamela's hand)</parenthetical> <dialogue>Let's blow outa here.</dialogue> <character>PAMELA</character> <parenthetical>(yanking it away)</parenthetical> <dialogue>Drop dead.</dialogue> <scene_description>0 Almost stunned, he watches as she -joins the Crowd -- Stiles zips by and dunks the paper Mache Wolf Head on Mick -- Mick rips it off and throws it hard to the ground. He stomps off toward the locker room. Finstock watches from the bench, grinning. The Dragon's Coach Ed comes toward him carrying the GAME BASKETBALL. With great solemnity, he puts the ball in Finstock's hands, pats him on the arm- and walks off. Finstock looks down at the basketball, puzzled by the gesture. He shrugs and tosses it aimlessly over his shoulder: Scott makes it through the Crowd. As he approaches the stands, up ahead is Pamela. She smiles as he gets nearer -- He smiles back -- her face flushes and ~he opens her arms to him Scott rushes right past her, without even acknowledging her -- and goes directly into Boof's arms.</scene_description> <character>SCOTT</character> <dialogue>Was that me out there?</dialogue> <character>BOOF</character> <dialogue>It always was.</dialogue> <scene_description>• They kiss .</scene_description> <character>124.</character> <dialogue>EXT.</dialogue> <scene_description>The merry making has continued outside. Scott and Boof, arm in arm, watch as everyone cheers. FIREWORKS go off in the sky. Bottles of CHAMPAGNE open in succession. Suddenly there is a SCREAM! The CROWD SCATTERS.</scene_description> <character>COMING ACROSS THE PARKING LOT</character> <dialogue>"URBAN SURFIN'" BLARING -- comes Stiles atop the Wolfmobile, his shirt off, Hanging Ten! Lewis is nervously at the wheel</dialogue> <character>STILES</character> <dialogue>Go, Beavs!</dialogue> <character>THE FRONT TIRE OF THE WOLFMOBILE</character> <dialogue>blows out!</dialogue> <character>SCOTT AND BOOF</character> <dialogue>watch with shock as the Wolfmobile careens out of control -- Stiles balances precariously atop -- Scott's eyes start tp GLOW!</dialogue> <scene_description>0 HELP!</scene_description> <character>STILES</character> <dialogue>The Wolfmobile is headed for a collision! Suddenly -- out of nowhere -- with a ROAR</dialogue> <dialogue>TEEN WOLF leaps up high off the ground -- over the Wolfmobile -- He grabs Stiles and they both tumble to safety.</dialogue> <dialogue>Lewis manages to'steer the Wolfmobile up against the curb -- it skids to a halt-~ Tina rushes to him. As he steps from the Wolfmobile, they hug.</dialogue> <dialogue>Teen Wolf helps Stiles' up.</dialogue> <character>STILES</character> <dialogue>TW! Did you catch that last wave?! Bi tchin' , huh?</dialogue> <character>TEEN WOLF!</character> <dialogue>Harold Howard emerges from the crowd, waving proudly to his son.</dialogue> <character>TEEN WOLF!</character> <dialogue>Boof runs up to Teen Wolf. With one arm around Boof, the</dialogue> <scene_description>• other stretched up in the air, holding Stiles arm up in Victory --</scene_description> <character>CLOSE ON TEEN WOLF ECSTATICALLY HAPPY AND FREEZE.</character> <dialogue>THE END</dialogue> </scene> </script>

Scott Howard, a 17-year-old high school student, is tired of just being average. Living in a small town in Nebraska, his only claim to popularity is playing for the Beavers, his school's unsuccessful basketball team. Scott fawns after Pamela Wells even though she is dating his rival Mick who plays for the Dragons, an opposing team that bullies him on the court. Completely oblivious to the affections of his best friend Boof, Scott constantly rebuffs her advances due to their history together. After startling changes such as long hair suddenly sprouting on his hands, he decides to quit the team, but his coach, Finstock, changes his mind. Scoring a keg with his friend Stiles for a party, Scott and Boof end up alone in a closet and Scott gets rough when they begin making out, accidentally clawing her back. When he returns home, he undergoes a strange transformation, discovering he is a werewolf. His father Harold reveals he is one too, and that he had hoped Scott would not inherit the curse because 'sometimes it skips a generation'. Scott reveals his secret to Stiles, who agrees to keep it a secret. But, when Scott becomes stressed on the court, he becomes the Wolf and helps win their first game in three years. As a result, Scott gains fame and popularity as the high school is overwhelmed with 'Wolf Fever'. He is also alienated from Boof and his teammates as he begins to hog the ball during games. Stiles merchandises "Teen Wolf" paraphernalia and Pamela finally begins paying attention to Scott. After he gets a role as a "werewolf cavalryman" in the school play alongside her, she comes onto him in the dressing room and they have sex. Later, after a date set up to make Mick jealous, Pamela tells Scott that she is not interested in him as a boyfriend, much to his disappointment. Harold tells Scott he is responsible for his son's conflicts with vice principal Rusty Thorne, due to a scare Harold had given him when he was in high school. He advises Scott to be himself. Boof agrees to go with Scott to the upcoming Spring Dance, but only if he goes as himself. Scott goes alone as the Wolf instead. She takes him into the hallway and they kiss, which turns Scott back into himself. When they return to the dance, Scott garners everyone's attention, including Pamela. A jealous Mick punches him in the face, then proceeds to insult Boof and taunt Scott until the Wolf angrily attacks. Scott runs out of the hall right into Thorne, who threatens expulsion. Harold defends his son before going on to intimidate Thorne by growling in his face, causing the vice principal to wet himself. Scott renounces using the Wolf and quits the basketball team. During the championship game, he arrives to rally his teammates to play without the Wolf. Despite the odds, the team begins to work together and they make ground against the Dragons. During the final quarter, behind by one point, Scott is fouled by Mick at the buzzer. He makes both free throws, winning the championship. Brushing past Pamela, he kisses Boof as his father embraces them both. Mick tells Pamela that they should leave, but she tells him to "drop dead" and storms off while everyone else celebrates the victory.

My Demon Lover_1987

tt0093589

<script> <scene> <scene_description>MY DEMON LOVER Screenplay by Leslie Ray</scene_description> <character>6/86</character> <dialogue>Revised 7/19/86 Revised 8/13/86</dialogue> <scene_description>1 INT. SUBWAY - NIGHT l ESTABLISHING SHOT: LOOKING FROM THE DESERTfD UPTOWN PLATFORM ACROSS THE TRACKS TO THE DOWNTOWN ~IDE. On the downtown platform, a YOUNG WOMAN in a white dress leans. against a stanchion, waiting for the Local. A camera around her neck, an "I 9 Times Square" balloon in her hand -- obviously a tourist. An express train ROARS BY w-ithout stopping, blocking her from view. After it passes, she looks anxiously down the tracks. RUMBLE of approaching local. As it pulls in, a RED-COATED FIGURE darts onto the far end of the girl's platform. A split-second view of him - then the train stops, blocking them both from view. A pause. Then the train starts to move.</scene_description> <character>CUT TO:</character> <dialogue>THE DOWNTOWN PLATFORM, facing the train, which RUMBLES</dialogue> <scene_description>out of the station. But the gi.rl still waits, leaning again.st the stanchion, back to camera. She s.lides down slowly. Her eyes stare at nothing. Her face is slashed and bloody ••• and the slashes HISS and smoke.</scene_description> </scene> <scene> <stage_direction>INT. NYC SUBWAY CAR - NIGHT</stage_direction> <scene_description>It's late and the ear is nearly empty. A BUSINESSMAN dozes. A WELL-DRESSED YOUNG WOMAN reads a paperback. Graffiti. Old soda cans, discarded newspaii)ers., The RATTLE! OF THE TRAIN as, it pul.l.s. into the station. The doors open.</scene_description> <character>VOICE ON LOUDSPEAKER</character> <dialogue>Twenny-Zhama Street, change here for da</dialogue> <character>(STATIC)</character> <dialogue>da Q,, da</dialogue> <character>(:C.OUO,. IMPENETRAB~</character> <dialogue>STATIC)</dialogue> <scene_description>and da Oouble-J ar, nex·t stop Somni-Dane Street. Through the connecting doors, THE FREAK enters: from the next car. He is dressed in ragged shirt and jeans, and a torn red s·atin jacket. He has a wild and tangled bush of hair. His eyes, catl.ike, seem to glow. His name is KAZ. He has a. ba.ttered saxophone strapped around his neck.. As the, doors close, he leans casua.lly against them, beg.ins his rap.</scene_description> <character>KAZ</character> <dialogue>Good evening, ladies and</dialogue> <scene_description>The doors open and Kaz staggers backward. As he steps back in, they close on him, pinning him half in and half out of the car.</scene_description> <character>VOICE ON LOUDSPEAKER</character> <dialogue>Wat~ha c:losin daws.~</dialogue> <scene_description>Kaz gets into brief,. maniacal fistfight with the doors.</scene_description> <character>KAZ</character> <dialogue>LEGGO ME: SONSABITCHES YOU</dialogue> <character>GODDAM -</character> <dialogue>The doors open and he falls into the car .. The train pull.s out of the station. Kaz resumes his cool.</dialogue> <character>KAZ</character> <dialogue>Good evening, ladies and gentlemen. I am called Kaz. I come from the planet Venus. And this .... is our language.</dialogue> <scene_description>He BLOWS SOME COMPLEX SOUNDS ON HIS SAX, weaving crazily back and forth. The other passengers pay little attention. They didn't care when the doors tried to kill him and they don't care- now. Only the Young Woman rakes him once with he,r eyes.</scene_description> <character>KAZ</character> <dialogue>Attention, Earth. We are a friendly people-. Give us your money, and go in peace. Oh - and leave the women.</dialogue> <scene_description>He PLAYS MADLY, leering at Young Woman. He PLAYS his way over to where she- sits reading. a3 POV KAZ: THE YOUNG WOMAN'S LIPS, lush and full .. a3 b3 co KAZ-: HIS BROW swe.lling.•. b3 c3 POV KAZ: HER LONG, GRACEFUL NECK. c3 d3 co KAZ: HI"S TEETH, more pointy. d3 e.! POV KAZ.:. HER outlined beneath her BR.EASTS,. . blouse. e3 f3 cu KAZ: HIS EARS are pointier too. f3 g3 CU: KAZ, plays intensely, gazing at her hungrily. g3 ,.\_-~• Two Black Kids come through the connecting doors, lugging "-) a giant ghetto blaster: THUMPHtG ROCK MUSIC~</scene_description> <character>BLACK KID</character> <dialogue>Yo, bro. We trying to listen to some music here. You makin more damn noise than the subway •</dialogue> <character>. ·. · KAZ</character> <dialogue>-</dialogue> <scene_description>This is. music, my man. Kaz PLAYS on. The black kid puts a fist in the sax, choking off the sound~</scene_description> <character>SLACK KID</character> <dialogue>Excuse me. I think you missed the point. Shut the fuck up.</dialogue> <character>KAZ</character> <dialogue>Stay cool, you guys. On my planet, this is how we speak •••</dialogue> <parenthetical>(waggling his eyebrows a.t the woman)</parenthetical> <dialogue>.... of love.</dialogue> <scene_description>Kaz PLAYS on, moving closer to the Woman. The black. kids exchange bewildered glances and leave. Kaz continues to strut around in time to his music. Then, suddenly he stops and sits beside the Woman and stares. at her adoringly. she finally returns his stare, cold. He grins. She goes. back to her book .. ( .,'--,.../ V</scene_description> <character>. KAZ</character> <dialogue>Yowch. All the better to freeze me with, eh? Hah? Ha ha ha ha ha.</dialogue> <scene_description>{pause) God. God, you• re lus.eious. You •·reincredible. I'm in love with you. There, I said itl I didn't mean for it to happen. I fought against itl I tried so hard to stay out of your lifel But I'm tired of fighting it! Tired, do you hear me?l I must have you,. Linda! Marian? Jeanine! Marry me, Eliz-a.beth! She looks at him icily.</scene_description> <character>KAZ</character> <dialogue>Okay, don't marry me. Just let me feel you up.</dialogue> <scene_description>She calmly walks down the car and sits, ignoring him. He follows, and sits beside her. Quickly licks his lips. His tongue is sharp and forked, like a lizard's. He smiles ingratiatingly.</scene_description> <character>KAZ</character> <dialogue>Lis,ten,. you're passing up tha chance of a lifetime. You ever made love with a Venusian?' Well, you wouldn't get over it in a hurry, believe me-.</dialogue> <parenthetical>(whispering)</parenthetical> <dialogue>We- have more erogenous zones than a sex c:linic. You• 11 have to be very,- very· careful where you. touch me. Anything could happen.</dialogue> </scene> <scene> <stage_direction>EXT. SUBWAY STATION - NIGHT</stage_direction> <scene_description>The- train pul,ls in.,</scene_description> <character>INT. SUBWAY CAR - N.IGHT</character> <dialogue>5</dialogue> <scene_description>The woman rises. . Kaz g.rabs. her. arm. His hand has become slightly leathery, h~s nails longer. ,.., KAZ \:~ Look, I'll show you. She shoves him roughly away and leaves.</scene_description> <character>KAZ</character> <dialogue>Oh no! Now I'm pregnant!</dialogue> <parenthetical>(following her)</parenthetical> <dialogue>Annabella! Wait!</dialogue> <character>6</character> <dialogue>INT. SUBWAY PLATFORM - NIGHT, CONTINUOUS</dialogue> <scene_description>The young woman runs through the empty station, up a flight of stairs. Then comes Kaz, loping more than running. H.is face has become catlike.</scene_description> <character>KAZ:</character> <parenthetical>(an animal grow-l)</parenthetical> <dialogue>I'm coining, Wendy.</dialogue> <scene_description>Be bounds up the stairs. Two curved black talons poke through the front of his sneakers. And one- through the back.</scene_description> <character>7</character> <dialogue>INT. SUBWAY,- TOP OF TH£ STAIRS - NIGHT, CONTINUOUS</dialogue> <scene_description>Kaz springs arpund the corner, ready to pounce. The Young Woman· is waiting for him. She chops him in the neck, knees him in: the groin, all the time SCR£AMING A KARAT&amp; YELL. Kaz falls in a heap, rolling around helplessly, trying to breathe. The- Young Woman looks down at him calmly, dust- ing her hands.</scene_description> <character>YOUNG WOMAN</character> <dialogue>You know.,. I could· have killed you. Karate just saved your life ..</dialogue> <scene_description>She leaves.</scene_description> <character>KAZ</character> <parenthetical>(a croak)</parenthetical> <dialogue>T.hank you ..</dialogue> <character>8</character> <dialogue>EXT. GREENWICH VILLAGE - NIGHT, A LITTLE LATER</dialogue> <scene_description>.A street fair is gofng on. .Booths,. food stands, strings of ccilored lights. HIP YOUNG SINGLES all over ·the place. 8 CONTINUED: Kaz crawls up onto the sidewalk from the subway stairs. He falls into step with a LEGGY BLONDE.</scene_description> <character>KAZ</character> <dialogue>Angie! Babe, it's me! Don't you remember me? The. veterans' hospital in Muk Ouk Choi, you taught me to walk again --</dialogue> <character>BLONDE</character> <dialogue>What do you want?</dialogue> <character>KAZ</character> <parenthetical>(instantly suave)</parenthetical> <dialogue>To change your life. How about a cup of coffee?</dialogue> <character>BLONDE</character> <dialogue>Okay.</dialogue> <scene_description>She gives him fi.fty cents and walks on.</scene_description> <character>KAZ</character> <dialogue>Hey. No,. I meant •••.</dialogue> <scene_description>He smacks his head in frustration. BEAUTIFUL WOMEN pass him, going .in all directions.</scene_description> <character>KAZ:</character> <dialogue>They're everywhere!</dialogue> <character>FIXER (O.C.)</character> <dialogue>Good luck! Get your good luck here!</dialogue> </scene> <scene> <stage_direction>EXT. FIXER€� S BOOTH - NI.GHT</stage_direction> <scene_description>Fixer, a wizened· old black man, at his ratty outdoor booth at. the fringe of the fair.. He wears a gypsy bandana wrapped around his head, and a single hoop earring. His sloppy hand-painted sign says WE FIX ANYTHING. He is hawking vials of a·ll shapes and sizes. Everyone g.ives him a wide berth. ( CON,TINUED): 9 CONTINUED:</scene_description> <character>FIXER</character> <dialogue>They call me the Fixer cause I got the Elixir. You got a problem? Shit, so what? ..</dialogue> <parenthetical>(takes a slug from hi&amp; N.ight Train)</parenthetical> <dialogue>Just give me the descriptiQ\_n, I got the prescri.ption. You wanna hand old Fixer the cash, he gonna fix you up in a flash. Come on, come on, change your luck!</dialogue> <scene_description>Kaz, his eyes glued to passing women, backs into the booth. Vials scatter.</scene_description> <character>FIXER</character> <dialogue>Look out, boy, you bruisin the merchandise.</dialogue> <scene_description>He takes a close. look at Kaz. Then flings everything -- potions, cardbord booth, Night Train -- into a torn shopping bag, scared.</scene_description> <character>FIXER</character> <dialogue>Can't change your luck, boy. You. ain't got none. Unless --</dialogue> <scene_description>He pauses in his packing. Gives Kaz a speculative once- over •.</scene_description> <character>FIXER</character> <dialogue>Hmm. They is one thing might work. You got twenty bucks?</dialogue> <scene_description>Kaz shakes his head.</scene_description> <character>F'IXER</character> <dialogue>Then you a hopeless case, boy.</dialogue> <parenthetical>(running off)</parenthetical> <dialogue>Have a· nice day.</dialogue> <scene_description>A PRETTY WOMAN jostles Kaz- in passing. He reaches desperately for her, misses.</scene_description> <character>KAZ:</character> <dialogue>I can't stand itl</dialogue> <scene_description>He then moves through the crowd, raising havoc, coming on to several women. He reaches for a few, pinching .them •.</scene_description> <character>KAZ</character> <dialogue>GOT TO HAVE WOMAN!</dialogue> <character>A POLICEMAN</character> <dialogue>Hey - you!</dialogue> <scene_description>Kaz· sees the COP' approaching and runs off into the ni.ght.</scene_description> </scene> <scene> <stage_direction>EXT. HIGH UP ON THE CHRYSLER BUILDING - NIGHT, A HIT LATER</stage_direction> <scene_description>A row of carved gargoyles along the roof. Suddenly, one of them moves. It throws back its head. A WEIRD, BONE-CHILLING HOWL splits the night -- the howl of a soul in hell. BEGIN CREDITS. MUSIC OVER: ll EXT. GREENtiICH VILLAGE S:TREET - DAY 11 DENNY is on her way home,- her arms full of grocery bags and a large- cakebox. A ne~spaper sticking from her bag reads YOUNG MOM OF 3 MANGLED! She is 28, off-beat, dizzy with happiness.. · She notices A SCRUFFY LITTLE MUTT following her. Hooked,. she feeds him a cookie from one of her\_bags.</scene_description> </scene> <scene> <stage_direction>INT. VILLAGE PARTY STORE - DAY, FOLLOWING</stage_direction> <scene_description>Denny selects two paper party hats and a couple of noise- makers. Smiling, she tries a noisemaker.. It BI.ATS LOUDLY. POV DENNY: THE REST OF THE STORE. Among the greeting cards and handcuffs, VILLAGE DEVIATES stare at her. They are dressed in leather and nails. They don't look friendly. Denny, bumping· into things, edges to the CASHIER. His head is shaved and tattooed. Denny fumbles money from her purse, spills change on the floor. A GIANT in black leather shorts and a stud-spiked collar swoops it up.. He does a pas·s in the air, making her money disappear. Shows her his empty hands. Then sticks out his tongue. Her change is on it.</scene_description> <character>DENNY</character> <dialogue>Keep the change.</dialogue> <scene_description>She backs out of the store, smil~ng .apologetically •. ---</scene_description> </scene> <scene> <stage_direction>EXT. STREET OUTSIDE THE PARTY STORE - DAY, CONTINUOUS</stage_direction> <scene_description>The mutt waits for Denny. Leaps at her, SNARLING, wrestles a baguette from her grocery bag. When she escapes down the street, it follows, SNAPPING at her heels. She ~hrows cookies over her shoulder as she runs. ENO CREDITS.</scene_description> </scene> <scene> <stage_direction>EXT. TH£ STOOP OUTSIDE DENNY'S BUILDING - DAY, LATER</stage_direction> <scene_description>Denny staggers up the steps with her purchases. Suddenly a YOUNG THIEF dashes from the build.iny, carry in~ a pillowcase stuffed with silverware, a blender, an electric wok. He collides with Denny. She drops a grocery bag and nearly falls down the steps.</scene_description> <character>DENNY</character> <dialogue>Sorry!</dialogue> <scene_description>A SECOND THIEF tears out of th&amp; building.. He has a lamp, a guitar, a shopping bag of records, a couple of chairs, some dresses and frilly underwear thrown over his shoulder. He crashes into Denny .. She sprawls flat, groceries flying ..</scene_description> <character>DENNY</character> <dialogue>Oh no, the birthday cake-!</dialogue> <parenthetical>(rising)</parenthetical> <dialogue>Bey. That's my bar mit::vah dress. My chairs! Wait a minute, where·' re you going with my .... hey! Hey you!</dialogue> <scene_description>The Second Thief runs to a large van parked at the curb. He quickly loads the goods into the back, helped by the First Th-ief. The van looks full. Now a THIRD GUY runs from the building,. bumping into Denny.</scene_description> <character>DENNY</character> <dialogue>Chip 1 Ott,. you,• re home,. thank God! Look1 Those guys. are stealing all my -</dialogue> <parenthetical>(seeing what he's. carrying)</parenthetical> <dialogue>Chip.. Isn't that my televison? You taking it to be repaired?</dialogue> <scene_description>Chip throws the tv into the van and dives in after it. The van SPEEDS AWAY.</scene_description> <character>14</character> <dialogue>CONTINUED:</dialogue> <character>DENNY</character> <dialogue>ALL RIGHT, CHIP! I THINK</dialogue> <character>YOU JUST BETTER FACE IT --</character> <dialogue>IT'S NOT WORKING OUT! I</dialogue> <character>REALLY DON'T THINK WE SHOULD</character> <dialogue>SEE EACH OTHER ANYMORE!</dialogue> <character>CHIP?!·.</character> <dialogue>Her face crumples.. She sin.ks down onto the stoop. And . the cake.</dialogue> <character>15</character> <dialogue>INT. DENNY'S LIVING ROOM - DAY, A WHILE LATER</dialogue> <scene_description>The place has been violently ransacked. Denny sits hold.ing a dented can of smoked oysters. Bright paper letters spell out HAPPY BIRTHDAY on the wall, crepe streamers hang from th&amp; ceiling. SONIA paces, smoking, furious. She is Denny's age, Spanish, sleek, tough. Denny is shell-shocked.</scene_description> <character>DENNY</character> <dialogue>And my G.E. clock radio. It made me coffee. And ••• all my Buffy St. Marie records ••• and the aspidistra •••</dialogue> <parenthetical>(blows her nose)</parenthetical> <dialogue>..... and some fancy h'or doeuvre stuff for tonight. He took all of it.</dialogue> <parenthetical>(flicking the can of oysters)</parenthetical> <dialogue>Except this.</dialogue> <character>SONIA</character> <dialogue>Oh,, he left you something? Guy's all heart.</dialogue> <character>DENNY</character> <dialogue>He took the can opener.</dialogue> <character>SONIA</character> <parenthetical>(starting for the ph·one·)</parenthetical> <dialogue>I'm· calling the cops.</dialogue> <character>DENNY</character> <dialogue>No! Sonia, r•ve· been seeing Chip almost two months that's practically a</dialogue> <scene_description>'-..\_../ relationship! I can~t have him arrested, it•• 11 ruin everything!</scene_description> <character>SONIA</character> <dialogue>I don't believe this.</dialogue> <character>DENNY</character> <dialogue>He's a li"ttle miffed, that-' s all.</dialogue> <scene_description>· (pulling down c.repe paper) It's my fault. He kept saying no party, it's just a stupid birthday, it• s- not important. But I wouldn't listen.</scene_description> <character>SONIA</character> <dialogue>Jesus, he trashes your apartment, he steals your underwear, just cause you throw a party on his birthday?</dialogue> <character>DENNY</character> <parenthetical>(near tears)</parenthetical> <dialogue>No .. Mine-.</dialogue> <scene_description>Denny bl.ows on a noisemaker .. A FORLORN BLAT.</scene_description> <character>16</character> <dialogue>Sonia and Denny approach the shop.</dialogue> <character>EXT. GRIS-GRIS - NIGHT</character> <dialogue>17</dialogue> <character>INT.. GRIS-GIUS - NI.GHT, CONTINUOUS</character> <dialogue>An eccentric Village shop. Exotic, crowded little hole in the wall. A Primitive Art gallery. Stone faces grimace from the walls. Odd., scary wood sculptures, weapons, jewelry.</dialogue> <dialogue>MIGUELA. VALDEZ:, Sonia's attractive- sister, is just putt.ing on her jacket. There is an easy, affectionate warmth between them.</dialogue> <character>MIGUELA</character> <dialogue>Well., hey, little sister .. Thought you were gone for the n:ight. Hi, Denny.</dialogue> <character>SON-IA</character> <dialogue>I just got to change. Go ahead, Miguela, I'll lock~ up.. Hey., any walk-ins tonight?</dialogue> <scene_description>/ CONTINUED:</scene_description> <character>MIGUELA</character> <dialogue>Oh, just some lady with cardboard shoes rafflin~ off her shopping bags.</dialogue> <scene_description>{waving a ticket) We're. a shoo-in .. See you. She hugs Sonia on her way out. Sonia LAUGHS, heads for the back room, pulling off her top. INTERCUT Sonia changing, Denny in the front room, depressed.</scene_description> <character>SONIA</character> <dialogue>Lighten up, baby. You're well rid of that jerk.</dialogue> <character>DENNY</character> <dialogue>But I could have made it work. I can make anything work.</dialogue> <character>SONIA</character> <dialogue>Oh yeah? What about that nutease, the one who talked to parking meters? You let him live off you, and all the time he's screwing other women.</dialogue> <character>DENNY</character> <dialogue>took, h• could·n' t commit to an exc:.lusive· relationship. It wou.ldn't have been fair to.!!!!,, he was sick.</dialogue> <character>SONIA</character> <dialogue>So how about after you pa.id for his shrink? z.ap !. Sucker's out the door.</dialogue> <character>DENNY</character> <dialogue>Of.· course·.He was well. Why should he· hang around someone who'd love a sick person?</dialogue> <scene_description>Sonia enters, clothes changed. Stops. He.ad up, alert.</scene_description> <character>SONIA</character> <dialogue>Aaah,. no, not tonight .. Den, could you tell him I'm busy or dead or something?</dialogue> <character>DENNY</character> <dialogue>Tell who?</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>SONIA</character> <dialogue>Phil.</dialogue> <scene_description>The PHONE RINGS. Denny jumps, stares at Sonia. Sonia realizes it's happened again, is embarrassed. Denny answers the phone.</scene_description> <character>DENNY</character> <dialogue>Hello, Gris-Gris. Oh, hi, Phil. No, she's, uh, out. sure, I' 11 tell her. aye •.</dialogue> <parenthetical>(hangs up)</parenthetical> <dialogue>He says -</dialogue> <character>SONIA</character> <dialogue>Yeah.</dialogue> <scene_description>She takes a man's umbrella out of the closet.</scene_description> <character>SONIA</character> <dialogue>Okay. I'll give it to him tomorrow.</dialogue> <character>DENNY</character> <dialogue>How- do you do that?</dialogue> <character>SONIA</character> <parenthetical>(shrugs)</parenthetical> <dialogue>Every now and then it just ••• happens.•</dialogue> <parenthetical>(uncomfortable)</parenthetical> <dialogue>tet' s- drop it, okay?</dialogue> <character>DENNY</character> <dialogue>I wish I could see into a guy ' s h&amp;ad. I ' d know from the· start he was gonna hurt me.</dialogue> <character>SON!A</character> <dialogue>Baby, I worry about you. You·either got to get tough, or get a gun.</dialogue> <character>DENNY</character> <dialogue>~!hat would do with a gun?</dialogue> <character>SONIA</character> <dialogue>It's, New· York. Use your imagination.</dialogue> <scene_description>Denny and Sonia at a small table in the loud, dimly lit cafe. ROCK MUSIC BLARES. At the bar behind them is a solid phalanx of YOUNG VILLAGE SINGLES, mostly female. Sonia and Denny have had a few drinks.</scene_description> <character>DENNY</character> <dialogue>But why do they all ·reave me?</dialogue> <character>SONIA</character> <dialogue>Okayr let's face facts. You're attracted to scum. The strays see you coming a mile away. Dogs, alley cats-, actors... I don't know which is worse, the men you bring home or the animals.</dialogue> <character>DENNY</character> <dialogue>Rocco was nice.</dialogue> <character>SONIA</character> <dialogue>Who?</dialogue> <character>DENNY</character> <dialogue>He followed me home a few weeks ago. Let me tell you something, you make a do9 dinner, and he licks your face. A dog doesn't load all your Corningw.are into a van and nearly run you over .. Oh, Rocco ..... I miss that dog •.</dialogue> <character>SONIA</character> <dialogue>Chip stole him too?</dialogue> <character>DENNY</character> <dialogue>No. He· left me last</dialogue> <scene_description>Satu.rday.</scene_description> <character>SONIA</character> <dialogue>Denny, it's time to make some changes. If you lie on the floor, people. wipe their feet on you.</dialogue> <character>DENNY</character> <dialogue>But I'm affectionate. . . SONIA You're carpet.</dialogue> <character>DENNY</character> <dialogue>No. I just like men.</dialogue> <character>SONIA</character> <parenthetical>(laughs)</parenthetical> <dialogue>Why? It's not like you can be friends with one. You ever try to have a conversation with a man? Especially when The Flintstones is on? Now, I'm not saying they don't have· their uses •••</dialogue> <character>DENNY</character> <dialogue>Boy,I wish I could handle men !ike you do. I wish I was gorgeous and smart. I wish I was sexy. I wish I was dead.</dialogue> <character>SONIA</character> <parenthetical>(suddenly)</parenthetical> <dialogue>Oh no.</dialogue> <scene_description>THEIR POV: THE BAR, where CHARLES SAWYER is de-sperately ~rying to light several women's cigarettes. He has a chubby, open face, glasses.</scene_description> <character>SONIA</character> <dialogue>It's the dork.</dialogue> <scene_description>OENHr Ah., poor thing. THEIR POV:. THE BAR: Charles ogles them eagerly.</scene_description> <character>SONIA</character> <dialogue>For God's. sake, don't make eye contact.!</dialogue> <scene_description>'---./ He waves frantically, knocking over a bowl of Cheez Doodles and comes up happily with his drink, beaming. He speaks very softly, too precisely, like a teacher at a kindergarten for the brain damaged.</scene_description> <character>CHARLES</character> <dialogue>Belllll.:..lo there, young ladies. Penny.</dialogue> <character>DENNY</character> <parenthetical>(sorry for him)</parenthetical> <dialogue>Hi, Charles ..</dialogue> <character>CHARLES</character> <dialogue>Chuckie! Chuckie, please!</dialogue> <scene_description>j 18 CONTINUED: (3)</scene_description> <character>SONIA</character> <dialogue>Check! Yo, check here!</dialogue> <character>CHARLES</character> <dialogue>Know what I think? Can you guess? Tonight's the n-ight Dinny will have denner with me. Uh, I mean --</dialogue> <character>SONIA</character> <dialogue>Chuckie, if you're looking to score, go score your term papers.</dialogue> <character>DENNY</character> <dialogue>Sonia!</dialogue> <parenthetical>(to save his feelings)</parenthetical> <dialogue>I didn't know you were in education, Charles.</dialogue> <character>SONIA</character> <dialogue>Denny, you're talking to a man who has a little paper parasol in his drink.</dialogue> <character>DENNY</character> <parenthetical>( ignoring. her)</parenthetical> <dialogue>What grade do you teach?</dialogue> <character>CHARLES</character> <dialogue>Oh, I don't. I'm on the Board of Ed.</dialogue> <scene_description>He grins. A trickle of his drink dribbles down his chin.</scene_description> <character>CHARLES</character> <dialogue>Public Relations.</dialogue> <scene_description>Sonia stal!'es him down. He backs-off, smiling apologetically.</scene_description> <character>CHARLES</character> <dialogue>Oh. Girl ta.lk. I understand.. Some other time.</dialogue> <scene_description>H:e leaves •. Sonia gives Denny a dark look.</scene_description> <character>DENNY</character> <dialogue>Oh, come on. The poor guy's just - lonely •.</dialogue> <character>SONIA</character> <dialogue>Just how lonely are you?</dialogue> <scene_description>POV DENN~~.CHARLES at the bar.· He tries to casually toss some peanuts in his mouth, chokes, spraying people around him.</scene_description> <character>DENNY</character> <parenthetical>(sighs)</parenthetical> <dialogue>Not that lonely.</dialogue> <scene_description>Sonia sits up straight suddenly, as though hearing something. She looks behind her. POV SONIA: THE GUYS AT THE SAR. Her eye flicks from one to another, settling on a HANDSOME YOUNG HUNK who is staring right at her. She smiles back at him:</scene_description> <character>SONIA</character> <dialogue>Sorry, Oen. I may be leaving the party early.</dialogue> <scene_description>She goes to the crowded bar, pushes through the women to the Young Hunk.</scene_description> <character>SONIA</character> <dialogue>You got a dirty mind.</dialogue> <scene_description>She kisses him -- an expert, very thorough kiss.</scene_description> <character>HUNK</character> <parenthetical>(pleased)</parenthetical> <dialogue>Hey!</dialogue> <character>SONIA</character> <dialogue>Come on.</dialogue> <scene_description>She takes a few steps.,. but he is frozen at the bar.</scene_description> <character>SONIA</character> <dialogue>Well? It was your idea.</dialogue> <scene_description>The Hunk comes to her, looking her up and down with a dazed smile. CU: DENNY,. watching the whole thing, awestruck. Sonia passes Denny's table with the Hunk in tow.</scene_description> <character>SONIA</character> <dialogue>Now don't you go home alone</dialogue> <scene_description>''-.\_,/ - either. That. slash-and-run</scene_description> <character>/</character> <dialogue>psycho's still on the loose.</dialogue> <scene_description>(CONTINUED}:</scene_description> <character>DENNY</character> <dialogue>Oh, he's not gonna come after - me.</dialogue> <character>SONIA</character> <dialogue>What a coincidence. There's a c:ouple of ripped-up girls in the hospit.al thought the same thing.</dialogue> <scene_description>Sonia gives her a quick hug.</scene_description> <character>SONIA</character> <dialogue>Do like I tell you, baby. It's your birthday, give yourself a present.</dialogue> <parenthetical>(to the Hunk)</parenthetical> <dialogue>Let's go.</dialogue> <character>HUNK</character> <dialogue>Lis.ten, you got a tv? This speeial's on, The Flintstones On Mars ••• ?</dialogue> <scene_description>They go out. Denny sits thinking. She takes a hit off her drink. It g.ives her courage. She takes her glass, goes to the bar, grabs a vacant stool. She sips. Looks around shyly •. At the f:ar ·end of the bar, an ATHLETIC TYPE nurses a beer. He looks up. Be· seems to be looking directly at her. She smiles, flustered, drops her eyes.. She looks at him aga.in. POV DENNY: THE ATHLETIC TYPE, looking her way. He smiles -- a definite come-on smile. Then he winks. Denny GASPS and gulps w:ine. In her confusion she turns away and sees another man, A ROMANTIC ARTIST TYPE, at the opposite- end of the bar. POV DENNY: THE ARTIST gazing longingly at her. He smiles gently. He looks like he needs her. Denny, thrilled but .disconcerted, stares into her glass. She sees movement out of the corner of her eye. It is the Athletic Type. He rises and starts in her direction, grinning, assured. - A moment after, the Romantic Artist starts in her direction. Denny just about drops dead. She rehearses what she will say, trying to be cool. The two are now on either side of her, looking over her head at each other. The Athletic Type raises his eyebrows. The Romantic Artist forms a k.iss with his lips. They join hands and leave together.</scene_description> <character>BARTEND.ER</character> <dialogue>Another white wine?</dialogue> <character>DENNY</character> <dialogue>Gimme gin.</dialogue> </scene> <scene> <stage_direction>EXT. OENN.Y' S BLOCK - NIGHT, LATER</stage_direction> <scene_description>Denny walks. home, sadly WHISTLING HAPPY BIRTHDAY. Passes a GIRL trying to flag a cab. One ~iH.IZZES liY, sideswiping them both. They exchange a •what can you do?• smile. Denny continues down the deserted block, the Girl in the b.g. Stops at her steps, searching her bag for keys. Drops them. Something shadowy moves behind hei::. She bends to pick them up. Something (OS) moves quickly and right up behind her just as she unlocks the door and goes in. ANGLE: The Girl down the block, looking for a taxi. Coming into focus in the foreground, A LEATHERY TALONED HAND moves down Denny's railing. SOUND OF CLICKING on the pa.vement, something clawed running. The Girl's sudden despairing SCREAM, CUT OFF. TEARING SOUNDS.</scene_description> </scene> <scene> <stage_direction>INT. POLICE PRECINCT - NEXT DAY</stage_direction> <scene_description>CAPTAIN PHIL JANUS grimly fends off SHOUTING REPORTERS.</scene_description> <character>1ST REPORTER</character> <dialogue>But this girl's story's the same- as the last one's - he was. wearing a costume!</dialogue> <character>2ND REPORTER</character> <dialogue>Where were the cops? How could you miss him, it wasn't Halloween!</dialogue> <character>JANUS</character> <dialogue>It was the Village.</dialogue> <scene_description>CONTINUED:</scene_description> <character>1ST REPORTER</character> <dialogue>The way he mangles and burns those girls ••• you think he's some cult weirdo?</dialogue> <character>3R.D-REPORTER</character> <dialogue>Captain Janus, will the Mangler strike again?</dialogue> <character>JANUS</character> <dialogue>Ah, don't give him a name - we'll have a dozen copycat Manglers by tonight!</dialogue> <scene_description>They FIRE 0UESTIONS at him, a BABBLE of •the Mangler" this and that. He elbows through them, disgusted.</scene_description> </scene> <scene> <stage_direction>INT. JANUS'S OFFICE - DAY, CONTINUOUS</stage_direction> <scene_description>Janus enters to find Sonia perched on his desk.</scene_description> <character>SONIA</character> <dialogue>Here.</dialogue> <scene_description>She tosses him his umbrella. Starts out ..</scene_description> <character>JANUS</character> <dialogue>Don't go.</dialogue> <character>SONIA</character> <dialogue>Don't you have any work to do? You even trying to-catch this guy?</dialogue> <character>JANUS</character> <dialogue>Don't you start on me too. I.'m doing everything I ••• it's not so easy tti •••</dialogue> <scene_description>He is shaking with some kind of suppressed emotion. Passes a hand over his face. More calmly:</scene_description> <character>JANUS</character> <dialogue>Look,. could we have dinner tonight? I need to talk..</dialogue> <character>SONIA</character> <dialogue>No. We-' ve· been through this .. I'm not going out with you.</dialogue> <scene_description>tCO~TINUED)</scene_description> <character>JANUS</character> <dialogue>But ••• if I can take you to bed, why can't I take you to dinner?</dialogue> <character>SONIA</character> <dialogue>It •·s too intimate.</dialogue> <character>JANUS</character> <dialogue>What we do in bed isn't intimate?</dialogue> <character>SONIA</character> <dialogue>No, it's sex. I don't want to get intimate, baby. I just want to get laid.</dialogue> <scene_description>Very uncomfortable now., she tries to leave. He bars her way.</scene_description> <character>JANUS</character> <dialogue>You make it hard to love you.</dialogue> <character>SONIA</character> <dialogue>Then don't. Don't try to ge·t close to me, Phil. I never asked you for that.</dialogue> <character>JANUS</character> <dialogue>Oh., God damn you.</dialogue> <parenthetical>(grabbing, h.er)</parenthetical> <dialogue>Feel something! Show something! I swear to God sometimes I just vant to --</dialogue> <scene_description>He stops.</scene_description> <character>SONIA</character> <parenthetical>(softly)</parenthetical> <dialogue>Tear me apart?</dialogue> <character>JANUS</character> <parenthetical>(shaken)</parenthetical> <dialogue>I didn't say that ..</dialogue> <character>SONIA</character> <dialogue>Didn't you?</dialogue> <scene_description>Denny waits for her order at the counter, where CUSTOMERS sit eating kelp and tofu croquettes. Since this is a Health Food restaurant, they all look terminally ill. WET COUGHS ECHO from all sides. An ANEMIC COUNTER GIRL is on the phone.</scene_description> <character>COUNTER GIRL</character> <dialogue>No. Because I don't want to see you anymore, that's why. Besides, I'm doing something tonight that's, a. lot more fun. Setting fire to my hair.</dialogue> <character>DENNY</character> <dialogue>Excuse me, Miss? I ordered a Number Three?</dialogue> <character>COUNTER GIRL</character> <dialogue>Yeah, yeah. ONE-BEET•MULLET- LECITHIN-ALBUMEN-ANO- GORSEBERRY-BURGER, HOLD THE MUNG!</dialogue> <scene_description>A GRAY-FACED DINER suddenly pushes his plate away, makes ·an awful gargling. sound, slides off his stool and hi ts the floor with a sickening thud. Denny gapes at the body, which everyone ignores.</scene_description> <character>DENNY</character> <dialogue>Uh, shouldn't somebody .....</dialogue> <character>COUNTER GIRL</character> <dialogue>I• m on a personal cal..l, do you mind?</dialogue> <parenthetical>(into phone)</parenthetical> <dialogue>Oh please! Spa.re me that psychological crap!</dialogue> <scene_description>She· tosses Denny her order.</scene_description> <character>DENNY</character> <dialogue>Thanks. I hope· you and your boyfriend work it out ..</dialogue> <character>COUNTER GIRL</character> <dialogue>What boyfriend? It's my shrink.</dialogue> <parenthetical>(into phone)</parenthetical> <dialogue>I'm sick? You listen to mefor a living!</dialogue> </scene> <scene> <stage_direction>EXT. KELPATERIA - AFTERNOON, CONTINUOUS</stage_direction> <scene_description>Oenny sits with her tray at an outdoor table. Starts on her sandwich. Smells something. Sniffs her sandwich suspiciously. POV DENNY: A PILE OF RUBBISH ON THI:! CUR.1:3. She SNIFFS. CU: DENNY. Did that garbage ••• ? Naah. Still ••• She takes her sandwich to a table farther away, her back to the rubbish. CU: THE RUBBISH PILE, shifting. Part of it is Kaz. He is not a creature now, just a weird and hairy character. He looks like he, had a bad night. He sits up, half awake, sniffing.</scene_description> <character>KAZ</character> <dialogue>Girl ••• ?</dialogue> <character>(SNIFFS)</character> <dialogue>Food ••• ?</dialogue> <parenthetical>(SNIFFS, wide awake)</parenthetical> <dialogue>Arrrr! Girl and food!</dialogue> <character>-</character> <dialogue>Denny, eating, suddenly f.eels like she's being watched. She-.looks up. Kaz stands at the railing, his eyes following her sandwich from plate to mouth and back. He has the same bedraggled eagerness about him as the mutt who foll:owed her yesterday-. Disconcerted, she tries to keep chewing:.</dialogue> <character>KAZ</character> <dialogue>You going to finish that?</dialogue> <character>DENNY</character> <dialogue>Yes!</dialogue> <dialogue>Oh •.</dialogue> <scene_description>He watches every bite she takes. She stops, exasperated.</scene_description> <character>DENNY</character> <dialogue>Oh,.. for gosh •••</dialogue> <parenthetical>(thrusting her sandwich at him)</parenthetical> <dialogue>Herel</dialogue> <character>KAZ</character> <dialogue>Thanks.•</dialogue> <scene_description>He attacks it raveriously.</scene_description> <character>KAZ</character> <parenthetical>(mouth full)</parenthetical> <dialogue>You sure you're not going to finish it?</dialogue> <character>DENNY</character> <parenthetical>(rising to go)</parenthetical> <dialogue>Positive.</dialogue> <scene_description>Kaz suddenly stops chewing. His face changes color. He spits a mouthful of sandwich all over her dress.</scene_description> <character>DENNY</character> <dialogue>Oh! What is the matter with you?</dialogue> <character>KAZ</character> <dialogue>This thing tastes like Adidast</dialogue> <character>DENNY</character> <dialogue>Look what you did to my dresst</dialogue> <character>KAZ</character> <dialogue>Wha.t the he-ll kind of meat is: this.?</dialogue> <character>DENNY</character> <dialogue>It isn't.</dialogue> <character>KAZ</character> <dialogue>Oh my God. What ••• exac.tly.... did -I just eat?</dialogue> <scene_description>L.ivid, she points- out the\_ ingredients on her dress.</scene_description> <character>DENNY</character> <dialogue>Take- a look. Poached beets, that's this red· splotch. And all this, yell.ow is stone- ground mull.et with natural albumen and lecithin granu'i.es. And .... oh yeah. Her&amp; are the sun-dried gorse berries.</dialogue> <character>KAZ</character> <parenthetical>(barely audible)</parenthetical> <dialogue>Gorse berries.</dialogue> <character>DENNY ·</character> <parenthetical>(icy)</parenthetical> <dialogue>Sorry you didn't like it.</dialogue> <character>KAZ</character> <dialogue>I ate a fruitburger.</dialogue> <scene_description>He reaches over the railing, grabs her~</scene_description> <character>KAZ.</character> <dialogue>YOU GAVE ME A FRUIT BURGER!</dialogue> <character>DENNY</character> <parenthetical>(frightened)</parenthetical> <dialogue>There were beets in it too!</dialogue> <character>KAZ</character> <dialogue>I ATE A GORSEBERRYBEET BURGER!</dialogue> <dialogue>With LECITHIN! - GAAAAHl</dialogue> <scene_description>He rolls on the sidewalk in agony. PEOPLE are stopping to watch. Denny, humilited,. hurries away.</scene_description> </scene> <scene> <stage_direction>EXT. FURTHER DOWN THE STREET - AFTERNOON, IMMEDIATEL~</stage_direction> <character>FOLLOWING</character> <dialogue>Kaz catches up to her.</dialogue> <character>KAZ</character> <dialogue>Where we going, Fruitburger?</dialogue> <character>DENNY</character> <dialogue>Will you stop following me!</dialogue> <character>KAZ</character> <parenthetical>(hurt)</parenthetical> <dialogue>Fruitburger.</dialogue> <character>DENNY</character> <dialogue>Denny!</dialogue> <scene_description>He smiles.a- huge, self-satisfied smile, extends his hand.</scene_description> <character>KAZ</character> <dialogue>Kaz.</dialogue> <scene_description>Furious at being tricked, she walks faste·r. He touches his forehead.</scene_description> <character>KAZ</character> <dialogue>Wait .. I'm getting a really strong impression here. Don't laugh, but sometimes I can ••• wait, wait, it's coming.... Ye-s ! Yes! .. You . don't like me! -</dialogue> <character>DENNY</character> <dialogue>Leave me alonel</dialogue> <character>KAZ</character> <dialogue>Shame on you. Maybe I'm an incred-ibly warm, sensitive and giving person. Maybe I'm appalled at what I did to your dress. Maybe I want to pay for it.</dialogue> <character>DENNY</character> <dialogue>Fine. It cost S35.99.</dialogue> <character>KAZ</character> <dialogue>Will you take a check?</dialogue> <parenthetical>( searching his pockets)</parenthetical> <dialogue>I got plenty. Here, I'll write ·you one.</dialogue> <scene_description>He pulls out a harmonica, rabbit's foot, several wallets, watches.</scene_description> <character>DENNY</character> <dialogue>Don't bother, I wou.ldn't take one of your checks.</dialogue> <character>KAZ</character> <parenthetical>(writing on&amp;)</parenthetical> <dialogue>Ott,, don't worry, they're not mine-.</dialogue> <character>DENNY</character> <parenthetical>(reading over his shoulder)</parenthetical> <dialogue>Who's Dr. Harold Frawley?</dialogue> <character>KAZ</character> <dialogue>What do you care? H&amp;'s a doctor, he's not overdra~n.</dialogue> <character>DENNY</character> <dialogue>What are you doing with his</dialogue> <scene_description>ch&amp;ckbook!</scene_description> <character>KAZ</character> <dialogue>Denny what? I need your last name .•</dialogue> <character>DENNY</character> <dialogue>You're-not· g~nna get it.1</dialogue> <character>CONTINUED:</character> <dialogue>KAZ</dialogue> <parenthetical>(tearing up the check)</parenthetical> <dialogue>All right! Forget the check! You take American Express?</dialogue> <scene_description>Be holds out a handful of credit cards, all with different names on them. b24 DENNY'S 1:SUILDING "."' AFTERNOON, A BIT LATER b24 Denny ambles down her street, glad to be rid of him. As she starts up her stoop •••</scene_description> <character>KAZ (OS)</character> <dialogue>Jeez, you' re a touchy broad.</dialogue> <character>ANGLE: KAZ ON THE OTHER SIDE OF THE STREET</character> <dialogue>KAZ</dialogue> <scene_description>So this is where you live. He strolls over to her.</scene_description> <character>OENN.Y</character> <dialogue>No! I'm visiting! A boy£ riend. A big boyfriend.</dialogue> <character>KAZ</character> <dialogue>Ah. Goodbye, then. Denny?</dialogue> <scene_description>When she turns:</scene_description> <character>KAZ</character> <dialogue>I know I'm obnoxious. Why do I always ••• ? You're a very attractive woman. So I just wanted to ••• w&amp;ll, be close to you.. For a few minutes .. I'm sorry.</dialogue> <character>DENNY</character> <dialogue>Well ••• look, it's okay •.</dialogue> <character>KAZ</character> <dialogue>Sweet of you.. Ohhh.</dialogue> <scene_description>He sinks onto the steps. He puts a hand on his chest. Moans quietly. Denny hurries down to him.</scene_description> <character>DENNY</character> <dialogue>What's wrong?</dialogue> <character>KAZ</character> <parenthetical>(broken smile)</parenthetical> <dialogue>Nothing.</dialogue> <character>DENNY</character> <dialogue>You're sick!</dialogue> <scene_description>She feels his forehead. Se snugQles closer.</scene_description> <character>DENNY</character> <dialogue>Maybe you should see a doctor. Can you stand up?</dialogue> <scene_description>b24 CONTINUED: (2) b24</scene_description> <character>KAZ</character> <dialogue>If you help me. Here, put your arms around me. Tighter. Lower.</dialogue> <character>DENNY</character> <parenthetical>(struggling to lift him)</parenthetical> <dialogue>I can't budge you.</dialogue> <character>KAZ</character> <dialogue>Why don't you get the big boyfriend?</dialogue> <character>DENNY</character> <dialogue>Who? Oh, I'm sorry, I made that up, there's no big boyfriend.</dialogue> <character>KAZ</character> <parenthetical>( re·covered)</parenthetical> <dialogue>Good. Wanna get married?</dialogue> <scene_description>She stares. Then she lets go of him. He CRASHES back down onto the steps. He holds her leg. She breaks loose and hurrie-s away down the street. c24 FURTHER DOWN DENNY'S BLOCK c24</scene_description> <character>KAZ</character> <parenthetical>(catching- up with her)</parenthetical> <dialogue>You can't run away from it, Fruit.burger. Successful relationships take work.</dialogue> <character>DENNY</character> <dialogue>What do you know about successful relationsh:ips·t You ever have· one?</dialogue> <character>KAZ</character> <dialogue>Sure! Hundreds of 'em! I'm not saying I'm perfect. I got problems. But I've learned to live, with them. So wiJ.l you.</dialogue> <character>DENNY</character> <dialogue>GE'.r AWAY FROM ME!</dialogue> <scene_description>c24 CONTINUED: c24</scene_description> <character>KAZ</character> <dialogue>Sexual attraction is a powerful thing,•isn't it?</dialogue> <scene_description>Tries to embrace her.</scene_description> <character>DENNY</character> <dialogue>You're crazy1</dialogue> <scene_description>Suddenly she stares at him, blinking. CU: KAZ, slightly different. His eyes seem brigher, his face more wizened, his ears pointier. OMINOUS MUSIC.</scene_description> <character>KAZ</character> <parenthetical>(seeing her look)</parenthetical> <dialogue>What.</dialogue> <scene_description>He shivers. Rubs his face, scratches his ear.</scene_description> <character>KAZ</character> <dialogue>Oh.</dialogue> <scene_description>He releases her. Backs away. Shrugs.</scene_description> <character>KAZ</character> <dialogue>r told you I got problems.</dialogue> <scene_description>Denny shakes her head to clear it. She must've been imagining things. Hurries away. Kaz watches her go.</scene_description> <character>KAZ</character> <parenthetical>(his speech getting distorted)</parenthetical> <dialogue>Later. Lambchop.</dialogue> <scene_description>2.5 E'XT. A VILLAGE PARK - THAT NIGHT 25 Denny has: been walking. It is a hazy, damp night. She is depressed. She· passes a COUPLE necking furiously. She watches- wistfu.lly. CU:. DENNY, her eyes fil.ling. She walks on down the path. No one is around .. A RUSTLE over-head. Then another one -- in the bushes beside her. She stops:, l.istens. Another RUSTLE, closer, and a SOUND OF HEAVY ANIMAL BREATHING... She walks quiet.ly ou.t of the park, glanc.ing nervously behind her.</scene_description> </scene> <scene> <stage_direction>EXT. DENNY'S STREET - NIGHT, A FEW MINUTES LATER</stage_direction> <scene_description>Denny walks as fast as she can, sure she's being followed. Her footsteps ECHO. She stops, looks back. POV DENNYt THE DESERTED, FOGGY S-TREET. A street lamp casts a fuzzy glow on the pavement. And a CROUCHED FIGUR~ moves just beyond. the lamplightr do.dg.ing out of sight.</scene_description> <character>··-·</character> <dialogue>Really frightened, Denny runs up.her stoop and unlocks the front door .. She peers out at the street as sne closes the door.</dialogue> <scene_description>!NT. THE VESTI.l:WLE - NIGHT, CONTINUOUS As she backs into the darkened vestibule, a MAN inside grabs her. She is about to scream, when ....</scene_description> <character>CHIP</character> <dialogue>You little bitch.</dialogue> <scene_description>OENtlY Chip! He pushes her against the wall</scene_description> <character>DENNY</character> <parenthetical>(continuing)</parenthetical> <dialogue>Honey, is something wrong?</dialogue> <character>CHI~</character> <dialogue>You called the cops- on me!</dialogue> <character>DENNY</character> <dialogue>No!</dialogue> <scene_description>He grabs her.</scene_description> <character>DENNY</character> <parenthetical>(getting angry)</parenthetical> <dialogue>What's the matter, did my tv break down? Didn't you take the warranty?·</dialogue> <character>CHIP</character> <dialogue>I got busted for passing a hot blender. Yours!</dialogue> <scene_description>He draws back his hand. She breaks free.</scene_description> <character>DENNY</character> <dialogue>Since when do you think you can hit me?</dialogue> <character>CHIP</character> <dialogue>{coming at her)</dialogue> <scene_description>My g.irl don't rat to the cops and get away with it.</scene_description> <character>27</character> <dialogue>CONTINUED:</dialogue> <scene_description>- -\ '-...\_....,-'</scene_description> <character>DENNY</character> <dialogue>"-</dialogue> <scene_description>,..,,, . I'm not your girl! You left me, remember? He lunges at her.</scene_description> <character>28</character> <dialogue>EXT.</dialogue> <scene_description>She runs down the steps, dodging around on one side of a parked car, Chip, pursuing her, stopping on the other side.</scene_description> <character>DENNY</character> <parenthetical>(looking over the car at Chip)</parenthetical> <dialogue>You don't want me! HELP! Stop and think about it, this is a terrible relationship. HELP, HELP! Personally, I never got much out-of it -- you're mean, you're insensitive, you rob my apartment, you never call, you never write •••</dialogue> <scene_description>He charges around the car for her. She sprints around to her stoop, but he doubles back, tak·es a short cut over the hood and catches ber, pushing her onto the, stoop on her back •. As he raises his fist, suddenly Chip is nose to nose with a monster. Half-hidden in the dark stai.rwell beside the stoop is Kaz,. transformed, inches from Chip's face. What can be seen: of him (in the darkness) is mainly a mouth full of razor teeth. Chip drops Denny on her head. She passes out. Chip SCREAMS. It scares the hell out of Kaz, who jumps back with a YELP. But Chip is already running away, SCREAMING AND SCREAMING. Kaz: lopes to the sidewalk, looks after him.</scene_description> <character>KAZ</character> <parenthetical>(his speech distorted)</parenthetical> <dialogue>M.uvvafucka.</dialogue> <scene_description>Kaz's beastiness has faded somewhat. cu:. DENN.Y, groggy. She tries to f OCUS.</scene_description> <character>KAZ</character> <dialogue>GODDAM CITY'S FULL OF</dialogue> <character>ANIMALS!</character> <dialogue>He looks down at her in his arms. Incredibly, in the nightmare face, she sees Kaz's eyes. ae smiles.</dialogue> <character>KAZ</character> <dialogue>It's okay, kid. I got you.</dialogue> <scene_description>She faints. He shrugs.</scene_description> <character>KAZ</character> <dialogue>Touchy broad.</dialogue> <scene_description>He· carries her up the steps.</scene_description> </scene> <scene> <stage_direction>INT. DENNY"S LIVING ROOM - NIGHT, LATER</stage_direction> <scene_description>The room is dark. Some light spills in from the kitchen. Denny lies on the sofa. She groans and opens her eyed. At first sh.e's not sure where she is. NOISE:, in the kitchen: a pot CLATTERS, a spoon CLINKING against a glass, Kaz BUMMING. It all comes back to her. She gasps, sits up. Kaz is suddenly silhouetted against the light from the kitchen. He· starts for her. She SCREAMS.</scene_description> <character>DENNY</character> <dialogue>NO! GET AWAY! YOU GET OUT</dialogue> <character>OF HERE! DON'T COME NEAR</character> <dialogue>ME! STAY SACK! STAY WAY!</dialogue> <scene_description>Kaz comes closer.</scene_description> <character>DENNY</character> <dialogue>YOU COME ANOTHER STEP ANO --</dialogue> <scene_description>He turns. on the lamp. rt' s plain Kaz. His red jacket is, torn. Be smiles wearily, offers her a cup. He seems sad, beaten, vulnerable.</scene_description> <character>KAZ</character> <dialogue>Coffee-?</dialogue> <character>DENNY</character> <dialogue>Kaz?</dialogue> <character>KAZ</character> <dialogue>Hey. You· say it nice.</dialogue> <scene_description>She cautiously reaches· for the .cup.</scene_description> <character>KAZ</character> <dialogue>Come on, take it. I'm not going to bite you.</dialogue> <scene_description>· She takes it, sips, calming.</scene_description> <character>DENN.Y</character> <dialogue>Oh, God. I'm sorry. out there ••• I thought I saw •••</dialogue> <scene_description>A silence.</scene_description> <character>KAZ</character> <parenthetical>(softly)</parenthetical> <dialogue>Yes?</dialogue> <character>DENNY</character> <dialogue>Nah. I been conked on the head too many times this week. I'm starting to see things. But it was you, wasn't it? You chased Chip away?</dialogue> <character>KAZ</character> <dialogue>Drink your coffee.</dialogue> <scene_description>Denny starts to cry ..</scene_description> <character>KAZ-</character> <dialogue>Oh. Would you. rather have Decaf?</dialogue> <parenthetical>(helplessly)</parenthetical> <dialogue>Don·' t. do that. Your nose is running, you look terrible. You want a handkerchief?</dialogue> <scene_description>She nods, SOBBING. Kaz fumbles through his pockets,- pull.ing out a screwdriver, rabbit's foot, lady's compact, more credits cards ..</scene_description> <character>KAZ</character> <dialogue>I don't have one.</dialogue> <parenthetical>( catching her hysteria)</parenthetical> <dialogue>Who c.arries a handkerchie.f anyway t Who am I, Prince Charles? WHY ARE: YOU CRYING:?</dialogue> <character>DENNY</character> <parenthetical>(sobbing)</parenthetical> <dialogue>Because I'm such a shlub.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>KAZ</character> <dialogue>You are not a shlub.</dialogue> <character>DENNY</character> <dialogue>I am -- look at me! It's the 80s., I can do anything. I want! I can risk my life in armed combat, I can have empty sex with strangers ••• the world is mine! l:¼ut all I want is ••• somebody around. I want someone to take care of, who takes care of me too. I'm pathetic •.</dialogue> <character>KAZ</character> <dialogue>No.</dialogue> <character>DENNY</character> <dialogue>I should be in a museum. Stuffed.</dialogue> <scene_description>He sits,. puts an arm around her.</scene_description> <character>KAZ</character> <parenthetical>(gently)</parenthetical> <dialogue>You' re all rig.h.t,. kid. Look, at least you know what you are. You'll be okay.</dialogue> <character>DENNY</character> <dialogue>I fall in love with bozos. That's okay?</dialogue> <character>KAZ</character> <dialogue>No .. That sucks. But the rest o'f it is ..... very sweet.</dialogue> <scene_description>She suddenly tak.es a close look at him.</scene_description> <character>DENN-Y</character> <dialogue>What happened to your face?</dialogue> <character>KAZ-</character> <dialogue>Nothing..,</dialogue> <character>DENNY</character> <dialogue>Oh,.. Kaz. Did Chip hurt you?</dialogue> <character>KAZ</character> <parenthetical>( humil.iated)</parenthetical> <dialogue>No. A couple of d ±ppy. women laid into me. ·</dialogue> <character>29</character> <dialogue>CONTINUED:</dialogue> <character>DENNY</character> <dialogue>Why?</dialogue> <character>KAZ</character> <dialogue>You tell me! I mean, a guy leaps out of the bushes with a pteasant remark and before you know it his face is cat food.</dialogue> <character>DENNY</character> <dialogue>You poor thing. You probably just scared them. You do come on a little strong·.</dialogue> <scene_description>She is close to him. She touches his bruised face. A electric pause.</scene_description> <character>KAZ</character> <dialogue>Do ••• I scare xou?</dialogue> <character>DENNY</character> <dialogue>No. Maybe I shouid be scared. But I'm not. I don• t. think you• d want to hurt me.</dialogue> <scene_description>CU: KAZ,, powerfully drawn to her. But frightened of some- thing.</scene_description> <character>KAZ</character> <dialogue>· (in a shaky whisper)</dialogue> <scene_description>I wouidn't ••• want to. He moves away from her.</scene_description> <character>KAZ</character> <parenthetical>(in a defeated voice)</parenthetical> <dialogue>Oh, Denny. I'm so tired. Would you mind if I slept on your couch tonight?</dialogue> <character>DENNY</character> <dialogue>Uh, well •••</dialogue> <character>KAZ</character> <dialogue>No, forget it. I'm used to the street.. It's just so warm- here:. I.t was nice- to be somewhere warm.</dialogue> <scene_description>'-.\_\_./ He mi~erably turn~ up his coat co.llar. · A RUMBt.E OF CONTINUED: (4) POV DENNY: OUTSIDE TH£ WINDOW, where it's begun to rain. CU: DENNY, feeling sorry for him.</scene_description> </scene> <scene> <stage_direction>INT. THE LIVING ROOM - NIGHT, A LITTLE LATER</stage_direction> <scene_description>Kaz tucked cozily in on the couch. He watches Denny passing back and forth in her bedroom doorway, getting ready for bed. She pauses in the doorway, a little nervous about having him here.</scene_description> <character>DENNY</character> <dialogue>Well ••• goodnight, Kaz.</dialogue> <scene_description>POV KAZ: DENNY, her body deliciously outlined in the light from the bedroom.</scene_description> <character>KAZ:</character> <parenthetical>(very hoarsely)</parenthetical> <dialogue>Goodnight.</dialogue> <scene_description>She closes the bedroom door. In the dark livin&lt;J room, Kaz gets up slowly. He goes to the window, looks out at the storm. He runs fingers through his hair. Feels his face. His silhoue-tte rapidly growing more other-worldly.</scene_description> <character>KAZ</character> <dialogue>{speech distorted)</dialogue> <scene_description>What a bummer. Suddenly, with a LOW GROWL,, his head (in silhouette) pivots slowly till it's facing backwards -- toward the bedroom. He starts in that direction. Stops, forces himself back. Then throws open the window- with a ROAR and climbs-out into the storm.</scene_description> </scene> <scene> <stage_direction>INT. DENNY'S KITCHEN - NEXT MORNING</stage_direction> <scene_description>She is making breakfast. From a radio on the counter:</scene_description> <character>ANNOUNCER'S VOICE</character> <dialogue>A fourth victim was viciously mauled last ni.ght. The unknown assailant -</dialogue> <scene_description>Denny goes out into the living room. CO: RADIO, which continues:</scene_description> <character>ANNOUNCER'S VOICE</character> <dialogue>attacked Miguela Valdez,</dialogue> <scene_description>31, outside Gris-Gris, her Greenwich shop.</scene_description> </scene> <scene> <stage_direction>INT. THE LIVING ROOM - DAY, CONTINUOUS</stage_direction> <scene_description>Denny comes to Kaz, who is asleep on the couch. He is back to normal, except his clothes are damp. Faint muddy tracks lead from the window to the couch.</scene_description> <character>DENNY</character> <parenthetical>(w.h.ispers)</parenthetical> <dialogue>Kaz·?</dialogue> <scene_description>{shaking him gently) Kaz. He starts up,. terrified.•</scene_description> <character>KAZ</character> <dialogue>~ha ••• ? Oh. Hi.</dialogue> <scene_description>He rubs his face, confused.</scene_description> <character>DENNY</character> <parenthetical>(a little shy)</parenthetical> <dialogue>t made you breakfast.</dialogue> <character>KA.Z</character> <dialogue>I feel like I just ate. Uk. Funny taste in my mouth.</dialogue> <character>DENNY</character> <dialogue>Look, uh ••• I want to apologize about last night. I mean, getting hysterical anc:l dumpi.ng my problems on you.</dialogue> <character>KAZ</character> <dialogue>Ah, come on. You don't have to ••• wait a minute.</dialogue> <parenthetical>(grips her-shoulders)</parenthetical> <dialogue>D.id I ••• do anything. last night? Wedidn't ••• I didn't .... ?</dialogue> <scene_description>He frantically examines her throat.</scene_description> <character>DENNY</character> <dialogue>What are you looking for?</dialogue> <scene_description>32 CONTINUED:</scene_description> <character>KAZ</character> <parenthetical>(shrilly)</parenthetical> <dialogue>Nothing!</dialogue> <scene_description>( more calmly} Nothing. But when I get all heated up I 'm. liable to ••• ( grabbing her arm)· My God! Are those teeth marks?</scene_description> <character>DENNY</character> <dialogue>{getting scared)</dialogue> <scene_description>No. I caught my hand in the vegetable crisper. What's the trouble?</scene_description> <character>KAZ</character> <dialogue>You don't want to know. I'm outta here.</dialogue> <character>DENNY.</character> <dialogue>Why?</dialogue> <character>KAZ</character> <dialogue>Denny, I'm ••• look. I've got a condition. I, uh, don't suppose you believe in curses, heh, heh? Right. Neither do I. Oh ••• damn i.t! Itt s sex!</dialogue> <scene_description>Sex, sex, sex! I can't think.. abol.lt 1.t, or do it, or even look: at-it!' He sits with his head in his hands.</scene_description> <character>· DENNY</character> <dialogue>.Kaz. Don't tell me you can't</dialogue> <scene_description>make love?</scene_description> <character>KAZ</character> <dialogue>Okay .. I won't tell you.</dialogue> <character>DENNY</character> <dialogue>But what about your hundreds of successful re.lationships?</dialogue> <character>KAZ</character> <dialogue>That was.a lie.</dialogue> <character>DENNY</character> <dialogue>Why'd yo~ lie to me? ..</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>KAZ</character> <dialogue>I'm a liar. Hey, don't get pissed. Compared to the rest of it, that's one of my better qualities. Uh-oh. Here '.s where I start feeling sorry for myself. Why'd you wanna go and be nice to me?</dialogue> <character>DENNY</character> <parenthetical>(smiles tentatively)</parenthetical> <dialogue>I guess I like you.</dialogue> <character>KAZ</character> <dialogue>I like you too. That's the trouble. Well, thanks for the couch.</dialogue> <scene_description>He starts to go. She takes his hand, very touched.</scene_description> <character>DENNY</character> <dialogue>Oh, Kaz. Lots of guys have, you know, trouble making love. Look, I'll tell you what. Why don't you stay here a little longer? Sleep on the couch.</dialogue> <character>KAZ</character> <dialogue>No.</dialogue> <character>DENNY</character> <dialogue>You got nowhere else to stay, do you? Come on. I'd like the company. Besides, you ••• this is crazy,. but you remind me- of Rocco.</dialogue> <character>KAZ</character> <dialogue>DENNY</dialogue> <scene_description>It doesn't matter. You want to stay?</scene_description> <character>KAZ</character> <parenthetical>(after a pause)</parenthetical> <dialogue>The couch. Really? We' 11 be f:riends.?· No kissing., ho holding, no feeling, no kidding?</dialogue> <scene_description>They shake on it. Then he pulls her into his arms. Not too close. CONTINUED: (3)</scene_description> <character>KAZ</character> <dialogue>Hey ••• is this a relationship? I never had one. I don't know how.</dialogue> <character>DENNY .</character> <dialogue>The~ I'm perfect for you, Kaz. I can have a relationship with anybody.</dialogue> <character>A SERIES OF SHORT</character> <dialogue>33</dialogue> <character>VIGNETTES..</character> <dialogue>EXT. PLAYGROUND - DAY</dialogue> <scene_description>Denny and Kaz on the swings, having a great time. He climbs the monkey bars. There is the oddest suggestion of a scuttling reptile in .the way he climbs ..</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE STREET - DAY</stage_direction> <scene_description>Kaz and Denny windowshop, holding hands and talking. They are close and happy.</scene_description> </scene> <scene> <stage_direction>3S EXT. VILLAGE STREET - DAY 35</stage_direction> <scene_description>They have stopped at a food cart. They eat pizza. Laughing about something.. Enjoying each other.</scene_description> </scene> <scene> <stage_direction>EXT. ON THE FERRY - NIGHT</stage_direction> <scene_description>Kaz and Denny stand near the railing, watching the lights of the city twinkle· by. They hold hands.. Denny moves closer. Kaz puts his arm around her. She snuggles in to him. Slowly he turns her t.o face him. As though drawn by a magnet, their faces come closer together. They kiss. It's a long kiss. He, cups her face and looks at her. They smile, both punchdrunk with desire. POV KAZ: HIS ARM AROUND DENNY'S SHOULDER Suddenly, it grows longer, like an octopus'. A second octopus arm wraps around her. Then a third.</scene_description> <character>KAZ</character> <dialogue>Excuse me a minute ..</dialogue> </scene> <scene> <stage_direction>INT. THE FERRY, OUTSIDE THE MEN'S ROOM - NIGHT</stage_direction> <scene_description>Still with a stupified smile on his face, clutching his jacket over his arms, Kaz heads for the Men's Room, the end of one tentacle flapping out of the jacket. He goes in. A moment. SEVERAL ~OUD.LY DRESSED TOURISTS run out, frightened.</scene_description> </scene> <scene> <stage_direction>INT. THE MEN'S ROOM - NIGHT</stage_direction> <scene_description>One of the stalls SHAKES FROM LOUD CRASHES against its walls.</scene_description> <character>KAZ (O.C.)</character> <dialogue>Nuclear WAR ••• week-old GARBAGE ••• dead BABIES ••• sucking CHEST wounds •••</dialogue> <scene_description>The last CRASH sends the stall door flying open. Kaz is ins.ide, hitting his head against the wall. He stops. He checks his arms, feels his face. He's all right. The transformation has been checked. He pulls himself together, smiles.</scene_description> </scene> <scene> <stage_direction>EXT. THE FERRY - NIGHT</stage_direction> <scene_description>Kaz comes out, a little dizzy. The scared Tourists are staring at him. ffe, throws a friendly wave in their direction. Kaz comes up to Denny and puts an arm around her. She tilts her face up, ready for more kiss.i.ng.</scene_description> <character>KAZ</character> <dialogue>How's about a nice garlic hero?</dialogue> <scene_description>40 OMIT NT •. HOSPITAL ROOM - NIGHT Sonia· sits be.side the bed of Miguela, whose entire face is heavily bandaged. Sonia, fighting tears, holds her hand. A DOCTOR hovers disapprovingly. Janus ente·rs.</scene_description> <character>JANUS</character> <dialogue>Doctor, when can I •••. how'd she get in here?</dialogue> <character>DOCTOR</character> <dialogue>She said you okay'd it.</dialogue> <scene_description>41 CONTINUED: 41</scene_description> <character>SONIA</character> <parenthetical>(passionately)</parenthetical> <dialogue>She's my sister! She ought to know somebody cares what happened. The cops sure don't.</dialogue> <character>JANUS</character> <dialogue>Did she talk? She remember something?</dialogue> <scene_description>Miguela MOANS.</scene_description> <character>MIGUELA</character> <dialogue>Be ••• he was •••</dialogue> <scene_description>They all focus on her. Janus crouches by the.bed, very tense.</scene_description> <character>JANUS</character> <dialogue>Yeah? He was what?</dialogue> <character>. SONIA</character> <dialogue>Miguela, try to remember. You catch a look at his clothes-, maybe? His hands?</dialogue> <character>JANUS</character> <parenthetical>(hustling her.away)</parenthetical> <dialogue>I. want you out of here, nowt</dialogue> <character>MIGUELA</character> <parenthetical>(weakly)</parenthetical> <dialogue>Be didn't have hands •••</dialogue> <scene_description>They s,top dead. Miguela tosses her head, delirious.</scene_description> <character>MIGUELA</character> <dialogue>Claws ••• like an animal, a wild animal •••</dialogue> <scene_description>CO: SONI.A, her eyes glazing., •seeing" something. Suddenly Miguela sits up w,ith a SCREAM, reliving it. QUICK CUTS: GLIMPSE OF A DEMONIC CREATURE IN RED, approaching out of a41 the darkness from Miguela's POV -- b41 A TALONED CLAW, slic·ing at her face,. then a HISSING, b4l bur;ning sound -- c41 CU: SONIA, CRYING OUT as though she's feeling it too c4l d4l A PRONGED TONGUE FLICKING FROM A TALONED MOUTH -- d41 e4l CU: MIGUELA, hand in front of her face to ward it off -- e41 f41 CU: SONIA, same reaction -- f41 g4l THE"DEMON CtAWS reaching for her -- g4'1 h4"l CU:: MIGUELA-, SCREAMING h41 i41 As the Doctor and Janus restrain Miguela, Sonia continues i41 to scream, covering he.r own face as though in awful pain.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL CORRIDOR - DAY, A BIT LATER</stage_direction> <scene_description>Sonia, shaken, comes out of Miguela's room. ~he leans against the wall. Janus follows her out.</scene_description> <character>JANUS</character> <dialogue>You all right?</dialogue> <character>SONIA</character> <dialogue>Clow.)</dialogue> <scene_description>I saw it.</scene_description> <character>JANUS</character> <dialogue>What?</dialogue> <character>SONIA</character> <dialogue>Oh, God, Phil... I don't know.</dialogue> <scene_description>CU: JANUS-, watching her, his face tight with anxiety.</scene_description> </scene> <scene> <stage_direction>EXT. THE VILLAGE STREET FAIR - THAT NIGHT</stage_direction> <scene_description>PEOPLE, food st.ands, NOISE, lights. At a booth, Denny tries on handmade jewelry for Kaz. They are both having a good time .. POV KAZ: A SLOPPY CARDBOARD SOOTH with astrology signs. In front of a rat.ty curtain, an OLD BLACK NUN is reading Tarot cards for a ITALIAN WOMAN.</scene_description> <character>KAZ</character> <parenthetical>(to Denny)</parenthetical> <dialogue>ae· right back.</dialogue> <scene_description>Kaz approaches the black nun. It's Fixer, i.n a nun's habit.</scene_description> <character>ITALIAN WOMAN</character> <dialogue>That's .it? -</dialogue> <scene_description>CONTINUED:</scene_description> <character>FIXER</character> <dialogue>That's it.</dialogue> <parenthetical>(hand out)</parenthetical> <dialogue>That'll be five bucks, on the table .. And God bless you.</dialogue> <character>ITALIAN WOMAN</character> <dialogue>You tell a lousy fortune, Sister.</dialogue> <character>FIXER</character> <dialogue>What do you want for five bucks? Throw in another ten, maybe I see you win the Lottery.</dialogue> <character>ITALIAN WOMAN</character> <dialogue>I don't think you're a nun.</dialogue> <character>FIXER</character> <dialogue>I got my doubts about you too.</dialogue> <parenthetical>(as the Woman stalks off)</parenthetical> <dialogue>Next easel</dialogue> <character>KAZ</character> <dialogue>Uh .... Fixer? Remember me?</dialogue> <character>FIXER</character> <dialogue>Shee-it.</dialogue> <scene_description>He frantically packs his stuff. Kaz puts a hand on his arm. Fixer jumps away.</scene_description> <character>KAZ</character> <dialogue>What's the matter?</dialogue> <character>FIXER</character> <dialogue>You got the Curse hangin out all over you, boy. Get aholt of it, why don't you? Tuck it in! Any half-ass psychic could smell you comin a mile off.</dialogue> <character>KAZ</character> <dialogue>You •·re. psychic?</dialogue> <character>FIXER</character> <parenthetical>(modestly)</parenthetical> <dialogue>Well -- I do got a lit~le gypsy in my Soul.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>KAZ</character> <dialogue>Don't run away from me. Please. Last time you saw me you said ••• there might be something you could do. You know how to get a curse off?•</dialogue> <character>FIXER</character> <dialogue>Maybe. But you said you didn't have no bread. Got some now?</dialogue> <character>KAZ</character> <dialogue>No.</dialogue> <character>FIXER</character> <dialogue>What ~ you got?</dialogue> <scene_description>Kaz looks back at the jewelry booth. Fixer follows his gaze. THE.IR POV:. DENNY, helping a LITTLE GIRL try on outlandish jewelry. She waves at Kaz.</scene_description> <character>FIXER</character> <parenthetical>(continuing)</parenthetical> <dialogue>You ain't done nothin stupid, I hope. You didn't go and fall in love?</dialogue> <scene_description>Kaz grins.</scene_description> <character>FIXER</character> <parenthetical>(continuing,. disgusted)</parenthetical> <dialogue>That the reason you wanna give up the Power of the Curse? For a woman? Boy, you like to break. my heart. Don't you know you got a gift? When you got the shape on you, ain't nobody gonna push you around, you the boss. You a lucky man.</dialogue> <character>KAZ</character> <dialogue>No. You don't know what it's like·. Whenever I get t.u.rned on ••• it's like I get some sort of demon inside me ••• and then ••• I.can-never r·emember what I did.</dialogue> <scene_description>CONTINUED: {3) POV KAZ: DENNY, radiant, GIGGLING with the Little Girl. CU: KAZ, his eyes filling.</scene_description> <character>KAZ</character> <dialogue>Fixer. What if I hurt her?</dialogue> <character>FIXE.R</character> <dialogue>Charity. That what you want from me? Hmph.. Well ••• first I better see just how you ketched this here curse.</dialogue> </scene> <scene> <stage_direction>INT. DOORWAY - NIGHT</stage_direction> <scene_description>Fixer pulls him into doorway. Spits on a glass doorknob, polishes it with his sleeve.</scene_description> <character>KAZ</character> <dialogue>What're you doing?</dialogue> <character>FIXER</character> <dialogue>You been crystal ball shoppin lately? Pricey. Awright now ••• where's the horizontal control on this thing ••• gotcha!</dialogue> <scene_description>THEIR POV: THS DOOR.KNOB - NIGHT, CONTINUOUS Dim fig .ures swim into view.. A bunch of YOUNG BOYS ( 11 -- 12 years old). Their VOICES fuzzy and far away.</scene_description> <character>KAZ</character> <dialogue>My God ..</dialogue> <scene_description>IN THE. DOOR.KNOB, a gaudy, chesty, jolly GI.RL, about 15, struts ahead of the pack .. The boys vie for her attention. She loves it. 47 INT .. OOORWA.Y - NIGHT, CONTINUOUS</scene_description> <character>KAZ:</character> <dialogue>aibi. Bi.bi Szegulesco.. This is great! Can you. show me how you do it?</dialogue> <character>.FIXER</character> <dialogue>What you think I am, Mr. Wizard? Shut up and watch.</dialogue> <scene_description>INT. BIBI'S KITCHEN (IN THE DOORl&lt;NOB) Bibi shoves in one DAZED ~OY from the living room, beckons for the next. The boys push forward KAZ AS A KID.</scene_description> <character>KAZ (O.S.}</character> <parenthetical>(moved)</parenthetical> <dialogue>Hey. That's me!</dialogue> <character>-</character> <dialogue>Little Kaz blushes scarlet, hangs back. Bibi pulls him into the livi.ng room, shuts the door. Suddenly, in the kitchen, a BONEY, WILD-EYED WOMAN comes in the back door. MRS. SZEGULESCO, home from work unexpectedly. Boys scatter, going out windows, etc. Mrs. s., crazy with rage, tries to catch some.</dialogue> <scene_description>INT. OOORWA:t - NIGHT, CONT'INUOUS</scene_description> <character>FIXER</character> <dialogue>Who the spoilsport?</dialogue> <character>KAZ</character> <dialogue>bibi's- mom. Oh, no. I can't watch.</dialogue> <scene_description>50 INT. BIBI'S LIVING ROOM - DA:t (IN THE DOORKNOB) so Kaz is on the couch kissing Bibi, who is desperately trying to get his pants off. Bibi's mother comes in. Bibi SCREAMS. Kaz leaps off her. But he can't run, h:is pants are caught around his ankles.</scene_description> <character>KAZ (O.C.)</character> <dialogue>Run. !!:£\_, you stupid kid.</dialogue> <scene_description>Mrs. Sz--egulesco' s home·ly face is transformed with awful, potent fury. She points at Kaz, SPEAK'.ING IN A FOREIGN TONGUE-. Little Kaz stares at her, eyes wide- and scared. I~. DOORWA:t - NIGHT~- CONT'INUOUS</scene_description> <character>FIXER</character> <dialogue>What she say?</dialogue> <character>KAZ</character> <dialogue>I don't know, she was talking Ruman.ian.</dialogue> <character>FIXER</character> <dialogue>Ru-MANIAN? Why, you poor dumb chump. You don't fuck with Rumanians, didn't your mamma never tell you that?</dialogue> <scene_description>He elbows Kaz.aside, liste.ning now more closely. INT. BIBI 'S LIVING ROOM - DAY ( IN Tl:iE DOORKNOB} Mrs. S. still SPITS TH£ CURSE at Kaz. Unfocussed in the BG is the TV screen, where in some low-budget flick a man is transformed (badly) into a monster. A little jolt of lightning CRACKS from her pointing finger to little Kaz's lower .belly. He clu.tche-s it with a YELP. Mrs. S ends her savage spate of Rumanian w·ith one screamed word: "Pazotski!"' INT •. DOORWAY - NIGHT, CONTINUOUS</scene_description> <character>FIXER</character> <dialogue>Wuh-oh.</dialogue> <character>KAZ</character> <dialogue>(anx.ious} What?! Tell me! What's a l?azotski? FIXER (gravely) You .. She sticked a devil</dialogue> <scene_description>in you, boy.</scene_description> <character>KAZ</character> <dialogue>You mean ...... I'm possessed?~!</dialogue> <character>~IXE.R</character> <dialogue>Worse. You pazotst. Open up your pants •.</dialogue> <character>KAZ</character> <dialogue>What?·</dialogue> <character>FIXER</character> <dialogue>Come on, come on, I ain't gonna kiss you. Drop 'em.</dialogue> <scene_description>He helps Kaz open his belt, unzip his pants part way. CU: ~Z'S.LOWER BELLY. A rq.ised, jagged scar in an.unusual 4-sided design.·</scene_description> <character>FIXER</character> <parenthetical>(continuing)</parenthetical> <dialogue>Yuh-huh. Right there.</dialogue> <parenthetical>(tracing it)</parenthetical> <dialogue>That's where the devil went in.</dialogue> <scene_description>A YUPPIE COUPLE passes their doorway. POV YUPP!E COUPLE: FIXER BENDING OVER KAZ'S aALF-OPEN PANTS. They GASP, and Fixer sees them.</scene_description> <character>FIXER</character> <dialogue>You c-an't take it, go back to Jersey.</dialogue> <scene_description>They run. Kaz, humiliated, buckles his pants.</scene_description> <character>FIXER</character> <parenthetical>(continuing)</parenthetical> <dialogue>Listen, now, this is important. Don't let nobody stick you there, specially with nothin made outta flint.</dialogue> <character>KAZ</character> <dialogue>I hadn't planned on it.</dialogue> <character>FIXER</character> <dialogue>It ain't no joke,, boy. A fl.int knife goes. in where the devil did, it'd kill you and him both. That's how the Injuns killed all them Pazotskis in Kans.as ..</dialogue> <character>KAZ</character> <dialogue>CincredulousJ</dialogue> <scene_description>There are Pazotskis in Kansas?</scene_description> <character>FIXER</character> <parenthetical>(huffy at being doubted)</parenthetical> <dialogue>Wel.l, not anymore.</dialogue> <parenthetical>(going)</parenthetical> <character>KAZ:</character> <dialogue>But wait a minute if I'm possessed</dialogue> <character>FIXER</character> <dialogue>J ' Pazotst.</dialogue> <character>KAZ</character> <dialogue>Whatever -- how come it only shows up when I get horny? What's so funny?</dialogue> <character>FIXER .</character> <dialogue>If horny•·s how you feel, you get horny for real! Can't get down with no female when you got a mouthful ofrazors and a pointy tail! She done laid a case of Rumanian blueballs on you, boy!</dialogue> <character>KAZ</character> <dialogue>But my God ••• a devil? I'm liable to do anything when I'm like that. I never even remembe·r!</dialogue> <character>FIXER</character> <dialogue>That's cause you fight it. Try givin yourself over to it ..</dialogue> <character>I&lt;AZ</character> <dialogue>That makes the Power weaker?</dialogue> <character>FIXER</character> <dialogue>Hell no, that'd give it a nice big boost. But at least you'd get to remember the fun stuff. Y- Oh my ..</dialogue> <scene_description>POV FIXER: THE ITALIAN WOMAN {whose future he read) pointing him out to a gang of ANGRY NUNS. Fixer begins to fold up his booth.</scene_description> <character>KAZ</character> <dialogue>Wait •.•• how do I get this</dialogue> <scene_description>curse off me? And stay alive,~meanl</scene_description> <character>F'IXER</character> <parenthetical>(packing briskly)</parenthetical> <dialogue>Well.,. what they s·ay is, you got to do something noble .. Something so unselfish that the devil be scared right outta you.</dialogue> </scene> <scene> <stage_direction>.\_\_...,,'</stage_direction> <character>KAZ</character> <dialogue>That sounds like a third-rate fairy tale.</dialogue> <character>FIXER</character> <dialogue>You mighty picky for somebody</dialogue> <scene_description>·.livin. in the. Twilight ·zone. And, uh •••</scene_description> <character>KAZ</character> <parenthetical>(seeing his face)</parenthetical> <dialogue>There's a catch.</dialogue> <character>FIXER</character> <dialogue>Ain't there always? When the devil leaps out of you, . it grabs aholt of the person in your life that's closest to you. You get the cure, they get the curse. That's how the legend go .. Look, I don't make 'em up, I just passes 'em on.</dialogue> <scene_description>POV FIXER:. THE NUNS, starting in his direction. FIXER,1 Arre~vaditchy and good luck. He takes off.</scene_description> <character>KAZ</character> <dialogue>No! Ftxer! Tell me what to do!</dialogue> <character>FIXER</character> <dialogue>Run, them nuns can hit!</dialogue> <parenthetical>( over his shoulder)</parenthetical> <dialogue>Don•· t worcy, you. bound to run into my gypsy wagon again. They' s always a· street party somewhere. You in Fun City, boy.</dialogue> <scene_description>He disappears., the nuns- on his tail.</scene_description> <character>54</character> <dialogue>EXT. A VILLAGE S.-TR&amp;ET -</dialogue> <scene_description>Denny and Kaz walk home. She, leans against him, tired and happy. He is silent, deep in thought.</scene_description> <character>ANGLE: A DESERTED BUS STOP·OOWN THE STREET. A HANDICAPPED</character> <dialogue>MIDDLE-AGED WOMAN, in a motorized wheelchair, waits for a bus. Suddently a MUGGER springs on her. They struggle, the Mugger trying to pull her purse away.</dialogue> <character>DENNY</character> <dialogue>·· Oh ,. my God t .</dialogue> <scene_description>Kaz runs toward the fight.</scene_description> <character>DENNY</character> <parenthetical>(continuing, frightened)</parenthetical> <dialogue>Kazl</dialogue> <scene_description>ANGLE: THE BUS STOP. Kaz leaps into the .fight. The woman pununels them both. Obviously the ·Mugger has been getting the- worst of it. Ke is bruised and bleeding. She has ahold of his throat. Now she grabs Kaz by the hair.</scene_description> <character>MUGGER</character> <dialogue>( strangling.} Look out, the bitch is crazy! The Woman CRACKS their heads together. The mugger falls unconscious. She REVS UP her wheelchair and backs over him a few times, still hanging onto Kaz's hair. KAz·</dialogue> <scene_description>Lady, I'm trying to help yout</scene_description> <character>WOMAN</character> <dialogue>Save it for the fuzz, suckheadl</dialogue> <scene_description>She BLOWS A SBRILL BIAST on a whistle. Denny has joined the fight, trying to pu.l.l Kaz free. Dragging Kaz by the hair, the Woman chases Denny around in a circ:·1e in her wheelchiar, swinging her purse- at her, BLOWING HER WHISTLE. Denny and Kaz break free and run. EXT DOORWAY DOWN THE STREET - NIGHT, MOMENTS LATER Kaa and Denny lean GASPING against the doorway. In the ctis·tance- the WHISTLE BLASTS ON ANO ON. She puts her arms around him •.</scene_description> <character>KAZ</character> <dialogue>Am I the only defenseless person left in New York?</dialogue> <scene_description>CONTINUED:</scene_description> <character>DENNY</character> <dialogue>You were wonderful. Trying to help her, that was real brave.</dialogue> <character>KAZ</character> <dialogue>I was trying for noble.</dialogue> <parenthetical>(sighs)</parenthetical> <dialogue>Maybe next time.</dialogue> <character>DENNY</character> <dialogue>I was scared. What if something happened to you? Kaz ••• I never felt so close to anybody before.</dialogue> <scene_description>Immediately he holds her at arms' length. Studies her face anxiously.</scene_description> <character>KAZ</character> <dialogue>Close?</dialogue> <character>DENNY</character> <dialogue>Well ••• yes. You feel the same way about me - don't you?</dialogue> <character>FIXER VOICE (O.C.)</character> <dialogue>••• when the devil leaps out of you, it grabs ahold of the person in your life- that's closest to you. You get the cure, they get the devil. That's how the legend go.•• •·</dialogue> <character>DENNY</character> <dialogue>Kaz? Don't you?</dialogue> <scene_description>CU: KAZ, his predicament dawning on him ..</scene_description> <character>KAZ</character> <dialogue>Yes.. Ah, nuts.</dialogue> <character>DENNY</character> <parenthetical>(kissing him)</parenthetical> <dialogue>Then would you promise me something? Don't try to be noble- again, okay?</dialogue> <scene_description>He nods, unable to speak. He.holds her. Be is absolutely miserable-. Two pot-bellied men in T-shirts argue in the foreground, puffing cigars. Denny, in the background, walks happily up to the stoop. She stears quite clear of the arguing duo and charges up her steps.</scene_description> </scene> <scene> <stage_direction>INT. DENNY'S LIVING ROOM - LATE AFTERNOON, A MINUTE LATER 5.7</stage_direction> <scene_description>SOUND OF KEY IN THE LOCK. Denny bursts in the door.</scene_description> <character>DENNY</character> <dialogue>Kaz? I'm home! They closed the pet shop ea~ly. ~Janna pack a lunch and --</dialogue> <scene_description>She stares. ANGLE:. KAZ, caught in the act. He has been decorating the room with balloons and crepe paper. He is not neat, but he is enthusiastic. Streams of it hang haphazardly from the ceiling, looped over chairs .. He was taping colored letters to the wall when she came in: HAPPY BIRTHDAY DENNY A WEEK TOO LATE. He freezes when he sees her, an abashed grin on his face, streamers i.n his hair, fingers stuck together with tape. CU: DENNY, he·r eyes filling. She goes slowly to the wall, touches the letters. A pause. Then she turns to him, burying her face in his chest, hugging him tightly. He holds her.</scene_description> </scene> <scene> <stage_direction>INT. DENNY'S LIVING ROOM - EVENING, LATER</stage_direction> <scene_description>Kaz and Denny are cuddled on the couch, quiet, drinking wine. A half-ea·ten pizza on the. floor, stuck all over with birthday candles.. A box of candy on the table and a couple of bottles of champagne.</scene_description> <character>DENNY</character> <parenthetical>(SIGHS)</parenthetical> <dialogue>You know- what?</dialogue> <character>KAZ</character> <dialogue>Mmn?·</dialogue> <character>DENNY</character> <dialogue>This is the best birthday I ever had. And i.t rs not even my birthday •</dialogue> <scene_description>.He kisses her. Sh\_e slides· closer. .</scene_description> <character>DENNY</character> <dialogue>Kaz? Stay all night this time. Don't go out walking and leave me alone again. And you don•· t have to sleep on the. c\_ouch.</dialogue> <scene_description>He gets up quickly. POV KAZ: HIS RUCKSACK behind the couch, crammed with his few belongings. Including a newspaper, where headlines scream MANGLER ON RAMPAGE!</scene_description> <character>KAZ</character> <dialogue>Denny? I, uh ••• I have to •••</dialogue> <scene_description>CU: DENNY, her face turned up to him. Loving, happy. Kaz can't tell her. Puts it off for a moment.</scene_description> <character>KAZ</character> <parenthetical>(continuing)</parenthetical> <dialogue>Hey, aren't you going to open your present?</dialogue> <scene_description>He leads her to a big wrapped box.</scene_description> <character>DENNY</character> <parenthetical>(ripping. paper off)</parenthetical> <dialogue>Oh,. my gosh. Oh, Kaz! It's a television!</dialogue> <parenthetical>(real.izing)</parenthetical> <dialogue>Itts ~ television! Where did you --?-</dialogue> <character>KAZ</character> <parenthetical>(pleased)</parenthetical> <dialogue>I have some friends on the street. They told me where to find. good old Chip.</dialogue> <character>DENNY</character> <dialogue>You stole it back from him?t</dialogue> <character>KAZ</character> <dialogue>Heck, no. I bought it. On Visa,. I forget whose card - Dr. Sidney Somebody.</dialogue> <character>DENNY</character> <dialogue>Kaz.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>KAZ</character> <dialogue>Well, it's a hot tv, isn't it? I figured hot plastic was a- fair exchange.</dialogue> <scene_description>She can't be upset. She hugs him.</scene_description> <character>KAZ</character> <dialogue>You like it?</dialogue> <character>DENNY</character> <dialogue>I always did.</dialogue> <scene_description>She kisses him. He returns the kiss, then tries gently to extricate himself. She won't let him, kisses him again.</scene_description> <character>KAZ</character> <dialogue>Denny .... stop.</dialogue> <character>DENNY</character> <dialogue>You don't want me to.</dialogue> <character>KAZ</character> <parenthetical>(getting involved)</parenthetical> <dialogue>There's something I have to talk about .... this isn't fair •••</dialogue> <character>DENNY</character> <dialogue>Right.</dialogue> <scene_description>Still kissing him, she backs him to the couch, eases him down. He is now as wrapped up as she is. She gets him down, unbuttoning his shirt.</scene_description> <character>KAZ</character> <dialogue>Wait. You know• these feelings you're fee.ling? You're fee.ling them for the wrong person.</dialogue> <character>DENNY</character> <parenthetical>(kissing him)</parenthetical> <dialogue>Mmm .... that's never been my strong point.</dialogue> <character>KAZ</character> <dialogue>Denny.... no ..... .,</dialogue> <character>DENNY</character> <dialogue>Yes ••• yes, yes, yes •••.•</dialogue> <scene_description>She kisses his ch~st, bites ~is neck. He tries.to fight the passion he's feeling, but is drawn right in.</scene_description> <character>---</character> <dialogue>CU: KAZ, reacting to an ODD SUCKING NOISE. CU: I&lt;AZ'S EAR, which is slowly being sucked into his skull with a slithery liquid sound. He yanks hims~lf back to reality.</dialogue> <scene_description>nz</scene_description> <character>NO!</character> <dialogue>Pulling at his disappearing ear, he runs into the bedroom and SLAMS the door.</dialogue> <character>DENNY</character> <dialogue>What's the matter?</dialogue> <character>59</character> <dialogue>INT. THE BEDROOM - NIGHT, CONTINUOUS</dialogue> <scene_description>The bathroom door is shut .. A LOUD POP from inside. Kaz YAWPS in pain. The SOUND OF THE ~HOWER GOING ON. Angry now, Denny KNOCKS on the bathroom door.</scene_description> <character>DENNY</character> <dialogue>Kaz? What are you doing?</dialogue> <scene_description>She opens the door.</scene_description> <character>60</character> <dialogue>INT. THE BATHROOM - NIGHT, CONTINUOUS</dialogue> <scene_description>The shower curtain is drawn, the shower is running, Kaz is in it. Denny SHOUTS at the shower curtain ..</scene_description> <character>DENNY</character> <dialogue>You're taking a shower?!</dialogue> <character>KAZ (O.C.)</character> <dialogue>What's it look like!</dialogue> <scene_description>She pulls back the shower curta,in. Kaz stands under the rushing water, fulJ.y clothed. His ears are back to normal. He is freering. His teeth chatter.</scene_description> <character>DENNY</character> <dialogue>Have you lost your mi.ndt</dialogue> <character>KAZ</character> <parenthetical>( tw-iddl.ing the knobs,)</parenthetical> <dialogue>Goddam New York plwnbing! You call this cold water?</dialogue> <scene_description>"---./ (CONTlNUED)</scene_description> <character>DENNY</character> <parenthetical>(pulling him)</parenthetical> <dialogue>Come out of there!</dialogue> <parenthetical>(when she can't budge him)</parenthetical> <dialogue>All right.</dialogue> <scene_description>She climbs in with him. They face each other under the shower.</scene_description> <character>DENNY</character> <dialogue>Kaz, I think it's time to talk about our relationship. Do you love me or not!</dialogue> <character>KAZ</character> <dialogue>Of course I love you! What do you think I'm doing in the shower?</dialogue> <character>DENNY</character> <dialogue>That's what I'd like to know!</dialogue> <scene_description>tpause) And what am I doing in the shower? God7 •• oh, God •••</scene_description> <character>KAZ</character> <dialogue>Are you crying? I can't tell, your face is all wet.</dialogue> <scene_description>She SOBS. He sadly gets out, leaving her under the running water. Re checks himself in the bathroom mirror. He's okay now. He towels his head.</scene_description> <character>KAZ</character> <dialogue>You finished?</dialogue> <character>DENN.Y</character> <parenthetical>(H.ICCUPPING)</parenthetical> <dialogue>I th.ink so.</dialogue> <scene_description>He turns off the wate.r, helps her out. Hands her a towel.</scene_description> <character>KAZ</character> <dialogue>Denny, I can't l.ive here- anymore.•</dialogue> <character>DENNY</character> <dialogue>What? Why? It's. going so we-ll!</dialogue> <character>61</character> <dialogue>EXT. THE BEDROOM - NIGHT, CONTINUOUS</dialogue> <character>DENNY</character> <parenthetical>(following him in)</parenthetical> <dialogue>Kaz, please -- just tell me what's wrong. Honey, it won't ·change the way I feel about .you •.</dialogue> <character>KAZ.</character> <dialogue>~anna bet?</dialogue> <character>DENNY</character> <dialogue>Try me. Please.</dialogue> <scene_description>He gives her a long look.</scene_description> <character>KAZ</character> <dialogue>You're not going to like it. I mean you're really not going to like it.</dialogue> <scene_description>She waits patiently .. Her silence is expectant, encouraging.</scene_description> <character>KAZ</character> <parenthetical>(continuing)</parenthetical> <dialogue>All right! What's it matter, I'm leaving anyway. Just promise you won't faint or scream or lose your pizza •.</dialogue> <character>DENNY</character> <dialogue>I promise.</dialogue> <scene_description>A pause. He turns his back ..</scene_description> <character>KAZ</character> <dialogue>{MUMBLES)</dialogue> <scene_description>I'm pos·szm.</scene_description> <character>DENNY</character> <dialogue>What?</dialogue> <character>KAZ</character> <parenthetical>(desp&amp;rately)</parenthetical> <dialogue>Jesus,. woman, you can't expect me to say it twice!</dialogue> <character>DENNY</character> <dialogue>But you were mumbling·!</dialogue> <scene_description>~ . I cto·n' ~ mumb:le·t CONTINUED:</scene_description> <character>DENNY</character> <dialogue>Well you just did! You said</dialogue> <character>-</character> <dialogue>•r•m posszm!" Are you posszm?</dialogue> <character>KAZ</character> <dialogue>~o. I'm pazo\_tst •.</dialogue> <character>DENNY</character> <parenthetical>(overlap)</parenthetical> <dialogue>aow can I understand you if you don't ••</dialogue> <scene_description>(just hearing him) . ••• speak ••• clearly ••• wha'd you say?</scene_description> <character>KAZ</character> <parenthetical>( mise.rably)</parenthetical> <dialogue>It ts like possessed by a. devil. Only worse. I'm a Pazotski.</dialogue> <parenthetical>(when she doesn't move)</parenthetical> <dialogue>Say something.</dialogue> <character>DENNY</character> <parenthetical>( her anger growing)</parenthetical> <dialogue>I sit here seared to death of what you're going to tell me •• and you turn it all into some dumb adolescent joke1</dialogue> <character>KAZ</character> <dialogue>Well, you don't have to get !!!!£\_ at me!</dialogue> </scene> <scene> <stage_direction>INT. THE LIVING ROOM - NIGHT,. CONTINUOUS</stage_direction> <scene_description>Denny storms in, Ka:r: behind her ..</scene_description> <character>KA'Z</character> <dialogue>I'm te-1.ling you t·he truth! Think of it like a disease! I'm sick! Some people get fever blisters when they're sick,. I get a long tail and l.iz-ard skinl</dialogue> <character>DENNY</character> <dialogue>Just stop it!</dialogue> <character>KAZ</character> <dialogue>Why's it so hard to believe? If this was the Middle Ages, you'd just say 'Oh,' and then we'd talk about the ball scores.</dialogue> <scene_description>She turns on him in a cold fury.</scene_description> <character>DENNY</character> <dialogue>You're sick.</dialogue> <character>KAZ-</character> <dialogue>That's what I'm telling you!</dialogue> <character>DENNY</character> <dialogue>I'm getting out of here. I need to take a walk.</dialogue> <character>KAZ</character> <dialogue>I'll come with you.</dialogue> <character>DENNY</character> <dialogue>Oh yeah? Where's your leash?</dialogue> <character>KAZ</character> <dialogue>There, you see? :iou said it wouldn't change how you feel about me. And if I touched you now I.'d get freezer burn!</dialogue> <character>DENNY</character> <parenthetical>(near tears)</parenthetical> <dialogue>I thought you were going to tell me the truth.</dialogue> <character>WHY WOULD I LIE</character> <dialogue>LIKE THIS?</dialogue> <character>ABOUT</character> <dialogue>DENNY</dialogue> <scene_description>BECAUSE YOU'RE A LIAR! You said so yourself!</scene_description> <character>KAZ</character> <dialogue>I'm not lying now!</dialogue> <character>DENNY</character> <dialogue>Is that a lie too? If you' re a liar you ~ie about not ~ying ! How qm I supposed. to know the difference?!</dialogue> <character>KAZ</character> <dialogue>Okay t You want proof.? You want me to change right here in front of you? Kiss me. Come on, kiss me. Come here •</dialogue> <scene_description>. What's the matter? (BAWK-BAWKING like a chicken)</scene_description> <character>DENNY</character> <dialogue>I refuse to play this stupid game with---</dialogue> <character>KAZ</character> <dialogue>Who's playing? Come on, put your mouth where your mouth is. Kiss me, stir me up, prove to me I'm wrong.</dialogue> <scene_description>He grabs her, kisses her. The heat of the fight carries over into their lovemaking. After a charg.ed minute, he pulls back.</scene_description> <character>DENNY</character> <parenthetical>(GASPING for air)</parenthetical> <dialogue>Wel.l?</dialogue> <scene_description>Kaz. peeks inside his shirt.</scene_description> <character>KAZ</character> <dialogue>Getting t;here.</dialogue> <scene_description>He pulls her to him again ..</scene_description> </scene> <scene> <stage_direction>INT. THE BEDROOM - NIGHT, CONTINUOUS</stage_direction> <scene_description>Still locked together kissing, they back into the room.</scene_description> <character>KAZ</character> <dialogue>(continuing, between kisses} Have- I changed'? They fall back onto the bed. DENNY (thrilled}</dialogue> <scene_description>I'lJ.. say. They beg.in to make out and start to undress each other. She puLLs his shirt µp, caressing his back.</scene_description> <character>A SERIES OF CLOSE-UPS:</character> <dialogue>Denny kisses him. Kaz moans with pleasure. Denny's face lights up. Kaz moans again, louder this time. Denny's passion grows. He moans again - but is it pleasure or is it pain? CU: KAzts HAND RATTLING THE BEDPOST. It is somewhat leathery. FURNITURE RUMBLES AND SHAKES. Her cosmetic bottles rattle together. CU: KAZ. He groans, contorts his face.</dialogue> <character>KAZ</character> <dialogue>.We've gotta stop.</dialogue> <character>DENNY</character> <dialogue>Relax. Go w:ith it..</dialogue> <scene_description>Denny kicks off her s-hoes. and runs her hand up his legs and then over his behind, which begins to swell alarminyly ..</scene_description> <character>KAZ</character> <dialogue>I hate when this happens.</dialogue> <scene_description>A tail shoots out of his back. Oblivious, Denny traces her hand up Kaz' s spine. ·ais vertebrae rise one at a time, following the path of her hand. As she runs her hand back down again, she feels the odd bump&amp; and her eyes pop open. Her ha:nd then bumps against his tail. Scared, she grabs him by the head, only to find herself holding a clump of alien hair. She tries to lift him, tries to see his face.</scene_description> <character>KAZ</character> <parenthetical>(his voice raspy)</parenthetical> <dialogue>B1ngo.</dialogue> <character>DENNY</character> <dialogue>-</dialogue> <scene_description>Oh no! Denny pushes him away and runs- to the door, nearly falling in te:rror, knocking over a lamp.. Immediately, the room is c-ast in wei.rdly-shadowed semi-darkness. As she approaches the- door, it CRASHES shut and a burea.u SLAMS agai.ns:t it,. barricading the exit. Kaz- is standing, fully trans·formed. ( CONTINUED·): '--.\_\_../</scene_description> <character>KAZ</character> <parenthetical>(his Voice low, gutteral)</parenthetical> <dialogue>Don't try to leave. I'm not doing this to impress Jodie Foster. WATC~ ~E!</dialogue> <scene_description>Kaz's stomach rises up and foms a face. Denny can't speak. She makes HORRlr.. IED GARGLING SOUNDS.</scene_description> <character>KAZ</character> <dialogue>That's easy for\_you to say.</dialogue> <scene_description>He takes a step toward her. She bolts into the bathroom.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - NIGHT, CONTINUOUS</stage_direction> <scene_description>Denny tries to fill a small toothbrush glass with wate.r, he·r hands shaking. She sees · Kaz reflected in the medicine cabinet mirror .. Be is in the doorway behind her, in partial darkness from the bedroom. She CRIES OUT.</scene_description> <character>KAZ</character> <parenthetical>(Voice distorted)</parenthetical> <dialogue>You don't need water. You need a drink.</dialogue> <scene_description>She throws the water in his face. They gape at each other, shocked.</scene_description> <character>DENNY</character> <dialogue>Change back!</dialogue> <character>KAZ</character> <dialogue>·r can•·t1</dialogue> <character>DENNY</character> <dialogue>But water worked the la·st time!</dialogue> <scene_description>She turns on the shower full force. CLAPS her hands, makes KISS-KISS NOISES, coaxing him.</scene_description> <character>DENNY</character> <dialogue>(continuing} Come on, here boy, get in the- shower. .. .. good boy, come on .... Kaz backs into -the sriadoweq bedroom. KAZ</dialogue> <scene_description>It's too late for a cold shower. It has to go away by itself now. Like a heat rash.</scene_description> <character>DENNY</character> <parenthetical>( losing it)</parenthetical> <character>HOW COULD YOU 00 THIS TO ME?</character> <dialogue>KAZ</dialogue> <character>WBY ARE YOU SCREAMING?</character> <dialogue>DENNY</dialogue> <scene_description>I'M HYSTERICALi</scene_description> <character>KAZ</character> <dialogue>Don't you think you're overreacting?</dialogue> <character>DENNY</character> <dialogue>THIS ISN'T HAPPENINGL</dialogue> <scene_description>The PHONE BEGINS RINGING.</scene_description> <character>KAZ</character> <dialogue>Soy, you sound just like my mother!</dialogue> <parenthetical>(falsetto)</parenthetical> <dialogue>It's nothing,. dear, it'll clear up when you skin does! Right, Ma,. big help! A.11 those years I thought I was normal! For all I knew, everybody who jacked off to a picture of Annette Funicel.lo got scaley legs and fur on the-ir faces!</dialogue> <character>·DENNY</character> <dialogue>No wonder I always had this crazy urge to set your dish on the floor at dinner!</dialogue> <scene_description>The PHONE,. MADDENINGLY,. CONTINUES TO RING .. She snatches it up.,</scene_description> <character>DENNY</character> <parenthetical>( into phone-)</parenthetical> <character>NOT NOW!</character> <dialogue>INT. PHONe BOOTH - NIGHT</dialogue> <scene_description>Charles is all dressed up, carries a gigantic bouquet. {CONTINUED):</scene_description> <character>INTERCUT PHONE CONVERSATION</character> <dialogue>CHARLES</dialogue> <scene_description>Hello there! How's about that dinner? ·something more· ia\_ happen~ng to tcaz, but in the shadowy darkness it's hard to tell what. He falls to his k..nees, MAKING •EXORCIST• NOISES. IN THE PHONE BOOTH, Charles hears Kaz GRQJL. Excited, thinking it's Denny, he GROWLS back.</scene_description> <character>CHARLES</character> <parenthetical>(continuing)</parenthetical> <dialogue>Grrr, you devil. Meet me at Pennyfeathers, I'll buy you a steak. Can ¥;OU spel.l Pennyfeathers?</dialogue> <character>KAZ</character> <parenthetical>(over the DEMONIC SOUNDS)</parenthetical> <dialogue>Denny ••• run ••• blacking out ....</dialogue> <character>CHARLES</character> <dialogue>Denny. You don't have a man there,. do you? It's night t.ime.</dialogue> <character>OENN-Y</character> <dialogue>(staring at Kaz} I can't talk now, Charles. I'm having a heart attack. ( hanging up) IN THE BOOTH, Cha·rles is very upset. He takes it out. on the flowers,. th.rashing them around.. But it's a big bouquet</dialogue> <scene_description>and a tiny phone booth and he ends up hurting himself. Then he can't get the door open. He fights his way out, covered with mashed flowers. 67 IN THE APARTMENT, Denny t.ries desperately to get the 67. bureau away f.rom the door. Kaz has retreated to the shadows.. Now h.e advances slowly, jerkily,· as though it's against his will.</scene_description> <character>DENNY</character> <parenthetical>(scared)</parenthetical> <dialogue>Kaz?</dialogue> <scene_description>He keeps coming.</scene_description> <character>DENNY</character> <parenthetical>(continuing)</parenthetical> <dialogue>Kaz ••• what is it? Don't!:</dialogue> <scene_description>Kaz fights the demon within him. He turns toward the window with effort. Then, R.OARING. DEMONICALLY, he leaps out onto the fire escape and disappears. CO: DENNY, staring after him, shaken.</scene_description> <character>68</character> <dialogue>INT. POLICE PRECINCT - NEXT DAY</dialogue> <scene_description>A madhouse: PHONES JANGLING, SHOUTING, COPS hurrying in and out. Sonia rushes through, bumping into people. She looks like she hasntt slept. She carries a newspaper: MANGLER CLAIMS ANOTHER VICTIM!</scene_description> <character>69-</character> <dialogue>INT. JANUS'S OFFICE - DAY, CONTINUOUS</dialogue> <character>SONIA</character> <parenthetical>(bursting in)</parenthetical> <dialogue>I've got to talk to you. Now!</dialogue> <character>JANUS</character> <parenthetical>(on pnone)</parenthetical> <dialogue>When I got something to say,</dialogue> <scene_description>Itll say i t l No comment! (hanging up)</scene_description> <character>SONIA</character> <dialogue>I think I know who the Mangler is. Or what he is.</dialogue> <scene_description>CU: JANUS, jarred. He forcibly calms himself.</scene_description> <character>JANUS</character> <parenthetical>(quietly)</parenthetical> <dialogue>Go on.</dialogue> <scene_description>She passes a· hand over her forehead.</scene_description> <character>JANUS</character> <parenthetical>(continuing)</parenthetical> <dialogue>Hey, Valdez:.. You' re not gonna. faint on me?</dialogue> <scene_description>'..\_../</scene_description> <character>SONIA</character> <dialogue>I don't faint.</dialogue> <parenthetical>(sits)</parenthetical> <dialogue>Phil ••• that day in the hospital, I saw who Miguela saw. The Mangler. In my own head~ I saw him. He-'s the Devil, Phil.</dialogue> <scene_description>CU: JANUS,, his emotions unreadable.</scene_description> <character>SONIA</character> <parenthetical>(continuing)</parenthetical> <dialogue>When he's not out ••• hunting, I think he looks like anybody else. He's safe that way. But if I can get close to him - tune in, you know? I can help you find him.</dialogue> <scene_description>Janua approaches her slowly.</scene_description> <character>JANUS</character> <dialogue>Baby, I know what happened to your sister was a shock to you. But you got to stop pushing yourself--</dialogue> <character>SONIA</character> <dialogue>I'm not crazy!</dialogue> <character>JANOS</character> <dialogue>You said you saw the Devil. What do you expect me- to think?</dialogue> <character>SONIA</character> <dialogue>Forge·t it!- I'll find him - with: or without your help!</dialogue> <scene_description>Sh&amp; SLAMS out. He- sits quiet.ly, stari1flg at the door.</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE STREET - AFTERNOON,</stage_direction> <scene_description>D&amp;nny wa.lks, thinking.. She stops at their playground. LOVERS are on the swings, kissing. 'l'WO</scene_description> </scene> <scene> <stage_direction>EXT. ANOTSER STREET - EVENING -71</stage_direction> <scene_description>Denny looks for Kaz, anxious now.</scene_description> <character>{CONTINUED)</character> <dialogue>POV DENNY: A GUY IN A TORN RED JACKET, his back to her,</dialogue> <scene_description>'-.\_.,/ bent over a trash can. She runs to him. He turns. It's only a young scraggly-haired bum. He grins at her toothlessly.</scene_description> <character>72</character> <dialogue>INT. THE SUBWAY - NIGHT</dialogue> <scene_description>In the subway car, a few IATE-NIGHT RIDERS and Denny. She s-lumps in her seat, discouraged and weary. THE SOUND OE' A MAN SINGING, coming closer. ANGLE: KAZ, entering the car through the connecting door. He has on dark glasses and bumps into things as though he is blind. He plays a comb and tissue paper like a harmonica, slung around his neck. Dylan-style. He has no arms: his sleeves hang limp and empty. Eie wears a sign: THIS COULD BE YOU. On his back: WE TAKE MASTERCARD. He staggers pathetically down the aisle, SINGING A VERY UP ROCK SONG, like "'Party All The Time• • . CU: Denny, seeing him. ANGLE: KAZ, playing down the car, coming her way. A RIDER tries to drop a coin in his cup but there is no cup. The Rider follows him., looking. for a place to put his donation. One of Kaz's sleeves flaps in an irritated way, indicating a pocket. The Rider drops in the coin, sits back down. Denny goes to K.a:, stands in front of him. ae stops SINGING. She takes off. h:is. dark glasses. A long moment. Then without a word, he presses his face into the crook of her neck .. She hugs him tenderly. And slowly his arms come- out from under his jacket to hold onto her.</scene_description> <character>73</character> <dialogue>INT. VILLAGE ME'AT. RACK - NIGH.T, LATER</dialogue> <scene_description>K.az and Denny at a table, sitting close.</scene_description> <character>DENNY</character> <parenthetical>(earnestly)</parenthetical> <dialogue>We- can work it out. I know we c:an ..</dialogue> <character>KAZ</character> <dialogue>But I'm· pazotst.</dialogue> <character>73</character> <dialogue>CONTINUED:</dialogue> <character>DENNY</character> <dialogue>Aaah, big deal. Didn't I ever tell you about Helbert? Guy I went with. He liked to race cars. I mean on foot, up and down the Major Deegan. And I kept that relationship going seven- eight months.</dialogue> <character>KAZ</character> <dialogue>I turn into a monster.</dialogue> <character>DENNY</character> <dialogue>Piece of cake.</dialogue> <scene_description>(grips his hand} Don't try to talk me out of it. I've thought about it. I missed you so much. CoMe home. KAZ Den ••• I'm turning myself in.</scene_description> <character>DENNY</character> <parenthetical>(sliding away, wary)</parenthetical> <dialogue>To what?</dialogue> <character>KAZ</character> <dialogue>No,. I mean to the cops. I .... I think I might be the Mangler.</dialogue> <character>DENNY</character> <dialogue>You? Get outta town.</dialogue> <character>KAZ</character> <dialogue>I'm serious. When I left you at night, I never remembered where I went. The way those women have been sliced up.. •. look,. what if it is me-? What if I go after you some night</dialogue> <character>DENNY</character> <dialogue>Kaz., You' re- not the Mangl.er. took,. I been wrong about men my whole life. But not this time. Not about you.</dialogue> <scene_description>'-,...../ She.kisses him gently.</scene_description> <character>DENNY</character> <dialogue>Come home.</dialogue> <scene_description>CU: KAZ, wavering. ANGLE: A SOOTH IN THE BACK. Sonia sits hunched over a drink.· She is·a bit drunk. Her mood is dark.. POV SONIA: THE BAR. She sees Charles Sawyer sipping a Mai Tai. As he attempts to light a woman's cigarette, he s.pots Denny and Kaz, though Sonia doesn't see them. He sips and gets the little paper umbrella right in his eye.</scene_description> <character>SONIA</character> <dialogue>Yo. Chuckie.</dialogue> <parenthetical>(waving him over)</parenthetical> <dialogue>Come on s,iddown.</dialogue> <scene_description>He is thrown. Rel.uctantly, he joins her at the booth.</scene_description> <character>CHARLES</character> <dialogue>Why, hello, Sonia.</dialogue> <character>SONIA</character> <dialogue>·It's not worth it, Chuck. You•re never gonna meet anybody here you can trust. Secrets. They all got 'em.</dialogue> <parenthetical>(pulling him down)</parenthetical> <dialogue>Deep, dark. secrets ..</dialogue> <character>ANGLE:</character> <dialogue>AT DENNY'S TABLE.</dialogue> <character>DENNY .</character> <dialogue>Okay, I'll prove it to you. Come home with me tonight. You change,. and this time don' t run away - let me finish. If you sta-rt looking at me· like !'ma light snack, I'll be out the door and into</dialogue> <scene_description>.therapy before you know it.</scene_description> <character>KAZ</character> <dialogue>You'd be careful? You promise?</dialogue> <character>DENNY</character> <dialogue>Cross my heart and hope to ...</dialogue> </scene> <scene> <stage_direction>\_\_\_\_,..</stage_direction> <scene_description>She doesn't finish. Kisses him inste~d. They smile tentatively at each other.</scene_description> <character>73</character> <dialogue>CONTINUED:</dialogue> <scene_description>ANGLE: ~ONIA'S TABLE. She sees Denny, waves, starts for them unsteadily. Charles watches her go. ··-</scene_description> <character>DENNY</character> <parenthetical>(as Sonia reaches them)</parenthetical> <dialogue>·Sonia, hi ! I 've missed· you.</dialogue> <scene_description>Kaz, impressed, half rises and extends his hand.</scene_description> <character>DENNY</character> <parenthetical>(continuing)</parenthetical> <dialogue>Kaz, this is my bes·t friend, Sonia. ·</dialogue> <character>SONIA</character> <dialogue>Finally. I thought she was never gonna let me meet -</dialogue> <scene_description>Her grin freezes as she takes his hand. It's as though her hackles have risen. Kaz, oblivious to her reaction, can't help appreciating her lowc:ut shirt, her tight jeans.</scene_description> <character>KAZ</character> <dialogue>Hiya! Come on! Sit down!</dialogue> <scene_description>Sonia remains silent, looking at him.</scene_description> <character>DENNY</character> <dialogue>Sone?</dialogue> <character>SONIA</character> <dialogue>What? Oh.</dialogue> <scene_description>She sits slowly, her eyes on Kaz.</scene_description> <character>KAZ</character> <parenthetical>(babbling)</parenthetical> <dialogue>Sol You' re the Sonia· I've heard so- much about. Ass great.</dialogue> <character>DENNY</character> <dialogue>Huh?</dialogue> <character>KAZ</character> <dialogue>That's great. Let's have another bee.r and.... hang ou.t.</dialogue> <scene_description>Kaz can't take his eyes off Sonia's body. Denny is getting irritated. And Kaz's voice has become slightly raspy.</scene_description> <character>73</character> <dialogue>CONTINUED:</dialogue> <character>KAZ</character> <dialogue>Buy you a drink, Sonia? Tits my pleasure.</dialogue> <character>SONIA</character> <parenthetical>(shrinking from hirn)</parenthetical> <dialogue>Nor Thanks.</dialogue> <character>DENMY</character> <dialogue>We were just leaving anyway.</dialogue> <scene_description>• Weren' t we, honey. (pinching him) Ouch!</scene_description> <character>DENNY</character> <dialogue>Don't you want to get home? And change?</dialogue> <scene_description>He looks at his hands. Imediately he jams them into his pockets, shrugs his collar up, starts backing to the door.</scene_description> <character>KAZ</character> <dialogue>{brightly)</dialogue> <scene_description>Hey, nice meet.ing you, see you around, you take care now, la·ter t He backs out the door. Denny starts after llim.</scene_description> <character>DENNY</character> <dialogue>Night,. Sonia...</dialogue> <character>SONIA</character> <dialogue>Wait a minute!!</dialogue> <scene_description>Sonia, really scared, rushes to her, grabs her arm.</scene_description> <character>SONIA</character> <dialogue>(continuing} Don't leave! Not wt th ••• that ••\_.. •-- DENN-Y Hey, let go.. What's the matter?</dialogue> <character>CHARLES</character> <parenthetical>(joining them)</parenthetical> <dialogue>She's okay, Denny. A little</dialogue> <scene_description>.\_\_\_\_, too much firewat.er, ha ha.· I'll look after her.</scene_description> <character>DENNY</character> <dialogue>Thanks, Charles. Sonia, I'm sorry, I got to go.</dialogue> <parenthetical>(leaving)</parenthetical> <dialogue>Call you tomorrow, okay?</dialogue> <scene_description>74 EXT. THE STREET OUTSIDE THE l:!AR - NIGHT, IMMEDIATELY 74</scene_description> <character>.FOLLOWING</character> <dialogue>Kaz, partially changed, lopes back and forth waving as Denny comes out.</dialogue> <character>KAZ</character> <dialogue>Taxi! Yo, taxi!</dialogue> <scene_description>A cabs speeds by without stopping. She SLAMS him with her purse.</scene_description> <character>KAZ</character> <parenthetical>(continuing)</parenthetical> <dialogue>What I do?</dialogue> <scene_description>She WHAPS him again.</scene_description> <character>KAZ</character> <dialogue>Hey!</dialogue> <character>DENNY</character> <dialogue>Look at you! I have to practically rape you to get you to change - but one look at Sonia and blam! You're all teeth •.</dialogue> <character>DENNY</character> <dialogue>TAXI!! •oh, tits my pleasure-!• You' re disgusting 1 TAXI! GODDAMMIT, CAB!</dialogue> <character>-</character> <dialogue>A taxi SCREECHES to the curb beside, them and she shoves Kaz into the back se-at.. They take off •. ANGLE: SONIA, standing in the bar doorway, watching them go. The red neon stgn lights her face in an eerie gJ.ow. She looks terrified .. Charles appears behind her.</dialogue> <character>CHARLES</character> <dialogue>Is there anything I can· do?</dialogue> </scene> <scene> <stage_direction>...,/</stage_direction> <character>75</character> <dialogue>INT. GRIS-GRIS - NIGHT, A BIT LATER</dialogue> <scene_description>Sonia enters, Charles behind her. She is scared, but seems to have made an important decision.</scene_description> <character>CHARLES</character> <dialogue>What are we doing here?</dialogue> <scene_description>POV SONIA: A HUGE CURVED SWORD on the wall amon~ the shops wares. A primitive sacrificial weapon, sharpened flint. Carved with demons and signs. It gleaos where the light catches it. Its plaque reads TEOQXTALI, DEMON-SLAYER. And its 'blade is four-sided, the same configuration as Kaz's scar. She carefully lifts it off the wa11; as though handling some sacred object. Its blade SCRAPES the wall, striking sparks.</scene_description> <character>CHARLES</character> <dialogue>What are you going to do with that?</dialogue> <character>76</character> <dialogue>INT. DENNY'S LIVING ROOM - NIGHT, SIMULTANEOUS</dialogue> <scene_description>The door opens. Light spills from the hall, silhouetting Denny and Kaz. .They are awkward and tentative. She reaches for him·,. he moves away nervously.</scene_description> <character>DENNY</character> <parenthetical>(softl.y)</parenthetical> <dialogue>No. Come he.re ..</dialogue> <scene_description>She kisses him. After a moment, he breaks.</scene_description> <character>KAZ:</character> <dialogue>Denny, I can't.</dialogue> <scene_description>fie· sits on the couch. She turns on the- light.. Sits with him.</scene_description> <character>KAZ</character> <parenthetical>(continuing)</parenthetical> <dialogue>You don't really want to do this..,</dialogue> <character>DENNY</character> <dialogue>Yes I do.</dialogue> <scene_description>'-.\_./ She kisses- hi~. k long kiss. -s~e pulls· away and her eyes widen. Kaz's face has gotten ugly ..</scene_description> <character>DENNY</character> <dialogue>Holy fucking shit.</dialogue> <scene_description>Kaz is hurt. She takes a deep, deep breath.</scene_description> <character>DENNY .</character> <dialogue>Now·••• tel.l me when you start to black out.</dialogue> <scene_description>She presses her lips a~ainst his. A LOW RUMBLING. The fu.rniture SHAKES.</scene_description> <character>DENNY</character> <dialogue>Do you have to do that?</dialogue> <character>KAZ</character> <dialogue>Oo what?</dialogue> <scene_description>Some of th&amp; birthday leftovers begin to act up: balloons POP one by one. A box of candy EXPLODES open and pelts them with bon-bons. A champagne bottle POPS its cork and spouts foam. Then the sofa they're on slowly levitates, spinning gently.</scene_description> <character>DENNY</character> <dialogue>-Kaz ..</dialogue> <character>KAZ</character> <dialogue>I cantt help it.</dialogue> <scene_description>The scfa bucks. Denny, determined to ride it out, clings to Kaz.</scene_description> <character>KAZ</character> <dialogue>!t' s. l.ike I 'm tapping in to ConEd of the Damned.</dialogue> <character>DENNY'</character> <parenthetical>(really frightened now,. she pulls. away from him)</parenthetical> <dialogue>Oh God!</dialogue> <character>KAZ:</character> <parenthetical>( in the· Voice)</parenthetical> <dialogue>ArIII.I! SPEAK NOT THAT NAME OR MAGGOTS W:ELL FILL TH-Y MOUTH!</dialogue> <character>DENNY</character> <dialogue>Kaz?</dialogue> <character>KAZ</character> <dialogue>The sofa SLAMS AROUND. Kaz HOWLS !NA DEMON VOICE. A POUNDING on the wall.</dialogue> <character>MUFFLED VOICE (O.C..)</character> <dialogue>Wouldja shut up in there? People are tryin '. to. sleep.</dialogue> <character>DENNY</character> <parenthetical>(calling through the wall)</parenthetical> <dialogue>I'm sorry. My boyfriend's, uh, possessed.</dialogue> <scene_description>UNSYMPATHETIC REPLIES from other apartments. Suddenly Kaz runs at the wall, BASl:iES his head against it .. \\*/hen he turns, his head has disappeared into his shirt collar.</scene_description> <character>KAZ</character> <parenthetical>(in the Voice)</parenthetical> <character>HELLO, DENNY. THERE'S</character> <dialogue>SOMEONE HERE WHO WANTS TO</dialogue> <character>TALK TO YOU, HA YAHAHAHA !</character> <dialogue>He pulls a NERDY-LOOKING BEAD out of his collar.</dialogue> <character>KAZ/NERD</character> <dialogue>You got anymore Fritos .... hey,. what• s on the tube ••• c'mon, it's early ••• you got any bee·r left •••</dialogue> <scene_description>Denny backs away as t.he Nerd goes into the kitchen·. He can be seen in there openin-g cabinets.</scene_description> <character>DENNY</character> <dialogue>No!. Not him ••• the date who wouldn~t leave •••</dialogue> <character>.</character> <dialogue>KAZ/NERD</dialogue> <scene_description>• .., ...w-here' d you put the Chee·zits.. .... c:'mon, c'mon ••.• CU: DENNY, covering her face. ABUSIVE Fl:?MALE VOICE (O.C.) So what's the matter, no man is good enough for you? When Denny looks up in horror,. th&amp; Nerd has become a FRUMPY WOMAN RELATIVE.</scene_description> <character>(CONTINUED}</character> <dialogue>FRUMPY WOMAN</dialogue> <scene_description>What are you, Miss Perfect? You never gonna get married? You're too good, is that it? (coming at her) .Yes, that's it, Miss Too Good For Anyone ••</scene_description> <character>DENN''!</character> <parenthetical>(SCREAMS)</parenthetical> <dialogue>Kaz, make it stop!</dialogue> <scene_description>tn putting her arm out to protect herself, her hand goes right through the woman's face, which SPLATTERS horribly like an egg. Denny looks at her hand. There's goop all over it. She screams. The twitching headless body slides down the wall. Suddenly it stops. Denny hears A SOUND come from the body, very faint -- like Kaz calling her name from under water •. She pee.rs- down into the vortex: demonic creatures swirl around inside, including Kaz's head. Repulsed but desperate, she reaches into the goo, trying to find him. An EXPLOSION blows Denny across. the room. When the smoke· clears., Ka.z is lying up against the wall, normal. A residue of smoke around him. Neighbors POUND AND SHOUT THREATS.</scene_description> <character>KAZ</character> <parenthetical>(weakly)</parenthetical> <dialogue>What happened? Did I qo something?</dialogue> </scene> <scene> <stage_direction>EXT. OUTSIDE DENNY'S BUILDING - NIGHT</stage_direction> <scene_description>Charles and s.onia jump out of her car, look up. a77 THEIR POV: DENNY'"S WINDOW. a77 The lights are on, the shade is down. Sonia fingers t·he sacrif.icial blade, grim.. She goes to a· nearby phone booth.</scene_description> </scene> <scene> <stage_direction>INT.. BACK IN THE APARTMENT - NIGHT</stage_direction> <character>DENN,Y</character> <dialogue>You've got t.o get he·lp for th.is!</dialogue> <scene_description>'-.\_\_\_./ Why i.s it when a woman gets involved with a guy she starts hocking him to change.</scene_description> <character>DENNY</character> <dialogue>Are you saying you don't want to'?</dialogue> <character>KAZ</character> <dialogue>I can't! Not without hurting you! You're too close to me - Fixer said according to the legend --</dialogue> <character>DENNY</character> <dialogue>Kaz! Wait a minute! The demon took over - you blacked out -- and you didn't try to hurt me! See? ! told you you wouldn't!</dialogue> <character>THE PHONE</character> <dialogue>RING$.</dialogue> <character>79</character> <dialogue>EXT. OUTSIDE DENNY'S BUILDING - NIGHT</dialogue> <character>SONIA</character> <parenthetical>(on pay phone)</parenthetical> <dialogue>Denny, it's me. You got to come over right away. No, not on the phone. I'm in trouble. Oh, thanks. I'll wa·it for you •.</dialogue> <scene_description>She hangs up, turns to Charles, tosses him her car keys.</scene_description> <character>SONIA</character> <parenthetical>(continuing)</parenthetical> <dialogue>Drive, straight to the 6th Precinct. Ask for Capta,in Philip Janus. Tell him ••• I found what I was looking for.</dialogue> <character>CHARLES</character> <dialogue>What about Denny?</dialogue> <character>SONIA</character> <dialogue>She's going to my place, she's safe for now.</dialogue> <character>CHARLES</character> <dialogue>Where are you going?</dialogue> <character>SONIA</character> <dialogue>Hunting.</dialogue> <scene_description>She walks u.p to the building.,. grabs thEt fire ladder, and begins silently to climb. ANGLE: CHARLES, at the car. ·watching Sonia yo. He smiles.</scene_description> <character>80</character> <dialogue>INT. DENNY'S APARTMENT - NIGHT, FOLLOWING</dialogue> <character>DENNY</character> <dialogue>I have to go.</dialogue> <character>KAZ</character> <dialogue>I thought we were having a pretty important talk here.</dialogue> <character>DENNY</character> <dialogue>I'll be back as soon as I can. Meanwhile, you remember - you. look ugly, you talk ugly~ but you are not the Mangl.er.</dialogue> <parenthetical>(kissing him quickly)</parenthetical> <dialogue>We got othe·r problems.</dialogue> <character>81</character> <dialogue>EXT. FIRE ESCA.PE - NIGHT</dialogue> <scene_description>Sonia is outside the dark bedroom window. She creeps to the corner of the building, peers down. POV SONIA: DENNY, coming out the front door, hurrying a81 down· the steps. Sonia ea.se:s, her way back to the wi.ndow, s·l.ides it open. 82 EXT. FARTHER DOWN THE. STREET - N:tGHT 82. Denny walks qu ick.ly. Suddenly Charles pops up in front of. her. She GASPS.. He smiles his bright childlike smile. ~ CONTINUED:</scene_description> <character>CHARLES</character> <dialogue>Hello, Denny. You shouldn't go out after dark. The Bogeyman'll get you.</dialogue> <scene_description>OENN;t'. ·uh, Charles, I had dinner hours ago.</scene_description> <character>CHARLES</character> <dialogue>Oh, no, no. Sonia sent me to pick you up. There's her car. See?</dialogue> <scene_description>Denny stares at him, doubtful.</scene_description> </scene> <scene> <stage_direction>INT. DENNY"S LIVING ROOM - NIGHT</stage_direction> <scene_description>Kaz. is checking himself out-in the wall mirror.</scene_description> <character>KAZ</character> <dialogue>Ugly, huh? Hmp. I don't look that bad.</dialogue> </scene> <scene> <stage_direction>INT. THE DARK BEDROOM - NIGHT</stage_direction> <scene_description>Sonia, sword in hand, creeps. to the living .room door. Listens ..</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <character>KAZ</character> <parenthetical>( t.ryi.ng anothe-r angle, pos;ing)</parenthetical> <dialogue>Noth.ing wrong with a little- facial hair. Rather· virile.</dialogue> <scene_description>Behind him, the bedroom door opens a crack.</scene_description> <character>KAZ</character> <parenthetical>( conti.nuing)</parenthetical> <dialogue>Damned attractive, I'd say.</dialogue> </scene> <scene> <stage_direction>EXT. THE STREE.T - NIGH.T</stage_direction> <character>DENNY</character> <parenthetical>(backing.away)</parenthetical> <dialogue>'rhanks ,. Charles." I' 11 just · get a cab.</dialogue> <scene_description>CONTINUED: He puts a clawed hand on her arm. It is leathery with long talons.</scene_description> <character>CHARLES</character> <dialogue>I don't think so.</dialogue> </scene> <scene> <stage_direction>INT. LIVING .ROOM - NIGHT</stage_direction> <scene_description>The bedroom door CRASHES OPEN. Kaz spins around, sees Sonia.</scene_description> <character>KAZ</character> <dialogue>He-e-ey. What do you want?</dialogue> <character>SONIA</character> <dialogue>You.</dialogue> <scene_description>He steps into shadow. When he- steps into the light again, he's changed.</scene_description> <character>KAZ</character> <dialogue>{suave,. as he</dialogue> <scene_description>approaches) Ohh .. So that's why you got Denny to leave. Well, look, I'm touched. But didn't Denny tell you? His voice has become gutteral as he changes., mesmerized by her body. Sonia stares, aghast. She was right. She slowly takes her hand from behind her back.</scene_description> <character>KA:?</character> <dialogue>{continuing)</dialogue> <scene_description>You see·,. Denny and I , we ' re very much in sword.. That's a sword. Why've you got a sword?</scene_description> <character>SONIA</character> <dialogue>To kill. you with, you vicious'.., sadistic bastard.</dialogue> <scene_description>He backs up rapidly, falls. over a chair. When he pe.eks at her ove•r the top,. he's changed back to Kaz again. E'XT. THE STREET - NIGH.T</scene_description> <character>DENNY</character> <parenthetical>(trying to sound calm)</parenthetical> <dialogue>Charles, you. better let go of my arm.</dialogue> <scene_description>CONTINUED: She bolts. Be catches her in one jump, putting a handkerchief over her mouth and nose.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>· As Son·ia approaches, her sword SCRAPES the brick wall, raising sparks.</scene_description> <character>KAZ</character> <parenthetical>(scrambling backwards)</parenthetical> <dialogue>Listen, that, uh, wouldn't be oade out of flint, would it?</dialogue> <scene_description>She WHACKS the wall a few more times. Sparks fly. Kaz clutches his lower belly protectively, shielding his devil scar from the sword, backing away. l(AZ ( continuing) You don't want to kill me. Not on an empty stomach. Let's order in some Chinese.</scene_description> <character>SONIA</character> <dialogue>Get away fronr the window.</dialogue> <scene_description>l(AZ Won Yang . ' s. right downs,ta,irs. I was just going to call down for some HELP! (head out the window)</scene_description> <character>MURDER!!</character> <dialogue>POLICE! ! !</dialogue> <scene_description>She puts. the blade right under his ch.in. Neighbors. POUND ON THE. WALLS again,, w-ith IRRITATED MUFFLEIJ CRIES ..</scene_description> <character>KAZ</character> <dialogue>(still at the window} EGG ROLLS! 90 E-XT DENNY."'S. STREET - NIGHT 90</dialogue> <scene_description>POV KAZ: Charles dumps Denny; unconscious, into the car and gets behind. the wheel.</scene_description> <character>KAZ</character> <dialogue>DENNYt What kind of game is this?</dialogue> <character>SONIA</character> <dialogue>No game.</dialogue> </scene> <scene> <stage_direction>EXT. DENNY'S STREET - NIGHT, CONTINUOUS</stage_direction> <scene_description>POV KAZ: Charl&amp;s making a vicious u-turn beneath the window. The car stops momentarily, st~lled.</scene_description> </scene> <scene> <stage_direction>INT. DENNY'S LIVING ROOM - NIGHT, CONTINUOUS</stage_direction> <scene_description>It's the last thing Kaz had in mind, but Sonia's sword is inches from his throat. When she draws back to swing it, he jumps out the ~indow.</scene_description> <character>KAZ</character> <parenthetical>(as he goes)</parenthetical> <character>I DON'T WANT TO 00 THIS!</character> <dialogue>Sonia swipes at him, too late.</dialogue> </scene> <scene> <stage_direction>EXT. OUTSIDE THE BUILDING - NIGHT, CONTINUOUS</stage_direction> <scene_description>Kaz vaults over the fire escape. a94 Kaz drops on the car roof. a9'4 95 INT·. T.HE CAR - NIGHT 95 Denny is out cold in the passenger seat. Charles, trying to get the car started again, hears a BUMP on the roof. Ke looks out the window-. EXT DENNY'S STREET, ON TUP OF CAR - NIGHT POV CHARLES: KAZ, spreadeagled on the car roof.</scene_description> </scene> <scene> <stage_direction>EXT. DENNY'S STREET, FIRE ESCAPE/CAR - NIGHT</stage_direction> <scene_description>ANGLE: SONIA, drops down the last rung of the fire escape.</scene_description> <character>KAZ</character> <dialogue>Drive, you son of a bitch!</dialogue> <scene_description>Charles guns the motor. The car gives a lurch and takes off, just as Sonia runs alongside and leaps up onto the hood.</scene_description> <character>98</character> <dialogue>Charles hotrods through the empty streets, trying to force</dialogue> <character>EXT. DOWNTOWN SIOESTREETS - NIGHT, CONTINUOUS</character> <dialogue>them off the roof. Sonia and Kaz SHOUT at each other over the SCREAMING TIRES.</dialogue> <character>KAZ</character> <dialogue>Lady, wnat·'d I-ever do to you?</dialogue> <character>SONIA</character> <parenthetical>(raising the sword)</parenthetical> <dialogue>Hold still, Devil!</dialogue> <character>KAZ</character> <dialogue>I'm not a devil!</dialogue> <character>SONIA</character> <dialogue>I saw you change.</dialogue> <character>KAZ.</character> <parenthetical>(laughing crazily)</parenthetical> <dialogue>Oh, that? I was kidding! Another woman with no sense of humor.</dialogue> <scene_description>The sword slices past his head.</scene_description> <character>KAZ</character> <dialogue>I have better material. A gorilla goes into this bar, see-</dialogue> <character>99·</character> <dialogue>INT.</dialogue> <scene_description>A COP· is making out a report.. His partner, a young and feisty l.ittle- streetwise POLICEWOMAN (GRADY) is in the back sea.t. She is handcuffed to Fixer, w.ho is- in his gypsy get up, very indignant ..</scene_description> <character>GRADY'S PARTNER</character> <dialogue>(writing} Peddl.ing without a license ••• drunk and disorde.rly ..... resis.t.ing arrest..... vagrancy FIXER :t ain't no vagrant.. I'm a</dialogue> <scene_description>squatter.</scene_description> <character>GRADY .</character> <dialogue>. '--..../ Fella; nobody squ~ts at</dialogue> <scene_description>Tavern On The Green.</scene_description> </scene> <scene> <stage_direction>EXT. THE FOUNTAIN -- NIGHT</stage_direction> <scene_description>Sonia's car ROARS PAST the police car, Sonia and Kaz hanging on desperately. A claw swipes out the window at them, trying to knock them off the roof. They disappear into· the park.</scene_description> </scene> <scene> <stage_direction>INT. THE POLICE CAR: - NIGHT</stage_direction> <scene_description>The cops look at each other, shrug wearily. They flip on the SIREN and SCRE£CH OFF on pursuit.</scene_description> </scene> <scene> <stage_direction>EXT. THE PARK DRIVE -- NIGHT</stage_direction> <scene_description>Charles ZOOMS through the park. Sonia tries to slash Kaz. The cop car pulls: alongside, matching their speed. al02 INT. SONIA'S CAR ( POLICE. CAR IN BACKGROUND) al02 CHARLES, his claws- on the wheel, wi.ld-eyed.</scene_description> <character>COP</character> <dialogue>{pulling alongside)</dialogue> <scene_description>Pull over!</scene_description> <character>FIXER</character> <dialogue>{leaning out the</dialogue> <scene_description>window) Yo,- Paz:otski! Help Me!</scene_description> <character>SONIA</character> <parenthetical>( to cops-)</parenthetical> <dialogue>I've got the Mangler here!</dialogue> <character>KAZ:</character> <parenthetical>(frightened)</parenthetical> <dialogue>Where?!</dialogue> <character>FIXER</character> <dialogue>They teyin to kidnap me, boy! Got me c.hained up to a woman!</dialogue> <parenthetical>(with a d.isg.usted , look at Grady)</parenthetical> <dialogue>Ha.lf a woman,.. anyways.</dialogue> <scene_description>Charles wrenches- the wheel. bl02 EXT. THE PARK DRIVE -- NIGHT bl02 He cuts off the cops, forcing them off the road, and driving off. ANGLE: THE COP CAR, going wild, ending stuck in a clump of trees. A short silence. F'tXER (O,.\_C.) Woman, you're sitting on my head. Take these bracelets offa met (CONTINUED}: "-----"</scene_description> <character>GRADY ( 0. C €� )</character> <dialogue>Shit. Oh, shit. I can't find the key.</dialogue> <character>COP (O.C.)</character> <dialogue>Car 82. •.• 82 requesting backup •••</dialogue> <scene_description>EXT. ANOTHER PART OF THE PARK •- tUGHT A\_pair of headlights appear in the distance, moving rapidly. It's Charles and his unwanted passengers. The car is headed straight for a body of water.</scene_description> <character>KAZ</character> <parenthetical>(hanging. on)</parenthetical> <dialogue>You think I'm the Mangler? Is that it~Boy, are you off base-! It just so happens that maybe I'm almost absolutely sure I may not be! -</dialogue> <scene_description>Charles sees the pond too late. Hits the brake, but skids right into the water. The car stops with a THUD. Kaz and Sonia fly headlong -into the pond.. Whi.le they flounder, Charles drags Denny away from the car, throws her over his shoulder and goes. A moment.. Kaz and Sonia come up out ·of the water,. facing each other. She· immediately swings the sword at him.. He dives under wate·r. She whacks the wa.ter on all s·ides, trying. to get him·. He comes up behind her. She lunges at him,- nicking his shoulder. He clutches it and cries out, falling back underwater, pulling Sonia with him. They come up again, kneeling in the water, still facing each other,. gasping for air. She still clutches the sword.</scene_description> <character>SONIA</character> <dialogue>Ai madre- Maria,. You.' re- not dead.</dialogue> <character>KAZ</character> <dialogue>No,. but thanks for trying.•</dialogue> <character>SONIA</character> <dialogue>You' re· not a demon. I cut you. wittlthis. And you' re sti.ll alive.</dialogue> <scene_description>ANGLE: an army of squad cars approach in the distance, SIRENS WAILIN.G, ·lig.ttts flashing.·</scene_description> <character>103</character> <dialogue>CONTINUED:</dialogue> <scene_description>',.\_\_\_\_\_\_.,, Look, Sonia. You saw me change, I'm not going to waste time lying to you now. But I'm not the Mangler. ANGLE: THE SOUAO CARS, ·almost on them.</scene_description> <character>SONIA</character> <dialogue>But if you're not the Mangler -- who is?</dialogue> <scene_description>They both rise slowly in the water and turn. In the distance- behind them, is the dark, forbidding shape of Belvedere Castle, perched high on jagged rock. The\_ small figure of Charles can be seen climbing towards it, Denny still out cold over h.is shoulder. BEDLAM. The cars converge on them, SCREECH to a stop. Cops pour out,. guns drawn, surround them • .Janus jur.ips out of the nearest car, shoulders through.</scene_description> <character>JANUS</character> <dialogue>Sonia, what the hell is this! Where's. the Mangler?</dialogue> <scene_description>They all wait for her to speak.</scene_description> <character>SONIA</character> <dialogue>B&amp;' s up. at the castle 1.</dialogue> <character>KAZ</character> <dialogue>AND HE'S GOT M:Y WOMAN!</dialogue> <scene_description>They all charg&amp; towards the castle.</scene_description> <character>104</character> <dialogue>Charles; toils, up the rocks,. casting a· huge,.. menacing</dialogue> <character>EXT. BELVEDERE CASTLE - NIGHT</character> <dialogue>shadow. Denny is coming to. He slides her off his shoulder, kicks open the heavy castle door.</dialogue> <character>CHARLES</character> <dialogue>Get in.</dialogue> <character>DENNY</character> <dialogue>I w-il..L not! Who do you think you ara?</dialogue> <character>CHARLES</character> <dialogue>I'm the- Mangler.</dialogue> <character>DENNY</character> <parenthetical>(entering immediately)</parenthetical> <dialogue>--Righ-t, in you said'? How far</dialogue> <scene_description>in? This in enoug.h'? INT. CASTLE. ANTEROOM - tUGHT Denny cowars against the stone wall. Charles bolts the door, and strips off one hand -- the leathery claw is only and ingenious. glove. EXT. BELOW THE CASTLE - NIGiiT Big arcs of bright lights fan back and forth thr6ugh the bushes. Then cops burst out of the undergrowth, holding flashlights. Grady and her partner are among them .. Grady is still cuffed to Fixer, who is dragged along. The· castle is seen in the background.</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS CASTLE TURRET ROOM - NIGHT</stage_direction> <scene_description>A dangerous-looking bomb is held up to Charles' deranged face. Denny is in the background.</scene_description> <character>CHARLES</character> <dialogue>Denny? can ¥OU spell trinitrotoluene·'?</dialogue> <character>DENNY</character> <parenthetical>(shrinking back)</parenthetical> <character>TNT?!</character> <dialogue>CHARLES</dialogue> <scene_description>I knew you could .. She runs away, to the window,. Charl.es follows her. He- grabs her and bends her out the window. EXT. ffIGH TURRET' WINDOW - NIGHT Charles holds her by the· throat •. EXT., ROCKS· BELOW THE CASTLE. - ~l.IGHT The· group moves up the rocks, towards the castle.</scene_description> <character>KAZ</character> <dialogue>Denny!</dialogue> </scene> <scene> <stage_direction>EXT. HIGH TURRET WINDOW - NIGHT</stage_direction> <character>DENNY</character> <parenthetical>(weakly)</parenthetical> <dialogue>Oh, hi, everybody, I'm awfully sorry about all this.</dialogue> <character>CHARLES</character> <dialogue>Go away! or I'll slash her throat wide open!</dialogue> <parenthetical>(pulling her out of sight)</parenthetical> <dialogue>lll EXT. ROCKS BELOW THE CASTLE NIGHT 111</dialogue> <character>KAZ</character> <dialogue>What are you waiting for? Let's go get him!</dialogue> <scene_description>Kaz and the cops scramble up the jagged rocks.</scene_description> </scene> <scene> <stage_direction>EXT. CASTLE DOOR NIGHT</stage_direction> <scene_description>Kaz and the others arrive. Kaz throws himself against the door and bounces off.</scene_description> <character>ALERT COP</character> <parenthetical>(helpfully)</parenthetical> <dialogue>It•s blocked.</dialogue> <character>JANUS</character> <dialogue>Get the batte-ring ram. ,</dialogue> <scene_description>Several cops rush off.</scene_description> <character>SONIA</character> <dialogue>Phil -- I know somebody who could c:limb up on him from behind.</dialogue> <character>JANUS</character> <dialogue>Who?</dialogue> <character>SONIA</character> <dialogue>H-im.</dialogue> <scene_description>Kaz looks over his shoulder to see whom she means. Then at her.- CONTINUED:</scene_description> <character>KAZ</character> <parenthetical>(his voice cracking)</parenthetical> <character>-</character> <dialogue>Me?</dialogue> <character>SONIA</character> <parenthetical>( taking . him as·ide)</parenthetical> <dialogue>Kaz - whatever I saw you turn into,. it had wings. Change. Go on.</dialogue> <character>KAZ</character> <dialogue>Oh, just like that? What arn !, a machine? I can't turn it on and off like a faucet, you know! I need to be in the mood. A paper lantern ove-r the lightbulb, couple bottles of Bud •••</dialogue> <character>SONIA</character> <dialogue>Denny's life is at stake!</dialogue> <character>KAZ</character> <dialogue>Don't pressure me, for God's sake! I'll never get a devil-on. I need hot eyes:! Warm skin! The curve of--</dialogue> <character>SONIA</character> <dialogue>~u~an s~? H~l, w~ didn•t you say so? You just hit the mother lode, baby.</dialogue> <scene_description>She tosses the sword away, pulls him aside and starts kissing him. The cops stare. Janus is livid.</scene_description> <character>FIXER</character> <dialogue>Now you talkin! Don't fight it, boyt, Let it take you all the- way, for once!</dialogue> </scene> <scene> <stage_direction>INT. TURRET ROOM - NIGHT</stage_direction> <scene_description>Char·les readies the bomb, smiling ..</scene_description> <character>CHARLES</character> <dialogue>You understand. We- can• t leave any· wi tnesse.s. Not if my work is to continue.</dialogue> <scene_description>She pushes by him, · YE;LLS out thewindow •. ~-;</scene_description> <character>DENNY</character> <dialogue>\~'</dialogue> <scene_description>Look out! He's got a bomb!</scene_description> <character>114</character> <dialogue>EXT. BELOW THE CASTLE</dialogue> <scene_description>ANGLE: ON 'tHE GROUN.O, the cops scatter, fall. back to safety.</scene_description> <character>115</character> <dialogue>EXT. THE TURRET ROOM WINDOW - NIGHT</dialogue> <scene_description>THEIR POV: THE WINDOW, Charles angrily trying to pull Denny back.</scene_description> <character>116</character> <dialogue>EXT. BELOW THE CAST.LE DOOR - NIGHT</dialogue> <scene_description>POV DENNY: SONIA AND KAZ, lying on the ground, rocking w.ith passion. As they roll out of frame .... all6 -EXT WINDOW - NIGHT all6</scene_description> <character>DENNY</character> <parenthetical>( ind.ignant)</parenthetical> <dialogue>And she's supposed to be my best friend!</dialogue> <character>117</character> <dialogue>EXT. BELOW THE CASTLE DOOR - NIGHT</dialogue> <scene_description>Sonia and Kaz. roll down the hill intQ a clump of reeds.</scene_description> <character>118</character> <dialogue>INT. STAIRWELL - NIGM.T</dialogue> <scene_description>Charles chases Denny up the stairs.</scene_description> <character>119</character> <dialogue>Sonia is still locked in a kiss with Kaz. She s.taggers</dialogue> <character>EXT. IN THE REEDS - NIGHT</character> <dialogue>back from him. They are both w-inded. He leans- over his knees, GASPING for breath.</dialogue> <character>SONIA</character> <dialogue>Let me .... see •.•• your hands.•</dialogue> <scene_description>He raises one slowly. It is leathe.ry, with· claws.. ( CO~TINUED).: CONTINUED:</scene_description> <character>KAZ</character> <parenthetical>(joyfully)</parenthetical> <dialogue>Right on, woman! Do it to it!</dialogue> <scene_description>She throws herself on him. They k.iss and grope with new energy.</scene_description> </scene> <scene> <stage_direction>INT./EXT. LOOKING THRU DOORWAY OUT AT TKE CASTLE</stage_direction> <character>TERRACE - NIGHT</character> <dialogue>As they struggle, Denny inadvertantly knocks the bomb out of Charles' hand: it rolls towards the door in the foreg.round. Charles chases after it and SLAMS the door shut.</dialogue> <scene_description>EXT. IN THE REEDS - NIGaT The clump of reeds- shake more and more feverishly. Sonia comes flying out.</scene_description> <character>SONIA</character> <dialogue>Okay, I've done my bit. Take· off, baby ..</dialogue> <character>KAZ (O.S.)</character> <dialogue>But he's got a bomb!</dialogue> <character>SONIA</character> <parenthetical>( peering back t·hru the reeds)</parenthetical> <dialogue>You're still rare.</dialogue> <parenthetical>(she plunges ·back into the reeds)</parenthetical> <dialogue>Let me know when you're well done.</dialogue> <scene_description>The, reeds are wildiy thrashed about.</scene_description> <character>122</character> <dialogue>EXT. THE CASTLE TERRACE - NIGHT</dialogue> <scene_description>Charles lights the fuse with a zippo-lighter. It's blown out. He tries to light the fuse ayain, but now we see Denny blowing it out once more-.</scene_description> <character>CHARLES</character> <dialogue>· Cturning away from</dialogue> <scene_description>her) Stop that!.</scene_description> <character>DENNY</character> <parenthetical>( swallowing her hysteria)</parenthetical> <dialogue>Please, Cha.rles, listen to me. You need psychiatric help - you're mentally il.l!</dialogue> <scene_description>He whirls on her threateningly, pinning her against the wall.</scene_description> <character>DENNY</character> <dialogue>(quickly} I like that in a man.</dialogue> <scene_description>'---../,/ Sonia falls back and away from Kaz, drained. Her face changes expression as she stares. Kaz rises slowly, magnificently into frame. He is totally transformed, ready for anything. He ROARS. Psychic engergy CRACKLES and POPS around him.</scene_description> <character>. .</character> <dialogue>· SONIA</dialogue> <parenthetical>(rising)</parenthetical> <dialogue>Attaway! What has he got?</dialogue> <character>KAZ</character> <dialogue>Y10MAN !</dialogue> <character>SONIA</character> <dialogue>What do you want?</dialogue> <character>KAZ</character> <dialogue>BLOOD!</dialogue> <character>SONIA</character> <dialogue>How do you feel?</dialogue> <character>KAZ</character> <dialogue>FAN-FUCKIN-FUNKY!</dialogue> <scene_description>Sonia CHEERS. Spirits swirl around Kaz, then sweep into his body... He spreads his wings and flies up the cliff.</scene_description> </scene> <scene> <stage_direction>EXT. CASTL&amp; - NIGHT</stage_direction> <scene_description>Kaz flies toward the castle.</scene_description> </scene> <scene> <stage_direction>EXT. THE CASTLE DOOR - NIGHT</stage_direction> <scene_description>The cop.s still haven't broken in. A couple are measuring the door. ALERT COP points o.s. Two cops lead a tough, self-important GUY with a larg.e telescopic rifle. They walk up to Janus •••</scene_description> <character>ALERT COP</character> <dialogue>Sharpshooter's n·ere, sir.</dialogue> <character>JANUS</character> <dialogue>Can you pick this guy off without. hurting the· girl?</dialogue> <scene_description>POV JANUS ANO SHARPSHOOTER. CHARLES ANO DENNY coming into view. He holds the bomb in one hand,, her neck in the other. He bends her backward over the railing.</scene_description> </scene> <scene> <stage_direction>EXT. THE CASTLE DOOR - N-IGHT</stage_direction> <character>SHA.RPS HOOTER</character> <parenthetical>(sneers)</parenthetical> <dialogue>No guarantees.</dialogue> <scene_description>He heads off to look for a prime angle.</scene_description> </scene> <scene> <stage_direction>EXT. THE CASTLE TERRACE,, ON THE RAILING - NIGHT</stage_direction> <character>CHARLES</character> <dialogue>I'm sorry, Denny. I don't want to kill you this way.</dialogue> <character>DENNY</character> <dialogue>Oh good,, you had me going there for a minute.</dialogue> <scene_description>On the far side of the terrace, Kaz alights on the railing,. He gives a FEROCIOUS HOWL and bounds across the terrace. Charles sees him and pushes Denny aside, clutching the bomb. Kaz and Charles circle each other.</scene_description> <character>KAZ</character> <parenthetical>(speech distorted)</parenthetical> <dialogue>Denny, get out of here.</dialogue> <character>CHARLES</character> <parenthetical>(terrified)</parenthetical> <dialogue>rs- he a friend of yours?</dialogue> <character>DENN,Y</character> <dialogue>{mildly)</dialogue> <scene_description>Who? I don't see anybody.</scene_description> <character>KAZ</character> <dialogue>Go downstairst</dialogue> <character>DENNY</character> <parenthetical>(as: if just noticing Kaz)</parenthetical> <dialogue>Oh, are you talking to me?</dialogue> <character>( CONTINU\_EO)</character> <dialogue>KAZ</dialogue> <scene_description>What's the matter with you! Charles tries to light his zippo while they argue~ al28 EXT. ON A JAGGED ROCK - NIGHT a.128 The Sharpshooter settles in. bl28 EXT. THE CASTLE TER.RACE - NIGHT bl28</scene_description> <character>DENNY</character> <dialogue>I saw what you and Sonia were doing!</dialogue> <character>KAZ</character> <dialogue>It was for you ..</dialogue> <character>OENN.Y</character> <dialogue>You enjoyed it..</dialogue> <character>KAZ</character> <parenthetical>( i.n the female Voice)</parenthetical> <dialogue>That's. right, Kiss Perfect, you know• everythi.ng, don• t you Kiss Better Than Anybody Else- ·</dialogue> <scene_description>Charles has. l.it the fuse. Ke LAUGHS WILDLY, and. runs off .. ·ex.T. ON A JAGGED ROCK - NIGHT The Sharpshoot.er has been waiting his chance. He smiles.</scene_description> </scene> <scene> <stage_direction>EXT. THE CASTLE TERRACE - NIGHT</stage_direction> <scene_description>POV SHARPSHOOTER:· CHARLES, in h:is sights, waving the bomb. EXT •. ON A JAGGED ROCK - NIGHT The Sharpshooter shoots. The bomb, hit, flies from Charles's hands as he falls back. • ANGLE: The hissing bomb flying across the terrace. ANGLE: Still arguing. with Denny, Kaz catches ••• the bomb.</scene_description> <character>KAZ</character> <parenthetical>(in his own voice)</parenthetical> <dialogue>COULD WE POSSIBLY DISCUSS THI:i LATER?</dialogue> <character>DENNY</character> <dialogue>It's gonna blow upl</dialogue> <character>KAZ</character> <dialogue>Yaaaaaaaaaah!</dialogue> <scene_description>ANGLE: He runs to the front railing, ready to throw the bomb over.</scene_description> </scene> <scene> <stage_direction>EXT. CASTLE DOOR - NIGHT</stage_direction> <scene_description>THE COPS BELOW., backing away, SHOUTING. Sonia is there now- too., beside Janus. Fixer tries to cover his head, but he's still cuffed to Grady. 135 The Sharpshooter SHREIKS, leaping back. 135</scene_description> <character>SHARPSHOOTER</character> <dialogue>Oh my God, there's a Pazotski up there!</dialogue> <scene_description>136 THEIR POV: KAZ, frantically juggling the hot bomb. 136</scene_description> </scene> <scene> <stage_direction>EXT. CASTLE DOOR - NIGHT</stage_direction> <character>SONIA</character> <dialogue>The water, Kaz! Throw it!</dialogue> </scene> <scene> <stage_direction>EXT. THE TER.RACE - NIGHT</stage_direction> <character>KAZ:</character> <dialogue>Throw it where l</dialogue> <character>DENNY</character> <dialogue>IN THE PONO, SHMUCK!</dialogue> <scene_description>Kaz pitches the bomb as far as he can. Covers his head. 139 ANGLE: THE BOMB,. sailing over the water. 139 al39 ON THE OTHER SIDE OF' THE LAKE - NIGHT al39· It overshoots the- pond and lands in a small clutch of deserted police cars. There is only a fragment of fuse left,. then ••• they EXPLODE like the 4th of July.</scene_description> </scene> <scene> <stage_direction>EXT.. BELOW: THE CASTLE - N'IGHT</stage_direction> <scene_description>THE. COPS, watch'ing\_ their vehicles go up in flames.</scene_description> <character>FDCER</character> <parenthetical>(del.ighted)</parenthetical> <dialogue>way to go., brol</dialogue> <scene_description>POV FIXER: THE SWORD, lying near his feet. No one's looking. He picks it up, runs a finger along the blade. EXT. THE TURRET TERRACE - NIGHT POV EVERYONE: THE TERRACE ABOVE, no one in sight.</scene_description> </scene> <scene> <stage_direction>EXT. CASTLE DOOR - NIGHT</stage_direction> <scene_description>The cops arrive with the battering ram. bash down the door.</scene_description> <character>SONIA</character> <dialogue>Let's get him1</dialogue> <scene_description>All charge- in. Fixer is pulled along, dragging his feet.</scene_description> </scene> <scene> <stage_direction>EXT. THE TURRET TERRACE - NIGRT</stage_direction> <scene_description>Kaz turns from the burn·ing cars to see Charles dragging Denny off. Kaz pursues them.</scene_description> </scene> <scene> <stage_direction>INT. UPPER STAIRWAY - NIGHT</stage_direction> <scene_description>Charles, his forearm around Denny's neck, pulls her up the stairs toward the roof, Kaz after them.</scene_description> </scene> <scene> <stage_direction>INT. LOWER STAIRWAY - NIGHT</stage_direction> <scene_description>The cops- running up from below.</scene_description> </scene> <scene> <stage_direction>INT. TORCHLITHALLWAY - NIGHT</stage_direction> <scene_description>Charle-s pulls Denny down t~e hal.l.</scene_description> </scene> <scene> <stage_direction>EXT.. THE TURRET TERRACE - NI.GHT</stage_direction> <scene_description>Cops come runn·ing out to find no one the,re,.</scene_description> </scene> <scene> <stage_direction>INT. TORCHLIT HALLWAY - NIGHT</stage_direction> <scene_description>Kaz runs down the ha-1.l..\_</scene_description> </scene> <scene> <stage_direction>INT. MOONLIT·HALLWAY -· NIGHT</stage_direction> <scene_description>Charles pulls Denny out a window~ The cops pound up the stairs.</scene_description> </scene> <scene> <stage_direction>INT. MOONLIT HALLWAY - NIGHT</stage_direction> <scene_description>Kaz runs up against a dead end. Where could they have gone? · Sees something .•</scene_description> </scene> <scene> <stage_direction>EXT. ROOFTOP TERRACE - NIGHT</stage_direction> <scene_description>POV KAZ: CHARLES AND oeNNY,. moving along a rooftop terrace outside.</scene_description> </scene> <scene> <stage_direction>INT. MOONLIT HALLWAY - NIGHT</stage_direction> <scene_description>Kaz climbs out the window.</scene_description> </scene> <scene> <stage_direction>EXT. ROOFTO.P TERRACE - NIGHT</stage_direction> <scene_description>Charles eases along the terrace,. pulling Denny .. Kaz follows grimly and grabs him from behind. Charles drops Denny and turns to face Kaz. He opens his mouth .. A DEEP, SCARY HOWL come out of it. The force of his breath pushes Kaz back so he falls, hangs onto the tiles to avoid .being blown off ..</scene_description> </scene> <scene> <stage_direction>- INT.. MOONLIT HALLWAY - NIGHT</stage_direction> <scene_description>The others have just arrived,. heading for the window. But the WINO plasters them all against the walls. The room is SHAKING.</scene_description> </scene> <scene> <stage_direction>EXT. ,ROOFTOP TERRACE - NIGHT</stage_direction> <scene_description>Cha·rles is changing. He pu.l.ls his human face off.. The SOUNDS are wet, nauseati.ng. From Charles's human shell a huge nightmare monster is g.rowing, more hellish and terrifying t·han poor Kaz. Charles HOWLS IN A FIENDISH VOICE as. he- trans·forms. and the· wind rips at his· clothes. Kaz., hanging on, glances in despair at his own body., He is- nearly normal.</scene_description> <character>KAZ'</character> <dialogue>Bibi Sz:egulesco, where are you ~hen I need you?</dialogue> <scene_description>CONTINUED:</scene_description> <character>CHARLES</character> <parenthetical>(in the Voic.e)</parenthetical> <dialogue>Hey, you know bibi? Hell of a girl, hah?</dialogue> <scene_description>He• s f j..nished growing. now. · Cloaked in red, surrounded by fire and SCREAMING RABID· SPIRITS. His immense power is tangible. He smiles.</scene_description> <character>CHARLES</character> <dialogue>aut her mother was kind of. a drag.</dialogue> </scene> <scene> <stage_direction>INT. MOONLIT HALLWAY - NIGHT</stage_direction> <scene_description>Some rush to escape. The door slams in their faces. Those that touch it YELL as their hands stic.k to the red-hot door, frying.</scene_description> </scene> <scene> <stage_direction>EXT. ROOFTOP TERRACE - NIGHT</stage_direction> <scene_description>CHARLE!:i There's no hurry. I'll get to each of you -- one by one. {directing his spirits to Kaz) First him. And make it slow. Charles LA.UGHS as his demons swoop at Kaz, jabbing and burning him. Denny watches, petrified.</scene_description> <character>OENN.Y</character> <dialogue>Ka~,. you' re back to normal - he'll kill youi</dialogue> <scene_description>Kaz tries to fig.ht back. But Denny is- right. He's normal. He doesn • t have a chance.•</scene_description> </scene> <scene> <stage_direction>EXT. MOONLIT HALLWAY - NIGHT</stage_direction> <scene_description>AT THE WINDOW, they all watc.h in horror.</scene_description> <character>DENNY</character> <dialogue>Change backL You can't fight him like that!</dialogue> <scene_description>· (CUNT~NUEO): CONTINUED:</scene_description> <character>SONIA</character> <parenthetical>(her head out the window)</parenthetical> <dialogue>Baby, look!</dialogue> <parenthetical>(\_posing.)</parenthetical> <dialogue>.Wet. Fren.ch kissing!</dialogue> <character>.. ··-</character> <dialogue>DENNY</dialogue> <scene_description>Leather g-strings! Uh, Sara Lee double fudge browniest</scene_description> <character>SONIA</character> <dialogue>Hey! I'm not wearing underwear!</dialogue> <character>EXT. ROOFTOP TERRACE - NIGHT</character> <dialogue>159</dialogue> <scene_description>mo COPS come- up over the roof and SHOOT Charles at point blank range·. Charles reacts as thoutJh a mosquito bit him. He blows one cop back over the roof and lifts the other up, tossing him SCREAMING off the rooftop terrace. Then, without warning, Charles snatches Denny up. She struygles, trying to kick him.. He LAUGHS, playing with her. Kaz snaps. He charges at Charles., oblivious to his power and size. Hauls off and punches him in the face. Charles's head flies. off. For a. moment, all REACT IN HORROR AND. RELIEF,, thinking he's destroyed. But the head zooms full circle on its own power, LAUGHING at them, enjoying the joke. It dive-bombs Kaz,. SNAPPING at him like a rabid·dog, before PLOPPING back onto his neck .. But Kaz has used the moment's distraction to pull Denny away from Charles. As she craw·ls toward the window and safety, Charles,. through kidding around, starts slowly, inexorably, for Kaz .. Kaz, trapped, backs onto a curved ledge: over a s:teep drop. Charles follows,.</scene_description> </scene> <scene> <stage_direction>EXT. MOONLIT HALLWAY - NIGHT .</stage_direction> <scene_description>AT THE WINDOW, Fixer elbows his way to the front, pulling Grady .. He- waves. the sword.</scene_description> <character>FIXER</character> <dialogue>He-re you go,. Pazotsk..i!</dialogue> <character>GRADY</character> <dialogue>Hey, where'd you get that?</dialogue> <scene_description>As she tries· to get it away from him, he STRIKES it against the window sill and it sparks.</scene_description> <character>160</character> <dialogue>CONTINUED:</dialogue> <character>FIXER</character> <dialogue>See that, boy? Genu-ine flint!</dialogue> <scene_description>Grady grapples for the sword, but Sonia restrains her.</scene_description> <character>SONIA</character> <dialogue>No, let him have itl</dialogue> <scene_description>Fixer tosses it out the window.</scene_description> <character>FIXER</character> <dialogue>Find his scar, boy!</dialogue> <character>161</character> <dialogue>EXT. ROOFTOP TERRACE - NIGHT</dialogue> <scene_description>ANGLE-: THE SWORD sail.ing over Charles's head. Kaz catches it.</scene_description> <character>FIXER (O.C.)</character> <dialogue>Stick 'im where the devil went in!</dialogue> <scene_description>Angry, Charles forgets Kaz a second and sends a TONGUE Or' FLAME at the window. Kaz, sword in hand, leaps on Charles's huge body. But Charles seizes him easily, flips him upside down and begins to carry him along the curve to the· edge of a very narrow ledge· •. Kaz, meanwhile, is feeling ali over Charles's lower belly for his demon scar. And Charles get ticklish. He wri~gle-s, LAUGHING HELPt.ESSLl, still holding Kaz.</scene_description> <character>FIXER (O €� C €� )</character> <dialogue>Find the damn scar!</dialogue> <character>KAZ:</character> <dialogue>He hasn't got one!</dialogue> <scene_description>Charle·s, hol.d·ing Kaz, is nearly at the· end of the ledge. Kaz searches. more desperately as Charles is.about to let go .. At the last second: POV KAZ.: THE DEMON SCAR ON CHARLES'S STOMACH, seen upside down as Kaz is carried along. I.tis nearly hidden by scales and hair. It is: the same· 4-point design as Kaz' s. Kaz: gives. a TRI.UMPHANT YE.LL, plunges the sword into the scar .. Charles ROARS and fl.ings, him over the chasm· between the ledges. Kaz just manages to cling to the terrace edge, dangling over the sheer drop, hanging on for dear life •</scene_description> </scene> <scene> <stage_direction>' - . /</stage_direction> <character>161</character> <dialogue>Charles is SCREECHING, the sword stuck in his demon scar.</dialogue> <character>CONTINUED:</character> <dialogue>It fits perfectly, like a 4-sided key in a Fichet lock. And now Charles begins to burn up, ROARING IN AGONY. The demons and Charles's still-standing body go up in a sheet of gore and flame, SHRIEK~NG.. Kaz and the others shield. their faces. There is a huge fire where· Charles stood. Then sudden silence, except for the HISS of smouldering ashes. A few big bugs crawl a.bout in them. Only Kaz is left on the rooftop terrace, dangling from the edge. Janus crawls out on the terrace, tires to reach him. Can't quite make it.</dialogue> <character>JANUS</character> <dialogue>Gimme a hand!</dialogue> <scene_description>AT THE WINDOW, everyone is crowded,. watching.</scene_description> <character>GRADY</character> <dialogue>I'll g.o.</dialogue> <scene_description>Anxious to prove herself, she crawls out onto the terrace. Fixer is forced to come, too.</scene_description> <character>FIXER</character> <dialogue>Don't I get nothin to say about this?</dialogue> <scene_description>Fixer clings s.tubbornly to the window sill. Grady, attached to him, stretches out her other arm to Janus. Janus grips her hand, is now able to lean out and give Kaz a hand up. Kaz is: exhausted. They pass him along the human chain to the window. There he leans against Fixer, putting an arm around him. THEIR POV: THE ASHES, s.cattering in the wind.</scene_description> <character>FIXER</character> <dialogue>We l.l ,.. we:ll. You done a good thing,. boy. A rea·l good thing: ..</dialogue> <scene_description>CU:- KAZ. The· very la.st of his demon fades away. There is a FAINT, MAGICAL POP. He looks dirferent. Cleaner, stra.ighte·r. Puzz·led,,. he feels his face ..</scene_description> <character>FIXER</character> <dialogue>You all right?</dialogue> <character>KAZ</character> <dialogue>You know what? I think ••• maybe ••• I am.,/</dialogue> <scene_description>,.. It's all over. Flash bulbs POP, tv lights, COPS ~ND REPORTERS everywhere. Kaz and Denny exit from the castle and are photographed. We follow as they pass Fixer and Grady, and the Janus, who.is. at the tail end of his instructions to a policeman. Janus moves through the· crowd and finds Sonia. She is weary and subdued. Not the cocky and bitter Sonia of before.</scene_description> <character>JANUS</character> <parenthetical>(gently)</parenthetical> <dialogue>Can I drive you home?</dialogue> <character>SONIA</character> <dialogue>Thanks. And Phil ••• could you stay tonight? I mean •••</dialogue> <parenthetical>( a·lrnos.t shyly)</parenthetical> <dialogue>Do you want to?</dialogue> <character>JANUS</character> <parenthetical>(cupping her face)</parenthetical> <dialogue>You tell me.</dialogue> <character>163</character> <dialogue>Kaz is kissing Denny.</dialogue> <character>EXT. PARK NEAR THE CASTLE - NIGHT</character> <dialogue>Really kissing her.</dialogue> <character>DENNY</character> <parenthetical>(delighted, but pulling. back)</parenthetical> <dialogue>Hey,. careful. You don' t wann°a get all worked up.</dialogue> <character>KAZ</character> <dialogue>On yes I do.</dialogue> <parenthetical>( kissing her)</parenthetical> <dialogue>I already am.. Denny, you</dialogue> <scene_description>know what this means? I'm turned on, way on, full volume-L (spreads his arms) And look! (opening his pants) Look!</scene_description> <character>DENN-Y</character> <parenthetical>( laug.hing)</parenthetical> <character>KAZ'</character> <dialogue>No, look!</dialogue> <scene_description>CU: KAZ'S LOWER BELLY. Clean. Scarless. 163 CONTINUED:</scene_description> <character>KAZ</character> <dialogue>It's gone! It's over!</dialogue> <scene_description>He LAUGHS, leaping around crazily, unable to contain his excitement ..</scene_description> <character>DENNY</character> <dialogue>Oh ••• t(az.</dialogue> <character>KAZ</character> <dialogue>Fixer was right! I did something really noble, I didn't even stop to think about it, and the curse jumped right out of me and ••• into ....</dialogue> <scene_description>He grabs her.</scene_description> <character>KAZ</character> <dialogue>Oh,. boy. I forgot that part. Oen, would you do something for me? Get hot.</dialogue> <character>DENNY</character> <dialogue>Huh?</dialogue> <scene_description>He pulls her into an embrace. A long, seriousr busy kiss. They break. He ex.amines her hands, her face, pries open an eye and squints into her pupil.</scene_description> <character>DENNY</character> <dialogue>What are you doing?</dialogue> <character>KAZ</character> <dialogue>You're okay.</dialogue> <parenthetical>(joyfully)</parenthetical> <dialogue>You're okay!</dialogue> <scene_description>If&amp; spins her around. She LAUGHS.</scene_description> <character>DENNY</character> <dialogue>Shouldn • t I be?</dialogue> <character>KAZ</character> <dialogue>Fixe·r told me the person closest to me was the one· who got the curse.</dialogue> <character>DENNY</character> <dialogue>But I wasn't anywhere near you •.</dialogue> <scene_description>163 CONTINUED: {2} 163</scene_description> <character>KAZ</character> <dialogue>No, he meant -- ah, who cares! He was wrong, that's all that matters!</dialogue> <scene_description>-He starts kissing her again but she suddenly holds him back.</scene_description> <character>DENNY</character> <dialogue>Hold it. Kaz. Are you actually telling me ••• we can ••• I mean actually ••• you and me ••• together?</dialogue> <scene_description>Obviously the ful.l potential hasn't hit them until now. They stare at each other. Then Kaz WHOOPS, grabs her hand, and they run wildly out of the park. al63 EXT. IN FRONT OF THE CASTLE - NIGliT al63 The crowd is dispersing. Fixer is still cuffed to Grady, who is on the walkie talkie. Fixer's eyes gleam red. Grady suddenly notices what she's attached to. He grins at her - a devilish grin-. He licks his chops.</scene_description> <character>FIXER</character> <parenthetical>(in a yrowly voice)</parenthetical> <dialogue>Hey, baby.</dialogue> <scene_description>Ch.is face very elose to hers-) Let's howl .. And Grady RATTLES the cuffs, hollering:</scene_description> <character>GRADY</character> <dialogue>Mike! Hey, somebody! Hey! WHO THE KELL HAS THE GODDAM KEYS! l</dialogue> </scene> <scene> <stage_direction>EXT. CENTRAL PARK WEST - NIGHT</stage_direction> <scene_description>Kaz, holding onto Denny, excitedly flags down a cab. They a.re all over each other. They can't stop kissing long enough to get in. So they fal.l in. 165 OMIT 165</scene_description> <character>THROUGH THE GLASS DOORS)</character> <dialogue>The cab pulls away as they run-fall up the steps. Then, at the top step, all of a sudden, the hurrying is over. Kaz takes her face in his hands. A moment of tenderness, of longing fulfilled, of real affection for each other. The doors swing open, they kiss, and they disappear into the building. . .</dialogue> </scene> <scene> <stage_direction>EXT. DENNY'S BUILDING - NIGHT</stage_direction> <scene_description>In Denny's window, a light goes on. Then another. And another, until the whole apartment is ablaze with light. The silhouettes of Denny and Kaz· appear at the winaow. They come together. Kaz slowly pulls down the shade. ABOVE THE BUILDING, high above all the roof tops in. the city a lovers' moon sails high. And DOWN IN THE STREET, Grady sprints by ••• and then Fixer, transformed, lopes after her in devilish hot pursuit.</scene_description> <character>ENO</character> </scene> </script>

Denny is a young woman who has horrible luck with men. Her latest encounters have been particularly bad, so when she meets a homeless (and horny) street musician, Kaz, she thinks that she may have found a good man. Little does she know that Kaz was cursed by the mother of a young girl he was messing around with while he was in middle school. Whenever he becomes aroused he becomes a demon. When young women begin to die throughout the city, Kaz begins to wonder if he is "The Mangler" that is murdering them. His worries are compounded when Denny's friend Sonia, a psychic, receives a vision that seems to confirm his suspicions. The killer is ultimately revealed to be Charles, who kidnaps Denny. To save Denny, Kaz sleeps with Sonia to trigger his transformation. He then saves Denny and is cured of his curse, while Charles is defeated.

Encrypt_2003

tt0338963

<script> <scene> <character>ENCRYPT</character> <dialogue>by Richard Taylor</dialogue> <scene_description>FADE IN: THE EARTH spins in mortal turmoil. A vast spinner of clouds the size of Australia approaches the west coast of North America, lightning flashing, thunder BELLOWING and CRACKLING. The sky glows red and purple, angry and crazy. This is the planet made Gothic by human intervention. SEATTLE - THE SPACE NEEDLE is buffeted by hundred-and-fifty-mile-an-hour winds. Plate glass shatters and explodes. SAN FRANCISCO - THE GOLDEN GATE BRIDGE quakes before the raging wind. A giant tsunami surges toward the great suspension bridge. When it passes, cables have been wrenched, untwining, and collapse appears imminent.</scene_description> </scene> <scene> <stage_direction>EXT. LOS ANGELES - NIGHT</stage_direction> <scene_description>The city is a swamp, some buildings on dry ground, others below sea level. Far south and east of its northern cousins, the full thrust of the storm has not struck Los Angeles yet. Smoke from open fires trail skyward like ghosts and spread along the ceiling of the sky even as it bleeds rain everywhere. A TEN-YEAR-OLD GIRL (MANDY) runs, terrified, down a decayed city street. She clutches something in her dirt-caked hands, holds it dear to her breast. The girl slides around a corner on her bottom, stares back. GIRL'S POV - THE STREET seems derelict. A flash of lightning reveals men scurrying like rats after her. RESUME AND FOLLOW MANDY (A MONTAGE) as she turns and scrambles away. Her pursuers follow her everywhere - around rusting cars, through an abandoned MTA bus, and across the rubble of a building that once dispensed happy meals and toys. Mandy dives into a burrow beneath piled debris. One of the men walks directly toward her. Another scurries, chortling madly, around to her side. A third man approaches from behind. Mandy clutches her prize ever-more tightly and prays that they don't see her. They do. The leader lifts Mandy from the debris, her naked legs dangling from beneath her torn dress.</scene_description> <character>LEAD RAT</character> <dialogue>Lookit what I got!</dialogue> <scene_description>Mandy struggles and screams. Lead Rat covers her mouth. Limping Rat snatches the prize from her fingers: A dinner roll, hard as a rock and twice as filthy.</scene_description> <character>LIMPING RAT</character> <dialogue>So that's what you're hiding, little girl? Don't you want to share? You want to share, right?</dialogue> <scene_description>Mandy writhes free enough to say:</scene_description> <character>MANDY</character> <dialogue>Take it! Take it! Just... leave me alone!</dialogue> <scene_description>Chortling Rat arrives. His fingers pinch Mandy's leg.</scene_description> <character>CHORTLING RAT</character> <dialogue>This little girl's plump.</dialogue> <scene_description>Lead Rat drops her to the ground, assesses her.</scene_description> <character>LEAD RAT</character> <dialogue>You got family, girl... with anything to trade?</dialogue> <scene_description>CONTINUED: Mandy understands immediately.</scene_description> <character>MANDY</character> <dialogue>Yes! Yes, my daddy's got canned goods. And gasoline.</dialogue> <scene_description>Lead Rat thinks about this. The dinner roll lying abandoned nearby suggests not.</scene_description> <character>CHORTLING RAT</character> <dialogue>She'd feed us for a week!</dialogue> <character>LIMPING RAT</character> <parenthetical>(grinning, of Chortling Rat as he assesses girl)</parenthetical> <dialogue>I dunno... You still on that diet?</dialogue> <scene_description>Mandy screams and tries to break away. Lead Rat holds her in a vise grip. Chortling Rat kneels beside the little girl.</scene_description> <character>CHORTLING RAT</character> <parenthetical>(of leader)</parenthetical> <dialogue>I never took you for squeamish.</dialogue> <scene_description>That settles it. Lead Rat produces a huge switchblade. It snaps out, steel catching the light. Mandy screams. An arrow slams through Lead Rat's neck. He doesn't move, not believing. JOHN GARTH (35) STANDS ON A WALL (SCENE), a hard man with hawk eyes now focused on killing. Even though he is a warrior, there is something humane about John Garth. He knows there is no glory to what he is doing. His rock-like exposed arms hold the bow's tension like the cables of a suspension bridge, and shake with the load. He releases. Lead Rat faces death and drops. Limping Rat is already scurrying away, weapon drawn, when Garth's second arrow catches him. He drops. Chortling Rat, whining fearfully, scuttles around debris, hiding his silhouette. He pulls a nasty looking automatic and looks up to find a target when an arrow slams into him. He falls. CONTINUED: Garth drops to the ground, walks to Mandy, who stands sucking air like the price is going up.</scene_description> <character>JOHN GARTH</character> <dialogue>Your mother's worried.</dialogue> <scene_description>Mandy shakes her head crazily. Yes, I know. Garth kneels beside her. Mandy bursts into his arms. He holds her like a father until her sobs diminish.</scene_description> <character>GARTH</character> <dialogue>You shouldn't go out by yourself.</dialogue> <scene_description>Mandy buries her head in his chest, safe now.</scene_description> <character>MANDY</character> <dialogue>But I'm hungry, John.</dialogue> <character>GARTH</character> <dialogue>I know...</dialogue> <scene_description>Garth releases her and steps past to harvest the arrow that took Lead Rat's life. He takes the switchblade as well. Mandy scurries to where the dinner roll lies and retrieves it. She tries to bite into it. Hard as stone. BESIDE LIMPING RAT'S CORPSE - GARTH harvests the second arrow, using the switchblade to cut the arrow out. Mandy staggers to Garth's side. She looks yearningly at Limping Rat. Clutching Garth's leg:</scene_description> <character>MANDY</character> <dialogue>It would be a waste to just leave them here.</dialogue> <character>GARTH</character> <parenthetical>(understanding her meaning)</parenthetical> <dialogue>No.</dialogue> <character>MANDY</character> <dialogue>But I'm hungry.</dialogue> <character>GARTH</character> <dialogue>You stay here. I have to get my other arrow.</dialogue> <scene_description>Garth moves to get the arrow. CONTINUED: Mandy waits nervously near Limping Rat's corpse. When Garth returns, he scoops her up and starts walking away. Looking back from Garth's arms, Mandy's hungry eyes remain on the corpse.</scene_description> </scene> <scene> <stage_direction>EXT. SURVIVOR'S CAMP - NIGHT</stage_direction> <scene_description>It's a hovel bandaged with debris. Campfires burn with constant complaint, sizzling embers and hissing wood once shaped by hand. Mist clouds everything. Men and women guard the ramparts, some with guns, some with bows like Garth's.</scene_description> <character>A GUARD</character> <dialogue>Someone's coming.</dialogue> <scene_description>The men scramble to the walls.</scene_description> <character>GARTH'S VOICE</character> <parenthetical>(a shout)</parenthetical> <dialogue>John Garth!</dialogue> <scene_description>A moment later Garth enters the camp with Mandy carried on his hip. Mandy's mother rushes to take her into her arms as Garth drops her.</scene_description> <character>MANDY'S MOM</character> <dialogue>Mandy!</dialogue> <character>MANDY</character> <dialogue>Look, Mom... I found some bread.</dialogue> <character>MANDY'S MOM</character> <dialogue>Where were you?! I've been worried to death!</dialogue> <character>GARTH</character> <dialogue>She's okay. I found her about six blocks south, near Pico.</dialogue> <character>MANDY'S MOM</character> <dialogue>Thank you.</dialogue> <character>GARTH</character> <dialogue>It's okay.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MANDY</character> <parenthetical>(showing her prize)</parenthetical> <dialogue>Mom! Look, bread!</dialogue> <character>MANDY'S MOM</character> <dialogue>You put that away, now. One of the hunters found meat. We have stew.</dialogue> <scene_description>Garth turns at this information. Meat?</scene_description> <character>MANDY</character> <dialogue>Food?! Mommy, I'm so hungry...</dialogue> <character>MANDY'S MOM</character> <dialogue>Come on, sweetheart. I'll get you a bowl.</dialogue> <scene_description>Garth questions this silently, then turns to head for his digs.</scene_description> </scene> <scene> <stage_direction>EXT./INT. GARTH'S DIGS - NIGHT</stage_direction> <scene_description>An often-repaired tent. Garth throws the entry flap back, enters to find his father, MATTHEW, Garth grown older and weaker. He lies in a hammock, recovering from a broken leg.</scene_description> <character>MATTHEW</character> <dialogue>You're not dead, I see.</dialogue> <scene_description>Storing his equipment:</scene_description> <character>GARTH</character> <dialogue>Not yet. How's the leg?</dialogue> <character>MATTHEW</character> <dialogue>I'm hobbling about. Anything happen out there?</dialogue> <scene_description>Garth turns to survey his father, pulls three cans of Campbell's soup from his jacket.</scene_description> <character>GARTH</character> <dialogue>I killed six men... three this morning over these...</dialogue> <parenthetical>(presents the cans)</parenthetical> <dialogue>... three tonight over the Parker girl.</dialogue> <character>MATTHEW</character> <dialogue>You found her alive?</dialogue> <scene_description>CONTINUED:</scene_description> <character>GARTH</character> <dialogue>Alive. She wouldn't have stayed that way long... I hear they've got stew. Did anybody bring you some?</dialogue> <scene_description>Matthew snorts.</scene_description> <character>MATTHEW</character> <dialogue>Rodriguez says he killed a deer. Brought the meat in already butchered... There are no deer left in Los Angeles, not even in the canyons.</dialogue> <scene_description>Garth understands. Meat. Of the human variety. After a moment:</scene_description> <character>GARTH</character> <dialogue>How 'bout some Campbell's soup? M'M-M'M- Good...</dialogue> <parenthetical>(reads labels)</parenthetical> <dialogue>Cream of mushroom... chicken noodle... and cream of tomato.</dialogue> <character>MATTHEW</character> <parenthetical>(smacking his lips)</parenthetical> <dialogue>Chicken noodle. I'll stoke the fire.</dialogue> <character>GARTH</character> <dialogue>No, dad. I'll take care of it. You stay off that leg.</dialogue> <scene_description>Garth pulls his survival knife and begins to open one of the cans. DISSOLVE:</scene_description> </scene> <scene> <stage_direction>INT. GARTH'S DIGS - NIGHT</stage_direction> <scene_description>Garth and Matthew lie asleep after their repast, Matthew in his hammock, Garth on a bed made of old clothes.</scene_description> </scene> <scene> <stage_direction>EXT. SURVIVOR'S CAMP - NIGHT</stage_direction> <scene_description>Guards walk lonely beats behind walls of debris. Suddenly a brilliant light appears in the night sky. A VOICE from a loudspeaker:</scene_description> <character>HELICOPTER VOICE</character> <dialogue>You people in the camp... We're looking for John Garth.</dialogue> <scene_description>ANOTHER ANGLE - HELICOPTER hovers a hundred yards from the ramparts, its single directional light bouncing from point to point on the walls.</scene_description> <character>HELICOPTER VOICE</character> <dialogue>Is he in there?</dialogue> </scene> <scene> <stage_direction>EXT. CAMP</stage_direction> <scene_description>Garth exits his digs. His father hobbles after. A camp citizen climbs to the top of the walls.</scene_description> <character>CAMP CITIZEN</character> <dialogue>He's here... What do you want?</dialogue> <character>HELICOPTER VOICE</character> <dialogue>We're coming in.</dialogue> <scene_description>The chopper sets down. MOMENTS LATER - THREE MEN enter the camp. Two wear LAPD uniforms, the third a long coat with a detective badge pinned to a lapel, LAPIERE. He's the sort of man who becomes a cop because of one perk - power. One of the uniforms carries a cardboard box marked Peaches. The camp citizens give them a wide berth. Garth stands one row back.</scene_description> <character>LAPIERE</character> <dialogue>I'm Detective Lieutenant Oscar LaPiere of the LAPD.</dialogue> <character>THE CROWD</character> <dialogue>... he's no cop... no police anymore... he's lying (etc.)</dialogue> <character>LAPIERE</character> <dialogue>Of course there are police left.</dialogue> <parenthetical>(smiling confidently)</parenthetical> <dialogue>We're just like you, trying to survive. We help when we can.</dialogue> <character>GARTH</character> <dialogue>You must be pretty busy... elsewhere.</dialogue> <scene_description>CONTINUED: Lapiere's steady grin belies the heat of his eyes directed at Garth.</scene_description> <character>LAPIERE</character> <dialogue>Where's John Garth?</dialogue> <character>GARTH</character> <dialogue>What do you want with him?</dialogue> <character>LAPIERE</character> <dialogue>I've brought him a gift. Are you John Garth?</dialogue> <character>GARTH</character> <dialogue>What gift? Who sent it?</dialogue> <scene_description>LaPiere allows the question to dangle a moment, then steps aside and gestures to the cop holding the crate to set it down.</scene_description> <character>LAPIERE</character> <dialogue>Peaches... Name brand, not the store variety... packed in syrup.</dialogue> <scene_description>The gasp of camp citizens suggests this might be gold.</scene_description> <character>GARTH</character> <dialogue>Who sent it?</dialogue> <character>LAPIERE</character> <dialogue>Anton Reich.</dialogue> <scene_description>Garth kneels beside the cardboard box to check the glue seals. Not tampered with.</scene_description> <character>LAPIERE</character> <dialogue>I take it you're John Garth?</dialogue> <character>GARTH</character> <dialogue>Who's Anton Reich? And what does he want with me?</dialogue> <scene_description>Mandy steps through the crowd and kneels beside the box. She is in awe of it.</scene_description> <character>LAPIERE</character> <dialogue>He wants to hire you. He instructed me to tell you - this is a signing bonus.</dialogue> <character>GARTH</character> <dialogue>Signing bonus? Then it's not a gift?</dialogue> <scene_description>CONTINUED:</scene_description> <character>LAPIERE</character> <dialogue>Oh no. It's yours. No strings.</dialogue> <scene_description>Garth considers that, then tears the box open and hands Mandy a can. She can't suppress her joy. Running to her mother:</scene_description> <character>MANDY</character> <dialogue>Mommy! Mommy! Look what I got!</dialogue> <character>LAPIERE</character> <parenthetical>(continuing with restrained disapproval)</parenthetical> <dialogue>You can do with it what you will, of course... Mr. Reich just wants to take a meeting with you.</dialogue> <scene_description>Garth removes four cans from the box and gives them to his father. Taking one can for himself, Garth shoves what remains of the box into the arms of the camp leader.</scene_description> <character>GARTH</character> <dialogue>Share this...</dialogue> <parenthetical>(to LaPiere)</parenthetical> <dialogue>Let's go.</dialogue> </scene> <scene> <stage_direction>EXT. OUTSIDE THE CAMP - NIGHT</stage_direction> <scene_description>The helicopter looks shiny new as Garth, LaPiere and the cops trudge through debris-ridden terrain. Garth uses his survival knife to open the can of peaches.</scene_description> <character>GARTH</character> <parenthetical>(of chopper)</parenthetical> <dialogue>I didn't think there were any of those left.</dialogue> <character>LAPIERE</character> <dialogue>You'd be surprised what's left... if you know the right people.</dialogue> </scene> <scene> <stage_direction>EXT./INT. THE HELICOPTER - NIGHT</stage_direction> <scene_description>The chopper flies through the rainy night. Garth pushes the can lid back and drinks thirstily before lifting a peach slice out and swallowing it whole, like a bear with a fish just caught from a stream. LaPiere looks on with amusement. Garth sees his look, offers the can.</scene_description> <character>LAPIERE</character> <dialogue>No thank you. I've eaten.</dialogue> <scene_description>CONTINUED: Garth shrugs, digs out another fish.</scene_description> </scene> <scene> <stage_direction>EXT. UCLA MEDICAL CENTER LANDING PAD - NIGHT</stage_direction> <scene_description>The lights work, even if the sign has been damaged: UCL(A) M(ed)ICAL CEN(t)ER. The chopper sets down. Garth, Lapiere and the attending cops exit and make for the big hospital building as Garth tosses the empty can of peaches into an empty wire receptacle.</scene_description> </scene> <scene> <stage_direction>INT. UCLA MEDICAL CENTER - NIGHT</stage_direction> <scene_description>Garth, LaPiere and the uniformed cops make their way into the building, which obviously is no longer in use as a hospital. Even though it appears abandoned, the lights work. Garth stops to look around. He hasn't seen electric lights in months.</scene_description> <character>GARTH</character> <dialogue>What's powering these lights?</dialogue> <character>LAPIERE</character> <parenthetical>(moving him along)</parenthetical> <dialogue>Mr. Reich has his residence on the top floor.</dialogue> </scene> <scene> <stage_direction>INT. UCLA MEDICAL CENTER TOP FLOOR - NIGHT</stage_direction> <scene_description>An immense open bay. At one end are stacked platform after platform of canned goods, ammunition, oil, military weaponry in cases, liquor, medical supplies. At the opposite end, a mansion in miniature with unblemished furniture, Persian carpets, drapes over the windows, stands of famous artworks, paintings, sculpture, and a huge oak desk stolen, certainly, from a rich man's office. Men in uniform stand guard beside the elevator door, one LAPD, the second MTA. One uniform is as good as another, apparently The elevator opens. Garth and LaPiere exit, followed by the two cops. ANOTHER ANGLE - ANTON REICH is a man of formidable countenance. 50, he wears clothes that in better times might be considered obscenely expensive. He CONTINUED: is a leader, a manipulator, and a salesman. He approaches Garth as if welcoming an important client, extending a hand.</scene_description> <character>REICH</character> <dialogue>Major Garth, welcome. Anton Reich.</dialogue> <scene_description>Garth surveys him briefly, the proffered hand, then turns his gaze to the cops.</scene_description> <character>REICH</character> <dialogue>Don't worry. They're not really police. They work for me now.</dialogue> <scene_description>Garth's gaze continues to the flats of canned goods and other supplies.</scene_description> <character>REICH</character> <dialogue>Are you hungry, Major?</dialogue> <character>GARTH</character> <dialogue>Oh no, I just finished dinner. Steak and lobster, a good chardonnay, and chocolate mousse for dessert.</dialogue> <character>REICH</character> <parenthetical>(amused)</parenthetical> <dialogue>Better than my table, I'm afraid. But I can have my cook whip up something... Major?</dialogue> <character>GARTH</character> <dialogue>I'm not a major.</dialogue> <character>REICH</character> <dialogue>No, of course not. Not anymore. Who of us have titles these days?... Sergeant?</dialogue> <character>LAPIERE</character> <dialogue>It's Lieutenant, Mr. Reich.</dialogue> <character>REICH</character> <dialogue>Mr. Garth and I will have dinner in the residence. See to it.</dialogue> <character>LAPIERE</character> <dialogue>Yes, sir.</dialogue> <scene_description>Lapiere turns and moves for the elevator.</scene_description> <character>REICH</character> <parenthetical>(to cops)</parenthetical> <dialogue>You two may leave as well.</dialogue> <scene_description>The two cops follow LaPiere. CONTINUED: Reich takes Garth by the arm, and releases him on Garth's look.</scene_description> <character>REICH</character> <dialogue>While we're waiting for dinner, can I get you anything else?</dialogue> <character>GARTH</character> <dialogue>Well, Adolph... you can tell me what you want so I can blow this bunker.</dialogue> <character>REICH</character> <dialogue>Adolph... not such a bad fellow after all, now was he?... I should think simple logic would answer your question. You have nothing I could want - except skill. Obviously, I want to hire you.</dialogue> <character>GARTH</character> <dialogue>I'm not for hire.</dialogue> <character>REICH</character> <dialogue>Yes, I'm certain that's so. Do you see that flat of canned goods back there?</dialogue> <scene_description>Garth looks. A mountain eight feet by eight feet. A fortune.</scene_description> <character>REICH</character> <dialogue>I had it brought up here just so you could see it. I usually leave food down in the pantry... In any case, there are sixty cases of beef stew, sixty of fruit cocktail, sixty cases of peaches - my favorite, I usually have peaches for dessert - sixty cases of deviled ham, sixty cases of hash, sixty cases of tuna, sixty cases of... well, I can give you a manifest.</dialogue> <scene_description>Garth takes in the vast fortune. He fails to hide his astonishment.</scene_description> <character>REICH</character> <dialogue>Are you still not for hire, Major Garth?</dialogue> <scene_description>Garth's silence is answer enough.</scene_description> <character>REICH</character> <dialogue>I thought so...</dialogue> <character>GARTH</character> <dialogue>Who do you want me to kill?</dialogue> <scene_description>CONTINUED:</scene_description> <character>REICH</character> <dialogue>Kill? Kill?! Killing is easy, Major. What I want you to do is much harder. Care for a brandy?</dialogue> <scene_description>Reich opens a fresh bottle of Courvoisier, almost fills two snifters, turns to hand one to Garth. GARTH stands before one of a dozen paintings, many recognizable, but not this. It's a map of the earth with a vast storm, not unlike the Red Spot of Jupiter, swirling across the world. Reich presents Garth with a brandy.</scene_description> <character>REICH</character> <dialogue>You've found my Nilsson. It's magnificent, isn't it?</dialogue> <scene_description>Garth takes the brandy, sniffs, and is snatched into enthralled memories.</scene_description> <character>REICH</character> <dialogue>It's called 'The Blue Spot.' It was painted right after they discovered the storm that circles the surface of the earth, like 'The Red Spot' circles Jupiter, returning again and again, wreaking havoc... Nilsson killed himself right after he completed it.</dialogue> <character>GARTH</character> <dialogue>Suicide doesn't exactly distinguish him, does it?</dialogue> <character>REICH</character> <dialogue>No, not at all. So many people have killed themselves. Still, it's a magnificent piece. Most of these pieces you see here I took into protective custody from the Getty.</dialogue> <character>GARTH</character> <dialogue>I thought I recognized some of them.</dialogue> <character>REICH</character> <dialogue>Which is why I need you, Major.</dialogue> <character>GARTH</character> <dialogue>I told you. I'm not a major anymore.</dialogue> <scene_description>REICH yanks a tarp from a table miniature of an estate.</scene_description> <character>REICH</character> <dialogue>Come see this.</dialogue> <scene_description>Garth reluctantly joins him.</scene_description> <character>REICH</character> <dialogue>Do you recognize it?</dialogue> <character>GARTH</character> <dialogue>The Vincent estate.</dialogue> <character>REICH</character> <dialogue>Yes. It's located across the four-oh-five from the Getty, in the Sepulveda Pass. It's nearly as big, too. Are you familiar with Vincent?</dialogue> <character>GARTH</character> <dialogue>Just that he's rich.</dialogue> <character>REICH</character> <dialogue>Was rich. No one's seen him in years. He's probably dead. Still, his estate remains operative... You may have wondered how it is that we have electric lights here, elevators that work and so on, when the rest of the city has been reduced to the stone age. It's because UCLA has a nuke in the basement. It was installed for educational purposes, but it's large enough to supply the entire facility with power...</dialogue> <scene_description>Reich searches Garth's eyes for understanding. Finally:</scene_description> <character>REICH</character> <dialogue>Vincent installed a duplicate in his estate. It's fully automated, powering a specially designed security system. Vincent intended to convert his estate into a museum on his death, but the world fell apart first. I want you to break in, Major... break in and shut down Vincent's nuke, so I can take all of Vincent's art into protective custody.</dialogue> <scene_description>CONTINUED:</scene_description> <character>GARTH</character> <parenthetical>(cynical grin)</parenthetical> <dialogue>Protective custody?</dialogue> <character>REICH</character> <dialogue>Oh hell, I could call it stealing, but the truth is, it'll only be in my hands until I die, and then the next fellow will come along and protect it.</dialogue> <character>GARTH</character> <dialogue>You could say the same thing about gold...</dialogue> <parenthetical>(eyes drifting toward the palets of food)</parenthetical> <dialogue>... while other valuables are consumable.</dialogue> <character>REICH</character> <parenthetical>(smiling)</parenthetical> <dialogue>Yes, that's true... So, what do you say?</dialogue> <scene_description>The shadows across Garth's eyes hide deep thoughts. LATER - GARTH AND REICH SIT AT TABLE enjoying a sumptuous meal. Candlesticks, wine, dishes filled with ample portions. Nearby, the table miniature.</scene_description> <character>REICH</character> <dialogue>... thing is, the roof is protected by surface-to-air missiles, SAMs. Anything that comes within a thousand yards of the place is blown up.</dialogue> <character>GARTH</character> <dialogue>You tried it?</dialogue> <character>REICH</character> <dialogue>Hm, yes.</dialogue> <character>GARTH</character> <dialogue>Why not assault it from the side?</dialogue> <character>REICH</character> <dialogue>The grounds are protected by miniature battle units - tanks, in reality, although they were manufactured to look like dogs.</dialogue> <scene_description>CONTINUED:</scene_description> <character>GARTH</character> <dialogue>With just the equipment you have over there...</dialogue> <parenthetical>(gestures crates across room)</parenthetical> <dialogue>... you could take out something like that.</dialogue> <character>REICH</character> <dialogue>The entrances are made of six inch armor plate, but we could get past that, too. It was proven during the middle ages that any wall may be breached. No, the problem is, I don't want any of Vincent's collection damaged.</dialogue> <character>GARTH</character> <dialogue>Go in a window, then.</dialogue> <character>REICH</character> <dialogue>You make it sound so easy. I hope that it is. A window, yes. The real problem is not getting in, but staying alive once you're there...</dialogue> <parenthetical>(on Garth's look)</parenthetical> <dialogue>I have much of Vincent's security plans. Some, anyway. He employed a new kind of controller, a sentient computer system.</dialogue> <character>GARTH</character> <dialogue>The computer reasons? Like a human being?</dialogue> <character>REICH</character> <dialogue>Here. Let me show you.</dialogue> <scene_description>Reich removes a notebook computer from a briefcase beside the table, opens it. A picture of DIANA LOGAN, 28, appears on the screen. Diana is beautiful, yes, but behind her eyes resides an incisive mind and a depth of feeling unusual in one so young.</scene_description> <character>REICH</character> <dialogue>Twenty years ago this woman, Diana Logan, was dying of cancer. Vincent convinced her to transfer her consciousness into his one-of-a-kind mainframe, which he named EnCrypt. She lives there still, inside Vincent's mansion... a kind of apparition within his computer.</dialogue> <scene_description>Garth studies the face. It reminds him that once flowers bloomed, that there was hope in the world, that people were young and beautiful. He closes the notebook lid. CONTINUED:</scene_description> <character>GARTH</character> <dialogue>She controls all of the security systems?</dialogue> <character>REICH</character> <dialogue>Yes. As well as maintenance and repair. As I said, the Vincent mansion is fully automated.</dialogue> <character>GARTH</character> <dialogue>Is she programmed to kill?</dialogue> <character>REICH</character> <dialogue>Oh yes. If necessary.</dialogue> <character>GARTH</character> <dialogue>How do I defeat her... the system, I mean?</dialogue> <character>REICH</character> <dialogue>You defeat each subsystem separately. But in order to defeat the entire system, you must shut down the reactor. It's located in the basement, along with the supercomputer that controls everything. Obviously, this area presents the greatest challenge.</dialogue> <character>GARTH</character> <dialogue>Obviously.</dialogue> <character>REICH</character> <dialogue>There is one additional thing I haven't mentioned yet... research that Vincent was doing... the last copy of which may be in the computer. I want you to download it before shutting the system off.</dialogue> <character>GARTH</character> <dialogue>What kind of research?</dialogue> <scene_description>Reich considers not telling him. He delays, sipping wine, cutting another bite of meat. Then:</scene_description> <character>REICH</character> <dialogue>Vincent was researching weather control... a way to stop the storms - THE STORM - and return the earth to its original weather pattern.</dialogue> <scene_description>Garth laughs. Redemption? It seems absurd. CONTINUED:</scene_description> <character>GARTH</character> <dialogue>You want me to save the world?</dialogue> <scene_description>Reich smiles too.</scene_description> <character>REICH</character> <dialogue>Yes. Could you please?... It's probably nothing. Vincent is missing and in all likelihood dead, not an indicator for success, is it? Still, even if his research is partially completed...</dialogue> <scene_description>GARTH stands and walks to the window. The city lights are fires consuming furniture and dreams. Reich joins him.</scene_description> <character>GARTH</character> <dialogue>The world's dying while you play potentate inside these walls. Hell, it's already dead. What you see out there is nothing more than the death rattle.</dialogue> <character>REICH</character> <dialogue>No. What you see out there is a thinning of the herd. From ten billion people to maybe a million... a necessary event... and we who are to survive will need a return to the old weather cycle... and art, too, if we are to remain civilized. Download the data if you can... but shut down that nuke.</dialogue> <scene_description>The SOUND of a firefight some distance away.</scene_description> <character>REICH</character> <dialogue>My competitor from the South Bay. She pushes north with an army twice the size of mine. She's flush with booty from that shopping center down there, the biggest one in the world. It's made her strong... That's why I'm pulling out, Major, relocating to the Central Coast after the storm passes. I want the Vincent estate before I leave. And I plan to leave the moment the storm clears. That's how much time you'll have, two, maybe three days. After that I blow my way in and take whatever's not destroyed.</dialogue> <scene_description>FOLLOW GARTH AND REICH as they walk past the palets of food and supplies.</scene_description> <character>REICH</character> <dialogue>I want you to have a good night's sleep... be at your best before you go in... Is there anything I can get you? Companionship, maybe?</dialogue> <scene_description>Garth stops before the eight-by-eight-foot cube of food.</scene_description> <character>GARTH</character> <dialogue>I do nothing... until this is delivered to my camp.</dialogue> <character>REICH</character> <parenthetical>(laughs)</parenthetical> <dialogue>Half. The rest when you come out.</dialogue> <scene_description>Garth gestures assent.</scene_description> <character>REICH</character> <parenthetical>(calling)</parenthetical> <dialogue>Sergeant LaPiere.</dialogue> <scene_description>The elevator door opens revealing LaPiere and two former LAPD cops.</scene_description> <character>REICH</character> <dialogue>Show the Major to his room... then arrange to have half of this food delivered to his camp. Tonight.</dialogue> </scene> <scene> <stage_direction>INT. GARTH'S ROOM - NIGHT</stage_direction> <scene_description>The room is splendidly attired, subtly illuminated. LaPiere allows Garth in, then closes the door behind him. Garth begins to remove his clothes. Movement in the corner of the room. A WOMAN steps out of the shadows. She is lovely. Her greek gown insinuates that she possesses nothing else, just this garment. Clearly, this situation is new to her and she's afraid.</scene_description> <character>WOMAN</character> <dialogue>I'm... yours, if you want me.</dialogue> <scene_description>Garth doesn't know what to say. CONTINUED: The woman releases the gown and it slips away. The strain of this, the humiliation, tugs on her expression. She steps up to Garth, waiting for him to touch her. She will not cry. No. But the struggle makes the muscles of her face dance with restrained emotion. Garth pulls the bedspread from the bed and wraps her in it. She clutches the garment about herself, thankful. Finally her brow finds his chest. She sobs. Garth's arms almost close about her, but he hesitates. After a moment:</scene_description> <character>GARTH</character> <dialogue>Who were you?</dialogue> <character>SLAVE</character> <dialogue>I was... a CPA.</dialogue> <scene_description>She looks up. Her intelligent eyes search his.</scene_description> <character>SLAVE</character> <dialogue>Who were you?</dialogue> <scene_description>The question has many answers. Finally:</scene_description> <character>GARTH</character> <dialogue>A civilized man.</dialogue> <scene_description>THE NEXT MORNING finds the woman asleep beneath the covers, and Garth waking above them. He rises from the bed, begins to dress. THE DOORWAY - LAPIERE stands just inside, grinning smugly.</scene_description> <character>LAPIERE</character> <dialogue>Forget that stuff. We've got new clothes for you. You can even shower, if you want.</dialogue> <scene_description>IN THE SHOWER - GARTH stands beneath the spray of hot water. The feel of it reminds him of clean yesterdays. LOCKER ROOM - GARTH exits the shower to find a stack of clothes on a bench, and new boots beneath it. He dresses. RESIDENCE - GARTH AND REICH observe his notebook computer screen.</scene_description> <character>REICH</character> <dialogue>Have you faced automated defense systems before, Major?</dialogue> <character>GARTH</character> <dialogue>Many times.</dialogue> <character>REICH</character> <dialogue>Then you know that Vincent Industries supplied much of the world's automated security and combat systems. He made everything from sentry dogs, like these...</dialogue> <scene_description>INSERT - SCREEN (AND INTERCUT AS NECESSARY) where the SENTRY DOG lopes onto the screen, then TRANSMORPHS into an animated blueprint. The animal looks like a large bulldog. RESUME GARTH AND REICH looking at the screen.</scene_description> <character>REICH</character> <parenthetical>(continuous)</parenthetical> <dialogue>... to more commercial combat platforms. This particular model can be configured as a strictly urban, house protection system, or it can carry weapons. In the case of Vincent's mansion, the dogs are fully armed. We tested the perimeter to find out.</dialogue> <character>GARTH</character> <parenthetical>(disdainful)</parenthetical> <dialogue>Who went in? LaPiere?</dialogue> <scene_description>CONTINUED:</scene_description> <character>REICH</character> <dialogue>No. Unfortunately our man was killed. You knew Captain Leon Vega of the Army Rangers?</dialogue> <scene_description>The name impacts.</scene_description> <character>GARTH</character> <dialogue>I trained him...</dialogue> <character>REICH</character> <dialogue>Yes. He mentioned you before he died... Inside the Vincent mansion there are other platforms, several that were on the market, and possibly a number that Vincent was developing but had not yet finalized. Almost certainly you'll find the Ghost.</dialogue> <scene_description>THE GHOST comes up on the screen. It indeed looks like a ghost, a floating apparition, but it has teeth - weapon barrels, which are shown when the device TRANSMORPHS into an animated blueprint.</scene_description> <character>REICH</character> <dialogue>It fires a mini-pulse bolt that can both stun and kill, depending on the programming. Other weapon configurations are possible. Its design was intended to scare off intruders first, so there is a mercy factor built in.</dialogue> <character>GARTH</character> <dialogue>Mercy factor...</dialogue> <character>REICH</character> <dialogue>There are other weapons platform possibilities. We've listed all that we know about Vincent Industries equipment in this notebook computer. Take it with you. Familiarize yourself with Vincent's defense mechanisms. My advice, though, is to expect the unexpected.</dialogue> <scene_description>Garth closes the notebook, considering what he has got himself into. ARMORY - GARTH marvels at the array of weapons and combat paraphernalia organized on shelves and attached to walls. CONTINUED: Reich and LaPiere watch from nearby as the ARMORER brings what appears to be a metal flak jacket to Garth and fits it to him.</scene_description> <character>ARMORER</character> <dialogue>Have you worn force-field body armor before, Major?</dialogue> <character>GARTH</character> <dialogue>No.</dialogue> <character>ARMORER</character> <dialogue>I'm not surprised. It was just introduced during the last days of the Pentagon... Now, it's battery operated. This read- out...</dialogue> <scene_description>He places a WATCH-LIKE DEVICE on Garth's wrist.</scene_description> <character>ARMORER</character> <dialogue>... here tells you your count. Generally speaking, the armor is good for approximately a hundred rounds of five- point-five-six, or seventy-five rounds of seven-point-six-two. Grenades and pulse weapons take a toll of anywhere from ten to a hundred points, depending on the proximity of impact. You follow?</dialogue> <character>GARTH</character> <dialogue>I follow.</dialogue> <character>ARMORER</character> <dialogue>Good. Now this is a battery pack.</dialogue> <scene_description>The armorer straps a BATTERY BELT to Garth's waist.</scene_description> <character>ARMORER</character> <dialogue>It holds twenty additional batteries. They aren't interconnected for reasons of shorting out or chain reaction. You understand? This armor is electrically operated.</dialogue> <character>GARTH</character> <dialogue>I get the concept.</dialogue> <character>ARMORER</character> <dialogue>You must change the batteries between firefights, or whenever a battery becomes depleted. Some batteries may provide protection past the hundred mark, but don't count on it.</dialogue> <scene_description>CONTINUED: The Armorer takes an M-16 off a table and points it at Garth.</scene_description> <character>ARMORER</character> <parenthetical>(to Reich and LaPiere)</parenthetical> <dialogue>Gentlemen, you may wish to stand back. Glancing rounds will deflect.</dialogue> <scene_description>Reich and LaPiere retreat five paces. Garth can't believe he's about to be shot at. He steps forward... The Armorer BEGINS FIRING. The ROUNDS HIT GARTH repeatedly until the magazine empties. EACH ROUND HITTING THE BODY ARMOR CAUSES IT TO 'FLASH' AS IT REPELS THE FIREPOWER. The Armorer switches magazines as Garth, angered and surprised, attempts to march forward again and take the gun from the Armorer's hands. Garth is again THROWN BACK BY SUCCESSIVE ROUNDS, and then to the floor. The Armorer reloads, begins firing again as Garth tries to get up, finally succeeds, assaults forward toward the Armorer as he reloads yet another magazine, and begins firing again, throwing Garth back. Garth topples behind the table. The Armorer switches to an AK-47.</scene_description> <character>ARMORER</character> <dialogue>Switching to a larger round...</dialogue> <scene_description>These heavier rounds throw Garth back to the wall. MOST ROUNDS HIT THE ARMOR, FLATTEN AND SLIDE TO THE FLOOR, WHILE GLANCING BLOWS DEFLECT LEFT AND RIGHT.</scene_description> <character>ARMORER</character> <parenthetical>(shouting over din)</parenthetical> <dialogue>It's advisable that you seek cover when being fired upon. While armor-deflected rounds can't penetrate, the concussive force of the round...</dialogue> <parenthetical>(changes magazine, starts firing)</parenthetical> <dialogue>... can disorient and in some cases render the recipient unconscious. I am avoiding the Major's head area for demonstration purposes. An enemy won't be so lenient.</dialogue> <scene_description>The Armorer finishes his last magazine and puts the AK-47 down. CONTINUED: Garth rises, shaken, and marches for the Armorer, who raises a hand, signalling 'Stop.'</scene_description> <character>ARMORER</character> <parenthetical>(big smile)</parenthetical> <dialogue>Just kidding.</dialogue> <scene_description>Garth stops, trying to control his anger.</scene_description> <character>GARTH</character> <dialogue>You son-of-a-bitch, you didn't warn me!</dialogue> <character>ARMORER</character> <dialogue>Major, you have just taken eighty direct hits. Under normal circumstances, one would have been enough to kill you. How do you feel?</dialogue> <scene_description>Garth grabs the smaller man and nearly lifts him off his feet. After a moment:</scene_description> <character>GARTH</character> <dialogue>I feel... SWELL.</dialogue> <scene_description>Garth drops the Armorer and surges past as Reich and LaPiere share a look of amusement. INSERT - THE RECHARGER PACK in the Armorer's hands is tugged open, revealing slots that accept body armor batteries, and dials for adjusting the equipment.</scene_description> </scene> <scene> <stage_direction>INT. THE ARMORY - THE ARMORER (SCENE)</stage_direction> <scene_description>twists the pack for Garth to see.</scene_description> <character>ARMORER</character> <dialogue>The pack has its own armor. Don't let it take direct hits if you want to continue supplying power to your body armor. The unit accommodates ten batteries at a time, and can recharge them from cold to hot in about an hour. You'll go in with ten batteries charged in here, plus the twenty on your belt. Got it?</dialogue> <scene_description>This time Garth sneers at him and yanks the pack out of his hands. CONTINUED:</scene_description> <character>GARTH</character> <dialogue>How many recharges?</dialogue> <character>ARMORER</character> <dialogue>Thirty. Maybe less. Battery technology is freaky... but you can connect to one-ten and recharge the batteries directly from house current, presuming there is house current.</dialogue> <scene_description>AT THE SELECTION TABLE - GARTH stands before a number of rifles and pistols arrayed on the table. The Armorer, Reich and LaPiere watch from five paces away.</scene_description> <character>ARMORER</character> <dialogue>What do you want?</dialogue> <character>GARTH</character> <dialogue>What do you got?</dialogue> <character>ARMORER</character> <dialogue>Everything.</dialogue> <character>GARTH</character> <dialogue>Then what do you recommend?</dialogue> <character>ARMORER</character> <dialogue>Pulse rifle.</dialogue> <scene_description>He picks up the pulse rifle and throws it to Garth.</scene_description> <character>ARMORER</character> <parenthetical>(continuing)</parenthetical> <dialogue>Has the punch of a fifty with almost no recoil. Uses the same batteries as the armor, fifty rounds of decreasing intensity. Has a tendency to start fires. That could be problematical...</dialogue> <character>REICH</character> <dialogue>Choose another gun.</dialogue> <scene_description>Garth looks at him a moment, then:</scene_description> <character>GARTH</character> <dialogue>I'll take it. What else?</dialogue> <character>ARMORER</character> <dialogue>I recommend an automatic pistol. Two, if you don't mind the weight. This Smith &amp;</dialogue> <scene_description>CONTINUED:</scene_description> <character>ARMORER</character> <dialogue>Wesson is pretty slick. It holds fifty rounds of five-point-five-six and spits them out at a rate of five hundred rounds a minute.</dialogue> <character>GARTH</character> <dialogue>I'll take two. What else?</dialogue> <character>ARMORER</character> <dialogue>Grenade launcher -</dialogue> <character>REICH</character> <dialogue>Out of the question.</dialogue> <character>GARTH</character> <dialogue>What else?</dialogue> <character>ARMORER</character> <dialogue>I've got knives... survival... serrated edge... stiletto...</dialogue> <character>GARTH</character> <dialogue>The stiletto and the survival knife. What else?</dialogue> <character>ARMORER</character> <dialogue>I've got some cowboy junk... combat bow...</dialogue> <character>GARTH</character> <dialogue>Too bulky.</dialogue> <character>ARMORER</character> <parenthetical>(continuous)</parenthetical> <dialogue>... miniature crossbow.</dialogue> <character>GARTH</character> <dialogue>Let me see it.</dialogue> <scene_description>The Armorer removes a metal pen from his shirt pocket, presses a button. The shaft elongates to four times its original length, bow arms pop out at one end, a handle at the other. He places it in Garth's hand.</scene_description> <character>ARMORER</character> <dialogue>Carries five shafts inside the tube. No, wait, you twist the eraser... there.</dialogue> <scene_description>Garth twists the eraser and five tiny metal arrows slide into his palm. CONTINUED:</scene_description> <character>ARMORER</character> <dialogue>You preload the weapon, collapse it, and keep it in your shirt pocket, or clip it anywhere...</dialogue> <scene_description>Garth mounts a metal arrow in the bow... looks up with an admiring smile... and TURNS AND AIMS SO FAST IT IS ONE CLEAN MOTION. THE ARROW SHOOTS OUT... and PINS THE ARMORER'S SHIRT TO THE WALL. An inch left, neck, not shirt. Garth walks to the Armorer, who is shaking with fear, and pulls the arrow out with his fingers.</scene_description> <character>GARTH</character> <dialogue>Just kidding. How do you feel? Do you feel swell?</dialogue> <parenthetical>(on Armorer's emphatic gesture)</parenthetical> <dialogue>I thought you would.</dialogue> <scene_description>AUTOMATIC DEFENSE UNIT on a display table. It is a coffin-shaped box. The Armorer activates a control panel that pops up, switches it on. An automated machine gun rises, its microservos 'whirring' as it revolves left, then right. THE ARMORER, GARTH, REICH, LAPIERE observe the weapon. The Armorer is still shaken from Garth's 'joke.'</scene_description> <character>ARMORER</character> <dialogue>This is a fully automated night defense mechanism. Turn it on and it will shoot anything moving beyond a four foot perimeter. So you can catch some shut- eye.</dialogue> <character>LAPIERE</character> <parenthetical>(snide grin)</parenthetical> <dialogue>Hope you don't toss in your sleep.</dialogue> <scene_description>Garth depresses the 'off' button and the machine gun recedes inside its box with a SNAP!</scene_description> </scene> <scene> <stage_direction>EXT./INT. FLYING HELICOPTER - DAY</stage_direction> <scene_description>Garth, Reich and LaPiere on the passenger bench. Reich hands Garth a hand radio. CONTINUED:</scene_description> <character>REICH</character> <parenthetical>(above din of helicopter)</parenthetical> <dialogue>Take this. Radio signals are jammed inside the mansion, but you can use it once the power's down... Work your way to the central atrium, then downstairs to the computer, shut off the nuke. Then work your way to the roof and call us. We'll come in. Simple.</dialogue> <scene_description>Garth grins cynically at the word 'simple.' Beyond the chopper windows, the Los Angeles basin stretches like a vast archaeological dig, fires rising like pillars to support the smoky sky.</scene_description> </scene> <scene> <stage_direction>EXT. VINCENT MANSION MOUNTAINTOP - DAY</stage_direction> <scene_description>The chopper maneuvers carefully to avoid the top of the mansion. The structure is huge, a competitor of the Getty itself, three stories high and god knows how many stories below ground, its style inspired by Frank Lloyd Wright's Hollyhock House. The helicopter lands in the field outside the mansion grounds. Garth drops out with his equipment. The chopper rises and speeds away. FOLLOW GARTH as he trudges to the mansion's outer walls. They are low, knee-high so as not to block the view of the mansion. Garth stands before them for moments with nothing happening. He picks up a stone and tosses it over the wall. SENTRY DOGS appear from either side of the structure and run full-tilt toward Garth. They are mechanized animals that mimic the real thing. Garth watches them approach, doesn't move, weapons still holstered or strung. The dogs stop at the wall.</scene_description> <character>GARTH</character> <dialogue>Nice doggy... I'm outside the wall. See?</dialogue> <scene_description>The dogs bark menacingly. CONTINUED: Garth removes one of the Smith &amp; Wesson pistols from his belt, holds it casually to his side. The barking increases. Garth SHOOTS. ROUNDS SPIT OUT at a rate of five hundred a minute. THE FIRST DOG IMPLODES. The second shoulders to the wall itself, increases its barking.</scene_description> <character>GARTH</character> <dialogue>Can't attack anything outside the perimeter, can you? Ah, the wonderful world of insurance companies.</dialogue> <scene_description>Garth replaces the magazine. Aims it at the remaining dog. Considers.</scene_description> <character>GARTH</character> <dialogue>Ciao, Fido.</dialogue> <scene_description>Fires. The dog staggers back beneath the CONCUSSIVE FORCE OF THE STREAM OF BULLETS, then EXPLODES. Everything is startlingly quiet. Garth replaces the magazine, reholsters the gun, stares out at the grounds. GARTH'S POV - THE VINCENT MANSION GROUNDS invites a stroll... a picnic... an afternoon in Elysium. RESUME GARTH as he thinks about this. Garth leaps the fence and enters the grounds. No dogs. No response. Nothing. Somehow, Garth was expecting more. He shrugs, moves for the house. Halfway across the grounds Garth freezes. THE HOUSE - THE SHUTTERS slam down one by one- pomb! pomb! pomb! - seemingly appearing in place, to cover the windows with reinforced steel plate. RESUME GARTH as he realizes his progression across the grounds triggered this defense. An instant later two more dogs spring from either side of the building and run toward him. Garth drops to one knee, pulls the pulse rifle off his shoulder, brings it up to fire... A BULLET HITS DEAD CENTER and knocks Garth off his feet. THE BODY ARMOR FLASHES. A second round hits. A third. THE DOGS have Garth bracketed, firing from automatic rifles that have risen from slots located in their backs. RESUME GARTH as he stands and runs for the main entrance, the dogs following. Garth slides into a prone position at the main entrance as THE ROUNDS CONTINUE TO IMPACT. INSERT - GARTH'S WRIST COUNTER shows the declining effectiveness of his body armor. 91... 84... 80... 77... 69... (Ding! Ding! Ding! Ding!) RESUME GARTH as he brings the pulse rifle up, turns to face the incoming rounds, BODY BOUNCING WITH THEIR IMPACT, and fires. The first dog disappears in a flash. Garth turns, IMPACTS STILL MAKING HIS BODY QUAKE, and fires. The second dog EXPLODES WITH A WHELP. Garth drops the pulse rifle and stands angrily.</scene_description> <character>GARTH</character> <parenthetical>(hurting)</parenthetical> <dialogue>Damn! Damn it! Body armor hell!</dialogue> <scene_description>CONTINUED: He ejects the battery from the armor, slams a fresh battery into the slot. Then he drops his packs and shakes and twists his limbs to relieve the sting. A MOMENT LATER - GARTH stands admiring the main entrance. It is a two-story bronze double-door, with carved Roman figures presenting a battle tableau. Garth steps back onto the lawn, ten paces away, looks left, then right. GARTH'S POV - THE WINDOWS steel plate have none of the elegance of this door, but are formidable nonetheless. GARTH paces back to the huge door, removes an explosive charge from one of the packs, adheres it to the lock and steps away. A small EXPLOSION. The door swings open.</scene_description> </scene> <scene> <stage_direction>INT. ENTRANCE OF VINCENT MANSION - DAY</stage_direction> <scene_description>Garth carries his equipment into the room. The door swings shut behind him. Garth drops his packs, tests the door with a shove. Locked.</scene_description> <character>GARTH</character> <dialogue>Thought that was too easy.</dialogue> <scene_description>Garth turns to survey the room. GARTH'S POV - THE ENTRANCE ROOM is a vast hall that recedes into the shadows. The lights are not on. Doors line the walls to either side, each two-stories tall and each a different shade of green or red. A statue of the god Jupiter, four times human size, commands the near space. GARTH hefts his packs and marches to Jupiter, drops them at the god's feet. He turns to the shadows.</scene_description> <character>GARTH</character> <parenthetical>(calling out)</parenthetical> <dialogue>Take a potshot at me here, Jupiter is gonna get a hotfoot!</dialogue> <scene_description>Nothing. No response.</scene_description> <character>GARTH</character> <parenthetical>(softly)</parenthetical> <dialogue>You can come out now, Diana. I know you're here.</dialogue> <scene_description>Silence. Garth shrugs, turns to unload his packs. A ROBOT rolls past Garth, who pivots and pulls one of his pistols. The robot is a jumble of appendages tipped with various devices. It proceeds to the door, which opens to receive it. A welding device begins to make repairs on the main lock. GARTH watches for a moment... returns the gun to its holster... removes a tin of food, pulls out a wafer and takes a bite... opens the notebook computer. THE COMPUTER SCREEN is cards being shuffled. The final card: The welder robot. GARTH (SCENE) looks up from the screen at the still welding robot.</scene_description> <character>GARTH</character> <parenthetical>(reading)</parenthetical> <dialogue>E-sixty-five-thirty... Repairbot... Secondary weapons platform... No shields,</dialogue> <scene_description>CONTINUED:</scene_description> <character>GARTH</character> <dialogue>no body armor... Aggression quotient - zip.</dialogue> <scene_description>The robot finishes the repairs. The door closes. The robot rolls past Garth again. Garth continues to eat the wafer and doesn't bother to draw a weapon.</scene_description> <character>GARTH</character> <dialogue>Thanks for the prompt service. See you soon.</dialogue> <scene_description>The robot lumbers into the shadows down the vast hall. A FLASHLIGHT BEAM searches the high reaches of the ceiling. It finds a television camera eye. GARTH keeps the flashlight aimed with one hand, brings a S&amp;W pistol up, aims, fires.</scene_description> <character>GARTH</character> <dialogue>A little to the left...</dialogue> <parenthetical>(fires again)</parenthetical> <dialogue>... once more, with feeling...</dialogue> <scene_description>THE TELEVISION EYE high above SHATTERS WITH THE BULLET IMPACT. GARTH returns the pistol to its holster.</scene_description> <character>GARTH</character> <dialogue>Let's see you repair that.</dialogue> <scene_description>He moves down the hall, shining the flashlight high looking for more monitoring stations. He finds one just as the SOUND of a miniature helicopter whisks past overhead. Garth pivots and aims the light. A MINIATURE HELICOPTER carrying a replacement for the destroyed minicam beneath it, moves for the destruction site in the corner of the ceiling. GARTH scrambles back.</scene_description> <character>GARTH</character> <dialogue>Shit. Spoke too soon.</dialogue> <scene_description>Aiming the light with one hand, the gun with the other, he follows the movement of the helicopter near the ceiling. THE HELICOPTER flips on its back, bringing the repair module into position for placement. Garth's rounds begin to impact all around it... then a direct hit. EXPLOSION. (SCENE) GARTH lowers the weapon and the light. He turns, quickly surveys the dark ceiling down the hall, then moves. Garth returns to the second camera site... aims... fires... moves on. A third site, opposite wall. The same. A fourth site, same wall. He aims both light and weapon. HIGH ANGLE SHOT - GARTH FAR BELOW as four laser beams shoot out from various locations and hit him squarely. GARTH is thrown ten feet back and to the ground. STEAM RISES FROM HIS BODY ARMOR. Garth's closed eyes twitch. Slowly he comes to. He glances at his body armor wrist read-out. WRIST READ-OUT Garth's body armor wrist read-out: 09. GARTH realizes that another blow like that will penetrate his body armor and kill him. Should he move? Carefully, Garth moves one arm back several inches, then the other. A leg rises, seeks footing. He shoves himself a foot farther away from the weapons in the walls and ceiling. Again. Again. Slowly. Trying not to draw fire. Again. Garth freezes. DIANA LOGAN stands in Garth's path looking down at him. She is not quite real. She is not quite a ghost, either. She wears an outfit - military tunic and slacks - that, while very feminine, is also all business.</scene_description> <character>DIANA</character> <dialogue>You are an intruder.</dialogue> <scene_description>Garth can't quite believe he's not alone. He raises a leg, moves his shoulders, and shoves himself another foot away from the weapons... and into Diana, passing through her. He looks for her source. GARTH'S POV - THE IMAGE PROJECTOR is a shoebox with wheels, stopped nearby. A beam of light shoots out, PROJECTING Diana. GARTH pushes himself along the floor again. Diana's feet seem to grow out of his stomach.</scene_description> <character>GARTH</character> <dialogue>Go away.</dialogue> <scene_description>CONTINUED:</scene_description> <character>DIANA</character> <dialogue>I have called the police and they are en route... but you haven't caused any real damage yet. Go now and we'll forget this illegal intrusion.</dialogue> <scene_description>Garth shoves himself along the floor again. He and Diana seem to share feet.</scene_description> <character>GARTH</character> <dialogue>There are no police.</dialogue> <character>DIANA</character> <dialogue>Of course there are police.</dialogue> <character>GARTH</character> <dialogue>Talk to them lately?</dialogue> <scene_description>This shuts her up. Garth flips over and begins to crawl.</scene_description> <character>DIANA</character> <dialogue>You can get up. You're out of range.</dialogue> <character>GARTH</character> <dialogue>Yeah. Like I'm going to believe you.</dialogue> <scene_description>Diana BLINKS OUT OF EXISTENCE. The shoebox whisks away, engine WHINING. Garth continues to crawl... rises to his feet... runs. AT JUPITER - GARTH leaps behind the statue for cover. Breathing hard, takes stock of himself. Replaces the body armor battery. (Chink- hum!) BODY ARMOR READ-OUT goes from 09 to 100. GARTH Pulls a nightscope from his pack, clicks it into place on top of the pulse rifle, brings it to eye level, takes a look. GARTH'S POV - NIGHTSCOPE - THE HALL is no longer in darkness. It glows orange. The IMAGE ZOOMS: Closest sensor in the ceiling.</scene_description> <character>DIANA'S VOICE</character> <dialogue>The police have turned up Vincent Drive. There's still time to get away.</dialogue> <scene_description>(SCENE) - GARTH looks up from the scope. Diana stands near him, projected by the shoebox.</scene_description> <character>DIANA</character> <dialogue>I don't want you to get into trouble...</dialogue> <scene_description>Garth swings the rifle around, lazily aims it at the shoebox.</scene_description> <character>DIANA</character> <dialogue>I know a way you can escape. If you'll just trust-</dialogue> <scene_description>Garth fires. The shoebox EXPLODES, its parts spinning away. Diana DISAPPEARS. Garth brings up the rifle scope. GARTH'S POV - NIGHTSCOPE - THE HALL painted orange. The flash of the first round bleeds out vision for a second. When it returns, Garth has moved the sight to the next sensor, and fires. GARTH takes out the final three sensors. Digs out a pair of nightgoggles.</scene_description> <character>GARTH</character> <dialogue>Hate these goddamn things.</dialogue> <scene_description>Pulls them on. Stands. GARTH'S POV - NIGHTGOGGLES - THE HALL is bathed in a slightly different color. GARTH moves down the hall along one wall, looking up, pistol drawn. He passes where he was knocked unconscious by the laser beams. GARTH'S POV - NIGHTGOGGLES - THE CEILING Laser weapons hang by wiring, destroyed. GARTH pulls off the nightgoggles, hangs them by the strap to the unused pistol on his belt, wipes sweat away from his brow. He moves back toward his camp at Jupiter's feet. JUPITER - GARTH drops the goggles back into the pack, sits on the pedestal. Taking a swig of water from his canteen:</scene_description> <character>GARTH</character> <dialogue>So, Jupiter, you're a god. What are you going to do next?</dialogue> <parenthetical>(god's voice)</parenthetical> <dialogue>I'm going to Disneyland!</dialogue> <scene_description>Garth sees the control panel door imbedded in the pedestal. GARTH'S FINGER taps the panel open. A switch. He presses it. THIRTY, EIGHT-YEAR-OLD KIDS materialize at Jupiter's feet, several occupying the same space as Garth. Garth stands, walks around the 3-D projection. CONTINUED: A BEAM OF LIGHT from behind Jupiter's head is the source for the PROJECTION, unlike the earlier Diana, the PLAYBACK of a recording. Diana greets the children. She wears a tunic similar to the previous one, slacks, hair tied back, business yes, but womanly, too.</scene_description> <character>DIANA</character> <dialogue>Hello, boys and girls... My name is Diana Logan.</dialogue> <scene_description>An unseen teacher prompts:</scene_description> <character>TEACHER'S VOICE</character> <dialogue>Kids - you know what to say.</dialogue> <character>THE CHILDREN</character> <dialogue>Hello, Ms. Logan!</dialogue> <character>DIANA</character> <dialogue>I'm the Chief of Security of this wonderful place... and I'm going to be your guide today. Can any of you tell me who Mr. Vincent is?</dialogue> <character>THE CHILDREN</character> <dialogue>Me! Me!... I know!... I raised my hand first!</dialogue> <scene_description>Diana picks a shy little girl who has raised her hand. Garth moves through the PROJECTIONS as if they're ghosts, or he is.</scene_description> <character>DIANA</character> <dialogue>Do you know?</dialogue> <character>LITTLE GIRL</character> <dialogue>Theodore Vincent is the richest man in the world.</dialogue> <character>DIANA</character> <dialogue>Yes, some people say that... It may even be true... But the Mr. Vincent I know loves art more than anything else in the world. He built this residence so that someday it can be converted into a museum.</dialogue> <character>LITTLE BOY</character> <dialogue>Just like the Getty!</dialogue> <scene_description>CONTINUED: Garth stops finally before Diana and studies her. This PROJECTION is obviously a recording, and unaware of his presence.</scene_description> <character>DIANA</character> <parenthetical>(laughs)</parenthetical> <dialogue>I'm not sure he would appreciate that... but you're right... someday this magnificent building will be like the Getty, a museum for everyone to visit. Today you're very lucky children, because I'm going to show you what most kids don't get a chance to see - the Vincent treasures.</dialogue> <scene_description>The children chortle their anticipation. The PROJECTION GOES DARK. Leaving Garth standing in shadows.</scene_description> <character>GARTH</character> <dialogue>So that's what you were like... in life.</dialogue> <scene_description>No one answers. Garth shrugs off the mood, moves. NOTEBOOK COMPUTER SCREEN - THE MANSION FLOORPLAN The doors to either side of this hall lead to galleries, and beyond, another hall. GARTH looks up.</scene_description> <character>GARTH</character> <dialogue>Eenie-meenie-minie-moe...</dialogue> <scene_description>AT BRONZE DOUBLE DOORS - GARTH drops his pack and rifle, removes an explosive and places the charge against the door, retreats ten feet. BOOM! Garth opens the doors to the new gallery. THE GALLERY is half as long as the hall. Life-size statues line the corridor at ten-feet intervals. Garth stands at the threshold, pack, rifle, ready. Nothing moves in the darkness. Something in Garth's hands: The remains of the shoebox device. Garth tosses the twisted metal far into the gallery. MIDDLE OF GALLERY - A SEALED BEAM is broken by the rolling shoebox. DIANA AND HER THIRTY KIDS MATERIALIZE in the darkness.</scene_description> <character>DIANA</character> <dialogue>This gallery is called 'The Greek Room' because the antiquities displayed here originated in classical times. Does anyone know what 'classical' means?</dialogue> <character>CHILDREN</character> <dialogue>I do! I do!... No, me! Me!</dialogue> <scene_description>GARTH watches the ghost show thirty yards distant.</scene_description> <character>GARTH</character> <parenthetical>(sotto)</parenthetical> <dialogue>'Classic' means 50s rock'n'roll.</dialogue> <parenthetical>(begins singing:)</parenthetical> <dialogue>One-two-three o'clock, four o'clock rock... five-six-seven o'clock, eight o'clock rock...</dialogue> <parenthetical>(etc.)</parenthetical> <dialogue>Pulls the nightgoggles down over his eyes. Leans in to the farthest line of the threshold, looks up.</dialogue> <character>DIANA'S VOICE</character> <dialogue>... yes. 'Classical' means 'pre- Christian,' or before the rise of Christianity.</dialogue> <scene_description>GARTH'S POV - NIGHTGOGGLES - THE CEILING Same TV sensors as before. Same laser weaponry.</scene_description> <character>DIANA'S VOICE</character> <dialogue>In this room, there are statues and other antiquities that were created by the Greek civilization...</dialogue> <scene_description>GARTH removes the goggles. Brings the rifle with nightscope up. FIRES. FAR CEILING - CAMERA AND WEAPON EXPLODE in a hail of sparks. GARTH steps back quickly as THREE LASER BEAMS STRIKE the inside perimeter of the threshold.</scene_description> <character>DIANA'S VOICE</character> <dialogue>... Agamemnon, whose wife Helen was stolen by Paris, son of Priam, King of Troy, and so started the Trojan War... This piece was fished out of the Bay of Naples in 1887 and is believed to date from the early second century B.C. ... Who knows what 'B.C.' means?</dialogue> <parenthetical>(etc.)</parenthetical> <dialogue>Realizing that the ceiling weapons aren't designed to fire outside the gallery, Garth steps forward to the threshold, brings the rifle to his shoulder and FIRES THREE REPETITIONS.</dialogue> <character>GARTH</character> <parenthetical>(sotto - as he fires)</parenthetical> <dialogue>B.C?... Before Cher?... Before Cher there was Sonny.</dialogue> <scene_description>INTERCUT - FAR CEILING - THREE LASER DEVICES EXPLODE in sequence. GARTH lowers the rifle.</scene_description> <character>DIANA'S VOICE</character> <dialogue>... that's right, 'Before Christ.'</dialogue> <character>GARTH</character> <parenthetical>(sotto)</parenthetical> <dialogue>No! Wait! I didn't say, 'Final answer.'</dialogue> <character>DIANA'S VOICE</character> <dialogue>Although in recent years some people have begun using the term, 'Before Common Era' or B.C.E. in deference to other cultures or other religious beliefs.</dialogue> <parenthetical>(etc.)</parenthetical> <dialogue>This leaves the two camera/laser rifles located in the ceiling directly above the threshold.</dialogue> <dialogue>Garth dares to lean out, look up.</dialogue> <dialogue>A LASER BEAM STRIKES, barely missing his head as he snaps back.</dialogue> <dialogue>Garth pulls the nightgoggles back over his eyes. Steeling himself, Garth leaps into the gallery.</dialogue> <scene_description>GALLERY - GARTH leaps inside, rolling toward the nearest statue as LASER BEAMS TRACE HIS PATH. Garth pulls himself behind the silhouette of the statue as THE BEAMS CEASE.</scene_description> <character>DIANA'S VOICE</character> <dialogue>... believed to be a rendition of Paris, who was so captivated by the beauty of Helen that he absconded with her...</dialogue> <scene_description>Garth counts silently, then rolls out with a PISTOL AND FIRES into one corner, then the other. The second round misses. LASER FIRE STRIKES his body armor. THE WRIST READ-OUT DROPS FROM 100 TO 61. Garth drops to the floor and FIRES again. The laser GOES DARK MID-FIRE.</scene_description> <character>DIANA</character> <dialogue>... Hector, the greatest hero of Troy, who fought Achilles, whose mother made him almost invulnerable by dipping all but his heel in a magical stream...</dialogue> <parenthetical>(etc.)</parenthetical> <dialogue>Garth tears the goggles off, sweating, breathing hard.</dialogue> <character>GARTH</character> <dialogue>Maybe that's why women think guys are heels.</dialogue> <scene_description>Garth replaces his body armor battery with one from the pack.</scene_description> <character>DIANA</character> <dialogue>... is Helen, as one ancient artist saw her...</dialogue> <character>GARTH</character> <dialogue>Shut up! Goddamn it!</dialogue> <scene_description>The shout echoes through the marble hall.</scene_description> <character>LITTLE GIRL</character> <dialogue>She's not very pretty...</dialogue> <character>LITTLE BOY</character> <dialogue>And she's naked!</dialogue> <character>DIANA</character> <dialogue>Well yes, beauty, it's said, is in the eye of the beholder... and in art, the human body is often depicted nude...</dialogue> <scene_description>Gulping water from his canteen:</scene_description> <character>GARTH</character> <dialogue>Christ...</dialogue> <character>DIANA</character> <dialogue>... have no more questions, I'll take you to the next gallery, where we'll see...</dialogue> <scene_description>CONTINUED: DIANA AND THE CHILDREN DISAPPEAR just as a REPAIRBOT SHOOTS THROUGH THE IMAGE, whisking by to repair the door that Garth just blew. Garth turns and fires on instinct, sending the REPAIR DEVICE BURNING, SPARKING AND SPINNING OUT OF CONTROL. GARTH with the nightgoggles shoved high onto his forehead, walks down the gallery, carrying the pulse rifle lazily in one hand. The repairbot lies a jumble of twisted metal and smoking circuit boards. Helen stares down at him from her pedestal. Garth stops to appraise her.</scene_description> <character>GARTH</character> <dialogue>That kid doesn't know anything, Helen... You're a hotty.</dialogue> <scene_description>Helen's pose does not change, although the flashlight in Garth's hand shifts her shadows as he moves forward. Garth crosses the sealed beam that activated the film before. DIANA AND THE CHILDREN APPEAR.</scene_description> <character>DIANA</character> <dialogue>This gallery is called 'The Greek Room' because the antiquities displayed here originated in classical times. Does anyone know what 'classical' means?</dialogue> <character>CHILDREN</character> <dialogue>I do! I do!... No, me! Me!</dialogue> <character>GARTH</character> <dialogue>Oh, christ, not again...</dialogue> <scene_description>ONE 3-D IMAGE OF DIANA STEPS THROUGH A SECOND 3-D IMAGE, followed by a new shoebox projection device.</scene_description> <character>DIANA</character> <dialogue>The controller is located in that panel. You can turn the tour off.</dialogue> <scene_description>Garth is conflicted. Could the panel be boobytrapped? CONTINUED:</scene_description> <character>DIANA</character> <dialogue>Well, I can't operate it. That's for sure.</dialogue> <scene_description>Garth steps to the wall, opens the panel, presses the 'stop' button.</scene_description> <character>TOUR DIANA</character> <dialogue>... yes. 'Classical' means 'pre- Christian,' or before the rise of-</dialogue> <scene_description>TOUR DIANA AND THIRTY CHILDREN ARE SWALLOWED WHOLE BY DARKNESS. Garth pivots and marches back to his 'camp.' Diana, and her shoebox, follow.</scene_description> <character>DIANA</character> <dialogue>Who are you?</dialogue> <character>GARTH</character> <dialogue>I'm alive. You're dead. That's all either of us needs to know.</dialogue> <character>DIANA</character> <dialogue>I know what I am.</dialogue> <character>GARTH</character> <dialogue>You're a program, a doppelganger... You're not real anymore.</dialogue> <character>DIANA</character> <dialogue>I am a disembodied human being. Vincent Enterprises developed a way to move my consciousness into this computer... all of it... me.</dialogue> <character>GARTH</character> <dialogue>Are you sure?</dialogue> <scene_description>Diana has no answer for this.</scene_description> <character>DIANA</character> <dialogue>What are you doing here?</dialogue> <character>GARTH</character> <dialogue>That should be obvious.</dialogue> <character>DIANA</character> <dialogue>Why haven't the police come? Why don't they answer?</dialogue> <scene_description>CONTINUED:</scene_description> <character>GARTH</character> <dialogue>I told you - there are no police.</dialogue> <character>DIANA</character> <dialogue>What's happened to the world?</dialogue> <character>GARTH</character> <dialogue>The same as you... Worse.</dialogue> <scene_description>Garth begins to gather up his equipment and supplies.</scene_description> <character>DIANA</character> <dialogue>If you go any further, you'll wish the police came and stopped you.</dialogue> <character>GARTH</character> <dialogue>Is that right?</dialogue> <character>DIANA</character> <dialogue>This facility is defended by a non- commercial upgrade of a Vincent Embassy Protection System - VEPS. In case you're too ignorant to know what that means... fully lethal defense systems. Killing machines, Mr. ...</dialogue> <scene_description>Garth brings the pulse rifle up. The shoebox retreats into the darkness. Diana BEGINS TO FADE, lose resolution, as the device retreats.</scene_description> <character>DIANA</character> <dialogue>Please stop destroying my -</dialogue> <scene_description>Garth fires. KABLOOM! DIANA WINKS OUT. ANOTHER ANGLE - GARTH finishes gathering his supplies, carts everything down the gallery. As he crosses the sealed beam mid-gallery:</scene_description> <character>DIANA</character> <dialogue>Please stop destroying my mobile projectors.</dialogue> <scene_description>CONTINUED: WHERE THE TOUR DIANA ONCE STOOD, NOW THE CURRENT DIANA IS PROJECTED.</scene_description> <character>DIANA</character> <dialogue>They're inoffensive. They carry no weapons.</dialogue> <scene_description>Garth looks at her for a long moment.</scene_description> <character>GARTH</character> <dialogue>You have a point. Get to it.</dialogue> <character>DIANA</character> <dialogue>My point is that I don't want you to die.</dialogue> <character>GARTH</character> <dialogue>You care about what happens to me?</dialogue> <character>DIANA</character> <dialogue>Of course I do...</dialogue> <character>GARTH</character> <dialogue>And your boss, Vincent... he cared when he installed all these killing machines to protect his expensive trinkets?</dialogue> <character>DIANA</character> <dialogue>He never expected to need them! He installed them as a deterrent.</dialogue> <character>GARTH</character> <dialogue>So he never expected anyone to get killed?</dialogue> <character>DIANA</character> <dialogue>Of course not.</dialogue> <character>GARTH</character> <dialogue>Or hurt someone, even?</dialogue> <character>DIANA</character> <dialogue>No!</dialogue> <character>GARTH</character> <dialogue>Then I should be dodging blanks now... You were Vincent's Chief of Security even before you died, right?</dialogue> <character>DIANA</character> <dialogue>Yes.</dialogue> <scene_description>CONTINUED:</scene_description> <character>GARTH</character> <dialogue>You don't strike me as the kind of person who winds up being Chief of Security.</dialogue> <character>DIANA</character> <dialogue>It's a little late in my career to start quibbling over qualifications, don't you think?... But I have a masters degree in police science.</dialogue> <character>GARTH</character> <dialogue>You and Vincent were friends, correct?</dialogue> <character>DIANA</character> <dialogue>You're trying to insinuate something.</dialogue> <character>GARTH</character> <dialogue>And you're a good looking woman... or were.</dialogue> <character>DIANA</character> <parenthetical>(cynical grin)</parenthetical> <dialogue>You bastard!</dialogue> <character>GARTH</character> <dialogue>Not a new observation... So you were lovers for awhile... then he rewarded you.</dialogue> <character>DIANA</character> <dialogue>I hope your death is quick and painless.</dialogue> <scene_description>DIANA DISAPPEARS. Garth grins. WHAM! THE GALLERY DOORS at the end of the hall slam open and a dozen flying mini- helicopters bank through. GARTH yanks the nightgoggles down, brings the rifle up. GARTH'S POV - NIGHTGOGGLES - THE FLYING MACHINES carry fully functional weaponry from their undercarriages. (SCENE) GARTH STARTS FIRING even as he leaps toward the statue of Helen. PULSE BEAMS BEGIN FLASHING all around him. CHOPPERS BEGIN FALLING, SPIRALING, EXPLODING AS THEY ARE HIT. Garth hugs the base of the statue, believing that its presence will protect him. Until a pulse beam from a helicopter SLICES THE STATUE IN TWO. Garth is without cover as the statue disintegrates above him. Garth's weapon is on full automatic: Boom-boom-boom-boom... GARTH'S POV - NIGHTGOGGLES - THE MINI-CHOPPERS continue to swoop down, firing pulse beams. There are seven left. GARTH checks his wrist read-out: 04. Garth slams another battery into his body armor. A PULSE ROUND SLICES THROUGH HIS ARM before the power jerks on. He grimaces in pain. Garth's rifle is empty. The read-out, in red: 0. Garth tosses the rifle and pulls both S&amp;W autopistols. He swings the fully automatic pistols together, creating a minigun, AND FIRES. The remaining HELICOPTERS EXPLODE within the sweep of bullets. Silence. Garth shakes marble dust from his clothing, kicks chunks of Helen away. Part of her face lands on his shoulder. On his look:</scene_description> <character>GARTH</character> <dialogue>Must be a fake.</dialogue> <scene_description>(SCENE) - RIFLE - GARTH staggers out from the destroyed statue of Helen, retrieves the weapon.</scene_description> <character>GARTH</character> <dialogue>Now that wasn't so bad, was it?</dialogue> <scene_description>Takes stock. His left arm is bleeding. Clothes ripped. Hungry. Tired. Thirsty. Licking his dry lips, he turns to retrieve his canteen - WHEN A STREAM OF BULLETS HITS HIM, slip-sliding his body uncontrollably across the floor. THE TANK is little more than treads with a machine gun mounted on it, now wheeling through the far open doors. GARTH slides behind the statue of Achilles. It must be real. The bullets stop. Garth pulls himself from a stupor, takes stock. Arm still bleeding. Clothes still torn. Fingers move. Feet, too. Wrist read-out: 03. Another battery shot. Garth reaches to pull a fresh battery from his belt, exposing an arm WHERE BULLETS RIDDLE THE WALL AN INCH TO THE RIGHT. Carefully now, he replaces the body armor battery. The movement causes the machine gun to track him. Up-down, left-right, servos whining. Only the statue keeps the unit from firing. DIANA'S SHOEBOX rolls up behind the tank, halts as if concerned about being shot by Garth, then advances. DIANA MATERIALIZES near Garth.</scene_description> <character>DIANA</character> <dialogue>You're hurt.</dialogue> <character>GARTH</character> <dialogue>Go away.</dialogue> <character>DIANA</character> <dialogue>You should apply direct pressure to that.</dialogue> <character>GARTH</character> <dialogue>I said... GO AWAY!</dialogue> <character>DIANA</character> <dialogue>I know who you are.</dialogue> <scene_description>Garth tries to stop the flow of blood by applying direct pressure. He winces.</scene_description> <character>GARTH</character> <parenthetical>(preoccupied)</parenthetical> <dialogue>You do?</dialogue> <character>DIANA</character> <dialogue>You're Major John Garth, United States Army Rangers. You were born in Pasadena, California, in March -</dialogue> <character>GARTH</character> <dialogue>So you found my goddamn records!</dialogue> <character>DIANA</character> <dialogue>Why is an honorable man like you breaking into a private residence?</dialogue> <character>GARTH</character> <dialogue>There are no more honorable human beings - just hungry ones.</dialogue> <character>DIANA</character> <dialogue>Is that all? You're hungry? I can tell you where there's food. Tons of it.</dialogue> <character>GARTH</character> <dialogue>Tons of it?</dialogue> <character>DIANA</character> <dialogue>Earthquake supplies. Wafers; cakes; MREs - meals-ready-to-eat; bread; water;</dialogue> <scene_description>CONTINUED:</scene_description> <character>DIANA</character> <dialogue>coffee - instant; coffee - drip; you name it.</dialogue> <scene_description>Garth moves slowly, watching the weapon track him.</scene_description> <character>GARTH</character> <dialogue>And you're going to show me how to get at it... without getting my dick shot off.</dialogue> <scene_description>Diana says nothing for a long moment. Then:</scene_description> <character>DIANA</character> <dialogue>If you drop your weapons, VEPS won't take action against you.</dialogue> <character>GARTH</character> <dialogue>You mean... if I surrender, I can walk around here without being shot at?</dialogue> <character>DIANA</character> <dialogue>No... You'll be taken into custody, held for -</dialogue> <character>GARTH</character> <dialogue>The police.</dialogue> <character>DIANA</character> <dialogue>That is the procedure.</dialogue> <character>GARTH</character> <dialogue>There is no police.</dialogue> <character>DIANA</character> <dialogue>So you say.</dialogue> <scene_description>Garth shifts. The machine gun follows him, servos whining. The statue continues to provide cover.</scene_description> <character>GARTH</character> <dialogue>Why don't you just... turn the machines off?</dialogue> <character>DIANA</character> <dialogue>I can't do that.</dialogue> <character>GARTH</character> <dialogue>Aren't you the Chief of Security? Aren't you the soul of the machine? Why can't you just stop shooting at me?</dialogue> <character>DIANA</character> <dialogue>It doesn't work like that.</dialogue> <scene_description>CONTINUED:</scene_description> <character>GARTH</character> <dialogue>Your mind controls everything, doesn't it?</dialogue> <character>DIANA</character> <dialogue>Yes, but... the defensive equipment is linked to my autonomic nervous system. I can no more stop the defensive units than I can stop breathing.</dialogue> <character>GARTH</character> <dialogue>You aren't breathing. You're a goddamn ghost.</dialogue> <scene_description>Diana thinks about that for a second. Yes, that's exactly what she is.</scene_description> <character>DIANA</character> <dialogue>My mind works the same way as when... I was alive. That's why Mr. Vincent gave me this opportunity, to remain... alive... inside EnCrypt.</dialogue> <character>GARTH</character> <dialogue>Where is Vincent, by the way?</dialogue> <scene_description>Diana turns away, considering the question. (SCENE) GARTH throws the spent battery. The tank gun tracks the flight of the battery into the darkness. Garth leaps out from behind the statue and lands on the tank. The tank gun barrel tries to find Garth, who stands above it, beyond its tracking range. Garth pulls a survival knife, begins to pry open the tanks's metal access plate. The tank's treads SQUEAL as it accelerates toward the nearest unadorned wall. Garth hangs on, prying with the knife. The tank slams into the wall, almost throws Garth, backs up, slams into the wall again. Garth clings to the machine gun barrel, yanks off the access plate, stabs the knife deep into a row of circuit boards. CONTINUED: The tank SPITS SMOKE AND SPARKS, DIES. Garth removes the ammo feeder, tosses it into the darkness. Sucking for wind, sweat cascading from his skin, Garth eyes Diana warily as she slowly walks to the tank. DIANA AND GARTH study one another for a long moment before:</scene_description> <character>GARTH</character> <dialogue>If you can't shut the damn things off... maybe you can warn me.</dialogue> <character>DIANA</character> <dialogue>Warn you?</dialogue> <character>GARTH</character> <dialogue>You know where everything is, don't you? You know which machines are operational, which ones are in stand-by mode, which ones-</dialogue> <character>DIANA</character> <dialogue>Really, this whole question would be a moot point... if you just surrendered.</dialogue> <character>GARTH</character> <dialogue>So you can hold me for the police?</dialogue> <character>DIANA</character> <dialogue>Certainly. You have less to fear from them...</dialogue> <parenthetical>(looking back toward the darkness)</parenthetical> <dialogue>... than me.</dialogue> <character>GARTH</character> <dialogue>That might be a long wait.</dialogue> <character>DIANA</character> <dialogue>So you say.</dialogue> <character>GARTH</character> <dialogue>You might save my life... if you briefed me on what to expect.</dialogue> <scene_description>Diana considers that possibility for a moment. Then: CONTINUED:</scene_description> <character>DIANA</character> <dialogue>This is not the pattern of a burglar. A burglar would have taken something and gone.</dialogue> <scene_description>Garth merely looks at her image as it moves.</scene_description> <character>DIANA</character> <dialogue>If there really is no police, as you say... then you've come to cut the power and take everything. That...</dialogue> <parenthetical>(surveys him)</parenthetical> <dialogue>... is why I won't help you.</dialogue> <character>GARTH</character> <dialogue>If I cut the power, what becomes of you?</dialogue> <character>DIANA</character> <dialogue>I will become what you say I already am.</dialogue> <character>GARTH</character> <dialogue>Death as a blackout. I've feared worse things.</dialogue> <character>DIANA</character> <dialogue>Go now. Take whatever you find back there. If you go forward, you won't survive.</dialogue> <scene_description>Garth retrieves his rifle, slides a fresh battery into it. It HUMS.</scene_description> <character>GARTH</character> <dialogue>Yeah, I've heard that before, too.</dialogue> <scene_description>Diana considers this exchange a moment, then DISAPPEARS. DIANA'S SHOEBOX whines away into the darkness, passing through the opened double doors at the end of the corridor. GARTH gathers up the rest of his equipment, drinks from the canteen, limps back to the pack. AEROSOL SPRAY SKIN flows onto Garth's wound, sealing everything. Garth tosses the can away, rips open a low-tech field bandage, gently places it on the wound in his arm. IN A CORNER OF THE GALLERY - GARTH crumples against the wall. Depleted, he must rest. An afterthought, he pulls the Automatic Defense Unit from the pack, opens the panel, flicks it on. THE GUN rises from its coffin-shaped container and enters 'ready' mode, barrel poised to fire at any target that presents itself. GARTH makes sure that he's within the four-foot fire-free zone around the gun, then removes the gunbelt and makes himself comfortable. He searches the pack for fast energy food. The bite-sized snacks fall through his fingers like coins.</scene_description> <character>GARTH</character> <parenthetical>(reading labels)</parenthetical> <dialogue>Chicken gumbo... (tosses it)... Steak Tartar with red dye number seven... (tosses it)... allergic to red dye number seven... Brandy Mousse...</dialogue> <parenthetical>(unwrapping the plastic)</parenthetical> <dialogue>Combat is getting elegant.</dialogue> <parenthetical>(chews - reacts)</parenthetical> <dialogue>Think ya got enough sugar in there, Butch?</dialogue> <scene_description>MOMENTS LATER - GARTH lies sleeping, head propped against the wall. THE HALLS OF THE RESIDENCE are long and dark. CONTINUED: Debris of combat gives way to shining floors and pools of purple nebulae. FLOAT THROUGH THE CORRIDORS past Garth sleeping on the floor... into the gallery of paintings... through opening doors into the gallery of jewels... through more doors into other realms of historic order... until a woman waits at the end of the gallery. ELAINE is beautiful, with long, flowing red hair and skin the color of porcelain. Her green-green eyes glow like emeralds, her red lips not tainted by makeup but truly red, teeth as perfect as creation before the end of Eden. GARTH stands before her. He is not wearing torn combat clothes, but a suit styled by future hands.</scene_description> <character>ELAINE</character> <dialogue>John... how I've wanted to hold you again.</dialogue> <character>GARTH</character> <dialogue>Elaine, let me take you home.</dialogue> <character>ELAINE</character> <parenthetical>(shaking her head 'no')</parenthetical> <dialogue>I have a different home now... Do you know what became of me?</dialogue> <scene_description>This is a question he would rather not contemplate.</scene_description> <character>GARTH</character> <dialogue>I searched for you, Elaine, I did!</dialogue> <character>ELAINE</character> <dialogue>There was no food, Garth. There was nothing. Our son was hungry. I kept waiting for you to come, but... you didn't. So I went out looking for food... The market was empty. There were men there, Garth. They raped me. Then they butchered me and took my flesh to their homes and fed their families with me. This last thing I didn't mind. I saved a child's life. At least, my body did.</dialogue> <scene_description>Garth can take this story no more. CONTINUED:</scene_description> <character>GARTH</character> <dialogue>Elaine! God, no!</dialogue> <scene_description>The pain is more than he can bare. Garth drops to his knees, tears and snot and saliva spewing from him as he bellows his pain.</scene_description> <character>ELAINE</character> <parenthetical>(reaching to touch, but unable)</parenthetical> <dialogue>Don't mourn me, John. What's done is done. But you're still alive.</dialogue> <character>GARTH</character> <dialogue>I'm not alive, Elaine. None of us is alive anymore!</dialogue> <character>ELAINE</character> <dialogue>Yes you are. You owe it to those of us who are dead - stay alive, John!</dialogue> </scene> <scene> <stage_direction>INT. GALLERY</stage_direction> <scene_description>Garth snaps awake beside the wall. Nothing has changed from when he went to sleep. Except a haunting SOUND drifting from a far place. Garth turns off the Automatic Defense Unit, grabs his rifle, moves for the far double doors. GALLERY OF PAINTINGS - GARTH stops at the threshold, snaps the nightgoggles down, looks in. GARTH'S POV - NIGHTGOGGLES - THE GALLERY OF LANDSCAPES No sensors. No weaponry in the ceiling. GARTH pushes the goggles up, considers. The haunting SOUND is closer, but still not close. Garth leaps into a run down the gallery toward the noise. As he passes a closed beam mid-gallery, DIANA AND HER THIRTY CHILDREN APPEAR as 3-D projections. CONTINUED:</scene_description> <character>DIANA</character> <dialogue>This, boys and girls, is the Gallery of Landscapes...</dialogue> <parenthetical>(etc.)</parenthetical> <scene_description>THE GALLERY OF PORTRAITS - GARTH stops at its threshold, flips the nightgoggles down, looks. GARTH'S POV - NIGHTGOGGLES - GALLERY OF PORTRAITS Again no sensors, or weapons. GARTH advances into the hall. The SOUND is closer now, a haunting, otherworldly wail. Gath brings the pulse rifle up, checks the charge (100 in green), advances. The SOUND grows louder, louder yet, increasing in volume and emotion, a noise so terrifying that its existence seems impossible. A GHOST floats through the far doorway and turns, heading toward Garth. It is the corpse of a man, arms and legs dangling, eyes glowing red, the wordless wail rising from its throat. GARTH grins.</scene_description> <character>GARTH</character> <dialogue>Ah, a ghost...</dialogue> <scene_description>Garth brings the pulse rifle up, takes his time aiming. He FIRES. The ghost TWISTS IN THE HOLD OF SUCCESSIVE ROUNDS, writhing and bellowing its unearthly, artificial SOUND until its DISGUISE AS A GHOST LOSES DEFINITION AND THE MACHINE BEHIND IT CAN BE PERCEIVED. It begins to falter. ANOTHER ANGLE - GARTH is so preoccupied with the ghost that he doesn't see the man- sized robot roll toward him from behind. The robot grabs him with huge pincer-arms, causing Garth to drop the pulse rifle. The robot's momentum carries them past the sealed beam which ACTIVATES YET ANOTHER DIANA 3-D projection.</scene_description> <character>DIANA</character> <dialogue>Okay guys, this is the fun gallery, at least for me... These are all portraits of real people from history...</dialogue> <parenthetical>(etc.)</parenthetical> <dialogue>Garth writhes in the hands of the robot, its STEEL FINGERS</dialogue> <scene_description>CLOSING ON HIS BODY ARMOR, WHICH SPARKS WITH RESISTANCE. Garth's single free hand slams against the robot's metal skin, without effect. Garth pulls the survival knife, rams it into a crevice in the robot body, jerks it, snapping off the tip of the blade. The robot turns with Garth's splayed body, moving for some dark destination. A last ditch effort, Garth slams the broken blade into one of the paintings as they pass. The blade digs deep into the canvas and is dragged an inch before the robot halts. (SCENE) THE ROBOT'S SOULLESS EYES MEET GARTH'S in crystal understanding: If the robot continues, Garth will destroy the painting. Moments pass as Garth's lungs suck air and sweat cascades from his brow. The blade moves a millimeter in the canvas flesh, a woman's bosom. The robot's eyes move to the painting, back to Garth. One robot hand relaxes. On Garth's movement, the other. Garth slowly pulls himself from the robot's grasp, steps down. While the steel hands are empty, GUN BARRELS LOCATED IN THE ROBOT'S CHEST follow Garth's every movement. CONTINUED: Moments pass. Garth reaches for the fallen rifle. The robot watches. Garth's fingers almost make contact with the weapon. Will he have to release the knife in order to retrieve the rifle? Garth gives up, withdraws his hand... and extends a leg, makes contact with the rifle. The robot whirls and accelerates down the gallery, its tracks squealing in retreat. Garth releases the blade and retrieves the rifle, brings it up to shoot. The first round hits the retreating robot as IT WHISKS THROUGH THE 3-D IMAGE OF DIANA AND HER CHILDREN like an aircraft through clouds. Garth FIRES AGAIN AND AGAIN AND AGAIN... PULSE BOLTS STRIKE the robot repeatedly. It explodes in fire and wanders off track, finally stopping altogether. An unearthly SOUND makes Garth spin around. MORE GHOSTS float across the threshold of the far gallery, each different in its horrific representation - a child, a crone, a woman, a man... (SCENE) GARTH begins firing immediately. So do the ghosts - PULSE BOLTS THAT STRIKE GARTH'S ARMOR AND FLASH. The FIRST GHOST IS DESTROYED, the child. The SECOND, the crone. The THIRD, closing with Garth, DIES IN AN EXPLOSION of metallic flesh. But by the time he turns the pulse rifle on the fourth, the woman, the rifle is depleted. Garth retreats. (SCENE) FOLLOW GARTH AND THE GHOST as they move through the Gallery of Landscapes to the Gallery of Roman Statues, Garth MERE FEET AHEAD OF THE SCREAMING BANSHEE, SOMETIMES DODGING, AND SOMETIMES NOT DODGING THE PULSE BOLTS the machine spits at him. (SCENE) GALLERY OF STATUES - GARTH dives for his waiting S&amp;W pistols as the GHOST CONTINUES TO FIRE PULSE ROUNDS at him. Garth brings the PISTOLS UP AND STARTS FIRING. The ghost ABSORBS THE ROUNDS AGAINST ITS METAL SKIN, its 'ghost' persona fading to reveal the stainless steel monster beneath. Both weapons are emptied of bullets. The ghost floats menacingly before Garth for seconds, THEN DROPS LIKE SCRAP TO THE FLOOR. Garth sags to his knees, finally begins reloading the weapons.</scene_description> <character>ELAINE'S VOICE</character> <dialogue>No, don't, silly! No... No!</dialogue> <scene_description>3-D ELAINE, wearing jean cutoffs and a pull-over, STRUGGLES WITH AN UNSEEN PERSON WHERE DIANA'S 3-D PROJECTION TOURED WITH CHILDREN MINUTES AGO. This is not the idealized Elaine of Garth's dream, but the real woman, capable of soil, sweat, anger and tears.</scene_description> <character>ELAINE</character> <parenthetical>(laughing)</parenthetical> <dialogue>Don't you dare!... You would not dare!... Don't you do it!</dialogue> <scene_description>Garth is too surprised to realize that this is a 3-D PROJECTION. He twists, moves toward her.</scene_description> <character>GARTH</character> <dialogue>Elly?</dialogue> <scene_description>CONTINUED: A garden hose APPEARS IN THE FILM PROJECTION... then a younger Garth himself, who sprays Elaine. They are both laughing.</scene_description> <character>ELAINE</character> <dialogue>Damn you, John Garth!</dialogue> <scene_description>A LITTLE BOY RUNS UP with a bucket of water and splashes his mother with it.</scene_description> <character>ELAINE</character> <dialogue>Oh no! You! I'm going to get you!</dialogue> <scene_description>Elaine chases her son farther into the backyard. DIANA'S SHOEBOX AND DIANA EMERGE THROUGH THE 3-D PROJECTION of Elaine and her family.</scene_description> <character>DIANA</character> <dialogue>The National Security computer in Arlington, Virginia, is still up... Mr. Vincent has a key... The satellite communication system is still working.</dialogue> <scene_description>Garth cares about none of this. Seeing Elaine again is far more important than anything Diana could say.</scene_description> <character>DIANA</character> <dialogue>During your last security clearance review... they placed you under surveillance... shot some film of your family.</dialogue> <scene_description>The 3-D film of Garth's backyard is REPLACED BY A TREE-LINED WALK. The boy runs ahead as Elaine and Garth stroll, hand-in- hand.</scene_description> <character>DIANA</character> <dialogue>You two look... wonderful... together.</dialogue> <scene_description>Younger Garth and Elaine stop walking and steal a kiss.</scene_description> <character>DIANA</character> <dialogue>What happened?</dialogue> <scene_description>The images of Elaine and his son draw Garth's flesh forward, where he topples to his knees beside them. Tears well in his eyes. Finally: CONTINUED:</scene_description> <character>GARTH</character> <dialogue>When the breakdown occurred... we were visiting Elaine's mother in Santa Monica. My father is dying of cancer. He lived in Burbank. I went to get him. There were riots, people killing each other, fires... I was gone days. When I finally got back... there was no one there.</dialogue> <character>DIANA</character> <dialogue>You don't know what happened to your wife and child?</dialogue> <character>GARTH</character> <dialogue>No.</dialogue> <scene_description>The 3-D FILM ENDS.</scene_description> <character>GARTH</character> <dialogue>Is that all there is?</dialogue> <character>DIANA</character> <dialogue>Yes.</dialogue> <character>GARTH</character> <dialogue>Play it again!... PLAY IT AGAIN!</dialogue> <character>DIANA</character> <dialogue>No... unless you stop what you're doing and -</dialogue> <scene_description>WHAM! Garth FIRES AT DIANA'S SHOEBOX sending the device flying in parts. DIANA DEMATERIALIZES.</scene_description> <character>GARTH</character> <dialogue>Bitch!</dialogue> <scene_description>Garth sits on his knees for moments, sweat and tears commingling, breathing hard, trying to fathom what has become of everything and everyone he loved. DIANA REAPPEARS, projected by the tour lenses that previously showed Elaine and Garth's son.</scene_description> <character>GARTH</character> <dialogue>Now you know.</dialogue> <character>DIANA</character> <dialogue>I was able to link with the national weather satellites through the Arlington computer... Yes, now I know.</dialogue> <scene_description>CONTINUED:</scene_description> <character>GARTH</character> <dialogue>Lower your security systems. Let Reich steal all your trinkets. I'll take the food, for the people... then you can go back to what you -</dialogue> <character>DIANA</character> <dialogue>No.</dialogue> <character>GARTH</character> <dialogue>Why not?</dialogue> <character>DIANA</character> <dialogue>Because I can't. I told you. The security devices are controlled through my autonomic nervous system. They are as automatic as breathing.</dialogue> <character>GARTH</character> <dialogue>Then show me how to defeat them.</dialogue> <character>DIANA</character> <dialogue>No.</dialogue> <character>GARTH</character> <dialogue>Why not?</dialogue> <character>DIANA</character> <dialogue>Because I'm not here to be your doormat.</dialogue> <character>GARTH</character> <dialogue>That earthquake food... it could feed a lot of people, save a lot of lives.</dialogue> <character>DIANA</character> <dialogue>So you say...</dialogue> <character>GARTH</character> <dialogue>So I say? SO I SAY?! People are eating each other out there!</dialogue> <scene_description>Diana is stunned by this revelation, made mute by it.</scene_description> <character>GARTH</character> <dialogue>When was the last time you were hungry?</dialogue> <scene_description>Diana can't answer that. So long ago, it seems forever...</scene_description> <character>GARTH</character> <dialogue>I'm going to take this place, like any military objective - one obstacle at a time... then I'm going to bring my people up here and we're going to live off those</dialogue> <scene_description>CONTINUED:</scene_description> <character>GARTH</character> <dialogue>earthquake supplies until...</dialogue> <parenthetical>(dreaming of it, thinking of it)</parenthetical> <dialogue>... until...</dialogue> <character>DIANA</character> <dialogue>Until what?</dialogue> <character>GARTH</character> <dialogue>Until I can think of something! We're not going to die, not all of us! We're not going to die!</dialogue> <scene_description>But he is speaking to darkness. DIANA HAS GONE. (SCENE) GARTH'S EQUIPMENT lies in piles. He moves to retrieve it. Slams a new battery into the pulse rifle. Returns the pistol belt to his waist; slides the pistols into holsters. Shoves the Automatic Defense System into the pack. Hefts everything, moves for the door. GALLERY OF LANDSCAPES - GARTH trudges through, makes an immediate right. DIANA APPEARS BEHIND HIM.</scene_description> <character>DIANA</character> <dialogue>John Garth... why are you going that way?</dialogue> <character>GARTH</character> <dialogue>Because all of the doors are unlocked...</dialogue> <parenthetical>(gestures toward Diana)</parenthetical> <dialogue>... that way.</dialogue> <scene_description>FAR GALLERY DOUBLE DOORS - GARTH drops his pack, removes an explosive, places it at lock- level, stands back. The EXPLOSION trips the lock. The door swings open. Garth pulls the nightgoggles down, steps to the threshold. GARTH'S POV - NIGHTGOGGLES - THE GALLERY OF LIGHT CARVINGS is unlike the other galleries. The statues glow. They are lifelike, carved by laser light, an intermingling of photography and sculpting, here magnified a thousand times by the goggle's infrared. GARTH quickly shoves the nightgoggles from his eyes and rubs them. DIANA MATERIALIZES before him, projected by a new shoebox.</scene_description> <character>DIANA</character> <dialogue>This is the Gallery of Laser Carvings. Everything in here is very fragile. If a bullet were to hit a carving and cause a short...</dialogue> <character>GARTH</character> <dialogue>I sometimes feel the same way when a bullet whizzes past my head.</dialogue> <scene_description>Garth pushes through her into the gallery. GALLERY OF LIGHT CARVINGS - GARTH quickly checks the ceilings for sensors or laser rifles. None. Garth grabs his equipment, begins moving forward. THE STATUES are 3-D projections of light carved by an artist to represent life and projected up from a base. Think Kodachrome. Some of the statues are modern and geometric. Others are almost indistinguishable from life - a fawn, a waterfall, a soldier in combat, lovers holding hands, others. A STATUE OF A NUDE WOMAN catches Garth's attention. He moves for the exhibit. The statue is twice life size. She is gathering flowers to her breast, a garland of flowers in her hair. Her expression is one of rapt beauty, a representation of a woman at peace in a peaceful world. CONTINUED: It is Diana. DIANA AND GARTH look up at the light carving.</scene_description> <character>DIANA</character> <parenthetical>(unconvincing)</parenthetical> <dialogue>I'm not ashamed of it.</dialogue> <scene_description>Garth drops his packs, circles the statue, saying nothing.</scene_description> <character>DIANA</character> <dialogue>I was a graduate student at UCLA... Mr. Vincent was one of the pioneers of laser carving.</dialogue> <character>GARTH</character> <dialogue>You can stop calling him 'Mr.' now.</dialogue> <character>DIANA</character> <parenthetical>(an outburst)</parenthetical> <dialogue>I'll call him any damn thing I want!...</dialogue> <parenthetical>(controlling herself)</parenthetical> <dialogue>... He pursued me to model for him. Finally, I relented.</dialogue> <character>GARTH</character> <dialogue>Was he that good... or were you that good?</dialogue> <scene_description>Diana looks away angrily. Then:</scene_description> <character>DIANA</character> <dialogue>Mr. Vincent's interest in me... exceeded the professional. He was in love with me. I never returned the affection.</dialogue> <character>GARTH</character> <dialogue>You're lying.</dialogue> <character>DIANA</character> <dialogue>What?</dialogue> <character>GARTH</character> <dialogue>He bought you. He bought you with a job and he bought you with a laser statue. You want me to believe he didn't buy the rest of you too?</dialogue> <character>DIANA</character> <dialogue>You son of a bitch!</dialogue> <scene_description>CONTINUED:</scene_description> <character>GARTH</character> <dialogue>Vincent's not the kind of guy who doesn't get what he wants... unless...</dialogue> <character>DIANA</character> <dialogue>Unless what?</dialogue> <scene_description>Garth considers not going on. But:</scene_description> <character>GARTH</character> <dialogue>When you were diagnosed as terminal, did you get a second opinion?</dialogue> <character>DIANA</character> <dialogue>Of course I got a second opinion!</dialogue> <character>GARTH</character> <dialogue>Not one of Vincent's doctors?</dialogue> <character>DIANA</character> <dialogue>No! What are you implying?</dialogue> <character>GARTH</character> <dialogue>He won you after all, didn't he? I mean, he got to keep you, young and beautiful, in his one-of-a-kind supercomputer... never to grow old... never to die... immortal and his, forever...</dialogue> <scene_description>Diana charges Garth. Just as HER 3-D HAND WOULD MAKE CONTACT with his face, SHE DISAPPEARS. THE NEXT GALLERY DOORS are also locked. Garth places the explosive, steps aside, and the lock EXPLODES. Garth flips the nightgoggles down, glances in. GARTH'S POV - NIGHTGOGGLES - THE HALLWAY is unadorned and relatively narrow, a real passageway. No sensors in the ceilings, no weapons that can be seen. GARTH hefts his equipment and enters the hallway. A FLASHLIGHT BEAM slices the darkness. More doors, more hallway. The flashlight swung in the opposite direction reveals shining metal doors: An elevator. GARTH moves down the hall toward the elevator, flashlight beam leading the way. He drops the pack, surveys the elevator controls. THE ELEVATOR CONTROLS require both a key and a key card. GARTH drops the pack, removes the computer, runs a line from a rear port to a card, inserts it into the card slot adjacent to the elevator. The computer begins running numbers through the card key. Garth finds a small case in the pack, opens it: Burglary tools. Garth begins to pick the standard lock. DIANA APPEARS BESIDE GARTH</scene_description> <character>DIANA</character> <dialogue>So you're a common burglar after all?</dialogue> <character>GARTH</character> <parenthetical>(working)</parenthetical> <dialogue>Uncommon. For the CIA.</dialogue> <character>DIANA</character> <dialogue>Fair play's poster children.</dialogue> <character>GARTH</character> <dialogue>I'd argue the point... but it doesn't really matter anymore, now does it?</dialogue> <scene_description>Diana allows the vitriol to recede. Then: CONTINUED:</scene_description> <character>DIANA</character> <dialogue>John, I don't want you to do this.</dialogue> <character>GARTH</character> <dialogue>John, is it? I hadn't realized we'd become so chummy.</dialogue> <character>DIANA</character> <parenthetical>(wryly)</parenthetical> <dialogue>Well, you've seen me naked. I thought that would count for something.</dialogue> <character>GARTH</character> <dialogue>Get on with it.</dialogue> <character>DIANA</character> <dialogue>If you go downstairs... I can't protect you.</dialogue> <scene_description>Garth turns, gives her his full attention.</scene_description> <character>GARTH</character> <dialogue>Protect me?!</dialogue> <character>DIANA</character> <dialogue>You don't really think you've defeated all of our security systems by yourself, do you? What if I had sent them all at once?</dialogue> <character>GARTH</character> <dialogue>Bullshit.</dialogue> <character>DIANA</character> <dialogue>No. It's not... John, listen to me - downstairs is different. Mr. Vincent's residence is there, the computer room, the weapons storage bays... There's a stand-alone system down there, fully automated, a terrible killing machine that -</dialogue> <character>GARTH</character> <parenthetical>(returning to work)</parenthetical> <dialogue>Bullshit.</dialogue> <character>DIANA</character> <dialogue>It's called The Rook. It was designed to replace soldiers on the battlefield. It's dormant now, in a state of suspension, but as soon as your heat signature is read on the bottom floor, The Rook will activate and it will kill you.</dialogue> <scene_description>CONTINUED: Garth searches her eyes for any signs of deception, then realizes that he is looking at a machine projection. He shrugs and returns to jimmying the lock. The elevator door slides open. Garth steps back. After a moment:</scene_description> <character>GARTH</character> <dialogue>You're lying... First, your defense mechanisms were designed to deal with terrorists - plural - more than one. They're set to activate individually, as needed. That's why you didn't send them all at once... Second, you'd say anything - do anything - to keep me from going down there. Am I right?</dialogue> <scene_description>Garth gathers his equipment, turns away from the elevator.</scene_description> <character>DIANA</character> <dialogue>Where are you going?</dialogue> <character>GARTH</character> <dialogue>That elevator opened too easily... and you control it.</dialogue> <scene_description>THE HIDDEN DOOR is a panel in the wall. Garth finds it, presses it. It opens. A stairwell leading down. Garth flips the nightgoggles down, takes a look: THE STAIRWELL hides no weapons. GARTH hefts his equipment, enters. STAIRWELL - GARTH descends the steps quickly, flashlight beam leading the way. At the landing, Garth tries the door. Locked. He'll have to blow it. THE LOCK IGNITES and the door swings ajar. GARTH swings the door open with the barrel of his pulse rifle, revealing: THE VINCENT RESIDENCE is a cavernous room, a vast "pleasure dome" to compare with Kublai Khan's. Laser statuary, nudes mostly, illuminate the shadows, a glowing Christmas tree effect. Fountains and ponds divide the real estate, a waterfall across the room defines it. There are park benches, grassy knolls, trees hanging low with weighted boughs, jutting boulders, and room enough to live forever unencumbered by petty problems. DIANA'S SHOEBOX rolls to the open door. Diana's IMAGE PROJECTS out. Garth remains across the threshold.</scene_description> <character>DIANA</character> <dialogue>Don't do this. The moment you enter, The Rook will be activated.</dialogue> <scene_description>Garth snorts with disbelief and enters. Dazzling lights flash on the moment he crosses the threshold. THE VINCENT ARMORY - A ROOK, a humanoid creature with steel skin lies immersed in a wall tableau, art and war meeting in bas relief. Its eyes open, red pupils scanning. THE VINCENT RESIDENCE - GARTH drops his packs, lowers the rifle to the floor, dazzled by the room. CONTINUED:</scene_description> <character>GARTH</character> <dialogue>Vincent certainly knew how to live, didn't he?</dialogue> <scene_description>Diana says nothing, but her image follows him.</scene_description> <character>GARTH</character> <dialogue>Where'd he sleep?</dialogue> <scene_description>Diana gestures: Over there. THE VINCENT BEDROOM is not delineated by walls. A huge bed seems to grow out of a giant oak, its mattress almost like a meadow of green. Overhead, man-made stars twinkle even in room light. Garth wanders up a lane toward it, eyes taking in everything. THE VINCENT ARMORY - THE ROOK moves minutely as below it a computer screen flashes: ROOK INITIATING PROTOCOL - INTRUDER ALERT. THE VINCENT BEDROOM - GARTH touches the oak bed. It feels like real wood, with no rough edges. Diana's shoebox projector follows, as does she.</scene_description> <character>GARTH</character> <dialogue>When you have this kind of money... this kind of power... I guess you can have anything you want.</dialogue> <character>DIANA</character> <dialogue>Mr. Vincent was known for his imagination.</dialogue> <scene_description>A quarter-sized statue of a nude man and woman in embrace stands near the bed. Garth touches it and the two come to life and begin to make love.</scene_description> <character>GARTH</character> <dialogue>You didn't pose for this one too?</dialogue> <scene_description>Coital cries erupt from them. CONTINUED:</scene_description> <character>DIANA</character> <parenthetical>(uncomfortable)</parenthetical> <dialogue>Touch it again. Please.</dialogue> <scene_description>Taking a close look at the woman's body.</scene_description> <character>GARTH</character> <dialogue>She looks a little like you... here and there.</dialogue> <character>DIANA</character> <parenthetical>(exasperated)</parenthetical> <dialogue>Touch it again! Please!</dialogue> <scene_description>Garth touches the light statue and it returns to its starting point and freezes.</scene_description> <character>GARTH</character> <parenthetical>(gesturing other statuary)</parenthetical> <dialogue>Who were all these people?</dialogue> <character>DIANA</character> <dialogue>Mr. Vincent had many lovers.</dialogue> <character>GARTH</character> <dialogue>The man in the sculpture... that was Vincent?</dialogue> <character>DIANA</character> <dialogue>No... maybe... I don't know! Please leave here! Now! I'll do what I can to stop anything from happening to you, but you've got to get out of here now.</dialogue> <character>GARTH</character> <dialogue>For a woman who's spent the last twenty years inhabiting this place, you don't seem to know a lot about it.</dialogue> <character>DIANA</character> <dialogue>I don't spend that much time in the residence.</dialogue> <character>GARTH</character> <dialogue>Why not?</dialogue> <character>DIANA</character> <parenthetical>(turning away)</parenthetical> <dialogue>Privacy. A matter of privacy.</dialogue> <character>GARTH</character> <dialogue>Yours... or Vincent's?</dialogue> <scene_description>CONTINUED:</scene_description> <character>DIANA</character> <dialogue>BOTH! You've got to go!</dialogue> <scene_description>Garth merely looks at her. DIANA DISAPPEARS. THE VINCENT ARMORY - DIANA MATERIALIZES beside the Rook. Mist flows from around the creature, which was in cryogenic stasis. Its body temperature is rising.</scene_description> <character>DIANA</character> <dialogue>EnCrypt, this is Diana One Seven One Six Theta Theta Six. Rook activation override. Cease activation immediately.</dialogue> <character>ENCRYPT VOICE</character> <dialogue>You are not authorized...</dialogue> <character>DIANA</character> <dialogue>Emergency override! Cancel activation now!</dialogue> <character>ENCRYPT VOICE</character> <dialogue>You are not authorized.</dialogue> <character>DIANA</character> <dialogue>Damn it!</dialogue> <scene_description>VINCENT'S RESIDENCE - GARTH has reclined on a knoll, drinking and eating. DIANA MATERIALIZES beside him.</scene_description> <character>DIANA</character> <dialogue>The Rook is activated! It's coming!</dialogue> <scene_description>Garth observes her coolly for a moment. Then:</scene_description> <character>GARTH</character> <dialogue>If you're so concerned about my welfare, then tell me how to protect myself against this machine.</dialogue> <character>DIANA</character> <dialogue>I can't! I can just warn you to go!</dialogue> <scene_description>CONTINUED:</scene_description> <character>GARTH</character> <dialogue>Why should you care so much about me?</dialogue> <character>DIANA</character> <dialogue>You're a human being, aren't you? You're alive. You can't appreciate life until you've lost it.</dialogue> <scene_description>The admission impacts Garth. He sits up.</scene_description> <character>GARTH</character> <dialogue>If you can't tell me how to defeat this thing, then tell me about it.</dialogue> <character>DIANA</character> <dialogue>The Rook is a fully autonomous combat operative. Its body armor is five times more effective than the obsolete armor you wear. This model has been programmed to kill with its hands, to protect property. It will tear your head from your body.</dialogue> <character>GARTH</character> <dialogue>What are its weaknesses?</dialogue> <character>DIANA</character> <dialogue>It has no weaknesses!</dialogue> <scene_description>A BOOM SOUNDS distantly. A HALLWAY - THE ROOK slams through a set of doors moving fast. RESIDENCE - GARTH stands, retrieves his rifle, the pack. HALLWAY - THE ROOK is running now, inexorable, unstoppable. (SCENE) RESIDENCE &amp; STAIRWELL - GARTH moves quickly to within ten feet of the entrance to the stairwell. The shoebox and Diana follow. CONTINUED: Garth retrieves several bricks of C-4 from the pack, tosses the pack through the door, begins kneading the plastique together.</scene_description> <character>DIANA</character> <dialogue>Run now! Do it! Leave!</dialogue> <scene_description>Garth finishes kneading the C-4 into a glob the size of a baseball, tucks it away in a pocket, brings the rifle up. A BOOM SOUNDS, closer. The Rook enters the residence at full run, already targeted against Garth. Garth brings the rifle within his sights and BEGINS FIRING at full automatic. Boom-boom-boom-boom! The pulse BOLTS STRIKE THE ROOK without effect. The Rook leaps obstacles and continues forward with inexorable power. Garth's pulse rifle empties. The Rook hits Garth at full tilt, slaps the rifle away, shoves him back, fingers reaching for Garth's throat. Garth resists the creature's hands. His BODY ARMOR SPARKS as it cycles toward depletion. Momentum carries Garth through the doorway and into the stairwell. The Rook pushes Garth into the wall, fingers encircling his neck, ARMOR SPARKING. Garth struggles to bring his hand containing the C-4 up. The plastique falls. The compressive force of the Rook's hands begin to strangle Garth through the armor. Garth struggles, reaching for the C-4 on the ground. It's inches away. The Rook's red eyes bore into Garth, programed hatred. Garth begins to gag. The shoebox scoots into the stairwell. DIANA PROJECTS. She sees Garth's fingers reaching for the plastique. CONTINUED: Diana's eyes lock with Garth's. An empathy passes between them impossible for the Rook to understand. The shoebox accelerates into the C-4, sending it rolling into Garth's hand. Garth slaps the C-4 onto the Rook's back. His other hand reaches for a battery in his beltpack. Garth's BODY ARMOR WRIST READ-OUT: 33... 26... 19... 15... Garth's fingers pull a battery from the beltpack. The Rook's red eyes bore in. Garth slaps the battery into the C-4. A LIGHT WRENCHING EXPLOSION. STAIRWELL - DIANA seems to kneel beside Garth. Garth pulls himself up to his elbows, checks his body armor. INSERT - BODY ARMOR WRIST READ-OUT: 00. GARTH retrieves a battery from his belt, renews the body armor - HUMMM - tries to stand, slips, finally reaches his feet.</scene_description> <character>GARTH</character> <dialogue>Where is it?</dialogue> <scene_description>Diana gestures toward the end of the stairwell. Garth staggers several steps in that direction, stops. (SCENE) THE ROOK pushes debris from his body and sits up. Garth draws the two Smith and Wessons. By the time HE'S FIRING the Rook is moving on him. Garth retreats up the steps. CONTINUED: Its body armor blown, the Rook's chest RECEIVES THE BULLET ROUNDS like darts through Playdough. Garth EMPTIES THE PISTOLS, has no time to reload. The Rook grabs Garth's ankles and crawls up his fallen body. Garth plunges his damaged survival knife deep into the Rook's bullet-pocked chest. No effect. The Rook's hands close around Garth's neck. Garth slams the knife repeatedly into the machine's body. Nothing. Beneath the Rook's flesh bio-mechanical devices ooze and revolve, levers pushing limbs. Garth's fingers reach for the railing, something to push against, to rise. No. The Rook's fingers close about Garth's neck. Garth has lost control of the knife, which sticks from the Rook's chest, its metal blade fostering sparks inside the machine. Garth grabs the knife handle, pulls, loses it, pulls again, again, finally dislodging the knife. The Rook squeezes Garth's neck, twisting, trying to wrench his head from his body. Garth gags. Garth's body armor wrist gauge reads 23... 17... 14... 09... Garth raises the knife and plunges it deep into the Rook's head. The Rook's eyes go wide, then fail. The Rook falls from Garth's body, tumbles down the steps, bursts into flames. GARTH gasps for air, sucking oxygen into his lungs like water through a busted dam. After several long moments he staggers to his feet and descends the stairs, stepping carefully around the Rook's burning torso. Diana waits at the foot of the steps. CONTINUED:</scene_description> <character>GARTH</character> <dialogue>Are there any more where he came from?</dialogue> <scene_description>Diana looks at the carnage a moment before:</scene_description> <character>DIANA</character> <dialogue>None that are on line.</dialogue> <character>GARTH</character> <dialogue>Then I've defeated every security device?</dialogue> <character>DIANA</character> <dialogue>In the residence, there was only this one...</dialogue> <scene_description>Garth steps past her.</scene_description> </scene> <scene> <stage_direction>EXT. NIGHT - A BATTLEFIELD - MEN AND WOMEN</stage_direction> <scene_description>are advancing from debris hole to debris hole, weapons readied, some FIRING, as EXPLOSIONS pound the earth around them. AT THE RAMPARTS - THE POLICE among others are returning fire. Clearly, they are outgunned.</scene_description> </scene> <scene> <stage_direction>EXT. NIGHT - A PROMONTORY - REICH'S HELICOPTER</stage_direction> <scene_description>sits tied down against the wind. A man makes his way to the chopper, pulls the door open: LaPiere. INSIDE THE CHOPPER - REICH looks up. The cockpit is filled with an operatic aria. Turning it down:</scene_description> <character>REICH</character> <dialogue>What is it?</dialogue> <character>LAPIERE</character> <dialogue>Dodge reports the Conlan woman is moving against him. He thinks its the main force. He doesn't think he can hold... They could be here in two hours.</dialogue> <character>REICH</character> <dialogue>You tell Dodge he has to hold! Get every hand to stand by. We'll wait for Garth to</dialogue> <scene_description>CONTINUED:</scene_description> <character>REICH</character> <dialogue>radio in, but one way or the other, we're taking Casa Vincent tonight!</dialogue> </scene> <scene> <stage_direction>INT. NIGHT - THE RESIDENCE - VINCENT'S BED</stage_direction> <scene_description>provides a landing spot for Garth's body. His equipment lies nearby. Diana's image seems to sit down beside him. After a moment of recovery:</scene_description> <character>GARTH</character> <dialogue>You're on my side now, is that the idea?</dialogue> <character>DIANA</character> <dialogue>Is that all you've come to do, steal?</dialogue> <scene_description>Garth considers the question a moment.</scene_description> <character>GARTH</character> <dialogue>Vincent was supposedly on the verge of a discovery that would return the earth to its original weather pattern. Do you know anything about that?</dialogue> <scene_description>No.</scene_description> <character>GARTH</character> <dialogue>That secret is supposed to be contained in Vincent's computer... in you.</dialogue> <character>DIANA</character> <dialogue>I'm not the computer. I just live in it... But no, I'm not aware of anything like that.</dialogue> <character>GARTH</character> <dialogue>Can you access the computer?</dialogue> <character>DIANA</character> <dialogue>There were things Mr. Vincent didn't want me to know... business secrets, accounting spreadsheets, his personal correspondence. Other things.</dialogue> <character>GARTH</character> <dialogue>Look.</dialogue> <scene_description>Diana's eyes shut. When they open: CONTINUED:</scene_description> <character>DIANA</character> <dialogue>Nothing about any research on weather. There are vast amounts of files that are encrypted.</dialogue> <character>GARTH</character> <dialogue>Can you decrypt them?</dialogue> <scene_description>Diana would rather not answer the question. She's obfuscating:</scene_description> <character>DIANA</character> <dialogue>No... I can't.</dialogue> <character>GARTH</character> <dialogue>Maybe I can...</dialogue> <character>DIANA</character> <dialogue>No. You wouldn't stand a chance. Let me take you to the earthquake supplies. There must be a ton of food. It's located in the subbasement.</dialogue> <scene_description>Garth realizes that she's holding back. He stands, gathers his equipment.</scene_description> <character>DIANA</character> <dialogue>It's this way...</dialogue> <scene_description>But Garth strides out in the opposite direction, deeper into the residence. WALK WITH GARTH as Diana comes up to parallel him.</scene_description> <character>DIANA</character> <dialogue>You're going the wrong way.</dialogue> <scene_description>Garth slams through the doors leading to a corridor. On the left, the armory, behind locked doors. IN THE ARMORY cool as a mausoleum in the shadowy dark, where there are row upon row of weapons systems, dormant but operable. HALLWAY - GARTH presses on.</scene_description> <character>DIANA</character> <dialogue>You mustn't go in there.</dialogue> <scene_description>Garth ignores her.</scene_description> <character>DIANA</character> <dialogue>If you go in there you'll set off the final defensive system! Listen to me!</dialogue> <scene_description>THE DOUBLE DOORS are massive. A sign reads: EnCrypt. Garth drops his pack, removes the notebook computer, begins picking the locks. MINUTES LATER - THE DOORS swing open. Diana stands in Garth's way.</scene_description> <character>DIANA</character> <dialogue>Please... I'm begging you, don't...</dialogue> <scene_description>Garth pushes through her. THE COMPUTER ROOM IS VAST A machine of a million parts, pulsing, alive, a sentient thinking machine. At its center is a couch preformed to accommodate the human body. In it, THE CORPSE OF A MAN. ANGLE - DIANA stands by the corpse. Garth approaches, stunned. CONTINUED:</scene_description> <character>GARTH</character> <dialogue>Vincent?</dialogue> <scene_description>Yes.</scene_description> <character>GARTH</character> <dialogue>Tell me what happened.</dialogue> <scene_description>Tears well in her eyes. She fights them.</scene_description> <character>DIANA</character> <dialogue>I... murdered him.</dialogue> <character>GARTH</character> <dialogue>Why?</dialogue> <scene_description>Diana looks away. Moments fall like broken glass to the floor.</scene_description> <character>GARTH</character> <parenthetical>(a shout)</parenthetical> <scene_description>WHY?</scene_description> <character>DIANA</character> <dialogue>Over the months that he was a recluse here, he... changed. I know why now. He never told me about the collapse... out there. He never said, "Diana, the world is ending." I thought Mr. Vincent had accepted the fact that I wasn't attracted to him...</dialogue> <scene_description>FLASHBACK: VINCENT'S LAB - VINCENT sits working at a computer station, fingers rippling across the keyboard. He stops. DIANA PROJECTS nearby.</scene_description> <character>DIANA</character> <dialogue>Mr. Vincent, you asked for me?</dialogue> <scene_description>Vincent turns to look at her appraisingly, foot to head.</scene_description> <character>VINCENT</character> <dialogue>There's just the two of us now, Diana...</dialogue> <character>DIANA</character> <dialogue>Sir?</dialogue> <scene_description>Thoughts cascade through his mind and out onto his expression. Finally: CONTINUED:</scene_description> <character>VINCENT</character> <dialogue>What are you wearing?</dialogue> <scene_description>Diana looks down at herself. Tunic. Slacks.</scene_description> <character>DIANA</character> <dialogue>Business clothes. As usual.</dialogue> <character>VINCENT</character> <dialogue>Take them off.</dialogue> <scene_description>Stunned, for some moments Diana can say nothing.</scene_description> <character>DIANA</character> <dialogue>Mr. Vincent, this wasn't part of our agreement.</dialogue> <scene_description>Vincent's fingers return to the keyboard. DIANA'S CLOTHES DISAPPEAR. RESUME DIANA IN PRESENT as she recounts the story to Garth.</scene_description> <character>DIANA</character> <dialogue>I was a disembodied human being... Vincent could recreate me any way he wanted inside the computer... make me do things... make me feel things... Even so, it wasn't enough.</dialogue> <scene_description>FLASHBACK: THE VINCENT LAB - VINCENT types data into EnCrypt.</scene_description> <character>DIANA'S NARRATION</character> <dialogue>Vincent intended to transfer his consciousness into the computer, to bring us together.</dialogue> <scene_description>Diana pleads with Vincent.</scene_description> <character>DIANA</character> <dialogue>Don't do this! You'll die!</dialogue> <character>VINCENT</character> <parenthetical>(cynically)</parenthetical> <dialogue>Sweet Diana - always the humanitarian! What you don't know - I'm dead already! But in there...</dialogue> <scene_description>CONTINUED:</scene_description> <character>VINCENT</character> <parenthetical>(gestures EnCrypt)</parenthetical> <dialogue>... I'll be immortal and I'll have you forever!</dialogue> <character>DIANA'S NARRATION</character> <dialogue>I knew by this time what he meant by 'have' me. He would rape and debase me for all eternity.</dialogue> <scene_description>Finishing the preparations, Vincent lies down on the recliner, pulls the pincer nodes down so they touch his brow.</scene_description> <character>DIANA'S NARRATION</character> <dialogue>Vincent allowed me full control of the operational functions of EnCrypt... so I overloaded the system. I murdered him...</dialogue> <scene_description>The EnCrypt MACHINE GOES WILD, SPARKS FLITTING. Vincent fries. RESUME PRESENT - DIANA continues to remember the night she killed Vincent.</scene_description> <character>GARTH</character> <dialogue>You didn't murder him... You protected yourself. Justifiable homicide.</dialogue> <scene_description>Diana listens. She's not so sure.</scene_description> <character>DIANA</character> <dialogue>I'll help you get what you want, just... you have to promise me something.</dialogue> <character>GARTH</character> <dialogue>What?</dialogue> <character>DIANA</character> <dialogue>When you're done... you'll kill me.</dialogue> <parenthetical>(on Garth's searching look:)</parenthetical> <dialogue>I've been alone for twenty years. I can't stand to be alone any longer, so kill me.</dialogue> <character>GARTH</character> <dialogue>That was the plan from the beginning... Show me how to access Vincent's files.</dialogue> <scene_description>GARTH OPENS VINCENT'S DEAD HAND to reveal a detailed tattoo. Diana watches from five paces away. CONTINUED:</scene_description> <character>DIANA</character> <dialogue>Put it palm down on the scanner. The system requires both the image and a DNA match. His DNA may be dusty, but it's there.</dialogue> <scene_description>Garth must twist Vincent's body out of the couch for the hand to reach the nearby scanner. A band of light reads the drawing. A 3-D PROJECTION OF A COMPUTER SCREEN fills the room. File names scroll down. Garth approaches the screen. Bars of light like venetian blinds cross his features.</scene_description> <character>GARTH</character> <dialogue>Do any of these names mean anything to you?</dialogue> <character>DIANA</character> <dialogue>Do a 'Search.' These are Vincent's files. I can't do it for you.</dialogue> <scene_description>Garth faces the keyboard, types in SEARCH:</scene_description> <character>GARTH</character> <dialogue>Search for what?</dialogue> <character>DIANA</character> <dialogue>Try 'weather.'</dialogue> <scene_description>Garth types in WEATHER. VINCENT ARMORY - TWO VATS OF INERT LIQUID, one green, one yellow, rest above an empty container. The LIQUIDS SUDDENLY EMPTY into the container, mixing. Three LASER BEAMS JET OUT to warm the liquid. The liquid begins to move. RESUME COMPUTER ROOM - GARTH watches new files list on the screen. CONTINUED:</scene_description> <character>GARTH</character> <dialogue>Here we go.</dialogue> <scene_description>Diana looks over his shoulder.</scene_description> <character>DIANA</character> <dialogue>Wait. What's that?</dialogue> <scene_description>She points. THE SCROLLING WORDS - A NAME among many others: PRAETOR GARTH AND DIANA</scene_description> <character>GARTH</character> <dialogue>What's Praetor?</dialogue> <character>DIANA</character> <dialogue>Not what - who. My doctor. Bring up the file.</dialogue> <scene_description>Garth types in PRAETOR and presses RETURN. A RECORDED IMAGE FILLS THE SCREEN:</scene_description> </scene> <scene> <stage_direction>EXT. DAY - A SIDEWALK CAFE - VINCENT &amp; PRAETOR</stage_direction> <scene_description>sit at a table. DR. PRAETOR is a man whose persona sings confidence and believability. Vincent looks 20 years younger than he did in Diana's last recounting.</scene_description> <character>PRAETOR</character> <dialogue>Let's get right down to it - I won't do this.</dialogue> <character>VINCENT</character> <dialogue>Do what?</dialogue> <character>PRAETOR</character> <dialogue>You damn well know what I mean. Diana Logan. This is tantamount to murder. It's unethical and I won't be a part of it.</dialogue> <scene_description>Vincent's gaze drifts about, looking for a camera... until he looks DIRECTLY AT YOU. Vincent smiles. CONTINUED:</scene_description> <character>VINCENT</character> <dialogue>I'm aware that you're recording this.</dialogue> <character>PRAETOR</character> <dialogue>I won't do it!</dialogue> <character>VINCENT</character> <dialogue>You will bring me the disc.</dialogue> <character>PRAETOR</character> <dialogue>There's nothing wrong with her!</dialogue> <character>VINCENT</character> <dialogue>You'll bring me the disc... or you'll pay the price!</dialogue> <character>PRAETOR</character> <dialogue>She's not sick! She's not going to die!</dialogue> <scene_description>BRING IT TO ME! The recording ends. GARTH WATCHES AS DIANA staggers back.</scene_description> <character>DIANA</character> <dialogue>There was nothing wrong with me...</dialogue> <scene_description>Diana looks over at Vincent's mummified cadaver, hand reaching out as if beckoning for her.</scene_description> <character>DIANA</character> <dialogue>You were right... You were right!</dialogue> <character>GARTH</character> <dialogue>Diana...</dialogue> <character>DIANA</character> <dialogue>He murdered me... I was a young woman. I wanted children. I wanted a life...</dialogue> <character>GARTH</character> <dialogue>You took your revenge on him.</dialogue> <character>DIANA</character> <dialogue>No... NO! He deserved what I did to him. I didn't deserve THIS!</dialogue> <scene_description>The hollow SOUND of the computer lab echoes her words. CONTINUED: DIANA DISAPPEARS. VINCENT ARMORY - A CREATURE is forming in the vat. Amoeba-like. Constantly changing. A tentacle becomes an arm... becomes a hand reaching for the lid... pushes it away... it clatters to the floor... the beast rises. COMPUTER ROOM - GARTH stands alone in the cavernous room. Diana is gone. Shaken, he gradually turns to the computer. Garth reviews more files. One catches his attention: CONGRESS. Garth activates it. THE PROJECTION OF VINCENT that Garth stares up at is twice life-size. Vincent's luxurious office can be seen behind him.</scene_description> <character>VINCENT'S IMAGE</character> <dialogue>Ladies and gentlemen of Congress... the plan you are about to review, if implemented, will return the earth's weather pattern to what it was forty years ago... Vincent Industries has invested countless hours...</dialogue> <parenthetical>(shared amusement)</parenthetical> <dialogue>- and my substantial fortune - in developing a new kind of flora, a plant with an unusual by-product...</dialogue> <scene_description>VINCENT ARMORY - THE AMOEBIC CREATURE overflows the vat and lands with a splat onto the floor. It begins to undulate. THE COMPUTER ROOM - GARTH continues to observe the Vincent presentation. CONTINUED:</scene_description> <character>VINCENT'S IMAGE</character> <dialogue>... a hydroflourocarbon-eating micro- organism transmitted by the wind and capable of returning the ozone layer to its previous state within a decade. Once the ozone layer is re-established...</dialogue> <scene_description>VINCENT ARMORY - THE BEAST pauses at a door, its pulsating globular flesh hesitant... before it rises and reshapes itself into an imperfect mimic of a human being. THE COMPUTER ROOM - GARTH watches Vincent.</scene_description> <character>VINCENT'S IMAGE</character> <dialogue>... global warming will be reduced, and gradually the storms which have plagued our planet will decline in potency... (etc.)</dialogue> <scene_description>DIANA APPEARS beside Garth.</scene_description> <character>DIANA</character> <dialogue>John, something's coming.</dialogue> <character>GARTH</character> <dialogue>What? What something?</dialogue> <character>DIANA</character> <dialogue>I don't know. I've never seen it before.</dialogue> <character>VINCENT'S IMAGE</character> <dialogue>The glaciation which has increased in recent years in the far northern and southern hemispheres due to the increased cloud cover will...</dialogue> <character>GARTH</character> <dialogue>What do you mean you've never seen it before?</dialogue> <scene_description>Diana has no answer.</scene_description> <character>GARTH</character> <dialogue>Where?</dialogue> <character>DIANA</character> <dialogue>In the armory.</dialogue> <scene_description>CONTINUED:</scene_description> <character>VINCENT'S IMAGE</character> <dialogue>... gradually recede. Now there is a price to be paid for these miracles. The Vincent plant will affect agriculture. The plant is aggressive and can't discern between wild and cultivated land...</dialogue> <character>GARTH</character> <dialogue>What does it look like?</dialogue> <character>DIANA</character> <dialogue>Like a man... then not.</dialogue> <character>GARTH</character> <dialogue>Let me see it.</dialogue> <scene_description>Diana sends the video feed to a monitor. MONITOR - THE AMOEBIC CREATURE stands like a man before the door, barely seen in the shadows. RESUME COMPUTER ROOM - GARTH &amp; DIANA stare at the screen.</scene_description> <character>GARTH</character> <dialogue>It's a man.</dialogue> <scene_description>Suddenly the creature TRANSMORPHS into something ghastly and inhuman, and reforms as a man.</scene_description> <character>GARTH</character> <dialogue>Vincent has another weapons system, one you don't know about.</dialogue> <character>DIANA</character> <dialogue>Well, fuck him!</dialogue> <scene_description>THE GALLERIES - PORTALS open and disgorge flying miniature helicopters, ghosts, tanks and robots which move quickly in a single direction. FOLLOW THE CHOPPERS as they careen through the galleries... down the corridor toward the elevator... bank left down the stairwell... and into the residence. Ghosts, tanks and robots follow. VINCENT ARMORY - THE AMOEBIC CREATURE flings a globular portion of itself at the door. The door BEGINS TO CHANGE, RIPPLING AND UNDULATING... then opens itself before collapsing. The globular residue returns to Mother. THE COMPUTER ROOM - GARTH retrieves his rifle and equipment as Vincent's projected image continues its presentation.</scene_description> <character>VINCENT'S IMAGE</character> <dialogue>... lack of concentrated crops means a decline in yield of over fifty percent lasting for more than two decades. However, this change is temporary. The new plant has been bio-engineered to self- destruct after thirty generations...</dialogue> <scene_description>Garth sees that Diana is standing absolutely still, her eyes staring far off, elsewhere, directing the battle in the armory. VINCENT ARMORY - THE AMOEBIC CREATURE turns as dozens of miniature helicopters veer into the room and head for it. The CREATURE DISSOLVES TO THE FLOOR and separates into dozens of smaller globules, which dash for every corner of the room. THE COMPUTER ROOM - GARTH reaches out to almost touch Diana.</scene_description> <character>GARTH</character> <dialogue>Diana?</dialogue> <scene_description>CONTINUED: Nothing. THE VINCENT ARMORY - THE CHOPPERS fire at the small globular creatures, which respond by flinging portions of themselves back. A CHOPPER is slimed by the Ameobic creature. The chopper begins to alter immediately. Its blades warp and slow, its metal sag, and it drops from the sky. THE BATTLE The choppers FIRE. PULSE BEAMS CRISS-CROSS THE ROOM. The AMOEBAS FLING BACK. Ghosts join the melee. Robots and tanks wheel into the room. COMPUTER ROOM - DIANA stands in a trance, concentrating every resource at commanding the battle.</scene_description> <character>VINCENT'S IMAGE</character> <dialogue>... small price to pay for a return to a normal Earth in less than fifty years - one trillion dollars... in gold... in advance.</dialogue> <scene_description>VINCENT ARMORY - THE BATTLE continues to rage. CHOPPERS CAREEN AND CRASH. GHOSTS HOVER AND EXCHANGE FIRE WITH THE GLOBULES. ROBOTS ROLL OVER THE SMALL MASSES OF GOO AND ARE TRANSFORMED BY THEM. LASER BEAMS CRISS-CROSS THE ROOM. MOMENTS LATER the final chopper crashes. The final ghost falls from the air. CONTINUED: Silence. AN AMOEBA joins another. Then another. Then another. THE CENTER OF THE RO0M where the beast rejoins and rises into a mockery of a human being, imperfect as Frankenstein's monster, ghastly. COMPUTER ROOM - DIANA'S eyes focus on the here and now.</scene_description> <character>DIANA</character> <dialogue>I failed.</dialogue> <character>VINCENT'S IMAGE</character> <dialogue>Now I know that Congress is busy currently... Cities are burning... there's rioting in the streets... but I must demand an immediate response.</dialogue> <character>GARTH</character> <dialogue>I watched on the monitor.</dialogue> <character>DIANA</character> <dialogue>It's coming, John.</dialogue> <character>VINCENT'S IMAGE</character> <dialogue>I am prepared on notice of your commitment to release a billion bio- engineered seeds into the next passing storm...</dialogue> <scene_description>Garth turns back to the computer station.</scene_description> <character>GARTH</character> <dialogue>Did he release the seeds?</dialogue> <character>DIANA</character> <dialogue>I'm locked out. Release his data to me. Here, input this command.</dialogue> <scene_description>Large symbols appear in front of Vincent's projected face. Garth inputs the code. CONTINUED:</scene_description> <character>VINCENT'S IMAGE</character> <dialogue>I await your confirmation...</dialogue> <scene_description>File names reel up past Vincent. THE FILES BEGIN TO OPEN, ARE DISCARDED, ARE REPLACED BY OTHERS, COMPUTER FAST. DOCUMENTS, FILMS, BLUEPRINTS.</scene_description> <character>DIANA</character> <dialogue>The seed pods are located on the roof... They haven't been activated.</dialogue> <character>GARTH</character> <dialogue>The federal government collapsed before it could respond... Why didn't he release them?</dialogue> <scene_description>Diana doesn't say.</scene_description> <character>GARTH</character> <parenthetical>(a shout)</parenthetical> <scene_description>WHY?</scene_description> <character>DIANA</character> <dialogue>Because the bastard wasn't paid!</dialogue> <character>GARTH</character> <dialogue>He allowed the world to be destroyed... because he wasn't paid?</dialogue> <scene_description>Diana's expression almost asks: He allowed me to die, didn't he?</scene_description> <character>DIANA</character> <dialogue>Yes!</dialogue> <character>GARTH</character> <dialogue>Maybe there's something wrong with the seeds. Check his data.</dialogue> <character>DIANA</character> <dialogue>John, the creature is approaching...</dialogue> <character>GARTH</character> <dialogue>I DON'T CARE!... Check the files.</dialogue> <scene_description>Diana's eyes close. The HUM of the great computer's synaptic circuits fills the room. ON THE PROJECTED SCREEN, file names stream down at an unreadable rate. Graphs, blueprints, representations of the new plant's DNA flicker into and out of existence. Then: CONTINUED:</scene_description> <character>DIANA</character> <dialogue>According to the research, the new bio- engineered plant should work as advertised.</dialogue> <character>GARTH</character> <dialogue>Release the seeds! Now!</dialogue> <character>DIANA</character> <dialogue>John, the creature is just outside that door.</dialogue> <scene_description>Garth rushes the command console.</scene_description> <character>GARTH</character> <dialogue>I'll do it! Show me how!</dialogue> <scene_description>Diana pulls her gaze away from the door just as its color begins to change.</scene_description> <character>DIANA</character> <dialogue>I can't. It's a temporary device. Vincent didn't integrate it with the rest of the systems. You'll have to set it off manually, from the roof.</dialogue> <scene_description>THE DOOR changes color, ripples, opens as it sags. The amoebic globules that deteriorated the door reunite with the creature. COMPUTER ROOM (SCENE) - GARTH AND DIANA react as the creature slithers/walks into the room. The creature struggles to hold its human form, twisting, undulating until... VINCENT'S EVIL GRIN appears on its face. Startled, Diana almost screams. Garth switches his rifle to full auto and sprays the amoeba, causing it to splatter against the far wall.</scene_description> <character>GARTH</character> <dialogue>It was Vincent!</dialogue> <scene_description>But Diana sees this awful creature for what it is.</scene_description> <character>DIANA</character> <dialogue>No... Vincent must have used a subset of his own DNA to create it. Nothing that</dialogue> <scene_description>CONTINUED:</scene_description> <character>DIANA</character> <dialogue>small could carry the entire consciousness of a human being.</dialogue> <scene_description>The amoeba begins to reform, the splattered matter oozing across the dark floor and down the distant walls to reassemble.</scene_description> <character>GARTH</character> <dialogue>Diana - stairs to the roof?</dialogue> <character>DIANA</character> <dialogue>Far end of the room. Go!</dialogue> <scene_description>Garth grabs his equipment, turns to leave:</scene_description> <character>GARTH</character> <dialogue>Shut off the surface to air missile batteries on the roof.</dialogue> <character>DIANA</character> <dialogue>Why?</dialogue> <character>GARTH</character> <dialogue>Just do it!</dialogue> <scene_description>Diana gestures assent. They share a brief moment eye-to-eye, then Garth turns and rushes for the far reaches of the huge room. DIANA turns to face the reforming creature. She disappears and the shoebox rushes for the amorphous biomass slithering toward her. The shoebox slugs into the mass and is swallowed whole. GARTH slides to a stop beside the door, twists its knob, finds it locked and jams his survival knife deep into the wood of the jamb. It splinters. Garth rises and slams through the door. STAIRWELL - GARTH reels through the door and up the stairs. There is a another door at the next landing blocking his path. COMPUTER ROOM - THE AMOEBIC CREATURE undulates toward the open door to the stairs, moving with incredible speed. STAIRWELL DOOR - GARTH stabs his survival knife into the door, smashing the wood. STAIRWELL LOWER LANDING - (SCENE) - THE CREATURE oozes through the door... THEN SPURTS A PORTION OF ITSELF up the well. Where Garth has just slammed the door behind him. The ooze lands on the door and begins to commingle with it. STAIRWELL - GARTH wedges the survival blade into the jamb, securing the door. Garth quickly ascends the steps to the next landing. Below, THE DOOR GARTH SECURED BEGINS TO WAFFLE, its constituents weakened by contact with the creature. It sags open and the creature enters. AT THE NEXT LANDING - GARTH blows the doorknob off the door just as A SMATTERING OF GOO thrown from below SPLATTERS ONTO HIS BODY ARMOR WITH A HISS. Garth ignores the goo and leaps through the door to the final landing below the roof. BELOW - THE MOTHER GOO begins to "slinky" up the steps toward the gaping door. THE NEXT LANDING - GARTH staggers to a stop as the GOO SLIDES UP OVER HIS EYES. CLOSE - GARTH'S EYES reveal that the SPARKLING BODY ARMOR IS KEEPING THE GOO INCHES AWAY from really contacting him. RESUME GARTH as he stabs his fingers through the goo, trying to remove it from blocking his sight. He reaches for a battery from his pack, finds the last one, pulls it, SPITS ON ITS CONTACTS AND THEN RAMS IT INTO THE GOO. The GOO SHRIEKS AND LEAPS AWAY. Garth pulls the hand radio from his pack.</scene_description> <character>GARTH</character> <parenthetical>(radio)</parenthetical> <dialogue>Reich, come in.</dialogue> </scene> <scene> <stage_direction>EXT. THE CHOPPER LANDING SITE - NIGHT</stage_direction> <scene_description>Reich returns to the chopper to take the mike.</scene_description> <character>REICH</character> <parenthetical>(radio)</parenthetical> <dialogue>Garth, go ahead.</dialogue> <scene_description>INTERCUT WITH:</scene_description> </scene> <scene> <stage_direction>EXT. THE VINCENT ROOF - NIGHT</stage_direction> <scene_description>Garth leaps through the door onto the roof. The STORM IS ALMOST UNBEARABLE. Above the noise of the wind:</scene_description> <character>GARTH</character> <parenthetical>(radio)</parenthetical> <dialogue>Reich, bring your people in!</dialogue> <scene_description>Reich throws LaPiere a 'I told you so' look.</scene_description> <character>REICH</character> <dialogue>Okay! Let's go! You heard the man.</dialogue> <scene_description>GARTH surveys the roof looking for the seeding devices. GARTH'S POV - THE SEEDING DEVICES are globes twenty feet across located at each corner of the roof. GARTH moves for the closest globe as, in the distance, Reich's chopper begins to wing in. Garth opens the control panel. INSERT - CONTROL PANEL where a remote activation device is imbedded beside the programing keys. GARTH takes the remote controller out, snaps it onto his belt, then studies the seeding device controls as Reich's chopper lands near the center of the roof. Reich, LaPiere and six men with weapons exit the chopper.</scene_description> <character>REICH</character> <dialogue>You did it!</dialogue> <character>GARTH</character> <dialogue>The last defensive device is coming up those stairs right now. Send your people to take care of it.</dialogue> <character>REICH</character> <parenthetical>(gesturing to LaPiere)</parenthetical> <dialogue>Go!</dialogue> <scene_description>LaPiere and the six men move for the stairwell. LAPIERE &amp; THE SOLDIERS slam open the stairwell door and fire on full automatic into the pit. Once everyone has emptied one clip, they reload and descend. REICH OBSERVES GARTH as he prepares to activate the controls.</scene_description> <character>REICH</character> <dialogue>What are you doing?</dialogue> <character>GARTH</character> <dialogue>You were right. Vincent developed a way to fix the weather. I'm setting the timers that will blow the roof and seed the incoming storm.</dialogue> <scene_description>Reich thinks about this a moment.</scene_description> <character>REICH</character> <dialogue>No shit? Reverse the weather?</dialogue> </scene> <scene> <stage_direction>INT. STAIRWELL - LAPIERE</stage_direction> <scene_description>allows the troops to take the point as they descend. The lead trooper runs into THE AMEOBIC CREATURE, WHICH ENVELOPES HIM. Blinded, his body armor sparking, the soldier spins madly, screaming.</scene_description> <character>LAPIERE</character> <dialogue>Back off! Back off!</dialogue> <scene_description>He and the remaining troops retreat up five steps.</scene_description> </scene> <scene> <stage_direction>EXT. ROOF - NIGHT</stage_direction> <scene_description>Reich watches Garth type in '5:00' in the timer.</scene_description> <character>REICH</character> <dialogue>What are you doing? You're not going to activate it, are you?</dialogue> <character>GARTH</character> <dialogue>Of course I'm going to activate it.</dialogue> <scene_description>CONTINUED:</scene_description> <character>REICH</character> <dialogue>Don't you realize what this is, you idiot?! This is more than wealth - this is power!</dialogue> <scene_description>IN THE STAIRWELL - LAPIERE and the remaining troops watch as the SOLDIER IS CONSUMED BY THE AMOEBIC CREATURE. His skin turns powder-white before he is spat out like a dust devil to the floor below.</scene_description> <character>LAPIERE</character> <dialogue>Kill it! Shoot it! Shoot it!</dialogue> <scene_description>They OPEN FIRE, FULL AUTOMATIC. ON THE ROOF - REICH AND GARTH stare at one another, Garth's finger poised above the activate button.</scene_description> <character>REICH</character> <dialogue>All I'm asking is... just think about this a minute, will you?... We could evac all this equipment up to the Central Coast and set it off when the time is right. We could... reunite the country. Hell, the entire goddamn world.</dialogue> <character>GARTH</character> <dialogue>With you as emperor, I suppose?</dialogue> <scene_description>Reich grins. Emperor is too strong a word... Garth presses the 'activate' button, bringing this globe on line. IN THE STAIRWELL - LAPIERE and his remaining men RETREAT UP THE STEPS AS THEY FIRE. The ROUNDS SPLATTER THE CREATURE for seconds before it reunites. The creature FLINGS A PORTION OF ITSELF UP THE STAIRWELL, CONNECTING WITH A SOLDIER. He screams in fear, the goo beginning to eat through his body armor. LaPiere reaches past his men to shove the wounded man at the creature below, to buy time. CONTINUED:</scene_description> <character>LAPIERE</character> <parenthetical>(gesturing up)</parenthetical> <dialogue>Let's go, let's go!</dialogue> <scene_description>ROOF - GARTH runs for the next machine as Reich follows him, pleading.</scene_description> <character>REICH</character> <dialogue>Look, look... I'm not a greedy guy. We'll do it your way. Any way you want.</dialogue> <character>GARTH</character> <dialogue>My way is now.</dialogue> <character>REICH</character> <dialogue>No! No, don't you see, there's no margin in that. We can't use that.</dialogue> <scene_description>Garth opens the next controller, taps the 'on' button, begins to program. STAIRWELL - LAPIERE is the last to be slimed. Men below him are already burning, being eaten by the goo flung by the mother creature.</scene_description> <character>LAPIERE</character> <dialogue>Goddamn it, goddamn it!</dialogue> <scene_description>LaPiere peels the body armor belt off. The goo sticks to the electromagnetic shield. LaPiere tosses it into the darkness below and retreats up. INTERIOR - AT THE ROOF DOOR - LAPIERE is almost out the door when the amoebic CREATURE SLAPS ONTO HIM, PULLING HIM BELOW. LaPiere begins to bellow and cry, shrieking with fear. ON THE ROOF - REICH fires his automatic pistol at the sky, stopping Garth, who turns slowly to face him.</scene_description> <character>REICH</character> <dialogue>Let's be reasonable... You're alone. I have troops.</dialogue> <scene_description>CONTINUED: Garth's expression says, I wouldn't be so sure...</scene_description> <character>REICH</character> <dialogue>I want to help mankind, too. Just like you. But at the right time. If we set it off now, no one can take credit, but if we wait, spread the word, rally people to our side, and then set it off - there's no limit to how strong we can become.</dialogue> <character>GARTH</character> <dialogue>No. Now.</dialogue> <character>REICH</character> <dialogue>No. Later. When I say so.</dialogue> <scene_description>Garth shakes his head 'no.'</scene_description> <character>REICH</character> <dialogue>You're a tough nut, Major...</dialogue> <scene_description>Something slaps Reich behind his head. What's that? Keeping the weapon aimed at Garth, HE REACHES BACK WITH HIS LEFT HAND, FEELS SOMETHING ON HIS SKIN, brings the fingers before his eyes so he can see.</scene_description> <character>REICH</character> <dialogue>What the hell?</dialogue> <scene_description>Garth pivots and runs. THIRD SEEDING DEVICE - GARTH slides home, flips open the controller and begins tapping in the activation delay. Behind him, in the distant background, REICH SPINS MADLY, SCREAMING. Garth activates the device, then stands. Reich's VOICE GOES SUDDENLY SILENT. Now there's only Garth and the creature left on the roof. And one remaining pod to be programed. Garth leaps into a run toward it. RUN WITH GARTH as he jumps cables and ventilators. In the distant, and then less so distant background unidentified items are tossed into the air as the creature approaches quickly. Garth freezes. THE CREATURE (SCENE) slowly undulates up into a mound, then a miniature peak, then a crude mimic of humanity, and finally into a monster of a man. Vincent's awful face draws into a smile. Garth draws the Smith and Wessons and BEGINS FIRING, leaping away. A PORTION OF THE CREATURE, JUST FLUNG, SPLATS against a roof brace behind where Garth stood and slithers down. The creature LOSES VISCOSITY AS THE STREAM OF BULLETS HITS IT and it collapses. Garth leaps across the puddle and runs on. THE FOURTH POD - GARTH drops to his knees, opens the control box and begins programing the device. A dark form rises behind him. Garth accidentally programs in '50:00' rather than '5:00'. Cursing:</scene_description> <character>GARTH</character> <dialogue>Goddamn it! Goddamn it!</dialogue> <scene_description>He must start all over again. The form behind him is larger. Finished, Garth stands. He notices the dark form behind him. He turns. REICH stands there, HALF HIS BODY CHALK, SHAKING WITH THE CERTAINTY OF HIS DEATH. He reaches out an arm at Garth but it falls, like a cigarette ash, to the floor and disintegrates. What remains of his living flesh turns chalk-white and disintegrates TO REVEAL: THE CREATURE standing behind him. Goo from REICH'S BODY DRIBBLES AWAY, THEN SCOOTS to the Mother Goo. GARTH retreats a step, removes the remote control from his pocket, presses the 'activate button' and tosses it into the darkness. INSERT - THE CONTROLLER PANELS light up and begin a countdown from 5:00. RESUME SCENE as Garth takes a step to the left. But the creature ignores him, looking instead toward the pod. CREATURE'S POV - THE TIMER continues to count down: 4:33... 4:32... 4:31... 4:30... RESUME SCENE as Garth waves his hands at the creature, trying to draw its attention away from the pod.</scene_description> <character>GARTH</character> <dialogue>Hey! Hey! This way, slime ball!</dialogue> <scene_description>The creature looks at him briefly, then moves for the pod. CONTINUED: The creature FLINGS A WAD OF ITSELF at the pod timer mechanism. The MECHANISM BEGINS TO CHANGE, darken, weaken. GARTH leaps to the pod, breaks a faceplate, stabs ACTIVATE NOW. THE TIMER goes from 4:17 to 10, then 9... 8... 7... 6... GARTH leaps away. THE EXPLOSION sends the pod ball high into the sky, where it BURSTS APART, sending the seeds gusting high into the wind. GARTH runs for the next pod. He slides headfirst into the mechanism, pops the cover open and breaks the face plate. Finger on the ACTIVATE NOW button, Garth looks back over his shoulder. GARTH'S POV - THE CREATURE undulates toward him like a shark smelling blood. RESUME GARTH as he presses the button and moves. THE CREATURE FLINGS ITSELF at the pod just as it EXPLODES. The pod ball rises into the sky, repeating the previous EXPLOSION. GARTH is running for the next pod when the flying goo SLAPS HIM ON THE SHOULDERS and back. The goo causes the BODY ARMOR TO SPARK. Garth checks his wrist read-out: INSERT - WRIST READ-OUT reports 27... 24... 21... GARTH reaches for another battery in his belt. Empty. Garth hits the buckle, snapping the armor loose, and throws it aside, the GOO CLINGING TO IT as it falls away. THIRD POD - GARTH nearly falls over it, drops to a knee, opens the cover, smashes the faceplate and presses the ACTIVATE NOW button. The pod BLOWS just as Garth leaps away. THE SEEDS are whipped up and away by the stiffening wind. GARTH removes the last two clips for the pistols, loads one, then the other. He stares off across the roof. GARTH'S POV - THE CREATURE is making its way toward the final pod. (SCENE) GARTH draws the Smith-and-Wessons and advances. CONTINUED: Garth begins FIRING ON FULL AUTOMATIC as he runs. The BULLETS DISPERSE THE CREATURE. Goo flies everywhere. Garth reaches the pod first, opens the cover, smashes the faceplate. ANOTHER ANGLE - THE CREATURE'S amorphous tentacles grip Garth and pull him back. His reaching hand is jerked away from the ACTIVATE NOW button. Garth bellows in pain as the GOO ABSORBS INTO HIS SKIN. White blotches begin to appear. Garth's boot catches a cable line and holds as the creature pulls on his prone body. Garth reaches for a pen in his pocket. It's the miniature crossbow seen earlier. Arms spring out, a trigger. The bolt snaps into place with a flick of his wrist. Garth aims... aims... and fires. THE POD CONTROLLER - THE ACTIVATE NOW BUTTON is pressed home by the flying bolt. GARTH AND THE CREATURE are blown back by the explosion. Garth lands ten feet away. The GOO IS SLOWLY PROCEEDING UP ONE ARM, changing his flesh, killing it. Garth rubs it, as if to return circulation, but it doesn't help. Garth sees the creature reforming, moving toward him. He tries to move but he's been hurt far more than he thought. He sags, waiting death. A DAMAGED ROBOT from an earlier confrontation with the creature surges forward. In its hands, a cable whose end has been stripped, revealing naked wires. The robot spears the creature with the cable. SPARKS AND SIZZLING FLESH. Moments pass as the CREATURE CONTINUES TO LOSE VISCOSITY, sagging finally into bags of amorphous jelly, and then decayed pools of chemicals. CONTINUED: Diana APPEARS, imperfectly due to damaged projector lenses, on top of the robot, which drops the cable.</scene_description> <character>DIANA</character> <dialogue>Are you all right?</dialogue> <character>GARTH</character> <parenthetical>(coughing)</parenthetical> <dialogue>I'm dying.</dialogue> <character>DIANA</character> <dialogue>No you're not. I can save you.</dialogue> <character>GARTH</character> <parenthetical>(laughs - bubbling blood)</parenthetical> <dialogue>No. I don't think so.</dialogue> <scene_description>The robot scoops him up, pivots and moves for the stairwell door, DIANA PROJECTED ON TOP and seeming to tend to Garth. THE TRACKS OF THE ROBOT pass over puddles of ooze, which cling.</scene_description> </scene> <scene> <stage_direction>EXT./INT. THE STAIRWELL - (SCENE)</stage_direction> <scene_description>The robot carrying Garth, crazily descends the steps, dropping from step to step. Smashes through the second landing door. Crashes through the third. Careens around the corner and through the final door. THE ROBOT'S TRACKS are beginning to SMOKE AND HISS as the creature transforms the metal. GARTH AND DIANA almost tumble from the robot as it throws a track and grinds to a halt. Garth's left arm is almost ash. CONTINUED:</scene_description> <character>DIANA</character> <dialogue>You must get up!... Get up!... Get up, goddamn it! GET UP!</dialogue> <scene_description>Garth is almost out. He looks questioningly at Diana, as if to ask, Why?</scene_description> <character>DIANA</character> <dialogue>Get to the computer! John, listen to me, you can still live... if you just get to the computer!</dialogue> <scene_description>Garth understands. He tries to lift himself from the robot's arms, falls back, tries again. Garth tumbles to the floor, tries to stand but his LEFT LEG HAS BEEN CONVERTED TO WASTE MATERIAL. No living flesh there.</scene_description> <character>DIANA</character> <dialogue>Focus, John! Focus on me. You can do it.</dialogue> <scene_description>DIANA'S IMAGE FLICKERS in the darkness, a wavering ghost. She is tethered to the damaged robot, unable to go with him. Garth begins to crawl. DIANA DISAPPEARS FROM THE ROBOT and REAPPEARS, A BETTER PROJECTION, near the computer where Vincent's lifeless body lays.</scene_description> <character>DIANA</character> <dialogue>Fifteen feet, John. That's all it is. Just fifteen feet.</dialogue> <scene_description>(SCENE) THE CREATURE surges through the door. Diana snaps around to look, as does Garth. The creature too is not what it once was. The beast fights to retain its form and motion, but moves forward. Garth tries to crawl faster, but can't. DIANA DISAPPEARS from the computer, and REAPPEARS at the robot. Standing on its top, she directs it to turn around. The remaining track spins the machine around. Garth forces himself to go faster. CONTINUED: Diana commands the robot's arms to snap menacingly. This is the only weapon that remains. The creature advances. Garth uses furniture to pull himself forward. He's on his knees now. The robot's arms snap as the creature advances. The robot and creature meet. The snapping arms are meaningless. The CREATURE SWALLOWS THE ROBOT as DIANA'S IMAGE WAVERS, CRACKLES, AND DISAPPEARS. (SCENE) DIANA REAPPEARS beside the computer. She watches with mute horror as the creature absorbs the robot, rises to its full height, and then FLINGS A PORTION OF ITS MASS AT GARTH. The GOO HITS GARTH just as he rises to push Vincent's body from the couch. The body topples onto the floor as Garth screams in pain. The GOO SETTLES INTO HIS BACK, sizzling. Garth loses control of his body, collapses to the floor. Portions of his back, waist, one leg, one arm are already lifeless.</scene_description> <character>DIANA</character> <dialogue>I can't do this for you! You must get up onto the couch! Now! NOW!</dialogue> <scene_description>Garth shakes the grogginess away as A SHADOW FALLS ACROSS HIM. (SCENE) THE CREATURE, its mass increased by conquest, has risen to its full height less than five feet away. Garth rises on one leg as the other drops away from his body, a fallen cigarette ash. One last Herculean effort, Garth jumps up onto the couch. The CREATURE FALLS UPON HIM, swallowing him whole. CONTINUED: Diana gasps in surprise and regret. Garth's GOOD HAND JUTS UP THROUGH THE GOO, pulls the temple probe down to where his forehead is located beneath the creature. The vast computer's HUM increases. The outline of Garth's body jumps, then shakes in death rattle. Diana throws the full power of EnCrypt into the chair making contact with the amoebic goo. EnCrypt's dormant synaptic power rises to a terrible HUM. The creature fries, this time not dissolving but burning. Pieces fly away, ashes fallen from a bonfire. A BELLOWING MOAN rises from the creature as it crumbles into hot dust. SLOW DISSOLVE:</scene_description> </scene> <scene> <stage_direction>EXT. A MEADOW ABOVE THE OCEAN - DAY</stage_direction> <scene_description>Wild flowers are in bloom. The sea wind gusts gently. Garth stands staring out to sea. He wears casual clothes, clean, carefree. A hand reaches out for him. Garth takes it. PULL BACK to reveal Diana. Wearing a sun dress and holding a hat on her head against the wind. She smiles. PULL BACK TO REVEAL that this is a television screen in the EnCrypt computer room. PULL BACK TO THE CEILING... THROUGH THE CEILING... THEN THE</scene_description> </scene> <scene> <stage_direction>NEXT, AND THE NEXT... TO THE ROOF... TO THE SKY, WHERE THE</stage_direction> <scene_description>STORM IS RAGING AND THE POD SEEDS ARE SWIRLING... ABOVE THE STORM... PULL BACK TO THE EARTH ITSELF, SPINNING ON. FADE OUT:</scene_description> <character>THE END</character> </scene> </script>

A few survivors have dedicated themselves to preserving and protecting what is left of mankind; among these is former Army Captain John Thomas Garth (Grant Show). Approached by Lapierre (Steve Bacic), a former comrade now employed by eco-profiteer Anton Reich (Art Hindle), Garth is made an offer he cannot refuse. In exchange for his father's and other's survival, Reich agrees to lead a small team of mercenaries into the impenetrable Vincent estate to "liberate" the priceless works of art that had been stored there. Accompanied by reconnaissance specialist Fernandez (Naomi Gaskin), sniper King (Matthew G. Taylor), and tech genius Ebershaw (Wayne Ward), Garth must find a way to circumvent Encrypt, the deadly computerized security system surrounding the estate. Other obstacles include the Rook, a killer robot, and Diana (Vivian Wu), the holographic security chief of the estate. With the help of Lapierre, Garth destroys the Rook and discovers that it actually protects a device that can restore the ozone layer. With the help of Diana, Garth triggers it, but presumably dies soon afterwards.

12 and Holding_2005

tt0417385

<script> <scene> <stage_direction>EXT. NEIGHBORHOOD STREET - MORNING</stage_direction> <scene_description>TWIN BOYS , RUDY AND JACOB CARGES -LRB- 12 -RRB- , ride their bikes through a suburban neighborhood . Rudy , the more athletic of the two , rides at a breakneck pace . Jacob rides slowly due to a HOCKEY MASK that he wears over his face . It 's making it difficult for him to see . The boys turn down a DIRT PATH and ride deep into some WOODS .</scene_description> </scene> <scene> <stage_direction>INT. WOODS - CONTINUOUS</stage_direction> <scene_description>Rudy and Jacob ride to the edge of a CLEARING and stop . Across from the clearing is a large OAK TREE , which has a TREE HOUSE perched high up in it 's branches . The boys cautiously look around and whisper .</scene_description> <character>JACOB</character> <dialogue>You see ` em?</dialogue> <character>RUDY</character> <dialogue>No. But that does n't mean they're not here.</dialogue> <scene_description>After a beat , Rudy gets off his bike and starts walking towards the tree house . Jacob stays behind , eyeing their safety .</scene_description> <character>RUDY</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Jacob, come on. It's cool.</dialogue> <scene_description>Suddenly , a ROCK comes careening from off screen . It hits Jacob in the head and knocks him to the ground . Rudy darts for the oak tree as a hail storm of rock and debris come flying at him . As Jacob rises , a stream of blood pours down the front of his mask . He quickly runs for the tree . TWO BOYS , JEFF AND KENNY -LRB- 14 -RRB- , trailer park , punks come running out of the woods , rocks in hand . Rudy and Jacob climb the tree , using makeshift RUNGS that are nailed into the trunk . In the floor of the tree house is a DOOR . Rudy removes a KEY from a chain around his neck and unlocks it . He climbs inside and pulls Jacob in after him .</scene_description> </scene> <scene> <stage_direction>INT. TREE HOUSE - CONTINUOUS</stage_direction> <scene_description>Jacob looks back and sees Jeff and Kenny , running over . Rudy crosses to the door with a BUCKET of liquid .</scene_description> <character>JACOB</character> <dialogue>What the hell is that?</dialogue> <character>RUDY</character> <dialogue>Piss.</dialogue> <scene_description>Rudy dumps the piss onto Jeff and Kenny .</scene_description> </scene> <scene> <stage_direction>EXT. TREE HOUSE - SAME TIME</stage_direction> <scene_description>Now drenched with piss , Jeff and Kenny jump from the tree , screaming . They try to shake the urine off . Kenny spits the taste out of his mouth and angrily calls up to the boys .</scene_description> <character>KENNY</character> <dialogue>You and your deformed brother are dead!</dialogue> </scene> <scene> <stage_direction>INT. TREE HOUSE - SAME TIME</stage_direction> <scene_description>Jacob rips the hockey mask off . -LRB- A large STRAWBERRY BIRTHMARK covers the right side of his face . -RRB- He 's insulted .</scene_description> <character>RUDY</character> <parenthetical>( calling to Kenny . )</parenthetical> <dialogue>Anytime you're ready, dickhead.</dialogue> </scene> <scene> <stage_direction>EXT. TREE HOUSE - SAME TIME</stage_direction> <scene_description>Jeff and Kenny walk off .</scene_description> <character>KENNY</character> <dialogue>They're fucking dead!</dialogue> <scene_description>Jeff runs off screen and throws up .</scene_description> </scene> <scene> <stage_direction>INT. FISHER HOME - KITCHEN - MORNING</stage_direction> <scene_description>LEONARD FISHER -LRB- 12 -RRB- , severely obese , sits at the dinner table , eating pancakes . His FATHER , PATRICK -LRB- 35 -RRB- and TWO YOUNGER SISTERS , HALEY -LRB- 8 -RRB- and SARA -LRB- 6 -RRB- are seated with him . They are all overweight . LEONARD 'S MOTHER , GRACE -LRB- 35 -RRB- , the largest of them all , crosses to the table , sits and starts eating . JUMP CUTS show the progression of their meal . From globs of syrup being placed over pancakes to the mass consumption of omelets and sausage . Caught up with eating , nobody speaks . EST. . EXT. . CHUNG RESIDENCE - MORNING A modern , upper - class home with a large , well tended yard .</scene_description> <character>YACCO</character> <parenthetical>( O.S . )</parenthetical> <dialogue>The check is supposed to be here on the first of the month. She's your daughter, you asshole!</dialogue> </scene> <scene> <stage_direction>INT. CHUNG HOME - UPSTAIRS HALLWAY - CONTINUOUS</stage_direction> <scene_description>YACCO CHUANG -LRB- 35 -RRB- , Asian - American , sexy , uptight , psychiatrist , paces the hallway on the phone . HER DAUGHTER , MALEE -LRB- 12 -RRB- with long , black , braided hair and thick rimmed glasses , peeks her head out of the bathroom .</scene_description> <character>MALEE</character> <dialogue>Mom, I need help.</dialogue> <character>YACCO</character> <parenthetical>( INTO PHONE . )</parenthetical> <parenthetical>( ignoring her . )</parenthetical> <dialogue>Any parent is `` parent of the year'' next to you, you selfish prick.</dialogue> <scene_description>Yacco walks off . Deflated , Malee reenters the bathroom .</scene_description> </scene> <scene> <stage_direction>INT. CHUNG HOME - BATHROOM - CONTINUOUS</stage_direction> <scene_description>Malee is wrapped in a towel and holding a TAMPON . Confused , she grabs the TAMPON BOX and reads the directions . Malee 's confusion quickly turns to disgust .</scene_description> </scene> <scene> <stage_direction>EXT. NEIGHBORHOOD ENTRANCE - LATER</stage_direction> <scene_description>Leonard sits upon a large rock with the words , LINDSAY ACRES inscribed on the center of it . He eats POPCORN . Hanging off the top right hand corner of the rock is a banner , which reads , 5th ANNUAL 4TH OF JULY PICNIC . ALL INVITED . Malee rides her bike up to Leonard . She HONKS her BIKE HORN at every pedestrian in her path .</scene_description> <character>MALEE</character> <dialogue>Move it, people. Outta my way!</dialogue> <scene_description>She comes to a screeching halt an inch in front of Leonard .</scene_description> <character>LEONARD</character> <parenthetical>( mouthful . )</parenthetical> <dialogue>You're late.</dialogue> <character>MALEE</character> <dialogue>Yeah well, I began menstruating this morning, and I had some difficulty inserting the tampon.</dialogue> <parenthetical>( off his disgusted look . )</parenthetical> <dialogue>What? It's a natural process. You know, I could conceive, carry and birth a child right now.</dialogue> <character>LEONARD</character> <dialogue>Big deal. You wo n't.</dialogue> <character>MALEE</character> <dialogue>But I could. That's what matters.</dialogue> <character>LEONARD</character> <dialogue>The twins said, they'd meet us at the spot.</dialogue> <scene_description>Leonard gets on his bike .</scene_description> <character>MALEE</character> <dialogue>Wan na race?</dialogue> <character>LEONARD</character> <dialogue>Nah, I'm good.</dialogue> </scene> <scene> <stage_direction>INT. TREE HOUSE - LATER</stage_direction> <scene_description>Jacob wipes at his head wound , frightened .</scene_description> <character>JACOB</character> <dialogue>Maybe I should have mom look at it.</dialogue> <character>RUDY</character> <dialogue>If you did n't have that damn mask on, you'd have seen it coming. Our birthday comes once a year, and you ask for a hockey mask. You do n't even play.</dialogue> <character>JACOB</character> <dialogue>Jason from `` Friday the 13th'' wears one. He's bad ass.</dialogue> <character>RUDY</character> <dialogue>Exactly. Jason would n't run home ` cause of a little blood. He'd get back up, decapitate his victim and move on.</dialogue> <scene_description>Jacob looks out the makeshift window in the wall .</scene_description> <character>JACOB</character> <dialogue>You think Jeff and Kenny will come back?</dialogue> <character>RUDY</character> <dialogue>I dropped piss on their heads. I'd say the odds are pretty good.</dialogue> <character>MALEE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>You did what?</dialogue> <scene_description>Rudy and Jacob turn to find Malee and Leonard , entering the tree house .</scene_description> <character>RUDY</character> <dialogue>Jeff and Kenny were here. I dumped the piss I've been saving on their heads.</dialogue> <character>LEONARD</character> <dialogue>Why were you saving piss?</dialogue> <character>RUDY</character> <dialogue>Just incase. Pretty smart, huh?</dialogue> <character>JACOB</character> <dialogue>No, it's stupid cause now they're gon na come back here and kick all our asses.</dialogue> <character>RUDY</character> <dialogue>Do n't be such a pussy.</dialogue> <character>LEONARD</character> <dialogue>Yeah, I could probably take them both myself.</dialogue> <character>RUDY</character> <dialogue>What are you gon na do, Leonard, eat them?</dialogue> <character>JACOB</character> <dialogue>All I'm saying is, who cares if they tear it down.</dialogue> <character>RUDY</character> <dialogue>This is OUR place. We've been coming here since we were seven.</dialogue> <character>JACOB</character> <dialogue>Nothing lasts forever.</dialogue> <character>RUDY</character> <dialogue>You're such a butt - munch.</dialogue> <scene_description>Rudy pushes Jacob . Jacob pushes back . The two start fighting .</scene_description> <character>MALEE</character> <dialogue>You guys, it's your birthday. Could you try and get along?</dialogue> <scene_description>Off the boy 's fighting -</scene_description> </scene> <scene> <stage_direction>INT. YACCO'S OFFICE - LATER THAT AFTERNOON</stage_direction> <scene_description>Yacco sits across from DEBBIE POOLE -LRB- 42 -RRB- , housewife , conservatively dressed .</scene_description> <character>DEBBIE</character> <dialogue>I do n't think therapy is helping.</dialogue> <character>YACCO</character> <dialogue>Why do you say that? Are you still `` cutting''?</dialogue> <scene_description>Embarrassed , Maggie lifts up her shirt sleeve . We see that her arm is covered with cuts . Dried blood is everywhere . Yacco is horrified by the sight .</scene_description> <character>YACCO</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Oh, Debbie.</dialogue> <character>DEBBIE</character> <dialogue>It feels much better than it looks. Really.</dialogue> <scene_description>Suddenly , Malee bursts into her mother 's office .</scene_description> <character>MALEE</character> <dialogue>Ma, I. Oops.</dialogue> <character>YACCO</character> <dialogue>Malee, out. Now.</dialogue> <character>MALEE</character> <dialogue>I'm sorry.</dialogue> <scene_description>Malee quickly exits the office .</scene_description> <character>YACCO</character> <dialogue>Excuse me for a moment.</dialogue> </scene> <scene> <stage_direction>INT. YACCO'S OFFICE - RECEPTION AREA - CONTINUOUS</stage_direction> <scene_description>Yacco enters the reception area . She is obviously angry .</scene_description> <character>YACCO</character> <dialogue>I told you a 100 times to knock.</dialogue> <character>MALEE</character> <dialogue>I said, I was sorry.</dialogue> <character>YACCO</character> <dialogue>Why are n't you with the boys?</dialogue> <character>MALEE</character> <dialogue>Rudy and Jacob went for pizza with their parents.</dialogue> <scene_description>Yacco crosses to a desk and removes a FLUTE from a drawer .</scene_description> <character>YACCO</character> <dialogue>I found this in the backseat of my car this morning. Do you know how much flutes cost? Go outside, sit on the front steps and practice.</dialogue> <character>MALEE</character> <dialogue>But, mom.</dialogue> <character>YACCO</character> <dialogue>Now!</dialogue> <scene_description>Angered , Malee grabs the flute and exits .</scene_description> </scene> <scene> <stage_direction>EXT. FRONT OF YACCO'S OFFICE - CONTINUOUS</stage_direction> <scene_description>Malee drops on the stoop like a ton of bricks . After a beat , she reluctantly begins playing her flute . A few pedestrians stop to listen .</scene_description> <character>MALEE</character> <dialogue>Keep it moving. This ai n't a show.</dialogue> </scene> <scene> <stage_direction>INT. TWIN'S HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>Rudy and Jacob stare into the camera with big grins .</scene_description> <character>RUDY/JACOB</character> <dialogue>Cheese!</dialogue> <scene_description>VFX : CAMERA FLASH The boys relax their poses as ASHLEY and JIM CARGES -LRB- 30 's -RRB- , enter the shot . Ashley puts her camera down on the table and picks up a large PRESENT .</scene_description> <character>JIM</character> <dialogue>Okay, you got your small gifts this morning. Now for the big ones.</dialogue> <character>ASHLEY</character> <dialogue>This one is Rudy's.</dialogue> <scene_description>Rudy rips into the present , revealing a SONY PLAY STATION .</scene_description> <character>RUDY</character> <dialogue>Sony play station! Oh my God! Oh my God! Yes! Too cool!</dialogue> <character>JIM</character> <dialogue>Since neither of you wanted a party this year, we were able to splurge.</dialogue> <scene_description>Ashley removes an ENVELOPE from her purse . She hands it to Jacob . His enthusiasm suddenly turns to worry .</scene_description> <character>JACOB</character> <dialogue>What is it?</dialogue> <character>ASHLEY</character> <dialogue>Only one way to find out.</dialogue> <scene_description>Jacob removes a colorful PAMPHLET from the envelope .</scene_description> <character>JIM</character> <dialogue>Go ahead, read it.</dialogue> <character>JACOB</character> <dialogue>`` Plastic Surgery. Is n't it about time?''.</dialogue> <parenthetical>( horrified . )</parenthetical> <dialogue>I do n't get it.</dialogue> <character>ASHLEY</character> <dialogue>Your father and I are going to pay to have your birthmark removed.</dialogue> <character>JIM</character> <dialogue>Is n't that great.</dialogue> <character>JACOB</character> <dialogue>You got me surgery for my birthday?</dialogue> <character>JIM</character> <dialogue>Not just one. A series of them.</dialogue> <character>RUDY</character> <parenthetical>( overcompensating . )</parenthetical> <dialogue>Cool.</dialogue> <character>JACOB</character> <dialogue>It's not `` cool''. It totally sucks!</dialogue> <scene_description>Jacob drops the envelope , walks from the room .</scene_description> <character>JIM</character> <dialogue>Jacob?</dialogue> </scene> <scene> <stage_direction>INT. TWIN'S HOUSE - BOY'S BEDROOM - LATER</stage_direction> <scene_description>Rudy enters the darkened room and crosses over to Jacob , who has his face planted in his pillow . Jacob has been crying .</scene_description> <character>RUDY</character> <dialogue>Do n't sweat it. You can borrow my play station anytime you want.</dialogue> <character>JACOB</character> <dialogue>This is n't about the play station. It's about this thing on my face. Everybody hates it.</dialogue> <character>RUDY</character> <dialogue>I do n't.</dialogue> <character>JACOB</character> <dialogue>Who cares what you think? You're the reason for all of this. Perfect you with your perfect skin. There to show the world what I'm supposed to look like.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>You know, sometimes I just wish I was n't your twin.</dialogue> <character>RUDY</character> <dialogue>Screw you! Know what, I take it back, you ca n't use my play station.</dialogue> <scene_description>Rudy exits the room , slamming the door after him .</scene_description> </scene> <scene> <stage_direction>EXT. NEIGHBORHOOD - NEXT DAY</stage_direction> <scene_description>It 's your typical fourth of July block party . Families crowd the streets with BBQ GRILLS , cotton candy and beer . Children ride their bicycles , which are adorned with streamers , balloons and noise makers . Off to the side , Malee and Jacob sit , eating SNOW CONES .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - SAME TIME</stage_direction> <scene_description>Jim Carges tends to some burgers on his grill . GABE ARTUNION -LRB- 40 -RRB- , real estate agent , approaches .</scene_description> <character>GABE</character> <dialogue>30 acres.</dialogue> <character>JIM</character> <dialogue>I already told you, Gabe, I'm not selling that land. Not 30 acres not five.</dialogue> <character>GABE</character> <dialogue>I'm willing to pay top dollar.</dialogue> <character>JIM</character> <dialogue>I'm not gon na let you tear down those woods, so you can stack twenty houses right on top of each other.</dialogue> <character>GABE</character> <dialogue>I'm gon na write down a number.</dialogue> <character>JIM</character> <dialogue>No! My kids. hell, your kids play in those woods all the time. You ca n't put a price on that.</dialogue> <scene_description>Gabe writes down a number and hands it to Jim .</scene_description> <character>GABE</character> <dialogue>I believe I can.</dialogue> <scene_description>Jim looks at the figure and his eyes go wide .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - LATER</stage_direction> <scene_description>A line of PICNIC TABLES surround nearby GRILLS . Leonard 's family minus Leonard sit , eating as if there 's no tomorrow .</scene_description> <character>SOCCER MOM # 1</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Look at them. So unhealthy.</dialogue> <scene_description>ON TWO SOCCER MOMS , watching Leonard 's family eat .</scene_description> <character>SOCCER MOM # 1</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You know, Grace can barely walk because of her weight.</dialogue> <character>SOCCER MOM # 2</character> <dialogue>Where do you think she finds clothes big enough to fit?</dialogue> <scene_description>The two woman walk off . As they disperse , we see LEONARD , standing behind them . He has heard every word . Hurt , Leonard looks down at his own plate , which overflows with food . He feels embarrassed and disgusted . Patrick rises and crosses over to the buffet table .</scene_description> <character>PATRICK</character> <dialogue>Good eating, huh son?</dialogue> <scene_description>Patrick grabs the ladle and begins to fill up his plate .</scene_description> <character>LEONARD</character> <dialogue>Maybe you should n't have seconds, Dad, you know?</dialogue> <character>PATRICK</character> <dialogue>Who are you, Richard Simmons? C'mon, enjoy the day.</dialogue> <scene_description>He walks off with his food . Leanard looks down at the food , shrugs , then helps himself to a heaping porion .</scene_description> </scene> <scene> <stage_direction>EXT. ANOTHER PART OF THE STREET - DUSK</stage_direction> <scene_description>RUDY straddles his bike while watching a group of 8 - year - olds , having a water balloon fight . Jealous , he reminiscences to a time when he was one of those kids .</scene_description> <character>KENNY</character> <parenthetical>( o.s . )</parenthetical> <dialogue>Me and Jeff are gon na pay that tree house of yours a little visit tonight.</dialogue> <scene_description>Rudy spins around to find Kenny , standing at his side .</scene_description> <character>KENNY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>When we're through, it'll be a pile of scrap.</dialogue> <character>RUDY</character> <dialogue>Why do n't you take your smelly ass back to the trailer park?</dialogue> <character>KENNY</character> <dialogue>Free country, asshole.</dialogue> <character>RUDY</character> <dialogue>You got nothing better to do than pick on us all the time?</dialogue> <character>KENNY</character> <dialogue>I did until yesterday.</dialogue> <character>RUDY</character> <dialogue>I thought you liked `` golden showers''. Oh no, that was your mother.</dialogue> <scene_description>Kenny pushes Rudy to the ground and then jumps on top of him . Rudy struggles to get free , but he 's overpowered . A crowd of kids surround them , chanting , `` FIGHT , FIGHT '' . Jeff hocks a phlegm wad onto Rudy 's face . Rudy screams as the stream of saliva , drips across his nose and onto his lip .</scene_description> <character>NEIGHBORHOOD FATHER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>What's going on over there?</dialogue> <scene_description>Kenny looks up and sees a neighborhood parent coming over .</scene_description> <character>KENNY</character> <dialogue>I'll finish this tonight!</dialogue> <scene_description>Kenny pushes Rudy down once more and runs off . Rudy slowly rises , wiping the saliva from his face .</scene_description> </scene> <scene> <stage_direction>EXT. VACANT LOT - LATER THAT NIGHT</stage_direction> <scene_description>The entire neighborhood has descended upon a VACANT LOT . They are awaiting the annual , fireworks display . We FIND Leonard , Jacob and Malee sitting on a large rock , which gives them a birds eye view of the crowd . Rudy runs over to the rock and climbs up top .</scene_description> <character>RUDY</character> <dialogue>Kenny showed up. He said, Jeff and him are gon na tear the treehouse down tonight. We got ta sneak out and stop them.</dialogue> <character>JACOB</character> <dialogue>Mom and Dad would kill us.</dialogue> <character>RUDY</character> <dialogue>We ca n't let him tear it down.</dialogue> <character>JACOB</character> <dialogue>It's just a treehouse.</dialogue> <character>RUDY</character> <dialogue>No, it's not! You know what, you suck. I'm going. Leonard, you in?</dialogue> <character>JACOB</character> <dialogue>You do n't have to go if you do n't want to.</dialogue> <character>RUDY</character> <dialogue>Do n't listen to him. He's a pussy.</dialogue> <scene_description>Leonard looks between Jacob and Malee .</scene_description> <character>LEONARD</character> <dialogue>I'll go.</dialogue> <character>RUDY</character> <dialogue>Finally, someone with balls.</dialogue> <scene_description>Insulted , Jacob slides off the rock and walks away . Malee follows .</scene_description> <character>RUDY</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Let them go.</dialogue> <scene_description>The fireworks display begins . As they turn to watch it .</scene_description> </scene> <scene> <stage_direction>INT. TWIN'S HOME - BOY'S BEDROOM - MIDDLE OF THE NIGHT</stage_direction> <scene_description>We SCAN the room and come to a set of BUNK BEDS . SFX : ELECTRIC WATCH ALARM A body in the top bunk sits up and turns on a small bed light . Reveal , it 's RUDY . Rudy grabs his watch from the post and silences the alarm . Jacob sits up in bed .</scene_description> <character>JACOB</character> <dialogue>Rudy.</dialogue> <character>RUDY</character> <dialogue>Unless you're coming with me, I do n't want to hear it.</dialogue> <scene_description>Jacob lies back in bed , silent . Rudy jumps off the top bunk , gets dressed and grabs a BASEBALL BAT . Before leaving , Rudy looks back at Jacob and shakes his head , disappointed .</scene_description> <character>RUDY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You know, you ca n't be a pussy all your life.</dialogue> <character>JACOB</character> <dialogue>What?</dialogue> <character>RUDY</character> <dialogue>Jeff and Kenny pick on you all the time, and you do n't do shit.</dialogue> <character>JACOB</character> <dialogue>It's my problem.</dialogue> <character>RUDY</character> <dialogue>No, it's mine too. Cause we're brothers. That's what brothers do. They fight for each other, kill for each other, die for each other.</dialogue> <character>JACOB</character> <dialogue>I do n't feel that way.</dialogue> <character>RUDY</character> <dialogue>Cause you're a pussy. So stay home, keep your head under the blankets. I'm gon na fight.</dialogue> <scene_description>With that , Rudy disappears out the window . DARKNESS . SFX : CREAKING DOOR . A FLASHLIGHT illuminates the location . We are .</scene_description> </scene> <scene> <stage_direction>INT. TREEHOUSE - LATER THAT NIGHT</stage_direction> <scene_description>Leonard and Rudy enter with the help of a flashlight . Leonard reaches inside his backpack and removes a number of SNACK CAKES from his backpack .</scene_description> <character>LEONARD</character> <parenthetical>( re : snack cakes . )</parenthetical> <dialogue>Some provisions.</dialogue> <character>RUDY</character> <dialogue>We're only gon na be here a couple of hours.</dialogue> <character>LEONARD</character> <dialogue>When two o'clock rolls around, you'll be begging for one of these.</dialogue> <scene_description>Rudy shakes his head , removes his BAT from his backpack .</scene_description> <character>LEONARD</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( re : baseball bat . )</parenthetical> <dialogue>I did n't bring my glove.</dialogue> <character>RUDY</character> <dialogue>Moron, the bat is for Jeff and Kenny. You know, to scare them a little.</dialogue> <scene_description>He swings it hard .</scene_description> <character>RUDY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Maybe it's best if we do n't talk. Just listen. Listen for them, and do n't fall asleep.</dialogue> <character>LEONARD</character> <dialogue>I'm wide awake. I could stay up all night.</dialogue> <scene_description>EST. . EXT. . WOODS - LATER THAT NIGHT The treehouse is illuminated by the full moon , which rests in the sky above . The thunderous sound of a million crickets fills the air .</scene_description> </scene> <scene> <stage_direction>INT. TREEHOUSE - CONTINUOUS</stage_direction> <scene_description>Both boys lie asleep . A mosquito flies in through the window and buzzes past Leonard 's ear . He haphazardly swipes at it in his sleep , wakes himself up .</scene_description> <character>LEONARD</character> <dialogue>Oh, shit.</dialogue> <scene_description>Rudy jumps awake .</scene_description> <character>RUDY</character> <dialogue>What. What is it? They here?</dialogue> <character>LEONARD</character> <dialogue>No.</dialogue> <scene_description>Leonard rises , picks up his bag and opens the TRAP DOOR in the floor . He is about to exit .</scene_description> <character>RUDY</character> <dialogue>Where you going?</dialogue> <character>LEONARD</character> <dialogue>They're not gon na show up, I'm goin' home. It's three o'clock -</dialogue> <scene_description>Suddenly , a FLAMING COCKTAIL comes flying through the window . It hits Rudy in the head , explodes and engulfs him in flames .</scene_description> </scene> <scene> <stage_direction>EXT. TREEHOUSE - SAME TIME</stage_direction> <scene_description>Jeff and Kenny stand a few yards away from the treehouse . Both laugh at the sight of the flames inside .</scene_description> <character>KENNY</character> <dialogue>Now yours. And aim for the window.</dialogue> <scene_description>Jeff lights his COCKTAIL . It misses the window and smashes into the side of the tree house .</scene_description> <character>KENNY</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Ha ha, you suck.</dialogue> <scene_description>Jeff and Kenny hear Leonard and Rudy screaming from inside .</scene_description> <character>JEFF</character> <dialogue>You hear that?</dialogue> </scene> <scene> <stage_direction>INT. TREEHOUSE - SAME TIME</stage_direction> <scene_description>Rudy , now covered in flames , rolls on the floor , screaming .</scene_description> <character>RUDY</character> <dialogue>Put it out! Put it out!</dialogue> <scene_description>Leonard struggles to put out the flames with his backpack , but it 's of no use . He spins around and finds the wall behind him , engulfed with flames . He screams , terrified .</scene_description> </scene> <scene> <stage_direction>EXT. TREEHOUSE - SAME TIME</stage_direction> <scene_description>Jeff and Kenny are frantic .</scene_description> <character>JEFF</character> <dialogue>They're in there! They're in there!</dialogue> <scene_description>Jeff turns around and runs back home through the woods .</scene_description> </scene> <scene> <stage_direction>INT. TREEHOUSE - SAME TIME</stage_direction> <scene_description>Leonard backs away from Rudy . Unfortunately , he does n't realize that the door in the floor is open .</scene_description> </scene> <scene> <stage_direction>EXT. TREEHOUSE - SAME TIME</stage_direction> <scene_description>We watch over Kenny 's shoulder as Leonard falls from the treehouse , smacks his head on the tree trunk and comes to a crash upon some rocks . Kenny runs over and finds Leonard unconscious .</scene_description> <character>KENNY</character> <dialogue>Wake up! Wake up, kid!</dialogue> <scene_description>Off the treehouse , which is now a towering inferno -</scene_description> </scene> <scene> <stage_direction>INT. TWIN'S HOUSE - PARENT'S BEDROOM - SAME TIME</stage_direction> <scene_description>Ashley jumps up from a deep sleep . There is terror on her face . She rushes over to her DESK and turns on the LAMP . Ken is awakened by her .</scene_description> <character>JIM</character> <dialogue>Ashley? What is it?</dialogue> <character>ASHLEY</character> <dialogue>I forgot to deposit your paycheck last week.</dialogue> <character>JIM</character> <dialogue>But I already wrote some checks.</dialogue> <character>ASHLEY</character> <dialogue>I know. With the cookout and everything, I forgot. I'll deposit it tomorrow. The holiday should buy us an extra day.</dialogue> <character>JIM</character> <dialogue>Write yourself a note so you do n't forget again.</dialogue> <character>ASHLEY</character> <dialogue>I just did.</dialogue> <scene_description>Ashley turns off the desk lamp and returns to bed .</scene_description> <character>ASHLEY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Goodnite.</dialogue> <scene_description>SFX OVER BLACK : TELEPHONE RINGING</scene_description> </scene> <scene> <stage_direction>EXT. GRAVEYARD - WEEKS LATER - AFTERNOON</stage_direction> <scene_description>ON JIM and ASHLEY , watching Rudy 's casket as it is lowered into the ground . The once spirited , couple now looks tired and pained . They are accompanied by a number of mourners .</scene_description> <character>PRIEST</character> <dialogue>Rest in piece, Rudolph Eugene Carges. May God hold you in the palm of his hand.</dialogue> <scene_description>Jacob stands beside his parents . Tears stream from his eyes , across his birthmark and off his chin . So stricken with grief , Jacob barely has to energy to wipe the tears away . We continue on through the crowd and find Malee . Embarrassed by the tears , she brings a black veil down over her face .</scene_description> </scene> <scene> <stage_direction>INT. YACCO'S OFFICE - LATER THAT DAY</stage_direction> <scene_description>Malee enters , still wearing the veil . She crosses to the couch and sits beside A PATIENT , GUS MAITLAND -LRB- 30 -RRB- , long haired , hippi - type with a moustache and beard . Gus eyes Malee , intrigued .</scene_description> <character>GUS</character> <dialogue>Friend or family?</dialogue> <character>MALEE</character> <dialogue>Huh?</dialogue> <character>GUS</character> <dialogue>The person who died.</dialogue> <character>MALEE</character> <dialogue>Friend.</dialogue> <character>GUS</character> <dialogue>I'm sorry. You'll like Dr. Chung. This is only my second session, but she's good.</dialogue> <character>MALEE</character> <dialogue>I'm not a patient. I'm her daughter.</dialogue> <scene_description>Malee lifts her veil and looks at Gus .</scene_description> <character>GUS</character> <dialogue>Oh. I can see the resemblance.</dialogue> <character>MALEE</character> <dialogue>Are you trying to make me sick?</dialogue> <scene_description>Gus shoots Malee a look just as Yacco exits her office .</scene_description> <character>YACCO</character> <dialogue>Mr. Maitland?</dialogue> <scene_description>Gus rises and enters the office .</scene_description> <character>YACCO</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>I'll be with you in a second.</dialogue> <scene_description>Yacco crosses to Malee and sits beside her .</scene_description> <character>YACCO</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>So, how was it?</dialogue> <character>MALEE</character> <dialogue>It was a funeral, Mom. How do you think it was?</dialogue> <character>YACCO</character> <dialogue>I'm sorry I could n't make it. Let Rudy's parents know I'm available if they need to talk. I wo n't charge for the sessions.</dialogue> <scene_description>Malee looks to Yacco , stunned by her comment .</scene_description> <character>YACCO</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>You know, it's okay to cry.</dialogue> <character>MALEE</character> <dialogue>I know it's okay to cry. I do n't need you to tell me, it's okay to cry. If I want to cry, I'll cry.</dialogue> <character>YACCO</character> <dialogue>Okay.</dialogue> <scene_description>Yacco re - enters her office . A beat . Malee starts to cry .</scene_description> </scene> <scene> <stage_direction>EXT. JACOB'S HOME - LATER THAT AFTERNOON</stage_direction> <scene_description>Cars fill the driveway and line the street in front of Jacob 's house .</scene_description> </scene> <scene> <stage_direction>INT. TWIN'S HOME - LIVING ROOM - SAME TIME</stage_direction> <scene_description>Mourners stand in small groups , engaged in hushed conversations . Jim sits in his recliner , crying .</scene_description> </scene> <scene> <stage_direction>INT. TWIN'S HOME - KITCHEN - SAME TIME</stage_direction> <scene_description>A number of MOTHERS watch as Ashley obsessively prepares a platter of deviled eggs . Concerned , one of them crosses over to her .</scene_description> <character>MOTHER</character> <dialogue>Ashley, there's more than enough food here.</dialogue> <character>ASHLEY</character> <dialogue>No, Rudy loved my deviled eggs. It's right that I make them. Where's the paprika?</dialogue> <scene_description>Ashley opens up her cupboards in search of the paprika .</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Jesus, you put something down, and it disappears.</dialogue> <scene_description>Now angry , Ashley starts throwing objects out of the cupboards , haphazardly .</scene_description> <character>MOTHER # 1</character> <dialogue>Ashley.</dialogue> <scene_description>Ashley slams her cupboard doors shut . She looks around and spots the GARBAGE PAIL across the kitchen .</scene_description> <character>ASHLEY</character> <dialogue>Maybe I threw it out.</dialogue> <scene_description>Ashley crosses to the garbage . She lifts it upside down and dumps the trash all over the floor . Ashley gets on her knees and starts searching . The other women look to each other , uncomfortable . Mother # 1 kneels down beside her .</scene_description> <character>MOTHER # 1</character> <dialogue>Ashley.</dialogue> <scene_description>Ashley ignores her . Mother # 1 grabs Ashley 's hands and looks her in the eye .</scene_description> <character>ASHLEY</character> <dialogue>It's okay.</dialogue> <scene_description>Ashley stops cold . The grief and heartache hit once again .</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Not my baby! Please God not my son!</dialogue> <scene_description>The mothers collectively drop to the floor and surround Ashley in an attempt to comfort her . They give no care to the pile of garbage they now sit in .</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S HOSPITAL ROOM - LATER THAT DAY</stage_direction> <scene_description>Leonard lies in a bed , staring out the window . There is a BANDAGE wrapped around his forehead . Patrick sits beside him in a chair . Grace enters , carrying bags of MCDONALD 'S food with her .</scene_description> <character>GRACE</character> <dialogue>This hospital is a nightmare. The elevator is never there when you need it.</dialogue> <scene_description>Patrick crosses over to the food and grabs his lunch .</scene_description> <character>PATRICK</character> <dialogue>Where are the girls?</dialogue> <character>GRACE</character> <dialogue>Haley took Sara up to the maternity ward.</dialogue> <scene_description>Grace crosses over to Leonard .</scene_description> <character>GRACE</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>How are you feeling?</dialogue> <character>LEONARD</character> <dialogue>My head hurts.</dialogue> <character>GRACE</character> <dialogue>You're lucky you did n't get killed.</dialogue> <character>LEONARD</character> <dialogue>I told you, I'm sorry.</dialogue> <character>GRACE</character> <dialogue>You try being awakened at four o'clock in the morning by the police saying, they have your son, he's unconscious and on his way to the hospital. I've never been so scared in my life. And poor Rudy.</dialogue> <scene_description>Leonard starts crying .</scene_description> <character>GRACE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>What?</dialogue> <character>LEONARD</character> <dialogue>My best friend is dead!</dialogue> <scene_description>Grace hands Leonard a double cheeseburger .</scene_description> <character>GRACE</character> <dialogue>Eat this. It'll make you feel better.</dialogue> <character>LEONARD</character> <dialogue>I'm not hungry. Besides, I ca n't taste anything anyway.</dialogue> <character>GRACE</character> <dialogue>Hospital food is always bland. This has flavor.</dialogue> <character>LEONARD</character> <dialogue>No, it's because of my condition. I ca n't taste or smell anything anymore.</dialogue> <character>GRACE</character> <dialogue>What are you saying, condition? What condition?</dialogue> <character>LEONARD</character> <parenthetical>( shrugs . )</parenthetical> <dialogue>My condition.</dialogue> </scene> <scene> <stage_direction>INT. DOCTOR'S OFFICE - MOMENTS LATER</stage_direction> <scene_description>Patrick and Grace sit across from the DOCTOR -LRB- 50 's -RRB- .</scene_description> <character>DOCTOR</character> <dialogue>Leonard has a condition. It's called Anosmia.</dialogue> <character>GRACE</character> <dialogue>Oh my God! Is it serious?</dialogue> <character>DOCTOR</character> <dialogue>No. Anosmia is when a person looses their sense of smell. It's not uncommon in patients who suffer serious head injuries. Unfortunately, it's also affecting his ability to taste. Again, not uncommon.</dialogue> <character>PATRICK</character> <dialogue>Is it permanent?</dialogue> <character>DOCTOR</character> <dialogue>Depends on the patient.</dialogue> <character>GRACE</character> <dialogue>What do we do? He ca n't eat.</dialogue> <character>DOCTOR</character> <dialogue>He can eat. He just ca n't taste what he's eating.</dialogue> <character>PATRICK</character> <dialogue>What she means is, he wo n't eat.</dialogue> <character>DOCTOR</character> <dialogue>Leonard's association with food is no longer about taste. It's about texture. While we may be partial to sweet or salty foods, Leonard will become partial to crunchy or smooth ones. Once he settles on a texture he likes, his appetite will increase.</dialogue> <character>GRACE</character> <dialogue>I ca n't believe this is happening.</dialogue> <character>DOCTOR</character> <dialogue>Considering what Leonard could have suffered, he's lucky. Besides, he is severely overweight. A loss of appetite may be a benefit.</dialogue> <scene_description>Grace and Patrick shoot him a look of death .</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S HOSPITAL ROOM - SAME TIME</stage_direction> <scene_description>Leonard lies in bed , staring out the window . A NURSE -LRB- 40 -RRB- enters and crosses over to his bedside table .</scene_description> <character>NURSE</character> <dialogue>How'd we do?</dialogue> <scene_description>The nurse sees that Leonard has barely touched his food .</scene_description> <character>NURSE</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>You have to eat something. It may not be gourmet, but you do n't look that finicky.</dialogue> <character>LEONARD</character> <dialogue>This stuff feels like shit in my mouth.</dialogue> <character>NURSE</character> <dialogue>It's macaroni and cheese.</dialogue> <character>LEONARD</character> <dialogue>It feels gross. Like there's a film on my tongue.</dialogue> <scene_description>The nurse grabs the tray of food . She removes an untouched apple and places it in Leonard 's hand .</scene_description> <character>LEONARD</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>I do n't like apples.</dialogue> <character>NURSE</character> <dialogue>So, you ca n't taste it, right? Maybe you'll like the crunch.</dialogue> <scene_description>The nurse exits . Leonard eyes the apple in his hand . A beat . He reluctantly takes a bite . The apple makes a loud CRUNCH . Leonard starts chewing . After a few seconds , a smile comes to his face . He likes it .</scene_description> </scene> <scene> <stage_direction>INT. JACOB'S BEDROOM - SAME TIME</stage_direction> <scene_description>Jacob lies in bed , holding Rudy 's old baseball GLOVE . He brings the glove to his nose , and a flood of old memories come back to him . Jacob rises , crosses over to the closet and removes a metal LOCK BOX . He selects 666 for the combination and the box opens . Jacob removes the contents ; baseball cards , some firecrackers , a few ticket stubs and a PHOTOGRAPH of he and Rudy at age 5 . He ca n't help but smile .</scene_description> </scene> <scene> <stage_direction>INT. JACOB'S HOME - LIVING ROOM - SAME TIME</stage_direction> <scene_description>Gabe Artunian crosses over to Jim .</scene_description> <character>GABE</character> <dialogue>I'm leaving, Jim. Again, so sorry.</dialogue> <scene_description>As Gabe turns to leave .</scene_description> <character>JIM</character> <dialogue>Gabe, are you still interested in buying the land? Because I accept your offer.</dialogue> <character>GABE</character> <dialogue>This is hardly the time to talk business.</dialogue> <character>JIM</character> <dialogue>Buy the woods, Gabe, please. Tear them down and build. Build houses, condos, a 7 - 11, I do n't care. I just do n't want to recognize it ever again.</dialogue> <scene_description>Off Gabe 's look - SFX OVER SHOT : BUZZING CHAIN SAW</scene_description> </scene> <scene> <stage_direction>EXT. WOODS - THREE WEEKS LATER -AFTERNOON</stage_direction> <scene_description>TIGHT ON a CHAIN SAW chopping down a tree . WIDEN to REVEAL a CONSTRUCTION CREW , tearing down the last of the woods . Rows and rows of STUMPS make it look like a graveyard for trees .</scene_description> <character>MALEE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>It's gone! It's all gone!</dialogue> <scene_description>We FIND Malee and Jacob , straddling their bikes a few feet away from the site . Leonard is beside them on a scooter . He as a band - aid on his forehead .</scene_description> <character>MALEE</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>If Rudy was alive, he'd be freaking out right now.</dialogue> <scene_description>Leonard shoots Malee a look . She silences herself .</scene_description> <character>LEONARD</character> <dialogue>You holding up alright, Jacob?</dialogue> <scene_description>Jacob shrugs .</scene_description> <character>LEONARD</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>I'm sorry. I wish I could have done something.</dialogue> <character>JACOB</character> <dialogue>Jeff and Kenny were the ones that started the fire. It was their fault. Or maybe mine. I should of been there.</dialogue> <character>MALEE</character> <dialogue>You would n't have been able to do anything. And it could have been you who died.</dialogue> <character>JACOB</character> <dialogue>I wish it was. You know the last thing Rudy said to me? He said, I ca n't be a pussy all my life. He was right, I am. And Rudy might be dead because of it.</dialogue> <character>MALEE</character> <dialogue>Do n't say that.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Why do n't you talk to your parents about this?</dialogue> <character>JACOB</character> <dialogue>They ca n't help me.</dialogue> <character>MALEE</character> <dialogue>Give them time. It'll get better.</dialogue> <character>JACOB</character> <dialogue>What if it does n't? My dad has n't gone back to work yet. What if he loses his job. We could lose our house. I could be homeless.</dialogue> <character>MALEE</character> <dialogue>Then you'll stay with me.</dialogue> <character>LEONARD</character> <dialogue>Or me.</dialogue> <character>JACOB</character> <dialogue>We're best friends. We.</dialogue> <scene_description>Suddenly , something catches Malee 's attention off screen . It 's GUS , standing beside a BULLDOZER .</scene_description> <character>MALEE</character> <dialogue>Oh my God.</dialogue> <character>JACOB</character> <dialogue>What?</dialogue> <character>MALEE</character> <dialogue>That guy. I like know him. He's one of my mother's patients.</dialogue> <character>LEONARD</character> <dialogue>So?</dialogue> <character>MALEE</character> <dialogue>I've never seen a patient of hers actually out and about.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Should we go over and say `` hi''?</dialogue> <character>JACOB</character> <dialogue>I just want to get out of here.</dialogue> <scene_description>Leonard and Jacob start heading off . Malee stays for a beat , eyeing Gus as he removes his T - shirt and exposes his rock abs . She is obviously turned on .</scene_description> <character>LEONARD</character> <dialogue>You coming, Malee?</dialogue> </scene> <scene> <stage_direction>INT. LEONARD'S HOME - KITCHEN - LATER THAT AFTERNOON</stage_direction> <scene_description>Leonard enters to find Grace , placing a casserole dish on the table . The table is filled with a cornucopia of food .</scene_description> <character>LEONARD</character> <dialogue>Are we having company?</dialogue> <character>GRACE</character> <dialogue>No, this is all for you. Your favorites ; fried chicken, spaghetti, pizza, french fries, and chocolate cheesecake for dessert. I made everything extra spicy, so you can taste it.</dialogue> <character>LEONARD</character> <dialogue>Ma, it does n't matter how spicy the food is.</dialogue> <character>GRACE</character> <dialogue>So you're not even gon na try it?</dialogue> <character>LEONARD</character> <dialogue>I'm sure it's delicious.</dialogue> <character>GRACE</character> <dialogue>Forget it. Do n't eat.</dialogue> <scene_description>Grace puts the plate of food into the sink .</scene_description> <character>GRACE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You ca n't just eat apples all the time.</dialogue> <character>LEONARD</character> <dialogue>Why not?</dialogue> <character>GRACE</character> <parenthetical>( beat , searching . )</parenthetical> <dialogue>It's unhealthy.</dialogue> <scene_description>Off Leonard 's confusion - SFX OVER SHOT : SCHOOL BELL</scene_description> </scene> <scene> <stage_direction>EXT. JEFFERSON JUNIOR HIGH SCHOOL - DAYS LATER - MORNING</stage_direction> <scene_description>Students make their way inside for the first day of school . There is a sign out front , which reads : WELCOME BACK .</scene_description> </scene> <scene> <stage_direction>INT. CLASSROOM - SAME TIME</stage_direction> <scene_description>A TEACHER walks along the line of desks , showing students their assigned seats .</scene_description> <character>TEACHER</character> <dialogue>Tommy Wallace.</dialogue> <scene_description>Tommy takes his seat .</scene_description> <character>TEACHER</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Jacob Carges.</dialogue> <scene_description>Jacob takes his seat .</scene_description> <character>TEACHER</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Rudy Carges.</dialogue> <scene_description>Jacob along with his classmates are shocked to discover that Rudy 's name has n't been removed from the attendance sheet . The teacher is unaware of the mistake .</scene_description> <character>TEACHER</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Rudy Carges. Hello?</dialogue> <scene_description>Tommy looks to Jacob . Since Rudy 's not saying anything , he will .</scene_description> <character>TOMMY</character> <dialogue>He's not in this class anymore.</dialogue> <character>TEACHER</character> <dialogue>How do you know?</dialogue> <character>JACOB</character> <dialogue>Cause he's dead.</dialogue> <character>TEACHER</character> <dialogue>I realize being new at this school puts me at a disadvantage, but joking about a fellow classmate's death is anything but funny, Mr.</dialogue> <scene_description>The teacher checks her attendance sheet .</scene_description> <character>TEACHER</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Carges. Wait, are you.</dialogue> <character>JACOB</character> <dialogue>I'm his brother. Was. And I'm not joking. He's dead.</dialogue> <scene_description>The teacher looks around at the other students , realizing Jacob is telling the truth .</scene_description> <character>TEACHER</character> <dialogue>I'm so sorry. Wow, this is awkward. Would you like the seat left empty?</dialogue> <character>JACOB</character> <dialogue>Why?</dialogue> <character>TEACHER</character> <dialogue>In memory.</dialogue> <scene_description>Off Jacob 's look -</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL GYMNASIUM - LATER THAT DAY</stage_direction> <scene_description>COACH GILMORE -LRB- 55 -RRB- , overweight , gym teacher , dressed in a jogging suit , snaps gum while addressing his students . The class of boys stand up against the wall . Leonard is amongst them . His gym uniform barely fits .</scene_description> <character>COACH</character> <dialogue>Alright, ladies, welcome to gym. We will be starting things off this year with the United States Standardized Fitness Test.</dialogue> <scene_description>The entire class groans .</scene_description> <character>COACH</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>I'm sure you all remember it from last year. I will be testing you in a number of physical fitness areas.</dialogue> <scene_description>As coach speaks , Leonard looks as if he 's going to throw up . ON CHIN UP BAR - MOMENTS LATER A STUDENT performs chin ups with great ease .</scene_description> <character>COACH</character> <parenthetical>( V.O . )</parenthetical> <dialogue>The state's requirement for upper body strength is ten chin ups.</dialogue> <scene_description>The student finishes his run with a count of twelve . He hops off the bar and crosses over to his classmates .</scene_description> <character>COACH</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Leonard, you're up.</dialogue> <scene_description>Leonard crosses to the chin - up bar , grabs a hold of it and begins struggling to lift himself up . Unfortunately , he can only manage 1/8th of an inch . Leonard drops off the bar , exhausted .</scene_description> <character>COACH</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>What are you doing, let's go!</dialogue> <character>LEONARD</character> <dialogue>That was as far as I could pull myself up.</dialogue> <scene_description>A few students laugh . Coach shakes his head , disgusted . ON A STUDENT DOING SITUPS - LATER Coach stands over the boy , timing him with a stop watch .</scene_description> <character>COACH</character> <dialogue>Ten seconds. You need forty to pass.</dialogue> <scene_description>The student increases his speed .</scene_description> <character>COACH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Time. 42. Good job.</dialogue> <scene_description>The student rises off the mat and walks over to the other boys . Leonard enters frame and drops on the mat like a ton of bricks .</scene_description> <character>COACH</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( rolling his eyes . )</parenthetical> <dialogue>Go!</dialogue> <scene_description>Leonard struggles to lift himself up but , he ca n't do it .</scene_description> <character>COACH</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Come on, son, fight it.</dialogue> <scene_description>Leonard 's face turns red . He clenches his teeth . Unfortunately , due to the pressure he is exerting , he blows a loud fart . The gym erupts with laughter .</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL GROUNDS - TRACK - LATER</stage_direction> <scene_description>The coach and his students stand at the beginning of the track , waiting for Leonard to finish his laps . Leonard slowly walks over . He is soaking wet and breathing heavy .</scene_description> <character>COACH</character> <dialogue>23 minutes.</dialogue> <character>LEONARD</character> <dialogue>Not bad.</dialogue> <character>COACH</character> <dialogue>The goal was 8.</dialogue> <scene_description>The class ca n't help but laugh .</scene_description> <character>COACH</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Hit the showers.</dialogue> <scene_description>The class walks off .</scene_description> <character>COACH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Not you Leonard.</dialogue> <scene_description>Leonard turns back and crosses over to the coach .</scene_description> <character>COACH</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Center. That's the position you'll be playing in two years.</dialogue> <character>LEONARD</character> <dialogue>Football?</dialogue> <character>COACH</character> <dialogue>You do n't like football?</dialogue> <character>LEONARD</character> <dialogue>I love it. It's just I'll never make the weight requirement. Pop Warner league would n't let me play for five years because of it.</dialogue> <character>COACH</character> <dialogue>There's no weight requirement in high school ball, son.</dialogue> <scene_description>The coach bends down and rifles through his GYM BAG . He removes 2 books and hands them to Leonard .</scene_description> <character>COACH</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>These are your new bibles.</dialogue> <character>LEONARD</character> <dialogue>Books?</dialogue> <character>COACH</character> <dialogue>One is on nutrition, the other exercise. You do what they say, and you can play for me once you get to high school.</dialogue> <character>LEONARD</character> <dialogue>Thanks.</dialogue> <scene_description>Leonard begins walking back to the gym . After a few steps , he stops and turns back .</scene_description> <character>LEONARD</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Coach, why are you doing this for me?</dialogue> <character>COACH</character> <dialogue>Because I've never seen a child so out of shape in my life.</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL AUDITORIUM - LATER THAT DAY</stage_direction> <scene_description>The school BAND is on stage and playing a particularly horrendous rendition of the STAR SPANGLED BANNER . We FIND MALEE in the flute section , playing her heart out . The CONDUCTOR , MR. FARMER -LRB- 40 -RRB- overly energetic and dorky , waves his baton , silencing the band .</scene_description> <character>MR FARMER</character> <parenthetical>( annoyed . )</parenthetical> <dialogue>Did anyone practice over the summer?</dialogue> <scene_description>The band sits silent .</scene_description> <character>MR. FARMER</character> <dialogue>Great. Well, we still have a fall recital coming up. If anyone would like to perform a solo, sign up on the sheet outside my office. Class dismissed.</dialogue> <scene_description>Off Malee , weighing the decision in her mind .</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL HALLWAY - MOMENTS LATER</stage_direction> <scene_description>Malee stands outside Mr. Farmer 's office , staring at the SIGN UP SHEET on his door . After a beat , she lifts her pen to sign her name . Before she writes it , she stops , quickly turns around and walks away . After a beat , Malee returns to the sign up sheet and starts writing her name . Halfway through , she stops , scratches out her name and walks off . We remain on the sign up sheet . After a few seconds , Malee 's hand enters the shot and writes in her name .</scene_description> </scene> <scene> <stage_direction>INT. JACOB'S HOME - DEN - EVENING</stage_direction> <scene_description>Jacob enters to find Jim and Ashley fighting .</scene_description> <character>ASHLEY</character> <dialogue>No, they're wrong. Call them back.</dialogue> <character>JIM</character> <dialogue>Ashley, I talked to the lawyer. He would n't lie.</dialogue> <character>JACOB</character> <dialogue>What's going on?</dialogue> <character>ASHLEY</character> <dialogue>This is all your fault.</dialogue> <character>JIM</character> <dialogue>Me?</dialogue> <character>ASHLEY</character> <dialogue>If we had gone to the hearings like I said, this would n't be happening.</dialogue> <character>JIM</character> <dialogue>We agreed it would be too painful.</dialogue> <character>ASHLEY</character> <dialogue>You agreed.</dialogue> <character>JACOB</character> <dialogue>Mom, what happened?</dialogue> <scene_description>Ashley turns to Jacob as if realizing his presence for the first time .</scene_description> <character>ASHLEY</character> <dialogue>Tell him. Tell your son.</dialogue> <character>JIM</character> <dialogue>The boys who killed Rudy cut a deal. They got a year in juvinile hall and five years probation.</dialogue> <character>ASHLEY</character> <dialogue>A year. That's what your brother's life is worth. A damn year!</dialogue> <character>JIM</character> <dialogue>Ashley, calm down!</dialogue> <character>ASHLEY</character> <dialogue>How can you be so unaffected by this! How? Our son was murdered!</dialogue> <character>JIM</character> <parenthetical>( measured . )</parenthetical> <dialogue>It was an accident, and the boys are juveniles.</dialogue> <character>ASHLEY</character> <dialogue>So that makes it okay?</dialogue> <scene_description>Ashley storms out of the room . Jacob looks to his father , unnerved by the sight of his mother so upset . Jim just turns and walks into the living room . SFX OVER BLACK : ALARM CLOCK</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S BEDROOM - EARLY MORNING</stage_direction> <scene_description>Leonard awakens and silences the alarm . He sits up in bed for a moment and comes to his senses .</scene_description> </scene> <scene> <stage_direction>EXT. LEONARD'S HOME - MOMENTS LATER</stage_direction> <scene_description>Dressed in a sweat suit and sneakers , Leonard sprints down the driveway and to the street . His sweat suit is so tight , Leonard looks like a stuffed sausage . With each step he takes , Leonard breathing becomes heavier and heavier . Sweat forms on his forehead and drips down his face . Within seconds , Leonard 's pace tapers off . He struggles to continue but is so out of shape , stopping is inevitable . Leonard leans over , gasping for air . He looks back and realizes that he only ran about one hundred yards . In fact , his house is still in view . Leonard turns around and starts walking back home . After a few steps , he stops and throws up .</scene_description> </scene> <scene> <stage_direction>EXT. CONSTRUCTION SITE - DAYS LATER - AFTERNOON</stage_direction> <scene_description>Gus stands inside of a shallow ditch , digging out the roots of an old tree .</scene_description> <character>MALEE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Do n't I know you?</dialogue> <scene_description>Gus turns and sees Malee behind him , holding a PICNIC BASKET .</scene_description> <character>GUS</character> <dialogue>Dr. Chung's daughter.</dialogue> <character>MALEE</character> <dialogue>You remembered. We were never introduced. My name is Malee.</dialogue> <character>GUS</character> <dialogue>Gus.</dialogue> <scene_description>They shake hands .</scene_description> <character>GUS</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>What are you doing here?</dialogue> <character>MALEE</character> <dialogue>I was in the mood for a picnic. I thought this would be a nice place to have one.</dialogue> <scene_description>Gus looks around , confused . This location is anything but picnic friendly . Bulldozers plough through the scene , blasting exhaust into the air . Men scream at each other .</scene_description> <character>WORKER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Asshole, move your fucking truck!</dialogue> <character>MALEE</character> <dialogue>Would you like to join me? There's plenty of food.</dialogue> <character>GUS</character> <dialogue>I do n't go to lunch for another ten minutes.</dialogue> <character>MALEE</character> <dialogue>I'll wait. Meet me by the cement mixer when you're ready.</dialogue> <scene_description>Malee walks off . Gus watches as she makes her way through the construction site .</scene_description> </scene> <scene> <stage_direction>EXT. CONSTRUCTION SITE - ANOTHER AREA - TEN MINUTES LATER</stage_direction> <scene_description>Gus and Malee sit on a checkered blanket , eating Chinese food with chopsticks . A large CEMENT MIXER stands behind them .</scene_description> <character>GUS</character> <dialogue>The last time I saw you, you had just come from a funeral. How are you doing?</dialogue> <character>MALEE</character> <dialogue>Okay. Death is like so weird. I mean, it's sad, but I also feel like I've been given this sign. A sign which is telling me, life is short, so you got ta do what makes you happy. You got ta take chances. You got ta get crazy.</dialogue> <character>GUS</character> <dialogue>What are you doing to `` get crazy''?</dialogue> <character>MALEE</character> <dialogue>I play the flute.</dialogue> <character>GUS</character> <parenthetical>( laughs . )</parenthetical> <dialogue>Yeah, that's totally nuts.</dialogue> <character>MALEE</character> <dialogue>No, not that. See, every year my school has this recital. I've always been too scared to play a solo in front of people, but this year I've decided to do it.</dialogue> <character>GUS</character> <dialogue>Good for you. When is it?</dialogue> <character>MALEE</character> <dialogue>Why do you care?</dialogue> <character>GUS</character> <dialogue>Cause I'm gon na go.</dialogue> <character>MALEE</character> <dialogue>What? You ca n't go! Nobody goes to these things. I do n't even think my mom is going.</dialogue> <character>GUS</character> <dialogue>You got ta have somebody rooting for ya. Besides, I like music, and I owe you for bringing me lunch.</dialogue> <character>MALEE</character> <parenthetical>( laughs , embarrassed . )</parenthetical> <dialogue>Okay. Tuesday at 8:30 in the junior high school auditorium.</dialogue> <character>GUS</character> <dialogue>I'll be there.</dialogue> <character>MALEE</character> <parenthetical>( vulnerable . )</parenthetical> <dialogue>Do n't say it if you do n't mean it.</dialogue> <character>GUS</character> <dialogue>I'll be there. Front row.</dialogue> <scene_description>Malee smiles . She 's got a major crush on Gus now . TIGHT ON TV : VIDEO GAME - HALO . Two soldiers fire at each other with supersonic weapons . One soldier is particularly annihilated . GAME OVER appears .</scene_description> </scene> <scene> <stage_direction>INT. CARGES LIVING ROOM. DAY</stage_direction> <scene_description>REVEAL Jacob and Leonard in front of the TV . Malee off to the side , reading a book .</scene_description> <character>LEONARD</character> <dialogue>I ca n't believe how much you suck at this game.</dialogue> <scene_description>Jacob throws his remote down .</scene_description> <character>LEONARD</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>You wan na play again?</dialogue> <character>JACOB</character> <dialogue>No.</dialogue> <scene_description>The boys sit in silence for a beat .</scene_description> <character>LEONARD</character> <dialogue>You wan na shoot some hoops?</dialogue> <character>JACOB</character> <dialogue>No.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>The sentencing thing totally upset my mom. She was up half the night, crying.</dialogue> <scene_description>Malee closes her book , looks over at Leanord .</scene_description> <character>LEONARD</character> <dialogue>I ca n't believe it either. A year ai n't shit! Rudy is dead forever.</dialogue> <character>JACOB</character> <dialogue>I want them dead. I want to kill them. I could handle a year in Juvy hall.</dialogue> <character>MALEE</character> <dialogue>Whoa, what those guys did was an accident. If you were to kill them, it's premedicated. You'd get 20 years to life at least.</dialogue> <character>JACOB</character> <dialogue>So I'm just supposed to sit here and take it? Be like you guys.</dialogue> <character>LEONARD</character> <dialogue>What is that supposed to mean?</dialogue> <character>JACOB</character> <dialogue>You seem to have gone on with life pretty easily. Do n't you miss him? Do n't you care?</dialogue> <character>MALEE</character> <dialogue>It's not that we do n't care. It's just.</dialogue> <character>JACOB</character> <dialogue>Life goes on.</dialogue> <character>MALEE</character> <dialogue>It does. You have to deal with it. If you do n't, it could like eat you alive forever. 90 percent of people's problems is due to their inability to get over the past.</dialogue> <character>LEONARD</character> <dialogue>How do you know?</dialogue> <character>MALEE</character> <dialogue>My mom tells that to all her patients. I've eavesdropped on some of her therapy sessions.</dialogue> <character>LEONARD</character> <dialogue>That's awesome. Can I listen in sometime?</dialogue> <character>MALEE</character> <dialogue>No. Anyway, she says, if a person wants closure, they got ta deal with their problems head on. Go see these guys and let them know how you feel.</dialogue> <character>JACOB</character> <dialogue>I do n't think my parents would be up for that.</dialogue> <character>MALEE</character> <dialogue>Go alone. Juvy hall is only like forty minutes from here. Take the bus.</dialogue> <scene_description>Off Jacob , thinking -</scene_description> </scene> <scene> <stage_direction>INT. JACOB'S PARENT'S BEDROOM - LATER THAT AFTERNOON</stage_direction> <scene_description>The bedroom door slowly opens . Jacob peeks his head inside the darkened room and quietly enters . He tip toes over to his parent 's bed . Ashley lies asleep , wrapped up in a bundle of blankets . Jacob crosses to her night stand and opens the top drawer . He removes her purse , unzips it and steals some cash , which totals around 60 dollars .</scene_description> </scene> <scene> <stage_direction>INT. CARGES LIVING ROOM - MOMENTS LATER</stage_direction> <scene_description>Jim sits in his chair , staring off into space . Jacob enters and crosses to the front door .</scene_description> <character>JACOB</character> <dialogue>Bye, Dad.</dialogue> </scene> <scene> <stage_direction>EXT. BUS STATION - MOMENTS LATER</stage_direction> <scene_description>With the help of the BUS DRIVER , Jacob loads his bike into the luggage compartment underneath the bus . Then he hands the driver a ticket and boards . Jacob takes a seat up front . After a few moments , the driver boards , starts the engine and drives off .</scene_description> </scene> <scene> <stage_direction>INT. JUVINILE HALL - CONVERSATION BOOTH - LATER</stage_direction> <scene_description>Jacob and Kenny sit , staring at each other through a plate of glass . Kenny picks up the ONE WAY PHONE . Jacob does also .</scene_description> <character>JACOB</character> <dialogue>Where's Jeff?</dialogue> <character>KENNY</character> <dialogue>He's sick. I think he.</dialogue> <character>JACOB</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>I hate you. You know that? You bastard.</dialogue> <character>KENNY</character> <dialogue>Rudy knew we were going to be there. He never should have come. You want the truth, all this happened cause of you.</dialogue> <character>JACOB</character> <dialogue>Me?</dialogue> <character>KENNY</character> <dialogue>Yeah, you deformed retard! The only reason we started picking on you guys in the first place was because of that thing on your face.</dialogue> <character>JACOB</character> <dialogue>Every night, I lie in bed and plan your murder.</dialogue> <character>KENNY</character> <dialogue>I'm shaking.</dialogue> <character>JACOB</character> <dialogue>First I'm going to take a kitchen knife and chop off your fingers then your nose then your tongue. Then I'm gon na poke out your eyes with the end of a broomstick. Well, not really poke them out, but I'm gon na push them back into your brain. Then I'm gon na take scissors and cut off your ears. When they find you, it's gon na be like putting a jigsaw puzzle back together.</dialogue> <character>KENNY</character> <dialogue>If you kill me, you come here.</dialogue> <character>JACOB</character> <dialogue>So? What do I have to look forward to? You've already destroyed my life.</dialogue> <character>KENNY</character> <dialogue>What happened was an accident.</dialogue> <character>JACOB</character> <dialogue>There are no accidents. You're gon na pay for what you did. And it's gon na hurt like hell.</dialogue> </scene> <scene> <stage_direction>INT. LEONARD'S BEDROOM - NIGHT</stage_direction> <scene_description>Leonard sits , reading through nutritional manuals . We see that he is writing things down on a piece of paper . The words written are : Sugar , corn syrup , salt , gum .</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S HOME - HALLWAY/KITCHEN - LATER</stage_direction> <scene_description>Grace walks through the hallway half asleep . She enters the kitchen and finds Leonard , sitting on the floor , surrounded by boxes of food . All of the kitchen cupboards are open and packages line the counter tops .</scene_description> <character>GRACE</character> <dialogue>What the hell is this?</dialogue> <character>LEONARD</character> <dialogue>I'm reading the list of ingredients in our foods.</dialogue> <character>GRACE</character> <dialogue>Why?</dialogue> <character>LEONARD</character> <dialogue>Research. Do you know the damage these chemicals can do to the human body?</dialogue> <character>GRACE</character> <dialogue>Leonard, put everything back.</dialogue> <character>LEONARD</character> <dialogue>This is serious. You ca n't keep buying this crap. Do n't you care that you're ingesting garbage?</dialogue> <character>GRACE</character> <dialogue>Just put everything back and go to sleep.</dialogue> <scene_description>Off Leonard 's look -</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NEXT DAY - AFTERNOON</stage_direction> <scene_description>Malee is riding her bike on the sidewalk when she sees Gus , exit his car and enter her mother 's office .</scene_description> </scene> <scene> <stage_direction>INT. STAIRWELL/HALLWAY - MOMENTS LATER</stage_direction> <scene_description>Malee runs up a flight of stairs . She gets off at the second floor and enters an open , unoccupied office .</scene_description> </scene> <scene> <stage_direction>INT. UNOCCUPIED OFFICE - CONTINUOUS</stage_direction> <scene_description>Malee runs over to the heating grate and puts her ear to it .</scene_description> <character>YACCO</character> <parenthetical>( FROM BELOW . )</parenthetical> <dialogue>How was your week?</dialogue> <character>GUS</character> <parenthetical>( FROM BELOW . )</parenthetical> <dialogue>Same. Still ca n't sleep. When I do, nightmares.</dialogue> </scene> <scene> <stage_direction>INT. YACCO'S OFFICE - SAME TIME</stage_direction> <scene_description>Yacco and Gus sit across from each other .</scene_description> <character>YACCO</character> <dialogue>Post traumatic stress is very common in your line of work. Many fire fighters go through this.</dialogue> <character>GUS</character> <dialogue>Yeah. But why now? I have n't fought fires in ten years.</dialogue> <character>YACCO</character> <dialogue>Sometimes we experience something so horrific, our memory blocks it out. That way we wo n't have to relive the pain. It's called repression. Our bodies are not so forgiving, however. Inside, we feel the effects of trauma even when we do n't know why.</dialogue> <character>GUS</character> <dialogue>What does that mean?</dialogue> <character>YACCO</character> <dialogue>Something stirred your unconscious. If we find out what that was, we can begin the healing process.</dialogue> <scene_description>Gus looks to her , confused .</scene_description> <character>YACCO</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>You told me last week, the nightmares started about the time you moved here. Let's look at that. Why did you move here?</dialogue> <character>GUS</character> <dialogue>A friend was making good money with construction. He got an offer to build that extension off Lindsay Acres. He suggested I come into town and work for a while.</dialogue> </scene> <scene> <stage_direction>INT. UPSTAIRS OFFICE - SAME TIME</stage_direction> <scene_description>Malee is on the edge of her seat , listening . We see that she has written the following words in her notebook : GUS - NIGHTMARES - FIRE .</scene_description> <character>YACCO</character> <parenthetical>( FROM BELOW . )</parenthetical> <dialogue>Are there any other reoccurring elements in your dreams. Perhaps, a face or.</dialogue> </scene> <scene> <stage_direction>INT. YACCO'S OFFICE - SAME TIME</stage_direction> <character>GUS</character> <dialogue>`` Light my Fire'' is always playing.</dialogue> <character>YACCO</character> <dialogue>What?</dialogue> <character>GUS</character> <dialogue>Light my fire. The Doors song.</dialogue> <parenthetical>( singing . )</parenthetical> <dialogue>`` Da da something. wallow in the mire. Da, da. we could n't get much higher. Come on baby light my fire.</dialogue> <scene_description>Yacco stares at Gus . He is suddenly self conscious .</scene_description> <character>YACCO</character> <dialogue>Interesting.</dialogue> </scene> <scene> <stage_direction>INT. UPSTAIRS OFFICE - SAME TIME</stage_direction> <scene_description>Malee circles the words `` Light My Fire '' again and again and again .</scene_description> </scene> <scene> <stage_direction>INT. JACOB'S HOME - UPSTAIRS HALLWAY - DAYS LATER - EVENING</stage_direction> <scene_description>SFX : CLANGING POTS AND PANS , coming from downstairs . Jacob exits his room and goes to inspect the noise .</scene_description> </scene> <scene> <stage_direction>INT. JACOB'S HOME - KITCHEN - MOMENTS LATER</stage_direction> <scene_description>Jim stands on a chair , cleaning out the kitchen cupboards . Pots and pans line the counter tops , dishes cover the table and non perishable foods are spread out across the floor . Jacob enters and is taken aback by the sight of Jim standing on a chair and wearing an APRON and RUBBER GLOVES .</scene_description> <character>JACOB</character> <dialogue>Dad?</dialogue> <character>JIM</character> <dialogue>Jacob.</dialogue> <character>JACOB</character> <dialogue>You okay?</dialogue> <character>JIM</character> <dialogue>Fantastic.</dialogue> <scene_description>Jim rips the rubber gloves off with his teeth .</scene_description> <character>JIM</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>You know, for the past few weeks, I sat in this house. I could n't move. Everything reminded me of Rudy. Then from out of nowhere I had a revelation. I am alive! Your mother is alive! I became overcome with joy because I realized how lucky we are to still have you.</dialogue> <character>JACOB</character> <dialogue>Me?</dialogue> <character>JIM</character> <dialogue>Jacob. I love you.</dialogue> <scene_description>Jim grabs Jacob and hugs him tightly . Jacob pulls away , unsettled and bit frightened .</scene_description> <character>JIM</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <parenthetical>( half crazed . )</parenthetical> <dialogue>I went to work today. For the first time in weeks. It was as if I had just gotten out of college! I was fearless! I went after accounts I had avoided for years because I thought they were out of my league. I spoke to presidents, vice presidents, business managers, sales reps. I was amazing. I was magic. But when I came home to share the news with your mother, I discovered her asleep. When I looked around the house, I realized that her `` office'', for lack of a better word, was also piled up. So, I took to the house. I have made it my duty to clean this place from top to bottom. Even if it takes me all night, I do n't care. Jacob?</dialogue> <character>JACOB</character> <parenthetical>( frightened . )</parenthetical> <dialogue>Yeah?</dialogue> <character>JIM</character> <dialogue>Will you join me? Join me in this celebration of life. A symbolic gesture of cleaning out the old and bringing in the new.</dialogue> <character>JACOB</character> <dialogue>Do I have to?</dialogue> <character>JIM</character> <parenthetical>( thrown for a loop . )</parenthetical> <dialogue>No, you do n't have to.</dialogue> <character>JACOB</character> <dialogue>Good night, Dad.</dialogue> <scene_description>Off Jim 's look -</scene_description> </scene> <scene> <stage_direction>EXT. JUNIOR HIGH SCHOOL AUDITORIUM - DAYS LATER - NIGHT</stage_direction> <scene_description>Parents and students file inside . A large SIGN above the door reads , JEFFERSON JUNIOR HIGH FALL RECITAL .</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL AUDITORIUM - CONTINUOUS</stage_direction> <scene_description>A packed audience listens to A GIRL -LRB- 12 -RRB- , standing center stage and singing `` The Rose '' . She is not nearly as good as she thinks she is , but she sings full throttle . We FIND Malee , sitting in the flute section and playing along with the rest of the orchestra . She looks to the front row , but Gus is no where to be found . The girl finishes her song , and the crowd politely applauds . Mr. Farmer crosses to the microphone .</scene_description> <character>MR. FARMER</character> <dialogue>I'm sure Bette Midler would be most impressed with that rendition.</dialogue> <scene_description>The crowd laughs . Mr. Farmer did n't mean for it to be a joke .</scene_description> <character>MR. FARMER</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Anyway, our next soloist is Malee Chung. She will play the theme from `` Love Story'' on the flute.</dialogue> <scene_description>The crowd applauds as Malee rises and crosses to the microphone .</scene_description> <character>MALEE</character> <dialogue>Thank you, Mr. Farmer.</dialogue> <scene_description>Malee spots Gus , walking down the aisle . He scurries into the front row and sits . Malee lights up .</scene_description> <character>MALEE</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>There's actually been a change. I'm not going to play the theme from `` Love Story''. Um. this is a song.</dialogue> <scene_description>Mr. Farmer , waves to Malee from off stage . Malee looks at him . Mr. Farmer mouths something to her .</scene_description> <character>MALEE</character> <parenthetical>( INTO MICROPHONE ; CONT 'D . )</parenthetical> <parenthetical>( to Mr. Farmer . )</parenthetical> <dialogue>What? I ca n't hear you?</dialogue> <scene_description>Mr. Farmer throws up his hands .</scene_description> <character>MALEE</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Anyway. This is a song by The Doors.</dialogue> <scene_description>At the mention of The Doors , Gus ' smile instantly fades . The coincidence is just too great . Malee starts to play `` Light My Fire '' . She is good . Mr. Farmer and the audience seem pleased by her euphonious performance . Even Gus is won over . He appears entranced by the music .</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL AUDITORIUM - LATER THAT NIGHT</stage_direction> <scene_description>The recital is over . Most of the audience has filed out . A few remain , offering their congratulations to the musicians . Malee stands with Leonard .</scene_description> <character>MALEE</character> <dialogue>Where's Jacob?</dialogue> <character>LEONARD</character> <dialogue>Could n't make it. He.</dialogue> <character>GUS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Malee.</dialogue> <scene_description>Malee spots Gus , heading towards her .</scene_description> <character>MALEE</character> <dialogue>Oh my God! He's coming over.</dialogue> <character>LEONARD</character> <dialogue>Who?</dialogue> <character>MALEE</character> <dialogue>Shut up! Leave now.</dialogue> <scene_description>Malee pushes Leonard behind her just as Gus approaches .</scene_description> <character>GUS</character> <dialogue>You were awesome.</dialogue> <character>MALEE</character> <dialogue>Really? Be honest. I'd rather you tell me I sucked then lie.</dialogue> <character>GUS</character> <dialogue>You were great.</dialogue> <scene_description>Leonard peeks around Malee 's back .</scene_description> <character>MALEE</character> <dialogue>Excuse me for a second.</dialogue> <scene_description>Malee turns around and pinches Leonard .</scene_description> <character>LEONARD</character> <dialogue>Ow, ow, ow alright. I'm going.</dialogue> <scene_description>Leonard walks off . Malee turns back around with a big smile on her face . She plays coy .</scene_description> <character>MALEE</character> <dialogue>So you really enjoyed it?</dialogue> <character>GUS</character> <dialogue>Yeah. Good song. What made you pick it?</dialogue> <character>MALEE</character> <parenthetical>( covering . )</parenthetical> <dialogue>Oh, uh. my mother was humming it all last week. Big Doors fan.</dialogue> <character>GUS</character> <dialogue>Really? Is she here?</dialogue> <character>MALEE</character> <dialogue>No.</dialogue> <character>GUS</character> <dialogue>She missed out.</dialogue> <character>MALEE</character> <dialogue>You're so sweet.</dialogue> <character>GUS</character> <dialogue>Yeah well, I have to go, but thanks again. I had a great time.</dialogue> <scene_description>Gus gives Malee an innocent kiss on the check and then walks off . Malee melts . She stands frozen , clutching onto her flute in ecstacy .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - MORNING</stage_direction> <scene_description>With fire and determination , Leonard jogs . Unfortunately , he is quickly winded by the run . He bends over , gasping . SUPERIMPOSE SHOT OVER SHOT : Leonard appears , running past his old , weaker self . Stronger , he makes a few more yards and then is forced to stop . He leans over for air , and we SUPERIMPOSE another SHOT OVER SHOT of Leonard , weeks later , running past his weaker self . -LRB- This series of shots repeats a few more times , illustrating the progression of time and weight loss . -RRB-</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S HOME - STAIRCASE/KITCHEN - DAY</stage_direction> <scene_description>Leonard runs up and down the stairs , sweating like crazy . Grace appears , watching him around the corner . She shakes her head and then returns to the kitchen .</scene_description> <character>GRACE</character> <dialogue>That boy is going to bring the entire house down.</dialogue> <character>PATRICK</character> <dialogue>Let him be. He's looking good. I'm proud of him.</dialogue> <character>GRACE</character> <parenthetical>( to the girls . )</parenthetical> <dialogue>Girls, have you decided what you're going to go as for Halloween?</dialogue> <character>SARA</character> <dialogue>Either a witch or a princess.</dialogue> <character>GRACE</character> <dialogue>That's nice. Haley?</dialogue> <character>HALEY</character> <dialogue>I'm going to go as a marble.</dialogue> <character>GRACE</character> <dialogue>What do you mean, a marble?</dialogue> <character>HALEY</character> <dialogue>You know, like a bag of marbles, but just one marble.</dialogue> </scene> <scene> <stage_direction>INT. JUVY HALL - CONVERSATION BOOTHS - LATE AFTERNOON</stage_direction> <scene_description>Jacob and Jeff sit across from each other on the phone . Jeff has two black eyes and a fat lip . He is crying profusely . Jacob does n't appear at all sympathetic .</scene_description> <character>JEFF</character> <dialogue>I'm really sorry, man. I.</dialogue> <character>JACOB</character> <dialogue>You just think about what I said. Get out of my sight. And send Kenny in on your way out.</dialogue> <scene_description>Jeff rises and walks to a door , leading to the jail . A moment later , Kenny enters , looking pissed off . He sits across from Jacob and picks up the phone .</scene_description> <character>KENNY</character> <dialogue>What did you say to him?</dialogue> <character>JACOB</character> <dialogue>I thought you'd both like to know that Halloween was Rudy's favorite holiday.</dialogue> <scene_description>Jacob picks up some pictures and presses them against the glass .</scene_description> <character>JACOB</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>These are pictures from every single Halloween since we were five. You see how happy he was?</dialogue> <character>KENNY</character> <dialogue>Stop it.</dialogue> <character>JACOB</character> <dialogue>After we'd go trick or treating, we'd sit in our room and swap the candy we hated. Rudy loved Snickers, I Almond Joys.</dialogue> <character>KENNY</character> <dialogue>Almond Joy sucks.</dialogue> <character>JACOB</character> <dialogue>What sucks is that I'll never get to sit in my room and swap candy with my brother ever again. Thanks to you.</dialogue> <character>KENNY</character> <dialogue>Why are you doing this?</dialogue> <character>JACOB</character> <dialogue>To remind you.</dialogue> <character>KENNY</character> <dialogue>How could we forget? You been coming here for months to `` remind us''.</dialogue> <character>JACOB</character> <dialogue>No one is forcing you to talk to me.</dialogue> <character>KENNY</character> <dialogue>Anything to get out of my cell.</dialogue> <character>JACOB</character> <dialogue>Is your cell small?</dialogue> <character>KENNY</character> <dialogue>Yes.</dialogue> <character>JACOB</character> <dialogue>So is a coffin.</dialogue> <character>KENNY</character> <dialogue>You're not the only one who wishes he was still alive. I'd do anything to bring him back, but I ca n't. It's not easy being in here. Hell, you saw Jeff.</dialogue> <character>JACOB</character> <dialogue>What happened to him?</dialogue> <character>KENNY</character> <dialogue>He pissed off the wrong guy off. Jeff is totally fucked right now.</dialogue> <character>JACOB</character> <dialogue>Good.</dialogue> <character>KENNY</character> <dialogue>Do n't come back here ever again.</dialogue> <character>JACOB</character> <dialogue>Free country. I'll come if I want.</dialogue> <character>KENNY</character> <dialogue>Do n't expect me to show up.</dialogue> <scene_description>Kenny slams down the phone and exits . Jacob smiles , having shaken him .</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S HOME - FRONT DOOR - THAT NIGHT</stage_direction> <scene_description>Grace hands out candy to a few trick or treaters at her door .</scene_description> <character>GRACE</character> <dialogue>Be careful now. Have a good night.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN - CONTINUOUS</stage_direction> <scene_description>Grace crosses to the kitchen table where Pat is doing a crossword puzzle .</scene_description> <character>GRACE</character> <dialogue>Kids keep coming later every year.</dialogue> <scene_description>SFX : FRONT DOOR , opening and closing . Haley and Sara storm into the kitchen in tears . Haley is dressed as a MARBLE , and Sara is dressed as a WITCH .</scene_description> <character>HALEY</character> <dialogue>I hate him! I hate him!</dialogue> <character>GRACE</character> <dialogue>Who? What happened?</dialogue> <character>HALEY</character> <dialogue>Leonard! He threw away all our Halloween candy.</dialogue> <character>GRACE/PATRICK</character> <dialogue>What?</dialogue> <character>SARA</character> <dialogue>He grabbed our bags and just threw them down a gutter.</dialogue> <scene_description>Leonard enters . Haley and Sara run out of the kitchen .</scene_description> <character>PATRICK</character> <dialogue>What the hell is going on? Why did you throw away their candy?</dialogue> <character>LEONARD</character> <dialogue>Because their sugar intake is completely unhealthy. Besides, Halloween is supposed to be a celebration of evil. How did candy get wrapped into it?</dialogue> <character>GRACE</character> <dialogue>I am going to ask you this once, and I want a straight answer. Are you in a cult?</dialogue> <character>PATRICK</character> <dialogue>Grace!</dialogue> <character>GRACE</character> <dialogue>This is what happens when kids join cults. The first thing they change is their diets.</dialogue> <character>LEONARD</character> <dialogue>I'm not in a cult. This is all information you can find in books.</dialogue> <character>GRACE</character> <dialogue>The issue here is that you have stolen one of the most exciting nights of the year from your sisters.</dialogue> <character>PATRICK</character> <dialogue>If anybody had done this to you when you were a child, we never would have heard the end of it.</dialogue> <character>LEONARD</character> <dialogue>I wish somebody had done it to me. I wish either one of you had given a shit about my weight.</dialogue> <scene_description>Leonard storms out of the kitchen . Patrick and Grace are speechless .</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S ROOM - MOMENTS LATER</stage_direction> <scene_description>Leonard lies on the floor , doing sit - ups . He can actually do a few now . Patrick bursts into the room .</scene_description> <character>PATRICK</character> <dialogue>I do not care for your language.</dialogue> <character>LEONARD</character> <dialogue>I'm only trying to help you guys.</dialogue> <scene_description>Leonard stops exercising .</scene_description> <character>LEONARD</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>You're fat dad. Mom is fat. Us kids are fat.</dialogue> <character>PATRICK</character> <dialogue>What's your point?</dialogue> <character>LEONARD</character> <dialogue>Dad, you and mom are going to die young if you keep eating as poorly as you do.</dialogue> <character>PATRICK</character> <dialogue>What is this obsession you have with weight?</dialogue> <character>LEONARD</character> <dialogue>The coach for Jefferson High is also my gym teacher. He told me that if I got into shape, I could start as center for the Freshman team when I get to high school.</dialogue> <character>PATRICK</character> <dialogue>Center is a great position. Toughest guy on the field. A good center can make or break a team.</dialogue> <character>LEONARD</character> <dialogue>I know. That's why I'm trying so hard to get into shape. You guys should to. At the rate you're going, you wo n't make it to your 60's.</dialogue> <character>PATRICK</character> <dialogue>Look, Leonard. Your mom, to her, a tasty meal is just a way of showing she cares.</dialogue> <character>LEONARD</character> <dialogue>She does n't! Tonight she served spaghetti and meatballs from a can. The amount of sodium alone can wreck havoc on a person's blood pressure. Not to mention.</dialogue> <character>PATRICK</character> <dialogue>Leonard, people just do n't drop dead from eating meatballs.</dialogue> <scene_description>Off Leonard 's look -</scene_description> </scene> <scene> <stage_direction>EXT. CONSTRUCTION SITE - DAYS LATER - AFTERNOON</stage_direction> <scene_description>Malee hands Gus her bag of Halloween Candy .</scene_description> <character>GUS</character> <dialogue>I ca n't take your Halloween candy.</dialogue> <character>MALEE</character> <dialogue>You'll be doing me a favor. Chocolate gives you zits. Besides, if I want to keep this firm ass as an adult, I got ta develop good eating habits now.</dialogue> <character>GUS</character> <parenthetical>( uncomfortable . )</parenthetical> <dialogue>Maybe just a snickers.</dialogue> <scene_description>Gus opens a snickers bar and starts eating .</scene_description> <character>MALEE</character> <dialogue>So work is good?</dialogue> <character>GUS</character> <dialogue>To be honest, I ca n't wait till this job is finished. This place is creepy. You know, a boy died here like right before we started working.</dialogue> <character>MALEE</character> <dialogue>Rudy. His name was Rudy.</dialogue> <character>GUS</character> <dialogue>You knew him?</dialogue> <character>MALEE</character> <dialogue>He was one of my best friends. Remember that funeral I went to?</dialogue> <character>GUS</character> <dialogue>That was him?</dialogue> <character>MALEE</character> <dialogue>I thought you knew. Two boys threw a flaming cocktail at him. Can you imagine killing someone like that? How evil can you get?</dialogue> <scene_description>Gus eyes Malee , completely unsettled .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Obviously drunk , Gus stumbles to his front door . He fumbles for his keys and enters .</scene_description> </scene> <scene> <stage_direction>INT. GUS'S APARTMENT - BEDROOM - LATER</stage_direction> <scene_description>Gus lies in bed with a bottle of whiskey in one hand and a GUN in the other . Distraught and at the point of tears , Gus opens the chamber and loads the gun with a single bullet . Then he spins the chamber and locks it . Gus puts the gun to his head and fires . NOTHING . He throws the gun across the room , grabs the bottle of whiskey and drinks it till it 's gone .</scene_description> </scene> <scene> <stage_direction>INT. JACOB'S HOME - KITCHEN - NEXT MORNING</stage_direction> <scene_description>Ashley stands with a big smile on her face .</scene_description> <character>ASHLEY</character> <dialogue>Jeff Laskey is dead.</dialogue> <scene_description>Jim and Jacob look up , stunned .</scene_description> <character>JIM</character> <dialogue>What?</dialogue> <character>ASHLEY</character> <dialogue>He committed suicide in his jail cell last night. Sally Yngve called just now to tell me.</dialogue> <scene_description>Jim and Jacob sit , stunned . Their shock turns to intrigue as Ashley , appearing unaffected by the news , crosses to the kitchen table , opens a nearby box of donuts and begins eating . She is smiling .</scene_description> <character>JACOB</character> <dialogue>Why are you smiling? A boy died.</dialogue> <character>ASHLEY</character> <dialogue>No, a monster that murdered my son died. Justice is served ; end of story.</dialogue> <scene_description>Ashley crosses to the kitchen sink . She rolls up her sleeves and begins cleaning . Jim crosses over to her and they kiss as if nothing happened . Jacob is baffled by their behavior .</scene_description> </scene> <scene> <stage_direction>INT. JUVY HALL - COMMUNICATION BOOTH - LATER THAT NIGHT</stage_direction> <scene_description>Jacob and Kenny are on the phone together . Kenny looks gaunt and tired . Jeff 's death has obviously affected him .</scene_description> <character>KENNY</character> <dialogue>He used his bed sheet, waited until lights out and then jumped.</dialogue> <character>JACOB</character> <dialogue>That's terrible.</dialogue> <character>KENNY</character> <dialogue>His cell mate let him hang there the entire night.</dialogue> <character>JACOB</character> <dialogue>I'm sorry, Kenny.</dialogue> <character>KENNY</character> <dialogue>Like you even give a shit. I bet when you heard, you started dancing.</dialogue> <character>JACOB</character> <dialogue>No.</dialogue> <character>KENNY</character> <dialogue>I knew he would n't make it. It's my fault too. Jeff was n't a saint when I met him, but he sure as hell was n't headed here.</dialogue> <parenthetical>( tearing up . )</parenthetical> <dialogue>That fucking asshole!</dialogue> <scene_description>Kenny drops the phone and begins crying in his arms . Jacob watches through the glass , touched by Kenny 's reaction . MUSIC OVER SHOT : UPBEAT CHRISTMAS MUSIC</scene_description> </scene> <scene> <stage_direction>INT. JACOB'S HOME - LIVING ROOM - CHRISTMAS MORNING</stage_direction> <scene_description>Jacob sits on the floor , surrounded by boxes and wrapping paper . Santa has obviously been good to him . Jim sits on the couch , drifting in and out of sleep . Ashley , dressed in her finest Christmas sweater , peruses the fireplace mantel and all of the decorations that line it . She is a drastically different woman than the last time we saw her . She looks upbeat and pretty .</scene_description> <character>JACOB</character> <dialogue>An IPOD! Sweet!</dialogue> <scene_description>Ashley looks at Jacob and smiles . He has just unwrapped an IPOD .</scene_description> <character>ASHLEY</character> <dialogue>You like it?</dialogue> <character>JACOB</character> <dialogue>I love it. You guys went crazy this year.</dialogue> <scene_description>Ashley smiles at her son . It 's a bittersweet moment for her .</scene_description> <character>JIM</character> <dialogue>I'm going to shower.</dialogue> <character>ASHLEY</character> <dialogue>Jim, Jacob still has one more present.</dialogue> <character>JIM</character> <dialogue>I thought we were going to wait.</dialogue> <character>JACOB</character> <dialogue>No, do it now! Now!</dialogue> <scene_description>Ashley crosses to the couch and sits beside Jim . They hold each others hands .</scene_description> <character>ASHLEY</character> <dialogue>After serious debate, your father and I have decided. to adopt A BABY!</dialogue> <character>JACOB</character> <dialogue>What?</dialogue> <character>JIM</character> <dialogue>We're gon na adopt a baby. Hopefully a boy.</dialogue> <scene_description>Off Jacob 's shock -</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S HOME - DINING ROOM - DAY</stage_direction> <scene_description>Leonard 's extended family sits at the kitchen table , eating Christmas dinner . His extended family is just as overweight as his immediate . Leonard barely touches his own plate , too disgusted to eat . He rises .</scene_description> <character>LEONARD</character> <dialogue>May I be excused?</dialogue> <scene_description>The entire family stops eating and turns to him .</scene_description> <character>GRACE</character> <dialogue>No!</dialogue> <scene_description>Leonard sits back down . His family quickly resumes eating .</scene_description> </scene> <scene> <stage_direction>INT. MALEE'S HOME - DEN - EVENING</stage_direction> <scene_description>Malee does her homework , Yacoo flips through a fashion magazine .</scene_description> <character>MALEE</character> <dialogue>Why do I have to do this? It's Christmas break.</dialogue> <character>YACCO</character> <dialogue>You'll be one step ahead in January.</dialogue> <character>MALEE</character> <dialogue>Just because you're an atheist, I do n't get to celebrate the holidays.</dialogue> <scene_description>Yacco shoots Malee the look of death .</scene_description> <character>MALEE</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Do n't you find it hard not believing in anything?</dialogue> <character>YACCO</character> <dialogue>Malee.</dialogue> <character>MALEE</character> <dialogue>I'm going for a bike ride.</dialogue> <character>YACCO</character> <dialogue>There's a foot of snow outside.</dialogue> <character>MALEE</character> <dialogue>The streets are ploughed. Besides, I like looking at all the lights.</dialogue> <character>YACCO</character> <dialogue>Be home in an hour. Be careful.</dialogue> </scene> <scene> <stage_direction>EXT. 7-11 PARKING LOT - LATER THAT NIGHT</stage_direction> <scene_description>Malee flips through a TELEPHONE BOOK . She comes to Gus ' name and rips out the page .</scene_description> </scene> <scene> <stage_direction>INT. GUS' APARTMENT BUILDING - OUTSIDE HIS DOOR - LATER</stage_direction> <scene_description>Malee knocks on Gus ' door , but he does n't answer . Then Malee spots a WELCOME MAT . She kicks it aside and discovers a SPARE KEY underneath .</scene_description> </scene> <scene> <stage_direction>INT. GUS'S APARTMENT - CONTINUOUS</stage_direction> <scene_description>Malee cautiously enters , shutting the door behind her . A beat . She allows the excitement to settle in . It 's your typical bachelor pad . Stray beer bottles decorate every shelf and end table . Dirty clothes drape across an old couch . Malee continues on to the kitchen .</scene_description> </scene> <scene> <stage_direction>INT. GUS' APARTMENT - KITCHEN - CONTINUOUS</stage_direction> <scene_description>Malee finds the kitchen more of a mess than the living room . Pots , pans and stacks of TV dinners line the counter top .</scene_description> </scene> <scene> <stage_direction>INT. GUS'S APARTMENT - BEDROOM - MOMENTS LATER</stage_direction> <scene_description>Malee enters and stops cold at the sight of the bed . Its unmade and the sheets and blankets are entangled in a ball . Aroused , Malee sits on the bed and then lies back in ecstacy .</scene_description> </scene> <scene> <stage_direction>EXT. FRONT OF GUS' APARTMENT BUILDING - SAME TIME</stage_direction> <scene_description>Gus drives up , parks along the sidewalk , and gets out .</scene_description> </scene> <scene> <stage_direction>INT. GUS'S APARTMENT - BEDROOM - SAME TIME</stage_direction> <scene_description>Malee goes through a photo album . We see pictures of Gus , dressed in a firefighter 's uniform . He appears much younger and clean cut . As Malee returns the album to the night stand , she notices a an open drawer and peeks inside .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT BUILDING - STAIRWELL - SAME TIME</stage_direction> <scene_description>Gus lazily makes his way upstairs .</scene_description> </scene> <scene> <stage_direction>INT. GUS'S APARTMENT - BEDROOM - SAME TIME</stage_direction> <scene_description>Malee holds Gus ' gun . Complete with sound effects , she pretends to shoot a beer bottle off the dresser . Malee laughs and then jumps across the bed like a Charlie 's Angel .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT BUILDING - GUS'S FRONT DOOR - SAME TIME</stage_direction> <scene_description>Gus fumbles for his keys .</scene_description> </scene> <scene> <stage_direction>INT. GUS'S APARTMENT - BEDROOM - SAME TIME</stage_direction> <scene_description>Malee stands in front of the mirror , posing .</scene_description> <character>MALEE</character> <dialogue>Freeze! That's right.</dialogue> <scene_description>Malee laughs in spite of herself . In the process , she unknowingly cocks the trigger . Malee places the gun to her forehead and pretends to shoot herself . TIGHT ON TRIGGER , a hair away from firing - SFX : BAM !</scene_description> </scene> <scene> <stage_direction>INT. GUS' APARTMENT - FRONT DOOR - SAME TIME</stage_direction> <scene_description>The loud bang we heard was the front door slamming shut . Gus opens it and inspects the door frame .</scene_description> </scene> <scene> <stage_direction>INT. GUS' APARTMENT - KITCHEN/BEDROOM - SECONDS LATER</stage_direction> <scene_description>Gus removes a beer from the fridge . We follow him into his bedroom . He stops cold as if feeling the presence of some one else there , but Malee is nowhere to be found . Gus begins getting undressed . We follow his shirt to the floor and SEE Malee , hiding underneath his bed . SFX : FOOTSTEPS , DOOR OPENING , SHOWER RUNNING Malee looks out from underneath the bed . She watches as the now naked Gus enters the shower stall in the bathroom . As the water falls upon Gus , Malee rises from underneath the bed and crosses over to him .</scene_description> </scene> <scene> <stage_direction>INT. GUS' APARTMENT - BATHROOM - CONTINUOUS</stage_direction> <scene_description>From over Gus 's shoulder , we see Malee approaching . An inch away from Gus , Malee reaches out her hand to touch him . Suddenly , Gus breaks down and starts crying . Unsettled , Malee slowly retreats out of the bathroom .</scene_description> </scene> <scene> <stage_direction>INT. JACOB'S HOME - BEDROOM - NEXT DAY</stage_direction> <scene_description>Malee , Leonard and Jacob sit , playing LIFE , the board game .</scene_description> <character>LEONARD</character> <dialogue>Do n't worry, white male infants are the hardest to come by. 60 minutes did a whole story on it.</dialogue> <character>MALEE</character> <dialogue>Since when do you watch 60 minutes?</dialogue> <character>LEONARD</character> <dialogue>Since I was in the hospital. They said, any adoption agency worth its salt has at least a three year waiting list. By the time your parents get a kid, you'll be in college. You think they'll want to start over again with that baby shit?</dialogue> <character>JACOB</character> <dialogue>No, but it's like they're trying to replace Rudy.</dialogue> <character>LEONARD</character> <dialogue>It does n't matter cause it's not gon na happen.</dialogue> <scene_description>Malee has been silent this entire time . Seeing a moment , she speaks up .</scene_description> <character>MALEE</character> <dialogue>I'm thirsty.</dialogue> <parenthetical>( to Leanard . )</parenthetical> <dialogue>Can you get us some drinks?</dialogue> <character>LEONARD</character> <dialogue>Why me?</dialogue> <character>MALEE</character> <dialogue>Because it's the gentlemanly thing to do.</dialogue> <character>JACOB</character> <dialogue>I'll get the drinks.</dialogue> <character>MALEE</character> <dialogue>I'll go with you.</dialogue> <character>LEONARD</character> <dialogue>Why are you all of a sudden going to get the drinks?</dialogue> <character>MALEE</character> <parenthetical>( bitchy . )</parenthetical> <dialogue>Because you've upset me, and I do n't want to see you right now.</dialogue> <scene_description>Leonard looks to Jacob .</scene_description> <character>LEONARD</character> <dialogue>Fine, I'll get the drinks.</dialogue> <scene_description>Leonard exits . Malee turns to Jacob .</scene_description> <character>MALEE</character> <dialogue>I need a favor. It's big. I need you to hide something for me.</dialogue> <character>JACOB</character> <dialogue>Hide what?</dialogue> <scene_description>Malee reaches into her back pack .</scene_description> <character>MALEE</character> <dialogue>Promise, you wo n't freak.</dialogue> <character>JACOB</character> <dialogue>I wo n't.</dialogue> <scene_description>Malee removes Gus ' gun .</scene_description> <character>JACOB</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Holy shit!</dialogue> <character>MALEE</character> <dialogue>You said, you would n't freak!</dialogue> <character>JACOB</character> <dialogue>That's a gun.</dialogue> <character>MALEE</character> <dialogue>I know.</dialogue> <character>JACOB</character> <dialogue>Where'd you get it?</dialogue> <character>MALEE</character> <dialogue>I ca n't tell you. I just need you to hide it for a while. When all is cool, I'll come for it.</dialogue> <character>JACOB</character> <dialogue>Why ca n't you keep it?</dialogue> <character>MALEE</character> <dialogue>My mother is a total snoop. She goes through my stuff like all the time.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Please, Jacob. Somebody's life might depend on it.</dialogue> <scene_description>Jacob crosses to his closet , removes his metal LOCK BOX and opens it . Jacob takes the gun and places it inside .</scene_description> <character>JACOB</character> <dialogue>Is it loaded?</dialogue> <character>MALEE</character> <dialogue>No, but I do have some bullets.</dialogue> <scene_description>Malee reaches into her backpack and removes the bullets . Jacob takes them out and puts them in the lock box .</scene_description> <character>MALEE</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Sure your parents wo n't find it?</dialogue> <character>JACOB</character> <dialogue>Nobody has the combination, but me. Besides, I could be building a bomb in here, and they would n't even know.</dialogue> <scene_description>Off Jacob , locking the box up .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - MONTHS LATER - MORNING</stage_direction> <scene_description>ON TWO FEET , running . We REVEAL that it 's LEONARD . His once skin tight sweat suit , hangs off of him . More than just skinny , Leonard is in perfect shape . He runs fast , carefully avoiding puddles of melting snow . -LRB- Spring is fast on the horizon . -RRB-</scene_description> </scene> <scene> <stage_direction>INT. JUVY HALL - CONVERSATION BOOTH - NEXT DAY</stage_direction> <scene_description>Jacob and Kenny talk via one way phone . Their demeanor has changed since last we saw them . No longer fraught with contempt and acrimony , they speak like two old friends .</scene_description> <character>JACOB</character> <dialogue>I sent in some comics for ya. The X - men one is pretty sweet.</dialogue> <character>KENNY</character> <dialogue>That last batch was awesome.</dialogue> <scene_description>Jacob checks his watch .</scene_description> <character>JACOB</character> <dialogue>I better get going, I do n't want to miss my bus.</dialogue> <character>KENNY</character> <dialogue>Before you go, I got some news. Apparently, the parole board feels I've been a model prisoner, so they're giving me early release.</dialogue> <character>JACOB</character> <dialogue>What? How can they do that?</dialogue> <character>KENNY</character> <dialogue>I do n't know. They just did. You're pissed, are n't you? I knew you would be.</dialogue> <parenthetical>( off Jacob 's silence . )</parenthetical> <dialogue>It was an accident, Jacob.</dialogue> <character>JACOB</character> <dialogue>So you're getting out. Gon na head back to school, or.</dialogue> <character>KENNY</character> <dialogue>Fuck school. I'm going to live with my Dad in New Mexico. He's working on a ranch out there.</dialogue> <character>JACOB</character> <dialogue>You ca n't leave the state. That violates your probation. You'll have to.</dialogue> <character>KENNY</character> <dialogue>My dad wo n't tell anyone. No one will even care I'm out there.</dialogue> <character>JACOB</character> <dialogue>Your mom will.</dialogue> <character>KENNY</character> <dialogue>Jacob, in the entire time I've been locked up, you were the only one who came to see me. Trust me, she wo n't care.</dialogue> </scene> <scene> <stage_direction>INT. MALEE'S HOME - KITCHEN - AFTERNOON</stage_direction> <scene_description>Malee fans out a fist full of twenty dollar bills .</scene_description> <character>MALEE</character> <dialogue>200 dollars! Dad sent me 200 dollars!</dialogue> <scene_description>Yacco , smiling , gets ready for work .</scene_description> <character>MALEE</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>I have to call him.</dialogue> <character>YACCO</character> <dialogue>No!</dialogue> <parenthetical>( covering . )</parenthetical> <dialogue>Your father. went out. He's not home right now.</dialogue> <scene_description>Malee eyes her mother , suspicious .</scene_description> <character>MALEE</character> <dialogue>You're acting weird. What's going on?</dialogue> <character>YACCO</character> <dialogue>Nothing.</dialogue> <character>MALEE</character> <dialogue>Well, do you want to come with me to the mall and spend it?</dialogue> <character>YACCO</character> <dialogue>I'd prefer it if you'd put that money in the bank.</dialogue> <parenthetical>( off Malee 's look . )</parenthetical> <dialogue>Fine, spend it. You'll have to do it alone though. I have a patient this afternoon. Have a good day.</dialogue> <scene_description>Yacco exits the kitchen . Malee looks at her cash and smiles .</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S HOME - KITCHEN - SAME TIME</stage_direction> <scene_description>Leonard , Patrick and Grace sit at the kitchen table .</scene_description> <character>PATRICK</character> <dialogue>Here's the deal. You know how my company flies me to Florida every April?</dialogue> <character>LEONARD</character> <dialogue>You and I have been going since I was eight. It's the guy's week off.</dialogue> <character>PATRICK</character> <dialogue>This year, I'm taking the girls. Just the girls. You're staying home.</dialogue> <character>LEONARD</character> <dialogue>Why ca n't we all go?</dialogue> <character>GRACE</character> <dialogue>I'm not staying here all alone. Besides, you said it yourself, you've been going for years. Give your sisters a chance.</dialogue> <scene_description>Leonard eyes his mother with hatred .</scene_description> <character>LEONARD</character> <dialogue>Whatever.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I need money.</dialogue> <character>PATRICK</character> <dialogue>What for?</dialogue> <character>LEONARD</character> <dialogue>Clothes. Nothing I have fits anymore.</dialogue> <character>GRACE</character> <dialogue>Your father and I are n't rich. You ca n't get a new wardrobe anytime you want.</dialogue> <character>LEONARD</character> <dialogue>What am I supposed to do, go to school naked?</dialogue> <character>GRACE</character> <dialogue>Wear a belt.</dialogue> <character>PATRICK</character> <dialogue>I'll give him some cash, he can get some clothes.</dialogue> <character>GRACE</character> <dialogue>No. He's gon na gain all his weight back in a few months.</dialogue> <parenthetical>( MORE . )</parenthetical> <dialogue /> <character>GRACE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Then what, we have to buy him new clothes all over again?</dialogue> <scene_description>Obviously hurt , Leonard storms out of the kitchen .</scene_description> <character>PATRICK</character> <dialogue>Grace.</dialogue> <character>GRACE</character> <dialogue>What? It's true.</dialogue> <scene_description>Grace exits the kitchen .</scene_description> <character>JACOB</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I thought you hated going to Florida?</dialogue> </scene> <scene> <stage_direction>EXT. JACOB'S FRONT LAWN - LATER</stage_direction> <scene_description>Leonard and Jacob play catch with a football .</scene_description> <character>LEONARD</character> <dialogue>When I was fat. Now I do n't have to wear a T - shirt when I go swimming. Who knows, maybe I could even get lucky.</dialogue> <character>JACOB</character> <dialogue>You're still ugly, though.</dialogue> <scene_description>Leonard punches Jacob 's arm in fun .</scene_description> <character>LEONARD</character> <dialogue>I do n't understand what my mother's problem is. It's like the thinner I get, the more she hates me.</dialogue> <character>JACOB</character> <dialogue>She's probably jealous. Maybe you should put her on that diet.</dialogue> <character>LEONARD</character> <dialogue>Anytime I mention it, my mother goes crazy.</dialogue> <character>JACOB</character> <dialogue>If you really want her to drop a few tons, put her in jail. Kenny's lost about 30 pounds since he's been incarcerated, and he was already thin.</dialogue> <character>LEONARD</character> <dialogue>Really?</dialogue> <character>JACOB</character> <dialogue>Yeah. Jail is the perfect weight loss program. You take a fat tub, throw them in a room and force them to eat right and exercise. Do n't let them out till they do.</dialogue> <scene_description>Off Leonard , thinking -</scene_description> </scene> <scene> <stage_direction>INT. MALEE'S HOME - BEDROOM - NIGHT</stage_direction> <scene_description>Yacco enters Malee 's room .</scene_description> <character>YACCO</character> <dialogue>Malee, dinner!</dialogue> <scene_description>Yacco notices a number of department store bags strewn everywhere .</scene_description> <character>YACCO</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Malee?</dialogue> <parenthetical>( noticing something . )</parenthetical> <dialogue>Oh my God!</dialogue> <scene_description>REVEAL MALEE , standing across the room . She is no longer the gawky , adolescent girl . Rather , she has been transformed into a beautiful young woman . Her glasses have been replaced by contacts , and her braided pig tails by a quaff of chin length curls .</scene_description> <character>YACCO</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>What did you do?</dialogue> <character>MALEE</character> <dialogue>I got a new look. You know, for Spring. What do you think?</dialogue> <scene_description>Malee spins around , giving Yacco the full picture .</scene_description> <character>YACCO</character> <dialogue>You look.</dialogue> <character>MALEE</character> <dialogue>Beautiful?</dialogue> <character>YACCO</character> <dialogue>Different. What happened to your glasses?</dialogue> <character>MALEE</character> <dialogue>Contacts. It took me like forty five minutes to get them in, but beauty is pain.</dialogue> <character>YACCO</character> <dialogue>Honey, in the future, I'd like to know if you're going to radically change your appearance. Clean your stuff up and come down for dinner.</dialogue> <scene_description>Yacco exits . Malee looks in the mirror , deflated .</scene_description> </scene> <scene> <stage_direction>EXT. CONSTRUCTION SITE - AFTERNOON</stage_direction> <scene_description>Gus watches a CEMENT TRUCK , dumping cement into a foundation . Once the cement is poured , the truck pulls forward . Malee is revealed , standing there and holding a picnic basket . Gus sees the new and improved Malee for the first time . His jaw drops .</scene_description> <character>GUS</character> <dialogue>Malee? My God, you look.</dialogue> <character>MALEE</character> <dialogue>Different?</dialogue> <character>GUS</character> <dialogue>Beautiful. You look beautiful.</dialogue> <scene_description>Off Malee 's smile -</scene_description> </scene> <scene> <stage_direction>EXT. CONSTRUCTION SITE - ANOTHER AREA - LATER</stage_direction> <scene_description>Gus and Malee eat their lunch .</scene_description> <character>MALEE</character> <dialogue>I felt like I needed a change, you know?</dialogue> <character>GUS</character> <dialogue>I bet you're driving the boys at school wild.</dialogue> <character>MALEE</character> <dialogue>Boys my age are so immature. I'm more attracted to older gentlemen.</dialogue> <scene_description>Malee smiles at Gus . He knows where this is going , and he 's suddenly nervous .</scene_description> <character>GUS</character> <dialogue>You do n't want somebody that much older than you. An age difference can cause problems.</dialogue> <character>MALEE</character> <dialogue>What kind of problems?</dialogue> <character>GUS</character> <dialogue>A lot of times when a couple has an age difference, they wind up splitting up because they want different things.</dialogue> <character>MALEE</character> <dialogue>You mean sex.</dialogue> <character>GUS</character> <dialogue>No.</dialogue> <scene_description>Gus catches a look of relief on Malee 's face .</scene_description> <character>GUS</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I mean, yeah. You may be 13, but a boy even three years older than you is probably more `` experienced''. Boys can be impatient about that sort of thing.</dialogue> <character>MALEE</character> <dialogue>Are you impatient?</dialogue> <character>GUS</character> <dialogue>No, but when I was a kid.</dialogue> <character>MALEE</character> <dialogue>Why do n't you have a girlfriend?</dialogue> <character>GUS</character> <dialogue>I did, but it did n't work out.</dialogue> <character>MALEE</character> <dialogue>How old was she?</dialogue> <character>GUS</character> <dialogue>About my age.</dialogue> <character>MALEE</character> <dialogue>See that, age was n't an issue, yet you still wanted different things. I do n't think it's about age.</dialogue> <parenthetical>( MORE . )</parenthetical> <dialogue /> <character>MALEE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I think when two people connect, they connect for other reasons. And since soulmates are eternal, they have no age.</dialogue> <scene_description>Gus is stumped .</scene_description> </scene> <scene> <stage_direction>EXT. LEONARD'S DRIVEWAY - NEXT DAY</stage_direction> <scene_description>Leonard watches Patrick and his sisters drive off in a TAXICAB .</scene_description> <character>LEONARD</character> <parenthetical>( calling after them . )</parenthetical> <dialogue>Have a good flight!</dialogue> <scene_description>The taxicab disappears down the street . As Leonard turns back around , he sees Grace , staring at him from the window . They lock eyes for a moment and then Grace disappears into the dark recesses of the home .</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S HOME - BASEMENT - NIGHT</stage_direction> <scene_description>Leonard descends the staircase and begins looking around at the setting . Boxes of junk clutter the floor along with old furniture and bicycles . He crosses to the basement door , which leads out to the backyard . As Leonard unlocks and opens the door , a mass of cobwebs stretch across the frame like elastic bands . Leonard grabs a nearby broom and starts wiping away the cobwebs .</scene_description> </scene> <scene> <stage_direction>INT. JACOB'S HOME - BEDROOM - DAYS LATER</stage_direction> <scene_description>Jacob sits at his desk , reading the PLASTIC SURGERY PAMPHLET his parents had given him for his birthday last year . The bedroom door opens and Ashley sticks her head in .</scene_description> <character>ASHLEY</character> <dialogue>We're home.</dialogue> <character>JACOB</character> <dialogue>Hi.</dialogue> <character>ASHLEY</character> <dialogue>Could you come downstairs for a minute. We have a surprise for you.</dialogue> </scene> <scene> <stage_direction>INT. JACOB'S HOME - KITCHEN - MOMENTS LATER</stage_direction> <scene_description>Jacob stands in front of KEITH GARDNER -LRB- 10 -RRB- , African American , sweet faced and dressed in a shirt and tie . He has luggage with him . Ashley and Jim stand behind the boys , beaming .</scene_description> <character>JIM</character> <dialogue>This is Keith Gardner. You're new brother. Keith our son, Jacob.</dialogue> <scene_description>Keith extends his hand .</scene_description> <character>KEITH</character> <dialogue>It's nice to meet you.</dialogue> </scene> <scene> <stage_direction>INT. JACOB'S HOME - BEDROOM - LATER</stage_direction> <scene_description>Jacob leads Keith inside .</scene_description> <character>JACOB</character> <dialogue>You get top bunk.</dialogue> <character>KEITH</character> <dialogue>I'm kind of afraid of heights.</dialogue> <character>JACOB</character> <dialogue>Sucks to be you.</dialogue> <scene_description>Keith lets Jacob 's attitude pass .</scene_description> <character>JACOB</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>No offence, but I never thought my future brother would be a. well, a `` brother''.</dialogue> <character>KEITH</character> <dialogue>I never thought my future brother would have a KOOL AID stain, smeared across his face.</dialogue> <character>JACOB</character> <dialogue>Fuck you, it's a birthmark!</dialogue> <character>KEITH</character> <dialogue>We're getting off on the wrong foot.</dialogue> <character>JACOB</character> <dialogue>When my parents said they were taking in an orphan, I pictured a baby. So what happened, your parents die or something?</dialogue> <character>KEITH</character> <dialogue>I was given up at birth.</dialogue> <character>JACOB</character> <dialogue>You gon na try and find your mother when you're 18?</dialogue> <character>KEITH</character> <dialogue>As far as I'm concerned, the fact she had me was enough. I do n't need to show up one day and disrupt her life.</dialogue> <character>JACOB</character> <dialogue>Oh, but it's okay to just show up one day and disrupt mine?</dialogue> <scene_description>Off Keith 's hurt look -</scene_description> </scene> <scene> <stage_direction>INT. LIBRARY - LATER</stage_direction> <scene_description>Malee stands at the card catalogue , flipping through the `` S '' section . She comes to cards with the word SEX in the title .</scene_description> </scene> <scene> <stage_direction>INT. MALEE'S HOME - BEDROOM - EARLY EVENING</stage_direction> <scene_description>Malee enters her room , locks the door behind her and empties her bag of SEX books on the bed . The first one she peruses is the `` KARMA SUTRA '' . At first glance , Malee 's eyes go wide in shock . She grabs her backpack and removes a number of index cards . Malee starts taking notes .</scene_description> </scene> <scene> <stage_direction>INT. JUVY HALL - COMMUNICATION BOOTHS - NEXT DAY</stage_direction> <scene_description>Jacob is on the one way phone with Kenny .</scene_description> <character>JACOB</character> <dialogue>He's not some baby. He's like 10.</dialogue> <character>KENNY</character> <dialogue>You're blaming me for this?</dialogue> <character>JACOB</character> <dialogue>No. But can you believe it?</dialogue> <character>KENNY</character> <dialogue>Maybe this is the only way they can get over Rudy's death.</dialogue> <character>JACOB</character> <dialogue>He's a person not a fucking vase.</dialogue> <character>KENNY</character> <dialogue>I know.</dialogue> <character>JACOB</character> <dialogue>I got ta get out of there. I ca n't live in that house for one more day. I want to go with you to New Mexico.</dialogue> <character>KENNY</character> <dialogue>No way. You've never even been out on the road.</dialogue> <character>JACOB</character> <dialogue>So.</dialogue> <character>KENNY</character> <dialogue>It's not easy. After first night falls, you'll be pissing yourself.</dialogue> <character>JACOB</character> <dialogue>No, I wo n't.</dialogue> <character>KENNY</character> <dialogue>You do n't need me to run away from home.</dialogue> <character>JACOB</character> <dialogue>That's not what this is about.</dialogue> <character>KENNY</character> <dialogue>Yes, it is.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>And you want to come with ME of all people. Are you forgetting, I was the one who killed Rudy!</dialogue> <character>JACOB</character> <dialogue>That was an accident.</dialogue> <scene_description>Kenny appears stunned . Jacob has never accepted that truth .</scene_description> <character>JACOB</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>I'll be helpful. I can get everything we'll need together. As soon as you're released, we can go.</dialogue> <scene_description>Kenny appears to be weighing the decision .</scene_description> <character>JACOB</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Please.</dialogue> <character>KENNY</character> <dialogue>If this is what you want. Alright.</dialogue> </scene> <scene> <stage_direction>INT. MALEE'S HOME - KITCHEN - SAME TIME</stage_direction> <scene_description>Yacco is on the phone with her ex - husband .</scene_description> <character>YACCO</character> <parenthetical>( INTO PHONE . )</parenthetical> <dialogue>I'm not asking for much. Just call her from time to time. Because she needs to know her father cares. Call collect.</dialogue> <scene_description>Malee enters the kitchen .</scene_description> <character>MALEE</character> <dialogue>Is that Dad? Can I talk to him?</dialogue> <character>YACCO</character> <dialogue>Take some responsibility for yourself and grow. Hello?</dialogue> <scene_description>Yacco slams the phone down .</scene_description> <character>YACCO</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>He hung up.</dialogue> <character>MALEE</character> <dialogue>Well, what do you expect? All you ever do is yell at him.</dialogue> <character>YACCO</character> <dialogue>Malee, you do n't understand.</dialogue> <character>MALEE</character> <dialogue>He's my Dad! I'm sorry if it bothers you, but I love him. You keep this up then one day, when I'm old enough, I'll leave here and go and stay with him.</dialogue> <scene_description>Malee runs out of the room , leaving a disappointed Yacco .</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S HOME - BASEMENT - NIGHT</stage_direction> <scene_description>Leonard hammers a piece of wood over the basement door , which is now entirely boarded up . REVEAL the basement . Now clean . Boxes , furniture and trash are piled neatly in a corner . Only a mattress remains on the floor in the center of the room . Leonard grabs a grocery bag and crosses to a bathroom at the opposite end of the basement .</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S HOME - BASEMENT BATHROOM - CONTINUOUS</stage_direction> <scene_description>Leonard turns on the light , revealing a shower , toilet and sink . He removes toiletries from the grocery bag and places them inside .</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S HOME - DEN - SAME TIME</stage_direction> <scene_description>Grace watches FAMILY FEUD while eating cake .</scene_description> <character>LEONARD</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( screaming . )</parenthetical> <dialogue>Help! Oh God, Ma! Help!</dialogue> <scene_description>Grace drops her fork .</scene_description> <character>GRACE</character> <dialogue>Leonard?</dialogue> <scene_description>Grace jumps up and runs out of the room .</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S HOME - HALLWAY - CONTINUOUS</stage_direction> <scene_description>Grace opens the door to the staircase , which leads to the basement .</scene_description> <character>GRACE</character> <parenthetical>( screaming . )</parenthetical> <dialogue>Leonard, what's wrong?</dialogue> <character>LEONARD</character> <parenthetical>( O.S . )</parenthetical> <dialogue>It's on top of me. I ca n't get up! Oh, there's so much blood!</dialogue> <character>GRACE</character> <dialogue>I'm calling 9 - 1 - 1!</dialogue> <character>LEONARD</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Get it off me first! I'm bleeding.</dialogue> <character>GRACE</character> <dialogue>If I go downstairs, I wo n't be able to make it back up. Let me call 9 - 1 - 1 first, okay?</dialogue> <scene_description>Leonard does n't answer her .</scene_description> <character>GRACE</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Leonard?</dialogue> <scene_description>Silence .</scene_description> <character>GRACE</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Oh, Jesus!</dialogue> <scene_description>Grace begins walking downstairs . Due to her size , she has difficultly maneuvering through the tight space . Her inability to see her feet is n't helping matters . Grace makes it downstairs , but Leonard is nowhere in sight .</scene_description> <character>GRACE</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Leonard?</dialogue> <scene_description>Suddenly , Leonard bursts through the bathroom door with a hammer in hand . He runs past Grace and up the stairs .</scene_description> <character>GRACE</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>What the hell?</dialogue> <scene_description>Half way up the stairs , Leonard stops and pries two of the steps off the stair case with his hammer . This creates a GAP , making it virtually impossible for Grace to ascend .</scene_description> <character>GRACE</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>What are you doing? I ca n't climb up now!</dialogue> <scene_description>Leonard runs upstairs and slams the door after him .</scene_description> <character>GRACE</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Leonard! Leonard!</dialogue> </scene> <scene> <stage_direction>EXT. GUS' APARTMENT BUILDING - SAME TIME</stage_direction> <scene_description>Malee watches as Gus enters his car and drives off .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT BUILDING - HALLWAY - SECONDS LATER</stage_direction> <scene_description>Malee crosses to Gus ' door with a GROCERY BAG in hand . She kicks the welcome mat aside , picks up the spare key and enters .</scene_description> </scene> <scene> <stage_direction>INT. GUS' APARTMENT - KITCHEN - CONTINUOUS</stage_direction> <scene_description>Malee enters and removes a pair of rubber gloves , a bottle of ammonia and trash bags . She starts cleaning .</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S HOME - BASEMENT - LATER THAT DAY</stage_direction> <scene_description>Leonard descends the staircase , holding a tray of food . Grace instantly rises .</scene_description> <character>LEONARD</character> <dialogue>I hope someone is hungry.</dialogue> <character>GRACE</character> <dialogue>Get me out of here now!</dialogue> <character>LEONARD</character> <dialogue>No joke, Ma. For the next two weeks while Dad and the girls are away, you will be kept down here. I'll provide you with nutritious meals and plenty of water. You, mother, will learn what it means to be healthy.</dialogue> <character>GRACE</character> <dialogue>That's what this is about, food?</dialogue> <character>LEONARD</character> <dialogue>I'm trying to save your life, mom. Trying to give you a life. Cause I love you.</dialogue> <character>GRACE</character> <dialogue>My life is fine. I do n't need you to `` save me''.</dialogue> <scene_description>Leonard looks at his mother , sympathetic .</scene_description> <character>LEONARD</character> <dialogue>You do n't even realize how sick you are. It's a problem when an otherwise healthy woman ca n't drag her ass up a flight of stairs because she's so obese. You're staying down here.</dialogue> <scene_description>Leonard turns and crosses back to the staircase .</scene_description> <character>LEONARD</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Oh, and no cigarettes either.</dialogue> </scene> <scene> <stage_direction>INT. GUS' APARTMENT - KITCHEN - EVENING</stage_direction> <scene_description>The kitchen is now spotless . Malee removes TWO TV DINNERS from the oven . She crosses over to the kitchen table and places the food onto plates . The table is set to the nines . A small candle burns in the center . Once the table is set and the food served , Malee takes a step back and smiles .</scene_description> </scene> <scene> <stage_direction>INT. GUS' APARTMENT - BATHROOM - LATER</stage_direction> <scene_description>Malee strips off her clothes and puts on a long , silk robe .</scene_description> </scene> <scene> <stage_direction>EXT. GUS' APARTMENT BUILDING - SAME TIME</stage_direction> <scene_description>Gus drives up , gets out of his car and enters the building .</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT BUILDING - HALLWAY - MOMENTS LATER</stage_direction> <scene_description>Gus approaches his door . As he takes out his key , he notices that the welcome mat has been pushed off to the side . Gus lifts the mat up and sees that his spare key is gone .</scene_description> </scene> <scene> <stage_direction>INT. GUS'S APARTMENT - FRONT ENTRANCE/ KITCHEN - CONTINUOUS</stage_direction> <scene_description>Gus enters . He knows someone else is in there .</scene_description> <character>GUS</character> <dialogue>Hello?</dialogue> <scene_description>We follow him into the kitchen and FIND MALEE , standing beside the table and dressed only in her robe .</scene_description> <character>GUS</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>What the hell is this?</dialogue> <character>MALEE</character> <dialogue>I made dinner, my love. And I have a surprise.</dialogue> <character>GUS</character> <dialogue>You've been in my apartment before, have n't you?</dialogue> <scene_description>Malee drops her robe , revealing her naked body . Gus quickly looks away .</scene_description> <character>GUS</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Malee, put your clothes on now!</dialogue> <character>MALEE</character> <dialogue>Do n't you like my body?</dialogue> <scene_description>Malee starts walking towards him .</scene_description> <character>GUS</character> <dialogue>Malee, stop.</dialogue> <character>MALEE</character> <dialogue>It's okay because I love you.</dialogue> <scene_description>Gus does n't answer . Malee is right behind him now . She puts her head on his back .</scene_description> <character>MALEE</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Touch me.</dialogue> <scene_description>Gus slowly turns around and looks at Malee for a long , pregnant beat . It 's a tense moment , and we are unsure of what he 's going to do . Then Gus moves past her and crosses to the living room .</scene_description> <character>MALEE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Where are you going?</dialogue> <character>GUS</character> <dialogue>To go call your mother.</dialogue> <scene_description>Gus exits . Malee stands the fool .</scene_description> <character>MALEE</character> <dialogue>But we're soulmates.</dialogue> <scene_description>Now embarrassed and crushed , she starts to cry .</scene_description> </scene> <scene> <stage_direction>EXT. GUS'S APARTMENT - LATER THAT NIGHT</stage_direction> <scene_description>Malee , now wrapped in a large overcoat , is led by Yacco out of the building and over to her car .</scene_description> </scene> <scene> <stage_direction>INT. YACCO'S CAR - CONTINUOUS</stage_direction> <scene_description>Yacco and Malee sit in silence . After a beat .</scene_description> <character>YACCO</character> <dialogue>I do n't know what to say to you.</dialogue> </scene> <scene> <stage_direction>INT. JACOB'S HOME - BEDROOM - AFTERNOON</stage_direction> <scene_description>Jacob shoves clothes into his backpack . Keith enters with Rudy 's baseball glove on his hand .</scene_description> <character>KEITH</character> <dialogue>Wan na play some catch?</dialogue> <scene_description>Jacob notices the glove . He rushes over to Keith , yanks it off his hand and pushes Keith to the ground .</scene_description> <character>JACOB</character> <dialogue>Where the hell did you get this?</dialogue> <character>KEITH</character> <dialogue>The closet. Ow, what's wrong?</dialogue> <scene_description>Keith struggles to get free , but Jacob is too strong .</scene_description> <character>KEITH</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>You're hurting me.</dialogue> <character>JACOB</character> <dialogue>Did I say you could play with the glove? Did I?</dialogue> <character>KEITH</character> <dialogue>No, I just.</dialogue> <character>JACOB</character> <dialogue>Everything, and I mean, EVERYTHING in this room is mine. You are not allowed to touch a thing, especially the glove.</dialogue> <character>KEITH</character> <dialogue>Okay, okay.</dialogue> <scene_description>Jacob gets off of Keith and crosses to his closet . He pulls out the lock box , unlocks it and removes the gun . He points it at Keith .</scene_description> <character>JACOB</character> <dialogue>If you tell my parents what I said, I'll kill you. I'll shoot you in the fucking face, I swear it!</dialogue> <scene_description>Keith nods , petrified . Jacob puts the gun back in the lock box , throws it in the closet and storms out of the room .</scene_description> </scene> <scene> <stage_direction>INT. JACOB'S HOUSE - KITCHEN - MOMENTS LATER</stage_direction> <scene_description>Ashley sits at the kitchen table , looking at a picture of Rudy and Jacob when they were infants . Her eyes are filled , but she 's not crying . Jacob enters and crosses to the fridge . He spots Ashley and is taken aback by her state .</scene_description> <character>JACOB</character> <parenthetical>( cold . )</parenthetical> <dialogue>What's wrong now?</dialogue> <character>ASHLEY</character> <dialogue>I was looking at a picture of you and Rudy when you were born. God, I miss him.</dialogue> <character>JACOB</character> <dialogue>But you have Keith now</dialogue> <scene_description>Ashley is struck by Jacob 's comment .</scene_description> <character>ASHLEY</character> <dialogue>What the hell does that mean?</dialogue> <character>JACOB</character> <dialogue>You have Keith. Two boys again. Everything is fine.</dialogue> <character>ASHLEY</character> <dialogue>We did n't adopt Keith to replace Rudy.</dialogue> <character>JACOB</character> <dialogue>Did n't you?</dialogue> <character>ASHLEY</character> <dialogue>For your information, your father and I discussed adopting for years.</dialogue> <character>JACOB</character> <parenthetical>( not buying it . )</parenthetical> <dialogue>Right. Maybe if it was me who died, you would n't need another kid to get over it.</dialogue> <character>ASHLEY</character> <dialogue>How can you say that? I never wanted either of my children to die.</dialogue> <character>JACOB</character> <dialogue>But one of us did. If you had to choose which one, I bet you wish it was me.</dialogue> <character>ASHLEY</character> <dialogue>I know you think we favored Rudy.</dialogue> <character>JACOB</character> <dialogue>You did! Admit it.</dialogue> <character>ASHLEY</character> <dialogue>I admit he was easier to raise, but we did n't love him more. Jacob, listen to me. You came with a different set of challenges.</dialogue> <character>JACOB</character> <dialogue>My birthmark.</dialogue> <character>ASHLEY</character> <dialogue>It's not easy being different.</dialogue> <character>JACOB</character> <parenthetical>( screams . )</parenthetical> <dialogue>I'm not different! You always made me feel like something was wrong. There's nothing wrong with me.</dialogue> <character>ASHLEY</character> <dialogue>I know.</dialogue> <character>JACOB</character> <dialogue>No, you do n't! It's like you do n't know how to deal with me. You never did.</dialogue> <character>ASHLEY</character> <dialogue>I'm sorry if that is how you feel. You do the best you can as a parent. You do n't always know what's right. But you're my son. I'd do anything for you. I'd fight for you, I'd kill for you, I'd die for you.</dialogue> <character>JACOB</character> <dialogue>Rudy used to say that exact same thing.</dialogue> <character>ASHLEY</character> <dialogue>It's true. And as unchristian as it sounds, I still want the boy that killed Rudy dead. Someday, when you grow up, you'll understand what I mean. Someday.</dialogue> </scene> <scene> <stage_direction>INT. LEONARD'S HOME - BASEMENT - SAME TIME</stage_direction> <scene_description>SFX : TOILET FLUSHING Grace exits the bathroom and begins walking around the basement , looking for a way out . She crosses to the boarded up door and tries to pull the boards off . Unsuccessful , she returns to the bed and sits . After a beat , Grace spots the tray of food , which is still untouched . Angry and disgusted , she takes it and throws it at the wall . LATER THAT NIGHT - Grace paces nervously while blabbering to herself .</scene_description> <character>GRACE</character> <dialogue>When Pat calls, and I do n't answer, he'll know something is wrong. He'll know. I'll be fine.</dialogue> <scene_description>LATER THAT NIGHT - Grace nervously rocks back and forth . Sweat covers her body . She glances at the tray of food , which rests on the floor . LATER THAT NIGHT - Grace stands at the base of the stairwell , screaming .</scene_description> <character>GRACE</character> <dialogue>Open this door now! Let me out, God damn it! Leonard!</dialogue> <scene_description>LATER THAT NIGHT - Grace is crying . She catches sight of the meal that she threw on the floor . After a beat , Grace crawls over to it and starts shoving it down her throat . She does n't seem bothered by the fact that her dinner is covered with dirt .</scene_description> </scene> <scene> <stage_direction>INT. YACCO'S OFFICE - RECEPTION AREA - NEXT DAY - AFTERNOON</stage_direction> <scene_description>Yacco exits her office to find Gus waiting for his session . They speak not a word . He rises and enters the office . She follows , shutting the door behind her .</scene_description> </scene> <scene> <stage_direction>INT. YACCO'S OFFICE - CONTINUOUS</stage_direction> <scene_description>Gus and Yacco sit in their respective seats .</scene_description> <character>YACCO</character> <dialogue>Before we begin, I want to apologize. I should have known what was going on with Malee.</dialogue> <character>GUS</character> <dialogue>It's my fault. I knew she had a crush on me. I guess, I felt bad for her. She's a very unhappy girl.</dialogue> <scene_description>Yacco looks down , embarrassed .</scene_description> <character>GUS</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>If it's any consolation, the whole thing was very `` therapeutic'' for me.</dialogue> <parenthetical>( off Yacco 's look . )</parenthetical> <dialogue>Sorry. That was a very selfish thing to say.</dialogue> <character>YACCO</character> <dialogue>This is your therapy. Not mine. Why was it therapeutic?</dialogue> <character>GUS</character> <dialogue>I slept last night. I ca n't remember the last time I slept so deep or so sound. I do n't remember dreaming or anything.</dialogue> <character>YACCO</character> <dialogue>Why do you think that is?</dialogue> <character>GUS</character> <dialogue>One of the last fires I ever fought was a brownstone, beautiful. The place was burned from roof to basement. Whole family was wiped out. When I was upstairs, inspecting, I found a girl. She could n't have been more than 12.</dialogue> <parenthetical>( MORE . )</parenthetical> <dialogue /> <character>GUS</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>The whole right side of her face was burnt off, but her eyes were open. She was alive. The pain must have been excruciating. She was begging for me to. kill her.</dialogue> <character>YACCO</character> <dialogue>What did you do?</dialogue> <character>GUS</character> <dialogue>Exactly what she wanted. I placed my hand over her mouth and what was left of her nose, and I. I killed her. I told myself it was the right thing to do, but I've never been sure.</dialogue> <character>YACCO</character> <dialogue>What does this have to do with Malee?</dialogue> <character>GUS</character> <dialogue>When I saw her last night, she had the same look on her face as that girl. She just wanted me to take away her pain.</dialogue> <scene_description>Yacco sits , pondering all of this .</scene_description> <character>GUS</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Doctor?</dialogue> <character>YACCO</character> <dialogue>Would you mind if we. cut out early today? No charge.</dialogue> <character>GUS</character> <dialogue>I understand.</dialogue> <scene_description>Gus rises and exits . Yacco sits alone and starts crying .</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S HOME - KITCHEN - MOMENTS LATER</stage_direction> <scene_description>Leonard is at the kitchen sink , arranging a fruit salad . SUDDENLY , he hears the sound of water boiling over from the stove . Leonard quickly turns the gas low , extinguishing the flame . He removes the pot from the burner , grabs a strainer and removes poached EGG WHITES from the water . Leonard grabs a dish towel and begins wiping the water off the stove . Preoccupied , he does n't realize that when he wipes the oven knob dry , he turns the gas on high . -LRB- Since the overflowing water , extinguished the pilot light , he is unaware that gas is now being emitted from the burner . -RRB- In his condition , HE WO N'T BE ABLE TO SMELL IT . Leonard grabs the plates of food and exits the kitchen . SFX : GAS LEAKING</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S HOME - BASEMENT - MOMENTS LATER</stage_direction> <scene_description>Leonard places the food by Grace 's bed . She is sleeping .</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S HOME - KITCHEN - MOMENTS LATER</stage_direction> <scene_description>Leonard sits on the couch , watching TV . Suddenly , he starts coughing , hard . The fit subsides and Leonard resumes watching TV , thinking nothing of it .</scene_description> </scene> <scene> <stage_direction>INT. MALEE'S HOME - KITCHEN - EVENING</stage_direction> <scene_description>SFX : TELEPHONE Malee enters the kitchen and answers the phone .</scene_description> <character>MALEE</character> <parenthetical>( INTO PHONE . )</parenthetical> <dialogue>Hello? Daddy! No, she's not home. Can I ask you something? Can I visit you for a while? A week. But I can fly alone. No, I understand. Yeah. I love y. Hello?</dialogue> <scene_description>Malee hangs up the phone . Tears swell in her eyes . She places her head in her arms and start bawling .</scene_description> <character>YACCO</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Honey?</dialogue> <scene_description>Malee looks to find Yacco standing behind her .</scene_description> <character>MALEE</character> <parenthetical>( through her tears . )</parenthetical> <dialogue>Why does he hate me?</dialogue> <scene_description>Yacco walks to Malee and hugs her tight . It 's a long , overdue hug .</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S HOME - BASEMENT - LATER THAT DAY</stage_direction> <scene_description>Grace awakens from her nap . Suddenly , she sniffs at the air . Grace rises and crosses over to the foot of the basement stairs . She sees that the upstairs door is wide open .</scene_description> <character>GRACE</character> <dialogue>Leonard!</dialogue> <scene_description>Silence .</scene_description> <character>GRACE</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Leonard, I smell gas!</dialogue> </scene> <scene> <stage_direction>INT. LEONARD'S HOME - DEN - SAME TIME</stage_direction> <scene_description>Leonard is slumped over , unconscious .</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S HOME - BASEMENT - SAME TIME</stage_direction> <scene_description>Grace coughs hard .</scene_description> <character>GRACE</character> <dialogue>Leonard, do n't you smell that?</dialogue> <parenthetical>( sotto . )</parenthetical> <dialogue>Oh God, he ca n't. Leonard! Leonard, the gas is on!</dialogue> <scene_description>Grace grabs a hold of the railing and starts climbing the stairs . After a few steps , she stops to rest , wheezing . With the help of the railing , Grace pulls herself up to the GAP in the staircase . In one forceful exertion , she propels her body up and forward . The railing instantly becomes separated from the wall . Grace lands in a heap . Luckily , the top half of her body made it to the other side . With all of her might , Grace pulls herself up to the landing .</scene_description> </scene> <scene> <stage_direction>INT. LEONARD'S HOME - KITCHEN - CONTINUOUS</stage_direction> <scene_description>Exhausted and wheezing , Grace drags herself over to the stove and shuts the gas off . She looks around for Leonard and sees him in the living room , slumped over and unconscious .</scene_description> <character>GRACE</character> <dialogue>No!</dialogue> <scene_description>Grace frantically shuffles over to the living room .</scene_description> <character>GRACE</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Leonard, wake up! Leonard!</dialogue> </scene> <scene> <stage_direction>INT. HOSPTIAL ROOM - NIGHT</stage_direction> <scene_description>Leonard slowly comes to in a hospital bed . The same nurse from earlier is by his side .</scene_description> <character>NURSE</character> <dialogue>It's alive!</dialogue> <character>LEONARD</character> <dialogue>What happened?</dialogue> <character>NURSE</character> <dialogue>Gas leak.</dialogue> <character>LEONARD</character> <dialogue>My mom, she's.</dialogue> <character>NURSE</character> <dialogue>She's fine. They've taken her into surgery. She blew out her knees somehow. We're trying to get your father on the phone right now.</dialogue> <character>LEONARD</character> <dialogue>I.</dialogue> <character>NURSE</character> <dialogue>Shh. You need your rest. Everything is fine now.</dialogue> </scene> <scene> <stage_direction>EXT. CONSTRUCTION SITE - DAY</stage_direction> <scene_description>Jacob straddles his bike , watching a crew spread cement over the foundation of a house . Jacob appears lost in thought . He looks at a picture of Rudy and himself together . Jacob touches his face in the photograph . He traces his finger along the outline of his birthmark .</scene_description> <character>KENNY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Tonight, we ride.</dialogue> </scene> <scene> <stage_direction>EXT. TRAILER PARK - BESIDE KENNY'S TRAILER - DUSK</stage_direction> <scene_description>Jacob and Kenny share a cigarette .</scene_description> <character>KENNY</character> <dialogue>We got sleeping bags, a tent, canteens and a lantern.</dialogue> <parenthetical>( MORE . )</parenthetical> <dialogue /> <character>KENNY</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I heard it's supposed to rain, so I'll bring ponchos.</dialogue> <character>JACOB</character> <parenthetical>( half hearted . )</parenthetical> <dialogue>Cool.</dialogue> <scene_description>Kenny eyes Jacob .</scene_description> <character>KENNY</character> <dialogue>You're acting weird. You gon na chicken out?</dialogue> <character>JACOB</character> <dialogue>No.</dialogue> <character>KENNY</character> <dialogue>You better not. I already packed twice the amount of shit. I ca n't carry it all alone.</dialogue> <character>JACOB</character> <dialogue>I'll be there.</dialogue> <character>KENNY</character> <dialogue>Good. I'm telling you, man. It's gon na be great.</dialogue> <character>JACOB</character> <dialogue>I guess.</dialogue> <character>KENNY</character> <dialogue>Come on. You ca n't be a pussy all your life.</dialogue> <character>JACOB</character> <parenthetical>( beat , hauntingly . )</parenthetical> <dialogue>I know.</dialogue> <character>KENNY</character> <dialogue>I'll see you tonight. Do n't be late.</dialogue> <scene_description>Kenny rides off . Jacob watches him go . He has a lifeless , almost calculating look in his eyes .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM - NIGHT</stage_direction> <scene_description>Grace lies in a hosptial bed , watching TV . Leonard enters , dressed in a hospital gown . Grace turns to him , smiling .</scene_description> <character>GRACE</character> <dialogue>Leonard!</dialogue> <character>LEONARD</character> <dialogue>I'm sorry, mom. I did n't mean to leave the gas on. It was an accident. And everything that happened, I. I just thought that maybe, I could help you.</dialogue> <character>GRACE</character> <dialogue>Leonard, my mother died at 52. We had to cremate her body because they did n't make a coffin big enough for her to fit in. Even if they had, no one could have carried it.</dialogue> <parenthetical>( tearing up . )</parenthetical> <dialogue>I loved her so much. I do n't want that to happen to me.</dialogue> <character>LEONARD</character> <dialogue>It does n't have to.</dialogue> <character>GRACE</character> <dialogue>Even if I can manage the food. Can you honestly see me, running a marathon?</dialogue> <character>LEONARD</character> <dialogue>You do n't have to run a marathon. You just have to run to the end of the block. It's not so hard as you think it is.</dialogue> <character>GRACE</character> <dialogue>I'll try.</dialogue> <scene_description>Leonard leans over and kisses his mother 's forehead .</scene_description> <character>GRACE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>I spoke to your father. He and the girls caught a flight. They should be here by morning.</dialogue> <character>LEONARD</character> <dialogue>Did you tell him what happened?</dialogue> <character>GRACE</character> <dialogue>I told him there was a gas leak.</dialogue> <character>LEONARD</character> <dialogue>I meant.</dialogue> <character>GRACE</character> <dialogue>I know what you meant. I did n't tell him. I do n't think I will.</dialogue> <scene_description>Leonard smiles .</scene_description> </scene> <scene> <stage_direction>INT. JACOB'S HOME - BEDROOM - MIDDLE OF THE NIGHT</stage_direction> <scene_description>Jacob lies awake , staring out the window . A heavy wind blows . SFX : WATCH ALARM Jacob sits up and silences his watch alarm . Keith awakens as well , but remains silent . He watches as Jacob grabs a bag and exits the house through the window . Once he 's gone , Keith gets off the top bunk , crosses to the window and watches as Jacob runs off . Immediately , Keith crosses to the closet . He removes the lock box and begins trying combinations to open it .</scene_description> </scene> <scene> <stage_direction>EXT. CONSTRUCTION SITE - SHORT TIME LATER</stage_direction> <scene_description>A heavy rain begins to fall as Jacob rides up . He sees Kenny , standing inside of a partially , constructed house .</scene_description> <character>KENNY</character> <dialogue>You're late.</dialogue> <character>JACOB</character> <dialogue>I'm here.</dialogue> <scene_description>Kenny throws Jacob a PONCHO .</scene_description> <character>KENNY</character> <dialogue>Put this on.</dialogue> <scene_description>Jacob removes his backpack and puts on the poncho . Then he opens his backpack and removes his HOCKEY MASK . -LRB- The same mask he was wearing at the beginning of the movie . -RRB-</scene_description> <character>KENNY</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>What the fuck is that?</dialogue> <character>JACOB</character> <dialogue>If people see me riding around in the middle of the night, we're screwed. You did n't bring a disguise?</dialogue> <character>KENNY</character> <dialogue>Who gives a shit what I'm up to.</dialogue> <scene_description>The boys start riding off in opposite directions .</scene_description> <character>KENNY</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>The main road is this way.</dialogue> <character>JACOB</character> <dialogue>Yeah, but if we cut through the construction site, we'll hit the railroad tracks. It's faster and no one will bother us.</dialogue> <character>KENNY</character> <dialogue>Good point.</dialogue> <scene_description>Kenny files in behind Jacob , and the boys make their way deep into the construction site . Thunder and lightning crash .</scene_description> </scene> <scene> <stage_direction>INT. JACOB'S HOME - BEDROOM - SAME TIME</stage_direction> <scene_description>Keith has forgone opening the lock box via a combination and now tries to pry the top open with a SCREWDRIVER . He works frantically , fearing Jacob 's return .</scene_description> </scene> <scene> <stage_direction>EXT. CONSTRUCTION SITE - SAME TIME</stage_direction> <scene_description>Jacob and Henry make their way to the edge of the construction site . Suddenly , Jacob stops in his tracks .</scene_description> <character>KENNY</character> <dialogue>What's wrong?</dialogue> <scene_description>Jacob lifts the hockey mask .</scene_description> <character>JACOB</character> <dialogue>I ca n't do this.</dialogue> <character>KENNY</character> <dialogue>What?!</dialogue> <scene_description>Jacob begins rummaging through his backpack .</scene_description> </scene> <scene> <stage_direction>INT. JACOB'S HOME - BEDROOM - SAME TIME</stage_direction> <scene_description>Keith pries the box open . It 's EMPTY . No gun or bullets .</scene_description> </scene> <scene> <stage_direction>EXT. CONSTRUCTION SITE - SAME TIME</stage_direction> <character>KENNY</character> <dialogue>Son of a bitch! I knew it. I knew you'd chicken.</dialogue> <scene_description>Jacob rises , holding the gun . He points it at Kenny .</scene_description> <character>KENNY</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>What the fuck?</dialogue> <scene_description>Jacob shakes , frightened and reluctant to do what he believes he has to do .</scene_description> <character>JACOB</character> <dialogue>I ca n't let you leave, Kenny. You have to pay for what you did.</dialogue> <character>KENNY</character> <dialogue>Whoa, whoa hold on. Alright, I. I wo n't go. I'll stay here. I'll do my probation.</dialogue> <scene_description>Jacob cocks the gun . Tears stream down his checks .</scene_description> <character>JACOB</character> <dialogue>You killed him. I got ta do this. for my family. It's the only way.</dialogue> <character>KENNY</character> <dialogue>Jacob, I told ya, it. it was an accident. I swear. Please, do n't. This is n't you.</dialogue> <character>JACOB</character> <dialogue>I know. But I ca n't be a pussy all my life.</dialogue> <scene_description>Jacob fires . Kenny is hit in the head . He drops to the ground instantly . The force of the gun , knocks Jacob to the ground . As he falls , the hockey mask comes down over his face . Jacob sits for a beat , staring at Kenny 's lifeless body . Lightning flashes , illuminating his blue eyes through the hockey mask .</scene_description> </scene> <scene> <stage_direction>EXT. CONSTRUCTION SITE - SHORT TIME LATER</stage_direction> <scene_description>Jacob is inside one of the UNPAVED house foundations , digging a hole . He cries , struggling to finish what he has done . Once a hole is dug , Jacob throws Kenny 's body inside and starts covering it up with dirt .</scene_description> </scene> <scene> <stage_direction>INT. JACOB'S HOME - BEDROOM - LATER THAT NIGHT</stage_direction> <scene_description>Jacob climbs through his window , soaking wet . He crosses to his closet and begins to change . Keith lies in bed , watching . Jacob removes the gun from his pocket and places it back inside the lock box . His hands shake violently . As he puts the box back inside the closet . He finds Rudy 's glove . He smells the leather and smiles . Jacob takes the glove and crosses over to his bed . He places the glove beside Keith .</scene_description> <character>KEITH</character> <dialogue>I thought I was n't supposed to touch this.</dialogue> <character>JACOB</character> <dialogue>You're awake.</dialogue> <character>KEITH</character> <dialogue>Yeah.</dialogue> <character>JACOB</character> <dialogue>It's yours. Just do n't leave it outside. If it gets wet, the leather will crack.</dialogue> <character>KEITH</character> <dialogue>I'll take good care of it. I know this was Rudy's.</dialogue> <scene_description>Jacob lies down on his bed .</scene_description> <character>KEITH</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Why do you have a gun?</dialogue> <character>JACOB</character> <dialogue>Just a b - b gun. I returned it to a friend of mine.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I'm sorry for being such an asshole to ya.</dialogue> <character>KEITH</character> <dialogue>Does this mean we're brothers now?</dialogue> <character>JACOB</character> <parenthetical>( beat , torn apart . )</parenthetical> <dialogue>Yeah. We're brothers.</dialogue> <scene_description>Keith lies back in bed , smiling . Jacob rolls over , still unnerved by what he is done . He 'll never be the same , and he knows it .</scene_description> </scene> <scene> <stage_direction>EXT. CONSTRUCTION SITE - DAY</stage_direction> <scene_description>Gus loads cinder blocks into a wheel barrow .</scene_description> <character>MALEE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Gus?</dialogue> <scene_description>Gus spins around , and finds Malee , standing there .</scene_description> <character>MALEE</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Before you freak out, I want to tell you, I'm sorry. And to give you this.</dialogue> <scene_description>Malee opens her backpack and removes Gus ' GUN . Gus snatches it from her .</scene_description> <character>GUS</character> <dialogue>Malee?</dialogue> <character>MALEE</character> <dialogue>Do n't be mad. I was just worried about you. Now I'm out of your life forever. Goodbye. Thanks for not pressing any charges.</dialogue> <scene_description>Malee walks off . Gus holds the gun in awe .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - BESIDE THE CONSTRUCTION SITE - SAME TIME</stage_direction> <scene_description>TIGHT ON JACOB , staring at the construction site . We ZOOM OUT and find him , straddling his bike . Malee appears , walking over .</scene_description> <character>MALEE</character> <dialogue>Quite a storm last night.</dialogue> <scene_description>They stand for a moment , watching the builders .</scene_description> <character>MALEE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Did you hear about Leonard?</dialogue> <scene_description>Jacob nods , YES .</scene_description> <character>MALEE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Only him. I was gon na go and visit him at the hospital. You want to come?</dialogue> <scene_description>Jacob does n't answer . He is preoccupied with watching a TRUCK pour cement into the foundation where Kenny is buried . It 's a bittersweet moment . While relieved by the fact that his crime will be hidden , the guilt overwhelms him .</scene_description> <character>MALEE</character> <parenthetical>( cont 'd . )</parenthetical> <dialogue>Earth to Jacob. You coming?</dialogue> <character>JACOB</character> <dialogue>Huh? Oh, yeah.</dialogue> <scene_description>Jacob turns his bike around , and the two ride off together .</scene_description> <character>MALEE</character> <dialogue>You know, your birthday's coming up. Any hints as to what you might like?</dialogue> <character>JACOB</character> <dialogue>Whatever you get me will be fine.</dialogue> <character>MALEE</character> <parenthetical>( annoyed . )</parenthetical> <dialogue>Right.</dialogue> <scene_description>Malee eyes Jacob , sensing that something is wrong .</scene_description> <character>MALEE</character> <parenthetical>( CONT 'D ; cont 'd . )</parenthetical> <dialogue>Are you okay?</dialogue> <character>JACOB</character> <parenthetical>( lying . )</parenthetical> <dialogue>Never better.</dialogue> <scene_description>BACK ON the foundation . Gus enters frame and begins spreading cement over Kenny 's grave . THE END</scene_description> </scene> </script>

The film explores adolescent issues through the minds of three friends and their reactions after a boy named Rudy Carges (Conor Donovan) is killed in a tree house set on fire by local bullies Jeff and Kenny, who carelessly didn't find out he was inside until too late. The boy's twin brother Jacob, a boy with a huge birthmark (also played by Donovan), decides to seek revenge against the bullies. Leonard (Jesse Camacho) who's overweight, survives the tree house fire but loses his sense of taste and smell. Leonard is prompted by his gym teacher to go on a diet, which isn't welcomed by his obese family. The boys' female friend Malee (Zoe Weizenbaum) tries to befriend an adult named Gus (Jeremy Renner), a grief-stricken patient of her therapist mother, Carla (Annabella Sciorra). Jacob's family falls apart after the death of his brother, but soon after they adopt a boy named Keith Gardner. Meanwhile, Malee begins to have a crush on Gus and changes the song for her recital to one Gus liked. As time goes by, she sees Gus as her "soul mate". She sneaks into his house one night to find him grieving. Afraid to confront him, Malee steals his gun and leaves. She gives the gun to Jacob the following day. Jacob's mother gets furious when she finds out Jeff and Kenny are being put in juvenile hall for only one year, while Jacob's father views Rudy's death as an accident. Jacob spends the next few months visiting Jeff and Kenny, and threatens them, until eventually Jeff commits suicide. Jacob befriends Kenny, soon learning he has an early release and is illegally moving to New Mexico. Meanwhile, Leonard's father decides to take his sisters to Florida instead of Leonard (who would usually go). Leonard decides to force his mother to lose weight by trapping her in the cellar. They both end up in the hospital after a gas leak in their home. Next, Jacob and Kenny agree that Jacob can go with him to New Mexico. Malee visits Gus and removes her clothes in an attempt to seduce him. Instead, Gus calls Malee's mother to come and pick her up. The next day, Gus explains to therapist Carla about the last fire he ever fought (which involved killing an injured little girl, upon the girl's request), claiming that Malee wanted him to take her pain away, as he was aware of her growing crush on him. Meanwhile, Jacob's mother tells him that Keith Gardner wasn't adopted to replace Rudy, and that she wants Kenny dead, which reminds Jacob of his planned revenge. The night of escape for Jacob finally comes and he meets up with Kenny. Jacob insists on going through a construction site which he says is a secret route. Once there, Jacob points Gus's gun at Kenny, and tells him "you killed him" before shooting him dead. Jacob buries the body and leaves. He returns in the daytime, and sees Gus spreading cement above Kenny's grave, knowing the evidence is gone. Malee begins visiting her estranged father and Leonard's family finally starts eating healthily. Jacob returns home without telling anyone what he did.

Mean Streets_1973

tt0070379

<script> <scene> <stage_direction>MEAN STREETS</stage_direction> <scene_description>Ah , get born , keep warm Short pants , romance , learn to dance Get dressed , get blessed Try to be a success Please her , please him , buy gifts Do n't steal , do n't lift Twenty years of schoolin ' And they put you on the day shift - BOB DYLAN , Subterranean Homesick Blues . -LRB- SUPERED OVER BOTTOM OF SCREEN LIKE A TV NEWS BULLETIN -RRB- -LRB- THE FILM IS IN COLOR UNLESS OTHERWISE NOTED . -RRB- A darkened diffused image of a man lying on the ground . A tree is above him . The image is more diffused on the edges . It is black and white , and appears to be coming from a television . The body of the man is practically totally in shadow .</scene_description> <character>ANNOUNCERS VOICE</character> <dialogue>Ladies and gentlemen, on the new tonight, the first actual motion pictures of death.</dialogue> <scene_description>A small orange fire appears in the breast of the man .</scene_description> <character>ANNOUNCERS VOICE</character> <dialogue>Watch closely, at the moment of death.</dialogue> <scene_description>The small orange fire fades away .</scene_description> <character>COLOR</character> <dialogue /> <scene_description>CHARLES CAPPA JR. -LRB- CHARLIE -RRB- is 25 of Sicilain origin . He was educated in Roman Catholic Parochial schools with one year and a half at a Jesuit college . CHARLIE was raised sternly in the Roman Catholic tradition but now has rejected many of the religion 's tenets . He is very intelligent and has a sharp sense of humor . He is always well dressed . His favorite authors are Ernest Hemingway , Thomas Hardy , and Theodore Dreiser . He likes reading but enjoys films more . He is very fond of the New Testament and often exchanges quotes from it with his friend TONY .</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - NIGHT</stage_direction> <scene_description>CHARLIE has been dreaming . The dream frightened him . A TITLE APPEARS on the bottom of the frame : CHARLIE . He gets up to look at his face in the mirror . His room is lit by moonlight . It is a small tenement bedroom with a fire - escape outside . He returns to bed and as his head hits the pillow , we hear the RONETTES singing `` BE MY BABY . '' An 8 - mm . projector whirring away .</scene_description> </scene> <scene> <stage_direction>INT. PARTY - HOME MOVIES - DAY</stage_direction> <scene_description>Opening TITLES appear over 8mm . HOME MOVIES in which CHARLIE is shown along with his friends and family in a celebration . a sense of `` one big unending party . '' During this opening segment WE SEE some of the characters that will later appear in the story : JOHNNY BOY , MICHAEL , TONY , TERESA , CHARLIE 'S UNCLE GIOVANNI , and others . They are all Sicilian and are members of the same Italian - American neighborhood in New York City . -LRB- WE SENSE , from these HOME MOVIES , that the neighborhood forces its people to be strongly tied together in a way of life - Family , Church , Friendship . -RRB- These HOME MOVIES were taken during some formal and casual gatherings in which CHARLIE participated .</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM IN A NEIGHBORHOOD BAR</stage_direction> <scene_description>A longhaired `` freak '' is about to shoot - up . Suddenly the door opens and TONY -LRB- ANTHONY DEVENZIANO -RRB- comes in . TONY is totally different in appearance and dress from the `` freak . '' He is 25 , and a part time student studying liberal arts . His father is a very powerful racketeer in a different part of the city and owns several night club type discotheques and strip houses on the west side of town . One of these is operated by TONY - `` TONY 'S PLACE . '' CHARLIE is one of his closest friends . TONY is well dressed , flippant and reckless . He is a big drinker , liquor , wine , and even cough medicine .</scene_description> <character>TONY</character> <dialogue>What the fuck. hey!</dialogue> <scene_description>TONY rushes over to the `` freak '' , who is too strung out to defend himself , smashes the needle , and slaps him around .</scene_description> <character>TONY</character> <dialogue>Not in my fuckin' place. get out. get out!</dialogue> </scene> <scene> <stage_direction>INT. BAR AREA</stage_direction> <scene_description>TONY pushes him out the door and into the bar area . There are a few people in the bar . mainly neighborhood guys like TONY . A few `` freaks '' are in the BG . TONY pushes him out the front door .</scene_description> <character>TONY</character> <dialogue>And keep the fuck out - a - here. I know your face.</dialogue> <scene_description>TONY crosses over to one of the neighborhood guys by the bar and slaps him in the back of the head knocking off his hat .</scene_description> <character>TONY</character> <dialogue>And you scumbag. what did I tell you ` bout passin' that shit in my PLACE.</dialogue> <parenthetical>( HITS AGAIN . )</parenthetical> <dialogue>. huh?</dialogue> <character>BOY</character> <dialogue>Hey I did n't do nothin'. cut it out.</dialogue> <scene_description>TONY pushes the BOY out of the bar also . TITLE APPEARS on the bottom of the frame : TONY</scene_description> </scene> <scene> <stage_direction>EXT. WEST SIDE DOCKS - LATE AFTERNOON</stage_direction> <scene_description>The area is totally deserted except for two trucks parked side by side . Two men are tossing boxes from one truck to another and looking around furtively . MICHAEL stands nearby . MICHAEL LONGO is 26 years old . He lives in a different neighborhood but comes from the same type of background as CHARLIE and the others . He runs an illegitimate bar and dabbles in the yearly sale of firecrackers which he smuggles in from Maryland . He also deals in contraband cigarettes and runs a small - time `` loan shark '' business . He has a knack for business but he is otherwise unintelligent . Michael crosses over to a '58 black Oldsmobile .</scene_description> <character>MICHAEL</character> <dialogue>Hey, hurry up with that shit will ya.</dialogue> <scene_description>MICHAEL gets in the car . Another MAN is sitting in the back . He is also well dressed . MICHAEL takes a small lens out of his pocket and tosses it to the MAN .</scene_description> <character>MAN</character> <dialogue>What's this? More shit?</dialogue> <character>MICHAEL</character> <dialogue>Naw. that ai n't shit. that's a German lens.</dialogue> <scene_description>The MAN looks at it carefully .</scene_description> <character>MICHAEL</character> <dialogue>A good buy. good two shipments of them.</dialogue> <character>MAN</character> <dialogue>Ca n't use it.</dialogue> <character>MICHAEL</character> <dialogue>Why? That's a telescopic one. it's good.</dialogue> <character>MAN</character> <dialogue>First, it ai n't German. it's Japanese. and second, this ai n't no lens. it's like a. a. an adaptor. so you got two shipments of Jap adaptors with no lenses.</dialogue> <parenthetical>( HE LAUGHS . )</parenthetical> <dialogue /> <scene_description>MAN hands adaptor back to MICHAEL .</scene_description> <character>MICHAEL</character> <parenthetical>( DISAPPOINTED . )</parenthetical> <dialogue>A Jap adaptor?</dialogue> <scene_description>TITLE APPEARS on bottom of screen : MICHAEL .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>A deserted warehouse area in lower Manhattan . Prominent in the frame is a brightly painted red white and blue mailbox , contrasting with the drab hues of the neighborhood . JOHNNY BOY walks down the street toward camera . JOHN CIVELLO -LRB- JOHNNY BOY -RRB- is 23 years old . He is an only child and lives with his mother , a divorcee . He is clean cut looking , yet slightly radical in dress . He was expelled from high school for vandalism and consequently spent several months in reform school . He is reckless , unambitious , nihilistic , and was classified a psychiatric 4 - F . He is first cousin of TERESA RONCHALI who lives next door to CHARLIE . He has adopted TERESA 'S family as his own and spends more time with them than he does with his mother . JOHNNY is carrying a package wrapped in plain brown paper under his arm , and he is smiling . He drops the package into the mailbox and keeps walking . But he is moving a little faster now and smiling a little more . Suddenly the mailbox explodes . Dozens of red , white and blue fragments shower down on the street . The impact of the blast knocks JOHNNY down . TITLE APPEARS on bottom of frame : JOHNNY BOY . He is up in a moment . The CAMERA TRACKS with him as he starts running . WE SEE that he is grinning - quite literally - like crazy .</scene_description> </scene> <scene> <stage_direction>INT. CHURCH</stage_direction> <scene_description>WE SEE CHARLIE full face . Behind him is a Confessional Booth . The church is very old , quiet , and dark . The CAMERA ZOOMS OUT to reveal rows of Holy Candles lit in the foreground . CHARLIE suddenly begins to speak softly and confidentially to an unseen entity that is OFF SCREEN .</scene_description> <character>CHARLIE</character> <parenthetical>( CONFESSION . )</parenthetical> <dialogue>A. As you know, I've just come out of Confession. And as a penance they gave me ten ` Hail Marys' and ten ` Our Fathers'.</dialogue> <scene_description>THE CAMERA BEGINS TO TRUCK OUT . IT MOVES AROUND CHARLIE AND AWAY FROM THE HOLY CANDLES REVEALING CHARLIE 'S PROFILE .</scene_description> <character>CHARLIE</character> <parenthetical>( CONTINUED . )</parenthetical> <dialogue>. Now, between you and me. You know how I feel about such things. ` Hail Marys'. ` Our Fathers'. No imagination.</dialogue> <scene_description>THE CAMERA HAS NOW TRUCKED BEHIND CHARLIE AND WE SEE over his head he has been addressing a life sized statue of the crucified body of Christ , eyes closed reclining in his sepluchure .</scene_description> <character>CHARLIE</character> <parenthetical>( CONTINUING . )</parenthetical> <dialogue>. If I'm going to do penance at all, I'll do it the way I think it would be done. by me, that is. according to my own trespasses. You know what I mean.</dialogue> <scene_description>This conversation of Confession will occur from time to time in other parts of the story as CHARLIE will periodically try very casually to justify his thoughts and actions to his `` God . '' The images accompanying these monologues are to be of free association almost documentary in nature .</scene_description> </scene> <scene> <stage_direction>INT. TONY'S PLACE - NIGHT</stage_direction> <scene_description>The club is dark and noisy and smokey when CHARLIE enters . He greets TONY who is sitting on a bar - stool . TONY directs CHARLIE to a corner of the club where the rest of the group is now getting boisterously drunk . CHARLIE joins in , immediately taking on the mood of the group . The rest of the club is filled with many different types of customers : teenagers , adults pretending to be teenagers , sailors , male and female gays , and `` the boys from the neighborhood . '' The music is loud and the lights are flashing but the strippers have not yet appeared . TONY is at the bar . He is approached by GEORGE one of the bouncers . He seems upset about the noise that CHARLIE and his friends are creating . TONY does n't take GEORGE very seriously .</scene_description> <character>GEORGE</character> <dialogue>It's ten o'clock and they're like this. And they're just starting?</dialogue> <scene_description>TONY smiles .</scene_description> <character>GEORGE</character> <parenthetical>( CONTINUING . )</parenthetical> <dialogue>Smile. What are you smiling at? This is a business night.</dialogue> <character>TONY</character> <parenthetical>( INTERRUPTING . )</parenthetical> <dialogue>George. did I ever tell you the story about the three chickens?</dialogue> <character>GEORGE</character> <parenthetical>( GENUINELY . )</parenthetical> <dialogue>No.</dialogue> <character>TONY</character> <dialogue>Too bad.</dialogue> <scene_description>CHARLIE 's zany behavior as frenetically as it occurs . There is no particular logical sequence except that events are suited to the rythmic pattern of the music . 1 . CHARLIE and his friends dance and sing along with the music . 2 . CHARLIE picks up a billiard stick . He attempts to hit a filled shot glass towards TONY at the other end of the bar . He fails . 3 . CHARLIE tries to pull a tablecloth off of a stranger 's table without moving the glasses or bottles . This also fails . 4 . A punch is thrown at someone . A lit cigarette in the puncher 's fist creates a swift arc of light in the darkness . 5 . The Strippers finally appear on stage . CHARLIE becomes obsessed with the Negro stripper DIANE . He shouts to her , tosses things , and calls her names . She tries , half amusedly to ignore him but she ca n't . 6 . TONY drinks from a bottle of Southern Comfort , and as a chaser swigs down Aqua Velva . CHARLIE sitting at an empty table watching DIANE , the stripper , perform again . He stares glassy - eyed and then begins to speak softly , continuing his Confession .</scene_description> <character>CHARLIE</character> <dialogue>Y' know. she's really good - looking. really good - looking. I've got ta say that again. She's really good - looking. but she's black. You can see that real plain.</dialogue> <parenthetical>( as an afterthought . )</parenthetical> <dialogue>When you get down to it though. there's not much of a difference, is there?</dialogue> <parenthetical>( He waits for an answer . )</parenthetical> <dialogue>Well. is there?</dialogue> <parenthetical>( He smiles and begins chewing on an ice cube from his half EMPTY GLASS . )</parenthetical> <dialogue /> <scene_description>Suddenly MICHAEL appears and sits down at CHARLIE 's table . He hands CHARLIE two cartons of cigarettes .</scene_description> <character>CHARLIE</character> <dialogue>Oh great. hey - Winstons?</dialogue> <character>MICHAEL</character> <dialogue>For these prices do n't be particular. That's all they had - but next week we'll see.</dialogue> <scene_description>CHARLIE gives him the money .</scene_description> <character>CHARLIE</character> <dialogue>OK, ok.</dialogue> <character>MICHAEL</character> <dialogue>Sell'em if you ca n't smoke them.</dialogue> <character>CHARLIE</character> <dialogue>No. I'll be ok for a week.</dialogue> <character>MICHAEL</character> <dialogue>You seen Johnny Boy tonight?</dialogue> <character>CHARLIE</character> <parenthetical>( DISINTERESTED . )</parenthetical> <dialogue>Nope.</dialogue> <character>MICHAEL</character> <dialogue>Is n't he supposed to be here tonight. I mean.</dialogue> <character>CHARLIE</character> <dialogue>Look. I do n't know. What am I supposed to be, his keeper or something? Yeah, he's supposed to be here but who knows what goes on in his head. Right?</dialogue> <character>MICHAEL</character> <dialogue>I'd like to know Charlie, it looks like your little friend is trying to duck me.</dialogue> <scene_description>CHARLIE remains silent .</scene_description> <character>MICHAEL</character> <parenthetical>( CONTINUING . )</parenthetical> <dialogue>. Charlie, do n't you think you should be interested in Johnny's payments to me? I think you should be, you know that.</dialogue> <character>CHARLIE</character> <parenthetical>( QUIETLY . )</parenthetical> <dialogue>Michael, nobody's out to screw you, I guarrantee that.</dialogue> <character>MICHAEL</character> <dialogue>I know that Charlie but look at my side. You undersigned the loans. You vouched for him. What happens if this kid do n't pay me? I got ta collect from you? I do n't want to do that. I made a deal with him not you, right?</dialogue> <character>CHARLIE</character> <parenthetical>( PATRONIZING . )</parenthetical> <dialogue>You're right. You're right. Look, I'm not gon na wind up paying his debts. You know that.</dialogue> <character>MICHAEL</character> <dialogue>I do n't know that. That's what I'm telling you.</dialogue> <character>CHARLIE</character> <dialogue>Michael, believe me. You know the kid's a little crazy sometimes. I vouched for him and he'll come through. I promise. I'll talk to him and straighten him out. Do n't worry, OK?</dialogue> <character>MICHAEL</character> <parenthetical>( SATISFIED . )</parenthetical> <dialogue>OK.</dialogue> <scene_description>JOHNNY BOY enters the night club with two friends . He has been drinking . JOHNNY BOY 'S face shows fresh cuts and bruises . His friends approach the hat check girl and give her their coats . JOHNNY BOY approaches her giving her his pants instead . His friends laugh hysterically . CHARLIE is now alone at the end of the bar . JOHNNY BOY now completely dressed enters the bar area . CHARLIE watches JOHNNY BOY approaching and continues his Confession . JOHNNY BOY greets people as he passes them , and as CHARLIE speaks , he appears to be moving in slow motion .</scene_description> <character>CHARLIE</character> <dialogue>What do you think? ` If a man have a hundred sheep, and one of them stray, will he not leave the ninety - nine in the mountains, and go in search of the one that has strayed? And if he happen to find it, amen I say to you, he rejoices over it more than over the ninety - nine that did not go astray. Even so, it is not the will of your Father in Heaven that a single one of these little ones should perish.'. Ok that's very nce but.</dialogue> <scene_description>TONY is now behind the bar near CHARLIE . JOHNNY BOY has reached them .</scene_description> <character>JOHNNY BOY</character> <dialogue>Drinks for everybody Tony.</dialogue> <character>CHARLIE</character> <parenthetical>( INTERRUPTING . )</parenthetical> <dialogue>Giovanino! Where have you been?</dialogue> <character>JOHNNY BOY</character> <parenthetical>( CONTINUING . )</parenthetical> <dialogue>and a double for you and Charlie here.</dialogue> <parenthetical>( quietly to TONY . )</parenthetical> <dialogue>And put it on my tab, willya?</dialogue> <character>TONY</character> <dialogue>Which one, the big tab or the little tab?</dialogue> <character>JOHNNY BOY</character> <dialogue>Put it on the little tab so that it balances with the big one.</dialogue> <character>TONY</character> <parenthetical>( SARCASTICALLY . )</parenthetical> <dialogue>Yeah, so things'll be even.</dialogue> <scene_description>CHARLIE and JOHNNY BOY grimace . MICHAEL appears .</scene_description> <character>MICHAEL</character> <dialogue>How about me? I do n't get a drink John?</dialogue> <character>JOHNNY BOY</character> <parenthetical>( FEIGNING SURPRISE . )</parenthetical> <dialogue>Of course! A double for Michael, Tony.</dialogue> <scene_description>TONY mumbles . JOHNNY BOY interrupts MICHAEL who is about to speak .</scene_description> <character>JOHNNY BOY</character> <parenthetical>( CONTINUING . )</parenthetical> <dialogue>I know what you're going to say but do n't say it. These drinks are all on the tab. I'm gon na see you this Tuesday payday, I promise. I give you my word.</dialogue> <character>MICHAEL</character> <dialogue>You what?</dialogue> <scene_description>The drinks arrive . They all smile and salute each other with their drinks .</scene_description> <character>CHARLIE</character> <parenthetical>( SALUTING . )</parenthetical> <dialogue>The queen!</dialogue> <character>ALL</character> <parenthetical>( DRINKING . )</parenthetical> <dialogue>The queen!</dialogue> <scene_description>CHARLIE and JOHNNY BOY are sitting alone at a table .</scene_description> <character>CHARLIE</character> <parenthetical>( refering to JOHNNY BOY 'S FACE . )</parenthetical> <dialogue>What happened to you Flash?</dialogue> <character>JOHNNY BOY</character> <dialogue>Charlie, I swear on my mother, you're not going to believe this.</dialogue> <character>CHARLIE</character> <dialogue>I know but let's hear it anyway.</dialogue> <character>JOHNNY BOY</character> <dialogue>I swear to God Charlie, it's the truth.</dialogue> <scene_description>FLASHBACK</scene_description> </scene> <scene> <stage_direction>EXT. STREET - LATE AFTERNOON</stage_direction> <scene_description>JOHNNY BOY is walking along the street . It is rush hour and the traffic is heavy . A shiny , late model car stops parallel to JOHNNY BOY . The young boy -LRB- SAL -RRB- signals him by blowing the horn . -LRB- Note that in the FLASHBACK , JOHNNY BOY 'S face is not bruised . -RRB-</scene_description> <character>SAL</character> <dialogue>Hey Johnny, where're you goin'?</dialogue> <character>JOHNNY BOY</character> <dialogue>Sal! fourteen street.</dialogue> <character>SAL</character> <dialogue>Come on.</dialogue> </scene> <scene> <stage_direction>INT. INSIDE CAR - LATE AFTERNOON</stage_direction> <character>JOHNNY BOY</character> <dialogue>This is some boat. Your father's?</dialogue> <character>SAL</character> <dialogue>Yeah. just had it delivered.</dialogue> <character>JOHNNY BOY</character> <dialogue>Hey. you got stereo.</dialogue> <character>SAL</character> <dialogue>Yeah, I think so.</dialogue> <scene_description>As JOHNNY BOY admires the gadgets in the car he notices that SAL is becoming very nervous .</scene_description> <character>JOHNNY BOY</character> <dialogue>You got a speaker back there?</dialogue> <scene_description>He turns to look for the speaker and sees a police car not far behind .</scene_description> <character>JOHNNY BOY</character> <parenthetical>( CONTINUING . )</parenthetical> <dialogue>Ah. there's a funny lookin' cab behind us.</dialogue> <character>SAL</character> <parenthetical>( NERVOUSLY . )</parenthetical> <dialogue>I know. I know.</dialogue> <character>JOHNNY BOY</character> <dialogue>What ` sa matter. forget your registration?</dialogue> <character>SAL</character> <dialogue>No. no. Nooo. it's just that I. I. uh. this ai n't my car.</dialogue> <character>JOHNNY BOY</character> <dialogue>Yeah, it's your father's.</dialogue> <character>SAL</character> <dialogue>Well. no.</dialogue> <character>JOHNNY BOY</character> <dialogue>You mean it's heisted.</dialogue> <character>SAL</character> <dialogue>You could say that.</dialogue> <character>JOHNNY BOY</character> <parenthetical>( announcing it loudly . )</parenthetical> <dialogue>This is a heisted car!</dialogue> <scene_description>SAL smiles sheepishly . JOHNNY BOY panics .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - LATE AFTERNOON</stage_direction> <scene_description>The police switch on their flashing red light and try to get closer to them but the traffic is too heavy . SAL manages to turn the next corner at about twenty miles per hour .</scene_description> </scene> <scene> <stage_direction>INT. INSIDE CAR - LATE AFTERNOON</stage_direction> <scene_description>JOHNNY BOY frightened now , underestimates the speed of the car and quickly opens the door .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - LATE AFTERNOON</stage_direction> <scene_description>JOHNNY BOY tumbles from the car only to smack into a lamp - post . He has seriously banged his head and blood is running down his face . But because of the near proximity of the police car he is desperately trying to maintain an air of dignity as he calmly tries to walk down the street . END FLASHBACK</scene_description> </scene> <scene> <stage_direction>INT. TONY'S PLACE - NIGHT</stage_direction> <scene_description>TONY has now joined the group sitting at the table . CHARLIE and TONY nod in disbelief .</scene_description> <character>JOHNNY BOY</character> <dialogue>It's the truth, I swear.</dialogue> <character>CHARLIE</character> <dialogue>All right, forget it. Tony, you got anything we can put on his face?</dialogue> <character>TONY</character> <dialogue>Yeah, in the back.</dialogue> <scene_description>They all get up .</scene_description> <character>TONY</character> <parenthetical>( CONTINUING . )</parenthetical> <dialogue>C'mon, I got something to show you anyway.</dialogue> </scene> <scene> <stage_direction>INT. TONY'S PLACE - BACK HALL - NIGHT</stage_direction> <scene_description>They push their way through the crowd and enter a narrow dimly lit hallway on both sides .</scene_description> </scene> <scene> <stage_direction>INT. BACK ROOM - TONY'S PLACE - NIGHT</stage_direction> <scene_description>A boy and girl are necking on a make - shift couch in the darkened room .</scene_description> <character>GIRL</character> <parenthetical>( WHISPERING . )</parenthetical> <dialogue>Jimmy, I tell you there's something in this room.</dialogue> <character>JIMMY</character> <parenthetical>( MURMURS . )</parenthetical> <dialogue>Ahhh come on baby. willya'. cut it out.</dialogue> <scene_description>Suddenly the light is turned on . TONY , CHARLIE , and JOHNNY BOY enter the room . The GIRL is startled and jumps up . JIMMY appears bewildered .</scene_description> <character>TONY</character> <dialogue>Excuse us Jimmy, we'll only be a moment.</dialogue> <character>TONY</character> <dialogue>S'alright Tony.</dialogue> <scene_description>The GIRL and JIMMY sit self - consciously as TONY goes to the medicine cabinet , takes out a few items and gives them to CHARLIE . TONY then crosses to the other side of the room where he removes the blanket which has been covering a large cage . He reveals a live , young beautiful PANTHER stalking to and fro . The GIRL screams .</scene_description> <character>GIRL</character> <dialogue>I told you there was something in this room.</dialogue> <scene_description>The GIRL runs out . Everyone else except TONY , is backed up against the wall , frightened . The BOYS laugh nervously .</scene_description> <character>TONY</character> <dialogue>Keep quiet about this. I do n't have any license for him yet. I've only had him a couple of days. Nobody can feed him except me. I'm the only one he trusts. Watch.</dialogue> <character>CHARLIE</character> <dialogue>Do n't go to any trouble. We believe you. We believe you.</dialogue> <scene_description>TONY begins to open the cage . The BOYS are now standing on top of the nearest pieces of furniture .</scene_description> <character>TONY</character> <parenthetical>( ENTERING CAGE . )</parenthetical> <dialogue>Really wanted to get a little tiger Charlie, y' know. a little William Blake and all that.</dialogue> <character>CHARLIE</character> <dialogue>Be careful.</dialogue> <scene_description>TONY ignores CHARLIE 's warning as he crouches and allows the animal to wander onto his lap where upon he strokes the panther gently murmuring to him . The BOYS watch in silence .</scene_description> </scene> <scene> <stage_direction>INT. TONY'S PLACE - CORNER TABLE - NIGHT</stage_direction> <scene_description>The Italian song `` Malafemina '' -LRB- a tango - like rythmn -RRB- is heard coming from the juke - box . It is near closing time and there are only a few customers left in the club , including MICHAEL and two gays , BENTON and SAMMY , who is getting very drunk . CHARLIE is at the corner table with TONY and JOHNNY BOY . CHARLIE is washing JOHNNY BOY 'S face with cold water from a basin . Some of JOHNNY 'S blood has mingled with the water .</scene_description> <character>CHARLIE</character> <dialogue>I'm surprised at you Tone. I mean you've had the place for over a year now. Nothing different. same old place. ordinary. flat. no imagination.</dialogue> <scene_description>TONY ignores CHARLIE 's half - joking , drunken remarks .</scene_description> <character>CHARLIE</character> <parenthetical>( CONTINUES . )</parenthetical> <dialogue>For instance, the difference between me and you is this. you take that panther back there. I'd put him right up here above the bar. nice cage, you know? Nothing ordinary in my place. What good is it? You get robot customers. They come in, drink beer, go to the bathroom, and go home. No sir.</dialogue> <scene_description>One of the BOYS more casual acquaintances is lying on the bar , drunk . He begins to sing along with the Italian music - but very badly .</scene_description> <character>CHARLIE</character> <dialogue>See what I mean?</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>A question please. ` Is this what you call living?'</dialogue> <character>TONY</character> <parenthetical>( WEARILY . )</parenthetical> <dialogue>` Take a little tip from Mack the Knife.'</dialogue> <character>JOHNNY BOY</character> <parenthetical>( INTERRUPTS . )</parenthetical> <dialogue>Tony, break down and open another bottle willya'?</dialogue> <scene_description>A well dressed young boy enters the club . GEORGE , the bouncer , approaches him .</scene_description> <character>GEORGE</character> <dialogue>We're closed.</dialogue> <character>BOY</character> <dialogue>I'm just waiting for Joey.</dialogue> <scene_description>The BOY walks over to a bar stool and sits down . Nobody acknowledges his presence . Suddenly the DRUNK on the bar stops singing and sits up , dazed . His sudden silence causes CHARLIE and the others to look up at him . The DRUNK stares ahead for a minute .</scene_description> <character>DRUNK</character> <parenthetical>( MUTTERS . )</parenthetical> <dialogue>I. I got ta go to the bathroom.</dialogue> <scene_description>EVERYONE laughs .</scene_description> <character>CHARLIE</character> <dialogue>Well, go ahead, whaddaya want? Someone to hold it for you?</dialogue> <scene_description>More laughter . Even the BOY at the bar laughs . The DRUNK rises , still smiling and stumbles off to the mens room . The Big Bopper - `` Chantilly Lace '' in playing on the soundtrack . CHARLIE is playing with a deck of cards .</scene_description> <character>CHARLIE</character> <parenthetical>( continuing previous conversation . )</parenthetical> <dialogue>This place is dead. If I had a place. every night. lively.</dialogue> <scene_description>JOHNNY BOY is sipping his drink and ignoring the conversation .</scene_description> <character>CHARLIE</character> <parenthetical>( CONTINUING . )</parenthetical> <dialogue>And I would n't call it TONY'S PLACE or CHARLIE'S PLACE.</dialogue> <parenthetical>( MORE CONFIDENTIALLY . )</parenthetical> <dialogue>I'd call it something like SEASON OF THE WITCH. get it?</dialogue> <character>TONY</character> <parenthetical>( QUIETLY . )</parenthetical> <dialogue>You are with out a doubt the biggest, most pretentious bullshit thrower I know. Like to see what kind of business you'd do.</dialogue> <character>CHARLIE</character> <dialogue>Look who's talking. Pretentious bullshit. Who's the guy with William Blake and the tigers, eh?</dialogue> <character>JOHNNY BOY</character> <dialogue>Will you guys shut up with the witches and tigers. Tony, you gon na close the place, we get out of here, get something to eat, or what?</dialogue> <character>TONY</character> <dialogue>We'll close up as soon as everybody leaves.</dialogue> <character>CHARLIE</character> <dialogue>Do n't forget what's - his - name there in the bathroom.</dialogue> <scene_description>EVERYONE laughs . JIMMY is drawing on a table top . CHARLIE wanders over .</scene_description> <character>JIMMY</character> <dialogue>Wan na see your picture?</dialogue> <scene_description>CHARLIE leans over . OVERHEAD VIEW shows large crude swastika .</scene_description> <character>JIMMY</character> <dialogue>Waddaya think?</dialogue> <character>CHARLIE</character> <dialogue>Not quite. but keep trying.</dialogue> <scene_description>CHARLIE picks up the cards again .</scene_description> <character>CHARLIE</character> <dialogue>Let's have a game after we close.</dialogue> <character>JOHNNY BOY</character> <dialogue>Nah.</dialogue> <character>CHARLIE</character> <dialogue>C'mon Tony, waddaya say?</dialogue> <character>TONY</character> <dialogue>No.</dialogue> <character>CHARLIE</character> <parenthetical>( ADDRESSING THE ENTIRE BAR . )</parenthetical> <dialogue>Anybody wan na have a game?</dialogue> <scene_description>The people in the bar do not respond . CHARLIE shrugs . The BOY casually leaves the bar and walks to the men 's room .</scene_description> </scene> <scene> <stage_direction>INT. MENS ROOM - TONY'S PLACE - NIGHT</stage_direction> <scene_description>The BOY slowly swings the door open and stares at the DRUNK leaning over the urinal , half asleep . He takes out his pistol and calmly shoots the DRUNK three times in the back . To the BOY 's surprise the DRUNK does not immediately fall dead . Instead , he turns and grabs the BOY by the throat . They struggle in the open doorway .</scene_description> </scene> <scene> <stage_direction>INT. BAR AREA - NIGHT</stage_direction> <scene_description>The Italian music is still playing . Everyone in the bar has frozen in position as they watch the scene . In his astonishment CHARLIE allows the cards to fall from his hands . The YOUNG BOY breaks away from the DRUNK and runs towards the exit . The DRUNK , running only on sheet determination , stumbles along after the boy . The people in the bar , including CHARLIE , dash behind tables and jump behind the bar for cover .</scene_description> </scene> <scene> <stage_direction>INT. TONY'S PLACE - STAIRWAY EXIT</stage_direction> <scene_description>The BOY reaches the exit and fires at the DRUNK from the top of the stairs . The DRUNK still follows .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT BLACK &amp; WHITE</stage_direction> <scene_description>The BOY runs down the street and disappears into the darkness . The DRUNK staggers out into hte cobblestone street . His mind is gone , it is now just a physical matter of the body being stopped by the presence of a stationary object . He staggers straight across the street at tremendous speed smashing directly into a parked car .</scene_description> </scene> <scene> <stage_direction>EXT. TONY'S PLACE - BACK ENTRANCE - NIGHT BLACK &amp; WHITE</stage_direction> <scene_description>Everyone -LRB- including the two GAYS at the bar -RRB- is running out the back way .</scene_description> <character>TONY</character> <dialogue>Do n't run. do n't run. Everyone split up.</dialogue> </scene> <scene> <stage_direction>EXT. STREET - NIGHT BLACK &amp; WHITE</stage_direction> <scene_description>MICHAEL and JIMMY turn the corner and calmly walk to his parked car . As they get into the car CHARLIE and JOHNNY BOY turn the corner .</scene_description> <character>CHARLIE</character> <dialogue>Michael, give us a lift.</dialogue> <character>MICHAEL</character> <dialogue>OK, get in.</dialogue> <scene_description>As they are getting into the car the two GAYS turn the corner . One of them , SAMMY , is very drunk and is crying hysterically . His companion BENTON is trying to calm him down when he notices MICHAEL .</scene_description> <character>BENTON</character> <dialogue>Michael. wait.</dialogue> <scene_description>It is obvious that MICHAEL does not want to take them but he is also afraid of attracting any attention so he quickly ushers them into the car .</scene_description> <character>MICHAEL</character> <dialogue>Get in, get in.</dialogue> </scene> <scene> <stage_direction>INT. MICHAEL'S CAR - NIGHT BLACK &amp; WHITE</stage_direction> <scene_description>CHARLIE and JOHNNY BOY are in the back seat . SAMMY crawls over CHARLIE into the back seat making apologies . BENTON is forced into the front seat with MICHAEL and JIMMY . They drive off , with SAMMY crying .</scene_description> <character>CHARLIE</character> <dialogue>Oh Jesus Christ. what's this.</dialogue> <character>BENTON</character> <dialogue>Sammy get control of yourself.</dialogue> <character>JOHNNY BOY</character> <dialogue>Yes, you're gettin' it all over my tie.</dialogue> <character>CHARLIE</character> <dialogue>Should I slap him?</dialogue> <character>SAMMY</character> <parenthetical>( suddenly in control . )</parenthetical> <dialogue>You would n't dare.</dialogue> <character>BENTON</character> <dialogue>I'm terribly sorry guys. It's just that he was terribly frightened.</dialogue> <character>MICHAEL</character> <dialogue>Just keep him quiet.</dialogue> <character>JOHNNY BOY</character> <dialogue>Friends of yours Michael.</dialogue> <character>MICHAEL</character> <dialogue>Shut up.</dialogue> <character>BENTON</character> <parenthetical>( sensing the hostility . )</parenthetical> <dialogue>Oh. ah. I'm Benton and this is Sammy.</dialogue> <character>CHARLIE</character> <dialogue>I ca n't get over the way he just kept going at him.</dialogue> <character>JOHNNY BOY</character> <dialogue>Must have been all the liquor in him.</dialogue> <character>MICHAEL</character> <parenthetical>( IN ITALIAN . )</parenthetical> <dialogue>Quiet please.</dialogue> <scene_description>He returns to English .</scene_description> <character>MICHAEL</character> <dialogue>Where should I drop you Charlie?</dialogue> <character>SAMMY</character> <parenthetical>( interrupting the conversation . )</parenthetical> <dialogue>Yes Charlie, your place or mine.</dialogue> <character>BENTON</character> <dialogue>Sammy.</dialogue> <character>CHARLIE</character> <dialogue>Away from the neighborhood.</dialogue> <character>SAMMY</character> <dialogue>Oh Benton. look!</dialogue> <scene_description>SAMMY leans over JOHNNY and CHARLIE to see out the window . He begins to shout at a young boy on the street .</scene_description> <character>SAMMY</character> <parenthetical>( CONTINUING . )</parenthetical> <dialogue>Hi beautiful! I love you.</dialogue> <scene_description>CHARLIE and JOHNNY BOY hide their faces .</scene_description> <character>MICHAEL</character> <dialogue>Hey, shut up.</dialogue> <character>CHARLIE</character> <dialogue>Get him in.</dialogue> <character>JOHNNY BOY</character> <dialogue>What. are you kidding.</dialogue> <character>BENTON</character> <dialogue>Sammy, get in here this minute.</dialogue> <character>SAMMY</character> <dialogue>I wo n't. I wo n't! They're all beautiful.</dialogue> <parenthetical>( SHOUTING . )</parenthetical> <dialogue>I'll suck them all. I'll suck them all!</dialogue> <scene_description>CHARLIE and JOHNNY BOY groan . They are still hiding their faces .</scene_description> <character>CHARLIE</character> <dialogue>Disgraceful.</dialogue> <character>MICHAEL</character> <dialogue>Ok. that's it.</dialogue> <scene_description>He pulls the car over to the nearest corner .</scene_description> <character>MICHAEL</character> <dialogue>Out!</dialogue> <character>CHARLIE</character> <dialogue>C'mon Johnny.</dialogue> <character>MICHAEL</character> <dialogue>You getting out too?</dialogue> <character>CHARLIE</character> <dialogue>Yeah, thanks, it's ok.</dialogue> </scene> <scene> <stage_direction>EXT. STREET - NIGHT BLACK &amp; WHITE</stage_direction> <scene_description>CHARLIE and JOHNNY BOY get out of the car first so that by the time BENTON and SAMMY are out they are already on their way down the street . MICHAEL drives away .</scene_description> <character>SAMMY</character> <parenthetical>( SHOUTING . )</parenthetical> <dialogue>Going our way?</dialogue> <character>CHARLIE</character> <parenthetical>( to JOHNNY BOY . )</parenthetical> <dialogue>Do n't answer.</dialogue> <scene_description>BENTON guides SAMMY the opposite way .</scene_description> </scene> <scene> <stage_direction>EXT. NEIGHBORHOOD STREET - DAWN</stage_direction> <scene_description>CHARLIE and JOHNNY BOY are walking down the street on their way home .</scene_description> <character>JOHNNY BOY</character> <dialogue>I do n't think I should go home looking like this. You think I could stay at your place tonight? Your mother's not there is she?</dialogue> <character>CHARLIE</character> <dialogue>No, she is n't.</dialogue> <scene_description>FLASHBACK</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S APARTMENT - DAY</stage_direction> <scene_description>CHARLIE lives in a typical lower east side tenement apartment . Each room is painted a different pastel color . It is furnished in miscellaneous styles and from the pictures on the wall and various knick - knacks around the rooms it is evident that this is a family apartment rather than a bachelors pad . CHARLIE is helping his mother pack a suitcase . Through out the scene he is addressing her but she is never seen on CAMERA . The CAMERA PANS following his movements and CHARLIE directs his conversation always towards but above and beyond it .</scene_description> <character>CHARLIE</character> <dialogue>Listen, I'll be ok. it's the best thing. You're not going to be able to take care of Grandma out here and still get to work, you know that.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>Yes the place will be here, I'll take care of it.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>Yeah do n't worry about me, I'll take care of myself.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue /> <scene_description>He moves into the bedroom taking more items out of the drawers . The room is ver small . The paint if peeling . Over the double bed there is a large crucifix .</scene_description> <character>CHARLIE</character> <parenthetical>( CONTINUED . )</parenthetical> <dialogue>No. no parties.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>I'll eat.</dialogue> <parenthetical>( PAUSE . )</parenthetical> <dialogue>Mom, look, just do n't worry. ok?</dialogue> <scene_description>END FLASHBACK</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S MOTHER'S BEDROOM - MORNING</stage_direction> <scene_description>CHARLIE and JOHNNY BOY are lying on CHARLIE 'S MOTHER 'S bed in their underwear .</scene_description> <character>CHARLIE</character> <dialogue>You'd better make a move kid. He thinks you're trying to screw him.</dialogue> <character>JOHNNY BOY</character> <dialogue>Would n't bother me.</dialogue> <character>CHARLIE</character> <dialogue>Yeah, big man. get yourself in more trouble. You make a fool out of him, you're doing the same to me. I signed for you do n't forget.</dialogue> <character>JOHNNY BOY</character> <dialogue>Do n't worry. I can handle it.</dialogue> <character>CHARLIE</character> <dialogue>You could n't handle shit. You just better come through with some kind of payment on Tuesday. anything. Understand? Hold onto your pay - check this week.</dialogue> <character>JOHNNY BOY</character> <parenthetical>( LAUGHS . )</parenthetical> <dialogue>There wo n't be any this week.</dialogue> <character>CHARLIE</character> <dialogue>What do you mean?</dialogue> <character>JOHNNY BOY</character> <dialogue>Did n't show up.</dialogue> <character>CHARLIE</character> <dialogue>You sick or what? You forget what we had to do to get you on the trucks, stupid?</dialogue> <character>JOHNNY BOY</character> <dialogue>I do n't like loading crates.</dialogue> <character>CHARLIE</character> <dialogue>You're not supposed to like it. What gets me is your attitude. Listen. tomorrow you show up.</dialogue> <character>JOHNNY BOY</character> <dialogue>What about your attitude. Where's your job. eh? You talk and talk and I go to work. what do you do?</dialogue> <character>CHARLIE</character> <dialogue>I'll tell you what I do n't do. I do n't owe anybody 2,000 clams plus interest, stupid. Show up or I break both your arms, we understand each other?</dialogue> <character>JOHNNY BOY</character> <dialogue>Ok, ok. take it easy. I'll show. Tuesday I'll give Michael something. I promise.</dialogue> <character>CHARLIE</character> <dialogue>Do n't promise. just deliver.</dialogue> <character>JOHNNY BOY</character> <dialogue>Ok, now that that's over with. what are you gon na make me for breakfast?</dialogue> <character>CHARLIE</character> <dialogue>I wo n't wait until Tuesday. I'll break your arms right now.</dialogue> <character>JOHNNY BOY</character> <parenthetical>( rising from bed . )</parenthetical> <dialogue>Listen. I'm a guest here.</dialogue> <scene_description>CHARLIE reaches out to grab him .</scene_description> <character>JOHNNY BOY</character> <dialogue>OK. ok. I'm going.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN - CHARLIE'S APARTMENT</stage_direction> <scene_description>JOHNNY is raiding the icebox .</scene_description> <character>JOHNNY BOY</character> <dialogue>Hey. you got nothing here.</dialogue> <character>CHARLIE</character> <parenthetical>( from the other room . )</parenthetical> <dialogue>I could have told you that.</dialogue> <character>JOHNNY BOY</character> <dialogue>We'll get some food from my aunt's. I'll get in through the fire escape. She's always got something.</dialogue> <scene_description>JOHNNY BOY leaves the kitchen and walks towards the bedroom .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S MOTHER'S BEDROOM - MORNING</stage_direction> <character>CHARLIE</character> <dialogue>Do n't do that. You'll scare Teresa if you try to sneak in.</dialogue> <scene_description>JOHNNY BOY is now by the window looking out at the fire escape mischieviously .</scene_description> <character>JOHNNY BOY</character> <dialogue>Yeah. you're right. Maybe she'll have a seizure and we can watch.</dialogue> <scene_description>He laughs . CHARLIE hits JOHNNY BOY on the back of the head .</scene_description> <character>CHARLIE</character> <dialogue>That's not funny. You gon na be a jerk - off all your life. Grow up. You want something to eat from your aunt's house you go knock on her door, understand?</dialogue> <character>JOHNNY BOY</character> <dialogue>I'm not hungry anymore. I'm going to bed.</dialogue> <scene_description>JOHNNY BOY gets into bed . CHARLIE goes into the kitchen to get a glass of milk .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - DAYBREAK</stage_direction> <scene_description>CHARLIE takes a glass of milk from the icebox . He listens to the sounds of the neighborhood waking up and getting ready to go to work . He leaves the kitchen .</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - CHARLIE'S APARTMENT - DAYBREAK</stage_direction> <scene_description>CHARLIE returns to the bedroom . JOHNNY BOY appears to be asleep . CHARLIE goes to the window and peers through the blinds . He sees in the window across the fire escape . A SERIES OF DISSOLVES . TERESA is going through the various stages of getting dressed . TERESA RONCHALI is 30 years , well built , attractive and intelligent . She is well read and quiet . The salary she makes as a secretary in a book publishing firm practically supports her family . She has epilepsy which has prevented her -LRB- in her own mind -RRB- from entering into any serious relationships with men . She has however , been having an affair with CHARLIE for the past year . It is a well kept secret from both families because the families regard each other as blood relations . CHARLIE is startled by JOHNNY BOY who is now awake and has begun to dial the telephone .</scene_description> <character>JOHNNY BOY</character> <parenthetical>( pretending to be angry . )</parenthetical> <dialogue>Hello. fifth precinct? Yeah. I want to report a disturbance. Yeah this man and woman next door are disturbing the peace. They're keeping me awake all night now. What the hell is this. What? Well. yelling, fighting, throwing things. Uh - huh. If they do n't kill each other soon I'm goin' over there and do the job myself. Yes - the address is 270 Mott street. I think it's apartment 2 - r. Yeah, right. thanks. Look, I demand immediate action. Never mind my name I do n't like getting involved in things like this.</dialogue> <scene_description>He hangs up roughly and returns to his position in bed . CHARLIE shakes his head with an exasperated smile as if this was a common occurance . CHARLIE turns back to look at TERESA but she is no longer in her room .</scene_description> </scene> <scene> <stage_direction>INT. TERESA'S BEDROOM</stage_direction> <scene_description>CHARLIE is dreaming this sequence . He and TERESA are both nude . She is lying face down on the bed . He approached and ejaculates prematurely - However , he does n't ejaculate sperm - instead blood . They are shocked . The blood is on the bed , her legs , back , and his hands . Charlie cries out in pain .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - MID-DAY</stage_direction> <scene_description>CHARLIE and TERESA are in the hotel room making love . The sounds of traffic can be heard from the street below . They are getting dressed .</scene_description> <character>TERESA</character> <dialogue>I'd like to eat something before I go back to work.</dialogue> <character>CHARLIE</character> <dialogue>Ok, we'll go for lunch.</dialogue> <character>TERESA</character> <dialogue>Do you have enough?</dialogue> <scene_description>CHARLIE checks his wallet .</scene_description> <character>CHARLIE</character> <dialogue>Well. with the hotel that's ten. fifteen.</dialogue> <character>TERESA</character> <dialogue>Here.</dialogue> <scene_description>She hands him a few bills . He hesitates .</scene_description> <character>TERESA</character> <dialogue>Please take it.</dialogue> <character>CHARLIE</character> <dialogue>Well.</dialogue> <character>TERESA</character> <dialogue>I do n't mind.</dialogue> <scene_description>She puts the money into his hand .</scene_description> <character>CHARLIE</character> <dialogue>Sure. it's not that. I mean.</dialogue> <character>TERESA</character> <parenthetical>( touching his face . )</parenthetical> <dialogue>It's all right.</dialogue> <character>CHARLIE</character> <dialogue>Well, if things go the way I hope they'll go, this money business will take care of itself.</dialogue> <parenthetical>( ASIDE . )</parenthetical> <dialogue>God willing.</dialogue> <character>TERESA</character> <dialogue>An apartment uptown? Downtown?</dialogue> <character>CHARLIE</character> <dialogue>Maybe, who knows.</dialogue> <character>TERESA</character> <parenthetical>( SEARCHINGLY . )</parenthetical> <dialogue>Charlie?</dialogue> <character>CHARLIE</character> <dialogue>Nobody knows anything, believe me.</dialogue> <scene_description>She kisses him gently . TERESA is putting on her stockings . A few minutes have passed .</scene_description> <character>CHARLIE</character> <dialogue>See if you can get your hands on some pamphlets on laws or by laws. or proprietorship. you know. at your place.</dialogue> <character>TERESA</character> <dialogue>Anything specific?</dialogue> <character>CHARLIE</character> <dialogue>You know. like restaurants, night clubs.</dialogue> <character>TERESA</character> <parenthetical>( AFFECTIONATELY . )</parenthetical> <dialogue>What is it now?</dialogue> <character>CHARLIE</character> <dialogue>Do n't ask.</dialogue> <scene_description>He gives her a quick kiss on the tip of her nose .</scene_description> <character>TERESA</character> <dialogue>Alright. Hey, did you hear any more about what happened last night?</dialogue> <character>CHARLIE</character> <dialogue>Did you?</dialogue> <character>TERESA</character> <dialogue>No.</dialogue> <character>CHARLIE</character> <dialogue>CHRIST, you should have seen it. Unbelievable. The kid would turn around and fire and he would just keep coming at him like Rasputin. That kid was scared. Not half as much as we were though.</dialogue> <character>TERESA</character> <dialogue>It does n't make any sense. He would n't shoot him just because he insulted a racket guy. not unless it was personal.</dialogue> <character>CHARLIE</character> <dialogue>You missed the point. The kid's a climber. not very bright. but if you get down to his level to look at it his way ; he kills a guy who insulted a big man - he gets a reputation. He thinks he's in good standing.</dialogue> <character>TERESA</character> <dialogue>It's still sick.</dialogue> <character>CHARLIE</character> <dialogue>Not sick. just stupid. Speaking of stupid, your cousin last night was feeling so good he decided to break into your mother's house. to get some food.</dialogue> <scene_description>TERESA laughs at this story but her mood changes suddenly .</scene_description> <character>TERESA</character> <dialogue>You're sure he does n't know.</dialogue> <scene_description>He takes her in his arms .</scene_description> <character>CHARLIE</character> <dialogue>Do n't worry.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL - BATHROOM - MID-DAY</stage_direction> <scene_description>CHARLIE enters the bathroom to clean - up . He stares at his image in the mirror for a moment , then makes a face . He checks the whiteness of his teeth , pulls back his hair , and checks his complexion . The mirror image begins to speak . The CAMERA PANS BACK to CHARLIE 'S FACE . His mouth is not moving .</scene_description> <character>CHARLIE</character> <parenthetical>( CONFESSION . )</parenthetical> <dialogue>Do n't look at me like that, I can see this is not going to get us anywhere. She's a good kid, what am I supposed to do. In a way I'm doing her a favor. no? How many guys you know feel this way about an epileptic? Do n't get me wrong, I'm no saint. not yet.</dialogue> <scene_description>The image of CHARLIE in the bathroom intercuts with stills from Catholic School text books - vulgar color illustrations of parables - emphasis on Christ expelling the devils from the posessed women .</scene_description> <character>CHARLIE</character> <parenthetical>( CONTINUING . )</parenthetical> <dialogue>But I'm not like the Pharisee who said `` Oh God I thank thee that I am not like the rest of them.'' no. I like to think of myself as the Publican.</dialogue> <scene_description>He strikes his breast penitently as he delivers the next line .</scene_description> <character>CHARLIE</character> <dialogue>` Oh God be merciful to me the sinner!' I'm not taking advantage of her. I swear to you that if she meets someone she'd like to marry.</dialogue> <scene_description>Back to CHARLIE in sync .</scene_description> <character>CHARLIE</character> <parenthetical>( CONTINUED . )</parenthetical> <dialogue>. I'll cut out. `` If Thy eye is an occasion of sin to thee.</dialogue> <scene_description>Stills of girls , sexy pornographic nude magazine spreads .</scene_description> <character>CHARLIE</character> <dialogue>pluck it out and cast it from thee.'' `` Woe to the man through whom scandal does come.'' I'm sure you'd agree this is no time to get tied down. Like the priesthood.</dialogue> <scene_description>Textbook illustration of vocations .</scene_description> <character>CHARLIE</character> <dialogue>they do n't get tied down do they? `` Have I not a right to do what I chose? Even so the last shall be first and the.</dialogue> <scene_description>CHARLIE in sync .</scene_description> <character>CHARLIE</character> <dialogue>first last. For many are called but few are chosen.''</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT - MID-DAY</stage_direction> <scene_description>CHARLIE is sitting in a quiet corner of the restaurant . This restaurant was considered an above average business with quality and prices to match when it was first opened three years ago . The quality has diminished but the prices remain the same . As a result the place is dying . CHARLIE is scrutinizing the restaurant from his corner . He picks up a water goblet and critically examines the water spots on it . He calls a waitress to show her the dirt on the glass . She apologizes , cleans it with her apron , and places it back on the table . He takes a menu . A chubby , middle - aged man , OSCAR , approaches the table . He is half owner of the decaying restaurant . He is in his shirt sleeves which , along with the side of his face , are smeared with grease and dirt . He is tired and disgusted .</scene_description> <character>OSCAR</character> <parenthetical>( with a slight Jewish accent . )</parenthetical> <dialogue>Hey. you're here. They told me you're here. and you're here. How are you?</dialogue> <character>CHARLIE</character> <dialogue>Ok, how's everything going?</dialogue> <scene_description>OSCAR sits down next to CHARLIE .</scene_description> <character>OSCAR</character> <dialogue>Do n't ask. do you have any idea what I've been doing all morning. eh?</dialogue> <character>CHARLIE</character> <dialogue>No.</dialogue> <character>OSCAR</character> <dialogue>I was in the basement fixing the pipes. Would you believe that?</dialogue> <character>CHARLIE</character> <parenthetical>( LAUGHING . )</parenthetical> <dialogue>What pipes?</dialogue> <character>OSCAR</character> <parenthetical>( MIMICKING . )</parenthetical> <dialogue>What pipes. the ones from last year. those pipes.</dialogue> <scene_description>CHARLIE shakes his head in sympathy .</scene_description> <character>OSCAR</character> <dialogue>Look Charlie, you're a good boy. Will you just tell your uncle that I have nothing. There is nothing to give him. No envelopes with cash inside, no checks, nothing.</dialogue> <character>CHARLIE</character> <dialogue>That bad, huh?</dialogue> <character>OSCAR</character> <dialogue>I ca n't make this week's payment and if this keeps up not next week's either.</dialogue> <character>CHARLIE</character> <dialogue>Not next week's either. listen. you tell that to Giovanni, not me.</dialogue> <character>OSCAR</character> <dialogue>Listen, I should wrap up this place in a ribbon and hand it to him, you know that. I do n't need this aggravation. I'm getting old.</dialogue> <character>CHARLIE</character> <dialogue>He'd rather have the loan payed, you know that.</dialogue> <character>OSCAR</character> <dialogue>Your Uncle's a good man. I wo n't stick him. Either he gets the money or the place and right now he's getting the place. And tell me why should I care? I got a partner who's a bum, who does n't help out. who disappears and leaves me with all the problems. I should go back to Florida. I do n't need this.</dialogue> <character>CHARLIE</character> <dialogue>I do n't understand, where's Groppi?</dialogue> <character>OSCAR</character> <dialogue>I should know? His wife do n't even know. Probably off with one of his little girls. I do n't know. I tell you, if he do n't give a damn, then I do n't give a damn. Why should I kill myself?</dialogue> <character>CHARLIE</character> <dialogue>My uncle figured that this week was bad. but about next week. I dunno. Maybe you should speak to him yourself.</dialogue> <character>OSCAR</character> <dialogue>What can I say?</dialogue> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>CHARLIE is walking down the street on the lower east side . A noisy religious street festival is being held on the block .</scene_description> </scene> <scene> <stage_direction>INT. SMALL ITALIAN CAFE - DAY</stage_direction> <scene_description>CHARLIE enters a small Italian cafe and nods greetings to some of the people as he makes his way to the back of the room . This cafe is a strange hybred of coffee house , candy store , luncheonette , and meeting place for CHARLIE 'S uncle GIOVANNI and his associates . GIOVANNI De STEFANO is sixty . He is well respected and powerful both in and out of the neighborhood . He became a head figure not by being introduced formally as was the custom , but rather by fighting and killing his way into the organization . GIOVANNI is well dressed but not a stereotype of an old Mafioso , rather a kindly and intelligent old man . GIOVANNI converses intermittently in Italian . A man is putting new records into the jukebox which is in the corner of the room in the luncheonette area .</scene_description> <character>CHARLIE</character> <parenthetical>( to repair man . )</parenthetical> <dialogue>Is my uncle back there?</dialogue> <scene_description>CHARLIE points in the direction of a doorway .</scene_description> <character>REPAIR MAN</character> <dialogue>Yeah, but I think he's busy now. Hey Charlie play 463 today - for sure.</dialogue> <character>CHARLIE</character> <dialogue>Thanks!</dialogue> <scene_description>CHARLIE walks through the luncheonette area , past the dining room where his uncle is in conference , to the bathroom at the very back of the cafe . MARIO is seated with his uncle . MARIO is forty five years old . He is GIOVANNI 'S closest associate , brought into the organization in the traditional manner , making his early reputation through hits -LRB- murders -RRB- . He is not very intelligent but has an undying loyalty to GIOVANNI , and is very fond of CHARLIE . MARIO and GIOVANNI are seated with a very old man . They are deep in their private conversation . CHARLIE passes by unnoticed and walks into the bathroom . CHARLIE begins to wash his hands but changes his mind . He shuts off the faucet in order to eavesdrop on the conversation .</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM - DAY</stage_direction> <scene_description>GIOVANNI and MARIO are calmly sipping their coffee as they listen to the old man 's nervous talk .</scene_description> <character>OLD MAN</character> <parenthetical>( in Italian with ENGLISH TITLES . )</parenthetical> <dialogue>What I'm telling you is that he did it for Mario's honor.</dialogue> <character>MARIO</character> <dialogue>But you do n't understand. I knew the kid. He was drunk. He made of fool of himself. not me.</dialogue> <character>OLD MAN</character> <parenthetical>( in Italian with ENGLISH TITLES . )</parenthetical> <dialogue>Giovanni - an insult to Mario is an insult to you.</dialogue> <character>MARIO</character> <dialogue>There was no insult.</dialogue> <character>OLD MAN</character> <parenthetical>( in Italian with ENGLISH TITLES . )</parenthetical> <dialogue>The boy only did what was right.</dialogue> <character>GIOVANNI</character> <dialogue>Your son only did what was stupid. We have enough down here without something like that. And what for? Nothing. no reason. Protect him? Why? I did n't tell him to do anything for me. He's going to Miami? Good. keep him in Miami for six months. a year. a good long time. After everything's forgotten then I see what I can do for him. Right now. keep him away.</dialogue> </scene> <scene> <stage_direction>INT. LUNCHEONETTE AREA - DAY</stage_direction> <scene_description>CHARLIE is seated at a table . The waitress , MARIE , approaches and gives him his cup of coffee . The following scene is reminiscent of a TELEVISION COMMERCIAL .</scene_description> <character>CHARLIE</character> <dialogue>Marie, are there Columbian coffee beans in this coffee?</dialogue> <character>MARIE</character> <dialogue>I dunno.</dialogue> <character>CHARLIE</character> <dialogue>Just a second. Let me taste it.</dialogue> <scene_description>He pauses to sip the coffee , then shakes his head .</scene_description> <character>CHARLIE</character> <dialogue>Yes, I'd say there are some Columbian coffee beans in this coffee, but only about 39 %.</dialogue> <scene_description>MARIE is disinterested . CHARLIE continues .</scene_description> <character>CHARLIE</character> <dialogue>You see. You probably do n't notice this Marie, but Colombian coffee beans are rich coffee beans. Bursting with that good, deep coffee flavor. Picked when they are ripe to the point of perfection. The beans of course, are protected by the tall South American Guama trees.</dialogue> <scene_description>MARIE chews her gum for a moment and leaves the table . CHARLIE 'S monologue continues and gradually he falls back into his CONFESSION . As he talks , the CAMERA PICKS UP DETAILS of the cafe and the people in it .</scene_description> <character>CHARLIE</character> <dialogue>Then the bean pickers come down and pick each bean by hand. Bean by bean, all heavy with flavor. And they load them into boxes, one box at a time, box by box.</dialogue> <scene_description>From time to time CHARLIE is casually glancing at MARIE who is busy with her work . BLACK &amp; WHITE &amp; COLOR The images now move out of the cafe and the CAMERA REVEALS aspects of the neighborhood - LIVE ACTION and STILLS : stores , people , streets , buildings , in short ; a concise vision of the neighborhood . All this is intercut with CHARLIE mentally stripping MARIE 's clothes off with his eyes .</scene_description> <character>CHARLIE</character> <parenthetical>( CONTINUED . )</parenthetical> <dialogue>Like, looking at my uncle back there. One way is the obvious ;. man outside the law. On the other hand, instead of a breakdown of order there is a creation of order and instead of the breakdown of law, there is the creation of law. In this society which needs new law because ` What's a crowbar compared to a share of stock. What's the robbing of a bank compared to the founding of one and what's the murder of a man to the gainful employment of that man.' ` Do not think that I have come to destroy the Law or the Prophets. I have not come to destroy but to fulfill.'. Amen.</dialogue> <scene_description>The image culminate in aerial shots of downtown New York City . -LRB- STOCK FOOTAGE -RRB- CHARLIE now sees MARIE totally naked as she serves the customers .</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM - DAY</stage_direction> <scene_description>GIOVANNI and CHARLIE are standing and talking .</scene_description> <character>CHARLIE</character> <dialogue>Uncle, how are you feeling?</dialogue> <character>GIOVANNI</character> <dialogue>Fine. Did you have a good time last night?</dialogue> <character>CHARLIE</character> <parenthetical>( QUIETLY . )</parenthetical> <dialogue>About that shooting last night. I was there and.</dialogue> <character>GIOVANNI</character> <dialogue>No you were n't.</dialogue> <scene_description>CHARLIE is struck silent for a moment . He listens .</scene_description> <character>CHARLIE</character> <parenthetical>( EMBARRASSED . )</parenthetical> <dialogue>You're right uncle. I must have gotten it confused with something else.</dialogue> <character>GIOVANNI</character> <dialogue>Yes, you did.</dialogue> <scene_description>CHARLIE and GIOVANNI are now sitting at a table .</scene_description> <character>CHARLIE</character> <dialogue>About Oscar. I think he put on this act. about the restaurant being in bad shape and all that. He ca n't make the payments. I do n't know what to make of it. He says Groppi's run off with a girl. I could help if you want.</dialogue> <character>GIOVANNI</character> <dialogue>No. his business is bad. But I'll decide what to do and you. and you just keep out of anything that might. might. er draw attention to you.</dialogue> <character>CHARLIE</character> <dialogue>Yes. I understand. I'll be careful.</dialogue> </scene> <scene> <stage_direction>EXT. BEACH - HAMPTONS - DAY</stage_direction> <scene_description>CHARLIE and TERESA are sitting on the beach which is fairly deserted . There are rented cottages behind them . TERESA has a book and some papers from which she is supposed to write a term paper for CHARLIE 'S English class .</scene_description> <character>TERESA</character> <dialogue>C'mon Charlie. one more day. I'll call in sick for work.</dialogue> <character>CHARLIE</character> <dialogue>No. we can come back in a couple of weeks. Besides, if we're both gone for three days it would n't look right.</dialogue> <character>TERESA</character> <dialogue>Ok.</dialogue> <scene_description>CHARLIE picks up a copy of Henry James ' Portrait of a Lady and tries to read it . He tosses it aside .</scene_description> <character>CHARLIE</character> <dialogue>Bore.</dialogue> <character>TERESA</character> <dialogue>A paper on that one too?</dialogue> <character>CHARLIE</character> <dialogue>Yeah. but do n't worry about that now. The Hemmingway one is first.</dialogue> <character>TERESA</character> <dialogue>It was nothing. I'm almost finished.</dialogue> <character>CHARLIE</character> <dialogue>Take your time. I do n't care.</dialogue> <character>TERESA</character> <dialogue>I know you do n't. You've been very preoccupied lately.</dialogue> <character>CHARLIE</character> <dialogue>That's the word. preoccupied.</dialogue> <scene_description>CHARLIE turns towards TERESA and tries to kiss her . She playfully turns away . But CHARLIE quickly gets bored with that and does n't pursue her . She is confused by his actions .</scene_description> <character>CHARLIE</character> <dialogue>Let's go back inside.</dialogue> <scene_description>CHARLIE and TERESA already farther up the beach , walking . They notice a very beautiful house with limousines parked in front of it .</scene_description> <character>CHARLIE</character> <dialogue>See that. know who lives there? The name George Earhardt mean anything to you?</dialogue> <character>TERESA</character> <dialogue>Sure. He lives there?</dialogue> <character>CHARLIE</character> <dialogue>No. Of course he lives there. Would I point it out to you if he did n't?</dialogue> <scene_description>The house is seen from a great distance . CHARLIE 'S VIEWPOINT . There is great activity . all with a very businesslike air .</scene_description> <character>CHARLIE</character> <dialogue>That W.A.S.P. bastard.</dialogue> <character>TERESA</character> <dialogue>You're intolerable today.</dialogue> <character>CHARLIE</character> <dialogue>Watch your language.</dialogue> <scene_description>They arrive at the cottage .</scene_description> </scene> <scene> <stage_direction>INT. HAMPTONS COTTAGE - DAY</stage_direction> <scene_description>CHARLIE and TERESA are coming in , putting down the books and papers .</scene_description> <character>TERESA</character> <dialogue>I like it here. alone.</dialogue> <scene_description>She caresses CHARLIE . He is still preoccupied .</scene_description> <character>TERESA</character> <dialogue>I'm going to take that apartment uptown.</dialogue> <character>CHARLIE</character> <dialogue>Uhuh. probably a good idea. Why do n't you do it this time?</dialogue> <character>TERESA</character> <dialogue>You know why. with my parents.</dialogue> <character>CHARLIE</character> <dialogue>Well you ca n't blame them in a way.</dialogue> <character>TERESA</character> <parenthetical>( pulling away from him . )</parenthetical> <dialogue>I can take care of myself. You know that.</dialogue> <character>CHARLIE</character> <dialogue>I know. I know.</dialogue> <scene_description>They embrace . FLASHBACK</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM</stage_direction> <scene_description>CHARLIE 'S father is the patient in the bed . The visitors surrounding the bed are CHARLIE 'S mother , TERESA , and TERESA 'S mother . The CAMERA MOVES IN CLOSER AS WE HEAR the sounds of mechanical voices coming from the T.V. sets in the lobby . TERESA 'S mother leans over and whispers into CHARLIE 'S father 's ear .</scene_description> <character>TERESA'S MOTHER</character> <dialogue>Turridu. that's your boy Charles. Do n't you know him. Is n't that Charles?</dialogue> <scene_description>There is no answer . CHARLIE is embarrassed . TERESA 'S MOTHER asks again .</scene_description> <character>TERESA'S MOTHER</character> <parenthetical>( CONTINUED . )</parenthetical> <dialogue>Who is that?</dialogue> <character>CHARLIE'S FATHER</character> <dialogue>Che Guevara.</dialogue> <scene_description>CHARLIE does n't know how to react . TERESA 'S MOTHER looks up with a half smile in disbelief . The other Visitors give off a small ripple of nervous laughter , repeating it . in whispers . CHARLIE looks about nervously . Through the door of the hospital room can be seen several of the older patients gathered around a T.V. in the hallway . They are watching the races , the announcer 's voice is blaring almost incomprehensibly .</scene_description> </scene> <scene> <stage_direction>INT. HAMPTONS COTTAGE - DAY</stage_direction> <scene_description>TERESA and CHARLIE make love . CHARLIE is getting dressed . TERESA is wrapped warmly in the sheets - still in bed .</scene_description> <character>CHARLIE</character> <dialogue>He must have heard the name from those T.V.'s in the hall that were blaring all the time. I remember GUEVARA was in town at the time. Must've heard it from there I guess. but that's funny, is n't it?</dialogue> <character>TERESA</character> <dialogue>Ummmmmmmmmmmmm.</dialogue> <character>CHARLIE</character> <dialogue>Of all people. Now say the truth. Do I look like Che Guevara. C'mon.</dialogue> <scene_description>They laugh . He crosses to TERESA and they kiss .</scene_description> <character>TERESA</character> <dialogue>I'm sleepy.</dialogue> <character>CHARLIE</character> <dialogue>You've been running round too much. Bet you've been forgetting your medicine.</dialogue> <character>TERESA</character> <dialogue>The green capsules in the top drawer.</dialogue> <scene_description>CHARLIE gets her the pills and heads out of the cottage for a walk .</scene_description> </scene> <scene> <stage_direction>EXT. ROADWAY - HAMPTONS - DAY</stage_direction> <scene_description>CHARLIE is walking along the roadway and looking at the different cottages . He is carrying a notebook to which he periodically refers . He stops in front of a luxurious cottage and checks the address on the signpost with the one in his notebook beside which is listed the name GROPPI . He remains standing at a safe distance from the cottage staring at it . It looks deserted . FANTASY</scene_description> </scene> <scene> <stage_direction>EXT. ROADWAY IN FRONT OF COTTAGE - DAY</stage_direction> <scene_description>CHARLIE walks directly to the front door of the cottage and rings the bell confidently . The door is opened immediately which startles him . From inside the house we see GROPPI 'S back as he holds the door open . He is in a satin robe . We can see CHARLIE 'S startled face through the partially opened door .</scene_description> <character>GROPPI</character> <dialogue>What do you want kid?</dialogue> <scene_description>At that moment a nude girl , her back to the CAMERA appears in the FOREGROUND . This startles CHARLIE even more .</scene_description> <character>GROPPI</character> <dialogue>What do you want? well?</dialogue> <character>CHARLIE</character> <dialogue>I. I'm selling encyclopedias. er a magazines. newspapers. I'm conducting a survey. I.</dialogue> <character>GROPPI</character> <dialogue>We do n't want no fuckin' books!</dialogue> <scene_description>GROPPI slams the door in CHARLIE 'S face . REALITY</scene_description> </scene> <scene> <stage_direction>EXT. ROADWAY IN FRONT OF COTTAGE - DAY</stage_direction> <scene_description>CHARLIE is still standing in front of the cottage . Suddenly a little boy of about nine appears .</scene_description> <character>BOY</character> <dialogue>There's nobody here mister.</dialogue> <scene_description>CHARLIE turns in surprise .</scene_description> <character>CHARLIE</character> <dialogue>Is n't this Jack Groppi's place?</dialogue> <character>BOY</character> <dialogue>Yeah. But he ai n't here now.</dialogue> <character>CHARLIE</character> <dialogue>Know where he is?</dialogue> <character>BOY</character> <dialogue>Follow me.</dialogue> <scene_description>The BOY leads him towards a heavily overgrown treed area .</scene_description> <character>CHARLIE</character> <dialogue>How much farther?</dialogue> <scene_description>CHARLIE repeats this question periodically as he follows the BOY . Finally CHARLIE finds himself alone in the middle of a dense forest with the BOY nowhere in sight . He calls out but there is no answer . He realizes he 's been had .</scene_description> <character>CHARLIE</character> <parenthetical>( CONFESSION . )</parenthetical> <dialogue>Now, do n't get excited.</dialogue> <scene_description>CHARLIE is trying to find his way out of the forest .</scene_description> <character>CHARLIE</character> <parenthetical>( CONTINUED . )</parenthetical> <dialogue>` The stone which the builders' reject will become the cornerstone'. I think.</dialogue> </scene> <scene> <stage_direction>INT. ITALIAN CAFE - DAY</stage_direction> <scene_description>A loud brass band is playing `` Oh Johnny , Oh Johnny , How You Can Love '' inside the cafe . They are part of a religious festival and GIOVANNI has invited them in for drinks . In return they are playing for him . GIOVANNI has been drinking . The song ends .</scene_description> <character>GIOVANNI</character> <dialogue>Play it again!</dialogue> <scene_description>Everyone laughs and joins in .</scene_description> <character>EVERYONE</character> <dialogue>One more time. play it again.</dialogue> <scene_description>The band begins the song for the second time . CHARLIE enters the cafe and goes directly to his uncle who embraces him .</scene_description> <character>GIOVANNI</character> <parenthetical>( SHOUTING BOISTEROUSLY over the music . )</parenthetical> <dialogue>Take a drink!</dialogue> <character>CHARLIE</character> <parenthetical>( SHOUTING . )</parenthetical> <dialogue>Ok.</dialogue> <scene_description>CHARLIE sits next to his uncle and looks around at the crowd in the cafe which is now singing along with the band . GIOVANNI is smiling broadly . Loud applause follow the end of the song and the band tries clumsily to make its way through the crowd and out of the cafe .</scene_description> <character>GIOVANNI</character> <dialogue>Hey, where you been?</dialogue> <character>CHARLIE</character> <parenthetical>( SMILING NERVOUSLY . )</parenthetical> <dialogue>Oh. around. why?</dialogue> <character>GIOVANNI</character> <parenthetical>( LEANING CLOSER . )</parenthetical> <dialogue>You heard what happened to GROPPI, eh?</dialogue> <scene_description>CHARLIE gets very nervous at the mention of GROPPI 'S name .</scene_description> <character>CHARLIE</character> <parenthetical>( INNOCENTLY . )</parenthetical> <dialogue>Who me? No, I do n't know, not me. all I know is.</dialogue> <character>GIOVANNI</character> <parenthetical>( cuts CHARLIE off with a gesture of his forefinger . )</parenthetical> <dialogue>Our friend, Groppi, went to his mother's house. And when he was there. at night.</dialogue> <scene_description>DARKENED ROOM - NIGHT An old woman is sitting in front of the television watching JOHNNY CARSON 'S TONIGHT SHOW .</scene_description> <character>GIOVANNI</character> <parenthetical>( continues in voice over . )</parenthetical> <dialogue>. he walks into his mother's room where she's watching television. and he says to her.</dialogue> <scene_description>GROPPI has entered the room with his back to the camera .</scene_description> <character>GIOVANNI</character> <dialogue>that he's sorry.</dialogue> <scene_description>GROPPI leaves the frame . The old woman looks up from the television .</scene_description> <character>OLD WOMAN</character> <dialogue>It's all right.</dialogue> <scene_description>WE SEE GROPPI walking towards the bathroom .</scene_description> <character>GIOVANNI</character> <parenthetical>( voice over continued . )</parenthetical> <dialogue>. he goes in the next room.</dialogue> <scene_description>GROPPI TURNS ON the bathroom light .</scene_description> <character>GIOVANNI</character> <parenthetical>( voice over continued . )</parenthetical> <dialogue>. he takes a gun and puts it in his mouth and.</dialogue> <scene_description>GROPPI stands with the gun in his hand . He lifts it to his head . He puts the barrel into his mouth . He pulls the trigger . FAST FADE TO WHITE</scene_description> </scene> <scene> <stage_direction>INT. ITALIAN CAFE - DAY</stage_direction> <character>GIOVANNI</character> <parenthetical>( with an Italian hand gesture . )</parenthetical> <dialogue>. so.</dialogue> <scene_description>CHARLIE is visibly shocked .</scene_description> <character>GIOVANNI</character> <parenthetical>( SMILING . )</parenthetical> <dialogue>How do you like that, eh? He was always a little crazy, y' know. Groppi. a little crazy.</dialogue> <scene_description>CHARLIE looks up to see MICHAEL , standing at the entrance of the cafe . He waves to CHARLIE in a friendly manner . CHARLIE waves back and GIOVANNI looks up , squinting to see who it is . MICHAEL does not approach the table . In respect to GIOVANNI he signals to CHARLIE that he would like to see him outside .</scene_description> <character>CHARLIE</character> <parenthetical>( GRUDGINGLY . )</parenthetical> <dialogue>Not now. in a few minutes. ok?</dialogue> <scene_description>MICHAEL is surprised at being spoken to in such a curt manner , especially in GIOVANNI 'S presence because he feels he has lost status . CHARLIE and GIOVANNI continue their conversation .</scene_description> </scene> <scene> <stage_direction>EXT. STREET CORNER - NEAR CAFE - DAY</stage_direction> <character>MICHAEL</character> <dialogue>I gave him all the breaks I can give.</dialogue> <character>CHARLIE</character> <dialogue>Oh Michael, look.</dialogue> <character>MICHAEL</character> <dialogue>Nevamind ` look'. This punk bastard. I call him at work. I say ` Johnny Boy there?'. He does n't even show up for work anymore.</dialogue> <character>CHARLIE</character> <dialogue>Look. I've talked to him and I've talked to him. what more can I do? Tonight at the party all three of us get together and we knock some sense into his head. ok?</dialogue> <character>MICHAEL</character> <dialogue>All right. but understand, I do n't like being taken advantage of. I mean you're in there talking with your uncle and all. This is embarassing.</dialogue> <character>CHARLIE</character> <dialogue>We'll settle it tonight.</dialogue> <scene_description>Two YOUNG BOYS about 15 years old walk up to CHARLIE .</scene_description> <character>BOY #1</character> <dialogue>Hey, you sell firecrackers?</dialogue> <character>CHARLIE</character> <dialogue>Firecrackers! No. no.</dialogue> <character>BOY #1</character> <dialogue>You know where we can get some?</dialogue> <character>CHARLIE</character> <dialogue>Sure, see that guy over there.</dialogue> <scene_description>He points to MICHAEL .</scene_description> <character>CHARLIE</character> <parenthetical>( CONTINUING . )</parenthetical> <dialogue>. him. He's got the best.</dialogue> <scene_description>The BOYS go over to MICHAEL .</scene_description> <character>BOY #1</character> <dialogue>Hey - fella. you sell firecrackers?</dialogue> <character>MICHAEL</character> <dialogue>Sssh! Quiet.</dialogue> <parenthetical>( He looks around . )</parenthetical> <dialogue>Y' know that's illegal.</dialogue> <character>BOY #2</character> <dialogue>Well the guy over there said.</dialogue> <character>MICHAEL</character> <parenthetical>( INTERRUPTING . )</parenthetical> <dialogue>Yeah, yeah, never mind. You got ta be careful.</dialogue> <character>BOY #1</character> <dialogue>We went down to Chinatown but they do n't have any.</dialogue> <character>MICHAEL</character> <dialogue>Yeah, well, keep away from those Chinx. They do n't have shit.</dialogue> <character>BOY #2</character> <dialogue>Well, we got $ 40, and we wan na buy.</dialogue> <character>MICHAEL</character> <parenthetical>( INTERRUPTING . )</parenthetical> <dialogue>All right! Quiet! For $ 40 I could give you.</dialogue> <character>BOY #1</character> <dialogue>Well, I do n't know if we want to buy all $ 40 worth.</dialogue> <character>MICHAEL</character> <dialogue>Hey! You want good stuff, or you want shit?</dialogue> <character>BOY #2</character> <dialogue>Well, we want good stuff.</dialogue> <character>MICHAEL</character> <dialogue>Well, my stuff comes from Maryland. you know what that means?</dialogue> <character>BOY #1</character> <dialogue>No.</dialogue> <character>MICHAEL</character> <dialogue>That means it's good.</dialogue> <character>BOY #1</character> <dialogue>You got sparklers?</dialogue> <character>MICHAEL</character> <dialogue>Yeah.</dialogue> <character>BOY #2</character> <dialogue>And cherry bombs. ash cans. and rockets?</dialogue> <character>MICHAEL</character> <dialogue>Ok. For another $ 5.00 a special on the packs.</dialogue> <character>BOY #1</character> <dialogue>No, all we got is $ 40.</dialogue> <character>MICHAEL</character> <dialogue>You sure?</dialogue> <character>BOYS</character> <dialogue>Yeah.</dialogue> <character>MICHAEL</character> <dialogue>Ok. Wait here.</dialogue> <scene_description>MICHAEL goes to TONY , who has been standing in front of the cafe with a group of boys . They talk for a minute , and go back to the waiting boys .</scene_description> <character>MICHAEL</character> <parenthetical>( to the boys . )</parenthetical> <dialogue>C'mon. Get in the car.</dialogue> <scene_description>The four of them get into TONY 'S car . They drive to CHINATOWN .</scene_description> </scene> <scene> <stage_direction>EXT. CHINATOWN - DAY IN TONY'S CAR</stage_direction> <character>MICHAEL</character> <dialogue>Ok, you guys get out, and wait here for me.</dialogue> <character>BOYS</character> <dialogue>Why?</dialogue> <character>MICHAEL</character> <dialogue>I got ta get the stuff.</dialogue> <character>BOYS</character> <dialogue>Ca n't we come with you?</dialogue> <character>MICHAEL</character> <dialogue>Nobody sees where I get the stuff. That's good business. I'll be back in thirty minutes.</dialogue> <scene_description>They start to get out .</scene_description> <character>MICHAEL</character> <dialogue>Hey hold it! Gimmie the cash.</dialogue> <character>BOYS</character> <dialogue>Uh. can we give you a check?</dialogue> <character>MICHAEL</character> <dialogue>A check? What the. hey, where you kids from?</dialogue> <character>BOY #1</character> <dialogue>Riverdale.</dialogue> <character>MICHAEL</character> <parenthetical>( CONTEMPTUOSLY . )</parenthetical> <dialogue>Well, maybe they do that in Riverdale, but down here we take cash. Now, you got it or not?</dialogue> <scene_description>They give him the money .</scene_description> <character>MICHAEL</character> <dialogue>Ok. Now wait here. and keep your mouths shut!</dialogue> <scene_description>The car pulls away .</scene_description> <character>TONY</character> <dialogue>How much?</dialogue> <character>MICHAEL</character> <dialogue>Not bad. $ 20. Here, $ 5.</dialogue> <character>TONY</character> <dialogue>Can you spare it?</dialogue> <character>MICHAEL</character> <dialogue>Sure.</dialogue> <character>TONY</character> <parenthetical>( SARCASTICALLY . )</parenthetical> <dialogue>Thanks.</dialogue> </scene> <scene> <stage_direction>EXT. LOWER EAST SIDE - DAY</stage_direction> <scene_description>The car pulls up at TONY 'S PLACE . TONY yells to CHARLIE , who is standing outside .</scene_description> <character>TONY</character> <dialogue>Hey Charlie. Get in.</dialogue> <scene_description>CHARLIE gets in .</scene_description> <character>CHARLIE</character> <dialogue>What's a ` matter?</dialogue> <character>MICHAEL</character> <dialogue>Nothin'. Just stiffed those kids. Do n't want'em comin' back and findin' you. start asking you questions.</dialogue> <character>CHARLIE</character> <dialogue>How much?</dialogue> <character>MICHAEL</character> <dialogue>$ 20.</dialogue> <character>CHARLIE</character> <dialogue>Let's go to the movies. on you.</dialogue> <character>TONY</character> <dialogue>Yeah.</dialogue> <character>MICHAEL</character> <dialogue>Ok guys. have a heart. This is my business.</dialogue> <scene_description>BLACK &amp; WHITE</scene_description> </scene> <scene> <stage_direction>EXT. NIGHT - IN FRONT OF MOVIE THEATER</stage_direction> <scene_description>The boys are paying for their tickets .</scene_description> </scene> <scene> <stage_direction>INT. MOVIE THEATER - NIGHT</stage_direction> <scene_description>DONOVAN 'S REEF is showing . We see a brief scene from the film which has JOHN WAYNE fighting LEE MARVIN in a big bar - room brawl . The boys smile and watch .</scene_description> </scene> <scene> <stage_direction>EXT. CHINATOWN - NIGHT BLACK &amp; WHITE</stage_direction> <scene_description>The two boys from Riverdale are still watching on the corner , in the dark .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S APARTMENT - DAY</stage_direction> <scene_description>CHARLIE is at home shaving .</scene_description> <character>CHARLIE</character> <parenthetical>( CONFESSION . )</parenthetical> <dialogue>You know damn well what's going to happen tonight. I'll probably get drunk at that party. it is n't every day you send one of your best friends off to war for God and country. got ta have a party. I mean, he's a nice kid.</dialogue> <scene_description>CHARLIE is gluing on a fake beard .</scene_description> <character>CHARLIE</character> <parenthetical>( VOICE OVER . )</parenthetical> <dialogue>I do n't know what You think of him but that's between You and him anyway. I ca n't help feeling sorry for him though. Has a talent but does n't use it. His brain. An ` Unprofitable servant who shall be cast forth into the darkness outside, where there will be.</dialogue> <scene_description>Television image of old women mourning their dead in India . The images are slow motion . The news continues with more trivial news images . -LRB- Washington investigations , demonstrations , etc. -RRB-</scene_description> <character>CHARLIE</character> <parenthetical>( continued voice over . )</parenthetical> <dialogue>. the weeping and the gnashing of teeth'. or something like that. My talent's my brain too but I use my talent. I'm not saying that I'm a genius. You'll probably be the first one to agree on that, but I can tell the difference between the intelligent and the stupid. Take the army for example.</dialogue> <scene_description>CHARLIE grabbing a white robe off his bed . We do n't see his face .</scene_description> <character>CHARLIE</character> <parenthetical>( continued voice over . )</parenthetical> <dialogue>That's there and I'm here and that's the way it's going to stay!</dialogue> </scene> <scene> <stage_direction>INT. WEST SIDE TENEMENT APARTMENT BATHROOM - NIGHT</stage_direction> <scene_description>TONY enters the bathroom , turns on the light and locks the door . Party noises can be heard in the background TONY is wearing an overcoat and is dressed as a World War I `` dough boy '' . Atop his head is a mask , the features of which ca n't be seen . He opens the coat to reveal twenty packets of red Jello . He turns on the hot water in the bathtub and slowly begins to empty each packet of Jello into the tub of steaming water . LIVING ROOM &amp; KITCHENETTE - PARTY - NIGHT Most of the characters that were at the club the other night are present at the party . Many of them are dressed in semi - masquerade outfits . Some are wearing soldiers ' uniforms . One wears a sheet made up to be a Roman Toga . The girls are in costumes also . All of the costumes are makeshift . MICHAEL is made up as Dracula , sporting a large cape , semi tuxedo - type suit , and a drop of blood on the corner of his mouth . His hair is slicked back to give him a `` Bela Lugosi '' look . He is showing a picture of a girl to one of the boys , proudly proclaiming that she is his latest conquest . TONY comes out of the bathroom and passes by . He takes the photo from MICHAEL . Group attention focuses on TONY now . He stares at the picture , holds it away from him , then closer to his face , then sideways and finally upside - down .</scene_description> <character>TERESA</character> <dialogue>Oh sure! I know her Michael. In fact, I saw her a few days ago under a bridge in Jersey, making out with a nigger.</dialogue> <scene_description>MICHAEL grimaces in shock . He spits .</scene_description> <character>MICHAEL</character> <dialogue>You sure? a nigger. Uh! and I kissed her.</dialogue> <scene_description>He wipes his lips with his cape . The guest of honor , the young soldier is very drunk . He is attempting to open his going away presents , one of which turns out to be a carefully folded American flag . He attempts to open it with one great flourish . He fails however , knocking over the glasses on the table . The group applauds . Suddenly , the doorbell rings and everyone looks up . The door opens and CHARLIE appears , arms outstretched , dressed as the ressurected Christ - with white robes , fake beard and hair , and artificial wounds . His arms stretch out wider . The initial shock wears off and TONY greets him .</scene_description> <character>TONY</character> <parenthetical>( SMILING . )</parenthetical> <dialogue>Hallelujah!</dialogue> <scene_description>CHARLIE enters in mock holiness .</scene_description> <character>CHARLIE</character> <dialogue>I have come to create order. Scotch and water please.</dialogue> <scene_description>They all laugh . The rock music blares as CHARLIE walks to and fro blessing all in the room . TONY is delighted with the scene . CHARLIE sits at the kitchen table , TONY opposite him , and the others gather around . The party is getting noisier . TONY gives CHARLIE a glass of ice cubes . CHARLIE plays the part of a priest , during the Mass when the chalice is filled with wine and water , TONY pours the scotch over his fingers first . CHARLIE lifts his hands to touch the bottle as a priest would . He signifies that there is enough in the glass . TONY then repeats the same ritual with a bottle of soda - water .</scene_description> <character>CHARLIE</character> <dialogue>May God be with you.</dialogue> <character>TONY</character> <dialogue>` And with your spirit.'</dialogue> <character>CHARLIE</character> <parenthetical>( gesturing with his drink . )</parenthetical> <dialogue>Salute!</dialogue> <scene_description>Everyone drinks after repeating the toast . The crowd around them begins to break up as CHARLIE and TONY begin to have fun with each other . TONY pulls down his mask , revealing a skeleton death face which covers his own face except for his mouth . It completes the Dough - boy uniform quite well .</scene_description> <character>TONY</character> <parenthetical>( taking on the guise of an interviewer . )</parenthetical> <dialogue>` Art thou the King of the Jews'?</dialogue> <character>CHARLIE</character> <dialogue>` Dost thou say this of thyself, or have others told thee of me?'</dialogue> <character>TONY</character> <dialogue>` Am I a Jew? Thy own people and the chief priests have delivered thee to me. What hast thou done?'</dialogue> <scene_description>MICHAEL and a few of the others gather around again as they continue .</scene_description> <character>CHARLIE</character> <dialogue>` My kingdom is not of this world. If my kingdom were of this world my followers would have fought that I might not be delivered to the Jews. But, as it is my kingdom is not from here.'</dialogue> <character>TONY</character> <dialogue>` Thou art then a king?'</dialogue> <character>CHARLIE</character> <dialogue>` Thou sayest it ; I am a king. This is why I was born and why I have come into this world, to bear witness to the truth. Everyone who is of the truth hears my voice.'</dialogue> <scene_description>TONY leans over towards CHARLIE .</scene_description> <character>TONY</character> <dialogue>` What is the truth?'</dialogue> <scene_description>The others around them give mock applause . TONY smiles and nods his head to them . CHARLIE laughs . They drink . Someone hits CHARLIE on the back of the head . CHARLIE startled , looks up .</scene_description> <character>TONY</character> <dialogue>Prophesy to us, oh Christ! Who is it that struck thee?</dialogue> <character>CHARLIE</character> <dialogue>I do n't know, but God help him if he does it again!</dialogue> <scene_description>They all laugh .</scene_description> </scene> <scene> <stage_direction>INT. SAME APARTMENT - NEXT ROOM - NIGHT</stage_direction> <scene_description>CHARLIE is talking to MICHAEL . The conversation is serious . CHARLIE has not lost his sense of humor .</scene_description> <character>CHARLIE</character> <dialogue>He said he'd be here.</dialogue> <character>MICHAEL</character> <dialogue>Well, he is n't. Nice. real nice.</dialogue> <character>CHARLIE</character> <dialogue>He'll be here. Look, take this for now.</dialogue> <scene_description>He hands MICHAEL a twenty dollar bill from under his robe .</scene_description> <character>MICHAEL</character> <dialogue>You kiddin. The way it is now this is n't even interest for two hours.</dialogue> <character>CHARLIE</character> <parenthetical>( putting the bill back into his pocket . )</parenthetical> <dialogue>How much was the original loan again?</dialogue> <character>MICHAEL</character> <dialogue>$ 500. He borrowed that because he wanted to pay off his other loans. now, counting the interest. it's almost $ 3,000.</dialogue> <character>CHARLIE</character> <dialogue>$ 3,000. Shit! Can we hold it at $ 3,000?</dialogue> <character>MICHAEL</character> <dialogue>Charlie, this is business.</dialogue> <character>CHARLIE</character> <parenthetical>( avoiding the issue . )</parenthetical> <dialogue>` But I say to you, love your enemies, do good to those who hate you, and pray for those who persecute.'</dialogue> <character>MICHAEL</character> <dialogue>I'll tell you who you can pray for. Next payday, I'll be at Tony's Place. Johnny better show or I find him and break his legs. and I mean it.</dialogue> <character>CHARLIE</character> <parenthetical>( in the same manner . )</parenthetical> <dialogue>` But I say to you not to resist the evildoer ; on the contrary, if someone takes thy tunic, let him take thy cloak as well. to him who asks of thee, give ; and from him who would borrow of thee do not turn away!</dialogue> <character>MICHAEL</character> <parenthetical>( EXASPERATED . )</parenthetical> <dialogue>He could at least show some respect and show his face, even if he does n't have the money.</dialogue> <character>CHARLIE</character> <parenthetical>( more serious now . )</parenthetical> <dialogue>` Amen I say to thee, thou wilt not come out from it until thou hast paid the last penny.'</dialogue> <character>MICHAEL</character> <dialogue>You said it.</dialogue> <scene_description>A loud scream is heard from the bathroom . APARTMENT - BATHROOM - NIGHT Someone shoved a nude girl into the bathtub which is now filled with congealed red jello . The boys are laughing and shoving each other about roughly . CHARLIE comes out of the next room and walks along in a Christ like manner through the madness , his arms outstretched . One boy kneels and kisses the hem of his robe and CHARLIE blesses him . There is a great deal of pushing and shoving going on inside the bathroom and near the doorway . CHARLIE promises to save the sinner as he pushes his way through . He helps the girl remove the jello from her body and helps her out of the bathtub . It is obvious that she is quite stoned . She caresses him and they find themselves kissing . The others storm into the bathroom and grab CHARLIE .</scene_description> <character>EVERYONE</character> <dialogue>Blasphemy! The anti - Christ! Crucify him!</dialogue> <scene_description>They drag CHARLIE into the next room where , amidst all the shouting and laughing , the other members of the party are placing firecrackers on model airplanes , simulating their own `` dog fight '' . They are flying the planes out the open window . CHARLIE takes everything in stride trying to shout a few lines over their laughter .</scene_description> <character>CHARLIE</character> <dialogue>` Father. forgive them. for they know not. what they do.'</dialogue> <scene_description>The doorbell rings and TONY answers it . It is TERESA and she looks very worried .</scene_description> <character>TERESA</character> <dialogue>Charlie? Charlie here?</dialogue> <scene_description>BLACK &amp; WHITE</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>CHARLIE and TERESA dash from a tenement doorway . CHARLIE is still in beard and wig but his robes are open so they give the effect of being a bulky overcoat .</scene_description> <character>TERESA</character> <parenthetical>( FRANTICALLY . )</parenthetical> <dialogue>The building on the corner. That one! He's been on the roof a half hour now!</dialogue> <character>CHARLIE</character> <dialogue>Now do n't get excited. Do n't get excited!</dialogue> <scene_description>It is very late and the streets are deserted . At the corner of the building in question , a few of JOHNNY BOY 'S friends cling to the wall for safety . When they see CHARLIE and TERESA they call out .</scene_description> <character>FRIENDS</character> <dialogue>Charlie, stay there. He's crazy. He's got a 22.</dialogue> <scene_description>TERESA gets up against a wall . CHARLIE sends her down the block and she leaves reluctantly .</scene_description> <character>CHARLIE</character> <dialogue>Johnny it's me, Charlie.</dialogue> <scene_description>JOHNNY BOY can now be seen silhouetted against the moonlight on the tenement roof . He has a gun in his hand .</scene_description> <character>JOHNNY BOY</character> <dialogue>Do n't come any closer!</dialogue> <character>CHARLIE</character> <dialogue>Cut it out stupid. It's me.</dialogue> <scene_description>JOHNNY BOY fires a shot into the air . CHARLIE clings to the wall with the others . A moment later he makes a quick run for the doorway of the building across the street . He enters the building that leads to the roof . BLACK &amp; WHITE</scene_description> </scene> <scene> <stage_direction>EXT. TENEMENT ROOF - NIGHT</stage_direction> <scene_description>CHARLIE has reached the roof .</scene_description> <character>JOHNNY BOY</character> <dialogue>Charlie. pssst. Over here.</dialogue> <scene_description>He laughs with glee .</scene_description> <character>CHARLIE</character> <dialogue>What are you. crazy?</dialogue> <scene_description>He slaps JOHNNY BOY on the back of the head .</scene_description> <character>JOHNNY BOY</character> <dialogue>Hey. do n't do that. I'm only scaring them.</dialogue> <character>CHARLIE</character> <dialogue>Stupid bastard. you get your cousin half - sick over this.</dialogue> <scene_description>The boys below are still clinging to the walls of the building . JOHNNY is oblivious to CHARLIE 'S statement .</scene_description> <character>JOHNNY BOY</character> <dialogue>Watch this.</dialogue> <scene_description>He takes out a home made firecracker consisting of glass cigar tubing filled with gunpowder and a waxed fuse stick through the top layer of cork . He lights it .</scene_description> <character>CHARLIE</character> <dialogue>What the fuck.</dialogue> <scene_description>JOHNNY BOY tosses it over the building and it blows up in mid - air . The boys below rush madly away . Lights go on in the tenements around them . The explosion was quite loud .</scene_description> <character>CHARLIE</character> <dialogue>Let's get out of here.</dialogue> <character>JOHNNY BOY</character> <parenthetical>( LAUGHING . )</parenthetical> <dialogue>Did you see them run!</dialogue> <scene_description>BLACK &amp; WHITE</scene_description> </scene> <scene> <stage_direction>EXT. CEMETARY - NIGHT</stage_direction> <scene_description>CHARLIE and JOHNNY BOY are sneaking over a fence in an old cemetary which is part of their neighborhood . It surrounds their church and dates back to the beginning of the 19th century . No one is buried there any longer . It is very quiet and dark . They sit and rest . CHARLIE is still in his makeup .</scene_description> <character>JOHNNY BOY</character> <dialogue>I swear to God Charlie. my arm still hurts from the car accident. that's why I did n't go to work. I swear it.</dialogue> <character>CHARLIE</character> <parenthetical>( ANGRY . )</parenthetical> <dialogue>That's not going to help.</dialogue> <character>JOHNNY BOY</character> <dialogue>I'm going to work this week. I mean it.</dialogue> <character>CHARLIE</character> <dialogue>It's impossible for you to catch up on the loan now. the interest is going up. $ 3,000. do you realize that, flash?</dialogue> <character>JOHNNY BOY</character> <dialogue>I'm sorry Charlie. I did n't mean it.</dialogue> <character>CHARLIE</character> <dialogue>Big deal. in the meantime, it's done. I'll still try to help you out. You know that. but you got ta show some effort. some respect. understand?</dialogue> <character>JOHNNY BOY</character> <dialogue>Charlie, you know the best way to take care of this whole mess.</dialogue> <character>CHARLIE</character> <dialogue>How?</dialogue> <character>JOHNNY BOY</character> <parenthetical>( COAXING . )</parenthetical> <dialogue>If you had a little talk with your uncle. if anybody can do it, he can.</dialogue> <character>CHARLIE</character> <dialogue>That'll help you out fine. That's the best way for you, not for me! I swear to God, I'll rip you open if my uncle ever hears a word about this. You understand? I do n't care what happens, he does n't find out. I do n't get involved with anything, you understand that? Nothing! I'm clean as far as you know. right?</dialogue> <character>JOHNNY BOY</character> <dialogue>Yeah, take it easy. Will you relax.</dialogue> <character>CHARLIE</character> <dialogue>That's what I get for getting involved. Look, on pay - day at least show up at Tony's Place to meet him, ok? This way he does n't think that you're trying to screw him. If you show good faith and save his face maybe we can talk and he'll take off the interest or make different payment arrangements or something. understand? I'm not asking I'm telling you!</dialogue> <character>JOHNNY BOY</character> <dialogue>I understand.</dialogue> <scene_description>JOHNNY BOY closes his eyes . CHARLIE looks at JOHNNY BOY and then looks at the cemetary in the moonlight . It seems totally apart from the city with the sirens and cars far in the distance . CHARLIE stands and unravels his robes , preparing to take them off . He projects the image of Christ delivering a sermon . Music and laughter in the distance catches his attention . The lights and the music are coming from the top floor of a tenement building where a Puerto Rican family is having a party . The sound echoes through the streets . Decorations are hanging and blowing away through the open windows . As CHARLIE watches a fight break out over one of the girls . Screams are heard . People run up and down the fire escape . CHARLIE has pulled off the robe . He now removes the beard and wig and has become himself again . He leans over to find JOHNNY BOY fast asleep on a tomb .</scene_description> <character>CHARLIE</character> <dialogue>` Could you not, then, watch one hour with me?'</dialogue> <scene_description>He wakes JOHNNY BOY up .</scene_description> <character>CHARLIE</character> <dialogue>` The spirit is willing but the flesh is weak.'</dialogue> <scene_description>They leave .</scene_description> </scene> <scene> <stage_direction>INT. OSCAR'S RESTAURANT - NIGHT</stage_direction> <scene_description>CHARLIE is sitting in the corner . The restaurant is in the same condition that it was the last time he was there . While CHARLIE waits for his uncle in his semi - private corner , a handful of old Mafiosi , invited by GIOVANNI , sit at another table . GIOVANNI enters with MARIO . The old Mafiosi are greeted first . They rise and kiss GIOVANNI on the cheek . CHARLIE is very impressed at their respectful showing . The waitresses and everyone else in the club treat them all like royalty . OSCAR approaches the table where CHARLIE , GIOVANNI , and MARIO are seated and greets them warmly .</scene_description> <character>OSCAR</character> <dialogue>Put the menus away. I, personally do the cooking tonight.</dialogue> <character>GIOVANNI</character> <dialogue>Fine. that's why I'm here.</dialogue> <character>MARIO</character> <dialogue>Calamari?</dialogue> <character>OSCAR</character> <dialogue>Capozelle, Calamari. anything you want.</dialogue> <character>GIOVANNI</character> <parenthetical>( POURING WINE . )</parenthetical> <dialogue>Drink.</dialogue> </scene> <scene> <stage_direction>INT. OSCAR'S RESTAURANT - LATER IN THE MEAL</stage_direction> <scene_description>OSCAR sits .</scene_description> <character>OSCAR</character> <dialogue>Giovanni. er. can I talk?</dialogue> <scene_description>Refering to CHARLIE . GIOVANNI nods his head yes .</scene_description> <character>OSCAR</character> <dialogue>About the place, Giovanni.</dialogue> <character>GIOVANNI</character> <dialogue>I know all about it. We'll discuss it later.</dialogue> <character>OSCAR</character> <parenthetical>( CONTINUING . )</parenthetical> <dialogue>Our arrangements about the place have n't changed, have they? I mean.</dialogue> <character>GIOVANNI</character> <parenthetical>( GOOD - NATUREDLY . )</parenthetical> <dialogue>No, no, not at all. look, we leave it the way it is for now, we talk later, understand?</dialogue> <character>OSCAR</character> <parenthetical>( SOMEWHAT RELIEVED . )</parenthetical> <dialogue>Sure, Giovanni. I understand. I'll bring the clams now.</dialogue> </scene> <scene> <stage_direction>INT. OSCAR'S RESTAURANT - DURING DINNER</stage_direction> <scene_description>CHARLIE is visible awed by GIOVANNI and MARIO 'S confidence and power . He is behaving as if he were at a job interview . very formally . CHARLIE had often had dinner with his uncle but this time the conversation is more pointed . Their conversation is mostly in ITALIAN WITH ENGLISH TITLES . They are discusssing GROPPI 'S suicide .</scene_description> <character>CHARLIE</character> <dialogue>I really could n't believe it when you told me, you know that?</dialogue> <character>GIOVANNI</character> <dialogue>Well, he was always a little crazy. he puts a gun in his mouth.</dialogue> <parenthetical>( HE SMILES . )</parenthetical> <dialogue>. like your friend. comme si chiama. Henning? Heming?</dialogue> <character>CHARLIE</character> <dialogue>Hemmingway. Killed himself. I was more upset about that than about Groppi, that's for sure.</dialogue> <character>GIOVANNI</character> <parenthetical>( laughing to MARIO . )</parenthetical> <dialogue>You know, this boy over here, once, long time ago, tried to enrich my mind. so he gives me a book by this Hemin fella. to read, so I read it.</dialogue> <character>CHARLIE</character> <dialogue>Was n't a book. was a short story.</dialogue> <character>MARIO</character> <dialogue>What was it?</dialogue> <character>CHARLIE</character> <parenthetical>( EMBARRASSED . )</parenthetical> <dialogue>Nothing.</dialogue> <character>MARIO</character> <dialogue>No, c'mon. Y' know, I read.</dialogue> <character>CHARLIE</character> <parenthetical>( MUTTERING . )</parenthetical> <dialogue>`` Francis Macomber.''</dialogue> <character>MARIO</character> <dialogue>Wha?</dialogue> <scene_description>THE CONVERSATION IS NOW ENGLISH .</scene_description> <character>CHARLIE</character> <parenthetical>( SOFTLY . )</parenthetical> <dialogue>`` Short Happy Life of Francis Macomber.''</dialogue> <character>MARIO</character> <dialogue>Oh yeah. did n't read it but I saw the movie. Gregory Peck. pretty good.</dialogue> <character>GIOVANNI</character> <dialogue>Yeh, Mario over here, he reads a lot.</dialogue> <scene_description>IN ITALIAN .</scene_description> <character>GIOVANNI</character> <dialogue>Surprised?</dialogue> <character>MARIO</character> <dialogue>I like this Harold Robbins.</dialogue> <character>CHARLIE</character> <parenthetical>( POLITELY . )</parenthetical> <dialogue>Oh yes, he's pretty good.</dialogue> <character>GIOVANNI</character> <dialogue>What I do n't understand is why you have to go to college to read these books that you're gon na read anyway.</dialogue> <character>CHARLIE</character> <dialogue>It's only a couple of courses. just for the draft.</dialogue> <character>MARIO</character> <dialogue>Charlie, couple of courses is n't enough to get you student deferred. I mean if they wanted to draft you, you would've been drafted by now.</dialogue> <scene_description>CHARLIE feels that it would be better not to pursue the point .</scene_description> <character>GIOVANNI</character> <dialogue>What Mario's trying to tell you, Charlie, is that you're wasting your time with those `` couple of courses''. you do n't need them. There are a lot of things that can be taken care of. you know what I mean?</dialogue> <scene_description>They all laugh . They become aware of the T.V. set which is on in the rear of the back room where they are dining . The news is on . politics , society , and war .</scene_description> <character>GIOVANNI</character> <dialogue>These politicians. they talk nice.</dialogue> <scene_description>CHARLIE listen attentively , but obviously has heard GIOVANNI 'S philosophy before .</scene_description> <character>GIOVANNI</character> <parenthetical>( CONTINUING . )</parenthetical> <dialogue>. but it's the same thing, all the same. they're in there by having something on somebody. and when that does n't work. they fight. Our life has honor. we have no show to put on because we do what we have to do. They know where to come when they need us. I realize this during the war. World War II. Vito Genovese. during WWII he worked with the government, taking care of the docks.</dialogue> <character>CHARLIE</character> <dialogue>What did he do?</dialogue> <character>GIOVANNI</character> <dialogue>What did he do? He was there. that's what he did.</dialogue> <character>MARIO</character> <dialogue>In the fifties when the communists started in with this country and they tried to clean them out, we offered to do it for them. but they did n't want us to. so we kept out of it.</dialogue> <scene_description>CHARLIE nods .</scene_description> <character>GIOVANNI</character> <parenthetical>( TO CHARLIE . )</parenthetical> <dialogue>I told this. the same thing to your father thirty years ago. I told him what to do. but he did n't listen.</dialogue> </scene> <scene> <stage_direction>INT. OSCAR'S RESTAURANT - COFFEE</stage_direction> <scene_description>The conversation turns to more direct topics while they have their coffee and ainsette .</scene_description> <character>GIOVANNI</character> <dialogue>You're still around with that kid Johnny Boy. last night with that gun. Do n't get mixed up with them. This Johnny Boy, you know, he's named after me.</dialogue> <parenthetical>( SARCASTIC . )</parenthetical> <dialogue>nice, eh? This Johnny Boy is like your mister Groppi. a little crazy. It's nice you should help him out because of his family and our family but watch yourself. Do n't spoil anything.</dialogue> <scene_description>CHARLIE nods , feeling very uneasy .</scene_description> <character>GIOVANNI</character> <parenthetical>( CONFIDENTIALLY . )</parenthetical> <dialogue>His whole family has problems. his cousin, the girl who lives next door to you.</dialogue> <character>CHARLIE</character> <dialogue>Teresa.</dialogue> <character>GIOVANNI</character> <dialogue>The one who's sick, right? In the head.</dialogue> <character>CHARLIE</character> <dialogue>No, she's got epilepsy.</dialogue> <character>GIOVANNI</character> <dialogue>Yeah. That's what I said, sick in the head.</dialogue> <scene_description>CHARLIE nods .</scene_description> <character>GIOVANNI</character> <dialogue>Her mother and father come to me and ask advice. she wants to leave. get her own apartment. worries them sick. what am I gon na tell them? Lock her up?</dialogue> <character>CHARLIE</character> <dialogue>What do they expect you to say?</dialogue> <character>GIOVANNI</character> <dialogue>Who knows? It's not hard to figure out what she'll wind up like. When the respect for parents breaks down, that's bad. you know I'm `` cumpari'' with them. so I take an interest. You live next door, keep an eye open. but do n't get involved.</dialogue> <character>CHARLIE</character> <dialogue>All right.</dialogue> <character>MARIO</character> <dialogue>Why do n't you take a look around the place if you want?</dialogue> <character>CHARLIE</character> <dialogue>Oh, that's ok. I've been in and out of this place fifty times.</dialogue> <character>GIOVANNI</character> <dialogue>Well, maybe you missed something?</dialogue> <character>CHARLIE</character> <parenthetical>( CATCHING ON . )</parenthetical> <dialogue>Oh yeah, that's a possibility.</dialogue> <scene_description>CHARLIE heads for the kitchen .</scene_description> <character>CHARLIE</character> <parenthetical>( CONFESSION . )</parenthetical> <dialogue>. looks good. things look good, if I may say so myself. Do n't you agree? Unless there's something You know that I do n't know?</dialogue> </scene> <scene> <stage_direction>INT. OSCAR'S RESTAURANT KITCHEN - NIGHT</stage_direction> <scene_description>CHARLIE is examining the kitchen closely . A black cook is working hard , taking a piece of meat off the grill . He carefully prepares a dish .</scene_description> <character>COOK</character> <dialogue>Hi Charlie.</dialogue> <scene_description>CHARLIE smiles and moves in closer to the grill . The cook is sweating and mopping his brow .</scene_description> <character>COOK</character> <parenthetical>( CONTINUING . )</parenthetical> <dialogue>Man, it's hot as Hell in here, every day like going through Hell in here.</dialogue> <scene_description>CHARLIE moves in closer and the COOK continues preparing the food .</scene_description> <character>CHARLIE</character> <parenthetical>( SMILING . )</parenthetical> <dialogue>Hot as hell. You're not the only one going through Hell kid.</dialogue> <character>COOK</character> <dialogue>Maybe so. but at this pay it ai n't worth it. that much I can tell you.</dialogue> <scene_description>CHARLIE has n't been listening to the COOK . He has become fascinated with the flames on the grill . They remind him of an old device from his Catholic School days . CHARLIE brings his hand forward and closer to the fire , testing the pain of the `` Fires of Hell . ''</scene_description> <character>CHARLIE</character> <parenthetical>( CONFESSION . )</parenthetical> <dialogue>` If thy hand is an occasion of sin to thee, cut it off. It is better for thee to enter into life maimed than having two hands to go into hell, into the unquenchable fire. ` Where their worm dies not and the fire is not quenched.'</dialogue> <scene_description>CHARLIE 'S hand touches the flame . He winces . Music in .</scene_description> </scene> <scene> <stage_direction>INT. TONY'S CAR (NEW CADILLAC CONVERTIBLE-TOP UP) - DAY</stage_direction> <scene_description>CHARLIE , JOHNNY , TONY and JIMMY are driving along in TONY 'S car . As they talk , a derelict takes advantage of a red light to wipe their windshield . TONY rolls up the window and rolls the car forward a bit to force the derelict out of the way .</scene_description> <character>TONY</character> <dialogue>Is it near Sullivan Street?</dialogue> <character>JIMMY</character> <dialogue>No - by Bedford.</dialogue> <character>TONY</character> <dialogue>Oh - you got ta show me. I always get lost in the village.</dialogue> <character>CHARLIE</character> <dialogue>Next time, bet with your own kind.</dialogue> <character>JIMMY</character> <dialogue>The number was 235 - I bet it combination.</dialogue> <character>CHARLIE</character> <dialogue>It'll be OK - I know those guys. They wo n't stiff you.</dialogue> <character>JIMMY</character> <dialogue>I bet 235. Because I dreamt of my grandfather - and when he died, the number of the funeral parlour was 235 - so when I dreamt.</dialogue> <character>JOHNNY BOY</character> <dialogue>Yeah, yeah - enough.</dialogue> <scene_description>They arrive at the bar .</scene_description> <character>JOEY</character> <dialogue>Hello Charlie, you canonized yet?</dialogue> <character>CHARLIE</character> <dialogue>No - not yet - just blessed.</dialogue> <scene_description>Boys are in mid - discussion .</scene_description> <character>JIMMY</character> <dialogue>On Friday, the 25th - I placed it WITH SALLY -</dialogue> <character>JOEY</character> <parenthetical>( BEING DISTRACT . )</parenthetical> <dialogue>I never heard of it.</dialogue> <character>CHARLIE</character> <dialogue>Oh Joey, really. we're all friends here - let's cut the bullshit.</dialogue> <character>JOEY</character> <parenthetical>( begins to chuckle . )</parenthetical> <dialogue>. Well.</dialogue> <parenthetical>( TO JIMMY . )</parenthetical> <dialogue>you got a good friend here - come to think of it, I do remember now.</dialogue> <character>JOHNNY BOY</character> <parenthetical>( under his breath . )</parenthetical> <dialogue>SCUMBAG -</dialogue> <character>TONY</character> <parenthetical>( nudging JOHNNY BOY . )</parenthetical> <parenthetical>( under his breath . )</parenthetical> <dialogue>Shut up.</dialogue> <character>JOEY</character> <parenthetical>( MAKING EXCUSE . )</parenthetical> <dialogue>Well, Friday's are busy - a mistake can be made y' know. Have another drink.</dialogue> <character>CHARLIE</character> <dialogue>Whatever, just lets settle this and it's all forgotten.</dialogue> <character>JOHNNY BOY</character> <dialogue>I do n't forget nothin.</dialogue> <scene_description>JOEY looks at JOHNNY BOY but decides to let it pass . CHARLIE gives JOHNNY BOY a dirty look . Music is playing on a juke box . Several girls stand nearby listening to both the music and the discussion . JOHNNY BOY looks over at them and then at JOEY .</scene_description> <character>JOHNNY BOY</character> <dialogue>Lower the fuckin music - I ca n't hear nothin.</dialogue> <character>JOEY</character> <dialogue>The girls like it loud.</dialogue> <character>JOHNNY BOY</character> <dialogue>Girls? You call those skanks girls?!</dialogue> <scene_description>JOEY , his friends , and the girls all look up . JOEY 'S attitude changes .</scene_description> <character>JOEY</character> <parenthetical>( TO CHARLIE . )</parenthetical> <dialogue>What's the matter with this kid?</dialogue> <character>JOHNNY BOY</character> <dialogue>I feel fine - nothing wrong with me.</dialogue> <character>CHARLIE</character> <dialogue>Keep your mouth shut.</dialogue> <character>JOHNNY BOY</character> <dialogue>You tell me that in front of these creeps?</dialogue> <character>JOEY</character> <dialogue>We wo n't pay.</dialogue> <character>JIMMY</character> <dialogue>Why? We just said.</dialogue> <character>JOHNNY BOY</character> <parenthetical>( INTERRUPTING . )</parenthetical> <dialogue>We wo n't pay. because this guy.</dialogue> <parenthetical>( pointing to JIMMY . )</parenthetical> <dialogue>is a. mook.</dialogue> <character>JIMMY</character> <dialogue>But I did n't say nothin.</dialogue> <scene_description>The fellows look at each other bewildered .</scene_description> <character>JOEY</character> <parenthetical>( TO JIMMY . )</parenthetical> <dialogue>We do n't pay mooks!</dialogue> <scene_description>Nobody knows what a mook is . JIMMY 'S attitude now changes .</scene_description> <character>JIMMY</character> <parenthetical>( ANGRILY . )</parenthetical> <dialogue>A mook. I'm a mook.</dialogue> <parenthetical>( PAUSES . )</parenthetical> <dialogue>What's a mook?</dialogue> <scene_description>CHARLIE can no longer control the situation as tempers rise .</scene_description> <character>JIMMY</character> <dialogue>You ca n't call me a mook!</dialogue> <scene_description>JIMMY swings at JOEY . A fight breaks out . JIMMY , CHARLIE , TONY and JOHNNY BOY are beaten . CHARLIE , not badly hurt manages to calm everything down . The police arrive to break up the fight . People look iin as the two cops walk into the bar . The boys stop fighting immediately as they see the cops . In fact , they treat CHARLIE and the others as friends - helping them up off the floor , dusting off the clothes , etc. . The police search everyone . When they ask who started it - what happened , etc. everybody including CHARLIE and the others cover for everyone else . `` It was a joke officer '' `` He 's my cousin '' `` We were just kidding , '' etc. . The cops nod . `` Play nice now '' and leave . Everyone apologizes to each other . They drink again . JOHNNY BOY does n't say a word - just stares .</scene_description> <character>JOEY</character> <dialogue>We were gon na pay you Jimmy, we just do n't like being moved in on.</dialogue> <character>CHARLIE</character> <dialogue>C'mon - I'm movin' in on you? Let's have another drink and forget about it.</dialogue> <scene_description>They drink again . JOEY gives JIMMY the money , JIMMY goes to count it .</scene_description> <character>JOEY</character> <dialogue>Do n't count it. it's all there.</dialogue> <character>JOHNNY BOY</character> <parenthetical>( SARCASTIC . )</parenthetical> <dialogue>Count it.</dialogue> <character>JOEY</character> <dialogue>Hey, c'mon - no bullshit - friends.</dialogue> <scene_description>JOEY extends his hand . JIMMY and CHARLIE shake . JOEY extends his hand to JOHNNY .</scene_description> <character>JOHNNY BOY</character> <dialogue>Do n't fuckin' touch me - scumbag.</dialogue> <scene_description>CHARLIE and the others `` Oh no . ''</scene_description> <character>CHARLIE</character> <dialogue>Shut up stupid.</dialogue> <scene_description>He is interrupted by a flying fist . The fight breaks out anew . They barely make it to the door . JIMMY is out first , with his cash . They run down the street . The west side boys do n't chase them but stand by their bar shouting after them . JOHNNY is laughing as he runs . CHARLIE yells at him .</scene_description> <character>CHARLIE</character> <dialogue>You got some mouth!</dialogue> <character>JIMMY</character> <dialogue>Johnny, you're a real jerk - off.</dialogue> <character>JOHNNY BOY</character> <parenthetical>( LAUGHING . )</parenthetical> <dialogue>What're ya hollering? You got your money.</dialogue> <scene_description>They reach the car . TONY heads in first behind the wheel .</scene_description> <character>TONY</character> <parenthetical>( about to take off . )</parenthetical> <dialogue>Fuck youse all.</dialogue> <scene_description>The others jump in .</scene_description> <character>CHARLIE</character> <dialogue>You got no honor Tony. Charge!</dialogue> <scene_description>The car starts off . Garbage and garbage pails are tosses after them as the boys take off .</scene_description> </scene> <scene> <stage_direction>INT. TONY'S PLACE</stage_direction> <scene_description>A LONG - HAIRED ROCK GROUP The lead guitarist holds his guitar out like a machine gun and strums frantically on it swinging it back and forth at the audience and then at the rest of the group . As he does so , the rest of the group falls `` dead '' over their instruments . The number is over and they all get up . The place is empty except for CHARLIE , TONY , and a few others , all of whom have been listening to the band . They applaude .</scene_description> </scene> <scene> <stage_direction>INT. TONY'S PLACE</stage_direction> <scene_description>CHARLIE is talking to the leader of the group .</scene_description> <character>CHARLIE</character> <dialogue>No, really, I liked it. thought it was great.</dialogue> <character>BOY</character> <dialogue>Thanks.</dialogue> <character>CHARLIE</character> <dialogue>What are your plans?</dialogue> <character>BOY</character> <dialogue>Well, we're here for about two weeks, then whatever else comes along. we're still working on our album and.</dialogue> <character>CHARLIE</character> <dialogue>Great. great. listen, I'm very interested in you guys because I'll be opening a new club myself soon. uptown. and maybe we can work something out.</dialogue> <character>BOY</character> <dialogue>Sounds good.</dialogue> <character>CHARLIE</character> <dialogue>Of course, ` The Season of the Witch' wo n't be ready for a while yet but we have to keep in touch.</dialogue> </scene> <scene> <stage_direction>INT. TONY'S PLACE - PHONE BOOTH</stage_direction> <scene_description>CHARLIE is calling TERESA . The rock group is taking a break before their evening performance and they can be heard breaking up the session in the background . TONY and the others are getting the tables ready .</scene_description> <character>CHARLIE</character> <dialogue>Teresa? Yeah, Charlie. Listen, I'm looking for your cousin. Yeah, well today's Tuesday, payday. I have n't seen him all day. no. well, have you got any idea where he is? I know it's early yet but I'm just getting worried that's all.</dialogue> <character>TERESA</character> <dialogue>Charlie. I've got to see you. I want to talk.</dialogue> <character>CHARLIE</character> <dialogue>Honey, I ca n't talk now. I've got ta run, bye.</dialogue> <character>TERESA</character> <dialogue>But.</dialogue> <character>CHARLIE</character> <dialogue>I'll see you later.</dialogue> <scene_description>He hangs up .</scene_description> </scene> <scene> <stage_direction>INT. TONY'S PLACE - DRESSING ROOM</stage_direction> <scene_description>CHARLIE can see the Negro stripper , DIANE , down the hall , in her dressing room . She is putting on her makeup . CHARLIE is still very attracted to her . He enters her room .</scene_description> <character>CHARLIE</character> <dialogue>Diane, how are you feeling?</dialogue> <character>DIANE</character> <parenthetical>( COLDLY . )</parenthetical> <dialogue>Fine.</dialogue> <scene_description>As CHARLIE continues to talk to her she undresses and begins to get into her first costume . CHARLIE feels slightly uncomfortable .</scene_description> <character>CHARLIE</character> <dialogue>You know Diane. I've been wanting to talk to you for a while now. er. a.</dialogue> <parenthetical>( she is undressing . )</parenthetical> <dialogue>aside from all that joking around we do out there. when you're on. I. a. I really. think that you're a terrific performer.</dialogue> <character>DIANE</character> <dialogue>Fine.</dialogue> <character>CHARLIE</character> <dialogue>No, I'm serious. You're really good.</dialogue> <character>DIANE</character> <dialogue>I know.</dialogue> <character>CHARLIE</character> <dialogue>In a little while. I'm gon na have the opportunity of opening my own place. not here. much nicer than this. uptown. sort of nite - club and restaurant and everything.</dialogue> <character>DIANE</character> <dialogue>That's nice.</dialogue> <character>CHARLIE</character> <dialogue>I was thinking maybe you'd do very nicely for the place.</dialogue> <character>DIANE</character> <dialogue>Stripper?</dialogue> <character>CHARLIE</character> <dialogue>No. no stripping. as the hostess.</dialogue> <character>DIANE</character> <dialogue>Hostess?</dialogue> <character>CHARLIE</character> <dialogue>Yeah, you know. you greet the people. see them to their tables. well. it'll be different though. Listen. why do n't we get together and talk after your show tonight.</dialogue> <character>DIANE</character> <dialogue>Chinese food?</dialogue> <character>CHARLIE</character> <dialogue>Ok. Chinese. We'll meet on the corner of 6th Avenue and Waverly Place after you finish.</dialogue> <character>DIANE</character> <dialogue>Why not here. Ok nevermind. 6th Avenue and Waverly.</dialogue> <character>CHARLIE</character> <dialogue>Bye.</dialogue> </scene> <scene> <stage_direction>EXT. TONY'S PLACE - NEAR ENTRANCE</stage_direction> <scene_description>CHARLIE bumps into MICHAEL and a friend as he is leaving .</scene_description> <character>MICHAEL</character> <dialogue>Be seeing you and Johnny tonight. here. right?</dialogue> <character>CHARLIE</character> <dialogue>We'll be here.</dialogue> <scene_description>MICHAEL is sarcastic . He points to the parked car in front of him .</scene_description> <character>MICHAEL</character> <dialogue>I tell you, Charlie. If that kid does n't show up tonight.</dialogue> <scene_description>MICHAEL 'S plan is seen on the screen as he speaks .</scene_description> <character>MICHAEL</character> <dialogue>I'm gon na find him, drag him down here, tie one of his legs to that Ford bumper over here.</dialogue> <scene_description>JOHNNY BOY is dragged to the car and MICHAEL 'S friend ties his leg to the car .</scene_description> <character>MICHAEL</character> <dialogue>and his other leg to that Chrysler over there.</dialogue> <scene_description>JOHNNY BOY 'S other leg is tied to the Chrysler .</scene_description> <character>MICHAEL</character> <dialogue>and bam!</dialogue> <scene_description>We see a close - up of a foot slamming down on the gas pedal , twice . One car heads for the West Side - the other to the East Side . Tires screech and exhaust fumes fill the air . All three laugh .</scene_description> <character>CHARLIE</character> <dialogue>Look, Michael, I'll get him here. What do you want me to do, kill him?</dialogue> <character>MICHAEL</character> <dialogue>Whatever.</dialogue> <scene_description>CHARLIE leaves .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S APARTMENT</stage_direction> <scene_description>CHARLIE is on the phone trying to locate JOHNNY BOY . TERESA is pacing back and forth nervously in the background . CHARLIE hangs up .</scene_description> <character>CHARLIE</character> <dialogue>Are you sure he did n't say anything to you about tonight?</dialogue> <character>TERESA</character> <dialogue>For God's Sakes. I told you before. nothing.</dialogue> <parenthetical>( she moves closer . )</parenthetical> <dialogue>Charlie, I ca n't stay in here too long at this hour. will you please listen to me?</dialogue> <scene_description>CHARLIE turns and smiles at her . He kisses her because he does n't feel like listening . TERESA is too preoccupied to respond . CHARLIE turns .</scene_description> <character>CHARLIE</character> <parenthetical>( MUTTERING . )</parenthetical> <dialogue>. that sonofabitch.</dialogue> </scene> <scene> <stage_direction>EXT. NIGHT - BLACK AND WHITE</stage_direction> <scene_description>JOHNNY BOY walking through Greenwich Village looking around as if being chased .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S APARTMENT</stage_direction> <scene_description>CHARLIE is kissing TERESA who is still very upset .</scene_description> <character>TERESA</character> <dialogue>But Charlie. it's uptown and it's perfect. It's big enough for two people. she's going to get out by the end of the month. If you do n't act right away, it'll go in no time. What do you think?</dialogue> </scene> <scene> <stage_direction>EXT. STREET - NIGHT - BLACK AND WHITE</stage_direction> <scene_description>JOHNNY BOY is making his way back to the apartment by sneaking along the sides of the buildings in the darkened street .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S APARTMENT</stage_direction> <scene_description>CHARLIE tries to make love to TERESA out of his nervous energy and impatience at waiting so long for JOHNNY BOY . TERESA is rejecting his attempts .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT - BLACK AND WHITE</stage_direction> <scene_description>JOHNNY BOY imagines he is being followed and dashes into the door of a nearby building and up the stairs .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S APARTMENT</stage_direction> <scene_description>CHARLIE is doubly frustrated by TERESA 'S rejection of his attempts at lovemaking because of his concern for JOHNNY BOY . He becomes sarcastic and abrupt .</scene_description> <character>TERESA</character> <dialogue>Do n't you realize what that apartment means?</dialogue> <scene_description>CHARLIE does n't answer . TERESA continues .</scene_description> <character>TERESA</character> <dialogue>Do you? For both of us. Think. after a while you might even be able to move in yourself.</dialogue> <scene_description>CHARLIE laughs . TERESA is visibly shaken but CHARLIE can not be bothered .</scene_description> <character>CHARLIE</character> <dialogue>Are you serious? Me move in with you. You crazy?</dialogue> </scene> <scene> <stage_direction>EXT. ROOFTOP - NIGHT - BLACK AND WHITE</stage_direction> <scene_description>JOHNNY BOY is silhouetted against the moonlight . He makes his way quietly over the roofs of the tenements and climbs down CHARLIE 'S fire escape .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S APARTMENT</stage_direction> <character>CHARLIE</character> <parenthetical>( CONTINUES . )</parenthetical> <dialogue>Teresa, get these ideas out of your head. I've got enough on my hands right now. with that bastard cousin of yours. You wan na move? Go ahead. By all means! But keep me out of it. I've got nothing to do with it. you understand. nothing.</dialogue> <scene_description>CHARLIE 'S WINDOW JOHNNY BOY is at CHARLIE 's window . Through it he can see TERESA lying on the bed in tears and CHARLIE pacing back and forth across the room . He is still talking loudly , JOHNNY BOY does n't seem to pay any attention to the fact that TERESA is in CHARLIE 'S bedroom . He opens the window and jumps in , smiling sarcastically . TERESA and CHARLIE are startled . CHARLIE grabs JOHNNY BOY by his coat collar .</scene_description> <character>CHARLIE</character> <dialogue>Where were you? Answer me, you sonofabitch! Where were you?</dialogue> <scene_description>TERESA is frightened and rushes towards CHARLIE . JOHNNY BOY reacts to the scene with uncontrolled laughter . CHARLIE is outraged and slaps him across the face but JOHNNY continues to laugh . TERESA screams .</scene_description> <character>CHARLIE</character> <parenthetical>( TO TERESA . )</parenthetical> <dialogue>Shut up!</dialogue> <character>JOHNNY BOY</character> <parenthetical>( TO TERESA . )</parenthetical> <dialogue>Yeah, Teresa, shut up! We do n't wan na get Charlie here in trouble, do we? We love Charlie.</dialogue> <scene_description>CHARLIE flings JOHNNY BOY against a wardrobe , letting go of his collar .</scene_description> <character>CHARLIE</character> <dialogue>You had me going crazy!</dialogue> <scene_description>TERESA is crying . JOHNNY goes into the kitchen and CHARLIE follows . TERESA stays in the doorway .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - CHARLIE'S APARTMENT</stage_direction> <scene_description>JOHNNY BOY takes a drink of water from the sink as he talks . CHARLIE is calmer now ; calm enough to realize that JOHNNY has figured out his true relationship to TERESA . He tries to protect himself .</scene_description> <character>CHARLIE</character> <dialogue>Your cousin here was getting sick, worrying about you. We've been in here calling.</dialogue> <character>JOHNNY BOY</character> <dialogue>Oh, that's too bad, Teresa.</dialogue> <scene_description>CHARLIE is embarrassed and TERESA is afraid .</scene_description> <character>JOHNNY BOY</character> <parenthetical>( CONTINUES . )</parenthetical> <dialogue>Well kids. have the bans been announced yet?</dialogue> <character>CHARLIE</character> <dialogue>Do n't be smart.</dialogue> <character>JOHNNY BOY</character> <dialogue>I'm not smart. I'm stupid, remember. I'm so stupid that you have to look out for me, remember?</dialogue> <scene_description>TERESA is crying .</scene_description> <character>JOHNNY BOY</character> <dialogue>Do n't be upset Teresa. You have to understand Charlie, here. he gives of himself to help others.</dialogue> <character>TERESA</character> <dialogue>I'm going to go home.</dialogue> <character>JOHNNY BOY</character> <dialogue>No, you stay.</dialogue> <character>CHARLIE</character> <dialogue>Johnny, I swear to God, if you open your mouth about any of this.</dialogue> <character>JOHNNY BOY</character> <parenthetical>( ANGRY . )</parenthetical> <dialogue>Me? I would n't say a word to my aunt and uncle. or even your uncle, Charlie.</dialogue> <scene_description>TERESA makes it to the door and opens it quickly . JOHNNY BOY grabs her to keep her from leaving . CHARLIE rushes towards them and pulls JOHNNY BOY away . By now , they are halfway down the hall .</scene_description> <character>JOHNNY BOY</character> <parenthetical>( SHOUTING . )</parenthetical> <dialogue>Charlie. I always wondered about her. what happens when she comes? Does she get one of those fits? Eh? That would be something to see.</dialogue> <scene_description>JOHNNY BOY is interrupted by CHARLIE 'S fist as it lands a solid punch on the right side of his hand . TERESA screams and rushes to separate them .</scene_description> <character>JOHNNY BOY</character> <dialogue>You rat bastard! Do n't hit me again!</dialogue> <scene_description>CHARLIE stops .</scene_description> <character>JOHNNY BOY</character> <dialogue>I think I will fuckin go see your uncle right now. he'd be interested.</dialogue> <scene_description>CHARLIE rushes JOHNNY BOY towards the stairs . They bump into TERESA , slamming her against the wall .</scene_description> <character>CHARLIE</character> <dialogue>Go ahead! Go on! And we'll see what happens to you without me.</dialogue> <scene_description>TERESA is terrified that JOHNNY BOY will really go to CHARLIE 'S uncle .</scene_description> <character>TERESA</character> <dialogue>No. no. do n't.</dialogue> <scene_description>TERESA falls , hitting the stairs with a thud . She lies there moaning and tossing her head . CHARLIE and JOHNNY BOY go to help her .</scene_description> <character>CHARLIE</character> <dialogue>What do I do? You know anything about this?</dialogue> <scene_description>JOHNNY BOY steps over TERESA to go down the stairs . He turns .</scene_description> <character>JOHNNY BOY</character> <dialogue>I do n't know. she's your girl. I got ta go.</dialogue> <scene_description>CHARLIE is furious . JOHNNY BOY points to TERESA who is getting worse .</scene_description> <character>JOHNNY BOY</character> <dialogue>Hate to miss the floor show, though.</dialogue> <scene_description>CHARLIE lunges out at JOHNNY BOY shoving him halfway down the stairs . He has gotten hold of his coat so that JOHNNY BOY ca n't leave . Neighbors from downstairs open their doors and come up the stairs . CHARLIE , in complete panic , tries to put something into TERESA 'S mouth while holding JOHNNY BOY at the same time . He shoves his hand into her mouth trying to pry it open but she bites into it . CHARLIE screams as the blood streams out . He lets go of JOHNNY BOY . The neighbors take over . One woman appears to know how to administer aid to TERESA .</scene_description> </scene> <scene> <stage_direction>INT. CHARLIE'S BUILDING - STAIRS</stage_direction> <scene_description>JOHNNY BOY is halfway down the stairs by now . The neighbor takes care of TERESA . While CHARLIE dashes down the stairs , CHARLIE grabs JOHNNY in the ground floor hallway .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT - BLACK AND WHITE</stage_direction> <scene_description>In the deserted factory section of Manhattan , JOHNNY BOY and CHARLIE stand next to a corregated metal garage door . CHARLIE smashes JOHNNY BOY against the door sending resounding echoes into the street .</scene_description> <character>CHARLIE</character> <dialogue>You crazy bastard! What are you trying to do, ruin me?</dialogue> <scene_description>JOHNNY BOY is not fighting back anymore . He is on the verge of tears . CHARLIE smashes him against the door again - again the crashing sound reverberates in the empty street .</scene_description> <character>CHARLIE</character> <dialogue>You.</dialogue> <scene_description>Again , JOHNNY BOY is thrown up against the door .</scene_description> <character>CHARLIE</character> <dialogue>You threaten me with my uncle? After what I'm doing for you?</dialogue> <character>JOHNNY BOY</character> <dialogue>What you're doing for me is n't worth it. believe me!</dialogue> <scene_description>CHARLIE slaps JOHNNY BOY and pushes him against the door again .</scene_description> <character>CHARLIE</character> <dialogue>Then do n't show up tonight and see what happens.</dialogue> <scene_description>CHARLIE stops . He digs his hands into JOHNNY 'S pockets but he ca n't find anything .</scene_description> <character>CHARLIE</character> <dialogue>How much have you got for Michael tonight?</dialogue> <character>JOHNNY BOY</character> <dialogue>I only got eight bucks on me.</dialogue> <scene_description>CHARLIE stares at JOHNNY BOY for a moment then puts his hand into his own pocket and pulls out three ten dollar bills and three ones .</scene_description> <character>CHARLIE</character> <dialogue>Here, take twenty bucks. With your eight that makes twenty - eight bucks you give Michael. I keep the thirteen for the weekend. Maybe we'll eat some Chinese food later.</dialogue> <scene_description>JOHNNY BOY does n't take it . CHARLIE forces it into his hand .</scene_description> <character>CHARLIE</character> <dialogue>Take it. I'm doing it for you, stupid!</dialogue> <character>JOHNNY BOY</character> <dialogue>No you're not.</dialogue> <scene_description>CHARLIE , calmer now , is feeling ashamed .</scene_description> <character>CHARLIE</character> <dialogue>Oh, cut it out, will ya?</dialogue> <character>JOHNNY BOY</character> <dialogue>Charlie, twenty - eight bucks is nothing. The only way to do it is through your uncle. think about it will you?</dialogue> <character>CHARLIE</character> <dialogue>NO! What do you think I am, crazy?</dialogue> <character>JOHNNY BOY</character> <dialogue>No, I just want to help myself, that's all.</dialogue> <character>CHARLIE</character> <dialogue>Come on.</dialogue> <scene_description>He tugs JOHNNY BOY along .</scene_description> </scene> <scene> <stage_direction>INT. TONY'S PLACE - BAR</stage_direction> <character>TONY</character> <dialogue>You're over an hour late. Michael said he'll be back later, though.</dialogue> <scene_description>CHARLIE takes a drink . JOHNNY BOY sits at the bar . The place is beginning to empty and the show is over . CHARLIE takes TONY aside .</scene_description> <character>CHARLIE</character> <dialogue>Watch this kid for me. I have to go someplace but I'll be back soon to get Michael and him together. Do n't even let him go to the bathroom.</dialogue> <scene_description>He turns to JOHNNY BOY .</scene_description> <character>CHARLIE</character> <dialogue>Do n't you move!</dialogue> <character>JOHNNY BOY</character> <parenthetical>( SULKING . )</parenthetical> <dialogue>I'll be here. Do n't worry.</dialogue> <scene_description>JOHNNY orders a drink .</scene_description> </scene> <scene> <stage_direction>INT. CAB - NIGHT - BLACK AND WHITE</stage_direction> <scene_description>CHARLIE gets into the cab .</scene_description> <character>CHARLIE</character> <dialogue>6th Avenue and Waverly Place, fast please.</dialogue> <scene_description>The cab takes off . They soon arrive at their destination .</scene_description> <character>CAB DRIVER</character> <dialogue>Where do you want me to stop?</dialogue> <scene_description>CHARLIE leans back into the seat and peeks out the window .</scene_description> <character>CHARLIE</character> <dialogue>No. do n't stop. just pass real slow, OK?</dialogue> <scene_description>CHARLIE looks out the window and sees DIANE , the negro stripper . She is standing on the corner waiting for him . CHARLIE nods his head for the driver to stop .</scene_description> <character>CHARLIE</character> <dialogue>Stop here.</dialogue> <parenthetical>( HE HESITATES . )</parenthetical> <dialogue>No. what am I. crazy? Take me back to where you picked me up.</dialogue> <character>CAB DRIVER</character> <parenthetical>( SIGHING . )</parenthetical> <dialogue>Ok.</dialogue> <scene_description>The car drives away , passing DIANE who is on the corner .</scene_description> </scene> <scene> <stage_direction>INT. TONY'S PLACE</stage_direction> <scene_description>CHARLIE is back inside the club .</scene_description> <character>JOHNNY BOY</character> <dialogue>Back so soon.</dialogue> <character>CHARLIE</character> <dialogue>Mind your own business.</dialogue> <scene_description>TONY sets up drinks for them and pours them into shot glasses . CHARLIE strikes a match and lights each glass . little blue flames dance along the rims of the glasses .</scene_description> <character>TERESA</character> <dialogue>Hey, cut it out. Will ya?</dialogue> <scene_description>He blows out the flames . CHARLIE moves to the other and of the room with his drink .</scene_description> <character>CHARLIE</character> <parenthetical>( CONFESSION . )</parenthetical> <dialogue>You can see things are n't going too well for me at the moment. My willpower and powers of persuasion are not what they usually are today. My ability to control events and situations are wanting. I know. I know. what can I say. I offer this as part of my penance.</dialogue> <scene_description>A young couple , two of the few people left in the place , are having a hushed quarrel at the end of the bar . The boy leaves for the men 's room .</scene_description> <character>CHARLIE</character> <parenthetical>( TO TONY . )</parenthetical> <dialogue>Who's the girl?</dialogue> <character>TONY</character> <dialogue>Jewish.</dialogue> <character>CHARLIE</character> <dialogue>How do you know?</dialogue> <character>TONY</character> <dialogue>Look at her.</dialogue> <character>CHARLIE</character> <dialogue>She do n't look Jewish.</dialogue> <character>TONY</character> <dialogue>Sure she is. She's always in here with some different guy. You know the way they are.</dialogue> <scene_description>CHARLIE approaches the girl .</scene_description> <character>CHARLIE</character> <dialogue>I love you.</dialogue> <scene_description>The girl looks at him , first embarrassed , then annoyed .</scene_description> <character>CHARLIE</character> <parenthetical>( SMILING . )</parenthetical> <dialogue>Ever since that first day I saw you at the convent with the nuns, playing volleyball, I could n't help myself.</dialogue> <character>GIRL</character> <dialogue>You Italian?</dialogue> <character>CHARLIE</character> <dialogue>Yeah why?</dialogue> <character>GIRL</character> <dialogue>You do n't look it.</dialogue> <scene_description>The girl laughs . Her boyfriend comes out of the men 's room . He has her coat in his hand .</scene_description> <character>GIRL</character> <parenthetical>( to the Boy . )</parenthetical> <dialogue>Fuck off.</dialogue> <character>BOY</character> <parenthetical>( STUNNED . )</parenthetical> <dialogue>What do you mean?</dialogue> <parenthetical>( he looks at CHARLIE . )</parenthetical> <dialogue>. let's go.</dialogue> <character>GIRL</character> <dialogue>You go. I'm staying.</dialogue> <character>BOY</character> <dialogue>Let's go!</dialogue> <scene_description>CHARLIE reaches over and grabs the GIRL 'S arm tightly . She looks up , startled , and the boy appears to be frightened .</scene_description> <character>CHARLIE</character> <dialogue>It's obvious that the girl does n't want to accompany you, is n't it?</dialogue> <character>BOY</character> <dialogue>Look fella. this is private.</dialogue> <character>CHARLIE</character> <dialogue>Nothing's private.</dialogue> <scene_description>The GIRL is really scared now .</scene_description> <character>GIRL</character> <dialogue>I'd like to leave.</dialogue> <scene_description>CHARLIE wo n't let go of her arm . She tries to pull away but his grip tightens .</scene_description> <character>CHARLIE</character> <dialogue>Whether she wants to or not. she's not going.</dialogue> <character>BOY</character> <dialogue>Let go of her.</dialogue> <scene_description>The GIRL is in tears .</scene_description> <character>GIRL</character> <dialogue>Stop it. you're hurting me.</dialogue> <character>CHARLIE</character> <dialogue>Take her away from me. I mean physically take her away from me.</dialogue> <scene_description>He is holding her so tightly that she is doubling over in pain . The BOY , although he is scared , lunges at CHARLIE . There is a brief scuffle which TONY breaks up .</scene_description> </scene> <scene> <stage_direction>EXT. TONY'S PLACE - BACK ALLEY - BLACK AND WHITE - NIGHT</stage_direction> <scene_description>JOHNNY BOY is lifting the lid of a garbage pail . He takes out a brown paper bag and opens it . He takes a small .22 pistol from it and puts it inside his jacket , then replaces the bag in the garbage pail .</scene_description> </scene> <scene> <stage_direction>INT. TONY'S PLACE - BAR AREA</stage_direction> <scene_description>MICHAEL has entered the club . The BOY and GIRL are gone . TONY is with CHARLIE and JOHNNY BOY , whose return went unnoticed .</scene_description> <character>MICHAEL</character> <dialogue>What's it gon na be? I was here tonight. you kept me waiting for over an hour.</dialogue> <scene_description>MICHAEL has two friends with him .</scene_description> <character>JOHNNY BOY</character> <dialogue>Hello, Michael. I've got something for you. not much. but.</dialogue> <character>CHARLIE</character> <dialogue>He has about twenty - eight bucks. it's all he has on him.</dialogue> <character>MICHAEL</character> <dialogue>Better than nothing.</dialogue> <scene_description>JOHNNY BOY takes out a ten dollar bill and hands it to him .</scene_description> <character>MICHAEL</character> <dialogue>Where's the rest?</dialogue> <character>CHARLIE</character> <dialogue>Yeah, where's the rest?</dialogue> <character>JOHNNY BOY</character> <dialogue>I bought a few rounds of drinks while waiting.</dialogue> <scene_description>CHARLIE is stunned .</scene_description> <character>MICHAEL</character> <parenthetical>( ANGRY . )</parenthetical> <dialogue>Twenty - eight bucks is enough of an insult. I was gon na take the twenty - eight bucks because of Charlie here. but ten bucks!</dialogue> <scene_description>MICHAEL takes the ten dollars , crumples it and flings it into JOHNNY BOY 'S face . JOHNNY BOY picks it up and slowly smooths it out . He sets it on fire as he talks .</scene_description> <character>JOHNNY BOY</character> <dialogue>You make me laugh, Michael. you know that? I've borrowed money all over the neighborhood and never paid it back. so I could n't borrow anymore from them. so who's the only jerk off left that I can borrow from without paying back. YOU. Because that's what I think of you. Jerk off. I fuck you where you breathe!</dialogue> <scene_description>MICHAEL lashes out at JOHNNY BOY with the back of his hand . JOHNNY BOY tosses the flaming bill at MICHAEL and quickly pulls out his .22 pistol . Everyone is shocked .</scene_description> <character>CHARLIE</character> <parenthetical>( MUTTERING . )</parenthetical> <dialogue>You're really crazy.</dialogue> <character>MICHAEL</character> <dialogue>You're not going to use that gun, Johnny.</dialogue> <scene_description>JOHNNY BOY does n't answer but holds the gun straight at MICHAEL 'S face . MICHAEL turns to go , defying JOHNNY BOY . His friends follow . When he reaches the doorway , he turns .</scene_description> <character>MICHAEL</character> <dialogue>You do n't have the guts to use that. be seeing you Charlie, Tony, and of course you John. be seeing you.</dialogue> <scene_description>They leave . JOHNNY BOY is still frozen with the gun in his hand , pointing it at mid - air . CHARLIE slams JOHNNY BOY across the face with his fist . TONY takes the gun from his hand .</scene_description> <character>CHARLIE</character> <dialogue>You stupid bastard! Never pull a gun unless you intend to use it.</dialogue> <scene_description>He hits JOHNNY BOY again .</scene_description> <character>TONY</character> <parenthetical>( HOLDING GUN . )</parenthetical> <dialogue>. No bullets in it.</dialogue> <scene_description>CHARLIE hits JOHNNY BOY again .</scene_description> <character>TONY</character> <dialogue>Get out of here before this really goes up.</dialogue> <character>CHARLIE</character> <dialogue>Hide the gun. Throw it away. Anything. Listen, I got ta borrow your car. I think we should take a ride. away from here for the night. you know what I mean?</dialogue> <character>TONY</character> <parenthetical>( RELUCTANTLY . )</parenthetical> <dialogue>Ok. but go to a movie first or something. not good to be driving around right away. You know you ca n't do much for him now. it's out of your hands.</dialogue> <scene_description>SCENE FROM `` TOMB OF LIGEIA '' A young girl is in her room with her maid . The maid is helping her dress . Eerie music creates a frightening atmosphere . CHARLIE and JOHNNY BOY watch nervously affected by the film 's mood . The theatre is a 42nd street one with lots of sleeping drunks . Suddenly , the maid 's face begins to contort as if she 's seeing something horrible . The audience is on edge . The young girl sees the maid and shouts `` What is it ? '' - but the maid only sneezes .</scene_description> </scene> <scene> <stage_direction>EXT. NIGHT - TONY'S CONVERTIBLE - BLACK AND WHITE</stage_direction> <scene_description>CHARLIE is driving . JOHNNY BOY is beside him in the front seat . The top od the car is down and CHARLIE is driving with no particular destination in mind .</scene_description> <character>JOHNNY BOY</character> <dialogue>I think we should see your uncle.</dialogue> <character>CHARLIE</character> <dialogue>No.</dialogue> <character>JOHNNY BOY</character> <dialogue>This ca n't be settled any other way now. I'll take full blame.</dialogue> <character>CHARLIE</character> <dialogue>Forget it.</dialogue> <character>JOHNNY BOY</character> <dialogue>What are you going to do? Hide me?</dialogue> <character>CHARLIE</character> <dialogue>Good idea.</dialogue> <scene_description>JOHNNY BOY turns away and tunes in the radio to a loud rock song .</scene_description> <character>CHARLIE</character> <parenthetical>( CONFESSION . )</parenthetical> <dialogue>I guess you could safely say that this evening has been so far very unimpressive as far as my efforts are concerned. more unproductive. Now, I'd like to know what you do, for an encore, Lord? I know penance is penance but this is something else.</dialogue> <scene_description>JOHNNY BOY opens his eyes .</scene_description> <character>JOHNNY BOY</character> <dialogue>What are you talking to yourself?</dialogue> <scene_description>He turns up the radio .</scene_description> <character>CHARLIE</character> <parenthetical>( SARCASTIC . )</parenthetical> <dialogue>Go ahead! Play the radio. play music. you're going to a party. louder! Go ahead. Louder. A party. Lots of fun.</dialogue> <scene_description>A black sedan has been driving along parallel to CHARLIE 'S car , unnoticed by CHARLIE . Otherwise the street is deserted . The car begins to drive CHARLIE off the road .</scene_description> <character>CHARLIE</character> <dialogue>Hey, what is this guy, crazy?</dialogue> </scene> <scene> <stage_direction>EXT. NIGHT - BLACK AND WHITE</stage_direction> <scene_description>BLACK SEDAN - MICHAEL AND ANOTHER BOY .</scene_description> <character>VOICE</character> <dialogue>Now, now's the time!</dialogue> <scene_description>CHARLIE turns his head to look . JOHNNY BOY looks up . They fire the gun . FULL COLOR SHOTS A barage of bullets -LRB- 5 gunshots -RRB- hit CHARLIE 'S car . CHARLIE is hit in the hand . JOHNNY BOY has been hit in the throat . He stands up and leans over the windshield of the car , spewing blood onto it and into the wind . He is screaming . The black sedan turns onto another street . TONY 'S CONVERTIBLE CHARLIE is so shocked that the car is completely out of control . It goes screeching along the street , swerves , and slams into a fire hydrant , breaking it off and causing water to shoot out onto the sidewalk , car and street . CHARLIE has been thrown from the car . He kneels in the street holding his wrist . He is on the yellow letters `` FIRE LANE . '' JOHNNY BOY lies against the side of a building - still . CHARLIE goes to the curb and sits there holding his bleeding hand . The police arrive with their guns drawn .</scene_description> </scene> <scene> <stage_direction>EXT. NEIGHBORHOOD STREET</stage_direction> <scene_description>Back in the neighborhood , the religious fiesta is ending . The singers on the bandstand are singing the last song of the evening , `` Vincino Amare . '' A crowd of elderly Italian - Americans stand below the bandstand and listen . There are four singers , their voices projected through a PA system . CONTINUES THROUGH ALL CUTS . TERESA 'S ROOM TERESA is in bed , asleep . The music can be heard echoing in the background .</scene_description> </scene> <scene> <stage_direction>EXT. STREET CORNER</stage_direction> <scene_description>CHARLIE is still sitting on the curb holding his injured wrist . The ambulance and the police are going about their business . A crowd has gathered . GIOVANNI 'S LIVING ROOM GIOVANNI is watching the Late Late Show on T.V. -LRB- Car explosion scene from `` The Big Heat '' -RRB- . Aside from the light of the screen , the room is darkened . ALL NIGHT VILLAGE LUNCHEONETTE DIANE is alone , sipping coffee .</scene_description> </scene> <scene> <stage_direction>EXT. STREET CORNER</stage_direction> <scene_description>The police are standing around CHARLIE with open notebooks , questioning him . He does n't answer . JOHNNY BOY 'S body is being taken into the ambulance . TONY 'S PLACE - MEN 'S ROOM TONY is relieving himself . He washes his hands . NEIGHBORHOOD STREET The last song of the festival is ending now . As the singers come to a stirring climax they wave and shout in Italian .</scene_description> <character>SINGERS</character> <dialogue>Good night. Good night. thank you. good night!</dialogue> <scene_description>The band plays a few bars of `` Home Sweet Home . '' The singers throw kisses to the dispursing crowd . People who have been watching the festival pull down the blinds of shades and go in . MICHAEL 'S CAR - PARKED MICHAEL 'S car is parked in a deserted area on the docks . He has his head in his hands . The BOY with him says nothing . STREET CORNER CHARLIE is still in shock , sitting on the curb . The police are still walking around in a businesslike manner . CHARLIE stares down at his feet . The wrecked car is being pulled away . CHARLIE is being put into an ambulance . He is muttering to himself and seems shocked and bewildered .</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION - DAY</stage_direction> <scene_description>Early morning . A door in the far corner of the room opens . CHARLIE is motioned through by a cop , who shuts the door immediately behind him . There is an unnaturally loud clanging sound that echoes in the room . CHARLIE looks around , still a little dazed , and spots MARIO standing over by the door . MARIO has made no move to greet him . He just stands there watching . CHARLIE walks over to him , sensing something a little ominous .</scene_description> <character>CHARLIE</character> <dialogue>My uncle did n't come?</dialogue> <scene_description>MARIO says nothing , just nods at him to step outside . CHARLIE goes out into the street . MARIO follows .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>There is practically no one on the street . The early morning light makes everything a clammy grey . CHARLIE waits at the bottom of the steps .</scene_description> <character>MARIO</character> <parenthetical>( pauses for a moment . )</parenthetical> <dialogue>Giovanni says now he done enough. He got you outta jail. Now.</dialogue> <parenthetical>( reaching in pocket . )</parenthetical> <dialogue>he wants you outta the way.</dialogue> <scene_description>MARIO hands CHARLIE an envelope containing an airline ticket .</scene_description> <character>MARIO</character> <dialogue>He says use it. Do n't sell it. He says he'll see you. Someday. Maybe.</dialogue> <scene_description>CHARLIE stares at the ticket in his hand . MARIO is obviously uncomfortable .</scene_description> <character>MARIO</character> <parenthetical>( ABRUPTLY . )</parenthetical> <dialogue>Things worked out rotten kid. Sorry.</dialogue> </scene> <scene> <stage_direction>INT. CAR - DAY</stage_direction> <scene_description>TONY 'S car . He is driving CHARLIE to the airport . A suitcase can be seen in the back seat .</scene_description> <character>TONY</character> <dialogue>Where to?</dialogue> <character>CHARLIE</character> <parenthetical>( PREOCCUPIED . )</parenthetical> <dialogue>Kennedy.</dialogue> <character>TONY</character> <parenthetical>( trying to be jolly . )</parenthetical> <dialogue>I know, I know, stupid. I mean where you goin'?</dialogue> <character>CHARLIE</character> <dialogue>It's an open ticket. I can go anywhere up to $ 350.</dialogue> <character>TONY</character> <dialogue>So?</dialogue> <character>CHARLIE</character> <parenthetical>( EDGY . )</parenthetical> <dialogue>So I'll send you a postcard from wherever. If I get there.</dialogue> <character>TONY</character> <dialogue>Nervous?</dialogue> <character>CHARLIE</character> <dialogue>Yeah.</dialogue> <character>TONY</character> <dialogue>You flew before?</dialogue> <character>CHARLIE</character> <dialogue>No.</dialogue> <scene_description>CHARLIE 'S face - slightly upset . CHARLIE snapping seat belt in car . STOCK SHOT : airplane exploding BLACK AND WHITE -LRB- FANTASY -RRB- CHARLIE in car - more upset .</scene_description> <character>CHARLIE</character> <parenthetical>( IRRITATED . )</parenthetical> <dialogue>Hey, come on.</dialogue> <character>TONY</character> <dialogue>Take it easy. I only asked because maybe I could, you know, let you have a little something.</dialogue> <character>CHARLIE</character> <dialogue>Yeah, well thanks, but I got enough to hold me. My mother can send me some. I do n't know.</dialogue> <character>TONY</character> <dialogue>How about Teresa? I could talk.</dialogue> <character>CHARLIE</character> <parenthetical>( trying not to be impatient . )</parenthetical> <dialogue>Listen, I appreciate it, but I'll handle it myself. I'll write.</dialogue> <character>TONY</character> <dialogue>And say what?</dialogue> <character>CHARLIE</character> <dialogue>I'll say that I'm travelling.</dialogue> </scene> <scene> <stage_direction>EXT. AIRPORT - DAY</stage_direction> <scene_description>The TWA terminal at Kennedy . TONY 'S car pulls up to the curb , CHARLIE gets out , waves away help from an idle porter , and pulls his suitcases out of the back seat . TONY leans across the seat toward him .</scene_description> <character>TONY</character> <dialogue>Listen, try a place with some sun. Swimming pools. Palm trees. Girls in little French bathing suits.</dialogue> <character>CHARLIE</character> <parenthetical>( SMILES . )</parenthetical> <dialogue>Thanks for the ride.</dialogue> <scene_description>CHARLIE breaks away from the handshake and grabs TONY affectionately behind the neck .</scene_description> <character>CHARLIE</character> <dialogue>Take care of that tiger.</dialogue> <character>TONY</character> <parenthetical>( CORRECTING HIM . )</parenthetical> <dialogue>Panther.</dialogue> <character>CHARLIE</character> <dialogue>Panther! Same thing.</dialogue> <character>TONY</character> <dialogue>Hey. no more good times like before. Until you come back.</dialogue> <character>CHARLIE</character> <dialogue>Sure. And you're gon na take the vows next Tuesday, right.</dialogue> <character>TONY</character> <parenthetical>( LAUGHS . )</parenthetical> <dialogue>Yeah, I'm gon na worry about you, too.</dialogue> <scene_description>TONY gives CHARLIE 'S hand a last slap , then gets back behind the wheel .</scene_description> <character>TONY</character> <dialogue>See you.</dialogue> <scene_description>CHARLIE nods and watches the car pull away . Then he picks up his bag from the sidewalk and walks into the terminal .</scene_description> </scene> <scene> <stage_direction>INT. TERMINAL - DAY</stage_direction> <scene_description>The place is huge and there is a lot of bustle and excitement . CHARLIE is noticeable because he is the only member of the crowd who walks slowly , without any apparent mission or destination . He makes his way toward the large flight board that looms over the whole room . Loudspeakers announce planes to and from every part of the world . On the flight board , the origins and destinations of the days flight spin and change every moment . He passes the insurance machines and almost stops - more upset than before . A businessman calmly pays for insurance . -LRB- Muzak is heard -RRB- CHARLIE continues on past a novelty shop where some plastic crosses and St. Christopher medals hang alongside the stuffed toy dogs and flight bags . He looks at the cross .</scene_description> <character>CHARLIE</character> <dialogue>I do n't know what to say to you.</dialogue> <scene_description>The ticket desk is under the flight board . CHARLIE eventually works his way over to the desk , drops his bag on the floor and stands staring at the board . He sees the names of dozens of cities flashing before him . As he watches , a pretty ticket clerk speaks to him from behind the desk .</scene_description> <character>CLERK</character> <dialogue>May I help you?</dialogue> <scene_description>CHARLIE stares at the flight board in dismay and indecision . He apparently does not hear her .</scene_description> <character>CLERK</character> <dialogue>Sir, may I help you?</dialogue> <scene_description>CHARLIE hears her this time . He reaches into his jacket pocket and pulls out the ticket which he passes across to her . The clerk starts to open it to check the destination .</scene_description> <character>CHARLIE</character> <parenthetical>( questioning , challenging . )</parenthetical> <dialogue>Where can I go?</dialogue> <scene_description>The question is unusual . The clerk looks up . CHARLIE stare back at her with a quality that is almost defiance . QUICKLY TO BLACK - MUSIC IN</scene_description> </scene> </script>

Charlie is a young Italian-American man in Little Italy, New York City. He is hampered by his feeling of responsibility towards his reckless younger friend Johnny Boy, a small-time gambler, hoodlum, and ne'er-do-well who refuses to work and owes money to many loan sharks. Charlie works for his uncle Giovanni, a powerful mafioso, loan shark, and political fixer, mostly collecting debts. He is also having a secret affair with Johnny Boy's cousin Teresa, who has epilepsy and is ostracized because of her condition—especially by Charlie's uncle. Charlie's uncle also wants Charlie not to be such close friends with Johnny, saying "Honorable men go with honorable men." Charlie is torn between his devout Catholicism and his illicit work for his mafioso uncle. Johnny becomes increasingly self-destructive and disrespectful of his creditors. Failing to receive redemption in the Church, Charlie seeks it through sacrificing himself on Johnny's behalf. At a bar, Michael, a small time loan shark, comes looking for Johnny to "pay up". To his surprise, Johnny insults him. Michael lunges at Johnny, who pulls a gun. After a tense standoff, Michael walks away, and Charlie convinces Johnny that they should leave town for a brief period. Teresa insists on coming with them. Charlie borrows a car and they drive off, leaving the neighborhood without incident. A car that has been following them suddenly pulls up, Michael at the wheel and his henchman, Jimmy Shorts, in the backseat. Jimmy fires several shots at Charlie's car, hitting Johnny in the neck and Charlie in the hand, causing Charlie to crash the car into a fire hydrant. Johnny is seen in an alleyway walking towards a white light which is revealed to be the police. Meanwhile, Charlie gets out of the crashed vehicle and kneels in the spurting water from the hydrant, dazed and bleeding. Paramedics take a surviving Teresa and Charlie away while the fate of Johnny remains unknown.

Deep Cover_1992

tt0104073

<script> <scene> <stage_direction>EXT. CLEVELAND STREET - NIGHT (1970)</stage_direction> <scene_description>Rain . Christmas lights . A rusted out '56 Lincoln rattles down the bleak boulevard . In it : JOE STEVENS , an angry , black man in his late 20 's , beside him his 10 - year - old son , JOE JR. . Joe Jr. stares out the window at passing : boarded buildings , whores with raincoats over their heads trying to flag down a john , a black Santa , a knot of drinkers . Breaking the silence :</scene_description> <character>JOE STEVENS</character> <dialogue>Your mother okay?</dialogue> <character>JOE JR.</character> <dialogue>Yes, sir.</dialogue> <scene_description>They stop at a light . Joe Stevens tries to furtively snort a little something . He spots Joe Jr. watching .</scene_description> <character>JOE STEVENS</character> <parenthetical>( firm , without irony . )</parenthetical> <dialogue>Do n't you do this shit, boy. Do n't you ever fuckin' touch it, you hear me?</dialogue> <scene_description>Joe Jr. stares , silent ; Joe Jr. 's about to hit him .</scene_description> <character>JOE STEVENS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>You hear me, goddam it?</dialogue> <scene_description>The boy nods . Satisfied , Joe Sr. draws in the stuff . It makes him feel good , strong , worried and determined all at once .</scene_description> <character>JOE STEVENS</character> <parenthetical>( continuing ; charged up . )</parenthetical> <dialogue>What do you want for Christmas?</dialogue> <character>JOE JR.</character> <dialogue>I do n't know.</dialogue> <character>JOE STEVENS</character> <parenthetical>( light changes ; he accelerates . )</parenthetical> <dialogue>You do n't know? You got ta know what you want, boy, if you ever expect to get it.</dialogue> <scene_description>A sudden charm to his bravado . Joe Jr. smiles uncertainly . Joe Sr. grins back , pulls up in front of a liquor store .</scene_description> <character>JOE STEVENS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Wait here. This wo n't take a minute.</dialogue> <scene_description>Joe Jr. does n't notice or does n't remark that his father , just before entering the store , draws a handgun from beneath his coat . The boy gazes dreamily at the street . The lunatic Black Santa marches by , ranting to himself -LRB- `` Then the white man say . '' -RRB- . The RAIN HAMMERS on the roof and windshield . Joe Jr. breathes on the glass , fogging the scene . From the store : MUFFLED GUNFIRE . Joe Jr. looks that way . Another GUNSHOT , then : His father comes out the door clutching money in one hand . He strides toward the car with a reckless pride . He does n't notice : The liquor store door opens behind him . A SHOTGUN BLAST . Joe Stevens ' guts splatter onto the car windshield . A look of terrible amazement ; he sinks to his knees .</scene_description> <character>JOE JR.</character> <dialogue>Daddy!</dialogue> <scene_description>He jumps from the car , kneels by his father . The STORE OWNER -LRB- 47 , Slavic -RRB- drags the gun toward them , bleeding profusely .</scene_description> <character>STORE OWNER</character> <parenthetical>( enraged , almost to tears . )</parenthetical> <dialogue>Fuckin' niggers. fuckin' niggers.</dialogue> <scene_description>JOE STEVENS looks at the money in his hand : two 20 's , two 5 's .</scene_description> <character>JOE STEVENS</character> <dialogue>Fifty bucks. fifty goddam bucks.</dialogue> <parenthetical>( looks up at his son . )</parenthetical> <dialogue>I'm sorry.</dialogue> <scene_description>He stuffs the blood - soaked bills in the boy 's shirt pocket and dies . Joe Jr. looks up at . THE STORE OWNER Bloody , nearly unconscious , he aims the shotgun at the boy who is too frightened to move .</scene_description> <character>JOE JR.</character> <dialogue>Please, Mister.</dialogue> <scene_description>The man dies on his feet . As he falls backward , he pulls the trigger , the BLAST shattering the car windows . Cop cars SQUEAL up . Uniformed cops leap out , guns drawn , survey the scene . Then one notices Joe Jr. , staring motionless at his father and the store owner , dead together . ON HIS THOSE SAME EYES - but older , harder , colder . They 're concentrating on a paper before him . TITLE : 17 YEARS LATER CLOSEUP - THE MINNESOTA MULTIPHASIC PERSONALITY INVENTORY Hundreds of TRUE/FALSE questions . 1 . -RRB- I have never indulged in any unusual sexual practices . -LRB- T/F -RRB- 2 . -RRB- I have often felt that strangers were looking at me critically . -LRB- T/F -RRB- 3 . -RRB- When I was young I occasionally stole things . -LRB- T/F -RRB- Joe Stevens marks these TRUE , FALSE , FALSE then comes to : 4 . -RRB- A person 's station in life is at least partially determined by his race . -LRB- T/F -RRB- We are :</scene_description> </scene> <scene> <stage_direction>INT. A ROOM - DAY</stage_direction> <scene_description>Thirty - seven Black Cleveland police officers -LRB- many in uniform , including Joe -RRB- are taking the MMPI . Some roll their eyes at the questions . Some try to copy answers . Others , like Joe , work with rapid concentration . But he gets stuck on # 4 . Marks it false . Erases it . Marks it true . Erases that . Ponders . Goes on to : # 5 . At times I hear so well it bothers me . -LRB- T/F -RRB- He marks that true .</scene_description> </scene> <scene> <stage_direction>INT. INTERVIEW ROOM - DAY</stage_direction> <scene_description>GERALD CARVER , 36 , an ambitious government lawyer with a relaxed , vaguely hip manner , looks over the file of the ingratiating BLACK OFFICER sitting across the desk from him .</scene_description> <character>CARVER</character> <dialogue>Officer Leland? You know the difference between a black man and nigger?</dialogue> <scene_description>Leland is startled , insulted , but does n't want to blow the interview . He smiles weakly , shakes his head no .</scene_description> <character>CARVER</character> <parenthetical>( continuing ; pleasant smile . )</parenthetical> <dialogue>Yeah, most niggers do n't.</dialogue> <scene_description>Stung , Leland tries to laugh . Carver puts his file aside , picks up another .</scene_description> <character>CARVER</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Nice to meet you.</dialogue> </scene> <scene> <stage_direction>INT. SAME - ANOTHER INTERVIEW</stage_direction> <scene_description>A SECOND BLACK OFFICER is powerfully built , politically conscious , takes no shit . Carver 's leafing through his file .</scene_description> <character>CARVER</character> <dialogue>So, Winston, what's the difference between a black man and a nigger?</dialogue> <scene_description>Winston is out of his chair before the question is finished , drags Carver by the shirt front halfway across the desk and hisses into his face :</scene_description> <character>WINSTON</character> <dialogue>Who the fuck do you think you're talking to?</dialogue> <scene_description>Carver smiles cheerfully past Winston 's cocked fist .</scene_description> <character>CARVER</character> <dialogue>Thanks for coming in.</dialogue> <scene_description>Nonplussed by this cool dismissal , Winston stalks out . Carver picks up the next file , unfazed .</scene_description> </scene> <scene> <stage_direction>INT. SAME - ANOTHER INTERVIEW</stage_direction> <scene_description>Joe Stevens watches Carver reading his file and waiting for an answer . When none is forthcoming , Carver glances up , finds Stevens looking right back at him .</scene_description> <character>STEVENS</character> <dialogue>The nigger's the one who falls for your bullshit.</dialogue> <scene_description>He says it pleasantly , without belligerence . Carver smiles : he 's found his man . He offers his hand .</scene_description> <character>CARVER</character> <dialogue>Gerald Carver, United States District Attorney. Call me Gerry.</dialogue> </scene> <scene> <stage_direction>INT. A DARKENED ROOM - DAY/NIGHT</stage_direction> <scene_description>ON A TV SCREEN : a grainy black - and - white tape , date and time stamped at the bottom . A grungy street , palm trees . The light from the monitor dimly illuminates Carver and Stevens . On SCREEN the CAMERA finds : A MAN in jeans , sneakers and sweatshirt on a street corner .</scene_description> <character>STEVENS</character> <dialogue>He ought to be wearing a sign.</dialogue> <character>CARVER</character> <dialogue>You can tell he's a cop?</dialogue> <scene_description>Stevens laughs : it 's obvious . A real DRUG DEALER joins the cop . UNDERCOVER COP : `` You got it ? '' DEALER : `` In the motel , right over here . '' The Cop 's uneasy , keeps glancing back toward the CAMERA as they go .</scene_description> <character>STEVENS</character> <dialogue>He keeps looking for his back - up. Now, the other guy knows it, too.</dialogue> <character>CARVER</character> <dialogue>Then why's he taking him to the room?</dialogue> <character>STEVENS</character> <parenthetical>( why else ? )</parenthetical> <dialogue>To rip him off.</dialogue> <scene_description>Carver studies Stevens in the darkness , impressed . ON SCREEN : The figures disappear into the motel . We hear their voices . DEALER : `` Here , try some of it . '' UNDERCOVER COP : `` Uhh . No , I do n't . '' DEALER : `` Why not , you sonofabitch ? '' Two bursts of SOUND DISTORTION . A plainclothes cop , TAFT , -LRB- black , stocky , powerful -RRB- bolts from behind the CAMERA , sprints toward the motel . The CAMERA wobbles after him .</scene_description> <character>STEVENS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Too late.</dialogue> <scene_description>ON SCREEN : The CAMERA -LRB- jerky , hand - held -RRB- nears the open motel door . Taft is bent over the Undercover Cop 's body .</scene_description> <character>TAFT</character> <dialogue>Oh, Bobby. Jesus, Jesus.</dialogue> <parenthetical>( to the CAMERA . )</parenthetical> <dialogue>Get an ambulance - and back up. Now!</dialogue> <scene_description>He slams the wall , starts past the CAMERA . Carver pushes the pause button ; the tape freezes on a jerky image of Taft 's face .</scene_description> <character>STEVENS</character> <parenthetical>( focussed on Taft . )</parenthetical> <dialogue>Who is he?</dialogue> <character>CARVER</character> <dialogue>Charles Taft. LAPD Narcotics.</dialogue> <character>STEVENS</character> <dialogue>He's a good cop.</dialogue> <character>CARVER</character> <dialogue>He's a great cop. Two.</dialogue> <parenthetical>( names citation . )</parenthetical> <dialogue>and a.</dialogue> <parenthetical>( another citation . )</parenthetical> <dialogue>. As tough as they come and twice as honest.</dialogue> <scene_description>Carver watches Stevens watch Taft , smiles at something .</scene_description> <character>STEVENS</character> <dialogue>But the cops are n't getting it done here, are they? Got ta try something new.</dialogue> <scene_description>He opens a manila envelope , dumps the contents on the desk : driver 's license , social security card , high school transcript , prison records . all in the name of William G. Hull . No photos .</scene_description> <character>STEVENS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Who's John Hull?</dialogue> <character>CARVER</character> <dialogue>You are. If you want to be.</dialogue> <parenthetical>( off Stevens . )</parenthetical> <dialogue>Most undercover guys do n't know what they're doing because it's a day gig.</dialogue> <parenthetical>( indicates dead cop on TV . )</parenthetical> <dialogue>I need somebody who goes under and stays there ; six months, a year, five years.</dialogue> <character>STEVENS</character> <dialogue>What does he have to do?</dialogue> <character>CARVER</character> <dialogue>Buy drugs. Sell drugs. Feed me information.</dialogue> <character>STEVENS</character> <dialogue>He's a snitch.</dialogue> <character>CARVER</character> <dialogue>He's a drug dealer. A criminal. A scumbag. But for the right side.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I want you to come to Los Angeles on loan to the Justice Department as a federal agent. Your experience there will be credited toward your seniority here. And you'll come back to Cleveland a P3 or higher.</dialogue> <character>STEVENS</character> <parenthetical>( uncomfortable . )</parenthetical> <dialogue>I ca n't do that. I've got a wife and kids.</dialogue> <character>CARVER</character> <dialogue>You're separated from your wife, she's filled for divorce. You see your kids every other weekend.</dialogue> <scene_description>Stevens takes a breath : this is awkward to explain .</scene_description> <character>STEVENS</character> <parenthetical>( almost a confession . )</parenthetical> <dialogue>All my life I've stayed away from that stuff. I've never touched drugs.</dialogue> <character>CARVER</character> <parenthetical>( tolerant . )</parenthetical> <dialogue>Come on, a little grass?</dialogue> <character>STEVENS</character> <dialogue>Not grass. Not nothing. I never even had a drink.</dialogue> <parenthetical>( his motto . )</parenthetical> <dialogue>Never have, never will. You do n't understand. I made a choice in my life.</dialogue> <character>CARVER</character> <dialogue>What's to understand? You saw your father killed when you were ten, and you decided you would n't be like that.</dialogue> <parenthetical>( off Stevens ' surprise , Carver grins . )</parenthetical> <dialogue>I'm God, I know everything. You wanted to be a good boy, so you became a cop. Hiding out in uniform. That's why you got the hard - on for Taft.</dialogue> <character>STEVENS</character> <dialogue>It's not that simple.</dialogue> <character>CARVER</character> <parenthetical>( opening Joe 's file ; as if reluctantly . )</parenthetical> <dialogue>I'll tell the truth, Joe. You're never going to be a Taft.</dialogue> <character>STEVENS</character> <dialogue>I do n't believe that.</dialogue> <scene_description>But he does .</scene_description> <character>CARVER</character> <parenthetical>( looks at MMPI results . )</parenthetical> <dialogue>You ever take a look at your psychological profile? You score almost like a criminal.</dialogue> <parenthetical>( reading . )</parenthetical> <dialogue>`` Resents authority.''</dialogue> <character>STEVENS</character> <dialogue>I do not.</dialogue> <character>CARVER</character> <dialogue>. Exaggerated moral standards, but with no underlying value system.'' Look at the anger, the repressed violence, it's almost off the scale.</dialogue> <character>STEVENS</character> <dialogue>Let me see that.</dialogue> <scene_description>Carver hands him the scores which are , of course , just clusters of numbers . Stevens is upset , though oddly unsurprised , as if this only confirmed his secret fears .</scene_description> <character>CARVER</character> <dialogue>Why'd you join the force?</dialogue> <character>STEVENS</character> <parenthetical>( awkward , but felt . )</parenthetical> <dialogue>I wanted to be of use.</dialogue> <character>CARVER</character> <dialogue>Well, now you can be. You wo n't be Taft, but maybe you'll be something more. interesting.</dialogue> <parenthetical>( sits back . )</parenthetical> <dialogue>There's a man named Ramon Gallegos who supplies 60 % of the cocaine to the West Coast. He's smart, smooth, and sufficiently elusive that we do n't even have an adult photograph of him. However, his uncle is Hector Guzman, an important Latin American political figure. Gallegos uses Uncle's connections to get product into the country, and everyone we've sent after him has ended up like that.</dialogue> <scene_description>Indicates dead body on TV .</scene_description> <character>STEVENS</character> <dialogue>Why would I be different?</dialogue> <character>CARVER</character> <dialogue>You already are, that's the point.</dialogue> <parenthetical>( indicates file , test scores . )</parenthetical> <dialogue>You've got the ability and the personality to go underground and blend in completely. That's what the others could n't. Some part of them showed. That's why they're dead. See, there's only one rule in this game.</dialogue> <scene_description>Stevens raises his eyebrows : what ?</scene_description> <character>CARVER</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Do n't blow your cover.</dialogue> </scene> <scene> <stage_direction>EXT. WORKING CLASS CLEVELAND NEIGHBORHOOD - DAY</stage_direction> <scene_description>Stevens parks outside a small , well - maintained house . As he gets out , he spots a GROUP OF KIDS -LRB- black and Hispanic -RRB- playing down the street . He 's not pleased about that .</scene_description> <character>STEVENS</character> <parenthetical>( calls to them . )</parenthetical> <dialogue>Joe - J, Carmen.</dialogue> <scene_description>A BOY , 7 , and a GIRL , 5 , -LRB- both light - skinned -RRB- run to him shouting , `` Daddy , '' jump into his arms , competing for attention , as if they have n't seen him in ages .</scene_description> <character>STEVENS</character> <dialogue>What were you doing with those kids?</dialogue> <character>JOE-J &amp; CARMEN</character> <dialogue>Playing.</dialogue> <character>STEVENS</character> <parenthetical>( displeased . )</parenthetical> <dialogue>Your mom lets you play with them?</dialogue> <character>JOE-J &amp; CARMEN</character> <dialogue>Yes, sir. Yes, sir.</dialogue> <scene_description>His strictness has already sobered their enthusiasm . Sensing this , he attempts to embrace them which he can do only awkwardly . Meanwhile , his wife , TERRY -LRB- Southern white -RRB- has come out the screen door . She and Stevens bristle at each other .</scene_description> <character>STEVENS</character> <dialogue>I thought we talked about this. The older brother up there's got a sheet with -</dialogue> <character>TERRY</character> <dialogue>Lay off it. They're just kids.</dialogue> <scene_description>Both are ready to fight , but restrain themselves . A big Polynesian , TITO comes out the door .</scene_description> <character>TITO</character> <dialogue>Hey, Joe.</dialogue> <character>STEVENS</character> <dialogue>Tito.</dialogue> <scene_description>A moment of surprise , then he gets it . He looks to Terry . She gives a little shrug , refusing to be embarrassed .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - FIVE MINUTES LATER</stage_direction> <scene_description>Stevens is trying to seem interested in Carmen 's little drawings .</scene_description> <character>STEVENS</character> <dialogue>They're real nice, honey. Is that a horse?</dialogue> <character>CARMEN</character> <parenthetical>( exasperated . )</parenthetical> <dialogue>Daddy! It's a bunny.</dialogue> <scene_description>She puts her arms around him .</scene_description> <character>CARMEN</character> <parenthetical>( continuing . )</parenthetical> <dialogue>I do n't want you to go away, Daddy.</dialogue> <character>STEVENS</character> <dialogue>It's my work. I've got to.</dialogue> <scene_description>Over her shoulder he sees Terry sitting with a subdued Joe - J . Her face seems to say , `` See , I told you . '' Avoiding this accusation , Stevens notices a bruise on Carmen 's arm .</scene_description> <character>STEVENS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>What happened to you there, baby?</dialogue> <character>CARMEN</character> <dialogue>Tito did it.</dialogue> <character>STEVENS</character> <parenthetical>( instantly outraged . )</parenthetical> <dialogue>He hit you?!</dialogue> <parenthetical>( up in a fury . )</parenthetical> <dialogue>God damn it, what's he doing touching her? I'm gon na.</dialogue> <scene_description>Terry intercepts him on his way out of the room .</scene_description> <character>TERRY</character> <dialogue>She was running behind his chair when he got up. It was an accident.</dialogue> <parenthetical>( he 's uncertain . )</parenthetical> <dialogue>A complete. total. accident.</dialogue> <scene_description>Stevens looks at Carmen who giggles . He 's humiliated by his own temper , attempts to calm himself . Terry puts a sympathetic hand on his shoulder .</scene_description> </scene> <scene> <stage_direction>EXT. LOS ANGELES - AERIAL SHOT - DAY</stage_direction> <scene_description>The immense sprawl , the arterial flow of the freeways , the blinding light . We DESCEND .</scene_description> </scene> <scene> <stage_direction>INT. TRAIN STATION - UNDERGROUND - DAY OR NIGHT</stage_direction> <scene_description>People getting off , among them the former Joe Stevens , now known as JOHN HULL . He 's carrying a suitcase .</scene_description> </scene> <scene> <stage_direction>INT. TRAIN STATION/EXT. STREET - DAY</stage_direction> <scene_description>Hull goes up the stairs onto a downtown street .</scene_description> </scene> <scene> <stage_direction>EXT. ANOTHER STREET - DAY</stage_direction> <scene_description>South L.A. neighborhood . A 13 - year - old BLACK YOUTH selling drugs through a car window . Hull walks by . He 's at ease , looking around , his manner subtly announcing that he belongs here , just as in the train station he seemed to belong among the commuters .</scene_description> </scene> <scene> <stage_direction>EXT. TRANSIENT MOTEL - COURTYARD - DAY</stage_direction> <scene_description>A fat BLONDE WOMAN -LRB- 61 , large white glasses , tiny shoes -RRB- leads Hull down a corridor .</scene_description> <character>BLONDE WOMAN</character> <dialogue>Television mostly. I was on `` Sky King'' twice, `` Ramar of the Jungle.'' That was a silly show. The jungle was mostly flats.</dialogue> <scene_description>They pass an open door where a 6 - year - old boy , JAMES , a latchkey , sits on the stoop playing Gameboy ; inside , his mother , BELINDA , a broken down whore , is doing her nails and drinking Pepsi . She looks up , bats her lashes at Hull .</scene_description> <character>BLONDE WOMAN</character> <parenthetical>( continuing . )</parenthetical> <dialogue>You want my advice, I'd stay away from that bitch.</dialogue> <scene_description>She opens the door to the room across the hall . A dump . Hull walks in , drops his duffle : he 'll take it . The Blonde lounges in the doorway . He closes the door .</scene_description> </scene> <scene> <stage_direction>INT. ROOM - DAY</stage_direction> <scene_description>Hull empties his pockets on the dresser . Looks at his money , room key , identification . Looks at himself in the mirror . He touches his clothes , his face , tries on different expressions . -LRB- NOTE : Throughout the film , Hull continually checks himself out in mirrors , both to adjust his appearance to the circumstances and as if in an attempt to recall who he `` really '' is . -RRB-</scene_description> </scene> <scene> <stage_direction>EXT. 79TH AND FIGUEROA - TWILIGHT</stage_direction> <scene_description>On the seam between South - Central and USC . Lots of people out : children , students , dealers , whores . Hull with a new haircut .</scene_description> </scene> <scene> <stage_direction>EXT. ANOTHER, SIMILAR CORNER - DAY</stage_direction> <scene_description>Dealers -LRB- most in mid - teens -RRB- meeting cars , making transactions . All this casually observed . EDDIE comes up the street , reciting his version of an old street toast .</scene_description> <character>EDDIE</character> <dialogue>On the day of the King's castration, all the counts and no accounts were down on the deck with Georgia Tech taking turns in the back seat.</dialogue> <scene_description>Those dealers not at car windows , gather around . He never speaks to them , goes on declaiming as he exchanges drugs for money . Hull watches , talking to another street person . His appearance continues to change : clothes , posture , walk , gestures subtly conform to the environment , a bit like Zelig . Throughout the film his appearance shifts , depending on who he 's with . We always recognize him , but each time he 's different . He walks up to a dealer , makes a quick buy and keeps going . But he sees them and is seen .</scene_description> </scene> <scene> <stage_direction>INT. AN OFFICE - NIGHT</stage_direction> <scene_description>Hull drops eleven foil balls on a green blotter . Carver counts out money for him .</scene_description> </scene> <scene> <stage_direction>INT. HULL'S MOTEL ROOM - DAY</stage_direction> <scene_description>He sits at the window , eating a burrito , watching little James play in the courtyard .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - EVENING</stage_direction> <scene_description>Hull approaches another Dealer , the 13 - year - old seen earlier -LRB- angelic face -RRB- . Like Hull , he 's trying to act tough .</scene_description> <character>HULL</character> <dialogue>Whatta you got?</dialogue> <character>13-YEAR-OLD DEALER</character> <parenthetical>( voice just changing . )</parenthetical> <dialogue>Nickel rock, dime rock. Excellent shit.</dialogue> <scene_description>Hull exchanges a folded twenty for two foil balls . He walks off . He has gone twenty feet when . RED RANGE ROVER SQUEALS to a stop opposite the Dealer . A huge young black man , IVY -LRB- 23 , all in red with a red headband -RRB- , leans out the passenger window , shouting at the 13 - year - old .</scene_description> <character>IVY</character> <dialogue>What the fuck I tell you about being here?</dialogue> <scene_description>Everyone turns to look , but Hull 's view is blocked .</scene_description> <character>13-YEAR-OLD DEALER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>No, wait.</dialogue> <character>IVY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Too fuckin' late.</dialogue> <scene_description>POPPING noises . Ivy is waving an automatic weapon . Everyone on the street but Hull has hit the ground .</scene_description> <character>IVY</character> <parenthetical>( enjoying it , shouting . )</parenthetical> <dialogue>Get down, motherfuckers!</dialogue> <scene_description>Ivy laughs and fondles a girlfriend as the car ROARS off . He sees Hull , pretends to fire , laughs as Hull , too , ducks . When Ivy 's gone , he runs to where a CROWD has gathered around . THE 13 - YEAR - OLD lying in the street , a bullet hole in his head , eyes open . He twitches and kicks , blood pulsing from the neat wound . Then he 's dead . The faces around him -LRB- young , old , many races -RRB- watch with a variety of emotions .</scene_description> <character>CROWD</character> <dialogue>Who is he? Why'd they shoot him? Ivy did him, man. He's in the wrong fuckin' place. That poor boy. Get his beeper.</dialogue> <scene_description>Cops push through to the body . As the crowd disperses , Hull ca n't take his eyes off the boy . When he finally does , he sees Eddie , drink in hand . Their eyes meet , and Eddie , a rapper , raises his eyebrows in brief acknowledgment of sorrow .</scene_description> <character>EDDIE</character> <parenthetical>( sadly . )</parenthetical> <dialogue>He done done, ai n't he?</dialogue> </scene> <scene> <stage_direction>EXT. LEWAZZ - NIGHT</stage_direction> <scene_description>TITLE : TWO WEEKS LATER A bar with a neon bird for a sign . Hull enters .</scene_description> </scene> <scene> <stage_direction>INT. LEWAZZ - NIGHT</stage_direction> <scene_description>A racial mix . Hull takes a seat at the bar . Stuffed birds line the lintel above the bottles . A female BARTENDER -LRB- long red nails -RRB- greets him familiarly .</scene_description> <character>BARTENDER</character> <dialogue>How's it going, John?</dialogue> <character>HULL</character> <dialogue>I'm in there.</dialogue> <scene_description>Without being asked , she sets him up a Dry Sack with a long red straw . -LRB- NOTE : He never touches the drink . -RRB- Hull 's appearance has continued to change . His clothes have become flashier , he has an earring , the start of a goatee . Eddie approaches the bar compulsively reciting one of his toasts .</scene_description> <character>EDDIE</character> <parenthetical>( to himself . )</parenthetical> <dialogue>`` Where's the Queen,'' said the King. `` She's in bed with laryngitis.'' `` Is that bastard still in town? Fuck the Queen,'' said the King, and ten thousand knights straaaained at their utmost.</dialogue> <parenthetical>( to the bartender . )</parenthetical> <dialogue>Pina colada times two and a white wine.</dialogue> <scene_description>He goes on muttering under his breath , tapping his foot like any crankhead . He notices Hull , greets him as someone he ca n't place but knows he 's seen around .</scene_description> <character>EDDIE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>How you doin', Dudley.</dialogue> <scene_description>Tries to remember name .</scene_description> <character>HULL</character> <dialogue>John.</dialogue> <character>EDDIE</character> <dialogue>John, man, right.</dialogue> <scene_description>Clasp hands . Eddie takes his drinks , carries them to . A TABLE where he rejoins a white man , DAVID ELIAS -LRB- 30s , slick , powerful -RRB- and a well - dressed BLACK WOMAN -LRB- mid - 20s , good - looking -RRB- . She gets the wine . Elias rises to let her out . As the woman passes Hull on her way to the restrooms , their eyes meet : an instant of perfect chemistry . He 's struck . Her features open , grow sensual for a moment , but then , as if seeing something she does n't like , her eyes flick away , and she walks by as if he were n't there .</scene_description> </scene> <scene> <stage_direction>INT. CARVER'S OFFICE - NIGHT</stage_direction> <scene_description>-LRB- NOTE : Hull invariably meets Carver in this anonymous room , distinguished only by the green blotter and a view of the city . This simple regularity suggest visits to a psychiatrist , Carver probing , testing , teasing , trying to draw Hull out . And they feel like therapy , at once a respite and a torment . -RRB- More foil balls on the blotter beside boxes of 3x5 photographs . Photos of Eddie and David Elias are up on a corkboard , the beginning of a pyramid .</scene_description> <character>HULL</character> <dialogue>Eddie something. a motormouth. he supplies the street dealers. buys from him.</dialogue> <parenthetical>( reads name on back of photo . )</parenthetical> <dialogue>David Elias. who apparently buys from a guy named Barbolla or something. But I have n't seen him.</dialogue> <scene_description>Carver produces a photo of a handsome Latin in his 50s , pins it on the board above Elias .</scene_description> <character>CARVER</character> <dialogue>Barbosa, Felix.</dialogue> <character>HULL</character> <dialogue>There was also a woman, but she's not here.</dialogue> <parenthetical>( as Carver reaches in a drawer . )</parenthetical> <dialogue>I saw a kid killed. Twelve, thirteen at the most. Turf war.</dialogue> <scene_description>Carver shrugs : these things happen . He hands Hull a lot of cash , much more than expected . Hull does understand .</scene_description> <character>CARVER</character> <dialogue>Get to Elias. Then to Barbosa.</dialogue> <character>HULL</character> <dialogue>You ca n't rush this stuff.</dialogue> <character>CARVER</character> <dialogue>Rush it, please. I want art, John, not reality. Budget hearings start in April, and I need Gallegos by then. They wo n't give us funding for three ounce buys.</dialogue> <character>HULL</character> <dialogue>We're not just doing this for the funding, are we?</dialogue> <character>CARVER</character> <dialogue>Without funding, we are n't doing it at all.</dialogue> <scene_description>TITLE : TWO WEEKS LATER</scene_description> </scene> <scene> <stage_direction>INT. CRACK HOUSE - DAY</stage_direction> <scene_description>Virtual darkness save splinters of light between the curtains . Pipes burn here and there in the gloom . Ten or fifteen crackheads huddle around a battery - operated TV on which Tom Brokaw is narrating an NBC documentary on drugs . A 12 - year - old sits against a wall too stoned even for television . Hull approaches Eddie , regally installed on an automobile bench seat - cum - sofa , a lit pipe in one hand . We barely notice the redhead kneeling between his legs , face buried in his crotch . He greets Hull from wrecked bliss . They know each other now .</scene_description> <character>EDDIE</character> <dialogue>My man, Dudley, he's so fud - ley.</dialogue> <scene_description>Hull greets Eddie , some of the others , drops familiarly onto an adjacent auto seat . The patrons are making fun of Brokaw , laughing , exchanging fives .</scene_description> <character>HULL</character> <dialogue>Eddie, man, I need.</dialogue> <scene_description>Eddie holds up a hand telling Hull to wait . His mind is elsewhere . His features contract in brief concentration .</scene_description> <character>CHORUS OF COMMENTS</character> <dialogue>Whatever happened to that Drug Czar motherfucker? He gave up'cause he finally realized he did n't know nothing about any of that shit.</dialogue> <scene_description>More laughter , etc. . Eddie 's concentration peaks , breaks off into a sigh and a smile . Eddie sings a satisfied little song . The redhead rises from Eddie 's crotch , and we see it 's a boy , seventeen going on death ; he might have been pretty a year ago . Eddie passes him the crack pipe , lets him suck greedily for a few seconds before ripping it out of his scabrous mouth and offering it to Hull , who , with a grimace that gets laughs , declines . The others continue to watch and comment on the speech .</scene_description> <character>EDDIE</character> <dialogue>So what is it you need so bad, blood? Need, need, need?</dialogue> <character>HULL</character> <dialogue>A whole K, quick as you can get it.</dialogue> <character>EDDIE</character> <parenthetical>( impressed , a trace of envy . )</parenthetical> <dialogue>Comin' in the world, Dudley.</dialogue> <character>HULL</character> <parenthetical>( winning grin . )</parenthetical> <dialogue>All because of my man.</dialogue> <scene_description>Eddie likes that , holds out a hand . Hull hits it .</scene_description> <character>EDDIE</character> <dialogue>Give me a day.</dialogue> <scene_description>Hull nods , rises .</scene_description> <character>EDDIE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Stick around, let the bitch Hoover you, too.</dialogue> <scene_description>Indicating redhead . In all these scenes , Hull acts indifferent to the horror , but here the effort costs him . He masters his disgust with a joke .</scene_description> <character>HULL</character> <dialogue>Only if you Clorox him first.</dialogue> <scene_description>Everyone laughs , even the boy .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Eddie comes out the back door of a building , is immediately collared by Taft -LRB- the cop on the videotape -RRB- . He 's in his mid - 40s , stocky , balding .</scene_description> <character>TAFT</character> <parenthetical>( cheerful , gregarious . )</parenthetical> <dialogue>Eddie Shitface! Where you been, boy?</dialogue> <scene_description>Eddie breaks free , runs three feet before HERNANDEZ -LRB- a muscular Mexican -RRB- knees him in the groin . Eddie crumples .</scene_description> <character>TAFT</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Eddie, I do n't think I introduced you to my new partner, Michael Hernandez.</dialogue> <character>HERNANDEZ</character> <dialogue>Pleased to meet you, Mr. Shitface.</dialogue> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Eddie folded over his wounded nuts . Hernandez and Taft sit on crates to either side . The drugs they 've taken from him are neatly arranged on a garbage can lid .</scene_description> <character>HERNANDEZ</character> <dialogue>You have the right to remain silent. You have the right to an attorney. You have the right to go back to Ontario for eight - to - ten on a second offense.</dialogue> <character>EDDIE</character> <parenthetical>( in several kinds of pain . )</parenthetical> <dialogue>Oh, man, I ca n't go back in there, I just ca n't.</dialogue> <character>TAFT</character> <parenthetical>( soothing . )</parenthetical> <dialogue>` Course you ca n't, child, ` course you ca n't. That's why you're gon na start giving us some help.</dialogue> </scene> <scene> <stage_direction>EXT. DAVID ELIAS'S HOUSE - NIGHT</stage_direction> <scene_description>A pleasant , Santa Monica neighborhood . Spanish style house .</scene_description> </scene> <scene> <stage_direction>INT. ELIAS'S HOUSE - NIGHT</stage_direction> <scene_description>Pleasant , tasteful . Elias 's wife , NANCY , -LRB- dressed like the attorney she is -RRB- sits in an alcove - study reading a real estate contract through half - glasses . Elias himself is helping his daughter , MIRANDA , 7 , with her homework . He is 38 , with the body and bearing of a powerful man .</scene_description> <character>ELIAS</character> <dialogue>Again. Three times four.</dialogue> <character>MIRANDA</character> <dialogue>Seven.</dialogue> <scene_description>Elias is not a sweet Daddy . It should make us uncomfortable to watch him push his daughter .</scene_description> <character>ELIAS</character> <dialogue>No. You're adding again, you have to multiply. Three and four is seven. Three times four is.</dialogue> <character>MIRANDA</character> <dialogue>Twelve.</dialogue> <character>ELIAS</character> <dialogue>Three times five.</dialogue> <scene_description>The DOORBELL .</scene_description> <character>NANCY</character> <dialogue>Can you get that?</dialogue> <character>MIRANDA</character> <dialogue>Eight.</dialogue> <character>ELIAS</character> <parenthetical>( getting up ; more about the answer than the door . )</parenthetical> <dialogue>Damn it.</dialogue> <character>MIRANDA</character> <dialogue>Why ca n't I just use a calculator?</dialogue> </scene> <scene> <stage_direction>INT./EXT. FRONT DOOR - NIGHT</stage_direction> <scene_description>Three men : FELIX BARBOSA -LRB- whose photo we saw in Carver 's office -RRB- . Barbosa is a veteran of the coke business , but he 's doing too much of the drug now ; he 's sweating , paranoid , unstable . With him is GOPHER , early 60s , a wizened high - voiced old con who Barbosa keeps the way Spanish kings kept dwarfs , for amusement and luck ; like the court jester , Gopher can say anything he wants without fear . Behind them is an Hispanic kid , CHINO , 17 , a thug . Elias knows them all , but is not happy to see them at his door .</scene_description> <character>ELIAS</character> <dialogue>What are you doing here?</dialogue> <character>BARBOSA</character> <dialogue>We've got a problem, David.</dialogue> <character>ELIAS</character> <dialogue>Call me on the phone.</dialogue> <character>BARBOSA</character> <dialogue>Your friend Eddie just started bending over for the cops.</dialogue> <scene_description>This is very bad news . Elias murmurs a shaken , `` Shit . '' and steps outside , half - closing the door behind him .</scene_description> <character>BARBOSA</character> <parenthetical>( continuing . )</parenthetical> <dialogue>They busted him, and he's dealing to save his ass.</dialogue> <character>GOPHER</character> <dialogue>Which is how he'll lose the skinny little thing.</dialogue> <character>ELIAS</character> <dialogue>Did he give us up?</dialogue> <character>BARBOSA</character> <dialogue>Not yet, but he will if he has to, and eventually he'll have to.</dialogue> <character>MIRANDA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Daddy! I thought we were doing my homework.</dialogue> <character>ELIAS</character> <dialogue>I do n't think he'd talk about us. He'd try not to.</dialogue> <character>BARBOSA</character> <dialogue>If we whack him, he definitely wo n't.</dialogue> <character>MIRANDA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Daddy!</dialogue> <character>ELIAS</character> <parenthetical>( to Miranda . )</parenthetical> <dialogue>Just a second.</dialogue> <parenthetical>( to Barbosa . )</parenthetical> <dialogue>Not yet. Let me check on this, first.</dialogue> <character>BARBOSA</character> <parenthetical>( taunting . )</parenthetical> <dialogue>Nobody said you had to do the dirty work, David. I'll take care of -</dialogue> <character>ELIAS</character> <dialogue>Felix, if he's a problem, we'll kill him. I'll kill him myself.</dialogue> <scene_description>He does n't realize until it 's too late that Nancy has just then opened the front door to see where he went . They look at each other , a terrible moment : she knows what he does , hates it , ca n't bring herself to leave him , hates herself for that .</scene_description> <character>ELIAS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Nancy, get out of here.</dialogue> <character>NANCY</character> <dialogue>For you ; it's Eddie.</dialogue> <scene_description>She hands him a cordless phone , goes inside closing the door .</scene_description> <character>BARBOSA</character> <dialogue>You got a tasty wife, David. No wonder you do n't want us coming here.</dialogue> <character>ELIAS</character> <parenthetical>( warning him . )</parenthetical> <dialogue>Do n't talk about her that way.</dialogue> <scene_description>Barbosa laughs .</scene_description> <character>GOPHER</character> <dialogue>He ca n't help it, David, it's his nature.</dialogue> <character>ELIAS</character> <parenthetical>( into phone , chipper . )</parenthetical> <dialogue>Eddie. Sure, man, what do you need?</dialogue> </scene> <scene> <stage_direction>INT. A BOXING GYM - NIGHT</stage_direction> <scene_description>Elias joins Eddie and Hull to one side . In the b.g. two guys sparring .</scene_description> <character>EDDIE</character> <dialogue>David, this is John, John, David. Eddie, this is Eddie. Everybody ready?</dialogue> <character>HULL</character> <parenthetical>( to Elias . )</parenthetical> <dialogue>So what's this, you want to meet me?</dialogue> <character>ELIAS</character> <parenthetical>( charming , touch of mockery . )</parenthetical> <dialogue>I like to know the important customers.</dialogue> <scene_description>Hull makes a show of weary patience , gestures : here I am .</scene_description> <character>ELIAS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>You're taking a lot of weight for a guy we hardly know. Where're you moving this stuff, John? We have n't seen you around. We like to have a sense who your customers are.</dialogue> <character>HULL</character> <dialogue>Ah, come on, man, do Macy's tell the Gimbel motherfuckers?</dialogue> <character>ELIAS</character> <parenthetical>( beat ; watches him . )</parenthetical> <dialogue>Eddie, forget this guy, he's a cop.</dialogue> <scene_description>He gets up , walks away . ON HULL He 's blown it . He 's been made . The crushing failure . He rallies himself to indignation .</scene_description> <character>HULL</character> <dialogue>What is this shit, Eddie? I thought you were the man.</dialogue> <scene_description>Eddie 's sickened , wants to get paid , owes Taft a bust .</scene_description> <character>EDDIE</character> <dialogue>Nobody's the fuckin' man. Go to your place. I'll call you.</dialogue> </scene> <scene> <stage_direction>EXT. GYM/INT. A VAN - CONTINUOUS TIME</stage_direction> <scene_description>Taft and Hernandez , watching the gym . Hull comes out , looks up and down the street carefully . Taft sits up , pays attention .</scene_description> <character>TAFT</character> <dialogue>This is our collar?</dialogue> <scene_description>Hernandez grunts .</scene_description> <character>TAFT</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Who is he?</dialogue> <character>HERNANDEZ</character> <dialogue>Some scumbag.</dialogue> <scene_description>But Taft clearly thinks there 's something different about Hull . He 's not sure what , but it troubles him . -LRB- NOTE : Hull makes a little move that Taft will later realize was a cop 's move . For now he ca n't quite place it . -RRB-</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT - CONTINUOUS TIME</stage_direction> <scene_description>Eddie pleading his case to Elias .</scene_description> <character>EDDIE</character> <dialogue>He's no cop, David. He's an animal. You see his eyes? You never see a cop with those eyes. I know this shit, man, you do n't.</dialogue> <character>ELIAS</character> <parenthetical>( giving him an opening . )</parenthetical> <dialogue>What's going on, Eddie?</dialogue> <character>EDDIE</character> <dialogue>Twenty - six thousand cash is what. We need it, David. We're behind.</dialogue> <scene_description>Elias studies Eddie : is he a rat ? Elias hopes not , but he 's going to find out . He hands a fat Federal Express envelope through the window .</scene_description> <character>ELIAS</character> <parenthetical>( a warning . )</parenthetical> <dialogue>I want him to get it all, Eddie.</dialogue> <scene_description>Eddie bows in gratitude , hurries off .</scene_description> </scene> <scene> <stage_direction>EXT./INT. HULL'S MOTEL - NIGHT</stage_direction> <scene_description>Hull 's unlocking his door when Belinda , the hooker across the hall , comes out to talk . Her 6 - year - old , James , watches , silent .</scene_description> <character>BELINDA</character> <parenthetical>( a crackhead . )</parenthetical> <dialogue>Mr. Hull. Mr. Hull.</dialogue> <character>HULL</character> <parenthetical>( wearily . )</parenthetical> <dialogue>What's happening, Belinda?</dialogue> <character>BELINDA</character> <dialogue>Now you know, Mr. Hull, I was to the welfare this afternoon, but the bus, you know what I'm saying? the one bus, and then the other, and when I got there they'd gone and changed the time on me, without notification. They's supposed to give notification, ai n't they? They said I got a thing in the mail, but I do n't remember, I do n't think they sent it, so now I'm off the welfare, plus I forgot to take James for his shot. for the school? Which otherwise they let him go. And he's got ta learn, he's got ta learn, do n't he, Mr. Hull, you tell him, so's he can better hisself.</dialogue> <scene_description>Hull slouches in the doorway , fingers to his eyes .</scene_description> <character>HULL</character> <parenthetical>( to James . )</parenthetical> <dialogue>You had any food today, James?</dialogue> <character>JAMES</character> <parenthetical>( disclaiming any need . )</parenthetical> <dialogue>I had Ding - Dongs.</dialogue> <character>HULL</character> <parenthetical>( sighs , gives him money . )</parenthetical> <dialogue>You go to the Mexican place over there, and get the chicken tostada or the beef and bean burrito or both. And a milk.</dialogue> <character>JAMES</character> <dialogue>I do n't like milk. I want a -</dialogue> <character>HULL</character> <parenthetical>( an order . )</parenthetical> <dialogue>You get the milk! And get something for your mother, too.</dialogue> <parenthetical>( to Belinda . )</parenthetical> <dialogue>What do you want?</dialogue> <character>BELINDA</character> <dialogue>Now, Mr. Hull, if you just -</dialogue> <character>HULL</character> <parenthetical>( to James . )</parenthetical> <dialogue>Two tostadas, two burritos, two milks.</dialogue> <scene_description>Gives him another bill . The boy runs off .</scene_description> <character>BELINDA</character> <dialogue>You now, I look out for my James best I can, Mr. Hull, but it's hard. Now you like the boy, do n't you?</dialogue> <scene_description>Hull grunts .</scene_description> <character>BELINDA</character> <parenthetical>( continuing . )</parenthetical> <dialogue>I know you do. And I was thinkin' if you wanted to take care of him, that might be good for him. Give him a male figure to look up to.</dialogue> <character>HULL</character> <dialogue>Look, Belinda, I ca n't.</dialogue> <character>BELINDA</character> <dialogue>If you could just give me something for him. Say five thousand dollars.</dialogue> <parenthetical>( off Hull 's shock . )</parenthetical> <dialogue>Or maybe four thousand. I could n't give up my boy for less than four thousand.</dialogue> <scene_description>Hull is rescued from this horror by the ringing PAY PHONE . He runs down the hall , grabs it .</scene_description> <character>HULL</character> <dialogue>It's me. I'm here. Where? five minutes.</dialogue> <scene_description>He dashes past Belinda into his room .</scene_description> <character>BELINDA</character> <dialogue>Or you could just give me a part now.</dialogue> <scene_description>He closes the door , takes the money Carver gave him out from behind the mirror , dashes back outside . As he rushes by :</scene_description> <character>BELINDA</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Let me do somethin' for you, Mr. Hull. Let me do a little somethin' for you.</dialogue> <scene_description>He keeps going . The Blonde Woman addresses Belinda .</scene_description> <character>BLONDE WOMAN</character> <dialogue>No solicitin' in the halls. I told you that before.</dialogue> <character>BELINDA</character> <parenthetical>( spunkier than we 've seen . )</parenthetical> <dialogue>I ai n't doin' shit. Bitch.</dialogue> </scene> <scene> <stage_direction>EXT. TACO STAND - VENICE AND LA BREA - NIGHT</stage_direction> <scene_description>A handful of customers under a mud sky . The THROB of a distant helicopter . Hull pulls into the lot beside Eddie 's BMW . He climbs into the BMW , tosses Eddie a brown envelope ; money spills onto his lap . Eddie does a quick count , produces the Fed Ex envelope . The usual white stuff . Hull 's about to taste when the chopper swoops in with a sudden blinding overhead light . A BULLHORN booms down like the voice of God .</scene_description> <character>AMPLIFIED VOICE</character> <dialogue>This is the police. Remain inside the vehicle. Place your open hands against the windshield so that they are clearly visible.</dialogue> <character>HULL</character> <dialogue>Christ.</dialogue> <character>EDDIE</character> <parenthetical>( a strategy . )</parenthetical> <dialogue>Spread the floor, Dudley.</dialogue> <parenthetical>( rap sound effects with rhythmic head spasms . )</parenthetical> <dialogue>A - ga, a - ga, a - ga, a - ga.</dialogue> <scene_description>Eddie starts the car , and Hull rolls out the passenger door as the BMW races across the lot . Two black - and - whites and an unmarked converge on the stand . Hull ca n't reach his car . He vaults a metal rail and runs off between two buildings . Hernandez jumps out of an unmarked and races after him . Taft speeds the car out onto the street . HULL running . Police and SIRENS pursuing . He hurls the Fed Ex envelope into a dumpster . HELICOPTER light sweeps over him . As he cuts around a building , Taft opens a car door right into his face . Hull goes down hard .</scene_description> <character>TAFT</character> <parenthetical>( into car radio . )</parenthetical> <dialogue>Thank you kindly.</dialogue> <scene_description>He waves at the helicopter which goes away , kneels over Hull who is twitching spastically on the ground , gasping for air . Hernandez arrives carrying the Fed Ex envelope .</scene_description> <character>TAFT</character> <parenthetical>( continuing . )</parenthetical> <dialogue>How you doin', child?</dialogue> <scene_description>Hull is astonished to look up and see Taft looming over him , the man he remembers from the videotape . He tries to speak :</scene_description> <character>HULL</character> <parenthetical>( barely audible . )</parenthetical> <dialogue>You.</dialogue> <character>TAFT</character> <parenthetical>( briefly puzzled . )</parenthetical> <dialogue>Me? Of course, it's me. You know me?</dialogue> <scene_description>Hull shakes head , winces .</scene_description> <character>TAFT</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Hurts, huh?</dialogue> <scene_description>Hull tries to curse .</scene_description> <character>TAFT</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Here, I want to show you something. You have kids?</dialogue> <scene_description>He takes out his wallet , opens it to pictures of his two children , a boy and a girl , seven and eight .</scene_description> <character>TAFT</character> <parenthetical>( continuing . )</parenthetical> <dialogue>These are mine. Are n't they the most beautiful children you ever saw?</dialogue> <scene_description>Hull groans , twists in pain . Taft sticks the pictures in his face . Hull is affected by the children despite everything .</scene_description> <character>TAFT</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Yeah, I know, they kind of leave you speechless. So let me ask, if someone put a gun to your baby's head, would n't you kill him if you could?</dialogue> <scene_description>Hull just looks up .</scene_description> <character>TAFT</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Me, too. And you're the bastard with the gun.</dialogue> <scene_description>He takes the Fed Ex envelope from him .</scene_description> <character>HULL</character> <parenthetical>( hoarse ; his first words . )</parenthetical> <dialogue>You know the difference between a nigger and a black man?</dialogue> <character>TAFT</character> <dialogue>Do n't jive me, boy.</dialogue> <character>HULL</character> <dialogue>The nigger's the one covers Whitey's ass by puttin' the brothers in jail.</dialogue> <scene_description>Taft yanks him hard to his feet ; Hull cries out in pain .</scene_description> <character>TAFT</character> <dialogue>You ai n't my brother.</dialogue> </scene> <scene> <stage_direction>INT. COURTROOM - NIGHT</stage_direction> <scene_description>Hull is led in with other handcuffed PRISONERS . Carver is here , catches Hull 's eye . Hull shakes his head ; does n't want Carver to intercede . A woman PUBLIC DEFENDER -LRB- 26 , attractive , harried -RRB- addresses the prisoners .</scene_description> <character>PUBLIC DEFENDER</character> <dialogue>Hi, I'm Shelley Weissbrod. This is only an arraignment, a preliminary hearing, but if you do n't have money for an attorney, the Public Defender's office can.</dialogue> <scene_description>Hull is listening to this when a BAILIFF taps his shoulder .</scene_description> <character>BAILIFF</character> <dialogue>You've got counsel. Over there.</dialogue> <scene_description>Puzzled , Hull sees the back of a suit conferring with a PROSECUTOR . The suit turns . It 's DAVID ELIAS who smiles , offers his hand . Hull is stunned . Elias enjoys that .</scene_description> <character>HULL</character> <dialogue>You're a lawyer?</dialogue> <character>ELIAS</character> <dialogue>I'm your lawyer.</dialogue> <character>HULL</character> <dialogue>Who hired you?</dialogue> <character>ELIAS</character> <parenthetical>( smiles . )</parenthetical> <dialogue>It's pro bono. If you do n't want me, there's Shelley. She's good. She just ca n't provide special services.</dialogue> <character>HULL</character> <dialogue>Like what?</dialogue> <character>VOICE</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( calling the next case . )</parenthetical> <dialogue>John Hull.</dialogue> <character>ELIAS</character> <dialogue>Getting your case called first.</dialogue> <scene_description>Elias addressing the court .</scene_description> <character>ELIAS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Your Honor, I believe the preliminary police toxicology report will show that the substance seized from my client was Mannitol, a baby laxative. We move for immediate dismissal.</dialogue> <scene_description>Hull is surprised at this news . The Judge looks to the Prosecutor who waives objection . Gavel .</scene_description> <character>ELIAS</character> <parenthetical>( continuing ; to Hull . )</parenthetical> <dialogue>We're out of here, Dude.</dialogue> <scene_description>As they walk toward the back , Taft approaches Hull . There 's already a deep pull between these two , and in Taft 's presence , Hull ca n't sustain the tough street act . We almost see the little boy inside him .</scene_description> <character>TAFT</character> <parenthetical>( to Hull , amused . )</parenthetical> <dialogue>Baby laxative, they sold you some bad shit.</dialogue> <character>DRUNKEN PRISONER</character> <parenthetical>( to Hull . )</parenthetical> <dialogue>You have a constipated baby, and you're in jail? What kind of a father are you?</dialogue> <character>TAFT</character> <dialogue>A father who do n't know his own children, ai n't that right?</dialogue> <scene_description>A long look between them , broken when Elias takes Hull 's arm , leads him away . Elias cheerfully greets a couple of hookers waiting arraignment . Hull furtively grabs his sleeve .</scene_description> <character>HULL</character> <parenthetical>( under his breath . )</parenthetical> <dialogue>You sold me Mannitol, motherfucker.</dialogue> <character>ELIAS</character> <parenthetical>( under his . )</parenthetical> <dialogue>If it had n't been, asshole, you'd be in jail right now. Come on, I want you to meet some people.</dialogue> </scene> <scene> <stage_direction>EXT. LEWAZZ - NIGHT</stage_direction> <scene_description>After hours . The place is closed . A couple of cars in the lot . Elias 's BMW pulls in .</scene_description> </scene> <scene> <stage_direction>INT. LEWAZZ - NIGHT</stage_direction> <scene_description>Deserted except for one table where Eddie , Barbosa , Gopher and Chino are eating shrimp . They look up as Hull and Elias approach . Eddie 's astonished to see Hull .</scene_description> <character>EDDIE</character> <dialogue>Dudley, Dudley, Fo - Fudley.</dialogue> <character>ELIAS</character> <dialogue>Surprised to see him, Eddie?</dialogue> <scene_description>Eddie looks around , uneasy .</scene_description> <character>ELIAS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>John got busted and kept his mouth shut. Ca n't say that for everybody, can we?</dialogue> <character>EDDIE</character> <dialogue>What are you saying? Are you saying me? Are you saying something about me?</dialogue> <character>GOPHER</character> <dialogue>Tell the truth, Eddie. Be honorable. It's all you got left.</dialogue> <character>EDDIE</character> <dialogue>Shut up, you little faggot.</dialogue> <character>ELIAS</character> <dialogue>The cops made you give them somebody. We know it.</dialogue> <scene_description>Eddie looks around . Everybody 's looking at him . He considers lying , but realizes it 's pointless .</scene_description> <character>EDDIE</character> <dialogue>All right, so what? I mean, so what, man? You got the money. Twenty - six G. Twenty - six, David. Count it.</dialogue> <character>ELIAS</character> <dialogue>Next time you might trade us.</dialogue> <character>EDDIE</character> <dialogue>Never.</dialogue> <parenthetical>( turns to Barbosa . )</parenthetical> <dialogue>Never, Felix, never. Come on, man, you know I'd never.</dialogue> <scene_description>Hull observes Barbosa become the power center .</scene_description> <character>BARBOSA</character> <parenthetical>( softly . )</parenthetical> <dialogue>I know you never will.</dialogue> <character>EDDIE</character> <dialogue>Felix, no. Do n't be. I'm worth money to you. Let me give you money.</dialogue> <character>BARBOSA</character> <dialogue>Why? You do n't owe me anything.</dialogue> <character>EDDIE</character> <dialogue>Another twenty - six grand. Just to show you. Fifty.</dialogue> <character>BARBOSA</character> <dialogue>Why not a hundred?</dialogue> <character>EDDIE</character> <parenthetical>( that 's so much . )</parenthetical> <dialogue>A hundred? Felix.</dialogue> <scene_description>Barbosa 's impassive .</scene_description> <character>EDDIE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Okay, a hundred.</dialogue> <character>BARBOSA</character> <dialogue>Give it.</dialogue> <character>EDDIE</character> <dialogue>Tomorrow. Twenty - four hours.</dialogue> <character>BARBOSA</character> <dialogue>Now. Ten seconds.</dialogue> <character>EDDIE</character> <dialogue>Felix, I need time. I -</dialogue> <character>BARBOSA</character> <dialogue>One. two.</dialogue> <character>EDDIE</character> <dialogue>I do n't have it right now. But I can -</dialogue> <character>GOPHER</character> <parenthetical>( sadly . )</parenthetical> <dialogue>Then goodbye, Eddie. I forgive you for what you said to me.</dialogue> <character>EDDIE</character> <parenthetical>( pleading . )</parenthetical> <dialogue>Twelve hours. Tomorrow morning.</dialogue> <character>BARBOSA</character> <dialogue>Six. seven.</dialogue> <parenthetical>( to Elias . )</parenthetical> <dialogue>You want to do it, David?</dialogue> <scene_description>Elias looks stricken . Barbosa laughs . Eddie jumps up . Hull turns away , ca n't bear to watch this .</scene_description> <character>BARBOSA</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Nine.</dialogue> <scene_description>EDDIE grabs the first thing he lays eyes on , a tiny snail fork and plunges it into Barbosa 's neck . As if it were a fly bite , Barbosa flings the table aside and , with a long knife already in his hand , guts Eddie from groin to breast bone . Eddie falls like a suddenly emptied sack . Elias ca n't help gasping . Hull looks away , hiding his horror . Barbosa rips the fork out of his neck and hurls it at the body .</scene_description> <character>BARBOSA</character> <dialogue>Piece of shit!</dialogue> <scene_description>Elias stares at Eddie 's body , transfixed . Horrified , fascinated , afraid , in awe . Barbosa turns to Hull .</scene_description> <character>BARBOSA</character> <parenthetical>( continuing . )</parenthetical> <dialogue>What'd you think?</dialogue> <character>HULL</character> <dialogue>At least it was clean.</dialogue> <character>BARBOSA</character> <parenthetical>( pleased , to Elias . )</parenthetical> <dialogue>What about you, bar mitzvah body? First time you saw somebody die?</dialogue> <character>ELIAS</character> <parenthetical>( eyes fixed on the body . )</parenthetical> <dialogue>No.</dialogue> <parenthetical>( catching breath . )</parenthetical> <dialogue>At camp. when I was fourteen. a friend of mine was water skiing. The motorboat ran him over. A junior counsellor was driving.</dialogue> <character>BARBOSA</character> <dialogue>You should kill a man some day, David, it's liberating.</dialogue> <parenthetical>( walking out . )</parenthetical> <dialogue>Summer camp. I'm in business with somebody who went to summer camp.</dialogue> <scene_description>Everyone else is silent , grave .</scene_description> </scene> <scene> <stage_direction>INT. ELIAS'S HOUSE - KITCHEN - EARLY MORNING</stage_direction> <scene_description>Through sliders we see a small pool . Elias and Hull sit over uneaten omelets . Both still shaken by the previous scene .</scene_description> <character>ELIAS</character> <dialogue>Eddie, man. He was always nice to my daughter.</dialogue> <character>HULL</character> <dialogue>How'd a guy like you get into this?</dialogue> <character>ELIAS</character> <dialogue>The way most drug lawyers do : clients paid me in product, and I had to move it. Soon I was doing more dealing than law. But this was' 83,' 84, there was so much money we thought it would never end.</dialogue> <character>HULL</character> <dialogue>Yeah. And now?</dialogue> <character>ELIAS</character> <dialogue>The road gets rougher. Cocaine's a dying business.</dialogue> <character>HULL</character> <dialogue>Then what are we doing here?</dialogue> <character>ELIAS</character> <dialogue>People are always going to want to get high. Every society has ways to alter consciousness.</dialogue> <character>HULL</character> <dialogue>Because they ca n't bear reality.</dialogue> <character>ELIAS</character> <parenthetical>( smiles . )</parenthetical> <dialogue>We all need our delusions, only the means change : psychedelics, opiates, prayer, orgies, human sacrifice.</dialogue> <character>HULL</character> <dialogue>What's next?</dialogue> <scene_description>Elias puts a finger to his lips .</scene_description> <character>HULL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Why are n't you selling it?</dialogue> <character>ELIAS</character> <dialogue>I know how to make it and market it. But I need capital. That's the only reason I'm hanging out with an asshole like Barbosa.</dialogue> <parenthetical>( feels his hatred of Barbosa . )</parenthetical> <dialogue>And because I ca n't get to the big guys.</dialogue> <character>HULL</character> <dialogue>Who are the big guys?</dialogue> <character>ELIAS</character> <dialogue>Gallegos, et cetera.</dialogue> <character>HULL</character> <parenthetical>( reacts to the name . )</parenthetical> <dialogue>Why ca n't you get to them?</dialogue> <character>ELIAS</character> <dialogue>What do you care?</dialogue> <scene_description>Hull shrugs : he does n't .</scene_description> <character>ELIAS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Anyway, designer drugs have a bad name : ice, ecstasy, tar - there's a limited market for Parkinson's disease. But what about completely safe, almost legal, terrific shit you can go to work on and do your job better than you ever did it straight?</dialogue> <character>HULL</character> <dialogue>Sounds like a dream.</dialogue> <scene_description>They hear someone coming .</scene_description> <character>ELIAS</character> <parenthetical>( closing the subject . )</parenthetical> <dialogue>In dreams begin responsibilities.</dialogue> <character>HULL</character> <dialogue>Tell me about this new shit.</dialogue> <character>ELIAS</character> <dialogue>Some other time, John, when we know each other better.</dialogue> <parenthetical>( as Miranda enters kitchen . )</parenthetical> <dialogue>Hey, bunnela.</dialogue> <parenthetical>( she snuggles against him ; Elias enjoys it . )</parenthetical> <dialogue>Five times two.</dialogue> <character>MIRANDA</character> <dialogue>It's too early. Do n't bother me.</dialogue> <scene_description>He hugs her , kisses her , much more openly affectionate than Hull was with his own children . Hull notices that .</scene_description> <character>MIRANDA</character> <parenthetical>( continuing ; head in her father 's chest . )</parenthetical> <dialogue>Seven.</dialogue> <scene_description>Elias whispers in her ear .</scene_description> <character>MIRANDA</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Oh, yeah. Ten. Who's he?</dialogue> <character>ELIAS</character> <dialogue>That's my friend, John. This is Miranda.</dialogue> <character>HULL</character> <dialogue>Hi, Miranda.</dialogue> <scene_description>Miranda gives Hull a shy greeting . Nancy hurries into the kitchen , handsome , busy , ready for work .</scene_description> <character>NANCY</character> <dialogue>Come on, honey.</dialogue> <character>ELIAS</character> <dialogue>Nancy, this is John.</dialogue> <scene_description>Nancy nods briefly in Hull 's direction . Elias kisses Miranda who grabs the back - pack her mother proffers , and they go out . When they 're gone :</scene_description> <character>ELIAS</character> <parenthetical>( continuing ; on Nancy 's chilliness . )</parenthetical> <dialogue>That's not about you. It's, she's. judgmental about what I do.</dialogue> <scene_description>When they 're gone , he opens louvered doors onto a washer/dryer , takes a sports bag off a shelf , gives it to Hull . Hull looks inside . White powder . He tastes . Real . He hefts the bag .</scene_description> <character>HULL</character> <dialogue>That's more than I bought.</dialogue> <character>ELIAS</character> <dialogue>Half we owe you. The other half's on consignment. A token of our esteem.</dialogue> <character>HULL</character> <dialogue>You're having trouble moving it.</dialogue> <scene_description>Elias does n't deny it .</scene_description> <character>HULL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Make me your partner. I'll help you get your capital.</dialogue> <character>ELIAS</character> <dialogue>I do n't need a partner. I need a salesman.</dialogue> </scene> <scene> <stage_direction>INT. CARVER'S OFFICE - DAY</stage_direction> <scene_description>Now in daylight . Two separately wrapped kilograms of crack cocaine on the green blotter .</scene_description> <character>CARVER</character> <dialogue>I ca n't buy this much shit. I have n't got it in the budget.</dialogue> <character>HULL</character> <dialogue>What am I supposed to do with it?</dialogue> <character>CARVER</character> <dialogue>You're a drug dealer, John. Deal drugs.</dialogue> <scene_description>Hull just looks at him . Carver does n't blink .</scene_description> <character>HULL</character> <dialogue>You know how this goes, Gerry. It wo n't stop here. You know what they're going to ask me to do pretty soon, to prove I'm down. What am I supposed to do then?</dialogue> <character>CARVER</character> <dialogue>Do n't blow your Carver.</dialogue> <scene_description>Hull : a moment of horror as he realizes what Carver is saying . MUSIC - A DRUG DEALING SEQUENCE</scene_description> </scene> <scene> <stage_direction>INT. HULL'S APARTMENT - NIGHT</stage_direction> <scene_description>He 's filling glass vials with crack . Hundreds of them . It 's tedious work . He spills some , curses . He stops . He ca n't believe he 's doing this . He goes on doing it .</scene_description> <character>CARVER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>You're still thinking like a cop, John. Forget that. Cross the line. Be what you are. You're a criminal. You do n't give a shit about other people. You're just trying to survive.</dialogue> </scene> <scene> <stage_direction>INT. CRACK HOUSE - DAY</stage_direction> <scene_description>Hull doling out vials to DEALERS seen earlier with Eddie .</scene_description> <character>HULL</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I ca n't do this shit. I just ca n't.</dialogue> </scene> <scene> <stage_direction>EXT. A STREET - DAY</stage_direction> <scene_description>DEALERS going up to cars as before , only now they 're Hull 's dealers . A well - dressed Black businessman buys from his BMW .</scene_description> <character>CARVER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>But you want to be of use. You want to get drugs off the street, do n't you?</dialogue> <character>HULL</character> <parenthetical>( V.O . )</parenthetical> <dialogue>That's why I'm here.</dialogue> </scene> <scene> <stage_direction>EXT. SAME - ANOTHER TIME</stage_direction> <scene_description>Another sale : Teenagers on foot .</scene_description> <character>CARVER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Well, this is the cost. Pay it or go grow flowers someplace.</dialogue> </scene> <scene> <stage_direction>EXT. HULL'S MOTEL - ANOTHER TIME</stage_direction> <scene_description>He comes out of the motel talking to a Dealer we 've seen above .</scene_description> <character>HULL</character> <dialogue>You ca n't back down with them. You've got to project strength, from inside, you know?</dialogue> <scene_description>The Dealer nods . Across the street Hull sees : A blue sedan . Taft and Hernandez . Taft gives Hull a little nod and grin .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - ANOTHER TIME</stage_direction> <scene_description>Hull sitting in an aging Trans Am , making entries in a notebook . Across the street he watches : A PREGNANT WOMAN -LRB- 19 -RRB- , a squawling baby in arms , buying from one of his Dealers . He kicks the dash in frustrated anger . Under the MUSIC :</scene_description> <character>HULL</character> <dialogue>Cocksucker.</dialogue> <scene_description>As soon as the woman 's gone . He goes over to the Dealer , slaps his head , slaps it again . Under the MUSIC :</scene_description> <character>DEALER</character> <parenthetical>( hurt , confused . )</parenthetical> <dialogue>What'd you do that for?</dialogue> <character>HULL</character> <parenthetical>( walking off . )</parenthetical> <dialogue>'Cause I can, motherfucker,'cause I can.</dialogue> </scene> <scene> <stage_direction>EXT. SAME - ANOTHER TIME</stage_direction> <scene_description>A white housewife making a buy from a new mini - van , a baby in the car seat .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - TWILIGHT</stage_direction> <scene_description>Two USC football players -LRB- letter jackets , huge -RRB- hassling BIJOUX , a woman dealer , pushing her , she pushes back , curses . Suddenly Hull comes running up , shoves them apart . He 's yelling , pointing a finger in their faces . Elias comes up behind , calmer . Hull is smaller than either USC kid , but they back down as he curses them . Under MUSIC :</scene_description> <character>HULL</character> <dialogue>Touch her again, motherfuckers, I'm gon na mess you up.</dialogue> <scene_description>A brief scuffle . Hull decks one USC , and Elias pulls him off . The kids leave . Elias doubles over with laughter . Hull yells at Bijoux and walks off .</scene_description> </scene> <scene> <stage_direction>EXT. APARTMENT HOUSE - DAY</stage_direction> <scene_description>Hull -LRB- looking at written address -RRB- knocks on a door . It 's opened by a beautiful , dark - skinned black woman in a skimpy robe . She looks at him with disarming frankness . He thinks he must be in the wrong place .</scene_description> <character>HULL</character> <dialogue>Is David Elias here?</dialogue> <character>ELIAS</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Momentito.</dialogue> <scene_description>Through the door we see him emerge from a bedroom stepping into his loafers , buttoning his shirt . He gives the woman along , dark kiss , caressing her body .</scene_description> <character>ELIAS</character> <dialogue>Jacqueline, ho - ney.</dialogue> <scene_description>She laughs , closes the door . As he and Hull walk to the street , Elias sings happily to himself :</scene_description> <character>ELIAS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>`` Who's making love to your old lady. while you're out make love?''.</dialogue> <parenthetical>( cheerful . )</parenthetical> <dialogue>How come I like balling black chicks so much?</dialogue> <character>HULL</character> <dialogue>'Cause you're a racist asshole. You feel like you're fucking a slave, and it gets you off.</dialogue> <character>ELIAS</character> <dialogue>Oh, do n't mau mau me with the Malcolm X shit. Tell me you're not chasin' white pussy every chance you get.</dialogue> <character>HULL</character> <dialogue>I do n't dig white women.</dialogue> <parenthetical>( knowing that 's a lie . )</parenthetical> <dialogue>Even if I did, it would n't mean the same thing.</dialogue> <character>ELIAS</character> <dialogue>Sure, it'd be the slave fucking the master. Hegel talks about it. Just like me, but the other way around.</dialogue> <character>HULL</character> <dialogue>Fuck Hegel. Who the fuck is Hegel? Some smart - ass kike that talks backwards?</dialogue> <scene_description>Elias laughs , gets into Hull 's car . Hull 's angry , takes a beat before he gets in .</scene_description> <character>ELIAS</character> <dialogue>Everybody digs the other, John. They dig their own, and they dig the other.</dialogue> <character>HULL</character> <dialogue>Does your wife dig black guys, David? Did she fuck Eddie? Does she want to fuck me?</dialogue> <character>ELIAS</character> <parenthetical>( mock - terrified . )</parenthetical> <dialogue>Ooo. you mean with that great big purple dick of yours? I hope not. She'd never be impressed with my little thing again.</dialogue> <character>HULL</character> <dialogue>You think what impresses her now is your dick?</dialogue> <character>ELIAS</character> <parenthetical>( musing . )</parenthetical> <dialogue>What does impress her?</dialogue> <scene_description>Hull ca n't help laughing . He starts the car .</scene_description> </scene> <scene> <stage_direction>EXT. BETTY'S STORE - DAY</stage_direction> <scene_description>Elias and Hull approach . Hull 's carrying a satchel and wearing a new leather jacket .</scene_description> </scene> <scene> <stage_direction>INT. JEWELRY STORE - DAY</stage_direction> <scene_description>As they go in , Elias switches the OPEN sign to CLOSED and turns the latch . The store is filled with Latin American folk art , particularly masks which line the walls . BETTY STONE , the woman Hull saw with Elias at the bar , comes out from the back . She is 27 , a bad girl trying to dress the way she thinks a banker who went to Vassar dresses for success . She 's also a little strung out . She and Hull recognize each other at once , -LRB- a brief reprise of that moment of perfect chemistry -RRB- but she avoids his gaze .</scene_description> <character>ELIAS</character> <dialogue>Betty, this is John, my new associate.</dialogue> <character>MCCUTCHEON</character> <dialogue>Your new Eddie. I hear the old one wore out.</dialogue> <character>ELIAS</character> <dialogue>Factory recall. John's going to be a good customer. He does a lot of wash.</dialogue> <scene_description>Hull puts the satchel on a display case . Betty still wo n't look at him , opens the satchel , begins a quick count . She does this with a speed and sureness that suggests high test scores .</scene_description> <character>HULL</character> <dialogue>So how's this place work?</dialogue> <scene_description>Betty does n't answer , so Elias covers the awkwardness .</scene_description> <character>ELIAS</character> <dialogue>Betty wires the money to a store in Aruba in payment for things they never sent her. They deposit the money in a bank there that turns around and loans her money she never has to repay. That way it does n't turn up as income for the IRS. Welcome to the laundromat.</dialogue> <character>MCCUTCHEON</character> <dialogue>David, you talk too much.</dialogue> <character>ELIAS</character> <dialogue>She does n't trust you.</dialogue> <scene_description>Hull has taken down a mask , puts it over his face , looks in a mirror .</scene_description> <character>HULL</character> <dialogue>How much is this?</dialogue> <character>MCCUTCHEON</character> <dialogue>More than you can afford.</dialogue> <character>HULL</character> <dialogue>I'll take it.</dialogue> <scene_description>She produces a vial of coke , looks questioningly at Elias .</scene_description> <character>ELIAS</character> <dialogue>By all means.</dialogue> <scene_description>She draws out six lines . Elias does two .</scene_description> <character>MCCUTCHEON</character> <parenthetical>( offering him the straw . )</parenthetical> <dialogue>Come on, Eddie 2. you're up.</dialogue> <character>HULL</character> <dialogue>No, thanks.</dialogue> <scene_description>NOTE : Betty is acutely attuned to Hull , and in his refusal she senses - albeit unconsciously - two things : first , that he does n't trust himself on drugs , therefore , he 's a dangerous guy and , therefore , exciting ; and , second , more important , the refusal bespeaks a repudiation of the violence and danger and , thus , a longing for goodness . Despite the seeming contradiction , she finds this even more attractive . But because she feels herself to be bad , his goodness seems only a judgment against her , and so she thinks she hates him .</scene_description> <character>MCCUTCHEON</character> <dialogue>Who is he, my mother?</dialogue> <character>HULL</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Never have, never will.</dialogue> <scene_description>Betty ignores him , does her lines .</scene_description> <character>MCCUTCHEON</character> <parenthetical>( taunting Hull . )</parenthetical> <dialogue>Oooh. Cocaine, I love it and I hate it and I love it. The disease is the cure.</dialogue> <scene_description>She ca n't help looking at Hull who 's looking at her . She and Elias are stoned ; he 's not .</scene_description> <character>MCCUTCHEON</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Do n't look at me. Elias, tell him not to look at me. I do n't like the fucker.</dialogue> <scene_description>But Elias is too busy vacuuming up Hull 's leftovers .</scene_description> <character>ELIAS</character> <parenthetical>( sniffling . )</parenthetical> <dialogue>John's an ascetic Negro ; he wants to make sure you know he's not a jungle bunny.</dialogue> <character>HULL</character> <dialogue>Watch your mouth, David.</dialogue> <character>ELIAS</character> <dialogue>But he's got another side. You should seen him on the street the other day with these two USC kids. Do the spade bit for her, John.</dialogue> <parenthetical>( black accent . )</parenthetical> <dialogue>I'm gon na mess you up, muthafugga.</dialogue> <scene_description>He sticks his finger in Hull 's face just like Hull with the boys .</scene_description> <character>HULL</character> <dialogue>Do n't call me a spade. And do n't tell me to play black.</dialogue> <scene_description>He says it gently , but Betty hears the edge .</scene_description> <character>ELIAS</character> <parenthetical>( hurt , disappointed . )</parenthetical> <dialogue>Come on, John, you do it so well.</dialogue> <parenthetical>( falling into it . )</parenthetical> <dialogue>Ah ai n't playin', muthafucka. Ah ai n't playin'.</dialogue> <scene_description>Hull glares ; Elias refuses to be intimidated .</scene_description> <character>ELIAS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Do n't fuckin' dis me, muthafucka. Fucka. fucka. fucka a. fucka b. fuck b - hive. fucka, fucka, fucka.</dialogue> <scene_description>Elias dances around repeating `` fucka '' until it 's almost musical . Hull picks him up and slams into a wall .</scene_description> <character>HULL</character> <dialogue>Say it again, and I'll kill you.</dialogue> <scene_description>Elias throws Hull back against a display case . He 's strong and unafraid . They 're ready to fight .</scene_description> <character>MCCUTCHEON</character> <dialogue>Grow up, assholes!</dialogue> <scene_description>This half snaps them out of it . Still glowering , they slowly relax , release each other .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Hull sits in the Trans Am eating a sandwich and watching the street as a DEALER leans in the window telling his sob story . There 's an authority to Hull 's manner that tells us he may not like this job , but he knows how to do it .</scene_description> <character>DEALER</character> <dialogue>The guy ripped me off, man, so I do n't got the money, I do n't got the stuff and -</dialogue> <character>HULL</character> <parenthetical>( eyes on street . )</parenthetical> <dialogue>You got ta pay anyway.</dialogue> <character>DEALER</character> <dialogue>Oh, but, man.</dialogue> <scene_description>As he raps on , comical pathos , Hull spots in his side mirror . THE RED RANGE ROVER coming slowly this way . Ivy in the passenger window , the barrel of an automatic weapon glinting in the streetlight .</scene_description> <character>HULL</character> <dialogue>Shit.</dialogue> <scene_description>Hull glances up : Bijoux is selling on the next corner . The Range Rover passes the Trans Am . Ivy leans out . Hull flings open the Trans Am door , throwing the Dealer to the ground . He jumps from the car :</scene_description> <character>HULL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Bijoux!</dialogue> <scene_description>She turns . Sees Ivy . She puts out her hands to block the shots . The SOUND of the gun is inaudible . The barrel bounces slightly . Bijoux sprawls backward . Bijoux : dead on the sidewalk , limbs askew , bleeding from many wounds . Hull , standing over her , covers her face .</scene_description> </scene> <scene> <stage_direction>EXT. SAME - MUCH LATER THAT NIGHT</stage_direction> <scene_description>The body has been taken away , the crowd has cleared . Elias sits on the hood of the Trans Am . Hull stands , staring down .</scene_description> <character>ELIAS</character> <dialogue>It was n't your fault.</dialogue> <parenthetical>( no response . )</parenthetical> <dialogue>What could you have done?</dialogue> <character>HULL</character> <dialogue>She worked for me. I'm supposed to protect her.</dialogue> <scene_description>Elias knows that 's true , and it leads to another truth .</scene_description> <character>ELIAS</character> <dialogue>We have to kill him.</dialogue> <scene_description>Hull looks up .</scene_description> <character>ELIAS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Or we lose all authority with the other dealers. And one of them'll kill you.</dialogue> <scene_description>Hull looks up , startled .</scene_description> <character>ELIAS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>You've got to assert now, or you're dead.</dialogue> <scene_description>Hull sees the truth of that and slowly nods .</scene_description> <character>ELIAS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>And if we kill Ivy, we control this whole territory.</dialogue> <character>HULL</character> <dialogue>That guy who works for Barbosa can do it, Chino.</dialogue> <character>ELIAS</character> <dialogue>No. If we use Chino, it's Barbosa who's asserting. It'll be Barbosa's territory.</dialogue> <parenthetical>( again : his hatred of Barbosa . )</parenthetical> <dialogue>It's got ta be us.</dialogue> <character>HULL</character> <dialogue>Right.</dialogue> <character>ELIAS</character> <dialogue>And if it's us, it's got ta be you.</dialogue> <scene_description>Meaning he ca n't do it . Hull knows that . A long beat on Hull 's face as he reaches the inevitable decision .</scene_description> <character>HULL</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Do n't blow your cover.</dialogue> <character>ELIAS</character> <dialogue>What?</dialogue> <character>HULL</character> <dialogue>If I do this, we're partners. Equal partners on everything.</dialogue> <scene_description>Elias offers his hand . Hull stands up , a sudden resolve .</scene_description> <character>HULL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Let's go.</dialogue> <character>ELIAS</character> <parenthetical>( afraid . )</parenthetical> <dialogue>Now?</dialogue> <scene_description>But Hull is already moving .</scene_description> </scene> <scene> <stage_direction>EXT. STREET/INT. ELIAS'S CAR - NIGHT</stage_direction> <scene_description>Hull and Elias driving , looking for Ivy . Elias double parks by two prostitutes . We STAY in the car with Hull who 's silent , frightened , keeps trying to warm his hands . Outside , Elias is talking and laughing with the prostitutes . We see them point . He gives them money , kisses . They laugh . He gets back in the car .</scene_description> </scene> <scene> <stage_direction>EXT. A DANCE CLUB - NIGHT</stage_direction> <scene_description>The Range Rover parked in front . Elias 's car stops . MUSIC pounds from inside . Then one CONTINUOUS SHOT : They pass the club , other store fronts . Turn at the corner . Turn into an alley . Down the alley past the same buildings . The rear door of the club . To the next street . Turn . Turn . onto the original street , back to the front of the club . They stop again .</scene_description> <character>HULL</character> <dialogue>Go wait around back.</dialogue> <scene_description>Elias nods . A beat . They look at each other .</scene_description> <character>ELIAS</character> <dialogue>I want to see you in that alley.</dialogue> <scene_description>Hull 's so terrified he seems calm . With an air of submitting himself to fate , he gets out and walks into the club .</scene_description> </scene> <scene> <stage_direction>INT. CLUB - NIGHT</stage_direction> <scene_description>Crowded and BOOMING and strobe lit . Hull pays the cover and climbs a staircase to a . CIRCULAR BALCONY that overlooks the dance floor . On stage : a RAP ACT with its throbbing beat and below Hull a sea of dancers . Hull circles the balcony . It is n't hard to pick out Ivy - he 's all in red , dancing with the woman we saw him with in the Range Rover the first time . Hull reaches the steps again and starts down , keeping his eye on Ivy . The number ends . In the pause before the next one , Ivy can be seen excusing himself , heading toward the rear of the club . The next number begins . People dance . Hull pushes his way through the dancers to .</scene_description> </scene> <scene> <stage_direction>INT. REAR OF CLUB - A SHORT HALLWAY - NIGHT</stage_direction> <scene_description>leading toward the rear door they saw from the alley . MOVING DOWN THE HALL A woman 's room . A men 's room . Hull goes into .</scene_description> </scene> <scene> <stage_direction>INT. MEN'S ROOM - NIGHT</stage_direction> <scene_description>Ivy is pissing into a urinal . He 's so huge he seems to take up all the space in the tiny room . Hull stares at him , unable to look away . He notices Hull . All dialogue is UNDER the POUNDING MUSIC .</scene_description> <character>IVY</character> <dialogue>What're you looking at?</dialogue> <scene_description>Hull stares at Ivy 's face . Ivy considers this rude .</scene_description> <character>IVY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>You want to suck it, bitch?</dialogue> <parenthetical>( offers his dick . )</parenthetical> <dialogue>Or drink it?</dialogue> <scene_description>Laughing , he turns , urinates on Hull 's pants . Hull does n't move .</scene_description> <character>IVY</character> <parenthetical>( continuing ; recognizing him . )</parenthetical> <dialogue>Oh, I know you. You're the bitch whose whore I wasted tonight, ai n't you?</dialogue> <scene_description>Somebody pushes on the outside of the door . Hull holds it closed with his back .</scene_description> <character>IVY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>I got ta take care of you, too, huh?</dialogue> <scene_description>He reaches into his pants for the butt of a gun . Hull is frozen . Ivy starts to draw it out . Hull steps forward , grabs Ivy 's gun arm . With his other hand he clumsily pulls a silenced .22 from inside his jacket , puts it in the underside of Ivy 's jaw and SHOOTS twice . Ivy 's brains spray upward onto the wall , and he slides straight to the floor . Hull steps out into .</scene_description> </scene> <scene> <stage_direction>INT. SHORT HALL - NIGHT</stage_direction> <scene_description>An Hispanic busboy coming out of the kitchen sees him and the gun in his hand , freezes . Hull walks past him and out the back door . From inside we see Hull go down three steps , stumble in the drive and fall to his knees , the gun CLATTERING away from him . A couple that had been making out , stops , looks . It takes Hull a moment to gather himself . He picks up the gun , gets into Elias 's car . It drives away .</scene_description> </scene> <scene> <stage_direction>INT. HULL'S MOTEL ROOM - NIGHT</stage_direction> <scene_description>Alone , he looks at his face in the mirror . As if he does n't know the person there . With a knife , he draws out something hidden inside the wooden backing of the mirror . A manila envelope . He empties it onto the dresser : Mementos among which we see , carefully preserved , the blood - soaked bills his father gave him . Hull ignores them and picks up . PHOTO OF HIS CHILDREN He smooths out the folds , stares at it as if trying to fix this in his thoughts .</scene_description> </scene> <scene> <stage_direction>EXT. MOTEL COURTYARD - PAY PHONE - DAY</stage_direction> <scene_description>Hull on the phone . He 's unusually excited , even moved .</scene_description> <character>HULL</character> <dialogue>Carmen, it's me. It's Daddy.</dialogue> </scene> <scene> <stage_direction>INT. HULL'S HOUSE - CLEVELAND - DAY</stage_direction> <scene_description>Carmen on the phone , jumping up and down with excitement .</scene_description> <character>CARMEN</character> <dialogue>Daddy!</dialogue> <character>HULL</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( through phone . )</parenthetical> <dialogue>Hi, baby. How are you? I miss you!</dialogue> <character>CARMEN</character> <dialogue>What?</dialogue> <character>HULL</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I miss you.</dialogue> <character>CARMEN</character> <parenthetical>( thrilled . )</parenthetical> <dialogue>I miss you, too, Daddy.</dialogue> </scene> <scene> <stage_direction>EXT. MOTEL COURTYARD - DAY</stage_direction> <scene_description>Hull pressing the phone to his face , trying to master his emotions . GRAINY 16MM FILM - A LABORATORY MAZE A lab rat with a metal electrode protruding from its head , is running a maze at high speed . A VOICE explaining things .</scene_description> <character>VOICE</character> <parenthetical>( young , nasal , too smart . )</parenthetical> <dialogue>The maze leads in two directions. At one end the rat can obtain a food pellet. At the other.</dialogue> <parenthetical>( pointer indicates each end . )</parenthetical> <dialogue>. it receives electrical stimulus to a very specific area of the cerebellum.</dialogue> <scene_description>The rat reaches this second destination , pushes a bar , is stimulated . A lab worker -LRB- white coat , gloves -RRB- picks up the animal , replaces it at the start . It runs the same route .</scene_description> <character>VOICE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>This rat, like 86 % of the others in the experiment, chose the electrical stimulus repeatedly and exclusively. It continued to do so until it died of malnutrition.</dialogue> <scene_description>ANOTHER SHOT - the rat dead .</scene_description> </scene> <scene> <stage_direction>INT. A LABORATORY - DAY OR NIGHT</stage_direction> <scene_description>A 21 - year - old RENEGADE from the Cal Tech chemistry department -LRB- red hair , freckles , glasses held together with electrical tape -RRB- , a brilliant nerd . He picks up . A MOLECULAR MODEL Colored balls stuck together with wooden dowels .</scene_description> <character>CAL TECH</character> <dialogue>This is an addictive amphetamine with time - space distortion, delusions of grandeur - or maybe they're real - tending to be impulsive, sometimes violent behavior. Psychotropic adaptation for late monopoly capitalism. It's illegal, and you can buy it on any street corner.</dialogue> <scene_description>He tears off some of the balls , sticks on new ones .</scene_description> <character>CAL TECH</character> <parenthetical>( continuing . )</parenthetical> <dialogue>This increases energy, attention, cognitive powers, yet with a smooth, almost opiate - like emotional surface. Ideal for the post - political, post - rationalist global marketplace and 24 hour lifestyles. It's completely legal and can only get it here, in my lab.</dialogue> <character>ELIAS</character> <parenthetical>( to Hull , proudly . )</parenthetical> <dialogue>Randy's a genius. His professor told him he could win the Nobel prize.</dialogue> <character>CAL TECH</character> <dialogue>Nobel prizes are for wussies.</dialogue> <character>HULL</character> <dialogue>What does this shit do to you?</dialogue> <character>CAL TECH</character> <dialogue>I'm on it now. It's like cocaine only better.</dialogue> <parenthetical>( offers him powder on a slide . )</parenthetical> <dialogue>Want some?</dialogue> <character>HULL</character> <dialogue>I do n't take drugs.</dialogue> <character>CAL TECH</character> <parenthetical>( unoffended . )</parenthetical> <dialogue>Your mistake. This is designed for the top end of the market. For people who want to master reality, not avoid it. Because it's synthetic, you do n't grow it, refine it, or - best of all - import it.</dialogue> <character>ELIAS</character> <dialogue>What would it take to manufacture this stuff in quantity?</dialogue> <character>CAL TECH</character> <dialogue>With a million dollars, I could produce enough for a limited market at about two bucks a pop.</dialogue> <parenthetical>( makes a face : fair . )</parenthetical> <dialogue>But then with five million, or better yet ten, the cost would drop to thirty cents, and we'd have enough for the whole world.</dialogue> <character>ELIAS</character> <dialogue>I'm going to put two hundred fifty thousand into your corporate account. You cheat me, Randy, I'll use your bladder for a bagpipe.</dialogue> <parenthetical>( to Hull , with a vengeance . )</parenthetical> <dialogue>We're going to put Barbosa out of business.</dialogue> <scene_description>Elias is very happy . He leads Hull out .</scene_description> </scene> <scene> <stage_direction>INT. CARVER'S OFFICE - DAY</stage_direction> <scene_description>On the pyramid chart there 's a black border around Ivy 's photo , as around Eddie 's . A photo of Hull is now on the board beside the one of Elias . Hull stares out the window , lost in thought .</scene_description> <character>CARVER</character> <parenthetical>( dismissive . )</parenthetical> <dialogue>Synthetic shit? Sounds like a 20/20 segment.</dialogue> <scene_description>Hull shrugs : it 's not that important . Carver turns to his real interest .</scene_description> <character>CARVER</character> <parenthetical>( continuing . )</parenthetical> <dialogue>So, what was it like?</dialogue> <character>HULL</character> <parenthetical>( still looking out . )</parenthetical> <dialogue>What was what like?</dialogue> <character>CARVER</character> <dialogue>Popping Ivy.</dialogue> <character>HULL</character> <dialogue>You knew.</dialogue> <character>CARVER</character> <dialogue>I'm God, remember?</dialogue> <character>HULL</character> <parenthetical>( looks back out . )</parenthetical> <dialogue>Then you should know how it was.</dialogue> <scene_description>Carver smiles , but he 's non - plussed by Hull 's new detachment .</scene_description> <character>CARVER</character> <dialogue>You did n't clear it with me. You're getting independent. That's good.</dialogue> <scene_description>Hull smiles .</scene_description> <character>CARVER</character> <parenthetical>( continuing . )</parenthetical> <dialogue>How're we coming on Gallegos?</dialogue> <character>HULL</character> <dialogue>He supplies Barbosa. To get to him we'll have to take quantity.</dialogue> <character>CARVER</character> <dialogue>Then you've got to -</dialogue> <character>HULL</character> <dialogue>That's what killing Ivy did. I'll get to him soon.</dialogue> <scene_description>Carver 's impressed .</scene_description> <character>HULL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Is that it?</dialogue> <character>CARVER</character> <parenthetical>( seeing him to the door . )</parenthetical> <dialogue>I want you to get a new apartment. Something expensive.</dialogue> <character>HULL</character> <dialogue>I like where I am.</dialogue> <character>CARVER</character> <dialogue>That shithole? You're big time now. Act it. And get some clothes. Spend money. Have fun. That's an order.</dialogue> </scene> <scene> <stage_direction>INT. HULL'S MOTEL - OFFICE - DAY</stage_direction> <scene_description>Hull in a new , expensive suit , gives the big Blonde Woman cash .</scene_description> <character>HULL</character> <dialogue>Whether I'm here or not, no one else uses that room. And change the linen twice a week, just like now.</dialogue> <parenthetical>( starts to go , stops , more money . )</parenthetical> <dialogue>And make sure James gets what he needs. And something for you.</dialogue> <scene_description>He adds another bill . She smiles .</scene_description> </scene> <scene> <stage_direction>INT. A RENTED CONDOMINIUM - DAY</stage_direction> <scene_description>Views , open space , expensive furnishings . Hull -LRB- in another fancy suit -RRB- is hanging a couple of Betty 's masks . He 's meticulous about their placement . Elias wanders out from the other rooms , looking around .</scene_description> <character>ELIAS</character> <parenthetical>( impressed , envious . )</parenthetical> <dialogue>Nice place. Nice suit.</dialogue> <scene_description>Hull has a moment of self - consciousness about the suit , checks himself out in a mirror - a private moment . Elias flops on a couch , puts his feet on an antique coffee table .</scene_description> <character>HULL</character> <dialogue>Hey!</dialogue> <scene_description>He hurries over , lifts Elias feet to the floor . Hull brushes the wood , inspects it carefully , fusses , worries . Elias is amused .</scene_description> <character>ELIAS</character> <dialogue>You pick all this shit out yourself?</dialogue> <character>HULL</character> <dialogue>A Jewish lady in the store helped me.</dialogue> <character>ELIAS</character> <parenthetical>( mock touched by racial harmony . )</parenthetical> <dialogue>Aw. Very nice. Understated. I'm impressed.</dialogue> <scene_description>Hull starts to place stacks of cash in a briefcase . He 's momentarily mesmerized by all the money .</scene_description> <character>HULL</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Fifty bucks, fifty fucking bucks.</dialogue> <character>ELIAS</character> <dialogue>You sold it all?</dialogue> <scene_description>Hull nods .</scene_description> <character>ELIAS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>I'll order a couple more keys from Barbosa.</dialogue> <character>HULL</character> <dialogue>Order ten.</dialogue> <character>ELIAS</character> <dialogue>Ten?</dialogue> <character>HULL</character> <dialogue>Better twenty.</dialogue> <character>ELIAS</character> <parenthetical>( afraid of that . )</parenthetical> <dialogue>I do n't want to push it.</dialogue> <character>HULL</character> <dialogue>I do. We've got a bigger territory, we need more product. I want to deal directly with Gallegos. It would save us money.</dialogue> <character>ELIAS</character> <dialogue>Barbosa'll never let us near him.</dialogue> <scene_description>Hull closes the briefcase , ushers Elias toward the door . He 's going out , too .</scene_description> <character>HULL</character> <dialogue>If we buy twenty, Gallegos'll come to us himself.</dialogue> <character>ELIAS</character> <dialogue>How do you know?</dialogue> <character>HULL</character> <dialogue>When I bought a key from Eddie, you came to me.</dialogue> <scene_description>Elias laughs , surprised , afraid .</scene_description> <character>HULL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Who's above Gallegos?</dialogue> <character>ELIAS</character> <dialogue>Guzman, but he's. Do n't ask so many questions.</dialogue> <character>HULL</character> <dialogue>How else will I learn?</dialogue> <parenthetical>( hint of a threat . )</parenthetical> <dialogue>Call Barbosa, David, put in our order. Because we have to split this, and there is n't enough here for both of us.</dialogue> <scene_description>Elias feels the threat .</scene_description> </scene> <scene> <stage_direction>EXT. BETTY'S JEWELRY STORE - NIGHT</stage_direction> <scene_description>Despite the CLOSED sign , a light 's on inside . Hull knocks . No response . He keeps knocking without let - up until :</scene_description> <character>BETTY'S VOICE</character> <parenthetical>( annoyed . )</parenthetical> <dialogue>Nobody's home, go away.</dialogue> <scene_description>He knocks harder . Finally she appears in the doorway , stopping short when she sees it 's him . She 's immediately aware of white streaks on her grey suit . she tries to brush them off .</scene_description> <character>MCCUTCHEON</character> <parenthetical>( does n't want to let him in . )</parenthetical> <dialogue>Look, I'm tired, why do n't you.</dialogue> <scene_description>Hull holds up the briefcase . She sighs , unlocks the door .</scene_description> </scene> <scene> <stage_direction>INT. BETTY'S OFFICE - NIGHT</stage_direction> <scene_description>A bill counter toting up the cash . She watches it fixedly to avoid looking at him , but she feels the chemistry .</scene_description> <character>MCCUTCHEON</character> <dialogue>Why do you look at me like that?</dialogue> <character>HULL</character> <dialogue>How do I look at you?</dialogue> <character>MCCUTCHEON</character> <dialogue>Like you know something I do n't. Like you're better than me.</dialogue> <scene_description>That catches Hull off - guard , and he responds with a candor she did n't expect .</scene_description> <character>HULL</character> <dialogue>I do n't think I'm better than you. I do n't think I'm better than anybody.</dialogue> <scene_description>She 's startled by this remark and instinctively drawn to him .</scene_description> <character>HULL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>But I do know something. You ca n't stop thinking about me.</dialogue> <scene_description>Embarrassed , she looks away . He takes her hand , and at his touch something yields to her . She lets him draw her to him . His kiss is strangely tender , searching . It turns Betty on incredibly . She melts into him .</scene_description> <character>MCCUTCHEON</character> <dialogue>Let's go back here.</dialogue> <scene_description>She leads him into . THE SMALL OFFICE She 's sweet and loving , but her sweetness scares her . He 's all over her , but she pulls back for a moment . There is a couch and before it a coffee table with coke scattered on a plate .</scene_description> <character>MCCUTCHEON</character> <parenthetical>( indicates coke . )</parenthetical> <dialogue>Do this. do it with me.</dialogue> <scene_description>She offers him a straw . He does n't take it .</scene_description> <character>MCCUTCHEON</character> <parenthetical>( continuing . )</parenthetical> <dialogue>This is where I'm at. You want to be with me, it's got ta be there.</dialogue> <character>HULL</character> <dialogue>I do n't do that.</dialogue> <character>MCCUTCHEON</character> <dialogue>Never have, never will.</dialogue> <character>HULL</character> <dialogue>It's for fuck - ups.</dialogue> <character>MCCUTCHEON</character> <dialogue>What do you think, you're not a nigger? You're a nigger as much as me.</dialogue> <character>HULL</character> <dialogue>More.</dialogue> <scene_description>She 's angry , hurt , confused , wants to love him , but feels he wo n't let her , or she wo n't let herself . It 's torment . Finally she 's released by a KNOCK on the door . She goes out to . THE FRONT OF THE STORE Lets in Elias . He smells the tension .</scene_description> <character>ELIAS</character> <parenthetical>( amused , jealous . )</parenthetical> <dialogue>Having fun?</dialogue> <parenthetical>( neither answers ; to Hull . )</parenthetical> <dialogue>I talked to Barbosa. He'll see us now.</dialogue> <scene_description>Hull turns to Betty . Both want to go that way instead of this , but events are leading somewhere else . He follows Elias out .</scene_description> </scene> <scene> <stage_direction>EXT. A SALSA CLUB - NIGHT</stage_direction> <scene_description>MUSIC pouring into the darkness .</scene_description> </scene> <scene> <stage_direction>INT. CLUB - NIGHT</stage_direction> <scene_description>Kids dancing to a live STAGE ACT . High in a wall : a lit window .</scene_description> </scene> <scene> <stage_direction>INT. THAT ROOM - NIGHT</stage_direction> <scene_description>Very different from the club . A comfortable room with a bar , tables , filled with men much older than the dancers below . Barbosa and Gopher at the bar with Elias and Hull . Chino and other SHADOWY FIGURES lurk in the room 's depths .</scene_description> <character>BARBOSA</character> <dialogue>Ten kilos? You're always late on two.</dialogue> <character>HULL</character> <dialogue>Not ten. twenty.</dialogue> <scene_description>Barbosa 's impressed .</scene_description> <character>HULL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>The more we have, the more we can move. There're markets we ca n't open because we do n't have the inventory.</dialogue> <scene_description>Barbosa 's coked to the eyeballs , mean and dangerous .</scene_description> <character>BARBOSA</character> <dialogue>Finally some balls on this team.</dialogue> <parenthetical>( taunting Elias . )</parenthetical> <dialogue>Come work for me, John. I'll give you your own franchise. You can supply Elias, lean on him when he's late.</dialogue> <character>ELIAS</character> <dialogue>Go fuck yourself.</dialogue> <scene_description>Barbosa laughs .</scene_description> <character>HULL</character> <dialogue>I'm with David.</dialogue> <character>BARBOSA</character> <dialogue>Why? He give you his `` designer drugs'' pitch. He's never going to do it. He's a shmuck.</dialogue> <character>ELIAS</character> <dialogue>Do n't talk to me that way.</dialogue> <character>BARBOSA</character> <dialogue>I'm not talking to you at all. I'm talking to John.</dialogue> <character>GOPHER</character> <dialogue>It's the cocaine. Do n't listen to him. Felix, you've had enough.</dialogue> <character>BARBOSA</character> <dialogue>Shmuck.</dialogue> <scene_description>Elias goes for him . He 's fast and strong , and it takes Chino and Hull to pull him off .</scene_description> <character>GOPHER</character> <dialogue>Praise God they do n't let guns in here.</dialogue> <character>CALMING VOICES</character> <dialogue>`` None of that in here.'' `` Take it outside.''</dialogue> <scene_description>Barbosa 's laughing , but his cheek is flecked with his own blood , and his eyes are dead .</scene_description> <character>BARBOSA</character> <dialogue>David, you've been working out, you're getting strong. Are you quick, too?</dialogue> <parenthetical>( shadow boxes . )</parenthetical> <dialogue>Come on, I'll give you a shot at me.</dialogue> <character>ELIAS</character> <dialogue>Any time, any place.</dialogue> <character>BARBOSA</character> <dialogue>Right here, right now. Do this.</dialogue> <scene_description>He puts his hands out , palms up .</scene_description> <character>ELIAS</character> <dialogue>This? What is this?</dialogue> <character>BARBOSA</character> <dialogue>You know, you slap me, I slap you.</dialogue> <parenthetical>( mimes that game . )</parenthetical> <dialogue>Come on, it's fun. Like summer camp.</dialogue> <scene_description>It does n't look fun . Elias glances at Hull for guidance .</scene_description> <character>HULL</character> <dialogue>Do n't waste your time.</dialogue> <character>BARBOSA</character> <dialogue>Stay out of this.</dialogue> <parenthetical>( to Elias . )</parenthetical> <dialogue>Come on, you can do it, David, you're not a shmuck.</dialogue> <scene_description>Elias puts his hands out , palms up . Barbosa covers them with his own . ON THE HANDS : Barbosa 's broad , muscular with thick gold rings and a Rolex ; Elias 's paler , slighter , a wedding band and a slim watch .</scene_description> <character>BARBOSA</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Slap my hands. Just slap them.</dialogue> <scene_description>Elias looks Barbosa in the eye . He 's trying to be a snake , but he 's more the mouse . He looks away and as he does tries to . Slap him with both hands but hits only . Air . The room breathes . Barbosa turns his rings so the big surfaces point down .</scene_description> <character>BARBOSA</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Now it's my turn.</dialogue> <character>GOPHER</character> <dialogue>It's Barbosa's turn. He's gon na kill the white boy.</dialogue> <character>ELIAS</character> <dialogue>One more.</dialogue> <character>BARBOSA</character> <dialogue>No, you went, Davey, now it's my turn. First to four wins, like the World Series.</dialogue> <scene_description>Elias covers Barbosa 's palms with his own .</scene_description> <character>GOPHER</character> <dialogue>Oh, God, I ca n't look.</dialogue> <scene_description>ON THE HANDS : Barbosa tenses his hands . Elias yanks back . Barbosa 's hands have n't moved .</scene_description> <character>BARBOSA</character> <dialogue>You remember the rules? If you flinch, I get to hit you.</dialogue> <scene_description>He slaps Elias across the face . Hull starts forward . A knife appears . He stops .</scene_description> <character>BARBOSA</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Again, shmuck.</dialogue> <scene_description>Elias covers Barbosa 's hands . Barbosa tenses . Elias holds firm , and Barbosa quickly slaps both hands , hard . Elias doubles over , holding his hands in pain .</scene_description> <character>GOPHER</character> <dialogue>One.</dialogue> <character>ELIAS</character> <dialogue>That was two.</dialogue> <character>BARBOSA</character> <dialogue>No, this is two.</dialogue> <scene_description>He slaps him again , a stinging crack . Elias looks to Hull , but they 're across a canyon . Hull lowers his eyes .</scene_description> <character>GOPHER</character> <dialogue>Oh, and it hurts. Mercy, it hurts.</dialogue> <scene_description>ON THE HANDS . Barbosa moves his hands a millimeter , and Elias flinches again . Barbosa smacks him across the face . The sound reverberates through the room . Now even Gopher is silent . Tears run from Elias 's eyes , blood from his mouth , but he does n't move .</scene_description> <character>GOPHER</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Three.</dialogue> <character>A VOICE</character> <dialogue>Felix! No mas. Finito.</dialogue> <scene_description>A MAN steps forward out of the shadows . He is young , mid - 30 's , handsome , European features , beautifully dressed , accompanied by a guard we 'll know as MOLTO . Someone murmurs to someone else :</scene_description> <character>SOMEONE</character> <dialogue>Gallegos.</dialogue> <scene_description>Hull reacts . Their eyes meet .</scene_description> <character>GOPHER</character> <dialogue>The fight is over! The Ambassador from the South has spoken!</dialogue> <character>ELIAS</character> <parenthetical>( refusing any mercy . )</parenthetical> <dialogue>One more.</dialogue> <scene_description>Barbosa shakes his head , ashamed now in front of Gallegos .</scene_description> <character>ELIAS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>One more! We're not finished!</dialogue> <parenthetical>( people are silent . )</parenthetical> <dialogue>Four was the match.</dialogue> <scene_description>He holds out his hands . Barbosa resumes the stance , then waits , waits , waits , and finally brings both hands down , terribly hard , the sound of the slap is awful .</scene_description> <character>BARBOSA</character> <dialogue>Four.</dialogue> <character>HULL</character> <dialogue>Okay, that's it. Get away.</dialogue> <scene_description>Hull leads Elias to the door right past Gallegos . Their gazes meet again . As they go out they hear Gallegos BERATING Barbosa in furious Spanish .</scene_description> </scene> <scene> <stage_direction>INT. STAIRCASE - NIGHT</stage_direction> <scene_description>Trembling , Elias holds his bloody hands against his chest , as Hull leads him in silence down the steps .</scene_description> <character>ELIAS</character> <dialogue>Look at me. Look at me, damn it!</dialogue> <scene_description>He barely whispers , but it 's like a shout . Hull , who 'd been avoiding his gaze , forces himself to look . Elias 's humiliation is so profound it almost ennobles him . Finally :</scene_description> <character>HULL</character> <dialogue>Why did you do it?</dialogue> <character>ELIAS</character> <dialogue>I needed it. They taught me what I needed to know. That I'm not part of them, and I never will be. That they do n't respect me. That I do n't deserve respect. Because I'm a shmuck, John. I'm a shmuck.</dialogue> <scene_description>He laughs a terrible laugh . The door behind them opens , and Barbosa appears with Gopher . Everyone is ready for death , but :</scene_description> <character>BARBOSA</character> <dialogue>David, I'm sorry. It's a crazy time, and. you know. I'm doing a little too much coca. I'll buy your kid a pony. anything you want. Let's forget about it.</dialogue> <scene_description>He comes down the stairs , offers his hand . Elias will never forget about it , but he silently takes the hand , holds them in his own bloody paws , looking directly into Barbosa 's face . Barbosa becomes uneasy , manages to extract his hand . Elias and Hull continue down and out the door . Gopher gushes to Barbosa .</scene_description> <character>GOPHER</character> <dialogue>I am so proud of you. You can be cruel, and you can be kind. And just now you were kind. Proud, proud, and more proud. That's me.</dialogue> <character>BARBOSA</character> <dialogue>Shut up.</dialogue> </scene> <scene> <stage_direction>INT. BOXING GYM - NIGHT</stage_direction> <scene_description>Barbosa , Gopher with Hernandez , Taft 's partner . Now we know Hernandez is corrupt : that 's how they knew Eddie was talking .</scene_description> <character>BARBOSA</character> <dialogue>I got nothing to give you, my man. I'm an il - liquid son of a bitch.</dialogue> <character>HERNANDEZ</character> <dialogue>Felix, I keep telling them, `` I have informants down there, I'm working guys, I ca n't say who.'' If you do n't have money, give me busts, or they're gon na start wondering about me.</dialogue> <character>GOPHER</character> <dialogue>They're already wondering.</dialogue> <character>BARBOSA</character> <parenthetical>( deadpan . )</parenthetical> <dialogue>You can have Gopher.</dialogue> <character>GOPHER</character> <dialogue>Oh Gawd.</dialogue> <character>BARBOSA</character> <dialogue>How about a lawyer?</dialogue> <character>GOPHER</character> <parenthetical>( knows who he means . )</parenthetical> <dialogue>Felix, do n't do this.</dialogue> <character>HERNANDEZ</character> <parenthetical>( he knows , too . )</parenthetical> <dialogue>Great, lawyers are great, Jewish is best. But I need spades, too. The politicians want dark facts to scare the suburbs so they'll vote Republican.</dialogue> <character>BARBOSA</character> <dialogue>Lawyers and spades ; I got the trifecta : two dealers and a girl who does their wash. Two niggers and a kike ; all Democrats.</dialogue> <character>HERNANDEZ</character> <dialogue>You're my man. And afterwards.</dialogue> <scene_description>Hernandez rubs thumb against fingers .</scene_description> <character>BARBOSA</character> <dialogue>When this is over, I'll send you to Hawaii, Maui. It's very beautiful in Maui, it's a very spiritual place.</dialogue> <character>HERNANDEZ</character> <dialogue>I just want money.</dialogue> <scene_description>And he 's gone .</scene_description> <character>GOPHER</character> <dialogue>I would n't trust that man when he's out of rifle range.</dialogue> <scene_description>Barbosa looks tired .</scene_description> <character>GOPHER</character> <parenthetical>( continuing ; premonition of disaster . )</parenthetical> <dialogue>Do n't do this, Felix. It'll go wrong. Kill Elias if you have to, honey, but do n't set him up for this. It damages your prestige.</dialogue> <scene_description>Barbosa faces his cocaine . He tries to resist the pull , then yields . He does another line . It 's his friend . He loves it . He picks up a cellular phone , dials .</scene_description> <character>BARBOSA</character> <dialogue>David, you're awake, I'm impressed. I'm sorry about what happened. Listen, I'll get you twenty boxes, like you wanted. You were right, you should have what you need. Tomorrow night. Bring your partner and that girl with the store, Betty. I need her advice on something. I want us to have fun, like we used to. We'll go to that shrimp place, okay? Good. Me, too, David.</dialogue> <parenthetical>( hangs up ; does another line ; drawing it deep into him . )</parenthetical> <dialogue>Yes!</dialogue> </scene> <scene> <stage_direction>INT. CARVER'S OFFICE - BEFORE DAWN</stage_direction> <scene_description>Hull jacked up , excited , pleased with himself . As he paces , Carver observes his beautiful suit , shoes , expensive watch . He looks much better than Carver .</scene_description> <character>HULL</character> <dialogue>We're getting twenty kilograms tomorrow.</dialogue> <parenthetical>( notes the lightening sky . )</parenthetical> <dialogue>Tonight. I made it happen. I pushed Elias, now he does n't make a move without me.</dialogue> <character>CARVER</character> <dialogue>You run Elias.</dialogue> <character>HULL</character> <dialogue>I control him. Barbosa's selling it to us because he thinks I can move it.</dialogue> <parenthetical>( now the big news . )</parenthetical> <dialogue>And last night I met Ramon Gallegos.</dialogue> <scene_description>Carver sits up fast . Hull likes that .</scene_description> <character>HULL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>We're getting the dope from him ; it's still coming through Barbosa, but Gallegos will approach me soon on his own. We're going to get him, Gerry. We're going to bring him and the whole thing down.</dialogue> <scene_description>Carver sits back , grimaces .</scene_description> <character>HULL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>What's your problem?</dialogue> <character>CARVER</character> <parenthetical>( looking out window . )</parenthetical> <dialogue>My problem? My problem is that you do n't really know what's happening.</dialogue> <character>HULL</character> <parenthetical>( sardonic . )</parenthetical> <dialogue>Oh, so, tell me what's happening, Gerry.</dialogue> <character>CARVER</character> <dialogue>Barbosa is setting you up tonight.</dialogue> <character>HULL</character> <dialogue>Bullshit.</dialogue> <character>CARVER</character> <dialogue>He's dealing you to Taft and Hernandez. You're going to be taken down as you receive the drugs. They're putting together the arrest team right now.</dialogue> <scene_description>That rocks Hull . He is up , pacing .</scene_description> <character>HULL</character> <dialogue>What do we do?</dialogue> <character>CARVER</character> <dialogue>You stay away. We're going to take them down.</dialogue> <character>HULL</character> <dialogue>Who? Elias and Betty? Do n't be silly.</dialogue> <character>CARVER</character> <dialogue>My boss wants a bust right now. He goes before the oversight committee next week. He needs something to justify the budget.</dialogue> <character>HULL</character> <parenthetical>( imploring . )</parenthetical> <dialogue>I'll get him something. Give me ten days, and I'll get him Gallegos on a plate.</dialogue> <character>CARVER</character> <dialogue>Too late. The whole thing's set up.</dialogue> <character>HULL</character> <dialogue>Gerry, what are you telling me? I need Elias. and Betty. You arrest them, and you're throwing away everything I've set up.</dialogue> <character>CARVER</character> <dialogue>It's out of my hands.</dialogue> <scene_description>Hull walks out .</scene_description> <character>CARVER</character> <parenthetical>( continuing . )</parenthetical> <dialogue>John, do n't go near that bust.</dialogue> </scene> <scene> <stage_direction>EXT. 96TH STREET NEAR THE AIRPORT/INT. A CAR - NIGHT</stage_direction> <scene_description>Elias -LRB- no sleep -RRB- driving . Betty in front . Hull in back .</scene_description> <character>HULL</character> <dialogue>We should n't go to them. Maybe them come to us.</dialogue> <character>ELIAS</character> <dialogue>He would n't.</dialogue> <scene_description>They pull into the lot of a boarded up restaurant where Barbosa and Chino stand outside of a limousine .</scene_description> </scene> <scene> <stage_direction>EXT. BEHIND AN AIRPORT MOTEL - NIGHT</stage_direction> <scene_description>Taft and Hernandez in the same van that was outside the gym earlier . They 're watching THROUGH BINOCULARS , night scopes . They spot Elias 's car .</scene_description> <character>HERNANDEZ</character> <parenthetical>( whispering into radio . )</parenthetical> <dialogue>Here they are. Nobody move until we see the green suitcase.</dialogue> </scene> <scene> <stage_direction>EXT. PARKING LOT - NIGHT</stage_direction> <scene_description>The two groups meeting . Barbosa gives Betty a courtly kiss .</scene_description> <character>BARBOSA</character> <parenthetical>( flirtatious . )</parenthetical> <dialogue>I'm sorry for dragging you out so late, but I have to be careful.</dialogue> <character>MCCUTCHEON</character> <dialogue>It gives me confidence.</dialogue> <scene_description>HULL watching planes descend into the airport , nervous . He knows what 's coming , but how does he handle it ?</scene_description> <character>HULL</character> <dialogue>Let's see what we've got.</dialogue> <scene_description>Elias takes a satchel out of the rent - a - car trunk . Chino opens the limousine 's trunk . Inside is an over - sized day - glo green plastic suitcase . He is about to pick it up .</scene_description> <character>HULL</character> <parenthetical>( continuing ; spotting the police van in the adjacent lot . )</parenthetical> <dialogue>Do n't touch it.</dialogue> <scene_description>Everyone looks at him , then the direction he 's looking .</scene_description> <character>BARBOSA</character> <dialogue>What is this?</dialogue> <character>HULL</character> <dialogue>Something's wrong. What's that van doing there?</dialogue> <scene_description>Everyone looks . They can barely see the van . Hull pulls a gun .</scene_description> <character>HULL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>This is a bust. The minute we take the stuff, they'll be over us.</dialogue> <character>BARBOSA</character> <dialogue>He's crazy, David. I thought you were the crazy one, but it's him.</dialogue> <scene_description>Hull puts the gun to Barbosa 's head , addresses Chino :</scene_description> <character>HULL</character> <dialogue>Chino, pick up the suitcase and give it to Elias. I'll only kill him if something goes wrong.</dialogue> <scene_description>Chino moves to pick up the suitcase .</scene_description> <character>BARBOSA</character> <dialogue>No!</dialogue> <scene_description>Everyone looks at Hull amazed , even Chino .</scene_description> <character>ELIAS</character> <parenthetical>( softly . )</parenthetical> <dialogue>Fucking A, John.</dialogue> <character>HULL</character> <dialogue>Okay, everybody in the car.</dialogue> <scene_description>He throws the money in the limo truck , slams the lid . He 's running the show now , and everyone knows it . He 's winging it , but confident and strangely calm . Elias , energized by Hull 's command , grabs Barbosa and throws him toward the limo . HERNANDEZ 'S POV THROUGH NIGHT SCOPE</scene_description> <character>TAFT</character> <dialogue>We have a problem.</dialogue> <character>HERNANDEZ</character> <dialogue>Shit! Shit! Shit!</dialogue> <parenthetical>( aiming rifle ; Hull in sights . )</parenthetical> <dialogue>Enough of this.</dialogue> <character>TAFT</character> <dialogue>No!</dialogue> </scene> <scene> <stage_direction>EXT. TWO CARS - NIGHT</stage_direction> <scene_description>Hull shepherding everyone into the limo . He glances toward the van . On instinct . He pulls Chino to him . A RIFLE SHOT Chino 's head explodes . Betty screams .</scene_description> <character>BARBOSA</character> <parenthetical>( screaming at van . )</parenthetical> <dialogue>Do n't shoot. Do n't shoot.</dialogue> </scene> <scene> <stage_direction>INT. VAN - NIGHT</stage_direction> <scene_description>Taft hurling Hernandez against the wall .</scene_description> <character>TAFT</character> <dialogue>Goddam it, what the hell are you doing?</dialogue> </scene> <scene> <stage_direction>EXT. TWO CARS - NIGHT</stage_direction> <scene_description>SIRENS . GUNFIRE . Elias drags Barbosa into the limo . Hull throws Betty into the front seat . The limo takes off .</scene_description> </scene> <scene> <stage_direction>EXT. STREET/INT. LIMO - DRIVING - NIGHT</stage_direction> <scene_description>Hull driving , Betty up front . Elias with a gun on Barbosa in back . Hull slaloms the limo through police GUNFIRE . Windows are blown out . Glass everywhere .</scene_description> <character>MCCUTCHEON</character> <parenthetical>( weeping . )</parenthetical> <dialogue>I asked for this. I asked for it. It's my fault.</dialogue> <character>HULL</character> <parenthetical>( calm , eyes on road . )</parenthetical> <dialogue>Relax. We'll make it.</dialogue> <scene_description>She looks at him , stunned yet soothed by his certainty .</scene_description> <character>BARBOSA</character> <dialogue>He's a cop. He has to be. How else would he have known?</dialogue> <character>HULL</character> <dialogue>If I was cop, you'd be face down back there.</dialogue> <character>MCCUTCHEON</character> <dialogue>How did you know?</dialogue> <character>HULL</character> <dialogue>The whole thing smelled. Changing his mind about the stuff. Meeting us way out here. And I'd seen cops in that van before. Hernandez is dirty, that's who he's using.</dialogue> <character>ELIAS</character> <parenthetical>( to Barbosa . )</parenthetical> <dialogue>Get out of the car.</dialogue> <scene_description>He starts to open the door .</scene_description> <character>HULL</character> <dialogue>David, not now.</dialogue> <character>ELIAS</character> <dialogue>Yes, now!</dialogue> </scene> <scene> <stage_direction>INT. TAFT AND HERNANDEZ'S CAR - NIGHT</stage_direction> <scene_description>Racing . Taft at wheel , raging at Hernandez .</scene_description> <character>TAFT</character> <dialogue>Who are you, man? Who the fuck are you?</dialogue> <character>HERNANDEZ</character> <parenthetical>( stonewalling . )</parenthetical> <dialogue>I'm me.</dialogue> </scene> <scene> <stage_direction>INT. LIMO - DRIVING - NIGHT</stage_direction> <character>ELIAS</character> <dialogue>He traded us to the cops. Just like Eddie. Eddie, who was nice to my daughter, had to die because that's the rule. And you were vulgar about my wife, Felix, so at the very least the same rule applies to you.</dialogue> <character>BARBOSA</character> <dialogue>I'll give you money. I'll give you a million. Anything you want.</dialogue> <character>ELIAS</character> <dialogue>I want you to get out of the car. Get out of the fucking car. Out of the fucking -</dialogue> <character>MCCUTCHEON</character> <parenthetical>( near tears . )</parenthetical> <dialogue>No, no. we ca n't do this.</dialogue> <character>HULL</character> <parenthetical>( turning around from front seat . )</parenthetical> <dialogue>Stop it, David, or we're.</dialogue> <scene_description>Elias wheels on him , sticks the gun in his face :</scene_description> <character>ELIAS</character> <parenthetical>( in a fury . )</parenthetical> <dialogue>Look at my hands!</dialogue> <scene_description>He holds them up : swollen , black and blue , cut up .</scene_description> <character>ELIAS</character> <parenthetical>( continuing ; to Barbosa , softly . )</parenthetical> <dialogue>Get out of the car.</dialogue> <scene_description>Barbosa 's frozen . Elias grabs his hand , SHOOTS a bullet through . Barbosa screams .</scene_description> <character>MCCUTCHEON</character> <dialogue>No!</dialogue> <character>HULL</character> <dialogue>Goddammit!</dialogue> <scene_description>Elias wheels on them , swinging the gun from one to the other .</scene_description> <character>ELIAS</character> <dialogue>Stay out of this, or you'll die. You'll both die. Everyone'll die.</dialogue> <scene_description>His fury makes anything seem possible . He pushes open the door . Trembling , Barbosa starts to climb out . The limo enters a tunnel , police still in pursuit . Halfway out , Barbosa stops .</scene_description> <character>BARBOSA</character> <dialogue>I ca n't.</dialogue> <scene_description>Elias SHOOTS him in the butt . He shrieks , jerks forward . The cops are getting close behind . Other cops waiting at the far end of the tunnel . Hull hits the brakes , spins a 180 into the opposite lane . Barbosa is flung out of the car and plastered by a succession of fishtailing vehicles . Hull speeds back the other way . They 're going straight at :</scene_description> </scene> <scene> <stage_direction>INT. VAN - COMING STRAIGHT AT THEM - NIGHT</stage_direction> <scene_description>Taft and Hull , the two drivers , lock eyes . It 's chicken , but more than that . Two men set against each other who , for some reason , want to be friends . At the last instant , the van swerves away , but : ELIAS AIMING AT TAFT Taft sees the gun too late . He can do nothing . Hull 's gaze follows Taft 's . He sees Elias , deliberately swerves , sending the SHOT wild .</scene_description> </scene> <scene> <stage_direction>INT. LIMO - RACING - NIGHT</stage_direction> <character>ELIAS</character> <dialogue>I had him!</dialogue> <character>HULL</character> <dialogue>You want to kill a cop? Do n't be stupid.</dialogue> <scene_description>The limo speeds away .</scene_description> </scene> <scene> <stage_direction>EXT. STREET/INT. LIMO - DRIVING - NIGHT</stage_direction> <scene_description>The windows shot out . Hull and Betty silent , shaken . Elias charged up , happy .</scene_description> <character>ELIAS</character> <dialogue>Everything is different. We're the Colombians now.</dialogue> <parenthetical>( radiant . )</parenthetical> <dialogue>This is the greatest night of my life. Terrible but great. Felix was right.</dialogue> <character>MCCUTCHEON</character> <parenthetical>( appalled . )</parenthetical> <dialogue>About what?</dialogue> <character>ELIAS</character> <dialogue>He said I should kill a man. He was right.</dialogue> <character>MCCUTCHEON</character> <dialogue>My God.</dialogue> <character>ELIAS</character> <dialogue>Barbosa was a roach. Do you miss him? Will anybody in the world miss him?</dialogue> <character>MCCUTCHEON</character> <dialogue>Are you a roach, too?</dialogue> <character>ELIAS</character> <parenthetical>( happily . )</parenthetical> <dialogue>Yes. Thank God.</dialogue> <character>MCCUTCHEON</character> <parenthetical>( to Hull . )</parenthetical> <dialogue>What about you?</dialogue> <scene_description>He 's silent , keeps driving . She 's had enough .</scene_description> <character>MCCUTCHEON</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Stop the car.</dialogue> <scene_description>Hull looks at her .</scene_description> <character>MCCUTCHEON</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Stop it!</dialogue> <scene_description>He brakes to a stop . She jumps out , leans back in .</scene_description> <character>MCCUTCHEON</character> <parenthetical>( continuing . )</parenthetical> <dialogue>No more laundering, no more anything. I'm finished with this.</dialogue> <scene_description>And she disappears into the night . Elias watches her go . Hull resumes driving .</scene_description> <character>ELIAS</character> <dialogue>She knows too much. We have to kill her.</dialogue> <character>HULL</character> <dialogue>No! She's with me. She's not going to talk.</dialogue> <parenthetical>( looks at Elias . )</parenthetical> <dialogue>You touch her, I'll kill you.</dialogue> <character>ELIAS</character> <dialogue>She's your responsibility then.</dialogue> <scene_description>Hull accepts it .</scene_description> <character>ELIAS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>We're going to get the money now, John. Enough for the new drug. We're going to be rich. We're going to be so rich that we're going to leave the world of ordinary people and going to a higher realm. I mean that.</dialogue> <character>HULL</character> <dialogue>They're going to come after us.</dialogue> <character>ELIAS</character> <parenthetical>( matter - of - fact . )</parenthetical> <dialogue>It's a hardball game. We're hardball players.</dialogue> </scene> <scene> <stage_direction>EXT. COMMERCIAL STREET - EAST L.A. - NIGHT</stage_direction> <scene_description>Hernandez comes out of a bodega with groceries , wine and a woman . He nuzzles her as he lets her into his car . As he 's getting behind the wheel , Molto -LRB- Gallegos ' guard -RRB- stops the door from closing . The conversation is entirely in SPANISH .</scene_description> <character>HERNANDEZ</character> <dialogue>It was n't my fault.</dialogue> <character>MOLTO</character> <dialogue>It never is.</dialogue> <scene_description>He SHOOTS him in the head . Hernandez slumps against the wheel . The woman screams . Molto walks away .</scene_description> </scene> <scene> <stage_direction>EXT. AN APARTMENT COMPLEX/INT. BETTY'S APARTMENT - DAWN</stage_direction> <scene_description>Hull finds a door , pushes the buzzer . Betty looks through the glass . She 's afraid of him .</scene_description> <character>MCCUTCHEON</character> <dialogue>Do n't kill me. I'm not going to talk. I swear. Please.</dialogue> <scene_description>Then she looks closer and sees not murder in his face , but need . She opens the door . Without a word , he gathers her to him . She ca n't resist him now . Her mouth is everywhere on him .</scene_description> </scene> <scene> <stage_direction>INT. HER BEDROOM - DAWN</stage_direction> <scene_description>Betty gasping in the wake of pleasure , turning her face away from him , she feels so exposed .</scene_description> <character>MCCUTCHEON</character> <dialogue>Do n't look.</dialogue> <scene_description>She hides her face in his neck .</scene_description> </scene> <scene> <stage_direction>INT. SAME - LATER</stage_direction> <scene_description>They lie in each other 's arms , relaxed together for the first time . A wonderful , unprotected openness .</scene_description> <character>HULL</character> <parenthetical>( softly . )</parenthetical> <dialogue>Tell me about you.</dialogue> <character>MCCUTCHEON</character> <parenthetical>( half - kidding . )</parenthetical> <dialogue>Everything worth knowing you just found you.</dialogue> <scene_description>He laughs . They begin to make love again . Suddenly : AN EXTRA HAND stroking Betty 's hair . She gasps . A gun in Hull 's ear . Another in her face . Guns all around .</scene_description> <character>HULL</character> <dialogue>Do n't hurt her.</dialogue> <scene_description>Hands pull him out of bed , leave her there alone . We see Molto , two or three others .</scene_description> </scene> <scene> <stage_direction>EXT. A CEMETERY - MORNING</stage_direction> <scene_description>RAMON GALLEGOS lays a bouquet of white lillies on a grave . He kneels , whispers a prayer , crosses himself . He rises and walks to where Molto and the other guards hold Hull and Elias . Gallegos is in his thirties , more European than Barbosa . He has a distinctly mild manner .</scene_description> <character>ELIAS</character> <dialogue>Who's grave?</dialogue> <scene_description>An impudent question , but Elias seems strangely bright - eyed despite the guns held on him .</scene_description> <character>GALLEGOS</character> <dialogue>My wife's. She died of leukemia three years ago.</dialogue> <parenthetical>( looks around . )</parenthetical> <dialogue>I like to be among the dead. They never interrupt you.</dialogue> <parenthetical>( turning to them . )</parenthetical> <dialogue>Felix Barbosa started out as a skinny fourteen - year - old fucking Yankee businessman in Bogata hotels. He grew up. He made himself strong and rich, but getting there made him sick, and that killed him. So he lost everything for the same reason he'd gotten it in the first place. Now we'll see if you can do as well.</dialogue> <scene_description>A PRIEST going by greets Gallegos who responds warmly . They chat a minute in SPANISH . The Priest leaves .</scene_description> <character>GALLEGOS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Felix owed me one million eight hundred thousand dollars.</dialogue> <scene_description>He addresses this to Hull ; Elias feels left out .</scene_description> <character>GALLEGOS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>When you killed him, you bought the debt ; now you owe it to me ; you get to keep thirty percent, like he did. You have three days.</dialogue> <scene_description>Gallegos turns to leave .</scene_description> <character>HULL</character> <dialogue>Who did Barbosa collect from?</dialogue> <character>GALLEGOS</character> <dialogue>If you do n't know, you should n't have killed him.</dialogue> <scene_description>He notices Hull 's earring : two tiny dice , the spots made of minuscule jewels . Unembarrassed , he fingers it .</scene_description> <character>GALLEGOS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Cute. Can I have that?</dialogue> <scene_description>Without waiting for an answer , he yanks it out of Hull 's ear and walks away , leaving Hull bleeding through his fingers before a stone cross .</scene_description> </scene> <scene> <stage_direction>EXT. A GHETTO STREET - NIGHT</stage_direction> <scene_description>A club on the corner . THROUGH A WINDOW we see a RAP ACT on the stage , their MUSIC pumping out onto the street . Hull pulls up in a Jaguar . He and Elias go through a door adjacent to the club .</scene_description> </scene> <scene> <stage_direction>INT. BUILDING HALL/INT. GOPHER'S ROOM - NIGHT</stage_direction> <scene_description>The MUSIC is still audible here , though muffled . Elias and Hull are pushing at door Gopher is trying to hold closed .</scene_description> <character>GOPHER</character> <dialogue>I do n't want you in here. You killed the man, and I loved him. I do n't want to have anything to do with you.</dialogue> <scene_description>Elias kicks it open , and they enter Gopher 's tiny , miserable domain . He 's wearing some sort of negligee and an immense naked woman fills his bed . We still hear the MUFFLED MUSIC .</scene_description> <character>GOPHER</character> <parenthetical>( continuing ; apoplectic . )</parenthetical> <dialogue>I'm a sixty - three - year - old man! I'm a grandfather! Would you hit a sixty - three - year - old white man? Would you hit your own grandfather?</dialogue> <character>ELIAS</character> <parenthetical>( slaps him against wall . )</parenthetical> <dialogue>Listen, you fucking monkey, you know who owed him money, and we know you know. Tell us or -</dialogue> <scene_description>Hull pulls him off . Elias is angry . They struggle .</scene_description> <character>HULL</character> <dialogue>He'll tell us. Gopher, just.</dialogue> <scene_description>Meaning : deal with me or deal with Elias .</scene_description> <character>GOPHER</character> <dialogue>You ca n't tell anyone it was me.</dialogue> <scene_description>The MUSIC continues OVER the following sequence :</scene_description> </scene> <scene> <stage_direction>INT. CRACK HOUSE - DAY</stage_direction> <scene_description>Elias arguing with a dealer . He slaps him around . TIGHT ON HANDS Money is exchanged . The money is stuffed in a satchel .</scene_description> </scene> <scene> <stage_direction>INT. A LAW OFFICE - DAY</stage_direction> <scene_description>A well - dressed lawyer -LRB- 30 's -RRB- talking with clients , a distinguished couple in their 60 's . The door BANGS open and a secretary is unable to restrain Hull and Elias as they charge into the room . The lawyer is up on his feet , but Hull shoves him around as Elias politely explains to the clients that this will only take a moment . TIGHT ON SATCHEL Hull 's hands thrust more money in . It 's getting full .</scene_description> </scene> <scene> <stage_direction>INT. A MOTORCYCLE REPAIR SHOP - NIGHT</stage_direction> <scene_description>A biker in leathers on hands - and - knees spitting blood onto the cement floor . Hull stands over him , fists clenched .</scene_description> </scene> <scene> <stage_direction>INT. A CAR TRUNK</stage_direction> <scene_description>A satchel stuffed with money is latched , set next to another latched one . A third is opened , money and jewelry dumped in .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Hull looking into the trunk . Elias is beat .</scene_description> <character>HULL</character> <dialogue>Where the hell is all the money? We're still a million short.</dialogue> <character>ELIAS</character> <dialogue>I got ta get laid.</dialogue> <character>HULL</character> <dialogue>David, we've got thirty - six hours.</dialogue> <character>ELIAS</character> <parenthetical>( slams trunk , moves toward door . )</parenthetical> <dialogue>Pick me up at Jacqueline's in the morning.</dialogue> <character>HULL</character> <dialogue>Sooner than that.</dialogue> <scene_description>Elias gets in the car and drives off . Hull turns and a dark American sedan pulls up alongside . Carver behind the wheel .</scene_description> <character>CARVER</character> <parenthetical>( an order . )</parenthetical> <dialogue>Get in.</dialogue> </scene> <scene> <stage_direction>INT. CAR - NIGHT</stage_direction> <character>HULL</character> <parenthetical>( as he gets in . )</parenthetical> <dialogue>What are you doing here? You're going to get me killed.</dialogue> <scene_description>Carver peels away fast . He 's very angry , frightened , too , but that 's hidden .</scene_description> <character>CARVER</character> <dialogue>Where the hell have you been?</dialogue> <character>HULL</character> <dialogue>Doing my job.</dialogue> <scene_description>There 's an indifference to Carver 's authority we have n't heard before . Hull is n't even aware of it , but Carver is .</scene_description> <character>CARVER</character> <dialogue>You violated a direct order to stay away from that bust. As a result, a police informant is dead, a state senator was critically injured in the tunnel pile up and a city policeman was subsequently murdered.</dialogue> <character>HULL</character> <dialogue>I did n't blow my cover.</dialogue> <character>CARVER</character> <dialogue>Do n't get smart with me, motherfucker.</dialogue> <character>HULL</character> <dialogue>Do n't be a shmuck, Gerry. I'm talking to Gallegos. I'm collecting his money. We can set him up right now.</dialogue> <parenthetical>( NOTE : Carver arrives somewhere and parks .</parenthetical> <parenthetical>To be discussed , but let 's say , for now , that we are : . )</parenthetical> <dialogue /> </scene> <scene> <stage_direction>EXT. SANTA MONICA PARKING STRUCTURE - OVERLOOKING OCEAN NIGHT</stage_direction> <scene_description>They get out of the car . Carver takes out a flask , has a drink , offers it to Hull who declines .</scene_description> <character>CARVER</character> <dialogue>Never have, never will.</dialogue> <parenthetical>( puts the flask away . )</parenthetical> <dialogue>I want you to give me your gun. You're coming in right now.</dialogue> <character>HULL</character> <parenthetical>( does n't understand . )</parenthetical> <dialogue>Coming in where?</dialogue> <character>CARVER</character> <dialogue>Your assignment has been terminated. You're not going out there again. If I have to, I'll put you in custody.</dialogue> <character>HULL</character> <parenthetical>( uncomprehending . )</parenthetical> <dialogue>I'm going to have Gallegos in two days.</dialogue> <scene_description>Carver says nothing . Suddenly Hull understands .</scene_description> <character>HULL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>You're protecting him. You're protecting Gallegos.</dialogue> <scene_description>Carver snorts : ridiculous .</scene_description> <character>HULL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>No, of course. That's why you wanted to bust Elias and Betty. I was getting close, and you wanted to cut this off then. What is he, the new Noriega? Helps you fight commies, so you let him sell drugs to the niggers. Two birds with one stone.</dialogue> <character>CARVER</character> <dialogue>You violated orders, so you're through. Do n't make a conspiracy theory out of it.</dialogue> <character>HULL</character> <parenthetical>( laughs . )</parenthetical> <dialogue>I'm through? Then, I might as well have a drink after all.</dialogue> <scene_description>Surprised , Carver reaches for the flask . As he does , Hull grabs him , pushes him out over the edge of the building , holds him there .</scene_description> <character>HULL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Now tell me the truth or they're going to decide your troubles got the best of you.</dialogue> <scene_description>Carver struggles . Hull pushes him out farther . Carver dangles .</scene_description> <character>CARVER</character> <dialogue>You're insane.</dialogue> <character>HULL</character> <dialogue>All the more reason to do what I say. Jesus, Ger, I'm having trouble holding on.</dialogue> <character>CARVER</character> <dialogue>All right!</dialogue> <character>HULL</character> <dialogue>Say it!</dialogue> <character>CARVER</character> <dialogue>It's the State Department.</dialogue> <scene_description>Hull pulls him back in . Carver slumps against the wall , drinks greedily . Hull lets him for a moment , then takes the flask away .</scene_description> <character>CARVER</character> <parenthetical>( continuing . )</parenthetical> <dialogue>I told you, Gallegos's uncle is a big deal down there.</dialogue> <character>HULL</character> <dialogue>Guzman.</dialogue> <character>CARVER</character> <dialogue>Guzman, right. Our government supports Guzman because he's a moderate. That's a right - winger who's pro - U.S.</dialogue> <parenthetical>( he does n't like it either . )</parenthetical> <dialogue>If Gallegos got busted here, it would hurt Guzman's political career there. It's politics, John, not drugs.</dialogue> <character>HULL</character> <dialogue>Drugs is politics. Politics is drugs.</dialogue> <parenthetical>( sickened . )</parenthetical> <dialogue>Christ, Gerry, I dealt drugs. I killed a man. Others died. What did I do all this for? For nothing.</dialogue> <character>CARVER</character> <dialogue>I'm going to Washington, John. I'll bring you with me. We'll have clout, money.</dialogue> <character>HULL</character> <parenthetical>( outraged . )</parenthetical> <dialogue>I did n't do this for clout or money. You said we were gon na do some good.</dialogue> <character>CARVER</character> <dialogue>We tried.</dialogue> <character>HULL</character> <dialogue>Trying's for college boys.</dialogue> <parenthetical>( his head on fire . )</parenthetical> <dialogue>If all there is is power and money. If all there is. then what am I doing here?'Cause I can get more power and money out on the street, I got more there already, than I'd ever get kissing your ass in Washington.</dialogue> <character>CARVER</character> <dialogue>But you ca n't do that, John. It's not you.</dialogue> <character>HULL</character> <dialogue>Me? There is no me. We took care of that. First I was a cop pretending to be a dealer. Now I'm just a dealer pretending to be a cop. Why not stop pretending? Quit the force. Be a dealer.</dialogue> <character>CARVER</character> <dialogue>It's not that simple.</dialogue> <character>HULL</character> <dialogue>My assignment's already terminated. All I have to do is quit. I hereby quit.</dialogue> <parenthetical>( lifts the flask . )</parenthetical> <dialogue>My first one.</dialogue> <parenthetical>( drinks . )</parenthetical> <dialogue>Not so bad.</dialogue> <scene_description>He slips the flask in his pocket , gets in the car , starts engine .</scene_description> <character>CARVER</character> <dialogue>Do n't blow your cover.</dialogue> <scene_description>Hull drives off , leaving Carver alone on the roof .</scene_description> </scene> <scene> <stage_direction>INT. BETTY'S APARTMENT - NIGHT</stage_direction> <scene_description>She lets him in , sees the distress in his face .</scene_description> <character>MCCUTCHEON</character> <dialogue>What's the matter?</dialogue> <scene_description>He shakes his head , drops onto the couch . He takes out the flask , offers it to her . She shakes her head .</scene_description> <character>HULL</character> <dialogue>Who are you, my mother?</dialogue> <scene_description>He laughs , takes a drink . She 's surprised , says nothing .</scene_description> <character>MCCUTCHEON</character> <dialogue>Tell me.</dialogue> <character>HULL</character> <dialogue>Tell you what?</dialogue> <character>MCCUTCHEON</character> <dialogue>What you came to say.</dialogue> <character>HULL</character> <dialogue>What did I come to say?</dialogue> <character>MCCUTCHEON</character> <dialogue>Then tell me anything. Something about you. Something real.</dialogue> <character>HULL</character> <parenthetical>( long beat ; another drink . )</parenthetical> <dialogue>When I was young, I occasionally stole things.</dialogue> <parenthetical>( laughs to himself . )</parenthetical> <dialogue>My father died when I was ten. Right in front of me.</dialogue> <scene_description>The revelation is so sudden it surprises Hull as much as Betty .</scene_description> <character>HULL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Heart attack. He just fell down. He said, `` I love you,'' then died in my arms.</dialogue> <character>MCCUTCHEON</character> <dialogue>Oh, baby.</dialogue> <scene_description>She holds him , and he lets himself be held .</scene_description> <character>MCCUTCHEON</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Tell me what's going on, John?</dialogue> <character>HULL</character> <parenthetical>( does n't want to talk about that . )</parenthetical> <dialogue>You're not doing the stuff anymore, are you?</dialogue> <scene_description>Pulls playfully at her nose .</scene_description> <character>MCCUTCHEON</character> <dialogue>No. Do n't change the subject.</dialogue> <character>HULL</character> <dialogue>How is that?</dialogue> <character>MCCUTCHEON</character> <dialogue>It's hard. John!</dialogue> <character>HULL</character> <parenthetical>( trying to tell without telling . )</parenthetical> <dialogue>Things are getting, they're getting a little. confusing. I had certain plans, and people have n't come through exactly as they promised.</dialogue> <character>MCCUTCHEON</character> <dialogue>What do you expect with those people?</dialogue> <character>HULL</character> <parenthetical>( laughs . )</parenthetical> <dialogue>It's not just those people. It's. it's bigger than that. It's of everybody. Present company excluded.</dialogue> <character>MCCUTCHEON</character> <dialogue>You've got to stop this, John, you know that. You got ta get out.</dialogue> <character>HULL</character> <dialogue>I ca n't.</dialogue> <character>MCCUTCHEON</character> <dialogue>Of course, you can.</dialogue> <character>HULL</character> <parenthetical>( almost angry . )</parenthetical> <dialogue>No! This is what I'm supposed to do.</dialogue> <character>MCCUTCHEON</character> <dialogue>Supposed to? Who said you're supposed to?</dialogue> <character>HULL</character> <dialogue>The whole fuckin' world. You think I did n't try something else? But everything funnels you right back here. Like it's where you had to go all along.</dialogue> <character>MCCUTCHEON</character> <dialogue>But you know what you're doing, do n't you, selling this stuff? Doing to our own.</dialogue> <character>HULL</character> <dialogue>If I tried to get out now, they'd kill me.</dialogue> <character>MCCUTCHEON</character> <parenthetical>( tortured . )</parenthetical> <dialogue>I ca n't be with somebody's who involved in drugs.</dialogue> <scene_description>He nods . He knows . He 's even happy about it . But she wo n't yield . Finally he gets up and walks back out the door .</scene_description> </scene> <scene> <stage_direction>EXT. GOPHER'S BUILDING - 4 A.M.</stage_direction> <scene_description>The neighborhood is reminiscent of the one where Joe Stevens Sr. was killed . The rap club still pumps MUSIC onto the 4 A.M. streets where whores , junkies , children , teenagers with beepers and Nikes , welfare mothers roam as if it were daytime anywhere else . Their eyes , yearning , sullen , vital , hopeless and hoping stare at . HULL Everyone knows what he is : the Black Man with the Big Car . They do n't remember when he was just another hustler making street buys . Now they hate him , revere him , want to be him , not caring what it entails . Every eye follows as . He and Elias cross the street toward Gopher 's door . Hull 's eyes do n't go right or left . He 's a driven man now .</scene_description> </scene> <scene> <stage_direction>INT. GOPHER'S ROOM - NIGHT</stage_direction> <scene_description>Gopher has just been roused from sleep . A light in his face , Hull and Elias looming over him .</scene_description> <character>HULL</character> <dialogue>There've got to be more. We have a million two, we owe Gallegos one eight.</dialogue> <character>GOPHER</character> <dialogue>I told you everyone. Everyone who owed him, everyone he. One eight? He's lying. Barbosa barely owed him a million.</dialogue> <scene_description>Hull and Elias look at each other .</scene_description> </scene> <scene> <stage_direction>INT. BETTY'S STORE - MORNING</stage_direction> <scene_description>Taft is showing her photocopies of phone bills , bank transactions , invoices . She 's obviously upset .</scene_description> <character>TAFT</character> <dialogue>I got every money transfer, every phone call, all your laundry tickets.</dialogue> <character>MCCUTCHEON</character> <parenthetical>( miserable . )</parenthetical> <dialogue>What do you want?</dialogue> <character>TAFT</character> <dialogue>John Hull.</dialogue> <character>MCCUTCHEON</character> <dialogue>I ca n't!</dialogue> <character>TAFT</character> <dialogue>Or you'll go away'til you're a dried up old woman, and when you come out, ai n't nobody gon na want you.</dialogue> <scene_description>She covers her face .</scene_description> </scene> <scene> <stage_direction>EXT. EAST L.A. STREET/INT. CAR - DAY</stage_direction> <scene_description>Elias driving a car we have n't seen before and snickering to himself at some private joke .</scene_description> <character>HULL</character> <dialogue>What are you laughing at?</dialogue> <scene_description>Elias shakes his head : nothing . He laughs . They pull into the lot beside a movie theater .</scene_description> </scene> <scene> <stage_direction>INT. THEATER - DAY</stage_direction> <scene_description>A Technicolor Spanish melodrama is winding to its lurid end . A door in back opens , and a burst of daylight reveals Hull and Elias being brought in by a guard and met by Molto . Molto and the guard frisk them , take their guns and money satchels , make them wait a moment until . The movie ends . The house lights come on revealing Ramon Gallegos as the only spectator in the theater . He beckons . Molto and the guard bring Hull and Elias down the aisle to him . Gallegos looking in the satchels . A tense moment .</scene_description> <character>HULL</character> <dialogue>It is n't one eight.</dialogue> <parenthetical>( off Gallegos . )</parenthetical> <dialogue>It's a million one. That's all Barbosa owed, it's all we're paying.</dialogue> <scene_description>Gallegos is stern for a moment , then laughs .</scene_description> <character>GALLEGOS</character> <dialogue>Big brass balls. Collecting money makes you strong.</dialogue> <scene_description>Everybody relaxes . Gallegos scribbles something on a piece of paper , hands it to the guard who feeds it into a fax machine .</scene_description> <character>ELIAS</character> <dialogue>What's that?</dialogue> <character>GALLEGOS</character> <dialogue>I'm telling our suppliers they got paid. They'll be very happy. I'm happy.</dialogue> <character>ELIAS</character> <dialogue>And we're happy. Everybody's happy. It's a happy world.</dialogue> <scene_description>Elias seems a bit mad , but no one minds . He and Hull are ready to go . He gestures to Molto , wants his gun back .</scene_description> <character>GALLEGOS</character> <dialogue>So, how can I express my gratitude for a job well done?</dialogue> <character>ELIAS</character> <dialogue>We want Barbosa's business.</dialogue> <scene_description>Gallegos gestures to Molto to give them the guns .</scene_description> <character>GALLEGOS</character> <dialogue>Done. Of course.</dialogue> <character>ELIAS</character> <dialogue>And, also, your business. All this. Your money, your dope, everything.</dialogue> <scene_description>Hull looks at Elias ; what 's going on ?</scene_description> <character>GALLEGOS</character> <parenthetical>( smiles . )</parenthetical> <dialogue>You're tougher than I thought, but not that tough.</dialogue> <character>ELIAS</character> <dialogue>How tough is enough?</dialogue> <scene_description>He brings up the gun and SHOOTS Gallegos in the head . Hull and the guards are frozen . Then everyone goes for a gun . Elias SHOOTS the guard . Hull has his gun to Molto 's head and screams at Elias :</scene_description> <character>HULL</character> <dialogue>No!</dialogue> <scene_description>Meaning do n't shoot him . But Elias has no intention of doing so .</scene_description> <character>ELIAS</character> <parenthetical>( breathless . )</parenthetical> <dialogue>Thank you, John. I could n't have done that without you.</dialogue> <character>HULL</character> <parenthetical>( barely able to speak . )</parenthetical> <dialogue>Jesus Christ.</dialogue> <scene_description>He ca n't believe it : the guy he 's been after the whole time is dead on the floor .</scene_description> <character>ELIAS</character> <dialogue>You taught me to take my work seriously.</dialogue> <character>HULL</character> <dialogue>What's going on here, David?</dialogue> <character>ELIAS</character> <dialogue>We're taking over.</dialogue> <character>HULL</character> <dialogue>You're doing too much stuff.</dialogue> <character>ELIAS</character> <dialogue>No, I'm very clear. I'm very, very clear.</dialogue> <parenthetical>( to Molto . )</parenthetical> <dialogue>Ahora, usted nos assistamos. Enteindo?</dialogue> <scene_description>Molto nods .</scene_description> </scene> <scene> <stage_direction>EXT. THEATER PARKING LOT/INT. CAR - DAY</stage_direction> <scene_description>Hull , Elias and Molto getting into their car . Molto is recalcitrant . Elias pistol whips him . Hull stops him .</scene_description> </scene> <scene> <stage_direction>EXT. SAN FERNANDO VALLEY/INT. CAR - DAY</stage_direction> <scene_description>The car passes through a development of suburban homes . They enter a driveway . Two boys play in the yard .</scene_description> <character>ELIAS</character> <parenthetical>( to Molto . )</parenthetical> <dialogue>Donde esta?</dialogue> <scene_description>Molto is silent . Elias FIRES a bullet right between his feet . Molto jumps . The boys turn . Hull grabs the gun away . We feel the toll Elias 's madness is taking on him .</scene_description> <character>HULL</character> <dialogue>What the fuck's the matter with you?</dialogue> <character>ELIAS</character> <dialogue>It works, John. It works.</dialogue> <scene_description>And , indeed , Molto is pointing to a Winnebago parked at the rear of the property .</scene_description> </scene> <scene> <stage_direction>EXT. REAR OF PROPERTY - DAY</stage_direction> <scene_description>Winnebago . With a tire iron , Hull snaps off the padlock that holds the rear door closed . He opens the door . Money gushes out . He slams it closed .</scene_description> <character>HULL</character> <dialogue>Jesus.</dialogue> <scene_description>He , Elias and Molto are on hands and knees scooping it up . SAME - LATER Molto tied to a tree . Elias is giving him instructions while , strangely , removing Molto 's shoes and socks .</scene_description> <character>ELIAS</character> <parenthetical>( to Molto . )</parenthetical> <dialogue>Disce a Senor Guzman que.</dialogue> <parenthetical>( his Spanish is n't good enough . )</parenthetical> <dialogue>. that we have his money, and we're willing to talk as soon as he comes to town. We'll know how to reach him. Okay?</dialogue> <scene_description>Molto just glares at him . Elias smiles , takes the shoes and socks and all the contents of Molto 's into the Winnebago , and he and Hull drive away , leaving the car behind .</scene_description> </scene> <scene> <stage_direction>EXT./INT. A PARKING GARAGE/INT. WINNEBAGO - EVENING</stage_direction> <scene_description>The Winnebago enters the garage , Elias greeting the attendant , `` Hey , Frank . '' Frank waves him in . The garage is filled with various RVs . Hull pulls the Winnebago into an empty spot beside Elias 's car and gets out . Elias remains in the cabin making calculations .</scene_description> <character>ELIAS</character> <dialogue>Approximating the cubic capacity and depending on the denominations of the bills, it's somewhere between fifty million and two hundred million dollars. Right back there.</dialogue> <scene_description>As he does , Hull checks his gun , walks around behind the vehicle and prepares to shoot Elias in the back of the head through the open window . Elias finishes his money report , and sits there as if unaware of Hull , but :</scene_description> <character>ELIAS</character> <parenthetical>( continuing ; not turning around . )</parenthetical> <dialogue>Think I'm crazy?</dialogue> <character>HULL</character> <dialogue>Yes.</dialogue> <parenthetical>( blowing up , gun still on him . )</parenthetical> <dialogue>I ca n't believe you got us into this. All of fucking Latin America is going to be after our asses, including Renaldo Guzman who's friends with fucking George Bush.</dialogue> <character>ELIAS</character> <dialogue>I know they're coming after us. I want them to. We'll give them the money, but we'll make a deal for ourselves. We'll get what we need for the synthetic drugs. I've thought it all out. I've been thinking it out for years.</dialogue> <scene_description>Hull uncocks the gun , rubs it against his burning face . Elias turns around , embraces him .</scene_description> <character>ELIAS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>We're going to have everything. Do n't you want everything, John?</dialogue> <character>HULL</character> <dialogue>They're going to get your family, David. They'll kill your wife and daughter.</dialogue> <character>ELIAS</character> <parenthetical>( serene . )</parenthetical> <dialogue>Nancy and Miranda left the country two days ago.</dialogue> <character>HULL</character> <dialogue>You knew about this then?</dialogue> <scene_description>Elias smiles .</scene_description> <character>HULL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>What about Betty?</dialogue> </scene> <scene> <stage_direction>EXT. BETTY'S JEWELRY SHOP - EVENING</stage_direction> <scene_description>A car SQUEALS to a stop . Molto and three thugs smash through the glass door . They disappear into the store where things can be heard BREAKING . They emerge a moment later , jump into the car .</scene_description> </scene> <scene> <stage_direction>EXT. SYNAGOGUE - EVENING</stage_direction> <scene_description>Hull 's car races up . He jumps out , dashes toward the building .</scene_description> </scene> <scene> <stage_direction>INT. SYNAGOGUE SOCIAL HALL - EVENING</stage_direction> <scene_description>Forty PEOPLE on folding chairs . Hull enters on a dead run . He stops short when he sees : BETTY at the front . He signals to her , but she 's already saying :</scene_description> <character>MCCUTCHEON</character> <dialogue>Hi, my name is Betty.</dialogue> <character>EVERYONE IN THE ROOM</character> <dialogue>Hi, Betty!</dialogue> <character>MCCUTCHEON</character> <dialogue>My name is Betty, I'm a drug addict. And I've been clean for nineteen days.</dialogue> <scene_description>The room bursts into APPLAUSE . She sees Hull at the back ; he signals to her , but she goes on .</scene_description> <character>MCCUTCHEON</character> <parenthetical>( continuing . )</parenthetical> <dialogue>I've been using drugs and selling them, and I've wanted to stop for a long time, and the only way I did was because I met a man I loved and who loved me. I know that's not what I'm supposed to say. I'm supposed to say there was a higher power, and maybe there was, behind it all, but this man is strong and his love made me strong enough that I could start, or at least think about a life that did n't have drugs in it.</dialogue> <scene_description>She 's looking right at Hull as she speaks . He 's torn between the danger he knows she 's in and his emotion at what she 's saying .</scene_description> </scene> <scene> <stage_direction>EXT. SYNAGOGUE - EVENING</stage_direction> <scene_description>Hull hurrying Betty toward his car . She 's protesting .</scene_description> <character>MCCUTCHEON</character> <dialogue>I've got to get clothes.</dialogue> <character>HULL</character> <dialogue>You ca n't go back.</dialogue> </scene> <scene> <stage_direction>INT. HULL'S CONDO - EVENING</stage_direction> <scene_description>Molto and men pouring through it . In frustration , Molto smashes the table Hull had fussed over when Elias put his feet up .</scene_description> </scene> <scene> <stage_direction>EXT. MOTEL COURTYARD - NIGHT</stage_direction> <scene_description>Hull and Betty hurry toward his room carrying shopping bags , a newly bought suitcase . They see . COPS They freeze , turn , ready to bolt . But more cops behind them . A panic , yet no one 's coming after them . They walk on . The cops are going into and coming out of Belinda 's room .</scene_description> </scene> <scene> <stage_direction>INT. BELINDA'S ROOM - NIGHT</stage_direction> <scene_description>The fat Blonde Woman is talking to a policewoman . James sits on the bed staring at . BELINDA who lies dead on a floor littered with crack vials . Hull picks up a vial , holds it up to the Blonde Woman with a question .</scene_description> <character>BLONDE WOMAN</character> <parenthetical>( nodding . )</parenthetical> <dialogue>She got a fever and just burned up. She just burned up all of a sudden. It must have been bad stuff.</dialogue> <character>MCCUTCHEON</character> <parenthetical>( indicating James . )</parenthetical> <dialogue>He should n't be here.</dialogue> <character>BLONDE WOMAN</character> <parenthetical>( takes his hand . )</parenthetical> <dialogue>Come on, James, we'll go get a burrito.</dialogue> <scene_description>The boy allows himself to be led out . Betty looks at Hull who 's in a private hell .</scene_description> </scene> <scene> <stage_direction>EXT. COURTYARD - NIGHT</stage_direction> <scene_description>Hull and Betty are about to enter Hull 's room . The door is ajar .</scene_description> </scene> <scene> <stage_direction>INT. HULL'S ROOM - NIGHT</stage_direction> <scene_description>Taft stands at the dresser . He 's found Hull 's collection of memorabilia and is looking at the photo of his children .</scene_description> <character>TAFT</character> <dialogue>Cute kids.</dialogue> <character>HULL</character> <parenthetical>( angry at the invasion . )</parenthetical> <dialogue>Give me that.</dialogue> <scene_description>He snatches away the photo , but not before Betty sees it . She reaches out her hand . He reluctantly turns it over to her .</scene_description> <character>TAFT</character> <dialogue>Tell me something, who the fuck are you?</dialogue> <scene_description>Hull does n't answer , collects the rest of his things , including the bloody money , stuffs it back in the envelope .</scene_description> <character>TAFT</character> <parenthetical>( continuing . )</parenthetical> <dialogue>'Cause I do n't think you're quite the asshole you're trying to be.</dialogue> <character>HULL</character> <dialogue>Look, Mr. Taft, that's your name, right? Leave me alone. I got things on my mind.</dialogue> <character>TAFT</character> <dialogue>I'd think you would. You better have your goddamn life on your mind, or it's gon na get away from you. It's gon na burn up like that poor woman across the way. Like all of you's gon na burn.</dialogue> <character>HULL</character> <dialogue>And what do you do, Mr. Taft, except chase bad guys up and down the street with your dirty partner, never catching anybody important?</dialogue> <character>TAFT</character> <dialogue>I do what I can. Do you do what you can?</dialogue> <parenthetical>( Hull says nothing . )</parenthetical> <dialogue>Maybe my partner was dirty. Maybe the chief's dirty. And the mayor. And the President. Maybe God Himself's taking something on the side. That's their problem. But I'll bust'em if I can.</dialogue> <character>HULL</character> <parenthetical>( without force . )</parenthetical> <dialogue>Get out of my room.</dialogue> <character>TAFT</character> <dialogue>Do n't deny who you are.</dialogue> <scene_description>He leaves . Hull turns to Betty who is still holding the photo of his children . He gently takes it , looks at it , seems to draw both succor and pain from it . He gets out Carver 's flask and tries to drink , but it 's empty .</scene_description> <character>HULL</character> <dialogue>They're my children. They live in Cleveland with their mother. I'm divorced from her. I have n't seen them in. some time. I want to, but I have n't been able to arrange it.</dialogue> <character>MCCUTCHEON</character> <dialogue>How much else do n't I know about you?</dialogue> <character>HULL</character> <parenthetical>( trying to make a joke . )</parenthetical> <dialogue>Everything else. Everything else is. I do n't know.</dialogue> <character>MCCUTCHEON</character> <dialogue>Taft has all the evidence about my laundering.</dialogue> <scene_description>Hull 's upset .</scene_description> <character>MCCUTCHEON</character> <dialogue>He's going to put me in jail for a long time unless I give you up.</dialogue> <character>HULL</character> <dialogue>Do it.</dialogue> <character>MCCUTCHEON</character> <dialogue>I ca n't. So, I've got to get away. Far away. But I need money.</dialogue> <character>HULL</character> <parenthetical>( laughs . )</parenthetical> <dialogue>Money? I got money.</dialogue> <scene_description>He empties his pockets of all that gushed out of the Winnebago , empties a satchel as well until it fills the room like snow .</scene_description> </scene> <scene> <stage_direction>EXT. MOTEL - NIGHT</stage_direction> <scene_description>Hull putting Betty into an airport limousine .</scene_description> <character>HULL</character> <parenthetical>( to the driver . )</parenthetical> <dialogue>International terminal.</dialogue> <parenthetical>( to Betty . )</parenthetical> <dialogue>I'll meet you there in a week.</dialogue> <scene_description>She kisses him . He 's about to close the door . She stops it .</scene_description> <character>MCCUTCHEON</character> <dialogue>You know the first time, when I saw you in the bar?</dialogue> <character>HULL</character> <parenthetical>( smiles at the memory . )</parenthetical> <dialogue>You would n't even look at me.</dialogue> <character>MCCUTCHEON</character> <dialogue>'Cause I knew what you were thinking. You were judging me.</dialogue> <character>HULL</character> <dialogue>No, I was n't, I was.</dialogue> <character>MCCUTCHEON</character> <dialogue>You were. Your eyes were like an angel in my heart telling me I should be good, and I did n't want to hear it.</dialogue> <scene_description>This news startles Hull , yet , strangely , he senses its truth , and the sweetness is more than he can bear .</scene_description> <character>MCCUTCHEON</character> <parenthetical>( continuing . )</parenthetical> <dialogue>That's you, too. Maybe this is you, I do n't know, but I know that's you.</dialogue> <scene_description>She closes the door . The car pulls away . In an unmarked car up the street , Taft picks up the radio .</scene_description> </scene> <scene> <stage_direction>EXT. A LATIN AMERICAN CONSULATE - DAY</stage_direction> <scene_description>A limousine pulls into the gate and disgorges RENALDO GUZMAN , 55 , and his wife , 25 . They 're shown into the consulate . The limousine pulls out onto the street and parks . Gopher appears , knocks on the driver 's window . It comes down . They chat briefly in Spanish . Gopher opens up a cellular phone .</scene_description> </scene> <scene> <stage_direction>INT. A HOTEL ROOM - SANTA MONICA - DAY</stage_direction> <scene_description>Overlooking the ocean . Hull pacing nervously , Elias relaxed , reading the paper .</scene_description> <character>HULL</character> <dialogue>What if we forget all this? Take ten million each and disappear. Leave the country. New identities, new lives.</dialogue> <character>ELIAS</character> <dialogue>What's the matter, John? Having doubts?</dialogue> <character>HULL</character> <dialogue>Yeah.</dialogue> <scene_description>A phone RINGS . Elias picks up his own cellular .</scene_description> <character>ELIAS</character> <dialogue>Yes. Where? No! No way. We pick the time and place. Otherwise no meet.</dialogue> <parenthetical>( looks to Hull who nods his agreement . )</parenthetical> <dialogue>Got a pencil?</dialogue> </scene> <scene> <stage_direction>EXT. CONSULATE - LIMO - DAY</stage_direction> <scene_description>Gopher hands a piece of paper to the limo driver . He walks away . AROUND THE CORNER As he 's about to get into a car , Taft grabs him . Gopher is surprised and not pleased .</scene_description> </scene> <scene> <stage_direction>EXT. PARKING GARAGE - NIGHT</stage_direction> <scene_description>Where Hull and Elias left the Winnebago . Guzman 's limo approaches . Frank , the attendant , waves it on .</scene_description> </scene> <scene> <stage_direction>INT. GARAGE - NIGHT</stage_direction> <scene_description>The limo climbs the ramps until it comes to Elias 's car , parked where the Winnebago was ; the Winnie is nowhere in sight . The limo pulls alongside . Hull and Elias get out . Molto gets out of the limo . Then Renaldo Guzman .</scene_description> <character>ELIAS</character> <dialogue>We have a proposal to make. We regret what happened to your nephew.</dialogue> <character>GUZMAN</character> <dialogue>Say what you have to say.</dialogue> <character>ELIAS</character> <dialogue>We all know that your cousin's business is coming to an end. Costs have climbed while profits and the market -</dialogue> <scene_description>Guzman waves : get to the point .</scene_description> <character>ELIAS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>We have developed a new product : simpler, cheaper to manufacture, superior quality and completely synthetic. Therefore, no growing, no refining, no peasants, no importing, no customs agents. Here's a detailed prospectus with anticipated cash flow and so forth.</dialogue> <scene_description>He hands a copy to Guzman and the lawyer .</scene_description> <character>GUZMAN</character> <parenthetical>( to Molto , teasing Elias . )</parenthetical> <dialogue>The racist Americans just want to cut us poor Hispanics out of the market.</dialogue> <character>ELIAS</character> <dialogue>There are no Americans anymore, Mr. Guzman, you know that. No Hispanics, no Japanese, no blacks, no whites, no anything. There are only rich people and poor people. We're rich, so we're on the same side.</dialogue> </scene> <scene> <stage_direction>EXT. GARAGE - NIGHT</stage_direction> <scene_description>Taft with Gopher in his car .</scene_description> <character>TAFT</character> <dialogue>Do they have money in there?</dialogue> <character>GOPHER</character> <dialogue>I do n't know.</dialogue> <character>TAFT</character> <dialogue>They would n't meet here otherwise.</dialogue> <scene_description>Gopher shrugs ; a decision : Taft picks up his radio .</scene_description> <character>TAFT</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Okay, everybody, here's the play.</dialogue> </scene> <scene> <stage_direction>INT. GARAGE - NIGHT</stage_direction> <character>ELIAS</character> <dialogue>We're prepared to give you 80 % of the money. The remainder you invest in our business with proceeds paid out according to the figures there.</dialogue> <scene_description>He indicates the prospectus that Guzman has been looking through .</scene_description> <character>GUZMAN</character> <dialogue>This looks interesting. I'd have to confirm everything, of course. Do you have a sample of the product?</dialogue> <scene_description>Elias produces one . Guzman gestures to Molto . Molto samples it . Molto 's eyes widen .</scene_description> <character>MOLTO</character> <dialogue>Buy it!</dialogue> <character>GUZMAN</character> <dialogue>Where is our money?</dialogue> <scene_description>Elias hands him a key , points to a different Winnebago . Molto takes the key , unlocks the back : money . He signals okay to Guzman . Suddenly : SIRENS . Police cars wail into the garage . The THWACK - THWACK and sweeping light of a helicopter descend toward the roof -LRB- though we never see the copter -RRB- .</scene_description> <character>GUZMAN</character> <parenthetical>( continuing ; anger . )</parenthetical> <dialogue>You set this up.</dialogue> <character>HULL</character> <dialogue>They're after us, not you.</dialogue> <scene_description>Everybody scatters . The garage is a labyrinth of cement stairwells , ramps , hundreds of RVs to hide between , under and so forth . Lots of NOISE , lights , but mostly we see Hull and Elias dodging here , avoiding the action .</scene_description> </scene> <scene> <stage_direction>INT. ANOTHER PART OF THE GARAGE - NIGHT</stage_direction> <scene_description>Molto caught between the lights . He draws his gun . GUNFIRE . He 's cut down .</scene_description> <character>TAFT</character> <parenthetical>( screaming . )</parenthetical> <dialogue>Where are the rest of them?</dialogue> </scene> <scene> <stage_direction>EXT. PARKING GARAGE - NIGHT</stage_direction> <scene_description>Cars with rotating dome lights , but not many cops . Hull and Elias emerge from a shadowy doorway and make their way at a casual pace beyond the perimeter of police cars , quickly mingling with other spectators . They continue down .</scene_description> </scene> <scene> <stage_direction>EXT. A QUIET SIDE STREET - NIGHT</stage_direction> <scene_description>Strolling now . Elias elated , uncontained joy .</scene_description> <character>ELIAS</character> <dialogue>We did it. Twenty million. Twenty fucking million. We're going to have synthetics. We're gon na be rich. We're gon na.</dialogue> <scene_description>Hull stops walking and just stands there .</scene_description> <character>ELIAS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>What's the matter, John? Be happy. Your whole life has just been solved.</dialogue> <character>VOICE</character> <parenthetical>( behind them . )</parenthetical> <dialogue>Stop! Police!</dialogue> <scene_description>In one motion , Elias draws his gun , turns and FIRES . The figure goes down . Elias ca n't believe he hit him . Hull starts toward the figure .</scene_description> <character>ELIAS</character> <parenthetical>( heading the other way . )</parenthetical> <dialogue>John, where are you going?</dialogue> <scene_description>Taft - on the ground .</scene_description> <character>HULL</character> <dialogue>Oh, Jesus, no.</dialogue> <scene_description>He drops to his knees . Blood oozes from Taft 's chest .</scene_description> <character>ELIAS</character> <dialogue>John, what the hell are you doing? Let's get out of here.</dialogue> <scene_description>Hull tries to hold closed the wound . The posture duplicates Hull with his dying father . He feels for a pulse . For breath .</scene_description> <character>HULL</character> <parenthetical>( distraught . )</parenthetical> <dialogue>He's dying.</dialogue> <character>ELIAS</character> <dialogue>Let him die. Let him die twice. Come one.</dialogue> <scene_description>He pulls at Hull who wo n't go . Hull does mouth - to - mouth . Taft opens his eyes , looks up at him .</scene_description> <character>HULL</character> <parenthetical>( Says to Taft whatever a CPR - trained policeman would say in this situation . )</parenthetical> <parenthetical>( to Elias . )</parenthetical> <dialogue>Get help.</dialogue> <character>ELIAS</character> <dialogue>Are you kidding me?</dialogue> <character>TAFT</character> <parenthetical>( to Hull , getting it . )</parenthetical> <dialogue>Oh, man, you're a cop. You're a cop, are n't you?</dialogue> <character>HULL</character> <parenthetical>( with difficulty , as if against his will . )</parenthetical> <dialogue>Yeah, I'm a cop. I'm a fucking cop.</dialogue> <character>ELIAS</character> <parenthetical>( laughs . )</parenthetical> <dialogue>Oh, really? Where's you badge?</dialogue> <character>HULL</character> <dialogue>I do n't have one. I'm undercover. Get help, David.</dialogue> <character>ELIAS</character> <dialogue>John, that's a cop. He tried to kill you.</dialogue> <character>HULL</character> <dialogue>He did n't know.</dialogue> <character>ELIAS</character> <dialogue>Oh, he did n't know. I do n't know. Maybe you do n't know. Maybe you think you're a cop because. because.</dialogue> <character>HULL</character> <dialogue>Drop the gun, put your hands against the car. Spread your legs. Police!</dialogue> <scene_description>Taft grunts once , stiffens .</scene_description> <character>HULL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>My God! Please.</dialogue> <scene_description>The pulse is gone . Hull begins to perform CPR .</scene_description> <character>ELIAS</character> <dialogue>Okay, let's say you're a cop. Be a cop.</dialogue> <scene_description>Hull keeps doing CPR .</scene_description> <character>ELIAS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>We've still got the money. We put it into Randy's chemistry set. In five years we're worth five hundred million each, minimum. You'll be one of the richest black men in America. Richer than Cosby. Who gives a shit how you got it? You think the white ones were honest?</dialogue> <scene_description>Hull keeps working on Taft .</scene_description> <character>ELIAS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Is this asshole all that stands between you and greatness? Let me do you a favor.</dialogue> <scene_description>He puts a gun to Taft 's head and FIRES . In a reflex , Hull draws his own gun , SHOOTS Elias in the stomach . Stunned , he wobbles backward a few steps . Sits on the street .</scene_description> <character>ELIAS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Gee, John, that's kind of an extreme reaction.</dialogue> <scene_description>Hull is stunned he did it . And this finally attracts the police who see a black man with a gun who just shot a white man . Hull goes to Elias who 's dead . A POLICEMAN pulls him off , beating him with a gun .</scene_description> <character>POLICEMAN</character> <dialogue>Fucking nigger.</dialogue> </scene> <scene> <stage_direction>INT. LOS ANGELES COUNTY JAIL - DAY</stage_direction> <scene_description>Hull , bandaged , wearing prison blues , walking with Carver .</scene_description> <character>HULL</character> <dialogue>What about Guzman?</dialogue> <character>CARVER</character> <dialogue>He vanished, thank God, or we'd both be in deep doo - doo. At least you got Gallegos.</dialogue> <character>HULL</character> <dialogue>Elias did. And everything goes on as before.</dialogue> <character>CARVER</character> <dialogue>That's the drug game. Plus a change. I want you to come back to work for me. You'll beat all charges on a technicality and go back to who you were.</dialogue> <character>HULL</character> <dialogue>Who was I, Ger?</dialogue> <character>CARVER</character> <dialogue>Does anyone really know?</dialogue> <character>HULL</character> <dialogue>I have other things to do.</dialogue> <character>CARVER</character> <dialogue>Like travel? Tangiers, maybe?</dialogue> <scene_description>Hull looks at him ; how did he know ?</scene_description> <character>CARVER</character> <parenthetical>( continuing . )</parenthetical> <dialogue>I'm God, remember?</dialogue> <scene_description>He beckons him . He walks him over to a cell . Through a one - way window they see : BETTY alone in the cell , unaware she 's being watched .</scene_description> <character>CARVER</character> <dialogue>Go back to work, she walks out of here. Otherwise, she's up on multiple counts, and I'll see to it the judge runs them consecutively.</dialogue> <scene_description>Hull just looks at him . Carver shrugs apologetically .</scene_description> </scene> <scene> <stage_direction>INT. ANOTHER ROOM</stage_direction> <scene_description>Absolutely white . Not a window , not a stick of furniture . The only deviation is Hull in prison blues . The door opens , Betty comes in wearing prison yellows . She sits on a nearly invisible chair . They know they 're being watched .</scene_description> <character>MCCUTCHEON</character> <dialogue>They want me to testify against you. I said I would n't.</dialogue> <character>HULL</character> <dialogue>You have to. It's all set up. That's how you're getting off.</dialogue> <scene_description>She shakes her head in cynical understanding . How difficult it is to get back to an honorable life . He takes her hand .</scene_description> <character>HULL</character> <parenthetical>( continuing ; with difficulty . )</parenthetical> <dialogue>My father did n't have a heart attack.</dialogue> <scene_description>She looks at him .</scene_description> <character>HULL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>He was shot robbing a liquor store. Trying to rob it. I lied about that.</dialogue> <character>MCCUTCHEON</character> <dialogue>Baby, why are you telling me this?</dialogue> <character>HULL</character> <dialogue>I had to start somewhere. There're other things you do n't know.</dialogue> <scene_description>AN IRIS SHOT - HULL AND BETTY Silent . Kissing . Beginning to make love . Hull extracts himself , gives the finger to the POV and stuffs a bit of tissue in the iris , blocking our view .</scene_description> </scene> <scene> <stage_direction>EXT. ROOM - DAY</stage_direction> <scene_description>Carver takes his eye from the now obscured peephole .</scene_description> </scene> <scene> <stage_direction>EXT. A CEMETERY - DAY</stage_direction> <scene_description>A funeral . Taft 's wife and children -LRB- from the wallet photo -RRB- leave the graveside with the rest of the funeral party . When everyone is gone , Hull approaches the grave . From his pocket , he removes the four blood - soaked bills his father gave him , and wedges these among the stems of flowers that already cover the plot . He 's silent a moment , then he gets up . He joins Carver who 's standing with Hull 's children . The kids each take his hand , they walk together .</scene_description> <character>CARVER</character> <dialogue>Betty walked out of court free this morning. That's my side of the deal.</dialogue> <character>HULL</character> <parenthetical>( to the children . )</parenthetical> <dialogue>You two run on ahead.</dialogue> <scene_description>They do . Hull watches them go .</scene_description> <character>CARVER</character> <dialogue>Her probation gets revoked the minute you fuck up. I want you to stay away from her altogether.</dialogue> <character>HULL</character> <dialogue>You know the difference between a black man and a nigger?</dialogue> <scene_description>Carver smiles , shakes his head . He likes a good joke . Hull punches him so hard in the stomach that he goes to his knees .</scene_description> <character>HULL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>The nigger's the one who'd even think about doing what you tell him.</dialogue> <scene_description>He walks away . Still on his knees , doubled over , Carver whispers after him :</scene_description> <character>CARVER</character> <dialogue>Do n't blow your cover.</dialogue> <scene_description>FADE OUT . THE END</scene_description> </scene> </script>

In Cleveland, 1972, Russell Stevens Jr. is the son of a drug addicted, alcoholic man, who tells his son never to be like him. Stevens then witnesses his father getting shot and killed while robbing a liquor store. He swears that he will never end up like him. In 1991, Stevens is a police officer. He is recruited by DEA Special Agent Gerald Carver to go undercover in Los Angeles, claiming that his criminal-like character traits will be more of a benefit undercover than they would serve him as a uniformed policeman. Stevens poses as drug dealer "John Hull" in order to infiltrate and work his way up the network of the West Coast's largest drug importer, Anton Gallegos and his uncle Hector Guzmán, a South American politician. Stevens relocates to a cheap hotel in L.A. and begins dealing cocaine. One day, Stevens is arrested by the devoutly religious LAPD Narcotics Detective Taft and his corrupt partner Hernández, as he buys a kilogram in a set-up by Gallegos' low-level street supplier Eddie Dudley. At his arraignment, Stevens discovers that he bought baby laxative instead of cocaine and his case is dismissed. Stevens' self-appointed attorney David Jason, who is also a drug trafficker in Gallegos' network, rewards Stevens' silence with more cocaine and introduces Stevens to Felix Barbossa, the underboss to Gallegos. Felix kills Eddie when he finds out he's working with the LAPD and enlists Stevens as Eddie's replacement. Stevens develops a romance with Betty McCutcheon, the manager of an art dealership which is a front to launder Jason's drug money. When one of Stevens' dealers is murdered by a rival dealer, Stevens kills him and is awarded a partnership in Jason's new business: distribution of a synthetic chemical variant of cocaine. Felix is a confidential informant working with Detective Hernández. Felix immediately gives up Stevens, Jason, and Betty, and wants Jason killed during the arrest because of his business venture. Carver knows about this, but refuses to interfere forcing Stevens to violate orders and stop it himself by exposing Felix, which results in a vengeful Jason killing him, while Betty reneges the drug business because of it with Stevens' protection. Gallegos comes to meet with Jason and Stevens and informs them that they have inherited Felix's debts to him. Later that day, Stevens meets with Carver to tell him about his meeting with Gallegos. Instead Carver pulls a gun on Stevens and orders him to surrender his weapon and get in his car. Angrily, Stevens disarms Carver and forces him to admit that the State Department has decided to leave Gallegos alone because Guzmán may some day be useful as a political asset to them and Carver has decided to play along in exchange for career advancement. Stevens' disillusionment reaches its conclusion and he abandons his undercover status vowing to take down Gallegos and Guzmán alone. Stevens and Jason learn that Gallegos is going to kill them anyway, so they kill him first and steal a van storing over a $100 million of Gallegos' cash. Jason and Stevens invite Guzmán to a shipyard and offer to return 80% of Gallegos' money if he agrees to invest the remaining 20% in their synthetic cocaine operation. Detective Taft, who has been tailing Stevens, interrupts the deal but is unable to arrest Guzmán because of his diplomatic immunity. Guzmán leaves. Taft orders Stevens to surrender, but is shot and killed by Jason. Stevens reveals himself as a police officer and attempts to arrest Jason, but is forced to kill him in self-defense. Afterwards, Carver coerces Stevens into testifying in favor of him and the DEA in return for not charging Betty for money laundering. Stevens produces a videotape of the incriminating conversation with Guzmán at the shipyard during his testimony to the House Judiciary Subcommittee, ruining the State Department's intentions along with Guzmán and Carver's careers. Later he contemplates what to do with the $11 million of Gallegos' money he secretly kept.

Dutch_1991

tt0101786

<script> <scene> <scene_description>TB A mansion in horse country. Expensive cars line the circle drive. The lights are on. A party is underway. INT. HOUSE. LIVING ROOM A blue-blood, pre-holiday gathering. Effete MEN and WOMEN chat, joke, flit about sharing Range Rover service problem anecdotes. CAMERA FINDS NATALIE STANDISH. She's in her late thirties, attractive and strong. Down to earth, from good, midwestern stock. Her simple dress and reserved manner make her stand apart from the other women she's reluctantly conversing with. They are snide and bitter people.</scene_description> <character>WOMAN 1</character> <parenthetical>(to Woman 2)</parenthetical> <dialogue>You remember Natalie Standish, Doug's wife.</dialogue> <character>WOMAN 2</character> <dialogue>Of course.</dialogue> <character>NATALIE</character> <dialogue>Ex-wife.</dialogue> <character>WOMAN 2</character> <dialogue>Excuse me?</dialogue> <character>WOMAN 1</character> <dialogue>I 1 m sorry, Natalie.</dialogue> <parenthetical>(to woman 2)</parenthetical> <dialogue>Doug and Natalie divorced a while back. Two years?</dialogue> <character>NATALIE</character> <dialogue>Almost.</dialogue> <character>WOMAN 2</character> <dialogue>I'm sorry to hear that·.</dialogue> <character>WOMAN 3</character> <dialogue>How are you getting~along without Doug? Is it difficult?</dialogue> <character>WOMAN 1</character> <dialogue>I imagine she's over the hump by now.</dialogue> <scene_description>TB WOMAN 3 She's seeing someone else.</scene_description> <character>€�</character> <parenthetical>(to Natalie)</parenthetical> <dialogue>Isn't that right?</dialogue> <scene_description>Natalie nods. She's being forced out of the conversation.</scene_description> <character>WOMAN 1</character> <parenthetical>(to Woman 3)</parenthetical> <dialogue>Oh? Anyone we know?</dialogue> <character>WOMAN 3</character> <dialogue>I don't believe so.</dialogue> <character>WOMAN 2</character> <dialogue>How does Doug feel about all this? '</dialogue> <character>WOMAN 3</character> <dialogue>I don't think he has much choice.</dialogue> <scene_description>(to Natalie} Am I right? Natalie doesn't have a chance to answer. C WOMAN 1 So. Where is this new beau of yours?</scene_description> <character>INT. LIBRARY. DUTCH DOOLEY</character> <dialogue>He's in his late thirties, rough-hewn features, thinning hair combed back, a working class face. A somber grey suit. He stands out like fins on a coffin among the tweedy-casual men at the gathering. He's talking with a pair of tanned, fit·, MIDDLE-AGED MEN. -</dialogue> <character>DUTCH</character> <dialogue>I'll bet if I fired a shotgun in this room I wouldn't hit a Democrat.</dialogue> <scene_description>He chuckles. The men stare. They- do~•t understand.</scene_description> <character>MAN 1</character> <dialogue>No, I don't think you would.</dialogue> <character>MAN 2</character> <dialogue>Well, that's not true, Don. If one of the help came through •.•</dialogue> <scene_description>TB True. True. MAN l</scene_description> <character>€�</character> <dialogue>MAN 2</dialogue> <scene_description>You mention shotguns. Do you hunt?</scene_description> <character>DUTCH</character> <dialogue>Nah. Every now and again, if I get tanked, I'll take a shot at a rat in the alley but no, not hunting in the sense you're talking about. Not ducks or anything.</dialogue> <scene_description>The comment alienates the two men and brings an abrupt end~to the conversation.</scene_description> <character>MAN</character> <dialogue>Damned nice talking to you,</dialogue> <character>1</character> <dialogue>Dick.</dialogue> <character>DUTCH</character> <dialogue>It's Dutch.</dialogue> <character>MAN 2</character> <dialogue>At any rate, it was nice visiting with you.</dialogue> <character>MAN 1</character> <dialogue>If you're dating Natalie, I'm sure we'll be seeing quite a good bit of you.</dialogue> <scene_description>They exit.</scene_description> <character>DUTCH</character> <dialogue>If I didn't love her, that'd be a heck of a good reason to break up with ~er.</dialogue> <scene_description>Dutch finishes his drink. He sets the empty glass on a coffee table and exits the library.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE. FOYER</stage_direction> </scene> <scene> <stage_direction>THE FRONT DOOR OPENS AND DOUG STANDISH WALKS IN. HE 1 S IN HIS MID-THIRTIES, HANDSOME, ARISTOCRATIC, HAUGHTY. HE STEPS INTO CLOSE-UP. INT. LOGGIA DUTCH AND NATALIE ARE ALONE IN THE LOGGIA, LOOKING OUT ON THE GROUNDS. IT'S RELATIVELY QUIET AND PEACEFUL.</stage_direction> <scene_description>TB NATALIE</scene_description> <character>€�</character> <dialogue>How 1 re you holding up?</dialogue> <character>DUTCH</character> <dialogue>I've been mistaken for the valet parking guy, the piano player, the butler and the bartender. I fit in here like tits on a typewriter. How are you doing? You look a little spit upon.</dialogue> <character>NATALIE</character> <dialogue>I've had better evenings. But the Sydney's are nice people and I've come to this party every year since I married Doug. If they're kind enough to include me despite the divorce, I'm obligated to attend. Anyway, I found out real quick how many friends I really have in this circle.</dialogue> <character>DUTCH</character> <dialogue>How many?</dialogue> <character>NATALIE</character> <parenthetical>(smiles)</parenthetical> <dialogue>One.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM</stage_direction> <scene_description>Joug cruises through the room. He's there for a reason. He regards the guests quickly as he passes through. He leaves silence in his wake. -</scene_description> </scene> <scene> <stage_direction>INT. LOGGIA</stage_direction> <scene_description>Dutch puts his arm around Natalie's shoulder.</scene_description> <character>DUTCH</character> <dialogue>You're still not ashamed to be at the party with a bum who owns a bunch of cement trucks.</dialogue> <character>NATALIE</character> <dialogue>Last year I was here alone. The year before I was with a bum who ...</dialogue> <scene_description>She stops in mid-sentence. HER POV</scene_description> <character>€�</character> <dialogue>Doug's standing in the entrance.</dialogue> <character>DOUG</character> <dialogue>Natalie.</dialogue> <scene_description>CU. NATALIE She clenches with fear and anger.</scene_description> <character>NATALIE</character> <parenthetical>(under her breath)</parenthetical> <dialogue>Shit ...</dialogue> </scene> <scene> <stage_direction>INT. LOGGIA</stage_direction> <scene_description>Doug approaches. He offers his hand to Dutch.</scene_description> <character>DOUG</character> <dialogue>Doug Standish.</dialogue> <character>DUTCH</character> <parenthetical>(cautious)</parenthetical> <dialogue>r Dutch Dooley.</dialogue> <character>DOUG</character> <parenthetical>(ignores Dutch)</parenthetical> <dialogue>I didn't expect to see you, Natalie.</dialogue> <character>NATALIE</character> <dialogue>Me either. I thought you were in Europe.</dialogue> <character>DOUG</character> <dialogue>I'm going outt\_\_omorrow.</dialogue> <character>NATALIE</character> <dialogue>Does Doyle know?</dialogue> <character>DOUG</character> <dialogue>I haven't been able to reach him. You'll be talking to him, you can tell him.</dialogue> <parenthetical>(to Dutch)</parenthetical> <dialogue>Can you excuse us? This is personal.</dialogue> <scene_description>Dutch looks to Natalie. She nods that it's okay. He gives Doug a cold look and exits. TB DOUG Where the hell did you find him?</scene_description> <character>NATALIE</character> <dialogue>Leave him out of this. You can call Doyle and tell him yourself that you can't see him. I'm tired of doing your dirty work.</dialogue> <character>DOUG</character> <dialogue>And you can quit bad-mouthing me to my friends.</dialogue> <character>NATALIE</character> <dialogue>I didn't say a word ...</dialogue> <character>DOUG</character> <dialogue>I'm being very nice to you. You have a house to live in, with your truck driver ...</dialogue> <character>NATALIE</character> <dialogue>He doesn't live at the house.</dialogue> <character>DOUG</character> <dialogue>Don't interrupt. You get a monthly check and you have custody of Doyle. You want to screw around, I'll see to it that you lose it all.</dialogue> <character>NATALIE</character> <dialogue>I'm sure you will.</dialogue> <character>DOUG</character> <dialogue>Bet on it.</dialogue> <character>NATALIE</character> <dialogue>You won't call Doyle?</dialogue> <character>DOUG</character> <dialogue>I'm not going to look like the bastard in all this. No.</dialogue> <character>NATALIE</character> <dialogue>Your animosity towards me aside, he is your son. And for some reason, he still loves you.</dialogue> <character>TB</character> <dialogue>He knows what side of the</dialogue> <character>DOUG</character> <dialogue>•</dialogue> <scene_description>family he came from.</scene_description> <character>NATALIE</character> <dialogue>He sure does. Anything else?</dialogue> <character>DOUG</character> <dialogue>That wraps it up for me. Have a nice holiday.</dialogue> <scene_description>CU. DUTCH He watches the conversation from the living room. He steps into the entrance as Doug approaches. He blocks Doug.</scene_description> <character>DOUG</character> <dialogue>Excuse me.</dialogue> <character>DUTCH</character> <dialogue>I know that what you were saying to Natalie was personal. I understand. I'm involved with her now. So</dialogue> <scene_description>r this is personal also. You hurt her and I'll hit you so fuckin' hard your dog'll bleed. Okay? CU. DOUG He blanches. CU. DUTCH A satisfied grin.</scene_description> <character>DII-TCH</character> <dialogue>Nice meeting you.</dialogue> </scene> <scene> <stage_direction>EXT. GEORGIA COUNTRYSIDE. MORNING</stage_direction> <scene_description>Grey rolling hills. Somber, rosy morning sky. A TELEPHONE IS RINGING. •</scene_description> </scene> <scene> <stage_direction>EXT. MCLAREN SCHOOL FOR BOYS</stage_direction> <scene_description>A private boys school. Red brick buildings constructed around a square. THE PHONE CONTINUES TO RING. TB</scene_description> </scene> <scene> <stage_direction>INT. DORMITORY. CU. PAY PHONE</stage_direction> <character>€�</character> <dialogue>RINGING. A BOY grabs it on the second ring. He's thirteen. Mouthful of braces. Handsome despite the indignity of the braces.</dialogue> <character>BOY</character> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>EXT. SUBURBAN DETROIT. DUSK</stage_direction> <scene_description>Estate country. A big colonial on five acres.</scene_description> </scene> <scene> <stage_direction>INT. LIBRARY</stage_direction> <scene_description>Natalie is in the pickled pine panelled library. On the phone. She's in a riding outfit.</scene_description> <character>NATALIE</character> <dialogue>May I speak with Doyle Standish, please?</dialogue> </scene> <scene> <stage_direction>INT. DORM. ROOM</stage_direction> <scene_description>DOYLE STANDISH is cleaning his computer with a mini-vac. He's a sour, arrogant, scowling, 13 year-old boy. HANDEL IS PLAYING on the stereo. The room is spotless. An air-cleaner is running. On his desk chair is a plastic maid's caddy filled with rags, cleaning solutions, polishes and disinfectants. The Boy who answered the phone pokes his head in the room.</scene_description> <character>BOY</character> <dialogue>Doyle?</dialogue> <scene_description>Doyle turns to the Boy. He's annoyed. The way animpatient mother might be with a toddler--</scene_description> <character>DOYLE</character> <dialogue>Do you know how to knock?</dialogue> <character>BOY</character> <dialogue>Your ma's on the phone. -</dialogue> <character>DOYLE</character> <dialogue>DO you know how to knock?</dialogue> <character>BOY</character> <dialogue>The door was open.</dialogue> <scene_description>TB DOYLE It wasn't open. It was</scene_description> <character>€�</character> <dialogue>unlocked. Someone from any sort of decent background knocks. And she's not my "Ma". I don't have a "Ma". XQJJ. may have a ma. I have a mother. Okay?</dialogue> <character>BOY</character> <parenthetical>(after an angry pause)</parenthetical> <dialogue>You want to take the call, homo?</dialogue> <scene_description>Doyle's angry at the insult.</scene_description> <character>DOYLE</character> <dialogue>I could have you written up for that.</dialogue> <character>BOY</character> <dialogue>Yeah? Well, big fuckin' deal.</dialogue> <scene_description>Doyle crosses to the door and the Boy.</scene_description> <character>DOYLE</character> <dialogue>I ilill have you written-up. Working in the kitchen'll be good for you, Teddy. You can get a taste of what your career at Burger King 1 ll be like.</dialogue> </scene> <scene> <stage_direction>INT. DORM HALLWAY</stage_direction> <scene_description>Doyle walks the Boy out of the room and cloaes the door. He locks the door with a key in his pocket.</scene_description> <character>BOY</character> <dialogue>What makes you think you're so superior?</dialogue> <character>DOYLE</character> <dialogue>I don't have to think.</dialogue> <scene_description>Doyle struts down the hall like he owns it.</scene_description> <character>BOY</character> <dialogue>It's sickening how much you love yourself.</dialogue> <scene_description>Doyle stops, turns. TB DOYLE I guess it would be to a guy who's enrolled here only</scene_description> <character>€�</character> <dialogue>because his father's an employee.</dialogue> <scene_description>Doyle grins, turns and continues down the hall.</scene_description> <character>CU. BOY</character> <dialogue>He glares at Doyle's back.</dialogue> <character>BOY</character> <dialogue>At least I have a father.</dialogue> <character>CU. DOYLE</character> <dialogue>He slows but doesn't stop. The remark clearly affects him.</dialogue> <character>INT. LIBRARY. NATALIE</character> <dialogue>She's sitting on the edge of the desk. She smiles.</dialogue> <character>NATALIE</character> <dialogue>Doyle? Hi, sweetheart.</dialogue> <scene_description>r INT. DORM. DAY ROOM. PAY PHONE Doyle's on the phone. No emotion.</scene_description> <character>DOYLE</character> <dialogue>What do you want?</dialogue> <character>CU, NATALIE</character> <dialogue>This isn't the first time Doyle's been cold toward her. She sighs it off.</dialogue> <scene_description>NA'rALIE I'm calling about Thanksgiving.</scene_description> <character>CU. DOYLE</character> <dialogue>No response. No reaction. CU. NATALIE She breaks the dead air.</dialogue> <character>NATALIE</character> <dialogue>I'd like you to come home.</dialogue> <scene_description>TB CU. DOYLE</scene_description> <character>€�</character> <dialogue>A shift of his eyes is all the reaction he gives up.</dialogue> <character>DOYLE</character> <parenthetical>(after a pause)</parenthetical> <dialogue>For the umpteenth time, I'll be with Dad.</dialogue> <character>ECU. NATALIE</character> <dialogue>The remark angers, frustrates and saddens her.</dialogue> <character>NATALIE</character> <dialogue>Your father's going to be in Europe.</dialogue> <character>ECU. DOYLE</character> <dialogue>His eyes widen in alarm and panic. But he says nothing.</dialogue> <character>INT. LIBRARY</character> <dialogue>Natalie knows she's hurting Doyle and as bitchy as he is, she tries to be gentle and objective.</dialogue> <character>NATALIE</character> <dialogue>I saw him last night. If he made plans, he'll obviously have to break them. Did he call you?</dialogue> <character>CU. DOYLE</character> <dialogue>Doesn't answer. He's embarrassed. CU, NATALIE She continues.</dialogue> <character>NATALIE</character> <dialogue>I'd like you to come home, Doyle.</dialogue> <character>CU. DOYLE</character> <dialogue>He turns into the wall for privacy.</dialogue> <character>DOYLE</character> <dialogue>So you can get my approval of</dialogue> <scene_description>C your new "boyfriend"? To appease your guilt? ll TB CU. NATALIE • She takes offense.</scene_description> <character>NATALIE</character> <dialogue>I'm thirty eight years old, I'm your mother and I don't need your approval for anything. Least of all to appease any guilt I don't feel. You're old enough to be objective about me and your father and to understand why we are in the situation we're in. I booked a flight for you on Wednesday. I expect you to be on it.</dialogue> <scene_description>CU. DOYLE His temper's rising. He presses tight against the wall.</scene_description> <character>DOYLE</character> <dialogue>You're wasting your money.</dialogue> <scene_description>CU. NATALIE She's as angry as he is.</scene_description> <character>NATALIE</character> <dialogue>I said, I expect you to be on it.</dialogue> <scene_description>CU. DOYLE He doesn't like being talked down to.</scene_description> <character>DOYLE</character> <dialogue>Forget it. I'rilnot coming home to spend a holiday with you and whatever you're sharing the house with.</dialogue> <scene_description>CU. DUTCH DOOLEY He 1s rearing back in apprehension, dodging and bobbing, holding reins in his hand.</scene_description> <character>DUTCH</character> <dialogue>Calm down, godammit!</dialogue> <scene_description>TB CU. HORSE</scene_description> <character>€�</character> <dialogue>A high-strung thorough-bred is fighting against the reins and violently throwing his head.</dialogue> <scene_description>CU. DUTCH He grits his teeth, yanks down on the reins, and YELLS at the top of his voice.</scene_description> <character>DUTCH</character> <scene_description>CU. HORSE Shocked into silence. INT. LIBRARY Natalie wraps up the phone conversation.</scene_description> <character>NATALIE</character> <dialogue>I'm expecting you for Thanksgiving. Mr. Sampson'll help you get on the airplane. I'll see you then.</dialogue> <scene_description>She hangs up. INT. DORM. DAY ROCH Doyle has finished the conversation with his mother. He hangs up the phone and turns into the room. He stops cold. HIS POV A dozen BOYS are staring at him. They've listened to his conversation and are smiling at his discomfort.</scene_description> <character>BOY 2</character> <dialogue>A little trouble on the home front'?</dialogue> <scene_description>CU. DOYLE An icy stare.</scene_description> </scene> <scene> <stage_direction>INT. LIBRARY</stage_direction> <scene_description>Natalie sits on the edge of the desk. She's been hurt and takes a moment to recover. She picks up a framed photo from the desk. TB INSERT- PHOTO</scene_description> <character>€�</character> <dialogue>Doyle a couple years earlier with a smiling, happy Natalie.</dialogue> </scene> <scene> <stage_direction>EXT. HOUSE. STABLES</stage_direction> <scene_description>Dutch exits the stable. He's dressed in riding gear. He tugs at his crotch and walks clumsily in his new boots.</scene_description> <character>DUTCH</character> <parenthetical>(grumbling, to himself)</parenthetical> <dialogue>Recreation my sweet, sore ass. Ninety minutes of ball- slapping humiliation. Pool. What's the matter with pool? It isn't good enough for the rich folks. No, they gotta fly through the fuckin 1 woods on 2,000 pounds of ignorance ...</dialogue> <scene_description>He clears FRAME. A beat and the horse roars out of the barn and takes off. ECU. FINGER Squeezed purple tight. Throbbing hot. ECU. EMERGENCY SEWING KIT A one-handed opening of it and the withdrawal of a needle, ECU. DOYLE Staring down at his finger with maniacal concentration. ECU. FINGER The needle rests gently against the fingertip for a m~ent. Then it's plunged into the skin, producing a scarlet bud. CU. FAMILY PHOTO From a better time. Doyle, his fathez's arm around his shoulder. Natalie standing on the other side of Doyle, sli9htly remote and apart. Not by her choice. CU. DOYLE He takes careful aim with his bloody finger. CU. PHOTO. NATALIE A drop of blood splatters on Natalie's photo. TB CU. FIREPLACE</scene_description> <character>€�</character> <dialogue>A great, CRACKLING FIRE burns in the fireplace. INT. FAMILY ROOM Dutch has pulled a big, stuffed chair up to the hearth and sits in it with Natalie across his lap. She's holding his hand, rubbing it, studying it.</dialogue> <character>DUTCH</character> <dialogue>You talked to your son?</dialogue> <scene_description>Natalie nods.</scene_description> <character>DUTCH</character> <dialogue>And?</dialogue> <character>NATALIE</character> <dialogue>I don't know. I have a ticket for him. But I know he won't use it.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>His father sees him biannually, Never calls. Never asks. And Doyle worships him.</dialogue> <character>DUTCH</character> <dialogue>Boys and fathers. You can't bust 'em up.</dialogue> <scene_description>Natalie nods. Perhaps he's right.</scene_description> <character>DUTCH</character> <dialogue>This probably isn't any of my business yet, but what's he doing in some jerk-off private school? Why isn't he here with you? If I was his age and somebody shipped me off to one of those fairy factories I'd ... •</dialogue> <scene_description>TB NATALIE It was his choice. He</scene_description> <character>€�</character> <dialogue>demanded it. He didn't want to stay here. And Doug wouldn't have him. Not in those words. He was diplomatic about it. Of course. He turns his back on Doyle and I get blamed.</dialogue> <character>DUTCH</character> <dialogue>Frisbee parents.</dialogue> <character>NATALIE</character> <dialogue>Not even. Doyle never stays with Doug. He never did.</dialogue> <character>DUTCH</character> <dialogue>His choice?</dialogue> <character>NATALIE</character> <dialogue>No. Doug pretends not to date anyone. I see people. I'm with you. Doug plays pure. Doyle thinks I'm the one who walked out on the marriage.</dialogue> <character>DUTCH</character> <dialogue>So he's going to think I'm cutting off any hope for a reconciliation between you and Doug.</dialogue> <scene_description>Natalie shrugs.</scene_description> <character>DUTCH</character> <dialogue>I'm not great with the words but you fascinate me and I know as long as I'm with you that you're going to keep doing it. So however high the bullshit piles, I'm here with my shovel.</dialogue> <scene_description>Natalie lays her head on his shoulder. She appreciates his blllnt support.</scene_description> <character>DUTCH</character> <dialogue>And I got a beautiful idea.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Why don't I fly down, rent a car, pick-up Daryl and drive back?</dialogue> <character>TB</character> <dialogue>His name's Doyle. And I don't</dialogue> <character>NATALIE</character> <dialogue>think that's a great idea.</dialogue> <scene_description>€�:</scene_description> <character>DUTCH</character> <dialogue>There's no better way for two guys to get to know each other than spending a couple days in a car.</dialogue> <character>NATALIE</character> <dialogue>He can be very rude.</dialogue> <character>DUTCH</character> <dialogue>Like I can't? You've slept with me.</dialogue> <character>NATALIE</character> <parenthetical>(smiles)</parenthetical> <dialogue>He can be abusive.</dialogue> <character>DUTCH</character> <dialogue>What else?</dialogue> <character>NATALIE</character> <dialogue>r Cold.</dialogue> <scene_description>Brrr.</scene_description> <character>DUTCH</character> <dialogue>NATALIE</dialogue> <scene_description>He's a toUgh little guy with a big chip on his shoulder. I can't handle him, his father can't handle him ...</scene_description> <character>DUTCH</character> <dialogue>He's a kid. I know kids. They generally like-me. They're not so hard. I can assure you, I've taken on tougher birds than Daryl.</dialogue> <parenthetical>(pause, puzzled)</parenthetical> <dialogue>Dale?</dialogue> <character>NATALIE</character> <dialogue>Doyle.</dialogue> <character>DUTCH</character> <dialogue>Got it.</dialogue> <scene_description>r TB</scene_description> </scene> <scene> <stage_direction>INT. PRIVATE SCHOOL. GYM. NIGHT</stage_direction> <character>€�</character> <dialogue>Doyle's alone in the gym practicing tae kwon do with obsessive fury. INT. GYM. DOOR The Boy Doyle insulted earlier is standing in the doorway.</dialogue> <character>BOY</character> <dialogue>Doyle!</dialogue> </scene> <scene> <stage_direction>INT. GYM. DOYLE</stage_direction> <scene_description>Doyle continues his moves. He doesn't look at the Boy.</scene_description> </scene> <scene> <stage_direction>INT. GYM</stage_direction> <scene_description>The Boy steps into the gym and approaches Doyle.</scene_description> <character>DOYLE</character> <dialogue>What do you want?</dialogue> <character>BOY</character> <dialogue>My parents wanted to know if since you're not going home, you'd like to come over to our house for Thanksgiving?</dialogue> <character>DOYLE</character> <dialogue>I don't think I could handle that much fun.</dialogue> <character>BOY</character> <dialogue>Is that a "no"?</dialogue> <scene_description>Doyle finishes his session and\_\_turns to the Boy.</scene_description> <character>DOYLE</character> <dialogue>That's a great, big "no". Capital letters with bells. and horns.</dialogue> <character>BOY</character> <dialogue>Great. It wasn't at all my idea to ask you. I'm glad you don't want to come because I think you're a miserable bastard. Have a nice weekend rotting in your own pissed- off world.</dialogue> <scene_description>He exits. CU. DOYLE His face is hard and angry. It softens as the Boy leaves. EXT. METROPOLITAN AIRPORT. DETROIT A dark, somber early winter day. INT. AIRPORT. PAY PHONE Dutch is on the phone.</scene_description> <character>DUTCH</character> <dialogue>Peggy? It's me. I'm at Metropolitan. I'm flying down to Atlanta to pick up my girlfriend's kid from school. It came up last minute. Will you let Tug and Fritz know that I'll be incommunicado? If anything comes up they should take care of it. I'll be in on Monday. I gotta run. Happy T-Day.</dialogue> <scene_description>r He hangs up the phone and exits. He comes back a beat later and checks the coin return. He finds a quarter.</scene_description> <character>DUTCH</character> <dialogue>Lucky coin.</dialogue> <scene_description>He reaches down and slips off his shoe. He slides the quarter under the insole. EXT. MCCLAREN SCHOOL A lone BOY is walking across campus with his FATHER. Otherwise it's deserted and lonely. INT. DAY ROOM Doyle's on the phone.</scene_description> <character>TB</character> <dialogue>He's supposed to come get me</dialogue> <character>DOYLE</character> <dialogue>for Thanksgiving.</dialogue> <character>€�</character> <parenthetical>(angry pause)</parenthetical> <dialogue>This is his son. This is such bullshit. Do you have a number for him'?</dialogue> <parenthetical>(another angry pause)</parenthetical> <dialogue>Don 1 t jerk me around, lady. I have a goddamn letter from him saying he's picking me up. If you're lying, I swear to God I'll get you fired. Give me his number in Europe.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>This is a pay phone. The school's closed for the holiday. He's my father. It's okay if I have his fucking number!</dialogue> <parenthetical>(pause)</parenthetical> <character>GO TO HELL!</character> <dialogue>He slams the phone down. He picks up a chair and hurls it across the room. It CRASHES into the house TV and SHATTERS the screen.</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>A black Lincoln Town Car rolls down the highway. INT .. CAR Dutch is at the wheel. A TAPE IS PLAYING -- YOU CAN NEVER TELL by Chuck Berry. Dutch is trying to sing along, drink coffee and read a map.</scene_description> </scene> <scene> <stage_direction>INT. DORM. LOBBY</stage_direction> <scene_description>A lone service light is burning. The room's empty.</scene_description> </scene> <scene> <stage_direction>INT. DAY ROOM</stage_direction> <scene_description>Empty and dark.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM</stage_direction> <scene_description>Doyle's brushing his teeth. He spits, rinses his mouth, picks up his towel and dopp kit and exits the bathroom.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY</stage_direction> <scene_description>C It's lit but empty. Doyle comes out of the bathroom and heads down the hall. TB</scene_description> </scene> <scene> <stage_direction>INT. DOYLE'S ROOM</stage_direction> </scene> <scene> <stage_direction>DUTCH IS STANDING IN DOYLE'S ROOM. HE LEARNS WHAT HE CAN FROM A QUICK STUDY OF DOYLE'S BELONGINGS. INT. DOYLE'S ROOM. DOOR DOYLE STEPS INTO THE DOOR. HE FREEZES.</stage_direction> <scene_description>HIS POV Dutch from the back. CU. DOYLE An excited smile.</scene_description> <character>DOYLE</character> <dialogue>Dad!</dialogue> <scene_description>CU. DUTCH He turns around. CU. DOYLE A look of horror. He draws back his dopp kit .and fires it at Dutch. CU. DUTCH He's smacked in the grinning mug with the kit.</scene_description> </scene> <scene> <stage_direction>INT. ROOM</stage_direction> <scene_description>Dutch reels back, grabbing his face. Doyle whips open his closet and yanks a golf club out of his bag. He rushes Dutch. Dutch lowers his hands. Doyle bends the club around his body and kicks him in the groin. Dutch doubles over, clutching his crotch and his right arm. Doyle grabs -Dutch's overcoat, rips it up over his head and knees him in the face. Dutch collapses to the floor. Doyle opens his desk drawer and pulls out a C0/2 target pistol. He levels·it on Dutch.</scene_description> <character>DOYLE</character> <dialogue>Stand up!</dialogue> <character>DUTCH</character> <parenthetical>(groggy)</parenthetical> <dialogue>Son of a bitch ...</dialogue> <scene_description>TB DOYLE I said stand up! Dutch rises slowly. His coat's still over his head.</scene_description> <character>DOYLE</character> <dialogue>Hands over your head.</dialogue> <character>DUTCH</character> <dialogue>Kiss my ass!</dialogue> <scene_description>Doyle squeezes off a shot hitting Dutch in the thigh. He shrieks and lunges at Doyle. Doyle gets off another shot, hitting Dutch in the gut. Dutch engulfs Doyle in his coat and knocks him to the ground. CU. DOYLE He screams at the top of his voice. CU. DUTCH He peels the coat off his head. His nose is bleeding, his lip's split, his hair's standing on end. He has a crazed look on his face. CU. DOYLE He screams louder.</scene_description> <character>DOYLE</character> <scene_description>CU. DUTCH He'd love to.</scene_description> <character>DUTCH</character> <dialogue>Drop the gu,n!</dialogue> </scene> <scene> <stage_direction>INT. ROOM</stage_direction> <scene_description>Doyle lets the gun fall from his hand. Dutch stands up. Doyle rises to his elbows.</scene_description> <character>DOYLE</character> <dialogue>I'm not alone! There are other people here!</dialogue> <character>DUTCH</character> <dialogue>There's nobody here, you little asshole.</dialogue> <scene_description>TB Dutch sits down on the bed. He reaches into his pocket for his handkerchief. He holds it to his nose.</scene_description> <character>€�</character> <dialogue>DUTCH</dialogue> <scene_description>Get up! Doyle scrambles to his feet. He makes a dash for the door. Dutch throws out his foot and clips Doyle's shin, tripping him. He falls to his knees. Dutch grabs him by the collar of his T-shirt and jerks him back.</scene_description> <character>DUTCH</character> <dialogue>Sit down!</dialogue> <scene_description>He kicks Ooyle 1 s legs out from under him, landing him on his butt.</scene_description> <character>DUTCH</character> <dialogue>I'm a friend of your mother's. I came to get you and bring you home.</dialogue> <scene_description>CU. DOYLE He's shocked. CU. DUTCH He cleans off his face.</scene_description> <character>DUTCH</character> <parenthetical>(angrily)</parenthetical> <dialogue>I can feel the pain in my balls behind my eyes.</dialogue> <scene_description>CU. DOYLE Knowing he's safe, he puts on his arrogant airs.</scene_description> <character>DOYLE</character> <dialogue>Does campus security know you're here'?</dialogue> </scene> <scene> <stage_direction>INT. ROOM</stage_direction> <scene_description>Dutch stares at Doyle.</scene_description> <character>DUTCH</character> <dialogue>Can you say "I'm sorry I hit you with a golf club, kicked your face, mashed your nuts and shot you twice?" If that's too much, a simple "hello" would do.</dialogue> <scene_description>TB DOYLE Answer my question.</scene_description> <character>DUTCH</character> <dialogue>You can't say that?</dialogue> <character>DOYLE</character> <dialogue>Of course I can say it. I choose not to.</dialogue> <scene_description>Dutch reaches down and picks up the gun. He points it at Doyle.</scene_description> <character>DUTCH</character> <dialogue>Now can you?</dialogue> <character>DOYLE</character> <parenthetical>(hesitates)</parenthetical> <dialogue>No.</dialogue> <character>DUTCH</character> <dialogue>Alright. I have to shoot you. Since you might be family someday, I'm giving you the option of taking it on the backside. It won't hurt as bad.</dialogue> <character>DOYLE</character> <dialogue>If you shoot me, I'll have you arrested.</dialogue> <scene_description>Dutch slowly lowers the gun.</scene_description> <character>DUTCH</character> <dialogue>Okay. You win.</dialogue> <character>DOYLE</character> <dialogue>Clearly. Now, leave.</dialogue> <character>DUTCH</character> <dialogue>I told your mother I'd bring you home for the holidays. I sort of sent myself. She said it wasn't a good idea. She may be right.</dialogue> <character>DOYLE</character> <dialogue>I have plans.</dialogue> <character>TB</character> <dialogue>To stay here? You gonna make</dialogue> <character>DUTCH</character> <dialogue>a turkey sandwich, watch the football game and hang yourself in the toilet?</dialogue> <character>DOYLE</character> <dialogue>I said I have plans. Leave it at that. Now, go.</dialogue> <character>DUTCH</character> <dialogue>You're waiting for your Dad?</dialogue> <character>DOYLE</character> <dialogue>I don't have to tell you anything.</dialogue> <character>DUTCH</character> <dialogue>He's not coming.</dialogue> <character>DOYLE</character> <dialogue>You don't know my Dad so shut-up.</dialogue> <character>DUTCH</character> <dialogue>I know he's in Europe.</dialogue> <character>DOYLE</character> <dialogue>If you won't leave, I will.</dialogue> <scene_description>Doyle stands up. Dutch raises the gun threateningly. Doyle sits down.</scene_description> <character>DUTCH</character> <dialogue>What's a little twerp like you have a gun for?</dialogue> <character>DOYLE</character> <parenthetical>(haughty)</parenthetical> <dialogue>I shoot game.</dialogue> <character>DUTCH</character> <dialogue>With a pellet gun?</dialogue> <character>DOYLE</character> <dialogue>Birds.</dialogue> <character>DUTCH</character> <dialogue>Pheasant? Quail? Duck?</dialogue> <character>DOYLE</character> <dialogue>C Among other things.</dialogue> <scene_description>TB DUTCH I 1 d like to see you pop a</scene_description> <character>€�</character> <dialogue>duck with this thing.</dialogue> <character>DOYLE</character> <dialogue>What's your point?</dialogue> <character>DUTCH</character> <dialogue>You have a gun because you're a pissed-off little dude who likes to murder songbirds when the world doesn't turn the way he wants it to.</dialogue> <scene_description>It's true. Doyle's shocked by Dutch's perception.</scene_description> <character>DOYLE</character> <dialogue>Is that a fact?</dialogue> <character>DUTCH</character> <dialogue>Only you and your arms supplier know for sure.</dialogue> <character>DOYLE</character> <parenthetical>(after a pause)</parenthetical> <dialogue>We have a very big problem here.</dialogue> <scene_description>CU. DUTCH He leans in close on Doyle.</scene_description> <character>DUTCH</character> <dialogue>I suppose we do. I have a prOblem because I offered to come pick you up. And you have a problem because the last guy that punched me has a dent in his forehead ...</dialogue> <parenthetical>(displays his fist and pinkie ring)</parenthetical> <dialogue>... about the size of my pinkie ring and he dribbles when he smiles.</dialogue> <scene_description>CU. DOYLE A flash of fear as he watches Dutch proudly examining his ring.</scene_description> </scene> <scene> <stage_direction>INT. DORM ROOM</stage_direction> <scene_description>Dutch stands up. TB DUTCH Grab your stuff.</scene_description> <character>€�</character> <dialogue>DOYLE</dialogue> <scene_description>Listen one last time. He stands up and puts himself nose-to-nose with Dutch.</scene_description> <character>DOYLE</character> <parenthetical>(yells at the top of his voice)</parenthetical> <scene_description>I'M NOT GOING ANYWHERE WITH YOU!</scene_description> </scene> <scene> <stage_direction>EXT. DORMITORY. FRONT ENTRANCE</stage_direction> <scene_description>Dutch kicks the door open. In one hand he's carrying a duffel bag. In the other he's carrying Doyle. He's bound his feet and hands in stereo cables. He's run a hockey stick through the cables and is using it as a handle.</scene_description> <character>DUTCH</character> <dialogue>What do you like to do for fun?</dialogue> <scene_description>CU. DOYLE He's struggling madly. A pair of underwear is stuffed into his mouth. CU. DUTCH Continuing, unfazed.</scene_description> <character>DUTCH</character> <dialogue>You like to wiggle and grunt? Me, too.</dialogue> </scene> <scene> <stage_direction>EXT. LINCOLN</stage_direction> <scene_description>Dutch drops the duffel bag and Doyle behind the car. He fishes out the keys and opens the trunk. He tosses the duffel bag in the trunk.</scene_description> <character>DUTCH</character> <dialogue>I'd put you in the trunk but you might die.</dialogue> <scene_description>He slams the trunk closed and picks up Doyle.</scene_description> <character>TB</character> <dialogue>I can't imagine your mother</dialogue> <character>DUTCH</character> <dialogue>•</dialogue> <scene_description>needing a twisted snot like you for anything. I guess it must be a sentimental thing. He opens the back door.</scene_description> <character>DUTCH</character> <dialogue>We'll just store you back here. How's that?</dialogue> <scene_description>He heaves Doyle into the back seat and closes the door.</scene_description> <character>DUTCH</character> <dialogue>There's some bad genetics. Jesus Marie.</dialogue> <scene_description>He fidgets his sore nuts and gets in the car.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>Highway 85 out of Atlanta. The Lincoln rolls past. I LIKE IT LIKE THAT by Chris Kenner PLAYS ON THE RADIO.</scene_description> </scene> <scene> <stage_direction>INT. LINCOLN</stage_direction> <scene_description>Dutch is driving, listening to the music. He's perfectly content.</scene_description> </scene> <scene> <stage_direction>INT. CAR. BACK SEAT</stage_direction> <scene_description>Doyle is lying on his back, his eyes opened wide in rage. He's working on the wadded undies in his mouth. CU. DUTCH He glances in the mirror. He adjusts it down so that he can look into the back seat.</scene_description> <character>DUTCH</character> <dialogue>You warm enough back there?</dialogue> <scene_description>He knows he's irritating Doyle.</scene_description> <character>DUTCH</character> <dialogue>I owe you an apology. I lost my temper and I shouldn't have. I was a little crazy and wasn't thinking clear so</dialogue> <scene_description>r I'm not a hundred percent sure if those undershorts I jammed in your mouth to shut you up were clean or not. TB CU. DOYLE</scene_description> <character>€�</character> <dialogue>He blows the shorts out of his mouth.</dialogue> <character>DOYLE</character> <scene_description>CU. DUTCH He glances back.</scene_description> <character>DUTCH</character> <dialogue>I don't know if that's a good idea. I'm on a major highway.</dialogue> <character>DOYLE'S VOICE</character> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> </scene> <scene> <stage_direction>DUTCH LOCKS THE BRAKES. INT. CAR</stage_direction> <scene_description>Doyle slams into the back of the seat and tumbles into the footwell.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>The Lincoln shudders to a stop. A beat and it pulls onto the shoulder. CU. DUTCH. UP ANGLE Looking over the back seat.</scene_description> <character>;</character> <dialogue>DUTCH</dialogue> <scene_description>You can't beat a Ford for good brakes. CU. DOYLE His eyes are squeezed shut in pain.~He slowly opens them.</scene_description> <character>DOYLE</character> <parenthetical>(after a pause)</parenthetical> <dialogue>I'm going to have you prosecuted for this.</dialogue> <scene_description>CU. DUTCH Stares. TB DUTCH In big people's court? Or in</scene_description> <character>€�</character> <dialogue>like a school teen court where if I'm found guilty I have to roll naked in the snow or make a bed with my teeth'?</dialogue> <scene_description>CU. DOYLE He's not amused. He detests Dutch.</scene_description> <character>DOYLE</character> <dialogue>My father is one of the most powerful men in the country.</dialogue> <scene_description>CU. DUTCH He mocks the remark with a big, scared face. CU. DOYLE He's further incensed by Dutch's mocking him.</scene_description> <character>DOYLE</character> <dialogue>When he hears what you did to me, your working class ass'll be grass. You'll be sued into complete and total destitution.</dialogue> <scene_description>CU. DUTCH He turns in the seat.</scene_description> <character>DUTCH</character> <dialogue>How do you know I'm working class?</dialogue> <scene_description>CU. DOYLE He laughs.</scene_description> <character>DOYLE</character> <dialogue>From your cheap shoes to your fat stomach to your ridiculous hair style, to your crude vocabulary, to my mother's taste in men ... you scream it.</dialogue> <scene_description>CU. DUTCH He nods in acknowledgement of the kid's powers of perception. TB DUTCH</scene_description> <character>€�</character> <dialogue>Is working class bad?</dialogue> <scene_description>CU. DOYLE He slumps in the seat and smiles arrogantly.</scene_description> <character>DOYLE</character> <dialogue>If you want to get into politics I'll shred you. No, it 1 s not bad. A solid economy needs hand workers.</dialogue> <scene_description>CU. DUTCH He's surprised by Doyle's smarts.</scene_description> <character>DUTCH</character> <dialogue>I used to drive a cement truck. My father was a brick layer. My mother worked in the laundry at the Pontchartrain Hotel in Detroit.</dialogue> <scene_description>CU. DOYLE He sighs with extreme boredom.</scene_description> <character>DOYLE</character> <dialogue>You must be very proud.</dialogue> <scene_description>CU. DUTCH He nods seriously.</scene_description> <character>DUTCH</character> <dialogue>I am.</dialogue> <scene_description>CU, DOYLE He considers Dutch's remark. There's something to respect in it. If he didn't loath him so quick~y and so completely. INT, CAR. DUTCH He smiles. TB DUTCH I still owe you that shot in</scene_description> <character>€�</character> <dialogue>the ass. You want to get it over with? In case it's gnawing on your mind. Worrying isn't good for the heart or the soul.</dialogue> <scene_description>He turns in the seat.</scene_description> <character>DUTCH</character> <dialogue>You may be the toughest little whacker at the Donald Trump School for Wealthy Peckerheads back there but in my world you're about as worrisome as a cloudy day. I came into this idea, this rotten, stupid idea your mother warned me against, thinking we'd hit it off eventually. Unfortunately, I don't think that's going to happen.</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>Dutch gets out of the car. He opens the back door and pulls Doyle out. He reaches into his pocket for a penknife, flips it open and cuts the cords binding Doyle's wrists and ankles. Doyle rubs his wrists. Dutch picks up the hockey stick. He reaches into the car with it. Doyle raises his leg to kick Dutch in the ass.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> </scene> <scene> <stage_direction>DUTCH HAS THE HOCKEY STICK UNDER HIS ARM. HE SMACKS THE END WITH HIS FREE HAND. EXT. CAR. DOYLE FROM BEHIND HIM. THE HOCKEY STICK SNAPS UP, CLIPPING HIM IN THE GROIN. HE SCREAMS. EXT. CAR. DUTCH</stage_direction> <scene_description>He leans out of the car.</scene_description> <character>DUTCH</character> <dialogue>Hurts, don't it7</dialogue> <scene_description>He grabs Doyle by the shirt and gives him a sharp shake.</scene_description> <character>TB</character> <dialogue>(dead serious)</dialogue> <character>DUTCH</character> <dialogue>•</dialogue> <scene_description>Only a pussy takes a pop at a guy when his back's turned. You try it again, you better make sure you finish the job. He shoves him way. He gets back in the front seat.</scene_description> <character>DUTCH</character> <dialogue>Get around in front.</dialogue> <scene_description>He slams the door and starts the car. Doyle limps around behind the car. As he rounds the rear bumper, he raises his leg and kicks the car. EXT. HIGHWAY. LATER The Tennessee River. The Lincoln rolls across the bridge at Chattanooga. INT. CAR The RADIO'S OFF. Dutch is driving. Doyle's sitting sullen and silent in the passenger seat. Dutch sneaks a look at him.</scene_description> <character>DUTCH</character> <dialogue>You got anything to say?</dialogue> <scene_description>Doyle doesn't respond. He's looking out the window ... HIS POV The river, the lights of Chattanooga. CU. DOYLE The face of the most distressed boy in the mid-south. INT. CAR Dutch continues yacking.</scene_description> <character>DUTCH</character> <dialogue>Me? I like to talk. My name's Dutch.</dialogue> <scene_description>Doyle doesn't respond.</scene_description> <character>DUTCH</character> <dialogue>r No response.</dialogue> <scene_description>You want to know why they call me Dutch? TB DUTCH</scene_description> <character>€�</character> <dialogue>I"m Irish. Not Dutch. So that's not it. And I never stuck my finger in a dyke. Although I've been tempted. And I don't own a paint company or wear wooden shoes. I don't care for chocolate or tulips. So why am I called Dutch?</dialogue> <scene_description>Doyle looks at him with heavy eyes and exhales a full double lung of air.</scene_description> <character>DUTCH</character> <dialogue>It's because when I used to fight in school, I'd swing my arms like a windmill.</dialogue> <scene_description>Doyle turns away.</scene_description> <character>DUTCH</character> <dialogue>I just made that up. It's because of the way my mother used to cut my hair. You got any amusing anecdotes?</dialogue> <character>DOYLE</character> <dialogue>I'm living in one right now.</dialogue> <character>DUTCH</character> <dialogue>There's some truth there. This is going to be a trip you won't soon forget.</dialogue> <character>DOYLE</character> <parenthetical>(looks around at Dutch)</parenthetical> <dialogue>Nor will you.</dialogue> </scene> <scene> <stage_direction>EXT. CUMBERLAND MOUNTAINS</stage_direction> <scene_description>The Lincoln winds through the moonlit mountain range.</scene_description> <character>DUTCH (OC)</character> <dialogue>I met your Mom about a year and a half ago. Diabetes charity thing. I had a brother who was diabetic so I'm soft on it and got myself on a couple of fund-raising committees.</dialogue> <scene_description>TB</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <character>€�</character> <dialogue>Dutch glances at Doyle.</dialogue> <character>DUTCH</character> <dialogue>I guess she's got an interest in it, too. Your great grandmother was diabetic. Right?</dialogue> <scene_description>Doyle shrugs.</scene_description> <character>DUTCH</character> <dialogue>You don't know?</dialogue> <scene_description>Doyle lowers his seat back. He doesn't answer.</scene_description> <character>DUTCH</character> <dialogue>She died from it, asshole.</dialogue> <character>DOYLE</character> <dialogue>I was an infant.</dialogue> <character>DUTCH</character> <dialogue>And you never heard about it?</dialogue> <character>DOYLE</character> <dialogue>I don't know much about my mother's side of the quote/unquote "family".</dialogue> <character>DUTCH</character> <dialogue>Yeah? Why's that?</dialogue> <character>DOYLE</character> <dialogue>Meeting my mother at a charity ball doesn't entitle you to an analysis of my family politics. Okay?</dialogue> <character>DUTCH</character> <dialogue>Fair enough.</dialogue> <scene_description>Doyle shakes his head and snuggles i-nto the seat, turned away from Dutch. Dutch feels momentarily defeated. He continues his conversation. TB DUTCH Anyway, your mom and I hit it</scene_description> <character>€�</character> <dialogue>off pretty good. We had a few friends in common. Kind, decent, hard-working low- brows, if you will. Not important people .. Just nice people.</dialogue> <scene_description>Doyle looks around at Dutch.</scene_description> <character>DOYLE</character> <dialogue>The more you babble the more you reveal yourself as an insecure bastard who's deathly afraid he'll blow his chance at my mother.</dialogue> <scene_description>He turns back.</scene_description> <character>DUTCH</character> <parenthetical>(after a pause)</parenthetical> <dialogue>What chance, Daryl?</dialogue> <character>DOYLE</character> <dialogue>My name"s Doyle and the chance I'm referring to has dollar signs in front of it.</dialogue> <character>DUTCH</character> <dialogue>A chance at your Mom's money?</dialogue> <character>DOYLE</character> <dialogue>'tou got it.</dialogue> <character>DUTCH</character> <dialogue>You know how much your old man left on the table when he and your mom split up?</dialogue> <character>DOYLE</character> <dialogue>Plenty.</dialogue> <character>DUTCH</character> <dialogue>You think so?</dialogue> <character>€�</character> <dialogue>DOYLE</dialogue> <scene_description>I know so.</scene_description> <character>TB</character> <dialogue>How hard do you want me to</dialogue> <character>DUTCH</character> <dialogue>•</dialogue> <scene_description>correct you? (pause) I look like I own a coffee shop but the truth is I got more money than your old man left your mother. CU. DOYLE He looks around at Dutch, startled that he has money. CU. DUTCH He gives Doyle a wink.</scene_description> <character>DUTCH</character> <dialogue>Only trouble is, my dough doesn't count in your neighborhood. 'Cause I worked for it.</dialogue> <scene_description>He turns his eyes back to the road and laughs.</scene_description> <character>DUTCH</character> <dialogue>Working for your money doesn't matter on your side of the world. It 1 s who's crotch the doctor yanked you out of.</dialogue> <scene_description>CU. DOYLE He's never heard the truth presented in quite so foul a manner.</scene_description> <character>D~LE</character> <dialogue>You're disgusting.</dialogue> <scene_description>CU. DUTCH An impish smile.</scene_description> <character>DUTCH</character> <dialogue>You think I'm disgusting? Wait'll you get hungry.</dialogue> </scene> <scene> <stage_direction>EXT. TRUCK STOP</stage_direction> <scene_description>A big, full-service truck stop outside of Manchester, C Tennessee. Not the kind of place that caters to civilians. TB I NT. COFFEE SHOP A cheap, tawdry, vinyl and chrome coffee shop jammed with</scene_description> <character>€�</character> <dialogue>TRUCKERS and TRAVELLERS. INT. COFFEE SHOP. DOYLE He's flanked by a bear of a MAN in a flannel shirt, jeans and suspenders and a spindly, middle-aged WOMAN who's smoking a 100mm cigarette as she lingers over her coffee. Doyle takes a menu from a holder on the back of the counter. It won't open. He examines it and finds the bottom corner isn 1 t stuck together. He slowly unpeels the two plastic pages. The old\_ lady inadvertently blows a plume of smoke across Doyle's face. The bear jostles him as he reaches across him for the ketchup. ~</dialogue> </scene> <scene> <stage_direction>INT. NATALIE'S HOUSE. KITCHEN</stage_direction> <scene_description>Natalie's sitting at the kitchen table with a legal pad, going over her Thanksgiving plans. Gritzi's making a shopping list, taking inventory from the cupboards.</scene_description> <character>NATALIE</character> <dialogue>The warm and lovely ex-in laws are planning to drop by tomorrow. To see Doyle. Their goddamn son's in Europe so I have to entertain them. Can you imagine the snit Doyle can throw with his grandparents here?</dialogue> <scene_description>Gritzi can imagine and doesn't dare say so.</scene_description> <character>NATALIE</character> <dialogue>They still hate me for marrying Doug in the first place.</dialogue> <character>GRITZI</character> <dialogue>If it's unpleasant, you don't have to have them. It's your home.</dialogue> <scene_description>(after thought1 Isn't it? NATALIE For the time being. (continues) I don't need anymore legal headaches" from the Standish clan. It's okay. I'll have Dutch with me.</scene_description> <character>TB</character> <dialogue>She chuckles.</dialogue> <character>€�</character> <dialogue>NATALIE</dialogue> <scene_description>He'll take about six seconds of Doug Standish, Sr. if he starts in on me. The PHONE RINGS. Gritzi crosses to the wall phone.</scene_description> </scene> <scene> <stage_direction>INT. COFFEE SHOP. PAY PHONE. DUTCH</stage_direction> <scene_description>Dutch is on the phone.</scene_description> <character>DUTCH</character> <parenthetical>(sexy whisper)</parenthetical> <dialogue>Who 1 s going to be kissing your sweet thighs tonight?</dialogue> <character>CU. GRITZI</character> <dialogue>She's startled.</dialogue> <character>GRITZI</character> <dialogue>Good evening, Mr. Dooley.</dialogue> <character>CU. DUTCH</character> <dialogue>A grimace and silent curse. CU. DOYLE He looks up from the menu.</dialogue> <character>HIS POV</character> <dialogue>~</dialogue> <scene_description>A grotesquely made-up middle-aged WAITRESS looks down at him. She's chewing gum, snapping it.-as LOUD AS GUN SHOTS.</scene_description> <character>WAITRESS</character> <dialogue>What'll it be?</dialogue> <character>CU. DOYLE</character> <dialogue>He -glances down at the menu for a moment, then back up at the Waitress.</dialogue> <character>DOYLE</character> <dialogue>What won't make me puke?</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT</stage_direction> <scene_description>C The Waitress takes the menu from him and looks at it. TB Hmm. How about the</scene_description> <character>WAITRESS</character> <dialogue>•</dialogue> <scene_description>frankfurter pie?</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN. NATALIE</stage_direction> <scene_description>She's on the phone with Dutch.</scene_description> <character>NATALIE</character> <parenthetical>(with a smile)</parenthetical> <dialogue>I know you're lying.</dialogue> </scene> <scene> <stage_direction>INT. TRUCK STOP. PAY PHONE. DUTCH</stage_direction> <scene_description>He is.</scene_description> <character>DUTCH</character> <dialogue>No. I mean, we're not french kissing yet but we're getting along. We're pounding things out.</dialogue> <parenthetical>(with difficulty)</parenthetical> <dialogue>I kinda like the little guy. He's ... unique.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>t We stopped for a bite to eat.</dialogue> <scene_description>I thought I'd call. He's fine. It's a nice clean place. CU. DOYLE He's looking at his spoon with distaste. CU. WAITRESS She's writing down his order.</scene_description> <character>WAITRESS</character> <dialogue>Cheeseburger, no onions, no fingerprints, no hairs·, no raw bits of fat and gristle. Fries?</dialogue> <scene_description>CU, DOYLE He hands the spoon to the Waitress.</scene_description> <character>DOYLE</character> <dialogue>No thank you. There's something· on my spoon.</dialogue> <scene_description>TB CU. WAITRESS</scene_description> <character>€�</character> <dialogue>She takes it from him. She puts on her half-glasses and studies it.</dialogue> <character>WAITRESS</character> <dialogue>It's either Jell-O or blood.</dialogue> <scene_description>She licks it.</scene_description> <character>WAITRESS</character> <dialogue>It's not Jell-O.</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>The Lincoln rolls past.</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Dutch is driving. He puts a fresh cigar in his mouth. Doyle is eating a candy bar.</scene_description> <character>DUTCH</character> <dialogue>Smoke bother you?</dialogue> <character>DOYLE</character> <dialogue>Yes.</dialogue> <character>DUTCH</character> <dialogue>Hmm.</dialogue> <scene_description>He pushes in the lighter.</scene_description> <character>DOYLE</character> <parenthetical>(after a stare)</parenthetical> <dialogue>Why are you going out of your way to piss me off?</dialogue> <character>DUTCH</character> <dialogue>I don't think I am.</dialogue> <character>DOYLE</character> <dialogue>You asked if smoke bothered me. I said yes and you pushed in the lighter -anyway.</dialogue> <character>DUTCH</character> <dialogue>I wasn't asking your permission. I was curious if it bothe·rs you. How was your supper?</dialogue> <character>DOYLE</character> <dialogue>I'm eating it now.</dialogue> <scene_description>4l TB Dutch chuckles. €�:</scene_description> <character>DOYLE</character> <dialogue>What's so funny?</dialogue> <character>DUTCH</character> <dialogue>Nothing.</dialogue> <character>DOYLE</character> <dialogue>That I'm having candy for dinner? That's hilarious. What did you have?</dialogue> <character>DUTCH</character> <dialogue>I wouldn't eat at a place like that. It was filthy. The busboy was washing vegetables in the men's room.</dialogue> <character>DOYLE</character> <dialogue>So why did you tell me to eat there?</dialogue> <character>DUTCH</character> <dialogue>I didn't tell you to eat there. You assumed we were stopping to eat. I was stopping for gas and a phone call.</dialogue> <scene_description>Doyle finishes his candy bar. He shakes his head in disbelief. The lighter pops.</scene_description> <character>DOYLE</character> <dialogue>You're asking for it so bad.</dialogue> <scene_description>Dutch chuckles again. He lights his cigar.</scene_description> <character>DOYLE</character> <dialogue>I'm not kidding. You have no idea how serious I can get when I want to screw somebody .</dialogue> <character>€�</character> <dialogue>Dutch puts the lighter back.</dialogue> <scene_description>TB DUTCH I'm sure you can do alot of damage. To people who care about you. I'm not so sure you could raise a welt on my ass because I don't frankly care if you live, die or grow mushrooms on your ass. But I guess you're gonna try, huh?</scene_description> <character>DOYLE</character> <dialogue>Put money on it.</dialogue> <character>DUTCH</character> <dialogue>How much?</dialogue> <character>DOYLE</character> <dialogue>Five grand?</dialogue> <character>DUTCH</character> <dialogue>I'll do that.</dialogue> <scene_description>Doyle offers his hand.</scene_description> <character>DOYLE</character> <dialogue>Shake on it?</dialogue> <scene_description>Doyle grabs the cigar lighter, rips it out and stuffs it into Dutch's palm. He SC'REAMS,</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>The Lincoln swerves off the road, runs on the shoulder for a hundred yards and stops. Dutch gets out, hustles around to the passenger side, whips the door open .•. CU. DOYLE Truly frightened. He rears back. EXT. CAR Dutch rips Doyle out of the car. He heaves him off the road into the darkness. He slams the door and marches back ~round to.the driver's side, He gets in. INT. CAR Dutch drops into the seat and slams the door. He sits for a moment, chest heaving, temper pulsing, face red.</scene_description> <character>DUTCH</character> <dialogue>Fuck in' kid .•.</dialogue> <scene_description>TB He looks at his hand.</scene_description> <character>€�</character> <dialogue>DUTCH</dialogue> <scene_description>Fuckin spoiled little shit. Love ain't worth ... Once he's said what he 1 s said, his temper subsides. He catches his breath.</scene_description> </scene> <scene> <stage_direction>EXT. FROZEN FIELD</stage_direction> <scene_description>Doyle's running across the choppy frozen field.</scene_description> <character>DOYLE</character> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Dutch looks out the window.</scene_description> </scene> <scene> <stage_direction>EXT. FIELD. DOYLE</stage_direction> <scene_description>He slows and stops. He bends down and picks up a clod of dirt. He whips it with all his might.</scene_description> </scene> <scene> <stage_direction>INT. CAR. DUTCH</stage_direction> </scene> <scene> <stage_direction>HE'S REGAINED HIS COMPOSURE. HE FEELS BADLY THAT HE'S ALLOWED HIMSELF TO BE SO VIOLENT. THE CLOD OF DIRT LANDS ON THE CAR ROOF WITH A SHATTERING THUNK! DUTCH'S TEMPER POPS AGAIN. HE WHIPS OPEN THE DOOR. EXT. CAR DUTCH BLASTS OUT OF THE CAR AND LOOKS OVER THE ROOF.</stage_direction> <character>DUTCH</character> <dialogue>I DON'T OWN TH~ CAR, YOU</dialogue> <character>JAG-OFF! YOU'RE NOT HURTING</character> <dialogue>ME!</dialogue> <scene_description>He ducks a clod of dirt. EXT. FIELD Doyle grabs another clod of dirt and winds up. CU. DUTCH He rises up.</scene_description> <character>DUTCH</character> <dialogue>THROW ONE MORE AND I ' LL LEAVE</dialogue> <character>YOU HERE!</character> <scene_description>HIS POV</scene_description> <character>€�</character> <dialogue>A tiny figure silhouetted in moonlight.</dialogue> <scene_description>DO'iLE (distant} PROMISE?! CU. DUTCH An angry grin.</scene_description> <character>DUTCH</character> </scene> <scene> <stage_direction>EXT. FIELD. DOYLE</stage_direction> <scene_description>He winds up and heaves another clod.</scene_description> <character>GOOD RIOO.ANCE,</character> <dialogue>FAT ASS J</dialogue> <scene_description>He puts his hands on his hips and ducks his head as he r catches his breath. When he looks up, he's startled. HIS POV The Lincoln is pulling back onto the highway. CU. DOYLE A look of complete panic.</scene_description> <character>DOYLE</character> <dialogue>Oh, shit ...</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>Into the field. Doyle runs back across the field screaming ...</scene_description> <character>DOYLE</character> <dialogue>WAIT A MINUTE! STOP! I'LL</dialogue> <scene_description>HIS POV. The red taillights of the Lincoln disappearing down the highway. C TB EXT, HIGHWAY. CU. DOYLE'S SHOES. LATER</scene_description> <character>€�</character> <dialogue>Scuffling along the shoulder. CAMERA RISES to reveal Doyle with his hands tucked in his underarms, his coat collar turned up around his ears, his teeth chattering, tears in his eyes. A semi approaches and passes, buffeting him with cold, harsh draft and road grit. He stops and covers his face against the assault. EXT. MOTEL. LATER</dialogue> <scene_description>A cheap, independent motel. An office and half a dozen guest cottages. The Lincoln is parked in front of one of the cottages. Dutch is in his undershorts doing deep kneebends. After he finishes, he shakes out his legs and crosses to the window. He peeks outside the curtains. HIS POV Nothing but his Lincoln.</scene_description> </scene> <scene> <stage_direction>EXT. COTTAGE. WINDOW. CU. DUTCH</stage_direction> <scene_description>He's a little concerned. He lets the curtains fall.</scene_description> </scene> <scene> <stage_direction>EXT. NATALIE'S HOUSE</stage_direction> <scene_description>The lights are out.</scene_description> </scene> <scene> <stage_direction>INT. DOYLE'S ROOM</stage_direction> <scene_description>Natalie 1 s in her nightclothes. She's looking at his things. The room is as he left it. It's in perfect order. The Standish crest over his bed. Framed photos of Doug Standish, his grandparents, great grandparents. A wall of model saii boats. Lacrosse equipment. Karate trophies.Natalie sits down on the bed. She picks up a tattered Stief monkey resting on the nightstand. She looks .at it. fondly. It's from a time when Doyle was hers. 0C the PHONE RINGS.</scene_description> </scene> <scene> <stage_direction>INT. HOUSE. HALLWAY</stage_direction> <scene_description>Natalie comes out of Doyle's room and crosses to the master and the phone.</scene_description> </scene> <scene> <stage_direction>EXT. ROADSIDE REST STOP. PAY PHONE</stage_direction> <scene_description>Doyle's on the phone. He's nervous as his call rings through.</scene_description> </scene> <scene> <stage_direction>INT. MASTER BEDROOM. NATALIE</stage_direction> <scene_description>She picks up the phone. TB Hello?</scene_description> <character>NATALIE</character> <scene_description>CU. DOYLE He hears his mother"s voice.</scene_description> <character>NATALIE'S VOICE</character> <dialogue>Hello'?</dialogue> <scene_description>As much as he doesn't want to, Doyle slams the phone down.</scene_description> <character>DOYLE</character> <dialogue>Shit ...</dialogue> </scene> <scene> <stage_direction>INT. MASTER BEDROOM</stage_direction> <scene_description>Natalie hangs up the phone, curious about the hang-up.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY. LATER</stage_direction> <scene_description>Doyle's walking on the shoulder with his hands over his ears. A candy bar in one hand. He takes a bite and puts his hand back on his ear. He spots something ahead ... f HIS POV The neon motel sign. The "l" is flickering.</scene_description> </scene> <scene> <stage_direction>INT. MOTEL COTTAGE. DUTCH</stage_direction> <scene_description>Dutch is on his back, SNORING like a boar. There's a knock on the door. A light TAP. Another light TAP. Then a LOUD BANG! Dutch sits up with a start. INT, COTTAGE Dutch stumbles out of bed an&lt;L.hobbles to the door. CU. DOOR It opens on Doyle. He's pissed.</scene_description> <character>DOYLE</character> <parenthetical>(after a pause)</parenthetical> <dialogue>I could have frozen to death, you asshole.</dialogue> <scene_description>CU. DUTCH He grins. TB DUTCH I don't think you would have</scene_description> <character>€�</character> <dialogue>frozen. Not solid anyway. It's not quite cold enough for that.</dialogue> </scene> <scene> <stage_direction>INT. COTTAGE</stage_direction> <scene_description>Doyle pushes Dutch aside and comes into the room.</scene_description> <character>DUTCH</character> <dialogue>You're welcome.</dialogue> <character>DOYLE</character> <dialogue>Shut-up.</dialogue> <scene_description>He crosses to the beds and lies down on the unopened single.</scene_description> <character>DUTCH</character> <dialogue>Here's something you should know about me, Dale. I don't screw around. You piss me off, I react.</dialogue> <scene_description>Dutch returns to his bed.</scene_description> <character>DUTCH</character> <dialogue>I'm not your Dad. I'm not your grampy, I'm not your uncle. I'm a working class nobody who doesn't take shit from kiddies.</dialogue> <scene_description>He covers himself and settles in.</scene_description> <character>DOYLE</character> <dialogue>Where's my bag?</dialogue> <character>DUTCH</character> <dialogue>I didn't bring it in. I thought for sure you'd die.</dialogue> <character>DOYLE</character> <dialogue>Gimme the keys.</dialogue> <scene_description>Dutch reaches up on the nightstand and grabs the keys. He flips them on DOyle's bed.</scene_description> <character>DUTCH</character> <dialogue>Lock up.when you're through.</dialogue> <scene_description>Doyle picks up the keys and exits. TB CU. DUTCH</scene_description> <character>€�</character> <dialogue>He breathes a sigh of relief.</dialogue> <character>DUTCH</character> <dialogue>What a pain in the ass ...</dialogue> <scene_description>He closes his eyes. A long beat and he hears THE LINCOLN ENGINE TURN OVER, His eyes blast open.</scene_description> </scene> <scene> <stage_direction>EXT. MOTEL</stage_direction> <scene_description>The Lincoln pulls out of the motel onto the access road making a sharp, unskilled turn.</scene_description> </scene> <scene> <stage_direction>EXT. MOTEL. COTTAGE</stage_direction> <scene_description>Dutch throws open the door and runs out.</scene_description> <character>DUTCH</character> <dialogue>Goddamn it!</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> </scene> <scene> <stage_direction>THE LINCOLN SLOWS AND TURNS BROADSIDE ACROSS THE HIGHWAY. THE ENGINE STOPS. THE LIGHTS GO OUT. EXT. HIGHWAY. FURTHER AHEAD A SEMI ROARS DOWN THE HIGHWAY. CU. TRUCK BUMPER ALABAMA PLATES. NRA STICKERS. EXT. TRUCK. FLATBED TRAILER LOADED WITH IRON PIPE. EXT. MOTEL ENTRANCE DUTCH, IN HIS UNDERWEAR, OVERCOAT AN~ SHOES, STANDS AT THE ENTRANCE. HE SEES THE LINCOLN DOWN JHE HIGHWAY. HE HEARS A TRUCK HORN.</stage_direction> <character>DUTCH</character> <dialogue>DO'tLE!</dialogue> <scene_description>He tears down the road ~o the highway.</scene_description> </scene> <scene> <stage_direction>INT. SEMI. WINDSHIELD VIEW</stage_direction> <scene_description>The Lincoln is illuminated by the truck's headlights.</scene_description> <character>TB</character> <dialogue>EXT. HIGHWAY. OFF RAMP</dialogue> <dialogue>Dutch races down the ramp.</dialogue> <character>€�</character> <dialogue>INSERT. TRUCK BRAKES</dialogue> <dialogue>A pair of jump boots slam down on the brake pedal. EXT. HIGHWAY. TRUCK HEADLIGHTS Fill the frame. The HORN IS BLASTING LONG. INT. LINCOLN Looking out the driver•s window. The truck bears down on it. CU. DUTCH He SCREAMS AT THE TOP OF HIS VOICE. He's in terror.</dialogue> <character>DUTCH</character> <dialogue>DOYLE!</dialogue> <character>EXT. HIGHWAY</character> <dialogue>The truck drives throu~h the Lincoln, shattering it, spinning</dialogue> <scene_description>( it off the road in an explosion of glass and metal. The truck grinds to a long stop and pulls off the road. EXT. HIGHWAY. DUTCH He's stopped on the road way. He's white with horror. EXT. HIGHWAY. TRUCK A hefty, young DRIVER leaps out of the cab and charges back down the highway. EXT. HIGHWAY. SHOULDER. LINCOLN What's left of the Lincoln is on its side in a ditch alongside the road. Dutch appears above the rubble. He scrambles down the embankment to the wreck. He looks inside.</scene_description> <character>DUTCH</character> <dialogue>DOYLE!</dialogue> <character>EXT. HIGHWAY. SHOULDER</character> <dialogue>The Truck Driver runs down the highway to the embankment. He stops as he looks down to the wreckage.</dialogue> <scene_description>TB HIS POV</scene_description> <character>€�</character> <dialogue>Dutch turns from the Lincoln. He looks up at the Driver.</dialogue> <scene_description>CU. TRUCK DRIVER He's puzzled to see a healthy, living man in his undershorts.</scene_description> <character>TRUCK DRIVER</character> <dialogue>You okay?</dialogue> <scene_description>CU. DUTCH He nods. He's in shock. He starts back up the embankment.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>Dutch comes up from the embankment. The Driver helps him up.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>Doyle comes up the embankment from the other side. He's serious and composed.</scene_description> <character>DOYLE</character> <dialogue>I think this makes us even, Dutch.</dialogue> <scene_description>CU. DUTCH Turns. His face twists into an ugly mask of rage. He takes off after Doyle. EXT. HIGHWAY A tow truck is pulling the Lincoln onto the highway. Two state police cars are parked on the side of the road. Flares are burning. EXT. MOTEL. LATER Another state police car is parked in the lot. EXT. MOTEL. POLICE CAR Dutch and the Truck Driver are with two TROOPERS. One is writing a violat-ion. He yanks it off and gives it to Dutch.</scene_description> </scene> <scene> <stage_direction>INT. MOTEL COTTAGE</stage_direction> <scene_description>Doyle's watching from the doorway. TB</scene_description> </scene> <scene> <stage_direction>EXT. POLICE CAR</stage_direction> <character>€�</character> <dialogue>The Troopers get back in their car. They start their engine and pull out. Dutch pulls out his wallet.</dialogue> <character>DUTCH</character> <parenthetical>(to the trucker)</parenthetical> <dialogue>Thanks for going along with the story. I appreciate it. The kid's got some emotional problems. He doesn't need police trouble.</dialogue> <scene_description>Dutch counts out five hundred bucks. He pulls out a business card.</scene_description> <character>DUTCH</character> <dialogue>Put that toward any repairs you might need and your lost time. If it's not enough, give me a call. The number's on my card.</dialogue> <scene_description>The Truck Driver takes the money. He looks back at the motel. HIS POV Doyle watching from the open door of the cottage. CU. TRUCKER An angry snarl.</scene_description> <character>TRUCK DRIVER</character> <dialogue>I hope you choke to death on your turkey, you shithead.</dialogue> <scene_description>CU. DOYLE He blanches at the insult from the stranger. EXT . MOTEL LOT The Truck Driver exits the lot on feet. Dutch walks back to the cottage. He waves the curious motel guests away.</scene_description> <character>DUTCH</character> <dialogue>Show's over. Go to bed.</dialogue> <scene_description>CU. DOYLE He smirks as Dutch approaches.</scene_description> </scene> <scene> <stage_direction>EXT. MOTEL COTTAGE</stage_direction> <character>€�</character> <dialogue>Dutch walks up to the door and Doyle. He rushes the last few steps and shoves Doyle into the room. INT. COTTAGE</dialogue> <dialogue>Dutch slams the door behind him. He's furious.</dialogue> <character>DUTCH</character> <dialogue>Listen you little son of a bitch, you could have killed somebody with a stunt like that. That poor bastard was on his way home to see his family! Because you want to play some kind of spoiled brat prank, you put his life in jeopardy. What gives you the right to do that? Huh?</dialogue> <scene_description>Doyle realizes what he"s done. It frightens him.</scene_description> <character>DOYLE</character> <dialogue>I didn't think about that.</dialogue> <scene_description>Dutch shoves Doyle into the wall.</scene_description> <character>DUTCH</character> <dialogue>You better start thinking about something else besides your own spoiled ass. I took on this fucking dumb assignment because I love your mother. I gotta wonder how nuts I am. I've met some scum. in my lif~ but you beat all, man. You are completely worthless.</dialogue> <scene_description>He gives him another shove. C</scene_description> <character>TB</character> <dialogue>This isn't a joke anymore.</dialogue> <character>DUTCH</character> <dialogue>•</dialogue> <scene_description>This is a fucking mission. You're not going to beat me. I served in Vietnam, I've gone one on one with wise guys, I've had my head split open, my nose mashed. I've been kicked and beat and left for dead. There's nothing you've got that'll give me anything more than a nice sweat on my ass. You understand? I'm delivering to your momma, a whipped puppy.</scene_description> <character>DOYLE</character> <dialogue>The hell you are.</dialogue> <character>DUTCH</character> <dialogue>The hell I am!</dialogue> <scene_description>Doyle moves away from the wall. Dutch grabs him and slings him back. Doyle puts up his hands. r DUTCH Get your fuckin' hands down! Doyle ignores him. He focuses on Dutch, locks eyes with him.</scene_description> <character>DOYLE</character> <dialogue>I'm not taking anymore of your shit. Touch me once more and you'll be sorry.</dialogue> <character>DUTCH</character> <dialogue>You wanna go? Is that it? I'll go. Shit, I'd love it, man. You wanna go? Get rid of that teenage angst? Get your little peter hard?</dialogue> <character>DOYLE</character> <dialogue>Yeah!</dialogue> <scene_description>Dutch reaches to the nightstand for his wallet and pen. He flips open the wallet and pulls out a business card. He drops the wallet, lifts his leg and writes on the business card using his knee for support.</scene_description> <character>DOYLE</character> <dialogue>come on!</dialogue> <character>TB</character> <dialogue>Hold your pony, teen boy.</dialogue> <character>DUTCH</character> <dialogue>•</dialogue> <character>DOYLE</character> <dialogue>What 1 re you doing?</dialogue> <character>DUTCH</character> <dialogue>A little agreement between us.</dialogue> <scene_description>He hands the business card and pen to Doyle.</scene_description> <character>DUTCH</character> <dialogue>Sign it.</dialogue> <character>DOYLE</character> <dialogue>What?</dialogue> <scene_description>He looks at the card. INSERT: BUSINESS CARD "I will not sue Dutch Dooley for physical damages caused by him."</scene_description> </scene> <scene> <stage_direction>INT. ROOM</stage_direction> <scene_description>Doyle signs the card and hands it and the pen back to Dutch. Dutch drops the card and pen on the bed and puts up his dukes. Doyle returns to his fighting form.</scene_description> <character>DUTCH</character> <dialogue>Alright. Let's see if your punch is as big as your mouth. Come on. Give it to me, pipsqueak!</dialogue> <character>DOYLE</character> <dialogue>Wait a second.</dialogue> <scene_description>Dutch drops his hands. He grins.</scene_description> <character>DUTCH</character> <dialogue>What?</dialogue> <character>DOYLE</character> <dialogue>I" want to take my watch off.</dialogue> <character>DUTCH</character> <dialogue>Good idea.</dialogue> <scene_description>I C TB Dutch looks down at his wrist and unfastens his watch. Doyle lashes out at Dutch. WHACK! in the face. STOMP! on the</scene_description> <character>€�</character> <dialogue>instep. KICK! to the belly. PUNCH! in the chops. Dutch topples over °like a redwood. Doyle grabs his bag off the bed and goes into the bathroom. He slams the door.</dialogue> <scene_description>CU. DUTCH He groans and rolls over. He reaches in his mouth and wiggles his loosened bridgework.</scene_description> </scene> <scene> <stage_direction>EXT. COUNTRYSIDE</stage_direction> <scene_description>A cold rose sun breaches a ragged horizon.</scene_description> </scene> <scene> <stage_direction>EXT. JUNKYARD</stage_direction> <scene_description>There's frost on the remains of the rented Lincoln.</scene_description> </scene> <scene> <stage_direction>EXT. DINER</stage_direction> <scene_description>A squatty eat and run adjacent to the motel.</scene_description> </scene> <scene> <stage_direction>INT. DINER. MORNING</stage_direction> <scene_description>Dutch and Doyle are sitting at the counter. The place is packed with rural FOLKS, holiday TRAVELLERS, low-end ROAD PEDDLERS. Randy Travis is playing on the Seeburg. Dutch is looking at the one page vinyl-covered menu. He has a fresh, unlit cigar in his mouth. Doyle is cleaning his portion of counter with a paper napkin.</scene_description> <character>DOYLE</character> <dialogue>How's your face?</dialogue> <scene_description>Dutch answers after a pause, trying not to let on that it's killing him.</scene_description> <character>DUTCH</character> <dialogue>Fine.</dialogue> <character>DOYLE</character> <dialogue>A partial apology if I did any permanent damag~.</dialogue> <character>DUTCH</character> <dialogue>it'll take alot more than you got to do me any permanent damage.</dialogue> <scene_description>Doyle can't be sure that Dutch is telling the truth. He's looking to get a rise out of him.</scene_description> <character>TB</character> <dialogue>•</dialogue> <character>DUTCH</character> <parenthetical>(looking up from the menu)</parenthetical> <dialogue>Your mother's hinted that she'd like me to lose a little weight. But flapjacks and bacon on a cold morning can be pretty sexy.</dialogue> <scene_description>Doyle stares at him. He hasn't a clue what he means.</scene_description> <character>DUTCH</character> <dialogue>You get another twenty years under your belt and you'll start viewing sex and food as interchangeable pleasures.</dialogue> <scene_description>He returns to the menu.</scene_description> <character>DOYLE</character> <dialogue>While we're on the subject, I want you to know that I could have kicked you in the groin.</dialogue> <character>DUTCH</character> <dialogue>(r- (nods, still engrossed</dialogue> <scene_description>in the menu} Yeah? Why didn't you?</scene_description> <character>DOYLE</character> <dialogue>I would have made you sterile.</dialogue> <scene_description>Dutch snorts.</scene_description> <character>DOYLE</character> <dialogue>Seriously. I'm a high brown belt.</dialogue> <scene_description>Dutch sets the menu down.</scene_description> <character>DUTCH</character> <dialogue>Yeah? Do you box?</dialogue> <character>DOYLE</character> <dialogue>Kickbox?</dialogue> <character>DUTCH</character> <dialogue>Box box.</dialogue> <scene_description>Doyle shakes his head, no. TB DUTCH Next time, we go at it, we'll</scene_description> <character>€�</character> <dialogue>box. The Marquis' rules. No sissy kicks, no geometry, no kamakazi shit. No sucker punches. Good old American street fighting.</dialogue> <character>DOYLE</character> <dialogue>Whatever tactics a man can deploy in a fight is fair provided the sole objective is to win.</dialogue> <character>DUTCH</character> <dialogue>Okay. I'll use a little length of lead pipe. And you can have a rolled-up newspaper.</dialogue> <character>DOYLE</character> <dialogue>That's not what I meant.</dialogue> <character>DUTCH</character> <dialogue>It is what you meant. Civilization is rules. The jungle is whatever gets you what you want. You live in the jungle.</dialogue> <character>DOYLE</character> <dialogue>Which is your way of admitting that I can whip you.</dialogue> <scene_description>It could be true. Dutch flips the menu over and looks at the backside.</scene_description> <character>DOYLE</character> <dialogue>Your working class ego can't handle a kid of wealt~ and position beating you up.</dialogue> <character>DUTCH</character> <dialogue>My working class ego can handle that and a whole lot more.</dialogue> <character>DOYLE</character> <dialogue>Then you do admit I can beat you in a fight?</dialogue> <character>TB</character> <dialogue>•</dialogue> <character>DUTCH</character> <parenthetical>(after a pause)</parenthetical> <dialogue>Why don't you shut-up? I'm taking off my watch and you pop me. That's not a fight. That's a mugging.</dialogue> <character>DOYLE</character> <dialogue>I beat you mentally, then I beat you physically.</dialogue> <character>DUTCH</character> <dialogue>Yesterday you didn't have a thing to say. Today you're a fucking parrot.</dialogue> <scene_description>Dutch catches the attention of a passing waitress.</scene_description> <character>DUTCH</character> <dialogue>I I m ready here ...</dialogue> <scene_description>A buxom, chesty WAITRESS in a low-cut pink poly uniform acknowledges Dutch with a wink.</scene_description> <character>DOYLE</character> <dialogue>For a split second last night, I sort of respected you. For how you handled the cops and the accident. But I see that my initial impression was correct. You're a clod.</dialogue> <scene_description>He picks up the menu. Dutch glares at him.</scene_description> <character>DOYLE</character> <dialogue>And the cool part is, I can say that and you can't do anything about it because I can kick your ass.</dialogue> <scene_description>He grins.</scene_description> <character>DUTCH</character> <dialogue>I won't cop to that but I will say this. There's one thing that I can do that you can't.</dialogue> <character>DOYLE</character> <dialogue>C What?</dialogue> <character>TB</character> <dialogue>I can pay for my breakfast.</dialogue> <character>DUTCH</character> <dialogue>Doyle is reminded that he doesn't have any money. The Waitress strolls over. She pulls her pad out of her apron and her pen out of her cleavage.</dialogue> <character>WAITRESS</character> <dialogue>What're y'all hungry for this cold morning?</dialogue> <character>DUTCH</character> <dialogue>The number six for me. And a glass of water for my parrot.</dialogue> </scene> <scene> <stage_direction>EXT. NATALIE'S HOUSE. MORNING</stage_direction> </scene> <scene> <stage_direction>A COLD RAIN IS FALLING. THE PHONE RINGS OVER. INT. NATALIE'S KITCHEN GRITZI AND NATALIE ARE UNLOADING SHOPPING BAGS FROM THE MARKET.</stage_direction> <scene_description>r NATALIE That'll be Dutch. I'll bet they're in Ohio. Natalie grabs the phone.</scene_description> <character>NATALIE</character> <dialogue>Hi, honey.</dialogue> <scene_description>A look of shock comes over her face. She looks to Gritzi.</scene_description> <character>NATALIE</character> <parenthetical>(cold)</parenthetical> <dialogue>What do you want? I thought it was somebody else, trust me. Why aren't you in Europe?</dialogue> </scene> <scene> <stage_direction>EXT. COUNTRY ROAD</stage_direction> </scene> <scene> <stage_direction>A MERCEDES TWO SEATER WHIPS DOWN THE COUNTRY LANEO INT. CAR. CU. DOUG STANDISH HE'S ALARMINGLY HANDSOME AND URBANE.</stage_direction> <character>DOUG</character> <dialogue>I didn't like the weather</dialogue> <scene_description>C this morning. I didn't want to take off in it. Have you talked to Doyle? TB</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN. NATALIE</stage_direction> <character>€�</character> <dialogue>Natalie grits her teeth angrily and mouths to Gritzi, "bastard".</dialogue> <character>NATALIE</character> <dialogue>He's on his way home. Yeah, he's flying.</dialogue> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Doug and his girlfriend, GRACE. She's twenty two, raven- haired, empty and arrogant. Staring out the window with deliberate vacuousness.</scene_description> <character>DOUG</character> <dialogue>I'd like to stop by. I know my parents'll be there.</dialogue> <scene_description>CU. NATALIE She's furious and feels invaded and manipulated.</scene_description> <character>NATALIE</character> <dialogue>I can tolerate them, but I don't want you here. It won't help Doyle to know you lied to him.</dialogue> <scene_description>CU. DOUG He takes immediate offense.</scene_description> <character>DOUG</character> <dialogue>I didn't lie to him. You did.</dialogue> <scene_description>CU. GRACE She looks over at Doug. Bored. Annoyed that he's on the phone. CU. NATALIE She doesn't want to lose it on the phone.</scene_description> <character>NATALIE</character> <dialogue>You wouldn't do that. I know you're sick but not that sick.</dialogue> <scene_description>CU. DOUG A snotty smirk. The same smirk we've seen on Doyle.</scene_description> <character>TB</character> <dialogue>•</dialogue> <character>DOUG</character> <dialogue>What difference does it make? You can't raise him. He doesn't respect you. He'll never respect you.</dialogue> <scene_description>CU. NATALIE The tears come.</scene_description> <character>NATALIE</character> <dialogue>If I knew he'd be better off with you, I'd give him up. That's the difference between me and you. You want him because he's family property. And you're right. He doesn't respect me. He doesn't respect anybody because his entire life he 1 s never had anybody he could look up to.</dialogue> <character>CU. DOYLE</character> <dialogue>r He's seated, looking up.</dialogue> <character>HIS POV</character> <dialogue>Dutch is standing next to him. He's cleaning his teeth with a toothpick. He looks down.</dialogue> <character>DUTCH</character> <dialogue>Nothing burps better than bacon.</dialogue> <scene_description>He gives Doyle a wink.</scene_description> <character>DUTCH</character> <dialogue>Your water looked tasty. Was it good?</dialogue> <character>EXT. HIGHWAY. WIDE</character> <dialogue>From across the highway we see Doyle sitting on Dutch's suitcase. His duffel is at his feet. Dutch is standing at the side of the roadway. With great show and style, Dutch holds out his arm and pulls up his sleeve an inch.</dialogue> <scene_description>C i \ -TB CU. DUTCH'S HAND</scene_description> <character>€�</character> <dialogue>Arm and hand extended. Fingers outstretched, thumb standing erect. One by one he curls his fingers into his palm making a hitcher's sign. EXT. HIGHWAY. DOYLE AND DUTCH Dutch holds his arm out as a car streaks past.</dialogue> <character>DOYLE</character> <dialogue>You're insane. Do you have any idea how dangerous it is to hitchhike?</dialogue> <character>DUTCH</character> <dialogue>You have a high brown belt. What're you worried about?</dialogue> <character>DOYLE</character> <dialogue>You 1 re an idiot.</dialogue> <character>DUTCH</character> <dialogue>You have a better way to get</dialogue> <scene_description>(,..... home?</scene_description> <character>DOYLE</character> <dialogue>We're not without means for God's sake.</dialogue> <character>DUTCH</character> <dialogue>We are at the moment. We have twenty bucks.</dialogue> <character>DOYLE</character> <dialogue>You ever heard of a telephone? Call my mother. I 1 ll call my grandfather. Jesus ...</dialogue> <scene_description>TB DUTCH Someday you're going to get</scene_description> <character>€�</character> <dialogue>into a situation where you won't be able to call for help, You'll have to rely on yourself. And you'll let yourself down. I'm not calling because I don't want your mother to think we c\_an • t make it home on our own. Call it male pride. Old-fashioned, pig-headed, working-class, pre-fax machine/car phone masculine pride. No lawyers, no accountants, no mommies, no daddies, no Washington lobbyists. Just a man and his wits.</dialogue> <character>DOYLE</character> <dialogue>That's helpful when we're face-down dead in a ditch.</dialogue> <character>DUTCH</character> <parenthetical>(nods)</parenthetical> <dialogue>That's part of it, too. But you roll the dice and take what you get.</dialogue> <scene_description>A truck blasts by.</scene_description> <character>DUTCH</character> <dialogue>We're not doing too good here. You want to give it a try? You're alot cuter than me. No lonely road jockey's going to get too hot thinking about me sitting next to him.</dialogue> <scene_description>CU. DOYLE A horrifying thought. CU. DUTCH He sneaks a look back at Doyle. He knows exactly what he's doing. EXT. HIGHWAY. LATER A commercial passenger bus rolls down the highway.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY. DUTCH AND DOYLE</stage_direction> <character>€�</character> <dialogue>Dutch is stomping his feet and slapping his arms at his sides to keep the blood flowing to his extremities. Doyle is hunched over to keep warm. He looks up and around.</dialogue> <scene_description>HIS POV The motel. They haven't moved.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>Doyle looks at his watch. A string of five cars blow by. Dutch steps into his hitcher move and waggles his thumb at the passing vehicles. ~</scene_description> <character>DOYLE</character> <dialogue>Let me know when your working-class male pride freezes and falls off. I'll call my mother and tell her to charter a plane for us. After they take me back to</dialogue> <scene_description>r school, they can take you back home.</scene_description> <character>DUTCH</character> <dialogue>That's not going to happen any time soon.</dialogue> <scene_description>He sneaks his hand into his overcoat and clutches his balls to double check that he still has feeling. A couple of trucks roar by.</scene_description> <character>DOYLE</character> <dialogue>I k"now .this is a big exercise. Teach the lad a lesson and all that crap.</dialogue> <character>DUTCH</character> <dialogue>{turning to Doyle)</dialogue> <scene_description>If it was a lesson, which it isn't, would that·hurt you?</scene_description> <character>DOYLE</character> <dialogue>Only if I die of exposure.</dialogue> <scene_description>Dutch looks at his thumb. He wiggles it to make sure it's still functional. A run of three trucks rolls past. r</scene_description> <character>TB</character> <dialogue>Remember this, asshole. If</dialogue> <character>DUTCH</character> <dialogue>•</dialogue> <scene_description>you hadn't destroyed the car, we'd be riding in comfort at a high rate of speed.</scene_description> <character>DOYLE</character> <dialogue>Face it. You're not any good at this, are you?</dialogue> <scene_description>A block of ten passenger cars streak by.</scene_description> <character>DOYLE</character> <parenthetical>(yelling above the highway noise)</parenthetical> <dialogue>Travelling the highways and byways! You're into the romance of it! But you can't pull it off, can you?!</dialogue> <scene_description>CU. DUTCH There's more than a little truth to Doyle's comment. The cars pass. It's quiet. Dutch turns to Doyle. r DUTCH I'm a sixties guy. Rambling was a way of life. This is gingersnaps for me. CU. DOYLE He knows Dutch is lying.</scene_description> <character>DOYLE</character> <dialogue>Three hours and we've moved twenty yards?</dialogue> <scene_description>CU. DUTCH It's true. Dutch clears his throat to·cover his embarrassment.</scene_description> <character>DUTCH</character> <dialogue>You're a nineties kid. Everything has to happen in a nanosecond. The road knows no clocks, junior. You know about King Arthur?</dialogue> <scene_description>r EXT, HIGHWAY Doyle doesn't get the connection.</scene_description> <character>TB</character> <dialogue>Quite a bit, actually.</dialogue> <character>DOYLE</character> <dialogue>•</dialogue> <character>DUTCH</character> <dialogue>You do? Okay. Avalon. You know that?</dialogue> <character>DOYLE</character> <dialogue>Very well.</dialogue> <character>DUTCH</character> <dialogue>You look for it. You don 1 t find it?</dialogue> <character>DOYLE</character> <dialogue>Right. It finds you. So what?</dialogue> <character>DUTCH</character> <dialogue>That's the luck of the rambling man. You look for it, you don't find it. You wait long enough ...</dialogue> <scene_description>OC a horn BLOWS. Dutch and Doyle look around. THEIR POV The commercial bus pulls off the side of the road. CU. DUTCH AND DOYLE Dutch looks at Doyle with a smirk.</scene_description> <character>DUTCH</character> <dialogue>Like I said ...</dialogue> <character>DOYLE</character> <dialogue>How are you going to pay for it?</dialogue> </scene> <scene> <stage_direction>EXT. BUS</stage_direction> <scene_description>A SERVICE MAN gets off the bus. Out~h greets him with a smile.</scene_description> <character>DUTCH</character> <dialogue>Happy holiday, son.</dialogue> <scene_description>The Service Man smiles. Dutch allows Doyle to board first.</scene_description> </scene> <scene> <stage_direction>C INT. BUS</stage_direction> <scene_description>Doyle steps aside as Dutch boards. The gruff, humorless BUS DRIVER looks them up and down. TB DRIVER</scene_description> <character>€�</character> <dialogue>Yeah?</dialogue> <character>DUTCH</character> <dialogue>We're on our way to Detroit.</dialogue> <character>DRIVER</character> <dialogue>I don't take on passengers off the road. This is an armed forces charter.</dialogue> <character>DUTCH</character> <dialogue>I'm a vet myself.</dialogue> <scene_description>(refers to the door} Can you close the door. DRIVER As soon as you get off my bus.</scene_description> <character>DUTCH</character> <dialogue>Can we make a deal?</dialogue> <character>DRIVER</character> <dialogue>Off the bus.</dialogue> <character>DUTCH</character> <dialogue>Twenty bucks.</dialogue> <character>DRIVER</character> <parenthetical>(lowers his voice)</parenthetical> <dialogue>I wouldn't run you over for less than a hundred.</dialogue> <character>DUTCH</character> <parenthetical>(to Doyle)</parenthetical> <dialogue>Show the man your watch.</dialogue> <character>DOYLE</character> <dialogue>What?</dialogue> <character>DUTCH</character> <dialogue>Show it to him!</dialogue> <character>INT. BUS</character> <dialogue>The PASSENGERS are leaning into the aisle and looking over the tops of the seats watching the negotiation. They're all uniformed Army personnel of both sexes and all races.</dialogue> <scene_description>C CU. EXPENSIVE MEN'S SPORTS WATCH On Doyle's wrist.</scene_description> </scene> <scene> <stage_direction>INT. BUS</stage_direction> <character>€�</character> <dialogue>Doyle takes his wrist back from the Driver.</dialogue> <character>DUTCH</character> <dialogue>And the twenty bucks.</dialogue> <character>DRIVER</character> <dialogue>I only go as far as Louisville.</dialogue> <character>DUTCH</character> <parenthetical>(to Doyle)</parenthetical> <dialogue>Give the man your watch.</dialogue> <scene_description>Doyle looks at Dutch like he's lost his mind.</scene_description> <character>DOYLE</character> <dialogue>This is a five hundred dollar watch.</dialogue> <character>DUTCH</character> <dialogue>Do you have a better idea?</dialogue> <character>DOYLE</character> <parenthetical>(taking his watch off)</parenthetical> <dialogue>I hate your guts.</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY</stage_direction> <scene_description>The bus pulls back on the highway.</scene_description> </scene> <scene> <stage_direction>INT. BUS. LATER. CU. BLACK SOLDIER</stage_direction> <scene_description>Young, big, close fade hair cut. Blaster in his lap. A HOUSE MIX ROARING. He's staring. HIS POV Doyle is sitting next to him. He knows he's being watched. He's nervous. Looking at the Soldier out of the corner of his eye. CU. DOYLE He's scared to death. He glances across the aisle. HIS POV C Two more SOLDIERS. The one on the aisle is a white mountain kid. The one in the window seat is black. They're looking at Doyle. The White Soldier leans over and looks down at Doyle's shoes.</scene_description> <character>TB</character> <dialogue>•</dialogue> <character>WHITE SOLDIER</character> <dialogue>What'd you pay for them BK's?</dialogue> </scene> <scene> <stage_direction>INT. BUS. DOYLE</stage_direction> <scene_description>He tucks his feet in.</scene_description> <character>DOYLE</character> <dialogue>I don't know.</dialogue> <character>WHITE SOLDIER</character> <dialogue>You steal them?</dialogue> <character>DOYLE</character> <dialogue>I charged them.</dialogue> <character>WHITE SOLDIER</character> <dialogue>What?</dialogue> <character>DOYLE</character> <dialogue>I have an account at several stores in the town where I go to school.</dialogue> <scene_description>The Soldier stares. He doesn't understand.</scene_description> <character>DOYLE</character> <dialogue>Charge accounts. I go in, get what I need and the bill is sent to my parents. Like charge cards. You have charge cards?</dialogue> <scene_description>The Soldier stares.</scene_description> <character>DOYLE</character> <dialogue>You've heard of Discover and Visa and American Express.</dialogue> <character>WHITE SOLDIER</character> <dialogue>Yeah.</dialogue> <character>DOYLE</character> <dialogue>It's like that. Sort of. It's a credit arrangement.</dialogue> <character>WHITE SOLDIER</character> <dialogue>So, how'd you pay for the shoes?</dialogue> <scene_description>r TB DOYLE (to the guy next to him) Do you understand what I'm saying?</scene_description> <character>SOLDIER WITH BLASTER</character> <dialogue>You used your American Express card.</dialogue> <character>DOYLE</character> <dialogue>No. It's .l.ikf:. an American Express card.</dialogue> <character>SOLDIER WITH BLASTER</character> <dialogue>You paid for the shoes?</dialogue> <character>DOYLE</character> <dialogue>My father's accountant paid for them.</dialogue> <character>WHITE SOLDIER</character> <dialogue>A gift'?</dialogue> <character>DOYLE</character> <dialogue>No. It's my father's money. Do you know what an accountant is?</dialogue> <character>WHITE SOLDIER</character> <dialogue>Yeah ...</dialogue> <character>DOYLE</character> <dialogue>We have one.</dialogue> <character>WHITE SOLDIER</character> <dialogue>For what?</dialogue> <character>DOYLE</character> <dialogue>Financial matters. He pays the bills, does the taxes. Stuff like that.</dialogue> <character>WHITE SOLDIER</character> <dialogue>The accountant bougnt yOu the shoes?</dialogue> <scene_description>Doyle gives up. He nods.</scene_description> <character>DOYLE</character> <dialogue>For my birthday.</dialogue> <character>SOLDIER WITH BLASTER</character> <dialogue>They're fly.</dialogue> <scene_description>TB DOYLE</scene_description> <character>€�</character> <dialogue>Thank you very much.</dialogue> <character>WHITE SOLDIER</character> <dialogue>What size are they?</dialogue> <character>DOYLE</character> <dialogue>Nine.</dialogue> <scene_description>The Soldier leans back.</scene_description> <character>WHITE SOLDIER</character> <dialogue>What size are you?</dialogue> <character>BLACK SOLDIER</character> <dialogue>Nine.</dialogue> <character>WHITE SOLDIER</character> <parenthetical>(to Doyle)</parenthetical> <dialogue>You want to sell 'em?</dialogue> <scene_description>CU. DOYLE He's scared. He doesn't know how to answer.</scene_description> </scene> <scene> <stage_direction>INT. BUS. DUTCH</stage_direction> <scene_description>He's a few seats back from Doyle next to a young female HISPANIC SOLDIER. She's very pretty.</scene_description> <character>GIRL</character> <dialogue>Is that your son up there?</dialogue> <character>DUTCH</character> <dialogue>No. My girlfriend's kid. I'm bringing him up to Detroit from a private-school he goes to in Georgia.</dialogue> <character>GIRL</character> <dialogue>You're hitching rides?</dialogue> <character>DUTCH</character> <dialogue>We ran into a little trouble. We lost the car. So, we're bummin' home.</dialogue> <scene_description>He smiles at the reminder of what's gone down so far.</scene_description> <character>DUTCH</character> <dialogue>You got kids?</dialogue> <character>TB</character> <dialogue>A daughter. She's with my</dialogue> <character>GIRL</character> <dialogue>•</dialogue> <scene_description>mother.</scene_description> <character>DUTCH</character> <dialogue>You going to see her?</dialogue> <scene_description>The Girl nods.</scene_description> <character>DUTCH</character> <dialogue>Little?</dialogue> <character>GIRL</character> <dialogue>Three.</dialogue> <character>DUTCH</character> <dialogue>That 1 s gotta be nice.</dialogue> <character>GIRL</character> <dialogue>When I finally get stationed somewhere, she'll come and live with me.</dialogue> <character>DUTCH</character> <dialogue>You divorced?</dialogue> <character>GIRL</character> <dialogue>Never married.</dialogue> <character>DUTCH</character> <dialogue>I was married. Once. Briefly.</dialogue> <character>GIRL</character> <dialogue>No kids'?</dialogue> <scene_description>Dutch shakes his head.</scene_description> <character>DUTCH</character> <dialogue>No. Do I regret it? Yes. I do.</dialogue> <character>GIRL</character> <dialogue>You're not so old. You could still have kids.</dialogue> <character>DUTCH</character> <dialogue>My Dad was forty seven when he had me. He was like a grandfa~her. I don't think it's in my cards to have kids. EsPecially after</dialogue> <scene_description>C spending the last 18 hours with that one up there. TB</scene_description> </scene> <scene> <stage_direction>INT. BUS. DOYLE AND THE SOLDIERS</stage_direction> <character>€�</character> <dialogue>He's looking at a thick gold chain.</dialogue> <character>DOYLE</character> <dialogue>Thank you, no. I don 1 t wear much jewelry.</dialogue> <character>WHITE SOLDIER</character> <dialogue>Try it on.</dialogue> <scene_description>Doyle reluctantly puts the chain over his head. The Soldiers crack up.</scene_description> <character>BLACK SOLDIER</character> <dialogue>Give it back. '-</dialogue> <scene_description>Doyle quickly removes the chain and hands it to the White Soldier who hands it to the Black Soldier.</scene_description> <character>WHITE SOLDIER</character> <dialogue>I don't know what we're gonna do, man. My friend really, really wants those shoes.</dialogue> <character>DOYLE</character> <dialogue>I'm a long way from home. I need my shoes. I'm sorry.</dialogue> <character>WHITE SOLDIER</character> <dialogue>I got an idea.</dialogue> <parenthetical>(to the black soldier)</parenthetical> <dialogue>Where's your bag, man?</dialogue> <scene_description>CU. DOYLE He's worried. EXT. LOUISVILLE, KENTUCKY On the banks of the Ohio. The beauty Shot. Sunset. EXT. BUS STATION The bus is unloading. Soldiers step down, shaking the kinks out of their legs and backs and butts. CU. BUS DOOR A pair of extremely pointed, worn and battered, light tan loafers with gold buckles STEP INTO FRAME. CAMERA RISES to reveal a pissed-off Doyle. Dutch steps down behind him and pats him on the shoulder.</scene_description> <character>TB</character> <dialogue>We're moving now, huh?</dialogue> <character>DUTCH</character> <scene_description>INT, BUS STATION, PAY PHONE Dutch is on the phone again. The bus station is loud and crowded.</scene_description> <character>DUTCH</character> <dialogue>Everything's going great. We're taking our time. Seeing the country.</dialogue> </scene> <scene> <stage_direction>INT. LIBRARY</stage_direction> <scene_description>Natalie's behind the desk.</scene_description> <character>NATALIE</character> <dialogue>I don't want to sound ungrateful, Dutch, but don't you think you should just drive straight in. You could hit snow ...</dialogue> </scene> <scene> <stage_direction>INT. BUS STATION</stage_direction> <scene_description>Dutch tucks into the booth to avoid the noise.</scene_description> <character>DUTCH</character> <dialogue>Let me tell you something. Your son is a tough bird. I'm not knocking you but he's got his nose up in the air something fierce.</dialogue> </scene> <scene> <stage_direction>INT. LIBRARY. CU. NATALIE</stage_direction> <scene_description>She tightens instinctually at the frank remark.</scene_description> <character>NATALIE</character> <dialogue>He's been through more than a little. And you showing up to drive him home against his will .•. you're not go~ng to see anybody's best side under those conditions. Don't play father with him, please. Just bring him home.</dialogue> <scene_description>CU. DUTCH r He realizes he has to be a little more tender.</scene_description> <character>TB</character> <dialogue>I get it, Nat. It's okay. I'm</dialogue> <character>DUTCH</character> <dialogue>•</dialogue> <scene_description>just saying he's a little sheltered from the real world and he's got a bit of an attitude about regular people. It's not my place to do anything about it. I'm just saying we're having an adventure and I don't think it's going to hurt him to see things he's never seen before.</scene_description> </scene> <scene> <stage_direction>INT. BUS STATION. MEN'S ROOM. CU. DOYLE</stage_direction> <scene_description>He has a tooth brush in his mouth. He's staring in alarm. HIS POV An ELDERLY MAN, in a sleeveless undershirt, is bathing at a sink. He's mopping his underarms with a paper towel. He looks at Doyle and smiles.</scene_description> <character>ELDERLY MAN</character> <dialogue>Getting hungry for your turkey dinner?</dialogue> <scene_description>CU. DOYLE He'd like to vomit. CU. ELDERLY MAN He wads up the towel and tosses it in the trash bin. He looks down.</scene_description> <character>ELDERLY MAN</character> <dialogue>Hey! What do you know!</dialogue> <scene_description>He points to Doyle's feet. CU. DOYLE He· looks down. HIS POV The Elderly Man is wea~ing the same shoes as Doyle. r TB:</scene_description> <character>EXT. DOWNTOWN LOUISVILLE. HOLIDAY INN</character> <dialogue>•</dialogue> <scene_description>Doyle is standing just outside the parking lot entrance. He's holding a piece of cardboard with the word "Detroit" written on it. EXT. STREET OUTSIDE THE HOLIDAY INN Dutch is sitting on the edge of a city plant box.</scene_description> <character>DUTCH</character> <dialogue>Look at me! Dale!</dialogue> <scene_description>Doyle looks at Dutch. He's angry.</scene_description> <character>DUTCH</character> <dialogue>Is that your most pathetic look?</dialogue> <character>DOYLE</character> <dialogue>This is my death to you look.</dialogue> <character>DUTCH</character> <dialogue>That won't get us a ride. Be pathetic. Try it. Pretend you</dialogue> <scene_description>(I"""' don't have ten million bucks waiting for you when you're twenty-one.</scene_description> <character>DOYLE</character> <dialogue>So I'm pathetic and I'm at a motel. What's this do for us?</dialogue> <character>DUTCH</character> <dialogue>Everybody that's staying there is from somewhere els~. You want to go stand on the expressway? And remember, I'm your Dad and I have a bad heart.</dialogue> <character>DOYLE</character> <dialogue>You have no plan do you?</dialogue> <character>DUTCH</character> <dialogue>A rough outline.</dialogue> <character>DOYLE</character> <dialogue>Actually, I'm the idiot. I'm going albng with it.</dialogue> <scene_description>r</scene_description> <character>TB DUTCH</character> <dialogue>And you will continue to.</dialogue> <character>€�</character> <dialogue>Because I figured something out. You won't call your mother and ask for help for all of your sick, twisted Oedipal reasons.</dialogue> <character>DOYLE</character> <dialogue>Oedipus has nothing to do with this.</dialogue> <character>DUTCH</character> <dialogue>Whatever it is. And you won't call your grandfather because he'll eat his way to your brain from your shorts up for getting into this situation. Right?</dialogue> <character>DOYLE</character> <dialogue>Wrong.</dialogue> <character>DUTCH</character> <dialogue>Bullshit, I'm wrong.</dialogue> <character>DOYLE</character> <dialogue>I'm not calling my grandfather because there's a very good chance he won't take my call.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>You weren't even close.</dialogue> <character>CU, DUTCH</character> <dialogue>He's surprised by Doyle's honesty.</dialogue> <character>DUTCH</character> <dialogue>I'm glad you're being honest.</dialogue> <character>CU. DOYLE</character> <dialogue>Anything but.</dialogue> <character>DOYLE</character> <dialogue>l'm not being honest. I'm just trying to look pathetic.</dialogue> <scene_description>r I</scene_description> </scene> <scene> <stage_direction>EXT. MOTEL. PARKING LOT</stage_direction> <scene_description>A pair of young women, CALLIE HELSTROM and BROCK WARSHALK are getting into their Firebird. They're in their early twenties, attractive in a cheap way, overtly sexy, made-up, moussed-up, wearing cheap fur. Something catches Callie's eye. Brock sees Callie looking. She looks. THEIR POV Doyle standing in the entrance of the parking lot with his sign, his face turned up. CU. CALLIE A look of enormous sympathy. She looks to Brock.</scene_description> <character>CALLIE</character> <dialogue>Is that sad? He's a baby.</dialogue> <scene_description>CU, BROCK She nods.</scene_description> <character>BROCK</character> <dialogue>He's going to Detroit. You want to talk to him?</dialogue> <scene_description>EXT, PARKING LOT Callie calls to him.</scene_description> <character>CALLIE</character> <dialogue>Kid?</dialogue> <scene_description>CU. DOYLE He sniffles and looks to the women. HIS POV The two women wave to him.</scene_description> <character>CALLIE €�</character> <dialogue>We're going to Toledo. You want to come along?</dialogue> <scene_description>CU, DOYLE He smiles. EXT, HIGHWAY. NIGHT The Firebird streaks down the highway. TB</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <character>€�</character> <dialogue>Callie's driving. Dutch is in the front seat. Brock and Doyle are in the back seat. MUSIC'S PUMPING,</dialogue> <character>DUTCH</character> <dialogue>You on a vacation or something?</dialogue> <scene_description>Callie looks in the mirror at Brock. She cracks a smile.</scene_description> <character>CALLIE</character> <dialogue>We're going home to Toledo for the holidays. Both of our families are there.</dialogue> <character>DUTCH</character> <dialogue>· We're headed home ourselves.</dialogue> <character>CALLIE</character> <dialogue>You got a nice kid.</dialogue> <character>DUTCH</character> <dialogue>Yeah.</dialogue> <scene_description>He looks over the seat at Doyle. He winks to irritate him. INT. CAR. BACK SEAT Doyle sneers at Dutch. He's sitting next to Brock. The small seat forces them to touch at the shoulder. Brock looks at him with a smile.</scene_description> <character>BROCK</character> <dialogue>How old are you?</dialogue> <character>DOYLE</character> <dialogue>Thirteen.</dialogue> <character>BROCK</character> <parenthetical>(fond smile)</parenthetical> <dialogue>Nice age.</dialogue> <character>DOYLE</character> <dialogue>Nice to have been. Not so nice while you're in it.</dialogue> <character>BROCK</character> <dialogue>No? I loved it back then.· Everything was possible.</dialogue> <scene_description>TB DOYLE (looking at Dutch)</scene_description> <character>€�</character> <dialogue>I know what you mean.</dialogue> <character>BROCK</character> <parenthetical>(lowers her voice)</parenthetical> <dialogue>Is your Dad going to be okay?</dialogue> <character>DOYLE</character> <dialogue>Huh?</dialogue> <character>BROCK</character> <dialogue>His heart.</dialogue> <character>DOYLE</character> <dialogue>Oh. Right. I hope so.</dialogue> </scene> <scene> <stage_direction>INT. CAR. FRONT SEAT</stage_direction> <scene_description>Callie picks up the conversation.</scene_description> <character>CALLIE</character> <dialogue>So, what's the word on you two?</dialogue> <character>DUTCH</character> <dialogue>What do you mean?</dialogue> <character>CALLIE</character> <dialogue>Are you drifters?</dialogue> <character>DUTCH</character> <dialogue>More or less.</dialogue> <scene_description>CU. DOYLE He's revolted at the notion. INT. CAR. FRONT SEAT Callie nods. She knows a few.</scene_description> <character>DUTCH</character> <dialogue>How about you?</dialogue> <character>CALLIE</character> <parenthetical>(looking in the mirror)</parenthetical> <dialogue>Brock?</dialogue> <character>BROCK</character> <dialogue>Yeah?</dialogue> <scene_description>TB CALLIE Dutch wants to know what we</scene_description> <character>€�</character> <dialogue>do.</dialogue> <character>DUTCH</character> <dialogue>I don't mean to be nosey. It's not important. I'm just making conversation.</dialogue> <character>BROCK</character> <dialogue>Tell him. Who cares?</dialogue> <character>CALLIE</character> <parenthetical>(to Dutch)</parenthetical> <dialogue>We're call girls.</dialogue> <scene_description>CU. DUTCH He turns slowly to Callie. He tries to mask his shock.</scene_description> </scene> <scene> <stage_direction>INT. CAR. BACK SEAT</stage_direction> </scene> <scene> <stage_direction>DOYLE LOOKS AT BROCK. SHE SMILES. INT. CAR. FRONT SEAT CALLIE LEANS OVER AND WHISPERS.</stage_direction> <character>CALLIE</character> <dialogue>I didn't want to say prostitute in front of the boy.</dialogue> <character>DUTCH</character> <dialogue>I -appreciate that.</dialogue> <character>CALLIE</character> <dialogue>We were down in New Orleans at the Super Dome for the Housewares Convention.</dialogue> <scene_description>Dutch nods politely. INT. CAR. BACK SEAT Doyle's looking at Brock.</scene_description> <character>BROCK</character> <dialogue>We also do a little dancing.</dialogue> <character>DOYLE</character> <dialogue>Naked?</dialogue> <scene_description>Y- I TB Brock looks to the front seat. She doesn't know if she should answer.</scene_description> <character>€�</character> <dialogue>INT. CAR. FRONT SEAT</dialogue> <dialogue>Dutch grimaces. He looks at Callie. She'll take care of it.</dialogue> <character>CALLIE</character> <dialogue>It's okay. I have a little brother.</dialogue> <parenthetical>(to Doyle)</parenthetical> <dialogue>Just on top, sweetie.</dialogue> <scene_description>She smiles at Dutch. He's sweating.</scene_description> <character>CALLIE</character> <parenthetical>(whispers)</parenthetical> <dialogue>We go all the way but he doesn't need to know that.</dialogue> <character>EXT. HIGHWAY</character> <dialogue>The Firebird blows past.</dialogue> <character>INT. CAR</character> <dialogue>Dutch is asleep. Callie's still driving. She's smoking, LISTENING to the RADIO. She glances over at Dutch. At his groin. HER POV. CU. DUTCH'S CROTCH His hand is over his crotch. The nice diamond pinkie ring on his finger. The hand moves. CAMERA GOES WITH IT. CU. CALLIE She wants the ring. Her eyes.-dart from the road to Dutch's hand. INT. CAR. BACK SEAT Doyle's talking to Brock.</dialogue> <character>DOYLE</character> <dialogue>Your parents know and they haven't disowned you?</dialogue> <character>BROCK</character> <dialogue>Not so far.</dialogue> <scene_description>C DOYLE Don't you think that's amazing?</scene_description> <character>TB</character> <dialogue>•</dialogue> <character>BROCK</character> <dialogue>Not really. I make a living. Maybe it 1 s sick, maybe it's not. I'm honest about it. And I don't hurt anybody. Not on purpose.</dialogue> <character>DOYLE</character> <dialogue>You don't think it hurts your parents?</dialogue> <scene_description>Brock thinks. Maybe it does.</scene_description> <character>BROCK</character> <dialogue>Eventually, if you live long enough, you're going to hurt your parents somehow.</dialogue> <character>DOYLE</character> <dialogue>Yeah, but ... it's none of my business.</dialogue> <character>INT. CAR. FRONT SEAT</character> <dialogue>Callie reaches out and grabs Dutch by the shoulder. She gently pulls him toward her ... INT. CAR. BACK SEAT Looking out the front. Like a corpse, Dutch keels over against her. She bangs into the door from the impact. INT. CAR. FRONT SEAT. CU. CALLIE Dutch's head is on her shoulder. He's pointing his open mouth at her. She leans away from it with distaste. She steers with her knees and uses both hands-to try and peel the ring off his finger. It's stuck tight. INT. CAR. BACK SEAT Brock and Doyle continue their conversation. Oblivious to what's going on in front. ~</dialogue> <character>BROCK</character> <dialogue>Do you get along with your Dad?</dialogue> <scene_description>C TB DOYLE (hesitates)</scene_description> <character>€�</character> <dialogue>That guy's not my Dad. He"s my mother's boyfriend.</dialogue> <parenthetical>(aside)</parenthetical> <dialogue>I hate saying that. It's so sick.</dialogue> <parenthetical>(continues)</parenthetical> <dialogue>He's bringing me home for Thanksgiving break. I go to a private school down south.</dialogue> <character>BROCK</character> <dialogue>You were lying about his heart?</dialogue> <character>DOYLE</character> <dialogue>That was his lie. Listen, don't judge me by him. I hate his guts.</dialogue> </scene> <scene> <stage_direction>INT. CAR. FRONT SEAT. CU. CALLIE</stage_direction> </scene> <scene> <stage_direction>SHE HAS DUTCH'S FINGER IN HER MOUTH, SOAKING IT. HE GIGGLES IN HIS SLEEP. SHE PULLS THE FINGER OUT. SHE TUGS ON IT. EXT. HIGHWAY THE FIREBIRD SLAMS THROUGH A PUDDLE ON THE ROAD SHOULDER. INT. CAR. CU. CALLIE SHE JERKS THE CAR BACK ON THE ROAD. SHE LOOKS DOWN AT DUTCH TO MAKE SURE HE HASN'T AWAKENED. SHE CONTINUES WORKING ON THE RING. SHE PUTS IT IN HER MOUTH AND TRIES TO SUCK IT OFF .. SHE GLANCES IN THE MIRROR. INT. CAR. BACK SEAT DOYLE AND BROCK CONTINUE.</stage_direction> <character>DOYLE</character> <dialogue>He's trying to get to know me beca-use I think he '"S planning on marrying my Mom.</dialogue> <character>BROCK</character> <dialogue>There's something wrong with that?</dialogue> <scene_description>TB DOYLE I'm not too crazy about my mother to begin with and he's</scene_description> <character>€�</character> <dialogue>just a slob. The less I know, the better.</dialogue> <character>BROCK</character> <dialogue>He seems to be going through alot of shit to get you home.</dialogue> <character>DOYLE</character> <dialogue>It's on purpose. He's got this ridiculous plan to drag me around until I break. Like I'm a horse. He's got a shock coming, though. I don't break.</dialogue> <character>BROCK</character> <dialogue>What's wrong with your mom?</dialogue> <character>DOYLE</character> <dialogue>She divorced my Dad for starters.</dialogue> <character>BROCK</character> <dialogue>It takes two to make a thing go bad.</dialogue> <character>DOYLE</character> <dialogue>She didn't make it work.</dialogue> <character>BROCK</character> <dialogue>Maybe it's just easier to blame her. Did she get custody?</dialogue> <character>DOYLE</character> <dialogue>For the time being.</dialogue> <character>TB</character> <dialogue>INT. Cl\R. FRONT SEAT</dialogue> <character>€�</character> <dialogue>Callie reaches around Dutch to the footwell and her purse. In the effort, Dutch slips down her body ending up face down in her crotch. He lets out a LOUD, PORKISH SNORT. Callie jumps. She can't do anything about his snoring into her groin. The further she leans forward, the harder he presses his face into her. She snatches her purse. She gently eases Dutch out of her lap and lays him back on her shoulder. Driving with her knees she opens her purse. She glances between the purse and the road as she rummages through the purse. She finds a hotel size squeeze bottle of hand lotion. She flips open the lid with her teeth. She holds his finger out and points the squirt bottle at it. It doesn't come at first. She squeezes a little harder. Nothing. She grits her teeth and lets the bottle have it. The flow is unloosed with a WET BURP and a~ healthy blob is jet-fired out of the tube.</dialogue> <scene_description>CU. DUTCH The blob of hand lotion splatters against the back of his throat. Not a drop on his lips or teeth, A clean tonsil shot. He SNORTS, GAGS, COUGHS and SWALLOWS. CU. CALLIE She's startled. INT. Cl\R. FRONT SEAT Callie quickly pushes Dutch back on his side. She looks in the rear view mirror. She dumps the lotion bottle in her purse. She looks at Dutch. HER POV He's SNORING gently as if nothing ever happened. INT. Cl\R. BACK SEAT Brock and Doyle continue. Brock takes·ooyle's hand. He shivers.</scene_description> <character>BROCK</character> <dialogue>My childhood was a nightmare.</dialogue> <character>DOYLE</character> <dialogue>I'm sorry to hear that.</dialogue> <scene_description>He takes her hand. C TB BROCK My youth was a forest fire.</scene_description> <character>€�</character> <dialogue>Things aren't the greatest now but I'm going home and I'm sitting at the same table with my family. And it'll be okay. No matter what they do or what I do. Family first. I know I believe that stronger than they do and I understand why but still, I'm welcome. Maybe you oughta quit knocking your mother and figure out a way to make it work with her.</dialogue> <scene_description>Doyle's entirely impressed with Brock.</scene_description> <character>DOYLE</character> <dialogue>That won't happen but I really like talking to you.</dialogue> <character>BROCK</character> <parenthetical>(with a laugh)</parenthetical> <dialogue>Not too many harlots at your school, huh?</dialogue> <character>DOYLE</character> <dialogue>No girls at all.</dialogue> <character>BROCK</character> <dialogue>Maybe I'll come down and visit you sometime.</dialogue> <character>DOYLE</character> <dialogue>That would be excellent.</dialogue> </scene> <scene> <stage_direction>INT. CAR. FRONT SEAT. CALLIE AND DUTCH</stage_direction> </scene> <scene> <stage_direction>SHE'S WATCHING THE CONVERSATION IN THE BACK SEAT. SHE GLANCES OVER AT DUTCH. HE'S STILL OUT COLD, SNORING. HIS SUITCOAT IS OPEN. CALLIE REACHES OUT SLOWLY, SNAKES HER HAND INTO HIS SUITCOAT AND LIFTS HIS WALLET. EXT. HIGHWAY THE FIREBIRD DISAPPEARS INTO THE DARK. EXT. TRUCKSTOP. GAS PUMPS. LATER THE FIREBIRD PULLS INTO THE STATION AND STOPS AT THE PUMPS.</stage_direction> <scene_description>TB</scene_description> </scene> <scene> <stage_direction>INT. CAR. DUTCH</stage_direction> <character>€�</character> <dialogue>He wakes up, He looks around to see where he is. He has a terrible taste in his mouth.</dialogue> </scene> <scene> <stage_direction>INT. CAR. CALLIE</stage_direction> <scene_description>She turns in the seat.</scene_description> <character>CALLIE</character> <dialogue>Brock?</dialogue> <parenthetical>(she shifts her eyes to Dutch)</parenthetical> <dialogue>You want to wake up your little friend? So he can stretch his legs?</dialogue> </scene> <scene> <stage_direction>INT. CAR. BACK SEAT</stage_direction> <scene_description>Doyle's asleep on Brock. His head is on her chest. She gently wakes him. He lifts his sleepy head revealing a huge wet drool mark on Brock's left bosom.</scene_description> <character>BROCK</character> <dialogue>Let's go for a walk.</dialogue> <character>DOYLE</character> <dialogue>I was just dreaming about that.</dialogue> </scene> <scene> <stage_direction>EXT. CAR</stage_direction> <scene_description>Dutch opens the door and gets out. He shakes his right leg -- it's asleep. The bad taste still puzzles him. Brock gets out his side. Callie gets out. Doyle gets out her side. He stumbles, catches himself.</scene_description> <character>DOYLE</character> <parenthetical>(slipping on his coat)</parenthetical> <dialogue>What time is it?</dialogue> <character>CALLIE</character> <dialogue>It's a little after ten.</dialogue> <character>DUTCH</character> <dialogue>I'll drive the next shift.</dialogue> <character>CALLIE</character> <dialogue>I'm fin~. Would you do me a favor, though? Could you go inside and get a map? I want to make sure I don't get screwed-up.</dialogue> <character>TB</character> <dialogue>Sure. We got time for a bite</dialogue> <character>DUTCH</character> <dialogue>•</dialogue> <scene_description>to eat?</scene_description> <character>CALLIE</character> <dialogue>Yeah. I'll do this and meet you inside.</dialogue> <character>DUTCH</character> <dialogue>Sure. Dobie? Let's go.</dialogue> <character>DOYLE</character> <dialogue>I'll come in with Brock.</dialogue> <character>BROCK</character> <dialogue>Go ahead, babe. I have to get something out of my bag. I'll meet you inside.</dialogue> <scene_description>Dutch limps on his sleeping leg to the restaurant adjacent to the station. Doyle follows reluctantly.</scene_description> <character>BROCK</character> <parenthetical>(to Callie)</parenthetical> <dialogue>What?</dialogue> <scene_description>F CALLIE I lifted the toad's wallet.</scene_description> <character>BROCK</character> <parenthetical>(disappointed)</parenthetical> <dialogue>iihy7</dialogue> <character>CALLIE</character> <dialogue>Because it was there.</dialogue> <character>BROCK</character> <dialogue>I was just getting to feel respectable.</dialogue> <character>CALLIE</character> <dialogue>That's what old age is for.</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT</stage_direction> <scene_description>Dutch walks in with his hand up under his shirt. He's scratching his lower back. Doyle catches up to him.</scene_description> <character>DOYLE</character> <dialogue>Let's not was~e alot of time eating, okay? I want to get back in the car and keep moving.</dialogue> <scene_description>TB Dutch slides into a booth at the window. Doyle sits across from him.</scene_description> <character>€�</character> <dialogue>DUTCH</dialogue> <scene_description>Don't put the flag up yet. These gals are pros. I got half a mind to refuse the rest of the ride.</scene_description> <character>DOYLE</character> <dialogue>No way.</dialogue> <character>DUTCH</character> <dialogue>You know what your mother would say if she knew what you were doing?</dialogue> <character>DOYLE</character> <dialogue>You refuse the ride, I'll tell her. In detail.</dialogue> <character>DUTCH</character> <dialogue>You really are a fuckin' hypocrite.</dialogue> <character>DOYLE</character> <dialogue>Why?</dialogue> <character>DUTCH</character> <dialogue>A couple of hookers, 'cause they got a set of rockets, they're okay but anybody else at their station in life is scum.</dialogue> <character>DOYLE</character> <dialogue>That's not true.</dialogue> <character>DUTCH</character> <dialogue>Bull .... shit. We're riding together in the back from now on. What that missile twister can teach you, you don't need to know till you 1 re in</dialogue> <scene_description>prison.</scene_description> <character>DOYLE</character> <dialogue>I'll decide what I need to know. And she's not like that. She listens.</dialogue> <scene_description>TB DUTCH That's her job, you asshole. She smiles and listens and</scene_description> <character>€�</character> <dialogue>makes men feel like they're stuffed full of manure. This is a ride. Nothing more. I'm glad you're seeing another side of the human race but don't drown in it.</dialogue> <scene_description>A tubby, sleepy WAITRESS shuffles over.</scene_description> <character>WAITRESS</character> <dialogue>Yup'?</dialogue> <character>DUTCH '</character> <parenthetical>(indicating to the window)</parenthetical> <dialogue>We"re waiting on a couple more out in the car.</dialogue> <scene_description>The Waitress walks away. Dutch glances out the window. HIS POV The gas pumps. No Firebird. CU. DUTCH He slaps his suit coat pocket.</scene_description> <character>DUTCH</character> <dialogue>Shit!</dialogue> <scene_description>CU. DOYLE He doesn't get it. He stares out the window. EXT, RESTAURANT Dutch stomps out. Doyle follows.</scene_description> <character>DUTCH</character> <dialogue>Goddamn it! Goddamnrit! Goddamn it!</dialogue> <character>DOYLE</character> <dialogue>I can't believe it.</dialogue> <character>TB</character> <dialogue>Believe it! Your angel with</dialogue> <character>DUTCH</character> <dialogue>the dirty wings flew. With my</dialogue> <character>€�</character> <dialogue>wallet, my luggage, your luggage and half of my last cigar. Shit!</dialogue> <character>DOYLE</character> <dialogue>She was so understanding about my problems.</dialogue> <character>DUTCH</character> <dialogue>Fuck your problems!</dialogue> <character>DOYLE</character> <dialogue>Fuck ¥QllL problems!</dialogue> <character>DUTCH</character> <dialogue>You're my only problem!</dialogue> <character>DOYLE</character> <dialogue>I ' m ~ problem?</dialogue> <character>DUTCH</character> <dialogue>If you hadn't destroyed the car ...</dialogue> <character>DOYLE</character> <dialogue>I was brushing my teeth in my dorm bathroom when you dropped in and abducted me! Don't blame me for anything. Blame yourself.</dialogue> <character>DUTCH</character> <dialogue>If you weren't such a spoiled son of a bitch, such a - whinney little shit, I wouldn't have had to come for you. I did this to get to know you. To get to like you. I actually hoped that you'd like me.</dialogue> <character>DOYLE</character> <dialogue>I never did. I never will, Ever.</dialogue> <character>DUTCH</character> <dialogue>Good. Because I wouldn't want any kind of consideration</dialogue> <scene_description>J-- from you. -TB DOYLE You won't get any,</scene_description> <character>€�</character> <dialogue>DUTCH</dialogue> <scene_description>You go on being a little dick. You go on believing your blueblood fantasies. I could care fuckin' less.</scene_description> <character>DOYLE</character> <dialogue>You asked for it. You got it. It's not my fault.</dialogue> <character>DUTCH</character> <dialogue>True. It's your mother's fault.</dialogue> <character>DOYLE</character> <dialogue>Why's it her fault?</dialogue> <character>DUTCH</character> <dialogue>She gave birth to you.</dialogue> <character>DOYLE</character> <dialogue>What about your mother?</dialogue> <character>DUTCH</character> <dialogue>She's a saint.</dialogue> <character>DOYLE</character> <dialogue>What for? Having puppies?</dialogue> <scene_description>Dutch gives Doyle a hard shove. Doyle jumps on the defensive.</scene_description> <character>DOYLE</character> <dialogue>You want some more?</dialogue> <scene_description>\[)l}TCH Yeah. As a matter of fact.</scene_description> <character>DOYLE</character> <dialogue>Come and get it.</dialogue> <scene_description>Dutch waves him off and walks away~</scene_description> <character>DOYLE</character> <dialogue>Chicken?</dialogue> <scene_description>Dutch turns suddenly and kicks at Doyle. His loafer flies of! of his foot and sails onto the restaurant roof. His pants split and his back cracks. He doubles over in pain.</scene_description> <character>DUTCH</character> <dialogue>Ahh ... shit ...</dialogue> <scene_description>r</scene_description> <character>TB DOYLE</character> <dialogue>•</dialogue> <scene_description>You're pathetic. Dutch stumbles painfully down to the pumps and leans on one. He shakes his head.</scene_description> <character>DUTCH</character> <dialogue>Here's the deal, Oobbsie. I had two hundred bucks in my wallet.</dialogue> <character>DOYLE</character> <dialogue>You said you were broke.</dialogue> <character>DUTCH</character> <dialogue>I lied.</dialogue> <character>DOYLE</character> <dialogue>You giant asshole! You dishonest, stupid jerk! We had money all this time? We could have been home.</dialogue> <character>DUTCH</character> <dialogue>Probably.</dialogue> <parenthetical>(continues)</parenthetical> <dialogue>You see, I had this plan.</dialogue> <character>DOYLE</character> <dialogue>I know.</dialogue> <character>DUTCH</character> <dialogue>You don't know.</dialogue> <character>DOYLE</character> <dialogue>I knew you were playing around. Stretching this thing out so we could get to know each other. And it blew up in your face.</dialogue> <character>DUTCH</character> <dialogue>Your face, too.</dialogue> <character>DOYLE</character> <dialogue>You made me give up my watch.</dialogue> <scene_description>Dutch nods. r DOYLE That was a gift from my Dad. Dutch feels bad.</scene_description> <character>TB</character> <dialogue>•</dialogue> <character>DUTCH</character> <dialogue>Sorry, I blew it. And I'm out of ideas. I'm gonna sit down here and hope I get arrested so I can get some sleep.</dialogue> <scene_description>He slumps down on the island.</scene_description> <character>DOYLE</character> <dialogue>We have to keep moving.</dialogue> <scene_description>Dutch peels off his remaining shoe. He reaches under the insole and finds his quarter. He sniffs it, winces and hands it to Doyle.</scene_description> <character>DUTCH</character> <dialogue>Call you mother. Tell her to send somebody for you or call Grampy and get a jet or whatever.</dialogue> <character>DOYLE</character> <dialogue>You can call, can't you?</dialogue> <character>DUTCH</character> <dialogue>No. I don't want to call. I'm sitting here. And that's it. If you call your Mom, tell her good luck, the Dutch Boy's calling it quits.</dialogue> <character>DOYLE</character> <parenthetical>(after a pause)</parenthetical> <dialogue>You're dumping my Mom?</dialogue> <character>DUTCH</character> <dialogue>I'm sparing her a life.of this kind of shit.</dialogue> <character>DOYLE</character> <dialogue>She's gonna blame me.</dialogue> <character>DUTCH</character> <dialogue>I'll write her a nice letter. Go on.</dialogue> <character>DOYLE</character> <dialogue>I thought you loved her.</dialogue> <scene_description>C</scene_description> <character>TB</character> <dialogue>I've talked and talked and</dialogue> <character>DUTCH</character> <dialogue>•</dialogue> <scene_description>talked to you until I want to puke coat hangers. I'm me, you're you. There's no reason on earth anymore why we should have anything to do with each other.</scene_description> <character>DOYLE</character> <dialogue>Okay but I think it's sick that you'll cut my Mom loose because you don't get along with me.</dialogue> <character>DUTCH</character> <dialogue>What do you care? You hate her. Don't fret. It's okay. She lives with your shit, she can handle mine.</dialogue> <character>DOYLE</character> <dialogue>I never said I hated her.</dialogue> <character>DUTCH</character> <dialogue>Sorry. You're the "picture is worth a thousand words" guy. Make your call. Give me a little peace.</dialogue> <scene_description>Doyle backs away.</scene_description> <character>DOYLE</character> <dialogue>I don't hate my mother. For the record.</dialogue> <character>DUTCH</character> <dialogue>Kiss my ass. For the record.</dialogue> <character>DOYLE</character> <dialogue>We're not that close bUt there's no hatred.</dialogue> <character>DUTCH</character> <dialogue>Don't tell me this shit. I don't care anymore. Get it? Act like a rodent around somebody else. You busted my balls. Congratulations. Now leave me alone.</dialogue> <scene_description>C Doyle turns and walks up to the restaurant.</scene_description> <character>TB</character> <dialogue>CU. DOYLE</dialogue> <character>€�</character> <dialogue>He stops one more time. He turns.</dialogue> <character>DOYLE</character> <dialogue>Did she ever say that she thinks I hate her?</dialogue> <character>HIS POV</character> <dialogue>Dutch rises off the island, turns around slowly, bends over and moons Doyle with his split-ass pants. He turns back around and sits down. CU. DOYLE He feels sorrow and sympathy. He knows he's lost Dutch as much as he never wanted him. He continues to the restaurant.</dialogue> <scene_description>CU. DUTCH He sighs in defeat. He's tired, cold, sore and he's gotten- nowhere with the kid. He leans his head back on the gas pump.</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT. PAY PHONE</stage_direction> <scene_description>i Doyle picks up the phone and dials.</scene_description> </scene> <scene> <stage_direction>INT. DOUG STANDISH'S APARTMENT. MASTER BATHROOM</stage_direction> <scene_description>Doug's girlfriend, Grace, is putting on her make-up. The PHONE RINGS. Doug's in the shower. She answers the phone.</scene_description> <character>GRACE</character> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT. CU. DOYLE</stage_direction> <scene_description>He's puzzled by the voice.</scene_description> <character>DOYLE</character> <parenthetical>(after a pause)</parenthetical> <dialogue>Is Mr. Standish in?</dialogue> <scene_description>CU .. GRACE She listens ...</scene_description> <character>GRACE</character> <dialogue>He's in the shower. Who's this?</dialogue> <scene_description>CU. DOYLE</scene_description> <character>€�</character> <dialogue>He's startled. He quickly hangs up.</dialogue> </scene> <scene> <stage_direction>INT. STANDISH BATHROOM</stage_direction> <scene_description>Grace hangs up the phone. Doug calls from the shower.</scene_description> <character>DOUG (OC)</character> <dialogue>Who is it?</dialogue> <character>GRACE</character> <dialogue>They hung up.</dialogue> <scene_description>CU. DUTCH He's very alert and watching the restaurant. He quickly ducks his head and puts on the sorrowful look.</scene_description> </scene> <scene> <stage_direction>EXT. RESTAURANT</stage_direction> <scene_description>Doyle comes out of the restaurant. He looks at Dutch. HIS POV Dutch is hunched over looking like the defeated man. EXT. GAS STATION Doyle walks to Dutch. He stands before him.</scene_description> <character>DOYLE</character> <dialogue>We can make· it home. We got this far didn't we?</dialogue> <scene_description>Dutch doesn't respond.</scene_description> <character>DOYLE</character> <dialogue>Don't jack me around anymore. I saw you watching me the whole time.</dialogue> <scene_description>CU, DUTCH He.looks up slowly. He's caught.</scene_description> <character>DUTCH</character> <dialogue>You did?</dialogue> <scene_description>, CU. DOYLE C He grins. TB No.</scene_description> <character>DOYLE</character> <scene_description>CU. DUTCH Stares angrily. EXT. GAS STATION Doyle steps aside as a carrier pulls in. Dutch holds out his hand.</scene_description> <character>DUTCH</character> <dialogue>Little help ...</dialogue> <scene_description>Doyle oofs Dutch up. He winces from the pain in his back. '</scene_description> <character>DOYLE</character> <dialogue>Where are you going?</dialogue> <character>DUTCH</character> <dialogue>Home.</dialogue> <character>DOYLE</character> <dialogue>How?</dialogue> <scene_description>Dutch taps his head.</scene_description> <character>DUTCH</character> <dialogue>I'm calling Natalie. Enough of this.</dialogue> <character>DOYLE</character> <dialogue>Wait a minute. It would mean something to me to not have to call my mother for help.</dialogue> <scene_description>Dutch pulls open his coat. He has the pellet gun in his belt.</scene_description> <character>DUTCH</character> <dialogue>Remember this? I stilY owe you one. Let me call your mother and I'll forget about it. ;.</dialogue> <character>DOYLE</character> <dialogue>No dice.</dialogue> <character>DUTCH</character> <dialogue>This isn't working. We're not masters of the open road. We got robbed by homebound hookers.</dialogue> <character>TB</character> <dialogue>Because you fell asleep and I</dialogue> <character>DOYLE</character> <dialogue>•</dialogue> <scene_description>got horny? Dutch smiles.</scene_description> <character>DUTCH</character> <dialogue>You did?</dialogue> <character>DOYLE</character> <dialogue>Sort of.</dialogue> <character>DUTCH</character> <dialogue>First time?</dialogue> <character>DOYLE</character> <dialogue>First time with a real person.</dialogue> <scene_description>Dutch offers his hand.</scene_description> <character>DUTCH</character> <dialogue>Congratulations.</dialogue> <scene_description>Doyle goes to shake his hand.</scene_description> <character>DUTCH</character> <dialogue>Slap it.</dialogue> <scene_description>Doyle slaps Dutch's hand.</scene_description> <character>DUTCH</character> <dialogue>There you go.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I'm not such a bad guy, am I?</dialogue> <character>DOYLE</character> <dialogue>Yeah, you are. But I'm· still going to get you home.</dialogue> <character>DUTCH</character> <dialogue>get me. home? No chance,</dialogue> <scene_description>.XQJ.l underpants. Gimme the quarter. I'm gonna s~e if they have a cheap cigar inside.</scene_description> <character>DOYLE</character> <dialogue>When you come out, I'll have a ride.</dialogue> <scene_description>C r-</scene_description> <character>TB</character> <dialogue>He hands the quarter to Dutch. He gives Doyle a look -- no way he's going to get them home. He waddles into the</dialogue> <character>€�</character> <dialogue>restaurant.</dialogue> <character>CU. DUTCH</character> <dialogue>He's seated, puffing on a cigar. EXT. HIGHWAY. RUNNING SHOT Dutch and Doyle are sitting inside of a huge section of pre- cast concrete conduit lashed to the bed of a semi trailer. The truck pulls ahead and rolls into the night. EXT. OUTSKIRTS OF TOLEDO, OHIO. TRUCK DEPOT The truck pulls into the depot, joining hundreds of others. It stops with a HISS. The DRIVER exits. EXT. TRUCK. CONDUIT Dutch and Doyle are sleeping. Doyle stirs and sits up. He orients himself.</dialogue> <character>DOYLE</character> <dialogue>Dutch?</dialogue> <scene_description>Dutch stirs. He sits up.</scene_description> <character>DOYLE</character> <dialogue>We're here.</dialogue> <character>DUTCH</character> <dialogue>Where?</dialogue> <character>DOYLE</character> <dialogue>I don't know.</dialogue> <character>DUTCH</character> <dialogue>I'm sure there's a guard around. We'll just ask' him.</dialogue> <character>EXT. DEPOT GATES</character> <dialogue>OC .we hear Dutch and Doyle HOWLING IN PAIN. A beat and they</dialogue> <scene_description>appear out of the darkness. A pair of burly WATCHMEN have their arms twisted behind their backs. They run them up to and out the gate.</scene_description> <character>WATCHMAN 1</character> <dialogue>Get outta here!</dialogue> <scene_description>Dutch remains hunched over. His bac~•s killing him. Doyle shakes out his aching arm and yells back at the men.</scene_description> <character>TB</character> <dialogue>•</dialogue> <character>DOYLE</character> <dialogue>I could sue you for this, you ignorant assholes!</dialogue> <scene_description>Watchman 2 steps forward.</scene_description> <character>DUTCH</character> <dialogue>He didn't mean it.</dialogue> <character>DOYLE</character> <dialogue>I did so.</dialogue> <parenthetical>(to the Watchman)</parenthetical> <dialogue>And you can't hit me. I'm a minor.</dialogue> <character>'</character> <dialogue>He picks up Doyle by the shirt front and draws back on him.</dialogue> <character>DOYLE</character> <dialogue>My grandparents are personal friends of George and Barbara Bush!</dialogue> <character>EXT. STREET. TRASH CANS</character> <dialogue>f Doyle crashes down on the heap of empty rubbish barrels.</dialogue> <character>EXT. DEPOT GATE</character> <dialogue>Dutch straightens up. He blocks Watchman 2 from going after Doyle again. Watchman 1 grabs him by the front. Dutch takes a hold of his sleeves.</dialogue> <character>DUTCH</character> <dialogue>Hold on. We're sorry. We don't want any trouble.</dialogue> <scene_description>WATCHMAN l Let go of me! He struggles with Dutch.</scene_description> <character>DUTCH</character> <dialogue>Take it easy! We're ..going.</dialogue> <scene_description>WATCHMAN l I said get your hands off me.</scene_description> <character>DUTCH</character> <dialogue>You get back inside, we hit</dialogue> <scene_description>I. the road. Okay? C TB Watchman 2 comes up behind Dutch and slugs him in the back. Dutch yelps and drops his hold on Watchman 1. He falls to his</scene_description> <character>€�</character> <dialogue>knees.</dialogue> </scene> <scene> <stage_direction>EXT. STREET. TRASH CANS</stage_direction> <scene_description>Doyle picks himself up. He's on the verge of tears.</scene_description> <character>DOYLE</character> <dialogue>Get away from him!</dialogue> </scene> <scene> <stage_direction>EXT. GATE</stage_direction> <scene_description>Watchman 1 shoves Dutch over on his side. He and Watchman 2 chuckle at Doyle's bravado. WATCHMAN l Yeah? Doyle raises his hands.</scene_description> <character>WATCHMAN 2</character> <dialogue>You know, kid, a few years back, there were some guys in New York, that used to set fire to people like your buddy.</dialogue> <character>€�</character> <dialogue>He reaches into his coat pocket and takes out a Bic lighter. Watchman 1 laughs.</dialogue> <scene_description>WATCHMAN l Let's go. He tugs on Watchman 2 's sleeve. Watchman 2 bends down ove.r Dutch.</scene_description> <character>WATCHMAN 2</character> <dialogue>They stink bad when they burn.</dialogue> <scene_description>Doyle steps forward.</scene_description> <character>DOYLE</character> <dialogue>Leave him alone.</dialogue> <scene_description>WATCHMAN l Al? Knock it off. (to Doyle) Get your pal outta here.</scene_description> <character>WATCHMAN 2</character> <dialogue>You're out numbered, boy.</dialogue> <scene_description>TB Doyle lashes out at Watchman 2. He kicks him in the face, spins and lets Watchman 1 have it in the groin. He reaches</scene_description> <character>€�</character> <dialogue>into Dutch's coat and pulls out the pistol. He holds it on the two Watchmen as they recover.</dialogue> <character>DOYLE</character> <dialogue>Pete?</dialogue> <scene_description>Dutch sits up. Puzzled. Doyle gives him a face, urging him to go along with him.</scene_description> <character>DOYLE</character> <parenthetical>(to the Watchmen)</parenthetical> <dialogue>Face down, hands behind your heads!</dialogue> <scene_description>The Watchmen roll over and put their hands behind their heads. Doyle eases over to Dutch and helps him up.</scene_description> <character>DUTCH</character> <parenthetical>(with a smile)</parenthetical> <dialogue>Let's go. You don't have to shoot 'em.</dialogue> <scene_description>Doyle returns the smile</scene_description> <character>DOYLE</character> <parenthetical>(high drama)</parenthetical> <dialogue>I want to.</dialogue> <character>DUTCH</character> <dialogue>What's the point?</dialogue> <character>DOYLE</character> <dialogue>I'm tense. I gotta do it. I wanna see it. I wanna hear it.</dialogue> <character>DUTCH</character> <dialogue>Calm down. You just killed somebody.</dialogue> <character>WATCHMAN 1</character> <dialogue>Don't shoot.</dialogue> <character>DOYLE</character> <dialogue>I know, but the feeling's gone. I gotta do it again.·</dialogue> <character>WATCHMAN 2</character> <dialogue>Please, don't •</dialogue> <character>€�</character> <dialogue>F</dialogue> <character>TB DUTCH</character> <dialogue>It's the holiday season. They</dialogue> <character>€�</character> <dialogue>probably have families.</dialogue> <scene_description>WATCHMAN l I do.</scene_description> <character>DOYLE</character> <dialogue>You gonna let me kill their families'?</dialogue> <character>WATCHMAN 2</character> <dialogue>No!</dialogue> <character>DUTCH</character> <dialogue>It's alright, Lenny. Let •em go. We'll find somebody else.</dialogue> <scene_description>The Watchmen cringe as they wait out Doyle's decision. A long beat and Doyle steps away. The Watchmen breath sighs of relief.</scene_description> <character>DUTCH</character> <dialogue>You guys are very lucky. The</dialogue> <scene_description>·boy hardly ever backs off once he gets his neck up. WATCHMAN l Thank you.</scene_description> <character>WATCHMAN 2</character> <dialogue>Bless you.</dialogue> <character>CU. DUTCH</character> <dialogue>He looks at Doyle with a triumphant smile. - CU. DOYLE His first real smile. INT. RESTAURANT. BOOTH. LATER A middle-aged WAITRESS is totalling' a check for a handsomely dr.essed couple, MIKE and RIVA MALLOY. They're in their mid~ thirties, successful, professional people. Something catches the Waitress' eye. She looks to the front of the establishment.</dialogue> <scene_description>, r HER POV Dutch and Doyle are standing at the cash register. Doyle has a fresh bruise on his forehead.</scene_description> <character>'</character> <dialogue>TB</dialogue> <scene_description>CU, WAITRESS</scene_description> <character>€�</character> <dialogue>She's annoyed.</dialogue> <character>WAITRESS</character> <parenthetical>(to Dutch)</parenthetical> <dialogue>Hey! Pal! Get outside. This isn't a warming house. Go on with ya! Now!</dialogue> <scene_description>HER POV Dut~is startled by the attack.</scene_description> <character>DUTCH</character> <dialogue>The boy has a wound on his head. We need to use your rest room.</dialogue> <scene_description>INT, RESTAURANT. BOOTH The Waitress finishes the check.</scene_description> <character>WAITRESS</character> <parenthetical>(to the Halloys)</parenthetical> <dialogue>I'm sorry. From time to time these road people wander in. Excuse me.</dialogue> <scene_description>She drops the check on the table and exits.</scene_description> <character>INT. RESTAURANT. THE MALLOYS</character> <dialogue>They exchange troubled looks.</dialogue> <character>INT. RESTAURANT. DUTCH AND DOYLE</character> <dialogue>Doyle steps back. Dutch is ready to do battle with the Waitress.</dialogue> <character>WAITRESS</character> <dialogue>I said, out.</dialogue> <character>DUTCH</character> <dialogue>Can he wash his face?</dialogue> <character>WAITRESS</character> <dialogue>No,</dialogue> <scene_description>The Malloys approach. I (' DUTCH I'll wait outside. Just let him ..• TB WAITRESS</scene_description> <character>€�</character> <parenthetical>(yells across the ·restaurant)</parenthetical> <dialogue>Teddy! You wanna help me over here?</dialogue> <scene_description>Mike Malloy interrupts the conversation.</scene_description> <character>MIKE</character> <parenthetical>(to Dutch)</parenthetical> <dialogue>Excuse me. You're on the road?</dialogue> <character>DUTCH</character> <parenthetical>(suspicious)</parenthetical> <dialogue>Yeah. Why?</dialogue> <character>RIVA</character> <dialogue>The boy's your son?</dialogue> <character>DUTCH</character> <parenthetical>(after a pause)</parenthetical> <dialogue>That's right.</dialogue> <scene_description>Riva looks at Mike. A silent conference. Dutch looks at the Waitress. He's not sure what they want.</scene_description> <character>DUTCH</character> <dialogue>We're up from Georgia on our way to Detroit. We lost our car, we got robbed ...</dialogue> <character>RIVA</character> <dialogue>Oh, God •••</dialogue> <scene_description>Dutch catches on. EXT. NATALIE'S HOUSE. SAME TIME Snow is falling. INT. NATALIE'S HOUSE, KITCHEN She's having coffee after dinner. Gritzi's doing dishes.</scene_description> <character>NATALIE</character> <dialogue>Maybe I should never have split up with Doug.</dialogue> <scene_description>Gritzi firmly disagrees and expresses it with a disgusted head shake. TB NATALIE It didn't help Doyle.</scene_description> <character>€�</character> <dialogue>GRITZI</dialogue> <scene_description>It isn't my place to say anything but I have an opinion. Natalie looks at her to let her know it's okay to express herself.</scene_description> <character>GRITZI</character> <dialogue>Everything that boy's ever done good or bad was to get somebody to pay attention to him.</dialogue> <scene_description>Natalie nods. It isn't something she hasn't pondered.</scene_description> <character>NATALIE</character> <dialogue>And the divorce just made it worse. He wanted to go away to school. He wanted to get away from us. Doug's become his hero. I've become the villain. We're both villains. There are no heroes in his life.</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY. LATER</stage_direction> </scene> <scene> <stage_direction>A SAAB SAILS PAST. INT. CAR MIKE'S DRIVING. RIVA'S NEXT TO HIM. DUTCH AND DOYLE ARE IN THE BACK SEAT.</stage_direction> <character>MIKE</character> <dialogue>We live in Toledo. We both work. We left from the' office. That's why we stopped so soon to eat.</dialogue> <character>RIVA</character> <dialogue>We're on our way down to Cincinnati to spend the holidays with my brother.</dialogue> <character>DUTCH</character> <dialogue>Isn't that nice.</dialogue> <character>DOYLE</character> <dialogue>You're going to Cincinnati?</dialogue> <character>TB</character> <dialogue>•</dialogue> <character>RIVA</character> <dialogue>Uh, huh.</dialogue> <scene_description>Doyle looks at Dutch with confusion. He looks out the window.</scene_description> <character>DOYLE</character> <dialogue>Aren't you going the wrong way?</dialogue> <scene_description>Dutch looks out the window.</scene_description> <character>RIVA</character> <parenthetical>(to Mike)</parenthetical> <dialogue>We 1 ll turn around after we drop you off.</dialogue> <character>DUTCH</character> <dialogue>In Detroit?</dialogue> <character>MIKE</character> <parenthetical>(chuckles)</parenthetical> <dialogue>No. Just up the road here.</dialogue> <character>RIVA</character> <dialogue>We'll leave you in good hands.</dialogue> <scene_description>Doyle looks at Dutch. They have no idea what's going on. EXT. OUTSKIRTS OF TOLEDO, OHIO. ABANDONED ELEMENTARY SCHOOL The Saab pulls into the parking lot and stops. Mike and Riva get out. Dutch and Doyle get out. They•re baffled.</scene_description> <character>MIKE</character> <dialogue>They'll take care of you here.</dialogue> <character>DUTCH</character> <dialogue>Who?</dialogue> <character>RIVA</character> <dialogue>This is a center for, displaced families. Mike's supervisor's on the board.</dialogue> <scene_description>Mike offers his hand to Dutch.</scene_description> <character>MIKE</character> <dialogue>Good luck.</dialogue> <scene_description>C Dutch shakes it. He's still bewildered. TB MIKE And don't give up. (to Doyle) Don't ever lose faith in your Dad. He's doing his best.</scene_description> <character>RIVA</character> <dialogue>All our best for a happy holiday.</dialogue> <scene_description>They get in the car and pull away. EXT. PARKING LOT. DUTCH AND DOYLE They watch the Saab pull out. They turn and look behind them to the school building. Then they look at each other. ~ CU. CHILD A dirty, lost, hungry three year-old. CAMERA MOVES UP to his tired, defeated MOTHER. She's just out of her teens. She steps ahead, OUT OF FRAME to reveal a YOUNG MAN holding a BABY. He steps OUT OF FRAME revealing Doyle. He steps forward revealing Dutch. INT. SCHOOL. CAFETERIA Doyle and Dutch are in a food line. Homeless MEN, WOMEN and CHILDREN sit at folding tables. INT. CAFETERIA. TABLE Dutch and Doyle sit down at the crowded table, squeezing in between a YOUNG MAN with a bloodied head and a BABY on his lap and a TODDLER. They have plastic bowls of soup and dinner rolls.</scene_description> <character>DOTCH</character> <dialogue>Excuse us.</dialogue> <character>DOYLE</character> <dialogue>Pardon me.</dialogue> <scene_description>They settle in. Doyle opens his paper napkin and puts it in his lap. He reaches into his pocket and comes up with a Wet Nap. He opens it and washes his hands and face. His tablemates stare at him curiously. He uses the Wet Nap to clean his place at the table. INT, CAFETERIA. TABLE Doyle's tablemates stop eating to watch his preparations. f</scene_description> <character>TB</character> <dialogue>INT. CAFETERIA. DOYLE AND DUTCH</dialogue> <dialogue>He examines his plastic spoon to see if it's clean. He blows on it. He adjusts his soup bowl, breaks his bread and using the most refined manners, begins eating. Dutch has been staring at him all the while.</dialogue> <character>DUTCH</character> <dialogue>Did you want to see the wine list?</dialogue> <scene_description>Doyle stares at him for a moment then dips his spoon in the soup and brings it to his mouth. He anticipates a taste horror. He grimaces, closes his eyes and puts the spoon in his mouth. It's as though he• s eating microwaved blo\_od clots. He swallows the soup with difficulty. He glances down. ~</scene_description> <character>HIS POV</character> <dialogue>A tiny, dirty hand reaches surreptitiously for his dinner roll. Doyle's hand slams down on the roll.</dialogue> <character>CU, CHILD</character> <dialogue>A three year-old GIRL looks up fearfully, startled.</dialogue> <character>CU. DOYLE</character> <dialogue>He looks down at the Girl. A stern, automatic look.</dialogue> <character>DOYLE</character> <dialogue>That's mine.</dialogue> <character>CU. CHILD</character> <dialogue>She shrinks into her Mother's side. CU. DOYLE He holds his look on the child. He's touched by her fear and her need. He feels his shame. His face softens. He offers her the roll.</dialogue> <character>DOYLE</character> <dialogue>You can have it.</dialogue> <character>CU. CHILD</character> <dialogue>She takes the roll from Doyle. INT. CAFETERIA. TABLE. DUTCH AND DOYLE</dialogue> <dialogue>Dutch gives Doyle a nudge.</dialogue> <scene_description>TB That was nice.</scene_description> <character>DUTCH</character> <dialogue>•</dialogue> <scene_description>Doyle returns to his soup. As Dutch is looking at Doyle, the Baby on the lap of the Man next to Dutch swipes his dinner roll.</scene_description> </scene> <scene> <stage_direction>INT. GYMNASIUM</stage_direction> <scene_description>PARENTS and CHILDREN are sleeping on folding cots set-up on the floor in little family clusters.</scene_description> </scene> <scene> <stage_direction>INT. GYM. DUTCH AND DOYLE</stage_direction> <scene_description>They're down for the night. Next to each other. Dutch is having trouble getting comfy. His back is bothering him. TRe cot wobbles forward and the front legs collapse.</scene_description> <character>DUTCH</character> <parenthetical>(whispers)</parenthetical> <dialogue>Son of a ...</dialogue> <character>DOYLE</character> <parenthetical>(whispers)</parenthetical> <dialogue>You have to click it.</dialogue> <scene_description>Dutch gets up from his cot and checks underneath it. He sets the legs up, clicks it. The MAN in the cot ahead of his, sits up and looks at Dutch.</scene_description> <character>MAN</character> <parenthetical>(annoyed)</parenthetical> <dialogue>Is there a problem?</dialogue> <character>DUTCH</character> <dialogue>I got it, thanks.</dialogue> <scene_description>Dutch tests the cot with his hands. He deems it safe and lies down. It GROANS under his weight. It slowly sinks to the floor.</scene_description> <character>DUTCH</character> <parenthetical>(whispers)</parenthetical> <dialogue>Doyle?</dialogue> <character>DOYLE</character> <parenthetical>(whispers)</parenthetical> <dialogue>What?</dialogue> <character>DUTCH</character> <dialogue>Can I switch cots with you? Mine won't hold me.</dialogue> <character>TB</character> <dialogue>How do you know it'll hold</dialogue> <character>DOYLE</character> <dialogue>•</dialogue> <scene_description>me?</scene_description> <character>DUTCH</character> <dialogue>I'm fifteen thousand cheeseburgers ahead of you in life.</dialogue> <scene_description>Doyle sighs and gets up. Dutch rocks himself to his feet. He and Doyle set-up the collapsed cot. Doyle gets in it. Dutch sits on Doyle's cot. He tests it.</scene_description> <character>DUTCH</character> <dialogue>This is much better. Thanks.</dialogue> <character>DOYLE</character> <dialogue>You're entirely welcome.</dialogue> <scene_description>Dutch lies down. He covers himself. Makes himself comfortable. EXT. PARKING LOT A dozen battered cars -- station wagons, vans, sedans. Loaded with the material of transient lives. INT. GYM. CU. DUTCH. LATER He's asleep. CU. DOYLE Doyle is on his side looking around the room. He can't sleep. HIS POV. NURSING MOTHER A YOUNG WOMAN is seated against the wall nursing her BABY. She's looking down gently at the child. CAMERA PANS OVER TO a little BOY and GIRL sleeping with legs entwined clutching tattered stuffed animals. CAMERA PANS·ACROSS TO a MAN stroking the hair of a little BOY as he tries to get him to sleep. CU. DOYLE He's struck by the closeness of the families, their strength, their survival. CU. DOYLE t He looks to his immediate RIGHT. TB:</scene_description> <character>HIS POV</character> <dialogue>•</dialogue> <scene_description>The little Girl who took his dinner roll is watching Doyle. Sucking her thumb. She smiles and pulls out her thumb. She offers it to him.</scene_description> <character>CU. DOYLE</character> <dialogue>His eyes gloss over with tears. He smiles and shakes his head, no. He holds up his own thumb as if to say, •t have my own, thanks". CU. LITTLE GIRL She smiles and returns her thumb to her mouth. Her MOTHER pulls her close, kisses her. \</dialogue> <character>MOTHER</character> <dialogue>Shh ...</dialogue> <scene_description>She looks at Doyle. She gives him a smile.</scene_description> <character>MOTHER</character> <parenthetical>(whispers)</parenthetical> <dialogue>Are you from Toledo?</dialogue> <character>CU. DOYLE</character> <dialogue>He replies in a soft, choked whisper.</dialogue> <character>DOYLE</character> <dialogue>Detroit.</dialogue> <character>CU. DUTCH</character> <dialogue>He opens his eyes when he hears Coyle speak~ng. INT. GYM. WOMAN AND DOYLE The Woman nods •</dialogue> <character>WOMAN</character> <dialogue>I'm from Canton, originally. We came to Toledo to- look for work. Hy husband was laid off in June. He drove for an auto parts company that went under.</dialogue> <scene_description>,,.... Doyle nods.</scene_description> <character>WOMAN</character> <dialogue>We've been here for a week. It's nice.</dialogue> <scene_description>r TBDoyle looks down at the thought that she considers the accommodations "nice".</scene_description> <character>WOMAN</character> <dialogue>We were living out of the car. That 1 s pretty hard. What about you?</dialogue> <scene_description>Doyle has nothing to say that could compare to her story.</scene_description> <character>DOYLE</character> <dialogue>We got here tonight.</dialogue> <character>WOMAN</character> <dialogue>Is that your Dad?</dialogue> <scene_description>Doyle hesitates. CO. DUTCH He's listening. He knows what he'd like Doyle to say, INT. GYM. DOYLE AND THE WOMAN Doyle glances back at Dutch.</scene_description> <character>CO. DUTCH</character> <dialogue>He quickly closes his eyes. CO. DOYLE Turns back to the Woman, convinced that Dutch is asleep.</dialogue> <character>DOYLE</character> <dialogue>No.</dialogue> <character>CO. DUTCH</character> <dialogue>He opens his eyes. He's disappointed.· INT. GYM. DOYLE AND THE WOMAN Doyle continues.</dialogue> <character>DOYLE</character> <dialogue>But he's the closest thing I've ever had to one.</dialogue> <scene_description>C CO. DUTCH He's surprised. CO. DOYLE</scene_description> <character>€�</character> <dialogue>He continues.</dialogue> <character>DOYLE</character> <dialogue>I never see my real father. He walked-out on my mother and I.</dialogue> <scene_description>CO. DUTCH He's startled by the revelation. CO. DOYLE He's talking as much for himself as for the Woman. His heaQ is bowed.</scene_description> <character>DOYLE</character> <dialogue>And then I walked out on my mother.</dialogue> <scene_description>He looks at the Woman, tears in his eyes, surprised that he's revealed what he has to a stranger. f CO. WOMAN She feels sorry for him. She offers the faintest of smiles. CO. DOYLE He takes in a clean, fresh breath and suppresses his emotion.</scene_description> <character>DOYLE</character> <dialogue>I'm so much better off than anybody here, it's sick that I'm complaining about anything.</dialogue> <scene_description>CO. WOMAN She looks around the gym with a smile.</scene_description> <character>WOMAN</character> <dialogue>Everyone in here can find something to feel lucky about if they think about it. You think about it, too.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Get some sleep.</dialogue> <scene_description>CO. DOYLE He nods and returns the smile.</scene_description> <character>TB</character> <dialogue>•</dialogue> <character>DOYLE</character> <dialogue>Thanks.</dialogue> <scene_description>He lies down.</scene_description> <character>CU. DUTCH</character> <dialogue>He's thinking about what Doyle's said. He'd like to respond but doesn't know how to let Doyle know he was listening.</dialogue> <character>DUTCH</character> <dialogue>Doyle?</dialogue> <character>CU. DOYLE</character> <dialogue>His eyes pop open. He's startled to hear Dutch's voice. INT. GYM. DUTCH AND DOYLE Dutch ro·lls over on his back.</dialogue> <character>DUTCH</character> <dialogue>While you were brushing your teeth I called your Mom,• I told her we were at the Holiday Inn. So she wouldn't worry. Is that okay?</dialogue> <character>DOYLE</character> <parenthetical>(after a pause)</parenthetical> <dialogue>Yeah.</dialogue> <character>DUTCH</character> <dialogue>'Cause I said I wouldn't call.</dialogue> <character>DOYLE</character> <dialogue>It's okay.</dialogue> <character>· DUTCH</character> <dialogue>Good night.</dialogue> <scene_description>He closes his eyes.</scene_description> <character>DOYLE</character> <dialogue>Oid you hear me talking?</dialogue> <character>DUTCH</character> <dialogue>Not really.</dialogue> <scene_description>t I meant it.</scene_description> <character>DOYLE</character> <dialogue>TB</dialogue> <dialogue>I appreciate that.</dialogue> <character>DUTCH</character> <dialogue>A long pause.</dialogue> <character>DOYLE</character> <dialogue>Are you still gonna shoot me in the ass?</dialogue> <character>DUTCH</character> <parenthetical>(pause)</parenthetical> <dialogue>Yes.</dialogue> <character>DOYLE</character> <parenthetical>(pause)</parenthetical> <dialogue>Good night.</dialogue> <character>DUTCH</character> <dialogue>Good night.</dialogue> <scene_description>Dutch lifts up and rolls over on his side. A long beat and his cot collapses with a CRASH! BABIES CRY. Lights go on. Everyone in the shelter is rattled from their slumber. t</scene_description> <character>EXT. NATALIE'S HOUSE</character> <dialogue>Over the night a dusting of snow has fallen. Cars are parked in the driveway.</dialogue> </scene> <scene> <stage_direction>INT. FAMILY ROOM</stage_direction> <scene_description>Natalie's three BROTHERS, her FATHER, and an UNCLE are watching the football pre-game show.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM</stage_direction> <scene_description>Natalie's MOTHER, three SISTERS-IN-LAW, an AUNT and her SISTER are talking.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Natalie's inspecting an appetizer tray. Gritzi's basting the turkey.</scene_description> <character>NATALIE</character> <dialogue>They should be here by now.</dialogue> <character>GRITZ!</character> <dialogue>It snowed last night. Travel 1 s· probably slow.</dialogue> <character>NATALIE</character> <dialogue>I'm worried.</dialogue> <scene_description>TB GRITZI There's no need.</scene_description> <character>€�</character> <dialogue>NATALIE</dialogue> <character>I. ..</character> <dialogue>The DOORBELL RINGS,</dialogue> <character>NATALIE</character> <parenthetical>(excited)</parenthetical> <dialogue>That's them!</dialogue> <scene_description>She stops herself as she realizes what she's going to face seeing Doyle. Gritzi knows.</scene_description> <character>GRITZI</character> <dialogue>He'll be happy to see you.</dialogue> <scene_description>Natalie hurries from the kitchen. INT, FOYER Natalie slows as she enters the foyer. Her Mother is going for the door.</scene_description> <character>NATALIE</character> <dialogue>Mother? I'll get it.</dialogue> <scene_description>Her mother backs off. Natalie composes herself, straightens her clothes, takes a breath and opens the door.</scene_description> </scene> <scene> <stage_direction>EXT. PORCH, DOOR</stage_direction> <scene_description>It opens on a smiling Natalie. The smile fades. INT. FOYER. DOOR Doug stands at the door with his parents, MR. and MRS. STANDISH.</scene_description> <character>DOUG</character> <dialogue>.Hello, Natalie.</dialogue> <scene_description>INT, Fl\MILY ROOM, LATER Doug's father is with the men. He tires of the ballgame and hits the remote to the bewilderment of the other men.</scene_description> <character>MR. STANDISH</character> <dialogue>They're going to lose anyway.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM</stage_direction> <character>€�</character> <dialogue>Mrs. Standish is with the ladies. There's a horrible silence that the blue-haired blueblood breaks.</dialogue> <character>MRS. STANDISH</character> <parenthetical>(to Natalie's mother)</parenthetical> <dialogue>Isn't that the same dress you had on last Thanksgiving?</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN. LATER</stage_direction> <scene_description>Natalie and Doug are sitting at the kitchen table.</scene_description> <character>DOUG</character> <dialogue>I wish you would have told me you sent your boyfriend to get Doyle.</dialogue> <character>NATALIE</character> <dialogue>Why? So you could stop it?</dialogue> <character>DOUG</character> <dialogue>In part, yes. I don't know the guy.</dialogue> <character>NATALIE</character> <dialogue>He~s fine.</dialogue> <character>DOUG</character> <dialogue>He's a truck driver?</dialogue> <character>NATALIE</character> <dialogue>He leases trucks. He used to be a truck driver.</dialogue> <character>DOUG</character> <dialogue>Classy.</dialogue> <character>NATALIE</character> <dialogue>You don't have any bus~ness here. You didn't arrange in advance to see Doyle •••</dialogue> <character>DOUG</character> <dialogue>You're talking about my son. 1 don't make arrangements to see him. I don't give a goddamn what you or your lesbian· lawyer says. My</dialogue> <scene_description>t dealings with my son are my business.</scene_description> <character>TB</character> <dialogue>You don't have any dealings</dialogue> <character>NATALIE</character> <dialogue>•</dialogue> <scene_description>with your son.</scene_description> <character>DOUG</character> <dialogue>Is that so?</dialogue> <character>NATALIE</character> <dialogue>That's so.</dialogue> <character>DOUG</character> <dialogue>How are you getting along with him7</dialogue> <character>NATALIE</character> <dialogue>Terrible.</dialogue> <character>DOUG</character> <dialogue>Don't give me any shit then.</dialogue> <character>NATALIE</character> <dialogue>At least I'm trying.</dialogue> <character>DOUG</character> <dialogue>r,,...... And alot of good it's doing</dialogue> <scene_description>you. ( (changes the subject) What time is he going to be here?</scene_description> <character>NATALIE</character> <dialogue>I don't know. He's on his way.</dialogue> <character>EXT, HIGHWAY, CU. AUTO GRILL</character> <dialogue>A dented, wounded Ford Country Squire grill, CAMERA SLIDES QUICKLY AROUND the side of the wagon, past faded paint, dents, rust, peeling plastic wood panelling, RISING TO DOYLE'S face in the rear passenger wi~dow.</dialogue> <character>INT. CAR</character> <dialogue>-The Woman we saw in the gym is sitting next to her HUSBAND.</dialogue> <scene_description>He's iri his late twenties, thin, wiry, long hair, earring,- flannel shirt, quilted vest. Dutch and Doyle are in the back seat. The little Girl is between them.</scene_description> <character>HUSBAND</character> <dialogue>( I want to thank you for this.</dialogue> <scene_description>C DUTCH Forget about it. I can always use a good driver. TB DOYLE Dutch used to drive a truck. Now he owns the whole company.</scene_description> <character>DUTCH</character> <parenthetical>(modest)</parenthetical> <dialogue>Half a dozen trucks. Big deal.</dialogue> <character>DOYLE</character> <dialogue>You know, you could stay at Dutch's house until you find something.</dialogue> <scene_description>Dutch gives him a look.</scene_description> <character>'</character> <dialogue>DOYLE</dialogue> <scene_description>Right?</scene_description> <character>WOMAN</character> <dialogue>·we wouldn't do that.</dialogue> <character>DOYLE</character> <dialogue>It's okay. He won't be there.</dialogue> <character>DUTCH</character> <dialogue>No?</dialogue> <character>DOYLE</character> <dialogue>You'll be at our place.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM. LATER</stage_direction> <scene_description>Doug's sitting in a chair by the window. The women are sitting nervously about the room. Mr. Standish has joined Mrs. Standish. He's smoking a-pipe to the consternation of the ladies.</scene_description> <character>MR. STAND!SH</character> <dialogue>Doug? I think you're a fool not to call the police. Who knows what could ha❖e happened? We don't know this fella from Adam,</dialogue> <character>NATALIE'S MOTHER</character> <dialogue>He's a ~onderful man.</dialogue> <character>MRS, STANDISH</character> <dialogue>If he's so wonderful why hasn't he married your daughter?</dialogue> <scene_description>TB Doug snickers.</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM</stage_direction> <scene_description>Natalie's helping Gritzi set the table.</scene_description> <character>GRITZI</character> <dialogue>They're staying?</dialogue> <character>NATALIE</character> <dialogue>Do we have enough for three more?</dialogue> <character>GRITZI</character> <dialogue>Sure.</dialogue> <character>NATALIE</character> <dialogue>I'm sure when Doyle gets here and sees Doug, they'll stay. Or there'll be hell to pay.</dialogue> </scene> <scene> <stage_direction>EXT. SUBURBAN STREET</stage_direction> <scene_description>The station wagon rumbles down a woodsy mansion street. It turns sharply. CU. OVEN The timer goes off -- DING!</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE. STATION WAGON</stage_direction> <scene_description>The station wagon roars INTO CAMERA and STOPS.</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE</stage_direction> <scene_description>The battered station wagon is-parked between a Rover and an</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM</stage_direction> <scene_description>Natalie hears CAR DOORS SLAM. The DOG BARKS.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM</stage_direction> </scene> <scene> <stage_direction>DOUG GETS UP FROM·THE CHAIR. INT. FOYER</stage_direction> <scene_description>Natalie comes in from the dining room. Doug comes in from the living room. TB CU. DOUG</scene_description> <character>€�</character> <dialogue>A cruel, hard look at Natalie. Mrs. Standish comes up behind him. CU. NATALIE She knows she's going to lose Doyle to him. Her look is weak and defeated. INT, FOYER</dialogue> <dialogue>Doug steps to the door, blocking it from Natalie. He opens it.</dialogue> <scene_description>CU. DOOR ~ It opens on Doyle and Dutch behind him. Doyle's shocked. Dutch stares for a moment. His nightmare. He looks down. CU. DOUG A ~ig, charming, confident smile.</scene_description> <character>DOUG</character> <dialogue>Hey, buddy! Surprise.</dialogue> <scene_description>CU. NATALIE She bites her lower lip. She turns away. She's hurt and humiliated. CU. DOYLE He gets over his shock. He takes a breath. Finds his strength. He nods to Doug and steps inside.\_ INT. FOYER Doyle steps around Doug.</scene_description> <character>DOYLE</character> <dialogue>Mom?</dialogue> <scene_description>CU, NATALIE Her back to CAMEAA. She looks up and turns slowly. She's stunned. CU. DOYLE A big, warm, friendly smile. r</scene_description> <character>TBINT. FOYER</character> <dialogue>•</dialogue> <scene_description>Doyle and Natalie come together. She brings him into her arms and holds him tight.</scene_description> <character>CU. DOUG</character> <dialogue>He's stunned.</dialogue> <character>CU. THE STANDISH'S</character> <dialogue>They stare in bewilderment at the reunion of Doyle and Natalie. CU. DOUG In his panic he looks to Dutch. CU. DUTCH He grins with enormous satisfaction.</dialogue> <character>DUTCH</character> <dialogue>Hi. I'm Dutch Dooley. You must be the unwelcome guest.</dialogue> <character>CU. DOUG</character> <dialogue>He glares at Dutch. CU. NATALIE AND DOYLE She kisses his forehead. Doyle turns back to Doug. He's sad but strong.</dialogue> <character>DOYLE</character> <dialogue>Dad? Shouldn't you be in Europe?</dialogue> <character>CU. DOUG</character> <dialogue>He glares at Doyle. INT. FOYER</dialogue> <character>-</character> <dialogue>Gri"tzi walks in with an armload of coats. EXT. HOUSE. DOOR Doug stomps out carrying his coat. Mr. Standish follows</dialogue> <scene_description>/ carrying his coat, wearing his hat. Mrs. Standish stumbles C out, confused, sputtering. TB</scene_description> </scene> <scene> <stage_direction>INT. DINING ROOM. LATER</stage_direction> <character>€�</character> <dialogue>Everyone's gathered around the dining room table. Natalie's family, Dutch, Doyle, Natalie, Gritzi.</dialogue> <character>DUTCH</character> <dialogue>Excuse me. Dave?</dialogue> <character>DOYLE</character> <dialogue>Yeah?</dialogue> <character>DUTCH</character> <dialogue>Before we start, could you run into the other room and get my coat. I have something in there for your mother.</dialogue> <character>DOYLE</character> <dialogue>Seriously?</dialogue> <character>DUTCH</character> <dialogue>Yeah.</dialogue> <character>NATALIE</character> <dialogue>Can't it wait?</dialogue> <character>DUTCH</character> <dialogue>It's something real special.</dialogue> <scene_description>Doyle pushes away from the table and heads away from Dutch for the living room. Dutch quickly signals Natalie with his hand to move aside. She doesn't understand.</scene_description> <character>DUTCH</character> <parenthetical>(loud whisper)</parenthetical> <dialogue>Get down!</dialogue> <scene_description>She ducks. Dutch jumps up fro~ the table. He reaches around behind his back and pulls out the air pistol. He assumes the cop stance, takes rapid aim down the table and ... CU. FOYER Something suddenly dawns on Doyle. His eyes bulge. DUTCH'S POV Down the pistol barrel. TB CU. DUTCH</scene_description> <character>€�</character> <dialogue>Grins and squeezes the trigger.</dialogue> <scene_description>MUSIC FADE TITLES</scene_description> <character>END</character> </scene> </script>

Dutch Dooley attends a ritzy party with his girlfriend, Natalie Standish. He stands out terribly among the upper-class aristocrats – wearing a cheap suit and making boorish comments. Natalie's relaxed, less rigid personality also does not fit with the rest of the patrons. Dutch also meets Natalie's snobbish, wealthy ex-husband Reed, who tells Natalie that he will have to break his Thanksgiving plans with their son Doyle for an unexpected business trip to London, and that Natalie will have to tell Doyle. Natalie calls Doyle at his private school in Georgia and invites him home for Thanksgiving, but Doyle refuses the offer, solely blaming his mother for the divorce. Despite this, Dutch sees an opportunity to get to know Doyle and further his relationship with Natalie, so he offers to go to Georgia and bring Doyle back to Chicago for the holidays. Upon arriving in Georgia, Dutch finds Doyle to be much like his father: snobbish, selfish and elitist. He welcomes Dutch by throwing a book at his face, hitting him with a golf club, kicking him and shooting him in the groin with a BB gun, for which Dutch promises revenge. Dutch ultimately hogties Doyle to a hockey stick and carries him to the car to start on the drive back home. The pair endures several mishaps, including an impromptu fireworks show that sees Dutch's coat destroyed. Later, after Doyle throws a lit cigar in Dutch's lap, Dutch throws Doyle out of the car and makes him walk to the next motel by himself. Doyle gets even by parking Dutch's car in the middle of the highway, where it is hit and totaled by a truck. They hitch a ride with two prostitutes who steal their luggage and Dutch's wallet, leaving them stranded. Doyle calls his father, whom he discovers has lied about his trip to London; he instead spent the holidays with a girlfriend. Stunned by his father's betrayal, and wounded by Dutch's accusation that he "hates his mother", Doyle begins to regret his callous attitude. Dutch initially gives up and wants to call Natalie for assistance, but Doyle refuses and insists on getting home on their own. They sneak a ride on the back of a semi-truck and are assaulted by security guards at a trailer drop yard; Doyle brandishes his BB gun and feigns insanity, pretending that voices in his head are telling him to kill the guards, which frightens them enough to allow their escape. The two enter a restaurant, where they meet a married couple who takes them to a homeless shelter in Hammond, Indiana for the night. At the shelter, Doyle grows fond of a young girl and her family. While getting to know them, he finally realizes that he has been neglecting his mother and indeed wants to be with her for the holidays. On Thanksgiving Day, the family drives Dutch and Doyle to Natalie's home, where Reed is waiting. Doyle reunites with his mother and reveals to Reed that he knows the truth about his trip to London. When Doyle decides to stay with his mother instead of Reed for Thanksgiving, Reed evicts Natalie from the house, which he owns. Dutch follows Reed outside as he departs and hits Reed in the forehead with his pinky ring. He then demands that Reed show more respect to Natalie and become a better father to Doyle, to which a dazed Reed agrees. As Natalie, Dutch and Doyle sit down to begin their Thanksgiving feast, Dutch asks Doyle to retrieve Dutch's coat, as it contains a very special gift for Natalie. As Doyle walks away, Dutch pulls the BB gun Doyle originally shot him with and finally gets his revenge by shooting him in the groin.

Blankman_1994

tt0109288

<script> <scene> <character>DLDNRMDN</character> <dialogue>Written by</dialogue> <scene_description>Damon Wayans and J.F. Lawton and Chris Matheson W/ revisions by Damon Wayans and J.F. Lawton</scene_description> <character>FIFTH DRAFT</character> <dialogue>July 20, 1993</dialogue> <scene_description>1993 WIFE N' KIDS PRODUCTIONS FADEIN: EXT APARTMENT BUILQ;'l'd - PAY SUPER: 1972. Apartment building in a poor but friendly neighborhood. Neighbors chat th~~ugh windows. Kids' bikes are ~ parked outside. • / Kids swarm around an ice cream cart. Two brothers, DARRYL,age 6 and KEVIN, age 8, watch enviously, no; having any money. Other kids tease them as they run off with treats.</scene_description> <character>DARRYL</character> <dialogue>When I grow up, I'm going to build a machine that will make rainbow pops for free and every kid in the world can have one whenever they want.</dialogue> <character>KEVIN</character> <dialogue>we never have money for ice cream.</dialogue> <scene_description>Two rainbow pops appear. A NICE GUYhands them to the kids.</scene_description> <character>KEVIN" DARRYL</character> <dialogue>Thanks Mister!</dialogue> <character>NICE GUY</character> <dialogue>That's what it's all about kids, people helping people.</dialogue> <scene_description>INT I APAR'.D@iT- PAY The kids rush into a small apartment. Their tongues and mouths ,.. are stained in a rainbow of food coloring. white television broadcasts An old black and the news with Walter Cronkite. A '- hanger substitutes for an antenna and a fork pokes out of a panel where the channel dial once was. ..</scene_description> <character>·-</character> <dialogue>WALTER</dialogue> <scene_description>And that's the way it is, September,, 1972. Good night. A couaercial runs. The kids sit on the floor and plaf with crayona. Darryl picks up a red one. Kevin snatches 1t away.</scene_description> <character>KEVIN</character> <dialogue>Here, you can use the·green one and I'll use the red one. Okay?</dialogue> <character>DARRYL</character> <dialogue>No, I don't want it. ·Give it back or I'm going to tell Grandma.</dialogue> <scene_description>A fight erupts. Kevin, the larger of the two, assumes pseudo- karate stance. Darryl makes a feeble attempt ;o imitate his brother. But once hit, he abandons this technique and flails his arms in windmill fashion. He puts up a good fight, but is no match for his older brother. The opening theme to BATMAN brings the fight to an abrupt end.</scene_description> <character>KEVIN &amp; DARRYL</character> <dialogue>Batman!</dialogue> <scene_description>The boys dash to the window and pull down sheets that double for curtains. They tie them around their necks for capes.</scene_description> <character>DARRYL</character> <dialogue>I want to be Batman this time.</dialogue> <character>KEVIN .</character> <dialogue>I told you, you have to be Robin •cause you're little, okay? .</dialogue> <scene_description>They run to the TV. Snow fizzes on the screen.</scene_description> <character>J&lt;EVIN</character> <dialogue>Ahww,,stupid old TV!</dialogue> <character>DARRYL</character> <dialogue>I'll fix it Batman!</dialogue> <scene_description>Darryl runs to the kitchen like a child ~ossessed, collecting various metal objects: pots, aluminum foil, serving spoons, etc. Arms full, he hustles back to the television.</scene_description> <character>KEVIN</character> <dialogue>Hurry up, or we'll miss it!</dialogue> <scene_description>Darryl ties twine to the hanger antenna. He opens the box of aluminum foil and rolls it down the hallway. He wraps it around the twine. Next, he threads the aluminum wrapped twine through the pot handles and ties it around the spoons. INT, BATHROOM Dareyl pulls the end into the bathroom and ties it to the pull chain of the toilet's overhead tank. INT I APMTMENT The reception clears. .</scene_description> <character>DARRYL (0. S ;.)</character> <dialogue>Is it working?</dialogue> <scene_description>l&lt;EVIN It's getting better. Keep trying! We hear the toilet flush.</scene_description> <character>KEVIN</character> <dialogue>That's it!</dialogue> <character>'</character> <dialogue>Darryl flies into the room to watch the show, but as the toilet nolse fades, so does the reception.</dialogue> <scene_description>KE"lIN &amp; DARRYL Ar\WWW. Darryl gives a\_tug on the aluminum line. We hear the toilet flush once again. The picture clears.</scene_description> <character>KEVIN</character> <dialogue>There it is! Keep flushing!</dialogue> <scene_description>The reception is good. But Darryl is tired of pulling on the string. He gets an idea. He connects the line to the blade of an old floor fan. He turns the fan on and as the blade swings round it pulls the line for him. Meanwhile, Kevin is caught up in the TV show. As Batman and Robin fight the villains, Kevin imitates their moves. As the villains surround them, Batman and Robin stand back to back.</scene_description> <character>KEVIN</character> <dialogue>Back to back!</dialogue> <scene_description>On cue, Darryl and Kevin both jwr;&gt; up and stand back to back. They fight at imaginary villains. INT, BATHROOM Water overflows out of the toilet and streams out of the .J.- bathroom into the hallway. INT, HALLWAY The water trails down the hallway to a closed bedroom door. The door opens to reveal a woman in her early 40's dressed in a bathrobe and slippers. She is the boys' GRANDMOTHER.</scene_description> <character>GRANDMA</character> <dialogue>What in heaven's name? Who's playing with the toilet? Kevin, bOY, I'm going to peel the skin off your behind. You know better!</dialogue> <scene_description>INT, LIVINGBQOM She walks into the living room and notices the fan pulling the toilet line. She shuts it off and turns to Darryl.</scene_description> <character>GRANDMA</character> <dialogue>What in the world? Boy, I swear, one day you're going to blow up something!</dialogue> <scene_description>Kevin and Darryl, mouths agape, look at their angry Grandma, then at each other. From the television we hear: BATMAN (O.S. l To the Batpolest The boys flee in opposite directions from their Grandma. SCREEN</scene_description> <character>GOESBLACK</character> <dialogue>Animated blotch appears with the word: POW!</dialogue> <scene_description>GRANDMA (V.O. l Didn't I tell you not to- Animated word: OOOF!</scene_description> <character>GRANDMA (V .O.)</character> <dialogue>-· play with-</dialogue> <scene_description>BIFF ! r 1</scene_description> <character>GRANDMA (V .O.)</character> <dialogue>~stuff\_</dialogue> <scene_description>THWACK! ZOWIE! ROLL CREDITS: (SAMEANIMATED</scene_description> </scene> <scene> <stage_direction>INT. ALLEY</stage_direction> <character>- PAY</character> <dialogue>Super (present) TWOSCUZZY PUNKSbeat up on a VICTIM, viciously into trashcans. GRANDMA, now a lot older, of window and shouts down.</dialogue> <scene_description>smashing him sticks her head out -</scene_description> <character>GRANDMA</character> <dialogue>Cut it out down there or I'm going to call the police!</dialogue> </scene> <scene> <stage_direction>EXT.APARTMENT</stage_direction> <character>BUILDING</character> <dialogue>- PAY lO</dialogue> <scene_description>Same building, eve~here. car is parked. but the neighborhood has radically Pieces of stripped bicycles are chained to poles. Windows are either barred or boarded. Victim flies out of alley. changed .. Graffiti A patrol is Crashes desperately</scene_description> <character>-'3</character> <dialogue>into closed window of the patrol car. The officer glances over.</dialogue> <character>OFFICER</character> <dialogue>Get off the car you bwn!</dialogue> <character>VICTIM</character> <dialogue>Help me!</dialogue> <scene_description>The officers glance at each other. Refuse to exit car. •NI, AFABDiENT- DAY fl</scene_description> <character>.€�</character> <dialogue>Grandma prepares breakfast for her grandchildren. The products all have that bland no frills wrapping. We see MILK, then Ii. BREAD, EGGS, .and finally just plain MEAT.</dialogue> <dialogue>KEVIN, the adult, sneaks hastily dressed WOMANbehind Grandma's back and to the front door.</dialogue> <character>KEVIN</character> <parenthetical>(whisper)</parenthetical> <dialogue>I'll call you.</dialogue> <scene_description>He gives her a quick kiss and slips her out. Grandma hears something and turns. Kevin straightens.</scene_description> <character>KEVIN</character> <dialogue>Good morning, Grandma.</dialogue> <character>GRANDMA</character> <dialogue>You could have at least fed that little heifer. I'm sure she was hungry after sneaking in here late at night ...</dialogue> <character>KEVIN</character> <dialogue>i'm trying to be respectful. I do pay the rent-</dialogue> <character>GRANDMA</character> <dialogue>Oh, you gonna to throw that in my face? Maybe I should just leave then.</dialogue> <character>KEVIN</character> <dialogue>No grandma, I didn't mean it that way\_</dialogue> <scene_description>He gives her a kiss on the cheek.</scene_description> <character>KEVIN· .</character> <dialogue>I don't know what we'd do without you.</dialogue> <character>GRANDMA</character> <dialogue>They were beating up some poor guy in the alley. The cops did nothing.</dialogue> <character>KEVIN</character> <dialogue>Who can blame them? They haven't been paid in two weeks.</dialogue> <character>GRANDMA</character> <dialogue>All that'll change when we elect Asseml:&gt;lyman Harris Mayor.</dialogue> <character>KEVIN</character> <dialogue>Don't 9et your hopes up. It's hard for one man to make much of a difference.</dialogue> <character>GRANDMA</character> <dialogue>One man can make all the difference. You'll see. What do you want for breakfast?</dialogue> <character>KEVIN</character> <dialogue>I'm fine. I'll just have some coffee and run.</dialogue> <scene_description>Grandma takes him by the hand and sets him at the table.</scene_description> <character>GRANDMA</character> <dialogue>Baby, all you do is run. Now sit down and let Grandma fix her boys a nice well balanced meal.</dialogue> <character>KEVIN</character> <dialogue>Grandma, I'm not a kid anymore. We grew up, remember?</dialogue> <scene_description>-----------------------------------------·- INT, BATl;JROOM rz... DARRYLstands in front of a mirror with an automatic wash cloth/toothbrush/Q•tip qizmo attached walk.man. After it brushes his teeth, a Q-tip pokes h~m in the eye.</scene_description> <character>OARRYL</character> <dialogue>to his head like a he presses a button and·</dialogue> <character>-</character> <dialogue>z..</dialogue> <scene_description>Abt Got to tighten that gyro. He take• the gadget off of his head and puts on a pair of horned ri.Jllned glasses. Heads out of the bathroom.</scene_description> <character>INT, APMTMEN'J'</character> <dialogue>Darryl enters and kisses Grandma on the cheek.</dialogue> <character>DARRYL</character> <dialogue>Good morning!</dialogue> <character>GRANDMA</character> <dialogue>Good morning. Baby, you dldn't sleep well again. I heard you in there talking to yourself.</dialogue> <character>DARRYL</character> <dialogue>I was thinking about this idea for an automatic fly catcher.</dialogue> <character>GRANDMA</character> <dialogue>I swear you're going to blow .• yourself up ~ne dar with one of those crazy invent1ons.</dialogue> <scene_description>Kevin finishes his food. Jumps up.</scene_description> <character>KEVIN</character> <dialogue>Okay, Grandma, I ate. ~Otta go.</dialogue> <character>DARRYL</character> <dialogue>Wait! I've got something for you.</dialogue> <character>KEVIN</character> <dialogue>I'm in a hurry.</dialogue> <character>DARRYL</character> <dialogue>Don't worry! JS will bring it!</dialogue> <scene_description>Oar~l uses a wrist watch joystick to activate a remote machine. As Kevin waits impatiently, we hear a whirl of electric motors and some banging in the hallway. JS, a trashcan with lights, wheels, and a steel wool Afro, teeters into the room and falls over. In its metal claw is a weird looking belt.</scene_description> <character>DARRYL</character> <dialogue>Darn! I need to oil its ball bearings.</dialogue> <character>KEVIN</character> <dialogue>Or throw it it belongs.</dialogue> <scene_description>in the garbage where -- Darryl gral:&gt;a the belt.</scene_description> <character>DARRYL</character> <dialogue>Here, try this on.</dialogue> <character>KEVIN</character> <dialogue>What is it?</dialogue> <character>DARRYL</character> <dialogue>It's a two way audio transceiver belt. You put this in your ear and speak into the buckle. It also has a radar tracking fe4ture. Tr.( it.</dialogue> <character>KEVIN</character> <dialogue>Get out of here. I'm not wearing that piece of crap.</dialogue> <character>DARRYL.</character> <dialogue>Please.</dialogue> <character>KEVIN</character> <dialogue>No!</dialogue> <character>GRANDMA</character> <dialogue>Babe, come here.</dialogue> <scene_description>Grandma takes Kevin's hand and leads him into her bedroom. INT QBN/PMA'SBEDROOM Grandma shuts the door and looks at Kevin with soulful eyes.</scene_description> <character>GRANDMA</character> <dialogue>Now, you can't be treating</dialogue> <character>3..</character> <dialogue>your</dialogue> <scene_description>baby brother like that.</scene_description> <character>KEVIN</character> <dialogue>He's twenty seven. Stop sheltering him.</dialogue> <character>GRANDMA</character> <dialogue>I know, but the boy ain't wrapped too tight. You're the only brother he got. Promise me you'll take care of him. Grandma ain't going be around forever. Is it too much to ask from the woman that changed your funky diapers and wiped your snotty nose-</dialogue> <character>----------------··--··-·</character> <dialogue>INT, APAR'I)JEN'l' Kevin, completely chastised, steps out of the room and forces a smile at Darryl. Grandma stands behind him.</dialogue> <character>KEVIN</character> <dialogue>Darryl, I was wrong. I'd love to wear that belt to work.</dialogue> <scene_description>Darryl perks up and runs.over with the belt~</scene_description> <character>DARRYL</character> <dialogue>Really? You don't have to if you don't want to,</dialogue> <character>KEVIN</character> <parenthetical>(glancing at Grand.ma)</parenthetical> <dialogue>No.' I want to. I really want co.</dialogue> <character>DARRYL</character> <dialogue>Are you really, really sure ycu really, really want to?</dialogue> <character>KEVIN .€�</character> <dialogue>Give me the damn belt!</dialogue> <scene_description>He snatches it, sighs, and puts it on:</scene_description> <character>DARRYL</character> <dialogue>Now we can talk to each other all day long!</dialogue> <scene_description>Kevin winces, heads for door, picks up gym bag.</scene_description> <character>KEVIN</character> <dialogue>Great. I'll be home late. I've got a Karate class tonight. Bye.</dialogue> <scene_description>EXT, lY STATION</scene_description> <character>- DAY</character> <dialogue>Kevin walks into a local TV station. AN ATTRACTIVEGIRL waves at him. Be waves back casually.</dialogue> <scene_description>INT, ELEVATOR</scene_description> <character>- PAY</character> <dialogue>Kevin steps into the elevator. He's about to hit a down button when a beautiful woman, KIMBERLYJOHNS, looks in.</dialogue> <character>KIMBERLY</character> <dialogue>Going up?</dialogue> <character>KEVIN</character> <dialogue>t1h... why yea I am.</dialogue> <scene_description>Kimberly step• in and Kevin hits 2nd Floor button.</scene_description> <character>KEVIN</character> <dialogue>Nice day, huh?</dialogue> <character>KIMBERLY</character> <parenthetical>(glances at newspaper)</parenthetical> <dialogue>Let's find out. GM·laid off five hundred more employees, a woman killed her crackhead son, and the police are threatening to walk out on strike.</dialogue> <character>KEVIN</character> <dialogue>I meant the sun was out.</dialogue> <character>KIMBERLY</character> <dialogue>Well, you should have said so.</dialogue> <scene_description>N';, HALLWAY The elevator doors open. Kimberly strides off toward the News off ices. Ke•linadm1res her legs as s:-:e gees. STEVENS, a news cameraman, sees him.</scene_description> <character>STEVENS</character> <dialogue>Out of your league, Walker. Go back to your cave. She's the hot new anchor from Baltimore.</dialogue> <character>KEVIN</character> <dialogue>They're all out of your league, Stevens. I heard you won a toaster down at the sperm bank.</dialogue> <scene_description>INT, ELEVATOR</scene_description> <character>- DAY</character> <dialogue>Kevin returns to elevator. Buttons read: 2nd Floor News</dialogue> <character>1'1</character> <dialogue>Division, 1st Floor Station Management. Below that there is a series of buttons: Parking l, Parking 2, Parking 3, Parking 4 and Basement. Written on faded tape next to the basement button is: Hard Edition.</dialogue> <dialogue>Kevin hits that button. Elevator doors close.</dialogue> </scene> <scene> <stage_direction>INT. BASEMENT</stage_direction> <scene_description>Kevin steps out into the Hard Edition offices, a dank basement with leaky pipes. Mr. STONE, a Larry Flint type in a motorized wheel chair, barks at him.</scene_description> <character>STONE</character> <dialogue>Walker, you're late! The homosexual Siamese twins canceled the interview. God, that would • have been a great story. They've been joined front to back since birth.</dialogue> <character>KEVIN</character> <dialogue>Why don't we do a fill piece on the big election?</dialogue> <character>STONE</character> <dialogue>BORING! No angle. No edge .</dialogue> <character>. KEVIN</character> <dialogue>What about Mayor Gates' ties to Michael Minelli and organized crime?</dialogue> <character>STONE</character> <dialogue>Who cares about that? I want to know about his ties with little Vietnamese boys or HIV infected hookers- his favorite crack house- that's news- I gu~ss we don't have time ~o set him up like we did with Marion Barry ...</dialogue> <scene_description>Stone sighs heavily.</scene_description> <character>STONE</character> <dialogue>Alright. We're desp~rate: Go see if you can get Minelli to incriminate himself.</dialogue> <character>KEVIN</character> <dialogue>Got it.</dialogue> <character>STONE</character> <dialogue>And keep the lights low during the interviews. I want that grainy, out of focus look. Edge. Remember it's not Hard Edition. It's-</dialogue> <character>KEVIN</character> <parenthetical>(by rote)</parenthetical> <dialogue>Hard Edge-ition</dialogue> <scene_description>Stone s~ins the chair around and runs over Kevin's foot.</scene_description> <character>EXT, KB, CBYPP'$FIX IT SHOP .'U</character> <dialogue>Establishing shot. J..-</dialogue> <scene_description>--------------~-------------------·-- INT. MR, CRupp•s Frx YT SHQP/ BACKROOM A fly buzzes in a jar. Next to it is a small makeshift airplane made from a raid aerosol can, ruler for wings, and a beanie propeller, with one large fake hand covered with a glitter glove (ala Michael Jackson). The plane's engine comes to life. A hand unscrews the jar and releases the fly. As the fly take• off, so does the plane. The fly tries to escape by dippin9 and diving but the plane copies each maneuver, steadily gaining airspace. As the plane g~ts closer to its prey, its HANDwaves at the fly. The plane suddenly disappears from the fly's sight. Then, out of nowhere, the plane reappears from above, swoops down and swats the fly with its hand. Darryl applauds his new creation. The plane returns to him.</scene_description> <character>DARRYL</character> <dialogue>Oh, this is great!</dialogue> <scene_description>Mr. crudd enters with a WOMAN CUSTOMER,wearing sunglasses, and holds up a strange device.</scene_description> <character>MR. CRUDO</character> <dialogue>This was a toaster when Mrs. Reem brought it in. What is it now?</dialogue> <character>DARRYL</character> <dialogue>It's even better than a toaster. see, wasted heat from the toaster rises into this fry pan and cooks your eggs and then flips them out onto the toast.</dialogue> <character>WOMAN CUSTOMER</character> <dialogue>They missed the toast.</dialogue> <scene_description>The woman takes off her glasses to reveal two red burn circles around her eyes. Pieces of egg are still caught in her eyebrows.</scene_description> <character>DARRYL</character> <dialogue>'11\e spring must be too tight. I can adjust that-.</dialogue> <character>MR. CRUDO</character> <dialogue>This is a fix it shop. Just fix things. Don't improve them.</dialogue> <character>DARRYL</character> <dialogue>But-</dialogue> <character>MR. CRUDO</character> <dialogue>Shut up and make it a toaster again. We're sorry Mrs. Reams.</dialogue> <scene_description>She exits. Mr. Crudd is about to leave when another fly enters from a window. The airplane comes to life. BRRRMHM.</scene_description> <character>MR. CRUDO</character> <dialogue>What is that?</dialogue> <character>DARRYL</character> <dialogue>Oh, that'• my aerodynamic flying insect predator.</dialogue> <scene_description>The fly circles the room followed by the plane. It flies through the chemistry table and the plane crashes through after it. There's an explosion of test tubes. Darryl gets soaked by the chemicals. The fly then circles Mr. Crudd who tries to swat the fly and plane with his ·hand.</scene_description> <character>MR. CRUDO</character> <dialogue>TURNIT OFF! TURNIT OFF!</dialogue> <scene_description>The fly stops buzzing and disappears. The plane circles.</scene_description> <character>MR. CRUDO</character> <dialogue>What happened? Where'd it go?</dialogue> <character>DARRYL</character> <dialogue>I don't know. Maybe the fly left the room. See, the plane is activated by the buzz of the fly.</dialogue> <scene_description>The fly buzzes. It has landed on the bald head of Mr. Crudd. Suddenly, the plane swoops down and brutally smashes the fly en Mr. Crudd's head. The hand continues slapping his bald skull. Darryl grabs the plane and shuts it off. Mr. crudd wipes the fly off his head with a handkerchief and exits the room in a huff. Darryl takes.his lab coat off and lays it on top of the table. Unknowingly, he sets it on one ?f the Bunsen burners. He goes to the sink.and begins washing his face and hands. Looking through the mirror, Darryl sees the lab coat on the burner. He runs over to the table and lifts up the lab coat. The lab coat is unaffected by the heat of the fire. Darryl checks the material. It feels different to him. INT, APA&amp;fflENT</scene_description> <character>- NIGHT</character> <dialogue>Darryl and Grandma watch TV. Kimberly finishes her newscast. Kevin has an icepack on his eye.</dialogue> <character>DARRYL</character> <dialogue>What happened to your eye?</dialogue> <character>KEVIN</character> <dialogue>I don't want to talk about it.</dialogue> <character>KIMBERLY</character> <dialogue>citf officials continue to</dialogue> <scene_description>negotiate with unpaid police and firemen, but it appears that nothing will be settled until -- after the mayoral election.</scene_description> <character>DARRYL</character> <dialogue>Boy, she's gorgeous!</dialogue> <character>KEVIN</character> <dialogue>She's out of your .leaque.</dialogue> <scene_description>As the news credits roll WE HEARa voice over announcer.</scene_description> <character>ANNOUNCER</character> <dialogue>Next up, prostitutes, male strippers, and criminals on Hard Edition. Where journalism stops, Hard Edition begins-</dialogue> <scene_description>Racy graphics and over the top music fills the screen as Hard Edition comes on. Kevin rushes and turns off the '· TV.</scene_description> <character>GRANDMA</character> <dialogue>What are you doing, baby? It's your show.</dialogue> <character>KEVIN</character> <dialogue>It's not very good tonight.</dialogue> <scene_description>Darryl clicks the TV on with a makeshift remote. .•</scene_description> <character>DARRYL</character> <dialogue>Turn back, I like this show.</dialogue> <character>HARDEDGE JOURNALIST</character> <dialogue>First up on Hard Edition. . •criminals on the Move.• Tonight reputed Crime Boss, Michael •The Suit• Minelli struggles to keep his fingers in the city's money pie as scandal ridden Mayor Gates looks likely to be voted out of office.</dialogue> </scene> <scene> <stage_direction>EXT. PQCK- DAY</stage_direction> <scene_description>Dressed in a shark skin short set, with cigar in mouth, and terrible hair piece on his head, MINELLI THE SUIT descends off a very gaudy yacht flanked by a couple of henchmen. TONYTHE MATCHand SAMMY THE BLADE follow behind him.</scene_description> <character>MINELLI</character> <parenthetical>( into camera)</parenthetical> <dialogue>Hey, who is this guy? Get that damn thing outta my face, before I break your legs.</dialogue> <character>KEVIN ( 0. S . )</character> <dialogue>I want to ask you about your connections with Mayor Gates.</dialogue> <character>MINELLI</character> <dialogue>I'm a legitimate business man. I have dealings with Gates and I'll deal with the new Mayor. For me, it's business as usual. Tony, get him out of my face.</dialogue> <scene_description>BAM! Kevin and the camera are knocked to the ground. Snow appears on the screen.</scene_description> <character>KEVIN (0. S.)</character> <dialogue>Ouch! My eye ...</dialogue> <scene_description>INT, APARTMENT</scene_description> <character>- NIGHT</character> <dialogue>Grandma is indi9nant.</dialogue> <scene_description>GRA!'i::MA Business as .Jsual my ass. wait and see Minelli. Just -- I: INT, HARRIS</scene_description> <character>CAMPAIGN</character> <dialogue>OFFICE- DA~ ti,</dialogue> <scene_description>An old storefront is buzzing with activity and excitement. A giant banner reads •ONE MANCAN.• Phones are ringing and a couple dozen campaign workers frantically dart about. Grandma f~ sits at a table stuffing hundreds of envelopes. Harris, tall, gray haired and honest looking, stands amidst his troops giving a pep talk.</scene_description> <character>. HARRIS</character> <dialogue>I just got the latest poll and we're five points up\_</dialogue> <scene_description>The crowd cheers and starts chanting, •one man can.•</scene_description> <character>HARRIS</character> <dialogue>But we need today's fund raising push if we're going to stay in the game.</dialogue> <scene_description>Suddenly, the front door opens and Minelli enters with Sammy and Tony.</scene_description> <character>HARRIS</character> <dialogue>What are you doing here?</dialogue> <character>MINELLI</character> <dialogue>I just came to congratulate you. Where can we talk in private?</dialogue> <character>HARRIS</character> <dialogue>Anything you have to say to me, you can say in front of my people. We have no secrets.</dialogue> <character>MINELLI</character> <dialogue>Well then we'll keep it simple. I like to put my money on a sure thing. I heard you were fundraising and I want to contribute. Say a million dollars?</dialogue> <character>HARRIS</character> <dialogue>You can't buy me, Mr. Minelli. I know your game.</dialogue> <parenthetical>(more)</parenthetical> <dialogue>HARIUS(Cont. di</dialogue> <scene_description>All the p•yoffs y~u receive . · through construct1on and labor contracts have bankr~p~~d this city, I plan to put an end to that.</scene_description> <character>MINELLI·</character> <dialogue>Oh, you're a QOOd 9uy, huh? I don·t like good guys too m~ch. They're too ... ~ood, Don't say I didn't try to be friends.</dialogue> <character>HARRIS</character> <dialogue>I don't want your money or your friendship. Now, if you don't mind, I have a press conference to 90 to.</dialogue> <scene_description>Harris exits past Minelli as his volunteers smile with approval. Minelli glances around.</scene_description> <character>MINELLI</character> <dialogue>Nice office. Hope you all don't work too hard. ·Life•, snort.</dialogue> <scene_description>Minelli exits with his men, EXT, CAMPA.wli Minelli PfEXCI- PU steps out and watches as Harris climbs into a campaign z~ car. Tony lean• over. ~ ,-:</scene_description> <character>TONY</character> <dialogue>Bosa, you going to let him talk to you like that?</dialogue> <character>MINELLI</character> <dialogue>Don't worry, Tony. We just to convince him 1 t '• in hi•</dialogue> <scene_description>need beet</scene_description> <character>..</character> <dialogue>intereat to work with ua,</dialogue> <scene_description>~---------------------------------- UD', l+:U:UH $SC:QNPFLQ0Jt .....:</scene_description> <character>-.-</character> <dialogue>Kevin ateala a cup of coffee from the news roo~ kitchen. Kimberly walks in.</dialogue> <character>KEVIN</character> <dialogue>Oh... hi- caught me stealing some</dialogue> <scene_description>coff••·</scene_description> <character>KIMBERLY</character> <dialogue>Yeah, I heard th• stuff downataira ia horrible,</dialogue> <character>KEVIN</character> <dialogue>O~- then you know I work for Hard Edition.</dialogue> <scene_description>Kimberly ~ours herself some coffee. KIMBERL'i •~here journalism stops-•</scene_description> <character>KEVIN</character> <dialogue>Yeah, it's not something I'm proud of. But it pays the bills. Barely.</dialogue> <scene_description>KIMBERL'i Have you applied to the news :~om?</scene_description> <character>KEVIN .</character> <dialogue>Six times. But I doubt they'll hire me. They think if you work for Stone, you must be some kind of pervert.</dialogue> <scene_description>KIMBERL'i Well, keep at it. They smile and Kimberly exits. A beeping sound goes off. Kevin looks around to see what it is. It gets louder and louder. Kevin opens his jacket and looks down at his belt. A red light is flashing on it. Kevin sighs, and puts a plug into his ear.</scene_description> <character>DARRYL ( 0. S . )</character> <dialogue>Kevin, are you there?</dialogue> <character>KEVIN</character> <dialogue>Yeah, but I'm busy right now.</dialogue> <character>DARRYL (0. S.)</character> <dialogue>What? Can't hear you. Talk into the buckle.</dialogue> <scene_description>Kevin leana in closer. Kimberly re-enters the room.</scene_description> <character>KEVIN</character> <dialogue>I can't right now-</dialogue> <scene_description>To Kimberly it appears as though he's talking to his penis. She watches in shock. •.</scene_description> <character>DARRYL ( 0. S . )</character> <dialogue>Why not?</dialogue> <character>KEVIN</character> <dialogue>Why not? Because th~s isn't the time or place. Look, I'd love to play with you, but I have to get some work done. Maybe after I finish, I can go into the bathroom and we can fool around in there, okay?</dialogue> <scene_description>Kevin looks up to see Kimberly staring at him like he's a pervert.</scene_description> <character>KIMBERLY</character> <dialogue>I forgot the cream. .. but I think I'll just pass on it.</dialogue> <scene_description>Kimberly backs out the door and quickly exits.</scene_description> <character>KEVIN</character> <dialogue>It's not what you think!</dialogue> <scene_description>INT, HARBISCAMPAIGN</scene_description> <character>OFFICE- EVENING</character> <dialogue>Activity is winding down for the day but half a dozen volunteers, including Grandma, are still at it. Grandma is opening envelopes and counting small bills.</dialogue> <character>GRANDMA</character> <dialogue>Five dollars from the Johnsons'. They don't have two nickels to rub together yet they still chipped in.</dialogue> <scene_description>ANOTHERWORKERgathers up all the cash.</scene_description> <character>ANOTHERWORKER</character> <dialogue>We'd better hurry and drop this off at the night deposit.</dialogue> <scene_description>Suddenly the door opens and two thugs wearing ski masks burst in with guns drawn.</scene_description> <character>TONY</character> <parenthetical>(under mask)</parenthetical> <dialogue>Nobody move. Give us your money. Nowt</dialogue> <scene_description>Terrified, the volunteers hand the small piles of cash to the thugs. · Grandma holds onto a. pile of checks.</scene_description> <character>TONY</character> <dialogue>That too. Hand it over.</dialogue> <character>GRANDMA</character> <dialogue>They're checks. You can't cash them. They're no good to you. They're for the campaign.</dialogue> <character>TONY</character> <dialogue>HANOIT OVER!!</dialogue> <scene_description>Tony snatches the checks from her.</scene_description> <character>TONY</character> <dialogue>Thank you.</dialogue> <scene_description>He turns to the door. Then pauses.</scene_description> <character>TONY</character> <dialogue>Oh, I forgot. Minelli sends his regards.</dialogue> <scene_description>He starts FIRING rapidly at them.</scene_description> <character>INT, BASEMENT</character> <dialogue>- NIGHT</dialogue> <scene_description>Kevin reviews some video tape of a very or~inary looking man.</scene_description> <character>MAN</character> <dialogue>... I'm an alien from the planet Zotorb. I'm here to recruit</dialogue> <character>-</character> <dialogue>earth women for interplanetary strip shows- f</dialogue> <scene_description>Stone wheels up.</scene_description> <character>STONE</character> <dialogue>---</dialogue> <scene_description>Walker, you got an emergency call from the hospital. Something about your grandmother-</scene_description> <character>INT, ST, CARL'SCOUNTY</character> <dialogue>HOSPITAL</dialogue> <character>- NIGHT 31</character> <dialogue>Grandma, wrapped in bandages, lies unconscious in her bed, hooked up to. a respirator. Darryl stands at the foot of the bed crying uncontrollably, snorting and sniffling from his nose.</dialogue> <scene_description>like a pig. Snot bubbles burst forth Kevin holds Grandma's hand. Grandma is too</scene_description> <character>--</character> <dialogue>weak to talk. She reaches out for Darryl. Takes his hand. The two brothers hold on to their Grandmother. She takes Kevin'• hand and places it over Darryl's. The message is clear, watch over him. . She fades away. The machines c~Mec.ted to her start to beep. Her heart stops. Kevin cries. Darryl is strangely silent, his entire face is covered with mucus, a lone snot bubble rises and falls with the anger of his breath .</dialogue> </scene> <scene> <stage_direction>,-,</stage_direction> <scene_description>INT, HOSPITAL</scene_description> <character>HALLWAY</character> <dialogue>- NIGHT</dialogue> <scene_description>Ke~in and Darryl talk eo a POLICE OFFICER.</scene_description> <character>POLICE OFFICER</character> <dialogue>Unfortunately, these things happen every day.</dialogue> <character>KEVIN</character> <dialogue>Oid it happen to your Grandmother!?</dialogue> <character>POLICE OFFICER</character> <dialogue>I'm not saying we won•; investigate it. But wit~ ~o witnesses and no leads, it ll probably never be solved. We'll file the report.</dialogue> <character>DARRYL</character> <dialogue>So what happens the next time? You'll file another report? What hap~ens when you run out of file cab1nets?</dialogue> <character>POLICE OFFICER</character> <dialogue>I'm sorry that's all I can do right now.</dialogue> <scene_description>Darryl storms off upset. Kevin chases after him.</scene_description> </scene> <scene> <stage_direction>INT. IBAIN- NIGHT</stage_direction> <scene_description>On a crowded train, Kevin and Darryl stand on the ride home. Darryl stares fixedly across the cabin.</scene_description> <character>KEVIN</character> <dialogue>Say something. You got to talk these things out. All we have is</dialogue> <scene_description>Darryl's each other now. eyes are on an old lady being hassled bf a PUNK. The</scene_description> <character>--</character> <dialogue>people a~ound her ignore it. The old lady is fr1ghtened.</dialogue> <character>LADY</character> <dialogue>Just leave me alone.</dialogue> <character>KEVIN</character> <dialogue>.Talk to me, . Dareyl.</dialogue> <scene_description>Darryl explodes. He leaps over and shoves the punk off the train. The punk falls into the station and the doors close on him. The train roars off. The lady looks at Oareyl gratefully.</scene_description> <character>LADY</character> <dialogue>Thank you.</dialogue> <character>' .</character> <dialogue>Darryl walks back over to Kevin.</dialogue> <character>KEVIN</character> <dialogue>What's gotten 1nto you?</dialogue> <character>DARRYL</character> <dialogue>I'm tired of talking.</dialogue> <scene_description>EXT, STREET- NIGHT Darryl and Kevin walk home. Darryl seems keenly aware of the people and crimes being committed in his neighborhood. 5</scene_description> <character>,..;;;;---</character> <dialogue>0ARRYL</dialogue> <scene_description>Look what's happened to our neighborhood. They're gambling over there.</scene_description> <character>KEVIN</character> <dialogue>Yeah, they always do that.</dialogue> <character>DARRYL</character> <dialogue>That's a prostitute, isn't it?</dialogue> <character>KEVIN</character> <dialogue>Yeah, Crystal, she's always there.</dialogue> <character>DARRYL</character> <dialogue>No one has any respect for the law anymore.</dialogue> <scene_description>A car drives by in a show.er of sparks from a large orange parking book attached to its wheel.</scene_description> <character>DARRYL</character> <dialogue>They're selling there.</dialogue> <scene_description>drugs right Right across from our -- apartment.</scene_description> <character>KEVIN</character> <dialogue>It's a crack house. It's been like that for years.</dialogue> <scene_description>Darryl storms across the street. Kevin chases after. IN't\ CRACK HAY$E ~ Darryl marches in. Looks around. DRUGGIESsit on the floor.</scene_description> <character>--</character> <dialogue>DARRYL</dialogue> <scene_description>~ey, do you p~ople realize this 1s a resident1al neighborhood? Children walk to school r1ght down this street. Do you kn~ws what that stuff does to your nervous system? Not to mention the evaporation of the moisture in your skin. Yellowing of the eyes. Acne. You look like one of the Adams Family. A druggie who looks like an extra from the video passes a pipe.</scene_description> <character>DRUGGIE</character> <dialogue>Man, he's deep.</dialogue> <scene_description>Kevin grabs Darryl and drags him out. E:XTI STREET 3(.- Kevin pulls Darryl out of the crack house.</scene_description> <character>KEVIN</character> <dialogue>What are you doing? You can't just walk into a crack house. Those people would sell their own</dialogue> <character>--</character> <dialogue>babies for a hit. Do you know what they could do to you?</dialogue> <character>DARRYL</character> <dialogue>Somebody's got to close that place down.</dialogue> <character>KEVIN</character> <dialogue>Why? They'll just start another one. You can't go around like a vigilante-</dialogue> <character>DARRYL</character> <dialogue>Why not! Batman and Robin did.</dialogue> <scene_description>They begin walking.</scene_description> <character>KEVIN</character> <dialogue>Look, you're not Batman. Batman had money. He had a costume, gizmoa. We're not superheros.</dialogue> <character>DARRYL</character> <dialogue>Maybe we ought to be.</dialogue> </scene> <scene> <stage_direction>EXT.GRAVEYARD</stage_direction> <character>- AU</character> <dialogue>31-</dialogue> <scene_description>Kevin and Darryl gather with family and friends to bury Grandma. J-- INT, MAYOR'S</scene_description> <character>OFFICE- PAX</character> <dialogue>News reporters, including Kimberly, are flashing pictures of Harris as he stands in the Mayor's off1c~.</dialogue> <character>HARRIS</character> <dialogue>We're going to fix our schools, rebuild our infrastructure, and make our streets safe again. But first we must solve this budget . crisis and that's going to take comprise on both sides ...</dialogue> <character>KIMBERLY</character> <dialogue>Does that mean you're waffling on your campaign promise to appoint a new City Building Commissioner?</dialogue> <character>HARRIS</character> <dialogue>I'm not waffling, I'm trying to be realistic so we can get the city movinq forward.-</dialogue> <scene_description>An ASSISTANTwhispers in Harris' ear. He looks uncomfortable.</scene_description> <character>HARRIS</character> <dialogue>I'm sorcy I have to cut this off early. An important situation has just developed.</dialogue> <scene_description>The assistant clears out the room and leaves Harris alone. From a side door, MINELLI strolls in.</scene_description> <character>MINELLI</character> <dialogue>Con9rats Mayor. I appreciate you seeing me on short .notice. I trust those last minute contributions came in handy.</dialogue> <character>HARRIS</character> <dialogue>They were appreciated.</dialogue> <character>MINELLI</character> <dialogue>-</dialogue> <scene_description>Yeah, after that terrible series of accidents- it was nice that you found my friendship helpful after all-</scene_description> <character>HARRIS</character> <dialogue>Just understand Minelli, I only did it because I want ·-to help the city\_</dialogue> <character>MINELLI</character> <dialogue>Yeah sure. We all want to help the city. The city makes money, we all make money. Now let's talk business\_</dialogue> <scene_description>Harris listens to Minelli uncomfortably. He's a man well aware he's been forced into a pack wjth the devil. ---------------------------.--.--------- ··----·-·</scene_description> <character>......</character> <dialogue>rur MR, CBUDD'SfIX II SHOP/ BACKROOM oar:yl mixes a combination of chemicals to~eth~r. He pours the</dialogue> <character>-</character> <dialogue>concoctlon over his lab coat, which is lay1ng in a sink. He dries the lab coat with a fan. A small TV broadcasts an editorial read by Kimberly. Darryl watches it as if she were talking directly to him. A3ql,</dialogue> <character>KIMBERLY</character> <dialogue>In a surprise move, Mayor Harris has re-appointed to the City Building Commission Vinnie Mendosa who is closely linked with crime lord Michael Minelli. With no end to the budget crisis in sight, unpaid Police are beginning a city wide work slow down. Which raises the question, who will keep our streets safe. as</dialogue> <scene_description>-crime escalates? Darryl picks up a blow torch. He turns it on and attempts to burn the fabric. It doesn't burn. Darryl takes a knife and tries to puncture the lab coat. After several attempts, the knife begins to bend. It breaks in half.</scene_description> <character>FIX IT $HOP{ 5WBEFRONT</character> <dialogue>Darryl</dialogue> <character>40</character> <dialogue>sneaks</dialogue> <character>-'</character> <dialogue>INT. MR. CRupp•s FIX IT SHOPt BACK</dialogue> <character>ROOM</character> <dialogue>Darryl</dialogue> <character>41</character> <dialogue>rack. barely</dialogue> <scene_description>fires the gun at the lab coat which hangs on a coat</scene_description> <character>--</character> <dialogue>The bullet ricochets missing Darryl.</dialogue> <scene_description>off the coat and around the room,..;... It cuts through his hair.</scene_description> <character>'\_</character> <dialogue>INT. IIYlH'$ IIPBAAK</dialogue> <character>- NIGHT</character> <dialogue>42-</dialogue> <scene_description>Kevin lies asleep in his bed. Karate trophies and pictures of , Bruce Lee decorate his room. bac~ground. a ... •....,. •• FBI· A small MOTORcan be heard in the AP-:</scene_description> <character>€�</character> <dialogue>--</dialogue> <character>INT, DARRYL'S</character> <dialogue>BEDROOM</dialogue> <character>- NIGHT</character> <dialogue>--</dialogue> <scene_description>Darryl uses his grandmother's sewing machine to sew something. I The beginnings of two Batman like costwnes lie across Darryl's bunk bed. INT, BATHROOM</scene_description> <character>- NIGHT</character> <dialogue>Darryl cuts two holes fer ey~s in a black sbck. He holds it up to h1s face as a mask. He ~lps the seek into a tub filled w1th</dialogue> <dialogue>the chemical mixture.</dialogue> <scene_description>He hangs it next to other pieces of costumes drying on the towel racks. , INT, KE;VIN'S</scene_description> <character>BEDROOM</character> <dialogue>t APARTMENT-</dialogue> <character>NIGHT</character> <dialogue>lj-S</dialogue> <scene_description>Kevin wakes up and wanders through the apartment looking for !,., Darryl. He notices his bed hasn't been slept in.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY</stage_direction> <scene_description>Kevin finds che bathroom door is locked. He knocks on it.</scene_description> <character>KEVIN</character> <dialogue>Darryl. Darryl. What are you doing? What's all that noise? Come out here and go to sleep.</dialogue> <character>DARRYL ( 0 . S . )</character> <dialogue>Just a second! Hold on! Almost there! Ready?</dialogue> <scene_description>Darryl throws open the door and leaps out in full costume. He poses like a superhero. He looks ridiculous. The spandex pants he wears are extremely tight everywhere but in the crouch area, which hangs down almost to his knees. From the back it looks like he shit in his pants. An extra sleeve is sewn on the front of his shirt. He wears what used to be a tool belt, filled with all kinds of gadgets. He has a mask over his eyes. The two brothers look at each other. Darryl grins.</scene_description> <character>DARRYL</character> <dialogue>What do you think?</dialogue> <character>KEVIN</character> <dialogue>I think I'm having a bad dream.</dialogue> <scene_description>He turna.</scene_description> <character>DARRYL</character> <dialogue>No! Don't you get it? We're going to be a crime fighting team.</dialogue> <character>KEVIN</character> <dialogue>Who? Jackass and Jerk-off-man?</dialogue> <character>DARRYL</character> <dialogue>No, this is real, Kevin, the costume is bulletproof.</dialogue> <character>KEVIN</character> <dialogue>What if they shoot you in the head?</dialogue> <scene_description>Darryl ponders this but quickly dismisses it.</scene_description> <character>DARRYL</character> <dialogue>They never shoot you in the head. And see, the belts are filled with crime fighting devises.</dialogue> <character>..</character> <dialogue>Darryl shows Kevin their make-shift crime solving devises. He holds up two bicycle water bottle holders.</dialogue> <character>DARRYL</character> <dialogue>Hand cuffs.</dialogue> <parenthetical>(blowing into small soda bottle)</parenthetical> <dialogue>Rape whistle.</dialogue> <parenthetical>(holding small blue pellet)</parenthetical> <dialogue>Smell this. Concentrated flatulence. I collected it last night while you were sleeping. Powerful!</dialogue> <character>KEVIN</character> <dialogue>This is a nightmare.</dialogue> <character>DARRYL</character> <dialogue>And guess what? I made a costwne for you too! JS, retrieve crime fighting outfit.</dialogue> <scene_description>Darryl grabs his wrist joystick and activates JS. JS brings the extra costume from the bathroom and falls over. Darryl offers up the costume to Kevin. Kevin shakes his head.</scene_description> <character>KEVIN</character> <dialogue>You've flipped.</dialogue> <character>DARRYL</character> <dialogue>Remember you said Batman had a</dialogue> <character>-</character> <dialogue>costume and gizmos and...</dialogue> <character>KEVIN</character> <dialogue>No, I said Batman had money. And I'm going back to bed so I can • wake up and make money.</dialogue> <scene_description>Kevin starts for door.</scene_description> <character>DARRYL</character> <dialogue>Does that mean you're not going</dialogue> <character>--</character> <dialogue>to fight crime with me tonight?</dialogue> <character>KEVIN</character> <dialogue>When I'm a millionaire like Bruce Wayne, then I'll go fight crime with you. Goodnight.</dialogue> <scene_description>Kevin slams door behind him.</scene_description> <character>DARRYL</character> <dialogue>I hope you hit lotto!</dialogue> <scene_description>INT, BASEMENT</scene_description> <character>- PAY</character> <dialogue>Kevin pours his heart out to an unsympathetic Mr. Stone.</dialogue> <character>KEVIN</character> <dialogue>I was up all night with him. Since rrrt Grandmo~her died he's just gotten worse and worse. I'm under all this pressure to pay the bills. Still trying to cover funeral costs. The rent's due. And on top of that, I've got to baby-sit my brother.</dialogue> <character>STONE</character> <dialogue>So how's the lesbian necrophiliac story going?</dialogue> <scene_description>Kevin is slapped with reality. Stone doesn't give a shit.</scene_description> <character>KEVIN</character> <dialogue>Fine. I got four of them to really open up.</dialogue> <scene_description>Suddenly the room falls silent. Kimberly has entered. The perverts at Hard Edition straighten up and hide porno magazines. Kimberly walks straight to Kevin.</scene_description> <character>KIMBERLY</character> <dialogue>What are you doing tonight?</dialogue> <character>KEVIN</character> <dialogue>I guess I'm having diMer with you, beautiful-</dialogue> <character>KIMBERLY</character> <dialogue>Down boy. I need a cameraman. I'm interviewing a snitch at midnight who has incriminating information about Michael Minelli. My best cameraman is sick and our other is out on assignment. I'm desperate- •</dialogue> <character>KEVIN</character> <dialogue>So you thought of me, huh? And here I was hoping that yoU-</dialogue> <character>KIMBERLY</character> <dialogue>You said you wanted to do real news. Here's your chance. In or out?</dialogue> <character>KEVIN</character> <dialogue>In.</dialogue> <character>KIMBERLY</character> <dialogue>Meet me in front of the station at 11 O'clock.</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT</stage_direction> <character>- E'{EN~NG</character> <dialogue>Kevin bursts into the room practically dancing with joy. A wall on the clock reads 9:00. •</dialogue> <character>KEVIN</character> <dialogue>Darryl! Great news! I've got a news assignment! A real job!</dialogue> <scene_description>Darryl is nowhere to be seen. Kevin finds a note taped to the refrigerator: •I'm out there stopping crimes. Let your conscious be your guide. P.S. Wear your costume.• An arrow points to the table where Kevin's costume is neatly laid out.</scene_description> <character>KEVIN</character> <dialogue>Oh God! I've got to find him.</dialogue> <scene_description>Kevin remembers the belt. Ke glances down and opens the panel. Inside is a small four arrow tracking device. An arrow flashes indicating the direction Darryl is in. EXT,BUSH- NIGHT Close on Darryl crouched in a bush wearing headphones on his ears. They are connected to a modified toy transistor radio. He hears something and adjusts the frequency knobs.</scene_description> <character>POLICE DISPATCHER</character> <dialogue>Car 23 report to 425 West 129th atreet-</dialogue> <scene_description>Darryl jUlll)a out the bushes and snatches off the headphones, replacing them with a mask.</scene_description> </scene> <scene> <stage_direction>INT. POLICICP</stage_direction> <character>9)</character> <dialogue>Two cops sit in their patrol car asleep.</dialogue> <character>POLICE DISPATCHER</character> <dialogue>disturbance building.</dialogue> <character>J-</character> <dialogue>in alley of Use caution.</dialogue> <scene_description>f;XT. SIBEET 5\[ Darryl's cape blows in the wind as he runs into acti~n. leaps up and flies onto: --------·-··-·· . -------· He</scene_description> <character>---</character> <dialogue>I</dialogue> <scene_description>INT. eus A bus. Darryl shouts directions to the 1river. OARR'iL .• I need to go to 129th and Western on the double!</scene_description> <character>DRIVER</character> <dialogue>That's not my route. I'm going to the southside.</dialogue> <character>DARRYL</character> <dialogue>You don't understand. It's an emergency. I'm a crime fighter!</dialogue> <character>DRIVER</character> <dialogue>Of course you are. Back there we have a brain surgeon ...</dialogue> <scene_description>The driver point to the back of the bus where we see a collection of the strangest freaks the city has to offer. Including a bum wearing a surgical mask.</scene_description> <character>DRIVER</character> <dialogue>We got a cowboy, Elvis, Prince, and a world famous painter. They're all freaks just like you. So get in the back or get off.</dialogue> <character>DARRYL</character> <dialogue>Please! I need your assistance. ---</dialogue> <scene_description>EXT,BQS .s~ Darryl Darryl ia ahoved off. The bus drives jl.Dll)I back into action. off. Unflinching,</scene_description> <character>-'</character> <dialogue>EXT. $1'BIET</dialogue> <scene_description>S't Darryl, still in costume, rides on the handlebars of a ·--- delivecy bike. He reaches the right street and leaps off. ~</scene_description> <character>DARRYL</character> <dialogue>Thanks! It's nice to have the cooperation of concerned citizens!</dialogue> <scene_description>The bike rides off. Dariyl bounds toward the crime scene. EXT,ALLE;YWA,Y JOE slaps around a PROSTITUTE. A crowd of seedy people sadistically look on.</scene_description> <character>JOE</character> <dialogue>Minel:l wants r..s money. He says you've been holding out on him.</dialogue> <character>PROSTITUTE</character> <dialogue>I ain't been holding out\_ I swear ...</dialogue> <character>JOE</character> <dialogue>Give it up toots or I'm gonna to have to slap you around.</dialogue> <scene_description>DARRYL (O.S. l I wouldn't do that if I were you!· Joe turns to see Darryl leap up and pose in costume.</scene_description> <character>JOE</character> <dialogue>Get your ass back to the circus before I hurt you.</dialogue> <character>DARRYL</character> <dialogue>Let the lady go.</dialogue> <character>JOE</character> <dialogue>You want to take her place?</dialogue> <character>DARRYL</character> <dialogue>I will if I have to.</dialogue> <scene_description>The two men square off.</scene_description> <character>JOE</character> <dialogue>I'm gonna beat you like you were one of the girls.</dialogue> <character>€� DARRYL</character> <dialogue>Then slap me around and call me Susan.</dialogue> <scene_description>EXT, !:J,J,BXWA,J SLAP! Darryl's face pancakes across Joe's hard hand.</scene_description> <character>JOE</character> <dialogue>I warned you, Susan.</dialogue> <scene_description>SLAP! SLAP! Joe begins singing •oh, Susanna.• The crowd joins in. SLAP! Darryl falls over garbage cans trying to protect hlmse:f from Joe's merciless assault. He actually looks llke a woman belng beat up. He makes feminine squeals after each blow. Even the seedy crowd begins to take pity on him.</scene_description> <character>SEED¥</character> <dialogue>Somebody should help that lady.</dialogue> <scene_description>Darryl falls to the ground, unable to pick himself back up.</scene_description> <character>DARRYL</character> <dialogue>Give up yet? Cause I'm just· about to get mad.</dialogue> <character>JOE</character> <dialogue>Oh, shit, my hands are getting sore. Why don't we just finish this?</dialogue> <scene_description>Joe pulls a pistol. Darryl smiles and staggers to his feet.</scene_description> <character>DARRYL</character> <dialogue>Go ahead and shoot me~</dialogue> <scene_description>Kevin appears at the end of the alley. He spots the~.</scene_description> <character>JOE</character> <dialogue>Look, you jerk, you've got three seconds to get out of here. One, two, three-</dialogue> <scene_description>Kevin runs to save his brother.</scene_description> <character>KEVIN</character> <dialogue>Noooo!</dialogue> <scene_description>BLAM! BLAM! Joe shoots Darryl in the chest. Darryl flies into the wall. Kevin arrives to see no blood on Darryl's chest. He is amazed. So is the crowd. D~rryl jumps back up.</scene_description> <character>DARRYL</character> <dialogue>Want to try again, mister?</dialogue> <scene_description>Joe firaa two more shots at Darryl who has his hands resting on his hipa like Superman. He falls back again, but the bullets bounce off. Dareyl jumps up. Joe takes a step back, for the first time a little afraid. Kevin also finds himself impressed with his brother.</scene_description> <character>ONLOOKER</character> <dialogue>Why don't you shoot him in the head?</dialogue> <character>PIMP</character> <dialogue>Yeah, the head.</dialogue> <scene_description>Joe looks at Darryl and smiles. Darryl looks at Kevin annoyed.</scene_description> <character>DARRYL</character> <dialogue>Did you tell them that?</dialogue> <scene_description>Kevin leaps in the way.</scene_description> <character>..</character> <dialogue>KEVIN</dialogue> <scene_description>No. Look, he doesn't mean no harm. Let me just take him home.</scene_description> <character>JOE</character> <dialogue>Too late.</dialogue> <scene_description>Joe shoves Kevin out of the way and whips up gun. With the speed of light, Kevin kicks the gun from Joe's hand. He delivers a combination punch and knocks Joe out cold. The sound of police sirens are heard in close proximity.</scene_description> <character>KEVIN</character> <dialogue>Darryl, let's get out of here.</dialogue> <character>DARRYL</character> <parenthetical>(frantic whisper)</parenthetical> <dialogue>Don't call me by my real name! You're blowing my secret identity.</dialogue> <character>KEVIN</character> <dialogue>OK, Loonyman, let's go.</dialogue> <scene_description>He grabs him and drags him away. INT, l'MXN Sb, Darryl, upbeat, oozes blood</scene_description> <character>DARRYL</character> <dialogue>We're a great team.</dialogue> <scene_description>as he rides You laid that C,UY out while I distracted him with my face. the train with Kevin.</scene_description> <character>---</character> <dialogue>(,</dialogue> <character>KEVIN</character> <dialogue>You could have got killed. Promise no more trouble till we get home.</dialogue> <character>DARRYL</character> <dialogue>You can't think about that. Did you see how the bullets bounced right off?</dialogue> <parenthetical>(more)</parenthetical> <character>DARRYL</character> <dialogue>r created a substance that reconstrucr.s the molecular structure of cloth ... you know, I'm not crazy about the name, Loonyman. Too bizarre.</dialogue> <character>KEVIN</character> <dialogue>How about Pun~hingbagman?</dialogue> <character>-·</character> <dialogue>DARRYL</dialogue> <scene_description>To long ... A MACHOGUARDIAN ANGELstrolls through the train. Darryl and him make eye contact. Darryl winks assu~edly. •We're on the same side.• The Guardian Angel quickly looks away. INT. APf&gt;R'D:1ENT</scene_description> <character>- NIGHT</character> <dialogue>Darryl whines like a girl again. Kevin applies an ice pack to his wounds.</dialogue> <character>KEVIN</character> <dialogue>So now you know, you're not Superman. You can't do this anymore.</dialogue> <character>DARRYL</character> <dialogue>What do you mean? We stopped a crime. The people need us. Together we can-</dialogue> <character>KEVIN</character> <dialogue>Listen, I'm Realman. I'm not going to do this with you. I've got a special news assignment tonight. It could lead to things like more money\_ --</dialogue> <character>DARRYL</character> <dialogue>wow\_Kevin, -that's great. Because I quit my job to devote myself to fighting crime.</dialogue> <character>KEVIN</character> <dialogue>You what?</dialogue> <character>DARRYL</character> <dialogue>I quit my job.</dialogue> <character>KEVIN</character> <dialogue>I don't believe you\_ look, it's ten thirty. I've got to be there in half an hour. What am I going to do with you?</dialogue> <scene_description>INT, PAPBXL - NIGHT r~rryl, out of~costwne, is tied to the bunk bed. cryrc CENTER NI, ABANDONED Kev1n l3 setting up his camera as Kimberly talks to SNAKE SEMEN, a nervous, profusely sweating snitch.</scene_description> <character>SNAKE</character> <dialogue>Wait a second! You can't video tape me. I'll be dead if Minelli finds out I squealed!</dialogue> <character>KIMBERLY</character> <dialogue>It's okay. We'll blot out your face and change your voice.</dialogue> <character>SNAKE</character> <dialogue>I guess I can trust you. You're legit. Not like those sleazy scwneaters at Hard Edition. They should line up all those bastards and shoot them...</dialogue> <character>KEVIN</character> <dialogue>Oh, it got hot in here-</dialogue> <scene_description>Kevin discretely peels off his Hard Edition jacket and stuffs. it in his camera bag. He begins filming ..</scene_description> <character>KEVIN</character> <dialogue>I'm ready.</dialogue> <character>SNAKE</character> <dialogue>Don't forget, you can't show my face or I'm a dead man.</dialogue> <character>KIMBERLY</character> <parenthetical>( to the camera)</parenthetical> <dialogue>I'm here at the abandoned Ronald Reagan Civic Center, one of the most notorious pork barrel public works projects in recent history. Despite the advice of experts the project was built on a shifting landfill and was condemned as unsafe only days after work was completed ..</dialogue> <parenthetical>(more)</parenthetical> <character>KIMBERLY</character> <dialogue>The question ~as often been asked, why did the city approve the three hundred m1llion dollar white elephant and why did the two most ardent critics of the project, city engineer Robert Siskel and councilman James Ebert, mysteriously disappear? Wich me, is a source from Michael Minelli's inner circle.</dialogue> <character>SNAKE</character> <dialogue>Okay, here's the scoop. Old Mayor Gates never wanted to do the project,· he didn't even like the name, he thought Reagan was a loser, but Minelli wasn't having it because he wanted the project done because he was - getting twenty percent kickbacks see. So what Minelli does is get pictures of Gates with a hooker and blackmails him. So he's got these pictures see. He forced him see.</dialogue> <scene_description>Sweat rolls down Snake's face. He dabs it with a handkerchief·.</scene_description> <character>KIMBERLY</character> <dialogue>Yes, but what happened to the two critics?</dialogue> <character>SNAKE</character> <dialogue>They kept fighting it and Minelli told them they needed to spend time in the building. They need to see it from the inside out. So that's what happened.</dialogue> <character>KIMBERLY</character> <dialogue>What do you mean?</dialogue> <scene_description>Snake point• at two concrete gargoyles over the entry way. One is fat with glasses and one is skinny.</scene_description> <character>KIMBERLY</character> <dialogue>No- he didn't-</dialogue> <scene_description>Kevin and Kimberly. stare in horror. -----------------------------------·- ···--- -· .,..</scene_description> <character>INT. MINELLI'SOFFICE</character> <dialogue>It's eating from a large plate of food and screaming nursing his bruises.</dialogue> <character>IP</character> <dialogue>ornate and overblown. Minelli sits behind at Joe who is</dialogue> <character>MINELLI</character> <dialogue>I just want my money! I don't want to hear about no 9U't' i.n tights!</dialogue> <character>JOE</character> <dialogue>Boss, he came out of nowhere!</dialogue> <character>MINELLI</character> <dialogue>Why didn't you Just shoot him?</dialogue> <character>.€�</character> <dialogue>JOE</dialogue> <scene_description>I did, but he had a bullet proof suit.</scene_description> <character>MINELLI</character> <dialogue>Look, I don't want to hear about this guy no more. Come here. Come here.</dialogue> <scene_description>Joe comes over to Minelli.</scene_description> <character>MINELLI</character> <dialogue>No, here, closer. Closer.</dialogue> <scene_description>As Joe leans in, Minelli pistol whips him on the head.</scene_description> <character>MINELLI</character> <dialogue>Now get out of here.</dialogue> <scene_description>Minelli goes back to eating. INT I NEWSROOM- HORNING (pl Kimberly and Kevin watch the footage replayed on a TV Monitor. J::\_.. A technician is carefully placing dots over Snake's face.</scene_description> <character>KIMBERLY</character> <dialogue>I want it ready for the six o'clock news- .</dialogue> <character>KEVIN</character> <dialogue>Well, thanks for g1v1ng me a once in a lifetime chance to do some real newa.</dialogue> <scene_description>Kimberly tuma toward him.</scene_description> <character>KIMBERLY</character> <dialogue>I appreciate ~ou bailing me out at the last minute. You did a good job.</dialogue> <character>KEVIN</character> <dialogue>Yeah, maybe sometime we could have diMer or see a movie..</dialogue> <character>KIMBERLY</character> <dialogue>Let's keep this on a business level. Listen. I' ·,e been try irtg to get them to hire a new segment producer. But they're only willing to·pay twelve hundred a week...</dialogue> <character>KEVIN</character> <dialogue>That's three times what Stone's paying me.</dialogue> <character>KIMBERLY</character> <dialogue>Oh. Then you've got a job.</dialogue> <character>INT. PMBXLBEPBQOM</character> <dialogue>- MORNING</dialogue> <scene_description>Darryl, still tied, is asleep. He wakes up and realizes h~s ~ situation. ,,\_</scene_description> <character>DARRYL</character> <dialogue>Kevin! I got to get out of here.</dialogue> <scene_description>Thinking.</scene_description> <character>DARRYL</character> <dialogue>JS!</dialogue> <scene_description>He struggles to get his one hand over to the joystick on the other wrist. Makes it. Activates the robot.</scene_description> <character>INT. APARTMENT</character> <dialogue>JS comes to life.</dialogue> <scene_description>Rolls across the carpet. falls over, but keeps going to kitchen.</scene_description> <character>---··------------~-·-</character> <dialogue>INT ·oM,RvLBEDROOM</dialogue> <character>, .\_\_- -</character> <dialogue>Teeters, almos: .!-</dialogue> <character>-·</character> <dialogue>As Dareyl manipulates the joystick. -</dialogue> <character>DARRYL</character> <dialogue>JS! ± need you to get me out of here! I'm counting on you! You can do it! Must get to kitchen!</dialogue> <scene_description>We hear crashing sounds from the other room.</scene_description> <character>---------------- ....-- -·--------€�··€�· ----·-----·-----·"'-</character> <dialogue>INT KITCHJRI</dialogue> <dialogue>JS knocks over chairs, dishes and appliances. Its metal claw reaches out and opens a drawer. It keeps opening until the drawer falls out. The contents scatter to the floor.</dialogue> <scene_description>Amonq the contents are several sharp knifes. The hand reaches down. -----------------'"-·•----···------- ----</scene_description> <character>:::NI, PAMXLBEDROOM</character> <dialogue>Darryl manipulates the joystick;</dialogue> <character>DARRYL</character> <dialogue>Now bring it to me! You can do it! This way! Almost here!</dialogue> <scene_description>We hear more crashing sounds. JS appears in the doorway. It is holding a spoon.</scene_description> <character>DARRYL</character> <dialogue>Oh, no.</dialogue> <scene_description>Darryl uses the joystick to spin the robot back around.</scene_description> <character>DARRYL</character> <dialogue>A knife. Knife.</dialogue> <scene_description>More crashing. Loud banging. Scattering of utensils. More bumping sounds. Then it appears in the doon1ay. It's holding a knife.</scene_description> <character>DARRYL</character> <dialogue>Yes!</dialogue> <scene_description>It knocks into the doorway and almost falls over. But it keeps coming. Closer, closer.</scene_description> <character>DARRYL</character> <dialogue>Now cut me free.</dialogue> <scene_description>JS starts to short circuit. The knife swings over Darryl's groin menacingly. Darryl frantically tries to control it with the joystick. JS begins to teeter. It falls over. But as it does, the knife catches on the ropes and cuts one -- loose. It's enough for Darryl to start to break free.</scene_description> <character>DARRYL</character> <dialogue>Good work, JS !</dialogue> <character>EXT. APA811:JEN'1'</character> <dialogue>- PAY G,=t</dialogue> <character>I</character> <dialogue>Darryl bounds out of apartment,: in costume, ready for action. Looks around. Gets idea.</dialogue> <scene_description>Debates what do. Sees a police car passing. Leaps off. --- --------------------------------------. ·-- -</scene_description> <character>INT, POLICE</character> <dialogue>STATION</dialogue> <scene_description>Close on a big fot OESK SERGEANT laughing hysterically.</scene_description> <character>DESK SERGEANT</character> <dialogue>Step 11:! You're killing me... I can't breath ...</dialogue> <scene_description>Darryl, in cost,...me, sits in front of the Desk Sergeant, with a confused expression on his face.</scene_description> <character>DESK SERGEANT</character> <dialogue>Chuck! You have to hear this-</dialogue> <character>.€�</character> <dialogue>Chuck comes over. Desk Sergeant turns to Darryl.</dialogue> <character>DESK SERGEANT</character> <dialogue>Tell him! Go ahead and tell him who you want to see.</dialogue> <character>DARRYL</character> <dialogue>I want to see the Commissioner.</dialogue> <character>DESK SERGEANT</character> <dialogue>Tell him why! Tell him why!</dialogue> <character>DARRYL</character> <dialogue>Because I'm a crime fighter. I had a little run in with some punks last night and I figure the word is already out on the street. I want the cooperation of the police as I take these guys down. Wait a second... I don't see what's so funny\_</dialogue> <character>DESK SERGEANT</character> <dialogue>Tell him about your name! What's your name-</dialogue> <character>DARRYL</character> <parenthetical>(defensively)</parenthetical> <dialogue>I don't have one yet- I'm leaning toward Brotherman, but it sounds too ethic- I don't want to type myself. I feel the public should name•·</dialogue> <character>OFFICER 11</character> <dialogue>I iOt a name for you. How about Sh1thead?</dialogue> <scene_description>As Darryl actually toys with the idea, they all laugh so hard we almost think they' re going t.o die. Finally, the Sergeant pulls himself together.</scene_description> <character>DESK SERGEANT</character> <dialogue>Okay, kid, go home now. Thanks for the laughs.</dialogue> <character>DAAP.'{L</character> <dialogue>(leaps to feetl This isn't a ;~ke. I'm not moving until! get to talk to the Commissioner. IN'!' C;LL - RAY</dialogue> <character>I</character> <dialogue>Darryl stands behind bars. Prlsoners laugh hysterically him.</dialogue> <character>PRISONERS</character> <dialogue>How about Faicyman! Skinnyboy! Paroleman! Cellmate!</dialogue> <scene_description>Kevin comes in with an OFFICER.</scene_description> <character>OFFICER</character> <dialogue>We won't press any charges. But I recommend you take him to a shrink.</dialogue> <character>KEVIN</character> <dialogue>Thanks officer.</dialogue> <scene_description>Kevin looks at his brother behind the bars. Toys with the idea of leaving him there. The guard opens the door.</scene_description> <character>KEVIN</character> <dialogue>Come on.</dialogue> <scene_description>They walk out.</scene_description> <character>KEVIN</character> <dialogue>Can you see how ridiculous this is? People are laughing at you.</dialogue> <character>DARRYL</character> <dialogue>I don't care. If people want to laugh at me because I want to help them, then I hope to be the biggest joke in this city.</dialogue> <character>KEVIN</character> <dialogue>You are.</dialogue> <scene_description>INT, PSYCHOLOGIST</scene_description> <character>OFFICE ~</character> <dialogue>A PSYCHOLOGISTholds up a card ·with an ink blot on it. Darryl ~ sits in front of him. Kevin stands in the back.</dialogue> <character>PSYCHOLOGIST</character> <dialogue>What does this look like?</dialogue> <character>DARRYL</character> <dialogue>It's the lower quarter of the twitsue South American butterfly.</dialogue> <scene_description>The Psychologist looks at it curiously. He goes to some encyclopedias and looks it up. In the butterfly section is an exact picture of the spot. The Psychologist returns and shows Darryl some other cards.</scene_description> <character>DARRYL</character> <dialogue>Scrambled eggs. Smashed bug. Rectal cavity.</dialogue> <scene_description>He holds a card that is obviously a pair of woman's breasts.</scene_description> <character>DARRYL</character> <dialogue>Umm... that's a touih one. Hmm. I'll pass. Next card.</dialogue> <scene_description>He holds up another card.</scene_description> <character>DARRYL</character> <dialogue>Stain on Gorbochav•s head.</dialogue> <scene_description>The Psychologist returns to the encyclopedia. In it is an identical picture'of Gorborchav•s head stain. He crosses to Kevin.</scene_description> <character>PSYCHOLOGIST</character> <dialogue>Not only does he seem quite normal, he's actually rather brilliant.</dialogue> <character>KEVIN</character> <dialogue>No, he's got problems. Tell him about how you' re. a superhero. He's a superhero.</dialogue> <character>DARRYL</character> <dialogue>I'm not a superhero.</dialogue> <character>KEVIN</character> <dialogue>--</dialogue> <parenthetical>(~etting angry)</parenthetical> <dialogue>Tell him about how you fight</dialogue> <scene_description>crime.</scene_description> <character>DARRYL</character> <dialogue>No. I'm just an ordinary</dialogue> <scene_description>citizen. The police fight. crimes.</scene_description> <character>KEVIN</character> <parenthetical>(agitated)</parenthetical> <dialogue>Look, he's a superhero. We were out fighting crime last night.</dialogue> <scene_description>Jmore)</scene_description> <character>KEVIN</character> <dialogue>The bullets bounced right off him. I had to knock out a gangster who was calling him Susan. I can't get any sleep. It's driving me nuts. This girl thinks I'm a pervert because she caught me talking to my penis and I was really talking to him.</dialogue> <scene_description>The psychologist starts taking notes.</scene_description> <character>KEVIN</character> <dialogue>I tried tying him to a bed but JS just came by and cut him loose.-</dialogue> <scene_description>He leads Kevin over to a couch and lays him down.</scene_description> <character>PSYCHOLOGIST</character> <dialogue>Tell me about JS.</dialogue> <character>KEVIN</character> <dialogue>He's a garbage can with an afro.</dialogue> <character>PSYCHOLOGIST</character> <dialogue>Is he a superhero too?</dialogue> </scene> <scene> <stage_direction>EXT. HALLWAY</stage_direction> <character>- PAY</character> <dialogue>Kevin exits the office. The psychologist pulls Darryl aside.</dialogue> <character>PSYCHOLOGIST</character> <dialogue>He's what we call paranoid schizophrenic. If he gets any worse we'll put him on medication. Here's my card.</dialogue> <character>DARRYL</character> <dialogue>Thanks, Doc. I'll look after him.</dialogue> <scene_description>The door closes.</scene_description> <character>KEVIN</character> <dialogue>~ did you do that to me! He thinks 1.!.mcrazy. Why didn't you tell him about being a superhero?</dialogue> <character>DARRYL</character> <dialogue>What? And reveal my secret identity? •</dialogue> <character>KEVIN</character> <dialogue>So you're not giving this up.</dialogue> <character>DARRYL</character> <dialogue>This is my calling, I'm going to fight crime. I've got to make the world safe for my children.</dialogue> <character>KEVIN</character> <dialogue>Children, you don't even have a woman. You're still a virgin.</dialogue> <character>DARRYL</character> <parenthetical>(defensive)</parenthetical> <dialogue>I'm a gentleman.</dialogue> <character>KEVIN</character> <dialogue>Okay. Okay. If this is something you have to do to work through Grandma's death then\_ we'll do it together. But ... we do it my way. Alright?</dialogue> <character>DARRYL</character> <dialogue>Alright, Karateman.</dialogue> <character>KEVIN</character> <dialogue>What's that?</dialogue> <character>DARRYL</character> <dialogue>Your crime fighting name.</dialogue> <character>KEVIN</character> <dialogue>I don't like it.</dialogue> <character>DARRYL</character> <dialogue>I'll think of something else.</dialogue> </scene> <scene> <stage_direction>INT. MINELLI'SOFFICE</stage_direction> <scene_description>Minelli paces with Tony angrily. A TV blares in the background.</scene_description> <character>MINELLI</character> <dialogue>When I get my·hands on the rat bastard who fingered me I'm going to break his leqs. I'm going to break his wife's legs. I'm going to break his baby's legs. And if he has a dog I'm going to break it's paws-</dialogue> <character>TONY</character> <dialogue>But they got those dots on him. We'll never figure out who\_</dialogue> <character>T\/ ANNOUNCER</character> <dialogue>Next up on Hard Edition, Mothers who sleep with their sons for money-</dialogue> <character>MINELLI</character> <dialogue>TURNTHAT CRAP OFF!</dialogue> <character>TV ANNOUNCER</character> <dialogue>... and revealing video of the man who fingered Michael Minelll!</dialogue> <character>MINELLI</character> <dialogue>Hold on ...</dialogue> <character>.€�</character> <dialogue>Minelli watches as the picture shows the video of Snake with' dots over his face and voice distorted.</dialogue> <character>TV ANNOUNCER</character> <dialogue>- in a Hard Edition exclusive we hired scientists from NASA to decode the computer optics and recreate the true identity of the unknown informant on the evening news.</dialogue> <scene_description>Using flasny video the dots one by one disappear and Snake's voice returns to normal.</scene_description> <character>SNAJ&lt;E .</character> <dialogue>-· but Minelli wasn't having it because he wanted the project done because he was getting twenty percent kickbacks see-</dialogue> <scene_description>Underneath the video titles flash: Jimny •the Snake• Lazzano. The video glitches back to Snake wiping his sweaty face.</scene_description> <character>SNAKE</character> <dialogue>... don't forget, you can't show my face or I'm a dead man... don't forget you can't show my face or I-' m a dead man.. a dead man.. a dead man..</dialogue> <scene_description>Minelli clicks the TV off.</scene_description> <character>MINELLI</character> <dialogue>You son-of-a-bitch...</dialogue> </scene> <scene> <stage_direction>EXT. APM!J'MENTBUILDING</stage_direction> <character>- NIGHT</character> <dialogue>Kevin and Darryl stand guard outside their building. Behind them is a table with a bann·er reading NEIGHBORHOOD WATCH.</dialogue> <character>DARRYL</character> <parenthetical>(disgusted)</parenthetical> <dialogue>Housing patrol? You call this crime fighting? Could we at least wear our costumes?</dialogue> <character>KE'/IN</character> <dialogue>No! You wanted to help out, we're help1ng out. At least th1s way we won·r. get kil:~d.</dialogue> <character>DARRYL.</character> <dialogue>But ...</dialogue> <character>KEVIN</character> <dialogue>Don't but me. As far as I'm concerned we can pack this thing up right now...</dialogue> <scene_description>Darryl sucks his teeth in disappointment. Suddenly a young girl comes running down the street crying.</scene_description> <character>CRYINGGIRL</character> <dialogue>Help me! You've got to help me!</dialogue> <character>KEVIN</character> <dialogue>What's wrong? Is someone following you?</dialogue> <character>CRYINGGIRL</character> <dialogue>No. No... it's, it's my mother; She needs help.</dialogue> <scene_description>Oar.ryl jumps up. Punches his hand ala Robin.</scene_description> <character>DARRYL</character> <dialogue>HOLYDISTRESSEDDAUGHTER!</dialogue> <character>KEVIN</character> <dialogue>Where is she?!</dialogue> <character>CRYINGGIRL</character> <dialogue>- She's trapped in the elevator.</dialogue> <character>KEVIN/ DARRYL</character> <parenthetical>(disappointed)</parenthetical> <dialogue>Oh...</dialogue> <character>CRYINGGIRL</character> <dialogue>You are going to help her, right?</dialogue> <character>KEVIN</character> <dialogue>Yeah, sure. Which building is ahe in?</dialogue> <character>CRYINGGIRL</character> <dialogue>Down there. Fir.st building on· your right. Hurry.</dialogue> <scene_description>Darryl runs up the stairs to the apartment building.</scene_description> <character>KEVIN</character> <dialogue>Where are you going?</dialogue> <character>OA.RRYL</character> <dialogue>I hav-e to get something! I'll meet you there.</dialogue> <scene_description>-·-·-·· --·- ...: ;~T. BUILDING</scene_description> <character>- NIQHT</character> <dialogue>Kevin listens to cr1es for help echoing from an elevator stuck bet...-een floors. A woman cries out in pain.</dialogue> <character>WOMAN(O.S.)</character> <dialogue>Someone get me out of here! Help- is anyone there?</dialogue> <character>KEVIN</character> <dialogue>I'll have you out in a second. Please, just be patient.</dialogue> <character>DARRYL (0. S.)</character> <dialogue>Step back, I'll handle this.</dialogue> <scene_description>Darryl leaps over in full costume. He takes an egg beater attached to a gynecological device and inserts it between the elevator doors. As he cranks it, the doors spread open.</scene_description> <character>KEVIN</character> <dialogue>What's that?</dialogue> <character>DARRYL</character> <dialogue>The speculum of life.</dialogue> <scene_description>The doors open wide enough for them to get through. The elevator is stuck below them. Darryl goes into action. He throws a modified plunger into the wall above. An electronic pwnp activates and creates a tight vacuum seal. Darryl swings out on the attached cable. He· activates a motor and slowly lowers down toward the elevator below. He swings back and forth as he goes.</scene_description> <character>DARRYL</character> <dialogue>Quick, grab on to me. I'll lower you down.</dialogue> <scene_description>Kevin juat sighs. He jwnps the two or three feet down to the elevator. He opens the trapdoor and sees the WOMAN below. She's clearly pregnant.</scene_description> <character>KEVIN</character> <dialogue>Oh, no, she's pregnant. We need an ambulance.</dialogue> <character>DARRYL</character> <dialogue>I'll radio for help.</dialogue> <character>WOMAN</character> <dialogue>I'm in labor. I'm going to have thia b4by ri~ht now~</dialogue> <scene_description>Kevin jumps down into the.stranded elevator. Darryl, swinging on the cable, activates h1s belt and calls in.</scene_description> <character>DARRYL</character> <dialogue>Mayday, mayday. We have a pregnant woman trapped in elevator. Send an ambulance to one thirteen Filmore Street. Over.</dialogue> <scene_description>RADIO (O.S. l Who's calling? What are you doing on this channel?</scene_description> <character>DARRYL</character> <dialogue>A concerned citizen. Just send it. Over and out. ----· -- -·--•-···--·---</dialogue> </scene> <scene> <stage_direction>INT. ELEVATOR</stage_direction> <scene_description>Kevin assists the woman who is experiencinn stronn . contractions. In the background, Darryl, dangling from his 'llJ 'llJ 1--:</scene_description> <character>·~</character> <dialogue>cable, continues to spin slowly down into the elevator.</dialogue> <character>WOMAN</character> <dialogue>It's coming!</dialogue> <character>DARRYL</character> <dialogue>Help is on its way. What should we do?</dialogue> <character>KEVIN</character> <dialogue>I guess we have to deliver the baby.</dialogue> <character>DARRYL</character> <dialogue>That means we're goMa have to see her thing! Hey, I don't know if I can do this, man.</dialogue> <scene_description>Kevin lifts the woman's dress. Darryl's face freezes in shock. ---</scene_description> <character>DARRYL</character> <dialogue>It·' a ao ugly.</dialogue> <scene_description>The waman cries out in pain.</scene_description> <character>KEVIN</character> <dialogue>Look, keep breathing. Take my. hand. Just grab on tight.</dialogue> <scene_description>The woman's hands flail out. Kevin offers out his hand for her to take. She misses and grabs his groin. They both scream out in pain.</scene_description> <character>WOMAN</character> <dialogue>You have a big finge~!</dialogue> <scene_description>Kevln is frozen. Darcyl sees the baby startlng to come. He Jwnps in to help it.</scene_description> <character>DARRYL</character> <dialogue>It's working! It's coming. Whatever you're doing, don't stop.</dialogue> <scene_description>The woman's grip tightens. Kevin and her scream in unison.</scene_description> <character>DARRYL</character> <dialogue>Great! Great! It's a boy! I delivered a boy. I'm a father!</dialogue> <scene_description>INT, BUILDING</scene_description> <character>- NIGHT</character> <dialogue>Medics have arrived and wait outside the elevator with the little girl. A ladder has been lowered and Kevin helps the \J-. woman climb up it. They step out. A NEWSPAPER</dialogue> <scene_description>REPORTERand PHOTOGRAPHER arrive.</scene_description> <character>REPORTER</character> <dialogue>Where's the baby?</dialogue> <character>WOMAN</character> <dialogue>He's bringing it up. He delivered it. He saved me.</dialogue> <scene_description>Darryl slowly rises up on his motorized cable. In his arms is the baby, wrapped in h.is cape. The photographer starts taking pictures. Everyone cheers.</scene_description> <character>REPORTER</character> <dialogue>Great photo! You're a hero!</dialogue> <scene_description>The medics take the baby from his arms. They help steady carcyl as he swings out to the landing.</scene_description> <character>REPORTER</character> <dialogue>How's it feel to be a hero?</dialogue> <scene_description>Darcyl ia a total blank. Stunned from the attention. Everyone smiles at him approvingly. The woman reaches over and gives him a big hug.</scene_description> <character>WOMAN</character> <dialogue>You were wonderful. Who are you?</dialogue> <character>DARRYL</character> <dialogue>I- I'm... I.:.</dialogue> <character>WOMAN</character> <dialogue>What?</dialogue> <character>KEVIN</character> <dialogue>He's blank, Mam.</dialogue> <character>WOMAN</character> <dialogue>Blankman. You're a true hero, Blankman.</dialogue> <character>REPORTER</character> <dialogue>Blankman, huh? Great name.</dialogue> <character>DARRYL</character> <parenthetical>(coming out of it)</parenthetical> <dialogue>Blank.man, yeah.</dialogue> <scene_description>EXT, S~REET- PAY/NIGHT Blank.man posts handbills on various streets reading: This • neighborhood patrolled by Blankman.• ..-</scene_description> </scene> <scene> <stage_direction>EXT. STREET- QAY</stage_direction> <scene_description>A little girl runs up to Blankman.</scene_description> <character>LI'M'LE</character> <dialogue>Fe-fe's stuck under the house!</dialogue> <character>GIRL</character> <dialogue>Please save her! --</dialogue> <character>')..</character> <dialogue>Blankrnan quickly follow• after her. She point• to the crawl space under a bungalow. Blank.man bends over and sticks his head inside.</dialogue> <dialogue>Instead of a kitten there is a vicious Pitbull underneath. It growls.</dialogue> <dialogue>We see Blank.man's body flailing.</dialogue> <dialogue>INT. CQNYRiXDfCISTQRE- NIGHT</dialogue> <character>~</character> <dialogue>A CROOKholds up STOREOWNER with revolver. Suddenly, Blank.man·-i. jump• from behind. He knocks the gun from the crook's hand with a heavy orthopedic shoe. Using the elastic strap he springs the shoe back into his hand and then flings it again into the crook's.face. The crook is knocked out .</dialogue> <scene_description>.: Cops come in and shake Darryl's hand. The store owner gives him a thumbs up. INT, APARTMENT· NIGHT ~b Blank.man lies on couch, bruised up and sore. and drops an ice pack in hia lap. Goea to bed. Kevin walks by</scene_description> <character>- I</character> <scene_description>INT, NEWSBQOM</scene_description> <character>- PAY</character> <dialogue>Kevin purses Kimberly as she prepares to go on the alr. She glances over stories coming out of the teletype.</dialogue> <character>KEVIN</character> <dialogue>It's just dinner. You know. We'll just eat.</dialogue> <character>KIMBERLY</character> <dialogue>- I know you have a reputation to maintain, but you're not my type.</dialogue> <character>KEVIN</character> <dialogue>What is your type?</dialogue> <character>KIMBERLY</character> <dialogue>I want a man who stands for something. Someone who's not just out for himself. I want a- a-</dialogue> <character>KEVIN</character> <dialogue>You want a superman.</dialogue> <scene_description>Kimberly's looking at a story on the teletype.</scene_description> <character>KIMBERLY</character> <dialogue>Yeah, a superman.</dialogue> <scene_description>A PRODUCTIONMANAGER approaches Kevin.</scene_description> <character>PRODUCTION MANAGER</character> <dialogue>Kimberly, you're on in thirty seconds. Walker, here's your pay check.</dialogue> <scene_description>Kimberly goes off. Kevin takes his check. Opens it. Closes his eyes. Looks at the amount. Is thrilled.</scene_description> </scene> <scene> <stage_direction>INT. MAYORS - PAY</stage_direction> <character>OFFICE</character> <dialogue>Harria aita behind his desk, his hair even whiter and his face troubled. A TV shows the evening news in the background. Kimberly ia on the TV. Behind her is a picture of Blank.man.</dialogue> <character>KIMBERLY(0. S . )</character> <dialogue>And our closing story is a /t81- hopeful one for a change. It's about a caped crusader, Blankman. j\_</dialogue> <scene_description>Harris takes note. Sl.</scene_description> <character>KIMBERLY</character> <dialogue>Numerous reports have come in from police and citizens about his heroic exploits. In a city where joblessness and lawlessness run rampant, it's refreshing t~ see goodness coming ba~k in style. 'This reporter Just wants to say thanks. Keep doing what you're doing. One man can make a difference.</dialogue> <scene_description>Harris looks at the picture thoughtfully.</scene_description> <character>HARRIS</character> <parenthetical>(tohimself almost mockingly)</parenthetical> <dialogue>One man can.</dialogue> <scene_description>His assistant enters.</scene_description> <character>ASSISTANT</character> <dialogue>Minelli wants to see you.</dialogue> <character>HARRIS</character> <parenthetical>(beat)</parenthetical> <dialogue>Good. I want to see him too.</dialogue> <scene_description>The assistant shows Minelli in. Minelli marches over and leans on Harris' desk.</scene_description> <character>MINELLI</character> <dialogue>Look, you got to talk to the O.A.. They're launching an investigation into the Civic Center thing. I want it shut down now. They aren't going to find any witnesses anyway. I'll see to that.</dialogue> <character>HARRIS</character> <dialogue>You should be careful what you say in front of me. ~ statement will carry a lot of weight in a court of law.</dialogue> <character>MINELLI</character> <dialogue>You threatening me? Le.t me tell you something Mr. Mayor. You</dialogue> <scene_description>.,, want to end this labor dispute? You want the banks to approve the city loans so people can get paid? Then you need me and fOU'll\_do ~s I say. Stop the 1nvest1gat1on. S2.:</scene_description> <character>HAARIS</character> <dialogue>Not only will the 1nvestigation continue, but I'm going to recommend to the D.A. that he issue a warrant for your arrest !~r attempted bribery and extortion.</dialogue> <character>MINELLI</character> <dialogue>You'll be dead before the ink dries!</dialogue> <character>HARRIS</character> <dialogue>Get out! Now!</dialogue> <character>MINELLI</character> <dialogue>No one crosses me! You're a dead man Harris!</dialogue> <scene_description>Minelli storms out. INT, BANK,- PAY ~ Kevin cashes his check. The TELLERopens her drawer.</scene_description> <character>TELLER</character> <dialogue>You sure you want it all in cash?</dialogue> <character>KEVIN</character> <dialogue>Yeah, I'm going to take it home and roll around in it.</dialogue> <scene_description>EXT, STREET- NIGHT Kevin's wallet bulges in his pants. He's happily oblivious to the crime around him. A PORNOguy tries to get him to go into a strip show. He ignores him.</scene_description> <character>KEVIN</character> <dialogue>I'm gonna buy a car.· Get a new place. Stereo. Yeah, a stereo.</dialogue> <scene_description>He step• over a bum. A kid falls over on his bicycle and Kevin doesn't notice.</scene_description> <character>XEVIN</character> <dialogue>Big screen TV. Yeah.</dialogue> <scene_description>Suddenly, a gun is pushed into his back.</scene_description> <character>ROBBER</character> <dialogue>Into the alley. Now.</dialogue> <scene_description>EXT, ALLEY</scene_description> <character>- NI?HT</character> <dialogue>:~.~ ROBBER pushes l(e•11n ln. The g,..n 1.S flr:'-:\ :.n hl.S CdCl&lt;..</dialogue> <character>ROBBER</character> <dialogue>Give me your money or ycu're dead.</dialogue> <character>KEVIN .€�</character> <dialogue>I don't have any money.</dialogue> <character>ROBBER</character> <dialogue>Yes yo~ do, I followed you from the.bank.</dialogue> <character>KEVIN</character> <dialogue>I'll split i~ wl~h you.</dialogue> <scene_description>The robber clubs him on the head with the gun butt and takes his wallet. Two construction guys chase the robber away and go\_to Kevin's aid.</scene_description> <character>CONSTRUCTION</character> <dialogue>Hey, you alright</dialogue> <character>WORKER11</character> <dialogue>buddy?</dialogue> <character>CONSTRUCTION</character> <dialogue>12</dialogue> <character>WORJ&lt;ER</character> <dialogue>Yeah, we saw that guy, we ca.me over to help.</dialogue> <character>CONSTRUCTION</character> <dialogue>(enthusiastically)</dialogue> <character>WORKER11</character> <dialogue>Yeah, the whole Blankrnan thing's got everyone chippin' in.</dialogue> <character>KEVIN</character> <dialogue>He got my wallet, did you get my wallet?</dialogue> <character>CONSTRUCTION WORKER12 --</character> <dialogue>No. But we saved your life.</dialogue> <character>KEVIN</character> <dialogue>I would have rather had my wallet.</dialogue> </scene> <scene> <stage_direction>INT. APARTMENT</stage_direction> <character>- NIGHT</character> <dialogue>The entire apartment is filled with tons of strange junk. Darryl works away on new crime fighting gear. Kevin, head aching, comes in. Looks around.</dialogue> <character>KEVIN</character> <dialogue>What is all this junk?</dialogue> <character>DARRYL</character> <dialogue>Isn't it gre!~! Lots ~f pecpl'! h,3·112 be~n thanking me. '7~.t:?f keep g 1 •11ng me money.</dialogue> <character>KEVIN</character> <dialogue>(excited&gt; ':eah'?! How much'? DARRYL -· One guy gave me. five thousan.d dollars. KEVIN</dialogue> <scene_description>That's great! Where is it?</scene_description> <character>DARRYL</character> <dialogue>I gave it back. I give it all right back. But I tol~ him he could give me old appliances instead. Aren't they great? Look at this- this is a twenty five horse power electric motor! And it almost works!</dialogue> <character>KEVIN</character> <dialogue>ARE YOU OUT OF YOUR MIND! No, we already know you are. I can't take ie anymore. This isn't the Batcave! Get it out. Get all this shit out of our place. Now!</dialogue> <character>DARRYL</character> <parenthetical>( looks hurt)</parenthetical> <dialogue>You shouldn't use four letter words.</dialogue> </scene> <scene> <stage_direction>EXT. LONELY</stage_direction> <character>STREET- NIGHT</character> <dialogue>Darryl's junk is piled high in three shopping carts. They are tied together and he dra~s them with a rope. JS follows alonga~de. It pulls a l1ttle wagon with more stuff. Darryl aearches for a new home for his gear.</dialogue> <dialogue>INT. ABNiPQNEP</dialogue> <character>HOUSE</character> <dialogue>Darryl and JS stand in a filthy abandoned house. ..,\_</dialogue> <character>DARRYL</character> <dialogue>The Blankhouse.</dialogue> <scene_description>JS shakes its Afro •no.• EXTI LONELYSTRE;';' - Hit;;HT Darryl and JS con~~nue to search. :;;..ppyr,. Darryl notices a big tree. - z The Blar.'l(.tree. JS shakes its head.</scene_description> <character>DARRYL</character> <dialogue>Yeah. It would be hard for you to get up, wouldn't it?</dialogue> <scene_description>INT, EMPTYSTOREfFQNT</scene_description> <character>- NIGHT</character> <dialogue>Darryl and JS look around.</dialogue> <character>DARRYL</character> <dialogue>What do you think? Blanks tore?</dialogue> <scene_description>The</scene_description> <character>-</character> <dialogue>'2.</dialogue> <scene_description>This time JS just looks at him.</scene_description> <character>DARRYL</character> <dialogue>Yeah... too obvious.</dialogue> </scene> <scene> <stage_direction>INT. ABANDONED</stage_direction> <character>TBAXH</character> <dialogue>STA.TIAN</dialogue> <scene_description>Darryl and JS drag their junk into an old abandoned train station. Darryl looks around pleased.</scene_description> <character>DARRYL</character> <dialogue>The Blankstation! Perfect. I'm sure no ones been down here for years.</dialogue> <scene_description>A pile of dirty rags in a corner begins to stir. A scruffy old WINO named AL emerges from the rags.</scene_description> <character>AL</character> <parenthetical>(obviously drunk)</parenthetical> <dialogue>What the hell are you doing in my house? Who are you? What do you want? Give me a dollar!</dialogue> <character>DARRYL</character> <dialogue>Listen, friend. Will ·you·work for food?</dialogue> <character>AL</character> <dialogue>No, I work for money, like all Americans.</dialogue> <character>DARRYL</character> <dialogue>Okay, I ll pay you twenty dollars</dialogue> <character>I</character> <dialogue>a month to share your space.</dialogue> <character>AL</character> <dialogue>I'll have to think about it.</dialogue> <parenthetical>(with out missing a beat)</parenthetical> <dialogue>I'll need first, last, and a one dollar secur1ty fee, payable now.</dialogue> <scene_description>DARR'iL .• Okay, you got yourself a deal. What's your name?</scene_description> <character>AL</character> <dialogue>Um, um... I'm trying to remember.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Al!</dialogue> <scene_description>OARR'iL (excited) Is that short for Alfred?</scene_description> <character>AL</character> <dialogue>No, Aloysious.</dialogue> <character>DARRYL</character> <parenthetical>(disappointed)</parenthetical> <dialogue>Oh... Well, anyway Alfred, we've</dialogue> <scene_description>got a lot of work to do. JS, music: on. Darryl throws a co at JS like a Frisbee. It lands into JS's slot and is activated. MUSICpours out.</scene_description> </scene> <scene> <stage_direction>INT. MANPOOP</stage_direction> <character>TRAINSTA.TIAN</character> <dialogue>t MONTA,GE</dialogue> <scene_description>MUSIC fills the station as they assemble all sorts of weird equipment. Darryl drags in even more junk, including an old big wheel, and an old Harley. Al helps out, suddenly gets sick and throws up in JS. Darryl looks on disgusted. INT. MPfflLLI'SAfftCE The police burst into Minelli's office with guns drawn. No one .J- is there. Everything is gone. INT, NEWS</scene_description> <character>BCQK</character> <dialogue>- PAY</dialogue> <scene_description>Kevin and Kimberly sit at a table with a bunch of other NEWS PEOPLE sorting through papers and picking stories.</scene_description> <character>KEVIN</character> <dialogue>We sho~ld do a piece on the Minelli scandal.</dialogue> <parenthetical>(more)</parenthetical> <character>KEVIN</character> <dialogue>He's gone underground. And the FBI has frozen his bank accounts and assets ...</dialogue> <character>KIMBERLY</character> <dialogue>r want to concentrate on positive stories. I want to do an interview with Blankman.</dialogue> <character>.€�</character> <dialogue>Startled, Kevin spills his coffee on himself.</dialogue> <character>KEVIN</character> <dialogue>Blankman? Why?</dialogue> <character>KIMBERLY</character> <dialogue>He's great for the community. He appears out of nowhere, does a good deed, and disappears. He doesn't do interviews, he doesn't· seek publicity, he doesn't-</dialogue> <character>KEVIN</character> <dialogue>... take any money.</dialogue> <character>KIMBERLY</character> <dialogue>He's wonderful. But how can we find him? How can we get him to talk? Anyone know?</dialogue> <scene_description>Everyone shakes their heads hopeless. Kevin leans back in his chair confidently.</scene_description> <character>KEVIN</character> <dialogue>Let me handle it. I'll get you a one on one with Blankman.</dialogue> <character>KIMBERLY</character> <dialogue>How?</dialogue> <character>KEVIN</character> <dialogue>I'm a producer. I'll produce.</dialogue> <scene_description>------------\_\_;.\_~-----···-</scene_description> <character>INT I MAB1J11NT- PU</character> <dialogue>The place is back to normal. Kevin argues with Darryl.</dialogue> <character>DARRYL</character> <dialogue>No. Nope. Can't do it. Blankman avoids the press. He doesn't do it for recognition.</dialogue> <character>KEVIN</character> <dialogue>Then do it for me. I'm trying to make an impression.</dialogue> <character>CARRYL</character> <dialogue>Me, I'd do anything for you, Kevin. It's Blankman. He's got</dialogue> <scene_description>a code ...</scene_description> <character>KEVIN</character> <dialogue>Don't give me that double identity stuff! You'll do it or Darryl ang Blankman will be living in that train station.</dialogue> <scene_description>INT, NEWS</scene_description> <character>ROOM</character> <dialogue>- PAY</dialogue> <scene_description>Kevin looks uncomfortable as he talks to Kimberly.</scene_description> <character>KEVIN</character> <dialogue>It's a little weird...</dialogue> <character>KIMBERLY</character> <dialogue>Like how?</dialogue> <character>KEVIN</character> <dialogue>Like Michael Jackson weird. He'll only meet you. And you can't bring a camera. You have I to wait at the Fourth Street .1 Station at Six PM sharp. And you i</dialogue> <dialogue>have to wear a carnation in your hair.</dialogue> <character>KIMBERLY</character> <dialogue>He doesn't know what I look like?</dialogue> <character>KEVIN</character> <dialogue>He does. You just have to wear a carnation. Don't ask..</dialogue> <character>KIMBERLY</character> <dialogue>No. This is great. Blankman-</dialogue> <scene_description>XNT, 1'MJH SV3!QN ~T Kimberly stands in a pretty dress with a carnation in her hair. S,. She looka all around the platform. Doesn't see any Blank.man. It'• aix o'clock. Suddenly, from behind her, a loud'roar·of a motorcycle engine is heard. A beat. A strange contraption WHIZZESup on the --:: rails and SCREECHESto a -halt. It's a motorized Big Wheel with a wagon sidecar.</scene_description> <character>BLANXMAN</character> <parenthetical>(yelling over engine)</parenthetical> <dialogue>Quick, hop on! It's rush hour and there's a train coming!</dialogue> <scene_description>~ Kimberly spins. She stares ~t the strange vehicle. ~E HEARA TRAIN COMING. Quick! Kimberly hesitates a se:ond and then leaps on. Blan~~an ~e~ps her into the wagon.</scene_description> <character>BLANJ&lt;MAN</character> <dialogue>Hold on!</dialogue> <scene_description>She grabs his shoulder for support and the Blankwheel ROCKE~S out of the station. A second later the TRAIN RO~S UP. INTI BLANKWHEEL C/'a The Blankwheel ROARSalong at a frightening terrified and excited. clip. Kimberly is Blankrnan acts as if this is something</scene_description> <character>&gt;</character> <dialogue>.-</dialogue> <scene_description>he does everyday. On the handlebars is a display, made out of a Gameboy. It's programmed to reflect the layout of the tracks and the positions of trains.</scene_description> <character>DARRYL</character> <dialogue>Looks like the twelve is stuck in the station. We'd better switch tracks. Hold on!</dialogue> <scene_description>The Blankwheel zips loudly onto a new track.</scene_description> <character>KIMBERLY</character> <dialogue>What is this thing?</dialogue> <character>DARRYL</character> <dialogue>It's the Blankwheel. The three is coming up behind. I'm going to have to pick up speed. ...</dialogue> <scene_description>He guns it. RAIL$ ., IQM'AQS The Blankwheel roars through stations. Comnuters stare at it as it goea past. A kid points.</scene_description> <character>KIO .</character> <dialogue>The Blankwheel!</dialogue> <scene_description>Kimberly finds herself enjoying the ride. It's like a roller coaster.</scene_description> <character>KIMBERLY</character> <dialogue>(yelling over the noise&gt; Where are we going? ~. DARRYL (also yelling) What.? I can't hear you.</dialogue> <scene_description>KIMBERI.'i I S.3ld where are we g~ing? DARR'iL Wait, I've got to turn the engine .• off. Darryl turns engine off.</scene_description> <character>DARRYL</character> <dialogue>What'd you say?</dialogue> <scene_description>KIMBERL'i Where are we going?</scene_description> <character>DARRYL</character> <dialogue>Oh, to the Blankstation.</dialogue> <scene_description>He starts up and they take off.</scene_description> <character>KIMBERLY</character> <parenthetical>(yelling)</parenthetical> <dialogue>This is great.</dialogue> <character>DARRYL</character> <parenthetical>(also yelling)</parenthetical> <dialogue>What?</dialogue> <character>KIMBERLY</character> <parenthetical>( louder)</parenthetical> <dialogue>I said this is great.</dialogue> <character>DARRYL</character> <dialogue>·( louder)</dialogue> <scene_description>Wait, I can't hear you, let me turn off the engine. Darryl turns off the engine again.</scene_description> <character>DARRYL</character> <dialogue>Now, what did you say?</dialogue> <character>KIMBERLY</character> <dialogue>I said this is great.</dialogue> <character>DARRYL .,\_</character> <dialogue>Oh ...</dialogue> <scene_description>Darryl starts the wheel again and they take off. A train switches tracks in front of them. --</scene_description> <character>KIMBERLY</character> <dialogue>Wooooo....</dialogue> <scene_description>6l.</scene_description> <character>DARRYL</character> <dialogue>What did you say?</dialogue> <character>KIMBERLY</character> <dialogue>Never mind.</dialogue> <scene_description>Kimberly hugs Darryl as they continue their ride. INT, BLANKSTATIQN The Blankwheel SCREECHESto a halt inside the Blankstation.</scene_description> <character>KIMBERLY</character> <dialogue>Oh... I was starting to get dizzy.</dialogue> <scene_description>Bt.ANKMAN I'm sorry. But I had to make sure that you couldn't remember the secret location of\_ the Blankstation. Kimberly looks around. It's completely changed from the last time we saw it. It's filled with laboratories, strange equipment and gizmos.- A huge map is on the wall along with assorted •wanted• posters and police bulletins. Blankman steps off and gentlemanlr helps Kimberly out of the cycle. She holds onto the carnation. JS rolls up, with a note from Alfred. It reads: Out looking for more junk, will be back. Al.</scene_description> <character>BLANJO!AN</character> <dialogue>Don't be afraid. It's just JS.</dialogue> <character>JS</character> <dialogue>Hel-lo Kim-ber-ly.</dialogue> <character>KIMBERLY</character> <dialogue>It talks.</dialogue> <character>BLANJCMAN</character> <dialogue>That's all it can say. I don't want ·to overload him. He's already programmed to do so much. Would you like a drink?</dialogue> <character>KIMBERLY</character> <dialogue>Yes- sure.</dialogue> <scene_description>Blankman punches down on JS's head and two Cokes drop out into a tray. Blankman hands Kimberly one. INT, BLANKSTATION</scene_description> <character>- LATER</character> <dialogue>Blankman and Kimberl¥ sit on steps that have been cushioned for</dialogue> <character>=,.</character> <dialogue>comfort. The carnation is in her lap. She takes notes.</dialogue> <character>---</character> <dialogue>KIMBERLY</dialogue> <scene_description>... it's almost like you live in a different world. Not that chat's bad ... I mean it· s good. It· s a better world. Are you happy? at.&gt;J,n&lt;::w, How can I be happy when there's still so much to be done?</scene_description> <character>KIMBERLY</character> <dialogue>What do you think makes you so special?</dialogue> <scene_description>BLANl&lt;MAN I don't think I'm different from anyone else. That's what Blank.man symbolizes. Everyman .. Everyman who takes a stand.</scene_description> <character>KIMBERLY</character> <dialogue>What do your parents think about this?</dialogue> <scene_description>BLANlOO.N My parents are dead.</scene_description> <character>KIMBERLY</character> <dialogue>Is that why- I mean- does this have something to do with what happened to them?</dialogue> <character>BLANKMAN</character> <dialogue>I don't remember them at all.</dialogue> <character>KIMBERLY</character> <dialogue>Do you have any other family?</dialogue> <character>BLANKMAN</character> <dialogue>- no.</dialogue> <scene_description>INT, §WaHK$Y.TION</scene_description> <character>- LATER</character> <dialogue>fC2..</dialogue> <scene_description>Kimberly and Blankman return to the Blankwheel. JS waves good- bye. J-</scene_description> <character>KIMBERLY</character> <dialogue>I'm sorry for taking up so much of your time. This has been an amazing night.</dialogue> <scene_description>Kimberly suddenly notices the carnation in her hand.</scene_description> <character>KIMBERLY</character> <dialogue>What was the carnation for?</dialogue> <scene_description>Bt.ANKMAN A beautiful woman should have a carnation, that's all.</scene_description> <character>KIMBERLY</character> <dialogue>Well, I have something to give you on behalf of the city.</dialogue> <scene_description>She leans forward and kisses Blankrnan on the mouth. His body .• shudders in an instantaneous orgasm. ·oARRYL (out of breath) JS, what's happening to me? (falling to the ground, spentl I feel so tired. INT. NEWSROOM - PAY (03 Close on monitor. It's broadcasting Oprah. z\_J..</scene_description> <character>OPRAH</character> <dialogue>... not only has he inspired a city to stand up for itself, but now there's Blankrnania. With merchandising estimated at over one-hundred-million dollars, none of which goes to BlanJanan; You too can now have your own; Blank- t-shirts, Blank-comic books, and Blank-video games. Now, this sudden craze is bringing other •super people• out of the woodwork.</dialogue> <scene_description>She is interviewing fiv~ want-to-be superheros.</scene_description> <character>OPRAH</character> <dialogue>Midgetman, what inspired you to become a superhero?</dialogue> <character>MIOGETMAN</character> <dialogue>Well, I think Blankman was an illl)Ortant influence on all of us\_</dialogue> <scene_description>The other superheros nod.</scene_description> <character>MIOGETMAN</character> <dialogue>·- but it's a big world and we all have to do our part.</dialogue> <character>OPRAH</character> <dialogue>What kind of super powers do you have?</dialogue> <character>MIOGETMAN</character> <dialogue>Mostly, because I'm small, people don't see me coming.</dialogue> <character>OPRAH</character> <dialogue>And Gayman, you mostly work out of San Francisco?</dialogue> <character>GAYMAN</character> <dialogue>I wanted to be in the Army, but they discriminate. And since I do a lot of cruising on streets anyway ...</dialogue> <character>FATGIRL</character> <dialogue>That's so true about discrimination. I'm Fatgirl and there's enormous pressure on all Superheroes, especially women, to be thin ...</dialogue> <character>GAYMAN</character> <dialogue>Excuse me, Fatty, I think the enormous pressure is on your chair. Now, as I was saying\_</dialogue> <scene_description>Pull back to reveal NEWSROOM. Kimberly prepares to go on the air. A MAKEUPPERSONpowders her face. Kevin, obviously hung over, stands nearby whispering, upset.</scene_description> <character>KEVIN</character> <dialogue>So how'd it go? He's a bit queer, huh?</dialogue> <character>KIMBERLY</character> <dialogue>No. He's the most wonderful man I've ever met.</dialogue> <character>KEVIN</character> <dialogue>You're kidding?</dialogue> <character>KIMBERLY</character> <dialogue>But he seems ao lonely. His parents died when he was young and he has no other family.</dialogue> <character>KEVIN</character> <dialogue>No family? He said that?</dialogue> <character>KIMBERLY</character> <dialogue>Yes. Isn't it sad?</dialogue> <scene_description>A PRODUCTIONMANAGER calls over.</scene_description> <character>PRODUCTIONMANAGER</character> <dialogue>Kimberly, in five. Five, four-</dialogue> <scene_description>Kimberly sits at her new3 desk and the program begins.</scene_description> <character>KIMBERL'{</character> <dialogue>Blankman does it again. Saying he was inspired by his hero, Mayor Marvin Harris has come up with a plan to stop the impending police and city worker strike\_</dialogue> <scene_description>Screen cuts to Harris.</scene_description> <character>HARRIS</character> <dialogue>I've worked out a deal with the city and state so that we can honor the IOU's. on Friday of this week, any worker can turn them in at our local bank. Special Armored cars will bring in the necessary cash. And I ask Blankman, wherever you are, to be on hand to receive a special award.</dialogue> </scene> <scene> <stage_direction>INT. PMK WABEHQUSE</stage_direction> <character>- NIGHT</character> <dialogue>Minelli and a dozen of his men have taken over a dark warehouse hideout. Torch holds a tied up Snake. Minelli lectures him. /.!.</dialogue> <character>MINELLI</character> <dialogue>Did you think you could just cross me? Where did you think you could run? Even if you ran up your mother's ass I'd crawl up there and find you. Look what you started. I'm wanted by the police. I'm hiding in a stinking warehouse. People have stopped making payoffs, some guy in • tights is putting stupid ideas in evecyone's head, and the mayor has turned his back on me. But my problems are few compared to yours. I got a plan to rebuild my organization. But for your problems there's no solution.</dialogue> <scene_description>Sweat drips off of Snake.</scene_description> <character>SNAKE</character> <dialogue>I'm sor1" boss. r·don't know what go into me. It's like they gave me some kind of truth serwn or something. I couldn't stop talking.</dialogue> <character>MINEL.L.I</character> <dialogue>Oh, you're going to stop ~alking. You may say ouch a few times, but right after you stop screaming, you'll stop talking. Le; me introduce you to some friends of yours. Show him.</dialogue> <scene_description>Torch opens a large canvas bag. Inside are several rattle .• snakes.</scene_description> <character>SNAKE</character> <dialogue>Please, please Minelli. Don't do me this way.</dialogue> <character>MINELLI</character> <dialogue>Snakes for the Snake.</dialogue> <scene_description>They shove the bag over the upper half of Snake's body and tie it around him. Snake screams.</scene_description> <character>MINELLI</character> <dialogue>No one crosses me. No one.</dialogue> <scene_description>--------------------------------------------</scene_description> <character>INT.APARTMENT</character> <dialogue>- PAY IDS</dialogue> <scene_description>JS has an apron on and is frying eggs. Darryl follows Kevin "2. around. Kevin isn't speaking to him. He pours a cup of coffee~ and gathers his things for work.</scene_description> <character>DARRYL</character> <dialogue>You've got to have a balanced breakfast- Kevin. Kevin.</dialogue> <character>KEVIN</character> <dialogue>I'm not talking to you. You said you didn't have a family. Now you don't.</dialogue> <character>DARRYL</character> <dialogue>Blankman said he didn't have a family.</dialogue> <character>KEVIN</character> <dialogue>Well, neither does Realman.</dialogue> <scene_description>Kevin walks out and slams the door.</scene_description> <character>EXT, STREET</character> <dialogue>- EARLY</dialogue> <character>MORNING</character> <dialogue>Tony and a gang of thugs leap out of several Con Edison Trucks and open a manhole. They put out a MENAT WORKsign and lower heavy equipment down below. -</dialogue> <character>I</character> <dialogue>EXT, BANK- MQP,NING</dialogue> <dialogue>A dozen police squad cars escort sever3l Armored trucks. /.!- They pull up in front of the bank. GUARDSare evet"f#llher'! ~1.i:h shotguns.</dialogue> <dialogue>A line of city workers has already formed, waiting for tte bar.k to open. In their hands are white IOUs. They cheer and ·11ave as the money is unloaded and carried into the bank.</dialogue> <dialogue>Sammy and two other hoods wearing raincoats, are the first 1.n line.</dialogue> <dialogue>As the press photographs them, Mayor Harris hands Blankmdn the award. Kimberly and Kevin are at the scene with a camera crew. So are some of Stone's people.</dialogue> <character>HARRIS</character> <dialogue>I present this award to the one man who stood up for what is right, and inspired an entire city and nation.</dialogue> <scene_description>They shake hands.</scene_description> <character>BLANJ&lt;MAN</character> <dialogue>I'm not much for words, but this means a lot to me. I also want to give a special thanks to someone reall¥ special in my life, who believed in me-</dialogue> <scene_description>Kevin watches with qrowing emotion.</scene_description> <character>BLANKMAN</character> <dialogue>- it's rare to have a friend like this, someone close, who you feel in your soul, and understands who you are-</dialogue> <scene_description>Kevin realizes he's talking about him.</scene_description> <character>BLANKMAN</character> <dialogue>- someone who is as beautiful on the inside as they are on the outside: Kimberly Johns.</dialogue> <scene_description>Kimberly blushes. Kevin fwnes. Harris steps toward the crowd.</scene_description> <character>HARRIS</character> <dialogue>Well, you people have families to feed, so it's time to open the bank. Let's not have any pushing or impatience, everybody will be paid.</dialogue> <scene_description>Guards open the door and Sammy and the t·.o t!i•.Jgs shove evecyone aside and run in. Harris follows after them.</scene_description> <character>- €�€�€�€� -··-·-- -- . . €� .- ·- ------·--</character> <dialogue>Sammv</dialogue> <character>··€�"J</character> <dialogue>and the hoods spread out inside. Harrls berates them. ,1</dialogue> <character>;..-</character> <dialogue>.•</dialogue> <character>HARRIS</character> <dialogue>Now, now\_ let's-</dialogue> <scene_description>Suddenly they open their jackets to reveal they are wired from hea~ to toe with dynamite.</scene_description> <character>SAMMY</character> <dialogue>Anybody moves and we'll blow you all to hell. Put down the weapons.</dialogue> <scene_description>The guards lay down their guns. The hoods grab them. They take Harris aside.</scene_description> <character>SAMMY</character> <dialogue>Everybody else outside.</dialogue> <scene_description>They above them out. Harris remains.</scene_description> <character>HARRIS</character> <dialogue>Look, there's a hundred police officers out there. You'll never get through those doors.</dialogue> <character>SAMMY</character> <dialogue>We're not planning to.</dialogue> <scene_description>Suddenly the floor near the vault shatters from a small blast. It caves in. Minelli steps out in a miner's helmet.</scene_description> </scene> <scene> <stage_direction>EXT. BANK</stage_direction> <scene_description>The bank doors are locked and chaos ensues.</scene_description> <character>GUARDS</character> <dialogue>Terrorists are inside! They're wired with dynamite. They're holding Mayor Harris hostage.</dialogue> <scene_description>The police surround the building. They move the crowd to a safe distance. Upset city workers hold their IOUs.</scene_description> <character>CITY WORKER</character> <dialogue>Somebody's got to do something. Hy kids are starving.</dialogue> <character>ANOTHER</character> <dialogue>BlanJanan! BlanJanan will do something!</dialogue> <character>CITY WORKER</character> <dialogue>Blankman's never let us down!</dialogue> <scene_description>Blank.man's name spreads through the crowd like a mantra. Before long they ar~ all cheering.</scene_description> <character>CROWD</character> <dialogue>Blank.man! Blankman! Blank.man!</dialogue> <scene_description>Kevin and Kimberly stand near Blankman. We can see from his face that for the first time, he's a little frightened. The attention's too much, the crowd's expectations too great. Kevin puts a hand on Blankman's shoulder.</scene_description> <character>KEVIN</character> <dialogue>~his isn't your problem. You can't go in there.</dialogue> <character>KIMBERLY</character> <dialogue>He's right. The police are here. They'll handle it.</dialogue> <scene_description>The Police Commissioner GAINS walks over.</scene_description> <character>GAINS</character> <dialogue>Blankrnan, I'm Police Commissioner Gains. How do you want to handle this?</dialogue> <scene_description>Darryl just stares at the building. He hasn't a clue.</scene_description> <character>DARRYL</character> <parenthetical>(unsure)</parenthetical> <dialogue>I'll go see if I can reason with them.</dialogue> <character>GAINS</character> <dialogue>Great, we'll be right here.</dialogue> <scene_description>Darryl starts off, but Kevin grabs him.</scene_description> <character>KEVIN</character> <dialogue>I won't let you go in there. ·</dialogue> <scene_description>The Police grab Kevin and pull him away.</scene_description> <character>POLICE</character> <dialogue>BlanJanan knows what he's doing. Everyone else stay ou~ of it.</dialogue> <scene_description>They hold Kevin off. Darryl slowly walks toward the building, looking more like a frightened kid on a dare than a Superhero. He tries the door. It's locked. He knocks softly on it.</scene_description> <character>DARR~L</character> <dialogue>Hello ... it's Blankrnan. Would you guys like to talk th1s over? .No? Okay, I tr led ..</dialogue> <scene_description>He turns away quickly and is about to sneak off when suddenly the door opens. Darryl peeks thr~ugh the door nervously.</scene_description> <character>MINELLI</character> <dialogue>Hello, Blankrnan. Come right in ...</dialogue> <scene_description>INI1 BANK Minelli takes Blank.man by the arm and leads him in. Tony aims a gun at Blankrnan's head.</scene_description> <character>MINELLI</character> <dialogue>So you're the great Blankman, huh? Frankly, I don't get why everyone is so excited about you.</dialogue> <scene_description>The vault door is open, and Minelli's men are stuffing money into sacks.</scene_description> <character>MINELLI</character> <dialogue>Look at this. Michael Minelli reduced to robbing banks. Can you believe it?</dialogue> <character>DARRYL</character> <dialogue>You can't take that money. It isn't right.</dialogue> <character>MINELLI</character> <dialogue>It would just be destroyed in the explosion anyway.</dialogue> <character>DARRYL</character> <dialogue>What explosion?</dialogue> <scene_description>Minelli swings around the vault door to reveal: Mayor Harris is chained to the front with heavy steel chains on his feet, hands and neck. He is wired with dozens and dozens of sticks of dynamite. A small digital detonator completes the picture.</scene_description> <character>MINELLI</character> <dialogue>Say hello, Mayor. You see, they sent in the troops,\_ for you.</dialogue> <character>HARRIS</character> <dialogue>It's me you want. Let him go.</dialogue> <character>MINELLI</character> <dialogue>No, I'm starting to think that he's the bigger problem. He's puttinq crazy ideas in everyone's head, like he did yours.</dialogue> <parenthetical>(more)</parenthetical> <character>MINELLI,</character> <dialogue>People think he's some kind of superhero. But what's so special about you Blankman? Can you fly? Saim'l'f see if he can fly.</dialogue> <scene_description>SartUTI'f grabs Blankrnan by the seat of his pants and the t~p of his cap and throws him into the air. Blankman crashes face first on to the cold marble floor.</scene_description> <character>HARRIS</character> <dialogue>No!</dialogue> <character>MINELLI</character> <dialogue>No, can't fly. How about see through walls? Tony.</dialogue> <scene_description>Tony pulls him up. Ke takes him by the back of the head and slams his face into a brick wall. Blood streams down Blankman's face.</scene_description> <character>MINELLI</character> <dialogue>Can't see through walls either. Maybe he can catch bullets in his teeth.</dialogue> <scene_description>Minelli shoves a pistol into Blankman's face, right up to his mouth. He cocks the ha.iraner. Harris and Blank.man sweat out the moment.</scene_description> <character>MINELLI</character> <dialogue>No- I don't think you can. Besides, I want the mayor to have company as he goes out. Chain him up.</dialogue> <scene_description>Tony attaches a manacle to Darryl's leg. A chain holds him to the counter.</scene_description> <character>MINELLI -</character> <dialogue>I know. it will take the bomb squad ten minutes to defuse a bomb like this. So I'll set it for five.</dialogue> <scene_description>Minelli hits a button on the detonator. It starts clicking down the seconds. 4:59- 4:58- 4:57\_</scene_description> <character>MINELLI</character> <dialogue>Grab the mon9¥ boys, I've got an appointment w~th the new Mayor.</dialogue> <scene_description>Minelli goes down to the tunnel. The other hoods walk to the vault and swing the door back open, almost shoving Harris into the wall. Darryl takes several stink bombs f~om his belt ond throws them into the vault. They explode in a puff of blue smoke. The intensity of the smell causes' the hoods to run out coughing.</scene_description> <character>TONY</character> <dialogue>Oh! What's that horrible smell?</dialogue> <scene_description>As the hoods struggle for a moment against the horrible s~el:. Harris kicks his legs against the wall and the vault door swings shut. The twnbler spins and it is sealed. The hoods recover and realize what has happened. They t4/ to open the door but it's hopeless.</scene_description> <character>SAMMY</character> <dialogue>We'll never get the money out now! The bomb's going to go in three minutes!</dialogue> <scene_description>Tony pistol whips Darryl.</scene_description> <character>TONY</character> <dialogue>You son of a bitch! Let's get out of here!</dialogue> <scene_description>They run down the tunnel. The detonator says 2:40.</scene_description> <character>DARRYL</character> <dialogue>Good thinking, Mayor.</dialogue> <character>HARRIS</character> <dialogue>At least they won't get the money.</dialogue> <scene_description>Blankman works feverishly. He uses a homemade blowtorch to cut the chain holding him ..</scene_description> </scene> <scene> <stage_direction>INT. TIJNNE:L</stage_direction> <character>- PAY II I</character> <dialogue>Sammy and Tony have joined</dialogue> <character>MINELLI</character> <dialogue>up with Minelli.</dialogue> <scene_description>What do you mean you don't the moneyt Without that have money</scene_description> <character>--</character> <dialogue>'2.</dialogue> <scene_description>we've got nothing!</scene_description> <character>TONY</character> <dialogue>Blan&gt;cman stopped us! They locked the vault. There wasn't time!</dialogue> <scene_description>;tNT, BANJC IIZ. Darryl frees himself and runs to Harris. He begins cutting his 5' chains. He cuts one off, but there are dozens to go. The -- detonator reada 1:40.</scene_description> <character>HAF.RIS</character> <dialogue>It's hopeless. There are too many chains. If I hadn't gotten in business with Minelli I wouldn't be here. There's no time to free me. save y=~=self.</dialogue> <character>DARRYL</character> <dialogue>No. I've got to try.</dialogue> <character>HARRIS</character> <dialogue>But promise that when the bomb gets down to a minute, you'll leave.</dialogue> <character>DARRYL</character> <dialogue>Maybe I can deactivate it.</dialogue> <scene_description>1:29 ... 1:28 ... 1:27 ... A trickle of sweat rolls down his forehead. He removes a piece of dynamite to get to the wires below. He puts it in his belt. He works on the wires. EXT.BANK ll3 Police Comnissioner Gains calls out to. the tense crowd through a P.A. system. ~</scene_description> <character>GAINS</character> <dialogue>Everyone please stay calm! Blank.man has the situation under control!</dialogue> <scene_description>Behind the police line, Kimberly looks at a sweating\_Kevin.</scene_description> <character>KIMBERLY</character> <dialogue>You really think Blankrnan can handle it?</dialogue> <character>KEVIN</character> <parenthetical>(shaking head)</parenthetical> <character>--</character> <dialogue>I know he can't.</dialogue> <scene_description>Suddenly Kevin leaps over the police line. An officer tries to stop him but Kevin fakes him out with a Karate move. He rune to the bank and dives up against the brick wall, anticipating gunmen inside. He eases the door open with his foot and cracks the door. He glances inside. Throws the door open and leaps in.</scene_description> </scene> <scene> <stage_direction>INT. BANK</stage_direction> <scene_description>Kevin rolls in and onto his feet, ready for action. The room appears empty.</scene_description> <character>KEVIN</character> <dialogue>Hello? Hello?</dialogue> <character>DARRYL (0. S.)</character> <parenthetical>(from behind vault door)</parenthetical> <dialogue>Kevin?</dialogue> <scene_description>Kevin runs to the sound of the voice. DARRYL (0. S. l Go away, it's not safe. Kevin sees Harris, the explosives and Darryl. Darryl is literally drenched in sweat. The detonator is now at :30 seconds. :29- :28-</scene_description> <character>KEVIN</character> <dialogue>Does that clock mean what I think it means?</dialogue> <character>HARRIS</character> <dialogue>Just get him out of here! Both of you go now!</dialogue> <scene_description>Darryl is gently disconnecting wires one at a time.</scene_description> <character>KEVIN</character> <dialogue>Do you know what you're doing?</dialogue> <character>DARRYL</character> <dialogue>I have no idea .</dialogue> </scene> <scene> <stage_direction>.. :18 ·" :17.</stage_direction> <character>KEVIN</character> <dialogue>Darryl, we can't save him.</dialogue> <character>DARRYL</character> <dialogue>We've got to- he's got a wife and three children.</dialogue> <character>HARRIS</character> <dialogue>Please just go\_</dialogue> <character>DARRYL</character> <dialogue>I got it! I got it!</dialogue> <scene_description>The timer is frozen at :13. Everyone sighs.</scene_description> <character>KEVIN</character> <dialogue>You did it! You did it! It's still ticking! Still ticking!</dialogue> <scene_description>Kevin follows the sound to a large tarp. He pulls the tarp. Underneath are ten more bombs all with separate timers and tickinq down from :10 seconds. O4rryl sees it too.</scene_description> <character>HARRIS</character> <dialogue>You've got to get out of here! You did what you could! Run!</dialogue> <scene_description>:8 ...... :7 Kevin grabs Darryl, but Darryl breaks free and runs bci:::i(.to Har:~s.</scene_description> <character>DARRYL</character> <dialogue>My gra~dmother was Eleanor Walker. She believed in you\_</dialogue> <character>HARRIS</character> <dialogue>She was a good woman. I'll tell her you said hi. Go.</dialogue> <scene_description>Kevin grabs Darryl and drags him to the door. : 3... : 2 ... EXT, BANK Kevin and Darr 3 l come running out. The crowd cheers.</scene_description> <character>CROWD</character> <dialogue>Blank.man!</dialogue> <character>DARRYL</character> <dialogue>Under my cape! Fast!</dialogue> <scene_description>Darryl throws his cape around Kevin and they run side by side. 800000000M ! ! ! ! ! ! ! The bank blows slcy high. Flames and broken glass blast over Darryl and Kevin. The force of it knocks them to the ground. A horrible hush falls over the crowd. Kevin and Darryl glance back, stunned. The entire bank is reduced to rubble.</scene_description> <character>--</character> <dialogue>Kimberly runs to them.</dialogue> <character>KIMBERLY</character> <dialogue>That was the bravest thing I've ever seen anyone do.</dialogue> <scene_description>Kevin looka up to her and holds out his arms. Kimberly grabs Darryl and hugs him.</scene_description> <character>DARRYL ~</character> <dialogue>He's dead.</dialogue> <character>KIMBERLY</character> <parenthetical>(comforting him)</parenthetical> <dialogue>You did what you could. No one else would have gone in there.</dialogue> <scene_description>Kevin looks at her blankly. What about me? The crowd begins to take in what has happened. CI TY iJORKER The money! The money is gone! Ccmm1ss1one:::-Gains l~oks at the angry crowd nervously.</scene_description> <character>CAINS</character> <dialogue>Blankman let us down!</dialogue> <character>ANOTHER</character> <dialogue>He's a coward! He ran away!</dialogue> <character>GAINS</character> <dialogue>Yeah- I told him not to go in there.</dialogue> <character>LITTLE OLD LADY</character> <dialogue>Murderer!</dialogue> <scene_description>The crowd starts to scream. Gets really ugly. The police try to hold them back.</scene_description> <character>CROWD</character> <dialogue>Get him! Kill him! He lost our money!</dialogue> <scene_description>Kevin grabs Darryl.</scene_description> <character>KEVIN</character> <dialogue>We've got to run.</dialogue> <scene_description>He drags him off. They run away. The crowd breaks through the lines and chases them.</scene_description> <character>CROWD</character> <dialogue>Run you coward! Run!</dialogue> <scene_description>Gains looks at the police officers.</scene_description> <character>GAINS</character> <dialogue>Maybe you'd better stop them...</dialogue> <character>OFFICER</character> <dialogue>If we're not getting paid, we"re walking out.</dialogue> <character>OTHEROFFICERS</character> <dialogue>No pay, no work! • No pay, no work!</dialogue> <scene_description>All hell breaks loose. The crowds begin looting and rioting. The striking police sit back and watch them destroy the city.</scene_description> <character>77,</character> <dialogue>EXT,ALLEX- PA:t</dialogue> <scene_description>fib The mob runs pa\_st a big dumpster. After a few moments Kevin l- peeks out. -</scene_description> <character>KEVIN</character> <dialogue>I think we're safe. You'd better get out of th~t costume as fast as you can.</dialogue> <character>OAARYL</character> <dialogue>Believe me, I will.</dialogue> <scene_description>------ -·- ---------------------------------</scene_description> <character>- N!GHT</character> <dialogue>INT. BLANKSTA,TIQN</dialogue> <dialogue>Darryl in street clothes, shuts off the power to the Blankstation. JS watches.</dialogue> <character>DAARYL</character> <dialogue>I'm not coming back. I'm sorry Al. I'm sorry JS.</dialogue> <character>AL</character> <parenthetical>(drunk and sobbing)</parenthetical> <dialogue>You can"t go. We need you. You're a hero. Look what you've done for me. I would have been a nothing, a loser, a drunkard ...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Well two out of three ain't bad. Besides you can't 90, or you forfeit your security deposit.</dialogue> <character>DARRYL</character> <dialogue>It's okay. You can have it. I'm not coming back.</dialogue> <scene_description>Darryl walks away. JS follows for a moment and then stops. It watches him go. Its lights dim and go out. ·- INT, AfAB1'KPfT- NIGHT Darryl sits blankly in front of the TV. It's replaying the ,,a bank blowing up and close-ups of Blankman running away. (.l-</scene_description> <character>TV BROADCAST</character> <dialogue>in an act of amazing .cowardi~e, Allg supposed hero, Blankrnan saved his ----.:. own ass while killing Mayor j\_ Harris. Police Commissioner Gains squarely put the blame on Blankman's shoulders.</dialogue> <character>GAINS</character> <dialogue>... Blankman assured us he cc•J ~d handle it alone. If we made any mistake it was in trusting him. We never imagined he would act so</dialogue> <scene_description>irresponsibly and set off the bomb... Kevin turns off the TV,</scene_description> <character>KEVIN</character> <dialogue>Will you stop watching that? It wasn't your fault.</dialogue> <character>DARRYL</character> <dialogue>All I wanted to so was help people. Not hurt them.</dialogue> <scene_description>He sits on the couch and stares. Kevin talks to him.</scene_description> <character>KEVIN</character> <dialogue>Don't be so hard on yourself. You tried. That's more than the police did. People don't really want heroes, Darryl. •</dialogue> <character>DARRYL</character> <dialogue>Good, because from now on, .I'm just going to be normal.</dialogue> <character>KEVIN</character> <dialogue>Okay\_</dialogue> <character>DARRYL</character> <dialogue>What do I do?</dialogue> <character>KEVIN</character> <dialogue>Um... normalhuh. Well- I don't know- you just- you might get a job- a girl- your own place\_</dialogue> <character>DARRYL</character> <dialogue>What kind of job?</dialogue> <character>KEVIN</character> <dialogue>Anything. Just something normal.</dialogue> <scene_description>----------------------------------- INT, HCPQNALp•s</scene_description> <character>- PAY</character> <dialogue>Darryl stands in a McDonald's uniform.</dialogue> <character>DARRYL</character> <dialogue>Would you like some fries with that, sir?</dialogue> <character>CUSTOMER</character> <dialogue>No. thanks.</dialogue> <character>DARRYL</character> <dialogue>How about a hot apple pie?</dialogue> <character>CUSTOMER</character> <dialogue>No.</dialogue> <character>DARRYL</character> <dialogue>How about some McDonaldland cookies? -·</dialogue> <character>CUSTOMER</character> <parenthetical>(snatching the bag)</parenthetical> <dialogue>Just give me my damn burger.</dialogue> <scene_description>Darryl, almost like a zombie, hands him the order on a tray and makes change.</scene_description> <character>DARRYL</character> <dialogue>Thank you for coming to McDonald's. Please come again.</dialogue> <scene_description>INT, WAB,EHqusE</scene_description> <character>- NIGHT</character> <dialogue>MINELLI and his boys meet with PEUGEOTa drug supplier who has several of his own men with him. f!-</dialogue> <character>PEUGEOT</character> <dialogue>A deal's a deal, Minelli, if you don't have the cash you don't get the merchandise. You promised you'd have it today.</dialogue> <character>MINELLI</character> <dialogue>I had a minor setback. But the city's wide open with the police strike, which I remind you was my doing. We'd be fools not to take advantage of it.</dialogue> <character>PEUGEOT</character> <dialogue>Oh, I'm going take advantage of it alright. I'm eliminating the middle man and dealing directly with Jacko. We're going to flood the streets.</dialogue> <character>MINELLI</character> <dialogue>You trying to cross me! I'll kill you! I'll kill Jacko.</dialogue> <character>PEUGEOT</character> <dialogue>You're washed up Minelli. You don't have the muscle anymore. You're a bigger joke than. Blankman. •</dialogue> <scene_description>He laughs and he and his boys exit. Minelli has a fit.</scene_description> <character>MINELLI</character> <dialogue>You see that! They don't respect me anymore. When you lose the respect you lose everything.</dialogue> <character>TONY</character> <dialogue>What are you going to do, Boss?</dialogue> <character>MINELLI</character> <dialogue>I've got to vindicate lTl'fSelf by -· killing Blank.man.</dialogue> <character>TONY</character> <dialogue>How are you going to find him?</dialogue> <character>MINELLI</character> <dialogue>He's a crime fighter. We'll corrmit some crimes.</dialogue> <scene_description>----------------------------------------- •• INT, LIQUORSTORE- NIGHT Ill Tony has a gun on a LIQUOR STORE OWNER. San-my and several boys ~ wait by the entrances with guns.</scene_description> <character>MINELLI</character> <dialogue>Minelli watches.</dialogue> <character>----</character> <dialogue>Try again.</dialogue> <scene_description>Tony pokes the liquor store owner with the gun barrel.</scene_description> <character>OWNER</character> <dialogue>Help! Blankman! Help!!</dialogue> <scene_description>They all wait for a second. Minelli sighs.</scene_description> <character>MINELLI</character> <dialogue>Oh, well, take his money, hit him in the head, and lets get out of here.</dialogue> <character>INT. SQBWAX</character> <dialogue>- NXGHT I 2Z-</dialogue> <scene_description>Darryl. in his McDonald's uniform, sits reading a McDonald's· Employee handbook as various criminal acts are conmitted around him. KIDS openly graffiti the train. A PUNKgrabs an old woman's purse and runs right past Darcyl. Darcyl completely ignores it.</scene_description> <character>EXT.CHEMICAL</character> <dialogue>WAREHOUSE</dialogue> <scene_description>Minelli and his boys are sitting around a black sedan with guns. In the background a warehouse is burning.</scene_description> <character>SAMMY</character> <dialogue>Boss, I don't think he's coming.</dialogue> <character>MINELLI</character> <dialogue>He's Blankman, damnit'. He'll be here. Give him just five more minutes.</dialogue> <character>SAMMY .€�</character> <dialogue>Boss, maybe you should just let go ...</dialogue> <character>MINELLI</character> <dialogue>Maybe I should let one of these bullets go in your head!</dialogue> <scene_description>I NT NEWSROOM- Pl\Y</scene_description> <character>I</character> <dialogue>Kimberly argues with Kevin.</dialogue> <character>KIMBERLY</character> <dialogue>I want to do a piece on Blank.man. Nobody's heard from him in over a week. He got a bum rap.\_</dialogue> <character>KEVIN</character> <dialogue>Just leave it alone. Why dig it all u~ again? No one wants to hear it.</dialogue> <character>KIMBERLY</character> <dialogue>I can't believe you won't stick</dialogue> <scene_description>. up for him after he saved your life at the bank.</scene_description> <character>KEVIN</character> <dialogue>I went in there after him!</dialogue> <character>KIMBERLY</character> <dialogue>Yeah, and he had to stop what he was doing to drag you out!</dialogue> <character>KEVIN</character> <dialogue>Did it ever occur to you that Blan&gt;anan might want to be left alone?</dialogue> <character>KIMBERLY</character> <dialogue>You don't have the right to speak for him. This city has gone to the dogs. We need him, he represents hope.</dialogue> <character>'KEVIN</character> <dialogue>You raised eve~1one's expectations so high that he was bound to fail. You're Just as bad as Stone. He exploits the negative and you exploit the positive. Either way it's a lie. We're all imperfect hwnans. Blankrnan was just a man. And he wants to be left alone.</dialogue> <character>KIMBERLY</character> <dialogue>How do you know?</dialogue> <character>KEVIN</character> <dialogue>He's my brother, okay?</dialogue> <scene_description>NT, MCDQNALD'S</scene_description> <character>- DAY</character> <dialogue>Darryl works the shake machine. Kimberly comes in hesitantly. ~ She stares across the counter at him. Is it really possible? ,,. Is this Blank.man?</dialogue> <dialogue>Darryl notices her and starts to qet nervous. He pours shake all over himself. He runs to the back, knocking down boxes of frozen French fries, bumping into SEVERALWORKERSand creating total chaos.</dialogue> <dialogue>An EMPLOYEEbehind the counter looks at Kimberly.</dialogue> <character>ANOTHER</character> <dialogue>EMPLOYEE</dialogue> <scene_description>Did you want anything?</scene_description> <character>KIMBERLY</character> <dialogue>No.</dialogue> <scene_description>She quickly exits. lNT, WAB,EHQQSE</scene_description> <character>- NIGHT</character> <dialogue>Minelli sits behind a desk, depressed. Tony comes in.</dialogue> <character>TONY</character> <dialogue>Hey boss, there's a guy in a wheelchair to see you.</dialogue> <character>MINELLI</character> <dialogue>Get rid of him.</dialogue> <character>TONY</character> <dialogue>But he says he can help you get Blanlanan.</dialogue> <character>MINELLI</character> <dialogue>Then wheel him in!</dialogue> <scene_description>Tony bring Hr. Stone 1n.</scene_description> <character>MP.. STONE</character> <dialogue>Mr. Minelli, I'm Larry Stone from Hard Edition.</dialogue> <character>MINELLI</character> <dialogue>How did you find me?</dialogue> <character>. MR. STONE</character> <dialogue>How did we get the pictures of Whitney Houston's after birth? We're tabloid television. We know everything. But I'm here to talk about Blank.man. I understand you're after him.</dialogue> <character>MINELLI</character> <dialogue>I want to kill him. You know where he is?!</dialogue> <character>MR. STONE</character> <dialogue>Maybe.</dialogue> <character>MINELLI</character> <dialogue>Don't smart mouth me! I want to know where Blankman is.</dialogue> <character>MR. STONE</character> <dialogue>We have to have a deal first.</dialogue> <scene_description>Minelli grabs the wheelchair and bangs it into the wall.</scene_description> <character>MINELLI</character> <dialogue>No deals! I want to know where Blankman is now!</dialogue> <character>MR. STONE</character> <dialogue>First a deal.</dialogue> <scene_description>Minelli bangs him into the wall again.</scene_description> <character>STONE</character> <dialogue>You're wasting your time. I'm paralyzed from the waist down. Look, I'm in the business of ratings. Last year, David Koresh, fifty two days number one in my time slot. That's ratings. But he was smart, he listened to me. He started out running a s\ll'Cll\ercamp. I said, why be a counselor when you can be the messiah? Dahmer, now that guy had a gimmick, but he listened too. Originally he was just throwing away those bodies.</dialogue> <parenthetical>(more)</parenthetical> <dialogue>STONE (Cont.'dl</dialogue> <scene_description>It.old him, Jeff, babe, free:e t.hat. ass.</scene_description> <character>MINELLI</character> <dialogue>Alright., I'm liste~ing.</dialogue> <character>MR. STONE</character> <dialogue>Look, the police are on strike. You want Blanlanan, I want ratings. I say we combine the two like that Bud Light conunercial. I happen to know that Blank.man has the hots for a certain female reporter.-.</dialogue> <character>MINELLI</character> <dialogue>Go on-.</dialogue> <scene_description>----------------------------·-</scene_description> <character>INT, APARTMENT</character> <dialogue>- MORNING</dialogue> <character>.... -</character> <dialogue>Kevin looks sadly at a ~hoto of their Grandmother on the mantle. Darryl enters in McDonald's uniform. Pours himself a cup of coffee.</dialogue> <character>KEVIN</character> <dialogue>Hey, why don't we have JS make us some breakfast?</dialogue> <character>DARRYL</character> <dialogue>JS's gone.</dialogue> <character>KEVIN</character> <dialogue>Oh, right. I miss him banging around.</dialogue> <character>DARRYL</character> <dialogue>Here's my paycheck. I made two hundred and thirty five dollars this week. I got ten hours of overtime. •</dialogue> <character>KEVIN</character> <dialogue>Oh, thanks. How's it working out, huh? Have you rebuilt the fry machine?</dialogue> <character>DARRYL</character> <dialogue>No, it's fine the way- it is.</dialogue> <character>KEVIN</character> <dialogue>I bet you drive your new boss crazy like Mr. Crudd.</dialogue> <character>DARRYL</character> <dialogue>I'm employee of the month. Good- bye.</dialogue> <scene_description>He heads for door.</scene_description> <character>KEVIN</character> <dialogue>Listen, you should eat something. Let me cook you a nice balanced meal ...</dialogue> <scene_description>Kevin puts on the apron.</scene_description> <character>DARRYL</character> <dialogue>I'm fine. I'll have a Big Mac later. Don't wait up.</dialogue> <character>KEVIN</character> <dialogue>You know, I miss the old Darryl.</dialogue> <scene_description>Darryl doesn't say anything. He exits. Kevin stares after his brother. -----------------------------------·.</scene_description> <character>EXT, NEWSBUILDING</character> <dialogue>A truck</dialogue> <character>- ~/ENING</character> <dialogue>pulls up outside the newsroom. Minelli's men unload '2-</dialogue> <scene_description>,za explosives and weapons and head into the building. Stone rolls down a ramp.</scene_description> <character>STONE</character> <dialogue>Come on, lets move it. We've got to be ready for primetime!</dialogue> <character>INT, NEWSROOM</character> <dialogue>- JWENING I~</dialogue> <scene_description>Kimberly is editing a Blankman piece. old lady talks about him. All</scene_description> <character>LADY</character> <dialogue>I know is that he was the</dialogue> <scene_description>On the screen a little</scene_description> <character>--</character> <dialogue>(,,.</dialogue> <scene_description>only one that would help me. Now that Blankman's gone, I don't feel safe anymore. I think he got the ahaft- TOnf and S~ suddenly burst into the room. Minelli enters behind them.</scene_description> <character>KIMBERLY</character> <dialogue>Michael Minelli-</dialogue> <scene_description>Sammy grabs at her.· Kimberly goes into action, she slams her heel into his foot.</scene_description> <character>KIMBERLY</character> <parenthetical>(by rote)</parenthetical> <dialogue>Heel to foot. Elbow to stomach.</dialogue> <scene_description>"-·, She elbows him in the stomach. Samny screams, she turns and punches him in the Ad411l'S apple. falls Sc!UIUIY over in pain.</scene_description> <character>KIMBERLY</character> <dialogue>Thrust to Adam's apple.</dialogue> <scene_description>Minelli places a pistol to her temple.</scene_description> <character>MINELLI</character> <dialogue>Gun to head. Sit down.</dialogue> <scene_description>-------------------------------------· -- •</scene_description> <character>INT. MCPQNALQ'S</character> <dialogue>- DAY</dialogue> <scene_description>Darryl, in uniform, waits on a line of customers.</scene_description> <character>DARRYL</character> <dialogue>The happy meal is a real value considering all you get-</dialogue> <scene_description>Kevin frantically enters and runs to Darryl.</scene_description> <character>KEVIN</character> <dialogue>Darryl! Minelli has taken over the news station! They\_</dialogue> <character>DARRYL</character> <dialogue>I'm sorry, sir, but you'll have to wait your turn in line.</dialogue> <character>KEVIN</character> <dialogue>But there isn't time-</dialogue> <character>DARRYL</character> <dialogue>I'm sure these other customers are in a hurry too. Please step</dialogue> <scene_description>- to the back of the line or I'll have to call the manager. Kevin runs to the back of the line and impatiently waits as Darryl takes care of the other customers. Kevin finally gets to the front. --</scene_description> <character>DARRYL</character> <dialogue>Welcome to McDonald's. Can I take you order?</dialogue> <character>KEVIN</character> <dialogue>I don't want anything! I need to talk to you!</dialogue> <character>DARRYL</character> <dialogue>I can't talk until my break. I'm on Ronald's time now.</dialogue> <character>KEVIN</character> <dialogue>You don't understand! They've taken Kimberly hostAge!</dialogue> <character>DARRYL</character> <dialogue>Kimberly?!</dialogue> <character>KEVIN</character> <dialogue>Minelli says he'll blow up her and the station if Blankrnan doesn't show up in thi~ty minutes! The police are doing nothing! You've got to save her.</dialogue> <character>DARRYL</character> <dialogue>It's not my problem. I don't want to get involved. I'm just Darryl Walker, assistant crew chief ...</dialogue> <character>KEVIN</character> <dialogue>I'm not talking to Darryl! I'm. talking to Blankman! He's a hero. He won't sit by and let Kimberly die. Because he's special. And when the chips are down, you can always count on Blankman!</dialogue> <character>DARRYL</character> <parenthetical>(getting confused)</parenthetical> <dialogue>I- would you like fries with that- how about a chocolate shake sir- you order will be ready\_</dialogue> <scene_description>Kevin slaps him.</scene_description> <character>KEVIN</character> <dialogue>Stop it! You're Blankman!</dialogue> <character>DARRYL</character> <dialogue>You told me to grow up. I'm just trying to be what you wanted me to be.</dialogue> <character>KEVIN</character> <dialogue>I was wrong. We need you to be what you were.</dialogue> <character>DARRYL</character> <dialogue>I'm afraid. I can't do it alone.</dialogue> <character>KEVIN ..-</character> <dialogue>You don't have to. Because this time I'm with you.</dialogue> <scene_description>Darryl looks at him hopefully.</scene_description> <character>DARRYL</character> <dialogue>Will you wear the costume?</dialogue> <scene_description>Kevin rips open his jacket. Underneath is a ver:y tight, goofy lookin9.costume.</scene_description> <character>KE"/IN</character> <dialogue>I've already got it on, Blankman.</dialogue> <character>DARRYL</character> <dialogue>Wow!</dialogue> <parenthetical>(eyes widen, the old Darryl returns)</parenthetical> <dialogue>Let's go. To the Blankstat.ion!</dialogue> <scene_description>They to the door. Darryl stops.</scene_description> <character>DARRYL</character> <dialogue>Wait! I've got to go punch out.</dialogue> <scene_description>As Kevin rolls his eyes, Darryl runs back. --------·· -·.:</scene_description> </scene> <scene> <stage_direction>INT. BLANXSTATIQN</stage_direction> <character>- NIGHT /~I</character> <dialogue>Darryl, in costume, slides down a twisting shoot to the /L Blankstation and lands on his feet. Kevin, also in costwne, slides down after and lands on his ass. He looks around awed. JS lights up and bounces when he sees Darryl.</dialogue> <character>DARRYL</character> <dialogue>Quick JS! We have to convert you into a bomb disposal unit!</dialogue> <scene_description>Darryl hits a button and a panel spins open. Inside are four specialized JS accessory packs: Anti-Terrorist, Bomb.Disposal, Kitchen Helper, General Maintenance. JS patters up and Darryl quickly snaps various accessories into place.</scene_description> <character>KEVIN</character> <dialogue>What can I do? --</dialogue> <character>DARRYL</character> <dialogue>Say a prayer.</dialogue> <character>KEVIN</character> <dialogue>Oh great. That makes me feel useful. Look, we're walking into a trap. We've got to figure out how to get the jump on them.</dialogue> <scene_description>Blankman fills Kevin anns with all sorts of garbage.</scene_description> <character>BLANKMAN</character> <dialogue>We're bringing everything we've got. They're expecting us to come through the front door. But we'll come in from the roof!</dialogue> <character>KEVIN</character> <dialogue>What are you going to do? Fly?</dialogue> <scene_description>Bt.t\NJ&lt;MAN Exactly! Blank.man hits a button. A skylight in the station opens above them. He hits another button. A trapdoor opens and up rises the Blankbird. It looks like an ordinary chair with a pole rising up the back from a st~a~ped on motor. At the top of the pole is what looks like a ce1l1ng fan.</scene_description> <character>BLANJ&lt;MAN</character> <dialogue>The Blankbird!</dialogue> <character>KEVIN</character> <dialogue>You've got to be kidding.</dialogue> <character>BLANKMAN</character> <dialogue>I haven't had a chance to fully test it. In fact, I haven't tested it at all. But, by George, it's g.Q.t to work!</dialogue> <scene_description>EXT, CITYSKYLINE</scene_description> <character>- NIGHT /32-</character> <dialogue>In a beautiful, whizzes across</dialogue> <scene_description>but inexpensive to shoot optical, the city with Kevin, Darryl and JS.</scene_description> <character>DARRYL</character> <dialogue>the Blankbird</dialogue> <character>-4</character> <dialogue>Ahoh. We're losing altitude fast. I knew I should have tested it.</dialogue> <character>KEVIN</character> <dialogue>We better get rid of some of this junk.</dialogue> <character>DARRYL</character> <dialogue>Good- idea, Blankbrother-</dialogue> <character>KEVIN</character> <dialogue>What's that?</dialogue> <character>DARRYL</character> <dialogue>Your superhero name.</dialogue> <scene_description>..a</scene_description> <character>KEVIN</character> <parenthetical>(tossing stuff overbOard)</parenthetical> <dialogue>I don't like it.</dialogue> <scene_description>The Blankbird begins to lift back up.</scene_description> <character>INT, NEWS</character> <dialogue>ROOM</dialogue> <character>- NIGHT</character> <dialogue>Kimberly is chained to a pillar as Minelli's boys stand guard. /~ She looks tense but professional. Minelli is being interviewed ty Stone.</dialogue> <character>STONE</character> <dialogue>We're back with our live one on one with fugitive Michael Minelli. So Mike, we're halfway into the program and Blankrnan hasn't shown up. Are you still planning to blow up the building end of this broadcast?</dialogue> <scene_description>A small disclaimer appears under screen.</scene_description> <character>HARO EDITION IS NOT RESP~NSIBLE</character> <dialogue>FOR THE OPINIONS OF ACTIONS OF</dialogue> <dialogue>AfN CRIMINALS APPEARINGON THIS PROGRAMS.</dialogue> <scene_description>The image cuts to Kimberly's face.</scene_description> <character>MINELLI (0. S.)</character> <dialogue>Absolutely.</dialogue> <character>STONE</character> <dialogue>I know I'm on the edge of my seat. But let's probe a little deeper into the sick side of Mikey. The killing, the extortion, the drug dealing. Do you have any re9rets. Do you sleep well at night? Do you ever wor-ry that you'll wake up with a bullet in your head?</dialogue> <character>MINELLI</character> <dialogue>Yeah, that crosses my mind sometimes. But it's part of the job.</dialogue> <character>STONE</character> <dialogue>We're you abused as a child?</dialogue> <character>MINELLI</character> <dialogue>Look, I'm getting tired of ·this.</dialogue> <scene_description>., You set me up. You said Blanlcman would be here. He hasn't shown up. No only am I going to kill her, but I'm going to kill you too. He takes out his gun.</scene_description> <character>STONE</character> <dialogue>No! Wait until we've run all the commerc 1a ls.!</dialogue> <scene_description>Suddenly Blankrnan and Kevin come crashing into the room through the bank of windows.</scene_description> <character>KIMBERLY</character> <dialogue>Blankman! You shouldn't have come! It's a trap!</dialogue> <character>MINELLI</character> <dialogue>Blankman ... well well well. And. .. who the hell are you?</dialogue> <scene_description>Kevin and Darryl look at each other. They aren't sure.</scene_description> <character>KEVIN</character> <dialogue>um.. I don't know yet. But I'm leaning toward Realman ... or ...</dialogue> <character>MINELLI</character> <dialogue>I got one.\_ how's about. Dead.man. That's got a ring to it. You guys like that? Get them.</dialogue> <scene_description>Minelli's men rush them and a fight erupts in typical Batman style.</scene_description> </scene> <scene> <stage_direction>EXT. STQREFRONT</stage_direction> <character>- NIGHT</character> <dialogue>A crowd has gather i~ front of a TV store. They watch the broadcast and cheer for Blank.man.</dialogue> <character>CROWD</character> <dialogue>Go Blank.man! We love you!</dialogue> <scene_description>INT NEWS</scene_description> <character>ROOM</character> <dialogue>- NIGHT</dialogue> <scene_description>The fight continues. Just as it looks like our heroes might prevail, Minelli puts a gun to Kimberly's head.</scene_description> <character>MINELLI</character> <dialogue>Alright, enou~h horsing around. You try an~thing else and the girl gets it.</dialogue> <scene_description>Kevin and Darryl stop fighting. The hoods grab them.</scene_description> <character>DARRYL</character> <dialogue>You can't just shoot us. You're too evil for that. I'm sure your fiendish mind can think of something more cruel and clever than just a bullet.</dialogue> <character>STONE</character> <dialogue>Yeah, besides we still have seven more minutes of air-time to fill.</dialogue> <character>MINELLI</character> <dialogue>You're right. I want you to die slowly. Put them in the tank boys.</dialogue> <scene_description>They grab Kevin and Darryl and take them to a giant draped object. As the cover is removed we see that it is a large glass tank. They toss them in and seal it off. The tank begins to fill with water.</scene_description> <character>KEVIN</character> <dialogue>I would have took the bullet.</dialogue> <character>DARRYL</character> <dialogue>Wow... this is neat. We'll never· get out of here.</dialogue> <character>MINELLI</character> <dialogue>That's the plan Blankman. While you're trapped in there, I've got a hidden a bomb rigged to go off in five minutes.</dialogue> <character>DARRYL</character> <dialogue>Holy double Jeopardy! You're good, Minelli. Now that-you've won, you don't need Kimberly anymore. Why don't you let her go?</dialogue> <scene_description>The water has risen to Darryl and Kevin's chest. He whispers.</scene_description> <character>KEVIN</character> <dialogue>While you're at it, see if you can negotiate me out of this too\_</dialogue> <character>MINELLI</character> <dialogue>rhe broad stays .. And hon~, just in case you get any smart ideas: You're chains are wired so if you so much as move, the bomb goes instantly. Adios Blankman.</dialogue> <character>STONE</character> <dialogue>'.nlis is great television. But there's something missing. • A button. A little piece of business at the end...</dialogue> <character>MINELLI</character> <dialogue>You mean like a twist?</dialogue> <character>STONE</character> <dialogue>Yeah. Something that pulls at the heart strings.</dialogue> <character>MINELLI</character> <dialogue>How's this?</dialogue> <scene_description>He wheels Stone over to the pillar Kimberly is chained co. He chains one wheel of Stone's chair to it.</scene_description> <character>STONE .</character> <dialogue>No- I was thinking of something a little more upbeat.-,</dialogue> <character>MINELLI</character> <dialogue>I like this. It's ironic. Good- bye. We'll keep the camera running. Come on guys.</dialogue> <scene_description>Minelli and his boys go out the door.</scene_description> <character>STONE</character> <dialogue>You can't leave me here like this. You'll never work in this town again!</dialogue> <scene_description>They slam the door. Kimberly looks at Stone.</scene_description> <character>KIMBERLY</character> <dialogue>Stone! We're in this together now. You've got to help Blanlanan get out.</dialogue> <character>STONE</character> <dialogue>I'm sorry. The program is still on.</dialogue> <scene_description>He pulls himself out of the chair and falls to the floor. He belly crawls to the door. He opens it and slides outside .</scene_description> <character>€�KIMBERLY</character> <dialogue>You slimy snake!</dialogue> <scene_description>The water has risen to Kevin and Darcyl's neck.</scene_description> <character>KEVIN</character> <dialogue>Come on, Blankman, don't you have any gizmos to get us out of here?</dialogue> <character>DARRYL</character> <dialogue>we tossed everything overboard.</dialogue> <character>KEVIN</character> <dialogue>Then we're dead.</dialogue> <character>DARRYL</character> <dialogue>Don't be such a party pooper. We still have JS!</dialogue> <scene_description>\. Darryl activates his wristwatch. ---------------------·. -----------------.</scene_description> <character>INT STAIRWAY</character> <dialogue>I '~~</dialogue> <scene_description>JS twnbles down a flight of stairs. Piece break off of h:m, 2.- but it lands on it's feet and rolls off.</scene_description> <character>INT. HALLWAY</character> <dialogue>A wobbly JS rolls toward the studio. It reaches the door but can't open it with his bent robot arm. It keeps struggling.</dialogue> <character>INT, NEWSROOM</character> <dialogue>- NIGHT</dialogue> <scene_description>The water has risen over their heads. They stand on their tiptoes to try to get the last of the air. Kimberly looks on concerned. Kevin stares back at her sadly. She calls out.</scene_description> <character>KIMBERLY</character> <dialogue>Blankman! I love you!</dialogue> <scene_description>Kevin looks at her annoyed.</scene_description> <character>DARRYL</character> <dialogue>JS, you've got to do it! You've got to do it!</dialogue> <character>INT. HALLWAY</character> <dialogue>JS backs up down the hallway to get a running toward the door at full speed.</dialogue> <scene_description>start. He rolls</scene_description> <character>-I</character> <dialogue>INT. NEWSROOM</dialogue> <character>- NIGHT</character> <dialogue>JS crashes through the door. It immediately heads for the</dialogue> <scene_description>tank. The water has reached helplessly. Hurry JS!</scene_description> <character>KIMBERLY</character> <dialogue>the top and Kevin and Darryl float</dialogue> <scene_description>~:</scene_description> <character>JS</character> <dialogue>Hel-lo Kim-ber-ly.</dialogue> <scene_description>A drill bit comes out of JS and cuts into the glass. As it pierces the glass it comes frighteningly close to Kevin's groin. JS drills another hole next to it. The glass cracks around the holes. Water starts to pour out of the tank. From the right angle it almost looks like Kevin and Darryl are peeing. The water level starts to go down and Kevin ~nd Darryl gat air.</scene_description> <character>9S.</character> <dialogue>DARRYL</dialogue> <scene_description>The holes have weakened the glass. Let's do it, Kick.ma~.</scene_description> <character>KEVIN</character> <dialogue>I don't like lt.</dialogue> <scene_description>Simultaneously, Kevin and Dar~/1 kick at the glass with all their strength. It shatters and the two roll out with the water. INT, STAIRCASE Stone crawls INT, NEWS</scene_description> <character>BUILDING</character> <dialogue>down the stairs</dialogue> <character>- NIGHT</character> <dialogue>one at·a time.</dialogue> <character>-</character> <dialogue>I</dialogue> <scene_description>A dripping wet Darryl and Kevin run to Kimberly.</scene_description> <character>DARRYL --....</character> <dialogue>Don't touch the chains!</dialogue> <character>KEVIN</character> <dialogue>We've got to find the bomb!</dialogue> <character>KIMBERLY</character> <dialogue>There's no time. It could be anywhere. The broadcast ends in three minutes. Save yourself. It doesn't make sense for all of us to go. •</dialogue> <character>DARRYL</character> <dialogue>I'll be back, my love!</dialogue> <scene_description>Kimberly and Darryl kiss again. Oarcyl shakes with delight.</scene_description> <character>KEVIN</character> <dialogue>This is making me sick.</dialogue> <scene_description>INTC MI,LJAAY</scene_description> <character>- NIGMT</character> <dialogue>B\_lankman, Kevin and JS run into in a hall filled with doors.</dialogue> <character>KEVIN</character> <dialogue>How can we find the bomb in this huge building?</dialogue> <character>BLANKMAN</character> <dialogue>We can't, but JS can.</dialogue> <scene_description>Blankman pulls out a Nitendo like cartridge and plugs it into JS. The cartridge reads: •Bloodhound.• He pulls the stick of dynamite out of his belt.</scene_description> <character>BLANKMAN</character> <dialogue>Smell it, boy! Smell it!</dialogue> <scene_description>JS barks excitedly like a dog.</scene_description> <character>8 LANY.MAN</character> <dialogue>Find the dynamite! Go!</dialogue> <scene_description>JS darts off barking. Blankrnan runs after. Kevin does a double take.</scene_description> <character>KEVIN</character> <dialogue>I don't believe this.</dialogue> <scene_description>·---· -----·-·---: INT, DOORTO WOMEN'S</scene_description> <character>BATHROOM</character> <dialogue>JS rolls up to door. Barks. Uses robot hand to scratch at taf4 door. Starts to whine. Blank.man and Kevin run up.</dialogue> <character>BLANKMAN</character> <dialogue>-l..</dialogue> <scene_description>That's the women's bathroom! The fiend! He. knew it's the one room we can't go in. .. Kevin ~rabs him by the back of the head and tosses him through the swinging door. He follows him inside.</scene_description> </scene> <scene> <stage_direction>INT. WQMEN'S</stage_direction> <character>BATHROOM</character> <dialogue>They come in and see a stack of dynamite.</dialogue> <character>KEVIN</character> <dialogue>The bomb!</dialogue> <character>DARRYL</character> <dialogue>JS, it's up to you.</dialogue> <character>JS</character> <dialogue>Hello, Kimberly.</dialogue> <scene_description>JS's head folds back and reveals a large opening. Dar:cyl slowly ~ick up the bomb and slides it into JS. He has to move the sticks around gently to get it all in. JS's head closes back over it.</scene_description> <character>BLANJ&lt;MAN</character> <dialogue>I hope this works. His bomb shield is only certified for five sticks of dynamite. I put over twenty in there-</dialogue> <scene_description>JS heads out.</scene_description> <character>DARRYL</character> <dialogue>\ Hurry, JS. Out to the street!</dialogue> <scene_description>Kevin, you can go free Kimberly now! nr; HALLWAY t - NIG;jT --·------ ---:</scene_description> <character>..</character> <dialogue>Blank.man follows JS as it whizzes to the front door.</dialogue> <character>-EXT,NEWS</character> <dialogue>BUILDING</dialogue> <character>- NIGHT</character> <dialogue>Crowd has gathered to cheer Blank.man on. JS rolls out. Blankrnan appears.</dialogue> <character>BLANKMAN</character> <dialogue>Everyone! Get back! Get back! Cover you ears!</dialogue> <scene_description>JS rolls out into the middle of the street. The crowd runs for cover. Darryl looks on, like a worried mom. KABBOOBOOBOBOM! There is a deafening explosion. Smoke and flames envelope JS. When it clears, JS stands shakily. JS falls over. Cracks in two. Darryl runs to him.</scene_description> <character>DARRYL</character> <dialogue>JS! Speak to me.</dialogue> <character>JS</character> <dialogue>Hel-lo- K... K...</dialogue> <scene_description>Darryl falls on his knees. He holds JS's shattered head in his arms. He looks into its sensors. There is nothing stronger than the bond between a boy and his robot. JS looks at him ..</scene_description> <character>JS</character> <dialogue>Good-bye\_ Darryl-</dialogue> <scene_description>Its lights go off for the last time. Darryl lowers its head ge~tly to the asphalt. He stands and looks up in the sky. A primal scream of injustice comes from his lips.</scene_description> <character>DARRYL</character> <dialogue>He shakes for a moment. Then his face be~omes steel.</dialogue> <character>DARRYL</character> <dialogue>Minelli, you're going down!</dialogue> <character>INT, WAR,EHQQSE</character> <dialogue>- NIGHT</dialogue> <scene_description>Minelli 4nd hia ~on~ come in.</scene_description> <character>MINELLI</character> <dialogue>I did it, I destroyed Blankman on natior.a~ TV. Now no one can stand in my wa·l !</dialogue> <scene_description>He turns on a tele'✓ ision. Kimberly is announcing.</scene_description> <character>KIMBERLY</character> <dialogue>In one of the highest rated broadcasts in television history. Blank.man heroically saved the. life of this reporter and our broadcast studio. In a last minute ...</dialogue> <scene_description>Minelli kicks the TV over.</scene_description> <character>MINELLI</character> <dialogue>How the hell did he get out of that! I can't believe it!</dialogue> <character>DARRYL(0. S.)</character> <dialogue>You'd better believe it Minelli.</dialogue> <scene_description>Darryl and Kevin stands far above them in the rafters.</scene_description> <character>MINELLI</character> <dialogue>Blank.man! How did you find me.</dialogue> <scene_description>Stone is also up in the rafters in his wheelchair and a camera.</scene_description> <character>STONE</character> <dialogue>I've got a story to finish.</dialogue> <character>KEVIN</character> <dialogue>You'll have time to figure it all out in sing-sing.</dialogue> <character>MINELLI</character> <dialogue>Shoot them boys!</dialogue> <scene_description>The gan9 pulls out submachine guns and sprays fire at Darryl and Kev~n. They raise their capes to cover their faces. The bullet• bounce off. Once the guns are empty they grabs ropes and swing• down to the crooks. They smashes into all of them and land in a pile. The hoods jump to their feet and a big fig~t begins. Kevin kicks and punches with graceful Karate acti.on. Darryl finally has his act together and fi9hts with almost equal skill. They bang into crates, smash chairs over each other, all in classic Batman style. Things start to look bad for the heroes. Badguys come at them from all directions. Suddenly, Kevin gets an idea.</scene_description> <character>KE'/IN</character> <dialogue>Back to back!</dialogue> <character>DAPRYL</character> <dialogue>Good thinking!</dialogue> <scene_description>They Jump back to back. Kevin fights off the badguys from one side, Darryl the other. They knock the badguys off one by one. The tide turns. Minelli decides to bail out.</scene_description> <character>MINELLI</character> <dialogue>Keep fighting, I'm going to get away!</dialogue> <scene_description>He runs for the door. Kevin and Darryl finishes off the last of the badguys.</scene_description> <character>KEVIN</character> <dialogue>He's getting away.</dialogue> <character>DARRYL</character> <dialogue>Not by the hair of my chinny-chin- chin!</dialogue> <scene_description>Darryl presses a button on his belt. Hydraulic wheels lift him up from under his soles. Small rockets emerge from the sides. The rockets ignite and blast him toward the door. Darryl, totally out of control, smashes into Minelli and they both crash through the door. EXT,WAREHQQSE</scene_description> <character>- NIGHT /~</character> <dialogue>They twnble outside where a crowd is waiting. As Blankman 3;,\_ shakes his head and recovers from the fall he notices the police are there. They grab Minelli.</dialogue> <character>POLICE</character> <dialogue>We thought you could use some help, Blank.man, but it seems you have the situation under control. Come on Minelli, we've got a nice cold cell waiting for you.</dialogue> <scene_description>Kimberly runs ·up and helps Blank.-nan up. ·Kevin joins them. INSERT- TELE;YISIQ~ Kimberly reads a newscast over shots of a big parade. Kevin Darryl and ride in costume in the back of a convertible. Crowds cheer and throw confetti.</scene_description> <character>KIMBERLY</character> <dialogue>- the entire city turned out to cheer on the our new heroes.</dialogue> <scene_description>A large CROWDfills the streets and steps surrounding City Hall. Gains, Kevin and Dar:yl, stand by the new mayor as he gives a speech behind a podium.</scene_description> <character>NEWMAYOR</character> <dialogue>On behalf of the citizens of this great City, I present you, Blank.man, and you ... um... the other guy ... with the Harris award for community service.</dialogue> <character>DARRYL</character> <dialogue>Thank you.</dialogue> <character>KEVIN</character> <dialogue>Yeah.</dialogue> <scene_description>PULL BACKTO REVEAL:</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT</stage_direction> <character>- NIGHT</character> <dialogue>Kevin and Darryl stand in the bar watching the broadcast.</dialogue> <character>KEVIN</character> <dialogue>What are you nervous about? She's madly in love with you. Why, I don't know-</dialogue> <character>DARRYL</character> <dialogue>No, she's in love with Blankman. But me, Darryl, I'm nobody. Just a nerd.</dialogue> <character>KEVIN</character> <dialogue>Then tell her you're Blankman.</dialogue> <character>DARRYL</character> <dialogue>Oh, yeah, and really break her heart.</dialogue> <scene_description>Kimberly enters and waves to the two of them. She comes over and joins them.</scene_description> <character>KEVIN</character> <dialogue>Um...Kimberly, this is·my brother, Darryl.</dialogue> <character>KIMBERLY</character> <dialogue>And it's nice to finally get to meet you, Darryl.</dialogue> <scene_description>10 l. A Matr'd leads them all to a table. Klmberly Slts down. Ki:·/ln has to push the nervous Oar~/1 to sit next to ~~r. Klmberl ✓ "--- teases him.</scene_description> <character>KIMBERLY</character> <dialogue>I can't get over this feeling that I've met you before.</dialogue> <scene_description>Darryl nervously pushes his glasses back up on his nose.</scene_description> <character>DARRYL</character> <dialogue>Oh, I don't think that's possible.</dialogue> <scene_description>Kimberly smiles at Kevin. Kevin shrugs.</scene_description> <character>KIMBERL'(</character> <dialogue>So, this is going to be an interesting night.</dialogue> <character>DARRYL</character> <dialogue>Maybe I should go find out what time the movie starts".</dialogue> <character>KEVIN</character> <dialogue>Seven thirty, I checked.</dialogue> <character>KIMBERLY</character> <dialogue>Oh, look! Over there! Four suspicious looking guys just walked into that liquor store. Looked like they were carrying guns". oh well- let's eat-</dialogue> <scene_description>Darryl glances anxiously across the street. He starts to ~lide under th-e table.</scene_description> <character>DARRYL</character> <dialogue>Um.- excuse me. I think I need to- powder my nose!</dialogue> <scene_description>Darryl slides under the table and darts away. He runs out the restaurant. A beat later he comes back sheepishly to Kimberly.</scene_description> <character>DARRYL</character> <dialogue>- you know?</dialogue> <character>KIMBERLY</character> <dialogue>Well,· there's only one way to be sure.</dialogue> <scene_description>She stands up and kisses him. He reacts on cue.</scene_description> <character>FADEOUT.</character> <dialogue>THE END</dialogue> </scene> </script>

As kids, Darryl and Kevin Walker grew up as fans of the television series Batman. Now grown, Darryl is a clumsy, nerdy repairman, while his brother Kevin is a tabloid news cameraman. They both live with their grandmother, who is an avid supporter of Alderman Marvin Harris, a politician from their neighborhood running for mayor on an anti-corruption platform. Kevin is interested in getting out of making tabloids and doing a serious story about mobster Michael "The Suit" Minelli, but his attempts to do so are shot down by his boss, Larry Stone, a perverted tabloid news junkie. Darryl is overly optimistic and almost childishly naive to the harsh realities of living in the inner city (such as the crackhouse next door), but is a brilliant inventor, having constructed a mobile robot assistant named J-5, among other creations. One night, after Harris wins acclaim by publicly refusing a bribe from Minelli, Grandma Walker is murdered by the mobster's henchmen at Harris's campaign headquarters. The murder opens Darryl's eyes to the urban decay around him and he begins to fight crime by boldly saving an elderly transit passenger from being mugged, but overreaches by storming the crackhouse next door to rebuke the gang members. He then decides to become a vigilante superhero, using his technical expertise to create weapons and gadgets in particular, a substance which renders ordinary clothing bulletproof for his crime-fighting crusade, all to the annoyance of Kevin. After Darryl is nearly killed trying to protect a citizen on the street and is arrested by the cops who ridiculed him after he demanded to see the police commissioner, Kevin takes Darryl to see a psychiatrist. It doesn't work in Kevin's favor, as Darryl denies being a superhero and puts the blame on Kevin, whom the psychiatrist then attempts to psychoanalyze. Kevin changes his mind and goes along with the fantasy, believing that it's Darryl's way to cope with the murder of their grandmother, but under the guidance of starting a neighborhood watch instead. When a girl tells them of a pregnant woman trapped in an elevator, Darryl arrives as his superhero alter-ego. Upon delivering the baby, he is surrounded by many, including reporters. Asking for his name, Darryl just stares Kevin says he's gone blank, which everyone interprets as his name: Blankman. Over time, Darryl uses his Blankman identity to protect various community members, build up a reputation, and inspire not only the town's citizens but other real-life superheroes. One person interested in him is Kimberly Jonz, a fellow reporter whom Kevin hopes to win the affection of. When Kimberly wants to know if it's possible to get an interview with Blankman, Kevin begs Darryl to allow her to interview him. He relents, on the condition that she wear a carnation. Taking her on his Blank-Cycle at the train tracks, he brings her to his secret hideout: the "Blank Station," an abandoned subway station filled with all of his inventions, or, in his words, "junk." Kimberly interviews him about how and why he took up crime fighting, revealing it was because of the death of his grandmother. Impressed by his heroics and modesty, Kimberly immediately falls in love with him. She kisses him, only for him to panic when he gets an erection. Mayor Harris attempts to bring in outside money to pay the IOUs the city has been giving its workers and requests that Blankman be there to protect the people and receive a special award. As the money is released, Minelli's henchmen storm the bank and take the mayor hostage, threatening to detonate explosives. At the police chief's request and the crowd's chants, Blankman attempts to save the mayor, and even with Kevin's help, he is unable to stop the crooks, nor defuse the bombs. Before the bombs go off, Darryl reveals his identity and his grandmother's support for the mayor. Harris wishes him well, warning him to run, and says he will tell his grandmother about Darryl. Blankman runs out screaming as the bank explodes, killing Harris. The crowd, seeing his failure, turn on him and chase him down the street. Now a pariah, Darryl gives up on crime fighting and even a possible relationship with Kimberly. Trying for a normal life, he gets a job at a McDonald's. Wanting a great story, Larry Stone manages to contact Minelli and trades knowledge of Blankman's love for Kimberly in exchange for an exclusive interview. While researching Minelli and Grandma Walker's murder, Kimberly realizes his true identity and calls Kevin with the news, only for Minelli to take Kimberly hostage. Thinking he is talking to Blankman, Minelli threatens to kill Kimberly if Blankman doesn't show up. Kevin rushes to Darryl's workplace with the news, but Darryl refuses to help until Kevin reveals Minelli killed their grandmother. They leave and change to their superhero identities: Blankman, and Kevin agreeing to wear a costume himself as "Other Guy." The two heroes rush to the TV station, where Minelli has murdered a reporter and is threatening others, including Stone. The two engage in a fight with Minelli's goons, but they lose. They are placed in a water tank and left to drown, with Stone and Kimberly chained up and left to die, and Minelli has hidden bombs to destroy the building. Blankman calls J-5 to save them and succeeds. The duo then finds the bombs in the women's bathroom, and stuffs the explosives inside J-5, while he frees Kimberly (Stone is left behind, as a joke by Other Guy). Once outside, the explosives detonate, destroying J-5. Distraught, Blankman swears revenge. Tracking Minelli to his factory hideout, Blankman and Other Guy prepare for the final battle. Other Guy is overconfident and gets wounded because his costume is not bulletproof. Blankman then defeats Minelli's goons with his electric "newchucks," and activates his jet-powered roller blades to capture Minelli, delivering him to the police and finally avenging their grandmother's death. Blankman, this time with Other Guy, is once again acknowledged as a hero by the people and receives the Mayor Harris Award for outstanding community service at a ceremony in their honor, while Other Guy receives a Blankman T-shirt, much to his disgust. After the ceremony, Kevin introduces Kimberly to Darryl. The two make light conversation until Kimberly pretends to see a purse snatcher, which puts Darryl on high alert. It was a trick, as Kimberly reveals she already knows that Darryl is Blankman to prove it, she kisses Darryl, causing him to fall to the ground embarrassingly like before. The film ends with a shot of a banner that reads "We Love You Blankman and Other Guy."

The Meyerowitz Stories (New and Selected)_2017

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<script> <scene> <scene_description>THE MEYEROWITZ STORIES (New and Selected) Written by Noah Baumbach TITLE: TEXT: Danny Meyerowitz was trying to park. The sound of car HORNS.</scene_description> </scene> <scene> <stage_direction>INT. DANNY'S SUBARU OUTBACK. DAY</stage_direction> <scene_description>Danny Meyerowitz, mid-40's, is backing up on the Bowery. He wears a soft brown leather jacket and shorts. Eliza, his 18 year old daughter, is flipping channels on the radio.</scene_description> <character>ELIZA</character> <dialogue>I'm really thinking about being vegetarian again.</dialogue> <character>DANNY</character> <dialogue>Eliza--</dialogue> <character>ELIZA</character> <dialogue>Do you realize, eating meat is worse than driving an SUV for a year.</dialogue> <character>DANNY</character> <dialogue>Eliza, am I fitting?</dialogue> <scene_description>A car honks.</scene_description> <character>DANNY</character> <dialogue>I'm parking asshole!</dialogue> <parenthetical>(twisting the wheel)</parenthetical> <dialogue>I can't believe that's true.</dialogue> <character>ELIZA</character> <dialogue>It's true, Dad. I'll send you the Podcast.</dialogue> <character>DANNY</character> <dialogue>I don't think I'm fitting.</dialogue> <character>ELIZA</character> <dialogue>I'm telling you. It's a big thing we can do for the environment.</dialogue> <character>DANNY</character> <dialogue>Let's look it up. But not while I'm pulling THIS maneuver.</dialogue> <scene_description>He turns the wheel dramatically. There's a scraping sound followed by a thud.</scene_description> <character>ELIZA</character> <dialogue>It's too small a space.</dialogue> <character>DANNY</character> <dialogue>Shit!</dialogue> <scene_description>He shifts back into drive and pulls out into traffic. More horns.</scene_description> <character>DANNY</character> <parenthetical>(to the car behind him)</parenthetical> <dialogue>What?!</dialogue> <scene_description>Eliza fiddles with the radio, looking for a song.</scene_description> <character>DANNY</character> <dialogue>Go back to the Mets game.</dialogue> <character>ELIZA</character> <dialogue>It's a commercial.</dialogue> <character>DANNY</character> <dialogue>I splurged and got the satellite.</dialogue> <scene_description>She lands on "Head to Toe" by Lisa Lisa and the Cult Jam.</scene_description> <character>DANNY</character> <dialogue>Ooh, nice. Turn it up.</dialogue> <scene_description>Eliza turns up the song.</scene_description> <character>DANNY</character> <dialogue>"Head to toe --"</dialogue> <parenthetical>(cutting himself off)</parenthetical> <dialogue>I put this on a tape for you when you were like twelve.</dialogue> <character>ELIZA</character> <parenthetical>(mildly interested)</parenthetical> <dialogue>Cool.</dialogue> <scene_description>Danny looks over his shoulder, realizes something, and hits the wheel in frustration.</scene_description> <character>DANNY</character> <dialogue>Shit, was that...was that a spot?</dialogue> <character>ELIZA</character> <parenthetical>(looking back)</parenthetical> <dialogue>Yeah, he's taking it.</dialogue> <character>DANNY</character> <dialogue>How did I miss that? Fucking shit.</dialogue> <character>ELIZA</character> <dialogue>Let's go around.</dialogue> <character>DANNY</character> <dialogue>We've been around. I'm going to try further East.</dialogue> <parenthetical>(an idea)</parenthetical> <dialogue>There should be an App for parking. Is there an App for parking?</dialogue> <character>ELIZA</character> <dialogue>They're working on it.</dialogue> <parenthetical>(re: the street they're on)</parenthetical> <dialogue>This is all No Parking.</dialogue> <character>DANNY</character> <dialogue>How did I do this wrong?</dialogue> <character>ELIZA</character> <dialogue>It's OK, Dad. Why don't we just garage it?</dialogue> <character>DANNY</character> <dialogue>Do you know how much it is to garage it around here? If we garage it, you can't go to college. That's why.</dialogue> <character>ELIZA</character> <parenthetical>(smiling)</parenthetical> <dialogue>I'll pay half.</dialogue> <character>DANNY</character> <dialogue>I'm not taking your money.</dialogue> <parenthetical>(sighs)</parenthetical> <dialogue>What's the matter with me? I'm usually very good at this.</dialogue> <character>ELIZA</character> <dialogue>It's OK--</dialogue> <character>DANNY</character> <dialogue>I'm an extremely good parker. I have a real eye for it.</dialogue> <character>ELIZA</character> <dialogue>I know.</dialogue> <character>DANNY</character> <dialogue>Now, I'm over-thinking it. I'm getting gun-shy.</dialogue> <scene_description>Sweating, he wrestles with his jacket trying to take it off. He drives while doing this.</scene_description> <character>ELIZA</character> <dialogue>Dad, wait until we're stopped.</dialogue> <character>DANNY</character> <dialogue>I'm hot, it's interfering with my mobility--</dialogue> <character>ELIZA</character> <dialogue>Let me help you then.</dialogue> <scene_description>She leans over and helps him take it off.</scene_description> <character>DANNY</character> <parenthetical>(looking in the rear-view mirror)</parenthetical> <dialogue>Are these the same people that were behind us?</dialogue> <character>ELIZA</character> <dialogue>I don't know.</dialogue> <character>DANNY</character> <dialogue>(re: his jacket)</dialogue> <scene_description>Keep it right-side up, my wallet's in there. He turns the song down.</scene_description> <character>DANNY</character> <dialogue>The song was distracting.</dialogue> <character>ELIZA</character> <dialogue>It's too good!</dialogue> <character>DANNY</character> <parenthetical>(half smiling)</parenthetical> <dialogue>It is too good.</dialogue> <scene_description>They stop at a light. Danny gazes outside.</scene_description> <character>DANNY</character> <parenthetical>(musing)</parenthetical> <dialogue>There's so much construction in Manhattan. They're just endlessly building. I used to go dancing around here. At Danceteria. Me and your uncle Matthew. Now, it's all banks.</dialogue> <character>ELIZA</character> <dialogue>You guys went dancing together?</dialogue> <character>DANNY</character> <dialogue>We went together, we didn't dance together. For a short time in the 80's we hung out. I had moves, I'm telling you. Is this a museum now? Everything's glass.</dialogue> <character>ELIZA</character> <dialogue>Do you like the photographer, Cindy Sherman? Marcus and me went to the Cindy Sherman show at MOMA last week.</dialogue> <scene_description>They start moving.</scene_description> <character>DANNY</character> <parenthetical>(pointedly)</parenthetical> <dialogue>Yes, I like Cindy Sherman.</dialogue> <character>ELIZA</character> <parenthetical>(confused)</parenthetical> <dialogue>What?</dialogue> <character>DANNY</character> <dialogue>I told you about Cindy Sherman like two years ago.</dialogue> <character>ELIZA</character> <parenthetical>(shrugs)</parenthetical> <dialogue>I don't remember.</dialogue> <character>DANNY</character> <dialogue>I did! And you had NO interest.</dialogue> <character>ELIZA</character> <dialogue>I don't know.</dialogue> <character>DANNY</character> <dialogue>When Marcus tells you, suddenly you listen. I'm telling you, I've got good recommendations. I mean, I have a few years on you.</dialogue> <scene_description>He hits the brakes. HORNS!</scene_description> <character>DANNY</character> <dialogue>Is this a spot? What do these signs say?</dialogue> <character>ELIZA</character> <dialogue>Um, I'm trying to see.</dialogue> <scene_description>Another car honks behind them.</scene_description> <character>DANNY</character> <dialogue>Quick, Eliza...</dialogue> <character>ELIZA</character> <dialogue>I find parking signs confusing. What's today?</dialogue> <scene_description>Blaring honking. Danny swerves back into traffic.</scene_description> <character>DANNY</character> <dialogue>This asshole is riding my tail.</dialogue> <character>ELIZA</character> <dialogue>I think it was a good space.</dialogue> <character>DANNY</character> <dialogue>Can I back up?</dialogue> <character>ELIZA</character> <parenthetical>(looking over her shoulder)</parenthetical> <dialogue>I don't think so.</dialogue> <scene_description>Horns!</scene_description> <character>DANNY</character> <dialogue>Shit! He's on my tail. I've got to go around.</dialogue> <character>ELIZA</character> <dialogue>We should just garage it.</dialogue> <character>DANNY</character> <dialogue>Son. Of. A. Bitch!</dialogue> <character>ELIZA</character> <dialogue>Stop yelling in the car! He can't hear you. Only I can hear you.</dialogue> <character>DANNY</character> <parenthetical>(looking in the rearview)</parenthetical> <dialogue>This is just Nobody Can Fucking Drive Day.</dialogue> <parenthetical>(horns!)</parenthetical> <scene_description>SHUT THE FUCK--</scene_description> </scene> <scene> <stage_direction>EXT./INT. TOWNHOUSE, LOWER MANHATTAN. DAY</stage_direction> <scene_description>The door opens with a light creak.</scene_description> <character>DANNY</character> <parenthetical>(softly)</parenthetical> <dialogue>Yoo-hoo. Hello?</dialogue> <scene_description>Danny carries a duffel bag, holds a suitcase and walks with a slight limp. Eliza follows behind him.</scene_description> <character>DANNY</character> <parenthetical>(to Eliza, concerned)</parenthetical> <dialogue>The outer door was ajar. And the button on the foyer door was pressed and unlocked.</dialogue> <character>ELIZA</character> <dialogue>Something smells weird.</dialogue> <scene_description>A big poodle leaps up on Danny and Eliza. Eliza screams.</scene_description> <character>ELIZA</character> <dialogue>Oh wow! Hello!</dialogue> <character>HAROLD (O.S.)</character> <dialogue>Down Bruno! Bruno, down!</dialogue> <character>DANNY</character> <dialogue>Whose dog is this?</dialogue> <character>HAROLD</character> <dialogue>Brune!</dialogue> <scene_description>Harold Meyerowitz, 70's, is bearded, wearing a green polo shirt with a knit tie and a knee-high work coat. He also has a red bruise on the side of his face.</scene_description> <character>ELIZA</character> <parenthetical>(to the dog)</parenthetical> <dialogue>Where did you come from?</dialogue> <character>HAROLD</character> <dialogue>Maureen and I bought him from a very elegant apricot poodle farm near the country house.</dialogue> <character>ELIZA</character> <dialogue>Hi Bruno! Oh, you're crazy, aren't you?</dialogue> <character>DANNY</character> <parenthetical>(while hugging his Dad)</parenthetical> <dialogue>Dad, the outer door was left open.</dialogue> <parenthetical>(demonstrating)</parenthetical> <dialogue>And someone pressed the button in on the foyer door--</dialogue> <character>HAROLD</character> <dialogue>Maureen is always doing something.</dialogue> <parenthetical>(shouting)</parenthetical> <dialogue>Maureen!</dialogue> <character>DANNY</character> <dialogue>I'm telling you, you got to be careful. It's crazy to leave the doors open. This isn't the country.</dialogue> <character>HAROLD</character> <parenthetical>(to the leaping dog)</parenthetical> <dialogue>Brune!</dialogue> <parenthetical>(to the air)</parenthetical> <dialogue>Maureen!</dialogue> <parenthetical>(to Danny and Eliza)</parenthetical> <dialogue>This house isn't very big, but she never seems to be able to hear me.</dialogue> <parenthetical>(again)</parenthetical> <dialogue>Maureen!</dialogue> <character>MAUREEN (O.S.)</character> <dialogue>What?</dialogue> <character>HAROLD</character> <dialogue>Did you leave the front door open?</dialogue> <character>MAUREEN (O.S.)</character> <dialogue>For the Con Ed guy?</dialogue> <character>HAROLD</character> <dialogue>That was three days ago!</dialogue> <scene_description>He shakes his head, irritated.</scene_description> <character>DANNY</character> <dialogue>I'm sorry we're late, we had to garage the car.</dialogue> <character>ELIZA</character> <dialogue>And Dad had to sell me into child slavery to pay for it.</dialogue> <character>DANNY</character> <dialogue>That's basically right.</dialogue> <character>HAROLD</character> <dialogue>Did you try East?</dialogue> <character>DANNY/ELIZA</character> <dialogue>We did./Twice.</dialogue> <scene_description>The dog lunges at Danny.</scene_description> <character>HAROLD</character> <dialogue>Bruno! He does this elegant pirouette.</dialogue> <scene_description>Danny now reacts to the bruise on Harold's face.</scene_description> <character>DANNY</character> <dialogue>Dad, what happened? Did you get into a fight?</dialogue> <character>HAROLD</character> <dialogue>I was walking Bruno in the country when he lunged for a feral hare in the brush and I tumbled forward.</dialogue> <character>DANNY</character> <dialogue>Shit. Did you see a doctor?</dialogue> <character>HAROLD</character> <dialogue>I'm fine. My joke is, you should see the other dog.</dialogue> <scene_description>He smiles slyly at Eliza.</scene_description> <character>ELIZA</character> <dialogue>Good one, Grampa.</dialogue> <character>HAROLD</character> <dialogue>Maureen won't even walk that path anymore. She was mauled by a buck.</dialogue> <character>DANNY</character> <dialogue>A buck? In the Berkshires?</dialogue> <character>HAROLD</character> <dialogue>A male deer.</dialogue> <character>DANNY</character> <dialogue>Really?</dialogue> <character>HAROLD</character> <dialogue>Maybe it was a big dog or a small boy. In her indomitable way she survived with just a nasty raspberry on her knee, but her wallet was gone.</dialogue> <scene_description>He takes Eliza's hand and leads her further inside. They pass the living room where the TV is on the baseball game.</scene_description> <character>HAROLD</character> <dialogue>The Mets just relinquished the lead.</dialogue> <character>DANNY</character> <dialogue>Shit, it was tied when we were in the car.</dialogue> <character>HAROLD</character> <dialogue>Collins shouldn't have left Syndergaard in. He was clearly tiring.</dialogue> <scene_description>Jean, 50's, rises from the couch, watching the game. She's Danny's older sister.</scene_description> <character>JEAN</character> <dialogue>I could tell Dad wanted to say Hi to you guys by himself.</dialogue> <character>DANNY</character> <parenthetical>(startles)</parenthetical> <dialogue>Hey. When'd you get here?</dialogue> <character>HAROLD (O.S.)</character> <dialogue>Your sister is here.</dialogue> <scene_description>Her hair is graying and she doesn't dye it. She wears a blazer with an abstract pin on the lapel and big hanging earrings and glasses. She dresses how she probably dressed twenty-five years ago.</scene_description> <character>JEAN</character> <dialogue>Couple hours ago. Thanks for showing up late.</dialogue> <character>DANNY</character> <dialogue>Sorry, we were--</dialogue> <character>JEAN</character> <dialogue>I made cookies but I stepped in dog shit.</dialogue> <scene_description>She hugs Eliza and Danny.</scene_description> <character>JEAN</character> <dialogue>I like your jacket.</dialogue> <character>ELIZA</character> <dialogue>Thanks.</dialogue> <character>JEAN</character> <dialogue>I like your pin. tomorrow?</dialogue> <character>ELIZA</character> <dialogue>I really can't wait.</dialogue> <character>JEAN</character> <dialogue>Dad keeps saying he wishes he hadn't retired now so that you could take his class. If that's even allowed at Bard.</dialogue> <character>ELIZA</character> <dialogue>I couldn't make sculpture, that's too intimidating.</dialogue> <character>DANNY</character> <dialogue>She's very excited which I'm trying not to take personally. I'm bad with transitions.</dialogue> <character>JEAN</character> <dialogue>You don't leave the house. There are no transitions.</dialogue> <parenthetical>(whispers to Danny)</parenthetical> <dialogue>Maureen's plastered.</dialogue> <character>HAROLD</character> <parenthetical>(yelling up the stairs)</parenthetical> <dialogue>Maureen, every one is here! Come down!</dialogue> <parenthetical>(to the group)</parenthetical> <dialogue>She's making shark.</dialogue> <character>ELIZA</character> <dialogue>I don't think I've ever had shark.</dialogue> <character>HAROLD</character> <dialogue>Maureen's a real gourmand.</dialogue> <character>JEAN</character> <parenthetical>(meeting Eliza's eyes)</parenthetical> <dialogue>Well, you're in for a treat.</dialogue> <character>HAROLD</character> <parenthetical>(loud whisper to Danny)</parenthetical> <dialogue>Maureen's been sober for six weeks.</dialogue> <character>DANNY</character> <dialogue>Oh, OK.</dialogue> <character>HAROLD</character> <dialogue>I tell her, I don't like you when you drink. She becomes a different person.</dialogue> <parenthetical>(to Eliza)</parenthetical> <dialogue>I made her a deal, I told her, if you stop drinking, we'll get a dog.</dialogue> </scene> <scene> <stage_direction>INT. DINING ROOM</stage_direction> <scene_description>CLOSE: A bowl of bouillabaisse. All the clam and mussel shells are still closed shut. A fork picks through the uncooked slab of shark.</scene_description> <character>HAROLD (O.S.)</character> <dialogue>This is very handsome shellfish, Maureen.</dialogue> <scene_description>Eliza makes a face.</scene_description> <character>MAUREEN</character> <dialogue>The Dad says you're going to study film at college.</dialogue> <scene_description>The family sits around a wooden table. Maureen, 50's, looks plastered. She wears an Indian patterned caftan and a big bulky necklace she probably got at a craft fair.</scene_description> <character>ELIZA</character> <dialogue>Yeah.</dialogue> <character>MAUREEN</character> <dialogue>That seems to be what everybody is doing these days. I think the Dad hoped you'd follow in his footsteps and take sculpture--</dialogue> <character>HAROLD</character> <dialogue>No, I think it's good she's doing her own thing. Since Clarence had his stroke and I retired, the art department at Bard has really suffered.</dialogue> <character>DANNY</character> <dialogue>She's quite a good editor.</dialogue> <scene_description>Danny is trying to pry open a clam shell. Eliza moves the food around on her plate. Harold eats quickly and messily.</scene_description> <character>HAROLD</character> <dialogue>So, now we have a sculptor and a filmmaker in the family.</dialogue> <character>ELIZA</character> <parenthetical>(re: Danny)</parenthetical> <dialogue>And a musician.</dialogue> <character>HAROLD</character> <dialogue>And an accountant which sounds uninteresting, but Matthew's in fact the only one in the family who's figured out how to make money. Sign of the times.</dialogue> <scene_description>He laughs at his own remark.</scene_description> <character>HAROLD</character> <dialogue>I would have thought we'd have had more artists in this family.</dialogue> <character>ELIZA</character> <dialogue>What about Dad?</dialogue> <scene_description>Eliza looks over to Danny, who listens closely, perhaps waiting to be mentioned himself.</scene_description> <character>DANNY</character> <parenthetical>(finally)</parenthetical> <dialogue>I'm artistic.</dialogue> <character>HAROLD</character> <dialogue>Matthew showed interest in fine art and Danny had musical talent. But Matthew was also talented musically and a wonderful mimic.</dialogue> <scene_description>He looks at Jean and hesitates.</scene_description> <character>HAROLD</character> <dialogue>Jean, you showed interest in photography.</dialogue> <character>JEAN</character> <dialogue>At Montessori, yeah. In my office at Xerox, I'm known as the resident auteur. I make funny movies for my co-worker's birthdays.</dialogue> <character>ELIZA</character> <dialogue>They're really good.</dialogue> <scene_description>Danny finally breaks open his clam shell. He meets eyes with Eliza. She slowly shakes her head at him: Don't do it. He drops the shell back into the bowl, nodding, OK.</scene_description> <character>MAUREEN</character> <dialogue>We have no idea what Jean does at Xerox.</dialogue> <character>JEAN</character> <dialogue>I'm a facilities manager for special--</dialogue> <character>MAUREEN</character> <dialogue>When was the last job you had, Danny?</dialogue> <character>ELIZA</character> <parenthetical>(helping out her Dad)</parenthetical> <dialogue>Those piano lessons--</dialogue> <character>DANNY</character> <dialogue>Well...except for the piano lessons--</dialogue> <character>ELIZA</character> <dialogue>--and there was a gig at Beefsteak Charlies.</dialogue> <character>DANNY</character> <dialogue>I haven't really worked in a...since Eliza was born...</dialogue> <character>HAROLD</character> <dialogue>Danny was a house-husband. But now with the separation, he's going to have to get a job. You can't take alimony, that's not right.</dialogue> <character>MAUREEN</character> <dialogue>What will you do for money?</dialogue> <character>DANNY</character> <dialogue>Well, we just sold the apartment and we'll split that.</dialogue> <parenthetical>(reassuringly placing his hand on Eliza's back)</parenthetical> <dialogue>Karen...Karen is getting an apartment in Ditmas and I'm...I'll be staying here for a little, of course, while I figure it out. Thank you, again.</dialogue> <scene_description>He looks to his Dad for some acknowledgement. He gets none.</scene_description> <character>MAUREEN</character> <dialogue>While you're staying here, would you please go through all the boxes upstairs and take whatever papers and posters you want from your childhood.</dialogue> <character>HAROLD</character> <dialogue>(to Eliza)</dialogue> <character>MAUREEN</character> <dialogue>And when I'm back, we're</dialogue> <scene_description>Maureen is taking a fancy going to start throwing trip to Easter Island on things away. Monday with a group.</scene_description> <character>DANNY</character> <dialogue>We don't really have anything here.</dialogue> <character>JEAN</character> <dialogue>We lived in Queens with our mother.</dialogue> <character>DANNY</character> <dialogue>Yeah, it's mostly Matthew's stuff, but OK.</dialogue> <character>HAROLD</character> <parenthetical>(excitedly)</parenthetical> <dialogue>Matthew's coming out from the coast in a few weeks. He corresponded with me about meeting for lunch.</dialogue> <scene_description>Danny looks up, surprised.</scene_description> <character>DANNY</character> <dialogue>Matt is?</dialogue> <scene_description>Danny absentmindedly puts some shark in his mouth and then takes it right back out.</scene_description> <character>MAUREEN</character> <dialogue>He has some wealthy clients who are coming here on Sunday to look at the Dad's work.</dialogue> <character>DANNY</character> <dialogue>Matt does?</dialogue> <character>HAROLD</character> <dialogue>Apparently they're both admirers of mine.</dialogue> <character>MAUREEN</character> <dialogue>We never hear from him and then suddenly...poof!</dialogue> <character>HAROLD</character> <dialogue>That's not true, he and I correspond quite frequently.</dialogue> <character>ELIZA</character> <dialogue>He texts with me.</dialogue> <scene_description>They all look at Eliza. Danny frowns.</scene_description> <character>DANNY</character> <dialogue>You guys text? About what?</dialogue> <character>ELIZA</character> <dialogue>(shrugs)</dialogue> <character>DANNY</character> <dialogue>Maybe I'll try to see him</dialogue> <scene_description>I don't know. Things. when he's here. Life.</scene_description> <character>HAROLD</character> <dialogue>He's only here for a day to see a client and he wants to see me during that time. Eliza, have more shark. Maureen, give my granddaughter more shark!</dialogue> <scene_description>Maureen heaps more shark on Eliza's plate.</scene_description> <character>MAUREEN</character> <dialogue>You kids don't eat.</dialogue> <scene_description>Jean starts clearing. Maureen and Danny help her. Eliza remains with her grandfather, pretending to eat her shark. We MOVE between the adjacent kitchen and the dining room.</scene_description> <character>JEAN</character> <dialogue>It's amazing how much Matthew's clients make when you think about what a teacher or nurse earns--</dialogue> <character>HAROLD</character> <dialogue>I think I would have had greater success if I had been more fashionable.</dialogue> <character>MAUREEN</character> <dialogue>Well, you were always out of step with the times.</dialogue> <character>HAROLD</character> <dialogue>That's true, I was a vanguard. L.J. Shapiro said that about me.</dialogue> <scene_description>Jean reenters from the kitchen bringing out coffee cups.</scene_description> <character>JEAN</character> <dialogue>You know L.J.'s having a retrospective at MOMA.</dialogue> <character>HAROLD</character> <parenthetical>(didn't know)</parenthetical> <dialogue>Is he? L.J. was always very political. He's not untalented, but he's a very skillful operator.</dialogue> <character>MAUREEN (O.S.)</character> <dialogue>You didn't play the game.</dialogue> <character>HAROLD</character> <dialogue>You know L.J. and I showed together at Paula Cooper in the late 60's. And believe it or not, I was the headliner.</dialogue> <scene_description>Danny, still distracted by discussion of Matthew says to Jean:</scene_description> <character>DANNY</character> <dialogue>Do you think I should e-mail Matt about his visit?</dialogue> <character>JEAN</character> <dialogue>Why not?</dialogue> <character>DANNY</character> <dialogue>I don't want to be presumptuous.</dialogue> <character>JEAN</character> <dialogue>He's your brother, Dan.</dialogue> <character>DANNY</character> <parenthetical>(shrugs)</parenthetical> <dialogue>Half.</dialogue> <scene_description>Maureen reenters.</scene_description> <character>MAUREEN</character> <dialogue>Isn't that when the Whitney bought a piece of yours?</dialogue> <character>HAROLD</character> <dialogue>Yes. They were going to buy more work too, but Bernie, my dealer at the time didn't like the deal. I probably shouldn't have listened to him.</dialogue> <character>DANNY</character> <parenthetical>(continuing to Jean)</parenthetical> <dialogue>I don't know, he didn't respond the last time I reached out.</dialogue> <scene_description>Harold pries open another clam and eats it. Eliza makes a disgusted face to herself.</scene_description> <character>JEAN</character> <dialogue>When I called and wrote the Whitney about it, they couldn't find it.</dialogue> <character>HAROLD</character> <dialogue>It's there.</dialogue> <character>JEAN</character> <dialogue>They can't find it.</dialogue> <character>HAROLD</character> <dialogue>Jean, damnit, they have the work!</dialogue> <character>JEAN</character> <parenthetical>(chastised)</parenthetical> <scene_description>OK, OK... Jean takes Eliza's full plate, rescuing her from eating anything more, and says in her ear:</scene_description> <character>JEAN</character> <dialogue>It's lost.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY</stage_direction> <scene_description>We hear family conversation from the other room. Danny turns the knob on the bathroom door. It opens and Maureen immediately comes out, wearing rose tinted glasses, but where you can see her eyes.</scene_description> <character>DANNY</character> <dialogue>Oh...sorry.</dialogue> <scene_description>Maureen mumbles something. Danny enters.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM</stage_direction> <scene_description>Danny flushes. A strange rattling sound. He lifts up the back of the toilet. Inside, bouncing around the chain, are several small, pint-size liquor bottles.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM</stage_direction> <scene_description>Danny and Eliza sit at an upright piano. Danny plays the top keys, Eliza the bottom.</scene_description> <character>DANNY</character> <dialogue>This is a Meyerowitz/Meyerowitz composition.</dialogue> <character>ELIZA</character> <dialogue>We wrote it when I was nine.</dialogue> <scene_description>CUT TO: CLOSE on a book of Harold's work.</scene_description> <character>HAROLD (O.S.)</character> <dialogue>The work looks stunning all together like this. Danny, you made this?</dialogue> <scene_description>Harold sits with Jean on a old corduroy couch. They eat cookies Jean made. Harold hands the book to Maureen.</scene_description> <character>MAUREEN</character> <dialogue>(reading)</dialogue> <character>DANNY</character> <dialogue>Jean and I did it, yes.</dialogue> <scene_description>Harold Meyerowitz: A Retrospective.</scene_description> <character>JEAN</character> <dialogue>You send in the pictures and they make it for you.</dialogue> <character>DANNY</character> <parenthetical>(from the piano)</parenthetical> <dialogue>Oh, Dad, Jean and I spoke with a woman at the museum at Bard--</dialogue> <scene_description>Danny looks at Jean who nods for him to continue.</scene_description> <character>HAROLD</character> <dialogue>Is that Hilma Federman?</dialogue> <character>DANNY</character> <dialogue>Hilma, yes. And there's some interest at Bard in doing a show--</dialogue> <character>MAUREEN</character> <dialogue>That's the least they can do for you after all those years you've given them.</dialogue> <scene_description>Maureen randomly clears a plate and leaves the room.</scene_description> <character>DANNY</character> <dialogue>I think with Eliza going this fall and your history there as a teacher, we have a good shot--</dialogue> <character>HAROLD</character> <dialogue>Danny, make sure Hilma sees the book. A retrospective at this point would be a real feather in my cap. And I think bring attention to the new work.</dialogue> <scene_description>Jean looks at Danny, who stops playing.</scene_description> <character>DANNY</character> <dialogue>Well, the thing is Dad...it would be part of a group show.</dialogue> <character>JEAN</character> <dialogue>Bard Faculty.</dialogue> <character>HAROLD</character> <dialogue>A group show? No. That's essentially an insult. I think Hilma's angry because I voted against her chairmanship. Tell Hilma, No.</dialogue> <character>DANNY</character> <dialogue>Hilma hasn't offered it yet.</dialogue> <character>HAROLD</character> <dialogue>Well, when she does, tell her, No.</dialogue> <scene_description>Danny continues playing. Eliza and Danny finish the song.</scene_description> <character>JEAN</character> <dialogue>That sounded great. You've gotten good, Eliza.</dialogue> <character>ELIZA</character> <parenthetical>(putting her head on Danny's shoulder)</parenthetical> <dialogue>I had a good teacher.</dialogue> </scene> <scene> <stage_direction>EXT. HAROLD'S HOUSE, BLEECKER STREET. NIGHT</stage_direction> <scene_description>Eliza waits with Danny outside the house.</scene_description> <character>DANNY</character> <dialogue>Is shark bad or was that bad shark?</dialogue> <character>ELIZA</character> <dialogue>Dad, it was raw! The rice was hard, the shell fish was closed.</dialogue> <scene_description>Danny removes a piece of trash that's blown up on the walk. He walks uneasily over to a trash can and chucks it.</scene_description> <character>ELIZA</character> <dialogue>Dad, your limp is worse.</dialogue> <character>DANNY</character> <dialogue>It's always worse after I've been sitting. I need to stretch it.</dialogue> <character>ELIZA</character> <dialogue>Please see someone about it.</dialogue> <character>DANNY</character> <dialogue>I have an appointment with an acupuncturist on Tuesday.</dialogue> <character>ELIZA</character> <dialogue>Someone real please.</dialogue> <scene_description>He looks at her. Tears run down her face. He hugs her.</scene_description> <character>DANNY</character> <dialogue>I'm telling you, you're going to meet a lot of wonderful, interesting new people. Or I imagine you will as I didn't make it more than a month at college because I liked drugs so much.</dialogue> <character>ELIZA</character> <dialogue>I'm going to miss you and Mom.</dialogue> <character>DANNY</character> <dialogue>I know. We'll miss you too.</dialogue> <character>ELIZA</character> <dialogue>I still haven't wrapped my mind around it. You not being together.</dialogue> <character>DANNY</character> <dialogue>We wouldn't have made it this long if it weren't for you.</dialogue> <character>ELIZA</character> <parenthetical>(wiping her face)</parenthetical> <dialogue>That's a lot of responsibility.</dialogue> <character>DANNY</character> <dialogue>You know what I mean. We don't get along when it's just us. I'm sorry I don't get to drive you, but your mom won that one.</dialogue> <character>ELIZA</character> <dialogue>It's OK. She's a good driver.</dialogue> <character>DANNY</character> <dialogue>Remind her when you're going up tomorrow, the Taconic is a speed trap. There are cops everywhere.</dialogue> <character>ELIZA</character> <dialogue>I will.</dialogue> <character>DANNY</character> <dialogue>And I'll be up there whenever you're ready for me.</dialogue> <character>ELIZA</character> <dialogue>Will you be OK here?</dialogue> <character>DANNY</character> <dialogue>Yeah, it'll be nice to spend time with Dad while Maureen's away. You know I didn't get a lot of time with him growing up. After he left my mom and married Julia, and they had Matt...we didn't see so much of him. It's an opportunity to get closer now.</dialogue> <character>ELIZA</character> <dialogue>It's nice you and Jean are getting him this show.</dialogue> <character>DANNY</character> <dialogue>I know it's just a college show, but I think it could really put him back on the map. The work is good and deserves more exposure.</dialogue> <scene_description>A car has pulled up at the corner. A bearded guy, 18, behind the wheel.</scene_description> <character>DANNY</character> <dialogue>Hey Marcus!</dialogue> <character>MARCUS</character> <dialogue>Hey, Danny.</dialogue> <character>DANNY</character> <dialogue>You're a truly wonderful girl.</dialogue> <character>ELIZA</character> <dialogue>You've been a great Dad.</dialogue> <character>DANNY</character> <dialogue>Well, I think I still am.</dialogue> <character>ELIZA</character> <dialogue>I didn't mean it that way.</dialogue> <scene_description>Danny hugs Eliza. He's crying now too. She releases and runs toward the car.</scene_description> <character>DANNY</character> <dialogue>Text when you get to--</dialogue> </scene> <scene> <stage_direction>INT. HAROLD'S STUDIO. MORNING</stage_direction> <scene_description>A pile of old, outdated computers. Movie stills and lobby cards on the walls from European movies. A few family photographs and pictures from art shows. Paint cans, old welding materials, planks of wood, screws and various tools. Harold shows a couple, Brian and James, 40's, both sharply dressed, his work. Maureen and Danny hover nearby.</scene_description> <character>BRIAN</character> <dialogue>This one is interesting.</dialogue> <character>MAUREEN</character> <dialogue>I think it's a masterpiece.</dialogue> <character>HAROLD</character> <dialogue>It's intended as a sort of sequel to Gilded Halfwing.</dialogue> <character>JAMES</character> <dialogue>That's the squiggly one outside Lincoln Center?</dialogue> <character>MAUREEN</character> <dialogue>Yes, Gilded Halfwing.</dialogue> <character>HAROLD</character> <dialogue>That's probably my most well known work, it has a young man's energy, but I like to think the later work is richer and more interesting.</dialogue> <character>JAMES</character> <dialogue>When Matthew told me that was yours, I was like, I walk by that all the time. We're on Central Park West now, but have been looking for the right place downtown.</dialogue> <scene_description>James wanders into an adjacent bathroom.</scene_description> <character>MAUREEN</character> <dialogue>Show them the wood structures.</dialogue> <character>HAROLD</character> <dialogue>Yes, I've been working in wood recently. Danny, give me a hand.</dialogue> <scene_description>Danny indicates a stacked metal structure tucked in the back.</scene_description> <character>DANNY</character> <dialogue>How about this one with the red? I always loved this one.</dialogue> <character>HAROLD</character> <dialogue>No, not that one. That's a minor work of mine.</dialogue> <scene_description>Danny and Harold lug a couple of pieces into the center of the room. Brian wanders to the window and looks outside.</scene_description> <character>BRIAN</character> <dialogue>How's the noise in this area?</dialogue> <character>DANNY</character> <dialogue>It gets very loud. All the tourists.</dialogue> <character>MAUREEN</character> <dialogue>Only on weekends.</dialogue> <scene_description>James tests the water on the tap and the toilet flush. Danny pokes his head around the corner finding James inspecting the fixtures.</scene_description> <character>DANNY</character> <dialogue>The art's over here.</dialogue> <character>JAMES</character> <dialogue>Yes, great.</dialogue> <scene_description>He hurries back to find Harold with five new pieces.</scene_description> <character>HAROLD</character> <dialogue>It's largely intuitive really and in its way, a return to the old masters. I think I'm doing the best work of my life right now. But that's just one man's opinion.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN/LIVING ROOM</stage_direction> <scene_description>Maureen prepares lunch. Harold watches the game on TV.</scene_description> <character>MAUREEN</character> <dialogue>I found Brian very attractive. He's baby-faced but sinewy like an old lover of mine, Willem Dafoe. James has very firm calves.</dialogue> <character>HAROLD</character> <dialogue>They were very enthusiastic about the work.</dialogue> <scene_description>Danny enters from the other room. He looks annoyed.</scene_description> <character>DANNY</character> <dialogue>Are they interested in the house or the art?</dialogue> <character>HAROLD</character> <dialogue>(considered)</dialogue> <character>MAUREEN</character> <dialogue>(walking past him)</dialogue> <scene_description>I think, the art. Both.</scene_description> <character>DANNY</character> <dialogue>What do you mean, both?</dialogue> <scene_description>Harold watches the TV. Maureen walks into the kitchen. Danny follows her.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <character>DANNY</character> <dialogue>Maureen, what do you mean, both?</dialogue> <character>MAUREEN</character> <dialogue>Per Matthew, they're interested in purchasing all of the work, some of the furniture, as well as the house.</dialogue> <character>DANNY</character> <parenthetical>(alarmed)</parenthetical> <dialogue>The house? What...what did you tell him?</dialogue> <character>MAUREEN</character> <dialogue>That we're open to exploring it.</dialogue> <character>HAROLD (O.S.)</character> <dialogue>(re: the game) The Mets are staging a</dialogue> <scene_description>comeback. They've got first and third with no one out.</scene_description> <character>DANNY</character> <parenthetical>(suddenly agitated)</parenthetical> <dialogue>You're thinking of selling the house? Why?</dialogue> <character>MAUREEN</character> <dialogue>It's very expensive to keep this place up. And we're spending more time at the country house now.</dialogue> <character>DANNY</character> <dialogue>But the country's yours.</dialogue> <character>MAUREEN</character> <dialogue>Well, I had it before we were married, but it's ours. Everything is ours now.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM</stage_direction> <scene_description>She heads toward the living room. Danny limps after her. Harold jerks back and forth with the movement of the game.</scene_description> <character>DANNY</character> <parenthetical>(concerned)</parenthetical> <dialogue>You're selling ALL of the art? Why? Dad...I think...do you want to sell?</dialogue> <character>HAROLD</character> <dialogue>Oh come on! Cabrera just grounded into a double play.</dialogue> <character>DANNY</character> <dialogue>Matt set this up?</dialogue> <character>HAROLD</character> <parenthetical>(distracted by the game)</parenthetical> <dialogue>I told him it was a family discussion.</dialogue> <character>DANNY</character> <dialogue>I think it is! I don't think you should sell AT ALL. I'm telling you.</dialogue> <character>HAROLD</character> <dialogue>I didn't expect you to get so upset about it.</dialogue> <character>DANNY</character> <dialogue>I am. I am upset about it!</dialogue> <character>MAUREEN</character> <dialogue>Why do you care?</dialogue> <character>DANNY</character> <parenthetical>(suddenly emotional)</parenthetical> <dialogue>I don't know. We've lived here for years.</dialogue> <character>HAROLD</character> <dialogue>You haven't. This is where Matthew grew up. You lived in Queens with your mother.</dialogue> <character>DANNY</character> <dialogue>I lived here for a year when I was sixteen.</dialogue> <parenthetical>(hesitates)</parenthetical> <dialogue>Your studio is here... They want ALL the art work? I mean, Dad, with a show here or there, your work might become valuable.</dialogue> <character>HAROLD</character> <dialogue>That is true.</dialogue> <character>DANNY</character> <dialogue>I say, No!</dialogue> <scene_description>He hits his hand down on a table for emphasis.</scene_description> <character>HAROLD</character> <dialogue>Everyone in the family will be consulted before we sell anything.</dialogue> <character>DANNY</character> <dialogue>Matthew isn't here, you know. Matthew isn't in the house NOW.</dialogue> <parenthetical>(wiping his eyes)</parenthetical> <dialogue>It's a Meyerowitz tradition, this house.</dialogue> <character>MAUREEN</character> <parenthetical>(hurt)</parenthetical> <dialogue>I guess I wouldn't know about that.</dialogue> <scene_description>Maureen storms out of the room. We hear a door slam.</scene_description> <character>DANNY</character> <dialogue>I didn't mean it like that.</dialogue> <character>HAROLD</character> <dialogue>She gets sensitive about these things. She feels like an outsider and she doesn't have kids of her own.</dialogue> <character>HAROLD</character> <dialogue>I tell her, technically you're their step-mother.</dialogue> <scene_description>MONTAGE:</scene_description> </scene> <scene> <stage_direction>EXT. TOWNHOUSE. LOWER MANHATTAN. DAY</stage_direction> <scene_description>Harold and Danny say goodbye to Maureen as she gets in a car service to the airport. She looks happy to go.</scene_description> <character>MAUREEN</character> <dialogue>Take care of the Dad.</dialogue> <character>DANNY (V.O.)</character> <dialogue>God damn it!</dialogue> </scene> <scene> <stage_direction>INT. HAROLD'S STUDIO</stage_direction> <scene_description>Danny has just missed a shot in their pool game. Harold lines his shot up with intensity.</scene_description> <character>DANNY</character> <dialogue>Ah, the old Babooshka. I remember I spent months of allowance on that pool cue for your birthday.</dialogue> <scene_description>Harold misses his shot.</scene_description> <character>HAROLD</character> <dialogue>Son of a bitch!</dialogue> <scene_description>He smashes the cue against the table shattering it in half.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Harold cooks blueberry pancakes. Danny sits at the breakfast table.</scene_description> <character>DANNY</character> <dialogue>The famous blueberry pancakes.</dialogue> <scene_description>Harold does a little dance and adds a flourish as he serves Danny.</scene_description> </scene> <scene> <stage_direction>EXT. THE BOWERY</stage_direction> <scene_description>Danny and Harold walk Bruno.</scene_description> <character>HAROLD</character> <dialogue>The Mets need a middle inning reliever...</dialogue> <character>DANNY (V.O.)</character> <dialogue>What do we have here?</dialogue> </scene> <scene> <stage_direction>INT. HAROLD'S STUDIO</stage_direction> <scene_description>A wall-shelf of VHS cassettes layered length-wise. Danny inspects them. Most have been taped from TV.</scene_description> <character>DANNY</character> <parenthetical>(pulling out a cassette)</parenthetical> <dialogue>Yes, all on one tape: Videodrome, Beverally Hills Cop -- spelled wrong -- and Legal Eagles.</dialogue> <scene_description>CUT TO: The two of them watching Legal Eagles on VHS. A piece of commercial comes up for a second then a rainbow wave and the movie returns.</scene_description> <character>HAROLD</character> <dialogue>Daryl Hannah, while not only incredibly sexy, was quite a deft comedienne.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Danny looks under the sink for a fresh garbage bag and finds small liquor bottles stashed behind the bin.</scene_description> <character>HAROLD (O.S.)</character> <dialogue>Does Jean talk to you ever about boyfriends or anything?</dialogue> <scene_description>Harold enters. He hesitates upon seeing the liquor bottles.</scene_description> <character>HAROLD</character> <dialogue>Maureen dresses them as dolls for kids at the hospital.</dialogue> </scene> <scene> <stage_direction>INT. HAROLD'S STUDY</stage_direction> <scene_description>Stacks of empty Con Ed envelopes with clear plastic windows. Art and film books on an old couch. Harold, Danny and Jean huddle around Harold's computer.</scene_description> <character>DANNY</character> <dialogue>Eliza's first movie. OK, she sent a link. Dad, what's your password?</dialogue> <character>HAROLD</character> <dialogue>Try Matthew.</dialogue> <scene_description>Jean and Danny meet eyes. CLOSE ON THE SCREEN: Eliza's movie entitled PAGINA MAN. It's about a girl wanting to get laid before leaving for college, played by Eliza. She's partially nude in one scene. Gets fucked from behind in another. Pisses in a urinal in another.</scene_description> <character>ELIZA IN THE MOVIE</character> <parenthetical>(wearing a cape and mask)</parenthetical> <dialogue>I've got a vagina and a penis. Call me Pagina Man!</dialogue> <scene_description>It does have a sense of humor, though and style. But before it's over: Danny hits the space bar, pausing it.</scene_description> <character>DANNY</character> <dialogue>I'm going to watch this first, alone, I think.</dialogue> <character>JEAN</character> <dialogue>Wow. That was a hard R.</dialogue> <character>HAROLD</character> <dialogue>It's handsomely shot and shows poise, but it's unremittingly vulgar.</dialogue> <scene_description>END MONTAGE</scene_description> <character>HAROLD (V.O.)</character> <dialogue>Oh, come on! He missed the tag.</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM</stage_direction> <scene_description>Harold and Danny watch the Mets game.</scene_description> <character>DANNY</character> <dialogue>You can see he was safe.</dialogue> <scene_description>Harold switches off the TV in frustration.</scene_description> <character>DANNY</character> <dialogue>Dad!</dialogue> <character>HAROLD</character> <dialogue>I can see this. The Mets don't want it.</dialogue> <scene_description>The phone rings. Harold picks up the old cordless. Danny turns the game back on.</scene_description> <character>HAROLD</character> <dialogue>Hello?...Hello?...Who?...L.J.!...</dialogue> <parenthetical>(brightening)</parenthetical> <dialogue>Hey, hey!</dialogue> <character>DANNY</character> <dialogue>They're pinch hitting for deGrom.</dialogue> <character>HAROLD</character> <parenthetical>(to Danny)</parenthetical> <dialogue>Shhh...</dialogue> <parenthetical>(to L.J. on the phone)</parenthetical> <dialogue>What's that?</dialogue> <scene_description>He pantomimes for Danny to turn the game down. Danny does. Harold angrily motions to do it further.</scene_description> <character>HAROLD</character> <dialogue>He was a talented kid when he took my class, sure...Yeah, I'd think he'd be an able assistant...OK... Oh, you know, doing the work...Bard has come to me about a show... What's the news there?...Oh, I didn't know, how are you doing?</dialogue> <scene_description>Danny texts Eliza: Yo. CLOSE ON THE PHONE: It goes through blue and Delivered. The dots come up as if something is being written back. Danny brightens.</scene_description> <character>HAROLD</character> <dialogue>Maureen says they're fete-ing you at MOMA...You and Tim Burton!...Right, Matisse and Picasso too, sure...</dialogue> <scene_description>Danny waits. CLOSE ON THE PHONE: The dots disappear. Nothing. Danny, discouraged, puts his phone away.</scene_description> <character>HAROLD</character> <dialogue>Let's get a lunch one of these days, you still in the West Village?... Brooklyn?...Or to your opening?... I'm coming if you invite me...Next Friday...Yes, I think I can come. Although I've boycotted MOMA since they've started doing these theme park shows...OK, I'll see you there.</dialogue> <scene_description>He hangs up. Instantly back to the game.</scene_description> <character>HAROLD</character> <dialogue>That was a strike! Turn it up.</dialogue> <character>DANNY</character> <dialogue>Was that L.J.? I always liked L.J..</dialogue> <character>HAROLD</character> <dialogue>He says he had a prostate surgery, I didn't know about.</dialogue> <character>DANNY</character> <dialogue>And I really like his work.</dialogue> <character>HAROLD</character> <dialogue>The early, experimental work is terrific. You know, he and I showed together at Paula Cooper back in the late 60's.</dialogue> <character>DANNY</character> <dialogue>Uh huh. I love the 80's stuff. Those bears.</dialogue> <character>HAROLD</character> <dialogue>You liked the bears? Hmm. I guess the bears. You know, back then, I was the headliner.</dialogue> <character>DANNY</character> <dialogue>I'd like to come if that's all right. It would be a real treat for me.</dialogue> <character>HAROLD</character> <dialogue>I think it's filled up. L.J. is getting me in special.</dialogue> <scene_description>OK.</scene_description> <character>HAROLD</character> <dialogue>I'll see about getting you a ticket. You might have to pay.</dialogue> <character>DANNY</character> <dialogue>OK, whatever.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Danny gets up and leaves the room. We FOLLOW him into the kitchen. He's trying to suppress his anger and hurt. He opens the fridge and takes out a carton of orange juice and pours himself a glass. He drinks and spits it across the kitchen floor.</scene_description> <character>DANNY</character> <dialogue>Oh God!</dialogue> <scene_description>Harold comes in.</scene_description> <character>DANNY</character> <dialogue>Your orange juice is expired which I just realized is possible.</dialogue> <character>HAROLD</character> <dialogue>Do you have black tie?</dialogue> <character>DANNY</character> <parenthetical>(can't hide his pleasure)</parenthetical> <dialogue>I have a herring-bone blazer and slacks with a hummus stain on the fly?</dialogue> <character>HAROLD</character> <dialogue>I think we might have an extra belonging to Maureen's late ex- husband.</dialogue> </scene> <scene> <stage_direction>INT. MOMA LOBBY. DAY</stage_direction> <scene_description>They enter the lobby, both in outdated -- and in the case of Danny, ill-fitted -- tuxedos. Ahead: a spirited crowd mingles around the exhibit. A few people in suits, otherwise everyone is dressed pretty casually.</scene_description> <character>DANNY</character> <dialogue>Dad, no one is in tuxes.</dialogue> <character>HAROLD</character> <dialogue>I think I see a couple of people.</dialogue> <character>DANNY</character> <dialogue>I don't see ANYBODY.</dialogue> <scene_description>Harold and Danny reach a table where two young, opaque pretty women consult iPads.</scene_description> <character>DANNY</character> <dialogue>We're Harold Meyerowitz.</dialogue> <character>GALLERY GIRL</character> <parenthetical>(checks her iPad)</parenthetical> <dialogue>OK, you're on the list for the public viewing which starts in forty-five minutes. Right now, this is a private viewing.</dialogue> <character>HAROLD</character> <parenthetical>(under his breath to Danny)</parenthetical> <dialogue>Tell her it's a mistake. L.J. put me on the private list.</dialogue> <scene_description>OK.</scene_description> <character>HAROLD</character> <dialogue>Tell her this is bullshit.</dialogue> <character>DANNY</character> <dialogue>Dad--</dialogue> <parenthetical>(to the woman)</parenthetical> <dialogue>We're old friends with L.J..</dialogue> <character>GALLERY GIRL</character> <dialogue>Sorry, I can't let you in. Right now it's a private event.</dialogue> <character>HAROLD</character> <dialogue>Tell her to tell L.J. we're--</dialogue> <character>DANNY</character> <dialogue>Dad, she can hear everything you're saying. Let's just wait for forty-five minutes--</dialogue> <character>HAROLD</character> <dialogue>I'm going to go home.</dialogue> <character>DANNY</character> <dialogue>Come on, Dad--</dialogue> <scene_description>Harold pulls away from Danny and hurries toward the revolving doors. Danny sighs.</scene_description> <character>DANNY</character> <dialogue>My father is Harold Meyerowitz, he was a contemporary of L.J.'s. Also a sculptor.</dialogue> <scene_description>The Gallery Girl shrugs.</scene_description> <character>DANNY</character> <dialogue>Big night, huh?</dialogue> <character>L.J. (O.S.)</character> <dialogue>Danny?!</dialogue> <scene_description>L.J., late 60's, excitedly approaches from behind. He's in a white tank top with a tailored blazer over it and suit pants. A scarf tied around his ankle. Blue tinted glasses on his head. He walks over with Glenn Twitchell, 60's, in a suit, the MOMA curator.</scene_description> <character>L.J.</character> <parenthetical>(to the Gallery Girl)</parenthetical> <dialogue>This guy giving you trouble?</dialogue> <scene_description>She laughs heartily.</scene_description> <character>L.J.</character> <parenthetical>(hugging Danny)</parenthetical> <dialogue>Danny, you were so damned young the last time I saw you.</dialogue> <character>DANNY</character> <dialogue>Yeah, last time I saw you was at those Chinatown dinners you guys would throw. Those were great, I was living with Dad that year.</dialogue> <scene_description>Glenn excuses himself and goes inside, greeted by guests.</scene_description> <character>L.J.</character> <dialogue>It was you and Matthew. Always playing music. Your Dad was with Julia, I was with Maya. Before the divorces!</dialogue> <character>DANNY</character> <dialogue>Well, before his second divorce, he'd already divorced my mom, but yeah, those were fun dinners.</dialogue> <character>L.J.</character> <parenthetical>(confused by the tuxedo)</parenthetical> <dialogue>Are you going somewhere after this?</dialogue> <character>DANNY</character> <parenthetical>(muttering)</parenthetical> <dialogue>Dad said it was black tie.</dialogue> <character>L.J.</character> <dialogue>You know, Loretta's here.</dialogue> <character>DANNY</character> <parenthetical>(brightening)</parenthetical> <dialogue>She is?</dialogue> <character>L.J.</character> <dialogue>Yeah, she's floating around this rat-fuck somewhere.</dialogue> <character>DANNY</character> <parenthetical>(looking around the room)</parenthetical> <dialogue>Oh...I'll look for her.</dialogue> <character>L.J.</character> <dialogue>There's the old man. One of my favorite artists.</dialogue> <scene_description>Danny looks around: Harold is now walking back toward them. Harold smiles broadly.</scene_description> <character>HAROLD</character> <dialogue>Your hair's darker every time I see you.</dialogue> <scene_description>Harold and L.J. embrace. L.J. holds him warmly.</scene_description> <character>L.J.</character> <parenthetical>(re: the tuxes)</parenthetical> <dialogue>Look at you. You guys are so cute.</dialogue> <parenthetical>(taking Harold's arm)</parenthetical> <dialogue>Come have a drink. We're having Zubrowka. I just reread The Razor's Edge -- it's Larry Durrell's drink.</dialogue> <character>HAROLD</character> <dialogue>I find Maugham to be skillful without being an artist, but I'll sip a red wine, if you have.</dialogue> <character>L.J.</character> <dialogue>It's the Museum of Modern Art. Dammit, they have everything.</dialogue> <scene_description>Harold follows L.J. into the party. Danny starts to follow but they're quickly swallowed up by the crowds.</scene_description> <character>DANNY</character> <parenthetical>(to himself)</parenthetical> <scene_description>OK.</scene_description> </scene> <scene> <stage_direction>INT. MOMA RECEPTION AREA</stage_direction> <scene_description>Danny, again, assesses the very non-tuxedo crowd, and attempts to wander the premises as unself-consciously as possible. He nervously hums an indecipherable tune. Amongst the sculptures, and old high 8 video of a young girl (Loretta) on monitors, he sees a woman, 40's, in a simple, elegant dress.</scene_description> <character>DANNY</character> <dialogue>Loretta?</dialogue> <character>LORETTA</character> <dialogue>Danny? Holy shit.</dialogue> <scene_description>They hug and kiss on the cheek. She has a genuinely open, and warm quality.</scene_description> <character>LORETTA</character> <parenthetical>(re: the kiss)</parenthetical> <dialogue>You got my hair.</dialogue> <character>DANNY</character> <dialogue>I did!</dialogue> <character>LORETTA</character> <dialogue>I didn't know you were coming.</dialogue> <character>DANNY</character> <dialogue>I came with my Dad.</dialogue> <character>LORETTA</character> <parenthetical>(frowns, re: the tux)</parenthetical> <dialogue>Are you going somewhere after this?</dialogue> <character>DANNY</character> <parenthetical>(here we go again)</parenthetical> <dialogue>No...no...</dialogue> <character>LORETTA</character> <dialogue>Why are you so dressed up?</dialogue> <character>DANNY</character> <dialogue>I don't know.</dialogue> <parenthetical>(so annoyed at Dad)</parenthetical> <dialogue>I don't fucking know!</dialogue> <parenthetical>(laughs)</parenthetical> <dialogue>I don't know.</dialogue> <character>LORETTA</character> <dialogue>How is your Dad?</dialogue> <character>DANNY</character> <dialogue>He's with your dad now which makes him happy. L.J.'s good for him, he knows how to have fun. His wife, you know, Maureen--</dialogue> <character>LORETTA</character> <dialogue>I think I met her once at a Dia show--</dialogue> <character>DANNY</character> <dialogue>She's in Easter Island so I'm staying with him now--</dialogue> <character>LORETTA</character> <dialogue>Oh, that's nice of you.</dialogue> <character>DANNY</character> <dialogue>This is her dead ex-husband's tux. She drinks and I worry he's lonely.</dialogue> <character>LORETTA</character> <dialogue>Yeah, that's hard, that stuff. You know my mom struggled with a prescription thing for a while when we were kids. But she's great now, married again...and you saw Dad... yeah...life. Blah!</dialogue> <parenthetical>(grabs his arms and shakes him affectionately)</parenthetical> <dialogue>Danny Meyerowitz!</dialogue> <character>DANNY</character> <parenthetical>(blushing)</parenthetical> <dialogue>I'm telling ya.</dialogue> <scene_description>Loretta undoes his badly knotted tie so it hangs open.</scene_description> <character>LORETTA</character> <dialogue>Wow, this was tied like a tennis shoe. There: More Sinatra.</dialogue> <character>DANNY</character> <dialogue>Yeah. Dad's my Sammy.</dialogue> <scene_description>Loretta laughs.</scene_description> </scene> <scene> <stage_direction>INT. MOMA GALLERY ROOM</stage_direction> <scene_description>Harold has a red wine now. L.J. drinks his Zubrowka and is approached throughout by well-wishers.</scene_description> <character>HAROLD</character> <dialogue>The work looks good. I don't know that the presentation is helping.</dialogue> <character>L.J.</character> <dialogue>You think? Yeah, I think some of the bears are not well served.</dialogue> <character>HAROLD</character> <dialogue>In a sense, the work is more intimate than the space. But, hey, you're on a streak.</dialogue> <character>L.J.</character> <parenthetical>(good naturedly)</parenthetical> <dialogue>Don't say that! Streaks end.</dialogue> <scene_description>Sigourney Weaver says Hi to L.J..</scene_description> <character>L.J.</character> <dialogue>Sigourney Weaver, this is Harold Meyerowitz.</dialogue> <character>SIGOURNEY</character> <dialogue>Hi, I'm Sigourney.</dialogue> <character>HAROLD</character> <dialogue>I'm Harold.</dialogue> <character>SIGOURNEY</character> <parenthetical>(to L.J.)</parenthetical> <dialogue>The work is beautiful. It's startling. Congratulations.</dialogue> <scene_description>She moves on. L.J. turns back to Harold.</scene_description> <character>L.J.</character> <dialogue>How are you, old man? How's Maureen?</dialogue> <character>HAROLD</character> <dialogue>Bard has approached me about a show.</dialogue> <character>L.J.</character> <dialogue>Are you still teaching there?</dialogue> <character>HAROLD</character> <dialogue>I'm retired, but my grand-daughter just started as a freshman. She's making movies.</dialogue> <character>L.J.</character> <dialogue>That's what they're all doing now. I say, don't teach 'em what we do, there's no damn money in that.</dialogue> <character>HAROLD</character> <dialogue>Well, you seem to have found a way.</dialogue> <scene_description>Glenn Twitchell, the curator, approaches, his back to Harold.</scene_description> <character>GLENN</character> <dialogue>I hope it's OK, I invited Sigourney to the dinner afterwards.</dialogue> <character>L.J.</character> <dialogue>Of course. I've known Sigourney for twenty years. Glenn, you remember--</dialogue> <character>GLENN</character> <dialogue>I hear a rave tomorrow from Michael and Twitter has been almost entirely glowing.</dialogue> <character>L.J.</character> <dialogue>Good, good.</dialogue> <character>GLENN</character> <dialogue>We're going to have a good day.</dialogue> <scene_description>Harold sips his wine and smiles along, although he's not part of the conversation.</scene_description> <character>L.J.</character> <dialogue>Glenn Twitchell, Harold Meyerowitz. Harold, Glenn's the curator here now.</dialogue> <character>GLENN</character> <dialogue>Nice to meet you.</dialogue> <character>HAROLD</character> <dialogue>(starts to correct him)</dialogue> <scene_description>We've actually... Nice to meet you.</scene_description> <character>GLENN</character> <parenthetical>(realizing)</parenthetical> <dialogue>Wait, Harold Meyerowitz? Shit, of course. We've met --</dialogue> <character>HAROLD</character> <dialogue>In the 70's --</dialogue> <character>GLENN</character> <dialogue>It's been a long time. What have you been doing? Forgive me, I don't know. Are you making art? Are you in the City?</dialogue> <scene_description>More people approach Glenn.</scene_description> <character>GLENN</character> <dialogue>Excuse me.</dialogue> <scene_description>L.J. gives Harold's shoulder a squeeze. Harold says oddly over the din:</scene_description> <character>HAROLD</character> <dialogue>How good are we?</dialogue> <character>L.J.</character> <parenthetical>(mis-hearing)</parenthetical> <dialogue>How am I? I'm exhausted. This show took it out of me physically and emotionally...hold on a second, old man.</dialogue> <scene_description>He's mobbed by more guests. Harold sinks back.</scene_description> </scene> <scene> <stage_direction>INT. MOMA RECEPTION AREA</stage_direction> <scene_description>CUT TO: The old high 8 video work on a monitor. A young girl with frizzy hair runs down an Upper West Side street. It's cut in a fragmentary, stuttering way.</scene_description> <character>DANNY</character> <dialogue>I remember you like that.</dialogue> <character>LORETTA</character> <dialogue>Yeah, I used to have mixed feelings about being part of Dad's art, but now I kind of love it. You know, he dedicated the catalogue to me.</dialogue> <character>DANNY</character> <dialogue>It's definitely a cool thing. This whole thing is really cool. It's special for me, I don't go out like this generally.</dialogue> <character>LORETTA</character> <dialogue>How's your family and everything?</dialogue> <character>DANNY</character> <dialogue>Well...Karen and I are splitting up. Split up.</dialogue> <character>LORETTA</character> <dialogue>Oh shit, sorry. I'm doing the same thing.</dialogue> <character>DANNY</character> <parenthetical>(pleased)</parenthetical> <dialogue>Really!</dialogue> <character>LORETTA</character> <dialogue>Yeah, but it's good. He...he's a good guy but can't get out of his own way. But my girls are handling it so great. How are you doing?</dialogue> <character>DANNY</character> <dialogue>Oh, fine. You know, Karen and I stayed together until Eliza went to school, but also I just didn't want to do what my Dad did, you know? Failed marriages and...you ever worry we're doing the same thing as them?</dialogue> <character>LORETTA</character> <dialogue>Oh, but we're so different, Dan.</dialogue> <character>DANNY</character> <dialogue>You think?</dialogue> <character>LORETTA</character> <dialogue>So different. We were raised like animals. We were feral! My worry is that we're too different. We're too close to our kids, don't you think? Parents shouldn't be best friends with their kids. I mean, I don't think my girls will ever move out!</dialogue> <scene_description>Danny laughs.</scene_description> <character>DANNY</character> <dialogue>Yeah, I secretly hoped that about Eliza, but unfortunately she seems pretty healthy in that area.</dialogue> <scene_description>Loretta laughs. Danny smiles broadly, pleased she's so engaged. Suddenly:</scene_description> <character>HAROLD (O.S.)</character> <dialogue>I want to go.</dialogue> <scene_description>Danny startles. Harold is right behind him.</scene_description> <character>DANNY</character> <dialogue>Dad--</dialogue> <character>LORETTA</character> <dialogue>Harold!</dialogue> <parenthetical>(identifying herself)</parenthetical> <dialogue>Loretta!</dialogue> <scene_description>Loretta hugs him and kisses him warmly on the cheek.</scene_description> <character>HAROLD</character> <dialogue>Oh, Loretta. Hi. I didn't recognize you at first.</dialogue> <parenthetical>(to Danny)</parenthetical> <dialogue>I'm going.</dialogue> <character>GUEST</character> <parenthetical>(re: the video)</parenthetical> <dialogue>There's that little girl I keep seeing running down 79th Street!</dialogue> <scene_description>Loretta is swarmed by more well-wishers.</scene_description> <character>HAROLD</character> <parenthetical>(to Danny)</parenthetical> <dialogue>I want to go.</dialogue> <character>DANNY</character> <parenthetical>(trying to keep it light)</parenthetical> <dialogue>Just a few more minutes, roomie?</dialogue> <character>HAROLD</character> <dialogue>I'm leaving.</dialogue> <scene_description>Harold hurries toward the EXIT. Danny looks at Loretta, who is distracted by the bigger group-- Danny gazes toward the EXIT where his father is wrestling open one of the big glass doors. Danny hesitates.</scene_description> <character>DANNY</character> <dialogue>Um, Loretta--</dialogue> <scene_description>She doesn't hear him. He politely waits for a moment.</scene_description> <character>DANNY</character> <dialogue>Loretta!</dialogue> <scene_description>She smiles at him, still talking to the group.</scene_description> <character>DANNY</character> <parenthetical>(strangely pantomiming leaving)</parenthetical> <dialogue>I have to go!</dialogue> <character>LORETTA</character> <dialogue>Oh, no. You sure? You guys aren't staying for the dinner?</dialogue> <character>DANNY</character> <dialogue>I don't think we were invited to--</dialogue> <character>LORETTA</character> <parenthetical>(to her friends)</parenthetical> <dialogue>Excuse me for a second.</dialogue> <scene_description>She touches Danny's arm, her face open and welcoming.</scene_description> <character>DANNY</character> <dialogue>Yeah, I better... He's old.</dialogue> <character>LORETTA</character> <parenthetical>(to Danny)</parenthetical> <dialogue>OK. Well...</dialogue> <character>DANNY</character> <dialogue>Great to see you.</dialogue> <character>LORETTA</character> <dialogue>So great.</dialogue> <scene_description>She kisses him on the cheek.</scene_description> <character>DANNY</character> <dialogue>I got your hair again.</dialogue> <character>LORETTA</character> <dialogue>OK, bye Danny.</dialogue> <character>DANNY</character> <dialogue>Bye.</dialogue> <scene_description>Danny hesitates. She turns back to her group. Danny knows he's blown it. He hurries after his father.</scene_description> </scene> <scene> <stage_direction>EXT. MOMA/5TH AVENUE. NIGHT</stage_direction> <scene_description>Danny is hit by a blast of cold air. His father is gone. He looks around to see: Harold running toward 5th Avenue. Danny takes off after his father, but with his limp and the jump Harold has already gotten, he's quite a bit behind.</scene_description> <character>DANNY</character> <dialogue>Dad!</dialogue> <scene_description>Danny turns onto 5th Avenue. Harold is crossing the street. Danny hurries, dodging traffic. Horns.</scene_description> <character>DANNY</character> <dialogue>Dad!</dialogue> <scene_description>Finally Danny catches up to him, out of breath.</scene_description> <character>DANNY</character> <parenthetical>(out of breath)</parenthetical> <dialogue>Dad! Did you hear me?</dialogue> <scene_description>Harold doesn't answer. Danny holds his hip.</scene_description> <character>DANNY</character> <dialogue>Shit.</dialogue> <scene_description>They slowly walk together in silence. Then Harold lets it rip:</scene_description> <character>HAROLD</character> <dialogue>Ultimately L.J. is a popular but minor artist. There's a superficial bravura, but there's no unconscious, no discovery.</dialogue> <character>HAROLD</character> <dialogue>I know you like the bears but it's a reshuffling of obnoxious cliches, like listening to music played slightly off-key.</dialogue> <character>DANNY</character> <dialogue>I didn't get to see it.</dialogue> <character>HAROLD</character> <dialogue>And the video work is embarrassing - - I've never forgiven L.J. for using Loretta in those pieces. You don't do that to a child. And it's a disturbing commentary on the culture that truly ordinary work, made mostly by his assistants, gets reverent reviews by critics who ought to know better. He's a talented, pretentious enigma.</dialogue> <scene_description>Silence as they continue to walk past the bright lights of 5th Avenue stores and office buildings.</scene_description> <character>DANNY</character> <dialogue>It was nice to see Loretta.</dialogue> <character>HAROLD</character> <parenthetical>(brightening)</parenthetical> <dialogue>She was very happy to see me. She gave me quite a kiss.</dialogue> <character>DANNY</character> <dialogue>I did well, I was pretty funny, I think. I didn't get her number or anything. Maybe I can get L.J.'s e-mail from you--</dialogue> <character>HAROLD</character> <dialogue>I don't feel comfortable giving it out. Maybe there's a work one.</dialogue> <character>DANNY</character> <dialogue>OK.</dialogue> <character>HAROLD</character> <dialogue>I met Sigourney Weaver who was very friendly. She said, "Hi, I'm Sigourney." I said, "Hi, I'm Harold."</dialogue> <scene_description>Danny waits, but there isn't more. He looks for a cab.</scene_description> <character>HAROLD</character> <dialogue>Have you thought about getting a job?</dialogue> <scene_description>Danny shrugs.</scene_description> <character>HAROLD</character> <dialogue>You've essentially never worked in your life.</dialogue> <scene_description>Danny nods.</scene_description> <character>HAROLD</character> <dialogue>I think you'd feel better about yourself.</dialogue> <scene_description>Danny nods.</scene_description> <character>HAROLD</character> <dialogue>Do you ever think about playing music again?</dialogue> <scene_description>Danny shrugs.</scene_description> <character>HAROLD</character> <dialogue>Maureen will be back next Thursday and you should think about where you're going to live. I mean, you can stay a while longer, but--</dialogue> </scene> <scene> <stage_direction>INT. HAROLD'S HOUSE. LIVING ROOM. NIGHT</stage_direction> <scene_description>A clock reads: 9:40. Danny, still in his tux, walks by the piano and plays the opening chords of Van Halen's Jump. He eats a sandwich and makes up the living room couch with a sheet and pillow. Harold appears in the doorway. He holds up black Vuarnet sunglasses.</scene_description> <character>HAROLD</character> <dialogue>Maureen wanted me to remind you to go through the boxes and things upstairs because we're going to start throwing things away. You might want these sunglasses.</dialogue> <character>DANNY</character> <dialogue>Those are Matthew's.</dialogue> <character>HAROLD</character> <dialogue>I'm letting him know too.</dialogue> <scene_description>CUT TO: Sitting on the made-up couch Danny dials his phone.</scene_description> <character>ELIZA'S VOICE</character> <dialogue>Hell-- Hello?</dialogue> <parenthetical>(laughter)</parenthetical> <dialogue>Sorry...hello?</dialogue> <character>DANNY</character> <dialogue>Yo, how are you doing?</dialogue> <character>ELIZA'S VOICE</character> <parenthetical>(laughing)</parenthetical> <dialogue>Sorry, Elvis is making me laugh.</dialogue> <character>DANNY</character> <dialogue>Who...who's Elvis?</dialogue> <character>ELIZA'S VOICE</character> <dialogue>What? Sorry. Joaquin's roommate.</dialogue> <character>DANNY</character> <dialogue>Oh, OK. Who's Joaquin?</dialogue> <character>ELIZA'S VOICE</character> <dialogue>He's a friend. What's up Dad?</dialogue> <character>DANNY</character> <dialogue>Well, I'm at Harold's. We went to L.J. Shapiro's opening at MOMA.</dialogue> <character>ELIZA'S VOICE</character> <dialogue>Was it fun?</dialogue> <character>DANNY</character> <dialogue>Yeah, for a little while.</dialogue> <character>ELIZA'S VOICE</character> <dialogue>You having fun with Grampa?</dialogue> <character>DANNY</character> <dialogue>I might go stay at Jean's in Rochester for a while. I'll be closer to you, but don't worry!</dialogue> <character>ELIZA'S VOICE</character> <dialogue>Ha. OK. We're going to see this band and then there's a party. Can I call you tomorrow?</dialogue> <character>DANNY</character> <dialogue>Yeah...yeah. I'll be up early.</dialogue> <character>ELIZA'S VOICE</character> <parenthetical>(hesitates)</parenthetical> <dialogue>What's wrong?</dialogue> <character>DANNY</character> <dialogue>Nothing.</dialogue> <character>ELIZA'S VOICE</character> <dialogue>I can hear it in your voice.</dialogue> <character>DANNY</character> <dialogue>Nothing.</dialogue> <character>ELIZA'S VOICE</character> <dialogue>Tell me. Hold on, I'm going to step outside so we can talk.</dialogue> <character>DANNY</character> <dialogue>No, no, go to the concert. I promise I'm fine.</dialogue> <character>ELIZA'S VOICE</character> <dialogue>You promise?</dialogue> <character>DANNY</character> <dialogue>Yes!</dialogue> <character>ELIZA'S VOICE</character> <dialogue>OK, I'm going to keep my phone on in case you want to call. OK?</dialogue> <character>DANNY</character> <dialogue>There's no need. Don't worry.</dialogue> <character>ELIZA'S VOICE</character> <dialogue>Otherwise, let's talk in the morning.</dialogue> <character>DANNY</character> <dialogue>OK. Have fun.</dialogue> <character>ELIZA'S VOICE</character> <dialogue>But call if you need to.</dialogue> <character>DANNY</character> <dialogue>I won't.</dialogue> <character>ELIZA'S VOICE</character> <dialogue>Bye Dad!</dialogue> <character>DANNY</character> <dialogue>Bye.</dialogue> </scene> <scene> <stage_direction>EXT. TOWNHOUSE. DAY</stage_direction> <scene_description>Danny lugs two big bags into the trunk of his Subaru. He tucks them amongst boxes, a rug, a lamp.</scene_description> </scene> <scene> <stage_direction>EXT. TOWNHOUSE. DANNY'S SUBARU</stage_direction> <scene_description>The front and back seats are also piled with bags and boxes. He starts the car. He fiddles with the satellite radio. Finds "Alligator Woman" by Cameo.</scene_description> <character>DANNY</character> <dialogue>Ooh. Nice.</dialogue> <scene_description>He turns it up and sings along. He starts backing up and pulling into traffic.</scene_description> <character>DANNY</character> <dialogue>Don't fake me out, out/Oh, you make me shout/Alligator woman, you- -</dialogue> <scene_description>He's greeted by a serenade of HORNS!</scene_description> <character>DANNY</character> <parenthetical>(erupting)</parenthetical> <dialogue>Go fuck yourself! Go fuck yourself! GO FUCK YOURS---!!!!!</dialogue> <scene_description>BLACK TITLE: TEXT: Matthew had just arrived on the red-eye from LA.</scene_description> </scene> <scene> <stage_direction>INT. RANDY'S APARTMENT</stage_direction> <scene_description>The BLAST of JACKHAMMERS. CUT TO: An apartment wall comes crashing down. The white plaster and dust billows and clouds the room. As it settles we reveal Matthew Meyerowitz, mid-40's, crouched and holding his ears, his face still clenched in anticipation of the explosion. He wears a suit and tie. The man next to him, Randy, 30, is dressed in a white V- neck and white karate pants with white wrestling sneakers.</scene_description> <character>RANDY</character> <dialogue>Is that OK?! Is that OK?! Is that OK that that just happened?!</dialogue> <character>MATT</character> <dialogue>It's OK!</dialogue> <parenthetical>(to a workman)</parenthetical> <dialogue>Right?</dialogue> <scene_description>The guy says nothing.</scene_description> <character>RANDY</character> <dialogue>I don't know. I'm scared, Matt.</dialogue> <scene_description>Randy walks through the rooms, Matthew following him. Workmen swirl around them, under them, above them.</scene_description> <character>RANDY</character> <dialogue>These guys are six months behind.</dialogue> <scene_description>Matt hands him a piece of paper.</scene_description> <character>MATT</character> <dialogue>That's why I'm here. I put together a document that anticipates where you'll be at the end of the year vis a vis the overages.</dialogue> <character>RANDY</character> <parenthetical>(takes the sheet)</parenthetical> <dialogue>Oh, for Christ. Really? Have we already spent this much?</dialogue> <character>MATT</character> <dialogue>That's the first page...</dialogue> <character>RANDY</character> <parenthetical>(turns it around)</parenthetical> <dialogue>Suck a dick. Oh God. Really?</dialogue> <scene_description>Another crashing sound. Matt looks around.</scene_description> <character>MATT</character> <dialogue>The change orders are adding up. We didn't budget for the salt water pool.</dialogue> <character>RANDY</character> <parenthetical>(smiling)</parenthetical> <dialogue>But we're getting a salt water pool. In New York City, Matty. Every time I think of that pool, I do a Snoopy dance.</dialogue> <scene_description>He does a Snoopy dance.</scene_description> <character>MATT</character> <dialogue>Below you'll see I made a list of things I think you should consider cutting back on.</dialogue> <scene_description>Randy looks at the list.</scene_description> <character>RANDY</character> <parenthetical>(jumping up and down)</parenthetical> <dialogue>No! The steam room makes me so happy.</dialogue> <character>MATT</character> <parenthetical>(consulting the sheet)</parenthetical> <dialogue>You realize you have a steam room and a sauna?</dialogue> <scene_description>Randy nods innocently.</scene_description> <character>MATT</character> <dialogue>We have to make some decisions.</dialogue> <parenthetical>(wiping plaster dust off his shoulder)</parenthetical> <dialogue>It's too late to take out the sauna, but the Italian marble -- the wine vault alone is a hundred grand.</dialogue> <character>RANDY</character> <dialogue>You look tired.</dialogue> <scene_description>Matt's phone rings.</scene_description> <character>MATT</character> <dialogue>I can't sleep on the red-eye.</dialogue> <character>RANDY</character> <dialogue>Let's get you a coffee.</dialogue> <scene_description>Matt checks his phone. Dad.</scene_description> <character>RANDY</character> <dialogue>I'm glad you're here, Matt.</dialogue> <character>MATT</character> <dialogue>I'm not leaving until we've figured this out--</dialogue> <scene_description>Matt doesn't answer his phone and they step into a shell of a room that's sealed off with plastic. More workmen. Hammering. Plaster dust drifts down on them.</scene_description> <character>RANDY</character> <parenthetical>(marveling)</parenthetical> <dialogue>There are different people here every day.</dialogue> <scene_description>The coffee machine sits alone atop a folding table. Randy pours the beans into the grinder and presses the button.</scene_description> <character>RANDY</character> <parenthetical>(shouting over the grinding)</parenthetical> <dialogue>How's your kid?</dialogue> <character>MATT</character> <dialogue>Good. I'm in a fight with my wife right now, but...</dialogue> <parenthetical>(re: the sheet)</parenthetical> <dialogue>Randy, I don't want to sound alarmist, but you're not going to be able to sustain your lifestyle, if things continue like this.</dialogue> <scene_description>Randy frowns like a child.</scene_description> <character>MATT</character> <dialogue>And you're not going on tour any time soon --</dialogue> <scene_description>Randy hands Matt a coffee. Matt sips the coffee and smiles.</scene_description> <character>RANDY</character> <dialogue>Right?</dialogue> <character>MATT</character> <dialogue>It's nice.</dialogue> <character>RANDY</character> <dialogue>It's my own espresso bean. SEE, I'm doing everything I can to make a buck. The coffee will pay for the pool!</dialogue> <character>MATT</character> <dialogue>That might be too much pressure to put on the coffee--</dialogue> <scene_description>Matt's phone rings again. He looks at it.</scene_description> <character>MATT</character> <dialogue>Here's what we're going to do. We're going to get you the pool.</dialogue> <character>RANDY</character> <dialogue>Yes!</dialogue> <character>MATT</character> <dialogue>But not this year. We're going to rent out the bottom floor which is zoned commercial anyway and we'll get a tenant for the second floor.</dialogue> <character>RANDY</character> <dialogue>But can't I afford--</dialogue> <character>MATT</character> <dialogue>The income from the rentals will cover the real estate taxes and you'll live on the top two floors in the meantime. Everything else you can have.</dialogue> <character>MATT</character> <dialogue>Let me just...</dialogue> <parenthetical>(answering)</parenthetical> <dialogue>Hello?</dialogue> <character>RANDY</character> <dialogue>Coffee makes me so happy.</dialogue> <scene_description>A saw screams loudly in the other room. Matt plugs one ear with his finger and goes to the window.</scene_description> </scene> <scene> <stage_direction>EXT. WILLIAMSBURG RESTAURANT. INTERCUT</stage_direction> <scene_description>Harold stands outside a restaurant. He wears a camel colored blazer with a black turtleneck and baggy slacks. A denim flat cap on his head. He holds a poster roll and some envelopes and folders under his arm. He still has a slight bruise on the side of his face from his fall. They're jack-hammering in the street next to him.</scene_description> <character>HAROLD</character> <dialogue>They won't seat me without you!</dialogue> <character>MATT</character> <dialogue>Where are you?!</dialogue> <character>HAROLD</character> <dialogue>I'm standing outside the place.</dialogue> <character>MATT</character> <dialogue>You're forty-five minutes early.</dialogue> <character>HAROLD</character> <dialogue>There are many available tables. The guy was a real jerk.</dialogue> <character>MATT</character> <dialogue>We have a reservation, did you say my name?</dialogue> <character>HAROLD</character> <dialogue>I said my name.</dialogue> <character>MATT</character> <dialogue>Well, let me finish up here and we'll figure it out.</dialogue> <character>HAROLD</character> <dialogue>How long are you going to be?</dialogue> <character>MATT</character> <dialogue>I'll be there at one when we said we'd meet.</dialogue> <character>HAROLD</character> <dialogue>Well, hurry up. Parking was easier than I anticipated.</dialogue> <character>MATT</character> <dialogue>I'll see you soon!</dialogue> <scene_description>Matt hangs up. Randy is talking to a guy with an open notebook. He turns to Matt and says decisively.</scene_description> <character>RANDY</character> <dialogue>We won't do the pool now.</dialogue> <character>MATT</character> <dialogue>I think that's the right decision.</dialogue> <scene_description>Matt puts his hand on Randy's shoulder.</scene_description> <character>RANDY</character> <parenthetical>(re: the phone)</parenthetical> <dialogue>Everything OK?</dialogue> <character>MATT</character> <dialogue>Totally. Lunch with my father.</dialogue> <character>RANDY</character> <dialogue>Say no more!</dialogue> <character>MATT</character> <dialogue>No, now it's easy. When I was younger, I was so invested in his grievances, his anger at the world. They were mine too. Now, that I live three thousand miles away and have a good therapist, my own kid, a thriving business, I don't even get angry at him anymore. It's even just funny now...</dialogue> <parenthetical>(suddenly having trouble clearing his throat)</parenthetical> <dialogue>You know what's awesome about middle age, you now know more than your parents. You can guide the--</dialogue> <parenthetical>(coughing a bit now)</parenthetical> <dialogue>I'm sorry, I don't know why I'm suddenly, I think it's all this plaster dust and this coffee--</dialogue> <character>RANDY</character> <parenthetical>(nods)</parenthetical> <dialogue>You need something?</dialogue> <character>MATT</character> <dialogue>Like what?</dialogue> <character>RANDY</character> <dialogue>Let's see--</dialogue> <scene_description>Randy fishes into his pants-pocket and retrieves two loose different sized pills. He picks some additional lint out of his palm.</scene_description> <character>RANDY</character> <dialogue>--one brings you up and the other brings you down, but I'm not totally certain which is which.</dialogue> <character>MATT</character> <dialogue>You have a guess?</dialogue> <character>RANDY</character> <dialogue>I haven't worn these pants in a while.</dialogue> <scene_description>He hands them to Matt. Matt puts it in his breast pocket.</scene_description> <character>RANDY</character> <dialogue>Thanks, Matt. I don't have anyone in my life like you.</dialogue> </scene> <scene> <stage_direction>EXT. WILLIAMSBURG RESTAURANT</stage_direction> <scene_description>Matthew hurries over to his Dad who has remained outside the restaurant. The street noise continues.</scene_description> <character>HAROLD</character> <dialogue>There's my son.</dialogue> <character>MATT</character> <dialogue>Hey.</dialogue> <scene_description>They hug awkwardly. Harold hands Matt the poster roll and envelopes and papers and the Vuarnet sunglasses. Matt frowns.</scene_description> <character>HAROLD</character> <dialogue>These are yours. They were in the upstairs room. Maureen is throwing things out, I wanted you to have them.</dialogue> <character>MATT</character> <parenthetical>(not thrilled to be carrying them)</parenthetical> <dialogue>Thanks. The Vuarnets are Danny's.</dialogue> <character>HAROLD</character> <dialogue>He said they were yours.</dialogue> <character>MATT</character> <dialogue>No. You can throw them out.</dialogue> <character>HAROLD</character> <dialogue>They're quite fancy.</dialogue> <parenthetical>(hesitates)</parenthetical> <dialogue>Maybe Maureen will use them.</dialogue> <scene_description>He puts them in his jacket pocket.</scene_description> <character>MATT</character> <dialogue>What happened to your face?</dialogue> <character>HAROLD</character> <dialogue>We got a new dog, did I tell you?</dialogue> <character>MATT</character> <dialogue>Maybe?</dialogue> <character>HAROLD</character> <dialogue>Bruno...my charge, we call him Bruno. Named for the idiot in Werner Herzog's Stroczek.</dialogue> <character>MATT</character> <dialogue>I've never seen it.</dialogue> <character>HAROLD</character> <dialogue>Really? I own the cassette at home if you want to come over.</dialogue> <character>MATT</character> <dialogue>So, what happened?</dialogue> <character>HAROLD</character> <dialogue>He lunged for a deranged hare taking me in the process.</dialogue> <parenthetical>(beat, sly smile)</parenthetical> <dialogue>You should see the other dog.</dialogue> <character>MATT</character> <dialogue>Are you all right?</dialogue> <character>HAROLD</character> <dialogue>I'm fine. It wasn't his fault.</dialogue> <character>MATT</character> <dialogue>Shall we go in?</dialogue> <character>HAROLD</character> <dialogue>I'm not eating here.</dialogue> <character>MATT</character> <dialogue>Because they wouldn't seat you?</dialogue> <character>HAROLD</character> <dialogue>The guy was very obnoxious.</dialogue> <character>MATT</character> <dialogue>Let me talk to him--</dialogue> <character>HAROLD</character> <dialogue>No, let's go somewhere else.</dialogue> <character>MATT</character> <dialogue>I only have an hour and a half.</dialogue> <character>HAROLD</character> <dialogue>This is my protest. Like McEnroe.</dialogue> <scene_description>Harold starts walking away. Matt hesitates.</scene_description> <character>MATT</character> <dialogue>OK, let me think...</dialogue> <scene_description>A man, 30's, Gabe, is trying to get Matt's attention from a table inside the restaurant. Matthew indicates for him to follow them. Matthew and Harold walk. There seems to be construction everywhere they go. They pass wild-posting of ads for L.J. Shapiro's retrospective at MOMA.</scene_description> <character>HAROLD</character> <dialogue>Not too far, because at three I have to put money in the meter.</dialogue> <scene_description>Gabe, sprinting, catches up to them.</scene_description> <character>HAROLD</character> <dialogue>This man is treading right on my heels.</dialogue> <character>MATT</character> <dialogue>No, Dad, he's with me. This is Gabe, he works at my firm in New York.</dialogue> <scene_description>Gabe joins them on the sidewalk.</scene_description> <character>GABE</character> <dialogue>Nice to meet you, Mr. Meyerowitz.</dialogue> <scene_description>Gabe reaches out to shake Harold's hand, but Harold doesn't take it.</scene_description> <character>MATT</character> <dialogue>I thought Gabe could join us for part of lunch. His specialty is in estate planning--</dialogue> <character>HAROLD</character> <dialogue>I have an accountant.</dialogue> <character>MATT</character> <dialogue>Barry Sukenick doesn't work on this scale, Dad.</dialogue> <character>GABE</character> <dialogue>I've had a chance to review some of the documents--</dialogue> <character>MATT</character> <dialogue>And as we move toward selling the house, I think it might be a good time to get some affairs in order.</dialogue> <character>HAROLD</character> <dialogue>If we sell the house, it will be my decision.</dialogue> <character>MATT</character> <dialogue>Well, Brian and James, who you met--</dialogue> <character>HAROLD</character> <dialogue>They were a very charming, interracial homosexual couple. And smart about the work. They were familiar with Gilded Halfwing.</dialogue> <character>MATT</character> <dialogue>Yes, James says they liked the work very much and they love the house. And they've made us an offer.</dialogue> <character>HAROLD</character> <dialogue>For the work too?</dialogue> <character>GABE</character> <dialogue>For the work, the house, some of the furniture...</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT #2</stage_direction> <scene_description>They enter the new restaurant.</scene_description> <character>MATT</character> <parenthetical>(to the hostess)</parenthetical> <dialogue>Hi, three, please.</dialogue> <character>HOSTESS</character> <dialogue>If you'll follow me--</dialogue> <scene_description>They follow her to the table.</scene_description> <character>HAROLD</character> <parenthetical>(pointedly to Matt)</parenthetical> <dialogue>You know, your brother doesn't want to sell.</dialogue> <character>GABE</character> <dialogue>Brother?</dialogue> <scene_description>They all sit.</scene_description> <character>MATT</character> <dialogue>Half-brother. We have a different mother.</dialogue> <parenthetical>(to Dad)</parenthetical> <dialogue>That's a real shame for him, then. Danny stands the most to benefit. He doesn't work.</dialogue> <character>HAROLD</character> <dialogue>He and Karen have separated.</dialogue> <character>MATT</character> <parenthetical>(surprised)</parenthetical> <dialogue>Really?</dialogue> <character>HAROLD</character> <dialogue>I took him in, but now he's with Jean in Rochester.</dialogue> <character>MATT</character> <dialogue>Shit.</dialogue> <character>HAROLD</character> <dialogue>Apparently his mother moved to Florida, which I didn't know. Did you know that?</dialogue> <character>MATT</character> <dialogue>No.</dialogue> <character>HAROLD</character> <dialogue>She's also still angry at me apparently. You know, your brother and sister have helped organize a show for me up at Bard.</dialogue> <character>MATT</character> <dialogue>A retrospective?</dialogue> <character>HAROLD</character> <dialogue>A retrospective of the faculty, yes.</dialogue> <character>MATT</character> <dialogue>Like a group show?</dialogue> <character>HAROLD</character> <dialogue>There are other artists, yes, but I've been promised a very prominent place in the gallery.</dialogue> <character>MATT</character> <parenthetical>(politely)</parenthetical> <dialogue>Sounds good. Congratulations.</dialogue> <scene_description>Gabe gets out some papers from his briefcase.</scene_description> <character>GABE</character> <dialogue>You purchased the property in 1973 for 60 thousand dollars. But since, you've borrowed against the house a couple of times, the net proceeds have diminished--</dialogue> <character>HAROLD</character> <dialogue>Danny thinks after this show, my work could appreciate considerably in value and that we should wait.</dialogue> <character>MATT</character> <parenthetical>(annoyed)</parenthetical> <dialogue>You just told me Danny doesn't want to sell at all. Dad, whatever happens at Bard, you can't afford the real estate taxes- -</dialogue> <character>GABE</character> <dialogue>You're paying two grand a month in utilities. Even things you wouldn't think, the housekeeper...</dialogue> <character>MATT</character> <dialogue>Gabe--</dialogue> <character>HAROLD</character> <dialogue>(sternly to Gabe)</dialogue> <scene_description>Mercedes has been with us for years. And although I deplore her politics, I'm not letting her go.</scene_description> <character>GABE</character> <dialogue>I'm just giving examples--</dialogue> <character>HAROLD</character> <dialogue>(re: Gabe)</dialogue> <scene_description>Am I paying for him?</scene_description> <character>MATT</character> <dialogue>No, he's doing this as a favor to me. Gabe's specialty is not my specialty. I'm in personal wealth.</dialogue> <character>HAROLD</character> <dialogue>Something I wouldn't know about.</dialogue> <character>MATT</character> <dialogue>Gabe would only get paid when we sell.</dialogue> <character>HAROLD</character> <dialogue>I'm not giving Gabe anything. Absolutely not. And I'm not having this conversation with him. This is a private family matter.</dialogue> <character>GABE</character> <dialogue>OK. I understand.</dialogue> <character>HAROLD</character> <dialogue>Normally a conspiracy is mounted by people close to you. I don't even know this asshole.</dialogue> <scene_description>Harold stands up and walks toward the door.</scene_description> <character>MATT</character> <parenthetical>(to the waiter)</parenthetical> <dialogue>We'll get a check.</dialogue> <character>GABE</character> <dialogue>We didn't order anything.</dialogue> <character>MATT</character> <parenthetical>(sighs, to Gabe)</parenthetical> <dialogue>Sorry.</dialogue> <scene_description>Matt rises. He hands Gabe the poster roll and papers.</scene_description> <character>MATT</character> <dialogue>Can you take this to the office for me?</dialogue> <character>GABE</character> <dialogue>To file?</dialogue> <character>MATT</character> <dialogue>No, it's some middle school term papers and a Risky Business poster.</dialogue> </scene> <scene> <stage_direction>INT. NEW FANCY RESTAURANT</stage_direction> <scene_description>Matt and Harold are stuffing bread into their mouths while they consult their menus. They sit at a table for four at the end of a crowded banquette.</scene_description> <character>HAROLD</character> <dialogue>I wanted to punch Gabe in the nose.</dialogue> <character>MATT</character> <dialogue>The owner of this place is a client, that's why we could get a table so last minute.</dialogue> <scene_description>Matt continues, looking to impress his Dad even just a little.</scene_description> <character>MATT</character> <dialogue>That's why they gave us this bigger table...</dialogue> <character>MATT</character> <dialogue>I imagine they'll send us some complimentary stuff too...</dialogue> <scene_description>Harold struggles with a small aspirin container.</scene_description> <character>MATT</character> <dialogue>Is that Baby Aspirin?</dialogue> <character>HAROLD</character> <dialogue>Adult aspirin bothers my stomach.</dialogue> <character>MATT</character> <dialogue>Are you OK?</dialogue> <character>HAROLD</character> <dialogue>I've had some headaches. It's fine.</dialogue> <scene_description>Harold chews the two aspirin.</scene_description> <character>MATT</character> <dialogue>Have you gone to the doctor?</dialogue> <character>HAROLD</character> <dialogue>It's not necessary.</dialogue> <scene_description>Matt lays two phones out in front of him. One Blackberry, one iPhone.</scene_description> <character>HAROLD</character> <dialogue>You're so important you need two phones.</dialogue> <character>MATT</character> <dialogue>I saw L.J. has a show on at MOMA, I thought I'd check it out.</dialogue> <character>HAROLD</character> <parenthetical>(proudly)</parenthetical> <dialogue>I was at the opening. I met Sigourney Weaver.</dialogue> <character>MATT</character> <dialogue>How is L.J.?</dialogue> <character>HAROLD</character> <dialogue>We chatted. She said to me, "My name is Sigourney." I said, "My name is Harold."</dialogue> <character>MATT</character> <dialogue>Uh huh.</dialogue> <character>HAROLD</character> <dialogue>L.J. says he's going to try to come to the show at Bard.</dialogue> <character>MATT</character> <parenthetical>(politely)</parenthetical> <dialogue>That's great.</dialogue> <character>HAROLD</character> <dialogue>I'm sure L.J. would like to see you there.</dialogue> <character>MATT</character> <parenthetical>(vaguely)</parenthetical> <dialogue>If I'm in town...</dialogue> <character>HAROLD</character> <dialogue>I think I'm going to show the bronze sphere. It's an early piece I made when you used to sit on the floor and watch me work. You remember that?</dialogue> <character>MATT</character> <dialogue>You've told me this before, and I don't remember it.</dialogue> <character>HAROLD</character> <dialogue>You would hand me tools and make suggestions as if you too were the artist.</dialogue> <character>MATT</character> <dialogue>Well, I wasn't.</dialogue> <character>HAROLD</character> <dialogue>It was originally untitled, but I'm going to call it "Matthew."</dialogue> <character>MATT</character> <parenthetical>(changing the subject)</parenthetical> <dialogue>I'd like to see Eliza too. She sent me her movie which I thought was really good. Did you like it?</dialogue> <character>HAROLD</character> <dialogue>At that time I thought you might be interested in sculpture. Or maybe an actor or a comic. You were a very talented mimic.</dialogue> <character>MATT</character> <dialogue>I do the voices of a lot of my co- workers which cracks people up at the firm.</dialogue> <parenthetical>(doing a voice)</parenthetical> <dialogue>"I'm going to run downstairs for an esmoke." You don't know Ezra, but that's a pretty good imitation.</dialogue> <character>HAROLD</character> <dialogue>You were also very musical like Danny.</dialogue> <character>MATT</character> <dialogue>But Danny could really play.</dialogue> <character>HAROLD</character> <dialogue>He was chubby as a kid but surprisingly dexterous. No, that's true, Danny was quite gifted. I don't know why he didn't pursue it. I know he raised a child, but in this day and age, it's possible to do both.</dialogue> <character>MATT</character> <dialogue>There are so many other things that factor in, don't you think?</dialogue> <character>HAROLD</character> <dialogue>I suppose that's true, he had a difficult mother.</dialogue> <character>MATT</character> <dialogue>And poor Jean, I feel like she just opted out of...life. Has Jean ever had a boyfriend?</dialogue> <character>MATT</character> <dialogue>Or girlfriend?</dialogue> <character>HAROLD</character> <dialogue>Apparently her office-movies show real ability.</dialogue> <character>HAROLD</character> <dialogue>I thought you'd do something artistic.</dialogue> <character>MATT</character> <dialogue>I work with artists. I understand the temperament.</dialogue> <character>HAROLD</character> <dialogue>Maybe Eliza will be my heir in that department. Although she seems more commercially minded. And potentially a lesbian.</dialogue> <character>MATT</character> <dialogue>Really? I didn't get that.</dialogue> <parenthetical>(clears his throat)</parenthetical> <dialogue>You know, I think I mentioned to you, I left the company I was with and me and a couple of other people started our own firm.</dialogue> <character>HAROLD</character> <dialogue>Maureen is talking to a friend who works at the Times about getting someone to come up and review the show. In recent years, I've been essentially ignored by the Times and I think this might put me back on the map.</dialogue> <character>MATT</character> <dialogue>It was scary, and a big change, but things have settled and we're doing really well. A lot of our old clients came with us. I think we're a great alternative to some of the bigger firms.</dialogue> <character>MATT</character> <parenthetical>(showing Harold an image on his phone)</parenthetical> <dialogue>This is our logo.</dialogue> <scene_description>Harold unfolds his collapsible drugstore glasses and puts them on.</scene_description> <character>HAROLD</character> <dialogue>Fifty-five dollars for a steak.</dialogue> <character>MATT</character> <dialogue>They're known for their meat here.</dialogue> <character>HAROLD</character> <parenthetical>(reading the menu)</parenthetical> <dialogue>And thirty-five dollars for a salmon. Do you get the salmon to blow you for that price?</dialogue> <parenthetical>(Matt smiles politely)</parenthetical> <dialogue>Do you want to split a salmon?</dialogue> <character>MATT</character> <dialogue>I'm going to get my own steak. I didn't eat on the plane.</dialogue> <character>HAROLD</character> <dialogue>A whole portion is going to be too much food for me.</dialogue> <character>MATT</character> <dialogue>Then eat what you can.</dialogue> <character>HAROLD</character> <dialogue>I'm just going to have a starter.</dialogue> <character>MATT</character> <parenthetical>(pause)</parenthetical> <dialogue>I'm paying.</dialogue> <scene_description>The waiter comes.</scene_description> <character>WAITER</character> <dialogue>Have you guys dined with us before? Do you have any questions?</dialogue> <character>HAROLD</character> <dialogue>We have answers.</dialogue> <scene_description>Matt takes out the pill from his pocket. He nibbles off a corner and tucks the rest away.</scene_description> <character>HAROLD</character> <dialogue>I'm going to have the salad--</dialogue> <character>WAITER</character> <dialogue>The little gem, OK.</dialogue> <character>HAROLD</character> <dialogue>(hesitates)</dialogue> <character>WAITER</character> <dialogue>The six ounce or the twelve?</dialogue> <scene_description>--to start and then the steak.</scene_description> <character>HAROLD</character> <dialogue>Twelve. And...</dialogue> <parenthetical>(turning to Matt)</parenthetical> <dialogue>Maybe a spinach for the table. The potatoes sound good.</dialogue> <character>MATT</character> <dialogue>Sure.</dialogue> <character>HAROLD</character> <dialogue>Shall we get a wine?</dialogue> <character>MATT</character> <dialogue>Live it up.</dialogue> <character>HAROLD</character> <dialogue>And maybe this Brunello.</dialogue> <character>MATT</character> <dialogue>I'll have the steak. And the market salad. And we don't have a ton of time so if you can bring everything at once...</dialogue> <scene_description>The waiter leaves.</scene_description> <character>HAROLD</character> <dialogue>How's my grandson who I never get to see?</dialogue> <character>MATT</character> <dialogue>Here.</dialogue> <scene_description>He shows a photo on his phone to Harold.</scene_description> <character>HAROLD</character> <dialogue>He's quite handsome. His hair is so blonde.</dialogue> <character>MATT</character> <dialogue>No, that's his friend, Sebastian.</dialogue> <character>HAROLD</character> <dialogue>Oh, he's the one with his hand in his trousers.</dialogue> <character>MATT</character> <dialogue>He was tucking in his shirt.</dialogue> <character>HAROLD</character> <dialogue>He looks like the child in Kubrick's The Shining.</dialogue> <character>MATT</character> <dialogue>That's the sweater, I think.</dialogue> <character>HAROLD</character> <dialogue>Handsome boy. Has the Meyerowitz eyes. Does he like the Knicks? I suppose he'll be a Laker fan since you're essentially an Angeleno at this point.</dialogue> <character>MATT</character> <dialogue>Yeah, but New York isn't what it was. My artist clients are all moving out west now.</dialogue> <character>HAROLD</character> <dialogue>I've never forgiven Kobe for what he did.</dialogue> <character>MATT</character> <dialogue>It's hard to have a relationship AND a child.</dialogue> <character>MATT</character> <dialogue>I imagine you've felt that too.</dialogue> <character>HAROLD</character> <dialogue>No, not really. I didn't find that difficult.</dialogue> <character>MATT</character> <dialogue>Dad, you've been married FOUR times.</dialogue> <character>HAROLD</character> <dialogue>Three. The first was annulled.</dialogue> <character>MATT</character> <dialogue>I married her because of Tony, but...</dialogue> <character>MATT</character> <dialogue>I don't know, I think about what it would mean to leave, but...even contemplating it makes me feel guilty.</dialogue> <character>HAROLD</character> <dialogue>Guilt is not a useful emotion. It blocks feeling. My advice is to go to work. Start a new project.</dialogue> <character>MATT</character> <dialogue>I work every day, Dad. I go to an office.</dialogue> <character>HAROLD</character> <dialogue>Well, I haven't met his mother so I can't advise you in that department.</dialogue> <character>MATT</character> <dialogue>You could have met her if you'd come to our wedding.</dialogue> <character>HAROLD</character> <dialogue>You did it in LA.</dialogue> <character>MATT</character> <dialogue>There are planes.</dialogue> <character>HAROLD</character> <dialogue>I always felt you should have invited your brother and sister.</dialogue> <character>MATT</character> <dialogue>They're half. I don't talk to them or know them really...</dialogue> <character>HAROLD</character> <dialogue>You and your brother were quite close as kids. I remember you dressing like him.</dialogue> <character>MATT</character> <dialogue>He lived with us for one year until you kicked him out.</dialogue> <character>HAROLD</character> <dialogue>I didn't kick him out. He needed to go back with his mom and Jean. Your mom felt we didn't have enough space.</dialogue> <character>MATT</character> <dialogue>Well, anyway, I didn't invite a lot of people, but everyone I invited, including Mom, came except for you.</dialogue> <character>HAROLD</character> <dialogue>Well, if you break up what does it matter anyway?</dialogue> <scene_description>A fashionable European man and woman are eating at a smaller table next to Harold and Matt, in the same banquette. The European man, while in conversation, puts his glasses case on the Meyerowitz table.</scene_description> <character>HAROLD</character> <dialogue>It's so brazen.</dialogue> <character>MATT</character> <dialogue>What?</dialogue> <character>HAROLD</character> <dialogue>This jerk placed his glasses on our table.</dialogue> <character>MATT</character> <dialogue>I don't think he realizes.</dialogue> <character>HAROLD</character> <dialogue>No, he knows exactly what he's doing.</dialogue> <character>MATT</character> <dialogue>Dad, in terms of your estate, I don't want you to make mistakes that can be avoided.</dialogue> <character>HAROLD</character> <dialogue>Then they will be my mistakes.</dialogue> <scene_description>They're served their wine.</scene_description> <character>HAROLD</character> <dialogue>Before she dried out, Maureen drank half my wine cellar so I haven't had any good wine in a while. But she's been sober now for six weeks.</dialogue> <character>MATT</character> <dialogue>Is she still going to AA?</dialogue> <character>HAROLD</character> <dialogue>She's doing it her own way. Maureen is made uncomfortable by AA which I can understand. It's quite infantilizing giving away your control like that.</dialogue> <character>MATT</character> <dialogue>I think that's the idea.</dialogue> <character>HAROLD</character> <dialogue>I tell Maureen, I don't like you when you drink. You become a different person, I say.</dialogue> <parenthetical>(exasperated)</parenthetical> <dialogue>Do we look like we need two ketchups?</dialogue> <character>MATT</character> <dialogue>What are you talking about?</dialogue> <character>HAROLD</character> <dialogue>This son of a bitch just put his ketchup on our table too.</dialogue> <scene_description>The ketchup bottle is now next to the glasses case at the end of their table.</scene_description> <character>HAROLD</character> <dialogue>Before you know it, he'll be sitting in my lap.</dialogue> <scene_description>The man balls up his napkin and puts it next to the ketchup and glasses case on their table.</scene_description> <character>HAROLD</character> <dialogue>I want to punch this guy in the nose.</dialogue> <character>MATT</character> <dialogue>It's fine Dad, we have the bigger table. Just let it go.</dialogue> <scene_description>The man now places his wine glass on their table. Harold reaches over and takes a sip from the glass and puts it back. Matt looks horrified.</scene_description> <character>MATT</character> <dialogue>Dad, what the fuck--</dialogue> <scene_description>The Man doesn't notice, however. He and his date are finishing up and preparing to leave.</scene_description> <character>MATT</character> <dialogue>Please don't do that again.</dialogue> <character>HAROLD</character> <dialogue>It's my protest.</dialogue> <character>MATT</character> <dialogue>You better hope he doesn't have a cold.</dialogue> <scene_description>The European man grabs his jacket from the shared banquette bench as Harold and leaves with his date.</scene_description> <character>MATT</character> <dialogue>They're gone. Can you relax now? I'd like to relax now?</dialogue> <character>HAROLD</character> <dialogue>So brazen.</dialogue> <character>MATT</character> <dialogue>(changing the subject)</dialogue> <scene_description>I think the Knicks might be interesting this year--</scene_description> <character>HAROLD</character> <dialogue>Wait a minute. Where's my jacket?</dialogue> <character>MATT</character> <dialogue>Right next to you.</dialogue> <character>HAROLD</character> <dialogue>This isn't my jacket.</dialogue> <parenthetical>(he looks around)</parenthetical> <dialogue>That son of a bitch took my jacket.</dialogue> <character>MATT</character> <dialogue>What do you mean?</dialogue> <character>HAROLD</character> <dialogue>He has my jacket, Matthew.</dialogue> <scene_description>Outside the window, the European man and his date are talking. Their steaks are brought to the table.</scene_description> <character>MATT</character> <dialogue>He's still outside-- I'll get it back.</dialogue> <character>HAROLD</character> <dialogue>Shit, it's three o'clock. I have to put money in the meter.</dialogue> <character>MATT</character> <dialogue>Forget it.</dialogue> <character>HAROLD</character> <parenthetical>(sternly)</parenthetical> <dialogue>I'm not getting a ticket, Matthew.</dialogue> <character>MATT</character> <dialogue>Fuck it, I'm going to grab the guy, you get the check and settle up?</dialogue> <character>HAROLD</character> <dialogue>I thought you were paying. I wouldn't have ordered that wine otherwise.</dialogue> <character>MATT</character> <dialogue>Well, what do you want me to do?</dialogue> <character>HAROLD</character> <dialogue>Where's our waiter?</dialogue> <parenthetical>(loudly to the waiter)</parenthetical> <dialogue>Excuse me! Excuse me!</dialogue> <scene_description>People look over at them.</scene_description> <character>MATT</character> <dialogue>Dad--</dialogue> <character>HAROLD</character> <dialogue>Can we get a bill?!</dialogue> <scene_description>Matt is given the check and he instantly hands over his credit card.</scene_description> <character>HAROLD</character> <parenthetical>(standing)</parenthetical> <dialogue>You're not going to look at the bill? Make sure that it all adds up.</dialogue> <character>MATT</character> <dialogue>We don't have time Dad, he's getting away.</dialogue> <character>HAROLD</character> <dialogue>We never got the spinach. Or any of the free stuff you suggested they might give us--</dialogue> </scene> <scene> <stage_direction>EXT. STREET NEAR FANCY RESTAURANT</stage_direction> <scene_description>Matthew is running after the couple who is about a half block ahead. Matt keeps stopping and waiting for his father to partially catch up, pointing in the direction he's going, and then running ahead again.</scene_description> <character>MATT</character> <dialogue>Excuse me!</dialogue> <character>EUROPEAN MAN</character> <parenthetical>(immediately confrontational)</parenthetical> <dialogue>What?</dialogue> <character>MATT</character> <dialogue>Sorry. There was a mix-up back there. You seem to have taken my Dad's jacket.</dialogue> <character>EUROPEAN MAN</character> <dialogue>What?</dialogue> <character>MATT</character> <dialogue>You have his jacket. We have yours.</dialogue> <parenthetical>(looking over his shoulder at Harold in the distance)</parenthetical> <dialogue>It's on its way.</dialogue> <scene_description>CUT TO: Harold is moving as quickly as possible. He stops to catch his breath. He watches his son up ahead talking heatedly with the European couple. He puts his hand into the jacket pocket and retrieves a small piece of white paper. He stares at it. CUT TO: The European man removes his right glove with his teeth and feels the material of his jacket with his bare hand.</scene_description> <character>EUROPEAN MAN</character> <dialogue>This is my jacket, man.</dialogue> <character>MATT</character> <dialogue>I think it isn't. Just wait until he gets here.</dialogue> <character>EUROPEAN MAN</character> <dialogue>I know what jacket I took.</dialogue> <scene_description>He and the woman start to walk away.</scene_description> <character>MATT</character> <parenthetical>(forcefully)</parenthetical> <dialogue>I understand that, but you took the wrong one!</dialogue> <character>EUROPEAN MAN</character> <dialogue>You're crazy, man.</dialogue> <scene_description>Matt is now furious.</scene_description> <character>MATT</character> <dialogue>Listen, just wait a second, OK? Jesus, what does it cost you? Where you got to be?</dialogue> <character>EUROPEAN MAN</character> <dialogue>So crazy, man.</dialogue> <scene_description>The couple walks briskly ahead. Harold is approaching Matt.</scene_description> <character>HAROLD</character> <dialogue>Where's he going?</dialogue> <scene_description>Matt, turning it on now, catches up to the man and touches his shoulder.</scene_description> <character>MATT</character> <dialogue>Hey! Turn around!</dialogue> <scene_description>The European Man turns around violently, his fist clenched.</scene_description> <character>EUROPEAN MAN</character> <dialogue>You want to get hit, man.</dialogue> <character>MATT</character> <dialogue>What's your problem? Can't you see, you took my father's jacket. He has yours. What's the fucking problem?!</dialogue> <scene_description>Matt looks back at his father who is staring at the small piece of paper.</scene_description> <character>MATT</character> <dialogue>Dad give him his jacket. Dad? What's that?</dialogue> <character>HAROLD</character> <dialogue>It's a ticket stub to something called Fault In Our Stars.</dialogue> <character>EUROPEAN MAN</character> <dialogue>I don't know that.</dialogue> <character>MATT</character> <dialogue>Of course you do. It has kids dying of cancer. It was a big hit.</dialogue> <character>HAROLD</character> <parenthetical>(suddenly)</parenthetical> <dialogue>I've seen it.</dialogue> <character>MATT</character> <parenthetical>(incredulous)</parenthetical> <dialogue>When did you see Fault In Our Stars?</dialogue> <character>HAROLD</character> <dialogue>In the country at the Triplex. It was quite affecting actually. Those kids are tremendously winning.</dialogue> <scene_description>Matt and the European man stare at Harold.</scene_description> <character>HAROLD</character> <dialogue>Tell the man I want my jacket back.</dialogue> <character>MATT</character> <parenthetical>(to the man)</parenthetical> <dialogue>Listen, give my father his jacket back and stop being such--</dialogue> <scene_description>A look of realization passes across his face. He stops and turns around to his Dad.</scene_description> <character>MATT</character> <dialogue>Dad, how would this guy have your ticket stub to Fault In Our Stars in his jacket?</dialogue> <character>HAROLD</character> <dialogue>I guess that wouldn't make sense. Maybe this is my jacket.</dialogue> </scene> <scene> <stage_direction>EXT. STREET NEAR FANCY RESTAURANT. HAROLD'S CAR.</stage_direction> <scene_description>Harold approaches the car, smiling.</scene_description> <character>HAROLD</character> <dialogue>No ticket. A stroke of luck.</dialogue> <scene_description>Matt trails behind, exhausted and still worked up.</scene_description> <character>MATT</character> <dialogue>That guy was a real asshole.</dialogue> <character>HAROLD</character> <dialogue>He was. And we never really had our lunch.</dialogue> <character>MATT</character> <dialogue>Fucking tourist. I should have said something more cutting.</dialogue> <character>MATT</character> <dialogue>I let him get away with being a prick.</dialogue> <parenthetical>(annoyed at himself)</parenthetical> <dialogue>That's going to eat at me.</dialogue> <character>HAROLD</character> <dialogue>Are you sure you don't want to come to the house? Maureen was going to make pigeon.</dialogue> <character>MATT</character> <dialogue>I have to go, Dad.</dialogue> <character>HAROLD</character> <dialogue>Where are you going?</dialogue> <scene_description>Matt hesitates, he doesn't want to have to say.</scene_description> <character>MATT</character> <dialogue>I'm going over to Mom's, actually.</dialogue> <character>HAROLD</character> <dialogue>Oh...maybe I'll go with you.</dialogue> <character>MATT</character> <dialogue>I don't know if that's--</dialogue> </scene> <scene> <stage_direction>INT. MATT'S MOM'S APARTMENT</stage_direction> <scene_description>We're in the midst of a conversation between Julia (early 70's and Matt's Mom), Harold and Matt. The place is warmly furnished with books on shelves, old rugs, photos of family.</scene_description> <character>JULIA</character> <dialogue>--and that was the summer on Martha's Vineyard with L.J. and Maya and Paul and Lori.</dialogue> <character>HAROLD</character> <dialogue>We were staying at the Knapp house, the one with that peculiar blind dog.</dialogue> <character>JULIA</character> <dialogue>And Matthew, you were making up all of those card games, do you remember? And there was one in particular where I asked if it was based on luck and you said it was based on "hope."</dialogue> <scene_description>Harold gives Matthew a warm squeeze on the neck. Matthew smiles too.</scene_description> <character>JULIA</character> <dialogue>You "hope" you get a good card. And that's what we would say all summer. "It's based on hope."</dialogue> <character>HAROLD</character> <dialogue>I was commissioned to make Gilded Halfwing that summer. L.J. was very jealous, I had already sold a piece to the Whitney.</dialogue> <character>MATT</character> <dialogue>Where do they keep that piece?</dialogue> <character>HAROLD</character> <parenthetical>(defensive)</parenthetical> <dialogue>It's not lost. They catalog these things.</dialogue> <character>MATT</character> <dialogue>I didn't say it was.</dialogue> <character>JULIA</character> <dialogue>Harold, did you see?</dialogue> <scene_description>She points to a framed sketch on the wall. Harold goes over to it.</scene_description> <character>HAROLD</character> <dialogue>You still have one of the sketches- -</dialogue> <character>JULIA</character> <dialogue>Yes.</dialogue> <character>HAROLD</character> <dialogue>--of Gilded Halfwing. looks good here.</dialogue> <character>JULIA</character> <dialogue>Yeah, Cody really admires it. He says it gives him ideas.</dialogue> <character>HAROLD</character> <dialogue>I thought Cody was a gym teacher.</dialogue> <character>JULIA</character> <dialogue>He taught Spanish at PS 182 and coached the soccer team. Matthew, Cody's sons are coming for dinner. I'm making a meatloaf.</dialogue> <character>MATT</character> <dialogue>OK, good.</dialogue> <character>HAROLD</character> <dialogue>I'm starving. like an elaborate ruse just to get his parents back together.</dialogue> <scene_description>Julia laughs.</scene_description> <character>MATT</character> <dialogue>You didn't tell me that.</dialogue> <scene_description>Matt's phone is ringing. He checks it.</scene_description> <character>MATT</character> <dialogue>This is Tony on Face Time, do you mind if I--</dialogue> <character>JULIA</character> <dialogue>Harold, do you want a coffee or tea or anything?</dialogue> <character>MATT</character> <dialogue>He has to go--</dialogue> <character>HAROLD</character> <dialogue>Tea would be nice. I can't have coffee after four. And if you have a Triscuit or something. I'm also starving.</dialogue> <scene_description>Matt steps away, somewhat hesitantly, as he doesn't like the idea of leaving his Dad alone with his Mom. He answers the phone holding it out to see his son on the other end.</scene_description> <character>MATT</character> <dialogue>Hi, sweetheart.</dialogue> <character>TONY</character> <dialogue>I'm playing a game for a minute, it's called All The Animals Are Dead.</dialogue> <character>MATT</character> <dialogue>Can you move the phone up so I can see-- The other way...</dialogue> <character>TONY</character> <dialogue>That's down.</dialogue> <character>MATT</character> <dialogue>Down then, honey.</dialogue> <scene_description>Matt watches his father and mother talking. Julia serves Harold tea.</scene_description> <character>JULIA</character> <dialogue>Sorry, I'm in the middle of cooking for a big clan tonight.</dialogue> <character>HAROLD</character> <dialogue>Is this my Buddenbrooks?</dialogue> <character>JULIA</character> <dialogue>What?</dialogue> <scene_description>Harold removes a book from the shelf</scene_description> <character>HAROLD</character> <dialogue>I think this is my copy of Buddenbrooks.</dialogue> <scene_description>Harold looks back at the shelf for other books that may have been his. Matt, distracted by his parents, frowns.</scene_description> <character>TONY</character> <dialogue>Would you rather a beard made from paper or a beard made from a tree?</dialogue> <character>MATT</character> <dialogue>What's a beard from a tree?</dialogue> <character>TONY</character> <dialogue>A beard made from a tree is like beard that is like a tree.</dialogue> <character>MATT</character> <dialogue>(to Tony)</dialogue> <character>TONY</character> <dialogue>Yeah.</dialogue> <scene_description>Like the leaves on a tree?</scene_description> <character>MATT</character> <dialogue>I guess a beard made from a tree?</dialogue> <character>TONY</character> <dialogue>Me too.</dialogue> <parenthetical>(new one)</parenthetical> <dialogue>Would you rather die from old age or kill yourself?</dialogue> <scene_description>Matt watches his Dad sloppily blow his nose into a handkerchief.</scene_description> <character>MATT</character> <parenthetical>(almost to himself)</parenthetical> <dialogue>Old age, I guess.</dialogue> <character>TONY</character> <dialogue>Me too.</dialogue> <character>VICTORIA</character> <dialogue>Did you give him regular milk?</dialogue> <character>MATT</character> <parenthetical>(startles)</parenthetical> <dialogue>Victoria, I didn't know you were there.</dialogue> <character>VICTORIA</character> <dialogue>Of course I'm here, he doesn't know how to use the phone himself.</dialogue> <character>TONY</character> <dialogue>Yes, I do!</dialogue> <character>VICTORIA</character> <dialogue>He has red all over his cheeks and chin, he said Daddy gave me regular milk.</dialogue> <character>MATT</character> <dialogue>He likes it better--</dialogue> <character>VICTORIA</character> <dialogue>He can't have dairy.</dialogue> <character>MATT</character> <dialogue>We don't know that for a fact--</dialogue> <character>TONY</character> <dialogue>I'm going to press the button now.</dialogue> <character>MATT</character> <dialogue>OK, I love you, baby.</dialogue> <character>VICTORIA</character> <dialogue>Yes, we do know that--</dialogue> <character>TONY</character> <dialogue>I'm pressing the--</dialogue> <scene_description>And they've hung up. Harold pages through the edition of Buddenbrooks. Julia is cooking at the stove in the background.</scene_description> <character>JULIA (O.S.)</character> <dialogue>We were very thorough when we divided the books. That I remember.</dialogue> <character>MATT</character> <parenthetical>(approaching his father)</parenthetical> <dialogue>Me too. Put it back, Dad.</dialogue> <scene_description>He kind of half places it back.</scene_description> <character>HAROLD</character> <dialogue>I've been looking for this edition.</dialogue> <character>MATT</character> <dialogue>You've lived without it now for thirty years, I think you'll manage.</dialogue> <character>JULIA</character> <parenthetical>(walking back into the living room)</parenthetical> <dialogue>You can take it, Harold, if you want. I've mostly stopped reading fiction.</dialogue> <character>MATT</character> <dialogue>Dad, I'll walk you to your car.</dialogue> <character>HAROLD</character> <dialogue>I can stay a bit longer.</dialogue> <scene_description>Julia embraces Harold.</scene_description> <character>JULIA</character> <dialogue>It was so nice to see you again. I think the last time was Matt's graduation. You know, I've always wanted to say, and I've thought about writing or calling, but I just never did it... I have huge regrets about how I was with Danny and Jean. I was a kid too, in many ways, and they were so angry at me. I took your lead, frankly, and we were starting over -- we had Matthew! -- and we didn't want to look back, which was understandable, but...I wish I'd been more nurturing of them, more generous, more mothering, really. I think they've suffered in part because of that and I feel terrible. Anyway, I just wanted to say that.</dialogue> </scene> <scene> <stage_direction>EXT. MATT'S MOM'S APARTMENT. COBBLE HILL. NIGHT</stage_direction> <scene_description>Matt walks briskly, a step or two ahead of his father.</scene_description> <character>HAROLD</character> <dialogue>It's called flirting when you're young, I'm not sure what it's called when you're over seventy.</dialogue> <character>MATT</character> <dialogue>(pointing up ahead)</dialogue> <character>HAROLD</character> <dialogue>She still has my drawing on</dialogue> <scene_description>You're just up here-- her wall next to the gym teacher's doodle.</scene_description> <character>MATT</character> <dialogue>Cody's a good guy.</dialogue> <character>HAROLD</character> <dialogue>Your mother's more comfortable ultimately being with men who are half-smart, men she can dominate. I was much too formidable. After our separation, and before Cody, she was with a homosexual and before that a man who had no foot.</dialogue> <scene_description>They stop at the car.</scene_description> <character>HAROLD</character> <dialogue>Her fraudulent claims about not reading fiction I find offensive.</dialogue> <character>HAROLD</character> <dialogue>She's masquerading as a populist so as not to threaten Cody, but it's a clever yet bogus subterfuge. It's a shame your mother, who knows better, has succumbed to this fashionable anti-art movement. This is why we have a Republican congress.</dialogue> <scene_description>Matt sees that Harold carries the copy of Buddenbrooks. He frowns.</scene_description> <character>HAROLD</character> <dialogue>She said I could have it. It was mine originally.</dialogue> <character>MATT</character> <parenthetical>(annoyed)</parenthetical> <dialogue>You have your keys?</dialogue> <character>HAROLD</character> <dialogue>She was clearly very happy to see me. When it ended we weren't on speaking terms, but now you see that big hug she insisted on giving me.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>You know, Maureen always says your mother was the love of my life.</dialogue> <character>MATT</character> <dialogue>You taking the bridge or the tunnel?</dialogue> <character>HAROLD</character> <dialogue>I thought you were leaving tomorrow? That's why I drove all the way into Brooklyn.</dialogue> <character>MATT</character> <dialogue>I'm staying a few days.</dialogue> <parenthetical>(coughs)</parenthetical> <dialogue>I was around all this plaster dust earlier...</dialogue> <character>HAROLD</character> <dialogue>We have lots of room. Maureen is keen on seeing you as well. You know, she's your step-mother as much as Cody is your step-father.</dialogue> <character>MATT</character> <dialogue>I told Mom I'd stay here.</dialogue> <character>HAROLD</character> <dialogue>Maybe you split half the time there and half with us?</dialogue> <character>MATT</character> <parenthetical>(snapping)</parenthetical> <dialogue>I'm not splitting the time like I did at fifteen.</dialogue> <character>HAROLD</character> <dialogue>It was very important to me, after our separation, that I see you half the time. I wanted to make it up after Danny and Jean.</dialogue> <character>MATT</character> <dialogue>(with growing anger)</dialogue> <character>HAROLD</character> <dialogue>I made a real effort with</dialogue> <scene_description>Then make it up to them. you. Danny and Jean, I could have done better, but I don't see anything significant I could have done better with you.</scene_description> <character>MATT</character> <dialogue>Really? Nothing? You feel like that all was great?</dialogue> <character>HAROLD</character> <dialogue>Come on, Matthew.</dialogue> <character>MATT</character> <dialogue>Danny definitely got shit, and Jean didn't EVEN get shit. But I got your focus and that fucked me up in a whole other way.</dialogue> <character>HAROLD</character> <dialogue>Matthew, we never see each other, let's not fight.</dialogue> <character>MATT</character> <parenthetical>(furiously)</parenthetical> <dialogue>I keep thinking I know how to handle you now, but then I see you and I get suckered into your shit all over again. Your career, your jacket! And when I try to actually help you like today, you WON'T LISTEN.</dialogue> <scene_description>Harold opens the car door and hesitates.</scene_description> <character>HAROLD</character> <dialogue>I don't know how I could be such a bad father, look how successful you are.</dialogue> <character>MATT</character> <dialogue>Right--</dialogue> <character>HAROLD</character> <dialogue>I could never be the businessman you are.</dialogue> <character>MATT</character> <dialogue>OK--</dialogue> <character>HAROLD</character> <dialogue>I've said to Maureen, I don't know who Matthew takes after. I certainly didn't know how to make money.</dialogue> <scene_description>Matt shouts across the vehicle.</scene_description> <character>MATT</character> <dialogue>That's right, I don't take after you. None of us do. You had to be the only artist in the family. And it doesn't matter that I make money because you don't respect what I do!</dialogue> <scene_description>Harold climbs in the car.</scene_description> <character>HAROLD</character> <dialogue>What do you need my respect for, the world respects you because you make money.</dialogue> <character>MATT</character> <parenthetical>(throws up his hands)</parenthetical> <dialogue>Ugh, I want to punch YOU in the nose!</dialogue> <scene_description>Matt runs around to the driver's side.</scene_description> <character>HAROLD</character> <dialogue>I know you think you can treat me this way because of your money.</dialogue> <character>MATT</character> <dialogue>It doesn't matter how much money I make, you make me feel like a big piece of shit because YOU DON'T CARE ABOUT IT!</dialogue> <scene_description>Harold starts the car.</scene_description> <character>MATT</character> <dialogue>But you also actually DO! You're privately obsessed with it. You know that I BEAT you! I BEAT YOU!</dialogue> <scene_description>The car pulls away.</scene_description> <character>MATT</character> <dialogue>What the fuck am I talking about? I'm so angry at myself for getting sucked into THIS!</dialogue> <character>MATT</character> <parenthetical>(wailing, his head in his hands)</parenthetical> <dialogue>I've wasted so much money on ther--</dialogue> <scene_description>TITLE: The Opening TEXT: In her twelve years as a neurosurgeon Dr. Malini Soni had never seen such a dramatic shove.</scene_description> </scene> <scene> <stage_direction>INT. NURSE'S STATION, PITTSFIELD HOSPITAL. DAY</stage_direction> <scene_description>The sucking and periodic beeping sounds of a hospital.</scene_description> <character>DR. SONI (V.O.)</character> <dialogue>It's quite startling.</dialogue> <scene_description>CUT TO: CLOSE on a CAT SCAN</scene_description> <character>DR. SONI (O.S.)</character> <dialogue>A collection of fluids on the left side of the head was shoving the brain clear to the right.</dialogue> <scene_description>A finger enters the frame, pointing.</scene_description> <character>DR. SONI (O.S.)</character> <dialogue>His brain experienced so much pressure and irritation, that he was in an almost comatose state before we operated.</dialogue> <scene_description>Dr. Soni, an Indian woman in her 40's, and Pam, 30's, a nurse hover above a computer screen at a terminal.</scene_description> <character>DR. SONI</character> <dialogue>There was still some bleeding in the left frontal lobe, but no tissue was lost. The head trauma clogged up the spinal fluid absorption pathways which slows speech, causes lethargy, headaches.</dialogue> <scene_description>Dr. Soni straightens up and heads for the door. Pam follows her into the --</scene_description> <character>DR. SONI</character> <parenthetical>(shakes her head)</parenthetical> <dialogue>Honestly, this should have been taken care of immediately after the trauma.</dialogue> <character>PAM</character> <dialogue>Did you notice, his wife was heavily perfumed, but I think I smelled alcohol on her breath.</dialogue> <character>DR. SONI</character> <dialogue>Yes, I'm worried about her as well.</dialogue> <scene_description>They both stop at a hospital room doorway.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM</stage_direction> <scene_description>Danny and Jean sit in adjacent chairs. Danny, slumped, in his soft leather jacket and shorts stares into space. He has a brown grocery bag of clothes in his lap. Jean reads a book. They both look exhausted. Harold lies unconscious in bed, an oxygen mask on his face and a drain protruding from a shaved portion of his head.</scene_description> <character>PAM</character> <dialogue>Oh, I didn't realize anyone was here.</dialogue> <scene_description>The siblings startle and both stand immediately. Danny's bag slipping from his lap and hitting the floor, the clothes spilling out.</scene_description> <character>DANNY</character> <dialogue>Shit! Sorry.</dialogue> <scene_description>He starts collecting his underwear and socks.</scene_description> <character>JEAN</character> <dialogue>Sleeping.</dialogue> <character>DANNY</character> <dialogue>Not doing much...sleeping.</dialogue> <scene_description>Pam checks his blood pressure and oxygen readings.</scene_description> <character>PAM</character> <dialogue>Good. You're family?</dialogue> <character>DANNY</character> <dialogue>Yes, we got here once we heard --</dialogue> <character>JEAN</character> <dialogue>Maureen only told us he was in the hospital this morning.</dialogue> <scene_description>They look at one another, surprised they're both talking at once.</scene_description> <character>DANNY</character> <dialogue>Via text. We drove from Rochester.</dialogue> <character>JEAN</character> <dialogue>We wanted to talk to a doctor.</dialogue> <character>DANNY</character> <dialogue>We haven't been able to get any information.</dialogue> <character>PAM</character> <dialogue>I'm Pam. This is Dr. Soni.</dialogue> <character>JEAN</character> <dialogue>Jean.</dialogue> <character>DANNY</character> <dialogue>Danny.</dialogue> <character>JEAN</character> <dialogue>Dr. Soni, can you tell us what's going on with our Dad?</dialogue> <character>DR. SONI</character> <dialogue>When your mother is here we can go over everything.</dialogue> <character>DANNY</character> <dialogue>She's our step-mother.</dialogue> <character>JEAN</character> <dialogue>We both have another mother.</dialogue> <character>JEAN</character> <dialogue>She would have been seven when she had me.</dialogue> <character>DR. SONI</character> <dialogue>Well, when your step-mother comes back--</dialogue> <character>JEAN</character> <dialogue>We can't find her.</dialogue> <character>DANNY</character> <dialogue>Her voice-mail is full.</dialogue> <character>JEAN</character> <dialogue>Why can't you tell us right now?</dialogue> <character>DR. SONI</character> <dialogue>This is awkward.</dialogue> <character>DANNY</character> <dialogue>What?</dialogue> <character>DR. SONI</character> <dialogue>Um...I don't want to get involved in family dynamics, but she told me not to talk to anyone else.</dialogue> <character>DANNY</character> <dialogue>Well, that's not right, obviously. We're his kids.</dialogue> <character>JEAN</character> <dialogue>You can talk to us.</dialogue> <character>DR. SONI</character> <dialogue>No, that's what I'm saying: since she's the next of kin, I legally cannot talk to you. I'm very sorry.</dialogue> <scene_description>They both stare back at her, desperate.</scene_description> <character>DANNY</character> <dialogue>He has an opening on Monday.</dialogue> <character>JEAN</character> <parenthetical>(oddly)</parenthetical> <dialogue>This is our first real hospital.</dialogue> <character>DR. SONI</character> <dialogue>Talk to your step-mother...</dialogue> </scene> <scene> <stage_direction>EXT. PITTSFIELD BAR. DAY</stage_direction> <scene_description>Maureen furtively exits the local bar, wearing her rose tinted glasses, and heads briskly down the main street.</scene_description> <character>DANNY (O.S.)</character> <dialogue>Why did you tell the doctor not to talk to us?</dialogue> <scene_description>She spots Danny and Jean out of the corner of her eye and picks up the pace.</scene_description> <character>JEAN</character> <dialogue>Maureen!</dialogue> <scene_description>Danny and Jean run to catch up. Danny, limping worse than before.</scene_description> <character>MAUREEN</character> <parenthetical>(re: his limp)</parenthetical> <dialogue>Are you moving that way on purpose?</dialogue> <character>DANNY</character> <dialogue>What? No? It's always worse after I've been sitting.</dialogue> <character>MAUREEN</character> <dialogue>I thought you were mocking me.</dialogue> <character>DANNY</character> <dialogue>You don't walk that way.</dialogue> <character>MAUREEN</character> <dialogue>I thought it was a bad imitation.</dialogue> <character>DANNY</character> <dialogue>Maureen!</dialogue> <character>JEAN</character> <dialogue>We need to be able to talk to Doctor Soni.</dialogue> <character>MAUREEN</character> <dialogue>Doctor Soni looks very much like a chum of mine from university who became an art looter, but that's of no use to you.</dialogue> <character>DANNY</character> <dialogue>No.</dialogue> <character>JEAN</character> <dialogue>Absolutely none.</dialogue> <character>MAUREEN</character> <dialogue>I'll get the information and you can ask me. E-mail might be best if you're going to be in Rochester.</dialogue> <character>JEAN</character> <dialogue>I'm here. Danny's here.</dialogue> <character>DANNY</character> <dialogue>I'm here.</dialogue> <character>JEAN</character> <dialogue>You have to tell her it's OK to speak to me or Danny or Matt, who's on his way.</dialogue> <character>DANNY</character> <dialogue>Matt's coming?</dialogue> <character>JEAN</character> <dialogue>He texted me. I texted him.</dialogue> <character>DANNY</character> <dialogue>He texted you? You texted him?</dialogue> <scene_description>They reach Maureen's car.</scene_description> <character>MAUREEN</character> <dialogue>Do you think I'm not going to tell you the truth?</dialogue> <scene_description>She opens the driver's seat door.</scene_description> <character>JEAN</character> <dialogue>I can drive, Maureen.</dialogue> <character>MAUREEN</character> <parenthetical>(getting into the car)</parenthetical> <dialogue>Jean, you were wearing that same sweater that last time I saw you.</dialogue> <character>JEAN</character> <parenthetical>(baffled)</parenthetical> <dialogue>Was I?</dialogue> <scene_description>Maureen starts the car, the siblings stand outside.</scene_description> <character>DANNY</character> <parenthetical>(emotional)</parenthetical> <dialogue>Maureen, we've been sitting in that room with him and he's attached to those machines and there's a drain in his head and he's unconscious and we don't know where you are or what's going on?</dialogue> <parenthetical>(snapping)</parenthetical> <scene_description>TALK TO THE DOC--</scene_description> </scene> <scene> <stage_direction>EXT. PITTSFIELD HOSPITAL PARKING LOT. SUNRISE</stage_direction> <scene_description>In the dawn light, a rental car pulls up. Matt climbs out of the back holding a leather overnight bag. He wears his suit, rumpled from the flight, with a T-shirt.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM</stage_direction> <scene_description>Matt sits across from his father who sleeps. Pam comes in.</scene_description> <character>PAM</character> <dialogue>Oh, hi.</dialogue> <scene_description>Matt smiles tiredly.</scene_description> <character>MATT</character> <dialogue>Hey.</dialogue> <character>PAM</character> <dialogue>He's still sleeping? Pam, the nurse.</dialogue> <character>MATT</character> <dialogue>I'm Matt, the son.</dialogue> <character>PAM</character> <dialogue>Oh, I met your brother and sister.</dialogue> <character>MATT</character> <dialogue>Half brother and sister, yeah. Is he OK?</dialogue> <scene_description>PAM Dr. Soni spoke with your step- mother and then with your siblings -- half-siblings -- and it's all been cleared up and she can talk to you freely now.</scene_description> <character>MATT</character> <dialogue>Oh...OK. How's he doing?</dialogue> <scene_description>PAM Your father was brought to us the night before last, but because he was taking baby aspirin, which thins the blood, Dr. Soni had to wait until the morning to operate. MATT What happened? PAM He had a chronic subdural hematoma, which in his case meant there had been steady bleeding in his head for some time. MATT How did he get this? PAM Something like this generally comes from a fall or if he hit his head-- MATT He fell about four months ago. Bruno pulled him onto a path. PAM Honestly, I'm surprised he had such a delayed response. He must have a real tolerance for discomfort. MATT Will he be OK?</scene_description> <character>PAM</character> <dialogue>Well, because he waited so long, there was quite a bit of irritation in the frontal lobes and now that the pressure is off the brain, it causes severe agitation.</dialogue> <character>PAM</character> <dialogue>The frontal lobes are language.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>But it's potentially a hundred percent recoverable.</dialogue> <scene_description>Harold opens his eyes and looks up at Matt.</scene_description> <character>PAM</character> <parenthetical>(backing out the door)</parenthetical> <dialogue>I'll leave you guys.</dialogue> <character>MATT</character> <dialogue>Thanks, Pam.</dialogue> <scene_description>Harold smiles brightly, almost innocently. Matt smiles back, awkwardly.</scene_description> <character>MATT</character> <parenthetical>(to his Dad)</parenthetical> <dialogue>Do you know my name?</dialogue> <character>HAROLD</character> <dialogue>Of course, it's Matthew.</dialogue> <scene_description>Matt, encouraged, holds up his phone.</scene_description> <character>MATT</character> <dialogue>What is this?</dialogue> <character>HAROLD</character> <dialogue>Blackberry.</dialogue> <character>MATT</character> <parenthetical>(smiles)</parenthetical> <dialogue>Yes.</dialogue> <character>HAROLD</character> <dialogue>This is...</dialogue> <character>MATT</character> <dialogue>What, Dad?</dialogue> <character>HAROLD</character> <dialogue>This... You...</dialogue> <character>MATT</character> <dialogue>It's OK, we don't have to talk.</dialogue> <character>HAROLD</character> <dialogue>I can say it.</dialogue> <parenthetical>(slowly but clearly)</parenthetical> <dialogue>You're here. Is...what I wanted.</dialogue> <scene_description>Matt hesitates.</scene_description> <character>MATT</character> <dialogue>How...how are you feeling?</dialogue> <character>HAROLD</character> <dialogue>I'm happy...you're here.</dialogue> <character>MATT</character> <dialogue>Yeah... I took a red-eye when I heard.</dialogue> <character>HAROLD</character> <dialogue>That makes me happy.</dialogue> <character>MATT</character> <parenthetical>(wiping his face)</parenthetical> <dialogue>Thank you, Dad. I'm sorry...we... I'm sorry this happened.</dialogue> <scene_description>Harold takes Matt's hand.</scene_description> <character>HAROLD</character> <dialogue>When is my...?</dialogue> <parenthetical>(he makes a face having difficulty with the word)</parenthetical> <character>MATT</character> <dialogue>Your opening? It's on Monday.</dialogue> <character>HAROLD</character> <dialogue>Is that today?</dialogue> <character>MATT</character> <dialogue>No, today is Wednesday.</dialogue> <character>HAROLD</character> <dialogue>Will...it happen?</dialogue> <character>MATT</character> <dialogue>It will happen, Dad. I don't know if you'll be able to go.</dialogue> <character>HAROLD</character> <dialogue>Will you?</dialogue> <character>MATT</character> <dialogue>Sure. I'll go.</dialogue> <character>HAROLD</character> <dialogue>You speak for me.</dialogue> <character>MATT</character> <dialogue>I can say something, yes.</dialogue> <character>HAROLD</character> <dialogue>It's yours...</dialogue> <scene_description>Harold smiles and closes his eyes. The first light from outside now arriving through the window.</scene_description> <character>HAROLD</character> <dialogue>We made it together.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL HALLWAY</stage_direction> <scene_description>Matt approaches Pam.</scene_description> <character>MATT</character> <dialogue>I have a meeting in the City which I really need to go to.</dialogue> <character>PAM</character> <dialogue>OK.</dialogue> <character>MATT</character> <dialogue>That's OK, right?</dialogue> <character>PAM</character> <dialogue>Um...sure.</dialogue> <character>MATT</character> <dialogue>I mean, he's OK, right? I'm not abandoning him?</dialogue> <character>PAM</character> <dialogue>I can't really answer that for--</dialogue> <character>MATT</character> <dialogue>I just have this client meeting.</dialogue> <character>PAM</character> <dialogue>I understand.</dialogue> <character>MATT</character> <dialogue>He's OK, right?</dialogue> <character>PAM</character> <parenthetical>(warmly)</parenthetical> <dialogue>I think so. Yes.</dialogue> <character>MATT</character> <dialogue>You have my number. Call me if anything changes.</dialogue> <character>TONY (V.O.)</character> <dialogue>Where you are?</dialogue> </scene> <scene> <stage_direction>EXT. GAS STATION</stage_direction> <scene_description>Matt pumps gas and talks to Tony on Face Time. It's a chilly morning and he didn't put a coat on when he got out of the car. MATT I'm in Pittsfield. It's in Massachusetts. TONY'S VOICE Is that like New York? MATT Well, it's a different state. TONY'S VOICE It's sunny here. What's it there? MATT It looks like rain. TONY'S VOICE You can't fight the weather. You can fight knights.</scene_description> <character>MATT</character> <dialogue>Yeah.</dialogue> <scene_description>TONY'S VOICE And ninjas. You know who is good at playing ninjas? Jim. MATT Who's Jim? TONY'S VOICE He's a handyman. MATT I've never heard of Jim. TONY'S VOICE You used to live here but you don't anymore. If you did, you'd know Jim. MATT Do you see a lot of Jim? TONY'S VOICE He comes on weekends. Is this a weekend? MATT In three days it's a weekend. TONY'S VOICE Three days! That's three weeks.</scene_description> <character>MATT</character> <dialogue>No, sweetheart, it's three days. Does...does Jim stay over?</dialogue> <character>TONY'S VOICE</character> <dialogue>No, Jim doesn't sleep. He stays up all night with Mommy eating dinner and leaves in the morning.</dialogue> <character>MATT</character> <parenthetical>(addled)</parenthetical> <dialogue>Hold on...I'm getting another call.</dialogue> <character>TONY'S VOICE</character> <dialogue>Raise your hand if ninjas are your favorite thing.</dialogue> <scene_description>Matt raises his hand.</scene_description> <character>MATT</character> <dialogue>Just a second, sweetheart.</dialogue> <character>TONY'S VOICE</character> <dialogue>I'm pressing the button.</dialogue> <character>MATT</character> <dialogue>No, wait... Just hold on.</dialogue> <scene_description>Matt clicks over.</scene_description> <character>MATT</character> <dialogue>Hello?...This is he...Shit...I'm coming...</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL ELEVATOR/HALLWAY</stage_direction> <scene_description>The elevator doors open. Matt comes running out. We MOVE with him down the hallway until he reaches--</scene_description> </scene> <scene> <stage_direction>INT. HAROLD'S HOSPITAL ROOM</stage_direction> <scene_description>Matt enters. Danny and Jean are talking over each other.</scene_description> <character>JEAN</character> <dialogue>Danny, stop, it doesn't help!</dialogue> <character>DANNY</character> <dialogue>Maybe if he hears it--</dialogue> <character>JEAN</character> <parenthetical>(to Harold)</parenthetical> <dialogue>Do you know who this is?</dialogue> <character>HAROLD</character> <parenthetical>(with difficulty)</parenthetical> <dialogue>It's all right.</dialogue> <character>DANNY</character> <dialogue>Do you remember when you said: "Danny."</dialogue> <character>JEAN</character> <dialogue>You have to stop giving him the answers.</dialogue> <scene_description>Matt looks between his siblings and his Dad with confusion.</scene_description> <character>DANNY</character> <parenthetical>(pointing at Matt)</parenthetical> <dialogue>Who is this?</dialogue> <scene_description>We SWING over to find Matt.</scene_description> <character>HAROLD</character> <parenthetical>(vaguely)</parenthetical> <dialogue>It's all right.</dialogue> <character>MATT</character> <dialogue>Oh...no.</dialogue> <character>DANNY</character> <dialogue>It's Matt. here.</dialogue> <character>JEAN</character> <dialogue>He just got</dialogue> <scene_description>A bald male nurse, 40's, enters. The nurse looks at Harold and says as if speaking to a child.</scene_description> <character>MALE NURSE</character> <dialogue>How are we doing?</dialogue> <character>HAROLD</character> <parenthetical>(weakly)</parenthetical> <dialogue>It's all right.</dialogue> <character>MATT</character> <dialogue>Where's Pam?</dialogue> <character>MALE NURSE</character> <dialogue>Pam Engels or Pam Chin?</dialogue> <character>MATT</character> <dialogue>I don't know? I was JUST here and he knew what a Blackberry was and could say my name and everything.</dialogue> <parenthetical>(to Danny and Jean)</parenthetical> <dialogue>We talked about his show.</dialogue> <character>DANNY</character> <parenthetical>(surprised)</parenthetical> <dialogue>You were here?</dialogue> <parenthetical>(and then)</parenthetical> <dialogue>Where were you?</dialogue> <character>MALE NURSE</character> <dialogue>Sometimes it can take a little while to come back from these surgeries.</dialogue> <character>MATT</character> <parenthetical>(upset)</parenthetical> <dialogue>No, he was already BACK!</dialogue> <character>MALE NURSE</character> <parenthetical>(confused)</parenthetical> <dialogue>I'm sorry, who are you? Who is everybody?</dialogue> <parenthetical>(laughs)</parenthetical> <dialogue>I just got here.</dialogue> <character>DANNY</character> <dialogue>We're his kids.</dialogue> <character>MATT</character> <dialogue>Where's Pam?</dialogue> <character>MALE NURSE</character> <dialogue>I wasn't here, so I don't know.</dialogue> <character>MATT</character> <dialogue>I WAS! That's what I'm telling you. Where's Pam?</dialogue> <character>DANNY</character> <parenthetical>(hurt)</parenthetical> <dialogue>Why didn't you call? Where did you go?</dialogue> <character>MATT</character> <dialogue>I was heading back to the City for a meeting, but I turned around when Pam called--</dialogue> <character>MALE NURSE</character> <dialogue>Sometimes tiredness can cause this. And his blood pressure is quite high.</dialogue> <character>MATT</character> <dialogue>This isn't tiredness! Something is WRONG. Can't we find Pam?!</dialogue> <character>MALE NURSE</character> <dialogue>(offended)</dialogue> <character>DANNY</character> <dialogue>(to Matt)</dialogue> <scene_description>No, I'm the charge nurse. You were here. Why didn't you call us?</scene_description> <character>MATT</character> <parenthetical>(sharply to Danny)</parenthetical> <dialogue>Because it never occurred to me! OK?</dialogue> <character>JEAN</character> <dialogue>Where's Dr. Soni?</dialogue> <character>MALE NURSE</character> <dialogue>She's on her rounds.</dialogue> <character>MATT</character> <dialogue>Something is happening to my father! I want Pam!</dialogue> <character>MALE NURSE</character> <parenthetical>(sharply)</parenthetical> <dialogue>Ok, you're going to have to stop shouting.</dialogue> <character>DANNY</character> <dialogue>We're sorry, he's just emotional.</dialogue> <character>JEAN</character> <dialogue>It's our Dad.</dialogue> <character>MATT</character> <dialogue>I'm not emotional, Danny, I want Pam.</dialogue> <character>MALE NURSE</character> <dialogue>Right now, we're waiting for a neurologist to read his EEG for brainwave activity.</dialogue> <character>MATT</character> <dialogue>When will that happen?</dialogue> <character>MALE NURSE</character> <dialogue>I don't know. It's being read in India.</dialogue> <character>DANNY</character> <dialogue>Oh, because of... Why?</dialogue> <character>MALE NURSE</character> <parenthetical>(angrily)</parenthetical> <dialogue>In the meantime, I'm going to give him Lotensin for his high blood pressure. I'll be right back.</dialogue> <scene_description>He leaves. Matt turns to Danny and Jean.</scene_description> <character>MATT</character> <dialogue>He's giving him Lotensin. What did he get before for his blood pressure?</dialogue> <character>DANNY</character> <dialogue>Umm...the other nurse came through. She did something.</dialogue> <character>JEAN</character> <dialogue>Yeah, she seemed to know--</dialogue> <character>MATT</character> <dialogue>Did you write it down?</dialogue> <character>DANNY</character> <dialogue>I can't remember...</dialogue> <character>JEAN</character> <dialogue>Me neither.</dialogue> <character>MATT</character> <parenthetical>(furious)</parenthetical> <dialogue>From now on everything gets written down. Do you understand?</dialogue> <character>DANNY</character> <parenthetical>(defensive)</parenthetical> <dialogue>It's one thing. You can read what number it is now. He's alive. Jesus. These people do this for a living.</dialogue> <character>MATT</character> <dialogue>These people change every five minutes. If we're not paying attention he might DIE. Do you understand THAT?</dialogue> <scene_description>Danny looks like he's about to cry like a scolded child.</scene_description> <character>DANNY</character> <dialogue>I do.</dialogue> <character>MATT</character> <dialogue>Jesus.</dialogue> <character>DANNY</character> <dialogue>I'll write everything down.</dialogue> <character>JEAN</character> <dialogue>Yeah.</dialogue> <character>MATT</character> <dialogue>EVERYTHING.</dialogue> <character>DANNY</character> <dialogue>I got it.</dialogue> <character>MATT</character> <parenthetical>(angrily)</parenthetical> <dialogue>Sorry!</dialogue> <character>DANNY</character> <parenthetical>(yells)</parenthetical> <dialogue>It's OK!</dialogue> <scene_description>Pause.</scene_description> <character>JEAN</character> <dialogue>It's nice to see you, Matt.</dialogue> <character>DR. SONI (V.O.)</character> <dialogue>The lost speech could be because of frequent or partial seizures.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL CONFERENCE ROOM</stage_direction> <scene_description>Dr. Soni addresses the three siblings who listen attentively, scribbling in pads in their laps.</scene_description> <character>DR. SONI</character> <dialogue>An up and down is common but this is more of a down than expected. If it was his heart, we'd shock him out of it, but you can't shock the brain in these cases so we need to quiet the brain.</dialogue> <scene_description>The three siblings turn the pages in their books almost in unison but not quite.</scene_description> <character>DR. SONI</character> <dialogue>We're putting him in a barbiturate coma with a combination of Propofol and Pentobarbital or Phenobarbital. Probably Pento. I want to be aggressive.</dialogue> <character>JEAN</character> <dialogue>Will he be OK?</dialogue> <character>DR. SONI</character> <dialogue>Think of it like shutting down a computer and then restarting. Or if you're a luddite like me, like a grain of sand becoming a pearl.</dialogue> <scene_description>Jean laughs politely. Danny and Matt look at her strangely.</scene_description> <character>MATT</character> <dialogue>Will he be OK?</dialogue> <character>DR. SONI</character> <dialogue>Well, it's not what we'd hope at this stage.</dialogue> <character>DR. SONI</character> <dialogue>Because he'll be completely sedated we'll need to intubate.</dialogue> <parenthetical>(warmly)</parenthetical> <dialogue>I want you to know, we're doing our very best. We want to see your father walking out of here soon.</dialogue> <character>JEAN</character> <dialogue>Thank you, Dr. Soni.</dialogue> <scene_description>She smiles and heads toward the door.</scene_description> <character>DR. SONI</character> <dialogue>Now, I'm going to be on vacation for three weeks starting tomorrow--</dialogue> <scene_description>They all immediately stand up.</scene_description> <character>MATT/DANNY/JEAN</character> <dialogue>What?!/What?!/Are you serious?</dialogue> <character>DR. SONI</character> <dialogue>You'll be in very good care. Dr. Brotman will be taking over--</dialogue> <scene_description>Danny, standing, tries writing on his pad, using his lifted leg for support.</scene_description> <character>DANNY</character> <parenthetical>(writing)</parenthetical> <dialogue>Dr. Brotman...</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL CONFERENCE ROOM HALLWAY</stage_direction> <scene_description>Soni walks briskly down the hall, the three siblings chasing her.</scene_description> <character>JEAN</character> <dialogue>Do you have to go? you just push it?</dialogue> <character>DANNY</character> <dialogue>Can't</dialogue> <character>DR. SONI</character> <parenthetical>(laughs)</parenthetical> <dialogue>God, no, my husband will divorce me! We're going to China.</dialogue> <character>MATT</character> <dialogue>You're putting our Dad in a coma and then leaving us?</dialogue> <character>DANNY</character> <dialogue>Matt, it's not like that.</dialogue> <parenthetical>(then not sure)</parenthetical> <character>DANNY</character> <dialogue>It's not, right Dr. Soni? It's not like that.</dialogue> <character>DR. SONI</character> <dialogue>Well, technically, yes, it's that.</dialogue> <character>DANNY</character> <dialogue>You can't do that to us.</dialogue> <character>MATT</character> <dialogue>First Pam, now you?</dialogue> <character>DANNY</character> <dialogue>Can we get Pam back at least?</dialogue> <character>DR. SONI</character> <dialogue>I'm not in charge of the nurse assignments.</dialogue> <parenthetical>(aside to a passing man)</parenthetical> <dialogue>Hi, Doctor Liu.</dialogue> <character>DANNY</character> <dialogue>It doesn't feel fair, Dr. Soni, that you can just live your live normally while our Dad is lying here.</dialogue> <character>DR. SONI</character> <parenthetical>(hesitates)</parenthetical> <dialogue>Maybe it isn't.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL HALLWAY</stage_direction> <scene_description>Matt and Danny end up next to each another, walking down the hall. Danny hums an indecipherable tune.</scene_description> <character>DANNY</character> <dialogue>Dad said you started your own company?</dialogue> <character>MATT</character> <dialogue>Yeah, a couple of other guys and me decided to--</dialogue> <character>DANNY</character> <dialogue>(trying to engage) So, how does that work? Do</dialogue> <scene_description>you just tell your boss, like--?</scene_description> <character>MATT</character> <dialogue>Well, I was one of the partners so I didn't technically have a boss--</dialogue> <character>DANNY</character> <dialogue>Right, no...so you got a better offer--</dialogue> <character>MATT</character> <dialogue>No, there was no offer, that's what was so scary, we were creating our own opportunity--</dialogue> <character>DANNY</character> <dialogue>Because you wanted something smaller- -</dialogue> <character>MATT</character> <dialogue>Bigger. Many of the firm's clients came with us--</dialogue> <character>DANNY</character> <dialogue>Which was surprising--</dialogue> <scene_description>They reach an elevator. Matt hits the button.</scene_description> <character>MATT</character> <dialogue>No, we expected it. We can't legally ask the clients to come with us, but we trusted--</dialogue> <character>DANNY</character> <dialogue>But they don't have much choice--</dialogue> <character>MATT</character> <dialogue>It's totally their choice--</dialogue> <character>DANNY</character> <dialogue>No, I know, because you have their money--</dialogue> <character>MATT</character> <dialogue>Well, their money is with the firm. But their money is in investments or a bank--</dialogue> <scene_description>The elevator arrives. They get on.</scene_description> </scene> <scene> <stage_direction>INT. ELEVATOR</stage_direction> <character>DANNY</character> <dialogue>I understand. My buddy, Ptolemy, he lives across the street, or lived across the street from where I lived--</dialogue> <character>MATT</character> <dialogue>Dad told me about your...Karen, I'm sorry. I've also--</dialogue> <character>DANNY</character> <dialogue>Ptolemy is like you, he works in a...</dialogue> <parenthetical>(fishing for it)</parenthetical> <dialogue>Arbitrage.</dialogue> <character>MATT</character> <dialogue>Yeah, that's not what I do.</dialogue> <character>DANNY</character> <dialogue>No, I wasn't saying-- But Ptolemy said the system is rigged from the inside--</dialogue> <character>MATT</character> <dialogue>That's not entirely true--</dialogue> <character>DANNY</character> <dialogue>But mostly--</dialogue> <character>MATT</character> <dialogue>So, this is an exciting time for me.</dialogue> <character>DANNY</character> <dialogue>How's your boy?</dialogue> <character>MATT</character> <dialogue>Good, Victoria and I are having some problems.</dialogue> <character>DANNY</character> <dialogue>I never met her. Karen and I separated.</dialogue> <character>MATT</character> <dialogue>I know, I just said I was sorry.</dialogue> <character>DANNY</character> <dialogue>Did you?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I'm sorry too.</dialogue> <character>MATT</character> <parenthetical>(moving on)</parenthetical> <dialogue>I liked Eliza's movie!</dialogue> <character>DANNY</character> <parenthetical>(surprised)</parenthetical> <dialogue>She sent it to you?</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL LOBBY</stage_direction> <scene_description>They get off the elevator and head through the lobby toward the parking lot.</scene_description> <character>MATT</character> <parenthetical>(to Danny)</parenthetical> <dialogue>Are you limping?</dialogue> <scene_description>Jean rises from a bench where she's been waiting for them.</scene_description> <character>JEAN</character> <dialogue>Yes!</dialogue> <character>DANNY</character> <dialogue>It's always stiff after I've been sitting.</dialogue> <character>MATT</character> <dialogue>You should see the other dog.</dialogue> <character>DANNY</character> <dialogue>What?</dialogue> <character>MATT</character> <dialogue>Nothing.</dialogue> <character>DANNY</character> <dialogue>I borrowed an old cane of Maureen's dead ex-husband, but it's not really necessary. I keep it in the car.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I'm telling ya.</dialogue> <scene_description>MONTAGE:</scene_description> </scene> <scene> <stage_direction>EXT. MAUREEN'S HOUSE. DAY</stage_direction> <scene_description>Danny and Jean help Matt move his stuff inside. Matt carries a bulky printer/scanner.</scene_description> <character>MATT</character> <dialogue>It's tax season.</dialogue> </scene> <scene> <stage_direction>INT. MAUREEN'S HOUSE. DINING ROOM</stage_direction> <scene_description>Maureen serves the siblings a strange looking bird. Matt digs in and chews for a long time. Jean and Danny share a smile.</scene_description> </scene> <scene> <stage_direction>EXT. MAUREEN'S HOUSE. PATH AROUND THE HOUSE</stage_direction> <scene_description>The three siblings walk Bruno.</scene_description> <character>MATT</character> <dialogue>The Knicks need a point guard--</dialogue> </scene> <scene> <stage_direction>I/E. MAUREEN'S HOUSE. BACK PORCH</stage_direction> <scene_description>Matthew, Danny and Jean are playing cards.</scene_description> <character>DANNY</character> <parenthetical>(suddenly)</parenthetical> <dialogue>Would you fuck Pam?</dialogue> <scene_description>Matt's considers this.</scene_description> <character>JEAN</character> <dialogue>I would. Just kidding.</dialogue> <character>MATT</character> <dialogue>Jean, are you seeing anyone?</dialogue> <scene_description>Danny looks at Matt, surprised.</scene_description> <character>JEAN</character> <dialogue>No.</dialogue> </scene> <scene> <stage_direction>INT. MAUREEN'S HOUSE. LIVING ROOM. LATER NIGHT</stage_direction> <scene_description>Matt adds up figures on a calculator with lightening speed. Danny, eats a huge sandwich. Jean flips through a photo album.</scene_description> <character>JEAN</character> <dialogue>You were both such middle-aged men in the making.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL GIFT SHOP. DAY</stage_direction> <scene_description>The siblings stare at the various nick-knacks.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM</stage_direction> <scene_description>Nighttime in the hospital room. Harold is comatose, intubated and hooked up to machines doing everything for him. He still has a drain in his head and feeding tube in his stomach. Danny is lying between two chairs, asleep. He dips slowly between the divide in chairs. A hand gently rustles his shoulder. He looks up. It's Jean. He nods, rises, gathers his things.</scene_description> <character>DANNY</character> <parenthetical>(sleepily, but attentive)</parenthetical> <dialogue>The night nurse today is named Rich. He's OK, but doesn't really know anything. Dad's blood pressure was 178 so they gave him Lopressor. It's down to 154 now.</dialogue> <character>DANNY</character> <dialogue>I wrote it down. Keep an eye on it.</dialogue> <scene_description>He hands her the notebook.</scene_description> <character>JEAN</character> <dialogue>I will.</dialogue> <scene_description>Jean takes Danny's seat, props up her feet and takes out a book. CUT TO: A nurse opens a curtain. Sunlight through the window. Jean is woken by Matt who relieves her.</scene_description> <character>JEAN</character> <dialogue>His blood pressure dropped so they put him on a Levophed drip, but that's hard on his kidneys, so make sure they keep him hydrated with the IV...</dialogue> <scene_description>Matt nods and takes her place at their Dad's side. CUT TO: Matt works on a stack of tax documents with his calculator. He hears laughter. He gazes into the hallway. Two nurses are looking at a menu. They chat casually.</scene_description> <character>NURSE #1</character> <dialogue>It should taste really sweet too...it was a little gooey.</dialogue> <character>NURSE #2</character> <dialogue>Eww.</dialogue> <character>NURSE #1</character> <dialogue>It freaked me out.</dialogue> <scene_description>Matt watches. A machine starts beeping. Matt looks up suddenly.</scene_description> <character>DOCTOR GONZALEZ (V.O.)</character> <dialogue>--and overnight he contracted sepsis, which is a full body inflammation.</dialogue> </scene> <scene> <stage_direction>INT. ICU ROOM/HALLWAY</stage_direction> <scene_description>Danny, Matt, and Jean are confronted by a new doctor, Dr. Gonzalez.</scene_description> <character>MATT</character> <dialogue>Oh, shit.</dialogue> <character>DOCTOR GONZALEZ</character> <dialogue>Unfortunately the longer he's here the more susceptible he is to infection.</dialogue> <character>JEAN</character> <dialogue>What about his brain? Do we have an EEG?</dialogue> <character>DOCTOR GONZALEZ</character> <dialogue>This is a different unit, we're in the ICU, so I don't have those answers as of yet.</dialogue> <character>MATT</character> <dialogue>So, now we're in the right unit to treat his sepsis, but the wrong unit to treat his head?</dialogue> <character>DOCTOR GONZALEZ</character> <parenthetical>(nods)</parenthetical> <dialogue>They have a call in to a neurologist. People rarely come in on weekends.</dialogue> <character>MATT</character> <dialogue>Do people not generally get sick on weekends?</dialogue> <character>DOCTOR GONZALEZ</character> <dialogue>We're working on getting you those answers.</dialogue> <scene_description>The doctor hands Matthew a pamphlet. He looks at it and shows it to Danny.</scene_description> <character>DOCTOR GONZALEZ</character> <dialogue>This is a helpful summary of the conversations you might want to have, things you might want to think about.</dialogue> <character>DANNY</character> <parenthetical>(reading)</parenthetical> <dialogue>An end of life conversation?</dialogue> <character>DOCTOR GONZALEZ</character> <dialogue>It helps you prepare. In case.</dialogue> </scene> <scene> <stage_direction>EXT. TRAIN STATION</stage_direction> <scene_description>Eliza meets the three siblings outside on the platform.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL OFFICE</stage_direction> <scene_description>The siblings, Eliza and Maureen sit for an end of life conversation, taking notes. A group of doctors talk to them from across a large table.</scene_description> <character>DOCTOR</character> <dialogue>These are things we suggest you say to your father before it's too late: "I love you." "I forgive you." "Forgive me." "Thank you." "Goodbye."</dialogue> </scene> <scene> <stage_direction>INT. ICU HOSPITAL ROOM</stage_direction> <scene_description>Eliza unpacks a blue-tooth speaker and a phone from her backpack and sets it up to play music for her grandfather. Danny places Harold's catalogue under the speaker as a base. She plays a loud Nick Cave song.</scene_description> <character>ELIZA</character> <dialogue>He told me he liked this when I played it once.</dialogue> <scene_description>Eliza sobs at her grandfather's bedside. Danny, Matt and Jean regard this. They've been so caught in the hospital struggle they haven't had much time to be emotional.</scene_description> <character>TONY (O.S.)</character> <dialogue>I want to say bye now.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL CAFETERIA</stage_direction> <scene_description>Eliza and Matthew are at a table looking at Matthew's phone.</scene_description> <character>MATT</character> <dialogue>We just got on the phone!</dialogue> <character>TONY (O.S.)</character> <dialogue>I'm going to press the button.</dialogue> <character>ELIZA</character> <dialogue>Hi Tony, you remember me? We've never actually met--</dialogue> <character>MATT</character> <dialogue>This is Eliza, your cousin?</dialogue> <character>TONY (O.S.)</character> <dialogue>I'm pressing the butt--</dialogue> <character>MATT</character> <dialogue>Wait... Shit!</dialogue> <scene_description>Eliza laughs. Danny limps over with an unripe banana and a yogurt on his tray.</scene_description> <character>DANNY</character> <parenthetical>(sitting)</parenthetical> <dialogue>I'm oddly growing fond of this cafeteria, like I'd almost come here just anyway to eat. How's your boy?</dialogue> <character>MATT</character> <dialogue>She fucking gets in his head. He's always hanging up on me now.</dialogue> <character>DANNY</character> <dialogue>Call him back.</dialogue> <character>MATT</character> <dialogue>I don't want to call him back, it makes me feel bad.</dialogue> <character>DANNY</character> <dialogue>He's five years old. They hate phones. Eliza, when you were that age you'd never talk on the phone.</dialogue> <character>MATT</character> <dialogue>She makes it too difficult. I don't know, sometimes I think maybe I sit this kid out and start another family and then he finds me when he's twenty-one. Let him come to me.</dialogue> <scene_description>Danny gets up to grab napkins from another table.</scene_description> <character>DANNY</character> <dialogue>He's not a girl you're trying to trick into dating you.</dialogue> <character>ELIZA</character> <dialogue>Dad, your limp is worse.</dialogue> <character>DANNY</character> <dialogue>It's always stiff after I've been sitting.</dialogue> <character>ELIZA</character> <dialogue>I was looking on-line, it could be your hip.</dialogue> <character>DANNY</character> <dialogue>It's my back.</dialogue> <character>MATT</character> <dialogue>We should get you checked out.</dialogue> <character>DANNY</character> <dialogue>I don't have time to see a doctor now.</dialogue> <character>MATT</character> <dialogue>We're already AT a doctor.</dialogue> <scene_description>Eliza laughs. Danny sits back down.</scene_description> <character>DANNY</character> <dialogue>I know what it is, OK?</dialogue> <character>MATT</character> <dialogue>What is it?</dialogue> <character>DANNY</character> <dialogue>It's...I...I mean I basically KNOW.</dialogue> <character>ELIZA</character> <dialogue>Dad, you got to deal with it.</dialogue> <character>MATT</character> <dialogue>Yeah, Dan, I mean, look at Dad. He ignored his thing and--</dialogue> <character>DANNY</character> <dialogue>Just let me eat my fucking banana, OK?!</dialogue> <scene_description>Matt and Eliza share a quick smile.</scene_description> <character>DANNY</character> <dialogue>And call your son!</dialogue> <scene_description>Matt hesitates and slowly gets up to make the call.</scene_description> </scene> <scene> <stage_direction>EXT. MAUREEN'S DRIVEWAY. LATE DAY</stage_direction> <scene_description>Maureen pulls into the gravel nodding hello to Matt who stretches before a run.</scene_description> <character>MATT</character> <dialogue>Hi, Maureen.</dialogue> <scene_description>She drives past Matt. Matt continues to loosen up as we watch her car slowly veer onto the grass and roll down into a tree. Matt turns when he hears the soft impact.</scene_description> </scene> <scene> <stage_direction>INT. MAUREEN'S HOUSE. KITCHEN</stage_direction> <scene_description>It's filled with dusty appliances, yogurt containers full of tacks and coins, faded photos and outdated menus crookedly affixed with random refrigerator magnets. Matt finds a musty water pitcher with an old filter and fills it.</scene_description> <character>MAUREEN</character> <dialogue>It's a shame the Dad is going to miss the opening tomorrow. He was really looking forward to it.</dialogue> <character>MATT</character> <dialogue>Dad asked me to say something. I was going to ask Danny and Jean too.</dialogue> <scene_description>He removes some mismatched bowls from a cabinet, looking for glasses. A Popov vodka bottle is stashed in the back. He turns around. Maureen quickly averts her eyes. Matt hesitates and takes the bottle.</scene_description> <character>MAUREEN</character> <dialogue>He never would have expected you to have shown up. We were trying to figure it out, have you ever even been to this house before?</dialogue> <character>MATT</character> <dialogue>No...</dialogue> <scene_description>He pours her and him a glass of vodka. She hesitates, but takes it. She holds a frozen pack of peas to the bruise on her face.</scene_description> <character>MAUREEN</character> <dialogue>The Dad always hoped for a visit but I guess you always had a lot to do in the City when you came to town. And us not being A-list parents and all. Danny and Jean, of course, are here all the time, but that's less exciting for the Dad.</dialogue> <scene_description>Matt drinks his vodka.</scene_description> <character>MATT</character> <dialogue>I reached out to some of his old friends who are going to come visit.</dialogue> <character>MAUREEN</character> <parenthetical>(rising)</parenthetical> <dialogue>I hope they understand they'll be looking at a sleeping man. Hello Andy Warhol!</dialogue> <character>MATT</character> <dialogue>I explained that. In so many words.</dialogue> <character>MAUREEN</character> <dialogue>I spoke to the neurologist, Dr. Diebert, who seems very knowledgeable, but has no upper lip to speak of, and if Harold survives the infection, they have no idea what person will be there when he wakes up. Maybe he'll be Brad Pitt. Or Neruda. Or Joe the Plumber.</dialogue> <parenthetical>(with real feeling, but dramatically)</parenthetical> <dialogue>I just want him to be Harold.</dialogue> <character>MATT</character> <parenthetical>(changing the subject)</parenthetical> <dialogue>Have you looked over the documents I sent you?</dialogue> <scene_description>Maureen rises and retrieves an envelope from a drawer.</scene_description> <character>MAUREEN</character> <dialogue>Yes and given where we are with the Dad...and the Manhattan house is more than we need right now, I've taken your counsel, and I think selling the house and art to James and Brian is the right thing to do. I signed the places you marked for me.</dialogue> <scene_description>She hands the manila envelope to Matthew.</scene_description> <character>MATT</character> <dialogue>Then it's done.</dialogue> <character>MAUREEN</character> <dialogue>Some of those pieces are quite large, how will they be displayed?</dialogue> <character>MATT</character> <parenthetical>(abashed)</parenthetical> <dialogue>Well, you know, James's family owns a series of retirement communities around the country and they're going to donate the art to these facilities as a write-off.</dialogue> <character>MAUREEN</character> <parenthetical>(hesitates)</parenthetical> <dialogue>Oh...OK. I can't believe Danny is happy about that and Jean...well, who knows what Jean feels about anything.</dialogue> <character>MATT</character> <parenthetical>(trying to rationalize)</parenthetical> <dialogue>Well, with Dad's illness...I thought I'd wait until after the show to tell them anything...I don't know, there's been so much going on...</dialogue> <character>MAUREEN</character> <dialogue>Really they have no power anyway. I don't know what happened to them as children -- Harold says he tried his best -- but they're really such disappointments.</dialogue> <character>MATT</character> <parenthetical>(sadly)</parenthetical> <dialogue>Nobody took care of them.</dialogue> <scene_description>Maureen nods.</scene_description> <character>MAUREEN</character> <dialogue>I say that as a disappointment myself. I was neglected too during my childhood. It's funny, I was never interested in having kids. Maybe once. No, not even once.</dialogue> <parenthetical>(drinks)</parenthetical> <dialogue>You're very good at getting the most for your clients.</dialogue> <character>MATT</character> <dialogue>It's what I do.</dialogue> </scene> <scene> <stage_direction>EXT. HOSPITAL PARKING LOT. MORNING</stage_direction> <scene_description>Danny, Matt, and Jean climb out of Danny's Subaru.</scene_description> <character>MATT</character> <dialogue>Eliza texted, she came early to be with Dad.</dialogue> <character>DANNY</character> <dialogue>She texted you?</dialogue> <character>JEAN</character> <dialogue>The curator is meeting us at Bard at one. So, let's get Eliza, say our good-byes to Dad and get on the road.</dialogue> <scene_description>A car door slams. They look: An old, frail man, 80's, is being lifted by his burly, muscular male nurse from the passenger seat.</scene_description> <character>MATT</character> <dialogue>Oh good. Paul came.</dialogue> <character>DANNY</character> <dialogue>Paul Epstein? I always liked Paul. Man, he's gotten older.</dialogue> <character>MATT</character> <dialogue>I'm glad Dad still has friends.</dialogue> <parenthetical>(heading in the old man's direction)</parenthetical> <dialogue>I'm going to say, Hi.</dialogue> <character>DANNY</character> <parenthetical>(over his shoulder)</parenthetical> <dialogue>Jean, you remember Paul and Lori?</dialogue> <character>DANNY</character> <dialogue>Jean?</dialogue> <scene_description>CUT TO: TITLE: (Jean's Story)</scene_description> </scene> <scene> <stage_direction>EXT. HOSPITAL PARKING LOT</stage_direction> <scene_description>Jean wanders around the cement columns as she talks.</scene_description> <character>JEAN</character> <dialogue>I wrote a short story about this once, but I never finished it and it wasn't very good. You remember that summer I visited Dad on Martha's Vineyard? Dad never invited me or Danny--</dialogue> <character>DANNY (O.S.)</character> <dialogue>Never.</dialogue> <character>JEAN</character> <dialogue>--to the summer places but--</dialogue> <character>JEAN</character> <dialogue>--that summer I was a camp counselor at French Woods in Vermont--</dialogue> <character>DANNY (O.S.)</character> <dialogue>Was that the one with Alisa Lirtzman?</dialogue> <character>JEAN</character> <dialogue>No, that was Thoreau. I was only at this one for one summer-- And I had two days off, and I called him and he couldn't say, No. He must have gotten permission from your mother-- It wasn't as convenient as I had thought.</dialogue> <character>JEAN</character> <dialogue>I had to take two buses and a ferry. When I arrived nobody met me. I hitchhiked to the other side of the island. When I got to the house it was already night and the adults were all going out for dinner. Dad and your Mom and L.J. and Maya and Paul and Lori. Julia said something about me having my bags in the way. They were happy to have a baby-sitter, so they left me with the kids. You were there, Matthew, and Loretta and some other kids I didn't know. We watched Three's Company on TV. The next day, Dad played tennis and worked in his studio. I went down to the beach with the kids. I got to swim in the ocean which was really special for me. I loved that. Later, I showered in the outdoor shower with my suit on. And I realized someone was watching me. It was Paul. He smiled at me, almost politely and then he lowered his tight bathing suit, took out his penis and started stroking it.</dialogue> <character>MATT</character> <dialogue>Oh God.</dialogue> <character>DANNY</character> <dialogue>Paul did?!</dialogue> <character>JEAN</character> <dialogue>I watched him until he finished. Then he walked away.</dialogue> <character>DANNY</character> <dialogue>Did you tell anyone?</dialogue> <character>JEAN</character> <dialogue>I told Dad that night and he asked if Paul had touched me and I said, No. He thought we should probably just leave it then, they were going back to the City soon anyway. But that if Paul did it again, he'd punch him in the nose. The next day when I was leaving, I looked around for Dad to say goodbye, but he was playing tennis. I thought about telling your Mom, Matthew, but I was afraid she'd get angry at me. I remember crying on my way to the ferry.</dialogue> <scene_description>Matt and Danny look stunned.</scene_description> <character>MATT</character> <dialogue>Jean, can I ask you a question? Why do you always show up for Dad? Why are you always HERE?</dialogue> <character>JEAN</character> <parenthetical>(shrugs and says matter- of-factly)</parenthetical> <dialogue>Because I'm a decent person. Even though he never took care of us...it's what you do. Besides, I like hanging out with you guys.</dialogue> <scene_description>Matt and Danny awkwardly try to hug her. She wriggles away.</scene_description> <character>JEAN</character> <dialogue>I'm going to smoke.</dialogue> </scene> <scene> <stage_direction>INT. ICU HALLWAY</stage_direction> <scene_description>Paul, aided heavily by his burly nurse, shuffles toward Harold's room.</scene_description> <character>DANNY (O.S.)</character> <dialogue>Do we kick the shit out of him?</dialogue> <character>MATT (O.S.)</character> <dialogue>He's eighty. We'd kill him.</dialogue> <scene_description>Danny and Matt watch from a distance.</scene_description> <character>DANNY</character> <dialogue>That's true. Or hurt him very badly.</dialogue> <character>MATT</character> <dialogue>And neither of us can take that nurse.</dialogue> <character>DANNY</character> <dialogue>That's for sure.</dialogue> <parenthetical>(starting toward the room)</parenthetical> <dialogue>I'm going to spit on him.</dialogue> <character>MATT</character> <parenthetical>(holding him back)</parenthetical> <dialogue>No, I know what to do.</dialogue> </scene> <scene> <stage_direction>EXT. HOSPITAL PARKING LOT</stage_direction> <scene_description>Matthew grabs a wooden branch, walks over, and smashes it over Paul's car. It breaks in two.</scene_description> <character>MATT</character> <dialogue>Oww! But good too!</dialogue> <parenthetical>(grabbing a rock)</parenthetical> <dialogue>You got to try this.</dialogue> <scene_description>Danny comes forward, brandishing his metal cane and smashes the roof with it. Danny looks at it, bent.</scene_description> <character>DANNY</character> <dialogue>Shit, this is Maureen's dead ex- husband's cane.</dialogue> <scene_description>Matt chucks the rock, cracking the windshield. They smash the car repeatedly. They're loving it.</scene_description> <character>DANNY</character> <dialogue>I've never done anything like this!</dialogue> <character>MATT</character> <dialogue>Me neither!</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL LOBBY</stage_direction> <scene_description>They run inside, high on adrenaline.</scene_description> <character>MATT</character> <dialogue>What's that blood? Who's bleeding?</dialogue> <scene_description>They stop and check themselves.</scene_description> <character>DANNY</character> <dialogue>I don't see it.</dialogue> <character>MATT</character> <dialogue>Your hand?</dialogue> <character>DANNY</character> <dialogue>Oh, yeah.</dialogue> <character>MATT</character> <dialogue>And your face. chin)</dialogue> <scene_description>Yeah.</scene_description> <character>DANNY</character> <parenthetical>(thrusts his now bent aluminum cane in the air)</parenthetical> <dialogue>Yeah!</dialogue> <character>MATT</character> <dialogue>That felt great.</dialogue> <character>DANNY</character> <dialogue>I don't know why we don't do that more.</dialogue> <character>MATT</character> <parenthetical>(suddenly)</parenthetical> <dialogue>Pam!</dialogue> <scene_description>Pam is talking to another nurse in the hallway. She startles then smiles somewhat uneasily as they both rush toward her bursting with enthusiasm. They both hug her.</scene_description> <character>MATT</character> <dialogue>Last night his blood pressure was at 173 but they gave him Hydrolozene--</dialogue> <character>DANNY</character> <dialogue>And an extra dose of Lopressor--</dialogue> <character>MATT</character> <dialogue>And got it down to 155.</dialogue> <character>PAM</character> <dialogue>Oh good.</dialogue> <character>DANNY</character> <dialogue>That sounds OK? He's also on Kepra and Morphine and...</dialogue> <character>MATT</character> <dialogue>It's in our notes.</dialogue> <character>DANNY</character> <dialogue>Eliza's got the notes. Did you meet Eliza? She's my daughter.</dialogue> <parenthetical>(lowering his voice)</parenthetical> <dialogue>He has sepsis, Pam.</dialogue> <character>PAM</character> <dialogue>Oh, no.</dialogue> <character>MATT</character> <dialogue>And that's after the coma.</dialogue> <character>PAM</character> <dialogue>Oh... I'm sorry.</dialogue> <character>DANNY</character> <dialogue>Drug induced! Phenobarbital.</dialogue> <character>MATT</character> <dialogue>Pento actually--</dialogue> <character>DANNY</character> <dialogue>I thought it was Phenobarbital--</dialogue> <character>MATT</character> <dialogue>What does it matter, we don't know what either of them are anyway?</dialogue> <character>PAM</character> <parenthetical>(nodding)</parenthetical> <dialogue>OK. I'll make sure to look in on him...</dialogue> <character>MATT</character> <dialogue>It's so good to see you. Please come back to our unit.</dialogue> <character>PAM</character> <dialogue>Are you bleeding?</dialogue> </scene> <scene> <stage_direction>INT. ICU HOSPITAL ROOM</stage_direction> <scene_description>The brothers poke their heads in.</scene_description> <character>DANNY</character> <dialogue>Umm, Eliza, we need to go.</dialogue> <character>ELIZA</character> <parenthetical>(looking up)</parenthetical> <dialogue>Um...</dialogue> <character>DANNY</character> <dialogue>What?</dialogue> <scene_description>Paul is sobbing at Harold's bedside. The burly nurse gently rubbing his back. Matt and Danny hesitate. Danny indicates for Eliza to follow. She rises.</scene_description> <character>ELIZA</character> <parenthetical>(crying)</parenthetical> <dialogue>Bye Grandpa. I'll be back in two weekends. I love you. I forgive you. Forgive me--</dialogue> <character>DANNY</character> <dialogue>Come on!</dialogue> <character>BURLY NURSE</character> <parenthetical>(to Paul)</parenthetical> <dialogue>We should be getting on too.</dialogue> <character>DANNY</character> <dialogue>No!</dialogue> <character>MATT</character> <dialogue>No, could you stay here for at least ten or fifteen minutes more, you think?</dialogue> <scene_description>Paul looks up. He stares at Danny and Matt strangely.</scene_description> <character>PAUL</character> <dialogue>Is that Harold's brothers?</dialogue> <character>MATT</character> <dialogue>We're his sons. Danny and Matthew.</dialogue> <character>PAUL</character> <dialogue>You look just like him.</dialogue> <character>BURLY NURSE</character> <dialogue>Are you bleeding?</dialogue> </scene> <scene> <stage_direction>INT. ICU HALLWAY</stage_direction> <scene_description>The brothers run. Eliza behind them.</scene_description> <character>MATT</character> <dialogue>Let's go tell Jean!</dialogue> </scene> <scene> <stage_direction>EXT. HOSPITAL PARKING LOT</stage_direction> <scene_description>Danny, who holds his bloody hand, and Matt stand excitedly in front of Jean. They're both sweating.</scene_description> <character>DANNY</character> <dialogue>Smashed it.</dialogue> <character>JEAN</character> <dialogue>What?</dialogue> <character>MATT</character> <parenthetical>(points across the lot)</parenthetical> <dialogue>Look!</dialogue> <character>ELIZA</character> <parenthetical>(aside to Matt)</parenthetical> <dialogue>He has dementia.</dialogue> <character>MATT</character> <dialogue>What?</dialogue> <character>DANNY</character> <dialogue>(to Jean)</dialogue> <scene_description>We thought you'd be happy.</scene_description> <character>JEAN</character> <dialogue>Why would I be happy about this? You smashed a sick old man's car.</dialogue> <parenthetical>(re: Danny's hand)</parenthetical> <dialogue>Let's get you a bandage.</dialogue> <character>DANNY</character> <parenthetical>(jumping up and down)</parenthetical> <dialogue>I don't want a bandage. I want to let it bleed. Let's go to Bard!</dialogue> <character>MATT</character> <dialogue>He has dementia?</dialogue> <character>ELIZA</character> <parenthetical>(nods)</parenthetical> <dialogue>Yeah.</dialogue> <character>MATT</character> <dialogue>He has dementia.</dialogue> <character>DANNY</character> <dialogue>Well, he didn't have dementia when he molested Jean.</dialogue> <character>JEAN</character> <dialogue>He didn't molest me.</dialogue> <character>DANNY</character> <parenthetical>(losing steam)</parenthetical> <dialogue>But let's not minimize it, Jean. What he did was shitty and damaging and I don't know...that same asshole is in there somewhere... Right? Beneath the dementia.</dialogue> <character>JEAN</character> <dialogue>I'm glad you guys feel better. Unfortunately I'm still fucked up.</dialogue> <character>DANNY</character> <dialogue>Do you want to take a swing?</dialogue> <character>JEAN</character> <dialogue>I could smash every car in this parking lot and burn the hospital down and it wouldn't un-fuck me up.</dialogue> <parenthetical>(silence)</parenthetical> <dialogue>You guys will never understand what it's like to be me in this family.</dialogue> <parenthetical>(opening her door)</parenthetical> <dialogue>Let's go to Bard.</dialogue> </scene> <scene> <stage_direction>INT. BARD GALLERY. DAY</stage_direction> <scene_description>A mix of faculty, students, artists and out-of-towners mingle amongst the work. Eliza gathers with her friends and Jean. And older woman, Hilma Federman, says to another teacher.</scene_description> <character>HILMA</character> <dialogue>He voted against my chairmanship, but I always liked him.</dialogue> <scene_description>From across the room an attractive woman, 30's, talking with a group, smiles at Matt. Matt, in his suit with a tie, smiles back. He stands in front of Harold's bronze sculpture which is prominently displayed.</scene_description> <character>DANNY (O.S.)</character> <dialogue>This toast is really stressing me out.</dialogue> <scene_description>Danny appears and hands Matt a champagne. Danny wears his leather jacket over a shirt and tie and khakis with a hummus stain on the fly. Jean passes by on her way to the bar.</scene_description> <character>DANNY</character> <dialogue>Jean, you sure you don't want to say anything?</dialogue> <character>JEAN</character> <dialogue>Fuck no.</dialogue> <scene_description>Matt fishes into his pocket and produces the two pills.</scene_description> <character>MATT</character> <dialogue>I've had these for a while but I think they're still good. Want one?</dialogue> <character>DANNY</character> <dialogue>What will it do to me?</dialogue> <character>MATT</character> <dialogue>It will either bring you up or down. Hopefully down, I guess?</dialogue> <character>DANNY</character> <parenthetical>(inspecting it)</parenthetical> <dialogue>Someone took a bite already?</dialogue> <character>MATT</character> <dialogue>That was me. I had a crumb when I last saw Dad.</dialogue> <character>DANNY</character> <dialogue>Oh, OK.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>What did it do to you then?</dialogue> <character>MATT</character> <dialogue>Made me annoyed at Dad? I don't know.</dialogue> <scene_description>Matt and Danny each take a pill and down it with champagne. A blonde kid drapes his arm around Eliza's neck. Danny frowns.</scene_description> <character>DANNY</character> <dialogue>What about Marcus?</dialogue> <character>MATT</character> <dialogue>They broke up.</dialogue> <character>DANNY</character> <dialogue>How do you know that--</dialogue> <character>MATT</character> <dialogue>This woman keeps smiling at me.</dialogue> <scene_description>The attractive woman is smiling at Matt.</scene_description> <character>MATT</character> <dialogue>I'm getting a real energy from her.</dialogue> <scene_description>Suddenly, she excuses herself from her conversation and walks toward them.</scene_description> <character>DANNY</character> <dialogue>She's walking over here.</dialogue> <scene_description>Matt runs his hand through his hair.</scene_description> <character>MATT</character> <dialogue>I look OK?</dialogue> <character>DANNY</character> <dialogue>Yeah, you look handsome.</dialogue> <scene_description>Matt places his drink on Harold's sculpture. Danny quickly removes it. She approaches Matt, her face blushing.</scene_description> <character>WOMAN</character> <dialogue>Are you Harold Meyerowitz's son?</dialogue> <character>MATT</character> <dialogue>Yes.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>This is Danny, also Harold Meyerowitz's son.</dialogue> <character>WOMAN</character> <dialogue>I'm Nathalie Perry. I just wanted to say, your father was a huge influence on me.</dialogue> <character>WOMAN</character> <dialogue>He was a great teacher, he found a way to make everything sound interesting.</dialogue> <character>MATT</character> <parenthetical>(not what he expected)</parenthetical> <dialogue>Oh...</dialogue> <character>WOMAN</character> <dialogue>I met my husband, Gary, in his class.</dialogue> <character>MATT</character> <dialogue>Oh...</dialogue> <character>WOMAN</character> <dialogue>It was important to us to be here when we heard he was sick. He spoke about you a lot, he was very proud of you.</dialogue> <parenthetical>(looks at Danny)</parenthetical> <dialogue>I didn't realize he had two sons.</dialogue> <character>MATT</character> <dialogue>And a daughter.</dialogue> <character>L.J. (O.S.)</character> <dialogue>Is that Matt and Danny!</dialogue> <scene_description>L.J. embraces Matt and Danny simultaneously. He's very open and emotional while he talks.</scene_description> <character>L.J.</character> <dialogue>I was in Madrid when I heard. I'm so damned heartbroken to hear about the old man.</dialogue> <character>MATT</character> <dialogue>Yeah.</dialogue> <character>DANNY</character> <dialogue>Thanks, L.J.</dialogue> <character>L.J.</character> <dialogue>How's he doing? Where is he? I'm coming to visit.</dialogue> <character>DANNY</character> <parenthetical>(releasing L.J.)</parenthetical> <dialogue>He's kind of in a coma in Pittsfield right now.</dialogue> <character>L.J.</character> <parenthetical>(tears running down his face)</parenthetical> <dialogue>I don't give a shit. Let's go tonight.</dialogue> <character>MATT</character> <parenthetical>(breaking the hug)</parenthetical> <dialogue>And he has sepsis.</dialogue> <character>L.J.</character> <dialogue>It's the fucking hospital that will kill you. We got to get him out of there.</dialogue> <character>DANNY</character> <dialogue>He'd love if you came even if he'll have no idea.</dialogue> <character>MATT</character> <dialogue>We'll take pictures.</dialogue> <character>L.J.</character> <parenthetical>(squeezing them tighter)</parenthetical> <dialogue>We'll take pictures.</dialogue> <character>DANNY</character> <parenthetical>(eagerly looks around)</parenthetical> <dialogue>Where's Loretta?</dialogue> <character>L.J.</character> <dialogue>Her son got chicken-pox and she had to stay in town! She was very disappointed.</dialogue> <character>DANNY</character> <dialogue>(disappointed)</dialogue> <character>MATT</character> <dialogue>I never got chicken pox.</dialogue> <scene_description>That's too bad.</scene_description> <character>L.J.</character> <dialogue>You should call her, Dan. I know she'd like to see you.</dialogue> <character>DANNY</character> <parenthetical>(resolute)</parenthetical> <dialogue>I'm going to.</dialogue> <character>L.J.</character> <dialogue>You'd like her boyfriend too. He's a good man. A screenwriter.</dialogue> </scene> <scene> <stage_direction>EXT. BARD GALLERY. DAY</stage_direction> <scene_description>Matt pursues Danny outside.</scene_description> <character>MATT</character> <dialogue>Don't beat yourself up.</dialogue> <character>DANNY</character> <dialogue>I should never have left that opening at MOMA. It was just...Dad... I felt obligated.</dialogue> <character>MATT</character> <dialogue>You thought you were doing the right thing...</dialogue> <character>DANNY</character> <dialogue>You would've stayed.</dialogue> <character>MATT</character> <dialogue>I probably would've, yeah. But I would have felt bad about it. But it's a good lesson: Dad can take care of himself. You have to take care of yourself.</dialogue> <character>DANNY</character> <dialogue>No, he can't, Matt. That's why he's where he is now.</dialogue> <parenthetical>(beating himself up)</parenthetical> <dialogue>I should've been able to tell something was wrong. I just thought he was getting old...</dialogue> <character>MATT</character> <dialogue>Shit, I yelled at him. The guy was suffering and I screamed at him on the street. There's no catharsis in shouting at an old person who's dying.</dialogue> <character>DANNY</character> <dialogue>Do you think he's going to die?</dialogue> <character>ELIZA (O.S.)</character> <dialogue>Dad, I want you to meet someone, this is Robin.</dialogue> <scene_description>Eliza and Robin, the blonde boy, stand by the door with drinks. Robin smokes. Danny approaches, Matt behind him.</scene_description> <character>DANNY</character> <parenthetical>(shaking hands)</parenthetical> <dialogue>Nice to meet you.</dialogue> <character>ROBIN</character> <parenthetical>(trying to sound adult)</parenthetical> <dialogue>You too. Eliza speaks very highly of you.</dialogue> <character>DANNY</character> <dialogue>Oh...OK.</dialogue> <parenthetical>(to Eliza)</parenthetical> <dialogue>You speak highly of me?</dialogue> <character>ELIZA</character> <dialogue>You know what he means.</dialogue> <scene_description>Eliza cracks open a beer.</scene_description> <character>DANNY</character> <dialogue>Eliza, you've had two wines already, don't have a beer too.</dialogue> <character>ELIZA</character> <dialogue>I can handle it.</dialogue> <character>DANNY</character> <dialogue>Eliza, it's not good to mix wine and beer. You'll feel cruddy tomorrow. I'm telling you.</dialogue> <character>ELIZA</character> <dialogue>I've done it before, Dad.</dialogue> <character>MATT</character> <dialogue>Maybe she's right, maybe she has a constitution that can handle the grape and the grain.</dialogue> <character>DANNY</character> <dialogue>Please, just...stay out of this.</dialogue> <character>ELIZA</character> <dialogue>Matt's right, I have the fortitude for it.</dialogue> <character>DANNY</character> <dialogue>I'm telling you, you're going to feel like crap.</dialogue> <scene_description>Eliza takes a swallow. Danny grabs the beer from her, and chucks it. Robin looks scared.</scene_description> <character>ELIZA</character> <dialogue>What the fuck, man?!</dialogue> <scene_description>She storms back inside the gallery. Robin trailing behind.</scene_description> <character>MATT</character> <dialogue>What does it matter if she drinks wine and beer?</dialogue> <character>DANNY</character> <dialogue>Stop interfering with my parenting, Matt.</dialogue> <character>MATT</character> <dialogue>She's eighteen. What "parenting" do you need to do here? She's just a person now.</dialogue> <character>DANNY</character> <dialogue>This is something I do and I'm quite good at it, OK? She and I have a very good relationship when you're not around. So, stop... ganging up on me.</dialogue> <scene_description>Matt reaches out and takes Danny's shoulder.</scene_description> <character>MATT</character> <parenthetical>(trying to diffuse)</parenthetical> <dialogue>I'm sorry. You know, I've enjoyed hanging out recently.</dialogue> <character>DANNY</character> <dialogue>Yeah? Me too. You know, I've wanted to apologize for a long time.</dialogue> <character>MATT</character> <dialogue>For what?</dialogue> <character>DANNY</character> <dialogue>I'm pissed at myself because when Dad kicked me out of the house and I moved back with my mom, you really made an effort to hang out and I kind of blew you off. And I feel like I fucked that up. I think it's really my fault that we're not close.</dialogue> <scene_description>Danny hugs Matt strangely.</scene_description> <character>DANNY</character> <dialogue>It was hard for me to be around Dad and your mom at that time too. They were so critical of me and I was just FAILING.</dialogue> <character>MATT</character> <parenthetical>(trying to end it)</parenthetical> <dialogue>We should go back in, give our toasts.</dialogue> <character>DANNY</character> <parenthetical>(oddly)</parenthetical> <dialogue>Are you disappointed in me?</dialogue> <character>MATT</character> <dialogue>What? No, no.</dialogue> <scene_description>They both wander, moving, circling -- there's restless pent up energy that's slowly being released by both of them.</scene_description> <character>DANNY</character> <dialogue>I know Dad is. But I felt like you maybe also were critical of me for quitting piano and--</dialogue> <character>MATT</character> <dialogue>No, no, no. You were my big brother, I looked up to you.</dialogue> <character>DANNY</character> <dialogue>I quit because it was my protest. OK?</dialogue> <character>MATT</character> <dialogue>OK. Like McEnroe.</dialogue> <character>DANNY</character> <dialogue>And also...because it was like...it was like walking barefoot through broken glass to get to a milkshake. I loved the milkshake but, you know, my feet were...bleeding.</dialogue> <character>MATT</character> <dialogue>I can understand that.</dialogue> <character>DANNY</character> <dialogue>Can you? Cause my feeling about you is you can't. It's not your fault but like Dad, you make me feel really bad about myself.</dialogue> <character>MATT</character> <dialogue>I'm sorry.</dialogue> <character>DANNY</character> <dialogue>I said it's not your fault.</dialogue> <character>MATT</character> <parenthetical>(leaning back toward the gallery building)</parenthetical> <dialogue>Let's go in.</dialogue> <scene_description>DANNY Can I ask you something? MATT (uh-oh) What? DANNY A few years ago, when Karen and I had you over to our house when you were in town and I never heard from you afterwards. Maybe you didn't like the food or Karen or I insulted you in some way. Karen maybe had too much grappa-- MATT No! That was nice. I went back to LA, I don't know. DANNY Were you bored? Most people seem to find us interesting enough, we've had no complaints. MATT It's nothing like that. It's just...life...it's not more than that. DANNY Well, even in life, you can make an effort. Write an e-mail from one of your phones. But, I guess you're fine making no effort with family. You say you have guilt, but... MATT (angry) I'm here now. I'm in fucking Rhinebeck. I was just in Pittsfield. I've been HERE. DANNY (emotional) It shouldn't come to that! And if Dad survives, you'll go back to LA and I'm going to be taking care of him for a very long time. MATT We'll all help out. DANNY No...we won't ALL. It'll be me. And Jean. And mainly me. MATT I'll come more often. DANNY That's what you said when you ate dinner with Karen and me. (walking away) You've made your priorities clear. MATT You know what: I'm tired of apologizing for doing well. DANNY Ptolemy asked me why you never talk Dad's work up to your wealthy clients. He says you could be really helpful, that it's all perception. You know, he's a good artist and there's no reason he isn't as well known as L.J.! MATT Maybe it's not my responsibility to help Dad. Maybe THAT. DANNY No, it's what you DO. MATT And ALSO maybe he's not so great. Maybe he's undiscovered for a reason. Maybe THAT! The truth is we DON'T KNOW, Danny. We were brainwashed. DANNY Why are you so angry at him anyway. He loves everything you do.</scene_description> <character>MATT</character> <dialogue>Does he? He doesn't tell me that.</dialogue> <scene_description>DANNY He tells ME. I should be angry at him. I should hate him for treating me and Jean like second class citizens.</scene_description> <character>MATT</character> <dialogue>Then why don't you?! You SHOULD.</dialogue> <scene_description>He holds Danny's shoulder again, and says more tenderly.</scene_description> <character>MATT</character> <dialogue>Listen, you and Jean are going to get some money. We got a great deal on the house and all of the art and I'm giving my share to both of you. It doesn't make up for everything but you guys really deserve this.</dialogue> <scene_description>Danny slips from Matt's grasp, angry.</scene_description> <character>DANNY</character> <dialogue>Dad said this was a family discussion! Wait...did this...did this happen already?</dialogue> <character>MATT</character> <dialogue>Yes.</dialogue> <character>DANNY</character> <dialogue>It's done. together. And you do this when he can't say anything... He told me, Matt. You weren't there.</dialogue> <character>MATT</character> <dialogue>If we didn't do something, we'd be spending the next few years throwing his work in dumpsters. This way we get something for it.</dialogue> <character>DANNY</character> <dialogue>I don't care about money. That house, that work MEANS something to me.</dialogue> <character>MATT</character> <dialogue>You should embrace this. I should be the one who cares. I grew up there. That's MY house. I SHOULD care.</dialogue> <character>DANNY</character> <dialogue>Then why don't you?</dialogue> <character>MATT</character> <dialogue>Because...I don't know... You're probably right, I should care. Maybe I do... Maybe I do...</dialogue> <parenthetical>(hesitates)</parenthetical> <character>MATT</character> <dialogue>But this makes sense, they're going to donate the art as a tax write- off. James's family owns a series of retirement communities around the country--</dialogue> <character>DANNY</character> <dialogue>How could you do this to him? Who could even dream up such a plan?!</dialogue> <character>MATT</character> <dialogue>Me! It's what I do for a living.</dialogue> <scene_description>Danny shoves Matt. Matt shoves him back.</scene_description> <character>DANNY</character> <dialogue>Ptolemy said you guys make yourselves indispensable to vulnerable rich people.</dialogue> <character>MATT</character> <dialogue>Why don't you tell me more about my business? Danny, I really want YOU or DAD or FUCKING Ptolemy to tell ME about what I do every day for a living.</dialogue> <scene_description>Matt pushes Danny. Danny kicks him in the leg.</scene_description> <character>MATT</character> <dialogue>Oww! You kicked me in the shin.</dialogue> <scene_description>And now they're scuffling awkwardly.</scene_description> <character>MATT</character> <parenthetical>(blurting out)</parenthetical> <dialogue>I WAS disappointed in you for quitting piano.</dialogue> <scene_description>Danny swings wildly at him.</scene_description> <character>MATT</character> <dialogue>What the fuck is wrong with you? I know it's hard, it's hard for all of us. GET IT TOGETHER!</dialogue> <character>DANNY</character> <parenthetical>(now, just shouting insults)</parenthetical> <dialogue>And you're doing with Tony just what Dad did with me and Jean.</dialogue> <scene_description>Matt slaps Danny hard across the face then slips on the grass and lands on his ass. Danny tackles him and they topple onto the lawn hitting each other awkwardly. People emerge from the gallery. College kids surround them.</scene_description> <character>COLLEGE KID #1</character> <dialogue>Hey, he's beating up an old guy.</dialogue> <character>COLLEGE KID #2</character> <dialogue>No, they're both old.</dialogue> <character>COLLEGE KID #1</character> <parenthetical>(shouting at the brothers)</parenthetical> <dialogue>What's wrong with you two?</dialogue> <scene_description>They're rolling on the grass. Eliza and Jean try to stop them but can't get close with the flailing arms and legs. L.J. comes running out and lifts them both up and holds them apart in headlocks.</scene_description> <character>L.J.</character> <dialogue>Goddamn it, Meyerowitzes.</dialogue> <scene_description>Both are covered in dirt and grass and blood. Danny clutches the side of his leg.</scene_description> <character>DANNY</character> <dialogue>My hip.</dialogue> <scene_description>He collapses on the ground.</scene_description> <character>MATT (V.O.)</character> <dialogue>We want to thank Bard for making this show happen.</dialogue> </scene> <scene> <stage_direction>INT. BARD GALLERY</stage_direction> <scene_description>Matt, bloody, his suit torn, and still picking grass out of his hair addresses the crowd. He consults note cards and talks smoothly and professionally despite his appearance.</scene_description> <character>MATT</character> <dialogue>And thank many of you for making the trip. My Dad, and I'm sure every artist involved in this show, would be really pleased.</dialogue> <scene_description>Jean indicates for him to address the bleeding coming from his nose. Matt wipes it on his arm.</scene_description> <character>MATT</character> <dialogue>My father was a teacher here for thirty-three years so this is particularly special for him. And this piece is special for me as it's called Matthew. My father tells a story of how this piece came to be. How I would sit on the hardwood floor of his studio, getting nails in my ass, and hand him tools and make suggestions and he would let me help or let me THINK I was helping and when it was done he said we had made it together. Even though I don't remember this time, he does. But I remember that feeling. Of being very proud. Of wanting to be an artist like my dad. Of being included -- he was interested in me, he...loved me...</dialogue> <parenthetical>(he wipes tears from his face)</parenthetical> <dialogue>I'm sorry, I don't know why I'm... I've been angry at him for so much of my adult life. I guess I was trying to outrun him. But I didn't -- I'm still that boy helping my Dad. And he loved me. Even if it wasn't how I wanted him to love me, he loved me. And I've given away his life's work--it's gone...</dialogue> <parenthetical>(to Danny and Jean)</parenthetical> <dialogue>I'm sorry. And if Dad doesn't make it, he and I aren't OK. We never got to be OK...</dialogue> <scene_description>Danny is there beside him now, holding Matt in his arms. Matt continues to cry like a baby.</scene_description> <character>MATT</character> <parenthetical>(to the audience, trying to sound intelligible, but just crying)</parenthetical> <dialogue>Danny, do you want to say a few words...</dialogue> <character>DANNY</character> <dialogue>Yes, thank you, Matthew.</dialogue> <scene_description>He holds out the mike for Danny to take. Danny flinches, anticipating a punch.</scene_description> <character>MATT</character> <dialogue>No, I'm giving this to you...</dialogue> <character>DANNY</character> <dialogue>Oh, I see, OK.</dialogue> <scene_description>Danny takes the mike. Eliza and Jean help Matt to a bench. Now, Danny, also bloody, clothes torn, looks petrified. He hums an indecipherable tune. He leans on the back of a chair for support.</scene_description> <character>DANNY</character> <dialogue>You'll have to bear with me as I'm not a good public speaker and also I've never done it. It's something I've gone to great pains to avoid. When I used to perform music in front of an audience it was just too excruciating. The reward was just not worth the self-hatred. Not to mention, unlike my brother, Matthew, I find this particular piece painful because it was during a time I wasn't really speaking to my Dad. He had left my mother and Jean and me, gotten remarried to Matt's mom whom we did not like. Again, unlike Matt, I was NOT included in the art-making process, it wasn't MINE too... This piece is NOT called Danny. In fact, there are NO Danny's.</dialogue> <character>JEAN (O.S.)</character> <dialogue>Or Jeans!</dialogue> <character>DANNY</character> <parenthetical>(nods)</parenthetical> <dialogue>For me, it's a symbol of what I will NEVER be able to do. A club I will NEVER be admitted to. But Dad and I have gotten to spend more time together as adults and that's been good, I think we have gotten closer. We've certainly watched a lot of Mets games. Some of you know, my Dad is in a hospital in Pittsfield and we don't know how it's all going to go. Our doctor's in China and the only really good nurse got reassigned to a different floor. Maybe I need to believe my Dad was a genius because I don't want his life to be worthless.</dialogue> <character>DANNY</character> <dialogue>If he's not a great artist, that means he was just a prick. I think he's good, though. I think he deserved more attention than he got. I think that's true. Matt?</dialogue> <scene_description>Matt, eyes bloodshot, face splotchy, shrugs.</scene_description> <character>DANNY</character> <dialogue>I wish he'd had more success because it would have made his life easier. Even if that kind of thing doesn't ultimately mean much. I don't know, L.J.?</dialogue> <character>L.J.</character> <parenthetical>(shrugs)</parenthetical> <dialogue>I don't know either. If I did, I'd tell you.</dialogue> <character>DANNY</character> <dialogue>Also, I'm really proud of my daughter, Eliza, who is a freshman here and a really talented filmmaker.</dialogue> <scene_description>Eliza's friends WHOOP. Eliza smiles, embarrassed.</scene_description> <character>DANNY</character> <dialogue>Thank you.</dialogue> <parenthetical>(awkwardly)</parenthetical> <dialogue>Peace.</dialogue> <scene_description>Danny drops the mike like a rapper. BLACK TITLE: TEXT: Eliza liked kissing Robin the best, more than Marcus even.</scene_description> </scene> <scene> <stage_direction>EXT. METROPOLITAN MUSEUM. STAIRS. DAY</stage_direction> <scene_description>CLOSE: Eliza and Robin making out sloppily. Eliza, her hair very short now, and Robin smoke on the steps of the Met. Eliza and Robin are playing a game, trying to walk a thin sliver of curb while the other tries to push them over.</scene_description> </scene> <scene> <stage_direction>INT. LENOX HILL HOSPITAL ROOM</stage_direction> <scene_description>Eliza peeks around the corner. Robin behind her.</scene_description> <character>ELIZA</character> <dialogue>How are you feeling?</dialogue> <character>DANNY (O.S.)</character> <dialogue>Hey, honey.</dialogue> <scene_description>She moves over to Danny's bedside and hugs him.</scene_description> <character>DANNY</character> <dialogue>Hi, Robin.</dialogue> <character>ROBIN</character> <dialogue>Hey.</dialogue> <scene_description>Robin hugs him too, surprising Danny. Jean stands and hugs Eliza. A card game on a tray-table is mid-play.</scene_description> <character>JEAN</character> <dialogue>I love your hair.</dialogue> <character>ELIZA</character> <dialogue>Thanks! Robin cut it.</dialogue> <character>JEAN</character> <dialogue>I wish I had the guts to do it.</dialogue> <character>ELIZA</character> <dialogue>Do it! now.</dialogue> <character>JEAN</character> <dialogue>Robin will do it</dialogue> <character>ROBIN</character> <dialogue>I've got scissors in my bag.</dialogue> <scene_description>Eliza grabs a chair. Jean sits down.</scene_description> <character>ELIZA</character> <dialogue>How's the hip?</dialogue> <character>DANNY</character> <dialogue>I'm bionic now. That's a reference for Jean only.</dialogue> <character>ELIZA</character> <dialogue>I know what bionic is.</dialogue> <character>ROBIN</character> <dialogue>I don't.</dialogue> <character>ELIZA</character> <dialogue>It's a show.</dialogue> <parenthetical>(smiles, to her dad)</parenthetical> <dialogue>You taught me well.</dialogue> <character>JEAN</character> <dialogue>We don't like the nurse today--</dialogue> <character>DANNY</character> <dialogue>She's not nice.</dialogue> <character>JEAN</character> <dialogue>Kathy is more conservative with the pain medication.</dialogue> <character>DANNY</character> <dialogue>And we can't find the doctor.</dialogue> <character>JEAN</character> <dialogue>You know how it is.</dialogue> <character>ELIZA</character> <dialogue>I do.</dialogue> <character>JEAN</character> <dialogue>But spirits are high.</dialogue> </scene> <scene> <stage_direction>INT. LENOX HILL HOSPITAL ROOM</stage_direction> <scene_description>CUT TO: LAP TOP SCREEN Eliza's NEW MOVIE. She's nude hitch-hiking. She's having sex with a creature in a field, and she has a mustache. Jean appears holding hands with a rabbit.</scene_description> <character>DANNY (O.S.)</character> <dialogue>Jean! That's you with the rabbit.</dialogue> <character>JEAN (O.S.)</character> <dialogue>Shh, you're going to miss it.</dialogue> <scene_description>Danny watches the computer which rests on his lap in bed. Jean (her hair short now!), Eliza and Robin look over his shoulder.</scene_description> <character>DANNY</character> <dialogue>Jean! You were so good.</dialogue> <character>ELIZA</character> <dialogue>She's got real chops!</dialogue> <character>JEAN</character> <dialogue>I was well edited.</dialogue> <character>DANNY</character> <dialogue>It's wonderful, honey. I don't know that I've seen a sex scene shot quite like that before.</dialogue> <character>ELIZA</character> <dialogue>I used deliberately very harsh, direct light. I wanted to appear very unattractive.</dialogue> <character>DANNY</character> <dialogue>Well, that's difficult.</dialogue> <character>ELIZA</character> <dialogue>(smiles)</dialogue> <character>DANNY</character> <dialogue>Wonderful mise-en-scene.</dialogue> <scene_description>You know what I mean.</scene_description> <character>JEAN</character> <dialogue>For my Jeopardy parody I did at my office, we just had to use the overhead fluorescents.</dialogue> <character>DANNY</character> <dialogue>Yours had wonderful mise-en-scene as well, Jean.</dialogue> <character>JEAN</character> <dialogue>Thanks.</dialogue> <character>DANNY</character> <dialogue>And this is the best yet, Eliza.</dialogue> <character>ELIZA</character> <dialogue>Thanks, Dad. I've made eight more since then.</dialogue> <character>JEAN</character> <dialogue>I'm in five of them!</dialogue> <scene_description>DIP FADE FADE IN: OMITTED</scene_description> </scene> <scene> <stage_direction>I/E. MAUREEN'S HOUSE, PITTSFIELD. DAY</stage_direction> <scene_description>Matt gets out of his rental car carrying bags of Chinese food. Bruno barks. Maureen greets him. She wears round clear glasses.</scene_description> <character>MAUREEN</character> <parenthetical>(to the dog)</parenthetical> <dialogue>Bruno--</dialogue> <parenthetical>(to Matt)</parenthetical> <dialogue>Did you change your scent?</dialogue> <character>MATT</character> <dialogue>I don't have a scent--</dialogue> <character>MAUREEN</character> <dialogue>Maybe a new shampoo?</dialogue> <character>MATT</character> <parenthetical>(mussing his hair)</parenthetical> <dialogue>I don't think--</dialogue> <character>MAUREEN</character> <dialogue>The Dad is being very stubborn. I can't get him to do any of his exercises. Bruno!</dialogue> <character>MATT</character> <dialogue>How's he doing?</dialogue> <character>MAUREEN</character> <dialogue>The earliest appointment we can get with the neurologist is next month... It's a lot for me to do by myself here.</dialogue> <scene_description>She enters the house through the kitchen. Matt follows.</scene_description> <character>MAUREEN</character> <dialogue>Fortunately we have a little more money from the sale. James sent photos of the sculptures at one of the retirement homes in Arizona. They look quite stunning.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I have to say I was very surprised that you tried to stop the deal after you went through all that trouble setting it up...</dialogue> <character>MATT</character> <dialogue>I just thought...I changed my mind.</dialogue> <character>MAUREEN</character> <dialogue>Well, it was my decision as I'm the next of kin. It's too late now.</dialogue> <scene_description>She retrieves the black Vuarnet sunglasses from a pile of odds and ends and hands them to Matt.</scene_description> <character>MAUREEN</character> <dialogue>I found these in the Dad's things. I think they're yours.</dialogue> <character>MATT</character> <dialogue>They're Danny's.</dialogue> <scene_description>He puts them in his jacket pocket. Maureen enters the dining room. There are papers strewn across the table.</scene_description> <character>MAUREEN</character> <dialogue>I just have to finish these insurance forms which seem to be written in a foreign language--</dialogue> <character>MATT</character> <dialogue>Maureen, why didn't you ask me, someone at my company will do that.</dialogue> <scene_description>She looks up, tears falling from her eyes.</scene_description> <character>MAUREEN</character> <parenthetical>(emotionally)</parenthetical> <dialogue>I don't like to ask for help.</dialogue> <character>MATT</character> <parenthetical>(softly)</parenthetical> <dialogue>Let me do it, OK?</dialogue> <scene_description>He steps forward about to place his hand on her shoulder, but she quickly recovers and heads for the door.</scene_description> <character>MAUREEN</character> <dialogue>But it's a big day, it's the Dad's first meal off of the feeding tube.</dialogue> </scene> <scene> <stage_direction>INT. MAUREEN'S HOUSE. LIVING ROOM</stage_direction> <scene_description>Matt follows into the living room. Harold is watching TV.</scene_description> <character>MAUREEN</character> <dialogue>He's watching TCM.</dialogue> <scene_description>Matt hesitates. His Dad looks older and wears a knit cap. There's a weariness and frailty he carries now.</scene_description> <character>MATT</character> <dialogue>Hey, Dad.</dialogue> <character>HAROLD</character> <dialogue>Hi.</dialogue> <character>MATT</character> <dialogue>What are you watching?</dialogue> <character>HAROLD</character> <dialogue>I don't know.</dialogue> <scene_description>Matt sits down next to him and they watch.</scene_description> <character>HAROLD</character> <dialogue>In these 30's movies the men wore tuxedos all the time. Things have gotten much more casual.</dialogue> <character>MATT</character> <dialogue>Maybe they dressed up because they lived shorter lives back then. They wanted to celebrate life.</dialogue> <scene_description>LATER</scene_description> </scene> <scene> <stage_direction>INT. MAUREEN'S HOUSE. LIVING ROOM</stage_direction> <scene_description>Matt and Maureen sit beside Harold who lies in a bed made from the pull-out couch. Bruno sleeps on the floor. They eat take-out Chinese food. Harold eats quickly, his bites large.</scene_description> <character>MAUREEN</character> <dialogue>We spent three hours today at Goodwill. The Dad had a funny joke.</dialogue> <character>HAROLD</character> <dialogue>What was that? Oh.</dialogue> <character>MAUREEN</character> <dialogue>I'll set you up again: We spent three hours today at Goodwill.</dialogue> <character>HAROLD</character> <dialogue>Which pretty much destroyed mine.</dialogue> <character>MATT</character> <dialogue>Ha. That's good, Dad.</dialogue> <character>HAROLD</character> <dialogue>Thank you.</dialogue> <character>MATT</character> <dialogue>You should see the other dog.</dialogue> <scene_description>Harold has no reaction.</scene_description> <character>MAUREEN</character> <dialogue>That's true, the Dad got very impatient. And as we were handing over the boxes, I saw that I had accidentally included my good wok. And I hesitated. But I thought, I haven't made Chinese food in ten years.</dialogue> <character>MAUREEN</character> <dialogue>I won't make Chinese food again...but you have your idea of yourself and you want to hold onto that.</dialogue> <scene_description>Harold erupts with a guttural cough.</scene_description> <character>MATT</character> <dialogue>Dad, are you OK?</dialogue> <character>HAROLD</character> <parenthetical>(spitting food back on his plate)</parenthetical> <dialogue>Yes.</dialogue> <character>MATT</character> <dialogue>Take it easy.</dialogue> <character>MAUREEN</character> <dialogue>We just got you out of the hospital, we don't want you to go back.</dialogue> <character>HAROLD</character> <dialogue>It was very unpleasant in the hospital.</dialogue> <character>MATT</character> <dialogue>Uh huh.</dialogue> <character>HAROLD</character> <dialogue>You know, I was there for a couple of months.</dialogue> <character>MATT</character> <dialogue>I know.</dialogue> <character>HAROLD</character> <dialogue>Maureen has been my savior.</dialogue> <character>MAUREEN</character> <dialogue>Harold, you're getting brown sauce all over the sheets.</dialogue> <scene_description>Harold wipes at the sheet.</scene_description> <character>MAUREEN</character> <dialogue>You're just rubbing it in.</dialogue> <scene_description>Maureen sighs and gathers the plates.</scene_description> <character>MAUREEN</character> <dialogue>Matt can you help the Dad get ready for his nap?</dialogue> <character>MATT</character> <dialogue>Sure. I'm going to try to come visit more. It's hard, because Tony starts kindergarten this year, and I want to be around for that, but... I'll try to be here more.</dialogue> <character>HAROLD</character> <dialogue>L.J. is coming for lunch in a couple of weeks, you should come for that.</dialogue> <scene_description>Maureen heads into the other room.</scene_description> <character>HAROLD</character> <dialogue>He left me a very effusive message about my show. And someone wrote a rave on my Google. It was quite inspired of you to set that up.</dialogue> <character>MATT</character> <dialogue>Jean and Danny organized it, Dad.</dialogue> <character>HAROLD</character> <dialogue>Is that right? But you made the sale.</dialogue> <character>MATT</character> <dialogue>Yeah, that was me. But, I bought a piece back from Brian and James at a significant mark up, I might add. It's the piece from the show, "Matthew" because... "Matthew" and we did it together.</dialogue> <parenthetical>(formal but from the heart)</parenthetical> <dialogue>Thank you for letting me be part of your process. It had a big effect on me, Dad. Your confidence was contagious. I think it's why I'm able to do what I do now.</dialogue> <character>HAROLD</character> <dialogue>I remember I made "Matthew" in 1966, the year the Whitney bought my piece.</dialogue> <scene_description>CLOSE on Matthew.</scene_description> <character>MATT</character> <dialogue>It couldn't have been 1966.</dialogue> <character>HAROLD</character> <dialogue>It was, I didn't work in bronze after that.</dialogue> <character>MATT</character> <dialogue>I wasn't born yet.</dialogue> <character>HAROLD</character> <parenthetical>(the impact of this lost on him)</parenthetical> <dialogue>Oh...that's right, isn't it, then it couldn't have been you watching me, could it. Maybe it was your brother.</dialogue> <scene_description>Matthew hesitates.</scene_description> <character>HAROLD</character> <dialogue>I guess I wanted it to be you.</dialogue> <character>MATT</character> <dialogue>You should have called it "Danny."</dialogue> <character>HAROLD</character> <dialogue>You're right. I should have. I'm going to sleep now. Can you close that shade?</dialogue> <scene_description>OK. Matt rises and pulls the shade.</scene_description> <character>HAROLD (O.S.)</character> <dialogue>It's OK if you want to sit here longer while I fall asleep.</dialogue> <character>MATT</character> <dialogue>Sure.</dialogue> <scene_description>Matt comes around to his father's bedside. His dad removes his hat and balls himself up in his sleeping position like an infant.</scene_description> <character>MATT</character> <dialogue>I love you Dad.</dialogue> <character>HAROLD</character> <dialogue>Love you.</dialogue> <scene_description>Matt tucks the covers up to his neck, leans down and kisses his Dad on the forehead. He sees, hidden in his father's hair, the scar from the surgery.</scene_description> </scene> <scene> <stage_direction>INT. LENOX HILL HOSPITAL ROOM. MORNING</stage_direction> <scene_description>Danny opens his eyes. The room is empty except for Matthew who sits by his bed. He wears his trifocals and looks over various financial documents.</scene_description> <character>DANNY</character> <dialogue>Hey, my broth-a.</dialogue> <character>MATT</character> <dialogue>My broth-a.</dialogue> <character>DANNY</character> <dialogue>Thanks for paying for this. The private room is...it's not necessary.</dialogue> <character>MATT</character> <dialogue>I can get work done this way.</dialogue> <character>DANNY</character> <dialogue>How is Dad?</dialogue> <character>MATT</character> <dialogue>I don't know, still Dad. But I was sitting there and I just kept having this thought. This is my Dad. This is my...Dad. This is the same guy as all the other times. And that thought which has made me so angry also made me love him.</dialogue> <character>DANNY</character> <dialogue>I said goodbye to him so many times in my head, it's strange, in a way, I wasn't prepared for him to survive.</dialogue> <character>MATT</character> <dialogue>Well, now we'll know what to do the next time. The three of us had a real rhythm going...</dialogue> <character>DANNY</character> <dialogue>I just don't want to have to speak publicly again. You know, sometimes I wish Dad had done one horrible, unforgivable thing. Something specific I could be angry about. But it isn't one thing. It's tiny things every day. It's drip, drip, drip...</dialogue> <character>MATT</character> <dialogue>I'm sorry... I couldn't stop the house and the art from being sold. In the end, Maureen was determined.</dialogue> <character>DANNY</character> <parenthetical>(shrugs)</parenthetical> <dialogue>I'm over it.</dialogue> <character>MATT</character> <dialogue>I'm not.</dialogue> <scene_description>Matt rises and removes the Vuarnet sunglasses from his coat.</scene_description> <character>MATT</character> <dialogue>I think these are your Vuarnets.</dialogue> <character>DANNY</character> <dialogue>(takes them)</dialogue> <character>MATT</character> <dialogue>(hesitates)</dialogue> <scene_description>I thought they were yours. Maybe they were mine.</scene_description> <character>DANNY</character> <dialogue>No, I think you're right, they're mine.</dialogue> <character>MATT</character> <dialogue>(reaching for them) I'm remembering now owning</dialogue> <scene_description>them.</scene_description> <character>DANNY</character> <parenthetical>(pulling them away)</parenthetical> <dialogue>They look like a pair I probably had.</dialogue> <scene_description>Danny puts them on. Matt regards him.</scene_description> <character>MATT</character> <dialogue>You can have them anyway.</dialogue> <character>DANNY</character> <dialogue>Can you help me walk? The nurse is supposed to be here to do it, but I get antsy.</dialogue> <scene_description>Matt helps Danny climb out of the bed.</scene_description> <character>MATT</character> <dialogue>I loved Eliza's new movie.</dialogue> <character>DANNY</character> <dialogue>It's good, right.</dialogue> <character>MATT</character> <dialogue>You've done a great job with her.</dialogue> <character>DANNY</character> <dialogue>Thanks. You know, I'm glad she likes you so much...</dialogue> <scene_description>Danny holds Matt's arm as he slowly walks.</scene_description> <character>MATT</character> <dialogue>Hey, when you get out, do you want to come to LA?</dialogue> <character>DANNY</character> <dialogue>Oh...hmm...I love Los Angeles. I haven't been there, but I love it.</dialogue> <character>MATT</character> <dialogue>You could stay with me, see what you think. You know, the weather is nice, I could get you a ticket and in a couple of weeks--</dialogue> <character>DANNY</character> <dialogue>I don't know, I think I should stay and help Maureen with Dad. I have sympathy for her but I don't trust her.</dialogue> <character>MATT</character> <dialogue>Well, if you change your mind...</dialogue> <scene_description>They continue into the hospital hallway.</scene_description> </scene> <scene> <stage_direction>INT. LENOX HILL HOSPITAL HALLWAY</stage_direction> <character>MATT</character> <dialogue>I was going to stay here longer, but I think I should leave tonight and get back to Tony because...I want to be a Dad like you.</dialogue> <character>DANNY</character> <dialogue>Yeah, go be with your boy.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Thanks for...you know, taking care of me.</dialogue> <character>MATT</character> <parenthetical>(shrugs, smiles)</parenthetical> <dialogue>It's what you do.</dialogue> <scene_description>DIP FADE FADE IN:</scene_description> </scene> <scene> <stage_direction>INT. MAUREEN'S KITCHEN/LIVING ROOM, PITTSFIELD. DAY</stage_direction> <scene_description>Harold sits, partially slumped, at the breakfast table.</scene_description> <character>HAROLD</character> <dialogue>Maureen went into town for groceries a few hours ago...</dialogue> <scene_description>Danny places a plate of blueberry pancakes in front of him. He walks with a cane.</scene_description> <character>DANNY</character> <dialogue>The famous blueberry pancakes.</dialogue> <scene_description>Danny does the flourish.</scene_description> <character>HAROLD</character> <dialogue>I don't know what she could be doing...</dialogue> <character>DANNY</character> <dialogue>How's her drinking?</dialogue> <character>HAROLD</character> <dialogue>I've made her a deal, I said, we'd put in a pool if she stopped drinking.</dialogue> <character>DANNY</character> <parenthetical>(unsure)</parenthetical> <dialogue>Uh huh.</dialogue> <character>HAROLD</character> <dialogue>You know, since the Bard show, Matthew has personally invested in a a piece of mine.</dialogue> <character>DANNY</character> <dialogue>You should have seen Matt, Dad, when you were sick. He was there the whole time, he really whipped us into shape.</dialogue> <scene_description>Harold gets up and walks into the living room. They pass a male nurse's aide who is cleaning up.</scene_description> <character>HAROLD</character> <dialogue>I think you and Jean should look into getting me a solo show. That would really put me back on the map.</dialogue> <character>DANNY</character> <dialogue>You know, we were all there the whole time.</dialogue> <scene_description>Harold sits on the couch and presses the remote.</scene_description> <character>HAROLD</character> <parenthetical>(ignoring him)</parenthetical> <dialogue>Every time I turn on TCM, it's Meet Me in Saint Louis. What's on the premium channels?</dialogue> <character>DANNY</character> <dialogue>It was rough there for a minute, we thought we might lose you.</dialogue> <character>HAROLD</character> <dialogue>There's something called Sex Tape on Starz. Do you know anything about that?</dialogue> <character>DANNY</character> <parenthetical>(giving up)</parenthetical> <dialogue>Not really.</dialogue> <character>HAROLD</character> <dialogue>Shall we give it a try?</dialogue> <scene_description>He places down the remote and settles in.</scene_description> <character>HAROLD</character> <dialogue>Maureen is leaving for Cuba on Monday. I thought you could stay with me while she's away.</dialogue> <character>DANNY</character> <dialogue>You know, Matt invited me to LA.</dialogue> <character>HAROLD</character> <dialogue>I'm still recovering. I really could use the help.</dialogue> <character>DANNY</character> <dialogue>Have you ever been to LA?</dialogue> <character>HAROLD</character> <dialogue>You're still recovering too. And, you know, we've got the premium channels now. We get the Knicks.</dialogue> <character>DANNY</character> <dialogue>I know. I lived here while you were in the hospital.</dialogue> <character>DANNY</character> <parenthetical>(helps with a pillow)</parenthetical> <dialogue>You'll have a nurse with you--</dialogue> <character>HAROLD</character> <dialogue>You know, I really need you to stay with me. I'm asking you to do this, please. You know I don't like asking for things. I need you, Danny.</dialogue> <character>DANNY</character> <parenthetical>(hesitates)</parenthetical> <scene_description>OK.</scene_description> <character>HAROLD</character> <dialogue>I think there are still some of Jean's cookies in the kitchen if you take a look--</dialogue> <scene_description>Danny goes into the kitchen. The male nurse's aide is doing dishes. Danny nods at him.</scene_description> <character>HAROLD (O.S.)</character> <dialogue>I'll take you to lunch one day this week at Babalouies which is the best pizza in the Berkshires. Maybe the best pizza period.</dialogue> <character>DANNY</character> <dialogue>OK, thanks.</dialogue> <scene_description>He picks up the plate of cookies--</scene_description> <character>HAROLD (O.S.)</character> <dialogue>Pick a day. Except for next Saturday, L.J. is coming up for lunch, so you'll need to find something to do, but you can go to a movie or, I think there's bowling.</dialogue> <scene_description>Danny throws the plate of cookies onto the ground, startling everybody including himself.</scene_description> <character>DANNY</character> <dialogue>(to the nurse's aide)</dialogue> <character>HAROLD</character> <dialogue>Danny!</dialogue> <scene_description>Sorry. Danny stands in the doorway.</scene_description> <character>DANNY</character> <dialogue>Sorry, Dad, I didn't think that would be so loud.</dialogue> <character>HAROLD</character> <dialogue>See if you can rescue some of the cookies from the porcelain.</dialogue> <character>DANNY</character> <dialogue>I'm leaving now, Dad. I'm going to drive back to the city--</dialogue> <parenthetical>(again to the aide)</parenthetical> <dialogue>You'll be here, right?</dialogue> <character>NURSE'S AIDE</character> <dialogue>Yes.</dialogue> <character>DANNY</character> <dialogue>I'll clean this up, don't worry.</dialogue> <parenthetical>(back to his Dad)</parenthetical> <dialogue>And then I'm going to LA to see Matthew.</dialogue> <parenthetical>(and to himself)</parenthetical> <dialogue>"I love you." "I forgive you." "Forgive me." "Thank you." "Goodbye."</dialogue> <scene_description>DIP FADE The sound of HORNS and CONSTRUCTION. FADE IN: OMITTED</scene_description> </scene> <scene> <stage_direction>INT. TOWN CAR. DAY</stage_direction> <scene_description>Danny grabs a handful of complimentary gum from a tray and puts it in his pocket.</scene_description> <character>DANNY</character> <dialogue>The flight leaves at 4:30, you think we'll be OK?</dialogue> <character>DRIVER</character> <dialogue>Yes, traffic looks fine. And you're business class, so check-in is quicker.</dialogue> <character>DANNY</character> <dialogue>I've never flown business class. I've never done business. My brother had miles.</dialogue> <scene_description>He removes the Vuarnet sunglasses from his pocket and puts them on. He gazes out the window. Loretta, in a sweater and jeans, walks briskly down the street, holding herself against the cold.</scene_description> <character>DANNY</character> <parenthetical>(suddenly)</parenthetical> <dialogue>Can you stop the car!</dialogue> </scene> <scene> <stage_direction>EXT. MANHATTAN STREET</stage_direction> <scene_description>Loretta continues walking.</scene_description> <character>DANNY (O.S.)</character> <dialogue>Loretta!</dialogue> <scene_description>Loretta's mouth widens into a big smile. Danny emerges from the town car wearing his big Vuarnet sunglasses and holding a cane.</scene_description> <character>LORETTA</character> <dialogue>Danny!</dialogue> <parenthetical>(they hug)</parenthetical> <dialogue>I'm consulting for a client around the corner and I just ran out for a tea without my coat! What are you doing in Stuy Town?</dialogue> <character>DANNY</character> <dialogue>Just going for a ride with my chauffeur. No, I'm kidding... Um, I'm on my way out to the coast.</dialogue> <character>LORETTA</character> <dialogue>The coast?</dialogue> <character>DANNY</character> <dialogue>(embarrassed)</dialogue> <scene_description>Los Angeles.</scene_description> <character>LORETTA</character> <dialogue>Los Angeles, really?</dialogue> <character>DANNY</character> <dialogue>Yeah, thus the town car. Matthew got it for me. I usually take the A train.</dialogue> <parenthetical>(removing the glasses and indicating the car)</parenthetical> <dialogue>This is not representative of where I am in my life.</dialogue> <scene_description>Loretta laughs and touches his arm affectionately.</scene_description> <character>DANNY</character> <dialogue>I'm going to stay with Matthew for a while...</dialogue> <character>LORETTA</character> <dialogue>Oh, that sounds nice, get out of this weather.</dialogue> <scene_description>DANNY Yeah...I don't know. I like weather.</scene_description> <character>LORETTA</character> <dialogue>I know, me too, I don't know why I said that.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>What's this cane?</dialogue> <scene_description>DANNY Oh...it's this affectation, I'm trying...NO, no...new hip. LORETTA Oh wow, Dan. Are you OK? DANNY Yeah...better. I did my best to ignore it, but the hip won out. LORETTA (realizing) Oh my God, how's your Dad? DANNY He's OK. He's out of the hospital. LORETTA That's great. My Dad was worried. DANNY Yeah...he's better...health-wise, otherwise...the same. LORETTA Sometimes they're just the same, aren't they? DANNY Yeah. He's still waiting for his life to begin. LORETTA Oh no, but he's done so well, don't you think? DANNY (honestly) I don't know, has he?</scene_description> <character>LORETTA</character> <dialogue>He has. He taught for all those years at Bard -- I used to love hearing him talk about art, he made good work, his kids are great... It's a shame he can't feel that way.</dialogue> <scene_description>CLOSE on Danny.</scene_description> <character>DANNY</character> <parenthetical>(realizes)</parenthetical> <dialogue>Yeah.</dialogue> <parenthetical>(suddenly)</parenthetical> <dialogue>There's so much I believed without knowing I believed it.</dialogue> <scene_description>They both smile silently.</scene_description> <character>LORETTA</character> <dialogue>I guess it doesn't matter if your parents are alive or dead, we're still trying to change the ending, aren't we? But you look different, Dan. I can't put my finger on it. And it's not just the limo.</dialogue> <character>DANNY</character> <dialogue>L.J. mentioned you were seeing a screenwriter--</dialogue> <character>LORETTA</character> <dialogue>Oh yeah...that didn't take. You know, after my divorce, I don't know what I'm doing. I'm single now.</dialogue> <character>DANNY</character> <parenthetical>(abruptly)</parenthetical> <dialogue>I won't be leaving New York for good. I'll be back.</dialogue> <character>LORETTA</character> <dialogue>That's what everyone says when they go to LA and then it's twenty years later.</dialogue> <character>DANNY</character> <dialogue>See you in twenty years.</dialogue> <character>LORETTA</character> <dialogue>Ha.</dialogue> <character>DANNY</character> <dialogue>No, I have to come back for Eliza's freshman film festival anyway in a month.</dialogue> <character>LORETTA</character> <dialogue>Can I come?</dialogue> <character>DANNY</character> <dialogue>Yeah, it's at Bard.</dialogue> <character>LORETTA</character> <dialogue>I'd love to come.</dialogue> <character>DANNY</character> <dialogue>It's, uh, not un-pornographic, I'm warning you.</dialogue> <character>LORETTA</character> <dialogue>I'm in the art-world, I've seen it all.</dialogue> <character>DANNY</character> <dialogue>She's really talented, I think. You know, I think she's got something...</dialogue> <character>LORETTA</character> <dialogue>I'm sure she does. It's a talented family.</dialogue> <character>DANNY</character> <dialogue>I'm telling ya.</dialogue> <character>LORETTA</character> <dialogue>Well, that's something to look forward to, isn't it?</dialogue> </scene> <scene> <stage_direction>I/E. WHITNEY MUSEUM. DAY</stage_direction> <scene_description>Eliza and Robin shove one another playfully and make their way inside.</scene_description> </scene> <scene> <stage_direction>INT. WHITNEY MUSEUM. DEEP STORAGE</stage_direction> <scene_description>An art handler, holding a slip of paper, leads Eliza and Robin down a long, cramped, crowded hall of painting and sculpture packed away and stored on various levels. We pass by many labels, with many famous names. They arrive at a crate. A faded label on the side. Eliza kneels down to see: CLOSE: Harold Meyerowitz: Abstraction #7, 1966</scene_description> <character>ELIZA</character> <dialogue>This is him.</dialogue> <character>ROBIN (O.S.)</character> <dialogue>That's so cool.</dialogue> <scene_description>Eliza nods. FADE TO BLACK.</scene_description> </scene> </script>

After separating from his wife, unemployed Danny Meyerowitz moves in with his father, Harold, a retired Bard College art professor and sculptor, and his fourth wife, Maureen, a pleasant but foggy hippie. Jean is his sister, and they have a younger half-brother, Matthew. Danny is close to his daughter, Eliza, a freshman film student at Bard. Eliza shows one of her sexually provocative films to the family, who try hard not to show their shock, instead complimenting its energy and production value. Some of Harold's work has been selected as part of a faculty group show at Bard, but he refuses to be part of a group show. Danny and Harold attend the MoMA retrospective of a friend and contemporary of Harold's, the successful L.J. Shapiro. There, neither father nor son feels comfortable; Harold feels that the art world has forgotten him, and chooses to literally run away down the street. Danny meets Shapiro's daughter, his childhood friend, Loretta, but is forced to leave to chase after Harold. Harold's younger son, Matthew, a successful financial advisor to rock stars on the West Coast in Los Angeles, is in New York on business, and meets Harold for lunch with an accountant friend. They try to convince Harold to sell his Manhattan home and its sculpture, for he can barely pay the townhouse's utilities. Harold tells them that the decision to sell the house is a private family decision, and stalks out. At a third restaurant, he criticizes the prices, but orders lavishly when Matthew says he will pay. During lunch at the restaurant, Harold feels offended by the arrogant manner of another patron, and gets Matthew to chase him when he alleges that the patron swapped jackets with him. Although mistaken, father and son bond slightly in self-righteous indignation. That evening, they pay a visit to Matthew's mother and Harold's second wife, Julia, who has since married a man named Cody, a wealthy philistine. She tells them that she is sorry that she was not a better mother to Harold's three children; her directness makes them uncomfortable, and they are eager to leave. Matthew resents Harold for preferring a life of art over money. "I beat you!", he screams at his father's departing Volvo. Harold is diagnosed with a chronic subdural hematoma. He enters the hospital, where, as the days pass, his children learn to manage his care, after first leaning on Harold's doctor and nurse to do it. Outside the hospital, Jean tells her brothers that the family friend, who happens to be visiting Harold at the moment, exposed himself and masturbated in front of her when she was a child. Upset with the revelation, Matthew and Danny decide to beat the friend, until they learn that he is an elderly man who requires nurse care. Instead, they damage the friend's car with mounting exhilaration. Jean expresses her disappointment in her brother and half-brother, having wanted someone to just listen to her instead of doing such damage without her consent. At Bard, representing their father at the faculty group show, Matthew and Danny get into a fight, of sorts, on the quad; later, bloody and crying, each makes drug-addled remarks in Harold's place, mostly about themselves, and Matthew ends up breaking down emotionally during his speech. As Harold convalesces at Maureen's place in the country (the townhouse was sold, despite Matthew's change of heart), it dawns on Matthew and Harold that Harold's favorite sculpture, titled "Matthew", a lifelong object of resentment for Danny and Jean, was likely based on his feelings for young Danny. Danny, who, until now, has been solicitous toward his father, refuses to care for him while Maureen is away, and accepts his brother's offer of a trip to California, but he forgives him for his failures as a dad. On the way to the flight, he meets Loretta, now single, and she suggests that they go together to the screening of a film that Eliza has made. In the basement of The Whitney, Eliza uncovers her grandfather's sculpture, long believed to have been lost. The Whitney Museum warehouse is full of "un-harolded" works by obscure artists.

The Leopard Man_1943

tt0036104

<script> <scene> <stage_direction>The Leopard Man</stage_direction> <scene_description>FADE IN On the fountain at El Pueblo . A jet of waiter rises into the air at regular intervals , tossing an empty ball in rhythm . Below the ball , the water cascades into the second tier of the fountain . SUPERIMPOSED over this fountain are the main and credit titles . Throughout the running of the titles we hear castanet music growing louder and louder . When the last credit title FADE OFF we begin to DISSOLVE The corridor , backstage at El Pueblo . An empty corridor stretches away before us . The CAMERA TRUCKS ALONG this corridor . The sound of the castanets is so loud and ringing now that it has a furious and stormlike quality . The camera seems to search for the source of this sound . It approaches two open doorways at the end of the corridor . Through the doorway on the right we see a dancer in Spanish costume . She pirouettes in a final whirl of the dance as the CAMERA MOVES IN TO a CLOSE SHOT of her beautiful back and the two castanets she holds up over her gleaming naked shoulders . Over the diminishing trill of the castanets , as the dancer finishes her dance we hear a dull and angry pounding . The castanets click to an end . The CAMERA MOVES LEFT to take in the adjoining door to show us the source of this sound .</scene_description> </scene> <scene> <stage_direction>INT. KIKI WALKER'S DRESSING ROOM - NIGHT</stage_direction> <scene_description>Kiki Walker as she finishes pounding on the wall for silence in the adjoining dressing room and turns back into her own room . She is young , blonde and represents that peculiar phenomenon of our time , the chorus girl and entertainer who is more lady - like than the majority of Junior Leaguers . Road shows , one night stands and even a short turn in burlesque have left no battle scars . She may know many a hard word , but she never uses it . MED . SHOT - Kiki 's room . Kiki slams shut the door of her dressing room . Her dressing room is a small bare cubicle with a sink , easy chair , dressing table and a long mirror on the closet door . On the dressing table , among a clutter of jars and ointments , is a small musical trinket box . The closet door is partially ajar . In the room with Kiki is Eloise , the cigarette girl at the El Pueblo , a brightly blondined young lady . Her nether limbs are well display in black stockings . A cigarette tray is slung over her shoulder .</scene_description> <character>KIKI</character> <parenthetical>( as she walks across the room . )</parenthetical> <dialogue>It may sound like music to her - I can do better with my teeth in a cold Shower.</dialogue> <parenthetical>( mockingly . )</parenthetical> <dialogue>Click -- click -- click.</dialogue> <character>ELOISE</character> <parenthetical>( shrugging . )</parenthetical> <dialogue>She's a local. When the dudes come out to New Mexico, they went to wallow in Latin glamour. This is a bad town for blondes.</dialogue> <character>KIKI</character> <dialogue>Yes. So I've noticed. Jerry's noticed - -- He'll come up with something.</dialogue> <character>ELOISE</character> <dialogue>You think be's pretty nice, do n't you?</dialogue> <character>KIKI</character> <dialogue>Why not? He's a good press agent and a good friend. Besides, we've shared a lot of headaches -- --</dialogue> <character>ELOISE</character> <dialogue>You're lucky. I wish he'd front page for me.</dialogue> <character>KIKI</character> <dialogue>Maybe. For three years I've sung in rats' nests, while Jerry pounded his feet off and his brains out - trying to get me a real chance. We're due for a little luck!</dialogue> <scene_description>Kiki walks across to the make - up table and sits down in front of it , lifting her hands to unwrap the towel which is wrapped around her head to protect it from make - up . Eloise starts toward the door , but pauses to admire herself in the mirror , .</scene_description> <character>ELOISE</character> <dialogue>I do n't mean this personally, Miss Walker, but it's ironic -- -</dialogue> <scene_description>She pauses , striking a pose the better to look at her own sleek legs in the minor .</scene_description> <character>ELOISE</character> <dialogue>I mean you being a star and me being just a cigarette girl.</dialogue> <character>KIKI</character> <parenthetical>( turning from .</parenthetical> <parenthetical>( the mirror to look at Eloise . )</parenthetical> <dialogue>I know. I know. You've got the talent. I got the breaks.</dialogue> <scene_description>She turns back to the mirror . NED . CLOSE REFLECTION SHOT of Eloise . We see Eloise admiring herself in the long mirror and also the edge of the dressing room door as it slowly begins to swing open .</scene_description> <character>KIKI'S VOICE</character> <dialogue>I hear it in night club.</dialogue> <scene_description>Eloise can see what is opening the door . She lets loose with a shriek of mortal terror . MED . CLOSE SHOT of Kiki . She whirls quickly and rises , her mouth open in a soundless ejaculation of fright . REVERSE SHOT - the door . Through the doorway comes the black , spade - shaped head of a panther , ears wickedly flat , muzzle to the floor . He starts into the room with a terrifying zigzag undulation . Eloise yips feebly . Kiki screams . As the panther advances into the room , one can see that it is held on a taut leash . Holding the leash is Jerry Manning , with a wide , pleasant smile of reassurance on his lips . CLOSE SHOT Kiki on top of the dressing table . She stands there holding her dressing gown back across her knees in terror . The little jewel box has fallen to the floor , and the insipid tinkling tune fills the room as it rolls across the floor toward the panther . MED . SHOT - Kiki , Eloise , Jerry and the panther . Kiki stands on top of the dressing table ; Eloise has retreated behind a chair , and Jerry stands between them , grinning , holding the leash of the panther , which is nosing forward to examine the music box</scene_description> <character>KIKI</character> <parenthetical>( hitting high C. ) Get it out of here !</parenthetical> <dialogue /> <character>JERRY</character> <dialogue>Kiki - he wo n't hurt you. There's nothing to be afraid of.</dialogue> <character>KIKI</character> <dialogue>Makes no difference. Get him out!</dialogue> <character>JERRY</character> <dialogue>Listen, Kicks, you'll never guess what I've cooked up this tine.</dialogue> <character>KIKI</character> <dialogue>That's easy. Me.</dialogue> <character>JERRY</character> <dialogue>I thought - is Kiki just going to walk on that floor tonight -- -- walk out cold before a bunch of gawks who think a Spanish twirler is the greatest thing in life. No. Not my favorite client. She's going to make an entrance this town will never forget!</dialogue> <character>KIKI</character> <parenthetical>( pointing to the leopard . )</parenthetical> <dialogue>On his back, I suppose.</dialogue> <character>JERRY</character> <parenthetical>( kidding her . )</parenthetical> <dialogue>No. I thought that might be just a little corny. I want you to lead him in on a leash.</dialogue> <character>KIKI</character> <dialogue>You're too good to me.</dialogue> <character>JERRY</character> <dialogue>Look, Kicks, have I ever done anything to hurt you?</dialogue> <character>KIKI</character> <dialogue>No -- - not yet.</dialogue> <character>JERRY</character> <parenthetical>( quite sincerely and with evident affection . )</parenthetical> <dialogue>And I never will - you know what's between us -- we're a thing But this is serious competition.</dialogue> <scene_description>ALTERNATE SCENE</scene_description> <character>KIKI</character> <parenthetical>( hitting high C. ) Get it out of here !</parenthetical> <dialogue /> <character>JERRY</character> <dialogue>Kiki - he wo n't hurt you. There's nothing to be afraid of.</dialogue> <character>KIKI</character> <dialogue>Makes no difference. Get him out.</dialogue> <character>JERRY</character> <dialogue>Listen, Kicks, you'll never guess what I've cooked up this time.</dialogue> <character>KIKI</character> <dialogue>That's easy. Me.</dialogue> <character>JERRY</character> <dialogue>I thought - -- is Kiki just going to walk on that floor tonight walk out cold before a bunch of gawks who think a Spanish twirler is the greatest thing in life. No. Not my favorite client. She's going to make an entrance this town will never forget.</dialogue> <character>KIKI</character> <parenthetical>( pointing to the leopard . )</parenthetical> <dialogue>On his back, I suppose.</dialogue> <character>JERRY</character> <parenthetical>( kidding her . )</parenthetical> <dialogue>No. I thought that might be just a little corny. I want you to lead him in on a leash.</dialogue> <character>KIKI</character> <dialogue>You're too good to me.</dialogue> <character>JERRY</character> <parenthetical>( sentimentally . )</parenthetical> <dialogue>Look, Kicks, how long have we known each other?</dialogue> <character>KIKI</character> <parenthetical>( flatly . )</parenthetical> <dialogue>This is l939. Ca n't you subtract?</dialogue> <character>JERRY</character> <dialogue>Almost three years, is n't it? And have I ever done anything to hurt you?</dialogue> <character>KIKI</character> <dialogue>No -- -- not yet.</dialogue> <character>JERRY</character> <parenthetical>( quite sincerely and with evident affection . )</parenthetical> <dialogue>And I never will - you know what's between us - -- we're a thing - But this is serious - big competition.</dialogue> <character>KIKI</character> <dialogue>Clo - Clo?</dialogue> <character>JERRY</character> <parenthetical>( indicating leopard . )</parenthetical> <dialogue>I thought you might strut this kitten in right in the middle of her act.</dialogue> <scene_description>Kiki grins . Jerry reaches for Kiki 's hand , and passes the end of the leash over her fingers .</scene_description> <character>JERRY</character> <dialogue>Come down to earth -- and see what a picture you'd make with this for a pet.</dialogue> <scene_description>Keeping a wary eye on the leopard , Kiki lets Jerry help her down . She stands as far away from the beast as the leash will permit .</scene_description> <character>ELOISE</character> <parenthetical>( warily , from behind the chair . )</parenthetical> <dialogue>And if you've got cold feet honey, Ill take over for you. That red dress of yours fits just perfect on me.</dialogue> <character>KIKI</character> <parenthetical>( exasperated , turning to her . )</parenthetical> <dialogue>I bet you try on my coffin some day - I hope it `` fits just perfect.''</dialogue> <character>JERRY</character> <parenthetical>( hastily to Kiki . )</parenthetical> <dialogue>You look swell in that three -- alarm number -</dialogue> <character>KIKI</character> <dialogue>The red dress?</dialogue> <parenthetical>( thinks a moment . )</parenthetical> <dialogue>No. My black one. Then I'll be just like him.</dialogue> </scene> <scene> <stage_direction>INT. PATIO EL PUEBLO CAPE - NIGHT</stage_direction> <scene_description>CL0SE SHOT - the fountain . The CAMERA is FOCUSED on the extreme height of the jet of water . We watch the ball on top of this jet as it rises and falls for a few beats . Over this shot we hear the music of a Mexican orchestra . The CAMERA MOVES DOWN and BACK to reveal the upper tier of the fountain with the water flowing over its edges . The CAMERA MOVES BACK and we see the wide pool at the base of the fountain . In this pool we see Clo - Clo reflected , as she dances . The CAMERA PANS to take in the actual dancer and we see Clo Clo whirling and turning in a tight circle . She is illuminated by several baby spots concealed at the base of the fountain , and this light makes a nimbus of light around her . It is a sort of superaura which washes out the background haze , leaving the dancer clear - cut and sharp in the midst of this superaura . As Clo - Clo 's dance widens in movement , taking her to the edge of the light nimbus , we can see her , the tables and the patrons of El Pueblo . The El Pueblo cafe is the smartest night club in this small New Mexican resort town . The main dining room is in the patio . Here are tables mantled in snowy tablecloths , glittering candlelight and sparkling glassware . On the porch is an open space for the performers and the orchestra on one side On the other side is a bar . Tonight , El Pueblo is crowded . Waiters , dressed in rather formal costumes with black trousers and short , white coats , scurry between the tables . A good portion of - the patrons are in evening clothes . Clo -- Clo dances . The rhythmic rattle of her castanets beat out above the orchestra . Clo - Clo is New Mexican . Like the broncos of her native state , she is all fine , proud , pure Spanish blood . It has suffered a change in the high clear air of New Mexico . In her dance , too , we see the more primeval strain of the Indian twisted among the finer threads of Spanish rhythm . She dances . In the pool we see the heavy flutter and turn of her skirt . Her neck , her bosom , her arms , bend and sway and turn and pulse with the bloodbeat of the castanets . She is just entering a graceful turn of the dance , the castanets beginning a glissade , when suddenly she stops dead , the click of the castanets cutting off abruptly . REVERSE SHOT - the doorway leading into the El Pueblo . Framed in this doorway is Kiki , slim and tall in a black gown with black gloves , and in her outstretched hand is a black leash which links her to the leopard . Behind her the doorway is hot with light so that we see her dramatic outline , a silhouette against luminosity . MED . LONG SHOT - the cafe . A buzz of amazement sounds from the crowd . There is a flutter of astonishment and timidity . CLOSEUP of Clo -- Clo . MED . CLOSE SHOT of Kiki . Behind her in the doorway Jerry Manning 's face appears . It is obvious that Kiki , despite her dramatic pose , is surreptitiously nervous .</scene_description> <character>JERRY</character> <parenthetical>( sotto voce . )</parenthetical> <dialogue>Do n't stand here, Kiki. You're on stage. They're looking at you.</dialogue> <scene_description>Kiki moves majestically forward . MED . LONG SHOT -- a table near the dance space . Kiki , the leopard moving before her , threads her way between two tables , the patrons drawing away from her black escort as she passes . A waiter , carefully holding the chair between him and the leopard , makes a place for her at an empty table . Clo -- Clo , feet wide apart , arms and hands still half raised and holding the castanets , watches . The orchestra plays feebly on . Suddenly Clo -- Clo smiles . She lifts her hands a little higher , takes a step forward and lets the castanets loose with a roll that sounds like machine -- gun fire . The leopard startled , : twists in a half turn of fright , strains suddenly at the leash and lunges forward . The leash pulls out of Kiki 's frightened hand . REFLECTION SHOT in the pool . The still water reflects the quick bound and leap of the leopard in its panic flight for freedom . MED . CLOSE SHOT - Kiki . She stands leaning against the table , trembling in fright . Behind her Clo -- Clo can be seen can be seen on the platform , smiling . Jerry comes into the scene , puts his arm about Kiki 's waist .</scene_description> <character>JERRY</character> <dialogue>Are you all right?</dialogue> <character>KIKI</character> <parenthetical>( wildly , and in disgust . )</parenthetical> <dialogue>Now look what you've done.</dialogue> <scene_description>The familiar tone of anger reassures Jerry .</scene_description> <character>JERRY</character> <parenthetical>( briefly . )</parenthetical> <dialogue>You are all right.</dialogue> <scene_description>MED . SHOT - the leopard bounding through the gate . MED . SHOT at the gate . A waiter with a napkin over his arm and a water carafe in his hand , stands aghast , pressing his back to the wall in fear . The water carafe falls with a crash . The waiter holds up his hand , dazed . His hand is streaming with blood . DISSOLVE</scene_description> </scene> <scene> <stage_direction>EXT. PASAJE DE LAS SOMBRAS - NIGHT</stage_direction> <scene_description>SHOT of four policemen , their backs toward us , going through the Alley of the Shadows . Two of them are beating on pots and pans to make a noise . Two others are flashing their flashlights from one side to the other . We TRUCK WITH them down the alley . They bring us to the open end of the passage , athwart which a fire truck is parked . Near this fire truck stands the Chief of Police , Robles , a dignified , well -- spoken , Mexican police officer , serious and conscientious , very much on duty at all times .</scene_description> <character>ONE OF THE POLICEMEN</character> <dialogue>No leopard, Chief - no cat, no kittens, nothing. We're going to tackle the houses</dialogue> <scene_description>Robles nods . He makes a gesture to one of the men on the fire truck and two long lances of light pierce the darkness of the alley . LONG SHOT - Pasaje De Las Sombras . The shafts of light from the searchlights cross and re - cross , moving , as they explore the dark jags and corners of the alley . It is one of the oldest streets in town , so narrow that even at noonday , the sun has difficulty lightening its dark shadows . The adobe houses , standing wall to wall , were never built on any straight geometric line ; the street makes a dog - leg , meandering , as if loathe to reach its own blind end . MED . LONG SHOT -- the mouth of the alley at the other side of the fire truck . This is a - scene of curiosity and confusion . A police cordon has been erected , and several uniformed Mexican policemen are busy shooing away the spectators , foiling the attempts of small boys to get under the ropes , and generally trying to reduce chaos to an ordered hunt for the leopard . At the mouth of the alley , next to the fire truck is parked a curious conveyance , a half - ton truck with a gaudy sign which reads : CHARLIE - HOW - COME THE LEOPARD MAN STRETCH LIKE A PANTHER FOR MUSCLES OF STEEL Leaning against a fender of this vehicle is Jerry Manning , hot , disheveled and excited . He is talking with a short Indian , Charlie How -- Come , dressed in Levis , a velvet Zuni jacket , and with a battered felt hat on his coarse black hair .</scene_description> <character>CHARLIE HOW-COME</character> <dialogue>Remember what you said : Ten bucks for the loan of my cat -- - two hundred and twenty - five if anything happened to it.</dialogue> <scene_description>Jerry tries to control his exasperation .</scene_description> <character>JERRY</character> <parenthetical>( with strained patience . )</parenthetical> <dialogue>But nothing has happened to it. It got into this alley, and there's no way out of it. They'll find it.</dialogue> <character>CHARLIE HOW-COME</character> <dialogue>You do n't get the idea, Mister. These cops banging those pans, flashing those lights - -- they're going to scare that poor cat of mine, Cats are funny. They do n't want to hurt you - but if you scare them - -- they go crazy. These cops do n't know what they're doing.</dialogue> <scene_description>A little Mexican boy who has seen listening to the conversation between Jerry and Charlie , is suddenly attracted by something off in the darkness . Grinning , he turns on the hand flashlight he is holding and points it off into the darkness of the alley . MED . CLOSE SHOT - Clo - Clo 's legs . The flashlight picks up a pair of shapely legs and holds on them as they move forward , The legs stop their walking motion and suddenly begin to stamp with the heel taps that are part of her dance . The light snaps off . MED . SHOT - Jerry and Charlie . Clo -- Clo comes in from the left . She grins at the men .</scene_description> <character>CLO-CLO</character> <parenthetical>( to Jerry . )</parenthetical> <dialogue>Maybe, Mr. Manning would like to help me? I do not need a leopard. I have talent.</dialogue> <scene_description>Jerry is furious and about to make some retort . Clo -- Clo laughs and takes her hands from her pockets . She is holding her castanets , and a ribald rattle drowns anything Jerry might want to say .</scene_description> <character>CLO—CLO</character> <parenthetical>( moving off . )</parenthetical> <dialogue>Goodnight, Mr. Publicity Man.</dialogue> <scene_description>Jerry glares after her .</scene_description> </scene> <scene> <stage_direction>EXT. FLOWER SHOP - NIGHT</stage_direction> <scene_description>This is a small flower shop . One or two vases hold wilted flowers which have been left in the display window . Behind them is a mirror . In this mirror we can see the mouth of the alley and Clo - Clo as she walks away from the men and comes toward the flower shop .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Clo -- Clo passes the flower shop and continues on . The CAMERA TRUCKS WITH her . She passes several dark doorways and comes abreast of a dimly lit shop . Behind the grimy window of this store is a large hand -- lettered sign : GENUINE GYPSY READINGS HAND OR CARD From the dark doorway of this store , a voice calls out .</scene_description> <character>MARIA'S VOICE</character> <dialogue>Why are you hurrying, Clo - Clo?</dialogue> <character>CLO-CLO</character> <parenthetical>( with a derisive twitter of her castanets . )</parenthetical> <dialogue>Oh, it's you. Faker!</dialogue> <scene_description>Suddenly a white , thin hand and arm appears from the shadows of the doorway . The hand holds a deck of cards , extending them toward Clo - Clo temptingly .</scene_description> <character>MARIA'S VOICE</character> <dialogue>Take a card, Clo - Clo. See what the night holds for you.</dialogue> <scene_description>Clo - Clo hesitates . Looks at the deck of cards .</scene_description> <character>CLO-CLO</character> <dialogue>Your cards are a joke. I would n't give you a centavo.</dialogue> <scene_description>She starts to move away .</scene_description> <character>MARIA'S VOICE</character> <dialogue>One card Clo -- Clo - for nothing.</dialogue> <scene_description>Clo - Clo stops . Pretending indifference , she casually reaches out and takes a card . INSERT ACE OF SPADES in Clo - Clo 's hand . MED . CLOSE SHOT of Clo -- Clo as she stares at the card . She laughs and flips the card back into the darkness of the doorway , letting the castanets in her other hand speak of her disbelief .</scene_description> <character>CLO-CLO</character> <dialogue>Faker!</dialogue> <scene_description>She starts off along the street . CAMERA TRUCKS WITH her . She passes an open doorway . In the shadow lounges a tall thin man , his figure merging with the darkness . He is smoking . We can see the glow of his cigarette .</scene_description> <character>CLO—CLO</character> <parenthetical>( in passing . )</parenthetical> <dialogue>Hello, Shorty.</dialogue> <scene_description>The man disregards a verbal reply , but blows a smoke ring toward her . She pokes ' her index finger through the ring playfully and goes on . The CAMERA MOVES WITH her . In the area way of the next building are two lovers , pressed close to each other and close to the wall .</scene_description> <character>CLO-CLO</character> <dialogue>Oo! Oo!</dialogue> <character>THE GIRL</character> <parenthetical>( protestingly . )</parenthetical> <dialogue>Clo - Clo.</dialogue> <scene_description>Clo - Clo goes on . From a window a young girl is peeping , looking up and down the street with large frightened eye a.</scene_description> <character>CLO—CLO</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Hello, Chiquita.</dialogue> <character>TERESA</character> <parenthetical>( smiling back , a little hesitantly . )</parenthetical> <dialogue>Hello, Clo - Clo.</dialogue> <scene_description>Clo - Clo goes on , but our CAMERA REMAINS . This is Teresa Delgado , a wisp of a young girl , whose childish , smooth face might go unnoticed if it were not for her enormous and wistful dark eyes . She has on a skimpy cotton dress drawn in at the waist with a five - and - ten cent store belt . Having looked again up and down the street she pulls down the sash and turns back into the room .</scene_description> </scene> <scene> <stage_direction>INT. DELGADO HOUSE - NIGHT</stage_direction> <scene_description>The Delgado house is typical of the poorer Mexican homes in New Mexico . This main room , which is small , serves as living room , bedroom and kitchen . An Indian blanket covers the doorway into the only other room . The adobe walls are plastered with pictures of religious subjects . The wooden floor is bare . There is a charcoal - burning brasero in one corner . Pots and pans on the hearth of the fireplace show that it is a supplementary stove , The rest of the furniture consists of an iron bedstead , a large and hideous oak table and an open - faced china cabinet which contains the Delgado treasures . Pedro , Teresa 's nine - year - old brother is seated at the oak table , eating from a bowl of frijoles . He is , and looks like , an imp . Teresa is backing away from her mother , who turns away from the window to face her angrily .</scene_description> <character>TERESA</character> <parenthetical>( evidently resuming a discussion . )</parenthetical> <dialogue>But, Mamacita - why ca n't Pedro go this time? I'm so tired.</dialogue> <character>PEDRO</character> <parenthetical>( complacently . )</parenthetical> <dialogue>I'm too young.</dialogue> <character>SRA. DELGADO</character> <dialogue>DELGADO says. If your father comes home and there are no tortillas, he will shout -- -- and tomorrow it will be all over town : the family of Juan Delgado is too poor to buy corn meal! Do you wish we should be so disgraced?</dialogue> <scene_description>Teresa shakes her head , but makes no move to go . Exasperated , Sra . Delgado reaches for the nearest weapon - the broom .</scene_description> <character>SRA. DELGADO</character> <dialogue>DELGADO says. Then go!</dialogue> <scene_description>Sra . Delgado brandishes the broom toward Teresa , who backs up again .</scene_description> <character>PEDRO</character> <dialogue>I know what she's afraid of.</dialogue> <scene_description>Pedro lifts his hand . It casts a sharp shadow on the wall behind him . Watching the shadow , he manipulates his fingers so as to create the shadow of a leopard 's head in miniature .</scene_description> <character>PEDRO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>This!</dialogue> <character>SRA. DELGADO</character> <dialogue>DELGADO says. And what, por todos los santos, is `` this''?</dialogue> <scene_description>Teresa braves the threatening broom and moves a step toward her mother .</scene_description> <character>TERESA</character> <parenthetical>( eager to be believed . )</parenthetical> <dialogue>The leopard, Mamacita. They say a lady at the El Pueblo had it on a string and it ran away. It has n't been found yet.</dialogue> <character>SRA. DELGADO</character> <dialogue>DELGADO says. A leopard?</dialogue> <character>PEDRO</character> <parenthetical>( gleefully . )</parenthetical> <dialogue>They're big - and they jump on you!</dialogue> <scene_description>Pedro jumps the shadow on the wall , to simulate the leap of a leopard .</scene_description> <character>SRA. DELGADO</character> <dialogue>DELGADO says.</dialogue> <parenthetical>( furiously . )</parenthetical> <dialogue>Did you ever meet one of those things yet when you went to the store for me?</dialogue> <scene_description>Teresa swallows , shakes her head mutely .</scene_description> <character>SRA. DELGADO</character> <dialogue>DELGADO says.</dialogue> <parenthetical>( bellowing . )</parenthetical> <dialogue>Then you wo n't meet one this time either! Now get out! Do as I told you!</dialogue> <scene_description>Sra . Delgado gives the broom such a backward swing of final purpose that Teresa hurriedly opens the door behind her and slinks out backwards - her big liquid dark eyes , still futilely pleading , the last to disappear . Sra . Delgado moves after her , pushing the door closed . She puts the broom in the corner and goes to where Pedro is seated . Here she stands a moment , fondly watching him as he masticates his beans . Behind her the door stealthily opens . Teresa tries to sneak back into the room . Mamacita sees the movement and makes a tempestuous rush toward her , but Teresa sidles out of the door before she can be caught . Mamacita , muttering , slams the door shut and with difficulty pushes the heavy , rust - covered iron bolt into place .</scene_description> </scene> <scene> <stage_direction>EXT. DOORWAY DELGADO HOUSE - NIGHT</stage_direction> <scene_description>Teresa stands outside the door . We hear the heavy bolt inside driven home forcibly .</scene_description> <character>SRA. DELGADO'S VOICE</character> <dialogue>DELGADO'S VOICE says. Now -- -- you will not come in again, not until you bring the corn meal with you!</dialogue> </scene> <scene> <stage_direction>EXT. STREET OUTSIDE DELGADO HOUSE - NIGHT</stage_direction> <scene_description>Teresa steps down from the single doorstep outside her house . She crosses her arms and pulls her shoulders together in a gesture of fear . She looks once , despairingly , at the closed door behind her -- -- and then reluctantly steps out into the dirt road and starts walking .</scene_description> </scene> <scene> <stage_direction>EXT. CALDERON GROCERY - NIGHT</stage_direction> <scene_description>Only a large corner window , with the word . `` Provisiones '' printed on it shows that this ordinary house is a grocery store . In the moonlight , one can see a few boxes of groceries stacked on shelves inside . Teresa comes up to the window and peers in . She knocks on the window .</scene_description> <character>TERESA</character> <dialogue>Senora Calderon It is Teresa, Senor. Teresa Delgado.</dialogue> <scene_description>Over Teresa 's shoulder , we see the interior of the little store light up dimly as a curtain is pulled at the back of the room . Beyond the curtain is revealed another room , brightly lit by a bare electric globe hanging from the ceiling on a cord . Under the light , a man sits at a table , heartily eating from a plate heaped with food . The curtain has been pulled back by Senora Calderon . We see her only in silhouette and the details of her face and figure are indistinguishable . We do see , however , that her long black hair is down her back and she is braiding it . She walks a little ways into the darkened store .</scene_description> <character>SRA. CALDERON</character> <dialogue>CALDERON says.</dialogue> <parenthetical>( speaking loudly to be heard through the window . )</parenthetical> <dialogue>The store is closed.</dialogue> <character>TERESA</character> <dialogue>I just want a sack of corn meal for my father's supper!</dialogue> <character>SRA. CALDERON</character> <dialogue>CALDERON says. Tomorrow.</dialogue> <character>TERESA</character> <parenthetical>( imploringly . )</parenthetical> <dialogue>It'll just take a second. Please -- -- or I must go clear across the Arroyo to the big grocery -</dialogue> <scene_description>Teresa taps against the window hopefully . But Sra . Calderon turns back toward the doorway into the inner room , where the solitary feaster has n't even bothered to look up during this exchange .</scene_description> <character>SRA. CALDERON</character> <dialogue>CALDERON says.</dialogue> <parenthetical>( as she goes . )</parenthetical> <dialogue>It means taking off the lock again, putting on the light, measuring the meal. It's too much trouble. Once I close, I close!</dialogue> <scene_description>Sm . Calderon steps into the inner room and draws the curtain closed behind her , as she speaks the last words . Again the store is in darkness - only a rim of light showing around the edges of the curtained doorway .</scene_description> <character>TERESA</character> <parenthetical>( quietly -- hopelessly . )</parenthetical> <dialogue>Senora.</dialogue> <scene_description>There is no reply . Teresa turns away .</scene_description> </scene> <scene> <stage_direction>EXT. EDGE OF ARROYO - NIGHT</stage_direction> <scene_description>The Arroyo is a deep narrow cut in the mesa , bone -- dry in this season . Its floor of bleached sand and weeds stretches desolately wider a vast moonlit sky . Here and there , children 's feet have scuffed steep little trails down the banks . Teresa appears at the top of one of these trails . She looks down into the Arroyo - and then off to the right . A distance down the Arroyo is a bridge which carries a train track across the dry river bed . To divert the rush of rain water in winter and spring , the bridge is underpropped by two slanting stone piers . They stand out like ribs against the blackness of the underpass , which they divide into three tunnels . Teresa 's face shows her dread of the Arroyo . She turns back the way she came , takes a step away , hesitates and then returns to the edge of the bank . She starts down the little trail , her feet sliding in the loose sand and a shower of pebbles bouncing down ahead of her .</scene_description> </scene> <scene> <stage_direction>EXT. ARROYO FLOOR — NIGHT</stage_direction> <scene_description>Teresa stands at the bottom of the bank . She looks off to the bridge again . Then she starts walking forward slowly , a very little figure in the large loneliness of the night .</scene_description> </scene> <scene> <stage_direction>EXT. EAST SIDE OF BRIDGE - NIGHT</stage_direction> <scene_description>Teresa comes up to the face of the underpass with its three openings . She stares from one black tunnel mouth to another . She glances behind her , then looks at the underpass again . Teresa goes forward again , toward the middle tunnel .</scene_description> </scene> <scene> <stage_direction>EXT. EAST ENTRANCE OF MIDDLE TUNNEL - NIGHT</stage_direction> <scene_description>The roof of the underpass is only a little higher than Teresa 's head and the passage is not more than ten feet wide . The opening is dimly lit by the moonlight , but beyond it is dense blackness . Teresa enters slowly . She takes a few steps toward the blackness -- - and stops . She listens . Teresa moves forward again , walking as lightly as possible . The light dims rapidly , so that after Teresa has taken a half dozen steps , she is swallowed up in complete blackness . The CAMERA HOLDS for a moment on the dark underpass before Teresa emerges from the blackness on the West side . A light scratching sound is heard . Teresa 's eyes widen in panic as she hears it and she hurries out of the tunnel , watching fearfully ever her left shoulder . She must cut across in front of this other tunnel in order to get to the south bank . She starts across , never taking her eyes off the black tunnel mouth . Suddenly she gives a convulsive start and a little cry escapes before she can control it . A shadowy shape , low to the ground , detaches itself from the dimness of the tunnel opening and moves toward her . Almost at once , we see that it is a large tumbleweed , blowing clown the Arroyo in the wind . Teresa sighs soundlessly and goes on to the foot of the bank . She starts scrambling up another steep little path . DISSOLVE</scene_description> </scene> <scene> <stage_direction>INT. BIG GROCERY STOPE - NIGHT</stage_direction> <scene_description>This is a fairly good -- sized room , lined with shelves and counters . A tall , Indian - type Mexican with iron - grey hair puts a paper sack of cornmeal on the counter in front of Teresa . She starts toward the door , but noticing a bronze cage with two toy birds in it , a mechanical device which has stood there for years , she goes toward it , puts down her sack of corn meal and goes up close .</scene_description> <character>TERESA</character> <dialogue>Oh, the toy birds!</dialogue> <character>MANUEL</character> <dialogue>You've seen them before. I could n't chase you away from the counter when you were a little girl.</dialogue> <scene_description>She winds up the bird cage .</scene_description> <character>TERESA</character> <dialogue>I'd forgotten them.</dialogue> <character>MANUEL</character> <parenthetical>( smiling , goodhumoredly , skeptical . )</parenthetical> <dialogue>Every day you see them - and you have forgotten them? Oh, I remember my little Teresita - I remember the little girl who was afraid of the dark. They should n't send you.</dialogue> <scene_description>The birds have begun to sing , a highly mechanical rendering of a bird song .</scene_description> <character>TERESA</character> <dialogue>I'm not afraid. What could happen to me?</dialogue> <scene_description>The birds sing and she pretends to listen . Manuel leans against the inner door of the grocery watching her , smiling and amused . Finally his smiling irks her into action . She picks up her sack of corn meal .</scene_description> <character>TERESA</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( as she starts off . )</parenthetical> <dialogue>I'll pay you tomorrow.</dialogue> <character>MANUEL</character> <dialogue>Never fear - next time you come. The poor do n't cheat one another. We're all poor together.</dialogue> <scene_description>In the bronze cage the two birds continue to sing their mechanical song . Their heads turn from side to side . We hear the door close behind Teresa . The birds are still singing as we DISSOLVE</scene_description> </scene> <scene> <stage_direction>EXT. CORNER WEST SIDE OF BRIDGE - NIGHT</stage_direction> <scene_description>There is a sound of slow , measured dripping . It comes from water seeping out between two rocks and dropping onto another rock below . These rocks are piled up at the juncture of the bridge and the left bank and the water is evidently leaking from some water main or sews go pipe running under the highway overhead .</scene_description> </scene> <scene> <stage_direction>EXT. WEST SIDE OF BRIDGE - NIGHT</stage_direction> <scene_description>Teresa is approaching the entrance of the middle tunnel , She is evidently scared -- - her footsteps are lagging and she holds the sack of corn meal in both hands , as if feeling its weight . She looks fearfully at the black tunnel before her and comes to a standstill , trying to peer into the blackness . In the silence , the dripping of the water can be heard . Teresa looks up and to the left to locate the sound . She sees the shining dampness on the rocks . She turns back to the middle tunnel before her - and , drawing a deep breath of resolution , starts to enter it . But she hesitates and then , suddenly , veers over to the left . She peers into the opening of that tunnel .</scene_description> </scene> <scene> <stage_direction>INT. OPENING OF NORTH TUNNEL - NIGHT</stage_direction> <scene_description>The wall of the tunnel is also damp with the seepage from above . It reflects the outer moonlight in glistening streaks , so that the blackness here is not so complete as in the other tunnel .</scene_description> </scene> <scene> <stage_direction>EXT. WEST SIDE OF BRIDGE - NIGHT</stage_direction> <scene_description>Teresa gets a fresh grip on the bag of corn meal by shifting her hands under it - and walks into the entrance of the north tunnel .</scene_description> </scene> <scene> <stage_direction>INT. NORTH TUNNEL - NIGHT</stage_direction> <scene_description>Again , the crunching sound of Teresa 's footsteps are magnified in the enclosure of the tunnel walls . It is very dim , but the luminosity of the damp wall casts a faint light on Teresa , reflecting in her wide , frightened eyes . She walks slowly and lightly , her eyes going from side to side in the darkness , her neck and head held rigidly . Suddenly she stops with a sharp intake of breath , Ahead of her and to her left are two tiny gleams of light . Teresa backs away from them . As she does so , they seem to fall and vanish . Slowly Teresa moves forward again , staring at the place where the lights had been . As she moves parallel to the spot , they appear again . A half - cry dies away in her throat - she sees that the gleams are two drops of seepage , trickling down the side of the tunnel wall . Teresa half closes her eyes and sways a little , faint with fear . Then she forces herself to move forward again . She takes one - two fearful steps - and then the underpass reverberates with a sudden tremendous shock of sound - -- more a giant vibration than actual noise . It is a train passing overhead .</scene_description> </scene> <scene> <stage_direction>INT. NORTH TUNNEL - NIGHT</stage_direction> <scene_description>As Teresa stands transfixed , the terrific roar continues . Second after second , flashes of light as brilliant as lightning illuminate the interior of the tunnel -- the reflections thrown into the Arroyo by the train windows . And then , as abruptly as it began , the noise ceases . It is cavernously dark in the tunnel again . In this thick stillness , Teresa walks forward once more .</scene_description> </scene> <scene> <stage_direction>EXT. EAST SIDE OF BRIDGE - NIGHT</stage_direction> <scene_description>In the frame of the tunnel opening , Teresa stands for a moment . Behind her , there is a new sound - a mere whisper of sound carried forward on the light wind . A little shower of rubble falls from the top of the concrete pier . Teresa turns to look behind her . Crouched on one of the piers of the trestle - -- and seen only very dimly in the darkness - is the leopard , looking down into the Arroyo . An enormous big HEAD CLOSEUP of Teresa . An enormous big HEAD CLOSEUP of the leopard , its clear golden eyes fixed and staring .</scene_description> </scene> <scene> <stage_direction>EXT. ARROYO FLOOR - NIGHT</stage_direction> <scene_description>Teresa 's nails dig into the paper sack of corn meal and little trickles of the meal start spilling from the slits . Her eyes widen and her face falls slack from the horrible shock of what she sees . She turns and runs .</scene_description> </scene> <scene> <stage_direction>EXT EDGE OF ARROYO - NIGHT</stage_direction> <scene_description>Teresa scrambles frantically up over the edge of the bank . She stumbles ana falls and the sack of corn meal drops from her hands and spills onto the ground . In a single move , Teresa is on her feet and running again . A shadow flashes over the spilled meal and we hear a heavy , ripping snarl .</scene_description> </scene> <scene> <stage_direction>INT. DELGADO HOUSE - NIGHT</stage_direction> <scene_description>It is quiet and peaceful in the Delgado home . Senora Delgado is puttering about the brasero . Pedro , on all fours , is reading a comic book , his rump high in the air , his chin two inches from the book . Suddenly , a wild rain of knocks on the door fill the little room . Sonora Delgado , at the brasero , drops a spoon with a clatter and Pedro springs up .</scene_description> <character>TERESA'S VOICE</character> <parenthetical>( screaming . )</parenthetical> <dialogue>Mamacita, let me in! Let me in, let me in!</dialogue> <character>SENORA DELGADO</character> <dialogue>Hah!</dialogue> <scene_description>Sonora Delgado smirks knowingly and puts her hands on her hips .</scene_description> <character>TERESA'S VOICE</character> <dialogue>If you love me, let me in -!</dialogue> <character>SENORA DELGADO</character> <parenthetical>( mimicking Teresa . )</parenthetical> <dialogue>Mamacita - let me in. Let me in, now that I've spent half the night getting the corn meal!</dialogue> <character>TERESA'S VOICE</character> <dialogue>It's coming - -- it's coming closer. I can see it.</dialogue> <character>PEDRO</character> <dialogue>She is afraid of the leopard.</dialogue> <character>SENORA DELGADO</character> <dialogue>Just what she needs - something to nip at her heels and hurry her up -</dialogue> <scene_description>She is interrupted by a scream so high , of such agonized finality , that it makes the others before it seem like nothing at all . Mingled with the scream and blurring the end of it comes an impact of such violence that the whole door structure shakes with it from top to bottom . A puff of dust wells up around the door from the impact of the blow .</scene_description> <character>REPRO</character> <parenthetical>( his voice high with fear . )</parenthetical> <dialogue>Madre do Dolores, she is n't fooling!</dialogue> <scene_description>Pedro jumps to his feet . An instant change has come over the face of Senora Delgado . She hurls herself forward .</scene_description> <character>SENORA DELGADO</character> <parenthetical>( beseechingly . )</parenthetical> <dialogue>Wait, Teresa! I come! I will let you in.</dialogue> <scene_description>Senora Delgado tugs at the rusty bolt .</scene_description> <character>SEN0RA DELGADO</character> <dialogue>Only a moment, querida, hija do mi alma - your mother is here -</dialogue> <scene_description>As Senora Delgado tugs vainly at the bolt , Pedro darts over to the fireplace and grabs up a stone from the hearth .</scene_description> <character>SENORA DELGADO</character> <dialogue>Your mother will let you in -</dialogue> <scene_description>Pedro rushes to the door and pushes his mother 's hands aside . He hammers the unruly bar back with the stone . Then , he draws back and looks down at his feet . Senora Delgado 's horrified eyes follow his glance . Under the crack of the door seeps a dark tongue of blood , widening and lengthening on the rough wooden floor . DISSOLVE CLOSE SHOT of display window . The flowing blood dissolves into a film of water flowing across the window . The CAMERA PULLS BACK and we see a long handled squeegee come down the left hand side of the window , clearing a strip of clear glass . Through this clear glass we look into C. T. Johnson 's Undertaking Parlor .</scene_description> </scene> <scene> <stage_direction>INT. UNDERTAKING PARLOR - DAY (AS SEEN THROUGH THE WINDOW)</stage_direction> <scene_description>This shop occupies an ordinary store building . The display window contains a solitary wreath of gilded leaves . Behind this wreath is a green baize curtain . The shop itself has a sad air of unctuous gentility . On the left side of the room are coffins on polished brass tressels . These coffins are half open to reveal the luxurious satin linings . In the back is a roll - top desk and swivel chair . In the rear of the shop is a door leading to the embalming room . This is curtained with the sane green baize . Over this whole interior is the eerie moire light that comes through the water - flowing window . Uncomfortable and stiff in their grief , we see the Delgados . The fat Senora , the little boy and the father in his stiff blue serge Sunday suit , stand near the wall . With them is a nun in the sweet , sad costume of the Carmelite order . At the other side of the room stands Kiki , somewhat abased , and very ill at ease in the presence of the Delgados ' grief . The window cleaner steps closer to the glass , lifts up his long handled squeegee and opens up another strip beside the first .</scene_description> </scene> <scene> <stage_direction>INT. UNDERTAKING PARLOR - DAY</stage_direction> <scene_description>MED . CLOSE SHOT of the doorway taking in the Delgado family . Senora Delgado is weeping , with tears running unchecked down her big flat cheeks . Her husband , unable to express his grief , stands twisting a cheap velour hat in work - gnarled hands . The little Delgado boy , unable to comprehend the finality of death is interested and quick - eyed , letting his glance rove from one object of interest to another , then suddenly bored , as is the manner of children , distracts himself by making the leopard shadow on the wall . From the other room we can hear , the sound of men 's voices , not clearly distinguishable , but growing in clarity . Kiki opens her purse , fumbles out a little soiled sheaf of bills and crosses the room . She hands the money to the nun .</scene_description> <character>KIKI</character> <parenthetical>( in a half whisper . )</parenthetical> <dialogue>Sister, I'd like the family to have this - might help with the funeral expenses.</dialogue> <scene_description>The nun smiles , nods her head and tucks the money up under her sleeves . Kiki crosses back to the other side of the room . Midway through this action , the voice in the other room has risen in volume and clarity so that we hear the coroner speaking . From behind the green baize curtain the words come in that solemn , yet routine fashion , which is the specialty of county clerks and other minions of the law .</scene_description> <character>CORONER'S VOICE</character> <dialogue>this evidence having been presented before me on this, the tenth day of April, I hereby declare that Teresa Guadalupe Maria Delgado was brought to her death by violence, resulting from the release of a wild animal, a leopard, purportedly on theatrical exhibition in this city - Death by accident.</dialogue> <scene_description>As the last word is spoken , Jerry makes his appearance through the doorway . His face is drawn and earnest , reflecting the ordeal of looking at the mutilated remains of the young girl . He crosses the room toward Kiki . MED . SHOT of Jerry as he takes his place beside Kiki . He looks at her as if seeking some comforting sign of friendliness . She keeps her eyes purposely averted from him . MED . SHOT . Through the curtained doorway come the coroner and Robles . The coroner carries a sheaf of papers in his hand . Coming through the doorway quickly , he turns and seats himself at the desk in order to sign and seal these documents . Chief Robles , with his uniform cap in his hand , goes over to the Delgado family . In his face we can see the sympathy and feeling he has for his fellow townsmen . Fe puts his arm about Delgado 's shoulder and embraces him with that peculiar Mexican embrace in which the hand and arm thump the embraces 's shoulders .</scene_description> <character>ROBLES</character> <dialogue>It's all right, my friend. It is the will of God.</dialogue> <scene_description>The genuineness of his sympathy and the sincerity of his voice take the banal touch from these simple words . Jerry looks on with interest . He turns to Kiki .</scene_description> <character>JERRY</character> <parenthetical>( sotto voce . )</parenthetical> <dialogue>Suppose I slip them a few bucks -- for the funeral expenses.</dialogue> <character>KIKI</character> <dialogue>Do n't be soft.</dialogue> <scene_description>She pulls sharply at his arm to emphasize the point . He shrugs , abashed . From the inner room a fourth man comes out , a medium sized gentleman in a light gray business suit with a felt hat in his hand . His face seems stiff and he walks a little bit unsteadily . Passing Jerry , he extends his hand and pats Jerry 's arm .</scene_description> <character>GALBRAITH</character> <dialogue>An unfortunate accident. Nobody blames you, Mr. Manning. You must n't feel badly.</dialogue> <scene_description>Jerry nods ; not at all anxious for further condolences . Galbraith goes on to stand in the doorway . Robles leaves the Delgado family and comes over to where Jerry and Kiki are standing .</scene_description> <character>ROBLES</character> <dialogue>You can go now, Manning. There is no way we can hold you legally responsible.</dialogue> <character>JERRY</character> <dialogue>Thanks, Sheriff.</dialogue> <scene_description>Robles passes on a step or two , and then with a glance at Jerry .</scene_description> <character>ROBLES</character> <dialogue>That leopard's got to be found. I'm forming a posse. I can use help. -</dialogue> <scene_description>From the doorway , Galbraith answers quickly .</scene_description> <character>GALBRAITH</character> <dialogue>Count me in.</dialogue> <scene_description>Jerry makes an impulsive move forward - then stops himself .</scene_description> <character>JERRY</character> <parenthetical>( shaking his head . )</parenthetical> <dialogue>I have n't done any posse work since last time I rode with Toni Mix at the old Bijou Theatre - aged six, If you're interested,</dialogue> <character>ROBLES</character> <dialogue>Go on foot.</dialogue> <character>JERRY</character> <dialogue>It's not for me.</dialogue> <parenthetical>( grinning . )</parenthetical> <dialogue>I'm literally and figuratively a tenderfoot.</dialogue> <scene_description>He lifts one foot and pats the ankle to illustrate his point . Robles passes on and out of the doorway , Galbraith joining him . With a backward look at the Delgado family , and a little hesitantly and slowly , Jerry and Kiki also leave the funeral parlor .</scene_description> </scene> <scene> <stage_direction>EXT. UNDERTAKER'S PARLOR - DAY</stage_direction> <scene_description>MED . CLOSE SHOT - Jerry and Kiki as they stand in the center of the sidewalk .</scene_description> <character>JERRY</character> <dialogue>I suppose he was trying to make me feel bad.</dialogue> <character>KIKI</character> <dialogue>And I suppose you do n't feel bad!</dialogue> <scene_description>Before Jerry can protest .</scene_description> <character>KIKI</character> <dialogue>Who was the other man?</dialogue> <character>JERRY</character> <dialogue>I do n't know -- -- a witness. He seemed to know something about animals - you know - expert testimony.</dialogue> <character>KIKI</character> <dialogue>What did he have to do - -- look at the body?</dialogue> <character>JERRY</character> <dialogue>We all, had to look at the body. It was awful, Kiki - awful!</dialogue> <scene_description>Kiki makes a movement as if to put her hand comfortingly on his sleeve , then changes her mind , dropping her hand . MED . SHOT - Undertaking Parlor - as the Delgado family emerges and starts down the street . The mother and father walk ahead , the father 's arm about the mother 's shoulder . They are followed by Pedro , his hand in the Nun 's hand as they walk together . Kiki and Jerry fail to see them , and it is necessary for Senor Delgado to ask for room .</scene_description> <character>SENOR DELGADO</character> <dialogue>Excuse, please.</dialogue> <scene_description>Jerry and Kiki move hurriedly out of the way to let the little group of mourners go past . Jerry and Kiki stand watching them for a moment . CLOSEUP of Jerry , his expression betraying anxiety and indecision . DISSOLVE</scene_description> </scene> <scene> <stage_direction>INT CLO-CLO'S DRESSING ROOM - LATE AFTERNOON</stage_direction> <scene_description>LARGE HEAD CLOSEUP of Maria . The beautiful face of the fortune teller , coifed and framed in the folds of a shawl , looks pure and Madonna -- like . Her downcast eyes add to the holy feeling . Then , suddenly , her hand comes up and puts a lighted cigarette droopingly between her lips . The Madonna pose is shattered as though a stone had been thrown into still water . The CAMERA MOVES BACK to show Maria seated at Clo - Clo 's dressing table , dealing out the cards . The last card to leave her hand is the Ace of Spades . She gazes at it for a moment , then hastily rakes up the deck and shuffles the cards . Behind her during this entire scene we have heard the tinkle of Moorish finger cymbals in metronome - like rhythm , the sounds spaced far apart .</scene_description> <character>CLO-CLO'S VOICE</character> <dialogue>That card again?</dialogue> <scene_description>MED . SHOT - Clo - Clo and Maria . Clo - Clo is behind Maria . She has on a practice suit ; black jersey leotards to the waist and a black silk bandeau about her breasts . She is using the chair rail of the dressing room as a bar to practice a ballet step while she beats out the slow rhythm of her exercise with the Moorish finger cymbals . Maria again deals the cards and Clo - Clo continues to play and practice . There is a contrapuntal rhythm between the dealing of Maria 's cards and the slow tinkle of the cymbals .</scene_description> <character>MARIA</character> <dialogue>I made a mistake. It was a misdeal. I'll try once more.</dialogue> <scene_description>The cards `` slap -- slap ' as she deals . As they fall , Maria speaks .</scene_description> <character>MARIA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's a blackcard and bad card, but not the card of the cat - -- not the card of four -- footed things.</dialogue> <character>CLO-CLO</character> <dialogue>I saw Teresa. Maybe I was the last to see her except perhaps her Mamacita and her little brother. I was going past -</dialogue> <character>MARIA</character> <parenthetical>( still dealing . )</parenthetical> <dialogue>. -RRB- They buried Teresa today and they were hunting the leopard again - out in the country this time. But they did n't get him.</dialogue> <character>CLO-CLO</character> <dialogue>They're fools. Why do n't they let Charlie How - Come hunt it alone. He's an Indian.</dialogue> <character>MARIA</character> <dialogue>All men are fools. They like to make a big show - -- shout and hunt -</dialogue> <scene_description>She is about to deal the last card , when she stops and looks at it , then sweeps up the deck without dealing the remaining card .</scene_description> <character>CLO-CLO</character> <dialogue>The bad card again?</dialogue> <scene_description>Maria nods .</scene_description> <character>CLO-CLO</character> <dialogue>What did they say before the bad card came up?</dialogue> <character>MARIA</character> <dialogue>You'll meet a rich man and he will give, you money.</dialogue> <character>CLO-CLO</character> <parenthetical>( disdainfully . )</parenthetical> <dialogue>You and your cards. Meet a rich man! I look for them with money. What rich man has n't money. And for what was I born if it was n't for money? You're not telling me anything.</dialogue> <character>MARIA</character> <parenthetical>( with a shrug . )</parenthetical> <dialogue>Watch and see, A day or a week - but certainly this month - you will have money from a man and then -</dialogue> <character>CLO—CLO</character> <parenthetical>( sharply . )</parenthetical> <dialogue>And then what?</dialogue> <character>MARIA</character> <dialogue>I will have to read the cards again. There was a mistake.</dialogue> <character>CLO-CLO</character> <parenthetical>( shooing her out . )</parenthetical> <dialogue>You and your mistakes. Get out! I've got to dress for the supper, show and I do n't want you to put the evil eye on me. Vamoose!</dialogue> <scene_description>Maria unhurriedly snuffs out her cigarette , pockets her cards and starts for the door . As she opens the door , we see Jerry Manning going past , dressed in slacks and sports shirt , carrying his coat over his arm . He is dusty and tired . Clo Clo looks after him with a malicious grin .</scene_description> </scene> <scene> <stage_direction>INT. DRESSING ROOM DOORS - NIGHT</stage_direction> <scene_description>SHOT of Jerry as he knocks at Kiki 's door .</scene_description> <character>JERRY</character> <dialogue>Are you decent?</dialogue> <scene_description>From inside we hear Kiki 's voice .</scene_description> <character>KIKI'S VOICE</character> <dialogue>Yes. Come in.</dialogue> <scene_description>He opens the door . We can see she is seated in the armchair and has a magazine in her hand which she has been reading . She is dressed in street clothes .</scene_description> <character>KIKI</character> <dialogue>Well, does everybody love us now? You've been gone long enough to soft -- soap twenty editors!</dialogue> <character>JERRY</character> <parenthetical>( without particular conviction . )</parenthetical> <dialogue>Yeah.</dialogue> <character>KIKI</character> <parenthetical>( drawling . )</parenthetical> <dialogue>And did you find the leopard?</dialogue> <scene_description>Jerry realizes that Kiki is onto him . He gives her a look as if to say , `` So you knew . '' He bends down and starts brushing at his trousers .</scene_description> <character>KIKI</character> <dialogue>It must be the altitude -- -- you, bucking around the countryside with a lot of boot -- and -- saddle boys -</dialogue> <character>JERRY</character> <parenthetical>( trying to explain . )</parenthetical> <dialogue>The whole town's in a state, Kiki -- -- doors locked, people huddling together like scared sheep -- -- nobody on the streets at night -- --</dialogue> <character>KIKI</character> <parenthetical>( bitterly . )</parenthetical> <dialogue>Our first real break - and we throw wild animals at the audience</dialogue> <character>JERRY</character> <dialogue>Forget it. I'm buying a drink for a fellow who was on the posse with me, a nice guy. Come along he'll get a great kick out of meeting you.</dialogue> <scene_description>Kiki picks up her hat from the dressing table and goes toward the door slowly . Jerry finishes brushing his clothes .</scene_description> <character>KIKI</character> <dialogue>Who is he?</dialogue> <character>JERRY</character> <dialogue>You remember the fellow this morning - Galbraith. You've got time before the supper show.</dialogue> <scene_description>Kiki joins him in the doorway and they start down the corridor .</scene_description> </scene> <scene> <stage_direction>INT. EL PUEBLO CAFE - NIGHT</stage_direction> <scene_description>MED . CLOSE SHOT of Eloise coming toward camera . She is in professional costume , and passes slowly along the front of the bar . She is smiling and opening a package of cigarettes .</scene_description> <character>JERRY'S VOICE</character> <parenthetical>( evidently at end of long recital . )</parenthetical> <dialogue>. And it was sand, sand every foot of the way -</dialogue> <scene_description>Eloise turns and the CAMERA TURNS WITH her . She stops at a small table where Jerry , Kiki and Galbraith are seated . She hands the package of cigarettes to Jerry . -LRB- Note : Kiki is wearing her hat in this scene -RRB-</scene_description> <character>JERRY</character> <parenthetical>( finishing and paying for cigarettes . )</parenthetical> <dialogue>-- -- As long as my feet held out.</dialogue> <character>KIKI</character> <dialogue>And not a sign of the leopard?</dialogue> <scene_description>Galbraith shakes his head , Jerry smiles his thanks to Eloise . She goes on out of scene .</scene_description> <character>KIKI</character> <dialogue>Jerry told me you were an expert with animals, Mr. Galbraith. Could n't you tell where it went?</dialogue> <character>GALBRAITH</character> <dialogue>To know where that leopard went - -- I'm afraid you'd have to be a leopard and think like a leopard. I was a naturalist. That hardly qualifies me as an expert in hunting down lost leopards. I used to teach zoology in a little fresh -- water college back East. I gave that up.</dialogue> <scene_description>Kiki is just normally curious , not conscious that she is prying .</scene_description> <character>KIKI</character> <dialogue>What do you do now?</dialogue> <character>GALBRAITH</character> <dialogue>There's a little museum here in town. They've hired me to run it, We've some interesting exhibits of Indian arts and crafts. It's fun - and I like living here in New Mexico.</dialogue> <character>KIKI</character> <dialogue>Why did you give up teaching?</dialogue> <character>GALBRAITH</character> <parenthetical>( after a little pause . )</parenthetical> <dialogue>Various reasons.</dialogue> <parenthetical>( switching the conversation . )</parenthetical> <dialogue>But I ca n't see why you'd be interested in the rather dusty career of William Galbraith -- teacher, naturalist, curator - when you lead such a gay and exciting life yourself.</dialogue> <character>JERRY</character> <parenthetical>( wryly . )</parenthetical> <dialogue>Show business?</dialogue> <character>GALBRAITH</character> <dialogue>Yes. It's always fascinated me.</dialogue> <parenthetical>( confidentially . )</parenthetical> <dialogue>You know, once, when I was a youngster, I went to see Mrs. Leslie Carter in `` Zaza.'' After the play I stood in the alley just to watch her come out.</dialogue> <scene_description>Both the younger people laugh at his unabashed simplicity .</scene_description> <character>GALBRAITH</character> <parenthetical>( to Kiki . )</parenthetical> <dialogue>So you see meeting you is a real thrill for me.</dialogue> <character>KIKI</character> <dialogue>Well, I'm hardly Mrs. Leslie Carter -- whoever she was. In fact, I'm not even much of a success around here particularly after the backfire on Jerry's little publicity stunt with the leopard.</dialogue> <character>GALBRAITH</character> <dialogue>That was unfortunate.</dialogue> <character>KIKI</character> <parenthetical>( with a hard look at Jerry . )</parenthetical> <dialogue>That was a calamity!</dialogue> <scene_description>She nods her head toward the main door .</scene_description> <character>KIKI</character> <dialogue>Look!</dialogue> <scene_description>MED . LONG SHOT including the table and the door beyond . Through this doorway Clo - Clo emerges in her costume . She enters with the proud step of a reigning favorite . There is a light spatter of applause from the bar and the tables on the porch . Clo -- Clo , taking the castanets from her bosom , begins walking toward the dancing space . Passing the table where Kiki , Jerry and Galbraith sit , she grins broadly end maliciously . Leaning slightly toward them she makes a derisive sound on her castanets , then stalks on . They follow her with their eyes as she starts down the steps . From the audience in the main portion of El Pueblo cafe comes the sound of brisk applause and Clo -- Clo 's answering hail on the castanets . Her dance music begins . Kiki starts getting up . The two men rise with her .</scene_description> <character>KIKI</character> <parenthetical>( she rises . )</parenthetical> <dialogue>Well, I'm next. You wo n't hear anything like that, Mr. Galbraith.</dialogue> <parenthetical>( gesturing toward applause . )</parenthetical> <dialogue>I'm not a popular favorite since I let the leopard loose.</dialogue> <character>GALBRAITH</character> <parenthetical>( with heavy gallantry . )</parenthetical> <dialogue>I'm sure if you are as talented as you are charming, Miss Walker, you have nothing to worry about.</dialogue> <character>KIKI</character> <parenthetical>( moving off . )</parenthetical> <dialogue>Thanks.</dialogue> <scene_description>Galbraith starts to knock out his pipe on the heel of his hand .</scene_description> <character>GALBRAITH</character> <dialogue>Well, I'd best be off.</dialogue> <character>JERRY</character> <parenthetical>( putting a restraining hand on his forearm . )</parenthetical> <dialogue>I want to ask you something.</dialogue> <scene_description>Galbraith looks at him questioningly .</scene_description> <character>JERRY</character> <dialogue>It's about the leopard.</dialogue> <character>GALBRAITH</character> <dialogue>You're worrying about its killing someone else?</dialogue> <character>JERRY</character> <dialogue>Yes. I want to go out and patrol the town - be everywhere at once - be sure nothing happens to anybody.</dialogue> <character>GALBRAITH</character> <dialogue>Of course. It's the way any decent man would feel in your position.</dialogue> <character>JERRY</character> <dialogue>You know about animals - their habits - will it come back?</dialogue> <character>GALBRAITH</character> <dialogue>No. I'm quite sure.</dialogue> <scene_description>Jerry gives a little sigh of relief .</scene_description> <character>GALBRAITH</character> <dialogue>There is no danger at all. It's a wild animal. Do you think a wild animal prefers walls, streets and people when it can get into open country?</dialogue> <character>JERRY</character> <parenthetical>( terribly anxious to be convinced . )</parenthetical> <dialogue>That's right, of course.</dialogue> <character>GALBRAITH</character> <parenthetical>( starting toward the steps . )</parenthetical> <dialogue>Do n't feel so concerned, Jerry.</dialogue> <scene_description>As they descend the stops together , the CAMERA HAVING PANNED LEFT to stay with them , now DOLLIES BEFORE them as they go down the path , toward the fountain . They come abreast of the fountain and Galbraith pauses a moment .</scene_description> <character>GALBRAITH</character> <dialogue>I've seen a bit of life, and I have learned one thing. We are like that ball dancing on the fountain. We know as little about the forces that move us and move the world around us as that empty ball, which lives only because the water pushes it into the air, lets it fall and catches it again. You should n't feel too badly about Teresa Delgado.</dialogue> <scene_description>CLOSE SHOT - the fountain . We see the ball rising and falling -- oscillating in its movement . Clo - Clo is dancing , and although we can not see her , we can hear the click of her castanets , the quick , hard tread of her feet . We catch an occasional glimpse of her shadow , as she passes in dancing on the other side of the fountain . DISSOLVE</scene_description> </scene> <scene> <stage_direction>INT EL PUEBLO CAFE - EARLY MORNING</stage_direction> <scene_description>CLOSE SHOT of the fountain . The jet of water has been turned off and the ball floats quietly on the surface of the innermost basin . MED . LONG SHOT of Clo - Clo , as she makes her way to the gate . She is dressed in street clothes . Bus boys are busy piling chairs onto the tables while two young maids are hosing down the tiles . Cigarette butts , bits of paper and ether odds and ends of the night 's trade litter the cafe and go swishing ahead of the streams of water . Clo - Clo smiles to one of the young maids as she passes .</scene_description> <character>CLO-CLO</character> <dialogue>A long night, Chiquita.</dialogue> <character>MAID</character> <parenthetical>( straightening up and shutting down the hose with her thumb . )</parenthetical> <dialogue>How long can a night be, Clo - Clo, when you spend it dancing?</dialogue> <character>CLO-CLO</character> <parenthetical>( passing by . )</parenthetical> <dialogue>Twice as long as a day with your mop and pail.</dialogue> <scene_description>The girl laughs and lets the water of the hose spray out again . Clo - Clo goes on , out of the gate . DISSOLVE</scene_description> </scene> <scene> <stage_direction>EXT. THE STREET - EARLY MORNING</stage_direction> <scene_description>TRUCKING SHOT of Clo - Clo as she walks wearily down the deserted street . She is smoking a cigarette . Swinging from one hand is the little ornamented chamois bag in which she keeps her castanets . She comes to the flower store , sees that it is open and , throwing her cigarette away , starts in .</scene_description> </scene> <scene> <stage_direction>INT FLOWER STORE - EARLY MORNING</stage_direction> <scene_description>MED . SHOT - Rosita , Senora Contreras ' maid , has selected a bouquet of long stemmed roses from a large tin bucket . As she holds them aloft the flower vender , a chubby good - natured little Mexican in his late fifties , gently wraps a piece of newspaper around the wet stems .</scene_description> <character>FLOWER VENDOR</character> <parenthetical>( indicating the stems . )</parenthetical> <dialogue>Roses are like children - -- some have short legs and some long.</dialogue> <scene_description>The flower vendor laughs loudly , his body vibrating . Rosita sees no humor in this remark and taking a coin from her pocket , hands it to him . Still chuckling , the vendor moves to his cash drawer , to make change . In the b.g. , Clo - Clo can be seen entering the store . She tiptoes forward directly behind the flower vendor and ignoring Rosita completely , snatches a wilted gardenia from a tin . The flower vendor has caught this action in the mirror and whirling , pulls the gardenia out of her hand , and at the same time turns back to the cash drawer . Clo -- Clo is n't at all abashed by the vendor 's action .</scene_description> <character>CLO-CLO</character> <dialogue>You ca n't sell it - it's a day old.</dialogue> <character>VENDOR</character> <dialogue>But my stomach is n't a day old. If I do n't sell flowers - I do n't eat - -- and I love to eat.</dialogue> <scene_description>Clo - Clo tries a new approach . Coyly she winks at him .</scene_description> <character>CLO-CLO</character> <dialogue>I'll tell everybody you gave it to me, - that will be good for your business.</dialogue> <character>VENDOR</character> <dialogue>Yes, - but bad for my wife.</dialogue> <scene_description>The vendor drops the change into Rosita 's hand , then turning on Clo - Clo , shoes her off with a motion . ANOTHER ANGLE -- taking in Rosita at edge of stall . She looks off at Clo - Clo and with a grand gesture , pulls a long stemmed rose from the bouquet .</scene_description> <character>ROSITA</character> <dialogue>My mistress, Consuelo Contreras, does not have to beg for flowers. She wo n't miss one.</dialogue> <scene_description>Rosita flings a rose to Clo - Clo . Clo - Clo catches it . With a snap she breaks the stem and thrusts the rose into her hair .</scene_description> <character>CLO-CLO</character> <parenthetical>( impudently . )</parenthetical> <dialogue>Thank the Senorita for me.</dialogue> </scene> <scene> <stage_direction>EXT STREET - EARLY MORNING</stage_direction> <scene_description>MED . LONG SHOT . The CAMERA PANS WITH Rosita as she hurriedly crosses the street and mounting the opposite sidewalk , enters the Contreras ' home .</scene_description> </scene> <scene> <stage_direction>INT. ENTRANCE HALL CONTRERAS' HOME - EARLY MORNING</stage_direction> <scene_description>It is a cool , shadowy square room . At the back is a stairway . The floor is tiled . Through an arched grilled doorway , we can see the living room beyond . The front door opens and Rosita steps in hurriedly , her heels clicking on the tile floor . Three people are standing waiting . They are Senora Contreras , Cousin Felipe and Marta , an old servant who is more companion than maid in the household by this time . Marta is dressed all in black - -- dress , shoes and apron . Her grey hair is dragged back to a knot . She wears tiny gold loops in her pierced ears and a gold cross at the fastening of her high collar . Senora Contreras , a dignified , imposing woman with the remnants of great beauty still apparent in her expressive eyes and lovely hair , is dressed in a flowing lacy negligee . In her arms she carries a little Chihuahua dog . Cousin Felipe is a dapper little cat of a man , meticulously dressed in the proper apparel of thirty years ago . The Senora and Cousin Felipe are waiting on the stairs . Marta is in the hail .</scene_description> <character>MARTA</character> <parenthetical>( crossly . )</parenthetical> <dialogue>Shhh!</dialogue> <character>SENORA CONTRERAS</character> <parenthetical>( softening the rebuke , whispering . )</parenthetical> <dialogue>It will spoil the birthday song, Rosita, if we wake her too soon.</dialogue> <scene_description>Rosita nods contritely . Walking with exaggerated care , she joins them and they all start up the stairs . The CAMERA FOLLOWS them as they go upstairs .</scene_description> </scene> <scene> <stage_direction>INT. UPPER HALLWAY - EARLY MORNING</stage_direction> <scene_description>SHOT of Senora Contreras , Marta and Rosita as they come up to the landing and start on tiptoe toward a door . The Senora Contreras puts her hand on the knob softly . Cousin Felipe pulls a single rose from Rosita 's armful . Marta sees him - she glares but says nothing .</scene_description> </scene> <scene> <stage_direction>INT. CONSUELO'S BEDROOM - EARLY MORNING</stage_direction> <scene_description>Although the curtains of the room are drawn , the softly filtered daylight shows this to be a room of delicacy and lightness . The simplicity of the white walls , the sheer curtains hanging across the barred , embrasured windows , the lovely lace coverlet and the pretty young - girl trinkets on the dressing table give the room an air of lightness . As the door swings inward , the sunlight fills the room . Then we see , lying in the bed , serenely asleep , Consuelo Contreras . This is her eighteenth birthday . Senora Contreras walks to the foot of the bed and stands looking down at her daughter . She smiles sadly . In still , untroubled sleep , the full vulnerability of Consuelo 's youth is touchingly apparent . Marta stands to one side , a little behind Senora Contreras . Cousin Felipe remains in the background , near the open door . Rosita tiptoes cautiously to the head of the bed and carefully puts down the roses , so that the blossoms lie in the curve of Consuelo 's outflung arm . She has to drop on one knee to do this and she stays in this position , slowly drawing her hands away from the flowers . They start singing `` Las Mananitas '' the traditional birthday song of Mexico - singing very softly at first . Consuelo stirs slightly and then opens her eyes . Lying as she does , the first thing she sees are the roses , lying beside her . She lifts her eyes from the roses to see Rosita 's eager smiling face , almost on a level with her own . Rosita 's smile broadens but she goes on singing dutifully . Still bemused , but beginning to smile faintly herself , Consuelo looks beyond Rosita and sees Cousin Felipe standing back by the door . Very much the gallant , he touches his stolen rose to his lips and tosses it to Consuelo . Consuelo continues her survey of the room and turns her eyes to the foot of the bed .</scene_description> <character>CONSUELO</character> <parenthetical>( happily and lovingly . )</parenthetical> <dialogue>Madrecita!</dialogue> <scene_description>Senora Contreras nods slowly , but continues to sing with the others as they go into the chorus . Consuelo starts to sit up , pulling the roses to her . Rosita gets up , too , and props the pillows behind her young mistress . Senora Contreras comes around the bed and sits on the edge of it as the song finishes .</scene_description> <character>ROSITA</character> <dialogue>Good morning on your birthday, Senorita Consuelo -</dialogue> <scene_description>Marta goes to one of the windows and motions Rosita to the other .</scene_description> <character>MARTA</character> <dialogue>It is a good morning, nina - see how the sun is shining for you -</dialogue> <scene_description>Marta draws back the curtains and the room , already light , seems to grow even lighter . Senora Contreras leans forward and kisses Consuelo 's forehead .</scene_description> <character>CONSUELO</character> <dialogue>What a lovely way to wake up!</dialogue> <scene_description>She looks from the bouquet of roses to the single rose that Cousin Felipe threw onto the bed . She picks it up and holds it to her face .</scene_description> <character>CONSUELO</character> <dialogue>It is so beautiful, Cousin Felipe. Thank you for buying it!</dialogue> <scene_description>At Consuelo 's first words , Cousin Felipe begins to beam . But he glances across the room and encounters Marts 's grin , sardonic glance just as Consuelo says `` How carefully you must have picked it out ! '' Abashed , he murmurs something unintelligible and quietly slips out of the room . At the window , Rosita has been standing with her back to Marta , staring fixedly at Consuelo to attract her attention . She makes a little notion with her hands now and Consuelo glances at her . Smiling secretively , Rosita draws a white envelope part way out of her apron pocket , just enough to let Consuelo see what it is . Then she hastily puts it out of sight again . There is a sudden light in Consuelo 's eyes . She is transfigured with a really exultant happiness .</scene_description> <character>SENORA CONTRERAS</character> <parenthetical>( amused . )</parenthetical> <dialogue>Had you forgotten that it was your birthday? I believe you had -</dialogue> <scene_description>Consuelo gives a helpless little laugh of delight , throws her arms around her mother end puts her head down against her mother 's shoulder .</scene_description> <character>CONSUELO</character> <dialogue>I'm so happy - so happy!</dialogue> <scene_description>Senora Contreras pats the girl 's head fondly . Marta , leaving the room , smiles at mother and daughter .</scene_description> <character>MARTA</character> <parenthetical>( turning at the door . )</parenthetical> <dialogue>Rosita!</dialogue> <scene_description>Rosita slowly walks away from the window and toward the door , But as soon as Marta has gone out of the door , she stops at the dressing table on the pretext of dusting the bottles with her apron . Senora Contreras rises , with difficulty , and also goes to the door .</scene_description> <character>SENORA CONTRERAS</character> <dialogue>Hurry now, my sweet, or we will be late for mass.</dialogue> <scene_description>As Senora Contreras leaves the room , Rosita whirls around from the dressing table .</scene_description> <character>CONSUELO</character> <parenthetical>( excitedly . )</parenthetical> <dialogue>Quick! Give it to me!</dialogue> <scene_description>Rosita hands Consuelo the letter , Consuelo tears it open and reads the few lines . From her expression , one sees that even the handwriting of her beloved fills her with happiness .</scene_description> <character>CONSUELO</character> <dialogue>He will be waiting.</dialogue> <character>ROSITA</character> <parenthetical>( eager to help . )</parenthetical> <dialogue>You must say that you went to take some of the roses to your father's grave.</dialogue> <character>CONSUELO</character> <parenthetical>( reading the note again . )</parenthetical> <dialogue>At four. He will be there at four.</dialogue> <scene_description>She goes to the window and looks out . CLOSE SHOT of Consuelo at window . Beyond her we see the sun dial on the wall . It is seven o'clock and the shadows lie thick and heavy in the morning quadrant .</scene_description> <character>CONSUELO</character> <dialogue>The time will never pass.</dialogue> <scene_description>DISSOLVE</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>At a French window in the living room downstairs , Consuelo is pulling aside the heavy lace curtains and looking out . Beyond her we see the big sun dial and the shadows lie heavy in the afternoon quadrant . It is nearly 5:00 . She drops the curtain and turns back into the room . MED . LONG SHOT - living room . Senora Contreras is half reclining in a chaise lounge . Consuelo is sitting on a petit point footstool beside the chaise lounge . Both of them have embroidery frames in their hands . They are working on very fine , sheer pillow cases ,</scene_description> <character>CONSUELO</character> <parenthetical>( nervously . )</parenthetical> <dialogue>It seems to be getting darker in here.</dialogue> <scene_description>Senora Contreras glances over at the bright sunlight in the windows .</scene_description> <character>CONSUELO</character> <dialogue>Are n't you afraid you will have a headache from working so long, Mama?</dialogue> <character>SENORA CONTRERAS</character> <dialogue>If we do n't work on these a little each day, they will never be done - and you will be a poor bride.</dialogue> <scene_description>Consuelo looks at her mother curiously and a little apprehensively . Senora Contreras smiles but does not reply . A clock on the mantel strikes five in tiny bell tones . Consuelo looks at the clock desperately . Senora Contreras puts down her embroidery frame .</scene_description> <character>SENORA CONTRERAS</character> <dialogue>It is late, is n't it? Too late, I'm afraid, for you to go to the cemetery now.</dialogue> <scene_description>Consuelo jumps to her feet .</scene_description> <character>CONSUELO</character> <dialogue>But I must go to the cemetery, Mamas! It's my birthday - I must!</dialogue> <scene_description>Senora Contreras studies the girl 's troubled face . She reaches out her hand , takes Consuelo 's hand and pulls the girl to her .</scene_description> <character>SENORA CONTRERAS</character> <dialogue>I did not come into this world a middle -- aged widow, mi hijita.</dialogue> <scene_description>Consuelo shakes her head in agreement - but looks puzzled .</scene_description> <character>SENORA CONTRERAS</character> <dialogue>Anything you think - anything you do - I thought and did before you. And my mother before me.</dialogue> <scene_description>Consuelo nods dutifully .</scene_description> <character>SENORA CONTRERAS</character> <dialogue>You are so young. I do n't want you to look back on anything lacking in dignity, a few years from now.</dialogue> <character>CONSUELO</character> <parenthetical>( murmuring . )</parenthetical> <dialogue>No, Mama -</dialogue> <character>SENORA CONTRERAS</character> <dialogue>Naturally, young men will become interested in you. They should come here, to our house. They should be introduced to you by their parents or your Cousin Felipe or some other older relative - --</dialogue> <scene_description>Consuelo nods again . She glances uneasily at her mother and then her eyes go frantically to the clock . Senora Contreras lets go Consuelo 's hand and leans back against the chaise lounge . She gives a little sigh of defeat .</scene_description> <character>SENORA CONTRERAS</character> <dialogue>Very well - get Rosita and go.</dialogue> <character>CONSUELO</character> <dialogue>Thank you, Mama - I'll hurry - I'll be right back!</dialogue> <scene_description>Consuelo leans over , kisses her mother hastily and then rushes out of the room . Senora Contreras looks at the doorway through which Consuelo has passed . She smiles .</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY WALL - DUSK</stage_direction> <scene_description>TRUCKING SHOT - Consuelo and her maid are walking along the wall , quickly . Rosita is carrying the roses in her arm .</scene_description> <character>ROSITA</character> <parenthetical>( importantly . )</parenthetical> <dialogue>Pedro is waiting for me, too.</dialogue> <character>CONSUELO</character> <parenthetical>( shyly . )</parenthetical> <dialogue>Rosita -- -- I have wondered - --</dialogue> <character>ROSITA</character> <dialogue>What, senorita?</dialogue> <character>CONSUELO</character> <dialogue>When you are going to see Pedro, does your heart beat until you tremble?</dialogue> <scene_description>Rosita shrugs . Consuelo lifts one of the roses to her face .</scene_description> <character>CONSUELO</character> <dialogue>Once Raoul took my hand and pressed it to his cheek -- - so gently, so longingly. Suddenly I was afraid for him - afraid of everything in the world that might hurt or sadden him. He saw the tears in my eyes -</dialogue> <scene_description>Consuelo is silent , her face ecstatic , remembering .</scene_description> <character>ROSITA</character> <parenthetical>( almost sullenly . )</parenthetical> <dialogue>Love is different for different people.</dialogue> <character>CONSUELO</character> <parenthetical>( slowly -- thoughtfully . )</parenthetical> <dialogue>I suppose so. I suppose it will be different for us, too -- -- when everyone knows. Then we will be just like other people.</dialogue> <parenthetical>( smiles . )</parenthetical> <dialogue>But these last weeks will always be our secret -- -- a lovely secret to remember all our lives.</dialogue> </scene> <scene> <stage_direction>EXT. GATES OF ALL SAINTS CEMETERY - TWILIGHT</stage_direction> <scene_description>The light is already dimming when Consuelo and Rosita come up to the gates . In front of the ponderous wooden gates , folded back like great dark wings , stands the gatekeeper of the cemetery . Fe is a very tall , incredibly thin , old man , dressed in a tight black alpaca suit . He has built a little fire in the gutter and stands warming himself by it . In his hands is an unfinished wooden necklace which he is carving .</scene_description> <character>ROSITA</character> <parenthetical>( hurriedly . )</parenthetical> <dialogue>I will see you back at the house, Senorita.</dialogue> <scene_description>Consuelo nods and Rosita hurries away down the street . The gatekeeper looks up .</scene_description> <character>GATEKEEPER</character> <dialogue>You're late today, Senorita.</dialogue> <character>CONSUELO</character> <dialogue>I have brought my birthday flowers for my father's grave - it will only take a moment -</dialogue> <character>GATEKEEPER</character> <dialogue>Time is strange. A moment can be as short as a breath - or as long as eternity - do n't linger -</dialogue> <scene_description>Consuelo starts through the gates , not paying any attention to the old man 's words .</scene_description> <character>GATEKEEPER</character> <parenthetical>( calling after Consuelo . )</parenthetical> <dialogue>The gates are locked at six -</dialogue> <scene_description>There is no reply . The old man shrugs his shoulders and hunches over his little Lire again .</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY - C0NTRERAS FAMILY PLOT - EVENING</stage_direction> <scene_description>The headstone of Don Rafael Contreras ' grave , white stone , with a bronze wreath , is shadowed by the failing light of sunset . The headstone reads : INSERT RAFAEL CONTRERAS y GARCIA PRAY FOR HIS SOUL BACK TO SCENE . Consuelo 's flowers lie across the grave . Consuelo is half kneeling , half sitting beside the grave .</scene_description> <character>CONSUELO</character> <parenthetical>( low , but speaking perfectly naturally and conversationally . )</parenthetical> <dialogue>And so you must forgive me, father, for deceiving mother. She will meet Raoul soon - and everything will be as you would wish. I promise.</dialogue> <scene_description>Consuelo rises and crosses to a near - by path . She looks into the growing shadows of the cemetery - then up into the trees . Only the tops of them are lighted by the last rays of the sunset .</scene_description> </scene> <scene> <stage_direction>EXT PATH LEADING TO BELVEDERE IN CEMETERY - DUSK</stage_direction> <scene_description>Consuelo hurries along a path , with trees and graves on either side .</scene_description> </scene> <scene> <stage_direction>EXT BELVEDERE IN CEMETERY - DUSK</stage_direction> <scene_description>Just off the path is a little belvedere , a circular hedge spaced at intervals by Grecian columns . Inside , a marble bench curves half - way around the hedge . Consuelo approaches it . Seeing the belvedere empty , she looks puzzled . She steps into the belvedere and then turns back and looks into the lowering gloom of the cemetery .</scene_description> <character>CONSUELO</character> <parenthetical>( uncertainly . )</parenthetical> <dialogue>Raoul? Raoul.</dialogue> <scene_description>Consuelo waits , Her face is filled with disappointment and the first faint uneasiness of apprehension as the silence continues . She turns back into the belvedere .</scene_description> </scene> <scene> <stage_direction>INT BELVEDERE - NIGHT</stage_direction> <scene_description>On the ground a number of partly smoked cigarettes have been stamped out - -- and another lies on the marble bench . Consuelo picks it up and looks at it . DISSOLVE</scene_description> </scene> <scene> <stage_direction>EXT. ENTRANCE OF CEMETERY - NIGHT</stage_direction> <scene_description>From the inside of the cemetery , we see one of the wooden gates swinging closed ,</scene_description> </scene> <scene> <stage_direction>EXT GATES OF CEMETERY</stage_direction> <scene_description>The Gatekeeper is laboriously pulling the other gate closed . Suddenly , he stops . He pushes the gate back open a little way and , standing in the opening , takes a whistle from his pocket and puts it to his lips . It has a high , thin , quavering sound . BELVEDERE IN CEMETERY - NIGHT Consuelo is seated on the marble bench , her posture dejected , lost in thought . In the distance , the whistle sounds faintly . She does not stir .</scene_description> </scene> <scene> <stage_direction>EXT GATES OF CEMETERY - NIGHT</stage_direction> <scene_description>The Gatekeeper gives two mere short blasts on the whistle .</scene_description> </scene> <scene> <stage_direction>INT BELVEDERE IN CEMETERY - NIGHT</stage_direction> <scene_description>Consuelo raises her head as the quavering notes sound in the distance . For a moment , she looks puzzled - then her eyes widen in horrified recognition of the sound . She jumps to her feet .</scene_description> </scene> <scene> <stage_direction>EXT. BELVEDERE IN CEMETERY - NIGHT</stage_direction> <scene_description>Consuelo steps out of the inclosure . She looks up into the tree tops . They are only darkness now , merging with the almost complete darkness of the sky above . Consuelo runs down the path .</scene_description> </scene> <scene> <stage_direction>EXT. GATES OF CEMETERY- NIGHT</stage_direction> <scene_description>The Gatekeeper stands listening for a moment and then continues pulling the gate toward him until it clicks shut with the other gate . He drops the whistle into his coat pocket and , from the same pocket , pulls out a large key . He turns it in the lock of the gate . He turns around and moves toward the street and his little gutter fire . His shadow moves enormously on the gate .</scene_description> </scene> <scene> <stage_direction>EXT MAIN AVENUE OF CEMETERY - NIGHT</stage_direction> <scene_description>We see Consuelo running down a broad avenue in the cemetery .</scene_description> </scene> <scene> <stage_direction>EXT GATES OF CEMETERY - NIGHT</stage_direction> <scene_description>MED . LONG SHOT of the closed cemetery gates . The Gatekeeper has disappeared . The little fire burning away in the empty street makes the loneliness of the scene more apparent .</scene_description> </scene> <scene> <stage_direction>EXT. ENTRANCE OF CEMETERY - NIGHT</stage_direction> <scene_description>Panting , Consuelo flings herself against the closed gates , tugging at the handle .</scene_description> <character>CONSUELO</character> <dialogue>Let me out! Help -- -- helps! Let me out of here!</dialogue> <scene_description>Looking desperately anxious , Consuelo turns . She looks across the cemetery and then starts running back up the main avenue .</scene_description> </scene> <scene> <stage_direction>EXT. CROSSROAD OF CEMETERY - NIGHT</stage_direction> <scene_description>At the head of the avenue , several paths fan out in a half circle . Consuelo stands looking from one to another . She chooses the center oath and runs into the tree -- thickened darkness</scene_description> </scene> <scene> <stage_direction>EXT. PATH BETWEEN BOX HEDGES -- NIGHT</stage_direction> <scene_description>Consuelo runs at breakneck pace down a path . On either side are box hedges taller than she is .</scene_description> </scene> <scene> <stage_direction>EXT FORKED PATH - NIGHT</stage_direction> <scene_description>The path Consuelo is on splits into two paths . In the V of the fork is a single grave and over it hovers a tall shaft of marble carved in the likeness of a brooding angel with folded wings and bowed head . Consuelo locks about frantically and then leans against the base of the statue , gasping for breath . Suddenly a wind springs up and the silence is broken into a thousand rustles and murmurs as the wind stirs through the trees . Consuelo shivers and slowly lifts her head to look up toward the tree tops . She looks directly up into the face of the statue . CLOSEUP of the angel 's face is curiously sinister because there is light touching its contours . Consuelo whirls about to find the source of light . Through the wind - stirred branches she sees the great , lop -- sided moons just rising into the night . She stumbles away from the statue and down the right -- hand path , walking a few steps , then running a few steps , trying to force herself to rush on . Consuelo stands looking down into the old burial ground , a depression filled with weed - grown graves and ancient wooden headstones , either crazily askew or down entirely . It is entirely surrounded by the tall trees of the cemetery -- -- and the moonlight seems to fill the place with mist . Consuelo starts down the slope .</scene_description> </scene> <scene> <stage_direction>EXT. OLD BURIAL GROUND IN CEMETERY - NIGHT</stage_direction> <scene_description>There are no paths here . The weeds grow solidly across the ground -- except where a grave , here and there , has fallen In and its earth is broken into clods . Consuelo stumbles about aimlessly . As she crosses one of the mounds , her foot strikes a fallen wooden marker . It is rotten and the green light of phosphorescene flashes across it ,</scene_description> </scene> <scene> <stage_direction>EXT. PATH LEADING TO WALL IN CEMETERY - NIGHT</stage_direction> <scene_description>Moving again between tall trees , Consuelo moves on , no longer able to run . But when she sees a whiteness between the trees ahead of her , she does spur herself forward more rapidly .</scene_description> </scene> <scene> <stage_direction>EXT. WALL OF CEMETERY - NIGHT</stage_direction> <scene_description>Consuelo flings herself against the wall , her face alight with hope .</scene_description> <character>CONSUELO</character> <parenthetical>( calling loudly . )</parenthetical> <dialogue>Help! Help! Help!</dialogue> <scene_description>There is silence . Slowly , keeping her hands pressed against the wall and moving sideways , Consuelo goes alongside the wall until she comes to a tree growing very close to the wall . In fact , one massive bough extends out over the wall and Consuelo looks up at it hopefully . Then her expression changes -- becomes tense . CLOSE SHOT of Consuelo . Her eyes are wide and frightened . From the other side of the wall comes a sound -- a light , scratching sound , exactly the same sound as that heard by Teresa Delgado in her first trip through the underpass tunnel . Listening intensely , Consuelo turns her head until her ear is pressed against the wall . Now , we hear the sound more distinctly -- as she is hearing it -- but it is still a light , feathery sound . Then , suddenly , it ceases . And as Consuelo strains to hear it again , there is the sharp , hollow clap of a car door carelessly flung shut just outside the wall . It is followed by the grind of a car starter . Consuelo jumps up .</scene_description> <character>CONSUELO</character> <dialogue>Wait -- -- wait!</dialogue> <scene_description>The car motor starts . Pressing herself against the wall , Consuelo screams again and again . Finally , as the unseen car starts to slip away , the roar of its motor subsides and at that moment Consuelo 's scream sounds clearly . Brakes rasp .</scene_description> <character>AUTOIST'S VOICE</character> <dialogue>Hello - -- who's that?</dialogue> <scene_description>Consuelo is breathing in such convulsive gasps that she can not emit any sound for a moment .</scene_description> <character>CONSUELO</character> <parenthetical>( weakly . )</parenthetical> <dialogue>Here! I'm in here behind the wall!</dialogue> <scene_description>There is the sound of a car door being opened , and then footsteps beyond the wall .</scene_description> <character>CONSUELO</character> <dialogue>I've been locked in. Please get me out - --</dialogue> <character>AUTOIST'S VOICE</character> <dialogue>Now, do n't get panicky. I'll climb over and get you -</dialogue> <scene_description>Pressed tightly against the wall , Consuelo listens . She hears running footsteps and then the thud of someone jumping up at the wall , trying to get over it with a running start . Once , twice .</scene_description> <character>AUTOIST'S VOICE</character> <dialogue>I ca n't make it. You wait there and I'll get someone to lend me a ladder -</dialogue> <scene_description>There is the sound of the car door banging shut again .</scene_description> <character>CONSUELO</character> <parenthetical>( frantically . )</parenthetical> <dialogue>No, do n't leave me! Do n't go away --</dialogue> <character>AUTOIST'S VOICE</character> <dialogue>But you're all right now. It's just a matter of a few minutes!</dialogue> <character>CONSUELO</character> <dialogue>You wo n't forget -- -- you'll come back?</dialogue> <character>AUTOIST'S VOICE</character> <dialogue>Stay just where you are.</dialogue> <scene_description>The roar of the motor fills the scene again . Then it is quiet</scene_description> <character>AUTOIST'S VOICE</character> <dialogue>Be back before you know it.</dialogue> <scene_description>There is the sound of the car drawing away . The sound of it lessens , fades -- is swallowed in renewed silence . Consuelo stands against the wall , motionless . She turns fearfully , so that her back is to the wall , and peers into the shadows . Suddenly she stiffens . CLOSE SHOT of Consuelo . Her eyes widen . She turns her head so that her ear is close to the wall . And again we hear the curious scratching sound , and with it , another sound -- - a soft , living , breathing sound , as of animal nostrils snuffling along the wall , searching the scent of prey . There is a brief silence , and then Consuelo 's head snaps up as we hear a soft padding sound near the top of the wall . She sees only the moon , just visible in the space between the tree bough and the top of the wall . There is nothing to be seen -- -- but a rustling sound comes from the top of the wall . Consuelo 's eyes are motionless , fixed on the bough overhead . Very gradually , the great bough lowers , blotting the moon from view . Consuelo presses her back against the wall , as if she would push herself into it , escape through it . Her head , thrown back , is motionless -- her eyes watching the ominous movement of the great bough , are motionless . And as she stares , a spasm of terror contorts her face . The bough suddenly springs back and the moon can be seen for one instant . During that instant we hear simultaneously a low , horrible snarl and a scream . Both are cut off as the whole scene blacks out . FADE OUT FADE IN</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY WALL - DAY</stage_direction> <scene_description>A HIGH ANGLE SHOT through the branches of a great tree overhanging the wall shows a scene of sad activity . Consuelo 's body , covered with a light canvas sheet , lies the at the foot of the tree . Five ladders , three against the outside wall , two against the inside wall , form a curious pattern of bars and stripes in the clean morning sunlight . Uniformed policemen and plain -- clothesmen bustle about . One of them is making a moulage of footprints , his little working space roped off with twine and stakes Others are examining the tree . Two policemen , one uniformed , stand at the side and between them stands a young man dazed and broken , almost hanging in the grip of the officers . He is sobbing . This is Raoul Belmonte . Suddenly he screams out hysterically .</scene_description> <character>BELMONTE</character> <dialogue>Why? Why? Why?</dialogue> <scene_description>The policemen gently shake him into silence . Robles , followed by Galbraith and Jerry come up over the ladders . Robles climbs down the inside ladder as does Galbraith , but Jerry , being younger , leaps down . MED . CLOSE SHOT -- SHOOTING TOWARD the wall .</scene_description> <character>BELMONTE</character> <parenthetical>( crying out . )</parenthetical> <dialogue>Why?</dialogue> <scene_description>Robles looks over questioningly . The uniformed policeman , a Mexican , answers .</scene_description> <character>POLICEMAN</character> <dialogue>El novio.</dialogue> <character>PLAIN- CLOTHESMAN</character> <parenthetical>( almost simultaneously . )</parenthetical> <dialogue>The boy friend.</dialogue> <character>ROBLES</character> <parenthetical>( not unkindly . )</parenthetical> <dialogue>Shut that man up. Take him out of here or give him something to keep him quiet.</dialogue> <scene_description>As the two officers lead Belmonte away , Jerry looks after him - his face deeply troubled . The three men then turn toward the shrouded body . A police officer , an American with a lieutenant 's bars an his shoulders , stands at the head of the corpse . He bends down , lifts up the canvas , and Robles and Jerry peer under for a brief minute . Galbraith does not look .</scene_description> <character>LIEUTENANT</character> <dialogue>The leopard again.</dialogue> <character>ROBLES</character> <dialogue>Any witnesses?</dialogue> <character>LIEUTENANT</character> <dialogue>Just secondary witnesses - -- the man who Was coming to help her out - the man he borrowed the ladder from - they found the body - and the gatekeeper.</dialogue> <scene_description>The gatekeeper , who has been standing near one of the policemen , takes a half step forward .</scene_description> <character>GATEKEEPER</character> <dialogue>I warned her. I told her the gates would be closed.</dialogue> <character>ROBLES</character> <parenthetical>( quieting him . )</parenthetical> <dialogue>That's all right, paisano, it's not your fault, we know.</dialogue> <scene_description>The old man shuffles back .</scene_description> <character>ROBLES</character> <parenthetical>( to Lieutenant . )</parenthetical> <dialogue>Anything else - -- clues?</dialogue> <scene_description>The Lieutenant points to a square cardboard box on the ground . Galbraith picks it up .</scene_description> <character>GALBRAITH</character> <dialogue>It's the leopard all right. A broken claw - some black hairs - --</dialogue> <character>LIEUTENANT</character> <dialogue>There arc claw marks on the tree.</dialogue> <scene_description>They cross to the tree .</scene_description> <character>GALBRAITH</character> <dialogue>He must have made these getting out. Notice the way they've been dug in from above.</dialogue> <character>NOBLES</character> <parenthetical>( pointing to the ground . )</parenthetical> <dialogue>And these leaves. They do n't fall this time of year. They must have shaken down on her when it jumped.</dialogue> <scene_description>Jerry has been looking from one bit of evidence to the other , puzzled . He turns to Galbraith .</scene_description> <character>JERRY</character> <dialogue>Doc - something you said the other day -</dialogue> <character>GALBRAITH</character> <dialogue>Yes?</dialogue> <character>JERRY</character> <dialogue>It does n't jibe with this -- -- you told me the leopard would go out into the country -- - it would n't stay in the city -- --</dialogue> <character>GALBRAITH</character> <dialogue>Sure - certainly -- - but what's that got to do with this?</dialogue> <character>JERRY</character> <parenthetical>( a little hesitantly . )</parenthetical> <dialogue>That's what I do n't understand - why should it come here - and why did n't it stay here? It's got trees and bushes here - outside nothing but cement and asphalt.</dialogue> <character>GALBRAITH</character> <parenthetical>( a little impatient . )</parenthetical> <dialogue>Jerry, I talked to you about the habits of an ordinary wild leopard. This leopard is another matter entirely - a caged animal travelling around with Charlie How Come for years and years. That's why it kills human beings.</dialogue> <character>JERRY</character> <dialogue>Why?</dialogue> <character>GALBRAITH</character> <dialogue>It does n't know how to hunt its natural prey.</dialogue> <character>JERRY</character> <dialogue>But it does n't eat what it kills.</dialogue> <character>GALBRAITH</character> <dialogue>Caged animals are unpredictable. They're like frustrated human beings. I ca n't answer your question.</dialogue> <character>ROBLES</character> <dialogue>That's why it just mauls and tears at them.</dialogue> <character>JERRY</character> <dialogue>Something's wrong with this whole setup -</dialogue> <character>ROBLES</character> <dialogue>Yes, there is something wrong. People who want publicity and do n't mind how they get it - what risks they make other people run - what agony and sorrow they bring to other people -</dialogue> <character>JERRY</character> <dialogue>I know all that, chief, and I do n't like it any better than you do, but there's something else -</dialogue> <scene_description>Robles is about to reply . Galbraith stops him .</scene_description> <character>GALBRAITH</character> <dialogue>Just a minute, Robles.</dialogue> <parenthetical>( indicating Jerry . )</parenthetical> <dialogue>Let him go on.</dialogue> <character>JERRY</character> <dialogue>I can understand about the cat killing the first girl. Charlie How Come told me. All that noise and those lights - scared crazy it would do anything. Last night there was nothing to disturb it. Just a little girl alone in a cemetery.</dialogue> <character>ROBLES</character> <dialogue>What are you getting at?</dialogue> <character>JERRY</character> <dialogue>Nothing much - just that it might not be a cat this time.</dialogue> <scene_description>Robles smiles , Galbraith shakes his head . Jerry starts for the ladder .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>MED . SHOT - Charlie How - Come 's truck . Charlie is standing on the tailboard of the truck with a rubber exerciser in his hands . Beside him is an empty cage . He is giving his spiel but has only managed to attract an audience of small Mexican boys who obviously have not a dime among the dozen of them . Jerry is standing by watching him , obviously waiting for him to finish .</scene_description> <character>CHARLIE</character> <parenthetical>( spieling . )</parenthetical> <dialogue>Health - vigor - vitality - s - t - r - e - t - c - h -.</dialogue> <parenthetical>( suiting the action to the word . )</parenthetical> <dialogue>. s t r e t c h. Watch the panther! Watch the lion in the jungles! What do they do - s - t - r - e t - c - h.</dialogue> <parenthetical>( quieter and more confidential tone . )</parenthetical> <dialogue>Strength - strength and vitality. Here I can sell you the secret of the cat's strength - the cat's vitality. Only a dollar. Only a dollar.</dialogue> <scene_description>The group of small boys , sensing that this is the end of the show , have already started to disappear . Charlie climbs stiffly down from the truck and faces Jerry .</scene_description> <character>CHARLIE</character> <dialogue>Ca n't make a buck without my leopard. I tell you, Mr. Manning, you got ta find that cat for me - or pay up.</dialogue> <character>JERRY</character> <dialogue>Look, Charlie, just be patient. I'll fix everything. You do n't want that cat, anyway. It killed two people.</dialogue> <character>CHARLIE</character> <parenthetical>( shaking his head . )</parenthetical> <dialogue>No, sir. That girl in the cemetery? My cat did n't kill that girl. I told you cats do n't go around looking for trouble. If that cat's alive, it's out in the country hiding under a bush, starving to death.</dialogue> <character>JERRY</character> <parenthetical>( interested , but concealing it . )</parenthetical> <dialogue>You really think so, Charlie?</dialogue> <character>CHARLIE</character> <dialogue>That cat ai n't mean. I feed him out of my own hand for six years. Why do n't he kill me? At night in the truck, I let him out of the cage. When I am falling asleep I hear him walking back and forth. I go to sleep. He do n't hurt me.</dialogue> <character>JERRY</character> <dialogue>They all say the cat killed this second girl.</dialogue> <character>CHARLIE</character> <dialogue>They do n't say it to me.</dialogue> <character>JERRY</character> <dialogue>I'd like one of them to say it to you, Charlie. I'd like to have you hear his side of it his reasons. Want to hear them?</dialogue> <character>CHARLIE</character> <dialogue>Sure.</dialogue> <character>JERRY</character> <parenthetical>( taking his elbow . )</parenthetical> <dialogue>Let's get in your truck.</dialogue> <scene_description>They climb into the truck .</scene_description> <character>CHARLIE</character> <dialogue>Where's that man?</dialogue> <character>JERRY</character> <dialogue>Up at the museum.</dialogue> <scene_description>Charlie puts his foot on the starter and the motor coughs and wheezes into reluctant activity . DISSOLVE</scene_description> </scene> <scene> <stage_direction>EXT. PORTICO OF THE MUSEUM — DAY</stage_direction> <scene_description>The museum is built on a hilltop and from the portico we overlook the sagebrush and mesquite - covered hills of New Mexico , rolling away to the horizon . At one end of this open porch an old Indian hand loom has been set up and here an Indian woman in Zuni costume sits patiently weaving a rug , the shuttle flying back and forth monotonously , and the foot pedal creaking as she changes threads . Charlie and Jerry come into the portico and cross to the door . They push open the heavy bronze door and enter the museum .</scene_description> </scene> <scene> <stage_direction>INT. MUSEUM - DAY</stage_direction> <scene_description>This museum , probably erected with the aid of government funds , is well - proportioned and severely plain . A portico , a long , rectangular display room and a combined office and workshop in an alcove off the main room comprise the museum . The display room has glass showcases containing various Indian artifacts . On the walls are examples of Indian rug and blanket weaving , masks and ceremonial properties . Galbraith 's workshop is completely practical . A trestle table with an office armchair behind it , book shelves and transfer cases containing labeled shards and artifacts are in this alcove . On the trestle table , which Galbraith uses as a desk , is a reading glass on a fixed stand which he uses to examine specimens . Charlie and Jerry walk in . Charlie has evidently been here before because he shuffles down the main aisle through the display room without looking around . Jerry keeps pace with him but glances from side to side at various pieces . At the end of the museum they turn and enter the little alcove where Galbraith is seated at his desk . He is sharpening a pencil and does not look up . They wait .</scene_description> <character>GALBRAITH</character> <parenthetical>( looking up . )</parenthetical> <dialogue>Why, hello.</dialogue> <scene_description>He gets up , comes around the table .</scene_description> <character>JERRY</character> <dialogue>You know Charlie How - Come?</dialogue> <character>GALBRAITH</character> <dialogue>We're old friends.</dialogue> <scene_description>Charlie nods .</scene_description> <character>GALBRAITH</character> <parenthetical>( to Jerry . )</parenthetical> <dialogue>Come to look around?</dialogue> <character>JERRY</character> <dialogue>More or less.</dialogue> <character>GALBRAITH</character> <dialogue>I'll take you about. Got some nice things.</dialogue> <scene_description>He starts off and they follow him .</scene_description> <character>JERRY</character> <parenthetical>( as they walk . )</parenthetical> <dialogue>Charlie and I were talking. That's one reason I wanted to see you.</dialogue> <character>GALBRAITH</character> <parenthetical>( looks at him . )</parenthetical> <dialogue>About Charlie's leopard?</dialogue> <character>JERRY</character> <dialogue>Yes.</dialogue> <scene_description>They have reached the display room and pause a moment . From this point on , the CAMERA TRUCKS WITH them as they go . Galbraith acts as cicerone , conducting them about , walking ahead of them as he displays the exhibits .</scene_description> <character>GALBRAITH</character> <parenthetical>( pointing . )</parenthetical> <dialogue>Here is something that should interest Charlie - a stone leopard head made by his ancestors some six hundred years ago. They used it in ceremonies. The jaguar - in fact all the cat family - were considered the personification of force and violence in their religious rites.</dialogue> <character>CHARLIE</character> <parenthetical>( squinting at it . )</parenthetical> <dialogue>It do n't look like a leopard to me.</dialogue> <scene_description>They walk on . Jerry has paid no attention to the exhibit .</scene_description> <character>JERRY</character> <dialogue>Charlie does n't think the leopard killed the girl in the cemetery.</dialogue> <character>GALBRAITH</character> <parenthetical>( turning , with a smile . )</parenthetical> <dialogue>Charlie likes his leopard.</dialogue> <character>CHARLIE</character> <dialogue>Sure, I like my leopards</dialogue> <character>JERRY</character> <dialogue>But he admitted quick enough that it killed the first girl.</dialogue> <character>GALBRAITH</character> <parenthetical>( patiently . )</parenthetical> <dialogue>Well, Charlie, just why do you think your cat did n't kill the Contreras girl?</dialogue> <character>CHARLIE</character> <dialogue>You know - not scared enough. Nothing to scare it.</dialogue> <character>GALBRAITH</character> <dialogue>If a leopard did n't do it, who did?</dialogue> <character>JERRY</character> <dialogue>It could be a man.</dialogue> <character>GALBRAITH</character> <dialogue>It could be. Why would a man kill her? For what? It was n't robbery. It was n't a crime of jealousy or passion. She had no enemies.</dialogue> <scene_description>Charlie shrugs .</scene_description> <character>JERRY</character> <dialogue>There are all sorts of men. You get to see some funny ones as a reporter.</dialogue> <character>GALBRAITH</character> <parenthetical>( sagely . )</parenthetical> <dialogue>I can understand what you mean - demented men, pathological cases. But what sort of man would kill like a leopard and leave the traces of a leopard?</dialogue> <character>JERRY</character> <dialogue>Some crazy guy.</dialogue> <character>GALBRAITH</character> <dialogue>But he would have to know about leopards - have access to leopard claws and hair.</dialogue> <scene_description>They walk on . Galbraith points out a nicely molded jug .</scene_description> <character>GALBRAITH</character> <dialogue>Here's our prize exhibit - an artifact of the Paleolithic period.</dialogue> <scene_description>He looks into the case with a glance almost of affection , then turns back to Jerry .</scene_description> <character>GALBRAITH</character> <dialogue>We had given up digging in a certain barrow. I went back and I tried again. I just had a hunch.</dialogue> <character>JERRY</character> <parenthetical>( thoughtfully . )</parenthetical> <dialogue>A hunch - that's all I've got about this leopard thing. It's just a hunch, yet I feel it deep in the stomach. It was a man!</dialogue> <character>GALBRAITH</character> <dialogue>Yes, but what sort of a man?</dialogue> <character>JERRY</character> <dialogue>I do n't know.</dialogue> <character>GALBRAITH</character> <parenthetical>( turning toward Charlie chuckling . )</parenthetical> <dialogue>You, Charlie - you know leopards. You might have had an old claw around somewhere, and perhaps a bit of hair from the cage - -- eh?</dialogue> <character>CHARLIE</character> <parenthetical>( seeing the joke , with a wide grin . )</parenthetical> <dialogue>Sure!</dialogue> <character>JERRY</character> <dialogue>No. I'm serious about this.</dialogue> <character>GALBRAITH</character> <parenthetical>( still smiling . )</parenthetical> <dialogue>Oh, I'm only exploring your theory. Let's take a step further. You drink, do n't you, Charlie?</dialogue> <character>CHARLIE</character> <dialogue>I drink.</dialogue> <character>GALBRAITH</character> <dialogue>And when you drink, you get drunk.</dialogue> <scene_description>Charlie nods .</scene_description> <character>GALBRAITH</character> <dialogue>Then what do you do?</dialogue> <character>CHARLIE</character> <dialogue>I sleep it off.</dialogue> <character>GALBRAITH</character> <dialogue>But between the time you leave the cant ma and fall into bed in that old truck of yours, what happens, Charlie?</dialogue> <character>CHARLIE</character> <dialogue>I do n't know.</dialogue> <character>GALBRAITH</character> <parenthetical>( stopping near the door . )</parenthetical> <dialogue>That's just it, Charlie. That's what I'm driving at. You could do anything in that time.</dialogue> <character>JERRY</character> <dialogue>Charlie was n't drunk last night.</dialogue> <character>CHARLIE</character> <parenthetical>( very worried . )</parenthetical> <dialogue>Yes, I was drunk, Mr. Manning.</dialogue> <scene_description>Galbraith makes a gesture with his arms as if to say `` There you are . '' Charlie shakes his head .</scene_description> <character>GALBRAITH</character> <parenthetical>( with a wide friendly smile . )</parenthetical> <dialogue>See? There's a suspect for you, Jerry.</dialogue> <scene_description>Jerry looks over at Charlie , who is very woebegone , worried and nervous .</scene_description> <character>JERRY</character> <parenthetical>( taking his arm , kidding . )</parenthetical> <dialogue>Come on, Charlie. Let's go find another and better suspect.</dialogue> <character>GALBRAITH</character> <dialogue>Do n't you want to see the rest of the exhibit?</dialogue> <character>JERRY</character> <dialogue>Some other time.</dialogue> <scene_description>The men nod to each other . Jerry leads Charlie out .</scene_description> </scene> <scene> <stage_direction>EXT. MUSEUM PORTICO - DAY</stage_direction> <scene_description>Charlie and Jerry come out of the museum and stand for a moment on the edge of the steps . Behind there the Indian woman continues working at her loom , the heavy shuttle goes back and forth .</scene_description> <character>CHARLIE</character> <dialogue>I'm sick.</dialogue> <character>JERRY</character> <parenthetical>( reaching into his pocket . )</parenthetical> <dialogue>Here have a cigarette. He was only kidding.</dialogue> <character>CHARLIE</character> <dialogue>No, he was n't kidding. I'm sick. Claw women? Hurt little girls? No!</dialogue> <scene_description>Jerry is still holding the cigarette out toward him .</scene_description> <character>CHARLIE</character> <dialogue>I do n't know. I want to see Robles.</dialogue> <character>JERRY</character> <dialogue>What do you want to see him for?</dialogue> <character>CHARLIE</character> <dialogue>I want him to lock me up.</dialogue> <character>JERRY</character> <dialogue>Look, Charlie, you did n't do it, and you know you did n't.</dialogue> <character>CHARLIE</character> <dialogue>I do n't know. I want him to lock me up.</dialogue> <scene_description>He starts forward and Jerry goes with him . DISSOLVE</scene_description> </scene> <scene> <stage_direction>EXT. ENTRANCE TO THE ALLEY - DAY</stage_direction> <scene_description>Charlie 's truck is parked at one corner . He , Jerry and Robles stand in front of it talking .</scene_description> <character>CHARLIE</character> <dialogue>The Doc's right. I do n't know what I do when I get drunk. I do n't know.</dialogue> <character>ROBLES</character> <dialogue>This is crazy, Charlie. You know you did n't do it.</dialogue> <character>CHARLIE</character> <dialogue>You'd better lock me up.</dialogue> <character>JERRY</character> <dialogue>I've been trying to tell him, Sheriff. He wo n't listen to me.</dialogue> <character>ROBLES</character> <dialogue>Let me get one thing clear. Did Galbraith make a direct accusation?</dialogue> <character>JERRY</character> <dialogue>No. He was kidding Charlie.</dialogue> <character>CHARLIE</character> <dialogue>You'd better lock me up. If I do things like that I want to be put away. I do n't want to hurt nobody.</dialogue> <character>ROBLES</character> <parenthetical>( takes his arm . )</parenthetical> <dialogue>All right, Charlie. If it will relieve your mind, I'll put you away for a few days.</dialogue> <scene_description>DISSOLVE</scene_description> </scene> <scene> <stage_direction>INT. JAIL - NIGHT</stage_direction> <scene_description>MED . CLOSE SHOT - Charlie holding on to some cell bars , stands brooding . O.S. , we hear the sound of castanets . Charlie lifts his head to look out of an unseen window .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>TRUCKING SHOT - Clo - Clo , dressed in dancing costume , with a black shawl over it , passes along the street , clicking her castanets idly . From afar we hear a sad , sweet Mexican love song , being sung in a high tenor voice . Clo - Clo passes a dimly lit doorway , and we see a woman sprinkling holy water on the door step from a font that hangs beside the door .</scene_description> <character>MEXICAN WOMAN</character> <dialogue>Valganos Dios.</dialogue> <scene_description>She makes the sign of the cross and softly closes the door . Further down the street , two policemen pass Clo -- Clo , walking in step . She grins at them .</scene_description> <character>CLO-CLO</character> <dialogue>Two men for one beat? Afraid of the big cat?</dialogue> <character>FIRST POLICEMAN</character> <parenthetical>( grinning . )</parenthetical> <dialogue>Sure. I've got a family.</dialogue> <scene_description>They pass on . The CAMERA FOLLOWS Clo -- Clo . The love song has grown louder and clearer and now we come to its source . A young boy is perched on ton of some vegetable crates on an old truck parked alongside the curb . He is singing for his own pleasure and hardly notices Clo - Clo as she passes . Smiling , she lifts one pair of castanets to follow the beat of his song . He waves to her and she passes on into the darkness beyond the truck . The CAMERA HOLDS for a moment on the young boy as the castanets , playing the rhythm of his song , fade away in the distance . DISSOLVE</scene_description> </scene> <scene> <stage_direction>EXT. PATIO OF EL PUEBLO - NIGHT</stage_direction> <scene_description>The patio is pretty well filled with patrons . Clo - Clo , crossing the patio from the entrance gates to the bar in the rear , skirts the dance floor -- - watching the customers with amusement . In doing so , she almost bumps into a waiter with a full tray . To let him pass , she backs aside and stands by one of the tables . At this table are three people ; John Brunton , his daughter , Helene and her husband , Dwight . John Brunton is a heavy -- set , rather impressive looking man of about sixty Because he is an older man with the air of authority which comes from success and money , you have to look twice to catch both the gaiety and the gentle irony in his eyes . Helene and Dwight are two of his closest reasons for that irony . They are nice - looking , well -- groomed , somewhat conventionally smart people . Waiting for the waiter to go by , Clo - Clo half turns and looks down at the three people . She smiles .</scene_description> <character>CLO-CLO</character> <dialogue>Hello -- -</dialogue> <scene_description>Helene looks up coolly at Clo - Clo and then reaches for her cigarette case . Dwight , with a faint smile which is intended to put brash women in their places , busies himself lighting Helene 's cigarette . Brunton looks up at Clo - Clo end gives her a friendly smile .</scene_description> <character>BRUNTON</character> <dialogue>Hello, there.</dialogue> <scene_description>Clo - Clo continues on her way to the bar , without looking back .</scene_description> <character>DWIGHT</character> <parenthetical>( fretfully looking at his wristwatch . )</parenthetical> <dialogue>It's been half an hour since we ordered.</dialogue> <character>BRUNTON</character> <dialogue>Let's have a drink while we're waiting.</dialogue> <scene_description>Brunton leans back a little and cranes his neck to see if he can locate the waiter . Helene puts her hand over his on the table .</scene_description> <character>HELENE</character> <parenthetical>( sweetly . )</parenthetical> <dialogue>Do n't bother. I do n't want one - -- do you, Dwight?</dialogue> <scene_description>Dwight , disinterested , shrugs his shoulders . Helene gives him one of those say - something - dope looks .</scene_description> <character>DWIGHT</character> <parenthetical>( hastily . )</parenthetical> <dialogue>No -- - no, thank you.</dialogue> <scene_description>The music has stopped and the dancers applaud in the brief pause , Then the orchestra starts again - this time a tango .</scene_description> <character>BRUNTON</character> <parenthetical>( brightening . )</parenthetical> <dialogue>Want to dance, Helene?</dialogue> <character>HELENE</character> <parenthetical>( shrugging her , shoulders . )</parenthetical> <dialogue>I suppose so -</dialogue> <scene_description>As she starts to rise , he gets up to pull back her chair .</scene_description> <character>HELENE</character> <dialogue>Dwight -</dialogue> <scene_description>Dwight rises from the table and the two of them walk over to the dance floor . Brunton watches them as they go off . Then he walks away , in the direction of the bar .</scene_description> </scene> <scene> <stage_direction>INT. BAR AT EL PUEBLO - NIGHT</stage_direction> <scene_description>Quite a crowd of people are standing around the bar , either waiting for their drinks or drinking them there . Others are seated at the small tables here and there on the veranda that houses the bar . At a table quite near the steps leading down to the patio , Clo - Clo is seated . A tall , thin goblet of beer stands in front of her . Brunton starts up the steps . Seeing him , Clo - Clo grabs the beer and puts it on the floor between her chair and the veranda railing . Then she starts looking toward the bar , as if waiting for someone to wait on her . As Brunton comes to the top of the steps Clo - Clo just `` happens '' to catch his eyes .</scene_description> <character>BRUNTON</character> <parenthetical>( pleased . )</parenthetical> <dialogue>Hello!</dialogue> <character>CLO- CLO</character> <parenthetical>( turning on the charm and the gamin grin . )</parenthetical> <dialogue>I think we are playing tag - or maybe hide - and - seek, huh?</dialogue> <scene_description>Brunton steps over to her table and stands with his band on the back of the unoccupied chair - a little uncertainly .</scene_description> <character>BRUNTON</character> <dialogue>Is someone with you - can I get you a drink?</dialogue> <character>CLO-CLO</character> <dialogue>Why not?</dialogue> <scene_description>DISSOLVE</scene_description> </scene> <scene> <stage_direction>EXT. PATIO AT EL PUEBLO - NIGHT</stage_direction> <scene_description>Helene and Dwight are seated at the table again . A waiter is serving the dinner they hate been waiting for .</scene_description> <character>HELENE</character> <parenthetical>( savagely . )</parenthetical> <dialogue>It's taken this impossible trip to show me what an old fool father has become!</dialogue> <scene_description>Dwight rises from the table .</scene_description> <character>DWIGHT</character> <dialogue>I'll look for him. He's probably in the bar.</dialogue> <character>HELENE</character> <dialogue>Probably.</dialogue> </scene> <scene> <stage_direction>INT. BAR AT EL PUEBLO - NIGHT</stage_direction> <scene_description>Brunton is now seated at the little table with Clo - Clo . Near them , a waiter is preparing to open a bottle of champagne from an ice bucket .</scene_description> <character>BRUNTON</character> <parenthetical>( to the waiter . )</parenthetical> <dialogue>Just a moment.</dialogue> <parenthetical>( to Clo -- Clo . )</parenthetical> <dialogue>Look -- - you've ordered this stuff like a sensible girl - but you do n't have to drink it.</dialogue> <scene_description>Clo -- Clo studies him , a little warily .</scene_description> <character>BRUNTON</character> <dialogue>Do you want it? Or do you want another beer?</dialogue> <scene_description>He looks over the side of the table and gently nudges the hidden goblet with the toe of his shoe , For a moment Clo -- Clo is startled -- then she begins to grin .</scene_description> <character>BRUNTON</character> <parenthetical>( to the waiter . )</parenthetical> <dialogue>Two beers - big ones!</dialogue> <scene_description>Brunton looks off toward the steps . An expression of dismay comes over his face . Clo -- Clo turns around to see Dwight coming up to them . Dwight looks from Clo - Clo to the unopened champagne -- - and then smiles at his father - in -- law with a disagreeably `` understanding '' smirk .</scene_description> <character>DWIGHT</character> <dialogue>They've finally gotten around to our dinner -</dialogue> <character>BRUNTON</character> <parenthetical>( shortly . )</parenthetical> <dialogue>I'll be there In a few minutes.</dialogue> <character>DWIGHT</character> <parenthetical>( nasty - nice . )</parenthetical> <dialogue>Sorry - but you know how Helene is - she's been worrying about you -</dialogue> <scene_description>Still smiling , Dwight turns away . Clo - Clo looks after him and then straightens around and faces Brunton again .</scene_description> <character>BRUNTON</character> <dialogue>My son -- in -- law. What do you think of him?</dialogue> <character>CLO-CLO</character> <parenthetical>( flippantly . )</parenthetical> <dialogue>That depends. How much money has he?</dialogue> <scene_description>Brunton studies her - not disapprovingly , but as he would study a child or an animal that appealed to him .</scene_description> <character>BRUNTON</character> <dialogue>When you marry champagne, Clo - Clo, you ca n't trade it in for beer. You're stuck with it.</dialogue> <character>CLO-CLO</character> <dialogue>I ca n't understand that fancy talk.</dialogue> <parenthetical>( excitedly . )</parenthetical> <dialogue>You mean I'm a gold - digger? Sure, I'm a gold - digger - why not?</dialogue> <character>BRUNTON</character> <parenthetical>( echoing her calmly . )</parenthetical> <dialogue>Why not - if you like it -- - if that's what you really want.</dialogue> <scene_description>Clo - Clo sniffs angrily . The waiter serves the two glasses of beer . Clo -- Clo grabs hers and gulps thirstily .</scene_description> <character>CLO-CLO</character> <dialogue>Maybe I should just forget all about money - forget about mamma and the kids and the rent, huh - marry some poor dope like - oh, like Carlos Dominguez - and get fat and -- -</dialogue> <character>BRUNTON</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Who's Carlos Dom - what's - his - name?</dialogue> <scene_description>Clo -- Clo shrugs her shoulders in a dramatic gesture of indifference .</scene_description> <character>CLO-CLO</character> <dialogue>Nobody. A boy who works in a grocery.</dialogue> <character>BRUNTON</character> <parenthetical>( watching her . )</parenthetical> <dialogue>Good looking?</dialogue> <character>CLO-CLO</character> <dialogue>Mmm -- -- -- yes.</dialogue> <character>BRUNTON</character> <dialogue>Nice fellow?</dialogue> <scene_description>Again Clo - Clo shrugs her shoulders .</scene_description> <character>BRUNTON</character> <dialogue>Is he in love with you?</dialogue> <character>CLO-CLO</character> <dialogue>I do n't know -- -</dialogue> <scene_description>Clo -- Clo looks down at her glass of beer , sullenly . Brunton watches her , not saying anything .</scene_description> <character>CLO-CLO</character> <parenthetical>( in a sudden outburst . )</parenthetical> <dialogue>Why do you ask so many questions? What difference does it make how Carlos and I feel? Feeling does not buy clothes and houses!</dialogue> <character>BRUNTON</character> <parenthetical>( kindly . )</parenthetical> <dialogue>Drink your beer and do n't get so excited.</dialogue> <scene_description>In spite of herself , Clo - Clo starts smiling . Brunton smiles back at her and lifts his glass of beer . She lifts hers to touch it in salute . The Brunton 's table . The younger Bruntons are half - way through dinner . He looks at his watch . She frowns . She rises and he helps her on with her stole . John Brunton is still seated at the little table . He is laughing and coughing from the exertion of the laughter . Clo Clo stands behind him , thumping him on the back . She looks worried . Several people in the bar are watching them with amusement - but a nice kind of amusement .</scene_description> <character>CLO-CLO</character> <dialogue>You'll kill yourself. Is n't there something sad we can talk about, just until you get over this?</dialogue> <scene_description>Brunton wipes the tears of laughter from his eyes .</scene_description> <character>BRUNTON</character> <dialogue>That's what we were supposed to be doing this time. But the sadder you try to be, the funnier it comes out!</dialogue> <character>HELENE' S VOICE</character> <dialogue>Father!</dialogue> <scene_description>Brunton makes a little face and then turns around to see Helene who is coming coward him from the steps .</scene_description> <character>HELENE</character> <parenthetical>( furiously . )</parenthetical> <dialogue>We finished dinner hours ago.</dialogue> <scene_description>Brunton gets to his feet .</scene_description> <character>BRUNTON</character> <parenthetical>( wearily . )</parenthetical> <dialogue>All right. I'll be with you as soon as I've settled this -- --</dialogue> <scene_description>He waves his hand at the glasses on the little table . With a fishy eye for Clo - Clo , Helene turns and goes back down the steps .</scene_description> <character>CLO-CLO</character> <dialogue>Why do you let her boss you around like that? Give her a good slap and tell her to keep still!</dialogue> <scene_description>Brunton chuckles . He takes some change from his pocket and puts it down on the little table . The waiter from the patio comes up the stairs and hands him the bill on a plate .</scene_description> <character>WAITER</character> <dialogue>Madame will be waiting at the entrance - --</dialogue> <scene_description>Brunton looks at the bill and then reaches into an inner pocket for a wallet . He takes a couple of greenbacks from it and hands them to the waiter . The waiter bows and smiles and goes off .</scene_description> <character>CLO—CLO</character> <parenthetical>( muttering . )</parenthetical> <dialogue>Madame will be waiting - Madame ought to go on waiting! To have such a father and treat him like a poor cousin!</dialogue> <scene_description>Brunton smiles again - he starts to put his wallet away -- then opens it up again and takes a single bill from another compartment . He puts it in Clo - Clo 's hand and folds her fingers over it .</scene_description> <character>BRUNTON</character> <dialogue>This is for `` mama and the kids.''</dialogue> <character>CLO-CLO</character> <parenthetical>( without looking at the bill ; kidding . )</parenthetical> <dialogue>What about me?</dialogue> <character>BRUNTON</character> <dialogue>You get your money from your husband.</dialogue> <scene_description>Clo -- Clo stares at him .</scene_description> <character>BRUNTON</character> <dialogue>Carlos What's - His - Name - the boy at the grocer.</dialogue> <scene_description>Clo - Clo looks at him questioningly for a moment -- - then very suddenly puts her arms around his neck and kisses his cheek . Brunton , greatly touched , pats her shoulder . They smile at each other - and then Brunton turns and walks away . Clo - Clo looks after him , then down at her hand . She lifts the fingers from the bill crushed in her palm . Her eyes widen in shocked amazement . INSERT $ 100 bill , crumpled in her hand - The fingers close on it again . BIG HEAD CLOSE - UP - Clo - Clo . She smiles happily and starts off . DISSOLVE IN</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Clo - Clo is scurrying down the street as fast as her stilt heeled pump will carry her . Her face is bright with excitement and she hums to herself , snapping her fingers in imitation of her castanets . She passes the flower shop and then the window of the store where Maria tells fortunes . Clo Clo hesitates - goes back and peers through the window .</scene_description> </scene> <scene> <stage_direction>INT. FORTUNE TELLING BOOTH - NIGHT</stage_direction> <scene_description>The interior of the store is dismal . On one wall hangs a phrenological chart . In the center of the room is a plain kitchen table with two rickety chairs , one of them a bentwood affair with a sagging cane seat . On the table sleeps a white cat , curled up against a cracked crystal ball . A cheap thick restaurant saucer on the table is more than half -- filled with cigarette butts and ashes . Maria is seated at the table . A cigarette is in her mouth . She just sits there , not touching the deck of cards in front of her -- -- staring across at the wall . There is the sound of the door opening and Maria looks up . She says nothing as Clo - Clo comes into the place , but waits until Clo - Clo stands beside the table .</scene_description> <character>MARIA</character> <dialogue>Well - did he give you a lot of money?</dialogue> <character>CLO-CLO</character> <dialogue>Who?</dialogue> <character>MARIA</character> <dialogue>The elderly man I told you about.</dialogue> <scene_description>Clo - Clo shrugs her shoulders and sits down at the table ,</scene_description> <character>CLO-CLO</character> <dialogue>He was old enough - but you slipped up on the money. Try it again, why do n't you?</dialogue> <scene_description>Maria looks at her sardonically , but obligingly picks up the deck of cards .</scene_description> <character>MARIA</character> <dialogue>Put your wish in them.</dialogue> <scene_description>Clo - Clo shuffles thorn a few times and then hands them to Maria . Maria cuts them into seven piles , face down . She starts turning up the top card on each pile .</scene_description> <character>MARIA</character> <dialogue>Money?</dialogue> <scene_description>She looks up at Clo - Clo who maintains a completely blank expression . Clo - Clo smiles .</scene_description> <character>CLO-CLO</character> <dialogue>Maybe a honeymoon -</dialogue> <scene_description>Maria starts to turn up the next card , with a practiced roll of the wrist -- - as she sees what it is , however , she drops it and quickly swirls all the cards together again and hands the pack to Clo - Clo .</scene_description> <character>MARIA</character> <dialogue>Cut.</dialogue> <character>CLO-CLO</character> <parenthetical>( astounded . )</parenthetical> <dialogue>What are you doing that for?</dialogue> <scene_description>Maria shrugs her shoulders . Clo - Clo cuts the deck into three sections . Maria starts turning the top cards .</scene_description> <character>MARIA</character> <parenthetical>( murmuring . )</parenthetical> <dialogue>Again -</dialogue> <scene_description>Clo - Clo looks down at the cards , perplexed because Maria is perplexed . She sees a ten of diamonds followed by a four of spades . The third pile is still untouched .</scene_description> <character>MARIA</character> <dialogue>Something black -- - something on its way to you -- --</dialogue> <character>CLO-CLO</character> <dialogue>Go on - --</dialogue> <scene_description>Maria stares down at the third pack and then , with a deft twist , flips the top card face up . Almost simultaneously , Maria slaps her hand over it .</scene_description> <character>MARIA</character> <parenthetical>( sharply . )</parenthetical> <dialogue>Do n't look at it!</dialogue> <character>CLO-CLO</character> <parenthetical>( whispering . )</parenthetical> <dialogue>Let me see it -- --</dialogue> <scene_description>Slowly , seemingly reluctantly , Maria uncovers the card . INSERT The Ace of Spades .</scene_description> <character>CLO-CLO</character> <dialogue>The death card -</dialogue> <character>MARIA</character> <dialogue>Maybe not - cards mean different things different times -</dialogue> <scene_description>Clo - Clo just stands there , staring down at the card . Clo - Clo nods her head slowly . She lays some silver on the table in payment for the reading , then goes across the room to the door . Maria stands up and walks over to join her . Clo Clo stands looking out of the door . She turns abruptly to Maria , at her elbow .</scene_description> <character>CLO-CLO</character> <dialogue>Walk a little ways with me -- -?</dialogue> <scene_description>Maria shrugs her shoulders . Clo -- Clo starts out the door , Maria behind her .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Clo - Clo and Maria walk in silence past the doorway where Shorty blew the smoke ring , past the perch where the boy and girl were kissing - past the dark Delgado house . Clo -- Clo glances up at the window as they go by .</scene_description> </scene> <scene> <stage_direction>EXT. STREET CORNER - NIGHT</stage_direction> <scene_description>The sidewalk is so high above the street here that there are three stone steps set in the curb . Clo - Clo goes down the steps , but Maria stops at the top . Clo -- Clo turns and looks up at her .</scene_description> <character>CLO-CLO</character> <dialogue>Well -- --</dialogue> <scene_description>Maria says nothing , Just stands there with an odd , mocking little smile on her face .</scene_description> <character>CLO-CLO</character> <dialogue>See you tomorrow -- -</dialogue> <character>MARIA</character> <dialogue>Tomorrow - --</dialogue> <scene_description>Clo -- Clo continues across the street and up the curb steps on the other side . At the top of those steps , she turns and looks back . The corner where she had left Maria is now empty . The moonlit street stretches deserted on either side . Clo - Clo hurries on again , almost running . DISSOLVE</scene_description> </scene> <scene> <stage_direction>EXT. STREET CORNER RESIDENTIAL DISTRICT - NIGHT</stage_direction> <scene_description>This is a nice residential section , more American in feeling than the other streets we have seen . There are trees on either side of the street and the moonlight makes lacy patterns through them . A shoulder - high brick wall encloses the garden of the house on the corner . Clo - Clo is walking along this brick wall . A purr of sound quickly lifts to the sound of a high - powered motor and the glare of headlights precede a long , low black roadster . The car comes around the corner and stops . A young man leans out on the driver 's side</scene_description> <character>YOUNG MAN</character> <dialogue>Hey, chiquita, want a lift?</dialogue> <scene_description>Clo - Clo stops and eyes him speculatively .</scene_description> <character>CLO—CLO</character> <dialogue>What way are you going?</dialogue> <character>YOUNG MAN</character> <dialogue>Your way -- --</dialogue> <scene_description>Clo - Clo suddenly shrinks back , horror coming into her eyes .</scene_description> <character>YOUNG MAN</character> <dialogue>What's the matter?</dialogue> <character>CLO-CLO</character> <dialogue>Your car -- -- what color is it?</dialogue> <character>YOUNG MAN</character> <dialogue>Black.</dialogue> <scene_description>Clo - Clo backs up against the brick wall .</scene_description> <character>CLO-CLO</character> <parenthetical>( shrilly . )</parenthetical> <dialogue>Get outta here! Get away from me with that thing!</dialogue> <character>YOUNG MAN</character> <parenthetical>( dumbfounded . )</parenthetical> <dialogue>What do you mean - -- `` thing''?</dialogue> <scene_description>Clo - Clo starts running along the wall , looking back in terror over her shoulder . The young man looks after her dumbfounded . DISSOLVE</scene_description> </scene> <scene> <stage_direction>EXT. CLO-CLO'S HOUSE - NIGHT</stage_direction> <scene_description>This is a small , ordinary clapboard house . In front of it is a scraggly , dusty attempt at a lawn and garden . A mongrel pup lies on the dusty path sleeping . Suddenly he leaps up and barks sharply .</scene_description> <character>CLO—CLO'S VOICE</character> <dialogue>Be still, Pancho!</dialogue> <scene_description>Clo - Clo walks up the path to the house . She opens the front door , pushes Pancho away with her foot and slips into the house , closing the door behind her .</scene_description> </scene> <scene> <stage_direction>INT. CLO-CLO'S BEDROOM - NIGHT</stage_direction> <scene_description>In the shadowy light of a single candle , Clo - Clo 's small bedroom can be seen only dimly . In it are a bed with iron bedstead , an ancient wooden rocking - Chair , a chest of drawers , and a little child 's bed . The candle stands in a saucer on top of the chest . A little girl is sleeping in the large bed . Clo - Clo comes into the room . She sits down on the edge of the bed and pulls the little girl into her arms . The child murmurs sleepily and snuggles up to Clo - Clo .</scene_description> <character>CLO-CLO</character> <parenthetical>( happily . )</parenthetical> <dialogue>Pepita, tomorrow. I'm going to buy you the most beautiful silk dress in the world.</dialogue> <scene_description>The little girl tries to open her eyes , but the lids flutter closed again and the child goes on sleeping .</scene_description> <character>CLO-CLO</character> <parenthetical>( laughing softly . )</parenthetical> <dialogue>You do n't believe me, do you?</dialogue> <scene_description>She lays the child in the smaller bed and pulls up the full , ruffled skirt of her costume .</scene_description> <character>CLO-CLO</character> <dialogue>Wait until you see what I have -- then you'll wake up.</dialogue> <scene_description>She runs her finger under the rolled top of one of her silk stockings . She looks startled . Then , she stands up and pulls the costume back over the other leg . She looks in that stocking roll . She stands stricken under the realization that she has lost the money .</scene_description> <character>MOTHER'S VOICE</character> <dialogue>Is that you Gabriela? What's the matter?</dialogue> <scene_description>Clo - Clo does n't answer . She scuffs off her shoes and looks in them . She drags off the long stockings , standing first on one leg and then the other . She turns them inside out and shakes them . Clo - Clo 's mother appears in the doorway . She is a prematurely - aged woman with her hair in two braids and wearing a torn wrapper .</scene_description> <character>MOTHER</character> <dialogue>What are you doing? Have you lost something?</dialogue> <character>CLO-CLO</character> <parenthetical>( tensely . )</parenthetical> <dialogue>Yes. Money. I must have lost it in the street.</dialogue> <scene_description>Clo - Clo thrusts her feet into the slipper , not bothering to put the stockings on again . She grabs up a shawl from the foot of the bed and throws it over her shoulders .</scene_description> <character>MOTHER</character> <dialogue>Are you going out again, hijita? Why do n't you stay home and rest - --</dialogue> <scene_description>Clo -- Clo stops to kiss her mother 's forehead and then goes swiftly out the door , past her . The Mother turns to follow her .</scene_description> <character>MOTHER</character> <parenthetical>( urgently . )</parenthetical> <dialogue>Gabriela!</dialogue> <scene_description>DISSOLVE</scene_description> </scene> <scene> <stage_direction>EXT. STREET CORNER IN RESIDENTIAL DISTRICT - NIGHT</stage_direction> <scene_description>Clo - Clo walks into the scene very slowly , scanning every inch of the sidewalk , from the curb to the brick wall and back again , over and over as she moves toward the corner . She retraces the pattern of her steps when she stopped to talk to the Young Man - out to the curb -- -- back to the wall and along the wall to the corner . She then turns the corner .</scene_description> </scene> <scene> <stage_direction>EXT. STREET WITH RAMADA - NIGHT</stage_direction> <scene_description>Clo - Clo looks down her side of this street . She looks across the street . Clo -- Clo half turns , as if to retrace her steps -- - but just then something further down the sidewalk catches her eye . She runs along the wall and leans down to grab at the bit of folded green and white paper there . The elation dies from her face . Stonily , rigidly she stares at it , the wrapper from a stick of gum . There is a tiny sound - no more than a flicker of sound . Clo -- Clo lifts her face slowly . There is no movement anywhere , no further sound . Clo - Clo looks to the building . There are alternate bands of black darkness and moonlight . Clo -- Clo 's eyes move from one to another . There is no movement behind any of them . Frowning a little , Clo - Clo starts back toward the corner . As she moves , she hears footsteps across the street in the black shadows . Listening , she walks more softly . But there is no fear in her expression or her posture . She is only curious . Suddenly , she whirls and looks across the street . There is nothing over there , nothing moving , nothing making sound . She walks on to the corner arid , looking back once , goes on around the corner .</scene_description> </scene> <scene> <stage_direction>EXT. STREET CORNER IN RESIDENTIAL DISTRICT - NIGHT</stage_direction> <scene_description>Clo -- Clo walks away from the corner , along the brick wall , very slowly . Her eyes go from side to side and she turns her head slightly , as she listens . She stops . Behind her , back around the corner , she hears footsteps -- - and then an imitative silence . She takes a few more steps , stops suddenly again - -- and again the pursuing footsteps overlap hers . As Clo - Clo stands there , the silence is protracted . Puzzled , but still showing no expression or gesture of fear , Clo - Clo listens , then smiles and turns back .</scene_description> <character>CLO-CLO</character> <parenthetical>( smiling ; speaks softly . )</parenthetical> <dialogue>Carlos -- -</dialogue> <scene_description>She gets as far as the corner , throws away her cigarette and takes a compact and lipstick from her pocket . She holds up the compact mirror and starts to outline her lips with the lipstick . BIG CLOSEUP -- Clo -- Clo . There is a tiny sound - and some grains of pebble and brick - dust trickle down the wall behind Clo - Clo 's head . She looks down , puzzled , and then - very slowly - lifts her head . Enormous HEAD CLOSEUP of Clo - Clo . The mouth goes slack and the eyes widen in the shock of absolute horror . A FLASH of the lipstick dropping from Clo - Clo 's limp fingers . A hoarse cry of terror is broken off by a violent snarl and a FLASH of Clo - Clo 's body arching back - almost in the posture of a dance - away from the assault of something black which rises from lower left - hand corner of the frame and instantly blacks out the entire screen . We FADE ON her still glowing cigarette in the gutter . FADE IN</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY - DAY</stage_direction> <scene_description>MED . LONG SHOT - Clo - Clo 's grave . The coffin , on canvas strap supports , is being held over the open grave by four black suited attendants . The priest stands at the head of the grave , dressed in his vestments , and with the open prayer book in his hand . At the grave side are a few mourners , Clo Clo 's mother and her little covey of brothers and sisters are all huddled together at the foot of the grave . Between them and the priest stand a small group : Robles , Jerry , Mr. Brunton , Galbraith , Charlie How - Come , the Florist and Belmonte . The priest is just finishing the service .</scene_description> <character>PRIEST</character> <dialogue>Anima ejus, et animae omnium fidelium defunctorum, per misericordiam Dei, requiscant in pace.</dialogue> <character>OMNES</character> <dialogue>Amen.</dialogue> <scene_description>From some distance away we hear the tolling of church bells . The attendants slowly begin to lower the coffin into the grave . The florist who had begrudged Clo - Clo one wilted flower comes forward and lays a whole armful of roses on the descending coffin . Jerry follows him . He puts Clo - Clo 's castanets among the flowers . The coffin sinks slowly from sight . One of the attendants takes a spade . We hear the hollow thump of the first spadeful as it strikes the casket . DISSOLVE CUT</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY GATE - - DAY</stage_direction> <scene_description>Robles , Charlie , Jerry and Galbraith come out of the cemetery together . They are walking slowly , evidently still somewhat under the sombre influence of the ceremony they have just witnessed .</scene_description> <character>GALBRAITH</character> <parenthetical>( to Robles . )</parenthetical> <dialogue>Have you sent for the state hunters?</dialogue> <character>ROBLES</character> <dialogue>I wired this morning.</dialogue> <character>JERRY</character> <dialogue>State hunters?</dialogue> <character>ROBLES</character> <dialogue>Professional hunters, who rid the state of cougars.</dialogue> <scene_description>The men have paused just outside the cemetery gate .</scene_description> <character>JERRY</character> <parenthetical>( incredulously . )</parenthetical> <dialogue>You still believe it's the leopard?</dialogue> <scene_description>Robles stares at Jerry .</scene_description> <character>ROBLES</character> <dialogue>Have n't you seen the evidence, have n't you heard the testimony?</dialogue> <character>GALBRAITH</character> <dialogue>Is there anything In Clo - Clo's death, Jerry, to suggest it was n't the leopard?</dialogue> <character>JERRY</character> <dialogue>Yes. The lipstick.</dialogue> <character>ROBLES</character> <dialogue>Why?</dialogue> <character>JERRY</character> <dialogue>Ask Kiki. Ask any woman. Girls do n't put on lipstick in the middle of the night on a dark, lonely street unless they're with a man or expecting a man.</dialogue> <scene_description>Robles and Galbraith look at Jerry . There is some admission of agreement in their very silence , as they weigh what he has said .</scene_description> <character>GALBRAITH</character> <dialogue>It is possible -</dialogue> <character>ROBLES</character> <dialogue>Just the same - I am going to use the state hunter. Well - come on, Charlie, I'll give you a lift back into town.</dialogue> <scene_description>Robles starts off and Charlie obediently starts after him . But Charlie stops and turns back to Jerry and Galbraith .</scene_description> <character>CHARLIE</character> <parenthetical>( to Galbraith . )</parenthetical> <dialogue>Now I know I did n't hurt nobody when I was drunk -</dialogue> <character>GALBRAITH</character> <parenthetical>( kindly . )</parenthetical> <dialogue>Of course, not, Charlie. I never thought you did.</dialogue> <character>CHARLIE</character> <dialogue>And my leopard - maybe he hurt the first girl - but no more.</dialogue> <scene_description>Charlie , looking satisfied at having had his say , turns and goes off after Robles . Jerry and Galbraith start off in the opposite direction . THE CEMETERY WALL - DAY TRUCKING SHOT with Robles and Jerry as they walk along .</scene_description> <character>JERRY</character> <dialogue>You must admit it's possible that it might have been a man.</dialogue> <character>GALBRAITH</character> <dialogue>Just barely possible - yes.</dialogue> <scene_description>Jerry pauses and Galbraith stops and looks at him inquiringly .</scene_description> <character>JERRY</character> <dialogue>You know a lot. You've taken a lot of fancy courses in colleges and that kind of stuff - what kind of a man would kill like that?</dialogue> <character>GALBRAITH</character> <dialogue>But all those fancy courses were about the dead, Jerry, not the living.</dialogue> <character>JERRY</character> <dialogue>All right - the dead, then. In history there must have been men like that - men with kinks in their brains -</dialogue> <scene_description>Galbraith nods his head . He starts walking slowly forward again and Jerry goes along with him .</scene_description> <character>GALBRAITH</character> <dialogue>Yes. There have been men who kill for pleasure - strange pleasure. There was Blue Beard in France - Jack The Ripper in London. It's not uncommon.</dialogue> <character>JERRY</character> <dialogue>If there were a man like that, with a kink in his brain around here loose, what would he be like.</dialogue> <character>GALBRAITH</character> <dialogue>To the eye? Like other men.</dialogue> <character>JERRY</character> <dialogue>I do n't mean that. How would he act? What would he do?</dialogue> <character>GALBRAITH</character> <dialogue>He'd act normally when he was with other people. It would be a man who suffered remorse and even pity when it was all over.</dialogue> <character>JERRY</character> <dialogue>Could n't you tell a man like that when you saw him?</dialogue> <character>GALBRAITH</character> <dialogue>No. He would be a hard man to find, Jerry. Particularly if he were a clever men. He would go about his ordinary business calmly and coolly except when the fit to kill was on him.</dialogue> <character>JERRY</character> <dialogue>You've thought of all this before. You know it is n't the leopard -- --.</dialogue> <parenthetical>( insistently . )</parenthetical> <dialogue>Do n't you?</dialogue> <scene_description>Galbraith makes no answer . Jerry looks at him and senses the finality in this . The two men start walking once more . KIKI 'S DRESSING ROOM - DAY Jerry , Kiki and Eloise are in the dressing room . Jerry and Kiki are dressed for travelling . Kiki is wearing a suit and her hat and topcoat are on the table . Standing on the floor , near the door , are a couple of suitcases . Both Kiki end Eloise are holding paper cups in their hands . Jerry is Just finishing filling Kiki 's cup from a champagne bottle -LRB- split -RRB- .</scene_description> <character>JERRY</character> <dialogue>There you are -- -</dialogue> <scene_description>Jerry crosses to Eloise and fills the cup she holds out . Eloise looks at him with sentimental fondness .</scene_description> <character>ELOISE</character> <dialogue>Oh, dear - I do n't know what I'm going to do without you - honestly, I do n't -- --</dialogue> <character>KIKI</character> <parenthetical>( amused . )</parenthetical> <dialogue>Hey -- -- I'm over here.</dialogue> <character>ELOISE</character> <parenthetical>( not taking her eyes off Jerry . )</parenthetical> <dialogue>I'll miss you too, honey -</dialogue> <scene_description>Jerry grins at her . He fills a cup for himself and puts the bottle down on the dressing table . Then he lifts the cup to Kiki .</scene_description> <character>JERRY</character> <dialogue>Well - -- here's to luck in Chicago.</dialogue> <character>ELOISE</character> <dialogue>Chicago! Imagine getting out of all this silly scenery and opening in a real city!</dialogue> <character>JERRY</character> <parenthetical>( a little smugly . )</parenthetical> <dialogue>Not bad, huh? And this place closing for the week -- end gives us a couple of extra days to rest up.</dialogue> <character>KIKI</character> <dialogue>I can use them.</dialogue> <character>JERRY</character> <dialogue>Do they close up every year for this Processionist business?</dialogue> <character>ELOISE</character> <parenthetical>( nodding . )</parenthetical> <dialogue>It's the big religious ceremony around here. You really ought to see the procession - why do n't you wait over -- -- say, who knows, I might be able to scare up some money and go with you then!</dialogue> <character>JERRY</character> <parenthetical>( laughing . )</parenthetical> <dialogue>You're sure crazy to get out of here, are n't you?</dialogue> <character>ELOISE</character> <dialogue>You know what it is to be ambitious - -- but you two are already on your way - I have n't even started.</dialogue> <scene_description>The door opens , simultaneously with a knock , and a Mexican waiter appears with a large box of flowers in his hands . He hands the box of flowers to Jerry , who is nearest him .</scene_description> <character>WAITER</character> <dialogue>These for the Senorita Kiki. And the cab is coming soon.</dialogue> <character>JERRY</character> <parenthetical>( happily . )</parenthetical> <dialogue>Okay, Kiki - here we go!</dialogue> <scene_description>They start out . The CAMERA HOLDS ON Eloise as she watches them go . DISSOLVE</scene_description> </scene> <scene> <stage_direction>INT. OF THE CAB - DAY</stage_direction> <scene_description>Kiki and Jerry are seated side by side in the cab . The box of flowers is between them . It is covered , but the ribbon has been taken off . Kiki holds a card in her hand . She looks down at it .</scene_description> <character>KIKI</character> <dialogue>That was nice of Mr. Galbraith.</dialogue> <character>JERRY</character> <dialogue>He's a nice guy. Vie ought to keep in touch with him.</dialogue> <scene_description>Kiki looks down at the box of flowers . She lifts the box cover a little and then closes it again .</scene_description> <character>KIKI</character> <dialogue>Pretty. You know - it's funny but flowers only mean one thing to me now.</dialogue> <character>JERRY</character> <dialogue>I know. Funerals.</dialogue> <character>KIKI</character> <dialogue>Yes.</dialogue> <scene_description>In the following pause , Kiki looks out the window . Jerry looks over at her , watching her seriously and questioningly . But as she turns back , he looks away again .</scene_description> <character>KIKI</character> <dialogue>Jerry -- --</dialogue> <scene_description>Jerry waits , but says nothing .</scene_description> <character>KIKI</character> <dialogue>Jerry, these flowers are n't really for me -- --</dialogue> <character>JERRY</character> <dialogue>You mean you want to take them to the cemetery.</dialogue> <character>KIKI</character> <parenthetical>( a little shame - faced . )</parenthetical> <dialogue>Yes. Do you mind?</dialogue> <scene_description>Jerry leans forward and taps on the glass partition between themselves and the driver . DISSOLVE</scene_description> </scene> <scene> <stage_direction>INT. BELVEDERE IN THE CEMETERY - DAY</stage_direction> <scene_description>In the arbor - like inclosure , two or three white pigeons are moving about on the sunlit ground . As Kiki and Jerry enter the inclosure , they lift into the air with a flutter of wings and fly away . Kiki looks around the little inclosure .</scene_description> <character>KIKI</character> <dialogue>And she waited here for him?</dialogue> <character>JERRY</character> <dialogue>Robles says it looks that way. Belmonte had already been there and left. They only missed each other by a few minutes.</dialogue> <scene_description>Kiki goes over to the little marble bench and sits down . Jerry stands and looks down at her .</scene_description> <character>KIKI</character> <dialogue>What do you suppose she thought about - alone in here?</dialogue> <scene_description>Jerry shrugs his shoulders .</scene_description> <character>KIKI</character> <dialogue>It's such a sad little place -</dialogue> <scene_description>Kiki stands looking out at the sunlit trees of the cemetery .</scene_description> <character>JERRY</character> <dialogue>Why do you want to stay around here? It'll only make you feel badly.</dialogue> <character>KIKI</character> <dialogue>Maybe I want to feel badly.</dialogue> <character>JERRY</character> <dialogue>That does n't make sense.</dialogue> <scene_description>Kiki turns around and faces him across the belvedere .</scene_description> <character>KIKI</character> <dialogue>Maybe I'm tired of pretending that nothing bothers me - that I do n't care about anything but myself - myself and my two - by - four career.</dialogue> <scene_description>Jerry comes part way across the belvedere to her .</scene_description> <character>JERRY</character> <dialogue>What else do you care about, Kicks?</dialogue> <character>KIKI</character> <dialogue>You. Us.</dialogue> <scene_description>Jerry comes over and takes her in his arms . He looks into her eyes and then kisses her deeply . As he lifts his head again , he holds her even more tightly .</scene_description> <character>JERRY</character> <dialogue>I'm glad you care about us, Kicks. Sometimes that gets kind of lost in the racket -</dialogue> <character>KIKI</character> <parenthetical>( looking up at him . )</parenthetical> <dialogue>Maybe there ought to be less racket and more us.</dialogue> <scene_description>Jerry smiles at her . Leaving one arm around her shoulders , he steers her over to the little marble bench . They sit down , still with their arms around each other .</scene_description> <character>KIKI</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We've been so busy pretending to be tough hombres -</dialogue> <scene_description>Jerry nods . With a little sigh , Kiki puts her head down on his shoulder .</scene_description> <character>KIKI</character> <dialogue>Confession. I'm a complete softie. I've been conscience - stricken and worried sick ever since that leopard got away -</dialogue> <character>JERRY</character> <dialogue>If that's being a softie - there are two of us.</dialogue> <scene_description>They sit quietly - happy in a moment of complete understanding .</scene_description> <character>JERRY</character> <dialogue>Kiki - it was n't the leopard.</dialogue> <character>KIKI</character> <dialogue>You're positive of that, are n't you?</dialogue> <character>JERRY</character> <dialogue>Absolutely sure.</dialogue> <scene_description>Kiki gets to her feet and tugs at Jerry 's hand .</scene_description> <character>KIKI</character> <dialogue>We're not going to catch a train, darling - we're going to stay right here and catch a murderer.</dialogue> <scene_description>Jerry stands up .</scene_description> <character>JERRY</character> <parenthetical>( eagerly . )</parenthetical> <dialogue>You're sure it's all right? You do n't mind staying?</dialogue> <scene_description>Kiki smiles up at him .</scene_description> <character>KIKI</character> <dialogue>You already know the answer to that. I want this town to be safe and happy again -</dialogue> <character>JERRY</character> <dialogue>I'm no detective. I do n't even know how to begin. All I know is I want to do something about all this.</dialogue> <scene_description>Kiki takes his arm and they start across the inclosure . Jerry stops at the entrance .</scene_description> <character>JERRY</character> <dialogue>Oh, by the way - I'm out of cash -</dialogue> <character>KIKI</character> <dialogue>Did n't you take your cut out of the closing check?</dialogue> <character>JERRY</character> <parenthetical>( ruefully . )</parenthetical> <dialogue>I got into a little crap game.</dialogue> <character>KIKI</character> <dialogue>That's funny - I never knew you to lose that much before -</dialogue> <scene_description>Jerry looks innocent and helpless .</scene_description> <character>KIKI</character> <parenthetical>( a little embarrassed . )</parenthetical> <dialogue>As a matter of fact, I'm out of cash myself.</dialogue> <character>JERRY</character> <dialogue>What! You ca n't be -</dialogue> <character>KIKI</character> <dialogue>I - I bought some silver jewelry and stuff from Eloise -</dialogue> <character>JERRY</character> <dialogue>Eloise does n't own enough of anything to make a dent in your pay check, Kicks.</dialogue> <character>KIKI</character> <parenthetical>( defiantly . )</parenthetical> <dialogue>All right, I'm not ashamed of it! I split it two ways --</dialogue> <character>JERRY</character> <parenthetical>( before he can continue . )</parenthetical> <dialogue>Half to the Delgado family and half to Clo - Clo's family.</dialogue> <character>KIKI</character> <parenthetical>( taken aback . )</parenthetical> <dialogue>How do you know?</dialogue> <scene_description>Jerry grins .</scene_description> <character>KIKI</character> <dialogue>You did the same thing yourself!</dialogue> <scene_description>Impulsively , Kiki puts her arms around Jerry and hugs him affectionately . DISSOLVE</scene_description> </scene> <scene> <stage_direction>EXT. THE GATES OF THE CEMETERY - DAY</stage_direction> <scene_description>The old gatekeeper is leaning against the cemetery gate , whittling . Kiki and Jerry the gate . Kiki smiles at him .</scene_description> <character>JERRY</character> <parenthetical>( just by way of polite observation . )</parenthetical> <dialogue>Must get lonely here.</dialogue> <character>GATEKEEPER</character> <parenthetical>( nodding toward the graveyard . )</parenthetical> <dialogue>I have many friends - and they do n't bother me with talk -</dialogue> <character>KIKI</character> <parenthetical>( to Jerry . )</parenthetical> <dialogue>That ought to hold you.</dialogue> <scene_description>Charlie How -- Come comes walking towards them , dragging a sack behind him .</scene_description> <character>CHARLIE</character> <dialogue>Two hundred and fifty dollars you owe met</dialogue> <character>JERRY</character> <parenthetical>( very excited . )</parenthetical> <dialogue>You found the leopard!</dialogue> <scene_description>Charlie comes up to them and drops the sack to the ground .</scene_description> <character>CHARLIE</character> <dialogue>What's left of him.</dialogue> <character>JERRY</character> <dialogue>Where? Where did you find it?</dialogue> <scene_description>Charlie is wiping his face with Now he gestures with the cloth , a bandana handkerchief .</scene_description> <character>CHARLIE</character> <dialogue>North - in an arroyo, Shot through the head -- - maybe week ago. No good, skin, everything gone -- --</dialogue> <character>JERRY</character> <dialogue>What arroyo - -- how did you get to it -- --</dialogue> <scene_description>Charlie looks perplexed . He draws a line in the air with his forefinger . DISSOLVE THE SHOE SHINING STAND - STREET - DAY A small shoeshine stand with two chairs under an awning . Robles sits in one of them , looking down like a judge at the group before him - Kiki , Jerry and Charlie . The other chair is empty . The little Mexican who runs the stand is working with furious diligence over Robles ' boots . Charlie , the sack lying nearby , is bent over almost double , tracing an imaginary line on the sidewalk .</scene_description> <character>CHARLIE</character> <dialogue>And here is Three Tree Mesa - and here I go out of the big arroyo -</dialogue> <character>JERRY</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>That's the place : I remember - -- My feet were so darn sore, I could n't make it - and Galbraith went on up to the head of the canyon by himself -</dialogue> <character>ROBLES</character> <dialogue>Just a moment -- --</dialogue> <scene_description>He looks at Kiki and holds out his hand beseechingly .</scene_description> <character>ROBLES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Please - Miss Walker -- -- come up and sit beside me. I can not stand -- so you must sit.</dialogue> <character>KIKI</character> <dialogue>No, really - thank you just the same, I -- --</dialogue> <character>JERRY</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Chief, do n't you understand what this means?</dialogue> <character>ROBLES</character> <parenthetical>( sighs . )</parenthetical> <dialogue>You think Galbraith found the leopard on the day you went out with the posse.</dialogue> <character>JERRY</character> <dialogue>I'm sure of it!</dialogue> <scene_description>Having finished one boot , the Mexican bootblack goes to work on the other . Robles holds up the polished boot and looks at it admiringly .</scene_description> <character>ROBLES</character> <dialogue>Is n't that beautiful? There is no one in the state like him. He is a genius in his own line.</dialogue> <scene_description>Jerry makes a gesture of impatience .</scene_description> <character>JERRY</character> <dialogue>Galbraith knows something. He as good as said so -- --</dialogue> <character>ROBLES</character> <dialogue>I am not interested in what somebody else thinks. You being me facts and I'll act on them.</dialogue> <scene_description>Jerry kicks at the sack with his foot .</scene_description> <character>JERRY</character> <dialogue>That's a fact, is n't it?</dialogue> <character>ROBLES</character> <dialogue>Yes. And I am taking it to headquarters for examination.</dialogue> <scene_description>The bootblack puts the final buff on the second boot . Robles steps down . He pats the bootblack on the shoulder and hands him a coin .</scene_description> <character>JERRY</character> <dialogue>You wo n't go to Galbraith with me?</dialogue> <character>ROBLES</character> <dialogue>Offend a reputable citizen and involve the department in a slander suit? No. I'm in office to protect the taxpayers money -- not throw it way. Come on, Charlie.</dialogue> <scene_description>Charlie picks up the sack and trails away after Robles . Jerry stares after them . The his arm . Jerry looks at him . The bootblack makes a gesture of buffing and points down to Jerry 's shoes . Jerry shakes his head .</scene_description> <character>JERRY</character> <dialogue>No. No, thanks.</dialogue> <parenthetical>( to Kiki . )</parenthetical> <dialogue>Now we've got to do it ourselves.</dialogue> <character>KIKI</character> <parenthetical>( encouragingly . )</parenthetical> <dialogue>We will -- --</dialogue> <scene_description>Jerry takes her arm and they start walking away . DISSOLVE</scene_description> </scene> <scene> <stage_direction>INT. BELMONTE'S BEDROOM - DAY</stage_direction> <scene_description>This is a small , simply furnished bedroom with a day - bed . Raul Belmonte is sprawled on this couch . His hair is rumpled , he needs a shave and his shirt is badly wrinkled . His face and eyes show the effects of constant drinking . A bottle and glass stand on the floor beside the head of the couch . Jerry is looking over at a photograph which stands on a small table in the window -- - a photograph of Consuelo Contreras .</scene_description> <character>RAUL</character> <dialogue>A lovely face, a tender smile, soft beautiful hair - -- that's what you see in the photograph, is n't it?</dialogue> <scene_description>Raul props himself on one elbow and looks across at the photograph himself .</scene_description> <character>RAUL</character> <parenthetical>( in a hard voice . )</parenthetical> <dialogue>A smear of blood, clawed rags in a huddle on the ground - that's what I see. A horrid, terrible thing.</dialogue> <character>JERRY</character> <parenthetical>( quickly . )</parenthetical> <dialogue>I know. I was there.</dialogue> <scene_description>Raul swings himself into a sitting position on the edge of the couch . He puts his head into his hands .</scene_description> <character>RAUL</character> <dialogue>But you are n't here when she calls out at night. Wake up and hear her - screaming -- - `` Raul, Raul, get me out''</dialogue> <scene_description>Jerry goes over to him and puts his hand on his shoulder .</scene_description> <character>JERRY</character> <dialogue>Easy, boy. I want to talk to you. Maybe there's something I can do -- -</dialogue> <scene_description>Raul reaches down and gets the bottle and the glass . He starts automatically to pour a drink for himself -- -- then stops and holds out the bottle and glass to Jerry .</scene_description> <character>HAUL</character> <dialogue>Have a drink. That's the best thing to wipe out nightmares -- --</dialogue> <scene_description>Jerry takes the bottle - and glass and carries them over to the table . He puts them down and then comes back to Raul , who has sat watching him stupidly .</scene_description> <character>JERRY</character> <dialogue>No. You've got to kick at something, fight with something, to work the nightmares out of your system. In Consuelo's case, there's been nothing to fight against - -- just fate and a dumb brute animal.</dialogue> <parenthetical>( pauses to watch Raul . )</parenthetical> <dialogue>I've got something to tell you that will change all that.</dialogue> <scene_description>Raul looks up at him .</scene_description> <character>JERRY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It was n't an animal.</dialogue> <scene_description>Raul frowns and moves uneasily , trying to understand through his alcoholic haze .</scene_description> <character>JERRY</character> <dialogue>It was a man.</dialogue> <scene_description>The two men stare at each other .</scene_description> <character>RAUL</character> <parenthetical>( whispering . )</parenthetical> <dialogue>A man - -- killed Consuelo?</dialogue> <scene_description>Jerry nods his head . Raul slowly gets to his feet and stands eye to eye with Jerry .</scene_description> <character>RAUL</character> <dialogue>Who?</dialogue> <character>JERRY</character> <dialogue>I do n't know. But I want your help to find out.</dialogue> <scene_description>Raul goes over to the table and picks up the bottle . He pours some liquor into the glass and takes it off quickly , as if it were medicine . Then he turns back to Jerry . DISSOLVE OUT DISSOLVE IN INTERSECTION OF THE ALLEY AND THE STREET - DAY The commemorative procession is forming here . Some of the participants are hooded , wearing black hoods very much like these worn by the Ku Klux Klanners . In the doorways and windows , the townspeople are watching . Galbraith passes through the crowd . He has a small paper package in his hand , his pipe in his mouth and is walking along , obviously on his way to somewhere . Eloise , who is standing watching the Processionists , blocks his way for a moment . He tries to pass around her . She sees him and smiles .</scene_description> <character>ELOISE</character> <dialogue>Oh, Mr. Galbraith! I'm so glad you're here.</dialogue> <character>GALBRAITH</character> <parenthetical>( a little puzzled and trying to pass on . )</parenthetical> <dialogue>Good evening.</dialogue> <character>ELOISE</character> <parenthetical>( stopping him . )</parenthetical> <dialogue>You know all about these things - and I've lived here all my life -- - and I still do n't know what the Procession means.</dialogue> <character>GALBRAITH</character> <dialogue>It's to remind people of the great tragedy that took place here so that they wo n't ever forget that a peaceful village of Indians was wiped out by the Conquistadores, back in the 17th Century. A band of monks buried the dead and prayed for them and did penance for their deaths -- -- that's what this procession is supposed to be.</dialogue> <character>ELOISE</character> <parenthetical>( gushing . )</parenthetical> <dialogue>Oh, that's so interesting!</dialogue> <character>GALBRAITH</character> <dialogue>Well, now that you've had your history lesson, I think I'll get on to the museum.</dialogue> <scene_description>He nods and starts off . Eloise turns back to watch the Processionists . DISSOLVE IN</scene_description> </scene> <scene> <stage_direction>EXT CEMETERY WALL - NIGHT</stage_direction> <scene_description>Galbraith is walking along the quiet , empty street outside the cemetery wall . There is a very faint cry from inside the cemetery . Galbraith slows his stride perceptibly , but does not stop .</scene_description> <character>GIRL'S VOICE</character> <parenthetical>( o.s. , very faint . )</parenthetical> <dialogue>Help! Get me out! Help! Help!</dialogue> <scene_description>Galbraith stops and looks up at the cemetery wall , CLOSEUP of Galbraith shows fear and puzzlement in his eyes . Still looking toward the wall , Galbraith walks on .</scene_description> </scene> <scene> <stage_direction>EXT. CORNER WHERE CLO-CLO WAS KILLED - NIGHT</stage_direction> <scene_description>Galbraith is walking along the brick wall , approaching the corner . Just before he gets to the corner , a lighted cigarette spins out and falls to the pavement in front of him . Galbraith stops as if he had come up against stone . He stands there , forcing courage to go on . He takes the few steps to the corner and faces the direction from which the cigarette was thrown . There is on one in sight anywhere . Very slowly , Galbraith reaches down and picks up the cigarette . The unlighted end is dark with lipstick . With an almost imperceptible shudder , Galbraith lets the cigarette fall . Walking rigidly , he continues on his way .</scene_description> </scene> <scene> <stage_direction>INT. MUSEUM - NIGHT</stage_direction> <scene_description>The large room is in shadowy darkness . The heavy front door swings open . Suddenly the place is brilliantly lighted from the overhead fixtures . Galbraith takes his hand from the light - switch just inside the door . He pushes the clear closed and leans up against it exhaustedly . He is breathing heavily and his eyes are dull and heavy - lidded with the reaction from violent fear . He sighs deeply and then walks slowly and wearily across the display room to the office alcove . He sits down at his worktable and starts work on a small model of Indian ruins , done in colored clays . Suddenly , far away but clear in the silence , he hears the sound of castanets -- -- just three widely spaced clicks . His hands becomes motionless above the model -- - but he does not look up . The same sound comes again , repeated twice , the clicks a little more rapid . Galbraith gets to his feet and stands staring into the empty , brilliantly lighted museum room . The castanets sound again and this time they go into a steady rhythm , still faint and faraway ; a purr of sound . But the sound increases in volume and intensity every second . Galbraith listens , his eyes mirroring his growing terror , his hands pressing down onto the worktable . The castanets come up to a brain -- splitting reverberation of sound . The tendons in Galbraith 's neck stand out -- -- his forehead is wet with sweat . As the tenseness of his body and the madness in his eyes signal that his control is about to break -- -- the castanet furor abruptly ceases . For another few seconds , Galbraith stands there Then he lifts his hands from the table and draws in a deep shuddering breath . He takes a handkerchief from his pocket and slowly wipes his face and his bands . Re steps out of the alcove and presses a light -- switch on the wall nearby . The overhead lights in the display room go out . The alcove is new like a little lighted stage at the end of a dark auditorium . Galbraith steps back into it , takes a book from the worktable and settles down in an armchair at one end of the table . He begins to read . The sound of the front door opening breaks suddenly into the stillness . It brings Galbraith to his feet in an instant . His book falls to the floor . Across the shadowy display room , a figure moves to the accompaniment of a woman 's brisk footsteps . There is no terror in Galbraith 's face this time - but he waits tensely to - identify his visitor . Kiki steps into the lighted alcove .</scene_description> <character>KIKI</character> <dialogue>I've disturbed you. I'm sorry -</dialogue> <character>GALBRAITH</character> <dialogue>Miss Walker - I did n't expect anyone -- --</dialogue> <scene_description>Kiki steps closer to the table .</scene_description> <character>KIKI</character> <parenthetical>( apologetically . )</parenthetical> <dialogue>I came up on the spur of the moment.</dialogue> <scene_description>Galbraith leans down and picks up the book .</scene_description> <character>KIKI</character> <dialogue>I wanted to see the procession -- -- and I remembered your kind invitations -</dialogue> <scene_description>She smiles a little uncertainly .</scene_description> <character>GALBRAITH</character> <dialogue>Of course. Only I'm afraid you'll be cheated. There is n't much of a view of the procession here.</dialogue> <character>KIKI</character> <parenthetical>( puzzled . )</parenthetical> <dialogue>I thought they came right past here -- --</dialogue> <character>GALBRAITH</character> <dialogue>They do, but - there are no lights out there -- - they'll just be shadows - --</dialogue> <scene_description>Kiki moves across the alcove to a window .</scene_description> <character>KIKI</character> <dialogue>It's not so terribly dark out. If we turn off these lights, we can see.</dialogue> <scene_description>A panic - stricken look leaps into Galbraith 's eyes .</scene_description> <character>GALBRAITH</character> <parenthetical>( no trace of fear in his voice . )</parenthetical> <dialogue>No use turning the lights out until they get here.</dialogue> <scene_description>Kiki stands looking out at the window .</scene_description> <character>KIKI</character> <dialogue>But they're coming now, listen.</dialogue> <scene_description>Very faintly , in the far distance , can be heard the chanting of the procession .</scene_description> <character>KIKI</character> <dialogue>Hear them?</dialogue> <scene_description>Galbraith listens as if he wore listening to Fate itself .</scene_description> <character>KIKI</character> <dialogue>Turn off the lights -</dialogue> <scene_description>Galbraith stares across at her . With great effort , he speaks .</scene_description> <character>GALBRAITH</character> <parenthetical>( thickly . )</parenthetical> <dialogue>Wait -- --</dialogue> <character>KIKI</character> <dialogue>No -- - really, I can see them - they're coming now - -- turn off the lights -- --</dialogue> <scene_description>As if hypnotized , Galbraith walks out of the alcove and to the light - switch on the nearby wall . His fingers move up towards the second switch . He still stares toward Kiki . He has the set , bloodless look of a man - lost in some fearful resolve . CLOSE SHOT of Kiki . For the first time , we see that she is terrified . She is looking at the window where Galbraith is faintly mirrored . CLOSE SHOT of Galbraith 's hand on the light - switch . The fingers curve claw - like as he pushes down the switch .</scene_description> </scene> <scene> <stage_direction>INT. MUSEUM ALCOVE - NIGHT</stage_direction> <scene_description>In the window , the reflection is blotted out . Outside we can see the processionists marching . The pin points of their candles are making bright spots against the dark background of their robes and the night sky . The loader chants and the rest answer him monotonously , over and over again . Kiki stands at the window . Behind her Galbraith crosses from the light switch , walking normally , his footsteps following one another with great regularity . Kiki stands perfectly still , keeping her eyes to the window . Only her left hand slowly rising to press against her heart betrays her anxiety . As the hand rises we pick up the beat of her heart . -LRB- Trick effect . -RRB- Galbraith comes closer and closer until finally he stands behind her . The beating of her heart subsides . There is perfect silence . Even the processionists cease their chant for a moment . Kiki and Galbraith stand this , way for an instant , , then suddenly Galbraith moves violently toward her . She screams . The side door bursts open and Jerry and Belmonte come pell -- mell into the room . It has all happened with such suddenness that for a moment Galbraith stands stock still . The two grapple with him . This physical contact rouses him . He shakes himself loose and dodges around the desk . They chase after him through the dark .</scene_description> </scene> <scene> <stage_direction>INT. DISPLAY ROOM - NIGHT</stage_direction> <scene_description>Galbraith runs in , followed closely by Jerry and Belmonte . He dodges among the showcases . He tries the great door . It has been locked . He turns and starts running back toward the alcove . They stop him . He dodges them and goes on . Jerry starts after him again . Belmonte reaches under his coat and pulls out a revolver . The movement has caught Jerry 's eye and he turns .</scene_description> <character>JERRY</character> <dialogue>Raoul - do n't. Put that gun away.</dialogue> <scene_description>Jerry runs on , without seeing whether or not Raoul has obeyed his order . With the gun still in his hand , Raoul follows after .</scene_description> </scene> <scene> <stage_direction>INT. MUSEUM DISPLAY ROOM - NIGHT</stage_direction> <scene_description>Galbraith runs in past Kiki , who has left the window and is standing in front of the desk . Just as he passes her , Jerry reaches him , grabs his arm and whips him around . The two men struggle . Belmonte comes up . To avoid the struggling men , Kiki steps backward and knocks against the showcase containing the butterflies . It falls with a great crash and the sound of breaking glass , Kiki falls with it . Jerry glances over and sees Kiki on the floor . He lets go of Galbraith who dodges out of the side door , Belmonte after him . Jerry kneels down beside Kiki .</scene_description> <character>JERRY</character> <dialogue>Kiki?</dialogue> <character>KIKI</character> <dialogue>It's all right. I'm not hurt.</dialogue> <scene_description>He scrambles up from his knees and runs after Belmonte . The processionists slowly climb the hill toward the cross . The leader is still calling out and the others answer him in the long established rigmarole of their ceremonies . Galbraith with a hurried look over his , shoulder runs into the scene and slips in with the marching men . MED . CLOSE SHOT of Galbraith as he makes him way to the center of the marching column . Jerry and Belmonte stand panting beside the marching column of processionists . He looks right and loft . There is no sign of Galbraith . He , too , falls in the rank near the end of the procession . He begins to slowly make his way to the head of the column , peering under the hats and into the dark faces of the men . His gun is still in his hand . ANOTHER ANGLE of the marching column . We see Galbraith in the very center and behind him Jerry and Belmonte come up and look into his face . They seize his arms . Galbraith struggles to get away from them . There is a disturbance in the ranks of the processionists . Quickly , six of the enormous , tall , hooded figures gather menacingly around the center of the disturbance . No word is spoken . There is only the convergence of these six great figures about the two struggling men . The three men subside . Galbraith ceases to struggle . The six hooded men leave them , drawing back to the flanks of the procession . CLOSER SHOT of Jerry and Galbraith . The two men are close together , but march on in step with the processionists , and as they walk , they talk sotto voce . Despite the urgency of what one demands from the other and the other denies , the silent authority of the hooded figures mutes their voices .</scene_description> <character>JERRY</character> <dialogue>It was you, Galbraith!</dialogue> <character>GALBRAITH</character> <dialogue>No.</dialogue> <character>JERRY</character> <dialogue>It was you.</dialogue> <character>GALBRAITH</character> <dialogue>Not! I tell you. No!</dialogue> <character>JERRY</character> <dialogue>You shot the leopard. We know that. You killed Consuelo. You killed Clo Clo. Then tonight -</dialogue> <character>GALBRAITH</character> <dialogue>I did n't do anything. She screamed. Something frightened her.</dialogue> <character>JERRY</character> <dialogue>Consuelo screamed too - and Clo Clo. Why did you do it? Why? Quick. Tell me why?</dialogue> <character>GALBRAITH</character> <parenthetical>( brokenly , very near hysteria . )</parenthetical> <dialogue>It's better you do n't know.</dialogue> <character>JERRY</character> <dialogue>Tell me.</dialogue> <character>GALBRAITH</character> <dialogue>Why do yo &amp; i accuse me? You do n't know what you're doing - you do n't understand - nobody understands -</dialogue> <scene_description>Jerry studies Galbraith . A new note has crept into the man 's voice - an odd note of irrationality and self -- pity .</scene_description> <character>GALBRAITH</character> <parenthetical>( miserably . )</parenthetical> <dialogue>In the whole world there is n't a single human being who knows what it is to be tormented this way -</dialogue> <scene_description>The procession has reached the crest of the hill . As the head of the column begins to make its way around the cross the whole file slows from a march to a shuffling half step . Jerry and Belmonte seize the opportunity to edge Galbraith out of the column toward a Joshua tree . They stand in its deep shadow while the procession goes on and off . CLOSE SHOT of Jerry and Galbraith , with Belmonte close to Galbraith in the b.g.</scene_description> <character>JERRY</character> <parenthetical>( prompting Galbraith . )</parenthetical> <dialogue>Tormented -? Why?</dialogue> <character>GALBRAITH</character> <dialogue>I could n't rest -- - I could n't sleep. All I could see was Teresa Delgado's body - broken - mangled. I saw it day and night. It was waiting everywhere I turned.</dialogue> <character>JERRY</character> <dialogue>Then you found the leopard -</dialogue> <character>GALBRAITH</character> <dialogue>I did n't want to kill, but I had to. I heard her in the cemetery - talking to the man in the auto -</dialogue> <scene_description>Belmonte stirs in the shadow of the Joshua tree .</scene_description> <character>GALBRAITH</character> <dialogue>When he went away - I thought maybe I was going to help her get over the wall - I ca n't remember. -- -</dialogue> <scene_description>CLOSE SHOT of Belmonte . His face is motionless -- - his eyes are burning .</scene_description> <character>GALBRAITH</character> <parenthetical>( with mounting hysteria . )</parenthetical> <dialogue>I looked down - in the darkness I saw her white face turned up to me - the eyes dark and wide with fear - the fear - that was it - the little frail body - the soft skin -- -</dialogue> <scene_description>Slowly , Galbraith 's two hands lift , the fingers curved slightly inwards . He looks at them as if he , too , were terrified by their deadly potentiality .</scene_description> <character>GALBRAITH</character> <dialogue>And then -.</dialogue> <parenthetical>( smiles , strangely and appallingly . )</parenthetical> <dialogue>she screamed -</dialogue> <scene_description>Behind him , Belmonte comes up close . Agony passes over Belmonte 's face and contorts it . His hand squeezes down on the gun . A shot roars out . Galbraith falls , silently crumpling down at the base of the Joshua tree . Belmonte throws the gun away and stands looking at him .</scene_description> <character>BELMONTE</character> <parenthetical>( softly . )</parenthetical> <dialogue>Consuelo.</dialogue> <scene_description>DISSOLVE</scene_description> </scene> <scene> <stage_direction>EXT UNDERTAKER'S PARLOUR - NIGHT</stage_direction> <scene_description>T. C. Johnson ' s undertaking parlour is lighted and the light falls out of the window in . a great broad path onto the dark sidewalk . Jerry and Kiki come out of the building . They pause and stand in the broad glow of light from the window . For a moment they are silent . Behind them , in the shop , we see Raoul Hobbs and two policemen .</scene_description> <character>KIKI</character> <dialogue>We stood here once before.</dialogue> <character>JERRY</character> <dialogue>I know - Teresa - --</dialogue> <character>KIKI</character> <dialogue>I hated you that day -- - you and your flip talk - -- with that little girl lying dead.</dialogue> <character>JERRY</character> <dialogue>I know. What do you think I felt when you said, `` do n't be soft?''</dialogue> <character>KIKI</character> <dialogue>Jerry, I want you to be soft. You are soft - inside - -- where it matters. I wanted it that day too, but did n't dare tell you.</dialogue> <character>JERRY</character> <dialogue>We ought to dare to tell each other everything, Kiki - you and I.</dialogue> <scene_description>Re looks up and down the street .</scene_description> <character>JERRY</character> <dialogue>It's a strange town, Kiki. A funny town. Mexican, American and Indian, all mixed up in itself, with two languages. The sign posts written in Spanish and English. A strange town.</dialogue> <scene_description>ANOTHER ANGLE showing the street . Four hooded processionists go by in single file .</scene_description> <character>KIKI</character> <dialogue>It's a lovely town -- - it was until we came and let the leopard loose and all this happened.</dialogue> <character>JERRY</character> <dialogue>Kiki, Galbraith said something to me once, - something you ought to know. We were talking and he said that people were like that ball on the fountain at the hotel - they got pushed around by things bigger than themselves. That's the way it was with us - and we were too small to see it that way.</dialogue> <scene_description>He puts his arm about her and they begin to walk up the street . FADE OUT</scene_description> </scene> </script>

The story, set in New Mexico, begins as Jerry Manning (Dennis O'Keefe) hires a leopard as a publicity stunt for his night-club performing girlfriend, Kiki (Jean Brooks). Her rival at the club, Clo-Clo (Margo), not wanting to be upstaged, startles the animal and it escapes the club into the dark night. The owner of the leopard, a solo sideshow performer named Charlie How-Come—billed as "The Leopard Man"—begins pestering Manning for money for replacement of the leopard. Soon a girl is found mauled to death, and Manning and Kiki feel remorse for having unleashed the monster. After attending the girl's funeral, Manning joins a posse that seeks to hunt down the giant cat. Presently another young woman is killed, and Manning begins to suspect that the latest killing is the work of a man who has made the death look like a leopard attack. The leopard's owner, who admits to spells of drunkenness, is unnerved by Manning's theory and begins to doubt his own sanity. He asks the police to lock him up, but while he is in jail another killing occurs: the victim this time is Clo-Clo. Afterward, the leopard is found dead in the countryside, and is judged to have died before at least one of the recent killings. When the human murderer is finally found, he confesses that his compulsion to kill was excited by the first leopard attack.

The Battle of Algiers_1966

tt0058946

<script> <scene> <stage_direction>VILLA HEADQUARTERS. INSIDE. NIGHT.</stage_direction> <scene_description>Inside a three - story villa , just built , with whitewashed walls . An elevator shaft is empty , the large cables dangle . On every landing two apartments . The front doors are wide open . Whitewash on the floor of the halls , swirls of whitewash on the windowpanes , naked light bulbs hung from electric wires . The rooms contain hardly any furnishings . The kitchens are still without sinks and stoves . An agitated bustle , a rhythm of efficiency . Paratroopers go up and down the stairs , pass along the halls , enter and leave the rooms . The sounds in the background are indecipherable . SHOUTED ORDERS , CRIES , HOWLS . SHOUTS , HALF - SPOKEN REMARKS , LAUGHS . SOMEWHERE A GRAMOPHONE IS PLAYING AT FULL BLAST . The scene is tense . No pauses . When the paras are tired , they move to another room . They sit down , stretch out on the floor , drink coffee or beer , and smoke cigarettes while awaiting the next shift . Suddenly , the rhythm of this routine , the timing of these images is upset . A para rushes down the stairs , and asks cheerfully while running :</scene_description> <character>MARC</character> <dialogue>The colonel. Where's the colonel?</dialogue> <character>PARAS</character> <dialogue>Why? What's happening?</dialogue> <character>MARC</character> <dialogue>We know where Ali la Pointe is. One of them `` spoke''.</dialogue> <scene_description>His voice echoes through the corridors , on the landings , from one floor to another . The excitement is contagious . Many crowd around the door of the kitchen . The Algerian who has `` spoken '' is there . He is young with a thin face and feverish eyes . The paras are all around him : they help him stand up , dry him , clean his face with a rag , give him some coffee in a thermos cover . They are full of attention , sincerely concerned . One of them tries to push away the others .</scene_description> <character>PARA</character> <dialogue>C'mon, let him breathe!</dialogue> <scene_description>Meanwhile others who are arriving ask if it is true .</scene_description> <character>OTHER PARAS</character> <dialogue>So he spoke? Does he really know where Ali is?</dialogue> <character>MARC</character> <dialogue>It seems so. We'll go see. Give him a little coffee.</dialogue> <scene_description>Marc is tall and husky , his eyes young and cheerful . One of the others asks him with a shade of admiration :</scene_description> <character>PARA</character> <dialogue>Hey Marc, you made him talk?</dialogue> <character>MARC</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Sure.</dialogue> <scene_description>He then begins to smoke again , and moves aside to rest a bit . The Algerian is trying to drink , but his hands are trembling . Someone helps him and holds still the cover of the thermos , drawing it to his mouth :</scene_description> <character>LAGLOY</character> <dialogue>C'mon Sadek. Drink, you'll feel better.</dialogue> <scene_description>The Algerian drinks , but his stomach ca n't take it , causing him to double over and vomit again . Colonel Mathieu enters , elegant and graceful .</scene_description> <character>MATHIEU</character> <parenthetical>( smiling . )</parenthetical> <dialogue>At ease. Is it true?</dialogue> <character>MARC</character> <dialogue>I think so. Rue des Abderames three.</dialogue> <scene_description>The colonel turns to the para , who had gone to call him , and who is holding a pair of camouflage fatigues in his hands .</scene_description> <character>MATHIEU</character> <dialogue>Dress him.</dialogue> <scene_description>Then he goes near the Algerian , lifts his chin , inspects him for a moment with curiosity .</scene_description> <character>MATHIEU</character> <dialogue>Chin up, it's all over. Nothing can happen to you now, you'll see. Can you stand up?</dialogue> <scene_description>The Algerian nods yes . The colonel turns to the paras who are holding him up .</scene_description> <character>MATHIEU</character> <dialogue>Let him go.</dialogue> <scene_description>He takes the camouflage fatigues and hands them to the Algerian .</scene_description> <character>MATHIEU</character> <dialogue>Here, put them on.</dialogue> <scene_description>The Algerian mechanically takes the fatigues , but he does n't understand . The colonel explains to him :</scene_description> <character>MATHIEU</character> <dialogue>We're trying to help you. We're going to the Casbah. Dressed like this, they wo n't be able to recognize you. Understand? We're going to see the place, then you'll be free. and under our protection.</dialogue> <scene_description>The Algerian shivers from the cold . He is completely naked . He laboriously puts on the fatigues which are too big for him .</scene_description> <character>MATHIEU</character> <dialogue>Go on, give him the cap.</dialogue> <scene_description>They give him a wide belt and buckle it . The other paras , one on either side of him , pull up his sleeves to the elbows . A third places the cap on his head and cocks it .</scene_description> <character>LAGLOY</character> <dialogue>Nationalized!</dialogue> <scene_description>The colonel turn to him angrily :</scene_description> <character>MATHIEU</character> <dialogue>Do n't be an idiot, Lagloy!</dialogue> <scene_description>The Algerian is ready . The paras look at him repressing their laughter . The Algerian continues to tremble . His breath is short , his eyes glossy . He is crying .</scene_description> <character>CAPTAIN</character> <dialogue>Let's go.</dialogue> <scene_description>The Algerian looks around . He breathes deeply . Then , suddenly , unexpectedly , he lets out a hoarse cry :</scene_description> <character>SADEK</character> <dialogue>No!</dialogue> <scene_description>and tries to jerk forward toward the window . Marc seizes him immediately , and with his right hand grabs him by the chest , almost lifting him . With his left hand he gives him two quick slaps , not very hard .</scene_description> <character>MARC</character> <parenthetical>( persuadingly . )</parenthetical> <dialogue>What do you think you're doing, you fool? Do you want us to start all over again? C'mon, be good. Do n't make me look like an idiot in front of the others.</dialogue> <scene_description>He makes a reassuring sign to the colonel . Then , he takes the Algerian by the arms , and they move off .</scene_description> </scene> <scene> <stage_direction>STREETS OF ALGIERS. OUTSIDE. DAWN. OCTOBER 7, 1957.</stage_direction> <scene_description>The city is gray and white , by the sea which looks like milk . The dawn outlines her features sharply . The streets and wide avenues of the European quarters are empty . Silence , until gradually is heard . A HUMMING OF MOTORS . One truck after another . Their headlights on , with an opaque glow , by now useless . A line of trucks follow one another along the sea - front , all at the same speed . They turn right and go up toward Place du Gouvernement . Here , without stopping , the columns divide in two . The two lines enter each of the two roads that lead up to surround the Casbah . In the brighter light , the Casbah appears completely white , limestone . Enclosed by the European city , it stands at a greater height and overlooks it . Mosaic of terraces . White pavement , pavement interspersed by the black outlays of narrow alleys . Only a jump from one terrace to another . Agile and silent , the paras jump one by one from the trucks in a hurry . SOUND OF TRUCKS . They arrange themselves geometrically , their movements synchronized . They disperse and disappear in the alleys . They reappear together , then once again scatter . They meet without looking at one another ; each one takes his own course . In like manner without a sound , they are above , even on the terraces , in perfect geometry . Even up here , the paras tighten their grip .</scene_description> </scene> <scene> <stage_direction>RUE DES ABDERAMES. COURTYARD OF HOUSE. INSIDE/OUTSIDE. DAWN.</stage_direction> <scene_description>Every three yards , there is a para , even at all four corners of an intersection . They are also in the side streets as well as the main streets . And also above , against the sky , many other paras appear . Number three . The doorway is the height of a man . A squadron stands ready in a semicircle with machine guns in firing position . Marc continues to hold up the Algerian by his arm . The captain glances at his watch , then looks up at the terrace and gives a signal . In a lowered voice , without turning around , he speaks to the para who is at his back :</scene_description> <character>CAPTAIN</character> <dialogue>Fire.</dialogue> <scene_description>The para nears the front door , his legs wide open , his machine gun , clenched at his side , and aims at the lock . MACHINE GUN FIRE . He moves the gun barrel in a circular direction . Immediately the others hurl themselves against the door . At the same time , the door of the terrace is broken down , and the paras burst into the house below . The inner courtyard is square . In the center there is a well ; above , a patch of sky ; on four sides , the arcades , columns , and majolica arches . Beneath the porches , there is a door for every dwelling . And above , a balcony with railings and other doors . The doors are wide open . The paras quickly carry out their orders . ORDERS , CURT AND BRIEF . The people are used to all this and know how to obey . The scene takes place exactly as if it were an arranged maneuver , a practice drill . The rooms are emptied in a few seconds . The people are crowded together in the courtyard . Eyes wide with fright . Men , women , and children with blankets and sheets thrown around their shoulders . By now , it is almost day . A soft light is diffused from above . The Algerian walks with his head lowered , Marc on one side , the captain on , the other . They climb to the first floor and go along the balcony . The Algerian stops in front of a door . The captain murmurs softly :</scene_description> <character>CAPTAIN</character> <dialogue>Here?</dialogue> <scene_description>The Algerian nods yes . They enter .</scene_description> </scene> <scene> <stage_direction>ALI'S ROOM. INSIDE. DAWN.</stage_direction> <scene_description>The room is badly lit . There is a mattress on the floor , and another on the table , a cupboard against the wall , some chairs . Nothing else . At the back of the room to the left , there is a dividing curtain hung by a cord at medium height . The curtain is drawn and a large bed with brass headboards is visible . The Algerian points in that direction ; the captain signals for him to go there . They go forward silently , and push aside the curtain . There is a small light bulb hung on the wall beneath a small shelf covered with postcards and photos . The baseboard all around is more than three feet tall and is covered by majolica tiles . The Algerian points to a spot in the brick structure , on the back wall , between the headboard of the bed and a corner of the room . Marc and the captain have their machine guns ready . The captain goes near the wall , his breath drawn , and begins to examine it . He runs the fingernail of his thumb along the wall horizontally , between one row of tiles and another . He taps the tiles at different places until he hears the plaster in the interstices crumble . He looks at the bit of plaster that is left in his nail . He squeezes it in his fingertips ; it is soft , newly laid . Then he bends over , places his ear to the wall , and listens . Suddenly he smiles .</scene_description> </scene> <scene> <stage_direction>ALI'S HIDING PLACE. INSIDE.</stage_direction> <scene_description>There is n't enough air in the hiding place . The four are forced to breathe deeply . And in that small space their laborious breaths resound like splashes . Ali la Pointe has his eyes fixed upon the square patch of wall that seals the hiding place . His eyes are large , black , slanted , his eyelids heavy , somewhat lowered , so that the black of the irises appears even blacker in the shadows , deeper and more sullen . Petit Omar is with him , a boy of twelve , and Mahmoud who is eighteen . There is also Hassiba , a Kabyle girl , blond , blue - eyed , and fair skinned . The hiding place is only five feet high , and hardly holds them . They are sitting or stretched out on the ground , close to one another . The entrance to the hiding place is blocked by the small patch of wall which matches exactly the rest . It is held firm by a bar through an iron ring attached at the center . On the other side of the cell , above them , there is a hole for air . They are tense and do not move . Their lips are dry , half - open , and their breasts rise and fall in a difficult attempt to breathe .</scene_description> <character>CAPTAIN</character> <parenthetical>( off . )</parenthetical> <dialogue>Ali la Pointe. the house is surrounded. You have n't got a chance. Surrender. Let the child and the girl come out, then you and the other one. Leave your weapons inside. It's useless to try anything. Our machine guns are ready to fire - you would n't have time. Do you understand?</dialogue> <scene_description>Ali 's face is motionless and has n't changed its expression .</scene_description> <character>CAPTAIN</character> <parenthetical>( off . )</parenthetical> <dialogue>Ali, do you hear me? Listen! You are the last one. The organization is finished. All your friends are dead or in prison. Come out. You'll have a fair trial. Come out, surrender.</dialogue> <scene_description>SOUND OF FOOTSTEPS , OTHER VOICES , CHEERFUL , INCOHERENT :</scene_description> <character>VOICES PARAS</character> <dialogue>Why are they breathing so heavily? Fear. Air. They have n't got enough air inside.</dialogue> <scene_description>And again the voice of the captain , clear and somewhat distant :</scene_description> <character>CAPTAIN</character> <parenthetical>( off . )</parenthetical> <dialogue>Make up your mind, Ali? Do you want us to wall you in, or do you prefer that we blow you to pieces? Alright. So much the worse for you.</dialogue> <scene_description>Ali 's expression is still firm ; his stare is dark and sullen .</scene_description> </scene> <scene> <stage_direction>VIEWS OF THE CASBAH. OUTSIDE. DAY. NOVEMBER 1, 1954.</stage_direction> <scene_description>The Casbah : compressed humanity , swarming in the alleyways , on the steps , in the cafes , in the Arab baths , in the mosques , and in the markets ; a tangle of voices , gestures , faces , veiled women , eyes . Someone is putting up a handbill , another distributes them .</scene_description> <character>SPEAKER</character> <dialogue>`` National Liberation Front! Algerian brothers! The time has come to break loose at long last from the bonds of misery in which one hundred and thirty years of colonial oppression has kept us chained. The moment of struggle is near ; our goal - national independence.''</dialogue> </scene> <scene> <stage_direction>VIEWS OF THE EUROPEAN CITY. OUTSIDE. DAY.</stage_direction> <scene_description>The European city : reinforced concrete , asphalt , steel , lights , shop windows , buildings , automobiles . A steady rhythm of efficiency , music , cordiality , an apéritif .</scene_description> <character>SPEAKER</character> <dialogue>`` In order to avoid a fatal and bloody conflict, we propose an honorable program of discussion to the French authorities, on condition that they recognize the right of our people to self - government.''</dialogue> <scene_description>And the Algerians who work in the European city , the dockers , waiters , laborers , street - cleaners , farm - hands , and gardeners .</scene_description> <character>SPEAKER</character> <dialogue>`` Algerians unite! Be ready for action! The National Liberation Front calls you to struggle.''</dialogue> <scene_description>Unemployed , peddlers , beggars , shoeshine boys .</scene_description> </scene> <scene> <stage_direction>STREET CARD GAME. OUTSIDE. DAY.</stage_direction> <scene_description>Two hands are moving ; one over the other , they criss - cross with incredible speed ; at the same time , they are shifting three small pieces of wood which appear to be identical . The hand movements are marked by a kind of Algerian CHANT . From time to time , the pieces of wood are overturned for a split second so that the other sides are visible . Robust hands , thick , unusually agile for their size . The hands of Ali la Pointe , younger then , twenty - four years old . A European quarter of Algiers . Coming and going of people , automobile traffic . On the sidewalk a small group of European and two Algerian boys . Other passersby stop to watch . The group crowds around the stand where Ali la Pointe is playing his game . The entranced eyes of all present are staring at the pieces of wood . Ali 's hands seem to move by themselves . His glance , always a bit sullen , apparently distracted , indifferent , passes from one face to another , and then to the street , from one side to another . At fifty yards , a policeman . Two Europeans , a man and a woman , are speaking to him in an excited manner , and nudging him along pointing to Ali .</scene_description> <character>WOMAN</character> <dialogue>Look! Yes, that's him!</dialogue> <scene_description>Ali is no longer singing . His hands have stopped moving . A POLICE SIREN IS HEARD . Ali pushes his way through the crowd . He breaks into a run . The policeman also begins to run .</scene_description> </scene> <scene> <stage_direction>STREET. ALI'S FLIGHT. OUTSIDE. DAY.</stage_direction> <scene_description>The street is sloping . Ali flees , pursued by the policeman . He dodges passersby with agility . He gains ground . But nearby are heard . SIRENS and also in front of him . Another two policemen ; they too are running . There is an intersection . At the corner , a cafe . GAY MUSIC . Young Europeans leaning against a shop window stop chattering and look . Ali reaches the corner , crosses the street , passes by the bar . There is a blond youth , about eighteen , who seems to be a student who stretches out his foot , and pushes a chair in front of him . Ali stumbles and falls . The youth attempts a laugh , and at the same time moves backward . Ali is lying face downward , but suddenly turns his head toward the youth and stares at him . Then lifting himself by his arms , he turns to look back . The police are now twenty yards away . Ali gets to his feet . For a split second , he hesitates . He hurls himself against the youth , headfirst . Using his head , Ali rams into the youth 's face , striking him in the nose and splurting blood everywhere . The youth is unable to shout . He opens his mouth in the attempt , but the only result is a gurgling sound and blood . His friends intervene . Ali is surrounded . The police arrive . A mass of people jump on Ali , kicking him and striking him with their fists as long as they please . Finally the police aid Ali and disperse the crowd . Ali is now in handcuffs and being led away . More people have arrived . They are yelling , shouting insults , and spitting on Ali . Ali passes in their midst protected by the police . He pays no heed to the fist blows , the shouts , the spits , but seems neither to see nor hear , as if he were already resigned to having lost the battle this time , and were preparing to wait patiently for a better chance . He is walking with an unfaltering step . His face is emotionless , oval , swarthy . His hair black and wavy , his forehead low and wide ; his eyes large and slanted with eyelids somewhat lowered , his mouth firm and proud .</scene_description> <character>SPEAKER</character> <dialogue>Omar Ali, known as `` Ali la Pointe'' born in Miliana, March 1, 1930. Education : Illiterate. Occupation : Manual laborer, farm hand, boxer, presently unemployed. Former convictions : 1942 - Oran Juvenile Court, one year of reformatory school for acts of vandalism. 1944 - Two years of reformatory school for theft. 1949 - Court of Algiers, eight months for compulsory prostitution and resisting arrest. Habitual offender.</dialogue> </scene> <scene> <stage_direction>PARIS 1955. OUTSIDE. DAY.</stage_direction> <scene_description>The air is clear and springlike . A 4CV Citroen delivery van is parked in front of the Minister of the Interior warehouses . The rear door is open , the motor is running , a policeman is at the wheel . Two workers in overalls exit from the warehouses . Each one is carrying a box , and places it inside the van . The boxes are made of seasoned wood , both of them rectangular . They are each about eight inches long ; one and two yards high respectively . The two workers sit down inside the van , toward the rear . They are facing toward the exterior . Their feet are dangling and almost touch the ground . The jolting movement of the van in motion causes them to laugh . STREETS OF PARIS . Spring . Girls with lightweight clinging dresses . The two workers call them , whistle , gesture , and then move off in the distance . ORLY AIRPORT . The van stops in front of a warehouse . The two workers jump to the ground , place the boxes on their shoulders , and enter the warehouse . The boxes are moving on a mobile ramp . There is a large label on each one which says : REPUBLIC OF FRANCE . MINISTER OF THE INTERIOR . DESTINATION : BARBEROUSSE PRISON . ALGIERS .</scene_description> </scene> <scene> <stage_direction>ALGIERS. BARBEROUSSE PRISON. OUTSIDE. MORNING.</stage_direction> <scene_description>Barberousse prison is situated on the outskirts of the Upper Casbah . It is an ancient fortress with thick , high surrounding walls , which appear to vanish in contrast with the central building which dominates them . The whole structure is covered with limestone like the other houses of the Casbah . Only the bars on the windows and the big gate are black . The gate opens . A covered jeep enters the prison courtyard . In the stronghold of the jeep are the two boxes sent from Paris . Early morning . The sky is pale blue . In the prison courtyard , the workers open the two chests and assemble the guillotine . It is possible to see it from the cell windows that face the courtyard . Faces of prisoners appear between the bars of some windows . The workers have disappeared . Only the delicate , makeshift structure of the guillotine is visible , its slender outline lengthened .</scene_description> </scene> <scene> <stage_direction>PRISON CELL. INSIDE. MORNING.</stage_direction> <scene_description>In one of the cells there are about twenty prisoners . The cell is huge ; there are two very high windows that almost reach the ceiling . A prisoner is standing on the urine bucket , and looks outside through the barred window . On the ground there are some mats which serve as beds . Nothing else . About ten prisoners are in a group , seated on the ground , and they are speaking in whispers . AD LIB DIALOGUE IN LOWERED VOICES . Two of them are playing with some stones on a chessboard drawn in the dirt ; others are speaking among themselves . One is reading a Mickey Mouse comic book and laughing to himself . But all of them , in appearance and behavior , are distinguished from those who make up the more numerous group . These solitary men are different in some way , they are not ordinary delinquents . Ali la Pointe is alone , withdrawn from the others , seated on the ground , his shoulders propped against the wall , his knees raised . He is barefoot . On his left ankle , directly above his foot , are tattooed two words in print : TAIS - TOI . His shirt is unbuttoned and on his chest are other tattoos in a strange design . Ali looks at the group and seems to listen to their murmured words absent - mindedly . His expression is taciturn , reserved , and indifferent . Ali turns to the prisoner at the window .</scene_description> <character>PRISONER AT WINDOW</character> <dialogue>Look at them!</dialogue> <scene_description>Ali jumps to his feet . Everyone moves toward the two windows . Ali moves away two yards at a quick pace , then runs toward the window , and grabbing hold of the bars , heaves himself up to it . The condemned man turns and looks up toward the windows . He seems to smile although his face is motionless . In a soft voice , he speaks to those faces which appear behind the bars :</scene_description> <character>CONDEMNED MAN</character> <dialogue>Tahia el Djez - air!</dialogue> <parenthetical>( Long live Algeria ! )</parenthetical> <dialogue /> <scene_description>The political prisoners take up the phrase and recite it gutturally , keeping time to the steps of the condemned man .</scene_description> <character>POLITICAL PRISONERS</character> <dialogue>Tahia el Djez - air!</dialogue> </scene> <scene> <stage_direction>PRISON COURTYARD. OUTSIDE. MORNING.</stage_direction> <scene_description>The condemned man walks toward the guillotine accompanied by guards and a priest reading the Koran . There is also the executioner wearing a black hood . The executioner tries to appear indifferent . The priest recites his prayers . The entire ceremony seems improvised and hasty . The epilogue is reached quickly . PRAYERS . The condemned man bends . The executioner places his neck in the right position , adjusts it , turns his head a bit , then pushes his body forward . He releases the mechanism . The blade falls , the head rolls . There is no longer a chorus . No one is chanting . Ali 's eyes have remained motionless . Then from above , as the dismembered body is being carried away in a basket , as the priest , the guards , and the officer are leaving , as the workers dismantle the guillotine , from above , from the balconies of the Casbah , suddenly the `` ju - jus '' of the women are heard , dense like the cries of birds , shrill , metallic , angry .</scene_description> <character>WOMEN</character> <dialogue>Ju - ju.</dialogue> </scene> <scene> <stage_direction>SMALL SQUARE. CASBAH. OUTSIDE. DAY. JANUARY 1956.</stage_direction> <scene_description>It is raining . The water runs along the gulleys of the narrow alleys . The white houses have turned spongy gray . The children of the Casbah are playing and spattering mud . Skinny and half - naked children with bloated bellies and hair cropped because of sores . Their mothers call them in vain . They continue to run , play , and wallow in the mud with a despairing gaiety . CALLS . VOICES . SHOUTS . Petit Omar was then ten years old . He is slender , dressed in long pants and a jacket which is too large for him and torn so that he seems almost clownish . Calm and absorbed , he passes in the midst of the other children , but does n't notice them or their games . A small square on a sloping ascent . In the center , a fountain . On the elevated side of the square , on a corner , there is a mosque . SOUNDS OF CHURCH MUSIC . Standing still at the foot of the steps is an Algerian in white cloak , and hood down to his eyes . Other people pass by . The Algerian is turned to one side so as not to be seen . Petit Omar walks toward him and nears his back . The Algerian turns ; it is Ali la Pointe . He tells the boy with a tone of boredom and curtness :</scene_description> <character>ALI</character> <dialogue>Go away!</dialogue> <character>PETIT OMAR</character> <dialogue>Men have two faces : one that laughs and one that cries.</dialogue> <scene_description>Ali looks at him incredulously and asks :</scene_description> <character>ALI</character> <dialogue>And they sent you!</dialogue> <scene_description>The child slips a hand under his sweater to his chest .</scene_description> <character>PETIT OMAR</character> <dialogue>Sure, something wrong with that?</dialogue> <scene_description>Omar takes out a piece of paper folded in four , and hands it to Ali .</scene_description> <character>PETIT OMAR</character> <dialogue>Take it. Everything's written here.</dialogue> <scene_description>He turns away and begins to run .</scene_description> <character>ALI</character> <dialogue>Wait!</dialogue> <scene_description>Omar stops running and turns to Ali .</scene_description> <character>ALI</character> <dialogue>Come here. Come.</dialogue> <scene_description>Omar retraces his footsteps . Ali goes to meet him .</scene_description> <character>ALI</character> <parenthetical>( in a brusque manner . )</parenthetical> <dialogue>Can you read?</dialogue> <character>PETIT OMAR</character> <dialogue>Sure.</dialogue> <scene_description>Ali hands back the paper .</scene_description> <character>ALI</character> <dialogue>Read it.</dialogue> <character>PETIT OMAR</character> <dialogue>Here?</dialogue> <scene_description>Ali turns and looks around him . He squats on his heels in order to reach Omar 's height .</scene_description> <character>ALI</character> <dialogue>Here.</dialogue> <scene_description>It is still drizzling . Omar unfolds the paper and begins to read it .</scene_description> </scene> <scene> <stage_direction>RUE RANDOM. CAFE MEDJEBRI. OUTSIDE/INSIDE. DAY.</stage_direction> <scene_description>The following day at 5 p.m. , rue Random . The street is fairly wide for a street in the Arab quarter and at this hour it is crowded with people . There are Algerians in traditional costumes and others in European clothes . Noisy and tumultuous background . VOICES , SOUNDS , WORDS - ALL MIXED TOGETHER . Veiled women with intent glances . Silent women who seem to float through the crowds , untouchable . An Arab cafe filled with customers at the tables and bar . Through the large shop window , a smoky , steamy interior is visible . The cafe is located in rue Random , number 40 .</scene_description> <character>OMAR</character> <parenthetical>( off . )</parenthetical> <dialogue>There is an Arab cafe at rue Random 40. The owner's name is Medjebri. He is a police informer.</dialogue> <scene_description>Medjebri is standing behind the cash register , smiling , very busy . He is wearing a traditional costume . He is very clearly visible through the shop window above the heads of the customers . In a doorway near the cafe there is a clock hanging from a signboard in front of a store . It is five o'clock . A French policeman enters the cafe .</scene_description> <character>OMAR</character> <parenthetical>( off . )</parenthetical> <dialogue>Every day at 5 p.m., a French policeman goes to see him. He stops for a few minutes to get information with the excuse of drinking a cup of tea. You have to kill the policeman.</dialogue> <character>ALI</character> <parenthetical>( off . )</parenthetical> <dialogue>Not Medjebri?</dialogue> <scene_description>Medjebri moves away from the register , still standing behind the bar , to where the policeman is seated . He greets him , and hands him a cup of tea .</scene_description> <character>OMAR</character> <parenthetical>( off . )</parenthetical> <dialogue>No. It says the policeman.</dialogue> <scene_description>The policeman is leaning on the bar . He is tall and husky , and is wearing a scruffy uniform with a kepi pushed back somewhat . Now his thick lips are sipping the scalding mint tea .</scene_description> <character>ALI</character> <parenthetical>( off . )</parenthetical> <dialogue>Okay.</dialogue> <scene_description>The large clock and store signboard . Standing in front , there is a slender girl , veiled , her eyes darting in contrast with the rigid form of her motionless body . Her arms are raised to form an arch , her hands supporting the edges of a large basket balanced on her head .</scene_description> <character>OMAR</character> <parenthetical>( off . )</parenthetical> <dialogue>At the corner, right in front of the large clock, there will be a girl carrying a basket. When the policeman comes out, you will follow him together. At the right moment she will give you a pistol. You have only to shoot. quickly and in the back.</dialogue> <scene_description>Now the policeman has finished drinking his tea . He makes a sign to pay . Smiling , Medjebri refuses the money , and says good - bye . Ali approaches the girl . They exchange glances . The girl puts down her basket which is filled with corn , and rests it by her side . She moves slowly toward the cafe . Ali walks beside her . The policeman is coming out of the cafe . He rudely bumps into those who are entering . He makes his way along the sidewalk , and moves further away , balancing his heavy body at every step . Ali and the girl are about a yard away from him . They follow him , pushed along with the many others who are crowded on the sidewalk . Then the girl plunges her hand into the corn . In a second , she places the revolver in Ali 's right hand . He holds it under his cloak . The policeman 's back is a hand 's - bredth away . But Ali does not shoot . He moves forward to pass by the policeman . Alarmed , the girl looks at him , and tries to hold him back . She shakes her head as if to speak . Ali smiles at her . His eyes have a hard glint . He moves a few steps past the policeman . Suddenly Ali turns , lifts his arm as if to push his way through , and then stretches out his hand with the revolver aimed . The policeman stops ; his eyes are wide with fear . Instinctively he lifts his arms and opens his palms . Terror paralyzes him . Ali glances about him . Many people are moving away hastily , but others stand still in a circle and watch fascinated . Ali speaks to all of them , in a loud voice . His eyes are alight .</scene_description> <character>ALI</character> <dialogue>Do n't move! Look at him. You're not giving any orders now! Your hands are up, eh! Do you see him, brothers? Our masters are n't very special, are they?</dialogue> <scene_description>A sharp , metallic click . Ali tries a second time , presses the trigger again . SEVERAL CLICKS . REVOLVER EMPTY . Ali rolls the gun barrel ; it is empty . The policeman slowly lowers his hands . His right hand rushes to his holster . Ali is ready to jump , throws away the gun , and starts to move forward . He knocks down the policeman , who is overwhelmed , and falls backward . The crowd moves away quickly . Ali starts to throw himself on the Frenchman lying on the ground , but stops halfway . A thought restrains him . He turns and sees the girl who has picked up the revolver and hidden it again in her basket . Then she moves away hurriedly . Ali curses angrily , then , kicks the policeman 's head twice , and runs after the girl . He reaches her , grabs her shoulder so roughly that she shouts .</scene_description> <character>ALI</character> <parenthetical>( in a whisper . )</parenthetical> <dialogue>Bastard! Bitch!</dialogue> <scene_description>The girl struggles free from his grip . At the same time , they hear behind them . POLICE WHISTLES . The girl quickens her step .</scene_description> </scene> <scene> <stage_direction>SIDE ALLEY WITH FRONT DOOR. OUTSIDE/INSIDE. SUNSET.</stage_direction> <scene_description>The girl arrives at a side street , enters it , and breaks into a run . Ali is again beside her , but unexpectedly the girl enters a front door . She bends , places the basket on the ground , removes the revolver , and hides it in her breast beneath her shawl . She gets up again , and leaves the basket . Ali blocks her way .</scene_description> <character>ALI</character> <dialogue>Tell me what this joke is all about.</dialogue> <scene_description>The girl attempts to push past him toward the door .</scene_description> <character>DJAMILA</character> <dialogue>Let's move now or they'll catch us.</dialogue> <scene_description>Ali grabs her by the arm , shakes her , and shouts uncontrollably :</scene_description> <character>ALI</character> <dialogue>I want to know who sent me that letter. What's his name?</dialogue> <character>DJAMILA</character> <dialogue>He's waiting for you!</dialogue> <character>ALI</character> <dialogue>Where?</dialogue> <character>DJAMILA</character> <dialogue>We're going there. if you do n't get us arrested first.</dialogue> <scene_description>The girl nods toward the street where two policemen are passing by hastily . Ali moves backward into the shadow of the doorway . He regains control of his nerves , loosens his cloak , and lets it fall on the basket . He is dressed in European clothes , trousers and pullover .</scene_description> <character>ALI</character> <parenthetical>( pushing her ahead . )</parenthetical> <dialogue>Move. go ahead. I'll follow you.</dialogue> <scene_description>The girl takes a look outside , then goes out . Ali follows her a few steps behind . By now it is dusk .</scene_description> </scene> <scene> <stage_direction>TERRACE. KADER'S HOUSE. OUTSIDE. NIGHT.</stage_direction> <scene_description>It is a starry night and there are few lights visible in the windows of the Casbah . In the background , there is the triumphant neon of the European city , the sea , the ships at anchor , the shining beams of a lighthouse . Kader turns around gracefully , and goes to sit on the wall of the terrace .</scene_description> <character>KADER</character> <dialogue>You could have been a spy. We had to put you to the test.</dialogue> <scene_description>Ali looks at him sullenly .</scene_description> <character>ALI</character> <dialogue>With an unloaded pistol?</dialogue> <character>KADER</character> <dialogue>I'll explain.</dialogue> <scene_description>Kader is a few years older than Ali , but not so tall . He is slender with a slight yet sturdy bone structure . The shape of his face is triangular , aristocratic , his lips thin , his eyes burning with hatred , but at the same time , cunning . He continues to speak in a calm tone which has an ironic touch to it .</scene_description> <character>KADER</character> <dialogue>Let's suppose you were a spy. In prison, when the NLF contacts you, you pretend to support the revolution, and then the French help you to escape.</dialogue> <character>ALI</character> <dialogue>Sure. By shooting at me.</dialogue> <character>KADER</character> <dialogue>Even that could be a trick. You escape, then show up at the address which the brothers in prison gave to you, and so you are able to contact me.</dialogue> <character>ALI</character> <dialogue>I do n't even know your name yet.</dialogue> <character>KADER</character> <dialogue>My name is Kader, Ali. Saari Kader. In other words, in order to join the organization, you had to undergo a test. I could have told you to murder the barman, but he's an Algerian. and the police would let you kill him, even though he is one of theirs. By obeying such an order, you still could have been a double agent. And that's why I told you to kill the French policeman : because the French would n't have let you do it. If you were with the police you would n't have done it.</dialogue> <scene_description>Ali has followed Kader 's logic a bit laboriously , and he is fascinated by it . But not everything is clear yet .</scene_description> <character>ALI</character> <dialogue>But I have n't shot him.</dialogue> <character>KADER</character> <parenthetical>( smiling . )</parenthetical> <dialogue>You were n't able to. But what's important is that you tried.</dialogue> <character>ALI</character> <dialogue>What's important for me is that you let me risk my life for nothing.</dialogue> <character>KADER</character> <dialogue>C'mon. you're exaggerating. The orders were to shoot him in the back.</dialogue> <character>ALI</character> <dialogue>I do n't do that kind of thing.</dialogue> <character>KADER</character> <dialogue>Then do n't complain.</dialogue> <character>ALI</character> <dialogue>You still have n't told me why you did n't let me kill him.</dialogue> <character>KADER</character> <dialogue>Because we are n't ready yet for the French. Before attacking, we must have safe places from which to depart and find refuge. Of course, there is the Casbah. But even the Casbah is n't safe yet. There are too many drunks, pushers, whores, addicts, spies. people who talk too much. people who are ready to sell themselves, undecided people. We must either convince them or eliminate them. We must think of ourselves first. We must clean out the Casbah first. Only then will we be able to deal with the French. Do you understand, Ali?</dialogue> <scene_description>Ali does n't answer . Kader has come down from the wall and looks toward the Casbah . Ali too looks toward the Casbah , immersed in the night .</scene_description> <character>ALI</character> <dialogue>And how many are we?</dialogue> <character>KADER</character> <dialogue>Not enough.</dialogue> </scene> <scene> <stage_direction>AREAS OF CASBAH UNDERWORLD. OUTSIDE/INSIDE. DAY. MARCH 1956.</stage_direction> <scene_description>A warm spring wind , large white clouds . At the western edge of the Casbah , from the Upper to Lower Casbah , the street of the Algerian underworld descends to the brothel quarter .</scene_description> <character>SPEAKER</character> <dialogue>`` National Liberation Front, bulletin number 24. Brothers of the Casbah! The colonial administration is responsible not only for our people's great misery, but also for the degrading vices of many of our brothers who have forgotten their own dignity.''</dialogue> <scene_description>Shady bars for gamblers and opium smokers , shops filled with tourist trinkets , merchants , fences , pimps , children with adult faces , ghastly old women , and young girls , whores standing in the doorways of their houses . The girls having their faces uncovered have put scarves on their heads , knotted at the nape .</scene_description> <character>SPEAKER</character> <dialogue>`` Corruption and brutality have always been the most dangerous weapons of colonialism. The National Liberation Front calls all the people to struggle for their own physical and moral redemption - indispensable conditions for the reconquest of independence. Therefore beginning today, the clandestine authority of the NLF prohibits the following activities : gambling, the sale and usage of all types of drugs, the sale and usage of alcoholic beverages, prostitution and its solicitation. Transgressors will be punished. Habitual transgressors will be punished by death.''</dialogue> </scene> <scene> <stage_direction>BAR. EUROPEAN CITY FACING CASBAH. OUTSIDE/INSIDE. SUNSET.</stage_direction> <scene_description>It is dusk . In the European city , the first lights are visible . People begin to crowd the bars for an apéritif . An Algerian shoeshine man leaves his workbox at the entrance of the bar . He goes to the counter . He is tall and thin as a reed . He takes from his pocket a handful of change ; his hands tremble slightly as he counts it . The barman recognizes him , fills a glass of wine , and places it in front of him . The Algerian pays and takes the glass . It 's probably not his first ; the trembling of his hands increases . The Algerian drinks the wine in one gulp , then goes to the door . He waits patiently while some Europeans enter . He goes out , picks up his workbox , and moves away .</scene_description> </scene> <scene> <stage_direction>RUE MARENGO AND STEPS. OUTSIDE. SUNSET.</stage_direction> <scene_description>The Algerian is standing at the top of some steep , almost vertical steps that lead from the European quarters to the Casbah . Now he is in rue Marengo . There is still some daylight . The street is crowded . The Algerian is unsteady on his legs . He stops and mutters something to himself . It is obvious that he is trying to hide his drunkenness . He begins to walk , his hand against the wall for support . He stumbles . The workbox falls , scattering brushes and cans of shoe polish on the ground . The Algerian bends down , and begins to pick up his tools . He is swearing . Others have seen him . A peddler points him out to a child of about ten . It is Petit Omar , who nods yes , then whistles . Another whistle answers him , then another and another . There are other children , at every corner of the street . They arrive in a run and gather together . Omar points to the drunk who is now moving away , and gives the order to attack . It is evident that this is not a game for them , but a duty . There is a chorus of brief shouting , of insults , and whistles . The drunk sees them approaching . He is terrified . He tries to quicken his step . They reach him quickly and surround him . They attack him and then flee , small yet elusive . They do not laugh even once ; their faces are hard and cruel . The drunk swings around holding his workbox by its strap . Some children are hit ; some fall . The drunk avails himself of this chance to escape , and retraces his steps to the staircase . He begins to descend toward the European quarters . But the children are again upon him . They are shouting more loudly now , and pushing him . He quickens his step , and staggering jumps the steps two by two . The children trip him and he falls . He is crying . He shields himself with his hands . The workbox has fallen and is rolling down the steps . The children are now on top of him , like small beasts on a carrion . They smother him , push him and pull him . They are no longer shouting . All of them are intent upon their efforts . Only the drunk is shouting despairingly . They succeed in moving him , and hurl him down the steps . He rolls downward , trying in vain to grab something with his hands .</scene_description> </scene> <scene> <stage_direction>BAR CASBAH. OUTSIDE/INSIDE. DAY.</stage_direction> <scene_description>Outside the sun 's light is blinding . Inside the small bar there is fresh air and shade . A young Algerian , with lifeless eyes and an idle expression , is rolling an opium cigarette . He lights it . Two slaps cause the cigarette to fall from his lips . Ali la Pointe is wearing a djellabah , a type of cloak without buttoning which slips on over the head . There is an opening of about eight inches at the waist . Ali has stretched his arm through the opening to slap the opium addict , who recognizes Ali , smiles , and makes a dazed grimace .</scene_description> <character>OPIUM-ADDICT</character> <dialogue>Ali la Pointe.</dialogue> <character>ALI</character> <dialogue>Wake up! Have you seen Hacene le Bonois?</dialogue> <character>OPIUM-ADDICT</character> <parenthetical>( shaking his head . )</parenthetical> <dialogue>Not today.</dialogue> <scene_description>Then he gets up laboriously , bends down , and looks for the cigarette that had fallen from his hand . He does n't reach it . Ali quickly crushes the cigarette with his foot . He is wearing a pair of sneakers . He moves away and leaves the bar .</scene_description> </scene> <scene> <stage_direction>STREET BAR. CASBAH. OUTSIDE. DAY.</stage_direction> <scene_description>Ali continues to scour the streets . From time to time , without lingering , he asks someone :</scene_description> <character>ALI</character> <dialogue>Seen Hacene le Bonois?</dialogue> <scene_description>Then adds :</scene_description> <character>ALI</character> <dialogue>Tell him I'm looking for him.</dialogue> </scene> <scene> <stage_direction>BROTHEL QUARTERS. OUTSIDE. DAY.</stage_direction> <scene_description>OFF LIMITS Entrance to the brothel quarters . The street widens , the alleys branch off and seem to broaden . There are one or two Europeans , not only tourists in search of adventure , but also elements of the international criminal underworld who mingle here with the Algerians . Almost all the buildings house a brothel or other place of ill - repute . On some doorways signs are hanging which read : THIS IS AN HONEST HOUSE .</scene_description> </scene> <scene> <stage_direction>BROTHEL. INSIDE. DAY.</stage_direction> <scene_description>Ali has entered a brothel . It is morning and there are few clients . The whores are Algerian and European . Some of them are pretty . The madam is an Algerian , dressed in European clothes . She is about forty , heavily made up . When she spots Ali , she interrupts her usual professional chant . She seems curious , yet glad .</scene_description> <character>MADAM</character> <parenthetical>( shouting . )</parenthetical> <dialogue>Ali la Pointe!</dialogue> <scene_description>She stops herself , already sorry for having spoken so quickly and imprudently . Ali does n't answer her , but approaches with a steady and serious glance .</scene_description> <character>MADAM</character> <parenthetical>( changing tone . )</parenthetical> <dialogue>Have n't seen you around for some time. I thought you were still in prison.</dialogue> <scene_description>Ali leans against the counter , never once taking his eyes off her .</scene_description> <character>ALI</character> <dialogue>Is Hacene le Bonois here?</dialogue> <character>MADAM</character> <dialogue>No. He left early this morning. You know how it is with the boss.</dialogue> <character>ALI</character> <dialogue>I want to see him. If he shows up, tell him that I'm around.</dialogue> <scene_description>Ali moves away from the counter and turns . He leaves without a word . The woman tries to understand what has happened , and follows him with a worried glance .</scene_description> </scene> <scene> <stage_direction>SMALL STREET. HACENE. OUTSIDE. DAY.</stage_direction> <character>HACENE</character> <dialogue>Ali, my son. Where have you been hiding?</dialogue> <scene_description>Ali turns suddenly , then pulls back so that his back is against the wall of the alley .</scene_description> <character>ALI</character> <parenthetical>( in sharp voice . )</parenthetical> <dialogue>Do n't move!</dialogue> <scene_description>Then he glances at the others .</scene_description> <character>ALI</character> <dialogue>Hands still.</dialogue> <scene_description>The others are three young Algerians , Hacene 's bodyguards . Hacene le Bonois is tall with short legs out of proportion with his enormous chest . He is somewhat corpulent . He has a wide face , a cheerful and self - confident expression . His clothing is a strange combination of Algerian and European which does not , however , appear ridiculous , but imposing . At Ali 's remark , his expression changes , becomes amazed and baffled . But at the same time , his eyes give away the brain 's attempt to find an explanation and a solution .</scene_description> <character>HACENE</character> <parenthetical>( astonished . )</parenthetical> <dialogue>You know I never carry weapons.</dialogue> <scene_description>Ali keeps his arms and hands hidden under his djellabah .</scene_description> <character>ALI</character> <dialogue>I know.</dialogue> <scene_description>Hacene laughs warmly , and stretches out his hands which are enormous , thick and rough .</scene_description> <character>HACENE</character> <dialogue>You afraid of these?</dialogue> <character>ALI</character> <dialogue>Do n't move, Hacene.</dialogue> <character>HACENE</character> <dialogue>Why are you afraid? We've always been friends. One might even say that I brought you up. Is n't it true, Ali?</dialogue> <character>ALI</character> <dialogue>It's true.</dialogue> <character>HACENE</character> <dialogue>What's happened to you?</dialogue> <character>ALI</character> <dialogue>The NLF has condemned you to death.</dialogue> <scene_description>Hacene is stunned . He speaks aloud his thoughts in a soft voice .</scene_description> <character>HACENE</character> <dialogue>Ah, so its come to this.</dialogue> <scene_description>Then he bursts into loud laughter , and seems to turn to the three guards at his back .</scene_description> <character>HACENE</character> <dialogue>I'm dying of laughter! Ha. ha. ha.</dialogue> <scene_description>Ali does n't speak . He continues to stare at Hacene . Hacene suddenly stops laughing . His tone of voice changes , becomes brusque and hurried .</scene_description> <character>HACENE</character> <dialogue>How much are they paying you?</dialogue> <character>ALI</character> <dialogue>They're not paying me anything. They've already warned you twice ; this is the last warning. Decide.</dialogue> <character>HACENE</character> <dialogue>What. What must I decide?</dialogue> <character>ALI</character> <dialogue>You've got to change occupations, Hacene. Right away!</dialogue> <scene_description>Hacene makes a gesture as if to emphasize what he is going to say .</scene_description> <character>HACENE</character> <parenthetical>( with irony . )</parenthetical> <dialogue>Okay, you convince me.</dialogue> <scene_description>Then suddenly , unexpectedly , he lets out a SHRILL SCREAM , like fencers who before plunging their swords , try to frighten their adversaries . Simultaneously , he hurls himself forward , head lowered and arms outstretched . Ali steps aside , and releases a BLAST OF MACHINE - GUN FIRE . Hacene falls flat on his face . There is movement . Some passersby approach . The three boys try to escape .</scene_description> <character>ALI</character> <parenthetical>( shouting . )</parenthetical> <dialogue>Stop!</dialogue> <scene_description>The barrel of the machine gun is visible through the opening in his djellabah . Ali 's voice is quivering angrily :</scene_description> <character>ALI</character> <dialogue>Look at him well! Now nobody can do whatever he wants in the Casbah. Not even Hacene. least of all you three pieces of shit! Go away now. go away and spread the word. Go on!</dialogue> </scene> <scene> <stage_direction>WEDDING. OUTSIDE. DAY.</stage_direction> <scene_description>Summer . There is a garland of flowers strung across an alley . A front door is open , and the guests continue to arrive .</scene_description> </scene> <scene> <stage_direction>WEDDING HOUSE. OUTSIDE. DAY.</stage_direction> <scene_description>In the inner courtyard , there are benches and chairs arranged in rows . In front of all of them , there are two chairs separated from the rest , one next to the other . In front of them , there is a small table with a pen and inkstand on top . The people remain standing , about twenty Algerians , of all ages . They are speaking among themselves in thick whispers . There is an expectant and ceremonious atmosphere . BUZZING . Mahmoud was seventeen then . He has soft down on his cheeks , his first beard . He is thin , his neck long and tense , his glance nervous . He appears to be the protagonist of what is about to take place . His hair is combed with care and covered with much hair cream . He is wearing a clean and newly bought white costume . Many of the others come to speak with him ; the younger ones are joking and trying to provoke him . AD LIB REMARKS . Mahmoud reacts comically with a grim frown with which he tries in vain to hide his shyness . At the same time , he glances secretly , anxiously , up to the empty balcony on the first floor . Much gay and lively chattering can be heard from an open door above .</scene_description> </scene> <scene> <stage_direction>WEDDING ROOM. INSIDE. DAY.</stage_direction> <scene_description>In the room , a group of girls are busy preparing trays with cups of coffee . They are little more than children , twelve or thirteen years old , with soft complexions , white teeth , and shining eyes . They seem children who are playing , but beneath that veneer of gaiety , some anxiety is noticeable , emotions in suspense . The faltering voice of an old woman calls from the adjoining room . A girl leaves the group , lifts the dividing curtain , and nearing the bed where the old woman is lying , she kneels beside her . The old woman lifts her hand and places it on the girl 's hair , caressing her tenderly . She speaks in a wavering voice , and her small yet kind eyes fill with tears . OLD WOMAN 'S SPEECH IN ARABIC . The girl nods yes , then she gets up and goes to rejoin her companions . Passing before a mirror , she stops a minute to tidy her hair .</scene_description> </scene> <scene> <stage_direction>WEDDING HOUSE. OUTSIDE. DAY.</stage_direction> <scene_description>They appear on the balcony , then descend to the courtyard . The nervous glance of Mahmoud scans their faces , then rests upon that girl who , with lowered eyelids , also glances quickly at him . Meanwhile the trays are being passed among the guests . Now the people turn to face the front door . A young man has entered carrying a briefcase under his arm . Behind him are two boys who seem to be his bodyguards , and are the only ones dressed in European clothes . Both of them have their right hands under their jackets , which are old and torn . They seem to be armed . They close the door , and remain standing on either side of it . The man with the briefcase walks toward the table . All present look at him respectfully . He smiles , responds to their greetings , shakes hands with all . But he refuses coffee and seems to be in a hurry . He sits down , places his briefcase on the table , opens it , and takes out a large notebook . From the open briefcase , the metallic butt of a sub - machine gun appears . On the cover of the notebook is written : NLF - ALGERIAN AUTONOMOUS ZONE . CIVIL RECORDS . He turns the pages of the notebook until he reaches the last written page . Then he glances up toward the people who , in the meantime , have taken their seats . He smiles , says a few words , then calls two names . Mahmoud walks forward stiffly , erect , his eyes staring straight ahead of him . The girl also walks forward , with a perplexed expression . They sit down next to each other , but without looking at each other . The ceremony consists of a few words . Finally the two youths look at each other . Mahmoud tries to smile , but he can not . The girl 's expression softens somewhat . Her glance is tender ; she lowers her face quickly . Meanwhile the others recite the verses of the Koran in low voices . CHORUS .</scene_description> </scene> <scene> <stage_direction>RUE D'ISLY. OUTSIDE. DAY. JUNE 20, 1956. 8:05 A.M.</stage_direction> <scene_description>There is a French guard , no more than thirty years old . He has a blond mustache , his beard recently shaved . There are few people in the street . The guard walks slowly , glancing in the shop windows from time to time to admire his reflection . He stops , adjusts his cap , and smiles . An Algerian appears beside him ; he is also young . The guard pretends to be interested in the photographic equipment which is on display , then moves on . The Algerian 's arm springs forward and returns quickly to its place . He plunges the knife into the guard 's neck . The guard opens his mouth wide to shout , but he can not . The blood gurgles in his gashed throat . None of the few passersby has seen what happened . The guard falls flat on his face . Someone sees him and screams . The Algerian hurls himself on top of the soldier , opens his holster , takes his pistol , then gets up pulling the gun with him . The gun is fastened by a leather cord . The cord gets tangled in the gashed neck of the guard . The Algerian pulls in vain . He panics . He looks about him with terrified eyes . People approach hurriedly . They are shouting . The Algerian pulls the cord a second time , desperately . He regains his control , picks up the knife which is lying on the ground , and cuts the leather cord , thus freeing the pistol . The others have almost reached him and he is surrounded , but he manages to dodge them , and escapes .</scene_description> </scene> <scene> <stage_direction>BOULEVARD BRU. OUTSIDE. DAY. 8:40 A.M.</stage_direction> <scene_description>A group of zouaves on patrol , three soldiers and an officer . The street is sloping ; on the right there is a high fence covered with advertising signs and cinematographic posters , all of them torn and full of holes ; the emptiness on the other side is visible through the holes . The soldiers are chatting among themselves and looking at the posters . A soldier stops because he sees something moving on the other side of the fence . He points to it and shouts , but not in time . MACHINE - GUN FIRE INTERRUPTED BY SINGLE SHOTS . The soldier falls , the others remain motionless , unbelieving . They begin to run and scatter and look for cover . An Algerian appears on top of the fence . He moves like a cat , and jumps from the other side . His invisible companions continue to shoot . He is unarmed , and runs to the dead soldier . He grabs the machine gun and retraces his steps . The action takes place in a second . By now the soldiers too are shooting , but it is too late .</scene_description> </scene> <scene> <stage_direction>POLICE STATION. CHEMIN AIN-ZEBOUDJA. OUTSIDE/INSIDE. DAY. 9:10 A.M.</stage_direction> <scene_description>A police station in the Casbah , a small prefabricated one - story building . At the main door there is a police guard . A group of five Algerians is approaching . They are talking among themselves , and gesticulating . BUZZING . The policeman enjoys watching them , then asks what it 's about . All five of them answer him at once , trying to outdo one another . The policeman has to shout to make them keep quiet . Then , assuming a very humble behavior , they enter silently . The oldest among them speaks in a mournful voice . He seems to be crying and asks the sergeant something . The policeman calls a colleague , and tells him to accompany the Algerians . Four of them go with the policeman , while another remains in the waiting room , saying that it is better because he is afraid of losing his control . Then he begins to explain the reasons for the quarrel : it concerns a will . The old man is his grandfather , but he has recently remarried . Then from inside is heard . MACHINE - GUN FIRE . The policeman reacts quickly and tries to draw his gun . But the Algerian is faster and fires point - blank . The four reappear . One of them is wounded . All of them are armed with revolvers , and carry at their sides a machine gun and two sub - machine guns that they have taken from the armory . Other cries and shots are heard behind them . All five of them run out in haste .</scene_description> </scene> <scene> <stage_direction>RUE MARENGO. OUTSIDE. DAY. 9:45 A.M.</stage_direction> <scene_description>Another police station . Two policemen are chatting in front of the entrance . A black Renault is passing by at a walking speed , then slows down almost to the point of halting completely . The right door opens and there is a burst of machine - gun fire . One of the policemen has been , hit , and grabs the other so as not to fall . Another burst of . MACHINE - GUN FIRE . The two policemen fall down together . The car motor is accelerated , the tires screech and the Renault shoots forward . A military jeep arrives from the opposite direction , crashes into the car and blocks its escape . An Algerian flees and is pursued . Another descends from the auto with his hands raised . The soldiers shoot and kill him .</scene_description> </scene> <scene> <stage_direction>AVENUE DU 8 NOVEMBRE. OUTSIDE. DAY. 1:10 P.M.</stage_direction> <scene_description>A large garage with workshop and filling station . In front are some automobiles and a military truck . A scooter with two Algerian boys passes by , rumbling noisily along the road . Then at full speed , it makes a sharp turn , retraces its steps and turns again . The boys seem to be showing off for fun . Meanwhile , the employees of the garage are leaving their work since it is lunchtime . The attendant at the gasoline pumps is left alone . The scooter stops in front of the high - test gasoline pump . The attendant is a European , an elderly man , who approaches them holding in one hand some bread he has just unwrapped . He detaches the pump handle of high - test , and asks how many gallons . One of the Algerians points a revolver at the attendant , and tells him to pour out the gasoline on the ground all around . The other , meanwhile , goes to the other two gasoline pumps , detaches the handles , and fastens them in an open position in order to empty them of gasoline . He uses two pieces of iron that he has brought with him to clamp the handles open . He stretches the pump hoses as far as they can go toward the garage and the parked cars . The gasoline flows all over the large square . The two youths are again on the scooter ; they tell the European to move away . They have soaked a rag in gasoline and they light it . The gasoline continues to flow from the two open pumps . The European is by now far away , the scooter is already moving away , and at the same time , the boys hurl the lit rag into the square . It immediately bursts into flames .</scene_description> </scene> <scene> <stage_direction>COMMISSIONER's OFFICE. INSIDE. NIGHT.</stage_direction> <scene_description>The night of the same day , in an office of the police commissioner 's headquarters . On the desk , photos of the day 's terroristic attempts are piled in a heap . An employee is in front of his typewriter . The Assistant Commissioner is about forty years old , very robust . His face is somewhat wide , ordinary , and with heavy features . He leafs through the photos while speaking on the telephone . It is a very warm night , and the window of the office is open . From outside is heard the SOUND OF TRAFFIC .</scene_description> <character>ASSISTANT COMMISSIONER</character> <parenthetical>( on telephone . )</parenthetical> <dialogue>Yes, sir, but they have n't received a search - warrant yet. Rue d'Isly? We followed them for a while, but then we lost track. Yes, sir, but it is in another precinct. No, it was n't in theirs. There are some suspects for rue Marengo. No. the judge has n't given permission yet. He is requesting a formal investigation first. Yes, sir, yes. Yes, sir, yes - But we have n't enough men. Of course, I understand. If it were possible, sir, you should. but the Commissioner ca n't. in. But could n't you. Alright, sir. We'll let them cut our throats then!</dialogue> <scene_description>He slams the receiver angrily and begins to dictate his report . His voice is harsh , filled with rancor .</scene_description> <character>ASSISTANT COMMISSIONER</character> <dialogue>Time : 3 P.M. Attempt at homicide against a Patrol of the 3rd B.P.C. Place : Luciani street at El Biar. Weapon : Revolver 7.75. Victim : A soldier wounded in the right leg and groin. Hospitalized. Assailants : Unknown. Time : 3:35 P.M. Homicide. Place : Chopin Street, opposite number 20. Weapon : P.M. 38. Victim : Private second - class Dare Jackie, born March 12, 1931. Deceased. Assailant : A moslem. Height : five feet and seven/eights inches. Light colored clothing. Probably escaped in Simca. License plates unknown. Time : Four minutes past 4 P.M. Homicide and attempt at homicide against patrol of border guards. Place : Intersection between Consular Street and General Laquiere. Wait a minute.</dialogue> <scene_description>The officer stops speaking , takes a glass from his desk , and goes near the window . On the ledge , there is a bottle of beer , left there evidently to keep it a bit cool . He takes it , fills his glass and drinks . Then he speaks in a lowered voice , while looking outside , without even giving any directions to the employee who waits with his hands poised about the keyboard of his typewriter .</scene_description> <character>ASSISTANT COMMISSIONER</character> <dialogue>I want to see the newspapers tomorrow. If they're still talking about pacification of our Moslem brothers!</dialogue> <scene_description>He returns to his desk .</scene_description> <character>ASSISTANT COMMISSIONER</character> <dialogue>Where were we?</dialogue> <character>EMPLOYEE</character> <dialogue>Intersection, between Consular Street and General Laquiere Avenue.</dialogue> </scene> <scene> <stage_direction>VARIED FLASHES. POLICE STATIONS. OUTSIDE. DAY.</stage_direction> <scene_description>In front of police stations : Ain - Zeboudja . rue Marengo . and all the others . in the Casbah . in the European quarters . sandbag entrenchments are being prepared , barbed wire is being stretched , metallic lookout turrets are being set up . It is very hot . Workers and policemen work in silence . There is an oppressive atmosphere .</scene_description> <character>SPEAKER</character> <dialogue>`` Ordinance of the Prefecture of Algiers : All police stations in Algiers, without exception and until further notice, are required to prepare and maintain external protection devices. The shifting of guards outside must continue uninterrupted twenty - four hours a day. Sentinels must be equipped with automatic weapons.''</dialogue> </scene> <scene> <stage_direction>EUROPEAN AND CASBAH PHARMACIES. MUSTAPHA HOSPITAL. OUTSIDE/INSIDE. DAY.</stage_direction> <scene_description>View of pharmacies in the European quarters and in the Casbah . The shelves , medicines ; people who are buying . The Mustapha hospital , reserved for Algerians . The wards : hospitalized Algerians .</scene_description> <character>SPEAKER</character> <dialogue>`` The Governor - General of Algiers decrees : Article No. 1 - The sale of medicinal and pharmaceutical products, effective for the cures of gunshot wounds, can be made only to those who present written authorization from the Commissioner of Police. Article No. 2 - Directors of all hospitals and clinics must produce to the police authorities an immediate listing of all patients admitted to their institutions for the care and treatment of gunshot wounds.''</dialogue> </scene> <scene> <stage_direction>CASBAH ROAD BLOCKS. OUTSIDE. DAY.</stage_direction> <scene_description>The Casbah is being closed off . Every point of entrance , every alley , every street that joins the Casbah and the European quarters has been blocked off with wooden horses and with barbed wire nine feet high . There are also workers , policemen , and soldiers who are working at the barricades . Beyond them , on the other side of the barbed wire , the Algerians seem to be encaged .</scene_description> <character>SPEAKER</character> <dialogue>`` The Prefecture of Algiers states : In the course of these last few days, dozens of assaults have been committed in this city. We have reason to believe that the assailants originate in the Casbah, and that they have always found a speedy and easy refuge in the alleys of the Arab quarters. As a result, and in order to alleviate without delay the insecurity that now reigns in the city, the Prefecture of Algiers has decided that entrance to the Casbah can only he permitted at those points in the blockade under military control, where citizens in transit must exhibit their documents at request, and submit to eventual searches.''</dialogue> <scene_description>The Casbah is imprisoned , like a huge concentration camp . Only five streets have been left open , the widest streets . There are five exits where the wooden horses serve to restrict passage , and where some wooden posts for the guards are being built . Every exit is marked by a sign with large lettering .</scene_description> </scene> <scene> <stage_direction>BLOCKADE MARENGO. OUTSIDE. DAY. AUGUST 10, 1956.</stage_direction> <scene_description>At each blockade , there are two ramps , an entrance and an exit to the Casbah . The Algerians and some Europeans crowd around in both directions . The soldiers are wearing fatigues with helmets and machine guns . The Europeans are not requested to show identity papers . The Algerians are often frisked , and accept this fact silently , patiently , without any sign of intolerance . But if the soldiers attempt to search a woman , then , it is different . A woman begins to shout , while waving her arms wildly , and pushes away the soldier who had tried to search her . A stream of incoherent words . Other Algerians intervene ; they push forward threateningly . The soldier is young ; he is timid and frightened . He looks over his back for help . A police officer approaches . He has a different tone , and a very self - assured manner . He shouts at the Algerians to calm down .</scene_description> <character>OFFICER</character> <dialogue>Are you mad, touching one of their women? Go on, go on, alright. Go ahead, keep moving!</dialogue> <scene_description>The woman passes the blockade , but still continues her protest with a shrill and unbearable voice .</scene_description> </scene> <scene> <stage_direction>RUE PHILIPPE. OUTSIDE. DAY. 8:35 A.M.</stage_direction> <scene_description>An Algerian woman walks along the sidewalk . She is elderly , fat , and is wearing a traditional costume with her face veiled . She walks slowly toward a bar , which has its tables outside , and already some customers . Near the bar , leaning against a wall , there is an Algerian who now begins to move and goes to meet the old woman . They greet one another with much warmth , like a mother and son who have n't seen each other for a long time . They embrace , and the man searches at her breast among the folds of her veil . He finds a revolver which is hung by a cord , and grabs it . They are at ten or twelve feet distance from the bar . At a table , there is a French soldier having coffee with cream , croissant , and an open newspaper . The Algerian continues to embrace the old woman , and aims from above her shoulders . Only one shot ; the newspaper rips , the soldier tries to get up again , his face full of blood . Then he collapses on the table . The Algerian has hidden the revolver in the woman 's veil . The two separate from their embrace . They seem terrified and surprised , and move away from each other in different directions while the people are rushing about and SHOUTING .</scene_description> </scene> <scene> <stage_direction>DE LA LYRE MARKET. OUTSIDE. DAY. 9:10 A.M.</stage_direction> <scene_description>The cries of the peddlers are loud and incoherent . An Algerian is squatting on his heels in front of his wares scattered on the ground : clusters of aromatic herbs , jars of spices . A youth is in front of him , and from time to time , he looks around him . He seems to be waiting . Now he bends down and begins to rummage through the herbs . He selects a bunch of mint , weighs it in his hand , and argues the price with the peddler . A policeman in the market passes nearby and watches . The youth waits a second , then turns toward the back of the policeman , and stretches out his arm . He has in his hand the bunch of mint ; a revolver is hidden among the greens . He shoots twice . The French policeman falls down . The youth drops the mint with the revolver among the other herbs , and moves away in the midst of the crowd .</scene_description> </scene> <scene> <stage_direction>RUE DE BAR-EL-QUED. OUTSIDE. DAY. 10:15 A.M.</stage_direction> <scene_description>In front of the police station there are sandbags and a police guard at duty with helmet and machine gun . The policeman jumps to attention and salutes . An officer has come out of the station and returns his salute . He moves away and walks along the sidewalk . There are few people . An Algerian seems to appear from nowhere , and walks behind him . He is very young , is wearing a short - sleeved shirt and blue jeans . The officer turns at the first corner . Further on , there is a row of cars and a metallic sign which warns that the parking space is reserved for police vehicles only . The officer hears the steps of the boy behind him , and summons him in a brusque manner .</scene_description> <character>OFFICER</character> <dialogue>What are you doing here? Where are you going?</dialogue> <scene_description>The boy shrugs his thin , shoulders and lowers his head .</scene_description> <character>BOY</character> <parenthetical>( in servile tone . )</parenthetical> <dialogue>I'm going for a swim ; my friends are waiting for me.</dialogue> <scene_description>The officer curses under his breath and proceeds . He stops in front of a Dyna - Panhard , parked not too far away . The boy moves on a few yards past the automobile until he reaches a metallic wastebasket which is fastened to the pole of a street lamp . He stops there , then glances around . The officer is not far behind him ; he has taken his car keys from his pocket , and is about to open the car door . The boy plunges his hand into the basket , rummages among the torn papers , then suddenly turns , points a revolver at the officer 's back , and shoots . The man tries to clutch something , but slips and falls down . The boy shoots again at the man on the ground , then plunges his hand again into the wastebasket , drops the revolver , and glances around him . He breaks into a run . The policemen come out of the police station hurriedly . WHISTLES , ORDERS , EXCITED CRIES . They turn the corner . Some rush to the man lying on the ground . Others jump into a jeep . Four of them jump on motorcycles that are lined up in the rack . They move off in two directions . At the same time , wails of police sirens moving nearer are heard in the distance . The street is deserted . There is no trace of the boy . People are seen at their windows . The officer is lifted by his arms . An ambulance arrives and stops , its siren at full blast , its doors wide open . The officer is placed inside . The motorcycles are racing through the sidestreets . The jeep converges on them , then reverses its direction , moving while balanced on two wheels . Passersby stop to watch , all of them Europeans . The siren 's wail is at a high pitch .</scene_description> </scene> <scene> <stage_direction>ADJACENT STREETS. OUTSIDE. DAY.</stage_direction> <scene_description>A deserted street , recently covered with wet asphalt . A Moslem road worker is sitting on the ground next to a steamroller . He is eating his lunch . The combined sounds of the siren 's wail and the rumbling of the motorcycles are heard approaching . Two motorcyclists appear in the street , passing by the road worker . One of them stops and turns around . The road worker moves backward to the street corner . He breaks into a run . His eyes are burning with fear , his face is anxious , undecided . From the windows , the people point to him , and shout after him . A jeep appears in the street in front of him . The motorcyclist approaches from the opposite direction . The Algerian stops running ; he does n't know what to do . From the windows , continuous SHOUTING . The Algerian leans against the wall , watches the scene , and begins to cry . The policemen jump down from the jeep and leap at him . The Algerian is n't able to speak , but only shakes his head .</scene_description> </scene> <scene> <stage_direction>POLICE STATION. INSIDE. DAY.</stage_direction> <scene_description>A room inside the police station . The Algerian 's face is beaten from right and left by a series of slaps . The room is filled with policemen . All of them are practically on top of the Algerian ; all of them are shouting . In the confusion can be heard SHOUTS .</scene_description> <character>VARIED VOICES</character> <dialogue>Do you know he's dead, you bastard? Do you know you killed him?</dialogue> <scene_description>They try to reach him , pushing against one another in order to get closer and hit him . The Algerian is crying and speaks in broken - off phrases , half Arabic and half French . His continual efforts to repeat certain words are heard :</scene_description> <character>ALGERIAN</character> <dialogue>No, no, no, no,. me no. Viva France.</dialogue> <scene_description>An officer arrives making his way .</scene_description> <character>OFFICER</character> <dialogue>Get out, go on, outside. Get out of the way! Go away.</dialogue> <scene_description>They make way for him ; he reaches the Algerian who tries to smile at him , continually shaking his head :</scene_description> <character>ALGERIAN</character> <dialogue>Sir. sir. sir.</dialogue> <character>OFFICER</character> <dialogue>What's your name?</dialogue> <scene_description>The Algerian 's mouth is dry ; he tries to swallow .</scene_description> <character>ALGERIAN</character> <dialogue>Sir. sir. sir.</dialogue> <character>OFFICER</character> <dialogue>What's your name?</dialogue> <character>ALGERIAN</character> <parenthetical>( straining , still trying to swallow . )</parenthetical> <dialogue>Lardjane Boualem, sir.</dialogue> </scene> <scene> <stage_direction>COMMISSIONER'S OFFICE. INSIDE. NIGHT.</stage_direction> <scene_description>In the Commissioner 's office , the Assistant Commissioner dictates :</scene_description> <character>ASSISTANT COMMISSIONER</character> <dialogue>Guilty : Lardjane Boualem, manual worker, married with three children. Resident in rue de Thèbes, number eight. So? How many today?</dialogue> <scene_description>The employee removes the copies from the typewriter and begins to put them in order .</scene_description> <character>EMPLOYEE</character> <dialogue>Seven assaults, three dead.</dialogue> <scene_description>Then he moves to the desk , and hands over the various copies for signature .</scene_description> <character>EMPLOYEE</character> <dialogue>Here, one for the Commissioner. the press offices. the archives. and one for you, sir.</dialogue> <scene_description>The Assistant Commissioner signs .</scene_description> <character>ASSISTANT COMMISSIONER</character> <dialogue>Good, thank you, Corbiere. See you tomorrow.</dialogue> <character>EMPLOYEE</character> <dialogue>Good evening, sir.</dialogue> <scene_description>The employee salutes , then moves toward the door . He is about to go out when the Assistant Commissioner stops him .</scene_description> <character>ASSISTANT COMMISSIONER</character> <dialogue>Tell me. Where is this rue de Thèbes?</dialogue> <character>EMPLOYEE</character> <dialogue>Rue de Thèbes? In the Upper Casbah, I think.</dialogue> <character>ASSISTANT COMMISSIONER</character> <dialogue>All right. See you tomorrow, Corbiere.</dialogue> <character>EMPLOYEE</character> <dialogue>Good evening, sir.</dialogue> <scene_description>The employee leaves and closes the door . The Assistant Commissioner crosses the room to the large map of Algiers which covers the entire wall . He moves his finger along the Casbah zone ; as he moves it , he follows it with his glance in that tangle of streets .</scene_description> <character>ASSISTANT COMMISSIONER</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Rue de Thèbes. de Thèbes.</dialogue> <scene_description>He has found it . He observes it for a minute , then moves his finger along the road leading to the European quarters . He finds the right route , then concentrates in order to memorize it . He returns to the desk , lifts the receiver , and dials a number .</scene_description> <character>ASSISTANT COMMISSIONER</character> <parenthetical>( on the phone . )</parenthetical> <dialogue>Hello, Engineer Henry Amaud, please. He's already left? Alright, yes, yes, alright. I have the number.</dialogue> <scene_description>He clicks the receiver , then dials another number . At the other end of the line , a feminine voice is heard . The Assistant Commissioner abandons his usual peremptory tone .</scene_description> <character>ASSISTANT COMMISSIONER</character> <dialogue>Hello, Bernadette. Yes, right away. I'm going to change my clothes first, and I'll be right there. My wife is already there, right? No, it's not important. But call Henry for me. Just for a minute. Alright. thanks.</dialogue> <scene_description>He places the receiver on the desk , then puts on his jacket which is on the back of his chair . He straightens his tie . Now from the receiver a muffled voice is heard ; the Assistant Commissioner picks up the receiver .</scene_description> <character>ASSISTANT COMMISSIONER</character> <dialogue>Hello, Henry? Everything's okay. Good. What are we going to tell our wives? The club? Good idea, yes. I'll be there right away. Just give me time to change my clothes. Ah, I've found the address. No, it's better to talk in person. Yes, it's the right place. Okay. Bye.</dialogue> <scene_description>He puts down the receiver , then goes to the coat - hanger and takes his beret . He goes out after glancing again at the photos of the day 's assaults .</scene_description> </scene> <scene> <stage_direction>HENRY ARNAUD'S HOME. INSIDE. NIGHT.</stage_direction> <scene_description>Two small children are kneeling in front of their beds .</scene_description> <character>CHILDREN</character> <dialogue>Notre Père, dans le ciel.</dialogue> <scene_description>Two children , five or six years old , blond , charming , but not affected . They seem to be twins , and are wearing identical pajamas . At the same time , a servant is preparing their beds for the night . She is about fifty years old , her apron clean and ironed ; she has gray hair , her face that of a good woman . She is Algerian . When the children falter in their prayers , she helps them . When they have finished she says with an Algerian accent :</scene_description> <character>SERVANT</character> <dialogue>Now, let's go to say good night.</dialogue> <scene_description>In the dining room , there is a large open window . The beach , the sea , and the sound of the surf are outside , not too distant . It is a starry night . At a table , there are four men and four women , all of them well dressed and tanned . It is the home of Henry and Bernadette Arnaud . The Assistant Commissioner is in plain clothes . He and his wife seem ill at ease , somewhat out of place . The maid and children have entered the room .</scene_description> <character>BERNADETTE</character> <dialogue>Come here, children. Say hello.</dialogue> <character>CHILDREN</character> <dialogue>Good evening.</dialogue> <scene_description>The others smile . The servant accompanies the children to their parents .</scene_description> <character>CHILDREN</character> <dialogue>Good night, daddy. Good night, mommy.</dialogue> <character>BERNADETTE</character> <dialogue>Good night, dear.</dialogue> <scene_description>They kiss . At the same time the women make the usual delighted exclamations . One of the men attracts the Assistant Commissioner 's attention , points to his watch , and makes a sign . The Assistant Commissioner nods his head affirmatively .</scene_description> </scene> <scene> <stage_direction>ALGERIAN STREETS. OUTSIDE. NIGHT.</stage_direction> <scene_description>A DS Citroen is crossing the city at high speed . The four men are inside . Arnaud is at the wheel . The Assistant Commissioner is sitting in the back seat .</scene_description> </scene> <scene> <stage_direction>CASBAH ENTRANCE. OUTSIDE. NIGHT.</stage_direction> <scene_description>The automobile arrives at Place du Gouvernement , takes a turn around the square , then turns toward the blockade , and slows down . One of the soldiers moves to the center of the ramp , and raises the phosphorescent flag . The car lowers its headlights and stops . The soldier goes to the driver 's window . In his right hand , he is holding a machine gun which hangs from his shoulders . He greets them . He bends to window level :</scene_description> <character>SOLDIER</character> <dialogue>Good evening.</dialogue> <scene_description>Arnaud responds in an innocent , cheerful tone :</scene_description> <character>ARNAUD</character> <dialogue>Good evening. Can we pass?</dialogue> <character>SOLDIER</character> <dialogue>It's too late. No one is allowed to enter the Casbah at this hour. It's impossible.</dialogue> <character>ARNAUD</character> <dialogue>But it's not even midnight yet!</dialogue> <character>SOLDIER</character> <dialogue>It's ten minutes past midnight. Curfew begins at midnight.</dialogue> <character>ARNAUD</character> <dialogue>Please, we just want to take a short ride. A friend of mine has never seen the Casbah.</dialogue> <character>SOLDIER</character> <dialogue>I'm sorry. Tomorrow. Tonight is out of the question.</dialogue> <scene_description>The Assistant Commissioner intervenes with the self - assured and somewhat arrogant tone common to all policemen . He stretches his arm toward the window and hands the soldier a card .</scene_description> <character>ASSISTANT COMMISSIONER</character> <dialogue>It's alright, they're with me.</dialogue> <scene_description>The soldier examines the card by the glare of the headlights , hands it back , and bringing his hand to his visor , he salutes .</scene_description> <character>SOLDIER</character> <dialogue>Okay, sir. Go ahead.</dialogue> <scene_description>The Assistant Commissioner salutes with his hand .</scene_description> <character>ASSISTANT COMMISSIONER</character> <dialogue>Let's go, Henry.</dialogue> <character>ARNAUD</character> <parenthetical>( he changes gears . )</parenthetical> <dialogue>Thank you. Good evening.</dialogue> <scene_description>The soldier steps aside , and salutes again . The automobile begins to move , steadily increasing its speed .</scene_description> </scene> <scene> <stage_direction>CASBAH STREET. OUTSIDE. NIGHT.</stage_direction> <scene_description>The streets of the Casbah are deserted , almost completely blackened . Some cats are frightened by the headlights and run close to the walls . Inside the car the four men are silent . They keep their eyes fixed straight ahead of them , their faces concentrating , taut .</scene_description> <character>ARNAUD</character> <dialogue>This way?</dialogue> <character>ASSISTANT COMMISSIONER</character> <dialogue>Yes, it's the first intersection. or the second.</dialogue> </scene> <scene> <stage_direction>RUE DE THÈBES. OUTSIDE. NIGHT.</stage_direction> <scene_description>The automobile slows down at the first intersection . Arnaud leans out the window and looks . There is an enamel nameplate - RUE DE THÈBES .</scene_description> <character>ARNAUD</character> <dialogue>Right or left?</dialogue> <character>ASSISTANT COMMISSIONER</character> <dialogue>Try going to the right.</dialogue> <scene_description>The car turns right , moving slowly . On one side of the street , the even numbers are getting higher : 26 . 28 . 30 .</scene_description> <character>ARNAUD</character> <dialogue>What number is it?</dialogue> <character>ASSISTANT COMMISSIONER</character> <dialogue>Eight.</dialogue> <scene_description>The man next to the Assistant Commissioner says :</scene_description> <character>FRIEND</character> <dialogue>Let's park here. It does n't matter.</dialogue> <character>ASSISTANT COMMISSIONER</character> <parenthetical>( in sharp tone . )</parenthetical> <dialogue>It does matter. Go back, Henry. Let's go to number eight.</dialogue> <scene_description>Arnaud puts the gears in reverse ; the car moves back quickly and passes the intersection : 16 . 14 . 12 . 10 . 8 . it stops . Arnaud puts it in neutral . With the motor still running , he presses the cigarette lighter on the dashboard . The Assistant Commissioner takes a large package that he is holding under his legs on the car floor . It is wrapped in pieces of newspaper . He lifts it forward . The man who is next to Arnaud takes it , leans it against the back of his seat , touches it until he finds the right spot , unwraps it from that part , and straightens a small plastic tube which appears at the opening . It is a fuse .</scene_description> <character>ARNAUD</character> <dialogue>How long do you want the timing device?</dialogue> <character>FRIEND</character> <dialogue>Five minutes. Give me a match.</dialogue> <scene_description>Arnaud takes the cigarette lighter from the dashboard . The other man has opened the car door . He takes the lighter and touches it to the fuse which ignites immediately . The door of number eight is very near , almost directly opposite the car door . The man places the package in a shady area and returns to the car in a run . Arnaud has already changed gears , releases the clutch , and the automobile shoots forward .</scene_description> </scene> <scene> <stage_direction>RUE DE THÈBES. EXPLOSION. OUTSIDE. NIGHT. AUGUST 11, 1956. 12:20 A.M.</stage_direction> <scene_description>The explosion is very violent . The fronts of buildings number eight , ten , and twelve explode and collapse . EXPLOSION . The echo of the explosion has ended . There is a long pause , only some isolated noises resound . They are stressed , recognizable : a burning beam , the thud of falling debris , broken glass . Then suddenly and almost simultaneously with the other sounds , after the shock , the human voices , the shouts and weeping are heard . VOICES , SHOUTS , WEEPING .</scene_description> </scene> <scene> <stage_direction>RUE DE THÈBES. OUTSIDE. DAWN.</stage_direction> <scene_description>The dawn 's light is clear and white . It dispels every shadow and designs precisely every outline . Here and there , in the middle of the sky , there are numerous clouds of dust , strangely motionless . In the light , the human figures seem black . Seen from a distance , they seem to be ants upon heaps of debris . There are women , motionless , weeping softly , their voices similar to prayer . From time to time , there is a sudden scream , a despairing sob , someone running . Another corpse is pulled out from the rubble , bodies mutilated or still intact - they are all dead . The people continue to rummage through the debris and to wait around pitifully .</scene_description> </scene> <scene> <stage_direction>CASBAH STREETS. OUTSIDE. DAY.</stage_direction> <scene_description>But there is no pity in the other streets and alleys of the Casbah , or at the top of the steps . There is anger and hatred . The people are running and shouting . They are shouting from their windows and balconies : JU - JU . They smother every other sound . The excitement increases . They run where there is more shouting , more people . They do n't know what to do yet , but want to be together . Until there is a voice stronger and clearer than the others which gives them a goal and direction . Ali la Pointe points below beyond the slopes of the alleys and stairways . There below are the European quarters which widen near the sea . The crowd is shouting , pushing , rushing forward with him , like a raging stream , tumultuous and unrestrainable . Ali is together with his men , five boys , one of them older than twenty . All of them are armed . The crowd forces them to quicken their step to a run . Petit Omar is furthest in the rear . He is wearing a pair of short pants , his chest bare ; he is barefoot . He calls Ali with all his might , but in vain . He tries to join Ali , to make his way through the legs of the others ; he runs , clinging to the others , pushes , passes near the walls ; then , turning into a side - street , he rushes into an alleyway , and finally arrives in front . He runs to Ali , almost out of breath .</scene_description> <character>PETIT OMAR</character> <parenthetical>( shouting . )</parenthetical> <dialogue>Kader says to stop them! He says we've got to stop them!</dialogue> <scene_description>Ali slows down as much as he can with the crowd pushing him from behind .</scene_description> <character>ALI</character> <dialogue>Where's Kader?</dialogue> <character>PETIT OMAR</character> <dialogue>With the others. They are trying to stop the people.</dialogue> <character>ALI</character> <dialogue>Go away.</dialogue> <scene_description>Their voices can hardly be heard or understood amid the loud noises .</scene_description> <character>PETIT OMAR</character> <dialogue>But he says that if we go on like this, we're playing their game, and they'll murder everyone. Stop, Ali!</dialogue> <scene_description>Ali continues to run . His face is sullen , frowning , as always when he must choose between instinct and reason . Omar calls him again . His voice is hysterical , repeating again to stop . He is hanging on one of Ali 's arms . Ali jerks himself free violently ; he strikes the child . Omar sways and falls against the wall . With this movement , Ali seems to release his anger at not being able to carry out his actions . He slows down , speaks to his men , a few words in Arabic , his voice cold and bitter . Ali extends his arm and the others imitate him . Each man grabs another by the arm , forming a chain . They check the flow behind them and hold back the crowd that is pressing forward .</scene_description> </scene> <scene> <stage_direction>KADER'S HOUSE. INSIDE. DAY. SEPTEMBER 30, 1956.</stage_direction> <scene_description>Djamila , the girl who in January , in rue Random , gave the revolver to Ali la Pointe , is now standing in front of a large mirror . She removes the veil from her face . Her glance is hard and intense ; her face is expressionless . The mirror reflects a large part of the room : it is a bedroom . There are three other girls . There is Zohra , who is about the same age as Djamila . She undresses , removing her traditional costume , and is wearing a slip . There is Hassiba who is pouring a bottle of peroxide into a basin . She dips her long black hair into the water to dye it blond . Every action is performed precisely and carefully . They are like three actresses preparing for the stage . But there is no gaiety ; no one is speaking . Only silence emphasizes the detailed rhythm of their transformation . Djamila 's lightweight European dress of printed silk . Zohra 's blouse and short skirt to her knees . make - up , lipstick , high - heeled shoes , silk stockings . Hassiba has wrapped her hair in a towel to dry it . a pair of blue jeans , a striped clinging tee - shirt . Her blond hair is now dry . She ties it behind in a ponytail . Hassiba has a young , slim figure . She seems to be a young European girl who is preparing to go to the beach . Continual silence . Djamila and Zohra have finished their preparations and sit down to wait . Hassiba is still barefoot . She is putting on her sandals , when someone knocks at the door . Djamila gets up and goes to open it . It is Kader . A quick attentive glance ; Djamila . Zohra . Hassiba . Hassiba responds to his look with a gay and somewhat coquettish expression ; she says , stressing her French :</scene_description> <character>HASSIBA</character> <dialogue>Ça va, monsieur?</dialogue> <scene_description>Kader smiles for a second , without any gaiety , but to please her . Then he speaks briefly and harshly in Arabic . And turning one at a time to each of the three , he gives them three addresses .</scene_description> <character>KADER</character> <parenthetical>( to Djamila . )</parenthetical> <dialogue>Number three rue de Chêne.</dialogue> <parenthetical>( to Zohra . )</parenthetical> <dialogue>Number fourteen rue Monseigneur Leynaud.</dialogue> <parenthetical>( to Hassiba . )</parenthetical> <dialogue>Number twenty - one rue de l'Hydre.</dialogue> <scene_description>Each one of the girls repeats , in turn , the address which he has given her . Each one of the three responds emotionally . The atmosphere is tense . Kader bids them farewell according to the Algerian custom , first bringing his right hand over his heart . Then he embraces them . They look at him for a moment ; they are embarrassed . Kader tries to ease their discomfort , smiles , and answers Hassiba 's previous remark .</scene_description> <character>KADER</character> <dialogue>Ça va. Et bonnes chances!</dialogue> </scene> <scene> <stage_direction>RUE DE L'HYDRE. OUTSIDE/INSIDE. DAY. 5:45 P.M.</stage_direction> <scene_description>At number twenty - one rue de l'Hydre , there is a bread store . Hassiba has again covered her face with a veil , and is also wearing a white cloak which covers her whole body . She enters the store . There are other women who are buying bread . Hassiba waits for them to leave , then says in Arabic to the shopkeeper :</scene_description> <character>HASSIBA</character> <dialogue>I've come to take the package.</dialogue> <scene_description>The shopkeeper empties half a basket of bread ; at the bottom , there is a beach bag with a shoulder - strap , and he gives it to Hassiba . Hassiba hides it under her cloak , bends her head in a sign of farewell , and leaves .</scene_description> </scene> <scene> <stage_direction>RUE MONS. LEYNAUD. INSIDE. DAY. 5:45 P.M.</stage_direction> <scene_description>At number fourteen rue Monseigneur Leynaud , there is a tailor shop and clothing store . Zohra is also wearing the veil and white cloak . She enters .</scene_description> <character>ZOHRA</character> <dialogue>I've come to take the package.</dialogue> <scene_description>The tailor accompanies her to the back of the shop , where there is a workroom and young girls who are sewing . He rummages in a closet , takes out an Air France utility bag and gives it to Zohra who hides it under her cloak , greets him , and leaves .</scene_description> </scene> <scene> <stage_direction>RUE DU CHÊNE. INSIDE. DAY.</stage_direction> <scene_description>Inside number three rue du Chêne , an Algerian craftsman is working in filigree . Djamila takes a small leather cosmetic case . Djamila hides it , greets the man , and leaves .</scene_description> </scene> <scene> <stage_direction>ALLEY AND BLOCKADE. RUE MARENGO. INSIDE/OUTSIDE. DAY. 6:05 P.M.</stage_direction> <scene_description>At an intersection of rue Marengo , an alley , Hassiba enters a large door , and shuts it . In a second , she has removed her veil and cloak . Her face is made up ; she is wearing pants and a jersey top . She places the strap of her bag on her shoulder . Inside the bag , a towel and bathing suit are visible . Hassiba goes out the door , proceeds down the alley until she reaches rue Marengo . She approaches the blockade . It is Saturday evening ; there is a hurried bustle of Algerians and Europeans . Soldiers and policemen , are very busy with their usual requests for documents . Hassiba 's arrival is quickly noticed for she is very pretty and attracts much attention . Some soldiers whistle . An elderly Algerian woman looks at her with dislike . Hassiba is indifferent and waits her turn . A French soldier approaches her .</scene_description> <character>SOLDIER</character> <dialogue>I'd like to search you, Miss.</dialogue> <scene_description>For an instant , Hassiba is dismayed ; then , she glances down at her clinging shirt and pants .</scene_description> <character>HASSIBA</character> <parenthetical>( innocently . )</parenthetical> <dialogue>Where?</dialogue> <scene_description>The boy is young , handsome , and cheeky .</scene_description> <character>SOLDIER</character> <dialogue>Not here. There's too many people.</dialogue> <character>HASSIBA</character> <dialogue>But you do n't understand. I was saying that there's nothing to search.</dialogue> <character>SOLDIER</character> <dialogue>That's what you think!</dialogue> <scene_description>Some Europeans laugh , the Algerians seem not to see or hear , but it is evident that they are scornful .</scene_description> <character>SECOND SOLDIER</character> <dialogue>Are you going for a swim, Miss. all by yourself?</dialogue> <character>HASSIBA</character> <dialogue>No, with some friends.</dialogue> <scene_description>At the same time , she passes the blockade .</scene_description> <character>SECOND SOLDIER</character> <dialogue>Lucky them. Next Sunday I'm free. Shall we go together?</dialogue> <scene_description>Hassiba shrugs her shoulders , smiles again , and moves away .</scene_description> </scene> <scene> <stage_direction>BLOCKADE RUE DU DIVAN. OUTSIDE. DAY.</stage_direction> <scene_description>At the rue du Divan blockade , Zohra too is dressed like a European , and seems to be calm . There are not too many people . A soldier makes a sign for her to pass in a hurried manner , and the girl passes .</scene_description> </scene> <scene> <stage_direction>BLOCKADE RUE DE LA LYRE. OUTSIDE. DAY.</stage_direction> <scene_description>Djamila is tense , pale , her features are strained . Her eyes seem even larger with make - up . Now , at the blockade at rue de la Lyre , the Casbah exit is blocked . An Algerian has been discovered without documents . He argues , shouts , and says that he wants to go back . INCOHERENT VOICES . The soldiers try to catch him , he struggles to get free . Meanwhile the people push forward in protest . Two soldiers catch the Algerian , and drag him bodily into the guard posts . The flow of people continues . Djamila steps forward , holding the cosmetic - case with both of her hands . She does n't know how to carry it , and from time to time she changes her position . She realizes that she looks awkward . It 's now her turn . The soldiers ' tone is arrogant . The previous scene has made them nervous . An officer signals her to pass , then points to the cosmetic - case .</scene_description> <character>OFFICER</character> <dialogue>What's inside?</dialogue> <scene_description>Instinctively , Djamila lifts the case and looks at it ; she feels herself failing , but makes an effort to answer .</scene_description> <character>DJAMILA</character> <dialogue>Here?</dialogue> <character>OFFICER</character> <dialogue>There.</dialogue> <scene_description>Djamila uses all her strength to smile and she succeeds . Her eyes light up defiantly .</scene_description> <character>DJAMILA</character> <parenthetical>( provocatively . )</parenthetical> <dialogue>Nothing.</dialogue> <scene_description>The officer signals her to pass .</scene_description> </scene> <scene> <stage_direction>FISH-MARKET. INSIDE. DAY. 6:15 P.M.</stage_direction> <scene_description>A large warehouse in the fish - market . There are enormous iceboxes with cartons of frozen fish and tubs with running water and live fish . The three girls are next to one another . The three bags are on top of the counter , a few steps away . With them is a thin Algerian about twenty - five years old . He has thick black hair , straight and combed neatly . He is wearing glasses . With his rough and nervous hands , he pulls out the towel and bathing suit from Hassiba 's bag , then delicately and carefully , a square wooden box . He opens it , and turning to the girl , signals her to move away a bit . The girl steps back . In the box , there is a huge iron tube , sealed at both ends by two clock dials . Inside the tube , two batteries with wires are attached to the dials . The youth glances at his wristwatch , then adjusts the hands of the dials to six forty - five . He puts the bomb back into the box , closes it , and places it in the bag . He replaces the towel and bathing suit , then hands the bag to Hassiba . He is smiling slightly . Hassiba takes the bag and goes away . The box fits perfectly into Djamila 's cosmetic - case . The youth opens it without removing it from the case , adjusts the two dials to six fifty , puts everything back in its place , and hands the case to Djamila . He smiles at her and she moves away . In the Air France bag , there are newspapers and magazines on top , and the same box . The youth adjusts the bomb to six fifty - five , arranges it again inside the bag , closes the zipper , and hands the bag to Zohra . He smiles at her . His smile is more genuine , less mechanical . There is less tension than before . The youth smiles at the girl and says in Arabic :</scene_description> <character>ALGERIAN</character> <dialogue>May Allah protect you.</dialogue> <scene_description>Zohra thanks him in a whisper , bends her head , and moves away . The youth takes a cigarette from his shirt pocket , places it between his lips , and lights it . His hand is trembling a little .</scene_description> </scene> <scene> <stage_direction>CAFETERIA RUE MICHELET. INSIDE. DAY. 6:30 P.M.</stage_direction> <scene_description>Cafeteria , rue Michelet 1 . The club is very crowded . There are two rooms ; one at the entrance with an American - style bar , and one at the back with tables . It is Saturday , and at this hour many European families go out to have an ice cream . There is not too much confusion or uproar . The people are calm , they take their places at the bar and small tables , and eat their ice cream while chatting quietly . Hassiba enters , glances at the large clock above the cash register . It is half past six . She goes to the register and waits her turn . The different orders mingle ; she orders a Coca - Cola . They give her the check . She pays . She goes to the bar ; all the seats are taken . She gives her order and the ticket to the waiter . A man moves aside , looks at her , then steps down from his stool and offers it to her . Hassiba tells him that it does n't matter , but the man insists . Hassiba thanks him and sits down . The man is about fifty , well groomed . He smiles again , and turns to chat with some friends . Hassiba settles herself more comfortably on the seat , then removes the bag from her shoulder . Holding it by the strap , she places it on the floor below the counter behind the brass railing used to lean one 's feet . The waiter has brought her the drink . Hassiba drinks slowly , from time to time glancing at the clock . She finishes drinking . The bag is in a vertical position . Moving her feet slowly and carefully , Hassiba lets the bag slip on its side . She gets down from the seat , and points it out to the man who is standing next to her .</scene_description> <character>HASSIBA</character> <dialogue>I'm giving your seat back.</dialogue> <character>MAN</character> <dialogue>Are you already leaving, Miss?</dialogue> <scene_description>Hassiba smiles , nods yes .</scene_description> <character>HASSIBA</character> <dialogue>Good evening.</dialogue> <scene_description>The man sits down .</scene_description> <character>MAN</character> <dialogue>Good evening.</dialogue> </scene> <scene> <stage_direction>MILK BAR. RUE D'ISLY. OUTSIDE/INSIDE. DAY.</stage_direction> <scene_description>Milk Bar , rue d'Isly , at the corner of Place Bugeand . The jukebox is playing full blast . It is a bar for young people . There is much bustle and confusion , much laughter . The girls are making plans for Sunday . Djamila enters and moves to the jukebox which is in the corner near the door . There are playbills for various theater performances hanging on the wall . Djamila stops to look at them and reads the bottom lines . She places the cosmetic - case on the floor . Rising again she looks around her , and pushes the case behind the jukebox with her foot .</scene_description> </scene> <scene> <stage_direction>AIR FRANCE. IMMEUBLE MAURETANIA. INSIDE. DAY.</stage_direction> <scene_description>Maison Blanche , Immeuble Mauretania . The entire ground floor is filled with ticket counters and a waiting room for the airlines . There are some employees , stewardesses and some travelers . Zohra passes through the large glass door at the entrance , goes to the Air France counter , takes a time schedule , then goes to sit down on a sofa which runs along the opposite wall . She sits down and places the airline bag on the ground in front of her , and begins to leaf through the timetable , from time to time glancing around . Using her heels , she pushes the bag under the sofa . She looks at the large electric clock which is hanging in the center of the room ; it is forty minutes past six .</scene_description> </scene> <scene> <stage_direction>CAFETERIA RUE MICHELET. INSIDE. DAY.</stage_direction> <scene_description>It is six forty - four by the cafeteria clock . The second hand is moving . There are more or less the same people . The old man is still seated on the barstool , and continues to chat . Hassiba 's bag is still at his feet ; the second hand is racing . A five - year - old child hands a coin to the waiter :</scene_description> <character>CHILD</character> <dialogue>Ice cream.</dialogue> <scene_description>The father and mother are watching him , delighted . The waiter smiles at the child and points to the cash register . He speaks to the child in the usual tone of a grownup when speaking to children :</scene_description> <character>WAITER</character> <dialogue>You have to go there first. and then come back to me.</dialogue> <scene_description>The second hand reaches twenty - five , then thirty . The child goes to the cashier and pays . The cashier smiles at him and gives him the check .</scene_description> <character>CASHIER</character> <dialogue>What a good boy.</dialogue> <scene_description>The child returns to the counter . The waiter has already prepared the ice cream for him , and hands it to him . The child is standing on tiptoes .</scene_description> </scene> <scene> <stage_direction>CAFETERIA MICHELET. EXPLOSION. INSIDE. DAY.</stage_direction> <scene_description>The second hand , the explosion : bodies flung into the air , arms , legs , white smoke , screams . Bodies thrown outside , the doors unhinged , the windows broken , empty . The people watch from their windows , the passersby move closer , they bend down to look at those who are writhing on the ground . Astonished and incredulous faces . No one speaks . Only screams and weeping . Sirens which are drawing nearer . Firemen and police arriving .</scene_description> </scene> <scene> <stage_direction>MILK BAR. RUE D'ISLY. OUTSIDE. DAY.</stage_direction> <scene_description>The ambulance sirens on rue d'Isly , one car after another . At the Milk Bar , the people go to the doors to look at the ambulances which are racing toward Place Bugeand . The sirens fade in the distance and move away . The jukebox is again loud : `` Brigitte Bardot , Bardot . '' The people re - enter the bar , chattering , to have their apéritifs . It is six fifty : the explosion .</scene_description> </scene> <scene> <stage_direction>MILK BAR. EXPLOSION. OUTSIDE. DAY.</stage_direction> <scene_description>The jukebox is flung into the middle of the street . There is blood , strips of flesh , material , the same scene as at the Cafeteria ; the white smoke and shouts , weeping , hysterical girls ' screams . One of them no longer has an arm and runs around , howling despairingly ; it is impossible to control her . The sound of sirens is heard again . The crowd of people , the firemen , police , ambulances all rush to the scene from Place Bugeand . The ambulances arrive at rue Michelet . They are already loaded with dead and wounded . The relatives of the wounded are forced to get out . The father of the child who was buying ice cream seems to be in a daze : he does n't understand . They pull him down by force . The child remains there , his blond head a clot of blood . The policemen try to bring order to the chaos , are forced to shout , push , threaten . The wounded swarm around the ambulances . A Commissioner sends off the first one .</scene_description> <character>COMMISSIONER</character> <dialogue>What time is it?</dialogue> <character>POLICEMAN</character> <dialogue>A quarter to seven.</dialogue> <scene_description>The Commissioner goes to the second ambulance , pulls down a man who is trying to enter by force , slams the door , and shouts to the driver . His face is pale and drawn ; the veins of his neck are swollen .</scene_description> <character>COMMISSIONER</character> <dialogue>Go away, for God's sake!</dialogue> <scene_description>The auto leaves and now , the third explosion resounds in the distance . It is heard clearly and violently from the Mauretania section . The Commissioner stops midway in his last gesture , and likewise , all the others , who are paralyzed with fright , incapable of taking action again , of accepting such reality for a third time . In Place Bugeand , there also , the people are motionless . All of them are looking in the same direction . Their faces are alike in their terror , alike in their sense of impotence , alike in their deep sadness .</scene_description> </scene> <scene> <stage_direction>STREET. EUROPEAN CITY. OUTSIDE. DAY.</stage_direction> <scene_description>The sun appears , then hides behind black clouds . There is a cool wind . It is ten in the morning , and the European city has its usual rapid and efficient rhythm of every day at this hour , only there is terror written on the face of every person . That same terror has remained , and suspicion , and despairing impotence . Patrols of soldiers and policemen move around the city , search Algerians and some Europeans , stop automobiles , trucks , buses , and trams that they block at both doors . At the entrance to every shop , the owner searches every customer before letting him enter . He does so politely with a drawn smile , and methodically rummages through every handbag , every package . So too in the bars , in the offices , in workshops . And now that it is already late afternoon , also outside the brothels , the cinemas , the theaters .</scene_description> </scene> <scene> <stage_direction>LEMONS STREET. OUTSIDE. SUNSET.</stage_direction> <scene_description>A young Algerian boy thirteen or fourteen years old , wearing sandals without socks , trousers that reach to his ankles , walks quickly carrying a cardboard box tied with a cord . It is dusk . A European woman sees him pass in front of her , looks at him , and follows him with her glance . On the sidewalk there are some youths . The woman points to the Algerian boy , says something . The traffic is heavy . Her words are unclear . One youth calls to the boy who is by now thirty feet away :</scene_description> <character>YOUTH</character> <dialogue>Hey, little rat.</dialogue> <scene_description>The boy turns around for a second , his face frightened , and quickens his step . The youths follow behind him and the boy begins to run . The youths too begin to run and others join them , people who are passing . They form a small mob and are shouting . The boy shoots into a sidestreet , drops his box , and races ahead . While some chase the boy , others stop around the box , make way , look for a policeman , a soldier , an officer . A circle continues to form around the box . A patrol arrives . One of the soldiers has a Geiger counter . He moves near the box , carefully placing the counter above it , then ceasing to be prudent , he takes his bayonette , cuts the cord , and tears open the box : lemons .</scene_description> </scene> <scene> <stage_direction>STREET CORNER. OUTSIDE. SUNSET.</stage_direction> <scene_description>The boy has been cornered , surrounded , pinned down , kicked , hit with umbrellas , until he is exhausted and can no longer defend himself . He is no longer moving . He is lying on the ground , dead . The air is gray now , and slowly all the colors unite to form gray . Lights are lit in the city and contrast with the whiteness of the Casbah high above . The sky is still clear , the black profiles of the mountains , the straight coasts on the sea , the sea itself that seems to be land until it reaches the horizon where the moon rises between the clouds .</scene_description> <character>SPEAKER</character> <dialogue>`` Following a lengthy discussion, the General Assembly of the United Nations has decided its agenda for the forthcoming debates :.</dialogue> <parenthetical>( 1 . )</parenthetical> <dialogue>re - unification of Korea.</dialogue> <parenthetical>( 2 . )</parenthetical> <dialogue>disarmament.</dialogue> <parenthetical>( 3 . )</parenthetical> <dialogue>the Algerian question. Colombia has proposed that only the first two points be discussed for the day. However, the Afro - Asian nations opposed, underlining the importance they attribute to the Algerian question.''</dialogue> </scene> <scene> <stage_direction>SEA-FRONT. OUTSIDE. DAY. JANUARY 10, 1957.</stage_direction> <scene_description>The European crowd applauds , their eyes aglow , their mouths wide open , shouting and yelling , their teeth flashing in the sun . Clapping of applause on the sea - front of Algiers . Children , are held up to see , waving small flags . The paratroopers of the Tenth Division march past .</scene_description> <character>SPEAKER</character> <dialogue>`` Mr. Raymond Lefevre, Inspector General of the Administration, has presided over a meeting in which important decisions have been taken with the aim of securing public order and the protection of persons and their property. In particular, it has been decided to recall the ` Tenth' Division of paratroopers to Algiers that, until now, has been employed in the antiguerrilla operations on the Cabiro plateau. The Commander General of the Tenth Division will assume responsibility for the maintenance of order in Algiers, and will have at his disposal in order to achieve this goal, all civil and military means provided for the defense of the zone.''</dialogue> <scene_description>Massu and the authorities are standing on the balconies of the Prefecture building . The paras are marching , their sleeves rolled up , their faces sunburned . Machine guns , bazookas , crew - cuts , the eyes of singing boys , silent steps , one battalion after another . The dragon `` black berets '' pass by . The `` red berets '' of the 2nd Regiment of colonial paratroopers . `` Les casquettes '' of the 3rd Regiment parade by ; `` les hommes - peints , '' Mathieu 's paras . Colonel Mathieu is at the head of the regiment . He is tall , slender , over fifty . He has thinning gray hair , a lean face , blue eyes , and a wide forehead . His face is lined with many wrinkles . Were it not for the uniform , the weapons , his tanned skin , his manner of walking , and his energetic voice when giving orders , he would n't seem a soldier , but an intellectual . The 3rd Regiment colonial paratroopers are now before the Commissioner . Mathieu turns his head slightly and :</scene_description> <character>MATHIEU</character> <dialogue>3rd Regiment! Attention à droite. Droite!</dialogue> <character>SPEAKER</character> <dialogue>Family name : Mathieu ; Name : Philippe ; Born in Rennes May 3, 1906 ; Rank : Lieutenant Colonel ; Schooling : Politechnique - degree in Engineering ; Campaigns : Second World War, Anti - Nazi Resistance Movement, Italian Campaign, Indochinese War, Algerian War.</dialogue> </scene> <scene> <stage_direction>VILLA HEADQUARTERS. INSIDE. DAY.</stage_direction> <scene_description>In a villa in the military headquarters , a reception room is visible through a large window on the first floor . There are about twenty officers seated in rows of chairs as if for a lecture . Mathieu is in front of them and he is speaking while standing next to a desk . At his back there is a blackboard , and near it , a large map with pyramid graphs , cells , arrows , crossmarks , and , above them , the title : STRUCTURE NLF AUTONOMOUS ZONE OF ALGIERS . Mathieu 's voice has nothing of the military and traditional . His tone is neither harsh nor cold , but rather kind and pleasing ; from it emanates a superior authority imposed by reason and not by position .</scene_description> <character>MATHIEU</character> <dialogue>The result is that in the last two months, they have reached an average of 4.2 assaults per day, including aggression against individuals, and the explosions. Of course, the conditions of the problem are as usual : first, the adversary ; second, the method to destroy him. There are 80,000 Arabs in the Casbah. Are they all against us? We know they are not. In reality, it is only a small minority that dominates with terror and violence. This minority is our adversary and we must isolate and destroy it.</dialogue> <scene_description>While speaking , he goes to the window , and pulls down the shade . He interrupts his speech , points to the rest of the window :</scene_description> <character>MATHIEU</character> <dialogue>Draw it down there too.</dialogue> <scene_description>Two or three officers stand up to perform the task . At the back of the room there is a movie projector . Next to it there is a para who is preparing to operate it . The other shades are drawn , and gradually the room is darkened . Mathieu , meanwhile , has resumed speaking :</scene_description> <character>MATHIEU</character> <dialogue>He is an adversary who shifts his position above and below the surface with highly commendable revolutionary methods and original tactics. He is an anonymous and unrecognizable enemy who mingles with thousands of others who resemble him. We find him everywhere : in the alleys of the Casbah ; in the streets of the European city, and in working places.</dialogue> <scene_description>Mathieu interrupts himself again and makes a signal to the back of the room which is completely darkened .</scene_description> <character>MATHIEU</character> <dialogue>Go ahead, Martin.</dialogue> <scene_description>Martin turns on the projector . On the white wall next to the map and graph appear pictures of the Casbah . There are the blockades , the barbed wire , the metal screens , the Algerians who exit and enter , the policemen and soldiers who examine documents and frisk someone . From time to time , close - ups of the pictures are shown , enlarged to the minutest details , close - ups of faces , motionless images that last only for a few seconds .</scene_description> <character>MATHIEU</character> <dialogue>Here is some film taken by the police. The cameras were hidden at the Casbah exits. They thought these films might be useful, and in fact they are useful in demonstrating the usefulness of certain methods. Or, at least, their inadequacy.</dialogue> <scene_description>Hassiba is now seen and the soldiers who are wooing her , while she laughs , jokes , flirts in a provocative manner , and passes the blockade .</scene_description> <character>MATHIEU</character> <dialogue>I chose these films because they were shot in the hours preceding some recent terroristic assaults. And so, among all these Arabs, men and women, there are the ones responsible. But which ones are they? How can we recognize them? Controlling documents is ridiculous : one who has everything in order is most likely to be the terrorist.</dialogue> <scene_description>An Algerian is being dragged away while protesting , kicking , and trying to free himself . And then the scene changes . There is another Casbah exit , and an Algerian who is being searched .</scene_description> <character>MATHIEU</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Note the intuition of the cameraman. He realized that in that box, there had to be something of interest, and he paused to focus it.</dialogue> <scene_description>The picture is enlarged . The small box which the Algerian is carrying on his shoulder is seen in detail . It is opened . The box is swarming with snakes ; the soldier who had wanted to examine it jumps backward . The officers in the room burst into laughter .</scene_description> <character>MATHIEU</character> <parenthetical>( laughing . )</parenthetical> <dialogue>Maybe the bomb was hidden right there, in a double bottom. Who knows? We'll never know.</dialogue> <scene_description>Using the barrel of his machine gun , a soldier has closed the box . A snake has managed to jump out , and fallen to the ground . The people are terrified and move away . Others laugh , among them , Petit Omar , who seems to be an ordinary child enjoying himself .</scene_description> <character>MATHIEU</character> <dialogue>That's enough, Martin.</dialogue> <scene_description>The lights are again switched on in the room . Mathieu is again next to the desk , and waits a second until the buzz of comments subsides .</scene_description> <character>MATHIEU</character> <dialogue>We must start again from scratch. The only information that we have concerns the structure of the organization. And we shall begin from that.</dialogue> <scene_description>He takes a wooden pointer from the desk in order to illustrate the graph , while he speaks with the tone and precision of a university professor .</scene_description> <character>MATHIEU</character> <dialogue>It is a pyramid - like organization divided into a series of sectors. At the top of the pyramid is their General Staff.</dialogue> <scene_description>He has moved near the blackboard , and taken some chalk , and slowly as he speaks , he illustrates his speech .</scene_description> <character>MATHIEU</character> <dialogue>The military commander responsible for the executive body finds the right man and nominates him to responsibility for a sector : number one. Number one in his turn, chooses another two : number two and number three. And so they form the first triangle.</dialogue> <scene_description>He has written high on the board a number one and below it , with some space between them , the numbers two and three . He unites the three numbers with lines and forms a triangle .</scene_description> <character>MATHIEU</character> <dialogue>Now number two and number three choose, in their turn, two men each. number four and five, and so on.</dialogue> <scene_description>Mathieu writes the new numbers , spacing them on the next line . Then he unites two to four and five , and three to six and seven , forming two new triangles . Mathieu has written other numbers and unites them to those of the preceding line and thus forms other triangles . Now the blackboard is covered by a series of triangles that form a large pyramid .</scene_description> <character>MATHIEU</character> <dialogue>The reason for this geometry is so that every militant will know only three members in the entire organization : his commander who has chosen him, and the two members that he himself has chosen. Contacts take place only by written instructions. That is why we do not know our adversaries : because, in practice, they do not even know each other.</dialogue> <scene_description>Mathieu leaves the blackboard and moves near the officers . The tone of his voice changes . The explanation is now finished . He gives directions .</scene_description> <character>MATHIEU</character> <dialogue>To know them means to eliminate them. Consequently, the military aspect is secondary to the police method. I know we are not fond of this word, but it is the only word that indicates exactly the type of work that we must perform. We must make the necessary investigations in order to proceed from one vertex to another in the entire pyramid. The reason for this work is information. The method is interrogation. And interrogation becomes a method when conducted in a manner so as to always obtain a result, or rather, an answer. In practice, demonstrating a false humanitarianism only leads to the ridiculous and to impotence. I am certain that all the units will understand and react accordingly. However, success does not depend solely on us. We need to have the Casbah at our disposal. We must sift through it. and interrogate everyone. And here is where we find ourselves hindered by a conspiracy of laws and regulations that continue to be operative, as if Algiers were a holiday resort and not a battleground. We have requested a carte blanche. But it is very difficult to obtain. Therefore, it is necessary to find an excuse to legitimize our intervention, and make it possible. It is necessary to create it ourselves - this excuse. Unless our adversaries will think of it themselves, which seems to be what they are doing.</dialogue> </scene> <scene> <stage_direction>ALLEY UPPER CASBAH. OUTSIDE. DAY.</stage_direction> <scene_description>It is not a song , but a type of spoken chorus , an assembly of young voices , words whispered from the throat , both high and low , and sudden silent pauses . It is monotonous ; but it is just such a repetition , always with the same pattern of tones - high , low , then , silent - that manages to transform itself into a motif , reach an excited pitch , and acquire breadth and solemnity . The sound fills the alleys , rises toward the long rectangle of sky , and moves farther away as if it were meant to be heard by all . The alley is narrow and sloping , with crumbling walls , tufts of grass , and refuse . It is located at the outer periphery of the Casbah - the countryside is in the background . An Algerian is walking with large steps ; a five - year - old child is behind him , moving quickly , stumbling from time to time on the pavement ; although he does not cry , occasionally he calls to his father , who proceeds forward , and does not turn around . The chorus arises from behind them . It is incoherent . They stop in front of a door ; they have arrived . The door gives way and they enter .</scene_description> </scene> <scene> <stage_direction>KORAN SCHOOL. INSIDE. DAY.</stage_direction> <scene_description>A large room , like a shop or stable . Here too , on the ground and pavement , there are tufts of grass . It is cold . The walls are unplastered , the windows boarded . The roof is in sight , but not the beams . The roof is made of tiles and covered with a coat of whitewash . There are about twenty children , five to eight years old , seated on the floor . The teacher is in front of them ; he too is seated . He is prompting the verses in a low voice , almost in a whisper , and the chorus repeats it . The Koran School : a bare , wobbling place . The Algerian who has entered takes the child by his hand , and accompanies him to the teacher who is now standing ; the chorus continues ; the other children , do not look at the two who have just entered . The Algerian and the teacher greet each other , bringing their hands to their hearts , and then to their mouths . At the same time , the teacher takes an envelope from under his tunic , and hands it over to the other .</scene_description> <character>SPEAKER</character> <dialogue>`` To all militants! After two years of hard struggle in the mountains and city, the Algerian people have obtained a great victory. The UN Assembly has placed the Algerian question in its forthcoming agenda. The discussion will begin on Monday, January 28. Starting Monday, for a duration of eight days, the NLF is calling a general strike. For the duration of this period, all forms of armed action or attempts at such are suspended. We are requesting that all militants mobilize for the strike's organization and success.''</dialogue> <scene_description>The Algerian has hidden the envelope inside his tunic , then presents the child to the teacher , who makes him sit down with the other children The teacher also returns to his place and sits down , and suggests a new phrase ; the chorus continues . The Algerian leaves the school .</scene_description> </scene> <scene> <stage_direction>ALLEY UPPER CASBAH. OUTSIDE. DAY.</stage_direction> <scene_description>Having passed through the door , he again moves along the alley , this time descending , with hurried steps . The chorus continues , again heard from without , but its echo is now different .</scene_description> </scene> <scene> <stage_direction>VARIOUS VIEWS CASBAH. OUTSIDE/INSIDE. DAY.</stage_direction> <scene_description>Bars , stores , market stalls , `` Arab baths . '' Typewritten pieces of paper are used to wrap purchases , or slipped inside bags , or used on the blank side to add up bills and then handed to the customers .</scene_description> </scene> <scene> <stage_direction>VARIOUS VIEWS EUROPEAN CITY. OUTSIDE/INSIDE. DAY.</stage_direction> <scene_description>In the European city the Algerian workers : at the docks , the central gas company ; on the trams ; the waiters in the restaurants , in the bars ; the shoeshine men</scene_description> <character>SPEAKER</character> <dialogue>`` Algerian brothers! A great hope has arisen for us. The world is watching us. The next few days may be decisive for our future and our freedom. The colonial powers will attempt to demonstrate to the UN that the NFL does not represent the will of our people. Our response will be unanimous support of the general strike.''</dialogue> </scene> <scene> <stage_direction>SEA-FRONT. OUTSIDE. DAY.</stage_direction> <scene_description>At the sea - front , there is a newspaper boy , about twelve years old , barefoot . His voice is shrill yet cheerful . He is smiling .</scene_description> <character>NEWSBOY</character> <dialogue>Le Monde! Le Monde! General strike! Strike!</dialogue> <scene_description>Some Europeans buy the newspaper , half - heartedly , grumbling disagreeably . The boy remains cheerful , places the change inside the bag strapped to his shoulder , thanks them . Now he passes in front of a beggar , an elderly Algerian who is leaning against a railing . The boy winks at him , while he continues to shout :</scene_description> <character>NEWSBOY</character> <dialogue>Strike!</dialogue> <character>SPEAKER</character> <dialogue>`` During the eight days of the strike, do not frequent the European city, or leave the Casbah. Provide lodgings in your homes for the poor, the beggars, the brothers who do not have homes. Store provisions of food and water for eight days!''</dialogue> </scene> <scene> <stage_direction>CASBAH STREETS AND SHOPS. INSIDE/OUTSIDE. DAY.</stage_direction> <scene_description>There is a strange atmosphere in the Casbah . People are greeting each other in the streets ; a thick buzz of voices , a festive mood , a sense of brotherhood , and the children , who are taking advantage of the situation and play and run everywhere . The shops are unusually crowded . The people enter and exit , loaded with supplies . In the shops too , there is the same festive mood , almost as if the supplies were for a trip to the country . The shopkeepers are also cheerful . And the poor customers , instead of paying , hand over a ticket stamped NLF .</scene_description> </scene> <scene> <stage_direction>CASBAH BLOCKADE. OUTSIDE. DAY. SUNSET. SUNDAY. JANUARY 27, 1957.</stage_direction> <scene_description>Late afternoon , at the blockades of rue de la Lyre , rue du Divan , and rue Marengo . The Casbah exit ramps are deserted , while the entrance ramps are overflowing with people . Here too , there is an intangible air of gaiety , witty remarks , laughter , ironic glances toward the soldiers and policemen with cold faces , immobile - helmets and machine guns - who stand at the entrances without intervening . The image is shortened and focused through the lenses of binoculars .</scene_description> </scene> <scene> <stage_direction>GOVERNMENT PALACE. OUTSIDE/INSIDE. SUNSET.</stage_direction> <scene_description>A paratrooper officer looks at the blockades of rue du Divan from a Government Palace balcony . Mathieu is beside him .</scene_description> <character>MATHIEU</character> <dialogue>No one is leaving, eh?</dialogue> <scene_description>The officer hands him the binoculars .</scene_description> <character>OFFICER</character> <dialogue>No. They continue to enter, the rats.</dialogue> <scene_description>Mathieu looks through the binoculars , and comments in a low voice , smiling :</scene_description> <character>MATHIEU</character> <dialogue>Rats in a trap, we hope.</dialogue> <character>OFFICER</character> <dialogue>But do you believe that the strike will be widespread?</dialogue> <character>MATHIEU</character> <dialogue>Without a doubt.</dialogue> <scene_description>Behind the two officers , through a large open window , a room is visible . There is a large table , and around it , other high officers of the various armed forces , and some important officials in plainclothes . A general , who has his back to the balcony , turns and calls Mathieu :</scene_description> <character>GENERAL</character> <dialogue>Mathieu! Mathieu, a name.</dialogue> <character>MATHIEU</character> <dialogue>A name?</dialogue> <character>GENERAL</character> <dialogue>Yes, a name for the operation.</dialogue> <scene_description>Mathieu moves the binoculars from the blockades and turns slowly around the Government square , until he reaches an advertising sign for a brand of champagne which now , in the dusk , lights up with a sporadic rhythm : CORDON . ROUGE . Mathieu pauses then turns toward the room , and enters smiling :</scene_description> <character>MATHIEU</character> <dialogue>Champagne. All right?</dialogue> <scene_description>The general repeats absent - mindedly :</scene_description> <character>GENERAL</character> <dialogue>Champagne. Champagne.</dialogue> <parenthetical>( then , in a convinced voice . )</parenthetical> <dialogue>Operation Champagne, yes, alright.</dialogue> </scene> <scene> <stage_direction>RUE DU DIVAN BLOCKADE. OUTSIDE. EVENING.</stage_direction> <scene_description>At the rue du Divan blockade , there is an incoherent , monotonous , and irritating chant . There is a blind beggar . He is light - complexioned , tall and thin , his beard long , his arms stretched out , a cane in his hand . He arrives at last at the entrance ramp , tries to find the way , but can not . He tries again and again with his cane , continually repeating his sorrowful chant , until a policeman takes him by his free hand , placing the hand roughly on the metal screen .</scene_description> <character>POLICEMAN</character> <dialogue>Go on! Go on!</dialogue> <scene_description>The beggar protests and waves his cane in a way that the policeman has to duck to prevent himself from being hit . The policeman curses , spitefully , coarsely . A soldier starts to laugh . The old man takes up his chant again , and moves forward leaning on the metal screen . On the other side of the blockade , behind the square , there is a group of veiled girls who have seen the old man , and seem to be waiting for him . Two of them go to meet him , and each one takes one of his arms . At the touch of their hands , the old man is again infuriated . Even the girls laugh . Then , one of them speaks to him slowly in a loud voice . It seems that the old man has understood . He is convinced . He mumbles something kindly and lets them accompany him .</scene_description> </scene> <scene> <stage_direction>CASBAH ALLEY. FRONT DOOR. OUTSIDE. NIGHT.</stage_direction> <scene_description>A poorly lit alley . A group of unemployed men and beggars are standing in front of a door . One of the three companions consults a list , then points to two in the group . He signals them to enter .</scene_description> </scene> <scene> <stage_direction>KADER'S HOUSE. INSIDE. NIGHT.</stage_direction> <scene_description>Inner courtyard . In the inner courtyard , there is an elderly man who awaits them and receives them kindly . They greet each other in the customary Algerian manner . Courtyard and balcony . On the terrace also , someone is looking toward the courtyard . Kader is on the terrace together with a man about forty years old , dressed in European clothes , he has narrow shoulders and a sunken chest . His face is sensitive , his forehead high , and his hair and eyes black . His eyes are kind and thoughtful and twinkle with irony . He is Ben M'Hidi , one of the four members of the CCE , the Central Executive Committee .</scene_description> <character>KADER</character> <parenthetical>( to him . )</parenthetical> <dialogue>They are beggars and unemployed, homeless. We have organized things in such a way that during the strike they will be guests of other families who have homes and will provide shelter in the event of possible reprisals. But I did n't know that they would be brought to this house too. It is a mistake.</dialogue> <character>BEN M'HIDI</character> <dialogue>Why?</dialogue> <character>KADER</character> <dialogue>Because you are here too. It would be better for you to move to another house.</dialogue> <scene_description>Ben M'Hidi moves away from the parapet .</scene_description> <character>BEN M'HIDI</character> <dialogue>All right. You're the one who must decide.</dialogue> <scene_description>Kader follows him along the terrace .</scene_description> <character>KADER</character> <dialogue>No, if I were the one to decide, you would n't be in Algiers now.</dialogue> <scene_description>Ben M'Hidi looks at him , smiling .</scene_description> <character>BEN M'HIDI</character> <dialogue>Why? Is n't it wise?</dialogue> <scene_description>Kader smiles too , and repeats :</scene_description> <character>KADER</character> <dialogue>It is n't wise.</dialogue> <scene_description>At the end of the terrace , there is a construction raised to a level with the stairs that lead to the floor below . There is a large room ; through the open door , the lighted interior is visible . The walls have high brick baseboards , and at the bottom of one of the four walls there is a square opening that leads into a hiding place . The closure of the hiding place , a square of very thick wall , is placed to one side . Ali la Pointe is covering it with bricks . On the other side of the room next to the door , there are some cement wash - basins , and a shed for rain water . Kader appears at the door .</scene_description> <character>KADER</character> <dialogue>Ali, you must accompany Ben M'Hidi to the Maison des Arbres.</dialogue> <scene_description>Ali does n't answer immediately . He finishes placing the last brick then turns to Kader .</scene_description> <character>ALI</character> <dialogue>Why? Is n't he sleeping here?</dialogue> <character>KADER</character> <dialogue>No, it's better if he does n't. The house is filled with new people.</dialogue> <scene_description>Ali gets up , wipes his hands on his trousers , at the same time inspecting the work that he has just completed .</scene_description> <character>ALI</character> <dialogue>Here's another one ready. What a hideout! It really looks like a wall. I'll dirty it a bit, and it's perfect. Want to give a look inside?</dialogue> <scene_description>Kader has taken a machine gun from one of the basins , and he tosses it to Ali , who catches it .</scene_description> <character>KADER</character> <dialogue>No, go now. It's already late.</dialogue> <scene_description>They go out on the terrace . Ali releases the catch of his machine gun so that the bullet slips into the barrel .</scene_description> <character>KADER</character> <parenthetical>( to Ben M'Hidi . )</parenthetical> <dialogue>They are a family of militants from way back. Everything will work out well, you'll see. C'mon, Ali, hurry up.</dialogue> <character>BEN M'HIDI</character> <dialogue>Alright. See you tomorrow.</dialogue> <scene_description>They say good - bye , embracing one another . Ali has already climbed over the terrace wall , and has jumped to the next one . Ben M'Hidi follows him ; he is less agile and moves with a bit of trouble . From the parapet , Kader says to him :</scene_description> <character>KADER</character> <dialogue>Passing along the terraces only takes five minutes. and with Ali la Pointe, you'll be safe.</dialogue> <scene_description>While jumping , Ben M'Hidi loses his balance , and has to grab on to Ali to prevent himself from falling .</scene_description> <character>BEN M'HIDI</character> <dialogue>But it's he who wo n't be safe with me.</dialogue> <scene_description>The two figures move away from terrace to terrace , and disappear in the dark .</scene_description> </scene> <scene> <stage_direction>CASBAH VIEWS AND TERRACES. OUTSIDE. NIGHT.</stage_direction> <scene_description>In the dark in front of them , a metallic reflection is visible and the sharp and aggressive sound of an Algerian voice is heard . Ali responds to the password . A youth steps out from the shadows . He too is carrying a machine gun , recognizes Ali , and greets him . Ali and Ben M'Hidi continue .</scene_description> </scene> <scene> <stage_direction>MAISON DES ARBRES, TERRACE. OUTSIDE. NIGHT.</stage_direction> <scene_description>Until they arrive at a terrace which is separated from the next one by an alley about ten feet wide .</scene_description> <character>ALI</character> <dialogue>Here it is. we've arrived.</dialogue> <scene_description>Ben M'Hidi glances at the emptiness beneath them , looks at Ali , and takes a deep breath .</scene_description> <character>BEN M'HIDI</character> <dialogue>Not yet.</dialogue> <scene_description>Ali has climbed onto the parapet , looks around him concentrating attentively for a moment , and then jumps into the void , reaching the opposite side . He bends , searches for something in the dark , and lifts a type of gangplank . He hands it over to Ben M'Hidi , and together they place it between the two terraces .</scene_description> <character>ALI</character> <dialogue>Be careful now. Unless you know how it works, it's better if you sit on the plank and move forward like this.</dialogue> <character>BEN M'HIDI</character> <dialogue>Let's try.</dialogue> <scene_description>He tries to stand up on the gangplank , but he lacks the necessary steadiness . He ca n't hold his balance . He does as Ali has advised him ; he sits astride on the plank , and using the force of his arms , he pushes himself forward . He stops halfway to rest for a minute .</scene_description> <character>BEN M'HIDI</character> <dialogue>It's good nobody is following us.</dialogue> <character>ALI</character> <dialogue>It's a question of habit.</dialogue> <scene_description>And when Ben M'Hidi is closer , Ali helps him to get down to the terrace .</scene_description> <character>ALI</character> <dialogue>It's better if I go first, to make sure everything's okay.</dialogue> <scene_description>Without waiting for an answer , he moves toward the stairway that leads to the floor below ; his movements are silent and graceful . Ben M'Hidi leans out from the terrace , and looks toward the European city and the sea . At the port , two searchlights are lit , and their long bright rays move slowly toward the Casbah . When Ali la Pointe returns , Ben M'Hidi is still leaning on the railing . He seems not to hear the sound of Ali 's footsteps , or his voice .</scene_description> <character>ALI</character> <dialogue>Everything's okay. They're waiting for you.</dialogue> <scene_description>Ali moves near him , and Ben M'Hidi turns and looks at him .</scene_description> <character>BEN M'HIDI</character> <dialogue>What do you think of the strike, Ali?</dialogue> <character>ALI</character> <dialogue>I think it'll be a success.</dialogue> <character>BEN M'HIDI</character> <dialogue>Yes, I think so too. It's been organized well. But what will the French do?</dialogue> <scene_description>Both the question , and the answer seem obvious to Ali .</scene_description> <character>ALI</character> <parenthetical>( shrugging . )</parenthetical> <dialogue>It's clear. They'll do everything possible to make it fail.</dialogue> <character>BEN M'HIDI</character> <dialogue>No, they'll do even more. We've given them the opportunity to do a lot more. Do you understand what I mean? Starting tomorrow, they wo n't be groping in the dark any more ; every shop and every worker who strikes will be a known enemy, a self - confessed criminal. And they will be able to pass to the offensive. Have you thought of this?</dialogue> <scene_description>Ali has listened attentively . The effort with which he is trying to ask himself the meaning of these words is visible on his face .</scene_description> <character>ALI</character> <parenthetical>( shaking his head . )</parenthetical> <dialogue>No.</dialogue> <character>BEN M'HIDI</character> <dialogue>But Kader told me that you were n't in favor of the strike.</dialogue> <character>ALI</character> <dialogue>No, and neither were my men.</dialogue> <character>BEN M'HIDI</character> <dialogue>Why?</dialogue> <character>ALI</character> <dialogue>Because they told us that we must n't use weapons, now, when the time is right.</dialogue> <character>BEN M'HIDI</character> <dialogue>That's true. Wars are n't won with terrorism, neither wars nor revolutions. Terrorism is a beginning but afterward, all the people must act. This is the reason for the strike, and its necessity : to mobilize all Algerians, count them and measure their strength.</dialogue> <character>ALI</character> <dialogue>To show them to the UN, right?</dialogue> <character>BEN M'HIDI</character> <parenthetical>( smiling slightly . )</parenthetical> <dialogue>Yes. yes. The problem also involves the UN. I do n't know what it's worth, but this way, we'll give the UN the possibility of evaluating our strength.</dialogue> <scene_description>Ali breathes deeply , instinctively , unrestrainedly , Ben M'Hidi watches him , smiles , and says :</scene_description> <character>BEN M'HIDI</character> <dialogue>Do you know something Ali? Starting a revolution is hard, and it's even harder to continue it. Winning is hardest of all. But only afterward, when we have won, will the real hardships begin.</dialogue> <scene_description>He pats Ali 's back fondly with his hand and continues , smiling :</scene_description> <character>BEN M'HIDI</character> <dialogue>Anyway, there's still a lot to be done. you are n't already tired, Ali, are you?</dialogue> <scene_description>Ali looks at him , and without reacting to his irony :</scene_description> <character>ALI</character> <parenthetical>( with conviction . )</parenthetical> <dialogue>No!</dialogue> </scene> <scene> <stage_direction>VARIOUS HOUSES. CASBAH. OUTSIDE. DAWN. JANUARY 28, 1957.</stage_direction> <scene_description>It is gray and smoky dawn , a slow reabsorption of the night , an opaque light which is diffused , sprayed , frozen , to transparency , and rediscovers its outlines and perspectives ; and finally , the sun , golden light , awakens all Algiers . To the north , the sea . To the south , the mountains and the Casbah , situated halfway along the coast . The Casbah , still , inert , expectant , on this first day of the strike . The paratroopers are already at their places , one after another , at equal distances like links of a very long chain , strung through every alley , spreading to every sidestreet , twisting through the squares , climbing up the stairways , dividing , joining , and lengthening again . The silence is perfect ; the camouflaged immobile forms seem to be part of the landscape . Then a brief and sharp hiss , a hundred whistles together . A signal releases the still forms : the attack begins . Doors are beaten down , shots , screams , rifle fire , machine gun fire ; the doors opened or broken down ; the courtyards , the houses , the rooms , invaded ; the men who are trying to escape and who protest and try to save themselves .</scene_description> <character>VOICES</character> <dialogue>Of course. I was just going to work.</dialogue> </scene> <scene> <stage_direction>BEN M'HIDI'S HIDING PLACE. INSIDE. DAWN.</stage_direction> <scene_description>Ben M'Hidi is inside the hiding place . From outside , an old man helps him to place the square piece of wall over the entrance , and then , in the spaces between the bricks , he adds a paste of plaster mixed with coal dust . When the paras arrive , everything is in order . Still men are being seized , beaten , dragged ; a cache of weapons ; men pushed down the stairs :</scene_description> <character>SOLDIERS</character> <dialogue>Go on, go on, you little rats! Get to work!</dialogue> </scene> <scene> <stage_direction>CASBAH. STREETS. OUTSIDE. MORNING.</stage_direction> <scene_description>Women are clinging together after the beatings . Someone is fleeing toward the terraces . We hear the deafening whirl of the helicopters flying against the wind , their cabin doors open , paras sitting on both sides with their legs dangling out , their machine guns on their knees , a loudspeaker for every helicopter , microphones turned on in such a way that the din of the motors is multiplied a hundred times . The helicopters fly low again , they skirt the terraces . The Algerians are fleeing in terror , the uproar begins to fade away , is less intense ; microphones are turned on , and off . The terraces are emptied , men seized , beaten , dragged ; all the men are forced outside in the alleys , the streets , the squares , every man is forced to face the wall , his hands up .</scene_description> </scene> <scene> <stage_direction>SHOPS. DOORS UNHINGED. OUTSIDE. MORNING.</stage_direction> <scene_description>A truck in reverse , a rope fastened to the hub of the wheels , its other end to a door - latch . The motor is accelerated , clouds of exhaust fumes . Door latches pried open like lids of sardine cans , shop windows smashed with machine - gun butts , the counters , the shelves , flung into the air , the merchandise thrown into the streets ; a game , a frenzied excitement . The Algerians watch , but can not intervene . Some shopkeepers rush to the scene , crying despairingly , while others are dragged away forcibly , tossed about , slapped , pushed , forced to open their shops .</scene_description> </scene> <scene> <stage_direction>CANDY SHOP. INSIDE. MORNING.</stage_direction> <scene_description>A shopkeeper is pushed behind the counter ; he gets up , trembling with fear . A para asks him for a bag of candy , pays politely , smiles , pats his bald head , and asks him sweetly :</scene_description> <character>PARA</character> <dialogue>And the strike, my friend?</dialogue> <scene_description>Then he distributes the candy among the children who are outside .</scene_description> </scene> <scene> <stage_direction>CANDY SHOP. OUTSIDE. MORNING.</stage_direction> <scene_description>The children take the candy silently , without thanking him , then eat the candies slowly , their faces unfriendly and cold .</scene_description> </scene> <scene> <stage_direction>PLACE DU GOUVERNEMENT. OUTSIDE. MORNING.</stage_direction> <scene_description>The black sky , the trees , the advertising signs . Cordon Rouge . an equestrian statue , a car radio , a loudspeaker .</scene_description> <character>LOUDSPEAKER</character> <dialogue>`` Attention, people of the Casbah! The NLF wants to stop you from working. The NLF forces you to close your shops. Inhabitants of the Casbah, rebel against their orders. France is your country. France has given you civilization and prosperity : schools, streets, hospitals. People of the Casbah, show your love for your mother country, by disobeying the terrorists' orders. Algerians, return to work!''</dialogue> <scene_description>And then Algerian music , a cheerful and rhythmical melody ; the Algerians are forced out of the Casbah in columns , and are pushed toward the military trucks which clutter the southern side of the square , and continue to arrive and depart .</scene_description> </scene> <scene> <stage_direction>CASBAH. EXIT. OUTSIDE. MORNING.</stage_direction> <scene_description>Meanwhile the paras of the psychological divisions make their first selection , randomly , or else deliberately , basing them on the slightest suspicions . They evaluate each man by his appearance or behavior . They block the Algerians from the exit ramp , and assault them with a battery of questions :</scene_description> <character>PARA'S VOICES</character> <dialogue>Who are you? What's your name? Occupation? Where do you work? Why did you strike? They forced you, eh? No. Tell the truth! You promised them, right? Then you're the one who wants to strike. Do you belong to the NLF? C'mon, answer me! Are you afraid to say it? Never mind, it does n't matter.</dialogue> <scene_description>The Algerian does not answer , but stares into the para 's eyes . The para turns to his companions and shouts :</scene_description> <character>PARA</character> <dialogue>Jacques! Jacques! Another one to headquarters!</dialogue> <scene_description>The Algerian is seized , and pushed toward the truck .</scene_description> <character>LOUDSPEAKER</character> <dialogue>`` Attention, Algerians! The NLF wants to stop you from working. The NLF forces you to close your shops. The NLF wants to starve you and condemn you to misery. Algerians, return to work!''</dialogue> </scene> <scene> <stage_direction>THE PORT. OUTSIDE. DAY.</stage_direction> <scene_description>The port is deserted , the cranes still . A loaded ship sways lazily at her moorings , the fork - lifts are filled with supplies . The limestone is dried out , the bridges empty , dangling cables swing slowly from the pulleys . There is silence in the docks . Then , the sound of motors approaching , clouds of dust , Arabs pushed out of the trucks , into the shipyard .</scene_description> </scene> <scene> <stage_direction>STREETS OF ALGIERS. OUTSIDE. DAY.</stage_direction> <scene_description>In the streets of the European city , there is an atmosphere of fear and doubt . The shop windows have their shutters lowered halfway , the shopkeepers are standing in the doorways , ready to close . The front doors of houses are shut . There are a few hurried passersby but no automobiles ; the trams are not running ; on the sidewalks the garbage is piled high , nearby the long brooms of the Algerian street cleaners .</scene_description> <character>PARAS</character> <parenthetical>( yelling . )</parenthetical> <dialogue>Sweep, mes enfants, sweep.</dialogue> <scene_description>An Algerian with a very refined expression , a gentle appearance , says , while excusing himself :</scene_description> <character>ALGERIAN</character> <dialogue>I do n't know how, sir, I'm sorry.</dialogue> <scene_description>They shove the broom into his hands , and shout to him :</scene_description> <character>PARA</character> <dialogue>Learn!</dialogue> <character>LOUDSPEAKER</character> <dialogue>`` French citizens! Europeans of Algiers! The strike called by the NLF is a failure. Do not be afraid. Return to your jobs. General Massu guarantees your safety. The Army will protect you!''</dialogue> </scene> <scene> <stage_direction>STREETS OF ALGIERS. OUTSIDE. DAY.</stage_direction> <scene_description>A jeep with loudspeaker precedes a row of military trucks loaded with Algerians . In every truck there are two paras carrying machine guns by their sides . The Algerians are standing crowded together one against the other . Some of them are holding banners and signs : I AM GOING TO WORK BECAUSE I AM FREE . WE ARE FREE . ARMY - POPULATION - PEACE . THE ARMY PROTECTS OUR RIGHTS . The trucks turn a corner , a youth jumps from the last truck , falls , gets up again , and breaks into a run . The paras shout to him to stop , their voices mix with that of the loudspeaker . The Algerian continues to run . A burst of machine - gun fire , then another . The Algerian jerks forward , his back curved , his arms raised . He falls down .</scene_description> </scene> <scene> <stage_direction>COMMISSIONER'S OFFICE. PRESS ROOM AND STAIRWAY. INSIDE. DAY.</stage_direction> <scene_description>Noise , confusion in the Commissioner 's office press room , ticking of the teletype machines , throngs of journalists in the telephone room . They are trying to transmit the first news . VARIED VOICES . Shouting in every language is heard .</scene_description> <character>A JOURNALIST</character> <dialogue>We are now in the fourth day and the strike continues, with total support by the Arab population. The city is very calm. However - Calm. Are you deaf? The city is peaceful. In the Moslem quarters, in the outskirts of the city, in the Casbah. Bye, will call again, I'm busy.</dialogue> <scene_description>Through the open door , Mathieu can be seen passing , accompanied by another officer . Some journalists see him , and rush behind him . Some others follow , four or five in all , trying to stop him .</scene_description> <character>JOURNALISTS</character> <dialogue>Colonel, colonel. Excuse me, colonel, a statement. We do n't know anything. You promised us a press conference. Now there is a meeting with the Commissioner.</dialogue> <character>FIRST JOURNALIST</character> <dialogue>Will you tell us what is happening?</dialogue> <character>MATHIEU</character> <dialogue>Nothing. Absolutely nothing. We are still weighing the situation.</dialogue> <scene_description>They move to the landing and begin to ascend the stairway that leads to the second floor . The journalists have difficulty keeping up with Mathieu .</scene_description> <character>MATHIEU</character> <dialogue>Look around. I've put everything at your disposal. Go take a look with your own eyes.</dialogue> <character>2ND JOURNALIST</character> <dialogue>The strike is a success ; but.</dialogue> <character>MATHIEU</character> <dialogue>No. It has failed in its objective.</dialogue> <character>1ST JOURNALIST</character> <dialogue>Insurrection?</dialogue> <character>MATHIEU</character> <dialogue>Insurrection.</dialogue> <character>2ND JOURNALIST</character> <dialogue>But the NLF has always spoken of a strike as a demonstration.</dialogue> <character>MATHIEU</character> <dialogue>And you believe the NLF?</dialogue> <character>2ND JOURNALIST</character> <dialogue>They seemed to be plausible this time. A general strike is a good argument for the UN.</dialogue> <character>MATHIEU</character> <dialogue>The UN is far away, dear sir. It is easier to make oneself heard with bombs. If I were in their place, I would use bombs.</dialogue> <character>1ST JOURNALIST</character> <dialogue>Armed insurrection. but what is it exactly?</dialogue> <character>OFFICER</character> <dialogue>It is an armed insurrection.</dialogue> <scene_description>They have arrived at the second - floor landing , hurry along , and stop in front of a large door , where there is a written sign : PREFECT . Mathieu , at the same time , has continued speaking .</scene_description> <character>MATHIEU</character> <dialogue>It is an inevitable stage in revolutionary war ; from terrorism, one passes to insurrection. as from open guerrilla warfare one passes to real war, the latter being the determining factor.</dialogue> <character>3RD JOURNALIST</character> <dialogue>Dien Bien Phu?</dialogue> <character>MATHIEU</character> <dialogue>Exactly.</dialogue> <scene_description>Mathieu glances at the journalist , as if to see if there were any irony in his remark , but the journalist 's face is expressionless .</scene_description> <character>MATHIEU</character> <dialogue>In Indochina, they won.</dialogue> <character>3RD JOURNALIST</character> <dialogue>And here?</dialogue> <character>MATHIEU</character> <dialogue>It depends on you.</dialogue> <character>4TH JOURNALIST</character> <dialogue>On us? You are n't thinking of drafting us by any chance, are you, colonel?</dialogue> <scene_description>Mathieu leans his hand on the door handle and smiles at the journalists .</scene_description> <character>MATHIEU</character> <dialogue>No! We have enough fighters. You have only to write, and well, if possible.</dialogue> <character>1ST JOURNALIST</character> <dialogue>What's the problem then?</dialogue> <character>MATHIEU</character> <dialogue>Political support. Sometimes it's there, sometimes not. sometimes, it's not enough. What were they saying in Paris yesterday?</dialogue> <character>5TH JOURNALIST</character> <dialogue>Nothing. Sartre has written another article.</dialogue> <scene_description>Mathieu gestures and makes an expression as if to say : `` see what I mean ? '' At the same time , he opens the door . But before entering , he turns again to the journalists .</scene_description> <character>MATHIEU</character> <dialogue>Will you kindly explain to me why all the Sartres are always born on the other side?</dialogue> <character>5TH JOURNALIST</character> <dialogue>Then you like Sartre, colonel.</dialogue> <character>MATHIEU</character> <dialogue>Not really, but he's even less appealing as an enemy.</dialogue> </scene> <scene> <stage_direction>PLACE DU GOUVERNEMENT AND RUE DU DIVAN BLOCKADE. OUTSIDE. SUNSET.</stage_direction> <scene_description>Place du Gouvernement , dusk , the other side of the blockade is silent , only the uncovered eyes of the Algerian women who await their men . The trucks continue to arrive : the men are forced to descend and allowed to enter the Casbah . There is an atmosphere of sadness , for not all the men have returned . The women look at them , scrutinize their faces , from the first to the last in one glance , then slowly . one face at a time . Some women recognize their husbands , or their brothers or their sons , and run to meet them . But others continue to ask for news in lowered , sorrowful voices .</scene_description> <character>AD-LIB VOICES</character> <dialogue>Have you seen Mohamed? Where? When? Why has n't he returned?</dialogue> <scene_description>A steady hum of voices in Arabic ; then the monotonous voice of a policeman who speaks in the microphone of the loudspeaker .</scene_description> <character>LOUDSPEAKER</character> <dialogue>`` The NLF wants to stop you from working. The NLF forces you to close your shops, inhabitants of the Casbah, disobey their orders. France has given you civilization and prosperity : schools, streets, hospitals. People of the Casbah! Show your love for your mother country by disobeying the terrorists' orders.''</dialogue> <scene_description>The loudspeaker is attached to one of the blockade posts , and from it a long wire for the microphone is hanging . The policeman has a raspy and bored voice ; he stops speaking and leans the microphone on the table in front of him . He gets up , lights a cigarette , and moves away a few steps . Two children are among the women and behind the wooden horses barricades . They were waiting for this moment . They bend , seem to be playing , but one of them lifts the barbed wire as high as he can , from the ground . Petit Omar passes a wire underneath , its farthest end bent in the form of a hook . He moves it toward the microphone cord which is lying coiled on the ground . He succeeds in clasping it and pulls it toward him slowly . The cord unwinds , lengthens , stretches , until the microphone on the table begins to move , until it reaches the edge of the table , and falls . The noise re - echoes in the loudspeaker , but no one pays any attention to it . Petit Omar waits a second , then begins to pull again . The microphone is dragged along the ground - a humming sound - it moves nearer , inch by inch , forward , under the barbed wire , until the children are able to take it , and disappear with it behind the women .</scene_description> <character>LOUDSPEAKER</character> <dialogue>`` Algerians! Brothers! Do not be afraid! Algeria will be free. Be courageous, brothers! Resist! Do not listen to what they are telling you. Algeria will be free.''</dialogue> <scene_description>The voice is not violent , but gentle , somewhat breathless and hurried . It extends to the whole square , so that all can hear it well : the people stop what they are doing to listen . They are emotional , proud , or angry , and look toward the sky where the voice seems to be diffused , as if those words should be written up above . The officer is slow to realize what has happened , looks at the loudspeaker , the cord , and now grabs it , cursing . He pulls and tugs it ; the wire yields , and he wrenches it from the microphone .</scene_description> <character>LOUDSPEAKER</character> <dialogue>`` Brothers -''</dialogue> <scene_description>The voice is no longer heard , nothing more , silence . Silence , only that something is changed in the women 's eyes . The veils that cover the lower half of their faces suddenly begin to tremble , sway as if shaken by a breath , a light wind . There is no longer an atmosphere of sadness , or silence . JU - JU . The ju - jus attack the air , invade it , shake it , make it vibrate as if they were electric charges , or the sound produced by the wind on a field of dry reeds , or the sound produced by a hundred , a thousand fingernails that are scratching a window pane .</scene_description> </scene> <scene> <stage_direction>HEADQUARTERS. PARA. OUTSIDE. DAY.</stage_direction> <character>PARA</character> <dialogue>One, two, three, four. Inside! C'mon!</dialogue> <scene_description>The five Algerians indicated are forced to get up , taken , pushed , and brought inside a large deserted house which is the paras ' headquarters . The other Algerians , about a hundred of them , are sitting on the ground , in the clearing in front of the house , and the paras of the first regiment continue to guard them with pointed machine guns . Suddenly from the villa , the music of a French song comes forth at full blast . The Algerians look at each other nervously . Even a young para seems to be upset .</scene_description> <character>1ST PARA</character> <parenthetical>( turning to other para . )</parenthetical> <dialogue>What are they doing?</dialogue> <character>2ND PARA</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Dancing inside.</dialogue> </scene> <scene> <stage_direction>HEADQUARTERS. VILLA. INSIDE. DAY.</stage_direction> <scene_description>A para rushes through a corridor carrying a tape recorder , enters a room where there are some sergeants and an Algerian . The adjoining room with white tiled walls and a sink is visible through an open door . Two paras are sitting on the floor , smoking and chatting between themselves in whispers . The para places the tape recorder on the table . The Algerian is naked to the waist . Signs of torture are visible . His face is swollen and wet . The sergeant places the chair near him , and helps him to sit down , then starts the tape recorder . He says to the Algerian who is trembling :</scene_description> <character>SERGEANT</character> <dialogue>Go ahead! C'mon. Repeat everything from the beginning, and then we'll let you go. Name.</dialogue> <character>ALGERIAN</character> <dialogue>Sid Ahmed.</dialogue> <character>SERGEANT</character> <dialogue>Second name.</dialogue> <character>ALGERIAN</character> <dialogue>Sail.</dialogue> <character>SERGEANT</character> <dialogue>Which `` district'' do you belong to?</dialogue> <character>ALGERIAN</character> <dialogue>Second district.</dialogue> <character>SERGEANT</character> <dialogue>Second district. Explain better.</dialogue> <character>ALGERIAN</character> <dialogue>Second district, Casbah, West Algiers.</dialogue> <character>SERGEANT</character> <dialogue>What `` group''?</dialogue> <character>ALGERIAN</character> <dialogue>Third group.</dialogue> <character>SERGEANT</character> <dialogue>Third group. What's your assignment?</dialogue> <character>ALGERIAN</character> <dialogue>Uh. responsible for the sixth section.</dialogue> </scene> <scene> <stage_direction>VILLA. HEADQUARTERS. INSIDE. DAY.</stage_direction> <scene_description>In a room on the ground floor , a captain is bent over a large map with graphs , and is writing the name Sid Ahmed Sail in one of the blocks at the bottom of the pyramid . At the same time , paras are seen through the large window , bringing other Algerians to the villa , and immediately afterward , the music and song are heard again very loudly .</scene_description> </scene> <scene> <stage_direction>CASBAH ALLEY. OUTSIDE. NIGHT.</stage_direction> <scene_description>Night , darkness , locked doors . The Casbah is silent . The paras tread noiselessly on their rubber soles . Patrols . A flashlight searches for the number of a door , then stops . A para knocks discreetly . NOISES INSIDE . VOICES .</scene_description> <character>ALGERIAN VOICE</character> <dialogue>Who is it?</dialogue> <character>PARA</character> <dialogue>Sid Ahmed. Sid Ahmed Sail.</dialogue> <scene_description>The door is opened , the paras break in .</scene_description> </scene> <scene> <stage_direction>ANOTHER ALLEY. CASBAH. OUTSIDE. NIGHT.</stage_direction> <scene_description>Another alley in the Casbah , other paras . Another door forced open , broken into . Algerians are crowded together in a courtyard which is illuminated with electric flares . They are being interrogated .</scene_description> </scene> <scene> <stage_direction>CASBAH STREET. OUTSIDE. DAY. RAIN.</stage_direction> <scene_description>A cloudy day , a light drizzle , a sloping street , Algerian music . A company of zouaves walk two by two in the Casbah , through the alleys , stop , play their music , and move on again , alternating Algerian music and a French song . Behind them , a line of donkeys with baskets full of packages and bags , and cheerful paras who are joking , as they distribute the supplies to the starving women and children , who stand ashamed in front of their houses , their eyes lowered , their gestures too brusque , and hesitant .</scene_description> <character>SPEAKER</character> <dialogue>`` At the General Assembly of the United Nations, none of the motions presented in the course of the debate has obtained the necessary majority. At last an agreement has been reached on a resolution that excludes any form of direct intervention by the UN in the Algerian question. The Assembly of the United Nations has limited itself to expressing the hope that in a spirit of cooperation, a peaceful, democratic, and just solution will be found, that conforms to the principles of the United Nations Charter.''</dialogue> <scene_description>The monotony of the last words is drowned out and lost . It is raining more heavily now . The water has begun to run along the sloping alleys . The walls are gray , wet ; the doors of the cafes and shops are barred with signs nailed upon them . THIS SHOP HAS SUPPORTED THE NLF STRIKE . THE PREFECT HAS ORDERED ITS CLOSING UNTIL FURTHER INSTRUCTIONS . The band of zouaves has stopped again , and now they are playing `` La vie en rose . ''</scene_description> </scene> <scene> <stage_direction>VILLA HEADQUARTERS. INSIDE. DAWN.</stage_direction> <scene_description>In some parts of the villa a gramophone is playing `` La vie en rose . '' In the room on the first floor , through the large window , the whiteness of the dawn is visible . The desk is cluttered with beer cans and thermos . Mathieu and other officers have their eyes fixed on the graph , where the captain is marking other small crosses at the bottom of the pyramid . The scene is motionless ; their expressions are dull . Everyone seems to be incapable of movement , overcome by the dull apathy that always follows a sleepless night . Until Mathieu breaks the stillness of the scene .</scene_description> <character>MATHIEU</character> <dialogue>Good. Good work. Now we can all go to sleep.</dialogue> <scene_description>And moving together with the others , he continues .</scene_description> <character>MATHIEU</character> <dialogue>The end of the strike does n't change anything. The directives remain the same. Give your men the usual shifts. We must remain in the Casbah : twenty - four hours a day!</dialogue> <scene_description>He turns and points to the graph .</scene_description> <character>MATHIEU</character> <dialogue>We must cling to it, and work fast!</dialogue> <scene_description>Then he turns to the officers and smiling , says in another tone of voice :</scene_description> <character>MATHIEU</character> <dialogue>Have any of you ever had a tapeworm?</dialogue> <scene_description>The officers say `` no '' and laugh .</scene_description> <character>MATHIEU</character> <dialogue>The tapeworm is a worm that can grow to infinity. There are thousands of segments. You can destroy all of them ; but as long as the head remains, it reproduces itself immediately. It is the same thing with the NLF. The head is the General Staff, four persons. Until we are able to eliminate them, we must always start again from the beginning.</dialogue> <scene_description>While he is speaking , Mathieu takes his wallet from his back pocket , opens it , takes out four photos .</scene_description> <character>MATHIEU</character> <dialogue>I found these in the police archives. They are old shots, but I made some close - ups. Ramel. Si Mourad. Kader. Ali la Pointe. We must print a thousand copies and distribute them to the men.</dialogue> <scene_description>Meanwhile , the photos are passed around . There are photos taken from identification cards , or blown up from some group shots , figures somewhat blurred , faded , smiling , peaceful .</scene_description> </scene> <scene> <stage_direction>NLF LEADERS' HIDING PLACE. INSIDE. DAY.</stage_direction> <scene_description>In the dim light , the four faces are barely illuminated . The shadows tone down their expressions : Kader , Ali la Pointe , Ramel , Si Mourad . They are crowded into the hiding place , sitting on the floor , motionless , their eyes staring straight ahead , their breathing heavy . From outside , noises , voices that are fading in the distance . Silence . Then , a discreet knock , a remark in Arabic . The four breathe deeply , look at each other , then smile a little . Ali unslips the beam which , placed through an iron ring , is holding shut the door of the hiding place . Using the soles of his feet , he pushes against the square of wall : the light enters violently . It is not electric light , but daylight . Kader blinks his eyes to accustom them to the light , then goes out on all fours ; after him , Ramel , and then the others . They leave the hiding place that Ali built in the wash - house on the terrace .</scene_description> </scene> <scene> <stage_direction>COMPLEX OF KADER'S HOUSE. OUTSIDE. DAY.</stage_direction> <scene_description>All of them have machine guns . Ramel is very tall and robust , about thirty years old . Si Mourad is slightly older than Ramel . His movements are slow and precise ; his glance expresses patience and authority . Djamila is waiting for them .</scene_description> <character>DJAMILA</character> <dialogue>You can come out. Thank God. There were so many this time, about ten.</dialogue> <scene_description>Ali recloses the hiding place .</scene_description> <character>KADER</character> <dialogue>Paratroopers?</dialogue> <character>DJAMILA</character> <dialogue>Yes.</dialogue> <character>KADER</character> <dialogue>What do you think? Did they come here on purpose or by accident?</dialogue> <character>DJAMILA</character> <dialogue>No. By accident. They asked some questions, but they did n't touch anyone.</dialogue> <scene_description>Ali has come out of the wash - house . The sun is high , and helicopters are seen passing one another in the sky . On some faraway terraces , bivouacs of paras are visible . They are guarding the Casbah from above . The rumble of motors and the voice of the loudspeaker are heard more clearly as they near the house .</scene_description> <character>LOUDSPEAKER</character> <dialogue>`` Attention! Attention! Inhabitants of the Casbah! The terrorist Ben Amin has been executed this morning. Qrara Normendine has been arrested. Boussalem Ali has been arrested. Bel Kasel Maussa has been arrested. Inhabitants of the Casbah! The NFL has been defeated. Rebel against the remaining terrorists who want to force you to continue a bloody and futile struggle. People of the Casbah, the terrorist Ben Amin has been executed. Help us to build a free and peaceful Algeria. Inhabitants of the Casbah, the NLF has been defeated. Rebel against the remaining terrorists who want to force you to continue a bloody and futile struggle. Attention! Attention! Inhabitants of the Casbah! The terrorist Ben Amin has been executed this morning. Qrara Normendine has been arrested. Boussalem Ali has been arrested. Bel Kasem Moussa has been arrested. Inhabitants of the Casbah - the NLF has been defeated.''</dialogue> <scene_description>The voice fades away and is no longer heard . At the same time , a woman has come up from the floor below , carrying a tray of cups and a teapot . Ali looks at her quickly , but then watching her more closely , he sees that she is crying . When she passes near him , he stops her , places his hand kindly on her shoulder , and asks her in Arabic why she is crying . DIALOGUE IN ARABIC BETWEEN ALI AND WOMAN . The woman shakes her head , tries to smile , but says nothing . Then she enters the wash - house silently and begins to serve the tea .</scene_description> <character>KADER</character> <dialogue>It's better to split up, to increase our chances. We must change hiding places, and change them continually. In the meantime, we must make new contacts, replace our arrested brothers, reorganize our sections -</dialogue> <character>ALI</character> <parenthetical>( interrupting him . )</parenthetical> <dialogue>Yes, but we must also show them that we still exist.</dialogue> <character>KADER</character> <dialogue>Of course. As soon as possible.</dialogue> <character>ALI</character> <dialogue>No, immediately. The people are demoralized. Leave this to me.</dialogue> <character>KADER</character> <dialogue>No. Not you, or any one of us. As long as we are free, the NLF continues to exist in the Casbah. If they manage to take us too, there wo n't be anything left. And from nothing comes nothing.</dialogue> <character>RAMEL</character> <parenthetical>( intervening . )</parenthetical> <dialogue>But it's also necessary to do something.</dialogue> <character>KADER</character> <dialogue>And we will do something, do n't worry. As soon as we have reestablished contacts.</dialogue> <character>MOURAD</character> <dialogue>And our movements?</dialogue> <character>KADER</character> <dialogue>For this too we've got to change methods.</dialogue> </scene> <scene> <stage_direction>MUNICIPAL STADIUM. OUTSIDE. DAY. FEBRUARY 10, 1957.</stage_direction> <scene_description>The municipal stadium is crowded with people . There is a football game between two European teams . It is almost the end of the first half . From above to the right of the guest box , there is a very loud explosion . Strips of flesh are hurled into the air . Thick , white smoke . There are screams of terror . The people try to move away in haste . They are shoving , pushing , bumping into one another . Then , calm returns . The sirens of the ambulances are heard . The stretcher , the dead carried away , scores of wounded .</scene_description> </scene> <scene> <stage_direction>PREFECT'S OFFICE. PRESS HALL. INSIDE. DAY. FEBRUARY 25.</stage_direction> <scene_description>Ben M'Hidi is standing in front of the journalists with handcuffs on his wrists and ankles . He is without a tie . He is smiling a little , his glance ironical . There are two paras behind him with machine guns ready . The picture is still for an instant ; Ben M'Hidi 's smile is steady , so too his eyes , his entire face . Flashes , clicking of cameras .</scene_description> <character>1ST JOURNALIST</character> <dialogue>Mr. Ben M'Hidi. Do n't you think it is a bit cowardly to use your women's baskets and handbags to carry explosive devices that kill so many innocent people?</dialogue> <scene_description>Ben M'Hidi shrugs his shoulders in his usual manner and smiles a little .</scene_description> <character>BEN M'HIDI</character> <dialogue>And does n't it seem to you even more cowardly to drop napalm bombs on unarmed villages, so that there are a thousand times more innocent victims? Of course, if we had your airplanes it would be a lot easier for us. Give us your bombers, and you can have our baskets.</dialogue> <character>2ND JOURNALIST</character> <dialogue>Mr. Ben M'Hidi. in your opinion, has the NLF any chance to beat the French army?</dialogue> <character>BEN M'HIDI</character> <dialogue>In my opinion, the NLF has more chances of beating the French army than the French have to stop history.</dialogue> <scene_description>The press hall in the prefect 's office is crowded with journalists of every nationality . At the side and central aisles there are photographers and cameramen . Ben M'Hidi is opposite them , standing on a low wooden platform . Mathieu is next to him , seated behind a small desk . Mathieu now gets up , and signals to two paratroopers . Another journalist simultaneously has asked another question :</scene_description> <character>3RD JOURNALIST</character> <dialogue>Mr. Ben M'Hidi, Colonel Mathieu has said that you have been arrested by accident, practically by mistake. In fact, it seems that the paratroopers were looking for someone much less important than yourself. Can you tell us why you were in that apartment at rue Debussy last night?</dialogue> <scene_description>The two paras have moved forward and they take Ben M'Hidi by the arms . At the same time , he answers .</scene_description> <character>BEN M'HIDI</character> <dialogue>I can only tell you that it would have been better if I had never been there.</dialogue> <character>MATHIEU</character> <parenthetical>( intervening . )</parenthetical> <dialogue>That's enough, gentlemen. It's late, and we all have a lot of work.</dialogue> <scene_description>Ben M'Hidi glances at him ironically .</scene_description> <character>BEN M'HIDI</character> <dialogue>Is the show already over?</dialogue> <character>MATHIEU</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Yes, it's over. before it becomes self - defeating.</dialogue> <scene_description>The paras lead Ben M'Hidi away . He moves away with short steps , as much as he can with the irons that are tightened around his ankles . Mathieu has turned to the journalists and smiles again .</scene_description> </scene> <scene> <stage_direction>PREFECT'S OFFICE. PRESS HALL. INSIDE. DAY. MARCH 4.</stage_direction> <scene_description>Colonel Mathieu is standing . On his face is a brief smile , motionless , his eyes attentive , but half - closed somewhat , due to the camera flashes .</scene_description> <character>1ST JOURNALIST</character> <dialogue>Colonel Mathieu. the spokesman for the residing minister, Mr. Gorlin, has stated that `` Larbi Ben M'Hidi committed suicide in his own cell, hanging himself with pieces of his shirt, that he had used to make a rope, and then attached to the bars of his cell window.'' In a preceding statement, the same spokesman had specified that :''. due to the intention already expressed by the prisoner Ben M'Hidi to escape at the first opportunity, it has been necessary to keep his hands and feet bound continually.'' In your opinion, colonel, in such conditions, is a man capable of tearing his shirt, making a rope from it, and attaching it to a bar of the window to hang himself?</dialogue> <character>MATHIEU</character> <dialogue>You should address that question to the minister's spokesman. I'm not the one who made those statements. On my part, I will say that I had the opportunity to admire the moral strength, intelligence, and unwavering idealism demonstrated by Ben M'Hidi. For these reasons, although remembering the danger he represented, I do not hesitate to pay homage to his memory.</dialogue> <character>2ND JOURNALIST</character> <dialogue>Colonel Mathieu. Much has been said lately not only of the successes obtained by the paratroopers, but also of the methods that they have employed. Can you tell us something about this?</dialogue> <character>MATHIEU</character> <dialogue>The successes obtained are the results of those methods. One presupposes the other and vice versa.</dialogue> <character>3RD JOURNALIST</character> <dialogue>Excuse me, colonel. I have the impression that perhaps due to excessive prudence. my colleagues continue to ask the same allusive questions, to which you can only respond in an allusive manner. I think it would be better to call things by their right names ; if one means torture, then one should call it torture.</dialogue> <character>MATHIEU</character> <dialogue>I understand. What's your question?</dialogue> <character>3RD JOURNALIST</character> <dialogue>The questions have already been asked. I would only like some precise answers, that's all.</dialogue> <character>MATHIEU</character> <dialogue>Let's try to be precise then. The word `` torture'' does not appear in our orders. We have always spoken of interrogation as the only valid method in a police operation directed against unknown enemies. As for the NLF, they request that their members, in the event of capture, should maintain silence for twenty - four hours, and then, they may talk. Thus, the organization has already had the time necessary to render useless any information furnished. What type of interrogation should we choose? the one the courts use for a crime of homicide which drags on for months?</dialogue> <character>3RD JOURNALIST</character> <dialogue>The law is often inconvenient, colonel.</dialogue> <character>MATHIEU</character> <dialogue>And those who explode bombs in public places, do they perhaps respect the law? When you asked that question to Ben M'Hidi, remember what he said? No, gentlemen, believe me, it is a vicious circle. And we could discuss the problem for hours without reaching any conclusions. Because the problem does not lie here. The problem is : the NLF wants us to leave Algeria and we want to remain. Now, it seems to me that, despite varying shades of opinion, you all agree that we must remain. When the rebellion first began, there were not even shades of opinion. All the newspapers, even the left - wing ones wanted the rebellion suppressed. And we were sent here for this very reason. And we are neither madmen nor sadists, gentlemen. Those who call us fascists today, forget the contribution that many of us made to the Resistance. Those who call us Nazis, do not know that among us there are survivors of Dachau and Buchenwald. We are soldiers and our only duty is to win. Therefore, to be precise, I would now like to ask you a question : Should France remain in Algeria? If you answer `` yes,'' then you must accept all the necessary consequences.</dialogue> </scene> <scene> <stage_direction>CASBAH HOUSES. TORTURE SEQUENCE. INSIDE. DAY.</stage_direction> <scene_description>Casbah , bedrooms , kitchens , bathrooms . Sharp , white light ; motionless faces , figures paused midway in gestures . Women , children . glassy eyes . Background motionless like in a landscape . Algerians . wild eyes . animals being led to slaughter . Paras , their every gesture measured exactly , perfection achieved . An Algerian is lying down on the table , his arms and ankles bound with belts . An Algerian , in the form of a wheel , an iron bar in the curvature of his knees , his ankles tied to his wrists . Electrical wires wrenched from their outlets , a generator with crank , extended pliers with their prongs open wide , the tops of the wires held between two prongs , the pliers applied to a naked body , the most sensitive parts : lips , tongue , ears , nipples , heart , sexual organs . Faucets , tubing , buckets , funnels , a mouth forced open , held open , with a wooden wedge , tubing in the mouth , rags scattered around , water , a belly that is swelling . The torture is precise in every detail , and every detail points to a technique that is taken apart and reassembled .</scene_description> </scene> <scene> <stage_direction>UPPER CASBAH ALLEY. OUTSIDE. DAY.</stage_direction> <scene_description>The chorus of the Koran school like ceaseless wailing , like a stubborn will to survive that seems to be spreading through the Casbah . Petit Omar looks up instinctively , his small face hardened and taciturn , like that of an adult , then enters the school .</scene_description> </scene> <scene> <stage_direction>KORAN SCHOOL. INSIDE. DAY.</stage_direction> <scene_description>The children are sitting on the mats , motionless ; only their lips are moving . There is an oblique light , the teacher is in the shadow . RELIGIOUS CHORUS . Petit Omar approaches the teacher who shakes his head in denial . Omar goes out .</scene_description> </scene> <scene> <stage_direction>CASBAH STREETS. PATROLS. OUTSIDE. DAY.</stage_direction> <scene_description>The Casbah is patrolled by paratroopers ; helmets , machine guns , portable radios , police dogs . Paratroopers are erecting loudspeakers at every street corner . Paratroopers with brushes and buckets of paint are marking the doors of the Casbah with large numbers . From time to time , machine - gun fire is heard in the distance . Algerians are standing against the wall , their hands up . There is a dead man a few feet away , an Algerian youth . The paratroopers turn him over and search him . A child with terrified eyes turns around a little . A para transmits the dead man 's name into the portable radio .</scene_description> </scene> <scene> <stage_direction>CASBAH. OTHER STREETS. OUTSIDE. DAY.</stage_direction> <scene_description>A car radio receives and transmits the same name ; and then the name is repeated by the loudspeakers scattered throughout the Casbah .</scene_description> <character>LOUDSPEAKER</character> <dialogue>`` Inhabitants of the Casbah! The rebellion gets weaker every day. The terrorist Ben Amin has been executed. Kasem Moussa has been arrested. He was commander of the 2nd Sector NLF. Inhabitants of the Casbah! The terrorists are not your true brothers. Leave them to their fate. Rely on the protection of the French army. Denounce the terrorists and agitators. Cooperate with us to reestablish peace and prosperity in Algeria.''</dialogue> </scene> <scene> <stage_direction>FOUR WOMEN. STREET. OUTSIDE. DAY.</stage_direction> <scene_description>Four women , their faces veiled , meet a patrol of paras in a small street . Two of the paras stop the last woman , and lift her dress , uncovering her feet and ankles - those of a man . The tear away her veil . The man is Ali . At the same time , there is . MACHINE - GUN FIRE . The two paras fall to the ground . Ali grasps his weapon , visible through the opening of his cloak . The other paras fling themselves to the ground . The other three women flee , while Ali continues to shoot , then runs away . The four flee through the narrow streets and alleys , climb a stairway , and leap from one terrace to another . Behind them , shouts , whistles , and machine - gun fire are heard . And moving nearer . BARKING OF DOGS .</scene_description> </scene> <scene> <stage_direction>COURTYARD WITH WELL. OUTSIDE. DAY.</stage_direction> <scene_description>The four enter a courtyard . Ali 's three companions have also lifted their veils . They are Kader , Mourad , and Ramel . A woman rushes to shut the door while a man leads the four toward an opening hidden by some boxes . The others who are in the courtyard , women and children , are also busy helping , silently , hurriedly , in a tense atmosphere of solidarity with the four fugitives . Very near are heard . BARKING OF DOGS AND PARAS ' HURRIED FOOTSTEPS . A woman runs toward the door and throws some large handfuls of pepper under the cracks .</scene_description> </scene> <scene> <stage_direction>STREET COURTYARD WITH WELL. OUTSIDE. DAY.</stage_direction> <scene_description>The group of pursuers - paras who are holding police dogs by leashes - slow down in front of the door . BARKING DOGS . The animals sniff the ground , then move on together with the paras .</scene_description> </scene> <scene> <stage_direction>ARAB BATH. INSIDE. DAY.</stage_direction> <scene_description>Petit Omar enters the large steamy room . He moves near the manager and hands him an envelope . The manager slips it quickly under the counter .</scene_description> <character>SPEAKER</character> <dialogue>`` To all NLF militants! Reorganize! Replace your fallen and arrested brothers. Make new contacts! This is a grave moment. Resist brothers! The General Staff leaves you free to take any and all necessary offensives.</dialogue> </scene> <scene> <stage_direction>CASBAH HOUSE. INSIDE. DAY.</stage_direction> <scene_description>All the inhabitants of a house . The men are in a row on the balcony of the first floor , their hands crossed behind their heads , their backs to the wall , while paras guard them with pointed machine guns . Two paratroopers lead an Algerian girl forward : she seems to be exhausted , and can barely walk , her eyes half - closed . They stop in front of the first man and ask her :</scene_description> <character>PARAS</character> <dialogue>Is this one?</dialogue> <character>SPEAKER</character> <dialogue>`` Our hearts are breaking before such outrages, our houses invaded, our families massacred. Brothers, rebel! Bring terror to the European city!''</dialogue> </scene> <scene> <stage_direction>ALGERIAN STREETS. OUTSIDE. EVENING.</stage_direction> <scene_description>The European city , evening , houses are being lit . People have finished working . They are going to the bars , cinemas , or for walks , or crowding the bus stops . The wail of a siren at full blast , an ambulance , driven at frightening speed . The people move aside , jump to the sidewalks . The cars squeeze to the right , stop . The ambulance door is opened , a corpse is thrown out , falls , rolls into the street . The people rush to it . It is a hospital attendant 's in white uniform with a knife stuck in his throat . The sound of the siren decreases in intensity ; the ambulance is by now far away .</scene_description> </scene> <scene> <stage_direction>AMBULANCE. OUTSIDE/INSIDE. EVENING.</stage_direction> <scene_description>In the driver 's cab , there are two Algerian boys . Their hair is curly , their shirts old and torn . They are sweating ; their eyes wide open , staring . The one who is driving barely reaches the height of the steering wheel . He clutches it desperately . The other has a machine gun . He makes a remark in Arabic shouting to be heard above the siren . The driver takes a hand off the steering wheel , places it on the dashboard , and tries all the switches until he finds the one for the headlights . The high beams . The other , meanwhile , is now on his knees on the seat . He is leaning out the open window to his waist , and he begins to shoot .</scene_description> </scene> <scene> <stage_direction>ROUTE OF AMBULANCE. OUTSIDE. EVENING.</stage_direction> <scene_description>The pictures succeed one another in a dizzy rhythm ; surprise , terror , someone falls . SHOTS . SIREN .</scene_description> </scene> <scene> <stage_direction>AMBULANCE. OUTSIDE/INSIDE. EVENING.</stage_direction> <scene_description>There is no more ammunition . The machine gun is thrown in the back of the ambulance . The siren is still at full blast . The auto races ahead at terrifying speed . The two boys do n't know any more what to do , where to go , and the one who is driving has his eyes almost closed , as if he were dizzy . They reach a square . SIREN . The other points ahead to the left .</scene_description> </scene> <scene> <stage_direction>BUS SHELTER. OUTSIDE. EVENING.</stage_direction> <scene_description>The people are crowded in a bus shelter . The one who is driving does n't understand or does n't want to . The other shouts to him again and again , the same phrase , then flings himself on the steering wheel , and turns it in that direction . The bus shelter is nearer and nearer . The people are paralyzed . They have no time to move . They are run down , rammed into . The ambulance crashes into a pillar . On the ground , all about , the bodies of dead and wounded . The boys ' bodies remain motionless , their foreheads resting on the smashed windshield . But the sound of the siren does not stop , and is heard , mournful and full of anguish .</scene_description> </scene> <scene> <stage_direction>RAMEL'S HOUSE. IMPASSE ST. VINCENT DE PAUL. OUTSIDE/INSIDE. DAY. AUGUST 26.</stage_direction> <scene_description>Impasse St. Vincent - de - Paul , noon . There are helicopters in the sky , and paras fill the alley . Their faces are pale and tense , their eyes wide open , their hands clutch their machine guns . There is a strange silence . Then a movement at the back of the alley , a voice , a brief greeting . Mathieu has arrived and he is saying to an officer :</scene_description> <character>MATHIEU</character> <dialogue>Now is not the time for heroes. Give me the megaphone.</dialogue> <scene_description>Mathieu takes the megaphone in his hands and approaches an open door . Through the doorway the inner courtyard of the house is visible where the corpses of four paras are strewn about . Ramel and Si Mourad are on the first - floor balcony , lying in wait behind the railings , so they are able to watch the door , courtyard , and the stairway that leads from the balcony to the terrace . On the terrace there are other paras who are facing the balcony . From time to time they release a burst of machine gun fire . The voice of Mathieu is heard over the loudspeaker .</scene_description> <character>MATHIEU</character> <dialogue>Ramel. Si Mourad. use your heads. If you go on like this, I would n't want to be in your place when you are captured. Because you will be captured in the end, and you know it too. Surrender! If you do it immediately, I promise that you will not be harmed and you will have a fair trial. Can you hear me?</dialogue> <scene_description>Ramel and Si Mourad look at each other .</scene_description> <character>MOURAD</character> <dialogue>Who is speaking?</dialogue> <character>MATHIEU</character> <dialogue>Mathieu. Colonel Mathieu.</dialogue> <character>MOURAD</character> <dialogue>We do n't trust you, colonel. Come forward, show yourself.</dialogue> <scene_description>A moment of silence .</scene_description> <character>MATHIEU</character> <dialogue>I do n't trust you either. First stand up so I can see you, and keep your hands still and well in sight.</dialogue> <scene_description>Mourad hesitates an instant , glances at Ramel , then :</scene_description> <character>MOURAD</character> <dialogue>Okay. But we want your promise for a fair trial in writing. Give us a written statement, Mathieu, and then we'll surrender.</dialogue> <character>MATHIEU</character> <dialogue>How can I give you this statement?</dialogue> <character>MOURAD</character> <dialogue>We'll lower a basket from the window.</dialogue> <character>MATHIEU</character> <dialogue>Okay, I'll make the statement in writing.</dialogue> <scene_description>Mourad shows his companion the two large time - bombs that are on the floor in front of him . He takes one , begins to prepare it , and regulates the mechanism . At the same time , he tells Ramel in Arabic to go find the basket . Ramel crawls past the doors which are all closed , and asks for a basket . A door opens and an old woman appears . She hands him a basket with its cord rolled up .</scene_description> <character>MOURAD</character> <parenthetical>( without turning around . )</parenthetical> <dialogue>A newspaper too, or a piece of paper.</dialogue> <scene_description>Ramel brings him the basket and newspaper . Mourad has loaded the time - bomb mechanism , and the tic - toc sound is sharp and clear . Now he has to move the second hand . Mourad 's hands do not tremble , his glance is attentive , concentrating . Ramel watches him without saying a word ; his fear is obvious . Without moving , his eyes glued to the bomb dial :</scene_description> <character>MOURAD</character> <parenthetical>( loudly . )</parenthetical> <dialogue>Are you ready, colonel?</dialogue> <character>MATHIEU</character> <dialogue>Yes. But let me first see you.</dialogue> <scene_description>Mourad moves one of the clock hands to precede the other one by a minute . Immediately afterward he places the flat and rectangular bomb in the bottom of the basket . The basket seems to be empty . The piece of newspaper protects its bottom . Mourad tells Ramel to get up , and he too gets up . Their machine guns are lying on the ground . Meanwhile , Mourad has begun to count to himself silently , his lips moving : one , two , three , four . From the terrace , the paras can see Ramel and Mourad standing up not very far away , their empty hands resting near the basket on the railing . A para shouts :</scene_description> <character>PARA</character> <dialogue>We see them. You can come.</dialogue> <scene_description>Mourad begins to lower the basket very slowly .</scene_description> <character>MOURAD</character> <parenthetical>( counting . )</parenthetical> <dialogue>60, 59, 58, 57, 56, 55, 54, 53.</dialogue> <scene_description>Mathieu enters the courtyard together with an officer and other paras . He looks up toward the balcony , smiles , and shows them a folded piece of paper .</scene_description> <character>MATHIEU</character> <dialogue>Here it is. you know that when I give my word, I keep it.</dialogue> <scene_description>Mourad does not answer , but looks at Mathieu as if to calculate the distance and time , and slows down even more the basket 's descent . Mathieu moves forward a few steps , as if to go for the basket that is hanging on the other side of the courtyard , but suddenly he seems perplexed for a second , and then changes his mind . He turns to the nearest para , and gives him the note .</scene_description> <character>MATHIEU</character> <dialogue>You go.</dialogue> <scene_description>Mourad 's face has remained motionless . In his expression there is a shade of disappointment . He sees Mathieu retrace his steps toward the door , and is now surrounded by a group of paratroopers .</scene_description> <character>MOURAD</character> <parenthetical>( counting . )</parenthetical> <dialogue>25, 24, 23, 22, 21, 20, 19.</dialogue> <scene_description>The basket has stopped moving two yards from the ground . In order to reach it , the para has to step over the corpses of his dead companions , his face hardens , he reaches the basket , and extending his arm , he throws in the note . The basket does not move ; the para looks up .</scene_description> <character>PARA</character> <parenthetical>( muttering . )</parenthetical> <dialogue>Hurry up, black bastard!</dialogue> <scene_description>Mourad smiles at him , and mumbles something in Arabic , a phrase that he does n't manage to finish , for now is heard - the explosion .</scene_description> </scene> <scene> <stage_direction>RUE CATON 4. FATHIA'S HOUSE. INSIDE. NIGHT. SEPTEMBER 2.</stage_direction> <scene_description>Rue Caton number four . It is 11 p.m. . A large , badly lit room is filled with paratroopers and one of them is now being carried away on a stretcher . Another three or four wounded are seated on the opposite side of the room and are waiting their turn to be carried away . Two paras are by the door . They look out from time to time , and are attentive , ready , with machine guns clutched by their sides . On the other side of the room opposite the door , the Algerians who live in the house are standing against the wall . Mathieu is in front of them , and he is asking a group of women :</scene_description> <character>MATHIEU</character> <dialogue>Which one of you is Fathia?</dialogue> <scene_description>A woman about forty years old raises her eyes toward him .</scene_description> <character>MATHIEU</character> <dialogue>Is it you?</dialogue> <scene_description>The woman nods yes .</scene_description> <character>MATHIEU</character> <dialogue>Go up the stairs, and tell Kader that if they do n't surrender, we'll blow up everything. Do you understand?</dialogue> <scene_description>The woman again nods yes , and without waiting for more words , she moves toward the door , taciturn , silent . Mathieu follows her , he pushes past her .</scene_description> <character>MATHIEU</character> <dialogue>Try to convince him, if you care about your house. Wait a minute. Do you want to get killed?</dialogue> <scene_description>He leans out the door and says loudly :</scene_description> <character>MATHIEU</character> <dialogue>Kader, look. Fathia is coming. I would n't shoot.</dialogue> <scene_description>Then he steps aside and lets the woman pass .</scene_description> <character>MATHIEU</character> <dialogue>Go on.</dialogue> <scene_description>Outside the door , there is a small landing , then a steep stairway , and at the top , a corridor . Fathia climbs the stairs that are cluttered with empty magazines , with cartridge boxes . The walls are chipped from the shooting . The ceiling is parallel to the stairway at the same inclination , for part of its distance . But for the last few yards , it straightens out and lowers to become horizontal . The floor of the hiding place is open . Inside are Zohra and Kader . Fathia repeats to them in Arabic what Mathieu has said to her . Kader listens to her then answers , he too in Arabic . Then he smiles .</scene_description> <character>KADER</character> <dialogue>Okay. You can tell the colonel to blow up whatever he likes. Go on, now.</dialogue> <scene_description>Fathia goes down the stairs , and reenters the room .</scene_description> <character>FATHIA</character> <parenthetical>( to Mathieu . )</parenthetical> <dialogue>He said that you can blow up whatever you like.</dialogue> <scene_description>She , then , rejoins the other women . Mathieu seems to be tired , he has lost weight , he is nervous . He turns to his men , and slowly as he gives the orders , the paras begin to move .</scene_description> <character>MATHIEU</character> <dialogue>Return to where the others are. Prepare the plastic. It should be placed on the ceiling of the stairway under the hiding place. a long fuse rolled up. Take cover. keep shooting while you are working. Quickly! Clear the house. Bring them outside, then check the rooms again. Hurry up!</dialogue> <scene_description>Kader gives Zohra a box of matches . She goes to the back of the hiding place where there is a bundle of papers . She lights them , then returns near to Kader who is inspecting the magazine of his machine gun . There are only two shots left . The other empty magazines are scattered around . Kader turns to Zohra , and starts to speak , but suddenly his words are blurred by the sound of shots . Kader and Zohra have to step back a little , because the shells are flashing at the edge of the opening . The shooting stops . From the stairway , one end of a long fuse is thrown into the corridor . The other end is inserted into a plastic charge fastened to the ceiling of the stairway , under the hiding place . Kader and Zohra can see two or three yards in front of them , below , into the corridor , where the end of the fuse is glowing and burning . Kader too has lost weight , his beard is long . He looks at the fuse , then at Zohra . A second passes in silence . Now Zohra too looks at him , and Kader says calmly in his usual voice :</scene_description> <character>KADER</character> <dialogue>It does n't do any good to die like this. it does n't help anybody.</dialogue> <scene_description>He leans out from the hiding place .</scene_description> <character>KADER</character> <parenthetical>( shouting . )</parenthetical> <dialogue>Mathieu! If you give your word that you wo n't touch any of the other people in the house, we'll come out.</dialogue> </scene> <scene> <stage_direction>MILITARY CAR. INSIDE. NIGHT.</stage_direction> <scene_description>Inside a military automobile . In the back seat , Mathieu is sitting next to Kader who is handcuffed . Zohra is in the front seat , between the driver and a para who has in his hand a large regulation pistol . The interior is lighted by the headlights of a jeep which is following directly behind the auto a few yards . Silence . Mathieu looks hastily at Kader , who is staring straight in front of him , and appears to be sullen and downcast . Then Mathieu speaks in a pleasant tone , as if in friendly conversation .</scene_description> <character>MATHIEU</character> <dialogue>If you had let me blow you up, you would have disappointed me.</dialogue> <scene_description>Kader turns to him , and replies , trying to maintain his own voice at the same level of indifference :</scene_description> <character>KADER</character> <dialogue>Why?</dialogue> <character>MATHIEU</character> <dialogue>For many months, I've had your photo on my desk together with a dozen or so reports on you. And naturally, I am under the illusion that I know you somewhat. You never seemed the type, Kader, inclined to performing useless actions.</dialogue> <scene_description>Kader does n't answer right away , then speaks slowly as if expressing the results of his doubts , a new point of view .</scene_description> <character>KADER</character> <dialogue>You seem to be very satisfied to have taken me alive.</dialogue> <character>MATHIEU</character> <dialogue>Of course I am.</dialogue> <character>KADER</character> <dialogue>That proves that I was wrong. Evidently I credited you with an advantage greater than I should have.</dialogue> <character>MATHIEU</character> <dialogue>No. Let's just say that you've given me the satisfaction to have guessed correctly. But from the technical point of view, it is n't possible to speak of advantages. By now the game is over. The NLF has been defeated.</dialogue> <scene_description>Zohra has turned around suddenly . She is crying and speaks hastily in Arabic , violently , harshly . Mathieu does n't understand , and turns to Kader to ask him politely , although with a bit of irony :</scene_description> <character>MATHIEU</character> <dialogue>What is she saying?</dialogue> <character>KADER</character> <dialogue>She says that Ali is still in the Casbah.</dialogue> </scene> <scene> <stage_direction>CROWDED BEACH. OUTSIDE. DAY.</stage_direction> <scene_description>Ali la Pointe 's glance is sullen , heavy , motionless . He moves his head slowly in such a way so that his glance also moves in a semicircle . White beach , fine sand , transparent sea , bodies stretched out in the sun , golden skin of girls ; girls in bikinis , sensual , smiling , young men with narrow hips , with muscles well cared for , cheerful youth , naturally happy , enviable . The children are building sand castles near the water 's edge ; the beach is shaped like a half - moon with rocky reefs at both ends . A September Sunday , warm and calm . Ali is leaning on the wall . He is wearing a white wool cloak . Only his eyes are visible . the eyes of a hungry tiger perched above a path , on the lookout for innocent prey . Eyes that now gleam , cruel eyes , tension dilating the pupils . Then again the calm , a gloomy calm , a gratifying tension . The place is right , and the victims could n't be better ones . Ali moves , leaves the wall , crosses the street to a large city sanitation truck , one of those metallic trucks with no visible openings . A young Algerian is at the steering wheel , a street cleaner . He is leaning his thin face on the wheel . His hands are dirty , by now unwashable from years of work . Ali has climbed into the cab . The truck is in motion and leaves .</scene_description> </scene> <scene> <stage_direction>SANITATION TRUCK. INSIDE. DAY.</stage_direction> <scene_description>The name of the street cleaner is Sadek . He seems frightened . He looks around , hesitates before speaking .</scene_description> <character>SADEK</character> <dialogue>Then the beach is okay, Ali.</dialogue> <scene_description>Silence . Sadek looks at him again , waiting , but Ali does not respond . Ali looks straight ahead at the street bathed in sunlight , the tar that seems to be liquid , the villas that surround Algiers , the lemon trees , the oleanders . Then he speaks , but without turning to Sadek . He speaks in a whisper , his eyes continually staring straight ahead .</scene_description> <character>ALI</character> <dialogue>We need two more, the biggest ones.</dialogue> <character>SADEK</character> <dialogue>And the others?</dialogue> <character>ALI</character> <dialogue>The others. let's wait and see.</dialogue> <scene_description>Sadek remains silent for a while .</scene_description> <character>SADEK</character> <dialogue>I've looked, Ali, even where I work. Nothing. The ones who have not been arrested have left Algiers and gone into the mountains. And the others do n't want to hear any more about it. they're afraid.</dialogue> <scene_description>Ali does n't answer him . Silence .</scene_description> <character>ALI</character> <dialogue>Ca n't you go any faster?</dialogue> <character>SADEK</character> <dialogue>Yes, sure. here.</dialogue> <scene_description>Sadek puts the truck in third gear , accelerates the motor , then shifts back again into fourth gear . The truck increases its speed . The road is straight , the outskirts of Algiers are visible .</scene_description> <character>SADEK</character> <dialogue>If we do n't find any others. should we call it off?</dialogue> <scene_description>Ali turns suddenly to look at him but says nothing . Sadek can feel those eyes on him , and tries to justify himself .</scene_description> <character>SADEK</character> <dialogue>We ca n't plant all of them by ourselves.</dialogue> <scene_description>Ali speaks to him in a dry and indifferent voice .</scene_description> <character>ALI</character> <dialogue>You do n't have to plant anything. You only have to carry them, that's all.</dialogue> </scene> <scene> <stage_direction>RUE DES ABDERAMES. ALI'S HOUSE. OUTSIDE/INSIDE. NIGHT.</stage_direction> <scene_description>Night . At number three rue des Abderames , on the first - floor balcony , the stove fires are glowing . The women are cooking outside on their stoves built from tin containers . They are cooking in front of the doors of their homes . The doorways are lit up . Ali passes along the balcony , passes by Mahmoud and his wife who are speaking in whispers by themselves and leaning on the railing . It is a warm and starry night . Mahmoud says some more words to his wife , still speaking in whispers , tenderly . Then he follows Ali who has stopped in front of the door .</scene_description> </scene> <scene> <stage_direction>ALI'S ROOM. INSIDE. NIGHT.</stage_direction> <scene_description>In the room , there is Petit Omar who is cutting out some pictures from a comic book . As soon as he sees Ali at the door , he stops , closes his book , puts the scissors in his pocket . He seems to be embarrassed at being caught in his childish game . In the center of the room , there is a dividing curtain , pulled halfway to the side . On the other side , Hassiba is typing . Behind Hassiba , next to the bed , the hiding place is open . Ali enters . He seems tired , sweating . He removes his cloak , tosses it on the chair , and puts his machine gun on the table .</scene_description> <character>ALI</character> <parenthetical>( turning to Petit Omar . )</parenthetical> <dialogue>C'mon, hurry. Go to sleep. Tomorrow we four have a lot of work to do : Mahmoud, Hassiba, you and I.</dialogue> <scene_description>Mahmoud has remained motionless at the door . Hassiba has stopped typing and approaches them . Omar says nothing , but there is a satisfied look in his eyes . He ca n't help stretching out his hand to touch the machine gun . Ali sits down , at the table , moves the machine gun away from Omar , and continues to speak , still talking to Omar .</scene_description> <character>ALI</character> <dialogue>Because we ca n't find anyone else, Sadek will bring us there in the truck. You get out first and plant the bomb where I tell you. then return here quickly. But be careful that no one is following you. Then Hassiba will get out, and after her, Mahmoud. Then I will plant the ones that are left. They'll know that we're still strong. you can be sure of that.</dialogue> </scene> <scene> <stage_direction>ALI'S ROOM. INSIDE. DAWN. OCTOBER 7, 1957.</stage_direction> <scene_description>The room is badly lit by a small lamp which is on the other side of the curtain . There is a mattress on the table and Petit Omar is lying on top , asleep . Ali is lying on a mattress on the ground , fully dressed , with his machine gun by his side . His eyes are open , and he is listening to the far - away sound of a motor . He looks at his watch , gets up , and goes to open the door . Outside there is the first gray light of dawn . The sound is heard more clearly and seems to be moving nearer . Ali returns to Petit Omar , stays a minute looking at him , then shakes him roughly . The child gets up immediately . He is trembling , as if he had slept with taut nerves , and jumps down quickly from the table . His eyes are open , but he is still sleepy . Ali smiles for a moment , and runs his fingers through Omar 's hair .</scene_description> <character>ALI</character> <dialogue>Omar, Omar. C'mon, wake up. Hurry, little one. Today you're going to see fireworks.</dialogue> <scene_description>The child also smiles and his face relaxes , then brightens up . At the same time , he extends his hand and pats Ali 's side . Mahmoud enters the room from the balcony . He is carrying a tray with four cups of coffee .</scene_description> <character>MAHMOUD</character> <dialogue>It's almost time, is n't it?</dialogue> <character>ALI</character> <dialogue>Yes.</dialogue> <scene_description>Then Ali turns to the curtain and calls :</scene_description> <character>ALI</character> <dialogue>Hassiba.</dialogue> <character>HASSIBA</character> <dialogue>I'm ready.</dialogue> <scene_description>Ali sits down and puts on a pair of sneakers . Petit Omar has finished dressing . The curtain is drawn , Hassiba appears , already dressed .</scene_description> <character>MAHMOUD</character> <dialogue>I heard the sound of a truck before.</dialogue> <character>ALI</character> <dialogue>Me too. But I do n't think it was Sadek. Otherwise he'd be here by now.</dialogue> <scene_description>Hassiba is dressed in European clothes , a skirt and blouse . She nears the table and takes a cup of coffee .</scene_description> <character>HASSIBA</character> <parenthetical>( smiling . )</parenthetical> <dialogue>How is your wife now?</dialogue> <scene_description>Mahmoud 's face is expressionless . He shakes his head .</scene_description> <character>MAHMOUD</character> <dialogue>So - so.</dialogue> <scene_description>Ali has finished putting on his shoes . He takes a cup of coffee . In the same moment , outside the door is heard : MACHINE - GUN FIRE . The four are startled .</scene_description> <character>ALI</character> <parenthetical>( shouting . )</parenthetical> <dialogue>Inside! Inside!</dialogue> <scene_description>Simultaneously , all of them move toward the hiding place . Mahmoud 's wife appears at the door . Her face is despairing , but she moves carefully , quickly , precisely . She closes the door . She puts the coffee cups back on the tray , and hides everything in the sink . She goes to the other side of the curtain . Ali is entering the hiding place . The other three are already inside . Ali pushes the movable piece of wall toward him , and the woman helps him . Then , she takes a can from the night table ; it is full of plaster mixed with coal dust . The woman spreads the paste in the joints between the bricks of the wall and the closure of the hiding place . At the same time , shouting , shots , and the footsteps of paras are heard . As soon as she has finished , the woman slips into bed under the sheets . The paratroopers break into the room shouting , and make the woman get up . They drag her outside on the balcony .</scene_description> </scene> <scene> <stage_direction>ABDERAMES COURTYARD. OUTSIDE. DAWN.</stage_direction> <scene_description>They drag Mahmoud 's wife down from the balcony to the center of the courtyard , where now all the inhabitants of the building are standing - men , women , children - all of them with their hands to the wall , in full sight of the paras who are guarding them . Sadek 's head is lowered . He passes along the balcony between Marc and the captain . He stops in front of the door .</scene_description> <character>CAPTAIN</character> <parenthetical>( mumbling softly . )</parenthetical> <dialogue>Here?</dialogue> <scene_description>The Algerian nods yes . They enter .</scene_description> </scene> <scene> <stage_direction>ALI'S ROOM. INSIDE. DAWN.</stage_direction> <scene_description>Sadek points toward the curtain . The captain signals him to go there . The Algerian points to a spot in the brick baseboard . The captain examines it and with his thumb , he tests the fresh plaster . He bends down and leans his ear to the wall . He smiles as he listens to the . HEAVY BREATHING . It is the same breathing that soon after Mathieu hears , bent in the same position as the captain . The colonel gets up and looks around him . Four paras are ready with their machine guns aimed at the hiding place . Others are arranging plastic charges along the wall , all of them connected to a single fuse . In a corner , Sadek , wearing his cap and army camouflage fatigues , is sitting on a chair . He is watching the scene with his eyes wide open . He is trembling . His body is slouched forward . He seems to be lifeless , without nerves . If it were n't for his face , he would seem to be a heap of rags .</scene_description> <character>MATHIEU</character> <parenthetical>( to the captain . )</parenthetical> <dialogue>Everything ready?</dialogue> <character>CAPTAIN</character> <dialogue>Yes, sir.</dialogue> <character>MATHIEU</character> <dialogue>He has n't answered?</dialogue> <character>CAPTAIN</character> <dialogue>No, sir. Total silence.</dialogue> <character>MATHIEU</character> <dialogue>I thought so. It was obvious.</dialogue> <scene_description>Mathieu bends down again and leans his ear against the bricks . He gets up again . He remains a minute in this position , lost in thought .</scene_description> <character>MATHIEU</character> <parenthetical>( loudly and markedly . )</parenthetical> <dialogue>Ali. Ali la Pointe. You're going to be blown up. Let the others come out, at least the child. We'll let him off with reformatory school. Why do you want to make him die?</dialogue> <scene_description>Mathieu stops , and shakes his head . He turns to the captain :</scene_description> <character>MATHIEU</character> <dialogue>Let's go.</dialogue> <scene_description>A paratrooper is unrolling a large bundle of fuse .</scene_description> <character>CAPTAIN</character> <dialogue>Bring it down there, till it reaches outside.</dialogue> <character>PARA</character> <dialogue>Yes, sir.</dialogue> <scene_description>Mathieu has stopped in front of Sadek . He looks at him .</scene_description> <character>MATHIEU</character> <dialogue>Is this one still here? Take him away.</dialogue> <scene_description>Two paratroopers grab the street cleaner by the armpits and almost lifting him completely , they lead him away . Mathieu is about to go out , then turns and takes the megaphone from the captain 's hands , and places it to his mouth .</scene_description> <character>MATHIEU</character> <dialogue>Ali! Ali la Pointe! I am giving you another thirty seconds. What do you hope to gain? You've lost anyway. Thirty seconds, Ali, starting now.</dialogue> </scene> <scene> <stage_direction>ALI'S HIDING PLACE. INSIDE. DAWN.</stage_direction> <scene_description>Ali la Pointe 's eyes are staring at the square piece of wall that seals the hiding place . His glance is taciturn , gloomy . The others are watching Ali . Their lips are half - open , their breasts rise and fall in laborious breathing .</scene_description> <character>ALI</character> <parenthetical>( in deep , resigned voice . )</parenthetical> <dialogue>Who wants to leave?</dialogue> <scene_description>Petit Omar presses against Ali 's arm ; he looks like a son with his father . Mahmoud takes his head in his hands and squeezes it .</scene_description> <character>HASSIBA</character> <dialogue>What are you going to do?</dialogue> <character>ALI</character> <dialogue>I do n't deal with them.</dialogue> </scene> <scene> <stage_direction>ALI'S ROOM. INSIDE. DAWN.</stage_direction> <scene_description>Mathieu checks his watch ; thirty seconds have passed . He moves to go out . The four paras with machine guns are still in the room .</scene_description> <character>CAPTAIN</character> <parenthetical>( to another paratrooper . )</parenthetical> <dialogue>You stay here by the door to signal the others. When I call you, all of you come down.</dialogue> </scene> <scene> <stage_direction>RUE DES ABDERAMES. OUTSIDE. MORNING.</stage_direction> <scene_description>The sun has risen to the height of the terraces . The terraces are swarming with people . The alley is empty and only the fuse is visible ; it reaches to a small clearing full of paratroopers . Two more colonels and a general have arrived . There is a paratrooper with an `` Arriflex '' ready to film the explosion . The atmosphere is that of a show . Two paratroopers are connecting the ends of the fuse to the electric contact . On the terraces , there are Algerian women , children , and old people . Their eyes are motionless ; someone is praying . There is an atmosphere of suspense . There is also the wife of Mahmoud ; her eyes seem blank . Five paras come out of the house quickly , and pass along the alley toward the clearing . The captain signals , and the para begins to lower the contact switch slowly . The eyes of all are motionless . The camera is ready . But the explosion does not occur . The paratrooper swears ; he examines the wires .</scene_description> <character>CAPTAIN</character> <dialogue>Stand back! Ready, Pierre?</dialogue> <scene_description>Pierre responds by mumbling something , and at the same time his hands are moving frenziedly around the wires .</scene_description> </scene> <scene> <stage_direction>ALI'S HIDING PLACE. INSIDE. MORNING.</stage_direction> <scene_description>Ali la Pointe bends over Petit Omar as if to cover him . Hassiba has stopped breathing , her eyes wide open ; Mahmoud is crying . A single image , a second and now : THE EXPLOSION .</scene_description> </scene> <scene> <stage_direction>RUE DES ABDERAMES. OUTSIDE. MORNING.</stage_direction> <scene_description>The house collapses in a white cloud , as if its foundations had suddenly been removed . Mathieu and the other officers move away . Behind them the echo of the explosion continues to resound , then shouts , orders , and isolated ju - ju . Mathieu 's face is weary but his expression is relieved . He is smiling .</scene_description> <character>GENERAL</character> <dialogue>And so the tapeworm no longer has a head. Are you satisfied, Mathieu? In Algiers everything should be over.</dialogue> <character>MATHIEU</character> <dialogue>Yes, I believe there wo n't be any more talk of the NLF for some time.</dialogue> <character>GENERAL</character> <dialogue>Let's hope forever.</dialogue> <scene_description>Another colonel intervenes :</scene_description> <character>1ST COLONEL</character> <dialogue>At heart they are good people. We've had good relations with them for a hundred and thirty years. I do n't see why we should n't continue that way.</dialogue> <character>2ND COLONEL</character> <dialogue>Yes, but Algiers is not the only city in Algeria.</dialogue> <character>MATHIEU</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Bah, for that matter, Algeria is n't the only country in the world.</dialogue> <character>GENERAL</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Why, yes, of course. But for the moment, let's be satisfied with Algiers! In the mountains our work is always easier.</dialogue> <scene_description>Gradually the officers move away down the slanting street toward their jeeps , and their remarks fade away and are lost .</scene_description> </scene> <scene> <stage_direction>CASBAH STREETS. DEMONSTRATIONS. OUTSIDE. DAY. DECEMBER 1960.</stage_direction> <scene_description>Like the cries of birds , of thousands of wild birds , the ju - jus invade and shake the black sky . JU - JU - JU . And below , in the Casbah the white cloaks of the Algerians are like streams , floods ; through the alleys , down the stairways , through the streets and the squares , they flow toward the European city .</scene_description> </scene> <scene> <stage_direction>PRESS HALL. PREFECT'S OFFICE. INSIDE. DAY.</stage_direction> <scene_description>In the press hall , the journalists are taking the telephones by force , shouting at the top of their voices . An English journalist :</scene_description> <character>JOURNALIST</character> <dialogue>No one knows what could have been the pretext. The fact is that they seem to be unleashed without warning. I telephoned Lausanne. yes, Lausanne. I spoke with an NLF leader in exile. They do n't know anything there.</dialogue> </scene> <scene> <stage_direction>ALGIERS STREETS. DEMONSTRATION. OUTSIDE. DAY/NIGHT.</stage_direction> <scene_description>In front , the adolescents , very young boys and girls , their mouths wide open , their eyes burning , laughing , their arms stretched above them , raised and lowered to mark the rhythm .</scene_description> <character>VOICES</character> <dialogue>Algerie! Mu - sul - mane! Algerie Musulmane!</dialogue> <scene_description>The paratroopers jump down from the trucks , and rush forward . The policemen rush forward , soldiers , zouaves , the CRS . Deployed in cordons , in a wedge , in turtle - like formations , in order to divide , to scatter , to hold back . But the demonstrators will not move back , or divide . They continue to press forward , pushing against the troops , face to face .</scene_description> <character>VOICES</character> <dialogue>Free Ben - Bel - la! Free Ben - Bel - la!</dialogue> <scene_description>The Europeans are closing their doors , lowering shutters . They too , the younger ones , the more decisive , are grouping together , trying to confront the Algerians . They are less numerous , but armed . The first revolver shots resound in the streets , from the windows . Some Algerians fall , but the others continue to advance . They are running now , scattering .</scene_description> <character>VOICES</character> <dialogue>Ta - hia Et - thou - ar!</dialogue> <parenthetical>( Long live the partisans ! )</parenthetical> <dialogue /> <scene_description>The jeeps , the trucks , the sirens , the tear - gas bombs , machine gun fire . And then the tanks . The turrets move slowly in a semi - circle . The machine gunner fires the first burst at point - blank .</scene_description> <character>VOICES</character> <dialogue>Ta - hia el - Djez - air! Ta - hia el - Djez - air!</dialogue> <scene_description>Meanwhile the sun has set , and shadows of night are visible .</scene_description> <character>VOICE OF ENGLISH JOURNALIST</character> <parenthetical>( off . )</parenthetical> <dialogue>Today the situation is tenser. In spite of pressure from the more intolerant colonialist group it seems that the Government has given strict orders not to use arms except in emergency situations. But this afternoon there were attempts to enter the European city by force : as a result, the first casualties. Now calm has returned, although from the Casbah continue to be heard those cries. incoherent, rhythmic, nightmarish cries.</dialogue> <scene_description>And then , from time to time , in the by now dark night , the shrill and angry ju - jus . JU - JU - JU .</scene_description> </scene> <scene> <stage_direction>ALGERIAN STREETS. FLAGS. OUTSIDE. DAY.</stage_direction> <scene_description>Those cries continued until the following day . The following day is sunny ; the scene begins again like the day before . Only that .</scene_description> <character>VOICE OF ENGLISH JOURNALIST</character> <parenthetical>( off . )</parenthetical> <dialogue>This morning for the first time, the people appeared with their flags - green and white with half moon and star. Thousands of flags. They must have sewn them overnight. Flags so to speak. Many are strips of sheets, shirts, ribbons, rags. but anyway they are flags.</dialogue> <scene_description>Thousands of flags . All are carrying flags , tied to poles or sticks , or waving in their hands like handkerchiefs . Waving in the sullen faces of the paratroopers , on the black helmets of the soldiers .</scene_description> <character>SPEAKER</character> <dialogue>`` Another two years had to pass and infinite losses on both sides ; and then July 2, 1962 independence was obtained - the Algerian Nation was born.''</dialogue> <character>VOICES</character> <dialogue>Ta - hia el - Djez - air! Ta - hia el - Djez - air! Ta - hia el - Djez - air!</dialogue> <scene_description>THE END</scene_description> </scene> </script>

The Battle of Algiers reconstructs the events that occurred in the capital city of French Algeria between November 1954 and December 1957, during the Algerian War of Independence. The narrative begins with the organization of revolutionary cells in the Casbah. Because of partisan warfare between the Algerian locals and Pied-Noir, in which both sides commit acts of increasing violence, France sends French Army paratroopers to the city to fight against and capture members of the National Liberation Front (FLN). The paratroopers are depicted as neutralizing the whole of the FLN leadership through either assassination or capture. The film ends with a coda depicting nationalist demonstrations and riots, suggesting that although France won the Battle of Algiers, it lost the Algerian War.The tactics of the FLN guerrilla insurgency and the French counter insurgency, and the uglier incidents of the war are depicted. Both colonizer and colonized commit atrocities against civilians. The FLN commandeer the Casbah via summary execution of Algerian criminals and suspected French collaborators; they commit terrorism, including actions like the real-life Milk Bar Café bombing, to harass Europeans. The security forces resort to killings and indiscriminate violence against the opposition. French paratroops are depicted as routinely using torture, intimidation, and murder.Pontecorvo and Solinas created several protagonists in their screenplay who are based on historical war figures. The story begins and ends from the perspective of Ali la Pointe (Brahim Haggiag), a petty criminal who is politically radicalized while in prison. He is recruited by FLN commander El-hadi Jafar, played by Saadi Yacef, who was a veteran FLN commander.Lieutenant-Colonel Mathieu, the paratroop commander, is the principal French character. Other characters are the boy Petit Omar, a street urchin who is an FLN messenger; Larbi Ben M'hidi, a top FLN leader who provides the political rationale for the insurgency; and Djamila, Zohra, and Hassiba, three FLN women urban guerrillas who carry out a terrorist attack. The Battle of Algiers also features thousands of Algerian extras. Pontecorvo intended to have them portray the "Casbah-as-chorus", communicating with chanting, wailing, and physical effect.

Cocoon_1985

tt0088933

<script> <scene> <scene_description>•</scene_description> <character>"COCOON"</character> <dialogue>Screenplay</dialogue> <scene_description>by Tom Benedek • Based on the Novel by David Saperstein</scene_description> <character>WITH REVISION #3</character> <dialogue>August 2, 1984</dialogue> <character>FOURTH DRAFT</character> <dialogue>July 23, 1984</dialogue> <scene_description>• A81</scene_description> <character>ZANUCK-BROWN COMPANY</character> <dialogue>In Association With</dialogue> <character>TWENTIETH CENTURY FOX FILM CORPORATION</character> <scene_description>• FADE IN</scene_description> <character>INT. KID'S ROOM - MODERN SUBURBAN DUPLEX - DAY</character> <dialogue>1</dialogue> <scene_description>It's a bright and colorful child's space designed with simple, clean, softened high-tech lines. There are masses of toys everywhere, thousands of baseball cards, piles of comic books, a small mountain of games and educational programs next to a mini-computer system. A durable-looking TEN-YEAR-OLD BOY is at the window. He is setting up a telescope, fresh out of the box. He reads the instruction booklet as he points the telescope outside, beyond his small backyard, over palm trees, up toward the FULL MOON SHINING AGAINST AN AFTERNOON SKY. Now the Boy looks through his telescope.</scene_description> <character>HIS P.O.V.</character> <dialogue>2</dialogue> <scene_description>as he FINDS the moon. Its mysterious whiteness shines against the light blue sky as he FOCUSES, CLOSES IN.</scene_description> <character>THE BOY</character> <dialogue>2-A</dialogue> <scene_description>turns from his telescope, picks up it's instruction booklet, looks at diagrammed pictures of constellations . • A SERIES OF SHOTS</scene_description> <character>A.</character> <dialogue>Soaring, spectacular, we TRAVEL IN space. The CAMERA</dialogue> <character>P.O.V. SHOT</character> <dialogue>MOVES FROM the P.O.V. of something moving very fast</dialogue> <scene_description>with a LOUD, LOUD ROAR, PAST sharply glittering stars, brilliant constellations shining out against the deep blue expanses of outer space.</scene_description> <character>B.</character> <dialogue>Faster and faster we GO, as the moon rises up INTO</dialogue> <character>P.O.V.</character> <dialogue>THE SCENE in the distance.</dialogue> <character>C.</character> <dialogue>Now the moon moves in fast, becomes closer and closer.</dialogue> <character>P.O.V. SHOT</character> <dialogue>D.</dialogue> <dialogue>We ZIP OVER the moon's surface now, WHIZ OVER crevices,</dialogue> <character>P.O.V. SHOT</character> <dialogue>dark stones, barren rock formations, huge craters.</dialogue> <character>E.</character> <dialogue>Now we PASS the moon, MOVE INTO a thicker starfield,</dialogue> <character>P.O.V. SHOT</character> <dialogue>TURN DOWNWARD fast.</dialogue> <scene_description>• Cont . A Bl 3 Cont, •</scene_description> <character>F.</character> <dialogue>moves INTO VIEW, tiny at first, growing in size faster</dialogue> <character>THE EARTH</character> <dialogue>and faster as we APPROACH its atmosphere, as the stars dim.</dialogue> <character>G.</character> <dialogue>Faster and faster we APPROACH the Earth.</dialogue> <character>P.O. V. SHOT</character> <dialogue>H.</dialogue> <dialogue>INTO thick clouds, lit with sunset.</dialogue> <character>P.O.V. SHOT</character> <dialogue>I.</dialogue> <dialogue>Then SKIMMING FAST OVER rapidly thinning cloud formations.</dialogue> <character>P.O.V. SHOT</character> <dialogue>J.</dialogue> <dialogue>Now we STOP SUDDENLY, HEAD STRAIGHT DOWN TOWARD the Earth,</dialogue> <character>P.O.V. SHOT</character> <dialogue>THROUGH the fog of more thick clouds.</dialogue> <character>K.</character> <dialogue>The Atlantic Ocean.</dialogue> <character>A CALM SECTOR OF THE OPEN SEAS</character> <dialogue>L.</dialogue> <dialogue>pops his head out of the water, looks up at the sky.</dialogue> <character>A DOLPHIN</character> <dialogue>• M.</dialogue> <character>N.</character> <dialogue>ONE BY ONE, FOUR MORE DOLPHINS</dialogue> <dialogue>pop their heads up, stare up at the sky.</dialogue> <dialogue>Dolphins.</dialogue> <character>OUR LEAD DOLPHIN</character> <dialogue>Suddenly,</dialogue> <scene_description>bright lights shine from above, reflect off the dives underwater again. The other Dolphins follow. From underwater the Dolphins observe as a circular shape can barely be made out above the surface of the ocean. Now the light from above grows brighter and brighter, becomes a blinding glare that suddenly WHITES OUT THE SCREEN.</scene_description> <character>OUT</character> <dialogue>4</dialogue> <character>3-A-</character> <dialogue>CUT TO:</dialogue> <character>EXT. MAIN STREET - SUNSET BEACH - DAY</character> <dialogue>CRASH!</dialogue> <character>4-A</character> <dialogue>A vintage 1949 Packard rear-ends a Buick. Just a minor accident, nobody hurt. Driving is BEN LUCKETT, BERNIE LEFKOWITZ rides shotgun. MARY LUCKETT, Ben's wife, shares the backseat with many groceries.</dialogue> <scene_description>• You all right!? Cont,</scene_description> <character>A81</character> <dialogue>• indicatinr3</dialogue> <scene_description>2ecni.e) ~e distracted me!</scene_description> <character>S 2~J</character> <dialogue>( '::o 8e:::1iel Se~r.ie, dammi-::, you dist::3ct2d ~e: 3ERN"IE Hey, it's your ::es9onsibility to not be distcac~ed. You're the</dialogue> <scene_description>driver, !'m just a ?assenger!</scene_description> <character>MARY'</character> <dialogue>Look at these eggs ...</dialogue> <scene_description>Sen is getting ~ut of the car.</scene_description> <character>BEN</character> <dialogue>(still mad a:: Bernie; Ya:r:mering abou&lt;:: t:'1e hu:-:,idity, ',;'.1;.7.\_e X a T.an's trying to ,ay attenti0:1 to the road ... l</dialogue> <scene_description>Ben is now being confronted by 7HE OR~VER of the Bui~k, a young • professional man, fairly irate. aecnie ca~ sti~l be heard in the car, muttering about how his hernoc::tcids 1ave nothing t? do ~:.t~ Ben's accident.</scene_description> <character>OT:-IER DR:VER</character> <dialogue>I was stor;iped!</dialogue> <character>BE~</character> <dialogue>I k::ow, :;: know, That's ',111~,. '::hey c~l\_\_i ;~ an accident.</dialogue> <character>'.)T~ER :;R:::VSR</character> <dialogue>... Shouldn't be dc1?1ng ;~ you can't see in front of yot.:~ ..</dialogue> <scene_description>Sen =hecks t½e da~age, as aoes the Ot~er Jri~~r. D~ring =~e above 3 c~~wd has foc~~a and~~ SEE the react:ccs ~~ ~he age~ passersby. i~v-T</scene_description> <character>, . €�</character> <dialogue>,,., 1 :; co ,-</dialogue> <scene_description>' • ',a , . - • 4-C Cent. • ~his ~e~ica~ compl9x.</scene_description> <character>JOC':'OR</character> <parenthetical>(.,;.t door)</parenthetical> <dialogue>: 'cn scrry, .:oe.</dialogue> <scene_description>,Joe a~a Al~a ~a:~ sad:y ~ast ~he nurse's desk ~n ttei: ~ay out of ?hough elder:y, Al~a is shapely, dresses tJ show her !or~.</scene_description> <character>1~7. BCILDI~G - ~ILE~ LOBY - ~AY</character> <dialogue>4-D</dialogue> <scene_description>Joe and Alma are wal~ing down the stai=case that leads to the street.</scene_description> <character>JOE</character> <dialogue>You tell ~ary. She tells Ben, Artie, Bernie, Bess and forget it. I become a living funerai procession. I don 1 t want to preside over my own wake, A:~a.</dialogue> <character>AL~A</character> <dialogue>3.ut I need to talk about</dialogue> <character>JOE</character> <dialogue>I'll talk to you. about it all</dialogue> <scene_description>• you want . Don't wcrry aboJt that. ~lma and Joe e~brace.</scene_description> <character>JOE</character> <dialogue>I need you. Leukemia I r::ould' ?e done without, but I need you.</dialogue> <scene_description>T~rough the g:ass door, Joe sees 3en's accident.</scene_description> <character>JOE'S P.O.V. - S~REET</character> <dialogue>4-8</dialogue> <scene_description>T~ece is a crowd gathered around 3en's car, A POL!CEMAN ~as arri~ed ~nd it loo~s like a mess. !i.NO'!'P.ER At;GLE (t:J Policemar:) ~ren't they su99osed to ser:d yo~ a noti!ication or something Nhen it expires?! Sa~ebody o~ yoJr end screwed u;, • • 4-? Cont.X • this)</scene_description> <character>?OLICEMAN</character> <dialogue>(k:iows Ben ·&lt;nows It's ~9 :o you to keep track of yo~r driver's :icense. 3E~</dialogue> <scene_description>Sor gotta do everythi:ig for them?! O"rHSR DRIVER Oh boy, he doesn't even ha~e a licenset</scene_description> <character>BEN</character> <dialogue>I have a license!</dialogue> <scene_description>Joe 9okes his head i:ito the backseat where ~ary is cleaning up the eggs.</scene_description> <character>JOE</character> <dialogue>?vecybody all right in here?</dialogue> <character>MARY</character> <dialogue>Hi Joe. Yes, we'r:-e o:.Cay.</dialogue> <scene_description>• his neck) A little pain. lawsuit.</scene_description> <character>BER~IE</character> <dialogue>(indicati:ig The.re may be a JOE Ben's fault?</dialogue> <character>BERNIS'S (V.O.C.)</character> <dialogue>:vasn't :nine.</dialogue> <scene_description>:-ta!:'.{ nods. Joe crosses toward the group of men.</scene_description> <character>JOE</character> <dialogue>~eed a hand ~ith this rasca:,</dialogue> <scene_description>Officer? The Policeman and the Ot~er Dci?et speak sirnu:taneously. POL ICE;'!P..~; OTHER D~:i:VZR (·,1riting cut What! ~his man's a ticket) menace! ~ake hi~ ~f~ ~ co,1:(:! t::i:.:e you :.:1 t:le road! but this is your first ~ime, so I'~ :icketi:ig you • ~:id: don't want ~o see y~u ~ehind tte ~hee~ until yo~ go do~n and get your ii~ense renewed. C~derstand? Cont. 4-F Cont.lX</scene_description> <character>BEN</character> <dialogue>• Thank you, Officer .</dialogue> <parenthetical>(to Ben)</parenthetical> <character>OTHER DRIVER</character> <dialogue>You'll be hearing from my insurance company!</dialogue> <character>OUT</character> <dialogue>14</dialogue> <character>5-</character> <dialogue>INT. PACKARD - DAY</dialogue> <dialogue>Ben, Mary, Joe, Alma and Bernie are in the car. They're rolling</dialogue> <character>15</character> <dialogue>down Main Street now. The sedan is overflowing with old p8ople and their grocery bags. Mary is driving. Ben is sulking. Joe and Alma are holding hands, Their secret sadness draws them together.</dialogue> <character>MARY</character> <parenthetical>(gently to Ben)</parenthetical> <dialogue>Why did you let it expire?</dialogue> <character>BEN</character> <dialogue>Please give all your attention to the road. We don't want</dialogue> <scene_description>• another accident •</scene_description> <character>BERNIE</character> <dialogue>I didn't cause the first one!</dialogue> <character>EXT, SUNSET BEACH RETIREMENT COMMUNITY - DAY</character> <dialogue>16</dialogue> <scene_description>The Packard rolls through the gates of the Sunset Beach Retirement Community and Home. It is a beach front facility on spacious, haphazardly lush grounds comprising clusters of small efficiency apartments~ plus a rambling multi-storied main building for convalescents and helpless residents needing twenty-four hour care. As the Packard rolls toward the efficiency apartments, we SEE that it is a pleasant enough facility and that, like it's inhabitants, the place reached its peak in the forties and fifties. The buildings, though reasonably well-kept, are faded and weatherbeaten, but still maintain a great amount of charm amidst the almost out-of-control landscaping. As the Packard approaches the apartments, ROSE (Bernie's wife) is waiting for it. She's holding a conversation with the folks in the car while they're still several yards away. Her talk has nothing to do with anything, just part of an eternal long-running monologue about her childhood and her past . • A81 Cont.</scene_description> <character>ROSE</character> <dialogue>• Eello .•• The day I gcadua~ed hiJh school</dialogue> <scene_description>i~ ~as weathe? just like t~is. ;us~ li~e t~~s. b:eeze. 7he litt:es: I wore ~his dress that go: all creased under ~he gown. I ~as so unha?py •.. The Packard STOPS in front of the efficie:-icy aparc~ents, right next to Rose, still talking.</scene_description> <character>BERNIE</character> <dialogue>Give it a rest, Rose.</dialogue> <scene_description>The Pac~ard 1 s ~NGINE is still rattling as Joe un:ocks the tr~nk. When the trunk lid pops open, the ENGIN2 finally quits, emitting a dee9 GASPING BELCH of EXHAUST, As the old people laboriously determine whose grocery bags are w~ose, exa~ining the contents of each like de:ectives, Bernie's wife, Rose, jo~ns them at the ~runk of the cat wi:h a grocecy cart. She has silver-blue beauty parlor-style hair, thic~ gl3sses, a heaci~g aide, slow gestures, and ref!exes. Mary peers into a 3tocery bag, sees Gerito::., sx-Lax, ':11:.. ki:1ds of ?itamins. Nithout a word, she hands the bag to Al:na anci Joe. • Peering into another bag, she sees a crossword puzz!a nagazine, ?orbes Magazine, orange juice, choco:..ate c'.1i;;, cookies, she puts this bag into her own cart. Ben stares into a grocery bag, briefly lifts cut a box of animal crackers, the Na~icnal Enquirer, packs of colorful foam and 9~astic ha~r curlers. Ben is cut of his funk.</scene_description> <character>3EN</character> <dialogue>I t:hink this is yours, :?ose.</dialogue> <scene_description>Ee slips ~he grocecy bag into ?ose's cart with Bernie's symbo:ic assistance.</scene_description> <character>BEN</character> <parenthetical>(to &lt;'I.LM.l\)</parenthetical> <dialogue>'fo'J got my heating pad?</dialogue> <character>AL.":A</character> <parenthetical>(:naking fast qet3.way)</parenthetical> <dialogue>\jQ.</dialogue> <character>?.OS E</character> <dialogue>(e:&lt;te!lC.ir.9 her hand to 3er. l</dialogue> <scene_description>• we 1 ve met . 16 Co:1t.X • :1ARY (e~unciating l0~dly for her) That I s Ben, Rose.</scene_description> <character>BEN</character> <parenthetical>(shaking hands with Rose)</parenthetical> <dialogue>Pleased to rr.eet you.</dialogue> <scene_description>Cont . • • A81 ~ary Ei.nds Joe's he3~ing 9ad and give i:: :c him. :-le takes o E~ a::'tc::r .U:n3. • ~CE He's :~e o:1e wi~h t~e expir~&lt;l driver's lice~se.</scene_description> <character>BERNIE</character> <parenthetical>(to Mary soE~:y)</parenthetical> <dialogue>She r=Qem~ers N~o : n~. S~e remembers who she is. So we're doi:1g okay.</dialogue> <scene_description>,!\NGLE ON JOE rlND ALMA X ge~ting their groceries from the car</scene_description> <character>JOE</character> <dialogue>Are you a:: righ:, A~ma?</dialogue> <scene_description>Alma ur.spokenly lets Joe k □ ow she's not all right.</scene_description> <character>ROSE</character> <parenthetical>(o.s.)</parenthetical> <dialogue>Bernie, the apartment we -:noved to the third year we were rr.arried, how many windows were :here? i count four, but I remer:iber :naki. □ g curtains for five .</dialogue> <scene_description>• IN':'. MAI'.:-! B'JILDING - R:SST H0~1E - DAY Ben, with his sidekick, ART SELWYN strides into the spacious, jright but o:d-fashioned lobby and indoor recreation area of the rest horr.e . .:\r: is ta1.1, agile !:er h:.s years, dressed in "snazzy" sports clothes. A bachelor with the sharp eyes of a rasca:, Ben and Art are both on their ~ay ~or a swim. Ben a:1d Ar:: obsel:"ve the lobby carefc:lly. They have a9~oi:1teC themselves the honorary ombudsmen of t~e home. ~hey mcve like teen-aqers ccm9ared to ':t:e peo9le we SEE here. ;n anci.e:1t '.voman wat=hes a corrid soap opera with her face two inches frcm the twenty-s:.x :.:1c~ color screen. An old ~an struq3les ~o ma~e a pay phone cal::., barely ab:e to dia::. the operat:n, S:-IOG'!'ING "HELi:.O" hel9lessly i:1to the p~o~e. In the corner, an agile ~0rm~r .shc)wgir::., t1:iree ladies in a "dancing BE:SS .'I\CCA.K':'EY, leads sing-a-lc~g'' doi~g :he HOKEY POKSY. Bess perfo:~s qr3ce£uily, en:husiastically, bu: her ''chor~s g~rls'' are not too good, to say ':he least.</scene_description> <character>BESS</character> <parenthetical>(shouting to Ben and ).?:':)</parenthetical> <dialogue>Get aver here, fell3s. scx0 :2a: me~ here.</dialogue> <scene_description>•</scene_description> <character>ART</character> <dialogue>(',n:1'.-:~:H; ::.s aess} I~ ~e see a~y, we'll send the~ O?~r. C;:int. :7 :ant.</dialogue> <scene_description>• Ben and Art keep walking .</scene_description> <character>3D!</character> <dialogue>You ever gonna do anything about that c.:ne, Ar::?</dialogue> <character>::..~T</character> <dialogue>.!1.lready ~1ave.</dialogue> <character>BEN</character> <dialogue>You put it to her?</dialogue> <character>ART</character> <dialogue>You're disgusting.</dialogue> <character>BEN</character> <dialogue>You haven't. X</dialogue> <scene_description>During the above, Ben and Art have moved down the hallway lined with s□ all two-bed units. As they pass these residential quarters, Ben and Art wave hello to extremely o:d 9eople of all shapes, sizes. These reside~ts appear !rai:, hel9less, child:i~e, not quite vegetab:es but du::, :ist!ess; ~ost ~us~ stare in~o space, though few do ~ALK S02~LY, tr~~ge slowly with the he:p of a wal~er, read Brai::e, loo~ at o:a ~agazi~es, or stare out ~he wi~dow at the :eaves on the trees . • BEN (softly muttering) I can't believe Bernie and Rose are moving here.</scene_description> <character>ART</character> <dialogue>What are they going to do? Rose almost sets the apa~trnent on fire every time she tries to make herself 3 cup of coffee.</dialogue> <character>3SN</character> <dialogue>T don't see why Ber~ie doesn't just</dialogue> <character>A~T</character> <parenthetical>( :nter:r-..ipts)</parenthetical> <dialogue>9ernie can't take care of her. He hasn't got t~e strength.</dialogue> <character>BSN</character> <parenthetical>( sha;d ng head)</parenthetical> <dialogue>The day r have to move i~ he=e, shoot me, pilt me ~ct cf ~y misery .</dialogue> <scene_description>• 17 Cont.l •</scene_description> <character>ART</character> <dialogue>Me, I'd rather live like a Goddamncd carrot than not live at all.</dialogue> <character>BEN</character> <dialogue>Move in here, you won't know the difference.</dialogue> <scene_description>Ben and Art stop at one doorway. An ancient black man, POPS, staring at televised New York Stock Exchange quotations flashing from a small color set on his nightstand. In the next bed, an ancient white man, SMILEY, sits completely still. Smiley appears comatose. Ben tosses Pops a box of Ding Dongs.</scene_description> <character>POPS</character> <parenthetical>(obviously thrilled with the whole box)</parenthetical> <dialogue>Ben, I said one.</dialogue> <character>BEN</character> <dialogue>Walk on the wild side.</dialogue> <character>POPS</character> <dialogue>You boys still trespassing over there?</dialogue> <scene_description>• Art and Ben both nod (yes) emphatically. hand disapprovingly, shakes his head. Hey!</scene_description> <character>POPS</character> <parenthetical>(opening box)</parenthetical> <dialogue>They're not melted at all!</dialogue> <scene_description>Pops waves his</scene_description> <character>BEN</character> <parenthetical>(winks)</parenthetical> <dialogue>Kept 'em in a bag with the ice cream.</dialogue> <scene_description>Art and Ben move on.</scene_description> <character>A MAN'S GROANING SOUNDS</character> <dialogue>18</dialogue> <scene_description>EMANATE HARSHLY from a nearby residential unit. Ben and Art peer in, as DOCTORS, NURSES hauling special medical equipment hurry to help this seriously ailing resident. Cont . • A81 :.1: •</scene_description> <character>'ZEVISED - "CCC:00~1" - 3;":.. 2/3'1:</character> <dialogue>13 Cont.</dialogue> <scene_description>Be~ and Art wait uncomfortably. They ap9e3r t~ ~ave witnessed Two uniformed attendants, Dexter and ?ine, stride past, st~p as the GROA~I~G DEA~H sou~~s CEASE. JOH~NY DEX~ER is an obese, sloppy, irresponsible-loo~lng orderly. LOU PINE is a thin male nurse, famous !or having the worst bedside manner in the ~estern Eemis;,he:re.</scene_description> <character>:JEXTER</character> <parenthetical>(playing invisi:Ole guitar, singi~g Queen song like a performe:::::)</parenthetical> <dialogue>Da-Dum-Du~-Dum-Dum. And another one bites the dcst ...</dialogue> <scene_description>Jisgusted, Ben grabs Art by the arm.</scene_description> <character>EX~. GROUNJS -</character> <dialogue>RETIREMENT COMMUNITY -</dialogue> <scene_description>• Joe joins up with Ben and Art. Dressed in swim trunks, and sandals, witj towels over their arms, the thi::ee men .,.a:k ac:oss tte grounds. They pass Bernie, who's heading in t~e opposite direction, not j:ressed for a swim.</scene_description> <character>ART</character> <dialogue>(having been ~1.;rned dowr. many times by Ser:-iie bcforei Hey Bern, You're ~issing sonetj~ng. BERN:;:: I know the c:1ance of a li:"et::.:ne</dialogue> <scene_description>to be put i~ la~l. Bernie keeps ~alkilng and Ben, Joe, and Art cont::.nue across the grounds:</scene_description> <character>AR':'</character> <dialogue>¼as he any different as a ~id?</dialogue> <character>JOE</character> <dialogue>:-Jo ,;uts</dialogue> <scene_description>•</scene_description> <character>A.81</character> <dialogue>R:SVIS3D - "COCOON" - 3/12/8-¼</dialogue> <scene_description>25 Con&lt;: . • They conti~ue ac~oss the gco~nds, then inc::i the b~shes along edge of the -grounds Qf t:1ei:: ::etirerr:ent -.:::irr.rci.:nity. ahead, leavi~g 3en and Joe togecher. Art ';loves</scene_description> <character>X</character> <dialogue>Cont .</dialogue> <scene_description>• • 25 Cont • • BEN (st1.:.dies Joe; now softly) What's the ward?</scene_description> <character>JOE</character> <dialogue>What's the word on ·,.;hat?</dialogue> <character>BEN</character> <dialogue>{sarcast.ic)</dialogue> <scene_description>On that hangnail you went t:) t:'le doctor for.</scene_description> <character>JOE</character> <dialogue>{lying gracefully}</dialogue> <scene_description>It's a breeze. Everything's fine.</scene_description> <character>OEN</character> <parenthetical>(facing him squarely)</parenthetical> <dialogue>I'm not senile yet, pal. X Co~•t play games with me.</dialogue> <scene_description>Joe smiles at Ben but his eyes say it all. They' re full o:E • fear •</scene_description> <character>JOE</character> <dialogue>Doctors don't know everything.</dialogue> <character>BEN</character> <dialogue>There's a school of though which holds that doctors don't know anything</dialogue> <character>JOE</character> <dialogue>Let's hope so.</dialogue> <scene_description>During the above, the three men march through these thick bushes, trees, slowly and carefully. Fina:ly, they reach a rusted old ~eta: fence and loosely chai~ed gate. Together, the thcee of them pry open the gate enough so thac :bey can slip through. It isn't easy, bu~ chey manage eventually ~o get in.</scene_description> <character>SXT. GROUNDS - OLD ES~ATE - DAY</character> <dialogue>Tramping through mo:a dense foliage, Ben, Ac~, and ~oe glance</dialogue> <character>26</character> <dialogue>caut~ously around :je ere9ty grounds as they ~eve across the lawn, toward the old-fashioned 9001 house .</dialogue> <scene_description>• A8l</scene_description> <character>I~T.</character> <dialogue>POOL HCJSE -</dialogue> <scene_description>• sen, Joa 3nd ~rtie a:a inside now, 3en thrcws en the :ights. We can SSE now that ~his is a fo::::ty or fifty yea:::: o:d, elegan~:y tiled swimxiJg ~ool, there are deco-sty:e ~~rals of seashells, ~erma~ds, alligators, 9alrn trees on all the walls. ~he men ma~e thernse:.~es at ~o~e. Joe starts doing :aps. 9en and Art climb into the shallow end, light big ciga::::s, :..ay back, re:.ax, luxuri.3t..e~ 3XT, PA7IO AREA - NErlR EFFIC!SNCY APAR~MEN~S - DAY 29 X Mary, Bess 1 Alma and Bernie's senile wife, Rose, are sitting at a patio table, playing ~ah-Jong. Bess is the dance instructor. She's wearing ''!ifties'' sunglasses, pedal pushers,. aess looks New Wave, but. doesn't knew it. A phone-in RADIO TALK SHOW PSYCHOLOGIS':' giving advice to a LOST-LORN CAL:.ER BLASTS from a portable radio on the table.</scene_description> <character>FEMALE CALLER</character> <parenthetical>(over radio)</parenthetical> <dialogue>Forty-four in forty-five days.</dialogue> <character>PSYCHOLOGIST</character> <parenthetical>(over radio)</parenthetical> <dialogue>Are you bragging, dear, or complaining?</dialogue> <scene_description>• The Ladies laugh.</scene_description> <character>FEMALE CALLER</character> <parenthetical>(over radio)</parenthetical> <dialogue>I'd rather jus~ have held hands for a minute with a man who really loved me.</dialogue> <character>MARY</character> <parenthetical>(dealing cards)</parenthetical> <dialogue>She should hcla her tonque, That's what she should ho:d.</dialogue> <character>BESS</character> <parenthetical>( '::o radio)</parenthetical> <dialogue>I'm with ya, lioney! :sJe single gi:ls have to stick together!</dialogue> <character>BESS</character> <dialogue>You're lucky, Macy. Y:Ju've got Ben. Everybody stou:.d Oe so lucky.</dialogue> <scene_description>Con,: • • A3l 29 Cont.X • : ~now. lucky.</scene_description> <character>MARY</character> <dialogue>tell myse:f</dialogue> <scene_description>A:1d I than.I&lt; God every day.</scene_description> <character>ROSE</character> <dialogue>What a:Oout yo:.ir husband, 3ess? He's not good enough Eor you.</dialogue> <character>ALMA</character> <dialogue>Paulie's been dead for six years,</dialogue> <scene_description>Rose •.</scene_description> <character>ROSE</character> <dialogue>No one tells me naythi:1g naymore. Why doesn't anybody tell ~e? When is the funeral?</dialogue> <character>ALMA</character> <parenthetical>(gently)</parenthetical> <dialogue>Think, Rose. You 1 -:e not using your mind ..</dialogue> <character>MARY</character> <dialogue>She's trying •</dialogue> <scene_description>• Bess SHUSHES them, turns the RADIO U?.</scene_description> <character>FEMALE CALLER</character> <parenthetical>(over radio)</parenthetical> <dialogue>They never call back. If one of them would call back, I'd go out. with him again.</dialogue> <scene_description>Cont • • A81 29 Cont.l • RADIO PSYCHCLCGIS? {over radio) Maybe yo~'re ~ust attr~ccing ~he wrong kind of :nan.</scene_description> <character>FE:-IALE CALLER</character> <parenthetical>(over radio)</parenthetical> <dialogue>But I've tried every kind of ~an- ..</dialogue> <scene_description>½ary, Alma ROAR with LAUGHTER.</scene_description> <character>ALMA</character> <dialogue>She must be worn out. X</dialogue> <scene_description>{looking across lawn) Here comes the Wild Bunch.</scene_description> <character>~HE WOMEN'S P.O.V. 30</character> <dialogue>as Art, Joe, Ben trudge toward them ••• three proud geriatric "outlaws" in beach clothes, carryi:1g wet towels, wea=ing wide-brim:ned st:raw hat:s.</dialogue> <character>ALM.~</character> <dialogue>I worry about them, going next door like that •</dialogue> <scene_description>• MARY It's not exactly ~ount E11erest they just climbed.</scene_description> <character>BESS</character> <dialogue>{bragging)</dialogue> <scene_description>Art said he'd take me along one day, maybe next week. Al~a and ~acy turn toward Bess with some surprise.</scene_description> <character>BESS</character> <dialogue>{ very poi .sed now)</dialogue> <scene_description>We're just good friends.</scene_description> <character>EX~. ~QWN DOCK - SUNSET BEACH - NIGHT</character> <dialogue>31</dialogue> <scene_description>It's a typica: Flocida small town ~arina and municipal ~ock. There are lots of pleasure craft, a few fishing boats 3nd a bait shop-gas pump at the end a~ the piec. Lights f=om :he to~n ~litter on the wacer. The SURF CRASHES gent:y. ; few ~eekand Sail0rs putter abo~:. their boats, tie them into ~coring for :he :iig:it. • A8l Can:. • 31 Cont . • CLOSER NOW, we SEE a twenty-five-year-old man, J"ACK BONNER, on the deck of his big, old, weather-worn cabin cruiser, the Manta J II. His boat sleeps eight, appears durable, but has obviously seen better days. It looks as though it was once a millionaire's pleasure castle/fishing boat, back in the 1950's. Jack is bright-eyed, durably fit, in his jeans and a T-shirt. His manner is somewhat manic. His boat keeps him very busy, which suits his energy level perfectly. Jack and his boat are heading towards dock. On board are three very unhappy fishermen, the most unhappy of whom is named SALVATORE. Jack starts to tie up the boat.</scene_description> <character>JACK</character> <parenthetical>(all smiles)</parenthetical> <dialogue>All in all, that was a pretty damn crappy day at sea, wasn't it guys?</dialogue> <character>SALVATORE</character> <dialogue>You stink.</dialogue> <character>JACK</character> <dialogue>Well, you know, it's the great unknown out there.</dialogue> <scene_description>• Here's half your money •</scene_description> <character>JACK</character> <dialogue>Half!</dialogue> <scene_description>SALVA'fORE Do you see any fish on this boat? Do you see one lousy fish? You're 1 ucky to get half. I'm an angel to give you half.</scene_description> <character>JACK</character> <dialogue>I can't do business like this! This totally disrupts my cash flow.</dialogue> <scene_description>The DOCK MASTER comes to the boat.</scene_description> <character>DOCK MASTER</character> <dialogue>Bonner. You got my Goddamn X money now?</dialogue> <character>JACK</character> <dialogue>Oh for Christ sake.</dialogue> <character>DOCK MASTER</character> <dialogue>'Cause if you ain't got it, you</dialogue> <scene_description>• A81 ain't tyin' up here tonight. Cont. • 31 Cont.lX</scene_description> <character>JACK</character> <dialogue>Wait a second.</dialogue> <parenthetical>(::a guys)</parenthetical> <dialogue>Loo:-:., I don't wanna get ro~gh here. But I'~ not taki~g hal:.</dialogue> <character>SALVATORE</character> <dialogue>Fine. Give it.</dialogue> <scene_description>Salvatore starts to grab the first half of the money back. Jack jerks it away.</scene_description> <character>JACK</character> <dialogue>All right. All right. Jes us.</dialogue> <scene_description>As Salvatore and the others get off the boat, Jack gives the money he does have to t:le Dock ~aster.</scene_description> <character>JACK</character> <dialogue>Here you go, Kirk, you bloodsucker. Now r•ve got nothing to live on.</dialogue> <scene_description>The Vock Master snatches the r:oney, turns and goes. Jack stares after him with real concern. • JACK You're nae going to actually ta~e my money are you? T:le Dock Master nods "yes" and keeps walking.</scene_description> <character>JACK</character> <parenthetical>(panicked now)</parenthetical> <dialogue>You're going to leave me five dollars aren't you?</dialogue> <scene_description>~he Dock Master doesn't miss a step as he shakes his head "no~"</scene_description> <character>JACK</character> <dialogue>That ~oney'll bring you no 2leasure, : promise you. You try and sleep tonight.</dialogue> <scene_description>Cont • • &gt;81 31 Cont.2:( • During the above, T!-lRE::: ~EN ar.d a WO:-IA::-; ·,;ale:;: toward Jack, toward his boat. They stop and wait patien:ly. Jack ~asn': yet registered tha= they are there. ~hesa peo~le :oak like so9histicated out-of-towners. They are wearing elegant, expensive tropical-weight cruise wear, a99ear to be genteel and prosperoLls. ~hey are: A handsone older man with an air of d:y wit, s~bdued manner, and a great intelligence; a beautiful young wo::ian with curious eyes, a detached self-absor'oed ;nanne:r:::; and two athletic-looking younger men.</scene_description> <character>JACK</character> <parenthetical>(shouting after Dock Master)</parenthetical> <dialogue>How about 'Thank you"?</dialogue> <scene_description>The eldest man, WALTSR, clears his throat, addresses Jack.</scene_description> <character>WALTER</character> <dialogue>we 1 d like to hire your boat.</dialogue> <scene_description>Jack continues to focus on the Dock ;"laster.</scene_description> <character>JACK</character> <parenthetical>( to Walter)</parenthetical> <dialogue>Hold on there, friend.</dialogue> <scene_description>• (yells to Dock Master) You don't think long-term, Kirk!</scene_description> <character>WALTER</character> <parenthetical>( fir:ner now)</parenthetical> <dialogue>Son, the boat.</dialogue> <scene_description>Jack ignores Walter, watches the Dock Master leaving.</scene_description> <character>JACK</character> <dialogue>You could very easily end X up losing my good will!</dialogue> <scene_description>Jack notices the young woman, KIT~Y. This draws his attention.</scene_description> <character>KITTY</character> <dialogue>We'd like lir-e to, rent your boat.</dialogue> <character>JACK</character> <dialogue>Seriously?</dialogue> <character>WALTER</character> <dialogue>I': would be :or twenty-s..;:·-1er. days. Would that be too :ong for you?</dialogue> <scene_description>• Co~t . • 31 Cont.3</scene_description> <character>JACK</character> <dialogue>{charming now)</dialogue> <scene_description>Come aboard. Twenty-se~en is my lucky c1ur.1ber. INT. BELOW DECi - NIGHT 31-A</scene_description> <character>JACK</character> <dialogue>Well, take a look around. I can sleep eight, so you should be pretty comfortable and if you've got a lo~gitude and latitude, I can get you there. If you don't, I can still get you there.</dialogue> <character>WALTER</character> <dialogue>We know a great dive spot, and we've got a map.</dialogue> <character>JACK</character> <dialogue>Great. X</dialogue> <scene_description>Kitty, Walter, and the two others, PILLSBURY and UOC, really • do start examining the boat, systematically checking out every detail an the dee~ as though they were preassigned a section to exrlore.</scene_description> <character>JACK</character> <parenthetical>(almost to himself)</parenthetical> <dialogue>We can talk price later.</dialogue> <parenthetical>(noticing their ~eticulous exami~ation)</parenthetical> <dialogue>r haven't dusted in a while.</dialogue> <scene_description>They ao not seem to hear hlm. Jack watches them c~riously new. They appear odd, somehow off-center. Not like criminals, just very foreign, as they scurry down t~e stairs, below deck, one by one.</scene_description> <character>JACK</character> <dialogue>{calling after ~hem)</dialogue> <scene_description>Of course, if you look at anything close enough, there are bound to !::,e flaws. (beat l I'm an experienced tour guide, deep-sea fisherman, scuba diver ••. ;::o hi:nself, relieved) who will actually eat ~onight . • :?..EVISE:&gt; - "COCCC~" - 31::.2/8-l • A bunc~ of o:d are 3e:1, ~ary, side, r:;1.:r,b:'...lnq listens rather folks 3re playing shuffleboard. Alma, Art, and Bernie. Rose is off~~ tje to Joe about -::hi:1gs fro:n the \[;last. unccm~ortab~y. Joe 31-a ~mong them</scene_description> <character>B:SRNIE</character> <parenthetical>(checki:1g position of discs)</parenthetical> <dialogue>You're out of the kitchenl ! Out of the kitchen t ! !</dialogue> <scene_description>As play conti~ues:</scene_description> <character>~ARY</character> <dialogue>(nudging Ben I Look who's left home again. Ben looks, and here comes little DAVI:J, towards the shuffleboard courts. Ben a~d Mary are ~oth happy to see him. David is t~e one we saw in the first SCE~E at the telescope. He's shy, so~t of looking at his feet as he ~opes tJwards</dialogue> <scene_description>them. Everyone at the courts notices Javid. ?hey all know him. Greetings come up all around . • Mary</scene_description> <character>DAVID</character> <dialogue>(hugging Ben and Hi, Grandma, hi Grandpa. ANOT:IER ANGLE - BERNIE AND AL:-IA 31-C</dialogue> <character>BERNIE</character> <dialogue>:-!e's always over here. Does &lt;:his kid have any horne lif~ or what?</dialogue> <scene_description>Al.JMA 3ernie, his parer.ts are a:vorced, his mo~her ~orks .••</scene_description> <character>BERNIE</character> <dialogue>Hey, I'm an orphan. Do I go around asking far breaks?</dialogue> <character>31-C</character> <dialogue>BE:J</dialogue> <scene_description>Y~u came str3ight to tje cour=s? • It I s T:1i.:rsday.</scene_description> <character>BEN</character> <dialogue>3oy knows our schedule.</dialogue> <character>REVISE:) -</character> <dialogue>Jl.-OCont.X</dialogue> <character>"COC00:1" -</character> <dialogue>• MA.:ZY</dialogue> <parenthetical>(!:o David)</parenthetical> <dialogue>Did you happen to en where you'd be?</dialogue> <scene_description>your mocJ-:er in Yeah, I left her~ note this time. She won't be mad.</scene_description> <character>MARY</character> <dialogue>She' 11 be '.!lad.</dialogue> <character>BEN</character> <dialogue>One of us'll call, maybe you .</dialogue> <scene_description>• • 31-W Cont . • ,\R':' (to Javid) We're swimming later and c~ere's room left for one little boy.</scene_description> <character>B:SN</character> <dialogue>I ll see if I can scare you up</dialogue> <scene_description>a bathing suit. David pulls down his Ely for an instant to show he's already wearing a bathing suit.</scene_description> <character>AR'I'</character> <dialogue>The Navy could use men like you.</dialogue> <character>OUT</character> <dialogue>35</dialogue> <character>32-</character> <dialogue>EXT. GA':'E -</dialogue> <character>9:STI REMENT COMMU~TTY -</character> <dialogue>3en, Art, Joe, and David work their way through the ;ate. ~hen they stop, seeing something that displeases them.</dialogue> <dialogue>'I':fBIR P.0.V. 37</dialogue> <scene_description>• T~e four strangers from the boat, now wearing extremely 11 ~at=y 1' golf clothes, are wa!.king out of the pool house with a REAL ESTATE WOMAN who is fashionably gaudy, wears lots of gold jewelry, carries a clipboard.</scene_description> <character>EXT. ESTATE - DAY</character> <dialogue>37-A</dialogue> <character>REAL SSTATE WOMAN</character> <dialogue>The property has been tied up in an estate !or over three years now. And, of course, they real:y want to se~l. They don't want to lease it long-term at all.</dialogue> <character>WALTER</character> <dialogue>We want t:.he place for twenty-seven days. 'As is' would be just fine. We're cousins. We like to vacation together inf=r~a::y. ~s l=~g as t~ere 1 s a pool, ~e•ve got everything we need.</dialogue> <scene_description>Cont . • .\81</scene_description> <character>REVISED -</character> <dialogue>"COCOON"" -</dialogue> <scene_description>• 37-,l. Cont: •</scene_description> <character>REAL</character> <dialogue>Seventy'five hundred for the ~onth</dialogue> <character>EST~TE WOMAN</character> <dialogue>plus the pool man, u=ilities.</dialogue> <character>WALTER:</character> <dialogue>Oh, we won't be needing the f:)OO l man. I do that myse:f. They always throw too much chlorine in. '.'-iy eyes are kind of sensitive.</dialogue> <character>REAL ESTA-TE WO:'IAN</character> <dialogue>But lovely,</dialogue> <character>OU'!'</character> <dialogue>ANOTHER ANGLE</dialogue> <character>37-B</character> <dialogue>37-C</dialogue> <scene_description>In the bushes, Art, Ben, Joe and David have heard it all. As the Rea:'.. Estate Woman and Walter and the others move off.</scene_description> <character>BEN</character> <dialogue>Damn!</dialogue> <character>ART</character> <dialogue>Clubhouse is closed, boys .</dialogue> <scene_description>• JOE ~aybe they'll give us permission to use the pool. We could pay a fee.</scene_description> <character>ART</character> <dialogue>Wouldn't be fun if we had permission.</dialogue> <scene_description>Ben stares at the house, saying "Damn'' again under his brea~h. He kicks a rock.</scene_description> <character>OUT</character> <dialogue>39</dialogue> <character>38-</character> <dialogue>EXT. OPEN SEA -</dialogue> <character>DAY</character> <dialogue>There are still scattered fishing, p:easure vessels in the area as ~he Manta III cuts a quick path across ~he ocean, followed ~y a small herd of dolphins. Jack notices the dolphins and loo~s at Kitty.</dialogue> <dialogue>DJ:'. BRt:JGE - MANTl, III - DAY 41 They are around the ==:efs now, near the 3ahamas. Wa:tec holds a cen-and-ink-drawn ~ap narked wi~h a set of coo~dinates wh:ch Ja~~ ;o:1su:'..':s as he navigates the boat toward a specific spct en ~ha</dialogue> <scene_description>• ocean . The shoreline oE a Bahamian isi3nd is VISIBLE in the ~is~a:1ce, :10 more than fi?e miles away. Jack na~igates cacefu:ly, adjusts their pos:'.tion. A.81 Cont. REVISE:: - "C0CC0~l" - 8/:i..2/84 23 • ':'his is it.</scene_description> <character>JACK</character> <dialogue>~a~ter s~iles but ~he ~ension ir. his face ~ells us he is net light about this.</dialogue> <dialogue>Jack C1TS the ENGINES, coasts to a stop. ~ten he sees sometjing on his instrument panel, stares increduously.</dialogue> <character>JACK'S P.0.V.</character> <dialogue>42</dialogue> <scene_description>as his compass spins faster and faster, WHIRRING LOUDER and LOUDER.</scene_description> <character>BACK TO JACK</character> <dialogue>42-A</dialogue> <scene_description>A metal ball-point pen slips out of Jack's shirt pocket, flies toward the compass, into its glass dome. Now a small transistor radio and a can of WD-40 slides toward the co~pass. Jack leans in and his gold neck chain is drawn toward the com9ass also. Ter=ified, Jack throws the ENGINES ON, moves the boat forward a few yards. • The compass slows down, the &gt;fHIRRING SOO~D SOFTENS • Incredulous, Jack edges his boat back toward its orig:nal spot. Again, the compass starts to. speed up. Jack immediately ;;ioves the boat forward again. The compass stops. The sound dies completely. Walter eyes Jack seeing the equipment. Walter knows he has to do something.</scene_description> <character>WALTER</character> <parenthetical>(angry)</parenthetical> <dialogue>What the ~ell's goi~g on here? X You got a problem with your boat? Stuff's spinning around here!</dialogue> <character>JACK</character> <parenthetical>(nervous)</parenthetical> <dialogue>No problem. Everything's terrific. Must be magnetic fields or something.</dialogue> <scene_description>Walter grabs Jack in a bear hug. Con!: • • • Co:-it.X</scene_description> <character>WALTER</character> <dialogue>Sure it is. Just kidding, had you scared there.</dialogue> <parenthetical>(hugs hiD tighter, friend:y)</parenthetical> <dialogue>We're i~ the Devil's ~riangle!</dialogue> <scene_description>Walter pats Jack on the back new, smiles charmingly at him. Walter climbs down to the lower deck, joins the others as they prepare to dive. Fearing for his safety, sanity, Jack watches his "guests" extremely i:itently. He looks overboard.</scene_description> <character>JACK'S ?.O.V.</character> <dialogue>43</dialogue> <scene_description>as six dolphins wait patiently by the side of the boat, as though a prearranged rendezvous were about to take place. Disconcerted, Jack looks up at the sky, then toward his compass. He is feeling extremely disoriented now.</scene_description> <character>EX~. DECK - MANTA III</character> <dialogue>DAY</dialogue> <scene_description>Gulping from a bottle of beer, Jack paces nervously as Doc, wa:.ter, Pillsbury, Kitty prepare to dive. • Pillsbury and Doc work meticulously, setting up an eerie looking back box which EXITS EC!iOING BEEPS a:.ong with flashes of BRIGH? RED LIGHT. The SOUND and LIGHT are unique, create GEN~LE REVERBERATIONS. Jack watches curiously. Something seems off about a:'..l this, but not see~ing suspicious at all. he puts on a good show,</scene_description> <character>JACK'S P.O.\/.</character> <dialogue>45</dialogue> <scene_description>as Doc struggles to adjust the equipment, using vac:ious unusual space age looking tools. There are neit~er words nor eye cont3ct passed bet;.;een Joe and E-illsbury, but still ?illsbury continuously places the coc:rect tool into Doc's ha~d at the c:igh~ moment, even though Pillsbury can't possibly see what Doc is doing. It i.s uncanny. Jack tur~s toard Kitty, who is watching him carefully. Feeling awkward, :"le smiles at her. She smiles back at him. Joe, Pi:lsbury, Kitty and Walter dive into :he ocean. Jack watches them from the deck. There are s:ill a number of do:chins acound the boat. ~s Joe and Pillsbury hi~ the wate~, two of the dolphins dive below, disappear ~~aerwater. As :he other divers now swi~ beneath the surface, the cest of the dolphins follow atter them . • A81 Jack !s trans!ixed and sur9rised by dolphins so c:ose to ~oa:. Cont. REVISED - "COCOON" - 8/12/84 45 Cor.t. • The surface of the water goes f:at i:nmediately. rising irom Oelow. at all. Jisturbed, Jack drains his beer. No OubOles are It is as though his ''guests'' Co not need air He casts his fishinc line out, strains to re:ax, take some sun, enjoy ~is free after;oon on the ocean. OOT 45-A:</scene_description> <character>INT. OMV</character> <dialogue>-</dialogue> <scene_description>Ben, Mary, and David are here. Ben is taking his eye test.</scene_description> <character>BEN</character> <dialogue>That's an ~ EI •</dialogue> <character>CLERK</character> <dialogue>Next line.</dialogue> <scene_description>The next line is II p II and nQ!l •</scene_description> <character>BEN</character> <dialogue>Looks like an ' F • •</dialogue> <scene_description>Mary and David suffer for Ben. • Nope. Ci:.ERK Do you have another f?a i r of glasses?</scene_description> <character>BEN</character> <dialogue>These are ~y glasses.</dialogue> <parenthetical>(defensive)</parenthetical> <dialogue>.11,.nd that's an 'o•. An 'F 1 and an O'. X</dialogue> <character>CLERK</character> <dialogue>What about the next line? Can you read any of those letters?</dialogue> <character>BEN</character> <parenthetical>(squints)</parenthetical> <dialogue>Hell, that's too small for anybody to read. Listen, let's not forget how big highway signs are!</dialogue> <character>INT.</character> <dialogue>OMV -</dialogue> <scene_description>Ben, Mary, and David are just finishing up at 3. cocnter, 7'r:is is the end of Ben as a driver. They've just taken his license away.</scene_description> <character>BEN</character> <dialogue>(to Clerk, reading •</dialogue> <scene_description>nametag) John Mac.hews! I can see we ... i.. enough to read yot.:r na:ne. And it's going on a letter oe complai~t! A81 Cont. • 45-C C~nt . CLER'i.&lt; Tom Wallace. nrite your letter. As they walk away, Mary srnts her arm around 3en's waist.</scene_description> <character>MARY</character> <dialogue>We never drove all t.hat :nuch anyway, Ben.</dialogue> <character>DAVID</character> <parenthetical>(excited)</parenthetical> <dialogue>Are you really going to talk to your Congressman, Grandpa?</dialogue> <character>BEN</character> <dialogue>No, David. I'm way out beyond the reach of democracy. Just 1 ike you.</dialogue> <character>MARY</character> <dialogue>Ben, don't start in.</dialogue> <character>:~T. BEN 1 S GARAGE - DAY 45-0</character> <dialogue>Ben is covering his beloved Packard with a tarpaulin. David is</dialogue> <scene_description>• hell.Jing him •</scene_description> <character>BEN</character> <dialogue>r•ve driven everything on whee:..s. I made my living around heavy equipment. Oil trucks, steamrol~ers, you name it, I've driven it. :-lever a mishap.</dialogue> <character>DAVID</character> <dialogue>~aybe you could write a letter to somebody in government. Tell them that.</dialogue> <scene_description>Ben smiles~ His rage softens. He looks at ~avid.</scene_description> <character>BEN</character> <dialogue>Dav id 1 I just cun't see well enough to drive.</dialogue> <scene_description>Ben pulls the cover over the hood of his cac. David feels a lot of sadness for 3en, which Ben senses. He changes the subjec".:.</scene_description> <character>3E~</character> <dialogue>So, how 1 s that gir:fciend of yours?</dialogue> <scene_description>• A81 Cont.</scene_description> <character>REVISED - "COCOON 11 -8/15/84</character> <dialogue>27</dialogue> <scene_description>• DAVID She's not my girlfriend. She just followed me that day. I don't like 45-DCont.X her at all. Ben grunts. Susan drives up to the house·. She's a ways from Ben and David.</scene_description> <character>SUSAN</character> <dialogue>Hi Dad. Hi David.</dialogue> <scene_description>Ben and David ad lib shouted hellos.</scene_description> <character>SUSAN</character> <dialogue>Want to go out for dinner?</dialogue> <character>DAVID</character> <dialogue>Sure!</dialogue> <character>BEN</character> <dialogue>Long as it isn't Italian food.</dialogue> <character>SUSAN</character> <dialogue>Chinese •</dialogue> <scene_description>• I'll get Mom.</scene_description> <character>BEN</character> <dialogue>Ben and David finish with their tarp, as:</dialogue> <scene_description>C'mon.</scene_description> <character>BEN</character> <dialogue>Y'know, one of these days you're going to have to make a friend your age, David.</dialogue> <character>DAVID</character> <dialogue>I don't like the kids my age. I like it here. I screw up a lot less when I'm around you guys.</dialogue> <character>BEN</character> <dialogue>Sure, you like it here because we</dialogue> <scene_description>baby you.</scene_description> <character>DAVID</character> <dialogue>I don't wanna be babied, it's just that a lot more things bother me than the other guys.</dialogue> <scene_description>•</scene_description> <character>BEN</character> <dialogue>David, your trouble is you think too much. And that's when a guy gets scared.</dialogue> <scene_description>A81 Cont.</scene_description> <character>REVISED - "COCOON" - 8/15/84</character> <dialogue>28</dialogue> <scene_description>• DAVID Y'know, when I look back on my life and think of all the thLngs I didn't 45-D Cont.lX do because I was scared to do them •••</scene_description> <character>BEN</character> <dialogue>Adds up.</dialogue> <character>DAVID</character> <dialogue>Nobody likes being scared.</dialogue> <scene_description>During the above, Ben and David have finished with their tarp and walk to Susan's car, with Mary and Susan coming out of the house.</scene_description> <character>MARY</character> <parenthetical>(shouting to Ben)</parenthetical> <dialogue>We're going to try the new Italian restaurant and that's that!</dialogue> <scene_description>Ben mutters as he approaches Susan's car, with Mary and Susan coming out of the house • • BEN (to Susan) Hey, Suze, did Mary tell you the government is forcing her to drive instead of me? With her arthritis?!</scene_description> <character>MARY</character> <dialogue>I think I'll survive.</dialogue> <character>OUT</character> <dialogue>49</dialogue> <character>46-</character> <dialogue>EXT. DECK CABIN CRUISER - DAY</dialogue> <character>50</character> <dialogue>They are still anchored at the same spot. Jack is standing, X leaning over the rail, looks down at the water. He is nervous. He checks his watch.</dialogue> <character>JACK</character> <parenthetical>(into water, imaginary conversation)</parenthetical> <dialogue>What are you guys doing down there so long! You've drowned. I know you've drowned. Shit! X</dialogue> <character>EXT. UNDERWATER - DAY</character> <dialogue>51</dialogue> <scene_description>• Doc and Pillsbury ride on the backs of a pair of dolphins. Between them, they carry a large object. It looks like a huge cannister-shaped stone, covered with a heavy crust of barnacles, seaweed and sediment. They have a thick bag-like pouch with clasps that they slip the stone into and close. Walter and Kitty swim by A81 with another stone, already pouched. REVISEi:; - "C0C00:'!" - 8/12/34 29 • 32 Cont . ~hen Walter and Kitty surface, too. Jack paces, appears upset, :elieved as he now prepares to ~ower a :adder to help them aboard.</scene_description> <character>JACK</character> <parenthetical>(calling out ::o Kitty and Walter)</parenthetical> <dialogue>I was getting worried. Aren't those half-hour tanks you have on?</dialogue> <character>WALTER</character> <parenthetical>(climbing aboard)</parenthetical> <dialogue>How long were we down anyway?</dialogue> <character>J·ACK</character> <dialogue>Over forty-five minutes!!!</dialogue> <character>WALTER</character> <dialogue>These tanks are made of gra9hite. We overfilled them a little.</dialogue> <parenthetical>(shrugs)</parenthetical> <dialogue>Maybe I trust them too muc'.l. I 1m kind of a sucker for ~igh technology.</dialogue> <scene_description>• JACK (still alarmed) Do me a favor. Keep an eye on your wristwatch next time! Jon't push your luck down there. Don't push my luck.</scene_description> <character>X</character> <dialogue>Jack is shook, tries to make it ~ake sense. ~ow Dec and Pillsbury break the surface. They are no longer on Dolphins. 9oc and Pillsbury are carrying a stone-fi:led pouch. T~e ~o!phins now watch them actentive!y, almost like a military escort. ~itty helps Doc and Pillsbury hoist the heavy object onto the deck.</dialogue> <character>JACK</character> <parenthetical>(under~laying it)</parenthetical> <dialogue>They look pr~tty big.</dialogue> <character>WALTER</character> <dialogue>Pretty big.</dialogue> <character>JACK</character> <dialogue>Guess you don't ~eed a hand.</dialogue> <scene_description>• No, we're doing okay . Then Jack eyes :he Dolphins. The Dolphins splash Jack.</scene_description> <character>OCT</character> <dialogue>A8 l</dialogue> <character>53-</character> <dialogue>57</dialogue> <character>REVISED - ''COCOON'' - 8/12/34</character> <dialogue>30</dialogue> <scene_description>•</scene_description> <character>EXT. WATERS NEAR</character> <dialogue>S □ NSET</dialogue> <scene_description>The ~ant3 III is heading back to shore, The coast water is dotted with p:easure vessels ••. sailboats, yachts, cabin cruisers, rowboacs, water-skiers.</scene_description> <character>OOT</character> <dialogue>39</dialogue> <character>EX~. GROUNDS - RETIREMENT CCMPLEX - DAY</character> <dialogue>Art, Ben and Joe walk by the ocean.</dialogue> <character>60</character> <dialogue>Through binoculars, they</dialogue> <scene_description>watch the Manta III as it docks.</scene_description> <character>THEIR P.O.V. - THROUGH BINOCULARS</character> <dialogue>as Doc and Pillsbury carefully carry their heavily wrapped</dialogue> <character>61</character> <dialogue>treasure off the boat, down the dock and into the pool house. Doc and Pillsbury are, as usual, being playful with each other. Walter, as usual, reprimands them as:</dialogue> <character>BEN</character> <dialogue>What the hell is that?</dialogue> <character>JOE</character> <dialogue>What do we care?</dialogue> <scene_description>•</scene_description> <character>BEN</character> <parenthetical>(shaking head, sure of himself)</parenthetical> <dialogue>They must be drug smugglers. They made a pickup at sea.</dialogue> <character>ART</character> <dialogue>It's possible.</dialogue> <character>JOE</character> <dialogue>Should we tell somebody?</dialogue> <scene_description>Art LAUGHS.</scene_description> <character>BEN</character> <parenthetical>(resolute)</parenthetical> <dialogue>If that's the kind of thing our new neighbors are doing, the I don't t'."link we're in t:le wrong using t:'l.e pool house while they 1 re gone.</dialogue> <character>ART</character> <dialogue>You think it's safe?</dialogue> <scene_description>fl Cone. A 8 l. 61 Cont. •</scene_description> <character>BEN</character> <dialogue>What are they going to do? Arrest us for trespassing?</dialogue> <parenthetical>(sarcastic)</parenthetical> <dialogue>We're harmless old men. We couldn't hurt a fly. Right?</dialogue> <character>JOE</character> <dialogue>Who knows what kind of people they are.</dialogue> <character>BEN</character> <dialogue>When was the last time any of us risked anything?</dialogue> <character>ART</character> <dialogue>Ben's right. I'm in.</dialogue> <scene_description>Joe studies his two friends, sees their resolve.</scene_description> <character>,10E</character> <dialogue>What the hell.</dialogue> <scene_description>•</scene_description> <character>EXT. DOCK - ESTATE - DAWN</character> <dialogue>62</dialogue> <scene_description>Jack, Doc, Pillsbury load tanks, provisions onto the Manta III.</scene_description> <character>EXT. GROUNDS - REST HOME - DAWN</character> <dialogue>63</dialogue> <scene_description>Out for an early morning constitutional, Ben Luckett walks casually along the waterfront.</scene_description> <character>BEN'S P.O.V.</character> <dialogue>64</dialogue> <scene_description>as Kitty and Walter board ship; the Manta III sets off. Ben smiles to himself. His step lightens visibly as he strolls along the shore, watches the first glint of sun pierce the horizon.</scene_description> <character>EXT. EDGE OF GROUNDS - ESTATE - DAY</character> <dialogue>65</dialogue> <scene_description>Ben, ,Joe and Art struggle through the locked gate once again.</scene_description> <character>OUT</character> <dialogue>66</dialogue> <character>INT. POOL HOUSE - DAY</character> <dialogue>67</dialogue> <scene_description>• The three men are staring into the bottom of the deep end of the pool where the stone containers from the ocean floor now sit. Ben puts his toe in the water. A Bl Cont. 67 Cont. • BEN Boy, that's warm.</scene_description> <character>JOE</character> <parenthetical>(pointing to stones)</parenthetical> <dialogue>What the hell are those?</dialogue> <scene_description>Art picks up a long pool brush, drops i t in the water, touches it to a stone, which ECHOES RESONAN'rLY as he taps it. Ben strips off his shirt, goes into the pool. Art and Joe both look reluctant.</scene_description> <character>JOE</character> <parenthetical>(grins)</parenthetical> <dialogue>If your friend Ben Luckett decides to jump off the top of the Empire State Building, are you going to go and jump off, too?</dialogue> <scene_description>Art unbottons his shirt, kicks off his sandals.</scene_description> <character>ART</character> <dialogue>I have my pride •</dialogue> <scene_description>• Art goes in, then Joe gets in too.</scene_description> <character>THE THREE MEN</character> <dialogue>DISSOLVE TO:</dialogue> <scene_description>are taking a break from swimming. They swim over to the side of the pool. Ben is passing out cigars, lighting everybody up. It's odd to see them all in the deeper water rather than their usual perch down at the shallow end.</scene_description> <character>BEN</character> <dialogue>I feel great!</dialogue> <character>JOE</character> <dialogue>Me too.</dialogue> <character>BEN</character> <dialogue>You wouldn't be bullshitting</dialogue> <scene_description>me?</scene_description> <character>JOE</character> <parenthetical>(amazing himself)</parenthetical> <dialogue>I'm telling the truth.</dialogue> <scene_description>• ABl Cont •</scene_description> <character>REVISED -</character> <dialogue>"COCOON" - 8/12/84</dialogue> <scene_description>• 68 Cont • ArtT (to 3en) Why shoc:ld:1 1 :. he feel good? This is wonderful. I 1 m ready to take on the world. He shouts for joy.</scene_description> <character>THE THREE MEN</character> <dialogue>68-A</dialogue> <scene_description>are just finishing swimming. Joe and Art climb out of the pool. Ben is still swimming laps.</scene_description> <character>ART</character> <dialogue>Come on, Ben.</dialogue> <character>JOE</character> <dialogue>How many of those have you done?</dialogue> <character>BEN</character> <parenthetical>(swimming)</parenthetical> <dialogue>Thirty or fo1:ty. I've lost count •</dialogue> </scene> <scene> <stage_direction>€� EXT. EDGE OF GROUNDS - ESTATE - DAY</stage_direction> <scene_description>Ben pushes the gate open by himself without the usual struggle. He holds it so that Joe and Art can slip through.</scene_description> <character>OUT</character> <dialogue>Something has</dialogue> <scene_description>happened to the three men.</scene_description> <character>ART</character> <dialogue>Godda~n, do you feel good?!</dialogue> <scene_description>Cont • • 70 Cont. •</scene_description> <character>BEN</character> <dialogue>Great!</dialogue> <character>ART</character> <dialogue>Goddamn!</dialogue> <character>JOE</character> <dialogue>I haven't felt this good in X years.</dialogue> <character>EXT, GROUNDS - RETIREMENT COMMUNITY - DAY</character> <dialogue>70-A</dialogue> <scene_description>They walk sharply, fast now. Joe goes out of his way to leap over a two-foot-high wall. Joe is amazed at himself.</scene_description> <character>ART</character> <parenthetical>(sings)</parenthetical> <dialogue>I I m in the mood for love da-da-dum-da-da-da •••</dialogue> <character>BEN</character> <parenthetical>(to Joe, about Art)</parenthetical> <dialogue>This guy is going to be playing the field until the day he drops.</dialogue> <scene_description>• Art's eyes gleam but he maintains a poker face • (winks)</scene_description> <character>ART</character> <dialogue>I'm kind of old for that kind of thing.</dialogue> <character>JOE</character> <parenthetical>(waving hand)</parenthetical> <dialogue>Age isn't everything.</dialogue> <parenthetical>(pointing to skull)</parenthetical> <dialogue>Anyway, it' s a 11 up here.</dialogue> <character>BEN</character> <parenthetical>(pointing to his head)</parenthetical> <dialogue>Some of it's here.</dialogue> <parenthetical>(pointing to his crotch)</parenthetical> <dialogue>And some of it's down there.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Which, confidentially •••</dialogue> <parenthetical>(amazed himself)</parenthetical> <dialogue>••• is like a rock.</dialogue> <scene_description>• AR'l' You too? Cont.</scene_description> <character>A81</character> <dialogue>• Gee. I t~ough: I was the ocly ~ne.</dialogue> <scene_description>All three Dec are at a lass, bJt don't bother to think about it, ~hey jus~ scamper off. INT. BEDROOM - JOE AND AL:'!A t:NLSY' S A!?AR'I'MENT - 70-B X NIGHT The furniture, wall hangings are all "f:fties 11 modern. Joe Finley is alone in bed, wearing stri9ed pajamas. As he watches Alma button up her nightgown and get into bed, Joe appears vital. His eyes gleam.</scene_description> <character>ALXA</character> <dialogue>Good night, dear.</dialogue> <character>JOE</character> <dialogue>Are you tired?</dialogue> <scene_description>Alma, SIGHS, flips back the bed.</scene_description> <character>ALMA</character> <dialogue>.a.ren' t you?</dialogue> <character>JOE</character> <dialogue>• I 1 m wide awake •</dialogue> <scene_description>What's wrong? Nothing.</scene_description> <character>AU1A</character> <dialogue>JOE</dialogue> <scene_description>Joe edges over to one s::.de, pulls back the covers fo.r Alma. ·':</scene_description> <character>A.LMA</character> <dialogue>Oh •••</dialogue> <scene_description>Alma gets into bed wi:h Joe. ex~. FRON~ DOOR - SFFIC!E~CY A?A~~~SNT - ~IGHT Dressed in a white suit, a pale blue shirt with a whi~e collar, a bow tie, boutonniere in his lapel, bouquet of :lowers in his hand, Art SBlwyn hesitates as he is a.bo1;t '.:o push the doo:::bell. Finally, he ~INGS. In her nightgown, Bess McCacchy throws on lights, goes to the door. H~r ?:ace is done in pinks and deep ceds ~i'.:h Oriental • accessories, old ~hea~ci=3: ;os:ecs c~ tje ~alls . 72 Cont • • ART (singing) 'Some enchanted evening •.. You will meet a stranger ••• 1</scene_description> <character>OUT</character> <dialogue>73</dialogue> <character>INT. BEDROOM - BEN AND MARY LUCKETT 1 S APARTMENT -</character> <dialogue>NIGHT</dialogue> <character>74</character> <dialogue>Ben awakens, reaches out for Mary. All he can take hold of is a pillow. Mary is not there. Sitting up in bed, he HEARS the SHOWER.</dialogue> <character>INT. BATHROOM -</character> <dialogue>NIGHT</dialogue> <scene_description>Ben enters, opens the shower stall door, steps in with his wife. We SEE their silhouettes through glass.</scene_description> <character>MARY</character> <parenthetical>(o.s., shocked)</parenthetical> <dialogue>Ben!</dialogue> <parenthetical>(protesting)</parenthetical> <dialogue>Ben!</dialogue> <parenthetical>(passionately now)</parenthetical> <scene_description>• Ben! We can SEE that they are kissing, hugging as the water sprays against their silhouettes. INT. JACK'S CABIN - MANTA III - NIGHT 76 Fast asleep, Jack slowly awakens. There is an intense, high-pitched WHIRRING SOUND in the air. It is somehow PLEASANT and SEDUCTIVE, not a hard, mechanical sound, but it is still LOUD, very disconcerting. Concerned, Jack rises, pulls on a pair of jeans, grabs a flashlight and moves out his door in the darkness to investigate. EXT. DECK - NIGHT 77 Jack moves cautiously. The darkness has a unique texture. Something very bizarre, something tangible is in the air. Jack senses it, stops, listens. The SOUND GROWS LOUDER now as Jack slowly crosses the side of the deck, goes around the bridge. Now, the glowing light becomes ever brighter as he moves forward. • A81 Jack stops suddenly. Ile is shocked, terrified • JACK'S P.o.v. 78 •</scene_description> <character>/</character> <dialogue>as three brightly glowing, hairless, smooth-skinned "humanoid" creatures, with heads and faces shaped like those of a human infant, APPEAR in the distance. They levitate a few feet off the deck as they emanate this WHIRRING SOUND in unison. Most incredibly, the three creatures bear a great resemblance to Kitty, Pillsbury and Walter. It is as though they are doing an extra-terrestrial levitation ballet, making COSMIC MUSIC, like a celestial chorus under the stars on the open sea in the moonlight, dancing on thin air above the surface of the water.</dialogue> <dialogue>Terrified, Jack backs away. The beauty of this scene, the DAZZLING GLOW overwhelms him but he is terrified. Jack thinks he's going insane.</dialogue> <dialogue>Though fearful, Jack is drawn to it now. He starts walking closer to the light, to the dancing glow of these Beings.</dialogue> <dialogue>Suddenly, from behind him, a glowing "hand" touches Jack on the side of his neck and Jack passes out immediately.</dialogue> <dialogue>A glowing humanoid lifts Jack in his arms, carries him back down below deck.</dialogue> <dialogue>INT. JACK'S CABIN - MAN'rA III - DAY 79</dialogue> <scene_description>• Morning sun shines on Jack's face as he awakens. Jack groans as he groggily recalls his sleep's interruption and shakes his head incredulously.</scene_description> <character>INT. GALLEY - DAY</character> <dialogue>Kitty, then Walter, pass by Jack as he makes himself instant</dialogue> <character>80</character> <dialogue>coffee, using several teaspoons of coffee granules for an extra-strong cup of morning coffee.</dialogue> <character>JACK</character> <parenthetical>(still sleepy)</parenthetical> <dialogue>Boy, I had the strangest dream last night.</dialogue> <scene_description>Kitty and Walter come back to the door to the galley. They watch Jack carefully.</scene_description> <character>WALTER</character> <dialogue>So did I. Want to describe yours?</dialogue> <character>JACK</character> <dialogue>Well, it was •••</dialogue> <parenthetical>(thinks better of • it)</parenthetical> <dialogue>Nah, it's too silly. What was</dialogue> <scene_description>yours like? Cont.</scene_description> <character>A81</character> <dialogue>80 Cont.</dialogue> <scene_description>• WALTER Mine was silly too. KI'l'TY Astrologically speaking, last night was a weird night.</scene_description> <character>JACK</character> <dialogue>Boy, I could believe it.</dialogue> <scene_description>Gripping his extra-strong coffee, Jack walks off. Walter and Kitty glance at each other. Their minds appear to be in total sync.</scene_description> <character>EXT. PATIO AREA - RETIREMENT COMPLEX - DAY</character> <dialogue>81</dialogue> <scene_description>Mary, Bess, Alma, Rose are at their usual mah-jong table. Rose is trying to set up. Alma helps, making sure misplaced tiles go where they are supposed to. Mary, Bess and Alma all look radiant. ROM.ANTIC EASY-LISTENING MUSIC BLASTS from their RADIO.</scene_description> <character>ROSE</character> <dialogue>Why is everybody so quiet today? You're all off in another world or</dialogue> <scene_description>• something •</scene_description> <character>MARY</character> <parenthetical>(shrugs carelessly)</parenthetical> <dialogue>I was just thinking to myself.</dialogue> <scene_description>Mary, Bess and Alma now glance at each other. Something unspoken passes between them. They don't even know what i t is yet.</scene_description> <character>ALMA</character> <parenthetical>(humming softly)</parenthetical> <dialogue>Me, too. I'm just thinking.</dialogue> <scene_description>Bess grins openly, watches the other ladies as they pick up their cards, start to get into the game.</scene_description> <character>BESS</character> <dialogue>I'm feeling so nice today. I can't even tell you.</dialogue> <scene_description>Slightly surprised, Alma and Mary glance up at Bess as she winks at them.</scene_description> <character>EXT. APARTMENT - DAY</character> <dialogue>81-A</dialogue> <scene_description>• ABl Ben is fast-walking out of his apartment, ready for the pool • He heads swiftly for Joe's apartment, knocks on the door, pokes his head in. Joe.</scene_description> <character>INT. JOE'S APARTMENT - DAY</character> <dialogue>81-B</dialogue> <scene_description>• Joe is sitting in a chair, wearing his bathing suit, all ready to go, like a track star on the starting blocks. As soon as Ben pokes his head in, Joe bounds out of his chair and runs to the door. EXT. GROUNDS - DAY 82 Now Ben and Joe are walking briskly across the lawn. Art falls into step with them and they move faster and faster, gain momentum. THEY ARE ALMOST RUNNING BY NOW.</scene_description> <character>JOE</character> <dialogue>Thinks it's cocaine in the pool?</dialogue> <character>BEN</character> <dialogue>Might be.</dialogue> <scene_description>But it doesn't slow them at all.</scene_description> <character>INT. POOL HOUSE - DAY</character> <dialogue>Ben, Joe and Art stare into the pool.</dialogue> <character>83</character> <dialogue>They have some</dialogue> <scene_description>trepidations before going in. • What if we O.D.?</scene_description> <character>BEN</character> <dialogue>I'll watch you, you watch Joe, Joe watches me.</dialogue> <character>ART</character> <dialogue>Perfect.</dialogue> <scene_description>The three men dive in. MONTAGE SEQUENCE 83-A Ben, Joe and Art are going nuts with delight in the pool. This MONTAGE SEQUENCE finds them splashing around in a carefree childlike way. They: splash each other; throw one another in the pool; do circles of diving off the diving board; dive into the pool while trying to catch a basketball thrown by one of the others; do flips off the diving board. Giggling and laughing and shouting. These three are having the time of their lives.</scene_description> <character>OUT</character> <dialogue>87</dialogue> <character>84-</character> <dialogue>•</dialogue> <scene_description>88-D:</scene_description> <character>OUT</character> <dialogue>A81</dialogue> <character>89</character> <dialogue>R::::VI.SED - "COCOON</dialogue> <dialogue>EXT. ~ANTA III -</dialogue> <character>-</character> <dialogue>DECK -</dialogue> <scene_description>• paces the dee:(. ';)olr:ihins pop out of the water, as Doc, ,Jae'.-&lt; Pillsbury, Walter and Kitty start to dive. T~e six dolphins wait, 9oised in a circle by the side of the boat as Doc, Pillsbury, Kitty, and Walter dive, disappearing underwater. Jack watches them fixedly from the edge of the deck, then turns his att.ention to the strange black box we have seen in earlier scenes on the boat. Jack goes near the black Oox to investigate and a piercing alarm goes off. :ack jumps back. The piercing sound stops ..</scene_description> <character>OUT 91-</character> <dialogue>as the same dolphin who splashed Jack lingers again, watches Jack.</dialogue> <dialogue>Annoyed, Jack thrusts his middle finger at the dolphin. The dolphin raises its head haughtily before disappearing into the deep. Picking up his toolbox, Jack moves to the engine room, enters,</dialogue> <scene_description>• SLAMS the DOOR angrily behind him • himself) {to I'm crazy. Right?</scene_description> <character>JACK</character> <dialogue>I'm totally insane!</dialogue> <scene_description>Further from the boat, we SEE the same dolphin, still apparently ,,.,atching Jack very caref'-llly.</scene_description> <character>INT. MANTA I:I - NIGHT</character> <dialogue>93-A</dialogue> <scene_description>Jack is snooping around where the cocoons are being stored. He tries, fails to get their covers off them. He hears footsteps, tries ta look busy repairing an oxygen tank. Kitty approaches. It's obvious to Jack that ~e•s sort of caught,</scene_description> <character>JACK</character> <parenthetical>(to Kite::{, indicating stone cocoons)</parenthetical> <dialogue>You've got those ~hi~gs pretty well covered, don't you? Looks ai: tight.</dialogue> <character>:\ITTY</character> <dialogue>Can't tell you what's inside. Sorry.</dialogue> <scene_description>• A81 Hey, liste:1, ~•:n the capta:n . Technically spe~king,I have to know what's in there. cont. 93-A Cont. •</scene_description> <character>KITTY</character> <dialogue>What we're doing is supposed to be secret.</dialogue> <character>JACK</character> <dialogue>Hey, listen, the maritime oath I took forbids me to even reveal your names to anybody. So why don't you just tell me.</dialogue> <character>KITTY</character> <parenthetical>(sighs)</parenthetical> <dialogue>All right, but you can't let the others know I told you.</dialogue> <character>JACK</character> <dialogue>They'd have to torture me. Not a lot, but they would have to use some torture.</dialogue> <character>KITTY</character> <dialogue>Nerita peleronta. X</dialogue> <character>JACK</character> <dialogue>Ner ••• X</dialogue> <scene_description>• Nerita peleronta~ What's that'.?</scene_description> <character>KITTY</character> <dialogue>JACK</dialogue> <character>X</character> <dialogue>KITTY</dialogue> <scene_description>Giant snail shells.</scene_description> <character>JACK</character> <dialogue>Giant snail shells?</dialogue> <character>KITTY</character> <dialogue>They're very rare. It I s for the museum in Orlando. The Museum of Ichthyology.</dialogue> <character>JACK</character> <dialogue>Oh, yeah. I've been planning to go.</dialogue> <scene_description>Jack is disappointed. He accidentally drops the oxygen tank on his foot. Swearing to himself, he hops around, trying to keep his injured toe off the ground. • Let me help you •</scene_description> <character>OUT</character> <dialogue>95</dialogue> <character>94-</character> <character>R:SVISED -</character> <dialogue>EXT.</dialogue> <character>"COCOON" -</character> <dialogue>11ANT.!\ !II -</dialogue> <scene_description>• ~he night sky is clear, full ~f st,3..rs. brightly. toward 3 pair of deck chairs. She sits down across from hi~, la9, skillfully massages it. T!le moon shines ~ack leans on Kitty, hops on one foot as they move takes his injured foot onto her Jack leans his head back, closes :lis eyes.</scene_description> <character>JACK</character> <dialogue>That feels nice.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>You're not married, are you?</dialogue> <character>KITTY</character> <dialogue>No.</dialogue> <character>JACK</character> <dialogue>Involved?</dialogue> <character>KITTY</character> <dialogue>No.</dialogue> <character>JACK</character> <dialogue>Come on, those guys are good-looking. Not Walter, :naybe, but you mt..:st have</dialogue> <scene_description>• something going with one of those young guys.</scene_description> <character>KITTY</character> <dialogue>I'm not involved with anyone.</dialogue> <character>JACK</character> <dialogue>Let :ne ask you somet:'ling ••• Would you do my other foot?</dialogue> <scene_description>Kitty begins to ~assage his other foot.</scene_description> <character>JACK</character> <dialogue>We ought to go out and do something sometime.</dialogue> <character>~:TTY</character> <dialogue>r don't know if that's such a good idea. I'm not like other women you've known .</dialogue> <character>..;ACK</character> <dialogue>That's good news. You'r-: making :ne very curious about you.</dialogue> <character>K: ~'!'Y</character> <dialogue>I don't know, ,Tack. What if ! trusted</dialogue> <scene_description>• A81 you with somath!ng very ~rivate? Cont. 95-A Cont • • JACK I can keep a s@cret. ~ell anybody. T wo~ldn't Not even our ~ids. Cont . • • &gt;Bl</scene_description> <character>95-A</character> <dialogue>• Look,</dialogue> <character>JACK</character> <dialogue>You probably think r•~ just</dialogue> <scene_description>trying to nail ycu. I'm interested i~ you as a human beir.g. Really. Cont.x Kitty carefully rep:aces Jack's leg on the ground now. Jack leans forward to try to kiss her.</scene_description> <character>KITTY</character> <dialogue>I think I'd better go.</dialogue> <character>JACK</character> <parenthetical>(to himself)</parenthetical> <dialogue>Yeah, I've got things to de too.</dialogue> <scene_description>Jack watches Kitty wal~ down the deck, disappear into the engine room.</scene_description> <character>IN~. DOCTOR'S OFFICE - DAY</character> <dialogue>96</dialogue> <scene_description>The same youngish 0octor is behind his cluttered desk, staring awkwardly at a fi~e full of test results. But Joe Finley is grinning this time, and his wife, Alma, is smiling through her tea~s • • DOCTOR And they didn't give you any ocher medication over at the home?</scene_description> <character>JOE</character> <parenthetical>(proudly)</parenthetical> <dialogue>Not a thing.</dialogue> <character>DOCTOR</character> <dialogue>Well, I 1 ve never seen anything like this, Joe. This is a miracle. A complete remission.</dialogue> <character>JOE</character> <dialogue>I love :.o see you eat your words, Doc. Nanna arm wrestle:!?</dialogue> <character>INT. MEDICAL BUILDING - CORRIDOR - 8AY</character> <dialogue>Joe and Alma leave the Doctor's office. Joe lifts Alma up off</dialogue> <character>96-A</character> <dialogue>the ground, wh~rls her around in his ar~s.</dialogue> <character>OUT</character> <dialogue>97</dialogue> <scene_description>• A31 •</scene_description> <character>SERIES OF SHOTS</character> <dialogue>97-H</dialogue> <character>97-A-</character> <dialogue>A.</dialogue> <dialogue>flushes an ornate, old-fashioned urinal.</dialogue> <character>A HAND</character> <dialogue>B. ':'BS HA~OS</dialogue> <scene_description>wash in an old-fashioned basin, dry off with a terrycloth hand towel.</scene_description> <character>C.</character> <dialogue>pick a cologne bottle off a tiled shelf lined with hair</dialogue> <character>THE HANDS</character> <dialogue>products. We SEE now that these are Art's hands, that he is in a big old-fashioned men's room complete with attendant and shoeshine man.</dialogue> <character>D,</character> <dialogue>slaps the cologne on his neck, slicks his hair back, admires</dialogue> <character>ART</character> <dialogue>himself in the mirror, preens.</dialogue> <dialogue>Around him, other elderly gentlemen are doing the same. !~eluding Joe and Bernie. Ben comes into the men's room with four boxes that contain corsages. Each man takes a box and the four of them leave the men's room. Bernie is reluctantly going along with this corsage business.</dialogue> <scene_description>•</scene_description> <character>E.</character> <dialogue>~s the men leave the men's room. Mary, Alma, Rose and Bess</dialogue> <character>INT. COLISEUM BALLROOM - NIGHT</character> <dialogue>are standing together. The men give the corsages to the ladies, and help pin them on. It's a beautiful evening, everyone in their finery. The ladies are full of question marks about what has been going on. They talk over the men's heads. The men are too busy admiring each other and getting with the music to overhear the ladies.</dialogue> <character>ALMA</character> <parenthetical>(examining her corsage)</parenthetical> <dialogue>I'm going to go ahead and assume good wi 11 here.</dialogue> <character>:'\ARY</character> <dialogue>I'm going to assume ~ental illness.</dialogue> <scene_description>All kinds of older people sit at long tables between the dance floor and the bar. They drink and socialize. The dance floor is crowded with couple doing excellent forties dance steps to the ELEGANT BIG BA~D SOUNDS.</scene_description> <character>F.</character> <dialogue>Art takes 3ess' hand and leads her out ~o the dance !loor, making their way throug~ the maze of crowded tables,</dialogue> <character>ANGLE - BEN, MARY, JOE, ~~MA, ART ANO BESS</character> <dialogue>Joe's</dialogue> <scene_description>eye :.s roving towards the women. :-lary sees that Al:na is • AS l aware of Jof!s roving eye. A l~ok of t..:.nderstanding passes between ~ary and Al~a. Cant. X:</scene_description> <character>97-A-</character> <dialogue>97-H Cont •</dialogue> <scene_description>• (to Joe) Why don't we dance?</scene_description> <character>ALMA</character> <dialogue>JOE</dialogue> <parenthetical>(giving wife nowhere near full attention)</parenthetical> <dialogue>Huh? Sure.</dialogue> <scene_description>Joe and Alma go off to dance, Joe still looking at a lady or two. Ben, i\_n the meantime, is dancing in place. He's hyper.</scene_description> <character>BEN</character> <dialogue>I'm just raring to get out on that floor.</dialogue> <character>MARY</character> <dialogue>Do you need a drink or something to calm you down?</dialogue> <character>BEN</character> <dialogue>Me? I'm perfect. Let's dance.</dialogue> <scene_description>• Mary decides to go with it, and they head out for the dance floor.</scene_description> <character>G.</character> <dialogue>He's a great Arthur Murray-style dancer with some</dialogue> <character>ANGLE ON AR'!' AND BESS</character> <dialogue>Fred Astaire flourishes. Bess fulls in step with him beautifully after a bit of hesitation. Their dancing chemistry is wonderful. His eyes are full of her. She loves it but frowns, doesn't trust him, tries to be aloof but betrays her infatuation.</dialogue> <character>BESS</character> <dialogue>You're a wonderful dancer.</dialogue> <character>X</character> <dialogue>ART</dialogue> <scene_description>I think so. I'm very happy, Bess. X</scene_description> <character>BF.SS</character> <dialogue>This is all happening too fast.</dialogue> <character>ART</character> <dialogue>Are you talking about last night?</dialogue> <character>BESS</character> <parenthetical>(smiles)</parenthetical> <dialogue>No, last night was fine.</dialogue> <scene_description>• =t.</scene_description> <character>A81</character> <dialogue>97-A-</dialogue> <dialogue>97-H Cont .1</dialogue> <scene_description>• 'Fine?'</scene_description> <character>ART</character> <dialogue>BESS</dialogue> <scene_description>(knows he's X X teasing) Better than fine. Terrific. I'm talking about in general, Arthur.</scene_description> <character>ART</character> <dialogue>Well, in general, l th.ink we're having a great time.</dialogue> <character>BF.SS</character> <dialogue>That we are. X</dialogue> <scene_description>They dance off. X Cont • • • A81</scene_description> <character>REVISED -</character> <dialogue>46</dialogue> <character>"COCOON" -</character> <dialogue>• ANGLE 0~ BEN AND MARY</dialogue> <character>MARY</character> <dialogue>97-A-</dialogue> <dialogue>97-H Cont.l</dialogue> <scene_description>Will you still love me when I can't keep up with you?</scene_description> <character>BEN</character> <dialogue>I love you and you can't keep up with :ne now.</dialogue> <character>MARY</character> <dialogue>Oh, Ben, you're such a romantic.</dialogue> <scene_description>(NOW SCENE 95-A) 98:</scene_description> <character>DISSOLVE TD:</character> <dialogue>INT,</dialogue> <character>X</character> <dialogue>ENGINE ROOM -</dialogue> <scene_description>It is dark and dim in this cramped space. Jack uses a work light to il~uminate the open engi~e as he fits the rocker assembly of one of the two big diesels i~to place. Grimacing, Jack works painstakingly, struggles to fit a part into place, succeeds, Exhaling a deep breath, Jack rolls over onto his back, closes his • eyes to take a moment's rest . Then, there are FOOTSTEPS SOUNOI~G from above. Curious, Jack gets up, moves quietly ~o a hole in the ceiling, peers through.</scene_description> <character>JACK'S P.O.V,</character> <dialogue>10/J</dialogue> <scene_description>:::hrough a hole. This is Kitty's cabin. She is in front of a mirror, b~ushing out her hair. Jack turns away from the peephole, picks up a tool to start work again, Frowning at himself, hesitant, he goes back to the peephole.</scene_description> <character>JACK</character> <parenthetical>(muttering)</parenthetical> <dialogue>Reduced to a Gcddamned Peeping Tom now, Benner?</dialogue> <scene_description>Jack turns away from the 9eephole. He is tormented, i~mobilized. Finally, he tur~s around again, pee~s in the hole in the ceiling once more. •</scene_description> <character>JACK'S P.O.V €�</character> <dialogue>as Kitty slowly -:::ubs her ar:ns, then pulls cf:': her T-shirt.</dialogue> <dialogue>:ack is t~rned on, tort~red by the beauty of it, unable to stop watching, ashamed of himself, but unable to resist it.</dialogue> <character>A81</character> <dialogue>as ~itty unzips her jeans, s:owly exposes her ~idriff .</dialogue> <scene_description>• Gripping a wrench tightly with ':wo hands Jack now stands on his tiptoes to rno:Je his eye e•rer closer to the j?eephole. J.l&gt;.CK'S l?.O.V, 103 as Kitty pulls at her back. ~e sees her panties in her hand, but her lower body is o.s. Then she pulls at her back again and a ~linding glare shines into Jack's face. In the extreme brightness, it a9pears that Kitty is pulling off her skin, removing her face like a mask, stepping out of her body as though it were a pair of long johns. Eyes blazing now, Jack is stunned, confused, fascinated. JACK'S P.o .. v. 104 as the extreme brightness from Kitty's inner body subsides, turns to an ever-softening glow. Appearing as a humanoid now, Kitty hangs her human body on a coat han·ger as though it were an article of clothing. Her empty human mask seems to be staring straight at Jack now. This is too much for him. Jack loses his balance. He slips, • falls, knocks into his tool case. TOOLS, PARTS CLATTER LOUDLY as he falls backward with a THUD •</scene_description> <character>INT. KITTY'S CABIN - ~IGHT</character> <dialogue>105</dialogue> <scene_description>She HEARS t~e SOOND. Glancing around her quarters she sees the hole in the floor now, looks into it. HER P.O.V. 106 as she sees Jack :'..at on his back, in shock, still staring up toward the peephole in bewilderment.</scene_description> <character>I~T. HALLWAY - NIGHT</character> <dialogue>107</dialogue> <scene_description>Kitty rushes down the hall. She's putting on her "human husk" hurriedly, then coveri:ig her naked '1 hu:nan" body with her bathrobe as she moves quickly ~pstairs toward the engine room.</scene_description> <character>OUT</character> <dialogue>108</dialogue> <character>EX~. DECK - NIGHT</character> <dialogue>109</dialogue> <scene_description>Wa:'..ter, still wearing 01s h~man husk, hurr es toward the engine room, followed close behind by Doc and Pil sbuty . • A81 Doc, wa.:.ter, Pillsbury '.".love slow'.y, quL~tly to the door, • cautiously wai~ and listen outside with Kitty . The door bursts open. Jack has the 6low toccb on full blast as r.e steps outside like a~ ar:ned commando. His guests watch hLn Narily. :ack glares 3t all of them, then points to Kitty, as he races across the deck, toward the winch to raise the anchor. Ji\CK She's not nor~al. There's something very abnormal abo~t her. The winch doesn't. work. Jack frantically tri~s to hand-operate it. To no avail.</scene_description> <character>JACK</character> <dialogue>I'm an open-mi~ded guy. I've had all kinds of people on this boat. All races. All nationalities. All creeds.</dialogue> <scene_description>Jack hurries up to the bridge, tries to START the ENGINES very quickly. Walter and Kitty follow hi~ up to the bridge, listen patiently to him. T~e ENGINES GASP, refuse to start. Very frightened, Jack stares at Kitty's face, He's appalled at what he sees. • JACK'S P.o.v. of .:&lt;itty' s pretty "human" face. one of her "human" ears is askew. It all looks fine except that It's on crooked.</scene_description> <character>JACK</character> <dialogue>Oh my god~</dialogue> <character>X</character> <dialogue>Walter sees the problem, adjusts her ''ear," sets it in place straight so that her human husk is on perfectly now. In shock, Jack oOserves this,</dialogue> <character>WALTER</character> <parenthetical>(toying with Jack)</parenthetical> <dialogue>It's hacd to know who to trust, isn't it?</dialogue> <scene_description>Now, Walter scratches his eye. Jack scc~tinizes n1m carefully. As Walter pulls on his bottom eyelid briefly, a shaft of light (like the glow) bea~s out !ram beneath his skin. Terrorized now, Jack jumps away fr1Jm them, scrambles down to the deck, jumps overboard.</scene_description> <character>EXT.</character> <dialogue>OCEAN -</dialogue> <scene_description>Jack starts t~ swi~ 3Way from the boac, ~hen stops, realizes • A31 there is ~owhere to go f:om here. Scared, te:pless, he ~reads ~ater, tries to collect his thoGghts. Cont. 111-A Cont. • JACK I'm in the water. It's at night. They've got my boat. shore. Shit! I'm far from Very suddenly, breaking the surface of the water right next to Jack is the dolphin from the preceding SCENES, who pops his head out of the water and laughs at Jack. A high-pitched laugh. Doc and Pillsbury are giggling. Walter motions for them to throw a life preserver out to Jack. They do that. Jack reluctantly takes hold of it, allows himself to be pulled back to his ship. They all try to help Jack up on board. Jack won't let them help him.</scene_description> <character>JACK</character> <dialogue>Let go! Let go! Keep your hands off me!</dialogue> <scene_description>Jack climbs on board himself. Doc and Pillsbury continue to have a great time. Walter stops them.</scene_description> <character>OUT</character> <dialogue>EXT. DECK - NIGHT</dialogue> <character>111-B</character> <dialogue>111-C</dialogue> <scene_description>• Kitty holds out a towel for Jack.</scene_description> <character>JACK</character> <dialogue>Put the towel down. down and back away.</dialogue> <scene_description>Just put it Kitty puts the towel down. Jack picks it up and wipes himself off with it.</scene_description> <character>WALTER</character> <dialogue>I'm sure you're bothered by what you've seen, but if you'll just relax •••</dialogue> <character>JACK</character> <dialogue>I don't want to relax.</dialogue> <character>WALTER</character> <dialogue>Let us explain.</dialogue> <character>JACK</character> <dialogue>I don't want to know anything.</dialogue> <scene_description>Walter moves towards Jack. • If you try to eat my face off, or take over my body, you're going to be very sorry. Very sorry, Mister. Cont. A Bl 111-C Cont • • No!</scene_description> <character>WALTER</character> <dialogue>Face-eating? I've never heard of that. Is that a delicacy?</dialogue> <character>JACK</character> <dialogue>Forget I mentioned it!</dialogue> <character>X</character> <character>WALTER</character> <dialogue>You're sure I shouldn't try it.</dialogue> <character>X</character> <dialogue>JACK</dialogue> <dialogue>Positive.</dialogue> <character>X</character> <dialogue>KITTY</dialogue> <scene_description>Walter, Jack wants to be our friend.</scene_description> <character>JACK</character> <parenthetical>(panicked)</parenthetical> <dialogue>Right, right, that's all I ever wanted to be.</dialogue> <character>KITTY</character> <parenthetical>(to Jack)</parenthetical> <dialogue>Nevertheless, we do owe you an explanation .</dialogue> <scene_description>• JACK Hey, you don't owe me anything. Honestly, not even the rental on the boat. It's free.</scene_description> <character>WALTER</character> <dialogue>We'll pay you. We're honest.</dialogue> <character>JACK</character> <parenthetical>(still scared to death)</parenthetical> <dialogue>Of course you're honest. Did I ever accuse you of being dishonest? I accused you of being from another planet, but an honest planet.</dialogue> <character>WALTER</character> <dialogue>We're Antareans, Jack. We're from a planet called Antares.</dialogue> <scene_description>Cont • • A81</scene_description> <character>111-C</character> <dialogue>Cont.l X</dialogue> <scene_description>• JACK Yeah, that's pretty much wha~ I figured.</scene_description> <character>WAL'!'ER</character> <dialogue>Jack, a hundred centuries ago, we had an outpost here on Earth until the First Upheaval •••</dialogue> <character>JACK</character> <dialogue>Please. I think I'm better off not knowing.</dialogue> <character>WAL.TER</character> <dialogue>We were able to evacuate everyone except for my ground crew.</dialogue> <character>JACK</character> <dialogue>Your ground crew.</dialogue> <character>WALTER</character> <dialogue>And now we' re back for them.</dialogue> <character>JACK</character> <parenthetical>(pause)</parenthetical> <dialogue>• I thought I've been around, but</dialogue> <scene_description>nothing like this has ever happened to me before.</scene_description> <character>WALTER</character> <dialogue>Jack, you can turn us in, or do some things to make it really tough for us, but we'll still oet our friends back. And the only thing that would happen is we'd end up renting somebody else's boat.</dialogue> <character>JACK</character> <dialogue>I got left behind once at Caney Island ... I was 9. It was very heavy, for a 9 year-old. My parents finally came back for ~e.</dialogue> <scene_description>cont • • Cont.2 X • Wi-\L:'SR We came back, ~oo.</scene_description> <character>JACK</character> <dialogue>That's all you're ~01ng, comir.g back foe your !:r iend.s?</dialogue> <character>:&lt; ! T'I'Y</character> <dialogue>Jack, this is the most i~portant thing we've ever done.</dialogue> <scene_description>Jack is really taken with Kitty.</scene_description> <character>JACK</character> <dialogue>And you' re not going to hurt me?</dialogue> <character>WALTER</character> <dialogue>All we need is to get our people and leave.</dialogue> <character>JACK</character> <parenthetical>(more to himself than them)</parenthetical> <dialogue>And none of this is bad for America, I guess.</dialogue> <scene_description>• The answer to this is obviously no. Jack takes a pause, then:</scene_description> <character>JACK</character> <dialogue>Ridiculously, I'm in.</dialogue> <scene_description>WHOOPS go up from all concerned. Everybody is happy, patting each other on t.he back, etc. Jack is still a little skittish. This is going to take some getting used to, but he's going to try.</scene_description> <character>OOT</character> <dialogue>113</dialogue> <character>112-</character> <dialogue>EXT. GROUNDS -</dialogue> <character>ESTATE - DAY</character> <dialogue>Ben, Joe and Art are lifting t~eir physically declining friend, Bernie, through the gate. All are in bathing gear.</dialogue> <character>BERNIE</character> <dialogue>Remember, I said I'd look. r1m not promising ! 11 get wet.</dialogue> <character>JOS</character> <dialogue>Fine. Just :ook.</dialogue> <scene_description>A81 Cent . • i.l4 Cont. •</scene_description> <character>3E?.NIE</character> <parenthetical>(re~e:ring to gate)</parenthetical> <dialogue>By the way, rig~t here is where a crime is bei~g committed. ~ot by me because r 'r.1 being carried ••.</dialogue> <character>ART</character> <dialogue>Don't wor=y, Bernie, we'll take the fall for you.</dialogue> <scene_description>Cont • • • 114 Cont. X •</scene_description> <character>BER~IE</character> <dialogue>Aha, 'fa:.ling,' that's ,3,nother thing. I fall and Oreak my hi? and I can't sue anybody.</dialogue> <character>BEN</character> <dialogue>You're going to thank JS for t~is, Bernie.</dialogue> <dialogue>Trust us.</dialogue> <character>BERN!:E</character> <dialogue>Are you forgetting I'm a furrier. Furriers know better. The last guy that said 'trust me' went bankrupt, leaving me with fifty thousand muskrat pelts that are still lying in a vault. 1</dialogue> <scene_description>Trust 1 • Past the gate now, Art, Ben and Joe lift Bernie, raise him over their shoulders, carry ~im toward the pool house.</scene_description> <character>I~T. POOL HOUSE - DAY</character> <dialogue>115</dialogue> <scene_description>Ben and Jee are urging Ber~ie into the pool • • BEN Come on, Bernie. us to push you.</scene_description> <character>JOE</character> <dialogue>You don 1 t want</dialogue> <scene_description>It's nice and warm, Bernie. Skeptica:, Bernie sta:es down into the pool. BERNIE'S i?.O.V. 116 There are now a half-dozen ''stones" on the bottom of the pool.</scene_description> <character>BER:-J'IE</character> <dialogue>Rocks. What are toc~s doing 1n a pool? In an ocean, fi~e. There I expect to see plenty of rocks. But in a pool, no.</dialogue> <scene_description>He goes to t~e lo4nge chair, and sits down. 3en and Art shake tbeir heads and dive in~o the water •</scene_description> </scene> <scene> <stage_direction>. A81</stage_direction> <character>EXT. OCEAN - NEAR COASTLINE - DAY</character> <dialogue>117</dialogue> <scene_description>• The Manta III cuts a quick path toward the estate's dock •</scene_description> <character>INT. POOL HOUSE - DAY</character> <dialogue>Ben is swimming. Art is demonstrating to Joe how to do a double jackknife off the diving board.</dialogue> <scene_description>Bernie still sits.</scene_description> <character>EXT. DOCK - ESTATE - DAY</character> <dialogue>119</dialogue> <scene_description>The Manta III coasts gently to a stop. Immediately, Doc and Pillsbury lift a "stone" off the boat, carry it quickly toward the pool house.</scene_description> <character>INT. POOL HOUSE - DAY</character> <dialogue>120</dialogue> <scene_description>The three men are playing, splashing, laughing, having a great time. Suddenly, Bernie hears something, He tries t..o quiet the others.</scene_description> <character>EXT. POOL IIOUSE - DAY</character> <dialogue>121</dialogue> <scene_description>Silently, Pillsbury removes a set of keys from his pocket.</scene_description> <character>INT. POOL HOUSE - DAY</character> <dialogue>122</dialogue> <scene_description>• Simultaneously, Ben senses something is wrong, that someone is coming.</scene_description> <character>BEN</character> <dialogue>{jumping up)</dialogue> <scene_description>Come on. Joe and Art look at him as if he's crazy. They can't hear anybody, anything.</scene_description> <character>BERNIE</character> <parenthetical>(hushed, rising)</parenthetical> <dialogue>There's somebody out there.</dialogue> <scene_description>All three men jump out of the pool, gather up their clothes, dash around the poil frantically. Bernie jumps up, too, scared.</scene_description> <character>BERNIE</character> <dialogue>Right once again.</dialogue> <scene_description>Finally, Ben finds a storeroom door open, waves his friends inside.</scene_description> <character>EXT. POOL HOUSE - DAY</character> <dialogue>123</dialogue> <scene_description>Pillsbury inserts a key, open·s the door • • A81</scene_description> <character>INT. POOL HOUSE - DAY</character> <dialogue>124</dialogue> <scene_description>• Doc and Pillsbury seem to sense something as they carefully deposit the "stone 11 at the bottom of the pool, along with the others.</scene_description> <character>INT. STOREROOM - DAY</character> <dialogue>All four men are cramped into the dark, already crowded closet.</dialogue> <character>125</character> <dialogue>Together, Ben and Art peer out into the pool area through an air vent in the bottom of the door.</dialogue> <dialogue>suddenly Art and Ben are amazed, speechless; they clutch each other fearfully.</dialogue> <dialogue>Joe and Bernie see that something is wrong. They struggle to see out the vent, too. As they see out, their eyes glaze over.</dialogue> <dialogue>All four men hold onto each other, clinging for their lives as they watch a spectacle unlike anything they have seen before.</dialogue> <character>BEN, ART, JOE AND BERNIE'S P.O.V.</character> <dialogue>Walter, Kltty, Doc and Pillsbury don't look human anymore.</dialogue> <character>126</character> <dialogue>Their 11 hurnan husks 11 hang on hooks against the wall. The four neighbors now appear as humanoid, other-worldly creatures.</dialogue> <scene_description>• Their bodies are hairless, smooth, clean-looking. Their facial features make them look like jumbo-sized human babies, SOFTLY GLOWING adult-sized infants. Three of these humanoids (Doc, PillsLury, and Kitty) jump into the pool. Meanwhile, Walter hesitates, looks around the pool house in confusion; he is sensing something bizarre. Walter EMITS a DEEP HUMMING SOUND as he hurries toward the storeroom door. The other humanoids do not watch him, but they become completely still, begin to EMIT THE SAME ANXIOUS SYNCHRONOUS HUMMING SOUND. ALL FOUR HUMANOIDS GLOW BRIGHT AND THEN FADE, ALMOST LIKE BLINKING ~ERGENCY LIGHTS. The physical therapy stops completely now.</scene_description> <character>INT. STOREROOM - DAY</character> <dialogue>127</dialogue> <scene_description>Art, Ben, Joe and Bernie simultaneously back away from the door. They arc terrified, panic-stricken, afraid for their lives now.</scene_description> <character>INT. POOL HOUSE - DAY</character> <dialogue>Walter pulls the storeroom door open.</dialogue> <character>128</character> <dialogue>Watler's eyes connect</dialogue> <scene_description>with Ben, Joe, Art and Bernie. Bernie runs out first. Adrenalin gives him speed he never • A81 had before. Joe and Art follow fast, Ben lingers momentarily, studies the humanoids for a brief extra moment, then follows in his friends' footsteps as they run out the door of the pool house.</scene_description> <character>REVISED - "COCOON" - 8/12/84</character> <dialogue>56</dialogue> </scene> <scene> <stage_direction>€� EXT. ESTA.TE - 'JAY 129</stage_direction> <scene_description>All four men speed across che grounds, hurry toward the gate. waiting for his turn at the gate, out of breath, disbelieving, Ben glances back at the pool house for one last look.</scene_description> <character>BEN'S P.O.V.</character> <dialogue>130</dialogue> <scene_description>as the unique silhouettes of the four humanoids are faintly VISIBLE, watching through the foliage-covered windows of the pool house. INT. CORRIDOR - ~AIN BUIL0ING - DAY 131 Alma and Mary run into the building, rush down the hall toward their husbands. Bernie sits in a chair, breathes oxygen from a mask attached to a tank. He passes the mask to Art, who takes a hit, hands it to Joe. Ben gets it next. They are all panic-stricken, afraid, don't know whether or not to believe what they have just seen. Joe feeds himself some medication, washes it down with water. ~ary and Alma rush over. • BERNIE Begged you not to go.</scene_description> <character>BEN</character> <dialogue>Get the police!</dialogue> <character>X</character> <dialogue>X</dialogue> <character>X</character> <dialogue>MARY</dialogue> <scene_description>Sood pressure, Ben! Dexter and Pine have run over.</scene_description> <character>ART</character> <parenthetical>(to Dexter and Pine)</parenthetical> <dialogue>You've got to do something! There's things from outer space next door!</dialogue> <character>DEXTER</character> <dialogue>Calm down. Just keep sucking up that oxygen and they'll go back to their own planet.</dialogue> <scene_description>Cont • •</scene_description> <character>A81</character> <dialogue>REVISED - ''COCOON" - 8/12/84</dialogue> <scene_description>131 Cont.l • JOS Get the police, you idiots!</scene_description> <character>?!NE</character> <dialogue>I'm not ca~~ing the cops because</dialogue> <scene_description>a couple o: geezers saw some</scene_description> <character>X</character> <dialogue>spacemen.</dialogue> <character>ALMA</character> <dialogue>If. my husband says he saw people from outer space, they were from outer spacer Get the Goddamn police!</dialogue> <character>INT. MAIN HOUSE - ESTATE - FOYER - DAY</character> <dialogue>The house appears extremely clean, very luxurious, completely</dialogue> <character>132</character> <dialogue>unlived-in. There are thick carpets, rich wall coverings, high ceilings with elaborate plasterwork. Walter is leading a pair of YOUNG POLICE OFFICERS to the front door.</dialogue> <character>WALTER</character> <dialogue>••• And then they must have ~ade up this story to cover themselves,</dialogue> <parenthetical>(laughs)</parenthetical> <dialogue>I guess we'll all get to be that</dialogue> <scene_description>• age someday • (shared moment) If we're lucky. The Policemen laugh. POLICE OFFICER ll We're going to shoot back over to the home there and get this whole thing straightened out.</scene_description> <character>WALTER</character> <dialogue>Well, as long as they respect our privacy from here on in, there's no need to press charges.</dialogue> <scene_description>POLICE OFFICER #l Yeah, we'l: keep 'em on their side of the fence. They all walk out together.</scene_description> <character>OUT</character> <dialogue>13 3</dialogue> <character>INT. CORRIDOR - OUTSIDE ADMINIS~RATOR'S OF~ICE - DAY</character> <dialogue>133-A</dialogue> <scene_description>• A81 As the .'.\dministrator, Mr. Stafford, walks the Police out of his office, Alma, ~ary, a crowd of residents wait ia the hallway for news. Cont.</scene_description> <character>RSVISEJ -</character> <dialogue>"28C00N</dialogue> <scene_description>133-A Cont • • MR. S':'AFFORD Break it u9! 3reak it up! e~citement's over. to Earth. The Come back down</scene_description> <character>POLICE OFFICER#:</character> <parenthetical>(to residents)</parenthetical> <dialogue>It's all a misunderstanding.</dialogue> <character>MR. STAFFORD</character> <dialogue>There are no E.T.'s next door.</dialogue> <scene_description>Feeling like fools, Bernie, Art, Joe, Ben shuffle away from X t:le office. Mary stands waiting.</scene_description> <character>OLD YIAN</character> <parenthetical>(calls out, from down the hall)</parenthetical> <dialogue>Hey, Ben ••• they took you for a ride on the flying saucer?</dialogue> <scene_description>Other residents LAUGH as they wa:k away, roll off in wheelchairs. Embarrassed, Ben doesn't say a word. Mary links arms with Ben, and they walk out with the rest of the group. • EXT. Y!ANTA rrr - DECK - DAY Jack is on deck. He is readi~g a Cook called THE COMPLETE BOOK OF EXTRA-TERRESTRIAL ENCOUNTERS. Kitty comes into view, starts working on the black box. works a little, then glances at Jack. Jack watches her.</scene_description> <character>X</character> <dialogue>Kitty</dialogue> <scene_description>He smiles. She smiles. She goes back to work. He goes back to reading. He is hoping his book will give him same insights into this girl. Hearing a splash, Jack looks out at the ocean. JACK'S P.o.v. 135 as the same Dolphin we have SEEN before pops its head out of the waeer and stares at Jack. It is as if the Dolphin is smiling and MAKES a NOISE which SOUNDS LIKE "HELLO -- DO YOU GNDERSTAND ~OW?"</scene_description> <character>JACK</character> <parenthetical>(friendly)</parenthetical> <dialogue>Hungry, space cadet?</dialogue> <scene_description>The DOLPHIN MAKES A YES" SOUND". Jack throws a sardine ou': to the water. The Dolphin jumps intc the air, catches the sardine in its mouth, swallows it, seems to smile at Jack. • A81 EXT. ':ENCE - GilTS TO ESTATE - JAY Ben, ~oe and Art move ti~ed:y to the fence, in the di stance.</scene_description> <character>135-A</character> <dialogue>stare at the pool house</dialogue> <scene_description>Cont. 135-A Cont. •</scene_description> <character>JOE</character> <dialogue>Well, we shouldn't be pigs about .it. We gained fifteen years.</dialogue> <scene_description>Art and Ben agree. There's a pause, then:</scene_description> <character>ART</character> <dialogue>Bess said we should call the National Enquirer. 'rhey pay for this kind of story.</dialogue> <character>BEN</character> <dialogue>Mary accused me of trying marijuana again.</dialogue> <character>OUT</character> <dialogue>136</dialogue> <scene_description>DISSOLVE TO:</scene_description> <character>INT. JOE AND ALMA'S APARTMENT - NIGHT</character> <dialogue>136-A</dialogue> <scene_description>Alma, wearing a sexy nightgown, primps her hair in the bathroom mirror. As she enters the bedroom, approaches the bed, she • finds Joe fast as\]eep, looking drained as he snores softly .</scene_description> <character>EXT. SHUFFLEBOARD COURT - DAY</character> <dialogue>136-B</dialogue> <scene_description>Ben, Art and some other residents are on the shuffleboard court. They play the game slowly, almost in slow motion. Ben sweats. ART'S OPPONENT is about to score. AR'l' 1 S OPPONEN'l' This is more like the way you play. You've been on a hot streak, but I got you today. Art sits down, tired.</scene_description> <character>ART</character> <dialogue>Guess you do.</dialogue> <character>EXT. GATE - DAY</character> <dialogue>136-C</dialogue> <scene_description>Ben, Joe and Art are there, looking across at the pool house.</scene_description> <character>JOE</character> <dialogue>I wish I had the guts to go in.</dialogue> <scene_description>Ben shakes the gate with impotent rage. They're very hurt. • A81 Art tries not to cry . Cont. 136-C Cont . • BEN I wish I'd ne•1er k:-iown about ':':1is place. Joe just stares across gate.</scene_description> <character>DISSOLVE TD:</character> <dialogue>EXT. OBSERVATION DOCK ADJACENT TO RE~IREMENT COMMUNITY 137</dialogue> <character>X</character> <dialogue>- DAY</dialogue> <dialogue>Ben, Art, and Joe sit on a park bench at the end of this long X dock. They are despondent, subdued, stare out to sea; all seem to be completely out of gas now. THEIR P.O.V. 138 as the Manta III passes by as it approaches the estate to dock. Walter glances at the old men, then looks away, pretends he hasn't seen them, while Doc and Pillsbury seem to be observing the men with great fascination.</dialogue> <character>BACK TO GROUP</character> <dialogue>Bernie yawns. Joe's DIGITAL WATCH BEEPS. He glances at it, takes</dialogue> <character>138-A</character> <dialogue>out a pillbox, feeds 'nimself an assort:nent of medications.</dialogue> <scene_description>• Exasperated, Ben shakes his head. toward the shore. They get up, start walking back Joe falters. His knees cave in. He starts to fall down. Ben and Art grab him by the arms, shoulders. They help him up, lead him back to the bench. Joe leans back, appears very si~k again. He puts his hands to his stomach, grimaces. Ben observes his friend's suffering with grave concern.</scene_description> <character>BE~</character> <dialogue>This is riaiculous. I'm going to talk to them.</dialogue> <character>EXT.</character> <dialogue>Frightened, Ben works up his courage, :,,;alks with conviction to the</dialogue> <character>FRONT LAWN -</character> <dialogue>front door, RI~CS the BELL. Outside the front gates, we SEE Art and Joe watching Ben warily from the sidewalk. Pillsbury opens the door, says nothing.</dialogue> <character>BEN</character> <dialogue>I need to talk to the person in charge •</dialogue> <scene_description>• ABl Pillsbury ushers 3en in now, shuts t~e door behind him. On the sidewalk, Art a.nd Joe glance at. ~ach other worriedly now.</scene_description> <character>INT. LIBRARY - DAY</character> <dialogue>140</dialogue> <scene_description>• Pillsbury leads Ben into a vast, starkly furnished high-ceilinged library where Walter waits expectantly.</scene_description> <character>INT. LIBRARY - ESTATE - DAY</character> <dialogue>Pillsbury leaves. Walter shuts the doors.</dialogue> <character>X</character> <dialogue>WALTER</dialogue> <scene_description>I'm not surprised you• re here. Ben stares hard at Walter, notes his twinkling eyes, the slightly off pallor of his complexion, the driven demeanor only partially masked by Walter 1 s pressing amiability.</scene_description> <character>BEN</character> <dialogue>Look, you've got something in that swirruning pool out there that a friend of ours needs, that all of us could use a little bit of, as a matter of fact. We don't need to know where you come from or what you're doing here, just let us use that pool.</dialogue> <scene_description>Walter settles back in his chair, frowns at Ben, tries to • figure him, finally SIGHS, draws in close to Ben •</scene_description> <character>WALTER</character> <dialogue>I know you have to take care of your people ... Well I have to take care of mine.</dialogue> <character>BEN</character> <dialogue>I'm talking about saving a life.</dialogue> <character>WALTER</character> <parenthetical>(angry)</parenthetical> <dialogue>And I've got forty lives I'm trying to save! And. I 1 m running out of X time!</dialogue> <character>BEN</character> <dialogue>So are we. Listen, no one else in the world has to know about it. Just a very few of us need to use the pool.</dialogue> <scene_description>Cont . • A81 141 Cont. • Walter studies Ben .</scene_description> <character>WAT,TER</character> <dialogue>Why should l let you?</dialogue> <character>BEN</character> <dialogue>Which sounds better? A few old people in your pool once in a while? Or ADC, NBC, CBS, the Cable News Network, Rona Barrett, Steven Spielberg, People Magazine, the entire staff of the National Enquirer and the government of the United States of America all asking you what the hell you're doing here, where you came from, what size socks do you wear.</dialogue> <character>WAL'I'ER</character> <parenthetical>(not at all worried, starting to like Ben)</parenthetical> <dialogue>We could handle that.</dialogue> <scene_description>• You could?</scene_description> <character>WALTER</character> <dialogue>We could.</dialogue> <scene_description>Ben has lost. He knows it an&lt;l starts to walk away.</scene_description> <character>WALTER</character> <parenthetical>(sighing)</parenthetical> <dialogue>Hold it.</dialogue> <scene_description>Ben stops.</scene_description> <character>WALTF.R</character> <dialogue>Every ten, eleven thousand years or so I make a terrible mistake. The last one was when I picked Atlantis as our base on this X planet. Everyone else said use the North Pole. ''l'oo cold, 1 I said. Sinking never occurred to me.</dialogue> <character>BEN</character> <dialogue>This is no mistake.</dialogue> <scene_description>• You won't touch the cocoons •</scene_description> <character>BEN</character> <dialogue>No.</dialogue> <character>A81</character> <dialogue>WALTER</dialogue> <scene_description>Use the pool.</scene_description> <character>EXT. GROUNDS - RSTI~E~ENT COMMUNITY - DUSK</character> <dialogue>141-A</dialogue> <scene_description>• TIGHT ON Mary, Bess, rl.:.ma, Rose. appear excited, almost giddy.</scene_description> <character>~ARY</character> <dialogue>T:'ley wa:~ forward f?Urposefully,</dialogue> <scene_description>I, for one, don't believe this alien crap at a:.:..</scene_description> <character>ALMA</character> <dialogue>You don't believe your husband?</dialogue> <character>MARY</character> <dialogue>No.</dialogue> <character>ALMA</character> <dialogue>Well, I believe Joe. I believe him and I'm scared.</dialogue> <character>BESS</character> <dialogue>I don't believe it and r 1 m still scared.</dialogue> <character>MARY</character> <dialogue>I guess I'm just a lot less gullible,</dialogue> <character>ALMA</character> <dialogue>ROSE</dialogue> <scene_description>• (angry) Mary, you have got a lot of nerve calling me gullible. I have more horse sense than you ever had. I ••••• names! (angry) Are you calling me gullible? My $Other used to call me In FACT MY BROTHER used to call me •••••••</scene_description> <character>BESS</character> <parenthetical>(stopping the battle)</parenthetical> <dialogue>Ladies, let 1 s see it with our own eyes. Come on.</dialogue> <scene_description>They all move forward.</scene_description> <character>MARY</character> <dialogue>All right, let's meet t~e aliens. X</dialogue> <character>ALMA</character> <dialogue>I only hope we don't say the wrong thing to them.</dialogue> <character>BESS</character> <dialogue>A~~a, what would be the eight thing X to say to an alien being from outer space?</dialogue> <scene_description>rlLMA • A81 I'm just going t~ hand:e it like when I met Joe's parents. my :nouth shut. r 1 · : ::.:eep Cont.</scene_description> <character>X</character> <dialogue>141-A Cont •</dialogue> <scene_description>• ROSE I hate to go visiting without a box of candy or a plate of cookies. Something. The CAMERA WIDENS now ON the ladies, who are dressed in swim..'ning outfits, carrying towels, bathing caps, etc. as they approach the men, waiting by Joe's car. Art and Ben face Bernie, who appears agitated, waves his arms, shakes his head resolutely, while Joe leans against the car, and appears very, very tired. Seeing Rose approach, Bernie jumps toward her, takes her by tbe arm very forcefully.</scene_description> <character>BERNIE</character> <dialogue>We 1 re going home.</dialogue> <character>BEN</character> <dialogue>Cut it out, Bernie.</dialogue> <scene_description>Bernie shakes his head adamantly.</scene_description> <character>ROSE</character> <dialogue>We have permission, don I t we?</dialogue> <scene_description>• BERNIE ( shouting) Those people •.. aren't people. not going to have anything to de with them. I'm</scene_description> <character>BEN</character> <parenthetical>(worried)</parenthetical> <dialogue>Pipe down, 9ernie.</dialogue> <scene_description>Angrily subdued, Bernie steps up to Ben, goes eyeball to eyeball with him.</scene_description> <character>BERNIE</character> <dialogue>You're playing with fire over there. I'm a citizen and I believe in this country and I'm thinking about blowing the whistle on the whole Goddamn deal! Come on, Rose.</dialogue> <parenthetical>(he starts away)</parenthetical> <character>BEN</character> <dialogue>Joe needs this. We're doing this foe Joe.</dialogue> <scene_description>• A81 ~s Joe above the law? .~re any of us?! In nineteen forty-eight, Dutch Schultz wa:ked into mv store and I said -- - Cont.</scene_description> <character>64-A</character> <dialogue>141-A Cont.l</dialogue> <scene_description>• JOE Bernie, sht:': up. If you don't wa:1t to he:.p 2ose, i:: :JOU don't want to hel9 yourself, that's fine. That's your business. But</scene_description> <character>X</character> <dialogue>if you screw this up for us --</dialogue> <character>BERNIE</character> <dialogue>Don't threaten me, Joe. I don't need your threats.</dialogue> <character>MARY</character> <dialogue>Bernie, couldn't you let Rose come with us just once?</dialogue> <character>BERNIE</character> <dialogue>Never! Rose and I will never set foot over there again.</dialogue> <parenthetical>(to all)</parenthetical> <dialogue>Nature dealt us our handful of cards and we played them. ::;low at the end of the ga~e s~ddenly you're looking to reshuff~e the deck. Come, Rose.</dialogue> <scene_description>• Bernie leads Rose away from their friends, now, back toward home • Reluctantly, Rose wa•,es good-bye to her pa:!.s ..</scene_description> <character>BEN</character> <parenthetical>(turns to others)</parenthetical> <dialogue>Anybody else have second ~houghts?</dialogue> <scene_description>Nobody else does, although Bernie has planted a seed of doubt in all their minds. They get into the car to go next door.</scene_description> <character>AR'!'</character> <dialogue>I'm a citizen too. I was in the X Navy. I don't see anything wrong with this.</dialogue> <character>9EN</character> <dialogue>( to ;..rt} Then you drive. X They get into the car to go next door. OUT :4 2-</dialogue> <scene_description>• A81</scene_description> <character>EXT. DRIVEWAY - ESTATE - DUSK</character> <dialogue>144</dialogue> <scene_description>• They drive in, roll past the mansion, park near the pool house .</scene_description> <character>INT. POOL HOUSE - NIGHT</character> <dialogue>145</dialogue> <scene_description>The pool house is jumping. Ben, Mary, ,Joe, Alma, Bess, Art are all over the pool area. GLENN MILLER SWING MUSIC IS BLARING from a portable radio. A golden-ager's pool party is in full swing. Art is teaching Bess how to do a swan dive. Their eyes lock romantically, as he lifts her arms to show her the proper form. Joe luxuriates, does a back stroke across the pool, away from Alma, who sits alone at the edge of the pool with only her feet in the water.</scene_description> <character>MARY</character> <dialogue>Are the extra-terrestrials going to make a personal appearance?</dialogue> <scene_description>Pillsbury floats behind Mary. Mary doesn't see him.</scene_description> <character>BEN</character> <dialogue>{to Pillsbury)</dialogue> <scene_description>• How ya• doin'? Mary turns, sees Pillsbury, without his human husk on, but wearing a terrycloth robe, floats in thin air a foot off the ground outside the door. Pillsbury rushes across the pool area, opens the pool house door, and speedily "floats" back to the main house, disappearing through a terrace door. Mary reacts.</scene_description> <character>OUT</character> <dialogue>148</dialogue> <character>146-</character> <dialogue>EXT. DECK - MANTA III - ESTATE - NIGHT (FORMERLY</dialogue> <dialogue>SCENE 169)</dialogue> <character>148-A</character> <dialogue>The moon is bright, almost full. The sky is bursting with stars.</dialogue> <dialogue>In bathing suits, Jack and Kitty are in the water, next to the swim step of the boat. Kitty throws some f6od out to a Dolphin, who :jumps up playfully to catch it in his mouth.</dialogue> <character>JACK</character> <dialogue>You're sure you don't want a drink?</dialogue> <scene_description>•</scene_description> <character>KITTY</character> <dialogue>I 1 m very sure.</dialogue> <scene_description>Cont.</scene_description> <character>A81</character> <dialogue>148-A Cont.</dialogue> <scene_description>• JACK I guess I've been trying to get you drunk tonight. Looks that way.</scene_description> <character>KITTY</character> <dialogue>JACK</dialogue> <scene_description>I guess I wouldn't exactly find your name written on bathroom walls in Antarca, would I? Kitty smiles. Jack stares at Kitty, admires her, touches his hand to her wet face, kisses her. Kitty swims away, dives underwater. Jack dives after her. They surface. Kitty pulls herself up on the swim step.</scene_description> <character>JACK</character> <dialogue>Whenever I'm around you, I feel really good. Do I do that to you at all?</dialogue> <scene_description>KIT'l'Y It happens . • about it?</scene_description> <character>JACK</character> <dialogue>Do you ever feel like doing anything</dialogue> <character>KITTY</character> <dialogue>Not the way you think about it.</dialogue> <character>JACK</character> <dialogue>Let me ask you something. Just exactly how Antareans ... express affection?</dialogue> <scene_description>KI'l'TY We share ourseJves.</scene_description> <character>JACK</character> <dialogue>That sounds fine to me.</dialogue> <character>KITTY</character> <dialogue>We leave our bodies.</dialogue> <character>JACK</character> <dialogue>You leave your what?</dialogue> <scene_description>• A81 We leave our bodies. And so can you. Want to try it? It's very fulfilling. Cont. 148-A Cont.! • JACK Uh ... I have a strict set of rules about these things. I never ever leave my body on the first date. But thanks. Sounds great.</scene_description> <character>(NOW SCENE 152-C) 149</character> <dialogue>(NOW SCENE 177-B1) 149-A</dialogue> <character>(NOW SCENE 177-B2) 149-B</character> <dialogue>(NOW SCENE 177-B3) 149-C</dialogue> <scene_description>EX'l'. PARK - DOWNTOWN - DAY 150 Ben, Art and Joe are feeling great as they stroll past the empty bandshell.</scene_description> <character>JOE</character> <dialogue>There's not a damn thing to do in this town at night.</dialogue> <character>BEN</character> <dialogue>We'll find something. We'll explore the outlying communities.</dialogue> <scene_description>• (eyes light up with possibility) Yeah! The outlying communities!</scene_description> <character>ART</character> <parenthetical>(continuing what has been a monologue about Bess)</parenthetical> <dialogue>... I'm telling you, there has never been a woman like Bess. Never.</dialogue> <character>JOE</character> <dialogue>Better than Singapore?</dialogue> <character>AR1'</character> <dialogue>That was just sex. This is sex plus talking plus laughing. Seventy-two goddamn years it's taken me. I'm pissed off. Why didn't I meet her fifty years ago?</dialogue> <scene_description>Ben pushes Art in a teasing manner.</scene_description> <character>BEN</character> <dialogue>She's gotcha! She 1 s really gotcha!</dialogue> <scene_description>• Kids playing soccer send a stray ball toward the men. Art runs forward, turns, handles the ball expertly, kicks it back to the kids. Old People sitting on a park bench note Art's extreme agility with surprise. Ben and ,Joe speed their pace, A81 don't give Art a second glance as he jogs to catch up with them.</scene_description> <character>IN'!'. DEPART~ENT OF MOTOR VEHICLES -</character> <dialogue>DAY</dialogue> <scene_description>• SCENE 185) Ben is at the front of a long line. He waits expectantly. Clerk is the same as in the earlier SCENE.</scene_description> <character>CLERK</character> <dialogue>The</dialogue> <scene_description>Behind the yellow marker, Sir. Nervous, Ben moves behind the marker, stares at the eye chart. BEN 1 S P.o.v. - CLOSE ON EYE CHART (FORMERLY 150-B SCENE 185-A) All the lines are in perfect focus. Proudly: E -- J -- K -- F -- D -- C -- A:</scene_description> <character>-- R.</character> <dialogue>CLERK</dialogue> <parenthetical>(irritated)</parenthetical> <dialogue>What line are you reading?</dialogue> <character>BEN</character> <dialogue>The bottom line, son. I'm in kind of X a hurry •</dialogue> <scene_description>• form)</scene_description> <character>CLERK</character> <dialogue>(shocked, stamps Ben"s Pass. Thank you, Sir. Next, please. Ben walks away from the counter, studies his temporary driver's license, joins Mary, kisses her on the cheek, shows her the</dialogue> <scene_description>license.</scene_description> <character>MARY</character> <dialogue>congrat~lations, Benjamin.</dialogue> <character>INT. BEN'S GARAGE - NIGHT (FORMERLY SCENE 185-B)</character> <dialogue>150-C</dialogue> <scene_description>Ben uncovers his Packard. 3ig thri 11. He gets in, slides Oehind the wheel. Feels g~eat. Music starts pumping up for the sequences that follows·.</scene_description> <character>INT. BEN'S OLD PACKARD - NIGHT {FORMERLY SCENE 186)</character> <dialogue>150-D</dialogue> <scene_description>Joe, Alma, Mary, Art and Bess are 9acked into the sedan, 1'."0lling out of the retirement community onto the highway. Ben is at the wheel, happy to be driving. • A81 EXT. ~AIN STREET - SUNSET BE&lt;lCH - ~IGHT (FORMERLY SCENE 187} The RADIO BLASTS. The old people are out cruising.</scene_description> <character>INT. PACKARD - NIGHT (FORMERLY SCENE 188)</character> <dialogue>150-F</dialogue> <scene_description>• Bess points toward something they have just passed •</scene_description> <character>THEIR P,O.V.</character> <dialogue>(FORMERLY SCENE 189)</dialogue> <scene_description>out the back window toward a dark doorway with a broken light proclaiming DANCE CLUB.</scene_description> <character>EXT. MAIN STREET - NIGHT (FORMERLY SCENE 190)</character> <dialogue>150-H</dialogue> <scene_description>The Packard circles into a U-turn, swings toward a parking space across from DANCE CLUB.</scene_description> <character>INT. DANCE CLUB - NIGH1' (FORMERLY SCENE 191)</character> <dialogue>150-I</dialogue> <scene_description>The old people move cautiously through the front door. A muscle-bound "Mr. T" type in stylish clothes blocks their pat.1. He looks like a BOUNCER. Behind him, jumping young people writhe, dance, bounce around to FUNK MUSIC being presented by a DISC ,JOCKEY who RAPS stream of consciousness-style to the MUSIC. The Bouncer looks at our group as if to say "What is this -- the Decency League?", but Mary stares him down. After some hesitation, the Bouncer moves aside. Den, Mary, Joe, Alma, Bess and Art all enter the club, find a table, settle in. • They are roundly ignored by the dancing black, white and hispanic youths. A WAITRESS approaches. Ben glances at his friends, seems to read their thoughts, orders Tequila Sunrises all around. These folks are here to party.</scene_description> <character>EXT. SIDEWALK - DOWNTOWN - DAY</character> <dialogue>151</dialogue> <scene_description>Ben, Joe and Art, hands jammed in their pockets, looking like bored teenagers on a Saturday afternoon, head into McCrory's, a big five and ten cent store with a long soda fountain along one wall. Bernie trails way behind them with his usua1 lack of energy, lack of enthusiasm.</scene_description> <character>INT. MCCRORY'S FIVE AND TEN - DAY</character> <dialogue>152</dialogue> <scene_description>They wander down the toy aisle, try games, toys as they go. Ben throws a peewee football at Joe, then a second one. Joe juggles the footballs. Art swings a baseball bat. Ben examines the bubble pipes, picks one out, tries a slinky. They kid around, shoot toy guns at each other. Bernie disapproves of all of this. The middle-aged Cashier stares at the old men as though they are insane. She comes from behind her counter to watch them. This intimidates them. They smile mock-politely at the Clerk. • A81 Cont . 152 Cont. • Casually becoming very slow again, they put the toys down, move to the soda fountain area, settle into a booth. Picking up menus, they sit around restlessly, like kids again. Bernie hates this. Art plays with the salt and pepper. Joe leans backward in his seat, stares at the approaching Waitress. She's in her 40 1 S but has retained a pretty figure and has really gorgeous red hair. She's friendly and outgoing. Joe eyes her. She has to lean across him to pick up plates, cups, crumpled napkins, etc., off the uncleared table. In removing a half-finished cup of coffee, her elbow hits Joe 1 s shoulder and the dregs go all over him. He stands, startled. The Waitress has balled up the napkins and is mopping Joe vigorously. Joe just smiles, enjoying this; the Waitress X smiles back. ANGLE ON WAITRESS 152-A Returning minutes later to their table, carrying a big • tray filled with the food they ordered. She brings it to their table: bacon chili cheeseburgers, fries, malts, ice cream sodas, etc. The guys dig in. Joe takes an extra moment to share a smile with the·Waitress once again. X</scene_description> <character>EXT. RETIREMENT HOME - GROUNDS - DAY</character> <dialogue>152-B</dialogue> <scene_description>Ben and David are wearing baseball glovos and throwing a baseball back and forth. But when Ben burns i t in to David, David 1 s hand hurts. Ben looks apologetic.</scene_description> <character>INT. RECREATION ROOM - REST HOME - DAY (FORMERLY</character> <dialogue>SCENE 149)</dialogue> <character>152-C</character> <dialogue>Bess leads a modern dance class. Alma, Mary are wearing very contemporary dancewear. They move with delicate agility to FLOWING MODERN MUSIC. Rose can't keep up with them. She moves like her regular self, appears to feel left out, but struggles along with them, anyway.</dialogue> <character>OUT</character> <dialogue>168</dialogue> <character>153-</character> <scene_description>• A81</scene_description> <character>EXT. GROUNDS - RETIREMENT COMMUNITY - DAY</character> <dialogue>170</dialogue> <scene_description>• Ben stares upward, rushes anxiously toward the main building •</scene_description> <character>HIS P.O.V.</character> <dialogue>as other old people are looking at the same thing he is watching.</dialogue> <character>OUT</character> <dialogue>EXT. TREE - GROUNDS - RETIREMENT COMMUNITY - DAY</dialogue> <character>172</character> <dialogue>173</dialogue> <scene_description>We can SEE now that Mary is climbing a tree adjacent to the window. David is with her. Ben wants her off the tree. X Pops and Smiley watch her activity with amazement. Mary refuses to get out of the tree. X</scene_description> <character>EXT, OBSERVATION DOCK ADJACENT TO RETIREMENT</character> <dialogue>COMMUNITY - NIGHT</dialogue> <character>174</character> <dialogue>A half moon lights up the water. The sky bursts with bright, shining stars. Art and Bess are alone on the park bench at the end of the dock. They are locked in each other's arms, necking like teen-agers devouring each other in a passionate</dialogue> <scene_description>• embrace .</scene_description> <character>OUT</character> <dialogue>176</dialogue> <character>175-</character> <dialogue>INT. DANCE CLUB - NIGHT</dialogue> <dialogue>The same dance club we were in earlier.</dialogue> <character>176-A</character> <dialogue>A FUN DISCO SONG STARTS TO BLAST. Young people crowd the dance floor. The dancing is intense, graceful, varied, There are synchronized disco-style couples and improvising break dancers with amazingly agile, explosive moves.</dialogue> <scene_description>Cont . • A81 176-A Cont . • The waitress arrives with the drinks. The old people sip, listen to the MUSIC, watch the hyperactive dancers. After starting with a series of preliminary moves, Art starts to do an elaborate "break dance" that would put the dancers on SOUL TRAIN to shame. He moves like a kid, agile, lithe, loose, totally in the groove with the FUNKY MUSIC. Other dancers start to notice. Troubled glances turn to appreciative, awe-filled stares. The folks start making space for Art. Bess looks on in amazement. Art is now the only one dancing. Dancers start clapping. The dance floor belongs to Art as he spins on his back, works through sets of stratospheric Michael Jackson moves synthesized into a break dance that in Art's case has incredible Fred Astaire flourishes. The dance climaxes and the young people go crazy and join Art on the floor. Joe and an agile young lady join in, dancing up a storm themselves.</scene_description> <character>INT. HALLWAY -</character> <dialogue>REST HOME - DAY</dialogue> <scene_description>Ben and Art stroll briskly down the hall. Pops rolls out in his wheelchair, blocks their passage. • Pops appears fierce. another.</scene_description> <character>POPS</character> <dialogue>I want to talk to you two.</dialogue> <scene_description>Ben and Art glance worriedly at one Other residents poke their head out of doorways, stop to listen to this.</scene_description> <character>POPS</character> <dialogue>The word on the corridor is that you dudes are onto some kind of rejuvenation.</dialogue> <scene_description>Art starts to loosen up, appears ready to confide in their old friend until Ben glances severely at Art.</scene_description> <character>ART</character> <dialogue>Rejuv what?</dialogue> <character>POPS</character> <dialogue>You know what I'm talking about.</dialogue> <character>BEN</character> <dialogue>l wish we could help you.</dialogue> <scene_description>• Your wife's been climbing trees for a long time? Cont.</scene_description> <character>A81</character> <dialogue>177 Cont.</dialogue> <scene_description>• Once in awhile.</scene_description> <character>BEN</character> <dialogue>POPS</dialogue> <scene_description>Once in a great while.</scene_description> <character>BEN</character> <dialogue>Right.</dialogue> <character>OUT</character> <dialogue>l 77-B</dialogue> <character>177-A-</character> <dialogue>INT, RECREATION ROOM - REST HOME - DAY (FORMERLY SC.</dialogue> <dialogue>149-A)</dialogue> <character>177-B-1</character> <dialogue>Bess is leading the modern dance class. Rose is further away than even before from being able to keep up with Bess, Mary and Alma. She struggles along, it's pathetic. Finally:</dialogue> <character>ROSE</character> <dialogue>Screw Bernie. I want to try it.</dialogue> <character>INT. POOL HOUSE - NIGHT (FORMERLY SC. 149-B)</character> <dialogue>177-B-2</dialogue> <scene_description>CAMERA STARTS ON Cocoons, TILTS UP TO SEE Rose diving into her • pool, heading TOWARD CAMERA. Shc 1 s smiling to beat the band . Her face FILLS THE SCREEN.</scene_description> <character>SURFACE OF POOL - NIGHT (FORMERLY SC. 149-C)</character> <dialogue>177-B-3</dialogue> <scene_description>Rose surfaces, aglow. She smiles to the other women on other side of pool. They smile back.</scene_description> <character>INT, LIVING ROOM - ESTATE - NIGHT</character> <dialogue>177-C</dialogue> <scene_description>BIG BAND MUSIC PLAYS. We're very CLOSE ON a pair of elderly hands dealing cards out for gin rummy. Now we SEE THE HAND OF AN ANTAREAN (without human husk) PICK UP A SET OF CARDS TO PLAY. PULLING BACK now, we SEE that Pillsbury (without his husk) and Joe are playing gin together. CLOSE ON ART AND BESS' UPPER 'rORSO 177-D as they dance elegantly to the BIG BAND SOUNDS. They are intensely attentive to one another, stare into each other's eyes as they do some of the best of their FRED ASTAIRE- GINGER ROGERS moves.</scene_description> <character>CLOSE ON ROSE</character> <dialogue>177-E</dialogue> <scene_description>as she gesticulates, enthusiastically tells a story to Jack • 1181 and Doc. Jack tries to be attentive, but is restless, bored silly, while Doc is totally engrossed, obviously fascinated. Cont. 177-E: • ROSE Those waters are wonderful! They remind me of the hot springs we used to visit when I was a little girl. I think the first time was nineteen-twelve. Daddy said ... (impression of father) ..• 'Don't go out too far, you don't X want to wind up on the bottom with the little fishies.' And the next summer I said ... {impression of little girl) ... 'Please please. Please can't we go X again! I want to wind up on the bottom with the little fishies, 1 But because my family lived in Chicago, my morruny said</scene_description> <character>DOC</character> <dialogue>Where in Chicago?</dialogue> <character>ROSE</character> <dialogue>I think it was the North side of Chicago. No, it was before we</dialogue> <scene_description>• moved to the North side. It must have been Rush Street. Jack shifts restlessly, stares across the room, sees something which takes his emotions by storm.</scene_description> <character>JACK'S P.O.V.</character> <dialogue>177-F</dialogue> <scene_description>as Kitty stands alone in the doorway, watches the dancing, card-playing. SHE LOOKS GORGEOUS, EXTRAORDINARILY SEXY. ON WALTER 177-G as he crosses the room, observes the dancing with mild consternation, smiles politely at everyone, goes to a window, looks out at the night sky. WALTER'S P.O.V. 177-H as the moon is in its 7/8 phase with dark, ominous clouds floating past it, partially obscuring it. As Rose goes on and on, Doc seems more and more absorbed, while Jack isn't even listening anymore. He's just staring at Kitty now. • ABl Cont • 177-H Cont . • ROSE Now our next door neighbors in that house turned out to be third cousins of my very, very best friend in the ...</scene_description> <character>JACK</character> <parenthetical>(rising)</parenthetical> <dialogue>You can tell me the punch line later.</dialogue> <character>ROSE</character> <dialogue>Should we wait for you?</dialogue> <character>DOC</character> <dialogue>No, no. Go on. I want to hear this now.</dialogue> <scene_description>Jack approaches Kitty now. She looks at him coyly, only after he taps her on the shoulder,</scene_description> <character>JACK</character> <dialogue>Let's try it your way.</dialogue> <character>INT.</character> <dialogue>POOL HOUSE -</dialogue> <scene_description>• We FOLLOW a trail of Jack's discarded clothing TO the perimeter of the pool, where Jack is naked in the water, leaning against the side of the pool. of the pool. PULLING BACK, we SEE that Jack is watching Kitty who is slowly undressing on the opposite side We only SEE Kitty's legs and the expression on Jack's face as more and more articles of her clothing drop INTO FRAME. Kitty, naked, in human form, slips into the pool, stares wide-eyed at Jack, who starts to approach her. Jack reaches out to touch her but Kitty backs away from him.</scene_description> <character>KITTY</character> <parenthetical>(breathless)</parenthetical> <dialogue>Please don't touch me.</dialogue> <character>JACK</character> <dialogue>Don't touch me? What is the big deal? I'll tell you the truth, you're not my first Antarean. I'm not going to name names.</dialogue> <character>KITTY</character> <dialogue>Shhh .</dialogue> <scene_description>• A81 Cont. 177-I Cont. •</scene_description> <character>JACK</character> <dialogue>I hope you.• re not going to take off your skifu. Because I do like skin on a X woman.</dialogue> <scene_description>Kitty watches Jack, transfixed. A luminous duplicate of Kitty's humanoid form, the essence of her alien being, --pulses and glows as it emanates from within her, then slowly rises off her body, glows brightly then rises up in the air as pure energy. This burst of Kitty's essence arcs around the pool house, gently ricochets off four walls, the floor, the ceiling then hovers toward Jack and suddenly meshes into him, disappears inside his body. Stunned, Jack glows briefly, closes his eyes, as Kitty watches. Kitty's "ghost" becomes a part of him. Jack relaxes, in ecstacy. Now a partially transparent, luminous duplicate of Jack leaves his body, gently ricochets around the room, then disappears within Kitty. She glows briefly, keeps intense eye contact with Jack. Jack is in total heaven.</scene_description> <character>JACK</character> <dialogue>If this is foreplay, I'm a dead</dialogue> <scene_description>• man .</scene_description> <character>OUT</character> <dialogue>177-J</dialogue> <character>INT. LIVING ROOM - ESTATE - NIGHT</character> <dialogue>177-K</dialogue> <scene_description>Pillsbury is by the window. Pillsbury looks out toward the pool house, smiles.</scene_description> <character>HIS P.O.V. - POOL HOUSE WINDOWS</character> <dialogue>as they pulsate with Jack and Kitty's light energy inside,</dialogue> <character>177-L</character> <dialogue>the extra-terrestrial equivalent of fogged-up car windows at a lovers' lane.</dialogue> <character>CLOSE ON ALMA AND DOC</character> <dialogue>177-M</dialogue> <scene_description>as they dance smoothly to the big band sounds. PANNING WITH them now, they pass by a ·chandelier. PULLING BACK, we SEE that they are in midair, twelve feet off the ground, dancing in a big band style blended with the way the Antareans danced in Jack's dreams. Preoccupied, Walter studies the dancing, the entire party scene, then leaves the others to their fun, hurries out of the room, glows a bit as his mind races, full of thoughts . • A81</scene_description> <character>OUT</character> <dialogue>183</dialogue> <character>178-</character> <dialogue>REVISED - "COCOON" - 8/15/84</dialogue> <character>76-A</character> <dialogue>• EXT. POOL HOUSE</dialogue> <scene_description>177-J-l (to replace 177-K 177-L) Art and Bess are walking hand in hand like teenagers.</scene_description> <character>ART</character> <dialogue>Will you live with me?</dialogue> <character>BESS</character> <dialogue>No.</dialogue> <character>ART</character> <dialogue>Alright, marriage. I'll go all the way. I don't care anymore.</dialogue> <scene_description>Art looks for a reaction. When he doesn't get one:</scene_description> <character>ART</character> <dialogue>This is the first time I've ever asked anyone this question sober. The least you can do is say yes •</dialogue> <scene_description>• BESS I've tried marriage. wrong man three times.</scene_description> <character>ART</character> <dialogue>I picked the</dialogue> <scene_description>I know none of them loved you the way I do.</scene_description> <character>BESS</character> <dialogue>Art, what if our relationship is purely physical?</dialogue> <character>ART</character> <dialogue>That's fine by me.</dialogue> <character>BESS</character> <parenthetical>(laughs)</parenthetical> <dialogue>Y'know •••• it's fine by me too.</dialogue> <scene_description>Art kisses her again. They walk hand in hand past the pool house. Behind them the pool windows pulsate with Jack and Kitty's light energy inside, the extra-terrestrial equivalent of fogged-up car windows at lovers' lane • • •</scene_description> <character>REVISED -</character> <dialogue>"SOCCON" -</dialogue> <character>EX~. HOUSE - NIG~T</character> <dialogue>183-.:\</dialogue> <scene_description>Bernie has worked his way through the ~ushes and is looking through the wi~dows of the house at the party i~side. He's mad. He goes up to the door and knocks o~ it. Not: ·,;i,:hout some fear.</scene_description> <character>I~T. LIVING ROOM -</character> <dialogue>NIGHT</dialogue> <scene_description>Everyone in the house is startled. Everyone stops. Ooc and ?illsbury hide. Ben indicates he'll get it. He goes to the door and opens it a crack, sees it's Bernie, opens it more as:</scene_description> <character>BERNIE</character> <dialogue>Where is she? X</dialogue> <parenthetical>(sees Rose)</parenthetical> <dialogue>Rosel!</dialogue> <character>BEN</character> <dialogue>Take it easy. Bernie. X</dialogue> <character>MARY</character> <dialogue>Let her stay. X</dialogue> <scene_description>• I den I t want her to be X a part of this •</scene_description> <character>ROSE</character> <dialogue>But I feel better. I feel so much better, Bernie.</dialogue> <character>BERNIE</character> <dialogue>I 1 rn hurt. Not by Rose. Because X she doesn't know any better. But you shouldn't have done this. You've shown real lack of respect for both of us.</dialogue> <character>R.OSE</character> <parenthetical>(going to Bernie)</parenthetical> <dialogue>Good-bye, Doc.</dialogue> <character>EX~.</character> <dialogue>BOWLING ALLEY -</dialogue> <scene_description>Ben, Mary 1 Joe 1 Al~ar Art and Bess cruise out of the bowli~g alley. '::'hey're carrying some bowling trophies they 1 ,1e just won. T:1ey are all giddy, excited, a bit drunk, except fer Jen who glances arou~d the street anxiously. As they ~ave toward the car, 3en gets in step with Art. • BEN We 1 re ~aking mistakes. Art waves a dismissive hand at ~is friend. adamantly. Ben shakes his head Ben unlocks the Packard and the ladies climb in. Cont.</scene_description> <character>A31</character> <dialogue>183-C Cont.</dialogue> <scene_description>• BEN I promised we could keep a secret.</scene_description> <character>JOE</character> <dialogue>Oh yeah, for God 1 s sakes everybody, let's not have too much fun. Be</dialogue> <character>X</character> <dialogue>sure and act old.</dialogue> <scene_description>Joe docs an imitation of an oldster. Everybody laughs but X Ben.</scene_description> <character>JOE</character> <dialogue>No thanks, I'm going to enjoy</dialogue> <character>X</character> <dialogue>every second. Where are we going now?</dialogue> <character>BEN</character> <dialogue>Home, if we don't want to blow it. X</dialogue> <character>JOE</character> <dialogue>Oh, come on.</dialogue> <character>ART</character> <dialogue>Let's go home, Joe.</dialogue> <scene_description>•</scene_description> <character>JOE</character> <dialogue>I'm not ready to go home, yet.</dialogue> <scene_description>Ben gets behind the wheel of his Packard, STARTS the ENGINE.</scene_description> <character>ART</character> <dialogue>(getting in car} Come on, Joe. Alone on the sidewalk, ,Joe paces. He is frustrated. Alma climbs out of the car to rejoin her husband.</dialogue> <character>ALMA</character> <dialogue>I'll stay with you, Joe.</dialogue> <character>JOE</character> <dialogue>No, you go on. I need some time alone.</dialogue> <scene_description>Startled and humiliated, too angry to speak, Alma climbs back in the car. Impatient with all this, Joe walks up the street, doesn't look back as the Packard pulls out, turns around, moves away in the opposite direction. • A81</scene_description> <character>OUT</character> <dialogue>197</dialogue> <character>183-D-</character> <scene_description>• (NOW SCENE 200-F) OUT:</scene_description> <character>183-G</character> <dialogue>183-H</dialogue> <character>(NOW SCENE 200-H 184-A</character> <dialogue>(NOW SCENE 150-A) 185</dialogue> <character>(NOW SCENE 150-B) 185-A</character> <dialogue>(NOW SCENE 150-C) 185-B</dialogue> <character>(NOW SCENE 150-D) 186</character> <dialogue>(NOW SCENE 150-E) 187</dialogue> <character>(NOW SCENE 150-F) 188</character> <dialogue>(NOW SCENE 150-G) 189</dialogue> <character>(NOW SCENE 150-H) 190</character> </scene> <scene> <stage_direction>€� INT. PACKARD - NIGHT</stage_direction> <character>OUT</character> <dialogue>197</dialogue> <character>192-</character> <dialogue>Alma watches her husband disappear behind them in the darkness of the downtown night.</dialogue> <character>EXT. SIDEWALK - DOWNTOWN - NIGHT</character> <dialogue>Looking like he doesn't have a care in the world, Joe saunters</dialogue> <character>199</character> <dialogue>down the street. He walks past McCrory' s. 'rhe lights are going off inside. It's obviously closing time. On a whim, Joe stops, peeks in the window.</dialogue> <character>JOE'S P.O.V.</character> <dialogue>200</dialogue> <scene_description>as the redheaded Waitress whom he had admired, flirted with, is putting on her coat, getting her purse from under the lunch counter, mouthing good nights to the manager, other employees. She carries her purse, a shopping bag, and her street shoes not the ones she's been wearing as a waitress. She waves good night to the manager and comes on out the door.</scene_description> <character>JOE</character> <dialogue>Hi.</dialogue> <scene_description>A8l Cont.</scene_description> <character>~EVTSED - "COCOON" - !3/12/84</character> <dialogue>200 Cont.</dialogue> <scene_description>• Wrl.ITRESS (:1ow no~icing Joel You got c:.eaned up. JOC: Oh, it ~as nothing. ts it too late ta get a cup of coffee?</scene_description> <character>WAITRESS</character> <dialogue>Here it is. Hold these for ~e.</dialogue> <scene_description>She hands him her purse, her shopping bag, and sli9s out of her waitress shoes and into her own, holding his arm for support. During the above:</scene_description> <character>JOE</character> <dialogue>There's a place open around the corner. I wonder if they have coffee.</dialogue> <character>WAITRESS</character> <dialogue>Probably.</dialogue> <character>JOE</character> <dialogue>Any chance of you joining me?</dialogue> <scene_description>WA.I·rRESS • That would be very nice • She takes back her purse, puts her waitress shoes in, and they go off.</scene_description> <character>OUT</character> <dialogue>200-A</dialogue> <character>INT. BEDROOM - LUCKETT APARTMENT - NIGHT</character> <dialogue>200-B</dialogue> <scene_description>~ary and Ben are fast asleep. We TIGHTEN ON Ben. He is tossi:1g and turning . His sleep is troubled. He is Creaming something. • A31</scene_description> <character>GLOWING, UNDULATING POOL WATER</character> <dialogue>200-C</dialogue> <scene_description>• The cocoons are open. The half-revived Beings float to the surface of the water but THEY HUM DREADFULLY. that the "physical therapy" is not working now. becoming more and more skeletal. THEIR HUM DRONES THIS SLOW DEATH. We SEE clearly They are They are disintegrating. It is painfully frightening. As life disappears from one cocooned Being, it floats to the surface of th8 water. THIS NIGHTMARE IS TRULY SOME KIND OF MASK OF DEATH.</scene_description> <character>BEN LUCKETT</character> <dialogue>200-D</dialogue> <scene_description>Terrified, he jumps up in bed. His "nightmare" is still vivid in his mind. Still sleeping, Mary reaches for Ben as he slips out of bed and struggles into a pair of pants.</scene_description> <character>EXT. GROUNDS - ESTATE - NIGHT (FORMERLY SC. 183-F)</character> <dialogue>200-E</dialogue> <scene_description>Ben moves toward the pool house. Lights burn from inside.</scene_description> <character>EXT. POOL HOUSE - NIGHT (FORMERLY SC. 183-G)</character> <dialogue>200-F</dialogue> <scene_description>As Ben gets to the front door and reaches for the knob, it opens from within. Totally shocked now, Ben enters .</scene_description> </scene> <scene> <stage_direction>€� INT. POOL HOUSE - NIGHT (FORMERLY SC. 183-H)</stage_direction> <scene_description>It is Walter who husk." His glow glows, also, are watches the pool opens the door. is dim. pale. The others are in the pool. Jack is also there. with fear and fascination.</scene_description> <character>200-G</character> <dialogue>He is without his "human</dialogue> <scene_description>Their He is speechless, Confused, Ben stares into the pool.</scene_description> <character>HTS P.O.V.</character> <dialogue>(FORMERLY SC. 184-A)</dialogue> <scene_description>as he sees that his "nightmare" is a reality. The cocooned Beings are skeletal, almost disintegrating. THIS IS THE FACE OF DEATH. Ben watches i t steadfastly now. He is unafraid.</scene_description> <character>WALTER</character> <parenthetical>( joining him)</parenthetical> <dialogue>We're trying to bring them back.</dialogue> <scene_description>Sadly, they watch. • Cont •</scene_description> <character>REVISED -</character> <dialogue>"COCOON" -</dialogue> <scene_description>• WALTER When t~e continent sank, these twenty were left behind. They 20'0-H Cont. were my friends. They stayed on until the end, working so the rest of us could escape. They've been living i~ the chrysalis state ever since, waiting to be set free. Ben and Walter stare at the weakening cocoons.</scene_description> <character>WALTER</character> <parenthetical>(sadly)</parenthetical> <dialogue>I may have miscalculated. It's not working fast enough. Our time here is almost at an end.</dialogue> <character>BEN</character> <dialogue>We</dialogue> <character>X</character> <dialogue>did this ..</dialogue> <character>WALTER</character> <dialogue>I let you •</dialogue> <character>X</character> <dialogue>•</dialogue> <dialogue>• Cont.</dialogue> <character>REVISED - ''COCOON'' - 8/:2/84</character> <dialogue>82-A</dialogue> <scene_description>• EX'l'. JOE i\t-lD ALMA'S .~PA8.'~X2NT - is heading toward Bess' house. spots her.</scene_description> <character>N.IG!-1~</character> <dialogue>Alma is just 1-eaving her porch. She has her suitcases and</dialogue> <scene_description>Joe is coming home, and</scene_description> <character>201-202 X</character> <dialogue>l\.LMA</dialogue> <scene_description>What's going on?</scene_description> <character>ALMA</character> <dialogue>If you're wondering what I'm doing out at 3 a.m., it 1 s all in the note on the door.</dialogue> <character>JOE</character> <dialogue>Where are you going?</dialogue> <character>ALMA</character> <dialogue>I'm getting away from you.</dialogue> <character>JOE</character> <dialogue>I don't know what you think I've been doing but ••••</dialogue> <character>ALMA</character> <dialogue>• I don't care what you've been doing •</dialogue> <character>JOE</character> <dialogue>I have never •••••</dialogue> <character>ALMA</character> <dialogue>Don• t lie to me. For God's sakes it's humiliating enough.</dialogue> <character>JOE</character> <dialogue>Don't keep walking .•.•</dialogue> <scene_description>I then) It's the pool .•••</scene_description> <character>ALMA</character> <dialogue>It's not the pool, it's not the waters, its not the first time ....</dialogue> <character>JOE</character> <dialogue>Alm.a!</dialogue> <character>ALMA</character> <dialogue>! knew. I always knew. I pretended to be stupid and I guess I really was.</dialogue> <character>JOE</character> <dialogue>• Cont.</dialogue> <scene_description>REVISED - "COCOON" - 8/12/84:</scene_description> <character>82-B</character> <scene_description>• ALMA But you're the stupid one because it has been so good between us. Cont. X</scene_description> <character>JOE</character> <dialogue>Nothing has to change.</dialogue> <character>ALMA</character> <dialogue>Go home; don't ~ake yourself look any more ridiculous than you already are. I'm happy you're going to live, Joe. But I've got to live too .</dialogue> <scene_description>• Cont • • /'.\81</scene_description> <character>REVISED -</character> <dialogue>''COCOON" -</dialogue> </scene> <scene> <stage_direction>€� INT. JI~ING HALL - DAY</stage_direction> <character>OUT</character> <dialogue>202 Cont.X</dialogue> <character>X</character> <dialogue>Art, Bess and ~lma enter. Bernie and Rose are already seated, X as is Joe. Alma now seats herself at a separate table with Bess while Art joins Joe, Bernie and Rose.</dialogue> <dialogue>Joe is glaring at Alma. Everybody eats silently. Rose doesn 1 t look well. She can't handle her utensils so Bernie starts feeding her.</dialogue> <character>ART</character> <dialogue>Joe ••• Joe •.. X</dialogue> <parenthetical>(sits down)</parenthetical> <dialogue>Try to relax. Are you up for a swim maybe?</dialogue> <character>JOE</character> <dialogue>Sure.</dialogue> <character>BERNIE</character> <dialogue>The pooll The ~ool! Can't you</dialogue> <scene_description>• think about anything else?!</scene_description> <character>ART</character> <dialogue>If you and Rose would come with us you'd feel differently. X</dialogue> <scene_description>Cont • •</scene_description> <character>REV:SED - ''COCOON'' - 8/12/84</character> <dialogue>84</dialogue> <scene_description>• Rose's eyes light ~p.</scene_description> <character>BERNIE</character> <dialogue>We don't want to feel differently.</dialogue> <scene_description>204 Cont.X We like the way we feel.</scene_description> <character>JOE</character> <dialogue>She needs it, Bernie.</dialogue> <character>SRT</character> <parenthetical>( softly)</parenthetical> <dialogue>we should discuss this later.</dialogue> <character>BE:RN"IE</character> <parenthetical>( shouting)</parenthetical> <dialogue>·rhere's nothing to discuss.</dialogue> <character>JOE</character> <dialogue>Because you're a hardhead, Bernie. You're the most :rightened man I've ever known.</dialogue> <character>BERNIE</character> <dialogue>• Oh, Christ.</dialogue> <scene_description>t O :f.2::.. I don't have to listen</scene_description> <character>JOE</character> <dialogue>If you stay at this table, I think you do.</dialogue> <scene_description>Bernie waves an arm, ~oints toward Alma at the next table.</scene_description> <character>3ERNIE</character> <dialogue>You think you're in such great shape, Finley. Your marriage is what's terminally ill now.</dialogue> <character>JOE</character> <dialogue>You old Oastardl</dialogue> <scene_description>Bernie rises angrily. Cont • •</scene_description> <character>REVISED - "COCOON" - 8/12/84</character> <dialogue>85</dialogue> <scene_description>• BERN'IE (too loud) Old is right. I don't want to be 204 Cont.1</scene_description> <character>X</character> <dialogue>young again. Your life is a mess because o= that fountain of youth. I don't care how healthy you think you are.</dialogue> <scene_description>Old people at other tables t'..lrn around to listen to Bernie.</scene_description> <character>JOE</character> <dialogue>Sit down, Bernie.</dialogue> <scene_description>Bernie takes Rose by the hand, lifts her up from the table.</scene_description> <character>BERNIE</character> <parenthetical>(still shouting)</parenthetical> <dialogue>We don't want any part of that X Goddamned pool house. You keep your Goddamned fountain of youth. We don't want any part of that Goddamned pool house. No wonder. your wife has no use for yout</dialogue> <scene_description>• Jee explodes toward Ber~ie. swing at him. He circles the table, In the meantime:</scene_description> <character>POPS</character> <dialogue>It's next door, isn't it? It's that pool over there, right?</dialogue> <scene_description>is about to Dexter and Pine rush over, grab Joe, try to restrain him, but Joe shakes them off like Hercules. Jae goes after Bernie again. Dexter and Pine grab Joe agai:,, Be shakes them off, swings 3.t Dexter, sends him flying, then swings at ?ine, knocks hi~ out cold. During the above, the other old 9eople in the dining room, shocked by what they have seen and heard, have been stampeding out of the d:'..ning room. Art crosses to Joe, takes hold of him. Joe is now near X another table - he looks about.</scene_description> <character>JOE</character> <dialogue>(realizes what'3 happening)</dialogue> <character>X</character> <dialogue>Oh Jesus.</dialogue> <character>OUT</character> <dialogue>203</dialogue> <scene_description>• ~XT. FOLIAGE ALONG FE~CS - DAY break ooen the gate. Others cliDb the ~ence. As various old people from the dining hall s:ruggLe through, then A few, already on the other 3ide, are rushing toward the pool house. A3l Cont. REVISED - "C0C00'!'l" - 8/12/84 • SXT. POCL HOUSE - ES~ATS - DAY</scene_description> <character>OUT</character> <dialogue>206 Cont. X</dialogue> <scene_description>A dozen old people are at the front door. They press against it, try to O9en it as Art and Joe hurry toward them. Ben, with Mary behind him, hurries toward the estate, drawn by the uproar. Cont • • • REVISED - "COCOON" - 8jl2/8~ • Stop!</scene_description> <character>BEN</character> <dialogue>Please!</dialogue> <scene_description>20'8 Cont.</scene_description> <character>X</character> <dialogue>Only a couple of these desperate old peop:e turn around to listen to Ben.</dialogue> <character>INT. POOL HOUSE - DAY</character> <dialogue>209</dialogue> <scene_description>Ben, Art, Joe hurry in, watch gravely as a dozen old peoplefrom the home get in the water~ Some strip down to boxer shorts and undershirts. A few skinny dip. ~women bring a cocoon up from the bottom of the pool, lift it out of the water to examine it, try to crack it open. People drin~ cup after cup of the pool water while others carefully fill up mayonnai.se jars, plastic jugs to take home.</scene_description> <character>EXT. DOCK - ESTATE - DAY</character> <dialogue>The Manta rrr speeds back to shore.</dialogue> <character>210</character> <dialogue>Walter jumps. off before it</dialogue> <scene_description>• even stops, runs toward the pool •</scene_description> <character>INT. POOL HOUSE - DAY</character> <dialogue>211</dialogue> <scene_description>Art, Joe, Ben are trying to drag people out of the water but they are clearly overwhelmed as people keep jumping back in or slip friskily out of their grasps. Walter bursts in. One by one, the people in the pool notice him, stop what they ar~ doing.</scene_description> <character>WALTER</character> <parenthetical>(finally bellowing)</parenthetical> <dialogue>Get cut! Everybody! Out! You are trespassi:1g.</dialogue> <parenthetical>(choking back tears)</parenthetical> <dialogue>Put down the cocoons!</dialogue> <parenthetical>(summoning cJP strength)</parenthetical> <dialogue>I'm calling the police! Everybody out!</dialogue> <scene_description>Ben, Art: and Joe stand to t:'l.e side as people get out of t:le w,3.ter, pick up their clothes, leave. •</scene_description> <character>~XT. GROONDS - ES~ATE - DAY</character> <dialogue>Doc, Pi:lsbury, Kitty and Jae~ r~sh up Erom the dock as the old people from the dining hall hurry back coward the retirement community.</dialogue> <scene_description>A8l</scene_description> <character>INT. POOL HOUSE - DAY</character> <dialogue>213</dialogue> <scene_description>• Jack helps as Doc, Pillsbury, and Kitty join Walter in performing intricate chemical analysis, medical tests on the cocoons and the pool water. They work quickly, desperately, pass equipment to each other without looking at what they are doing. Ben, Art and Joe watch regretfully as Walter carefully examines the cocoon which had been pulled out of the water. Walter cracks open the cocoon. We SEE death, just as in Ben's dream. Pillsbury, Doc, and Kitty look toward Walter now. They look sad, drained, terrified.</scene_description> <character>WALTER</character> <dialogue>The life force is completely drained from the water. We're not going to be able to bring them back.</dialogue> <scene_description>Walter turns and goes into the house. Nothing for Ben to do but leave. EXT. POOL HOUSE - ESTATE - SUNSET 214 Ben, Joe and Art walk dejectedly away from the pool house. Mary is waiting for Ben. She puts her arm around Ben and the two walk back to their home . • OUT</scene_description> <character>INT. BEDROOM - BERNIE AND ROSE'S EFFICIENCY APARTMENT 219</character> <dialogue>- NIGHT</dialogue> <character>214-A-</character> <dialogue>Bernie is sitting in a chair, reading a book. He checks his watch. Rose is next to him, chattering away and looking ill.</dialogue> <character>ROSE</character> <parenthetical>(rambling on)</parenthetical> <dialogue>•.. So when Max saw me with the sweater with the mouton collar and the ivory buttons, he said, 'Rose, where the hell did you get that sweater?' I stayed mum. Because I knew you stole it. But you stole it for me. And Max never stole anything for me, And he never made anything as beautiful as that collar. Max couldn't do anything with his hands, except when they were all over me.</dialogue> <scene_description>Bernie looks at Rose. The two establish eye contact . • A81</scene_description> <character>ROSE</character> <dialogue>But you wouldn't even kiss my cheek without asking. Dumping Max was the smartest move I ever made.</dialogue> <scene_description>Cont, 219 Cont. • A moment, then:</scene_description> <character>BERNIE</character> <parenthetical>(sweetly)</parenthetical> <dialogue>It's time for your medicine. I'll get it.</dialogue> <scene_description>Bernie gets up and goes into the bathroom. X</scene_description> <character>INT. BATHROOM - NIGHT</character> <dialogue>219-A</dialogue> <scene_description>Bernie has come into the bathroom during the above. Suddenly, Rose has stopped. It's as if a radio has been turned off. Bernie is aware of this. He thinks it's odd. He goes back into the bedroom. INT. BEDROOM - NIGHT 219-B Bernie enters. Rose is lying in bed, quiet.</scene_description> <character>BERNIE</character> <dialogue>Rose.</dialogue> <scene_description>She doesn't answer. •</scene_description> <character>BERNIE</character> <parenthetical>(softly)</parenthetical> <dialogue>You asleep?</dialogue> <scene_description>She still doesn't say a word. Though her eyes are open, she seems unconscious. Bernie shakes her gently. He draws closer to her now as he realizes she is lifeless, not responding at all.</scene_description> <character>BERNIE</character> <parenthetical>(louder)</parenthetical> <dialogue>Rose! ! !</dialogue> <scene_description>He shakes her harder now, tries to bring her to life. Very obviously, she is dead. Desperate, he scoops her up in his arms.</scene_description> <character>BERNIE</character> <dialogue>I'm sorry Rose. I'm sorry.</dialogue> <scene_description>Bernie lifts her up now, carries her out to the living room with great difficulty.</scene_description> <character>OUT</character> <dialogue>223</dialogue> <character>220-</character> <dialogue>• A81</dialogue> <scene_description>•</scene_description> <character>SXT, OPEN FIELD - NIGH~</character> <dialogue>224</dialogue> <scene_description>Bernie carries Rose across the grounds toward the entrance to the estate. It's tough carrying her. A real struggle. He staggers a few times. He 1 s straining and crying and suffering. Adrenalin is shooting through his body, hel~ing him in this tremendous effort.</scene_description> <character>OUT</character> <dialogue>224-A</dialogue> <character>EXT. POOL HOUSE - ESTATE - NIGHT</character> <dialogue>225</dialogue> <scene_description>Bernie carries Rose toward the door.</scene_description> <character>INT. POOL HOUSE - NIGHT</character> <dialogue>226</dialogue> <scene_description>The cocoons are stil~ in the bottom of the pool. Bernie carries Rose inside, walks down the steps into the shallow end of the pool, until Rose's body is submerged, though her head is still above water. Bernie is exhausted.</scene_description> <character>BERNIE</character> <dialogue>I'm sorry, Rose. I'm so sorry.</dialogue> <scene_description>Walter enters the pool house, sadly watches Bernie • • Bernie doesn't know he is there, gently splashes water on Rose 1 s cheeks, waits hopefully for his wife to be revived. But Rose isn't coming back4 The water has lost its powers. Finally, Ber.1ie feels Walter's presence, looks over to him.</scene_description> <character>BERNIE</character> <dialogue>Can you help me? I ':lave to do something -:or her? She. She's •••</dialogue> <character>WALTE~</character> <dialogue>The pool won't do it, Bernie. It's too late.</dialogue> <scene_description>Walter studies Bernie now, feels the old man's misery. BEiHHE="; (desperate) I'll give you everything I've got.</scene_description> <character>WALTER</character> <parenthetical>(deeply saddened)</parenthetical> <dialogue>I wish I could help her, but it's too late.</dialogue> <scene_description>•</scene_description> <character>OUT</character> <dialogue>229</dialogue> <character>227-</character> <scene_description>REVISED - "COCOON" - 8/12/84: • SX':'. GROUNDS - RETIRE:--!ENT COMMm.lITY - NIGHT A coroner's truck is parked in front of Rose and Bernie's apart~ent. vehicle. Bernie watches sadly as Rose is wheeled up into the Ben and Mary are by his side. Art, Bess, Alma hurry over in bathrobes. Now Joe appears. Joe goes over to Alma. Alma immediately leaves to comfort X Bernie. As the coroner 1 s truck drives away, Joe, Alma, 3ess, Mary and Art escort Bernie back inside his house. Ben lingers alone outside. Then he moves into the foliage towards the estate next door. EXT. ~ANSION - ESTATE - ~IGHT 230-A Ben RINGS the DOORBELL. Walter opens the door.</scene_description> <character>BEN</character> <dialogue>I figured you were gonna tie getting the hell out of here after what</dialogue> <scene_description>• Walter nods silently. happened ~oday, and I just wanted to let you know ..• I'm sorry, Walter. Sorry I let you down. Walter seems weak for the first time, strangely immobilized, as though he cannot come· to grips with the failure of his ~ission.</scene_description> <character>WALTER</character> <dialogue>~ had never experienced the panic associated with death before. I'd never had one close to me die.</dialogue> <character>BEN</character> <dialogue>It's terrible.</dialogue> <character>WALTER</character> <parenthetical>(lost)</parenthetical> <dialogue>But you understand it.</dialogue> <scene_description>3en shakes his head no.</scene_description> <character>SEN</character> <dialogue>I accept it.</dialogue> </scene> <scene> <stage_direction>. WALTSR</stage_direction> <scene_description>{pause, slowly) I'd like to learn how to do that.</scene_description> <character>BSN</character> <dialogue>Can you take the cocoons back the way they are new?</dialogue> <scene_description>ASl Cent.</scene_description> <character>REVISED -</character> <dialogue>"COCOON" -</dialogue> <scene_description>• WALTER They wauldn I t survive the flight. 230-A Cont.</scene_description> <character>BEN</character> <dialogue>Can you put them back in the ocean floor?</dialogue> <character>WALTER</character> <dialogue>Two are gone.</dialogue> <parenthetical>(almost in tears)</parenthetical> <dialogue>My friends.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>There isn't time to put them all back in the ocean. We have to leave tomorrow.</dialogue> <scene_description>Walter walks away. Both men know that leaving the cocoons in the pool will end up with the cocoons being picked apart and destroyed by humans one way or the other. Ben follows Walter.</scene_description> <character>BEN</character> <dialogue>Walter •••</dialogue> <scene_description>• Walter stops and turns .</scene_description> <character>BEN</character> <dialogue>We'll help you.</dialogue> <character>EXT. POOL HOUSE - ~IGHT</character> <dialogue>230-B</dialogue> <scene_description>Art, Ben, Joe, Bess, Alma and ~ary carry cocoons toward the dock, a:ong with Walter, Doc, Pillsbury, Jack and Kitty. Joe looks at A:ma, but Alma doesn't look at Joe. He watches her a little as they both work.</scene_description> <character>EXT. DOCK -</character> <dialogue>NIGHT</dialogue> <scene_description>All are working together to get the cocoons onto Manta III. It's starting to rain. They're all working as hard as they can.</scene_description> <character>BEN</character> <parenthetical>(to Walter)</parenthetical> <dialogue>Storm coming u~ ••• But it doesn't have to stop us.</dialogue> <scene_description>Joe and Alrna at one point find themselves each at one end of the same cocoon. ~hey work together to load it onto the boat, but clearly there is a tremendous tension between the two. No words are spoken, and Al~a doesn't even look at Joe. • EXT. OCEAN - i)AWN The ~anta III '.cl.Oves out to sea.</scene_description> <character>230-0</character> <dialogue>X</dialogue> <scene_description>ASl</scene_description> <character>REVISED -</character> <dialogue>"COCOON"</dialogue> </scene> <scene> <stage_direction>€� EXT. MANTA III - 230E - 247A = DAY</stage_direction> <scene_description>The ENGINES STOP as they anchor at their usual diving spot.</scene_description> <character>230-E</character> <dialogue>The</dialogue> <scene_description>deck is packed with cocoons. Walter, Doc, Kitty, Pillsbury, Jack put on di?ing gear, help Art, Alma, Ben, Joe, Bess, and Mary into diving gear. X:</scene_description> <character>EXT. UNDERWATER - DAY</character> <dialogue>230-F</dialogue> <scene_description>Pulling net sacks containing cocoons, f:anked by dolphins, Art, Bess, Ben, Mary, Joe, Alma, Jack follow Kitty, Doc, Walter, Pillsbury thr:::iugh a "blue hole, 11 a dark, narrow underwater cave. Finally, the blue hole widens, We are in an underwater excavation site. Doc, Walter, Kitty, Pillsbury, Art, Bess, Ben, Mary, Joe and Alma are replacing cocoons in a mausoleum-like series of cubicles in a specially constructed wall. Jack, Art, Ben, Joe stare around in ama z:emen t. THEIR P.o.v. 230-G as pieces of futuristic-looking automobiles, clothing, items of furniture, photographs, broken walls, parts of homes, a remnant of some type of house of worship are all VISIBLE in this corner of much more vast ruins of some kind of lost city • • EXT, MANTA III - JAY 230-H The last of the cocoons are gone from the decks. Ben pulls Walter up from teh water. Waltet:, Doc, Kitty, Pillsbury, Art, Bess, Ben, Mary, Joe and Alma take off their diving gear as Jack STARTS the ENGINES, pulls up the anchor and heads back to the estate. X:</scene_description> <character>EXT. OCEAN - NEAR ESTATE - DAY</character> <dialogue>230-I</dialogue> <scene_description>The Manta III cuts a quick path toward the dock.</scene_description> <character>EXT. DECK - MANTA III - DAY</character> <dialogue>As they a!?proach tl1e dock Walter sees something disturbing, hurries</dialogue> <character>23~-J</character> <dialogue>up to the bridge, keeps his eyes glued to the estate.</dialogue> <dialogue>WALTER'S P.o.v. 230-K</dialogue> <dialogue>of the estate. Throngs of Old People have overrun the place. They are all around the pool house, waiting to get inside, milling around t~e grounds, hosing each other down, sitting under lawn sprinklers that run full blast, or just standing on the lawn, waiting, hoping. Nothing is doing any good. The Old People are variously frustrat.ed, crying, angry, in :;,ain.</dialogue> <scene_description>• I~T. BRIJGE - DAY 230-L X Walter bursts in. Cont. •</scene_description> <character>JEVISE8 -</character> <dialogue>'1 20COON'' - 8/12/34</dialogue> <scene_description>230-L Cont.X</scene_description> <character>WALTSR</character> <parenthetical>(1:c Jack)</parenthetical> <dialogue>Qock somew~ere else.</dialogue> <scene_description>Ge-;: out: of Clere. (then} :Jrop them off. (indicates Ben, Mary, Joe, Alma, Art, and Bess) We'll sleep on the boat tonight.</scene_description> <character>EXT. DECK - MANTA III - DAY</character> <dialogue>230-M</dialogue> <scene_description>Art, Bess, Ben, Mary, Joe and Alma stare in disbelief at the spectacle at the estate. Walter stands nearby Ben. They're not near any of the others. They stand together, silently looking out to sea. A nice moment between the two.</scene_description> <character>WALTER</character> <dialogue>I wa~t you to consider very caref~:ly what I'm about to suggest to you. You and your friends seem to want what we I ve got. We have room X</dialogue> <scene_description>• for you and thirty more of your people • They all react.</scene_description> <character>WAL'I'ER</character> <dialogue>It's not possible to explain in human t:erms what you'd experei:1ce. You'd be teachers. You'd be X explorers. T~e '.lew civilizations we 1 :l be traveli~g to won 1 t be like anywhere you've been. You 1 d lead useful lives,</dialogue> <character>BEN</character> <dialogue>Forevet?</dialogue> <character>WAL'::"SR</character> <dialogue>We don't know what forever means.</dialogue> <character>OUT</character> <dialogue>232</dialogue> <character>231-</character> <dialogue>23 3</dialogue> <scene_description>:r. a•,.;e .3.'.ld wonderme:1t, 3e:1, :1J.r:'J, Sess, Joe and :'t.lma wsl',:;, ;;low::.:z • back toward name . 3en ar.d :fory. Ben dri?ing. ~ary is thinking.</scene_description> <character>BE:;</character> <dialogue>Second thoughts?</dialogue> <scene_description>Cont. 233-A Cont. • MARY Maybe it's not right.</scene_description> <character>BEN</character> <dialogue>You think it's cheating nature like Bernie said?</dialogue> <character>MARY</character> <dialogue>Kind of.</dialogue> <character>BEN</character> <dialogue>Well, lately, nature's been cheating us, so I wouldn 1 t mind turning the tables on her.</dialogue> <scene_description>Mary can't help but agree.</scene_description> <character>OUT</character> <dialogue>237</dialogue> <character>234-</character> <dialogue>EXT. MODERN DUPLEX (SEMI-DETACHED) HOUSE - SUBURBAN</dialogue> <dialogue>NEIGHBORHOOD - DAY</dialogue> <character>238</character> <dialogue>Kids play out on the street. Ben and Mary stand by the front door, RING THE BELL .</dialogue> <scene_description>• Mom!</scene_description> <character>SUSAN</character> <parenthetical>(opening, very surprised)</parenthetical> <dialogue>Dad!</dialogue> <scene_description>They greet each other and come into the house.</scene_description> <character>INT. LIVING ROOM - DAY</character> <dialogue>239</dialogue> <scene_description>While Susan and her mother arc hugging:</scene_description> <character>BEN</character> <dialogue>Where's David?</dialogue> <character>SUSAN</character> <dialogue>In his room. Go on up.</dialogue> <character>INT. DAVID'S ROOM - DAY</character> <dialogue>240</dialogue> <scene_description>Bright, colorful high-tech decor filled with a mass of toys, thousands of baseball cards, piles of comic books, a small mountain of computer game cassettes. Ben sits on the unmade bed. He watches David set up a game on his computer module.</scene_description> <character>BEN</character> <dialogue>• ABl</dialogue> <scene_description>If a person had a chance to go to outer space, David, what do you think he should do? Should he go? Cont. 240 Cont • • DAVID Like an astronaut?</scene_description> <character>BEN</character> <dialogue>Further than that. So far he probably wouldn 1 t ever get to come back.</dialogue> <scene_description>Now, David frowns at his grandfather.</scene_description> <character>DAVID</character> <parenthetical>( skeptic a I)</parenthetical> <dialogue>Deep space?</dialogue> <scene_description>Ben nods "yes."</scene_description> <character>DAVID</character> <dialogue>Would you do it?</dialogue> <character>!JEN</character> <dialogue>I'd be sad to say good-bye to you and your parents, but ... at my age, there isn't much time left for your grandmother and me here,</dialogue> <scene_description>•</scene_description> <character>DAVID</character> <dialogue>You have things to do. You can do anything I can do.</dialogue> <scene_description>Ben shakes his head.</scene_description> <character>BEN</character> <dialogue>Getting old can be very aggravating, David.</dialogue> <character>DAVID</character> <dialogue>It never bothered you before.</dialogue> <character>BEN</character> <dialogue>I never had a choice. Outer space doesn't sound like such a bad deal right now.</dialogue> <character>DAVID</character> <parenthetical>(incredulous)</parenthetical> <dialogue>Who is going to take you to outer space?</dialogue> <character>BEN</character> <dialogue>I can't talk about it .</dialogue> <scene_description>• A81</scene_description> <character>DAVID</character> <dialogue>What kind of story is this?</dialogue> <character>BEN</character> <parenthetical>(earnestly)</parenthetical> <dialogue>It's not a story! Cont.</dialogue> <scene_description>• ~EVISEJ - ''COCOON" - 3/12/84</scene_description> <character>DAVIJ</character> <dialogue>Did you tell Mom about this?</dialogue> <dialogue>240 Cont.lX</dialogue> <character>BEN</character> <dialogue>She'd think I was crazy.</dialogue> <character>DAVID</character> <dialogue>Hey, I'm not exactly convinced you've got all your marbles.</dialogue> <character>BEN</character> <dialogue>I wouldn't make something like this up.</dialogue> <scene_description>David studies Ben. Then:</scene_description> <character>BEN</character> <dialogue>This is just between us, David.</dialogue> <scene_description>David nods. They hug as if an important pact had been drawn. X • We can SEE the tears in Ben's eyes . But we can also SEE that David is very worried about his grandfather's sanity right now. EXT. SUSAN'S HOME - DAY 240-A Mary and Susan walk out to the Packard which glistens in the driveway.</scene_description> <character>MARY</character> <dialogue>You Know how much 'Ne love you, Susan.</dialogue> <scene_description>St;SAN (flirpant) Of course I do. Look, is this a new guilt trip or the same one as usual? Mary stops, faces her daughter squarely.</scene_description> <character>MA.R.Y</character> <dialogue>! just don't ~ant you to forget how m~ch we care no matter what we say •••</dialogue> <parenthetical>(r,ause)</parenthetical> <scene_description>• • ,.or co • Cont.</scene_description> <character>REVISED -</character> <dialogue>"COCOON" -</dialogue> <scene_description>• 240'-A Cont.</scene_description> <character>SUSAN</character> <parenthetical>(distu::::bed)</parenthetical> <dialogue>I won' t, Mam.</dialogue> <scene_description>Ben and David step out the front door new, linger on the lawn.</scene_description> <character>DAVID</character> <dialogue>(choked up} 'Bye, Grandpa. Mary hugs David now, as Ben leans out, squeezes his daughter's hand, kisses her cheek. BEN</dialogue> <scene_description>Good-bye, sweetheart. We' 11 be thinking of you. Susan senses his emot:onal state; she squeezes his hand, 9ats his ar~, ~issed his cheek. Susan and David stand together on the driveway, watch Ben and Mary wave good-bye as the Packard drives off.</scene_description> </scene> <scene> <stage_direction>€� EXT. BESS' APARTMENT - DAY</stage_direction> <scene_description>Hesitant, Joe knocks. Bess opens the door. Without a word, Bess goes away, leaves the door open. APPEARS. She stares gravely at her husband. Alma</scene_description> <character>240-B</character> <dialogue>He leans over to kiss</dialogue> <scene_description>her, ;:')ut she backs away.</scene_description> <character>ALMA</character> <dialogue>You can come in for a few minutes.</dialogue> <character>INT. BESS'</character> <dialogue>LIVING ROOM -</dialogue> <scene_description>Jae and Alma sit apart from each othe:::: as though they are courting.</scene_description> <character>JOE</character> <dialogue>They say if we go with them, we'll live forever. That's gooa X because we 9robably need an eternity before you're going to forgive me.</dialogue> <scene_description>Joe smiles sheepishly ac his own joke. Alma doesn't find that funny at all. S~e just stares at Joe. •</scene_description> <character>JOE</character> <dialogue>:'ve been cidiculous, Alma. I'm sorry.</dialogue> <scene_description>Cont.</scene_description> <character>REVISEJ - "COCOON'' - 8/12/84</character> <dialogue>98</dialogue> <scene_description>24-i:T-C Con:.. JOE (Cont.) (shakes head) You're the best -:hing tha::'s ever X happened to me. You know that. She still won't speak.</scene_description> <character>JOE</character> <dialogue>And, I want to go, but if it's a X choice of livi~g six more months here with you or living fore7er all by ~yself, well, I'll take the six months with you. I don't want to live forever if you're not going to be with me.</dialogue> <scene_description>There are tears in Alma's eyes as she reaches out to Joe, X INT. :,ocJJ..L SAVI~GS BANK - DAY 241</scene_description> <character>YOUNG TELLER</character> <dialogue>You'll be closing your account,</dialogue> <scene_description>• then, ~r. Selwyn?</scene_description> <character>ART</character> <dialogue>Yes, I will.</dialogue> <character>YOUNG 'I'ELLER</character> <dialogue>{skeptical)</dialogue> <scene_description>All in hundred dollar bi:ls? Art Sel'.&gt;lyn :iods yes; the Young Teller counts out a thick wad Qf bills into his hand.</scene_description> <character>ART</character> <dialogue>(handing he:r hundred dollar bill I '!'his is foe you. YOONG TELLSR</dialogue> <scene_description>{f?rotest:.ng} Sir! Before she can hand it back to him, ,!;,rt Selwyn marches t0 t:he door.</scene_description> <character>EXT. SIDEWALK - ~AIN STREET -</character> <dialogue>SU~SERT BEACH - DAY</dialogue> <scene_description>• As Art Selwyn walks down the street, si:1gi:1g ''Racing Wit~ T~e Moon'' he hands a hundred dollar :JiL. to evsry 9asserby. . o:eased. . Some refuse it as thouah it's a circular. Some rush away, away without looki □ g at it, but ~ore and more oeoole st3rt fo::.lawing him, gi::abbing :::n secor.ds. thoroughly enjoys bei:ig the Pied ?iper. Some t~row it 3eaming, ~ Art Selwyn • r:-;T. HALLiiiAY - RES:' HOME - DAY' 243 Bernie walks down a residential cocridor, enteres the community's cha9el.</scene_description> <character>IN~. CHAPEL - RES! HOME - ~AY</character> <dialogue>244</dialogue> <scene_description>Bernie sits in a pew, looks up at the stained glass above the the alter.</scene_description> <character>INT. HALLWAY - REST HOME - DAY</character> <dialogue>245</dialogue> <scene_description>Looking like the ombudsmen again now, Art and Ben stride purposeful~y down the corridor. ~ncient residents in wheelchairs or moving slowly along on their feet wave "hello" feebly or just glance up at Art and Ben as they pass.</scene_description> <character>INT. ATTENDANTS'</character> <dialogue>STATION - REST HOME - JAY</dialogue> <character>INT. POPS AND S~ILEY'S ROOM -</character> <dialogue>DAY</dialogue> <scene_description>Art and Ben strut inside. Ben carefully shuts the door behind them. Smiley sits up i~ bed. ?ops j,mps out of bed, starts to pace . • Art and Ben nod yes.</scene_description> <character>POPS</character> <dialogue>And you definitely tr~st them?</dialogue> <character>3EN</character> <dialogue>We've given it a lot of thought.</dialogue> <character>ART</character> <dialogue>Men should be exp:ore=s, X no matter hew old they are.</dialogue> <character>BSN</character> <dialogue>:-lomen too. X</dialogue> <character>ART</character> <dialogue>What they offer ~ay be :co good to be tr~e, but we're wi:ling to take our chances.</dialogue> <character>POPS</character> <dialogue>I can't spea~ for anybody else y~t, b~t S~i:~y and I are ready ':o split •</dialogue> <scene_description>• A.8l</scene_description> </scene> <scene> <stage_direction>€� EXT. BERNIE'S -DAY</stage_direction> <scene_description>Ben, ~ary, and A:1..~a a::::e waiting outside Bernie's apartment. Dolly around to 'Nindow and see Joe asking 3ernie to come with them.</scene_description> <character>X</character> <dialogue>But Bernie won't even hear it. He's too sad. He just waves his hand no.</dialogue> <dialogue>Joe heads out of the apart~ent. As he passed by the window X Joe lets Ben, Mary a~d Ala know that it's no soap with Bernie.</dialogue> <dialogue>INT. WEDOI!,lG CHAPEL - :JAY 247-A We're TIGHT ON Art and Bess. We can't see where they are as they glance around anxiously.</dialogue> <character>ART</character> <dialogue>Are you nervous?</dialogue> <character>BESS</character> <parenthetical>( looks nervous)</parenthetical> <dialogue>Me?? ~ol t</dialogue> <character>ART</character> <dialogue>You're sure you wnat to do this?</dialogue> <scene_description>•</scene_description> <character>X</character> <dialogue>BESS</dialogue> <scene_description>Once I ~ake a decision, Arthur, I never ~urn back.</scene_description> <character>ART</character> <dialogue>T~is is a big one.</dialogue> <character>BESS</character> <dialogue>I know it is, Arthur.</dialogue> <scene_description>The CAMERA PULLS BACK as they walk down the aisle. We SEE that they are in a tiny wedding chapel, that a Reverend waits to marry them. OfJT 248-</scene_description> <character>SXT. DOCK - !STATE - ~!GHT</character> <dialogue>The full ~oon shines brightly int he middle of the starry</dialogue> <character>253</character> <dialogue>night sky, brillia~tly :ighting the calm surface of the ocean. Jack is aboard cte ~ant3 II! egai~, tinkering on the bcidge.</dialogue> <character>:~T. BEN AND MAR~'S LI?!~G ROOM - JAI 254-A</character> <dialogue>• 3en is removi~g framed fami:y 9hotog:aphs from the wall</dialogue> <scene_description>jookcase, ~~i:e ~acy ~raps them, ;:a~es ~jem carefully into a sma:1 suitcase. David. She stops Eor n DOffian~ at a photograph of</scene_description> <character>INT. RESIDENTIAL UNIT - REST HOME - NIGHT</character> <dialogue>255</dialogue> <scene_description>• Pops and Smiley finish dressing in the darkness. They' re X putting on theic best clothes. They stuff piles of clothing under their blankets, artfully creating the appearance of two human forms in their beds.</scene_description> <character>INT. HALLWAY - REST HOME - NIGHT</character> <dialogue>256</dialogue> <scene_description>It is lights out, very quiet. Pops and Smiley step outside X their room and meet some people who are also dressed well, some in wheelchairs and walkers. All u.rc carrying their belongings with them. On a nod from Pops, all of them move down the hallway. INT. HALLWAY - REST HOME - NIGHT 256-A</scene_description> <character>INT. ATTENDANTS' STATION - CORRIDOR - REST HOME</character> <dialogue>- NIGHT</dialogue> <character>257</character> <dialogue>TV on, Dexter dozes in his chair. Pops pecks around the corner, sees this, and waves his troop forward. Everybody files by in wheelchairs and walkers, very quietly.</dialogue> <character>OUT</character> <dialogue>258</dialogue> <character>INT. CORRIDOR - REST HOME - NIGHT</character> <dialogue>259</dialogue> <scene_description>• Still pushing residents in wheelchairs, Pops and Smiley are now leading a small brigade of residents, some walking, some in wheelchairs, down the hall toward the front door.</scene_description> <character>INT. ENTRANCE - REST HOME - NIGHT</character> <dialogue>260</dialogue> <scene_description>Pops pulls the door open. I'r CLATTERS LOUDLY.</scene_description> <character>IN'!'. ATTENDANTS 1 STATION -</character> <dialogue>NIGHT</dialogue> <scene_description>Hearing it, Dexter is roused from his sleep. He rises, steps into the hall to investigate.</scene_description> <character>INT. CORRIDOR - NIGHT</character> <dialogue>262</dialogue> <scene_description>The last old people are just out the &lt;loor as Dexter reaches the entrance. He notices nothing and heads back toward:</scene_description> <character>OUT</character> <dialogue>INT. ATTENDANTS' STATION - NIGHT Dexter goes back to sleep.</dialogue> <character>263</character> <dialogue>264</dialogue> <character>OUT</character> <dialogue>EXT. GROUNDS - RETIREMENT COMMUNITY - NIG!IT</dialogue> <character>265</character> <dialogue>266</dialogue> <scene_description>• Bess, Art, Joe, Alma, Ben and Mary arc helping the rest home residents across the lawn, into the foliage, toward the estate next door, as Pops and Smiley sneak back inside the rest home.</scene_description> <character>OUT</character> <dialogue>A81</dialogue> <character>267</character> <dialogue>EXT. UPSTAIRS HALLWAY - SUSAN'S HOUSE - NIGHT</dialogue> <character>268</character> <dialogue>• In her bathrobe, apparently ready for bed, Susan passes</dialogue> <scene_description>David's room, notices that light shines brightly from under the door. SHE KNOCKS. David!</scene_description> <character>SUSAN</character> <dialogue>There is no answer. Disturbed, she enters.</dialogue> <character>INT. DAVID'S ROOM - NIGHT</character> <dialogue>269</dialogue> <scene_description>David is by the window; he's still staring at the full moon, but now there is a toy telescope by his side.</scene_description> <character>SUSAN</character> <dialogue>You're staying up for the eclipse?</dialogue> <scene_description>David nods "yes. "</scene_description> <character>SUSAN</character> <dialogue>You don't appear very enthusiastic.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Did you and Grandpa have a fight today?</dialogue> <scene_description>•</scene_description> <character>DAVID</character> <parenthetical>(emphatic)</parenthetical> <dialogue>No!</dialogue> <character>SUSAN</character> <dialogue>What did he tell you?</dialogue> <scene_description>David shakes his head.</scene_description> <character>SUSAN</character> <dialogue>I can keep a secret, David. He's my father.</dialogue> <character>DAVID</character> <parenthetical>(in agony)</parenthetical> <dialogue>He made me promise.</dialogue> <scene_description>Upset, Susan rises, exits. David follows after her.</scene_description> <character>DAVID</character> <dialogue>Mom, I'm sorry.</dialogue> <character>INT. HER BEDROOM - NIGHT</character> <dialogue>Worried, David watches from the doorway as his mother dials</dialogue> <character>270</character> <dialogue>the phone. We HEAR the LINE RING. There is NO ANSWER •</dialogue> <scene_description>• ABl Cont. •</scene_description> <character>REVISED -</character> <dialogue>103</dialogue> <character>"C0CC0N" -</character> <dialogue>270 Cont.</dialogue> <character>SUSAN</character> <dialogue>{shouting)</dialogue> <scene_description>Is he ill? Is ~y ~om ill?</scene_description> <character>DAVID</character> <dialogue>No, they're fine. '1'hey're okay. They're just going somewhere.</dialogue> <character>SUSAN</character> <dialogue>Where are your grandparents going, David?</dialogue> <scene_description>Unable to speak, with tears streaming down his face, David points out the window, up at the moon, the starry sky. EXT. SUSAN'S HOUSE - NIGHT 271 In the car, Susan and David pul: out of their driveway, ROAR down the street. EXT. GROUN~S - ESTATE - NIGHT 272 • A stream of residents from the rest home move out of the foliage, toward the Manta I I I . EXT. '.:lECK - M:ANTA II I - NIGHT With bugs and handshakes, Walter, Doc, Pillsbury, Kitty in human for~, welcome Ben, Mary, Joe, Alna, Bess, Art, Pops, Smiley and various other rest home residents aboard ship. Bernie suddenly shows up, carrying a suitcase. This means a lot to ouc people.</scene_description> <character>BERNIE</character> <dialogue>I want a seat by the wi~dow.</dialogue> <scene_description>Alma hugs Bernie.</scene_description> <character>AL."IA</character> <dialogue>I'm glad you came. Rose would I ve been happy.</dialogue> <scene_description>Bernie nods and tries to smile. Joe takes 3ernie's suitcase. X •</scene_description> <character>EXT, GROUNDS - RETIREMENT COMMUNITY - NIGHT</character> <dialogue>274</dialogue> <scene_description>• Susan's car SLAMS to a stop. With David runnin·g after X her, Susan races to her parents' apartment.</scene_description> <character>INT. BRIDGE - MANTA III - DAY</character> <dialogue>275</dialogue> <scene_description>Jack STARTS the BOAT'S ENGINES.</scene_description> <character>EXT. BEN AND MARY'S APARTMENT - NIGHT</character> <dialogue>276</dialogue> <scene_description>Susan RINGS the DOORBELL, HEARS NO ONE, BANGS ON THE DOOR. Frantic, Susan searches through her purse, finds a set of keys, opens the door.</scene_description> <character>INT. APARTMENT - NIGHT</character> <dialogue>277</dialogue> <scene_description>Followed by David, Susan runs into the living room, sees the family pictures are missing from the walls, bookcase. Susan grabs the telephone, dials the operator.</scene_description> <character>SUSAN</character> <dialogue>l need the police!</dialogue> <character>EXT. DOCK - ESTATE - NIGHT</character> <dialogue>278</dialogue> <scene_description>• Overloaded with passengers, Manta III's ENGINES GASP AUDIBLY • ONE ENGINE WHEEZES AND DIES.</scene_description> <character>INT. ATTENDANTS' STATION - REST HOME - NIGHT</character> <dialogue>279</dialogue> <scene_description>As he listens to Susan, Dexter chews complacently on a sandwich. His feet are up on his desk.</scene_description> <character>SUSAN</character> <parenthetical>(controlled, angry)</parenthetical> <dialogue>They told my son they were going away forever. None of their friends are around. I know something is wrong.</dialogue> <character>DEXTER</character> <dialogue>They could be out dancing. Those folks love to dance.</dialogue> <character>SUSAN</character> <dialogue>Do they have any friends living in here?</dialogue> <character>DEXTER</character> <parenthetical>(biting pickle, shrugging)</parenthetical> <dialogue>Pops .</dialogue> <scene_description>• A81</scene_description> <character>INT. POPS AND SMILEY'S ROOM - NIGHT</character> <dialogue>280</dialogue> <scene_description>• Dexter struts in, turns on the lights .</scene_description> <character>DEXTER</character> <dialogue>We've got a little game of twenty questions for you guys.</dialogue> <scene_description>There is no stirring in the beds. Finally, Dexter pokes Pops. DEXTER'S P.O.V. 281 as he tugs on the bedcovcrs, exposes crumpled clothing where Pops should be.</scene_description> <character>INT. HALLWAY - REST HOME - NIGHT</character> <dialogue>282</dialogue> <scene_description>Susan and David watch as Dexter runs from room to room, throwing on lights, exposing empty bed after empty bed interspersed with sleeping residents here and there. EIGHTEEN RESIDRNTS OF THE HOME ARE GONE!!</scene_description> <character>INT. BRIDGE - MANTA III - NIGHT</character> <dialogue>283</dialogue> <scene_description>Jack attempts repeatedly to activate the GASPING ENGINE. MUTTERI~G to himself, Jack finally CUTS THE OTHER ENGINE • and grabs his toolbox .</scene_description> <character>EXT. DECK - MANTA III - NIGHT</character> <dialogue>284</dialogue> <scene_description>Followed by Doc and Pillsbury, Jack makes his way through the crowd of old people toward the engine room.</scene_description> <character>INT. ATTENDANTS' STATION - NIGHT</character> <dialogue>285</dialogue> <scene_description>Worried, Susan and David watch Dexter SCREAM into the telephone.</scene_description> <character>DEXTER</character> <dialogue>Officer, half these people couldn•t crawl no less walk out of here by themselves. This is a kidnapping. Somebody's abducted a large number of our residents!</dialogue> <scene_description>Remaining elderly residents are gathering outside Dexter's station. Finally, one OLD MAN enters. He taps Dexter on the arm.</scene_description> <character>OLD MAN</character> <dialogue>They went to outer space. I was going to go, too, but I decided</dialogue> <scene_description>• against it . Cont.</scene_description> <character>A81</character> <dialogue>285 Cont.</dialogue> <scene_description>• DEXTER (distracted from phone, annoyed) Outer space 1? ! (condescending) Thanks, Jasper.</scene_description> <character>OLD MAN</character> <parenthetical>(turning to Susan and David)</parenthetical> <dialogue>Gimme my oatmeal in the morning, a view of the ocean, a little TV, a game of checkers and a phone call from the kids now and then.</dialogue> <character>DEXTER</character> <parenthetical>(simultaneously, shouting into phone)</parenthetical> <dialogue>Look Jt, this ain't no lost dog story I'm giving you. I CAN'T FIND THIRTY OF MY RESIDENTS.</dialogue> <character>EXT. GROUNDS - RETIREMENT COMMUNITY - NIGHT</character> <dialogue>286</dialogue> <scene_description>• A police car IDLES. Two POLICEMEN (DETECTIVES) are standing nearby with Pine and Dexter.</scene_description> <character>PINE</character> <dialogue>{to Detectives)</dialogue> <scene_description>You go house to house. You check the bus stations, the airports. This is a serious situation.</scene_description> <character>DEXTER</character> <parenthetical>(anxious)</parenthetical> <dialogue>The owner of the facility is on his way over from West Palm and he is not happy at all.</dialogue> <scene_description>The Detectives glance at each other. It is obvious that they are not taking Dexter and Pine seriously yet.</scene_description> <character>DETECTIVE</character> <dialogue>Why don 1 t we just start by taking a good look around the grounds here? Okay, gentlemen?</dialogue> <character>ANOTHER POLICEMAN</character> <parenthetical>(into patrol car radio)</parenthetical> <scene_description>• These old folks are not in their beds yet tonight. We're going to have to get a search under way.</scene_description> <character>INT. ENGINE ROOM - NIGHT</character> <dialogue>287</dialogue> <scene_description>• Doc, Pillsbury and Kitty are reading Jack's mind, handing him tools as he needs them. Essentially, the three of them are doing a major overhaul at ten times normal speed.</scene_description> <character>EXT. GROUNDS - REST HOME - NIGHT</character> <dialogue>288</dialogue> <scene_description>Pine and Dexter are now leading the pair of Detectives toward the efficiency apartments. Susan and David stand together, terrified, in the middle of the growing confusion. David suddenly spots a ship's light off in the distance. He bolts away.</scene_description> <character>SUSAN</character> <parenthetical>(shouting)</parenthetical> <dialogue>David!</dialogue> <scene_description>He runs across the grounds, toward the bushes, toward the gate to the old estate. David disappears into the foliage. He runs faster and faster. Blind instinct tells him where to go.</scene_description> <character>SUSAN</character> <dialogue>{running, desperate)</dialogue> <scene_description>David!!! •</scene_description> <character>INT. ENGINE ROOM - NIGHT</character> <dialogue>289</dialogue> <scene_description>As Doc and Pillsbury stand back, Jack uses auxiliary switches to START the ENGINES. THEY FIRE UP WITH FULL POWER NOW.</scene_description> <character>EXT. DECK - NIGHT</character> <dialogue>290</dialogue> <scene_description>Jack scrambles up to the bridge.</scene_description> <character>EXT. GROUNDS - OLD ESTATE - NIGHT</character> <dialogue>291</dialogue> <scene_description>David jumps the fence to next door. He runs past the pool house, out toward the dock.</scene_description> <character>EXT. BRIDGE - NIGHT</character> <dialogue>292</dialogue> <scene_description>Jack hits the throttles.</scene_description> <character>EXT. DOCK - NIGHT</character> <dialogue>293</dialogue> <scene_description>David runs to the end of the dock, waves his arms frantically.</scene_description> <character>DAVID</character> <parenthetical>(screaming)</parenthetical> <dialogue>Grandpa! Grandpa! Take me with you. I want to go, too .</dialogue> <scene_description>• A81</scene_description> <character>EXT. DECK - MANTA III - NIGHT</character> <dialogue>Over the ROAR OF THE ENGINES, Ben and Mary press through the</dialogue> <character>294</character> <dialogue>crowded deck, toward the back of the boat.</dialogue> <character>THEIR P.O.V.</character> <dialogue>295</dialogue> <scene_description>• as David sees them and leaps aboard the boat just as it moves away from the dock. David approaches his grandparents now.</scene_description> <character>DAVID'S P.O.V.</character> <dialogue>296</dialogue> <scene_description>as a dark shadow starts to cross over the full moon. The eclipse is beginning.</scene_description> <character>EXT. GROUNDS - ESTATE - NIGHT</character> <dialogue>297</dialogue> <scene_description>Flanked by policemen with search beams, Susan moves past the pool house. Police spot the figure of a child on the boat, point lights at it.</scene_description> <character>THEIR P.O.V.</character> <dialogue>298</dialogue> <scene_description>as David stares into the glaring search beams, grows smaller as the boat moves away from shore.</scene_description> <character>SUSAN</character> <dialogue>That's my son!! Do something!</dialogue> <character>POLICEMAN</character> <parenthetical>( into radio)</parenthetical> <dialogue>• A boat just left the dock next door .</dialogue> <scene_description>Lot of old people aboard. A child. Some in wheelchairs. God knows what they're doing out there. better move on this thing now. looks very serious. We'd It</scene_description> <character>EXT. GROUNDS - ESTATE -</character> <dialogue>NIGHT</dialogue> <scene_description>Holding hand radios, the Detectives move toward the efficiency apartments with Dexter and Pine.</scene_description> <character>DEXTER</character> <parenthetical>(hearing report over radio)</parenthetical> <dialogue>That's them!!! They've been kidnapped. There's going to be big problems around here.</dialogue> <scene_description>The Detectives nod grimly. They arc taking it all very seriously now.</scene_description> <character>DETECTIVE</character> <parenthetical>( into radio)</parenthetical> <dialogue>Call the Coast Guard.</dialogue> <scene_description>•</scene_description> <character>EXT. COAST GUARD BASE - NIGHT</character> <dialogue>300</dialogue> <scene_description>As SIRENS BLAST, a basketball game on the dock stops cold. Officers and seamen jump into action. Cont.</scene_description> <character>A81</character> <dialogue>300 Cont.</dialogue> <scene_description>• A search and rescue boat speeds out to sea . A helicopter ROARS up into the air. Another search boat speeds out to sea. Two more helicopters ROAR up into the dark night sky.</scene_description> <character>EXT. BRIDGE - MANTA III - NIGHT</character> <dialogue>Jack steers the crowded vessel out toward the open sea.</dialogue> <character>301</character> <dialogue>Kitty is standing with him. Jack watches the surrounding waters warily. JACK 1 S P.O.V. 302 as flickering lights appear in the distance. EXT. DECK - MANTA III - NIGHT 303</dialogue> <dialogue>Excited, extremely nervous, expectant, Art, Bess, Joe, Alma, and Bernie are clustered together along with Pops and Smiley.</dialogue> <dialogue>Art looks around him. He is proud, excited.</dialogue> <scene_description>• ART'S P.o.v. 304 as the eclipse moves to its three-quarter phase. The moon is almost completely dark now. EXT. DECK - MANTA III - NIGHT (FORMERLY SCENE 335) 304-A David clutches Ben and Mary, stands between them.</scene_description> <character>DAVID</character> <dialogue>I want to go, too.</dialogue> <character>BEN</character> <dialogue>You can't. From our family it's just your grandmother and me.</dialogue> <character>DAVID</character> <dialogue>I'll never see either of you again.</dialogue> <character>M/\RY</character> <dialogue>I think we'd better not go.</dialogue> <scene_description>Mary looks to Ben, who agrees. • Because of me?</scene_description> <character>BEN</character> <dialogue>Because of the whole family.</dialogue> <scene_description>A81 Cont. EXT. BRIDGE - MAN'l'A III - NIGHT 305 • Jack accelerates the boat and moves out to sea .</scene_description> <character>HIS P.O.V.</character> <dialogue>306</dialogue> <scene_description>as the flickering lights now appear to be closing in from all sides. INT. BRIDGE - COAS'l' GUARD CUTTER - NIGHT 307 Three OFFICERS stare into a set of computer radarscopes.</scene_description> <character>THEIR P.O.V.</character> <dialogue>308</dialogue> <scene_description>as a craft is VISIBLE CENTER SCREEN~</scene_description> <character>OFFICER</character> <dialogue>Move in toward them.</dialogue> <character>EXT. ANOTHER BRIDGE - ANOTHER CUTTER - NIGHT</character> <dialogue>309</dialogue> <scene_description>More radar screens. More Officers.</scene_description> <character>OFFICER</character> <dialogue>Full speed now.</dialogue> <scene_description>•</scene_description> <character>EXT. OPEN SEA -</character> <dialogue>NIGHT</dialogue> <scene_description>Running dark and fast, a pair of HH3 Alpha Coast Guard helicopters fly low to the water. They are flanked by speeding Coast Guard cutters down on the water. We can SEE the Manta III in the distance ahead of them.</scene_description> <character>EXT. ANOTHER ANGLE - OPEN SEA - NIGHT</character> <dialogue>311</dialogue> <scene_description>Lights flashing, MOTORS ROARING, another set of helicopters, flying with cutters below, speeds toward the Manta III from the opposite direction. We can SEE that all the Coast Guard craft are in close range of Jack's boat now.</scene_description> <character>EXT. BRIDGE - MANTA III - NIGHT</character> <dialogue>312</dialogue> <scene_description>Jack sees them. He steers a course between the two approaching armadas to avoid being intercepted.</scene_description> <character>INT. BRIDGE - POLICE CUTTER - NIGHT</character> <dialogue>313</dialogue> <scene_description>Susan watches anxiously as they approach the Manta III.</scene_description> <character>EXT, ANOTHER ANGLE - OPEN SEA - NIGHT</character> <dialogue>314</dialogue> <scene_description>A third set of Coast Guard helicopters and cutters speed • straight toward the Manta III .</scene_description> <character>EXT. MANTA III - NIGHT</character> <dialogue>315</dialogue> <scene_description>• Jack shifts direction again. The three sets of helicopters and cutters shift with him. But the Manta III seems to be outrunning them. EXT, ANO'rHER ANGLE - OPEN SEA - NIGHT 316 A Police Boat appears from nowhere, heading straight toward Jack's boat. The Manta III is clearly surrounded now.</scene_description> <character>EXT. MOON - NIGHT</character> <dialogue>317</dialogue> <scene_description>Just now the shadow covers over the last crescent of light. It is a full lunar eclipse. The night sky darkens quickly. A form appears to rise off the moon, moves lightning fast down toward the Earth. EX'£. SKY - NIGHT 318 The form has glowing lights. It is a thick flying saucer, spirming fast, super sleek, super modern, shining like chrome. This Mothership is aerodynamically perfect. Shaped for speed, function, it is incredibly "modern" in design. With lights glowing warmly, the Mothership PULSES as it makes its way toward the Earth .</scene_description> </scene> <scene> <stage_direction>€� INT. BRIDGE - COAST GUARD CUTTER -</stage_direction> <character>OFFICER</character> <parenthetical>(into radio)</parenthetical> <dialogue>NIGH'r</dialogue> <scene_description>The Manta III is clearly visible from here. Diligence to Base A. We are within range now but we have not made radio contact with the Manta III.</scene_description> <character>VOICE</character> <parenthetical>(from radio)</parenthetical> <dialogue>Board her then.</dialogue> <character>OFFICER</character> <parenthetical>(into radio)</parenthetical> <dialogue>Yes, Sir.</dialogue> <character>EXT. SKY - NIGHT</character> <dialogue>320</dialogue> <scene_description>Pulsing majestically, HUMMING VIBRANTLY, the Mothership swoops down faster and faster toward the ocean, still many miles below. EXT. BRIDGE - MANTA III - NIGH'l' 321 • ABl Jack turns the wheel desperately. He is valiantly attempting to evade the fast-approaching Coast Guard craft. • REVISED - COCOON" - 8/12/84</scene_description> <character>EXT. DECK - ~ANTA !II - NIGH~</character> <dialogue>Walter, Doc, Pillsbury and the old people watch the approaching</dialogue> <character>322</character> <dialogue>boats and helicopters anxiously. A POLICE VOICE over a BULLHORN tells them they are about to '::le boarded. They are about to be apprehended. It•s all over now. ~he departure seems impossible.</dialogue> <character>INT. BRIDGE - POLICE BOAT - NIGHT</character> <dialogue>Susan breathes a SIGH of relief.</dialogue> <character>323</character> <dialogue>EXT. DECK - MANTA III - NIGHT</dialogue> <character>323-A</character> <dialogue>Ben, Mary and David are together.</dialogue> <character>BEN</character> <dialogue>Guess we didn't have a choice anyway.</dialogue> <character>MARY</character> <dialogue>Maybe it's for the best.</dialogue> <character>X</character> <dialogue>DAVID</dialogue> <parenthetical>(softly)</parenthetical> <dialogue>• But you're really disappointed,</dialogue> <character>BEN</character> <dialogue>I I ve had worse.</dialogue> <character>DAVID</character> <dialogue>If you don't get to go, this is one of those things you look back on. I know.</dialogue> <character>EXT. OCEAN - NIGHT</character> <dialogue>Armed crewmen line the decks as the Coast Guard, THEIR ENGINES, close in on the Manta III.</dialogue> <character>324</character> <dialogue>Police boats SLOW</dialogue> <character>EXT. DECK - ~ANTA III - NIGH~</character> <dialogue>324-A</dialogue> <scene_description>A Oig seatchlight shines onto the boat, enveloping everything in a b:right light.</scene_description> <character>DAVID</character> <dialogue>Don't be scared.</dialogue> <scene_description>David winks 3nd dives overboard. Sen and Mary scream. O~hers rush to the taiL • EX1'. ~-JA'I'ER - NIGHT The spotlight goes with David, leaving the Manta III.</scene_description> <character>324-B</character> <dialogue>Cont.</dialogue> <scene_description>324-B Cont. •</scene_description> <character>DAVID</character> <parenthetical>(to Ben and Mary)</parenthetical> <dialogue>I'm all right! Get going, I can swim!</dialogue> <scene_description>David turns toward the Police boat.</scene_description> <character>DAVID</character> <dialogue>Help! Help!! I'm drowning!</dialogue> <scene_description>The Manta III waits. 'l'hen, when they see the Coast Guard boat stop to assist David, they floor it. A look between Jack and Ben triggered this.</scene_description> <character>EXT. DECK - MANTA III - NIGHT</character> <dialogue>325</dialogue> <scene_description>Walter, Doc, Pillsbury all look up toward the night sky. It is as if they arc willing something to happen now. They HUM as though they are signaling something somewhere. EXT, MOTHERSHIP - SKY - NIGH'r 326 Repeating the SAME HUM, its GLOW BRIGHTENING, PULSING intensely still high above the atmosphere, the Mothcrship shoots off a series of bands of white light into billowing clouds below. Weather fronts shift position. Clouds are suddenly billowing • into larger forms right above the ocean position of the boats . The Mothership shoots off another barrage of bands of white light. The billowing, fast-growing clouds now burst with moisture.</scene_description> <character>EXT. OCEAN - NIGHT</character> <dialogue>327</dialogue> <scene_description>Only a few feet from the Manta III now, an intense, HOWLING WIND suddenly hits against the Coast Guard craft, Police boat. Fog is rolling in rapidly. Heavy WIND WHIPS the boats, helicopters. Visibility has gone from 100% to almost nothing in less than five seconds. INT. BRIDGE - COAST GUARD CUTTER - NIGH'l' 328 Visibility is zero now.</scene_description> <character>OFFICER</character> <parenthetical>(into radio)</parenthetical> <dialogue>The radar still fixes them at 200/45.</dialogue> <scene_description>• CLOSE ON SURFACE RADAR SCOPE •.• a dot blinks CENTER SCREEN . Cont.</scene_description> <character>A81</character> <dialogue>328 Cont.</dialogue> <scene_description>• board.</scene_description> <character>EXT. SKY - NIGHT</character> <dialogue>OFFICER</dialogue> <parenthetical>(barking commands)</parenthetical> <dialogue>Move back to them. We're going to</dialogue> <scene_description>Glowing, HUMMING, the Mothership is swooping down fast now. It sends a powerful vortex of blinding white light straight into the center of the storm ••• drilling a hole in the clouds, creating a clearing to enter. EXT. OCEAN - NIGHT 330 The vortex from the Mothership beams down straight toward the Manta III.</scene_description> <character>EXT. MANTA III - NIGHT</character> <dialogue>331</dialogue> <scene_description>The vortex of light creates a clearing in the eye of the storm. 'l'hough surrounded by wind and fog, the Manta III now sits in calm waters as the Mothcrship speeds down toward it from the hole in the clouds above. The clear, starry night sky glistens from the top of this "hole in the storm." •</scene_description> <character>INT. BRIDGE - COAST GUARD CUTTER - NIGHT</character> <dialogue>332</dialogue> <scene_description>Still immersed in the fog, the Officers stare at their navigation equipment. Compasses spin round and round, their glass globe covers cracking. Radarscopes show ships everywhere in constantly shifting patterns. Sonarscopes BEEP FRANTICALLY.</scene_description> <character>OFFICER</character> <parenthetical>(shouting, furious)</parenthetical> <dialogue>Diligence to Base A. Do you read us? We're dead. The radio is dead now.</dialogue> <character>INT. BRIDGE - POLICE BOAT - NIGHT</character> <dialogue>333</dialogue> <scene_description>Shocked, the crewmen, Susan, all stare at wildly spinning navigation equipment.</scene_description> <character>EXT. MANTA III - OCEAN - NIGHT</character> <dialogue>334</dialogue> <scene_description>• A81 The Mothership hovers one mile directly above the cabin cruiser, at the very top of the storm clearing. The six Dolphins now alongside -the nanta III, accompany thGir Humanoid friends.</scene_description> <character>REVISED - "COCOON" - 8/15/84</character> <dialogue>115</dialogue> </scene> <scene> <stage_direction>€� EXT. DECK - MANTA III 334-A</stage_direction> <scene_description>Jack climbs down from the bridge; Kitty walks along next to him, her arm wrapped around his shoulder.</scene_description> <character>X</character> <dialogue>Jack shakes hands with Walter, Doc, Pillsbury. Walter hands Jack a wad of dollars wrapped tightly in a rubber band.</dialogue> <character>WALTER</character> <dialogue>This should more than pay for the boat. Thank you, Jack, you've been a fine guide. And a good friend.</dialogue> <character>JACK</character> <dialogue>Do you need anything? Magazines? Gum?</dialogue> <scene_description>Walter hugs Jack then Jack scrambles back up to Kitty. Shy, now, deeply moved, Jack touches Kitty's shoulders very tenderly.</scene_description> <character>JACK</character> <dialogue>If you're ever in the area again, don't forget to look me up.</dialogue> <scene_description>• You'll know when I'm around, Jack •</scene_description> <character>JACK</character> <dialogue>You have no idea how close I came to buying a ticket.</dialogue> <scene_description>Kitty laughs, Jack laughs. Then;</scene_description> <character>JACK</character> <dialogue>I'm gonna really miss you.</dialogue> <scene_description>Kitty smiles warmly at Jack. They Kiss.</scene_description> <character>EXT. MOTHERSHIP - NIGHT</character> <dialogue>Starting to whirl in a circle, the Mothership spins faster and</dialogue> <character>336</character> <dialogue>faster now, HUMS INTENSELY, but holds the same position. Its glow focuses downard now, sends an extremely intense vortex of light toward the Manta III •</dialogue> <scene_description>•</scene_description> <character>REVISED - "COCOON" -</character> <dialogue>8/15/84</dialogue> </scene> <scene> <stage_direction>€� EXT. OCEAN - NIGHT 337</stage_direction> <scene_description>The blast of energy from the Mothership actually lifts the cabin cruiser up out of the water.</scene_description> <character>EXT. MANTA III - NIGHT</character> <dialogue>337-A</dialogue> <scene_description>Jack lifts his mouth away from Kitty's, realizes what is going on, gives her one final kiss on the cheek, then has to jump from his boat down into the dinghy4 The Manta III moves faster and faster now, rises higher and higher off the ocean surface.</scene_description> <character>OUT</character> <dialogue>338</dialogue> <scene_description>• •</scene_description> <character>EXT. SKY - NIGH'!'</character> <dialogue>339</dialogue> <scene_description>• The Mothership's powerful vortex pulls the cabin cruiser higher and higher, faster and faster. The HUM is SPECTACULAR. The PULSING of the Mothership is like a HUMAN HEART BEATING now.</scene_description> <character>EXT. DINGHY -</character> <dialogue>OPEN SEA -</dialogue> <scene_description>Still in the calm at the eye of the storm, Jack and the Dolphins watch as the Manta III disappears into the Mothcrship; the belly of the Mothership closes and the vortex of light fades away.</scene_description> <character>EXT. SKY - NIGHT</character> <dialogue>341</dialogue> <scene_description>The Mothership ZOOMS upward into the clear starry night sky. As the moon is COMING IN'l'O VIEW again, the Mothcrship seems to be pulling the entire storm away with it, using the clouds as cover while it disappears upward, further and further from the Earth.</scene_description> <character>EXT. OPEN SEA - NIGHT</character> <dialogue>342</dialogue> <scene_description>As the fog lifts, the Coast Guard boats, helicopters, the police boat, swarm toward Jack in the dinghy. • The Dolphins glance concernedly between Jack and the approaching military craft. One by one, the DOLPHINS SQUEAK OUT HIGH-PITCHED GOOD-BYES. Then they disappear beneath the surface of the dark ocean waters. Only Jack's earlier companion lingers momentarily for a final wink to Jack, who smiles back at him. Meanwhile, six Officers stare down at Jack from the decks of two cutters, now speeding into position on either side of them.</scene_description> <character>JACK</character> <parenthetical>(to Officers)</parenthetical> <dialogue>I'm looking for my boat, the Manta III. Have you seen a small cabin cruiser out in these waters?</dialogue> <scene_description>Exasperated, confused, the Coast Guard men shake their heads.</scene_description> <character>EXT. POLICE BOAT - NIGHT</character> <dialogue>343</dialogue> <scene_description>Susan rushes from the bridge to the bow of the ship, BREATHES a SIGH of relief as she sees David sitting safely in the Coast Guard boat.</scene_description> <character>EXT. OUTER SPACE - NIGHT</character> <dialogue>344</dialogue> <scene_description>• A81 The Mothership moves faster and faster now. The moon passes close by, then disappears, shrinking into a microdot behind the Mothership in seconds. Cont. Now, the Mothership turns, curves away from our solar system, our sun, moving swiftly out into the stars which grow now • into burning, volatile, gaseous entities as the Mothership approaches them. Then the Mothership passes through this zone of gaseous burning stars and out into crystal-clear dark blue space. Bright stars shine in the distance. The vastness here is overwhelming. The Mothership appears tiny; it is overwhelmed by the massive scale of this corner of the universe.</scene_description> <character>EXT, CHURCHYARD - SUNSET BEACH - DAY</character> <dialogue>345</dialogue> <scene_description>It's a bright, sunny day. The sky is blue, filled with billowing, perfect white clouds. A memorial service is in progress on the lawn next to the church. Fifty wooden folding chairs are filled with mourners of all ages. David and his mother sit in the front row. Susan CRIES OPENLY. An ORGANIST PLAYS as a very distinguished REVEREND steps up to a wooden pulpit between a pair of elaborate flower wreaths marked with the names of Ben, Mary, Joe, Alma, Art, Bess, Bernie and the rest.</scene_description> <character>REVEREND</character> <dialogue>There can never be an accounting in human terms for the tragedy at</dialogue> <scene_description>• sea which has taken the lives of these men and women in what should have been the beautiful and peaceful sunset of their lives. (booms now) Do not fear. Your loved ones are in safekeeping. They have moved on to a new expression of life, not lifeaB we know it, but in the spirit everlasting. Our loved ones are in good hands for now and forevermore. With a knowing gleam in his eye, David looks up at the deep blue sky, smiles to himself.</scene_description> <character>DAVID'S P.O.V.</character> <dialogue>346</dialogue> <scene_description>of the slowly filling white clouds, the vast, clear afternoon skies. CUT TO:</scene_description> <character>EXT. OUTER SPACE - NIGHT</character> <dialogue>347</dialogue> <scene_description>The Mothership ROARS through a curving, ever-narrowing dark • A81 tunnel, then bursts into a wide-open space filled with white light. Cont. 347 Cont. • The Mother ship speeds across thi-s anti-space f illcd with dark blue, gaseous stars set against a glaring, white, incredibly vast b.g. The Mothership turns sideways now, away from the white light toward darkness and white stars. Then upward. The Mothership moves Higher and Higher. Higher and Higher. Past stars brilliant as diamonds. Through huge, gaseous, billowing cloud-like entities. Up onto a plateau where stars under the Mothership move forward as stars over the Mothership move backward, The Mothership speeds faster and faster through this impossible void of space and time. Then the Mothership turns upward again, passes into another galaxy of bright stars, deep blue space . • Deeper and deeper into this galaxy, the Mothership moves, growing smaller and smaller, now disappearing into the vast unknown reaches of space, toward a destination that is further away than we can imagine. Moving Higher and Higher now. Higher and Higher. FADE OU'l' • A81</scene_description> </scene> </script>

About 10,000 years ago, peaceful aliens from the planet Antarea set up an outpost on Earth on Atlantis. When Atlantis sank, twenty aliens were left behind, kept alive in large rock-like cocoons at the bottom of the ocean. A group of Antareans have returned to collect them. Disguising themselves as humans, they rent a house with a swimming pool and charge the water with "life force" to give the cocooned Antareans energy to survive the trip home. They charter a boat from a local captain named Jack Bonner, who helps them retrieve the cocoons. Jack spies on Kitty, a beautiful woman from the team who chartered his boat, while she undresses in her cabin, and discovers that she is an alien. After the aliens reveal themselves to him and explain what is going on, he decides to help them. Next door to the house the Antareans are renting is a retirement home. Three of its residents, Ben, Arthur, and Joe, often trespass to swim in the pool. They absorb some of the life force, making them feel younger and stronger. Eventually caught in the act, they are given permission to use the pool by the Antarean leader, Walter, on the condition that they do not touch the cocoons or tell anybody else about it. Rejuvenated with youthful energy, the three men let the advantages of the pool take hold as they are relieved of their ailments. Kitty and Jack grow closer and decide to make love in the pool. Since she cannot do so in the human manner, she introduces him to the Antarean equivalent, in which she shares her life force energy with him.The other retirement home residents become suspicious after witnessing Ben's wife Mary climb a tree. Their friend Bernie reveals the secret of the pool to the other residents, who rush to the pool to swim in its waters. When Walter finds them damaging one of the cocoons, he ejects them from the property. The Antereans open the damaged cocoon, and the creature inside shares his last moments with Walter. That evening, Bernie finds his wife Rose has stopped breathing and carries her body to the pool to heal her, only to be informed by Walter that the pool no longer works due to the other residents draining the life force in the rush to make themselves young. Walter explains that the cocoons cannot survive the trip back to Antarea, but will be able to survive on Earth. With the help of Jack, Ben, Arthur and Joe, the Antareans return the cocoons to the sea. The Antareans offer to take residents of the retirement home with them to Antarea, where they will never grow older and never die. Most of them accept the offer, but Bernie chooses to remain on Earth. Upon leaving, Ben tells his grandson David that he and Mary are leaving for good. As the residents are leaving, David's mother Susan finds out about their destination and drives to the retirement home, where they find the majority of the rooms vacant and contact local authorities. While the police are searching for the residents, David notices Jack's boat, with the Antareans and the retirement residents aboard, starting and jumps onto the side as it pulls away. The boat is chased by the Coast Guard, so with little time left, David says goodbye to Ben and Mary before jumping into the water. The Coast Guard boats stop to pick him up, giving the others a chance to get away. A thick fog appears and strands the remaining Coast Guard boats, and they call off the chase. As the Antarean ship appears, Walter pays Jack for his services and the boat. Jack embraces Kitty for the last time and they share a kiss. He then says farewell to everyone before jumping into an inflatable raft as the boat rises up into the Antarean vessel. Jack watches as the boat disappears inside the ship and departs. Back on earth, a funeral is held for the missing residents. During the sermon, David looks toward the sky and smiles.

Young Adult_2011

tt1625346

<script> <scene> <scene_description>YOUNG ADULT by Diablo Cody</scene_description> </scene> <scene> <stage_direction>EXT. BRICK CONDO BUILDING - MORNING</stage_direction> <scene_description>We can hear the sound of some reality TV show. Some girl pouring her heart out. We don't know from which of the identical condo balconies it emanates.</scene_description> </scene> <scene> <stage_direction>INT. CONDO (BEDROOM) - MORNING</stage_direction> <scene_description>We see the reality show playing on a mid sized LCD television. A grown woman speaking emotionally about something really pithy. A teenager in a woman's body. MAVIS GARY stirs in bed. She's in her mid-30s, blonde, conventionally attractive. Mavis looks at the TV. No reaction. She gets up and stumbles into the bathroom. She's wearing unflattering pajama pants and an old T-shirt.</scene_description> </scene> <scene> <stage_direction>INT. CONDO (KITCHEN) - SAME</stage_direction> <scene_description>Mavis enters the kitchen. There are empty liquor bottles on the counter. Mavis bends down and unlatches a dog crate. A small, fluffy DOG appears. He's smiling. He never stops smiling.</scene_description> <character>MAVIS</character> <dialogue>Good morning, Dolce.</dialogue> <scene_description>Dolce jumps, excited. Mavis peels back the foil on a single-serving container of dog food and places it out on the balcony. She walks away, not particularly invested in the dog's breakfast routine.</scene_description> </scene> <scene> <stage_direction>INT. CONDO (LIVING ROOM) - SAME</stage_direction> <scene_description>Alone, Mavis swats at the air. She jogs in place, leaping intermittently like a hurdler. She looks silly. Reveal she's playing Wii Fit.</scene_description> </scene> <scene> <stage_direction>EXT. CONDO (BALCONY) - SAME</stage_direction> <scene_description>Mavis sits on the small steel-girded balcony in her pajamas eating a pre-packed cottage cheese and fruit cup. From Mavis's perch, we see downtown Minneapolis, the Mississippi River, and other converted loft buildings that used to be factories and granaries.</scene_description> </scene> <scene> <stage_direction>INT. CONDO (OFFICE AREA) - SAME</stage_direction> <scene_description>Mavis sits at her computer. Near the monitor, we see a shelf filled with 20 or 30 paperbacks. They're all titled Waverley Prep and numbered as if in a series. There's also a large office binder that says WAVERLEY PREP SERIES BIBLE. Mavis starts up her computer and opens a text document called pieceofshit.word. It's a work in progress; Mavis appears to be on page 87. As she types, Mavis joylessly narrates the prose the prose that appears on the screen:</scene_description> <character>MAVIS</character> <parenthetical>(voiceover)</parenthetical> <dialogue>Kendal Strickland wasn't just the prettiest girl at Waverly Prep. She was a legend. As a junior, the student council voted to dedicate the yearbook to her, even though another student had recently died.</dialogue> <scene_description>Mavis stares at the document without enthusiasm. She opens another window-- her email. She deletes all the overnight spam. We see a message that reads RE:RE:RE:END OF SERIES. Mavis notices the message, perhaps grimacing a little, but doesn't open it. She then notices a NEW MESSAGE. The subject line says: "The best thing that ever happened to us" Mavis pauses, then opens the email. We see a large photo of a NEWBORN BABY in a knitted cap that looks like the top of a blueberry. There's a small block of text beneath. Mavis's expression is neutral as she reads the message. She closes the window. After a moment, she clicks it open again, re-reading. And re-reading. She reaches for a strand of hair near her ear and begins yanking it in a distracted, obsessive-compulsive way. She stops typing. Unable to resist, she opens the birth announcement email again. She hits PRINT. An ERROR MESSAGE pops up.</scene_description> </scene> <scene> <stage_direction>INT. CONDO (OFFICE AREA) - MOMENTS LATER</stage_direction> <scene_description>Mavis is kneeling in front of the printer. She rips an INK CARTRIDGE out of the bowels of the printer and shakes it in frustration. Mavis (to herself) Goddammit. She locates a hole in the cartridge and SPITS in it. EXT. CONDO (BALCONY) - same Mavis sits on the balcony, eating her banana and reading the birth announcement. Bands of strange ink colors run across the baby's face, making it look alternately pink, blue, and yellow. Mavis cell phone buzzes. New voicemail. Distracted, Mavis hits "play." We hear a MAN's voice via speakerphone.</scene_description> <character>VOICEMAIL</character> <dialogue>Hey Mavis, it's me again. Just calling to bug you. We need that draft of Waverley 178. We can work with something rough... Last one, honey. I know you can do it...hopefully by Fri--</dialogue> <scene_description>Mavis hits "end," cutting off the message.</scene_description> </scene> <scene> <stage_direction>EXT. DOWNTOWN MINNEAPOLIS - DAY</stage_direction> <scene_description>The birth announcement lands on a table, next to a plastic fast food tray. Reveal Mavis, thrusting the announcement at her friend VICKI as if it's evidence in a trial. Mavis and Vicki are in a courtyard behind a corporate building. Vicki is upholstered in a cheap business suit from the mall. She's not as pretty as Mavis and is clearly the "beta" in the relationship.</scene_description> <character>MAVIS</character> <dialogue>This baby-- you know, this baby was just born like a month ago. A month. I mean, when you send something that soon, isn't it just for the inner circle?</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAVIS</character> <dialogue>Not for the ex-girlfriend of the father, who doesn't even talk to him anymore. Frankly, it's a slap in the face. Right?</dialogue> <character>VICKI</character> <dialogue>You seem a little overly worked up about this.</dialogue> <character>MAVIS</character> <dialogue>I'm not worked up in the slightest. I just wanted to tell you about something that happened. God, excuse me.</dialogue> <scene_description>She takes the birth announcement from Vicki and stuffs it in her purse.</scene_description> <character>VICKI</character> <dialogue>Well, good for them, right? Buddy seems like he'd be a decent father.</dialogue> <character>MAVIS</character> <dialogue>But can you imagine still living in Mercury? Trapped with a wife and a kid and some crappy job? It's like he's-- it's like he's a hostage.</dialogue> <character>VICKI</character> <parenthetical>(unconvincing)</parenthetical> <dialogue>Yup. We're lucky we got out. We have lives.</dialogue> <scene_description>Their lives don't look all that appealing from this vantage point.</scene_description> </scene> <scene> <stage_direction>INT. CONDO (LIVING ROOM) - DAY</stage_direction> <scene_description>Mavis is curled up on the couch with her back to us. She appears to be taking a mid-day nap. Her body looks small and childlike. In the background, a staged argument erupts from the TV. It's Keeping up With the Kardashians.</scene_description> </scene> <scene> <stage_direction>EXT. MINNEAPOLIS "SKYWAY" - DAY</stage_direction> <scene_description>Mavis walks through the series of long, glass tubes that connect the buildings in downtown Minneapolis. Alone, she resembles a hamster in a Habitrail.</scene_description> </scene> <scene> <stage_direction>INT. OFFICE DEPOT - DAY</stage_direction> <scene_description>Mavis selects a new ink cartridge from a wall display. Two uniformed TEENAGE EMPLOYEES talk in hushed tones while Mavis eavesdrops.</scene_description> <character>TEEN EMPLOYEE #1</character> <dialogue>I just think me and Tyler are like, soul twins. You know? Like, right before he texts me, it's like I can...</dialogue> <character>TEEN EMPLOYEE #2</character> <dialogue>Sense it.</dialogue> <character>TEEN EMPLOYEE #1</character> <dialogue>Yes! Like psychically. And it's like we have chemistry even over our phones.</dialogue> <character>TEEN EMPLOYEE #2</character> <dialogue>Like, textual chemistry.</dialogue> <scene_description>The kids laugh.</scene_description> </scene> <scene> <stage_direction>INT. CONDO (OFFICE) - DAY</stage_direction> <scene_description>Mavis types quickly on her computer.</scene_description> <character>MAVIS</character> <parenthetical>(voiceover)</parenthetical> <dialogue>Just as Kendal hit send, a message from Ryan popped up like magic. It couldn't be denied-- they had textual chemistry.</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT - NIGHT</stage_direction> <scene_description>A trendy downtown place, the kind with exposed brick and oil lamps. Mavis sits across from a DATE. Her Blackberry sits on the table. Of course she has a drink. We only see the back of her date's head, but he has nice hair. He seems friendly and a good candidate for Mavis. He's in the middle of a personal anecdote.</scene_description> <character>DATE</character> <dialogue>...Long story short, I ended up a volunteer teacher in Phnom Pehn.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAVIS</character> <dialogue>Oh my God. Yikes.</dialogue> <character>DATE</character> <parenthetical>(confused)</parenthetical> <dialogue>Mm, yeah, it was probably the most rewarding thing I've ever done...</dialogue> <character>MAVIS</character> <dialogue>Oh right. Totally. Sure.</dialogue> </scene> <scene> <stage_direction>INT. CONDO (BEDROOM) - EARLY MORNING</stage_direction> <scene_description>The sun rises. It's a gray, quiet morning. Mavis opens her eyes. Her date is in bed next to her. His arm is splayed across her. Mavis looks at him. What would normally be a perfect intimate moment is suffocating her. Mavis sighs. From bed, she catches sight of the BIRTH ANNOUNCEMENT sticking out of her bag. She lifts the man's arm as if he's a mannequin and climbs out of bed. Mavis opens her too-small closet, revealing some plastic stacking drawers, the kind kids have in dorm rooms. Impulsively, she kneels, opens one of the "blocks" and digs through its contents. It's basically a junk drawer. Mavis finds what she's looking for and extracts it. It's a cassette tape. One of those '90s Memorex blank tapes that were marketed to teens; there are "cool" geometric shapes on the plastic casing. She turns it to reveal the label, which reads "Mad love, Buddy" in ballpoint pen. Mavis makes a decision. She reaches deep into her closet and pulls out a gigantic suitcase. She begins folding clothes and placing them in the suitcase. Mavis packs neatly and judiciously, holding up outfits before they make the final cut. The date sleeps, oblivious.</scene_description> </scene> <scene> <stage_direction>INT. CONDO (KITCHEN) - SAME</stage_direction> <scene_description>Mavis, now dressed, gets Dolce into a small dog carrier and zips up the sides. The carrier wriggles. CONTINUED: Mavis throws cans of dog food into a large pink Victoria's Secret shopping bag.</scene_description> </scene> <scene> <stage_direction>INT. CONDO (ENTRYWAY) - DAY</stage_direction> <scene_description>With the suitcase, the bag, and the dog in tow, Mavis exits, as casually as though she were going to the store.</scene_description> </scene> <scene> <stage_direction>INT. CAR - DAY</stage_direction> <scene_description>C.U. on the car's tape deck as Mavis pops in the tape.</scene_description> <character>MUSIC UP: BUDDY'S MIX TAPE</character> <dialogue>A '90s alterna-pop song fills the car. It's "The Concept" by Teenage Fanclub.</dialogue> <dialogue>Mavis mouths the words.</dialogue> <character>MAVIS</character> <dialogue>She wears denim wherever she goes. She's gonna buy some records from the Status Quo, oh yeah...</dialogue> </scene> <scene> <stage_direction>EXT. MINNEAPOLIS - DAY</stage_direction> <scene_description>The Mini takes one of the bridges across the Mississippi out of town.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - DAY</stage_direction> <scene_description>Mavis's car drives down a rural highway. Big box chains and ruined fields as far as the eye can see.</scene_description> </scene> <scene> <stage_direction>EXT. GAS STATION - DAY</stage_direction> <scene_description>Mavis pumps gas at a truck stop. She steps away from the Mini and attempts to get Dolce to pee on some gravel.</scene_description> <character>MAVIS</character> <dialogue>Dolce, take a pee.</dialogue> </scene> <scene> <stage_direction>INT. CAR - DAY</stage_direction> <scene_description>Mavis still singing.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - DAY</stage_direction> <scene_description>Continued shots of the Mini driving through the landscape of chain stores and farms.</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL - DAY</stage_direction> <scene_description>The Mini Cooper pulls up to a Hampton Inn.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL (LOBBY) - DAY</stage_direction> <scene_description>A 19 or 20-year-old GIRL is behind the counter. She wears the requisite business suit, but looks very young in it.</scene_description> <character>FRONT DESK GIRL</character> <dialogue>Welcome to Hampton Inn. Do you have a reservation?</dialogue> <scene_description>Mavis is annoyed by this basic question.</scene_description> <character>MAVIS</character> <dialogue>No.</dialogue> <scene_description>The girl recites her spiel as if she's just learned it. She peers at Dolce's bag, which is clearly a dog carrier.</scene_description> <character>FRONT DESK GIRL</character> <dialogue>Is that a dog in your bag?</dialogue> <character>MAVIS</character> <dialogue>Nope.</dialogue> <scene_description>She's surprised by her own lie.</scene_description> <character>FRONT DESK GIRL</character> <dialogue>We actually allow small pets with a cleaning deposit.</dialogue> <character>MAVIS</character> <dialogue>In fact, I do have a dog, but he's in my vehicle.</dialogue> <scene_description>The bag wriggles wildly, betraying Mavis instantly.</scene_description> <character>FRONT DESK GIRL</character> <dialogue>Okay. I'll put that you have a dog.</dialogue> <scene_description>She keys some information into the computer, eyeing Mavis suspiciously. CONTINUED:</scene_description> <character>FRONT DESK GIRL</character> <dialogue>How many keys do you need?</dialogue> <scene_description>Mavis thinks.</scene_description> <character>MAVIS</character> <dialogue>Two, please.</dialogue> <character>FRONT DESK GIRL</character> <dialogue>Expecting company?</dialogue> </scene> <scene> <stage_direction>INT. HOTEL ROOM - DAY</stage_direction> <scene_description>Dolce scampers around on the bed. Mavis looks at the clock, then looks at her phone. She sits down on the bed and dials.</scene_description> <character>MAVIS</character> <parenthetical>(loudly, into phone)</parenthetical> <dialogue>Personal. Mercury, Minnesota. Mercury, Minnesota. Slade.</dialogue> </scene> <scene> <stage_direction>EXT. HIGHWAY - EVENING</stage_direction> <scene_description>Mavis darts across the pedestrian-unfriendly highway. The only structure we can see is a gas station/convenience store, starkly illuminated in the darkness.</scene_description> </scene> <scene> <stage_direction>INT. GAS STATION - SAME</stage_direction> <scene_description>Mavis runs her finger along the small, dim freezer case.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - NIGHT</stage_direction> <scene_description>Mavis eats ice cream and drinks; the TV is on. She puts down her ice cream and picks up her phone.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM (BATHROOM) - NIGHT</stage_direction> <scene_description>Now Mavis is in the tiny bathroom, holding the phone against her ear. She rolls a miniature shampoo bottle around in her free hand.</scene_description> <character>MAVIS</character> <dialogue>Hi Buddy. This is Mavis. You know, Mavis Gary. Um, what's up? Ha. How are you? I'm just in town taking care of a real estate thing.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAVIS</character> <dialogue>I thought we could get together for a drink and catch up. Okay. Call me if you're up for it. 'Bye.</dialogue> <scene_description>She hangs up and looks in the mirror. The cruel fluorescent light fixture buzzes.</scene_description> </scene> <scene> <stage_direction>EXT. STREETS OF MERCURY - NIGHT</stage_direction> <scene_description>MUSIC UP: Buddy's mix tape Mavis is back in her car, driving into town. As she enters Mercury proper, we can see that it's a fairly charming place. Suburban houses, a classic Main Street, Mercury Senior High School. (Mavis slows to peek at the latter.) It's literally a drive down Memory Lane. Only Memory Lane has changed a little. We see a brand new KENTUCKY FRIED CHICKEN/TACO BELL/PIZZA HUT HYBRID. And then the ultimate sign of gentrification: a Starbucks. Mavis quietly marvels at all the changes.</scene_description> </scene> <scene> <stage_direction>EXT. WOODY'S SALOON - NIGHT</stage_direction> <scene_description>Mavis has arrived at a dive bar in Mercury's old "downtown" district. As Mavis parks her car, her phone rings and she jumps, groping for it. She still manages to play it cool in time for the salutation.</scene_description> <character>MAVIS</character> <parenthetical>(on phone)</parenthetical> <dialogue>Hey, Buddy.</dialogue> <scene_description>Her voice is soft and relieved. Reveal BUDDY SLADE on the other line. He's a typical young suburban dad, attractive in a Midwestern way.</scene_description> <character>BUDDY</character> <dialogue>Mavis Gary. It's been...how long?</dialogue> <character>MAVIS</character> <dialogue>I'm not sure! Gosh. Wow.</dialogue> <scene_description>Buddy's tone is mildly teasing. CONTINUED:</scene_description> <character>BUDDY</character> <dialogue>So you're actually back in town. Wow.</dialogue> <character>MAVIS</character> <dialogue>Oh, I'm just passing through. I'm insanely busy. As always.</dialogue> <character>BUDDY</character> <dialogue>Well, I don't know how long you're in town with your real estate thing, but I'd love to grab a drink.</dialogue> <character>MAVIS</character> <dialogue>Okay. Well, if you're feeling spontaneous, I can be at Woody's in, I don't know, 15 minutes?</dialogue> <scene_description>Buddy laughs.</scene_description> <character>BUDDY</character> <dialogue>Spontaneous isn't really a thing these days. I don't know if you heard, but I'm a new dad.</dialogue> <scene_description>Mavis's is trying a little too hard to sound happy.</scene_description> <character>MAVIS</character> <dialogue>No duh! Everyone knows, the whole gang. Yeah. I got the announcement. Thanks for that, by the way.</dialogue> <scene_description>Buddy's voice is even and friendly through the phone.</scene_description> <character>BUDDY</character> <dialogue>Hey, you're welcome. So, uh, how about we meet at Champion O'Malley's tomorrow? It's a new place off 81. Kind of fun.</dialogue> <character>MAVIS</character> <dialogue>Of course. Yes. How about 8:30?</dialogue> <character>BUDDY</character> <dialogue>6 would be better.</dialogue> </scene> <scene> <stage_direction>INT. WOODY'S SALOON BAR - NIGHT</stage_direction> <scene_description>Mavis walks in, flush with victory. Skynrd plays on the jukebox. Mavis seems particularly bright and blonde against the dingy palate of the bar. CONTINUED: It's a weeknight, and Woody's Saloon is the kind of place that would even be tragic on a Friday. The place is mainly populated with barflies and other sad-looking individuals. Mavis sits down at the bar.</scene_description> <character>MAVIS</character> <dialogue>Maker's Mark.</dialogue> <scene_description>The BARTENDER obliges. Mavis drinks in such a way that we can tell she's an experienced and enthusiastic drinker. Mavis looks around the bar. MATT FREEHAUF, 36, is watching her from an adjacent bar stool. He's sad-faced and overweight. There's a steel crutch, the permanent kind, leaning against his stool. She glances over at Matt again. He's still staring.</scene_description> <character>MAVIS</character> <dialogue>What?</dialogue> <character>MATT</character> <dialogue>I'm sorry. I believe we attended high school together.</dialogue> <character>MAVIS</character> <dialogue>At the same time?</dialogue> <character>MATT</character> <dialogue>Yes. You're Mavis Gary.</dialogue> <character>MAVIS</character> <dialogue>Mavis Gary-Crane now.</dialogue> <character>MATT</character> <dialogue>Matt Freehauf. My locker was actually right next to yours. For all of high school.</dialogue> <scene_description>Mavis still doesn't recognize him.</scene_description> <character>MAVIS</character> <dialogue>Ah.</dialogue> <character>MAVIS</character> <dialogue>Of course. Matt Freehauf. Matt. Your locker was right there, by mine.</dialogue> <scene_description>Mavis nods. The bartender pushes a second Maker's towards her, and she accepts it with a long, grateful sip. Matt begins talking again, and Mavis cringes. CONTINUED: (2)</scene_description> <character>MATT</character> <dialogue>It's not like we ran in the same circles. You were extremely popular, if I recall. You won "Best Hair."</dialogue> <scene_description>Mavis is fully aware of this.</scene_description> <character>MAVIS</character> <dialogue>Ha, did I? I forgot about that. What did you win?</dialogue> <scene_description>Matt blinks at her naivete.</scene_description> <character>MATT</character> <dialogue>I didn't. They only give out like 15 of those, and generally to the same five people.</dialogue> <character>MAVIS</character> <dialogue>Oh. I guess so.</dialogue> <scene_description>Mavis abruptly ends the conversation.</scene_description> <character>MAVIS</character> <dialogue>Well, nice seeing you again.</dialogue> <scene_description>Mavis taps away at her cell phone idly. Matt's not ready to end the conversation.</scene_description> <character>MATT</character> <dialogue>What are you even doing back in Mercury? You didn't move home, did you?</dialogue> <character>MAVIS</character> <parenthetical>(offended)</parenthetical> <dialogue>Of course not! Gross. I live in Minneapolis.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I'm just here taking care of this real estate thing. I have some property, so.</dialogue> <scene_description>The lie makes her uncomfortable every time.</scene_description> <character>MATT</character> <dialogue>Aren't you some kind of writer now? I read about it in the Sun.</dialogue> <character>MAVIS</character> <dialogue>Yes, I'm an author.</dialogue> <character>MATT</character> <dialogue>Children's books, right?</dialogue> <scene_description>CONTINUED: (3) Mavis is offended yet again.</scene_description> <character>MAVIS</character> <dialogue>No. Y.A. That's industry speak for "young adult." I write a very successful teen series. You've probably seen it everywhere.</dialogue> <character>MATT</character> <dialogue>Vampires?</dialogue> <scene_description>Mavis looks at him: Are you serious? She laughs heartily and takes another drink. MUSIC UP as TIME PASSES. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. WOODY'S SALOON - THREE BOURBONS LATER</stage_direction> <scene_description>Mavis is obviously drunk. Her body language is sloppy and she shouts over the music. She leans toward Matt; a few hours ago he seemed untouchable, but now she's encroaching on his personal space.</scene_description> <character>MATT</character> <dialogue>Take that, liver!</dialogue> <character>MAVIS</character> <dialogue>Weren't you the hate crime guy?</dialogue> <character>MATT</character> <dialogue>What?</dialogue> <character>MAVIS</character> <parenthetical>(shouting)</parenthetical> <dialogue>You totally were! The hate crime guy! You got beat up, right? That's why the...</dialogue> <scene_description>She gestures to the crutch. Matt sighs, significantly less drunk then she is.</scene_description> <character>MATT</character> <dialogue>Yes, Mavis. When I was a senior-- when we were seniors-- a bunch of jocks who thought I was gay jumped me in the woods and hit my legs and dick with a crowbar. It was national news. I mean, until people found out I wasn't actually gay. Then it wasn't a hate crime. It was just a fat guy getting his ass beat.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAVIS</character> <parenthetical>(drunkenly cavalier)</parenthetical> <dialogue>Didn't you get to miss a bunch of school?</dialogue> <character>MATT</character> <dialogue>Yes. I "got" to miss about six months. It was awesome.</dialogue> <scene_description>Mavis leans in as if to whisper discreetly, but she's too drunk to modulate her voice.</scene_description> <character>MAVIS</character> <dialogue>How's your dick?</dialogue> <scene_description>Matt is disarmed by her candor, but can match it.</scene_description> <character>MATT</character> <dialogue>Not great.</dialogue> <character>MAVIS</character> <dialogue>Does it work?</dialogue> <character>MATT</character> <dialogue>It kind of...</dialogue> <scene_description>He begins to indicate a crooked arc with his hand. This brave, honest moment goes unappreciated by Mavis. She reaches for a bottle of an unfamiliar beverage, which Matt eyes with some alarm. Mavis points to the bottle instructively. It's a cheesy brand of alcoholic cider.</scene_description> <character>MAVIS</character> <dialogue>Hard Jack. See? This is what Buddy Slade drinks!</dialogue> <scene_description>She takes a passionate swig. Matt is confused.</scene_description> <character>MATT</character> <dialogue>Buddy Slade? That's a good, uh, fact.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Mavis ignores the question. She toys with a patch of hair behind her ear, pulling on it.</dialogue> <character>MAVIS</character> <dialogue>Wanna know why I'm really in town?</dialogue> <character>MATT</character> <dialogue>Sure.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>MAVIS</character> <parenthetical>(stage-whispering)</parenthetical> <dialogue>I can't tell you here, man.</dialogue> <character>MATT</character> <parenthetical>(whispering back)</parenthetical> <dialogue>Okay!</dialogue> </scene> <scene> <stage_direction>EXT. WOODY'S SALOON (REAR PARKING LOT) - NIGHT</stage_direction> <scene_description>Mavis and Matt stand in the parking lot near the kitchen entrance. As Matt moves further from the entrance, we can see how much effort it takes for him to walk, even with assistance. Matt leans on his crutch, waiting for Mavis to speak.</scene_description> <character>MAVIS</character> <dialogue>Buddy Slade and I are meant to be together and I'm here to get him back.</dialogue> <scene_description>Matt laughs, assuming this is a joke.</scene_description> <character>MATT</character> <dialogue>Really? Awesome. Buddy Slade, huh? I'm pretty sure Buddy's married. With a kid on the way.</dialogue> <character>MAVIS</character> <dialogue>No, the kid's here. She had the baby. I don't care though. I have baggage, too, you know?</dialogue> <character>MATT</character> <dialogue>Wait, are you not joking?</dialogue> <character>MAVIS</character> <dialogue>I know people won't understand, but things like this happen. They do happen. Usually they happen in slow-motion. Like, two people are meant to be together and then they slowly get rid of what's keeping them apart. They get divorced, they reconfigure. And everyone's cool with that, right? Society's okay with that-- if you take your time like a goddamned emotional glacier.</dialogue> <scene_description>Matt can barely follow her drunken rant. He is momentarily speechless. CONTINUED:</scene_description> <character>MATT</character> <dialogue>Um, I would advise you...Mavis? Mavis, look at me. Okay. I would advise you to keep all this to yourself. Talk to a therapist or something.</dialogue> <scene_description>Mavis is swaying and babbling.</scene_description> <character>MAVIS</character> <dialogue>Everyone has baggage, Matt. But love conquers all. Haven't you seen The Graduate? Or, I don't know, anything?</dialogue> <scene_description>She notices a CAB has pulled up and is idling on the curb.</scene_description> <character>MAVIS</character> <dialogue>Oh. A taxi.</dialogue> <character>MATT</character> <dialogue>Yeah, we called them, remember?</dialogue> <parenthetical>(exasperated)</parenthetical> <dialogue>Listen, I don't know if you're serious, but Buddy Slade already has a whole life.</dialogue> <scene_description>Mavis begins walking backward toward the car, lecturing to Matt as she stumbles.</scene_description> <character>MAVIS</character> <dialogue>A life? Ha. Babies are boring. Buddy's life is BORING. Boring!</dialogue> <scene_description>The cab sputters off into the night. MATT waves halfheartedly.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - MORNING</stage_direction> <scene_description>Mavis wakes up, still wearing her clothes from the night before. Her dog is in bed with her. Smiling as always. Mavis groans. She drinks from a big bottle of diet coke on her bed table.</scene_description> </scene> <scene> <stage_direction>EXT. OUTSKIRTS OF MERCURY - DAY</stage_direction> <scene_description>Mavis trudges along the side of the road in the blinding sunlight. She looks terrible. This area of Mercury is charmless, full of big-box stores and office parks. CONTINUED: Cars whiz by as Mavis ambles past the KenTacoHut like a hobo.</scene_description> </scene> <scene> <stage_direction>EXT. SMALL PARK - DAY</stage_direction> <scene_description>Mavis sits on a bench, typing.</scene_description> <character>MAVIS</character> <parenthetical>(voicevoer)</parenthetical> <dialogue>Having spent the summer outside the bubble of waverly prep, Kendal looked around at her fellow students, thinking: did I really get that much better, or did everyone simply get worse? What's more, why was Ryan spending so much time with this dumpy new girl?</dialogue> <scene_description>Her phone buzzes; it's another voicemail from her editor.</scene_description> <character>MAN</character> <parenthetical>(voiceover)</parenthetical> <dialogue>Mavis, do you have any pages? We really need them; we can work with something rough...</dialogue> </scene> <scene> <stage_direction>INT. STRIP MALL NAIL SALON - DAY</stage_direction> <scene_description>Mavis sits in a high-tech "throne." Her feet are in a swirling basin of water. The chair vibrates. A young GIRL on her knees buffs Mavis's feet. She reaches for a pedicure tool.</scene_description> <character>MAVIS</character> <dialogue>Please don't use the callous slicer. No, don't. Do not. Unsanitary. Thanks.</dialogue> </scene> <scene> <stage_direction>INT. STRIP MALL NAIL SALON (BACK ROOM) - DAY</stage_direction> <scene_description>A technician applies WAX to Mavis's eyebrows and rips it off efficiently. Mavis doesn't flinch.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM (BATHROOM) - SAME</stage_direction> <scene_description>Mavis applies makeup with a practiced hand and an arsenal of expensive brushes. CONTINUED: She coats her face with foundation like a party clown. It looks shockingly natural once blended. As her lips are glossed and her lashes blackened, we see that she's a truly gorgeous woman. She wraps her hair around a curling iron, enjoying the process of making herself attractive.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - DUSK</stage_direction> <scene_description>Mavis sits on the bed, staring out the window. Waiting. She looks at the digital beside clock. It says 4:31. She looks back out the window as the sun sinks.</scene_description> </scene> <scene> <stage_direction>EXT. OUTSKIRTS OF MERCURY - DAY</stage_direction> <scene_description>Mavis is in the "big box" part of town-- Mercury's rapidly developing outskirts. Ugly sprawl. She searches for the new, unfamiliar bar Buddy suggested, singing along to the mix. She spots the bar and pulls over, gripping the steering wheel.</scene_description> </scene> <scene> <stage_direction>INT. CHAMPION O'MALLEY'S - HAPPY HOUR</stage_direction> <scene_description>Champion's is a slick new sports bar, flooded with natural light and much more cheerful than Woody's. It lacks the grime, but it also lacks the character. Mavis hides her horror in case anyone's looking. She finds a table and positions herself so she has a clear view of the door. Cranes her neck ever so slightly. A passing CHAMPIONS SERVER plunks down some silverware rolled in a napkin. Mavis recoils tensely.</scene_description> <character>MAVIS</character> <dialogue>Oh! No, no! I don't need silverware!</dialogue> <scene_description>Her voice is a bit too loud.</scene_description> <character>CHAMPIONS SERVER</character> <dialogue>Oh, you're going to want to try the popcorn shrimp!</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAVIS</character> <dialogue>No. That's okay. Two Hard Jack ciders. Please.</dialogue> <scene_description>Mavis nods. She takes out her phone and starts pretending to compose a text message. Reveal the SCREEN of the phone: "jggjsgnkajwhriuawgf" Mavis glances at the nearest table. A couple of GUYS are eating nachos and watching a basketball game on one of the overhead TVs. Mavis sits up a little straighter, arching her back. She puts her elbows on the table, thrusting her breasts forward. She ruins the effect by looking down at her cleavage. Then... BUDDY enters the bar, wearing loose jeans and a flannel. Mavis is pretending to text again. She glances up at Buddy with expert detachment, smiles and waves slightly. Buddy rounds the corner toward Mavis.</scene_description> <character>MAVIS</character> <dialogue>Hey you!</dialogue> <character>BUDDY</character> <dialogue>Wow. Great to see you, hon.</dialogue> <scene_description>Buddy and Mavis hug. Over Buddy's shoulder, we see Mavis's thrilled face. Her eyes are tightly closed. They separate. Buddy slides into the booth across from Mavis.</scene_description> <character>BUDDY</character> <dialogue>So! This is a midweek surprise.</dialogue> <character>MAVIS</character> <dialogue>I know. Hey, I ordered us a couple of Hard Jacks.</dialogue> <character>BUDDY</character> <dialogue>Whoa. Hard Jack? I haven't had one of those since college. Honestly, I haven't been drinking the past few months. Beth's nursing our girl, so I thought I'd, you know, show some solidarity.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>MAVIS</character> <dialogue>Of course. You have a baby. That must be so great. So are you still at General Mills?</dialogue> <character>BUDDY</character> <dialogue>Yup. Ad sales now. Don't love all the cold-calling, but my dad's still there, so we have lunch together most days.</dialogue> <parenthetical>(lamely)</parenthetical> <dialogue>We get pizza. Sub sandwiches...</dialogue> <character>MAVIS</character> <dialogue>Well, I'm just working my butt off. Doing my thing in the city.</dialogue> <character>BUDDY</character> <dialogue>Right, down there in the "Mini Apple."</dialogue> <character>MAVIS</character> <parenthetical>(shrill)</parenthetical> <dialogue>Nobody calls it the "Mini Apple," Buddy, God!</dialogue> <scene_description>She laughs, slapping his hand. He doesn't recoil, but he doesn't respond either. Buddy notices the WAITRESS preoccupied with another table.</scene_description> <character>BUDDY</character> <dialogue>Hey, I'm just gonna grab those ciders. Save our lady a trip.</dialogue> <character>MAVIS</character> <dialogue>How chivalrous.</dialogue> <scene_description>Buddy gets up and heads over to the bar. Mavis turns her head in sync with his departing body, staring at him. MUSIC UP: Something dreamy, sexy and worshipful, like "My Sweet Lord" by George Harrison. In slow motion, we see Buddy sidle up to the bar, leaning toward the bartender. Mavis's gaze-- our gaze-- drifts down his body. Suddenly, Mavis is alive. He's just an average suburban dad, but the way Mavis looks at him, he's the very embodiment of sensuality. His back, softened by years of inactivity. The hang of his "relaxed fit" jeans. CONTINUED: (3) The way his thirty-dollar haircut feathers against the nape of his neck. Mavis drinks it all in, lost in a reverie. On Mavis's face, hopeful and sad at once... Then-- an interruption. Matt Freehauf.</scene_description> <character>MATT</character> <dialogue>Mavis?</dialogue> <scene_description>He's standing over her booth, leaning on his crutch. Mavis is not thrilled to see him.</scene_description> <character>MAVIS</character> <dialogue>Freehauf. What are you doing here?</dialogue> <character>MATT</character> <dialogue>I work here. Bookkeeping, dealing with vendors and other sit-down jobs that won't tax my twisted, mangled body. And you?</dialogue> <character>MAVIS</character> <parenthetical>(tightly)</parenthetical> <dialogue>Just catching up with a friend.</dialogue> <character>MATT</character> <dialogue>Right. I see Buddy Slade up there procuring a couple of mind- erasers. You're not wasting any time, huh?</dialogue> <scene_description>Mavis refuses to acknowledge the previous night's disclosure.</scene_description> <character>MAVIS</character> <dialogue>It was good running into you last night. Nice to see you again.</dialogue> <scene_description>She half-waves, dismissing him.</scene_description> <character>MAVIS</character> <dialogue>'Bye.</dialogue> <scene_description>Matt stands his ground, enjoying her discomfort. Buddy appears with the drinks. He doesn't seem super- tight with Matt, but he's friendly and familiar.</scene_description> <character>BUDDY</character> <dialogue>Hey, Freehauf, what's up man?</dialogue> <scene_description>Matt high-fives him, glancing at Mavis. CONTINUED: (4)</scene_description> <character>MATT</character> <dialogue>Hi. Congratulations on the little one.</dialogue> <parenthetical>(pointed)</parenthetical> <dialogue>What a wonderful, permanent commitment to make.</dialogue> <scene_description>Buddy's reaction.</scene_description> <character>BUDDY</character> <dialogue>Thanks, man.</dialogue> <parenthetical>(joking)</parenthetical> <dialogue>It's a ton of work, though, and on almost no sleep. I'm like a zombie these days.</dialogue> <scene_description>Mavis flashes a quick, satisfied glance at Matt.</scene_description> <character>MATT</character> <dialogue>But so rewarding, right?</dialogue> <character>MAVIS</character> <dialogue>Nice to see you here, Matt. Thanks for stopping by.</dialogue> <scene_description>Buddy interrupts politely, diffusing Mavis's rudeness.</scene_description> <character>BUDDY</character> <dialogue>You wanna join us for a round?</dialogue> <character>MAVIS</character> <dialogue>Ah ha ha ha...</dialogue> <scene_description>Matt tortures Mavis briefly by pretending to consider the offer.</scene_description> <character>MATT</character> <dialogue>I would love to.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>But sadly, I must decline. I've got work to do, and it takes me twice as long as an able-bodied man to complete even the simplest task.</dialogue> <character>BUDDY</character> <dialogue>Bummer.</dialogue> <scene_description>Mavis sees how Matt uses his disability to make people feel uncomfortable. She might even like it.</scene_description> <character>MATT</character> <dialogue>I'll just leave you two to your little Mercury High reunion.</dialogue> <scene_description>CONTINUED: (5)</scene_description> <character>MAVIS</character> <parenthetical>(cheerful)</parenthetical> <dialogue>Ha ha. Let's go Injuns.</dialogue> <character>MATT</character> <dialogue>Actually, they changed their name to the Indians in '99. There was a whole campaign by the local Fon du Lac tribe and...</dialogue> <parenthetical>(No one is listening)</parenthetical> <dialogue>...whatever.</dialogue> <scene_description>MATT limps away. Buddy watches him sympathetically.</scene_description> <character>BUDDY</character> <dialogue>Sucks what happened to Matt. I mean, the poor guy has suffered so much just for being gay.</dialogue> <scene_description>We see Matt pause mid-limp several feet away. His shoulders sag with defeat.</scene_description> <character>MAVIS</character> <dialogue>He's not actually gay.</dialogue> <character>BUDDY</character> <dialogue>Really? Didn't you call him "that theater fag" all the time in high school?</dialogue> <scene_description>We don't know if Matt overhears this or not.</scene_description> <character>MAVIS</character> <dialogue>"Theater fag" is an expression.</dialogue> <character>BUDDY</character> <dialogue>Well, whatever. Mercury's changed a lot since that happened. It's way less of a hick town.</dialogue> <character>MAVIS</character> <dialogue>Really?</dialogue> <character>BUDDY</character> <dialogue>Well, we have this place. Beats Woody's, right? And I heard they might be putting in a Chipotle at the mall. Lots of new stuff.</dialogue> <character>MAVIS</character> <dialogue>I saw you got a "KenTacoHut."</dialogue> <scene_description>Buddy doesn't get it. CONTINUED: (6)</scene_description> <character>MAVIS</character> <dialogue>You know. One of those combination Kentucky Fried, Taco Bell...</dialogue> <character>BUDDY</character> <parenthetical>(interrupting)</parenthetical> <dialogue>Pizza Hut. I get it! KenTacoHut. That's funny. You sound like one of your crazy characters.</dialogue> <scene_description>For some reason this observation seems to depress Mavis.</scene_description> <character>BUDDY</character> <dialogue>So, how's, um, Allen?</dialogue> <scene_description>Mavis is taken aback by this query.</scene_description> <character>MAVIS</character> <dialogue>Allen is great! He's fine.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We're not married anymore, but...</dialogue> <character>BUDDY</character> <dialogue>Oh, I'm...</dialogue> <character>MAVIS</character> <dialogue>It's fine.</dialogue> <scene_description>Buddy covers his gaffe with a well-timed compliment.</scene_description> <character>BUDDY</character> <dialogue>Well, that's Allen's loss. Sucks to be Allen.</dialogue> <scene_description>Mavis laughs brightly, pleased beyond belief by this remark. Buddy tries a sip of Hard Jack and grimaces; he's long since outgrown the taste.</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT - EVENING</stage_direction> <scene_description>Mavis walks Buddy to his car.</scene_description> <character>BUDDY</character> <dialogue>Sorry I can't hang out longer, but I've got to relieve Beth. She has band practice tonight.</dialogue> <character>MAVIS</character> <dialogue>Beth is in a band?</dialogue> <scene_description>Buddy chuckles and shakes his head, as if he thinks the whole band thing is a little goofy. CONTINUED:</scene_description> <character>BUDDY</character> <dialogue>Yeah, it's just something she does with some other moms.</dialogue> <character>MAVIS</character> <dialogue>Wow. Cool.</dialogue> <character>BUDDY</character> <dialogue>Beth's the drummer.</dialogue> <character>MAVIS</character> <dialogue>Oh my God. Embarrassing.</dialogue> <character>BUDDY</character> <dialogue>Heh. Actually, Beth's band's playing here tomorrow.</dialogue> <scene_description>He opens his car door and readies himself to climb in. Mavis smiles, unwilling to end the conversation. In the early evening light, she looks especially beguiling. She gazes at Buddy.</scene_description> <character>BUDDY</character> <dialogue>Hey, I have an idea. Why don't you stop by our house for a hang tomorrow? We'll have dinner, and then we can all go to Beth's show.</dialogue> <character>MAVIS</character> <dialogue>Yes. I would love that.</dialogue> <character>BUDDY</character> <dialogue>Oh-- you know what? This is kind of silly, but could you sign one of those Waverley Place books for me?</dialogue> <character>MAVIS</character> <parenthetical>(flattered)</parenthetical> <dialogue>Yes!</dialogue> <character>BUDDY</character> <dialogue>It's not for me, obviously. It's for my niece, Kendra. She wants to be a writer someday.</dialogue> <character>MAVIS</character> <dialogue>Right, of course. But you know, my name isn't actually on the books. I mean, it's on the title page if you check inside, but I'm basically a ghostwriter.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>BUDDY</character> <dialogue>Still a pretty big deal compared to the rest of us.</dialogue> <scene_description>Mavis lingers at the window.</scene_description> <character>MAVIS</character> <dialogue>It's so great to see you.</dialogue> <character>BUDDY</character> <dialogue>I always feel like we can pick up right where we left off.</dialogue> <scene_description>Buddy examines her pretty face.</scene_description> <character>BUDDY</character> <dialogue>You know what? You look exactly the same.</dialogue> <character>MAVIS</character> <dialogue>I do?</dialogue> <character>BUDDY</character> <dialogue>Yeah. It's like the rest of us changed and you just got lucky.</dialogue> <scene_description>He starts the car and begins to pull out. Mavis continues to speak to him through the open window.</scene_description> <character>MAVIS</character> <dialogue>See you tomorrow!</dialogue> <character>BUDDY</character> <dialogue>Yup.</dialogue> <scene_description>He drives away. Mavis pretends to walk to her car, but can't resist looking back.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - NIGHT</stage_direction> <scene_description>Mavis sits on the hotel bed. She pulls at the same patch of hair behind her ear. Flips channels. Carefully, dials her Blackberry. CROSS CUT: PHONE CALL:</scene_description> </scene> <scene> <stage_direction>INT. MATT'S HOUSE - SAME</stage_direction> <scene_description>Matt Freehauf shuffles over to a wall-mounted telephone in a depressing "country" kitchen that looks like it was remodeled in 1989. He picks it up. CONTINUED:</scene_description> <character>MATT</character> <dialogue>Hello?</dialogue> <scene_description>Mavis's tone is sharp, teenage-bitchy.</scene_description> <character>MAVIS</character> <dialogue>I just want you to know that what you saw today wasn't what you think it was.</dialogue> <character>MATT</character> <dialogue>Oh. You're not trying to destroy Buddy Slade's marriage?</dialogue> <character>MAVIS</character> <dialogue>It's way more complicated than you could possibly know. Buddy and I have years of history between us, and it's very rich and complex.</dialogue> <character>MATT</character> <dialogue>Yeah, sounds like it's definitely beyond my comprehension.</dialogue> <scene_description>Matt opens a bottle of KRAFT RANCH DRESSING.</scene_description> <character>SANDRA</character> <dialogue>Don't open a new ranch until the old one is done.</dialogue> <scene_description>Matt ignores Sandra.</scene_description> <character>MAVIS</character> <dialogue>What?</dialogue> <character>MATT</character> <dialogue>Sorry...my sister. Forget it.</dialogue> <character>SANDRA</character> <parenthetical>(still on the dressing)</parenthetical> <dialogue>Just so you know.</dialogue> <character>MAVIS</character> <dialogue>You want to hang out tonight? Get loaded or something?</dialogue> </scene> <scene> <stage_direction>INT./EXT. MATT'S HOUSE (FRONT DOOR) - NIGHT</stage_direction> <scene_description>The doorbell rings. Sandra answers the door. A sheepish Mavis stands on the doorstep. Her makeup, so expertly applied a few hours ago, now looks a bit messy. She doesn't care; Matt is not a real man to her. CONTINUED: Sandra stands in the messy living room sizing up Mavis.</scene_description> <character>MAVIS</character> <dialogue>I'm Mavis.</dialogue> <character>SANDRA</character> <dialogue>I know. From high school.</dialogue> <scene_description>It's practically an accusation.</scene_description> <character>MAVIS</character> <dialogue>Right!</dialogue> <character>SANDRA</character> <dialogue>I made you Rice Krispies squares that one time, for your birthday.</dialogue> <scene_description>There's old hurt in Sandra's eyes. Mavis nods, smiling as if she remembers.</scene_description> <character>SANDRA</character> <dialogue>I got your locker combination from the vice principal and put them in your locker.</dialogue> <scene_description>Even years later, Mavis doesn't give a shit.</scene_description> <character>MAVIS</character> <dialogue>Thank you.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>So where's Matt?</dialogue> <character>SANDRA</character> <dialogue>He's in his cave.</dialogue> <scene_description>On Mavis: huh?</scene_description> </scene> <scene> <stage_direction>EXT. MATT'S HOUSE (GARAGE) - NIGHT</stage_direction> <scene_description>Mavis walks through the dark front yard. She approaches an old garage. Circle Jerks can be heard from inside. Light emanates from windows in the garage door. She looks through to see Matt with goggles on, operating pipes and drums and stuff. She knocks on the glass. He opens the garage door revealing his bourbon distillery.</scene_description> </scene> <scene> <stage_direction>INT. MATT'S HOUSE (GARAGE) - SAME</stage_direction> <scene_description>Mavis enters the garage, silently marveling at Matt's set- up. Matt turns around and seems almost embarrassed by how elaborate it all is. CONTINUED:</scene_description> <character>MATT</character> <dialogue>Welcome to the distillery.</dialogue> <scene_description>Mavis tries to sound blase and mocking, even though she's clearly impressed.</scene_description> <character>MAVIS</character> <dialogue>Are you making moonshine?</dialogue> <character>MATT</character> <dialogue>Screw you. This is aged bourbon.</dialogue> <scene_description>Mavis circles the many tubes and pipes. Little hand painted figurines sit on various knobs, almost like little Oompa Loompas in Willy Wonka's factory. Matt pours a shot from a hand-labeled bottle and hands it to Mavis.</scene_description> <character>MATT</character> <dialogue>This is an eight-year. I don't have a lot of it.</dialogue> <scene_description>He's proud of this batch-- and stingy with it-- but tries to act casual. Mavis downs the shot. Coughs. Takes the bottle. Reads the hand made label.</scene_description> <character>MAVIS</character> <dialogue>Mos Eisley Special Reserve?</dialogue> <character>MATT</character> <dialogue>It's a Star Wars thing... Cantina...</dialogue> <character>MAVIS</character> <dialogue>I was supposed to sip it.</dialogue> <scene_description>She does.</scene_description> <character>MAVIS</character> <dialogue>Woody.</dialogue> <character>MATT</character> <dialogue>That's the oak.</dialogue> </scene> <scene> <stage_direction>INT. MATT'S HOUSE (BEDROOM) - NIGHT</stage_direction> <scene_description>Matt slowly moves up a small set of stairs that leads to his bedroom. Mavis follows.</scene_description> <character>MATT</character> <dialogue>So how'd the rest of your little "date" go yesterday?</dialogue> <scene_description>CONTINUED: Mavis finishes off another shot.</scene_description> <character>MAVIS</character> <dialogue>Good, good. It was eye-opening though. Buddy-- he's clearly not happy.</dialogue> <character>MATT</character> <dialogue>He told you that?</dialogue> <character>MAVIS</character> <dialogue>He implied it. You can tell he's suffering. He looks completely exhausted. He told me he feels like a zombie.</dialogue> <scene_description>Mavis takes in Matt's childhood bedroom. A twin bed. A record collection. A desk strewn with Testor's hobby glue, paint, and disembodied toy figurines.</scene_description> <character>MATT</character> <dialogue>I was there, and I suspect he was being flip.</dialogue> <character>MAVIS</character> <dialogue>It's a pretty strong statement to make. A zombie is a dead person, Matt.</dialogue> <character>MATT</character> <dialogue>Please, I'm a fat geek. I know what zombies are.</dialogue> <character>MAVIS</character> <dialogue>I think Buddy and I are having very similar feelings. The question is, who's going to make the first move?</dialogue> <character>MATT</character> <parenthetical>(dry)</parenthetical> <dialogue>I'm thinking it will be you.</dialogue> </scene> <scene> <stage_direction>INT. MATT'S HOUSE (UPSTAIRS HALLWAY) - SAME</stage_direction> <scene_description>Sandra eavesdrops in the hallway, listening to their conversation through the door. It's like a whole adolescent tableau being reenacted by people in their thirties.</scene_description> </scene> <scene> <stage_direction>INT. MATT'S HOUSE (BEDROOM) - SAME</stage_direction> <scene_description>Mavis has wandered over to Matt's desk. She picks up a one-armed FIGURINE, showing little regard for Matt's personal property.</scene_description> <character>MAVIS</character> <dialogue>Aren't you a little old for GI Joes?</dialogue> <character>MATT</character> <dialogue>Hey. It's not a... I think that guy might still be wet...</dialogue> <scene_description>Mavis turns the figurine over in her hand, examining it.</scene_description> <character>MAVIS</character> <dialogue>It's fine. You make these?</dialogue> <character>MATT</character> <dialogue>I combine them, mix and match. I'm taking Copperhead and attaching Mongol's arm...</dialogue> <parenthetical>(embarrassed)</parenthetical> <dialogue>It's a thing people do.</dialogue> <scene_description>Mavis tosses the Doctor aside and flips through an issue of ToyFare magazine.</scene_description> <character>MAVIS</character> <dialogue>Do you ever make like, girl dolls?</dialogue> <character>MATT</character> <dialogue>I'm not a weirdo.</dialogue> <scene_description>Mavis suddenly puts down the magazine and turns to him, her eyes aglow with a fucked-up idea.</scene_description> <character>MAVIS</character> <dialogue>I need to go check on something.</dialogue> <character>MATT</character> <dialogue>So do it.</dialogue> <character>MAVIS</character> <parenthetical>(teenage-eager)</parenthetical> <dialogue>No. No, you have to come!</dialogue> </scene> <scene> <stage_direction>INT. CAR - NIGHT</stage_direction> <scene_description>A quiet street lined with trees and clean sidewalks. Crickets chirp. Mavis drives slowly, peering out the window. Matt is in the passenger seat. CONTINUED:</scene_description> <character>MATT</character> <dialogue>I think this is it.</dialogue> <scene_description>Mavis is chewing blue Bubble Yum. Stoner gum.</scene_description> <character>MAVIS</character> <dialogue>You think or you know?</dialogue> <character>MATT</character> <dialogue>This is definitely his house. He drives a Jeep Liberty.</dialogue> <character>MAVIS</character> <dialogue>That's ironic. Right? Because he has no liberty.</dialogue> <scene_description>It's such a ridiculous, overwrought thing to say, but Matt is so drunk he can't help but giggle.</scene_description> <character>MATT</character> <dialogue>You're mentally ill.</dialogue> <scene_description>Mavis looks out at Buddy's house in the darkness. It's small, ordinary. There's a light on in one of the rooms.</scene_description> <character>MAVIS</character> <dialogue>Do you see that light there?</dialogue> <character>MATT</character> <dialogue>Yeah.</dialogue> <character>MAVIS</character> <dialogue>I bet Buddy's awake and secretly jerking off or something.</dialogue> <character>MATT</character> <dialogue>Or perhaps he's caring for his infant daughter.</dialogue> <scene_description>Mavis refuses to be affected by this remark. She blows a bubble as she watches the house.</scene_description> <character>MAVIS</character> <dialogue>The baby, the baby.</dialogue> <character>MATT</character> <dialogue>The problem that has no name.</dialogue> <scene_description>Mavis throws the car into gear and drives off.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL (BATHROOM) - MORNING</stage_direction> <scene_description>Mavis enters, bleary-eyed. She slept in most of her clothes and never removed her makeup. CONTINUED: She takes the paper hygiene guard off one of the drinking glasses, fills it with tap water, and takes a long drink. She looks awful.</scene_description> </scene> <scene> <stage_direction>EXT. MALL PARKING LOT (TO ESTABLISH) - DAY</stage_direction> <scene_description>Mavis parks in front of the square shaped dept store.</scene_description> </scene> <scene> <stage_direction>INT. MERCURY FASHION SQUARE - DAY</stage_direction> <scene_description>Mavis shops in the mall's flagship department store. It's not exactly Barney's New York. Mavis flips through a rack of clothes. A SALES LADY, conservative, forties, approaches her.</scene_description> <character>SALES LADY</character> <dialogue>Can I help you find something?</dialogue> <character>MAVIS</character> <dialogue>Sure. I'm not having a ton of luck.</dialogue> <character>SALESLADY</character> <dialogue>Is this something for work?</dialogue> <character>MAVIS</character> <dialogue>No, it's for a special occasion. Not a formal occasion. Something chic and clean, but also a little bit edgy.</dialogue> <character>SALESLADY</character> <dialogue>Okay. We have some adorable new dresses that just came in.</dialogue> <character>MAVIS</character> <dialogue>Do you carry Marc Jacobs?</dialogue> <character>SALESLADY</character> <dialogue>I don't think we have that one.</dialogue> <character>MAVIS</character> <dialogue>I'm going to a rock concert with an old flame, and I think there's a chance we may reconnect.</dialogue> <scene_description>The sales lady smiles.</scene_description> <character>SALESLADY</character> <dialogue>Get it girl! Let's show him what he's been missing.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAVIS</character> <dialogue>He's seen me recently, so he knows. But this is the first time his wife is seeing me in a while...</dialogue> <scene_description>She doesn't know what's compelling her to say these things. But she's saying them as candidly as if she were in therapy.</scene_description> <character>SALESLADY</character> <dialogue>Well. It's the end of my shift, and my son needs to be picked up at school, so I'm just going to send over another associate. Okay? She's up on all the trends. I'm sure you'll find something.</dialogue> <character>MAVIS</character> <dialogue>Okay.</dialogue> <character>SALESLADY</character> <parenthetical>(hurrying away)</parenthetical> <dialogue>Shawna? Can you help this lady out?</dialogue> </scene> <scene> <stage_direction>INT. MALL BOOKSTORE - DAY</stage_direction> <scene_description>With her first mission accomplished, Mavis walks into a bookstore and heads confidently back toward the Young Adult section. A COLLEGE-AGED MANAGER in an employee polo takes inventory nearby.</scene_description> <character>MAVIS</character> <parenthetical>(to associate)</parenthetical> <dialogue>Do you have the Waverley Prep books?</dialogue> <character>ASSOCIATE</character> <dialogue>Yeah, they've got their own display table over there.</dialogue> <scene_description>He points to a table heaped with the pastel spines of various Waverley Prep titles.</scene_description> <character>MAVIS</character> <parenthetical>(pleased)</parenthetical> <dialogue>Wow. They must be really popular.</dialogue> <character>ASSOCIATE</character> <dialogue>Actually we just have a lot of surplus stock we're trying to clear out.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ASSOCIATE</character> <dialogue>They were a big thing a couple of years ago, but now they're ending the series.</dialogue> <character>MAVIS</character> <dialogue>I wouldn't be so sure...</dialogue> <character>ASSOCIATE</character> <dialogue>Nope, it's true. We got a letter from the publisher. And the computer says "Do Not Shelve," so...</dialogue> <scene_description>Mavis walks over to the table. She sifts through the books until she finds one of her own. Mavis opens the book to the flyleaf and begins to write in an unsubtle way. The associate notices.</scene_description> <character>ASSOCIATE</character> <dialogue>Are you writing in there?</dialogue> <character>MAVIS</character> <dialogue>I'm the author. I'm signing it.</dialogue> <scene_description>The associate still looks concerned that his merchandise is being vandalized.</scene_description> <character>ASSOCIATE</character> <dialogue>You're Jane MacMurray?</dialogue> <character>MAVIS</character> <dialogue>No. Jane MacMurray just created the series. I wrote the book. I'm Mavis Gary. Crane. See?</dialogue> <scene_description>She points to the flyleaf, which does indeed read: "Story by Jane MacMurray. Written by Mavis Gary-Crane."</scene_description> <character>ASSOCIATE</character> <dialogue>Do you know Jane MacMurray?</dialogue> <character>MAVIS</character> <dialogue>Yes, I know her very well...</dialogue> <parenthetical>(indignant)</parenthetical> <dialogue>Look, I wrote this book.</dialogue> <character>ASSOCIATE</character> <dialogue>Okay. Wow.</dialogue> <character>MAVIS</character> <dialogue>Would you like a signed copy for the store?</dialogue> <character>ASSOCIATE</character> <dialogue>No, that's fine.</dialogue> <scene_description>CONTINUED: (2) Mavis grabs another book, wielding her pen threateningly.</scene_description> <character>MAVIS</character> <dialogue>I'll sign as many as you want. It adds value to your stock.</dialogue> <character>ASSOCIATE</character> <dialogue>Yeah, but when merchandise is signed, we can't send it back to the publisher.</dialogue> <character>MAVIS</character> <dialogue>Why would you send these back to the publisher?!</dialogue> <character>ASSOCIATE</character> <dialogue>Well, we're probably not going to sell them. The series is done. Hey...</dialogue> <scene_description>Mavis is rapidly, manically signing another book, making her signature as big as possible. She reaches for another. As the associate moves toward her, she slams the book shut, backing away from the table.</scene_description> <character>MAVIS</character> <dialogue>Okay. Fine. Fine.</dialogue> </scene> <scene> <stage_direction>INT. NAIL SALON - DAY</stage_direction> <scene_description>In a reprise of the earlier scene in the salon, we see Mavis prepare for the rock show including dark nail polish.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - DAY</stage_direction> <scene_description>Mavis curls her hair and applies her rock show look.</scene_description> <character>MAVIS</character> <parenthetical>(voicoever)</parenthetical> <dialogue>Kendal Strickland never felt threatened. If anything, she felt a deep sense of pity for this rebound girl. Not in a competitive way-- she wasn't the type to show off. That said, she couldn't help her own popularity. It wasn't her fault that one year she was voted homecoming queen-- of a neighboring high school. Yes, Kendal Strickland was attractive; that was obvious.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAVIS</character> <dialogue>Other girls were so insecure, stressing about their faces and their figures. Not Kendal. Hers was an effortless beauty that glowed from within. However, being that beautiful could also be intimidating. Some guys went for girls who were more ordinary. How could Kendal make sure her own perfection wouldn't scare away Ryan, the love of her life?</dialogue> </scene> <scene> <stage_direction>INT. MAVIS'S CAR - DAY</stage_direction> <scene_description>Mavis pulls up to the curb near Buddy's house. She's wearing her rock look. She looks good.</scene_description> </scene> <scene> <stage_direction>EXT. BUDDY'S HOUSE - DAY</stage_direction> <scene_description>Buddy's house is a modest one-story with a large porch. An old car is parked in the driveway. Everything is solidly lower middle class. Buddy is on the porch building a children's apparatus. Mavis walks up to the porch, carrying a small bag from the bookstore.</scene_description> <character>BUDDY</character> <dialogue>What's uuuuup?</dialogue> <scene_description>He subtly flashes fake gang signs.</scene_description> <character>MAVIS</character> <dialogue>Hey.</dialogue> <scene_description>They hug. Mavis hands Buddy the bag.</scene_description> <character>MAVIS</character> <dialogue>Here's that book for your niece.</dialogue> <character>BUDDY</character> <dialogue>Oh yeah. Thanks for remembering. I'll send it to her.</dialogue> <character>MAVIS</character> <dialogue>There's a character in this one that I based on you.</dialogue> <character>BUDDY</character> <dialogue>Huh?</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAVIS</character> <dialogue>In the book. I mean, I named him Ashby, but it's so blatantly you. When you read it, it'll be obvious.</dialogue> <character>BUDDY</character> <dialogue>I hope he's cool.</dialogue> <scene_description>Mavis laughs nervously.</scene_description> <character>MAVIS</character> <dialogue>We're not even supposed to do that. We're supposed to stick to this character bible?</dialogue> <scene_description>Mavis pauses, and with good reason. Buddy's wife BETH emerges from the house, holding the baby. Beth has an inviting smile and wears a rock T-shirt with corduroys and Converse. She's still carrying some baby weight around her breasts and middle, but she's pretty.</scene_description> <character>BETH</character> <dialogue>Hey! Nice to see you again.</dialogue> <scene_description>She hugs Mavis warmly, to Mavis's chagrin.</scene_description> <character>MAVIS</character> <dialogue>You too.</dialogue> <parenthetical>(looks at the baby)</parenthetical> <dialogue>Wow, there it is...</dialogue> <parenthetical>(searches)</parenthetical> <dialogue>Adorable.</dialogue> <character>BETH</character> <dialogue>Thank you.</dialogue> </scene> <scene> <stage_direction>INT. BUDDY'S HOUSE - SAME</stage_direction> <scene_description>They enter the house. It's modest, but warm and artsy.</scene_description> <character>BUDDY</character> <dialogue>Do you guys want drinks?</dialogue> <character>BETH</character> <dialogue>Can you bring me another Summer Ale?</dialogue> <character>BUDDY (O.C.)</character> <dialogue>You got it.</dialogue> <scene_description>Mavis looks taken aback. Beth laughs. CONTINUED:</scene_description> <character>BETH</character> <dialogue>It's fine, I'll just pump and dump after the show. Don't worry, I'm not trying to get my kid hammered.</dialogue> <scene_description>Beth places the baby in an aquarium-themed contraption with flashing lights and dangling seashells.</scene_description> <character>MAVIS</character> <dialogue>Wow, look at that.</dialogue> <character>BETH</character> <dialogue>Ah yes, the Funquarium. Always chills her out.</dialogue> <parenthetical>(to baby)</parenthetical> <dialogue>Yes! You love it.</dialogue> <parenthetical>(back to Mavis)</parenthetical> <dialogue>We're starting to get smiles.</dialogue> <scene_description>Mavis smiles at the baby uncomfortably.</scene_description> <character>MAVIS</character> <dialogue>Cute.</dialogue> <character>BETH</character> <dialogue>Thanks. She's like Buddy's clone.</dialogue> <scene_description>Mavis examines the baby's face.</scene_description> <character>MAVIS</character> <dialogue>No. She didn't. I can see you in there. A lot of you, in fact.</dialogue> <scene_description>The observation is voiced almost aggressively, but Beth seems truly pleased to hear it. Beth Really? Thanks. Buddy returns and hands Beth a beer.</scene_description> <character>BUDDY</character> <dialogue>Here you go, babe.</dialogue> <scene_description>Buddy hands Mavis a plain bottle of water.</scene_description> <character>BETH</character> <dialogue>So, how's it going? I know you're a writer. I saw that nice article about you in the Sun.</dialogue> <character>MAVIS</character> <dialogue>Yes, I'm the author of a young adult series.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>MAVIS</character> <dialogue>It's disturbingly popular.</dialogue> <character>MAVIS</character> <dialogue>I like your decor, what is this, shabby chic?</dialogue> <character>BUDDY</character> <dialogue>Pier one.</dialogue> <character>BETH</character> <dialogue>And a little bit Goodwill.</dialogue> <character>MAVIS</character> <dialogue>Me and Buddy used to go thrifting all the time.</dialogue> <parenthetical>(to Buddy)</parenthetical> <dialogue>Remember that in the '90s, thrifting? We had a huge stupid T- shirt collection. Just the dumbest things.</dialogue> <character>BETH</character> <parenthetical>(fondly)</parenthetical> <dialogue>The '90s were awesome.</dialogue> <character>MAVIS</character> <dialogue>Yes, I used to sleep in Buddy's shirts. And boxers.</dialogue> <character>BUDDY</character> <dialogue>Heh.</dialogue> <scene_description>Mavis pushes it a little further, addressing Beth.</scene_description> <character>MAVIS</character> <dialogue>I still have a few, I think.</dialogue> <scene_description>Beth giggles, infuriatingly good-natured. Beth Hey, I still have one of my ex- boyfriend's T-shirts. I can't bring myself to get rid of it. Buddy What shirt? Beth Like I'd tell you! Mavis sees a strange CHART leaning against the wall. It shows cartoon faces with different expressions. One says "HAPPY," one says "SAD" and so on. CONTINUED: (3)</scene_description> <character>MAVIS</character> <dialogue>What's that chart?</dialogue> <character>BUDDY</character> <dialogue>Beth teaches special needs kids.</dialogue> <character>MAVIS</character> <dialogue>Ah.</dialogue> <character>BETH</character> <dialogue>A lot of my kids learn emotions cognitively. It doesn't come naturally to them the way it does for you or me. So we need to show them: This is what happy looks like. This is what anxious looks like. And so on.</dialogue> <scene_description>Mavis is fascinated with the chart.</scene_description> <character>MAVIS</character> <dialogue>How about, like, neutral? What if you don't feel anything?</dialogue> <character>BETH</character> <dialogue>That's kind of how they are a lot of the time, so. Yeah. Don't need to teach it.</dialogue> </scene> <scene> <stage_direction>INT. CHAMPION O' MALLEY'S - EVENING</stage_direction> <scene_description>The band is tuning up on a tiny stage surrounded by brass rails. The lead singer, MARY ELLEN TRANTOWSKI, has tattoos on her arms and a cool (for Duluth) haircut. There's also a bass player, a guitarist, and of course, Beth. She fusses with her drums, tightening them up with a key.</scene_description> <character>MARY ELLEN</character> <parenthetical>(into mic)</parenthetical> <dialogue>Testing! Four-four, three-three...</dialogue> <scene_description>Mavis and Buddy linger by the bar. Mary Ellen notices Mavis. Her eyes narrow. She nudges the BASSIST.</scene_description> <character>MARY ELLEN</character> <dialogue>My God. Is that Mavis Gary?</dialogue> <character>BASSIST</character> <parenthetical>(shrugging)</parenthetical> <dialogue>Yeah, can you believe it? She came with Beth and Buddy. I don't know.</dialogue> <scene_description>Mary Ellen's memories of Mavis are clearly not fond. CONTINUED:</scene_description> <character>MARY ELLEN</character> <dialogue>Psychotic prom queen bitch.</dialogue> <scene_description>Mavis is over at the bar with Buddy.</scene_description> <character>MAVIS</character> <dialogue>Shots!</dialogue> <character>BUDDY</character> <dialogue>Oh. Thanks.</dialogue> <character>MAVIS</character> <dialogue>So are they any good?</dialogue> <character>BUDDY</character> <dialogue>What?</dialogue> <character>MAVIS</character> <dialogue>Are they good? The band.</dialogue> <scene_description>Buddy finishes off the beer. His reply is frank, but not unkind.</scene_description> <character>BUDDY</character> <dialogue>No. No, they really aren't. But they have fun. Hey, look, Freehauf's over there.</dialogue> <scene_description>Sure enough, Matt is leaning against an EMPLOYEES ONLY doorway near the rear of the bar. He watches the stage passively, his arms crossed over his belly. Mavis tries to not make eye contact.</scene_description> <character>MAVIS</character> <dialogue>Ha. God, he's always just lurking around, isn't he? So creepy! Look at his face. He's so doughy. He looks like a murderer.</dialogue> <scene_description>It's a dumb, mean comment but Buddy is amused.</scene_description> <character>BUDDY</character> <dialogue>Yeah, he looks like he might own a few clown suits.</dialogue> <scene_description>Mavis laughs.</scene_description> <character>MAVIS</character> <dialogue>You're so funny, Buddy.</dialogue> <scene_description>He pokes her arm affectionately. Mavis is thrilled with this moment of attention and validation. She leans in and opens her mouth to speak. Alas, she's quickly drowned out by the sound of Beth doing an EXTREMELY LOUD SOUND CHECK on her drums. CONTINUED: (2)</scene_description> <character>BANG! BANG! BANG! BOOM. BOOM. BOOM.</character> <dialogue>The sound guy gives Beth a thumbs-up from his console. Mavis is beyond irritated.</dialogue> <character>MARY ELLEN</character> <parenthetical>(onstage)</parenthetical> <dialogue>Hello Mercury!</dialogue> <scene_description>The small crowd cheers.</scene_description> <character>MARY ELLEN</character> <dialogue>I'm Mary Ellen Trantowski and we are Nipple Confusion! Please be kind, as this is only our second show and we all have small children at home.</dialogue> <scene_description>Friendly laughter from the crowd.</scene_description> <character>MARY ELLEN</character> <dialogue>Our first song's a cover. This one goes out from our drummer Beth to her sweetheart Buddy.</dialogue> <scene_description>She gestures to Beth, who grins and waves a drum stick in Buddy and Mavis's direction. The song begins with a few loud strums and a familiar couplet sung by Mary Beth:</scene_description> <character>MARY ELLEN</character> <parenthetical>(singing)</parenthetical> <dialogue>She wears denim wherever she goes...</dialogue> <scene_description>Mavis's face falls as she watches them play. This is HER song with Buddy. The song from the mix tape. Beth pounds the drums with unschooled enthusiasm. Even though the band is technically sloppy, everyone is smiling and cheering. Mavis's eyes fill up with tears. Or is she just drunk? She looks around. Up front, a PROUD DAD holds a toddler wearing large protective headphones. Two KIDS, about 7 and 9, dance in front of the stage. The women in the band-- even Beth, who drums doggedly-- harmonize together on the chorus, and not very well.</scene_description> <character>MARY ELLEN &amp; THE BAND</character> <dialogue>I didn't want to hurt you, oh yeah...</dialogue> <scene_description>CONTINUED: (3) Mavis looks at Buddy. He's rocking out, guzzling another beer. Mavis glances at Matt Freehauf, who's still leaning against the doorway. Their eyes meet. His gaze is full of pity. She hates that he pities her. Mavis suddenly turns to Buddy and shouts over the music.</scene_description> <character>MAVIS</character> <parenthetical>(shouting)</parenthetical> <dialogue>Hey, do you remember we used to make out to this song?</dialogue> <scene_description>Buddy leans in to hear her better.</scene_description> <character>BUDDY</character> <parenthetical>(shouting)</parenthetical> <dialogue>Make out?</dialogue> <scene_description>Mavis nods, grinning. Buddy smiles back.</scene_description> <character>BUDDY</character> <dialogue>Yeah. I do.</dialogue> <character>MAVIS</character> <parenthetical>(shouting)</parenthetical> <dialogue>This song was playing the first time I went down on you.</dialogue> <scene_description>Buddy isn't sure he heard her correctly, and neither are we. Mavis points to the floor to underscore her point, still smiling.</scene_description> <character>MAVIS</character> <dialogue>The first time I went down on you.</dialogue> <character>BUDDY</character> <dialogue>I remember that.</dialogue> <scene_description>Buddy and Mavis both seem to enjoy this not-altogether- appropriate moment. They redirect their eyes toward the stage. Now Mavis is swaying to the music with renewed enthusiasm.</scene_description> </scene> <scene> <stage_direction>EXT. CHAMPION O' MALLEY'S - NIGHT</stage_direction> <scene_description>Mavis opens the front door of the bar to exit. It's a typical postshow scene, albeit a little more family- friendly. The crowd spills out onto the sidewalk. Friends load BAND GEAR into someone's van. Beth and her band mates chat excitedly. Beth is clearly having a blast. Mavis and Buddy linger on the periphery. CONTINUED:</scene_description> <character>BETH</character> <parenthetical>(laughing)</parenthetical> <dialogue>I messed up the fill so bad on "Haircut." I'm sorry guys.</dialogue> <character>BASSIST</character> <dialogue>No honey, you were great.</dialogue> <scene_description>Buddy's voice is a loud, drunken bray.</scene_description> <character>BUDDY</character> <dialogue>Yeah, you guys were namazing.</dialogue> <character>MARY ELLEN</character> <dialogue>Did he just say "namazing?"</dialogue> <scene_description>The women titter at Buddy's mistake.</scene_description> <character>BETH</character> <parenthetical>(affectionate)</parenthetical> <dialogue>I think someone's had a few too many.</dialogue> <character>MAVIS</character> <dialogue>Oh, hardly...</dialogue> <character>MARY ELLEN</character> <dialogue>It's interesting to see you hanging around again, Mavis.</dialogue> <scene_description>Mavis summons her best high-school bitch attitude.</scene_description> <character>MAVIS</character> <dialogue>Mary Ellen, you were great tonight. It's inspiring to see a single, partnerless mother with so much confidence onstage.</dialogue> <character>BUDDY</character> <dialogue>Yup, I'm pretty drunk. Bethie, we gotta get home. Relieve the babysitter.</dialogue> <scene_description>He takes another swill of beer, amid protests from Beth's rowdy mom-friends.</scene_description> <character>BETH</character> <dialogue>Aw, really? I want to stay out just a little while longer.</dialogue> <character>BASSIST</character> <dialogue>Yeah Buddy, you can't have her back yet!</dialogue> <scene_description>Beth pouts cutely, batting her lashes at Buddy. CONTINUED: (2)</scene_description> <character>MAVIS</character> <dialogue>I'll drive him home.</dialogue> <character>BETH</character> <parenthetical>(eager)</parenthetical> <dialogue>Really?</dialogue> <scene_description>Mary Ellen gives Mavis the once-over. Mavis notices the coldness of her stare. Beth may be oblivious, but nothing gets past Mary Ellen.</scene_description> <character>BETH</character> <parenthetical>(interrupting)</parenthetical> <dialogue>Buddy, let Mavis drive you home, OK? I'm gonna stay and celebrate.</dialogue> <character>BUDDY</character> <dialogue>Sure. Okay.</dialogue> <scene_description>Mavis takes the Jeep keys from Buddy. She holds them up and clicks the "unlock" button triumphantly. As the car BEEPS, Mavis flashes her best shit-eating grin at a scowling Mary Ellen.</scene_description> <character>BETH</character> <parenthetical>(happily)</parenthetical> <dialogue>Thanks, Mavis!</dialogue> </scene> <scene> <stage_direction>EXT. BUDDY'S HOUSE - NIGHT (TO ESTABLISH)</stage_direction> <scene_description>The Jeep pulls up. Mavis and Buddy get out and walk up onto the porch. Buddy stumbles, leaning on Mavis. We hear their voices in the night.</scene_description> <character>MAVIS</character> <dialogue>Easy.</dialogue> <character>BUDDY</character> <dialogue>My tolerance has really gone down since you knew me.</dialogue> <character>MAVIS</character> <dialogue>What do you mean, "since I knew you"? I still know you.</dialogue> <scene_description>Buddy goes to enter the house, but Mavis stops him.</scene_description> <character>MAVIS</character> <dialogue>Hey, wait.</dialogue> <character>BUDDY</character> <dialogue>What?</dialogue> <scene_description>CONTINUED: Mavis takes Buddy by the wrist and looks at his cheap Timex watch. To her, it's more beautiful than any Rolex. She pushes the "Indiglo" button, illuminating the watch, and shows Buddy the time. 10:53.</scene_description> <character>MAVIS</character> <parenthetical>(whispering)</parenthetical> <dialogue>Look. You still have seven minutes. Don't you have that baby- sitter until 11?</dialogue> <character>BUDDY</character> <dialogue>Yeah. But we can't go anywhere.</dialogue> <character>MAVIS</character> <dialogue>That's true. We can't. But time is so precious.</dialogue> <scene_description>Buddy's words are slurred.</scene_description> <character>BUDDY</character> <dialogue>For real. It goes so fast. Whoosh.</dialogue> <scene_description>He leans against Mavis in a half-embrace, dangerously close.</scene_description> <character>BUDDY</character> <dialogue>Man. I just really love my daughter, you know?</dialogue> <scene_description>Buddy is just being drunk and sentimental. But Mavis seems to interpret it as the beginning of a confession.</scene_description> <character>MAVIS</character> <dialogue>I know. I know. I can tell you're a great father. You're already going above and beyond in so many ways. You've really stepped up to the plate. You do too much, even.</dialogue> <scene_description>Now Buddy's voice has become similarly low and intimate.</scene_description> <character>BUDDY</character> <dialogue>Do you think so?</dialogue> <character>MAVIS</character> <dialogue>Yes. You're such a good, good man, Buddy. Don't ever shortchange yourself.</dialogue> <scene_description>Buddy chuckles softly and drunkenly. His hand has wandered to Mavis's bare arm. It's a friendly grip, more for balance than anything, but there's tension now. CONTINUED: (2) Buddy and Mavis's faces meet in a KISS. It's a hard close- mouthed kiss, but a kiss nonetheless. Buddy pulls away quickly. He lays one hand on Mavis's face, as if he knows he's made a mistake, but wouldn't mind kissing her again. The BABYSITTER, an effeminate college-aged guy, suddenly opens the door and appears on the porch. He holds a pacifier in one hand and stares daggers at Mavis.</scene_description> <character>BABYSITTER</character> <parenthetical>(indignant)</parenthetical> <dialogue>I thought I saw lights.</dialogue> <character>BUDDY</character> <dialogue>Yeah, um, Daniel. I'm home.</dialogue> <character>BABYSITTER</character> <dialogue>Where's Beth?</dialogue> <character>MAVIS</character> <parenthetical>(exaggerating)</parenthetical> <dialogue>Beth wanted to stay out all night and party.</dialogue> <character>BABYSITTER</character> <dialogue>Well, we're all out of breastmilk and she doesn't want the nuk anymore.</dialogue> <scene_description>He holds up the "nuk," a pacifier, as if it's tainted.</scene_description> <character>BUDDY</character> <dialogue>I got it.</dialogue> <scene_description>Buddy heads into the house, drunk and flustered, not turning to say goodbye to Mavis.</scene_description> <character>MAVIS</character> <dialogue>Good night, Buddy.</dialogue> <character>BUDDY</character> <dialogue>Good night.</dialogue> </scene> <scene> <stage_direction>INT. WOODY'S SALOON - EVENING</stage_direction> <scene_description>The transition is sudden, but we can immediately see that Mavis and Freehauf are drowning their sorrows again. Mavis is obviously drunk. CONTINUED:</scene_description> <character>MATT</character> <dialogue>You need to ease up, Mavis. You've been getting loaded every night.</dialogue> <character>MAVIS</character> <dialogue>It's called a bender. I have depression.</dialogue> <scene_description>She declares it the way someone might say "I have a Pulitzer."</scene_description> <character>MATT</character> <dialogue>If you're so depressed, why don't you exercise or something? Take your poor dog for a walk for once.</dialogue> <character>MAVIS</character> <dialogue>Why don't you walk, fat ass?</dialogue> <character>MATT</character> <dialogue>Oh, there's some low-hanging fruit</dialogue> <character>MAVIS</character> <dialogue>You are low-hanging fruit.</dialogue> <character>MATT</character> <dialogue>Oh no. No.</dialogue> <character>MAVIS</character> <dialogue>What?</dialogue> <character>MATT</character> <dialogue>I hate this guy over here.</dialogue> <scene_description>Matt nods toward a MAN in a WHEELCHAIR. The man is drinking a beer and laughing with a group of friends.</scene_description> <character>MAVIS</character> <parenthetical>(surprised)</parenthetical> <dialogue>Ugh. My cousin Mike.</dialogue> <character>MATT</character> <dialogue>Mike Moran is your cousin?</dialogue> <scene_description>Mavis Unfortunately. MIKE has spotted them and is wheeling over with a broad grin on his face.</scene_description> <character>MATT</character> <dialogue>Here comes the happiest cripple in Minnesota.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>MIKE</character> <dialogue>Mavis? What is up, girly-friend?</dialogue> <scene_description>He holds his arms outstretched. Mavis leans in reluctantly for a hug.</scene_description> <character>MIKE</character> <dialogue>Holy shit, cuz, this is such a rad surprise!</dialogue> <scene_description>Mavis is as wooden as Mike is enthusiastic.</scene_description> <character>MAVIS</character> <dialogue>I'm just in town taking care of a real estate thing. How are you?</dialogue> <character>MIKE</character> <dialogue>I'm great. You know, Kim and I just had our six-year anniversary.</dialogue> <character>MAVIS</character> <dialogue>Six years, what is that, wood? Porcelain?</dialogue> <scene_description>Matt Strychnine? Mike It's candy. Hee! Anyway, the kids are great. Work is a trip, but I play hard, too. I've been doing a lot of rock-climbing. Matt is incredulous.</scene_description> <character>MATT</character> <dialogue>What, like, rock-crawling, you mean?</dialogue> <character>MIKE</character> <dialogue>Nahh, I'm vertical, bro. Believe it or not. You should try it, Matt. We can do anything a normal can do. Probably more, because we've had to reboot for extra positivity, know what I'm saying? You should try it!</dialogue> <character>MAVIS</character> <parenthetical>(dry)</parenthetical> <dialogue>Yeah, you should try it, Matt.</dialogue> <character>MATT</character> <dialogue>No.</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>MIKE</character> <dialogue>I love the way this guy talks. He's like, "no." I'm so glad you guys are buds, I can totally see it. It's like Will and Grace.</dialogue> <character>MAVIS</character> <dialogue>It is!</dialogue> <character>MATT</character> <dialogue>No, it isn't.</dialogue> <character>MIKE</character> <dialogue>Look, I'm gonna roll back to my boys, but we should chat later! I'll buy you a scotch or whatever you've got there. I love this place-- total time capsule, right?</dialogue> <scene_description>Mavis hoists her glass. Mike wheels away.</scene_description> <character>MATT</character> <dialogue>When did he get that chair? Sophomore year?</dialogue> <scene_description>Mavis rolls her eyes.</scene_description> <character>MAVIS</character> <dialogue>Junior. Car wreck. He got so much attention.</dialogue> <character>MATT</character> <dialogue>I remember. And then, of course, he was the "popular cripple." Practically ruined high school for me.</dialogue> <character>MAVIS</character> <dialogue>Yeah, well he ruined my Sweet Sixteen.</dialogue> <parenthetical>(off Matt's look)</parenthetical> <dialogue>It was that weekend!</dialogue> <scene_description>Seething with old resentment, they watch Mike "dance" in his wheelchair.</scene_description> <character>MATT</character> <dialogue>You're a piece of work.</dialogue> <character>MAVIS</character> <dialogue>You're a piece of shit.</dialogue> <scene_description>MATT loudly clinks Mavis's stationary glass. CONTINUED: (4) Mavis responds in a quieter way: She puts her glass against his and holds it there for a beat, like a kiss.</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL PARKING LOT - NIGHT</stage_direction> <scene_description>Mavis drives her MINI Cooper into the parking lot of the Homeway Suites. She pulls crookedly into a spot, never hitting the brakes, and proceeds to slam the front end of her car into a lamp post. Not hard enough to wreck the car, per se, but hard enough to crumple the front end.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - MORNING</stage_direction> <scene_description>Mavis wakes up in her clothes. She peels her flushed, pillow-creased face off the bed and rubs her neck. Remembers.</scene_description> </scene> <scene> <stage_direction>EXT. HOTEL PARKING LOT - MORNING</stage_direction> <scene_description>Mavis walks out to her car and surveys the aftermath. The situation looks even worse in the harsh light of morning. She walks away.</scene_description> </scene> <scene> <stage_direction>INT. KENTACOHUT - DAY</stage_direction> <scene_description>Mavis sits in the kentaco hut, typing.</scene_description> <character>MAVIS</character> <parenthetical>(voiceover)</parenthetical> <dialogue>The kiss was electric. Transformative. Spiritual. Enchanted. It was like their first kiss all over again, except now they knew exactly what they were doing.</dialogue> <scene_description>Behind her, TWO TEENAGE GIRLS are waiting in line and talking about their love lives. Mavis listens.</scene_description> <character>TEENAGE GIRL #1</character> <dialogue>So I said, like, listen, Kyle. You're everything to me. You're my sun, my moon, my galaxy; when are you going to get this?</dialogue> <character>TEENAGE GIRL #2</character> <dialogue>And he was like, not getting it...</dialogue> <scene_description>CONTINUED:</scene_description> <character>TEENAGE GIRL #1</character> <dialogue>Right!</dialogue> <scene_description>The girls shut their car doors. Mavis begins typing... Mavis's CELL PHONE rings. It's Buddy. Oh my God! Mavis stares at the ringing phone as if it's an oracle.</scene_description> <character>MAVIS</character> <parenthetical>(to herself)</parenthetical> <dialogue>Hello. Hello.</dialogue> <parenthetical>(warmly)</parenthetical> <dialogue>Hey you!</dialogue> <scene_description>That's it.</scene_description> <character>MAVIS</character> <parenthetical>(picking up)</parenthetical> <dialogue>Hey you!</dialogue> <scene_description>Cross cut phone call:</scene_description> </scene> <scene> <stage_direction>INT. BUDDY'S HOUSE (KITCHEN) - DAY</stage_direction> <scene_description>Close on Buddy, leaning against the wall with a diet soda in his hand. No longer jocular, he seems nervous to speak to her. Something has changed in his demeanor.</scene_description> <character>BUDDY</character> <dialogue>Hi, how are you?</dialogue> <character>MAVIS</character> <dialogue>I'm good. I'm good. What is it, Bud?</dialogue> <character>BUDDY</character> <dialogue>How much longer are you going to be in town?</dialogue> <scene_description>Could it be? Is Buddy on the same page as her?</scene_description> <character>MAVIS</character> <dialogue>I'm here for you. How-- how long do you need?</dialogue> <character>BUDDY</character> <dialogue>I was just wondering, if you're still around this weekend, if you'd like to come to the baby's naming ceremony. It's just a little hippie thing out in the yard. Not religious or anything.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAVIS</character> <dialogue>Buddy, I would love to come.</dialogue> <character>BUDDY</character> <dialogue>Good. Great. Saturday, at the house, around one.</dialogue> <scene_description>His tone is still oddly stoic.</scene_description> <character>MAVIS</character> <dialogue>Okay. Great.</dialogue> <scene_description>Mavis hangs up, quietly thrilled. BACK ON BUDDY: Buddy hangs up and turns around. Reveal Beth, wearing the baby in a complicated sling. Her expression is unreadable.</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBAN STREET - DAY</stage_direction> <scene_description>Mavis is walking back with Dolce in his bag. Her spirits are high. There's a silver Lincoln sedan slowly cruising down the street. After a few beats, we realize it's tailing Mavis. Mavis doesn't notice right away, but eventually looks over her shoulder. The car's halting pace is suspicious. Finally, Mavis stops. The car also stops. The driver's side window rolls down. From our angle, we can't see the driver. We boom down to find HEDDA GARY, a handsome woman in her early sixties.</scene_description> <character>MAVIS</character> <dialogue>Hi, Mom.</dialogue> <scene_description>INT. HEDDA'S CAR - day Mavis is now in the passenger seat while Hedda drives. Dolce is sitting comfortably in Hedda's lap.</scene_description> <character>MAVIS</character> <dialogue>I wasn't avoiding you. I was planning to call.</dialogue> <scene_description>Hedda glances over and gazes at her daughter in the driver's seat. Mavis stares straight ahead. CONTINUED:</scene_description> <character>HEDDA</character> <dialogue>It's been so long, I almost forgot what you look like.</dialogue> <character>MAVIS</character> <dialogue>Look, I'm sorry. Okay?</dialogue> <character>HEDDA</character> <dialogue>We just miss you. Your daddy's going to freak out. Why didn't you just come stay with us?</dialogue> <character>MAVIS</character> <dialogue>I needed a quiet place I could write. I have tons of work to catch up on.</dialogue> <character>HEDDA</character> <dialogue>Are the books still selling well?</dialogue> <character>MAVIS</character> <dialogue>I can hardly keep up.</dialogue> <character>HEDDA</character> <dialogue>I heard you were back here to work on some kind of real estate transaction? I was just surprised you didn't use Aunt Lena as your broker. She's a little hurt.</dialogue> <scene_description>Even Mavis is a bit taken aback by the journey of her lies.</scene_description> </scene> <scene> <stage_direction>EXT. HEDDA AND DAVID'S HOUSE - DAY</stage_direction> <scene_description>Establishing.</scene_description> </scene> <scene> <stage_direction>INT. HEDDA AND DAVID'S HOUSE (BEDROOM) - DAY</stage_direction> <scene_description>Mavis peeks into her old bedroom. It's the bedroom of a popular girl from the '90s-- which seems pretty sad and faded now. Bulletin board, covered in blue ribbons. Diploma from the University of Minnesota, and some Kappa Alpha Theta stuff. A sparkly "BEST HAIR" certificate. A PHOTO STRIP from a carnival style machine. "What will your kids look like?!" A snapshot of Teenage Mavis on the left. Teenage Buddy on the right. A strange cobbled together baby with thick eyebrows in the middle. A framed 8 x 10 class photo of Mavis with HUGE BANGS sitting in the corner. CONTINUED: Next to the photo, there's a smaller snapshot of Mavis and Buddy on some kind of class trip. Mavis opens the closet. From a pile of old clothes, she retrieves a GREEN SWEATSHIRT and unfolds it eagerly. We can't see what's on the front of it. INT. HEDDA AND DAVID'S HOUSE (hallway) - day Mavis exits the room. In the hallway, there's a large WEDDING PICTURE in a silver frame. Mavis in a chic white dress, cuddled up to ALLEN, an average-looking man who seems thrilled to be wedded to her. Allen brandishes a silver CAKE SERVER as if it's a weapon. Mavis, the bride, smiles and plays along. Mavis wanders into an empty living room. Exhales.</scene_description> </scene> <scene> <stage_direction>INT. HEDDA AND DAVID'S HOUSE (KITCHEN) - SAME</stage_direction> <scene_description>Mavis sits across the kitchen table from Hedda and also her father, DAVID. They're in the midst of dining. It feels strangely like Mavis is still a teenager.</scene_description> <character>DAVID</character> <dialogue>I hope you're eating enough in the city.</dialogue> <character>HEDDA</character> <dialogue>It's important to take care of yourself, sweetie.</dialogue> <character>MAVIS</character> <dialogue>I think I might be an alcoholic.</dialogue> <character>HEDDA</character> <dialogue>Very funny.</dialogue> <scene_description>Mavis begins tugging at her usual lock of hair. David notices.</scene_description> <character>DAVID</character> <dialogue>You're not still pulling it, are you?</dialogue> <scene_description>Mavis sighs.</scene_description> <character>MAVIS</character> <dialogue>Stop.</dialogue> <scene_description>CONTINUED:</scene_description> <character>HEDDA</character> <parenthetical>(apologetic)</parenthetical> <dialogue>It's just that your hair is so beautiful.</dialogue> <character>MAVIS</character> <parenthetical>(switching subjects)</parenthetical> <dialogue>Mom? Can you please take down that picture of me and Allen?</dialogue> <character>HEDDA</character> <dialogue>Which photo, sweetie?</dialogue> <character>MAVIS</character> <dialogue>Our wedding picture? We're divorced.</dialogue> <character>HEDDA</character> <dialogue>We just thought it was a nice memory.</dialogue> <character>MAVIS</character> <dialogue>Of my failed marriage?</dialogue> <scene_description>Hedda pats Mavis's arm sincerely.</scene_description> <character>HEDDA</character> <dialogue>The wedding wasn't a failure. Remember that tiramisu?</dialogue> <scene_description>Mavis wanders over to the fridge and briefly checks inside. Old habit.</scene_description> <character>DAVID</character> <dialogue>I like that Allen.</dialogue> <character>MAVIS</character> <dialogue>Dad, he's my ex-husband. You're supposed to be on my team.</dialogue> <character>DAVID</character> <dialogue>He's a nice guy. That's all. I didn't know there were teams.</dialogue> <scene_description>Mavis says nothing.</scene_description> <character>HEDDA</character> <dialogue>Have you seen any old friends on this visit?</dialogue> <character>MAVIS</character> <parenthetical>(pointedly)</parenthetical> <dialogue>Actually, I've seen quite a bit of Buddy.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>DAVID</character> <dialogue>The old beau, eh?</dialogue> <character>HEDDA</character> <dialogue>I remember you kids were so cute in high school.</dialogue> <character>MAVIS</character> <dialogue>In a way, I feel like we've grown even closer as adults. It's funny how those initial instincts can often be so right. You can make mistakes along the way, but the world has a way of bringing you back to the person you're meant to be with.</dialogue> <parenthetical>(back in the real world)</parenthetical> <dialogue>I mean, we just click, you know?</dialogue> <scene_description>Her parents are a little skeptical. Hedda tries to be understanding.</scene_description> <character>HEDDA</character> <dialogue>It's good to keep those people in your life. People that really know you best.</dialogue> <scene_description>Mavis smiles. Thinking- her mom understands.</scene_description> <character>HEDDA</character> <dialogue>That new baby of his is just darling.</dialogue> <scene_description>Mavis stops smiling.</scene_description> <character>MAVIS</character> <parenthetical>(sincerely)</parenthetical> <dialogue>Have you seen it up close?</dialogue> <character>HEDDA</character> <dialogue>I suppose. Is everything okay?</dialogue> <character>MAVIS</character> <dialogue>I'm sure. Probably too early to tell, anyway. Buddy always said we'd make pretty cute kids.</dialogue> <scene_description>Hedda and David exchange a glance. Mavis suddenly remembers something</scene_description> <character>MAVIS</character> <dialogue>Hey, did you guys ever sell my Cabriolet?</dialogue> </scene> <scene> <stage_direction>EXT. MATT'S HOUSE - EVENING</stage_direction> <scene_description>Mavis pulls up in the Cabriolet. Matt is working in the garage. Mavis climbs out of the car.</scene_description> <character>MATT</character> <parenthetical>(snarky)</parenthetical> <dialogue>Nice ride. Is that a drop-top?</dialogue> <character>MAVIS</character> <dialogue>I just saw my mother and father.</dialogue> <character>MATT</character> <dialogue>Heavy. What are they like?</dialogue> <character>MAVIS</character> <dialogue>They're horrible. I've been through a lot. Let's go drink in the woods behind the school.</dialogue> </scene> <scene> <stage_direction>EXT. MERCURY HIGH FOOTBALL FIELD - NIGHT</stage_direction> <scene_description>Mavis and Matt cross the football field. Mavis walks at an insensitively brisk pace. Matt keeps up.</scene_description> <character>MAVIS</character> <dialogue>Our school is so ugly. It looks just like a factory.</dialogue> <character>MATT</character> <dialogue>It used to be a rubber fabrication plant in the '20s.</dialogue> <character>MAVIS</character> <dialogue>You know everything.</dialogue> </scene> <scene> <stage_direction>EXT. WOODS BEHIND THE SCHOOL - NIGHT</stage_direction> <scene_description>Mercury High is lit up like a brick prison. Past the football and soccer fields, there's a small wooded area. Mavis and Matt trek through the overgrowth. Mavis shivers in her tank top. She reaches into her purse and takes out the red sweatshirt she found at her parent's house. She pulls it on. It's a traditional high school P.E. shirt. On the front label, there's a large surname written in Magic Marker: SLADE. Matt glances at the shirt but doesn't say anything. Mavis takes a swig from a flask. Touches a tree trunk fondly. CONTINUED:</scene_description> <character>MAVIS</character> <dialogue>These woods were like Hump City back in the day. I remember being out here with a few different guys.</dialogue> <character>MATT</character> <dialogue>I never knew you were a slut.</dialogue> <character>MAVIS</character> <dialogue>I was normal.</dialogue> <scene_description>Mavis leans against a tree, quietly revisiting her high school sex memories. Until:</scene_description> <character>MATT</character> <dialogue>So what's going on with old Buddy? How's the master plan unfolding?</dialogue> <character>MAVIS</character> <dialogue>Funny you should ask. He called me today and asked me if I would participate in his daughter's naming ceremony on Saturday. I mean, there's still so much that's unspoken, but come on. He's involving me in his child's life.</dialogue> <scene_description>Matt interrupts. This is too much.</scene_description> <character>MATT</character> <dialogue>Mavis, are you batshit crazy? Buddy's married, okay? By all accounts, happily married. You need to snap out of this. I know you're not this delusional.</dialogue> <character>MAVIS</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>Oh yeah, Matt, happily married men go to bars alone with their ex- girlfriends all the time. They call them privately. They make out with them on the porch... It was really intense and passionate.</dialogue> <parenthetical>(pointing)</parenthetical> <dialogue>This is his shirt.</dialogue> <scene_description>The giant SLADE on the front of the shirt could not be more obvious.</scene_description> <character>MATT</character> <dialogue>Yes, I noticed. They probably noticed in space.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>MATT</character> <dialogue>And FYI, you look completely insane wearing it. Look, I don't know exactly what Buddy's doing with you, or what you think he's doing with you, but I do know that whatever it is, it's not cool. And you need to move on.</dialogue> <character>MAVIS</character> <dialogue>You're one to talk, Matt. All you care about is some scuffle that happened 20 years ago. You lean on that crutch and you lean on excuses, and you and I both know that you've used the whole thing as an excuse to do nothing.</dialogue> <character>MATT</character> <dialogue>A scuffle? You don't know shit about what happened to me. Those jocks you used to blow during lunch-- they shattered my legs, they bashed in my skull, they mangled my cock so I have to piss and cum sideways for the rest of my life, and they left me for dead. Things aren't so great "down south." I can barely get off alone, let alone with another person.</dialogue> <scene_description>Mavis knows she's in the wrong, but can never admit it. Her voice has a false note of encouragement.</scene_description> <character>MAVIS</character> <dialogue>What's done is done. You can't dwell on the past.</dialogue> <scene_description>Matt is flabbergasted.</scene_description> <character>MATT</character> <dialogue>Are you kidding? Talk about dwelling in the past. I mean, here you are, back in Mercury like a loser, trying to score with a guy who's happily married and--</dialogue> <scene_description>The word "happily" seems to set Mavis off.</scene_description> <character>MAVIS</character> <dialogue>Buddy is not happy! Stop saying that!</dialogue> <scene_description>Mavis's face is ghoulishly sad, a fact which is not lost on Matt. CONTINUED: (3)</scene_description> <character>MATT</character> <dialogue>You're hardly the authority on happiness, Sylvia.</dialogue> <scene_description>Mavis turns to walk away toward the street. She turns back to Matt with a false note of compassion in her voice.</scene_description> <character>MAVIS</character> <dialogue>It's really a shame that you're like this. If you had a good personality, none of the other stuff would matter to people.</dialogue> <character>MATT</character> <dialogue>Right, no one would care about my broken body. Hey, why don't you use my crutch as a metaphor again? That was masterful. You should put that in one of your little teenage stories. God knows you don't know anything about being an adult.</dialogue> <scene_description>Mavis storms off, huddled in Buddy's sweatshirt.</scene_description> </scene> <scene> <stage_direction>INT. "KENTACOHUT" - NIGHT</stage_direction> <character>MUSIC UP</character> <dialogue>Mavis sits alone in the restaurant. She eats a combo platter that showcases the very best of KFC, Pizza Hut and Taco Bell.</dialogue> <character>MAVIS</character> <parenthetical>(voiceover)</parenthetical> <dialogue>It wasn't the first time Kendal Strickland was let down. For all the good they did, beauty and popularity didn't inspire much loyalty. Would it be nice to have peers? Friends she could respect? Sure, but Kendal knew the lone march of being special a little too well. She was used to blazing her own trail. It was obvious that Ryan still loved her. Crystal clear.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL ROOM - NIGHT</stage_direction> <scene_description>Mavis sits on her bed, writing. The bed is littered with trash. CONTINUED:</scene_description> <character>MAVIS</character> <parenthetical>(voiceover)</parenthetical> <dialogue>And perhaps that was unfair to his new girlfriend. But Kendal Strickland was going to think about herself for a change. "Who was taking care of Kendal?" she asked her bedroom mirror. And on the subject of fair, was it fair that people misjudged Kendal's intelligence just because she was so beautiful? Was it fair that everyone thought her life was so easy when it was anything but? No! Life wasn't fair, and it was up to Kendal to step in and make things right. Sometimes, in order to heal, a few people have to get hurt.</dialogue> </scene> <scene> <stage_direction>INT. NAIL SALON - DAY</stage_direction> <scene_description>Rock show nail polish is rubbed off. Pastel nail polish is brushed on.</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ROOM - DAY</stage_direction> <scene_description>Mature make-up. Mature clothes. Mavis is reborn.</scene_description> </scene> <scene> <stage_direction>INT. CABRIOLET - DAY</stage_direction> <scene_description>Mavis is dolled up in another one of her designer dresses. Today is the day of Buddy's party, and despite everything, she's determined to look her best. She drives the Red Rocket into a strip mall parking lot.</scene_description> </scene> <scene> <stage_direction>INT. BABIES R' US - DAY</stage_direction> <scene_description>Mavis walks in, overwhelmed by all the bright, adorable merchandise. She strolls down the aisles, looking lithe and alien next to all the dumpy moms buying breast pumps and onesies. Her high heels clack against the linoleum. She approaches a display of beribboned BURP CLOTHS and grabs a pack of them.</scene_description> </scene> <scene> <stage_direction>EXT. BUDDY'S HOUSE (TO ESTABLISH) - DAY</stage_direction> <scene_description>Mavis pulls up to the curb near Buddy's house.</scene_description> </scene> <scene> <stage_direction>INT./EXT. BUDDY'S HOUSE - DAY</stage_direction> <scene_description>Mavis stands on the porch, holding a baby gift in a decorative bag. She rings the doorbell. Buddy's mother, JAN answers. She's in her sixties and has let herself go. Her voice is as coarse as her short hair.</scene_description> <character>MAVIS</character> <dialogue>Hi, Jan.</dialogue> <character>JAN</character> <dialogue>Well! It's been a very long time since I've seen you.</dialogue> <character>MAVIS</character> <dialogue>I've been a busy lady.</dialogue> <character>JAN</character> <dialogue>So I hear. Buddy's been very busy, ha ha! And Bethie. I'm finally a grandma.</dialogue> <character>MAVIS</character> <dialogue>I'm so glad for you.</dialogue> <scene_description>Buddy intercepts at just the right moment.</scene_description> <character>BUDDY</character> <dialogue>Hey there.</dialogue> <scene_description>He reaches for Mavis, who hugs him enthusiastically. Mid- hug, Mavis looks at Jan over Buddy's shoulder. It's an aggressive, pointed stare. Jan stares back.</scene_description> <character>MAVIS</character> <dialogue>I brought a present.</dialogue> <scene_description>She offers the gift bag awkwardly.</scene_description> <character>MAVIS</character> <dialogue>They're just burp cloths.</dialogue> <character>BUDDY</character> <dialogue>Great, we always need more pukers.</dialogue> <character>BUDDY</character> <dialogue>Hey Mom, I think Beth needs help with the endive thing.</dialogue> <scene_description>CONTINUED: Mavis is encouraged. Buddy wants to be alone witb her.</scene_description> <character>JAN</character> <dialogue>Grandma to the rescue!</dialogue> <scene_description>JAN scurries off to the kitchen. The small house is crowded with friends and relatives. People are spilling out into the yard. DANIEL, the suspicious babysitter from the other night, is socializing across the room. He sees Mavis and gives her the stink eye. She returns the look with her best Pretty Bitch Death Stare. Mavis turns her attention back to Buddy, smiling. But Buddy is already distracted. He's grabbed a LITTLE BOY and has turned the shrieking child upside-down. The boy's giggles drown out Mavis.</scene_description> <character>BUDDY</character> <parenthetical>(playful)</parenthetical> <dialogue>Get outta here, Carter-bug!</dialogue> <scene_description>He releases the boy.</scene_description> <character>MAVIS</character> <dialogue>I think we need to talk.</dialogue> <character>BUDDY</character> <dialogue>Sure.</dialogue> <scene_description>Buddy glances around the room, then gestures for Mavis to follow him into the hallway. They enter the baby's room. Mavis shuts the door behind her.</scene_description> </scene> <scene> <stage_direction>INT. BUDDY'S HOUSE (BABY'S ROOM) - SAME</stage_direction> <scene_description>The baby's room is cheaply but sweetly decorated. Mavis seems disturbed to be here.</scene_description> <character>BUDDY</character> <dialogue>So what's going on?</dialogue> <character>MAVIS</character> <dialogue>Ugh. There's so many things I know we both want to say.</dialogue> <character>BUDDY</character> <parenthetical>(confused)</parenthetical> <dialogue>Okay? Let's not say all of them. I gotta get Beth's gift ready.</dialogue> <parenthetical>(confiding)</parenthetical> <dialogue>I got her a drum set.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAVIS</character> <dialogue>You are so thoughtful. Even during all this.</dialogue> <character>BUDDY</character> <dialogue>Hey, she pushed it out.</dialogue> <character>MAVIS</character> <dialogue>I just wanted to tell you that I'm feeling everything you're feeling. These past few days have been some of the best of my life.</dialogue> <character>BUDDY</character> <dialogue>They have?</dialogue> <character>MAVIS</character> <dialogue>You don't have to pretend.</dialogue> <parenthetical>(taps his head)</parenthetical> <dialogue>I know what's in here.</dialogue> <parenthetical>(taps his heart)</parenthetical> <dialogue>And I know what's in here.</dialogue> <scene_description>Mavis closes her eyes and begins to move in.</scene_description> <character>MAVIS</character> <parenthetical>(breathless)</parenthetical> <dialogue>Buddy, you're my moon. My stars. You're my whole galaxy...</dialogue> <scene_description>Her lips go slack for a kiss as she lunges toward Buddy. He quickly realizes what's happening and pushes Mavis away strongly. Perhaps even shoving her actual face. It's a hard, humiliating rejection.</scene_description> <character>BUDDY</character> <dialogue>Mavis, what are you doing?</dialogue> <character>MAVIS</character> <dialogue>You don't have to be afraid. You can come to the city with me, like we always planned.</dialogue> <character>BUDDY</character> <dialogue>What the hell are you talking about?!</dialogue> <character>MAVIS</character> <dialogue>We can work it out. We'll handle it like adults.</dialogue> <character>BUDDY</character> <dialogue>Mavis, I'm a married man.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>MAVIS</character> <dialogue>I know. We can beat this thing together.</dialogue> <scene_description>Buddy looks at Mavis. A sad, pathetic look.</scene_description> <character>BUDDY</character> <dialogue>You're better than this.</dialogue> <scene_description>Mavis blinks in disbelief.</scene_description> <character>BUDDY</character> <parenthetical>(leaving)</parenthetical> <dialogue>I have to go. You should leave.</dialogue> <scene_description>Flustered, he walks out of the room.</scene_description> </scene> <scene> <stage_direction>INT. BUDDY'S HOUSE (LIVING ROOM) - SAME</stage_direction> <scene_description>Buddy returns to the party, trying to regain composure. JAN has reappeared in the living room, now holding the BABY. She's surrounded by admiring guests.</scene_description> <character>JAN</character> <dialogue>Look who's up!</dialogue> <scene_description>JAN thrusts the baby into Buddy's arms. Buddy is stressed, but reacts maturely. Mavis has now emerged from the baby's room. She lingers between the hallway and the living room, watching.</scene_description> <character>BUDDY</character> <parenthetical>(to baby)</parenthetical> <dialogue>Hi, sweet pea.</dialogue> <parenthetical>(to his mother)</parenthetical> <dialogue>Will you get everyone to go outside?</dialogue> <scene_description>The assembled relatives are delighted. Everyone loves a daddy with his baby girl. Mavis watches the "show" as women coo over Buddy's paternal stylings. There's scorn and hurt in her eyes. Mavis wanders away toward a folding table that's been set up as a makeshift bar in the overcrowded room. She pours herself a shot of Jim Beam, checks to see if anyone's looking, and downs it. Swallow. Repeat.</scene_description> </scene> <scene> <stage_direction>EXT. BUDDY'S YARD - DAY</stage_direction> <scene_description>Mavis moves through the yard, now clutching a fruity drink that's nearly gone. She's stumbling a little, drinking too fast. Everything looks grotesque. All these pale, simple people, their potato salad and their punch...Mavis is sick. A female, non-denominational MINISTER wearing a colorful stole smiles at Mavis with bad teeth. Mary Ellen and some other moms are hanging out near the food. Mary Ellen sees Mavis and murmurs something to the clique. They LAUGH, doing a crappy job of disguising their disdain. JAN walks out of the house, clapping her hands.</scene_description> <character>JAN</character> <dialogue>Listen up, everyone!</dialogue> <scene_description>Everyone obliges.</scene_description> <character>JAN</character> <dialogue>I think Buddy has a little surprise for Beth, so if you'll just direct your attention to the garage...</dialogue> <scene_description>Mavis isn't paying attention. She wanders in a daze.</scene_description> <character>BETH</character> <dialogue>Mavis? Are you okay?</dialogue> <character>MAVIS</character> <dialogue>I would be if I could get a drink.</dialogue> <character>BETH</character> <dialogue>There's some right here.</dialogue> <scene_description>She reaches for a pitcher of punch, but is temporarily distracted by an OLDER RELATIVE.</scene_description> <character>BETH</character> <dialogue>What? Oh no, she's fine with Grandpa right now. Thank you, Uncle Bob.</dialogue> <scene_description>She turns back toward Mavis and accidentally bumps against a party guest. Most of the punch splashes onto the front of Mavis's minidress. CONTINUED:</scene_description> <character>BETH</character> <parenthetical>(stammering)</parenthetical> <dialogue>Oh! I'll get something...</dialogue> <character>MAVIS</character> <dialogue>Oh my God. Oh my God. Fuck you! Fuck you!</dialogue> <scene_description>Beth backs off, blinking. The edge on Mavis's voice grabs people's attention. Conversation stops. Mavis laughs.</scene_description> <character>MAVIS</character> <dialogue>I'm just joking, Beth. God, you should see your face. You're just standing there like a big lump.</dialogue> <scene_description>Beth's confused half-smile fades.</scene_description> <character>MAVIS</character> <dialogue>No, just kidding. For real, I love your sweater.</dialogue> <scene_description>She tugs on the sleeve of Beth's loose-fitting sweater. Beth reminds patient.</scene_description> <character>BETH</character> <dialogue>I'll go get a rag.</dialogue> <character>MAVIS</character> <dialogue>You guys sure have a lot of rags around here. Burp cloths, whatever.</dialogue> <scene_description>Everyone is staring at Mavis.</scene_description> <character>MAVIS</character> <dialogue>The funny thing is, I actually could have had this party a long time ago. I mean, this very same party. Buddy and I were together for four years.</dialogue> <parenthetical>(nodding toward JAN)</parenthetical> <dialogue>JAN knows.</dialogue> <scene_description>Beth appears, offering a rag. She gently and discreetly tries to towel off Mavis, but Mavis resists, pushing her away.</scene_description> <character>BETH</character> <parenthetical>(quietly)</parenthetical> <dialogue>You want to clean up, Mavis?</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>MAVIS</character> <dialogue>No, don't worry. It's silk. It's fucked.</dialogue> <scene_description>JAN looks away, already mortified.</scene_description> <character>MAVIS</character> <dialogue>Remember? We were inseparable, in more ways than one! Ooh, I'm sorry, JAN, Kirk... Buddy got me pregnant.</dialogue> <character>HEDDA</character> <dialogue>Mavis...</dialogue> <character>MAVIS</character> <parenthetical>(loudly)</parenthetical> <dialogue>Wait, I'm telling a story. Buddy got me pregnant when I was 20, when we were almost broken up. And I decided to keep it, are you hearing this? We were going to keep the baby like this-- we were going to have a baby and a naming party and a Funquarium and little fruit hats and all that. And twelve weeks in, I had, well, I had Buddy's miscarriage, which I wouldn't wish for-- to happen to anyone.</dialogue> <scene_description>Shocked silence. Beth looks like she wants to die.</scene_description> <character>MAVIS</character> <dialogue>Maybe if things had been a little bit more hospitable, you know, down south, in my broken body, Buddy and I would be here right now. With a teenager, and probably even more kids. We always came back to each other. Always. Didn't we, JAN?</dialogue> <scene_description>The garage door opens noisily. Reveal Buddy's legs, then Buddy's entire body, then Buddy's smiling face. He stands expectantly next to a BRAND NEW DRUM KIT. There's a jaunty bow tied to the ride cymbal. Nobody says a word.</scene_description> <character>BUDDY</character> <dialogue>You guys, it's a new drum kit for Beth.</dialogue> <scene_description>CONTINUED: (3) An ELDERLY MAN claps dutifully. A few people join in, but most people are still whispering. Buddy hits the CRASH CYMBAL for emphasis, confused. Beth has tears in her eyes.</scene_description> <character>BUDDY</character> <dialogue>What's wrong?</dialogue> <scene_description>Beth can barely speak.</scene_description> <character>BETH</character> <dialogue>Nothing.</dialogue> <scene_description>Mavis is laughing.</scene_description> <character>MAVIS</character> <dialogue>What do you mean, nothing? What's wrong with you? Are you one of those kids who needs a chart to learn feelings? Why are you covering for me? Stand up for yourself, Beth!</dialogue> <character>HEDDA</character> <dialogue>That's enough, Mavis! You're drunk!</dialogue> <scene_description>Beth moves closer to Mavis, putting her hand on Mavis's back. Mavis spins around, surveying the shocked crowd.</scene_description> <character>MAVIS</character> <dialogue>I've been drunk the whole time I've been back and nobody gave two shits until</dialogue> <parenthetical>(indicating Beth)</parenthetical> <dialogue>this one got bent out of shape...</dialogue> <scene_description>She stumbles away from Beth. Buddy charges forward and herds her over to the fence, trying to move her away from the crowd.</scene_description> <character>BUDDY</character> <parenthetical>(hushed)</parenthetical> <dialogue>What the hell are you doing?</dialogue> <character>MAVIS</character> <dialogue>Why did you invite me?</dialogue> <character>BUDDY</character> <dialogue>I didn't invite you. My wife did. Beth practically forced me to call you.</dialogue> <scene_description>CONTINUED: (4)</scene_description> <character>BUDDY</character> <dialogue>I mean, she even stood there and supervised to make sure I'd do it. She feels sorry for you; we all do. It's obvious you've been having some...mental, uh, sickness, some depression, and you're very lonely and confused. So Beth made me invite you even though I knew it would be a mistake. I knew it.</dialogue> <scene_description>Beth has joined Buddy by his side. Her face is creased with worry.</scene_description> <character>MAVIS</character> <parenthetical>(to Buddy)</parenthetical> <dialogue>You're lying.</dialogue> <scene_description>Beth's voice is low and sad.</scene_description> <character>BETH</character> <dialogue>He's not.</dialogue> <scene_description>Mavis looks at Beth's face. Her eyes are full of pity and concern. Still sympathetic!</scene_description> <character>MAVIS</character> <dialogue>What about now? Do you hate me now? I hate you, so it should be easy. What the hell is wrong with you people?</dialogue> <scene_description>Mavis tries to stagger out of the yard, but accidentally misses the gate. She begins kicking the fence. Hedda calls out to her weakly.</scene_description> <character>HEDDA</character> <dialogue>Mavis, honey...</dialogue> <character>MAVIS</character> <parenthetical>(to Buddy)</parenthetical> <dialogue>I came back for you. For you. And I hate this town. It's a hick lake town that smells like fish shit. I just want you to know that.</dialogue> <scene_description>Mavis leaves. Buddy holds Beth close.</scene_description> </scene> <scene> <stage_direction>INT./EXT. MATT'S HOUSE - DUSK</stage_direction> <scene_description>The doorbell chimes. Matt limps to the door. CONTINUED: Matt opens the door to reveal Mavis, weeping hysterically. Her dress is covered in punch, and she's practically incoherent.</scene_description> <character>MAVIS</character> <dialogue>I screwed up so bad! I screwed up so bad!</dialogue> <scene_description>Matt grabs Mavis by her arms and guides her to his room as she sobs violently.</scene_description> </scene> <scene> <stage_direction>INT. MATT'S HOUSE (BEDROOM) - SAME</stage_direction> <scene_description>Mavis throws herself on Matt. He loses his balance and falls onto the bed.</scene_description> <character>MATT</character> <dialogue>Where have you been?</dialogue> <scene_description>Mavis weeps, sniffling into Matt's T-shirt.</scene_description> <character>MAVIS</character> <dialogue>I'm crazy. And no one loves me. You don't love me.</dialogue> <character>MAT</character> <dialogue>Guys like me are born loving women like you.</dialogue> <character>MAVIS</character> <dialogue>I went to Buddy's house.</dialogue> <character>MATT</character> <dialogue>What happened?</dialogue> <scene_description>Mavis starts weeping again. Her eyes are a mess. She bats ineffectually at her face with a mascara-smeared hand.</scene_description> <character>MAVIS</character> <dialogue>My dress is ruined.</dialogue> <scene_description>She reaches down and pulls off her stained dress in one rapid gesture. Her breasts are deformed by the "chicken cutlets" she's been wearing to make them look bigger.</scene_description> <character>MATT</character> <dialogue>Let me get you a shirt...</dialogue> <scene_description>Mavis kneels there, staring at him, not trying to cover herself up. She sniffles.</scene_description> <character>MAVIS</character> <dialogue>I want your shirt.</dialogue> <scene_description>CONTINUED: Matt looks down at his Hanes Beefy Tee.</scene_description> <character>MATT</character> <dialogue>The one I'm wearing?</dialogue> <scene_description>Mavis looks at him, shirtless and helpless, and nods. Shaking, Matt removes his shirt and hands it to Mavis. Mavis holds the shirt against her body for a moment, then lays it aside. Matt is not the type of guy who feels comfortable without a shirt. His arms are crossed.</scene_description> <character>MAVIS</character> <dialogue>You hide me.</dialogue> <scene_description>She reaches for Matt. He can't help but reach back, partially to embrace her, but also so they both feel less naked. They hug tightly, obscuring each other's bare chests. Mavis reaches down and unties Matt's pajama pants. They drop to reveal his leg. Having heard about his accident the entire film, we finally see the result, a scarred and atrophied leg, that is mostly skin and bone. It's heartbreakingly frail. Mavis begins to pull Matt. One step and then another. She sits down on his bed. Matt tips forward and awkwardly lowers on top of her. His breath is short. From underneath, Mavis pulls off his underwear, exposing him completely. Her own underwear are so small they barely count. Neither of them are really moving, but Matt's in between her legs. They start to rock back and forth. Mavis's hands rake Matt's back and bare ass as if they were making love.</scene_description> </scene> <scene> <stage_direction>INT. MATT'S HOUSE (BEDROOM) - LATER</stage_direction> <scene_description>Silence. Room tone. Matt and Mavis are under the covers now, lying next to each other. Matt's voice comes out in a stunned croak.</scene_description> <character>MATT</character> <dialogue>Why Buddy?</dialogue> <scene_description>Mavis's responds in a sleepy whisper.</scene_description> <character>MAVIS</character> <dialogue>He's a good man. He's kind.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MATT</character> <dialogue>Are other men unkind?</dialogue> <character>MAVIS</character> <dialogue>He knew me when I was at my best.</dialogue> <character>MATT</character> <dialogue>You weren't at your best then, Mavis. I saw you every day. You had this little mirror in your locker. It was shaped like a heart, and you looked at that mirror more than you ever looked at me. And I was at my best.</dialogue> <scene_description>Mavis reaches over and puts her hand on Matt's face. She looks at him for a long time, widening her eyes exaggeratedly. Staring. They're nose to nose. Mavis sniffles, but Matt doesn't pull away.</scene_description> </scene> <scene> <stage_direction>INT. MATT'S HOUSE (BEDROOM) - MORNING</stage_direction> <scene_description>Mavis wakes up in Matt's bed. Matt is still asleep. His arm is draped across Mavis like the arm of her wealthy date that we saw early on. She slips out easily and puts on her soiled dress.</scene_description> </scene> <scene> <stage_direction>INT. MATT'S HOUSE (DOWNSTAIRS)- MORNING</stage_direction> <scene_description>Mavis creeps upstairs. Sandra is standing in the kitchen washing dishes before work. She wears nurse's scrubs and the sides of her permed hair are slicked back into a dated half-ponytail look. A coffee pot percolates on the counter. Sandra turns around and sees Mavis. Sandra's face is bare and homely. A morning face, on a non-morning person.</scene_description> <character>MAVIS</character> <dialogue>Good morning.</dialogue> <character>SANDRA</character> <dialogue>Hi.</dialogue> <character>MAVIS</character> <dialogue>Coffee?</dialogue> <scene_description>CONTINUED: Sandra nods. Mavis walks into the kitchen and takes two mugs off the counter. One says "I HATE MY JOB, BUT I NEED THE $$$." The other has a kitten on it. She pours coffee into both mugs and pushes one across to Sandra.</scene_description> <character>SANDRA</character> <dialogue>Thank you.</dialogue> <scene_description>Mavis puts Sandra's cup down on the kitchen table. She sits down and gestures for Sandra to join her.</scene_description> <character>SANDRA</character> <dialogue>Do you still write those books?</dialogue> <character>MAVIS</character> <dialogue>No. The series is over. It was cancelled. I'm actually writing the last book right now.</dialogue> <character>SANDRA</character> <dialogue>What happens?</dialogue> <character>MAVIS</character> <parenthetical>(honestly)</parenthetical> <dialogue>I don't know.</dialogue> <scene_description>A beat of silence.</scene_description> <character>MAVIS</character> <dialogue>Hey, do you know a girl named Beth? She married Buddy Slade, from school?</dialogue> <character>SANDRA</character> <dialogue>Umm...Yeah, I know that Beth.</dialogue> <character>MAVIS</character> <dialogue>What do you think of her?</dialogue> <character>SANDRA</character> <dialogue>Uh--</dialogue> <scene_description>Sandra is about to say something nice and/or neutral. But Mavis is wrinkling her nose and mouth as if coaching Sandra to give a certain response.</scene_description> <character>SANDRA</character> <dialogue>I--</dialogue> <scene_description>Mavis tilts her head, still wrinkling her nose. CONTINUED: (2)</scene_description> <character>SANDRA</character> <dialogue>Yeah, I don't really like her. And I think you're way prettier than her. What happened to your dress?</dialogue> <scene_description>Out of what seems like nowhere, Mavis begins a strange teenage crying breakdown. Sandra rushes to her side.</scene_description> <character>SANDRA</character> <dialogue>What did I say? What's wrong?</dialogue> <character>MAVIS</character> <dialogue>I have a lot of problems.</dialogue> <character>SANDRA</character> <dialogue>Can't you get a new dress?</dialogue> <scene_description>Mavis stops and looks at Sandra - poor pathetic Sandra.</scene_description> <character>MAVIS</character> <dialogue>I... It's very difficult for me to be happy. And other people-- it's so simple for them. They just grow up. They're so... fulfilled.</dialogue> <character>SANDRA</character> <dialogue>I don't feel fulfilled.</dialogue> <character>MAVIS</character> <dialogue>Well...</dialogue> <parenthetical>(about to say something insulting and catches herself)</parenthetical> <character>SANDRA</character> <dialogue>... and frankly, if you don't feel fulfilled with all the stuff you have...</dialogue> <scene_description>A long beat as they both think about this. Mavis looks at Sandra. The house around her. She seems to come to an important life assessment.</scene_description> <character>MAVIS</character> <dialogue>Sandra, I need to change.</dialogue> <scene_description>Mavis means it. For the first time, she's not just talking. However, Sandra is beginning to tremble.</scene_description> <character>SANDRA</character> <dialogue>No, you don't.</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>MAVIS</character> <parenthetical>(quietly caught off guard)</parenthetical> <dialogue>What?</dialogue> <scene_description>Sandra You're the only person in Mercury who could write a book or wear a dress like that.</scene_description> <character>MAVIS</character> <dialogue>I'm sure there's plenty of people...</dialogue> <character>SANDRA</character> <parenthetical>(a quiet truth)</parenthetical> <dialogue>Everyone here is fat and dumb.</dialogue> <character>MAVIS</character> <dialogue>Don't say that.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Do you really think so?</dialogue> <character>SANDRA</character> <dialogue>Yes. Everyone wishes they could be like you. You know, living in the city, famous, and beautiful and all that.</dialogue> <character>MAVIS</character> <parenthetical>(false modesty)</parenthetical> <dialogue>I'm not famous.</dialogue> <character>SANDRA</character> <dialogue>Well, you know, special... or whatever. Some days, during a slow shift, I'll just think about you living in your cool apartment... Going out and stuff... it seems really nice.</dialogue> <character>MAVIS</character> <dialogue>But everyone here seems so happy with a lot less. They don't even seem to care what happens to them.</dialogue> <scene_description>Sandra gets very serious. Quiet. And sure of herself.</scene_description> <character>SANDRA</character> <dialogue>That's because it doesn't matter what happens to them.</dialogue> <scene_description>Mavis raises an eyebrow. CONTINUED: (4)</scene_description> <character>SANDRA</character> <dialogue>They're nothing. Might as well die.</dialogue> <scene_description>She lowers her voice.</scene_description> <character>SANDRA</character> <parenthetical>(practically whispering)</parenthetical> <dialogue>Fuck Mercury.</dialogue> <scene_description>Mavis begins to warm back up.</scene_description> <character>MAVIS</character> <dialogue>Thank you Sandra. I needed that.</dialogue> <scene_description>Sandra is thrilled to bask in her hero's rebirth. Slowly but surely, life returns to Mavis's eyes. Life and resolve. She smacks the table with resolve and rises.</scene_description> <character>MAVIS</character> <dialogue>You're right; this place blows. I need to head back to Minneapolis.</dialogue> <scene_description>Sandra is unsure for a moment, but then out of nowhere decides to seize the moment.</scene_description> <character>SANDRA</character> <dialogue>Take me with you.</dialogue> <character>MAVIS</character> <dialogue>Excuse me?</dialogue> <character>SANDRA</character> <dialogue>Take me with you. You know, to the Mini Apple.</dialogue> <scene_description>Mavis is picking up her expensive purse. She gives a sympathetic smile.</scene_description> <character>MAVIS</character> <dialogue>You're good here.</dialogue> <character>SANDRA</character> <dialogue>Oh.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL ROOM - MORNING</stage_direction> <scene_description>Mavis enters. The room is in shambles. There's some dog shit in the background. She scoops Dolce into her arms, genuinely feeling horrible for having left him all night. CONTINUED:</scene_description> <character>MAVIS</character> <dialogue>I'm sorry, I'm sorry, I'm sorry. I won't leave you like this again.</dialogue> <scene_description>Dolce licks her, immediately forgiving like all dogs.</scene_description> <character>MAVIS</character> <dialogue>I'm sorry, Dolce. I'm sorry.</dialogue> <scene_description>Mavis picks up Buddy's red SLADE sweatshirt and begins using it as a rag to clean the carpet. She chucks it into the garbage, carrying Dolce into the bathroom.</scene_description> <character>MAVIS</character> <parenthetical>(voiceover)</parenthetical> <dialogue>Graduation turned out to be a bittersweet ceremony for Kendal. While honored to be the valedictorian of her class, there was an unmistakeable air of sadness over the sudden death of Ryan Ashby. Who could have imagined when Ryan and his girlfriend set sail that day that it would be the last time anyone ever saw them. Poor Ryan, lost at sea.</dialogue> <scene_description>INT. HOTEL LOBBY - day Mavis appears with her luggage and dog in tow. The original front desk girl is working. Mavis slides her two key cards onto the desk.</scene_description> <character>FRONT DESK GIRL</character> <dialogue>They don't need these back. No one ever returns them. You can put them in a scrapbook or whatever.</dialogue> <scene_description>Mavis snorts derisively. Mavis signs a receipt. She notices some cheap DONUTS piled on a tray in the corner.</scene_description> <character>FRONT DESK GIRL</character> <dialogue>Just so you know, those donuts are for a convention. They're not for guests.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL PARKING LOT - DAY</stage_direction> <scene_description>Mavis eats a donut as she piles her stuff into the MINI. Mavis climbs into the car. Starts it. Throws it into reverse. Floors it. The front fender of the car is still attached to the parking block. It rips violently as Mavis guns it. She drives away, nonchalant.</scene_description> </scene> <scene> <stage_direction>INT. DENNY'S - DAY</stage_direction> <scene_description>Mavis sits in a booth typing on her laptop. We read:</scene_description> <character>MAVIS</character> <parenthetical>(voiceover)</parenthetical> <dialogue>Kendal felt the weight of her high school years lifting off of her as she emptied out her locker. Sure, she'd think about Waverly from time to time; cheer squad, the debate team, sneaking into the woods for a drink after class. But her best years were still ahead of her. Kendal Strickland was ready for the world. It was time to look to the future</dialogue> </scene> <scene> <stage_direction>EXT. ROADSIDE DENNY'S - DAY</stage_direction> <scene_description>Mavis walks around the front of the car and takes a look at the damage.</scene_description> <character>MAVIS</character> <parenthetical>(voiceover)</parenthetical> <dialogue>As she boarded the train to Cambridge, she took one last look at her small town and blew it a kiss, thinking: Life, here I come.</dialogue> <scene_description>In a strange way, the car's mangled front seems to stare back at her like a disfigured face. The end.</scene_description> </scene> </script>

Mavis Gary is a 37-year-old divorced, alcoholic ghost writer of a series of young adult novels, on deadline with her editor to finish the last book of the soon-to-be-canceled series. Mavis receives an e-mail with a picture of the newborn daughter of her high school boyfriend Buddy Slade and his wife Beth. Believing it to be a sign she and Buddy are meant to be together, Mavis leaves Minneapolis, returning to her hometown of Mercury, Minnesota, to reclaim her life with Buddy, under the pretext of overseeing a real estate deal. Arriving after listening to "The Concept" by Teenage Fanclub from an old mixtape Buddy gave her in high school, Mavis arranges to meet him the next day at a local sports bar for old times' sake. Beforehand, she goes alone to the bar Woody's. There she reconnects with a former classmate she barely remembers, Matt Freehauf, who became disabled after being beaten by jocks who erroneously assumed he was gay. He tells her that her plan to reclaim Buddy is irrational and selfish, but she ignores him. The following day, Mavis meets Buddy at the sports bar, where they see Matt again, as he is the bar's bookkeeper. On their way out, Buddy invites Mavis to a performance of Beth's "mom rock band". Mavis spends another night getting drunk with Matt, who distills homemade bourbon in his garage where he lives with his sister Sandra. On another outing with him, Mavis also runs into a cousin who lives locally. When Mavis attends the gig, the other moms are resentful of Mavis, whom they remember as the "psychotic prom queen bitch". As Beth's band performs, the lead singer dedicates their opening song to Buddy from Beth; "The Concept". Angry, Mavis tries to get Buddy's attention on her, but she comes off as cringey. Beth wants to stay out longer, so Mavis offers to drive the drunk Buddy home. On the lawn, they share a kiss that is quickly broken up when the babysitter opens the front door to greet them. The next day, after an awkward encounter with her parents, who didn't know Mavis was in town, Mavis is invited to Buddy's daughter's naming ceremony. She later brings Matt to their old high school to get drunk again, and he tells her to grow up. The following day, Mavis attends the party, where she declares her love for Buddy, but he rebuffs her. Everyone at the party is called out to the lawn to await a surprise Buddy has prepared for Beth. A drunk Mavis collides with Beth, who accidentally spills punch on Mavis's dress. Mavis insults her and, in a profanity-laced tirade, tearfully reveals that she became pregnant with Buddy's baby years ago but had a miscarriage at three months. Buddy, who has been preparing a drum-set gift for Beth in the garage, opens the garage door and belatedly learns what has transpired. Mavis asks him why he invited her. He reveals it was Beth's idea, as she feels sorry for Mavis. Humiliated, Mavis leaves and visits Matt, where she breaks down in tears and, later, initiates sex. The following morning, while Matt sleeps, Mavis has coffee in the kitchen with Sandra, who still idolizes her. Mavis talks about needing to change herself, but Sandra says Mavis is better than the rest of Mercury and should not change. Mavis says she agrees and prepares to return to Minneapolis. Sandra asks to go with her but Mavis declines and leaves alone. In a diner on her way home, Mavis writes the ending of the book, in which the main character graduates high school, quickly leaves her past behind, and looks forward to the future. Afterward, in the parking lot, she glances at the crumpled bumper of her car, before driving off.

Second Act_2018

tt2126357

<script> <scene> <character>SECOND ACT</character> <dialogue>Written by</dialogue> <scene_description>Justin Zackham &amp; Elaine Goldsmith Thomas Zackham/Segal Revision August 18, 2017 OPEN ON:</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - DAY</stage_direction> <scene_description>A small potted plant, a Ginkgo tree, sits in a Japanese urn.</scene_description> <character>MAYA (V.O.)</character> <dialogue>I know that many people believe in fate, and trust me, there are times I wish I was one of them.</dialogue> <scene_description>Pan off to the open door of a bathroom where MAYA DAVILLA, 42, pretty, fit, stands under a running shower.</scene_description> <character>MAYA (V.O.)</character> <dialogue>I tend to think our lives are shaped by a series of choices; one decision leading to another and another.</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM - A FEW MINUTES LATER</stage_direction> <scene_description>Maya combs out her hair in the mirror.</scene_description> <character>MAYA</character> <dialogue>As far as I can tell, it's the journey through all these decisions that paints the clearest portrait of who we really are.</dialogue> <scene_description>Her boyfriend, TREY EVERS, 38, enters with avocado toast with a candle on it.</scene_description> <character>TREY</character> <dialogue>Birthday breakfast.</dialogue> <character>MAYA</character> <dialogue>Love breakfast. Hate birthdays.</dialogue> <parenthetical>(kissing him)</parenthetical> <dialogue>Love you, though.</dialogue> <character>TREY</character> <dialogue>How bout a little more.</dialogue> <scene_description>She takes a bite of toast.</scene_description> <character>TREY</character> <dialogue>I wasn't talking about the food.</dialogue> <scene_description>She smiles, drops her towel, and kisses him.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - LATER</stage_direction> <scene_description>Maya sits at the vanity, hair extensions in, blowing on her nail polish.</scene_description> <character>TREY</character> <dialogue>You look hot.</dialogue> <character>MAYA</character> <dialogue>I need to look professional.</dialogue> <character>TREY</character> <dialogue>You do.•• Relax, okay. Everybody there loves you.</dialogue> <character>MAYA</character> <dialogue>You need a bachelors degree to be a manager.</dialogue> <character>TREY</character> <dialogue>I'd argue fifteen years experience is worth ten degrees, not to mention the Bernie Millman seal of approval.</dialogue> <character>MAYA</character> <dialogue>Thank you...</dialogue> <parenthetical>(smiles; he always knows what to say)</parenthetical> <dialogue>We need to move your car.</dialogue> <scene_description>She heads out.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - SAME</stage_direction> <scene_description>Maya gets her bags then stops to rub her fingers on a leaf of the Gingko tree. Speaks under her breath--</scene_description> <character>MAYA</character> <dialogue>I need you today, abuela.</dialogue> <scene_description>Trey enters, dressed...</scene_description> <character>TREY</character> <dialogue>It's they who need you more than you need them.</dialogue> <character>MAYA</character> <dialogue>Yeah, well, I'm taking it one game at a time.</dialogue> <scene_description>CONTINUED:</scene_description> <character>TREY</character> <dialogue>Did you just sports metaphor me?</dialogue> <parenthetical>(he loves it)</parenthetical> <dialogue>Just keep your eye on the ball.</dialogue> <character>MAYA</character> <dialogue>What if Weiskopf doesn't like me?</dialogue> <character>TREY</character> <dialogue>It's a game of inches. Give it a hundred and ten percent.</dialogue> <character>MAYA</character> <dialogue>I'm ignoring you... Do you like, it's an honor to meet you Mr. Weiskopf, or does that sound too--</dialogue> <character>TREY</character> <dialogue>Ass kissy.</dialogue> <character>MAYA</character> <dialogue>I have to get this, Trey.</dialogue> <character>TREY</character> <dialogue>C'mere.</dialogue> <parenthetical>(wrapping her in a hug)</parenthetical> <dialogue>You're Maya Davilla. The only thing with a prayer of stopping you, is you.</dialogue> <character>MAYA</character> <parenthetical>(then)</parenthetical> <dialogue>I'm going to be late.</dialogue> <character>TREY</character> <dialogue>Knock 'em dead.</dialogue> <scene_description>He grabs his keys and leaves.</scene_description> <character>MAYA</character> <dialogue>Your ass looks great in those jeans by the way.</dialogue> <character>TREY</character> <parenthetical>(playfully offended)</parenthetical> <dialogue>Sweetie, no. I am not a piece of meat. What? Again? I'm not in the--</dialogue> <parenthetical>(approaches her)</parenthetical> <dialogue>Okay. But we'll have to make it quick.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>MAYA</character> <parenthetical>(giggles)</parenthetical> <dialogue>Go!</dialogue> <scene_description>She takes a minute collecting her things, herself.</scene_description> </scene> <scene> <stage_direction>EXT. MAYA AND TREY'S APARTMENT - DAY</stage_direction> <scene_description>Maya walks out to her '95 Ford Fiesta, rehearsing as she goes.</scene_description> </scene> <scene> <stage_direction>INT. MAYA'S CAR - DAY</stage_direction> <scene_description>Maya practices her pitch as she drives through the Queens neighborhood streets.</scene_description> <character>MAYA</character> <dialogue>To stand out in the big box community, we knew we had to do things differently.</dialogue> <scene_description>Maya stops at a light and looks over as a Mercedes SL pulls up next to her. She admires the car, even as the business woman in the front seat snaps orders into a phone, then peels away as the light changes.</scene_description> </scene> <scene> <stage_direction>INT. BODACIOUS BODEGA - DAY</stage_direction> <scene_description>Maya enters, still rehearsing under her breath. She grabs a wrapped ham and egg from a spot beneath a small, plastic palm tree bearing a faded sign that reads: MAYA'S H&amp;M.</scene_description> <character>MAYA</character> <dialogue>Thanks, Justin.</dialogue> <character>JUSTIN</character> <parenthetical>(behind the counter)</parenthetical> <dialogue>You got it, babe.</dialogue> </scene> <scene> <stage_direction>EXT. BODACIOUS BODEGA - DAY</stage_direction> <scene_description>Maya crosses the street and sits on a wooden city bench beneath a tree. Her world seems to slow as she eats meditatively. When she's done, she ritualistically rubs her hand back and forth across the pommel of the left arm rest before folding the sandwich paper and, with a deep breath--</scene_description> <character>MAYA</character> <dialogue>Let's do this.</dialogue> </scene> <scene> <stage_direction>EXT. VALUE CLUB - PARKING LOT - MORNING</stage_direction> <scene_description>Maya pulls into the huge parking lot. She climbs out and joins the dozens of others walking towards work at the giant warehouse market that is VALUE CLUB. COSTCO by another name.</scene_description> <character>MAYA (0.S.)</character> <dialogue>It's an honor, Mr. Weiskopf...</dialogue> </scene> <scene> <stage_direction>INT. VALUE CLUB - LATER</stage_direction> <scene_description>SAMUEL WEISKOPF, 72, CEO of VALUE CLUB, stands with, a young man in a bow tie, ARTHUR COYLE, 27 fastidious, southern preppie, and store manager, BERNARD MILLMAN, 70's.</scene_description> <character>MAYA</character> <dialogue>...to show you what we've been doing at VALUE CLUB, 151.</dialogue> <character>WEISKOPF</character> <dialogue>The honor is ours.</dialogue> <parenthetical>(introducing)</parenthetical> <dialogue>My associate Arthur Coyle. Take note, Arthur, Forest Hills Value Club outsells it's nearest competition twice over.</dialogue> <character>MAYA</character> <dialogue>Two and a half times, but who's counting.</dialogue> <character>A</character> <dialogue>BERNRD</dialogue> <scene_description>We are. Let's show him why, Maya... Maya walks with Bernie, Weiskopf, and Arthur through the enormous warehouse of food, electronics, household supplies.</scene_description> <character>MAYA</character> <dialogue>It's no secret the challenge for brick and mortars are the online outlets, the Amazons, eBay's...</dialogue> <character>BERNARD</character> <dialogue>So we started to think, how do we fight them...</dialogue> <character>WEISKOPF</character> <dialogue>And?</dialogue> </scene> <scene> <stage_direction>INT. BACK ROOM/FULFILLMENT CENTER - SAME</stage_direction> <character>MAYA</character> <dialogue>Welcome to our online store.</dialogue> <scene_description>Three staffers sit at desks with iPads and head sets fulfilling phone orders. ON THE COMPUTER: We see Value Club's well stocked aisles.</scene_description> <character>MAYA</character> <dialogue>It's what sets us apart. Wasn't it you sir who said, "We live in a multiple universe"?</dialogue> <character>WEISKOPF</character> <dialogue>Did I?</dialogue> <character>MAYA</character> <dialogue>In your last newsletter. So, my best friend, Joan Viccidornrnini, fellow employee, sends her son, Dilly, into the store with his cellphone so he can hold up every single cut of sirloin for her Beef Braciole, and that's when it hits me.</dialogue> <character>ARTHUR</character> <parenthetical>(browsing the site)</parenthetical> <dialogue>It's a live feed. Interesting.</dialogue> <character>MAYA</character> <dialogue>From home, our subscribers can pick an exact filet of salmon, the third lemon from the back, anything they need. They shop before noon, we deliver by six. Twenty mile radius. Expands our community. Expands our volume.</dialogue> <character>BERNARD</character> <dialogue>And expands our profits nicely.</dialogue> <character>WEISKOPF</character> <dialogue>Wow.</dialogue> <character>MAYA</character> <dialogue>Anyone thirsty?</dialogue> </scene> <scene> <stage_direction>INT. TRIPLE M CAFE - CONTINUOUS</stage_direction> <scene_description>Located at the back of the store. A few early shoppers stand at the coffee bar beneath the sign that reads: TRIPLE M CAFE.</scene_description> <character>ARTHUR</character> <dialogue>Triple M?</dialogue> <character>WOMAN'S VOICE</character> <dialogue>Monday. Morning. Moms.</dialogue> <scene_description>Everyone turns to see JOAN VICCIDOMINI, 30's, Maya's best friend. She's colorful both in language and dress.</scene_description> <character>MAYA</character> <dialogue>Meet the aforementioned Joan.•.</dialogue> <character>JOAN</character> <parenthetical>(to Maya)</parenthetical> <dialogue>Now?</dialogue> <parenthetical>(Maya nods)</parenthetical> <dialogue>Okay, so I have three kids and a husband on disability, and I was, you know, "sharing my woes" with a few other mothers, and Maya thought we should start a weekly bitch fest-</dialogue> <character>MAYA</character> <dialogue>--a social club. Catering to the Monday Morning Moms or Dads. It started small, the hour after AM school drop off--</dialogue> <character>JOAN</character> <dialogue>We vent. We shop. We vent.</dialogue> <character>MAYA</character> <dialogue>And it just grew.</dialogue> <character>ARTHUR</character> <dialogue>Are we talking staff or customers?</dialogue> <character>WOMAN'S VOICE</character> <dialogue>BOTH!</dialogue> <scene_description>Maya looks shocked as a short, squat, woman, SUZI TEPLITSKY late 30's walks over. Tight pants, lots of jewelry, make up.</scene_description> <character>MAYA</character> <dialogue>Suzi's here?</dialogue> <character>JOAN</character> <dialogue>For seasoning.</dialogue> <scene_description>CONTINUED:</scene_description> <character>SUZI</character> <dialogue>I call it Value Club Therapy - we're like shopping friends. We swap stories, recipes...</dialogue> <scene_description>Another triple M member, Antonella Denunzio ("Big Ant"), 40s, big voice, big boobs, overweight, tight clothes.</scene_description> <character>BIG ANT</character> <dialogue>Husbands...</dialogue> <character>JOAN</character> <dialogue>You wish.</dialogue> <character>BIG ANT</character> <dialogue>This moisturizer sucks, that one's overpriced, the rotisserie chicken's as dry as my--</dialogue> <character>SUZI</character> <dialogue>--and that's why they got rid of it.</dialogue> <character>BIG ANT</character> <dialogue>Along with all the crappy skin care stuff. The point is, these ladies listen to us.</dialogue> <character>SUZI</character> <dialogue>Like it's our store too.</dialogue> <character>MAYA</character> <dialogue>And that about sums it up.</dialogue> <character>WEISKOPF</character> <dialogue>I don't know what to say. Other than, Arthur's going to be extremely fortunate to have you as a first Lieutenant.</dialogue> <scene_description>The news hits Maya hard. Now she knows why Arthur's there.</scene_description> <character>WEISKOPF</character> <parenthetical>(walking off)</parenthetical> <dialogue>I'll leave you guys to get to know each other.</dialogue> <character>MAYA</character> <parenthetical>(calls out)</parenthetical> <dialogue>Mr. Weiskopf.</dialogue> <parenthetical>(he turns)</parenthetical> <dialogue>Could I have a moment?</dialogue> <scene_description>CONTINUED: (2) Bernard looks worried.</scene_description> <character>WEISKOPF</character> <dialogue>You can have two.</dialogue> <character>MAYA</character> <dialogue>Thank you, umrnm I prepared for this meeting for many weeks. I didn't sleep last night or all week, actually.</dialogue> <character>BERNARD</character> <dialogue>You did great, Maya.</dialogue> <character>MAYA</character> <dialogue>I've put fifteen years of my life into this store, and, since becoming assistant manager 6 years ago, sales have increased at a record pace.</dialogue> <parenthetical>(she looks at Arthur)</parenthetical> <dialogue>I mean, no disrespect, but what do you know about this store or the customers who shop here?</dialogue> <character>ARTHUR</character> <parenthetical>(smarmy)</parenthetical> <dialogue>I specialize at team building.</dialogue> <character>WEISKOPF</character> <dialogue>Arthur's MBA is from Duke. I think you'll find that he's the best man for the job.</dialogue> <character>MAYA</character> <dialogue>No sir. I am.</dialogue> <character>WEISKOPF</character> <dialogue>Where did you go to college, dear?</dialogue> <character>MAYA</character> <dialogue>I have my G.E.D.</dialogue> <character>WEISKOPF</character> <dialogue>Well, I respect that. I do. But we have minimum job requirements in place for a reason.</dialogue> <character>MAYA</character> <dialogue>And what is that reason?</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>WEISKOPF</character> <parenthetical>(shutting this down)</parenthetical> <dialogue>I want you to know how much we value you, your ideas, and your loyalty.</dialogue> <scene_description>Off Maya as Weiskopf walks away.</scene_description> </scene> <scene> <stage_direction>INT. BREAK ROOM - LATER</stage_direction> <scene_description>Maya has her head down. Joan comes in.</scene_description> <character>JOAN</character> <dialogue>It's just a title.</dialogue> <character>MAYA</character> <dialogue>It's everything.</dialogue> <character>JOAN</character> <dialogue>It's one thing. Perspective. You've got Trey, hello amazing boyfriend. You know he's ring shopping, right?</dialogue> <parenthetical>(off Maya)</parenthetical> <dialogue>Oops.</dialogue> <character>MAYA</character> <dialogue>Why would you tell me that?</dialogue> <character>JOAN</character> <dialogue>I said, "oops." And hellloooo, after five years together, this can't be a shocker.</dialogue> <character>MAYA</character> <dialogue>It's not about-- He wants kids.</dialogue> <character>JOAN</character> <dialogue>And that's bad because...</dialogue> <character>MAYA</character> <dialogue>We're not talking about this right now.</dialogue> <character>JOAN</character> <dialogue>News flash. You're forty-two. Correction, forty-three today.</dialogue> <parenthetical>(off Maya)</parenthetical> <dialogue>But we can call you forty-two. Who even knows if you can still get pregnant?</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAYA</character> <dialogue>Wow, and I thought I felt bad ten minutes ago.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I wanted that job, Joanie.</dialogue> <character>JOAN</character> <dialogue>How do I say this nicely? I don't... Get sloshed, and get knocked up after the party tonight. You can use the guest bedroom, and--</dialogue> <character>MAYA</character> <dialogue>Wait, what party?</dialogue> <character>JOAN</character> <dialogue>Oops?</dialogue> <scene_description>WHAT PARTY?:</scene_description> <character>JOAN</character> <dialogue>It's supposed to be a surprise. Trey talked us into it. You can't say no.</dialogue> <character>MAYA</character> <dialogue>Watch me.</dialogue> <character>JOAN</character> <dialogue>Plus Dilly's leaving for California soon. If you don't want to celebrate you, celebrate him. Just do me one favor. Act surprised.</dialogue> <scene_description>PRE-LAP CHEERING: SURPRISE!!:</scene_description> </scene> <scene> <stage_direction>INT. JOAN'S HOUSE - NIGHT</stage_direction> <scene_description>Blue collar, lived in, split level. Decorated for a birthday.</scene_description> <character>MAYA</character> <dialogue>Joan told me this morning.</dialogue> <scene_description>Everyone glares at Joan.</scene_description> <character>JOAN</character> <dialogue>Bitch.</dialogue> </scene> <scene> <stage_direction>INT. JOAN'S HOUSE - LATER</stage_direction> <scene_description>The party is in full swing until Trey steps to the center of the living room and quiets everyone ...</scene_description> <character>TREY</character> <dialogue>If we could pipe down for a second...Thank you... I'd like to tell you all a couple'a things about the birthday girl.</dialogue> <scene_description>Joan takes Maya's arm...</scene_description> <character>TREY</character> <dialogue>Back when I coached Babe Ruth League--</dialogue> <character>MAYA</character> <dialogue>Oh, here we go.</dialogue> <character>TREY</character> <dialogue>There was this Friday night game at Pezzicola Field. This one kid--</dialogue> <parenthetical>(points at DILLY)</parenthetical> <dialogue>--goes down on a called third strike and suddenly there's this shrieking from the stands. Some crazy lady's all over the ump.</dialogue> <parenthetical>(waving her off)</parenthetical> <dialogue>In fairness, she wasn't wrong; the guy was dropping more calls than AT&amp;T. But she wasn't letting up. So I turn to get a look at this wacko, and barn, that was it for me. She was beautiful and brazen and completely on fire, and anyone who doesn't appreciate how amazing she is... Well, babe, just remember, it ain't over 'til it's over. Happy birthday.</dialogue> <scene_description>Everyone oooh, and ahhs, as Maya embraces, Trey.</scene_description> <character>TREY</character> <parenthetical>(indicating the music)</parenthetical> <dialogue>Dilly.</dialogue> <scene_description>DILLY, Joan's son, 18, eccentric, skateboarder tech-genius, puts on Luther Vandross' SUPERSTAR. Trey and Maya dance slowly and others join in. A real party.</scene_description> </scene> <scene> <stage_direction>EXT. JOAN'S BACKYARD - LATER</stage_direction> <scene_description>Maya and Joan sit outside sharing what's left of a bottle of champagne.</scene_description> <character>MAYA</character> <dialogue>I don't know why I'm so upset.</dialogue> <character>JOAN</character> <dialogue>Me either.</dialogue> <character>MAYA</character> <dialogue>It's just... I guess I let myself believe they'd give me a shot.</dialogue> <character>JOAN</character> <dialogue>Who would?</dialogue> <character>MAYA</character> <dialogue>Them. The "educated" people in their big houses and fancy cars who, I don't know, climb Kilimanjaro and only drink Rose.</dialogue> <character>JOAN</character> <dialogue>Oh. Them.</dialogue> <character>MAYA</character> <dialogue>System's rigged... Doesn't it bother you that just because you couldn't go to college when you were eighteen, you can't qualify for a job when you're forty?</dialogue> <character>JOAN</character> <dialogue>Given where you were at eighteen, I'd say you've come a very long way.</dialogue> <character>MAYA</character> <dialogue>Days like this, it doesn't feel like it.</dialogue> <character>JOAN</character> <dialogue>It's different now. The opportunities, I mean, a child from my loins is going to Stanford, on a Google scholarship. My son.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAYA</character> <dialogue>Well, we're sending him with a truckload of condoms, last thing we need is for his life to go off the rails like mine did.</dialogue> <character>JOAN</character> <dialogue>You mean Sarah?</dialogue> <character>MAYA</character> <parenthetical>(nods)</parenthetical> <dialogue>I just wonder how different things would have been if she was still with me. Neither one of us really had a chance.</dialogue> <character>DILLY (O.S.)</character> <dialogue>There's tons of other jobs out there, Auntie M.</dialogue> <scene_description>He's been listening from the door.</scene_description> <character>JOAN</character> <dialogue>Quit eavesdropping. She's not going anywhere. And there will be no truckload of condoms.</dialogue> <scene_description>He hands Maya a piece of cake.</scene_description> <character>DILLY</character> <dialogue>One wish for your birthday.</dialogue> <scene_description>Close on Maya.</scene_description> <character>MAYA</character> <dialogue>I wish...</dialogue> <scene_description>Shakes her head, fights off tears.•.</scene_description> <character>JOAN</character> <dialogue>You did the best you could.</dialogue> <character>MAYA</character> <dialogue>I gave it a hundred and ten percent.</dialogue> </scene> <scene> <stage_direction>INT. VALUE CLUB - STAFF ROOM -MORNING</stage_direction> <scene_description>Maya, sits with a few other assistant managers. CONTINUED:</scene_description> <character>ARTHUR</character> <dialogue>I've always liked the idea of round tables. As a boy, my favorite stories were--</dialogue> <scene_description>Maya rolls her eyes, Arthur clocks it.</scene_description> <character>ARTHUR</character> <dialogue>Ms. Davilla, a minute.</dialogue> <parenthetical>(steering her away)</parenthetical> <dialogue>I'm aware you wanted this position, and what's more I sincerely believe you deserved it. For me this is just a springboard into corporate. But I promise you this, when I get there, I'm going to take a long hard look at any policies that keep- out someone with your...</dialogue> <parenthetical>(searching for the word)</parenthetical> <dialogue>.•.temerity.</dialogue> <character>MAYA</character> <dialogue>Temerity?</dialogue> <character>ARTHUR</character> <dialogue>It means spunk.</dialogue> <character>MAYA</character> <dialogue>I know.</dialogue> <character>ARTHUR</character> <dialogue>Yes. Your ideas, while rough, still have merit.</dialogue> <character>MAYA</character> <dialogue>What's rough about them?</dialogue> <character>ARTHUR</character> <dialogue>But when you roll your eyes at me, you are trivializing a team building exercise that I'm trying to implement. And that divides us.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I don't want to be the despot ruler forced to replace old regimes. You're my right hand, and we're all at the same table.</dialogue> <scene_description>He beckons her back to the group.</scene_description> <character>ARTHUR</character> <dialogue>As I was saying, I'd like us to think of ourselves as knights •..</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>ARTHUR</character> <dialogue>Each with our own wisdom and fiefdoms. So, Sir Vondell Girard, you are our knight of legumes, and Sir Alex Gibian, knight of fowl.</dialogue> <scene_description>Joan appears at the door. Gesturing.</scene_description> <character>ARTHUR</character> <dialogue>And Shaniqua Hughes--You are the Knight of Hummus.</dialogue> <character>SHANIQUA</character> <parenthetical>(confused)</parenthetical> <dialogue>Um, I run the dairy.</dialogue> </scene> <scene> <stage_direction>EXT. STAFF ROOM - SAME</stage_direction> <scene_description>They stand by the opened door.</scene_description> <character>MAYA</character> <dialogue>I can't take this much longer.</dialogue> <character>JOAN</character> <dialogue>Good timing...</dialogue> <parenthetical>(handing her a note)</parenthetical> <dialogue>Some lady from Franklin and Clarke called for you.</dialogue> <character>MAYA</character> <dialogue>F&amp;C?</dialogue> <parenthetical>(off Joan's blank stare)</parenthetical> <dialogue>They make half the crap on aisle 7, 8, and 11.</dialogue> <character>JOAN</character> <dialogue>Ah. Don't worry. I intercepted, no one knows.</dialogue> <character>MAYA</character> <dialogue>No one knows what? I didn't apply for a job.</dialogue> <character>JOAN</character> <dialogue>Actually, I think Dilly did. Last week when you were all, "I wish this, and I wish that."</dialogue> <character>MAYA</character> <scene_description>CONTINUED:</scene_description> <character>JOAN</character> <dialogue>Relax. He used your legal... Maria de la Rosalinda de la whatever name, and put you up for some jobs.</dialogue> <character>MAYA</character> <dialogue>I didn't ask him to.</dialogue> <character>JOAN</character> <dialogue>So blow it off. Become the knight of laxatives.</dialogue> <scene_description>Off Maya.</scene_description> </scene> <scene> <stage_direction>EXT. CHRYSLER BUILDING - MORNING</stage_direction> <scene_description>Maya with hoops, hair, Queens flavor, but not too over the top, approaches the imposing Chrysler Building.</scene_description> </scene> <scene> <stage_direction>INT. HUMAN RESOURCES - A FEW MINUTES LATER</stage_direction> <scene_description>Packed. Maya sees other candidates half her age dressed more conservatively, waiting. She eyes them, they her, as she walks to the receptionist.</scene_description> <character>MAYA</character> <dialogue>Maya Davilla.</dialogue> <scene_description>The receptionist checks her computer.</scene_description> <character>MAYA</character> <dialogue>Sorry, it's under Maria Vargas. I got a call from a Miss Lipton...</dialogue> <character>RECEPTIONIST</character> <dialogue>Your interview's on the 59th Floor.</dialogue> <scene_description>Off Maya.</scene_description> </scene> <scene> <stage_direction>INT. RECEPTION 59TH FLOOR - A FEW MINUTES LATER</stage_direction> <scene_description>A Zen-like lobby with Feng-Shui rock fountain and muted colors. Even the phones whisper. Maya's heels echo as she walks to the receptionist.</scene_description> <character>MAYA</character> <dialogue>Hi. I'm--</dialogue> <character>RECEPTIONIST</character> <dialogue>Miss. Vargas. Yes, they're expecting you.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAYA</character> <dialogue>They are?</dialogue> </scene> <scene> <stage_direction>INT. ANDERSON CLARKE'S OFFICE - 59TH FLOOR - SAME</stage_direction> <scene_description>Views for days, Maya is led in by the receptionist.</scene_description> <character>ANDERSON</character> <dialogue>Nice to meet you Maria.</dialogue> <scene_description>Reveal, ANDERSON CLARKE, late 50's, affability born of supreme confidence; he's been wearing a suit his entire life.</scene_description> <character>MAYA</character> <dialogue>Please call me Maya.</dialogue> <character>ANDERSON</character> <dialogue>Anderson Clarke.</dialogue> <character>MAYA</character> <dialogue>As in Franklin and Clarke?</dialogue> <character>ANDERSON</character> <dialogue>I wanted it to be Clarke and Franklin, but I lost a coin toss. Still pisses me off. This is Zoe, one of our senior executives.</dialogue> <scene_description>ZOE (mid-20's), cooly professional as she shakes Maya's hand.</scene_description> <character>MAYA</character> <dialogue>Pleasure.</dialogue> <character>ANDERSON</character> <dialogue>I recognize that this is a bit unorthodox, but I've long thought that sales should have a greater voice in product development.</dialogue> <character>MAYA</character> <dialogue>Wow. Okay.</dialogue> <character>ZOE</character> <dialogue>You're familiar with our products?</dialogue> <character>MAYA</character> <dialogue>Company wide?</dialogue> <character>ANDERSON</character> <dialogue>Dazzle us.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAYA</character> <dialogue>Okay, let's see... In personal care, the Mountain Rain Shampoo's excellent, though we only stock the regular version. Men's shaving gel, Fresh and Bright Toothpaste are big sellers, although the entire skin- care line is...</dialogue> <character>ZOE</character> <dialogue>Yes?</dialogue> <character>MAYA</character> <parenthetical>(trying/failing to soft- pedal)</parenthetical> <dialogue>Careless. You're far behind the competition.</dialogue> <scene_description>Zoe's eyebrows go up, but Anderson, slightly bemused, motions for her to stand down.</scene_description> <character>ZOE</character> <dialogue>Go on.</dialogue> <character>MAYA</character> <parenthetical>(pivoting)</parenthetical> <dialogue>Urn... Your detergents fly off the shelves, oh, and the new Paraffin Dusting Spray is--</dialogue> <character>ANDERSON</character> <parenthetical>(heard enough)</parenthetical> <dialogue>Your credentials are certainly impressive.</dialogue> <parenthetical>(reads a file)</parenthetical> <dialogue>Harvard undergrad? Wharton B- school...</dialogue> <character>MAYA</character> <dialogue>Urn--?</dialogue> <character>ANDERSON</character> <dialogue>And your philanthropy, all the work with the homeless, two years in the Peace Corps. And then there's--</dialogue> <character>MAYA</character> <parenthetical>(confused)</parenthetical> <dialogue>I'rn sorry but ...</dialogue> <character>ANDERSON</character> <dialogue>Surely you have summit pictures?</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>MAYA</character> <dialogue>Summit pictures?</dialogue> <character>ZOE</character> <dialogue>Mr. Clarke has been training to climb Kilimanjaro.</dialogue> <character>MAYA</character> <dialogue>Is that right? Actually, I don't have any--</dialogue> <character>ZOE</character> <dialogue>Except on Facebook.</dialogue> <character>MAYA</character> <dialogue>Except on...Facebook.</dialogue> <character>ANDERSON</character> <dialogue>The breadth of your experience is what's impressed us most.</dialogue> <character>ZOE</character> <dialogue>You're currently consulting for Value Club?</dialogue> <character>MAYA</character> <dialogue>M-hrnrn.</dialogue> <character>ANDERSON</character> <dialogue>Sam Weiskopf is an old friend of mine. Know him?</dialogue> <character>MAYA</character> <dialogue>Not really. I'm mostly focused on products; what works, what doesn't.</dialogue> <character>ANDERSON</character> <dialogue>What F&amp;C product doesn't work? Other than skin-care?</dialogue> <character>ZOE</character> <dialogue>I don't think we need Ms. Vargas to tell us--</dialogue> <character>MAYA</character> <dialogue>--Cherry-scented floor-polish.</dialogue> <character>ZOE</character> <dialogue>One of our best sellers.</dialogue> <character>ANDERSON</character> <dialogue>Not anymore.</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>MAYA</character> <dialogue>And not in the tri-state area.</dialogue> <character>ANDERSON</character> <dialogue>Why do you think that is, Maya?</dialogue> <character>ZOE</character> <dialogue>It's more of a seasonal--</dialogue> <character>MAYA</character> <dialogue>People only buy what they need.</dialogue> <character>ZOE</character> <dialogue>People don't know what they need until they see it.</dialogue> <character>MAYA</character> <dialogue>If people needed their floors to smell like cherries, I wouldn't have had to RMA thirty-six unsold cases back to your distributor.</dialogue> <scene_description>Point. Counter point. Zoe, unreadable considers.</scene_description> <character>ZOE</character> <parenthetical>(dismissive)</parenthetical> <dialogue>Thanks for coming in, Maya.</dialogue> </scene> <scene> <stage_direction>EXT. CHRYSLER BUILDING - LATER</stage_direction> <scene_description>Maya stands on the sidewalk googling Maria De la..... Now she sees article after article on herself.</scene_description> <character>MAYA</character> <dialogue>SHIT!</dialogue> <scene_description>Heads for the subway.</scene_description> </scene> <scene> <stage_direction>EXT. JOAN'S BACKYARD - DAY</stage_direction> <scene_description>Cole leans out the back door shouting at Joan who is on the trampoline with OTTO, her 5 year-old son.</scene_description> <character>COLE</character> <dialogue>Honey bunch, would you mind whipping up some steaks for the boys and me?</dialogue> <character>JOAN</character> <dialogue>Sure, baby breath. I'll get 'em out the freezer and you can whip 'em right up your ass.</dialogue> <scene_description>CONTINUED: Maya appears.</scene_description> <character>JOAN</character> <dialogue>You don't look happy.</dialogue> <character>OTTO</character> <dialogue>She doesn't look happy.</dialogue> <character>MAYA</character> <dialogue>I'm not happy.</dialogue> <character>JOAN</character> <dialogue>Did they like you?</dialogue> <character>MAYA</character> <dialogue>Well, they think I'm very accomplished; given my MBA, and stint in the peace corps, who can blame them?</dialogue> <character>JOAN</character> <dialogue>Peace Corps????</dialogue> <character>MAYA</character> <dialogue>It's all there on my Facebook Page!</dialogue> <character>JOAN</character> <dialogue>You don't have a...</dialogue> <parenthetical>(screaming)</parenthetical> <scene_description>DILLLLLLLYYYY:</scene_description> </scene> <scene> <stage_direction>INT. JOAN'S HOUSE, KITCHEN - DAY</stage_direction> <scene_description>Joan and Maya come in.</scene_description> <character>JOAN</character> <dialogue>Do. Not. Move.</dialogue> <scene_description>Dilly FREEZES while drinking milk from the carton.</scene_description> <character>JOAN</character> <dialogue>Did you make a Facebook page for Maya, and don't lie.</dialogue> <character>DILLY</character> <dialogue>Yes.</dialogue> <character>JOAN</character> <dialogue>That was easy.</dialogue> <scene_description>He pulls it up on his tablet. CONTINUED:</scene_description> <character>MAYA</character> <dialogue>It's not just Facebook.</dialogue> <character>DILLY</character> <dialogue>Gimme some credit.</dialogue> <scene_description>Close on the tablet as we see article after article on MAYA DE LA ROSALINDA DAVILLA VARGAS.</scene_description> <character>DILLY</character> <dialogue>THIS... is a work of art. I gave you a completely new identity over almost a hundred websites - social, corporate, you've even got a library card.</dialogue> <character>JOAN</character> <dialogue>Huh?</dialogue> <character>MAYA</character> <dialogue>Why, Dill?</dialogue> <character>DILLY</character> <dialogue>Your birthday wish.</dialogue> <parenthetical>(to Maya)</parenthetical> <dialogue>You wanted to be fancy, so I Frankensteined your ass.</dialogue> <scene_description>Joan slaps the back of his head.</scene_description> <character>DILLY</character> <dialogue>Well I did. I was gonna use your porn name, then I remembered you don't use your legal name anymore so--</dialogue> <character>MAYA</character> <dialogue>My porn name?</dialogue> <character>DILLY</character> <dialogue>First pet, first street.</dialogue> <character>JOAN</character> <dialogue>First pet, first street.</dialogue> <character>JOAN</character> <dialogue>Mine's Stubby Winkle.</dialogue> <character>DILLY</character> <parenthetical>(to Maya)</parenthetical> <dialogue>It's under your legal name, Auntie M, so you have a whole new you, but it's still you.</dialogue> <parenthetical>(scrolling)</parenthetical> <dialogue>We got your transcripts, employment histories. The FBI couldn't debunk it. It's basically real.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>MAYA</character> <dialogue>But it's not.</dialogue> <scene_description>We see pictures of Maya smiling with giraffes, etc.</scene_description> <character>JOAN</character> <dialogue>Did you retouch her ass?</dialogue> <character>MAYA</character> <dialogue>Not funny.</dialogue> <character>JOAN</character> <dialogue>A little funny. And a lot of ass.</dialogue> <character>MAYA</character> <dialogue>Doesn't matter. I'm not getting this job.</dialogue> <character>JOAN</character> <dialogue>What happened?</dialogue> <character>MAYA</character> <dialogue>You know when someone has a baby that looks like a potato, but instead you say, "Look at those cheeks?"</dialogue> <character>JOAN</character> <dialogue>You insulted their potato.</dialogue> <parenthetical>(Maya nods)</parenthetical> <dialogue>Which?</dialogue> <character>MAYA</character> <dialogue>Cherry scented floor polish.</dialogue> <scene_description>Otto walks by with a juice box.</scene_description> <character>JOAN</character> <dialogue>I love that shit.</dialogue> <character>OTTO</character> <dialogue>I love that shit.</dialogue> <character>JOAN</character> <dialogue>Out!</dialogue> <character>MAYA</character> <dialogue>Thank you, Dilly. But you gotta take it down.</dialogue> <character>DILLY</character> <dialogue>No problem.</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>MAYA</character> <dialogue>Next time I start dreaming hit me with something.</dialogue> <character>DILLY</character> <dialogue>Bulbous Cockburn.</dialogue> <parenthetical>(self satisfied)</parenthetical> <dialogue>My porn name.</dialogue> </scene> <scene> <stage_direction>INT. VALUE CLUB - MORNING</stage_direction> <scene_description>Monday Morning Moms are sitting in a circle. Arthur is trying to conduct the meeting.</scene_description> <character>ARTHUR</character> <dialogue>Okay, so all in favor of renaming to Monday Morning Masticators, raise your hands.</dialogue> <scene_description>He raises both. He's the only one.</scene_description> <character>SUZI</character> <dialogue>It just sounds so much like--</dialogue> <character>ARTHUR</character> <dialogue>It means eating. Calling it "Moms" is sexist against men.</dialogue> <character>BIG ANT</character> <dialogue>You're a little stupid, aren't you?</dialogue> <scene_description>Joan laughs with the girls. Maya joins in. Arthur clocks it.</scene_description> <character>ARTHUR</character> <parenthetical>(under his breath)</parenthetical> <dialogue>Remember, you're my right hand...</dialogue> <scene_description>Arthur walks away past Big Ant and Joan who hear this.</scene_description> <character>JOAN</character> <parenthetical>(aside to Maya)</parenthetical> <dialogue>You better hope he masticates with his left.</dialogue> <scene_description>Maya's phone rings. She walks to the corner, Joan trails.</scene_description> <character>MAYA</character> <parenthetical>(into the phone)</parenthetical> <dialogue>Hello? I go by.•. Maya. Who? Yes. Yes. I mean, YES. I, thank you. Ok. I will. Absolutely. Thank you.</dialogue> <parenthetical>(flummoxed)</parenthetical> <dialogue>That was F&amp;C. They want to hire me.</dialogue> <scene_description>CONTINUED:</scene_description> <character>JOAN</character> <dialogue>I thought you shit the potato?</dialogue> <character>MAYA</character> <dialogue>I did.</dialogue> <character>JOAN</character> <dialogue>Maybe it was some kind of test, you know? They wanted to see if you're a straight shooter.</dialogue> <character>MAYA</character> <dialogue>I am. Except for the whole lying about every last part of my life thing.</dialogue> <character>JOAN</character> <dialogue>The lie opened the door, but it was you who got that job. You know you can do this, and we both know you may never get another chance.</dialogue> <scene_description>Arthur snaps at her.</scene_description> <character>ARTHUR</character> <dialogue>Maya, I need you.</dialogue> <scene_description>Maya shares a look with Joan, takes a deep breath and walks over to Arthur.</scene_description> <character>MAYA</character> <dialogue>Excuse me, Arthur. I've been thinking about everything you've said over the past month.</dialogue> <character>ARTHUR</character> <dialogue>Good.</dialogue> <character>MAYA</character> <dialogue>And I'm just not ready to be your right hand.</dialogue> <character>ARTHUR</character> <dialogue>You're quitting? Are you're quitting?</dialogue> <character>MAYA</character> <dialogue>Best of luck to you.</dialogue> <scene_description>She turns and starts to walk away. CONTINUED: (2)</scene_description> <character>ARTHUR</character> <dialogue>Pretty tough for a woman your age to get another job like this.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Especially with your lack of education.</dialogue> <scene_description>You could hear a dime drop. Maya walks right up to him. He backs away slightly. After an uncomfortable beat--</scene_description> <character>MAYA</character> <dialogue>Watch me.</dialogue> <scene_description>Joan quietly fist pumps and mouths 'yes!'</scene_description> <character>BIG ANT</character> <parenthetical>(aside to Joan)</parenthetical> <dialogue>Masticating leftie now.</dialogue> </scene> <scene> <stage_direction>INT. VALUE CLUB - MINUTES LATER - MUSIC UP AS:</stage_direction> <scene_description>Maya strides down the cashier lane taking off her "Value Club" vest. She tosses it as two cashiers applaud. She smiles at them, then runs right into the chain and "aisle closed" sign, which knocks her down. Then she's up, a bit wobbly, and makes a hasty, but triumphant exit.</scene_description> </scene> <scene> <stage_direction>EXT. BAINTON FIELD - NIGHT</stage_direction> <scene_description>Home of the Rutgers University baseball team, of which Trey is the assistant head coach. He sits atop the dugout, spitting seeds as the team goes through batting practice.</scene_description> <character>TREY</character> <parenthetical>(shouting)</parenthetical> <dialogue>Light 'em up, Blucas.</dialogue> <scene_description>The batter takes a pitch off the outside corner. Ball four.</scene_description> <character>TREY</character> <dialogue>Good eye!</dialogue> <character>MAYA (O.S.)</character> <dialogue>Good ass.</dialogue> <character>TREY</character> <parenthetical>(turning)</parenthetical> <dialogue>Who you talking about?</dialogue> <character>MAYA</character> <dialogue>Who you think I'm talking about?</dialogue> <scene_description>CONTINUED: He smiles. She kisses him.</scene_description> <character>MAYA</character> <dialogue>Team's looking great, babe. You guys are going all the way.</dialogue> <character>TREY</character> <dialogue>Easy. We'll be happy to make the tournament. Lotta good teams to beat.</dialogue> <character>MAYA</character> <dialogue>They don't have the best assistant coach in the country.</dialogue> <character>TREY</character> <dialogue>I like your confidence. MAYA TREY (CONT'D) \*</dialogue> <scene_description>I like your... ...ass, I know. \*</scene_description> <character>MAYA</character> <dialogue>I was going to say smile. Hey, I got some really good news I want to talk about.</dialogue> <character>TREY</character> <dialogue>Yeah? Well, that makes two of us.</dialogue> <character>MAYA</character> <dialogue>Fidel's?</dialogue> <character>TREY</character> <dialogue>Perfect. Let me finish up--</dialogue> <parenthetical>(checks his watch)</parenthetical> <dialogue>Meet you at eight?</dialogue> <character>MAYA</character> <parenthetical>(kisses him)</parenthetical> <dialogue>Perfect.</dialogue> </scene> <scene> <stage_direction>EXT. FIDEL'S RESTAURANT - NIGHT</stage_direction> <scene_description>We see Maya and Trey through the window, mid-conversation.</scene_description> </scene> <scene> <stage_direction>INT. FIDEL'S - SAME</stage_direction> <character>TREY</character> <parenthetical>(agitated)</parenthetical> <dialogue>--I can't believe you said yes.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAYA</character> <dialogue>I know, I know. My head is still spinning.</dialogue> <character>TREY</character> <dialogue>You're gonna come clean, right?</dialogue> <character>MAYA</character> <dialogue>I admit that the way I got in was less than honest, but what I did in that room... I can do this.</dialogue> <character>TREY</character> <dialogue>How about you take this offer and leverage Value Club for the promotion they didn't give you. This could be a really good--</dialogue> <character>MAYA</character> <dialogue>--I quit this morning.</dialogue> <character>TREY</character> <dialogue>You what?</dialogue> <parenthetical>(off her nod)</parenthetical> <dialogue>Busy day. I would have thought you'd want to run at least one of these huge, life-altering decisions by me first.</dialogue> <scene_description>They look at each other for a beat.</scene_description> <character>TREY</character> <dialogue>--at least that's what I would have done. I mean, that's what I was gonna do tonight... Ask you about a huge life decision. But I don't know. I don't think it's--</dialogue> <character>MAYA</character> <dialogue>What?</dialogue> <scene_description>He looks down. Off his silence, she puts her hand on his.</scene_description> <character>MAYA</character> <dialogue>Tell me. Please.</dialogue> <scene_description>Trey hesitates, then reaches into his pocket and pulls out a ring box. He places it on the table.</scene_description> <character>MAYA</character> <dialogue>Oh baby.</dialogue> <scene_description>CONTINUED: (2) Her hand still on his. She doesn't reach for the ring box. The awkwardness is palpable.</scene_description> <character>TREY</character> <dialogue>Our timing never seems right, does it?</dialogue> <scene_description>Maya's eyes fill with tears. She doesn't know what to say.</scene_description> <character>TREY</character> <dialogue>I want a family. Kids.</dialogue> <character>MAYA</character> <parenthetical>(she doesn't, not yet)</parenthetical> <dialogue>You know how much I love you.</dialogue> <scene_description>She puts her hand over his, but he pulls away, taking the ring box off the table.</scene_description> <character>TREY</character> <dialogue>I don't think we can do this anymore.</dialogue> </scene> <scene> <stage_direction>INT. JOAN'S HOUSE - NIGHT</stage_direction> <scene_description>Joan opens the door to reveal Maya, tears in her eyes, holding suitcases. Joan hugs her as Maya begins to sob - an unspoken moment of understanding between two friends.</scene_description> </scene> <scene> <stage_direction>INT. JOAN'S KITCHEN - MORNING</stage_direction> <scene_description>It's morning mayhem as Joan makes lunches and breakfast as Otto eats at the table and Cole grabs his stuff to leave.</scene_description> <character>COLE</character> <dialogue>Going to Pete's, bye.</dialogue> <character>JOAN</character> <dialogue>You're picking up Otto from baseball at 4.</dialogue> <character>COLE</character> <dialogue>Got it.</dialogue> <character>JOAN</character> <parenthetical>(shouts)</parenthetical> <dialogue>Maya. You gotta eat something.</dialogue> <character>MAYA (O.S.)</character> <parenthetical>(freaking out)</parenthetical> <dialogue>I don't know what to wear.</dialogue> <scene_description>CONTINUED: She enters the kitchen wearing a very conservative dress with a large white collar and flat shoes.</scene_description> <character>MAYA</character> <dialogue>How's this?</dialogue> <character>JOAN</character> <dialogue>You look Amish.</dialogue> <character>MAYA</character> <dialogue>I'm trying to look respectable. Not too uptight, not too slutty.</dialogue> <character>JOAN</character> <dialogue>Don't worry. That dress is like dick repellent.</dialogue> <character>OTTO</character> <dialogue>What's dick repellent?</dialogue> <character>JOAN</character> <dialogue>Otto!</dialogue> <character>OTTO</character> <dialogue>What? You say bad shit all the time.</dialogue> <character>JOAN</character> <parenthetical>(stares at him a beat)</parenthetical> <dialogue>Just go get your frickin' jacket.</dialogue> <character>OTTO</character> <parenthetical>(as he leaves)</parenthetical> <dialogue>That's not even a word.</dialogue> <scene_description>Maya returns, having changed into a white pant suit.</scene_description> <character>MAYA</character> <dialogue>This better?</dialogue> <character>JOAN</character> <dialogue>Yeah, if you're selling milk or joining a cult.</dialogue> <parenthetical>(approaches her)</parenthetical> <dialogue>Get back in that room. Let's see what else you got.</dialogue> </scene> <scene> <stage_direction>EXT. NEW YORK CITY STREET - DAY</stage_direction> <scene_description>Maya walks down Madison Avenue, chic, together, and understated. She pauses in front of the Chrysler Building, and looks up. Here goes nothing.</scene_description> </scene> <scene> <stage_direction>INT. CHRYSLER BUILDING LOBBY - DAY</stage_direction> <scene_description>Maya waits on an bench next to the security desk. She picks a mote of lint off of her skirt while arguing with herself. Finally, she stands to walk out when--</scene_description> <character>HILDY (0.S.)</character> <dialogue>Maria Vargas?</dialogue> <scene_description>Maya turns to see HILDY OSTRANDER (43), wears Lily Pulitzer on weekends, and ARIANA NG (23), an overweight Asian girl who is on her third day and failing miserably thus far.</scene_description> <character>MAYA</character> <dialogue>Hello.</dialogue> <character>HILDY</character> <dialogue>I'm Hildegard Ostrander, your D.E. Call me Hildy.</dialogue> <character>MAYA</character> <parenthetical>(shaking hands)</parenthetical> <dialogue>Nice to meet you, Hildy. D.E.?</dialogue> <character>HILDY</character> <dialogue>Development Executive. This is Miss Ng, your probationary assistant.</dialogue> <character>ARIANA</character> <dialogue>An honor to meet you, m'am.</dialogue> <character>MAYA</character> <dialogue>Please call me Maya.</dialogue> <character>ARIANA</character> <dialogue>Yes, Mayam. My. M'am. Yes. It's truly an honor to--</dialogue> <character>HILDY</character> <dialogue>Say less.</dialogue> <scene_description>Ariana silently beckons Maya down the hall.</scene_description> <character>HILDY</character> <dialogue>This way please.</dialogue> </scene> <scene> <stage_direction>INT. MAYA'S OFFICE - DAY</stage_direction> <scene_description>Maya enters the spacious and tastefully adorned corner room with a vertigo-inducing view of the city. CONTINUED:</scene_description> <character>MAYA</character> <dialogue>Wow, this is...</dialogue> <character>HILDY</character> <dialogue>We'll get the decorators up, so you can customize.</dialogue> <character>MAYA</character> <dialogue>This is pretty great.</dialogue> <character>HILDY</character> <parenthetical>(disagrees)</parenthetical> <dialogue>Cancel the decorator.</dialogue> <scene_description>Hildy hands Maya an envelope.</scene_description> <character>HILDY</character> <dialogue>These are the keys to our company apartment in the city. It's a bit small, but comfortable.</dialogue> <scene_description>Off Maya "apartment?"</scene_description> <character>HILDY</character> <parenthetical>(looks over her shoulder)</parenthetical> <dialogue>Miss Ng?</dialogue> <character>ARIANA (O.S.)</character> <parenthetical>(unseen; in the hallway)</parenthetical> <dialogue>Yes?</dialogue> <character>HILDY</character> <dialogue>I can't-- Please come in here.</dialogue> <character>ARIANA (0.S.)</character> <dialogue>...No thank you.</dialogue> <character>HILDY</character> <dialogue>She's afraid of heights.</dialogue> <parenthetical>(Maya stifles a giggle)</parenthetical> <dialogue>We were hoping to dazzle you... Alas.</dialogue> <character>MAYA</character> <dialogue>How long have you worked here?</dialogue> <character>HILDY</character> <dialogue>Thirteen years.</dialogue> <character>ARIANA (0 €� S.)</character> <dialogue>Three days.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>MAYA</character> <dialogue>Great, because I'm here to work my butt off, so, you know, any wisdom you can impart...</dialogue> <character>HILDY</character> <dialogue>We can start with the morning meeting.</dialogue> </scene> <scene> <stage_direction>INT. F&amp;C HALLWAY - DAY</stage_direction> <scene_description>Hildy leads Maya down a marble staircase to the Zen-like foyer. Ariana follows, taking notes on everything.</scene_description> <character>HILDY</character> <dialogue>Development kicks off the new quarterly cycle today, so your timing's perfect.</dialogue> <character>MAYA</character> <dialogue>What cycle?</dialogue> <character>HILDY</character> <dialogue>It was men's grooming, but they switched it to skin care at the last second.</dialogue> <character>MAYA</character> <parenthetical>("because of me?")</parenthetical> <dialogue>You're kidding?</dialogue> <scene_description>They stop outside a large door marked EXECUTIVE BOARDROOM.</scene_description> <character>HILDY</character> <dialogue>I don't want this to sound like anything but constructive advice--</dialogue> <character>MAYA</character> <dialogue>Shoot.</dialogue> <character>HILDY</character> <dialogue>We've never had a consultant in development before. They'll be looking for any excuse to tear you apart.</dialogue> <character>MAYA</character> <dialogue>That's comforting.</dialogue> </scene> <scene> <stage_direction>INT. EXECUTIVE BOARDROOM - DAY</stage_direction> <scene_description>Executives and lab coated scientists scatter throughout the seats. Hildy and Maya enter. Hildy closes the door behind them. A thump is heard as Ariana walks into it on the other side.</scene_description> <character>HILDY</character> <parenthetical>(to Maya)</parenthetical> <dialogue>You're reasonably attractive, which will help with the men, she's another story.</dialogue> <character>MAYA</character> <dialogue>She who?</dialogue> <scene_description>RON EBSEN, 34, officious, ambitious, comes in.</scene_description> <character>HILDY</character> <dialogue>That's Ron Ebsen, the other D.E..</dialogue> <character>MAYA</character> <dialogue>He's cute.</dialogue> <character>HILDY</character> <dialogue>He knows. He'll come over as soon as he...yep here he comes. Brace for impact.</dialogue> <character>RON</character> <parenthetical>(walking over)</parenthetical> <dialogue>You must be Maya. You know, I've been lobbying for a consultant for awhile, but bringing in someone from sales is either brilliant or insane.</dialogue> <character>MAYA</character> <dialogue>Probably both.</dialogue> <character>RON</character> <dialogue>Probably. You went to Wharton, right?</dialogue> <character>MAYA</character> <dialogue>Yes, I did. Wharton.</dialogue> <character>RON</character> <dialogue>Did you have Professor Gumpart?</dialogue> <character>MAYA</character> <dialogue>Of course. Love him.</dialogue> <scene_description>CONTINUED:</scene_description> <character>RON</character> <parenthetical>(smiling, suspicious)</parenthetical> <dialogue>Her...</dialogue> <character>MAYA</character> <parenthetical>(quick pivot)</parenthetical> <dialogue>Yeah, not anymore.</dialogue> <character>RON</character> <dialogue>Oh. Wow.</dialogue> <parenthetical>(stumbling)</parenthetical> <dialogue>Cool.</dialogue> <character>ZOE (O.S.)</character> <dialogue>Good morning everyone.</dialogue> <scene_description>Everyone takes their seats as Zoe enters.</scene_description> <character>HILDY</character> <parenthetical>(to Maya)</parenthetical> <dialogue>That's "she who".</dialogue> <character>MAYA</character> <dialogue>Zoe, right?</dialogue> <character>HILDY</character> <dialogue>President of Global Skin &amp; Personal Care.</dialogue> <character>MAYA</character> <parenthetical>("I'm fucked")</parenthetical> <dialogue>Oh, wow.</dialogue> <scene_description>Zoe hits a button on an iPad, and dozens of skin care products appear on the four interactive screens behind her.</scene_description> <character>ZOE</character> <dialogue>Some of you have already heard, our new mandate from on high...</dialogue> <parenthetical>(audience mutters)</parenthetical> <dialogue>To replace our existing moisture line with an organic alternative.</dialogue> <scene_description>The mutters turn to complaints as Zoe meets Maya's eyes with a hard stare - clearly the change wasn't Zoe's idea.</scene_description> <character>MAYA</character> <parenthetical>("I'm really fucked")</parenthetical> <dialogue>Oh, wow.</dialogue> <character>CHEMIST #1</character> <dialogue>It's already all natural.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>ZOE</character> <dialogue>It needs to be more so.</dialogue> <character>CHEMIST #2</character> <dialogue>By the end of this quarter? Not possible.</dialogue> <character>RON</character> <dialogue>We're not talking one hundred percent green. Just green..er.</dialogue> <scene_description>More groans... Until Anderson enters...</scene_description> <character>ANDERSON</character> <dialogue>From the shrieks of wild enthusiasm, I take it Zoe's just broken the news.</dialogue> <scene_description>He takes Zoe's hand and pecks her cheek.</scene_description> <character>MAYA</character> <dialogue>Are you kidding me? He's old enough to be her--</dialogue> <character>HILDY</character> <dialogue>Father. Because he is.</dialogue> <character>MAYA</character> <parenthetical>("really really fucked")</parenthetical> <dialogue>Oh, wow.</dialogue> <character>ZOE</character> <parenthetical>(to Anderson)</parenthetical> <dialogue>You want to run this?</dialogue> <character>ANDERSON</character> <dialogue>No, no, I just wanted to pop in and formally introduce our newest hire.</dialogue> <parenthetical>(he looks to Maya)</parenthetical> <dialogue>Maya Vargas is an extremely accomplished consultant, and the new skincare direction was partially based on her feedback. Maya?</dialogue> <scene_description>Maya stands briefly to small, cold applause. Then--</scene_description> <character>RON</character> <dialogue>Sir, I think it's an inspired idea. End of the quarter is aggressive but we're up to the challenge, aren't we folks?</dialogue> <scene_description>CONTINUED: (3) He turns to the people in the audience, eyebrows raising sharply to compel their response, which comes...</scene_description> <character>ANDERSON</character> <dialogue>Excellent.</dialogue> <character>RON</character> <dialogue>We'll get to brainstorming, though it would be helpful to hear Maya's game plan.</dialogue> <character>MAYA</character> <dialogue>Sorry?</dialogue> <character>ZOE</character> <dialogue>Yes, Maya. Tell us where you think the existing skin-care line falls short.</dialogue> <character>MAYA</character> <dialogue>Oh, it's not fully ... I don't want to offend.</dialogue> <character>ZOE</character> <parenthetical>(challenging)</parenthetical> <dialogue>How about you consult.</dialogue> <character>MAYA</character> <dialogue>Okay.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I think it's a rip-off.</dialogue> <scene_description>People stir. Hildy shifts slightly away from Maya.</scene_description> <character>ZOE</character> <dialogue>Is that right?</dialogue> <character>MAYA</character> <dialogue>I mean, respectfully, the company was skewered when you tried to convince people that Novalis was some new hair growth product and it came out that it was repackaged shampoo.</dialogue> <scene_description>Zoe stiffens. Ron is offended. Anderson is intrigued.</scene_description> <character>MAYA</character> <dialogue>They felt scammed. So to repeat the pattern •..</dialogue> <character>RON</character> <dialogue>--It's not the same.</dialogue> <scene_description>CONTINUED: (4)</scene_description> <character>MAYA</character> <dialogue>It's close enough. You don't want your consumers to lose faith in you.</dialogue> <parenthetical>(before he can speak)</parenthetical> <dialogue>I'm just saying aim higher. You can't say "all-natural" on the front of the bottle, then have a list of parabens, and... other chemicals on the back--</dialogue> <scene_description>FELIX HERRMAN, 48, bald, bespeckled and confident in his 25+ years as a white-coated chemist.</scene_description> <character>FELIX</character> <dialogue>All comfortably within FDA guidelines.</dialogue> <character>MAYA</character> <dialogue>People don't want to "probably not" get cancer from skin cream.</dialogue> <character>RON</character> <dialogue>Launching an entirely new product line is almost triple the cost of evolving an existing one.</dialogue> <character>MAYA</character> <dialogue>Ok. I come from a different world.</dialogue> <character>ANDERSON</character> <dialogue>Which is why we asked you to join this one...</dialogue> <parenthetical>(paces for several beats)</parenthetical> <dialogue>Why don't we see who's right.</dialogue> <character>ZOE</character> <dialogue>I beg your pardon?</dialogue> <character>ANDERSON</character> <dialogue>Zoe and Ron's group will thread the needle on profitably organic-ifying the current line. And Maya and Hildy will cook up something new.</dialogue> <character>HILDY</character> <dialogue>Oh Christ.</dialogue> <character>ANDERSON</character> <dialogue>All green. Within our profit margins. Three months. May the best woman win.</dialogue> <scene_description>CONTINUED: (5) Zoe glares at Maya for a moment before she follows Anderson out, protesting as she exits. Maya sits back in her seat as Hildy and Ron exchange exasperated looks.</scene_description> <character>RON</character> <parenthetical>(to Maya)</parenthetical> <dialogue>Welcome aboard.</dialogue> <scene_description>He chuckles to himself and walks off...</scene_description> <character>HILDY (V.O.)</character> <dialogue>The first, and most imperative step-</dialogue> </scene> <scene> <stage_direction>INT. F&amp;C HALLWAY - LATER</stage_direction> <scene_description>Hildy and Maya walk briskly back to Maya's office.</scene_description> <character>HILDY</character> <dialogue>--is landing Felix.</dialogue> <character>MAYA</character> <dialogue>What's Felix?</dialogue> <character>HILDY</character> <dialogue>He's F&amp;C's chief chemist. Inventor of Eye Soar and--</dialogue> <character>MAYA</character> <dialogue>I love Eye Soar.</dialogue> <character>HILDY</character> <dialogue>--every other brilliant personal care product this company has produced over the last twenty-five years.</dialogue> <character>MAYA</character> <dialogue>Can we get him?</dialogue> </scene> <scene> <stage_direction>INT. MAYA'S OFFICE - LATER</stage_direction> <scene_description>On Felix, staring across the desk at the hopeful Maya and Hildy who have just made their pitch.</scene_description> <character>FELIX</character> <dialogue>No.</dialogue> <scene_description>He gets up, buttons his jacket and walks out. Maya is incredulous. Hildy slumps. CONTINUED:</scene_description> <character>HILDY</character> <dialogue>Walt Benjamin is Felix's number two and an incredibly talented--</dialogue> </scene> <scene> <stage_direction>INT. MAYA'S OFFICE - LATER</stage_direction> <scene_description>As WALT BENJAMIN, 48, bearded, sits uneasily.</scene_description> <character>WALT BENJAMIN</character> <dialogue>I'm not going against Felix.</dialogue> <character>HILDY (V. 0. )</character> <dialogue>Rishad Olpadwala is our latest hire out of Cornell--</dialogue> </scene> <scene> <stage_direction>INT. MAYA'S OFFICE - LATER</stage_direction> <scene_description>As RISHAD, 29, in a Sikh turban, stares at them cockily.</scene_description> <character>RISHAD OLPADWALA</character> <dialogue>Are you guys smoking crack?</dialogue> <scene_description>Off their looks--</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT LABORATORY - NIGHT</stage_direction> <scene_description>Freight elevator doors open into a gloomy corridor. Maya and Ariana emerge, checking darkened room numbers against a post- it note. A cat pads quickly past.</scene_description> <character>MAYA</character> <dialogue>What the hell? Was this guy on Hildy's list?</dialogue> <character>ARIANA</character> <dialogue>We've gone through her list. This is my idea.</dialogue> <scene_description>They share a look and stop at a door with light coming from beneath the crack. Another shared look before Maya opens it.</scene_description> </scene> <scene> <stage_direction>INT. CHASE'S LAB - NIGHT</stage_direction> <scene_description>The sound of mewing hits us first. Cats in cages. Cats on play structures.</scene_description> <character>CHASE</character> <dialogue>Wait, no!</dialogue> <scene_description>CONTINUED: CHASE ISKOWITZ, 28, disheveled, adds slices of chicken to a blender filled with other mystery meats and powders. He runs after a pair of cats that escape through the door.</scene_description> <character>CHASE</character> <dialogue>Daenerys and Cercei, get your little butts back here-- Dammit!</dialogue> <scene_description>Maya slowly turns to Ariana, who smiles sheepishly.</scene_description> </scene> <scene> <stage_direction>INT. CAFETERIA - NIGHT</stage_direction> <scene_description>Chase sits across the table from Maya and Ariana. He picks at a plate filled with mashed potatoes.</scene_description> <character>MAYA</character> <dialogue>So, you went from M.I.T. to developing cat food.</dialogue> <character>CHASE</character> <dialogue>Maybe I like cats.</dialogue> <character>ARIANA</character> <parenthetical>(to Maya)</parenthetical> <dialogue>Or maybe Felix exiled him.</dialogue> <character>CHASE</character> <dialogue>Maybe Felix is an ass-panda.</dialogue> <scene_description>Ariana catches his eye, pointing to her face. He's got a glob of potato above his lip. He wipes the wrong spot.</scene_description> <character>MAYA</character> <dialogue>Well, he joined up with Zoe.</dialogue> <scene_description>Ariana shakes her head, points again. Chase wipes, smearing the potato across his lip like a pencil-thin mustache.</scene_description> <character>CHASE</character> <dialogue>Everyone joined up with Zoe.</dialogue> <character>MAYA</character> <dialogue>Except you. Is that because of Felix?</dialogue> <scene_description>Chase just shrugs.</scene_description> <character>ARIANA</character> <dialogue>So here's your chance to beat his punk ass.</dialogue> <scene_description>She reaches across and wipes the potato from his face. Both he and Maya are startled. CONTINUED:</scene_description> <character>CHASE</character> <dialogue>Thank you.</dialogue> <character>ARIANA</character> <parenthetical>(looking for a place to wipe her hand off)</parenthetical> <dialogue>Gross.</dialogue> </scene> <scene> <stage_direction>EXT. FLATIRON DISTRICT - NIGHT</stage_direction> <scene_description>Joan and Maya get out of a cab with Maya's suitcases. Maya checks the address and looks up at the renovated building.</scene_description> <character>JOAN</character> <dialogue>Wow.</dialogue> <character>MAYA</character> <dialogue>Yup.</dialogue> </scene> <scene> <stage_direction>INT. MAYA'S NEW APARTMENT - FOYER - NIGHT</stage_direction> <scene_description>The elevator opens to the 15th floor, and her apartment. The elevator man helps her with her bags.</scene_description> <character>ELEVATOR MAN</character> <dialogue>Welcome home.</dialogue> <scene_description>With sight-lines for both rivers. The furnishings are exquisite. Maya and Joan start walking around, in awe.</scene_description> <character>JOAN</character> <dialogue>Screw the kids, I'm moving in with you.</dialogue> <parenthetical>(off Maya's look)</parenthetical> <dialogue>They can learn to hunt or something.</dialogue> <character>MAYA</character> <dialogue>What am I doing here? The CEO's taking a risk on me, and yet he's got me competing against his daughter, who already hates me. And all of them think I'm someone else.</dialogue> <scene_description>Joan has wandered into the kitchen. She opens the fridge.</scene_description> <character>JOAN</character> <dialogue>Holy frick, you cannot back out now. They stocked the fridge with beer.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAYA</character> <dialogue>Holy frick?</dialogue> <character>JOAN</character> <dialogue>Otto got sent home yesterday for calling his teacher a dunt.</dialogue> <character>MAYA</character> <dialogue>A what?</dialogue> <character>JOAN</character> <dialogue>A dumb--</dialogue> <character>MAYA</character> <dialogue>Oh wow.</dialogue> <character>JOAN</character> <dialogue>Yeah, I'm endeavoring to set a better example.</dialogue> <scene_description>She hands Maya a beer. They sip together, taking in the view across the Hudson River...</scene_description> <character>MAYA</character> <dialogue>Have you seen him?</dialogue> <character>JOAN</character> <dialogue>Him?</dialogue> <parenthetical>(off Maya's look)</parenthetical> <dialogue>Oh, Trey. Have I. Uh, maybe, I don't really--</dialogue> <character>MAYA</character> <dialogue>What are you not telling me?</dialogue> <character>JOAN</character> <dialogue>Nothing. You know how it is. Word gets out you guys broke up. He's a wounded fish, and the sharks start circling.</dialogue> <character>MAYA</character> <dialogue>Already?</dialogue> <character>JOAN</character> <dialogue>What does it matter, you ended it?</dialogue> <character>MAYA</character> <dialogue>He ended it.</dialogue> <character>JOAN</character> <dialogue>He wants a family, and you never told him the truth.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>MAYA</character> <dialogue>So telling him I'm screwed up because I gave my baby up for adoption when I was seventeen is gonna fix everything?</dialogue> <character>JOAN</character> <dialogue>Oh, right - it's way better to lug your past around like a cross and bury your self-esteem in your career than ever forgive yourself for things that happened when you were practically a child.</dialogue> <scene_description>Maya drops into the couch, conflicted.</scene_description> <character>JOAN</character> <dialogue>Uh, oh. Look what I've done. I've put you in a funk and I haven't even made you mad at me for jumping on your princess bed.</dialogue> <scene_description>Joan giggles and runs off to find the bedroom. Maya doesn't want to take the bait, but can't help herself. Chases her.</scene_description> <character>MAYA</character> <dialogue>Don't you dare!</dialogue> </scene> <scene> <stage_direction>INT. MAYA'S OFFICE - DAY</stage_direction> <scene_description>She's drawing on her iPad which is hooked up to a large screen on the wall as Hildy and Chase look on.</scene_description> <character>MAYA</character> <dialogue>Okay, let's start with our goal:</dialogue> <parenthetical>(writes)</parenthetical> <dialogue>"Face cream. Moisturizer. Sun block." It's gotta be one hundred percent organic.</dialogue> <character>CHASE</character> <parenthetical>(rolling his eyes)</parenthetical> <dialogue>Here we go.</dialogue> <character>HILDY</character> <parenthetical>(hits him)</parenthetical> <dialogue>It has to be profitable.</dialogue> <scene_description>Maya writes "profitable".</scene_description> <character>HILDY</character> <dialogue>And it needs to fill a hole in the market.</dialogue> <scene_description>CONTINUED: Maya writes "fill hole in market."</scene_description> <character>ARIANA (0 €� S €� )</character> <parenthetical>(in the hall)</parenthetical> <dialogue>It needs a 'wow' factor.</dialogue> <character>CHASE</character> <dialogue>Why are you in the hall?</dialogue> <character>ARIANA</character> <parenthetical>(eyes down)</parenthetical> <dialogue>I'm not.</dialogue> <character>HILDY</character> <dialogue>It's not important.</dialogue> <character>CHASE</character> <dialogue>The 'wow' factor or the reason she's in the hall?</dialogue> <character>MAYA</character> <dialogue>We need to approach this holistically. What do people really want?</dialogue> <character>HILDY</character> <dialogue>To be young?</dialogue> <character>ARIANA</character> <dialogue>To be thin.</dialogue> <character>CHASE</character> <dialogue>To be loved.</dialogue> <scene_description>Surprised by this, Ariana looks up at the back of his head.</scene_description> <character>MAYA</character> <dialogue>Great, let's invent a product that makes people, young, thin, and lovable....</dialogue> <character>ARIANA</character> <dialogue>Oh, and rich. They want to be rich.</dialogue> <character>MAYA</character> <dialogue>Ok, where do we start?</dialogue> </scene> <scene> <stage_direction>INT. SKIN CARE ROOM - DAY</stage_direction> <scene_description>Floor to ceiling skin-care products; anything and everything with myriad variations. Hildy leads down the rows... CONTINUED:</scene_description> <character>HILDY</character> <dialogue>These are all the moisturizers... face creams... sun blocks... on the market.</dialogue> <character>CHASE</character> <dialogue>Lotta dry skin out there.</dialogue> <character>HILDY</character> <dialogue>I'll have research put together a data package to show us the top sellers in each sector.</dialogue> <character>MAYA</character> <dialogue>Why?</dialogue> <character>HILDY</character> <dialogue>It's standard procedure in launching any new line.</dialogue> <character>MAYA</character> <dialogue>I think we need to be IN the stores, talking to the managers, looking at sell throughs, rates of returns if we're going to find a hole in the market.</dialogue> <character>HILDY</character> <dialogue>That's going to eat up a lot of time and we only have twelve weeks.</dialogue> <scene_description>From behind them we hear--</scene_description> <character>ANDERSON ( 0.S.)</character> <dialogue>Maya? Are you in here?</dialogue> <character>HILDY</character> <dialogue>Mr. Clarke!</dialogue> <scene_description>Anderson appears around an aisle.</scene_description> <character>ANDERSON</character> <dialogue>There you are. Brushing up on the competition?</dialogue> <character>MAYA</character> <dialogue>What? Yes. We're brainstorming to-- Anyway, what can we do for you?</dialogue> <character>ANDERSON</character> <dialogue>We like to have a little fun on the weekends and thought you might like to join us at the river.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>MAYA</character> <dialogue>The river?</dialogue> <character>ANDERSON</character> <dialogue>That's where our rowing club is. Since you coxed at Harvard, I thought you might show us a thing or two.</dialogue> <scene_description>Off Maya, huh?</scene_description> </scene> <scene> <stage_direction>EXT. HARLEM RIVER - MORNING</stage_direction> <scene_description>Zoe sits at the end of her 8 man boat. Ron is in the stroke position facing her. Felix behind him.</scene_description> <character>RON</character> <dialogue>This should be interesting.</dialogue> <character>FELIX</character> <dialogue>I loathe this.</dialogue> <scene_description>On the shore, Ariana and Hildy watch.</scene_description> <character>ARIANA</character> <dialogue>This is so exciting.</dialogue> <parenthetical>(off Hildy's stare)</parenthetical> <dialogue>Say less?</dialogue> <character>ZOE</character> <parenthetical>(calls out to her crew)</parenthetical> <dialogue>On the feather!</dialogue> <scene_description>Maya, terrified as the coxswain, tries to mimic her.</scene_description> <character>MAYA</character> <dialogue>On the feather!</dialogue> <scene_description>Anderson sits facing her in the stroke position, Chase right behind him. Anderson smiles.</scene_description> <character>ANDERSON</character> <dialogue>Now this is what I call team building. A little friendly competition to get the creative juices flowing.</dialogue> <character>CHASE</character> <dialogue>My juices certainly are.•.</dialogue> <parenthetical>(off Anderson's look)</parenthetical> <dialogue>Flowing... Sir.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ANDERSON</character> <dialogue>Who are you?</dialogue> <character>CHASE</character> <dialogue>Chase, sir. I'm on Maya's project team... I was in cat food.</dialogue> <character>ANDERSON</character> <dialogue>Oh. Right.</dialogue> <parenthetical>(then to Maya)</parenthetical> <dialogue>Zoe rowed lightweight for Princeton. Never could beat you Crimson when she was there. Said you guys always had their number.</dialogue> <character>MAYA</character> <dialogue>Well, we'll see if we still have the old Crimson magic.</dialogue> <scene_description>Zoe settles her team just before the gun.</scene_description> <character>ZOE</character> <dialogue>Sit ready!</dialogue> <character>MAYA</character> <parenthetical>(straining to hear)</parenthetical> <dialogue>Shit's ready!</dialogue> <character>ANDERSON</character> <parenthetical>(bit between his teeth)</parenthetical> <dialogue>Damn right it is! Shall we Power twenty from the start?</dialogue> <character>MAYA</character> <parenthetical>(nods, trepidatious)</parenthetical> <dialogue>Of course.</dialogue> <character>ZOE</character> <dialogue>Ready all...</dialogue> <scene_description>Maya pauses. The gun goes off.</scene_description> <character>ZOE</character> <dialogue>Row!</dialogue> <character>MAYA</character> <dialogue>Row! Power twenty!</dialogue> <scene_description>The crew accelerates 20 strokes at maximum effort. A bold move that sends Maya's team into the lead, to her surprise. Zoe and Ron look over at Maya guiding her team into the lead. CONTINUED: (2)</scene_description> <character>FELIX</character> <dialogue>They're pulling ahead.</dialogue> <character>RON</character> <dialogue>Damnit, Zoe!</dialogue> <character>ZOE</character> <parenthetical>(pissed)</parenthetical> <dialogue>I've got this.</dialogue> <scene_description>Maya gets caught up in the exhilaration.</scene_description> <character>MAYA</character> <parenthetical>(smiles, sotto)</parenthetical> <dialogue>I've got this.</dialogue> <scene_description>Boats go out of frame as we CUT TO BLACK:</scene_description> </scene> <scene> <stage_direction>EXT. BOATHOUSE CLUB - LATER</stage_direction> <scene_description>Where a paramedic truck is parked with its cherries flashing. A couple of rowers have ice packs on their knees, heads, etc. Everyone is wet, in towels. Ariana and Hildy approach.</scene_description> <character>MAYA</character> <dialogue>I so did not have that.</dialogue> <character>CHASE</character> <parenthetical>(lying)</parenthetical> <dialogue>It's okay. We've had worse.</dialogue> <scene_description>In the background, several of Zoe's team carry the broken HALF of their skull past camera.</scene_description> <character>ARIANA</character> <dialogue>That was cray-cray.</dialogue> <scene_description>Anderson, Zoe, Ron and Felix approach, each drying off with a towel.</scene_description> <character>ANDERSON</character> <dialogue>Where to begin?</dialogue> <character>RON</character> <dialogue>I can think of a couple of places.</dialogue> </scene> <scene> <stage_direction>EXT. HARLEM RIVER - FLASHBACK</stage_direction> <scene_description>Maya's boat grazes a metal buoy, shearing off all the oars. BACK TO:</scene_description> </scene> <scene> <stage_direction>EXT. BOATHOUSE CLUB - DAY</stage_direction> <character>ANDERSON</character> <dialogue>It's funny, I thought I heard you call 'pull port' as something different.</dialogue> <character>MAYA</character> <dialogue>Really?</dialogue> </scene> <scene> <stage_direction>EXT. HARLEM RIVER - FLASHBACK</stage_direction> <scene_description>Zoe yells through her megaphone.</scene_description> <character>ZOE</character> <dialogue>Pull port!</dialogue> <character>MAYA</character> <dialogue>Pulled pork.</dialogue> <character>ANDERSON</character> <dialogue>What?</dialogue> <character>CHASE</character> <dialogue>You want us to pull port?</dialogue> <character>MAYA</character> <dialogue>Right.</dialogue> <character>ANDERSON</character> <dialogue>To the right?</dialogue> <character>MAYA</character> <dialogue>Yes.</dialogue> <scene_description>The boat shifts to the right.</scene_description> <character>MAYA</character> <dialogue>The other right!</dialogue> <scene_description>Zoe and Ron look right just in time to see the impact of Maya's boat slicing theirs in two. Bodies, oars and up-ended rowers splash into the river. BACK TO:</scene_description> </scene> <scene> <stage_direction>EXT. BOATHOUSE CLUB - DAY</stage_direction> <character>MAYA</character> <dialogue>It was hard to hear.</dialogue> <scene_description>CONTINUED:</scene_description> <character>HILDY</character> <dialogue>Yes, over all the screaming.</dialogue> <character>MAYA</character> <dialogue>I just want to apolog--</dialogue> <scene_description>Anderson politely holds up his hand.</scene_description> <character>ANDERSON</character> <dialogue>--I just have one thing to say.</dialogue> <scene_description>Zoe, Ron and Felix can't wait for this.</scene_description> <character>ANDERSON</character> <dialogue>That. Was. Hilarious!</dialogue> <scene_description>Anderson chuckles and pops the tops off of two bottles of beer on the edge of a picnic table and offers them to Maya and Chase.</scene_description> <character>RON</character> <parenthetical>(bugged)</parenthetical> <dialogue>But Mr. Clarke, that skull was--</dialogue> <character>ANDERSON</character> <dialogue>--a piece of crap. Now we have an excuse to upgrade.</dialogue> <parenthetical>(then, as he walks)</parenthetical> <dialogue>See you tomorrow, guys. God I hope someone video'd that. That was some crazy shit.</dialogue> <scene_description>Chase gets up as well and leaves with Ariana and Hildy.</scene_description> <character>CHASE/ARIANA</character> <dialogue>See ya, Maya./Bye.</dialogue> <character>MAYA</character> <dialogue>Okay.</dialogue> <scene_description>Ron sizes up Maya as he and Felix walk off. Then, quietly--</scene_description> <character>FELIX</character> <dialogue>Coxswain my ass.</dialogue> <character>RON</character> <dialogue>Exactly. First we gotta work for his daughter, now we get this one... Something's bullshit about her.</dialogue> <scene_description>Back at the tables, Maya looks at Zoe. CONTINUED: (2)</scene_description> <character>MAYA</character> <dialogue>Your dad is...unique.</dialogue> <character>ZOE</character> <dialogue>He is that... He's brilliant and competitive to the point of occasional insanity, but it's made him who he is.</dialogue> <scene_description>She trails off, Maya reading her concern ...</scene_description> <character>MAYA</character> <dialogue>You worry about him?</dialogue> <character>ZOE</character> <dialogue>I worry about some of his decisions.</dialogue> <scene_description>Maya smiles at the reference...</scene_description> <character>ZOE</character> <dialogue>Especially since my mother passed away.</dialogue> <character>MAYA</character> <dialogue>I'm so sorry.</dialogue> <character>ZOE</character> <dialogue>Six years he hasn't been on a date or a single vacation, although I finally talked him into selling the apartment. But still, he's always on me about having more of a life outside of work, and yet he can't see the same about himself.</dialogue> <character>MAYA</character> <dialogue>I lost my parents young... My grandmother raised me until she died... After that I ended up bouncing around foster care, which was...tough.</dialogue> <character>ZOE</character> <dialogue>Is that why you never married or had kids?</dialogue> <character>MAYA</character> <dialogue>When you come out of that, there's a lack of confidence that's implanted in you, and you'd never risk making someone else feel as unwanted as you did.</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>ZOE</character> <dialogue>Which makes all of your accomplishments that much more impressive.</dialogue> <scene_description>Maya accepts the kindness, but cringes inside at the lie.</scene_description> <character>ZOE</character> <dialogue>Well, now that we've Oprah'd each other, I've got a big day tomorrow - first shot at initial prototypes. How are you guys coming?</dialogue> <character>MAYA</character> <parenthetical>(lying)</parenthetical> <dialogue>We're close. Very close.</dialogue> </scene> <scene> <stage_direction>INT. CHASE'S LAB - DAY</stage_direction> <scene_description>CLOSE ON: MAYA'S EYES suddenly snapping open. Her face covered with a GREEN CREAM MASK.</scene_description> <character>MAYA</character> <dialogue>Holy shit! What is that smell?</dialogue> <character>CHASE</character> <dialogue>Oh, that's you.</dialogue> <character>MAYA</character> <dialogue>What the hell!? Oh my God, it's burning!</dialogue> <scene_description>Maya runs to the sink and starts splashing water on her face.</scene_description> <character>CHASE</character> <dialogue>Yeah, that's because it's a hundred percent organic, as ordered.</dialogue> <character>MAYA</character> <dialogue>Ugh. It smells like Chewbacca took a dump on my face.</dialogue> <character>CHASE</character> <dialogue>Be honest, now. Don't hold back.</dialogue> </scene> <scene> <stage_direction>EXT. VALUE CLUB - ANOTHER DAY</stage_direction> <scene_description>Ariana stands at the entrance as people pass... CONTINUED:</scene_description> <character>ARIANA</character> <dialogue>Excuse me, can I ask some questions about your daily skin care routine...?</dialogue> <scene_description>Everyone ignores her.</scene_description> </scene> <scene> <stage_direction>INT. WALMART - ANOTHER DAY</stage_direction> <scene_description>Maya chats with a friendly customer...</scene_description> <character>MAYA</character> <dialogue>I see, so then what do you look for in a sunblock?</dialogue> </scene> <scene> <stage_direction>EXT. VALUE CLUB - DAY</stage_direction> <scene_description>More people blow past Ariana.</scene_description> <character>ARIANA</character> <dialogue>Excuse me, can I just ask you-- Okay. Have nice day.</dialogue> </scene> <scene> <stage_direction>EXT. CVS - ANOTHER DAY</stage_direction> <scene_description>Hildy talks to a customer who is overly made up.</scene_description> <character>HILDY</character> <dialogue>Were you going for gaudy when you chose your make up today?</dialogue> <scene_description>The customer, offended, walks away.</scene_description> </scene> <scene> <stage_direction>INT. CHASE'S LAB - DAY</stage_direction> <scene_description>Maya is wiping her face with a towel.</scene_description> <character>CHASE</character> <dialogue>The paraben chemicals are what make it smell better.</dialogue> <character>MAYA</character> <dialogue>Can't do that. And what'll make it a nicer color than vomit green?</dialogue> <character>CHASE</character> <dialogue>Ethoxycinnimate--</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAYA</character> <dialogue>Okay. Dumb it down for me? How do we get rid of the chemicals and still make it look and smell nice?</dialogue> <character>CHASE</character> <dialogue>Find a biopolymer--</dialogue> <character>MAYA</character> <dialogue>Dumber. More dumb.</dialogue> <character>CHASE</character> <dialogue>If you don't want it to burn and smell like ass covered in bitch sauce, then we have to find the ingredients in nature.</dialogue> <character>MAYA</character> <dialogue>Good. Start searching.</dialogue> <parenthetical>(re: the green cream)</parenthetical> <dialogue>Because we can't market this.</dialogue> </scene> <scene> <stage_direction>EXT. VALUE CLUB - DAY</stage_direction> <scene_description>Ariana approaches a dapper gentleman.</scene_description> <character>ARIANA</character> <dialogue>Excuse me, sir. Can I just--</dialogue> <scene_description>The man literally shoves past her. She turns angrily and trips the first woman to walk past.</scene_description> <character>ARIANA</character> <dialogue>Oh my god, are you okay?</dialogue> <parenthetical>(helping the woman up)</parenthetical> <dialogue>That dickhead just kept going.</dialogue> <character>WOMAN CUSTOMER</character> <dialogue>Oh thank you dear.</dialogue> <character>ARIANA</character> <dialogue>Wow, your hands are so soft. What moisturizer do you use?</dialogue> </scene> <scene> <stage_direction>INT. RON'S OFFICE - DAY</stage_direction> <scene_description>Ron is looking at Maya's resume on his desktop. He looks at her Harvard accomplishments, and dials the number listed.</scene_description> <character>VOICE ON PHONE (O.S.)</character> <dialogue>Office of the registrar.</dialogue> <scene_description>CONTINUED:</scene_description> <character>RON</character> <dialogue>Yes, how do I verify if someone who says they went to Harvard actually graduated from there?</dialogue> <character>VOICE ON PHONE (O.S.)</character> <dialogue>Do you have the name of the person and the year of graduation?</dialogue> <character>RON</character> <dialogue>Yes, Maria Vargas. Class of '96.</dialogue> <character>VOICE ON PHONE (O.S.)</character> <dialogue>Vargas, Maria. Yes she did, with honors. Magna Cum Laude.</dialogue> <character>ANOTHER VOICE (O.S.</character> <dialogue>Suck on that!</dialogue> <character>RON</character> <dialogue>Excuse me?</dialogue> </scene> <scene> <stage_direction>INT. DILLY'S DORM ROOM - STANFORD - SAME - INTERCUT:</stage_direction> <scene_description>Dilly is multi-tasking playing 'Call Of Duty' with his roommate - who shot him in the game. Dilly "shooshes" him.</scene_description> <character>DILLY</character> <dialogue>Sorry, admissions gets excited when they ding a scholarship candidate.</dialogue> <character>RON</character> <parenthetical>(unsure)</parenthetical> <dialogue>Uh, okay. Thank you.</dialogue> <scene_description>Ron hangs up, then looks at another name on Maya's CV: Dilly screams at the video game, bouncing angrily on the couch. His phone lights up as it FALLS, UNSEEN, TO THE GROUND. We see Ron's name appear on the screen, calling a new number with a prompt asking if Dilly wants to intercept the call. After a five-second countdown, the call goes through.</scene_description> <character>FEMALE VOICE ON PHONE (O.S)</character> <dialogue>Edward Taylor's office.</dialogue> <character>RON</character> <dialogue>Yes, is Mr. Taylor in? I have a quick question about a reference on a former employee.</dialogue> <scene_description>CONTINUED:</scene_description> <character>FEMALE VOICE ON PHONE (O.S.)</character> <dialogue>Mr. Taylor is on vacation for the next few weeks. I can have him return.</dialogue> <character>RON</character> <dialogue>I'd appreciate that.</dialogue> </scene> <scene> <stage_direction>INT. MAYA'S OFFICE - DAY</stage_direction> <scene_description>Maya sits at her desk, watching a YouTube video of the Rutgers baseball team winning the Big Ten Conference championship. Maya smiles as she sees Trey amidst a group of howling, champagne spraying players. She becomes wistful and starts to type an e-mail to him when suddenly-- Hildy drops a stack of research on Maya's desk.</scene_description> <character>MAYA</character> <dialogue>What's this?</dialogue> <character>HILDY</character> <dialogue>Research.</dialogue> <character>MAYA</character> <dialogue>You did all of this? In the field?</dialogue> <character>HILDY</character> <dialogue>Sweet Jesus, no. We've wasted six weeks talking to nutjobs store to store. I ordered this from research.</dialogue> <character>MAYA</character> <dialogue>That's not how we're doing this.</dialogue> <character>HILDY</character> <dialogue>But it's how it's done.</dialogue> <scene_description>Ariana pulls one of the binders over and begins to peruse.</scene_description> <character>ARIANA</character> <dialogue>Wow, a hundred and twenty thousand responses, no real consensus on anything.</dialogue> <character>HILDY</character> <dialogue>Which is exactly the point - people don't know what they want. They want us to do the work for them so they can pick the prettiest bottle and get on with their lives.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ZOE (O.S.)</character> <dialogue>Maya?</dialogue> <parenthetical>(Maya looks up)</parenthetical> <dialogue>Do you have a second?</dialogue> <character>MAYA</character> <dialogue>Uh. Sure.</dialogue> <scene_description>Maya walks over to Zoe who leads her out into the hallway.</scene_description> <character>ZOE</character> <dialogue>The head of our manufacturing company that we may merge with in China wants to meet me and Ron for dinner Thursday, and his English is sketchy. I was wondering if you might help me out.</dialogue> <character>MAYA</character> <parenthetical>(slightly confused)</parenthetical> <dialogue>Okay. How?</dialogue> <character>ZOE</character> <dialogue>Well, Dad doesn't trust freelance translators and our in-house guy is on his honeymoon. The only employee we have who speaks Mandarin is--</dialogue> <scene_description>Zoe stops, turns to Maya.</scene_description> <character>MAYA</character> <parenthetical>(knows what's corning)</parenthetical> <dialogue>Me?</dialogue> <character>ZOE</character> <dialogue>I'm kinda desperate.</dialogue> </scene> <scene> <stage_direction>INT. MAYA'S NEW APARTMENT - DAY</stage_direction> <scene_description>Joan is HOWLING with laughter. Then, barely able to speak--</scene_description> <character>JOAN</character> <dialogue>You are so butt-fricked.</dialogue> <character>MAYA</character> <dialogue>This is not funny, Joan. I almost killed people in a boat race, and now I'm gonna murder Mandarin. I do not speak Chinese!</dialogue> <scene_description>CONTINUED:</scene_description> <character>JOAN</character> <parenthetical>(still laughing)</parenthetical> <dialogue>Fine. Then just tell the bitch she can blow you, respectfully.</dialogue> <character>MAYA</character> <dialogue>I'm serious.</dialogue> <scene_description>Joan pulls out her phone and starts searching for a number.</scene_description> <character>JOAN</character> <dialogue>Okay. I've got an idea. Remember Dilly's carpool friend, Kevin Chow, from computer camp?</dialogue> <character>MAYA</character> <dialogue>No.</dialogue> <character>JOAN</character> <dialogue>His father's a vet. Caters to Chinese clientele. Fluent in Mandarin.</dialogue> <character>MAYA</character> <dialogue>And how does that help me?</dialogue> <character>JOAN</character> <parenthetical>(dials)</parenthetical> <dialogue>If this works, you will owe me big time.</dialogue> <character>MAYA (PRE-LAP)</character> <parenthetical>(perfect Mandarin)</parenthetical> <dialogue>I haven't spoken in years. My pronunciation is spotty.</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT - EVENING</stage_direction> <scene_description>Maya, Zoe, and Ron sit with Philip Jiang, of F&amp;C China. All italics indicate - IN MANDARIN - SUBTITLED.</scene_description> <character>JIANG</character> <dialogue>So you understand our concerns?</dialogue> <character>MAYA</character> <dialogue>We do, and I must say our team is very eager to help you understand our process in any way we can, sir.</dialogue> <character>JIANG</character> <dialogue>Call me Philip.</dialogue> </scene> <scene> <stage_direction>INT. VETERINARY OFFICE - EVENING</stage_direction> <scene_description>Where DR. DAVID CHOW and his CHINESE ASSISTANT are giving a check up to a male Wiemeraner, while listening to Maya's conversation and feeding her lines in Mandarin. Dogs howl in the background. It's mayhem for poor Dr. Chow.</scene_description> <character>DR. CHOW (IN ENGLISH)</character> <dialogue>Okay, he's asking if you have travelled extensively in China.</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT - SAME</stage_direction> <scene_description>Close on Maya's ear as she hears the translation.</scene_description> <character>MAYA</character> <parenthetical>(Mandarin)</parenthetical> <dialogue>No. No I haven't been so fortunate as of yet.</dialogue> <character>JIANG</character> <dialogue>You must come visit.</dialogue> </scene> <scene> <stage_direction>INT. VETERINARY OFFICE - SAME</stage_direction> <scene_description>Dr. Chow holds the dog's head and motions to his assistant as he multi-tasks the phone conversation.</scene_description> <character>CHOW</character> <dialogue>You say...</dialogue> <parenthetical>(in Mandarin)</parenthetical> <dialogue>I'd love to.</dialogue> <parenthetical>(then, to his assistant, still in Mandarin)</parenthetical> <dialogue>Check its scrotum.</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT - SAME</stage_direction> <character>MAYA</character> <parenthetical>(in Mandarin)</parenthetical> <dialogue>I'd love to. Check its scrotum.</dialogue> <scene_description>Off Jiang's confused look.</scene_description> <character>CHOW (O.S.)</character> <parenthetical>(still to his assistant)</parenthetical> <dialogue>Really, feel for any swelling.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAYA</character> <dialogue>Really, feel for any swelling.</dialogue> <parenthetical>(then in English)</parenthetical> <dialogue>But I feel badly we're leaving everyone out of the conversation. I'm sure your English is better than my Mandarin.</dialogue> <character>JIANG</character> <dialogue>I suspect it might be.</dialogue> <character>ZOE</character> <dialogue>We would love to schedule a tour for you and your colleagues to visit our facilities first hand.</dialogue> <character>RON</character> <dialogue>But of course we have to wait until the deal is closed due to the proprietary nature of R&amp;D.</dialogue> <character>ZOE</character> <dialogue>As long as there is a signed a non- disclosure agreement, I'm perfectly comfortable allowing Mr. Jiang to tour.</dialogue> <character>RON</character> <dialogue>You may not be aware, Zoe, but that directly contradicts company policy. I'm sure Mr. Jiang can understand that.</dialogue> <scene_description>A tense beat at the table. Jiang looks at Maya.</scene_description> <character>JIANG</character> <parenthetical>(In Mandarin)</parenthetical> <dialogue>Tell me. I'm having a tough time dealing with Ron. I like everyone at F&amp;C, but I find him arrogant. What's his problem?</dialogue> </scene> <scene> <stage_direction>INT. VETERINARY OFFICE - SAME</stage_direction> <scene_description>Dr. Chow looks at the dog's rear end and tells his assistant--</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT - SAME</stage_direction> <character>MAYA</character> <parenthetical>(listening to Dr. Chow)</parenthetical> <dialogue>His anal glands need milking.</dialogue> <scene_description>CONTINUED: Jiang stares at Maya for a beat, then laughs hysterically.</scene_description> <character>JIANG</character> <parenthetical>(pointing to Maya)</parenthetical> <dialogue>I like her.</dialogue> <parenthetical>(looks to Zoe)</parenthetical> <dialogue>And thank you, Zoe. I will gladly sign an NDA to tour the facilities.</dialogue> <scene_description>Ron looks humbled. Zoe looks at Maya, smiles appreciatively.</scene_description> <character>JIANG</character> <dialogue>Shall we order?</dialogue> </scene> <scene> <stage_direction>EXT. NEW YORK STREET - NIGHT</stage_direction> <scene_description>Zoe and Maya walk alone.</scene_description> <character>ZOE</character> <dialogue>Thank you. That actually worked out great.</dialogue> <character>MAYA</character> <dialogue>Ron didn't seem happy.</dialogue> <character>ZOE</character> <dialogue>Ron's only happy when someone else isn't.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>So, how's your project coming?</dialogue> <character>MAYA</character> <dialogue>Honestly? Slow. Wish I didn't open my big mouth.</dialogue> <character>ZOE</character> <dialogue>Yeah, a hundred percent organic is tough. I took a run at it a few years ago. I still have a lot of data at my dad's place. I moved out a few months ago, but if you don't mind helping me dig for it, the research might save you a few headaches.</dialogue> <character>MAYA</character> <parenthetical>(taken aback)</parenthetical> <dialogue>That actually would be... very helpful.</dialogue> <character>ZOE</character> <dialogue>It's the least I can do for you making Ron look like a dick.</dialogue> <scene_description>CONTINUED: Off Maya's smile.</scene_description> </scene> <scene> <stage_direction>INT. ANDERSON CLARKE'S OFFICE - DAY</stage_direction> <scene_description>Anderson works at his desk. Zoe pokes her head in.</scene_description> <character>ZOE</character> <dialogue>Hey Pop. Heading out a little early. I'm meeting Maya over at the apartment.</dialogue> <character>ANDERSON</character> <parenthetical>(closing the door))</parenthetical> <dialogue>Actually, that's why I wanted to see you.</dialogue> <character>ZOE</character> <parenthetical>( jokingly)</parenthetical> <dialogue>Uh, oh. This sounds serious.</dialogue> <character>ANDERSON</character> <dialogue>There's something I need to tell you.</dialogue> </scene> <scene> <stage_direction>EXT. ANDERSON''$ OFFICE - SAME</stage_direction> <scene_description>Through the window from the hallway, we see Anderson start to tell Zoe something. She listens for a beat, then turns white. She steadies herself as he hands her a folder. She reads for a moment, then walks out on him. He doesn't follow...</scene_description> </scene> <scene> <stage_direction>EXT./INT. DAKOTA - ANDERSON'S APARTMENT - LATER</stage_direction> <scene_description>Zoe opens the door, she appears shaken and looks at Maya as if at a stranger.</scene_description> <character>ZOE</character> <dialogue>Hey.</dialogue> <character>MAYA</character> <dialogue>Hey.</dialogue> <scene_description>She enters to find the beautiful apartment filled with moving boxes. Looks around.</scene_description> <character>MAYA</character> <dialogue>When's he moving?</dialogue> <scene_description>CONTINUED:</scene_description> <character>ZOE</character> <parenthetical>(watching Maya)</parenthetical> <dialogue>In a few weeks. My apartment in the Village is so tiny he let me keep a lot of my junk here.</dialogue> <character>MAYA</character> <dialogue>This place is... You grew up here?</dialogue> <character>ZOE</character> <dialogue>Most of my life.</dialogue> <scene_description>As they walk down the hall there's a picture of a young Zoe and a blonde woman.</scene_description> <character>MAYA</character> <dialogue>Was that your mother?</dialogue> <parenthetical>(Zoe nods)</parenthetical> <dialogue>Beautiful. She was blonde?</dialogue> <character>ZOE</character> <dialogue>Yeah. I was adopted.</dialogue> <scene_description>Maya nods. Zoe clocks it.</scene_description> </scene> <scene> <stage_direction>INT. ZOE'S BEDROOM - SAME</stage_direction> <scene_description>The room is a shrine to her childhood. Boxes are filled with piles of dolls, stacks of books, and homework assignments.</scene_description> <character>ZOE</character> <dialogue>Sorry about the mess. Dad saved everything.</dialogue> <scene_description>She pulls out SpongeBob PJs that are half her size.</scene_description> <character>ZOE</character> <dialogue>And I mean, 'everything.'</dialogue> <scene_description>Maya smiles, pulls out a photo of Zoe dressed as Wonder Woman for Halloween with her two front teeth missing.</scene_description> <character>MAYA</character> <dialogue>Oh my God. Could you be any cuter?</dialogue> <character>ZOE</character> <parenthetical>(smiles)</parenthetical> <dialogue>This is the early stuff.</dialogue> <parenthetical>(pulling out ziplocks)</parenthetical> <dialogue>First haircut, first tooth,</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>...first blanket. It's from my birth mother.</dialogue> <scene_description>CONTINUED: She hands a FADED BLANKET to Maya who takes it, her expression suddenly changing.</scene_description> <character>ZOE</character> <parenthetical>(quietly)</parenthetical> <dialogue>It came with this.</dialogue> <scene_description>Zoe pulls out a FADED ENVELOPE. Maya's face goes white, recognizing it. She looks up at Zoe in disbelief.</scene_description> <character>ZOE</character> <dialogue>It says...</dialogue> <character>MAYA</character> <parenthetical>(without reading)</parenthetical> <dialogue>"I will always watch over you."</dialogue> <scene_description>She looks up at Zoe with tears in her eyes. Zoe swallows hard. Tears fill her eyes as well.</scene_description> <character>MAYA</character> <dialogue>Oh my god.</dialogue> <character>ZOE</character> <dialogue>You're my mother, aren't you?</dialogue> <scene_description>Maya backs away, overwhelmed by more than twenty years of fear and guilt surging through her.</scene_description> <character>ZOE</character> <dialogue>I just found out myself...</dialogue> <scene_description>It's several moments before Maya can begin to compose herself and almost involuntarily, she steps to Zoe and hugs her hard, feeling Zoe's shoulders and head with her hands.</scene_description> <character>MAYA</character> <dialogue>Oh my god.</dialogue> <scene_description>Tears stream down Zoe's face at Maya's primal reaction. They part, then--</scene_description> <character>MAYA</character> <dialogue>How?</dialogue> <character>ZOE</character> <dialogue>My dad. I'm completely pissed at him... For years, after my morn died, I tried to find you. It was just a series of dead ends. I sorta gave up. But apparently he didn't.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>MAYA</character> <parenthetical>(laughing through tears)</parenthetical> <dialogue>That was a good decision.</dialogue> <scene_description>Zoe smiles.</scene_description> </scene> <scene> <stage_direction>EXT. CENTRAL PARK - STRAWBERRY FIELDS - DAY</stage_direction> <scene_description>They walk, arm in arm.</scene_description> <character>MAYA</character> <dialogue>Ask me anything.</dialogue> <character>ZOE</character> <dialogue>Did you ever search for me?</dialogue> <character>MAYA</character> <dialogue>The adoption agency advised me not to. You know, 'don't disrupt her new environment.' But every time I'd see a little girl, I'd think is that what Sarah looks like now?</dialogue> <character>ZOE</character> <dialogue>You called me Sarah?</dialogue> <parenthetical>(Maya nods)</parenthetical> <dialogue>So, I'd have been Sarah Rosalina de la Santa Cruz DaVilla Vargas?</dialogue> <character>MAYA</character> <dialogue>You see why I shortened it.</dialogue> </scene> <scene> <stage_direction>EXT. PROMENADE - CENTRAL PARK - EARLY EVENING</stage_direction> <scene_description>They walk.</scene_description> <character>ZOE</character> <dialogue>Can I ask... What about my father?</dialogue> <character>MAYA</character> <dialogue>I met him at party.</dialogue> <character>ZOE</character> <dialogue>Does he know about me?</dialogue> <character>MAYA</character> <dialogue>Oh baby, I never even knew his last name.</dialogue> <parenthetical>(off Zoe)</parenthetical> <dialogue>But he was the most beautiful boy I'd ever seen.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ZOE</character> <dialogue>He was?</dialogue> <character>MAYA</character> <dialogue>And so sweet.</dialogue> <parenthetical>(Zoe smiles)</parenthetical> <dialogue>I was sixteen and basically on my own. But I knew you had to be born. Wasn't even a question. I left school, got two jobs, but I had no one to watch you. They were going to take you away. Put you back in the system. I couldn't let that happen.</dialogue> </scene> <scene> <stage_direction>INT. ANDERSON'S HALLWAY - DUSK</stage_direction> <scene_description>PAN ACROSS dozens of framed pictures of the Clarkes. We see photos of Zoe as a toddler being carried by her adoptive mother; Zoe in braces; playing softball; with both of her parents before the prom; standing with only father after graduating from Princeton. There's love in every image. Reveal Maya, standing alone, crying as she looks up at the photos - it's everything she missed in Zoe's life.</scene_description> <character>ZOE (O.S.)</character> <dialogue>I found my old research!</dialogue> <scene_description>Maya composes herself as Zoe walks through frame at the end of the hall carrying a box.</scene_description> <character>ZOE</character> <dialogue>But I took out the really good stuff cause I'm still gonna kick your ass.</dialogue> <scene_description>She smiles playfully and approaches Maya.</scene_description> <character>ZOE</character> <dialogue>You okay?</dialogue> <scene_description>Maya nods, a lump in her throat.</scene_description> <character>ZOE</character> <dialogue>Good. Let's go, I'm starving.</dialogue> <scene_description>Maya takes one last look at the wall, then takes Zoe's hand with a smile.</scene_description> <character>MAYA</character> <dialogue>Me too.</dialogue> <scene_description>CONTINUED:</scene_description> </scene> <scene> <stage_direction>EXT. ZABARS - DAY - MONTAGE:</stage_direction> </scene> <scene> <stage_direction>FROM OUTSIDE, WE SEE ZOE AND MAYA SHARING A SANDWICH AND TALKING ANIMATEDLY. INT. ROSE PLANETARIUM - ANOTHER DAY</stage_direction> </scene> <scene> <stage_direction>MAYA AND ZOE CONTINUE TO TALK AS THEY WALK ALONG THE DISPLAY OF PLANETS. EXT. RIVERSIDE PARK - ANOTHER DAY</stage_direction> </scene> <scene> <stage_direction>AS ZOE AND MAYA JOG, ZOE STEPS ON THE GAS, BUT MAYA KEEPS UP. ZOE SMILES, IMPRESSED. EXT. CHRISTMAS TREE LOT - NIGHT</stage_direction> <scene_description>Zoe has picked a tree way too big. She and Maya struggle to carry it fireman style, laughing as they stumble.</scene_description> </scene> <scene> <stage_direction>EXT./INT. JOAN'S HOUSE - LIVING ROOM - NIGHT</stage_direction> <scene_description>Joan walks in from the kitchen with a bottle of wine, tops off Maya's glass and sits with her on the couch.</scene_description> <character>JOAN</character> <dialogue>So that's where you've been. I can't believe it. I mean, it's like out of a movie.</dialogue> <character>MAYA</character> <dialogue>Joan.</dialogue> <character>JOAN</character> <dialogue>You're right. No super heroes. No one will give a sheet.</dialogue> <character>MAYA</character> <dialogue>And please start cursing.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>The last few days have been - amazing. She wants to get to know me.</dialogue> <character>JOAN</character> <dialogue>Oops.</dialogue> <character>MAYA</character> <dialogue>No kidding. She wants to make up for lost time.</dialogue> <character>JOAN</character> <dialogue>Good.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAYA</character> <dialogue>She wants to meet my friends.</dialogue> <character>JOAN</character> <dialogue>Great. Love to.</dialogue> <character>MAYA</character> <dialogue>No. Not great. My "friends" from Harvard, and the Peace Corps who don't actually exist.</dialogue> </scene> <scene> <stage_direction>INT. TAVERN ON THE GREEN - DAY</stage_direction> <scene_description>Anderson sits at lunch across from Maya and Zoe.</scene_description> <character>ANDERSON</character> <dialogue>I'd like to explain myself, to both of you.</dialogue> <character>MAYA</character> <dialogue>You don't have to.</dialogue> <character>ZOE</character> <dialogue>Oh yes, he does.</dialogue> <character>ANDERSON</character> <dialogue>We used to say Zoe got her spirited streak from her mother, now we know that was only half true.</dialogue> <parenthetical>(Maya laughs)</parenthetical> <dialogue>When Zoe started looking for you, I didn't know if it was healthy or not, but she wasn't exactly asking my permission •.. After a while, she gave up, and...</dialogue> <parenthetical>(to Zoe; quelling his emotions)</parenthetical> <dialogue>...something went out in you. I know what your mother would have said, "Fix it, Andy," so I kept the feelers out.</dialogue> <parenthetical>(to Maya)</parenthetical> <dialogue>And suddenly, almost magically, there you were online, formidably so. I had no idea if you'd want to have contact with Zoe, and I couldn't risk her being rejected, so, after reading your resume, I...</dialogue> <character>ZOE</character> <dialogue>Manipulated us.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ANDERSON</character> <parenthetical>(he gestures, mea culpa)</parenthetical> <dialogue>One day, god willing, you'll understand the lengths a parent will go to for their child's happiness. Besides, for all I knew Maya could have been a serial killer.</dialogue> <character>MAYA</character> <dialogue>Well, you still haven't seen what's in my basement.</dialogue> <character>ANDERSON</character> <parenthetical>(chuckles; then...)</parenthetical> <dialogue>I did lie, though. To both of you. And for that I am sorry.</dialogue> <scene_description>Anderson takes Zoe's hand as they smile at each other. Maya is affected by the deep love between them.</scene_description> <character>MAYA</character> <dialogue>Listen guys, there's something--</dialogue> <scene_description>From behind them, we hear familiar voices.</scene_description> <character>BIG ANT (0.S.)</character> <dialogue>Maya? Is that Maria Maya Vargas?</dialogue> <scene_description>Reveal, Big Ant, Suzi, and Joan trying their best to look "up town." Pants suits, hair done up, less make-up.</scene_description> <character>BIG ANT</character> <dialogue>What are the odds?</dialogue> <character>JOAN</character> <dialogue>We were just on our way to the alumni social for Norton.</dialogue> <character>MAYA</character> <dialogue>Wharton.</dialogue> <parenthetical>(to Zoe &amp; Anderson)</parenthetical> <dialogue>Zoe, Anderson... these are my old friends from--</dialogue> <character>SUZI</character> <dialogue>Harvard.</dialogue> <parenthetical>(extends her hand)</parenthetical> <dialogue>Susan. Kennedy. Distant relation.</dialogue> <character>JOAN</character> <parenthetical>(extends her hand)</parenthetical> <dialogue>Joan. London. No relation.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>JOAN</character> <parenthetical>(re: Maya who looks apoplectic)</parenthetical> <dialogue>We did some time in the Peace Corps.</dialogue> <character>BIG ANT</character> <dialogue>Big. Ant. No relation.</dialogue> <parenthetical>(off their looks)</parenthetical> <dialogue>...We saved whales.</dialogue> <character>JOAN</character> <parenthetical>(staring at Zoe)</parenthetical> <dialogue>So, you're Maya's little girl.</dialogue> <character>SUZI</character> <dialogue>She's totally got your eyes.</dialogue> <character>MAYA</character> <dialogue>So, guys. Where's the mixer?</dialogue> <character>JOAN</character> <dialogue>Upper West Side somewhere. Our driver has the 4-1-1.</dialogue> <character>BIG ANT</character> <dialogue>We just stopped in for a couple drinks and a tinkle.</dialogue> <character>JOAN</character> <dialogue>So we must go. Philanthropy never waits.</dialogue> <character>SUZI</character> <dialogue>Always saving something.</dialogue> <character>ANDERSON</character> <dialogue>I thought you said it was an alumni social.</dialogue> <character>JOAN</character> <dialogue>Three hours with drunk alums pawing at our checkbooks, we'll be the ones who need saving.</dialogue> <scene_description>Anderson and Zoe laugh. Maya goes along with it painfully.</scene_description> <character>ANDERSON</character> <dialogue>Isn't that always the truth. Well, nice to meet you ladies.</dialogue> <character>ZOE</character> <dialogue>Yes, it's lovely to finally meet some of Maya's friends.</dialogue> </scene> <scene> <stage_direction>INT. MAYA'S OFFICE - DAY</stage_direction> <scene_description>Maya enters to find Chase and Hildy.</scene_description> <character>MAYA</character> <dialogue>Hi guys--</dialogue> <parenthetical>(off their excited looks)</parenthetical> <dialogue>What?</dialogue> <scene_description>Hildy sets a stack of research on Maya's desk.</scene_description> <character>HILDY</character> <dialogue>I found the hole!</dialogue> <character>MAYA</character> <dialogue>I'm sorry?</dialogue> <character>CHASE</character> <dialogue>In the market. Here...</dialogue> <scene_description>He pushes a top sheet of data towards Maya.</scene_description> <character>MAYA</character> <parenthetical>(reading)</parenthetical> <dialogue>Fruit?</dialogue> <character>HILDY</character> <dialogue>Not just any fruit.</dialogue> <character>MAYA</character> <dialogue>Tangerine... Huh.</dialogue> <character>HILDY</character> <dialogue>Our data shows that there's a thirty-seven percent increase in sales of any moisturizer, face cream or block with a citrus smell. And they've all been done, except for...</dialogue> <character>CHASE</character> <dialogue>Do you know what this means?</dialogue> <character>HILDY</character> <dialogue>We did it! Yes!</dialogue> <scene_description>But Maya still looks unsure.</scene_description> <character>CHASE</character> <dialogue>Maya?</dialogue> <scene_description>CONTINUED:</scene_description> <character>HILDY</character> <parenthetical>(warning)</parenthetical> <dialogue>We're at deadline.</dialogue> <character>MAYA</character> <dialogue>I know. It's just... none of our surveys gave us any indication that this really matters.</dialogue> <character>HILDY</character> <dialogue>We have to green light? Please?</dialogue> <character>MAYA</character> <parenthetical>(a beat, then)</parenthetical> <dialogue>Okay.</dialogue> <scene_description>Hildy and Chase start celebrating. Maya seems unsure.</scene_description> </scene> <scene> <stage_direction>EXT. HIGHLINE - LATER</stage_direction> <scene_description>Maya and Joan walk silently.</scene_description> <character>JOAN</character> <dialogue>So you're still mad at me for lunch?</dialogue> <parenthetical>(Maya shrugs)</parenthetical> <dialogue>She seems nice.</dialogue> <character>MAYA</character> <dialogue>Yeah.</dialogue> <character>JOAN</character> <dialogue>So pretty too.</dialogue> <character>MAYA</character> <dialogue>Uh huh.</dialogue> <character>JOAN</character> <dialogue>Unlike the bug up your ass.</dialogue> <character>MAYA</character> <dialogue>Oh come on, Joan, "Save the whales?" really?</dialogue> <character>JOAN</character> <dialogue>She nailed it in rehearsal.</dialogue> <character>MAYA</character> <dialogue>Why'd you spring that on me without checking?</dialogue> <character>JOAN</character> <dialogue>We were helping you.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAYA</character> <dialogue>I wish you'd asked.</dialogue> <character>JOAN</character> <dialogue>You said she wanted to meet your friends.</dialogue> <parenthetical>(off Maya)</parenthetical> <dialogue>So what, suddenly we don't exist anymore? Be careful Maya, don't confuse your new Facebook thing with who you really are.</dialogue> <character>MAYA</character> <dialogue>My daughter thinks I'm this amazing person, what do you want me to do?</dialogue> <character>JOAN</character> <dialogue>Try telling her the truth.</dialogue> <character>MAYA</character> <dialogue>And ruin everything, are you crazy? Maybe once we've gotten to know each other more.</dialogue> <character>JOAN</character> <dialogue>You once said the exact same thing about Trey.</dialogue> <character>MAYA</character> <parenthetical>(Joan's right, but--)</parenthetical> <dialogue>That's a shitty thing to say.</dialogue> <character>JOAN</character> <dialogue>If the shite fits.</dialogue> <character>MAYA</character> <dialogue>You have no idea what it's been like. You have NO idea how many times a day I still thought about her! Is she okay? Is she happy? Is she even alive? ... And now, you're right, I've found her and it's all messed up, I'm a mess, and I hate the lie but I have to be the person she thinks I am or I will definitely lose her and I cannot survive that again.</dialogue> <character>JOAN</character> <dialogue>You act like you don't have a choice.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>MAYA</character> <dialogue>I don't.</dialogue> <character>JOAN</character> <dialogue>Then I guess it's too bad she'll never meet the old Maya; she was an amazing person.</dialogue> <scene_description>Joan walks off.</scene_description> </scene> <scene> <stage_direction>INT. MAYA'S APARTMENT - NIGHT</stage_direction> <scene_description>Maya sits alone in her apartment, several iterations of the 'green line' and stacks of data lie on the coffee table. Unable to concentrate, she leans back and sighs, looking around the apartment that, somehow, doesn't seem so grand anymore.</scene_description> </scene> <scene> <stage_direction>INT. MAYA'S OFFICE - DAY</stage_direction> <character>ARIANA (0. S . )</character> <dialogue>HOLD EVERYTHING!</dialogue> <scene_description>Ariana bursts in holding a flash drive. Maya, Hildy and Chase look up from their work.</scene_description> <character>HILDY</character> <dialogue>Please don't shout.</dialogue> <character>ARIANA</character> <parenthetical>(to Maya; dizzy from the view)</parenthetical> <dialogue>Before we ran down Hildy's tangerine road I wanted to make sure we're good.</dialogue> <character>MAYA</character> <dialogue>And?</dialogue> <character>ARIANA</character> <dialogue>We're not.</dialogue> <scene_description>She closes her eyes and "bravely" inches her way over to Maya's desk, holding out the flash drive.</scene_description> <character>HILDY</character> <dialogue>Oh, for the love of god.</dialogue> <scene_description>She grabs the flash drive and hands it to Maya who puts it into her computer. Up comes graphics for-- CONTINUED:</scene_description> <character>ARIANA</character> <parenthetical>(eyes still closed)</parenthetical> <dialogue>Ponds just announced they're putting out a whole Tangerine skin care line. And it's green.</dialogue> <character>HILDY</character> <dialogue>What?</dialogue> <character>CHASE</character> <dialogue>They beat us to the punch?</dialogue> <character>MAYA</character> <dialogue>Who cares. For every Pepsi there's a Coke. I say we stay the course.</dialogue> <scene_description>Ariana starts backing away...</scene_description> <character>HILDY</character> <dialogue>The board will never go for it. Especially if they're out first. We've been burned in marketing wars before. They want originality.</dialogue> <character>MAYA</character> <dialogue>Originality. So... you're saying--</dialogue> <character>HILDY</character> <dialogue>We're done. We're out of time.</dialogue> <scene_description>Hildy slumps on the couch. Maya feels terrible.</scene_description> <character>MAYA</character> <dialogue>I'm sorry guys.</dialogue> <scene_description>She grabs her coat and walks out.</scene_description> </scene> <scene> <stage_direction>INT. VALUE CLUB - TRIPLE M'S - DAY</stage_direction> <scene_description>The back room overflows with MMM's. Maya walks in, unsettled.</scene_description> <character>BIG ANT</character> <dialogue>Oh, look who came to the mountain.</dialogue> <character>JOAN</character> <dialogue>You mean down off the mountain.</dialogue> <character>SUZI</character> <dialogue>What's wrong?</dialogue> <character>JOAN</character> <parenthetical>(thinking she came clean)</parenthetical> <dialogue>They fired you?</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAYA</character> <dialogue>Might as well have. Nine weeks of work, and we just got beat by another company doing the same damn thing.</dialogue> <character>SUZI</character> <dialogue>Well, everything happens for a reason, right?</dialogue> <parenthetical>(off Maya's look)</parenthetical> <dialogue>You're with your daughter again.</dialogue> <character>BIG ANT</character> <dialogue>Who's gorgeous, by the way.</dialogue> <character>MAYA</character> <dialogue>Thank you guys for the other day. It was a little pathetic, but very sweet...</dialogue> <parenthetical>(teasing)</parenthetical> <dialogue>Mostly pathetic.</dialogue> <character>BIG ANT</character> <dialogue>I know, I went with whales, should'a said frogs. Gotta listen to my gut more.</dialogue> <character>MAYA</character> <dialogue>Me too. I let myself get talked into data and spreadsheets when I should have stuck with what got me there. There's just so many products, so much competition. Too much noise.</dialogue> <character>SUZI</character> <dialogue>When there's too much noise in the car from the kids screaming, I lay on the horn. Eeeeeeeehh! Shuts 'em right up every time.</dialogue> <character>MAYA</character> <dialogue>If only there was a skin-care equivalent.</dialogue> <character>JOAN</character> <dialogue>Of what?</dialogue> <character>MAYA</character> <dialogue>One thing to cut through the noise ... One thing to... Omigod, that's it.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>SUZI</character> <dialogue>What?</dialogue> <character>MAYA</character> <dialogue>You guys are amazing, I love you, I gotta go.</dialogue> <scene_description>She runs out. Joan shakes her head, disappointed in Maya.</scene_description> <character>BIG ANT</character> <parenthetical>(to Suzi)</parenthetical> <dialogue>What you don't realize about the horn thing, is your kids duck down in the back seat, and you look like a crazy lady driving alone with your horn blowing.</dialogue> <scene_description>Off Suzi...</scene_description> <character>CHASE (PRE-LAP)</character> <dialogue>One product?</dialogue> </scene> <scene> <stage_direction>INT. CAR - LATER</stage_direction> <scene_description>Maya is on the phone. Screaming.</scene_description> <character>MAYA</character> <dialogue>Yes! That does the job of all three.</dialogue> </scene> <scene> <stage_direction>INT. LAB - SAME</stage_direction> <scene_description>Chase on his cell phone.</scene_description> <character>CHASE</character> <dialogue>We should run it by Hildy to check the numbers.</dialogue> <character>MAYA</character> <dialogue>Forget the numbers. That's what got us in this mess in the first place. I got a good feeling about this. We're making one product that does everything. Rejuvenates, blocks the sun, moisturizes the whole body. I mean think about it, how ridiculous is it that we have a different cream for every body part. It's stupid.</dialogue> <character>CHASE</character> <dialogue>So I can use it for my jock itch?</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAYA</character> <parenthetical>(a beat)</parenthetical> <dialogue>Okay, so there'll still be two creams.</dialogue> </scene> <scene> <stage_direction>EXT. NYC STREET - DAY</stage_direction> <scene_description>Maya and Chase walk as he eats a hot dog from the cart.</scene_description> <character>CHASE</character> <dialogue>Maya, SPF formulas that block the sun and stay on your skin are synthetic and can actually be poisonous. You don't want people sleeping in it. Plus we only have three weeks left.</dialogue> <character>MAYA</character> <dialogue>But, isn't there a natural compound that gives sun protection and isn't poisonous?</dialogue> <character>CHASE</character> <dialogue>You're talking a biopolyrner with a sun resistant, organic component?</dialogue> <character>MAYA</character> <dialogue>Yes!</dialogue> <character>CHASE</character> <dialogue>No!</dialogue> <character>MAYA</character> <dialogue>Why?</dialogue> <character>CHASE</character> <dialogue>It doesn't exist.</dialogue> <character>MAYA</character> <dialogue>Yet. If we can put everything into one product instead of three, and keep it green? That's a game changer. No one is doing that.</dialogue> <scene_description>Chase shakes his head 'not possible.'</scene_description> <character>MAYA</character> <dialogue>Chase, I believe in you.</dialogue> <parenthetical>(checks her watch)</parenthetical> <dialogue>Shit, we'll make a quick stop at the Christmas party, and then we'll hit the lab.</dialogue> <scene_description>CONTINUED: She tries hailing a cab, but Chase hesitates.</scene_description> <character>CHASE</character> <dialogue>I can't go.</dialogue> <character>MAYA</character> <dialogue>Why not?</dialogue> <character>CHASE</character> <dialogue>It's for executives only.</dialogue> <scene_description>Maya approaches him. Knows what it feels like not to belong.</scene_description> <character>MAYA</character> <dialogue>Gimme a break. You're my date. And Ariana too. It's on the top floor, she'll be thrilled.</dialogue> </scene> <scene> <stage_direction>INT. EXECUTIVE DINING ROOM - NIGHT</stage_direction> <scene_description>Decorated for Christmas, the F&amp;C executive holiday party is in full swing with an 8 piece band. Maya, in a black dress, hair up, comes in with Chase who's stuffed into an ill-fitting suit. Maya can tell he's nervous.</scene_description> <character>MAYA</character> <dialogue>You okay?</dialogue> <character>CHASE</character> <dialogue>There's a reason I was banished to cat food. Not good at these things.</dialogue> <scene_description>Chase grabs a glass of wine off a waiter's tray and downs it.</scene_description> <character>MAYA</character> <dialogue>Why did Felix banish you?</dialogue> <character>CHASE</character> <parenthetical>(a beat, then)</parenthetical> <dialogue>The whole Novalis scandal was Felix' idea. He wanted me to cheat the readings to hide the fact we were repackaging shampoo as a hair growth product. But I wouldn't do it.</dialogue> <character>MAYA</character> <dialogue>So he let you keep your job if you kept quiet, but sent you to Siberia.</dialogue> <parenthetical>(off Chase's painful nod)</parenthetical> <dialogue>So why didn't you quit?</dialogue> <scene_description>CONTINUED:</scene_description> <character>CHASE</character> <dialogue>Because that's what he wants.</dialogue> <scene_description>Maya sees Felix at the bar with Ron, who raises his drink. Maya smirks back.</scene_description> <character>ZOE (O.S.)</character> <dialogue>Well if it isn't Team Green.</dialogue> <scene_description>Maya turns to see Zoe, looking fantastic. She smiles.</scene_description> <character>MAYA</character> <dialogue>Zoe, wow. You look amazing.</dialogue> <character>ZOE</character> <dialogue>Thanks. Pretty damn fine yourself.</dialogue> <scene_description>They're unsure how to greet each other, settle for a hug and semi-cheek-kiss. They laugh.</scene_description> <character>ZOE</character> <dialogue>Did any of that research help?</dialogue> <character>MAYA</character> <parenthetical>(cryptically)</parenthetical> <dialogue>Who's asking, my rival or my--</dialogue> <character>ZOE</character> <dialogue>Your daughter.</dialogue> <scene_description>Maya smiles at the warmth, once again feeling pangs of guilt. Anderson approaches.</scene_description> <character>ANDERSON</character> <dialogue>Well, I seem to have found the cool crowd.</dialogue> <parenthetical>(quietly)</parenthetical> <dialogue>And two of the most beautiful people here.</dialogue> <character>CHASE</character> <dialogue>Thank you.</dialogue> <parenthetical>(then realizing)</parenthetical> <dialogue>Right.</dialogue> <character>ANDERSON</character> <parenthetical>(offers his hand to Maya)</parenthetical> <dialogue>Shall we?</dialogue> <scene_description>They start to dance just as Felix sidles up to Chase. CONTINUED: (2)</scene_description> <character>FELIX</character> <dialogue>I believe the party for the lower- level employees is down at Chili's.</dialogue> <character>CHASE</character> <dialogue>I came with Maya.</dialogue> <character>FELIX</character> <dialogue>Ah, well, enjoy this while you can. Word is you'll be back to cat food soon enough.</dialogue> <scene_description>Chase spots Ariana standing nervously at the entrance. Ignoring Felix, he walks over to her.</scene_description> <character>CHASE</character> <dialogue>You look pretty good.</dialogue> <character>ARIANA</character> <dialogue>Oh, thanks.</dialogue> <character>CHASE</character> <dialogue>I'm actually surprised you made it off the elevator.</dialogue> <character>ARIANA</character> <dialogue>I just barfed into my purse.</dialogue> <scene_description>She hands the small, closed clutch to Chase.</scene_description> <character>CHASE</character> <dialogue>I see. Do you trust me?</dialogue> <character>ARIANA</character> <dialogue>Of course.</dialogue> <scene_description>He starts to undo his tie, leading her away from the dance floor. As they pass Felix, Chase hands him the purse.</scene_description> <character>CHASE</character> <dialogue>Hold this for a sec.</dialogue> <scene_description>Confused, Felix reaches for the purse's zipper.</scene_description> </scene> <scene> <stage_direction>INT. EXECUTIVE DINING ROOM, DANCE FLOOR - NIGHT</stage_direction> <scene_description>Anderson and Maya dance. He can tell she's conflicted.</scene_description> <character>ANDERSON</character> <dialogue>You okay?</dialogue> <scene_description>Maya nods. They watch Zoe dancing "The Shopping Cart" with a group of co-workers. CONTINUED:</scene_description> <character>MAYA</character> <dialogue>Is she happy?</dialogue> <character>ANDERSON</character> <dialogue>Happier...</dialogue> <parenthetical>(off Maya)</parenthetical> <dialogue>F&amp;C was never her ambition, but she came to work right out of college. I shouldn't have let her but I was selfish and we were both hurting and... But now she needs to go and live a life, and fall in love, forget about the old man for awhile.</dialogue> <character>MAYA</character> <dialogue>Is it awkward to say thank you? In my dreams I couldn't have asked for... You and Cynthia both did an incredible job with her.</dialogue> <character>ANDERSON</character> <parenthetical>(touched)</parenthetical> <dialogue>She's the love of our lives.</dialogue> <scene_description>They admire Zoe, dancing and laughing and young.</scene_description> <character>RON (0.S.)</character> <dialogue>Hail to the Chief.</dialogue> <scene_description>Ron dances with Hildy.</scene_description> <character>RON</character> <parenthetical>(to Anderson)</parenthetical> <dialogue>Everything good with China?</dialogue> <character>ANDERSON</character> <dialogue>Apparently your dinner went well. Jiang was so impressed with our facilities that he wants to make a deal.</dialogue> <character>RON</character> <dialogue>Fantastic. I knew once he saw them, he'd be in.</dialogue> <parenthetical>(cuts off Maya before she can contest the lie)</parenthetical> <dialogue>Maya really helped me to convey that to Mr. Jiang.</dialogue> <scene_description>Anderson is pleased. Ron gives Maya a "you owe me one" look, which is echoed by Hildy. Zoe, who's dancing nearby, witnesses this. CONTINUED: (2)</scene_description> <character>MAYA</character> <parenthetical>(steely)</parenthetical> <dialogue>Happy to help.</dialogue> <character>ANDERSON</character> <dialogue>Look who finally showed up.</dialogue> <scene_description>Samuel Weiskopf, from Value Club comes over. Anderson stops dancing to greet him as Maya blanches.</scene_description> <character>SAMUEL WEISKOPF</character> <dialogue>Anderson.</dialogue> <character>ANDERSON</character> <parenthetical>(they shake hands)</parenthetical> <dialogue>Hello, Sam. Of course you know Maya from her time consulting for you at Value Club.</dialogue> <character>SAMUEL WEISKOPF</character> <parenthetical>(perplexed)</parenthetical> <dialogue>When was that?</dialogue> <scene_description>Maya realizes he doesn't recognize her. Ron clocks this.</scene_description> <character>RON</character> <dialogue>Wasn't it fairly recently, Maya?</dialogue> <character>MAYA</character> <parenthetical>(pivoting)</parenthetical> <dialogue>You've built a great business, Mr. Weiskopf, you should be proud.</dialogue> <character>SAMUEL WEISKOPF</character> <dialogue>Tell me your name again.</dialogue> <character>RON</character> <dialogue>Funny you two not knowing each other.</dialogue> <scene_description>The music changes to an upbeat tempo. Zoe knows Maya is being cornered by her asshole partner and moves in to rescue her.</scene_description> <character>ZOE</character> <parenthetical>(playfully)</parenthetical> <dialogue>It's party time, guys. Time to just shut up and dance.</dialogue> <character>WEISKOPF</character> <parenthetical>(looks at Maya)</parenthetical> <dialogue>I'm down.</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>MAYA</character> <parenthetical>('fuck it')</parenthetical> <dialogue>You sure about that?</dialogue> <scene_description>They spin away, it's immediately clear that Weiskopf is out of his league.</scene_description> <character>WEISKOPF</character> <dialogue>I'm sure we haven't met. I always remember the attractive executives.</dialogue> <character>MAYA</character> <dialogue>Me too. That's why I'm sure we haven't met.</dialogue> <scene_description>Maya spins, snaps and twirls into him, knocking him backwards.</scene_description> <character>WEISKOPF</character> <parenthetical>(laughs)</parenthetical> <dialogue>Okay, I'm fairly sure I deserved that. Whoa!</dialogue> <scene_description>People make room as he tries to keep his feet in the barrage of Maya's aggressive dance moves.</scene_description> </scene> <scene> <stage_direction>EXT. OBSERVATION DECK - NIGHT</stage_direction> <scene_description>Using his tie as a blindfold over her eyes, Chase leads Ariana outside.</scene_description> <character>ARIANA</character> <dialogue>Are we outside?! Ohrnigod!</dialogue> <character>CHASE</character> <dialogue>It's fine. Here, I've got you.</dialogue> <scene_description>He wraps his arms around her. She clings to his shirt.</scene_description> <character>CHASE</character> <dialogue>I'm going to take the blindfold off.</dialogue> <character>ARIANA</character> <dialogue>No.</dialogue> <character>CHASE</character> <dialogue>When I do, look only at me.</dialogue> <character>ARIANA</character> <dialogue>Okay, but, can I say something first?</dialogue> <scene_description>CONTINUED:</scene_description> <character>CHASE</character> <dialogue>Of course.</dialogue> <character>ARIANA</character> <dialogue>You don't need to pull some Titanic bullshit to get close to me.</dialogue> <character>CHASE</character> <dialogue>Oh. I was going to show you the city and tell you you're the queen of the world.</dialogue> <character>ARIANA</character> <dialogue>Can you tell me inside?</dialogue> <character>CHASE</character> <dialogue>Oh. Sure.</dialogue> </scene> <scene> <stage_direction>INT. DANCE FLOOR - NIGHT</stage_direction> <scene_description>Weiskopf and Maya continue dancing. He's trying to keep up.</scene_description> <character>WEISKOPF</character> <parenthetical>(getting winded)</parenthetical> <dialogue>So what are you working on?</dialogue> <character>MAYA</character> <dialogue>Skin care. We've got some great ideas, but so far our R&amp;D has been bombing big time.</dialogue> <character>WEISKOPF</character> <dialogue>Well, stay at it. Through the greatest disasters, there is always a morsel of hope.</dialogue> <scene_description>She dips him, holding him horizontally until a huge realization hits her...</scene_description> <character>MAYA</character> <dialogue>That's it.</dialogue> <scene_description>...and she drops him.</scene_description> <character>MAYA</character> <dialogue>Oh, sorry.</dialogue> </scene> <scene> <stage_direction>INT. EXECUTIVE DINING ROOM - CONTINUOUS</stage_direction> <scene_description>Chase and Ariana coming in from the observation deck. Before he can talk, she grabs him around the waist and smiles. CONTINUED:</scene_description> <character>ARIANA</character> <dialogue>Just so we're clear, I'm a little kinky.</dialogue> <character>CHASE</character> <dialogue>Um, okay.</dialogue> <scene_description>They kiss. She bites his lower lip. He yelps. She smiles. He's a little nervous and a little turned on.</scene_description> <character>MAYA</character> <dialogue>Chase, we gotta go. Now.</dialogue> </scene> <scene> <stage_direction>EXT. QUEENSBOROUGH BRIDGE - NIGHT</stage_direction> <scene_description>Maya's car is speeding down the road.</scene_description> </scene> <scene> <stage_direction>INT. CAR - NIGHT</stage_direction> <scene_description>Chase is shotgun.</scene_description> <character>CHASE</character> <dialogue>Where are we going?</dialogue> <character>MAYA</character> <dialogue>I cannot believe Weiskopf didn't recognize me.</dialogue> <character>CHASE</character> <dialogue>What are you talking about?</dialogue> <character>MAYA</character> <dialogue>It's like in a different uniform they look right through you.</dialogue> <scene_description>Maya calls someone.</scene_description> <character>MAYA</character> <dialogue>Come on, answer. Shit, his voicemail's full.</dialogue> <parenthetical>(hangs up the phone)</parenthetical> <dialogue>Looks like we'll have to bust in. I'm sorry. I'm rambling.</dialogue> <character>CHASE</character> <dialogue>If you could give some context...</dialogue> <character>MAYA</character> <dialogue>Weiskopf said something. Out of the biggest disasters, there can still be hope.</dialogue> <scene_description>CONTINUED:</scene_description> <character>CHASE</character> <dialogue>Which disaster are we talking about?</dialogue> <character>MAYA</character> <dialogue>Hiroshima.</dialogue> <character>CHASE</character> <dialogue>How much did you have to drink tonight?</dialogue> <character>MAYA</character> <dialogue>When I was a little girl, my grandma gave me this potted plant and told me this story. After we dropped the bomb, the military sent a team to Japan to make sure the radiation had depleted. The only thing they found that hadn't been destroyed was one single living tree.</dialogue> <character>CHASE</character> <dialogue>Still wondering about your alcohol intake. Should you be driving?</dialogue> <character>MAYA</character> <dialogue>The leaves were already growing back. A month later it flowered. The citizens built a temple around it, and the soldiers took clippings from it. One of those soldiers was my grandpa.</dialogue> <scene_description>She pulls onto a familiar street and parks the car.</scene_description> <character>CHASE</character> <dialogue>Okay. What kind of tree was it?</dialogue> <character>MAYA</character> <dialogue>The Japanese call it gin kyo which means silver apricot.</dialogue> </scene> <scene> <stage_direction>EXT. TREY'S HOUSE - NIGHT</stage_direction> <scene_description>They climb out of the car, and cross the street.</scene_description> <character>MAYA</character> <dialogue>After returning home, my grandpa planted his clipping and named it after my Grandmother, Silver Guadalupe.</dialogue> <scene_description>She rings the front door bell, and knocks on the door. CONTINUED:</scene_description> <character>CHASE</character> <parenthetical>(realization)</parenthetical> <dialogue>And it's resistant to radiation.</dialogue> <scene_description>She tries the two front windows. They're locked.</scene_description> <character>MAYA</character> <dialogue>AKA the sun.</dialogue> <scene_description>She leads him through a side gate to the back yard. Where a lattice hugs a clematis vine to the side of the building.</scene_description> <character>CHASE</character> <dialogue>We're breaking in? You know they have Ginkgo trees in Central Park?</dialogue> <scene_description>She stops at the second story and shimmies across to a darkened balcony.</scene_description> <character>MAYA</character> <dialogue>Not the same kind. That's my plant in there.</dialogue> <parenthetical>(off Chase)</parenthetical> <dialogue>I used to lose my keys all the time.</dialogue> <scene_description>She jumps over the railing and lands on the balcony, reaches around and unlocks the door.</scene_description> </scene> <scene> <stage_direction>INT. TREY'S HOUSE - SAME</stage_direction> <scene_description>She walks in. Takes in the space. It's different. She notes the empty end table. The pictures they used to have of the two of them together are no longer there. After a moment she picks up the potted plant.</scene_description> <character>MAYA</character> <parenthetical>(quietly)</parenthetical> <dialogue>Thank you, abuela.</dialogue> </scene> <scene> <stage_direction>EXT. TREY'S HOUSE - NIGHT</stage_direction> <scene_description>She puts the tree in the car. She gets in, then--</scene_description> <character>MAYA</character> <dialogue>Gimme a minute.</dialogue> <scene_description>She gets out of the car and begins scribbling a note, takes a leaf off the tree and is about to go to the front door when: CONTINUED: TREY pulls into the driveway. Maya smiles when she sees him until A BLONDE WOMAN gets out from the passenger side. They're laughing, he puts his arm around her, and they walk to the front door. Off Maya.</scene_description> </scene> <scene> <stage_direction>EXT. CHASE'S NYC APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Maya's car come to a stop. Chase gets out and waves as Maya pulls away.</scene_description> </scene> <scene> <stage_direction>INT. MAYA'S CAR - NIGHT</stage_direction> <scene_description>Maya drives, lost in thought. Second guessing every move she's made in the last several weeks. Second guessing what she left behind - her friends... her life... Trey. She looks in the passenger seat at the little potted plant - then back to the road as she makes her way to her apartment in the city.</scene_description> </scene> <scene> <stage_direction>INT. MAYA'S OFFICE - NEXT MORNING</stage_direction> <scene_description>Where Hildy is standing in front of Maya, Chase, and Ariana,</scene_description> <character>HILDY</character> <dialogue>And this will undoubtedly set you back a bit, but as the ancient proverb says, "Man makes plans, and then the Big Man takes a poop on them." N'est pas?</dialogue> <character>ARIANA</character> <dialogue>I don't think that's how it goes.</dialogue> <character>MAYA</character> <dialogue>So you're leaving us for Ron?</dialogue> <character>HILDY</character> <dialogue>It's not because everyone thinks you're delusional to try and invent a whole new product with three weeks to go. It's just... Ron values me. Plus, when his assistant D.E. got colitis, it just seemed too good to be true.</dialogue> <scene_description>As Hildy goes to the door, she turns for one final comment when Ariana interrupts. CONTINUED:</scene_description> <character>ARIANA</character> <dialogue>No. No. Say less.</dialogue> <scene_description>Ariana SLAMS the door in Hildy's face.</scene_description> <character>ARIANA</character> <parenthetical>(smiles)</parenthetical> <dialogue>God that felt good.</dialogue> </scene> <scene> <stage_direction>INT. LAB - DAY</stage_direction> <scene_description>A Chemist carefully grinds leaves before feathering them into a mixer filled with a churning green emulsion.</scene_description> <character>CHASE</character> <dialogue>First we emulsify the leaves and mix them with different base compounds.</dialogue> <parenthetical>(re: a thermometer)</parenthetical> <dialogue>Then we give it a few hours to see if it'll homogenize. And then we begin the ultra-violet light tests to see if it works.</dialogue> <character>MAYA</character> <dialogue>What if it doesn't?</dialogue> <character>TECHNICIAN</character> <dialogue>You're screwed.</dialogue> <character>ARIANA</character> <dialogue>It ain't over 'til it's over.</dialogue> <character>MAYA</character> <parenthetical>(smiles; reminded of Trey)</parenthetical> <dialogue>That's right. How long could this take?</dialogue> <character>TECHNICIAN</character> <dialogue>To be honest, could take a lifetime.</dialogue> <character>ARIANA</character> <dialogue>To be honest, you're kind of annoying.</dialogue> <parenthetical>(then, to Maya)</parenthetical> <dialogue>We're not going to let you down.</dialogue> <scene_description>She holds her fist out, Chase puts his in, Maya puts hers in.</scene_description> </scene> <scene> <stage_direction>INT. LAB - DAYS/NIGHTS - MUSIC MONTAGE:</stage_direction> <scene_description>A couple of the cats mill about in the background, as the technician levels and pours a scoop of leaves into a mixer. The solution turns to a runny oil. He shakes his head. Ariana gives him a blistering look. Frightened, the technician goes to make another batch.</scene_description> </scene> <scene> <stage_direction>INT. STARBUCKS - DAY</stage_direction> <scene_description>Maya picks up several coffees for her team, balancing a bag of scones under her chin.</scene_description> </scene> <scene> <stage_direction>INT. LAB - DAY</stage_direction> <scene_description>Chase writes equations on a dry erase board as Ariana, from a distance, checks out his ass. She's caught by Maya who returns with the coffees. Ariana smiles sheepishly. A new batch comes out of a mixer bubbling and steaming. Everyone reacts, 'Not good.' The technician scoops a new brownish sample onto the table. Everyone winces as they sniff--</scene_description> <character>MAYA</character> <dialogue>Damn.</dialogue> </scene> <scene> <stage_direction>INT. LAB - NIGHT</stage_direction> <scene_description>Maya, Chase and Ariana sleep on the lab tables. A couple of the cats are licking Chase's face. He giggles, dreaming.</scene_description> </scene> <scene> <stage_direction>INT. LAB - DAY</stage_direction> <scene_description>Exhausted, Chase, walks up to find another small sample of the brown batch in a lump on his papers. He looks at the technician, "WTF?" The technician shrugs. Then, Chase draws his look to one of the cats which just stares at him.</scene_description> </scene> <scene> <stage_direction>INT. LAB - LATER</stage_direction> <scene_description>Chase walks by vat after vat of failed versions of mixture, then approaches one final one. He scoops up a 'white-ish' sample and smiles at Maya.</scene_description> <character>CHASE</character> <dialogue>Behold.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAYA</character> <dialogue>What's that?</dialogue> <character>CHASE</character> <dialogue>Hope.</dialogue> </scene> <scene> <stage_direction>INT. SOLAR LAB - DAY</stage_direction> <scene_description>Chase spreads some of the white cream across a gray plate. The technician sets other plates with different versions of cream on them beneath an array of "sun simulators." He looks for his glasses, then sees Ariana wearing them, lying with her face under a sun simulator trying to tan. He taps her shoulder. She startles awake. With everyone wearing glasses now, Chase flips a switch and all of the simulators bloom with UV light.</scene_description> <character>ARIANA</character> <dialogue>They're glowing!</dialogue> <character>MAYA</character> <dialogue>What does it mean?</dialogue> <scene_description>Chase takes his glasses off. Then smiling big--</scene_description> <character>CHASE</character> <dialogue>It's party time!</dialogue> <scene_description>They all hug. Scream. THEY HAVE SOMETHING!</scene_description> </scene> <scene> <stage_direction>INT. MAYA'S OFFICE - DAY</stage_direction> <scene_description>Maya is preparing her presentation. Ron knocks at the door.</scene_description> <character>RON</character> <dialogue>Got a minute?</dialogue> <character>MAYA</character> <dialogue>Sure.</dialogue> <character>RON</character> <dialogue>No hard feelings with Hildy jumping ship?</dialogue> <character>MAYA</character> <dialogue>You didn't get my thank you note?</dialogue> <scene_description>CONTINUED:</scene_description> <character>RON</character> <parenthetical>(smiling)</parenthetical> <dialogue>Interested to see what you got.</dialogue> <character>MAYA</character> <dialogue>I think you'll be impressed.</dialogue> <character>RON</character> <dialogue>Haven't been so far.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I'm not fond of liars, Maya.</dialogue> <scene_description>Maya stares him down, what does he know?</scene_description> <character>RON</character> <dialogue>Everything checks out, but it doesn't add up.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I really don't care how you got here, Maria Vargas. Because the one thing you and I both know is that you don't belong.</dialogue> <scene_description>He walks away. Off Maya we--</scene_description> </scene> <scene> <stage_direction>INT. CONFERENCE ROOM - MORNING</stage_direction> <scene_description>Filled with technicians, executives, assistants. Members of the BOARD sit in the front row.</scene_description> <character>ANDERSON</character> <dialogue>I've tasked two teams with two different challenges. Zoe's team set out to create an slightly more organic alternate to an existing product line, while Maya's task was to create a completely new one. A totally green line. Zoe?</dialogue> <scene_description>Zoe steps forward. Hildy passes out test results.</scene_description> <character>ZOE</character> <dialogue>Thank you. If a picture is worth a thousand words, then these test results should be priceless... You asked us to re-purpose one organic line, we made you two. Skin care.</dialogue> <scene_description>She pulls a sheet off a line of products, then nods to Ron.</scene_description> <character>RON</character> <dialogue>And make-up.</dialogue> <scene_description>CONTINUED: Ron pulls a sheet off a second line of products. Anderson, like everyone, is impressed.</scene_description> <character>HILDY</character> <dialogue>What can I say, we're over achievers.</dialogue> <scene_description>Ariana and Maya exchange a look as people pore over stats.</scene_description> <character>ANDERSON</character> <dialogue>Are these numbers right?</dialogue> <character>RON</character> <dialogue>Yes. With a minimal cost, we made our products six percent more organic than our previous line.</dialogue> <character>ZOE</character> <dialogue>We estimate we can raise our price per unit by four percent, and increase our annual skin care revenue by twenty-three million.</dialogue> <scene_description>The room applauds. Hildy takes this in, satisfied.</scene_description> <character>ANDERSON</character> <dialogue>Very impressive, Zoe, Ron and....</dialogue> <scene_description>Hildy jumps up.</scene_description> <character>HILDY</character> <dialogue>Hildy. Ostrander. Thrilled to be part of all this.</dialogue> <character>ANDERSON</character> <dialogue>Okay then.</dialogue> <parenthetical>(turns to Maya)</parenthetical> <dialogue>Maya? Your ball.</dialogue> <scene_description>Maya steps up.</scene_description> <character>MAYA</character> <dialogue>Well, my partners, Chase Iskowitz, Ariana Ng--</dialogue> <parenthetical>(Hildy rolls her eyes)</parenthetical> <dialogue>--and I have challenged ourselves to think outside the box. And in keeping with that theme, we'd like to move our presentation outside.</dialogue> <scene_description>Zoe, Ron and the rest of the board look confused.</scene_description> </scene> <scene> <stage_direction>EXT. CENTRAL PARK - DAY</stage_direction> <scene_description>A display table covered with a table cloth has been set up underneath a FLOWERING TREE with a big desk top computer screen. The board members as well as Zoe's team watch, intrigued, as they stand adjacent to the road. Before Maya begins, Ariana leans in to Maya and whispers--</scene_description> <character>ARIANA</character> <dialogue>Everything's ready.</dialogue> <character>MAYA</character> <parenthetical>(quietly concerned)</parenthetical> <dialogue>Okay. But I still don't think we need--</dialogue> <character>ARIANA</character> <dialogue>--please. Every great presentation needs a 'wow' factor. Trust me.</dialogue> <scene_description>Maya looks at Ariana, then Chase. She smiles with her reassurance and nods. Maya then turns to the group--</scene_description> <character>MAYA</character> <dialogue>We're standing here beneath this tree for a very special reason. Sometimes the simplest answers to complicated questions are right in front of us. Consumers are always looking for something natural and real, but they are confused by the amount of choices out there.</dialogue> <scene_description>She nods to Ariana who cues the graphics on the screen.</scene_description> <character>MAYA</character> <dialogue>Words like, "Paralyzed","Confused", "Lost", kept popping up in our research. I'm sure you'll all agree that we don't want to be caught holding the bag with thirty-four percent of the inventory when the crash comes.</dialogue> <character>RON</character> <dialogue>What crash?</dialogue> <character>MAYA</character> <dialogue>The one that's already happening. People feel ripped off. We use one bar of soap for our whole body, why is our face sub-divided?</dialogue> <scene_description>CONTINUED: Zoe looks intrigued.</scene_description> <character>RON</character> <dialogue>Uh, because we can make more money?</dialogue> <scene_description>A few board members laugh. Zoe bristles at Ron's sarcasm.</scene_description> <character>MAYA</character> <dialogue>I think F&amp;C has an opportunity to double our market share by giving people what they want� what they need; one organic product that does it all. And that product comes from this very Ginkgo tree.</dialogue> <scene_description>She uncovers a small jar on the table with a simple Ginkgo leaf logo.</scene_description> <character>MAYA</character> <dialogue>All-In-One Ginkgo Cream.</dialogue> <scene_description>Anderson looks very impressed. Maya cues Ariana as--</scene_description> <character>MAYA</character> <dialogue>It's a revolutionary idea that we think--</dialogue> <scene_description>Chase pulls back the table cloth so that Ariana can reach into a cage filled with doves.</scene_description> <character>MAYA</character> <dialogue>--is really going to take off...</dialogue> <scene_description>Ariana and Chase grab several of the cute birds.</scene_description> <character>MAYA</character> <dialogue>--and signify a new era in skin care.</dialogue> <scene_description>Ariana and Chase release the doves that start to fly out into the park, then circle the tree...</scene_description> <character>MAYA</character> <dialogue>--filled with the hopes and dreams of every woman to look rejuvenated, while being protected by a product that will naturally and delicately care for their beauty.</dialogue> <scene_description>The doves swoop back over the group and out to the road where a TRUCK drives by and SMACKS into them in an explosion of white feathers. CONTINUED: (2) Off the horrified looks from the board--</scene_description> <character>ARIANA</character> <dialogue>Oh.</dialogue> <character>MAYA</character> <parenthetical>(brightly to the group)</parenthetical> <dialogue>Any questions?</dialogue> </scene> <scene> <stage_direction>EXT. MCGINLEY'S BAR - NIGHT</stage_direction> <scene_description>Downtown Elmhurst. Been around for decades.</scene_description> </scene> <scene> <stage_direction>INT. MCGINLEY'S BAR - NIGHT</stage_direction> <scene_description>Full swing. Cole's birthday. People are drinking, shouting, dancing. Maya walks in.</scene_description> <character>JOAN</character> <dialogue>Whoa, she's here.</dialogue> <parenthetical>(to Cole)</parenthetical> <dialogue>You owe me five bucks.</dialogue> <parenthetical>(to Maya)</parenthetical> <dialogue>So, did the presentation go good?</dialogue> <character>MAYA</character> <dialogue>Define good?</dialogue> <character>JOAN</character> <dialogue>Did they like it.</dialogue> <character>MAYA</character> <dialogue>Until PETA came.</dialogue> <character>JOAN</character> <dialogue>Who's he?</dialogue> <character>DILLY ( 0. S. )</character> <dialogue>Auntie M!</dialogue> <scene_description>Maya turns, surprised to see Dilly home from college.</scene_description> <character>MAYA</character> <parenthetical>(hugs him)</parenthetical> <dialogue>You're home!? How's Stanford?</dialogue> <character>JOAN</character> <dialogue>Yeah, tell her. I can't.</dialogue> <character>DILLY</character> <dialogue>I've spent the past decade writing code, building my own apps.</dialogue> <scene_description>CONTINUED:</scene_description> <character>DILLY</character> <dialogue>Why waste four years on a piece of paper that says I know how to do what I already know how to do?</dialogue> <scene_description>Joan, disgusted walks away...</scene_description> <character>DILLY</character> <dialogue>She's really pissed at me.</dialogue> <character>MAYA</character> <dialogue>She doesn't want you to wind up like me.</dialogue> <character>DILLY</character> <dialogue>What are you talking about? You're slaying it.</dialogue> <character>MAYA</character> <dialogue>We're only allowed so many bad decisions, Dill. Dropping out now only kneecaps your ability to make good ones.</dialogue> <scene_description>Off Dilly, feeling a little guilty.</scene_description> <character>TREY (0. S.)</character> <dialogue>Look who's back.</dialogue> <scene_description>Dilly peels off as Maya turns to see Trey.</scene_description> <character>MAYA</character> <dialogue>Hey! I was hoping to see you.</dialogue> <character>TREY</character> <dialogue>You look--</dialogue> <parenthetical>(he considers)</parenthetical> <dialogue>--different.</dialogue> <character>MAYA</character> <dialogue>Is that bad?</dialogue> <character>TREY</character> <dialogue>It's never bad.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Listen, I--</dialogue> <character>JOAN (O.S.)</character> <dialogue>Thank you all for coming--</dialogue> <scene_description>ON JOAN NEAR THE BAR CONTINUED: (2)</scene_description> <character>JOAN</character> <dialogue>--to celebrate my Christmas baby, my better half, the man that keeps me sane.</dialogue> <character>BIG ANT</character> <parenthetical>(shouting)</parenthetical> <dialogue>He's slacking on the last part.</dialogue> <scene_description>Everyone laughs and toasts, "TO COLE".</scene_description> <character>MAYA</character> <parenthetical>(to Trey)</parenthetical> <dialogue>Can we talk?</dialogue> <scene_description>She motions to go outside. Trey nods and follows.</scene_description> </scene> <scene> <stage_direction>EXT. MCGINLEY'S - NIGHT</stage_direction> <character>MAYA</character> <dialogue>Look, there's something I never told you.</dialogue> <character>TREY</character> <dialogue>About your daughter?</dialogue> <parenthetical>(Off Maya's surprise)</parenthetical> <dialogue>Joan told me... All those conversations we had about family.</dialogue> <character>MAYA</character> <dialogue>I know. I was ashamed. I thought... I should have told you.</dialogue> <character>TREY</character> <dialogue>I guess we both dodged a bullet then.</dialogue> <character>MAYA</character> <parenthetical>(disagrees)</parenthetical> <dialogue>I know I ruined it, but what we had was wonderful.</dialogue> <character>TREY</character> <dialogue>You're kidding yourself. I fell in love with a version of you, never the real you. No relationship built on a lie can ever survive.</dialogue> <scene_description>This settles on Maya. Then, from behind.</scene_description> <character>WOMAN'S VOICE</character> <dialogue>Hi honey.</dialogue> <scene_description>CONTINUED: REVEAL CLAIRE: the blonde that we saw with Trey earlier. She comes out from the bar and hands him his beer.</scene_description> <character>CLAIRE</character> <dialogue>They didn't have stout, so...</dialogue> <parenthetical>(to Maya)</parenthetical> <dialogue>Hello.</dialogue> <character>TREY</character> <dialogue>Thanks.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Maya, Claire.</dialogue> <character>CLAIRE</character> <dialogue>Nice to meet you.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Trey talks about you, a lot. Congratulations on all your success.</dialogue> <character>MAYA</character> <dialogue>Thanks.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Well I'd better...</dialogue> <scene_description>Maya's phone rings. She pauses, not wanting to take it.</scene_description> <character>TREY</character> <dialogue>We'll see ya around.</dialogue> <scene_description>Trey walks Claire back into the bar. Maya watches him disappear, his words still stinging. Then, she answers--</scene_description> <character>MAYA</character> <dialogue>Hello? What? Now?</dialogue> </scene> <scene> <stage_direction>INT. ANDERSON'S OFFICE - EVENING</stage_direction> <scene_description>Maya rushes in.</scene_description> <character>MAYA</character> <dialogue>I can't believe you're still here. Everything okay?</dialogue> <scene_description>Anderson grabbing his things.</scene_description> <character>ANDERSON</character> <dialogue>It could have waited until Monday. But then I wouldn't be able to say this in person. And you wouldn't have the weekend to prepare your speech.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAYA</character> <dialogue>Speech?</dialogue> <scene_description>Anderson extends his hand. He smiles--</scene_description> <character>ANDERSON</character> <dialogue>The board unanimously voted to endorse your product.</dialogue> <character>MAYA</character> <dialogue>Oh my God! Even with the whole bird thing?</dialogue> <character>ANDERSON</character> <dialogue>Yes, that was unfortunate.</dialogue> <scene_description>Zoe enters with a cup of coffee. Maya feels awkward in her victory against her daughter.</scene_description> <character>ZOE</character> <dialogue>Congratulations.</dialogue> <scene_description>She smiles, and gives Maya a hug. Then--</scene_description> <character>ZOE</character> <dialogue>Except for the donation we'll have to make to the National Dove Society, you're going to help make this company a lot of money. And that's good for all of us.</dialogue> <character>ANDERSON</character> <dialogue>We want you to present it to our distributors at the conference on Monday.</dialogue> <character>ZOE</character> <dialogue>It's kind of a big deal. It's streamed online. Business Weekly, Forbes, Fortune, they all report on it.</dialogue> <character>MAYA</character> <dialogue>Wow.</dialogue> <character>ZOE</character> <dialogue>And there's one more thing.</dialogue> <scene_description>She motions to her father with a smile. CONTINUED: (2)</scene_description> <character>ANDERSON</character> <dialogue>We don't want you to consult anymore. We want you to work with us permanently.</dialogue> <scene_description>He gets his things.</scene_description> <character>ANDERSON</character> <dialogue>It's late. We can discuss it all on Monday.</dialogue> <parenthetical>(as he heads out)</parenthetical> <dialogue>But excellent work today, Maya. Welcome to the family.</dialogue> <scene_description>He leaves. Zoe turns to Maya--</scene_description> <character>ZOE</character> <dialogue>Wanna celebrate?</dialogue> </scene> <scene> <stage_direction>EXT. NYC STREET - NIGHT</stage_direction> <scene_description>They walk in silence.</scene_description> <character>ZOE</character> <dialogue>What's the matter? I thought you'd be happier.</dialogue> <character>MAYA</character> <dialogue>It's just. A lot.</dialogue> <character>ZOE</character> <dialogue>Which part?</dialogue> <character>MAYA</character> <dialogue>All of it.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I don't make products, Zoe. That's not really what I do.</dialogue> <character>ZOE</character> <dialogue>It is now.</dialogue> <character>MAYA</character> <dialogue>I think I just wanted to try it to prove to myself that I could.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>And, to be fair, your dad reached out to me, not because he thought it was a good idea, but because he wanted us to get to know each other.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ZOE</character> <dialogue>What's the difference? It turned out to be a good idea, and we got to know each other.</dialogue> <scene_description>She stops, faces Maya.</scene_description> <character>ZOE</character> <dialogue>I've lived my whole life without you. And now we can build our lives together, like it was meant to be. I can't remember the last time I was this happy.</dialogue> <scene_description>She hugs Maya. Maya hugs her back filled with guilt. MUSIC UP AS:</scene_description> </scene> <scene> <stage_direction>EXT. NYC STREET - NIGHT</stage_direction> <scene_description>Maya walks lost in her own world. We see flashbacks:</scene_description> </scene> <scene> <stage_direction>INT. VALUE CLUB - FLASHBACK</stage_direction> <scene_description>The Triple M's applauding her exit from V.C.</scene_description> </scene> <scene> <stage_direction>EXT. HARLEM RIVER - FLASHBACK</stage_direction> <scene_description>Maya dripping wet as the broken boat is carted away. We see what Maya didn't see before - Zoe looking at her, smiling.</scene_description> </scene> <scene> <stage_direction>INT. MAYA'S APARTMENT - FLASHBACK</stage_direction> <scene_description>Joan and Maya jumping on her bed, laughing.</scene_description> </scene> <scene> <stage_direction>INT. ZOE'S BEDROOM - FLASHBACK</stage_direction> <scene_description>Zoe giving Maya the blanket, and the letter.</scene_description> </scene> <scene> <stage_direction>INT. MAYA'S APARTMENT - NIGHT</stage_direction> <scene_description>Back to Maya, looking out at the city from her balcony.</scene_description> </scene> <scene> <stage_direction>INT. F&amp;C HALLWAY - DAY</stage_direction> <scene_description>Ron is walking when his cell rings. He answers: CONTINUED:</scene_description> <character>RON</character> <dialogue>Yes? Okay, put him through.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Hello, Mr. Taylor?</dialogue> </scene> <scene> <stage_direction>INT. EDWARD TAYLOR'S OFFICE - SAME - INTERCUT:</stage_direction> <scene_description>Taylor, mid-fifties, sits behind a sprawling desk in a fancy office. We see a logo on the wall behind him: Maybelline.</scene_description> <character>EDWARD TAYLOR</character> <dialogue>Yes, Mr. Ebsen. So sorry for the delayed response. I've been doing a lot of traveling the past few weeks.</dialogue> <character>RON</character> <dialogue>That's quite alright.</dialogue> <character>EDWARD TAYLOR</character> <dialogue>I got your message, and I have to say, I'm a bit confused. We never had a Maria Vargas work here.</dialogue> <scene_description>Ron's eyes light up. The break he was looking for.</scene_description> <character>RON</character> <dialogue>Really?</dialogue> <character>EDWARD TAYLOR</character> <dialogue>Absolutely. As far as Maybelline goes, that person never existed.</dialogue> <scene_description>Off Ron's look we--</scene_description> </scene> <scene> <stage_direction>INT. AUDITORIUM - DAY</stage_direction> <scene_description>Rigged with television cameras to stream online, the auditorium is filled with several hundred people. ANGLE ON THE STAGE: Set up like an Apple Keynote. Zoe stands alone at the podium, facing an audience of several hundred - the F&amp;C logo on the screen behind her.</scene_description> <character>ZOE</character> <dialogue>My father would normally be making this introduction, but because of special circumstances, he is, for once, allowing someone else to get a word in.</dialogue> <scene_description>CONTINUED: Laughter as Zoe looks off stage to Maya and smiles at her.</scene_description> <character>ZOE</character> <dialogue>In a world of increasing competition, and decreasing profits, sometimes you need a fresh perspective to build a better mousetrap. Isn't that what you always say, Dad?</dialogue> <scene_description>From the front row.</scene_description> <character>ANDERSON</character> <dialogue>When I can get a word in.</dialogue> <scene_description>Laughter.</scene_description> <character>ZOE</character> <dialogue>So, we hired a woman who has achieved her success not by going by the book, but by using her gut.</dialogue> <parenthetical>(she looks to Maya)</parenthetical> <dialogue>Someone not afraid to tell the truth, even if that truth hurts. Ladies and Gentleman, Maya Vargas.</dialogue> <scene_description>ON THE SCREEN: The beautifully designed jar with a gingko- leaf logo. Maya walks on stage to applause. Ron enters the auditorium. He spots Anderson in the crowd and makes his way towards him to tell him the news.</scene_description> <character>MAYA</character> <dialogue>Thank you, Zoe. Anderson. Thank you for giving me a chance. Not everyone in corporate America does that. There are people out there who were never given an opportunity because they couldn't afford the right college, and never got that degree that would open the door. And you're right, Zoe, maybe I did get where I am today because I wasn't afraid to tell the truth. Even if it hurts.</dialogue> <parenthetical>(deep breath)</parenthetical> <dialogue>And the truth is... the truth is...</dialogue> <parenthetical>(fumbling)</parenthetical> <dialogue>The truth is...</dialogue> <scene_description>Ron is almost to Anderson...</scene_description> </scene> <scene> <stage_direction>INT. VALUE CLUB - SAME</stage_direction> <scene_description>Joan and The Triple M's watch in the TV and electronics section.</scene_description> <character>JOAN/SUZI/BIG ANT</character> <dialogue>Oh shit./Here we go./She Looks good.</dialogue> </scene> <scene> <stage_direction>INT. AUDITORIUM - SAME</stage_direction> <character>MAYA</character> <dialogue>--For the past fifteen years I was a checker then assistant manager at the local Value Club, in Forest Hills.</dialogue> </scene> <scene> <stage_direction>INT. VALUE CLUB - SAME</stage_direction> <scene_description>Joan and The Triple M's CHEER...</scene_description> <character>JOAN</character> <dialogue>Fuck yeah!</dialogue> </scene> <scene> <stage_direction>INT. AUDITORIUM - SAME</stage_direction> <scene_description>Ron stops in his tracks and looks at Maya, beaten to the punch - but still a bitter sweet victory. People react. Anderson looks confused. Maya looks at Zoe.</scene_description> <character>MAYA</character> <dialogue>I invented my resume. My degrees. And my accomplishments.</dialogue> <character>ZOE</character> <dialogue>What?</dialogue> <scene_description>ANGLE ON CHASE</scene_description> <character>CHASE</character> <dialogue>Holy cow.</dialogue> <scene_description>ANGLE ON ARIANA</scene_description> <character>ARIANA</character> <dialogue>Cool.</dialogue> <scene_description>ANGLE ON RON CONTINUED:</scene_description> <character>RON</character> <dialogue>Yes!</dialogue> <character>MAYA</character> <dialogue>It's what I thought I needed to do to get in the door. To be good enough. I thought none of you would have looked at me if you knew the truth.</dialogue> <scene_description>ANGLE ON: Weiskopf in the crowd, dawning on him who she is.</scene_description> <character>MAYA</character> <dialogue>So I gave you a version of me. But no relationship built on a lie can ever survive.</dialogue> </scene> <scene> <stage_direction>INT. TREY'S HOUSE - KITCHEN - DAY</stage_direction> <scene_description>Trey watches on his iPhone. He smiles, proud of Maya.</scene_description> </scene> <scene> <stage_direction>INT. AUDITORIUM - SAME</stage_direction> <character>MAYA</character> <dialogue>So, for better or worse, I have to be who I really am. And... I'm Maya from Queens. That's the real me.</dialogue> <character>HILDY</character> <parenthetical>(to Felix)</parenthetical> <dialogue>This is so embarrassing. How fun.</dialogue> <scene_description>As a commotion builds in the audience, Maya looks at Anderson-</scene_description> <character>MAYA</character> <dialogue>What I did was wrong. I'm sorry. I shouldn't have lied.</dialogue> <parenthetical>(to Zoe)</parenthetical> <dialogue>To any of you.</dialogue> <parenthetical>(back the crowd)</parenthetical> <dialogue>Chase? Ariana?</dialogue> <scene_description>Chase and Ariana, stunned, shuffle down their row to the aisle, pushing past the equally stunned Hildy and Felix, and take the stage.</scene_description> <character>MAYA</character> <dialogue>It's all yours.</dialogue> <scene_description>She walks off the stage leaving Chase and Ariana to face the crowd. Behind the podium they hold hands. CONTINUED: Maya walks off the stage, and approaches Zoe. Zoe looks at her, then turns and walks away.</scene_description> <character>MAYA (V.O.)</character> <dialogue>I know that many people believe in fate; and trust me, there are times I wish I was one of them.</dialogue> <scene_description>MUSIC FULL AS WE SEE:</scene_description> </scene> <scene> <stage_direction>INT. MAYA'S APARTMENT - DAY</stage_direction> <scene_description>Maya looks around her Manhattan apartment for the last time. She takes her suitcase and walks out the door.</scene_description> <character>MAYA (V.O.)</character> <dialogue>I tend to think our lives are shaped by a series of choices; one decision leading to another and another.</dialogue> </scene> <scene> <stage_direction>INT. NYC SUBWAY - DAY</stage_direction> <scene_description>Maya rides the train back to Queens.</scene_description> <character>MAYA (V.O.)</character> <dialogue>As far as I can tell, it's the journey through all these decisions that paints the clearest portrait of who we really are.</dialogue> </scene> <scene> <stage_direction>EXT. NYC STREET - DAY</stage_direction> <scene_description>Joan helps her find a new apartment. Maya, sadly turns to her best friend and hugs her.</scene_description> <character>MAYA (V.O.)</character> <dialogue>I've made some spectacularly awful choices in my life.</dialogue> </scene> <scene> <stage_direction>EXT. DAKOTA - ANDERSON'S APARTMENT - STREET - DAY</stage_direction> <scene_description>It's moving day. Zoe sits on the lift gate of a moving truck on the street as workers are loading, and reads a letter written to her by Maya.</scene_description> <character>MAYA (V.O.)</character> <dialogue>Next to giving birth to you, the best decision I ever made was to give you up.</dialogue> </scene> <scene> <stage_direction>INT. ANDERSON'S APARTMENT - SAME</stage_direction> <scene_description>Anderson is carrying the last box out of Zoe's room. He looks around sadly, then walks out into the hall.</scene_description> <character>MAYA (V.0.)</character> <dialogue>.•.because you never would have become you if it weren't for your parents.</dialogue> </scene> <scene> <stage_direction>INT. WAREHOUSE - DAY</stage_direction> <scene_description>Maya, Joan and the Triple M's are being lead through an empty warehouse with a realtor.</scene_description> <character>MAYA (V.0.)</character> <dialogue>And because you're exactly the person I'd like to be when I grow up...</dialogue> </scene> <scene> <stage_direction>INT. COFFEE SHOP - DAY</stage_direction> <scene_description>Zoe watches the snow fall outside as she sips her coffee.</scene_description> <character>MAYA (V.0.)</character> <dialogue>...You will always be the best thing that ever happened to me. I'm sorry I screwed it up. Again.</dialogue> <scene_description>SUPER: ONE YEAR LATER</scene_description> </scene> <scene> <stage_direction>EXT. TRIPLE M - WAREHOUSE - DAY</stage_direction> <scene_description>A sign says, MMM.COM</scene_description> <character>JOAN (PRE-LAP)</character> <dialogue>Monday Morning Mom's, hold on please.</dialogue> </scene> <scene> <stage_direction>INT. TRIPLE M - WAREHOUSE - DAY</stage_direction> <scene_description>Joan supervises several of the TRIPLE M's fulfilling orders from their online site. Maya is being interviewed by a reporter from Business Week.</scene_description> <character>MAYA</character> <dialogue>We aggregate consumers favorite products, opinions, recipes, anecdotes, pictures and share them with our members.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAYA</character> <dialogue>And all it takes to join is an email address and an opinion.</dialogue> <character>BIG ANT (0.S.)</character> <dialogue>And twenty bucks.</dialogue> <character>REPORTER</character> <dialogue>You created an online store specifically designed for each member?</dialogue> <character>MAYA</character> <dialogue>Yes. And we make suggestions based on past purchases so your virtual shelves are stocked with items you'd find interesting. It was my Godson's idea. He created the app between finals.</dialogue> <parenthetical>(waves at Dilly)</parenthetical> <dialogue>Works here in the summers when he's not at Stanford. He's a genius.</dialogue> <character>REPORTER</character> <dialogue>He's not alone. You basically said to Value Club, we're gonna build a better mousetrap.</dialogue> <scene_description>From behind them, reveal Sam Weiskopf.</scene_description> <character>WEISKOPF</character> <dialogue>And we said, we'd like to help.</dialogue> <character>BIG ANT</character> <dialogue>He's our 'lil angel.</dialogue> <character>REPORTER</character> <parenthetical>(to Maya)</parenthetical> <dialogue>This is quite an accomplishment. It must be incredibly satisfying.</dialogue> <scene_description>Maya is about to answer "yes" but it dies on her lips...</scene_description> <character>MAYA</character> <dialogue>I thought it would be, but...</dialogue> <character>REPORTER</character> <dialogue>But what?</dialogue> </scene> <scene> <stage_direction>INT. JOAN'S HOUSE - NIGHT</stage_direction> <scene_description>Joan, Cole, Maya, Dilly all have dinner laughing. CONTINUED:</scene_description> <character>MAYA (V.O.)</character> <dialogue>We spend half our lives looking back wishing, if only we'd done it differently...</dialogue> <scene_description>Trey comes in, carrying the Gingko tree. He says an awkward, hello. Nods for Maya to come talk to him.</scene_description> <character>MAYA (V.0.)</character> <dialogue>...chose smarter. Not made so many mistakes.</dialogue> </scene> <scene> <stage_direction>INT. JOAN'S KITCHEN - NIGHT</stage_direction> <scene_description>Trey points to a note tied to the tree.</scene_description> <character>TREY</character> <dialogue>You really mean this?</dialogue> <character>MAYA</character> <dialogue>Ask me anything.</dialogue> <character>TREY</character> <dialogue>Okay, are you--</dialogue> <character>MAYA</character> <dialogue>Yes.</dialogue> <character>TREY</character> <dialogue>You don't know what I was going to ask.</dialogue> <character>MAYA</character> <dialogue>Whatever it is, the answer's yes.</dialogue> <character>TREY</character> <dialogue>Did you really lose your daughter?</dialogue> <character>MAYA</character> <parenthetical>(hurts but owning it)</parenthetical> <dialogue>Yes.</dialogue> <character>TREY</character> <dialogue>Will you ever lie to me again?</dialogue> <character>MAYA</character> <parenthetical>(after a beat)</parenthetical> <dialogue>Yes.</dialogue> <parenthetical>(off his look)</parenthetical> <dialogue>But that's the last time.</dialogue> <character>TREY</character> <dialogue>Are you ready to have a family?</dialogue> <scene_description>CONTINUED:</scene_description> <character>MAYA</character> <parenthetical>(takes his hand)</parenthetical> <dialogue>You're my family, so yes.</dialogue> <scene_description>They're about to kiss when they hear a floor board squeak. They look to see Joan, Cole and Dilly staring at them from the dining room doorway.</scene_description> <character>JOAN (O.S.)</character> <dialogue>Sorry.</dialogue> <scene_description>They disappear as--</scene_description> <character>MAYA (V.0.)</character> <dialogue>But the truth is, our mistakes don't limit us. Only our fears do.</dialogue> </scene> <scene> <stage_direction>EXT. HUDSON RIVER FRONT - DUSK</stage_direction> <scene_description>Zoe jogs alone.</scene_description> <character>MAYA (V.O.)</character> <dialogue>And as unpredictable as this journey has been, I'm glad it finally lead me back to you.</dialogue> <scene_description>Zoe stops. We see her POV: Maya, in her running attire, waiting for her.</scene_description> <character>MAYA</character> <dialogue>Hey. Your dad told me I'd find you here.</dialogue> <character>ZOE</character> <dialogue>Dad, huh? Why does that not surprise me?</dialogue> <scene_description>Maya approaches her.</scene_description> <character>MAYA</character> <dialogue>I thought, maybe we could go for a jog. Or a run if you're up for it.</dialogue> <character>ZOE</character> <parenthetical>(Zoe's heart races)</parenthetical> <dialogue>I think I'd like that. A lot.</dialogue> <scene_description>Maya smiles, extends her hand...</scene_description> <character>MAYA</character> <dialogue>I'm Maya Vargas.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ZOE</character> <dialogue>I'm Zoe Clarke.</dialogue> <parenthetical>(they shake hands)</parenthetical> <dialogue>Nice to meet you.</dialogue> <scene_description>ANGLE ON a nearby parked car where Joan, Otto, Suzi, Big Ant and Trey crouch down trying not to be seen.</scene_description> <character>SUZI</character> <dialogue>I'm gonna cry.</dialogue> <scene_description>Big Ant blows her nose loudly.</scene_description> <character>OTTO</character> <dialogue>You guys are frickin' pussies.</dialogue> <character>JOAN</character> <parenthetical>(off Suzi, Big Ant)</parenthetical> <dialogue>What? It's progress.</dialogue> <scene_description>Trey and Otto fist-bump. Zoe starts to jog, Maya joins her.</scene_description> <character>ZOE</character> <dialogue>This time I won't be so easy on you.</dialogue> <character>MAYA</character> <dialogue>Bring it.</dialogue> <scene_description>They begin to run, hard. Mother and daughter, together again.</scene_description> <character>MAYA (O.S.)</character> <dialogue>Every day you wake up and have a second chance to do whatever you want, to be whoever you want. The only thing stopping you, is you.</dialogue> <scene_description>FADE TO BLACK.:</scene_description> </scene> </script>

Maya Vargas (Jennifer Lopez) is the assistant manager of the Value Shop store, where she has worked for the past 15 years. During that time she dramatically improved sales, customer relations, and general store culture through her intuitive and innovative methods. She awaits a store visit by an executive of her company, Mr. Weiskopf, anxiously hoping to be promoted to manager. Her boyfriend Trey, co-workers, and several regular customers all assure her that she is guaranteed the promotion, but she is passed up in favor of Arthur, a non-local company employee with an MBA from Duke. Mr. Weiskopf explains that while he values Maya's dedication and success, she only has a GED and no college degree, which makes her ineligible for the promotion by company policy. Her godson, a skilled computer programmer, rebuilds her background online, giving her a Harvard degree and world travel, and she is hired by one of the store's suppliers, a large cosmetics company. The CEO, Mr. Clarke, has her head a team developing a new product in competition with a team led by his daughter Zoe. During her time with the company, Maya learns that Zoe is the daughter that she gave up after giving birth as a teenager because she couldn't cope with the challenges of parenthood herself.

The Flintstones_1994

tt0109813

<script> <scene> <stage_direction>EXT. SLATE QUARRY - DAY</stage_direction> <scene_description>FRED FLINTSTONE , archetypical Everyman , sits atop his faithful heavy - equipment dinosaur , cranking the winch that makes the mighty beast rip and tear into the quarry wall . THE QUARRY FOREMAN looks down at his wristwatch . Well . actually , it 's a wrist sundial . And it 's magic time . quittin ' time . Millerock time ! Now the foreman turns from his watch to a steam whistle bird , and yanks its tail . The BIRD SQUAWKS the end of the workday - ANOTHER ANGLE</scene_description> <character>FRED</character> <dialogue>YABBA DABBA DO -!</dialogue> <scene_description>Fred happily discards his hard hat , leaps out of the canvas - roofed cab on the dino 's back , slides down the tail and bounces right into the seat of his stone and timber car ! He gets up to a running start with the only motor -LRB- his feet -RRB- , slows to allow a `` time clock '' dinosaur to punch his stone timecard , and then he 's trotting back up to speed and out of the gate ! MUSIC comes UP and OVER -</scene_description> <character>MUSIC</character> <parenthetical>( V.O . )</parenthetical> <dialogue>` Flintstones, Meet the Flintstones, They're a modern Stone age fam - i - ly -'</dialogue> <scene_description>- And so forth , as for the first time in `` his - tor - y '' we see the Flintstones ' OPENING CREDITS live ! TIGHT ON A MAILBOX reading `` FLINTSTONE . '' We WIDEN as Fred SKIDS to a halt in the driveway of his three - bedroom ranch cave . A moment later , WILMA and PEBBLES run out - both looking just like they should - and get into the car . A beat behind them are the Flintstone pets , Dino and the saber - toothed cat . Fred pauses , looks around . HONKS his HORN . BARNEY , BETTY and BAM - BAM come out of the neighboring house , hop in ! Fred 's feet slap on the street as the car starts up -</scene_description> <character>MUSIC</character> <parenthetical>( V.O . )</parenthetical> <dialogue>` From the Town of Bedrock They're a page right Out of his - tor - y -'</dialogue> <scene_description>DRIVE - IN MOVIE THEATRE - DUSK Fred and company pull in . He takes a giant sea shell `` speaker '' off of its wooden stand and hooks it to his car door . He leans over , puts his arm around Wilma . -LRB- In the back seat , Dino pops his head up , tearing through the canvas top . -RRB- Dino picks up Pebbles and Bam - Bam and puts them on his head for a better view . CAMERA ZOOMS IN ON the drive - in screen and the words that America has waited twenty - five years to see in 70mm Dolby -LRB- TM -RRB- drop - your - popcorn reality : THE FLINTSTONES And as the MAIN CREDITS ROLL , we - AN EERIE CARBONIFEROUS FOREST - DAWN Dew drips from strange multi - leafed plants . Giant DRAGONFLIES BUZZ AND HUM to and fro . Bubbles rise from a still pond , and weird lungfish move onto the land . -LRB- The third one out carries a little suitcase . -RRB- CAMERA PANS PAST the lungfish TO a muddy shore . With a DRAMATIC MUSICAL STING , we DISCOVER a set of strange , hideous clawprints . The CAMERA FOLLOWS these , then WIDENS to reveal the make of these footprints : A seven - foot tall and fearful beast we will call the Xenosaurus . It looks around menacingly . -LRB- Oddly , it 's carrying a canvas sack , but we do n't stress this . -RRB- Suddenly a garbage truck appears out of nowhere and runs over the Xenosaurus . NEW ANGLE Dazed , the Xenosaurus gets up . As it does , we realize that we are n't deep in some primeval forest , but on the shoulder of a gravel highway . A stone road sign reads BEDROCK 1/2 MILE . ROCK VEGAS , BABYLON &amp; EDEN NEXT THREE EXITS . Now , the CAMERA CRANES UP ABOVE the sign and we see - Bedrock ! Nestled incongruously in a savage landscape , the charming protosuburbia gleams in the dawn 's early Spielberg light . The Xenosaurus grabs its sack and some silverware spills out . Then it runs off into the bushes and out of sight . WITH THAT GARBAGE TRUCK It reaches the crest of a hill where there 's a `` WELCOME TO BEDROCK '' billboard which bears greetings from the Rotary Club , the Chamber of Commerce , and -LRB- of course -RRB- The Loyal Order of Water Buffaloes . The garbage truck guys drop their feet down through the floorboard and trot over the rise , coast down to the street below . The driver yanks a wooden brake and the truck stops , and the rear guys hop off . One of them waves to - A MILKMAN who returns the wave , then takes a four - pack of stone bottles out of his milk truck , heads towards a doorway . As the milkman drops off the milk , he passes a big TORTOISE with trash cans on its back . The Tortoise nods familiarly to the milkman , then it waddles down the curb , CAMERA FOLLOWING . The garbage men take the cans off the Tortoise 's back , dump them into the truck . REAR OF TRUCK - revealing that the back of the truck is actually a giant - jawed CREATURE strapped onto the chassis . The garbage men dump the cans into its maw . it happily swallows the works , licks its lips , BELCHES . BACK TO SCENE The garbagemen slam the cans back on the Tortoise , who winces as they drive off .</scene_description> <character>TORTOISE</character> <parenthetical>( under his breath . )</parenthetical> <dialogue>You can forget about a tip for Christmas.</dialogue> <scene_description>It waddles back up the lawn . passing by a wooden `` lawn timer '' box which now pops open . Inside the box is a `` ROOSTERSAURUS '' which CROWS and flaps its wings . The motion of the wings knocks loose two round stones which roll down two long troughs a la Rube Goldberg . FOLLOWING THE ROUND STONES They reach the ends of their respective paths , dislodging a stick . that releases a coiled rope which in turn spins a turntable which holds a little wooly mammoth . As it begins to spin around , it squirts water out of its snout . Elsewhere on the lawn , other spinning MAMMOTHS repeat this performance . After a moment , they gradually slow their revolutions . The one closest to the house scrunches its trunk with a GROAN .</scene_description> <character>LITTLE MAMMOTH</character> <parenthetical>( sotto . )</parenthetical> <dialogue>Oh, my aching sinuses.</dialogue> </scene> <scene> <stage_direction>INT. FLINTSTONES' BEDROOM - DAY</stage_direction> <scene_description>WIDEN FROM the windowsill , where a little sea shell hearing aid trumpet AMPLIFIES another ROOSTERSAURUS `` COCK - A - DOODLE - DOO '' into the ear of a `` CLOCK RADIO WOODPECKER . '' The Woodpecker yawns , gets out of bed , puts a timecard in a little clock . Then it turns and begins pecking on a BELL , which RINGS PIERCINGLY .</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - NEW ANGLE</stage_direction> <scene_description>Two shapes are visible under the bedclothes : One is a great SNORING bulge , the other is a svelte and lithe shape . As the BELL continues RINGING , the larger bulge GRUNTS , MOANS , pulls a pillow over its head , and then finally gropes under the bed for a slipper . The slipper is thrown without aiming - THE WOODPECKER ducks just in time . It wipes its forehead nervously .</scene_description> <character>RADIO WOODPECKER</character> <parenthetical>( sotto . )</parenthetical> <dialogue>I hate this job. There's not even a health plan.</dialogue> <scene_description>He staggers back up to his perch , and then notices for the first time that the dial on the side is pointed not to `` ALARM '' but to `` ALARM &amp; RADIO . '' The WOODPECKER SIGHS , looks over at the bed where SNORING is still emanating . Then the bird swings a little telescope around to point out the window . WOODPECKER 'S TELESCOPE - IRIS SHOT as the ` SCOPE PANS and FOCUSES , finally SETTLING ON a distant stone building marked RADIO STATION B - ROK . Perched on top of the wooden radio tower are a monkey and an octopus . The monkey holds up cue cards which the octopus reads , and then waves nautical semaphore flags . BACK TO SCENE Our WOODPECKER squints , CLEARS his THROAT .</scene_description> <character>RADIO WOODPECKER</character> <parenthetical>( deeper `` on - air '' voice . )</parenthetical> <dialogue>Good morning, Bedrock. This is station B - R - O - K with the morning weather and news.</dialogue> <scene_description>IN THE BED The big bulge GRUNTS and MUTTERS a bit , then one hand gropes around , finds the curvaceous form under the neighboring covers . feels it tentatively . then the fingers `` walk '' upwards .</scene_description> <character>RADIO WOODPECKER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>It will be fair and mild through the weekend, continuing for the next eight hundred years, followed by cooling breezes and a protracted ice age.</dialogue> <scene_description>Those walking fingers have reached the top edge of the covers . now they pull them down revealing the owner 's face . the face of Fred , his eyes at half - mast , his face covered in fashionable `` Bedrock Vice '' stubble .</scene_description> <character>FRED</character> <parenthetical>( with genuine charm . )</parenthetical> <dialogue>Wil - ma. Wil - ma? How about a great big good morning kiss for your Freddy - weddy?</dialogue> <scene_description>And he pulls the covers down to reveal - DINO , who is immediately `` YI - YI - YI - YI - ING , '' hopping all over the bed and showering Fred with sloppy kisses .</scene_description> <character>FRED</character> <dialogue>Dino! Dino, cut it out -!</dialogue> <character>RADIO WOODPECKER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>In the news, Bedrock civic and business leaders met yesterday to discuss the growing kibble crisis. Ecological activist Ralph Naderock warned that if new supplies of kibble are not found, our animal - powered civilization itself may be threatened.</dialogue> <scene_description>By now Dino 's affection attack has knocked both master and pet to the floor in a jumble of bedclothes , asses and elbows . Dino begins to roll Fred across the room like a seal playing with a ball .</scene_description> <character>FRED</character> <dialogue>Dino, that's enough - here, look, Daddy has a nice dino bone for you, just please stop it -</dialogue> <scene_description>Fred has now backed up to a dresser , where he grabs a brightly - colored box labeled `` PURINROCK DINO TREATS . '' Fred holds it up - Dino gets up on two legs , eager for the treat - Fred shakes the box . alas , nothing comes out . DINO `` YI - YI 'S '' again , propelling Fred into the next room .</scene_description> </scene> <scene> <stage_direction>INT. FLINTSTONE KITCHEN - DAY</stage_direction> <scene_description>Five - year - old PEBBLES GIGGLES at the table as Fred and Dino tumble into the room like Frank Buck and a lion . Wilma turns at the noise . One look at her and we under - stand Fred 's romantic turn .</scene_description> <character>RADIO WOODPECKER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>In other news, Bedrock police report that the Xenosaurus has struck again! Yes, the fiercesome intruder was sighted in the Bedrock Hills for the third time this month. Outlying shops and residencies report extensive looting and property destruction.</dialogue> <character>WILMA</character> <dialogue>Fred, stop playing with Dino and sit down. Your breakfast's getting cold.</dialogue> <scene_description>Saying this , Wilma puts a huge egg at Fred 's place . Meanwhile , Fred manages to get to his feet , holds out one arm to keep Dino at bay . Fred does a big `` take , '' looking out the window -</scene_description> <character>FRED</character> <parenthetical>( throwing open the door . )</parenthetical> <dialogue>Oooh, Dino, look - there's a nice big dino bone laying out on the front lawn -!</dialogue> <scene_description>Pause . Dino gives him a big look as if to say , `` Oh , yeah ? ''</scene_description> <character>FRED</character> <parenthetical>( trying again . )</parenthetical> <dialogue>- Gosh, look at that adorable little female dino -</dialogue> <scene_description>`` YI - YI - YI - YI , '' DINO is out the door like a rocket . Fred cackles , slams it shut , then sits down at the table .</scene_description> <character>FRED</character> <dialogue>- That animal's gon na kill me with kindness. Do you know we're out of dino treats?</dialogue> <character>WILMA</character> <dialogue>So is everybody else in Bedrock. That kibble crisis is getting worse every day.</dialogue> <scene_description>She puts two giant slices of bread into a toaster . Two claw - like devices hold the toast , pulling it out of sight .</scene_description> <character>WILMA</character> <dialogue>I'm afraid Dino's going to have to manage on leftovers from Pebbles and me.</dialogue> <character>FRED</character> <parenthetical>( sitting down . )</parenthetical> <dialogue>And what's wrong with my leftovers?</dialogue> <character>WILMA</character> <dialogue>I'll let you know when I see some.</dialogue> <character>RADIO WOODPECKER</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( finishing up . )</parenthetical> <dialogue>. Scientists from B.C. University report that the footprints of the Xenosaurus match no known animal.</dialogue> <character>PEBBLES</character> <dialogue>Mommy, is the bad Ze - ze - zenosaurus gon na get me and eat me up?</dialogue> <character>WILMA</character> <dialogue>Of course not, baby.</dialogue> <character>FRED</character> <dialogue>That's right, sweetheart. The only thing that's gon na eat you up is - me!</dialogue> <scene_description>And he grabs her and bites her and tickles her .</scene_description> <character>PEBBLES</character> <parenthetical>( giggling , calming . )</parenthetical> <dialogue>I'm still a little scared.</dialogue> <character>FRED</character> <dialogue>Pebbles, do n't worry. These stories are very exaggerated. Like, you know, the boogyman? There's no such thing as a huge, inhuman reptile that attacks without warning -</dialogue> <scene_description>WHAM ! Dino reappears , bounding through the window and knocking Fred onto the floor . Once again Dino is happily licking and loving and cuddling his callously unresponsive owner . Fred struggles to avoid the slurping tongue , pulls himself up to the window sill , looks out .</scene_description> <character>FRED</character> <dialogue>- Oh, look, everybody, the mailman is here -</dialogue> <scene_description>`` YI - YI - YI - YI ! '' DINO buys it again , runs to the door , lets himself out . This time Fred puts a chair against the door . Meanwhile , Wilma turns at the sound of the TOASTER POPPING UP . We see that the `` claws '' we saw earlier were the actual claws of a LOBSTER in a little fireproof suit who is tucked inside the toaster . As Wilma takes the toast , the Lobster blows on his claws , wincing , then looks TOWARDS the CAMERA .</scene_description> <character>LOBSTER</character> <dialogue>Well, it beats working in a seafood restaurant.</dialogue> <character>FRED</character> <parenthetical>( taking the toast . )</parenthetical> <dialogue>Thanks, Wilma.</dialogue> <scene_description>Fred slaps jelly on the toast , takes a big bite , and then something outside the window catches his eye . HIS POV - STREET A paperboy on a wood - and - stone bicycle is coming rapidly towards the house . In the bike 's basket is a stack of dried , rock - hard clay tablets . BACK TO SCENE Fred leans out the window , waving his hands .</scene_description> <character>FRED</character> <dialogue>Arnold! Arnold! Do n't aim at the house - please, not at the house -</dialogue> <scene_description>WHAM ! Fred ducks back just as the stone newspaper slams into the window frame , SMASHING a FLOWERPOT , taking out a chunk of wall , and continuing diagonally through the kitchen and out another window . Fred follows this action in time to see - HIS DRIVEWAY - THROUGH THE OTHER WINDOW The rock paper drops like a foul shot , rips through the canvas roof of Fred 's car , and then bangs a huge dent in the hood . BACK TO SCENE Fred sighs , turns back to his breakfast .</scene_description> <character>WILMA</character> <dialogue>Lucky it was n't the Sunday paper.</dialogue> <character>FRED</character> <parenthetical>( slight smile . )</parenthetical> <dialogue>Yeah. What else can go wrong?</dialogue> <scene_description>He slices through the big egg with his knife - releasing a baby PTERODACTYL which SQUAWKS and flaps , knocking Fred over as it takes off through the window .</scene_description> </scene> <scene> <stage_direction>EXT. FLINTSTONE DRIVEWAY - LATER</stage_direction> <scene_description>Fred - now dressed for work - is forlornly trying to fix his car . In the neighboring driveway , Wilma and Betty pile the kids into Betty 's car .</scene_description> <character>BETTY</character> <parenthetical>( wiping their mouths . )</parenthetical> <dialogue>Come on, kids. Time for nursery school.</dialogue> <character>PEBBLES</character> <dialogue>` Bye - bye, Daddy.</dialogue> <character>FRED</character> <dialogue>` Bye, little sweetheart.</dialogue> <parenthetical>( as Wilma clears her throat . )</parenthetical> <dialogue>` Bye, big sweetheart.</dialogue> <scene_description>Fred kisses them both and they drive off . Fred sighs , tries to stretch the canvas roof edges close enough to stitch . Nearby , Dino struggles to drag the stone news - paper inside the house . The twin headlines are , of course , KIBBLE CRISIS GROWS and MYSTERIOUS XENOSAURUS STRIKES AGAIN . Suddenly a pink flamingo appears over the hedge . As its mouth opens and closes , it appears to be talking , but the voice is that of -</scene_description> <character>BARNEY</character> <dialogue>Nice morning, huh, Fred?</dialogue> <character>FRED</character> <dialogue>What's nice about it?</dialogue> <character>BARNEY</character> <dialogue>Heh, hey. That Arnold's got a real arm on him, do n't he?</dialogue> <scene_description>Now we see that Barney is holding the flamingo 's stiff legs which he scissors , making the bird 's beak trim the hedge .</scene_description> <character>FRED</character> <dialogue>This is the third ragtop this year. say, should n't you be at work?</dialogue> <character>BARNEY</character> <dialogue>Ah, well, that appliance store and me, we kinda had a little adjustment -</dialogue> <character>FRED</character> <dialogue>You got fired, did n't ya?</dialogue> <character>BARNEY</character> <dialogue>Fred, do n't start on me again. I donno, I'm just not a nine to five guy. I got dreams, Fred. Ideas -</dialogue> <character>FRED</character> <dialogue>Yeah, I know, I know, those crazy inventions of yours. Be honest with me, Barn. tell me one thing you invented that really caught on.</dialogue> <character>BARNEY</character> <dialogue>I invented fire.</dialogue> <character>FRED</character> <parenthetical>( pause . )</parenthetical> <dialogue>You invented fire?</dialogue> <character>BARNEY</character> <dialogue>I told you that, Fred. But the coal conglomerate ripped me off. The case is still in court, but meanwhile I got lotsa other ideas -</dialogue> <character>FRED</character> <dialogue>Yeah, but did any one of them ever put bread on the table? How long are you and Betty gon na live on those penny - ante royalties you get?</dialogue> <scene_description>Fred pulls his car hood off of its wooden hinges , examines it with dismay .</scene_description> <character>FRED</character> <dialogue>If you ask me, pal, you're just blowing smoke up your own volcano.</dialogue> <character>BARNEY</character> <dialogue>Maybe, Fred. But first.</dialogue> <scene_description>He uses the flamingo 's jaws to snatch the car hood from Fred 's surprised grasp .</scene_description> <character>BARNEY</character> <dialogue>Let me try some of that smoke on your car.</dialogue> </scene> <scene> <stage_direction>INT. BARNEY'S GARAGE/WORKSHOP - DAY</stage_direction> <scene_description>We can still see Fred 's car in the neighboring driveway . -LRB- We can also see Dino , who drags the newspaper on a bit more , then collapses from exhaustion -RRB- . Barney 's garage is cluttered with all kinds of odds and ends , plus various inventions and scale models in different stages of completion . -LRB- Interestingly , a number of these anticipate Leonardo da Vinci 's work -RRB- . Many of the models are made of a strange celadon green material . Fred watches , skeptical , as Barney presses the car hood into some soft clay between two big blocks of stone .</scene_description> <character>BARNEY</character> <parenthetical>( as he works . )</parenthetical> <dialogue>- See, the first step, we make a mold of the old car hood, smooth out the dent in the clay -</dialogue> <scene_description>He tosses the original car hood aside with a crash . Then , moving rapidly , he starts heaving a variety of ingredients into the reverse imprint of the car hood .</scene_description> <character>BARNEY</character> <dialogue>- Add some lava granules. some woca leaves. juice from two coo - coo berries.</dialogue> <character>FRED</character> <parenthetical>( impressed . )</parenthetical> <dialogue>Two coo - coo berries? You made of money, Barney?</dialogue> <character>BARNEY</character> <dialogue>Anything for a pal, Fred - a lump of coal. bamboo sawdust. eucalyptus sap. a touch of the La Brea tarbrush - and - voila.</dialogue> <scene_description>Barney dips a finger in this mess , `` tastes '' it ; satisfied , he yanks on a hanging rope and a giant rock weight slams down on the whole mess , making Fred jump out of his skin . NEW ANGLE Fred is caked with dust . He coughs and spits .</scene_description> <character>FRED</character> <dialogue>Barney, why do n't you try inventing a brain for yourself! Look at what you did to -</dialogue> <scene_description>He stops as Barney cranks up the weight on a ratchet , proudly lifts out a perfect -LRB- though greenish -RRB- duplicate of the car hood . As Fred examines it , impressed despite himself , we . BETTY 'S CAR - TRAVELING The two kids are in the back seat . Somehow both of the kids ' faces are messy again . Working together with beautiful precision , they are carefully dismantling the rear armrests and door handles .</scene_description> <character>BETTY</character> <parenthetical>( in mid - speech , driving . )</parenthetical> <dialogue>. Oh, it's not that I'm complaining, Wilma. I mean, Barney's sweet, but. well, he's just not cut out to punch a clock. And he's such a dreamer, you think he ever once picked up a hammer and chisel and tried to balance a checkbook?</dialogue> <scene_description>They pull up in front of a pleasant - looking simple little nursery school . MRS. GRANITE , a pleasant - looking 65 , sees them from the schoolyard , waves while Wilma and Betty un - load the kids .</scene_description> <character>BETTY</character> <dialogue>No, Barney just keeps looking for that coo - coo berry pie in the sky, and I do n't want to pop his balloon by talking about the price of mastodon ribs.</dialogue> <scene_description>She wipes off Bam - Bam 's mouth with a handkerchief . Wilma does the same with Pebbles and then they kiss the kids , who immediately run into the schoolyard .</scene_description> <character>MRS. GRANITE</character> <parenthetical>( approaching . )</parenthetical> <dialogue>Mrs. Rubble, Mrs. Flintstone, I wanted to thank you personally.</dialogue> <character>BETTY</character> <dialogue>You're welcome, Mrs. Granite. But we wipe their mouths every day.</dialogue> <character>MRS. GRANITE</character> <dialogue>No, no, I mean for all your wonderful support the past few years. It's parents like you that make me think twice about retiring.</dialogue> <scene_description>From the schoolyard comes the sudden sound of KIDS QUAR - RELING and then a THUD and some CRYING .</scene_description> <character>MRS. GRANITE</character> <dialogue>On the other hand.</dialogue> <scene_description>Wilma and Betty laugh .</scene_description> <character>WILMA</character> <dialogue>We're really going to miss you, too, Mrs. Granite.</dialogue> <character>MRS. GRANITE</character> <dialogue>Have you found another school for the children?</dialogue> <character>BETTY</character> <dialogue>We're still shopping around.</dialogue> <character>WILMA</character> <dialogue>Fortunately, we're both -</dialogue> <scene_description>Wilma and Betty straighten . salute .</scene_description> <character>WILMA &amp; BETTY</character> <parenthetical>( they 've done this routine before . )</parenthetical> <dialogue>- Professional shoppers!</dialogue> <scene_description>As the three women laugh , we .</scene_description> </scene> <scene> <stage_direction>EXT. BEDROCK STREET - TRAVELLING - DAY</stage_direction> <scene_description>Fred and Barney drive along . -LRB- Behind them , the same houses and palms seem to be going by . duplex , palm . split level , two palms . duplex , palm -RRB- . Barney grins , gestures towards the front of the car .</scene_description> <character>BARNEY</character> <dialogue>Not bad, eh? After it cures for an hour or so, it's solid as a rock.</dialogue> <character>FRED</character> <dialogue>Okay, you fixed a dented hood. But you call that a living? Face it, pal, this is the Stone Age, and it's a dino eat dino world. You want my advice?</dialogue> <character>BARNEY</character> <dialogue>Did I ever?</dialogue> <character>FRED</character> <dialogue>You stick with me today, cruise on down to the quarry and fill out a job application. I'm a big man there, Barney -</dialogue> <character>BARNEY</character> <dialogue>You're a big man anywhere, Fred -</dialogue> <character>FRED</character> <dialogue>I'm serious, pal. Me and Mr. Slate are just like this -</dialogue> <scene_description>He takes his hand off the wheel to hold up two fingers . ends up swerving instead .</scene_description> <character>FRED</character> <dialogue>- just like that. I know, I know - you're not a clock - punching guy - but face it, Barney - it's time to grow up and put your nose to the grindstone, batten down the hatches and join the ratasaurus race with the rest of us.</dialogue> <parenthetical>( meaningfully . )</parenthetical> <dialogue>It's time to retire those dreams.</dialogue> <scene_description>Barney looks glum , does n't say anything . Suddenly Fred pulls over , stops the car .</scene_description> <character>FRED</character> <dialogue>Barney. Look.</dialogue> <scene_description>WIDE SHOT They 're at the crest of a high wide hill .</scene_description> <character>BARNEY</character> <dialogue>Hey. Lava Lane.</dialogue> <character>FRED</character> <dialogue>Remember the old days, Barn? We used to race our go - carts here to impress the girls.</dialogue> <character>BARNEY</character> <parenthetical>( wistful . )</parenthetical> <dialogue>Yeah, those were the days. we usta dream about coming back here some day with a real car and goin' for the goldrock!</dialogue> <scene_description>A look from one to another , and then down the hill . Fred gets a malicious grin on his face .</scene_description> <character>BARNEY</character> <dialogue>Fred. I thought you said it was time to retire those old dreams.</dialogue> <character>FRED</character> <dialogue>Hey. Since when do I have to be consistent?</dialogue> <scene_description>The two pals laugh , and then with a whoop they begin pedalling like mad . They go over the top , gravity takes over and they are flying past that billboard with all the Rotary Club welcomes on it . But now we see a different sort of welcome , as a POLICE CAR ZOOMS out from behind it . POLICE CAR - CLOSER Inside are SERGEANT FELDSPAR and his rookie partner , OFFICER GRAVEL . Cackling with anticipation , Feldspar opens a box marked radar detector . Out pops a little bird in a police helmet . It has a stopwatch -LRB- actually , stop - sundial -RRB- around its neck . Feldspar points - the bird salutes - takes off ! FRED AND BARNEY</scene_description> <character>BARNEY</character> <parenthetical>( spotting the cops . )</parenthetical> <dialogue>Oh - oh! Fred, slow down -!</dialogue> <scene_description>Suddenly both Fred and Barney see the RADAR BIRD flying alongside them . It checks its stopwatch , writes a note to itself . Fred is so preoccupied he does n't notice as - THE POLICE CAR cuts in front of Fred . Fred SLAMS on the `` BRAKES , '' sits helplessly as Feldspar gets out , walks over , grinning .</scene_description> <character>FELDSPAR</character> <dialogue>Well, Flintstone, looks like today's the day.</dialogue> <character>FRED</character> <dialogue>Sergeant Feldspar, I. I was n't speeding. honest.</dialogue> <scene_description>Fred reaches down to the floorboard as he speaks . ANGLE ON FLOORBOARD There 's a box there marked RADAR BUSTER .</scene_description> <character>FELDSPAR</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Forget it, Flintstone. This time I got you dead to rights -</dialogue> <scene_description>Fred opens the box . A scary - looking winged reptile sticks out its head , smacks its hungry lips . BACK TO SCENE Confident , Feldspar jerks a thumb at the Radar Bird , turns to his rookie partner .</scene_description> <character>FELDSPAR</character> <dialogue>Gravel. Get me the radar reading and I'll show you how we deal with scofflaws.</dialogue> <scene_description>Gravel nods , steps towards the bird . The bird checks its stopwatch . and then it notices the flying lizard which is hovering nearby , licking its lips .</scene_description> <character>RADAR BIRD</character> <dialogue>Whoa! Wings, do your stuff -!</dialogue> <scene_description>The Radar Bird flies away at a hundred miles an hour , leaving a cloud of dust and the stopwatch behind . Feldspar catches the watch , startled .</scene_description> <character>FRED</character> <dialogue>Well, Sergeant, if you do n't have a radar reading, I guess we'll -.</dialogue> <parenthetical>( quickly . )</parenthetical> <dialogue>- justbeonourway -!</dialogue> <scene_description>A new cloud of dust appears as Fred ROARS away .</scene_description> <character>FELDSPAR</character> <dialogue>Flintstone! Flintstone, come back here -!</dialogue> </scene> <scene> <stage_direction>EXT. BEDROCK BUTCHER SHOP - DAY</stage_direction> <scene_description>Betty and Wilma have just pulled up . We notice that next to their legal spot , a big limousine is parked in a `` no parking '' zone . But our law - abiding Betty in the next space now drops a stone coin in a parking meter . CLOSE ON THE METER Inside the window we see a LITTLE BIRD . It `` bites '' the coin to check it , then turns over an egg timer .</scene_description> <character>LITTLE BIRD</character> <parenthetical>( with a sigh . )</parenthetical> <dialogue>Four years in accounting school for this.</dialogue> </scene> <scene> <stage_direction>INT. BUTCHER SHOP - DAY</stage_direction> <scene_description>It 's absolutely mobbed . Customers push past each other with armloads of food . Gigantic cuts of meat hang from above or are on display behind the counter . MORRIS THE BUTCHER looks up from the chaos and manages a weak smile for the girls .</scene_description> <character>BETTY</character> <dialogue>Morris, what on earth is going on? You giving away Bronto filets?</dialogue> <character>MORRIS</character> <dialogue>Ah, my two loveliest customers. It's this darn kibble crisis, Mrs. R. people are buying everything I got to feed their dinos.</dialogue> <character>MRS. SLATE</character> <dialogue>Young man, if you're through flirting, I'd like some service.</dialogue> <scene_description>NEW ANGLE REVEALING MRS. SLATE , who stands there , impatient and overdressed .</scene_description> <character>MORRIS</character> <dialogue>Of course, Mrs. Slate. Just take a number.</dialogue> <scene_description>Wilma senses the tension , quickly steps forward to break it with a smile .</scene_description> <character>WILMA</character> <dialogue>Ah, hello, Mrs. Slate.</dialogue> <scene_description>Morris reacts with relief . Mrs. Slate reacts with a blank look .</scene_description> <character>WILMA</character> <parenthetical>( prompting . )</parenthetical> <dialogue>We met at the quarry picnic?</dialogue> <character>MRS. SLATE</character> <dialogue>Oh, of course. Mrs. Flintstein.</dialogue> <scene_description>She turns her back to Wilma , forces her way towards the counter again . Wilma burns .</scene_description> <character>MORRIS</character> <dialogue>Ladies, the meat's not getting any fresher. Mrs. R, what'll it be?</dialogue> <character>BETTY</character> <dialogue>Oh, I'd like some ground mammoth patties and uh. some dodo drumsticks.</dialogue> <character>MORRIS</character> <dialogue>Gino? We got any dodo bird?</dialogue> <scene_description>GINO turns , looks at his end of the counter .</scene_description> <character>GINO</character> <dialogue>There's one left - and it's the last one!</dialogue> <character>MORRIS</character> <dialogue>Good.</dialogue> <parenthetical>( handing him the note . )</parenthetical> <dialogue>Give it to Mrs. Rubble along with this.</dialogue> <scene_description>Gino nods , smiling . He picks up a crate , begins to load it with giant fryer parts and several manhole - sized meat patties .</scene_description> <character>MORRIS</character> <parenthetical>( turning to Betty . )</parenthetical> <dialogue>How about you, Mrs. F?</dialogue> <character>WILMA</character> <dialogue>I just need a few things for Fred.</dialogue> <character>MORRIS</character> <dialogue>` Fred.'?</dialogue> <parenthetical>( calling into the back . )</parenthetical> <dialogue>David! Herman! Get Rob and BoBo and tell'em to bring the big dolly!</dialogue> <character>VOICE FROM BACK</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Flintstone again, huh?</dialogue> <character>MORRIS</character> <dialogue>You got it. Now then. Mrs. Slate?</dialogue> <parenthetical>( pointing at the limo outside the shop . )</parenthetical> <dialogue>You're in a no parking zone there.</dialogue> <character>MRS. SLATE</character> <dialogue>Well, if I get some service, I'll be out of it, wo n't I?</dialogue> <scene_description>Mrs. Slate steps to the counter . Meanwhile , the staff begin using a refrigerator dolly to bring out giant ribs , steaks and sausages which they pile up in front of Wilma .</scene_description> <character>MRS. SLATE</character> <dialogue>I want a nice fresh, juicy chickensaurus, Morris. And not one you've had laying around on the shelf. I mean fresh.</dialogue> <character>MORRIS</character> <dialogue>Mrs. Slate, we're kind of busy now -</dialogue> <character>MRS. SLATE</character> <dialogue>I do n't care if you're busy. What I care about is my adorable little grand nephew. He's staying with me for the summer and I intend to make his favorite dish. Southern fried chickensaurus! Now I want a fresh chickensaurus and I want it now!</dialogue> <character>MORRIS</character> <dialogue>Boys, you heard her. she said fresh.</dialogue> <scene_description>THE STAFF with a sigh , they buckle on elbow and knee protectors , go to a side door , open it . Inside is another barred door . They open it , go inside . Immediately we hear loud SQUAWKING and CACKLING . THUDS , BUMPS . NEW ANGLE Suddenly the barred door slams open and a giant chicken - saurus comes bounding out , with Morris 's staff hanging all over it like rodeo cowboys . They try and restrain it with ropes but it 's enraged and flops around the store .</scene_description> <character>MRS. SLATE</character> <parenthetical>( oblivious of the trouble . )</parenthetical> <dialogue>Morris, while you're at it, I'd like it plucked -</dialogue> <scene_description>Suddenly the chickensaurus snaps the ropes , flaps its wings and leaps through the front window -</scene_description> </scene> <scene> <stage_direction>EXT. BUTCHER SHOP - DAY</stage_direction> <scene_description>The huge bird lands with a crunch atop Mrs. Slate 's car , which is practically squashed flat . Then it disappears around the corner . -LRB- We hear CAR HORNS and SKIDDING TIRES as it goes . -RRB- BACK TO SCENE</scene_description> <character>MRS. SLATE</character> <dialogue>My car -!</dialogue> <scene_description>Wilma and Betty try and hide their laughter .</scene_description> </scene> <scene> <stage_direction>EXT. SLATE CONSTRUCTION - DAY</stage_direction> <scene_description>Clouds of dust rise from behind the fence . We see the heads of the heavy equipment dinos rising and falling . A two - story office building is at one end of the site with a big `` Slate Construction Inc. '' sign on the roof . CAMERA ADJUSTS as Fred 's car turns into the lot , Barney seated beside Fred . The new green hood gleams in the morning light . CLOSER - FRED 'S CAR Fred digs his feet into the ground , slams to a halt . He gets out , surveys the activity . Immediately , the various workers shout AD LIB greetings . Fred acknowledges these , beaming in the respect he gets here . He lovingly dusts off his construction helmet , puts it on , knocks an offending speck from his parking sign -LRB- F. Flintstone - Shop Steward -RRB- . He leads Barney towards the quarry area .</scene_description> <character>FRED</character> <dialogue>Barney, you wo n't regret this - hiya, Al - fixing dents in cars is one thing, a career's another. Here, you're getting in on the ground floor of the first footstep of a new leaf - hi, Wally, how's the old backhand? And with a guy like me ta show you the ropes, you can skip all the red tape, all the malarky, all the dino doo -</dialogue> <scene_description>NEW ANGLE Fred stands near the weight station booth , where a plump GIRL in a beehive hairdo sits inside a trailer .</scene_description> <character>GIRL</character> <parenthetical>( New York accent . )</parenthetical> <dialogue>Hi, Mr. Flintstone.</dialogue> <character>FRED</character> <dialogue>Hiya, Shirley. This is my very special neighbor and pal Barney Rubble. He needs an application form, okay?</dialogue> <character>GIRL</character> <dialogue>Anything for you, Mr. Flintstone.</dialogue> <scene_description>She slams down two clay tablets and a stylus .</scene_description> <character>GIRL</character> <dialogue>Here you go.</dialogue> <parenthetical>( smiling . )</parenthetical> <dialogue>Thanks again for the football tickets. My boyfriend and I both liked them.</dialogue> <character>FRED</character> <dialogue>My pleasure, Shirl. Anytime.</dialogue> <character>GIRL</character> <dialogue>Okay. But do you think next time we could go to the same game?</dialogue> <character>FRED</character> <parenthetical>( confidently . )</parenthetical> <dialogue>No problem.</dialogue> <scene_description>Fred smiles at her , hands the forms to Barney . Fres steps towards the quarry , admires the activity , hands on hips , master of all he surveys . He waves to more friends .</scene_description> <character>FRED</character> <dialogue>Well, Barn, what did I tell you? When you're in with Flintstone, you're in like Flint.</dialogue> <character>BARNEY</character> <dialogue>Gee, Fred. I knew you were a big shot. I just did n't know how big.</dialogue> <scene_description>Fred beams at that , and then follows Barney 's gaze to the read - out on the truck scale . Fred is standing on it and it 's pushing 250 . With a scowl , Fred grabs Barney 's sleeve and they go into the quarry . As they move , the CAMERA PANS and CRANES UP TOWARDS the window of the Slate Construction Office .</scene_description> </scene> <scene> <stage_direction>INT. OFFICE - PULLBACK FROM WINDOW</stage_direction> <scene_description>The room here is dominated by a tabletop architectural model of a large scale construction project . There 's acres of little development houses , then some tall office buildings , a mall , you name it : There 's even little foot - powered model cars in the model parking spaces . Near this we see MR. SLATE , a giant in the Bedrock con - struction business -LRB- but not in height -RRB- . Slate drinks coffee from a `` Boss '' mug , listens with growing impatience to JERRY LAVA . Several of Slate 's lackeys listen , their heads nodding up or down in sympathy with Slate 's mer - curial moods .</scene_description> <character>LAVA</character> <dialogue>Uncle, if you'll look at this unit cost projection. it intersects here with -</dialogue> <character>SLATE</character> <dialogue>- how'd you like my fist to intersect with your nose? I've told you a hundred times, do n't call me uncle in the office! Now, I did n't arrange your scholarship to Harvrock University so you could waste my time! So stop beating around the bushasaurus and get to the bottom slime!</dialogue> <character>LAVA</character> <dialogue>You'll be bankrupt in six months.</dialogue> <scene_description>Slate does a Danny Thomas spit take all over the model .</scene_description> </scene> <scene> <stage_direction>EXT. QUARRY - MOVING SHOT</stage_direction> <scene_description>Fred and Barney cross the busy lot , sidestepping workers and animals . Fred does a lot of backslapping , waving . Barney 's filling out the forms on the move . Behind them , we see the wide access ramp which spirals around the quarry 's sides .</scene_description> <character>BARNEY</character> <parenthetical>( to himself . )</parenthetical> <dialogue>Social Security number. dependents. ` how learned of job'. newspaper ad, carrier pigeon.</dialogue> <parenthetical>( writing . )</parenthetical> <dialogue>. Personal reference.</dialogue> <scene_description>Hearing a loud SMASH , Fred looks up and sees - FRED 'S POV - A WRECKING BALL OPERATOR A burly and rough looking guy named PILTDOWN , he grins in - side his dino - topping cupola , winds his winch handles and then propels his wrecking ball towards the . QUARRY WALL - ABOVE - where the huge stone BALL SMASHES into some walnuts balanced on a boulder . WIDER Piltdown 's compact buddy PYRITE cackles , sweeps up the walnuts . Munching them , he balances a new one in place . -LRB- It should be noted here that the relationship and physi - cal appearances of Piltdown and Pyrite mirrors that of our heroes . they 're sort of an anti - Fred and Barney . -RRB-</scene_description> <character>PYRITE</character> <dialogue>Way ta go, Pilty baby. Five bucks says you ca n't hit one on the fly.</dialogue> <character>PILTDOWN</character> <parenthetical>( calling up . )</parenthetical> <dialogue>Yer on, Pyrite -</dialogue> <scene_description>Pyrite tosses a walnut , which bounces on the ledge . The wrecking BALL SMASHES into the stone wall . BELOW Workers near Fred duck as dust and debris fall down . People grab for their construction helmets .</scene_description> <character>FRED</character> <dialogue>Not again.</dialogue> <scene_description>Fred hustles up a ladder to a ramp which leads him up to the level of Piltdown 's cab . Barney hurries to follow .</scene_description> <character>FRED</character> <dialogue>All right, Piltdown, that's enough! You're endangering your fellow workers!</dialogue> <character>PILTDOWN</character> <dialogue>Yeah? Sez who?</dialogue> <character>FRED</character> <dialogue>Says me, Fred Flintstone - shop steward of Amalgamated Neolithic Workers 101.</dialogue> <character>PILTDOWN</character> <dialogue>Yeah? Well, A.N.W. one - oh - one gives us workers a snack break. So.</dialogue> <parenthetical>( a nasty grin . )</parenthetical> <dialogue>. I'm breakin' some snacks.</dialogue> <scene_description>He swings the wrecking ball again . UP ABOVE This time he 's overdone it : The wrecking ball flies past the walnuts - Pyrite ducks for cover - and then the wrecking ball whips over and around the handrail which runs along here , twisting as tightly as Indiana Jones ' whip . The handrail wobbles dangerously in its foundation - PILTDOWN 'S DINO SNORTS , backs up - the crane SUPPORTS on its back begin to CREAK and GROAN with the strain - WIDER Workers scatter , fearful of the imminent collapse . Fred runs to grab the dino 's reins .</scene_description> <character>FRED</character> <dialogue>Whoa, whoa, big fella -</dialogue> <scene_description>He calms the beast by giving it a carrot . As it munches , Fred quickly ties the reins to a post .</scene_description> <character>FRED</character> <parenthetical>( calling up to the cab . )</parenthetical> <dialogue>You're on report, Piltdown! If it's up to me you'll be pushing a wheelbarrow!</dialogue> <character>PILTDOWN</character> <parenthetical>( leaping down . )</parenthetical> <dialogue>You've been asking for this, Flintstone. I'm gon na kick your fat butt -</dialogue> <character>FRED</character> <dialogue>Fat butt? Hold me back, Barney -.</dialogue> <parenthetical>( sotto , very sincere . )</parenthetical> <dialogue>- Barney, hold me back -</dialogue> <scene_description>Quickly the men form a circle around Piltdown and Fred . Barney looks up and sees - THE CRANE ON THE DINO 'S BACK It is shuddering and threatening to come crashing down . BACK TO SCENE</scene_description> <character>BARNEY</character> <dialogue>Hey, maybe you guys oughta fix that first.</dialogue> <character>PILTDOWN</character> <dialogue>Why should we?</dialogue> <character>BARNEY</character> <dialogue>It looks dangerous. Besides, you can kick Fred's fat butt anytime.</dialogue> <character>FRED</character> <dialogue>Yeah. That's right.</dialogue> <parenthetical>( realizing , a glare at Barney . )</parenthetical> <dialogue>I mean - this ai n't over, Piltdown.</dialogue> <parenthetical>( turning , shouting . )</parenthetical> <dialogue>Come on, guys. Let's clean up the mess.</dialogue> <scene_description>With much grumbling , ropes and grappling hooks are gathered and the crew hops to it .</scene_description> </scene> <scene> <stage_direction>INT. SLATE'S OFFICE - SAME TIME</stage_direction> <scene_description>Slate stands in a blubbering fury as Lava mops coffee up from the model and Slate 's face .</scene_description> <character>SLATE</character> <dialogue>Bankrupt? Are you crazy?</dialogue> <scene_description>Lava holds up a clay tablet covered with figures .</scene_description> <character>LAVA</character> <dialogue>It's all here in hack and slice. When you committed to this housing development the price of dino kibble was a few clams per ton. Since then, it's gone up a hundredfold.</dialogue> <parenthetical>( indicating the model . )</parenthetical> <dialogue>You ca n't build a project like this without the heavy equipment dinos, and we ca n't afford to feed those dinos.</dialogue> <scene_description>Slate glowers , paces around the model .</scene_description> <character>SLATE</character> <dialogue>I'm two months behind schedule, my option's running out on the land and Donald Trumprock is just waiting to jump in and steal the whole deal. meanwhile that damn union's on my back, hell, they'll probably want an eighty hour week or something.</dialogue> <parenthetical>( frustrated . )</parenthetical> <dialogue>There's got to be an answer.</dialogue> <scene_description>A LOUD COMMOTION outside the window attracts everyone 's attention .</scene_description> <character>SLATE</character> <dialogue>What's that?</dialogue> <character>LAVA</character> <parenthetical>( worried . )</parenthetical> <dialogue>Sounds like a worker's comp claim if I ever heard one.</dialogue> <scene_description>All rush to the window . They look out and see - THE QUARRY - WIDE Supervised by Fred , all the workers are straining on the ropes to haul the rear legs of the crane back into their sockets on the back of the big dino . Only the last critical rope is still dangling .</scene_description> <character>FRED</character> <dialogue>Barney! Grab that line! Hurry!</dialogue> <scene_description>Barney scrambles up Fred 's back , shoving a foot in Fred 's face , but finally snatching the rope . He pulls on it . Fred throws his own weight into the effort . THE CRANE THUDS into place on the dino 's back - the workers cheer - THE WRECKING BALL alas , with its cable now twisted shorter , it 's become an immovable object , and as the shortened CABLE SNAPS , the wrecking ball begins to roll down the quarry wall . NEW ANGLE Men and ANIMALS YELP and dive out of the way as the BALL rolls downwards , SMASHING everything in its path .</scene_description> </scene> <scene> <stage_direction>EXT. SLATE'S OFFICE WINDOW</stage_direction> <scene_description>The executives watch concerned as - THE WRECKING BALL tumbles down , down , knocking scaffolding and ladders aside , reaches the end of a ramp , and drops through the air right onto - THE HOOD OF FRED 'S CAR - where , astonishingly , the HOOD sinks in resiliently like a trampoline and then with a loud `` SPROING '' the wrecking ball flies straight back up into the air , followed a beat behind by the unhinged hood itself . Both hurtle TOWARDS the CAMERA - SLATE AND EXECUTIVES react fearfully as they realize all this is coming straight for them . With a howl , they all dive aside -</scene_description> </scene> <scene> <stage_direction>INT. SLATE'S OFFICE - WIDER - DAY</stage_direction> <scene_description>The wrecking BALL flies through the window , SLAMS onto Slate 's desk , crushing everything in its path and then sails on SMASHING right into - THE MODEL DEVELOPMENT - where all of the lined up HIGH RISES SMASH ASIDE with a sound like falling pins . IN THE QUARRY The workers pick themselves up and now their eyes follow the path taken by the long - gone wrecking ball .</scene_description> <character>FRED</character> <dialogue>Oh boy. Goodbye pension fund -</dialogue> <scene_description>They rush for the office building .</scene_description> </scene> <scene> <stage_direction>INT. SLATE'S OFFICE - DAY</stage_direction> <scene_description>Dust is still settling . The staff rises from the mess , coughing . Lava rummages in the debris , finds a stiff body .</scene_description> <character>LAVA</character> <dialogue>Uncle, Uncle, speak to me -</dialogue> <scene_description>But it 's only a statue of a golfer from one of Slate 's trophies .</scene_description> <character>SLATE</character> <parenthetical>( sitting up . )</parenthetical> <dialogue>I'm over here, you moron - and do n't call me ` Uncle'!</dialogue> <scene_description>Slate 's eyes fall on Fred 's car hood , swinging from a bookshelf . He reaches for it - pulls it - it stays put , and only releases a new deluge of rubble and plaster which reburies him . At the same time , the door slams open and Fred , Barney and the other workers tumble inside . THEIR POV - OFFICE As they take in the destruction . Barney notices the wrecking ball amidst the model buildings . As we watch , the last remaining little HIGH RISE FALLS .</scene_description> <character>BARNEY</character> <dialogue>Hey, nice going, Fred. You even got the spare -</dialogue> <character>FRED</character> <dialogue>Barney, shut up -.</dialogue> <parenthetical>( turning . )</parenthetical> <dialogue>Mr. Slate - Mr. Slate - are you all right?</dialogue> <scene_description>Slate staggers to his feet , seething with fury . He finally yanks the car hood free . It bounces and VIBRATES in his hands like a hand saw .</scene_description> <character>SLATE</character> <parenthetical>( eying the men . )</parenthetical> <dialogue>For five years Slate Construction has had the finest safety record in Bedrock.</dialogue> <parenthetical>( pacing , angry . )</parenthetical> <dialogue>Our workers are trained in first aid, our equipment is first rate and our dinos are worm free. And then something like this happens. I want to know how!</dialogue> <scene_description>A cacophony of voices starts to answer .</scene_description> <character>SLATE</character> <dialogue>Shut up!</dialogue> <parenthetical>( in the sudden silence . )</parenthetical> <dialogue>I want one person to answer me :.</dialogue> <parenthetical>( waving the car hood . )</parenthetical> <dialogue>Who's responsible for this?</dialogue> <scene_description>PILTDOWN nudges the wrecking ball off the edge of the table . It falls on Fred 's foot . Fred starts to scream and Piltdown shoves a pencil holder into his mouth .</scene_description> <character>PILTDOWN</character> <parenthetical>( quickly . )</parenthetical> <dialogue>It was Flintstone, Mr. Slate!</dialogue> <character>PYRITE</character> <dialogue>That's right, Mr. Slate, it was Flintstone!</dialogue> <character>BARNEY</character> <dialogue>That's a lie, Mr. Slate!</dialogue> <character>SLATE</character> <dialogue>Who are you?</dialogue> <character>BARNEY</character> <parenthetical>( pointing to his forms . )</parenthetical> <dialogue>B. Rubble. White male personal reference -</dialogue> <character>SLATE</character> <parenthetical>( pushing Barney aside . )</parenthetical> <dialogue>Flintstone, I have just one thing to say to you -</dialogue> <scene_description>Fred cringes . Piltdown and Pyrite smirk .</scene_description> <character>SLATE</character> <parenthetical>( pumping his hand . )</parenthetical> <dialogue>Congratulations!</dialogue> <character>FRED</character> <dialogue>Huh?</dialogue> <character>PILTDOWN</character> <dialogue>What?</dialogue> <character>SLATE</character> <dialogue>This stuff you had on your car is the most incredible building material I've seen in thirty years in the construction business!</dialogue> <parenthetical>( testing it . )</parenthetical> <dialogue>It's strong -.</dialogue> <parenthetical>( twirling it . )</parenthetical> <dialogue>- Light -.</dialogue> <parenthetical>( bending it . )</parenthetical> <dialogue>- Resilient -</dialogue> <scene_description>It rebounds , `` SPROINGING '' him on the chin . He recovers , shakes it off .</scene_description> <character>SLATE</character> <dialogue>Where on earth did you get it?</dialogue> <character>FRED</character> <dialogue>Oh, it's ah, just something I whipped up in the old garage workshop -.</dialogue> <parenthetical>( quickly . )</parenthetical> <dialogue>- with a little help from my buddy Barney, right, Barn?</dialogue> <character>BARNEY</character> <dialogue>Well, actually, Fred, it was the other way ar -</dialogue> <scene_description>Fred hisses between his teeth , repeats the `` Slate and me are just like this '' gesture he made earlier , points at Slate .</scene_description> <character>BARNEY</character> <parenthetical>( reluctant . )</parenthetical> <dialogue>Sure, Fred, right, right.</dialogue> <scene_description>Slate nods , distracted , his eyes and hands running over the smooth lines of the car hood .</scene_description> <character>SLATE</character> <dialogue>The rest of you men go back to work. I want to talk to Flintstone and the personal reference alone. Come on, move, move.</dialogue> <scene_description>They go out , Piltdown looking furious .</scene_description> <character>SLATE</character> <parenthetical>( a man in love . )</parenthetical> <dialogue>Light as a Pterodactyl feather. why, a child could handle this. Lava, we could cut construction costs in half. in quarters. in uh. whatchacallit -</dialogue> <character>LAVA</character> <parenthetical>( patiently . )</parenthetical> <dialogue>Eighths -</dialogue> <character>SLATE</character> <dialogue>Eighths, right. Flintstone, what do you call this stuff?</dialogue> <character>FRED</character> <dialogue>Well, Mr. Slate, I call it -.</dialogue> <parenthetical>( hesitating , sotto . )</parenthetical> <dialogue>- Barney, what do I call it?</dialogue> <character>BARNEY</character> <parenthetical>( sotto . )</parenthetical> <dialogue>Fibrerock, Fred.</dialogue> <character>FRED</character> <dialogue>- I call it Fibrerock Fred -!</dialogue> <parenthetical>( realizing . )</parenthetical> <dialogue>I mean, ah, ` Fibrerock'!</dialogue> <character>SLATE</character> <parenthetical>( rolling it over his tongue . )</parenthetical> <dialogue>` Fibrerock'? ` Fibrerock'?</dialogue> <parenthetical>( playing with it . )</parenthetical> <dialogue>` Fib - bre - rock' -</dialogue> <scene_description>Slate 's staff make disparaging noises .</scene_description> <character>SLATE</character> <dialogue>I love it!</dialogue> <character>SLATE'S STAFF</character> <parenthetical>( instantly reversing themselves . )</parenthetical> <dialogue>Love it. great. has a nice ring. says it all, you know?</dialogue> <parenthetical>( Etc . )</parenthetical> <dialogue /> <scene_description>Slate takes the piece of material , leans it on the table so it catches the light . Despite himself , Lava comes over , examines the car hood . ca n't help but marvel at it as well . Meanwhile , Slate puts his arms around Fred and Barney .</scene_description> <character>SLATE</character> <parenthetical>( to Lava . )</parenthetical> <dialogue>You see this, Lava? All those courses of yours at Harvrock University, and who saves my bacon? Two simple - minded run - of - the - mill nobodies.</dialogue> <character>BARNEY</character> <dialogue>Gee, thanks, Mr. Slate.</dialogue> <scene_description>Lava glowers . Slate pulls Fred and Barney close with genuine excitement .</scene_description> <character>SLATE</character> <dialogue>Boys, this is a small step for Slate Construction. a giant step for all mankind.</dialogue> <scene_description>He points to the translucent material . CAMERA TIGHTENS ON it . We see Fred , Barney and Slate 's reflections in it .</scene_description> <character>SLATE</character> <parenthetical>( dramatically . )</parenthetical> <dialogue>The Stone Age is over! Let the Fibre Age begin!</dialogue> <scene_description>As HEROIC MUSIC STINGS IN , we . BETTY 'S CAR - TRAVELING - DAY Mrs. Slate is in back , crammed in with groceries . Betty pulls up in front of a building that looks like a Palm Springs spa . This is `` L'ECOLE DES ENFANTS PREHISTORIQUE HAUTE SUPERIOR . ''</scene_description> <character>BETTY</character> <dialogue>Here we are, Mrs. Slate. Sorry you had to ride in the back.</dialogue> <character>MRS. SLATE</character> <parenthetical>( getting out . )</parenthetical> <dialogue>Not at all. I'm used to being driven around.</dialogue> <scene_description>And she 's sashaying up the path . Betty and Wilma burn , then follow her .</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL - DAY</stage_direction> <scene_description>As elegant as we can get MMMCXV years before Louis XIV . As the three women come in , we see CHILDREN with alliga - tors on their deerskin shirts singing :</scene_description> <character>CHILDREN</character> <dialogue>` La hachette de ma tante est sur le roche de mon oncle -'</dialogue> <character>HEADMISTRESS</character> <parenthetical>( coming over , gushing . )</parenthetical> <dialogue>Madame Mrs. Slate, bonjour! Welcome to L'ecole des Enfants Prehistorique Haute Superior!</dialogue> <character>MRS. SLATE</character> <dialogue>Thank you, Marie.</dialogue> <parenthetical>( showing a rock receipt . )</parenthetical> <dialogue>I ordered the hors d'oeuvres for the junior talent show. They were out of Ceolanth caviar so I got Mastodon brie instead. Oh, ah, these are my, uh, friends, Wilma Flintstein -</dialogue> <character>WILMA</character> <dialogue>Flintstone -</dialogue> <character>MRS. SLATE</character> <dialogue>- oh, it used to be Flintstein -? And this is ah, Becky. Betty!</dialogue> <scene_description>The Headmistress reaches over , takes their hands gracefully .</scene_description> <character>HEADMISTRESS</character> <dialogue>Enchante.</dialogue> <character>WILMA</character> <dialogue>I'm sure.</dialogue> <character>BETTY</character> <dialogue>Likewise.</dialogue> <character>HEADMISTRESS</character> <parenthetical>( waving a hand . )</parenthetical> <dialogue>Well, Madame Slate, as you can see, we remain ze creme de la creme in the croissant of life known as Bedrock. Now, your leetle gran' nephew will be wiz us for two weeks, no?</dialogue> <parenthetical>( opening a drawer . )</parenthetical> <dialogue>Here is ze application for him. An' mais oui, he weel participate in zee annual talent show, naturalment?</dialogue> <scene_description>Mrs. Slate takes the parchment application . Meanwhile the Headmistress looks appraisingly at Wilma and Betty .</scene_description> <character>HEADMISTRESS</character> <dialogue>An' your friends perhaps would like zum school applications for zere enfants?</dialogue> <character>MRS. SLATE</character> <parenthetical>( amused . )</parenthetical> <dialogue>Them? Oh, Marie, really, you do n't understand -</dialogue> <character>BETTY</character> <parenthetical>( suddenly . )</parenthetical> <dialogue>That's right, you do n't understand. My husband's business manager usually handles this sort of thing, but I do n't mind.</dialogue> <scene_description>And to Wilma 's astonishment , Betty takes one of the parchments .</scene_description> <character>BETTY</character> <dialogue>I know Bam - Bam -.</dialogue> <parenthetical>( correcting herself . )</parenthetical> <dialogue>- pardonez - moi, ` Bem - Bem' will love attending your school and performing in the talent show. Thank you oh so much.</dialogue> <scene_description>She gives Mrs. Slate an even and controlled look , and sends some of it over in Wilma 's direction as well . Wilma makes her choice , smiles tightly .</scene_description> <character>WILMA</character> <dialogue>Let me have one of those, too. For ma petite Pebbles.</dialogue> <character>HEADMISTRESS</character> <dialogue>Of course. Any friend of Madame Slate is a friend of mine.</dialogue> <scene_description>As Mrs. Slate reacts , we -</scene_description> </scene> <scene> <stage_direction>INT. CAR - FRED AND BARNEY - NIGHT</stage_direction> <scene_description>They 're cruising along . Fred puffs on a cigar . Barney flips the pile of legal sized tablets in his lap . In the back seat are some boxes and bundles .</scene_description> <character>BARNEY</character> <dialogue>Gee, Fred, I do n't believe it. Eight hours ago I did n't have a job and now look - I got 1/2 of one percent of the after - taxes after - expenses net breakage profits on Fibrerock!</dialogue> <character>FRED</character> <dialogue>Just be thankful I was there to go over the fine print.</dialogue> <parenthetical>( full of himself . )</parenthetical> <dialogue>It's like I told you this morning - There's something noble about a man digging in with his hands and doing an honest day's work. Once you file those dreams under ` old business' and put your nose to the plow, well, the world is your oyster. And was I right?</dialogue> <character>BARNEY</character> <dialogue>No, Fred, you were n't. I did n't nose any grindstones and you did n't shoulder a wheel. We just hung out together and everything that happened was a total accident.</dialogue> <character>FRED</character> <parenthetical>( after a moment . )</parenthetical> <dialogue>Details, Barney, details.</dialogue> <parenthetical>( smiling . )</parenthetical> <dialogue>I just ca n't wait to see the girls' faces when we tell'em the news.</dialogue> </scene> <scene> <stage_direction>INT. FLINTSTONE HOUSE - NIGHT</stage_direction> <scene_description>The girls ' frowns are a great contrast to their husbands ' smiles . Wilma 's looking at the school enrollment forms . Betty paces , looks at the clock .</scene_description> <character>WILMA</character> <parenthetical>( seeing this . )</parenthetical> <dialogue>It's not like the boys to be so late.</dialogue> <character>BETTY</character> <dialogue>Unless they were forced to go bowling again. Remember that time a burglar pointed a gun at them and said, ` go bowling right now'?</dialogue> <character>WILMA</character> <dialogue>Betty, sometimes you're a little too gullible -</dialogue> <character>BETTY</character> <dialogue>Do n't tell me. I still ca n't believe what I did today.</dialogue> <character>WILMA</character> <dialogue>No kidding.</dialogue> <parenthetical>( indicating the forms . )</parenthetical> <dialogue>Do you have any idea of what the enrollment fee is? And get this. it's non - refundable -</dialogue> <character>BETTY</character> <dialogue>I know, I know! I just could n't stand that woman's attitude! But we had to find a new school anyway, and there we were. the next thing I knew, I was in over my head. but why did you jump in, too?</dialogue> <character>WILMA</character> <dialogue>Oh, she was getting to me too with all that mastodon snort about her little nephew. and.</dialogue> <character>BETTY</character> <dialogue>And?</dialogue> <character>WILMA</character> <dialogue>And. if a friend ca n't help you do something stupid, who can?</dialogue> <scene_description>Betty smiles , touched . Then reality intrudes again .</scene_description> <character>BETTY</character> <dialogue>What do we tell the boys?</dialogue> <character>WILMA</character> <dialogue>What's wrong with the truth?</dialogue> <character>BETTY</character> <dialogue>We put ourselves in debt so the kids can attend school with a family we ca n't stand?</dialogue> <character>WILMA</character> <parenthetical>( pause . )</parenthetical> <dialogue>Maybe we could rephrase it.</dialogue> <scene_description>Suddenly the door bursts open . Fred and Barney run in with candy and flowers .</scene_description> <character>FRED AND BARNEY</character> <dialogue>Surprise!</dialogue> <scene_description>Pause .</scene_description> <character>BETTY</character> <dialogue>Flowers?</dialogue> <character>WILMA</character> <dialogue>Rock candy? That's nice, but. why?</dialogue> <character>FRED</character> <dialogue>Why? Oh, me and Barn, we suddenly realized that we had a little spare change.</dialogue> <character>WILMA</character> <parenthetical>( sotto . )</parenthetical> <dialogue>Not anymore you do n't.</dialogue> <character>BARNEY</character> <parenthetical>( presenting flowers . )</parenthetical> <dialogue>Betty, these are for you. For sticking beside me during the tough times, and well. for making a little guy feel like he was ten feet tall.</dialogue> <character>BETTY</character> <dialogue>Aw, Barney. I. I do n't deserve these. I did something really stupid today.</dialogue> <character>BARNEY</character> <dialogue>Hey. Fred does something stupid every day and I still love him.</dialogue> <scene_description>Fred laughs good naturedly , grabs Barney in a headlock .</scene_description> <character>FRED</character> <dialogue>Noogy, noogy, ha, ha -!</dialogue> <character>WILMA</character> <parenthetical>( observing this . )</parenthetical> <dialogue>Have you been drinking?</dialogue> <scene_description>In reply , Fred whips a bottle of champagne into view .</scene_description> <character>FRED</character> <dialogue>Ready when you are.</dialogue> <parenthetical>( noticing the label . )</parenthetical> <dialogue>Hey,' 1'. a good year.</dialogue> <scene_description>This confuses the girls even more .</scene_description> <character>WILMA</character> <dialogue>Fred, there's no easy way to say this so -</dialogue> <scene_description>She closes her eyes , swings the enrollment forms over on the table so that Fred and Barney can read them . Fred and Barney look at them , look at each other . and yawn . FAVORING WILMA AND BETTY They ca n't believe this .</scene_description> <character>BETTY</character> <dialogue>Boys. did you see. the dollar signs there at the bottom?</dialogue> <character>WILMA</character> <dialogue>The non - refundable dollar signs?</dialogue> <character>BARNEY</character> <dialogue>Plenty more where that came from.</dialogue> <character>FRED</character> <dialogue>We see your dollar signs, ladies. and.</dialogue> <scene_description>He tosses his stone contracts on top of the parchment ones with a THUD .</scene_description> <character>FRED</character> <dialogue>we raise them.</dialogue> <scene_description>Wilma and Betty look at each other , then at the contracts . They blink , look again .</scene_description> <character>WILMA</character> <dialogue>Betty. these. these look. real -</dialogue> <scene_description>Fred opens the champagne , which foams all over them . The girls squeal .</scene_description> <character>FRED</character> <dialogue>You bet they're real, sweetheart. They're as real as. as. well, as real as -.</dialogue> <parenthetical>( embracing the group . )</parenthetical> <dialogue>- the best darn friends and neighbors in the whole world.</dialogue> <scene_description>Barney squeezes back .</scene_description> <character>BARNEY</character> <dialogue>Yeah. And nothing's ever gon na change that. right, Fred?</dialogue> <character>FRED</character> <parenthetical>( emotionally . )</parenthetical> <dialogue>Right, pal o'mine.</dialogue> <scene_description>As they laugh and the girls slowly absorb the truth , we -</scene_description> </scene> <scene> <stage_direction>EXT. WATER BUFFALO LODGE - NIGHT</stage_direction> <scene_description>A sign proclaims this as `` GRAND BEDROCK LODGE - LOYAL ORDER OF WATER BUFFALO . '' The parking lot outside is full of vehicles . We hear the sound of a GAVEL BANGING .</scene_description> <character>HERDMASTER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Attention, fellow Water Buffaloes.</dialogue> </scene> <scene> <stage_direction>INT. WATER BUFFALO LODGE - NIGHT</stage_direction> <scene_description>The members are milling about the main room , schmoozing , drinking , kibitzing . All wear the furry and horned ceremonial Fez of the Buffalo . One wall of the lodge displays a big version of the lodge coat of arms -LRB- with the motto `` Ackus Ackus Adackus '' below -RRB- ; a trophy case holds a mind boggling display of various bowling trophies , balls and pins . At the lectern , the HERDMASTER -LRB- a mustachioed , inspirational type -RRB- bangs again for order .</scene_description> <character>HERDMASTER</character> <dialogue>Brothers, your attention!</dialogue> <scene_description>It quiets a bit . He clears his throat , raises his chin , and gives a strange mournful bellow .</scene_description> <character>HERDMASTER</character> <parenthetical>( `` ritual '' type tone . )</parenthetical> <dialogue>The herd is now called to the prairie.</dialogue> <parenthetical>( holding fingers above ears . )</parenthetical> <dialogue>Antlers. up!</dialogue> <scene_description>The entire Lodge dutifully imitates this gesture .</scene_description> <character>ENTIRE GROUP</character> <dialogue>Ack - ack - a - dack!</dialogue> <character>HERDMASTER</character> <parenthetical>( banging gavel . )</parenthetical> <dialogue>This meeting of the Water Buffaloes is now in session. Sergeant - at - Arms, have we got any old business?</dialogue> <scene_description>Barney stands , acknowledges his friends and Lodge brothers .</scene_description> <character>BARNEY</character> <dialogue>Indeed we do, Brother Herdmaster. Tonight we are to hear speeches from prospective candidates for Lodge offices, such as good old Fred and some other guys.</dialogue> <scene_description>PILTDOWN Seated across the room with Pyrite and other cronies , he immediately leaps to his feet , paws the ground , and gives an eerie moan even stranger than the Herdmaster 's earlier call to order . BACK TO SCENE After the CRY ECHOES away :</scene_description> <character>HERDMASTER</character> <dialogue>Brother Piltdown : You have given the Cry of the Gelded Buffalo at the Poisoned Water Hole. Do you wish to file an objection?</dialogue> <character>PILTDOWN</character> <dialogue>You bet I do. How come Flintstone is ` good old Fred' and me and the other candidates are just ` some other guys'?</dialogue> <character>PYRITE</character> <dialogue>Yeah, how come?</dialogue> <character>BARNEY</character> <parenthetical>( rising . )</parenthetical> <dialogue>My apologies, Brother Piltdown. Allow me to rephrase. Tonight we will hear speeches from a whole bunch of good old guys.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>. plus the one and only Fred Flintstone!</dialogue> <scene_description>Cheers go up , which drown out Piltdown 's renewed cry of the poisoned water hole . Fred moves towards the podium as the noise dies down . NEW ANGLE Barney moves to the wall , where he pulls a rolled up tapestry from a hiding place behind a plant . He tacks it to the wall , yanks a string . It unrolls . It 's a big `` VOTE FOR FRED FLINTSTONE '' poster . Barney turns , gives Fred a `` thumbs up , '' and as he does , Barney 's hand brushes against a folded parchment in his pocket . Barney pushes his way through the seats , catches up to Fred and hands him the document . Fred takes it , continues up to the podium . There , the Herdmaster hands Fred the ceremonial hoof and antler , crossed over each other like a Pharaoh 's badges of office . Fred does a Papal - like wave with these , sets them down , and unrolls the crib notes Barney gave him .</scene_description> <character>FRED</character> <parenthetical>( reading , at first wooden , then confident . )</parenthetical> <dialogue>Brother Buffaloes, honored Herdmaster, Junior Bucks and Apprentice Antlers, a great good evening to you all. Ahem. As you know, our organization has survived difficult times that have seen the extinction of such other lodges as the Order of Whooping Cranes and Brotherhood of Giant Sloths. But we here have come through the croo. the crux.</dialogue> <character>BARNEY</character> <parenthetical>( hissing . )</parenthetical> <dialogue>- crucible -</dialogue> <character>FRED</character> <parenthetical>( grateful . )</parenthetical> <dialogue>- crucible with our fur fluffy and our hooves unscathed. Now, the future holds many promises and many problems. As your next Herdmaster, I would bring to you the same determination, courage and - if I may say so - bold thinking that I have brought to the workplace. Thank you, and ack ack a - dack.</dialogue> <scene_description>Applause follows Fred 's return to the floor . PILTDOWN AND PYRITE The only ones in their row not clapping , they scowl as Fred passes them .</scene_description> </scene> <scene> <stage_direction>INT. LODGE - RECREATION AREA - LATER</stage_direction> <scene_description>WIDEN as Barney propels a bowling ball -LRB- stone , of course -RRB- rumbling down the alley , sending pins flying . The Buffaloes cheer Barney 's strike . We notice that most -LRB- if not all -RRB- of these Lodge members also work at the quarry . AUTOMATIC PIN SPOTTER It descends . It consists of a bent snout creature which `` cranks '' down a shelf with several monkeys on it . The monkeys grab the pins with their tails , straighten them up . Then the shelf cranks back up . OTHER END OF ALLEY Now it 's Fred 's turn . He trots up to the line , bowls . another strike ! More cheers , AD LIB complaints , etc. . The scorekeeper picks up hammer and chisel and fills out the last frame .</scene_description> <character>LODGE MEMBER</character> <dialogue>Congratulations, Fred.</dialogue> <character>FRED</character> <dialogue>Hey, when you're hot you're hot. boys, lem me buy a round of drinks for everyone.</dialogue> <character>BARNEY</character> <dialogue>Thanks, Fred, but here at the lodge drinks are free.</dialogue> <character>FRED</character> <dialogue>But the principle is the same, Barn. Do n't forget that.</dialogue> <scene_description>Fred leads the group over to the bar . Piltdown and Pyrite come along with a shrug . why not , for a brew ? Fred reaches - UNDER THE COUNTER where he pulls out a hook - beaked little LIZARD - BACK TO SCENE Fred uses this creature to open several beers .</scene_description> <character>FRED</character> <parenthetical>( during this . )</parenthetical> <dialogue>Here you go, boys, nice and frosty.</dialogue> <character>"BOTTLE OPENER" CREATURE</character> <parenthetical>( LIZARD . )</parenthetical> <parenthetical>( aside . )</parenthetical> <dialogue>Go ahead, laugh. If I had a good orthodontist, my life woulda been different.</dialogue> <scene_description>Fred tosses the `` Opener '' aside - UNDER THE COUNTER The critter bounces into the shelf , slides . when it re - covers , it realizes that its overbite has been straightened out by the impact . Very happy , it grabs a hat and coat , exits . BACK TO SCENE</scene_description> <character>FRED</character> <parenthetical>( raising drink . )</parenthetical> <dialogue>Well, here's to.</dialogue> <scene_description>He looks around , sees - `` PHOTO '' ON WALL It 's actually `` dots '' chipped into a stone . It shows the young Fred , Barney and others gathered around soapbox racers . A banner reads `` Junior Buffalo Day . '' BACK TO SCENE</scene_description> <character>FRED</character> <dialogue>Here's to the greatest bunch of lifelong Buffaloes a guy could dream of leading.</dialogue> <parenthetical>( an obvious prompt . )</parenthetical> <dialogue>Anybody else got a toast?</dialogue> <character>BARNEY</character> <dialogue>` Here's to the Water Buffalo and their next Herdmaster. Fred'!</dialogue> <character>FRED</character> <dialogue>Aw, gee, Barn. you should n't say that.</dialogue> <parenthetical>( winking . )</parenthetical> <dialogue>. at least not till after next week's election!</dialogue> <character>LODGE MEMBER</character> <dialogue>Fred, what was all that stuff in your speech about the workplace? I thought the only decision you made there was how many lunches to eat -</dialogue> <scene_description>Laughter . Fred accepts it good - naturedly , reaches into his pocket .</scene_description> <character>FRED</character> <dialogue>Well, Harry, it just so happens that old Fred is moving up in the world. Boys, you're looking at Mr. Slate's new partner.</dialogue> <character>PILTDOWN</character> <dialogue>You and Slate? Who are you kidding, Flintstone? The only partner you got is hanging over your belt.</dialogue> <scene_description>Pyrite laughs , a bit too much .</scene_description> <character>FRED</character> <dialogue>Prepare to eat those words, Piltdown.</dialogue> <character>PILTDOWN</character> <dialogue>- If I do n't, you will -</dialogue> <character>FRED</character> <parenthetical>( a tight smile . )</parenthetical> <dialogue>Gentlemen, my card -</dialogue> <scene_description>He passes them out , and the others take them , curious - INSERT - CARD Of course it 's a little stone tablet . but it does indeed say `` SLATE CONSTRUCTION - F. FLINTSTONE , ASSISTANT JR. . V.P. - PUBLIC RELATIONS . '' BACK TO SCENE</scene_description> <character>LODGE MEMBERS</character> <parenthetical>( AD LIB , impressed . )</parenthetical> <dialogue>Hey, way ta go, Fred. Whoa, gon na switch from a hard hat to a top hat, Freddy boy?</dialogue> <character>PYRITE</character> <parenthetical>( examining the card . )</parenthetical> <dialogue>Ah, it's probably a phony.</dialogue> <scene_description>Saying this , he bites down on it . winces as a tooth cracks . BARNEY tugs Fred 's sleeve , pulls him close .</scene_description> <character>BARNEY</character> <dialogue>Gee, Fred, how come I did n't get any business cards?</dialogue> <character>FRED</character> <dialogue>Barney, it's all part of the plan.</dialogue> <parenthetical>( to the others . )</parenthetical> <dialogue>Yes, boys, you see, I went up to my pal, Mister Slate and single - handedly made him an offer he could n't refuse -</dialogue> <scene_description>-LRB- Barney reacts to the `` single - handedly '' - -RRB-</scene_description> <character>FRED</character> <dialogue>- ` Freddy boy,' he sez to me, ` We got ta talk turkey -'</dialogue> <character>BARNEY</character> <dialogue>Fred, we got ta talk turkey -</dialogue> <character>FRED</character> <dialogue>That's right - just like that -</dialogue> <character>BARNEY</character> <dialogue>Fred -!</dialogue> <scene_description>Fred realizes Barney 's got something on his mind .</scene_description> <character>FRED</character> <dialogue>Ah, excuse us, boys.</dialogue> <scene_description>NEW ANGLE Fred pulls Barney into a quiet corridor . They stand near a trophy case . There 's some bowling trophies here with a variety of names on them . -LRB- There 's also trophies for `` pie - eating contests '' and `` beer drinking chug - offs '' ; these have only Fred 's name on them . -RRB-</scene_description> <character>BARNEY</character> <dialogue>Fred. what's this single - handed stuff? I distinctly remember at least four hands and two of them were mine.</dialogue> <character>FRED</character> <parenthetical>( lowered voice . )</parenthetical> <dialogue>Barney, we could tell everyone how you invented this Fibrerock stuff, how Slate and Lava found out about it by accident and all, but what would that be?</dialogue> <character>BARNEY</character> <dialogue>The truth?</dialogue> <character>FRED</character> <dialogue>This is big business, Barney. We ca n't start telling the truth, it'd create the wrong impression. Think about all the really big deals in history - back to the beginning of recorded time.</dialogue> <scene_description>Barney knits his brow in thought for maybe three seconds .</scene_description> <character>BARNEY</character> <dialogue>Okay.</dialogue> <character>FRED</character> <dialogue>What do they all have in common?</dialogue> <parenthetical>( as Barney is stumped . )</parenthetical> <dialogue>I'll tell you. A front man. A guy who's out in the public eye running the point, fighting the crowds. and meanwhile. back in the corner is the silent partner.</dialogue> <character>BARNEY</character> <dialogue>I never knew that.</dialogue> <character>FRED</character> <dialogue>That's because the silent partner is always silent. But while you're busy being silent -.</dialogue> <parenthetical>( conspiratorially . )</parenthetical> <dialogue>- all along you're the brains behind the operation and I'm the brains in front of the operation. I'm out here running the guts of the operation but you got a cut. It looks like my mind, but you're really behind.</dialogue> <character>BARNEY</character> <dialogue>I get it. I got the brains, but you just pretend to have them.</dialogue> <character>FRED</character> <dialogue>Attaboy!</dialogue> <scene_description>And a confident Fred shakes hands with an unsure `` silent partner '' .</scene_description> </scene> <scene> <stage_direction>EXT. FLINTSTONE/RUBBLE HOUSES - DAY</stage_direction> <scene_description>Barney comes out of his front door , heads toward the neighboring driveway and Fred 's car . Betty comes out , calls to her husband .</scene_description> <character>BETTY</character> <dialogue>Barney, wait a minute.</dialogue> <scene_description>CLOSER He stops , turns . Betty comes over and we see he 's wear - ing a sports jacket and an abysmally - tied tie . Betty fixes the knot .</scene_description> <character>BETTY</character> <dialogue>There. That looks more like a captain of industry.</dialogue> <character>BARNEY</character> <dialogue>Thanks, Betty. What would I do without you?</dialogue> <character>BETTY</character> <dialogue>Hmm. Probably run off to the tropics with one of those executive secretaries.</dialogue> <character>BARNEY</character> <dialogue>Come on, Betty, it's only my first day. You have to have seniority to run off.</dialogue> <scene_description>She giggles , kisses him . FRED is at the car door , lunch pail in hand , when Wilma calls out to him .</scene_description> <character>WILMA</character> <dialogue>Fred! Wait a minute! There's something wrong with your lunch -</dialogue> <character>FRED</character> <parenthetical>( `` weighing it '' . )</parenthetical> <dialogue>Yeah. it does feel a little light.</dialogue> <scene_description>He returns to her , opens the pail , is surprised to find it 's empty . Before he can comment , she smilingly presents him with a spanking new briefcase . `` F.F '' is embossed on it in gold .</scene_description> <character>WILMA</character> <dialogue>Fit for a king. my king.</dialogue> <character>FRED</character> <dialogue>Aw, Wilma. lookit, it's got buckles, a strap, a lock -</dialogue> <scene_description>He opens it . Inside is a huge drumstick and some ribs .</scene_description> <character>FRED</character> <dialogue>- Baby, you're the greatest.</dialogue> <character>WILMA</character> <parenthetical>( kissing him . )</parenthetical> <dialogue>Good luck.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Watch out for those. you know. hostile takeovers.</dialogue> <character>FRED</character> <dialogue>I'm already taken.</dialogue> <scene_description>He moves to the car .</scene_description> <character>FRED</character> <dialogue>Ah, Mister Rubble, I presume? Of the Fibrerock Rubbles?</dialogue> <character>BARNEY</character> <dialogue>Yes, yes. Looking good, Mister Flintstone. I see you've recovered from that polo accident.</dialogue> <character>FRED</character> <dialogue>Yas, yas. The water was too deep and my horse drowned.</dialogue> <scene_description>They crack up at their own wit , drive off . SLATE QUARRY - LAVA 'S OFFICE - DAY Lava 's on the phone , very worried .</scene_description> <character>LAVA</character> <dialogue>Ivan, look, okay, so I bought too much on margin. everyone said glaciers were here to stay, I mean, who knew? Just leverage my shares in Atlantis dry goods and - what? When did that happen?</dialogue> <scene_description>Piltdown enters , knocks on the open door .</scene_description> <character>PILTDOWN</character> <dialogue>Mister Lava, the armored car is here.</dialogue> <character>LAVA</character> <dialogue>Armored car?</dialogue> <character>PILTDOWN</character> <dialogue>Yeah. Must be a fortune in coo - coo berries on that baby. You know, for that Fibrerock stuff of Flintstone and Rubble's. You got ta sign here for it.</dialogue> <character>LAVA</character> <parenthetical>( into phone . )</parenthetical> <dialogue>I. I'll get back to you.</dialogue> <scene_description>Lava comes over , signs the form . Meanwhile he looks out the window at - HIS POV - ARMORED CAR The guards are unloading sacks of coo - coo berries . BACK TO SCENE Lava signs the form , meanwhile looking Piltdown up and down . Finally -</scene_description> <character>LAVA</character> <dialogue>Piltdown, this Fibrerock program is going to create a lot of changes around the plant. I want to make one more. You've been a wonderful thug and goon for me. Now, I'd like to expand your duties. I want you to become a provocateur.</dialogue> <character>PILTDOWN</character> <dialogue>Gee, Mister Lava, I donno. I kinda like girls myself.</dialogue> <character>LAVA</character> <parenthetical>( patiently . )</parenthetical> <dialogue>What I mean, is, I'm going to use you to double - cross your Lodge and Union brothers, and make their lives a living hell.</dialogue> <character>PILTDOWN</character> <dialogue>Oh, okay.</dialogue> <character>LAVA</character> <dialogue>Good. You and your little pal will report directly to me and take orders only from me.</dialogue> <parenthetical>( slapping him on the back . )</parenthetical> <dialogue>Now get out of here and start screwing your former friends and associates.</dialogue> <scene_description>Piltdown leaves , smiling . Lava rubs his chin , thoughtful .</scene_description> <character>LAVA</character> <dialogue>Coo - coo berries.</dialogue> </scene> <scene> <stage_direction>EXT. QUARRY - DAY</stage_direction> <scene_description>Fred and Barney appear in Fred 's car , make a very quick turn into the quarry lot . CLOSER They both duck down behind the wheel . A moment later , Feldspar 's patrol car comes barrelling by . Feldspar looks every which way , does n't spot them .</scene_description> <character>BARNEY</character> <parenthetical>( when he 's gone . )</parenthetical> <dialogue>Gee, Fred, driving with you is better than an ` E' ticket at Magerock Mountain.</dialogue> <character>FRED</character> <parenthetical>( getting out . )</parenthetical> <dialogue>Gets the old adrenaline going, Barn. Us big executives, we need that kind of jolt to get the old wheels turning.</dialogue> <scene_description>Lava comes INTO VIEW , carrying an armload of plans .</scene_description> <character>LAVA</character> <dialogue>Flintstone! Rubble!</dialogue> <character>BARNEY</character> <dialogue>Oh, hi, Mister Lava.</dialogue> <character>LAVA</character> <dialogue>Please, call me Jerry. Uncle - I mean, Mister Slate told me to take you to your offices. If you'll follow me?</dialogue> <scene_description>They move along . Fred notices a hotbed of activity nearby . Workers move scaffolding , animals labor .</scene_description> <character>FRED</character> <dialogue>Hey. What's going on?</dialogue> <character>LAVA</character> <dialogue>The Fibrerock assembly line. Unc - Mister Slate's had a crew working on it all weekend. We're going to roll out the first sheets of Fibrerock by mid - week.</dialogue> <character>FRED</character> <dialogue>Yes, yes. Quick, dynamic entry into the marketplace. I approve.</dialogue> <character>BARNEY</character> <dialogue>But, Fred, it's right where the employee basketball court used ta be -</dialogue> <character>FRED</character> <dialogue>Hey, you're right.</dialogue> <parenthetical>( resigned . )</parenthetical> <dialogue>. Big business is hell, Barney. Trust me. you'll get used to it.</dialogue> <character>BARNEY</character> <dialogue>I guess so. You already did.</dialogue> <scene_description>Lava leads them to a wood - sided trailer .</scene_description> <character>LAVA</character> <dialogue>Well, gentlemen, here you are. As soon as you're settled, come over to the assembly line. We'll go over the Fibrerock formula before the first run.</dialogue> <scene_description>He goes off . Fred and Barney go - INSIDE TRAILER There 're two tiny little desks at the far end , separated by a flimsy divider . The single window here looks out over the quarry scrap heap . -LRB- As we watch , somebody dumps a load of debris . -RRB- Threadbare furniture on a worn rug sits under a portrait of `` Our Founder '' -LRB- Slate -RRB- . BACK TO SCENE Fred and Barney look at all this in turn . Pause . Then they whirl , give each other high - fives .</scene_description> <character>BARNEY</character> <dialogue>All - right!</dialogue> <character>FRED</character> <dialogue>Welcome to the top - partner.</dialogue> <scene_description>And as they shake , we - MONTAGE - ASSEMBLY LINE - DAY Now , accompanied by heroic `` industrial '' - type MUSIC , we see the Fibrerock assembly line in full operation . This can not be described now with appropriate justice , but it involves a series of animal - powered conveyor belts , Rube Goldberg - like funnels , spouts and chutes , and all sorts of gadgets , gizmos , bells and whistles , to wit : At one end of the building , dino - powered dumpsters and lifters drop off all the ingredients ; these get stomped / chewed/bashed and otherwise reduced to powder , which is then -LRB- courtesy of some squirting Mastodans -RRB- mixed with water into a foam , which bubbles through a long sawmill - type trough and is held back by a gate . Meanwhile , we see a sample item -LRB- in this case , a stone sofa -RRB- as it is placed before two `` goatasauruses '' which butt heads and smash the sofa between the two halves of a clay mold . When the mold is opened and the sofa tossed aside , Barney appears and personally `` aims '' the foam trough at a funnel in the top of the mold . Pausing to `` taste '' the mix , he smiles , then shouts -</scene_description> <character>BARNEY</character> <dialogue>Ready. aim. fibre!</dialogue> <scene_description>Barney pulls a rope which opens the trough . `` Fibrefoam '' pours into the mold . THE CLAY MOLD gets `` winched '' unpwards by monkeys , and then an alliga - torsaurus whaps it with its tail . BELOW Presto ! A Fibrerock copy of the stone sofa drops neatly out of the mold , bounces lightly on the conveyor belt below ! It sparkles with the tell - tale celadon - green shimmer of Fibrerock . As it chugs along , the process repeats , and soon a score of identical sofas is in view . END OF ASSEMBLY LINE as a beaming Fred watches , workers easily stack the Fibrerock sofas -LRB- often one - handed -RRB- . Nearby , we see Fibrerock window frames , doors , chairs , etc. . UP ANGLE - SLATE 'S OFFICE BALCONY Slate and Lava watch the progress , dollar signs in their eyes . LONG MATTE SHOT - SLATE QUARRY - LATE AFTERNOON Fibrerock products are stacked up everywhere , stretching away like the inventory in Charles Foster Kane 's warehouse . We see everything from Fibrerock bricks to Fibrerock table lamps to Fibrerock toilets . MUSIC OUT . CLOSER - QUARRY YARD Fred and Barney , weary , approach each other , shake hands as they view the day 's incredible output . Other weary , but proud workers gather around them : Mr. Slate is about to address them from his office balcony .</scene_description> <character>SLATE</character> <dialogue>Men, this is a proud day for Slate Construction. You have seen the first pieces of Fibrerock roll off the assembly line and into history. a history you are all part of. thanks to your very own fellow worker, Fred Flintstone!</dialogue> <scene_description>WORKERS - FAVORING FRED AND BARNEY They cheer Slate 's remarks , pat Fred on the back . BACK TO SCENE</scene_description> <character>SLATE</character> <dialogue>No longer will man and beast bend under the backbreaking load of stone and rock and timber. because Fibrerock is so light that even a child can handle it.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>That's why on Monday we're going to hire two dozen children from Bedrock Technical Junior High. They'll be replacing the 36 heavy equipment operators, 15 shaft diggers and 22 laborers we're laying off today. Your pink slips will be in your final pay envelopes along with a ticket to the grand opening of Slate City. It's non - transferable, so hang on to it. Thank you, and have a nice weekend.</dialogue> <scene_description>THE QUARRY YARD The workers stand slack - jawed and stunned .</scene_description> <character>WORKER #1</character> <dialogue>Laid off -?</dialogue> <character>WORKER #2</character> <dialogue>Pink slip -?</dialogue> <character>WORKER #3</character> <dialogue>Thanks to Fred Flintstone?</dialogue> <character>WORKER #4</character> <dialogue>Flintstone! What kinda shop steward are you?</dialogue> <scene_description>All eyes swivel and bore into Fred , who is as shocked as anyone .</scene_description> <character>BARNEY</character> <dialogue>Fred. You got ta do something about this!</dialogue> <character>FRED</character> <dialogue>I do?</dialogue> <parenthetical>( realizing . )</parenthetical> <dialogue>I mean, I do, yeah!</dialogue> <scene_description>He squares his shoulders , marches off .</scene_description> <character>BARNEY</character> <parenthetical>( proudly . )</parenthetical> <dialogue>That's my Fred.</dialogue> </scene> <scene> <stage_direction>INT. SLATE'S OFFICE - DAY</stage_direction> <scene_description>Slate is practicing hitting golf balls into an automatic putting cup . Lava and some office workers are checking a blueprint against a model of `` Slate City '' which is made out of Fibrerock . A ball shoots back at Slate , who tees up again . INSIDE THE PUTTING CUP A little MOUSE in a complete hockey outfit jumps to catch the ball . Stopping it with his little hockey stick , the Mouse gasps , raises its hockey mask .</scene_description> <character>MOUSE</character> <dialogue>Whew. And it's still pre - season.</dialogue> <scene_description>He whaps the ball to Slate again . BACK TO SCENE Slate tees up the ball again . Fred barges in , banging the door . Startled , Slate drives the ball instead of putting it . It sails across the room and SHATTERS a PICTURE of Mrs. Slate .</scene_description> <character>SLATE</character> <parenthetical>( furious . )</parenthetical> <dialogue>Flintstone!</dialogue> <character>FRED</character> <parenthetical>( undeterred . )</parenthetical> <dialogue>Mr. Slate - we got ta talk -</dialogue> <character>SLATE</character> <dialogue>We do, eh? About what?</dialogue> <character>FRED</character> <dialogue>About those guys outside, Mr. Slate. Some of'em, well, they been here for years. And you, well, you ca n't lay them off just like -.</dialogue> <parenthetical>( snapping fingers . )</parenthetical> <dialogue>- that!</dialogue> <scene_description>Slate looks at Lava , who shrugs . Slate looks back at Fred , stays surprisingly calm . He toys with the putter , balances it on his palm .</scene_description> <character>SLATE</character> <dialogue>Of course I can, Fred. I can lay them off like -.</dialogue> <parenthetical>( snapping fingers . )</parenthetical> <dialogue>- that, or like -.</dialogue> <parenthetical>( a different style snap . )</parenthetical> <dialogue>- that, or like -</dialogue> <scene_description>He does a really nifty snap which combines with a buck - and - wing with the putter .</scene_description> <character>SLATE</character> <dialogue>- that.</dialogue> <character>FRED</character> <parenthetical>( bravura slipping . )</parenthetical> <dialogue>Oh, you can, huh?</dialogue> <character>LAVA</character> <dialogue>Of course he can, Flintstone. It's his quarry.</dialogue> <character>SLATE</character> <parenthetical>( still calm , warm . )</parenthetical> <dialogue>That's right. Why -.</dialogue> <parenthetical>( chuckling . )</parenthetical> <dialogue>I could lock the front door and go fishing if I wanted!</dialogue> <scene_description>Lava laughs along with the office staff and Slate . Fred chuckles a little to fit in .</scene_description> <character>SLATE</character> <parenthetical>( winking . )</parenthetical> <dialogue>Why, I could even fire Lava here if I wanted.</dialogue> <scene_description>Lava quivers with mock surprise . Everyone really laughs , now .</scene_description> <character>SLATE</character> <dialogue>Or.</dialogue> <parenthetical>( wiping away a tear . )</parenthetical> <dialogue>I could fire you, Fred.</dialogue> <character>FRED</character> <parenthetical>( guffawing . )</parenthetical> <dialogue>Me! Ah, ha, that's rich, Mr. Slate, that's -</dialogue> <scene_description>Suddenly Fred stops laughing .</scene_description> <character>SLATE</character> <dialogue>Flintstone, Lava, here, recommended that you be in charge of public relations to get Fibrerock off to a good start. I'm a member of that public, Flintstone, and I have to say. this is n't a good start. I'm getting a bad feeling about Fibrerock. A bad feeling about. you. You want that feeling to go away, do n't you?</dialogue> <character>FRED</character> <dialogue>Uh. well, gee, I. uh, yeah.</dialogue> <character>SLATE</character> <dialogue>Good. Then turn around and walk out of here and we'll forget all about this.</dialogue> <scene_description>Fred swallows , looks at Lava , goes meekly out .</scene_description> </scene> <scene> <stage_direction>EXT. QUARRY YARD - DAY</stage_direction> <scene_description>All the Workers watch expectantly as Fred comes out . They AD LIB -</scene_description> <character>WORKERS</character> <dialogue>Well? What'd he say? Ol' Freddie boy told him a thing or two. Probably got us a raise. Right, Fred? Fred?</dialogue> <character>FRED</character> <dialogue>Akkk. something. noble. man. job. nose. wheel. shoulder. grindstone. hommm. yggggg.</dialogue> <character>BARNEY</character> <parenthetical>( worried . )</parenthetical> <dialogue>Fred?</dialogue> <scene_description>Fred staggers over to his locker , opens it . gets in , and closes the door . We hear a MUFFLED SOB . A NEW ANGLE As the workers slowly realize the mighty Casey has struck out .</scene_description> </scene> <scene> <stage_direction>EXT. FLINTSTONE &amp; RUBBLE LAWNS - DAY</stage_direction> <scene_description>Betty and Wilma stand , determined , while the kids gripe .</scene_description> <character>PEBBLES</character> <dialogue>But, Mommy, I wan na go roller skating.</dialogue> <character>BAM-BAM</character> <parenthetical>( mouth full . )</parenthetical> <dialogue>Yeagh. ` hend thugh guys wher ghoing -.</dialogue> <parenthetical>( swallow , munch . )</parenthetical> <dialogue>- to play rockball at Paleolithic Park -</dialogue> <scene_description>Betty wipes Bam - Bam 's mouth , smiles sweetly .</scene_description> <character>BETTY</character> <dialogue>Well, you're both going to change your plans. Your new school is going to have a talent show. and you're going to have some talent.</dialogue> <character>WILMA</character> <dialogue>You do n't have to win. honorable mention or most Kongenial Kids is perfectly acceptable.</dialogue> <character>PEBBLES</character> <parenthetical>( aside . )</parenthetical> <dialogue>As long as we beat the pants offa Mrs. Slate's nephew.</dialogue> <character>WILMA</character> <dialogue>Young lady, this is not about beating pants, this is about becoming a well rounded child. Now, what kind of act will you do?</dialogue> <character>BAM-BAM</character> <dialogue>How about a disappearing act?</dialogue> <scene_description>He takes a tentative step away but Betty grabs him .</scene_description> <character>BETTY</character> <dialogue>We're waiting.</dialogue> <scene_description>Pebbles and Bam - Bam sigh , huddle . We hear snatches of discussion .</scene_description> <character>PEBBLES</character> <dialogue>Wan na recite something? ` Inky Dinky Spidersaurus.'?</dialogue> <character>BAM-BAM</character> <dialogue>Nah, what are we, little kids? How ` bout magic tricks? We could cut up a newspaper -</dialogue> <character>PEBBLES</character> <dialogue>But then we'd need a hammer and chisel. oh, what about that thing with Dino?</dialogue> <character>BAM-BAM</character> <dialogue>That dumb thing? You think so?</dialogue> <scene_description>Pebbles turns , the decision made .</scene_description> <character>PEBBLES</character> <dialogue>Okay. We're gon na sing a song with Dino.</dialogue> <scene_description>Instantly , on cue , Dino leaps out of nowhere , holding a straw hat and a cane . Wilma and Betty look at each other , skeptical . Bam - Bam reaches into his shirt and takes out a whistle . He blows it -</scene_description> <character>PEBBLES</character> <dialogue>A one - and - a - two and - a -</dialogue> <scene_description>WIDER MUSIC comes UP and Dino and his little friends do a dance routine we will call `` The Dino Dance . '' It is a spectac - ular blend of soft - shoe and the kind of dog - and - pony - show gags usually seen in the circus or on the Ed Sullivrock show . Most importantly , the routine includes the following : A -RRB- Dino leaps back and forth through a hoop . B -RRB- The kids tie down a jump rope and Dino does a wire walk . C -RRB- And finally , Dino uses his tail to flip the kids onto his back , culminating in a big `` ta - da '' after they all slide down the rope for a big finish . NEW ANGLE</scene_description> <character>THE KIDS</character> <parenthetical>( winding up . )</parenthetical> <dialogue>You can keep the Twist, The Frug and Hop I do n't need to Shimmy, I do n't need to Bop'Cause I'm doin' doin' doin' The Igneous Rock!</dialogue> <scene_description>Panting for breath , Pebbles , Bam - Bam and Dino wait for a reaction .</scene_description> <character>BETTY</character> <parenthetical>( to Wilma , impressed . )</parenthetical> <dialogue>Well? Think they're ready for the talent show?</dialogue> <character>WILMA</character> <dialogue>I think they're ready for Rock Vegas.</dialogue> <scene_description>As they laugh and hug the kids and Dino , we -</scene_description> </scene> <scene> <stage_direction>EXT. LODGE HALL - THAT NIGHT</stage_direction> <character>HERDMASTER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Fellow Water Buffalo. In a few moments we will cast our votes for the lodge officers.</dialogue> </scene> <scene> <stage_direction>INT. LODGE HALL</stage_direction> <scene_description>TIGHT ON Fred as he leans back in his usual chair .</scene_description> <character>HERDMASTER</character> <dialogue>The election committee will make the preparations.</dialogue> <character>FRED</character> <parenthetical>( confident . )</parenthetical> <dialogue>Since when do you have to prepare for a landslide, right, guys?</dialogue> <scene_description>Pause as Fred waits for a reply . He turns . SHOT WIDENS as he realizes no one is sitting near him . He looks around and sees - HIS POV - FRED 'S POSTER It 's been altered to read `` Fred Finkstone . '' Also added to Fred 's image are horns , a beard and other choice touches . BACK TO SCENE Fred looks around , sees Barney approaching , having just left a group of angry Buffalo .</scene_description> <character>FRED</character> <dialogue>Barn - w - what's going on?</dialogue> <character>BARNEY</character> <dialogue>They're mad at you, Fred. it's understandable, I mean, they all got laid off today -</dialogue> <scene_description>Fred crosses to the other guys , puts on a big smile .</scene_description> <character>FRED</character> <dialogue>Guys, guys, come on now - what's a quarry fulla layoffs got to do with a lodge fulla Buffaloes?</dialogue> <character>BARNEY</character> <dialogue>Is that a riddle? Give me a second -</dialogue> <character>PYRITE</character> <parenthetical>( stepping forward . )</parenthetical> <dialogue>I'll tell ya what! Mosta the guys in this lodge work for Mr. Slate -</dialogue> <character>PILTDOWN</character> <dialogue>- You mean used to work for him - until somebody opened their big mouth -</dialogue> <character>FRED</character> <dialogue>Fellas, come on. We're all big boys here -</dialogue> <scene_description>He gestures vaguely towards the outside world , then back to the little band of brothers here .</scene_description> <character>FRED</character> <dialogue>Surely we can separate in our minds work, and play. Job, and Lodge.</dialogue> <character>PILTDOWN</character> <parenthetical>( pointing at Fred . )</parenthetical> <dialogue>Candidate and double - crossing back stabber?</dialogue> <parenthetical>( turning . )</parenthetical> <dialogue>Herdmaster! I move we commence the meeting. and the election!</dialogue> <character>PYRITE</character> <dialogue>I second the motion!</dialogue> <character>HERDMASTER</character> <dialogue>All in favor, say -</dialogue> <character>FRED</character> <dialogue>Wait, wait. Your Antlerness, please, one second -!</dialogue> <scene_description>Fred grabs Barney by the shoulder , spins him around , pushes him forward like a refrigerator on a dolly , stands him up center stage .</scene_description> <character>FRED</character> <dialogue>Barney, you got ta tell the other guys what really happened. Tell'em the story behind Fibrerock. The true story.</dialogue> <scene_description>The room quiets . Barney clears his throat . Fred waits , hopeful .</scene_description> <character>BARNEY</character> <dialogue>Well, there's not much to tell.</dialogue> <parenthetical>( trying to remember Fred 's phraseology . )</parenthetical> <dialogue>True, I got a cut. but Fred's got a gut.</dialogue> <character>FRED</character> <dialogue>No, no, the rest -!</dialogue> <character>BARNEY</character> <dialogue>Oh, yeah, I remember! I got the mind, but Fred's got the behind. Right, Fred?</dialogue> <scene_description>Barney turns , gives Fred a big wink . Fred groans .</scene_description> <character>HERDMASTER</character> <dialogue>Thank you, Brother Rubble. The Buffaloes will now have their secret vote.</dialogue> <parenthetical>( a command . )</parenthetical> <dialogue>Fit. furs!</dialogue> <scene_description>Everyone pulls their horned fezzes down over their eyes .</scene_description> <character>HERDMASTER</character> <dialogue>Paw. ground!</dialogue> <scene_description>Everyone does a bull - like stomp and scrape .</scene_description> <character>HERDMASTER</character> <dialogue>All for Piltdown, bellow now!</dialogue> <scene_description>The room ECHOES with MOOSE - LIKE SNORTS .</scene_description> <character>HERDMASTER</character> <dialogue>All for Flintstone, bellow now!</dialogue> <scene_description>Fred snorts , sounding like Herb Alpert 's lonely bull . Even under his furry fez we see him `` looking around '' desperately , hoping to hear one more snort . He kind of sneaks in one more forlorn grunt which fades away . finally , as Fred squirms miserably , there is one more lonely snort . from Barney , of course .</scene_description> <character>HERDMASTER</character> <dialogue>Order furs!</dialogue> <scene_description>The fezzes come up .</scene_description> <character>HERDMASTER</character> <dialogue>The snorts have it! Brother Piltdown, it is my privilege to install you as the new Exalted Herdmaster Erect Antler and Big Buck of our Lodge. If you'll come forward, I will present you with the tokens of office.</dialogue> <scene_description>Cheers and applause as Piltdown goes to the podium . FAVORING FRED AND BARNEY Fred 's a broken man . Barney moves over , puts his arm around him .</scene_description> <character>BARNEY</character> <dialogue>I voted for you, Fred.</dialogue> <character>FRED</character> <dialogue>Big deal, after you screwed everything up in the first place!</dialogue> <scene_description>Barney reacts , really hurt . He moves away on the bench . Fred 's so agitated he does n't even realize it . WIDER Piltdown accepts the festooned fez and shoulder ribbon , smiles at the group .</scene_description> <character>PILTDOWN</character> <dialogue>Thank you, Brother Chairman. Fellow Buffaloes, I'm a man of few words. It's no secret that most of our lodge members are also members of Amalgamated Neolithic 101. which means that most of us are n't gon na be able to make our cave payments next month. So my agenda for tonight. ends right now. There's a time to be a Buffalo. there's a time ta be a brown nosin' double - crossin' creep.</dialogue> <scene_description>All heads turn and swivel to look at Fred . swivel back .</scene_description> <character>PILTDOWN</character> <dialogue>and there's a time to stand up and be a man! So let's go down there and make the Slate shop into slate scrap. then we'll see how he gets along without the heavy equipment operators of Neolithic 101! Meeting adjourned!</dialogue> <scene_description>With angry grumbles and threats , the meeting breaks up . Fezzes are thrown into cubby holes and hard hats are slapped on . The Buffalo run out . When the dust clears , we see that only one member has avoided the herding instinct : Barney . Now , he turns , runs into - BUFFALO LODGE - RECREATION AREA - NIGHT Fred is at the bar , opening a beer . He looks wistfully at the old , framed picture on the wall - reacts as he sees - PICTURE Even his childhood shot has been defaced . BACK TO SCENE He sets his jaw with a `` screw 'em '' expression , downs his beer . Then Barney runs up , shakes him by the shoulders .</scene_description> <character>BARNEY</character> <dialogue>Fred! Fred! The Buffalo are heading for big trouble -!</dialogue> <character>FRED</character> <dialogue>No kidding. They rejected the best candidate -</dialogue> <character>BARNEY</character> <dialogue>No, no, not that! Piltdown's got the guys all worked up and they're heading down to the quarry! They're gon na wreck the assembly line!</dialogue> <character>FRED</character> <parenthetical>( genuinely worried . )</parenthetical> <dialogue>Oh, no! That - that's horrible!</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>We could end up with half a percent of nothing!</dialogue> <character>BARNEY</character> <dialogue>No, Fred, if they do that they'll be breakin' the law! Our brother Buffalo could go to jail!</dialogue> <character>FRED</character> <dialogue>Oh, yeah, yeah, that, too. come on, Barn, we got ta stop'em!</dialogue> </scene> <scene> <stage_direction>EXT. SLATE QUARRY - NIGHT</stage_direction> <scene_description>Silent , empty . CAMERA PANS FROM the still yard TO the gate . Down the road , we see Piltdown leading the angry mob . Quickly , they go to the gate , climb up and over it !</scene_description> <character>PILTDOWN</character> <dialogue>Okay! Let's start with Slate's golf trophies and work our way up to the assembly line!</dialogue> <scene_description>AD LIB angry cheers , and the mob storms into the plant , knocking aside equipment and supplies . IN CAR - FRED AND BARNEY - NIGHT Both pedaling like mad .</scene_description> <character>FRED</character> <dialogue>I do n't believe this. how did things ever get this out of hand -?</dialogue> <character>BARNEY</character> <dialogue>I know. Makes you wish things were back the way they were. before we was big executives.</dialogue> <character>FRED</character> <dialogue>Well, I would n't go that far.</dialogue> <scene_description>Suddenly they 're interrupted by the sound of a SIREN . Fred looks back and sees - FELDSPAR AND GRAVEL Coming up from rear . Feldspar grabs his megaphone as he pulls abreast of Fred .</scene_description> <character>FELDSPAR</character> <dialogue>Flintstone! Pull over!</dialogue> <character>FRED</character> <dialogue>Oh, no, not now.</dialogue> <scene_description>Feldspar signals Fred onto the shoulder . Fred smiles , nods . CLOSE ON FRED 'S FEET He slams them down through the floorboard - WIDER Fred 's CAR SKIDS , spins out , whirling around like a record on a turntable . It jerks to a halt 180 degrees later , and then ROARS off in the opposite direction . FELDSPAR So astonished he follows this action with his head . a bad move because -</scene_description> <character>GRAVEL</character> <dialogue>Sarge! Look out -!</dialogue> <scene_description>NEW ANGLE The patrol CAR runs off the road , CRASHING into a stone fire hydrant . Water squirts into the air . Feldspar and Gravel are drenched . They 're just coming to their senses when the ground heaves - the car 's front wheels rise - NEW ANGLE As we see that the water spout is actually coming from the blowhole of a whale which now sticks a bit of its head up from under the broken curb .</scene_description> <character>WHALE</character> <dialogue>I'm gon na sue you for everything you got -</dialogue> <scene_description>SLATE QUARRY - NIGHT Led by Piltdown , the workers have grabbed a big timber which they 're using like a battering ram on the doors of the assembly line building . Suddenly , with a crash , the doors go down ! Piltdown and Pyrite stand back while the angry workers rush past them .</scene_description> <character>PILTDOWN</character> <parenthetical>( loudly . )</parenthetical> <dialogue>Now we'll show'em who's boss!</dialogue> <character>PYRITE</character> <dialogue>They ca n't push us around!</dialogue> <scene_description>Piltdown and Pyrite smash a few items to get everybody juiced up , and then . when no one is looking . they slip out the back ! REAR OF QUARRY - NIGHT Fred pulls into the lot , slams his feet down to stop - we hear SKIDDING - they fishtail all over , slam right through a storage area for crates and barrels which collapse all around them . Finally they slam broadside into the main Quarry build - ing , knocking a hole in the wall . NEW ANGLE Fred and Barney cough in the rising dust . Neither one of them sees what we see , which is that visible in the hole in the wall is the Slate Company 's granite - doored safe . and right beside it is the Xenosaurus , which now jumps up , startled , dropping a crowbar and a big hand drill . Recovering its composure , the Xenosaurus grabs up the tools as well as a big canvas bag and tiptoes away , vanishing just as our heroes stir .</scene_description> <character>FRED</character> <parenthetical>( double - taking . )</parenthetical> <dialogue>Barn! Did you see that -?</dialogue> <parenthetical>( peering through the dust . )</parenthetical> <dialogue>- Huh, now it's gone. I coulda sworn.</dialogue> <character>BARNEY</character> <dialogue>Come on Fred. Time to earn those big bucks.</dialogue> <scene_description>They rush into the plant .</scene_description> </scene> <scene> <stage_direction>INT. ASSEMBLY LINE - NIGHT</stage_direction> <scene_description>As the workers continue their rampage , Piltdown and Pyrite reappear .</scene_description> <character>PYRITE</character> <dialogue>Darn that Flintstone and Rubble. they're gon na screw everything up.</dialogue> <character>PILTDOWN</character> <dialogue>Not if we give'em a nice long vacation. in the hospital.</dialogue> <scene_description>Saying this , he grips tightly on a wrench . Then some rampaging workers rush by . Piltdown gives them an encour - aging cheer , and then he and Pyrite lead them up some stairs to the assembly line catwalk . There , Pyrite begins SMASHING some LIGHT FIXTURES with a club , while Piltdown uses brute strength to snap big support beams which he flings below . CLOSE - PYRITE Winds up for another baseball - type swing - but as he follows through , the ball - shaped light fixture jerks up on its cable . Unable to stop in time , Pyrite spins around , falls on his ass . Barney drops down INTO VIEW , hanging horizontally from the rafters . He 's holding the light fixture with his free hand .</scene_description> <character>BARNEY</character> <dialogue>Stee - rike one! Heh - hey. Ready for a curve ball?</dialogue> <scene_description>Pyrite does n't have a sense of humor ; club in hand , he jumps up , starts chasing Barney through the rafters . PILTDOWN Spits on his hand , grabs another big beam . He pulls down on it . but it does n't snap , it goes right up again . Puzzled , he pulls down on it again . there 's another see - saw motion . This time Piltdown goes with the flow , pushes up and peers under the beam . NEW ANGLE Fred is hanging on the other end .</scene_description> <character>FRED</character> <dialogue>Brother Piltdown. can we talk about this, antler to antler?</dialogue> <scene_description>Piltdown roars , begins slamming the girder up and down .</scene_description> <character>FRED</character> <dialogue>Guess not.</dialogue> <scene_description>Fred inches down the shuddering beam , jumps off . Freed of Fred 's weight , the other end `` BOINGS '' down on Piltdown 's head . He groans , recovers in time to chase after Fred . BARNEY AND PYRITE Square off in the rafters .</scene_description> <character>BARNEY</character> <dialogue>Give me your best shot.</dialogue> <scene_description>Pyrite swings . Barney ducks and Pyrite SMASHES a WINDOW pane . Barney dodges again and the same thing happens . Getting cocky , Barney does it one more time . but this time the window is hinged in the center and the swivel action after the hit whaps Barney on the back and knocks him into Pyrite 's next blow . FRED Is backpedaling away from Piltdown on the upper super - structure of the assembly line . Fred scrapes one foot in an arc in front of him .</scene_description> <character>FRED</character> <dialogue>Dare you to cross that line.</dialogue> <scene_description>Piltdown crosses it .</scene_description> <character>FRED</character> <dialogue>That line.</dialogue> <scene_description>Piltdown crosses it . Fred `` marks '' another one . Piltdown does n't even wait for the challenge , takes a giant step . Oops . Bad idea : The last `` line '' was at the edge of a straight drop ! Piltdown yelps , `` treads air '' in the best cartoon manner - and then desperately grabs a handful of Fred 's clothing ! Both men fall - at the last minute Piltdown catches a ladder ! BELOW - ASSEMBLY LINE Fred lands with a thud right in the clay mold used to form the Fibre products ! Worse , the impact arouses the goatasauruses out of their sleep . Dutifully , they rise , and then ram both sides of the mold just as Fred is struggling to his feet ! Fred 's yell is muffled by the clay . OTHER ASSEMBLY LINE ANIMALS Aroused by the `` start up '' of the assembly line , they do their job . Fibre foam begins to chug down the trough : The alligator crane picks up the mold , shakes it . FRED is flung to the conveyor belt , stiffly caked in clay . THE FIBRE MOLD shudders - and shakes out a Fibre statue of . Fred ! BELOW The real Fred , moving stiffly like a robot , is getting to his feet when his Fibre doppleganger slams him to the mat again ! A moment later , another `` Fred '' drops down beside him . PILTDOWN Has descended the ladder , hopping mad . Now , he sees Fred coming toward him . Piltdown breaks a big lever off the equipment , swings - reacts astonished as `` FRED '' SHATTERS . FRED Back down the line , he 's seen this . His clay - caked Adam 's apple gulps . Quickly , he turns and tries to `` tip - toe '' away - then , with a CREAK and CRUNCH - the clay and Fibre all over him solidifies ! Desperate , he tries to move . ca n't ! PILTDOWN Watches , confused , as dozens of Fred Flintstones chug towards him on the belt . He shrugs , smashes the next one in line . Another phoney . He smashes the next one . UP ABOVE - BARNEY Dodging Pyrite 's renewed attack . Now , Barney becomes aware of the activated assembly line . Getting an idea , he moves behind an inspection table , grabs a big rubber stamp . Pyrite comes around the corner . Barney 's head butts him in the gut , dodges under his legs ! Then , as Pyrite stumbles , Barney stamps his ass with the word `` REJECT . '' Pyrite looks back , sees this , reddens . raises his club .</scene_description> <character>PYRITE</character> <dialogue>Reject, huh? Whaddya say we reject your head?</dialogue> <scene_description>He raises the club . when an alligator swings down and grabs him by the seat of his pants ! Pyrite drops the club , howls - WIDER The alligator crane swings him away and over a big bin marked REJECTS - and drops him . Howling , Pyrite falls into a big bin of broken and defective Fibrerock goods . BARNEY Chuckles to himself . and then looks down , reacts . CAMERA ADJUSTS and we see that Piltdown has smashed yet another of the duplicate Freds . Worried , Barney looks around , sees that he 's just above the Fibrefoam chute . Without another thought , he jumps into it - slides downward like a passenger on the Magerock Mountain Log Flume ride - BELOW Piltdown is about to swing at the real Fred - when Barney sails out of the end of the chute and slams into him and Fred ! All three of them roll across the floor towards - THE END OF THE BUILDING where a squad of policemen has just appeared - led by a dripping wet Feldspar and Gravel !</scene_description> <character>FELDSPAR</character> <dialogue>All right! You're all under arr -</dialogue> <scene_description>Wham ! Barney , Fred and Piltdown roll right into the cops , who go flying like -LRB- what else ? -RRB- tenpins , complete with appropriate sound .</scene_description> <character>BARNEY</character> <parenthetical>( sitting up . )</parenthetical> <dialogue>Whattya know. Even got the spare again.</dialogue> <scene_description>Then he gasps as he looks over at Fred , whose head has just fallen off ! Pause . Fred 's real head slowly pokes up out of the clay and Fibre shoulders . Before he can extricate himself further , Feldspar and his men are dragging them out of the building .</scene_description> </scene> <scene> <stage_direction>INT. BEDROCK POLICE STATION - NIGHT</stage_direction> <scene_description>Wooden bars delineate the holding cells . `` Wanted '' posters of stone are hanging on the walls . As we watch , the contrite buffalos are bailed out by friends and relations . Wilma and Betty are just now clunking down stone money on the night sergeant 's desk .</scene_description> <character>BETTY</character> <dialogue>Barney, I do n't understand. what came over you boys?</dialogue> <character>EXITING BUFFALO</character> <dialogue>` Night, Barney.</dialogue> <parenthetical>( to Fred . )</parenthetical> <dialogue>So long, fatso.</dialogue> <character>BUFFALO #2</character> <dialogue>See ya, Barn.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Flintstone, you're dead meat.</dialogue> <character>BUFFALO #2</character> <dialogue>` Night, pal. ` Night, slimeball.</dialogue> <character>WILMA</character> <dialogue>Fred, is there something you want to tell me about the lodge meeting?</dialogue> <character>FRED</character> <dialogue>I do n't wan na talk about it. Besides, who cares about a bunch of jerks running around with furs on their heads? I'm more of a country club guy myself anyway.</dialogue> <scene_description>He goes out , hardly looking at Barney . Wilma and Betty look at each other , mystified . then Wilma follows Fred out , puzzled .</scene_description> </scene> <scene> <stage_direction>EXT. POLICE STATION - NIGHT</stage_direction> <scene_description>Lava stands in the shadows beside his Porscherock . Piltdown and Pyrite are with him . In the b.g. , Fred and Wilma drive away .</scene_description> <character>LAVA</character> <dialogue>A simple little heist - I gave you everything but the keys and you blew it -</dialogue> <character>PILTDOWN</character> <dialogue>Hey, we got the union guys to break in and create a distraction, did n't we? Who knew Flintstone and Rubble would show up, too?</dialogue> <character>LAVA</character> <dialogue>The day after Slate City opens there's going to be an audit. If the stuff is n't gone by then we'll all be doing time until the Bronze Age.</dialogue> <character>PYRITE</character> <dialogue>Do n't worry, Mister Lava. we're on top of it.</dialogue> <scene_description>They both turn and start down an alley . jamming together as they do . Lava sighs . then jumps as Barney comes up behind him and taps him on the shoulder .</scene_description> <character>BARNEY</character> <dialogue>Excuse me, Mister Lava -? I think you oughta know. something could be wrong with the Fibrerock mix.</dialogue> <character>LAVA</character> <parenthetical>( thrown . )</parenthetical> <dialogue>How do you know that?</dialogue> <parenthetical>( recovering . )</parenthetical> <dialogue>I mean. ah, why do you say that?</dialogue> <character>BARNEY</character> <dialogue>It tastes different.</dialogue> <character>LAVA</character> <dialogue>Tastes. different?</dialogue> <character>BARNEY</character> <dialogue>Yup. See, ever since I started with Fibrerock - I mean, since me and Fred started with it, I always take a little taste of the Fibre foam. And tonight's batch, well. I did n't get much of it, but it seems a little off.</dialogue> <parenthetical>( smacking his lips . )</parenthetical> <dialogue>Ca n't fool the old taste buds, heh - heh. I think there might be an ingredient missing. So tomorrow, I'll run a couple of tests and stuff -</dialogue> <character>LAVA</character> <dialogue>Rubble, Rubble! We're fighting a deadline to finish Slate City. and we're not pulling the plug on production to satisfy your tastebuds! If you ask me, you and your tastebuds are overworked. overwrought. how long have you been with us, anyway?</dialogue> <character>BARNEY</character> <dialogue>Nine days, Mister Lava.</dialogue> <character>LAVA</character> <dialogue>Jumping Jurrasic, no wonder you're so run down.</dialogue> <scene_description>He puts his arm around Barney , leads him towards the car where Betty is waiting .</scene_description> <character>LAVA</character> <dialogue>I'm authorizing a nice vacation for you, Rubble. Starting tomorrow. You can catch some rays, maybe invent something. hey, how about Fibrerock, the sequel, part II -?</dialogue> <character>BARNEY</character> <dialogue>But -</dialogue> <character>LAVA</character> <dialogue>No, do n't try and thank me.</dialogue> </scene> <scene> <stage_direction>INT. SLATE'S OFFICE - DAY</stage_direction> <scene_description>Slate and Lava are examining a newer and larger model of Slate City . It 's even more grandiose than its predecessor . Now the housing development has two huge office buildings beside it , and then a convention center beyond that .</scene_description> <character>LAVA</character> <dialogue>As you can see, the Fibrerock is so light we're using it for construction, for furnishings. for everything. You ca n't stack a two - bedroom cave this high. but the sky's the limit with Fibrerock!</dialogue> <character>SLATE</character> <dialogue>` Sky's the limit'. ` sky's the limit'. why, these two buildings, they. they practically scrape the sky! We should call them. Slate scrapers!</dialogue> <character>LAVA</character> <dialogue>That's brilliant, Unc. Mister Slate. In fact, maybe you can help me with the centerpiece of the complex.</dialogue> <parenthetical>( indicating the convention center . )</parenthetical> <dialogue>. I wan na call'em the FibreSphere and the' ____' something Needle. but I just ca n't.</dialogue> <character>SLATE</character> <parenthetical>( modestly . )</parenthetical> <dialogue>How about, ` Slate Needle'?</dialogue> <character>LAVA</character> <dialogue>` Slate Need.'.</dialogue> <parenthetical>( astonished . )</parenthetical> <dialogue>. How do you keep coming up with these? It's uncanny.</dialogue> <character>SLATE</character> <parenthetical>( shrugging . )</parenthetical> <dialogue>It's a gift.</dialogue> <character>LAVA</character> <parenthetical>( casually . )</parenthetical> <dialogue>Oh, that reminds me, sign these, will you. just a few overruns. minor cost problems. that's it. thank you.</dialogue> <scene_description>Slate 's so busy admiring his moment to himself he hardly listens to what Lava 's saying , just runs his stylus through the wet clay of the statements , meanwhile `` framing '' the model city in his hands .</scene_description> <character>LAVA</character> <parenthetical>( heading for the door . )</parenthetical> <dialogue>. Oh, Mister Slate, we're going to hold the Bedrock Junior Talent Show in the uh, ` Slate Needle.' Good for public relations -</dialogue> <scene_description>Lava breaks off . He 's just looked out the window and seen - LAVA 'S POV - QUARRY BELOW WINDOW A small figure appears behind some of the equipment , tiptoeing from console to cabinet and thus towards the assembly line . Wearing sunglasses with attached nose and a hook - on beard , it at first appears to be some sort of bizarre hermit or bum . and then we realize , hey , this is Barney ! LAVA Looks around , spots Piltdown and Pyrite , now resplendent in security guard uniforms . Lava whistles softly to get their attention , ca n't . Then he sees one of Slate 's golf trophies . He shrugs , throws it . BELOW - PILTDOWN Reacts as the trophy bounces off his head , then looks up to see Lava gesticulating . Piltdown nods , grabs Pyrite in tow . BARNEY Looking around carefully , Barney takes out a Thermos bottle , unscrews the top , and quickly dunks it into the Fibrerock foam . Then he tiptoes O.S. , right into the massive bulk of - PILTDOWN - who looks down at him with a big smile , Pyrite at his side .</scene_description> <character>PILTDOWN</character> <dialogue>Can we help you. sir?</dialogue> <character>BARNEY</character> <parenthetical>( fake crotchety voice . )</parenthetical> <dialogue>Ah, yup, yup, young feller. jest show me the way to the personnel office. I'm lookin' fer a job as a custodian.</dialogue> <character>PYRITE</character> <dialogue>Our pleasure.</dialogue> <scene_description>Then they grab Barney with such force that the THERMOS drops and SHATTERS , drag him O.S. - SLATE QUARRY - MAIN GATE - DAY Barney is tossed outside , landing in a heap amidst the picketing workers of Neolithic 101 .</scene_description> <character>PILTDOWN</character> <parenthetical>( chuckling . )</parenthetical> <dialogue>Ya can start by cleaning the street with your pants!</dialogue> <scene_description>Still laughing , Piltdown and Pyrite cross over to Lava , who has come out of the office building .</scene_description> <character>LAVA</character> <dialogue>That takes care of the half - pint.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Now to deal with the half - wit.</dialogue> </scene> <scene> <stage_direction>INT. LAVA'S OFFICE - DAY</stage_direction> <scene_description>Lava walks Fred from the door into the color - coordinated high - style room .</scene_description> <character>FRED</character> <parenthetical>( on the move . )</parenthetical> <dialogue>. But Barney does n't want to take a vacation - he says he's got ta be here to check up on the Fibrefoam -</dialogue> <character>LAVA</character> <parenthetical>( pointedly . )</parenthetical> <dialogue>- Oh? Or check up on us?</dialogue> <scene_description>Emotionally , Lava turns , indicates a picture of Slate on the wall .</scene_description> <character>LAVA</character> <dialogue>Flintstone, that. that's a slap in the face of our founder. our employer. our uncle.</dialogue> <parenthetical>( turning back , another tone . )</parenthetical> <dialogue>Unless, of course, you agree with Rubble. that Mister Slate is n't capable of running this operation. that I'm not capable of running it?</dialogue> <character>FRED</character> <parenthetical>( nervous . )</parenthetical> <dialogue>Of course not, Mister Lava. But -</dialogue> <character>LAVA</character> <dialogue>Call me Jerry. Sit down, please.</dialogue> <scene_description>Fred complies . Lava winces as his designer FURNITURE CREAKS under Fred 's weight , but he only says -</scene_description> <character>LAVA</character> <parenthetical>( offering one . )</parenthetical> <dialogue>. Cigar?</dialogue> <character>FRED</character> <dialogue>Why, yeah, sure, Jerry.</dialogue> <character>LAVA</character> <dialogue>Fred, let me get to the bottom slime. Some men - you and me, for instance - we're cut out for the big time, the big bucks.</dialogue> <parenthetical>( eyeing Fred 's girth . )</parenthetical> <dialogue>. the big everything.</dialogue> <scene_description>Lava smiles , prepares the tips on two cigars . He puts each one in turn in a gizmo on his desk . CLOSER - GIZMO It 's actually a frame supporting a little LIZARD . The Lizard bites the tip off the cigar , practically chokes on it , finally manages to spit it out with difficulty .</scene_description> <character>LIZARD</character> <parenthetical>( aside . )</parenthetical> <dialogue>When they say smoking is bad for your health, they're not kidding.</dialogue> <scene_description>BACK TO SCENE</scene_description> <character>LAVA</character> <dialogue>And others? Wellll.</dialogue> <scene_description>Now Lava takes out a lighter , leans across the desk . CLOSER - LIGHTER As Lava works the mechanism , two wooden twigs rub rapidly across each other and ignite . BACK TO SCENE</scene_description> <character>LAVA</character> <dialogue>Now, I know your pal Barney had a small part in the preliminary research and development of Fibrerock.</dialogue> <character>FRED</character> <dialogue>Well, actually, I would n't say small part. I'd say.</dialogue> <character>LAVA</character> <dialogue>Yes?</dialogue> <character>FRED</character> <dialogue>Kind of a medium - sized. well, almost medium - sized. well, really a semi - partial assistant counsulting type, of -</dialogue> <character>LAVA</character> <parenthetical>( giving Fred a playful punch . )</parenthetical> <dialogue>You're too kind, Flintstone, that's what I like about you. But you're a big guy with a big decision to make. Are you gon na keep covering for Barney, keep pulling his acornsauruses out of the fire. or are you going to concentrate on your own important duties?</dialogue> <character>FRED</character> <dialogue>Well, gee, that's tough one -.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>- Uh, what are my important duties?</dialogue> <character>LAVA</character> <dialogue>Publicity, Flintstone, publicity! And that's why I've got a little surprise for you. for the man who made Fibrerock a household word, I want you to meet the man who's going to make you a household word.</dialogue> <scene_description>Lava throws the door open . Fred 's jaw drops as he sees -</scene_description> <character>FRED</character> <dialogue>R - rockin' Leach?</dialogue> <scene_description>Indeed , it is he , and he smiles , extends his hands .</scene_description> <character>LEACH</character> <dialogue>` Ello, Fred. I've ` eard a lot h ` about you from Mister Lava. H'at's why we're going to put you on our program.</dialogue> <character>FRED</character> <dialogue>M - me? On - on television?</dialogue> <character>LAVA</character> <parenthetical>( patting his back , sotto . )</parenthetical> <dialogue>Right, Fred. As long as you forget all this nonsense about Barney.</dialogue> <character>FRED</character> <parenthetical>( still in a dazed thrill . )</parenthetical> <dialogue>Barney who?</dialogue> </scene> <scene> <stage_direction>EXT. FLINTSTONE HOUSE - DAY</stage_direction> <scene_description>Three big dino - mounted trucks are parked in front . You have to read the words on all three : `` ROCKSTYLES OF . '' `` THE RICH . '' `` AND FAMOUS . '' Technicians roll out gear , set up big spotlights , etc. . CLOSER - YARD Rockin ' Leach is surveying the place with an aide . Fred and Wilma are with them . Leach makes a `` frame '' with his hands , `` pans '' the area .</scene_description> <character>LEACH</character> <dialogue>Hmm. Lovely little guest ` ouse, Mister Flintstone. So simple, so ordinary, so unexceptional. why, h ` it's almost quaint. Let's say we start with the camera ` ere, except.</dialogue> <scene_description>Leach breaks off , looks over the fence at the Rubble homestead . He shakes his head sadly .</scene_description> <character>FRED</character> <dialogue>W - what's wrong?</dialogue> <character>LEACH</character> <dialogue>Well, just look at that yard over there. barbecues and trikes, not exactly the right image.</dialogue> <character>FRED</character> <parenthetical>( pointing . )</parenthetical> <dialogue>Maybe you could move those plants to block them out?</dialogue> <character>LEACH</character> <dialogue>Good idea. Rodney, get ` hoppin' with those greens.</dialogue> <scene_description>The aide nods , gathers some workers . They start moving the potted plants . Puzzled , Wilma comes over .</scene_description> <character>WILMA</character> <dialogue>Fred, this was supposed to be a ` typical evening' at the Flintstones, and you invited fifty people I do n't even know. Now what's going on? Where are they taking my ficus - sauruses?</dialogue> <character>FRED</character> <dialogue>It's the Rubble yard, Wilma. It's just not the right image.</dialogue> <scene_description>He starts away , suddenly notices his own barbecue and trikes . quickly , without missing a stride , he tosses a tarp over them , slides a potted plant over for good measure . BARNEY AND BETTY 'S HOUSE - SAME TIME Betty , hair and face done , but still in a slip , is putting a reluctant Bam - Bam into a cute little blazer . In the f.g. , Barney finishes tying a black tie , then struggles into a dinner jacket .</scene_description> <character>BETTY</character> <dialogue>I do n't know why you want to go to this thing. after the way Fred's been treating you lately -</dialogue> <character>BARNEY</character> <dialogue>Fred's in a high - powered executive job, Betty. There's a lot of pressure on him.</dialogue> <character>BETTY</character> <dialogue>Yeah. and it's all around his belt. If it was n't for poor Wilma I would n't give him the Geological Time -</dialogue> <character>BARNEY</character> <dialogue>Trust me, Betty. After the Fibrerock debut, he'll be the same old Fred.</dialogue> <scene_description>Both react to the sound of HAMMERING and SAWING . Curious , they go out the sliding bedroom door into the yard and see - THEIR POV - THE FENCE The television crew has just finished nailing boards up over the top of the fence . Now the big potted plants are dropped into place . With each hammer stroke or thud a little more of the late afternoon sun is shut off until Barney and Betty are in shadow . Finally a canvas tarp is tossed as gracefully as pizza dough , sails into the Rubble yard and covers their bird bath . One last stray end lands on Barney 's head . QUICK CUTS - FLINTSTONE YARD - ANGLE ON `` KLEIG LIGHTS '' Inside each one , a little BIRD in hardhat and smoked visor lights up the arc , gets knocked on his butt when it catches .</scene_description> <character>BIRD</character> <parenthetical>( slowly getting up . )</parenthetical> <dialogue>I've heard of a flash in the pan, but this is ridiculous.</dialogue> <scene_description>ON DINO He 's squirming uncomfortably under the attentions of two crew members who are busy with scissors and combs and brushes . Finally , they 're done and leave him . He has been cut and trimmed like a French poodle . He gets a glimpse of himself in the swimming pool and freaks out . Then he arches his back , shakes out the hairstyle . CLOSER ON ROCKIN ' LEACH The MAIN TITLE of the show can be heard O.S.</scene_description> <character>ANNOUNCER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>And now. the man who brings you the romance and excitement you crave. from the casinos of Monte Carlrock to the glamour of Hollyrock, here's your guide to the Rockstyles of the Rich and Famous, Rockin' Leach!</dialogue> <scene_description>Leach takes his cue from the director -</scene_description> <character>LEACH</character> <parenthetical>( INTO CAMERA . )</parenthetical> <dialogue>Good evening. Tonight we come to you live from the ah. charming pied a terre of the man of the ` our, Fred Flintstone -</dialogue> <scene_description>Leach pauses , hearing the sound of someone CHIPPING AWAY at a stone tablet . he looks up at - HIS POV - FRED He has just carved `` FREDERICK '' into a stone cue card and points to it . BACK TO SCENE</scene_description> <character>LEACH</character> <dialogue>` Ere we are at the ` ome of Bedrock's man o' the ` our, Frederick Flint -</dialogue> <scene_description>More CHIPPING . Leach looks up and sees : HIS POV - FRED Now he 's carved something grander . Leach sighs , goes on .</scene_description> <character>LEACH</character> <dialogue>` Ere we are at the fabulous ` ome of Bedrock's man o' the ` our, Frederick von Flintstone -</dialogue> <scene_description>NEAR THE HOUSE Barney and Betty appear , Bam - Bam in tow . They come out into the yard . Betty waves at Wilma , who comes over , whispers .</scene_description> <character>WILMA</character> <dialogue>Thank heaven. There is n't one person I know here.</dialogue> <character>BARNEY</character> <dialogue>You mean beside Fred?</dialogue> <character>WILMA</character> <dialogue>I mean including Fred.</dialogue> <scene_description>They look over at - THE SET Where Leach has pulled Fred on camera . Fred is posing , fluffing his ascot , etc. . We notice a `` FVF '' embroidered patch on his jacket .</scene_description> <character>LEACH</character> <dialogue>Frederick, of course, is the man behind Fibrerock - the invention that some predict will revolutionize life in the future. Frederick, ` ow does it feel to know that you ` ave personally brought the Stone Age as we know it to a long - deserved end?</dialogue> <character>FRED</character> <parenthetical>( very affected accent . )</parenthetical> <dialogue>Well, Rockin', you're right, I have affected destiny for all mankind, and it's a sobering thought. However, if I may add a personal note at this time, I myself can not personally take all the credit for Fibrerock.</dialogue> <scene_description>WILMA , BARNEY , BETTY react with hopeful expressions -</scene_description> <character>BARNEY</character> <parenthetical>( sotto , to them . )</parenthetical> <dialogue>See? What'd I tell ya?</dialogue> <scene_description>BACK TO SCENE</scene_description> <character>FRED</character> <dialogue>No, I could never have done it without the inspiration and support of a very special person. I'm speaking, of course, of my close friend and associate, Mister Slate, founder and C.E.O. of Slate Construction.</dialogue> <scene_description>WILMA , BARNEY , BETTY Barney 's face falls . So do Wilma and Betty 's .</scene_description> </scene> <scene> <stage_direction>EXT. SLATE CITY - NIGHT</stage_direction> <scene_description>Slate City ! In the far future , Manhattan will have New Jersey . Philadelphia will have Levittown . L.A. will have Burbank . but today Bedrock has . Slate City ! CLOSE ON `` SLATE NEEDLE '' AND FIBRESPHERE Both decorated in pennants and bunting , connected to each other by a gangway six stories up . Block letters on the Fibresphere proclaim `` Slate Construction brings you THE WONDERFUL WORLD OF FIBRE . '' A heroic statue of Slate himself stands close by the structures . -LRB- Sphere and needle , of course , are dead on parodies of the Trylon and Perisphere , centerpieces of the '39 World 's Fair . -RRB- A limousine pedaled by two chauffeurs pulls up . Mr. and Mrs. Slate and Lava , and Lava 's son , POINDEXTER , get out . It is immediately evident that the little obnoxious acorn has n't fallen far from the tree .</scene_description> <character>POINDEXTER</character> <dialogue>Wow! Is this ever keen! Dad, you promise I can cut in all the lines?</dialogue> <character>LAVA</character> <dialogue>Of course, Poindexter, of course.</dialogue> <scene_description>They head for the mastodon and pully - powered elevator . Standing there are Piltdown and Pyrite , both in security guard uniforms . -LRB- Piltdown is carrying a vaguely - familiar satchel -RRB- . Lava gives them a big look . They nod . As the elevator rises , his two cronies duck into a stairwell marked `` NO ADMITTANCE . '' RESUME - FLINTSTONE HOUSE The party is in full swing . We see Pebbles and Bam - Bam squirming uncomfortably in their party clothes . They take some canapes off of a table , take a bite . spit them out . FRED Stands beaming , nodding to his guests .</scene_description> <character>FRED</character> <dialogue>Hello, hello. Bon soir. Good to see ya. glad you could make it.</dialogue> <character>GUEST</character> <parenthetical>( unconvincingly . )</parenthetical> <dialogue>Hello, Frank.</dialogue> <character>FRED</character> <dialogue>Fred - there's the bar, make yourself at home - mi casa es votre casa, so, when in Rome and all that -</dialogue> <character>WILMA</character> <parenthetical>( coming over . )</parenthetical> <dialogue>Fred, can I talk to you -? Fred? Fred?</dialogue> <parenthetical>( concerned . )</parenthetical> <dialogue>We have a serious problem with Betty and Barney.</dialogue> <character>FRED</character> <parenthetical>( alarmed . )</parenthetical> <dialogue>You mean you can see their house -?</dialogue> <character>WILMA</character> <parenthetical>( exasperated . )</parenthetical> <dialogue>I mean you're treating them horribly! What's come over you, Fred? Does a little money mean so much to you that you just turn your back on the things that really count?</dialogue> <character>FRED</character> <dialogue>Wilma, I'm shocked. I would n't do that. Okay, I admit it : I'm trying to make an impression here, I wan na look good, I wan na be a success.</dialogue> <scene_description>He takes her hand , looks into her eyes . For a moment , Wilma 's face softens .</scene_description> <character>FRED</character> <dialogue>But deep down inside, I'm still the same lovable guy you married -.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>- Frederick von Flintstone the third -</dialogue> <character>WILMA</character> <dialogue>Arrrgh -!</dialogue> <scene_description>She throws up her hands , stalks away .</scene_description> <character>FRED</character> <dialogue>What'd I say?</dialogue> <scene_description>PRODUCTION ASSISTANT Hangs up the sea shell phone , runs over to Leach .</scene_description> <character>P.A.</character> <dialogue>That was our location guy at Slate City. They just moved the ribbon cutting up by an hour. Guests are already starting to arrive.</dialogue> <character>LEACH</character> <dialogue>Fabulous! I've ` ad enough crab meat and crabgrass to last me a year. All right, boys, that's a wrap!</dialogue> <scene_description>FRED In the middle of a tight little group which is pigging out . Fred seems oblivious to the fact that they 're oblivious to him .</scene_description> <character>FRED</character> <dialogue>Yas, yas, it's a challenging commodity market these days. Personally, I'm considering petrified forests, but they do say that volcano futures are ready to explode, ha, ha.</dialogue> <scene_description>Suddenly Fred notices that his `` audience '' has evaporated . He looks around , sees everyone headed for their cars , the TV crew packing up , etc. .</scene_description> <character>FRED</character> <dialogue>Hey, whoa, what's happening -</dialogue> <character>LEACH'S AIDE</character> <dialogue>What's happening is n't happening here. The action's over at Slate City. Oh, thanks for the booze, Ed -</dialogue> <character>FRED</character> <dialogue>Fred!</dialogue> <scene_description>He stumbles through the thinning crowd , clutching at elbows .</scene_description> <character>FRED</character> <dialogue>Hey, what's the hurry? We got a cake shaped like a piece of Fibrerock. I got it, how about some charades? No, even better, twenty questions : ` Am I animal, mineral, or fossil'? Oh, I heard a great one the other day. a guy walks in a bar with a duckasaurus on his head and the bartender says - this'll kill you, the bartender says -</dialogue> <scene_description>Fred stops , running out of steam along with his moment of glory . He stands alone on the lawn . Wilma slowly comes up to him .</scene_description> <character>WILMA</character> <dialogue>Fred. I. I'm sorry it's not working out.</dialogue> <scene_description>Fred turns , puts on a big smile .</scene_description> <character>FRED</character> <dialogue>Whaddya mean, not working out? They're goin' party hopping, that's all. That's what ya do in society, Wilma. you cruise around. They'll go over to Slate's shindig for a while, then they'll come back here.</dialogue> <character>WILMA</character> <dialogue>Fred.</dialogue> <character>FRED</character> <dialogue>You go on over to Slate City, okay?</dialogue> <character>WILMA</character> <dialogue>Fred, I want to be here with you -</dialogue> <character>FRED</character> <dialogue>Nah, me and some of the guys from the country club, we're gon na play poker, yeah, big stakes poker until everybody comes back. Go on with the others. The kids got their show to put on anyway. and I would n't want people to think. to think the Flintstones were party poopers.</dialogue> <scene_description>She does n't know what to say , or what she can say that wo n't shatter his shaky image . She sighs , kisses him , then calls out .</scene_description> <character>WILMA</character> <dialogue>Come on, Pebbles. We're going to another party.</dialogue> <character>PEBBLES</character> <dialogue>Will there be real food there?</dialogue> <character>WILMA</character> <dialogue>We'll find out together.</dialogue> <scene_description>She takes the girl 's hand and goes to the door , where the last of Leach 's crew is just going out . Suddenly Betty catches up to her , Bam - Bam in tow .</scene_description> <character>BETTY</character> <dialogue>Wilma, wait. I'm going with you.</dialogue> <character>WILMA</character> <dialogue>Why?</dialogue> <character>BETTY</character> <dialogue>If friends ca n't do something stupid, who can?</dialogue> <scene_description>Wilma smiles , touched .</scene_description> <character>BETTY</character> <dialogue>Besides.</dialogue> <parenthetical>( lowering her voice . )</parenthetical> <dialogue>. Maybe if we leave the boys alone?</dialogue> <scene_description>Wilma nods , hopeful .</scene_description> </scene> <scene> <stage_direction>EXT. FLINTSTONE HOUSE - NIGHT</stage_direction> <scene_description>The film crew caravan is already leaving as Wilma , Betty and the kids get into the Rubble car . The last TV crew - man extinguishes the big spotlight . The house is dark , forlorn in the fading twilight . REAR OF YARD - NIGHT Fred sits forlorn in the rubble of his party . Dino comes over , nuzzles his leg .</scene_description> <character>FRED</character> <dialogue>Just you and me now, Dino. Yeah. That's okay. Man and man's best friend.</dialogue> <scene_description>He gives Dino one of the canapes . Dino tastes it , makes a face , spits it out . DINO runs off , going `` PTOOIE '' all the way . We see him run to the corner , jump in Betty 's car and drive away . FRED sighs , looks around , down at his blazer and the `` FVF '' patch . He suddenly rips it off in a fury . Then he looks at - THE WALL IN FRONT OF BARNEY 'S PROPERTY BACK TO SCENE Fred stares at it , his face slowly darkening . Then he grabs a lawn chair from the yard , begins to smash it in a fury against the divider . The wall cracks , splinters ; the potted plants go flying . FRED His anger spent , he stands panting , splattered with dirt . then he sees - NEW ANGLE - ANOTHER DIRT - COVERED FIGURE - standing in the ruins of the wall . The figure sneezes , whacks dirt off of itself . It 's -</scene_description> <character>FRED</character> <parenthetical>( disbelieving . )</parenthetical> <dialogue>B. Barney?</dialogue> <character>BARNEY</character> <parenthetical>( moving closer . )</parenthetical> <dialogue>Hiya, Fred.</dialogue> <parenthetical>( noticing his ruined tuxedo . )</parenthetical> <dialogue>Boy, the rental place is gon na be mad.</dialogue> <parenthetical>( eyeing the mess . )</parenthetical> <dialogue>. You feeling better, pal?</dialogue> <character>FRED</character> <dialogue>` Pal'? How can you call me that? Barney, I. I've been such a. such a. such a.</dialogue> <character>BARNEY</character> <dialogue>Creep?</dialogue> <character>FRED</character> <dialogue>Well, yeah. But more of a -</dialogue> <character>BARNEY</character> <parenthetical>( helpful tone . )</parenthetical> <dialogue>Fool?</dialogue> <character>FRED</character> <dialogue>Well -</dialogue> <character>BARNEY</character> <dialogue>Slimeball? Louse? Jackass?</dialogue> <parenthetical>( snapping fingers . )</parenthetical> <dialogue>Stuck - up blimpasaurus?</dialogue> <character>FRED</character> <parenthetical>( wincing , but taking it . )</parenthetical> <dialogue>Barney. can. can you ever forgive me for being such a jerk?</dialogue> <character>BARNEY</character> <parenthetical>( stepping closer . )</parenthetical> <dialogue>Sure, Fred.</dialogue> <parenthetical>( smiling . )</parenthetical> <dialogue>I've had lots of practice.</dialogue> <character>FRED</character> <parenthetical>( touched . )</parenthetical> <dialogue>Aw, Barn.</dialogue> <scene_description>And he grabs Barney in a big bear hug . Tears in both their eyes , they slap each other on the back , two prehistoric sensitive guys . FIBRESPHERE &amp; SLATE NEEDLE - NIGHT Little cupola cars are chugging around the upper level of the Fibresphere , where they enter a tunnel - like open - ing labeled `` THE WORLD OF FIBRE . '' Wilma , Betty , the kids and Dino are in one of these . Now , we FOLLOW them as they chug into - THE FIBRESPHERE `` WORLD OF FIBRE '' RIDE The cupolas rattle along in Disneyland style , passing a sign which reads : `` FIBREROCK - TRANSFORMING THE HOME . '' Here , mechanical figures in an all - Fibre home move klutzily around the room .</scene_description> <character>RECORDING</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( a la ` The Great Gildersleeve ' . )</parenthetical> <dialogue>Welcome! Welcome to the fabulous world of tomorrow. a world brought to you by Fibrerock!</dialogue> <scene_description>REVERSE ANGLE REVEALING that behind the hollow shells of the human family is a veritable family of monkeys , all working the figures like puppets . A PARROT at a stand - mounted microphone is giving the narration .</scene_description> <character>PARROT</character> <parenthetical>( RECORDING ; V.O . )</parenthetical> <dialogue>Here, we see a typical family of the future, free of the cares and worries of today. yes, the great kibble crisis is a thing of the past when you're living the good life. the Fibrelife!</dialogue> <scene_description>NEXT EXHIBIT The CARS CHUG past a display of tree trunks , leaves , bubbling gunk . and those iridescent vegetable pearls we 've come to know . coo - coo berries . Iron bars and vault - like doors separate the coo - coo berries from the other items .</scene_description> <character>ANOTHER PARROT</character> <dialogue>Here, gathered from the four corners of the globe, are the secret ingredients of Fibrerock. some common, some rare. all making life easier for you and yours!</dialogue> <scene_description>THIRD EXHIBIT The little CARS CHUG into an elegant salon , complete with runway . There 's another PARROT here in front of another megaphone , but this parrot is chic and flamboyant .</scene_description> <character>FASHION PARROT</character> <dialogue>But does Fibrerock belong only in the kitchen, the garage, the workplace? No, no, no, my darlings!</dialogue> <scene_description>FASHION MODELS ON RUNWAY As each girl struts forward , she shrugs off a bulky animal fur and tosses it into a garbage can . Underneath are all kinds of daring and tantalizing fashions woven in the tell - tale fibre colors . The clothes are a blend of the future and retro -LRB- that is , prehistoric retro -RRB- .</scene_description> <character>FASHION PARROT</character> <dialogue>Because the clothes of the Stone Age are as extinct as stones themselves! Yes, thanks to the wonder of Fibrerockfibre, the world of high fashion will be totally transformed. by Fibre furs. Fibre frocks. Fibre foundations and Fibreshoes. it's to die for!</dialogue> <scene_description>FOURTH EXHIBIT Now , we see a display of Fibrerock props of all kinds - appliances , toys , tools , etc . all of it upstaged by a choir consisting of every animal , bird and critter we 've seen in this film . Wilma , Betty , the kids and Dino ooh and ahh with the other guests as the mechanical animals all sing in unison -</scene_description> <character>FIBRE CHOIR</character> <parenthetical>( V.O . )</parenthetical> <dialogue>` It's a Fibre World you know, It's a Fibre World you know, It's a Fibre World you know -'</dialogue> </scene> <scene> <stage_direction>INT. BARNEY'S WORKSHOP - NIGHT</stage_direction> <scene_description>Fred and Barney are surrounded by books and cartons and memorabilia . They have their arms around each other and are singing .</scene_description> <character>FRED &amp; BARNEY</character> <dialogue>` Now it's time to do or die, grab that rock and kick it high, let's fight, fight, fight for Bedrock High!'</dialogue> <scene_description>They break up laughing . Fred chuckles , looks at one of the many old photographs strewn around .</scene_description> <character>FRED</character> <dialogue>Boy, those were the days, Barney. Bedrock High winning all those games. and you and me right in the middle of it.</dialogue> <scene_description>NEW ANGLE - FAVORING PHOTO The photograph -LRB- dots in stone -RRB- shows the young Fred and Barney in their cheerleading costumes . Barney has a sweater and megaphone ; Fred is in a Godzilla - like `` mascot '' costume . He 's holding the hideously - sculpted head under his arm .</scene_description> <character>BARNEY</character> <dialogue>Yeah. Too bad we never made the team.</dialogue> <character>FRED</character> <dialogue>So what? We made the team spirit. That's just as important. whatever happened to those cheerleader costumes?</dialogue> <character>BARNEY</character> <dialogue>You know Betty. She never throws anything away.</dialogue> <scene_description>He hauls out an old footlocker , opens it . There they are .</scene_description> <character>FRED</character> <parenthetical>( rummaging in it . )</parenthetical> <dialogue>Boy. Talk about memories.</dialogue> <scene_description>Fred tosses the cheerleader sweater to Barney , who grins , pulls it on . Fred also starts to get into his old `` uniform , '' but has to suck his gut in mightily . Finally , he can zip it up , stern to stem .</scene_description> <character>FRED</character> <dialogue>Back then, we thought a pop quiz was a big problem. We did n't know how good we had it. No problems, no worries.</dialogue> <scene_description>Saying this , Fred attempts to put on the Godzilla - like head . He has a hard time sliding it into a hinge rail behind his neck , an even harder time swinging it down and forward .</scene_description> <character>BARNEY</character> <dialogue>Speaking of problems and worries, should n't we get on over to Slate's party?</dialogue> <scene_description>Fred has finally `` clinked '' the monster head down into place . Now , when he talks , the monster 's mouth moves in sync .</scene_description> <character>FRED</character> <parenthetical>( echo - y. ) What for ?</parenthetical> <parenthetical>So him and all his fancy friends can look down their noses at us ?</parenthetical> <dialogue /> <scene_description>Completely covered in the ferocious - looking suit , Fred steps over to Barney , stabs an angry claw in his direction .</scene_description> <character>FRED</character> <parenthetical>( echo - y. ) All they 've been doing is using us , Barney .</parenthetical> <parenthetical>And meanwhile -</parenthetical> <dialogue /> <scene_description>Now Fred reaches up to take the head off . It sticks for a moment . Finally he gets it to flip back on its hinge where it hangs behind his neck like a ski parka hood .</scene_description> <character>FRED</character> <parenthetical>( normal voice . )</parenthetical> <dialogue>- Meanwhile all the time they were laughing at us.</dialogue> <character>BARNEY</character> <dialogue>Yeah? When did you notice that?</dialogue> <character>FRED</character> <dialogue>About an hour ago.</dialogue> <character>BARNEY</character> <dialogue>Boy, there's no fooling you, Fred.</dialogue> <scene_description>Suddenly , with a GROWING CREAKING , CRACKING and TINKLING , a scale model of Slate City in the corner begins to fall apart . Fred and Barney look at each other , startled , then rush over to the model . It 's the interim version we saw earlier . CLOSER - MODEL The decomposition continues , walls and supports turning into sand and running down before our eyes . In a Rube Goldberg - like continuum , the little houses go first , falling like dominoes .</scene_description> <character>FRED</character> <dialogue>Wha. what's happening?</dialogue> <scene_description>Barney tries to stop the process , ca n't .</scene_description> <character>BARNEY</character> <dialogue>I. I do n't know. the Fibrerock it's. it's decomposing. but this should n't happen.</dialogue> <character>FRED</character> <dialogue>Your old models are just fine.</dialogue> <scene_description>ANGLE Indeed , the older models from Barney 's tinkering days are rock solid . BACK TO SCENE</scene_description> <character>BARNEY</character> <dialogue>It should be. There's enough coo - coo berry resin in there to petrify a brontosaurus -</dialogue> <scene_description>Suddenly Barney gets it . He looks from the older models to the now decomposing little Fibresphere with growing awareness .</scene_description> <character>BARNEY</character> <parenthetical>( snapping his fingers . )</parenthetical> <dialogue>- The coo - coo berries! Fred, that's it!</dialogue> <character>FRED</character> <dialogue>What's it?</dialogue> <character>BARNEY</character> <dialogue>Remember I said the Fibrefoam tasted funny? It was the coo - coo sap that was missing!</dialogue> <character>FRED</character> <dialogue>But. why would -</dialogue> <character>BARNEY</character> <dialogue>Why? Because coo - coo berries are as valuable as goldrock! And we've had tons of'em delivered to the plant since we started. somebody musta got greedy -</dialogue> <character>FRED</character> <dialogue>- Not ` somebody' - Lava!</dialogue> <character>BARNEY</character> <parenthetical>( alarmed . )</parenthetical> <dialogue>Fred, that sap acts as a fixative - it's the glue that holds the whole formula together -!</dialogue> <character>FRED</character> <parenthetical>( with mounting concern . )</parenthetical> <dialogue>Then. what's happening here.</dialogue> <character>BARNEY</character> <parenthetical>( finishing it . )</parenthetical> <dialogue>. Is gon na happen for real in the real Slate City!</dialogue> <character>FRED</character> <dialogue>Oh no. Barney! Wilma and Betty - and the kids - they're all there -</dialogue> <scene_description>With a final WHIMPER , the little FIBRESPHERE CAVES IN and then the nearby SLATE NEEDLE CRUMBLES , model story by model story . Finally the `` DISK '' on top of the needle is all that 's left , wobbling around like a spun dinner plate . It finally falls . EXPLODES .</scene_description> <character>FRED</character> <parenthetical>( worried . )</parenthetical> <dialogue>- B - barney. what do we do?</dialogue> <scene_description>Barney runs to a locker , grabs a big plunger - powered flit gun , begins filling it with a red liquid .</scene_description> <character>BARNEY</character> <dialogue>Coo - coo berry sap, Fred! It's our only chance - their only chance!</dialogue> <scene_description>Barney gives it a quick test squirt . Fred nods , and they rush out of the room . CAMERA PUSHES IN ON the ruins of the model `` Slate City '' .</scene_description> </scene> <scene> <stage_direction>INT. SLATE NEEDLE - NIGHT</stage_direction> <scene_description>WIDEN FROM a young kid who is drinking a glass of water and simultaneously singing with a ventriloquist 's dummy . Obviously , the talent show has begun . In the audience , Lava fidgets with nervous and confident energy . gives Wilma a big look .</scene_description> <character>LAVA</character> <dialogue>You're certainly looking lovely this evening, Mrs. Flintstone. Life with a junior executive must agree with you.</dialogue> <character>WILMA</character> <dialogue>Uh. thank you. I think.</dialogue> <character>LAVA</character> <parenthetical>( looking into her eyes . )</parenthetical> <dialogue>Yes. I think so, too.</dialogue> <parenthetical>( smiling . )</parenthetical> <dialogue>Imagine how good you'd look with a senior executive.</dialogue> <character>WILMA</character> <dialogue>Oh? Is Fred getting promoted?</dialogue> <scene_description>Lava laughs , sure she 's kidding . then not so sure . The ventriloquist finishes to scattered applause . The kid bows , gets up . splashes across puddles of water on the stage area . The Headmistress of L'ecole Superior et al steps up . Behind her , the picture window displays the expanse of Slate City : The twin Slatescrapers framing endless rows of little tract houses stretching to the distant volcanic ridge .</scene_description> <character>HEADMISTRESS</character> <parenthetical>( as applause dies . )</parenthetical> <dialogue>Sank you, ladies and gentlemen. An' sank you, Monsieur Slate for zis lovely setting. Zoot alors, zis will ze mos' fantas ` tic recital in Bedrock ` istoree. Now, I would like to sank out mos' generous benefactress, Madame Slate for her fine support o'vair zee years -</dialogue> <scene_description>She gestures into the audience , where Mrs. Slate stands , waves a gloved hand like the Queen Mother .</scene_description> <character>HEADMISTRESS</character> <dialogue>- An' now, what better introduction could we ` ave for Mrs. Slate's vairy own gran' nephew. Poindexter Lava!</dialogue> <scene_description>She steps aside . Curtain rises on little Poindexter . He is carrying a leather - and - bone accordion . He begins to play :</scene_description> <character>POINDEXTER</character> <parenthetical>( singing loudly . )</parenthetical> <dialogue>` Dino of Spain, I adore you Right from the moment I saw you -'</dialogue> <scene_description>QUICK SHOTS - AUDIENCE Their smiles become fixed . -LRB- Up on the spotlights , the little birds who operate the lights put earplugs in their ears . -RRB- In the wings with Pebbles and Bam - Bam , DINO MOANS , hides his head under his paws . On the refreshment table , GLASSES CRACK . a cake falls . CLOSE ON LAVA He surreptitiously checks his wrist watch .</scene_description> </scene> <scene> <stage_direction>INT. EMPTY FIBRERIDE - TIGHT ON ANOTHER WATCH - NIGHT</stage_direction> <scene_description>This one a pocket job . -LRB- Like Lava 's , it 's really a little sundial with a built - in burning match above it to provide a shadow ! -RRB- We WIDEN , and see that this watch is held in a green , scaley claw . ANOTHER ANGLE It 's the xenosaurus , lurking behind the exhibits ! Now , the CREATURE GRUNTS confidently , lights up a cigar . Then it picks up a canvas bag and a big toolbox and tiptoes into the deeper recesses of the Fibre ride .</scene_description> </scene> <scene> <stage_direction>INT. FRED'S CAR - TRAVELLING</stage_direction> <scene_description>Fred and Barney rush along , Fred at the wheel .</scene_description> <character>FRED</character> <dialogue>What'll we do when we get there?</dialogue> <character>BARNEY</character> <dialogue>We just tell Mister Slate that all 500 acres of his development are going to crumble into dust any minute.</dialogue> <parenthetical>( holds up the flit gun . )</parenthetical> <dialogue>Then we zap the stairs and corridors with some of this coo - coo sap. I just hope we have enough to get everybody out - whoops!</dialogue> <scene_description>He 's said this last because as he held up the flit gun , the handle whacked the back of Fred 's monster costume , and the head has flipped down with a solid `` clink . ''</scene_description> <character>FRED</character> <dialogue>Barney -!</dialogue> <parenthetical>( swerving all over the road . )</parenthetical> <dialogue>- I ca n't see straight -</dialogue> <scene_description>Barney gets up on his knees , grabs the wheel with one hand and the monster head with the other .</scene_description> <character>BARNEY</character> <dialogue>Hang on, hang on -</dialogue> <scene_description>Oops . He rotates the head completely around . Fred flails around . Barney grabs the wheel with one hand , tries to help Fred with the other .</scene_description> </scene> <scene> <stage_direction>EXT. CAR - NIGHT</stage_direction> <scene_description>It careens around even more wildly now . There 's several near collisions .</scene_description> </scene> <scene> <stage_direction>EXT. "ROCKDONALD'S" RESTAURANT - NIGHT</stage_direction> <scene_description>`` Rockdonald 's '' is , of course , complete with golden arches of stone , a drive - up window , etc. . It even has the oblig - atory cops on a break . in this case , Feldspar and Gravel . They 're sitting in their patrol car eating from little bamboo containers shaped just like McDonald 's Styrofoam . -LRB- Of course , the logo on the building behind them proudly reads `` OVER 100 SOLD . '' -RRB-</scene_description> <character>FELDSPAR</character> <parenthetical>( mouth full , bitching . )</parenthetical> <dialogue>Speed traps again! Face it, Gravel. I'm in a rut. and meanwhile, the guys who went through the academy with me, they're all big shots now : Sam Slate. Dirty Harock. Magma, P.I. And you know why?'Cause they got the breaks, that's why!</dialogue> <scene_description>Suddenly both officers react to the sound of SKIDDING TIRES and HONKING HORNS . They look out their window at - FRED AND BARNEY - DRIVING PAST both still battling the wheel and the resistant costume head . -LRB- By now their gyrations have put Barney 's face inside the jaws of the monster mask . -RRB- BACK TO SCENE</scene_description> <character>GRAVEL</character> <dialogue>S - sarge, d - did you see that? Some sorta creature was attacking that little guy -!</dialogue> <character>FELDSPAR</character> <dialogue>There's a lesson there, Gravel. never pick up hitchhikers. Besides -.</dialogue> <parenthetical>( realizing . )</parenthetical> <dialogue>- Did you say ` creature'?</dialogue> <scene_description>They do a big double - take at the now - vanishing car .</scene_description> <character>FELDSPAR &amp; GRAVEL</character> <dialogue>The xenosaurus!</dialogue> <scene_description>Excited , Feldspar bangs his dashboard and a DISPATCH PARAKEET in a police uniform pops INTO VIEW . Feldspar grabs it around the neck , holds it like a microphone .</scene_description> <character>FELDSPAR</character> <dialogue>This is a xenosaurus alert. Repeat, a xenosaurus alert. The creature has been sighted on the Slate City exit of the Venturock Freeway! It is driving a brown late model sedan and eating a white male Caucasian. Car twelve is in hot pursuit.</dialogue> <scene_description>He releases the bird , which does n't fly away right away , but gives him a look .</scene_description> <character>FELDSPAR</character> <parenthetical>( remembering . )</parenthetical> <dialogue>Oh, yeay. over and out!</dialogue> <scene_description>The bird nods , appeased , flies off .</scene_description> <character>DISPATCH PARAKEET</character> <parenthetical>( as it goes . )</parenthetical> <dialogue>Awwk! Car Twelve is on the way. Car Twelve is on the way.</dialogue> <character>FELDSPAR</character> <parenthetical>( thrilled . )</parenthetical> <dialogue>Gravel, this could mean promotions for both of us!</dialogue> <parenthetical>( trotting up to speed . )</parenthetical> <dialogue>Load the shotgun and turn on the siren!</dialogue> <scene_description>FRED 'S CAR - TRAVELLING Barney is rocking Fred 's head back and forth , finally gives it one last mighty yank . Something breaks . Barney falls back on the passenger side of the car . Fred drives with one hand , `` raps '' the monster head . It rattles . When Fred speaks again , the monster mouth no longer opens and closes in sync .</scene_description> <character>FRED</character> <parenthetical>( muffled , shouting . )</parenthetical> <dialogue>Ho, gweat! Hoo bwoke hit, Bahnee! Hi khnat twalk hennymore!</dialogue> <scene_description>Suddenly both men -LRB- pardon , man and xenosaurus -RRB- react to an approaching SIREN . They both look back at - FELSPAR 'S PATROL CAR Closing in . Gravel has produced a little sabre tooth CAT and is `` cranking '' its tail . As it WAILS away , the cops close in on our heroes . BACK TO SCENE</scene_description> <character>FRED</character> <dialogue>Ho noh! Ahhrisser Felghspah!</dialogue> <parenthetical>( turning to Barney . )</parenthetical> <dialogue>Haybee whee hould shtop -?</dialogue> <character>BARNEY</character> <dialogue>What, and explain what you're doing in that costume? Start talking about coo - coo berries and Fibrerock? By then it'll be too late!</dialogue> <character>FRED</character> <dialogue>` Hen yore height, yore height.</dialogue> <scene_description>Fred pours on more speed . They careen around a turn . CAMERA WHIP PANS TO a road sign : SLATE CITY - 1 MI . SLATE CITY - REAR GATE A fence surrounds the empty housing development ; in the distance , we can see the dark Slate Scrapers , and past them , the brightly - lit and gleaming Fibersphere and Slate Needle . We hear a SCREECH and then the CAMERA PANS BACK to pickup Fred 's CAR as it whips around a turn , two wheels off the ground . It crashes right into the gate , knocking down a sign reading `` SLATE CITY - DELIVERY GATE . '' The fence collapses all around the car . NEW ANGLE Fred and Barney stagger out of the wreck . Barney , covered with debris , rummages around and sighs with relief when he finds the flit gun of coo - coo sap is still intact .</scene_description> <character>BARNEY</character> <parenthetical>( hearing a siren . )</parenthetical> <dialogue>We'd better split up ; that way at least one of us can make it to the Slate Needle -!</dialogue> <character>FRED</character> <dialogue>` Ood hidea. Ood whuk, ol' bhudee.</dialogue> <scene_description>They slap hands together like basketball players , then head off in two directions .</scene_description> </scene> <scene> <stage_direction>INT. SLATE NEEDLE</stage_direction> <scene_description>CAMERA PANS the audience as the accordion recital con - tinues . Several people look visibly ill . Finally , CAMERA ADJUSTS to take in Poindexter 's big finish as he slides forward on his knees . There 's a scattering of half - hearted applause , led by Lava and the Slates .</scene_description> <character>HEADMISTRESS</character> <dialogue>Sank you, sank you. Our nex' performance is Bam - Bam, Pebbles.</dialogue> <parenthetical>( checking notes . )</parenthetical> <dialogue>. an' friend.</dialogue> <scene_description>She steps aside as a spotlight picks out - PEBBLES , BAM - BAM &amp; DINO poised in the stances we recognize as the `` first positions '' of the `` Dino Dance . '' However , whereas the previous version of this was done impromptu and a cappella with only a few primitive props and straw hats alone , this time the kids and Dino are fully costumed , with sequins , batons and the like , and the dance is completely choreographed .</scene_description> <character>KIDS</character> <dialogue>You can keep the twist, the frug and hop -</dialogue> <scene_description>VARIOUS ANGLES As the Dino dance begins , FULL ORCHESTRATION OVER IT . The audience seems to really like it - all except - MRS. SLATE who glances over at the judges long enough to see that they like this a lot better than the accordion act . Suddenly Mrs. Slate jumps up , barges on stage . The MUSIC DIES .</scene_description> <character>HEADMISTRESS</character> <dialogue>Madame Slate, what ees wrong -?</dialogue> <character>MRS. SLATE</character> <dialogue>I'll tell you what's wrong! This ` act' is an absolute disgrace! This is supposed to be a talent show! And a pedestrian animal act like this belongs in a circus!</dialogue> <scene_description>WILMA AND BETTY React , furious , jump out of their seats .</scene_description> <character>BETTY</character> <dialogue>A circus, huh? Well, if our kids belong in a circus with their act, then your little nephew belongs in a zoo with his -</dialogue> <character>WILMA</character> <dialogue>Yeah - a zoo where the animals are dead - because if they are n't, they will be!</dialogue> <character>MRS. SLATE</character> <dialogue>Why, how dare you! Mrs. Flintstein, I'll have you know that my little Poindexter has been trained by the finest tutors! Poindexter! Show them! Encore!</dialogue> <scene_description>The kid jumps up , begins to play . Immediately another GLASS SHATTERS . But then the CEILING FIXTURES CRACK , and then the PICTURE WINDOW PANELS begin to SHATTER one by one .</scene_description> <character>MRS. SLATE</character> <parenthetical>( alarmed . )</parenthetical> <dialogue>Ah. Poindexter. that's enough. Poindexter?</dialogue> <scene_description>The kids stops . But another WINDOW PANEL EXPLODES . Then one of the tables collapses . Pause . Every head in the room swivels around and stares at Poindexter . Nervous , he tosses the accordion aside . But the destruction continues : Another WINDOW PANEL SHATTERS . Then , the entire building shakes . SLATE Loses his balance , grabs onto Lava for support , ends up pulling him down , too . Slate gets to his knees and looks out the window . and his jaw drops in astonishment . HIS POV - SLATE CITY In the distance , with a CRACKLING ROAR , the little rows of Fibrerock tract houses are falling like dominoes in a wave that is rolling toward the Slate Needle . SLATE CITY DEVELOPMENT - NIGHT A flashlight beam rakes the CAMERA . Feldspar , shotgun in one hand , light in the other , looks around cautiously . -LRB- The shotgun has a slingshot mechanism ; the flashlight is a mirror - backed candle . -RRB- Behind him , FOOTSTEPS APPROACH . Feldspar tenses , but it 's -</scene_description> <character>GRAVEL</character> <dialogue>No sign of the driver.</dialogue> <character>FELDSPAR</character> <dialogue>You kidding? By now he's a couple of shinbones and a belch.</dialogue> <scene_description>Gravel drops down on one knee , excited . He shines his light on Fred 's big `` clawprints . ''</scene_description> <character>GRAVEL</character> <dialogue>Holy cowasaurus! Look how deep these tracks are! That xeno thing must weigh a ton!</dialogue> <scene_description>They aim their lights at the tracks , begin to follow them . Suddenly they round a corner and come face to face with - NEW ANGLE - FRED He 's stopped between two sample homes to wrestle with the monster head again . Now , he freezes in twin flash - light beams !</scene_description> <character>FELDSPAR</character> <dialogue>Okay, lizard, reach for the sky!</dialogue> <scene_description>Fred hesitates . then , hearing a CREAK and GROAN , he looks at the HOUSE beside him . The stucco - like exterior of Fibrerock is beginning to crumble .</scene_description> <character>FRED</character> <dialogue>Offisser Fledapar, het me hexpwain - his howse hiss maid uv fibahwock -</dialogue> <scene_description>He reaches out to tap the nearby wall and - WHAM - it collapses all around him , leaving a gaping hole in the house !</scene_description> <character>FELDSPAR</character> <parenthetical>( frightened , backing away . )</parenthetical> <dialogue>Quivering quartzite, d - did you see that -</dialogue> <character>GRAVEL</character> <parenthetical>( following him . )</parenthetical> <dialogue>O - one flick of his paw. and he knocked down a wall -!</dialogue> <character>FRED</character> <dialogue>Nogh, wate, chum baggk -</dialogue> <scene_description>As Fred `` roars '' and moves forward , Feldspar and Gravel scream , panic , and run ! FRED Tries to catch up and collides with the already damaged house . It collapses totally , falling in on itself , obscuring Fred . Finally the last TIMBER DROPS . Pause . Fred staggers out of the rubble , realizes that the impact has knocked the monster mask off his head and back on its hinges . He rubs dust out of his eyes , turns and looks at the Slate Needle . He 's much closer to it now . Quickly , he runs toward it . INSIDE THE SLATE NEEDLE Everyone is rocking back and forth with the escalating vibrations of the swaying building . The remaining table of refreshments slides across the room . POINDEXTER LAVA gets hit full force by a flying cake shaped like Slate City . He falls on top of his accordion , smashing it with one last dissonant squeeze . PARTYGOERS They pause in their panic to applaud gratefully .</scene_description> </scene> <scene> <stage_direction>EXT. BASE OF FIBRESPHERE AND SLATE NEEDLE - NIGHT</stage_direction> <scene_description>The supporting pylons and cable anchors begin to slowly decompose . A FLIGHT of STAIRS CREAKS AND GROANS . Barney runs INTO the SHOT , sees the steps about to go , dives for them . too late ! He ends up with a face full of Fibredust ! Now , he whirls as Fred runs up , points -</scene_description> <character>FRED</character> <dialogue>Barney! The elevator -!</dialogue> <scene_description>Barney runs toward it , hits the button . OTHER SIDE OF WALL REVEALING elevator mechanism . The button pokes a mouse which runs out of a box . Seeing the mouse , a nearby mastadon becomes frightened , begins running . A heavy cable tied to the mastadon runs over a pulley and into - THE ELEVATOR SHAFT - where the elevator rises out of the sub - level and INTO VIEW ! Fred and Barny start towards it . when suddenly the Fibrerock elevator begins to crumble !</scene_description> <character>FRED</character> <dialogue>Quick! Use your coo - coo gun -!</dialogue> <scene_description>Barney aims , pulls back the plunger . too late ! The elevator is gone . The cable swings back and forth loosely , `` whapping '' the shaft walls as it shoots upwards . Fred dives for the cable , misses ! As he stumbles , Barney leaps on Fred 's back , catches the cable ! As Barney starts to whizz upwards , Fred garbs onto his ankles ! ABOVE - FIBRESPHERE Propelled upwards , the would - be rescuers shoot OUT of the FRAME , disappear into the Fibresphere with a CRASH !</scene_description> </scene> <scene> <stage_direction>INT. BEDROCK POLICE STATION - NIGHT</stage_direction> <scene_description>The POLICE CHIEF looks skeptically at Feldspar and Gravel , who are exhausted , covered with dust , uniforms torn .</scene_description> <character>CHIEF</character> <dialogue>Feldspar, if you ask me, you've seen too many Rockzilla movies : In all the Xenosaurus sightings we've had reported, not one has had this kind of wholesale destruction -</dialogue> <character>FELDSPAR</character> <dialogue>Chief, you - you got ta believe me - just one swipe of its paw and - wham - a whole house was pre - history -!</dialogue> <scene_description>Suddenly one of those police DISPATCH PARAKEETS comes flying excitedly through the window , lands on a perch in front of the Chief .</scene_description> <character>DISPATCH PARAKEET</character> <dialogue>Calling all cars. Calling all cars. Unconfirmed reports of destruction and collapse at Slate City. Rescue vehicles are on the way. The xenosaurus has been spotted in the area. That is all. That is all.</dialogue> <character>FELDSPAR</character> <parenthetical>( excited . )</parenthetical> <dialogue>You see -? I told you -</dialogue> <character>CHIEF</character> <dialogue>All right, Feldspar, I'm convinced! As of this moment you're completely in charge of operation.</dialogue> <parenthetical>( dramatic . )</parenthetical> <dialogue>. ` Xeno Dino'! Now, what do you need?</dialogue> <scene_description>CAMERA TIGHTENS ON Feldspar . This is the moment he 's waited for all his life .</scene_description> <character>FELDSPAR</character> <parenthetical>( firm - jawed . )</parenthetical> <dialogue>Artillery.</dialogue> </scene> <scene> <stage_direction>INT. FIBRESPHERE - NIGHT</stage_direction> <scene_description>Dust and little fragments of construction material are still tinkling down around our heroes . The elevator cable sways from its uppermost pulley . Slowly , something stirs in the pile of arms , legs and scaly limbs . First to sit up is Barney , who groans , rubs his head . Next , Fred sits up . Damn ! The impact has knocked Fred 's monster mask back on his head ! Fred mutters angrily . Barney starts to help . and then they both notice that there 's another monstrous head in the middle of their group ! There 're big `` takes '' all around , and then the xenosaurus leaps out of the tangle of bodies , treads air , and runs away !</scene_description> <character>BARNEY</character> <parenthetical>( recovering . )</parenthetical> <dialogue>Fred, stop it! It might know the way inside!</dialogue> <scene_description>Fred `` gets up to speed '' and chases the xeno . Barney follows . NEW ANGLE Fred and Barney both leap on the mysterious xenosaurus - all crash through a wall -</scene_description> </scene> <scene> <stage_direction>INT. SLATE NEEDLE - NIGHT</stage_direction> <scene_description>The panicked partygoers turn as a section of wall collapses . Dust and debris billow upwards . The battered monster mask breaks loose from Fred 's costume , bounces on the floor . Slowly , everyone gets up : Fred . Barney . and two halves of the xenosaurus : The bottom half is Piltdown ; the top - half is Pyrite .</scene_description> <character>WILMA</character> <dialogue>Fred?</dialogue> <character>BETTY</character> <dialogue>Barney?</dialogue> <character>PEBBLES</character> <dialogue>Daddy!</dialogue> <character>BAM-BAM</character> <dialogue>Pop!</dialogue> <character>FRED</character> <dialogue>Piltdown?</dialogue> <character>BARNEY</character> <dialogue>Pyrite?</dialogue> <character>SLATE</character> <dialogue>What the devil's going on here?</dialogue> <character>FRED</character> <dialogue>It's real simple, Mister Slate. Your boy Lava here has been stealing the coo - coo berries from the Fibrerock mix and fixing the books to hide it!</dialogue> <character>LAVA</character> <dialogue>That's ridiculous, Flintstone! Nobody could get that many coo - coo berries off our premises!</dialogue> <scene_description>Suddenly the bottom of Piltdown 's canvas sack rips open . Thousands and thousands of coo - coo berries tumble out . LAVA Slaps his hands over his face . THE SCENE</scene_description> <character>BETTY</character> <parenthetical>( dryly . )</parenthetical> <dialogue>These sure look like coo - coo berries to me -</dialogue> <character>LAVA</character> <parenthetical>( smoothly . )</parenthetical> <dialogue>They're convincing fakes, Mrs. Rubble - part of our exciting display -</dialogue> <character>PYRITE</character> <dialogue>Fakes?</dialogue> <parenthetical>( to Piltdown . )</parenthetical> <dialogue>Gee, Pilty, I thought the real ones were gon na be moved up here for us ta steal - whatta waste a time -</dialogue> <character>PILTDOWN</character> <dialogue>Pyrite, shaddup -</dialogue> <character>FRED</character> <parenthetical>( snapping fingers . )</parenthetical> <dialogue>Now I remember! These guys were pulling this xenosaurus act that night at the plant! What's this, Lava. ` Plan B'?</dialogue> <character>LAVA</character> <dialogue>Uncle! Are you going to stand there while aspersions are being cast at the Slate family? This is absurd -</dialogue> <character>SLATE</character> <dialogue>Of course it is! Why, without the coo - coo berry sap, Fibrerock would be completely -.</dialogue> <parenthetical>( realizing . )</parenthetical> <dialogue>- unstable.</dialogue> <scene_description>Suddenly the entire building shudders . Dust falls from the ceiling . Everyone looks at Lava .</scene_description> <character>LAVA</character> <dialogue>All right, all right, I admit it! I got in over my head in the stock market. took some big losses. I had these guys pull jobs for me all over town disguised as a monster. but it still was n't enough. and when I saw all those coo - coo berries being delivered every day, I guess I just lost my head. I figured with the Woca sap in the Fibremix, the berry juice as superfluous.</dialogue> <character>SLATE</character> <dialogue>I'll tell you what's superfluous, Lava. your liver! So why do n't we remove it -!</dialogue> <scene_description>He leaps , snarling , on top of Lava . Fred and Barney pull them apart . Then , more falling dust and beams give everyone more pressing problems -</scene_description> </scene> <scene> <stage_direction>EXT. SLATE NEEDLE - NIGHT</stage_direction> <scene_description>Rescue VEHICLES and police CARS ROAR up , slam to a halt , CAT SIRENS WAILING . The rescue workers jump out . Firefighters carry circular trampolines of hide stitched to bamboo frames ; others go to the back of their trucks and start to turn cranks on the hook and ladder trucks to raise the ladders . CLOSE ON A HOOK AND LADDER TRUCK It 's actually a wheeled carriage carrying a firesaurus , which is a critter with a very tiny body and an incred - ibly long neck . The bony plates on the creature 's back make perfect stairs . However , the creature is noticeably listless and uncooperative .</scene_description> <character>FIRE CHIEF</character> <dialogue>Come on, come on, what's the hold up -?</dialogue> <character>FIREFIGHTER</character> <dialogue>It's the kibble crisis, sir - the firesauruses have been on half - rations for a month!</dialogue> <scene_description>Above them , the BUILDING SHUDDERS again . IN THE SLATE NEEDLE Now , the remaining LIGHT FIXTURES CRASH down . When they hit the floor , the oil lamps inside spills and fire spreads .</scene_description> <character>WILMA</character> <parenthetical>( pointing . )</parenthetical> <dialogue>Fred! There's a fire hose -!</dialogue> <scene_description>Indeed , it 's on the back wall in a closed box marked FIRE HOSE - IN CASE OF EMERGENCY BREAK GLASS . Fred and Barney take a step towards it , but the fire quickly spreads and cuts them off . Helpless , they step back . With a THUNDEROUS ROAR , the two SLATE SCRAPERS visible through what 's left of the picture window COLLAPSE . Then the big statue of Slate just outside the window begins to decompose . It falls in on itself like a sand sculpture in a storm . finally , for a split second it is , well , life - sized , and then the head of the statue snaps loose , CRASHES through the only remaining pane of GLASS here . rolls up to Slate 's feet . Pause . Everyone looks at everyone else . This is it : Titanic time . Fred embraces Wilma . Barney embraces Betty . Their kids are pulled into the clinch . Even Slate takes Mrs. Slate 's hand . Talk about grace under pressure . and speaking of - GRACE - the star fashion model , suddenly her Fibrethread costume decomposes , leaving her in her cute little animal print undies . BETTY In the middle of going down with the ship , she turns Bam - Bam 's face away from this display .</scene_description> <character>BAM-BAM</character> <dialogue>D - dad, are we gon na be okay?</dialogue> <character>BARNEY</character> <parenthetical>( pause ; false smile . )</parenthetical> <dialogue>Sure, pal. We just got ta wait for the fire department. Right, Fred?</dialogue> <character>FRED</character> <dialogue>Y - yeah. Everything's gon na be just - Whoa, hoo - hah, aggh -</dialogue> <scene_description>He 's started yelping because he 's realized his arm is on fire , and now he jumps up and the others begin beating at the arm with anything in their hands , and then Fred suddenly pushes away from them , stands there with a small flame flickering on his forearm like a Rock Vegas stage magician .</scene_description> <character>FRED</character> <dialogue>- Wait a minute - I do n't feel anything at all -</dialogue> <scene_description>With his other `` claw '' he slaps tentatively at the flames , and then confidentially snuffs it out .</scene_description> <character>BARNEY</character> <dialogue>It must be the suit, Fred - old Bedrock High built them things to last -</dialogue> <scene_description>Fred looks over at the wall of flame separating the guests from the fire hose . As everyone gets the same idea , Dino rushes up , the costume head in his mouth . All brighten . Barney helps Fred with the head , twists it into place .</scene_description> <character>BARNEY</character> <parenthetical>( rapping on the head . )</parenthetical> <dialogue>- Okay?</dialogue> <character>FRED</character> <dialogue>Hist hust fine!</dialogue> <scene_description>He lowers his head , runs through the fire , which licks at him harmlessly . Then with his claw , he SMASHES the amber GLASS - IN THE BOX A big PYTHONSAURUS is curled up inside , SNORING . -LRB- Note to herpetologists : The pythonosaurus is not quite a snake : it has little vestigial forepaws the better to emote with . Right now the snoring head is in those little paws . -RRB- The Pythonsaurus stirs , looks at Fred , `` sniffs '' the smoke . Then he raises one hand and finger as if to say `` one moment . '' Then the pythonsaurus turns his head towards a nozzle like the ones in hamster cages , slurps loudly . We hear gallons and gallons of WATER GURGLING away . IN THE MAIN ROOM Everyone retreats from the fire . Slate picks up the head of the statue , his only souvenir . WITH FRED Waiting impatiently until the pythonsaurus finally finishes drinking . It wipes its mouth daintily with a napkin , slaps a little fire helmet on its head , turns and runs back into the other room . -LRB- Behind him , yards and yards of pythonsaurus unroll from a hidden compart - ment behind the box . -RRB- Water shoots out of the creature 's mouth . WIDER Fred turns in a semi - circle and puts out every lick of flame in the room . All the guests cheer , rush forward and slap Fred on the back . Pebbles jumps up on him and kisses him .</scene_description> <character>FRED</character> <dialogue>Hit fuzz nudding. wheely.</dialogue> <scene_description>The pythonsaurus looks around at the attention .</scene_description> <character>PYTHONSAURUS</character> <dialogue>Hey, what am I, chopped liver?</dialogue> <character>BARNEY</character> <dialogue>Come on, everybody - we'll go out the way we came!</dialogue> <scene_description>Barney squirts a pathway with his flit gun , solidifying a route in the crumbling Fibrerock . Then Barney and Fred stand back nobly , wave everyone on into the adjacent Fibresphere .</scene_description> <character>POINDEXTER</character> <parenthetical>( pushing and shoving . )</parenthetical> <dialogue>Outta the way - outta the way - women and children first -! I mean, ah, children and women first, yeah, yeah, provided that uh, there's room for the women.</dialogue> <scene_description>Meanwhile , the pythonsaurus gives Fred -LRB- or rather his costume -RRB- a big look up and down , looks TOWARD the CAMERA .</scene_description> <character>PYTHONSAURUS</character> <dialogue>Hey, not bad. Wonder if she lives around here.</dialogue> <scene_description>Just then Fred tilts back the monster head . The pythonsaurus reacts .</scene_description> <character>PYTHONSAURUS</character> <dialogue>Heartbreaker!</dialogue> <scene_description>Depressed , the pythonsaurus follows the others . Fred and Barney cross over into the Fibresphere . As the do , Slate Needle completely collapses .</scene_description> </scene> <scene> <stage_direction>EXT. FIBRESPHERE - LONG SHOT</stage_direction> <scene_description>The Slate Needle tumbles down , taking a big chunk of the Fibresphere with it ! But the rest of the huge globe stays put . for now . RESCUE WORKERS BELOW gasp , cry out - UP ABOVE Already the first partygoers are sliding down the elevator cable .</scene_description> <character>HEADMISTRESS</character> <parenthetical>( panicking . )</parenthetical> <dialogue>Oh, geez, we're all gon na croak - I neva shoulda left Far Rockaway -</dialogue> <scene_description>Wilma gives her a big suspicious look - blanching , the Headmistress slides down the cable - BELOW The rescue teams catch the people in nets as they hit the ground . ABOVE Barney gives the dwindling circle of solid Fibre around the group another shot of coo - coo juice . Poindexter Lava pushes his way forward .</scene_description> <character>POINDEXTER</character> <parenthetical>( to anyone and everyone . )</parenthetical> <dialogue>Fifty clams for a piggy - back ride. a hundred clams!</dialogue> <character>MRS. SLATE</character> <parenthetical>( aghast . )</parenthetical> <dialogue>Do you see that, Jerry? Do you see how my great - nephew is behaving at this moment of crisis?</dialogue> <character>LAVA</character> <parenthetical>( proudly . )</parenthetical> <dialogue>Yeah. Real chip off the old block, ai n't he?</dialogue> <scene_description>Embarrassed , Mrs. Slate grabs the kid by the neck , practically throws him at the cable . She follows him down , followed by Lava and Mr. Slate . REAR OF FLEEING PEOPLE Fred and Barney have bravely held up the rear , their families clutching to them . Barney 's carrying Bam - Bam .</scene_description> <character>FRED</character> <parenthetical>( to Pebbles . )</parenthetical> <dialogue>Upsy - daisy, sweetheart - piggy back time!</dialogue> <scene_description>She jumps on his back . slamming the monster head back in place .</scene_description> <character>FRED</character> <parenthetical>( resigned . )</parenthetical> <dialogue>Hohh. GWEAT!</dialogue> <character>BARNEY</character> <parenthetical>( to Betty . )</parenthetical> <dialogue>Go on, honey. I got Bam - Bam!</dialogue> <character>BETTY</character> <dialogue>Barney. tonight you're the biggest man in Bedrock.</dialogue> <scene_description>She kisses him , slides down . CLOSE ON WILMA AND FRED Backlit romantically by the flames , just like Gable and Leigh when Atlanta burned .</scene_description> <character>FRED</character> <parenthetical>( through the mask . )</parenthetical> <dialogue>Wilmagh, I jusght whunt to sagh thad I knogh shumtimes I dogh dumb thinks. Bhut hit's becaughse high luff yough sogh much thaght high whant yough to livgh likge a pwincess orgh a qween'cause you reaally arggh rugg aaggg hummmmg higga!</dialogue> <character>WILMA</character> <dialogue>Oh, Fred - that's the most beautiful thing I've ever heard!</dialogue> <scene_description>They kiss . she drops to safety ! BELOW Wilma slides into a rescue net , gets on unsteady feet next to Betty . BACK UPSTAIRS</scene_description> <character>FRED</character> <dialogue>Lhet's dogh it!</dialogue> <scene_description>Their kids on their backs , Fred and Barney exchange a heroic forearm - to - forearm gladiator - type handshake . both put their hands on the cable . and then the whole pulley mechanism falls right down between them and through the hole ! A second later , the entire remaining structure collapses ! BELOW Everyone reacts in horror - ABOVE Dust and smoke clear . When we can see again , well , it 's not a pretty sight . The entire fibresphere is gone . All that 's left , teetering on two spindly supports , are two tiny islands of safety connected by a twisted maze of rubble too small for a human to negotiate . and all that 's holding that up is a long guide wire leading to the ground ! CLOSER Figures on one of the islands stir : Fred . Barney . Bam - Bam . Pebbles ! The platform shudders again . Barney aims the flit gun - empty ! The dads hold on to the kids . It 's all they can do . BELOW Wilma and Betty gasp . what can be done ? THE SECOND ISLAND Bricks and chunks of Fibre stir . a form sits up . it 's - Dino ! He looks around at the situation , becomes agitated . he wants to help . but how ? WILMA AND BETTY Suddenly become inspired .</scene_description> <character>BETTY</character> <dialogue>W - wilma. those hoops of bamboo. those wires. do you think -?</dialogue> <character>WILMA</character> <dialogue>Yes! Yes! Betty, we have to try it -! Dino! Dino, look down here -!</dialogue> <scene_description>DINO Obeys , puzzled - HIS POV - WILMA AND BETTY Amazingly , they grab scraps of wood , borrow fire fighter 's helmets , and begin to do a buck and wing . WILMA AND BETTY You can keep the twist , the frug and hop I do n't need to shimmy , I do n't need to bop - BIG CAMERA PUSH - DINO MUSIC COMES UP DRAMATICALLY as he catches on ! His eyes fill with courage and he charges toward the spindly bridge that leads to his master and friends . ANOTHER ANGLE Dino dives through the hoops of bamboo , duplicating his steps in `` The Dino Dance . '' He reaches the other island ! Without a beat , still keeping time , he puts the two kids on his shoulders , just like in the dance ! Then he `` presents '' his tail to Fred - Fred hands his tail to Barney - and then - LONG SHOT - Dino slides down the long wire , carrying everyone to safety ! They all plow into the biggest rescue net as Wilma and Betty wind up !</scene_description> <character>WILMA AND BETTY</character> <dialogue>Yes, I do n't need to shimmy, I do n't need to bop'Cause I'm doin', doin', doin' THE IGNEOUS ROCK!</dialogue> <scene_description>FRED rolls out of the net and away from the others . He 's slightly stunned , still in the suit . He sits up . suddenly lights snap on all around him ! Fred looks up and sees - HIS POV - CORDON OF POLICE OFFICERS All with weapons aimed right at him . Spotlights on the police car roofs -LRB- actually little fires with parabolic mirrors -RRB- are operated by uniformed monkeys . Feldspar is at the head of the group . He cocks his shotgun . The elastic catapults at the hammers twitch menacingly -</scene_description> <character>FELDSPAR</character> <dialogue>It's the xenosaurus - stand back, men - it's a vicious killer - Ready - Aim -</dialogue> <character>FRED</character> <parenthetical>( with desperate poignancy . )</parenthetical> <dialogue>High ham noght a zenosore! High ham hay hooman beeng -!</dialogue> <scene_description>BAM ! WHAM ! KABAM ! Bullets and projectiles begin slamming all around Fred ! He ducks behind a big fallen chunk of Fibrerock - catches his breath as the bullets and shells bounce off its resilient surface . CLOSE - FRED Momentarily safe , he tries desperately to remove that stupid head - bangs it against the wall , tears at it with his claws - - meanwhile , the chunk of Fibrerock protecting him decomposes ! He 's back in the line of fire ! DINO Flanked by Wilma , Barney and the kids , who are shouting for the police to stop , only Dino the wonder bronto has the wits to act ! `` YI - YI - YI - ING , '' he races forward , CAMERA FOLLOWING - and with lightning reflexes grabs the seat of Fred 's monster suit and - de - pants him ! Instantly , Dino whirls Fred around , points to the now revealed striped undershorts . WIDER Pause . Then Officer Gravel takes a good look at that rear end .</scene_description> <character>GRAVEL</character> <dialogue>Hey, those are the biggest shorts I've ever seen.</dialogue> <parenthetical>( realizing . )</parenthetical> <dialogue>. It. it must be Mister Flintstone! Cease fire!</dialogue> <parenthetical>( to Feldspar . )</parenthetical> <dialogue>Gee, Sarge, now you do n't have to shoot him -!</dialogue> <scene_description>Now Fred confirms Gravel 's hunch as the costume head finally pops off . All the cops lower their guns . -LRB- Strangely , though , Feldspar still continues to raise his gun - even aims ! Then an alarmed Gravel wrestles it away from his superior . -RRB- THE FLINTSTONES AND RUBBLES - DAWN Safe , they all emotionally embrace . Fred even suffers Dino 's affection . -LRB- In the b.g. , a police car holding Piltdown , Pyrite and Lava drives past . Poindexter Lava is chasing the car . -RRB-</scene_description> <character>POINDEXTER</character> <parenthetical>( distant . )</parenthetical> <dialogue>Dad! Dad! Can I use the Porscherock while you're in the slammer?</dialogue> <scene_description>Suddenly the Slates push their way into the group hug .</scene_description> <character>SLATE</character> <dialogue>Flintstone. Rubble. I. I do n't know what to say. I. I treated you horribly. I ignored you, abused you. and then you come here and risk your necks like this. well, there's no price you can put on something like that, so I wo n't even try. But let me give you.</dialogue> <parenthetical>( with great poignancy . )</parenthetical> <dialogue>. a hearty handshake.</dialogue> <character>MRS. SLATE</character> <dialogue>Dear, do n't you think a little more than that is in order?</dialogue> <character>SLATE</character> <dialogue>Honey, you're being hysterical, go lie down, okay?</dialogue> <character>MRS. SLATE</character> <dialogue>I am not being hysterical, I am being fair - now the Flintsteins and Rabbles saved all of our lives, not to mention your reputation.</dialogue> <character>SLATE</character> <parenthetical>( sighing . )</parenthetical> <dialogue>Okay, okay.</dialogue> <parenthetical>( to Fred and Barney . )</parenthetical> <dialogue>Boys, I'm feeling guilty about how you've been taken advantage of, so I'll tell you what. I'm going to give you back all world - wide rights to Fibrerock, free and clear.</dialogue> <scene_description>He picks up a fragment of stone , begins writing on it .</scene_description> <character>SLATE</character> <dialogue>Your only obligation will be to cover oh, whatever legal expenses might surface at some later time.</dialogue> <character>BARNEY</character> <dialogue>You think there's gon na be some?</dialogue> <scene_description>Slate looks around at - HIS POV - THE RUINS AND DESTRUCTION Smoking desolation as far as the eye and CAMERA can see . As we watch the last remaining fragment of Slate City collapse , crushing a police car . BACK TO SCENE</scene_description> <character>SLATE</character> <parenthetical>( casually . )</parenthetical> <dialogue>Oh, you never know.</dialogue> <scene_description>RESCUE DINOS Several sniff at the air , look curiously at a nearby pile of crumbled Fibrerock . One and then another shuffles over , tentatively tastes some . grins . and digs in ! Seeing this , the `` firesauruses '' crane out their necks , also begin chowing down on the pile of Fibrerock crumbs . FRED , BARNEY , SLATE AND OTHERS All turn at the growing sound of the ANIMALS PIGGING OUT . Now DINO `` YI - YI - YI 'S '' past this group and leaps into the pile , munching like crazy . Barney puts out his hand as chunks of Fibrerock shower down like rain from the feeding frenzy . Catching some pieces , he nibbles on it a little .</scene_description> <character>FRED</character> <dialogue>Barn? What's going on?</dialogue> <character>BARNEY</character> <parenthetical>( sniffing it . )</parenthetical> <dialogue>Lava Lava leaves. Woca sap. all still there, but now the nutrients are all released.</dialogue> <parenthetical>( realizing . )</parenthetical> <dialogue>. Fred, this. this is Dino kibble!</dialogue> <character>FRED</character> <dialogue>Dino kibble?</dialogue> <scene_description>Disbelieving , Fred moves over to the happily - munching animals . He has to get on his knees to wiggle in with the pack . He grabs some , stuffs it in his mouth . chews . His eyes widen .</scene_description> <character>FRED</character> <parenthetical>( mouth full . )</parenthetical> <dialogue>Dhinough khibble!</dialogue> <scene_description>He spits it out , takes out the chunk of contract Slate wrote on .</scene_description> <character>FRED</character> <dialogue>Barney, we - we're rich! Yabba dabba do -!</dialogue> <scene_description>SLATE Faints dead away ! The CAMERA PULLS BACK . BACK . BACK -</scene_description> </scene> <scene> <stage_direction>EXT. DRIVE-IN MOVIE THEATRE - NIGHT</stage_direction> <scene_description>We 're back where we began . As `` The End '' appears on the drive - in screen , cars are streaming out of the drive - in theatre . The Flintstone car is among them .</scene_description> </scene> <scene> <stage_direction>EXT. DRIVE-IN RESTAURANT - NIGHT</stage_direction> <scene_description>Fred and company roll into a ' 50 's - style drive - in restaurant . A sign advertises BRONTO BURGERS AND RIBS . A pretty carhop on stone roller skates glides over . Fred holds up one finger towards her . She nods , scampers O.S. Fred rubs his hands and licks his lips with antici - pation . and then the girl returns with a massive rack of ribs on a car tray . She hooks it on the edge of the driver 's door . and the entire car tips over with a crash .</scene_description> </scene> <scene> <stage_direction>EXT. FLINTSTONE HOUSE - NIGHT</stage_direction> <scene_description>WIDEN FROM the mailbox . Fred and family pull up . Dino runs in first , followed by Wilma with Pebbles already asleep on her shoulder . Fred follows , the saber - tooth cat on his heels . Fred stops in the doorway to put a milk bottle on the doorstep , and then puts the cat down beside it . He shuts the door . Quick as a flash , the cat leaps through the side window . Pause . The door opens and the cat puts Fred out , then slams the door ! Fred recovers from his shock , tries the door . it 's locked !</scene_description> <character>MUSIC</character> <parenthetical>( V.O . )</parenthetical> <dialogue>We'll have a yabba dabba - do time A dabba - do time We'll have a gay old time!</dialogue> <character>FRED</character> <parenthetical>( knocking . )</parenthetical> <dialogue>Wilma?</dialogue> <parenthetical>( another knock . )</parenthetical> <dialogue>. Wilma?</dialogue> <scene_description>CAMERA CRANES UP , WIDENS as Fred becomes a tiny sil - houette banging on the door .</scene_description> <character>FRED</character> <dialogue>Wilma? Wil - ma -!</dialogue> <scene_description>FADE OUT . THE END</scene_description> </scene> </script>

In prehistoric suburban Bedrock, Slate & Co.'s new vice-president Cliff Vandercave and secretary Miss Sharon Stone discuss their plan to swindle the company of its vast fortune and flee, and that they need one of their employees to be responsible for it. Fred Flintstone loans his best friend and neighbor Barney Rubble money so that he and his wife Betty can adopt a little boy named Bamm-Bamm, who can only pronounce his own name. Although he's initially difficult to control because he was reared by mastodons and has super strength, he eventually warms up to his new family. Barney vows to repay his friend. Despite his mother-in-law Pearl Slaghoople's objections, Fred's wife Wilma remains supportive of his decision. Cliff holds an aptitude test; the worker with the highest mark will become the company's new vice-president. Barney gets the highest score but switches his paper with Fred, whom he knows will fail. Fred receives the promotion, but his first order is to dismiss Barney, who now effectively has the lowest score. Fred doesn't want to fire him, but Cliff tells Fred if he doesn't, he will fire Barney for him and Fred will be fired too. Fred reluctantly but willingly accepts, but does his best to help Barney support his family, even inviting the Rubbles to live with them so that they can rent out their house. However, Fred's job and newfound wealth put a strain on his relationships with Wilma and the Rubbles. Cliff eventually tricks Fred into dismissing the workers, over the objections of his office Dictabird. Later, Barney confronts Fred after seeing worker riots on the news. He reveals that he switched tests with Fred, and the Rubbles move out, despite having nowhere to live. Wilma and Pebbles also leave for her mother's house, leaving Fred behind. Fred goes to the quarry and realizes his mistake and Cliff's plan, but also finds out that Cliff has manipulated events to make it look as if Fred stole the money, and has reported it to the police. A manhunt for Fred ensues by the police and the workers. Wilma and Betty see this on the news, and break into Slate & Co. to get the Dictabird, the only witness who can clear Fred's name, unaware that Cliff saw them from his office window. As Fred attempts to enter a cave where the workers are seeking refuge, they see through his disguise and attempt to hang him. Barney is almost hanged as well after he admits his part. Fred and Barney reconcile, but before they can be hanged, Wilma and Betty arrive with the Dictabird, who tells them the true story. The workers release Fred and Barney after realizing that Cliff was the one who fired them. Cliff kidnaps Pebbles and Bamm-Bamm and demands the Dictabird in exchange for the children's safe return. Fred and Barney confront Cliff at the quarry, where Cliff has tied Pebbles and Bamm-Bamm to a huge machine. Though they hand him the Dictabird, Cliff activates the machine to stall them. Barney rescues the children while Fred destroys the machine. The Dictabird escapes from Cliff and lures him back to the quarry, where Miss Stone knocks him out, having had a change of heart after learning that Cliff was planning to betray her. The police, Wilma, Betty, and Mr. Slate arrive and Cliff attempts to flee, but he is petrified by a substance falling from the machine. With the Dictabird's help, all charges against Fred are dropped, while Miss Stone is arrested as Cliff's accomplice, though Fred is confident she will be granted leniency for helping them stop Cliff. Impressed with the substance that Fred inadvertently created by destroying the machine, Mr. Slate dubs the substance "concrete" in honor of his daughter Concretia and makes plans to produce it with Fred as the president of its division, thus ending the Stone Age. Having realized the negatives of his wealth and status as the new CEO, Fred declines and asks that the workers be rehired and given the job benefits he initially set out to achieve, which is granted. As the Flintstones and Rubbles have finally made amends, Fred and Barney get into a humorous quarrel when Fred once again asks Barney for a small amount of money for breakfast.

SubUrbia_1996

tt0120238

<script> <scene> <stage_direction>EXT. ESTABLISHING - BURNFIELD - DAY</stage_direction> <scene_description>Over the various images of Burnfield 's strip malls and fast food joints we hear GENE PITNEY singing .</scene_description> <character>GENE PITNEY</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( singing . )</parenthetical> <dialogue>`` When your young and so in love as we and bewildered by the world we see why do people hurt us so Only those in love know What a town without pity can do If we stop to gave upon a star people talk about how bad we are ours is not an easy age we're like tigers in a cage What a town without pity can do''</dialogue> </scene> <scene> <stage_direction>INT. JEFF'S ROOM - GARAGE - DAY</stage_direction> <scene_description>JEFF is talking on the telephone inside of his tent which is has set up in his parents garage .</scene_description> <character>JEFF</character> <parenthetical>( into telephone . )</parenthetical> <dialogue>Buff? Yeah, I'll see you down there later. I just got ta finish some stuff I'm writing. Okay. ` Bye.</dialogue> <scene_description>Jeff clicks over to the other line .</scene_description> <character>JEFF</character> <parenthetical>( into telephone . )</parenthetical> <dialogue>SOOZE? Yeah, so did you tell him that we could n't afford twenty bucks a ticket and why did n't he put us on the comp list? No, no, there's always a comp list. Alright. Well, so then, just get your mother's car and maybe we'll all go do something. Yeah. I got ta get off. Okay. ` Bye.</dialogue> </scene> <scene> <stage_direction>INT. PIZZA JOINT - DAY</stage_direction> <scene_description>BUFF is the one of the only people working . Pies are over cooking in the oven and Buff is trying to punch out of work as soon as he can .</scene_description> <character>BUFF</character> <parenthetical>( into telephone . )</parenthetical> <dialogue>Hey, Frankie! Hey, what are you doing? Sleeping? What, at six o'clock? Sleep when you are dead. Hey, man, I just got off work. Why do n't you meet me down at the corner. So? Put on some clothes and come down, man, yeah. Yeah, yeah, I wan na see you, man. Alright. Yeah. Hey, why do n't you bring that pot you just bought? What?! Yeah, fuck you man!</dialogue> <parenthetical>( to employee . )</parenthetical> <dialogue>Later.</dialogue> </scene> <scene> <stage_direction>INT. SOOZE'S HOUSE. BEDROOM - DAY</stage_direction> <scene_description>Sooze 's room is covered with a wide variety of artwork , most of which she as done . She hangs up the phone and walks down the hallway towards her MOTHERS room . She stops in her mother 's doorway ,</scene_description> <character>SOOZE</character> <dialogue>I'm going out later.</dialogue> <character>SOOZE'S MOM</character> <dialogue>No car.</dialogue> <character>SOOZE</character> <dialogue>The fuck not?</dialogue> <character>SOOZE'S MOM</character> <dialogue>You know the fuck not.</dialogue> <character>SOOZE</character> <dialogue>Fuck.</dialogue> <character>SOOZE'S MOM</character> <dialogue>Do n't swear it's impolite.</dialogue> <scene_description>Sooze storms out of the room and back down the hall to her own room . Sooze 's mom is watching a shopping channel on the television . We dolly into the television .</scene_description> <character>SHOPPING CHANNEL HOST</character> <dialogue>suggest that you call immediately. We are truly thrilled to bring you this next item and it's a Host Value Special. It's the spiral relaxation lamp. I personally bought one of these for a very good friend of mine and ended up falling in love with it, I found myself mesmerized by watching the balls. That's why I suggest that if you're going to buy one, that you buy maybe two or three.</dialogue> </scene> <scene> <stage_direction>INT. CIRCLE A CONVENIENCE STORE - NIGHT</stage_direction> <scene_description>Two POLICE OFFICERS -LRB- CHIP and GARY -RRB- are at the counter buying cigarettes . Jeff is also inside shopping . The convenience store worker , NAZEER , is watching a cops - like TV show .</scene_description> <character>TV REPORTER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>It started with a traffic argument, escalated to the firing of a legally carried handgun, ending with the death of the man it was aimed at. GORDON RIEDHALE claimed he could n't escape an attacker who was punching him in the head. Concealed carry instructors say, `` It's that fear.''</dialogue> <character>CHIP</character> <dialogue>Just depends on the filter capacity. What size is that pool?</dialogue> <character>GARY</character> <dialogue>Fifty - five thousand.</dialogue> <parenthetical>( to Nazeer . )</parenthetical> <dialogue>Marlboros, chief. Hard pack.</dialogue> <character>CHIP</character> <dialogue>In that case you need a heavy - duty filter.</dialogue> <character>NAZEER</character> <dialogue>Two - fifty.</dialogue> <character>GARY</character> <dialogue>Two - fifty? They go up?</dialogue> <character>NAZEER</character> <dialogue>Always two - fifty, my friend.</dialogue> <character>TV REPORTER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What that means is that every armed licensee faced with danger must make a split second judgment call.</dialogue> <scene_description>Gary places two - fifty on the counter and him and Chip walk back to their patrol car . As they leave the parking lot they see TIM sitting on the side of the building .</scene_description> <character>CHIP</character> <parenthetical>( to Tim . )</parenthetical> <dialogue>Timmy - boy!</dialogue> <scene_description>Tim makes a `` smooth sailing '' gesture with his hand . Buff roles over to Tim on his roller blades . He sweeps off a piece of concrete and places down a slice of pizza . Buff begins to play hockey with two empty beer cans on the ground . He shoots one at the dumpster and the other at Tim .</scene_description> <character>BUFF</character> <dialogue>Peace! Ah, time's running out, three, two, one!</dialogue> <scene_description>He shoots the beer can at Tim , barely missing him . Jeff walks up from around the corner holding a package of cookies he just bought . Nazeer is right behind him eating something .</scene_description> <character>BUFF</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Score! Yeah!</dialogue> <character>NAZEER</character> <dialogue>Hey, hey, seven - twenty. Seven - twenty.</dialogue> <scene_description>Jeff turns around .</scene_description> <character>JEFF</character> <dialogue>What?</dialogue> <character>NAZEER</character> <dialogue>Seven - twenty.</dialogue> <character>JEFF</character> <dialogue>I gave it to you.</dialogue> <character>BUFF</character> <dialogue>He paid you man.</dialogue> <character>NAZEER</character> <dialogue>You owe me twenty cents. Come on, seven - twenty. Seven - twenty.</dialogue> <character>BUFF</character> <dialogue>Yo! Your spitting rice all over us! God.</dialogue> <scene_description>Jeff digs into his pockets .</scene_description> <character>JEFF</character> <dialogue>Here's twenty - five cents.</dialogue> <scene_description>Nazeer takes the money and walks away .</scene_description> <character>JEFF</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Guy should cut down on his caffeine intake.</dialogue> <character>BUFF</character> <dialogue>Needs some pizza in his diet.</dialogue> <scene_description>Buff is eating his slice of pizza and skating around the group .</scene_description> <character>TIM</character> <dialogue>I do n't think I like that guy's attitude at all. Hey, you know what? Take off the blades. I mean it. I'm gon na break your fucking legs. Take'em off.</dialogue> <character>BUFF</character> <dialogue>You're fascist, man. Neofascist.</dialogue> <scene_description>He sits down and begins to take of his blades .</scene_description> <character>TIM</character> <dialogue>Buff, sit. You know what I mean though? Somebody ought to crack that guy with a baseball bat.</dialogue> <character>JEFF</character> <dialogue>Yeah, well, he's from a Third World country. He does n't have it easy.</dialogue> <character>TIM</character> <dialogue>What? What the fuck do you know about the third world? You been there? No? No, well, I have. Fuckers live like sardines in a can over there, you know. Everything stinks. It's true, there's no, you know, law, no order. No nothing. The assholes come over here, they think it's gon na be the same.</dialogue> <character>JEFF</character> <dialogue>Hey, he's a human being you can give him that much.</dialogue> <character>TIM</character> <dialogue>Actually, the only thing I got ta give that guy is a one - way ticket back to Greaseball - land.</dialogue> <character>JEFF</character> <dialogue>Yeah, well, that pizza could feed a family of four in Turkey or India or wherever the fuck he comes from.</dialogue> <character>BUFF</character> <dialogue>Oh yeah? Oh, how'd you ship it over there, man? Federal Express? Hm? By the time it got there it'd be way cold and coagulated. Total waste. Cheese be stuck to the cardboard.</dialogue> <character>JEFF</character> <dialogue>Buff, that slice is the difference between life and death for some half - dead Bangladeshi.</dialogue> <character>BUFF</character> <dialogue>Yo, your gettin' me all upset here.</dialogue> <character>JEFF</character> <dialogue>You should get upset. Everyone should get upset. When, when Hitler was greasing the Jews, people were saying, `` Do n't get me upset. Your bumming me out.'' My duty as a human being is to be pissed off. Jesus Christ, not that it makes a difference on the first fucking place. Nothing ever changes, man. Fifty years from now we're all gon na be dead and there'll be new people standing here drinking beer, eating pizza, bitching and moaning about the price of Oreos, and they wo n't even know we were ever here. And then fifty years after that those suckers will be dust and bones and there'll be all these generations of suckers trying to figure out what they're doing on this fucking planet and they'll all be full of shit. It's all so fucking futile.</dialogue> <character>TIM</character> <dialogue>If it's all so fucking futile, what the fuck are you so fucking upset about, fuckhead?</dialogue> <character>JEFF</character> <dialogue>Because I'm alienated.</dialogue> <character>BUFF</character> <dialogue>Hey! Hey, you like orgasms? Oh, yeah!</dialogue> <parenthetical>( yells . )</parenthetical> <dialogue>Oh, Hey, hey, I'm at work yesterday, bitch comes in, orders a twelve - inch pie with extra cheese. So I ask her if she wanted me, like, to carry that out to her car for her. Bitch is obviously in heat. `` Yes, right away.'' So I carry the pie out to her car. We smoke a J. She blows me. We eat the pizza, I chase her with the beer. Smoke, babe, slice, brew. All four bases, fuckin' home run man!</dialogue> <scene_description>Jeff walks over towards the payphone , Buff follows . He dials a number .</scene_description> <character>JEFF</character> <dialogue>Your ability to fantasize is only exceeded by your ability to lie.</dialogue> <character>BUFF</character> <dialogue>Oh, untrue, Jeffster. I think, uh, two weeks ago we attended a concert where I had fucked two girls.</dialogue> <character>JEFF</character> <parenthetical>( into telephone . )</parenthetical> <dialogue>Hey, it's me. No, that's, that's the ultimate liar of liars.</dialogue> <character>BUFF</character> <dialogue>And your mom.</dialogue> <character>JEFF</character> <parenthetical>( into telephone . )</parenthetical> <dialogue>No, I'm here. Where are you?</dialogue> <character>BUFF</character> <dialogue>Where are you - hoo?</dialogue> <character>JEFF</character> <parenthetical>( into telephone . )</parenthetical> <dialogue>No, no, no, no, I do n't wan na be stuck with the guy. I want the tickets.</dialogue> <character>BUFF</character> <dialogue>Stuck, who? What guy? Huh?</dialogue> <character>JEFF</character> <dialogue>Shut up! Aw.</dialogue> <scene_description>Nazeer opens the front doors of the Circle A and shouts at Buff and Jeff .</scene_description> <character>NAZEER</character> <dialogue>Look, you ca n't be out here all night tonight, okay?</dialogue> <scene_description>Tim comes out from around the corner . Jeff continues talking on the phone ignoring the argument .</scene_description> <character>BUFF</character> <dialogue>Hey, we're just having a conversation.</dialogue> <character>NAZEER</character> <dialogue>This is private property, my friend.</dialogue> <character>TIM</character> <dialogue>Come on man.</dialogue> <character>BUFF</character> <dialogue>Hey, do n't tell us about private property. This is America, my friend.</dialogue> <character>NAZEER</character> <dialogue>Look, look, look. You got ta go now, okay? The customers complain.</dialogue> <character>BUFF</character> <dialogue>We're your customers. We're not complaining.</dialogue> <character>NAZEER</character> <dialogue>Please!</dialogue> <scene_description>Nazeer walks back into the store . Buff and Tim walk back around the corner towards the dumpster . Jeff is sitting by himself . Buff goes to sit down next to him .</scene_description> <character>JEFF</character> <dialogue>You do n't need to sit next to me right now.</dialogue> <character>TIM</character> <dialogue>Who were you talking to?</dialogue> <character>JEFF</character> <dialogue>Nobody. Sooze.</dialogue> <character>BUFF</character> <dialogue>Stuck with what guy?</dialogue> <character>JEFF</character> <dialogue>What?</dialogue> <character>BUFF</character> <dialogue>You said you did n't want to get stuck with some guy. What guy?</dialogue> <character>JEFF</character> <dialogue>No, uh, nobody. It's, uh, it's my birthday this week and Sooze's brother might come by to wish me a happy birthday.</dialogue> <character>BUFF</character> <dialogue>It's your birthday?</dialogue> <character>JEFF</character> <dialogue>Yeah.</dialogue> <character>BUFF</character> <dialogue>Well, shit! Happy fucking birthday!</dialogue> <scene_description>Tim and Buff grab Jeff and form a line , simulating sex . BEE - BEE approaches .</scene_description> <character>BUFF AND TIM</character> <dialogue>Happy birthday! Happy fuckin' birthday!</dialogue> <character>BEE-BEE</character> <dialogue>Um, is Sooze around?</dialogue> <character>JEFF</character> <dialogue>Uh, yeah, she should be coming by.</dialogue> <character>BEE-BEE</character> <dialogue>Uh, well, what'd she say? Is Pony coming?</dialogue> <character>JEFF</character> <dialogue>I do n't know.</dialogue> <character>BUFF</character> <dialogue>Want a beer?</dialogue> <parenthetical>( to Jeff . )</parenthetical> <dialogue>Is Pony coming?</dialogue> <character>BEE-BEE</character> <dialogue>No, thanks. I do n't drink. Um, well, what'd she say? I mean, did she talk to him?</dialogue> <character>TIM</character> <dialogue>Pony? What's a `` pony''? You mean that geek who played the folk music at the senior prom? What's that guy's name? Neil Moynihan?</dialogue> <character>BUFF</character> <dialogue>Oh, Pony's band `` Dream Girls''? Been on the road opening for `` Midnight Hore''. Stadiums, man.</dialogue> <parenthetical>( to Jeff . )</parenthetical> <dialogue>Wait, so Pony's coming by here?</dialogue> <character>BEE-BEE</character> <parenthetical>( to Tim . )</parenthetical> <dialogue>Did n't you see their video on MTV?</dialogue> <character>TIM</character> <dialogue>No, I shot my TV.</dialogue> <character>BUFF</character> <dialogue>But, so, Pony's comin' by here to the corner?</dialogue> <character>JEFF</character> <dialogue>He's around and, you know, maybe he's coming by. Sooze told him to come by and hang out, whatever. It's no big deal. Me, him, and Sooze are gon na.</dialogue> <character>TIM</character> <dialogue>Oh, no, you wanted to get together with your close friend, Pony, the rockstar. I understand. So you, do you, want us to, leave?</dialogue> <character>JEFF</character> <dialogue>No. We were just gon na go someplace or something to.</dialogue> <character>BEE-BEE</character> <dialogue>We are?</dialogue> <character>JEFF</character> <dialogue>Alright. She told him to meet us here. Fuck.</dialogue> <character>BUFF</character> <parenthetical>( excited . )</parenthetical> <dialogue>Pony's coming here to the corner?!</dialogue> <character>JEFF</character> <dialogue>Yeah, no, it was n't even my idea.</dialogue> <character>TIM</character> <dialogue>Jeff, Jeff, if you want to be alone with Pony, you know, that's, that's fine with us.</dialogue> <character>JEFF</character> <dialogue>Sooze wants to see him.</dialogue> <character>TIM</character> <dialogue>Well, you know, I wan na fucking see him. I got ta know what it's like to be on MTV.</dialogue> <character>BUFF</character> <dialogue>Yeah, we all want to see him. So when's he coming?</dialogue> <character>BEE-BEE</character> <dialogue>Yeah, when's he coming?</dialogue> <character>JEFF</character> <dialogue>I do n't know. Later. I do n't know.</dialogue> <character>BUFF</character> <parenthetical>( yells . )</parenthetical> <dialogue>Yes!</dialogue> <scene_description>FADE OUT</scene_description> </scene> <scene> <stage_direction>EXT. CIRCLE A - PARKING LOT - LATER - NIGHT</stage_direction> <scene_description>Jeff and Sooze are kissing .</scene_description> <character>JEFF</character> <dialogue>God, I have n't seen you all day.</dialogue> <character>SOOZE</character> <dialogue>You could've come over.</dialogue> <character>JEFF</character> <dialogue>I know, I know, I know.</dialogue> <scene_description>Jeff pulls out the front of Sooze 's pants and looks inside them .</scene_description> <character>JEFF</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh! Trim it!</dialogue> <character>SOOZE</character> <dialogue>I hate that.</dialogue> <character>JEFF</character> <dialogue>Sorry. Let's go back to the van right now.</dialogue> <character>SOOZE</character> <dialogue>No. I'm not going to the van, it's so gross. Come on. I'm doing my performance right now.</dialogue> <character>JEFF</character> <dialogue>Okay, so maybe later.</dialogue> </scene> <scene> <stage_direction>EXT. CIRCLE A - PARKING LOT - NIGHT</stage_direction> <scene_description>Everyone is sitting around watching Sooze do her performance art piece . She dances and jigs along with the words to her piece .</scene_description> <character>SOOZE</character> <dialogue>Ow. Jesus. Fuck Oliver Stone. Fuck Bill Clinton. Fuck Howard Stern. Fuck Michael Bolton. Fuck O.J. Simpson. Fuck Pope John Paul. Fuck my dad. Fuck all the men. Fuck all the men. Fuck all the men!</dialogue> <scene_description>She begins to dance a jig .</scene_description> <character>SOOZE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Bang your head, blow your nose. Run down the street, suck a hose. Chew my lips, eat some shit. Eat a stick of dynamite and blow yourself to bits. Shut your mouth, go away. Drink my piss, have a nice day! I hope you cry and never doubt. I hope you die with blood in your mouth. I hope your lies will no more shout What's in my eyes, what's in your snout. Your a pig! I know that's true! I dance a jig! Fuck you! Fuck you! Fuck you! Fuck you!</dialogue> <scene_description>Sooze ends her piece and looks at everyone .</scene_description> <character>SOOZE</character> <dialogue>So?</dialogue> <scene_description>Everyone slowly starts to applaud .</scene_description> <character>BEE-BEE</character> <dialogue>That was really great.</dialogue> <character>SOOZE</character> <dialogue>Was it okay?</dialogue> <character>BEE-BEE</character> <dialogue>Yeah!</dialogue> <character>SOOZE</character> <dialogue>What did you guys think?</dialogue> <character>BEE-BEE</character> <dialogue>Slides go with it.</dialogue> <character>SOOZE</character> <dialogue>Behind me. I'm making these slides out of these old pictures and paintings and stuff.</dialogue> <character>JEFF</character> <dialogue>Was that supposed to be me?</dialogue> <character>SOOZE</character> <dialogue>No.</dialogue> <character>JEFF</character> <dialogue>Yes.</dialogue> <character>BEE-BEE</character> <dialogue>It's called `` Burger Manifesto, Part One The Dialectical Expression of Testosterone.'' Is n't that a great title?</dialogue> <character>SOOZE</character> <dialogue>Why is everything about you, Jeff?</dialogue> <character>JEFF</character> <dialogue>No, not, not everything. This. I am the man in your life.</dialogue> <character>SOOZE</character> <dialogue>Man?</dialogue> <character>JEFF</character> <dialogue>Yeah, man, male, significant other, whatever the fuck I am.</dialogue> <character>SOOZE</character> <dialogue>It's a piece.</dialogue> <character>JEFF</character> <dialogue>Your sure as hell right about that.</dialogue> <character>SOOZE</character> <dialogue>I'm not doing it anywhere, Jeff. It's just part of my application to the School of Visual Arts in New York.</dialogue> <character>BUFF</character> <dialogue>Ah, you know people there?</dialogue> <character>SOOZE</character> <dialogue>I'm just gon na go. I figure the worst I can do is starve to death.</dialogue> <character>JEFF</character> <dialogue>`` The worst I can do is starve to death.'' Listen to you.</dialogue> <character>SOOZE</character> <dialogue>I do n't want to hear it anymore.</dialogue> <character>JEFF</character> <dialogue>No, no, no. Y - you know what? Y - your packing your bags, you're jumping into the unknown because some conceptual artist who teaches at a community college is having a mid - life crisis and he wants to sleep with some girl half his age, so he tells you you have talent.</dialogue> <character>SOOZE</character> <dialogue>Mister Brooks has had shows in New York, Jeff. He's been reviewed in Art Forum. I think he knows.</dialogue> <character>JEFF</character> <parenthetical>( in mock British accent . )</parenthetical> <dialogue>Oh, well, then you better listen to him.</dialogue> <character>SOOZE</character> <dialogue>Well, fuck! Might as well not do anything! Let's just stick out thumbs up our asses and twirl.</dialogue> <character>TIM</character> <dialogue>Yes, that's right. You know what, honey? You should go to New York. You should go. Go show'em. They need your unique point of view.</dialogue> <character>SOOZE</character> <dialogue>At least I have a point of view, you know?</dialogue> <character>BEE-BEE</character> <dialogue>Uh - huh.</dialogue> <character>SOOZE</character> <dialogue>I stand for something. And I'm trying to communicate something.</dialogue> <character>JEFF</character> <dialogue>What are you trying to communicate? Tell us.</dialogue> <character>SOOZE</character> <dialogue>So you can give me more shit?</dialogue> <character>JEFF</character> <dialogue>No, no. It's an honest question. What are you trying to communicate?</dialogue> <character>SOOZE</character> <dialogue>I'm trying to communicate how I feel, Jeff. You know raise consciousness. Make people think for a change.</dialogue> <character>BEE-BEE</character> <dialogue>Mn - hm.</dialogue> <character>JEFF</character> <dialogue>`` Burger Manifesto, Part One'' is gon na make people think?</dialogue> <character>SOOZE</character> <dialogue>Yes, you asshole.</dialogue> <character>JEFF</character> <dialogue>About what?</dialogue> <character>SOOZE</character> <dialogue>About things that are important to me.</dialogue> <character>JEFF</character> <dialogue>Like what?</dialogue> <character>SOOZE</character> <dialogue>Sexual politics, racism, the environment, the military industrial.</dialogue> <character>BEE-BEE</character> <dialogue>Um - hm.</dialogue> <character>JEFF</character> <dialogue>Wait. Racism? You do n't know anybody who's black!</dialogue> <character>SOOZE</character> <dialogue>Of course I do!</dialogue> <character>JEFF</character> <dialogue>Name one.</dialogue> <character>SOOZE</character> <dialogue>God, KAREN JOHNSON.</dialogue> <character>JEFF</character> <dialogue>One!</dialogue> <character>SOOZE</character> <dialogue>Your completely missing the point.</dialogue> <character>JEFF</character> <dialogue>Hey!</dialogue> <character>SOOZE</character> <dialogue>I'm talking about idealism.</dialogue> <character>BEE-BEE</character> <dialogue>Responsibility, progress.</dialogue> <character>SOOZE</character> <dialogue>Yes.</dialogue> <character>JEFF</character> <dialogue>No, idealism is guilty, middle class bullshit.</dialogue> <character>SOOZE</character> <dialogue>No, sweetie. Cynicism is bullshit.</dialogue> <character>JEFF</character> <dialogue>No, no, no. I'm not being cynical, I'm being honest.</dialogue> <character>SOOZE</character> <dialogue>But do you stand for anything?</dialogue> <character>JEFF</character> <dialogue>Yes, I stand for -</dialogue> <character>SOOZE</character> <dialogue>What? What do you stand for?</dialogue> <character>JEFF</character> <dialogue>I stand for honesty! I stand for some level of truth!</dialogue> <character>SOOZE</character> <dialogue>Oh, yeah, right. Yeah, right. Fuck you.</dialogue> <character>JEFF</character> <dialogue>Can I talk here? Let me talk.</dialogue> <character>SOOZE</character> <dialogue>You know, all you know is what's good for you.</dialogue> <character>JEFF</character> <dialogue>Can I talk?</dialogue> <character>SOOZE</character> <dialogue>Typical male.</dialogue> <character>BEE-BEE</character> <dialogue>Typical male.</dialogue> <character>SOOZE</character> <dialogue>Typical male.</dialogue> <character>BEE-BEE</character> <dialogue>Typical male.</dialogue> <character>SOOZE</character> <dialogue>Tim, he listens to you. Do you think it's a good idea? Seriously?</dialogue> <character>TIM</character> <dialogue>Seriously? It's a great idea.</dialogue> <character>SOOZE</character> <dialogue>Ha! Thank you! See? He did it. He left.</dialogue> <character>TIM</character> <dialogue>I did. I split, man. I expanded my horizons, you know. Served my country. Saw the world, you know? I've gained wisdom and now I'm back, baby, back from the road. Me and Jack Kerouac.</dialogue> <scene_description>The group starts to head back up to the Circle A.</scene_description> <character>SOOZE</character> <dialogue>I ca n't wait till Pony gets here, you know? Have a conversation with a human being?</dialogue> <character>JEFF</character> <dialogue>Well, if you love him so much, why did n't you go see him play?</dialogue> <character>SOOZE</character> <dialogue>Um, because you did n't want to go.</dialogue> <character>JEFF</character> <dialogue>Like I'm going to pay twenty bucks to see Neil Moynihan in some band that I helped start.</dialogue> <character>SOOZE</character> <dialogue>Okay. Well, you know, he's always been a nice guy and I like him.</dialogue> <scene_description>TIM , BUFF , &amp; JEFF -LRB- in unison -RRB- He 's a geek .</scene_description> <character>BUFF</character> <dialogue>Hey, I've been, uh, making these tapes, videotapes. I ripped off a camcorder up at the mall. I thought, you know, it could be something that I do, be a video artist, you know.</dialogue> <character>TIM</character> <dialogue>Ladies and gentlemen, Buff, the postmodern idiot savant. He will outdo us all.</dialogue> <scene_description>As the group walks up the front walk of the Circle A , Buff spots Nazzer sweeping up the walk . Buff harges at him , twisting and turning his hockey stick in mock kung - fu fashion . He stops right in front of Nazeer .</scene_description> <character>BUFF</character> <parenthetical>( in mock kung - fu scream . )</parenthetical> <dialogue>It's safe, come on.</dialogue> <character>NAZEER</character> <dialogue>That's it. That's it! I'm calling the police.</dialogue> <character>JEFF</character> <dialogue>Why we're just standing here.</dialogue> <character>NAZEER</character> <dialogue>Look, your trespassing.</dialogue> <character>BUFF</character> <dialogue>Hey, call the cops! Call'em, call'em right now, man. Maybe my cousin Jerry will show up. He'll definitely take your word over mine. You can tell him about the trespassing. I'll tell him about how you sell beer to minors.</dialogue> <character>NAZEER</character> <dialogue>Look, look, I'm not joking around now, okay? Come on, let's go, let's go!</dialogue> <character>SOOZE</character> <dialogue>We're just standing here!</dialogue> <character>NAZEER</character> <dialogue>Just go and stand someplace else, okay?</dialogue> <character>BUFF</character> <dialogue>You stand someplace else, man. You stand someplace else. This is our corner. You do n't fucking own it!</dialogue> <character>NAZEER</character> <dialogue>Yes I do. My family owns it. It's ours. You do n't belong here.</dialogue> <character>BUFF</character> <dialogue>No, you do n't belong here. We were here before you.</dialogue> <character>TIM</character> <dialogue>Why do n't you go back to where you came from?</dialogue> <character>SOOZE</character> <dialogue>Hey, Tim.</dialogue> <character>TIM</character> <dialogue>No, see, sweetheart, you do n't want to stand up for parasite'cause I can fuckin' smell him from here. You know what? Tow words, man : roll on.</dialogue> <character>NAZEER</character> <dialogue>Yeah, yeah, yeah, yeah, what are you, huh? You fucking drunk bum. Yeah, you good - for - nothing. You just, uh, hang around. On my property.</dialogue> <character>TIME</character> <dialogue>The Hare Krishna's calling me a drunk. Hey, listen, pal, you want us to go?</dialogue> <character>NAZEER</character> <dialogue>Yeah, please, go. Come on.</dialogue> <character>TIM</character> <dialogue>Make a move. Greasecake. Towel - head.</dialogue> <character>SOOZE</character> <dialogue>Hey, Tim, you know what? You win.</dialogue> <character>TIM</character> <dialogue>Fucking drunk, huh?</dialogue> <character>SOOZE</character> <dialogue>You have the largest penis. Can we go please?</dialogue> <character>JEFF</character> <dialogue>Do n't let'em fight.</dialogue> <character>BUFF</character> <dialogue>The dude wants it.</dialogue> <character>SOOZE</character> <dialogue>This is ridiculous!</dialogue> <character>JEFF</character> <dialogue>Tim!</dialogue> <scene_description>PAKEESA , Nazeer 's wife comes out of the store brandishing a gun .</scene_description> <character>NAZEER</character> <dialogue>Pakeesa? It's okay. Come on. It's okay. Come on, they're just joking around.</dialogue> <character>BUFF</character> <dialogue>Yeah, we're just screwing around. Like Mohammed said. Ca n't take a joke, man? Hey, I hope you got a permit for that, mama!</dialogue> <character>SOOZE</character> <dialogue>We're sorry, okay? We're gon na go.</dialogue> <scene_description>The group begins to walk away .</scene_description> <character>TIM</character> <dialogue>Hey, your gon na regret this.</dialogue> <character>SOOZE</character> <dialogue>Come on, Jeff.</dialogue> <character>BUFF</character> <dialogue>Fuck her! Come on, let's go.</dialogue> <character>SOOZE</character> <parenthetical>( from across the parking lot . )</parenthetical> <dialogue>Jeff! Let's go!</dialogue> <scene_description>Jeff is looking at Nazeer .</scene_description> <character>JEFF</character> <dialogue>Hey, I'm sorry about that. It was just a misunderstanding. He was upset about something and he took it out on you and I'm sorry. ` Bye.</dialogue> <scene_description>Jeff walks away quickly to catch up with the group .</scene_description> </scene> <scene> <stage_direction>EXT. SIDE OF ROAD - NIGHT</stage_direction> <scene_description>The group is walking down the street . Sooze and Bee - Bee are in front , a few feet away is Tim who walks by himself , and holding up the rear are Jeff and Buff .</scene_description> <character>JEFF</character> <dialogue>No, I seriously doubt that Pony's gon na be in a limo.</dialogue> <character>BUFF</character> <dialogue>That's the rock star thing.</dialogue> <character>JEFF</character> <dialogue>No, no.</dialogue> <character>BUFF</character> <dialogue>Oh, I'll bet you he has a babe with him right out of a triple - x video. Oh, oh, Pony, come on, give it to me! Stud! Oh!</dialogue> <character>JEFF</character> <dialogue>Buff, Buff, Buff, Buff, Buff.</dialogue> <character>BUFF</character> <dialogue>Sorry.</dialogue> <character>JEFF</character> <dialogue>Jesus Christ.</dialogue> <character>BUFF</character> <dialogue>You wan na bet he's with a girl?</dialogue> <character>JEFF</character> <dialogue>No, he's not with a girl.</dialogue> <character>BUFF</character> <dialogue>Oh, right. Oh, oh my God! Pony, it's so huge!</dialogue> <character>JEFF</character> <dialogue>You know what? He probably gets bored with all that shit.</dialogue> <character>BUFF</character> <dialogue>Oh, yeah, yeah. Wait, um, how do you figure that?</dialogue> <character>JEFF</character> <dialogue>I'd get bored.</dialogue> <character>BUFF</character> <dialogue>I would n't. If I were in his shoes, every morning I'd get up singing, man. Do my work - out, take a shower, followed by a hearty breakfast, steak and eggs, washed down with a pot of hot coffee, six pack of Coors Lite. Then I'd order my bodyguard to go find my babe, who would appear decked out in her all - black leather Victoria Secret custom - made bodysuit. So I'd, like, have to chew off all her clothes until she was completely nude. Except she'd have these amazing dragon tattoos all over her body and pierced nipples with little gold peace signs hanging from'em. And then she'd take out this half - ounce of blow, we'd snap out a few mondo lines, vaporize a few million brain cells, screw for about an hour, then spend the rest of the morning trashed watching Gilligan.</dialogue> <character>JEFF</character> <dialogue>That sounds so great, man. Yes. Yes. Hey, what would you do in the afternoon?</dialogue> <character>BUFF</character> <dialogue>Same, more of the same. Yep, just keep doing the same thing all the time, around and around the clock. With an occasional burger or slice of thrown in for our vitamins and energy. Then, instead of watching Gilligan, we'd watch Captain Kirk.</dialogue> <character>JEFF</character> <dialogue>That sounds so depressing.</dialogue> <character>BUFF</character> <dialogue>Oh, come on, man. Tell me you would n't love it!</dialogue> <character>JEFF</character> <dialogue>No, I'm not saying that I would n't love it.</dialogue> <character>BUFF</character> <dialogue>Ah!</dialogue> <character>JEFF</character> <dialogue>I'm saying no, I'm saying after a while it'd wear thin.</dialogue> <character>BUFF</character> <dialogue>Yeah, a long while. A long, long while.</dialogue> <character>JEFF</character> <dialogue>Watch out for that tree.</dialogue> <scene_description>Buff misses the tree .</scene_description> <character>BUFF</character> <dialogue>A long, long, long, long, while.</dialogue> <character>JEFF</character> <dialogue>Okay, okay.</dialogue> <character>BUFF</character> <dialogue>A long, long, long.</dialogue> <character>JEFF</character> <dialogue>Okay.</dialogue> <scene_description>Up ahead the group is taking two different paths . Sooze and Bee - Bee are headed towards a burger joint , while Tim is headed the opposite way towards the liquor store .</scene_description> <character>BUFF</character> <dialogue>Hey, Tim! Hold up.</dialogue> <scene_description>Buff takes off after Tim .</scene_description> </scene> <scene> <stage_direction>INT. BURGER JOINT - BOOTH - NIGHT</stage_direction> <scene_description>Jeff , Sooze , and Bee - Bee are all sitting at a booth with plates of food in front of them . They are in mid - conversation when we join them .</scene_description> <character>SOOZE</character> <dialogue>It was a racial incident.</dialogue> <character>JEFF</character> <dialogue>It was just something that got out of hand. Did anyone get hurt?</dialogue> <character>SOOZE</character> <dialogue>It got that close.</dialogue> <character>JEFF</character> <dialogue>Okay, but nothing happened. Believe me, if I thought something really bad was going to happen, I would've done something.</dialogue> <character>SOOZE</character> <dialogue>Oh, yeah?</dialogue> <character>JEFF</character> <dialogue>Yeah.</dialogue> <character>SOOZE</character> <dialogue>Okay, what would you have done.</dialogue> <character>JEFF</character> <dialogue>I would've stopped it.</dialogue> <character>SOOZE</character> <dialogue>How?</dialogue> <character>JEFF</character> <dialogue>I do n't know. I would've done something. This is kind of hypothetical, is n't it? This place is so stupid. I ca n't believe we're sitting here in this mosh - pit of consumerism. With all these people eating their chunks of dead flesh.</dialogue> <character>SOOZE</character> <dialogue>Jeff. Jeff.</dialogue> <character>JEFF</character> <dialogue>like fucking robots. Look at those kids there.</dialogue> <character>SOOZE</character> <dialogue>Jeff. You know, I was talking to Mister Brooks yesterday. He has this friend in New York who wants to sublet his apartment for six - fifty a month. I could swing that. Six - fifty.</dialogue> <character>JEFF</character> <dialogue>Sooze.</dialogue> <scene_description>Bee - Bee walks away from the conversation , getting her own booth .</scene_description> <character>SOOZE</character> <dialogue>What?</dialogue> <character>JEFF</character> <dialogue>Did it ever occur to you that I might have some feelings about you moving to New York?</dialogue> <character>SOOZE</character> <dialogue>What feelings?</dialogue> <character>JEFF</character> <dialogue>Us.</dialogue> <character>SOOZE</character> <dialogue>Of course.</dialogue> <character>JEFF</character> <dialogue>And?</dialogue> <character>SOOZE</character> <dialogue>Come with me.</dialogue> <character>JEFF</character> <dialogue>No, no, see, that's not what I'm saying. I could go to New York if I wanted to, but what's the point? So I can learn how to order a cappuccino? So I can get mugged by some crackhead? So I can see, see homeless people up close and personal?</dialogue> <character>SOOZE</character> <dialogue>So what do you wan na do?</dialogue> <character>JEFF</character> <dialogue>Nothing.</dialogue> <character>SOOZE</character> <dialogue>No one does nothing, Jeff.</dialogue> <character>JEFF</character> <dialogue>Okay, well, then, I'm gon na break new ground.</dialogue> <character>SOOZE</character> <dialogue>New ground?</dialogue> <character>JEFF</character> <dialogue>Mm - hm.</dialogue> <character>SOOZE</character> <dialogue>Taking one community college course on the history of Nicaragua, while barely holding a job packing boxes?</dialogue> <character>JEFF</character> <dialogue>Okay, look. My job is not who I am. I do n't need that. Why? What's your goal? Status? Money? Getting your picture on the cover of some glossy magazine?</dialogue> <character>SOOZE</character> <dialogue>My goal is to make art.</dialogue> <character>JEFF</character> <dialogue>So, what, why ca n't you do that here? What's wrong with here? Why is somewhere else better?</dialogue> <character>SOOZE</character> <dialogue>Why should I stay here, Jeff? So we can sit on the corner and watch the lights change, while you bitch about Burnfield?</dialogue> <character>JEFF</character> <dialogue>Mm - mm.</dialogue> <character>SOOZE</character> <dialogue>So I can spend the rest of my life guessing what it would be like to be a real artist?</dialogue> <character>JEFF</character> <dialogue>No, no.</dialogue> <character>SOOZE</character> <dialogue>So you and I can fuck while your parents are out having dinner at the Sizzler? What are we doing, Jeff? You and me?</dialogue> <character>JEFF</character> <dialogue>I do n't know.</dialogue> </scene> <scene> <stage_direction>INT. TOP WINE &amp; LIQUOR - NIGHT</stage_direction> <scene_description>Buff and Tim are buying alcohol .</scene_description> <character>SCUFF</character> <dialogue>Hey, great game Friday. Kicked Holbrook's ass, huh?</dialogue> <character>TIM</character> <dialogue>Missed it. Can I get a fifth of Old Crow?</dialogue> <character>SCUFF</character> <dialogue>Just one?</dialogue> <character>TIM</character> <dialogue>Yeah.</dialogue> <character>BUFF</character> <dialogue>Hey.</dialogue> <character>SCUFF</character> <dialogue>You seen the new guy we got? Beavers? The guy can pass. Hey, I've been meaning to ask you. Do you remember that game against North Reading? When you passed to Pierce and he dropped the ball? What do you think happened? Do you think, like, he was n't there or were you short?</dialogue> <character>TIM</character> <dialogue>I do n't, I do n't remember. What do I owe you?</dialogue> <character>SCUFF</character> <dialogue>Uh, eleven twenty - five.</dialogue> <character>BUFF</character> <dialogue>Hey! Yeah!</dialogue> <character>SINGER</character> <dialogue>`` In my head I'm tall My arms are big''</dialogue> </scene> <scene> <stage_direction>EXT. STRIP MALL - PARKING LOT - DAY</stage_direction> <scene_description>Bee - Bee is sitting on the side of the wall listening to the radio .</scene_description> <character>BUFF</character> <dialogue>Hey!</dialogue> <character>BEE-BEE</character> <dialogue>Hey. Do you have a cigarette?</dialogue> <character>BUFF</character> <dialogue>No I quit.</dialogue> <character>BEE-BEE</character> <dialogue>Hey, you said you did a video?</dialogue> <character>BUFF</character> <dialogue>Yup.</dialogue> <character>BEE-BEE</character> <dialogue>What's it about?</dialogue> <character>BUFF</character> <dialogue>It's really not about anything.</dialogue> <character>BEE-BEE</character> <dialogue>Oh. Well, what's it on?</dialogue> <character>BUFF</character> <dialogue>A cloud.</dialogue> <character>BEE-BEE</character> <dialogue>A cloud?</dialogue> <character>BUFF</character> <dialogue>Yeah. There was this cloud and I video taped it.</dialogue> <character>BEE-BEE</character> <dialogue>Oh.</dialogue> <character>BUFF</character> <dialogue>I was doing schrooms and I saw this cloud. It looks excellent on tape. The video is like my head and, and everything, you know, is, like, is like in there that I see. You know? Plus, I'm gon na come down here one night and walk around inside the Circle A with the camera and tape shit.</dialogue> <character>BEE-BEE</character> <dialogue>Oh, that's so amazing. I wish I could see it.</dialogue> <character>BUFF</character> <dialogue>You can see it. Whenever you want. Do n't you, um, work at a hospital or something?</dialogue> <character>BEE-BEE</character> <dialogue>Yeah, I'm a nurse's aide at Mercy.</dialogue> <character>BUFF</character> <dialogue>Your a nurse?</dialogue> <character>BEE-BEE</character> <dialogue>No, I, you know, I help'em out. I empty bedpans and bring'em lunch. That kind of thing.</dialogue> <character>BUFF</character> <dialogue>Any gunshot victims?</dialogue> <character>BEE-BEE</character> <dialogue>Oh, some of'em. But it's mostly just strokes and shit. I mean, most of'em just sleep all the time and get kind of yellow. Usually they die id they're, you know, really yellow.</dialogue> <character>BUFF</character> <dialogue>Sounds like a bummer.</dialogue> <character>BEE-BEE</character> <dialogue>Oh, no, it's not. I mean, they're not all totally in a coma. I mean, they know when I'm helping them.</dialogue> <character>BUFF</character> <dialogue>Mm. Hey, what are you doing now?</dialogue> <character>BEE-BEE</character> <dialogue>Right now?</dialogue> <character>BUFF</character> <dialogue>Yeah.</dialogue> <character>BEE-BEE</character> <dialogue>I do n't know. Waiting, I guess. You know?</dialogue> <character>BUFF</character> <dialogue>Do you wan na go to the van?</dialogue> <character>BEE-BEE</character> <dialogue>Now?</dialogue> <character>BUFF</character> <dialogue>Yeah, we could hang out and smoke a dube, you know?</dialogue> <character>BEE-BEE</character> <dialogue>I do n't smoke dubes and I do n't really hang out. But I'll go back. Okay.</dialogue> <character>BUFF</character> <dialogue>Okay, whatever you want.</dialogue> </scene> <scene> <stage_direction>EXT. CIRCLE A - PARKING LOT - NIGHT</stage_direction> <scene_description>Jeff is standing on the side of the building alone . He sticks his head out to see of anyone else is around and is spotted by Nazeer . He quickly ducks back around the corner , laughing .</scene_description> <character>JEFF</character> <dialogue>Shit.</dialogue> <scene_description>A long , black , stretched , limo pulls up . Pony gets out .</scene_description> <character>JEFF</character> <dialogue>Hey, Pony.</dialogue> <character>PONY</character> <dialogue>Hey, man. Jeff. How're you doin?</dialogue> <character>JEFF</character> <dialogue>Good, man.</dialogue> <character>PONY</character> <dialogue>Wow, man. The corner. I mean, nothing's changed.</dialogue> <character>JEFF</character> <dialogue>Well, shit, man, you've only been gone for a year, man, Is that your limo?</dialogue> <character>PONY</character> <dialogue>Yeah, yeah. Yeah, the record company, they make me use it, you know. I mean, it's dumb, I know, it's just.</dialogue> <character>JEFF</character> <dialogue>No, it's not.</dialogue> <character>PONY</character> <dialogue>Hey, the driver knows Billy Idol. Wow, huh?</dialogue> <character>JEFF</character> <dialogue>Yeah, hey I saw your album at Musicland up at the mall.</dialogue> <character>PONY</character> <dialogue>Oh yeah, yeah, we're starting to get good placement and shit like that, you know.</dialogue> <character>JEFF</character> <dialogue>Yeah.</dialogue> <character>PONY</character> <dialogue>We sold, uh, over ninety thousand units and uh. and Danny says that we're gon na get a gold record. Yeah.</dialogue> <character>JEFF</character> <dialogue>Wow. A gold record, man, that's great. So you're, you're like living the wild life now, huh?</dialogue> <character>PONY</character> <dialogue>Nah, nah, nah, nah.</dialogue> <character>JEFF</character> <dialogue>Aw, come on. Rock star. Fame. Fortune. Sex.</dialogue> <character>PONY</character> <dialogue>Yeah, shit. Naw, man, you know. It's hard work, you know?</dialogue> <character>JEFF</character> <dialogue>Yeah.</dialogue> <character>PONY</character> <dialogue>The road's hell, you know? I mean airport, hotel, show. And airport, hotel, show. Airport, hotel, show. I mean, fuck, man, you know? You still living at your mom's?</dialogue> <character>JEFF</character> <dialogue>Yeah, I crash there.</dialogue> <character>PONY</character> <dialogue>Yeah, good.</dialogue> <scene_description>ERICA , Pony 's P.A. person steps out of the limo talking on a cellular phone .</scene_description> <character>JEFF</character> <dialogue>Yeah, most nights I'm just sleeping on the couch.</dialogue> <character>ERICA</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Yeah, that sounds cool. Great.</dialogue> <scene_description>She hangs up the phone .</scene_description> <character>ERICA</character> <parenthetical>( to Pony . )</parenthetical> <dialogue>He says we got to be at the radio station at seven a.m. Can you handle that?</dialogue> <character>PONY</character> <dialogue>Oh, sure.</dialogue> <character>ERICA</character> <dialogue>Great.</dialogue> <parenthetical>( to Jeff . )</parenthetical> <dialogue>Hi. I'm Erica.</dialogue> <character>PONY</character> <dialogue>Oh, Erica, this is my friend Jeff.</dialogue> <character>ERICA</character> <dialogue>Hi, Jeff. Nice to meet you.</dialogue> <character>PONY</character> <dialogue>Jeff, Erica. God, it's so amazing to be back home.</dialogue> <character>ERICA</character> <dialogue>Oh, wow.</dialogue> <character>PONY</character> <dialogue>I mean, we've been playing big places everywhere, but when we did that sound check at The Orpheum, it suddenly hit me. I'm playing The Orpheum, you know? I mean, the last time I played here was, uh, the prom.</dialogue> <character>JEFF</character> <dialogue>The prom. That's funny.</dialogue> <character>PONY</character> <dialogue>Hey, I though you guys were coming to the show, man?</dialogue> <character>JEFF</character> <dialogue>Oh, uh, yeah, we were, but, uh, Sooze, screwed up the tickets.</dialogue> <character>PONY</character> <dialogue>Oh, man, we were pretty on tonight.</dialogue> <character>ERICA</character> <dialogue>Oh, you were excellent tonight, Pony.</dialogue> <character>PONY</character> <dialogue>We were?</dialogue> <character>ERICA</character> <dialogue>Oh, yeah, it was a great show.</dialogue> <parenthetical>( to Jeff . )</parenthetical> <dialogue>You guys missed it.</dialogue> <character>JEFF</character> <dialogue>Sorry.</dialogue> <character>PONY</character> <dialogue>So how's college?</dialogue> <character>JEFF</character> <dialogue>I dropped out. I mean, uh, you know, this semester I'm taking a, a class, you know, three nights a week. But I'm just try - trying to think and work on stuff., you know? I've been doing some writing, though. Short pieces, you know.</dialogue> <character>ERICA</character> <dialogue>I love writing. A - Anne Rice? I love Anne Rice.</dialogue> <character>PONY</character> <dialogue>Short pieces, huh? You should try to write songs.</dialogue> <character>JEFF</character> <dialogue>You know, I've thought about that, actually.</dialogue> <character>PONY</character> <dialogue>No, man, I mean it. You're a good writer. I remember those things you'd write during honors English. Funny shit.</dialogue> <character>ERICA</character> <dialogue>Mm.</dialogue> <character>PONY</character> <dialogue>He wrote this thing about his dick once and he read it in front of the whole class.</dialogue> <character>ERICA</character> <dialogue>I'd love to read that.</dialogue> <character>PONY</character> <dialogue>Funny shit, man.</dialogue> <character>JEFF</character> <dialogue>So you think I should?</dialogue> <character>PONY</character> <dialogue>What?</dialogue> <character>JEFF</character> <dialogue>Write.'Cause I, I have written some things.</dialogue> <character>PONY</character> <dialogue>Like songs?</dialogue> <character>JEFF</character> <dialogue>Yeah, they could be songs.</dialogue> <character>PONY</character> <dialogue>Yeah. You should show'em to me.</dialogue> <character>JEFF</character> <dialogue>Really?</dialogue> <character>PONY</character> <dialogue>Yeah, really.</dialogue> <character>JEFF</character> <dialogue>Now?</dialogue> <character>PONY</character> <dialogue>Yeah.</dialogue> <scene_description>A red Jeep Cherokee pulls into the parking lot . Sooze jumps out from behind the wheel and begins to run towards Jeff and Pony .</scene_description> <character>JEFF</character> <dialogue>Great.</dialogue> <character>PONY</character> <dialogue>Yeah, maybe later.</dialogue> <parenthetical>( to Sooze . )</parenthetical> <dialogue>Hey! Hey!</dialogue> <character>SOOZE</character> <dialogue>Pony, oh my god!</dialogue> <character>PONY</character> <dialogue>Hey!</dialogue> <character>SOOZE</character> <dialogue>You showed up. Oh, my god! Holy shit! Look at this car, man!</dialogue> <character>PONY</character> <dialogue>Oh, it's stupid, is n't it.</dialogue> <character>SOOZE</character> <dialogue>Is that your driver?</dialogue> <character>PONY</character> <dialogue>It's stupid.</dialogue> <character>SOOZE</character> <dialogue>No, no, it is n't. It's cool.</dialogue> <character>PONY</character> <dialogue>Look at you!</dialogue> <character>SOOZE</character> <dialogue>Oh!</dialogue> <character>PONY</character> <dialogue>Wow. Hey, you look good. Like you, you know, head's in a good place, you know? You, are still doing your painting?</dialogue> <character>SOOZE</character> <dialogue>Sometimes, yeah. You know, I started to do performances.</dialogue> <character>PONY</character> <dialogue>Oh, yeah?</dialogue> <character>SOOZE</character> <dialogue>So? What's L.A. like?</dialogue> <character>PONY</character> <dialogue>It's pretty exciting.</dialogue> <character>SOOZE</character> <dialogue>Yeah?</dialogue> <character>PONY</character> <dialogue>Yeah.</dialogue> <character>SOOZE</character> <dialogue>Like?</dialogue> <character>PONY</character> <dialogue>Oh, uh. uh, the other night our manager Danny took us to this restaurant and there was Sandra Bernhard.</dialogue> <character>SOOZE</character> <dialogue>No, she was just sitting there?!</dialogue> <character>PONY</character> <dialogue>Oh, yeah, just sitting there eatin' a salad, you know. That kind of thing happens all the time in L.A. It's, you know. I met Johnny Depp.</dialogue> <character>SOOZE</character> <dialogue>You did? I love him. Yeah, you know, I'm thinking of moving to New York.</dialogue> <character>PONY</character> <dialogue>New York, huh?</dialogue> <character>SOOZE</character> <dialogue>Yeah. To go to school and, you know, paint, performances, paint.</dialogue> <character>PONY</character> <dialogue>You have to go. You always did such, uh, you know, great work. I still have some of those drawings that you'd do in study hall.</dialogue> <character>SOOZE</character> <dialogue>You do not!</dialogue> <character>PONY</character> <dialogue>I do. Jeff, do n't you think Sooze should go to New York and, uh, you know.</dialogue> <character>JEFF</character> <dialogue>Yeah, uh, that would depend, but yeah. She should.</dialogue> <character>SOOZE</character> <dialogue>Mm.</dialogue> <scene_description>Buff and Bee - Bee walk up , after they 're excursion to the van .</scene_description> <character>BUFF</character> <dialogue>Hey, yes! Hey, Pony, man! Great concert tonight!</dialogue> <character>PONY</character> <dialogue>Oh, you were there?</dialogue> <character>BUFF</character> <dialogue>No, but I heard it was great.</dialogue> <character>PONY</character> <dialogue>Oh, thanks. Thanks.</dialogue> <character>SOOZE</character> <dialogue>Hey, Pony, this is my friend Bee - Bee.</dialogue> <character>PONY</character> <dialogue>Hey.</dialogue> <character>BEE-BEE</character> <dialogue>Hi.</dialogue> <character>PONY</character> <dialogue>How're you doing? Nice to meet you.</dialogue> <character>BUFF</character> <dialogue>So tell us, man. Party time, trashin' hotel rooms, babes around the clock?</dialogue> <character>PONY</character> <dialogue>Naw, naw, we do n't have time for all that.</dialogue> <character>BUFF</character> <dialogue>Oh, So what about her?</dialogue> <character>ERICA</character> <dialogue>Hi.</dialogue> <character>PONY</character> <dialogue>Oh, uh, Erica? Erica is the publicist for the band.</dialogue> <character>ERICA</character> <dialogue>Hi, I'm Erica.</dialogue> <character>SOOZE</character> <dialogue>Hey, I'm Sooze.</dialogue> <character>BUFF</character> <dialogue>Yeah, right, publicist.</dialogue> <character>ERICA</character> <dialogue>Nice to meet you Sooze.</dialogue> <parenthetical>( to Bee - Bee . )</parenthetical> <dialogue>Hi, I'm Erica.</dialogue> <character>PONY</character> <dialogue>Yeah, she, uh, works for the record company and takes care of interviews and, you know, shit like that, Uh, we were actually just doin' an interview and Erica said she's like to see Burnfield, so.</dialogue> <character>JEFF</character> <dialogue>So, do you guys want to do something, go someplace or something like that?</dialogue> <character>BUFF</character> <dialogue>So, we're all old friends of Pony's. We go way back to our childhood.</dialogue> <character>ERICA</character> <dialogue>Yeah, he's told me. Burnfield. We all hear about Burnfield.</dialogue> <character>BUFF</character> <dialogue>Mm. You know, does he tell you about how, uh, Jeff, Pony, started the band?</dialogue> <character>ERICA</character> <dialogue>Oh, you were in the band?</dialogue> <character>BUFF</character> <dialogue>Yeah.</dialogue> <character>JEFF</character> <dialogue>Well, I helped start it, but, you know, uh.</dialogue> <character>PONY</character> <dialogue>Well, not exactly.</dialogue> <character>JEFF</character> <dialogue>For a while.</dialogue> <character>PONY</character> <dialogue>Well, I mean, we jammed a couple of times. You know, I mean, you play harmonica, but that was before we were really a band, you know, before Danny signed us.</dialogue> <character>ERICA</character> <dialogue>Right.</dialogue> <character>JEFF</character> <dialogue>Yeah, well, I, I came by more than a couple times.</dialogue> <scene_description>Tim walks over to the group .</scene_description> <character>TIM</character> <dialogue>So you came by to see how the other half lives, huh? Well, here we are, What do you think? Pretty fucking pathetic huh? Kind of like one of those documentaries on educational TV?</dialogue> <character>ERICA</character> <dialogue>It's nice here. It's different.</dialogue> <character>TIM</character> <dialogue>Yeah, totally.</dialogue> <parenthetical>( to Pony . )</parenthetical> <dialogue>So, uh, what do they interview you about?</dialogue> <character>PONY</character> <dialogue>Well, uh, there's this benefit for Rwanda we're gon na do. And, uh, you know, my songs, uh, where I get the ideas for them, uh, you know, stuff like that.</dialogue> <character>TIM</character> <dialogue>Where do you get your ideas?</dialogue> <character>SOOZE</character> <dialogue>Leave him alone, Tim.</dialogue> <character>TIM</character> <dialogue>Uh, excuse me, I'd like to know where he gets his ideas.</dialogue> <character>SOOZE</character> <dialogue>Tim's jealous, you know? He wants to have ideas too.</dialogue> <character>TIM</character> <dialogue>Yeah. Yeah, I'm jealous of MTV faggots who are named after animals.</dialogue> <character>SOOZE</character> <dialogue>Jeff!</dialogue> <character>BUFF</character> <dialogue>Your his publicist?</dialogue> <character>ERICA</character> <dialogue>Sure I am. It's fun.</dialogue> <character>BUFF</character> <dialogue>Mm. And your like, what else?</dialogue> <scene_description>Bee - Bee watches Buff flirt with Erica . He face grows a long scorn .</scene_description> <character>ERICA</character> <dialogue>What do you mean? His girlfriend?</dialogue> <character>BUFF</character> <dialogue>Well, that's one way of putting it.</dialogue> <character>ERICA</character> <dialogue>Am I fucking him?</dialogue> <character>BUFF</character> <dialogue>Shit.</dialogue> <character>ERICA</character> <dialogue>Pony, what would you say our relationship is?</dialogue> <character>PONY</character> <dialogue>Um, mother - daughter.</dialogue> <character>ERICA</character> <dialogue>Pony and I are friends.</dialogue> <character>BUFF</character> <dialogue>So, then, you're, like, available?</dialogue> <character>ERICA</character> <dialogue>In what way?</dialogue> <character>BUFF</character> <dialogue>Mm, in a horizontal and wet way!</dialogue> <scene_description>Buff shakes a can of beer at crotch level , sending foam and beer spray everywhere .</scene_description> <character>SOOZE</character> <dialogue>Ew! Oh, Buff! Relax!</dialogue> <character>TIM</character> <dialogue>Why do n't you fucking relax? He's having verbal intercourse, Sooze.</dialogue> <character>ERICA</character> <dialogue>Oh, god!</dialogue> <character>SOOZE</character> <dialogue>No, he's not. He's objectifying her and he's entertaining us at her expense.</dialogue> <character>ERICA</character> <dialogue>Oh, it's okay. What's your name?</dialogue> <character>BUFF</character> <dialogue>Buff.</dialogue> <character>ERICA</character> <dialogue>Buff is funny. God.</dialogue> <character>TIM</character> <dialogue>Buff is funny, okay? She likes Buff, so why do n't you whip shut the feminist hole.</dialogue> <character>SOOZE</character> <dialogue>Hey, why do n't you swallow your cock and choke on it? Oh, I forgot, it's not big enough.</dialogue> <character>JEFF</character> <dialogue>So, um, Pony, where are you staying? Are you staying at your mother's house?</dialogue> <character>PONY</character> <dialogue>No, no, they, uh, you know, that can be kind of a hassle, so, uh, you know, I just stay at the Four Seasons. It's easier.</dialogue> <character>TIM</character> <dialogue>Yeah, yeah, I stay at the Four Seas, it's ease.</dialogue> <character>JEFF</character> <dialogue>Wow, that must be pretty nice there.</dialogue> <character>PONY</character> <dialogue>Yeah. Yeah. Yeah, yeah, it's, you know, it's a bed and hot water.</dialogue> <character>ERICA</character> <dialogue>It does look good.</dialogue> <character>SOOZE</character> <dialogue>Yeah, so what do you guys do next? I mean, what's your band do now?</dialogue> <character>PONY</character> <dialogue>Oh, uh, we're gon na go in the studio and we're, we're doin' a new album.</dialogue> <character>SOOZE</character> <dialogue>Yeah?</dialogue> <character>PONY</character> <dialogue>Yeah, and I was thinking, Sooze, you could do the cover.</dialogue> <character>SOOZE</character> <dialogue>You do not want me to do your cover.</dialogue> <character>PONY</character> <dialogue>I do n't want you to do the cover, I, I need you to do the cover.</dialogue> <character>SOOZE</character> <dialogue>You're not serious.</dialogue> <character>PONY</character> <dialogue>I'm always serious.</dialogue> <character>SOOZE</character> <dialogue>Oh they'd never let me do what I want.</dialogue> <character>PONY</character> <dialogue>I get final approval. It's in my contract.</dialogue> <character>SOOZE</character> <dialogue>Would I get paid?</dialogue> <character>PONY</character> <dialogue>Yeah, we'd have to fly you out for meetings, you know.</dialogue> <character>SOOZE</character> <dialogue>Yeah?</dialogue> <character>PONY</character> <dialogue>Yeah.</dialogue> <character>SOOZE</character> <dialogue>Oh, God, that would be something I really want to do.</dialogue> </scene> <scene> <stage_direction>INT. TOP WINE &amp; LIQUOR - NIGHT</stage_direction> <scene_description>Tim is back again , to buy more alcohol .</scene_description> <character>TIM</character> <dialogue>Hey, can you cash this?</dialogue> <scene_description>Tim hands Scuff a treasury bill .</scene_description> <character>SCUFF</character> <dialogue>Yeah. Yeah. How's the air force, Tim?</dialogue> <character>TIM</character> <dialogue>It's not the air force anymore, Scuff</dialogue> <character>SCUFF</character> <dialogue>So where are you?</dialogue> <character>TIM</character> <dialogue>I'm here.</dialogue> </scene> <scene> <stage_direction>EXT. CIRCLE A - PARKING LOT -NIGHT</stage_direction> <scene_description>The group is still hanging out at the Circle A.</scene_description> <character>PONY</character> <dialogue>Okay, now, you guys all take care, okay? Oh, man, I feel so good. I feel good'cause I'm hanging out with you guys, man. You know? I mean, I forgot what it was like to just hang out.</dialogue> <character>SOOZE</character> <dialogue>Yeah.</dialogue> <character>PONY</character> <dialogue>And you know why it's so good? See, because, see, you guys are real. No, man, I mean it. You guys have a sense of humor. You live your lives, you know. It's simple, you know. The guys on the road, I mean, the band, all they talk about is scoring chicks. and Danny, all Danny talks about is money.</dialogue> <character>BUFF</character> <dialogue>Yeah, we're all above that.</dialogue> <character>PONY</character> <dialogue>See, I wrote something about all this. Uh, it, it's a song about.</dialogue> <character>BUFF</character> <dialogue>Well, play it, man.</dialogue> <character>SOOZE</character> <dialogue>Yeah, come on, play it.</dialogue> <character>PONY</character> <dialogue>Oh, no, man. I ca n't.</dialogue> <character>BUFF</character> <dialogue>Yeah.</dialogue> <character>SOOZE</character> <dialogue>Come on.</dialogue> <character>BUFF</character> <dialogue>Play it! Come on!</dialogue> <character>PONY</character> <dialogue>No, no, no, no, no, it's new.</dialogue> <character>BUFF</character> <dialogue>Please.</dialogue> <character>PONY</character> <dialogue>I just started it.</dialogue> <scene_description>Buff walks over to the limo and picks up Pony 's guitar and harmonica from off the trunk of the car .</scene_description> <character>BUFF</character> <dialogue>I do n't care. I'm gon na drop it. I'm gon na drop it. I'm.</dialogue> <character>PONY</character> <dialogue>Do n't drop the guitar, man.</dialogue> <scene_description>Buff pretends to almost drop the guitar .</scene_description> <character>BUFF</character> <dialogue>Whoa!</dialogue> <character>PONY</character> <dialogue>No, no, whoa!</dialogue> <scene_description>Pony grabs the guitar away from Buff and begins to put it on . Everyone gathers around Pony , except Jeff .</scene_description> <character>BUFF</character> <dialogue>Yes! Free concert!</dialogue> <character>ERICA</character> <dialogue>Alright, Pony!</dialogue> <character>PONY</character> <dialogue>Alright, alright already.</dialogue> <character>SOOZE</character> <dialogue>Alright!</dialogue> <character>BUFF</character> <dialogue>Yes! Hey, unplugged Pony!</dialogue> <scene_description>Pony begins to play and sing .</scene_description> <character>PONY</character> <parenthetical>( singing . )</parenthetical> <dialogue>`` Drove down the highway there was a big jam The family had died There inside their minivan There was a backup It went on for miles But as bad as it was It was gone after a while''.</dialogue> <parenthetical>( to group . )</parenthetical> <dialogue>Chorus here.</dialogue> <parenthetical>( singing again . )</parenthetical> <dialogue>`` You may think there's nothing to it and the truth is hard to see To be an invisible man is a remarkable thing to be thing to be thing to be''</dialogue> <character>SOOZE</character> <dialogue>That was so great!</dialogue> <character>ERICA</character> <dialogue>It's coming along.</dialogue> <character>PONY</character> <dialogue>Thank you.</dialogue> <character>BUFF</character> <dialogue>Hey, I'm glad you put truth in your song, man. That's important.</dialogue> <character>PONY</character> <dialogue>Hey, thanks, man.</dialogue> <character>JEFF</character> <dialogue>So who are you?</dialogue> <character>PONY</character> <dialogue>What do you mean?</dialogue> <character>JEFF</character> <dialogue>Well, if we're, like, the man invisible, what are you?</dialogue> <character>PONY</character> <dialogue>I do n't know. Uh, I'm an artist, I guess. You know, there's life and then there's the people watching the life, commenting on it.</dialogue> <character>JEFF</character> <dialogue>Yeah, well, that's what I do too.</dialogue> <character>PONY</character> <dialogue>What?</dialogue> <character>JEFF</character> <dialogue>Comment, say things, think. Whatever. Why are you so special?</dialogue> <character>PONY</character> <dialogue>Well, I, I did n't say I was special, but it's one thing, you know, and it's another thing to actually communicate it to people. You know what I mean? If a tree falls in a forest and no one hears it, does that make a sound?</dialogue> <character>JEFF</character> <dialogue>Of course it does.</dialogue> <character>SOOZE</character> <dialogue>You know, that is my worst fear. Making a sound and no one hears it.</dialogue> <character>PONY</character> <dialogue>Mine too.</dialogue> <character>JEFF</character> <dialogue>W - wait a minute, wait a minute.</dialogue> <character>PONY</character> <dialogue>You know what I'm saying?</dialogue> <character>SOOZE</character> <dialogue>Sure. You make art and you want people to see it.</dialogue> <character>BUFF</character> <dialogue>Wait, what happened to the tree?</dialogue> <character>JEFF</character> <dialogue>Yeah, but that does n't mean that your tree is not artistic if no one cuts it down.</dialogue> <character>SOOZE</character> <dialogue>Jeff likes to argue for the sake of arguing.</dialogue> <character>JEFF</character> <dialogue>No, I do n't.</dialogue> <character>SOOZE</character> <dialogue>Yes, you do.</dialogue> <character>JEFF</character> <dialogue>No, I do n't.</dialogue> <character>SOOZE</character> <dialogue>You do.</dialogue> <character>JEFF</character> <dialogue>No, I do n't.</dialogue> <scene_description>Tim walks up to the group from behind Erica . He stops and talks to her .</scene_description> <character>TIM</character> <dialogue>Hi.</dialogue> <character>ERICA</character> <dialogue>Hi.</dialogue> <character>TIM</character> <dialogue>So you, like, come from a town like this or?</dialogue> <character>ERICA</character> <dialogue>No, not really. I come from an `` area''. Bel Air.</dialogue> <character>TIM</character> <dialogue>You rich?</dialogue> <character>ERICA</character> <dialogue>No, not really. Middle - class.</dialogue> <character>TIM</character> <dialogue>Oh, me too. Middle - class.</dialogue> <character>ERICA</character> <dialogue>Maybe upper - middle - class.</dialogue> <scene_description>Pony is singing another song . Buff , Bee - Bee , and Sooze are all sitting on the asphalt in front of Pony , wide eyes . Tim is talking to Erica on the car and Jeff is pacing back and forth .</scene_description> <character>PONY</character> <dialogue>`` See what's around you listen to their lies''</dialogue> <character>TIM</character> <dialogue>So, like, your dad's a big deal, right?</dialogue> <character>ERICA</character> <dialogue>Thinks he is. Well, he is.</dialogue> <character>TIM</character> <dialogue>He is?</dialogue> <character>ERICA</character> <dialogue>Yes.</dialogue> <character>TIM</character> <dialogue>He is.</dialogue> <character>ERICA</character> <dialogue>He is.</dialogue> <character>TIM</character> <dialogue>And you love him a lot. He bought you a BMW for your birthday, but you finally had to move out and get your own place. I mean, I know, it's time to leave the nest. Parents hate your smoking. You did n't tell them about the abortion. All your friends got boob jobs, you got the tattoo instead. Subscribe to Vaniety Fair.</dialogue> <scene_description>Tim feels Erica 's arms .</scene_description> <character>TIM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Ooh, wow, nice. Personal trainer? Very nice.</dialogue> <character>PONY</character> <dialogue>`` I sound like an idiot watching the parade I know there's no tomorrow only the charade I am dead Deep inside my head All the lies There's no then Only now I will love show me how''</dialogue> <scene_description>Bee - Bee stands up and walks away . Jeff watches her leave and begins to pace faster .</scene_description> <character>PONY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>`` I buried my hand in a fire I have n't slept for a week I cut my feet on the glass Never finding what I seek I need salvation I need''</dialogue> <scene_description>Suddenly Jeff stops pacing and jumps up screaming .</scene_description> <character>JEFF</character> <dialogue>FUCK! Pony, if we wanted to hear you sing, we would've gone to your concert!</dialogue> <character>SOOZE</character> <dialogue>Jeff!</dialogue> <character>JEFF</character> <dialogue>So you sold ninety thousand units. So what? Does that mean you're a genius? You're a great artist? You're higher up the ladder? You got an extra gold star on your fuckin' forehead?</dialogue> <character>TIM</character> <dialogue>Wow, you're cute when you're angry.</dialogue> <character>JEFF</character> <dialogue>Why do n't you write a song about Sandra Berhard's salad, asshole?</dialogue> <character>SOOZE</character> <dialogue>Jesus, Jeff.</dialogue> <character>PONY</character> <dialogue>Hey, man, uh, look, if you do n't like my stuff, uh, I wo n't sing it, okay? I'm sorry, you know?</dialogue> <character>JEFF</character> <dialogue>No, that's not what I'm saying. I'm saying I do n't need a limousine to know who I am, alright?</dialogue> <character>TIM</character> <dialogue>Right on. You know what? He does n't need the limo, man.</dialogue> <character>JEFF</character> <dialogue>I mean, you know, at least I admit that I do n't know. I know that things are fucked up beyond belief and I know that I have nothing original to say about any of it, alright? I do n't have an answer. I do n't have a fucking message.</dialogue> <character>TIM</character> <dialogue>Okay, great. Well, now he's crying. Are you guys happy?</dialogue> <character>JEFF</character> <dialogue>Oh, shut up, Tim. This is n't funny, man.</dialogue> <character>SOOZE</character> <parenthetical>( sighs . )</parenthetical> <dialogue>I'm sorry. I'm sorry.</dialogue> <character>PONY</character> <dialogue>No, no, no, no, no. Uh, hey, man. You know I'm really sorry if I, if I said something wrong. I, I.</dialogue> <character>JEFF</character> <dialogue>No, man. Hey. No, you know what? Hey, it's you, man. It's, you know what, you know what it is? It's this tarpit of stupidity that we're all stuck in. It's this cell. It's this void, you know.</dialogue> <character>PONY</character> <dialogue>Oh, no, man, look. Look, you know, it's me, okay? I come out here and I'm, so used to everyone, you know, kissing my ass and I think I'm a fucking star, man, and I'm really sorry if I'm full of attitude. I, I really.</dialogue> <character>JEFF</character> <dialogue>No, you know what? It's not you, man. It's not anybody. It's me. Whoo! Hey.</dialogue> <character>PONY</character> <dialogue>Look, man, it. Shit. Why do n't we get something to eat? I mean food?</dialogue> <character>ERICA</character> <dialogue>We'd have to hurry.</dialogue> <character>SOOZE</character> <dialogue>China Gate's open till midnight.</dialogue> <character>PONY</character> <dialogue>George can drive us. There's plenty of room in the car. Jeff?</dialogue> <character>JEFF</character> <dialogue>No. You know what? You guys go ahead and bring back something here. Yeah.</dialogue> <character>PONY</character> <dialogue>Why do n't you come with us, man? I mean, I want to hear about those songs you've been working on. You too, Buff.</dialogue> <character>BUFF</character> <dialogue>Limo ride!</dialogue> <scene_description>Buff runs and jumps into the limo .</scene_description> <character>PONY</character> <dialogue>Tim?</dialogue> <character>TIM</character> <dialogue>Uh, I did n't write any songs. You guys go ahead. I got ta stay here and guard the parking lot.</dialogue> <scene_description>Sooze walks over to Jeff .</scene_description> <character>SOOZE</character> <dialogue>Come on.</dialogue> <character>JEFF</character> <dialogue>No. No, no, no.</dialogue> <character>SOOZE</character> <dialogue>Come on. I'm not gon na go if you do n't come.</dialogue> <character>JEFF</character> <dialogue>No, I just do n't feel like it. That's all.</dialogue> <character>SOOZE</character> <dialogue>Why do n't you just try? Please. For me. Come on.</dialogue> <scene_description>Buff sticks his upper body out of the limo 's sunroof .</scene_description> <character>BUFF</character> <dialogue>Hey, come on, man! Limo!</dialogue> <character>SOOZE</character> <dialogue>Hey, wait, where's Bee - Bee? Bee - Bee! Bee - Bee, where'd you go? Did you guys see where she went?</dialogue> <character>PONY</character> <dialogue>Erica, you coming?</dialogue> <character>ERICA</character> <dialogue>Mm - mm.</dialogue> <character>BUFF</character> <dialogue>Are you sure? Okay.</dialogue> <scene_description>The limo pulls out of the parking lot and onto the road . Erica walks over to Tim , who is lying on the hood of a car .</scene_description> <character>ERICA</character> <dialogue>You got everything right but the car. My dad did n't get me a BMW.</dialogue> <character>TIM</character> <dialogue>What'd he get you?</dialogue> <character>ERICA</character> <dialogue>A Porsche.</dialogue> <character>TIM</character> <dialogue>Mm.</dialogue> <character>ERICA</character> <dialogue>Yeah. So, what about you?</dialogue> <character>TIM</character> <dialogue>What about me? I do n't have a car.</dialogue> <character>ERICA</character> <dialogue>You just seem to know all these things about me and I do n't know anything about you, you know. What kind of music do you like?</dialogue> <character>TIM</character> <dialogue>Military marching bands.</dialogue> <character>ERICA</character> <dialogue>You think I'm rich and you hate me.</dialogue> <character>TIM</character> <dialogue>Now, how the hell would you know what I think? Hm? You do n't know me.</dialogue> <character>ERICA</character> <dialogue>I'd like to.</dialogue> <character>TIM</character> <dialogue>Oh, yeah?</dialogue> <character>ERICA</character> <dialogue>Mm - mm.</dialogue> </scene> <scene> <stage_direction>INT. BEE-BEE'S HOUSE -NIGHT</stage_direction> <scene_description>Bee - Bee slowly creeps up the stairs and into the bathroom , the entire house is dark . She opens the medicine cabinet and pockets a bottle of sedatives .</scene_description> </scene> <scene> <stage_direction>EXT. CIRCLE A - PARKING LOT -NIGHT</stage_direction> <scene_description>Erica and Tim are still talking .</scene_description> <character>TIM</character> <dialogue>You know, it was the biggest mistake of my life.</dialogue> <character>ERICA</character> <dialogue>Really?</dialogue> <character>TIM</character> <dialogue>Well, I mean, you have to understand I was just this dopey kid mopping floors and kissing officer ass. I mean, well, I enlisted right out of high school. So I just wanted something different in my life.</dialogue> <character>ERICA</character> <dialogue>Mm.</dialogue> <character>TIM</character> <dialogue>`` It's not a job, it's an adventure.'' Right? I hated it. I had to get out. So I was working in the kitchen, chopping lettuce, you know, real heroic stuff, and I, uh, I had this big fucking knife and I chopped off the tip of my little finger and three days later I was a free man.</dialogue> <character>ERICA</character> <dialogue>You cut off your little finger?</dialogue> <character>TIM</character> <dialogue>Well, they, uh they were nice enough to sew it back on.</dialogue> <character>ERICA</character> <dialogue>Let's see.</dialogue> <scene_description>Tim shows her his scar . Erica gently rubs her fingers over it .</scene_description> <character>TIM</character> <dialogue>Honorable discharge. Disabled while serving. I get a check every month.</dialogue> </scene> <scene> <stage_direction>INT. CHINA GATE RESTAURANT - LOBBY -NIGHT</stage_direction> <scene_description>The group is standing in the lobby , no one is around . It appears as if their closed .</scene_description> <character>BUFF</character> <parenthetical>( yells . )</parenthetical> <dialogue>Um, four for smoking, please.</dialogue> <scene_description>The RESTAURANT HOSTESS walks up to them , she is Chinese .</scene_description> <character>RESTAURANT HOSTESS</character> <dialogue>Closed, closed.</dialogue> <character>BUFF</character> <parenthetical>( mocking her . )</parenthetical> <dialogue>Oh, man, no closed, we just got here!</dialogue> <character>SOOZE</character> <dialogue>No.</dialogue> <character>RESTAURANT HOSTESS</character> <dialogue>Midnight closed.</dialogue> <character>SOOZE</character> <dialogue>Oh, come on! We're hungry. Please?</dialogue> <scene_description>Buff decides to take control and walks over to the hostess .</scene_description> <character>BUFF</character> <dialogue>Yo, do you know who this guy is right here? That's Pony Moynihan from MTV. Yeah look at his limo out there.</dialogue> <character>RESTAURANT HOSTESS</character> <dialogue>TV?</dialogue> <character>BUFF</character> <dialogue>TV. MTV, what your going to turn him away?</dialogue> <character>PONY</character> <parenthetical>( to Buff . )</parenthetical> <dialogue>Come on, man. Sh, sh, sh.</dialogue> <character>BUFF</character> <dialogue>No man.</dialogue> <parenthetical>( to hostess . )</parenthetical> <dialogue>He's probably the most famous guy that'd ever come in this place. You're lucky he's here.</dialogue> <character>RESTAURANT HOSTESS</character> <dialogue>Take - out only. Wait, I get picture.</dialogue> <character>PONY</character> <dialogue>Yeah, yeah, yeah.</dialogue> <character>BUFF</character> <dialogue>Thanks. See man?</dialogue> <character>PONY</character> <dialogue>You know? I remember coming here with my parents.</dialogue> <character>SOOZE</character> <dialogue>Really?</dialogue> <character>BUFF</character> <dialogue>You know, I should, um, make a video of this place. You know, bring the camera in.</dialogue> <character>PONY</character> <dialogue>You make videos?</dialogue> <character>BUFF</character> <dialogue>Oh, yeah, all the time. That's what I do now.</dialogue> <character>PONY</character> <dialogue>You know what would be cool is, like, to do a music video, you know? But, like, you know, have it set in here. You know, like, like, like, with her and shit. You know, like, you know, like, `` Closed, closed, closed, closed, closed, closed.''</dialogue> <character>BUFF</character> <dialogue>`` Closed, closed, closed.'' But with your music.</dialogue> <character>PONY</character> <dialogue>You could do it.</dialogue> <character>BUFF</character> <dialogue>I could.</dialogue> <character>PONY</character> <dialogue>Yeah!</dialogue> <character>BUFF</character> <dialogue>Yeah.</dialogue> <character>PONY</character> <dialogue>I mean, do you have something I could show my manager? I mean, do you have a reel?</dialogue> <character>BUFF</character> <dialogue>Yes!</dialogue> <character>PONY</character> <dialogue>Yeah!</dialogue> <character>BUFF</character> <dialogue>A reel?</dialogue> </scene> <scene> <stage_direction>EXT. CIRCLE A - PARKING LOT - NIGHT</stage_direction> <scene_description>Tim and Erica are still chatting away in the parking lot .</scene_description> <character>ERICA</character> <dialogue>I mean, what is there to be happy about really? I mean, going to the gym, climbing the StairMaster, eating the yogurt, checking the voice mail. Smoking the low - tar cigarettes, shaving the bikini line. Sometimes I just want something different, you know?</dialogue> <character>TIM</character> <dialogue>What was your name again?</dialogue> <character>ERICA</character> <dialogue>Erica.</dialogue> <character>TIM</character> <dialogue>Erica. So do you think you and I are alike, Erica?</dialogue> <character>ERICA</character> <dialogue>Deep down. Way down.</dialogue> <character>TIM</character> <dialogue>It's a mistake to think that.</dialogue> <character>ERICA</character> <dialogue>We could still talk, you know? It's nice to talk.</dialogue> <character>TIM</character> <dialogue>It's nice to do a lot of things.</dialogue> <character>ERICA</character> <dialogue>That's what I mean.</dialogue> <character>TIM</character> <dialogue>I'm not a nice guy.</dialogue> <character>ERICA</character> <dialogue>I know. It's okay.</dialogue> <character>TIM</character> <dialogue>Yeah?</dialogue> <character>ERICA</character> <dialogue>Mm - hm. I'm a big girl. I can take care of myself. If I did n't want to be here, I'd be in a limo right now with a bunch of kids looking for Chinese food.</dialogue> <character>TIM</character> <dialogue>No, no, see, you, you do n't understand.</dialogue> <character>ERICA</character> <dialogue>Hay? Yeah? So teach me a lesson.</dialogue> <scene_description>They kiss .</scene_description> </scene> <scene> <stage_direction>INT. PONY'S LIMOUSINE - NIGHT</stage_direction> <scene_description>Buff , Sooze , Jeff , and Pony are all in the back of the limo coming back from China Gate . Pony 's demo tape is playing in the background as Buff stuffs his face with noodles .</scene_description> <character>BUFF</character> <dialogue>Mm - mm. Hey, when I get shitfaced I can get this huge appetite. God. I do n't know why. Most people do n't, but I do. Whoo!</dialogue> <scene_description>Suddenly Buff stops eating , his face drawing a blank . He starts to look sick .</scene_description> <character>PONY</character> <dialogue>You okay, man? You okay?</dialogue> <character>BUFF</character> <dialogue>I did n't want to eat this much, man.</dialogue> <character>PONY</character> <dialogue>Wait, I'll get you some air.</dialogue> <scene_description>Pony starts to open the sunroof when Buff jumps up and starts heading towards the window .</scene_description> <character>BUFF</character> <dialogue>Wait, do the windows, okay? Just do'em.</dialogue> <scene_description>Pony opens the window and Buff sticks his head out , throwing up alcohol and Chinese noodles all over the side of the limo .</scene_description> <character>SOOZE</character> <dialogue>Oh, yuck! Oh, gross!</dialogue> <character>PONY</character> <dialogue>You done?</dialogue> <character>BUFF</character> <dialogue>Yeah.</dialogue> <scene_description>Buff sticks his head back out of the limo and throws up again before finally settling back inside the limo .</scene_description> <character>LIMO DRIVER</character> <dialogue>Oh, crap!</dialogue> <scene_description>The limo pulls over . The driver gets out and begins to wipe the throw up off of the side of the limo . Buff is wandering around , Jeff is sitting on the curb looking irritated , Pony and Sooze are still inside the limo . Sooze is on the car phone .</scene_description> <character>SOOZE</character> <parenthetical>( into telephone . )</parenthetical> <dialogue>Oh, oh, hi. Oh, Missus Douglas, I hope I'm not calling too late. No, have you seen Bee - Bee? Well, no, yeah, she was, I was just wondering if you'd seen her. She did? Okay. Yeah. No, I'm sorry to bother you, Missus Douglas. Okay, ` bye.</dialogue> <parenthetical>( to Jeff . )</parenthetical> <dialogue>Shit. She always answers.</dialogue> <scene_description>Buff is up in someone 's front lawn .</scene_description> <character>BUFF</character> <dialogue>Hey! Hey, you guys!</dialogue> <scene_description>Buff comes running from the front yard , holding in both his hands a lawn leprechaun .</scene_description> <character>LIMO DRIVER</character> <dialogue>No. No. Put back the leprechaun.</dialogue> <character>JEFF</character> <dialogue>Yeah, put it back. Oh, fuck. What are you doing, you.</dialogue> <scene_description>Lights come on inside the house .</scene_description> <character>BUFF</character> <dialogue>Go!</dialogue> <character>JEFF</character> <dialogue>idiot! Open the damn door! Go, go, go, come on!</dialogue> </scene> <scene> <stage_direction>EXT. CIRCLE A - VAN - NIGHT</stage_direction> <scene_description>Tim and Erica are on the side of the van , making out .</scene_description> <character>ERICA</character> <dialogue>Oh, man, do n't be gettin' soft on me. I mean, sorry, it's okay. It's okay, just do n't think, okay? Just do n't think.</dialogue> </scene> <scene> <stage_direction>INT. PONY'S LIMOUSINE - NIGHT</stage_direction> <scene_description>Sooze , Buff and Pony are singing an old high school cheer while Jeff looks very un - amused .</scene_description> <character>SOOZE, BUFF, &amp; PONY</character> <dialogue>`` Black and orange Black and orange Hear that hearty yell Rah rah rah''</dialogue> <character>SOOZE</character> <dialogue>`` G, O, F, O, R, I, T. Go for it!''</dialogue> <character>BUFF</character> <dialogue>Hey, play that demo again, man. Alright.</dialogue> <character>PONY</character> <dialogue>Oh, man. Wow. I was never into football, you know?</dialogue> <character>JEFF</character> <dialogue>I got ta take a piss. Do you mind if we pull over really quickly?</dialogue> <character>PONY</character> <dialogue>Oh, yeah.</dialogue> <character>JEFF</character> <dialogue>I'm sorry. I, I got ta.</dialogue> <character>PONY</character> <dialogue>Oh, no, no. Uh, uh, George, pull over.</dialogue> <scene_description>George pulls the limo over to the side of the street . Jeff walks down a small ravine , looks back over his shoulder , keeps walking .</scene_description> <character>JEFF</character> <dialogue>Fuck'em. Fucking assholes.</dialogue> <character>PONY</character> <dialogue>Burnfield. No place like it.</dialogue> <character>SOOZE</character> <dialogue>Yeah. Burnfield, Pizza and Puke capital of the world.</dialogue> <character>PONY</character> <dialogue>I ca n't believe you're still here.</dialogue> <character>SOOZE</character> <dialogue>I'm moving.</dialogue> <character>PONY</character> <dialogue>If.</dialogue> <character>SOOZE</character> <dialogue>No, I'm going.</dialogue> <character>PONY</character> <dialogue>Mm - hm.</dialogue> <scene_description>Sooze and Pony pick at each other with their fingers , playfully flirting .</scene_description> <character>SOOZE</character> <dialogue>Soon.</dialogue> <character>PONY</character> <dialogue>Yep.</dialogue> <character>SOOZE</character> <dialogue>What's that supposed to mean?</dialogue> <character>PONY</character> <dialogue>I do n't know. I say what I mean.</dialogue> <character>SOOZE</character> <dialogue>Oh, yeah, you're just so smart.</dialogue> <character>PONY</character> <dialogue>That's because I am.</dialogue> </scene> <scene> <stage_direction>EXT. CIRCLE A - VAN - NIGHT</stage_direction> <scene_description>Erica and Tim are still leaning up against the old van .</scene_description> <character>ERICA</character> <dialogue>It's okay. This kind of thing happens. It's just never happened to me. I'm sorry. It's true though. Mm. So, um, what's your TCB tattoo stand for? What's that about?</dialogue> <character>TIM</character> <dialogue>Taking care of business.</dialogue> <character>ERICA</character> <dialogue>I'm sorry.</dialogue> </scene> <scene> <stage_direction>EXT. PONY'S LIMO - ROOF - NIGHT</stage_direction> <scene_description>Sooze and Pony are sitting on top of the limo looking out over Burnfield .</scene_description> <character>SOOZE</character> <dialogue>I hate it here. It's so ugly, it's like being dead. You got out of here, you know? I'm ready to go.</dialogue> <character>PONY</character> <dialogue>Yeah, but sometimes I try to figure out why I left in the first place, you know? I think about people and I wonder what they're doing.</dialogue> <character>SOOZE</character> <dialogue>Yeah.</dialogue> <character>PONY</character> <dialogue>I think about you. I mean, a lot.</dialogue> <character>SOOZE</character> <dialogue>Me?</dialogue> <character>PONY</character> <dialogue>Yeah, I have, I have, yeah.</dialogue> <character>SOOZE</character> <dialogue>Yeah, you know, when you called I thought, there's a name from the past.</dialogue> <character>PONY</character> <dialogue>Or the future, oh, no, no, I mean. I mean, we'll be working on that album cover, right?</dialogue> <character>SOOZE</character> <dialogue>Yeah, I know what you're saying.</dialogue> <character>PONY</character> <dialogue>You do?</dialogue> <character>SOOZE</character> <dialogue>Yeah. God, you showed up at such a weird time in my life.</dialogue> </scene> <scene> <stage_direction>EXT. CIRCLE A - PARKING LOT - NIGHT</stage_direction> <scene_description>Jeff walks into the parking lot to find Bee - Bee sitting on the side of the building by herself , bottle by her side and listening to the radio . Jeff walks up to her .</scene_description> <character>JEFF</character> <dialogue>I just walked all the way from Westside to here. I have n't walked that far since junior high. I thought you did n't drink.</dialogue> <character>BEE-BEE</character> <dialogue>I do n't anymore.</dialogue> <character>JEFF</character> <dialogue>Can I have some?</dialogue> <character>BEE-BEE</character> <dialogue>Knock yourself out.</dialogue> <scene_description>Jeff takes a hard swing off the bottle .</scene_description> <character>JEFF</character> <dialogue>You know, one moment things are so fucked up than you look at it from a totally different angle and it makes sense.</dialogue> <character>BEE-BEE</character> <dialogue>Yeah.</dialogue> <character>JEFF</character> <dialogue>Did you ever hear that saying, `` This too shall pass''?</dialogue> <character>BEE-BEE</character> <dialogue>Sure, all the time, in Group.</dialogue> <character>JEFF</character> <dialogue>In Group?</dialogue> <character>BEE-BEE</character> <dialogue>Rehab. Outpatient. I have to go once a week. It's kind of like AA.</dialogue> <character>JEFF</character> <dialogue>Oh, yeah, you had to go to Highgate. That must've been intense.</dialogue> <character>BEE-BEE</character> <dialogue>Intense.</dialogue> <character>JEFF</character> <dialogue>How long were you in there?</dialogue> <character>BEE-BEE</character> <dialogue>Uh, ninety days. And now I just have to go once a week. See, I'm rehabilitated.</dialogue> <character>JEFF</character> <dialogue>Well, you should n't drink. Are you gon na drink?</dialogue> <character>BEE-BEE</character> <dialogue>No. Oh, maybe. Fuck.</dialogue> <character>JEFF</character> <dialogue>I mean, that would suck if you had to go back to rehab.</dialogue> <character>BEE-BEE</character> <dialogue>Yeah, it would suck big time. I'd kill myself first.</dialogue> <character>JEFF</character> <dialogue>It was pretty bad, huh?</dialogue> <character>BEE-BEE</character> <dialogue>It was like hell with windows. You know, there's shit on the walls. Kids my age sucking their thumbs. I mean, every day I would, I'd wake up in my cell and I'd think, my parents put me here. Why? Why? Because I stayed out all night one time. Uh, because I broke the VCR when I was drunk. Because I was out of control. I thought my parents loved me.</dialogue> </scene> <scene> <stage_direction>INT. PONY'S LIMO - NIGHT</stage_direction> <scene_description>Buff is holding onto the lawn leprechaun as if it was his girlfriend . He comes in and out of sleep .</scene_description> <character>BUFF</character> <dialogue>Hey, do you got any water? And some B - One? Hey, where did everybody go?</dialogue> <character>LIMO DRIVER</character> <dialogue>Hey, hey. Okay?</dialogue> <character>BUFF</character> <dialogue>Sor - sorry, Bruce.</dialogue> </scene> <scene> <stage_direction>EXT. CIRCLE A - PARKING LOT - NIGHT</stage_direction> <character>JEFF</character> <dialogue>We were all riding around and it suddenly hit me what we were doing. We were getting off on the fact that we're in a car teen feet longer than all the rest. And I got out and I just started walking.</dialogue> <character>BEE-BEE</character> <dialogue>Yeah.</dialogue> <character>JEFF</character> <dialogue>Well, what it was. I, I do n't want to admit it, but, you know, I was jealous of Pony.</dialogue> <character>BEE-BEE</character> <dialogue>Well, sure, he's rich and he's famous. He's got everything and you've got nothing.</dialogue> <character>JEFF</character> <dialogue>Yeah, but, when I was walking, I realized that he's stuck in that limo all the time. He's stuck with his interviews, he's stuck with his autograph, he has to do whatever his manager tells him to do, you know? He's not free. He's just part of the machine, and if you think about it, freedom's all that there really is.</dialogue> <character>BEE-BEE</character> <dialogue>Yeah, I guess.</dialogue> <character>JEFF</character> <dialogue>You know? And it used to scare me so much that I did n't know what was coming in my life.</dialogue> <character>BEE-BEE</character> <dialogue>Mm - hm.</dialogue> <character>JEFF</character> <dialogue>You know, like, like, I would always think, uh, you know, what if I make the wrong move? But maybe there is n't any right move. You know? I mean, look at us. You know, we all dress the same, we all talk the same, we all fuck the same, we all watch the same TV. Nobody's really different, even if they think they're different. `` Oh, boy, look at my tattoo, you know?'' And see, that's what makes me freak. Because I can do anything I want, as long as I do n't care about the result.</dialogue> <scene_description>Jeff begins to remove articles of his clothing .</scene_description> <character>JEFF</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Anything is possible. It is night on planet earth and I'm alive. And someday I'll be dead. Someday I'll just be bones in a box, but right now, I', not. And anything is possible. And that's why I can go to New York with Sooze because each moment can just be what it is. There's no failure, there's no mistake. I just, I just go there and live there and what happens, happens. And so, right now I'm getting naked and I'm not afraid. You know? I do n't, I do n't need money, man. I do n't, I do n't even need, I do n't even need a future. I, I could knock out all of my teeth with a hammer. So what?! You know, I could poke my eyes out. I'd still be alive, you know? At least I'd know that I was doing something real for two or three seconds, you know? It's all about feat and I'm not afraid anymore, man. Fuck it! Fuck fear!</dialogue> <scene_description>Jeff is standing in the middle of the parking lot , completely nude . Tim appears from on top of the roof .</scene_description> <character>TIM</character> <dialogue>Bravo, you son - of - a - bitch!</dialogue> </scene> <scene> <stage_direction>INT. PONY'S LIMO - NIGHT</stage_direction> <scene_description>The limo is pulling into the Circle A. Everyone is looking out the window at Jeff .</scene_description> <character>PONY</character> <dialogue>Is that Jeff?</dialogue> <character>SOOZE</character> <dialogue>Oh, my god!</dialogue> </scene> <scene> <stage_direction>EXT. CIRCLE A - PARKING LOT - NIGHT</stage_direction> <scene_description>Jeff is putting his clothes back on . He sits down next to Bee - Bee and takes another swing off the bottle .</scene_description> <character>BEE-BEE</character> <dialogue>Jeff? Do you, do you ever wake up in the morning and think, `` Well, here's another day''? You know? It's just like the last one. I mean what difference does it make, you know.</dialogue> </scene> <scene> <stage_direction>EXT. CIRCLE A - PARKING LOT - LIMO - NIGHT</stage_direction> <scene_description>Tim is on the roof of the Circle A watching Pony and Sooze get out of the Limo . They kiss . Tim keeps watching .</scene_description> <character>SOOZE</character> <dialogue>You know, my mom has this saying.</dialogue> <character>PONY</character> <dialogue>Yeah?</dialogue> <character>SOOZE</character> <dialogue>`` Do n't write any checks you ca n't cash.''</dialogue> <character>PONY</character> <dialogue>Really? What else does your mother say?</dialogue> <character>JEFF</character> <dialogue>Oh, hi. I thought you guys got lost.</dialogue> <character>SOOZE</character> <parenthetical>( to Bee - Bee . )</parenthetical> <dialogue>Hey, where did you go? We were worried about you.</dialogue> <character>BEE-BEE</character> <dialogue>Uh, home, you know.</dialogue> <character>SOOZE</character> <dialogue>Yeah, I talked to your mom. I think I woke her up. I hope I did n't get you in trouble.</dialogue> <character>BEE-BEE</character> <dialogue>You did n't get me in trouble.</dialogue> <character>PONY</character> <dialogue>Hey, where's Erica?</dialogue> <character>JEFF</character> <dialogue>I do n't know.</dialogue> <character>SOOZE</character> <dialogue>Gee, Jeff, I thought you were gon na go take a piss, not join some alcoholic nudist colony.</dialogue> <character>JEFF</character> <dialogue>No, no. I just got sick and tired of listening to that demo tape over and over again, you know? I mean, I felt like a fucking groupie, you know.</dialogue> <character>SOOZE</character> <dialogue>Mm. I enjoyed the ride. Sorry you did n't.</dialogue> <character>JEFF</character> <dialogue>But wait! Sooze, I do n't wan na fight. I'm so sorry.</dialogue> <character>SOOZE</character> <dialogue>What?</dialogue> <character>JEFF</character> <dialogue>No, I mean it. No, look, when, when I got out of the car I walked all the way here.</dialogue> <character>SOOZE</character> <dialogue>Mm - hm.</dialogue> <character>JEFF</character> <dialogue>And I fig - and I figured something out.</dialogue> <character>SOOZE</character> <dialogue>Oh, yeah?</dialogue> <character>JEFF</character> <dialogue>I, yeah.</dialogue> <character>SOOZE</character> <dialogue>Mm.</dialogue> <scene_description>Buff comes running from around the corner holding the lawn leprechaun . Tim walks from around the corner and opens a box of the take out Chinese .</scene_description> <character>BUFF</character> <dialogue>Hey! On behalf of Burnfield, I present to you the keys to the city.</dialogue> <character>TIM</character> <dialogue>So, how was the ride, kids?</dialogue> <character>BUFF</character> <dialogue>Great.</dialogue> <character>TIM</character> <dialogue>Really?</dialogue> <character>SOOZE</character> <dialogue>It was the nicest thin I've done in a long time.</dialogue> <character>TIM</character> <dialogue>Oh that's nice for you.</dialogue> <character>PONY</character> <dialogue>Where's Erica? You seen her?</dialogue> <character>TIM</character> <dialogue>Erica? She said she was tired. She went back to the hotel.</dialogue> <character>PONY</character> <dialogue>Oh, How'd she get back?</dialogue> <character>TIM</character> <dialogue>I called Bucky's. I got her a cab. Is there any hot mustard?</dialogue> <character>JEFF</character> <dialogue>I do n't know.</dialogue> <character>PONY</character> <dialogue>I'm gon na go to the car for a ` sec. I'll be right back.</dialogue> <scene_description>Pony walks away , around the corner .</scene_description> <character>BUFF</character> <dialogue>They are old, we are young, they are fast, we are fun.</dialogue> <character>TIM</character> <dialogue>Buff, please, would you jus fuck off, okay? Fuck off!</dialogue> <character>JEFF</character> <dialogue>Wait, Sooze, I, I have to talk to you,'cause I, there's something I figured out.</dialogue> <character>SOOZE</character> <dialogue>God, you smell like whiskey.</dialogue> <character>JEFF</character> <dialogue>No, no, I have to talk to you.</dialogue> <character>SOOZE</character> <dialogue>Is that a threat?</dialogue> <character>TIM</character> <dialogue>I ate a dog when I was in Thailand. Tasted exactly like this sparerib.</dialogue> <character>JEFF</character> <dialogue>No, wait, no, I thought about New York.</dialogue> <character>SOOZE</character> <dialogue>Forget about New York, Jeff. I do n't want to talk about New York anymore.</dialogue> <character>TIM</character> <dialogue>There was this other place where they served live monkey brains. Sweat to God. You walk in, they bring the little monkey out, shave his head, crack it open, and you eat it's brains while it's still alive. I did n't go in, though,'cause I did n't have any money and my mom has a saying : `` Do n't write any checks you ca n't cash''.</dialogue> <scene_description>Sooze 's face drops a little in surprise .</scene_description> <character>JEFF</character> <dialogue>Tim, what are you talking about?</dialogue> <character>TIM</character> <dialogue>Ask your girlfriend.</dialogue> <scene_description>Pony walks back to the group .</scene_description> <character>PONY</character> <dialogue>Well, I called Erica's beeper. There's just no answer.</dialogue> <character>TIM</character> <dialogue>What are you? Her pimp? She said she might go get a drink first.</dialogue> <character>PONY</character> <dialogue>Well, I mean, she always answers her beeper.</dialogue> <character>TIM</character> <dialogue>Pal, she's a big girl, you know? I'm sure she's alright.</dialogue> <character>PONY</character> <dialogue>Yeah? Well, what'd she say?</dialogue> <character>TIM</character> <dialogue>About what?</dialogue> <character>PONY</character> <dialogue>About where she went. I mean, what bar?</dialogue> <character>TIM</character> <dialogue>She did n't say. Maybe she's at the bar at the hotel.</dialogue> <character>PONY</character> <dialogue>The bar at the hotel? She told you that? What did she say exactly?</dialogue> <character>TIM</character> <dialogue>Well, Dad, she said she wanted to suck my cock.</dialogue> <character>SOOZE</character> <dialogue>Tim, why do n't you shut the fuck up?</dialogue> <character>PONY</character> <dialogue>I think I got ta go.</dialogue> <character>JEFF</character> <dialogue>See ya later.</dialogue> <character>TIM</character> <dialogue>What? Oh, come on. You're not gon na suck my cock?</dialogue> <character>PONY</character> <dialogue>Fuck you, man. I never did anything to you!</dialogue> <scene_description>Tim gets up gets into Pony 's face .</scene_description> <character>TIM</character> <dialogue>Okay. You know what? Watch your fucking language, alright? Or I might have to.</dialogue> <character>PONY</character> <dialogue>Whatever.</dialogue> <character>TIM</character> <dialogue>Oh, come on, Pony. I'm just kidding. Wow, you rock stars are really sensitive, huh? You know, there's a life on the road?</dialogue> <character>PONY</character> <dialogue>Do n't do that, man, okay?</dialogue> <character>SOOZE</character> <dialogue>Could you give me a ride?</dialogue> <character>TIM</character> <dialogue>Oh yes! Yeah, man, give her the ride, the ol' Pony ride back to the hotel.</dialogue> <character>SOOZE</character> <dialogue>Tim, go throw up somewhere.</dialogue> <character>PONY</character> <dialogue>You know, man, it's none of your business what I do, okay?</dialogue> <character>TIM</character> <dialogue>It's none of my business?</dialogue> <character>PONY</character> <dialogue>Yeah.</dialogue> <character>TIM</character> <dialogue>Oh, okay, it's none of my business. Yeah, so, you - you're trying to fuck my best friend's girlfriend and it's none of my business?!</dialogue> <character>SOOZE</character> <dialogue>What the fuck are you talking about?!</dialogue> <character>PONY</character> <dialogue>Nobody's fucking anybody!</dialogue> <character>TIM</character> <dialogue>No, see, Neil, if you're fucking with one of my friends, then you're fucking with me.</dialogue> <character>PONY</character> <dialogue>Do n't do that.</dialogue> <character>TIM</character> <dialogue>What are you going to do? Hm?</dialogue> <character>PONY</character> <dialogue>If you hit me.</dialogue> <character>TIM</character> <dialogue>Yeah?</dialogue> <character>PONY</character> <dialogue>my manager will slap an assault charge on your ass faster than you can say AA, okay?</dialogue> <character>TIM</character> <dialogue>Your manager?</dialogue> <character>PONY</character> <dialogue>Yeah, man, my manager and my lawyer.</dialogue> <character>TIM</character> <dialogue>Well, just, you know, have'em call me. Y - you know where to find me, right?</dialogue> <character>PONY</character> <dialogue>Oh, yeah, drunk on the corner, man. Hey, why do n't you buy another beer. It's on me, okay?</dialogue> <character>BUFF</character> <dialogue>Thanks, man!</dialogue> <character>PONY</character> <parenthetical>( to Sooze . )</parenthetical> <dialogue>I'll be in the car, okay?</dialogue> <character>JEFF</character> <dialogue>Wait, wait, wait a minute, Sooze. What are you doing?</dialogue> <character>SOOZE</character> <dialogue>I'm leaving. Is that alright with you? Do I have your permission? Maybe you want to think about it.</dialogue> <character>JEFF</character> <dialogue>Where are you going?</dialogue> <character>SOOZE</character> <dialogue>For a ride.</dialogue> <character>JEFF</character> <dialogue>Wait, away?</dialogue> <character>SOOZE</character> <dialogue>Yes, Jeff, away. Away, away, away.</dialogue> <character>JEFF</character> <dialogue>To his hotel?</dialogue> <character>SOOZE</character> <dialogue>Shit, Jeff!</dialogue> <character>BUFF</character> <dialogue>You know what we should do? Go to the.</dialogue> <character>JEFF</character> <dialogue>So you can do an album cover?</dialogue> <character>SOOZE</character> <dialogue>I've run out of words.</dialogue> <character>JEFF</character> <dialogue>Wait. What, what are you saying?</dialogue> <character>SOOZE</character> <dialogue>I do n't know. And I do n't care that I do n't know.</dialogue> <character>JEFF</character> <dialogue>Well, what about us?</dialogue> <character>SOOZE</character> <dialogue>What about us? I'm moving away your staying here.</dialogue> <character>JEFF</character> <dialogue>No, maybe not though. That, that's what I'm trying to say.</dialogue> <character>SOOZE</character> <dialogue>Maybe not? You think that I'm with somebody else and now it's maybe not?</dialogue> <character>JEFF</character> <dialogue>Oh, no, no, no.</dialogue> <character>SOOZE</character> <dialogue>You're unbelievable.</dialogue> <character>JEFF</character> <dialogue>Wait, no, I. Look, Sooze, I figured something out.</dialogue> <character>SOOZE</character> <dialogue>You did, huh? Good for you.</dialogue> <character>JEFF</character> <dialogue>Oh, fuck it, man!</dialogue> <character>BUFF</character> <dialogue>Fuck it!</dialogue> <character>JEFF</character> <dialogue>You know what? Go with him. Just go with him.</dialogue> <character>BUFF</character> <dialogue>In the limo!</dialogue> <scene_description>Buff runs off to the limo .</scene_description> <character>JEFF</character> <dialogue>Do your covers and all that shit.</dialogue> <character>SOOZE</character> <dialogue>` Bye, Jeff.</dialogue> <character>JEFF</character> <dialogue>Go.</dialogue> <character>SOOZE</character> <dialogue>What?</dialogue> <character>JEFF</character> <dialogue>Just go.</dialogue> <scene_description>Sooze walks up to him and gets in his face .</scene_description> <character>SOOZE</character> <dialogue>You really suck, you know that?</dialogue> <character>JEFF</character> <dialogue>Just go.</dialogue> <scene_description>Sooze walks away and into the limo . Tim walks over to Jeff .</scene_description> <character>TIM</character> <dialogue>To women. They're all whores. Let us not forget what Chenowsky said. `` The greatest men are the most alone.'' And without suffering, Jeffery, you will never gain wisdom.</dialogue> <character>JEFF</character> <dialogue>I'm not suffering, you know. I do n't give a shit.</dialogue> <character>TIM</character> <dialogue>Good. That's good.</dialogue> <scene_description>Tim and Jeff walk towards the front of the store . Jeff stops at the corner and looks at Bee - Bee for a long moment , then disappears behind the corner . Bee - Bee downs the entire bottle of whisky that was at her side .</scene_description> </scene> <scene> <stage_direction>EXT. CIRCLE A - PARKING LOT - NIGHT</stage_direction> <scene_description>Jeff and Tim walk by the small glass window that Nazeer sits behind . Jeff raps it with his comb before walking up to catch up with Jeff . Nazeer picks up the phone . Jeff and Tim stop in the middle of the parking lot by the pumps .</scene_description> <character>TIM</character> <dialogue>Yeah. Yeah, no, you're right. It's no big deal, you know. Guy probably has his arm around her right now, holding her close, nudging her titty with his elbow, talking about the deep significance of his music, while she looks up at him with her big brown eyes. In a few minutes they'll be back at the Four Seasons. You ever, you ever stayed in one of those places?</dialogue> <character>JEFF</character> <dialogue>No.</dialogue> <character>TIM</character> <dialogue>Well, it ai n't no pup tent in the garage, you know what I mean? Fuck. So they'll talk and talk. They'll probably talk all night. And, oh, they'll decide that they're gon na spend the night together, right? But, you know, they're gon na keep their underwear on and they're not gon na do anything. By six a.m. he's parking the pink Cadillac. Fuck. There's really only one answer.</dialogue> <character>JEFF</character> <dialogue>What?</dialogue> <character>TIM</character> <dialogue>Anarchy, my friend. Fuck'em. You know what I mean?</dialogue> <character>JEFF</character> <dialogue>Yeah, fuck'em.</dialogue> <character>TIM</character> <dialogue>No, no, say it like this. Fuck'em!</dialogue> <character>JEFF</character> <dialogue>Fuck'em! Fuck'em all, man!</dialogue> <scene_description>Jeff throws his box of rice , hitting the big window on the Circle A food shop .</scene_description> <character>TIM</character> <dialogue>Yes! Your learning, kid. That's right! You're learning. Oh, it's the man.</dialogue> <scene_description>Chip and Gary pull into the Circle A with their cruiser . They get out and walk over to the boys .</scene_description> <character>CHIP</character> <dialogue>What's up guys?</dialogue> <character>TIM</character> <dialogue>Uh, you know, just admiring the scenery, you know?</dialogue> <scene_description>Nazeer comes running out of the store .</scene_description> <character>NAZEER</character> <dialogue>This one.</dialogue> <parenthetical>( points at Tim . )</parenthetical> <dialogue>He causes all the trouble.</dialogue> <character>CHIP</character> <dialogue>Been drinking again, Timmy - boy?</dialogue> <character>TIM</character> <dialogue>You were a shitty lineman and now your a shitty cop. Yeah, blow me, I'm drunk.</dialogue> <character>CHIP</character> <dialogue>Okay, come on. Time to slow down.</dialogue> <character>TIM</character> <dialogue>Who's going to slow me down? You, you fat pig.</dialogue> <character>CHIP</character> <dialogue>Alright, get in the car before I have to embarrass you in front of your friend.</dialogue> <character>TIM</character> <dialogue>Hey, Gary, how's the divorce comin'?</dialogue> <character>GARY</character> <dialogue>Asshole. Cuff him and stuff him.</dialogue> <scene_description>They start to put Tim in the car , he resists .</scene_description> <character>CHIP</character> <dialogue>Will you stand up for me?</dialogue> <character>TIM</character> <dialogue>Okay.</dialogue> <character>CHIP</character> <dialogue>Come on. Inside.</dialogue> <character>TIM</character> <dialogue>Okay. We'll go for a ride.</dialogue> <scene_description>They put Tim in the cruiser and walk over to question Nazeer .</scene_description> <character>GARY</character> <dialogue>Can you tell me what happened?</dialogue> <character>NAZEER</character> <dialogue>He's drunk.</dialogue> <character>GARY</character> <dialogue>Uh - huh.</dialogue> <character>NAZEER</character> <dialogue>He causes problems. He was here earlier.</dialogue> <scene_description>Tim screams to Jeff from inside the car .</scene_description> <character>TIM</character> <dialogue>Hey, Jeff!</dialogue> <scene_description>Jeff walks over the police cruiser and squats down next to the window .</scene_description> <character>JEF</character> <dialogue>Yeah.</dialogue> <character>TIM</character> <dialogue>You got ta help me out, man. I'm in trouble.</dialogue> <character>JEFF</character> <dialogue>Oh, no, no, no. This is no big deal, you know? I can come down and, and get you out.</dialogue> <character>TIM</character> <dialogue>No, no. I'm not, I'm not talking about this. I did a bad thing, Jeff.</dialogue> <character>JEFF</character> <dialogue>What? What'd you do?</dialogue> <character>TIM</character> <dialogue>That chick, Erica?</dialogue> <character>JEFF</character> <dialogue>Well, w - what happened?</dialogue> <character>TIM</character> <dialogue>Well, I, you know, I took her to the van, you know. It was goin' all hot and heavy and she started hanging on me, you know? And she started crying, `` Tim, Tim, what's the matter? I love you. Do n't go!'' And I was just looking at her stupid face and her stupid eyes, stupid mouth and I was filled with disgust, man. And I fuckin'. Oh, man, I really.</dialogue> <character>JEFF</character> <dialogue>What'd you do?</dialogue> <character>TIM</character> <dialogue>I hit her.</dialogue> <character>JEFF</character> <dialogue>You hit her? Oh, wait, wait a minute. Why'd you hit her?</dialogue> <character>TIM</character> <dialogue>Because I was fucked up, man. I just kept hittin' her till she did n't move anymore.</dialogue> <character>JEFF</character> <dialogue>Wait a minute, wait a minute. She's unconscious?</dialogue> <character>TIM</character> <dialogue>Go look, man. Go look. Go see for yourself, if you got the guts.</dialogue> <character>JEFF</character> <dialogue>Oh fuck.</dialogue> <scene_description>The cops get in the car and pull away . Nazeer walks over to Jeff .</scene_description> <character>NAZEER</character> <dialogue>You know, this, what you're doing with your life.</dialogue> <character>JEFF</character> <dialogue>I do n't know.</dialogue> <character>NAZEER</character> <dialogue>You know, it's not you. You know? You seem like a smart guy.</dialogue> <character>JEFF</character> <dialogue>Yeah, well, thank you for the advice, but you would n't understand what is going on with me.</dialogue> <character>NAZEER</character> <dialogue>Oh, it's very complicated, huh?</dialogue> <character>JEFF</character> <dialogue>That's right.</dialogue> <character>NAZEER</character> <dialogue>Complicated or not, life moves on. Hm?</dialogue> <scene_description>Jeff walks away from Nazeer .</scene_description> </scene> <scene> <stage_direction>EXT. CIRCLE A - VAN - NIGHT</stage_direction> <scene_description>Jeff approaches the van , slowly , nervously . He spots something on the ground and picks it up . It 's Erica 's pager . SLOW FADE OUT</scene_description> </scene> <scene> <stage_direction>EXT. CIRCLE A - PARKING LOT - EARLY MORNING</stage_direction> <scene_description>Jeff is sitting on the side of the Circle A by himself . He looks very confused . Buff comes walking across the parking lot looking clean and very awake .</scene_description> <character>BUFF</character> <dialogue>Hey! Whoa, you look like shit. You been home yet?</dialogue> <character>JEFF</character> <dialogue>No, no.</dialogue> <character>BUFF</character> <dialogue>Huh? No, alright. Well, you know what we need? A hot cop of coffee. Hand on. Ohh, hey, I was up all night too, man. A long, long, long night.</dialogue> <scene_description>Buff walks into the Circle A to get the coffee . Jeff makes his way over to the pay phone and dials a number . Nazeer , who is sweeping the parking lot stares at him .</scene_description> <character>JEFF</character> <parenthetical>( into telephone . )</parenthetical> <dialogue>Hi, uh, yeah, I'd, like to report a. What? No, yeah, no, I'd like to report a, report a crime. No, I ca n't hold, I do n't. alright.</dialogue> <scene_description>Buff walks up with the coffee .</scene_description> <character>BUFF</character> <dialogue>Hey. Hey. Are you trying to get a hold of Sooze?</dialogue> <character>JEFF</character> <dialogue>No.</dialogue> <scene_description>Buff walks out into the parking lot , next to Nazeer .</scene_description> <character>BUFF</character> <dialogue>It's gon na be a beautiful fucking day, man.</dialogue> <scene_description>Buff throws the wrapper of the donut stick he 's eating on the ground . Nazeer stares at him . Quickly Buff picks up the wrapper and runs towards the dumpster .</scene_description> <character>BUFF</character> <dialogue>Oh, God! Ten, nine, eight, seven, six, five, four, three, two!</dialogue> <scene_description>Buff slams the wrapper into the dumpster .</scene_description> <character>NAZEER</character> <dialogue>Yeah. Yeah, it's okay for you. It's okay. Enjoy yourself.</dialogue> <character>BUFF</character> <dialogue>Are you talking to me?</dialogue> <character>NAZEER</character> <dialogue>It's okay.</dialogue> <character>BUFF</character> <dialogue>Glad it's okay.</dialogue> <character>NAZEER</character> <dialogue>I'll tell you what. When I get my engineering degree and I'm swimming in my swimming pool, it will be very fucking okay.</dialogue> <character>BUFF</character> <dialogue>Um, if you're talking to me, could you make some sense?'Cause I do n't speak Swahili.</dialogue> <character>NAZEER</character> <dialogue>In two more years I'll have an engineering degree. We'll sell the store, we'll move away from Burnfield and the store and you standing here.</dialogue> <character>BUFF</character> <dialogue>Good. See you later.</dialogue> <character>NAZEER</character> <dialogue>You're a drunk and an idiot.</dialogue> <character>BUFF</character> <dialogue>You're wife sucks my cock every night, swallows my cum and loves it. That's okay.</dialogue> <character>NAZEER</character> <dialogue>Yeah it's okay. You know, we have a saying back home : `` Either the salt is rotten or the meat.''</dialogue> <scene_description>Nazeer starts to go back into the store .</scene_description> <character>BUFF</character> <dialogue>Yeah, well, uh, you're not so smart, chief,'cause I'm moving out to L.A.</dialogue> <character>NAZEER</character> <dialogue>Ah, that's nice. They have many convenience stores there for you to stand in front of.</dialogue> <scene_description>Nazeer walks back into the store . Buff goes back around to the side of the building where Jeff is sitting against the wall .</scene_description> <character>BUFF</character> <dialogue>Yeah. Get ahold of Sooze?</dialogue> <character>JEFF</character> <dialogue>No, no, I was n't trying.</dialogue> <character>BUFF</character> <dialogue>She was at the Four Seasons last night, man. But you should n't worry about that.</dialogue> <character>JEFF</character> <dialogue>No, I'm not, I'm not worried. I'm not worried.</dialogue> <character>BUFF</character> <dialogue>No. Life is too short.</dialogue> <character>JEFF</character> <dialogue>No, I'm not worried.</dialogue> <character>BUFF</character> <dialogue>Good.</dialogue> <character>JEFF</character> <dialogue>Uh, Buff, I'm, I'm, gon na tell you something and, uh, you got, you got, you got ta promise not to tell anyone, alright?</dialogue> <character>BUFF</character> <dialogue>Sure.</dialogue> <character>JEFF</character> <dialogue>No, I mean, no one.</dialogue> <character>BUFF</character> <dialogue>Hey, you know me.</dialogue> <character>JEFF</character> <dialogue>Buff, look at me for a second. No, this is serious.</dialogue> <character>BUFF</character> <dialogue>Yeah.</dialogue> <character>JEFF</character> <dialogue>Uh, last night.</dialogue> <character>BUFF</character> <dialogue>Yeah, I should've stuck up for you, man, I know. You're my friend, she's your old lady.</dialogue> <character>JEFF</character> <dialogue>No, no.</dialogue> <character>BUFF</character> <dialogue>I feel really bad about that, but I was busy, you know, I mean.</dialogue> <character>JEFF</character> <dialogue>No, look, this is not about Sooze, alright. Wait, wait, wait, wait. She stayed at the Four Seasons last night with Pony?</dialogue> <character>BUFF</character> <dialogue>Yeah, we all stayed at the Four Seasons, man. It was party time. Hey, I hung out with Danny, Pony's manager. Really nice guy. We talked about the video. They want a raw look. Something fresh. Danny said if I can capture the reality of Burnfield, it'd make a great tape.</dialogue> <character>JEFF</character> <dialogue>Okay, Buff, listen to me for a second alright?</dialogue> <character>BUFF</character> <dialogue>No, I know what you're going to say. I do n't know anything about making a video. But that's a plus.</dialogue> <character>JEFF</character> <dialogue>No.</dialogue> <character>BUFF</character> <dialogue>Because since I'm just starting out, I've got a fresh point of view, and that's good for, you know, marketing, demographics.</dialogue> <character>JEFF</character> <dialogue>Buff, listen to me. Could you just -</dialogue> <character>BUFF</character> <dialogue>But I'd, I'd do it for free. You know, just for my reel.</dialogue> <character>JEFF</character> <dialogue>Buff, can you listen to me for a second?</dialogue> <character>BUFF</character> <dialogue>Oh, and guess who showed up.</dialogue> <character>JEFF</character> <dialogue>No, shut up! Look, look, alright, Tim is in trouble.</dialogue> <character>BUFF</character> <dialogue>I know, man.</dialogue> <character>JEFF</character> <dialogue>You know?</dialogue> <character>BUFF</character> <dialogue>Yeah, that's what I'm trying to tell you. That chick Erica?</dialogue> <character>JEFF</character> <dialogue>What, they're looking for her?</dialogue> <character>BUFF</character> <dialogue>No man, she showed up last night at the hotel. We has a great time together. I stayed in her room last night, man. What can I say?</dialogue> <character>JEFF</character> <dialogue>Wait a minute, wait a minute. You saw Erica last night?</dialogue> <character>BUFF</character> <dialogue>Yeah, I saw all of Erica last night, man.</dialogue> <character>JEFF</character> <dialogue>Buff, you got to stop making shit up. It did n't happen.</dialogue> <character>BUFF</character> <dialogue>Y - s - sure it did.</dialogue> <character>JEFF</character> <dialogue>No. It did n't, Buff.</dialogue> <character>BUFF</character> <dialogue>Wait. Hey, man.</dialogue> <character>JEFF</character> <dialogue>Erica is in the van back there.</dialogue> <character>BUFF</character> <dialogue>What?</dialogue> <character>JEFF</character> <dialogue>Look.</dialogue> <character>BUFF</character> <dialogue>Hey, man.</dialogue> <character>JEFF</character> <dialogue>She's in the van.</dialogue> <character>BUFF</character> <dialogue>What she doin' in the van, man?</dialogue> <character>JEFF</character> <dialogue>Buff.</dialogue> <character>BUFF</character> <dialogue>What?</dialogue> <character>JEFF</character> <dialogue>She's dead.</dialogue> <character>BUFF</character> <dialogue>She's dead?</dialogue> <character>JEFF</character> <dialogue>Look, Tim confessed to me last night.</dialogue> <character>BUFF</character> <dialogue>Tim.</dialogue> <character>JEFF</character> <dialogue>Tim killed Erica. Tim's a murderer.</dialogue> <character>BUFF</character> <dialogue>Bullshit.</dialogue> <character>JEFF</character> <dialogue>No, no, no.</dialogue> <character>BUFF</character> <dialogue>That's bullshit. That's total utter bullshit.</dialogue> <character>JEFF</character> <dialogue>Oh, really? You wan na go look?</dialogue> <character>BUFF</character> <dialogue>Yeah, man.</dialogue> <character>JEFF</character> <dialogue>Let's go look, then. Let's go look, then!</dialogue> <character>BUFF</character> <dialogue>It's bullshit. Look! Look!</dialogue> <scene_description>Pony 's limo pulls into the parking lot , and Erica pops out .</scene_description> <character>ERICA</character> <dialogue>Cock - a - doole - doo! Good morning!</dialogue> <scene_description>Erica throws herself on Buff .</scene_description> <character>BUFF</character> <dialogue>Hey! Hey.</dialogue> <character>ERICA</character> <dialogue>I'm so burnt - out.</dialogue> <character>BUFF</character> <dialogue>Oh, how did you get burnt - out?</dialogue> <character>ERICA</character> <dialogue>Playing with something really hot. Yeah.</dialogue> <character>BUFF</character> <dialogue>Yeah?</dialogue> <scene_description>Erica notices her pager in Jeff 's hand .</scene_description> <character>ERICA</character> <dialogue>Oh, my God, you found it. Thank you so much.</dialogue> <parenthetical>( to Buff . )</parenthetical> <dialogue>Did you get your tape?</dialogue> <character>BUFF</character> <dialogue>Yup. Hey, um, so, um, listen, man, I got to go show the tape to Danny at the hotel, and if I get the gig, Erica is gon na teach me how to surf in L.A.</dialogue> <character>ERICA</character> <dialogue>Oh, I'll teach you how to surf even if you do n't get the gig.</dialogue> <character>BUFF</character> <dialogue>I can come visit?</dialogue> <character>ERICA</character> <dialogue>You better! Yes!</dialogue> <character>BUFF</character> <dialogue>I will.</dialogue> <character>ERICA</character> <dialogue>It was really nice meeting you, Jeff. If you're ever in L.A., you should come by the offices. I talked to Pony earlier. He said he had a really nice time and he's really looking forward to reading some of your songs.</dialogue> <character>JEFF</character> <dialogue>Yeah, tell Pony to go fuck himself.</dialogue> <character>ERICA</character> <dialogue>Okay, I'll do that. Okay, hurry up.</dialogue> <scene_description>Erica and Buff play fight . It look 's like a mix between an old kung - fu movie and a cat fight . Erica gets back into the limo .</scene_description> <character>BUFF</character> <dialogue>Ow! Hey! Get the heck in there!</dialogue> <parenthetical>( to Jeff . )</parenthetical> <dialogue>Hey. Not dead! Definitely not dead!</dialogue> <character>JEFF</character> <dialogue>Guess not.</dialogue> <character>BUFF</character> <dialogue>See, I was n't making shit up, man.</dialogue> <character>JEFF</character> <dialogue>No.</dialogue> <character>BUFF</character> <dialogue>God, Tim lied to your ass, man. That guy's sad, man. Well, uh, I got ta go, but, uh, listen, if I do n't come back, I'll send a video of me surfing. Alright, man? Get some rest. Go with the flow.</dialogue> <character>JEFF</character> <dialogue>Alright. ` Bye, Buff.</dialogue> <scene_description>Buff jumps into the limo .</scene_description> <character>BUFF</character> <dialogue>Hey, George.</dialogue> <scene_description>The limo pulls off and it passes Tim who just entered the parking lot .</scene_description> <character>BUFF</character> <parenthetical>( to Tim . )</parenthetical> <dialogue>Hey, man.</dialogue> <character>TIM</character> <dialogue>Hey.</dialogue> <scene_description>Tim walks over to Jeff and cracks open a new beer .</scene_description> <character>JEFF</character> <dialogue>They let you out?</dialogue> <character>TIM</character> <dialogue>Yeah, of course they let me out. Chickenshits. I got ta pay some class C misdemeanor ticket. So did I call it or did I call it? She spent the night, did n't she? Hm? Oh, that sucks for you, pal. Oh, shit.</dialogue> <character>JEFF</character> <dialogue>You lied to me.</dialogue> <character>TIM</character> <dialogue>You want to know what your problem is, Jeff? You want to believe so bad, you'll buy anything. It's true. Look at you. You're gullible and you're gutless.</dialogue> <character>JEFF</character> <dialogue>No, no. That's not the way it is at all. No, I stayed up all night trying to figure out how to protect my best friend. Wait, yeah, no, I was trying to come up with some lie so that you would n't have to go to jail for the rest of your life.</dialogue> <character>TIM</character> <dialogue>Wow. You did that for me?</dialogue> <character>JEFF</character> <dialogue>Yes.</dialogue> <character>TIM</character> <dialogue>Well, you know, all I can say is, you're a fucking fool.</dialogue> <character>JEFF</character> <dialogue>Why? Because I give a shit?</dialogue> <character>TIM</character> <dialogue>Oh, shit.</dialogue> <character>JEFF</character> <dialogue>Because I care, I'm a fucking fool?</dialogue> <character>TIM</character> <dialogue>Oh, Jeff, give me a break. You did n't even have the guts to go look in the van, did you?</dialogue> <character>JEFF</character> <dialogue>Oh no, no. You know what? Fuck that. No, you lied to me. You lied to me because you're gutless. You're a gutless, drunken looser.</dialogue> <character>TIM</character> <dialogue>I'm a loser. And I'm drunk. But I'm not gutless.</dialogue> <character>JEFF</character> <dialogue>You know, and what are you doing here in the first place, man? He's just gon na call the cops again.</dialogue> <character>TIM</character> <dialogue>Good, good. I, I hope he does.</dialogue> <character>JEFF</character> <dialogue>The sun has n't even come up yet and you're drinking.</dialogue> <character>TIM</character> <dialogue>Hey, you saw that brown bitch point a gun at me last night, man. Did you think she was gon na use it?</dialogue> <character>JEFF</character> <dialogue>I do n't know.</dialogue> <character>TIM</character> <dialogue>You do n't know?</dialogue> <character>JEFF</character> <dialogue>No.</dialogue> <character>TIM</character> <dialogue>Come on. You do n't think that after they called the cops on me, her and Mohammed had a nice laugh?</dialogue> <character>JEFF</character> <dialogue>No.</dialogue> <scene_description>Tim pulls a gun out of his pants and loads it .</scene_description> <character>TIM</character> <dialogue>No? Well, I disagree. I think they did. I think they probably went home last night and, you know, kicked off their sandals and had a nice laugh about the drunk on the corner, you know? Makes me sick.</dialogue> <character>JEFF</character> <dialogue>What are, what are you doing? Look, Tim, just go home. Alright. Go home and sleep it off.</dialogue> <character>TIM</character> <dialogue>Well, what am I supposed to sleep off? My life? You know, I'm supposed to go home and go to sleep and when I wake up, what'll I be, Jeff? A pilot? Maybe a Super Bowl quarterback or, no, maybe a fucking rock star. Right? I do n't think so, man.</dialogue> <character>JEFF</character> <dialogue>Just go home, alright?</dialogue> <character>TIM</character> <dialogue>This is my home.</dialogue> <character>JEFF</character> <dialogue>Why, why did you start this in the first place, man? They never hurt you.</dialogue> <character>TIM</character> <dialogue>They never hurt me? They hurt me every day with their attitude. You know, like they even have a right. Who the fuck do they think they are? Let me tell you something, I was born here. Alright? I'm an American. And I'm owed something. Look, they took it from me.</dialogue> <character>JEFF</character> <dialogue>They're just people. Alright? They got feelings, you know?</dialogue> <character>TIM</character> <dialogue>What about my feelings? What about my fucking feelings? These assholes, they come over here, they know all the answers, right? Well, they do n't know shit.</dialogue> <character>JEFF</character> <dialogue>Will you just put the gun down?</dialogue> <character>TIM</character> <dialogue>No.</dialogue> <character>JEFF</character> <dialogue>Just put it down.</dialogue> <scene_description>Nazeer walks out of the store .</scene_description> <character>NAZEER</character> <dialogue>What is this. now, huh?</dialogue> <scene_description>Jeff starts to walk towards Nazeer .</scene_description> <character>TIM</character> <dialogue>Jeff, stay there.</dialogue> <character>JEFF</character> <dialogue>He's got a gun. He's got a gun.</dialogue> <character>TIM</character> <dialogue>Well, then, there now, why do n't you go inside and call the cops and I'll come in there and blow your fucking brains out.</dialogue> <character>NAZEER</character> <dialogue>Why should I call the police, huh? They do n't so any good.</dialogue> <character>TIM</character> <dialogue>Well, you got ta call your wife then, you know,'cause she kind of handles these heavy matters anyway, right?</dialogue> <character>NAZEER</character> <dialogue>No. No, you see, I do n't have to call my wife.</dialogue> <character>TIM</character> <dialogue>Well, what about this?</dialogue> <scene_description>Nazeer pulls out his gun and points it at Tim .</scene_description> <character>NAZEER</character> <dialogue>What about this, huh? Go ahead, big man.</dialogue> <character>TIM</character> <dialogue>Camel jockey.</dialogue> <character>NAZEER</character> <dialogue>You know, why do you call me names? You know, I never hurt you. I'm only working here.</dialogue> <character>TIM</character> <dialogue>Yeah, yeah. That's the fucking problem.</dialogue> <character>JEFF</character> <dialogue>No, wait, wait! Wait, wait, wait, wait, wait! What is your name?</dialogue> <character>NAZEER</character> <dialogue>Look, why do you care, huh?</dialogue> <character>JEFF</character> <dialogue>Because maybe if we know each other's names, things would n't get like this, My name's Jeff.</dialogue> <character>NAZEER</character> <dialogue>Okay. Nazeer, okay?</dialogue> <character>JEFF</character> <dialogue>Nazeer what?</dialogue> <character>NAZEER</character> <dialogue>Nazeer Chaudry!</dialogue> <character>TIM</character> <dialogue>Hey, w - why do n't you see if he's hiring, you know? Get an application?</dialogue> <character>JEFF</character> <dialogue>That, that's Indian?</dialogue> <character>NAZEER</character> <dialogue>Pakistani. Okay? We're from Pakistan.</dialogue> <character>TIM</character> <dialogue>Alright, alright, enough with the Boy Scout routine.</dialogue> <character>NAZEER</character> <dialogue>Please. Look.</dialogue> <character>JEFF</character> <dialogue>Please?</dialogue> <character>NAZEER</character> <dialogue>Look, look, just get off my property.</dialogue> <character>TIM</character> <dialogue>What?</dialogue> <scene_description>Tim jumps up on top of the dumpster .</scene_description> <character>NAZEER</character> <dialogue>Look, get down off my property.</dialogue> <character>TIM</character> <dialogue>Why? What are you gon na do? Huh? You're gon na shoot me for standing on your fucking trash can?</dialogue> <character>NAZEER</character> <dialogue>Get off my property!</dialogue> <character>TIM</character> <dialogue>Hey, you know what? Go fuck yourself.</dialogue> <character>NAZEER</character> <dialogue>Fuck you! You know, I'll call the police.</dialogue> <character>TIM</character> <dialogue>Go ahead! They love you just about as much as I do.</dialogue> <character>JEFF</character> <dialogue>Tim, can we go? This is ridiculous.</dialogue> <character>TIM</character> <dialogue>Hey, Ma, look at me! Top of the world, Ma!</dialogue> <scene_description>Tim fires three shots into the air .</scene_description> <character>NAZEER</character> <dialogue>Get off my fucking roof, you fucking drunk! You bum!</dialogue> <scene_description>Pakeesa runs out to them , screaming in Pakistani .</scene_description> <character>NAZEER</character> <dialogue>Look Pakeesa.</dialogue> <character>TIM</character> <dialogue>Oh, there you are, honey. We were waiting for you. What happened?</dialogue> <character>NAZEER</character> <dialogue>Look, get down now, you fucking drunk! You bum!</dialogue> <character>TIM</character> <dialogue>You know what? Go ahead and shoot me. Go ahead! Fucking shoot me! Come on! Come on, man! Come on!</dialogue> <scene_description>Tim walks further onto the roof . We ca n't see him anymore .</scene_description> <character>NAZEER</character> <dialogue>Get off my roof!</dialogue> <character>TIM</character> <dialogue>Oh, shit. Jeff. Jeff, come up here!</dialogue> <character>NAZEER</character> <dialogue>Look ; okay, come on. Look, what are you doing? Look, that's enough. My wife called the police. They're coming.</dialogue> <scene_description>Tim comes back into view holding Bee - Bee , who 's unconscious , in his arms .</scene_description> <character>TIM</character> <dialogue>Jeff! Come up here!</dialogue> <character>JEFF</character> <dialogue>Is that Bee - Bee?</dialogue> <character>TIM</character> <dialogue>Come on!</dialogue> <scene_description>Pakeesa is screaming at Nazeer louder now .</scene_description> <character>NAZEER</character> <dialogue>Look, look, you see? They were drinking on the roof and, what, is she drunk? J - just get her off! What are you saying?</dialogue> <scene_description>Tim is handing Bee - Bee 's unconscious body down off the dumpster to Jeff .</scene_description> <character>TIM</character> <dialogue>Ready?</dialogue> <character>NAZEER</character> <dialogue>What are you saying?</dialogue> <scene_description>Jeff places Bee - Bee on the ground and starts to check her vital signs . Tim jumps down off the dumpster .</scene_description> <character>TIM</character> <dialogue>You got her? Fuck.</dialogue> <scene_description>Tim walks past Nazeer and over to the pay phone .</scene_description> <character>TIM</character> <dialogue>I hope you're happy!</dialogue> <character>NAZEER</character> <dialogue>This has nothing to do with me, this, uh, drinking, yeah.</dialogue> <character>TIM</character> <dialogue>No, this has everything to do with you.</dialogue> <character>NAZEER</character> <dialogue>No, no, she went up by herself. This was not my responsibility.</dialogue> <character>TIM</character> <dialogue>Hey it's your roof. It's your fucking problem.</dialogue> <parenthetical>( into phone . )</parenthetical> <dialogue>Hi, uh, there's an emergency down at the Circle A on first Street, Yeah, Okay.</dialogue> <parenthetical>( to Nazeer . )</parenthetical> <dialogue>You're fucked now, pal!</dialogue> <parenthetical>( into phone . )</parenthetical> <dialogue>Um, send an ambulance'cause I, I think it's an overdose or something. Okay. Okay.</dialogue> <parenthetical>( to Jeff . )</parenthetical> <dialogue>Jeff, they're coming. Just wait here. I'm gon na go over to Scuff's and see if he's got his truck.</dialogue> <parenthetical>( to Nazeer . )</parenthetical> <dialogue>Listen, if she dies, you're gon na be so sorry that you ever showed your brown face in this town!</dialogue> <scene_description>Tim runs off . Nazeer is getting screamed at by Pakeesa .</scene_description> <character>NAZEER</character> <dialogue>This has nothing to do with me! She went up by herself. Yeah I tell them do n't go on the roof! They ca n't go on the roof!</dialogue> <parenthetical>( to Jeff . )</parenthetical> <dialogue>How is she?</dialogue> <character>JEFF</character> <dialogue>I do n't know. I think she's breathing.</dialogue> <character>NAZEER</character> <dialogue>Okay. Okay, look my wife called the police. They're coming. It's not too late. They'll come, they'll take care of her. I'm going inside.</dialogue> <scene_description>Nazeer starts to walk back inside , but stops .</scene_description> <character>NAZEER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh, God. You people are so stupid! What's wrong with you?! Throw it all away, huh?! You throw it all away!</dialogue> <scene_description>SLOW FADE OUT THE END</scene_description> </scene> </script>

Three years out of high school in the fictional Burnfield (filmed mainly in Austin, Texas), four friends are in the daily habit of hanging out drinking by the garbage dumpster of a corner convenience store, occasionally taunting the foreign-born store owner/operator, married couple Nazeer and Pakeesa. The film's main character, Jeff, is an aimless soul unsure of his future since dropping out of college. Jeff is dating Sooze, a student at the local community college who plans to leave Burnfield and study visual arts in New York City. Jeff's best friends are Buff and Tim. Tim, recently honorably discharged from the Air Force, is a troubled heavy-drinker with a knack for shooting off his mouth. Sooze's friend Bee-Bee is a recovering alcoholic who hangs out with the group one evening. This particular evening, the group are expecting a visit from a high school friend, Neil "Pony" Moynihan, lead singer for Dreamgirl, a rock band that is on a stadium tour. Dreamgirl performed in Burnfield that night, but the gang could not afford tickets. Pony arrives with Erica, Dreamgirl's publicist. Erica reveals how excited Pony has been about seeing the gang and most of the group is glad to see him, although some of them are bitter and jealous of his recent success. As the expanded group hangs out beside the store, their actions and conversations show that they all are contemplating what they want to do with the rest of their lives. By the end of the night, Bee-Bee is in medical trouble after drinking an entire bottle of hard liquor. Buff has slept with Erica and is going to Los Angeles to shoot a Dreamgirl music video. Sooze has left town with Pony. Tim has been arrested and released, and Jeff is berated by Nazeer for "throw(ing) it all away".

Midnight Express_1978

tt0077928

<script> <scene> <stage_direction>MIDNIGHT EXPRESS</stage_direction> <scene_description>THE FOLLOWING IS BASED ON A TRUE STORY . IT OCTOBER 6 , 1970 ISTANBUL , TURKEY - SOUND UNDER , SHARP : CRACKLE - RIP - SNIP . A SET OF CLOTHES ON A HOTEL ROOM BED - trenchcoat , bulky white turtle - neck sweater , T - shirt , jeans , Western style boots . SOUNDS continue , Accentuated . MOVE Across open TRAVEL BAGS On The bed . Clothes , possessions . CONTINUE Across FURNITURE , WASHBASIN , TOILET . A large room , high old ceilings And windows suggesting Ancient Europe &amp; design , A haunting greenish AFTERNOON light . We MOVE to HANDS , TIGHT - drawing out a strip of adhesive tape , SCISSORS move in TIGHT . SNIP ! UNDERARM , TIGHT . Tape being laid over it . BACK OF SHOULDER . TIGHT . Tape going on . BELLYBUTTON , TIGHT . TAPE going Then : a harsh RIP ! SOUND and the tape comes off the bellybutton . HANDS with new strip of tape . Moving to : HASHISH PLAQUE . Four of them , thinly pressed . One on top of the other . The HAND wrapping a portion of the TAPE around them and : BELLY , TIGHT . SOUNDS of BREATHING stop . The belly is sucked in . The TAPE is pulled HARD across , then CLINCHED . We hear F.X. of HEART BEAT - BILLY HAYES - 21 , baby - face , attractive , medium build an aura of innocence . His eyes moving off his belly to : MIRROR . FULL SHOT . Climax . A creature in a bondage of his own devise , he is naked in his underpants , his body criss - crossed by a network of TAPE and 40 tightly pressed plaques of HASHISH in every conceivable crevice of his body . The eyes are hard . NIX THROUGH HEART BEAT , SOUNDS OF AIRPORT . INTERIOR ISTANBUL AIR TERMINAL dirty , crowded , wooden benches , peddlers . Turkish flight instructions on LOUDSPEAKER , followed by mediocre English translations . NOTE : ALL DIALOGUE IN TURKISH TO FOLLOW WILL BE MARKED OFF BY PARENTHESIS . A CERTAIN WILL BE SUBTITLED , BUT SOME NOT .</scene_description> <character>LOUDSPEAKER VOICE</character> <dialogue>Pan American Flight 1 to Frankfurt, London, and New York has arrived and will be ready for boarding at Gate 7 in 20 minutes.</dialogue> <scene_description>REPEAT IN ENGLISH over : BILL walking down a long CORRIDOR . He moves somewhat stuffly in the clothes we saw laid out on the bed ; his face complicated by dark , rather ridiculous aviator sunglasses and an increasing edge of nervousness to his actions . With him is : SUSAN 23 , healthy outdoor looks , dressed casually colorful like an American student abroad . APPROACHING P.O.V. - a group of TURKISH SECURITY GUARDS , in rumpled green uniforms , at a security CHECKPOINT inspect the carry - on bags of several PASSENGERS . BILLY tensely contemplating the guards as he walks . SUSAN digging in her bag for her passport as she walks . BILLY , looking from guards ahead to SUSAN . He suddenly breaks stride , still a fair distance from the checkpoint . SUSAN glances at him . He is holding his belly .</scene_description> <character>BILLY</character> <dialogue>I think I've been poisoned.</dialogue> <character>SUSAN</character> <dialogue>And you ate two baclavas, right? I not to touch them, mine was awful.</dialogue> <character>BILLY</character> <parenthetical>( his voice strained . )</parenthetical> <dialogue>Look, I think I'm going to have to go to the john again. You go on through, I'll catch up.</dialogue> <scene_description>With a sense of panic , he turns and goes back down the corridor without waiting for a response . SUSAN concerned , moves on . BILLY in the WASHROOM MIRROR , again checks himself out . His glasses are off , and he has just watered himself down . But the SOUND of his HEARTBEAT is up , and his nerves are visible in his eyeballs and he knows it . He dabs at the sweat on his sideburns . He closes his eyes , takes a DEEP BREATH . A pause . He puts his dark sunglasses back on . Turns away from the mirror . No going back now . ADVANCING P.O.V. - SECURITY CHECKPOINT . The GUARDS again . Closer , closer , Guns in their HOLSTERS . SOUND of billy 's heartbeat , CLOSE - GUARD smoking a cigarette , bored , uniform , looks at BILLY . The GUARDS again.SOUND of Billy 's in a tattered olive</scene_description> <character>GUARD</character> <dialogue>Passport!</dialogue> <scene_description>BILLY PASSPORT . The Guard 's tobacco - stained FINGERS take it open it . Basic information on Billy : Birth Date April 17 , 1949 . Birth Place : Babylon , Long Island . No wife , no minors . Signature . GUARD gives it back to BILLY .</scene_description> <character>GUARD</character> <dialogue>Bag!</dialogue> <scene_description>BILLY opens his shoulder bag , proffers it . The GUARD tosses it , pushing aside books , grabbing a white plastic dish .</scene_description> <character>GUARD</character> <dialogue>Nebu?</dialogue> <character>BILLY</character> <parenthetical>( Understand the Turkish expression , `` What 's this ? ''</parenthetical> <parenthetical>. )</parenthetical> <dialogue>It's a frisbee.</dialogue> <character>GUARD</character> <dialogue>Nebu?</dialogue> <character>BILLY</character> <dialogue>A Frisbee.</dialogue> <parenthetical>( makes a throwing gesture of the wrist . )</parenthetical> <dialogue>You throw, catch it. Game!</dialogue> <scene_description>Curious , one of the other GUARDS ambles over looking at the frisbee . BILLY tightens . Cursing the frisbee . Sweat now runs his sideburns again . HEARTBEAT up .</scene_description> <character>2ND GUARD</character> <dialogue>American game. Baseball.</dialogue> <character>GUARD</character> <dialogue>Ah!</dialogue> <parenthetical>( puzzled , turns the Frisbee around and around . )</parenthetical> <dialogue /> <scene_description>THE SECOND GUARD studies BILLY curious about the sweat . Suddenly reaches up , indicates the eyes .</scene_description> <character>GUARD</character> <dialogue>Take off the glasses.</dialogue> <scene_description>BILLY understanding the gesture rather than the words , removes his glasses . His eyes . Straight , staring at the GUARD without trying to look away . A long moment . FIRST GUARD stuffs the frisbee back into the bag . Scowls . Takes a puff on his cigarette , coughs . Phlegm rattles around in his throat . Reads the International Herald Tribune , seated on a crowded olive - colored out on the tarmac She has saved him a seat and pulls her bag off as BILLY sits down .</scene_description> <character>FIRST GUARD</character> <dialogue>Aaaah!</dialogue> <scene_description>He waves BILLY through . BILLY puts his glasses walks past the back the SECOND GUARD turns away . BILLY walks past the Checkpoint . His HEARTBEAT drops . SUSAN reads the International Herald Tribune , seated on an crowded olive - colored BUS out on the tarmac . She has save him a seat and pulls her bag off as BILLY sits down .</scene_description> <character>SUSAN</character> <dialogue>Are you all right?</dialogue> <scene_description>He looks at her . Relief . A smile , awkward - he wishes he could tell her .</scene_description> <character>BILLY</character> <dialogue>Yeah. Yeah.</dialogue> <scene_description>Lays his head back on the wooden bench . Reaches out : TAKES HER HAND in his . She returns the grip . THE BUS DOOR slams shut . THE TURKISH BUS DRIVER rolls the bus out towards the PLANES visible in the far distance ? SUSAN , feeling Billy is better , shows him the Herald Tribune .</scene_description> <character>SUSAN</character> <parenthetical>( saddened . )</parenthetical> <dialogue>D'you see this? Janis Joplin died yesterday.</dialogue> <scene_description>BILLY , his sunglasses removed , looks at the paper , almost abstractedly .</scene_description> <character>SUSAN</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Overdose, in a Hollywood motel.</dialogue> <scene_description>NEWSPAPER Picture of JANIS JOPLIN . That big , earthy , rugged smile . BILLY 'S P.O.V. - Moves Up page One To The Headline : NIXON OUT - RAGED AT PALESTINIAN HIJACKERS : CALLS FOR CAPITAL PUNISHMENT</scene_description> <character>SUSAN</character> <parenthetical>( a faint voice . )</parenthetical> <dialogue>Never Was anybody like Janis.</dialogue> <scene_description>BILLY , thinking other happier things , reaches over and playful ! : squeezes her tit twice , rapidly .</scene_description> <character>BILLY</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Never was anybody like you.</dialogue> <character>SUSAN</character> <parenthetical>( annoyed , brushes his hand away , a clicking sound in her throat . )</parenthetical> <dialogue>You ca n't take anything seriously.</dialogue> <character>BILLY</character> <parenthetical>( smiles . )</parenthetical> <dialogue>You're right.</dialogue> <scene_description>Bus stops suddenly . BILLY changes expression . THROUGH FRONT WINDSHIELD we see TURKISH SOLDIERS in several HALFTRACKS drawn up in a semicircle blocking the bus . The Pan American PLANE is directly behind . Also JEEPS and a POLICEMAN waving the bus down . BUS BOOR opens and the Turkish Police OFFICER hops aboard briskly :</scene_description> <character>OFFICER</character> <dialogue>Attention please, Ladies and Gentlemen. For your own safety we're conducting a security check before you board your airplane, Kindly file out the back. Women and children in one line. Men in another.</dialogue> <scene_description>PASSENGERS . A confused hum .</scene_description> <character>VARIOUS PASSENGERS</character> <dialogue>What's he saying? I do n't know. Marian. Hey Marian, what the hell.</dialogue> <scene_description>The Turkish - speaking PASSENGERS are gathering together their items and beginning to exit as : POLICE OFFICER repeats , in ENGLISH</scene_description> <character>POLICE OFFICER</character> <dialogue>Idem.</dialogue> <scene_description>CLOSE BILLY . The POLICE OFFICER is only beginning the speech.in English but already Billy realizes , And it 's panic . Silent panic . That horrendous cold feeling all over his back : Oh God what have I done , what can I do now ? He freezes . MOVE TO SUSAN rising , fetching her things , irritated .</scene_description> <character>SUSAN</character> <dialogue>Jesus, they do everything ass backwards in Turkey.</dialogue> <scene_description>Behind her we see the other AMERICAN PASSENGERS beginning to disembark with the usual chorus of overlapped conversations , expletives , including :</scene_description> <character>PASSENGERS</character> <dialogue>They're checking for hijackers. Any Palestinians aboard? Hey Harry, get rid of your grenades.</dialogue> <scene_description>Laughter is returned from several of the American contingent , but we MOVE BACK to BILLY in foreground ; all of a sudden he is on his knees trying to crawl under the seat .</scene_description> <character>SUSAN</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Billy, what's the matter?</dialogue> <character>BILLY</character> <dialogue>My passport!</dialogue> <character>SUSAN</character> <dialogue>No!</dialogue> <scene_description>She bends down to look , coming FACE TO FACE with him . He grips her arm .</scene_description> <character>BILLY</character> <parenthetical>( low voice . )</parenthetical> <dialogue>Susan - forget it. Go get us a seat on the plane. Now.</dialogue> <character>SUSAN</character> <parenthetical>( picking up the real fear in his voice . )</parenthetical> <dialogue>What is it?. Billy?</dialogue> <character>BILLY</character> <parenthetical>( a fierce whisper , panic . )</parenthetical> <dialogue>For Christ's sake, just GET on the plane, okay!</dialogue> <scene_description>His tone stuns her ; never before has he spoken to her like that . A LOOK between them ; he has his glasses off now . She 's not a stupid girl by any means and realizes something is very wrong and for the both of them , she 'd best do exactly as he says . And fast . She moves OUT OF SHOT . BILLY , crouched low in the aisle starts to work fast , his finger : shaking reaching into his sweater starting to work the TAPE loose from around his chest ; looking from under the bench . Still quite a bit of commotion as passengers are exiting . BUT THEN : BILLY P.O.V. - UNIFORMED LEGS coming slowly down Isle Towards him . The muzzle of An M - l RIFLE tapping loosely Against the side of the kneecap . PAN WITH and MOVE UP as TURKISH MILITARY LIEUTENANT comes into view , intersecting outgoing PASSENGERS , eyes casually coming to rest on : BILLY looks up from his kneeling position on floor ; his sweater rolled back down ; he indicates the passport in his hand . `` Just found it '' expression . MOVE to the LIEUTENANT not necessarily suspecting anything , but with a customary insolence reserved for young vagrant - types , he stretches his rifle arms length with one hand and gently prods Billy up with the tip of the muzzle placed under his chin . MOVE BACK to the OFFICER , bringing the rifle back to his side , indicating Billy get off the bus with the others . All in silence . BILLY among a group of MALE PASSENGERS funnelling into two lines that pass on either side of a wooden inspection table . Thirty TURKISH SOLDIERS with rifles ring the area . It is open , vast , no place to run or hide . The only apparent hope is to melt into their regular jostling patterns of the passengers impatiently waiting . TWO PLAINCLOTHESMEN -LRB- Police -RRB- are on each side of the table , body - searching the male passengers alternately . SUSAN is in a similar set - up twenty yards away , with FEMALE ATTENDANTS doing the searching . She glances at Billy as she undergoes search . She is cleared , passes on , towards the ramp of the plane . BILLY , his sunglasses off , smoothly melts among the male PASSENGERS pulling some books from his shoulder bag . Glides to the head of the line . MOVE TO : The FIRST OFFICER patting down a PASSENGER , his back partially turned to Billy . MOVE AROUND bringing him into foreground as : BILLY skirts him in the background , camouflaged among two other conversing PASSENGERS waiting for the SECOND OFFICER who now appears in foreground on the lateral TRACK ; he is busy with another passenger . In passing him , Billy replaces the books in his shoulder bag as though he had already been searched by the first officer , Tension . FOLLOW BILLY as he approaches the boarding ramp . BILLY P.O.V. - SUSAN at the top of the ramp waiting . Smiling STEWARDESSES . Pan America . Haven . BILLY - FOOT rising off Turkish soil onto ramp . TURKISH HAND lightly touching Billy 's elbow , then grasping the ARM .</scene_description> <character>TURK</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Just a minute!</dialogue> <scene_description>BILLY his eyes flattening . SUSAN in LONG SHOT , reacting . BILLY turns trying to seem casual ; he confronts the SECOND OFFICER face to face and gestures towards the : FIRST OFFICER who happens to glance at them .</scene_description> <character>SECOND</character> <dialogue>Nebu? Did you search him?</dialogue> <character>FIRST OFFICER</character> <parenthetical>( frowns . )</parenthetical> <dialogue>No!</dialogue> <scene_description>SECOND OFFICER tightens his grip on BILLY , angry , and pulls him back to the TABLE . MOVE with them . The officer has been lied to ; in addition he is young , inexperienced , about eighteen .</scene_description> <character>SECOND OFFICER</character> <parenthetical>( grunts a command , makes a gesture . )</parenthetical> <dialogue /> <scene_description>BILLY , comprehending , spreads his arms . The OFFICER pats him down carefully , brushing against his armpits . Precisely in the area where we saw the hashish . But incredibly he does n't notice , continuing to work his way down the hips and legs . CLOSE BILLY eyes on the sky behind the OFFICER , praying silently for a break . TURKISH FINGERS moving up the inside of his legs , onto his belly , touching the hard bulge below the navel . But again not noticing . BILLY in limbo , SOUND of his heartbeat . SECOND OFFICER pausing , his fingers around Billy 's chest , about to let it go , then : PLACES HIS HAND suddenly flat on Billy 's heart . OFFICER , sensing the accelerated Heartbeat , stares at : BILLY whose eyes jump , startled by this technique . FINGERS like excited spiders quickly run back up into the armpit area . STOP - right on the packets . TURKISH EYES SWIVEL to BILLY EYES CLOSE . Frozen moment . Then , sudden blur of movement at the edge of frame . SECOND OFFICER jumping back , grabbing his pistol from his holster , crouching on one knee , aiming the gun barrel at BILLY , hand shaking . He is terrified .</scene_description> <character>SECOND OFFICER</character> <parenthetical>( screaming . )</parenthetical> <dialogue>Bomb! He's got a bomb!</dialogue> <scene_description>AMERICAN PASSENGERS scream and the deck all around .</scene_description> <character>AMERICAN PASSENGER</character> <dialogue>Bomb! Bomb!</dialogue> <scene_description>BILLY stands there , arms straight up in the air , eyes clamped shut , trying not to breathe . CHORUS of rifle and revolver CLICKS OFF as : PULL BACK to OVERHEAD SHOT BILLY surrounded by thirty SOLDIERS with rifles pointed at him from all directions , crouched nervously . The PASSENGERS all huddled on the ground . BILLY , eyes closed . Edge of frame shows a shaky muzzle a REVOLVER poked into his belly , moving up . MOVE to THE FIRST OFFICER , older , more experienced but scared , poking with the revolver ; reaches in with his hand cautiously , starts to pull up the turtleneck sweater . MOVE with the hand , revealing the HASHISH PLAQUES around the navel . A pause . His HAND draws the sweater higher . More PLAQUES . FIRST OFFICER 'S FACE relaxes . Starts to smile , finding it funny .</scene_description> <character>FIRST OFFICER</character> <parenthetical>( yells out . )</parenthetical> <dialogue>It's hashish. just a smuggler.</dialogue> <character>SOLDIERS</character> <parenthetical>( OFF . )</parenthetical> <parenthetical>( in chorus echo , relaxing , chuckling . )</parenthetical> <dialogue>Hashish. smuggler. hippy.</dialogue> <scene_description>MASTER ANGLE SOLDIERS REGROUPING . PASSENGERS starting to rise from the ground . SUSAN dumbfounded watching all this from the door of the PLANE , starts back down the ramp . But a flow of upcoming PASSENGERS slows her descent . BILLY is led roughly by TWO SOLDIERS parallel to the plane his hands on his head . He manages a glance at Susan . A slight but strong movement of the head and eyes . ` No . Do n't come down the stairs ' SUSAN understands it , looks helplessly , hesitates lost between two worlds . A silent shaping of a puzzled mouth .</scene_description> <character>SUSAN</character> <dialogue>Billy?</dialogue> <scene_description>She is washed back along in the flow of passengers . VIP ROOM AIRPORT LOUNGE . The scene moves very fast , Indicating A sense of chaos . Much smoke . Many phone calls . Half A dozen Turkish police OFFICERS Are bizarrely seated In A row of fold up chairs next to A desk . Chattering among themselves -LRB- AD LIB -RRB- lighting their Turkish cigarettes . They hardly pay attention as : MOVE TO BILLY , scared , sweating - backlit by the huge windows overlooking the airstrip . In background , we see the 707 Pan American PLANE beginning to circle towards the runway . GUARDS have stripped him down to his bare chest and now knife through the adhesive tape from two sides at once . Then RIP the tape off . BILLY winces . ANOTHER ANGLE the room . Billy 's luggage Is being Tossed . Clothes fly through the air . A sweatshirt ; Marquette University Rowing Team . A 35mm camera . A gift package for his mother ripped open . A silver Turkish kettle , clanging To The floor . Another package is ripped open and a set of Turkish tea cups smash and break all over the floor . Very fast . BILLY watches , bewildered . He is stripped of the last plaque in of the confusion is that each time another police officer his navel . FOLLOW the plaque clattering onto the pile of forty plaques .</scene_description> <character>FIRSTOFFICER</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Name?</dialogue> <character>BILLY</character> <parenthetical>( OFF . )</parenthetical> <dialogue>William Hayes.</dialogue> <scene_description>MOVE BACK QUICKLY to the OFFICER with notebook at the desk . Part of the confusion is that each time we see another police officer we see he has another face .</scene_description> <character>FIRST OFFICER</character> <dialogue>Vi. Vilyum. Vilyum.</dialogue> <character>BILLY</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Hayes.</dialogue> <character>FIRST OFFICER</character> <dialogue>Hi - yes.</dialogue> <parenthetical>( writes it down . )</parenthetical> <dialogue /> <scene_description>ANOTHER ANGLE -</scene_description> <character>FIRST OFFICER</character> <dialogue>` Merican?</dialogue> <character>BILLY</character> <parenthetical>( nods . )</parenthetical> <dialogue>New York.</dialogue> <scene_description>The OFFICER is puzzled .</scene_description> <character>BILLY</character> <dialogue>New York. New York.</dialogue> <character>FIRST OFFICER</character> <dialogue>Ahhhh. Nev Yok!</dialogue> <parenthetical>( writes it down . )</parenthetical> <dialogue /> <scene_description>A LOUD SOUND OFF . The DOOR flies open and ANOTHER OFFICER strides in . Paunchy , moustached . The room is suddenly silent as we TRACK him in , followed by a grinning civilian FLUNKY with a big portable photo instrument and bulb . THE FIRST OFFICER jumps up from the desk , makes an obsequious salute to the SECOND OFFICER who arrogantly acknowledges it and takes the vacated chair behind the desk . The FIRST OFFICER moves to the first fold - up chair in the row , pushing the police officer in that chair further down . THIS OFFICER , in turn , shoves the next man down . It goes all the way down the line like a comedy until the last man in the row stands up against the wall . But this is all in the background as :</scene_description> <character>SECOND OFFICER</character> <dialogue>Name?</dialogue> <character>BILLY</character> <dialogue>William Hayes.</dialogue> <character>SECOND OFFICER</character> <dialogue>Vil. Vilyum?</dialogue> <character>BILLY</character> <dialogue>Hayes.</dialogue> <scene_description>Sharp SOUND OFF of FILM BEING RIPPED FROM CAMERA . He darts a look at POLICEMAN stretching the undeveloped film out . Another loud SOUND OFF , interrupting this - THE DOOR flies open again and a THIRD OFFICER strides in , obviously the most important yet , because the SECOND OFFICER jumps up from the desk , and all the others immediately move down one seat in the hierarchy without a moment 's hesitation . But the THIRD OFFICER strides right up to Billy , waves to the SECOND OFFICER . THE CAMERAMAN in background bubbles with enthusiasm , sliding into position . Billy is puzzled - what 's going on ? His arm is grabbed and he is swivelled around . REVERSE ANGLE - OVER CAMERAMAN BILLY in the middle , flanked by SECOND and THIRD OFFICER , grinning like big game hunters , their arms on his shoulders . The FIRST OFFICER , sticking a bunch of hashish plaques into Billy 's hands , runs OUT OF FRAME . BILLY looks from side to side . The SECOND OFFICER pats him hard on the back of the head , meaning ` look at camera ' . BILLY glances at him , sees the grin on both the officers ' faces . Thinking this is the necessary expression , he grins at the camera . CAMERAMAN disgustedly looks up from his eyepiece .</scene_description> <character>CAMERAMAN</character> <dialogue>No. He's smiling. Make him look miserable.</dialogue> <scene_description>SECOND OFFICER slugs BILLY in the stomach with a quick back - handed fist . BILLY groans , sinks to his knees . The plaques fall on the floor .</scene_description> <character>FIRST OFFICER</character> <parenthetical>( running up . )</parenthetical> <dialogue>Gel? Gel?</dialogue> <scene_description>He growls , grabbing Billy 's arm and hauling him up , gathering the hashish plaques and putting them back in his arms . The TWO OFFICERS put their arms back on Billy 's shoulders . BILLY , in pain , makes the proper expression of misery . FLASH ! The bulb goes . THE 707 PAN AMERICAN PLANE , destination New York , roars up into the sky . PULL BACK all the way to BILLY sitting next to the window , huddled over , feeling woozy and near vomiting . He glimpses the plane but it is anti - climatic now ; as he stares down at his boots . Then remembers something ! Surprised . ANOTHER ANGLE - ROOM . The Turkish OFFICERS talk AD LIB among themselves , congratulating , slapping shoulders , pointing to the hashish plaques , etc. . In center background , we see BILLY submissively lifting his arm for permission to speak , THIRD OFFICER nods , approaches , followed by OTHERS . BILLY slowly , partly out of pain , pulls off one of his boots , bangs it on the heel and two more PLAQUES clatter to the floor . TURKISH MOUTHS drop open . BILLY finishes the process with the other boot . An awkward silence OFF .</scene_description> <character>BILLY</character> <parenthetical>( trying to explain , innocent . )</parenthetical> <dialogue>I forgot. I really did.</dialogue> <parenthetical>( makes ineffective gestures . )</parenthetical> <dialogue /> <scene_description>ANOTHER ANGLE . The room explodes with screams and commotion .</scene_description> <character>THIRD OFFICER</character> <parenthetical>( screaming at SECOND OFFICER . )</parenthetical> <dialogue>You idiot, you fool. You told me the American was searched. and he's pulling hashish out of his boots! You're all dogshit!</dialogue> <character>SECOND OFFICER</character> <parenthetical>( turning on First Officer , screaming . )</parenthetical> <dialogue>You worthless piece of garbage, where did you learn to search a prisoner? He's been in our custody for an hour, etc..</dialogue> <character>FIRST OFFICER</character> <parenthetical>( screaming at the others . )</parenthetical> <dialogue>Who searched him? Who?</dialogue> <scene_description>Amid all the screaming TWO POLICEMEN rush over and yank BILLY upwards , and start to strip all his clothes .</scene_description> <character>BILLY</character> <parenthetical>( protesting . )</parenthetical> <dialogue>That's it! That's all I have!</dialogue> <scene_description>BILLY spread - eagled STARK NAKED against the wall . He is afraid to move . A strange silence . ANOTHER ANGLE . BILLY naked in center B.G. against the wall.The OFFICERS and SOLDIERS quietly leering at his trim , muscular buttocks . Hungry stares . Bisexuality is prevalent in Turkey.But there is also embarrassment among the officers ; none would do anything openly in front of the others ; instead they just stare and smoke their cigarettes . Low murmurs . Continued telephone calls . Much thick smoke all over the room . Another DOOR opens OFF . Obsequious GREETINGS in Turkish . BILLY is afraid to look over his shoulder , feeling enormously humiliated .</scene_description> <character>VOICE</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Howdy, Billy. Howya doing, Ok?</dialogue> <scene_description>A perfect Texas drawl . BILLY glances over his shoulder . Sees : TEX a tall , lanky blonde - haired American in a business suit with boots . Clean cut , very handsome , with a strong flavour of danger in his blue eyes .</scene_description> <character>TEX</character> <parenthetical>( smiling , extends Billy 's clothes . )</parenthetical> <dialogue>I think these gentlemen have finished for the time being if you'd like to put your clothes on.</dialogue> <scene_description>ANOTHER ANGLE - BILLY , so grateful at last to see a fellow American , reaches quietly for the clothes , his eyes never leaving Tex. . Release ? TURKISH DETECTIVE sits at the main desk in the room . Unlike the others , he has no moustache ; a skeletal face , intelligent looking . TEX Is behind , leaning casually up against the wall . Angled to Billy 's side is the entire array of seated OFFICERS looking on like a tribunal .</scene_description> <character>DETECTIVE</character> <parenthetical>( thickly accented English , sympathetic . )</parenthetical> <dialogue>Are you afraid, Vilyum?</dialogue> <scene_description>BILLY , standing to the side of the desk , clothed now , buckling his belt - afraid .</scene_description> <character>BILLY</character> <dialogue>No, I'm not afraid.</dialogue> <character>DETECTIVE</character> <dialogue>Good. There's nothing to be afraid of. If you co - operate with us, you will be on the plane for New York tomorrow. yes?</dialogue> <character>BILLY</character> <parenthetical>( softly , hoping . )</parenthetical> <dialogue>Yes?</dialogue> <character>DETECTIVE</character> <dialogue>Good. Now, where did you get the hashish?</dialogue> <character>BILLY</character> <dialogue>A cabdriver. He picked me up in the Pudding Shoppe in the bazaar.</dialogue> <character>DETECTIVE</character> <dialogue>Would you recognize him again?</dialogue> <character>BILLY</character> <dialogue>Yes. I think so.</dialogue> <character>DETECTIVE</character> <dialogue>Good. Would you go back to the Pudding Shoppe now and point him out to my men if you see him?</dialogue> <scene_description>BILLY 'S EYES MOVE TO : TEX who makes a cool affirmative nod of the eyes to Billy .</scene_description> <character>BILLY</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Yes.</dialogue> <scene_description>STREETS , ISTANBUL , AFTERNOON . TEX drives his American CAR ; BILLY in the passenger seat ; TWO TURKISH PLAINCLOTHESMEN in the rear seats . Various BACKGROUND SHOTS of the city .</scene_description> <character>TEX</character> <parenthetical>( casual tone . )</parenthetical> <dialogue>You decided to fly at a bad time Billy Palestinian Guerrillas all over the place blowing up planes and all.</dialogue> <character>BILLY</character> <parenthetical>( shakes his head . )</parenthetical> <dialogue>Stupid.</dialogue> <character>TEX</character> <dialogue>Four planes in four days. but I guess you kids do n't read the newspapers. and what with our people kicking up a shit storm ` bout the flow of heroin from Turkey you got.</dialogue> <character>BILLY</character> <dialogue>But did n't have heroin.</dialogue> <character>TURK</character> <parenthetical>( grins . )</parenthetical> <dialogue>Well I'm not up on all that. A drug's a drug seems to me Billy and.</dialogue> <character>BILLY</character> <parenthetical>( sweating . )</parenthetical> <dialogue>But it was my first time. I'm not really a smuggler, was just two kilos.</dialogue> <character>TEX</character> <dialogue>Well, you see Billy, it do n't really matter right now if it's 2 kilos or 200 kilos. The Turks love to catch any foreigner smuggling - it shows the world they're fighting the drug trade.</dialogue> <character>BILLY</character> <dialogue>But just.</dialogue> <character>TEX</character> <dialogue>Just what?</dialogue> <character>BILLY</character> <dialogue>I just needed some extra money. I was broke, the guy offered me the hash and.</dialogue> <scene_description>It sounds bad . Tex looks at him without expression . Pause.Billy tries to sense a sympathy in this ambiguous man , a liking towards himself . But feels nothing yet , except someone who can speak English .</scene_description> <character>BILLY</character> <dialogue>are you with the Consulate?</dialogue> <character>TEX</character> <parenthetical>( not looking at him . )</parenthetical> <dialogue>Something like that. Cigarette?</dialogue> <scene_description>ANOTHER ANGLE - BILLY nervously takes the pack and matches .</scene_description> <character>TEX</character> <dialogue>How much you pay this joker. this cab driver?</dialogue> <character>BILLY</character> <dialogue>Two hundred dollars. It was my last two hundred.</dialogue> <character>TEX</character> <dialogue>How much did you figure to make?</dialogue> <scene_description>BILLY fumbles to light up his cigarette . He is nervous , grateful to volunteer any information . anything .</scene_description> <character>BILLY</character> <dialogue>Three, four thousand. I do n't know. The guy offered me the hash -.</dialogue> <parenthetical>( shakes his head . )</parenthetical> <dialogue>. it just seemed like easy money.</dialogue> <character>TEX</character> <dialogue>Beats working.</dialogue> <character>BILLY</character> <dialogue>I was just going to sell it to friends. I'm not a pusher, honest.</dialogue> <scene_description>TEX grins , sceptical of his naivete , changing the subject .</scene_description> <character>TEX</character> <dialogue>Got a family back there?</dialogue> <character>BILLY</character> <parenthetical>( inhales deeply . )</parenthetical> <dialogue>Yeah. Parents, brother, sister. Babylon, Long Island.</dialogue> <character>TEX</character> <dialogue>What's your father do?</dialogue> <character>BILLY</character> <dialogue>He sells insurance for Metropolitan Life.</dialogue> <character>TEX</character> <parenthetical>( a pause , not looking at Billy . )</parenthetical> <dialogue>Be tough on'em.</dialogue> <scene_description>BILLY nods , takes a deep drag on his cigarette . ANOTHER ANGLE</scene_description> <character>TEX</character> <dialogue>Girlfriend?</dialogue> <character>BILLY</character> <dialogue>She was on the plane.</dialogue> <scene_description>Tex glances at him , questioningly .</scene_description> <character>BILLY</character> <dialogue>She did n't know anything about. I would n't have wanted her to.</dialogue> <character>TEX</character> <dialogue>Lucky girl.</dialogue> <scene_description>Billy leans back in seat , blowing out the cigarette smoke .</scene_description> <character>BILLY</character> <dialogue>Jeez, she used to say I was the lucky one.</dialogue> <character>TEX</character> <dialogue>Let's hope so, Billy. Let's sure hope so.</dialogue> <scene_description>A narrow cobblestone STREET . TEX pulls the car to a halt . THE PUDDING SHOPPE TWILIGHT Internationally - known cafe , adjacent BAZAAR . Crowded , noisy . WOMEN dressed in black hold crying CHILDREN by the hands . FOREIGNERS , mostly students and hippies , move about laughing , joking . Hawkers , street peddlers , vendors cooking shishkebab . small GYPSY BOY leads a huge MUZZLED BEAR on a leash . BILLY sits at a small outdoor TABLE alone sipping tea and eating baclava - nervous , very nervous , still trying to sort it all out in his head . If he does n't find the seller , what will happen next ? MOVE across the TABLES , past a middle - aged AMERICAN COUPLE , to TWO TURKISH PLAINCLOTHESMEN watching him closely . They look evident . TWO HIPPIES make a wide berth around them .</scene_description> <character>HIPPIES</character> <parenthetical>( OFF . )</parenthetical> <parenthetical>( in passing , low . )</parenthetical> <dialogue>Hey Janet, why do n't you go sell'em some dope.</dialogue> <scene_description>MOVE ON to another TABLE where TWO MORE PLAINCLOTHESMEN sit , equally evident , watching BILLY . TEX sits in his car , in the distance , casually glancing at a newspaper . BILLY 's eyes rove .</scene_description> </scene> <scene> <stage_direction>INTERIOR PUDDING SHOPPE Large. Many tables. Stairs. A back</stage_direction> <scene_description>exit . ANOTHER GYPSY BOY leads a huge PINK PIG leashed with a wooden sign around its neck proclaiming `` Pig '' in Turkish . Various TURKS point the pig out , laughing at it , some disgusted by it , making faces and gestures : `` Go way , go way ! `` Ayip ! '' The PIG moves past BILLY , who shifts his gaze to : POV - CABDRIVER # 1 lingering at the curb . PAN to CABDRIVER # 2 PAN to CABDRIVER # 3 . PAN BACK to # 1 and again to # 2 indicating no real fix on identity . BILLY tense now , knowing this is the chance he must take , nods with his head , pointing at CABDRIVER # 2 , off . THE PLAINCLOTHESMEN move out towards CABDRIVER # 2 . BILLY tentatively rises , as if to join them , but moves slyly towards the interior of the cafe . PLAINCLOTHESMEN move in roughly on a surprised CABDRIVER # 2 who begins to protest LOUDLY -LRB- AD LIB -RRB- . BILLY moves through the INTERIOR of the PUDDING SHOPPE , past the tables , past the stairs , towards the back of the shop , at a normal.to attract attention . A PLAINCLOTHESMAN looks around , sees he is gone . Tells the others -LRB- AD LIB -RRB- They spread out looking , abandoning the CABDRIVER # 2 who spits and curses them -LRB- AD LIB -RRB- . BILLY , with one backward glance , now eases out the BACK DOOR , into a bilious sunlight , onto a STREET . Pause . A HAND with GUN moves into FRAME pointing a six - inch barrel right at his temple . BILLY freezes , moving just his eyes to : TEX looking down at him calm , merciless .</scene_description> <character>TEX</character> <dialogue>You seem like a nice enough kid to me Billy, but try it and I'll blow your fucking brains out.</dialogue> <scene_description>BILLY - the sense of betrayal in his eyes . ESTABLISH PRISON - OVERHEAD ANGLE . A large and Byzantine structure suggesting the 15th Century Sultan 's Janissary Barracks . Irregular crescent various wings ; a MOSQUE inside the prison . The possibly a shapes to the sense of an endless a decorative an equally in a city , labyrinth built by some mad Arab architect to suit purpose and now , in the 20th Century , transformed by mad Turkish bureaucracy into a prison . It should be preferably made to look like Istanbul . Faint background atonal Turkish CHANTING . Evening Muslim prayer . `` Allah wakbah , Allah wakbah . '' on and on , suggesting to us fear rather than praise .</scene_description> <character>BILLY VOICE</character> <dialogue>Dear Mom and Dad. This is the hardest letter I've ever had to write. know the confusion and the pain it will cause you. And the disappointment.</dialogue> <scene_description>BILLY - his scalp being shaved off by a prison BARBER in an un - specified ANTI - CHAMBER , His eyes are staring dead ahead .</scene_description> <character>BILLY VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>I really thought knew what I was doing with my life. I'd hoped somehow to get out of this quickly so that you'd never know about it. But that just is n't possible now. I do n't know what's going to happen. But what can I say to you? Will ` I'm sorry' make a difference? Will it ease the pain, the shame you must be feeling? Forgive me. Please.</dialogue> <scene_description>BILLY is now completely BALD , SOUND SHARP OVER : A CELL DOOR SLIDING OPEN . BILLY steps in , bewildered .</scene_description> <character>ZIAT VOICE</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Git!</dialogue> <scene_description>The cell is dark , almost black , an overpowering stench ; a small grey metal bunk is bolted to the floor with a lumpy mattress . BILLY turns , looking back at the man staring at him from the door . ZIAT is quickly summing up Billy 's character . This is his craft.He is a prisoner and trustee . sinister man whose one motivation in life is the accumulation of money , in the pursuit of which he has acquired an ugly purplish SCAR running the width of his throat , various other facial SCARS ; and one blind milky white EYE . He 's stocky and strong - about five ten , with bushy eyebrows , brown cigarette teeth , big dirty nails , repulsively in need of a bath . What 's surprising is that he is no more than thirty years old looks and behaves like sixty . The personification of the denaturalization of a man . Time , body , mind - all of them warped . BILLY , not yet attuned to his nature , only repulsed , is still wearing his own clothes and makes a shivering gesture , enunciating very clearly , hoping he will understand .</scene_description> <character>BILLY</character> <dialogue>Cold. Very cold. Can I get blanket? Blanket?</dialogue> <parenthetical>( makes a gesture of a blanket wrapped around him . )</parenthetical> <dialogue /> <scene_description>ZIAT smiles , showing his stained teeth , and starts to slide shut the cell door on its ROLLER .</scene_description> <character>ZIAT</character> <parenthetical>( in English . )</parenthetical> <dialogue>Mo sell. Too late. Tomorrow.</dialogue> <scene_description>A cobra smile flashes , as the cell door bangs shut .</scene_description> <character>ZIAT</character> <parenthetical>( through the bars . )</parenthetical> <dialogue>You be here tomorrow. `` Ayi Gedjaler'' -LRB- `` good night''. -RRB-</dialogue> <scene_description>Goes . BILLY walks around the cell , hugging himself for warmth .</scene_description> <character>VOICE</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Pssst!</dialogue> <scene_description>BILLY stops , goes to the edge of the cell . A BONY BARE ARM motions from the bars of the cell next to his . We never see the face but hear a thick ITALIAN ACCENT , hoarse and cracked .</scene_description> <character>VOICE</character> <parenthetical>( OFF . )</parenthetical> <parenthetical>( Whispering . )</parenthetical> <dialogue>Your cell, no key. Open! Blanket. Three cell down. You get me one. Take.</dialogue> <scene_description>Extends a stick with a big nail pounded into the end , twisted over to form a hook . BILLY takes it . Hesitates .</scene_description> <character>VOICE</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Ziat go for night. Go!</dialogue> <scene_description>BILLY cautiously slides the cell door open , amazed that it 's been left open . Nothing makes any sense to him in this labyrinth ANOTHER ANGLE - BILLY steps out into a WALKWAY . A bare bulb overhead casts light . He glides past the three cells , seemingly empty . Finds the cell with blankets , sheets , towels and various supplies stacked inside . But it 's locked . He slips the stick in between the bars and stretching , hooks the first blanket . BILLY asleep with the blankets pulled up to his chin . Suddenly DIRTY HANDS reach into frame and rip the blanket off . WIDEN TO :</scene_description> <character>ZIAT</character> <parenthetical>( tugging the sheet , growls . )</parenthetical> <dialogue>Brack! Brack!</dialogue> <scene_description>Then SLAPS at BILLY . BILLY ducks away . Encouraged , ZIAT steps up closer to him , sticks his fingers in his chest screaming .</scene_description> <character>ZIAT</character> <dialogue>You, goddamn you, give me sheet. Give me!</dialogue> <scene_description>And feints as if to hit BILLY again . BILLY reacts to defend himself , pushing ZIAT off and jumping out of the bunk . ZIAT , Enraged by the shove , comes back at BILLY , screaming , arms flailing like a bear to pummel him , but BILLY , not understanding the Turkish bluster in his mannerisms , meets him with a sharp right FIST into the front of his face . ZIAT staggers back , startled into silence ; he has misjudged this kid . BILLY waits , ready for the fight in the defensive position . The guy is bigger than himself . ZIAT , however , now feels the blood from his mouth and nose and freaks out , running out of the cell SCREAMING at the top of his lungs as if he 's dying . BILLY is blindfolded , stumbling down stone steps pushed by a GUARD , into a dungeon - like basement room . THE PUNISHMENT CELLS . THE GUARD removes the blindfold . BILLY , adjusting to the light , stares around . The cell is spartan , with a series of pulleys and primitive bondage devices hanging from the cobwebbed ceiling.A DOOR opens and : HAMIDOU STEPS in , lowering his head to get through the door.Chief of the guards . A clean uniform . Four stripes . The only guard to carry a holstered gun . very frightening man . He is about six two , two forty , and muscular , and moves lightly like a fighter on his feet . His skull is bullet - shaped and completely shaven like Billy 's , Enhancing this effect , he has no eyebrows , and his pale blue eyes -LRB- suggesting a trace of Indo - European stock in his ancestry -RRB- are set deep in his skull somewhat like turtle eyes , giving nothing away . His nose is a beak of skin his neck broad , his mouth a small crescent that moves as lightly as his feet between anger and amusement . He approaches BILLY , looks into his eyes , drawing out the moment for himself , enjoying the tension and the fear he instils in others . BILLY meets his eyes respectfully , then realizing this is perhaps not the thing do to , looks away . But , fascinated by the man 's features beyond his self - control , he looks back . HAMIDOU , amused by eye actions , smiles thinly . The sort of smile that could imply friendship such is its hint of charm .</scene_description> <character>HAMIDOU</character> <parenthetical>( to one of the guards . )</parenthetical> <dialogue>Name?</dialogue> <character>GUARD</character> <parenthetical>( checking a clipboard . )</parenthetical> <dialogue>Vilyum Hi - yes</dialogue> <character>HAMIDOU</character> <parenthetical>( looking at BILLY , repeating it . )</parenthetical> <dialogue>Vilyum Hi - yes.</dialogue> <scene_description>And slowly his hand moves up to caress the edge of his hairless upper lip . An erotic gesture in Turkey .</scene_description> <character>HAMIDOU</character> <dialogue>Vilyum Hi - yes</dialogue> <scene_description>`` Its in my memory locked . '' He slowly extends his right arm stiff out to his side . BILLY watches , fascinated . HAMIDOU lets the arm linger ; then : SMASHES BILLY across the face with an open palm . BILLY shoots back : and smashes against the wall just from the force of one blow . Stunned . HAMIDOU advances , taking a wooden CLUB -LRB- FALUKA STICK -RRB- about feet three long and three inches wide from a GUARD . BILLY scared , emphasizing the words , trying to make himself understood .</scene_description> <character>BILLY</character> <dialogue>It was cold. Cold! I get blanket. Blanket! Cold!</dialogue> <scene_description>THWACK ! BILLY 'S LEG BUCKLES , where the faluka stick has just smashed him behind the kneecap . He SCREAMS going down . BILLY looks up from the floor : HAMIDOU with his club in hand .</scene_description> <character>HAMIDOU</character> <parenthetical>( In some sort of English , smiles . )</parenthetical> <dialogue>No do. No do.</dialogue> <scene_description>Raises the club . BILLY tries to block it with his hand , and the CLUB smashes his thumb . SCREAM . BILLY is hoisted upside - down in his UNDERPANTS ONLY with thick rope tied about his ankles , the legs spread - onto a PULLEY suspended from the ceiling . He is yanked upwards , then lowered slightly , his head and backs of shoulders banging against the stone floor . THE PULLEY is LOCKED into place . -LRB- LOUD SOUND -RRB- BILLY has this surprised look on his face still , through the tears . What 's happening ? Hamidou motions the GUARDS out of the room -LRB- AD LIB -RRB- . Turns back to BILLY , raises his club . BRINGS IT DOWN FORCE on the soles of BILLY 'S BARE FEET . SCREAM . He cocks the club again . BILLY twists To avoid The blow CLUB catches him On The ANKLEBONE BILLY SCREAMs louder than ever as we hear The SOUND of wood On bone . Whimpering SOUNDS follow . BILLY looking through teary eyes , sure now that he is going to be killed . The CLUB - OFF - smacks sole skin with the same force as the first blow . No let up . BILLY still in the same position , vomits all over himself . HAMIDOU SPINS the PULLEY to a new position bringing : BILLY into a steeper , more vertical position . He is on the verge of fainting , bleary - eyed , looking as : HAMIDOU moves around in between his legs . Doing something indistinct with the stick between his legs , then dropping the stick . Then , with this bizarrely excited expression on his hairless face , he begins to undo his own pants . But , for Billy , it all BLURS OUT TO : JAPANESE SILK SCREEN depicting a fat jovial Buddhist monk , fishing placidly by a stream . Then moves to soap carvings of chess pieces Then a bed - sheet hung as a curtain with astrological symbols paint ; on it . SOUND OFF , of a blaring radio . Atonal TURKISH MUSIC .</scene_description> <character>VOICE</character> <parenthetical>( close , intense . )</parenthetical> <dialogue>Hey man, he's got ta walk, or his feet gon na swell up worse.</dialogue> <character>2ND VOICE</character> <parenthetical>( softer , sonorous , Swedish accent . )</parenthetical> <dialogue>We take him down to courtyard.</dialogue> <scene_description>Then : ERICH - a gentle long bird 's face . Long whitish - blond - hair , Swedish , well above six feet , 25 . Another FACE moves into view JIMMY BELL , American , 23 fiery eyes , black hair and moustache , intense , strong .</scene_description> <character>BELL</character> <dialogue>Smoke this rocket, it'll cool the pain.</dialogue> <scene_description>ANOTHER ANGLE - BELL puts a huge cone - shaped JOINT with aluminium foil filter into BILLY 'S LIPS . He hardly knows what it is , Puffing weakly . Though dehydrated and his face white without color , he has no facial markings .</scene_description> <character>BELL</character> <dialogue>You got ta walk around some man, or your feet gon na swell up something bad.</dialogue> <scene_description>BILLY looks down at HIS FEET Bloated black and blue with inflamed red points in various spots . A vicious bruise on his anklebone . ERICH is running a cold rag from a basin of water over them , his fingers tender .</scene_description> <character>BELL</character> <parenthetical>( OVER . )</parenthetical> <dialogue>You've been out for days man, talking all kinds of shit. Come on, we'll walk you down to the courtyard.</dialogue> <scene_description>BELL eases BILLY up from the bed , as ERICH puts a pair of clip - clops on his feet .</scene_description> <character>ERICH</character> <dialogue>Okay?</dialogue> <scene_description>BILLY nods . They rise together , bracing his shoulder . BILLY adjusting to the sensation of standing .</scene_description> <character>ERICH</character> <dialogue>How's it feel?</dialogue> <character>BILLY</character> <parenthetical>( dizzy . )</parenthetical> <dialogue>About as good as it looks.</dialogue> <character>BELL</character> <dialogue>Getchmis olsun</dialogue> <character>BILLY</character> <dialogue>Getchmis?</dialogue> <character>BELL</character> <dialogue>Olsun - `` May it pass quickly.'' I'm Bell, Jimmy Bell. This is Erich something Swedish.</dialogue> <character>ERICH</character> <parenthetical>( smiling . )</parenthetical> <dialogue>Just Erich.</dialogue> <character>BILLY</character> <dialogue>I'm Billy Hayes. At least I used to be.</dialogue> <scene_description>Looks around . A DORMITORY TYPE ROOM with 24 bunk beds set head to head in horizontal fashion , cramped and with minimal privacy . A narrow WALKWAY leading towards a TOILET AREA and STAIRCASE .</scene_description> <character>BILLY</character> <dialogue>Looks like a cheap hotel.</dialogue> <character>BELL</character> <dialogue>Yeah. Only the room service is lousy. Come on, let me show you the tennis courts.</dialogue> <scene_description>Helps him with ERICH to take the first steps . THE COURTYARD . The THREE of them emerge in a thin AFTERNOON sun , Billy now disengaging and hobbling on his own power .</scene_description> <character>ERICH</character> <parenthetical>( watching Billy limp . )</parenthetical> <dialogue>Feeling all right?</dialogue> <character>BILLY</character> <parenthetical>( still groggy . )</parenthetical> <dialogue>Yeah. That guy who beat me?</dialogue> <parenthetical>( stops , slightly puzzled . )</parenthetical> <dialogue>I feel stoned.</dialogue> <character>BELL</character> <parenthetical>( grins , interjects . )</parenthetical> <dialogue>` Figgers.</dialogue> <character>BILLY</character> <parenthetical>( vague , going on . )</parenthetical> <dialogue>. He had a bald skull and.</dialogue> <character>BELL</character> <dialogue>Hamidou. Chief of the Guards. Do n't fuck with him. He almost killed an Italian dude couple months ago. Bad news. He try anything with you?</dialogue> <scene_description>BILLY glances at him , understanding . Pause .</scene_description> <character>BILLY</character> <dialogue>No. I do n't remember.</dialogue> <scene_description>Glances at ERICH .</scene_description> <character>BELL</character> <dialogue>With these fucking Turks, soon as the light goes out. I keep one hand on their feet and their feet better not grow. You'll meet Max. He got raped something bad down in Section 13. That's the pits.</dialogue> <scene_description>THE COURTYARD VARIOUS ANGLES The yard is 30 by 50 paces with a wall 20 feet high . Cigarette butts , orange peels crumpled news - papers , rocks , sticks , broken glass litter the place . No guards are on the walls ; the only GUARDS are unarmed inanimate lumps of boredom who look as helpless as the prisoners with whom they intermingle ; they have raggedy olive green uniforms and worn boots -LRB- they make $ 1 a month , augmented by bribes -RRB- . On one side of the yard is a 2 - story ROGUS -LRB- cellblock -RRB- with barred windows from which Billy and his two companions have just emerged . On the other side of the yard is another 2 - story KOGUS -LRB- the children 's kogus -RRB- . The COURTYARD is colorful , almost like a bazaar , about 8O people in it - groups of exotically dressed AFRICANS , AFGHANS , ARABS , MALAYSIANS , EUROPEANS , and predominantly TURKS pacing back and forth talking in little circles , hawking wares , trading illegal currencies . Screaming Turkish STREET URCHINS 10 - 14 years old , share the space playing soccer and volleyball with a surprising viciousness , continually hitting each other and cursing . A bunch of them vehemently lay bets on the soccer game . Other aspects of the prison which should become evident : 1 -RRB- NOISE - continuous , Loud . Radios , Turkish music , screaming , shouting . 2 -RRB- CATS - all kinds , some of them pets , some stray , tolerated because they kill the rats . 3 -RRB- THE PRISONERS all wear their own clothing ; the foreigners preferring jeans , clip - clops , sneakers , Sweat suits . 4 -RRB- THE HEADS of only the new prisoners are shaved , then allowed to grow back . 5 -RRB- MANY PRISONERS have physical disabilities . Carbuncles on the back from wet mattresses . Boils on the lymph glands around the neck , buttocks , under - arms , sometimes SO painful the victim walks with his arms up in the air . Arthritic in the knees , hips , ankles . Fungus on the feet . Many limp . ANOTHER ANGLE - THE PRISONERS glance at BILLY as he walks , noting the beating he has taken and sizing him up , then going on with their business .</scene_description> <character>BILLY</character> <dialogue>The kids? Why are they.</dialogue> <character>BELL</character> <parenthetical>( snorts . )</parenthetical> <dialogue>Little fuckers are thieves, rapists, pickpockets, murderers, you name it - they do it. Do n't trust any of'em.</dialogue> <scene_description>BELL 's eyes follow a knot of KIDS to : ZIAT has a window open on the FIRST FLOOR KOGUS and is selling little cups of tea to the kids from inside where he works a GAS STOVE . The kids push and punch each other to get the tea faster .</scene_description> <character>BELL</character> <parenthetical>( OVER . )</parenthetical> <dialogue>They tell Ziat everything. He's the squeal round here. Goes all over the prison. Sells watered - down tea, blankets, hash, black money, nembutols - anything for a buck.</dialogue> <scene_description>ZIAT leaves the stove in the hands of an ASSISTANT and moves down the window to a particularly gaudy AFGHANI a fierce hawk - faced old man with a chunk of his ear missing . He wears a colorful flowing robe , various scarves , turban , trinkets , rings , baggy pants , and pointed curved shoes , and makes emphatic violent gestures at ZIAT with his mutilated THREE FINGERS . ZIAT Seems to speak something of his language and bargains back .</scene_description> <character>BELL</character> <parenthetical>( continuous . )</parenthetical> <dialogue>He was an informer on the outside but he tried to screw the cops out of 60 kilos of opium. Watch him, he's a fox.</dialogue> <scene_description>BILLY says nothing to them about the Ziat incident , sizing him up for himself . THE AFGHANI having concluded the deal with ZIAT reaches deep into his layers of clothing around his crotch and pulls out several scrofulous $ 10 bills which discreetly takes in exchange for a thick wad of Turkish currency , his eyes moving around , stopping on BILLY . A hooded look .</scene_description> <character>BELL</character> <parenthetical>( OVER . )</parenthetical> <dialogue>Whatcha' in for, smuggling? Rash?</dialogue> <scene_description>BILLY turning his eyes away from ZIAT</scene_description> <character>BILLY</character> <dialogue>Yeah.</dialogue> <character>BELL</character> <parenthetical>( shaking his head . )</parenthetical> <dialogue>History, man, history. How much?</dialogue> <character>BILLY</character> <dialogue>Two kilos.</dialogue> <character>BELL</character> <dialogue>Where?</dialogue> <character>BILLY</character> <dialogue>The airport. Trying to get on the plane for the States.</dialogue> <character>BELL</character> <parenthetical>( whistling a kind of punctuation . )</parenthetical> <dialogue>Could be ten or fifteen. Maybe even twenty.</dialogue> <character>BILLY</character> <parenthetical>( tensing . )</parenthetical> <dialogue>Twenty months?</dialogue> <character>BELL</character> <dialogue>Twenty fucking YEARS, man - YEARS! I figger ten at the least.</dialogue> <scene_description>BILLY stunned .</scene_description> <character>BILLY</character> <parenthetical>( soft . )</parenthetical> <dialogue>Years?</dialogue> <character>BELL</character> <dialogue>Yeah, what do you think this is, the good USA? This is Turkey, man.</dialogue> <parenthetical>( laughs bitterly . )</parenthetical> <dialogue>. -RRB- It's a fucking accident here if you're innocent. And anyway. ai n't nobody who's innocent.</dialogue> <scene_description>ANOTHER ANGLE - all the color and breath seems to have gone from BILLY .</scene_description> <character>ERICH</character> <parenthetical>( his English is halting but has a calming effect . )</parenthetical> <dialogue>Do n't pay too much attention, anything is possible in Turkey. You might get bail.</dialogue> <scene_description>BELL snorts , amused , kicking the SOCCER BALL away hard as it dribbles towards them .</scene_description> <character>ERICH</character> <dialogue>If you make bail, you're free. You can get a fake passport or sneak across the border to Greece. The Greeks hate the Turks so much they never send you back. The Turks know it. They just keep the bail. money.</dialogue> <character>BELL</character> <dialogue>Sure, keep dreaming and see where that gets you. like Max, up in the head, you know.</dialogue> <parenthetical>( makes a crazy signal towards the head . )</parenthetical> <dialogue>You gon na eat a lot more fasoulia beans, Billy baby, ` fore you taste a hamburger ` gain cause you broke the law man, and you got caught.</dialogue> <parenthetical>( grins . )</parenthetical> <dialogue>And that. is history.</dialogue> <character>ERICH</character> <dialogue>The law is sometimes wrong.</dialogue> <character>BELL</character> <parenthetical>( eyes feverish . )</parenthetical> <dialogue>The Law is never wrong, asshole. The Law is!</dialogue> <scene_description>And stalks away , disgusted . A deep anger inside him . ERICH looks at BILLY who is quiet ; by way of apology .</scene_description> <character>ERICH</character> <dialogue>New people sometimes get on his nerves.</dialogue> <character>BILLY</character> <parenthetical>( lifeless . )</parenthetical> <dialogue>What did he do?</dialogue> <character>ERIC</character> <dialogue>He was caught steeling from a Mosque. That's heavy here. He got 30 years.</dialogue> <character>BILLY</character> <dialogue>Thirty years?</dialogue> <character>ERICH</character> <dialogue>Jimmy has more balls than brains. He did n't tell his parents he was in jail for a year and a half. He says he got himself in and now he's going to get himself out.</dialogue> <scene_description>He shakes his head , looking at : BELL him across the courtyard huddling with a cigarette , bartering angrily . a raggedy GUARD giving him a cigarette , bartering angrily . BILLY and ERICH .</scene_description> <character>BILLY</character> <dialogue>And you?</dialogue> <character>ERICH</character> <dialogue>Hashish. Ninety percent of the foreigners are in for hashish.</dialogue> <scene_description>They walk .</scene_description> <character>BILLY</character> <dialogue>What they give you?</dialogue> <character>ERICH</character> <parenthetical>( passive . )</parenthetical> <dialogue>Twelve years.</dialogue> <scene_description>Billy stops .</scene_description> <character>BILLY</character> <dialogue>How much did you have?</dialogue> <character>ERICH</character> <dialogue>A hundred grams.</dialogue> <character>BILLY</character> <parenthetical>( appalled . )</parenthetical> <dialogue>It's not fair!</dialogue> <scene_description>Even ERICH has to smile now .</scene_description> <character>ERICH</character> <dialogue>There is no fair in Turkey, Billy. It's all `` sula - bula'' like this, like that. An Italian hippie had a car accident and a Turk was killed. SO, they threw him in here for six months.</dialogue> <character>BILLY</character> <dialogue>That does n't seem so bad.</dialogue> <character>ERICH</character> <dialogue>But he was eating lunch a mile away when the Turk smashed into killed himself.</dialogue> <character>BILLY</character> <dialogue>He was n't even in the car?</dialogue> <character>ERICH</character> <parenthetical>( shakes his head . )</parenthetical> <dialogue>Aslan, there.</dialogue> <parenthetical>( points . )</parenthetical> <dialogue /> <scene_description>ASLAN - a young big fat heavily moustached Turk , wearing a black silk double - breasted business suit , grotesque cuff - links , heavily pomaded hair , is huddling in a section of the YARD with FIVE other grinning GANGSTER TYPES , all in suits .</scene_description> <character>ERICH</character> <parenthetical>( OVER . )</parenthetical> <dialogue>Killed a guy. But his father's a big gangster on the docks. A `` Kapidiye.'' He'll stay in. twelve months no more, and get parole. In Turkey, murder is manly - `` erkek''.</dialogue> <scene_description>ERICH Glances back at BILLY</scene_description> <character>ERICH</character> <dialogue>You just got to get yourself a good lawyer. And some money. Talk to Max. He's been in the longest.</dialogue> <character>BILLY</character> <dialogue>How long?</dialogue> <character>ERICH</character> <dialogue>Seven years.</dialogue> <scene_description>MAX - `` Eskilet '' -LRB- skeleton -RRB- . British , tall , straggly long hair with wire spectacles set crookedly over his nose . An earing in one ear . The far away eyes of an international junkie , preoccupied and uninterested in small talk . Tough in his skinny way , like apiece of old dried leather . He occupies with his YOUNG STRIPED CAT a bunk in the far corner of the SECOND FLOOR KOGUS - in the process of shooting himself up with `` Gastro '' a smelly brown liquid stomach medicine . No one is in the vicinity except ANOTHER ANGLE ERICH and BILLY who watches repelled as MAX fumbles with a piece of twine tied around his arm in a tourniquet , searching for an unused spot amid dirty infected track marks . PLUNGES the needle in , pumping in the black gunk . Glances at BILLY .</scene_description> <character>MAX</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Gastro. Stomach medicine. Has codeine in it. Best can do</dialogue> <scene_description>Pulls out the needle , loosens the tourniquet . His eyes take on a far away stare .</scene_description> <character>ERICH</character> <dialogue>Lawyers?</dialogue> <character>MAX</character> <dialogue>Yeah. there's no straight lawyers in Turkey. They're all bent bent as hairpins.</dialogue> <scene_description>Gives a spoon with a taste of the black residue to : HIS CAT who is full of spunk , and tries to catch Max 's HAND . He looks at BILLY , not remembering him .</scene_description> <character>ERICH</character> <dialogue>His name?</dialogue> <character>MAX</character> <dialogue>Who?</dialogue> <character>ERICH</character> <dialogue>The lawyer?</dialogue> <scene_description>MAX is beginning to go . He sits on his bunk .</scene_description> <character>MAX</character> <dialogue>What lawyer?</dialogue> <character>ERICH</character> <dialogue>Who got the Frenchman out?</dialogue> <character>MAX</character> <dialogue>Oh Yesil. Yesil's his name but I. do n't know anything. ` bout. Yesil.</dialogue> <scene_description>ANOTHER ANGLE - MAX 'S head begins to bob back and forth.Focuses on BILLY .</scene_description> <character>MAX</character> <dialogue>Best way is get your ass out. any. way. you can.</dialogue> <character>BILLY</character> <dialogue>What do you mean?</dialogue> <character>MAX</character> <dialogue>Get the. midnight. express.</dialogue> <character>BILLY</character> <dialogue>What's that?</dialogue> <scene_description>MAX smiles from faraway like a Cheshire cat and his head drops forward onto his knees , nodding off . HAMIDOU , swinging his falaka stick rhythmically against his leg and that calm killer look on his face , leads an uneasy BILLY down a MAIN WALKWAY with a roof overhead ; we gather that the prison contains several separate wings . ADMINISTRATIVE BUILDING - HAMIDOU glances back at BILLY , indicates with his stick `` come here '' and opens an office door . BILLY , still bewildered , his bruised feet almost back to normal , limps in warily eyeing HAMIDOU who follows . NECDIT YESIL , the lawyer , fleshy , grinning , thin black hair heavily greased , sits at a conference table . Standing adjacent is STANLEY DAVIS , the U.S. Consul - eyeglasses , striped tie , neat summer suit with stripes , trimmed hair , ivy league look , his eyes moving from Billy to : OLDER MAN , late 50 's white hair , blue - eyed New York Irishman.A suburban insurance agent , rumpled suit , an anxious look on his face . Moving towards BILLY fast :</scene_description> <character>FATHER</character> <dialogue>Billy!</dialogue> <scene_description>FATHER AND SON embrace ; the father 's left hand grabbing Billy 's arm tightly as if never to let go .</scene_description> <character>BILLY</character> <dialogue>Dad!</dialogue> <scene_description>HAMIDOU looks on , intrigued by the Father and Son ; leaves silently , closing the door . FATHER looks into his son 's eyes , his own eyes moistening . He looks tired , pain all over his face . BILLY looks down .</scene_description> <character>BILLY</character> <dialogue>Dad. I'm.</dialogue> <scene_description>ANOTHER ANGLE</scene_description> <character>FATHER</character> <parenthetical>( voice quivering . )</parenthetical> <dialogue>. Do n't worry about it.</dialogue> <parenthetical>( managing a smile . )</parenthetical> <dialogue>I can punch you in the nose later. Right now we've got to get you out of here. You all right?</dialogue> <character>BILLY</character> <parenthetical>( eyes moistening . )</parenthetical> <dialogue>Yeah. How's Mom?</dialogue> <character>FATHER</character> <dialogue>Bad. She could n't make the trip. You know Her boy.</dialogue> <parenthetical>( breaks off . )</parenthetical> <dialogue>Susan told us before we got your letter. She's fine ; she's trying to get the money to come back and see you, but.</dialogue> <character>BILLY</character> <dialogue>No, do n't let her! I'll. How about Peg? Robbie?</dialogue> <character>FATHER</character> <dialogue>Same. None of the neighbors know. We told them you were in a hospital in Europe. Oh. this is Stanley Davis. He's the American Consul here. And Necdit Yesil, the lawyer you wanted.</dialogue> <scene_description>ANOTHER ANGLE</scene_description> <character>DAVIS</character> <parenthetical>( shaking hands . )</parenthetical> <dialogue>Hello, Billy.</dialogue> <character>BILLY</character> <dialogue>Hello.</dialogue> <scene_description>The professional smile from the Consul , but in the handshake and the eye contact , BILLY is cool . The unanswered question : Where were you before my father arrived ?</scene_description> <character>DAVIS</character> <dialogue>I want you to know we're going to do everything, in our power to get you out as soon as possible. Believe me.</dialogue> <character>BILLY</character> <dialogue>Thank you.</dialogue> <scene_description>ANOTHER ANGLE YESIL moves forward . unctuous . bubbling with high spirits , profusely shaking BILLY 's hand , exuding confidence in fractured English ,</scene_description> <character>YESIL</character> <dialogue>Vilyum, I am Necdit Yesil.</dialogue> <character>BILLY</character> <dialogue>Mr. Yesil.</dialogue> <character>YESIL</character> <dialogue>I know exactly what you feel but you must not worry, we are acting immediately, we get the right court, the right judge, I arrange everything - just right. And I think we get you bail. If very bad, maybe twenty month sentence. But I think we get you bail.</dialogue> <scene_description>Pause , BILLY looks at him wondering how to take him in .</scene_description> <character>YESIL</character> <parenthetical>( reassuringly . )</parenthetical> <dialogue>You know I have lectured at the University of Maryland in your country? Also University Michigan Very nice country. We both go back.</dialogue> <parenthetical>( smiles . )</parenthetical> <dialogue /> <character>BILLY</character> <parenthetical>( trying to concentrate . )</parenthetical> <dialogue>If I get bail, Mister Yesil, they say it's easy to cross the border into Greece?</dialogue> <character>FATHER</character> <parenthetical>( pacing up , hungry . )</parenthetical> <dialogue>Right! That's what we're shooting for. Mister Davis and have been in contact with the State Department, but right now relations with the Turks are n't too good, Nixon's upset the hell out of them. Our best bet's. right here.</dialogue> <character>BILLY</character> <dialogue>Dad.</dialogue> <parenthetical>( pauses , glances at Davis and Yesil , embarrassed . )</parenthetical> <dialogue>I'll pay you back for all this, I Promise.</dialogue> <scene_description>ANOTHER ANGLE</scene_description> <character>FATHER</character> <dialogue>Do n't worry about it. Right now money does n't count. Okay?</dialogue> <scene_description>A pause . YESIL Shifts , Throats are cleared . BILLY moves to sit down , limping faintly ; he is wearing sneakers and the bruises do n't show .</scene_description> <character>FATHER</character> <dialogue>Where'd you get that limp?</dialogue> <character>BILLY</character> <parenthetical>( not wanting to alarm him . )</parenthetical> <dialogue>Nothing. Just twisted my ankle.</dialogue> <scene_description>Sits down at the conference TABLE .</scene_description> <character>BILLY</character> <dialogue>Where you staying, Dad?</dialogue> <character>FATHER</character> <parenthetical>( pulls up a seat next to Billy . )</parenthetical> <dialogue>The Hilton.</dialogue> <character>BILLY</character> <dialogue>How do you like it? Istanbul?</dialogue> <character>FATHER</character> <dialogue>Well, it's an interesting place.</dialogue> <parenthetical>( lowers his voice , a hint of a smile . )</parenthetical> <dialogue>Tell you the truth, I think the food is lousy. The crap they sell in these little restaurants. I went out to eat in one of them last night, and I had to run to the damn toilet. You shoulda' seen the toilet.</dialogue> <scene_description>BILLY laughs .</scene_description> <character>BILLY</character> <dialogue>You mean you got toilets?</dialogue> <scene_description>FATHER is happy to see his son laugh .</scene_description> <character>FATHER</character> <dialogue>Yeah, with real toilet paper - and you do n't have to use both sides.</dialogue> <scene_description>BILLY laughs again .</scene_description> <character>FATHER</character> <dialogue>So now I'm eating at the Hilton every night.</dialogue> <scene_description>BILLY smiles . A pause . A worried look returns to the Father 's face</scene_description> <character>FATHER</character> <dialogue>Why'd you do it, Billy?</dialogue> <character>BILLY</character> <dialogue>For the money.</dialogue> <parenthetical>( Looks away . )</parenthetical> <dialogue>. -RRB-</dialogue> <character>FATHER</character> <parenthetical>( sighs . )</parenthetical> <dialogue>I know you kids smoke that stuff, and we drink booze, but taking it across a border - it was stupid, Billy. Stupid.</dialogue> <character>BILLY</character> <dialogue>I know.</dialogue> <scene_description>Glances at DAVIS , YESIL back to his father , his voice beginning to tremble , ashamed of himself for letting it show .</scene_description> <character>BILLY</character> <dialogue>Dad get me out of here.</dialogue> <scene_description>ANOTHER ANGLE . The FATHER understands the desperation in his voice , puts his hand on his son 's . FATHER I promise you , Billy . Just sit tight and do n't . DO N'T do anything stupid . Let me work with Mr. Yesil and Mr. Davis . We 'll get you out . Okay ? Billy , okay ? All the assurance of the world is written in this kindly Irishman 's face . BILLY feels it . BILLY being led by TWO GUARDS down a huge arched CORRIDOR in the COURTROOM BUILDING .</scene_description> <character>BILLY</character> <dialogue>Okay.</dialogue> <character>PROSECUTOR VOICE</character> <parenthetical>( OVER . )</parenthetical> <dialogue>THE world is now looking at Turkey. We are called the Heroin Supplier of the world. Stories about us are in newspapers and on television every day all around the world. The time has come, your Honor, to alter this image before we find ourselves isolated and morally ostracized by the rest of the human race.</dialogue> <scene_description>THE COURTROOM - monolithic , frightening , immense with cross - currents of greenish light from the enormous windows . People seem insignificant . THE PROSECUTOR , wearing dark green glasses , continues , scowling , gesturing profusely at : BILLY in the PRISONERS DOCK , baroque design , isolated . Does n't understand a thing , Erich 's extra - large blue pin - striped suit makes him look rather absurd . HIS FATHER , CONSUL DAVIS , YESIL and ANOTHER LAWYER are seated together at the defence table conferring in low tones with each other . YESIL looks over at BILLY with a big reassuring grin , nods his head - nothing to worry about . TURKISH GIRL from the Press with a yellow legal pad , makes notes in the Spectator Gallery . Her legs flare out from a short skirt . BILLY pries his eyes away to : PROSECUTOR continuing in front of the THREE JUDGES high on an Alice in Wonderland podium wearing long black robes with scarlet collars . One of the Judges is bald , the other has his eyes closed , could be asleep . The CHIEF JUDGE in the middle has a sagging somewhat kindly face and short grey hair . A YOUNG MAN below the podium , is clacking at an ancient typewriter on a small table .</scene_description> <character>PROSECUTOR VOICE</character> <parenthetical>( OVER . )</parenthetical> <parenthetical>( continuous . )</parenthetical> <dialogue>. We must alter this image by punishing only our own drug smugglers - but by handing out foreigners who infest our culture with their depravity ungodly and behavior. We must start now - by sentencing this American, Vilyum Hi - yes, to the maximum sentence for smuggling, to be held up to the light of the world as an example of Turkish justice and its intention to halt the drug trade once and for all. I ask the Court therefore to sentence Vilyum Hi - yes to Life Imprisonment.</dialogue> <scene_description>He sits , staring malignantly at BILLY . THE JUDGES rise .</scene_description> <character>JUDGE</character> <dialogue>Thank you, Prosecutor. The Court will now recess to consider its verdict.</dialogue> <scene_description>The JUDGES exit . ANOTHER ANGLE , General commotion in the courtroom as people move about . The FATHER and DAVIS and the OTHER LAWYER consult among themselves , the FATHER vigorously nodding his head . YESIL approaches BILLY . BILLY leans forward anxiously in the dock .</scene_description> <character>BILLY</character> <dialogue>What'd the Prosecutor say?</dialogue> <character>YESIL</character> <parenthetical>( hurried . )</parenthetical> <dialogue>It's not important, just technical things. We make our case. You were very good, you spoke well. The Judge like you. It look good. Do n't worry.</dialogue> <character>BILLY</character> <parenthetical>( pressing . )</parenthetical> <dialogue>Did you ask for bail?</dialogue> <scene_description>But YESIL is called over by the other LAWYER and hurries off . A SOLDIER comes over and sits BILLY down . THE CHIEF JUDGE puts on his glasses , stands to read the verdict . YESIL , standing with the OTHERS , motions BILLY to rise . BILLY rises , tense . FATHER looks over at him , manages a reassuring smile . JUDGE continuing , after preliminaries :</scene_description> <character>JUDGE</character> <dialogue>The Defendant has been found guilty by the Court of the illegal possession of Hashish.</dialogue> <scene_description>PROSECUTOR , his expression souring , makes a gesture of defeat . We wanted a conviction for smuggling , not possession . BILLY , not understanding sees the Prosecutor 's gesture , and a hint of hope crosses his expression . JUDGE puts the paper away , looks at BILLY directly .</scene_description> <character>JUDGE</character> <dialogue>Therefore. this court sentences you, Vilyum Hi - yes to be imprisoned at Sagamilcar Prison for a term of four years and two months. This Case is now closed.</dialogue> <scene_description>BILLY looking at the JUDGE does n't understand . Thinks he might be free . But suddenly TWO SOLDIERS move in , and start chaining his hands together . He is bewildered , looking at : YESIL hastily conferring with Billy 's FATHER , more concerned about making a good impression with him than with Billy .</scene_description> <character>YESILF</character> <dialogue>Four years, two months. It's good.</dialogue> <character>FATHER</character> <parenthetical>( stunned . )</parenthetical> <dialogue>Four years!</dialogue> <character>YESIL</character> <parenthetical>( quickly . )</parenthetical> <dialogue>We appeal it.</dialogue> <scene_description>BILLY watching this , a lost look . FATHER is too shocked to do anything but look at YESIL who continues on :</scene_description> <character>YESIL</character> <dialogue>You will see, he will have maybe one year taken off this sentence for good behaviour. Remember, it is only for possession ; the prosecutor wanted life sentence for smuggling.</dialogue> <parenthetical>( a smile . )</parenthetical> <dialogue>To be honest Mr. Hayes, it is a great victory!</dialogue> <scene_description>BILLY is forcibly removed from the DOCK - in chains . THE FATHER , in the same CONFERENCE ROOM ,</scene_description> <character>FATHER</character> <parenthetical>( embarrassed . )</parenthetical> <dialogue>. With good time Billy it works out to about 3 years. then there's the appeal. Yesil, Davis, they're all working for you We're going to try to make a deal to get you transferred to a Stateside prison. And Davis thinks there might be a political amnesty any month.</dialogue> <scene_description>Stops . Knows it sounds bad . BILLY looks down .</scene_description> <character>FATHER</character> <dialogue>Look - I know it sounds tough, Billy, but we're gon na get you out.</dialogue> <scene_description>FATHER grips BILLY by the arm hard .</scene_description> <character>FATHER</character> <dialogue>I promise you, but I do n't want you to get stupid again. Pull anything. They can play with your sentence.</dialogue> <scene_description>BILLY nods , acquiescent .</scene_description> <character>FATTIER</character> <parenthetical>( his voice starting to crack . )</parenthetical> <dialogue>I'm putting $ 500 in the bank for you. Anything you need you write.</dialogue> <scene_description>BILLY nods . His FATHER points to a stack of ITEMS on the conference table , picks up a cigarette carton .</scene_description> <character>FATHER</character> <dialogue>There's food, candy, writing paper, soap, books.</dialogue> <parenthetical>( his eyes start to water . )</parenthetical> <dialogue>. cigarettes, soap, tooth - brush, there's. Jesus!</dialogue> <parenthetical>( cracks , throws down the cigarette carton . )</parenthetical> <dialogue>I been writing insurance policies on people for thirty goddamn years.</dialogue> <parenthetical>( laughs and cries at the same time . )</parenthetical> <dialogue>And now I got ta see my own son. Jesus! Jesus! If I could be where you are Billy, I'd be there. Goddamn Jesus! These bastards.</dialogue> <scene_description>HUGS HIS SON BILLY is on the verge of tears .</scene_description> <character>BILLY</character> <dialogue>DAD!</dialogue> <character>FATHER</character> <dialogue>Oh Jesus!</dialogue> <parenthetical>( sobbing . )</parenthetical> <dialogue /> <scene_description>HAMIDOU enters the room . A morbid curiosity in his expression about this show of grief . Watches a few moments , then indicating the visit is over , he taps his falaka stick lightly a few times on the hollow door . THWACK ! THWACK ! FATHER breaks the embrace with BILLY , tears streaking his cheeks . Silently indicates for him to `` Go , go Fast . '' BILLY goes , past HAMIDOU FATHER shaking his finger at HAMIDOU</scene_description> <character>FATHER</character> <dialogue>You take good care of my boy, you hear, or I'll have your fucking head, you Turkish bastard!</dialogue> <scene_description>It sputters out of his mouth , senseless to : HAMIDOU who closes the door . He has an angry glint in his eye . BILLY lies on his bunk at night deeply depressed , paler . Candlelight flutters softly against the stone walls . A PHOTO of SUSAN taken outdoors with a mountain range in the background , is on his wall with various SOAP CARVINGS of little chess piece she has designed . In the distance , very faintly coming upwards into our sound consciousness we hear a TRAIN WHISTLING in the night , on an old railroad track bypassing the prison walls . Two whistles . Chugging . Then passing off . The Midnight Express .</scene_description> <character>BILLY'S VOICE</character> <dialogue>Dear Susan. 1970 has now passed into 1971. You can drift in here and never know you're gone. You can fade so far out and you do n't know where you are anymore or where anything else is.</dialogue> <scene_description>The CAMERA DRIFTS around the SECOND STORY KOGUS revealing the sleepers : ERICH , BELL , MAX .</scene_description> <character>BILLY'S VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>I find loneliness is a physical pain which hurts all over ; you ca n't isolate it in one part of your body. I so much need your softness, your strength. I have your letters. They charge me, give me courage.News about amnesty and getting out - tangled, complicated.</dialogue> <scene_description>The CAMERA LINGERS on ZIAT in a far corner of the Kogus , top bunk , against a wall . Never secure , he shuffles in his sleep .</scene_description> <character>VOICE</character> <dialogue>I feel myself drifting more heavily into smoking hashish. The haze helps the time pass. Also I do soap carvings. Erich taught me. And I have been learning Turkish because it helps me to deal with the guards and the prisoners. I'm trying hard to maintain some sort of schedule to my life, but sometimes it seems like I'm just trying in order to try.</dialogue> <scene_description>ZIAT is evidently awake he pulls his RADIO over into the bed , and peering around to make sure no one is watching , here moves the screws from the back of it , pulls off the cover and puts in a sheaf of large denomination GERMAN MARKS : inside we briefly glimpse a wad of different - colored CURRENCIES stacked with rubber bands . COURTYARD . Volleyball game in progress . ERICH is tall and plays with dexterous grace . BILLY is fast , agile . BELL is muscular , intense , his hits power - packed .</scene_description> <character>BILLY'S VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>. In the daytimes we sometimes play volleyball against the big Turkish gangsters.</dialogue> <scene_description>THE THREE they play against are hilarious looking in this context , moving like big clumsy bears , waving their arms and screaming at each other , disorganized . Ever conscious of fashion , they have their jackets and vests off but play in their Elvis Presley shirts rolled up at the sleeves , shiny slacks , black pointed pumps . The boys wear shorts and sneakers . On the sidelines we see a group of PRISONERS laying bets and shouting encouragement . BILLY leaps up for a ball close to the net and as the TURKISH OPPONENT backs off , he dinks the ball in just over the net ; the Turk SCREAMS his teammates scream at him . BELL goes up for another ball close to the net and really SMASHES it with all his might , and : BALL bangs right into the eye of a TURK who flails his arms and SCREAMS with pain , very theatrical . THE SAME TURK now swaggers around the COURTYARD , wearing sunglasses so no one will see his black eye .</scene_description> <character>BILLY'S VOICE</character> <dialogue>To the Turks all foreigners are `` ayip'' - unclean, dirty. We do n't shave our under - arms or around our crotch.</dialogue> <scene_description>BELL across the pointyard grins at him and points him out to BILLY , and ERICH .</scene_description> <character>BILLY VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>Even the yoga I sometimes do is `` ayip'' - too suggestive.</dialogue> <scene_description>THE TURK scowls back at BELL , huddles menacingly with another TURK .</scene_description> <character>BILLY'S VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>And you're never supposed to eat with your left hand. You know why? Because that's what they use to wipe their asses with instead of toilet paper. And yet they hate pigs. There are no pigs in Turkey. They're considered dirty.</dialogue> <scene_description>BELL , smirking at the Turk , turns and walks away .</scene_description> <character>BILLY VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>So is homosexuality. That's a big crime here but most of them do it every chance they get. There are about a thousand things that are `` ayip''. But they're really so hypocritical, like children breaking the rules. For instance.</dialogue> <scene_description>Suddenly a CRY OFF and : THE TURK runs up , pulling a sharp SHIV from his pants , and using the cloth as a handle he repeatedly STABS BELL in the ass and backs of his thighs . One , two , three , four , five QUICK STABS , like a cook hammering veal . In spite of its violence , the action seems like slapstick . BELL tumbles to the ground , crying out . THE TURK stashes the shiv and disappears among his FRIENDS , his honor restored . BILLY and ERICH run over to help BELL who is obviously more in pain than in danger .</scene_description> <character>BILLY VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>. You can stab or shoot some body the but not above the waist because that's intent to kill. So everybody runs around stabbing everyone else in the ass. That's what they call ` Turkish revenge'. There's also a lot of `` Baksheesh'' that's a favorite Turkish word for bribery.</dialogue> <scene_description>LONG SHOT - HAMIDOU and ASLAN the young fat Turkish gangster pointed out previously by Erich , are taking tea together in the FIRST STORY KOGUS alone except for ZIATR and Hamidou 's two FAT SONS , 7 and 8 years old , both dressed in little suits listening politely as Hamidou gestures to them , in couched terms . The voices are distant and , after a few beats , UNDER BILLY 'S VOICE :</scene_description> <character>HAMIDOU</character> <dialogue>Unfortunately my youngest son Arief is having problems with his teeth ; he needs braces, but dentists are so expensive these days</dialogue> <character>ASLAN</character> <parenthetical>( patting Arief on the head . )</parenthetical> <dialogue>Poor kid. You know I have a friend, a very good friend ; he's a dentist ; maybe he could get you some braces at a. reasonable price.</dialogue> <character>HAMIDOU</character> <parenthetical>( protesting with his hands , shaking his head . )</parenthetical> <dialogue>. -RRB- Oh, no. it's out of the question. would n't want to ask your friend.</dialogue> <character>ASLAN</character> <dialogue>Yes. Please! As a favour. I insist</dialogue> <scene_description>They go on , each protesting .</scene_description> <character>BILLY VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>Hamidou hints that he needs new braces for one of his sons. Aslan of course has a friend who's a dentist. They bullshit for half an hour and Hamidou finally accepts the `` Baksheesh'' in return.</dialogue> <scene_description>A BURLAP BAG comes flying over the WALL of the COURTYARD late at NIGHT . Then another comes over , lands in the yard . one is around .</scene_description> <character>BILLY VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>Dope and all kinds of shipments get delivered to Aslan, who re - sells it through his runners. People like Ziat. But one night, it backfired.</dialogue> <scene_description>A THIRD BAG comes over , gets caught on a hooknail and rips right open . HUNDREDS of yellow PILLS spill out . COURTYARD . The SUN is just coming up in the East . PRAYER can be heard in the distance . Thousands of bombers are scattered all over the courtyard .</scene_description> <character>BILLY VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>There were thousands of yellow nembutols. Aslan as usual had the privilege of going into the courtyard before anybody else to pick up his stuff but.</dialogue> <scene_description>ASLAN arguing vehemently with a GUARD , in his ragged uniform , who wo n't open the cell of the FIRST FLOOR KOGUS into the courtyard .</scene_description> <character>BILLY'S VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>. it happened to be a new guard that day and he did n't understand the system.</dialogue> <character>GUARD</character> <dialogue>No. It's too early.</dialogue> <character>ASLAN</character> <dialogue>Open the fucking Gate, you asshole! Do you know who I am? You want to get in trouble!</dialogue> <character>GUARD</character> <parenthetical>( angry . )</parenthetical> <dialogue>Hey, I your mother! Get back to your bunk.</dialogue> <scene_description>ASLAN , red in the face , steps back , suddenly pulling out a little REVOLVER . He promptly shoots the GUARD in both legs and stalks back towards his bunk . PRISONERS rushing out into the COURTYARD , scrambling for the windfall of free nembutols . THE PRISON DIRECTOR , A balding unimpressive looking man in a western suit , is calling up the circular stone STAIRS to the second story Kogus from the first story . With him are several GUARDS , equally reluctant to move forward . Hamidou is absent .</scene_description> <character>PRISON DIRECTOR</character> <dialogue>Aslan. be reasonable. Come down and talk.</dialogue> <character>ASLAN</character> <parenthetical>( OFF . )</parenthetical> <parenthetical>( from second story . )</parenthetical> <dialogue>You come up here and talk!</dialogue> <character>PRISON DIRECTOR</character> <parenthetical>( not moving . )</parenthetical> <dialogue>Aslan. if you give up the gun, you can keep the bullets</dialogue> <character>BILLY'S VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>A week later Aslan had a new gun.</dialogue> <scene_description>A PHOTOGRAPHER , seedy looking , readies a big old fashioned box of a CAMERA . He snaps the shutter on :</scene_description> <character>BILLY'S VOICE</character> <dialogue>I know all this must sound crazy to you, but this place is crazy.</dialogue> <scene_description>ASLAN and a group of FELLOW GANGSTERS , all impeccably dressed and grinning for camera , fresh from their victory . BILLY , ERICH , MAX , form their own group ; in contrast to the Turks , none of them are smiling , MAX has his YOUNG CAT in hand . The PHOTOGRAPHER is lining up his shot , posing them like actors .</scene_description> <character>BILLY</character> <parenthetical>( continuous . )</parenthetical> <dialogue>Everything is `` sula - bula'' which means `` like this, like that'' - you never know what will happen. One day one of the new kids was raped in the children's kogus, so they picked out six of the worst kids.</dialogue> <scene_description>COURTYARD . GUARDS pull out SIX KIDS by the ears from a line - up . CLOSE KID being pinned onto his back on the floor in CHILDREN 'S KOGUS : then he is bent over double by a wooden bench ; and TWO GUARDS sit on each end of the bench , holding him down . A silence , HAMIDOU appears in a hat and mohair suit with narrow lapels , accompanied by his two little fat SONS , also in their Sunday best . With a ceremonious solemnity , HAMIDOU takes off his jacket , hat , vest , hands them to his sons . BILLY watches through the WINDOW with OTHER PRISONERS . HAMIDOU is passed a falaka stick . He raises it high in the air and begins to whack at the buttocks , legs , and feet of the SCREAMING KID . ANOTHER ANGLE - On this cue , the five GUARDS on the other benches begin whacking away ; the KIDS squirm , scream , struggle but the GUARDS sitting on the of the benches brace their legs farther apart to keep their balance , In immediate background , the other KIDS watch , scared . THE TWO SONS with wide - eyed but passive expressions , stare at their father at work . HAMIDOU beating his VICTIM , screams out :</scene_description> <character>HAMIDOU</character> <dialogue>PIS! PIS''.</dialogue> <parenthetical>( `` Obscene , filthy '' . )</parenthetical> <dialogue /> <scene_description>Then stops . HAMIDOU is handed back his vest , jacket and hat by his SONS : Puts them on ever so neatly and leads them off as if on a Sunday stroll leaving the CRYING behind . On their backs , we hear , placidly :</scene_description> <character>HAMIDOU</character> <dialogue>You see Mamur, Mamet - what happens when you're not a good boy.</dialogue> <character>BILLY VOICE</character> <parenthetical>( continuos . )</parenthetical> <dialogue>Then there's Ziat. The more I know of him.</dialogue> <scene_description>TEN DOLLAR BILL exchanging HANDS . The dirty nails of ZIAT clutch the bill , waving it to the candlelight to see if it is authentic his milky white EYE across the BILL . He is next to his bunk at night .</scene_description> <character>BILLY VOICE</character> <dialogue>the more hate him.</dialogue> <scene_description>MAX and BILLY are next to him , MAX eagerly gouging with his knife into a small bar of SOAP : PULLS out a ball of HASHISH inside , neatly concealed . Brings it up to his NOSE , sniffing . ANOTHER ANGLE - BILLY is watching with glazed eyes - stoned . Approving of the $ 10 , tucks it into his belly cloth looking over and scowling at : MAX 'S YOUNG CAT on his bunk scratching playfully at one of his wool sweaters . ANOTHER ANGLE MAX holding the ball of hash :</scene_description> <character>MAX</character> <dialogue>Ten dollars for this shit? You greedy one - eyed git.</dialogue> <character>ZIAT</character> <dialogue>NO! Is good!</dialogue> <parenthetical>( gets his English wrong . )</parenthetical> <dialogue>Me good shit.</dialogue> <parenthetical>( Meaning my shit is good . )</parenthetical> <dialogue /> <character>MAX</character> <dialogue>No! You big shit!</dialogue> <scene_description>ZIAT thinking MAX is correcting his English , nods and repeats :</scene_description> <character>ZIAT</character> <dialogue>Yeah! Efe big shit.</dialogue> <scene_description>BILLY and MAX snigger and ZIAT realizes they are making fun of him . He hates that and suddenly reaches over and :</scene_description> <character>ZIAT</character> <dialogue>JAAAASH!</dialogue> <scene_description>SHAKES THE CAT hard off his bunk . A SQUEAL from the cat . MAX surprised , glares at Ziat .</scene_description> <character>MAX</character> <dialogue>You asshole!</dialogue> <scene_description>Then hurries after it , calling its name .</scene_description> <character>MAX</character> <dialogue>Hikmet come here boy. Hikmet</dialogue> <scene_description>ZIAT shrugs . So what ?</scene_description> <character>BILLY</character> <parenthetical>( irritated . )</parenthetical> <dialogue>What is it with you man, what the hell is it?</dialogue> <character>ZIAT</character> <dialogue>Cat, ah! Ayip!</dialogue> <character>BILLY</character> <dialogue>You're ayip!</dialogue> <character>ZIAT</character> <parenthetical>( glares at him , then lets it go . )</parenthetical> <dialogue>Look, you do n't fuck with me, I do n't fuck with you, right?</dialogue> <character>BILLY</character> <dialogue>But you fuck with me. You fuck with me all the time. You make crummy tea. You rip us off on the hash.</dialogue> <character>ZIAT</character> <parenthetical>( amused . )</parenthetical> <dialogue>I make special tea for you, Hiyes, okay? We've to live like brothers. We have to be in here together.</dialogue> <character>BILLY</character> <parenthetical>( tired of it . )</parenthetical> <dialogue>Oh shove it, Ziat for all the money you have, you have nothing!</dialogue> <scene_description>ZIAT grins , shrugs , squats and fiddles with his keys and footlocker .</scene_description> <character>ZIAT</character> <dialogue>You ` Merican. You do n't know.</dialogue> <scene_description>BILLY watches , repulsed and fascinated .</scene_description> <character>BILLY</character> <dialogue>Know what?</dialogue> <character>ZIAT</character> <dialogue>Was.</dialogue> <parenthetical>( makes gesture with his fingers . )</parenthetical> <dialogue>. seven years old. I was on street in Suk. Buy. Sell. No family to take care. I learn.</dialogue> <character>BILLY</character> <dialogue>Learn what?</dialogue> <scene_description>ZIAT shrugs . He thinks BILLY is an idiot .</scene_description> <character>ZIAT</character> <dialogue>Dog eat dog, Hi - yes. You fuck other man before he fuck you.</dialogue> <parenthetical>( grins . )</parenthetical> <dialogue>And you must fuck last.</dialogue> <character>BILLY</character> <dialogue>That's a great philosophy.</dialogue> <character>ZIAT</character> <parenthetical>( shakes his head . )</parenthetical> <dialogue>You ` Merican. You do n't know.</dialogue> <scene_description>MAX has followed his cat down to the end of the floor but it has run up into a rafter which he can not reach . He calls up .</scene_description> <character>MAX</character> <dialogue>Here Hikmet! Come down here boy! Hikmet.</dialogue> <scene_description>RAFTER Nothing . Max gives up .</scene_description> <character>MAX</character> <dialogue>Sodding cat!</dialogue> <scene_description>He shuffles off back to his bunk . THE CAT is back on ZIAT 'S BUNK - NIGHT scratching with his paw around the radio . of the neck , hard . Suddenly he is GRABBED by the scruff of the neck , hard . BILLY jerks up from his bunk as he the hears a loud , piercing SCREECH , OFF , echoing through the Kogus . Then silence . ZIAT , industrious as always , is preparing his tea on the three burners of the small bottled gas ' stove in THE KITCHEN , FIRST FLOOR Kogus ; needless to say the area is filthy with scraps all over the floor , cats and two large wooden eating tables occupied by some PRISONERS . The Kitchen opens up in background into a WASHING ROOM with SINK . It is EARLY MORNING - Muslim CHANTING OFF , THREE TURKISH PRISONERS walk in , talking -LRB- AD LIB -RRB- , followed by MAX stoned , who shuffles over to the table , about to sit , sees something . HIS CAT , dead stabbed , and lying there neglected in the corner , just another scrap ready to be swept out . ZIAT calmly pours the tea for the table , paying MAX no attention , an excellent actor . Prominently seated , however , is a GUARD . MAX quietly glares at ZIAT and the Guard but says nothing ; he has been in prison long enough to know how to hold it in . ANOTHER ANGLE MAX - silently walks over and gently picks up the corpse in his arms , starts to walk out . BILLY listening impassively to : YESIL the lawyer . They are in a booth in the VISITING CAMBER . Bars separate prisoner and visitor .</scene_description> <character>YESIL</character> <parenthetical>( smiling . )</parenthetical> <dialogue>The new American Ambassador here is following your case very closely. He says there is progress. But there is another route that is quite possible.</dialogue> <parenthetical>( lowers his voice and leans close . )</parenthetical> <dialogue>. For the proper amount of money it is possible I can convince certain officials to lose track of your papers before the High Court in Ankara confirms the sentence of the Lower Court in Istanbul. You would not exist ; and you could be in Greece by the time the Turkish courts discovered a stupid clerical mistake. But I have to act before the official sentence is handed down, and for that I must pay certain officials in advance.</dialogue> <scene_description>BILLY closes his eyes as YESIL 'S VOICE drones on , explaining the details , the cast , the simplicity Of it , FADING OUT BILLY walking the COURTYARD counting his paces 48 , 49 , 50 Turns , goes back .</scene_description> <character>SUSAN'S VOICE</character> <dialogue>My dearest Billy. I know it is long and it is hard for you, but your family and I are thinking about you all the time. I am trying hard to make enough money nights to come and see you. Your father says that lawyer Yesil wants another $ 2000. I know you distrust him more and more, but your father wants to do everything he can, and he is borrowing all he can on the mortgage of the house. Money seems to be the only way out of there. Except of course the other way.</dialogue> <scene_description>BILLY , MAX and BELL -LRB- bandaged around the ass from the stabbing -RRB- are huddled around BELL 's BUNK late NIGHT candle burning , a sheet sealing off some of the kogus . Bell furtively looks around , pulling out and elaborately unfolding a set of DRAWINGS from a pack of letters .</scene_description> <character>SUSAN'S VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>. But I can not say I am for it. Nor are your parents. They consulted the priest, and he said to send you money for that reason would be like sealing your death.</dialogue> <character>BELL</character> <parenthetical>( excited . )</parenthetical> <dialogue>The blueprints!</dialogue> <character>MAX</character> <dialogue>To what?</dialogue> <character>BELL</character> <dialogue>The prison, man. There was this German cat an architect in the hospital. He was helping the Turks build some shit round the place. I laid some bread on him and he let me copy them.</dialogue> <scene_description>BILLY , puzzled , turns the drawings upside - down , sideways . THE DRAWINGS are a lunatic mess of scrambled lines , dots , crosses . ANOTHER ANGLE MAX and BILLY , trying to follow the map , look at each other dubiously .</scene_description> <character>MAX</character> <dialogue>Too bad you did n't have a machine.</dialogue> <character>BELL</character> <parenthetical>( intent . )</parenthetical> <dialogue>There's two ways out I figger - over the roof, but that's only one person, maybe two. The other way is Under.</dialogue> <character>BILLY</character> <dialogue>Tunnel?</dialogue> <character>BELL</character> <parenthetical>( grins . )</parenthetical> <dialogue>It's already built! There's a basement substructure where they used to keep weapons and stuff, but beneath that there's these old catacombs that the Christians built ` bout a thousand fucking years ago to bury their dead. We're sitting right on top of it - here.</dialogue> <scene_description>INSERT DRAWING , illustrating roughly the structure of the prison . His FINGER tracing , bubbling with nervous enthusiasm .</scene_description> <character>BELL</character> <parenthetical>( OVER . )</parenthetical> <dialogue>The Kraut said there's a whole bunch of hollow sealed shafts sort of like dumbwaiters running along this wall ; one of them is right in there, right next to our shower. We get in there, he says, we can get down into the catacombs. With three of us working.</dialogue> <parenthetical>( stops . )</parenthetical> <dialogue /> <scene_description>MAX is standing , tapping on the wall , listening , a funny look on is face .</scene_description> <character>MAX</character> <dialogue>Got ta be here someplace. Thought I heard a couple of dead Christians singing down there.</dialogue> <scene_description>ANOTHER ANGLE</scene_description> <character>BELL</character> <parenthetical>( irritated . )</parenthetical> <dialogue>Stop shitting me, man!</dialogue> <character>BILLY</character> <parenthetical>( trying to be serious . )</parenthetical> <dialogue>But how would you get into the shaft, Jimmy?</dialogue> <character>MAX</character> <dialogue>I suppose you knock three times and ask for St. Peter.</dialogue> <character>BELL</character> <parenthetical>( turning on Max . )</parenthetical> <dialogue>Hey! I'm getting this together man and I do n't need no fucking Gastro - head along on this trip!</dialogue> <parenthetical>( a fierce look at Max then back to Billy . )</parenthetical> <dialogue>We go through the wall.</dialogue> <character>BILLY</character> <parenthetical>( a resigned look on his face . )</parenthetical> <dialogue>We go through the wall?</dialogue> <character>MAX</character> <parenthetical>( quite sure Bell is out of his skull . )</parenthetical> <dialogue>We go through the wall.</dialogue> <scene_description>BELL between BILLY and MAX walking in the COURTYARD continuing intently :</scene_description> <character>BELL</character> <dialogue>The Kraut was right! I checked it out - there's no reinforced steel in those bath walls. They're real soft from underground seepage -</dialogue> <scene_description>BELL reaches the wall , turns around and continues Lowers his voice occasionally as other PRISONERS intersect them .</scene_description> <character>BELL</character> <parenthetical>( gesturing profusely . )</parenthetical> <dialogue>- the water like'' ` weeps'' through the cement, see. Twenty, thirty years, you can almost push it over. All we do is use Gastrohead's screwdriver here and scrape the mortar out. Pull out 2, 3 stones, squeeze through, put'em back, and get our ass down the shaft, It's a two night operation, maybe three.</dialogue> <character>MAX</character> <dialogue>And what do you do when you in the catacombs?</dialogue> <character>BELL</character> <dialogue>The catacoombs? Whaddya want, a door? There's miles of em like a sewer system but they got to come up someplace in Istanbul.</dialogue> <scene_description>Max is fed up with it now , no longer joking .</scene_description> <character>MAX</character> <dialogue>You got ta be fucking crazy! You got stabbed in the ass once too much, sweetheart, cause you're gon na end up in Section 13, that's what - not the ` catacombs.</dialogue> <character>BILLY</character> <dialogue>Section 13?</dialogue> <character>MAX</character> <parenthetical>( looking at Bell . )</parenthetical> <dialogue>Yeah, for the criminally insane.</dialogue> <parenthetical>( looks at Billy . )</parenthetical> <dialogue>I was there once for two weeks and it ai n't an illusion. It's awful. Namidou runs it like a death camp, that's where he spends most of his time.</dialogue> <character>BILLY</character> <dialogue>Where is it?</dialogue> <character>MAX</character> <dialogue>I don' t know. It's someplace down in there.</dialogue> <parenthetical>( points at the ground . )</parenthetical> <dialogue>. deep. A big door. a wheel.</dialogue> <scene_description>His eyes go back in time , haunted , vague breaks off . ANOTHER ANGLE</scene_description> <character>BELL</character> <parenthetical>( low - keyed . )</parenthetical> <dialogue>Hey, you know what's gon na get us out of here? It's not a map, Max. It's our balls. You know what I mean.</dialogue> <parenthetical>( straight at Max , Billy , very sincere , his eyes almost watering . )</parenthetical> <dialogue>. I got ta get laid man, I do n't know ` bout you guys, but if I do n't get it on soon, I'm. I'm not gon na make it.</dialogue> <character>MAX</character> <parenthetical>( under his breath . )</parenthetical> <dialogue>Shit.</dialogue> <character>BELL</character> <dialogue>Billy?</dialogue> <character>BILLY</character> <dialogue>The roof sounds better to me than digging through a wall. Ziat's round there all the time. But the roof.</dialogue> <parenthetical>( looks up . )</parenthetical> <dialogue /> <scene_description>P.O.V. - THE ROOF , its edges visible over the courtyard . BILLY shakes his head .</scene_description> <character>BILLY</character> <dialogue>The bullet percentage is awful high.</dialogue> <scene_description>A pause . BILLY looks away from BELL 'S stare .</scene_description> <character>BILLY</character> <dialogue>If I get caught, Jimmy, I'm facing another months. I'd be back up to 3 years, maybe more.</dialogue> <scene_description>Looks down . BELL understands , deeply disappointed .</scene_description> <character>BELL</character> <dialogue>Well fuck it! Choose your own death, babe, I'm taking the roof out of here!</dialogue> <scene_description>Bell leaves : A LONG DUNGEON CORRIDOR at the end of it , the frame of a small ; DOOR , cracks of light at its edges . TRACK IN - F.X. of a siren , capture and now BEATING - heavy beating from behind that door . CLOSER we reach it . The door FLIES OPEN and HAMIDOU is glimpsed lighting a cigarette . Like a surreal dream , his hand holding the match has a thick LEATHER THONG bound around its knuckles and blood speckled on his fingers . A BLUR of foreground movement a GUARD coming out the door - dragging : BELL by the hair across the floor . His face contorting in agony .</scene_description> <character>BILLY'S VOICE</character> <dialogue>Dear Susan. Poor Jimmy was caught and beaten so badly he got a severe hernia and lost a testicle. He's been in the hospital for months having operations.</dialogue> <scene_description>CLOSE BILLY 'S TOOTH BEING PULLED</scene_description> <character>BILLY VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>. In comparison my problems seem very small. But two and a half years have now gone by, and in their own fashion, the Turks are slowly draining my life away.</dialogue> <scene_description>WIDEN to a STONE CHAMBER and a crazy looking DENTIST in a filthy long white smock , puffing on a cigarette holder , his ashes falling over Billy as he works his mouth . A motorized drill is plugged into the wall , adjacent a filthy spittoon covered with blood ; dried blood is spattered liberally around the chamber . BILLY spits out the blood and looks in the mirror .</scene_description> <character>BILLY'S VOICE</character> <dialogue>I have problems with my stomach and my leg muscles feel very weak. My gums seem to be shrinking and they sometimes bleed when I massage them. They've pulled five of my teeth.</dialogue> <scene_description>Suddenly he starts SHOUTING angrily in TURKISH . The DENTIST screams back at him . AD LIB . THE DENTIST still screaming , leans BILLY back in the chair and looks in his mouth .</scene_description> <character>BILLY'S VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>. sometimes they null the wrong one.</dialogue> <scene_description>BILLY is washing himself in his undershorts at the SINK with ERICH ; the hot water is on full blast and billows of vapor fill the small stone room , like a sauna . He pours a pitcher full of hot water over his head ; his eyes lingering on : THE STONES of the wall with their cracked moldings ; some areas are noticeably darker than others - Bell 's `` wet spots '' , the alternate escape route .</scene_description> <character>BILLY VOICE</character> <parenthetical>( continuos . )</parenthetical> <dialogue>. even my dreams do n't seem to work any more. Because the outside does n't seem real any more. It's not even a fantasy. because there is no fantasy.</dialogue> <scene_description>ERICH uses a coarse washing sponge on BILLY 's back .</scene_description> <character>BILLY'S VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>Even masturbation has become boring. It teaches you, like the rest of prison life, to seal up your emotions, and this is the greatest danger, this is what makes so many of the men change into something monstrous.</dialogue> <scene_description>EYES of the ARABS peer through the musky vapors at Billy and Erich ; they loll about the door curious , lecherous for their bodies . ERICH massaging BILLY on his bunk in the SECOND STORY KOGUS .</scene_description> <character>BILLY VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>It is Erich who has taught me how it is to be conscious, to channel and direct my energy. He has convinced me to stop smoking hashish, he is the calmest man I have ever known. If you do n't control your energy in here if can blow you apart like with Bell. And you ca n't waste it either. You have to weigh up every one of your actions - for and against. Too little sex, too much sex either will throw you off balance.</dialogue> <scene_description>ERICH leans forward and kisses a tentative BILLY on the lips . A gentle kiss . They are standing inside the TOILET STALL ; lower themselves down onto the seat . ERICH looks back over his shoulder , guarding their privacy . It is late NIGHT .</scene_description> <character>BILLY VOICE</character> <parenthetical>( continuously . )</parenthetical> <dialogue>. he has taught me about feelings, and the need to express them. And he has taught me about love.</dialogue> <scene_description>BILLY closes his eyes , softly - and with hesitation - returns ERICH 's caress . Their hands probe each other 's bodies .</scene_description> <character>BILLY VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>. and what love really is, beyond its physical forms. I think up to now I have only considered my own self, never really another.</dialogue> <scene_description>ERICH and BILLY do yoga positions together EARLY MORNING fully clothed , in the FIRST FLOOR KOGUS empty space . ERICH lies on his belly , his back stiffly arched , feet raised . BILLY stands silent , balanced lightly on his feet , his palms pressed together beneath his chin , centering , eyes closed .</scene_description> <character>BILLY VOICE</character> <dialogue>and now strange as it seems, Susan, without having seen you in so long I feel myself more inside of you than ever before. I feel your female mind. I sense you, touch you ;. know you ; and find myself falling more and more. in love with you.</dialogue> <scene_description>BILLY rises gracefully onto his toes , stretching his arms out above his head . It is the beginning posture , his body greeting the day . BILLY and ERICH sit silently now in lotus position , facing each other , breathing slowly , relaxing minds still , looking into each other 's eyes . Billy closes eyes .</scene_description> <character>BILLY</character> <parenthetical>( chant - like , gathering momentum . )</parenthetical> <dialogue>A prison a monastery a cloister a cave, Prison monastery cloister cave, Prison monastery cloister cave, Prison monastery cloister cave, Prison monastery cloister.</dialogue> <scene_description>SOUND OFF , interrupting the clomp of FOOTSTEPS on the STAIRS . ZIAT comes down , staring at the two of them as he goes into the KITCHEN to prepare early morning tea . BILLY 's expression changes .</scene_description> <character>BILLY</character> <dialogue>Prison.</dialogue> <scene_description>Rises from his position . THE SUN flowering up over ISTANBUL . BILLY rises from his BUNK to the chanting drone of `` Allah Wakbah '' OFF , and moving to the closest wall , takes out an old wet rag .</scene_description> <character>BILLY'S VOICE</character> <dialogue>Dear Susan. Erich has been transferred to a prison back in Sweden. He has profoundly affected my life and though I am lonely without him I am calmer than ever.</dialogue> <scene_description>BILLY erases out a scraped numeral -LRB- 54 -RRB- on the wall and with a chalky piece of rock , inscribes in bold strokes the numberal : 53</scene_description> <character>BILLY'S VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>Though I only have 53 days left, I feel I have never been so well adjusted to prison and to living as now.</dialogue> <character>BELL</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Allah fuck Off!</dialogue> <scene_description>JIMMY BELL wakes , hearing the perpetual `` Allah Wakbah '' CHANT .</scene_description> <character>BELL</character> <dialogue>Asina Covaciml.</dialogue> <parenthetical>( I stick it in his mouth . )</parenthetical> <dialogue /> <scene_description>He is noticeably pale and weaker than before .</scene_description> <character>BILLY'S VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>. Poor Jimmy.</dialogue> <scene_description>BILLY cuts hair in the FIRST FLOOR there with a disturbed tight look on his face , work with a pocket mirror . BELL sits inspecting the</scene_description> <character>BILLY VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>. Though his health is bad he still wo n't give up.</dialogue> <scene_description>GUARD approaching with a slip in hand .</scene_description> <character>BILLY'S VOICE</character> <parenthetical>( continuous . )</parenthetical> <dialogue>. He still talks of escape.</dialogue> <scene_description>THE GUARD hands the slip to BILLY who is pleasantly surprised . A visitor . BILLY , walking down and turning a CORRIDOR into : in the PRISON , following a GUARD and turning into : THE VISITING ROOM where the little booths with BARS separate prisoner and visitor . Behind the grill is the Consul , STANLEY DAVIS . His face is grim and grey . BILLY senses it immediately .</scene_description> <character>BILLY</character> <dialogue>What's wrong?</dialogue> <character>DAVIS</character> <dialogue>Sit down a moment, Billy. I'm afraid I have some bad news for you.</dialogue> <scene_description>BILLY sits , tense .</scene_description> <character>BILLY</character> <dialogue>Something happen to Dad? Mom?</dialogue> <scene_description>DAVIS swallows hard , not to say it</scene_description> <character>DAVIS</character> <dialogue>No. It looks like your going to have a new court.</dialogue> <character>BILLY</character> <dialogue>What do you mean?</dialogue> <character>DAVIS</character> <dialogue>The Prosecutor objected to your sentence for possession ; he wanted a smuggling conviction and the High Court in Ankara reviewed it.</dialogue> <scene_description>ANOTHER ANGLE</scene_description> <character>BILLY</character> <dialogue>And?</dialogue> <character>DAVIS</character> <dialogue>We've been notified that they rejected the sentence.</dialogue> <scene_description>Billy 's face drains of all expression .</scene_description> <character>DAVIS</character> <parenthetical>( continuing . )</parenthetical> <dialogue>There were 35 judges on the High Court. Twenty eight of them voted for a life sentence.</dialogue> <scene_description>BILLY 'S EYES . Numb , dazed , surreal .</scene_description> <character>DAVIS</character> <parenthetical>( OFF . )</parenthetical> <dialogue>The Lower Court in Istanbul will have to go along with the decision. The Judge likes you and he'll do the only thing he can do under the law. He'll reduce the sentence to thirty years. We're notified. Billy.</dialogue> <scene_description>Suddenly he is GRABBED by his ivy - league striped tie and his face is yanked up to the bars , his glasses falling off . BILLY is berserk , his face right up against the bars , GRIPPING Davis tight .</scene_description> <character>BILLY</character> <dialogue>What do you mean LIFE FOR FOR WHAT! FOR WHAT!</dialogue> <character>DAVIS</character> <parenthetical>( choking . )</parenthetical> <dialogue>Billy! Please!</dialogue> <scene_description>Commotion OFF as GUARDS run in , HAMIDOU in the lead .</scene_description> <character>BILLY</character> <dialogue>FOR WHAT! FOR WHAT!</dialogue> <scene_description>The GUARDS try to pry loose BILLY 'S strangling grip ON DAVIS ' tie .</scene_description> <character>BILLY</character> <dialogue>I HAVE FIFTY THREE DAYS LEFT!</dialogue> <scene_description>HAMIDOU takes out a KNIFE and cuts the consul 's tie in half . DAVIS falls backwards . BILLY is hauled now . back , still gripping half the tie . He is trembling now .</scene_description> <character>BILLY</character> <dialogue>I HAVE FIFTY THREE DAYS LEFT!</dialogue> <scene_description>DAVIS is shaken . He has red bar marks across his face and is absent - mindedly trying to adjust half a tie as he looks at : BILLY being hauled out by HAMIDOU , SCREAMING something indistinct . COURTROOM . Same as before . BILLY , in the prisoner 's dock , addresses the Court ; as he speaks , a Turkish TRANSLATOR . drones underneath his voice level :</scene_description> <character>BILLY</character> <dialogue>What is the crime? And what is the punishment? The answer seems to vary from place to place, and from time to time. What's legal today is suddenly illegal tomorrow cause some society says it's so ; and what's illegal yesterday all of a sudden gets legal today because everybody's doing it and you ca n't throw everybody in jail. Well I'm not saying this is right or wrong. It's just the way things are.</dialogue> <scene_description>YESIL the lawyer ; DAVIS the consul . THE PRESS GIRL from the previous trial in the short skirt . BILLY</scene_description> <character>BILLY</character> <parenthetical>( continuous . )</parenthetical> <dialogue>But I spent the last three and a half years of my life in your prison and I think I paid for my error and if it's your decision today to sentence me to more years, I. I.</dialogue> <parenthetical>( a break . )</parenthetical> <dialogue>You know my lawyers told me ` be cool Billy do n't get upset, do n't get angry, if you're good I can maybe get a pardon, an amnesty, an appeal, this that and the other thing.' Well that's been going down now for 35 years.</dialogue> <scene_description>YESIL looks over , surprised he is talking like this . Looks at DAVIS . BILLY .</scene_description> <character>BILLY</character> <parenthetical>( continuous . )</parenthetical> <dialogue>And I've been playing it cool and I've been good and now I'm damn tired of being good cause you people gave me the belief that I had 53 days left. You hung 53 days in front of my eyes and then you took those 53 days away, and Mister Prosecutor! I just wish you could.</dialogue> <scene_description>PROSECUTOR looks over , through his dark green glasses .</scene_description> <character>BILLY</character> <parenthetical>( OVER . )</parenthetical> <dialogue>stand right here where I'm standing and feel what that. feels like, cause then you'd know something you do n't know you'd know what means, Mister Prosecutor and you'd know the concept of a society is based on the quality of its mercy means, of its sense of fair play, its sense of justice. but.</dialogue> <parenthetical>( shrugs and scoffs at himself . )</parenthetical> <dialogue>I guess that's just like asking a bear to shit in a toilet.</dialogue> <scene_description>TRANSLATOR stops , looks puzzled . BILLY</scene_description> <character>BILLY</character> <parenthetical>( same self - mocking tone . )</parenthetical> <dialogue>For a nation of pigs, it's funny you do n't eat them. Fuck it, give me the sentence. Jesus forgave the bastards, but I ca n't. I hate you. Nation. I hate your I hate your people. And I fuck your sons and daughters!</dialogue> <scene_description>Sits down , disgusted ; under his breath :</scene_description> <character>BILLY</character> <dialogue>cause you're all pigs.</dialogue> <scene_description>SILENCE in the uncomfortably . courtroom . PEOPLE looking at each other DAVIS looks down . YESIL flips some pages abstractedly .</scene_description> <character>TRANSLATOR</character> <dialogue>Would Your honor like me to translate?</dialogue> <scene_description>THE OLD CHIEF JUDGE , the same one as before Shakes his head .</scene_description> <character>JUDGE</character> <dialogue>That wo n't be necessary</dialogue> <scene_description>ANOTHER ANGLE - THE JUDGE turns to BILLY in the foreground rises , and unexpectedly crosses his wrists out in front of him .</scene_description> <character>JUDGE</character> <parenthetical>( emotionally . )</parenthetical> <dialogue>My hands are tied by Ankara!</dialogue> <scene_description>Makes the gesture of the hands forcefully , with anger .</scene_description> <character>TRANSLATOR</character> <parenthetical>( OFF . )</parenthetical> <dialogue>My hands are tied by Ankara!</dialogue> <scene_description>BILLY WATCHING ,</scene_description> <character>JUDGE</character> <parenthetical>( OFF . )</parenthetical> <dialogue>I must sentence you, Vilyum Hiyes.</dialogue> <scene_description>JUDGE</scene_description> <character>JUDGE</character> <dialogue>to be imprisoned at Sagamilcar for a term no less than thirty years. Getchmis olsun</dialogue> <character>TRANSLATOR</character> <parenthetical>( OFF . )</parenthetical> <dialogue>`` I must sentence you, Vilyum Hiyes, to be imprisoned at Sagamilcar for a term no less than years. `` Getchmis Olsun''</dialogue> <scene_description>As he translates , the JUDGE unable to control his emotion exits rapidly , not looking at Billy , followed by the TWO OTHER JUDGES .</scene_description> <character>TRANSLATOR</character> <parenthetical>( OFF . )</parenthetical> <dialogue>`` May it pass quickly.''</dialogue> <scene_description>THREE OLD GLEANING WOMEN swathed in black like three fates turn from their sweeping as BILLY is led out COURTROOM NUMBER SIX down a long stone corridor . Dust floats through long slanting shafts of yellowish light , like a striped leotard dream . BILLY walks , his eyes straight ahead - determined .</scene_description> <character>SONG OVER</character> <parenthetical>( BELL . )</parenthetical> <parenthetical>( old Southern blues beat , improvised . )</parenthetical> <dialogue>`` Mmmmm. got the blues babe, Got those old Istanbul blues, Said Yeah, I got the blues babe Got those old Istanbul blues. Thirty years in Turkey, babe, Ai n't got nothing left to lose.''</dialogue> <scene_description>BELL sings it , strumming sloppily but with feeling on his guitar . BILLY lies , his back up , on his BUNK nearby . MAX , stoned , sits at the base of the bunk . It is NIGHT . The song falters , but MAX now joins in , improvising :</scene_description> <character>SONG OVER</character> <parenthetical>( MAX AND BELL . )</parenthetical> <dialogue>`` Busted at the border Two keys in my shoes Said I was busted at the border with two keys in my shoes An they gave me thirty years, babe To learn the old Istanbul blues.''</dialogue> <scene_description>SEVERAL TURKS are partying it up down at the other end of the SECOND FLOOR KOGUS , playing a `` sas '' - Turkish type guitar , counterpointed by a little drum ; the music is stridently Turkish , and one of the men does a belly - dance in underpants with two lemons masquerading as breasts under his shirt . The LOUD TWANGING of Bell 's GUITAR can be heard OFF , interrupting them . They are annoyed . BELL leading MAX into the next stanza :</scene_description> <character>SONG OVER</character> <parenthetical>( MAX AND BELL . )</parenthetical> <dialogue>`` I said Lord now save me Please save me from this pain''</dialogue> <scene_description>BILLY , touched - listening , thinking .</scene_description> <character>SONG OVER</character> <parenthetical>( OVER . )</parenthetical> <dialogue>`` I said Lord come and save me, Come save me from this pain Come set me free sweet Jesus.''</dialogue> <character>TURK</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Hey knock off that shit music.</dialogue> <scene_description>TWO TURKS from the party walk up , waving at BELL 's guitar , annoyed .</scene_description> <character>TURK</character> <dialogue>We're playing the sas.</dialogue> <character>BELL</character> <parenthetical>( understanding their Turkish . )</parenthetical> <dialogue>Omina koyden your sas!</dialogue> <parenthetical>( Put your sas in your cunt ! )</parenthetical> <dialogue /> <scene_description>THE TWO TURKS tense , the mood changing . BELL gets even angrier , puts the guitar aside , ready to spring .</scene_description> <character>BELL</character> <dialogue>And besides that I fuck Allah and I fuck your Muslim mother too.</dialogue> <scene_description>They do n't understand but one of them is reaching into his pants for his shiv .</scene_description> <character>BELL</character> <dialogue>You got that, shit face? Asina.</dialogue> <character>BILLY</character> <parenthetical>( OFF . )</parenthetical> <dialogue>KNOCK IT OFF!</dialogue> <scene_description>ANOTHER ANGLE BILLY is moving fast between the TWO TURKS and BELL . A new authority in his voice , and controlled anger in his face .</scene_description> <character>BILLY</character> <parenthetical>( to Bell . )</parenthetical> <dialogue>Cut it! No more fights.</dialogue> <scene_description>BELL looks .</scene_description> <character>BILLY</character> <dialogue>We're getting out of here.</dialogue> <scene_description>BELL astonished . BILLY , with Max 's little screwdriver and a metal spoon , digs hard at the cracks around a dark stone in the SINK ROOM , FIRST FLOOR KOGUS . With him is MAX working on the same stone . They are sweating , shirtless , looking back over their shoulders at : BELL guarding the STAIRS . BILLY works the stucco out , jiggling with the stone -LRB- about a nine inch circumference -RRB- using his fingers and screwdriver . Painful work .</scene_description> <character>BILLY'S VOICE</character> <dialogue>Dear Susan. It's taken me a long time to find out that it's got to stop somewhere. I've learned painfully not to trust the Turks, the courts, the lawyers, the Consul, the United States Government, and not even my loving parents. There is only one way out of here. The Midnight Express.</dialogue> <scene_description>BILLY kicks with his sneakers at the stone , as silently as possible . A LOUD NOISE - crumbling dust , stucco . BELL at the stairs freezes , fearful . Then SILENCE . He Runs over . MAX , BELL , BILLY .</scene_description> <character>MAX</character> <parenthetical>( in a whisper . )</parenthetical> <dialogue>We're undermining the other stones!</dialogue> <scene_description>BELL studies it , pointing to the stone above left the one that has been loosened .</scene_description> <character>BELL</character> <dialogue>We got ta take a chance and do that one next -.</dialogue> <parenthetical>( pointing . )</parenthetical> <dialogue>Then pull out this one -.</dialogue> <parenthetical>( pointing to the one directly left of the loosened stone , excited . )</parenthetical> <dialogue>Just jiggle it, scratch it out, loose nit up, it's soft real soft!</dialogue> <scene_description>BILLY has his head pressed close to the loosened stone . Suddenly :</scene_description> <character>BILLY</character> <dialogue>It's there!</dialogue> <character>BELL</character> <dialogue>What?</dialogue> <character>BILLY</character> <dialogue>Listen!</dialogue> <scene_description>ANOTHER ANGLE - all THREE press their ears to the stone . A silence . The faintest whisper of WIND and dripping ` WATER - indicating a shaft of some nature . BELL looks back at BILLY .</scene_description> <character>BELL</character> <dialogue>I told you, I told you you cock - suckers! You did n't believe me.</dialogue> <scene_description>BILLY smiles . MAX reaches over and grabs Bell 's face between his hands , kisses him violently .</scene_description> <character>MAX</character> <dialogue>Fuck me! You beautiful mother, you!</dialogue> <scene_description>MAX now on guard at the STAIRS , looks over at : BELL AND BILLY - with fresh paste putting the finishing touches on the edges of the stone which has been replaced in its original position . Bell 's half naked torso reveals a pair of dice with lucky sevens tattooed on his shoulder . THE REPLACED STONE . On close inspection , it is apparent that the stucco around it does n't match the other stones one bit , but as we PULL BACK to see ZIAT washing his tea cups in the SINK during the DAY , this irregularity is lost in the greater mosaic of the wall structure . At least ZIAT does n't notice as : BILLY nervously comes into the SINK area , watching him , and calls to him .</scene_description> <character>BILLY</character> <parenthetical>( using Turkish . )</parenthetical> <dialogue>Hey, Ziat, hurry up with the tea will ay!</dialogue> <character>ZIAT</character> <parenthetical>( mutters to himself . )</parenthetical> <dialogue>Work, work, work, that's all do</dialogue> <character>BILLY</character> <dialogue>I do n't hear you bitch about the money.</dialogue> <scene_description>BILLY followed by ZIAT into the KITCHEN casts a look of relief at : BELL and MAX who wait at a table with empty tea cups . A HORDE OF COCKROACHES stream out from a crack in the stone as BILLY and MAX dig , scrape , jiggle the third stone . Both covered with sweat , working with confidence now . A DARK EMPTY SHAFT on the other side . Dripping water . Two stones removed . BELL runs over :</scene_description> <character>BELL</character> <dialogue>Want me to take over?</dialogue> <character>BILLY</character> <dialogue>You want to split your hernia again?</dialogue> <character>MAX</character> <dialogue>Get off our tits!</dialogue> <scene_description>Bell turns to go . Suddenly a LOUD CRUMBLING NOISE and : A FOURTH STONE starts to go - but brakes itself . BILLY , MAX , BELL all framed in a posture of fear - not daring to move . SECOND STORY KOGUS remains silent . BELL looks up the STAIRS , tiptoes back , indicating they are clear . MAX AND BILLY . All THREE of them look : THE THREE A HALF STONE SPACE . Easily big enough for them to squeeze through . BILLY shines a candle in the shaft , OFF . THE THREE look at each other . The same thought . Eager eyes . The TRAIN WHISTLES by in the night , OFF .</scene_description> <character>BELL</character> <parenthetical>( sudden . )</parenthetical> <dialogue>Let's go!</dialogue> <scene_description>BILLY looks at his watch , hates to do it . Shakes his head .</scene_description> <character>BILLY</character> <dialogue>No. No time. Put'em back.</dialogue> <scene_description>MAX groans to himself . BILLY tense and restless at his BUNK TWILIGHT . A loud RADIO OFF - Turkish News .</scene_description> <character>BILLY</character> <dialogue>We go early. Any fuck - ups we should be back here and have the stones in by dawn.</dialogue> <scene_description>ANOTHER ANGLE - MAX , BELL , AND BILLY . A pause .</scene_description> <character>BILLY</character> <dialogue>You got your stuff?</dialogue> <character>MAX</character> <dialogue>Yeah.</dialogue> <character>BELL</character> <parenthetical>( persistent . )</parenthetical> <dialogue>Haps, railroad, bus timetables?</dialogue> <character>MAX</character> <parenthetical>( business - like . )</parenthetical> <dialogue>Everything.</dialogue> <character>BILLY</character> <dialogue>Okay.</dialogue> <parenthetical>( looks around the group . )</parenthetical> <dialogue>Let's do it.</dialogue> <scene_description>He extends his hands and the other two cross in a six - handed shake . MAX signals down the STAIRS - `` all clear '' . BILLY going through the HOLE in the STONES that NIGHT into : A DARK SHAFT spookily leading downwards . He lights a thick CANDLE tied horizontally across his sneakers so as to give him his light source where his footholds are . His P.V.O : PART DUMBWAITER SHAFT , PART WATER WELL from a previous century A series of corrugated mossy old footholds and iron spikes lead down at irregular intervals . BILLY , MAX AND BELL , each with their own foot candle , are spaced along the shaft easing downwards . BILLY looks up at MAX about ten feet above .</scene_description> <character>BILLY</character> <dialogue>Okay?</dialogue> <character>MAX</character> <dialogue>Yeah!</dialogue> <character>BILLY</character> <dialogue>Jimmy?</dialogue> <character>BELL</character> <parenthetical>( struggling . )</parenthetical> <dialogue>What?</dialogue> <character>BILLY</character> <dialogue>How's your hernia?</dialogue> <character>BELL</character> <dialogue>Do n't make me laugh.</dialogue> <scene_description>BILLY in a sweat , slips . A tense moment - then he catches himself . OFF - the TRAIN WHISTLE can be heard , echoing into the shaft.Mixed suddenly with LOUD TALKING OFF . Arguing in Turkish . BILLY freezes , signals upwards with a sharp hiss of breath .</scene_description> <character>VOICE #1</character> <parenthetical>( OFF . )</parenthetical> <dialogue>What do you mean, you forgot, he'll have my ass!</dialogue> <character>VOICE #2</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Well I ca n't do two things at once, you were supposed to be here at nine o'clock!</dialogue> <scene_description>BILLY identifying the relative location of the voices , eases downwards , coming to a GRILL , looks in at : A BASEMENT ROOM with FURNACE . TWO TURKISH GUARDS throw the prison rubbish in the furnace , still arguing , AD LIB . BILLY signals upwards . REVERSE ANGLE , from inside the basement , of BILLY slipping past the grill , his face sharply illuminated by the flame of the furnace . Off the walls around the grill we can see the GIANT SILHOUETTES of the two guards still arguing . BILLY comes to the base of the shaft . A puddle of scummy water . Unstraps the candle . A current of WIND He peers around . P.O.V. - A WINDING NARROW CATACOMB , WITH BEEHIVE BURIAL PLACES ON BOTH SIDES . BILLY , sniffing the stench , unrolls a ball of THREAD ties it to a marker and heads in . BILLY , BELL and MAX are in the catacomb . A scratchy hideous sound and : BATS fly out squealing from the ceiling . THE BOYS hit the ground as BATWINGS flap over them , colliding against each other , knocking off walls , SCREECHING , then diminishing in sound . Fewer and fewer . Then gone .</scene_description> <character>MAX</character> <parenthetical>( looking up , scared . )</parenthetical> <dialogue>Jesus!</dialogue> <scene_description>BILLY looking up .</scene_description> <character>BILLY</character> <dialogue>Anybody bitten?</dialogue> <scene_description>ANOTHER ANGLE</scene_description> <character>BELL</character> <dialogue>Nah, just covered with batshit!</dialogue> <character>BILLY</character> <parenthetical>( getting to his knees . )</parenthetical> <dialogue>They went out over there : must be some kind of exit.</dialogue> <scene_description>Heads in that direction . A HUGE SPIDER scatters off , as BILLY 's CANDLE illuminates : ANOTHER ENDLESS WALKWAY . BILLY comes to a stop - frustrated .</scene_description> <character>BILLY</character> <dialogue>Let's go back the other way.</dialogue> <scene_description>INTERSECTION Two walkways . BELL leads in , unwinding the thread , stops .</scene_description> <character>BELL</character> <parenthetical>( desperate . )</parenthetical> <dialogue>The fuck are we?</dialogue> <scene_description>BILLY comes into view , equally frustrated .</scene_description> <character>BILLY</character> <dialogue>What time is it?</dialogue> <character>MAX</character> <dialogue>Two thirty.</dialogue> <scene_description>ANOTHER MAZE of walkways . The three stop exhausted , faces blackened . BILLY , in utter rage and frustration starts kicking the wall .</scene_description> <character>BILLY</character> <dialogue>Shit! Shit! Shit!</dialogue> <character>MAX</character> <parenthetical>( slumping to the ground . )</parenthetical> <dialogue>It's a dead end. The Turks musta' sealed it up.</dialogue> <character>BELL</character> <dialogue>What the fuck we gon na do?</dialogue> <scene_description>SILENCE as the three pathetic escapees ponder their fate . BILLY , getting a grip on himself , thinking .</scene_description> <character>BILLY</character> <dialogue>We go back.</dialogue> <scene_description>ANOTHER ANGLE</scene_description> <character>MAX</character> <dialogue>What? You got ta be joking.</dialogue> <character>BILLY</character> <parenthetical>( resolute . )</parenthetical> <dialogue>We go back, seal it up again, and come in tomorrow night - every night'till we get out of here. There's got ta be a way. Those bats got out someplace.</dialogue> <parenthetical>( rises . )</parenthetical> <dialogue>Now let's go. Doubletime!</dialogue> <scene_description>Takes the THREAD and starts to follow it back . THE SHAFT . BILLY leads the climbers UP . MAX reaches a new foothold , stops , getting his breath . Looks down at BELL heavy breathing OFF . Urging him on .</scene_description> <character>MAX</character> <dialogue>You got ta have a lot of balls for this</dialogue> <scene_description>BELL , suffering , ca n't help but grin .</scene_description> <character>BELL</character> <parenthetical>( murmurs . )</parenthetical> <dialogue>Count me out.</dialogue> <parenthetical>( to himself , shaking his head . )</parenthetical> <dialogue>Who ever heard of anybody sneaking back into a fucking jail?</dialogue> <scene_description>MAX overhearing it .</scene_description> <character>MAX</character> <dialogue>Yeah, what if got caught?</dialogue> <scene_description>BELL starts to giggle .</scene_description> <character>BILLY</character> <parenthetical>( OFF . )</parenthetical> <parenthetical>( up the shaft . )</parenthetical> <dialogue>Hey Max, do n't make the dummy laugh.</dialogue> <scene_description>MAX laughing , shaking his head .</scene_description> <character>MAX</character> <parenthetical>( between giggles . )</parenthetical> <dialogue>Who's laughing? I mean I find this terribly depressing. Can you see old Hamidou's face when he tries to figure this one out?</dialogue> <scene_description>BILLY ca n't go on , starts to giggle at the thought .</scene_description> <character>BILLY</character> <parenthetical>( between giggles . )</parenthetical> <dialogue>We'll tell him we were checking out our escape route. We wanted to be completely sure before we tried it.</dialogue> <scene_description>ANOTHER ANGLE - the THREE of them , spaced along the shaft , are all giggling hysterically . Echoing . HOLD ON them . BILLY comes through the HOLE in the stones in the SINK AREA . It is still NIGHT . He looks around - silence . MAX follows through the hole . BILLY and MAX work fractically to seal up the STONES . BELL , exhausted , is at the STAIRS guarding . Distant early morning SOUNDS of prison waking up . We feel they will be spotted this time , but : BILLY slumps into his BUNK as the first rays of LIGHT come up in the sky and the CHANT from the Mosque commences . He immediately sinks into sleep . CLOSE on OLD TEA LEAVES being washed in the SINK . A MILKY WHITE EYE follows into view . ZIAT is preparing his early morning tea , his good eye now moving to something beyond the tea leaves . Curious , he straightens , throwing the withered bunch of leaves the sink . ZIAT approaches the irregular stucco paste around the REPLACED STONES ; runs his fingers along the ridges , noticing the paste is fresh . BILLY snoring from fatigue . BELL wakes him quickly .</scene_description> <character>BELL</character> <dialogue>Billy, wake up! They found it!</dialogue> <scene_description>OFF there is a lot of SHOUTING downstairs .</scene_description> <character>BILLY</character> <dialogue>Who?</dialogue> <character>BELL</character> <dialogue>Ziat!</dialogue> <scene_description>BILLY standing in a group of PRISONERS with BELL and MAX . He has a look of total despair on his face , as he watches . THE SINK . PRISONERS are everywhere jabbering excitedly among themselves . ZIAT is conferring with HAMIDOU as GUARDS rip out the last stone , revealing the HOLE leading to the SHAFT . BILLY 's gaze shifts to ZIAT fixing all his hatred on him . ZIAT grinning , moves away , and his falaka stick cocked like a sergeant major - moves among the prisoners .</scene_description> <character>HAMIDOU</character> <dialogue>Shut up!</dialogue> <scene_description>They all fall immediately silent . HAMIDOU continues his walk among them , bypassing : MAX who shifts his gaze onto : BILLY . HAMIDOU approaches , his eyes moving over BILLY with contempt , and shifting him aside with the stick . To him Billy is the same passive prisoner as before . He moves on , shifting OTHERS aside and then stops at : BELL . HAMIDOU swings his stick up slowly and taps him lightly on the chest . BELL realizes and is afraid .</scene_description> <character>HAMIDOU</character> <dialogue>No do! No do! I tell you I see you again. Finish!</dialogue> <scene_description>He punctuates this last with a theatrical tap on the chest and he gestures to the GUARDS .</scene_description> <character>HAMIDOU</character> <dialogue>Take him!</dialogue> <scene_description>BELL , already broken by bad beatings , shivers .</scene_description> <character>BELL.</character> <dialogue>says. No! Oh no! No.</dialogue> <scene_description>GUARDS grab him , hurry him out the Kogus behind HAMIDOU BILLY holds himself rigid , trying not to break . Bell 's PROTESTS continue OFF . MAX unable to contain his anger , strides right up to ZIAT , collars him , livid .</scene_description> <character>MAX</character> <dialogue>You bastard! This time I'm gon na kick your fucking brains all over this kitchen!</dialogue> <character>ZIAT</character> <parenthetical>( calm . )</parenthetical> <dialogue>Fine. Good. Man to man. We fight now. And when finish I bring Hamidou and he kick you fuckinq ass.</dialogue> <scene_description>MAX is about to swing when BILLY grabs him .</scene_description> <character>BILLY</character> <dialogue>Max! Cool it!</dialogue> <parenthetical>( looking at Ziat calmly . )</parenthetical> <dialogue>Ziat's just doing his job.</dialogue> <scene_description>ZIAT Glances from BILLY back to MAX fixing on him as BILLY walks him away . MAX is at his BUNK that NIGHT ; puts away the hypodermic needle , stoned and speeding at the same time , smoking a cigarette . BILLY inwardly tense , sits with his head in his hands .</scene_description> <character>MAX</character> <dialogue>Bell's gon na talk. They got to find out. Man, we got ta out.</dialogue> <scene_description>Tears have formed in his eyes .</scene_description> <character>MAX</character> <dialogue>Goddamn Gastro's killing me. Making me blind. Hey Billy!</dialogue> <character>BILLY</character> <parenthetical>( sympathetic . )</parenthetical> <dialogue>Yeah.</dialogue> <character>MAX</character> <dialogue>I got some acid man. Maybe we can drop some on the guards huh? In their tea or something.</dialogue> <scene_description>BILLY looks away , not even considering . But MAX is caught up in the notion .</scene_description> <character>MAX</character> <dialogue>Yeah I got it all worked out. Billy, listen to me.</dialogue> <parenthetical>( looks at Billy , his eyes glazed . )</parenthetical> <dialogue>That old guard likes you, You drop some acid on him. When he's Seeing rainbows yer know. walk out - tonight.</dialogue> <character>BILLY</character> <dialogue>Then we're outside the kogus. Then what?</dialogue> <character>MAX</character> <dialogue>What?</dialogue> <character>BILLY</character> <dialogue>After we're outside the kogus?</dialogue> <character>MAX</character> <dialogue>Oh we. we.</dialogue> <character>BILLY</character> <dialogue>Max. Your BILLY shirt's on fire.</dialogue> <scene_description>MAX clumsily brushes the burning ash off his shirt where it 's made a hole .</scene_description> <character>MAX</character> <dialogue>Oh shit! Oh Christ!</dialogue> <scene_description>His eyes cloud with tears . He sits down , head between his hands .</scene_description> <character>MAX</character> <dialogue>There just comes a time you know. you know you're never going to git it on.</dialogue> <scene_description>Suddenly shifts mood again , stands , pulling out a SHIV , resolute , eyes brightening .</scene_description> <character>MAX</character> <dialogue>That's what I'm gon na do.</dialogue> <parenthetical>( giggles . )</parenthetical> <dialogue /> <scene_description>BILLY looks up wondering .</scene_description> <character>BILLY</character> <dialogue>What?</dialogue> <character>MAX</character> <parenthetical>( crazily . )</parenthetical> <dialogue>Cut his fucking throat.</dialogue> <character>BILLY</character> <dialogue>Whose?</dialogue> <character>MAX</character> <dialogue>ZIAT. What do I got to lose huh! What do I got to lose. And I'd really enjoy it.</dialogue> <scene_description>Lurches against the bunk .</scene_description> <character>BILLY</character> <dialogue>Max, sit down. You're in no shape to kill anybody.</dialogue> <character>MAX</character> <dialogue>I want to cut his throat.</dialogue> <character>BILLY</character> <dialogue>It's already been cut.</dialogue> <character>MAX</character> <dialogue>Then I'll cut his balls off.</dialogue> <scene_description>BILLY smiles , shakes his head , then :</scene_description> <character>BILLY</character> <dialogue>If you really wanted to hurt Ziat.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue /> <scene_description>MAX slumps back down on the bunk , suddenly tired of killing .</scene_description> <character>BILLY</character> <parenthetical>( reflective . )</parenthetical> <dialogue>. His money - steal that, you steal his blood. Could you see his face when everything he worked so hard to get got snatched?</dialogue> <parenthetical>( plays with the thought idly , then shrugs . )</parenthetical> <dialogue>If we knew where he hid it.</dialogue> <parenthetical>( waves it away . )</parenthetical> <dialogue>Anyway, steal from him they'd pick up the whole prison and shake it sideways. We could n't hide it anywhere.</dialogue> <character>MAX</character> <parenthetical>( head bobbing now , murmurs . )</parenthetical> <dialogue>You know where it is?</dialogue> <character>BILLY</character> <dialogue>What?</dialogue> <character>MAX</character> <parenthetical>( a vague grin . )</parenthetical> <dialogue>I know where it is.</dialogue> <scene_description>BILLY glances at him , not sure whether he heard .</scene_description> <character>BILLY</character> <dialogue>His money?</dialogue> <scene_description>MAX gives him a goofy nod - and a grin . Imitating Robert Newton as Long John Silver .</scene_description> <character>MAX</character> <dialogue>` Dem dat hides can finds says I'. I seen him, the clever tit, sneaking looks at it late at night, talking to it.</dialogue> <character>BILLY</character> <parenthetical>( beginning to believe him . )</parenthetical> <dialogue>Yeah? Where?</dialogue> <scene_description>MAX , distracted , let 's his attention wander back . Inaudible his head bobbing now .</scene_description> <character>MAX</character> <dialogue>Hishradyo.</dialogue> <character>BILLY</character> <dialogue>Max - where?</dialogue> <character>MAX</character> <parenthetical>( his mouth hanging open , eyes closed . )</parenthetical> <dialogue>His radio Back of his open, radio.</dialogue> <scene_description>He lurches over gently on the bunk .</scene_description> <character>MAX</character> <dialogue>That's why he never plays it.</dialogue> <scene_description>MAX Sleeps . BILLY surprised , then reflective . THE BACK OF THE RADIO is unscrewed ; the cover pulled off . EMPTY ! MOVE TO ZIAT . The look is as Billy expected . Horror , shock , anger , fear . ZIAT SCREAMS hysterically like old Greek widow and : BEATING HIS CHEST and tearing at his hair , ZIAT runs out of the KOGUS wailing , moaning . THE SECOND STORY KOGUS is being '' controlled '' by the GUARDS . WIDE ANGLE reveals a circus of clockwork destruction as the GUARDS , making abundant NOISE , systematically rip up each bunk , locker , mattress , picture , book , etc. , their faces flushed with this opportunity for orgy . THE PRISONERS are lined up in the COURTYARD , each one being body searched.Prominent are MAX and BILLY , looking up amused at the SECOND STORY WINDOWS - feathers from a mattress fly around . ZIAT Briefly appears , his face at the window , looking at the prisoners in the yard , frustrated . HAMIDOU breaks apart a with his bare hands . ZIAT is stripping MAX 's possessions , sure he will find it here .</scene_description> <character>VOICE</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Down here!</dialogue> <scene_description>Ziat springs up . GUARD calling out from the STAIRS .</scene_description> <character>GUARD</character> <dialogue>We found it!</dialogue> <scene_description>ZIAT leaning in CLOSE , OVER THE STOVE in the KITCHEN , framed by GUARDS . It is the same crouched posture he always uses to work the stove but now his eyes show complete despair as he sees : A THOUSAND SHREDS OF PAPER MONEY floating in his pots amid his withered tea bags . From ashes to ashes and dust to dust . ZIAT folds his head into his hands , sobbing then wailing very human , very sad . KITCHEN - NEGDIR an Arab , is now running the tea concession . A jolly ebullient man . Pours a cup for MAX . Several OTHERS are at the table .</scene_description> <character>NEGDIR</character> <parenthetical>( heavily accented English . )</parenthetical> <dialogue>. He sell me tea business - everything. No the same. Ziat lose all.</dialogue> <parenthetical>( makes the gesture towards the heart and the gut , using the Arabic word . )</parenthetical> <dialogue>Heart! Soul!</dialogue> <character>MAX</character> <dialogue>He never had one.</dialogue> <character>NEGDIR</character> <dialogue>Soon he go back streets Istanbul. Thousand enemy. No money.</dialogue> <parenthetical>( makes throat cutting gesture . )</parenthetical> <dialogue /> <character>MAX</character> <dialogue>I'll drink to that.</dialogue> <parenthetical>( toasting with the tea . )</parenthetical> <dialogue /> <scene_description>Just as : ZIAT enters the kitchen ; he eyes Max with hatred , sits at the other TABLE and orders tea . Surprisingly , he is wearing a suit and clean shirt - unlike his usual grimy appearance . BILLY , looking shaken , enters the kitchen , glances at ZIAT sits with MAX .</scene_description> <character>BILLY</character> <dialogue>Just got some news on Bell.</dialogue> <character>MAX</character> <dialogue>What?</dialogue> <character>BILLY</character> <dialogue>Bad. Sent to the City Hospital. They ruptured his hernia again.</dialogue> <character>MAX</character> <parenthetical>( grim . )</parenthetical> <dialogue>Oh shit.</dialogue> <character>BILLY</character> <dialogue>I Guess he did n't talk. Poor bastard.</dialogue> <scene_description>BILLY glances over at : ZIAT drinking tea . BILLY AND MAX</scene_description> <character>BILLY</character> <dialogue>Why the suit?</dialogue> <character>MAX</character> <dialogue>Maybe he's changing jobs.</dialogue> <character>VOICE</character> <parenthetical>( OFF . )</parenthetical> <dialogue>SAYIM! SAYIM!</dialogue> <scene_description>BILLY looks over to see : HAMIDOU and a DOZEN GUARDS spreading through the KOGUS , assembling everybody with shouts of `` SAYIM ! '' THE PRISONERS are lined up in ranks in the FIRST FLOOR KOGUS . BILLY glancing at MAX next to him , wondering why . HAMIDOU goes down the line , his FLUNKIES searching each man . A GUARD reaches into ZIAT 'S pocket and comes out with a matchbox . Yells to HAMIDOU who comes over .</scene_description> <character>HAMIDOU</character> <parenthetical>( opening the matchbox . )</parenthetical> <dialogue>Nebu?</dialogue> <scene_description>MATCHBOX Containing a small amount of HASHISH . HAMIDOU reaches over and pulls ZIAT out of the ` line roughly .</scene_description> <character>HAMIDOU</character> <dialogue>Nebu?</dialogue> <scene_description>Starts to slap him around . BILLY glancing at MAX .</scene_description> <character>MAX</character> <parenthetical>( worried . )</parenthetical> <dialogue>What's going on? Maybe Ziat ca n't pay off ; Hamidou's taking it out in trade.</dialogue> <scene_description>HAMIDOU smashes ZIAT again , but pulls the punch .</scene_description> <character>HAMIDOU</character> <dialogue>Where did you get this hash?</dialogue> <scene_description>Raises his arm again .</scene_description> <character>ZIAT</character> <parenthetical>( cowering , pretending fear . )</parenthetical> <dialogue>From Max.</dialogue> <scene_description>Point at : MAX who stiffens , eyes like cracked eggs .</scene_description> <character>MAX</character> <parenthetical>( under his breath . )</parenthetical> <dialogue>You got to be kidding.</dialogue> <scene_description>HAMIDOU peers at MAX , advances .</scene_description> <character>HAMIDOU</character> <dialogue>What's happening with this hash?</dialogue> <scene_description>Indicates the matchbox in his hand .</scene_description> <character>MAX</character> <dialogue>I did n't sell it to him. I do n't have anything to do with this, I.</dialogue> <character>HAMIDOU</character> <parenthetical>( leans closer . )</parenthetical> <dialogue>I know your face. Where did you get the hash?</dialogue> <character>BILLY</character> <parenthetical>( interrupting in Turkish . )</parenthetical> <dialogue>. -RRB-</dialogue> <parenthetical>( He knows nothing about it .</parenthetical> <parenthetical>Ziat 's lying .</parenthetical> <dialogue /> <character>HAMIDOU</character> <parenthetical>( turns on Billy , in English . )</parenthetical> <dialogue>You, goddamn you, shut up!</dialogue> <parenthetical>( Back to MAX . )</parenthetical> <dialogue>Take him to the cellar. -RRB-</dialogue> <scene_description>GUARDS drag off .</scene_description> <character>MAX</character> <dialogue>Get out of here! He's lying! That cock - sucker! Billy?</dialogue> <scene_description>BILLY sits on his his anger building , his imagination running wild . MAX being dragged down a CORRIDOR by his feet . A SCREAM . BILLY BELL , his features distorted , being carried into an AMBULANCE . BELL , MAX and BILLY at the wall , digging together , MAX hugging BELL the time they found the shaft . MAX twisting out of the grip of a GUARD and , grabbing the glass from his smashed spectacles , he cuts deep into his wrist . GUARDS grab him . A LOUD LAUGH OFF carrying over . BILLY turning on his bunk to see : ZIAT joking with TWO GUARDS as he enters the SECOND STORY . The guards back down the stairs . BILLY already in movement . ZIAT , in his suit , collecting suitcase from his bunk , preparing to leave .</scene_description> <character>VOICE</character> <parenthetical>( OFF . )</parenthetical> <dialogue>ZIAT!</dialogue> <scene_description>Turns and catches a FIST in the side of the face . Staggers into a bunk . BILLY , fists clenched , yells a string of Turkish curse words at him :</scene_description> <character>BILLY</character> <dialogue>Asina covacim, ipnave pesankek. yosakt.</dialogue> <scene_description>Lunges . ZIAT is bulky , throws the smaller BILLY off and scrambles past a bunk . BILLY is up and after him . Jumps back as a SHIV cuts the air in front of him . His side is cut . ZIAT holding the shiv , feints , cursing BILLY in Turkish . BILLY skips back , takes a MATTRESS off the bed and runs it right into KNOCKING HIM AND THE WHOLE BUNK OVER . THE TWO scramble around , BILLY tackling him into another BUNK which also goes over . Chairs break . ZIAT butts his head into BILLY 'S jaw . BILLY staggers back from the blow and ZIAT jumps him , BITING into his ear . ZIAT , getting a better hold , now BITES into BILLY 'S NOSE . BILLY slams ZIAT in the nose hard with the palm of his hand . ZIAT relinquishes his hold , grabbing at his broken bleeding nose . BILLY beats him around the head but though the blood now flows and teeth are broken , is like a clumsy bear , hard to kill . ZIAT scrambles away on his knees under another BUNK now screaming as loud as he can .</scene_description> <character>ZIAT</character> <dialogue>HELP ME! GUARDS! HELP ME!</dialogue> <scene_description>SEVERAL PRISONERS watching from further down the SECOND STORY Kogus now move in sync , turning on their RADIOS loud as possible , drowning out the cries for help , others watching the stairs . BILLY takes the BUNK and throws it over , revealing ZIAT cowering in pure terror . He grabs ZIAT by the hair , hauls him up and LAUNCHES HIS KNEE into HIS FACE . ZIAT thuds onto the floor . BILLY stomps him in the gut hard . ZIAT screams unnaturally shrill . BILLY , driven by supernatural anger , now jumps on him and CLAMPS HIS MOUTH right on ZIAT 'S open SCREAM . A STRUGGLING KISS ensues . BILLY pulls back , his mouth filled with blood , spitting out . AN UNIDENTIFIED PIECE OF FLESH which Bits the ground with an odd slow motion grace . ZIAT - CLOSE in terror ; throat cords rippling ; eyes bulging with disbelief , body quivering , mouth open and screaming , but it is a SILENT SCREAM and the mouth is a dark hole filled with blood and without a TONGUE . BILLY , without a moment 's mercy , crashes his fist into ZIAT 'S face . ZIAT his strength now broken , collapses on his back . BILLY crashes his fist again into the hated face . He is GRABBED now by a GUARD , but : ANOTHER ANGLE - BILLY shakes the GUARD OFF , then as ANOTHER GUARD runs up , BILLY SLAMS him aside and , obsessed , lunges back down on ZIAT and BOTH HANDS CLAMPED TOGETHER high in the air delivers a final blow to ZIAT 'S face . The bones shatter . Pause . His ogre unconscious beneath him , BILLY , now in SLOW MOTION , EXTENDS HIS ARMS IN THE AIR - in the fighter 's victory gesture , and his eyes glow with the fever in them , and with his mouth and face bloodied , he looks like a savage . No longer Billy Hayes . BILLY bound in a thick leather belt -LRB- a kiyis -RRB- which screws tightly around the waist and cinches the hands together , is being HAULED in continuing SLOW MOTION through a huge DOOR somewhere in one of the cavernous corridors of the prison.The door is approximately NINE FEET by SIX FEET , strong and wooden with a circular iron handle which one of the GUARDS now pulls open ; a GLIMPSE of darkness within . THE DOOR CLOSES . SUPERIMPOSE :</scene_description> </scene> <scene> <stage_direction>SECTION 13 - ASYLUM FOR THE CRIMINALLY INSANE A YEAR LATER</stage_direction> <scene_description>MAX , barely recognizable in a torn sheet and with a blackened face , comes rushing into a crowded ROOM , screaming louder than any other inmate . marks on his face , He is enraged , blood dripping from scratch ATTENDANTS in white smocks chase him over the beds . Max is yelling in Turkish .</scene_description> <character>MAX</character> <dialogue>Please, will you listen to me? Will someone please listen to me? JUST LISTEN To ME!</dialogue> <character>ATTENDANTS</character> <dialogue>Hamidou! Get Hamidou! Get the Kiyisl!</dialogue> <scene_description>The ATTENDANTS wrestle with him , but he throws them off , tearing around the room mindlessly . In the process we see that not much attention is paid him because everybody else is crazy ! There are 50 other LUNATICS yelling at each other in fights over sheets , blankets , beds , cigarettes , jumping : screaming , pushing , shoving ; some babbling to themselves , rocking , crying , chanting , singing . Several of them -LRB- the craziest -RRB- are stark naked . some , wrapped in torn blackened sheets , patrol the room like quick ferrets , sharp eyes open for anything they can steal . Others move in meaningless , blank - eyed silence . The walls are filthy black and join the ceilings in arches rather than angles , giving the look of an old dungeon . Fifty beds are lined up right next to each other so that you walk right into your bed . A constant nerve - racking NOISE . HAMIDOU bursts into the ROOM , the angry look in his eyes spelling real trouble for Max . MOVE with him as he sweep sin on MAX and picks him up with one move and SMASHES HIM against the wall . Max hardly notices . ANOTHER ANGLE - HAMIDOU takes the leather kiyis from an ATTENDANT , moves in on MAX and starts clamping it around him . AN ATTENDANT walks through the room with an apron containing several large pockets bulging with red , green , blue , white PILLS , which he distributes by the handful .</scene_description> <character>ATTENDANT</character> <parenthetical>( crying out . )</parenthetical> <dialogue>Hop! Hop! Hop! Full moon. Hop! Hop! Hop!</dialogue> <scene_description>THE LUNATICS gobble them up as if they were candy . In some of the clustered areas , nine lunatics occupy as little as three beds . MAX is tightly bound now by HAMIDOU , but his body arches against the bindings , his neck straining , his teeth snapping at the air . HAMIDOU grabs him with one hand by the leather waist , hauls him high up in the air and THROWS MAX half - ways across the room , MAX smashing heavily against some beds , continuing to SCREAM OFF as : THE ATTENDANT with the pills - now bypasses BILLY on one of the beds .</scene_description> <character>ATTENDANT</character> <dialogue>Hop! Hop! Full Moon - take your pills!</dialogue> <scene_description>BILLY gobbles them up . He has changed . Lines in his face . No smile , no sense of humor ; a brooding silence about him , a straight ahead look . He pays no attention to MAX off ; he is in grubby white pyjamas and shower sandals . Rolls back onto hi &amp; bed with its filthy torn sheet , totally ignoring the surrounding commotion , and ANOTHER ANGLE - turning onto his shoulder , BILLY suddenly finds himself face to face with a dark saddened visage . The MAN is very young and stark naked but for an old black rag wrapped around his head and clutched under his chin . His eyes are yellow , the voice pleading .</scene_description> <character>YOUNG MAN</character> <dialogue>Cigare?</dialogue> <parenthetical>( pause , same tone , holds out his palm . )</parenthetical> <dialogue>Cigare? Cigare?</dialogue> <scene_description>BILLY shakes his head sharply - too sharply - and barks , irritable .</scene_description> <character>BILLY</character> <dialogue>Go away!</dialogue> <scene_description>Turns on his other shoulder , trying to sleep .</scene_description> <character>YOUNG MAN</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Cigare? Cigare?</dialogue> <scene_description>YOUNG MAN in a surprisingly meek tone .</scene_description> <character>YOUNG MAN</character> <dialogue>S'il Vous plait, Monsieur? S'il vous plait?</dialogue> <scene_description>BILLY , really aggravated now , springs up from the bed , and in the quirky way the mad and the eccentric adopt walks determinedly away from the young man , looking back to shake his head bizarrely at him one more time . ANOTHER ANGLE BILLY walking down the aisle bypasses MAX int he kiyis , rolling on the floor , still screaming in Turkish .</scene_description> <character>MAX</character> <dialogue>Will you listen to me? PLEASE LISTEN TO ME!</dialogue> <scene_description>Several LUNATICS are gathered around tormenting him , one of them yanking on his penis as if it were made of rubber ; another is playing with his ass . A third one , also in a leather kiyis , is leaning over MAX jabbering and drooling into his face . MAX , more enraged by this than the other bodily offences , lunges up sharply and bites the man 's FACE . SCREAMS , etc. . BILLY , paying no attention except for a brief disinterested glance , keeps going into : A SECOND ROOM . MORE LUNATICS . A screaming OLD MAN is chasing after another OLD MAN who has stolen his tespe beads , waving them back at the first old man who howls with rage , frantic to have his beads back . The second old man throws the beads to a THIRD OLD MAN who hops across the beds with the FIRST OLD MAN chasing him . BILLY intersects .</scene_description> <character>OLD MAN</character> <parenthetical>( pleading . )</parenthetical> <dialogue>Allah! Allah! Yok! Yok! Yok! Brack!</dialogue> <scene_description>A LITTLE NERVOUS MAN stares into a broken pocket mirror fingering the large round carbuncle under his eye , trying to rub it away with little grimaces and flurries of nervous motion . TWO ATTENDANTS in smocks indifferently finish eating on a newspaper spread across one of the beds ; they shake out the paper . CHICKEN BONES , ORANGE PEELS hitting the floor . A flurry of movement , as the LUNATICS scuffle like rats over the left - overs . AD LIB curses , yells . AN OLD MAN obscenely gestures to BILLY from his bed .</scene_description> <character>OLD MAN</character> <dialogue>Hey American. Fik! Fick! Come. Fik! Fik!</dialogue> <scene_description>His blackened teeth leer . BILLY , seemingly immune to all of this in some private island of his own madness , walks in his determined way past a PARTITION to : A CIRCULAR STONE STAIRCASE leading downwards , the stones damp , dark , slippery . BILLY continues with the same straight - ahead determination to : A LONER LEVEL . at last BILLY 's expression changes to almost childish relief , for here at last is the refuge he seeks the relative comfort and silence of THE WHEEL . It is a grim , squat PILLAR dominating the room and bearing the weight of the ceiling . And around it some SIXTY LUNATICS trudge slowly , near silently , in counter - clockwise flow . It is a hypnotic shuffle and BILLY blends right in , sliding easily into the sluggish , mindless river , his eyes hanging loosely on the floor , watching : THE SOOTHING RHYTHM OF FEET shuffling at a comforting pace . These are the spokes of the wheel . TWO TINY BARE LIGHT - BULBS give faint , eerie illumination to the chamber . One one side , a pot - bellied stove flickers , etching the shadows of the walkers in a strange orange glow . SOME LUNATICS , not walking , hover around the stove . OTHERS are jammed onto a low L - shaped wooden platform that runs the length of two walls . of these men are naked , covered with open running sores over their knees , elbows , buttocks . But they are much quieter than the upstairs crowd . They are the lowest order of madmen . They have no minds left . They are the damned . BILLY walks among them , expressionless . A tall , thin cadaverous TURK with a grizzled beard now shuffles up alongside BILLY , looks at him , walks with him . is about fifty , his pyjamas relatively clean , looking more sane than the average but his eyes are bright and scary and his wet hair is matted down on his head , and big clumps of it have been pulled out . He speaks with a cultured English accent .</scene_description> <character>AHMET</character> <dialogue>You're an American?</dialogue> <scene_description>BILLY is interrupted but keeps his eyes on the ground . AHMET does n't wait for an answer .</scene_description> <character>AHMET</character> <dialogue>Ah yes, America! My name is Ahmet. I studied philosophy at Harvard for many many years. But actually Oxford is my real Alma Mata - I've also studied in Vienna. Now I study here.</dialogue> <scene_description>BILLY does n't notice , shuffles along .</scene_description> <character>AHMET</character> <dialogue>They put me here. They say I raped a little boy. I have been here very long time. They will never let me go.</dialogue> <scene_description>BILLY pays no attention , keeps shuffling on . Glances at him , smiles .</scene_description> <character>AHMET</character> <dialogue>They wo n't let YOU go either.</dialogue> <scene_description>The smug certainty of his manner reaches some chord deep inside Billy , because Billy glances briefly at this lunatic who is smiling . Billy looks back at his feet .</scene_description> <character>AHMET</character> <dialogue>No, they'll never let you go. They tell you they let you go but you stay. You never go from here.</dialogue> <scene_description>BILLY plods on . grins and tries to explain the situation like a father lecturing a child .</scene_description> <character>AHMET</character> <dialogue>You see we all come from a factory. Sometimes the factory makes bad machines that do n't work. They put them here. The bad machines do n't know they're bad machines, but the people at the factory know. They know one of the machines that does n't work.</dialogue> <scene_description>They walk on . Ahmet 's expression changes .</scene_description> <character>AHMET</character> <parenthetical>( polite . )</parenthetical> <dialogue>I think we have spoken enough for today. I say good night to you.</dialogue> <scene_description>He wraps his rags around himself quite carefully and we FOLLOW him out of the circle . He drops to his hands and knees and with a sense of dignity , crawls into the filthy blackness under the L - shaped wooden platform , disappearing like a cockroach . BILLY plods on . AN OLD WHITE - BEARDED MADMAN the Hoja , grandiose in his rags , leads MUSLIM PRAYER in the first ROOM . Some of his followers have prayer mats , others a scrap of sheet or newspaper ; their tones discordant , still pushing and shoving at each other during the prayer . TWO SPASTICS ca n't follow the routine of kneeling and bending ; they tangle up absurdly and fall to the floor in a ball of arms and legs . A FALAKA STICK pokes BILLY wake SOUND of the CHANTING fills room . It is evidently impossible to distinguish night from day because there are no windows . ATTENDANTS poke the LUNATICS awake with their `` clubs .</scene_description> <character>ATTENDANTS</character> <dialogue>Head count! Head count!</dialogue> <scene_description>A MASS OF LUNATICS in the ROOM all at once . Attendants take a redundant and comic head count . The place sounds like a `` yadi yadi room '' the noise fearsome . ANOTHER ANGLE</scene_description> <character>ATTENDANT #1</character> <dialogue>Sixty two, sixty three, sixty four.</dialogue> <character>ATTENDANT #2</character> <dialogue>Seventy four, seventy five, seventy six. get back there, you!. seventy five, seventy six. -RRB-</dialogue> <scene_description>ATTENDANTS poke around underneath a bed and pull out a very old trembling VEGETABLE . OTHER ATTENDANTS wrap an old DEAD LUNATIC with no teeth and foam on his open lips into a dirty sheet and haul him away . BILLY amid the LUNATICS . We MOVE closer and closer to him , the head COUNT regressing . The room has become a torture cell - the NOISE LOUDER , LOUDER , closing in on Billy . BILLY is led down a CORRIDOR by HAMIDOU into : A VISITING room - Cabins are lined up like narrow wooden phone booths .</scene_description> <character>HAMIDOU</character> <dialogue>Kabin on - yedi</dialogue> <scene_description>BILLY plods without interest to the specified cabin , closes the door , sits in the chair . No one is there . He waits - indifferent to any sense of time . Dirty two glass panes separate visitor and prisoner booths ; bars are between the panes . An erratic microphone is the method of communication , giving a weird and distant aspect to the voice . HAMIDOU opens a small peep - hole in the cabin door , looks in unseen as : TEE VISITOR DOOR opens and SUSAN tentatively walks in holding a large photo album ; it takes several moments for her to react , and then her face shows the shock . BILLY stares at her , his face rabid , decaying ; if he remembers her even , he does n't register it because she is a shock to him as well . Reality , the outside world all at once . His mind is spinning , unbalanced , unable to grasp it .</scene_description> <character>SUSAN</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Oh my God!</dialogue> <scene_description>SUSAN</scene_description> <character>SUSAN</character> <dialogue>Billy, what have they done to you. my God!</dialogue> <scene_description>The MICROPHONE makes her voice jarring , gagged . She looks silently . No sobbing , no big sad looks . Just shock . Shock of recognition , shock of time gone by . BILLY looking at her , his eyes moving down to : BILLY P.O.V. - SUSAN , her neck , her breasts straining against the thin shirt . SUSAN fingers the photo album nervously , speaking slow and distinct ; not sure she is communicating .</scene_description> <character>SUSAN</character> <dialogue>Billy, your family is fine. Senator Buckley just made a special plea on your behalf in the Senate. Newsday has written several big articles about you. They've called you a pawn in the poppy game between Nixon and the Turks. The letters are coming in, Billy. People care.</dialogue> <scene_description>Stops , shakes her head . It sounds all wrong in this context . BILLY is still staring at her breasts . He has n't seen a woman for five years and now a hungry animal look comes into his eyes He moves suddenly pressing up against the glass , rabid . And in Turkish :</scene_description> <character>BILLY</character> <parenthetical>( in Turkish . )</parenthetical> <dialogue>Take it off. Take it off!</dialogue> <parenthetical>( then remembering the English . )</parenthetical> <dialogue>Take it off. Take it off!</dialogue> <scene_description>His voice is savage , demanding . SUSAN understands , startled . Looks around .</scene_description> <character>SUSAN</character> <dialogue>Billy - you'll just make yourself crazy.</dialogue> <scene_description>BILLY</scene_description> <character>BILLY</character> <dialogue>Take it off! Take it off!</dialogue> <parenthetical>( suddenly in a very soft voice . )</parenthetical> <dialogue>. S'il vous plait?</dialogue> <scene_description>A strange look in his eye . SUSAN slowly , scared , begins to unbutton her shirt . HAMIDOU looks on silently , does nothing . BILLY follows every movement with wild - eyed lust . SUSAN leans up close to the window . With both hands on the front of her blouse , she slowly draws it apart . BILLY going wild ! Against the window . His hand down in his pyjamas . HER BREASTS spring free , quivering , full and ripe with a deep cleavage and hard dark nipples . They hang full and loose . FULL SCREEN BILLY 'S EYES - FULL SCREEN . BILLY beats on the window , working his mouth soundlessly . SUSAN is shattered , scared of Billy 's sanity .</scene_description> <character>SUSAN</character> <dialogue>Oh Billy, Billy, I wish I could make it better for you. Please do n't. do n't.</dialogue> <scene_description>Tears . Fear . BILLY tightens dramatically and comes right in his pants , slumps against the window . SUSAN realizes he has come , surprised . BILLY looks at her . Furtive , animal shame . And suddenly he starts to cry . A flood of feelings locked up too long come pouring out . He murmurs some words , Turkish SOUNDS sputtering out in his throat , then :</scene_description> <character>BILLY</character> <dialogue>S. Susan?</dialogue> <scene_description>Softly , working his mouth finding it hard to speak . SUSAN yearning . Tears sprinkling her eyes .</scene_description> <character>SUSAN</character> <dialogue>Yes, Billy?</dialogue> <scene_description>BILLY straining , not out of physical weakness but an emotional one . Sputters , eyes closed .</scene_description> <character>BILLY</character> <dialogue>I love you.</dialogue> <scene_description>It sounds pathetic , lost . SUSAN is worked up to the limit , tries to hug him through the window .</scene_description> <character>SUSAN</character> <dialogue>Oh Billy. Billy! Do n't give up. Please do n't give up. You'll get out. I know you will!</dialogue> <scene_description>Remembers something . Grabs the PHOTO ALBUM with all her strength , holding it up for him to see through the glass.Then remembering herself , looks around the room to make sure they 're alone and in a contained voice :</scene_description> <character>SUSAN</character> <dialogue>Billy, your father gave me this for you. There's pictures of your Mom and Dad. Rob. Peg.</dialogue> <scene_description>BILLY looks at it listlessly . HIS P.V.O - SUSAN holding the album open to PICTURES of his MOTHER and FATHER in front of the house , ROB on a bicycle , PEG in her cheer - leading outfit .</scene_description> <character>SUSAN</character> <dialogue>And there's pictures in the back of your old Mr. Franklin. Remember him. From the bank?</dialogue> <scene_description>A certain tone slips into her voice .</scene_description> <character>SUSAN</character> <dialogue>He's over in Greece now. He bought a ticket.</dialogue> <scene_description>BILLY looks from the album to Susan . Possibly there is a gleam of understanding in his eyes but it is very faint . An Attendant BANGS on Susan 's door , OFF .</scene_description> <character>VOICE</character> <dialogue>Visiting is over.</dialogue> <scene_description>SUSAN quickly puts the album away as if it were a hidden weapon .</scene_description> <character>SUSAN</character> <dialogue>I'll give it to them for you.</dialogue> <scene_description>She buttons her blouse but her eyes are worried , on Billy .</scene_description> <character>SUSAN</character> <dialogue>You were right Billy do n't count on them, you hear, do n't count on anybody but yourself!</dialogue> <scene_description>The ATTENDANT now swings open her door , annoyed .</scene_description> <character>ATTENDANT</character> <dialogue>Let's go!</dialogue> <scene_description>Susan stands , about to go , then suddenly leans up close to the bars , hard and practical .</scene_description> <character>SUSAN</character> <parenthetical>( quickly . )</parenthetical> <dialogue>If you stay you'll die Billy! Get out of here. Get to Greece, you hear me? Billy?</dialogue> <scene_description>Pause . Silence . She closes her eyes , in pain ; she does n't think she has reached him . She turns to go , resigned . BILLY looking at her . Behind him HAMIDOU opens the door . A calm and cunning look on his face , glancing with Billy towards A BRIEF GLIMPSE of SUSAN looking back , the album under her arm . The door closes . BILLY , with the same deadened expression as before , comes down the STAIRS towards THE WHEEL . It is early morning and the walkers have n't started yet . Billy looks at the Pillar a dire look of reflection passing over his eyes . Then he starts walking but in a clockwise motion , opposite the normal pattern ; in the same methodical manner as before . ANOTHER ANGLE BILLY , on the inner track , passes TWO LUNATICS who are walking counter - clockwise . They glare at him , motion for him to turn around . Billy just keeps walking . BILLY intersects several more LUNATICS going counter - clockwise They motion for him to turn .</scene_description> <character>LUNATIC</character> <parenthetical>( grunting . )</parenthetical> <dialogue>Gower!</dialogue> <scene_description>Tries to block Billy 's way , but BILLY shakes his head , brushes by him - determined . AHMET Slides up next to BILLY in his rags .</scene_description> <character>AHMET</character> <dialogue>Good morning, my American friend! There will be trouble if you go this way. A good Turk always walks to the right. Left is communist. Right is good. You must go the other way. It's Good.</dialogue> <scene_description>More LUNATICS join the flow , gesturing or grunting at BILLY . BILLY STOPS , turns , looks at the rest of them slogging in the usual direction , looks as if he ` sees ' them ; and he walks out of the wheel , towards the stairs . AHMET curious about his unusual behavior , follows BILLY .</scene_description> <character>AHMET</character> <dialogue>Why you go? Why do n't you walk the wheel with us?</dialogue> <parenthetical>( suspiciously leaning forward , suddenly realizing the answer . )</parenthetical> <dialogue>The bad machine does n't know he's a bad machine. You still do n't believe it? You still do n't believe you're a bad machine?</dialogue> <scene_description>ANOTHER ANGLE BILLY stops and turns to look at AHMET at the base of the STAIRS . BILLY carries on up the stairs .</scene_description> <character>AHMET</character> <parenthetical>( shakes his head . )</parenthetical> <dialogue>To know oneself is to know God, my friend. The factory knows. That's why they put you here. You'll see. You'll find out. Later on you'll know.</dialogue> <scene_description>BILLY stops and turns to look at AHMET . His eyes glint with special knowledge and he takes AHMET into his confidence using the latter 's tone of voice :</scene_description> <character>BILLY</character> <dialogue>I already know. I know that you're a bad machine. That's why the factory keeps you here.</dialogue> <parenthetical>( Lowers s voice . )</parenthetical> <dialogue>You know how I know? I know because I'm from the factory. I make the machines. I'm here to spy on you.</dialogue> <scene_description>Eyes narrow . Surprise . Fear . He shuffles away . BILLY looks at him and turns up the STAIRS . BILLY in his BED . The usual UPROAR . THE ATTENDANT comes by with the pills , offers a handful to BILLY .</scene_description> <character>ATTENDANT</character> <dialogue>Hop! Hop! Take!</dialogue> <scene_description>He takes them , puts a few into his mouth , swallows . Reflective , unsure . A RADIO playing OFF blares suddenly with the U.S. Armed Forces Station - JANIS JOPLIN singing `` Take another piece of my heat now , Baby '' then it 's switched back to a TURKISH STATION , loud . Billy rises . BILLY enters the TOILET with the PHOTO ALBUM tightly clutched under his arm . A dark stone room , very shadowy . Piles of waste on the floor . A vacant - eyed barefoot LUNATIC shuffles past BILLY who goes to one of the four partitioned HOLES cut into the floor . ANOTHER ANGLE - BILLY squats over it and with his filthy long nails he starts to slit open the back binder of the album Susan gave him . Flickering shadows . He looks up absently . THREE LUNATIC FACES stare in at him through wooden slats , tongues hanging out and drooling - playing with themselves - OFF . BILLY makes a lunatic face and SCREAM kicking at the partition .</scene_description> <character>BILLY</character> <dialogue>Aaaaaaaaaaaaaaaaahhhhhhhhhhhhhhhh!</dialogue> <scene_description>THE LUNATICS , petrified , scatter off but ONE LUNATIC skids in a puddle of urine and crashes onto the tile howling . BILLY slits open the binder to reveal TEN HUNDRED DOLLAR BILLS with Pictures of Mr. Franklin ' neatly inserted . ANOTHER ANGLE BILLY has no particular expression on his face . Reflective , staring at the money ; he looks up . A LARGE SILHOUETTE is moving towards him . BILLY just watches , transfixed , not trying to hide the money . HAMIDOU comes into a faint light , looking down at him ; glances at the money . Shakes his head gently .</scene_description> <character>HAMIDOU</character> <dialogue>No do! No do!</dialogue> <scene_description>Reaches for and : ANOTHER ANGLE - HAMIDOU takes the money from BILLY like candy from a baby , then takes him by the ear and slowly lifts him up . Billy is like a vegetable in his hands .</scene_description> <character>HAMIDOU</character> <parenthetical>( in his broken English . )</parenthetical> <dialogue>I tell you I see ` gain.</dialogue> <parenthetical>( into Turkish . )</parenthetical> <dialogue>I take you down to bath and your feet be big like. Breasts.</dialogue> <parenthetical>( a gesture . )</parenthetical> <dialogue /> <scene_description>HAMIDOU leads BILLY roughly out of the lunatic room , pulling him by the ear . HAMIDOU still Pulling BILLY by the ear , guides him through the GUARD QUARTERS . HAMIDOU leads him up a narrow winding flight of STAIRS .</scene_description> <character>HAMIDO</character> <dialogue>First you make mistake with Ziat, now you make mistake with money. You're not a new Prisoner, Vilyum Hi - yes.</dialogue> <scene_description>The tone of his voice indicates a severe reckoning this time . HAMIDOU pulls BILLY by the ear into a large echoing BATH . BILLY looking , bent over by the ear - a hint of awareness of new surroundings . ANOTHER ANGLE - the BATH is deserted , spooky with greenish Yellow fish light flittering down from holes in ceiling around damp mossy arches . Steam rises off a bath . Benches , buckets of water . HAMIDOU swings BILLY around until he is facing him . HAMIDOU makes an elaborate gesture of putting aside his falaka stick and holstered gun ; he will use his hands .</scene_description> <character>HAMIDOU</character> <parenthetical>( shakes his head . )</parenthetical> <dialogue>You've been in prison too long, Vilyum Hi - yes.</dialogue> <scene_description>He takes that : stiff arm all the way back to its full arc and WHACKS BILLY up against the wall . BILLY bounces back off the wall . The print of Hamidou 's fingers is imbedded like a flaring white rainbow in the redness of his left cheek . SLAM - a backhanded whack . BILLY bounces right back from the wall . steadies him .</scene_description> <character>HAMIDOU</character> <dialogue>You go crazy here Vilyum Hi - yes. Many people go crazy here. Best thing for crazy people is this.</dialogue> <scene_description>THE BLOW , in SLOW MOTION comes sailing into : BILLY , and we see the brief boxer 's distortion of all his face as he flies upwards and back into : THE BENCH smashing it . Echo like jarring F.X. BILLY is held up by the PAJAMAS , steadied . The Turkish words seem far away , incomprehensible .</scene_description> <character>HAMIDOU</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Vilyum Hi - yes. You die here, Hi - yes.</dialogue> <scene_description>WHACK - ANOTHER BLOW , but : HAMIDOU this time holds onto the pajamas using Billy like a punching bag . WHACK - A REVERSE BLOW . HAMIDOU increasingly excited .</scene_description> <character>HAMIDOU</character> <dialogue>Babba sikijam! I fuck your mother, I fuck your sister.</dialogue> <scene_description>WHACK - ANOTHER BLOW in SLOW MOTION</scene_description> <character>HAMIDOU</character> <dialogue>I fuck your father, I fuck your brother.</dialogue> <scene_description>RIP ! - a loud SOUND as HAMIDOU moves with a blur of speed , and shreds BILLY 's pajamas with his hands . BILLY naked , totally passive , semiconscious . HAMIDOU suddenly shifts position and snaps Billy into a strenuous wrestling hold across his knee on the steamy floor . He loosens him up by cracking his bones along his back . HAMIDOU - sweat pouring off his face , excited .</scene_description> <character>HAMIDOU</character> <dialogue>And I fuck your grandmother and I fuck your pretty girlfriend. And I fuck you Hi - yes! -RRB-</dialogue> <scene_description>A bizarre otherworldly scene . This man is dredging Billy through a sadistic imagination sparked by the steam , the sweat , and an ethnic identification with a Turkish steam bath as a bedroom . He loosens his hold abruptly , rises , moves off as : BILLY holds himself on his knees , head sunk on his chest , gasping for breath , about to vomit . Pause ; he looks up horrified at : HAMIDOU pouring fresh buckets of water on the floor . SSSSSSSSSS ! The awakened STEAM coils like a snake into every cranny of the little room . BLURRED VISUALS - HAMIDOU stripping his shirt off . A huge muscular flash of chest , A BELT being snapped open . BILLY waiting . A FIGURE moving through the steam , closer . BILLY backing away from it . STEAM - a glint of a FACE coming through . HAMIDOU - his eyes so intense they seem to burn off the steam like sun cutting haze . Then disappear again . BILLY pulls back . A pause . Silence . Cat and mouse . Then very suddenly : A HAND reaches out of the STEAM and GRABS BILLY by the hair . A GRUNT , OFF . BILLY his eyes moving fast . A FLASH of a huge darkened penis , fully erect cutting forward into the steam like a from drill , detached from the rest of the body . A SOUND - grotesque and so sudden after the silence it jars the senses . A BLURRED VISUAL then : BILLY Launching forward in SLOW MOTION , desperation distorting his features and : STEAM - then BILLY 'S HEAD SLAMS through it in SLOW MOTION and : SMASHES the penis with its skull . A horrifying GASP . BLURRED VISUALS - STEAM - HAMIDOU staggering CLOSE - surprise , pain . BILLY MOVING . A FOOT coming up fast through the steam , connecting again with the genitals . Another SCREAM . A BODY hitting the tiles . BILLY groping for the falaka stick . Raises it . A STRUGGLE - Two bodies thrashing , one of them screaming now in pain . A definitive sound then a THWACK ! Another thwack ! The steam seems to clear and BILLY is on top of the gigantic HAMIDOU smashing him with the falaka stick with all his might . HAMIDOU is in contortions , his nose busted and bleeding . His HAND gripping BILLY by the neck , forcing him back and strangling him at the same time . Billy is red in the face , such is the force of this creature but continues to beat him , harder , harder . His expression filled with a life energy , seeded in hatred , that he thought he had lost . Again , Again -</scene_description> <character>BILLY</character> <dialogue>Babba sikijam, Hamidu! I fuck your Mother, I fuck your daughter, I fuck your sons, I fuck your wife!</dialogue> <scene_description>The BAND slips from his throat , then springs up desperately again and clenches Billy 's whole face with one gigantic palm , clawing to get in , then just as quickly slips away . BILLY beats on - again , again . BLOOD flows fast in agitated swirls into the little pool . BILLY opens a door gently , moves across an empty CORRIDOR , dressed in and gun in intense . Hamidou 's holster . large uniform with his He looks shaken , weak , falaka stick dizzy but</scene_description> <character>VOICE</character> <parenthetical>( OFF . )</parenthetical> <dialogue>How about a shoe shine, friend?</dialogue> <scene_description>BILLY starts , clenches the falaka stick ready to spring , spins . A LITTLE SHOESHINE BOY is his case down the corridor . BILLY has not seen a child in a long time . get words out , then manages : Surprised . Ca n't get the words out , then manages :</scene_description> <character>BILLY</character> <dialogue>No!</dialogue> <scene_description>THE KID shrugs , moves on , looking At Billy strangely . BILLY goes up a flight of STAIRS . Ahead , VOICES passing . He stops . Goes on . BILLY goes through an empty GUARD QUARTERS . BILLY is in another CORRIDOR , approaches A SMALL PORTAL , daylight at its edges . Locked ? BILLY , tense , tries it . It swings open on : DAYLIGHT ! BILLY squints . Adjusting to the harsh sensation . AN ISTANBUL STREET - TRAFFIC , SOUNDS . TWO GUARDS approaching the portal in the distance , drinking soda pop . BILLY steps back , straightens his clothes , steps out briskly and at such an angle that THE TWO GUARDS do n't notice him in the traffic as they enter the open portal . LONG SHOT - BILLY walking down the street , looking back , almost bewildered , not quiet believing this . TIGHT - RAILROAD TICKET being stamped . SOUND - SNAP . MOVE UP to TICKET CLERK behind a grill .</scene_description> <character>VOICE</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Edirne to Uzun Kopru?</dialogue> <scene_description>THE CLERK looks puzzled . BILLY is on the other side of the grill . A ill - fitting new Western style suit , a hat over his dyed black hair ; totally paranoid . He has n't slept in three days and the bruises from the Hamidou beating now show clearly black and blue on his face . His eyes are alert , darting around , his speech clipped and to the point .</scene_description> <character>BILLY</character> <dialogue>What's the matter?</dialogue> <scene_description>THE CLEF ! Shrugs .</scene_description> <character>CLERK</character> <dialogue>` What are you crazy? There's no train anymore to Uzun Kopru, it'd have to go through Greece. The border's closed.</dialogue> <scene_description>BILLY taken by surprise .</scene_description> <character>BILLY</character> <dialogue>No train?</dialogue> <character>CLERK</character> <parenthetical>( OFF . )</parenthetical> <dialogue>No more train.</dialogue> <scene_description>BILLY Moves off a small provincial RAILROAD DEPOT - DAY . He looks at the : EMPTY TRACKS - No ` midnight express ' . BILLY , tenser than ever , uses the occasion of buying a newspaper at an OUTDOOR STAND to study : THE MAIN SQUARE of the VILLAGE -LRB- EDIRNE -RRB- - DAY . SOLDIERS and POLICE are abundant , chattering bustling amid tanks and half - tracks . Mountains can be seen in the far distance . BILLY camouflages his face as best he can in the Newspaper `` Hurriyet '' studying : CABDRIVERS in the Main Square . Most of them are older , grizzled looking standing next to their old battered dusty cabs talking with stray SOLDIERS . Billy 's eyes settle on a YOUNGER DRIVER with longish hair , possibly an ally . BILLY glances down at his newspaper as a SOLDIER intersects and his expression goes stony as he sees : FULL COLOR DRAWING -LRB- first page -RRB- of a ridiculously fierce heavy - muscled barechested MAN beating a facsimile of Hamidou into the ground . Next to it a blurry badly reproduced photograph of BILLY with a superimposed GUN in his hand . You ca n't really tell it 's him . BILLY , controlling himself , crumples up the newspaper into a baton , his eyes everywhere . Be the darting A crosses square . ANOTHER ANGLE - BILLY , intersecting a POLICEMAN who glances at him , joins the YOUNG CABDRIVER .</scene_description> <character>BILLY</character> <dialogue>Listen, I have Swedish friends camping south of the town. I was supposed to meet them here this morning but I was late. Can you take me there?</dialogue> <scene_description>DRIVER looks at him neutral .</scene_description> <character>DRIVER</character> <dialogue>You know where they are?</dialogue> <character>BILLY</character> <parenthetical>( anxious to get in the cab . )</parenthetical> <dialogue>Sure.</dialogue> <character>DRIVER</character> <dialogue>How far?</dialogue> <character>BILLY</character> <parenthetical>( impatient . )</parenthetical> <dialogue>About ten kilometers.</dialogue> <character>DRIVER</character> <dialogue>Sixty Lira?</dialogue> <character>BILLY</character> <parenthetical>( surprised . )</parenthetical> <dialogue>Sixty?</dialogue> <scene_description>Billy eyes : APPROACHING SOLDIERS .</scene_description> <character>BILLY</character> <parenthetical>( OFF . )</parenthetical> <dialogue>Okay.</dialogue> <scene_description>THE DRIVER , noticing Billy 's look at the soldiers , gets in the cab . BILLY climbs into the back seat , feeling already he has made a mistake . There is something too alert , too hard in this young driver . BILLY P.O.V. - THE MOUNTAINS as they roll in the taxi . FORESTS - FIELDS .</scene_description> </scene> <scene> <stage_direction>INTERIOR TAXI</stage_direction> <character>BILLY</character> <dialogue>Those mountains? are they?</dialogue> <character>DRIVER</character> <parenthetical>( Greece .</parenthetical> <parenthetical>( shakes his head . )</parenthetical> <dialogue>Very bad now. Maybe war. Those Greek pigs try to steal Cyprus again.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>. -RRB- How'd you lose your friends?</dialogue> <scene_description>BILLY leaning back in his seat , casual .</scene_description> <character>BILLY</character> <dialogue>Oh, I drank a lot of raka last night in Istanbul. Got into a fight.</dialogue> <scene_description>Indicates the bruises on his face . DRIVER looking at him in the rear view mirror . His curiosity narrowing .</scene_description> <character>DRIVER</character> <dialogue>How come you speak Turkish so good?</dialogue> <scene_description>BILLY casually glances out the window .</scene_description> <character>BILLY</character> <dialogue>Did twenty months in prison in Istanbul. Hash</dialogue> <scene_description>THE DRIVER studies BILLY in the rear - view mirror . Then :</scene_description> <character>DRIVER</character> <dialogue>You want to score some? Cheap?</dialogue> <scene_description>BILLY looks at him hard . Something 's wrong with this man .</scene_description> <character>BILLY</character> <parenthetical>( curt . )</parenthetical> <dialogue>No!</dialogue> <scene_description>Cutting off further conversation , he looks out at : THE MOUNTAINS of Greece - with longing . BILLY stares back at : THE DRIVER whose eyes now move away from the rear - view mirror under the pressure of the stare . SOUND OFF loud machinery . BILLY turning - in rear window , we see a TURKISH HALFTRACK pulling alongside the cab , SOLDIERS waving their arms for the cabdriver to get out of the way . ANOTHER ANGLE - the HALFTRACK pulls level . The CABDRIVER slows down , with a curse . BILLY - beads of sweat trickle his brow THE PERSONNEL CARRIER , disinterested , pulls past . BILLY breathes heavily with nervous relief . THE CAB pulls up to the end of a dirt road . BILLY has his MAP out , studying it .</scene_description> <character>BILLY</character> <dialogue>The Maritas River? Where is it?</dialogue> <scene_description>ANOTHER ANGLE - the DRIVER , exasperated , waves southwest .</scene_description> <character>DRIVER</character> <dialogue>Two miles! Minefields over there. Do you know where this campground is or not?</dialogue> <character>BILLY</character> <dialogue>Not far. Just a little way.</dialogue> <character>DRIVER</character> <dialogue>No! I'm not going any further! It'll wreck my car.</dialogue> <character>BILLY</character> <dialogue>I'll pay extra</dialogue> <character>DRIVER</character> <dialogue>How much?</dialogue> <scene_description>ANOTHER ANGLE - BILLY slips him fifty lira . The DRIVER takes it , muttering under his breath , jams the cab into gear . THE CAB follows rutted tracks into low HILLS .</scene_description> </scene> <scene> <stage_direction>INTERIOR CAB - very bumpy.</stage_direction> <character>BILLY</character> <dialogue>Where are the minefields?</dialogue> <character>DRIVER</character> <dialogue>All over. Turkish Army up there. It's against the law. They shoot us.</dialogue> <parenthetical>( looks up in the mirror . )</parenthetical> <dialogue>You sure you looking for your friends, man?</dialogue> <character>BILLY</character> <parenthetical>( VERY SHARP NOW . )</parenthetical> <parenthetical>( very sharp now . )</parenthetical> <dialogue>Okay! Ley me out right here. I'm getting tired of all this bullshit from you. I'll walk it.</dialogue> <character>DRIVER</character> <parenthetical>( looks back , then ahead , suddenly brightening . )</parenthetical> <dialogue>Ah, look! they probably know where the campers are</dialogue> <scene_description>BILLY 's entire expression changes . It is all over . A TANK AND HALFTRACK are sitting there by the rutted track , with SOLDIERS . And a little LEAN - TO with several POLICE . Also a couple of attack DOGS on leashes . The Driver honks his horn on the approach . ANOTHER ANGLE</scene_description> <character>DRIVER</character> <dialogue>Hey officer, we're looking for the campground. Do you know where it is?</dialogue> <scene_description>ANOTHER ANGLE - TWO POLICEMEN and A SOLDIER come sauntering over , their collars open , beer bottles in hand , slightly drunk .</scene_description> <character>POLICEMAN</character> <parenthetical>( curt . )</parenthetical> <dialogue>You're not supposed to be here</dialogue> <character>DRIVER</character> <parenthetical>( indicated Billy . )</parenthetical> <dialogue>He's a tourist, what do you want, he says he's looking for friends at the campground.</dialogue> <scene_description>FIRST POLICEMAN glances BILLY</scene_description> <character>POLICEMAN</character> <dialogue>Campground?</dialogue> <parenthetical>( shrugs . )</parenthetical> <dialogue>Never heard of one.</dialogue> <character>DRIVER</character> <dialogue>Seen any Swedish foreigners in a camper - bus?</dialogue> <scene_description>SECOND POLICEMAN meanwhile eases his arm down on the OPEN WINDOW bringing BILLY into foreground . The COP 'S mouth is open and exhaling a wave of beer breath over - BILLY . BILLY P.O.V. - BEER FACE FOCUS PAST him to SOLDIER at tank reading `` Hurriyet '' - the picture of BILLY on page one , spread for all to see .</scene_description> <character>BEER FACE</character> <dialogue>Noldu?</dialogue> <scene_description>DRIVER turning around to address him .</scene_description> <character>DRIVER</character> <dialogue>Seen any foreigners in a camper bus?</dialogue> <scene_description>SOLDIER circles the cab from the other side . BILLY motions to the DRIVER .</scene_description> <character>BILLY</character> <dialogue>Okay, they have n't seen him, let's go back to town, it's getting late.</dialogue> <scene_description>THE DRIVER ignores it . Calls out again , louder to BEER FACE .</scene_description> <character>DRIVER</character> <dialogue>Foreigners! KAMPER. VOLKSWAGEN</dialogue> <scene_description>BILLY rigid . This asshole of a driver ! BEER FACE glances at BILLY , pulls his head out the window . Looks down the road . Takes a sip of beer . SOLDIER , disinterested , moves back towards the tank . BEER FACE looks in the other direction down the road , burps.Very conscious of his authority , shakes his head without looking at the driver . Moves away . BILLY nudges the DRIVER .</scene_description> <character>BILLY</character> <dialogue>Okay, let's go.</dialogue> <scene_description>THE DRIVER impatiently turns and looks straight at BILLY , aware of his anxiety .</scene_description> <character>DRIVER</character> <dialogue>Is no Volkswagen, man! Something wrong with you?</dialogue> <scene_description>BILLY hardening . DRIVER calling out . BEER FACE turns . DRIVER leans out the window .</scene_description> <character>DRIVER</character> <dialogue>This guy's fishy. I think he might be trying to get to Greece.</dialogue> <scene_description>BILLY looks around fast . BEER FACE starts back lazily , half drunk , with the OTHER POLICEMAN</scene_description> <character>BEER FACE</character> <dialogue>Huh?</dialogue> <scene_description>DRIVER</scene_description> <character>DRIVER</character> <dialogue>I do n't know, there's</dialogue> <scene_description>His eyes grow big suddenly As he sees the barrel of Hamidou 's REVOLVER right in His cheek . BILLY all business , very quiet .</scene_description> <character>BILLY</character> <dialogue>Get out - right now, move!</dialogue> <scene_description>BEER - FACE advancing looks puzzled , thinks he sees something , then crouches as : DRIVER gets out the door crouching , yells .</scene_description> <character>DRIVER</character> <dialogue>He's got a gun!</dialogue> <scene_description>BILLY firing SHOTS off to distract them has climbed over the front seat , jams the cab into gear . It stalls ! Again he tries , and now shoots off . THE CAB Roars past the roadblock . THE COPS AND SOLDIER , scattered by the shots , now scream at each other . They run . SHOTS are fired . BILLY guns the cab down the road , flying . CLOUDS OF DUST trail the cab . THE TANK starts to roll after it . Full speed . The HALFTRACK follows , the MEN riding it shouting . BILLY looks back , then looking ahead sees something . P.O.V - a speck in the far distance . Another ROADBLOCK . BILLY decides , then - THE CAB swerves right off the road and jumps into the gently rolling FIELD on the border of the road , pock marked with HILLS . THE TURKS come roaring down the road , pointing to the cab . LOW ANGLE - the TANK makes a flat out stop , gears grinding . THE GUN TURRET swings left . THE CAB in the far distance , at an angle to the tank , starts running up an incline . THE TANK FIRES . P.O.V. - SHELL BLASTS WIDE OF THE CAB . BILLY , startled , looks back , guns for the top of the incline . HIS P.O.V. - ANOTHER SHELL now blasts to his front right , closer . Something heavy -LRB- shrapnel -RRB- thuds into the rood of the cab . BILLY drives all out . P.O.V. - THE INCLINE CLOSER , CLOSER , ABOUT TO MAKE IT , THEN : A BLAST TANK P.O.V. - the CAB spinning in the blast of the adjacent shell - burst . BILLY , shaken but unhurt , staggers out of the cab , looks : P.O.V. - A WHEEL BLASTED AWAY , FUEL PISSING OUT FROM THE SHRAPNEL HOLES , SMASHED WINDSHIELD AND FENDER . THE TURKS are coming up the incline now , like the Cavalry - some on foot running , others on the HALFTRACK . BULLETS whistle and pop nearby . BILLY running . He tears off his jacket . SOLDIERS pass the wrecked car , at the top of the incline shouting , pointing and firing at BILLY in the distance . ONE SOLDIER seems lighter than the others and takes off in a sprint as the OTHERS follow . THE HALFTRACK now crests the incline and gathering full gear and momentum , roars off down the slope after Billy . CLOSE BILLY running sweat all over him . In background , the HALFTRACK and running FIGURES . BILLY runs into a high dry cornfield with the sun starting to set ahead of him in the Greek mountains . MOUNTAINS - must make those mountains . BILLY running all out - eyes fixed on them , breathing , skipping heartbeats . THE PERSONNEL CARRIER bypasses the FAST SOLDIER who slows down , panting . Billy has outrun him . OTHER SOLDIERS run up in the distance . BILLY , tireless , obsessed , runs right into a POPPY FIELD.It is a splendid beautiful scarlet red , set off by the dipping rays of the sun . HIS FEET smashing down the poppy plants . Fast - THUCK ! THUCK ! THUCK ! THUCK ! THUCK ! THUCK ! CROSSCUT the metal TREADS of the Halftrack into the poppy , mowing down entire rows . TWO SOLDIERS on the PERSONNEL CARRIER are waving encouragement to the driver inside . They have him . ANOTHER ANGLE the HALFTRACK closing the distance on BILLY now thirty yards apart . BILLY looking back , starting to fade . Huge wheezing gasps of breath . SOLDIERS running up looking at THE HALFTRACK in the distance . SOLDIERS yell .</scene_description> <character>SOLDIERS</character> <dialogue>Minefield! Minefield! Come back! Stop!</dialogue> <parenthetical>( NO SUBTITLE . )</parenthetical> <dialogue /> <scene_description>BILLY runs out of the POPPY FIELD into a THIN FOREST . THE SOLDIERS screaming in the distance , jumping up and down waving for the halftrack to come back . LOW ANGLE - the HALFTRACK with the waving SOLDIERS on board now blasts out of the poppy field at full speed . BILLY - he has no chance , In immediate background is the fast HALFTRACK . ONE SOLDIER on the HALFTRACK now looking back to the SHOUTS of his comrades . Confused . Turns bout back to yell something and : ENORMOUS EXPLOSION The HALFTRACK disintegrates in a tank landmine . BILLY thrown to the ground by the force of the blast , looks back , GASPS ! A BURNING WRECKAGE . Black spirals of smoke . Secondary explosions . BILLY stumbles up . A gash of blood is on his temple but he does n't know it or feel it such is his stress . He runs on , SHOTS whistling towards him from the poppy field . TURKISH OFFICER screaming angrily at Billy , cursing , shaking his fist at the sky . BILLY , in the forest , is totally out of breath and out of eyesight of the pursuers . He stops against a tree . FROG SOUNDS . The gurgle of water . Muddy ground . He looks : THE MARITAS RIVER rushing ahead . A strong current . BILLY peels off all his clothing except his pants , not delaying one more moment . He feels he must keep going . And he 's right . DOGS are barking OFF . A SNARLING ATTACK DOG is tearing through the minefield , fast , ahead of the others . BILLY looks , sees it . THIRTY YARDS - the huge DOG coming right at him ! BILLY runs for the edge of the bank and plunges in . THE ATTACK DOG sprints up to the edge of the river bank and without a moment 's hesitation , plunges right in after him . BILLY lashing into the current with a fierce breast stroke , is swept downstream kicking futilely . THE DOG , its jaws open and clacking , is also swept down river . BILLY going under , coming back up - fighting , still fighting . THE DOG struggling sails past as BILLY hauls himself out of the river , going in a circle , dizzy . Falls . Struggles up again . Looks back . Must keep going . Must . THE BASE OF ' MOUNTAIN - hilly , rugged . BILLY runs , drags , runs again . He is a lamentable sight - naked except for ripped wet pants , barefoot , bleeding , muddied . Dimly he makes out : A FARMHOUSE - TWILIGHT . Some cows , goats , chickens . NO sign of people . BILLY staggers towards it . Wears something . A rooting SOUND . Stops . Something familiar about it . A FAMILY OF PIGS snort and root in the mud , little piglets running around . BILLY staggers towards them , muttering to himself .</scene_description> <character>BILLY</character> <dialogue>Pigs! Pigs!</dialogue> <scene_description>Then yells in the recognition of it</scene_description> <character>BILLY</character> <dialogue>Pigs. You. Beautiful.</dialogue> <scene_description>BILLY BILLY falls to his knees in the confined pen ; the pigs run around squealing . Trying to reach out for one of them , he falls face first into the mud and lies there . Pause . A wooden DOOR squeaks open OFF . BILLY slowly turns his muddy eyes over his shoulder . BILLY P.O.V. - TWO SOLDIERS , khaki - colored uniforms , helmets , olive faces , mustaches , approach cautiously from the farmhouse , rifles ready . Following them is an OLD FARMER , Further behind in the doorway is his WIFE and CHILDREN . BILLY muttering to himself , in Turkish .</scene_description> <character>BILLY</character> <dialogue>Greek? Greek?</dialogue> <scene_description>THE SOLDIERS approach close , stand above this strange figure , look at each other .</scene_description> <character>SOLDIER</character> <dialogue>Ti leei?</dialogue> <parenthetical>( What is he saying ? )</parenthetical> <dialogue /> <character>2ND SOLDIER</character> <dialogue>Mou fainetai san Toupkika.</dialogue> <parenthetical>( It sounded like Turkish . )</parenthetical> <dialogue /> <scene_description>BILLY with dimming strength . BILLY THE FARMER understands , makes a vigorous nod of his head .</scene_description> <character>FARMER</character> <dialogue>Malisee. Ellada!</dialogue> <parenthetical>( Ah , yes .</parenthetical> <parenthetical>Greece ! )</parenthetical> <dialogue /> <scene_description>CAR DOOR SLAMS SHUT - and BILLY , his movements still weak , moves a few steps from the car and stops . SUBTITLE :</scene_description> </scene> <scene> <stage_direction>OCTOBER 24, 1975 - BABYLON, LONG ISLAND</stage_direction> <scene_description>Framing Billy are SUSAN and his FATHER , both silent . They look with him at HIS SISTER , BROTHER , UNCLE , AUNT , SISTER - In - LAW FAMILY FRIEND - AND GRANDMOTHER , all on the porch of the ordinary house in BABYLON , LONG ISLAND - DAY ; all of them returning his gaze in that first SILENT moment . Curiosity . Recognition . Shock . Love . And then they move . But we do n't hear their movements . It is SOUNDLESS reunion ; the SISTER running out first in SLOW MOTION , the MOTHER following last , crying ; the GRANDMOTHER too infirm to move , the shaking her head from side to side in SLOW MOTION , her tears lost somewhere in the wrinkles of her face . BILLY surrounded by FAMILY - SLOW MOTION - SOUNDLESS . His eyes flooding . All the feelings in him . And deep inside - a solitary question . THE CHARACTER NAMED BELL IS STILL INSIDE . -LRB- ROLL THE LIST OF NAMES -RRB- And OVER this , the SOUND of a PASSING TRAIN rushing by in the night - UP , FAST and AWAY . -LRB- Getchmis Olsun -RRB- THE END</scene_description> </scene> </script>

On October 6, 1970, on holiday in Istanbul, Turkey, American college student Billy Hayes straps 2 kg of hashish blocks to his chest. While attempting to board a plane back to the United States with his girlfriend, Billy is arrested by Turkish police on high alert for fear of terrorist attacks. He is strip-searched, photographed, and questioned. After a while, a shadowy American – who is never named but is nicknamed "Tex" by Billy, for his thick Texan accent – arrives, takes Billy to a police station, and translates Billy's English for one of the detectives. Billy says that he bought the hashish from a taxicab driver and offers to help the police track him down in exchange for his release. Billy goes with the police to a nearby market and points out the cab driver, but when they go to arrest the cabbie, it becomes apparent that the police have no intention of keeping their end of the deal with Billy. He sees an opportunity and makes a run for it, only to get cornered and recaptured by the mysterious American. During his first night in holding at a local jail, a freezing-cold Billy sneaks out of his cell and steals a blanket. Later that night, he is rousted from his cell and brutally beaten by chief guard Hamidou for the theft. A few days later, Billy wakes up in Sağmalcılar Prison, surrounded by fellow Western prisoners Jimmy (an American who is in for stealing two candlesticks from a mosque), Max (an English heroin addict), and Erich (a Swede, also in for drug smuggling), who help him to his feet. Jimmy tells Billy that the prison is a dangerous place for foreigners like them and that no one can be trusted, not even young children. Billy meets his father, along with a US representative and a Turkish lawyer to discuss what will happen to him. Billy is sent to trial for his case, during which the angry prosecutor makes a case against him for drug smuggling. The lead judge is sympathetic to Billy and gives him only a four-year sentence for drug possession. Billy and his father are horrified at the outcome, but their Turkish lawyer insists that it is a very good result. Jimmy tries to encourage Billy to become part of an escape attempt through the prison's tunnels. Believing that he is to be released soon, Billy rebuffs Jimmy, who goes on to attempt an escape himself. Caught, he is brutally beaten. Then, in 1974, Billy finds out 53 days before he is due for release, that his sentence has been overturned by the Turkish High Court in Ankara after an appeal by the prosecution. The prosecutor originally wished to have him found guilty of smuggling and not the lesser charge of possession. Billy is shocked to find out that he now has to serve 30 years for his crime. In desperation, Billy goes along with a prison break that Jimmy has masterminded. Along with Jimmy and Max, he tries to escape through the catacombs below the prison, but their plans are revealed to the prison authorities by fellow prisoner Rifki. His stay becomes harsh and brutal: terrifying scenes of physical and mental torture follow one another, and Billy has a breakdown. He beats up and bites out Rifki's tongue and is sent to the prison's ward for the insane, where he wanders in a daze among the other disturbed and catatonic prisoners. In 1975, Billy's girlfriend, Susan, comes to see him. Devastated at what has happened to Billy, she tells him that he has to escape or he will die in there. She leaves him a scrapbook with money hidden inside as "a picture of your good friend Mr. Franklin from the bank" in the hope that Billy can use it to help him escape. Her visit moves Billy strongly, and he regains his senses. Billy says goodbye to Max, telling him not to die and promising to come back for him. He then tries to bribe Hamidou into taking him where there are no guards, but Hamidou takes Billy to another room and prepares to rape him. He suddenly and inadvertently kills Hamidou by pushing his head onto a coat hook that sticks out of the wall. Here, Billy seizes the opportunity to escape by putting on a guard's uniform and walking out of the front door. In the epilogue, it is explained that on the night of October 4, 1975, Billy successfully crossed the border to Greece and arrived home three weeks later.

Manchester by the Sea_2016

tt4034228

<script> <scene> <scene_description>MANCHESTER BY THE SEA Written &amp; Directed by Kenneth Lonergan</scene_description> </scene> <scene> <stage_direction>EXT. MANCHESTER HARBOR -- SEA. DAY.</stage_direction> <scene_description>A small commercial fishing boat heads out of Manchester, Massachusetts, toward the open sea. JOE CHANDLER, late 30s, is in the wheelhouse. In the stern are LEE CHANDLER, Joe's younger brother by five years, and Joe's son PATRICK, about 9 years old. Lee and Patrick are kidding around in a friendly way while Joe steers. SEVEN YEARS LATER -- THE PRESENT</scene_description> </scene> <scene> <stage_direction>EXT. BOSTON -- QUINCY -- APARTMENT HOUSE. DAY.</stage_direction> <scene_description>It's a cold winter day on a narrow street. In front of a small apartment building, LEE sweeps away the old snow on the pavement, then sprinkles salt in front of the building. He is 40 now, wearing janitor's coveralls under his weatherbeaten winter jacket.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM. DAY.</stage_direction> <scene_description>Lee works on a leaky toilet while MR MARTINEZ, 50s, a big man in an undershirt and glasses, stands by watching.</scene_description> <character>MR MARTINEZ</character> <dialogue>I don't know why the hell it keeps dripping. All night long, drip, drip. I've had the fucking thing repaired ten times.</dialogue> <character>LEE</character> <dialogue>You need a new stopper.</dialogue> <character>MR MARTINEZ</character> <dialogue>Oh is that it?</dialogue> <character>LEE</character> <dialogue>See how it's rotted around the edges? It doesn't make a seal, so the water drips into the bowl. I can bring you a new one tomorrow, or you might want to consider replacing the whole apparatus.</dialogue> <character>MARTINEZ</character> <dialogue>What do you recommend?</dialogue> <scene_description>Lee starts putting away his tools and cleaning up.</scene_description> <character>LEE</character> <dialogue>Well, I could replace the stopper first, and if that doesn't work, then I would come back and replace the whole apparatus.</dialogue> <character>MARTINEZ</character> <dialogue>But you don't have a professional recommendation?</dialogue> <character>LEE</character> <dialogue>It's really up to you.</dialogue> <character>MARTINEZ</character> <dialogue>Well, tomorrow I got my sister-in- law coming over with my nephews ...and I gotta take my car in...</dialogue> <scene_description>Lee waits while Mr Martinez works out his schedule.</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT. DAY.</stage_direction> <scene_description>He organizes the trash cans and recycling in the basement.</scene_description> </scene> <scene> <stage_direction>INT. APARTMENT BUILDING HALLWAY. DAY.</stage_direction> <scene_description>He vacuums the hall with an industrial vacuum cleaner on a fifty foot yellow extension cord.</scene_description> </scene> <scene> <stage_direction>EXT. QUINCY -- ANOTHER BUILDING. DAY.</stage_direction> <scene_description>A different apartment building on a similar street.</scene_description> </scene> <scene> <stage_direction>INT. MRS GROOM'S APARTMENT. DAY.</stage_direction> <scene_description>Standing on a ladder in a small grandmotherly apartment, Lee changes a light bulb in the very small bathroom. MRS GROOM, 70s, is on the phone outside the open bathroom door.</scene_description> <character>MRS GROOM</character> <parenthetical>(On the phone)</parenthetical> <dialogue>No, it's my sister Janine's oldest girl's bat mitzvah...No, I look forward to being bored to death... No, the girl doesn't want it, the father doesn't want it. I don't ask. Seven hours in the car, I could really slit my throat...Oh, well, the little girls are charming.</dialogue> </scene> <scene> <stage_direction>EXT. QUINCY -- A SLIGHTLY MORE UPSCALE STREET. DUSK.</stage_direction> <scene_description>A marginally more upscale building.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM. DUSK.</stage_direction> <scene_description>Lee looks down at a stopped-up toilet. Behind him is MARIANNE, slender, 30s, attractive, wearing everyday around- the-house clothes.</scene_description> <character>MARIANNE</character> <dialogue>I am so sorry. This is so gross.</dialogue> <character>LEE</character> <dialogue>It's all right.</dialogue> <scene_description>He plunges her toilet carefully and methodically. LATER -- He wipes up the floor. Marianne comes in.</scene_description> <character>MARIANNE</character> <dialogue>Oh Lee, you don't have to do that, honestly.</dialogue> <character>LEE</character> <dialogue>That's OK.</dialogue> <character>MARIANNE</character> <dialogue>Well -- God. Thank you so much, I am so sorry.</dialogue> <scene_description>LATER -- He is washing his hands in her bathroom sink. He hears Marianne talking on the phone O.C.</scene_description> <character>MARIANNE</character> <dialogue>No, tell him to come! ... Okay, yeah ... But Cindy, I have to tell you something. I'm like, in love with my handyman. Is that sick? ... Have you ever had a sexual fantasy about your handyman? ... Well, it's awkward because he is literally like, cleaning the shit out of my toilet bowl right now. And I don't think I'm at my most alluring ... Yeah, maybe you're right. It's not like I met him socially ... Okay thank you Cindy. You're a really good friend ... OK like twenty minutes. 'Bye!</dialogue> <scene_description>IN HER SMALL LIVING ROOM -- He comes out of the bathroom. Marianne is now dressed up to go out. She looks great.</scene_description> <character>LEE</character> <dialogue>All set.</dialogue> <character>MARIANNE</character> <dialogue>Thank you so much. Can I give you a tip?</dialogue> <character>LEE</character> <dialogue>You mean, like a suggestion?</dialogue> <character>MARIANNE</character> <parenthetical>(Taking out a ten)</parenthetical> <dialogue>No -- I mean -- like, a tip...</dialogue> <character>LEE</character> <dialogue>That's all right. Have a good night.</dialogue> <character>MARIANNE</character> <dialogue>Oh, please. I'd feel bad.</dialogue> <character>LEE</character> <parenthetical>(Takes the money)</parenthetical> <dialogue>OK, thanks a lot. Good night.</dialogue> <character>MARIANNE</character> <dialogue>Good night! And thank you so much.</dialogue> </scene> <scene> <stage_direction>INT. MRS OLSEN'S BATHROOM. DAY.</stage_direction> <scene_description>Lee is down on his hand and knees. MRS OLSEN, 40s, in a bathrobe, is very good-looking but bad-tempered and nervous.</scene_description> <character>MRS OLSEN</character> <dialogue>How many times do we have to fix these fucking pipes? Every time I take a shower their entire apartment has a flood. It's driving me insane.</dialogue> <character>LEE</character> <dialogue>I'll bring the plumber tomorrow but I'd say we're gonna have to break through the tile and try to isolate the leak, because there was quite a lot of water --</dialogue> <character>MRS OLSEN</character> <dialogue>But how do you know it's me? Why is it automatically me?</dialogue> <character>LEE</character> <dialogue>Because if it was coming from higher up you'd have water damage on the ceiling too, and maybe in your wall, and it's all dry.</dialogue> <character>MRS OLSEN</character> <dialogue>Great.</dialogue> <scene_description>Lee looks at the bathtub.</scene_description> <character>LEE</character> <dialogue>It might just be the caulking. This whole tub needs to be re-caulked. Did you take a bath or shower in the last couple of hours?</dialogue> <character>MRS OLSEN</character> <dialogue>Yes...</dialogue> <character>LEE</character> <dialogue>Well, it could actually just be that.</dialogue> <character>MRS OLSEN</character> <dialogue>OK. And how are you planning to find that out?</dialogue> <character>LEE</character> <dialogue>Well, we could turn on the shower and see if it drips downstairs...</dialogue> <character>MRS OLSEN</character> <dialogue>You want me to take a shower now?</dialogue> <character>LEE</character> <dialogue>No...</dialogue> <character>MRS OLSEN</character> <dialogue>You want me to take a shower while you stand there watching, to see if the water drips down into the Friedrich's apartment?</dialogue> <character>LEE</character> <dialogue>I don't really give a fuck what you do, Mrs. Olsen. I just want to find the leak.</dialogue> <scene_description>Mrs Olsen goes white with shock and fury.</scene_description> <character>MRS OLSEN</character> <dialogue>No, you can get out of my apartment and don't ever come back.</dialogue> <character>LEE</character> <dialogue>OK.</dialogue> <character>MRS OLSEN</character> <dialogue>How dare you fucking talk to me like that? Get the fuck out of my house before I call the police!</dialogue> <character>LEE</character> <dialogue>You're blockin' the doorway.</dialogue> </scene> <scene> <stage_direction>INT. MR EMERY'S OFFICE. NIGHT.</stage_direction> <scene_description>The building manager's office. MR EMERY is in his 50s. Lee sits in the chair before the crowded desk.</scene_description> <character>EMERY</character> <dialogue>What the fuck's matter with you? You can't talk to the tenants like that!</dialogue> <scene_description>Lee shrugs.</scene_description> <character>EMERY</character> <dialogue>Look, Lee. You do a good job. You're dependable. But I get these complaints all the time. You're rude, you're unfriendly, you don't say good mornin'. I mean come on!</dialogue> <character>LEE</character> <dialogue>Mr Emery, I fix the plumbing. I take out the garbage. I paint their apartments. I do electrical work -- which we both know is against the law. I show up on time, I'm workin' four buildings and you get all the money. So do whatever you're gonna do.</dialogue> <character>EMERY</character> <dialogue>Would you be willin' to apologize to Mrs Olsen?</dialogue> <character>LEE</character> <dialogue>For what?</dialogue> <character>EMERY</character> <dialogue>All right, all right, I'll talk to her.</dialogue> <scene_description>Lee gets up to go.</scene_description> </scene> <scene> <stage_direction>INT. A LOUD QUINCY BAR. NIGHT.</stage_direction> <scene_description>Lee drinks alone at a small, crowded neighborhood bar. AT THE BAR -- Lee is waiting for service. Someone bumps a CUTE GIRL, 30s, into him. She spills some beer on Lee.</scene_description> <character>GIRL</character> <dialogue>Oh my God, I'm sorry! Did I get you? Yeah. Lemme get a napkin. Lenny, could I get a couple of napkins? (Gives Lee some napkins.) Here you are...</dialogue> <character>LEE</character> <dialogue>That's OK. I'm OK...</dialogue> <character>LEE</character> <dialogue>Thanks.</dialogue> <character>GIRL</character> <dialogue>Well, now I spilled beer all over you, my name's Sharon.</dialogue> <character>LEE</character> <dialogue>That's OK.</dialogue> <character>GIRL</character> <dialogue>And you are...</dialogue> <character>LEE</character> <dialogue>Lee.</dialogue> <scene_description>She gets the message that he is not interested. He pats himself dry, not looking at her. LATER -- The bar is far less packed. We see SHARON across the room, talking to a girlfriend. At the bar, Lee is drinking alone. He's pretty drunk by now. He is looking at two BUSINESSMEN, 40s. One of them notices and mentions it to the other. They look at him for a moment then ignore him. He gets up and walks toward them. They are surprised at his approach.</scene_description> <character>1ST BUSINESSMAN</character> <dialogue>How you doin'?</dialogue> <character>2ND BUSINESSMAN</character> <dialogue>How you doin'?</dialogue> <character>LEE</character> <dialogue>Good. I'm good. Can I ask you guys, have we met before?</dialogue> <scene_description>The two men look at each other then back at Lee.</scene_description> <character>1ST BUSINESSMAN</character> <dialogue>I don't think so.</dialogue> <character>2ND BUSINESSMAN</character> <dialogue>I don't think so either.</dialogue> <character>LEE</character> <dialogue>So you guys don't know me?</dialogue> <character>1ST BUSINESSMAN</character> <dialogue>No... No.</dialogue> <character>2ND BUSINESSMAN</character> <dialogue>No, Yeah. No. Do we?</dialogue> <character>LEE</character> <dialogue>Well then what the fuck are you lookin' at me for?</dialogue> <character>2ND BUSINESSMAN</character> <dialogue>Excuse me?</dialogue> <character>LEE</character> <dialogue>I said why the fuck are you lookin' at me?</dialogue> <character>1ST BUSINESSMAN</character> <dialogue>Sir, we really weren't</dialogue> <character>2ND BUSINESSMAN</character> <dialogue>Hey! Take a fuckin' walk. Hey</dialogue> <scene_description>looking at you -- -- Paul -- No -- don't apologize to this asshole-- BARTENDER (To LEE) Take a hike! (Hurrying over) Hey, Lee...Lee...! Lee HITS the 2nd Businessman and knocks him into a wall. Several pictures fall and smash on the floor.</scene_description> <character>BARTENDER</character> <dialogue>Oh, goddamnit --</dialogue> <scene_description>Lee punches the 1st Businessman's nose. He falls back and grabs his face, blood streaming from both nostrils. The 2nd Businessman and Lee swipe at each other.</scene_description> <character>1ST BUSINESSMAN</character> <dialogue>You broke my fuckin' nose!</dialogue> <character>2ND BUSINESSMAN</character> <dialogue>Goddamn lunatic --</dialogue> <scene_description>The BARTENDER leaps over the bar and grabs Lee from behind -- Other guys join in to break it up.</scene_description> <character>BARTENDER</character> <dialogue>Lee! Lee! Lee! Enough!</dialogue> <character>VARIOUS VOICES</character> <dialogue>Break it up! Break it up!</dialogue> <character>LEE</character> <dialogue>Lemme go. I gotta go take a hike.</dialogue> <scene_description>General melee.</scene_description> </scene> <scene> <stage_direction>INT. LEE'S BASEMENT APARTMENT. NIGHT.</stage_direction> <scene_description>Lee turns the light on and comes in. He is a little roughed up from the fight. At his dresser, Lee pulls on sweatpants and an undershirt. There are THREE FRAMED PHOTOS in imitation silver frames standing on the little dresser. We don't see the photos. Lee sits on the sofa with a beer and turns the TV on to a late-night sports program. Slowly he falls asleep. The can in his hand tips slowly sideways and spills onto the sofa.</scene_description> </scene> <scene> <stage_direction>EXT. LEE'S STREET. DAY.</stage_direction> <scene_description>It's snowing. Lots of slow, heavy flakes, very pretty.</scene_description> </scene> <scene> <stage_direction>EXT. LEE'S BUILDING -- WINTER. DAY.</stage_direction> <scene_description>Lee is shoveling snow. The air is clear and cold. The whole street is beautified by the recent snow storm. His iPhone rings. He takes off his gloves. Digs out the phone.</scene_description> <character>LEE</character> <dialogue>Hello ... This is Lee ... Oh ... When did that happen? ... Well, how is he? ... OK. Uh...No. Don't do that. I'll come up right now ... OK. Thank you.</dialogue> <scene_description>He hangs up and goes inside with the shovel, leaving the snow before the building only partially cleared and salted down.</scene_description> </scene> <scene> <stage_direction>INT. LEE'S CAR (MOVING). DAY.</stage_direction> <scene_description>Lee sits behind the wheel, trying to get out of Boston and onto Rt 1. North. He's talking on his iPhone.</scene_description> <character>LEE</character> <parenthetical>(Into his iPhone)</parenthetical> <dialogue>Mr Emery, it's Lee again. I contacted Jose, who says he can cover for me til Friday night at least, and then Gene MacAdavey can take over till I get back. I'll be in Manchester at least a week or two. I'll call again when I have more information. Goodbye.</dialogue> <scene_description>He hangs up and drives into increasingly heavy traffic.</scene_description> <character>LEE</character> <dialogue>Come on, come on.</dialogue> <scene_description>The traffic slows. He becomes increasingly anxious.</scene_description> </scene> <scene> <stage_direction>EXT. RT. 128 -- LEE'S CAR (MOVING). DAY.</stage_direction> <scene_description>Lee's car takes the exit for Beverly.</scene_description> </scene> <scene> <stage_direction>EXT. BEVERLY HOSPITAL. DAY.</stage_direction> <scene_description>Lee drives through the grounds of a big modern hospital. He knows exactly where he's going. He parks and gets out. He walks quickly to the main entrance, then breaks into a run.</scene_description> </scene> <scene> <stage_direction>INT. BEVERLY HOSPITAL. DAY.</stage_direction> <scene_description>We lead/follow Lee as he walks quickly through the halls toward the ICU, easily navigating the twists and turns from habit. He goes into the ICU --</scene_description> </scene> <scene> <stage_direction>INT. ICU -- NURSE'S STATION -- CONTINUOUS. DAY.</stage_direction> <scene_description>-- and approaches GEORGE, around 50, a big weatherbeaten guy, and NURSE IRENE, 40s. They both react as Lee approaches.</scene_description> <character>GEORGE</character> <dialogue>Hiya, Lee.</dialogue> <character>LEE</character> <dialogue>Is he dead?</dialogue> <scene_description>George's eyes fill with tears. He makes a helpless gesture.</scene_description> <character>NURSE IRENE</character> <dialogue>I'm sorry, Lee. He passed away about an hour ago.</dialogue> <character>LEE</character> <dialogue>Oh.</dialogue> <character>NURSE IRENE</character> <dialogue>I'm so sorry.</dialogue> <scene_description>Lee looks at the floor, hands on his hips. Nurse Irene gives his arm an awkward squeeze. Lee stares into the middle distance for a moment.</scene_description> <character>LEE</character> <dialogue>Did you see him?</dialogue> <character>GEORGE</character> <dialogue>Yeah. I mean -- No --</dialogue> <character>NURSE IRENE</character> <dialogue>George br --</dialogue> <character>GEORGE</character> <dialogue>I brought him in.</dialogue> <character>GEORGE</character> <dialogue>...We were lookin' at the boat this mornin', and he just -- I don't know, he just, like, fell over. I thought he was kiddin' me at first. Then I called the ambulance ...and uh -- that was it.</dialogue> <scene_description>Lee shakes his head, still staring at the floor.</scene_description> <character>NURSE IRENE</character> <dialogue>I'll just call Dr Muller and tell him that you're here.</dialogue> <character>LEE</character> <dialogue>Where's Dr Betheny?</dialogue> <character>NURSE IRENE</character> <dialogue>Oh, she's on maternity leave. Oh here he is.</dialogue> <scene_description>DR MULLER, 40s, has just joined them.</scene_description> <character>DR MULLER</character> <dialogue>Lee? I'm Dr Muller. We spoke on the phone.</dialogue> <character>LEE</character> <dialogue>Yeah. Hi.</dialogue> <character>DR MULLER</character> <dialogue>I'm very, very sorry.</dialogue> <character>LEE</character> <dialogue>Thank you.</dialogue> <character>DR MULLER</character> <dialogue>Hello, George.</dialogue> <scene_description>He shake hands with George.</scene_description> <character>GEORGE</character> <dialogue>Hiya Jim.</dialogue> <character>DR MULLER</character> <dialogue>How you holding up?</dialogue> <character>GEORGE</character> <dialogue>Oh -- Great! You know.</dialogue> <character>DR MULLER</character> <dialogue>Well...it's a very sad day.</dialogue> <character>GEORGE</character> <dialogue>Yeah.</dialogue> <scene_description>George starts to cry. He looks down and wipes his eyes.</scene_description> <character>LEE</character> <dialogue>Where's my brother?</dialogue> <character>DR MULLER</character> <dialogue>He's downstairs. You can see him if you want.</dialogue> <character>LEE</character> <dialogue>What happened?</dialogue> <character>DR MULLER</character> <dialogue>Well, you know his heart was very weak at this point, and it just gave out. If it's any comfort, I don't think he suffered very much. I'm sorry you didn't get here in time, but as I told you on the phone --</dialogue> <character>LEE</character> <dialogue>Aw, fuck this. (He looks at the floor. Long pause. He looks up.) Sorry.</dialogue> <character>DR MULLER</character> <dialogue>That's perfectly all right.</dialogue> <character>GEORGE</character> <dialogue>That's OK, buddy.</dialogue> <character>LEE</character> <dialogue>Did anybody call my Uncle?</dialogue> <scene_description>DR MULLER and GEORGE glance at each other.</scene_description> <character>GEORGE</character> <dialogue>Their Uncle Donny. LEE GEORGE</dialogue> <scene_description>Yeah, my Aunt and Uncle. No, Lee -- Lee, no -- Somebody shoulda called them. What?</scene_description> <character>GEORGE</character> <dialogue>-- Donny got a job in Minnesota, like --</dialogue> <character>LEE</character> <dialogue>Minnesota?</dialogue> <character>GEORGE</character> <dialogue>-- awhile ago. Yeah: He got a job with some outfit in Minnetonka, Minnesota, if you can believe that. Joe didn't tell you about that?</dialogue> <character>LEE</character> <dialogue>No.</dialogue> <character>GEORGE</character> <dialogue>I can call 'em if you want, Lee. And tell 'em what happened.</dialogue> <character>LEE</character> <dialogue>OK. Thanks...</dialogue> <character>LEE</character> <dialogue>Tell 'em...Tell 'em what happened. Tell 'em I'll call 'em tonight, probably tomorrow. Talk about arrangements.</dialogue> <character>GEORGE</character> <dialogue>Oh, no problem --</dialogue> <character>GEORGE</character> <dialogue>Sure, I can do that.</dialogue> <character>LEE</character> <dialogue>And somebody better call my wife.</dialogue> <scene_description>There is a confused, embarrassed hesitation.</scene_description> <character>DR MULLER</character> <dialogue>Your...</dialogue> <character>LEE</character> <dialogue>Ex-wife. Yes. Sorry. I meant Randi.</dialogue> <character>GEORGE</character> <dialogue>You mean Randi? That's OK -- I already thought of that. I'll take care of it.</dialogue> <character>LEE</character> <dialogue>OK, thanks.</dialogue> <character>GEORGE</character> <dialogue>No problem.</dialogue> <character>LEE</character> <dialogue>Can I see him now?</dialogue> <character>DR MULLER</character> <dialogue>Sure.</dialogue> <character>GEORGE</character> <dialogue>Lee -- I can wait up here, Lee, in case you need anything.</dialogue> <scene_description>OK. Dr Muller leads Lee away. George breaks down again.</scene_description> <character>GEORGE</character> <dialogue>I'm sorry.</dialogue> <character>NURSE IRENE</character> <dialogue>Would you like a Kleenex?</dialogue> <character>GEORGE</character> <dialogue>Thanks. Yeah.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL ELEVATOR.</stage_direction> <scene_description>Dr Muller and Lee ride down very slowly.</scene_description> <character>LEE</character> <dialogue>How is Dr Betheny?</dialogue> <character>DR MULLER</character> <dialogue>Oh, she's doing very well. She just had twin girls.</dialogue> <character>LEE</character> <dialogue>Oh yeah. Irene told me.</dialogue> <character>DR MULLER</character> <dialogue>Apparently weigh about eleven pounds apiece. So she's gonna have her hands full for a while...I'll call her this afternoon and tell her what happened.</dialogue> <character>LEE</character> <dialogue>She was very good to him.</dialogue> <character>DR MULLER</character> <dialogue>Yes she was.</dialogue> <scene_description>EIGHT YEARS AGO --</scene_description> </scene> <scene> <stage_direction>INT. JOE CHANDLER'S HOSPITAL ROOM. DAY.</stage_direction> <scene_description>JOE CHANDLER is lying in the hospital bed. There's a close resemblance between him and Lee. ELISE, Joe's wife, the same age as Joe, pretty, anxious and high-strung -- stands near to STANLEY CHANDLER -- Lee and Joe's father, 70s. He sits in one chair. LEE sits in another. They are all listening to DR BETHENY, 30s. She is small, intense, very serious and focused and level-headed, but thoroughly well-meaning and decent.</scene_description> <character>DR BETHENY</character> <dialogue>The disease is commonly referred to as congestive heart failure --</dialogue> <character>ELISE</character> <dialogue>Oh my God!</dialogue> <character>DR BETHENY</character> <dialogue>Are you familiar with it?</dialogue> <character>ELISE</character> <dialogue>No...!</dialogue> <character>JOE</character> <dialogue>Then what are you sayin' "Oh my God" for?</dialogue> <character>ELISE</character> <dialogue>Because what is it?</dialogue> <character>JOE</character> <dialogue>She's tryin' to explain it to us, honey. I'm sorry, Dr Beth...uh...</dialogue> <character>DR BETHENY</character> <dialogue>Betheny:</dialogue> <character>JOE</character> <dialogue>I'm sorry. I can never get it right.</dialogue> <character>DR BETHENY</character> <dialogue>Don't worry about it. Not a problem.</dialogue> <character>STAN</character> <dialogue>So, you were saying, Dr Beth.</dialogue> <character>JOE</character> <dialogue>It's Dr Betheny, Dad.</dialogue> <character>LEE</character> <dialogue>Dr Betheny, Daddy, try to get it right..</dialogue> <character>ELISE</character> <dialogue>It's a comedy routine!</dialogue> <character>JOE</character> <dialogue>Would you let her tell it?</dialogue> <character>STAN</character> <dialogue>Elise, please...</dialogue> <character>ELISE</character> <dialogue>Oh my God: When am I gonna put one foot right?</dialogue> <character>JOE</character> <dialogue>Honey, for Christ's sakes!</dialogue> <character>ELISE</character> <dialogue>How about a hint?</dialogue> <scene_description>Stanley takes Elise's hand and holds onto it.</scene_description> <character>STAN</character> <dialogue>Elise...Sweetheart...Let's just let her explain the situation to us...</dialogue> <character>LEE</character> <dialogue>Daddy...</dialogue> <character>STAN</character> <dialogue>What? She's fine. We're all upset. We're all gonna listen, then we're gonna ask everything we wanna ask, and then we're gonna figure out what do to, together. Right?</dialogue> <character>JOE</character> <dialogue>Right.</dialogue> <character>DR BETHENY</character> <dialogue>It's a gradual deterioration of the muscles of the heart. It's usually associated with older people, but in rarer cases it will occur in a younger person. Some people can live as long as fifty or sixty years with just an occasional attack. But most people suffer periodic episodes, like the one you had on Monday, which mimic the symptoms of a heart attack and which further weaken the muscle. They can put you out of commission for a week, two weeks. And you'll need to be hospitalized so we can monitor your heart, because the risk of cardiac arrest is elevated for a week or two.</dialogue> <character>ELISE</character> <dialogue>Oh my God.</dialogue> <character>STAN</character> <parenthetical>(Pats her hand)</parenthetical> <scene_description>OK...OK...</scene_description> <character>DR BETHENY</character> <dialogue>But in between these episodes, most people feel perfectly healthy and you can basically live a normal life.</dialogue> <character>JOE</character> <dialogue>So...What do you mean that some people live as long as fifty or sixty years? You mean total? Or from when they're diagnosed with this, or what? And tell me the fuckin' truth.</dialogue> <character>DR BETHENY</character> <dialogue>Total.</dialogue> <scene_description>Everyone is stunned into silence, even Elise.</scene_description> <character>DR BETHENY</character> <dialogue>For approximately eighty percent of patients your age the most common statistical life expectancy is five years or less.</dialogue> <scene_description>Elise grips Stan's hand. Lee looks at the floor.</scene_description> <character>JOE</character> <dialogue>Wow.</dialogue> <character>DR BETHENY</character> <dialogue>But the statistics vary widely, and they're just statistics. You're not a statistic, you're just one person, and we don't know what's going to happen to you yet. But it's not a good disease.</dialogue> <character>JOE</character> <dialogue>What's a good disease?</dialogue> <character>DR BETHENY</character> <dialogue>Poison Ivy.</dialogue> <character>ELISE</character> <parenthetical>(Rising)</parenthetical> <dialogue>I do not see where the humor lies in this situation.</dialogue> <character>STAN</character> <dialogue>Elise, you must calm down.</dialogue> <character>JOE</character> <dialogue>Honey, please...</dialogue> <character>DR BETHENY</character> <dialogue>I'm sorry. I'm really not trying to --</dialogue> <character>LEE</character> <parenthetical>(To Dr Betheny)</parenthetical> <dialogue>Don't -- it's fine.</dialogue> <scene_description>Elise pulls her hand away from Stan and waves "No" at them.</scene_description> <character>ELISE</character> <dialogue>No. No more -- I'm not gonna --</dialogue> <character>STAN</character> <dialogue>Elise, let's get you a glass of water --</dialogue> <character>ELISE</character> <dialogue>No m -- No.</dialogue> <character>LEE</character> <dialogue>Daddy. Forget it.</dialogue> <character>JOE (TO LEE)</character> <dialogue>Hey, shut up.</dialogue> <character>ELISE</character> <dialogue>Yeah, forget it. Forget it like you -- No, you know what? I'm tired of bein' the bad guy here.</dialogue> <character>JOE</character> <dialogue>Jesus Christ! Who's in the fuckin' hospital?!</dialogue> <character>STAN</character> <dialogue>Nobody th --</dialogue> <character>ELISE</character> <dialogue>Right! So I'll be the bad guy, and you be in the hospital and explain the jokes to your son. I'm goin' home.</dialogue> <character>JOE</character> <dialogue>You're goin' home.</dialogue> <character>STAN</character> <dialogue>Sweetheart --</dialogue> <scene_description>SHE WALKS OUT fast, her heels clicking against the floor.</scene_description> <character>STAN</character> <dialogue>Lemme get her back.</dialogue> <character>LEE</character> <dialogue>Fuck her.</dialogue> <character>JOE</character> <dialogue>You wanna stop with that shit?</dialogue> <character>STAN</character> <dialogue>Come on with that stuff already!</dialogue> <scene_description>THE PRESENT --</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL ELEVATOR/LOWER LEVEL HALLWAY.</stage_direction> <scene_description>The ELEVATOR DOOR OPENS AT LL2. Dr Muller and Lee come out.</scene_description> </scene> <scene> <stage_direction>INT. MORGUE.</stage_direction> <scene_description>A SECURITY GUARD opens the door for DR MULLER and LEE.</scene_description> <character>DR MULLER</character> <dialogue>Thank you, Tony.</dialogue> <scene_description>Lee goes in and looks down at the body. Pause.</scene_description> <character>LEE</character> <parenthetical>(Hesitates)</parenthetical> <scene_description>OK.</scene_description> <character>DR MULLER</character> <dialogue>Take your time.</dialogue> <scene_description>Lee moves closer to the body. He touches Joe's hand. It feels dead so he touches his shoulder where there's a sleeve. He leans over and kisses his cheek. He embraces the body as best he can. Dr Muller drops back discreetly. Lee walks out past Dr Muller. Dr Muller follows.</scene_description> <character>DR MULLER</character> <parenthetical>(To the Security Guard)</parenthetical> <dialogue>Thanks, Tony.</dialogue> </scene> <scene> <stage_direction>INT. ELEVATOR.</stage_direction> <scene_description>Lee and Dr Muller ride up again in silence.</scene_description> </scene> <scene> <stage_direction>INT. BEVERLY HOSPITAL. ICU. FLOOR. DAY -- CONTINUOUS.</stage_direction> <scene_description>The ELEVATOR DOOR OPENS. Lee and Dr Muller come out and walk to the Nurse's Station, where IRENE and GEORGE wait.</scene_description> <character>LEE</character> <dialogue>I gotta get up to Manchester. Nobody told Patrick, right?</dialogue> <character>DR MULLER</character> <dialogue>No -- you had asked us to wait for you to get here --</dialogue> <character>LEE</character> <parenthetical>(On "us")</parenthetical> <dialogue>Yes -- Thank you. So...What is the procedure now?</dialogue> <character>DR MULLER</character> <dialogue>Well -- You should make arrangements with a funeral parlor, and they pretty much take care of everything.</dialogue> <character>LEE</character> <dialogue>I don't know the name of one.</dialogue> <character>DR MULLER</character> <dialogue>We can help you with that.</dialogue> <character>NURSE IRENE</character> <dialogue>Yeah.</dialogue> <character>LEE</character> <dialogue>And they come up and get him?</dialogue> <character>DR MULLER</character> <dialogue>Yes.</dialogue> <character>NURSE IRENE</character> <dialogue>Yes.</dialogue> <character>GEORGE</character> <dialogue>I'll make those calls, Lee --</dialogue> <character>GEORGE</character> <dialogue>Lemme know if you need any help with anything.</dialogue> <character>LEE</character> <dialogue>OK. And -- OK. Thanks. And -- Yeah. Plus I gotta call you about the boat, and the web site. All that shit.</dialogue> <character>GEORGE</character> <dialogue>Sure. I'm around.</dialogue> <character>LEE</character> <dialogue>OK. I better get up there before school lets out.</dialogue> <character>DR MULLER</character> <dialogue>You just have to sign for Joe's belongings.</dialogue> <scene_description>Nurse Irene takes Lee around to the nurse's station so Lee can sign for Joe's belongings. SEVEN YEARS AGO --</scene_description> </scene> <scene> <stage_direction>EXT. THE SEA -- JOE'S BOAT. DAY.</stage_direction> <scene_description>Autumn. LEE, JOE and 8-YEAR-OLD PATRICK are on JOE'S BOAT. The Cape Ann coast is in the distance. The boat is rigged for whale-watching and deep sea fishing charters. Lee discreetly keeps a hand near the rod as 8-Year-Old Patrick trolls. Joe is at the tiller. He's looking thinner but better.</scene_description> <character>8-YEAR-OLD PATRICK</character> <dialogue>Like that?</dialogue> <character>LEE</character> <dialogue>Yeah, only keep your thumb off the line, 'cause if you get a strike it's gonna slice it right open. And you know what happens then.</dialogue> <character>8-YEAR-OLD PATRICK</character> <dialogue>What?</dialogue> <character>LEE</character> <dialogue>The sharks are gonna smell that blood and rip this boat apart.</dialogue> <character>8-YEAR-OLD PATRICK</character> <dialogue>No they won't. Dad, will they?</dialogue> <character>JOE</character> <dialogue>Oh yeah. I seen a school of sharks tear a boat to pieces like it was made of cardboard, just 'cause some kid threw a band-aid in the water.</dialogue> <character>8-YEAR-OLD PATRICK</character> <dialogue>No you didn't.</dialogue> <character>LEE</character> <dialogue>Sometimes the only way to keep 'em off is to throw the kid directly in the ocean to distract 'em.</dialogue> <character>8-YEAR-OLD PATRICK</character> <dialogue>Shut up. Sharks don't even swim in schools.</dialogue> <character>JOE</character> <dialogue>Is this kid smart or what?</dialogue> <character>LEE</character> <dialogue>Yep. And a really smart kid is exactly the kind of quality meal a humongous school of sharks is lookin' for when they're circlin' a boat.</dialogue> <character>PATRICK</character> <dialogue>Uncle Lee! Shut up!</dialogue> <scene_description>Patrick's REEL starts SPINNING OUT with a thrilling whine.</scene_description> <character>LEE</character> <dialogue>Strike! Strike! Ease up on the drag -- And watch that fuckin' thumb!</dialogue> <character>JOE</character> <dialogue>Look out, look out! You got a strike! Ease up, ease up!</dialogue> <character>8-YEAR-OLD PATRICK</character> <parenthetical>(Hits him)</parenthetical> <dialogue>No swearing!</dialogue> <scene_description>Patrick loses his balance. Lee catches him and props him up.</scene_description> <character>LEE</character> <dialogue>Don't hit me -- ! Catch the fish! We're doin' fine. (To Joe) Just drive the boat. Patty, pull up sharp! Come on, buddy! There you go! (To JOE) Mind your business!</dialogue> <character>JOE</character> <dialogue>What are you guys doin'? Hook the fish! Get the hook in him before he -- ! I'm drivin' the goddamn boat. Get that hook in him!</dialogue> <scene_description>Lee helps Patrick pull the rod back sharply a few times.</scene_description> <character>8-YEAR-OLD PATRICK</character> <dialogue>What kind of fish is it?</dialogue> <character>JOE</character> <dialogue>Gotta be a great white, Patty</dialogue> <character>LEE</character> <dialogue>Feels like a great white</dialogue> <scene_description>-- Maybe a barracuda -- shark to me.</scene_description> <character>8-YEAR-OLD PATRICK</character> <dialogue>Shut up!</dialogue> <scene_description>Patrick is ecstatic with nerves and excitement. THE PRESENT --</scene_description> </scene> <scene> <stage_direction>INT./EXT. LEE'S CAR (MOVING)/RT. 128 NORTH. DAY.</stage_direction> <scene_description>Lee drives up the highway.</scene_description> </scene> <scene> <stage_direction>EXT. THE OCEAN -- MANCHESTER-BY-THE-SEA. DAY.</stage_direction> <scene_description>FROM THE OCEAN -- We see the wealthy summer resort clinging to the Cape Ann winter coastline.</scene_description> </scene> <scene> <stage_direction>INT. LEE'S CAR (MOVING) DAY.</stage_direction> <scene_description>Thru the windshield, Lee sees the MANCHESTER EXIT approach. He takes the exit.</scene_description> </scene> <scene> <stage_direction>INT./EXT. LEE'S CAR/MANCHESTER. DAY.</stage_direction> <scene_description>Lee drives past the old houses of the little town. SEVEN YEARS AGO --</scene_description> </scene> <scene> <stage_direction>INT. LEE'S MANCHESTER HOUSE. DAY.</stage_direction> <scene_description>Evening of the same day as the fishing scene. Lee comes into his small house and takes off his wet things. In the living room, his daughter SUZY, 7, is watching TV. A fire is crackling behind a fire screen. A radio is playing O.S.</scene_description> <character>RANDI (O.S.)</character> <dialogue>Hello?</dialogue> <character>LEE</character> <dialogue>Hi honey! (To the girl) Hi, Suzy. Daddy's home. (Pause) Hi, Suzy. Daddy's home.</dialogue> <character>SUZY</character> <dialogue>Hi Daddy.</dialogue> <character>LEE</character> <dialogue>Hi, sweetheart.</dialogue> <scene_description>He bends down to kiss her. She hooks her arm around his neck and pulls him off balance, her eyes locked on the TV screen.</scene_description> <character>SUZY</character> <dialogue>Hug.</dialogue> <character>LEE</character> <dialogue>Jesus Christ, you're breakin' my neck.</dialogue> <scene_description>He kisses her and she releases him.</scene_description> <character>RANDI (O.S.)</character> <dialogue>Lee?</dialogue> <character>LEE</character> <dialogue>Yeah, hiya!</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM. DAY.</stage_direction> <scene_description>RANDI, Lee's wife, 30s, is in bed with a cold. She is tough, loving and sarcastic. The room is littered with Kleenex and cold remedies and clothes. KAREN, 5, is playing with colored plastic blocks on the floor. There is a CRIB in a corner.</scene_description> <character>LEE</character> <dialogue>Hi honey.</dialogue> <character>RANDI</character> <dialogue>You have a good time?</dialogue> <character>LEE</character> <dialogue>Yeah, really good. Where's your mother?</dialogue> <character>RANDI</character> <dialogue>They just left.</dialogue> <character>LEE</character> <dialogue>Oh no.</dialogue> <character>RANDI</character> <dialogue>Yeah, she really missed you.</dialogue> <character>LEE</character> <dialogue>There's always next time. Did you sleep?</dialogue> <character>RANDI</character> <dialogue>Oh, yeah. It's always restful when my mother's here.</dialogue> <character>LEE</character> <dialogue>That's too bad. Hi Kary.</dialogue> <character>KAREN</character> <dialogue>Hi Daddy.</dialogue> <character>LEE</character> <parenthetical>(Picking her up)</parenthetical> <dialogue>Hello sweetheart.</dialogue> <character>KAREN</character> <dialogue>Put me down.</dialogue> <character>LEE</character> <dialogue>I'm puttin' you down. Relax.</dialogue> <scene_description>He kisses her and starts to put her down. She wriggles and jerks unexpectedly backward. Lee almost loses his grip.</scene_description> <character>LEE</character> <dialogue>Hey, hey, hey!</dialogue> <character>RANDI</character> <dialogue>Karen...!</dialogue> <character>LEE</character> <parenthetical>(Putting her down)</parenthetical> <dialogue>Honey, don't jerk around like that, I almost dropped you on your head.</dialogue> <character>KAREN</character> <dialogue>I'm making a hair salon.</dialogue> <character>LEE</character> <dialogue>Oh yeah? It's really good. You wanna cut my hair?</dialogue> <character>KAREN</character> <dialogue>It's just for girls. I'm sorry.</dialogue> <character>LEE</character> <dialogue>I understand. (To Randi) How you feelin'?</dialogue> <character>RANDI</character> <dialogue>Little better.</dialogue> <character>LEE</character> <dialogue>You sound better.</dialogue> <character>RANDI</character> <dialogue>Did you actually use the fishin' tackle?</dialogue> <character>LEE</character> <dialogue>Yeah, we really did. Patrick got a humongous bluefish. Eighteen pounds.</dialogue> <character>RANDI</character> <dialogue>Oh yeah? That's awesome!</dialogue> <character>LEE</character> <dialogue>I never seen anybody so happy in my life.</dialogue> <scene_description>He crosses to her through the tissue-strewn, cluttered room.</scene_description> <character>LEE</character> <dialogue>It's nice in here. You keep it nice. What a homemaker.</dialogue> <character>RANDI</character> <dialogue>Fuck off.</dialogue> <scene_description>He tries to kiss her. She turns her head.</scene_description> <character>RANDI</character> <dialogue>Get away from me.</dialogue> <scene_description>They kiss. She claps his hand onto her breast.</scene_description> <character>RANDI</character> <dialogue>No, don't, stop, I'm sick.</dialogue> <scene_description>They kiss some more. She shoves him away.</scene_description> <character>RANDI</character> <dialogue>OK, get offa me.</dialogue> <scene_description>Lee goes to the CRIB. Inside is STANLEY, 8 months old, awake and placid, waving his limbs at a multicolored mobile.</scene_description> <character>LEE</character> <dialogue>Hi Stanny. How come you're not cryin'?</dialogue> <character>RANDI</character> <dialogue>Let him alone. He's been quiet for half an hour.</dialogue> <scene_description>Lee picks the baby up.</scene_description> <character>LEE</character> <dialogue>Half an hour. What is that about? Take it easy. (To the baby) Hiya buddy. You are very handsome.</dialogue> <character>RANDI</character> <dialogue>Oh Lee, please don't pick him up! If he's not makin' any noise, leave well enough alone.</dialogue> <character>LEE</character> <dialogue>"Leave well enough alone." That's what me and Mummy shoulda done instead of gettin' married.</dialogue> <character>RANDI</character> <parenthetical>(Opens her magazine)</parenthetical> <dialogue>Just shut up.</dialogue> <character>LEE</character> <dialogue>...but then you wouldn't be here. And neither would your sisters. And I could watch the football game in my own livin' room. That's right, I could.</dialogue> <character>RANDI</character> <dialogue>Go fuck yourself.</dialogue> <scene_description>Lee kisses the baby and puts him back in the crib.</scene_description> <character>LEE</character> <dialogue>See? I didn't make him cry. 'Cause I know how to handle him.</dialogue> <character>RANDI</character> <dialogue>How was Joe?</dialogue> <character>LEE</character> <dialogue>He's all right. You know? He's doin' all right.</dialogue> <character>RANDI</character> <dialogue>And you didn't run outta beer? You got through the day OK?</dialogue> <character>LEE</character> <dialogue>Oh yeah. We were very temperate.</dialogue> <character>RANDI</character> <dialogue>I don't know why you guys bother gettin' on the friggin' boat.</dialogue> <character>LEE</character> <dialogue>Because we love the sea.</dialogue> <character>LEE</character> <dialogue>I only had eight beers over a seven hour period. That's approximately one point four two somethin' beers per hour.</dialogue> <character>RANDI</character> <dialogue>No, it's almost like a normal person stayin' sober.</dialogue> <character>LEE</character> <dialogue>I told you I was cuttin' down.</dialogue> <scene_description>Lee starts to get undressed.</scene_description> <character>RANDI</character> <dialogue>What do you think you're gonna do?</dialogue> <character>LEE</character> <dialogue>I guess I'm gonna take a shower. Randi, I swear to God. You shoulda seen the look on Patty's face when he caught that fish. It was like takin' Suzy on the merry-go-round. It was like -- pure happiness.</dialogue> <scene_description>She smiles at him. Lee crawls across the bed.</scene_description> <character>RANDI</character> <dialogue>Get away. I'm sick. I'm deeply sick.</dialogue> <scene_description>They kiss. Karen plays on the floor. The baby waves his arms. The TV can be heard from the other room.</scene_description> <character>LEE (V.O.)</character> <dialogue>He's not at school?</dialogue> <scene_description>THE PRESENT --</scene_description> </scene> <scene> <stage_direction>EXT./INT. MANCHESTER -- PINE STREET/LEE'S CAR. DAY.</stage_direction> <scene_description>Lee drives into town, talking on his cell phone.</scene_description> <character>LEE</character> <dialogue>I thought school let out at three o'clock -- What? I'm sorry. My cell phone -- what?</dialogue> <character>PAUL (O.S.)</character> <dialogue>I'm pretty sure he -- I'm pretty sure he woulda -- That's all right. I'm pretty sure he woulda left for hockey practice by now.</dialogue> </scene> <scene> <stage_direction>EXT. MANCHESTER ESSEX REGIONAL HIGH SCHOOL. DAY</stage_direction> <scene_description>Over an establishing shot of the big school building we hear:</scene_description> <character>LEE (O.S.)</character> <dialogue>He's on the hockey team?</dialogue> </scene> <scene> <stage_direction>INT. VICE PRINCIPAL'S OFFICE. DAY -- CONTINUOUS.</stage_direction> <scene_description>PAUL, the vice principal, 40, is on the phone. His ASSISTANT, 50s, is on her computer nearby. WE CUT BETWEEN PAUL AND LEE.</scene_description> <character>PAUL</character> <dialogue>Yeah, he's doin' real well, too. How's Joe doin'? He gonna be OK?</dialogue> <character>LEE</character> <dialogue>He's fine. Where's the practice at? The school?</dialogue> <character>PAUL</character> <dialogue>No -- It's in Gloucester.</dialogue> <character>PAUL</character> <dialogue>It's at the Gloucester -- That's OK. Can you hear me? We play with the Rockport team. But they're the lead team.</dialogue> <character>LEE</character> <dialogue>It's not at school? What? I'm sorry -- This phone is -- Yes. I understand --</dialogue> <character>LEE</character> <dialogue>OK, thanks, Paul. I gotta go.</dialogue> <character>PAUL</character> <dialogue>Sure thing. Give Joe my regards, will you?</dialogue> <character>LEE</character> <dialogue>I will.</dialogue> </scene> <scene> <stage_direction>INT. VICE PRINCIPAL'S OFFICE -- CONTINUOUS.</stage_direction> <scene_description>PAUL hangs up.</scene_description> <character>PAUL</character> <dialogue>Joe Chandler's in the hospital again.</dialogue> <character>ASSISTANT</character> <dialogue>Oh my gosh...Oh my gosh. That poor man has had more trouble...</dialogue> <character>PAUL</character> <dialogue>Yep.</dialogue> <character>ASSISTANT</character> <dialogue>Who was on the phone?</dialogue> <character>PAUL</character> <dialogue>That was Lee Chandler.</dialogue> <character>ASSISTANT</character> <dialogue>Lee Chandler?</dialogue> <character>PAUL</character> <dialogue>The very one.</dialogue> </scene> <scene> <stage_direction>INT./EXT. LEE'S CAR/RT 128 NORTH. DAY.</stage_direction> <scene_description>Lee drives. The SIGN for GLOUCESTER and ROCKPORT is up ahead.</scene_description> </scene> <scene> <stage_direction>INT. GLOUCESTER MIDDLE SCHOOL -- HOCKEY RINK. DAY.</stage_direction> <scene_description>The Rockport/Manchester team is having practice. PATRICK is on the ice. He is just 16, skinny, athletic, long-haired. He is bright, practical, pugnacious. The HOCKEY COACH, 40s, is shouting instructions. PATRICK checks another KID against the boards. They start fighting. They're evenly matched but Patrick is kind of wild. The COACH yanks Patrick off the other kid.</scene_description> <character>HOCKEY COACH</character> <dialogue>OK, break it up! Break it up! You! Chandler! One more time and you are OUT. Understand me?</dialogue> <scene_description>Patrick sees LEE in the stands, over the coach's shoulder..</scene_description> <character>PATRICK</character> <dialogue>Aw, fuck me.</dialogue> <character>HOCKEY COACH</character> <dialogue>What's that, Chandler?</dialogue> <character>PATRICK</character> <dialogue>Aw, fuck my fuckin' ass.</dialogue> <character>HOCKEY COACH</character> <dialogue>OK, you are out! You're benched!</dialogue> <character>PATRICK</character> <parenthetical>(To himself, skating away)</parenthetical> <dialogue>Ask me if I give a shit.</dialogue> <character>HOCKEY COACH</character> <dialogue>What's that? What's the matter?</dialogue> <scene_description>Patrick skates over to Lee. The Coach sees Lee and hesitates. A small scrappy kid named JOEL skates up, followed by CJ, a big handsome athletic kid. These are Patrick's friends.</scene_description> <character>JOEL</character> <dialogue>That's his uncle.</dialogue> <character>CJ</character> <dialogue>His dad must be in the hospital.</dialogue> <character>HOCKEY COACH</character> <dialogue>Whose dad? Chandler's?</dialogue> <character>CJ</character> <dialogue>He's got congestive heart failure. Patrick's dad, I mean. Not Patrick.</dialogue> <character>JOEL</character> <dialogue>...He only comes up when Mr Chandler's in the hospital.</dialogue> <scene_description>Some other kids skate up and are watching Patrick and LEE.</scene_description> <character>HOCKEY COACH</character> <dialogue>That's Lee Chandler? The Lee Chandler?</dialogue> <character>CJ</character> <dialogue>Yeah, but you know that stuff about him's bullshit, Mr Howard.</dialogue> <character>JOEL</character> <dialogue>Yeah, that story's bullshit.</dialogue> <character>HOCKEY COACH</character> <dialogue>You guys wanna watch the language?</dialogue> <character>JOEL</character> <dialogue>Sorry.</dialogue> <character>CJ</character> <dialogue>Sorry.</dialogue> <scene_description>Across the rink, Lee is talking to Patrick. Patrick is kicking up little shards of ice with his skate. The Coach notices that all the kids have stopped to watch.</scene_description> <character>HOCKEY COACH</character> <dialogue>OK, Everybody wanna mind their own business? Five minute break. That means five!</dialogue> <scene_description>The kids break up, marginally. The Coach skates over to Lee and Patrick. They talk briefly. The Coach puts a well-meant but sentimental hand on Patrick's shoulder. Lee goes back up the aisle. CJ and Joel skate over to Patrick. He tells them. They react sincerely and with sympathy. They squeeze his shoulder, they each hug him. All the kids are watching again by now.</scene_description> <character>HOCKEY COACH</character> <dialogue>OK, show's over! Let's line it up again! Come on, line up!</dialogue> <scene_description>The kids start skating around, lining up at the blue line. Patrick breaks away and skates toward the exit by himself.</scene_description> </scene> <scene> <stage_direction>INT. LEE'S CAR (MOVING). DUSK.</stage_direction> <scene_description>The winter sun is getting low. Patrick sports a semi-grunge garage-band look. Longish greasy hair, Army jacket, black T- shirt with some design on it, cargo pants maybe.</scene_description> <character>PATRICK</character> <dialogue>Oh well.</dialogue> <scene_description>They pass a sign for MANCHESTER, BEVERLY and NORTH SALEM.</scene_description> <character>LEE</character> <dialogue>I gotta go back to the hospital and sign some papers. Do you wanna see him?</dialogue> <character>PATRICK</character> <dialogue>Him who? See who?</dialogue> <character>LEE</character> <dialogue>Your dad. Do you wanna look at him?</dialogue> <character>PATRICK</character> <dialogue>I don't know. What does he look like?</dialogue> <character>LEE</character> <dialogue>He looks like he's dead. (Pause) I mean, he doesn't look like he's asleep, or anything like that. He doesn't look gross...(Pause) You don't have to. I wanted to see him. Maybe you don't want that image in your memory. I don't know. It's up to you.</dialogue> <scene_description>Patrick is silent.</scene_description> </scene> <scene> <stage_direction>INT/EXT. LEE'S CAR/HOSPITAL PARKING LOT. DUSK.</stage_direction> <scene_description>Lee pulls into a parking space. He looks at Patrick, who is looking slightly queasy.</scene_description> <character>LEE</character> <dialogue>What do you think? Should I take you home? Do you want me to decide?</dialogue> <character>PATRICK</character> <dialogue>Let's just go.</dialogue> <scene_description>At the same instant Patrick opens his door to step out and Lee starts DRIVING. He slams on the brakes.</scene_description> <character>LEE</character> <dialogue>What the fuck are you doing?</dialogue> <character>PATRICK</character> <dialogue>I just said let's go inside!</dialogue> <character>LEE</character> <dialogue>No, you just said "Let's just go!"</dialogue> <character>LEE</character> <dialogue>And then you get out of the car without telling me? What the fuck's the matter with you? I coulda ripped your fuckin' leg off, that's my problem.</dialogue> <character>PATRICK</character> <dialogue>Yeah, I meant let's go inside. I meant let's just go look at him! OK, OK! What's your problem? OK! I'm sorry I misused the English language!</dialogue> <scene_description>They get out of the car, both more subdued.</scene_description> <character>PATRICK</character> <dialogue>I'm sorry, Uncle Lee.</dialogue> <character>LEE</character> <dialogue>I'm sorry too. I just got scared.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL MORGUE.</stage_direction> <scene_description>NURSE IRENE and LEE stand by while Patrick looks at Joe.</scene_description> <character>PATRICK</character> <dialogue>OK. Thank you.</dialogue> <character>NURSE IRENE</character> <dialogue>Of course...</dialogue> <scene_description>Patrick walks away. Lee and Dr Muller follow.</scene_description> </scene> <scene> <stage_direction>INT/EXT. LEE'S CAR (MOVING)/R 128 NORTH. DUSK/NIGHT.</stage_direction> <scene_description>They drive in silence.</scene_description> <character>PATRICK</character> <dialogue>Well, that was a mistake.</dialogue> <character>LEE</character> <dialogue>I guess I gave you bad advice.</dialogue> <character>PATRICK</character> <dialogue>No...I decided...</dialogue> </scene> <scene> <stage_direction>EXT. THE SEA. DUSK/NIGHT.</stage_direction> <scene_description>WIDE ON THE COAST: A few headlights move through in the dark town.</scene_description> </scene> <scene> <stage_direction>EXT. MANCHESTER -- STREETS. NIGHT.</stage_direction> <scene_description>Lee's car drives through the narrow hilly streets.</scene_description> </scene> <scene> <stage_direction>INT. LEE'S CAR. (MOVING) DUSK/NIGHT. SIMULTANEOUS.</stage_direction> <scene_description>They drive in silence. Lee slows the car to a halt. The narrow street is blocked by an SUV by a big house. A visiting family is saying goodnight to a family in front of the house.</scene_description> <character>LEE</character> <dialogue>Come on...(Pause) Come on, come on!</dialogue> <scene_description>He HONKS the HORN LOUD, TWICE. Everybody looks at him. The CAR DAD comes around to the driver's side of the SUV...</scene_description> <character>CAR DAD</character> <dialogue>Sorry! Sorry! Come on, guys...!</dialogue> <scene_description>The others continue saying goodbye and chatting. Lee HONKS the HORN several times.</scene_description> <character>LEE</character> <dialogue>Either get in the car or move it in the driveway!</dialogue> <character>PATRICK</character> <dialogue>What's the matter with you?</dialogue> <scene_description>The Car Dad turns around. The House Dad takes a step forward.</scene_description> <character>CAR DAD</character> <dialogue>What's your problem, pal?</dialogue> <character>LEE</character> <dialogue>Don't tell me to relax. You're sitting in the middle of the street. (HONKS)</dialogue> <character>CAR MOM</character> <dialogue>We're leavin', we're leavin'! Sorry! (Kisses House Mom) I'll call you tomorrow. (To LEE) OK, OK, OK! In the car,</dialogue> <scene_description>PATRICK kids! Would you stop it, Uncle Lee? It's the Galvins and the CAR DAD Doherties! Jesus! You wanna play tough guy with me in front of all my kids?</scene_description> <character>LEE</character> <dialogue>Oh. It is? HOUSE MOM</dialogue> <scene_description>Goodnight kids! Come over any PATRICK time! Yes! What's the matter with you? CAR KIDS Goodbye! Thank you!</scene_description> <character>LEE</character> <dialogue>I'm sorry.</dialogue> <character>CAR MOM</character> <dialogue>Tommy, come on.</dialogue> <character>PATRICK</character> <dialogue>(Waving out the window) Hiya Mr Doherty. It's Patrick Chandler. Hi Mrs Doherty...Mr Doherty! It's OK: It's Patrick Chandler!</dialogue> <character>CAR DAD</character> <dialogue>Patrick? Is that you? Well, for Christ's sakes! Where's the fire?</dialogue> <character>HOUSE MOM</character> <dialogue>Yeah, it's just me. Hi. Sorry Hello, Patrick. about that. We're just late.</dialogue> <dialogue>How are you? HOUSE DAD</dialogue> <scene_description>Patrick? Jesus, what's the PATRICK ruckus all about? How are Hi Mrs. Galvin. Hiya Mrs. you? Doherty.</scene_description> <character>CAR MOM</character> <dialogue>I'm OK. How are you? Sorry Oh for goodness sake...! about that.</dialogue> <character>CAR DAD</character> <parenthetical>(Squinting)</parenthetical> <dialogue>Who is that?</dialogue> <character>PATRICK</character> <dialogue>It's just my Uncle Lee. It's my uncle.</dialogue> <character>LEE</character> <dialogue>It's Lee Chandler.</dialogue> <character>CAR DAD</character> <dialogue>Lee?</dialogue> <scene_description>There is instant awkwardness between them.</scene_description> <character>LEE</character> <dialogue>Hi Tom. Sorry -- I'm sorry: I didn't know you...</dialogue> <character>CAR DAD</character> <dialogue>Oh. Hey, Lee...What's all the rumpus for?</dialogue> <scene_description>CAR MOM Well, keep your shirt on Hello, Patrick. on...! I'm movin'.</scene_description> <character>PATRICK</character> <dialogue>Hi, Mrs Galvin. Lee calls to the House Dad through Patrick's open window.</dialogue> <character>LEE</character> <dialogue>Hello, Jeff. Hello, Arlene.</dialogue> <character>HOUSE KIDS</character> <dialogue>Hi, Patrick! Hey, Patrick!</dialogue> <scene_description>HOUSE DAD (Coldly) PATRICK Hey, Lee. Hey guys. How's it goin'? CU: HOUSE MOM. She pointedly refuses to answer Lee at all.</scene_description> <character>LEE</character> <dialogue>...Sorry about the ruckus.</dialogue> <character>HOUSE MOM</character> <dialogue>Patrick, how's your dad?</dialogue> <character>PATRICK</character> <dialogue>He's fine.</dialogue> </scene> <scene> <stage_direction>EXT. JOE'S HOUSE. NIGHT.</stage_direction> <scene_description>The car stops in front of the GARAGE of a small well-kept old clapboard house with lots of bare trees and shrubs around.</scene_description> <character>PATRICK</character> <dialogue>You gotta hit the bleeper.</dialogue> <character>LEE</character> <dialogue>I don't have the bleeper.</dialogue> <character>PATRICK</character> <dialogue>I'll do it. There's a code.</dialogue> <scene_description>Patrick gets out and goes to open the garage door manually.</scene_description> </scene> <scene> <stage_direction>INT. JOE'S HOUSE. NIGHT.</stage_direction> <scene_description>Lee and Patrick come in and turn on the lights. The house is just as it was that morning. The Boston Globe sports section is spread on the sofa. One of Joe's plaid shirts is draped over the back of the chair.</scene_description> <character>PATRICK</character> <dialogue>Is it OK if some of my friends come over? I told 'em I would call 'em.</dialogue> <character>LEE</character> <dialogue>Go ahead.</dialogue> <character>PATRICK</character> <dialogue>Can we get some pizza? There's nothing to eat here.</dialogue> <character>LEE</character> <dialogue>Yeah. Sure. (Takes out his iPhone) What kind do you want?</dialogue> <character>PATRICK</character> <dialogue>Any kind is fine. Thank you.</dialogue> <scene_description>Lee takes out his phone. Patrick starts to text his friends.</scene_description> </scene> <scene> <stage_direction>INT. JOE'S HOUSE -- LIVING ROOM. NIGHT.</stage_direction> <scene_description>Patrick, Joel and CJ and SILVIE, who seems to be Patrick's girlfriend, are all sitting around in the living room. They are a bit awkward but well-meaning -- except Silvie, who is over-relaxed and too touchy-feely with Patrick.</scene_description> <character>SILVIE</character> <dialogue>At least he didn't suffer. It's worse for the family, but it's better for the person.</dialogue> <character>CJ</character> <dialogue>Well, he was a fuckin' great guy, Patrick, I'll tell you that.</dialogue> <character>JOEL</character> <dialogue>That's for sure.</dialogue> <character>CJ</character> <dialogue>I remember one time he took us all out in the boat? Like in sixth grade?</dialogue> <character>JOEL</character> <dialogue>I remember that. I remember. And he says -- The boys laugh.</dialogue> <character>CJ</character> <dialogue>And he made us wear life preservers? And I was like, "What's the difference, Mr Chandler? Boat sinks in this weather we're dead anyway." And he says "The life jacket's to make it easier on the sharks when you go over."</dialogue> <character>PATRICK</character> <dialogue>Yeah, he really liked those shark jokes.</dialogue> <character>JOEL</character> <dialogue>He was funny, boy.</dialogue> <character>SILVIE</character> <dialogue>Yeah, but he was gentle too, you know? (Strokes Patrick's hair) Like his son.</dialogue> <scene_description>This piece of sentimentality embarrasses everyone but Silvie.</scene_description> </scene> <scene> <stage_direction>INT. JOE'S KITCHEN. SIMULTANEOUS.</stage_direction> <scene_description>Lee is at the table, halfway through a piece of pizza and a beer. He finishes the beer, gets another and heads into --</scene_description> </scene> <scene> <stage_direction>INT. JOE'S LIVING ROOM. CONTINUOUS.</stage_direction> <scene_description>Lee moves through the room toward the staircase.</scene_description> <character>CJ</character> <dialogue>And there's this former starship captain -- this former starship captain, shut up --</dialogue> <character>JOEL</character> <dialogue>Star Trek sucks. Star Trek sucks my ass.</dialogue> <character>SILVIE</character> <dialogue>How you doin', baby?</dialogue> <character>CJ</character> <dialogue>Star Trek is one of the pillars of modern</dialogue> <scene_description>PATRICK entertainment. OK.</scene_description> <character>JOEL</character> <dialogue>One of the pillars of modern entertainment is retarded.</dialogue> <character>CJ</character> <dialogue>No it's not! Ask Patrick! Ask him! Moron!</dialogue> <character>JOEL</character> <dialogue>Read my lips. Star Trek is retarded. It's retarded.</dialogue> <character>SILVIE</character> <dialogue>I can't believe we're talking about Star Trek right now!!</dialogue> <scene_description>This effectively kills the conversation. She goes back to stroking his hair. LEE keeps going up the stairs.</scene_description> <character>PATRICK</character> <dialogue>I like Star Trek...</dialogue> </scene> <scene> <stage_direction>INT. JOE'S ROOM. NIGHT.</stage_direction> <scene_description>Lee snaps on the lights and comes in. The room is tidy except for a few items: A coffee mug, an open book on the floor by the bed. Lee opens the bottom dresser drawer and takes out a pair of Joe's neatly folded pajamas.</scene_description> </scene> <scene> <stage_direction>INT. GUEST/LEE'S ROOM. NIGHT.</stage_direction> <scene_description>Lee lies on top of the bed, wearing Joe's pajamas, drinking beer and watching television. Patrick knocks and comes in.</scene_description> <character>PATRICK</character> <dialogue>Hey, Uncle Lee? Is it OK if Silvie sleeps over? Dad always let her.</dialogue> <character>LEE</character> <dialogue>Then what are you asking me for?</dialogue> <character>PATRICK</character> <dialogue>No reason. Thanks.(Pause) So -- Not that it would come up, but her parents think she stays downstairs when she stays over? So if it comes up for some reason, can you just say she stayed in the downstairs room?</dialogue> <character>LEE</character> <dialogue>I don't even know them.</dialogue> <character>PATRICK</character> <dialogue>Yes you do. It's the McGanns. Frank and Pat McGann.</dialogue> <character>LEE</character> <dialogue>That's Silvie McGann?</dialogue> <character>PATRICK</character> <dialogue>Yeah. So do you mind sayin' she stayed downstairs? Like if they call or something?</dialogue> <scene_description>OK. Patrick hesitates.</scene_description> <character>LEE</character> <dialogue>Am I supposed to tell you to use a condom?</dialogue> <character>PATRICK</character> <dialogue>No...I mean -- Unless you really feel like it.</dialogue> <character>LEE</character> <dialogue>Is that what Joe would say?</dialogue> <character>PATRICK</character> <dialogue>No. I mean, yes. I mean, we've had "The Discussion" and everything.</dialogue> <scene_description>OK.</scene_description> <character>PATRICK</character> <dialogue>Just lemme know if we're makin' too much noise.</dialogue> <scene_description>OK.</scene_description> <character>PATRICK</character> <dialogue>Hey. Do you think I should call my mom? To tell her about Dad?</dialogue> <character>LEE</character> <parenthetical>(Tenses)</parenthetical> <dialogue>I wouldn't, Patty. I don't think anybody even knows where she is...</dialogue> <character>PATRICK</character> <dialogue>All right. I was just curious what you thought. Anyway...Good night, Uncle Lee.</dialogue> <character>LEE</character> <dialogue>Good night.</dialogue> <scene_description>Patrick surprises Lee by going to him and giving him an awkward hug. Patrick heads for the door.</scene_description> </scene> <scene> <stage_direction>INT. GUEST/LEE'S ROOM. NIGHT.</stage_direction> <scene_description>Lee lies on the bed. SIX YEARS AGO --</scene_description> </scene> <scene> <stage_direction>INT. JOE &amp; ELISE'S HOUSE. SUMMER -- DUSK.</stage_direction> <scene_description>The room is DARK except for the TV. Two little DOGS start BARKING. JOE, 9-YEAR-OLD PATRICK and LEE come in the house. They are muddy and dusty from playing softball. They drop the softball gear, start taking off their muddy sneakers, etc.</scene_description> <character>JOE</character> <dialogue>-- and now you're gonna sulk all night because you dropped the goddamn ball?</dialogue> <scene_description>9-YEAR-OLD PATRICK LEE (To JOE) I'm not sulking. Why don't you stop already? You wanna stop? JOE (To Lee) Shut up! (To Patrick) If you would use a goddamn baseball Why don't you kill him? mitt you wouldn't drop the I think you should kill him. fuckin' ball.</scene_description> <character>9-YEAR-OLD PATRICK</character> <dialogue>Shaddup, shaddUP, you stupid I don't need a baseball mitt. dogs! ELISE! I catch better without one! Joe flicks on the LIGHTS. The small living room is trashed.</dialogue> <character>JOE</character> <dialogue>Ah, shit.</dialogue> <character>9-YEAR-OLD PATRICK</character> <dialogue>Dad! No cursing!</dialogue> <scene_description>ELISE is PASSED OUT on the SOFA, her short nightie scrunched up underneath her. She's got no underwear on, so the men and 9-Year-Old Patrick can see everything. There's a half-empty bottle and a glass of liquor on the coffee table. Cigarette butts spill over the ashtray. Joe takes immediate control.</scene_description> <character>JOE</character> <dialogue>Lee, you wanna take Patty upstairs and get him washed up? Go on up, Patty. Everything's OK.</dialogue> <character>LEE</character> <dialogue>Come on, buddy.</dialogue> <scene_description>POV LEE as he takes Patrick upstairs: Joe pulls down Elise's nightie. Looks at his shoe. There's a little dog shit on it.</scene_description> <character>JOE</character> <dialogue>Oh, come on.</dialogue> <scene_description>POV LEE as Joe sees that the dogs have peed and crapped all over the floor -- a whole day's worth. THE PRESENT --</scene_description> </scene> <scene> <stage_direction>INT. GUEST/LEE'S ROOM. NIGHT.</stage_direction> <scene_description>Lee is lying in bed. He switches off the light. We can hear the ocean outside.</scene_description> </scene> <scene> <stage_direction>INT. PATRICK'S ROOM. SIMULTANEOUS.</stage_direction> <scene_description>SILVIE is asleep on Patrick's single bed. PATRICK is at his desk typing on his laptop. We see what he is TYPING: "Dear Mom --"</scene_description> </scene> <scene> <stage_direction>EXT. JOE'S HOUSE. DAY.</stage_direction> <scene_description>A clear cold day. The house has a nice view of the town.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN. DAY.</stage_direction> <scene_description>Lee is dressed and seated at the table with a cup of coffee, talking on his iPhone.</scene_description> <character>LEE</character> <parenthetical>(On the phone)</parenthetical> <dialogue>Beverly, Massachusetts ... Gallagher Funeral Home please ...</dialogue> <scene_description>SILVIE comes through the kitchen door, dressed, very comfortable in the house.</scene_description> <character>SILVIE</character> <dialogue>Morning.</dialogue> <character>LEE</character> <dialogue>Hello.</dialogue> <scene_description>Over the following she gets some juice and yogurt out of the fridge, some herbal tea, and puts on the kettle, while Lee watches her. Patrick enters, gets some cold cereal. LATER -- They are all at the table. Lee is still on the phone.</scene_description> <character>PATRICK</character> <dialogue>Pass the milk please.</dialogue> <character>LEE</character> <dialogue>So but, I don't know what I gotta do to get his body from the hospital to your place, but they said ... Oh, OK...</dialogue> <character>SILVIE</character> <dialogue>Excuse me, Mr Chandler? I don't think Patrick needs to be here for this.</dialogue> <character>PATRICK</character> <dialogue>That's all right.</dialogue> <scene_description>Lee gets up and goes out. Silvie puts a hand on Patrick's hand. We can hear LEE'S VOICE from the other room.</scene_description> <character>LEE (O.S.)</character> <dialogue>So why is it more to drive his body to Manchester? 'Cause you gotta take the highway for seven minutes? What do you charge if the hearse takes 127?</dialogue> <character>SILVIE</character> <dialogue>Jesus. Like that's his focus?</dialogue> <character>PATRICK</character> <dialogue>He's alright.</dialogue> </scene> <scene> <stage_direction>EXT. MANCHESTER ESSEX REGIONAL HIGH SCHOOL -- HALL. DAY.</stage_direction> <scene_description>Lee's car stops in front of the school gate. Patrick and Silvie climb out from the back.</scene_description> <character>PATRICK</character> <dialogue>Thanks, Uncle Lee.</dialogue> <character>SILVIE</character> <dialogue>Thanks a lot, Mr Chandler.</dialogue> <scene_description>He watches them walk toward the school, joining a general swarm of kids funneling to the school entrance.</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL. DAY.</stage_direction> <scene_description>Patrick walks thru the halls. Various kids greet him with expressions of sympathy.</scene_description> <character>KID'S VOICE</character> <dialogue>Hey, Patrick. Sorry to hear about your dad, man.</dialogue> <character>PATRICK</character> <dialogue>Oh -- Thanks, man. Thank you.</dialogue> <scene_description>He presses thru. Other kids stop him with condolences.</scene_description> </scene> <scene> <stage_direction>INT. ATHLETIC DEPARTMENT OFFICE. DAY.</stage_direction> <scene_description>HOCKEY COACH Mr. Howard is seated. Patrick stands.</scene_description> <character>HOCKEY COACH</character> <dialogue>We're gonna forget about the language. We're gonna forget about the fists. But I want you to take a few days offa practice. I don't want you on the ice. You got enough on your mind.</dialogue> <character>PATRICK</character> <dialogue>That's OK, Mr Howard. To tell you the truth, I could use the distraction --</dialogue> <character>HOCKEY COACH</character> <dialogue>The ice is not a distraction. When you're on the ice, you gotta be there. Take the week and we'll talk. And listen: I lost my dad right about your age. So I know what you're goin' through. So if you wanna come in and talk, or you just want somebody to spill your guts to -- or you just wanna throw the bull around, door's open.</dialogue> </scene> <scene> <stage_direction>INT./EXT. LEE'S CAR/MANCHESTER ESSEX HIGH SCHOOL. DAY.</stage_direction> <scene_description>Lee picks Patrick up from school and they drive away.</scene_description> </scene> <scene> <stage_direction>INT. LEE'S CAR (MOVING) DAY.</stage_direction> <scene_description>They drive through town.</scene_description> <character>PATRICK</character> <dialogue>You mind if I put some music on?</dialogue> <character>LEE</character> <dialogue>No.</dialogue> <scene_description>Patrick turns the radio to some pop-rock station.</scene_description> <character>PATRICK</character> <dialogue>You like these guys? The lead guitar is weak but otherwise they're pretty good.</dialogue> <character>LEE</character> <dialogue>They all sound the same to me.</dialogue> <character>PATRICK</character> <dialogue>Where we going?</dialogue> <character>LEE</character> <dialogue>To see the lawyer.</dialogue> <character>PATRICK</character> <dialogue>What for?</dialogue> <character>LEE</character> <dialogue>We gotta read your father's will.</dialogue> <character>PATRICK</character> <dialogue>Can't you just drop me at home and tell me what it says in it?</dialogue> <character>LEE</character> <dialogue>Well, yeah -- except we're there.</dialogue> <scene_description>They are approaching the Manchester's tiny business district.</scene_description> </scene> <scene> <stage_direction>EXT. STREET -- LAWYER'S OFFICE. DAY.</stage_direction> <scene_description>They walk toward the little two story office building.</scene_description> <character>PATRICK</character> <dialogue>Who do you think he left the boat to?</dialogue> <character>LEE</character> <dialogue>I'm sure he left you everything.</dialogue> <scene_description>As they go up the OUTDOOR STAIRWAY to the 2nd story office, We hear the SOUND of a PING-PONG game: Ka-POP, ka-POP, plus other growing sounds of voices and music. They take us to -- FIVE YEARS AGO --</scene_description> </scene> <scene> <stage_direction>INT. LEE &amp; RANDI'S HOUSE -- BASEMENT DEN. NIGHT.</stage_direction> <scene_description>LEE is playing PING-PONG with TOM DOHERTY -- the CAR DAD. A bunch of his friends are drinking and making noise. Loud music. We spot JOE and GEORGE. Lee SLAMS the BALL.</scene_description> <character>LEE</character> <dialogue>Eat my fuckin' forehand, Tommy!</dialogue> <character>TOM</character> <dialogue>Once! That was once! He punts the ball sixteen times and now he's Superman.</dialogue> <character>LEE</character> <dialogue>I got it workin' now. Just keep away from this quadrant and you won't go home in tears.</dialogue> <scene_description>RANDI appears at the top of the basement stairs in a bathrobe. Everybody looks up at her, like little boys.</scene_description> <character>RANDI</character> <dialogue>Would you keep it down, you fuckin' morons? My kids are sleepin'.</dialogue> <character>LEE</character> <dialogue>I'm sorry, honey. (To the guys) I told you guys to keep it down.</dialogue> <character>RANDI</character> <dialogue>Lee, you wanna get these fuckin' pinheads outta my house please? Randi leaves.</dialogue> <character>THE GUYS</character> <dialogue>Yeah, Sorry, Ran/ I told you guys to keep it down.</dialogue> <character>LEE</character> <dialogue>She can't talk that way to us.</dialogue> <character>TOM</character> <dialogue>Yeah. We're not pinheads.</dialogue> <scene_description>EVERYBODY LAUGHS. Randi immediately appears again, furious.</scene_description> <character>RANDI</character> <dialogue>Hey! I'm not fuckin' around! It's two o'clock in the fuckin' mornin'! Get these fuckin' assholes dressed and get 'em the fuck outta here.</dialogue> <scene_description>THE PRESENT --</scene_description> </scene> <scene> <stage_direction>INT. LAWYER'S OFFICE -- WAITING ROOM. DAY.</stage_direction> <scene_description>Patrick sits, texting. An ASSISTANT types at her computer.</scene_description> </scene> <scene> <stage_direction>INT. LAWYER'S OFFICE. DAY -- SIMULTANEOUSLY.</stage_direction> <scene_description>WES, 40s, sits behind his desk across from LEE. Each holds a copy of Joe's will.</scene_description> <character>LEE</character> <dialogue>I don't understand.</dialogue> <character>WES</character> <dialogue>What -- part are you having trouble with...?</dialogue> <scene_description>LEE (On "trouble") I can't be Patrick's guardian.</scene_description> <character>WES</character> <dialogue>I understand it's a serious responsibility --</dialogue> <character>LEE</character> <dialogue>No -- I mean -- I mean, I can't --</dialogue> <character>WES</character> <dialogue>Well -- Naturally I assumed that Joe had discussed this with you --</dialogue> <character>LEE</character> <dialogue>No. He didn't. No.</dialogue> <character>WES</character> <dialogue>Well...I must say I'm somewhat taken aback --</dialogue> <character>LEE</character> <dialogue>He can't live with me:</dialogue> <character>LEE</character> <dialogue>I live in one room.</dialogue> <character>WES</character> <dialogue>But if you look -- Now, well, if you look, you'll see Joe provided for Patrick's upkeep: Clothes, food, et cetera...The house and boat are owned outright...</dialogue> <character>LEE</character> <dialogue>I don't see how I could be his guardian.</dialogue> <character>WES</character> <dialogue>Well, those were your brother's wishes.</dialogue> <character>LEE</character> <dialogue>Yeah but I can't commute from Boston every day until he turns eighteen.</dialogue> <character>WES</character> <dialogue>I think the idea was that you would relocate.</dialogue> <character>LEE</character> <dialogue>Relocate? Where? Here?</dialogue> <character>WES</character> <dialogue>If you look at --</dialogue> <character>WES</character> <dialogue>Well, yes. As you can see, your brother worked everything out extremely carefully.</dialogue> <character>LEE</character> <dialogue>But -- He can't have meant that.</dialogue> <character>WES</character> <dialogue>And if you -- Well, you can see he's allowed up to five thousand dollars to help you with the move. There's a small amount set aside for you to draw from, as personal income while you settle in -- assuming of course that you accept...</dialogue> <character>LEE</character> <dialogue>What about Uncle Donny and Teresa?</dialogue> <character>WES</character> <dialogue>Well, they did come up. But Joe didn't feel that Patrick really had any special relationship or feeling about them --</dialogue> <character>LEE</character> <dialogue>I don't understand. Minnesota. Minnetonka, Minnesota.</dialogue> <character>WES</character> <dialogue>And now, I think you know they've moved out to Wisconsin, I believe.. Minnesota, that's right. So...</dialogue> <scene_description>Wes watches as Lee flips through the 3-page will as if there's something he may have missed. After a moment:</scene_description> <character>WES</character> <dialogue>It was my impression you've spent a lot of time here over the years...</dialogue> <character>LEE</character> <dialogue>Just as backup. I came up to stay with Patty whenever Joe was in the hospital, after my dad couldn't do it. We -- It was supposed to be my Uncle Donny. I was just the backup.</dialogue> <character>WES</character> <dialogue>Well...I can only repeat, I'm astonished that Joe never ran all this by you, thorough as he was.</dialogue> <character>LEE</character> <dialogue>Yeah, because he knew what I would say if he would have asked.</dialogue> <scene_description>FIVE YEARS AGO (CONT'D)-- Lee stands outside waving and shouting goodbyes to the CARS DRIVING AWAY. His friends respond with car horns and apologies. Randi stands inside, wrapped in a bathrobe.</scene_description> <character>LEE</character> <dialogue>See Jupiter? Good night! Keep your eyes on the road! You see Jupiter? Keep your eyes on the road! Good night Tommy! Good night Joe! Sorry again! (To the Guys) See the North Star? There's the North Star, right there!</dialogue> <character>THE GUYS</character> <dialogue>Good night, Lee! Tell Randi we're sorry! We're so sorry! Good night, etc.</dialogue> <character>TOM (O.C)</character> <dialogue>Where?</dialogue> <character>LEE</character> <dialogue>It's due north...!</dialogue> <scene_description>A MOMENT LATER -- Lee shuts the front door, shivering in his shirt sleeves. He tries to kiss Randi. She turns her head.</scene_description> <character>LEE</character> <dialogue>I'll clean up in the morning, baby.</dialogue> <character>RANDI</character> <dialogue>You see Jupiter you fucking asshole?</dialogue> <scene_description>He laughs.</scene_description> <character>LEE</character> <dialogue>Come on...</dialogue> <scene_description>She lets him kiss her, then she goes off toward their bedroom. Lee shivers and rubs his arms.</scene_description> </scene> <scene> <stage_direction>INT. LAWYER'S OFFICE. DAY -- SIMULTANEOUS.</stage_direction> <scene_description>Lee is still staring at the will.</scene_description> <character>WES</character> <dialogue>Lee...</dialogue> <scene_description>FIVE YEARS AGO (CONT'D) --</scene_description> </scene> <scene> <stage_direction>EXT. MANCHESTER STREET -- MINI-MART. NIGHT.</stage_direction> <scene_description>Cheerfully drunk, LEE walks along the crunchy snow-covered sidewalk and into a mini-mart. It's a very cold clear night. THE PRESENT --</scene_description> </scene> <scene> <stage_direction>INT. LAWYER'S WAITING ROOM. DAY.</stage_direction> <scene_description>Patrick is still texting away in the armchair.</scene_description> <character>WES'S ASSISTANT</character> <dialogue>Patrick? Can I get you a soda or anything?</dialogue> <character>PATRICK</character> <dialogue>No thank you.</dialogue> <scene_description>FIVE YEARS AGO (CONT'D) --</scene_description> </scene> <scene> <stage_direction>EXT. MINI-MART. NIGHT.</stage_direction> <scene_description>THROUGH THE WINDOW we see the clerk bag two six-packs, milk, and some Pampers for LEE. Lee comes out of the store. He has some drunken trouble zipping his parka as he heads home. He doesn't notice the orange-red GLOW in the sky ahead. THE PRESENT --</scene_description> </scene> <scene> <stage_direction>INT. LAWYER'S OFFICE. DAY.</stage_direction> <character>WES</character> <dialogue>Lee...Nobody can appreciate what you've been through...If I can say that. And if you really don't feel you can take this on, that's your right, obviously --</dialogue> <character>LEE</character> <dialogue>But who would get him?</dialogue> <character>WES</character> <dialogue>The probate court would appoint a guardian in your place.</dialogue> <character>LEE</character> <dialogue>Like who?</dialogue> <character>LEE</character> <dialogue>My Uncle Donny?</dialogue> <character>WES</character> <dialogue>I don't know -- No -- Not necessarily. Especially, now with the distance.</dialogue> <character>LEE</character> <dialogue>Who else would there be?</dialogue> <character>WES</character> <dialogue>Well...I don't know what's happening with Patrick's mother --</dialogue> <character>LEE</character> <dialogue>No. No.</dialogue> <character>WES</character> <dialogue>I'm not sure where she is, or what her condition is -- But you can bet the judge would certainly look into it.</dialogue> <character>LEE</character> <dialogue>...No...Can't do that.</dialogue> <scene_description>FIVE YEARS AGO (CONT'D) --</scene_description> </scene> <scene> <stage_direction>EXT. LEE'S STREET. NIGHT.</stage_direction> <scene_description>Lee slows as he nears the turn to his street. He is looking at the FIERY SKY and FLASHING LIGHTS. He starts to run -- THE PRESENT --</scene_description> </scene> <scene> <stage_direction>INT. LAWYER'S OFFICE. DAY.</stage_direction> <scene_description>Lee sits staring out Wes' window at the harbor.</scene_description> <character>WES</character> <dialogue>There is Patrick to be considered.</dialogue> <scene_description>FIVE YEARS AGO (CONT'D) --</scene_description> </scene> <scene> <stage_direction>EXT. LEE &amp; RANDI'S HOUSE. NIGHT.</stage_direction> <scene_description>The little HOUSE is COMPLETELY ON FIRE. Fire trucks and FIREMEN are pumping water into the blinding SMOKE. There is also an ambulance and police cars. TWO POLICEMEN are trying to control RANDI. She's in a nightgown smeared with smoke and water. She thrashes violently to shake them off so she can run into the flaming house. She is completely hysterical.</scene_description> <character>RANDI</character> <dialogue>Let me go! Get your hands off me! Let go of me! Somebody go in there! Let me go! Get them outta there!</dialogue> <scene_description>We PAN the faces of a clutch of neighbors looking on, mortified, until we land on LEE staring at the blazing house. He still holds the paper bag from the mini-mart. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. LEE'S HOUSE. DAWN.</stage_direction> <scene_description>The sky is getting light. The fire is out. The smoking house is burnt to nothing. The neighbors have been pushed back by the police and firemen. Two EMS workers are putting Randi into the ambulance. She's on a stretcher and wears an oxygen mask. She is half conscious. TWO POLICEMEN are questioning LEE. He's still holding the grocery bag. JOE is standing next to him now hastily stuffed into his winter coat. He grips Lee's arm with a gloved hand. The ambulance with Randi in it drives away. LEE looks past the policemen as EMS WORKERS approach the next ambulance. They are bringing and loading THREE COVERED STRETCHERS bearing THREE LITTLE BODIES into the ambulance as Lee watches. In the last stretcher the smoke-blackened ELBOW of a LITTLE GIRL sticks out a little from under the blanket. An EMS Worker quickly pushes it under again. They put the stretchers in the ambulance and shut the doors. Without moving Lee starts crying hopelessly. The two cops stop trying to talk to him. Joe holds Lee's arm throughout. THE PRESENT --</scene_description> </scene> <scene> <stage_direction>INT. LAWYER'S OFFICE. DAY.</stage_direction> <scene_description>Lee looks from the will to the view out the window.</scene_description> <character>WES</character> <dialogue>Look -- Lee --</dialogue> <character>LEE</character> <dialogue>Thanks, Wes. I'll, uh, I'll be in touch.</dialogue> <scene_description>Lee gets up abruptly and heads for the door. FIVE YEARS AGO (CONT'D) --</scene_description> </scene> <scene> <stage_direction>EXT. MACHESTER POLICE STATION. DAY.</stage_direction> <scene_description>PUSH IN ON a weatherbeaten old building backed by the marina.</scene_description> </scene> <scene> <stage_direction>INT. MANCHESTER POLICE STATION -- MAIN OFFICE. DAY.</stage_direction> <scene_description>JOE and STAN wait for Lee at one end of the office with a few desks and six or seven police officers going about their business.</scene_description> </scene> <scene> <stage_direction>INT. POLICE STATION -- INTERVIEW ROOM. DAY.</stage_direction> <scene_description>SLOW PUSH IN ON LEE at a table, facing a POLICE DETECTIVE, a UNIFORMED POLICEMAN, and the STATE FIRE MARSHALL.</scene_description> <character>LEE</character> <dialogue>You know. We were partyin' pretty hard.</dialogue> <character>LEE</character> <dialogue>Beer, and somebody was passin' around a joint. Somebody else had some cocaine.</dialogue> <character>1ST DETECTIVE</character> <dialogue>Cocaine?</dialogue> <character>LEE</character> <dialogue>Yes.</dialogue> <character>1ST DETECTIVE</character> <dialogue>OK. Go on.</dialogue> <character>LEE</character> <dialogue>Anyway, our bedroom's in the downstairs. The girls sleep upstairs. So Randi makes everybody leave around two o'clock, maybe three AM, and she went back to bed. So everybody leaves, and I go inside. And it's really cold inside, so I go check on the girls, and it's fuckin' freezing up there. We sleep downstairs. The girls sleep in the upstairs. But Randi doesn't like the central heat because it dries her out her sinuses, and she gets these headaches. So I went downstairs and built a fire in the fireplace, and I sit down to watch TV, except there's no more beer. And I'm still jumpin' like a jackrabbit. So I put a couple big logs on the fire so the house would warm up when I was gone, and I went to the mini- mart...It's about a fifteen minute walk both ways. But I didn't wanna drive cause I was really wasted. And I'm halfway there, and I remember I didn't put the screen back on the fireplace. But I figure it's probably OK. So I kept going to the store. And that's it. One of the logs musta rolled out on the floor when I was gone. The girls were all upstairs... And that's it. The firemen got Randi out. She was passed out downstairs. And then they said the furnace blew, and they couldn't go inside again. And that's all I remember.</dialogue> <scene_description>Pause.</scene_description> <character>1ST DETECTIVE</character> <dialogue>OK, Lee. That's all for now. We'll call you if anything else comes up we want to ask you about.</dialogue> <character>FIRE MARSHALL</character> <dialogue>Assumin' the forensics bear you out...which I'm assumin' that they will...</dialogue> <character>LEE</character> <dialogue>What do you mean? That's it?</dialogue> <character>FIRE MARSHALL</character> <dialogue>Look, Lee: You made a horrible mistake. Like a million other people did last night. But we don't wanna crucify you. It's not a crime to leave the screen off the fireplace.</dialogue> <character>LEE</character> <dialogue>So...What? I can go?</dialogue> <character>FIRE MARSHALL</character> <dialogue>Unless somethin' else comes up that we don't know about already, yeah.</dialogue> <character>1ST DETECTIVE</character> <dialogue>You got a ride back home?</dialogue> <character>LEE</character> <dialogue>Yeah.</dialogue> </scene> <scene> <stage_direction>INT. POLICE STATION -- MAIN ROOM. DAY -- CONTINUOUS.</stage_direction> <scene_description>Lee comes out of a room opposite, followed by the Detective and Fire Marshall. He makes his way past the desks. Suddenly he GRABS a YOUNG COP from behind, pulls the GUN out of his holster and shoves him away. SHOUTS and GUNS come out everywhere. LEE puts the GUN to his own HEAD and pulls the trigger, but the SAFETY CATCH is ON. JOE is across the room in a bound.</scene_description> <character>JOE</character> <dialogue>Don't shoot! Don't shoot!</dialogue> <scene_description>LEE fumbles with the safety catch -- TWO COPS take him DOWN and grab the gun. He doesn't resist at all. JOE joins the fray. STAN staggers and reaches for the wall behind him. THE PRESENT --</scene_description> </scene> <scene> <stage_direction>INT. LAWYER'S WAITING ROOM. DAY.</stage_direction> <scene_description>LEE comes out of the lawyer's office. Patrick gets up.</scene_description> <character>LEE</character> <dialogue>Alright. Let's go.</dialogue> <character>PATRICK</character> <dialogue>Where to, the orphanage?</dialogue> <character>LEE</character> <dialogue>Shut up.</dialogue> <character>PATRICK</character> <dialogue>What the hell did I do?</dialogue> <character>LEE</character> <dialogue>Just be quiet.</dialogue> <scene_description>Lee heads for the exit. Patrick follows him out.</scene_description> </scene> <scene> <stage_direction>EXT. OFFICE BUILDING. DAY.</stage_direction> <scene_description>Lee and Patrick come out of the building, Lee first. They walk to the car. He digs out his keys.</scene_description> <character>LEE</character> <dialogue>All right. We got a lot to do.</dialogue> <character>PATRICK</character> <dialogue>What about the boat?</dialogue> <character>LEE</character> <dialogue>We gotta talk to George about it. There's no point hangin' onto it if no one's gonna use it --</dialogue> <character>PATRICK</character> <dialogue>I'm gonna use it.</dialogue> <character>LEE</character> <dialogue>It's gotta be maintained --</dialogue> <character>PATRICK</character> <dialogue>I'm maintaining it. I'm gonna maintain it.</dialogue> <character>LEE</character> <dialogue>...we gotta change the rental of the boat yard from Joe to me -- No, you can't maintain it by yourself --</dialogue> <character>PATRICK</character> <dialogue>Why not?</dialogue> <character>PATRICK</character> <dialogue>It's my boat now, isn't it? What does "trustee" mean?</dialogue> <character>LEE</character> <dialogue>Because you're a minor. You can't take it out alone. Yeah -- But I'm the trustee. I gotta make the payments, keep up with the inspections --</dialogue> <scene_description>It means I'm in charge of handling everything for you Does that mean you're allowed until you turn eighteen -- to sell it if I don't want you to? I don't know. But I'd definitely consider it --</scene_description> <character>PATRICK</character> <dialogue>No fuckin' way!</dialogue> <character>LEE</character> <dialogue>Don't be so goddamn sure of yourself! There's nobody to run it! You're sixteen years old!</dialogue> <character>PATRICK</character> <dialogue>Yeah! I can get my licence this year!</dialogue> <character>LEE</character> <dialogue>So what? You're still a minor! You can't run a commercial vessel by yourself!</dialogue> <character>PATRICK</character> <dialogue>Why can't I run the boat with George?</dialogue> <character>LEE</character> <dialogue>Meanwhile it's a big fuckin' expense and I'm the one that's gonna have to manage it and I'm not even gonna be here!</dialogue> <character>PATRICK</character> <dialogue>Who gives a fuck where you are?</dialogue> <character>LEE</character> <dialogue>Patty, I swear to God I'm gonna knock your fuckin' block off!</dialogue> <scene_description>A BUSINESSMAN in a winter coat calls from across the street.</scene_description> <character>MANCHESTER BUSINESSMAN</character> <dialogue>Great parenting.</dialogue> <character>LEE</character> <dialogue>Mind your own fuckin' business!</dialogue> <character>PATRICK</character> <dialogue>Uncle Lee!</dialogue> <character>LEE</character> <dialogue>Mind your own business! Shut the fuck up or I'll fuckin' shut you up, I swear to God -- I'm gonnna smash you in the fuckin' face if you don't take a walk! Mind your fuckin' business!</dialogue> <character>MANCHESTER BUSINESMAN</character> <dialogue>No no, that's good parenting. Smash him in the face. Smash him in the face. That'll show him. PATRICK It's OK, Mister. Thank you! It's OK! Uncle LEE! Are you fundamentally unsound?</dialogue> <character>LEE</character> <dialogue>Get in the fuckin' car!</dialogue> <scene_description>Lee fumbles the keys and they fly out of his hands.</scene_description> <character>PATRICK</character> <dialogue>I can't obey your orders until you unlock the door.</dialogue> <character>LEE</character> <dialogue>Just shut up.</dialogue> </scene> <scene> <stage_direction>EXT. MANCHESTER -- MARINA. DAY -- PRESENT.</stage_direction> <scene_description>Lee and Patrick walk along the marina.</scene_description> </scene> <scene> <stage_direction>EXT/INT. MARINA -- JOE'S BOAT. DAY.</stage_direction> <scene_description>Lee and Patrick and GEORGE are looking at JOE'S BOAT. Lee and Patrick are not dressed warmly enough.</scene_description> <character>GEORGE</character> <dialogue>It's not like the motor's gonna die tomorrow, but Joe said it's been breakin' down like a son of a bitch.</dialogue> <character>PATRICK</character> <dialogue>Yeah, but we were gonna take a look this weekend --</dialogue> <character>LEE</character> <dialogue>See -- There's an allotment of some kind -- but things are up in the air a little bit, so --</dialogue> <character>GEORGE</character> <dialogue>No, I can take care of it as far as general maintenance is concerned...</dialogue> <character>PATRICK</character> <dialogue>I'm takin' care of it.</dialogue> <character>GEORGE</character> <dialogue>But that motor's gonna go at some point...</dialogue> <character>LEE</character> <dialogue>There's no allotment for a new motor. Unless you wanna buy it, George...</dialogue> <character>PATRICK</character> <dialogue>Wait a second. I'm not sellin' it --</dialogue> <character>LEE</character> <dialogue>Anyway, we're gonna be in Boston.</dialogue> <character>PATRICK</character> <dialogue>What? Since when am I supposed to be in Boston?</dialogue> <scene_description>Pause.</scene_description> <character>GEORGE</character> <dialogue>Well -- Whatever you decide...</dialogue> <character>GEORGE</character> <dialogue>But it's gonna bleed you dry</dialogue> <character>LEE</character> <dialogue>It's not all worked out yet.</dialogue> <scene_description>just sittin' here... (To Patrick) Just take it easy! We don't know what we're doin' yet.</scene_description> <character>GEORGE</character> <dialogue>Well...you know he can always stay with us, if he wants to come up weekends.</dialogue> <character>LEE</character> <dialogue>You wanna be his guardian?</dialogue> <scene_description>George is taken aback, embarrassed.</scene_description> <character>PATRICK</character> <dialogue>He doesn't wanna be my guardian, for Christ's sakes...! They got five kids already. Have you seen his house?</dialogue> <character>GEORGE</character> <dialogue>Well -- we already got a houseful...We're tryin' to lose some kids at this point...</dialogue> <character>LEE</character> <dialogue>No -- we're just working out logistics...So, I didn't know.</dialogue> <character>GEORGE</character> <dialogue>Yeah, we're jammed in there pretty good. But we've always got a sofa for him any time he wants. He knows that. (To</dialogue> <scene_description>PATRICK Patrick) Right? Jesus Christ, you wanna stop? George. George. It's OK. He's welcome any time... Really. You don't have to say that. I know that.</scene_description> </scene> <scene> <stage_direction>EXT. MARINA/WHARF. DAY.</stage_direction> <scene_description>Lee and Patrick walk back along the wharf toward the street and the car.</scene_description> <character>PATRICK</character> <dialogue>Are you brain-damaged? You can't just ask people that...! You don't wanna be my guardian, that's fine with me.</dialogue> <character>LEE</character> <dialogue>It's not that. It's just the logistics. I just gotta work it out. I swear.</dialogue> <character>PATRICK</character> <dialogue>How? By sendin' me to Wonkatonka Minnesota with Uncle Donny?</dialogue> <character>LEE</character> <dialogue>Minnetonka!</dialogue> <character>PATRICK</character> <dialogue>OK, Minnetonka. Minnetonka Minnesota. Same difference!</dialogue> <character>LEE</character> <dialogue>Minnetonka Minnesota. Not Wonkatonka Minnesota.</dialogue> <character>PATRICK</character> <dialogue>What about my mother?</dialogue> <scene_description>Lee stops walking, then starts again.</scene_description> <character>LEE</character> <dialogue>The judge wouldn't let her. Anyway, no one knows where she is.</dialogue> <character>PATRICK</character> <dialogue>I do. She's in Connecticut. At least she was last year.</dialogue> <scene_description>Lee stops walking again.</scene_description> <character>LEE</character> <dialogue>Since when do you know that?</dialogue> <character>PATRICK</character> <dialogue>She emailed me last year. So I emailed her back. You know, email?</dialogue> <character>LEE</character> <dialogue>Did your father know you were in touch with her?</dialogue> <character>PATRICK</character> <dialogue>Are you kiddin'? (Pause) Could we walk? I'm freezin'.</dialogue> <scene_description>They start walking again.</scene_description> <character>LEE</character> <dialogue>All I can tell you is --</dialogue> <character>PATRICK</character> <dialogue>I know, I know, she's a drunk, she's insane, she let the dogs shit on the floor.</dialogue> <character>LEE</character> <dialogue>-- it's the last thing your dad ever woulda wanted.</dialogue> <character>PATRICK</character> <dialogue>Oh, like you suddenly care what he woulda wanted?</dialogue> <character>LEE</character> <dialogue>Aw, fuck everything.</dialogue> </scene> <scene> <stage_direction>INT./EXT. LEE'S CAR(MOVING) NEAR THE MARINA. DAY.</stage_direction> <scene_description>Lee and Patrick are driving away from the marina.</scene_description> <character>PATRICK</character> <dialogue>Where to now?</dialogue> <character>LEE</character> <dialogue>The funeral parlor.</dialogue> <character>PATRICK</character> <dialogue>Great.</dialogue> </scene> <scene> <stage_direction>INT./EXT. LEE'S CAR(MOVING) MANCHESTER OUTSKIRTS. DAY</stage_direction> <scene_description>Patrick notices they are now heading out of town.</scene_description> <character>PATRICK</character> <dialogue>Whoa, whoa, where're we goin'?</dialogue> <character>LEE</character> <dialogue>It's in Beverly.</dialogue> <character>PATRICK</character> <dialogue>There's no funeral homes in Manchester?</dialogue> <character>LEE</character> <dialogue>No. (Pause) The cemetery's here...</dialogue> <character>PATRICK</character> <dialogue>Well, can you let me out? I'll just walk home.</dialogue> <character>LEE</character> <dialogue>Let's just get this done.</dialogue> <character>PATRICK</character> <dialogue>You wanna warn me if there's any other Surprise Death Errands we gotta run? Or is this gonna be it for today?</dialogue> <character>LEE</character> <dialogue>Yes. Sorry. This is it.</dialogue> </scene> <scene> <stage_direction>EXT. BEVERLY. DAY.</stage_direction> <scene_description>They drive through Beverly, a big coastal town of 40,000.</scene_description> </scene> <scene> <stage_direction>INT. GALLAGHER'S FUNERAL HOME. DUSK.</stage_direction> <scene_description>Patrick looks around while Lee talks to the Funeral Director.</scene_description> </scene> <scene> <stage_direction>EXT. GALLAGHER'S FUNERAL HOME. DUSK.</stage_direction> <scene_description>Lee and Patrick walk away. The wind is punishing.</scene_description> <character>PATRICK</character> <dialogue>What is with that guy and the big Serious and Somber Act?</dialogue> <character>LEE</character> <dialogue>I don't know.</dialogue> <character>PATRICK</character> <dialogue>But seriously, does he not realize that people know he does this every single day?</dialogue> <character>LEE</character> <dialogue>I don't know. Who cares? (Stops) I think I parked the other way. Sorry.</dialogue> <scene_description>They reverse direction and start walking into the wind.</scene_description> <character>PATRICK</character> <dialogue>Why can't we bury him?</dialogue> <character>LEE</character> <dialogue>It's too cold. The ground's too hard. They'll bury him in the spring.</dialogue> <character>PATRICK</character> <dialogue>So what do they do with him til then?</dialogue> <scene_description>LEE They put him in a freezer. PATRICK Are you serious? LEE Yeah. That's what they do with them. They put 'em in a big freezer until the ground thaws out. PATRICK That really freaks me out. LEE It doesn't matter. It isn't him. It's just his body. Where'd I park the car? PATRICK What about one of those mini-steam shovels?</scene_description> <character>LEE</character> <dialogue>What?</dialogue> <scene_description>PATRICK I once saw one of those mini-steam shovels one time in a graveyard in New Haven. It dug a perfect little hole in about two seconds. LEE I don't...really know how you would get ahold of one. Or how much it would cost -- PATRICK Why can't we just look into it? LEE Anyway, I'm pretty sure you can't use heavy equipment in the Historic Rosedale Cemetery.</scene_description> <character>PATRICK</character> <dialogue>Why not?</dialogue> <scene_description>LEE Because there's a lot of important people buried there, and their descendants don't want a steam shovel vibratin' over their dead bodies. How do I know?</scene_description> <character>PATRICK</character> <dialogue>Why can't we bury him someplace else?</dialogue> <character>LEE</character> <dialogue>That's where he bought a plot. Don't ask me why. But if you wanna find someplace else to bury him, and find out how much it costs, and change all the arrangements with the mortician and the cemetery, and call up Sacred Heart and talk to Father Martin, and change the arrangements for the funeral service, be my guest. Otherwise let's just leave it. OK?</dialogue> <scene_description>They turn onto a SIDE STREET. The wind picks up brutally.</scene_description> <character>PATRICK</character> <dialogue>I just don't like him bein' in a freezer.</dialogue> <character>LEE</character> <dialogue>Oh come on! Where's the goddamn car?</dialogue> <character>PATRICK</character> <dialogue>I don't know, but I wish you'd figure it out because I'm freezin' my ass off.</dialogue> <character>LEE</character> <dialogue>Don't you have a normal winter coat?</dialogue> <character>PATRICK</character> <dialogue>Yes.</dialogue> <character>LEE</character> <dialogue>Why don't you have gloves with fingers on them?</dialogue> <scene_description>Another gust of wind blows right through them.</scene_description> <character>PATRICK</character> <dialogue>Jesus Christ!</dialogue> <character>LEE</character> <dialogue>God damn it!</dialogue> <character>LEE</character> <dialogue>Oh where the fuck did I park the fucking car?</dialogue> </scene> <scene> <stage_direction>EXT./INT. BEVERLY STREET/LEE'S CAR. DUSK.</stage_direction> <scene_description>They see the car on a long sloping street and run to it. They get in and slam the doors. Lee turns on the engine.</scene_description> <character>LEE</character> <dialogue>God damn it's cold!</dialogue> <character>PATRICK</character> <dialogue>Why? What's the matter with your winter jacket?</dialogue> <character>LEE</character> <dialogue>Seriously, Patty --? It's on already! It's all the way up! It takes a minute to warm up, so just relax, OK? Just be quiet.</dialogue> <character>PATRICK</character> <dialogue>Just turn the heat on! Well turn it up a little! It's blowin' fuckin' freezin' air on me. What year did you buy this thing? 1928? Where's the horse that goes with this fuckin' car? Maybe he could breathe on us.</dialogue> <character>LEE</character> <dialogue>Patty, I swear to God --</dialogue> <character>PATRICK</character> <dialogue>I know. Why don't we just keep my dad in here for the next three months? We could save a fuckin' fortune.</dialogue> <character>LEE</character> <dialogue>Would you shut up about that freezer please? You want me to have a nervous breakdown because there's undertakers and a funeral?</dialogue> <character>LEE</character> <dialogue>-- Who cares?</dialogue> <character>PATRICK</character> <dialogue>No...I don't!</dialogue> <scene_description>Lee holds his hand over the vent.</scene_description> <character>LEE</character> <dialogue>'K, it's gettin' warmer.</dialogue> <character>PATRICK</character> <dialogue>I got band practice. Can you drive me home so I can get my stuff and then take me over to my girlfriend's house?</dialogue> <character>LEE</character> <dialogue>Sure.</dialogue> </scene> <scene> <stage_direction>EXT. MANCHESTER. SANDY'S HOUSE. DUSK.</stage_direction> <scene_description>Lee pulls up in front of a small ranch house with a big front yard. Patrick twists around to gets his stuff from the back.</scene_description> <character>LEE</character> <dialogue>This is the same girl as who was over at the house?</dialogue> <character>PATRICK</character> <dialogue>No. That was Silvie. This is Sandy. But they don't know about each other. So please don't say anything in case it comes up.</dialogue> <character>LEE</character> <dialogue>I won't. (Pause) Do you actually have sex with these girls?</dialogue> <character>PATRICK</character> <dialogue>We don't just play computer games.</dialogue> <character>LEE</character> <dialogue>With both of them?</dialogue> <character>PATRICK</character> <dialogue>Well with Sandy's mom here it's sort of strictly just basement business.</dialogue> <character>LEE</character> <dialogue>What does that mean?</dialogue> <character>PATRICK</character> <dialogue>It means I'm workin' on it.</dialogue> <scene_description>Patrick grabs his electric guitar and mini-amp from the back seat. Lee watches him run across the lawn to the house.</scene_description> </scene> <scene> <stage_direction>INT. JOE'S HOUSE. NIGHT.</stage_direction> <scene_description>Lee comes in and snaps on the lights.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN. NIGHT.</stage_direction> <scene_description>Lee puts a slice of cold pizza in the microwave.</scene_description> </scene> <scene> <stage_direction>INT. SANDY'S HOUSE -- BASEMENT. NIGHT.</stage_direction> <scene_description>PATRICK'S ROCK BAND is practicing in the basement. SANDY, 17, brighter, wilder and more original than Silvie, sings lead vocals. PATRICK plays rhythm guitar, CJ plays lead, JOEL plays bass, a kid named OTTO plays drums. The boys sing backup. The name on the big drum is "STENTORIAN." They are playing an original composition.</scene_description> <character>SANDY</character> <parenthetical>(Singing)</parenthetical> <dialogue>"I gotta RUN! I gotta RUN, I, I, I, I, I, I, I gotta run --"</dialogue> <character>THE WHOLE BAND</character> <dialogue>"-- I gotta run, I gotta run, I gotta run."</dialogue> <character>PATRICK</character> <dialogue>Stop. Stop. Otto man, what are you doing?</dialogue> <character>OTTO</character> <dialogue>What did I do?</dialogue> <character>PATRICK</character> <dialogue>You're way behind, man.</dialogue> <character>OTTO</character> <dialogue>No, I'm not.</dialogue> <character>JOEL</character> <dialogue>You're a little behind, Otto.</dialogue> <character>CJ</character> <dialogue>Otto, you're kind of draggin' it...</dialogue> <character>PATRICK</character> <dialogue>You gotta stay with the bass.</dialogue> <character>JOEL</character> <dialogue>Come on man, just stay with me, all right?</dialogue> <character>OTTO</character> <dialogue>All right, I'm sorry.</dialogue> <character>CJ</character> <dialogue>It's all right! You're alright. Let's just take it again. Otto, you good?</dialogue> <character>OTTO</character> <dialogue>Yeah.</dialogue> <scene_description>They get ready to take it again. Patrick leans into his microphone.</scene_description> <character>PATRICK</character> <dialogue>We are Stentorian.</dialogue> <scene_description>They start playing again.</scene_description> </scene> <scene> <stage_direction>EXT. SANDY'S HOUSE. NIGHT.</stage_direction> <scene_description>Lee's car pulls up to the curb. Stentorian thuds through the frozen earth. Sandy's mom, JILL, comes out and crosses the lawn. She is 40, pretty and pleasant, hair in a pony tail. Lee rolls down the window.</scene_description> <character>JILL</character> <dialogue>Hi, are you Lee? I'm Jill. Sandy's mom. I think they're wrapping up. Do you wanna come inside and have a beer or something?</dialogue> <character>LEE</character> <dialogue>Oh, that's all right. Thank you.</dialogue> <character>JILL</character> <dialogue>I wanted to offer my condolences about Joe. He was such a terrific guy. There's not too many like him. He was a wonderful father.</dialogue> <character>LEE</character> <dialogue>Thank you.</dialogue> <character>JILL</character> <dialogue>I was -- I was gonna ask Patrick if he wants to stay for supper, if that's OK with you. You wanna join us? I made way too much...</dialogue> <character>LEE</character> <dialogue>Oh. That's all right. Thank you. What time should I come back?</dialogue> <character>JILL</character> <dialogue>Oh -- I don't know. Nine? Nine- thirty? They're gonna do their homework together. Supposedly. Ha ha ha.</dialogue> <character>LEE</character> <dialogue>OK. I'll come back at nine-thirty.</dialogue> <character>JILL</character> <dialogue>OK. You change your mind in the next ten minutes, we're right inside.</dialogue> <character>LEE</character> <dialogue>OK. Thank you.</dialogue> <scene_description>Jill hesitates, smiles, then runs back to the house. Lee drives off.</scene_description> </scene> <scene> <stage_direction>INT. SANDY'S ROOM. NIGHT.</stage_direction> <scene_description>Patrick and Sandy are making out on her bed. Patrick's hand is halfway down the front of Sandy's complicated jeans.</scene_description> <character>SANDY</character> <dialogue>Hold on -- Hold on. Just take your hand out.</dialogue> <character>PATRICK</character> <dialogue>Jesus Christ, I'm scrapin' the skin off my knuckles. How do you unbuckle this?</dialogue> <character>SANDY</character> <dialogue>Would you please take your hand outta my cunt?</dialogue> <character>PATRICK</character> <dialogue>OK, OK! (Withdraws his hand) Ow!</dialogue> <scene_description>Sandy wriggles out of her jeans.</scene_description> <character>PATRICK</character> <dialogue>Oh, are we taking our pants off?</dialogue> <character>SANDY</character> <dialogue>I'm takin' my pants off. I don't know what you're doing.</dialogue> <character>PATRICK</character> <dialogue>I'm takin' my pants off...</dialogue> <scene_description>Patrick tries to take off his pants, but one leg bunches up at his ankle. He kicks to get it off. She tries to help him.</scene_description> <character>SANDY</character> <dialogue>Come on! You gotta take your shoe off...!</dialogue> <character>PATRICK</character> <dialogue>I'm tryin'!</dialogue> <scene_description>O.C., Jill KNOCKS on the DOOR. The kids both scramble away from each other and frantically start to dress.</scene_description> <character>JILL (O.C.)</character> <dialogue>Hey kids? Come on have some dinner!</dialogue> <character>PATRICK</character> <dialogue>OK, thanks Jill! We'll be down in just one second. I just gotta log off...!</dialogue> <character>SANDY</character> <dialogue>Thanks, Mom! We'll be right down! Would you shut up? She's not retarded.</dialogue> <character>PATRICK</character> <dialogue>Why are you pickin' on me?</dialogue> <character>SANDY</character> <dialogue>I'm not pickin' on you! You're going to get me in trouble.</dialogue> </scene> <scene> <stage_direction>INT. JILL'S HOUSE -- LIVING ROOM. NIGHT.</stage_direction> <scene_description>Jill waits near the stairs. Patrick and Sandy come down.</scene_description> <character>JILL</character> <dialogue>How's the math homework?</dialogue> <character>PATRICK</character> <dialogue>Very frustratin'.</dialogue> <character>JILL</character> <dialogue>Good.</dialogue> <character>PATRICK</character> <dialogue>Those algorithms are a bitch...</dialogue> </scene> <scene> <stage_direction>INT. JILL'S DINING AREA. NIGHT.</stage_direction> <scene_description>Jill, Sandy and Patrick eat spaghetti.</scene_description> <character>PATRICK</character> <dialogue>Mm. This is really delicious, Jill.</dialogue> <character>JILL</character> <dialogue>Thank you, Patrick.</dialogue> <character>SANDY</character> <dialogue>Yeah, Mom, really good.</dialogue> <character>PATRICK</character> <dialogue>Is this a homemade carbonara sauce?</dialogue> <character>SANDY</character> <dialogue>Jesus, shut up.</dialogue> <character>JILL</character> <dialogue>Oh -- no...</dialogue> <character>PATRICK</character> <dialogue>You could've fooled me.</dialogue> <character>SANDY</character> <dialogue>Jesus.</dialogue> <character>PATRICK</character> <dialogue>What?</dialogue> <character>SANDY</character> <dialogue>You're such a kiss-ass!</dialogue> <character>JILL</character> <dialogue>Sandy!</dialogue> <character>PATRICK</character> <dialogue>Why? Because I appreciate your mother's cookin'?</dialogue> </scene> <scene> <stage_direction>INT. LEE'S CAR (MOVING) NIGHT.</stage_direction> <scene_description>Lee drives Patrick home in silence. Then:</scene_description> <character>PATRICK</character> <dialogue>Aren't you gonna ask what happpened? -- Guess not.</dialogue> <character>LEE</character> <dialogue>I don't want to know what happened.</dialogue> </scene> <scene> <stage_direction>INT. JOE'S LIVING ROOM. NIGHT.</stage_direction> <scene_description>Lee is on the sofa with his iPhone and a beer, watching a Celtics game. A PHONE RINGS. He looks around, confused. Looks at his cell. Finally he realizes Joe's LAND LINE is ringing.</scene_description> <character>LEE</character> <parenthetical>(Answering)</parenthetical> <dialogue>Hello?</dialogue> <character>RANDI</character> <parenthetical>(Over the phone)</parenthetical> <dialogue>Hello...Lee? It's Randi. (Pause) Hello? Lee?</dialogue> <scene_description>Pause.</scene_description> <character>LEE</character> <dialogue>Yeah. I'm here. Sorry. How are you?</dialogue> <character>RANDI</character> <dialogue>I'm OK. How are you?</dialogue> <character>LEE</character> <dialogue>Good.</dialogue> <character>RANDI</character> <dialogue>I was callin' -- George told me about Joe. I just wanted to call and say I'm sorry. I hope you don't mind me callin'.</dialogue> <character>LEE</character> <dialogue>No. Thank you. I don't mind...How are you?</dialogue> <character>RANDI</character> <dialogue>Not so good, right now. I guess we shoulda seen it comin', but...it's still kinda hard to believe...</dialogue> <character>LEE</character> <dialogue>Yeah...</dialogue> <character>RANDI</character> <dialogue>How's Patrick doin'? Beyond the obvious, obviously...</dialogue> <character>LEE</character> <dialogue>He's OK. It's hard to tell with kids.</dialogue> <character>RANDI</character> <dialogue>Yeah -- Well, that's good.</dialogue> <character>LEE</character> <dialogue>He doesn't really open up with me. I think he's OK. He's got a lotta friends...So...Yeah, it is...</dialogue> <character>RANDI</character> <dialogue>So, I don't know if you planned a service yet, but I was also gonna ask you if you wouldn't mind -- I'd like to be there, if it's OK with you.</dialogue> <character>LEE</character> <dialogue>Of course you can...</dialogue> <character>RANDI</character> <dialogue>OK. Thank you. It would mean a lot to me -- OK -- Thank you.</dialogue> <character>LEE</character> <dialogue>That's fine. You should come. I'll let you know when it's gonna be.</dialogue> <character>RANDI</character> <dialogue>Thank you. (Pause) So, can I ask -- How are you?</dialogue> <character>LEE</character> <dialogue>I don't know. How are you?</dialogue> <character>RANDI</character> <dialogue>You know. We're doin' pretty well. I should probably tell you -- I'm gonna be -- I'm pregnant. Actually.</dialogue> <character>LEE</character> <dialogue>Oh yeah?</dialogue> <character>RANDI</character> <dialogue>Yeah. Like -- Ready to pop.</dialogue> <character>LEE</character> <dialogue>Oh, I didn't know that.</dialogue> <character>RANDI</character> <dialogue>I didn't know if I should tell you, but --</dialogue> <character>LEE</character> <dialogue>No, it's fine. Congratulations.</dialogue> <character>RANDI</character> <dialogue>Thank you. You would probably deduce it for yourself when you see me.</dialogue> <character>LEE</character> <dialogue>Yeah.</dialogue> <scene_description>Lee is unable to stay on the phone any longer.</scene_description> <character>RANDI</character> <dialogue>So, are you still --</dialogue> <character>LEE</character> <dialogue>Actually, sorry -- I don't mean to cut you off. I just gotta go pick up Patrick up and I'm slightly late.</dialogue> <character>RANDI</character> <dialogue>That's OK. I just wanted to make sure it's OK if me and Josh come to the funeral.</dialogue> <character>LEE</character> <dialogue>It's totally OK.</dialogue> <character>RANDI</character> <dialogue>OK. Thank you, Lee. God bless.</dialogue> <character>LEE</character> <dialogue>So long.</dialogue> <scene_description>They hang up. Lee tries to keep a grip on himself.</scene_description> </scene> <scene> <stage_direction>INT. PATRICK'S ROOM. NIGHT.</stage_direction> <scene_description>Patrick lies awake in the dark.</scene_description> </scene> <scene> <stage_direction>INT. LEE'S ROOM. NIGHT.</stage_direction> <scene_description>Lee lies on the bed watching a sports show and drinking beer.</scene_description> </scene> <scene> <stage_direction>EXT. MANCHESTER -- CHURCH OF THE SACRED HEART. DAY.</stage_direction> <scene_description>A beautiful day. A lot of people are filing into the church.</scene_description> </scene> <scene> <stage_direction>INT. CHURCH. DAY.</stage_direction> <scene_description>SLO-MO (MOS). People are greeting PATRICK. LEE stands to one side. Some people greet him, some do not, some look at him covertly. GEORGE and his wife JANINE, 50, say hi to Lee and Patrick. Then a very pregnant RANDI gives Patrick a big warm hug. She and her husband, JOSH, greet Lee. Randi says a few words to Lee. Josh shakes Lee's hand. Then they move away. Others come through: Grown-ups and kids. DR BETHENY and her HUSBAND. George stays dutifully by Lee. LATER -- STILL SLO-MO (MOS) THE SERVICE. FATHER MARTIN reads the service. LEE sits in the front pew, with PATRICK, looking lost.</scene_description> </scene> <scene> <stage_direction>EXT. GEORGE'S HOUSE. DAY.</stage_direction> <scene_description>George's small, cramped, two-story house. Cars are stuffed into George's driveway and ranged up and down the block.</scene_description> </scene> <scene> <stage_direction>INT. GEORGE'S HOUSE. DAY.</stage_direction> <scene_description>The living room is packed with mourners, eating and drinking. (Randi and Josh are not there.) PATRICK is hugging SANDY and JILL. They are leaving. He keeps an eye out for SILVIE, who is across the room talking to CJ, Joel and some other kids. LATER -- PATRICK is in an armchair, watching LEE through the press of chatting mourners. Lee holds a beer and looks lost. TOM DOHERTY appears, shakes Lee's hand and gives him a hug which Lee rigidly returns. MRS DOHERTY kisses Lee. SILVIE appears at Patrick's side. She gives him some soda in a plastic cup. Her eyes intrusively search his face.</scene_description> <character>SILVIE</character> <dialogue>You OK, baby?</dialogue> <character>PATRICK</character> <dialogue>I'm OK.</dialogue> <scene_description>LATER -- LEE and GEORGE are talking over the din.</scene_description> <character>GEORGE</character> <dialogue>So how you holdin' up?</dialogue> <character>LEE</character> <dialogue>What's the matter?</dialogue> <character>GEORGE</character> <dialogue>No --</dialogue> <character>LEE</character> <dialogue>What? Um...</dialogue> <character>GEORGE</character> <dialogue>-- I said "How you holdin' up?" It's a stupid question. You get some food?</dialogue> <character>LEE</character> <dialogue>I had some cheese.</dialogue> <character>GEORGE</character> <dialogue>"You had some cheese." Asshole.</dialogue> <character>LEE</character> <dialogue>It's OK, George.</dialogue> <character>GEORGE</character> <dialogue>I'll get you something. Hey</dialogue> <character>JANINE!</character> <dialogue>We see JANINE through the crowd, replenishing items at the buffet table and clearing paper plates and napkins, etc.</dialogue> <character>LEE</character> <dialogue>Seriously. I'm not hungry.</dialogue> <character>GEORGE</character> <dialogue>Sure? (To JANINE) Never mind! FORGET IT! SKIP IT! I SAID FORGET IT!</dialogue> <character>JANINE</character> <dialogue>WHAT? I CAN'T HEAR A GODDAMN THING YOU'RE SAYIN'!</dialogue> <scene_description>DID LEE GET SOME FOOD?</scene_description> </scene> <scene> <stage_direction>INT. JOE'S HOUSE -- KITCHEN. NIGHT.</stage_direction> <scene_description>Lee comes in and takes off his dark jacket and gets some cold chicken from the fridge. Patrick comes in, iPhone in hand.</scene_description> <character>PATRICK</character> <dialogue>Hey, is it OK if I ask Silvie to stay over?</dialogue> <character>LEE</character> <dialogue>No.</dialogue> <character>PATRICK</character> <dialogue>What do you mean?</dialogue> <character>LEE</character> <dialogue>I don't want her in the house right now.</dialogue> <character>PATRICK</character> <dialogue>Why not? YOU don't have to talk to her...</dialogue> <character>LEE</character> <dialogue>I don't like her. You can go to her house or call one of your friends. That's it.</dialogue> <scene_description>Patrick is stunned.</scene_description> </scene> <scene> <stage_direction>INT. GUEST/LEE'S ROOM. NIGHT.</stage_direction> <scene_description>Lee gets ready for bed. We hear PATRICK in the hall O.C.</scene_description> <character>PATRICK (O.C.)</character> <dialogue>Would your mom be cool if I came there? ... I have no idea.</dialogue> <scene_description>LATER -- Patrick KNOCKS and comes in.</scene_description> <character>PATRICK</character> <dialogue>Well, I can't go there either.</dialogue> <character>LEE</character> <dialogue>Sorry about that.</dialogue> <character>PATRICK</character> <dialogue>So...Are you gonna stay in here...?</dialogue> <character>LEE</character> <dialogue>Well -- Yeah. Why not?</dialogue> <character>PATRICK</character> <dialogue>I thought maybe you'd want to stay in Dad's room.</dialogue> <character>LEE</character> <dialogue>Why? You want me to?</dialogue> <character>PATRICK</character> <dialogue>No. It's just a better room. And he's not usin' it...</dialogue> <character>LEE</character> <dialogue>I'll stay in there. We're not gonna be here that much longer anyway.</dialogue> <character>PATRICK</character> <dialogue>I'm not movin' to Boston, Uncle Lee.</dialogue> <character>LEE</character> <dialogue>I don't wanna talk about that right now. OK?</dialogue> <character>PATRICK</character> <dialogue>You said he left you money so you could move.</dialogue> <character>LEE</character> <dialogue>Yes. But that doesn't mean I can just --</dialogue> <character>PATRICK</character> <dialogue>Anyway, what's in Boston? You're a janitor.</dialogue> <character>LEE</character> <dialogue>So what?</dialogue> <character>PATRICK</character> <dialogue>You could do that anywhere. There's toilets and clogged-up drains all over town.</dialogue> <character>LEE</character> <dialogue>I don't wanna talk about it! You can't maintain it -- Lee has no answer.</dialogue> <character>PATRICK</character> <dialogue>All my friends are here. I'm on the hockey team. I'm on the basketball team. I gotta maintain our boat now. I work on George's boat two days a week. I got two girlfriends and I'm in a band. You're a janitor in Quincy. What the hell do you care where you live?</dialogue> </scene> <scene> <stage_direction>INT. JOE'S BEDROOM -- NIGHT.</stage_direction> <scene_description>Lee puts the last of his stuff away. He goes to the window. The wind whistles outside.</scene_description> <character>10-YEAR-OLD PATRICK (V.O.)</character> <dialogue>Goodbye Uncle Lee!</dialogue> <scene_description>FIVE YEARS AGO --</scene_description> </scene> <scene> <stage_direction>EXT. JOE'S HOUSE. DAY.</stage_direction> <scene_description>A few weeks after the girls' funeral. Joe waits by Lee's car, which is packed with a few boxes and a borrowed suitcase. Lee and 10-YEAR-OLD Patrick come out, carrying cardboard boxes. A moment later, Lee slams the trunk. Patrick is inside.</scene_description> <character>JOE</character> <dialogue>Where you gonna be tonight?</dialogue> <character>LEE</character> <dialogue>I don't know. A motel.</dialogue> <character>JOE</character> <dialogue>What time you gonna call me?</dialogue> <character>LEE</character> <dialogue>When I get to the motel.</dialogue> <character>JOE</character> <dialogue>If I don't hear from you by nine o'clock I'm gonna call the cops. You understand?</dialogue> <character>LEE</character> <dialogue>Yes. Yes.</dialogue> <character>JOE</character> <dialogue>Patty! Come say goodbye to Uncle Lee!</dialogue> <character>LEE</character> <dialogue>That's OK.</dialogue> <character>JOE</character> <dialogue>It is not OK. Patrick! Come say goodbye!</dialogue> <character>10-YEAR-OLD PATRICK (O.S.)</character> <dialogue>Comin'!</dialogue> <scene_description>They wait. Joe hugs Lee. Lee hugs him back woodenly. Then with more feeling. Then he breaks away and gets in the car.</scene_description> <character>LEE</character> <dialogue>I'm gonna see him...</dialogue> <scene_description>He starts the motor. Patrick comes running out of the house.</scene_description> <character>10-YEAR-OLD PATRICK</character> <parenthetical>(Exactly as before)</parenthetical> <dialogue>Goodbye Uncle Lee!</dialogue> <character>LEE</character> <dialogue>So long.</dialogue> <scene_description>He drives off. Joe and Patrick watch him drive away. PRESENT --</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN. NIGHT.</stage_direction> <scene_description>Patrick, in his sleeping gear, opens the refrigerator, looking for a snack. He opens the overcrowded freezer and some packages of frozen chicken breasts and chopped meat slide out at him. He tries to catch or block them, but most of them get past him and hit the floor.</scene_description> </scene> <scene> <stage_direction>INT. JOE'S ROOM. NIGHT -- SIMULTANEOUS.</stage_direction> <scene_description>At the window, Lee hears the clatter from downstairs.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN. NIGHT -- CONTINUOUS.</stage_direction> <scene_description>Patrick looks down at the frozen meat and starts to breathe hard. He starts to put them back in but starts to feel sick. He leans his head against the freezer door then backs away, wiping his eyes.</scene_description> <character>PATRICK</character> <dialogue>I don't want it. I don't want it.</dialogue> <scene_description>LEE comes in. Patrick can't get ahold of himself.</scene_description> <character>LEE</character> <dialogue>Patty --</dialogue> <character>PATRICK</character> <dialogue>Somethin's wrong with me.</dialogue> <character>LEE</character> <dialogue>What do you mean? Like what? PATRICK LEE</dialogue> <scene_description>I don't know! I feel really Are you sick? weird! I'm havin' like a panic attack or something.</scene_description> <character>LEE</character> <dialogue>What do you mean?</dialogue> <character>PATRICK</character> <dialogue>Could you get that shit outta the freezer? I feel really weird.</dialogue> <character>LEE</character> <dialogue>Get ridda what? The chicken? PATRICK LEE</dialogue> <scene_description>Yes. I don't know. Should I take you to the hospital? Do you want me to I don't know! No! call your friends? Patrick runs out of the kitchen.</scene_description> </scene> <scene> <stage_direction>INT. PATRICK'S ROOM. NIGHT.</stage_direction> <scene_description>Patrick comes in and slams the door. Pause. Lee KNOCKS O.C.</scene_description> <character>LEE (O.C.)</character> <dialogue>You gonna go to bed?</dialogue> <character>PATRICK</character> <dialogue>Leave me alone.</dialogue> <character>LEE (O.C.)</character> <dialogue>I don't think I should let you keep the door shut.</dialogue> <character>PATRICK</character> <dialogue>Just go away!</dialogue> <character>LEE (O.C.)</character> <dialogue>I will. Just open up the door.</dialogue> <character>PATRICK</character> <dialogue>Fuck you.</dialogue> <scene_description>LEE KICKS the DOOR IN. Patrick jumps up from his bed.</scene_description> <character>PATRICK</character> <dialogue>Jesus! What's your problem? No! No! No! No! I'm just freakin' out. Just go away! No we don't --!</dialogue> <character>LEE</character> <dialogue>I said open up the door. Are you havin' a breakdown? Should I take you to the hospital? Fine, but I can't let you freak out with the door shut. And if you're gonna freak out every time you see a frozen chicken I think maybe we should take you the hospital. I don't know anything about this.</dialogue> <character>PATRICK</character> <dialogue>-- I just don't like him bein' in the freezer!</dialogue> <character>LEE</character> <dialogue>You've expressed that very clearly. I don't like it either. But there's nothin' we can do about it.</dialogue> <character>PATRICK</character> <dialogue>Just get out!</dialogue> <character>LEE</character> <dialogue>No.</dialogue> <character>PATRICK</character> <dialogue>I'm all right, OK? I just wanna be alone.</dialogue> <character>LEE</character> <dialogue>I'm not gonna bother you. I'm just gonna sit here. You can be alone as soon as you calm down.</dialogue> <scene_description>Patrick turns his face toward the wall. Silence.</scene_description> <character>PATRICK</character> <dialogue>I'm calmer now. Would you please get out?</dialogue> <character>LEE</character> <dialogue>No.</dialogue> <scene_description>Patrick his face turned away. Lee sits there. FIVE YEARS AGO --</scene_description> </scene> <scene> <stage_direction>INT. QUINCY -- LEE'S BASEMENT APARTMENT. DAY.</stage_direction> <scene_description>The same basement studio we saw at the beginning, minus most of the furniture. LEE stands watching JOE inspect the room. His affect is flat, colorless. 10-YEAR-OLD PATRICK is looking through the window up to the street. People's feet walk by.</scene_description> <character>10-YEAR-OLD PATRICK</character> <dialogue>Cool!</dialogue> <character>JOE</character> <dialogue>How much are they payin' you?</dialogue> <character>LEE</character> <dialogue>Minimum wage plus the room.</dialogue> <character>JOE</character> <dialogue>Let's go get some furniture.</dialogue> <character>LEE</character> <dialogue>I got furniture.</dialogue> <character>JOE</character> <dialogue>No you don't. This doesn't count as furniture. This is not a room. Let's go get some furniture.</dialogue> <character>LEE</character> <dialogue>Get off my back.</dialogue> <character>JOE</character> <dialogue>Patty, come on. (To Lee) Let's go.</dialogue> </scene> <scene> <stage_direction>INT. BOSTON DEPARTMENT STORE. DAY.</stage_direction> <scene_description>Joe stands with Lee looking at an armchair. Patrick is spinning around in another one.</scene_description> <character>JOE</character> <dialogue>You like that one?</dialogue> <character>LEE</character> <dialogue>I love it.</dialogue> <character>JOE</character> <dialogue>Good. Now you got an armchair. Movin' right along. Let's go look at lamps.</dialogue> <character>10-YEAR-OLD PATRICK</character> <dialogue>Uncle Lee, try this one!</dialogue> <character>JOE</character> <dialogue>Patty! Cut the crap. Let's go get a lamp.</dialogue> <character>LEE</character> <dialogue>I got a lamp.</dialogue> <character>JOE</character> <dialogue>You got a light bulb. Let's go get a lamp. Patty, come on.</dialogue> </scene> <scene> <stage_direction>INT. LEE'S BASEMENT APARTMENT. NIGHT.</stage_direction> <scene_description>Joe finishes tearing the paper off the armchair. The studio now has almost all the same furniture as in the present. LEE stands watching. Patrick is playing a little computer game.</scene_description> <character>JOE</character> <dialogue>Better? Better.</dialogue> <scene_description>THE PRESENT --</scene_description> </scene> <scene> <stage_direction>INT. THE KITCHEN. DAY.</stage_direction> <scene_description>Lee and Patrick are at the breakfast table. Patrick is eating breakfast. Lee has coffee.</scene_description> <character>LEE</character> <dialogue>Listen. (Pause) We can stay until your school lets out. That'll give me time to set things up in Boston better. You can do some stuff with George in the summer if you want ...And you don't get jerked out of your life overnight.</dialogue> <character>PATRICK</character> <dialogue>Are you askin' me or tellin' me?</dialogue> <character>LEE</character> <dialogue>I'm tellin' you it's the best I can do.</dialogue> <character>PATRICK</character> <parenthetical>(On "you")</parenthetical> <dialogue>Then what the fuck do you care whether it's OK with me or not?</dialogue> <scene_description>Pause.</scene_description> <character>LEE</character> <dialogue>It's half an hour away! You can come back here any time you want!</dialogue> <character>PATRICK</character> <dialogue>From Quincy?</dialogue> <character>PATRICK</character> <dialogue>What is that, a joke? It's an hour and a half at least! You gotta include the other cars. You couldn't get from here to Quincy in half an hour if you flew in a fuckin' spaceship!</dialogue> <character>LEE</character> <dialogue>Yes! No! Depending on the traffic. Fifty minutes. But we don't have to stay there! We could look in Charlestown, or Everett --</dialogue> <character>LEE</character> <dialogue>OK, fuck it.</dialogue> </scene> <scene> <stage_direction>INT. LEE'S CAR/MANCHESTER ESSEX REGIONAL HIGH SCHOOL. DAY.</stage_direction> <scene_description>Lee and Patrick pull up in front of school.</scene_description> <character>PATRICK</character> <dialogue>I need lunch money.</dialogue> <scene_description>Lee reaches for his wallet. TWO GIRLS rap on the car window as they pass by on their way into the building.</scene_description> <character>1ST GIRL</character> <dialogue>Hi, Patrick! Hi, Patrick!</dialogue> <character>2ND GIRL</character> <dialogue>Hi, Patrick!</dialogue> <character>1ST GIRL</character> <dialogue>Hey Patrick -- !</dialogue> <scene_description>Patrick unrolls the window.</scene_description> <character>1ST GIRL</character> <dialogue>So are you goin' to Godspell?</dialogue> <character>PATRICK</character> <dialogue>I'm thinkin' about it.</dialogue> <character>1ST GIRL</character> <dialogue>OK, 'bye.</dialogue> <scene_description>They move on, giggling. Lee reaches for his wallet.</scene_description> <character>LEE</character> <dialogue>Are they your girlfriends too?</dialogue> <character>PATRICK</character> <dialogue>They wish.</dialogue> <character>LEE</character> <dialogue>Doesn't George pay you a salary for helpin' with his boat?</dialogue> <character>PATRICK</character> <dialogue>Yeah, but I'm savin' that.</dialogue> <character>LEE</character> <dialogue>For what?</dialogue> <character>PATRICK</character> <dialogue>New motor.</dialogue> <scene_description>Pause. He gives Patrick $20. Patrick gets out of the car.</scene_description> <character>LEE</character> <dialogue>You goin' to Godspell?</dialogue> </scene> <scene> <stage_direction>INT. JOE'S BEDROOM. DUSK.</stage_direction> <scene_description>Lee puts the THREE FRAMED PHOTOS on the dresser. He goes to the window and looks out. He BREAKS the WINDOW with his FIST. Blood wells out of his knuckles immediately. He hurries to the bathroom. The LAND LINE RINGS.</scene_description> <character>LEE (O.C.)</character> <dialogue>Come on...!</dialogue> <scene_description>He comes out, wrapping his hand in a towel. The blood soaks through quickly. He picks up the phone.</scene_description> <character>LEE</character> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>INT. ELISE'S HOUSE. DAY -- CONTINUOUS.</stage_direction> <scene_description>Elise, dressed neatly and primly, is on the phone.</scene_description> <character>ELISE</character> <parenthetical>(Over the phone)</parenthetical> <dialogue>Hello, is that Lee?</dialogue> <scene_description>WE CUT BETWEEN ELISE AND LEE. Lee freezes. He does not respond.</scene_description> <character>ELISE</character> <parenthetical>(Over the phone)</parenthetical> <dialogue>Hello? Lee? It's Elise. (Pause) Hello?</dialogue> <scene_description>LEE does not respond. Blood stains the towel on his hand.</scene_description> </scene> <scene> <stage_direction>INT. JOE'S HOUSE -- DINING ROOM. NIGHT.</stage_direction> <scene_description>Lee and Patrick sit across from each other at the dinner table, eating. Lee has a bandage on his hand.</scene_description> <character>PATRICK</character> <dialogue>What happened to your hand?</dialogue> <character>LEE</character> <dialogue>I cut it.</dialogue> <character>PATRICK</character> <dialogue>Oh. For a minute there I didn't know what happened.</dialogue> </scene> <scene> <stage_direction>INT. JOE'S ROOM. NIGHT.</stage_direction> <scene_description>Patrick comes into the room. Lee is VACUUMING up broken glass by the window. He has neatly taped a cardboard square over the broken pane. He sees Patrick and turns off the vacuum. He throws the last scraps of cardboard and tape into a heavy duty trash bag full of broken glass, cardboard, etc.</scene_description> <character>PATRICK</character> <dialogue>Is there some reason why you didn't tell me my mom tried to call me?</dialogue> <scene_description>Lee stops in his tracks.</scene_description> <character>PATRICK</character> <dialogue>She wrote me you hung up on her. She's in Essex. She wants me to see her new house and meet her fiancee. (Pause) What'd you think? She couldn't get in touch with me?</dialogue> <character>LEE</character> <dialogue>I hung up because I didn't know what to say to her. And I didn't tell you 'cause I didn't know what to say to you. I'm sorry.</dialogue> <character>PATRICK</character> <dialogue>You can't stop me talkin' to her.</dialogue> <character>LEE</character> <dialogue>I don't care what you do.</dialogue> <scene_description>He ties off the garbage bag and goes out. Patrick follows --</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY/STAIRS/LIVING ROOM/KITCHEN. CONTINUOUS.</stage_direction> <scene_description>They go down the hall, stairs, into the kitchen...</scene_description> <character>PATRICK</character> <dialogue>No, but you won't let my girlfriend come over and you hate my mother so much you won't even tell me that she called. You'd rather drag me back to Quincy and ruin my life than somebody else be my guardian --</dialogue> <character>LEE</character> <dialogue>There is nobody else.</dialogue> <character>PATRICK</character> <dialogue>I can live in Essex with my mom.</dialogue> <character>LEE</character> <dialogue>No you can't.</dialogue> <character>PATRICK</character> <dialogue>But if she's not an alcoholic anymore and she wants me to stay with her, then I can take the bus to my same school and keep all my friends, and the boat, and you can go back to Boston, and you can still -- I don't know: Like, check in on me, or whatever, if you want to...</dialogue> <character>LEE</character> <dialogue>I can't do that.</dialogue> <character>PATRICK</character> <dialogue>Why?</dialogue> <character>LEE</character> <dialogue>I'm sorry I hung up on her. I'll call her back, and if she sounds semi-human to me, you can go have lunch with her and her fiancee if you want. I don't wanna talk about this anymore.</dialogue> <scene_description>Lee goes out the back door with the garbage.</scene_description> </scene> <scene> <stage_direction>EXT. MARINA/WHARF. DAY.</stage_direction> <scene_description>Lee stands by as George and Patrick pull away in JOE'S BOAT. Patrick is driving.</scene_description> </scene> <scene> <stage_direction>INT. THE BOAT (MOVING). DAY.</stage_direction> <character>GEORGE</character> <dialogue>OK! Soon as we get clear, open it up and we'll see what we can do.</dialogue> <scene_description>OK!</scene_description> </scene> <scene> <stage_direction>EXT. MARINA/WHARF. DAY -- CONTINUOUS.</stage_direction> <scene_description>Lee watches them go and then turns and walks away.</scene_description> </scene> <scene> <stage_direction>INT. BOAT YARD -- FRONT OFFICE. DAY.</stage_direction> <scene_description>JERRY, 40s, is just coming into the front office as LEE comes thru the customer door. Jerry is immediately uncomfortable.</scene_description> <character>JERRY</character> <dialogue>Hey... Lee...! Well, what do you know?</dialogue> <character>LEE</character> <dialogue>How you doin', Jerry?</dialogue> <character>JERRY</character> <dialogue>Not bad, not too bad. I was sorry to hear about Joe.</dialogue> <character>LEE</character> <dialogue>Yeah. Thank you.</dialogue> <character>JERRY</character> <dialogue>How's Patrick doin'?</dialogue> <character>LEE</character> <dialogue>Good.</dialogue> <character>JERRY</character> <dialogue>Good. So what's goin' on?</dialogue> <character>LEE</character> <dialogue>...You know, I'm back and thinking about staying through the summer and was wondering if you had any work? If I could pick up some hours.</dialogue> <character>JERRY</character> <dialogue>You oughta -- Sure, sure. Walter is down in Boston. He should be back tomorrow if you want to come by or...Give him a call.</dialogue> </scene> <scene> <stage_direction>INT. BACK OFFICE -- SIMULTANEOUS.</stage_direction> <scene_description>SUE, 50s, is at a cluttered desk doing paperwork. She hears voices in the front. Stops what she's doing and listens. WE CUT BACK AND FORTH.</scene_description> <character>LEE</character> <dialogue>...Anyway, I'm just lookin' for anything right now -- Fixit jobs: Boats, engines, -- OK: I'll do that. No, I know. I just thought I'd ask.</dialogue> <character>JERRY</character> <dialogue>You oughta -- Sure, sure. You oughta come by tomorrow and talk to Walter...I doubt he's got anything in February -- Oh, absolutely.</dialogue> <character>LEE</character> <dialogue>Thanks Jerry.</dialogue> <character>JERRY</character> <dialogue>Good to see you.</dialogue> <scene_description>They shake hands. After Lee exits, SUE enters the FRONT OFFICE.</scene_description> <character>JERRY</character> <dialogue>Guess who just --</dialogue> <character>SUE</character> <dialogue>I don't wanna see him in here again.</dialogue> <scene_description>MINI-MONTAGE -- Lee goes into 1) COASTAL AUTOMOBILE REPAIR. 2) MILNE PLUMBING &amp; HEATING. 3) HAMMC PAINTING &amp; REMODELING. He talks to managers, fills out forms, walks in and out of doors...</scene_description> </scene> <scene> <stage_direction>EXT. GEORGE'S HOUSE. NIGHT.</stage_direction> <scene_description>Lee is picking Patrick up from George's house. GEORGE and JANINE and their five kids, ages 8-17, wave and shout goodbye.</scene_description> <character>GEORGE</character> <dialogue>So long...! Patty, I'll see you Wednesday? So long, Lee!</dialogue> <character>GEORGE'S KIDS</character> <dialogue>Goodbye, Patrick! See ya, Patrick! Bye, Patty! G'bye!</dialogue> <character>JANINE</character> <dialogue>So long...!</dialogue> <character>PATRICK</character> <dialogue>"Bye guys! Yeah, Wednesday! G'bye!</dialogue> </scene> <scene> <stage_direction>INT. LEE'S CAR (MOVING). NIGHT.</stage_direction> <scene_description>Lee and Patrick get in the car and start driving.</scene_description> <character>LEE</character> <dialogue>How's the motor?</dialogue> <character>PATRICK</character> <dialogue>George says the piston's gonna go right through the block any minute now.</dialogue> <character>LEE</character> <dialogue>Unfortunately that's a problem. We can't afford to keep the boat if we can't hire somebody to work it, and we can't get anyone to work it, if it's got a broken motor.</dialogue> <character>PATRICK</character> <dialogue>Let's take out a loan.</dialogue> <character>LEE</character> <dialogue>And pay it back with what?</dialogue> <character>PATRICK</character> <dialogue>We hire it out til we pay the loan back, obviously.</dialogue> <character>LEE</character> <dialogue>Unfortunately for you, I'm responsible for your finances until you're twenty-one, and I'm not comfortable takin' out enormous loans on your behalf right now.</dialogue> <character>PATRICK</character> <dialogue>I have band practice. Can you drive me home to get my stuff and then drive me to Sandy's house?</dialogue> <character>LEE</character> <dialogue>Why don't you sign up for driver's ed?</dialogue> <character>PATRICK</character> <dialogue>Because Dad made me promise not to drive til I was seventeen.</dialogue> <character>LEE</character> <dialogue>I'm not your chauffeur.</dialogue> <character>LEE</character> <dialogue>OK. Then we'll stick with that.</dialogue> </scene> <scene> <stage_direction>EXT. SANDY &amp; JILL'S HOUSE. NIGHT.</stage_direction> <scene_description>Lee's car idles in front of the house.</scene_description> <character>PATRICK</character> <dialogue>You wanna stay for dinner? I think Sandy's mother likes you.</dialogue> <character>LEE</character> <dialogue>No she doesn't.</dialogue> <character>PATRICK</character> <dialogue>Yes she does. This could be good for both of us.</dialogue> <character>LEE</character> <dialogue>I'd really rather not.</dialogue> <character>PATRICK</character> <dialogue>Well, can you at least hang out with her so I can be alone with Sandy for half an hour without her mother knockin' on the door every twenty seconds?</dialogue> <character>LEE</character> <dialogue>Come on, man.</dialogue> <character>PATRICK</character> <dialogue>All you gotta do is talk to her! Why can't you help me out a little bit for once instead of draggin' me to the lawyers and the funeral parlor and the morgue? Anyway she's really nice!</dialogue> <scene_description>OK.</scene_description> <character>PATRICK</character> <dialogue>Thank you.</dialogue> </scene> <scene> <stage_direction>INT. SANDY'S HOUSE -- BASEMENT. NIGHT.</stage_direction> <scene_description>Patrick is practicing with his band. Sandy on lead vocals, the guys singing backup.</scene_description> <character>SANDY</character> <dialogue>"Tell me why -- Why do you need me? Why do you want me? / Why do you love me?"</dialogue> <character>PATRICK</character> <dialogue>Stop. Stop.</dialogue> <scene_description>Everybody stops playing.</scene_description> <character>PATRICK</character> <dialogue>Otto, man --</dialogue> <character>OTTO</character> <dialogue>What? I'm too slow?</dialogue> <character>CJ</character> <dialogue>Too fast.</dialogue> <character>OTTO</character> <dialogue>I'm too fast?</dialogue> <character>JOEL</character> <dialogue>Dude, you're like pullin' outta the fuckin' station ahead of me.</dialogue> <character>SANDY</character> <dialogue>Oh my God, you guys! Leave him alone.</dialogue> <character>CJ</character> <dialogue>Are you serious about this band or what?</dialogue> <character>OTTO</character> <dialogue>Get off my back.</dialogue> <character>CJ</character> <dialogue>All right, everybody just chill here. Let's just go again.</dialogue> <scene_description>Everyone resets.</scene_description> <character>PATRICK</character> <parenthetical>(into microphone)</parenthetical> <dialogue>We are Stentorian.</dialogue> </scene> <scene> <stage_direction>INT. JILL'S LIVING ROOM. NIGHT.</stage_direction> <scene_description>Lee and Jill are alone in the living room. She has a glass of wine. He has a beer. Silence.</scene_description> <character>JILL</character> <dialogue>Patrick's one of my favorite people.</dialogue> <character>LEE</character> <dialogue>That's good.</dialogue> <scene_description>Silence. Jill twists around.</scene_description> <character>JILL</character> <parenthetical>(Calls up the stairs)</parenthetical> <dialogue>How's it goin' up there, you guys?</dialogue> <scene_description>Silence. Then there is some O.C. giggling and A DOOR OPENS.</scene_description> <character>SANDY</character> <dialogue>It's going fine! Thanks! But we're right in the middle of something!</dialogue> <character>PATRICK</character> <dialogue>Good! Really good! We're totally rippin' through those compound fractions!</dialogue> <scene_description>There is more laughing and the DOOR SHUTS O.C.</scene_description> <character>JILL</character> <dialogue>At least we know where they are, right?</dialogue> <character>LEE</character> <dialogue>That's true...</dialogue> </scene> <scene> <stage_direction>INT. SANDY'S ROOM. SIMULTANEOUS.</stage_direction> <scene_description>Sandy comes away from the door. They are in their underwear. Patrick discards an unused, unrolled condom and GETS UP to get another from his pants, across the darkened room.</scene_description> <character>PATRICK</character> <dialogue>Hold on a sec.</dialogue> <character>SANDY</character> <dialogue>How many of those you generally gotta go through before you pick a winner?</dialogue> <character>PATRICK</character> <dialogue>I'd like to see you use one of these goddamn things with all these interruptions -- Ow!</dialogue> <scene_description>He trips over something with a crash.</scene_description> <character>SANDY</character> <dialogue>What happened? Are you OK?</dialogue> <character>PATRICK</character> <dialogue>I tripped over your fuckin' doll house.</dialogue> <character>SANDY</character> <dialogue>Oh my God, did you break it?</dialogue> <character>PATRICK</character> <dialogue>I don't know. I'm fine though, by the way.</dialogue> <scene_description>Sandy snaps the light on.</scene_description> <character>SANDY</character> <dialogue>Oh my God. My grandmother gave me that when I was five years old. It was literally her doll house from when she was a little girl.</dialogue> <character>PATRICK</character> <dialogue>Well what's it doin' on the fuckin' floor?</dialogue> <character>SANDY</character> <dialogue>It's a doll house! That's where you play with it!</dialogue> <character>JILL (O.S.)</character> <dialogue>Sandy? What is going on up there?</dialogue> <character>SANDY</character> <dialogue>Nothing! Patrick stubbed his toe on Mummer's doll house, but it's OK!</dialogue> <character>JILL</character> <dialogue>Sandy, that doll house belonged to my mother!</dialogue> <character>SANDY</character> <dialogue>Yes I know, Mom! It was just an accident. Nobody's smashin' it to pieces! It's fine!</dialogue> <character>JILL</character> <dialogue>If you're gonna smash it to pieces I wish you'd let me keep it somewhere else!</dialogue> <character>PATRICK</character> <dialogue>Don't worry, Jill, I'm OK! My toe's gonna be OK!</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM. NIGHT -- CONTINUOUS.</stage_direction> <scene_description>Jill turns back to Lee, smiles and shrugs. Silence.</scene_description> <character>JILL</character> <dialogue>Could I get you another beer, Lee?</dialogue> <character>LEE</character> <dialogue>I'm good. Thanks.</dialogue> <scene_description>Jill sips her wine. Lee can't think of anything to say.</scene_description> <character>JILL</character> <dialogue>Would you excuse me, Lee, one sec?</dialogue> <character>LEE</character> <dialogue>Sure.</dialogue> </scene> <scene> <stage_direction>INT. SANDY'S ROOM. CONTINUOUS.</stage_direction> <scene_description>The only light comes from Sandy's laptop. They're on the bed.</scene_description> <character>SANDY</character> <dialogue>Is it on?</dialogue> <character>PATRICK</character> <dialogue>Yes. It's a miracle.</dialogue> <character>SANDY</character> <dialogue>OK. Hurry up.</dialogue> <scene_description>JILL KNOCKS. Patrick and Sandy leap away from each other.</scene_description> <character>JILL</character> <dialogue>Hey, Sandy? I'm sorry...!</dialogue> <character>SANDY</character> <dialogue>One second please! (To Patrick) Get outta my way!</dialogue> <character>PATRICK</character> <dialogue>Goddamn it!</dialogue> <dialogue>AT THE DOOR, A MOMENT LATER -- Jill is talking to SANDY through a crack in the door. Patrick is pretending to work at the laptop. Sandy and he have pulled on their clothes.</dialogue> <character>SANDY</character> <dialogue>What's up?</dialogue> <character>JILL</character> <dialogue>I'm really sorry, I know you're trying to work, but I can't sit down there much longer.</dialogue> <character>SANDY</character> <dialogue>Why? What's the problem?</dialogue> <character>JILL</character> <dialogue>He won't talk. I've been trying to make conversation for half an hour!</dialogue> <character>SANDY</character> <dialogue>Are you serious?</dialogue> <character>JILL</character> <dialogue>I realize I'm not the most fascinating person in the world, but it's very, very strained.</dialogue> <character>PATRICK</character> <dialogue>What's the matter? SANDY Mom...</dialogue> <character>SANDY</character> <dialogue>She can't make your Uncle speak.</dialogue> <character>PATRICK</character> <dialogue>He likes sports.</dialogue> <character>JILL</character> <dialogue>I'm sorry to bust things up, but how much longer do you think you're gonna be? I'm sorry...!</dialogue> <character>SANDY</character> <dialogue>Sports? PATRICK Can you talk about sports? Maybe there's a game on you could watch.</dialogue> <character>SANDY (TO PATRICK)</character> <dialogue>Shut up. (To Jill) Mummy, Please.</dialogue> </scene> <scene> <stage_direction>INT. LEE'S CAR (MOVING) NIGHT.</stage_direction> <scene_description>Lee drives Patrick home.</scene_description> <character>PATRICK</character> <dialogue>You were a tremendous help.</dialogue> <character>LEE</character> <dialogue>I didn't ask to sit down there.</dialogue> <character>PATRICK</character> <dialogue>You can't make small talk like every other grown up in the world?</dialogue> <character>PATRICK</character> <dialogue>You can't talk about boring bullshit for half an hour? "Hey, how about those interest rates?" Hey, I lost my Triple A card?" Like everybody else?</dialogue> <character>LEE</character> <dialogue>No. Nope. Sorry.</dialogue> <character>PATRICK</character> <dialogue>You're a fuckin' asshole.</dialogue> </scene> <scene> <stage_direction>INT. PATRICK'S ROOM. NIGHT.</stage_direction> <scene_description>Patrick is having trouble sleeping.</scene_description> </scene> <scene> <stage_direction>EXT/INT. LEE'S CAR (MOVING). DAY.</stage_direction> <scene_description>Lee is driving Patrick along the road to Essex.</scene_description> <character>LEE</character> <dialogue>Where did she say she lives? Because there are like no houses here. None. Does she live in a fuckin' sleeping bag?</dialogue> <character>PATRICK</character> <dialogue>119 Pigeon Hill Street.</dialogue> <character>LEE</character> <dialogue>Pigeon Hill Street? Or Pigeon Hill Road? Pigeon Hill Court?</dialogue> <character>PATRICK</character> <dialogue>Pigeon Hill Street. Street! This is Pigeon Hill Road.</dialogue> <character>PATRICK</character> <dialogue>You have no GPS whatsoever?</dialogue> <character>LEE</character> <dialogue>No, I've got a little fuckin' cartoon moving map.</dialogue> <character>PATRICK</character> <dialogue>Do you want me to punch it in for you?</dialogue> <character>LEE</character> <dialogue>No, I don't. I've got it. Thank you. (Pause) Okay, listen. Are you nervous?</dialogue> <character>PATRICK</character> <dialogue>Yeah I'm nervous.</dialogue> <character>PATRICK</character> <dialogue>What are you, a fuckin' genius?</dialogue> <character>LEE</character> <dialogue>Because -- Skip it.</dialogue> <character>LEE</character> <dialogue>Just...If anything gets weird, just text me, and I'll come and get you.</dialogue> <character>PATRICK</character> <dialogue>OK. (Pause) Thank you.</dialogue> </scene> <scene> <stage_direction>EXT. ELISE'S HOUSE. DAY.</stage_direction> <scene_description>They pull up to a small neatly kept house and get out. ELISE opens the front door. She looks starched and brittle.</scene_description> <character>ELISE</character> <dialogue>Oh my gosh. Is that my Patrick?</dialogue> <character>PATRICK</character> <dialogue>Hi Mom.</dialogue> <character>ELISE</character> <dialogue>I'm so happy...! (To Lee) Welcome to my home.</dialogue> </scene> <scene> <stage_direction>INT. ELISE'S HOUSE. CONTINUOUS.</stage_direction> <scene_description>JEFFREY stands waiting as Elise ushers them in. He is in his late 40s, slight, well groomed and dressed in conservative weekend wear. Slacks, loafers, a light-weight sweater. LEE glances around the very tidy house. There is a framed pastel of Jesus on the wall.</scene_description> <character>ELISE</character> <dialogue>Patrick. This is my fella. Jeffrey, this is Patrick...</dialogue> <character>JEFFREY</character> <parenthetical>(Shaking hands)</parenthetical> <dialogue>Great to finally meet you, Patrick.</dialogue> <character>PATRICK</character> <dialogue>Nice to meet you.</dialogue> <character>ELISE</character> <dialogue>And this is Lee...</dialogue> <character>JEFFREY</character> <parenthetical>(Shaking hands.)</parenthetical> <dialogue>Hey, welcome. Jeffrey.</dialogue> <character>LEE</character> <dialogue>Thanks. Lee.</dialogue> <character>ELISE</character> <dialogue>Now, Lee, are you sure you won't stay for lunch?</dialogue> <character>LEE</character> <dialogue>I'm positive.</dialogue> </scene> <scene> <stage_direction>INT. ELISE'S DINING NOOK. DAY.</stage_direction> <scene_description>Patrick is at the table. Jeffrey and Elise bring in lunch.</scene_description> <character>PATRICK</character> <dialogue>Oh -- Can I help with anything?</dialogue> <character>ELISE</character> <dialogue>No thanks, honey.</dialogue> <character>JEFFREY</character> <dialogue>Your job is to relax. OK? That is your A-Number One assignment.</dialogue> <character>PATRICK</character> <dialogue>OK. I'm gonna really apply myself.</dialogue> <character>JEFFREY</character> <dialogue>No -- I was just joking.</dialogue> <character>PATRICK</character> <dialogue>I know you were. So was I.</dialogue> <scene_description>Elise comes in from the kitchen and sits down.</scene_description> <character>ELISE</character> <dialogue>How we gettin' along?</dialogue> <character>JEFFREY</character> <dialogue>Great.</dialogue> <character>PATRICK</character> <dialogue>Great.</dialogue> <character>ELISE</character> <dialogue>You don't have to be so polite, you know!</dialogue> <character>PATRICK</character> <dialogue>Oh -- I'm not bein' polite...</dialogue> <character>ELISE</character> <dialogue>Did you wanna wash your hands before we eat?</dialogue> <character>PATRICK</character> <dialogue>Um -- Yeah.</dialogue> </scene> <scene> <stage_direction>INT. ELISE'S DINING ROOM. DAY.</stage_direction> <scene_description>Everyone is seated. Jeffrey is saying grace.</scene_description> <character>JEFFREY</character> <dialogue>For what we are about to receive let us give thanks. Amen.</dialogue> <character>ELISE</character> <dialogue>Amen.</dialogue> <character>PATRICK</character> <dialogue>Amen</dialogue> <scene_description>They start passing around the lunch.</scene_description> <character>ELISE</character> <dialogue>It's OK to say Amen, Patrick...! Nobody's tryin' to recruit you!</dialogue> <character>PATRICK</character> <dialogue>I did say Amen.</dialogue> <character>ELISE</character> <dialogue>You did? OK. You don't have to...</dialogue> <character>PATRICK</character> <dialogue>I know. I just said it really quietly.</dialogue> <character>ELISE</character> <dialogue>Honey, it's fine. I know -- I'm gonna be a shock to you. In a lotta ways. Hopin' it's a good shock...</dialogue> <character>PATRICK</character> <dialogue>Yeah...</dialogue> <character>JEFFREY</character> <dialogue>What can I get you, Patrick?</dialogue> <character>ELISE</character> <dialogue>I hope everything's OK...(e.g. the lunch.)</dialogue> <character>PATRICK</character> <dialogue>Oh yeah, it looks great. Thank you.</dialogue> <character>ELISE</character> <dialogue>You don't have to be so formal...!</dialogue> <character>PATRICK</character> <dialogue>I'm not.</dialogue> <character>JEFFREY</character> <dialogue>I think Elise's just --</dialogue> <character>ELISE</character> <dialogue>I know...! I'm just sayin', this is your home too! I want it to be... It's different from what you're</dialogue> <scene_description>PATRICK used to, but...And...I don't That's OK... know...!</scene_description> <character>JEFFREY</character> <dialogue>What are you studying in school, Patrick?</dialogue> <character>PATRICK</character> <dialogue>Oh...well...The usual stuff...</dialogue> <character>ELISE</character> <dialogue>You know what? I'm gonna be right back. Anybody need anything from the kitchen?</dialogue> <character>JEFFREY</character> <dialogue>I think we're good. No.</dialogue> <character>PATRICK</character> <dialogue>No, thanks. Thank you.</dialogue> <scene_description>Elise gets up and goes into the kitchen.</scene_description> <character>JEFFREY</character> <dialogue>Did you get some string beans?</dialogue> <character>PATRICK</character> <dialogue>Oh -- not yet. Thank you.</dialogue> <character>JEFFREY</character> <dialogue>OK. (Pause) Lemme just see what she's doin' in there.</dialogue> <scene_description>He goes into the kitchen. Patrick eats.</scene_description> </scene> <scene> <stage_direction>INT. LEE'S CAR (MOVING) DUSK.</stage_direction> <scene_description>Lee is driving Patrick home. He glances at Patrick. Patrick is very glum and unhappy.</scene_description> <character>LEE</character> <dialogue>So what was she like?</dialogue> <character>PATRICK</character> <dialogue>I don't know: She was pretty nervous.</dialogue> <character>LEE</character> <dialogue>What was the guy like?</dialogue> <character>PATRICK</character> <dialogue>He was very Christian.</dialogue> <character>LEE</character> <dialogue>You know we're Christian too, right? You are aware that Catholics are Christians? They drive in gloomy silence.</dialogue> <character>PATRICK</character> <dialogue>Yes, I know that. Yes I am aware of that.</dialogue> <character>LEE</character> <dialogue>Well...it sounds like she's doin' better anyway. She's not drinkin'. She's not in the psych ward.</dialogue> <character>PATRICK</character> <dialogue>Wow.</dialogue> <character>LEE</character> <dialogue>Wow what?</dialogue> <character>PATRICK</character> <dialogue>You'll do anything to get ridda me!</dialogue> <character>LEE</character> <dialogue>What?</dialogue> <character>PATRICK</character> <dialogue>You heard me.</dialogue> <character>LEE</character> <dialogue>That's not true.</dialogue> <scene_description>Patrick shrugs and starts texting on his iPhone.</scene_description> </scene> <scene> <stage_direction>INT. PATRICK'S ROOM. NIGHT.</stage_direction> <scene_description>Patrick sits at his laptop, wet from the shower. He opens an email from JEFFGARNDER7@YAHOO.COM. We see the first few lines and hear JEFFREY'S VOICE at the same time.</scene_description> <character>JEFFREY V.O.</character> <dialogue>"Dear Patrick, I'm writing on to thank you for today. Your visit meant the world to your mom. We are both deeply grateful for the love and trust you've shown by offering to rejoin her life.</dialogue> <character>JEFFREY V.O.</character> <dialogue>But I feel it would be unfair to your mom to rush her along the long and challenging road ahead, and so I'm going to ask you to write to me in future to arrange any further visits. I hope you won't find this to be --"</dialogue> <scene_description>ON PATRICK as he reads on. He DELETES the MESSAGE.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM. NIGHT.</stage_direction> <scene_description>Patrick is watching an action movie on TV. Lee drifts in.</scene_description> <character>LEE</character> <dialogue>Where's your friends tonight?</dialogue> <character>PATRICK</character> <dialogue>I don't know.</dialogue> <character>LEE</character> <dialogue>Why don't you call that girl Sandy and see if she'll come over?</dialogue> <character>PATRICK</character> <dialogue>No thanks. Nice try, though.</dialogue> <scene_description>Pause. Lee walks away and goes into --</scene_description> </scene> <scene> <stage_direction>INT. JOE'S DEN. NIGHT.</stage_direction> <scene_description>Lee turns on the light. He walks over to the fancy GUN CASE. It's got several expensive rifles mounted, and some HANDGUNS. Lee gets the key from on top of the case and opens it. He takes out a HANDGUN. Realizes that PATRICK is in the doorway.</scene_description> <character>PATRICK</character> <dialogue>Who are you gonna shoot? You or me?</dialogue> <character>LEE</character> <dialogue>Do you know how much these guns are worth?</dialogue> <character>PATRICK</character> <dialogue>A lot, I think.</dialogue> <character>LEE</character> <dialogue>Want to try to sell them and put the money toward a new second hand motor for the boat?</dialogue> <character>PATRICK</character> <dialogue>That's a really good idea.</dialogue> </scene> <scene> <stage_direction>EXT. GUN SHOP. DAY.</stage_direction> <scene_description>Through the window we see Lee and Patrick talking to the GUN SHOP OWNER. Joe's guns are laid out on the counter on a felt cloth. The owner is counting out bills for them.</scene_description> </scene> <scene> <stage_direction>EXT. MARINA -- BOAT YARD. DAY.</stage_direction> <scene_description>LEE, GEORGE and PATRICK are connecting up the new secondhand MOTOR to Joe's boat.</scene_description> <character>PATRICK</character> <dialogue>This is awesome.</dialogue> </scene> <scene> <stage_direction>EXT. JOE'S BOAT (MOVING) -- AT SEA. DAY.</stage_direction> <scene_description>A beautiful day at sea. Patrick is driving the boat, fast. SANDY is next to him. LEE is in the back, taking in the air.</scene_description> <character>SANDY</character> <dialogue>This is awesome!</dialogue> <character>PATRICK</character> <dialogue>You wanna drive?</dialogue> <character>SANDY</character> <dialogue>Sure!</dialogue> <character>PATRICK</character> <dialogue>OK -- So --</dialogue> <scene_description>The BOAT SWERVES WILDLY as Sandy takes the wheel.</scene_description> <character>PATRICK</character> <dialogue>Yeah -- Don't -- Just straighten her out -- OK.</dialogue> <character>SANDY</character> <dialogue>(Screams) Oh my God! Sorry!</dialogue> <scene_description>She straightens the wheel and speeds up again.</scene_description> </scene> <scene> <stage_direction>EXT. JOE'S DRIVEWAY. DAY.</stage_direction> <scene_description>Lee drives Sandy and Patrick into the driveway and stops. Sandy and Patrick get out of the car.</scene_description> <character>LEE</character> <dialogue>I gotta run some chores. I'll be back in a couple hours. You want anything?</dialogue> <character>PATRICK</character> <dialogue>No thank you. Lee drives away.</dialogue> <character>SANDY</character> <dialogue>No thanks Mr. Chandler.</dialogue> <character>SANDY</character> <dialogue>Setup city.</dialogue> <character>PATRICK</character> <dialogue>What are you talking about?</dialogue> <character>SANDY</character> <dialogue>Oh yeah? How's Silvie McGann?</dialogue> <character>PATRICK</character> <dialogue>Who?!</dialogue> <character>SANDY</character> <dialogue>Open the door.</dialogue> </scene> <scene> <stage_direction>INT. PATRICK'S BEDROOM. DAY.</stage_direction> <scene_description>SANDY AND PATRICK lie on the bed, her dozing head on his chest. He's very happy.</scene_description> </scene> <scene> <stage_direction>EXT. WATERFRONT STREET. DAY.</stage_direction> <scene_description>Lee is walking toward his car. He slows because he sees RANDI pushing a stroller his way, with a newborn BABY in it. The baby is almost invisible inside his winter parka. Randi is accompanied by a friend, RACHEL, 40s.</scene_description> <character>RANDI</character> <dialogue>Lee...! Hi.</dialogue> <character>LEE</character> <dialogue>Hi.</dialogue> <character>RANDI</character> <dialogue>Um -- Rachel. This is Lee. Lee, Rachel.</dialogue> <character>LEE</character> <dialogue>Hi.</dialogue> <character>RACHEL</character> <dialogue>Hello.</dialogue> <character>RANDI</character> <parenthetical>(Re: the baby)</parenthetical> <dialogue>And this is Dylan. You can't see him too good.</dialogue> <character>LEE</character> <dialogue>Hey Dylan. Very handsome.</dialogue> <character>RACHEL</character> <dialogue>Randi, you want me to get the car and pick you up?</dialogue> <character>RANDI</character> <dialogue>Oh, sure --</dialogue> <character>LEE</character> <dialogue>That's OK. I gotta --</dialogue> <character>RANDI</character> <dialogue>Well, could I -- I'd -- Could we talk a second?</dialogue> <character>LEE</character> <dialogue>Sure.</dialogue> <character>RACHEL</character> <dialogue>I'll just pull around -- Just be like two minutes.</dialogue> <character>RANDI</character> <dialogue>OK, thanks.</dialogue> <character>RACHEL</character> <dialogue>Nice to meet you.</dialogue> <character>LEE</character> <dialogue>You too.</dialogue> <character>RACHEL</character> <dialogue>Be right back.</dialogue> <scene_description>Rachel hurries off and turns a corner.</scene_description> <character>RANDI</character> <dialogue>I don't have anything big to say:</dialogue> <character>RANDI</character> <dialogue>I just -- I know you been around -- And I thought -- we never -- Yeah I know. He seems like he's doin' pretty well, considering. I mean...</dialogue> <character>LEE</character> <dialogue>That's OK. Yeah, I just been gettin' Patrick settled in. I think he is...Yeah...</dialogue> <character>RANDI</character> <dialogue>I guess you probably didn't know I really kept in touch with Joe --</dialogue> <character>RANDI</character> <dialogue>So it's been kinda weird for me, not seeing Patrick since he passed away -- Oh, OK. I didn't know.</dialogue> <character>LEE</character> <dialogue>No, I knew that --</dialogue> <character>LEE</character> <dialogue>Well you can see him. I have no --</dialogue> <character>RANDI</character> <dialogue>Could we ever have lunch?</dialogue> <character>LEE</character> <dialogue>You mean us? You and me?</dialogue> <character>RANDI</character> <dialogue>Yeah. I, uh...Because...I said a lotta terrible things to you. But -- I know you never -- Maybe you don't wanna talk to me --</dialogue> <character>LEE</character> <dialogue>It's not that.</dialogue> <character>RANDI</character> <dialogue>But let me finish. However it -- my heart was broken. It's always gonna be broken. I know your heart is broken too. But I don't have to carry...I said things that I should -- I should fuckin' burn in hell for what I said. It was just --</dialogue> <character>LEE</character> <dialogue>No, no...</dialogue> <character>RANDI</character> <dialogue>I'm just sorry. I love you. Maybe I shouldn't say that. And I'm sorry --</dialogue> <character>LEE</character> <dialogue>I can't -- You can say it, but -- No, it's just --I -- I can't -- I gotta go.</dialogue> <character>RANDI</character> <dialogue>We couldn't have lunch?</dialogue> <character>LEE</character> <dialogue>I'm really sorry. I don't think so.</dialogue> <character>RANDI</character> <dialogue>You can't just die...! But honey, I see you walkin' around like this and I just wanna tell you -- But Lee, you gotta -- I don't know what! I don't wanna torture you. I just wanna tell you I was wrong. That's not true! Can't be true...!</dialogue> <character>LEE</character> <dialogue>Thank you for sayin' everything --I'm not! But I can't -- I'm happy for you. And I want...I would want to talk to you -- But I can't, I can't... I'm tryin' to -- You're not. But I got nothin' to -- Thank you for sayin' that. But -- There's nothin' there ...You don't understand...</dialogue> <character>RANDI</character> <dialogue>Of course I do!</dialogue> <character>LEE</character> <dialogue>I know you understand...But I've gotta go -- I'm sorry.</dialogue> <character>RANDI</character> <dialogue>OK. I'm sorry. He moves away. Randi breaks down.</dialogue> <character>LEE</character> <dialogue>There's nothin' I can s -- I gotta go.</dialogue> </scene> <scene> <stage_direction>INT. WATERFRONT BAR &amp; GRILLE. DAY.</stage_direction> <scene_description>CU LEE, very drunk. He is at the counter of a busy local place full of fishermen eating and drinking their lunch. A new bunch of guys comes in loudly and boisterously. One of them accidentally clips Lee as the group passes by.</scene_description> <character>FISHERMAN</character> <dialogue>Pardon me.</dialogue> <character>LEE</character> <dialogue>It's all right.</dialogue> <scene_description>Lee whirls around and sucker punches the Fisherman. He goes down hard. His friends immediately grab at Lee en masse.</scene_description> <character>FISHERMEN</character> <dialogue>Hey! Hey! What're you doin'? Etc.</dialogue> <scene_description>Lee is pushed into some tables -- The whole place is in an uproar -- He is jumped by several guys. He keeps fighting crazily. Someone tries to pin his arms to stop the fight. Everyone is shouting. GEORGE appears. He uses his size to shove the other guys away from Lee.</scene_description> <character>GEORGE</character> <dialogue>Break it up! Break it up! It's Lee Chandler. Lee! Let him go, Eddy. He's Joey Chandler's brother. Let him go! Lee. Lee! It's George. Lee. Come on -- (To the guys who beat Lee up) You won. OK? You won the fight.</dialogue> <scene_description>Lee shoves George away and swings at the nearest man. Everybody pounces on him again. Someone hits Lee squarely and knocks him down. Now George is fighting everybody. Chaos. OK, OK, OK!</scene_description> </scene> <scene> <stage_direction>INT. GEORGE'S LIVING ROOM. DAY.</stage_direction> <scene_description>Lee is dazed, lying on the sofa in George's cramped living room. George watches anxiously as George's wife Janine finishes washing and bandaging Lee's banged up face. George is a little banged up too.</scene_description> <character>JANINE</character> <dialogue>...Should we take him to the hospital?</dialogue> <character>GEORGE</character> <dialogue>I don't think so. Nothin's broken.</dialogue> <character>JANINE</character> <dialogue>...What the hell did they hit him with, a fuckin' baseball bat?</dialogue> <character>GEORGE</character> <dialogue>They all just said he started swingin'.</dialogue> <scene_description>Lee wakes up.</scene_description> <character>LEE</character> <dialogue>Where's Patrick?</dialogue> <character>GEORGE</character> <dialogue>He's with the kids. I sent 'em out for burgers.</dialogue> <character>LEE</character> <dialogue>Lemme give you some money.</dialogue> <scene_description>Lee sits up painfully and reaches for his wallet.</scene_description> <character>GEORGE</character> <dialogue>Lee. Please. It's my treat.</dialogue> <scene_description>Lee stands up and fumbles for his wallet and drops it on the floor. George picks it up and gives it to him.</scene_description> <character>GEORGE</character> <dialogue>Would you sit down please, for Christ's sake?</dialogue> <scene_description>OK. Lee sits down and breaks into tears.</scene_description> <character>GEORGE</character> <dialogue>Come on, buddy.</dialogue> <scene_description>George looks uncomfortable. He looks up toward the kitchen. Janine comes back in with coffee and sits next to Lee.</scene_description> <character>LEE</character> <dialogue>I'm sorry...</dialogue> <character>GEORGE</character> <dialogue>That's OK, buddy. It's OK...</dialogue> <character>JANINE</character> <dialogue>Lee? Have some coffee. Come on. Drink this...</dialogue> <scene_description>Lee takes the coffee and keeps crying. George and Janine exchange a look.</scene_description> </scene> <scene> <stage_direction>INT. JOE'S HOUSE -- KITCHEN. NIGHT.</stage_direction> <scene_description>Patrick comes in, followed by Lee. Lee moves slowly past him into the living room.</scene_description> </scene> <scene> <stage_direction>INT. JOE'S ROOM. NIGHT.</stage_direction> <scene_description>Patrick walks in and takes a long look at Lee's THREE FRAMED PHOTOS.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM. NIGHT.</stage_direction> <scene_description>Lee lies on the sofa nursing a beer, his face swollen and cut. Patrick comes in from the kitchen and hovers.</scene_description> <character>PATRICK</character> <dialogue>Can I get you anything, Uncle Lee?</dialogue> <character>LEE</character> <dialogue>No thanks, buddy.</dialogue> <character>PATRICK</character> <dialogue>OK. I'm goin' to bed.</dialogue> <character>LEE</character> <dialogue>Good night.</dialogue> </scene> <scene> <stage_direction>EXT. JOE'S HOUSE -- DAY.</stage_direction> <scene_description>The sun shines over the house, the town, and the water.</scene_description> </scene> <scene> <stage_direction>INT. JOE'S HOUSE -- KITCHEN. DAY.</stage_direction> <scene_description>Lee puts some spaghetti sauce in a skillet and turns the flame on.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM. DAY.</stage_direction> <scene_description>Lee is asleep on the sofa with a beer while the TV plays...A LITTLE HAND tugs at his SLEEVE.</scene_description> <character>SUZY (O.C.)</character> <dialogue>Daddy?</dialogue> <scene_description>He turns his head and sees without surprise his DAUGHTERS seated next to him in their nightgowns. The BABY is in a playpen on the floor. SUZY, 7, is pulling his sleeve. Lee smiles at them.</scene_description> <character>LEE</character> <dialogue>Yes, honey?</dialogue> <character>SUZY</character> <dialogue>Can't you see we're burning?</dialogue> <character>LEE</character> <dialogue>No, honey...You're not burning.</dialogue> <scene_description>LEE WAKES UP -- There's SMOKE coming from the KITCHEN.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN. DAY.</stage_direction> <scene_description>The blackened skillet is SMOKING. Lee comes in and puts it under the water in the sink. It hisses and steams.</scene_description> <character>PATRICK (O.S.)</character> <dialogue>Uncle Lee! What the hell's that smell?</dialogue> <character>LEE</character> <dialogue>I just burnt the sauce! Everything's OK!</dialogue> <scene_description>He grips the sink and tries to recover from his dream.</scene_description> </scene> <scene> <stage_direction>INT. LEE'S CAR (MOVING) NIGHT.</stage_direction> <scene_description>Lee drives up George and Janine's street.</scene_description> </scene> <scene> <stage_direction>INT. GEORGE'S HOUSE. DAY.</stage_direction> <scene_description>PUSH IN: (MOS) LEE is seated at the dining table talking seriously with GEORGE and JANINE. It has the air of a conference.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM. NIGHT.</stage_direction> <scene_description>Lee and Patrick eat dinner.</scene_description> <character>LEE</character> <dialogue>I got a job in Boston. It starts in July.</dialogue> <character>PATRICK</character> <dialogue>What is it?</dialogue> <character>LEE</character> <dialogue>Custodian, handyman...But just two buildings this time.</dialogue> <character>PATRICK</character> <dialogue>And what delightful Boston neighborhood have you selected for us to live in?</dialogue> <character>LEE</character> <dialogue>None.</dialogue> <character>PATRICK</character> <dialogue>What do you mean?</dialogue> <character>LEE</character> <dialogue>You don't have to move to Boston. I'm gonna be in Charlestown and George is gonna take you.</dialogue> <character>PATRICK</character> <dialogue>What?</dialogue> <character>LEE</character> <dialogue>Yeah. I talked to them last week. I explained the situation to them. Georgie Junior's goin' to school this fall. Jimmy graduates next year. We'll have to rent out this house. You can move back in when you turn eighteen. When you turn twenty-one, you're allowed to sell it or stay in it, or whatever you want. Definitely have to hire the boat out when the summer's over -- just like we talked about. I thought when you get your license, we can figure that one out as we go. I'm still the trustee, but all the financial stuff Joe set up for me is gonna get transferred over to George.</dialogue> <character>LEE</character> <dialogue>So everything'll be the same, except you don't have to move.</dialogue> <character>PATRICK</character> <dialogue>But...like, are they gonna be my guardians? Or do you still --</dialogue> <character>LEE</character> <dialogue>They're gonna adopt you. (Pause) Anyway, that's how I set it up. If you want. It's up to you.</dialogue> <character>PATRICK</character> <dialogue>So are you gonna just disappear?</dialogue> <character>LEE</character> <dialogue>You don't have to do it. No. No. I just set it up so you can stay here. They're really glad to have you. They love you.</dialogue> <character>PATRICK</character> <dialogue>I know. I mean, they're great...But why can't you stay?</dialogue> <scene_description>Patty starts crying.</scene_description> <character>LEE</character> <dialogue>Come on, Patty...I can't beat it. (Pause) I can't beat it. I'm sorry.</dialogue> <scene_description>Patrick wipes his eyes. Lee comes over and hugs him.</scene_description> </scene> <scene> <stage_direction>EXT. MANCHESTER STREET/ROSEDALE CEMETERY. DAY.</stage_direction> <scene_description>Patrick walks along the street. The TREES he passes have BUDS or BLOSSOMS. It's early SPRING. He snaps a dead branch off a tree. He runs it across a fence as he walks. We REVEAL that he is headed for the cemetery gate. He goes into the cemetery. He pokes his stick into the ground to see if it's softened up. It has. He digs up some clods. He walks away.</scene_description> </scene> <scene> <stage_direction>EXT. AN OLD MANCHESTER HOUSE. DAY.</stage_direction> <scene_description>A MILNE PLUMBING &amp; HEATING VAN is parked in the driveway.</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT. DAY.</stage_direction> <scene_description>Lee is kneeling on the floor in coveralls, working on the hot- water heater. The HOMEOWNER, in his 80s, stands by watching.</scene_description> <character>HOMEOWNER</character> <dialogue>What do you think?</dialogue> <character>LEE</character> <dialogue>I think you're gonna be OK.</dialogue> <character>HOMEOWNER</character> <dialogue>Are you one of Stan Chandler's boys?</dialogue> <character>LEE</character> <dialogue>Yeah, I'm Lee.</dialogue> <character>HOMEOWNER</character> <dialogue>I used to play a little chess with your father a long time ago. He was a heck of a chess player.</dialogue> <character>LEE</character> <dialogue>That's him.</dialogue> <character>HOMEOWNER</character> <dialogue>He's not still living, is he?</dialogue> <character>LEE</character> <dialogue>No.</dialogue> <character>HOMEOWNER</character> <dialogue>And one of the sons passed away recently I heard.</dialogue> <character>LEE</character> <dialogue>Yeah. Joe. My brother.</dialogue> <character>HOMEOWNER</character> <dialogue>That's right. Very personable man.</dialogue> <character>LEE</character> <dialogue>Yeah.</dialogue> <character>HOMEOWNER</character> <dialogue>My father passed away in 1959. A young man. Worked on a tuna boat. Went out one morning, little bit of weather, nothing dramatic...And he never returned. No signal. No Mayday. No one ever knew what happened.</dialogue> <scene_description>Lee continues to work on the heater.</scene_description> </scene> <scene> <stage_direction>EXT. LAWYER'S OFFICE WINDOW. DAY.</stage_direction> <scene_description>Past the BLOSSOMS on the tree outside Wes' window, we see GEORGE, LEE and WES, signing documents.</scene_description> </scene> <scene> <stage_direction>EXT. JOE'S HOUSE. DAY.</stage_direction> <scene_description>There is a "FOR RENT BY OWNER" SIGN outside the house. Lee's car is in the yard. Also Patrick's bicycle.</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY. DAY.</stage_direction> <scene_description>(MOS) Joe's burial service. PATRICK, LEE, GEORGE and JANINE all stand in a row at the front. RANDI holds a CRYING BABY. She gives him to JOSH, who steps away. CU: CHANDLER TOMBSTONE. Engraved are the names of Lee's parents and now Joe.</scene_description> </scene> <scene> <stage_direction>EXT. WIDE SHOT OF THE TOWN. DAY.</stage_direction> <scene_description>A beautiful early spring day. Lots of boats in the water.</scene_description> </scene> <scene> <stage_direction>EXT. MANCHESTER STREET -- CORNER GROCERY STORE. DAY.</stage_direction> <scene_description>Lee and Patrick walk up the street, still in their funeral clothes.</scene_description> <character>PATRICK</character> <dialogue>I'm gonna get some ice cream.</dialogue> <character>LEE</character> <dialogue>Go ahead.</dialogue> <character>PATRICK</character> <dialogue>Can I have some money?</dialogue> <character>LEE</character> <dialogue>Yeah.</dialogue> <scene_description>Lee gives him a ten-dollar bill. Patrick goes inside. Lee picks up an old rubber ball from the ground and bounces it up and down. Patrick comes out with an ice cream bar.</scene_description> </scene> <scene> <stage_direction>EXT. MANCHESTER STREET. DAY.</stage_direction> <scene_description>Lee and Patrick trudge up a steeply inclined street. Lee occasionally bounces the ball.</scene_description> <character>PATRICK</character> <dialogue>So...When am I supposed to move in with Georgie?</dialogue> <character>LEE</character> <dialogue>July. I don't even have a place to live yet.</dialogue> <character>PATRICK</character> <dialogue>Don't they give you an apartment?</dialogue> <character>LEE</character> <dialogue>Yeah, but I was gonna try to get a place with an extra room. Or room for like a pullout sofa.</dialogue> <character>PATRICK</character> <dialogue>What for?</dialogue> <character>LEE</character> <dialogue>In case you wanna visit sometime. Or if you're lookin' at colleges in Boston or somethin' and you wanna stay overnight...</dialogue> <character>PATRICK</character> <dialogue>I'm not goin' to college.</dialogue> <character>LEE</character> <dialogue>All right, well then I'll have an extra room for all my shit. Do we have to talk about this now?</dialogue> <character>PATRICK</character> <dialogue>Nope.</dialogue> <scene_description>He tosses away his ice cream stick. After a minute Lee wipes his eyes. He bounces the ball and tosses it to Patrick. It goes wide and bounces crazily.</scene_description> <character>PATRICK</character> <dialogue>Great throw.</dialogue> <character>LEE</character> <dialogue>Just let it go.</dialogue> <scene_description>Patrick runs to gets the ball. They continue to walk up the hill, bouncing the ball across the street to each other and chasing it when it rolls back down the hill.</scene_description> </scene> <scene> <stage_direction>EXT. WIDE SHOT OF THE TOWN -- JOE'S BOAT. DAY.</stage_direction> <scene_description>Lee and Patrick head out to fish. Patrick drives the boat. Lee sets up the fishing gear. A FEW MOMENTS LATER -- Lee and Patrick are seated, fishing off the back of the boat. They talk quietly. Lee looks a little better than we've seen him. He squints at the sea and the wide open sky. FADE OUT. THE END</scene_description> </scene> </script>

Lee Chandler is a depressed and asocial janitor who lives alone in a basement apartment in Quincy, Massachusetts. One day, he receives a phone call informing him that his brother Joe, a fisherman who lives in Manchester-by-the-Sea, has suffered cardiac arrest; Joe dies before Lee can make it to the hospital. Lee insists on being the one to tell Joe's teenage son Patrick about his father's death. While making funeral arrangements, they are reminded Joe's body cannot be buried until spring as the ground is frozen. Lee makes plans to remain in Manchester, living in Joe's house until the delayed burial. When Lee meets with Joe's attorney, he is shocked to discover Joe named him as Patrick's legal guardian. Flashbacks reveal that Lee once lived in Manchester with his then-wife Randi and their three small children. One night after hosting a raucous party, an intoxicated Lee forgot to put the screen in front of the fireplace, leading to a house fire that killed his children. No criminal charges were filed against him, as the police ruled it a tragic accident. However, at the station, a guilt-ridden Lee stole an officer's gun and attempted to shoot himself dead, before being subdued. Lee and Randi subsequently divorced, and he left town. He is reluctant to commit to the guardianship, as it would require him to move back to Manchester. Plans are begun for Patrick to move to Boston with Lee, but Patrick has strong ties to the Manchester community and stubbornly objects. Lee commits to staying until the end of the school year. Patrick wants to live with his estranged mother Elise, who still lives in the area. Lee is opposed to this as her history with alcoholism led her to abandon her family, but Patrick decides to reconnect with her over lunch. Elise has committed to Christianity and sobriety with her fiancé Jeffrey, but during an awkward meal with them, Patrick finds he is unable to connect with her. He is further unsettled when Jeffrey emails him and insists on being an intermediary in any future communication between them. Lee's positive comments about Elise's sobriety lead Patrick to believe his uncle is trying to get rid of him, assertions Lee denies. In response to this strain in their relationship, Lee takes steps to possibly extend his stay in Manchester and seeks to spend more time with Patrick. Over time, they re-establish their bond, despite conflicts over Joe's boat, Patrick's girlfriends, and their future living arrangements. However, staying in Manchester is still painful for Lee, as he is surrounded by reminders of his past. One day, Lee runs into Randi with her newborn child. A sobbing Randi expresses remorse for her treatment of Lee during their divorce and asks him to have lunch. He deflects her apology, feeling that he does not deserve it. When she insists that they reconnect and pleads with him not to "just die", Lee is overwhelmed with emotion and has to leave before he breaks down. Distraught, Lee gets drunk at a bar, picks a fight with strangers, and is knocked out. He wakes up in the living room of Joe's friend George and breaks down in tears. At home, Patrick shows his uncle deference after seeing his battered state and pictures of his deceased children. Lee arranges for George and his wife to adopt Patrick so that he can remain in Manchester while Lee takes a job in Boston. When Patrick asks Lee why he cannot remain in Manchester, Lee says that he "can't beat it". During a walk after Joe's burial service, Lee tells Patrick he is searching for a residence in Boston with an extra room so Patrick can visit whenever he wants. In the final scene, Lee and Patrick go fishing on Joe's refurbished boat, which Patrick has inherited.

A Million Miles Away_2023

tt21940010

<script> <scene> <scene_description>A MILLION MILES AWAY Written by Alejandra Márquez Abella Hernán Jiménez Bettina Gilois</scene_description> <character>BASED ON A TRUE STORY.</character> <dialogue>Original dialogue in Spanish translated to English on right column.</dialogue> <character>LAUNCH CONTROL (V.O.)</character> <dialogue>This is Launch Operations Manager. The launch team wishes you good luck and godspeed.</dialogue> <scene_description>FADE IN:</scene_description> </scene> <scene> <stage_direction>EXT. LA PIEDAD, MICHOACÁN, MÉXICO - DAY</stage_direction> <scene_description>TITLE CARD: La Piedad, Michoacán, México -- 1968 A vast CORNFIELD, topped by the most beautiful sky you've ever seen. A decrepit DONKEY. Chickens and roosters roaming free. A mangy dog YAWNS. A beautiful MONARCH BUTTERFLY floats in the air.</scene_description> <character>LAUNCH CONTROL (V.O.)</character> <dialogue>T-minus 15 seconds, second stage tanks now pressurized... 12, 11, 10, 9...</dialogue> <scene_description>A 7 year old boy, JOSÉ, walks through the furrows looking for something. He comes to an ear of corn, studies it. He grabs it with a strong grip, but it seems to resist being picked. He yanks it hard, hard, HARDER! The cob SPRINGS FREE, making him fall on the ground. He lays on his back, eyes WIDE, looking up: The sky, a deep blue. A few perfect cumulus clouds float softly away. He picks up the cob from the ground and mouths the sounds of a take-off.</scene_description> <character>LAUNCH CONTROL (V.O.)</character> <dialogue>Ignition sequence starts. 5, 4, 3, 2, 1... ZERO... All engines running! Lift off! We have lift off on Space Shuttle Discovery!</dialogue> <scene_description>The cob-rocket is off the ground!</scene_description> <character>JULIA</character> <dialogue>¡Joseeeeé!</dialogue> <scene_description>José leaps up in a second. He runs through the fields, holding the cob high in mock flight.</scene_description> </scene> <scene> <stage_direction>EXT. FAMILY SHACK, MEXICO - DAY</stage_direction> <scene_description>A RICKETY SHACK on the verge of collapse. Lively mayhem as José comes out of the cornfield and RUNS towards his mother, JULIA. The mangy DOG barks incessantly as GENERATIONS OF THE HERNÁNDEZ FAMILY say their goodbyes. There are tears and COUSINS and AUNTS and UNCLES doing Signs of the Cross on the KIDS, and long hugs happening all over. SOMEONE takes the cob from his hand. This is SALVADOR (35), his father.</scene_description> <character>JOSÉ</character> <dialogue>(re: the cob)</dialogue> <character>JOSÉ</character> <dialogue>(re: the cob)</dialogue> <scene_description>Un recuerdo. A souvenir. Salvador just stands there unfazed, smiles and then gives the cob back.</scene_description> <character>SALVADOR</character> <dialogue>No te apures, vamos a</dialogue> <character>SALVADOR</character> <dialogue>Don't worry, we'll come back.</dialogue> <scene_description>regresar... (to the rest of his (to the rest of his kids) kids) Time to say good-bye, Despídanse, chamacos. chamacos. Another 7-year-old, his cousin BETO, approaches José.</scene_description> <character>BETO</character> <dialogue>See you on the other side, primo.</dialogue> <scene_description>José smiles and nods. They exchange an adult-like hug. José eyes Salvador holding on tight to his grandmother, he notices his eyes are watery: the pain of constant good-byes. Salvador quickly wipes his tears away and kisses his mother's cheek.</scene_description> <character>JOSÉ</character> <dialogue>¿Estás llorando, papá?</dialogue> <character>JOSÉ</character> <dialogue>Are you crying, Dad?</dialogue> <character>SALVADOR</character> <dialogue>Me entró tierra al ojo.</dialogue> <character>SALVADOR</character> <dialogue>Some dirt got into my eye.</dialogue> <scene_description>Salvador gets into the car. José gets caught by Abuelita. A HONK.</scene_description> <character>SALVADOR (O.S.)</character> <dialogue>¡Vámonos!</dialogue> <character>SALVADOR (O.S.)</character> <dialogue>Let's go!</dialogue> <scene_description>José, JULIA (30) and his his teen brothers and sister: CHAVA (13), GIL (11) and LETY (9) get in the car, an old Chevrolet Impala 64 PACKED TO THE RAFTERS. Salvador looks around, melancholic. As he closes the door he notices a Monarch Butterfly landing on his forearm. He takes a moment.</scene_description> <character>SALVADOR</character> <dialogue>¿Saben que las mariposas Monarca vuelan desde el mero norte, más lejos que los Estados Unidos, hasta acá, hasta Michoacán? Vienen buscando mejor clima; cuando</dialogue> <character>SALVADOR</character> <dialogue>You know... Monarch butterflies migrate from up north to Michoacán. They come looking for a warmer weather; when spring comes, they go back.</dialogue> <scene_description>llega la primavera se (he turns to his kids) regresan. It is a journey of more than (he turns to his kids) 2,000 miles taken by insects Estos insectos que pesan un that weight one gram. Food gramo hacen un viaje de 2,000 for thought, huh? millas... Da qué pensar ¿no? The butterfly flies away. He starts the car and smiles, the kids and Julia do too. Everyone waves as the car drives off through a cloud of flying butterflies and we launch into a... MONTAGE and CREDITS: -- José looks out the window as he leaves this town behind: the old colonial CHURCH; the town SQUARE; the soccer field with the BROKEN GOAL FRAME. -- They barrel fast through the DESERT. -- The kids now sleep in the back, tightly packed with pillows, bags, pots and pans. But José, wide awake, FLIES THE CORN COB out the window, at SUPERSONIC SPEED. -- A "Welcome to California" sign. -- Another one: "CHINO, CALIFORNIA: Where everything grows!" -- Salvador and Julia sit in a CLOUD OF MOVING DUST as they ride in the back of an old creaky TRUCK, packed like cattle with PICKERS. -- A NEW SCHOOL. José steps into a classroom. An old and tired TEACHER gives him a bored look. -- MASSIVE STRAWBERRY FIELDS; A sea of HUNCHED MEXICAN WORKERS move like an army of ants, unstoppable. -- The packed Chevy drives past another sign: "SALINAS: Rich in Land, Rich in Values" -- A SEA OF GREEN and the family bent at the waist, filling box after box of LETTUCE. Beto and his family do the same in the following furrow. José looks at the sky, then at his mother.</scene_description> <character>JOSÉ</character> <dialogue>Mamá, ¿pa qué sirven las estrellas?</dialogue> <character>JOSÉ</character> <dialogue>Mom, what are stars for?</dialogue> <character>JULIA</character> <dialogue>Esas preguntas se las constestan en la escuela.</dialogue> <character>JULIA</character> <dialogue>That's a question for school.</dialogue> <character>JOSÉ</character> <dialogue>¿Por qué no se ven de día?</dialogue> <character>JOSÉ</character> <dialogue>Why can't you see them during the day?</dialogue> <scene_description>Julia stops and looks at him lovingly, she kisses him and continues with the tough work. -- HERNANDEZ TEMPORARY HOME: the family sits around a shabby table, as Julia styles José's hair with lemon juice. His siblings clear the table and get ready for school. -- YET ANOTHER NEW SCHOOL: José steps into a hostile classroom. New TEACHER, new CLASSMATES. -- UTTER FLATNESS. The Chevy bolts past this sign: "STOCKTON: Someplace Special".</scene_description> </scene> <scene> <stage_direction>EXT. HERNÁNDEZ HOME - DUSK</stage_direction> <scene_description>The family UNLOADS the car, finally parked in front of a humble... HOME in a rough BARRIO. José and Lety look at the place with and air of hope.</scene_description> <character>CHAVA</character> <dialogue>Don't get too excited. We won't be here long.</dialogue> <scene_description>Lety shrugs and follows her big brother. -- A child's hand finishes writing a sentence in a school notebook: A MILLION MILES AWAY.</scene_description> </scene> <scene> <stage_direction>INT. FILLMORE ELEMENTARY, CLASSROOM - MORNING</stage_direction> <scene_description>José steps in, interrupting MISS YOUNG's class. This is his teacher, a Chinese-American in her 20's. She looks up, beaming.</scene_description> <character>MISS YOUNG</character> <dialogue>José! You're back!!</dialogue> <scene_description>LATER -- José recites with his CLASS.</scene_description> <character>CLASS</character> <dialogue>Twelve, thirteen, fourteen...</dialogue> <scene_description>Miss Young points at José.</scene_description> <character>MISS YOUNG</character> <dialogue>Now two times seventeen.</dialogue> <character>JOSÉ</character> <dialogue>Treinta y cuatro.</dialogue> <character>MISS YOUNG</character> <dialogue>Now in English, please.</dialogue> <scene_description>He looks around, hesitant.</scene_description> <character>JOSÉ</character> <dialogue>Thirrrr--ty fooor.</dialogue> <scene_description>The class laughs at his accent.</scene_description> <character>MISS YOUNG</character> <dialogue>Oh, you all think that's so funny? José, how about two times thirty four?</dialogue> <character>JOSÉ</character> <dialogue>Seex-ty eight.</dialogue> <character>MISS YOUNG</character> <dialogue>Guys, who can tell me what seven times sixty is? No. Make it-- seven times sixty three.</dialogue> <scene_description>Silence, of course.</scene_description> <character>MISS YOUNG</character> <dialogue>Take it away, Mr. Hernández.</dialogue> <character>JOSÉ</character> <dialogue>Four hawndred fort-ey one.</dialogue> <character>MISS YOUNG</character> <dialogue>Gracias, José.</dialogue> <parenthetical>(To the class)</parenthetical> <dialogue>You see, math doesn't care if you speak English or Spanish, because math is its own language.</dialogue> <scene_description>Miss Young winks at José. He smiles. Beto opens the classroom door and comes in, a little dirty. He seems skinny and worn.</scene_description> <character>MISS YOUNG</character> <dialogue>Well, hello, Beto! It's so nice to have you back as well.</dialogue> <scene_description>José gives his cousin a big welcoming smile. Beto sits next to him.</scene_description> <character>JOSÉ</character> <dialogue>¿Por qué no habías venido a la escuela?</dialogue> <character>JOSÉ</character> <dialogue>Why didn't you come to school these past days?</dialogue> <character>BETO</character> <dialogue>Work.</dialogue> <scene_description>He shrugs. José gets it.</scene_description> </scene> <scene> <stage_direction>INT. HERNÁNDEZ HOME, STOCKTON - NIGHT</stage_direction> <scene_description>An alarm clock shows: SATURDAY, 4:14 AM. José's eyes jerk open and he springs up. He gets dressed in a rush and goes to the dining room where he finds his whole family ready to leave for the fields.</scene_description> <character>JOSÉ</character> <dialogue>Perdón, es que no sonó el despertador.</dialogue> <character>JOSÉ</character> <dialogue>Sorry, alarm didn't go off.</dialogue> <character>SALVADOR</character> <dialogue>Ámonos.</dialogue> <character>SALVADOR</character> <dialogue>Let's go.</dialogue> </scene> <scene> <stage_direction>EXT. FIELDS, STOCKTON - DAY</stage_direction> <scene_description>THOUSANDS OF GRAPES fill a wooden crate. And José's back at it in the fields with the whole family. This time, he's struggling: he's tired and worn out. He admires his father's and mother's skills, even his siblings'. He can't keep up. He tries harder, but he steps on a bunch of rotten grapes, slips and inevitably lands in the mud. He's FURIOUS. He drops his tools and screams. The meltdown makes his family, his cousin Beto and several WORKERS, stop to regard him with confusion.</scene_description> <character>JOSÉ</character> <dialogue>¡No puedo!</dialogue> <character>JOSÉ</character> <dialogue>I can't!</dialogue> <scene_description>Salvador throws him a stern look. José speaks directly to him, with that adult-like bravado that some Mexican children possess.</scene_description> <character>JOSÉ</character> <dialogue>¡Estoy lleno de lodo!</dialogue> <character>JOSÉ</character> <dialogue>I'm covered in mud! I stink!</dialogue> <scene_description>¡Apesto! Estoy cansado... I'm exhausted... sunburnt! I todo requemado por el sol! can't take it anymore! ¡Ya no puedo! We hear childish laughter. It's Beto.</scene_description> <character>JOSÉ</character> <dialogue>¡Tú cállate, pinche Beto!</dialogue> <character>JOSÉ</character> <dialogue>You shut up, Beto!</dialogue> <scene_description>Salvador is not amused. He approaches José, who wonders if he has just signed his death sentence. He tones it down.</scene_description> <character>JOSÉ</character> <dialogue>Estoy cansado.</dialogue> <character>JOSÉ</character> <dialogue>I'm tired.</dialogue> <scene_description>The others get back to work.</scene_description> <character>SALVADOR</character> <dialogue>Todos estamos cansados pero hay que seguirle. Síguele.</dialogue> <character>SALVADOR</character> <dialogue>We all are. But we have to push through. Keep working.</dialogue> <scene_description>José exchanges a look with Julia... then he complies. Salvador kneels by his side.</scene_description> <character>SALVADOR</character> <dialogue>A ver, mijo, ¿por qué estás aquí? ¿por qué estamos todos aquí?</dialogue> <character>SALVADOR</character> <dialogue>Alright, son, why are you here? Why are we all here?</dialogue> <scene_description>The faces of the workers, some exhausted, some smiling.</scene_description> <character>JOSÉ</character> <dialogue>Para ganar 10 dólares.</dialogue> <character>JOSÉ</character> <dialogue>To make 10 dollars.</dialogue> <character>SALVADOR</character> <dialogue>¿Qué crees que pasa si no haces tu parte?</dialogue> <character>SALVADOR</character> <dialogue>What do you think will happen if you don't do your part?</dialogue> <scene_description>José shrugs.</scene_description> <character>SALVADOR</character> <dialogue>¿Sabes en qué se va a convertir esta chinga? En los ladrillos pa' la casa que estamos levantando tu mamá y yo allá en Michoacán. Estamos trabajando todos juntos para poder vivir mejor.</dialogue> <character>SALVADOR</character> <dialogue>Do you know what all this ass- busting will turn into? It will become the bricks for the house your mamma and I are building back in Michoacán. We're working together so that we can have a better life.</dialogue> <scene_description>José's eyes become teary.</scene_description> <character>JOSÉ</character> <dialogue>¿Tú cómo le haces? Dices que estás cansado pero yo no te veo cansado.</dialogue> <character>JOSÉ</character> <dialogue>How do you do it? You say you're tired, but you don't seem tired to me.</dialogue> <scene_description>Salvador turns him around, making him face the length of the furrow.</scene_description> <character>SALVADOR</character> <dialogue>Lo que pasa es que yo tengo una receta... Mira, mijo, lo primero es que tienes que ponerte una meta.</dialogue> <character>SALVADOR</character> <dialogue>How do I do it? Look, mijo, I have a recipe... First step, you have to set a goal.</dialogue> <scene_description>-- The FOREMAN pays their day's work. José gets his money. The family puts it in a shared envelope. Julia keeps it.</scene_description> <character>SALVADOR</character> <dialogue>Luego, tienes que checar qué tan lejos estás de esa meta.</dialogue> <character>SALVADOR</character> <dialogue>Then you have to find out how far you are from the goal.</dialogue> <scene_description>-- The endless furrow unfolds towards the horizon. Many bunches of grapes remain unpicked.</scene_description> <character>SALVADOR</character> <dialogue>Tienes que pensar cómo vas a llegar. Eso te va a mantener concentrado.</dialogue> <character>SALVADOR</character> <dialogue>You have to draw yourself a roadmap. That's going to keep you focused.</dialogue> <scene_description>-- The picking routine: hands, muscles, grapes fall in a bucket, repeat; rhythmic mechanics.</scene_description> <character>SALVADOR</character> <dialogue>Cuando no le sabes, hay que aprender.</dialogue> <character>SALVADOR</character> <dialogue>If you don't know, you've got to learn.</dialogue> <scene_description>-- Salvador teaches him to use the tools more efficiently.</scene_description> <character>SALVADOR</character> <dialogue>Y al final, cuando creas que ya la libraste, quizás haya que esforzarse todavía más.</dialogue> <character>SALVADOR</character> <dialogue>And at the end, when you think you've made it, you'll probably have to try even harder.</dialogue> <scene_description>-- José picks grapes, exhausted. He looks at his fingers... they're hurting. Then he looks at Salvador, who's still moving, and gets back to work. -- Three buckets full of grapes, then four, five. Then six, seven, eight! José, proud, regards his work. But it unavoidably fades to...</scene_description> </scene> <scene> <stage_direction>INT. FILLMORE ELEMENTARY, CLASSROOM - DAY</stage_direction> <scene_description>José, dark circles under his eyes and mid-yawn, elbows Beto to wake him up. But Beto NODS OFF. Miss Young writes several adjectives on the chalkboard as the rest of the class drills their pronunciation.</scene_description> <character>MISS YOUNG</character> <dialogue>Ok, so, for homework you'll have to write a composition...</dialogue> <character>MISS YOUNG</character> <dialogue>"When I grow up..." I want to see how you come up with many beautiful and powerful ADJECTIVES, OK?</dialogue> <scene_description>LATER -- Class is dismissed and José approaches his teacher's desk. His accent wrapping up his sentences.</scene_description> <character>JOSÉ</character> <dialogue>Miss Young? I won't be able to do my homework. We're leaving.</dialogue> <scene_description>She frowns.</scene_description> <character>JOSÉ</character> <dialogue>It's pepino season. We're going back to Salinas.</dialogue> <scene_description>Miss young makes an inquiring face.</scene_description> <character>JOSÉ</character> <dialogue>Pepino. Cucumber.</dialogue> <character>MISS YOUNG</character> <dialogue>Ah. Huángguá. Cucumber.</dialogue> <scene_description>José smiles, she gets it.</scene_description> <character>JOSÉ</character> <dialogue>Miss... what are stars for?</dialogue> <character>MISS YOUNG</character> <dialogue>'What are stars for?' That is one tough question, sir. It's the type of question that raises many others.</dialogue> <scene_description>She comes near him and puts her hand on his face.</scene_description> <character>MISS YOUNG</character> <dialogue>You know what? I think you're going to be one of those people who can actually come up with an answer for that kind of question.</dialogue> <scene_description>José receives the kind words with the anxiety that comes with big responsibility.</scene_description> </scene> <scene> <stage_direction>INT. HERNÁNDEZ HOME, STOCKTON - DAY</stage_direction> <scene_description>The house is half-packed. Julia puts sarapes and kitchen utensils in cardboard boxes. José is on the dining room table trying to work on his composition. He eyes his corncob, the one he brought from Mexico. Then he draws a field of corn. His fingers have bandaids. Lety comes running and turns on the TV.</scene_description> <character>LETY</character> <dialogue>It's about to happen! They just said it on the radio. Pepito, come!</dialogue> <scene_description>Chava, Gil and Lety get settled on the couch. Chava makes room for Julia. Salvador approaches too. The TV has a magnetic aura. José peeks from the table.</scene_description> <character>JOSÉ</character> <dialogue>¿Qué?</dialogue> <character>JOSÉ</character> <dialogue>What?</dialogue> <character>GIL</character> <dialogue>The man on the moon, Pepe. Hold the antenna!</dialogue> <scene_description>José takes his position as official makeshift-antenna holder. The broadcast of the first moon walk starts. José watches from his oblique point of view. The voices of the people at ground control and the astronauts get into his head. The televised historic events unfolding are sharply reflected on his eyeballs. Salvador stops watching the screen to LOOK AT HIS SON. He notices something DEEP inside of him. Something stirs within José and Salvador witnesses it. The 1969 musical hit: "Aquarius" by The 5th Dimension starts playing.</scene_description> </scene> <scene> <stage_direction>EXT. HERNÁNDEZ HOME - NIGHT</stage_direction> <scene_description>José lays on the front porch, belly up. ON THE SKY: stars shine in different ways, different colors. For a moment, everything is fine. José closes one eye and then the other as he makes his corncob "ship" fly. Aquarius is still playing. Julia peeks out of the main door. She sees her son and is about to say something, but decides to let him be.</scene_description> </scene> <scene> <stage_direction>INT. HERNÁNDEZ HOME, STOCKTON - DAY</stage_direction> <scene_description>The family packs their last belongings. José gets his corncob rocket. Chava and Lety babble and complain. Then there's a KNOCK. Julia opens the door. Standing there is... Miss. Young!?</scene_description> </scene> <scene> <stage_direction>INT. HERNÁNDEZ HOME - MOMENTS LATER</stage_direction> <scene_description>Julia, Salvador, Gil, Lety and Chava sit across from Miss Young - reaching hard for her very best Spanish. José sits between both parties, like an arbiter.</scene_description> <character>MISS YOUNG</character> <dialogue>Mr. and Mrs. Hernández. Yo quisera... respectfully...</dialogue> <parenthetical>(Frustrated)</parenthetical> <dialogue>I'm a bit worried about your children's education.</dialogue> <character>JOSÉ</character> <dialogue>Dice que van a arruinar la educación de sus hijos.</dialogue> <character>JOSÉ</character> <dialogue>She says you're ruining your children's education.</dialogue> <character>MISS YOUNG</character> <dialogue>I really think you should reconsider traveling so much.</dialogue> <character>JOSÉ</character> <dialogue>Dice que estás tonto por hacernos viajar tanto.</dialogue> <character>JOSÉ</character> <dialogue>"You're stupid for making us travel so much."</dialogue> <scene_description>Salvador frowns.</scene_description> <character>SALVADOR</character> <dialogue>Dile que tenemos que ir a donde esté el trabajo. No tenemos opción.</dialogue> <character>SALVADOR</character> <dialogue>Tell her we have to go where there's work. We don't have an option.</dialogue> <scene_description>José looks at his father, fearful.</scene_description> <character>SALVADOR</character> <parenthetical>(In his best English)</parenthetical> <dialogue>We need to work to build a house in Michoacán.</dialogue> <character>MISS YOUNG</character> <dialogue>Mr. Hernández, you work the land. You work it with your own bare hands...</dialogue> <character>MISS YOUNG</character> <dialogue>What happens to a tree if you dig it up year after year? Will it bear good fruit?</dialogue> <scene_description>Silence. Salvador thinks about this, still frowning.</scene_description> </scene> <scene> <stage_direction>EXT. SIDEWALK - MOMENTS LATER</stage_direction> <scene_description>Miss Young watches the Hernández's packed car, ready to go again. She walks down the sidewalk, crestfallen, when José comes running after her, carrying a piece of paper.</scene_description> <character>JOSÉ</character> <dialogue>Miss Young?! I did my homework.</dialogue> <scene_description>He hands her his composition. The title on the cover: ASTRONAUT, then a drawing -- the cornfield, a boy, a corn shaped spaceship and the stars. She looks at it. Then she kneels and smiles.</scene_description> <character>MISS YOUNG</character> <dialogue>You are a force of nature. Nothing will stop you. Remember that.</dialogue> <scene_description>...and walks away, pursing her lips. José stands there, looking tiny and defeated on the sidewalk.</scene_description> </scene> <scene> <stage_direction>I/E. SALVADOR'S CAR/FIELDS, STOCKTON - DAY</stage_direction> <scene_description>A dirty, sweating José, watches his father from the overpacked car where he waits with his mother and siblings: Salvador seems very upset, he's in the line waiting for their pay, he counts the money, it's short. He moves his arms around and complains to the foreman who just shakes his head. Salvador approaches, gets in the car, puts the keys in the ignition -- but the car won't start. He tries again. Nothing. And again. Nothing. Then he HITS THE STEERING WHEEL HARD!</scene_description> <character>JULIA</character> <dialogue>¡Salvador!</dialogue> <scene_description>José sits very still. Worried. Salvador sees his children through the rear-view mirror. Their exhausted and muddied faces.</scene_description> <character>SALVADOR</character> <dialogue>¿Ya vieron, no?</dialogue> <character>SALVADOR</character> <dialogue>Do you see now?</dialogue> <character>JULIA</character> <dialogue>Salvador...</dialogue> <character>SALVADOR</character> <dialogue>Pa nosotros no hay chances, ni atajos... No podemos confiar en la suerte o en la buena voluntad de nadie.</dialogue> <character>SALVADOR</character> <dialogue>We don't get chances, no shortcuts... We can't rely on luck or anyone's good will.</dialogue> <scene_description>They all look down. Julia does too.</scene_description> <character>SALVADOR</character> <dialogue>Actually, you're already very lucky. You know why?</dialogue> <scene_description>The kids shake their heads.</scene_description> <character>SALVADOR</character> <dialogue>You get to see your future.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>Look, over there.</dialogue> <scene_description>He gestures at the muddy field. A terrible image.</scene_description> <character>SALVADOR</character> <dialogue>That's your future.</dialogue> <scene_description>Julia looks at Salvador with sadness. He lowers his head, wishing his words weren't so full of truth. The vibe feels heavy. A very long beat.</scene_description> <character>SALVADOR</character> <dialogue>She's right.</dialogue> <scene_description>Salvador turns to his children.</scene_description> <character>SALVADOR</character> <dialogue>La maestra.</dialogue> <character>SALVADOR</character> <dialogue>The teacher.</dialogue> <scene_description>They sit there... His beautiful and dirty children. We slowly pan to José, looking straight at us with those soulful eyes.</scene_description> <character>SALVADOR</character> <dialogue>¿Qué es eso, Pepe?</dialogue> <character>SALVADOR</character> <dialogue>What's that, Pepe?</dialogue> <character>JOSÉ</character> <dialogue>Un field?</dialogue> <character>SALVADOR</character> <dialogue>What else?</dialogue> <character>JOSÉ</character> <dialogue>People working.</dialogue> <character>SALVADOR</character> <dialogue>People working hard. Because they need to.</dialogue> <scene_description>A beat. He sees a WORKER in the distance, an older man, bent over the fields, mindlessly picking like a tired machine.</scene_description> <character>SALVADOR</character> <dialogue>I didn't mean what I said. This may not be your future, but this will always be your past. You understand that?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Show me your hands.</dialogue> <scene_description>José shows him his palms.</scene_description> <character>SALVADOR</character> <dialogue>Nosotros sabemos cosechar nuestra comida, a mucha honra. ¿Entiendes?</dialogue> <character>SALVADOR</character> <dialogue>There's dignity in knowing how to harvest your own food. You understand that?</dialogue> <scene_description>Salvador looks at his own hands... He turns to Julia she nods lightly.</scene_description> <character>JOSÉ</character> <dialogue>Sí, papá.</dialogue> <character>JOSÉ</character> <dialogue>Yes, dad.</dialogue> <scene_description>The Chevy just sits there... in the profoundly quiet emptiness of the surrounding fields as a now more relaxed Salvador hits the ignition and it finally works. He makes a U-turn... and drives back.</scene_description> <character>SALVADOR (O.S.)</character> <dialogue>The teacher is going to be happy.</dialogue> </scene> <scene> <stage_direction>INT. SALVADOR'S CAR, MOVING - CONTINUOUS</stage_direction> <scene_description>CLOSE ON José, happy, as he rolls down the window, feeling the breeze on his face, breathing this triumph, and smiling as this moment sears itself into his mind. -- CLOSE ON THE CHEVY'S FRONT WHEEL, spinning and spinning...</scene_description> </scene> <scene> <stage_direction>EXT. UNIVERSITY OF THE PACIFIC - DAY</stage_direction> <scene_description>THE SPINNING WHEEL comes to a full stop. But now it's a SILVER RIM, parking. Chyron: 1985 As we pull back: Is that Salvador's old Chevrolet Impala 64!? It's been turned into a LOWRIDER: BRIGHT GREEN paint job, CHROME moldings... a few dents here and there and some rust on the door - a work in progress but, wow. José Alfredo Jiménez's 'El hijo del pueblo' playing LOUD. That's when the door opens, and 25 YEAR OLD JOSÉ steps out wearing a GRADUATION GOWN. He puts on his cap, and walks towards campus. --A bunch of caps in the air. We hear the graduates EXPLODE IN CHEERS and APPLAUSE.</scene_description> </scene> <scene> <stage_direction>EXT. UNIVERSITY OF THE PACIFIC - DAY</stage_direction> <scene_description>CLOSE ON JOSÉ and an older SALVADOR and JULIA, beaming with pride taking a picture at the University's entrance. José pulls his cap off, and shows the top of it. There's a sign. It reads: "HI MOM". Julia walks a few steps, breaks into joyful tears... Salvador goes to her and holds her. She looks into his eyes.</scene_description> </scene> <scene> <stage_direction>INT. HERNÁNDEZ HOME, JOSÉ'S BEDROOM - NIGHT</stage_direction> <scene_description>José sits at his tiny desk, in his childhood room, his old cob rocket in front of him. José opens a drawer revealing a precious secret: A NASA APPLICATION FORM. He examines it. The NASA logo. "Astronaut Selection Program", followed by a million questions.</scene_description> <character>JULIA (O.S.)</character> <dialogue>¿Quieres cenar?</dialogue> <character>JULIA (O.S.)</character> <dialogue>Dinner?</dialogue> <character>JOSÉ</character> <dialogue>No, mamá. I'm going out!</dialogue> <scene_description>Julia opens the door. He tosses the application.</scene_description> <character>JULIA</character> <dialogue>Who's the girl? Do I know her?</dialogue> <character>JOSÉ</character> <dialogue>La muchacha no existe, se llama Beto and since we're cousins I guess neither you nor Tía Berta would approve.</dialogue> </scene> <scene> <stage_direction>EXT. STOCKTON, FIELDS - LATER</stage_direction> <scene_description>José and his cousin BETO (26), skin hardened by the sun, walk towards José's car. Beto's shift has just ended. The sun is setting.</scene_description> <character>BETO</character> <dialogue>Liver what?</dialogue> <character>JOSÉ</character> <dialogue>Lawrence Livermore Labs.</dialogue> <character>BETO</character> <dialogue>What the hell is that?</dialogue> <character>JOSÉ</character> <dialogue>It's a... A federal research facility. National security... they're running the world's most sophisticated X-ray laser, potentially the single-most important breakthrough for ICBM defense in decades.</dialogue> <character>BETO</character> <dialogue>So... guns.</dialogue> <character>JOSÉ</character> <dialogue>Defense lasers that we're going to put up in orbit. We'll save millions of lives if the Russians were to attack.</dialogue> <scene_description>Beto just chuckles.</scene_description> <character>BETO</character> <dialogue>Wow, That's pretty crazy!</dialogue> <scene_description>A beat.</scene_description> <character>BETO</character> <dialogue>Remember that homework in school... we had to draw or write what we wanted to be when we grew up. I remember yours. The teacher hanged it in class.</dialogue> <scene_description>José smiles with nostalgia.</scene_description> <character>JOSÉ</character> <dialogue>I remember.</dialogue> <character>BETO</character> <dialogue>I said I wanted to be a ranchera singer.</dialogue> <scene_description>José laughs.</scene_description> <character>BETO</character> <dialogue>Dreams are heavy, right? Yo... This Liverthing... It's not being an astronaut but, still, you get to throw stuff into space, right?</dialogue> <scene_description>José is bothered. Isn't THIS enough?</scene_description> <character>JOSÉ</character> <dialogue>That... was just stupid.</dialogue> <character>BETO</character> <dialogue>Say we get a couple of cheves and toast for lasers in space, dude.</dialogue> <scene_description>The slight tension is relieved. They get into the car, but a FOREMAN's voice stops them.</scene_description> <character>FOREMAN</character> <dialogue>Hey, Beto! You missed a couple of rows!</dialogue> <character>BETO</character> <dialogue>I didn't.</dialogue> <character>FOREMAN</character> <dialogue>Finish it, man.</dialogue> <scene_description>Beto is instantly irritated.</scene_description> <character>BETO</character> <dialogue>I guess I'll go back...</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>I just think it's great that I can be so freaking proud, and still have no idea what you're talking about, cousin. I'm gonna miss you.</dialogue> <character>JOSÉ</character> <dialogue>It's not like I'm moving, I'm staying right here.</dialogue> <character>BETO</character> <dialogue>That's not the point. You're moving farther, don't you get it? You're out of here. You moving to a place with a job and a title and respect.</dialogue> <character>BETO</character> <dialogue>And we're all gonna watch you from here.</dialogue> <parenthetical>(A solemn beat)</parenthetical> <dialogue>Ingeniero. Unbelievable.</dialogue> <scene_description>José takes that in. The foreman screams again.</scene_description> <character>JOSÉ</character> <dialogue>Why don't you go back to school, man? Ditch the fields.</dialogue> <character>BETO</character> <dialogue>Ain't that easy.</dialogue> <character>JOSÉ</character> <dialogue>Ain't easy but it's possible.</dialogue> <character>BETO</character> <dialogue>Pepe, my mom is so sick she hasn't gotten out of bed since Christmas. My Dad, unlike yours, has not been around in 17 years. You got a scholarship, I didn't... I got two brothers, an ex-wife and one daughter to feed. There's no time to dream. Just time to pick...</dialogue> <scene_description>A silent beat.</scene_description> <character>JOSÉ</character> <dialogue>C'mon, I'll help you with that couple of rows and we'll go for those cheves.</dialogue> <scene_description>They both go into the field. José notices a young Mexican woman in the fields, ADELA (25), she's carrying a basket filled with lettuce, a sweated paliacate, they eye each other. He blushes a little bit. José Alfredo Jiménez's 'El hijo del pueblo' starts playing.</scene_description> </scene> <scene> <stage_direction>EXT. LAWRENCE LIVEREMORE LABS, PARKING LOT - MOMENTS LATER</stage_direction> <scene_description>The song exploding massively from his extra powerful speakers. José sings his lungs out as he parks his lowrider right next to a Mercedes... CLINT LOGAN's. Who is stepping out in that very moment and turns to see what the hell is the deal. ON JOSÉ as he notices the impact of his big entrance, feeling Logan's eyes on him. Sweating as he tries to turn the music down. His nervous smile until finally... SILENCE. Logan eyes a NASA sticker on José's lowrider. He chuckles.</scene_description> <character>LOGAN</character> <dialogue>Right. We've all been there.</dialogue> <scene_description>José fake smiles again, waits for him to be gone to get out.</scene_description> </scene> <scene> <stage_direction>INT. LAWRENCE LIVEREMORE LABS, CONFERENCE ROOM - LATER</stage_direction> <scene_description>José walks quietly into a conference/screening room packed with SCIENTISTS and ENGINEERS -about 25 people- facing the director, none other than THE MERCEDES GUY, who lectures them from the blackboard. José stands quietly by the door. Everyone seems so different from him, almost everyone is white and/or has a buzz cut. Their clothes are different. He's a total fish out of water.</scene_description> <character>LOGAN</character> <dialogue>Who can tell me what this is?</dialogue> <scene_description>He draws a large circle on one side of the board.</scene_description> <character>LOGAN</character> <dialogue>Wild guess, anyone?</dialogue> <character>SCIENTIST 1</character> <dialogue>A circle?</dialogue> <character>LOGAN</character> <dialogue>Of course not, you numb nut. It's the Soviet Union.</dialogue> <scene_description>He draws another circle on the opposite side of the board.</scene_description> <character>LOGAN</character> <dialogue>Anyone wanna guess what this is?</dialogue> <character>SCIENTIST 2</character> <dialogue>The United States?</dialogue> <character>LOGAN</character> <dialogue>The United States of America. Now, who wants to tell me what this is?</dialogue> <scene_description>He begins drawing a line from circle to circle, slowly.</scene_description> <character>WEISSBERG</character> <dialogue>A rocket?</dialogue> <character>LOGAN</character> <dialogue>Be more specific.</dialogue> <character>WEISSBERG</character> <dialogue>A hostile rocket?</dialogue> <character>LOGAN</character> <dialogue>Be more specific, Weissberg!</dialogue> <scene_description>WEISSBERG breaks a sweat.</scene_description> <character>LOGAN</character> <dialogue>Time is ticking, Weissberg, it's a matter of seconds now!</dialogue> <character>WEISSBERG</character> <dialogue>A hostile rocket... mid-flight?</dialogue> <scene_description>Everyone CHUCKLES. Logan abandons the line mid flight.</scene_description> <character>LOGAN</character> <dialogue>"Mid-flight"? Wrong. This is a godddamn missile at a speed of 5 miles per second. It carries a nuclear warhead capable of destroying Manhattan. - Now, multiply that by two hundred, aimed towards sixty cities - all at the same time. Who is there to protect these 300 million people from such an attack?</dialogue> <scene_description>Silence. José watches, fascinated and scared.</scene_description> <character>LOGAN</character> <dialogue>It's not a rhetorical question!!</dialogue> <character>JOSÉ</character> <dialogue>We are.</dialogue> <character>LOGAN</character> <dialogue>What did you say?</dialogue> <character>JOSÉ</character> <dialogue>Um... I just said ah... That-- we are the ones who can... hopefully... protect the... Sir.</dialogue> <character>LOGAN</character> <dialogue>Who the hell are you?</dialogue> <character>JOSÉ</character> <dialogue>I'm José Hernández. It's my first day here.</dialogue> <character>LOGAN</character> <dialogue>In what capacity?</dialogue> <character>JOSÉ</character> <dialogue>Lab engineer, sir.</dialogue> <character>LOGAN</character> <dialogue>Wanna know what a great contribution to the Defense Program would be? Be here on time.</dialogue> <scene_description>The crowd CHUCKLES.</scene_description> <character>JOSÉ</character> <dialogue>I got lost.</dialogue> <character>LOGAN</character> <dialogue>Oh, you think that's funny? As far as I know nobody else had an answer. And yesterday's was the third X-ray laser test we've failed, spectacularly. If you people can't give me a successful test, you can kiss the Strategic Defense Initiative and your jobs good bye...</dialogue> <scene_description>As he heads out:</scene_description> <character>LOGAN</character> <parenthetical>(Re: José)</parenthetical> <dialogue>Weissberg! Get this guy an office and get him to work now.</dialogue> </scene> <scene> <stage_direction>INT. LAWRENCE LIVEREMORE LABS - LATER</stage_direction> <scene_description>José walks a step behind Weissberg - not the nicest guy in the world - as they head down a long hallway. He opens the door to a tiny, dark, windowless room. There is an old desk that barely fits, a chair and a lamp. That's it.</scene_description> <character>WEISSBERG</character> <dialogue>Here you go.</dialogue> <scene_description>José tries the overhead lights. They're not working. José walks in and tries the desk lamp. It's unplugged. He looks for an outlet. There's none.</scene_description> </scene> <scene> <stage_direction>INT. LAWRENCE LIVEREMORE LABS, RECEPTION - MOMENTS LATER</stage_direction> <scene_description>José at the reception desk. STACEY, the receptionist, types furiously.</scene_description> <character>JOSÉ</character> <dialogue>Excuse me... Hi, José Hernández. Do you know where I could find an extension cord?</dialogue> <character>STACEY</character> <parenthetical>(Still typing...)</parenthetical> <dialogue>You're the new guy, right? Come, let me show you the supply room.</dialogue> <scene_description>She opens up a drawer and grabs a HUGE SET OF 50 KEYS.</scene_description> </scene> <scene> <stage_direction>INT. LAWRENCE LIVEREMORE LABS, SUPPLY ROOM - MOMENTS LATER</stage_direction> <scene_description>Stacey moves like a squirrel and talks FAST. She opens the door to a storage room packed with cleaning supplies.</scene_description> <character>STACEY</character> <dialogue>Here's everything you might need, bleach, mops, brooms, rags, Windex - there's another supply closet on the 6th floor, right next to the ladies room. Take the keys.</dialogue> <character>JOSÉ</character> <dialogue>Hey. I think you're confus--</dialogue> <character>STACEY</character> <dialogue>Also... The third floor men's room needs toilet paper.</dialogue> <parenthetical>(A beat)</parenthetical> <dialogue>When you get a chance. Welcome!</dialogue> <character>JOSÉ</character> <dialogue>I'm not the--</dialogue> <character>WOMAN</character> <dialogue>Stacey! Mrs. Logan's on the line for you!</dialogue> <character>STACEY</character> <dialogue>Coming!</dialogue> <parenthetical>(To José)</parenthetical> <dialogue>Let me know if you need anything else!</dialogue> <scene_description>José watches her go, holding the biggest KEY RING imaginable. He walks into the supply room and whaddayaknow: There's an EXTENSION CORD right there on the shelf - HE GRABS IT.</scene_description> </scene> <scene> <stage_direction>INT. LAWRENCE LIVEREMORE LABS, VARIOUS - NIGHT</stage_direction> <scene_description>A HALLWAY -- CLOSE ON a POWER OUTLET WITH AN EXTENSION CORD PLUGGED INTO IT. We track down the CORD, past several doors, then around a corner, and into...</scene_description> </scene> <scene> <stage_direction>INT. LAWRENCE LIVEREMORE LABS, JOSÉ'S OFFICE - NIGHT</stage_direction> <scene_description>José's tiny little office. It's way more welcoming than before - his desk lamp now working; he types on a Compaq. Weissberg comes in and drops a stack of papers on his desk.</scene_description> <character>WEISSBERG</character> <dialogue>Read these.</dialogue> <scene_description>On José, frustrated. He looks at his dark reflection on the computer.</scene_description> </scene> <scene> <stage_direction>INT. HERNÁNDEZ HOME, KITCHEN - MOMENTS LATER</stage_direction> <scene_description>José fishes around the kitchen for snacks while his mother chops some onions.</scene_description> <character>JULIA</character> <dialogue>What's with the long face?</dialogue> <character>JOSÉ</character> <dialogue>Nothing. Every day feels like the first day of school.</dialogue> <character>JULIA</character> <dialogue>Do you want to take some tacos to work tomorrow?</dialogue> <character>JOSÉ</character> <dialogue>No, gracias, mami.</dialogue> <character>JULIA</character> <dialogue>Your sister told me she met a nice girl for you.</dialogue> <character>JOSÉ</character> <dialogue>Here you go again.</dialogue> <character>JULIA</character> <dialogue>We're not gonna be around forever, eh! And then what are you gonna do? Grow old by yourself like some kind of mad scientist?</dialogue> <character>JOSÉ</character> <dialogue>Please, mami, not tonight. Today was... overwhelming.</dialogue> <character>JULIA</character> <dialogue>You try spending a day with that man en esta casa, y luego me dices qué es 'overwhelming'.</dialogue> <scene_description>They hear a thump outside.</scene_description> <character>JULIA</character> <dialogue>I can't believe it! He's back there again!</dialogue> <scene_description>José grabs two cold MODELOS from the fridge.</scene_description> <character>JULIA</character> <dialogue>Y le llevas su cheve de premio.</dialogue> <character>JULIA</character> <dialogue>And you reward him with a beer.</dialogue> <scene_description>Another THUMP -- José laughs; gives her a big kiss.</scene_description> <character>JOSÉ</character> <dialogue>They're both for me.</dialogue> </scene> <scene> <stage_direction>EXT. HERNÁNDEZ HOME, GARDEN - MOMENTS LATER</stage_direction> <scene_description>José emerges from the side of the house and into the garden.</scene_description> <character>JOSÉ</character> <dialogue>Ya métase, le va a dar un aire.</dialogue> <character>JOSÉ</character> <dialogue>You should go in. You're gonna get sick.</dialogue> <scene_description>Salvador is on his knees working on his own orchard. Some fruit trees are starting to grow. He stands and starts digging with a shovel.</scene_description> <character>SALVADOR</character> <dialogue>There's a storm coming. I don't want my trees to get ruined. See how well they are doing?</dialogue> <scene_description>José joins him and helps pull old roots.</scene_description> <character>JOSÉ</character> <dialogue>You spend all day driving that truck, coming and going from the fields to the 'canerías', and you come home to work some more.</dialogue> <character>SALVADOR</character> <dialogue>You can take the farmer out of the fields, but not the fields out of the farmer.</dialogue> <character>SALVADOR</character> <parenthetical>(beat)</parenthetical> <dialogue>Press the earth there for me...</dialogue> <scene_description>José follows his dad's instruction.</scene_description> <character>SALVADOR</character> <dialogue>So? How is it going?</dialogue> <scene_description>José answers by cracking his beer open. Then they sit side by side, taking in the night.</scene_description> <character>JOSÉ</character> <dialogue>I don't know. I just want... Things could be easier.</dialogue> <character>SALVADOR</character> <dialogue>You know, it's hard work or nothing.</dialogue> <character>JOSÉ</character> <dialogue>You could be proud of me. I mean, I'm an engineer, not a janitor or something.</dialogue> <character>SALVADOR</character> <dialogue>What if you were? What's wrong with being a janitor?</dialogue> <scene_description>José looks up to the sky.</scene_description> <character>JOSÉ</character> <dialogue>Nothing... It's not rocket science though.</dialogue> <scene_description>Salvador shakes his head.</scene_description> <character>SALVADOR</character> <dialogue>You have a long way to go, Pepito.</dialogue> <scene_description>José fashions a bittersweet smile.</scene_description> <character>SALVADOR</character> <dialogue>You know everything your mother and me did for...</dialogue> <character>JOSÉ</character> <dialogue>I know! I know everything! I know you lost the house in Michoacán because of me. You don't have to bring that up every single time I'm trying to have a nice, quiet beer with you.</dialogue> <scene_description>Salvador looks at him a bit disappointed.</scene_description> <character>JOSÉ</character> <dialogue>It gets heavy, you know.</dialogue> <scene_description>Beat. Salvador gets up off the ground and heads to the house.</scene_description> <character>SALVADOR</character> <dialogue>Pues ponte fuerte.</dialogue> <character>SALVADOR</character> <dialogue>Well, get stronger.</dialogue> </scene> <scene> <stage_direction>INT. LAWRENCE LIVEREMORE LABS, CONFERENCE ROOM - DAY</stage_direction> <scene_description>José is seated among the other engineers. Logan gives his daily angry briefing. Everyone takes notes. José seems behind, off pace.</scene_description> <character>LOGAN</character> <dialogue>We're about to detonate a nuclear goddamn bomb and hope that X-ray laser shoots off rays at the right energies, correct amount and... in the precise direction that we want. If that sounds insane to the press it's because it is. So I want this test to run flawlessly. Prove the skeptics wrong... And keep our funding while we're at it.</dialogue> <scene_description>CLOSE ON JOSÉ as he listens...</scene_description> <character>LOGAN (O.S.)</character> <dialogue>Today I want you to comb through every last piece of data we have. Look for errors. The miscalculations we don't spot today... will blow up our chances tomorrow. So get... to work.</dialogue> <scene_description>The crowd gets up and exits room.</scene_description> <character>LOGAN</character> <dialogue>Weissberg, are you keeping Hernández busy?</dialogue> <scene_description>Weissberg nods - annoyed. Everyone gets up and knows what to do, but José seems lost, clumsy. He follows Weissberg and a couple of colleagues through one aisle but his attention is drawn to the melody coming out of a small radio in one of the desktops. It's The 5th Dimension's "Aquarious", bringing back memories.</scene_description> </scene> <scene> <stage_direction>INT. HERNÁNDEZ HOME, BEDROOM - NIGHT</stage_direction> <scene_description>José, in his pajamas, at his desk, the NASA application in front of him again, but this time every single question has been answered. José sets it on his desk, grabs a pen, and proceeds to fill - NAME AND LAST NAME: JOSÉ HERNÁNDEZ. He folds it and puts in an envelope. Lety opens the door.</scene_description> <character>LETY</character> <dialogue>Mom wants to know if you want tacos for work tomorrow.</dialogue> <character>JOSÉ</character> <dialogue>I don't. Thank you.</dialogue> <character>LETY</character> <dialogue>What's that?</dialogue> <character>JOSÉ</character> <dialogue>Nothing.</dialogue> <scene_description>Lety shrugs. José puts the application away, gets in bed. He has barely closed his eyes when...</scene_description> </scene> <scene> <stage_direction>INT. LAWRENCE LIVEREMORE LABS, CONFERENCE ROOM - NIGHT</stage_direction> <scene_description>José eats the saddest baloney sandwich. Just like everyone else. His hair and fashion have changed, his style now emulates the rest.</scene_description> <character>WEISSBERG</character> <dialogue>I believe the X-rays are being diffused at the interfaces causing a lower energy output and an out of focus output beam.</dialogue> <character>SCIENTIST 1</character> <dialogue>We're aware of these small losses, which is why we pump more energy into the reaction, what's your point?</dialogue> <scene_description>José interrupts.</scene_description> <character>JOSÉ</character> <dialogue>Yes, they are small losses, but when you cascade your parts, these losses propagate over many interfaces and they become significant. What if we look at the man-made pad material, study their density homogeneity and select pads that have the best match at each interface thus minimizing disruption at the interfaces?</dialogue> <scene_description>Weissberg shares a look with the scientist.</scene_description> <character>WEISSBERG</character> <dialogue>Sorry, I have to make a call.</dialogue> <scene_description>He leaves, the scientist follows. José takes a last bite wondering what being taken seriously would feel like.</scene_description> </scene> <scene> <stage_direction>EXT. CAR DEALERSHIP, MAIN LOT - DAY</stage_direction> <scene_description>José stands by his beloved Chevy lowrider as a SALESMAN inspects it, taking detailed notes - Beto looks on.</scene_description> <character>BETO</character> <dialogue>Don't do this!</dialogue> <character>JOSÉ</character> <dialogue>It's a 30 year old car, Beto.</dialogue> <character>BETO</character> <dialogue>But it's El Impala! Think of the adventures we've lived together in this car. You know, I think you're trying to FORGET who you are!</dialogue> <character>JOSÉ</character> <dialogue>This is not who I am, it's a gas guzzler with more miles on it than The Enterprise.</dialogue> <character>BETO</character> <dialogue>I don't know. It feels like a betrayal, this hurts.</dialogue> <scene_description>Just then, José sees Adela, the Mexican young woman he saw that time at the fields. She's walking by, holding a clipboard as she heads into the main office. José and Adela exchange quick glances. Something happened there! Did she remember him?</scene_description> <character>SALESMAN</character> <dialogue>It's in pretty good shape all things considered. Let me take this to my manager and see what she says. I think you can walk out of here with a really good deal.</dialogue> <character>JOSÉ</character> <dialogue>Inside?</dialogue> <character>SALESMAN</character> <dialogue>There's plenty of coffee and snacks.</dialogue> <character>BETO</character> <dialogue>That's how they get you, yo. You give up your soul for a bag of pinches Doritos.</dialogue> </scene> <scene> <stage_direction>INT. CAR DEALERSHIP, MAIN OFFICE - MOMENTS LATER</stage_direction> <scene_description>We see Beto in the distance, helping himself to snacks like it's an All You Can Eat Buffet. Meanwhile, Adela, THE MANAGER! tries to close a deal with José, but our guy is too nervous.</scene_description> <character>ADELA</character> <dialogue>I think you're gonna be really happy with this vehicle. Great mileage, nice sporty ride... I think it's a good investment on every level.</dialogue> <character>JOSÉ</character> <dialogue>Thank you, yeah, let's do it, sure.</dialogue> <character>ADELA</character> <dialogue>Great!! I'll get working on this right away!... Sir?</dialogue> <character>JOSÉ</character> <dialogue>What? O.K. Hey, did I see you in the fields a while ago?</dialogue> <scene_description>An awkward beat.</scene_description> <character>ADELA</character> <dialogue>Yeah, probably. I sometimes help my father.</dialogue> <character>JOSÉ</character> <dialogue>I do too!</dialogue> <scene_description>He smiles, she's perfect.</scene_description> <character>JOSÉ</character> <dialogue>Wow. I just... bought a car.</dialogue> <character>ADELA</character> <dialogue>Congratulations.</dialogue> <character>JOSÉ</character> <dialogue>Sorry. I don't... My name is José.</dialogue> <character>ADELA</character> <dialogue>I'm Adela.</dialogue> <character>JOSÉ</character> <dialogue>What car did I get, again? I am... Confused. Distracted. Sorry.</dialogue> <character>ADELA</character> <parenthetical>(Amused, smiling)</parenthetical> <dialogue>So you don't know what kind of car you just got?</dialogue> <character>JOSÉ</character> <dialogue>No idea. Could be a delivery truck for all I know.</dialogue> <scene_description>She laughs.</scene_description> <character>ADELA</character> <dialogue>Well, it's actually an old UPS truck.</dialogue> <scene_description>And she's funny? He's floored.</scene_description> <character>JOSÉ</character> <dialogue>Look, I know this is awkward, and you're in the middle of work and all, but... Uh... Would you-- At some point, maybe-- It doesn't-- You know-- Um... Forget it.</dialogue> <character>ADELA</character> <dialogue>Yeah, well, I wouldn't mind going on a date on a UPS truck. But I don't think it's gonna happen.</dialogue> <character>JOSÉ</character> <dialogue>Why not?</dialogue> <character>ADELA</character> <dialogue>Well... Because you'd have to meet my father first.</dialogue> <character>JOSÉ</character> <dialogue>I'm really good with dads.</dialogue> <character>ADELA</character> <dialogue>Okay, then. At your own risk. There's one more requirement, though.</dialogue> <character>JOSÉ</character> <dialogue>Shoot.</dialogue> <character>ADELA</character> <dialogue>You have to get your friend off my snack bar before I call the cops.</dialogue> <scene_description>Beto's indeed on his third serving now. José laughs - Adela smiles: It's on.</scene_description> </scene> <scene> <stage_direction>EXT. LAWRENCE LIVEREMORE LABS, PARKING LOT - DAY</stage_direction> <scene_description>A new, "americanized" José drives into the parking lot. American music blasting from his speakers, looking sharp and ready for work in his -maybe too in your face- American style. He steps out of his car - BEEP-BEEP. Proud. Happy. A sporty MAZDA RX-7 parks next to Logan's Mercedes.</scene_description> </scene> <scene> <stage_direction>INT. LAWRENCE LIVEREMORE LABS, JOSÉ'S OFFICE - LATER</stage_direction> <scene_description>José sits at his desk. Weissberg walks in carrying a large box filled with documents and a thin ENVELOPE.</scene_description> <character>WEISSBERG</character> <dialogue>You got mail.</dialogue> <scene_description>He drops the envelope on his desk. A NASA logo on it.</scene_description> <character>WEISSBERG</character> <dialogue>It's a waste of time. Even with graduate studies, you know that, right?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I want you to Xerox these - two copies of each page, then archive them in the basement.</dialogue> <character>JOSÉ</character> <dialogue>That's... thousands of pages.</dialogue> <character>WEISSBERG</character> <dialogue>Yep.</dialogue> <character>JOSÉ</character> <dialogue>I mean, I thought-- I think there might be a better way to use my time?</dialogue> <character>WEISSBERG</character> <dialogue>This is a good way to use your time.</dialogue> <scene_description>And leaves. What a jerk. José looks at the envelope, his heart racing, fearful, elated, all the feelings all at once. He reaches for it... opens it... and pulls out a single page: "Dear Applicant. We regret to inform you..." José stops reading right there. He would look out the window, disappointed, but there are none. He's CRUSHED. José looks at the box of documents.</scene_description> </scene> <scene> <stage_direction>INT. HERNÁNDEZ SHACK , STOCKTON - NIGHT</stage_direction> <scene_description>José comes out of his bedroom. Salvador is watching a noisy image on TV, Ricardo Montealbán as Khan on Startrek.</scene_description> <character>SALVADOR</character> <dialogue>Mira, Starrtrek, would you mind holding the antenna for me?</dialogue> <character>JOSÉ</character> <dialogue>I'm going out.</dialogue> <scene_description>Salvador takes a good look at his son, he has changed.</scene_description> <character>SALVADOR</character> <dialogue>Look at you. Vas con Beto?</dialogue> <character>JOSÉ</character> <dialogue>Nope. I've got a date.</dialogue> <scene_description>Salvador grins surprised.</scene_description> <character>SALVADOR</character> <dialogue>Ah pues, mira, good luck. I'll tell your mom as soon as she gets back from Berta's. She's going to be happy.</dialogue> <scene_description>Salvador turns back to the TV. José looks at his reflection in a mirror in his way out. Then he looks at his dad.</scene_description> <character>JOSÉ</character> <dialogue>Papá.</dialogue> <character>SALVADOR</character> <dialogue>Yes?</dialogue> <character>JOSÉ</character> <dialogue>Te quiero.</dialogue> <character>JOSÉ</character> <dialogue>I love you.</dialogue> </scene> <scene> <stage_direction>EXT. ADELA'S FAMILY HOME - NIGHT</stage_direction> <scene_description>Adela opens the door. She speaks fast.</scene_description> <character>ADELA</character> <dialogue>I'm so sorry for what's about to happen. Please don't run.</dialogue> <character>JOSÉ</character> <dialogue>What?</dialogue> </scene> <scene> <stage_direction>INT. ADELA'S FAMILY HOME, LIVING ROOM - NIGHT</stage_direction> <scene_description>TWO OLD MEN stare directly at us - gravely. They got craggy Mexican faces, leathered from years and years in the fields. José sweats. Adela enters with her MOM, all smiles, they bring a couple of glasses of water. José sips his right away.</scene_description> <character>MOM</character> <dialogue>¿De qué parte de Michoacán eres pues?</dialogue> <character>MOM</character> <dialogue>Where in Michoacán are you from?</dialogue> <character>JOSÉ</character> <dialogue>De la piedad.</dialogue> <scene_description>A long judgmental beat. Then Adela's mother starts mumbling a song: "El perro negro".</scene_description> <character>MOM</character> <dialogue>"Al otro lado del puente de La Piedad, Michoacán..."</dialogue> <scene_description>The uncles stand still.</scene_description> <character>MOM</character> <dialogue>¿Y qué cultivaban en Michoacán?</dialogue> <character>MOM</character> <dialogue>What did you grow in Michoacán?</dialogue> <character>JOSÉ</character> <dialogue>Maíz. Alfalfa.</dialogue> <character>JOSÉ</character> <dialogue>Corn. Alfalfa.</dialogue> <scene_description>The Uncles nod. José has no idea if this was the right or wrong answer.</scene_description> <character>MOM</character> <dialogue>My husband will be home soon. He had a long shift today.</dialogue> <character>JOSÉ</character> <dialogue>No problem, I'm glad I get to meet the rest of the family.</dialogue> <character>MOM</character> <dialogue>Are you hungry?</dialogue> <scene_description>We hear the front door. We reveal a burly MAN covered in dirt after hours spent working the fields. In a way, he is a version of Salvador.</scene_description> <character>ADELA</character> <dialogue>¡Papi! So good you're here. Este es José. José - mi papá.</dialogue> <scene_description>They exchange a blunt handshake. José is worried again.</scene_description> <character>PAPÁ</character> <dialogue>Mucho gusto. Veo que ya están muy instalados.</dialogue> <character>DAD</character> <dialogue>Nice to meet you. I see you've got settled.</dialogue> <character>JOSÉ</character> <dialogue>Yeah, we were just starting to...</dialogue> <character>PAPÁ</character> <dialogue>(lo interumpe)</dialogue> <character>DAD</character> <dialogue>(interrupts)</dialogue> <scene_description>Me supongo que no han hablado I guess you haven't talked de cuáles son tus intenciones about your intentions with my con mi hija. daughter. Adela wants to die.</scene_description> <character>ADELA</character> <dialogue>Papá...</dialogue> <character>ADELA</character> <dialogue>Dad...</dialogue> <character>PAPÁ</character> <dialogue>Adela no tiene permiso de salir en citas. ¿Ya le contaron eso?</dialogue> <character>DAD</character> <dialogue>Adela is not allowed to go out on dates. Have you told him?</dialogue> <scene_description>José opens his mouth, but can't speak.</scene_description> <character>ADELA</character> <dialogue>¡Papá!</dialogue> <character>ADELA</character> <dialogue>Dad!</dialogue> <character>PAPÁ</character> <dialogue>Si quiere venir a visitarla aquí es bienvenido. Eso sí, siempre y cuando esté yo, así que ojalá que ya no se le vuelva a hacer temprano.</dialogue> <character>DAD</character> <dialogue>If you want to come visit her here, you're very welcome. I have to be here, of course, so I trust you won't be early again.</dialogue> <character>ADELA</character> <dialogue>Oh, my god!</dialogue> </scene> <scene> <stage_direction>EXT. ADELA'S FAMILY HOME - LATER</stage_direction> <scene_description>Adela comes out to say goodbye.</scene_description> <character>ADELA</character> <dialogue>I'm so sorry. Really. I didn't mean to put you through the Spanish inquisition.</dialogue> <character>JOSÉ</character> <dialogue>It's fine. It was... fun?</dialogue> <character>ADELA</character> <dialogue>They're actually nice deep down. You probably just intimidate them.</dialogue> <character>JOSÉ</character> <dialogue>I intimidate them? Together they have the body mass of a large bull.</dialogue> <character>ADELA</character> <dialogue>I don't mean it like that... It's just... You're an engineer and stuff.</dialogue> <character>JOSÉ</character> <dialogue>I thought nerds didn't intimidate anybody.</dialogue> <character>PAPÁ (O.S.)</character> <dialogue>¡Ya métete, Adela!</dialogue> <character>PAPÁ (O.S.)</character> <dialogue>Get back in here, Adela!</dialogue> <character>ADELA</character> <dialogue>Ya vooooy.</dialogue> <character>ADELA</character> <dialogue>Coming!</dialogue> <scene_description>Adela rolls her eyes.</scene_description> <character>ADELA</character> <dialogue>I'm sorry.</dialogue> <character>JOSÉ</character> <dialogue>Don't worry. I'll come back.</dialogue> <scene_description>The physics of their bodies resists movement. They could stretch this moment out forever. It's obvious for both of them, and it's not a problem. Love happening in silence.</scene_description> </scene> <scene> <stage_direction>INT. LAWRENCE LIVEREMORE LABS, SUPPLY ROOM - LATER</stage_direction> <scene_description>Page... after page... after page... José diligently does the work, standing by the Xerox machine as it spits out documents, charts, calculations and reports. He's bored out of his mind. Suddenly, though, one particular GRAPH catches his eye. He picks up the copy and studies it. His wheels are turning... He stops the machine. And looks more carefully at the paper. Then he searches in the newly copied pile for the next page. And the next and the next, collecting them like a puzzle. AN EPIPHANY of sorts - he mentally grinds the numbers, the pictures, the explosions and THEN--</scene_description> </scene> <scene> <stage_direction>INT. LAWRENCE LIVEREMORE LABS, RECEPTION - MOMENTS LATER</stage_direction> <scene_description>José darts through the hallways until he bumps into Logan and his ENTOURAGE OF GEEKS, marching out of the building.</scene_description> <character>JOSÉ</character> <dialogue>Sir. I think I may have found--</dialogue> <character>LOGAN</character> <dialogue>Not now, Hernández, not now.</dialogue> <scene_description>They PLOW PAST HIM, and leave. Then, from the speakers:</scene_description> <character>STACEY (O.S.)</character> <dialogue>2-2-1 José Hernández, Room 542 needs cleaning. Just when you get a chance.</dialogue> <scene_description>We PUSH IN ON JOSÉ, furious: He's had enough.</scene_description> </scene> <scene> <stage_direction>INT. LAWRENCE LIVEREMORE LABS, JOSÉ'S OFFICE - MOMENTS LATER</stage_direction> <scene_description>CLOSE ON THE MASSIVE KEYCHAIN as José GRABS it...</scene_description> </scene> <scene> <stage_direction>INT. LAWRENCE LIVEREMORE LABS, MAIN LAB - MOMENTS LATER</stage_direction> <scene_description>José peeks through the lab glass door. It's empty. Inside the WORKSTATION OF A SUPERCOMPUTER. Then he starts trying the keys. One by one. Till he hits the jackpot: A KEY OPENS THE DOOR. INSIDE THE LAB-- And walks in.</scene_description> <character>JOSÉ</character> <dialogue>Let's do this.</dialogue> <scene_description>And he SWITCHES HER ON. He gleams, his instincts come alive. José spreads his papers across a desk. He enters information. He checks the results on the screen. He takes notes - erases previous ones, comes up with new ones. On the screen: "SIMULATION COMPLETE" -- A printer spews out results. José is now in a GROOVE. And the space around him has grown MESSIER: PAPER and PRINT-OUTS, CHARTS, DIAGRAMS. And then:</scene_description> <character>LOGAN (O.S.)</character> <dialogue>What the hell are you doing?</dialogue> <scene_description>BUSTED! Logan and his entourage - including Weissberg - circle him like a squad.</scene_description> <character>JOSÉ</character> <dialogue>Sorry, sir, I was uh...</dialogue> <character>LOGAN</character> <dialogue>How did you get in here?</dialogue> <character>JOSÉ</character> <dialogue>I have... I have keys.</dialogue> <character>LOGAN</character> <dialogue>You have keys? How the hell do you have keys to the lab?</dialogue> <character>JOSÉ</character> <dialogue>I have keys to every room in the building, sir.</dialogue> <scene_description>A beat.</scene_description> <character>JOSÉ</character> <dialogue>The receptionist thinks I'm the janitor.</dialogue> <character>LOGAN</character> <dialogue>This is very delicate equipment, you can't just--</dialogue> <parenthetical>(Re: the mess)</parenthetical> <dialogue>What's all this?</dialogue> <character>WEISSBERG</character> <dialogue>He's supposed to be making copies, sir.</dialogue> <character>LOGAN</character> <dialogue>He's supposed to be making copies? And instead you're...</dialogue> <scene_description>He reads one of his heavily annotated print outs.</scene_description> <character>LOGAN</character> <dialogue>What the hell are you even doing?</dialogue> <character>JOSÉ</character> <dialogue>I just wanted to put a concern through some tests.</dialogue> <character>LOGAN</character> <dialogue>A concern?</dialogue> <character>JOSÉ</character> <dialogue>Yes, sir. My concern is the instrument you're currently using to measure the laser output is subject to interactions with the explosion itself.</dialogue> <scene_description>Total skepticism; but he barrels on.</scene_description> <character>JOSÉ</character> <dialogue>You can see it here. And here. See, the system works by measuring the brightness of beryllium detectors when they're lit up by lasers. But the problem is these reflectors are being heated by the explosion. So unless they are separately calibrated, there's no way to know if the signal they're producing comes from the laser or the bomb.</dialogue> <parenthetical>(A beat)</parenthetical> <dialogue>As shown by the tests I just ran.</dialogue> <scene_description>The team looks on with distrust. Logan checks some more of the papers... It all slowly starts to make sense.</scene_description> <character>LOGAN</character> <dialogue>You mean to tell me no one's caught this before?</dialogue> <character>WEISSBERG</character> <dialogue>That is highly unlikely, sir--</dialogue> <character>LOGAN</character> <dialogue>Highly unlikely? I'm not in the business of likelihood, Weissberg. I'm into certainty. Scientific goddamn certainty. I want you all to stay here and confirm these numbers for me, is that clear?</dialogue> <character>WEISSBERG</character> <dialogue>Sir, I --</dialogue> <scene_description>But he's speechless.</scene_description> <character>LOGAN</character> <dialogue>Is that clear?</dialogue> <character>WEISSBERG</character> <dialogue>Yes, sir.</dialogue> <character>LOGAN</character> <dialogue>Be here all night if that's what it takes.</dialogue> </scene> <scene> <stage_direction>INT. LAWRENCE LIVEREMORE LABS, RECEPTION - MOMENTS LATER</stage_direction> <scene_description>BOOM - The massive KEYCHAIN LANDS HARSHLY ON STACEY'S DESK. She looks up, José in front of her.</scene_description> <character>JOSÉ</character> <dialogue>Hey. So, I'm not the new guy. I mean, I am, but I'm not the new janitor. I'm an engineer...</dialogue> <parenthetical>(as he leaves)</parenthetical> <dialogue>Not that there's anything wrong with being the janitor.</dialogue> <scene_description>Stacey just sits there, she nods.</scene_description> </scene> <scene> <stage_direction>INT. ADELA'S HOUSE/ KITCHEN - LATER</stage_direction> <scene_description>José and Adela sit at the table, drinking a glass of Coke. Her mother comes in.</scene_description> <character>MOM</character> <dialogue>Are you enjoying your chat?</dialogue> <character>JOSÉ</character> <dialogue>Yes, ma'am, thank you.</dialogue> <character>MOM</character> <dialogue>Well, you better say everything you want to say to each other because Ezequiel will be home in thirty.</dialogue> <scene_description>She leaves, José toasts with the class of coke.</scene_description> <character>JOSÉ</character> <dialogue>Your mom is so cool.</dialogue> <character>ADELA</character> <dialogue>She likes you. I can tell...</dialogue> <character>JOSÉ</character> <dialogue>She likes the nerd.</dialogue> <character>ADELA</character> <dialogue>You're a different kind of nerd.</dialogue> <character>JOSÉ</character> <dialogue>Yeah? Well, you strike me as... Hmmm... I don't know, you're eager.</dialogue> <character>ADELA</character> <dialogue>Eager? As a matter of fact I am.</dialogue> <character>JOSÉ</character> <dialogue>So? What's your big dream? Goal?</dialogue> <character>ADELA</character> <dialogue>Goal?</dialogue> <character>JOSÉ</character> <dialogue>My dad says you have to focus on something, a goal. Then you have to work see how far you are, draw a path...</dialogue> <scene_description>Interrupting, direct.</scene_description> <character>ADELA</character> <dialogue>I want to have my own restaurant.</dialogue> <character>JOSÉ</character> <dialogue>Ok, no hesitation there.</dialogue> <character>ADELA</character> <dialogue>A real restaurant, comida Michoacana, not your next burrito joint.</dialogue> <character>JOSÉ</character> <dialogue>I would definitely go.</dialogue> <character>ADELA</character> <dialogue>I know you would.</dialogue> <character>JOSÉ</character> <dialogue>I'd put money on it too.</dialogue> <scene_description>They smile.</scene_description> <character>ADELA</character> <dialogue>What's yours? Your big goal, dream, whatever.</dialogue> <character>JOSÉ</character> <dialogue>Well...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>When I was a kid... Nah... It's stupid.</dialogue> <scene_description>He thinks about it. Decides against it.</scene_description> <character>ADELA</character> <dialogue>Oh, you can't do that! You absolutely cannot do that!</dialogue> <character>JOSÉ</character> <dialogue>Do what?!</dialogue> <character>ADELA</character> <dialogue>You were about to say something! Tell me, what's your big dream?</dialogue> <character>JOSÉ</character> <dialogue>Marry Salma Hayek.</dialogue> <character>ADELA</character> <dialogue>Ha!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Tell me, I want to get to know you.</dialogue> <scene_description>He wants to but it feels silly. He hesitates. And then:</scene_description> <character>JOSÉ</character> <dialogue>I think I wanna be an astronaut.</dialogue> <scene_description>She laughs, hard this time. When she stops...</scene_description> <character>ADELA</character> <dialogue>Oh, my god, you're serious.</dialogue> <scene_description>A beat. And then it lands...</scene_description> <character>ADELA</character> <dialogue>Wow. You mean to-- Like--</dialogue> <character>JOSÉ</character> <dialogue>It's stupid.</dialogue> <character>ADELA</character> <dialogue>No! No, I just-- I wasn't expecting it to... be that. I don't think it's stupid at all. It's the exact opposite of stupid. It's amazing. I feel really unambitious, now.</dialogue> <scene_description>She laughs.</scene_description> <character>JOSÉ</character> <dialogue>Hey, a dream is a dream.</dialogue> <character>ADELA</character> <dialogue>Well, you know, stop by my joint for unos tamales on your way back from Mars.</dialogue> <character>JOSÉ</character> <dialogue>Will do.</dialogue> <scene_description>He sees her hand on the table, close to his. He has the impulse to touch it... Adela smiles. It's so on. He reaches for her hand.</scene_description> <character>JOSÉ</character> <dialogue>Can I ask you something?</dialogue> <character>ADELA</character> <dialogue>Shoot.</dialogue> <scene_description>We hear the door. It's Dad. They pull back their hands.</scene_description> <character>JOSÉ</character> <dialogue>What does a nerd have to do to be alone with you someday?</dialogue> <character>ADELA</character> <parenthetical>(Big, big smile)</parenthetical> <dialogue>Well for starters you have to dump Salma. Then...</dialogue> </scene> <scene> <stage_direction>EXT. LARGE PATIO, WEDDING - DAY</stage_direction> <scene_description>CLOSE ON A KISS. It's an outdoor WEDDING. A CANOPY OF LIGHTS, Juan Gabriel's 'Querida', colorful BANNERS, and a small army of GUESTS. José's family CHEERS and APPLAUDS. Adela's family just sits there. Her mom has a big smile on her face, her dad seems rather grumpy. Further back, Beto POPS THE TEQUILA. We travel over a MEXICAN FEAST spread across a long table as FAMILY MEMBERS help themselves to the food, till we land on José and Adela, posing, happy. Someone snaps a photo of them: FLASH! CUT TO: -- A Hi8 home video of their every day: -The birth of baby Julio crying. -The first bath. -Julia and Salvador carry him during the christening. -- Archival - NEWSCLIP: The dissolution of the Soviet Union. -- More Hi8 footage of a Adela and José holding a NEW BABY GIRL. -- Archival - NEWSCLIP: The Berlin wall falling. -- On the NEWS: "The U.S. ends its X-ray Laser Program" -- Archival newsclip: U.S.-Russian Nuclear Conversion Program 1990 announcement. -- A headshot of José, a Livermore top engineer. -- Livemore Labs footage.</scene_description> <character>ANCHOR O.S.</character> <dialogue>Engineers at Lawrence Livermore Laboratory have commenced a new implementation for X-Ray technology. A digital wide spectrum mammogram for early cancer detection in affected women. This after their "Star Wars" program was ended after the dissolution of the Soviet Union.</dialogue> <scene_description>-- José interviewed.</scene_description> <character>JOSÉ</character> <dialogue>We're so proud of this project. We didn't only have the chance but the responsibility of using our technology and knowledge to save women's lives.</dialogue> </scene> <scene> <stage_direction>INT. JOSÉ AND ADELA'S HOME - DAY</stage_direction> <scene_description>THE WEDDING PHOTO, now FRAMED. We PULL BACK as... Little JULIO (3) grabs the frame and BANGS it on a table.</scene_description> <character>ADELA (O.S.)</character> <dialogue>Julio, put it back. Put it back now!</dialogue> <scene_description>MORNING CHAOS in José and a VERY PREGNANT Adela's domestic war zone. José CHASES Julio down the hallway, making menacing noises as the kid LAUGHS HYSTERICALLY --</scene_description> <character>ADELA (O.S.)</character> <dialogue>It's not funny, guys. José, I want that frame back in one piece!</dialogue> <scene_description>BABY KARINA (1) cries on her lap. She feeds her.</scene_description> <character>ADELA</character> <dialogue>Are you getting home on time? I have an appointment to go see an old shop for the restaurant.</dialogue> <character>JOSÉ</character> <dialogue>Old shop?</dialogue> <character>ADELA</character> <dialogue>It could work.</dialogue> <character>JOSÉ</character> <dialogue>Have you decided on a name?</dialogue> <character>ADELA</character> <dialogue>I'm thinking my mother's name.</dialogue> <character>JOSÉ</character> <dialogue>That's nice.</dialogue> <scene_description>José RUNS up the stairs and finally CATCHES Julio, lifting him up and "flying" him through the air. The kid LOVES this.</scene_description> <character>ADELA</character> <dialogue>Don't forget the diapers on your way back.</dialogue> <character>JOSÉ</character> <dialogue>Space Shuttle Julio now entering the atmosphere, oh, wait, what's that? Some turbulence?!</dialogue> <character>JULIO</character> <dialogue>(Laughing) No, papá, no, no, no!!</dialogue> <scene_description>He shakes him up and the kid drops the frame, which BREAKS. They freeze in place, QUIET. They're in trouble.</scene_description> <character>ADELA (O.S.)</character> <dialogue>What did I just hear???</dialogue> </scene> <scene> <stage_direction>EXT. JOSÉ AND ADELA'S HOME, DRIVEWAY - MORNING</stage_direction> <scene_description>TIGHT CLOSE on José and Adela's KISS. He checks the mail on his way out. It's empty. Then Adela, Baby Karina and Julio wave goodbye to Jose as he backs out of the driveway and heads off to work. It's still chaotic, but heartfelt and beautiful.</scene_description> </scene> <scene> <stage_direction>INT. LAWRENCE LIVEREMORE LABS, CONFERENCE ROOM - DAY</stage_direction> <scene_description>José leads a TEAM OF ENGINEERS, Weissberg among them. Logan enters the room. He's proud. The engineers disperse and Logan approaches José.</scene_description> <character>JOSÉ</character> <dialogue>After many months of adjustments and trials we got approved by the FDA.</dialogue> <scene_description>Everyone cheers and claps.</scene_description> <character>JOSÉ</character> <dialogue>I have enjoyed every second of running this team.</dialogue> <parenthetical>(re: Weissberg)</parenthetical> <dialogue>Thank you for all of your work.</dialogue> <scene_description>Weissberg nods.</scene_description> <character>WEISSBERG</character> <dialogue>Thank you.</dialogue> <character>JOSÉ</character> <dialogue>And of course, let's give a big round of applause to our captain, Clint Logan.</dialogue> <scene_description>The two men share a kind look. The assembly breaks off.</scene_description> <character>LOGAN</character> <dialogue>Hey, I have something for you...</dialogue> <scene_description>José nods, intrigued.</scene_description> <character>LOGAN</character> <dialogue>The Highly Enriched Uranium Program. In a shell: The US is buying the Russians's nuclear material and bringing it to America's power plants. They're sending the very best, from all national labs...</dialogue> <character>JOSÉ</character> <dialogue>Where is that happening again?</dialogue> <character>LOGAN</character> <dialogue>Siberia. Do you have a suitcase and a good jacket?</dialogue> <scene_description>José smiles, proud. But he's not sure.</scene_description> <character>LOGAN</character> <dialogue>This project is... You would have a piece of history in your hands.</dialogue> <character>JOSÉ</character> <dialogue>I... I'm speechless. I just don't know. My wife, my kids...</dialogue> <scene_description>Logan walks to the entrance and turns.</scene_description> <character>LOGAN</character> <dialogue>You know... A job like this would look pretty damn good in an application for the space program.</dialogue> <scene_description>José sighs.</scene_description> </scene> <scene> <stage_direction>EXT. JOSÉ AND ADELA'S HOME - DUSK</stage_direction> <scene_description>We see José and Adela's modest but beautiful home as José steps out of his car and checks the mail, NOTHING.</scene_description> </scene> <scene> <stage_direction>INT. JOSÉ AND ADELA'S HOME, VARIOUS - NIGHT</stage_direction> <scene_description>José walks into the house. It's dark. In the kids' bedroom, he pulls up the children's covers and kisses Julio's forehead. We follow him into the bedroom.</scene_description> <character>JOSÉ</character> <dialogue>Adelita? I'm sorry I'm late. I promise I'll take you see that shop... Tomorrow.</dialogue> <scene_description>...but it's empty. The kitchen: Dark and empty. There's light coming from his studio.</scene_description> </scene> <scene> <stage_direction>INT. JOSÉ AND ADELA'S HOME, JOSÉ'S STUDIO - MOMENTS LATER</stage_direction> <scene_description>José walks in and finds... Adela sitting by his desk, looking down. Then he notices his desk: His six NASA REJECTION LETTERS, spread before her like forensic evidence. She just turns and looks at him.</scene_description> <character>ADELA</character> <dialogue>What are these?</dialogue> <scene_description>But he can't come up with a response.</scene_description> <character>ADELA</character> <dialogue>Say something.</dialogue> <character>JOSÉ</character> <dialogue>I was going to tell you.</dialogue> <character>ADELA</character> <dialogue>I just want to make sure I'm getting this straight: You have actually applied six times to the Space Program... and you never once thought I'd like to know?</dialogue> <character>JOSÉ</character> <dialogue>It's-- I thought I'd give it a shot.</dialogue> <character>ADELA</character> <dialogue>A shot? These are six shots - Six shots, José, over the course of six years.</dialogue> <character>JOSÉ</character> <dialogue>It's just a stupid dream.</dialogue> <character>ADELA</character> <dialogue>A stupid dream?! You wanna know what I think of as a stupid dream?</dialogue> <character>ADELA</character> <dialogue>The dream of trusting your partner if you're planning to go to space.</dialogue> <character>JOSÉ</character> <dialogue>I did tell you.</dialogue> <character>ADELA</character> <dialogue>You mentioned it once over a date. Years ago. AND I thought you were joking.</dialogue> <character>JOSÉ</character> <dialogue>Nobody's going anywhere, Adela, I got rejected six times.</dialogue> <character>ADELA</character> <dialogue>And what if you hadn't?</dialogue> <character>JOSÉ</character> <dialogue>But I did! I was gonna tell you.</dialogue> <character>ADELA</character> <dialogue>When? Collect call from the moon!?</dialogue> <character>JOSÉ</character> <dialogue>Adela-- I just want you to be proud of me.</dialogue> <scene_description>Beat.</scene_description> <character>ADELA</character> <dialogue>You were late.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Did you bring the diapers?</dialogue> <character>JOSÉ</character> <dialogue>Let's not--</dialogue> <character>ADELA</character> <dialogue>Did you remember to bring the diapers I asked you for three times today?</dialogue> <character>JOSÉ</character> <dialogue>The FDA thing came out today.</dialogue> <scene_description>Silence.</scene_description> <character>ADELA</character> <parenthetical>(sad)</parenthetical> <dialogue>Congrats. Nice work. I'm actually pretty proud of you.</dialogue> <scene_description>She collects the letters, stands up, and shoves them in his hands. She leaves José holding his stack of rejection. He looks at his old corn cob, still there in the shelf, a bit mummified, like an old memory...</scene_description> </scene> <scene> <stage_direction>EXT. STOCKTON - NIGHT</stage_direction> <scene_description>Laying on the hood of the car, José and Beto drink beer under the stars. José has a pack of diapers in his lap.</scene_description> <character>BETO</character> <dialogue>You know they put the diapers by the beer stall because it's depressed dads who go buy them in the middle of the night... Damn, you stupid.</dialogue> <character>JOSÉ</character> <dialogue>She's been so stressed out with the restaurant thing.</dialogue> <character>BETO</character> <dialogue>Maybe she just wants to be in the loop if you're planning to go to space?</dialogue> <character>JOSÉ</character> <dialogue>Well, not happening. I've been rejected six times.</dialogue> <scene_description>José drinks up, feeling sorry for himself. Beto chuckles. A long silence. Then...</scene_description> <character>BETO</character> <dialogue>Gotta bolt, cousin.</dialogue> <character>JOSÉ</character> <dialogue>What's up?</dialogue> <character>BETO</character> <dialogue>What do you think is up? C'mon you're the smart one, no? A 5am shift, of course.</dialogue> <scene_description>Beto gets ready to go... but then:</scene_description> <character>BETO</character> <dialogue>Look at me, man. Look at you. You know, I never bought that bullshit about the American Dream.</dialogue> <scene_description>A beat.</scene_description> <character>BETO</character> <dialogue>But I see you. You've had love, you've had chances. People have believed in you. You got a beautiful family who loves you and puts up with your crap. What more do you want?! You made it. And that's not because you ditched El Impala...</dialogue> <character>JOSÉ</character> <dialogue>Oh my God, El Impala all over again...</dialogue> <character>BETO</character> <dialogue>What's the deal with space?</dialogue> <scene_description>José shrugs.</scene_description> <character>JOSÉ</character> <dialogue>I don't know man.</dialogue> <parenthetical>(a heartfelt beat)</parenthetical> <dialogue>Maybe I just want to take my hands off the ground, you know?</dialogue> <scene_description>Beto shakes his head. José lowers his sight.</scene_description> <character>BETO</character> <dialogue>Hey, tell me something, who would be better than a migrant, someone who knows what is like to dive into the unknown... who better than that to dare leave this planet?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Be thankful. Go home.</dialogue> <scene_description>Beto walks off as José sits on the hood of his car, thinking. But he turns.</scene_description> <character>BETO</character> <dialogue>Promise me something. When you're up there. Because you ARE going to be up there. Have a nice look down on earth.</dialogue> </scene> <scene> <stage_direction>INT. JOSÉ AND ADELA'S HOME - DAWN</stage_direction> <scene_description>José walks into the dark kitchen at dawn. José puts the diapers on the kitchen table... And just stands there, idly staring at it.</scene_description> </scene> <scene> <stage_direction>INT. JOSÉ AND ADELA'S HOME - NIGHT</stage_direction> <scene_description>A tense family dinner is over. José remains sitting at the head of the table, alone. Adela just stares at him.</scene_description> <character>JOSÉ</character> <dialogue>I'm so, so sorry, Adelita. I...</dialogue> <scene_description>A beat. They're both tired. She offers her hand. He takes it, relieved. Weirdly, though, her tone is all business:</scene_description> <character>ADELA</character> <dialogue>How big is this... Space idea?</dialogue> <character>JOSÉ</character> <dialogue>What? No. No, it's just a silly--</dialogue> <character>ADELA</character> <dialogue>José. How big is it?</dialogue> <scene_description>It takes him a second to come clean.</scene_description> <character>JOSÉ</character> <dialogue>I think about it every single hour of every single day. Always been there. Can't make it go away.</dialogue> <scene_description>A long pause.</scene_description> <character>ADELA</character> <dialogue>I refuse to be the oblivious... permanently annoyed, whining wife, so don't put me there... I need you to trust me. I take you seriously. And if we're going to do this we're going to do this right.</dialogue> <scene_description>A beat.</scene_description> <character>ADELA</character> <dialogue>I'm gonna ask you a question. And I want you to give me an honest answer, okay?</dialogue> <scene_description>He nods.</scene_description> <character>ADELA</character> <dialogue>The people that got into the Program the last six years... What do they have that you don't?</dialogue> <character>JOSÉ</character> <dialogue>Well, there's a lot of training, and it's money...</dialogue> <character>ADELA</character> <dialogue>Forget about that. We have savings. What do they have that you don't?</dialogue> <scene_description>PUSH IN on JOSÉ as a flame is suddenly IGNNITED--</scene_description> </scene> <scene> <stage_direction>EXT. AIR ACADEMY, RUNWAY - DAY</stage_direction> <scene_description>José steps into a sketchy air academy airstrip.</scene_description> <character>JOSÉ (V.O.)</character> <dialogue>The last batch of candidates were chosen from two thousand nine hundred sixty two applicants.</dialogue> <scene_description>AN OLD CESSNA threatening to fall apart and a weird looking FLIGHT INSTRUCTOR welcome him. He hands him some cash.</scene_description> <character>JOSÉ (V.O.)</character> <dialogue>Some are military, some hold PhDs. There's engineers and scientists, there's even some teachers... and pilots.</dialogue> </scene> <scene> <stage_direction>INT. CESSNA, ON THE GROUND- LATER</stage_direction> <scene_description>INSTRUMENTS. AIRSPEED. HORIZON. José sits next to the instructor. He takes the yoke.</scene_description> <character>JOSÉ (V.O.)</character> <dialogue>Lots of pilots. Really good ones, too.</dialogue> <character>INSTRUCTOR</character> <dialogue>So... This is up, this is down...</dialogue> <character>JOSÉ (V.O.)</character> <dialogue>They also have extensive success in high performance hobbies.</dialogue> </scene> <scene> <stage_direction>EXT. JOSÉ AND ADELA'S HOME, DRIVEWAY - DAWN</stage_direction> <scene_description>SNEAKERS. SHOE LACES - TIGHT! José, in running gear, stretches on the driveway.</scene_description> <character>JOSE (V.O.)</character> <dialogue>Running, swimming, triathlons, fishing, tennis, weight-lifting... I mean some of these guys are outright athletes.</dialogue> </scene> <scene> <stage_direction>EXT. STREET - LATER</stage_direction> <scene_description>José RUNS, determined. About to cross a street, so focused he misses the CAR THAT ALMOST HITS HIM - DRIVER HONKS. Sorry!</scene_description> <character>JOSÉ (V.O.)</character> <dialogue>One of them is a professional deep sea diver who has logged over 700 dives. Diving is key.</dialogue> </scene> <scene> <stage_direction>INT. POOL - DAY</stage_direction> <scene_description>MASK. TANK. REGULATOR. José, dips backwards into a pool. UNDERWATER-- He adjusts the mouthpiece, but it loosens and falls out. He rises, panicking!</scene_description> </scene> <scene> <stage_direction>EXT. JOSÉ AND ADELA'S HOME - DAY</stage_direction> <scene_description>José takes an envelope from the mail box. He opens it, and reads the letter: It's from NASA, and it says: "Dear Applicant - We regret to inform you..." He stops reading, pissed.</scene_description> </scene> <scene> <stage_direction>INT. LAWRENCE LIVEREMORE LABS, PARKING LOT - DAWN</stage_direction> <scene_description>Early morning. Logan parks his Mercedes. He grabs his things, looks out: José SPRINTS down the parking lot.</scene_description> <character>LOGAN</character> <dialogue>Talk about a mid-life crisis.</dialogue> <character>JOSÉ (V.O.)</character> <dialogue>Oh, and of course there's the language thing. These guys speak Chinese, French, German... But the most important one is, of course...</dialogue> <scene_description>-- José stops and looks at Logan.</scene_description> <character>JOSÉ</character> <dialogue>Hey about that Highly Enriched Uranium Program...</dialogue> </scene> <scene> <stage_direction>INT. JOSÉ AND ADELA'S HOME, JOSÉ'S STUDIO - NIGHT</stage_direction> <scene_description>José holds a crying 12-MONTH-old BABY GIRL as he enters his studio, sits by his desk, and tries to OPEN an ENVELOPE with one hand. He pulls out a LETTER and reads: "Dear Applicant. We regret to inform you... CUT TO: -- José at a meeting with the all the engineers at Livermore. -- Once again, a very PREGNANT Adela serves dinner with José's help. Their big family growing around them. -- José runs a Marathon. Julio offers a cup of water as he passes in-front of their yard, José grabs it without stopping. -- Adela GIVES BIRTH! -- Another letter: "WE REGRET TO INFORM YOU..." -- And another: "IT IS WITH UTMOST REGRET..." -- And another: "UNFORTUNATELY..." -- "JOSÉ HERNÁNDEZ" on a brand new NASA application form. FOLDED. ENVELOPE. SEALED.</scene_description> </scene> <scene> <stage_direction>INT. JOSE AND ADELA'S HOME, KITCHEN - DAWN</stage_direction> <scene_description>Early morning breakfast. Kids are loud and they all ask:</scene_description> <character>KIDS</character> <dialogue>Where's papá???</dialogue> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>José RUNS down the street, looks both ways, BOLTS PAST THE STREET CROSSING, and drops the application in a MAILBOX.</scene_description> <character>JOSÉ (V.O.)</character> <dialogue>It's probably taken them all years to get to where they are.</dialogue> </scene> <scene> <stage_direction>EXT. POOL - DAY</stage_direction> <scene_description>FINS. PRESSURE GAUGE UP! A SPLASH UNDERWATER. José scuba dives in the pool.</scene_description> <character>JOSÉ (V.O.)</character> <dialogue>And still, even if you get good at all these things, there's no guarantee.</dialogue> </scene> <scene> <stage_direction>INT. CESSNA, ON THE GROUND - DAY</stage_direction> <scene_description>José holds the control yoke once more.</scene_description> <character>INSTRUCTOR</character> <dialogue>Turn right to course three one zero and descend to 5,000 feet.</dialogue> <scene_description>José complies, he looks at the guy who seems on a trance... Is he ok?</scene_description> <character>JOSÉ</character> <dialogue>You know we're on the ground, right?</dialogue> <character>INSTRUCTOR</character> <dialogue>You'll be up when you're ready.</dialogue> <character>JOSÉ (V.O.)</character> <dialogue>I could get good. And then get better... And then even better...</dialogue> </scene> <scene> <stage_direction>INT. JOSÉ AND ADELA'S HOME, JOSÉ'S STUDIO - NIGHT</stage_direction> <scene_description>José enters his studio, sits by his desk, and OPENS an ENVELOPE. NASA LETTERHEAD, then: "Dear Applicant. We regret to inform you... He stops reading and folds it back up. Then he opens up a desk drawer, pulls a stack of ten other NASA rejections, adds the new one to the pile... and closes the drawer. His cob rocket seems to be staring back at him with disappointment.</scene_description> <character>JOSÉ (V.O.)</character> <dialogue>All upcoming space travel will be to the International Space Station. Russian is a must.</dialogue> </scene> <scene> <stage_direction>INT. JOSÉ AND ADELA'S HOME - EVENING</stage_direction> <scene_description>José and Adela clear the table post-dinner. José takes one last stack of plates out of her hands... and DANCES WITH HER.</scene_description> <character>ADELA</character> <dialogue>Everything okay?</dialogue> <character>JOSÉ</character> <dialogue>Yeah.</dialogue> <parenthetical>(A beat - sad)</parenthetical> <dialogue>All good.</dialogue> <character>ADELA</character> <dialogue>Sure?</dialogue> <scene_description>Adela makes a face, kisses him. LOOKS at him.</scene_description> <character>ADELA</character> <dialogue>You need to go to Russia.</dialogue> <scene_description>He looks at her. Is she for real?</scene_description> <character>JOSÉ</character> <dialogue>I'm sorry.</dialogue> <character>ADELA</character> <dialogue>About what? Don't be silly.</dialogue> <character>JOSÉ</character> <dialogue>Por el restaurante.</dialogue> <character>ADELA</character> <dialogue>Are you saying that in Spanish to make it easier?</dialogue> <character>JOSÉ</character> <dialogue>We're spending the restaurant money.</dialogue> <character>ADELA</character> <dialogue>We're going to be fine... Please let me go, I feel like a drifting zeppelin.</dialogue> <scene_description>José stops at her lack of romanticism. She laughs.</scene_description> <character>ADELA</character> <dialogue>What? That is exactly how I feel.</dialogue> <scene_description>She smiles and kisses him.</scene_description> <character>JOSÉ</character> <dialogue>I'm really sorry.</dialogue> <character>ADELA</character> <dialogue>Well now you have to do what you have to do to get this, right?</dialogue> <character>JOSÉ</character> <dialogue>I'd be traveling nonstop. I'd miss all of you so much... the new baby...</dialogue> <scene_description>He kisses her enormous belly.</scene_description> <character>ADELA</character> <dialogue>We grew up watching our people make sacrifices. Your parents, my parents... Look at us, I mean. It's on us now.</dialogue> <scene_description>She's going to say something more but one of the kids starts CRYING. Adela gets up. José stays there, eyes open... Salvador, working on a field, touching the earth, looks back at him from one of the family photos framed on the wall.</scene_description> </scene> <scene> <stage_direction>INT. AIRPORT - DAY</stage_direction> <scene_description>-- An airplane flying through the sky. -- A Russian stamp on José's American passport.</scene_description> </scene> <scene> <stage_direction>EXT. MOVING CAR, SIBERIA - DAY</stage_direction> <scene_description>José looks out a car window. SIBERIA - white nothingness.</scene_description> <character>RUSSIAN ENGINEER (V.O.)</character> <parenthetical>(In Russian)</parenthetical> <dialogue>As the High Enriched Uranium Transparency Program gets underway, we welcome American volunteer José Hernández.</dialogue> </scene> <scene> <stage_direction>INT. NUCLEAR CONTROL ROOM - DAY</stage_direction> <scene_description>CLOSE ON JOSÉ as a small crowd of ENGINEERS applauds. Reveal a CONTROL ROOM with wall to wall screens and NUCLEAR GAUGES.</scene_description> <character>RUSSIAN ENGINEER</character> <dialogue>He'll be with us for the next months, let's make him feel right at home.</dialogue> <scene_description>People laugh.</scene_description> <character>JOSÉ</character> <parenthetical>(Struggles in Russian)</parenthetical> <dialogue>I... thank... you... very... much.</dialogue> <scene_description>ON JOSÉ'S look, lost, jet-lagged and confused.</scene_description> </scene> <scene> <stage_direction>EXT. SIBERIA - DAY</stage_direction> <scene_description>Dead silence. A vast, snow-covered Siberian field. José RUNS THROUGH it.</scene_description> <character>ADELA (ON THE PHONE)</character> <dialogue>I really like 'Yesenia'. My mother insists on 'Dolores'.</dialogue> <character>JOSÉ (V.O.)</character> <dialogue>I'm so sorry. I should have been there. I feel... I...</dialogue> <character>ADELA (ON THE PHONE)</character> <dialogue>I know. This sucks... But we agreed on this. Remember.</dialogue> <scene_description>We just see José traversing the white, endless frame like a tiny little ant.</scene_description> </scene> <scene> <stage_direction>INT. NUCLEAR CONTROL ROOM, BACK ROOM - DAY</stage_direction> <scene_description>A telephone booth in a back room, depressing, greenish - José on the phone.</scene_description> <character>JOSÉ</character> <dialogue>I know, but it feels...</dialogue> <character>ADELA (V.O.)</character> <dialogue>It was quick. I started having contractions and called mom, I nearly didn't make it to the hospital.</dialogue> <character>JOSÉ</character> <dialogue>I feel horrible for not being there.</dialogue> <character>ADELA (V.O.)</character> <dialogue>Children are born when they are born. That's how it is.</dialogue> <scene_description>José sighs.</scene_description> <character>ADELA (V.O.)</character> <dialogue>Hold on, Julio wants to talk to you.</dialogue> <character>JULIO (V.O.)</character> <dialogue>¿Papá?</dialogue> <scene_description>José looks overwhelmed by the sound of his voice. He takes a second to compose himself...</scene_description> <character>JOSÉ</character> <dialogue>Julito... ¿Qué pasa, buddy? How's your new baby sister?</dialogue> <character>JULIO (V.O.)</character> <dialogue>She's OK. But Karina wouldn't eat her dinner, papá.</dialogue> <scene_description>We can hear a sweet family quarrel in the background. José listens to it like it's a gorgeous chant.</scene_description> <character>JOSÉ</character> <dialogue>Tell her she has to.</dialogue> <character>JULIO</character> <dialogue>I'm going to put the baby on.</dialogue> <scene_description>José holds a tear back.</scene_description> <character>JOSÉ</character> <dialogue>Put her on.</dialogue> <scene_description>Baby gagging on the other side of the line. José is crushed. -- AN AMERICAN STAMP ON A PASSPORT.</scene_description> </scene> <scene> <stage_direction>INT. JOSÉ AND ADELA'S HOME, KITCHEN - DAY</stage_direction> <scene_description>José holds the baby - he shows her a set of MATRYOSHKA DOLLS, while Julia corrals the rest of the kids around the kitchen. Adela is sitting on the table. Salvador admires the small creature, his youngest granddaughter.</scene_description> <character>SALVADOR</character> <dialogue>Did you know Monarch butterflies weigh 1 gram?</dialogue> <character>JOSÉ</character> <dialogue>I did not, papá.</dialogue> <scene_description>Of course he does, this is a recurrent tale.</scene_description> <character>SALVADOR</character> <dialogue>They fly 2,000 miles every year and they weigh 1 gram.</dialogue> <scene_description>On José, a bit lost, noticing a wet diaper.</scene_description> <character>SALVADOR</character> <dialogue>They travel together, that's how they do it. That's how they can face danger, the cold, a los depredadores, that's how they survive and succeed.</dialogue> <scene_description>José smiles looks at his father, he gets it. They share a moment. Then turns to Adela and his mother. It's been true all the time; he has it all. He sighs.</scene_description> </scene> <scene> <stage_direction>INT. HERNÁNDEZ HOME, BEDROOM - NIGHT</stage_direction> <scene_description>Adela is breastfeeding the new baby. José by her side fills in a new application, licks the envelope. He looks at her with tenderness, sadness even.</scene_description> <character>ADELA</character> <dialogue>I think you shouldn't mail this one in.</dialogue> <character>JOSÉ</character> <dialogue>What do you mean?</dialogue> <scene_description>-- The NATIONAL MALL. WASHINGTON DC.</scene_description> </scene> <scene> <stage_direction>INT. NASA HEADQUARTERS, HALLWAY - LATER</stage_direction> <scene_description>BUREUCRACY. Fluorescents. José rolls a rickety carry-on bag down a hallway.</scene_description> </scene> <scene> <stage_direction>INT. NASA HEADQUARTERS, PROGRAM SELECTION LOBBY - CONTINUOUS</stage_direction> <scene_description>CJ STURCKOW - head of the program, stern, busy, no-nonsense - talks to the RECEPTIONIST. There's a small army of STAFF behind him. José walks into the lobby. No one looks up. He comes close and stands in front of Sturckow. Then he unzips one of the compartments on his suitcase, and pulls out his application.</scene_description> <character>JOSÉ</character> <dialogue>Excuse me, Sir, CJ Sturckow, head of the Astronaut Candidates Selection Program. I'm José Hernández.</dialogue> <scene_description>That does the trick. Sturckow looks up, surprised.</scene_description> <character>STURCKOW</character> <dialogue>José Hernández from...</dialogue> <character>JOSÉ</character> <dialogue>Yes, sir.</dialogue> <character>STURCKOW</character> <dialogue>What are you doing here?</dialogue> <character>JOSÉ</character> <dialogue>I decided to personally bring in my application this year.</dialogue> <character>STURCKOW</character> <dialogue>Where did you fly from?</dialogue> <character>JOSÉ</character> <dialogue>Stockton, California, sir.</dialogue> <character>STURCKOW</character> <dialogue>You could have just mailed it.</dialogue> <character>JOSÉ</character> <dialogue>I know. But I wanted to meet you and hand it to you personally.</dialogue> <scene_description>A beat.</scene_description> <character>STURCKOW</character> <dialogue>Why do you keep trying after all this time?</dialogue> <character>JOSÉ</character> <dialogue>Sir, I'm determined to get into your program. And I believe this is my strongest application yet.</dialogue> <character>STURCKOW</character> <dialogue>Listen, Hernández, this would be your eleventh attempt. I admire your persistence and I thank you for coming all the way out here. I wish you'd saved the airfare--</dialogue> <character>JOSÉ</character> <dialogue>SIR.</dialogue> <scene_description>The STAFF looks on - intrigued.</scene_description> <character>JOSÉ</character> <dialogue>This is my strongest application yet. And it's my twelfth attempt, not my eleventh.</dialogue> <scene_description>It's a bit of a stand off.</scene_description> <character>STURCKOW</character> <dialogue>Let's hear it, then. What's changed?</dialogue> <scene_description>Sturckow leans back and crosses his arms. This has changed:</scene_description> <character>JOSÉ</character> <dialogue>Sir, over the course of the last 10 years every single academic, professional and personal decision I've made, I've made with the Space Program in mind. I got a Masters in Electrical Engineering from Pacific University. I am now a pilot with over 100 hours under my belt. I got my scuba diving certificate. I am in the best shape of my life, I ran the San Francisco marathon not that long ago and I speak Russian. In fact, I volunteered to travel to Siberia as part of the Transparency Program of the US Department of Energy. I am the father of five perfect little children and the husband of the most incredible wife, who threatened to leave me if I didn't come see you.</dialogue> <parenthetical>(Beat)</parenthetical> <dialogue>I have applied twelve times and I have been on the verge of giving up after each rejection. But here I am. So you can turn me down again. But rest assured I will be standing here again in a year.</dialogue> <scene_description>The staff want to applaud - they can't. He sets the application on the receptionist's desk, zips up his suitcase, and moves toward the door. José nods, and walks out.</scene_description> </scene> <scene> <stage_direction>EXT. JOSÉ AND ADELA'S HOME, BACKYARD - DAY</stage_direction> <scene_description>An ASTRONAUT SHAPED PIÑATA gets RIPPED APART by VICIOUS HITS. It's a kid's party, and Julio - turning 8 - is giving it his all. The family has gathered around the piñata. Loud CHEERING from José, Adela, Salvador, Julia, Lety, Chava, Beto, FAMILY FRIENDS and KIDS. The astronaut's head POPS RIGHT OFF, CANDY RAINS ON THE KIDS. LATER -- A BUNCH of Kids play soccer with Beto - the goalie. Julio SCORES! Kids CHEER. Beto gets unreasonably upset!</scene_description> <character>BETO</character> <dialogue>¡No mames! I got my eye on you, Julito! You keep playing off side, that's not cool, man, NOT COOL!</dialogue> <character>ADELA (O.S.)</character> <dialogue>Oye! Beto! ¡No digas groserías! Your daughter is here!</dialogue> <scene_description>Adela comes near MARISA (15), Beto's Daughter, and kisses her on the cheek.</scene_description> <character>ADELA</character> <dialogue>José! Mail!</dialogue> <scene_description>Salvador and Julia bicker as José makes eye contact with Adela, who was inside the house and now stands by the back door. She looks directly at José, a NASA envelope in her hand.</scene_description> </scene> <scene> <stage_direction>INT. JOSÉ AND ADELA'S HOME, JOSÉ'S STUDIO - MOMENTS LATER</stage_direction> <scene_description>Quiet. José sits by his desk. The letter displayed in front of him - Adela stands by the door. Expectant. José looks straight at her... Then he looks down at the floor, trying to... understand? She comes closer. Then, after a long beat, barely audible, he whispers...</scene_description> <character>JOSÉ</character> <dialogue>I got in.</dialogue> <scene_description>Adela doesn't understand. Still very quietly:</scene_description> <character>ADELA</character> <dialogue>What?</dialogue> <scene_description>Adela comes closer. -- On the letter: "Dear Mr. Hernández". A beat.</scene_description> <character>JOSÉ</character> <dialogue>I got in.</dialogue> <scene_description>CLOSE ON ADELA as the news sinks in. Silence. She smiles.</scene_description> <character>ADELA</character> <dialogue>That's... That's not bad, right?</dialogue> <scene_description>José bursts in laughter. She joins in. And then they stay silent, looking into each other's eyes.</scene_description> </scene> <scene> <stage_direction>EXT. JOSÉ AND ADELA'S HOME, BACKYARD - DAY</stage_direction> <scene_description>José hugs his father. Then his mother. Beto stands by a smiling Marisa at the goal. Watching everything from afar. José notices him, he grins. Beto does too. Everyone is in tears, unbelieving.</scene_description> </scene> <scene> <stage_direction>INT. LAWRENCE LIVEREMORE LABS, RECEPTION - DAY</stage_direction> <scene_description>José carries a box with his belongings, nostalgic, walks into the reception area to find the entire Lab has gathered to bid him adieu. He stops, confused. Then ENGINEERS, Logan, Stacey and STAFF, even Weissberg, break into APPLAUSE. And it doesn't stop. José stands there... overwhelmed.</scene_description> </scene> <scene> <stage_direction>EXT. SALVADOR AND JULIA'S HOUSE, DRIVEWAY - DAY</stage_direction> <scene_description>Typical Hernández family MAYHEM as Julia says goodbye to the kids. She helps Adela corral them into the car - which is now a MINIVAN! - PACKED TO THE RAFTERS. José and Beto, argue.</scene_description> <character>BETO</character> <dialogue>I can't accept it.</dialogue> <character>JOSÉ</character> <dialogue>C'mon, take her for a spin. Y dame un abrazo, cabrón.</dialogue> <scene_description>They hug like its a final goodbye. It's a bit sour but heartfelt. Then José walks away, down the poor barrio street.</scene_description> <character>BETO</character> <dialogue>Hey cousin! Que Dios te acompañe.</dialogue> <scene_description>José smiles... and keeps walking. Beto just stands there. Then he looks at a SET OF KEYS in his hand, we PAN, and REVEAL JOSÉ'S MAZDA, shinier than ever, now Beto's. José starts the minivan. HONKING, YELLING, ANARCHY coming from the car. Salvador and Julia wave them goodbye as the van drives off. -- A sign: "ENTERING HOUSTON".</scene_description> </scene> <scene> <stage_direction>EXT. JOHNSON SPACE CENTER - DAY</stage_direction> <scene_description>The CAMPUS OF JOHNSON SPACE CENTER. Hundreds of buildings over sixteen hundred acres. Clear Lake beyond. And a SIGN: "National Aeronautics &amp; Space Administration" - NASA logo by its side.</scene_description> <character>STURCKOW (V.O.)</character> <dialogue>You should know the program will be especially taxing on your family. The sacrifices you're about to put them through are beyond anything you - or they - can imagine.</dialogue> </scene> <scene> <stage_direction>INT. MINIVAN, MOVING - DAY</stage_direction> <scene_description>José drives and looks out the window, in total AWE. LAUNCHPADS, HANGARS, RUNWAYS... This place is amazing and it feels exciting and alive and POWERFUL.</scene_description> <character>STURCKOW (V.O.)</character> <dialogue>It's important you understand this does NOT in any way guarantee you'll be selected for a Space Mission. It's still a long shot and most candidates don't even make it through the full training.</dialogue> </scene> <scene> <stage_direction>EXT. HOUSTON HOME, DRIVEWAY - DAY</stage_direction> <scene_description>Adela supervises the MOVERS lugging their furniture into their new house, a two-story brick home with hedges and trees. A peaceful neighborhood. The kids run around and play.</scene_description> </scene> <scene> <stage_direction>INT. HOUSTON HOME, KITCHEN - DAY</stage_direction> <scene_description>Adela opens the boxes marked "kitchen". Opens the faucet. No water comes out.</scene_description> </scene> <scene> <stage_direction>INT. JOHNSON SPACE CENTER - DAY</stage_direction> <scene_description>José puts on the blue uniform. He looks at himself on the mirror, he smiles in disbelief.</scene_description> <character>STURCKOW (V.O.)</character> <dialogue>But at the same time, you can't lose sight of the fact that you have been chosen among tens of thousands who share your dream.</dialogue> </scene> <scene> <stage_direction>INT. JOHNSON SPACE CENTER, CONFERENCE ROOM - DAY</stage_direction> <scene_description>Twelve ASTRONAUT CANDIDATES (ASCANS), including José, gather in this room. In front of the class is CJ STURCKOW himself.</scene_description> <character>STURCKOW</character> <dialogue>If we want you here it is because you are one of the very few, highly skilled, extraordinary people on the planet that we deem capable of flying to space in a rocket. Today begins a journey that will change you forever in ways you didn't even think possible. It won't be easy. You will push yourselves past your own limits. You will work as a team, and you will struggle alone. And these are your new brothers and sisters. Kalpana?</dialogue> <scene_description>KALPANA CHAWLA, Indian American astronaut and instructor, takes over.</scene_description> <character>KALPANA</character> <dialogue>Hi guys. My name is Kalpana Chawla. I've been around here for a while and I'll be in charge of your mockup training. I say let's quit talking and get started!</dialogue> </scene> <scene> <stage_direction>INT. JOHNSON SPACE CENTER, MOTION BASE SIMULATOR - DAY</stage_direction> <scene_description>José is strapped into a simulator that PITCHES, ROLLS, YAWS and VIBRATES like a shuttle orbiter. He looks dizzy.</scene_description> <character>KALPANA (V.O.)</character> <dialogue>Keep'er steady, Hernández.</dialogue> <scene_description>José moves the control stick with precision but it's no use. The ship seems to be out of control. AN ALARM SOUNDS - José SHAKES and ROCKS.</scene_description> <character>JOSÉ</character> <dialogue>It's not responding.</dialogue> <character>KALPANA (V.O.)</character> <dialogue>You're not responding - you control her, she doesn't control you.</dialogue> <scene_description>The SIM jerks and pitches further, jostling José in his seat, now PULLING WITH BOTH HANDS! ANOTHER ALARM GOES OFF.</scene_description> <character>KALPANA (V.O.)</character> <dialogue>Level Three, Hernández - Go level three!!</dialogue> <scene_description>ON THE SCREEN: The shuttle CRASHES. "FAIL" blinks. It stops moving. José just sits there, drenched in sweat. OUTSIDE THE SIMULATOR -- From the outside the thing looks like, well, a high tech space machine. The candidates all stand around it, with Kalpana - wearing a headset. Sturckow observes. The hatch opens and José steps out, embarrassed.</scene_description> <character>KALPANA</character> <dialogue>It's important to remember the shuttle is designed to a 'fail- ops/fail-safe' philosophy so--</dialogue> <scene_description>Noticing a queasy José rejoining the group.</scene_description> <character>KALPANA</character> <dialogue>Hernández, you okay?</dialogue> <character>JOSÉ</character> <dialogue>Yep.</dialogue> <character>KALPANA</character> <dialogue>The loss of one component can be tolerated without compromising the whole mission.</dialogue> <scene_description>José BARFS. The group takes a step back.</scene_description> <character>KALPANA</character> <dialogue>Yep, that happens. Who's next?</dialogue> <scene_description>No one. They look terrified.</scene_description> </scene> <scene> <stage_direction>INT. JOHNSON SPACE CENTER, BREAK ROOM - LATER</stage_direction> <scene_description>José sees THE ASCANS drink coffee and joke around - teasing about training, Sturckow and their upcoming quantum physics test. José, tormented in a corner, makes a phone call.</scene_description> <character>ADELA (V.O.)</character> <dialogue>Some kids were mean to him.</dialogue> <character>JOSÉ</character> <dialogue>I'll talk to him once I get home.</dialogue> <character>ADELA (V.O.)</character> <dialogue>I'm just letting you know...</dialogue> <character>JOSÉ</character> <dialogue>I'm sorry I'll be late again.</dialogue> <parenthetical>(A beat)</parenthetical> <dialogue>Did the plumber go?</dialogue> <character>ADELA</character> <dialogue>What do you think?</dialogue> <scene_description>José sighs.</scene_description> </scene> <scene> <stage_direction>INT. NASA - DAY</stage_direction> <scene_description>-- RUNNING FEET. José is STRAPPED with CHAINS to a TREADMILL, barely moving. He TRIPS and FALLS. -- José STRUGGLES to swim laps in full ASTRONAUT GEAR. STURCKOW stands poolside:</scene_description> <character>STURCKOW</character> <dialogue>Is that moon rocks in your pockets?</dialogue> <scene_description>-- José STUDIES at home amid morning chaos. Adela makes breakfast; seven BINDERS spread out on the table. Next to José, Julio builds something with LEGOS. -- ASCANS take a test. ON JOSÉ's desk: GRAPHS and SCHEMATICS and an IMPOSSIBLE EQUATION. José, SWEATING, hesitates between answers A, B and C. And D. And F. -- José SHAKES and ROCKS in the MOTION BASE SIM; ALARMS BLARING, on his monitor: FAIL. THE ROAR OF A JET ENGINE!</scene_description> </scene> <scene> <stage_direction>EXT. DESERT SKY - DAY</stage_direction> <scene_description>A wide and deep blue sky gets SPLIT IN HALF by a T-38 SUPERSONIC PLANE. Closer to the plane, we see it make a SHARP RIGHT TURN and DESCEND like a rock. Now the plane flies LOW NEAR THE DESERT FLOOR like a torpedo. Then it PITCHES and SHOOTS BACK UP INTO THE SKY.</scene_description> </scene> <scene> <stage_direction>INT. T-38 JET, FLYING - MOMENTS LATER</stage_direction> <scene_description>José in the co-pilot seat - queasy. Sturckow is up front.</scene_description> <character>STURCKOW</character> <dialogue>What are we gonna do about you, Hernández?</dialogue> <character>JOSÉ</character> <dialogue>What do you mean, sir.</dialogue> <character>STURCKOW</character> <dialogue>You know exactly what I mean. We need to step up your game!</dialogue> <scene_description>He PULLS the SIDE STICK HARD - The plane goes UPSIDE DOWN.</scene_description> <character>STURCKOW</character> <dialogue>Do you know where we are?</dialogue> <scene_description>José looks on his screen - NUMBERS and more NUMBERS.</scene_description> <character>JOSÉ</character> <dialogue>Ah... currently 35 miles north of Houston... ah, 23,000 feet on course two one zero, except... up is down. And down is up.</dialogue> <character>STURCKOW</character> <dialogue>Good! Now show me what you got.</dialogue> <character>JOSÉ</character> <dialogue>What do you mean, sir?</dialogue> <character>STURCKOW</character> <dialogue>Tell me how to land this thing!</dialogue> <character>JOSÉ</character> <dialogue>Ah, okay.</dialogue> <scene_description>Looking carefully into his navigational instruments.</scene_description> <character>JOSÉ</character> <dialogue>Houston clearance, this is NASA- 959, ready to copy IFR Richmond.</dialogue> <character>GROUND CONTROL (V.O.)</character> <dialogue>NASA 959, cleared to Richmond via radar vectors to Houston, fly runway heading, descend and maintain six thousand feet; expect one five thousand, approach 120.9.</dialogue> <scene_description>He didn't get ANY of that.</scene_description> <character>JOSÉ</character> <dialogue>Houston clearance, I didn't quite... copy, could you please come again?</dialogue> <character>STURCKOW</character> <dialogue>C'mon, Hernández!!</dialogue> <character>GROUND CONTROL (V.O.)</character> <dialogue>NASA-959, thought you said ready to copy? Descend and maintain six thousand feet, expect one five thousand - approach one, two, zero point nine. I can always email that to you.</dialogue> <scene_description>Sturckow laughs. José writes all of this frantically. He grabs the side stick again and presses the radio button.</scene_description> <character>JOSÉ</character> <dialogue>Cleared Richmond via vectors to Houston, fly runway heading, down six thousand feet, approach 120.9. Thank you.</dialogue> <scene_description>We continue to hear José's MICROPHONE - his BREATHING.</scene_description> <character>STURCKOW</character> <dialogue>Release your mic, Hernández. Your mic is hot.</dialogue> <scene_description>José looks at his side stick. The button is STUCK.</scene_description> <character>STURCKOW</character> <dialogue>Hernández, turn off the mic!</dialogue> <character>JOSÉ</character> <dialogue>It's stuck.</dialogue> <character>STURCKOW</character> <dialogue>What do you mean it's stuck, let it go, you're tying up the tower!</dialogue> <character>GROUND CONTROL (V.O.)</character> <dialogue>NASA-959 clear the line immediately.</dialogue> <character>JOSÉ</character> <dialogue>I can't-- the button is stuck!</dialogue> <character>GROUND CONTROL (V.O.)</character> <dialogue>NASA-959 you got traffic on your right, you're holding up the frequency, we need to clear them NOW.</dialogue> <scene_description>José tries frantically to dislodge the button!</scene_description> <character>STURCKOW</character> <dialogue>Turn it off, Hernández, what the hell is wrong with you!?</dialogue> <character>JOSÉ</character> <dialogue>I'm trying!</dialogue> <scene_description>Suddenly José SEES another T-38 approaching beneath them:</scene_description> <character>JOSÉ</character> <dialogue>On your right, ON YOUR RIGHT, 3 O'CLOCK, TRAFFIC NOW!!!</dialogue> <scene_description>Sturckow PULLS UP and avoids a collision - the other NASA T- 38 FLIES PAST THEM LIKE A MISSILE! José breathes... Examines the radio button: Realizes he's activated a LOCK POSITION by mistake. He disengages it.</scene_description> <character>JOSÉ</character> <dialogue>Houston, this is NASA-959, the line is clear. Sorry about that.</dialogue> </scene> <scene> <stage_direction>EXT. JOSÉ AND ADELA'S HOME, DRIVEWAY - DAY</stage_direction> <scene_description>A very silent street. Adela drags two large garbage bags across the driveway. As she dumps them in the bins, one of them BREAKS. She just stares at the mess, furious. She can hear the kids break into a fight inside the house. She just sits on the curb.</scene_description> </scene> <scene> <stage_direction>EXT. JOHNSON SPACE CENTER, TARMAC - LATER</stage_direction> <scene_description>The plane has landed. Sturckow strides ahead of José. Kalpana meets them mid-tarmac with her TEAM.</scene_description> <character>JOSÉ</character> <dialogue>I'm sorry, sir, it won't happen again.</dialogue> <character>STURCKOW</character> <dialogue>You're goddamn right it won't. This isn't flight school anymore, Hernández. You're lightyears behind the pack - get with it or step aside.</dialogue> <scene_description>He walks away, angry. José and Kalpana exchange a look.</scene_description> </scene> <scene> <stage_direction>EXT. HOUSTON HOME, DRIVEWAY - NIGHT</stage_direction> <scene_description>A depleted José parks on the driveway. He notices the pile of TRASH just sitting on the sidewalk.</scene_description> </scene> <scene> <stage_direction>INT. HOUSTON HOME, KIDS' BEDROOM - NIGHT</stage_direction> <scene_description>José enters the kids' bedroom. They sleep like angels. Except for one, who whispers:</scene_description> <character>JULIO</character> <dialogue>Papá?</dialogue> <character>JOSÉ</character> <dialogue>Hey, son. Go back to sleep.</dialogue> <character>JULIO</character> <dialogue>Can I show you my Earth?</dialogue> <character>JOSÉ</character> <dialogue>Sure, let's see it.</dialogue> <scene_description>Julio sneaks out of bed, and plugs a cord into an outlet. Then flips on a switch... and his Earth Layer project LIGHTS UP... It's a large box painted black, featuring glowing stars, a big round GLOWING EARTH cut in half, all its layers in different warm colors. José sits on the floor next to his son, admiring it.</scene_description> <character>JOSÉ</character> <dialogue>You made this yourself?</dialogue> <character>JULIO</character> <dialogue>Yeah. I used a 13 watt lightbulb and wired it from behind. Mamá helped. She's a good electrician.</dialogue> <character>JOSÉ</character> <dialogue>I think... I think it's beautiful.</dialogue> <character>JULIO</character> <dialogue>See, we are right here.</dialogue> <character>JOSÉ</character> <dialogue>Yes, we are, son. We sure are.</dialogue> <parenthetical>(A warm beat)</parenthetical> <dialogue>Now go back to sleep.</dialogue> <scene_description>Julio jumps back into bed, José pulls up his covers.</scene_description> <character>JOSÉ</character> <dialogue>Hey son. I'm sorry that I missed the whole thing.</dialogue> <character>JULIO</character> <dialogue>That's okay.</dialogue> <scene_description>José kisses him.</scene_description> <character>JULIO</character> <dialogue>Hey, papá, why do you want to go to space so bad?</dialogue> <scene_description>José stays there without an answer. until finally...</scene_description> <character>JOSÉ</character> <dialogue>I don't know, buddy.</dialogue> <scene_description>Then he goes back to the Earth, takes one last look, moved: maybe it is not so bad to stay grounded... and he turns it off.</scene_description> </scene> <scene> <stage_direction>INT. JOSE AND ADELA'S HOME, BEDROOM - MOMENTS LATER</stage_direction> <scene_description>José gets in bed, and kisses Adela - who pretends to be asleep. We can see her eyes wide open, though.</scene_description> <character>JOSÉ</character> <dialogue>Everything ok?</dialogue> <scene_description>Nothing.</scene_description> <character>JOSÉ</character> <dialogue>Look. I know this is hard for everyone. But I'm the one busting my ass, my body hurts, I can't sleep. And I know I can make it work, I just have to be my best. I'm lightyears behind the...</dialogue> <character>ADELA</character> <dialogue>I, I, I, I. Yo, yo, yo. Everything is always about...</dialogue> <scene_description>She stops.</scene_description> <character>JOSÉ</character> <dialogue>About me?</dialogue> <character>ADELA</character> <dialogue>I thought we were a team.</dialogue> <character>JOSÉ</character> <dialogue>We are a team.</dialogue> <scene_description>She shrugs. THE PHONE RINGS. José reaches for it.</scene_description> <character>JOSÉ</character> <dialogue>Hello?</dialogue> <scene_description>ON JOSÉ - something terrible has just happened.</scene_description> <character>JOSÉ</character> <dialogue>What?</dialogue> </scene> <scene> <stage_direction>INT. HERNANDEZ HOME, STOCKTON - DAY</stage_direction> <scene_description>A picture of Beto on a mantel piece surrounded by candles. FAMILY and FRIENDS have gathered for this wake. The low murmur of people paying respects, making sense of things. José and Adela sit quietly in a corner between Salvador and Julia. José is depleted and worried.</scene_description> <character>JULIA</character> <dialogue>He was coming home from a late shift. There was a shootout...</dialogue> <character>SALVADOR</character> <dialogue>Wrong place, wrong time.</dialogue> <character>JULIA</character> <dialogue>He was such a good boy.</dialogue> <character>JOSÉ</character> <dialogue>It's about time you leave.</dialogue> <character>SALVADOR</character> <dialogue>And go where?</dialogue> <character>JOSÉ</character> <dialogue>Somewhere safer.</dialogue> <character>SALVADOR</character> <dialogue>It was an accident.</dialogue> <scene_description>José's heart aches.</scene_description> <character>JOSÉ</character> <dialogue>Too many accidents around here.</dialogue> <character>JULIA</character> <dialogue>This is our home. There are good people here too.</dialogue> <scene_description>José looks around, the faces of his people, his mother is right.</scene_description> </scene> <scene> <stage_direction>INT. HERNÁNDEZ HOME, BEDROOM - CONTINUOUS</stage_direction> <scene_description>José ambles slowly down a hallway, in a haze. He walks into his old room. It's quiet. He eyes a photo pinned on a board above his desk, it's of young José and Beto. The two of them laughing. José sits on the bed... Marisa, Beto's daughter stands by the door. José wipes a tear, straightens himself up. Neither knows what to say.</scene_description> <character>JOSÉ</character> <dialogue>I should get back out there. If there's anything you need. Anything at all. Just-- yeah. I'm so sorry.</dialogue> <character>MARISA</character> <dialogue>When are you going to space?</dialogue> <character>JOSÉ</character> <dialogue>Uhm... I'm not sure.</dialogue> <character>MARISA</character> <dialogue>He always told me, he was sure you were going.</dialogue> <parenthetical>(beat)</parenthetical> <character>MARISA</character> <dialogue>He knew you felt bad for him, because he didn't get what you got.</dialogue> <character>JOSÉ</character> <dialogue>That's not true...</dialogue> <character>MARISA</character> <dialogue>It's ok. Don't feel bad. But now you have to honor him.</dialogue> <scene_description>José's eyes fill with tears.</scene_description> <character>JOSÉ</character> <dialogue>Yo quería mucho a tu papá.</dialogue> <character>JOSÉ</character> <dialogue>I loved your dad very much.</dialogue> <scene_description>She smiles.</scene_description> <character>JOSÉ</character> <dialogue>Very, very much.</dialogue> <scene_description>PRELAP: A SOFT RANCHERA, José Alfredo Jiménez's 'Deja que salga la luna' sang by the Marisa's beautiful voice.</scene_description> </scene> <scene> <stage_direction>INT. HERNANDEZ HOME, STOCKTON - LATER</stage_direction> <scene_description>Marisa sings and plays the guitar. It is a beautiful, deep, sad melody. The song's high notes transform into a collective cry that hurts and heals at the same time. CLOSE ON JOSÉ, deeply moved as he sees each of the humble faces in front of him, grieving with dignity and resilience. Adela takes his hand.</scene_description> </scene> <scene> <stage_direction>INT. PENSACOLA NAVAL AIR BASE - HELO DUNKER - DAY</stage_direction> <scene_description>A massive HYDRAULIC ARM lowers a HELICOPTER CARCASS into a huge pool. The previous song continues until it fades. INSIDE THE CARCASS, LATER-- Three ASCANS and José get strapped in. Safety DIVERS await in the water as the hydraulic arm begins to lower the helo. Sturckow and Kalpana watch. We stay CLOSE TO JOSÉ as they enter the pool and the carcass begins to FLOOD. He sees water pouring in from every window, every door, every crease... He holds on TIGHT to his chair, fighting every instinct to escape NOW. The carcass continues its descent. The water reaches José's chest... The water reaches José's neck... and creeps further up, touching his chin - he tilts his head, and soon it's just INCHES FROM HIS MOUTH... then he takes the BIGGEST BREATH OF HIS LIFE... and holds it. Sturckow, emergency divers, and Kalpana: ON HIGH ALERT. BACK TO JOSÉ as the water covers his nose, his eyes... The helo keeps sinking, very slowly... Still about 5 feet from the bottom. ON JOSÉ-- PETRIFIED. His hand GRIPS the strap buckle like a cowboy in a duel, ready to shoot. POOLSIDE-- Sturckow gives the hydraulic arm OPERATOR a slight NOD - the arm lets go. UNDERWATER-- The helo sinks all the way to the bottom... The candidates unbuckle and release themselves, including José, who swims as fast as he can towards one of the doors. But just then, he notices one of his mates, struggling to get out of his seatbelt! José lingers by the door - running out of oxygen. The ASCAN struggles and struggles - he's STUCK! POOLSIDE-- Cassidy and Kimbraugh EMERGE - staff fish them out. UNDERWATER-- José swims back inside the carcass to help him, who's now panicking. Together, they struggle to undo the buckle, but it's completely stuck. José looks around. He sees a loose METAL BAR - part of the carcass. He RIPS IT OFF and inserts the end on one of the holding plates of the strapping system. POOLSIDE--</scene_description> <character>DIVER</character> <dialogue>Sir?</dialogue> <scene_description>Sturckow signals the divers to stand by. UNDERWATER-- José uses the metal bar as a lever and PULLS WITH ALL HIS MIGHT. The holding plate gives, he rips it off the seat, and FREES the ASCAN. José pulls him to a door and DESPERATELY TRIES TO FIT PAST THE DOOR - it's hard with someone else in his arms. POOLSIDE-- The diver tries again.</scene_description> <character>DIVER</character> <dialogue>Sir, we think it's time.</dialogue> <scene_description>Sturckow hesitates.</scene_description> <character>KALPANA</character> <dialogue>Yes, go!</dialogue> <scene_description>All divers SUBMERGE... and just as they disappear... JOSÉ and his companion EMERGE! JOSÉ GASPS FOR AIR Kalpana helps José out and he sits on the ground, exhausted.</scene_description> <character>STURCKOW</character> <dialogue>Okay. Everyone good? We're gonna try that again... with a blindfold.</dialogue> <scene_description>The helo emerges like a dripping nightmare.</scene_description> </scene> <scene> <stage_direction>EXT. NASA HEADQUARTERS, KALPANA'S OFFICE - NIGHT</stage_direction> <scene_description>José is carrying a pack of diapers. He could go to sleep NOW. He walks by Kalpana's office, he leans on her door, they share a silent look.</scene_description> <character>KALPANA</character> <parenthetical>(Re: the diapers)</parenthetical> <dialogue>How are they doing?</dialogue> <character>JOSÉ</character> <dialogue>I'd be lying if I told you I knew.</dialogue> <character>KALPANA</character> <dialogue>Yeah, that happens. You okay? You look like you just killed somebody.</dialogue> <character>JOSÉ</character> <dialogue>No, someone just tried to kill me.</dialogue> <character>KALPANA</character> <dialogue>You know we would never let anything happen to you, right?. It's an exercise in trust.</dialogue> <character>JOSÉ</character> <dialogue>I would trust you more if you just gave me milk and cookies.</dialogue> <character>KALPANA</character> <dialogue>Well, yeah. What we're trying to accomplish here is... scary stuff... On a good day I'm afraid we're all aiming to hop on a rocket with 2 million pounds of highly flammable fuel onboard.</dialogue> <character>JOSÉ</character> <dialogue>What about a bad day?</dialogue> <scene_description>She sighs.</scene_description> <character>KALPANA</character> <dialogue>On a bad day I think about how we think we control everything. Our lives, our dreams. We get exhausted, we make sacrifices, and we think it is about wanting it hard enough. But life is mysterious, you know?</dialogue> <scene_description>A charged beat.</scene_description> <character>KALPANA</character> <dialogue>Here's the thing, though. Once that ignition sequence starts... We only have each other. That matters. I saw what you did today, as a member of this division... knowing that someone like you has my back is the most I can hope for.</dialogue> <scene_description>José nods. He'll take that. She is about to go, but then: Kalpana gets up, gets her stuff. Prepares to leave. She nods, he smiles. A silent pact.</scene_description> <character>KALPANA</character> <parenthetical>(Re: diapers)</parenthetical> <dialogue>I saw those on sale at Costco. FYI.</dialogue> <scene_description>And she walks away.</scene_description> </scene> <scene> <stage_direction>INT. HOUSTON HOME - DAY</stage_direction> <scene_description>"Tu cárcel" by Los Bukis. SMOKING HOT COMAL. WARM TORTILLAS. FRIJOLES ON A PAN. TOMATO GETS CHOPPED. Adela cooks up a storm! José assists her. LATER-- A lively celebration over a delicious meal. Around the table: José, Adela, Kalpana, her husband JEAN-PIERRE, THREE ASCANS (one blond woman and two men). The banter is loud and friendly and messy.</scene_description> <character>KALPANA</character> <dialogue>He's meaner than he means to be.</dialogue> <character>FEMALE ASCAN</character> <dialogue>No way, Sturckow's a mean person all around.</dialogue> <character>KALPANA</character> <dialogue>Trust me, it takes time, you'll warm up to him.</dialogue> <character>JOSÉ</character> <dialogue>Not if you're his co-pilot.</dialogue> <character>EVERYONE</character> <dialogue>Ooooooooohhhhhhh!!!!!</dialogue> <character>ASCAN 1</character> <dialogue>Still messing with those comm buttons, Hernández!?</dialogue> <scene_description>They all laugh.</scene_description> <character>JOSÉ</character> <dialogue>I'm telling you the thing was stuck!</dialogue> <character>ASCAN 2</character> <dialogue>You made it stuck!</dialogue> <character>ASCAN 1</character> <dialogue>You locked it into getting "stuck"</dialogue> <character>KALPANA</character> <dialogue>Has he always been this stubborn?</dialogue> <scene_description>Adela nods, smiles and rolls her eyes.</scene_description> <character>ADELA</character> <dialogue>I think you guys are all stubborn, by the way.</dialogue> <scene_description>José grabs and raises a beer. He clinks his fork on the glass to call for a toast.</scene_description> <character>JOSÉ</character> <dialogue>Here's to Kalpana, who broke all the molds, opened a path, and is the most stubborn of us all.</dialogue> <character>KALPANA</character> <dialogue>Well, I guess there will be no better time than this...</dialogue> <scene_description>Kalpana gets up and spills it out.</scene_description> <character>KALPANA</character> <dialogue>You're looking at a Mission Specialist on the upcoming STS-107 flight.</dialogue> <scene_description>The ASCANS clap and whoo. José looks at her with all his admiration.</scene_description> <character>KALPANA</character> <dialogue>Yeah, just... Thanks!</dialogue> <character>ADELA</character> <dialogue>Congratulations!</dialogue> <character>KALPANA</character> <dialogue>Whoa. WHOA! I don't-- I don't know what to say!</dialogue> <character>JOSÉ</character> <dialogue>How are you feeling?</dialogue> <character>KALPANA</character> <dialogue>Ah, let's see... Exhilarated? Ecstatic? Absolutely, positively terrified?</dialogue> <character>JOSÉ</character> <dialogue>Never thought I'd even have a beer with an astronaut. Ever.</dialogue> <character>KALPANA</character> <dialogue>How about you don't say anything and give me one.</dialogue> <character>JOSÉ</character> <dialogue>You can have all of them! ¡Salud!</dialogue> <scene_description>He BEAMS. They drink. A beat.</scene_description> <character>KALPANA</character> <parenthetical>(re: Adela)</parenthetical> <dialogue>What about YOU?</dialogue> <character>ADELA</character> <dialogue>What do you mean?</dialogue> <character>KALPANA</character> <dialogue>I don't know.... Like in the few moments in life you're not helping this guy with his own obsessive career choice, what do you dream of... for you?</dialogue> <scene_description>Adela has an audience now... she's not used to this. She looks at José.</scene_description> <character>ADELA</character> <dialogue>Well I always dreamed of having a restaurant.</dialogue> <scene_description>A beat.</scene_description> <character>KALPANA</character> <dialogue>That explains it! I'm not joking, this is one of the best meals I've had in my life.</dialogue> <character>ADELA</character> <dialogue>This? Nah! This is nothing. I'm guessing you've never tasted an uchepo.</dialogue> <scene_description>Kalpana shakes her head.</scene_description> <character>ADELA</character> <dialogue>Un uchepo is a soft tamal, from where our families are from, Michoacán. It's my childhood wrapped in a corn husk. It can be salty, but it can also be sweet. It can be a main course or a dessert. It is full of possibilities-- It's soft, tender, perfectly heated corn that melts in your mouth...</dialogue> <parenthetical>(she stops)</parenthetical> <dialogue>I know it's not space travel but--</dialogue> <character>FEMALE ASCAN</character> <dialogue>That sounds like it beats the hell out of space travel!</dialogue> <scene_description>Banter as they all agree and compliment her. José looks at her, feeling a little selfish.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>José RUNS down a street. He STOPS in front of an empty store and gets fixated on a sign that says: FOR LEASE.</scene_description> </scene> <scene> <stage_direction>INT. HOUSTON HOME, KIDS' BEDROOM - NIGHT</stage_direction> <scene_description>Kids are asleep. José kisses them one by one. When he gets to Julio's bed, he lays beside him, face up, and sees: His lighted Earth project. Then he looks at Julio, peacefully sleeping beside him.</scene_description> </scene> <scene> <stage_direction>EXT. OUTER SPACE - NIGHT</stage_direction> <scene_description>The backdrop is PLANET EARTH, looking gorgeous and blue and cloudy. A perfect ball containing all of humanity. Orbiting around it is the International Space Station. We approach it slowly and precisely. CHATTER is heard over the radio, offering coordinates, flight paths, speeds and instructions... Then we land on... JOSÉ, in full astronaut gear, FOCUSED in the cockpit.</scene_description> <character>JOSÉ</character> <dialogue>Houston, ISS in sight, initiating docking protocol.</dialogue> <scene_description>He flips switches, he turns knobs, and he holds the tiny side stick with utter delicacy - two fingers - adding little bits of THRUST here and there. The SOUNDS are otherworldly, high-tech, ominous and exciting. The ISS comes closer and closer. And closer.</scene_description> <character>GROUND CONTROL</character> <dialogue>José, you're coming in too hot, reduce speed or abort docking if necessary.</dialogue> <character>JOSÉ</character> <dialogue>Negative, Houston, no need to abort.</dialogue> <character>GROUND CONTROL</character> <dialogue>José, your speed--</dialogue> <character>JOSÉ</character> <dialogue>I got it, Houston. Please trust that I got it.</dialogue> <scene_description>More thrust, less thrust, adjustments. The docking radar RETRACTS. He's close now. He slows down to a riveting crawl. JOSÉ'S EYES WIDEN as the Space Station floats right in front of him... It looks like it's made of shiny gold. He sweats. He pushes the shuttle in a little closer, INCHES AWAY... ALARMS GO OFF. BEEPING. WARNINGS. AND HE DOCKS. All lights turn GREEN. And he LOCKS IT. Silence.</scene_description> <character>JOSÉ</character> <dialogue>Houston. We are now docked and locked. Thank you for your patience.</dialogue> </scene> <scene> <stage_direction>INT. JOHNSON SPACE CENTER, SIMULATOR - MOMENTS LATER</stage_direction> <scene_description>A HATCH opens on a huge SIMULATOR sitting in NASA's Alpha Dome. Everyone was watching on screens. José emerges.</scene_description> <character>JOSÉ</character> <dialogue>Sir, I am happy to report that I am not dead.</dialogue> <scene_description>Sturckow walks to the bottom of the stairs and meets him privately.</scene_description> <character>STURCKOW</character> <dialogue>Great job, Hernández.</dialogue> <scene_description>They shake hands.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - LATER</stage_direction> <scene_description>José leads a BLINDFOLDED Adela down the sidewalk. The entire family - JULIO, KIDS, follow right behind.</scene_description> <character>JOSÉ</character> <dialogue>Not yet, Julito.</dialogue> <character>ADELA</character> <dialogue>Where are you taking me???</dialogue> <scene_description>They all make a formation around her.</scene_description> <character>JOSÉ</character> <dialogue>Okay. Ready?</dialogue> <character>ADELA</character> <dialogue>Yes, I'm ready! You're making me nervous!</dialogue> <character>JOSÉ</character> <dialogue>Okay, kids, give me a countdown. Ten, nine, eight, seven, six, five...</dialogue> <scene_description>The kids take over: four, three, two, one - José takes the blindfold off! The EMPTY STORE José saw earlier.</scene_description> <character>ADELA</character> <dialogue>I don't understand.</dialogue> <character>JOSÉ</character> <dialogue>Do you like it? Should we...?</dialogue> <scene_description>José then walks to the door, takes the "For lease" sign down and replaces it with one - made by the kids - that reads "TIERRA LUNA RESTAURANT". Adela is stunned. TV FOOTAGE-- The launch site at Kennedy Space Center. PRESS has gathered to watch a major event. The SPACE SHUTTLE COLUMBIA CREW - including KALPANA - walks out of a building, waving to the cameras.</scene_description> <character>NEWSCASTER (V.O.)</character> <dialogue>And here is the crew, coming out of their quarters and boarding the vehicle that will take them to the Space Shuttle. All of the astronauts are suited up. A day they will remember, that's for certain.</dialogue> </scene> <scene> <stage_direction>INT. ACCESS TUNNEL, SPACE SHUTTLE - DAY</stage_direction> <scene_description>A TEAM of MISSION SUPERVISORS waits for the crew to board the Space Shuttle. Among them is JOSÉ. It's a solemn and quiet moment of protocols and safety.</scene_description> <character>NEWSCASTER (V.O.)</character> <dialogue>Anticipation is high at Kennedy Space Center this morning, as Space Shuttle Columbia prepares for its journey to the ISS.</dialogue> </scene> <scene> <stage_direction>INT. SPACE SHUTTLE - MOMENTS LATER</stage_direction> <scene_description>The crew takes their respective seats. It is José's job to secure their seat belts. RADIO COMM is heard in the background as final CHECKLISTS are corroborated. Kalpana's turn to be STRAPPED IN. José secures her. He stares at his friend - and HOLDS HER HAND.</scene_description> <character>KALPANA</character> <dialogue>It took me nine tries to get in.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>My skin was also an odd color for many. You know how important it is that someone like us jumps into this ride?</dialogue> <parenthetical>(she smiles)</parenthetical> <dialogue>We come from tenacious people. Tenacity IS a superpower.</dialogue> <scene_description>He smiles and nods.</scene_description> <character>JOSÉ</character> <dialogue>Tenacity is a superpower.</dialogue> </scene> <scene> <stage_direction>INT. ACCESS TUNNEL, SPACE SHUTTLE - MOMENTS LATER</stage_direction> <scene_description>José, aided by members of his team, SHUTS THE HATCH. It feels and sounds so... FINAL.</scene_description> </scene> <scene> <stage_direction>INT. TIERRA LUNA RESTAURANT, MAIN FLOOR - DAY</stage_direction> <scene_description>An out-of-this-world sauce boils inside a clay pot. Adela teaches a COOK how to make tortillas, she comes out the kitchen: The main floor has been TRANSFORMED into a REAL RESTAURANT now, with CUSTOMERS and EVEN A WAITRESS, there's MUSIC and CHATTER. TWO ICE COLD MODELOS are served on a customer's table by José who is completely glued to the TV screen on the wall.</scene_description> <character>CUSTOMER</character> <dialogue>Hey José, when will it be you?</dialogue> <character>JOSÉ</character> <dialogue>As soon as I'm done with the onion back there!</dialogue> <scene_description>José grabs the remote, and TURNS THE VOLUME UP. The customers look up and listen in. It's KALPANA - floating inside the Space Station. ON JOSÉ, watching with a yearning look.</scene_description> <character>NEWSCASTER (V.O.)</character> <dialogue>Astronaut Kalpana Chawla just a few days ago broadcasting from the ISS - As you know this is a hugely important day for NASA and the Space Shuttle Columbia as they prepare to make their re-entry into the atmosphere 16 days after departure.</dialogue> <scene_description>The TV just shows an EMPTY SKY.</scene_description> <character>NEWSCASTER (V.O.)</character> <dialogue>Launch and re-entry are the two points we worry about most, as you know.</dialogue> <scene_description>ON THE TV: A map of the US and the expected trajectory over Texas. Julio barges into the restaurant.</scene_description> <character>JULIO</character> <dialogue>I don't see anything, Dad!</dialogue> <character>JOSÉ</character> <dialogue>Keep looking, son, you might just catch it.</dialogue> <character>NEWSCASTER (V.O.)</character> <dialogue>If you happen to hear a BOOM today, you may have gotten lucky and heard the space shuttle as it re-enters.</dialogue> <scene_description>ON THE TV: Shots of HOUSTON MISSION CONTROL. Again, the sky, empty. José frowns and sits down.</scene_description> <character>JULIO</character> <dialogue>What's the matter, dad?</dialogue> <character>NEWSCASTER (V.O.)</character> <dialogue>Fourteen minutes to touchdown. Flight controllers continue to stand by to regain communication.</dialogue> <character>TECHNICIAN (V.O.)</character> <dialogue>Columbia Houston Comm Check... Columbia Houston Comm Check...</dialogue> <scene_description>CLOSE ON José, worried.</scene_description> <character>TECHNICIAN (V.O.)</character> <dialogue>Columbia Houston Comm Check, over.</dialogue> <character>JOSÉ</character> <dialogue>They should have communication by now.</dialogue> <character>TECHNICIAN (V.O.)</character> <dialogue>Columbia Houston UHF Comm Check, over.</dialogue> <character>NEWSCASTER (V.O.)</character> <dialogue>What we're hearing, as I'm told is the flight controllers in Houston as they seek tracking or communication with Columbia. Last contact was at 1pm Central Time... Flight director Leroy Cain is now instructing controllers to get out their contingency procedures.</dialogue> <scene_description>ON JOSÉ - total dread. ON THE TV: A METEOR LIKE SHUTTLE STREAKS ACROSS THE SKY.</scene_description> <character>NEWSCASTER (V.O.)</character> <dialogue>And there it is! Let's look at this picture from one of our affiliates in Dallas, Texas, it looks like-- I see multiple trails coming down. I see multiple-- Let's hope to God... We're waiting for a official word...</dialogue> <scene_description>José, white as a ghost, grabs the remote, and TURNS IT OFF.</scene_description> <character>JULIO</character> <dialogue>Dad?</dialogue> <character>ADELA</character> <dialogue>What's the matter?!</dialogue> <character>JOSÉ</character> <dialogue>I have to go.</dialogue> <character>JULIO</character> <dialogue>But I wanna see the landing!</dialogue> <character>JOSÉ</character> <dialogue>IT'S NOT GONNA LAND NOW!</dialogue> <scene_description>Everyone in the restaurant is startled, confused.</scene_description> <character>JOSÉ</character> <dialogue>Keep that TV off!</dialogue> <scene_description>And he RUNS out the door.</scene_description> </scene> <scene> <stage_direction>INT. CAR, MOVING - LATER</stage_direction> <scene_description>José drives FAST - His hands are shaking as he TURNS ON THE RADIO - music, he switches stations and lands on the NEWS:</scene_description> <character>NEWSCASTER (V.O.)</character> <dialogue>Debris now covering an area of over 300 miles across Texas, search and rescue operation is currently underway. Based on eyewitness accounts and sources at NASA, we can now confirm there are unfortunately... no survivors.</dialogue> <scene_description>José pulls over, distraught. He turns off the radio. He sits there, trying to breathe. He looks disoriented, agitated. He steps out of the car. CLOSE ON JOSÉ-- He looks out at the space around him. In front of him: a big field, a few WORKERS in it. TV FOOTAGE - SEARCH AND RESCUE WORKERS comb through fields, forests and lakes, identifying and marking pieces of fuselage.</scene_description> <character>STURCKOW (V.O.)</character> <dialogue>Through countless hours of research we have concluded that during the launch of STS-107...</dialogue> <scene_description>- POLICE CARS parked on the side of the road, cordoned off with YELLOW TAPE.</scene_description> <character>STURCKOW (V.O.)</character> <dialogue>... A piece of foam insulation broke off from the external tank and struck the left wing of the orbiter.</dialogue> <scene_description>- A MEMORIAL SERVICE. FLAG flies at half mast. MOURNERS wipe tears. PICTURES OF THE COLUMBIA CREW are featured on the stage.</scene_description> <character>STURCKOW (V.O.)</character> <dialogue>When Columbia re-entered the atmosphere, the damage allowed hot gases to penetrate the heat shield and destroy internal wing structure...</dialogue> </scene> <scene> <stage_direction>INT. NASA HANGAR - DAY</stage_direction> <scene_description>A HUGE HANGAR where shuttle pieces are arranged into an outline of the Columbia. José confused, in obvious pain, and other ENGINEERS sift through the debris.</scene_description> <character>STURCKOW (V.O.)</character> <dialogue>This caused the spacecraft to become unstable... and break apart. I want to thank you all for your tireless work and contributions to the Investigation Board.</dialogue> </scene> <scene> <stage_direction>INT. JOHNSON SPACE CENTER, CONFERENCE ROOM - DAY</stage_direction> <scene_description>A very serious Sturckow, wrapping up this presentation for NASA.</scene_description> <character>STURCKOW</character> <dialogue>I think it's safe to assume these results will bring added scrutiny from DC. I for one won't argue against them. If we can't make space flight safe, we shouldn't be doing it at all.</dialogue> <scene_description>Sturckow looks around the group. He locks eyes with José.</scene_description> <character>STURCKOW</character> <dialogue>I'm sorry, guys.</dialogue> <scene_description>A somber mood as he exits the room.</scene_description> </scene> <scene> <stage_direction>EXT. NASA HEADQUARTERS, KALPANA'S OFFICE - NIGHT</stage_direction> <scene_description>José stands in the door frame, remembering, observing the empty room. Kalpana's soul still there. He walks out. José walks the corridor, looking small.</scene_description> </scene> <scene> <stage_direction>INT. TIERRA LUNA RESTAURANT, MAIN FLOOR - NIGHT</stage_direction> <scene_description>José sits by himself, lost in thought. His father, Salvador, in front of him. Adela looks at them, empathetic. She lights a candle in a small and heartwarmingly arranged altar: Kalpana's picture, flowers and a Virgen de Guadalupe.</scene_description> <character>JOSÉ</character> <dialogue>She told me life was mysterious and I didn't quite understood what she was saying. This is when it gets scary, dad.</dialogue> <scene_description>A long beat.</scene_description> <character>SALVADOR</character> <dialogue>The thing is, though... it's not just a stupid dream anymore, José. It's your life. This is the path you chose.</dialogue> <scene_description>He looks at him, deeply. José looks at Adela a few feet away.</scene_description> <character>JOSÉ</character> <dialogue>I already won.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I don't think I need anything else. I got you and mom. I got Adela. I won, right here. And I won five more times with the most beautiful children.</dialogue> <scene_description>Salvador just stays quiet, looks at his son.</scene_description> <character>JOSÉ</character> <dialogue>You don't think this all means I should quit?</dialogue> <scene_description>Salvador's watery eyes fixed on him. He softly shakes his head.</scene_description> </scene> <scene> <stage_direction>EXT. HOUSTON HOME, DRIVEWAY - NIGHT</stage_direction> <scene_description>José looks at the stars playing with his corn rocket in his hands. He takes a big breath and heads to the door, but when he's about to go in he comes back and throws the thing away, with all of his strength. The improvised toy flies through the dark street until it gets lost.</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>José runs fast. Concentrated.</scene_description> </scene> <scene> <stage_direction>INT. NASA HANGAR - DAY</stage_direction> <scene_description>José in a Nasa uniform, examines some turbine samples.</scene_description> </scene> <scene> <stage_direction>INT. TIERRA LUNA RESTAURANT, STOREFRONT - NIGHT</stage_direction> <scene_description>José carries a couple of bags out to the trash bins. He looks back. Adela smiles at him from inside.</scene_description> </scene> <scene> <stage_direction>INT. HOUSTON HOME, LIVING ROOM - DAY</stage_direction> <scene_description>CLOSE ON A SLICED BIRTHDAY CAKE - and a burned candle # 13 laying on the plate. A "Feliz cumpleaños, Julio" sign half- hanging. THE PHONE RINGS in the distance. José sits and watches the party's aftermath... his sons unwrapped birthday presents. A TELESCOPE among them.</scene_description> <character>ADELA O.S.</character> <dialogue>José. Phone for you.</dialogue> </scene> <scene> <stage_direction>INT. JOHNSON SPACE CENTER, HALLWAY - DAY</stage_direction> <scene_description>José, in a tie and suit, sits in a hallway next to four other MEN, and one WOMAN - all equally nervous.</scene_description> <character>JOSÉ</character> <dialogue>What time did you get the call?</dialogue> <character>ASCAN 1</character> <dialogue>Almost midnight.</dialogue> <character>OLIVAS</character> <dialogue>You think they're dismantling the program?</dialogue> <character>ASCAN 2</character> <dialogue>So kind of them to make us dress up for it. Fancy final good bye.</dialogue> <character>JOSÉ</character> <dialogue>Sturckow sounded concerned...</dialogue> <scene_description>Sturckow himself opens an office door and pops his head out.</scene_description> <character>STURCKOW</character> <dialogue>Hernández.</dialogue> <scene_description>José takes a deep breath, stands up... and walks in.</scene_description> </scene> <scene> <stage_direction>INT. JOHNSON SPACE CENTER, MEETING ROOM - MOMENTS LATER</stage_direction> <scene_description>José sits on one side of a long conference table, alone. On the other side, like a death squad, are Sturckow, Program Director Robert D. CABANA, and four more high ranking OFFICIALS. Tons of paperwork before them.</scene_description> <character>CABANA</character> <dialogue>Mr. Hernández, I don't believe we've met. I am Flight Crew Operations Director Colonel Cabana. Took you a while to get here, didn't it? You're a rare kind of bird.</dialogue> <scene_description>José remains quiet.</scene_description> <character>CABANA</character> <dialogue>You're here today because against our expectations, NASA has cleared a new shuttle launch, and we want to get things moving before Washington changes their mind.</dialogue> <parenthetical>(A beat)</parenthetical> <dialogue>After reviewing your file... I would like you to join the Space Shuttle Mission Discovery.</dialogue> <scene_description>José is speechless. A blank face.</scene_description> <character>CABANA</character> <dialogue>Hernández. We understand that the Columbia crew were your friends. Following a tragedy like that with further space flight is no small burden. So we need to know: Are you up for the task?</dialogue> <scene_description>They look at him. He looks at them. What can he possibly say? His mind is racing at the speed of light.</scene_description> <character>CABANA</character> <dialogue>Hernández?</dialogue> <character>STURCKOW</character> <dialogue>Hernández. We need to hear--</dialogue> </scene> <scene> <stage_direction>INT. JOHNSON SPACE CENTER, RESTROOM - MOMENTS LATER</stage_direction> <scene_description>José washes his face. He looks at the mirror, breathing deeply. About to faint. He looks down to his sweaty hands. He takes a moment.</scene_description> </scene> <scene> <stage_direction>INT. JOHNSON SPACE CENTER, MEETING ROOM - MOMENTS LATER</stage_direction> <scene_description>José re-enters the room. His head up. Sturckow, Cabana and the rest of officials raise their gazes.</scene_description> <character>STURCKOW</character> <dialogue>Well?</dialogue> <character>JOSÉ</character> <dialogue>I'm sorry I kept you waiting, Sir. I had to take a moment. I've been waiting for this for almost 30 years.</dialogue> <scene_description>Cabana clears his throat.</scene_description> <character>STURCKOW</character> <dialogue>And your answer?</dialogue> <character>JOSÉ</character> <dialogue>My answer, is...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Yes. Of course is yes, but still... I'll have to ask my wife.</dialogue> <scene_description>He laughs as a tear comes out from one of his eyes.</scene_description> <character>STURCKOW</character> <dialogue>I'm assigning you Mission Specialist Two. I want you right up front between me and the pilot. Congratulations.</dialogue> <scene_description>They shake hands. Sturckow slides a clear plastic bag containing José's very own BLUE FLIGHT SUIT on the table. He looks at it. Sturckow and Cabana share a look, José smiles.</scene_description> </scene> <scene> <stage_direction>INT. TIERRA LUNA RESTAURANT, MAIN FLOOR - DAY</stage_direction> <scene_description>Busy lunch at Tierra Luna. Adela emerges from the kitchen, carrying two plates of their hit Uchepos dish. She places the plates on a CUSTOMER'S table. She turns and moves toward the table, but SUDDENLY--- SHE SEES SOMETHING OUT THE WINDOW AND FREEZES MID WALK: JOSÉ, SMILING, STANDS ON THE OTHER SIDE OF THE GLASS DOOR. WEARING HIS FULL BODY BLUE FLIGHT SUIT. Flag on his shoulder, NASA logo on his upper chest, and below it, his name sewn on: "JOSÉ M. HERNÁNDEZ" Adela DROPS THE PITCHER. It BREAKS, water SPILLS. Place is now SILENT. Customers mumble - what's going on? Adela BOLTS out of the restaurant, and JUMPS into José's arms. Then she grabs his face, looks right into this eyes:</scene_description> <character>ADELA</character> <dialogue>How do you-- Do you-- I don't-- What? What are you doing dressed like that? Is this a joke?</dialogue> <character>JOSÉ</character> <dialogue>What do you think? Should we do this? I still can call the whole thing off.</dialogue> <character>ADELA</character> <dialogue>Oh my god!</dialogue> <scene_description>Adela starts crying.</scene_description> <character>JOSÉ</character> <dialogue>What's the matter?</dialogue> <scene_description>A beat.</scene_description> <character>ADELA</character> <dialogue>The dishwasher didn't show.</dialogue> <scene_description>They both burst into laughter in a fit of mixed and immeasurable emotion. Their daughter Karina walks out the door and stares at him:</scene_description> <character>ADELA</character> <dialogue>How do you like papi's new uniform, honey?</dialogue> <character>KARINA</character> <dialogue>He looks like PAPA SMURF.</dialogue> </scene> <scene> <stage_direction>INT. TIERRA LUNA RESTAURANT, KITCHEN - MOMENTS LATER</stage_direction> <scene_description>José works the dishwashing station like nobody's business, in full NASA flight uniform!</scene_description> </scene> <scene> <stage_direction>INT. JOHNSON SPACE CENTER, CONFERENCE ROOM - DAY</stage_direction> <scene_description>José sits at a press conference with the other ASTRONAUTS as Program Director Cabana reads out their names.</scene_description> <character>CABANA</character> <dialogue>It's my honor to present to you the Space Shuttle Mission Discovery's crew: Commander Frederick Sturckow, Pilot Kevin Ford. Mission Specialists Patrick Forrester. Christer Fuglesang. John Olivas. Nicole Stott. And José Hernández.</dialogue> <scene_description>CAMERAS FLASH!! It's intense. A room full of REPORTERS screaming over each other.</scene_description> <character>CABANA</character> <dialogue>One at a time, please.</dialogue> </scene> <scene> <stage_direction>INT. HERNÁNDEZ HOME - DAY</stage_direction> <scene_description>PUSH INTO Julia and Salvador watching. Lety and Chava try to connect the antenna cord, but no luck. The image looks somewhat distorted, but that doesn't take Salvador's and Julia's attention off the screen. They are utterly proud.</scene_description> <character>JULIA</character> <dialogue>Me dijo que lo van a dejar llevarse tortillas al espacio. A REPORTER on the TV:</dialogue> <character>JULIA</character> <dialogue>He said they're letting him bring tortillas to space.</dialogue> <character>REPORTER</character> <dialogue>Is it true that you grew up as a migrant farmworker in California?</dialogue> <character>JOSÉ</character> <dialogue>Yes, I did. And who better than a migrant to leave this planet, and dive into the unknown, right?</dialogue> <character>REPORTER # 2</character> <dialogue>Is it true you applied 12 times before you were accepted into the program?</dialogue> <character>REPORTER # 3</character> <dialogue>Do you have a message for the Mexican people?</dialogue> <character>REPORTER # 4</character> <dialogue>Did you always dream of this moment? Was this a childhood dream?</dialogue> <scene_description>PRESS MAYHEM continues. The other astronauts look over and smile, as the spotlight seems to fall exclusively on José.</scene_description> </scene> <scene> <stage_direction>EXT. HOUSTON HOME, BACKYARD - SAME</stage_direction> <scene_description>PEACE. Out here it's just crickets... José watches his son looking through the telescope. He knows what he's doing now - focusing, shifting, panning. He's almost a teenager.</scene_description> <character>JULIO</character> <dialogue>Dad? Did you know that Halley's Comet will orbit past Earth again in 2061?</dialogue> <character>JOSÉ</character> <dialogue>I didn't.</dialogue> <parenthetical>(A beat)</parenthetical> <dialogue>How do you know?</dialogue> <character>JULIO</character> <dialogue>I researched it.</dialogue> <scene_description>Ha. Crickets.</scene_description> <character>JULIO</character> <dialogue>I need to ask you something.</dialogue> <scene_description>Julio disengages from the telescope and sits next to his dad. His face worried.</scene_description> <character>JOSÉ</character> <dialogue>What?</dialogue> <character>JULIO</character> <dialogue>You know what.</dialogue> <scene_description>Beat. He knows what.</scene_description> <character>JOSÉ</character> <dialogue>I'm gonna be in the hands of the most capable, most brilliant scientists and engineers in the world...</dialogue> <character>JULIO</character> <dialogue>But-- there's still a chance...</dialogue> <scene_description>José just stares out into the sky.</scene_description> <character>JOSÉ</character> <dialogue>Space travel is... It's very, very unlikely. But yes, it is extremely dangerous.</dialogue> <character>JULIO</character> <dialogue>I... Should anything happen, I promise I'll take care of mom, and my sisters... and my brother.</dialogue> <scene_description>José pulls him in very close and holds him tight.</scene_description> <character>JOSÉ</character> <dialogue>Should anything happen, if you don't keep your promise I'll come back to pull your legs in your sleep!</dialogue> <scene_description>They laugh.</scene_description> <character>JOSÉ</character> <dialogue>Now, tell me more about Halley's comet's return.</dialogue> <character>JULIO (O.S.)</character> <dialogue>It's gonna happen in July 2061. That means I'll be 74 years old.</dialogue> <character>JOSÉ (O.S.)</character> <dialogue>Oh, well, I will come back a jalarte las patas in your sleep by then, for sure!</dialogue> </scene> <scene> <stage_direction>INT. HOUSTON HOME, BEDROOM - DAWN</stage_direction> <scene_description>Barely dusk. We see two silhouettes against a window: José and Adela cuddle together. They say nothing as the sun slowly comes up.</scene_description> <character>JOSÉ</character> <dialogue>I want your ring with me.</dialogue> <scene_description>A beat.</scene_description> <character>JOSÉ</character> <dialogue>I want your ring next to mine. Our rings should be together.</dialogue> <scene_description>She nods, trying her best not to cry but it's no use... He slides the wedding band off her finger, and holds it. They hold on to each other tight, as if they would never, ever let go. For a long time. Finally, she gives him the ring.</scene_description> <character>ADELA</character> <dialogue>If you lose that ring I'll kill you. I mean it. I will kill you with my bare hands.</dialogue> <scene_description>She holds his face as they look deep into each other's eyes.</scene_description> </scene> <scene> <stage_direction>EXT. HOUSTON HOME, DRIVEWAY - MORNING</stage_direction> <scene_description>A BLACK, unmarked NASA GOVERNMENT SUV awaits with the door open. A DRIVER closes the door behind him. José hugs Adela, then comes close to his kids.</scene_description> <character>JOSÉ</character> <dialogue>Hey, kids. Did you know Monarch butterflies' journey is so long, it takes them several generations to get there? The butterfly that starts the journey in Canada won't be the one enjoying Mexico's warmth... but its descendants. You know who taught me that?</dialogue> <scene_description>Salvador smiles. José goes to his mother and father and gives them a big loving hug --</scene_description> <character>JOSÉ</character> <parenthetical>(to Salvador)</parenthetical> <dialogue>Are you crying, Dad?</dialogue> <character>SALVADOR</character> <dialogue>No, mijo, it's just some dirt got into my eye.</dialogue> <scene_description>José smiles and gets in the car.</scene_description> </scene> <scene> <stage_direction>EXT. KENNEDY SPACE CENTER, LAUNCH GROUNDS - DAY</stage_direction> <scene_description>Like an OTHERWORLDLY GIANT making an entrance, Space Shuttle Discovery and its ROCKETS roll out of a hangar on a mobile launch platform. This is José's ride.</scene_description> </scene> <scene> <stage_direction>INT. KENNEDY SPACE CENTER, OPERATIONS BUILDING - MOMENTS</stage_direction> <scene_description>LATER The astronauts are led by STAFF down a long hallway. José can't help but notice the huge POSTERS of space travel LEGENDS: JOHN GLENN. NEIL ARMSTRONG. SALLY RIDE. FRANKLIN CHANG. ELLEN OCHOA. JOHN OLIVAS. SIDNEY GUTIERREZ. GEORGE ZAMKA. KALPANA CHAWLA. ON JOSÉ -- moved...</scene_description> </scene> <scene> <stage_direction>EXT. KENNEDY SPACE CENTER - DAY</stage_direction> <scene_description>Adela, the kids, Salvador and Julia arrive. They step out of a large van, and boy is it a LOUD MESS as usual. Adela wrestles with the kids. Salvador and Julio share a look. They walk away from the pack, take a few steps towards the gardens... and take in the view: The Space Shuttle.</scene_description> </scene> <scene> <stage_direction>INT. KENNEDY SPACE CENTER, ASTRONAUT QUARTERS - DAY</stage_direction> <scene_description>José enters his bedroom. It's bland and simple: bare walls, a single bed, a wardrobe, a TV set and a tiny bathroom. He puts his duffle bag down... and sits on his bed. A member of the STAFF knocks.</scene_description> <character>STAFF</character> <dialogue>Mr. Hernández, your wife is waiting.</dialogue> </scene> <scene> <stage_direction>INT. KENNEDY SPACE CENTER, VISITOR'S LOUNGE - DAY</stage_direction> <scene_description>A big room divided by a GLASS WALL. José enters and sees Adela sitting on the other side. He comes close. Their voices are amplified for each other through loudspeakers.</scene_description> <character>ADELA</character> <dialogue>How are you feeling?</dialogue> <character>JOSÉ</character> <dialogue>Good.</dialogue> <scene_description>Silence. He smiles.</scene_description> <character>ADELA</character> <dialogue>Your parents brought you a surprise.</dialogue> <character>JOSÉ</character> <dialogue>Oh yeah?</dialogue> <scene_description>Adela stands and walks towards the door. José sits patiently, watching through the glass. Adela opens the door and exits the room for a moment. Then she peeks again.</scene_description> <character>ADELA</character> <dialogue>Ready?</dialogue> <scene_description>Adela enters the room, followed by the most unexpected guest: MISS YOUNG! - José's school teacher, now in her 60's. JOSÉ IS ABSOLUTELY STUNNED.</scene_description> <character>MISS YOUNG</character> <dialogue>Well, hello there, young man.</dialogue> <character>JOSÉ</character> <dialogue>I don't-- I don't know what to say.</dialogue> <character>MISS YOUNG</character> <dialogue>Nice to see you, Miss Young. We could start there.</dialogue> <character>JOSÉ</character> <dialogue>How-- How did you find me?</dialogue> <character>MISS YOUNG</character> <dialogue>I don't know, The New York Times? You're not exactly hard to find these days. But it was actually your parents who found me.</dialogue> <character>JOSÉ</character> <dialogue>Thank you. Thank you for being here.</dialogue> <scene_description>José looks down.</scene_description> <character>MISS YOUNG</character> <dialogue>I've been waiting for this moment for more than 30 years. And I have proof.</dialogue> <scene_description>Miss Young's shaky hands rummage through her purse... and she produces a piece of paper... and she unfolds it. IT'S THE COMPOSITION JOSÉ ONCE GAVE HER OUTSIDE HIS HOME. A corn rocket standing upright. And inside it, at the very top, a little boy.</scene_description> <character>MISS YOUNG</character> <dialogue>One of my most prized possessions.</dialogue> <scene_description>She smiles. He's fighting back tears.</scene_description> </scene> <scene> <stage_direction>INT. KENNEDY SPACE CENTER - SAME</stage_direction> <scene_description>Past open doors with FAMILIES watching the SAME NEWSCAST - a NAME ON EACH DOOR: "STURCKOW" - Polite midwestern family quietly listens. "FORD" - A gentle buzz in this CROWD, soft music playing. "STOTT" - A MAN opens a bottle of champagne. We begin the hear the HERNANDEZ RUMBLE as we approach the last door of the hallway, and we move INSIDE THE ROOM: LIVELY COMMOTION. The room is PACKED with FRIENDS and FAMILY - Kids jump on the beds. We land on Salvador and Adela, TERRIFIED, watching the NEWSCAST.</scene_description> <character>NEWSCASTER (V.O.)</character> <dialogue>Another historic day for NASA and the Nation, as Space Shuttle Discovery prepares for launch in a journey towards the ISS, currently orbiting 320 miles above Earth.</dialogue> </scene> <scene> <stage_direction>INT. KENNEDY SPACE CENTER, MEDICAL ROOM - CONTINUOUS</stage_direction> <scene_description>José sits in an undershirt as the STAFF DOCTOR checks his blood pressure.</scene_description> </scene> <scene> <stage_direction>INT. JOHNSON SPACE CENTER, CONTROL CENTER - CONTINUOUS</stage_direction> <scene_description>A million SCREENS, RADARS and STAFF in last minute prep mode for imminent launch.</scene_description> </scene> <scene> <stage_direction>INT. KENNEDY SPACE CENTER, HERNANDEZ FAMILY ROOM - CONTINUOUS</stage_direction> <scene_description>Salvador gives Julia a shot of tequila; she DOWNS it immediately. Adela is still glued to the screen.</scene_description> <character>SALVADOR</character> <dialogue>¿Te sirvo uno a ti también, mija?</dialogue> <character>SALVADOR</character> <dialogue>Can I pour one for you, dear?</dialogue> <scene_description>Adela nods, unable to speak. She downs the tequila. The kids are at the back. Marisa sits by Adela, they half hug. Salvador looks at his hands.</scene_description> </scene> <scene> <stage_direction>INT. KENNEDY SPACE CENTER, CHECKOUT BUILDING - LATER</stage_direction> <scene_description>José's hands covered by gloves. SUIT TECHNICIANS finish dressing José in his orange launch suit.</scene_description> </scene> <scene> <stage_direction>EXT. KENNEDY SPACE CENTER, CHECKOUT BUILDING - MOMENTS LATER</stage_direction> <scene_description>The astronauts enter an ASTRONAUT TRANSFER VAN one by one.</scene_description> </scene> <scene> <stage_direction>INT. ASTROVAN, MOVING - MOMENTS LATER</stage_direction> <scene_description>José sits by a window, looking out. He sees a series of tarmacs, hangars and NASA STAFF.</scene_description> </scene> <scene> <stage_direction>EXT. KENNEDY SPACE CENTER, LAUNCH GROUNDS - CONTINUOUS</stage_direction> <scene_description>TV FOOTAGE of the Astrovan moving as the NEWSCAST continues.</scene_description> </scene> <scene> <stage_direction>INT. KENNEDY SPACE CENTER, HERNANDEZ FAMILY ROOM - SAME</stage_direction> <scene_description>EVERYONE huddled around the TV. Adela stands up to loud PROTESTS. But she won't budge. She stands by the window. What she sees scares her even more: A FLASH OF LIGHTNING in the distance - THUNDERSTORMS.</scene_description> </scene> <scene> <stage_direction>INT. ASTROVAN, MOVING - MOMENTS LATER</stage_direction> <scene_description>José, still looking out the window, when all of a sudden, the van stops. The launch pad is not even in sight. The astronauts exchange looks of concern.</scene_description> </scene> <scene> <stage_direction>INT. KENNEDY SPACE CENTER, HERNANDEZ FAMILY ROOM - CONTINUOUS</stage_direction> <scene_description>A LOUD DISCUSSION - why did they stop? Salvador joins Adela by the window.</scene_description> </scene> <scene> <stage_direction>INT. ASTROVAN - MOMENTS LATER</stage_direction> <scene_description>The astronauts sit patiently. Over their loudspeakers:</scene_description> <character>FLIGHT DIRECTOR (V.O.)</character> <dialogue>Discovery Crew, Flight Director here, Houston has detected unforeseen, unfavorable weather conditions. We have determined that the current launch sequence is a no go. Repeat, launch is a no go until further notice. You will return to base - your quarantine is back in effect.</dialogue> <scene_description>On José's look of DISAPPOINTMENT.</scene_description> </scene> <scene> <stage_direction>INT. KENNEDY SPACE CENTER, ASTRONAUT QUARTERS - LATER</stage_direction> <scene_description>José and the astronauts play cards. Others kick a hacky-sack. Sturckow comes into the room, he sits down, everyone gets close to him as he makes an announcement:</scene_description> <character>STURCKOW</character> <dialogue>Guys. Launch is pushed back till Friday now. The defective fuel control valve is being replaced as we speak.</dialogue> <scene_description>Silence. Wow.</scene_description> <character>JOSÉ</character> <dialogue>Main or back up?</dialogue> <character>STURCKOW</character> <dialogue>Main.</dialogue> <scene_description>Glances are exchanged...</scene_description> <character>JOSÉ</character> <dialogue>Wow... What if we'd gone up like that?</dialogue> <scene_description>A beat.</scene_description> <character>STURCKOW</character> <dialogue>Well... we didn't.</dialogue> <scene_description>Sturckow leaves. They all share concerned looks.</scene_description> </scene> <scene> <stage_direction>INT. KENNEDY SPACE CENTER, JOSÉ'S ROOM - NIGHT</stage_direction> <scene_description>José tosses and turns - can't sleep. Looks out the window.</scene_description> <character>JOSÉ (V.O.)</character> <dialogue>They detected it. We're safe.</dialogue> <character>ADELA (V.O.)</character> <dialogue>But it shouldn't have happened in the first place.</dialogue> <character>JOSÉ (V.O.)</character> <dialogue>You have to trust them.</dialogue> <character>ADELA (V.O.)</character> <dialogue>I know. And I do. But...</dialogue> <character>JOSÉ (V.O.)</character> <dialogue>But what?</dialogue> </scene> <scene> <stage_direction>INT. HOTEL BATHROOM - NIGHT</stage_direction> <scene_description>Adela sitting in the bathroom floor, talking to her cell. Locked in.</scene_description> <character>ADELA</character> <dialogue>I'm so scared.</dialogue> <character>JOSÉ (V.O.)</character> <dialogue>Don't be. You know I'm in the best hands.</dialogue> <character>ADELA</character> <dialogue>I know... I know... Just-- What are you doing right now?</dialogue> <character>JOSÉ (V.O.)</character> <dialogue>I'm staring at a picture of... Salma Hayek.</dialogue> <character>ADELA</character> <dialogue>What?!</dialogue> </scene> <scene> <stage_direction>INT. KENNEDY SPACE CENTER, JOSÉ'S ROOM - NIGHT</stage_direction> <scene_description>José, laughing on the phone, sits on the floor against his bed. He is staring at a picture of Salma.</scene_description> <character>JOSÉ</character> <dialogue>The guys slipped it under my door. They fake signed it and all. It says: "Thank you for going to space, my hero"... So dumb...</dialogue> <character>ADELA (V.O.)</character> <dialogue>That's stupid.</dialogue> <character>JOSÉ</character> <dialogue>You think she would want to meet an Astronaut?</dialogue> <character>ADELA (V.O.)</character> <dialogue>Salma? Totally.</dialogue> <scene_description>A long beat.</scene_description> <character>ADELA (V.O.)</character> <dialogue>You go and come back to her safely, please.</dialogue> <scene_description>He smiles.</scene_description> <character>JOSÉ</character> <dialogue>I want to ask for a favor.</dialogue> <character>ADELA</character> <dialogue>Anything, baby.</dialogue> <character>JOSÉ</character> <dialogue>Tell my dad I'm sorry they lost the house in Michoacán.</dialogue> <scene_description>Adela wipes tears and snot. This is so hard. José closes his eyes.</scene_description> </scene> <scene> <stage_direction>I/E. SALVADOR'S CAR - SUNSET</stage_direction> <scene_description>José and his brothers and sister dirty, tired. Salvador looking at them through the rearview.</scene_description> </scene> <scene> <stage_direction>INT. ADELA'S - NIGHT</stage_direction> <scene_description>Their first date. Her TWO UNCLES. José and Adela look into each other's eyes - their HANDS TOUCH.</scene_description> </scene> <scene> <stage_direction>EXT. STOCKTON - NIGHT</stage_direction> <scene_description>José and Beto share a beer on the hood of the lowrider. José's bare childhood hands deep into the earth. They pick a cob of corn. They feel its texture.</scene_description> </scene> <scene> <stage_direction>INT. HOUSTON HOME, KIDS' BEDROOM - NIGHT</stage_direction> <scene_description>José walks into the kids' room, and watches them sleep. He sees Julio's GEOLOGICAL SYSTEM.</scene_description> </scene> <scene> <stage_direction>INT. HOUSTON HOME, BEDROOM - DAWN</stage_direction> <scene_description>José and Adela, cuddling in that armchair, after taking Adela's ring. Adela's eyes.</scene_description> </scene> <scene> <stage_direction>INT. KENNEDY SPACE CENTER, JOSÉ'S ROOM - NIGHT</stage_direction> <scene_description>Back to José's quarters... CLUTCHING that ring in his hand.</scene_description> <character>ADELA</character> <dialogue>Please come home.</dialogue> <character>JOSÉ</character> <dialogue>I will.</dialogue> <scene_description>He lays on the floor, still on the phone... and tries to go to sleep.</scene_description> </scene> <scene> <stage_direction>EXT. FIELDS, STOCKTON NIGHT</stage_direction> <scene_description>CLOSE ON JOSÉ as he opens his eyes. He still lays on the ground, but he notices it's DIRT. He looks up and sees: Under a strange starry sky, the fields are brightly illuminated by the moonlight. SALVADOR, picking strawberries, his rugged hands moving swiftly like firing pistons. José turns and sees his mother, doing the same. He hears someone behind him and he discovers Adela, picking strawberries too. But then he sees someone else: Right beside her... his son JULIO, face dirty, is picking berry after berry. Then he sees his baby girls helping out too. And Beto. And his aunts and uncles. And his grandparents. And his great grandparents... And as we GLIDE UP above him, we discover an endless field covered with Mexican workers - past, present and future. Monarch butterflies fly all around them. Back on the horizon, a rocket is being prepared. The engines turn on, the fire propels it, and it shoots up into the starry sky. THERE'S A KNOCK.</scene_description> </scene> <scene> <stage_direction>INT. KENNEDY SPACE CENTER, JOSÉ'S ROOM - MORNING</stage_direction> <scene_description>José WAKES UP on the floor. The staff member speaks from the other side of the door.</scene_description> <character>STAFF (O.S.)</character> <dialogue>Mr. Hernández. It's time.</dialogue> </scene> <scene> <stage_direction>EXT. KENNEDY SPACE CENTER, LAUNCH GROUNDS - DAY</stage_direction> <scene_description>A caravan of vehicles with the Astrovan - moving closer to the launchpad.</scene_description> </scene> <scene> <stage_direction>EXT. KENNEDY SPACE CENTER, LAUNCH PAD - DAY</stage_direction> <scene_description>A slow, seemingly endless tilt from the bottom of the Space Shuttle Discovery and its huge steaming boosters, all the way to its imposing top, as it sits on the launchpad, waiting for José.</scene_description> <character>NEWSCASTER (V.O.)</character> <dialogue>After several delays, it's only one hour and seven minutes until NASA begins its next adventure. If all goes well, Discovery astronauts are to lift off from pad 28 at Kennedy Space Center, on the voyage mankind cannot cease to dream about.</dialogue> </scene> <scene> <stage_direction>INT. KENNEDY SPACE CENTER, LAUNCH PAD, ELEVATOR - DAY</stage_direction> <scene_description>José stands in the elevator with the rest of the astronauts - in full gear - as they make their way to the shuttle.</scene_description> <character>REPORTERA MEXICANA (V.O.) MEXICAN NEWSCASTER (V.O.)</character> <dialogue>Es ahora, antes de que José So it is now, before José parta hacia el espacio, que flies into the sky in his les invitamos a pensar en la gleaming vehicle, that we responsabilidad y esperanza invite you to think of the que nuestro compatriota carga burdens and the hopes that sobre sus hombros en nombre our compatriot carries on de todos los mexicanos, e behalf of all Mexicans. incluso de todas las personas Indeed, of all Latinos in latinas en este país. Y de this country. Of all mankind. toda la humanidad.</dialogue> </scene> <scene> <stage_direction>EXT. KENNEDY SPACE CENTER, ASSEMBLY HANGAR, ROOFTOP - DAY</stage_direction> <scene_description>José's family, the kids, Marisa, Salvador, Julia and Adela, stand together, watching in anxious anticipation. Adela is not feeling well, she's pale, about to faint.</scene_description> </scene> <scene> <stage_direction>INT. WHITE ROOM - DAY</stage_direction> <scene_description>José is helped into his GLOVES and HELMET by the SUIT TECHNICIANS. José's helmet fits nice and snug. CLICK.</scene_description> </scene> <scene> <stage_direction>EXT. KENNEDY SPACE CENTER, ASSEMBLY HANGAR, ROOFTOP - DAY</stage_direction> <scene_description>Salvador and Julia are holding each other in silence. Julio steps away from the crowd... he gazes over the launchpad, then to his mom.</scene_description> <character>JULIO</character> <dialogue>Mom, are you ok?</dialogue> <scene_description>Adela shakes her head.</scene_description> </scene> <scene> <stage_direction>INT. KENNEDY SPACE CENTER, JOSÉ'S ROOM - DAY</stage_direction> <scene_description>A NASA OFFICER takes Adela to José's room. She looks terrible. She sits on the bed.</scene_description> <character>ADELA</character> <dialogue>I'll be fine.</dialogue> <scene_description>She breathes deeply.</scene_description> </scene> <scene> <stage_direction>INT. SPACE SHUTTLE - DAY</stage_direction> <scene_description>The astronauts take their places. RADIO CHATTER is intense. Status checks on boosters, flight dynamics, etc, etc. ON JOSÉ - as he pins THREE PICTURES on the side of his control panel: Salvador and Julia... Adela and the kids... Beto and himself. The CLOSE-OUT CHIEF buckles José. He gives José a thumbs up. José nods.</scene_description> <character>LAUNCH CONTROL (V.O.)</character> <dialogue>Discovery, this is Launch Operations Manager. The launch team wishes you good luck and godspeed.</dialogue> </scene> <scene> <stage_direction>INT. KENNEDY SPACE CENTER, JOSÉ'S ROOM - DAY</stage_direction> <scene_description>Adela continues breathing, her shaking eases a bit. She turns to see José's board: the picture of Salma and her fake autograph hanging there. She laughs a little. Stands up and goes to the window. She can see the enormous shuttle from there.</scene_description> </scene> <scene> <stage_direction>INT. SPACE SHUTTLE - DAY</stage_direction> <scene_description>José's eyes. The MAIN HATCH is CLOSED... And LOCKED. The astronauts look at each other.</scene_description> <character>LAUNCH CONTROL (V.O.)</character> <dialogue>We have completed power transfer, we are still a go, 35 seconds and counting. Astronauts report it feels good, T-minus 25 seconds.</dialogue> <scene_description>-- A room full of NASA techs and engineers sit nervously at Control Center. -- CLOSE ON... ADELA. SALVADOR. JULIA. JULIO. -- And... JOSÉ, inside the shuttle. Ready for take off.</scene_description> <character>LAUNCH CONTROL (V.O.)</character> <dialogue>T-minus 15 seconds, second stage tanks now pressurized... 12, 11, 10, 9... Ignition sequence starts.</dialogue> <scene_description>BOOM! A BALL OF FIRE is spat into the camera as the engines IGNITE.</scene_description> <character>LAUNCH CONTROL (V.O.)</character> <dialogue>5, 4, 3...</dialogue> <scene_description>The base of the launch pad LIGHTS UP like a bomb, the rocket ROARS, FURIOUS!</scene_description> <character>LAUNCH CONTROL (V.O.)</character> <dialogue>2, 1, ZERO... All engines running!</dialogue> <scene_description>JOSÉ's eyes WIDEN. The ARMS of the platform LET GO, disengaging as the rocket RATTLES like a moving high-rise.</scene_description> <character>LAUNCH CONTROL (V.O.)</character> <dialogue>Lift off! We have lift off on Space Shuttle Discovery!</dialogue> <scene_description>INSIDE-- the shuttle RUMBLES, José and the astronauts SHAKE in their seats. THEY RISE INTO THE SKY.</scene_description> </scene> <scene> <stage_direction>INT. KENNEDY SPACE CENTER, JOSÉ'S ROOM - DAY</stage_direction> <scene_description>Adela covers her mouth in awe, as she admires the take off. VARIOUS The shuttle FLIES on a HUGE TV SCREEN. THOUSANDS IN MEXICO CHEER! We see WONDER on these faces: LOGAN. WEISSBERG. STACEY. MISS YOUNG. ADELA. SALVADOR. JULIA. JULIO.</scene_description> </scene> <scene> <stage_direction>INT. SPACE SHUTTLE - SAME</stage_direction> <scene_description>LOUD. The shuttle RATTLES as the G-forces kick in. ON JOSÉ - his eyes wide, shaking as the roaring shuttle hurls into space. He looks out the window - the view suddenly dark and filled with STARS. The shaking stops... They've made it past the atmosphere... It's QUIET. José sees an IMAGE: A corn cob floats behind him and lingers before his face. José stares in amazement and, suddenly, YOUNG JOSÉ sits beside him, his beautiful face filled with AWE. And then... YOUNG JOSÉ gently floats towards the window. FROM OUTSIDE THE SHUTTLE-- We see YOUNG JOSÉ'S FACE as the kid glues himself to the glass... and takes in the majestic view. José's eyes look down on Earth. It's beautiful. 'El hijo del pueblo' starts playing. FADE TO BLACK.: THE END.: A MONTAGE WITH THESE IMAGES UNDER TITLES: Real footage of José floating in space, José eating a taco, José being interviewed from the orbiting shuttle. The shuttle landing in California. José's ACTUAL FAMILY celebrating. Footage of MEXICAN PEOPLE celebrating in Mexico City. Footage of José as HE AND THE CREW deplane and salute. A BEAUTIFUL PORTRAIT OF JOSE, ADELA AND THEIR KIDS... Space Shuttle Discovery landed safely in California on September 11, 2009. He also played José Alfredo Jiménez's ranchera: "El hijo del pueblo" up there. After leaving NASA in 2011, José started his own aerospace engineering consulting firm: Tierra Luna Engineering. José helped Mexico launch three Boeing communications satellites into space, opening internet access to remote parts of the country. His son, Julio Hernández, is working on his PhD in aerospace engineering at Purdue. He wants to become an astronaut. José still picks grapes with his father. Only this time they own the vineyard.</scene_description> </scene> </script>

In the late 1960s and 70s, José is a young boy whose family travels from Michoacán as migrant workers picking grapes in California, his parents hoping to buy a house back home after they’ve made enough money. While they are working in the harvest season, José attends school and works in the fields with his family after. His teacher, Ms. Young, notices his potential and visits his parents at home to express her concern over the disruption to his studies by going back and forth as migrant workers. After his father is only paid partial wages for his work, he realizes José’s teacher was right to be concerned and the family decides to stay in California full time. Years later, José graduates from the University of the Pacific and is hired as an engineer at the Lawrence Livermore National Laboratory. Feeling as if he needs to fit in better, he trades in his customized 1963 Chevrolet Impala for a used Mazda RX-7. While signing the paperwork, he meets Adela, whom he asks out. After an intimidating first meeting with her family, they see each other more until they marry. They have five kids and José continues to work successfully at the lab, now instructing the researchers who had previously ignored him. One day during class, José’s boss offers him a chance to join a team going to Russia to evaluate a shipment of enriched uranium the United States is looking to purchase for NASA, noting that a trip like that would look really good on an application to the NASA space program. After several rejections, José hand delivers his 12th application in person to Frederick Sturckow who trains incoming astronauts and is a veteran of the Space Shuttle program. He makes a positive impression on Sturckow and is accepted into the program shortly thereafter. José struggles with the training, falling further behind the rest of his class. When he learns of the death of Beto (a cousin and close friend of his), he loses focus and is exhorted by Sturckow to catch up with the rest or he may be dismissed from the program. He later has a conversation with the head trainer, Kalpana Chawla, who describes to him why going to space makes all of their hard work worthwhile, and ends by letting him know she’s been selected as the Mission Specialist for STS-107 on Space Shuttle Columbia. As José sits with his family watching the broadcast of Columbia’s re-entry, they are shaken when news comes in that Columbia didn’t survive. Nevertheless, José continues on and begins excelling among his classmates at NASA. In 2008, Sturckow pulls José into a conference room to meet with the selection team, who informs him that he’s been chosen to join STS-128 as their Mission Specialist. José visits Adela’s restaurant outside the NASA grounds and tells her the news, with his family later watching him at the press conference. He quotes Beto's words to him that it's fitting for a migrant farmworker to go into the unknowns of space. As he enters quarantine in preparation for the mission, Adela visits him with a surprise: his former teacher Ms. Young, who tells him she’s been waiting for this moment for over 30 years, having followed his progress and career, always believing in his enormous potential. The launch day finally arrives, José is prepared along with the rest of the crew who board the shuttle, and launch into orbit. After main engine cutoff, José looks around at the shuttle cabin and imagines seeing the same Monarch Butterfly that landed on his dad’s arm the day their family decided to stay in California, hinting that he had achieved his destiny. Closing titles note that Mission STS 128 remained on board the International Space Station for 13 days, and that José had tacos and listened to José Alfredo Jiménez’s “El Hijo del Pueblo” while there. José was the first migrant farmworker in space, and still picks grapes with his father today, albeit in his own vineyard: Tierra Luna Cellars in Lodi, California.

Pariah_2011

tt1233334

<script> <scene> <stage_direction>PARIAH</stage_direction> <scene_description>`` WHEREVER THE BIRD WITH NO FEET FLEW , SHE FOUND TREES WITH NO LIMBS . '' - AUDRE LORDE</scene_description> </scene> <scene> <stage_direction>EXT./INT. NIGHTCLUB- EVENING</stage_direction> <scene_description>A disembodied gaggle of jersey clad shoulders , jeans , and hats crosses a narrow street . Lights flare , hands are stamped , torsos are patted down . Money exchanges hands . We descend into a black , throbbing tunnel . Explicit music booms from bassy club speakers . Hips , legs feet dancing . A GO - GO DANCER struts and wiggles around a brass pole . Hoots and cheers . The dancer marches in place , rolling her thonged bottom . More cheers , greedy hands stuff dollars into her waistband .</scene_description> <character>FEMALE DJ</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Let's go! Where all my sexy Sagittarian ladies at?</dialogue> <scene_description>Arms go up . A collection of whoops ripple the crowd . The dancer wraps her legs around the pole and oozes upward headfirst . The CAMERA ROTATES as she stretches her booted heels into the crowd . We realize that she has been dancing on the ceiling .</scene_description> <character>FEMALE DJ</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Oh my God!</dialogue> <scene_description>ALIKE -LRB- pronounced AH - LEE - KAY -RRB- , 17 , covers her mouth , laughing and wide - eyed . She tries to back away from the stage , but is pushed forward by a torrent of eager arms waving dollar bills . Among them is LAURA , 18 , worldly and smooth .</scene_description> <character>LAURA</character> <dialogue>Where your singles at?! Where your singles at?! Yeah, baby!</dialogue> <scene_description>Laura strains over Alike 's shoulder to tuck a bill into the dancer 's boot . Alike drops her beer in all the jostling .</scene_description> <character>FEMALE DJ</character> <dialogue>Goddamn I love my job!</dialogue> <scene_description>Laura stuffs a bill into Alike 's now empty hand and forcibly waves Alike 's wrist in the air . Alike pulls free just as the dancer takes notice and begins to direct her attention at her .</scene_description> <character>ALIKE</character> <dialogue>Stop! Chill!</dialogue> <character>LAURA</character> <dialogue>Whatchu' come here for?!</dialogue> <scene_description>Alike shoves the dollar bill into Laura 's chest and shoulders her way past the wall of onlookers surrounding the stage . Laura shrugs , puts the bill in her teeth and lays her head at the edge of the stage . Alike looks away and breaks through a snarl of clubgoers just as the dancer begins to descend .</scene_description> <character>ALIKE</character> <dialogue>Excuse me. Sorry. Excuse me. Oof, sorry ladies.</dialogue> <scene_description>Finally free of the throng , Alike takes a breath and looks at the clock on her cell phone .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Shit!</dialogue> <scene_description>She rolls her eyes back to the stage where Laura is no longer visible . Not daring to risk another plunge into the throbbing crowd , she retreats for the bar .</scene_description> <character>FEMALE DJ</character> <dialogue>Let's go!</dialogue> </scene> <scene> <stage_direction>INT. NIGHTCLUB BAR- NIGHT</stage_direction> <scene_description>Alike beaches at an empty spot at the bar . Her gaze settles on a CUTE GIRL a little ways down , staring out at the dance floor . Alike jerks her eyes away and smooths the front of her shirt and adjusts her hat as she edges toward the girl .</scene_description> <character>ALIKE</character> <dialogue>Hi.</dialogue> <scene_description>The girl ignores her . Alike clears her throat and speaks a little too loudly .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Umm. Hey! How are you?!</dialogue> <scene_description>The girl jerks around and frowns at Alike , looking her up and down .</scene_description> <character>CUTE GIRL</character> <dialogue>What?!</dialogue> <character>ALIKE</character> <dialogue>Umm. sorry. I was just sayin' Umm. hi.</dialogue> <character>CUTE GIRL</character> <dialogue>Oh.</dialogue> <scene_description>The girl dismisses Alike and turns back toward the floor .</scene_description> <character>ALIKE</character> <dialogue>Oh. You wan na drink or something? Hey! Hey! Over here!</dialogue> <scene_description>Alike strains , snapping at the bartender . A CONFIDENT WOMAN swaggers up close to the girl and extends her hand . The cute girl takes it and allows herself to be lead to the dance floor . Alike looks around just in time to see her leaving . The bartender finally materializes , and Alike slinks away .</scene_description> </scene> <scene> <stage_direction>INT. NIGHTCLUB BATHROOM - NIGHT</stage_direction> <scene_description>Alike slumps into a long line of women waiting to squeeze the cramped , 2 stall bathroom . A COUPLE in front of her makes out vigorously , and she folds her arms and looks away . A buff 30 - SOMETHING WOMAN with locs smiles and winks at Alike . Alike smiles and fidgets with her eyebrows and looks away . The line inches forward . Alike glances around searching for the woman . The 30 - something has already lost interest , her attention now fully directed at a much more FEMININE WOMAN strutting out of the restroom . Embarrassed , Alike faces front again . Two androgynous gangsters -LRB- AGs -RRB- who have witnessed the whole thing nudge each other and sneer . Alike squares her shoulders and widens her stance . One of the AG 's breaks out in laughter and they turn around as the line inches forward again . Alike pretends not to notice and slumps out of line and retreats for a lonely oasis of couch along the wall .</scene_description> </scene> <scene> <stage_direction>INT. NIGHTCLUB COUCH - LATER</stage_direction> <scene_description>Alike dozes on the couch .</scene_description> <character>FEMALE DJ</character> <dialogue>Give it up for Sin - A - Min ladies!</dialogue> <scene_description>Alike wakes with a start . She checks the time on her cell phone . Cursing , she scrambles up from the couch .</scene_description> </scene> <scene> <stage_direction>INT. NIGHTCLUB BAR - EVENING</stage_direction> <scene_description>Laura dances with a cute SHORT HAIRED GIRL . Alike spots the pair from afar and heads in their direction .</scene_description> <character>ALIKE</character> <dialogue>C'mon, we're late.</dialogue> <character>LAURA</character> <dialogue>Huh?</dialogue> <character>ALIKE</character> <dialogue>I got ta go!</dialogue> <character>LAURA</character> <dialogue>Hold on a minute.</dialogue> <character>ALIKE</character> <dialogue>C'mon, why you trippin'?</dialogue> <character>LAURA</character> <dialogue>What?</dialogue> <character>ALIKE</character> <dialogue>Why are you trippin', you know I got ta go!</dialogue> <character>LAURA</character> <dialogue>What?</dialogue> <character>ALIKE</character> <dialogue>You know I got ta go. I ` ma get in trouble.</dialogue> <character>LAURA</character> <dialogue>Lem me dance with shortie first, then I'll be ready.</dialogue> <character>ALIKE</character> <dialogue>What?</dialogue> <scene_description>Laura spins the short haired on the dance floor and the pair continue their wobbling , uneven groove . Alike endures several moments of invisibility as a sea of women , both `` feminine '' and `` butch '' push past her without a second glance . Alike tugs at Laura 's jersey . Laura , happily tangled in her dance partner 's embrace rolls her eyes .</scene_description> <character>LAURA</character> <dialogue>Stop pulling on my clothes!</dialogue> </scene> <scene> <stage_direction>EXT. BUS STOP- NIGHT</stage_direction> <scene_description>Laura sulks , frowning out at the night . Alike extends the olive branch .</scene_description> <character>ALIKE</character> <dialogue>How many numbers you get? One?</dialogue> <character>LAURA</character> <dialogue>I could've gotten more, but your moms was holding me up.</dialogue> <character>ALIKE</character> <dialogue>Oooh. That's jacked up.</dialogue> <character>LAURA</character> <dialogue>How many you get?</dialogue> <character>ALIKE</character> <dialogue>Tonya, Denise, Shelley. No wait that's old, I can delete that one. Tonya.</dialogue> <scene_description>Laura snatches the phone from Alike . Alike swipes at it but misses . Laura fends her off with one hand and scrolls through the numbers with the other .</scene_description> <character>LAURA</character> <dialogue>Ai n't Shelley that chick from your math class?! Denise. What? These are your damn study group numbers! Why you frontin'?!</dialogue> <scene_description>Alike snatches the phone and wipes the screen with her sleeve .</scene_description> <character>ALIKE</character> <dialogue>I do n't see you with no list of numbers.</dialogue> <character>LAURA</character> <dialogue>I'm not the one looking for a girlfriend, man. You the one still a virgin!</dialogue> <character>ALIKE</character> <dialogue>Shut up!</dialogue> <character>LAURA</character> <dialogue>Trying to help your ass. I'm sayin', whatchu waitin' for?!</dialogue> <scene_description>Alike shrugs it off , her smile fading a little . Laura elbows her and sneers .</scene_description> <character>LAURA</character> <dialogue>Kickin' that same ` ol quiet shit since 6th grade. I do n't need to press, I gets plenty. Shit.</dialogue> <character>ALIKE</character> <dialogue>Wah - wah.</dialogue> <character>LAURA</character> <dialogue>I get more pussy than your daddy, nigga, what?!</dialogue> <character>ALIKE</character> <dialogue>Oh shit! Yeah, you got me with that one.</dialogue> </scene> <scene> <stage_direction>INT. BUS - NIGHT</stage_direction> <scene_description>Alike becomes more quiet and less playful as the ride wears on . A middle - class Bronx landscape , well - lit with a newly constructed Starbucks and renovated condos flits by the window . Alike reaches over and presses the tape . Laura elbows Alike .</scene_description> <character>LAURA</character> <dialogue>Quit playing.</dialogue> <character>ALIKE</character> <dialogue>Your stop.</dialogue> <character>LAURA</character> <dialogue>Huh?</dialogue> <character>ALIKE</character> <dialogue>Your stop - you're getting off here, right?</dialogue> <character>LAURA</character> <dialogue>Nah, I'll roll with you a few more stops.</dialogue> <character>ALIKE</character> <dialogue>Why you gon' walk all the way back down for? That's stupid.</dialogue> <character>LAURA</character> <dialogue>Make sure you get home okay.</dialogue> <scene_description>The bus pulls to the curb . The light flicks on over the back door .</scene_description> <character>ALIKE</character> <dialogue>You ai n't big, nigga. Trying to protect somebody. Hurry up, man, get off!</dialogue> <character>LAURA</character> <parenthetical>( to bus driver . )</parenthetical> <dialogue>That's alright man - next stop. Next stop!</dialogue> <scene_description>Alike elbows Laura sharply . The bus driver frowns in the rear view .</scene_description> <character>LAURA</character> <dialogue>You ai n't got ta push me, why're you beastin'?</dialogue> <character>ALIKE</character> <dialogue>I'm not beastin'.</dialogue> <scene_description>Laura climbs over Alike and swings toward the door .</scene_description> <character>LAURA</character> <dialogue>You got a problem. Call me.</dialogue> <character>ALIKE</character> <dialogue>I ` ma call you.</dialogue> <scene_description>Alike turns and watches Laura stroll away . Laura drums a little beat on Alike 's window as the bus pulls off . Alike waves and faces forward again . An OLD LADY sitting nearby shoots her a disapproving look . Alike rolls her eyes and moves to a seat farther away .</scene_description> </scene> <scene> <stage_direction>INT. BUS - CONTINUOUS</stage_direction> <scene_description>Alike studies her reflection in the window , and takes a breath . She unbuttons her bulky men 's shirt to reveal a fitting baby doll shirt that reads `` Princess . '' She stuffs her baseball cap and durag into her backpack and jabs a pair of small gold hoop earrings into her ears . She slumps back against the seat and stares into the night . The bus stops at a lonely island of curb . Alike is a dark silhouette sprinting around the corner and into the night .</scene_description> </scene> <scene> <stage_direction>INT. ALIKE'S APARTMENT - NIGHT</stage_direction> <scene_description>Alike cracks open the front door just wide enough to slip through . The house is dark except for the flashing microwave clock . Alike takes off her sneakers and pads down the hallway . Her younger sister , SHARONDA 's door cracks open as she passes .</scene_description> <character>SHARONDA</character> <dialogue>You late.</dialogue> <character>ALIKE</character> <parenthetical>( whispering . )</parenthetical> <dialogue>Be quiet.</dialogue> <character>SHARONDA</character> <dialogue>Where you been this late?</dialogue> <character>ALIKE</character> <parenthetical>( whispering . )</parenthetical> <dialogue>Movies.</dialogue> <character>SHARONDA</character> <dialogue>Movie ended at midnight.</dialogue> <character>ALIKE</character> <parenthetical>( whispering . )</parenthetical> <dialogue>Shhh. Shut up.</dialogue> <scene_description>Alike shoves her sister and tries to close the door . Sharonda yanks the door open wider .</scene_description> <character>SHARONDA</character> <parenthetical>( whispering . )</parenthetical> <dialogue>Do n't push me.</dialogue> <character>ALIKE</character> <parenthetical>( whispering . )</parenthetical> <dialogue>Go to bed.</dialogue> <character>SHARONDA</character> <dialogue>I know what stays open past midnight.</dialogue> <scene_description>Sharonda puts a hand to her head and does a little dance .</scene_description> <character>ALIKE</character> <dialogue>Shut up!</dialogue> <scene_description>Alike eases Sharonda 's door shut . Sharonda swings the door open wide .</scene_description> <character>SHARONDA</character> <dialogue>Good night Lee!</dialogue> <scene_description>Sharonda slams her door . The light clicks on underneath Alike 's parent 's door .</scene_description> <character>AUDREY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Lee? Lee?!</dialogue> <scene_description>Alike rolls her eyes at her sister 's closed door and shrugs into her room .</scene_description> </scene> <scene> <stage_direction>INT. ALIKE'S BEDROOM - NIGHT</stage_direction> <scene_description>Alike rushes to shove her stuffed backpack under the bed . She tosses her shoes in the closet just as her mother , AUDREY appears in the doorway .</scene_description> <character>AUDREY</character> <dialogue>Nice to know you still live here.</dialogue> <scene_description>Alike peels off her socks and slumps on the bed .</scene_description> <character>AUDREY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What're you doing home so late, anyway?</dialogue> <character>ALIKE</character> <dialogue>Lost track of time.</dialogue> <character>AUDREY</character> <dialogue>You know what time your curfew is. Where were you?</dialogue> <character>ALIKE</character> <dialogue>Movies.</dialogue> <character>AUDREY</character> <dialogue>The show ended at midnight. And your curfew is twelve thirty.</dialogue> <character>ALIKE</character> <dialogue>I lost track of time.</dialogue> <scene_description>Audrey gets cozy in the doorjamb . Alike turns her back on her and slumps into pajamas .</scene_description> <character>AUDREY</character> <dialogue>At least you were cute. Where'd you get that shirt? ` Princess'. I like that.</dialogue> <scene_description>Alike winds the princess shirt around her fist and launches to the top of the closet .</scene_description> <character>ALIKE</character> <dialogue>It's old.</dialogue> <character>AUDREY</character> <dialogue>Compliments your figure. I saw something just like it on sale, maybe we could go shopping -</dialogue> <character>ALIKE</character> <dialogue>Goodnight.</dialogue> <scene_description>Audrey stiffens and pulls her robe tighter . Vinegar replaces honey in her demeanor as the warmth drains out of her voice .</scene_description> <character>AUDREY</character> <dialogue>I really do n't care for that young lady you run around with anyway.</dialogue> <character>ALIKE</character> <dialogue>Yeah, okay!</dialogue> <character>AUDREY</character> <dialogue>And tie your head up.</dialogue> <scene_description>Alike snags a satin headscarf from the nightstand and slaps it around her head .</scene_description> <character>AUDREY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's your head. And you really should wash your face, too.</dialogue> <character>ALIKE</character> <dialogue>I do n't have on make - up.</dialogue> <character>AUDREY</character> <dialogue>Wash your face anyway.</dialogue> <character>ALIKE</character> <dialogue>Mom. I'm seventeen years old, please do n't talk to me like -</dialogue> <character>AUDREY</character> <dialogue>Watch your tone.</dialogue> <parenthetical>( Beat . )</parenthetical> <dialogue>Well, it's your skin.</dialogue> <scene_description>Audrey leaves . Alike is still . She listens for the door to her parent 's room to shut before snatching off the scarf and storming to the bathroom .</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - NIGHT</stage_direction> <scene_description>Alike turns on the faucet , wets the soap and puts it back in the dish , wets her wash cloth and puts it back on the rack . She plops down on the toilet and looks up . A crucifix frowns down at her from the wall . She averts her eyes and stands to leave .</scene_description> <character>AUDREY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Did you brush your teeth?</dialogue> <scene_description>Alike wets her toothbrush and throws it back into the holder .</scene_description> <character>AUDREY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Lee?</dialogue> <scene_description>Alike squeezes out a dollop of toothpaste and smears a little around the sink . She stares at her reflection .</scene_description> <character>AUDREY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Lee?</dialogue> <scene_description>Alike flicks water droplets at the mirror for good measure .</scene_description> <character>ALIKE</character> <dialogue>Yes, mom.</dialogue> </scene> <scene> <stage_direction>EXT. SCHOOL - MORNING</stage_direction> <scene_description>Alike , bundled in an oversized hoodie edges up to the perimeter of campus and waits against a bus shelter . STUDENTS horseplay and mill about the entrance in groups , chugging their morning Fantas and munching on snack cakes . The school bell rings and the lawn slowly empties into the building . Alike shifts her weight and checks her watch as the last STRAGGLERS finally trickle in . She yanks her hoodie tighter and launches across the lawn and into the building .</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL HALLWAY - MORNING</stage_direction> <scene_description>A second school bell sounds and the din of slamming lockers and jubilant chatter dies to a hush as students shuffle into classrooms . Alike cracks the back stairwell door and peeks out into the mostly empty hallway before tearing for the bathroom . One last straggler BINA , a 17 year - old girl with mature , but down - to - earth good looks rushes past Alike . The two exchange a brief , confused look then mutually dismiss each other as they hurry in opposite directions .</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL BATHROOM - MORNING</stage_direction> <scene_description>Alike hurtles into the handicapped stall and snaps it shut behind her . She rips off her hoodie and the `` girly '' shirt beneath and flings them to the floor . She pulls out a pair of wife - beaters from her bag and pulls them over her head . She unwads a polo shirt and yanks it over her head . She stares at her reflection in the window and tries unsuccessfully to smooth her shirt . Her eyes scour her reflection again and again for any imperfections . She spots the earrings and yanks them out of her ears . The late bell beckons and Alike stuffs her `` feminine '' clothes into her backpack and bolts .</scene_description> </scene> <scene> <stage_direction>INT. MATH CLASSROOM - DAY</stage_direction> <scene_description>The MATH TEACHER glides up and down the aisles passing out graded tests . A chorus of groans follows in her wake .</scene_description> <character>MATH TEACHER</character> <dialogue>As promised, I will be grading these on a curve.</dialogue> <scene_description>Alike is folded into the backmost corner of the classroom . The desks in front her and beside her are empty . She is ignored as the rest of the class chatters and passes notes .</scene_description> <character>MATH TEACHER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>But the highest grade on the test was a 98.</dialogue> <scene_description>The math teacher puts Alike 's test on her desk and gives her a little smile . Alike does n't smile back . The lunch bell rings and the class is a tornado , clearing the room in a rush of limbs , shouts , and backpacks . Alike jabs her headphones into her ears and packs her bag very deliberately , letting the eye of the storm pass over her before heading toward the door .</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL CAFETERIA - DAY</stage_direction> <scene_description>The cafeteria is a whirl of activity and social jockeying . Clusters of girls and boys loud - talk , flirt , fight and horseplay at tables and in tight little groups against the walls . Alike walks alone , staying at the fringes of the crowd and shrugs through the cafeteria line .</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL HALLWAY - DAY</stage_direction> <scene_description>Alike flees the cafeteria , tray laden with rubbery cuisine of dubious nutritional value . She raps on the door of a classroom and slips in .</scene_description> <character>MRS. ALVARADO</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hey there!</dialogue> </scene> <scene> <stage_direction>INT. AP ENGLISH CLASSROOM - DAY</stage_direction> <character>ALIKE</character> <dialogue>Hey!</dialogue> <scene_description>MRS. ALVARADO , a middle aged Californian ex - hippie type reclines with her feet on her desk , munching on celery sticks and sunflower seed paste . Her small desk radio plays alternative rock . Sun beams into the empty classroom and Alike squints as she yanks the headphones out of her ears and pulls up a chair next to her desk .</scene_description> <character>MRS. ALVARADO</character> <dialogue>Whaddja bring me?</dialogue> <character>ALIKE</character> <dialogue>Nothin' you can eat.</dialogue> <character>MRS. ALVARADO</character> <dialogue>You should n't be eatin' that crap, either.</dialogue> <character>ALIKE</character> <parenthetical>( over a mouthful of pizza . )</parenthetical> <dialogue>I know.</dialogue> <character>MRS. ALVARADO</character> <dialogue>Sooo, where's the new stuff?</dialogue> <scene_description>Alike hands over her purple and white composition book . Mrs. Alvarado thumbs the pages , reading silently .</scene_description> <character>MRS. ALVARADO</character> <dialogue>Hmmm.</dialogue> <character>ALIKE</character> <dialogue>Did you see the one in the back?</dialogue> <scene_description>Mrs. Alvarado flips to the back of the book and her mouth moves silently as she reads .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'll probably do it in class.</dialogue> <scene_description>Mrs. Alvarado hands the book back to Alike and digs in to another celery stick .</scene_description> <character>ALIKE</character> <dialogue>So?</dialogue> <character>MRS. ALVARADO</character> <dialogue>So what?</dialogue> <character>ALIKE</character> <dialogue>What do you think?</dialogue> <character>MRS. ALVARADO</character> <dialogue>They're okay.</dialogue> <character>ALIKE</character> <dialogue>Okay?</dialogue> <character>MRS. ALVARADO</character> <dialogue>They're lovely. Of course your descriptiveness and use of alliteration is beautiful and all, you know that. But. I do n't know. Is it your best? No.</dialogue> <scene_description>Alike frowns through the pages of the composition book .</scene_description> <character>ALIKE</character> <dialogue>I thought it was good.</dialogue> <character>MRS. ALVARADO</character> <dialogue>It's good. Not great.</dialogue> <scene_description>Alike slumps back into her seat and considers the book 's cover .</scene_description> <character>MRS. ALVARADO</character> <dialogue>I believe you can go deeper.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL CORRIDOR - AFTERNOON</stage_direction> <scene_description>Audrey is a heat - seeking missile , whipping through the sparse hallways of the trauma wing , her clipboard and pen in constant motion . NURSES and AIDES scatter in her wake , suddenly busying themselves with little bits of chore work to avoid her caustic gaze . She barks at a cluster of CLERKS chit - chatting in the elevator bank and all but one manage to escape . Audrey drills her .</scene_description> <character>AUDREY</character> <dialogue>Oh, so your log is all up to date?</dialogue> <character>CLERK</character> <dialogue>No I -</dialogue> <character>AUDREY</character> <dialogue>And you've checked the round for any calls?</dialogue> <character>CLERK</character> <dialogue>Well I -</dialogue> <character>AUDREY</character> <dialogue>Do you even know which doctors are on the floor?</dialogue> <character>CLERK</character> <dialogue>No ma'am I -</dialogue> <character>AUDREY</character> <dialogue>Then I suggest you get busy.</dialogue> <scene_description>The clerk skitters off red - faced , and Audrey looks daggers into her back before storming the break room .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL BREAK ROOM - CONTINUOUS</stage_direction> <scene_description>Audrey whisks her lunch bag out of the fridge and heads toward a table . A few lounging AIDES wad up their garbage and flee the break room . Audrey settles down at the table and pulls a fashion magazine from her work tote , pretending not to be hurt . She peels open a cup of vanilla yogurt and begins reading . A big red department store bag sits next to her work tote . The television suspended over the table mumbles corporate healthcare infomercials . MRS. SINGLETARY , one of Audrey 's co - workers swoops in and plops a plastic grocery bag on the table across from her .</scene_description> <character>MRS. SINGLETARY</character> <dialogue>Hey girl! Mind if I sit here?</dialogue> <character>AUDREY</character> <dialogue>No, not at all. Help yourself.</dialogue> <character>MRS. SINGLETARY</character> <dialogue>Whatchu got there? You been shopping?</dialogue> <character>AUDREY</character> <dialogue>Oh, no. Just some yogurt. Some vanilla yogurt.</dialogue> <character>MRS. SINGLETARY</character> <dialogue>No I meant in the bag. What do you have in the shopping bag - the big red thing?</dialogue> <character>AUDREY</character> <dialogue>Oh I'm. I do n't know where my mind is. Yeah, this is just uh - well let me get your opinion.</dialogue> <scene_description>Audrey 's steely exterior melts away and suddenly she is all butterflies and giggles . She rifles through the bag and hoists out a pink ribbed v - neck sweater .</scene_description> <character>MRS. SINGLETARY</character> <dialogue>Oh that's nice.</dialogue> <character>AUDREY</character> <dialogue>Yeah see is n't this cute?</dialogue> <character>MRS. SINGLETARY</character> <dialogue>Umm - hmm. That's for your daughter?</dialogue> <character>AUDREY</character> <dialogue>Yeah, this is for Alike.</dialogue> <character>MRS. SINGLETARY</character> <dialogue>The youngest one.</dialogue> <character>AUDREY</character> <dialogue>No she's the oldest one.</dialogue> <character>MRS. SINGLETARY</character> <dialogue>Oh, the other one. Okay.</dialogue> <character>AUDREY</character> <dialogue>What, you think it's too young?</dialogue> <character>MRS. SINGLETARY</character> <dialogue>No, no. For whatever reason the youngest one popped in my mind first. But I think it should be fine. It's really cute.</dialogue> <character>AUDREY</character> <dialogue>Thank you.</dialogue> <character>MRS. SINGLETARY</character> <dialogue>It'll compliment her figure.</dialogue> <character>AUDREY</character> <dialogue>Now see that's what I thought. But Lee does n't like anything I pick out for her anymore.</dialogue> <scene_description>Mrs. Singletary takes a bite of her lunch and takes the sweater from Audrey .</scene_description> <character>MRS. SINGLETARY</character> <dialogue>Girl, please. My oldest, 17 going on 27 mind you, banned me from buying her any more clothes. We have two completely different tastes. I just give her gift cards now and trust me, we're both happier for it. Is it her birthday?</dialogue> <scene_description>Mrs. Singletary hands the sweater back to Audrey who smooths it carefully back into the tissue paper .</scene_description> <character>AUDREY</character> <dialogue>No, no. I just wanted to get her something nice. You know.</dialogue> <scene_description>Three ROWDY CO - WORKERS burst into the room chattering and finger popping .</scene_description> <character>ROWDY CO-WORKER #1</character> <dialogue>Hey, Brenda!</dialogue> <character>ROWDY CO-WORKER #2</character> <dialogue>Oooooh Audrey, you got me a present?</dialogue> <character>ROWDY CO-WORKER #3</character> <dialogue>What ` chall in here talking about?</dialogue> <character>AUDREY</character> <dialogue>Well, no we -</dialogue> <character>MRS. SINGLETARY</character> <dialogue>None of yo' damn business!</dialogue> <scene_description>The co - workers hoot in unison and descend upon the various parts of the breakroom . Audrey shoves the sweater back in the bag and nestles it between her feet . Somebody cranks on a small radio and a frisky R&amp;B beat invades the air . Mrs. Singletary pats Audrey on the arm .</scene_description> <character>MRS. SINGLETARY</character> <dialogue>Let me know how it goes.</dialogue> <character>AUDREY</character> <dialogue>Oh I will. I'll call you when -</dialogue> <character>ROWDY CO-WORKER #3</character> <dialogue>Hey Bren' this is what I was telling you about!</dialogue> <scene_description>Co - worker # 3 shoves a tabloid in Mrs. Singletary 's face , tapping an angry orange fingernail in the middle of the page .</scene_description> <character>MRS. SINGLETARY</character> <dialogue>Is that her?!</dialogue> <character>ROWDY CO-WORKER #3</character> <dialogue>Told you!</dialogue> <character>ROWDY CO-WORKER #2</character> <dialogue>Look how big she done got!</dialogue> <scene_description>The center of the room shifts and Audrey is once again alone at the fringes . She collects her shopping bag and looks around to say goodbye , but no one notices her leave .</scene_description> </scene> <scene> <stage_direction>INT. ALIKE'S KITCHEN - EVENING</stage_direction> <scene_description>Audrey , Sharonda , Alike , and their father , ARTHUR , 40 - something with a used - to - be athletic build , are all gathered around the dinner table for a rare family dinner . Everyone takes half - hearted nibbles at their food avoiding eye contact with each other . Sharonda picks at her food .</scene_description> <character>SHARONDA</character> <dialogue>I do n't see why we ca n't just watch TV like usual.</dialogue> <scene_description>Alike elbows Sharonda .</scene_description> <character>SHARONDA</character> <dialogue>Quit it!</dialogue> <character>ALIKE</character> <dialogue>Shut up.</dialogue> <character>SHARONDA</character> <dialogue>You do n't tell me what to do!</dialogue> <character>AUDREY</character> <dialogue>Girls.</dialogue> <scene_description>The phone rings and Arthur beats a path to bedroom to get it . Audrey wilts .</scene_description> <character>ARTHUR</character> <dialogue>I'm expecting a call.</dialogue> <scene_description>Audrey stares after him then glares back at Alike and Sharonda .</scene_description> <character>AUDREY</character> <dialogue>This is your father's night off.</dialogue> <scene_description>Alike casts a glance in the direction of the bedroom , where Arthur can be heard talking in hushed tones . She rolls her eyes and slinks down into her seat .</scene_description> <character>AUDREY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>So straighten up.</dialogue> <scene_description>Arthur settles back into his chair , his mood a little brighter . Seeing an opportunity for brownie points , Sharonda pitches in .</scene_description> <character>SHARONDA</character> <dialogue>Homecoming got moved this year. It's gon na be in September instead of October.</dialogue> <character>AUDREY</character> <dialogue>Oh really?</dialogue> <character>SHARONDA</character> <dialogue>Yeah. Which means I'll be able to go to Autumn Ball and the Homecoming Dance.</dialogue> <character>AUDREY</character> <dialogue>Who are you going with?</dialogue> <character>SHARONDA</character> <dialogue>I do n't know. Maybe Derek. If he asks me. Maybe Parrish. I have n't decided yet. But for homecoming, I definitely want to go with Craig.</dialogue> <character>AUDREY</character> <dialogue>Oooh, I see. Lee, who are you going with?</dialogue> <character>ALIKE</character> <dialogue>Umm. I'm not going.</dialogue> <scene_description>Arthur gives Alike an approving Daddy 's girl wink . Alike beams back .</scene_description> <character>AUDREY</character> <dialogue>Not going? This is your junior year. How can you not go?</dialogue> <character>ARTHUR</character> <dialogue>Leave her alone Audrey, if does n't want to go, she does n't have to go.</dialogue> <character>AUDREY</character> <dialogue>But it's her junior year, she's not gon na have any memories.</dialogue> <character>ARTHUR</character> <dialogue>I do n't like all those boys buzzing around my daughters anyway.</dialogue> <character>SHARONDA</character> <dialogue>Nobody buzzes around Alike.</dialogue> <character>ARTHUR</character> <dialogue>That's right and it better stay that way. Matter of fact, I do n't know if I ` ma let you go.</dialogue> <character>SHARONDA</character> <dialogue>Daaa - aad?!</dialogue> <scene_description>Alike smirks and takes her plate to the sink . Arthur jabs her on the arm as she walks by . Audrey tears into a dinner roll shooting daggers at anyone who dares to make eye contact .</scene_description> </scene> <scene> <stage_direction>INT. LAURA'S KITCHEN - NIGHT</stage_direction> <scene_description>Laura brings a steaming cup of Ramen noodles to a worn kitchen table splayed with bills . Her older sister CANDACE , a stout 30 something with pleasant but hard - working looks scribbles notes on the back of an envelope while soaking her feet . Laura takes a sip of her soup and starts sifting through a pile of envelopes .</scene_description> <character>LAURA</character> <dialogue>How much we paid him last time?</dialogue> <character>CANDACE</character> <dialogue>Six twenty - five.</dialogue> <character>LAURA</character> <dialogue>So that makes - we owe another two seventy - five for the rest of the month.</dialogue> <scene_description>Candace pecks on a calculator and scribbles on the envelope . Laura flips through more bills .</scene_description> <character>LAURA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Electric?</dialogue> <character>CANDACE</character> <dialogue>Half.</dialogue> <character>LAURA</character> <dialogue>Phone?</dialogue> <character>CANDACE</character> <dialogue>Let it ride.</dialogue> <character>LAURA</character> <dialogue>Gas?</dialogue> <character>CANDACE</character> <dialogue>How much?</dialogue> <character>LAURA</character> <dialogue>Eighty - five.</dialogue> <character>CANDACE</character> <dialogue>Half. No let it ride.</dialogue> <scene_description>Laura locks her hands on top of her head and leans back in her chair , surveying the financial carnage . Candace reaches inside a CERAMIC HEN on the table and pulls out a wad of money . She counts out several hundred dollars into an envelope .</scene_description> <character>LAURA</character> <dialogue>I can get some more hours -</dialogue> <character>CANDACE</character> <dialogue>No. You know what you need to do.</dialogue> <character>LAURA</character> <dialogue>Nah Candy, I ca n't just dip out on you like that -</dialogue> <character>CANDACE</character> <dialogue>I was doing just fine before you moved in, remember? I can handle it.</dialogue> <scene_description>Laura sucks her teeth .</scene_description> <character>CANDACE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You working was only supposed to be temporary. Mom would've wanted -</dialogue> <character>LAURA</character> <dialogue>Who?! Man, do n't even -</dialogue> <character>CANDACE</character> <dialogue>She would've -</dialogue> <character>LAURA</character> <dialogue>Stop.</dialogue> <scene_description>Laura pushes up from the table and glares at Candace , a showdown . Candace stares back , unfazed . Laura caves first .</scene_description> <character>LAURA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'll get the money orders in the morning.</dialogue> <scene_description>Laura tugs at the envelope but Candace does n't let go right away .</scene_description> <character>LAURA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'll look into it alright?</dialogue> <scene_description>Candace relinquishes the envelope and Laura stalks off down the hallway to her room .</scene_description> <character>CANDACE</character> <dialogue>The next test is coming up soon!</dialogue> <character>LAURA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I said I'll look into it!</dialogue> <scene_description>Candace smiles wanly and sips her soup . She takes a foot out of the water and kneads it .</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL BATHROOM - MORNING</stage_direction> <scene_description>Alike slams into her usual stall and launches into her ` Superman ' changing routine . She unrolls pulls a jersey from her backpack and yanks it over her head .</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL LAWN - AFTERNOON</stage_direction> <scene_description>Alike sits off to one side of the stairs , headphoned into oblivion and scribbling into her composition book . A group of FAST GIRLS strut by and encamp on the opposite wall , giggling and yakking on cell phones . One of the girls , MIKA cuts a flirty smile at Alike . Alike turns away and buries herself in her book , but cranks down the volume on her iPod .</scene_description> <character>MIKA'S FRIEND</character> <dialogue>It was like seven of us - Me, Khalil, Misha, Tamara.</dialogue> <character>FAST GIRL #2</character> <dialogue>Tamara Marks?</dialogue> <character>MIKA'S FRIEND</character> <dialogue>Heeeell no - Fat Tamara.</dialogue> <character>MIKA</character> <dialogue>Oh I was about to say, Tamara Marks is a ughh - I ca n't stand her.</dialogue> <character>MIKA'S FRIEND</character> <dialogue>Anyway, it was all of us and oh Laura, you know that girl from the restaurant? She was there with one of her friends.</dialogue> <scene_description>Alike 's ears prick up .</scene_description> <character>MIKA</character> <dialogue>That gay chick? Ya'll be hanging like that?</dialogue> <character>MIKA'S FRIEND</character> <dialogue>Yeah, well it's a couple of them. She's mad cool though, so sometime she come out with us every now and then, anyway -</dialogue> <character>MIKA</character> <dialogue>Man, y' all be doin' it on it weekends, let me find out!</dialogue> <character>FAST GIRL #2</character> <dialogue>I told your butt to come.</dialogue> <character>MIKA'S FRIEND</character> <dialogue>But anyway -</dialogue> <character>MIKA</character> <dialogue>Some of them AG's are kinda cute - I'm not saying I would, but I would holla.</dialogue> <character>FAST GIRL #2</character> <dialogue>I do n't know about all that.</dialogue> <character>MIKA</character> <dialogue>Is n't that one of them over there? What's her name? Amika? - Alisha?</dialogue> <scene_description>The pack directs their attention at Alike . Alike profiles and attempts to look casual .</scene_description> <character>MIKA'S FRIEND</character> <dialogue>Alike.</dialogue> <character>MIKA</character> <dialogue>Yeah, Alike - she's cute too.</dialogue> <character>FAST GIRL #2</character> <dialogue>Uugh. I do n't be looking at them all like that.</dialogue> <scene_description>Mika smiles as her eyes travel down Alike 's physique . Alike , aware of the admiring gaze tugs and smooths at her shirt unnecessarily . She licks her lips and readjusts the book in her lap , fighting hard to keep the grin off her face .</scene_description> <character>MIKA</character> <dialogue>Look, I'm not gay - but if I was gay I might talk to her.</dialogue> <character>MIKA'S FRIEND</character> <dialogue>She's in the middle anyway.</dialogue> <character>MIKA</character> <dialogue>Yeah, but if she was just a little more harder -</dialogue> <scene_description>Alike looks over and starts to nod when a CUTE BOY with locs swaggers up to the girls , drawing their rapt attention .</scene_description> <character>CUTE BOY</character> <dialogue>` Sup ladies?</dialogue> <character>MIKA</character> <dialogue>Heeeey.</dialogue> <character>FAST GIRL #2</character> <dialogue>What's up?</dialogue> <scene_description>The girls erupt into titters , and they melt into conversation . Alike deflates , watching them over the top of her book . She observes every little moment between the girls and the boy , every wink . Another BOY joins the group and they stroll off down the sidewalk . Alike plucks the headphones out of her ears , watching them leave . Mika casts a parting glance over her shoulder at Alike . Remnant 's of Alike 's grin return reflexively . Mika 's friend jerks her elbow around .</scene_description> <character>MIKA'S FRIEND</character> <dialogue>Oooh - let me find out, Mika. You act like you bi - or something.</dialogue> <character>MIKA</character> <dialogue>I like girls but I love boys. FAST GIRL # 2 FAST GIRL # 1</dialogue> <scene_description>Umm hmm ! I ca n't tell ! Alike waits for them to disappear from view before snatching up her bag and bolting in the opposite direction .</scene_description> </scene> <scene> <stage_direction>EXT./INT. - RESTAURANT STOCKROOM - DAY</stage_direction> <scene_description>Laura hoists a box of french fries onto her shoulder and moves inside the restaurant .</scene_description> <character>LAURA</character> <dialogue>Watch out, it's slippery.</dialogue> <character>ALIKE</character> <dialogue>So what do you think?</dialogue> <character>LAURA</character> <dialogue>I already told you what I think.</dialogue> <character>ALIKE</character> <dialogue>But you know her, right?</dialogue> <character>LAURA</character> <dialogue>I said I know of her, I do n't know her know her.</dialogue> <scene_description>Alike hefts up a box and follows Laura back into the restaurant .</scene_description> <character>ALIKE</character> <dialogue>I'm saying, you know her friend, right? You gon na introduce us?</dialogue> <character>LAURA</character> <dialogue>Just put those on that stack right there. Yeah, thank you.</dialogue> <character>ALIKE</character> <dialogue>You listening?</dialogue> <character>LAURA</character> <dialogue>I'm listening - all I'm saying is - pass me that milkshake mix right there.</dialogue> <scene_description>Alike tosses Laura a bladder of milkshake mix . Laura catches it .</scene_description> <character>LAURA</character> <dialogue>All I'm saying is that I do n't think you should put yourself out there like that. Especially if you do n't even know if she likes you like that.</dialogue> <character>ALIKE</character> <dialogue>She does.</dialogue> <character>LAURA</character> <dialogue>How do you know she does?</dialogue> <character>ALIKE</character> <dialogue>I just know she does.</dialogue> <character>LAURA</character> <dialogue>Hmmph. We'll see.</dialogue> <scene_description>Laura holds out her hand as if checking for rain and scans the ceiling .</scene_description> <character>ALIKE</character> <dialogue>What're you doing?</dialogue> <character>LAURA</character> <dialogue>I thought I felt a drop of pig shit.</dialogue> <character>ALIKE</character> <dialogue>Shut up.</dialogue> <character>LAURA</character> <dialogue>All I know is I been trying to get you to holla at girls in the club for the longest.</dialogue> <character>ALIKE</character> <dialogue>I do n't want to holla at girls in the club.</dialogue> <character>LAURA</character> <dialogue>Obviously. Why you pressed about this chick?</dialogue> <scene_description>Alike shrugs .</scene_description> <character>ALIKE</character> <dialogue>I wanted to ask you about something else too.</dialogue> <character>LAURA</character> <dialogue>Oh God, what now?</dialogue> <character>ALIKE</character> <dialogue>I need you to get something for me.</dialogue> <character>LAURA</character> <dialogue>What?!</dialogue> <scene_description>Alike cocks her head at Laura . Laura frowns back .</scene_description> <character>LAURA</character> <dialogue>What?!</dialogue> <character>ALIKE</character> <dialogue>Just for my image.</dialogue> <scene_description>Alike raises her eyebrow . Laura shakes her head . The light bulb goes off . She roars in disbelief .</scene_description> <character>LAURA</character> <dialogue>WHAAAAAT?! You trying to strap!? Whaaatt?! Oh my God, what are you going through.</dialogue> <character>ALIKE</character> <dialogue>Please.</dialogue> <character>LAURA</character> <dialogue>What difference you think having a bulge in your pants gon' make?</dialogue> <character>ALIKE</character> <dialogue>Pleeeeease. By next Friday.</dialogue> <character>LAURA</character> <dialogue>Next Friday?! Okay - Whatever. Oh my God I ca n't believe you! Alright. Yeah. She better be cute for all of this.</dialogue> </scene> <scene> <stage_direction>INT. ALIKE'S BEDROOM - AFTERNOON</stage_direction> <scene_description>Alike stares at herself in a floor length bedroom mirror in her underwear .</scene_description> <character>LAURA</character> <dialogue>I think it looks natural.</dialogue> <scene_description>A peach - colored dildo dangles stiffly from Alike 's waist . The harness bunches her boxers in clumsy tufts . Alike appraises the racially inappropriate apparatus and shoots Laura a look .</scene_description> <character>LAURA</character> <dialogue>I'm serious, I mean it does n't look that bad.</dialogue> <character>ALIKE</character> <dialogue>I ca n't believe you.</dialogue> <scene_description>Alike frowns at the dildo in profile .</scene_description> <character>LAURA</character> <dialogue>What?!</dialogue> <character>ALIKE</character> <dialogue>Laura, this does n't look right. I ` ma look stupid.</dialogue> <character>LAURA</character> <dialogue>Well, first of all - I do n't think its supposed to be on top of your underwear like that.</dialogue> <character>ALIKE</character> <dialogue>I'm not putting this thing next to my skin, it pinches already.</dialogue> <scene_description>Alike yanks at the harness and her boxers trying to pull it out of her bottom .</scene_description> <character>LAURA</character> <dialogue>It's supposed to fit like that.</dialogue> <character>ALIKE</character> <dialogue>They did n't have any brown?</dialogue> <character>LAURA</character> <dialogue>I did n't have time for all of that. The brown ones were too big, anyway.</dialogue> <scene_description>Alike struggling with the apparatus . Laura smiles .</scene_description> <character>ALIKE</character> <dialogue>Ugh! You got ta take it back.</dialogue> <character>LAURA</character> <dialogue>I ca n't take it back.</dialogue> <character>ALIKE</character> <dialogue>Here's the receipt!</dialogue> <character>LAURA</character> <dialogue>Unh - unh. I'm not going back in there. One time was embarrassing enough.</dialogue> <character>ALIKE</character> <dialogue>You grown!</dialogue> <character>LAURA</character> <dialogue>Still what if somebody would see me in there? I'm not going back, that's it.</dialogue> <character>ALIKE</character> <dialogue>Then where's my change?</dialogue> <scene_description>Sharonda bursts into the room .</scene_description> <character>SHARONDA</character> <dialogue>Lee, where'd you put my make - up case. AHHH I'M GON' TELL. OOH LEE, I ` MA TELL DADDY!</dialogue> <scene_description>Laura leaps from the bed and blocks Sharonda 's path to the doorway . Alike tackles Sharonda and wrestles her down to the floor . Laura slams the door , shuts and locks it .</scene_description> <character>SHARONDA</character> <dialogue>Eeew get that thing, off a me! Get it off me it's nasty! I'm tellin'!</dialogue> <character>LAURA</character> <dialogue>Shhh!</dialogue> <character>ALIKE</character> <dialogue>Shut up! Thought you locked the door?!</dialogue> <character>SHARONDA</character> <dialogue>Eeew. Get it offa me!</dialogue> <character>LAURA</character> <dialogue>I did!</dialogue> <character>ALIKE</character> <dialogue>OK, look I'm offa you. Just be quiet and calm down.</dialogue> <character>SHARONDA</character> <dialogue>I'm tellin' that you got that thing.</dialogue> <character>LAURA</character> <dialogue>You ca n't tell.</dialogue> <character>SHARONDA</character> <dialogue>I'm telling.</dialogue> <character>ALIKE</character> <dialogue>Shut up.</dialogue> <character>SHARONDA</character> <dialogue>It looks nasty.</dialogue> <character>ALIKE</character> <parenthetical>( to Laura . )</parenthetical> <dialogue>See, I told you so.</dialogue> <character>SHARONDA</character> <dialogue>Where's my make up case? I know you got it.</dialogue> <character>ALIKE</character> <dialogue>I just borrowed it.</dialogue> <scene_description>Alike pulls off the dildo and harness .</scene_description> <character>SHARONDA</character> <dialogue>Give it back.</dialogue> <scene_description>Alike fishes the make - up case out of her backpack . She holds out to Sharonda . Sharonda reaches for it . Alike jerks back .</scene_description> <character>ALIKE</character> <dialogue>Promise you wo n't tell.</dialogue> <character>SHARONDA</character> <dialogue>Give it back.</dialogue> <scene_description>Alike flips open the make up case and jabs the dildo at it , stopping short of the surface of the make up .</scene_description> <character>SHARONDA</character> <dialogue>LEE, STOP IT EEEW! I just got that one.</dialogue> <character>LAURA</character> <dialogue>Shhh!</dialogue> <character>SHARONDA</character> <dialogue>Do n't touch it with that. eeww that's so nasty. C'mon Lee give it back.</dialogue> <character>LAURA</character> <dialogue>Then promise you wo n't tell.</dialogue> <character>ALIKE</character> <dialogue>Promise.</dialogue> <character>SHARONDA</character> <dialogue>Ughh, I hate you.</dialogue> <scene_description>Alike jabs the dildo closer to the make - up .</scene_description> <character>SHARONDA</character> <dialogue>OK, OK I wo n't tell. Daag!</dialogue> <scene_description>Alike tosses the case at Sharonda who scrambles to catch it . Alike wraps the dildo back up in the bag and hides it behind her headboard . Sharonda saunters out into the hallway .</scene_description> <character>SHARONDA</character> <dialogue>I'm still tellin'</dialogue> <character>AUDREY</character> <dialogue>Tellin' what?</dialogue> <scene_description>Audrey peers into the bedroom from the hallway , still dressed for work , shoulder stooped from the weight of her tote bag .</scene_description> <character>ALIKE</character> <dialogue>Noth -</dialogue> <character>SHARONDA</character> <dialogue>She took my makeup again.</dialogue> <character>AUDREY</character> <dialogue>Lee.</dialogue> <parenthetical>( notices Laura . )</parenthetical> <dialogue>Oh. Hello Laura, I did n't see you standing there.</dialogue> <character>LAURA</character> <dialogue>Hi Mrs. Freeman.</dialogue> <character>AUDREY</character> <dialogue>How's your mother?</dialogue> <character>LAURA</character> <dialogue>I have n't spoken to her in awhile. She's fine.</dialogue> <character>AUDREY</character> <dialogue>Well I hope so. And I'm so glad to hear your sisters finally getting back on her feet. Was n't she -</dialogue> <character>LAURA</character> <dialogue>She's good.</dialogue> <character>ALIKE</character> <dialogue>Mom?!</dialogue> <scene_description>Audrey fixes Laura with another hard glance and shoos Sharonda down the hallway . Laura starts to shut the door , but Audrey stops it with her arm .</scene_description> <character>AUDREY</character> <dialogue>I think we'll just leave this open. Let some air circulate in here.</dialogue> <character>LAURA</character> <dialogue>I was just about to leave, anyway. So.</dialogue> <scene_description>Audrey lingers , looking back and forth between Laura and Alike . Alike frowns at her mother . Satisfied that the conversation is over , Audrey moves off toward her room . Laura checks to make sure she 's gone and whispers to Alike .</scene_description> <character>LAURA</character> <dialogue>Just try it.</dialogue> </scene> <scene> <stage_direction>INT. NIGHTCLUB COUCH - EVENING</stage_direction> <scene_description>Alike squirms in her seat .</scene_description> <character>LAURA</character> <dialogue>Will you chill? You just got ta get used to it.</dialogue> <scene_description>Alike tugs at her crotch and attempts to cross her legs .</scene_description> <character>ALIKE</character> <dialogue>Owwww!</dialogue> <scene_description>Alike uncrosses her legs and yanks at her jeans . Laura bats her hand away .</scene_description> <character>LAURA</character> <dialogue>Sit still, people gon' think you got something.</dialogue> <character>ALIKE</character> <dialogue>This joint hurts, man. I ` ma go take it off.</dialogue> <character>LAURA</character> <dialogue>You not gon' take it off.</dialogue> <character>ALIKE</character> <dialogue>I'm gon na take it off.</dialogue> <character>LAURA</character> <dialogue>Where you gon na take it off at?</dialogue> <character>ALIKE</character> <dialogue>In the bathroom.</dialogue> <character>LAURA</character> <dialogue>Then where you gon' put it? You gon na walk around the club with a dick in your hand? Chill. I knew we should n't have done this. You blowin' me right now.</dialogue> <character>ALIKE</character> <dialogue>Then I'm out.</dialogue> <character>LAURA</character> <dialogue>Nah, you're ` bout to stay and go through this. You're the one who wanted to meet her, not me.</dialogue> <character>ALIKE</character> <dialogue>Then you come on, too. Hurry up -</dialogue> <scene_description>A group of girls approaches , one of them we recognize as Mika , the girl that likes Alike , from the bathroom . Laura stands to greet them . Nervous introductions all around . Laura shoots Alike a warning glance .</scene_description> </scene> <scene> <stage_direction>INT. NIGHTCLUB COUCH - LATER</stage_direction> <scene_description>Laura is hugged up with two girls at the end of the couch . Alike fidgets in her seat and keeps pulling at the knees of her jeans . Mika hand in chin , stares into space . Alike does another pull - fidget combo . Mika rolls her eyes at her .</scene_description> <character>MIKA</character> <dialogue>You alright?</dialogue> <character>ALIKE</character> <dialogue>Yeah, no, yeah it's just - there's a spring in the cushion or something.</dialogue> <character>MIKA</character> <dialogue>You wan na switch seats?</dialogue> <character>ALIKE</character> <dialogue>No, I'm good.</dialogue> <character>MIKA</character> <dialogue>And you do n't wan na dance?</dialogue> <character>LAURA</character> <dialogue>Hey ya'll we're about to go dance!</dialogue> <character>ALIKE</character> <dialogue>No, no not really. I'm not really feeling the music.</dialogue> <scene_description>Mika sighs and looks around at the other dancing couples . Alike gives her jeans another tortured tug . Agonized minutes of awkward booming silence .</scene_description> <character>MIKA</character> <dialogue>Well you do n't mind right? I mean you do n't mind if I go dance with somebody else?</dialogue> <character>ALIKE</character> <dialogue>No, do your thing.</dialogue> <character>MIKA</character> <dialogue>If you change your mind -</dialogue> <character>ALIKE</character> <dialogue>No, no it's cool.</dialogue> <scene_description>Mika escapes the couch and disappears into the crowd .</scene_description> </scene> <scene> <stage_direction>INT. ALIKE'S APARTMENT - NIGHT</stage_direction> <scene_description>Alike slips off her shoes and eases through the kitchen . Audrey flicks on the light , blocking the hallway entrance .</scene_description> <character>AUDREY</character> <dialogue>I hope it was worth it.</dialogue> <character>ALIKE</character> <dialogue>Mom I lost -</dialogue> <character>AUDREY</character> <dialogue>Save it.</dialogue> <character>ALIKE</character> <dialogue>It wo n't happen -</dialogue> <character>AUDREY</character> <dialogue>Oh I know it wo n't.</dialogue> </scene> <scene> <stage_direction>INT. ALIKE'S BEDROOM - NIGHT</stage_direction> <scene_description>Alike peels off her jeans and lobs them into the top of her closet . She unharnesses the dildo and wads the tangled mess up in an old t - shirt . She stuffs the wad in back of the closet and slams the closet door shut , staring at her reflection in the mirror . Alike reconsiders and yanks the wad back from the closet .</scene_description> </scene> <scene> <stage_direction>EXT. ALIKE'S APARTMENT - NIGHT</stage_direction> <scene_description>Alike stuffs the wad into a trash bag and plunges it deep into a neighbor 's garbage can . She scurries back into her building and does n't look back .</scene_description> </scene> <scene> <stage_direction>INT. ALIKE'S LIVING ROOM - MORNING</stage_direction> <scene_description>Alike skulks on the couch in wrinkled khaki pants and a cotton button down shirt . An obnoxious R&amp;B video plays on the TV . Sounds of bustling and the drone of a hair dryer fill the room .</scene_description> <character>AUDREY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Turn that mess off!</dialogue> <scene_description>Alike turns the television volume to low and continues watching .</scene_description> <character>AUDREY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Sharonda?! Sharonda are you ready?! Stop lollygagging!</dialogue> <character>SHARONDA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I'm coming!</dialogue> <character>AUDREY</character> <dialogue>Lee are you ready?! Lee?!</dialogue> <scene_description>Audrey hobbles out with one high heel on . She snatches the remote from Alike and snaps the TV off .</scene_description> <character>AUDREY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I said off. Thought you were ready?</dialogue> <character>ALIKE</character> <dialogue>I am ready.</dialogue> <character>AUDREY</character> <dialogue>You're not going to church looking like that. Where's the blouse I bought you?</dialogue> <character>ALIKE</character> <dialogue>What's wrong with this?</dialogue> <scene_description>The front door bursts open , and Arthur tromps in , his police uniform hanging open over a white undershirt . He slings a heavy F.O.P tote bag on the floor and strips off his shirt as he crosses to the kitchen . Audrey rushes over and buzzes around him .</scene_description> </scene> <scene> <stage_direction>INT. ALIKE'S KITCHEN - CONTINUOUS</stage_direction> <character>AUDREY</character> <dialogue>Hey there, you're home early - well actually late. I thought you would have called -</dialogue> <character>ALIKE</character> <dialogue>Dad -</dialogue> <character>ARTHUR</character> <dialogue>Do what your mom says.</dialogue> <scene_description>Audrey scuttles over to where Arthur is now digging through the open fridge . He pulls out a foil covered plate , tears open one corner , sniffs it .</scene_description> <character>AUDREY</character> <dialogue>Are you hungry? Let me heat it up for you.</dialogue> <scene_description>Arthur heads toward the microwave with the plate . Audrey intercepts the plate from him and dumps the contents into a skillet .</scene_description> <character>AUDREY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'll heat it up on the stove for you. Tastes better.</dialogue> <character>ALIKE</character> <dialogue>Dad -</dialogue> <character>AUDREY</character> <dialogue>Lee!</dialogue> <character>ARTHUR</character> <dialogue>Leave me out of it.</dialogue> <character>AUDREY</character> <dialogue>Go get changed.</dialogue> <character>ALIKE</character> <dialogue>Dad, what's wrong with this outfit?</dialogue> <character>ARTHUR</character> <dialogue>Nothing.</dialogue> <character>ALIKE</character> <dialogue>See?</dialogue> <character>AUDREY</character> <dialogue>I'm not gon na argue with you.</dialogue> <character>ARTHUR</character> <dialogue>Do what she says.</dialogue> <character>ALIKE</character> <dialogue>Dad -</dialogue> <character>ARTHUR</character> <parenthetical>( speaking bad Tarzan Swahili . )</parenthetical> <dialogue>Umgowa!</dialogue> <character>AUDREY</character> <dialogue>And put on a skirt!</dialogue> <scene_description>Alike stalks off to her bedroom . Sharonda bounces into the kitchen .</scene_description> <character>SHARONDA</character> <dialogue>Hey Dad!</dialogue> <character>AUDREY</character> <dialogue>Too much lipstick.</dialogue> <character>SHARONDA</character> <dialogue>It's lipgloss.</dialogue> <scene_description>Audrey wheels on Sharonda with a death glare .</scene_description> <character>SHARONDA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Okay, okay.</dialogue> <character>ARTHUR</character> <dialogue>Gimmie kiss.</dialogue> <scene_description>Sharonda pecks dad on the cheek . Dad wipes his cheek and rubs his fingers together . Sharonda giggles and bounds back into her bedroom . Audrey slides a steaming plate in front of Arthur .</scene_description> <character>AUDREY</character> <dialogue>Did you talk to her?</dialogue> <character>ARTHUR</character> <dialogue>Get me a beer, please. Sharonda's fine.</dialogue> <character>AUDREY</character> <dialogue>I'm talking about Lee.</dialogue> <character>ARTHUR</character> <dialogue>Alike. And I do n't see that there's a problem.</dialogue> <character>AUDREY</character> <dialogue>I'm tired of this tomboy thing she's got going on. And Laura. You said you were going to handle it.</dialogue> <character>ARTHUR</character> <dialogue>Umm - hmm.</dialogue> <character>AUDREY</character> <dialogue>She needs a male point of view.</dialogue> <character>ARTHUR</character> <dialogue>I said okay, dammit! Now can I please have a beer please?</dialogue> <character>AUDREY</character> <dialogue>It's Sunday morning.</dialogue> <character>ARTHUR</character> <dialogue>It goes with the spaghetti.</dialogue> <scene_description>Audrey lifts a beer out of the fridge and slides it in front of Arthur . She pulls up a chair as he plows through the meal , her expression softening as she caresses his forearm .</scene_description> <character>AUDREY</character> <dialogue>Do you have to work tonight?</dialogue> <character>ARTHUR</character> <dialogue>To put food on the table and clothes on our backs, no. To go out to restaurants and keep designer sneakers in the closet, yes.</dialogue> <character>AUDREY</character> <dialogue>Are you forever gon na be mad?</dialogue> <character>ARTHUR</character> <dialogue>Are you forever going to be happy?</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>You made that decision a long time ago.</dialogue> <character>AUDREY</character> <dialogue>We both made sacrifices.</dialogue> <scene_description>Alike stomps back into the kitchen wearing the pink v - neck that Audrey bought her and an unflattering pleat - front skirt . Arthur stifles a giggle behind his beer can .</scene_description> <character>ARTHUR</character> <dialogue>You look beautiful, baby.</dialogue> <character>AUDREY</character> <dialogue>Tuck your blouse in.</dialogue> <character>ALIKE</character> <dialogue>This is n't me.</dialogue> <character>AUDREY</character> <dialogue>Tuck your blouse in.</dialogue> <character>ARTHUR</character> <dialogue>Leave it out.</dialogue> <scene_description>Audrey frowns at Arthur . Arthur stands his ground .</scene_description> <character>ARTHUR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I think it's fine out. What's the deal with you and Laura?</dialogue> <character>ALIKE</character> <dialogue>What deal?</dialogue> <character>AUDREY</character> <dialogue>Comin' in late.</dialogue> <character>ALIKE</character> <dialogue>Dad, I hardly ever -</dialogue> <character>ARTHUR</character> <dialogue>Why do n't you give that a break for a little while?</dialogue> <character>ALIKE</character> <dialogue>Dad, come on.</dialogue> <character>AUDREY</character> <parenthetical>( to Alike . )</parenthetical> <dialogue>You heard him!</dialogue> <parenthetical>( to Sharonda . )</parenthetical> <dialogue>Sharonda! You done?!</dialogue> <scene_description>Alike spins into the living room defeated .</scene_description> <character>SHARONDA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Coming!</dialogue> <character>AUDREY</character> <dialogue>You coming with us?</dialogue> <character>ARTHUR</character> <dialogue>Nope. Sleep.</dialogue> <character>AUDREY</character> <dialogue>We could go to a later service. The one o'clock -</dialogue> <character>ARTHUR</character> <dialogue>I said NO!</dialogue> <scene_description>Arthur slams his fork on the plate . Audrey flinches . Alike looks up . Sharonda appears in the doorway , looking from Audrey to Arthur .</scene_description> <character>SHARONDA</character> <dialogue>I'm ready.</dialogue> <scene_description>Arthur pushes up from the table .</scene_description> <character>ARTHUR</character> <dialogue>Alike, you look beautiful. Everybody looks beautiful, okay?</dialogue> <scene_description>Arthur disappears into the bedroom . Alike snatches up her bible and launches out the door , Sharonda follows . Audrey pulls on her sunglasses and hat and slams the door behind her .</scene_description> </scene> <scene> <stage_direction>EXT. CHURCH - DAY</stage_direction> <scene_description>Alike sits in the passenger seat of the car as Audrey chit chats with other churchgoers . Sharonda sits in the back seat , flipping through a CD case and occasionally passing CD 's to Alike to play . Alike faces stonily forward except to cast impatient glances in Audrey 's direction . Audrey raps on the window .</scene_description> <character>AUDREY</character> <dialogue>Lee! Lee! Here's someone I want you to meet.</dialogue> <scene_description>Alike cracks the window an inch .</scene_description> <character>ALIKE</character> <dialogue>Huh?</dialogue> <scene_description>Audrey motions to Bina standing by with her mother , Ms. Singletary . Alike cracks the window a little wider and acknowledges them with a half - hearted wave .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh. Hey.</dialogue> <character>AUDREY</character> <dialogue>Get down out the car and come speak.</dialogue> <scene_description>Laboriously , Alike rolls the window back up , turns off the car radio , and climbs down out of the car .</scene_description> <character>AUDREY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What's wrong with you?</dialogue> <character>ALIKE</character> <dialogue>Alright, Mom.</dialogue> <character>AUDREY</character> <dialogue>You'll have to excuse her, she's been feeling rude lately.</dialogue> <character>MRS. SINGLETARY</character> <dialogue>Oh do n't worry, Audrey, I understand how it is. Hormones. It's just a phase.</dialogue> <character>AUDREY</character> <dialogue>Alike, this is Mrs. Singletary, one of my co - workers and her daughter, Bina. Sylvia, Bina, this is my daughter Alike, we call her `` Lee'' for short.</dialogue> <scene_description>Alike shakes both of their hands in turn .</scene_description> <character>ALIKE</character> <dialogue>Hi.</dialogue> <character>MRS. SINGLETARY</character> <dialogue>Hello.</dialogue> <character>ALIKE</character> <dialogue>Nice to meet you.</dialogue> <character>BINA</character> <dialogue>Hi.</dialogue> <character>AUDREY</character> <dialogue>And this is my youngest daughter, Sharonda.</dialogue> <character>SHARONDA</character> <dialogue>Hi.</dialogue> <character>BINA</character> <dialogue>Hi.</dialogue> <character>MRS. SINGLETARY</character> <dialogue>Hi there, nice to meet you.</dialogue> <character>AUDREY</character> <dialogue>Lee, Bina goes to the same school as you.</dialogue> <character>ALIKE</character> <dialogue>Cool.</dialogue> <character>BINA</character> <dialogue>Yeah, I think I've seen you around. Mrs. Alvarado's class right? AP English?</dialogue> <character>ALIKE</character> <dialogue>Yup.</dialogue> <scene_description>Audrey looks pleased with herself . Alike squirms .</scene_description> <character>AUDREY</character> <dialogue>So. Now that we're all acquainted, do n't be a stranger.</dialogue> <character>MRS. SINGLETARY</character> <dialogue>Oh no, we wo n't.</dialogue> <character>AUDREY</character> <dialogue>Bina I think you and Lee may even go to school the same way. Do n't you live off of St. James Place?</dialogue> <character>MRS. SINGLETARY</character> <dialogue>There is something to be said for safety in numbers.</dialogue> <scene_description>Bina nods . Alike squirms .</scene_description> <character>MRS. SINGLETARY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Well, we need to be pushing off - I'll call you about those VBS workbooks.</dialogue> <scene_description>Alike retreats into the car , Sharonda hops in behind her . Alike reaches over and turns the key in the ignition .</scene_description> <character>AUDREY</character> <dialogue>Alrighty, I'll be around. Take care.</dialogue> <scene_description>Alike toots the horn . Audrey circles and gets in the driver 's side .</scene_description> </scene> <scene> <stage_direction>INT. FAMILY CAR - CONTINUOUS</stage_direction> <character>ALIKE</character> <dialogue>You're funny.</dialogue> <character>AUDREY</character> <dialogue>I do n't know what your problem is.</dialogue> <character>SHARONDA</character> <dialogue>Can somebody put in this CD please?</dialogue> <scene_description>Audrey cranks the ignition and starts to back out .</scene_description> <character>ALIKE</character> <dialogue>I do n't know what you think is going to change.</dialogue> <character>AUDREY</character> <dialogue>I know God does n't make mistakes. I know that much.</dialogue> <scene_description>An invisible scab is ripped open in Alike and the fire dies in her eyes . Satisfied , Audrey slips the car into gear .</scene_description> <character>AUDREY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You may not like Bina, but you're certainly gon na be spending much less time with that Laura person, I guarantee you that much.</dialogue> <character>SHARONDA</character> <dialogue>Moooom, can you -</dialogue> <character>AUDREY</character> <dialogue>Be quiet. Nobody's putting in anything. I'm gon na listen to what I want to listen to for a change.</dialogue> <scene_description>Alike wilts against the window and tacky zydeco music leaks from the car as it jerks away from the curb and into traffic .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>Alike strides down the sidewalk . Bina speedwalks to keep up .</scene_description> <character>BINA</character> <dialogue>Look, I do n't like lying to my mother, that's all.</dialogue> <character>ALIKE</character> <dialogue>Then do n't, she does n't have to know.</dialogue> <character>BINA</character> <dialogue>She does. She asks me everyday.</dialogue> <character>ALIKE</character> <dialogue>So tell her yeah.</dialogue> <character>BINA</character> <dialogue>No, I'm sick of lying to cover for you.</dialogue> <character>ALIKE</character> <dialogue>So do n't.</dialogue> <scene_description>Bina stops short . Alike keeps walking .</scene_description> <character>BINA</character> <dialogue>Look Alike, Lee. Whatever it is you wan na be called. I'm not trying to hang out with you, either, but I'm not about to take an L for it. So stop dodging me, let's just go to school together and be done with it. We do n't have to see each other any other time than that.</dialogue> <scene_description>Alike does n't miss a step . Bina yells after her .</scene_description> <character>BINA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Whatever, my mother asks me again, I'm telling her. Then she can tell your mother, then it's whatever for you.</dialogue> <scene_description>Alike stops short . Bina crosses the street and continues in the direction away from school . Alike spins around scanning the street , then catches sight of her on the opposite sidewalk .</scene_description> <character>ALIKE</character> <dialogue>Hey!</dialogue> <scene_description>Bina keeps on pushing , the school now in sight .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hey!</dialogue> <scene_description>Alike checks for traffic then dashes across the street to catch up with her .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hey look, I'm sorry.</dialogue> <character>BINA</character> <dialogue>Yeah, you sorry your mom is gon na bug out.</dialogue> <character>ALIKE</character> <dialogue>No for real, I'm sorry. I did n't mean to be that way. It's just. OK, I am concerned that my, my mom will find out, but.</dialogue> <character>BINA</character> <dialogue>But?</dialogue> <character>ALIKE</character> <dialogue>It's not like that. It's just - she's just. If you knew her, you'd understand. She's like, I do n't know.</dialogue> <scene_description>The girls walk in silence for a moment .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>So what's your favorite class?</dialogue> <character>BINA</character> <dialogue>You do n't have to make small talk. Let's just walk.</dialogue> <character>ALIKE</character> <dialogue>I said I'm sorry. It's not you, it's just that my mom is like, she's like.</dialogue> <character>BINA</character> <dialogue>Overprotective?</dialogue> <scene_description>Alike relaxes her shoulders , both relieved and surprised .</scene_description> <character>ALIKE</character> <dialogue>Yeah.</dialogue> <character>BINA</character> <dialogue>I can tell. I've seen - I mean, a lot of people's parents are like that.</dialogue> <character>ALIKE</character> <dialogue>Yeah?</dialogue> <character>BINA</character> <dialogue>Yeah.</dialogue> <character>ALIKE</character> <dialogue>Yeah. But probably not like mine. But anyway.</dialogue> <character>BINA</character> <dialogue>Anyway, like I said, we do n't have to talk. Just walk.</dialogue> <scene_description>Alike 's cell phone chirps - it 's Laura . Alike sighs and stuffs the phone back into her pocket .</scene_description> </scene> <scene> <stage_direction>INT. LAURA'S BEDROOM - DAY</stage_direction> <character>ALIKE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Hi! This is Lee, I'm not able to answer my phone right now -</dialogue> <scene_description>Laura snaps her cell phone shut . A GED study book still glossy and uncreased is propped open on the bed in front of her . She opens her cell phone again and pulls up Alike 's number . Her thumb hovers over the ` talk ' button . She snaps the phone shut and tosses it aside before turning the radio down and dragging the book closer . The cell phone rings and she snatches it up . A picture of a girl making a kissy face with the name `` Tasha '' underneath blinks onto the screen and Laura snaps the phone shut and tosses it aside . She hoists the GED book into her lap and lets her head hit the wall . There is a knock at her bedroom door and Candace peeks in .</scene_description> <character>CANDACE</character> <dialogue>How's it comin'?</dialogue> <character>LAURA</character> <dialogue>It's good.</dialogue> <scene_description>Candace smiles at Laura and hesitates before closing the door . Candace turns the radio off before ducking back out . Laura sighs and flips back to the beginning of the book .</scene_description> </scene> <scene> <stage_direction>INT. SPORTS CLUB BASKETBALL COURT - DAY</stage_direction> <scene_description>Alike and Arthur cavort in a sloppy half - court game in the fluorescent glare of the gym . Well - heeled clientele cross to and fro munching power bars and sipping Gatorade . Arthur has an awful shot , but Alike 's is worse . Alike heaves a huge airball past the basket .</scene_description> <character>ARTHUR</character> <dialogue>Oh my God!</dialogue> <scene_description>Alike cracks up as Arthur chases down the ball .</scene_description> <character>ARTHUR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That's just embarrassing!</dialogue> <character>ALIKE</character> <dialogue>You ai n't got no range, either.</dialogue> <character>ARTHUR</character> <dialogue>Yeah but at least I hit the backboard. Damn.</dialogue> <scene_description>Alike rushes to guard Arthur who dribbles clumsily around the key . He tries a crossover move and lobs an ugly shot toward the basket .</scene_description> <character>ALIKE</character> <dialogue>Brick!</dialogue> <scene_description>Laughing , they tussle over the rebound . Arthur recovers .</scene_description> <character>ARTHUR</character> <dialogue>What's the score?</dialogue> <character>ALIKE</character> <dialogue>One up.</dialogue> <character>ARTHUR</character> <dialogue>One?</dialogue> <character>ALIKE</character> <dialogue>Yup!</dialogue> <character>ARTHUR</character> <dialogue>One? Nah, I definitely have like three. At least three.</dialogue> <scene_description>Giggling , the pair rollick in another squeaky - shoed play .</scene_description> </scene> <scene> <stage_direction>INT. LIQUOR STORE - NIGHT</stage_direction> <scene_description>MACK , the store proprietor leans against the counter flipping through a newspaper . Arthur , in uniform mulls through the sports section . A ratty looking man , SOCK sips from a red plastic cup . Mack cranks the volume on the tiny television above the counter .</scene_description> <character>MACK</character> <dialogue>It's on again. Check it out Free. Channel 5 and Channel 2.</dialogue> <scene_description>Arthur appears on the TV screen , dressed in suit , tie , sunglasses and looking impressive . He is talking to a news reporter and a bad news graphic reading `` East Side Drug Bust - Detective Arthur Freeman '' blots out the bottom of the screen .</scene_description> <character>SOCK</character> <dialogue>Look who's big time.</dialogue> <character>MACK</character> <dialogue>Brother was looking clean though. Looked just like, look like. uh - Danny Glover!</dialogue> <scene_description>Arthur and Mack laugh and slap hands . Sock sneers at their revelry . The bell over the door tinkles and a heavyset BUTCH WOMAN strolls in . Her head is shaved and a thick wallet chain clinks against her ample carpenter pants . All three men turn to stare .</scene_description> <character>MACK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Been more of that since they opened up that new club ` cross the way.</dialogue> <scene_description>Arthur grunts and returns to his paper .</scene_description> <character>SOCK</character> <parenthetical>( to Butch Woman . )</parenthetical> <dialogue>Excuse me Miss?! Miiiiissss?!</dialogue> <character>MACK</character> <dialogue>Certain Friday nights they got, you know special parties going on.</dialogue> <character>SOCK</character> <dialogue>Or should I say Sir?! Siiiir?! Hello?!</dialogue> <character>ARTHUR</character> <dialogue>Chill out, Sock.</dialogue> <character>SOCK</character> <dialogue>Hey, my man! You hear me talkin' to you?!</dialogue> <scene_description>Mack snatches Sock 's cup . Sock pivots around to protest .</scene_description> <character>SOCK</character> <dialogue>Hey!</dialogue> <character>MACK</character> <dialogue>Mind your business.</dialogue> <scene_description>Sock yanks his cup back and turns to resume his taunts . He 's caught off guard and stumbles backward as the woman pushes up to the counter with a case of liquor . Arthur steps out of the way and observes .</scene_description> <character>BUTCH WOMAN</character> <dialogue>And a pack of Kools.</dialogue> <scene_description>Mack nods and fishes under the counter .</scene_description> <character>SOCK</character> <dialogue>Say, I been trying to get your attention. Do you go by Sir or Miss?</dialogue> <character>MACK</character> <dialogue>That'll be all ma'am?</dialogue> <character>BUTCH WOMAN</character> <dialogue>Yeah.</dialogue> <character>SOCK</character> <dialogue>Look I just had a simple question I wanted to ask. See, I just want to know how does pussy taste?</dialogue> <scene_description>The woman directs her full attention at Sock for the first time . Mack watches as he quickly punches in the sale . Arthur stiffens .</scene_description> <character>SOCK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You know, I just wan na know if you go with women for the taste, or is it just you're too big, black, and ugly so do n't no man want you?</dialogue> <scene_description>Sock laughs at his own nasty joke and takes a sip from his cup .</scene_description> <character>MACK</character> <dialogue>$ 65.07 ma'am.</dialogue> <scene_description>The woman counts out the money and smiles at Sock .</scene_description> <character>BUTCH WOMAN</character> <dialogue>I ca n't lie, pussy do taste good.</dialogue> <character>SOCK</character> <dialogue>Oh yeah?</dialogue> <scene_description>The woman takes her time putting away her change .</scene_description> <character>BUTCH WOMAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Maybe you should try it yourself sometime. Or better yet -</dialogue> <scene_description>The woman picks up her case .</scene_description> <character>BUTCH WOMAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>- ask yo' wife how she likes me!</dialogue> <scene_description>The woman winks at Sock . Arthur chokes back a guffaw . As soon as the woman clears the door , Arthur and Mack explode in laughter . Sock is livid and screams after her .</scene_description> <character>SOCK</character> <dialogue>Fuckin' Bulldagger! He - She! Dyke!</dialogue> <character>MACK</character> <dialogue>Ask your wife!</dialogue> <character>ARTHUR</character> <dialogue>She told you.</dialogue> <character>SOCK</character> <dialogue>She ai n't tell me shit! I do n't know what the fuck y' all niggas are laughing for!</dialogue> <character>MACK</character> <dialogue>Awww shut up. Your big mouth got you in trouble as usual.</dialogue> <character>SOCK</character> <dialogue>Thought you was my friend, Mack. But I guess I ai n't expect you to defend me Free, the way your daughter is -</dialogue> <scene_description>Arthur slams Sock against the counter before he can finish his sentence .</scene_description> <character>ARTHUR</character> <dialogue>Say what?!</dialogue> <character>MACK</character> <dialogue>He do n't mean nothin'! He do n't know what he's talking about!</dialogue> <scene_description>Arthur grinds Sock 's collar tighter around his trembling fist . Sock glares back , clearly punked .</scene_description> <character>MACK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>He ai n't moved outside a two - mile radius of where he crawled out his mammy's pussy. He do n't know shit.</dialogue> <character>SOCK</character> <parenthetical>( to MACK . )</parenthetical> <dialogue>I been to Poughkeepsie!</dialogue> <scene_description>Arthur snorts and flings Sock loose .</scene_description> <character>MACK</character> <dialogue>Carry your Poughkeepsie ass on out of my store!</dialogue> <scene_description>Mack sweeps Sock 's plastic cup off the counter and into a garbage can . Sock tromps to the door .</scene_description> <character>SOCK</character> <dialogue>Fuck y' all!</dialogue> <character>ARTHUR</character> <dialogue>I should arrest your ass.</dialogue> <character>SOCK</character> <dialogue>Man, fuck y' all!</dialogue> <character>MACK</character> <dialogue>Free, do n't pay him no mind. Just talkin' trash.</dialogue> <scene_description>Mack playfully jabs him in the shoulder and bustles underneath the counter . Arthur 's eyes linger on the door and his jaw tightens .</scene_description> </scene> <scene> <stage_direction>INT. LAURA'S KITCHEN - DAY</stage_direction> <scene_description>Laura swings through the front door of her apartment , Alike close behind . She slides two twenty dollar bills underneath the ceramic hen on the table and breezes into her bedroom .</scene_description> </scene> <scene> <stage_direction>INT. LAURA'S BEDROOM - LATER</stage_direction> <scene_description>Alike is a paper doll in Laura 's floor length mirror , dressed only in boxers and a wife beater . Laura holds a bright orange polo shirt up in front of Alike 's torso . Alike cocks her head to the side and considers .</scene_description> <character>LAURA</character> <dialogue>Damn, this is your color. So what's the deal incog - negro?</dialogue> <character>ALIKE</character> <dialogue>Mom has me hemmed up.</dialogue> <character>LAURA</character> <dialogue>Your phone ai n't broke. You coulda called a nigga. Put this on.</dialogue> <scene_description>Laura pulls away the orange polo shirt and hands Alike a turquoise one instead . Alike hoists the oversized shirt over her head .</scene_description> <character>ALIKE</character> <dialogue>My bad. She's making me hang out with this chick from church. It's crazy.</dialogue> <character>LAURA</character> <dialogue>Makin' you?! You a grown - ass woman, bruh!</dialogue> <scene_description>Laura shakes her head as she plucks a brand new baseball cap from the wall rack and drops it onto Alike 's head . Alike considers and takes it off . Laura puts another cap in its place . Before Alike can object , Laura tosses her a pair of denim shorts .</scene_description> <character>LAURA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Try these with it. So I guess the piers is out for Saturday, huh?</dialogue> <character>ALIKE</character> <dialogue>I do n't even know if that's me anymore.</dialogue> <scene_description>Alike struggles into the jean shorts , widening her stance so they do n't fall down . Laura tosses her a belt and admires Alike 's reflection .</scene_description> <character>LAURA</character> <dialogue>Yeah, that's hot, yo. You should rock that.</dialogue> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I was gon na see if you wan na do something different?</dialogue> <scene_description>Alike strips off the baseball cap and hangs it back on the rack .</scene_description> <character>LAURA</character> <dialogue>Different like what?</dialogue> <scene_description>Alike peels out of the polo shirt .</scene_description> <character>ALIKE</character> <dialogue>I do n't know - maybe like a open mic or something.</dialogue> <character>LAURA</character> <dialogue>Open mic? Nah, man. It's plenty chicks at the piers, you just got ta be more confident.</dialogue> <scene_description>Laura crosses to her closet and scans its inventory . The jeans are arranged crisply on hangers from light to dark and some still have store tags . Most of the shirts are still enclosed in protective plastic covers from the dry cleaners . Laura passes Alike a perfectly folded button down shirt .</scene_description> <character>LAURA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You can rock this. I have n't even worn it yet. But I understand if you got better things to do.</dialogue> <scene_description>Alike holds the shirt against her torso and stares at her reflection . She catches Laura 's eager look in the mirror and wilts .</scene_description> <character>ALIKE</character> <dialogue>Nah, I'm down.</dialogue> <character>LAURA</character> <dialogue>You sure? I do n't want you getting hemmed up.</dialogue> <character>ALIKE</character> <dialogue>Nah seriously, I'm down for whatever.</dialogue> <character>LAURA</character> <dialogue>Real?</dialogue> <character>ALIKE</character> <dialogue>Promise.</dialogue> <character>LAURA</character> <dialogue>That's what's up! I ` ma take the whole day off. It's gon na be tight watch. we gon' do it up!</dialogue> <scene_description>Laura holds a new pair of jeans against her body and does a little dance . Alike laughs wanly .</scene_description> </scene> <scene> <stage_direction>INT. ALIKE'S PARENT'S BEDROOM - EVENING</stage_direction> <scene_description>Audrey sits between Alike 's knees as Alike oils her scalp . Alike takes her time , massaging each braid between her hands before moving to the next . Audrey reads an Essence magazine , the cover of which reads `` 101 Ways to Please Your Man . ''</scene_description> <character>ALIKE</character> <dialogue>You should wear your hair down sometimes.</dialogue> <character>AUDREY</character> <dialogue>Your father likes it up.</dialogue> <character>ALIKE</character> <dialogue>It looks nice down.</dialogue> <scene_description>Alike catches her mother 's eye in the mirror 's reflection , they share a sad moment . Audrey closes the magazine and tosses it back onto the bed .</scene_description> <character>AUDREY</character> <dialogue>Maybe. Anyway give this back to Bina's mom when you go over tomorrow night.</dialogue> <character>ALIKE</character> <dialogue>Saturday night?!</dialogue> <character>AUDREY</character> <dialogue>We talked about this.</dialogue> <character>ALIKE</character> <dialogue>No we did n't.</dialogue> <character>AUDREY</character> <dialogue>Lee -</dialogue> <character>ALIKE</character> <dialogue>I had plans for this weekend.</dialogue> <character>AUDREY</character> <dialogue>Well, you do n't have to go to Bina's on Saturday night, you can always stay home with me.</dialogue> <character>ALIKE</character> <dialogue>Oh my God!</dialogue> </scene> <scene> <stage_direction>INT. BINA'S BEDROOM - EVENING</stage_direction> <scene_description>Bina sits on the floor , flipping through CD 's . Alike sits in a chair , head in hand , completely disinterested .</scene_description> <character>BINA</character> <dialogue>You like Destiny's Child?</dialogue> <character>ALIKE</character> <dialogue>Uhh - uhh.</dialogue> <character>BINA</character> <dialogue>Jay - Z?</dialogue> <character>ALIKE</character> <dialogue>Nope.</dialogue> <character>BINA</character> <dialogue>Fifty?</dialogue> <character>ALIKE</character> <dialogue>No, I do n't really like any of that commercial bullshit.</dialogue> <scene_description>Bina looks up , off balanced .</scene_description> <character>BINA</character> <dialogue>Oh. Who do you like?</dialogue> <scene_description>Alike checks the time on her phone .</scene_description> <character>ALIKE</character> <dialogue>Shit!</dialogue> <scene_description>Alike starts packing her backpack .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Just more underground stuff. None of that crap they play on the radio.</dialogue> <character>BINA</character> <dialogue>Like who?</dialogue> <character>ALIKE</character> <dialogue>People you probably have n't heard of. Conscious stuff.</dialogue> <character>BINA</character> <dialogue>Like who?</dialogue> <character>ALIKE</character> <dialogue>Roots. Black Star. Asheru and Blue Black. Pharcyde.</dialogue> <character>BINA</character> <dialogue>Pharcyde? I heard of Pharcyde.</dialogue> <character>ALIKE</character> <dialogue>Ah - for real?</dialogue> <character>BINA</character> <dialogue>Yep. Tribe? J - Rawls? Bahamadia?</dialogue> <scene_description>Alike perks up , looking genuinely interested for the first time .</scene_description> <character>ALIKE</character> <dialogue>Uh - oh, whatchu know about Bahamadia? Let me find out.</dialogue> <character>BINA</character> <dialogue>I'm not as generic as you think.</dialogue> <scene_description>The phone rings . Mrs. Singletary answers from another room . Alike and Bina freeze , listening .</scene_description> <character>MRS. SINGLETARY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hello? Hi Audrey. Yes. Yeah she's here. I understand -</dialogue> <scene_description>Alike sulks . Bina flips to the back of the CD book .</scene_description> <character>BINA</character> <dialogue>Alright, how about Rock?</dialogue> <character>ALIKE</character> <dialogue>It's cool.</dialogue> <character>BINA</character> <dialogue>Whatchu know about Santogold? Since you all underground and stuff.</dialogue> <character>ALIKE</character> <dialogue>She's tight.</dialogue> <character>BINA</character> <dialogue>Tamar - kali?</dialogue> <character>ALIKE</character> <dialogue>I have n't heard of her, I heard of Res.</dialogue> <scene_description>Alike hoists the backpack onto her shoulder and stands to leave .</scene_description> <character>BINA</character> <dialogue>Oh no this is way better, you got ta check her out.</dialogue> <scene_description>Bina jams her iPod onto the stereo adapter . The thick , fierce guitar rhythms of Tamar - kali 's `` Boot '' consume the room . Bina chants the lyrics along with the music .</scene_description> <character>BINA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>`` Her hair is short. Her legs are brown. Her lips are full. Her head hangs down.''</dialogue> <scene_description>Alike plops back down in her chair .</scene_description> <character>ALIKE</character> <dialogue>Wow.</dialogue> </scene> <scene> <stage_direction>INT. ALIKE'S KITCHEN - SAME TIME INTERCUT</stage_direction> <scene_description>Audrey smooths a pink sticky note onto a foil covered plate and shoves it into the fridge . The doorbell rings and she rushes across the room and opens the door in her most sing - song voice .</scene_description> <character>AUDREY</character> <dialogue>He - llooo.</dialogue> <character>LAURA</character> <dialogue>Hello Mrs. Freeman. Is Lee home please?</dialogue> <character>AUDREY</character> <dialogue>She's out with her friend right now, Laura. You take care.</dialogue> <scene_description>Audrey starts to close the door . Laura stops it with her hand .</scene_description> <character>LAURA</character> <dialogue>Oh. Umm do you know when she'll be back?</dialogue> <character>AUDREY</character> <dialogue>No, I believe she's out for the evening.</dialogue> <character>LAURA</character> <dialogue>Oh, because we had umm. alright then. Thank you.</dialogue> <character>AUDREY</character> <dialogue>Goodnight.</dialogue> <scene_description>Audrey shuts the door harder than necessary . Laura checks her phone and shakes her head .</scene_description> </scene> <scene> <stage_direction>INT. BINA'S BEDROOM - SAME TIME INTERCUT</stage_direction> <character>BINA</character> <dialogue>`` Twist a virgin ` round your dirty little finger! Blood is gone but the memory lingers. twist a virgin ` round your bloody little finger, love is gone, but the memory lingers!''</dialogue> <scene_description>Alike is bobbing her head , backpack forgotten on her shoulder . Bina cranks the volume down .</scene_description> <character>ALIKE</character> <dialogue>Yo, this shit is hot!</dialogue> <character>BINA</character> <dialogue>Told you. Do n't you have to go? I'll cover. It's cool.</dialogue> <character>ALIKE</character> <dialogue>Nah, I wan na stay.</dialogue> <scene_description>Alike slings her backpack to the floor and pulls the CD book into her lap . Her cell phone rings and she ignores it .</scene_description> </scene> <scene> <stage_direction>EXT. THE PIERS - LATER</stage_direction> <scene_description>The pier is a parade of mohawks , curly weaves , tight jeans , and rainbow belts as groups of baby dykes , young queens , and gender queer youth of all shades of brown stroll cavort , and strut seeing and wanting to be seen . Equally bedecked observers hoot and yell from bench and rail perches on both sides . Laura jabs numbers into her cell phone . Competing threads of house music throb across the boardwalk in muffled bursts as groups of ballers vogue and prance behind her .</scene_description> <character>ALIKE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Leave a message and I'll call you back. BEEP.</dialogue> <scene_description>Laura yanks her phone away from her ear and looks at the screen . She starts to hang up but pulls it back to her ear .</scene_description> <character>LAURA</character> <dialogue>Where you at? Hit me up when you get here.</dialogue> </scene> <scene> <stage_direction>INT. BINA'S BEDROOM - LATER</stage_direction> <scene_description>Alike and Bina are sprawled in the floor . Bina DJ 's from her laptop .</scene_description> <character>ALIKE</character> <dialogue>Mrs. Alvarado was trying to get me to check out this one place.</dialogue> <scene_description>Alike hands her the flyer . Bina laughs and tosses it back .</scene_description> <character>BINA</character> <dialogue>Oh hell, no. That's for old people - I'll write down some places you should check out. Maybe you could read some of my stuff, too.</dialogue> <character>ALIKE</character> <dialogue>Definitely.</dialogue> </scene> <scene> <stage_direction>EXT. THE PIERS - SAME TIME INTERCUT</stage_direction> <scene_description>Laura scowls at her cell phone screen . She shoves the phone in her pocket and pulls her hoodie up against the chill of the evening . Brake lights bathe Laura and her circle of AG 's in red as late - night predators cruise the strip for fresh meat . Laura catches sight of shady sexual encounters in an alley across the street and looks away . One of the entourage passes Laura a joint and she inhales deeply . A few of the girls have backpacks and the group is pensive as they break off and scatter into the night one by one .</scene_description> <character>PIER GIRL #1</character> <dialogue>` Member when we used to stay out here all night?</dialogue> <character>PIER GIRL #2</character> <dialogue>Shit, used to?</dialogue> <character>PIER GIRL #1</character> <dialogue>You stay with your sister now, huh?</dialogue> <scene_description>Laura nods and spits .</scene_description> <character>PIER GIRL #2</character> <dialogue>Lucky as hell.</dialogue> </scene> <scene> <stage_direction>INT. AP ENGLISH CLASSROOM - AFTERNOON</stage_direction> <scene_description>AP English class is a safe haven . The desks are pulled together in a rough circle and are filled with heavily pierced , dyed hair , and vintage clothes types . Mrs. Alvarado sits cross - legged atop her desk taking notes . Alike stands at the center of the circle reciting an original poem .</scene_description> <character>ALIKE</character> <dialogue>A butterfly, briefly Suffocated On the mucous of its own change. Imprisoned By the membranous chaff of its own underdeveloped Wings And Cramped In the darkness of the too - tight cocoon of its own creation.</dialogue> <parenthetical>( Pauses . )</parenthetical> <dialogue>Thinking death inevitable, Prepares to die in the absolute solitude Of Swollen Husk. A crack appears, A thin jagged light connecting The inner to the outer world. A butterfly, briefly Paralyzed by the imminence of death Discovers life is possible.</dialogue> <scene_description>The class claps .</scene_description> <character>MRS. ALVARADO</character> <dialogue>Comments? Critiques? Julie, tell me what you think.</dialogue> <scene_description>A forest of hands go up as Alike winds her way back to her seat . A few classmates whisper brief encouragements . Bina nods and smiles at Alike . Unguarded , Alike smiles back .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY</stage_direction> <scene_description>Bina and Alike troop home at a more leisurely pace . Alike breaks the silence for once .</scene_description> <character>ALIKE</character> <dialogue>I liked your story, though. It was tight.</dialogue> <character>BINA</character> <dialogue>Yeah? Which one? The one about the -</dialogue> <character>ALIKE</character> <dialogue>The one about karma, how things come back to you. That one, I thought it was tight.</dialogue> <character>BINA</character> <dialogue>For real? Thanks. I was n't gon na say anything, but I liked yours too.</dialogue> <character>ALIKE</character> <dialogue>Why?</dialogue> <character>BINA</character> <dialogue>Why did I like it or why was n't I gon na say anything?</dialogue> <character>ALIKE</character> <dialogue>Why did you like it?</dialogue> <character>BINA</character> <dialogue>I do n't know. I guess because it felt honest.</dialogue> <character>ALIKE</character> <dialogue>Oh.</dialogue> <character>BINA</character> <dialogue>Did n't you have on a different shirt earlier?</dialogue> <character>ALIKE</character> <dialogue>What?</dialogue> <character>BINA</character> <dialogue>Nothin'.</dialogue> <character>ALIKE</character> <dialogue>No, what'd you say?</dialogue> <character>BINA</character> <dialogue>Nothin'.</dialogue> <character>ALIKE</character> <dialogue>Yeah, I had on a different shirt.</dialogue> <character>BINA</character> <dialogue>Oh. Well, that's cool.</dialogue> <character>ALIKE</character> <dialogue>So why were n't you gon na say anything about it?</dialogue> <character>BINA</character> <dialogue>About your shirt?</dialogue> <character>ALIKE</character> <dialogue>About the poem.</dialogue> <character>BINA</character> <dialogue>Cause you're moody.</dialogue> <character>ALIKE</character> <dialogue>Moody?</dialogue> <character>BINA</character> <dialogue>And quiet.</dialogue> <character>ALIKE</character> <dialogue>Man, I'm not moody.</dialogue> <character>BINA</character> <dialogue>Yeah, right.</dialogue> <scene_description>Bina stops .</scene_description> <character>ALIKE</character> <dialogue>What?</dialogue> <character>BINA</character> <dialogue>This is me.</dialogue> <scene_description>Alike looks up at the stoop , surprised .</scene_description> <character>BINA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's not so bad when there's some conversation, huh?</dialogue> <scene_description>Alike looks away .</scene_description> <character>BINA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You wan na come up?</dialogue> </scene> <scene> <stage_direction>INT. BINA'S BEDROOM - AFTERNOON</stage_direction> <scene_description>Alike sits on Bina 's twin bed , looking around and really taking in the room for the first time . She reaches over and picks up a little molded soldier figure off of the shelf . Bina fishes around in a rack of CDs .</scene_description> <character>ALIKE</character> <dialogue>Who gave you this?</dialogue> <character>BINA</character> <dialogue>What the bear? My dad.</dialogue> <character>ALIKE</character> <dialogue>No, this.</dialogue> <scene_description>Alike holds the figurine out , Bina looks at it over her shoulder .</scene_description> <character>BINA</character> <dialogue>Oh that. Girl, my stupid ex - boyfriend gave me that.</dialogue> <character>ALIKE</character> <dialogue>Oh. Cute.</dialogue> <scene_description>Bina opens a CD case and pulls the booklet out .</scene_description> <character>BINA</character> <dialogue>Not really. I mean I guess it was at the time.</dialogue> <scene_description>Bina lobs the little army man into a trash can across the room and hands Alike the booklet .</scene_description> <character>BINA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Anyway, this is the other artist I was telling you about. Her stuff is like, bouncier.</dialogue> <scene_description>A buoyant Afropunk beat wafts through the bedroom . Bina plops down on the bed next to Alike .</scene_description> <character>ALIKE</character> <dialogue>This is straight. You'll burn me a copy?</dialogue> <character>BINA</character> <dialogue>Yeah, I have a bunch of other stuff, too.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>So who do you hang out with? I do n't really see you with anybody.</dialogue> <scene_description>Alike shrugs and rifles through her backpack . She pulls out her composition book . Awkward silence .</scene_description> <character>BINA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I did n't mean it like that. I was just asking because I was curious. I do n't really like anybody that goes there either.</dialogue> <character>ALIKE</character> <dialogue>My friend Laura used to go there. Not now, but she's going back.</dialogue> <character>BINA</character> <dialogue>Oh because, I was just gon na say - I'm going to this house party and you can come if you want to.</dialogue> <scene_description>Bina waves her hand at the radio .</scene_description> <character>BINA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>They play this kind of music.</dialogue> <character>ALIKE</character> <dialogue>Sure. How'm I supposed to dress?</dialogue> <character>BINA</character> <dialogue>You do n't dress. You just come however. Come as you are.</dialogue> <scene_description>Alike nods .</scene_description> <character>BINA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Can I see?</dialogue> <scene_description>Bina snatches the book from Alike 's hands and starts flipping through pages before Alike can answer .</scene_description> <character>ALIKE</character> <dialogue>Yeah. But that's mainly old stuff, though.</dialogue> <character>BINA</character> <dialogue>This is the one you did today?</dialogue> <character>ALIKE</character> <dialogue>Yeah.</dialogue> <character>BINA</character> <dialogue>Nice.</dialogue> <scene_description>Bina offers the journal back to Alike . Alike reaches for it . Bina pulls it away at the last second - an impromptu game of keep away .</scene_description> <character>BINA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Take it.</dialogue> <scene_description>Alike misses again . The girls crack up .</scene_description> <character>BINA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Sorry, here.</dialogue> <scene_description>Bina yanks it away again . Alike gives up , still smiling .</scene_description> <character>ALIKE</character> <dialogue>You play too much.</dialogue> <character>BINA</character> <dialogue>Seriously, it's right here. Just take it.</dialogue> <scene_description>Alike summons the courage for one last swipe . She manages to grab it but Bina does n't let go right away . The girls lock eyes during the extemporaneous tug - of - war .</scene_description> <character>ALIKE</character> <dialogue>Thank you.</dialogue> <character>BINA</character> <dialogue>You're welcome.</dialogue> <scene_description>Beaming with her victory , Alike busies herself with the journal . Bina recruits a small stuffed moose for her next foray . She dances the moose up Alike 's arm and plants an exaggerated peck on her cheek with it .</scene_description> <character>BINA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Mmmwaahhh!</dialogue> <scene_description>The girls erupt into renewed giggles . Bina tosses the stuffed animal aside and scoots closer to read over Alike 's shoulder .</scene_description> <character>BINA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What's so private?</dialogue> <character>ALIKE</character> <dialogue>Nothin', just my writings.</dialogue> <scene_description>Bina studies Alike 's profile . She leans in and pecks Alike on the cheek . Alike lets the kiss soak in , glancing at Bina sidelong . Bina leans in again , this time planting a long kiss on Alike 's lips . Alike pulls away . Bina tenses for the verdict .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Why'd you do that for?</dialogue> <character>BINA</character> <dialogue>Sorry -</dialogue> <character>ALIKE</character> <dialogue>No, I'm sorry. I just umm. I got ta go.</dialogue> <character>BINA</character> <dialogue>I thought -</dialogue> <character>ALIKE</character> <dialogue>Sorry.</dialogue> <scene_description>Alike blindly grabs up her things and rushes the door , Bina flounders in her wake .</scene_description> </scene> <scene> <stage_direction>INT. LAURA'S LIVING ROOM - EVENING</stage_direction> <scene_description>Laura and a group of friends play a rowdy game of spades . A cute Puerto Rican girl is draped around Laura 's neck like a PERSONAL CHEERLEADER . Music blasts from the TV but does n't drown out the hoots and banter of the rollicking entourage . There is a knock at the door .</scene_description> <character>LAURA</character> <dialogue>You'll get that for me?</dialogue> <scene_description>One of the friends breaks away from the pack , opens the door without greeting and walks away . Alike is left alone to escort herself in . Laura hardly looks up as Alike stops at the fringes of the pack .</scene_description> <character>ALIKE</character> <dialogue>Wassup man.</dialogue> <scene_description>A collective grumble of greeting goes up around the table although no one addresses Alike directly . Laura slams the table and raises her hands in triumph .</scene_description> <character>LAURA</character> <dialogue>Board, goddammit! I told you!</dialogue> <character>PIER GIRL #1</character> <dialogue>Awww, we shoulda been done set you!</dialogue> <scene_description>Laura slaps hands with her partner . The unlucky pair of partners argue . The personal cheerleader kisses Laura on the neck . Alike looks away .</scene_description> <character>PERSONAL CHEERLEADER</character> <dialogue>Good game, baby!</dialogue> <character>LAURA</character> <dialogue>What's good, Lee?</dialogue> <character>ALIKE</character> <dialogue>Just came to say wassup.</dialogue> <character>LAURA</character> <dialogue>Whatchu got, Ty?</dialogue> <character>PIER GIRL #2</character> <dialogue>Three, maybe four.</dialogue> <character>LAURA</character> <dialogue>We goin' eight!</dialogue> <scene_description>Roars of disbelief from around the table . Alike is quickly forgotten in the ruckus . Alike circles to Laura 's side . The personal cheerleader looks her up and down .</scene_description> <character>ALIKE</character> <dialogue>Can I talk to you for a second?</dialogue> <character>LAURA</character> <dialogue>Now I got to cut you! Grab ` em partner. We gon na run a Boston on that ass!</dialogue> <parenthetical>( to Alike . )</parenthetical> <dialogue>Yo, I'm busy right now.</dialogue> <scene_description>More raucous laughter from the table . Alike endures another few moments of card slapping , table pounding dejection before leaning into Laura 's ear .</scene_description> <character>ALIKE</character> <dialogue>I really need to talk to you -</dialogue> <character>LAURA</character> <dialogue>I said later!</dialogue> <scene_description>Wide - eyed silence and scattered snickers around the table . Laura resumes her hand and the game banter cranks back up . Alike picks up her face and slips away .</scene_description> <character>PIER GIRL #3</character> <dialogue>Thought that was your girl?</dialogue> <character>LAURA</character> <dialogue>Mind your business. Bam! That's what I thought!</dialogue> <scene_description>Laura slaps another card on the table and takes a deep swig of water .</scene_description> </scene> <scene> <stage_direction>INT. ALIKE'S PARENT'S BEDROOM - NIGHT</stage_direction> <scene_description>Audrey lies awake in bed . The clock on the nightstand indicates a little past two in the morning . She looks at the sliver of light underneath the bedroom door , the sound of Arthur 's key in the door breaks the silence . Arthur 's voice in hushed tones . Audrey rolls over and faces the wall .</scene_description> </scene> <scene> <stage_direction>INT. ALIKE'S BEDROOM - NIGHT</stage_direction> <scene_description>Alike watches her father 's footsteps break up the light beneath her door . She tosses off her blankets and springs into the hallway .</scene_description> <character>ALIKE</character> <parenthetical>( loud whisper . )</parenthetical> <dialogue>Hey Dad!</dialogue> <scene_description>She is talking to empty air . She eases down the hallway toward the kitchen and the sound of his muffled voice .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Dad?</dialogue> <character>ARTHUR</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Come on now, you know that's not what I want. That's not what I'm saying. That's not - listen to me. Are you gon na listen to me?</dialogue> <character>ALIKE</character> <dialogue>Mom?</dialogue> <scene_description>Alike stops short outside the kitchen door , confused .</scene_description> <character>ARTHUR</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Lee? Hold on.</dialogue> </scene> <scene> <stage_direction>INT. ALIKE'S KITCHEN - CONTINUOUS</stage_direction> <scene_description>Alike swings around the corner .</scene_description> <character>ALIKE</character> <dialogue>Huh?</dialogue> <character>ARTHUR</character> <dialogue>No, not you.</dialogue> <parenthetical>( into phone . )</parenthetical> <dialogue>Hey, I'll talk to you later, alright? My daughter's up.</dialogue> <scene_description>Arthur flips his cell phone shut and tucks it into his pocket . He fishes a beer out of the fridge .</scene_description> <character>ALIKE</character> <dialogue>Who was that?</dialogue> <scene_description>Arthur sips his beer and walks over to the kitchen table . A foil covered plate with a little pink sticky note waits .</scene_description> <character>ARTHUR</character> <dialogue>What you doing up?</dialogue> <character>ALIKE</character> <dialogue>Just wanted to talk.</dialogue> <scene_description>Arthur crumples the sticky note and tosses it into the trash without reading it . He peels up one side of the foil , peeks at the food underneath , and launches it into the trash , too .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Dad, the plate - do n't trash the plate.</dialogue> <scene_description>Arthur strips off his dress shirt and tie and flings them into the living room . Alike rescues the plate from the garbage and carefully lays it in the sink so it does n't clatter .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Are n't you hungry?</dialogue> <character>ARTHUR</character> <dialogue>Ate already.</dialogue> <character>ALIKE</character> <dialogue>You ate at work?</dialogue> <character>ARTHUR</character> <dialogue>No, just grabbed some take out.</dialogue> <character>ALIKE</character> <dialogue>Oh. Where?</dialogue> <scene_description>Arthur explodes .</scene_description> <character>ARTHUR</character> <dialogue>Why you asking me all these goddamn questions, girl? What's wrong with you? You do n't question me.</dialogue> <character>ALIKE</character> <dialogue>Sorry.</dialogue> <scene_description>Alike starts to head back to her room .</scene_description> <character>ARTHUR</character> <dialogue>Hold up. I'm sorry, Alike come on back. Look - I got patties.</dialogue> <scene_description>Arthur tosses a greasy bag onto the table and pulls out a chair for her .</scene_description> <character>ALIKE</character> <dialogue>Beef?</dialogue> <character>ARTHUR</character> <dialogue>And chicken. C'mon.</dialogue> <scene_description>Alike sits happily and the two munch in silence for awhile .</scene_description> <character>ARTHUR</character> <dialogue>Listen uh. Your momma's worried that uh. How's school? Straight A's?</dialogue> <character>ALIKE</character> <dialogue>Probably.</dialogue> <character>ARTHUR</character> <dialogue>That's right. Want a sip?</dialogue> <scene_description>Arthur offers her the beer . Alike takes it to the head .</scene_description> <character>ARTHUR</character> <dialogue>I said a sip. A sip!</dialogue> <scene_description>Arthur snatches the beer from her . They laugh . Alike picks at her patty , eating little pieces of crust .</scene_description> <character>ARTHUR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What's on you your mind?</dialogue> <character>ALIKE</character> <dialogue>Nothin'.</dialogue> <scene_description>Arthur snorts .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What if - what if. say somebody liked you right?</dialogue> <character>ARTHUR</character> <dialogue>They like you? Or they like you, like you?</dialogue> <character>ALIKE</character> <dialogue>Say they like you, like you.</dialogue> <character>ARTHUR</character> <dialogue>Uh - huh.</dialogue> <character>ALIKE</character> <dialogue>I mean, they have n't said anything yet. But what if. so what if the person is kinda like a friend, but you know they like you more than that?</dialogue> <character>ARTHUR</character> <dialogue>Well, I think that's the best way to start - as friends.</dialogue> <character>ALIKE</character> <dialogue>But then what if. What if the person is -</dialogue> <scene_description>Arthur scents the heavy news packed in Alike 's expressive pause and scrambles to intercept her at the pass .</scene_description> <character>ARTHUR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What's his name? What grade is he in? I ` ma look his ass up in the system. Ha - ha! Wait ` till your mama finds out. She'll be so goddamn happy.</dialogue> <scene_description>Alike plays along , swallowing her disappointment .</scene_description> <character>ALIKE</character> <dialogue>Yeah.</dialogue> <scene_description>Arthur pushes back from the table and pulls a fresh police uniform out the hall closet . He lays it across the back of the couch and unzips his pants . Alike turns her back to give him privacy .</scene_description> <character>ARTHUR</character> <dialogue>Say uh - there's this new - uh women's club up there by the liquor store - have you - do you - you have n't heard anything about it, right?</dialogue> <scene_description>Alike shakes her head no . Arthur tucks his undershirt into his pants .</scene_description> <character>ARTHUR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Called the Kitty Litter, the Catbox, something like that?</dialogue> <character>ALIKE</character> <dialogue>Nah, I never even heard of it.</dialogue> <character>ARTHUR</character> <dialogue>Good. ` Cause you know that's a uh. it's a rough neighborhood. You know that right? I had a case over there. You wan na be careful - stay away from that element. Just in case it ever comes up?</dialogue> <character>ALIKE</character> <dialogue>I'll be careful.</dialogue> <character>ARTHUR</character> <dialogue>Good. I know you will.</dialogue> <scene_description>Alike glances back at Arthur and sees that he 's decent . She scoots back around to face him . Arthur smooths his uniform shirt into his pants .</scene_description> <character>ALIKE</character> <dialogue>Dad, when you were on the phone earlier? It sounded like. I mean. I guess you're headed back to work, huh?</dialogue> <character>ARTHUR</character> <dialogue>Yep. Your mama still up?</dialogue> <character>ALIKE</character> <dialogue>Probably.</dialogue> <character>ARTHUR</character> <dialogue>Tell her I had to work.</dialogue> <scene_description>Arthur picks up his work tote and kisses Alike on the forehead .</scene_description> <character>ARTHUR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Love you.</dialogue> </scene> <scene> <stage_direction>INT. LAURA'S KITCHEN - MORNING</stage_direction> <scene_description>Laura jams a pillow into a t - shirt as a makeshift pillowcase as she escorts one of the pier girls to the couch . The pier girl looks slightly unkempt and is relieved to plop her knapsack on the floor . Laura tosses the pillow onto the couch .</scene_description> <character>LAURA</character> <dialogue>My sister gets home at six so, you got ta be gone by then.</dialogue> <character>PIER GIRL #2</character> <dialogue>Good looking.</dialogue> <character>LAURA</character> <dialogue>There's some lunchmeat in there too, help yourself.</dialogue> <character>PIER GIRL #2</character> <dialogue>` Preciate ya.</dialogue> <scene_description>Laura pulls up close to the kitchen table . The GED test prep book , now dog - eared and worn is on the table in front of her . She finds her place and copies notes and multiple choice answers into a spiral notebook . A stack of old Math and English textbooks are in a chair next to her and the room is peaceful and still save for the scratching of her pencil .</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL HALLWAY - AFTERNOON</stage_direction> <scene_description>Alike spies on Bina stuffing books into her locker . She draws her breath and approaches .</scene_description> <character>ALIKE</character> <dialogue>Hey.</dialogue> <character>BINA</character> <dialogue>Hey.</dialogue> <scene_description>A long awkward silence . Alike leans against the bank of lockers , not daring to make eye contact .</scene_description> <character>ALIKE</character> <dialogue>I'm sorry about the other day.</dialogue> <character>BINA</character> <dialogue>It's cool.</dialogue> <scene_description>Bina pretends to rearrange books in her locker .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Things have been crazy. But look, I'm sorry I bugged out. It's just. I did n't know that you. I was n't expecting that.</dialogue> <character>BINA</character> <dialogue>You still coming to the party?</dialogue> <character>ALIKE</character> <dialogue>I do n't know - I need to try and catch up with Laura.</dialogue> <character>BINA</character> <dialogue>Oh.</dialogue> <character>ALIKE</character> <dialogue>But I do wan na hang out. I mean. maybe we could do both.</dialogue> <scene_description>Bina smiles and shuts the locker door .</scene_description> <character>BINA</character> <dialogue>Cool.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>You could spend the night if want to. Avoid the whole curfew thing.</dialogue> <character>ALIKE</character> <dialogue>Yeah.</dialogue> <character>BINA</character> <dialogue>You sure?</dialogue> <character>ALIKE</character> <dialogue>Yeah.</dialogue> </scene> <scene> <stage_direction>INT. FAMILY CAR - DAY</stage_direction> <scene_description>Arthur coaches Alike as she navigates the car to a jerky stop in front of Mack 's liquor store .</scene_description> <character>ARTHUR</character> <dialogue>Easy, easy now. Watch your right hand side.</dialogue> <character>ALIKE</character> <dialogue>I am.</dialogue> <character>ARTHUR</character> <dialogue>Do n't ride the brakes though. Good.</dialogue> <character>ALIKE</character> <dialogue>See? I'm getting better! Can I drive back?</dialogue> <scene_description>Arthur rubs his chest in mock heart - attack .</scene_description> <character>ARTHUR</character> <dialogue>I do n't about that. You're shaky girl, you're shaky. Get us some chips and I'll think about it.</dialogue> <scene_description>Arthur hands Alike a five dollar bill and she bounces down out of the car .</scene_description> </scene> <scene> <stage_direction>EXT. LIQUOR STORE - CONTINUOUS</stage_direction> <scene_description>Arthur shouts a greeting to Mack who lounges on a plastic chair outside his door . Sock and TWO OTHER MEN chit chat nearby . Their chatter lowers as Arthur approaches . Alike bops into the store .</scene_description> <character>MACK</character> <dialogue>Hey, baby!</dialogue> <character>ALIKE</character> <dialogue>Hey Mr. Ferguson!</dialogue> <character>MACK</character> <dialogue>I see Alike's been running circles around you again!</dialogue> <character>ARTHUR</character> <dialogue>Little bit, little bit. I still got it though.</dialogue> <scene_description>Arthur claps Mack on the shoulder and glimpses Sock whispering to one of the men . Arthur follows the men 's gazes over to Alike at the potato chip rack . She twirls the string of her basketball shorts round and round her finger and idly hikes the collar of her t - shirt up over her nose . The smile evaporates from Arthur 's face . Sock peers back at him , smirking . Arthur starts toward him , when Alike saunters out between them .</scene_description> <character>ARTHUR</character> <dialogue>We better get going.</dialogue> <character>MACK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Gone already?</dialogue> <character>ARTHUR</character> <dialogue>I'll holler at you later.</dialogue> <scene_description>Arthur crosses the lot in a bound , snatches the car keys from Alike 's hand , and hustles her into the car .</scene_description> <character>ARTHUR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Get in the car.</dialogue> <character>ALIKE</character> <dialogue>But you said I could drive -</dialogue> <character>ARTHUR</character> <dialogue>I said get in the car!</dialogue> <scene_description>Alike frowns , then catches sight of the men in front of the store . She slumps into the car and slams the door . Arthur piles into the driver 's seat . They sit in silence for a moment , Alike traces the lines in her hands .</scene_description> </scene> <scene> <stage_direction>INT. ARTHUR'S CAR - CONTINUOUS</stage_direction> <character>ARTHUR</character> <dialogue>Look. umm. you know you're daddy's girl, right?</dialogue> <scene_description>Alike avoids eye contact , staring out her window . Arthur searches her face a moment longer , then starts the car and pulls away in silence .</scene_description> </scene> <scene> <stage_direction>INT. ALIKE'S APARTMENT LIVING ROOM - NIGHT</stage_direction> <scene_description>Audrey reclines on the couch reading a book . The doorknob jiggles and Audrey folds the book against her chest , pretending to be asleep . Arthur slips in and lays his holster on an armchair , not even bothering to approach Audrey 's sleeping form . Arthur peeks inside the fridge and inspects one of Audrey 's foil covered plates . He tosses it aside and gathers sandwich ingredients instead . Audrey yawns and props herself up on one elbow .</scene_description> <character>AUDREY</character> <dialogue>Oh you're home?</dialogue> <character>ARTHUR</character> <dialogue>Hey.</dialogue> <character>AUDREY</character> <dialogue>I must've dozed off. How long have you been in?</dialogue> <character>ARTHUR</character> <dialogue>Hour.</dialogue> <scene_description>Dad takes a bite of his sandwich and shoves the ingredients back into the fridge .</scene_description> <character>AUDREY</character> <dialogue>Did you see the plate in there?</dialogue> <character>ARTHUR</character> <dialogue>This is fine.</dialogue> <scene_description>Arthur plops down on an armchair and flips the TV channel to sports highlights . Mom scoots over on the couch .</scene_description> <character>AUDREY</character> <dialogue>There's room over here. You can see the TV better.</dialogue> <character>ARTHUR</character> <dialogue>This is fine.</dialogue> <scene_description>Arthur props his feet up on the coffee table and catches Audrey 's hurt expression . He winks at her .</scene_description> <character>ARTHUR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Thank you.</dialogue> <character>AUDREY</character> <dialogue>Just alike.</dialogue> <character>ARTHUR</character> <dialogue>Say what?</dialogue> <character>AUDREY</character> <dialogue>You and your daughter. Have you talked to Lee yet? I told you she -</dialogue> <character>ARTHUR</character> <dialogue>I talked to Alike.</dialogue> <character>AUDREY</character> <dialogue>You did?</dialogue> <character>ARTHUR</character> <dialogue>Everything's fine. Like I told you. Matter fact, she's got a boyfriend.</dialogue> <character>AUDREY</character> <dialogue>Boyfriend?</dialogue> <character>ARTHUR</character> <dialogue>Just give her some space.</dialogue> <character>AUDREY</character> <dialogue>Space? She's hardly ever home in the first place and you're just like her, creeping in all hours of the night. Both of you. Running around like you got something to hide, like I'm the big, bad witch and what about me? I'm home by myself all the time and Sharonda's getting older and starting to go out and pretty soon -</dialogue> <character>ARTHUR</character> <dialogue>I do n't have anything to hide. Look I told you I talked to Alike and everything is fine.</dialogue> <character>AUDREY</character> <dialogue>Did you ask her?</dialogue> <scene_description>Dad slams down his half - eaten sandwich and stands up .</scene_description> <character>ARTHUR</character> <dialogue>No, because I did n't have to. Besides, I would know okay? If anybody would know, it would be me. I know my daughter -</dialogue> <character>AUDREY</character> <dialogue>Your daughter?!</dialogue> <character>ARTHUR</character> <dialogue>- better than anyone else and -</dialogue> <character>AUDREY</character> <dialogue>So now all of a sudden she's just your daughter?!</dialogue> <character>ARTHUR</character> <dialogue>- I'm telling you she's just fine!</dialogue> <character>AUDREY</character> <dialogue>Well I guess I better not have nothing else to say then, huh?!</dialogue> <character>ARTHUR</character> <dialogue>That's your damn problem, you're too much of a damn worry wart.</dialogue> <character>AUDREY</character> <dialogue>Let's hope you're right, Detective.</dialogue> <character>ARTHUR</character> <dialogue>Will you shut the fuck up?!</dialogue> <scene_description>Audrey jerks to her feet and flings the book aside .</scene_description> <character>AUDREY</character> <dialogue>An hour? Really? I'm not your dumb damn floozy in the street. And you will not talk to me that way.</dialogue> <scene_description>Audrey slaps the sandwich off Arthur 's plate and storms to the bedroom . Arthur sees Sharonda peeking from her bedroom door but ca n't summon any words . Sharonda skitters into Alike 's bedroom .</scene_description> </scene> <scene> <stage_direction>INT. ALIKE'S BEDROOM - NIGHT</stage_direction> <scene_description>Alike is awake , hands folded behind her head . Sharonda curls up on top of the covers next to her .</scene_description> <character>ALIKE</character> <dialogue>I know you're not scared.</dialogue> <character>SHARONDA</character> <dialogue>I'm not.</dialogue> <scene_description>The girls lay silently as they listen to Arthur bang around in the kitchen .</scene_description> <character>SHARONDA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Lee?</dialogue> <character>ALIKE</character> <dialogue>Hmm?</dialogue> <character>SHARONDA</character> <dialogue>I hope you know it does n't matter to me.</dialogue> <scene_description>Alike rubs Sharonda 's head and gives her a little squeeze .</scene_description> <character>ALIKE</character> <dialogue>I know.</dialogue> </scene> <scene> <stage_direction>INT. HOUSE PARTY/POETRY SLAM - NIGHT</stage_direction> <scene_description>A MOHAWKED WOMAN yowls into a microphone atop a coffee table turned stage . Kids roam from room to room nursing plastic cups . Some in elaborate ensembles , some in thrift store duds , others in plain old jeans , but no two people the same . Alike clad in simple shirt and jeans looks especially comfortable as she and Bina ease their way through the crowd . In between performers , guitar riffs rock the large loft apartment and render their voices practically inaudible . - Bina introduces Alike to different people , Alike is welcomed - Alike &amp; Bina point out different performers , they laugh and talk in each other 's ears - Alike and Bina dance wildly in the middle of the crowd , surrounded by dozens of other clamorous bodies - One performer beckons Alike up onto the table , Alike demurs at first , then leaps on top of the table . Bina cheers . - Alike drags a giggling Bina out of the party and they crash into the open night</scene_description> </scene> <scene> <stage_direction>EXT. THE PIERS - NIGHT</stage_direction> <scene_description>Lights glisten across the Hudson River - distant orbs reflected in a thousand shimmering faux stars in weak defiance against the night sky . A sodium vapor glow veils everything in generous haloes , making the night more beautiful than it really is . Dancing silhouettes , laughing , playing , yelling , flying , always dancing silhouettes punctuate the summer breeze with clapping set to the rhythm of soulful house . Like Puck on a midsummer 's night , like Peter Pan and his lost boys . Among the silhouettes is Laura , enthroned atop a railing . Laura , smoking a joint grandly , surrounded by an adoring circle , a sycophantic harem of four . Laura , completely miserable as she watches two other silhouettes drawing closer , spinning , collapsing , now righting , always connected . Alike and Bina . Bina smiles and snakes her arms around Alike 's neck . Alike too shy to react , giggles and folds . Laura watches the pair spin and passes to the left before stalking off toward the connected shadows .</scene_description> </scene> <scene> <stage_direction>EXT. THE PIERS- CONTINUOUS</stage_direction> <scene_description>Laura cuffs Alike on the neck , pulling Alike 's hoodie up over her face . Alike 's laugh is tentative at first , not sure whether this is play or for real . Laura chuckles , breaking the ice . The pair slapbox and rough house , both missing with wild arcing blows . Laura aims a mini charge at Alike that lifts her off the ground and deposits her a short distance away . Alike swipes Laura 's hat . Laura claps Alike on the shoulder and Alike waves to Bina . Bina waves and smiles .</scene_description> <character>ALIKE</character> <dialogue>So whatchu you think? She's cool right?</dialogue> <scene_description>Laura looks around and shrugs . Laura plucks a fresh joint out of her coat and lights it .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>She's hot right? I told you. It was so tight. I'm tellin' you, you shoulda been there tonight!</dialogue> <scene_description>Laura takes a puff and offers it to Alike .</scene_description> <character>LAURA</character> <dialogue>This one's just for me and you.</dialogue> <scene_description>Alike waves it off , oblivious and intoxicated with the night .</scene_description> <character>ALIKE</character> <dialogue>And she's smart, too. She does poetry, you should hear it. It's like, it's good, you know?</dialogue> <scene_description>Laura stops walking and Alike skips ahead , still chattering .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I was thinking next weekend the three of us could -</dialogue> <character>LAURA</character> <dialogue>Look, I'm right here.</dialogue> <scene_description>Alike snaps out of it .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh my bad, I thought you were beside me. Anyway, I was thinking -</dialogue> <character>LAURA</character> <dialogue>Look, I'm sorry for all the drama.</dialogue> <character>ALIKE</character> <dialogue>No, it's cool. I shoulda -</dialogue> <character>LAURA</character> <dialogue>What I'm saying is, I probably overreacted.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>And then. I do n't know. Seeing you two together or whatever. I'm glad to see you're finally happy.</dialogue> <character>ALIKE</character> <dialogue>C'mon man, you know you're my best friend. Nobody's gon na -</dialogue> <character>LAURA</character> <dialogue>You do n't need to say anything. I just wanted to get it off my chest. I'm happy for you, that's all.</dialogue> <scene_description>Alike shakes her head . Her mouth moves but nothing comes out .</scene_description> <character>LAURA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Because I love you, alright? And I'm sayin'. I'm right here.</dialogue> <scene_description>Alike is stopped cold , as the light bulb finally goes off . Laura takes a long drag on the joint . Bina and Mika stumble over giggling . Bina hooks Alike 's arm . Mika kisses Laura on the neck . Laura snaps out of her gaze , her familiar smirk creeping back .</scene_description> <character>MIKA</character> <dialogue>We goin' to get something to eat?</dialogue> <character>LAURA</character> <dialogue>That's what's up.</dialogue> <character>ALIKE</character> <dialogue>Listen, umm -</dialogue> <scene_description>Laura pinches out the joint and hands it to Mika who tucks it away .</scene_description> <character>LAURA</character> <dialogue>That's for later. Bina, nice to meet you.</dialogue> <character>BINA</character> <dialogue>You too. We had fun.</dialogue> <scene_description>Laura gives Bina a polite hug , pounds Alike on the shoulder and starts to lead Mika away .</scene_description> <character>MIKA</character> <dialogue>Byyeee!</dialogue> <character>ALIKE</character> <dialogue>Hey hold up!</dialogue> <scene_description>Laura pumps a lazy fist in the air in acknowledgement . Bina takes Alike 's hand and slowly drags her away . Alike keeps looking back , then finally gives up . Laura looks back just as Alike turns around and disappears around the corner .</scene_description> <character>BINA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I like your friends. They're cool.</dialogue> </scene> <scene> <stage_direction>INT. BINA'S BEDROOM - LATER</stage_direction> <scene_description>Music videos play on the TV . Alike and Bina lay stretched out on pillows , a plate of brownie crumbs between them . Alike dozes . Bina smacks her with a pillow .</scene_description> <character>ALIKE</character> <dialogue>I'm not sleep.</dialogue> <character>BINA</character> <dialogue>Yes you are.</dialogue> <scene_description>Alike rubs sleep out of her eyes and props herself up on one elbow .</scene_description> <character>ALIKE</character> <dialogue>Any brownies left?</dialogue> <character>BINA</character> <dialogue>Nope.</dialogue> <scene_description>Bina flicks off the TV and stares at Alike .</scene_description> <character>ALIKE</character> <dialogue>What?</dialogue> <character>BINA</character> <dialogue>Nothing.</dialogue> <scene_description>Alike looks away .</scene_description> <character>BINA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What?</dialogue> <character>ALIKE</character> <dialogue>Nothing.</dialogue> <scene_description>Alike folds her arms behind her head . Bina strokes Alike 's stomach . Her finger 's dance at the top of Alike 's pajama bottoms . Their eyes meet . Alike sits bolt upright .</scene_description> <character>BINA</character> <dialogue>What're you doing? What's wrong?</dialogue> <character>ALIKE</character> <dialogue>This is uh. I never. I'm sorry, I'm trippin' out.</dialogue> <character>BINA</character> <dialogue>It's okay. We do n't have to.</dialogue> <scene_description>Alike leans in and kisses Bina on the lips . Bina considers and takes Alike 's chin in her hand and kisses her back . Bina places Alike 's hand on her chest . Alike lets her hand linger , then traces Bina 's shoulders .</scene_description> </scene> <scene> <stage_direction>INT. LAURA'S KITCHEN - MORNING</stage_direction> <scene_description>Laura stands over the kitchen table shuffling through the mail . She pauses at a stiff envelope with her name on it . The return address reads `` NYS Educational &amp; Testing Services '' . She flips the envelope over and looks around , she rips the top off and eases the top of a slip out of the envelope . The top of the slip reads '' ` Campbell , Laura ' GED TESTING RESULTS . ''</scene_description> </scene> <scene> <stage_direction>EXT. BRONX HOME - MORNING</stage_direction> <scene_description>Laura shifts her weight on a painted concrete porch outside a small wooden frame home . The paint is peeling and the flowers in the window - box are dead . A rusted metal mailbox next to the door overflows with circulars . Laura lifts the circulars out of the box and trashes them . She picks up a discarded fast food bag and tosses it too . A dog barks from a neighboring yard . Laura pulls open the screen door and tries to peer in through the diamond shaped window in the main door , but it 's covered over in aluminum foil . More barking . Laura surveys the street and bangs hard on the door . She snaps the screen door back and takes a big step backward . Laura shifts her weight and smooths her shirt . LAURA 'S MOTHER , 54 , and no - nonsense opens the door and frowns down at Laura through the screen .</scene_description> <character>LAURA</character> <dialogue>Oh.</dialogue> <scene_description>Laura 's mother crosses her arms and looks at Laura up and down .</scene_description> <character>LAURA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Thought you might've stepped out or something? How've you been?</dialogue> <scene_description>Laura 's mother frowns up and down the block before refocusing on Laura . Laura takes a step closer to the door .</scene_description> <character>LAURA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Me and Candy, you know we're doing real good.</dialogue> <scene_description>Laura 's mother puts her hand on the doorknob .</scene_description> <character>LAURA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We might even be moving to a bigger place soon. You know she's workin' at the hospital now, yeah you'd be real proud of her. She might even go back and get her RN -</dialogue> <scene_description>Laura takes another step forward .</scene_description> <character>LAURA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>How -? How's Pops? You look good. You look healthy, yeah you look real good. You know uh, we miss you and everything -</dialogue> <scene_description>Laura 's mother starts to close the door . Laura backs away .</scene_description> <character>LAURA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I do n't wan na take too much of your time. I just stopped by - you know I uh - I'm getting my stuff together too - I uh -</dialogue> <scene_description>Laura fishes the stiff envelope out of her pocket and advances on the screen door again , holding it out .</scene_description> <character>LAURA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>So, I did it. I took the test and -</dialogue> <scene_description>Laura 's mother slams the door . Laura stands on her tiptoes and yells at the diamond shaped window .</scene_description> <character>LAURA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I got my GED!</dialogue> <scene_description>The lock on the door snaps into place . Renewed barking from across the street . Silence from the door . Laura brushes a fist across her eyes and stuffs the envelope into the mailbox .</scene_description> <character>LAURA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>But listen I - I got ta go. I got ta get to work but I ` ma leave it for you to see. It was nice talking to you.</dialogue> <scene_description>Laura backs off the porch and starts down the walkway . She stops halfway and bounds back onto the porch . She yanks the envelope out of the mailbox and jams it into her pocket . Laura storms off the porch and out of yard , never looking back .</scene_description> </scene> <scene> <stage_direction>INT. BINA'S BEDROOM - MORNING</stage_direction> <scene_description>Alike is asleep on the bed . Bina cleans up feverishly , `` accidentally '' bumping Alike awake . Alike yawns and rolls over , a huge grin spreading across her face as she remembers her surroundings .</scene_description> <character>ALIKE</character> <dialogue>Hey.</dialogue> <character>BINA</character> <dialogue>Hey.</dialogue> <scene_description>Bina bolts to the dresser and crams clothes in .</scene_description> <character>ALIKE</character> <dialogue>You up already?</dialogue> <character>BINA</character> <dialogue>It's after one o'clock, actually.</dialogue> <scene_description>Bina deposits an armful of clothes into the dirty clothes hamper , and then begins making the bed with Alike still in it . Alike pulls Bina down beside her .</scene_description> <character>ALIKE</character> <dialogue>What's wrong?</dialogue> <character>BINA</character> <dialogue>Nothin's wrong, I'm just cleaning up. Do n't worry about it.</dialogue> <character>ALIKE</character> <dialogue>Okay then, I'll help you.</dialogue> <character>BINA</character> <dialogue>No, I got it.</dialogue> <scene_description>Bina snatches a pillow from behind Alike and fluffs it . Alike , still oblivious , grins and traces Bina 's shoulder .</scene_description> <character>ALIKE</character> <dialogue>Look um - I just wanted to say that last night. last night was amazing. thank you for -</dialogue> <character>BINA</character> <dialogue>Last night we were just playin' around, that's all.</dialogue> <scene_description>Bina flinches away from Alike 's touch . Alike shoots a glance at the door and drops her voice to a choked whisper .</scene_description> <character>ALIKE</character> <dialogue>Look. We can slow things down. Nobody has to know that we're together.</dialogue> <character>BINA</character> <dialogue>`` Together''? Whoa, no.</dialogue> <character>ALIKE</character> <dialogue>Huh?! I thought. Look if you do n't want to call it that, that's fine, but do n't act like nothing happened.</dialogue> <scene_description>Bina moves away and levels her gaze at Alike for the first time . Alike touches Bina 's elbow , Bina flinches away .</scene_description> <character>BINA</character> <dialogue>Look, I'm not gay okay? This is n't me - I was n't - I'm not ready for all this.</dialogue> <scene_description>Alike recruits the discarded stuffed moose and dances it around on the bed . Bina recoils and snatches it away . Recognition seeps across Alike 's pained face . Bina moves away from the bed and turns her back on Alike . Alike finds her pajama pants on the floor and yanks them on . She pulls on jeans over her pajama bottoms and hauls a sweatshirt down over her nightie . She flings her backpack open on the bed and hunts around the room wildly gathering her things . Alike goes in the bathroom and reappears with an armful of toiletries , dumping them in the bag . Bina watches her , arms folded . Alike takes one last look around the room and heads for the door , running a sleeve across her face .</scene_description> <character>BINA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Lee?</dialogue> <scene_description>Alike ignores her and launches into the hallway . Bina runs to her bedroom doorway .</scene_description> <character>BINA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Wait - Lee?!</dialogue> <scene_description>Alike beelines for the front door . Bina chases Alike across the room .</scene_description> <character>BINA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Lee, stop please?</dialogue> <scene_description>Alike wipes a sleeve across her swelling eyes and running nose and turns to face her . Bina takes several steps toward her . Alike lets go of the doorhandle , her voice cracks .</scene_description> <character>ALIKE</character> <dialogue>What?</dialogue> <character>BINA</character> <dialogue>You promise you wo n't tell anybody?</dialogue> </scene> <scene> <stage_direction>EXT. BINA'S HOUSE/STREET - DAY</stage_direction> <scene_description>Alike rages outside , weaving blind fury down the sidewalk . She kicks over a cluster of garbage cans and cyclones out into the street , narrowly missing getting hit by a car . She continues her zag to the other sidewalk , her pace quickening . She rips open her backpack and launches a baseball cap into the air . She tears a handful of wifebeaters from the bag and flings them into the street . Spinning and thrashing she wrenches out a football jersey and jams it into another garbage can . She circles back and kicks the can over . She hurtles her backpack into the trees like a discus and sheds her hoodie like a skin before disappearing into the scream of a subway station .</scene_description> </scene> <scene> <stage_direction>INT. ALIKE'S LIVING ROOM - EVENING</stage_direction> <scene_description>Lee bursts into the living room and charges to her bedroom . Audrey , who has been waiting in the living room storms in after her .</scene_description> <character>AUDREY</character> <dialogue>Where in the hell have you been?!</dialogue> <scene_description>Alike kicks off her shoes and paces the room .</scene_description> <character>AUDREY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You hear me talking to you?! Where you been? You left Bina's hours ago! Lee -</dialogue> <character>ALIKE</character> <dialogue>I'M NOT YOUR HUSBAND!</dialogue> <scene_description>Audrey gasps in stunned silence .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm not your husband so stop comin' at me like I am. I'm not your companion, I'm not your friend - you made that abundantly clear - I'm your daughter and I have my own shit to deal with!</dialogue> <character>AUDREY</character> <dialogue>LEE - do n't you dare - Alike - I am your Mother -</dialogue> <scene_description>Audrey melts back against the doorjamb . Alike slings off her shirt and slams the door in Audrey 's face . A livid Audrey bangs on the door and jiggles the handle .</scene_description> <character>AUDREY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You must have lost your damn mind! Wait until your father gets home!</dialogue> </scene> <scene> <stage_direction>INT. ALIKE'S BEDROOM - CONTINUOUS</stage_direction> <scene_description>Alike attacks her closet , ripping all the `` girly '' shirts from the hangers and hurling them toward a small vanity trashcan . She plunges back in and slams an armful of blouses to the floor . She launches a pair of pumps into the wall , followed by a chunky pair of Timberlands . Silent sobs rack her body as she tears off her own shirt and slings it at the mirror . She strips off her jeans and kicks them brutally into a corner . Alike considers her unclothed form in the mirror before collapsing onto the bed . She writhes against the pillows and covers her eyes with her elbow as darts of grief twist through her body . Blackout .</scene_description> </scene> <scene> <stage_direction>INT. ALIKE'S BEDROOM - LATER</stage_direction> <scene_description>Alike jerks awake in her bed , a pillow pulled down around her ears . The sound of a muffled argument leaks from her parents 's bedroom . The shouting gets louder , and Alike sits upright in her bed as her father 's footsteps boom past her doorway and into the living room . Audrey 's voice trails him down the hallway , and Alike scrambles into a t - shirt and shorts .</scene_description> </scene> <scene> <stage_direction>INT. ALIKE'S LIVING ROOM - EVENING</stage_direction> <scene_description>Arthur 's hand is on the doorknob , a small tote flung over his shoulder . Audrey blocks the door , her hands on her hips . They both look up as Alike edges into the living room .</scene_description> <character>AUDREY</character> <dialogue>You see, that's exactly what I'm talking about?! Get over here!</dialogue> <character>ARTHUR</character> <dialogue>Go back to bed!</dialogue> <character>AUDREY</character> <dialogue>No, you come tell your father what you told me!</dialogue> <character>ARTHUR</character> <dialogue>Do n't drag her into this, Audrey!</dialogue> <parenthetical>( to Alike . )</parenthetical> <dialogue>Go to your room, Alike. Your mom and I are having a discussion.</dialogue> <character>AUDREY</character> <dialogue>We are not discussing! I wan na know right now -</dialogue> <character>ARTHUR</character> <dialogue>Go to your room!</dialogue> <character>AUDREY</character> <dialogue>Your father's leaving us!</dialogue> <character>ARTHUR</character> <dialogue>I am not leaving you!</dialogue> <character>AUDREY</character> <dialogue>Sharonda, wake up! Come see your father leaving us!</dialogue> <character>ARTHUR</character> <dialogue>I'm not fucking leaving! Will you stop saying that?!</dialogue> <character>AUDREY</character> <dialogue>Come say goodbyeeee!</dialogue> <scene_description>Audrey shoves Arthur toward the door . Reflexively , Arthur raises his hand at Audrey . Audrey puffs up .</scene_description> <character>AUDREY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh, what?! I wish you would! Go ahead! Look girls, your daddy's going to beat me!</dialogue> <scene_description>Sharonda bursts into tears behind Alike . Alike hurries Sharonda back down the hallway .</scene_description> <character>ALIKE</character> <dialogue>Shhh. It's okay. Go in my room and lock the door. Do n't come out, ` kay?</dialogue> <scene_description>Sharonda bawls harder . Alike gently closes the door on her .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's gon na be okay.</dialogue> </scene> <scene> <stage_direction>INT. ALIKE'S LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Arthur and Audrey argue viciously .</scene_description> <character>ARTHUR</character> <parenthetical>( O.S . )</parenthetical> <dialogue>No! Dammit, that's not true! Look, will you stop sayin' that?!</dialogue> <character>AUDREY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>It's the truth!</dialogue> <scene_description>Alike edges back into the living room , Audrey wheels on her . Arthur is beaten and cornered .</scene_description> <character>AUDREY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Your daddy's got a new girlfriend! Or did you already know that?! You know, I bet you did!</dialogue> <character>ARTHUR</character> <dialogue>Audrey, stop it! Alike go back to bed!</dialogue> <character>AUDREY</character> <dialogue>Meanwhile, your daughter's turning into a damn man right before your very eyes, and you ca n't even see it!</dialogue> <scene_description>Arthur drops his tote and advances toward Audrey , leveling a stiff finger at her face .</scene_description> <character>ARTHUR</character> <dialogue>No you take that back! You shut the fuck up about that, Audrey!</dialogue> <scene_description>Arthur gets in Audrey 's face . Audrey leers back at him . Alike jumps between them .</scene_description> <character>ALIKE</character> <dialogue>Dad?! Stop!</dialogue> <character>ARTHUR</character> <dialogue>Go back to bed, Alike!</dialogue> <character>AUDREY</character> <dialogue>Tell him, Lee!</dialogue> <character>ARTHUR</character> <dialogue>Do n't call her Lee!</dialogue> <character>ALIKE</character> <dialogue>Mom, stoppit please!?</dialogue> <character>AUDREY</character> <dialogue>Tell your Dad where you hang out! Tell him about your butch - ass girlfriend -</dialogue> <character>ALIKE</character> <dialogue>Laura's NOT my girlfriend!</dialogue> <character>ARTHUR</character> <dialogue>What the hell are you talking about?! You do n't know what the hell are you talking about. Alike, please just go to your room, baby!</dialogue> <scene_description>Alike drops her gaze and backs away .</scene_description> <character>AUDREY</character> <dialogue>Tell him!</dialogue> <scene_description>Arthur 's expression cracks and he tears his focus from Audrey to Alike .</scene_description> <character>ARTHUR</character> <dialogue>Tell me what?!</dialogue> <character>ALIKE</character> <dialogue>I'm not tellin' you nothin'.</dialogue> <character>AUDREY</character> <dialogue>Tell him you're a dyke! You tell him you're a nasty ass dyke!</dialogue> <character>ARTHUR</character> <dialogue>No she's not gay. Alike we did n't raise you that way, baby.</dialogue> <scene_description>Eyes still downcast , Alike just shakes her head and backs away .</scene_description> <character>AUDREY</character> <dialogue>There! You see!</dialogue> <character>ARTHUR</character> <dialogue>You shut the hell up Audrey!</dialogue> <scene_description>Arthur extends his arms toward Alike , his voice trembling .</scene_description> <character>ARTHUR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I know that's not true. You tell your mother right now, Alike. You tell her it is n't true!</dialogue> <scene_description>Alike meets her father 's eyes .</scene_description> <character>ALIKE</character> <dialogue>Dad -</dialogue> <character>ARTHUR</character> <dialogue>Do n't you lie now, you tell the truth!</dialogue> <character>ALIKE</character> <dialogue>You already know.</dialogue> <character>ARTHUR</character> <dialogue>No, I do n't know. You tell your mother it's just a phase.</dialogue> <character>ALIKE</character> <dialogue>It's not a phase!</dialogue> <scene_description>Arthur is stopped cold , his shoulders slump .</scene_description> <character>AUDREY</character> <dialogue>See, if you would've DONE SOMETHING!</dialogue> <character>ARTHUR</character> <parenthetical>( to Alike . )</parenthetical> <dialogue>What's wrong with you?</dialogue> <character>ALIKE</character> <dialogue>There's nothing wrong with me!</dialogue> <character>AUDREY</character> <dialogue>This is your fault! If you had -</dialogue> <scene_description>Arthur tears into Audrey , spittle flying .</scene_description> <character>ARTHUR</character> <dialogue>AUDREY WILL YOU SHUT THE FUCK UP!</dialogue> <character>AUDREY</character> <dialogue>DO N'T YOU SCREAM AT ME! You should've been at home more often! Why do n't you DO SOMETHING!</dialogue> <character>ARTHUR</character> <dialogue>This is NOT my fault! Just shut up and lem me talk! I'm trying to fuckin' talk -</dialogue> <character>ALIKE</character> <dialogue>YEAH I'M GAY!</dialogue> <scene_description>Arthur spasms as though he 's been stabbed . Out of nowhere , Audrey 's backhand pistons Alike to the ground . She raises her hand high and slaps it down hard on Alike 's shoulders and arms . Alike yells . Arthur turns to stone .</scene_description> <character>AUDREY</character> <dialogue>Say it again! Say it again!</dialogue> <scene_description>Alike fends off Audrey 's blows with her hands . She kicks angrily as Audrey towers over her .</scene_description> <character>ALIKE</character> <dialogue>I'm a lesbian! Yeah, I'm a dyke.</dialogue> <character>AUDREY</character> <dialogue>No you're not!</dialogue> <scene_description>Audrey 's blows become more manic and vicious . Arthur wakes from his trance and tries to wrestle Audrey off of Alike .</scene_description> <character>ARTHUR</character> <dialogue>That's enough! Stop it!</dialogue> <character>AUDREY</character> <dialogue>Do n't you say that! Let go! Do n't you say that!</dialogue> <character>ALIKE</character> <dialogue>Get offa me!</dialogue> <character>AUDREY</character> <dialogue>What? You a man now? YOU GON' FIGHT ME LIKE A MAN?!</dialogue> <scene_description>Audrey swings and hits Alike with a nasty hook to the jaw , Alike 's head snaps back and hits the floor .</scene_description> <character>ARTHUR</character> <dialogue>AUDREY STOP!</dialogue> <scene_description>Arthur yanks Audrey off of Alike . Audrey directs her rage at him , pummeling his face and chest .</scene_description> <character>AUDREY</character> <dialogue>AND YOU TOO! YOU TOO! YOU TOO! OH GOD!</dialogue> <scene_description>Tears stream down Arthur 's face as Audrey shakes free and aims one last blow at his face .</scene_description> <character>AUDREY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>YOU SAY IT'S NOT TRUE!</dialogue> </scene> <scene> <stage_direction>INT. LAURA'S APARTMENT - NIGHT</stage_direction> <scene_description>Click - clack . Click - clack . The rattle of circuit breakers echo through the bare darkness of Laura 's small apartment .</scene_description> <character>LAURA</character> <dialogue>Anything?</dialogue> <character>ALIKE</character> <dialogue>No.</dialogue> <scene_description>Click - clack . Click - clack .</scene_description> <character>LAURA</character> <dialogue>How about now?</dialogue> <character>ALIKE</character> <dialogue>No. Nothing.</dialogue> <character>LAURA</character> <dialogue>Shit. Fucking building.</dialogue> <scene_description>Laura bangs into something in the darkness .</scene_description> <character>LAURA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Owww. Shit!</dialogue> <scene_description>A small light flicks to life and grows larger . In its dim glow , Laura spots Alike leaning against a worn couch . The lights become two as Laura hands Alike a candle .</scene_description> <character>LAURA</character> <dialogue>Here. Good thing I keep some these around.</dialogue> <scene_description>Alike snorts thickly . Her words are slurred and nasal .</scene_description> <character>ALIKE</character> <dialogue>Yeah, for your many women.</dialogue> <character>LAURA</character> <dialogue>Hey, you thanking ` em now.</dialogue> <scene_description>Laura holds her candle up to Alike 's grim face .</scene_description> <character>LAURA</character> <dialogue>You okay?</dialogue> <scene_description>Alike wipes at already dried tear streaks on her puffy face and looks down . Laura slides an arm around her waist and guides her into the small bedroom .</scene_description> <character>LAURA</character> <dialogue>You bring clothes?</dialogue> <character>ALIKE</character> <dialogue>Huh - uh. I stopped by the house - I stopped by -</dialogue> <character>LAURA</character> <dialogue>That's alright, man. You can wear some of mine. It's okay, c'mon. Lets get some sleep. My sister'll be home in a little bit, too.</dialogue> </scene> <scene> <stage_direction>INT. LAURA'S BEDROOM - LATER</stage_direction> <scene_description>Overturned Ramen noodle cups litter the floor . Laura sips a beer and strokes Alike 's head who sleeps fitfully in her lap .</scene_description> </scene> <scene> <stage_direction>INT. ALIKE'S LIVING ROOM - MORNING</stage_direction> <scene_description>Arthur is frozen in the middle of the living room with a contractor trash bag . He stoops and piles the shards of a broken lamp into the bag one by one . Sharonda peeks out at him from her bedroom door . Arthur looks up at her and Sharonda pushes the door shut .</scene_description> </scene> <scene> <stage_direction>INT. ALIKE'S PARENT'S BEDROOM - DAY</stage_direction> <scene_description>Audrey sits at the edge of her bed in a housecoat . Her hair is ruffled and flyaway . Her ankles are crossed and her hands are dead birds in her lap . Her work clothes are laid out in a neat line beside her : shirt , pants , socks , and shoes on the floor right underneath . The telephone begins to ring , but Audrey does not hear it .</scene_description> </scene> <scene> <stage_direction>INT. BINA'S BEDROOM - AFTERNOON</stage_direction> <scene_description>Bina and a HIGH SCHOOL BOY sit on the floor , their backs propped against the bed , books spread on the floor . The boy puts his arm around Bina , launching numerous passionate advances , but Bina pushes him away . The clueless boy continues his clumsy attempts . Bina stares out the window , completely detached .</scene_description> </scene> <scene> <stage_direction>INT. ALIKE'S KITCHEN - AFTERNOON</stage_direction> <scene_description>Audrey , still in her housecoat , stares into the refrigerator , transfixed by the mountain of foil - covered plates . Her eyes are cried - out buttons . Suddenly she remembers to breathe , and her breaths come raggedly tearing out fresh tears . She yanks a foil - covered plate , dumps its contents into the trash can and tosses the plate into the sink . She dumps another and another , her composure returning with each plate tossed . By the time she gets to the last one , her breathing slows and returns to normal . She disappears into the bedroom and reappears with the red shopping bag . She calmly lifts out the pink blouse and stuffs it into the garbage . She wads up the shopping bag and stuffs it in too . She takes a deep breath and wipes her sleeve across her nose .</scene_description> <character>AUDREY</character> <dialogue>Okay.</dialogue> </scene> <scene> <stage_direction>INT. ALIKE'S KITCHEN - LATE AFTERNOON</stage_direction> <scene_description>Arthur , Audrey and Sharonda are pegged around the dinner table . Audrey 's make - up fails to cover the dark circles beneath her eyes and Arthur has a week 's worth of stubble . There is a jagged hole where Alike usually sits . Noticing the asymmetry , Audrey bundles up Alike 's place setting and sweeps it onto the floor . Sharonda looks from Audrey to Arthur then into her plate .</scene_description> <character>AUDREY</character> <dialogue>You want to say grace?</dialogue> <scene_description>Arthur clears his throat .</scene_description> <character>ARTHUR</character> <dialogue>Heavenly Father.</dialogue> <scene_description>Audrey thrusts her hands out to Arthur and Sharonda . They each take her hand and Arthur begins again .</scene_description> <character>ARTHUR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Dear Heavenly Father we pray. we pray thank you for this food and we pray. we pray for your continued blessing.</dialogue> <scene_description>Arthur stops talking but his head remains bowed . An awkward silence ensues . Audrey and Sharonda look up at him still holding hands .</scene_description> <character>AUDREY</character> <dialogue>Amen!</dialogue> <character>ARTHUR</character> <dialogue>Amen.</dialogue> <scene_description>Audrey switches to an overly cheery auto - pilot mode , babbling to no one in particular .</scene_description> <character>AUDREY</character> <dialogue>I got this recipe from a magazine. Supposed to be very good. And you see I made those green beans you like. Sharonda pass the rice please.</dialogue> <scene_description>Sharonda , staring at her father does n't reach for the bowl .</scene_description> <character>SHARONDA</character> <dialogue>Dad. You know where she is.</dialogue> </scene> <scene> <stage_direction>EXT. LAURA'S ROOFTOP - WEEKS LATER</stage_direction> <scene_description>Alike and Laura sit at the edge of the roof sharing a quart of mint chocolate chip ice cream . Sunset paints the cityscape pink and orange . The faint cadence of children playing drifts in and out on a fickle breeze . Alike 's wounds are healing and she seems happy . The friends exchange wordless smiles and soak in the peacefulness around them . Laura hears a noise at the door and gets up to investigate . Arthur is standing in the doorway . Laura calls out to Alike . Alike looks up and the smile fades from her face . Arthur tries to move around Laura , but Laura stares him down . Laura looks back at Alike . Alike considers , then carefully nods . Laura steps out of the way and watches Arthur pass . Alike rises to face her father . She stands tall , her weight is centered . Arthur struggles to find her eyes , and she turns away from him . Distant playground voices fill the pause .</scene_description> </scene> <scene> <stage_direction>EXT. LAURA'S ROOFTOP - WEEKS LATER</stage_direction> <scene_description>Alike sits at the edge of the roof writing in her notebook . Laura swings open the door and Alike looks back in greeting , her smile fading as Arthur appears behind her . Laura motions to Alike . Alike considers , then carefully nods . Laura steps aside and watches Arthur pass . Alike wanders to the edge of the roof , Arthur follows . Distant playground voices fill the pause .</scene_description> <character>ALIKE</character> <dialogue>Where's Mom?</dialogue> <character>ARTHUR</character> <dialogue>She. your mother could n't make it.</dialogue> <scene_description>Alike shakes her head and peers into the rusty skyline . Arthur slumps his hands in his pockets and edges closer .</scene_description> <character>ARTHUR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Remember our old place? Waaay out in Queens? It was our first apartment, we were so proud. Had all those trees around it? In October, the whooole block would be covered with leaves. You remember.</dialogue> <scene_description>Alike makes no sign .</scene_description> <character>ARTHUR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You couldnt've been more than 2 years old. And when the wind would blow, all those leaves would come rushing down the street at us and you thought they were alive. You'd get so scared. You'd cry and you'd scream and beg for us to pick you up. I would try and tell you `` they're only leaves, baby'' and make you stay on the ground. But you were so afraid and you cried so hard, your mother would always pick you up. She always picked you up.</dialogue> <scene_description>Arthur is silent beneath the weight of his memory . He dares a glance over at Alike .</scene_description> <character>ARTHUR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>` Member how we used to -</dialogue> <character>ALIKE</character> <dialogue>I've been accepted into a early college program. Starts in the Spring. Berkeley.</dialogue> <character>ARTHUR</character> <dialogue>California's a long way away -</dialogue> <character>ALIKE</character> <dialogue>Ten weeks writing boot camp, workshops. Then I can start summer semester.</dialogue> <character>ARTHUR</character> <dialogue>We can talk about that. Okay?</dialogue> <character>ALIKE</character> <dialogue>I need you to meet with my guidance counselor. Sign the paperwork so I can graduate early.</dialogue> <character>ARTHUR</character> <dialogue>I'm sorry, alright? I'm sorry I let her hurt you -</dialogue> <character>ALIKE</character> <dialogue>I need to know now if you'll sign the papers. Yes or no?</dialogue> <character>ARTHUR</character> <dialogue>Can you forgive me?</dialogue> <character>ALIKE</character> <dialogue>Yes or no?</dialogue> <character>ARTHUR</character> <dialogue>You can always come back home. Things are gon na be different, I promise you -</dialogue> <scene_description>Alike holds Arthur 's hand , stopping him .</scene_description> <character>ALIKE</character> <dialogue>Dad, I'm not running. I'm choosing.</dialogue> <scene_description>Arthur 's heart breaks , he gasps back a sob .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm not going back home.</dialogue> <character>ARTHUR</character> <dialogue>I know.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Okay.</dialogue> <scene_description>Alike nods , squeezes Arthur 's hand . Arthur breathes deeply , composing himself . He starts to pull away .</scene_description> <character>ARTHUR</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I better -</dialogue> <character>ALIKE</character> <dialogue>Tell Mom that she was right.</dialogue> <character>ARTHUR</character> <dialogue>Right about what?</dialogue> <character>ALIKE</character> <dialogue>God does n't make mistakes.</dialogue> <character>ARTHUR</character> <dialogue>You should tell her yourself.</dialogue> <scene_description>Arthur squeezes Alike 's hand and drifts away . Alike inhales the sunset .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL BREAK ROOM - AFTERNOON</stage_direction> <scene_description>Audrey is cleaned up , well - dressed and freshly put together . She sits alone at the lunch table , crunching an apple . A bible and a daily devotional guide are spread open in front of her . Alike knocks on the glass , and Audrey looks up stunned . Alike comes in and sits across from her . Audrey glances around , concerned about passing coworkers .</scene_description> <character>ALIKE</character> <dialogue>Mom.</dialogue> <character>AUDREY</character> <dialogue>Lee - Alike. How've you been?</dialogue> <character>ALIKE</character> <dialogue>Fine. Did Dad tell you?</dialogue> <character>AUDREY</character> <dialogue>He told me, yes.</dialogue> <character>ALIKE</character> <dialogue>How are you?</dialogue> <scene_description>Audrey gathers her lunch garbage and pushes back from the table .</scene_description> <character>AUDREY</character> <dialogue>I just hope you're keeping yourself safe.</dialogue> <character>ALIKE</character> <dialogue>I love you, Mom.</dialogue> <scene_description>Audrey stacks her devotional guide on top of her bible and stands . She starts to speak , then crosses to the door instead .</scene_description> <character>ALIKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I said I love you.</dialogue> <character>AUDREY</character> <dialogue>I'll be praying for you.</dialogue> <scene_description>Audrey disappears into the hallway .</scene_description> </scene> <scene> <stage_direction>EXT. ROOFTOP - DAY</stage_direction> <scene_description>Alike writes in her notebook , mouthing the words to a poem . She looks up and studies the horizon from time to time .</scene_description> </scene> <scene> <stage_direction>INT. CLASSROOM - DAY</stage_direction> <scene_description>Alike relaxes at a desk , reading from her notebook . Mrs. Alvarado sits cross - legged on her desk listening .</scene_description> <character>ALIKE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Heartbreak opens onto the sunrise, For even breaking is opening, And I am broken, I am open. Broken to the new light without pushing in, Open to the possibilities within pushing out. See the love shine in through my cracks, See the light shine out through me? I am broken, I am open, I am Broken Open. See the love - light shining through me. Shining through my cracks, Through the gaps, My Spirit takes journey, My Spirit takes flight. Could not have risen otherwise, And I am not Running, I am Choosing. Running is not a Choice From the Breaking. Breaking is freeing, Broken is freedom. I am not broken, I am free.</dialogue> <scene_description>Alike closes her book . The pair reflect in easy silence . Mrs. Alvarado nods .</scene_description> <character>MRS. ALVARADO</character> <dialogue>Yeah.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Yeah.</dialogue> </scene> <scene> <stage_direction>INT. ARTHUR'S CAR - DAY</stage_direction> <scene_description>The downtown Brooklyn landscape hums against the windshield as Arthur and Alike ride in complete silence . Sharonda chews a thumbnail , peering over the backseat . Laura slumps against the window , a smirk hiding at the corner of her lips .</scene_description> </scene> <scene> <stage_direction>EXT. REGIONAL BUS STOP - DAY</stage_direction> <scene_description>Laura and Sharonda fumble a suitcase out of the trunk of the car . Alike shrugs into her backpack . Arthur nudges them aside and hefts out the rest of the luggage .</scene_description> <character>ARTHUR</character> <dialogue>I got it.</dialogue> <scene_description>Arthur slams the trunk shut .</scene_description> <character>ALIKE</character> <dialogue>Thank you.</dialogue> <character>ARTHUR</character> <dialogue>You want me to come in with you?</dialogue> <scene_description>Alike shakes her head . Arthur starts to back away .</scene_description> <character>ARTHUR</character> <dialogue>Well -</dialogue> <scene_description>Alike pounces on Arthur in a surprise hug . Arthur squeezes her back .</scene_description> <character>ARTHUR</character> <dialogue>You can always come back home.</dialogue> <character>ALIKE</character> <dialogue>I love you.</dialogue> <character>ARTHUR</character> <dialogue>I love you too.</dialogue> </scene> <scene> <stage_direction>EXT. REGIONAL BUS STOP - CONTINUOUS</stage_direction> <scene_description>General chaos as passengers , and well - wishes scramble for position .</scene_description> <character>LAURA</character> <dialogue>Let me get a hug or somethin', damn.</dialogue> <scene_description>Laura squeezes Alike first with one arm then pulls her hand out of her pocket to wrap both arms around her friend .</scene_description> <character>SHARONDA</character> <dialogue>Call us when you get there.</dialogue> <character>ALIKE</character> <dialogue>You know I will.</dialogue> <scene_description>Laura backs away and wipes a sleeve at her eye .</scene_description> <character>LAURA</character> <dialogue>You just better fuckin' call.</dialogue> <scene_description>Alike disappears through the bus doors . Laura slouches on a hydrant and Sharonda paces , scanning the windows for Alike .</scene_description> </scene> <scene> <stage_direction>INT. BUS - DAY</stage_direction> <scene_description>Sharonda waves maniacally . Alike musters a smile and puts a hand on the window . Laura raises a fist . The bus sails away from the curb . Alike leans forward to keep Laura and Sharonda in sight as long as possible . As she faces front again , she glimpses Arthur , standing in the doorway of the terminal . A passing van blots him from view and she leans back in her seat . An OLD KOREAN WOMAN next to her offers her a piece of ginger candy . Alike pops the candy into her mouth and takes a deep breath . Reflections of the retreating city landscape replay across Alike 's face and she is able to hold back neither the smile nor the tears that come . FADE TO BLACK .</scene_description> </scene> </script>

Alike is a 17-year-old African-American girl who hangs out at clubs with her openly lesbian friend Laura. Alike slowly and firmly comes to terms with her own identity as a butch lesbian, comfortable in baggy clothes and male underwear. Her mother Audrey approves of neither her clothes nor her friendship with Laura. Harboring growing suspicions about Alike's sexuality, Audrey forces her to wear feminine clothing and tries to stem any influence from Laura by pushing Alike to instead make friends with Bina, a young girl from her church. Alike has a better relationship with her father Arthur, who is a police detective. Alike begins to develop feelings for Bina, and starts spending more time with her than with Laura, much to Laura's annoyance. Arthur comes back late a few times from work, which angers Audrey and the two of them fight often. Arthur does not think much about the changes in Alike's life. Saying she is going through a phase, he is supportive of her, although he cautions her on steering clear of the area where there is a lesbian bar, saying it's not safe. One night after going to see an alternative rock band, Alike and Bina are alone in Bina's room when Bina begins caressing and kissing Alike. Alike is at first hesitant, having had no prior experience with physical intimacy. However, she eventually responds and the two spend the night together. In the morning, Alike talks to Bina about where they want their relationship to go, but Bina says there is no relationship, as she is not "really gay-gay" and only regarded their physical encounter as playful indulgence. Her only further interest in Alike seems to be her concern that Alike not tell anyone else about the two of them. Hurt and upset, Alike leaves and returns home and cries for hours. During that time, Audrey and Arthur have an explosive fight about Alike. Despite her sister Sharonda's protests, Alike decides to intervene in the fight and she comes out to her parents. Disgusted, Audrey viciously attacks Alike while Arthur tries to restrain her. Alike flees to Laura's house where the two friends reconcile. Audrey then tries to forget that anything happened, which annoys the rest of her family. Arthur comes to meet with Alike, apologizes for Audrey's actions and requests that Alike come back home, offering half-hearted assurance that if she does, "things will be different". Alike says that she will not return home, but instead plans to move to California to begin college early. She assures her father that, "I'm not running; I'm choosing." Before leaving, Alike makes an attempt to reconcile with her mother as well. However, her mother refuses to accept her and offers only that she will be praying for Alike. Arthur, Sharonda and Laura see Alike off on her journey west and the film ends with Alike reading a poem she wrote; its theme echoes her words to her father that she is not running, but choosing.

Ferris Bueller's Day Off_1986

tt0091042

<script> <scene> <stage_direction>FERRIS BUELLER'S DAY OFF</stage_direction> <scene_description>BLACK SCREEN MAIN TITLES IT 'S SILENT . A BEAT . AND AN EXPLOSION OF SOUND . A HOUSEHOLD IN THE MORNING . KIDS GETTING READY FOR SCHOOL . CLOCK RADIOS . KITCHEN APPLIANCES . SHOWERS . FIGHTING . PEOPLE YELLING . DOG BARKING . APPLIANCES BUZZING . CAR HORNS . IT SOUNDS JUST LIKE YOUR HOUSE DID . STREAMS OF ROCK 'N ROLL FADE IN AND OUT . HUEY LEWIS TO LIONEL RITCHIE TO HUSKER DU . SURROUND MAKES IT FEEL LIKE YOU 'RE IN THE ROOM . AN AURAL TOUR OF A HOUSE ON A SCHOOL MORNING . BEGINING IN THE KITCHEN AND MOVING UPSTAIRS .</scene_description> <character>FATHER'S VOICE</character> <parenthetical>( TOM . )</parenthetical> <dialogue>Where's my wallet?!</dialogue> <character>SEVEN YEAR OLD BOY</character> <parenthetical>( TODD . )</parenthetical> <dialogue>YOU IDIOT!</dialogue> <character>TWELVE YEAR OLD GIRL</character> <parenthetical>( KIMBERLY . )</parenthetical> <dialogue>MOM!</dialogue> <character>TODD</character> <dialogue>SHUT - UP!</dialogue> <character>EIGHTEEN YEAR OLD GIRL</character> <parenthetical>( JEANIE . )</parenthetical> <dialogue>I NEED A TOWEL!</dialogue> <character>TOM</character> <dialogue>JOYCE!</dialogue> <character>KIMBERLY</character> <parenthetical>( whispers , sadistic . )</parenthetical> <dialogue>When you turn ten, your head's going to swell up real big like a watermelon and we're going to have to put you to sleep like they do with a dog.</dialogue> <character>TODD</character> <dialogue>MOM!</dialogue> <character>TOM</character> <dialogue>JOYCE!</dialogue> <character>JEANIE</character> <dialogue>WHO PISSED ON THE TOILET SEAT!? MOTHER!</dialogue> <character>TOM</character> <dialogue>Where's Mom?</dialogue> <character>TODD</character> <dialogue>Is my head going to swell up?</dialogue> <character>TOM</character> <dialogue>What?!</dialogue> <character>JEANIE</character> <dialogue>OH, MY GOD! THE TOILET PAPER'S ALL WET!</dialogue> <character>MOTHER</character> <parenthetical>( JOYCE . )</parenthetical> <parenthetical>( screams . )</parenthetical> <dialogue>TOM!</dialogue> <scene_description>The house falls dead SILENT . We hear footsteps thundering through the house . A TENSE STRAIN OF MUSIC FADES UP .</scene_description> <character>TODD</character> <dialogue>What's that?</dialogue> <character>KIMBERLY</character> <dialogue>Wait! Hold still!</dialogue> <character>TODD</character> <dialogue>What?!</dialogue> <character>KIMBERLY</character> <dialogue>You heads starting to swell up!</dialogue> <scene_description>Todd screams . We hear the sound of Tom 's footsteps running through the kitchen , down the hall , up the stairs , up the hallway . A door open .</scene_description> <character>TOM</character> <parenthetical>( breathless . )</parenthetical> <dialogue>What's the matter?</dialogue> <character>JOYCE</character> <parenthetical>( worried . )</parenthetical> <dialogue>It's Ferris!</dialogue> <character>TOM</character> <dialogue>What's wrong?</dialogue> <character>JOYCE</character> <parenthetical>( snaps . )</parenthetical> <dialogue>What's wrong? For Christ's sake! Look at him!</dialogue> <scene_description>CLOSE - UP . FERRIS An eighteen year - old boy . He 's staring lifelessly at CAMERA . His mouth 's open . His eyes are bugged - out . His tongue is fat and dry in his mouth . He 's laying in bed , on his side .</scene_description> </scene> <scene> <stage_direction>INT. BOY'S BEDROOM</stage_direction> <scene_description>Ferris ' parents , TOM and JOYCE BUELLER are standing at bedside . They 're in their late forties , early fifties . Handsome , upper - middle class parents . They 're both dressed for work .</scene_description> <character>TOM</character> <dialogue>Ferris?</dialogue> <character>JOYCE</character> <dialogue>He does n't have a fever. But he says his stomach hurts and he's seeing spots.</dialogue> <scene_description>CLOSE - UP . FERRIS His lifeless eyes blink .</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM. PARENTS</stage_direction> <scene_description>Tom bends down and touches Ferris ' forehead .</scene_description> <character>TOM</character> <dialogue>What's the matter, Ferris?</dialogue> <character>JOYCE</character> <dialogue>Feel his hands. They're cold and clammy.</dialogue> <scene_description>Tom takes one of Ferris ' hands .</scene_description> <character>TOM</character> <parenthetical>( discreetly . )</parenthetical> <dialogue>Should you call the doctor?</dialogue> <character>JOYCE</character> <parenthetical>( whispers . )</parenthetical> <dialogue>He does n't want me to.</dialogue> <character>TOM</character> <dialogue>Why do n't you want Mom to call the doctor?</dialogue> <scene_description>Ferris exhales loudly . He tries to speak but all he can manage is a choked gasp .</scene_description> <character>TOM</character> <dialogue>What?</dialogue> <scene_description>Ferris tries again .</scene_description> <character>FERRIS</character> <parenthetical>( raspy . )</parenthetical> <dialogue>Do n't make a fuss. I'm fine. I'll get up.</dialogue> <scene_description>He starts to get up . Joyce gently pushes him back down .</scene_description> <character>FERRIS</character> <dialogue>I have a test today. I have to take it. I want to get into a good college so I can have a fruitful life.</dialogue> <character>JOYCE</character> <dialogue>You're not going to school like this.</dialogue> <parenthetical>( to Tom . )</parenthetical> <dialogue>Maybe I should call the office and tell them I wo n't be in.</dialogue> <character>FERRIS</character> <dialogue>I'm okay, Mom. I feel perfectly. Oh, God!</dialogue> <scene_description>He 's gripped by a seizure . His body stiffens and he chokes . His older sister , JEANIE , walks into the room . She 's dressed for school . She 's cute and stuck - up . A major pill .</scene_description> <character>JEAN</character> <dialogue>Oh, fine. What's this? What's his problem?</dialogue> <character>JOYCE</character> <dialogue>He does n't feel well.</dialogue> <character>JEAN</character> <dialogue>Yeah, right. Dry that one out and you can fertilize the lawn.</dialogue> <character>TOM</character> <dialogue>That's enough, Jeanie.</dialogue> <character>JEANIE</character> <dialogue>You're not falling for this, are you? Tell me you're not falling for this.</dialogue> <character>FERRIS</character> <dialogue>Is that Jeanie? I ca n't see that far. Jeanie?</dialogue> <character>JEANIE</character> <dialogue>Pucker up and squat, Ferris.</dialogue> <character>JOYCE</character> <parenthetical>( annoyed . )</parenthetical> <dialogue>Thank you, Jeanie. Get to school.</dialogue> <character>JEANIE</character> <parenthetical>( angry , defeated . )</parenthetical> <dialogue>You're really letting him stay home? I ca n't believe this. If I was bleeding out my eyes, you guys'd make me go to school. It's so unfair.</dialogue> <character>FERRIS</character> <dialogue>Please do n't be upset with me, Jeanie. Be thankful that you're fit and have your health. Cherish it.</dialogue> <character>JEANIE</character> <parenthetical>( to herself . )</parenthetical> <dialogue>Oh, I wan na puke.</dialogue> <scene_description>She glares at Ferris . Her eyes are mascara and vengence . She slips out of the room . Ferris ' brother , TODD and sister , KIMBERLY peek into the room .</scene_description> <character>KIMBERLY</character> <dialogue>Myocardial infarction?</dialogue> <character>JOYCE</character> <dialogue>Get your stuff. Daddy'll be right down.</dialogue> <character>KIMBERLY</character> <dialogue>Syphilitic meningitus? That would be a huge family embarrassment.</dialogue> <character>TOM</character> <dialogue>Get downstairs!</dialogue> <character>KIMBERLY</character> <dialogue>If he dies, I got dibs on his stereo.</dialogue> <scene_description>She turns sharply and exits .</scene_description> <character>TODD</character> <parenthetical>( worried . )</parenthetical> <dialogue>Dad? Does my head look alright?</dialogue> <character>JOYCE</character> <dialogue>Get downstairs! Now!</dialogue> <character>TODD</character> <dialogue>Just answer me one question! Is it swelling up? Kim said it was going to get as big as.</dialogue> <character>KIMBERLY</character> <parenthetical>( OC . )</parenthetical> <dialogue>A WATERMELON!</dialogue> <character>TODD</character> <parenthetical>( yells out the room . )</parenthetical> <dialogue>Shut - up!</dialogue> <character>JOYCE</character> <dialogue>Get downstairs! NOW!</dialogue> <scene_description>Todd backs out of the room .</scene_description> <character>FERRIS</character> <dialogue>I'll be okay. I'll just sleep. Maybe I'll have an aspirin around noon.</dialogue> <character>JOYCE</character> <parenthetical>( to Ferris . )</parenthetical> <dialogue>I'm showing houses to the family from California today but I'll be in the area. My office'll know where I am, if you need me.</dialogue> <character>TOM</character> <dialogue>I'll check it with you, too.</dialogue> <character>FERRIS</character> <dialogue>It's nice to know I have such loving, caring parents. You're both very special people.</dialogue> <scene_description>CU . FERRIS He acknowledges Tom with a pathetic flutter of his eyelids .</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM. JOYCE</stage_direction> <scene_description>She strokes Ferris ' hair .</scene_description> <character>JOYCE</character> <dialogue>I hope you feel better, pumpkin.</dialogue> <scene_description>She leans down and kisses his forehead . Tom pats his shoulder .</scene_description> <character>TOM</character> <dialogue>Get some rest.</dialogue> <scene_description>CU . FERRIS Ferris lets out a wheeze . His glassy eyes follow his parents to the door .</scene_description> <character>JOYCE</character> <parenthetical>( OC . )</parenthetical> <dialogue>We love you, sweetie.</dialogue> <character>TOM</character> <parenthetical>( OC . )</parenthetical> <dialogue>Call if you need us.</dialogue> <scene_description>They close the door . The lock clicks . Ferris ' eyes shift from the door to CAMERA . A sly , little smile crawls across his lips .</scene_description> <character>FERRIS</character> <dialogue>They bought it.</dialogue> <scene_description>The MTV theme music ROARS IN . CU . TV SCREEN The TV at the foot of Ferris ' bed . The MTV logo is playing .</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM</stage_direction> <scene_description>Ferris yanks open the drapes . The pall of the sickroom disappears in the brilliant glow of morning sunlight .</scene_description> <character>FERRIS</character> <dialogue>Incredible! One of the worst performances of my career and they never doubted it for a second.</dialogue> <parenthetical>( looks out the window . )</parenthetical> <dialogue>What a beautiful day!</dialogue> <scene_description>He turns from the window .</scene_description> <character>FERRIS</character> <dialogue>Parents always fall for the clammy hands. It's physical evidence of illness. It's a good, non - specific symptom. Parents are generally pretty hip to the fever scams. And to make them work you have to go a hundred and one, hundred and two. You get a nervous mother and you end up in a doctor's office and that's worse than school.</dialogue> <scene_description>He flips on his stereo and fills the room with the MTV broadcast . A NEW SONG begins .</scene_description> <character>FERRIS</character> <dialogue>Fake a stomach cramp and when you're doubled over, moaning and wailing, just lick your palms. It's a little stupid and childish but then so if high school. Right?</dialogue> <scene_description>He equalizes the sound a little .</scene_description> <character>FERRIS</character> <dialogue>This is my ninth sick day with semester. If I go for ten, I'm probably going to have to barf up a lung. So, I absolutely must make this one count.</dialogue> <scene_description>He exits into the hallway .</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM</stage_direction> <scene_description>Ferris walks into the bathroom . It 's littered with Jean 's debris . He turns on the shower water .</scene_description> <character>FERRIS</character> <dialogue>I do n't care if you're fifty five or seven, everybody needs a day off now and then. It's a beautiful day. How can I be expected to handle high school?</dialogue> <scene_description>He bends down OUT OF FRAME as he loses his briefs . He pops up .</scene_description> <character>FERRIS</character> <dialogue>I do actually have a test. That was n't bullshit.</dialogue> <scene_description>He steps into the shower . Through the pebbled glass of the shower door we see Ferris ' outline .</scene_description> <character>FERRIS</character> <dialogue>That I care about it was.</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM. SHOWER STALL.</stage_direction> <scene_description>Inside the shower . Ferris ' hair is standing straight up . It 's moulded into a fin with shampoo .</scene_description> <character>FERRIS</character> <dialogue>It's on European socialism. I mean, really. What's the point? I'm not European. I do n't plan to be European. So, who gives a shit if they're socialists? They could be fascist anarchists and it still would n't change the fact that I do n't own a car.</dialogue> <scene_description>He turns the shower head around and uses it like a microphone .</scene_description> <character>FERRIS</character> <parenthetical>( sings . )</parenthetical> <dialogue>WELL SHAKE IT UP, BABY, TWIST AND SHOUT.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY. LATER</stage_direction> <scene_description>Ferris comes out of the bathroom with a towel wrapped around his waist . He 's drying his hair with another of a different color .</scene_description> <character>FERRIS</character> <dialogue>Not that I condone fascism. Or and `` isms''. `` Isms'', in my opinion are not good. A person should not believe in an `` ism''. He should believe in himself. John Lennon said it on his first solo album. `` I do n't believe in Beatles, I just believe in me.'' A good point there. Afterall, he was the Walrus.</dialogue> <scene_description>He opens a linen closet and tosses the towel in it .</scene_description> <character>FERRIS</character> <dialogue>I could be the Walrus and I'd still have to bum rides off people.</dialogue> <scene_description>He passes CAMERA and goes into his room .</scene_description> <character>FERRIS</character> <parenthetical>( OC . )</parenthetical> <dialogue>I'm not very political? Let me put that into perspective.</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM</stage_direction> <scene_description>Ferris tosses the towel he 's dried hair with on the bed .</scene_description> <character>FERRIS</character> <dialogue>My uncle went to Canada to protest the war, right? On the Fourth of July he was down with my aunt and he got drunk and told my Dad he felt guilty he did n't fight in Viet Nam. So I said, `` What's the deal, Uncle Jeff? In wartime you want to be a pacifist and in peacetime you want to be a soldier. It took you twenty years to find out you do n't believe in anything?''.</dialogue> <parenthetical>( snaps his fingers . )</parenthetical> <dialogue>Grounded. Just like that. Two weeks.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Be careful when you deal with old hippies. They can be real touchy.</dialogue> <scene_description>He opens his door .</scene_description> </scene> <scene> <stage_direction>INT. CLOSET</stage_direction> <scene_description>The door opens and Ferris rifles through his shirts .</scene_description> <character>FERRIS</character> <dialogue>My mother was a hippie. But she lost it. She got old. If she listens to the White Album now? She does n't hear music, she hears memories. Nostalgia is her favorite drug. It'll probably be mine, too. I hope not.</dialogue> <scene_description>He finds a shirt he likes . He steps back from the closet and puts it on . He drops the towel .</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM</stage_direction> <scene_description>He walks across the room to his dresser . He opens his underwear drawer . There 's an old model of a submarine on the top of the dresser . He picks it up .</scene_description> <character>FERRIS</character> <dialogue>In eighth grade a friend of mine made a bong out of one of these. The smoke tasted like glue.</dialogue> <scene_description>He pulls out a pair of underwear . He gets dressed as he speaks .</scene_description> <character>FERRIS</character> <dialogue>His name is Garth Volbeck. He's a serious outsider. Not a bad guy, I like him. I'm probably his only friend. I do what I can for him. I mean, if I was him, I'd appreciate it. Do unto others, right? Anyway, his mother owns a gas station. His father's dead and his sister's rumored to be a prostitute, which is complete bullshit. She only puts out so people will hang out with her. It's sad but I do n't hold it against her. Better to hold it against the guys who use her and do n't care about her.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>My parents never allowed Garth over here. It was because of his family. Mainly his older brother. He's in jail. I could see them not wanting his brother here because he is a registered psycho. I would n't want him here. I once watched the guy eat a whole bowl of artificial fruit just so he could see what it was like to have his stomach pumped. But Garth is n't his brother. It is n't his fault that his brother's screwed - up. Alot of fights with the parents on that point. I always felt for Garth. I was sleeping at his house once and I was laying on the dark worrying that his brother was going to come in and hack me to death with an ax and I heard Garth crying. I asked him what was wrong and he said, `` Nothing''. Nothing was wrong. There was no specific thing he was crying about. In fact, he was n't really even aware that he was crying. He just cried himself to sleep every night. It was a habit. The guy's so conditioned to grief that if he does n't feel it, he ca n't sleep. How could you possibly dump on guy who has to deal with that kinda shit? My parents acknowledge the trudge of the situation and I'm sure that deep down, they do feel for him but still the guy's banned from our house.</dialogue> <scene_description>He looks at himself in the mirror on the back of his closet door . He does n't like what he 's wearing . He continues his speech as he disrobes .</scene_description> <character>FERRIS</character> <dialogue>Unfortunately, now my parents have a legit argument. Garth does n't need his brother to give him a rep anymore. He's getting one on his own. He's lost. It's over for him. He's eighteen. Gone from school. Gone from life. His legacy is a gas station.</dialogue> </scene> <scene> <stage_direction>INT. HOUSE. STAIRCASE</stage_direction> <scene_description>Ferris comes down the stairs . He 's wearing a completely different outfit .</scene_description> <character>FERRIS</character> <dialogue>One very serious danger is playing sick is that it's possible to believe your own act.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Ferris comes into the kitchen and crosses to the refrigerator .</scene_description> <character>FERRIS</character> <dialogue>That and boredom. Alot of people ditch and feel great for about an hour. Then they realize there's nothing to do. TV and food. I myself have ditched and gotten so bored I did homework. Figure that shit out.</dialogue> <scene_description>He takes a sip out of a bottle of orange juice .</scene_description> <character>FERRIS</character> <dialogue>You have to plan things out before you take the day off. Otherwise you get all nervous worrying about what to do and all you get is grief and the whole point is to take it easy, cut loose and enjoy.</dialogue> <scene_description>He crosses to the pantry .</scene_description> <character>FERRIS</character> <dialogue>You blow your day and at about three o'clock, when everybody's out of school, you're going to wish you'd gone to school so you could be out having fun.</dialogue> <scene_description>He emerges from the pantry with a handful of Oreos .</scene_description> <character>FERRIS</character> <dialogue>Avoid the misery. Plan your day. Do it right.</dialogue> </scene> <scene> <stage_direction>INT. FAMILY ROOM</stage_direction> <scene_description>Ferris walks in and flops down in an armchair .</scene_description> <character>FERRIS</character> <dialogue>There's alot of pressure at work in my age group. And it's not always recognized.</dialogue> <scene_description>He reaches over and picks up the telephone . He sets it in his lap .</scene_description> <character>FERRIS</character> <dialogue>Some guy whose hair is falling out and his stomach's hanging over his belt and everything he eats makes him fart, he looks at someone like me and thinks, `` This kid's young and strong and has a full, rich future ahead of him, what's he got to bitch about?''</dialogue> <scene_description>CU . PHONE He punches out a number .</scene_description> </scene> <scene> <stage_direction>INT. FAMILY ROOM. FERRIS</stage_direction> <scene_description>He remote controls the TV on .</scene_description> <character>FERRIS</character> <dialogue>That's just one reason why I need a day off every now and then.</dialogue> </scene> <scene> <stage_direction>EXT. ANOTHER HOUSE</stage_direction> <scene_description>A sleek , modern house on a couple of deeply wooded acres . A prime house in a prime location . A telephone rings OVER .</scene_description> </scene> <scene> <stage_direction>INT. BOY'S BEDROOM</stage_direction> <scene_description>It 's a dark , dreary sick room . Shades drawn , floor strewn with used tissues , nightstand a still - life of over the counter remedies . A high school boy , CAMERON FRYE , is laying in bed . We do n't see his face , only a silhouette with a thermometer sticking out his mouth . U2 's SUNDAY BLOODY SUNDAY is playing . He 's mumbling random words .</scene_description> <character>CAMERON</character> <dialogue>Food. shelter. no. yes.</dialogue> <scene_description>The phone rings . His hand reaches back and hits the speaker phone button .</scene_description> <character>CAMERON</character> <parenthetical>( weak . )</parenthetical> <dialogue>Hello?</dialogue> <character>FERRIS' VOICE</character> <dialogue>Cameron! What's happening?</dialogue> <character>CAMERON</character> <dialogue>Very little.</dialogue> <character>FERRIS' VOICE</character> <dialogue>How do you feel?</dialogue> <character>CAMERON</character> <dialogue>Shredded.</dialogue> <character>FERRIS' VOICE</character> <dialogue>Is your mother in the room?</dialogue> <scene_description>Cameron takes the thermometer out of his mouth .</scene_description> <character>CAMERON</character> <dialogue>She's not home. Where are you?</dialogue> <character>FERRIS' VOICE</character> <dialogue>Home.</dialogue> </scene> <scene> <stage_direction>INT. FERRIS' FAMILY ROOM. FERRIS</stage_direction> <scene_description>Ferris is sprawled out in the chair .</scene_description> <character>FERRIS</character> <dialogue>I'm taking the day off. Get dressed and come over.</dialogue> <character>CAMERON'S VOICE</character> <dialogue>I ca n't. I'm sick.</dialogue> <character>FERRIS</character> <dialogue>It's all in your head. Come on over.</dialogue> </scene> <scene> <stage_direction>INT. CAMERON'S ROOM</stage_direction> <scene_description>Cameron 's insistant .</scene_description> <character>CAMERON</character> <dialogue>I feel like complete shit, Ferris. I ca n't go anywhere.</dialogue> <character>FERRIS' VOICE</character> <dialogue>I'm sorry to hear that. Now, come on over and pick me up.</dialogue> <scene_description>Ferris disconnects . Cameron slowly hangs up the phone .</scene_description> <character>CAMERON</character> <dialogue>I'm dying.</dialogue> <scene_description>The phone rings again . Cameron hits the speaker button .</scene_description> <character>FERRIS' VOICE</character> <dialogue>You're not dying. You just ca n't think of anything good to do.</dialogue> </scene> <scene> <stage_direction>INT. FERRIS' FAMILY ROOM</stage_direction> <scene_description>Ferris hangs up .</scene_description> <character>FERRIS</character> <dialogue>If anybody needs a day off, it's Cameron. He has alot of things to sort out before he graduates. He ca n't be wound this tight and go to college. His roommate'll kill him. I've come close myself. But I like him. He's a little easier to take when you know why he's like he is. The boy can not relax. Pardon by French but Cameron is so tight that if you stuck a lump of coal up his ass, in two weeks you'd have a diamond.</dialogue> <parenthetical>( after - thought . )</parenthetical> <dialogue>And Cameron would worry that he'd owe taxes on it.</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL. HALLWAY</stage_direction> <scene_description>We hear roll call as CAMERA MOVES ACROSS the tile floor . A shoe 's POV .</scene_description> <character>TEACHER'S VOICE</character> <dialogue>Albers?</dialogue> <character>BOY'S VOICE</character> <dialogue>Here.</dialogue> <character>TEACHER'S VOICE</character> <dialogue>Anderson.</dialogue> <character>GIRL'S VOICE</character> <dialogue>Here.</dialogue> <scene_description>CAMERA enters a classroom . It travels past a teacher 's Hush Puppies and heads up an aisle of desk past dirty yellow Reebocks , rotting Air Jordans , scuffed heels , pristine loafers .</scene_description> <character>TEACHER'S VOICE</character> <dialogue>Anheiser?</dialogue> <character>BOY'S VOICE</character> <dialogue>Here.</dialogue> <character>TEACHER'S VOICE</character> <dialogue>Busch?</dialogue> <character>GIRL'S VOICE</character> <dialogue>Here.</dialogue> <character>TEACHER'S VOICE</character> <dialogue>Bueller?</dialogue> <scene_description>CAMERA reaches the last desk and rises slowly to reveal that it 's empty .</scene_description> <character>TEACHER'S VOICE</character> <dialogue>Bueller?</dialogue> <character>GIRL'S VOICE</character> <dialogue>He's sick.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>My best friend's sister's boyfriend's brother's girlfriend heard from this guy who knows this kid who's going with a girl who saw Ferris pass - out at 31 Flavors last night. I guess it's pretty serious.</dialogue> <character>TEACHER'S VOICE</character> <parenthetical>( weary . )</parenthetical> <dialogue>Thank you, Simone.</dialogue> <character>GIRL'S VOICE</character> <parenthetical>( cheery . )</parenthetical> <dialogue>No problem whatsoever.</dialogue> <character>TEACHER'S VOICE</character> <dialogue>Drucker?</dialogue> <character>BOY'S VOICE</character> <dialogue>What?</dialogue> <scene_description>WOUND - OUT CAR ENGINES COME UP LOUD . CU . TV THE ROAD WARRIOR is playing on video cassette . The big chase at the end .</scene_description> </scene> <scene> <stage_direction>INT. FAMILY ROOM. FERRIS</stage_direction> <scene_description>He 's sitting in the arm chair pretending it 's Humongous ' war wagon . He 's wearing a hockey mash . He 's steering . He reaches down and grabs an imaginary nitrous oxide valve . CU . TV Humongous reaches down and grabs a real nitrous oxide valve . He gives it a twist . CU . FERRIS He throws himself back against the chair . CU . TV The force of the rapid acceleration of his vehicle throws Humongous back in his seat . CU . FERRIS He bounces himself in the chair to simulate the bumpy high speed ride . CU . TV The was wagon hurtles down the road . CU . FERRIS He rears back in horror . CU . TV The war wagon is heading for a head - on collision with the tanker truck . CU . FERRIS Arms outstretched , head thrown back , braced for collision . CU . TV IMPACT ! MOZART COMES UP . CU . FLOWERING TREE BRANCH Outside a bedroom window . A flowering crabtree branch . Petite pink flowers . WE PULL BACK FROM THE WINDOW INTO THE ROOM . It 's Jeanie 's room . A pink and powder blue pig pen . Clothes everywhere , make - up , books , records . Ferris is sitting on her bed going through a purse . FERRIS This is really degrading . He comes up with a crumpled dollar bill .</scene_description> <character>FERRIS</character> <dialogue>Financing my activities this way. Very damaging to the self - image. But, hey, I'm broke. In times of crisis one must to what one must to. I'll pay it back. With interest.</dialogue> <scene_description>He comes up with a five .</scene_description> <character>FERRIS</character> <dialogue>Regardless of how much shit sisters make you eat, how often they rat on you, how gross they act or how wicked and insensitive they can be, you should not alientate them. Because most likely they have cash and it's usually very easy to get your hands on.</dialogue> <scene_description>He holds up a twenty and snaps it . PINK FLOYD 'S `` MONEY '' COMES UP .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM</stage_direction> <scene_description>The song plays as Ferris digs through the sofa cushions . CU . SOFA Ferris extracts a sticky quarter from a crevice .</scene_description> </scene> <scene> <stage_direction>INT. PARENTS' BEDROOM</stage_direction> <scene_description>Ferris is going through his father 's pants pockets . Another crumpled bill surfaces . CU . WASHING MACHINE TOP A couple of stiff , hard , bleached singles that have gone through the wash lay on top of the washer . A hand scoops them up . CU . LUCITE ENCASED PROOF SET An obvious gift from a grandparent . A U.S. Mint proof set . A ten , a five and a single enclosed in a lucite frame . A screwdriver tip wedges between the two pieces of Lucite and pops them apart . A hand peels the bills off the backing . CU . KITCHEN DRAWER Hands ripping through the kitchen junk drawer . Locating a dollar bill . CU . COIN COLLECTION The familiar blue collector 's album . One - by - one , the quarters are being popped out of their slots . CU . VACCUUM CLEANER The dusty , dirty contents of the bag are emptied on the floor . Fingers pick a dime out of a matted wad of filth . CU . SNOOPY BANK It 's being shaken furiously . CU . BIRTHDAY CARD It 's a child 's card . It 's slowly opened to reveal a crisp , new five .</scene_description> </scene> <scene> <stage_direction>INT. HALL CLOSET</stage_direction> <scene_description>The door opens and Ferris thrusts his hands into the pockets of the coats . He comes up with a ball of Kleenex . A roll of Tums . A squirt gun . Then a modest wad of bills . His face lights up as he counts out the cash . He closes the door . CU . FLOOR AND BED Ferris ' face appears between the bed and the floor . His arm reaches out for a small metal bank hidden under the bed . CU . BANK It 's on a work bench . An awl is driven in between the door and the jamb . It pries the door open . Inside are trading cards , a charred doll 's head , a Zippo lighter and , finally , a five dollar bill .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Ferris is on his hands and knees under the kitchen table . CU . TABLE LEG Ferris lifts the leg and removes a quarter that 's been used to balance the table .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Ferris stands up and pockets the quarter . CU . FERRIS ' BED A shower of coins and bills rain down on the sheets . The SONG ENDS .</scene_description> </scene> <scene> <stage_direction>EXT. REAL ESTATE OFFICE. MORNING</stage_direction> <scene_description>A suburban realty company . A cute little building in town .</scene_description> </scene> <scene> <stage_direction>INT. OFFICE</stage_direction> <scene_description>Joyce is behind a desk . Across from her are two WOMEN . They 're also real estate agents .</scene_description> <character>JOYCE</character> <dialogue>No one's going to consider a house with a black living room. Not even those jerks from Vermont. Let's be realistic.</dialogue> <character>AGENT 1</character> <dialogue>Mrs. Volbeck's dead set against putting any money into the house.</dialogue> <scene_description>Joyce 's phone intercom buzzes . She take the call .</scene_description> <character>JOYCE</character> <dialogue>Joyce Bueller.</dialogue> <scene_description>Her eyes open wide with alarm .</scene_description> <character>JOYCE</character> <dialogue>Oh, my God. I'm so sorry. I completely forgot to call.</dialogue> </scene> <scene> <stage_direction>EXT. HIGH SCHOOL</stage_direction> <scene_description>A modern , suburban high school .</scene_description> <character>MAN'S VOICE</character> <dialogue>Are you aware that your son is not in school today?</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL. HALLWAY</stage_direction> <scene_description>It 's a passing period . The hall is clogged with students .</scene_description> <character>JOYCE'S VOICE</character> <dialogue>Yes, I am. Ferris is home sick. I had a meeting first thing this morning. I should have called. It completely slipped my mind.</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL. DEAN'S OUTER OFFICE</stage_direction> <scene_description>A SECRETARY is at work at her desk . We hear the dean inside the office .</scene_description> <character>DEAN'S VOICE</character> <dialogue>Are you also aware that Ferris does not have what we consider an exemplary attendance record?</dialogue> </scene> <scene> <stage_direction>INT. DEAN'S OFFICE. CU. DESK SIGN</stage_direction> <scene_description>It reads , EDWARD R. ROONEY . DEAD OF STUDENTS . The dean 's feet are up on the desk , behind the sign . Moderately priced dress shoes .</scene_description> <character>JOYCE'S VOICE</character> <dialogue>I do n't understand.</dialogue> <character>DEAN'S VOICE</character> <dialogue>I just had his file up.</dialogue> </scene> <scene> <stage_direction>INT. OFFICE. CU. DEAN</stage_direction> <scene_description>ED ROONEY is sitting behind his desk . He 's tough , clean and straight as an I - beam . Short , neatly combed hair , suit and tie . He 's toying with a pencil . He 's confident to the point of arrogance .</scene_description> <character>ROONEY</character> <dialogue>I just has his file up, Mrs. Bueller.</dialogue> <scene_description>Behind him is a computer terminal . He removes his feet from the desk and turns in his swivel chair .</scene_description> <character>ROONEY</character> <dialogue>If Ferris thinks he coast this last month and still graduate, he's sorely mistaken.</dialogue> <character>JOYCE'S VOICE</character> <dialogue>This is all news to me.</dialogue> <scene_description>CU . COMPUTER MONITOR The monitor on Rooney 's desk displays Ferris ' records .</scene_description> <character>ROONEY'S VOICE</character> <dialogue>So far this semester alone, he's been absent nine times. Including today.</dialogue> <character>JOYCE'S VOICE</character> <dialogue>Nine times?</dialogue> <scene_description>Under DAYS MISSED we see a number 9 suddenly change to a number 2 .</scene_description> </scene> <scene> <stage_direction>INT. OFFICE</stage_direction> <scene_description>Rooney turns to the monitor . He reads off the screen .</scene_description> <character>ROONEY</character> <dialogue>I have it right here in front of me. He's missed.</dialogue> <scene_description>He looks closer at the screen .</scene_description> </scene> <scene> <stage_direction>INT. FERRIS' ROOM</stage_direction> <scene_description>Ferris is at his Macintosh computer . He has his record up on the screen .</scene_description> <character>FERRIS</character> <dialogue>I wanted a car. I got a computer. How's that for being born under a bad sign?</dialogue> </scene> <scene> <stage_direction>INT. JOYCE'S OFFICE</stage_direction> <scene_description>She 's still on the phone with Rooney .</scene_description> <character>JOYCE</character> <dialogue>I can give you every assurance that Ferris is home and that he is, in fact, very ill. I debated whether or not I should even leave him. I can appreciate that at this time of year children are prone to taking the day off, but in Ferris' case, he's truly a very sick boy.</dialogue> </scene> <scene> <stage_direction>INT. FERRIS' BEDROOM</stage_direction> <scene_description>MUSIC BLASTS . SOLO GUITAR . CU . SPEAKER The grille cloth is throbbing . CU . LED METERS The meters on the amplifier are totally in the danger zone . CU . TV MONITOR We see Ferris in his room with a guitar around his neck . He 's playing . CU . VIDEO CAMERA A home video camera is capturing Ferris on tape .</scene_description> </scene> <scene> <stage_direction>INT. CAMERON'S ROOM</stage_direction> <scene_description>He 's sitting on the edge of the bed buttoning his shirt . He sighs deeply and fall back on the bed .</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL. HALLWAY</stage_direction> <scene_description>Jeanie is at her locker during a passing period . A GIRLFRIEND comes up to her .</scene_description> <character>GIRL</character> <dialogue>I'm really sorry about your brother.</dialogue> <character>JEANIE</character> <dialogue>What're you sorry for? I have to live with the trouser snake.</dialogue> <character>GIRL</character> <dialogue>No, I mean I heard he's really sick.</dialogue> <character>JEANIE</character> <dialogue>Who said he's sick.</dialogue> <character>GIRL</character> <dialogue>A whole bunch of people. They said he's like on the verge of death.</dialogue> <scene_description>Jeanie stares incredulously at the girl .</scene_description> <character>GIRL</character> <dialogue>This guy in my biology class said that if Ferris dies he's giving his eyes to Stevie Wonder? He's really sweet is n't he?</dialogue> <scene_description>She smiles and exits . Jeanie cocks her head in bewilderment . She kicks her locker shut .</scene_description> </scene> <scene> <stage_direction>INT. FERRIS' ROOM</stage_direction> <scene_description>He 's in bed on the phone .</scene_description> <character>FERRIS</character> <dialogue>A sample of my blood was sent to Atlanta to the Center for Disease Control. I do n't know, man, I'm bricking heavily.</dialogue> <parenthetical>( point to the phone . )</parenthetical> <dialogue>Freshman.</dialogue> <parenthetical>( to the phone . )</parenthetical> <dialogue>Did you see Alien? When the guy had the creature in his stomach? It feels like that.</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL. HALLWAY</stage_direction> <scene_description>A FRESHMAN BOY is on the pay phone . A couple of his BUDDIES are standing at his side waiting anxiously for news .</scene_description> <character>BOY</character> <dialogue>Goddamn! Are you kidding?</dialogue> <character>SECOND BOY</character> <dialogue>What?</dialogue> <character>BOY</character> <dialogue>Did you see Alien?</dialogue> <character>SECOND BOY</character> <dialogue>No.</dialogue> <character>BOY</character> <dialogue>You never rented the video cassette?</dialogue> <scene_description>Second boy shakes his head , no .</scene_description> <character>BOY</character> <dialogue>Oh. He's really wasted.</dialogue> <character>THIRD BOY</character> <parenthetical>( to the Second Boy . )</parenthetical> <dialogue>Who's he talking to?</dialogue> <character>SECOND BOY</character> <dialogue>Ferris Bueller. You know him?</dialogue> <character>THIRD BOY</character> <parenthetical>( excited . )</parenthetical> <dialogue>Yeah. He's getting me out of summer school.</dialogue> <character>BOY</character> <dialogue>Anyway, I appreciate you letting us know how you're doing. We got ta split.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Huh? Yeah, sure. Hold on.</dialogue> <character>SECOND BOY</character> <parenthetical>( to Third Boy . )</parenthetical> <dialogue>Shit. I hope he does n't die. I ca n't handle summer school.</dialogue> <scene_description>The boy snatches a passing GIRL .</scene_description> <character>BOY</character> <dialogue>Did you see Alien?</dialogue> <character>GIRL</character> <dialogue>Yeah, why?</dialogue> <scene_description>He hands her the phone .</scene_description> <character>GIRL</character> <dialogue>Hello?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Who?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Hi, Ferris. How's your bod?</dialogue> <parenthetical>( jaw drops . )</parenthetical> <dialogue>Oh, my God! You're dying? Is it serious?</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Shiit! Are you upset?</dialogue> </scene> <scene> <stage_direction>INT. DEAN'S OFFICE</stage_direction> <scene_description>Rooney 's comparing his computer monitor to hard copy . His SECRETARY is standing over his shoulder .</scene_description> <character>ROONEY</character> <dialogue>I do n't trust this kid any further than I can throw him!</dialogue> <character>SECRETARY</character> <dialogue>With your bad knee, you better not throw anybody, Ed.</dialogue> <scene_description>Rooney stares at her for a long beat .</scene_description> <character>ROONEY</character> <dialogue>What's so dangerous about a character like Ferris Bueller is that he gives the good kids bad ideas. The last thing I need at this point in my career is fifteen hundred Ferris Bueller disciples running around these halls.</dialogue> <character>SECRETARY</character> <dialogue>He's very popular, Ed. Sportos, motorheads, geeks, sluts, pinheads, dweebies, wonkers, richies, they all adore him.</dialogue> <character>ROONEY</character> <dialogue>That's exactly why I have to catch him this time. To show these kids that the example he sets is a first class ticket to nowhere.</dialogue> <character>SECRETARY</character> <parenthetical>( impressed . )</parenthetical> <dialogue>Ooo. You sounded like Dirty Harry just now.</dialogue> <scene_description>Rooney looks up at her with a proud smile .</scene_description> <character>ROONEY</character> <dialogue>Really?</dialogue> <scene_description>He unconsciously does an Eastwood squint .</scene_description> </scene> <scene> <stage_direction>EXT. FERRIS' HOUSE</stage_direction> <scene_description>It 's a glorious late spring day . A florist 's truck drives past the house .</scene_description> </scene> <scene> <stage_direction>INT. FERRIS' ROOM</stage_direction> <scene_description>He 's on the telephone . As he speaks he does a little MacPainting on his MacIntosh . A Modigliani nude .</scene_description> <character>FERRIS</character> <dialogue>Cameron, if you're not over here in fifteen minutes, you can find a new best friend. I'm serious, man. This is bullshit, making me wait around the house for you.</dialogue> </scene> <scene> <stage_direction>INT. CAMERON'S BEDROOM</stage_direction> <scene_description>Cameron 's back in bed .</scene_description> <character>CAMERON</character> <dialogue>I'm sick. I feel like shit. Why ca n't you leave me alone?</dialogue> <character>FERRIS' VOICE</character> <dialogue>You're not up for some good times? It's a beautiful day. It's almost summer. If this was Hawaii, we'd be surfing.</dialogue> </scene> <scene> <stage_direction>INT. FERRIS' ROOM</stage_direction> <scene_description>He 's growing weary of Cameron 's wimpishness .</scene_description> <character>FERRIS</character> <dialogue>You want to stay home and try to have the shits? Try to barf? Try to feel worse?</dialogue> <character>CAMERON'S VOICE</character> <dialogue>I do n't have to try.</dialogue> <character>FERRIS</character> <dialogue>Be a man. Take some Pepto Bismol and get dressed. You're boring me with this stuff.</dialogue> <scene_description>The other phone line rings .</scene_description> <character>FERRIS</character> <dialogue>Squeeze you buns for a second. I got another call.</dialogue> <scene_description>He puts Cameron on hold . He clears his throat and answers the second line . He sounds like he 's on his last breath .</scene_description> <character>FERRIS</character> <dialogue>H - hell - o?</dialogue> </scene> <scene> <stage_direction>EXT. OFFICE BUILDING. DOWNTOWN</stage_direction> <scene_description>A LaSalle Street office tower .</scene_description> <character>TOM'S VOICE</character> <dialogue>Ferris?</dialogue> </scene> <scene> <stage_direction>INT. TOM'S OFFICE</stage_direction> <scene_description>He 's behind his desk . Nice office . Two windows . Herman Miller desk and chair .</scene_description> <character>TOM</character> <dialogue>You sound miserable.</dialogue> <character>FERRIS' VOICE</character> <dialogue>Really? Darn! I thought I was improving.</dialogue> <character>TOM</character> <dialogue>Were you sleeping?</dialogue> <character>FERRIS' VOICE</character> <dialogue>I was trying to do some homework.</dialogue> <scene_description>CU . COMPUTER MONITOR A closer view of the rude drawing Ferris is making .</scene_description> <character>FERRIS</character> <parenthetical>( OC . )</parenthetical> <dialogue>I'm so worried about falling behind.</dialogue> </scene> <scene> <stage_direction>INT. FERRIS' ROOM</stage_direction> <scene_description>He leans back from the monitor and sips a Coke .</scene_description> <character>FERRIS</character> <dialogue>Dad? Can you hold on a second?</dialogue> <character>TOM'S VOICE</character> <dialogue>Sure, pal. Are you alright?</dialogue> <character>FERRIS</character> <dialogue>Just a little phlegm on the phone. Hold on.</dialogue> <scene_description>He puts his father on hold .</scene_description> <character>FERRIS</character> <dialogue>Cameron? It's my Dad.</dialogue> <character>CAMERON'S VOICE</character> <dialogue>Oh, that's just great. Are you busted?</dialogue> <character>FERRIS</character> <dialogue>It's completely cool. He's just checking up on me. Now, listen to me. I'm working on getting some heavy bucks out of him. So, the least you can do is hurry up and get over here. Bye.</dialogue> <scene_description>He disconnects and gets his father back . He switches back to his sick voice .</scene_description> <character>FERRIS</character> <dialogue>Sorry, Dad. The moment before you called, I had a chest spasm and I blew lung fluid all over the place. It was making me ill looking at it. But gee, it's sure great of you to call. I'm sure there're alot of fathers who would n't take time out from their busy schedules to call a dumb, sick teenager.</dialogue> <character>TOM'S VOICE</character> <dialogue>Hey, pal, what was I supposed to do?</dialogue> <scene_description>Ferris reaches out and hits a key on his computer . The screen dumps the drawing .</scene_description> <character>FERRIS</character> <dialogue>Give yourself some credit, Dad. It was a mammoth gesture. It's like those savings bonds you used to give me every Christmas.</dialogue> <parenthetical>( looks at CAMERA and smiles . )</parenthetical> <dialogue>It was that kind of concern.</dialogue> <scene_description>CU . COMPUTER SCREEN A message is flashing : `` TRANSMITTING DATA '' .</scene_description> </scene> <scene> <stage_direction>INT. FERRIS' ROOM</stage_direction> <scene_description>He turns away from the computer and puts his feet up on the desk . He lights a cigarette .</scene_description> <character>FERRIS</character> <dialogue>You had to work hard for the money to buy those things, right?</dialogue> <character>TOM'S VOICE</character> <dialogue>Not any harder than anybody else.</dialogue> <scene_description>Ferris mouths Tom 's words as he says them .</scene_description> </scene> <scene> <stage_direction>EXT. CHICAGO LOOP. DIAMONDVISION SCREEN</stage_direction> <scene_description>Ferris ' drawing suddenly appears on the billboard . Pedestrians stop to look .</scene_description> </scene> <scene> <stage_direction>INT. FERRIS' ROOM</stage_direction> <scene_description>He blows a smoke ring .</scene_description> <character>FERRIS</character> <dialogue>You work so hard I'll bet you do n't even remember where those bonds are, right?</dialogue> <scene_description>Ferris points a finger in the air as a cue to his father .</scene_description> <character>TOM'S VOICE</character> <dialogue>Wrong.</dialogue> <scene_description>He nods .</scene_description> <character>FERRIS</character> <dialogue>Oh, yeah? You're pulling my leg. You're just trying to cheer me up.</dialogue> <character>TOM'S VOICE</character> <dialogue>Like hell I am. They're in a shoebox in my closet.</dialogue> <scene_description>Ferris smiles . He looks at CAMERA . He 's gotten exactly what he wants .</scene_description> <character>FERRIS</character> <parenthetical>( to CAMERA , normal voice . )</parenthetical> <dialogue>Was that a class move or what? The guy gave it up faster than a drunk Catholic girl. I hope my kids do n't pull this shit on me.</dialogue> <parenthetical>( thinks . )</parenthetical> <dialogue>Of course, if they did n't, they'd be dumb and abnormal and they'd probably never move out of my house and I'd have to support them until I die. I take it back.</dialogue> <parenthetical>( to the phone , sick voice . )</parenthetical> <dialogue>Dad? All this talking has made me kind of light - headed. I think I better lie down.</dialogue> <character>TOM'S VOICE</character> <dialogue>Okay, pal. You take care. I'll call you after lunch.</dialogue> <character>FERRIS</character> <dialogue>You do n't have to, Dad.</dialogue> <character>TOM'S VOICE</character> <dialogue>I want to. Bye now.</dialogue> <scene_description>He hangs up . Ferris sighs .</scene_description> <character>FERRIS</character> <dialogue>You win some, you lose some.</dialogue> <scene_description>He turns his desk chair around and gets up .</scene_description> <character>FERRIS</character> <dialogue>I'm so disappointed in Cameron. Twenty bucks says he's sitting in his car debating about whether or not he should go out.</dialogue> </scene> <scene> <stage_direction>INT. CAR. CAMERON</stage_direction> <scene_description>He 's sitting behind the wheel of his car .</scene_description> <character>CAMERON</character> <dialogue>We're gon na get caught. No doubt about it.</dialogue> <scene_description>He cuts the engine .</scene_description> <character>CAMERON</character> <dialogue>I'm not doing it.</dialogue> <scene_description>He sits for half a beat .</scene_description> <character>CAMERON</character> <dialogue>He'll keep calling until I come over.</dialogue> <scene_description>He sighs and restarts the engine . Another beat .</scene_description> <character>CAMERON</character> <dialogue>Actually, what'll happen is I'll get caught. Ferris'll escape.</dialogue> <scene_description>Another beat . He stops the engine . A CRASH OF HORROR MUSIC . CU . DRESSER DRAWER Hands curl around the drawer pulls . The drawer is opened slowly , ominously . The hands lift a sweater out . A HERALDIC STING as we see a men 's magazine beneath the sweater .</scene_description> </scene> <scene> <stage_direction>INT. FERRIS' ROOM</stage_direction> <scene_description>He takes out the magazine . He leafs through the pages for the pictorials as he speaks .</scene_description> <character>FERRIS</character> <dialogue>Cameron'll go on like that for a good thirty minutes. The guy is a shellfish when it comes to making a decision. The reason he does n't fell good is, he worries about everything. He's the only guy I know who's deeply concerned that when he grows up there'll be a critical shortage of strategic metals.</dialogue> <scene_description>He exits the room .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY</stage_direction> <scene_description>Ferris comes out of his room and heads down the hallway .</scene_description> <character>FERRIS</character> <dialogue>Cameron's also the only guy I know who knows what strategic metals are.</dialogue> <parenthetical>( waves the magazine . )</parenthetical> <dialogue>Pardon moi.</dialogue> <scene_description>He goes into the bathroom . We HEAR THE TOILET SEAT SLAM DOWN .</scene_description> <character>FERRIS</character> <parenthetical>( sings . )</parenthetical> <dialogue>MAYBE I'M JUST LIKE MY MOTHER, SHE'S NEVER SATISFIED.</dialogue> </scene> <scene> <stage_direction>INT. CLASSROOM. LATER</stage_direction> <scene_description>A stunningly beautiful girl , SLOANE PETERSON , is sitting at her desk in a history class . She 's staring out the window as a tweedy MALE TEACHER delivers a dry , dusty lecture .</scene_description> <character>TEACHER</character> <dialogue>Roosevelt's health had seriously deteriorated by the time he met with Churchill and Stalin at Yalta.</dialogue> <parenthetical>( sneezes . )</parenthetical> <dialogue>Pardon me.</dialogue> <scene_description>The classroom door opens and the school NURSE walks in . For a moment , the teacher thinks she 's come in because she heard him sneeze . She crosses to him and whispers in his ear . SLOANE She , like the others , watches the nurse curiously .</scene_description> </scene> <scene> <stage_direction>INT. CLASSROOM. TEACHER AND NURSE</stage_direction> <scene_description>The teacher 's face drops as he 's delivered an obvious piece of disturbing news . He nods grimly to the Nurse . She looks at the kids .</scene_description> <character>NURSE</character> <dialogue>Sloane Peterson?</dialogue> <scene_description>SLOANE Sits up in her seat . NURSE She 's a picture of compassion and understanding .</scene_description> <character>NURSE</character> <dialogue>May I see you outside for a moment? There's been an emergency.</dialogue> <scene_description>SLOANE A smile curls across her lips . As she gathers her books she looks to the GIRL next to her .</scene_description> <character>SLOANE</character> <parenthetical>( whispers . )</parenthetical> <dialogue>Dead grandmother.</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY</stage_direction> <scene_description>The Nurse is gently holding Sloane 's hand .</scene_description> <character>NURSE</character> <parenthetical>( nods solemnly . )</parenthetical> <dialogue>Dead grandmother.</dialogue> <scene_description>CU . ROONEY He has a suspicious look on his face .</scene_description> <character>ROONEY</character> <dialogue>Dead grandmother?</dialogue> </scene> <scene> <stage_direction>INT. DEAN'S OFFICE</stage_direction> <scene_description>Rooney 's at his desk . His secretary is standing across from him .</scene_description> <character>SECRETARY</character> <dialogue>That's what Mr. Peterson said. I had Florence Sparrow notify Sloane.</dialogue> <character>ROONEY</character> <dialogue>Who's this girl's going with?</dialogue> <character>SECRETARY</character> <dialogue>It's so hard to tell. I see her alot with Ferris Bueller.</dialogue> <scene_description>Rooney smiles . His suspicions are confirmed .</scene_description> <character>ROONEY</character> <dialogue>Could you get me Mr. Peterson's daytime number?</dialogue> <scene_description>As the secretary starts out of the room , Rooney 's phone rings . She stops and answers the desk phone .</scene_description> <character>SECRETARY</character> <dialogue>Edward Rooney's office.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Yes. Can you hold? Thank you.</dialogue> <scene_description>She puts the call on hold .</scene_description> <character>SECRETARY</character> <dialogue>It's Mr. Peterson.</dialogue> <scene_description>Rooney is startled . He thinks for a beat then reaches for the phone .</scene_description> <character>SECRETARY</character> <dialogue>Do you still want his number?</dialogue> <scene_description>Rooney answers her with an annoyed look . She smiles and backs out . He punches the phone button .</scene_description> <character>ROONEY</character> <dialogue>Ed Rooney.</dialogue> <character>MAN'S VOICE</character> <dialogue>Ed? This is George Peterson.</dialogue> <character>ROONEY</character> <dialogue>How are you today, sir?</dialogue> <character>MAN'S VOICE</character> <dialogue>We've had a bit of bad luck this morning as you may have heard.</dialogue> <scene_description>Rooney rolls his eyes . It 's so obvious it 's not Mr. Peterson .</scene_description> <character>ROONEY</character> <dialogue>I heard. And, gosh, I'm all broken up. Huh? Oh, sure. I'd be happy to release Sloane. You produce a corpse and I'll release Sloane. I want to see this dead grandmother firsthand.</dialogue> <scene_description>The secretary stops cold in the doorway . She turns to Rooney in horror . He covers the phone .</scene_description> <character>ROONEY</character> <parenthetical>( whispers . )</parenthetical> <dialogue>It's Ferris Bueller. Nervy litttle punk. I'm gon na set a trap and let his walk right into it!</dialogue> <parenthetical>( to phone . )</parenthetical> <dialogue>That's right. Cart the stiff in and I'll turn over your daughter. It's school policy. Was this your mother?</dialogue> <scene_description>Rooney 's other line rings .</scene_description> </scene> <scene> <stage_direction>INT. SECRETARY'S OFFICE</stage_direction> <scene_description>She steps out of Rooney 's office and picks up the other line .</scene_description> <character>SECRETARY</character> <dialogue>Ed Rooney's office.</dialogue> <scene_description>Her jaw drops .</scene_description> <character>SECRETARY</character> <dialogue>Hold, please.</dialogue> <scene_description>She puts the call on hold and hangs up . She hurried into Rooney 's office .</scene_description> </scene> <scene> <stage_direction>INT. DEAN'S OFFICE</stage_direction> <scene_description>Rooney 's chewing out the person on the other line .</scene_description> <character>ROONEY</character> <dialogue>I'll tell you want, you do n't like my policies, you can just come on down and smooch by big old ugly ass. You hear me?</dialogue> <scene_description>The secretary comes in . She 's waving her arms furiously . Rooney tries to wave her away . He 's angry . She stomps her foot . Rooney covers the phone .</scene_description> <character>ROONEY</character> <dialogue>What!?</dialogue> <character>SECRETARY</character> <dialogue>Ferris Bueller's on line two.</dialogue> <scene_description>CU . ROONEY 'S FOOT It freezes in mid - tap . CU . ROONEY 'S HAND The pencils falls from his fingers . CU . ROONEY 'S FACE A mask of horror . He glances at the phone . CU . PHONE The second line light is flashing . CU . ROONEY He blinks , cocks his head , twitches .</scene_description> </scene> <scene> <stage_direction>INT. FERRIS' ROOM</stage_direction> <scene_description>He 's zipping his pants , fastening his belt . The phone 's cradled against his shoulder . He speaks in the same voice he used on his father .</scene_description> <character>FERRIS</character> <dialogue>Mr. Rooney? I'm sorry to disturb you at work but I was wondering if it would be possible for my sister to bring home any assignments from my classes that I may need.</dialogue> </scene> <scene> <stage_direction>INT. DEAN'S OFFICE. ROONEY</stage_direction> <scene_description>He 's staring blankly ahead .</scene_description> <character>FERRIS' VOICE</character> <dialogue>Thank you, sir.</dialogue> <scene_description>He nods . CU . PHONE Rooney 's finger gingerly presses the button on the waiting call . CU . ROONEY He winces as he returns to the first call .</scene_description> </scene> <scene> <stage_direction>INT. FERRIS' HOUSE. KITCHEN</stage_direction> <scene_description>Cameron 's on the phone in the kitchen . He 's doing a deep , phoney `` father '' voice .</scene_description> <character>CAMERON</character> <dialogue>You oughta be sorry for Christ's sake! A family member dies and you insult me. What's the matter with you, anyway?</dialogue> </scene> <scene> <stage_direction>INT. DEAN'S OFFICE. ROONEY</stage_direction> <scene_description>He apologies profusely to Cameron . He 's perspiring , trembling .</scene_description> <character>ROONEY</character> <dialogue>I do n't know. I thought you were someone else. You have to know, sir, that I would never deliberately insult you. I ca n't begin to tell you how embarrassed I am.</dialogue> <character>CAMERON'S VOICE</character> <dialogue>Pardon my French but you're an asshole!</dialogue> <scene_description>Rooney nods enthusiastically .</scene_description> <character>ROONEY</character> <dialogue>Absolutely! I most certainly am.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Cameron lays into Rooney .</scene_description> <character>CAMERON</character> <dialogue>This is n't over yet, buster. You just make sure my daughter's out in front of the school in ten minutes. Do you read me?</dialogue> <character>ROONEY'S VOICE</character> <dialogue>Load and clear, Mr. Peterson.</dialogue> <character>CAMERON</character> <dialogue>Call me sir, goddamn it!</dialogue> <character>ROONEY'S VOICE</character> <dialogue>Sir.</dialogue> <character>CAMERON</character> <dialogue>That's better.</dialogue> <scene_description>Ferris strolls into the kitchen to catch the last of the conversation . Cameron covers the phone .</scene_description> <character>CAMERON</character> <parenthetical>( to Ferris . )</parenthetical> <dialogue>I'm scared shitless, Ferris! What is Rooney guesses my voice!</dialogue> <character>FERRIS</character> <dialogue>Impossible. You're doing great.</dialogue> <scene_description>Cameron sighs and goes back to the phone .</scene_description> <character>CAMERON</character> <parenthetical>( clears his throat . )</parenthetical> <dialogue>I do n't have all day to bark at you so I'll make this short and sweet.</dialogue> <scene_description>Ferris gives Cameron an enthusiastic thumbs up .</scene_description> <character>FERRIS</character> <parenthetical>( mouths . )</parenthetical> <dialogue>Great!</dialogue> <scene_description>Cameron smiles proudly .</scene_description> <character>CAMERON</character> <dialogue>I want my daughter out in front of the school in ten minutes. By herself. I don's want anyone around.</dialogue> <scene_description>Ferris smacks Cameron . He 's said the wrong thing . He covers the phone .</scene_description> <character>CAMERON</character> <dialogue>What'd I do?</dialogue> <character>FERRIS</character> <dialogue>Out in front my herself? It's too suspicious! He'll think something's up, moron. Cover it.</dialogue> <scene_description>Cameron panics . He holds the phone out to Ferris .</scene_description> <character>CAMERON</character> <dialogue>You do it!</dialogue> <scene_description>Ferris waves his arms angrily .</scene_description> <character>FERRIS</character> <dialogue>Talk!</dialogue> <scene_description>Cameron takes a deep breath . He clears his throat and puts on his father 's voice .</scene_description> <character>CAMERON</character> <dialogue>I changed my mind, fella. You be out in front with her! I wan na have a few words with you!</dialogue> <scene_description>Ferris slaps Cameron . The phone flies out of his hand . CU . ROONEY He winces as the phone hits the floor with a loud CLONK ! We HEAR THE BOYS SCRAMBLING TO PICK UP THE PHONE , THEN CAMERON CLEARING HIS THROAT .</scene_description> <character>CAMERON'S VOICE</character> <dialogue>On second thought, I do n't have time to talk to you. We'll get together soon and have lunch.</dialogue> <scene_description>We HEAR A SLAP AND THE CALL DISCONNECTS .</scene_description> </scene> <scene> <stage_direction>INT. FERRIS' KITCHEN</stage_direction> <scene_description>Cameron 's rubbing the side of his head .</scene_description> <character>CAMERON</character> <dialogue>Why'd you hit me?!</dialogue> <character>FERRIS</character> <dialogue>Where's your brain?!</dialogue> <character>CAMERON</character> <dialogue>Why'd you hit me?!</dialogue> <character>FERRIS</character> <dialogue>Where's your brain?!</dialogue> <character>CAMERON</character> <dialogue>Why'd you hit me?</dialogue> <character>FERRIS</character> <dialogue>Where's your brain?</dialogue> <character>CAMERON</character> <dialogue>I asked you first.</dialogue> <character>FERRIS</character> <dialogue>How can we pick up Sloane if Rooney's going to be there with her?!</dialogue> <character>CAMERON</character> <dialogue>I said for her to be there alone and you freaked!</dialogue> <character>FERRIS</character> <dialogue>My, God, you're so stupid!</dialogue> <parenthetical>( aside . )</parenthetical> <dialogue>I did n't hit you, I lightly slapped you.</dialogue> <character>CAMERON</character> <dialogue>You hit me. Look, do n't ask me to participate in your crap if you do n't like the way I do it!</dialogue> <scene_description>Ferris is incredulous at Cameron 's stupidity . Cameron 's anger is intensified by his embarrassment .</scene_description> <character>CAMERON</character> <dialogue>I was home, sick. You get me out of bed, being me over here, make me jeopardize my future, make me do a phoney phone call on a dean of students, a man who could squeeze my nuts into oblivion and then you deliberately hurt my feelings.</dialogue> <character>FERRIS</character> <dialogue>I did n't deliberately hurt your feelings.</dialogue> <character>CAMERON</character> <dialogue>Oh, really?</dialogue> <character>FERRIS</character> <dialogue>Yeah, really.</dialogue> <scene_description>Cameron glares at Ferris .</scene_description> <character>CAMERON</character> <dialogue>Hey, Ferris? Have a nice life.</dialogue> <scene_description>He turns and heads out of the room . Ferris sighs .</scene_description> <character>FERRIS</character> <dialogue>Cameron?</dialogue> <character>CAMERON</character> <dialogue>Stick it up your ass, Ferris.</dialogue> <character>FERRIS</character> <dialogue>Cameron, I'm sorry. I did n't mean to jam you. It was uncalled for.</dialogue> <scene_description>Cameron stops .</scene_description> <character>CAMERON</character> <dialogue>You're serious?</dialogue> <scene_description>He turns around .</scene_description> <character>FERRIS</character> <dialogue>Dead serious.</dialogue> <scene_description>Cameron smiles . He appreciates Ferris apology .</scene_description> <character>CAMERON</character> <dialogue>Thanks.</dialogue> <character>FERRIS</character> <dialogue>You did screw up through, right? Not that is was necessarily all you fault. Right?</dialogue> <character>CAMERON</character> <parenthetical>( suspiciously . )</parenthetical> <dialogue>Why?</dialogue> <character>FERRIS</character> <dialogue>To fix this situation, I'm going to have to ask you for a small favor.</dialogue> <scene_description>Cameron 's jaw drops .</scene_description> </scene> <scene> <stage_direction>INT. GARAGE</stage_direction> <scene_description>The door opens slowly , dramatically as we hear a heraldic fanfare . Light streams in to reveal Cameron and Ferris looking at the car . Ferris is smiling with excitement and awe . Cameron is frowning with trepidation and fear . CU . FERRARI STALLION The prancing black stallion . We move up from the stallion to the erotic red hood of a 1958 Ferrari 250 GTS California . CAMERON AND FERRIS Cameron 's face is ashen . The end of the world is at hand . Ferris is in heaven .</scene_description> <character>CAMERON</character> <parenthetical>( grim monotone . )</parenthetical> <dialogue>1958 Ferrari 250 GTS California. Less than a hundred were made. It has a market value of $ 265,000. My father spent three years restoring it. It is joy, it is his love, it is his passion.</dialogue> <character>FERRIS</character> <dialogue>It is his fault he did n't lock the garage.</dialogue> <character>CAMERON</character> <dialogue>Ferris, my father loves this car more than life itself. We ca n't take is out.</dialogue> <character>FERRIS</character> <dialogue>A man with priorities so far out of whack does n't deserve such a fine automobile.</dialogue> <character>CAMERON</character> <dialogue>He never drives it, Ferris. He just rubs it with a diaper.</dialogue> <character>FERRIS</character> <dialogue>We ca n't pick up Sloane in your car, Cameron. Rooney'd never believe Mr. Peterson drives that piece of shit.</dialogue> <character>CAMERON</character> <dialogue>It's not a piece of shit.</dialogue> <character>FERRIS</character> <dialogue>It's a piece of shit. Do n't worry about it. I do n't even have a piece of shit. I have to envy yours. Look, I'm sorry but there's nothing else we can do.</dialogue> <character>CAMERON</character> <dialogue>He knows the mileage, Ferris. He has it tatooed on his wrist.</dialogue> <character>FERRIS</character> <dialogue>He does n't trust you?</dialogue> <character>CAMERON</character> <dialogue>No.</dialogue> <character>FERRIS</character> <dialogue>Alright, look, this is real simple.</dialogue> <scene_description>He puts his arm around Cameron .</scene_description> <character>FERRIS</character> <dialogue>Whatever miles we put on it, we'll take off.</dialogue> <character>CAMERON</character> <parenthetical>( suspicious . )</parenthetical> <dialogue>How?</dialogue> <character>FERRIS</character> <parenthetical>( big , proud smile . )</parenthetical> <dialogue>We'll drive home backwards.</dialogue> <scene_description>Cameron shakes his head , no .</scene_description> <character>CAMERON</character> <dialogue>Forget it. I'm putting my foot down, Ferris. You'll have to think of something else.</dialogue> <scene_description>CU . FERRARI GRILLE Cameron 's protests are drowned out by the distinctive roar of the twelve cylinders .</scene_description> <character>CAMERON'S VOICE</character> <dialogue>You're not talking me into this one. I have to live with the man. I'm sorry but.</dialogue> <scene_description>The roar of the engine is overtaken by the sound of a crowded school hallway .</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL. JEANIE</stage_direction> <scene_description>She comes out of a classroom . She stops as Sloane and Rooney walk past . Sloane has her coat on and she 's carrying her books . Jeanie watches her suspiciously .</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL</stage_direction> <scene_description>The Ferrari is parked out in front . The top is down .</scene_description> </scene> <scene> <stage_direction>INT. FERRARI</stage_direction> <scene_description>Ferris is driving . He 's wearing a man 's hat and sunglasses . Cameron 's in the back .</scene_description> <character>CAMERON</character> <dialogue>Are you crazy?! Put the top back up!</dialogue> <character>FERRIS</character> <dialogue>This is perfect top - down weather.</dialogue> <character>CAMERON</character> <dialogue>What about Rooney?</dialogue> <character>FERRIS</character> <dialogue>Cameron, the more obvious we are, the less likely we are to get caught.</dialogue> <character>CAMERON</character> <dialogue>That makes no sense whatsoever.</dialogue> <character>FERRIS</character> <dialogue>The adult mind is a suspicious machine.</dialogue> <parenthetical>( look around at Cameron . )</parenthetical> <dialogue>Stay down, man.</dialogue> <scene_description>Cameron squeezes himself lower .</scene_description> <character>CAMERON</character> <dialogue>Howcome it's my Dad's car and I'm taking all the risk and I have to ride back here?</dialogue> <character>FERRIS</character> <dialogue>I do n't have an explanation.</dialogue> </scene> <scene> <stage_direction>EXT. SCHOOL</stage_direction> <scene_description>Rooney and Sloane come out the door .</scene_description> <character>ROONEY</character> <dialogue>Once again let me say how deeply saddened I am by your loss.</dialogue> <character>SLOANE</character> <dialogue>Huh?</dialogue> <character>ROONEY</character> <dialogue>Were you close to your grandmother?</dialogue> <character>SLOANE</character> <dialogue>Oh. Um. Yeah. Very. She was a terrific lady. Very hip. Very old. Yeah.</dialogue> <character>DEEP VOICE</character> <dialogue>Oh, Sloane! Dear!</dialogue> <scene_description>Sloane looks across at the Ferrari . Rooney looks . THEIR POV Ferris is looking out across the roof of the Ferrari . He 's careful to keep his nose and mouth below the roofline .</scene_description> <character>FERRIS</character> <dialogue>Hurry along now!</dialogue> </scene> <scene> <stage_direction>EXT. SCHOOL</stage_direction> <scene_description>Rooney 's suspicious . Sloane smiles and bids Rooney a hasty farewell .</scene_description> <character>SLOANE</character> <dialogue>I guess that's my Dad. Thanks. See ya.</dialogue> <scene_description>She hurries to the car . Rooney watches her . Something does compute for him .</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL. JEANIE</stage_direction> <scene_description>She 's watching out the door . She sees the Ferrari pull away .</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL. ROONEY</stage_direction> <scene_description>He ca n't quite put his finger on what 's bothering him .</scene_description> </scene> <scene> <stage_direction>INT. FERRARI</stage_direction> <scene_description>Sloane shrieks with delight . She leans across the console and gives Ferris a kiss .</scene_description> <character>SLOANE</character> <dialogue>This is so great! I ca n't believe it! Right in front of Rooney!</dialogue> <scene_description>She laughs and turns to Cameron .</scene_description> <character>SLOANE</character> <dialogue>Hi, Cameron. You comfortable?</dialogue> <character>CAMERON</character> <dialogue>Hi. No.</dialogue> <character>SLOANE</character> <dialogue>What a fabulous car!</dialogue> <character>CAMERON</character> <dialogue>Enjoy it quick. It' s going home.</dialogue> <character>FERRIS</character> <dialogue>It was risky, it was bold but it was totally necessary.</dialogue> <character>SLOANE</character> <dialogue>What're we gon na do?</dialogue> <character>FERRIS</character> <dialogue>The question is n't `` what are we gon na do'', the question is `` what are n't we going to do.''</dialogue> <character>CAMERON</character> <dialogue>Do n't tell me we're not going to take the car home. Please.</dialogue> <character>FERRIS</character> <parenthetical>( to CAMERA . )</parenthetical> <dialogue>If you had access to a car like this would you take it back right away? Would you give up feeling like a ton just to ease your best friend's tension?</dialogue> <scene_description>He smiles .</scene_description> <character>FERRIS</character> <dialogue>Either would I.</dialogue> </scene> <scene> <stage_direction>EXT. STREET. FERRARI</stage_direction> <scene_description>It accelerates away like a shot .</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBAN BANK</stage_direction> <scene_description>A fresh , modern bank building . The clock outside read 9:53 . The Ferrari pulls into the parking lot .</scene_description> </scene> <scene> <stage_direction>INT. BANK. DOORS</stage_direction> <scene_description>Ferris , Cameron and Sloane walk in . Ferris is cocky and confident . Sloane 's still intoxicated with her freedom . Cameron 's having stomach trouble . Ferris leads the way to an open teller window .</scene_description> </scene> <scene> <stage_direction>INT. BANK. TELLER</stage_direction> <scene_description>A WOMAN about seventy with a silver blue beehive . It 's about four inches higher the highest beehive you 're ever seen . As she moves the beehive hits a small sign over her head . She 's been at the bank since they opened . She smiles when she sees Ferris .</scene_description> <character>TELLER</character> <dialogue>Ferris Bueller?</dialogue> <scene_description>FERRIS He 's at the window . On either shoulder are Cameron and Sloane . Ferris smiles . Cameron blanches .</scene_description> <character>FERRIS</character> <dialogue>Hello, Mrs. Froeling. How are you?</dialogue> <scene_description>TELLER She pats the rock - solid mass of blue hair . In doing so she locates a missing ball point pen . She withdraws it from the hair and smiles at it 's reappearance .</scene_description> <character>TELLER</character> <dialogue>I passed a kidney stone Tuesday, so I'm a little pooped but other than that, I'm as chipper as can be.</dialogue> <parenthetical>( something occurs to her . )</parenthetical> <dialogue>Say, should you be in school?</dialogue> <scene_description>FERRIS He lays his savings bonds on the counter .</scene_description> <character>FERRIS</character> <dialogue>Me?</dialogue> <parenthetical>( polite laugh . )</parenthetical> <dialogue>I'm out of school, Mrs. Froeling. In fact. I'm married. This is my wife. Madonna.</dialogue> <scene_description>Sloane suppresses a laugh .</scene_description> <character>FERRIS</character> <parenthetical>( to Cameron . )</parenthetical> <dialogue>And this is my brother - in - law, ZZ Top. ZZ, this is Mrs. Froeling.</dialogue> <scene_description>Cameron is n't amused .</scene_description> <character>TELLER</character> <parenthetical>( to Cameron . )</parenthetical> <dialogue>Is Top a Slavic name?</dialogue> <character>CAMERON</character> <dialogue>Yeah.</dialogue> <character>FERRIS</character> <dialogue>I'd like to cash these in, please. We're having a baby and we need the cash for a crib, clothes, diapers, food pellets, leash, water dish.</dialogue> </scene> <scene> <stage_direction>INT. BANK. TELLER WINDOW</stage_direction> <scene_description>Mrs. Froeling takes the bonds with a hearty smile . The latter part of the conversation sails over her like a line drive .</scene_description> <character>TELLER</character> <dialogue>A baby!</dialogue> <parenthetical>( to Sloane . )</parenthetical> <dialogue>You must be so excited.</dialogue> <scene_description>Cameron groans and turns away from the sham .</scene_description> <character>SLOANE</character> <dialogue>I'm thrilled, ma'am. I'm especially looking forward to wearing those jeans with the stretch panel in front.</dialogue> <scene_description>Mrs. Froeling thumbs through the bonds .</scene_description> <character>TELLER</character> <dialogue>Are you hoping for a boy or a girl?</dialogue> <character>SLOANE</character> <dialogue>Actually, we're hoping for a car.</dialogue> <scene_description>CU . CAMERON He 's spooked by the games playing . He scans the bank nervously . He blinks , focuses , blinks again . HIS POV Joyce is with a MIDDLE - AGED COUPLE and their bored , sour - puss teenage son , BOYD . He 's sitting in a chair with his legs slung over the sides waving a Bic lighter back and forth across his rump . The parents are Joyce 's clients from Vermont . A LOAN OFFICER is discussing the local financing situation with them . His is an open office adjacent to the teller windows . Joyce 's back is to the tellers . CU . CAMERON It 's like he 's just witnesses an ax murder .</scene_description> <character>CAMERON</character> <dialogue>Shit.</dialogue> </scene> <scene> <stage_direction>INT. BANK. JOYCE</stage_direction> <scene_description>Her back is to the teller windows . She 's conducting her meeting . Behind her we see Cameron grab Ferris and point her out to him . He waves . Cameron slaps his arm .</scene_description> </scene> <scene> <stage_direction>INT. BANK. TELLER WINDOW</stage_direction> <scene_description>Mrs. Froeling shows Ferris the savings bonds .</scene_description> <character>TELLER</character> <dialogue>These bonds are n't mature. If you hold onto them another two years you'll get an additional four dollars.</dialogue> <character>FERRIS</character> <dialogue>I'm aware of that.</dialogue> <character>TELLER</character> <dialogue>You're throwing away four dollars.</dialogue> <character>FERRIS</character> <dialogue>No, ma'am, I'm giving it to the government. They need it. Do you know what an aircraft carrier's going for these days?</dialogue> </scene> <scene> <stage_direction>INT. BANK. JOYCE</stage_direction> <scene_description>She concludes her meeting . She shakes hands with the loan officer and stands . The Vermont Couple stands . Boyd scrapes the bottom of his shoe on the desk , leaving a glob of mud behind and he stands . Joyce turns into the bank . Ferris , Cameron and Sloane are gone . She escorts her customers out .</scene_description> </scene> <scene> <stage_direction>INT. BANK. DOOR</stage_direction> <scene_description>Joyce and the Vermont Couple approach the doors . Boyd lays a luggie in the drinking fountain . Mrs. Froeling passes with the savings bonds . She stops when she sees Joyce .</scene_description> <character>JOYCE</character> <dialogue>Mrs. Froeling, how are you?</dialogue> <character>MRS. FROELING</character> <dialogue>I passed a kidney stone Tuesday.</dialogue> <parenthetical>( shifts gears , to Joyce . )</parenthetical> <dialogue>Say, you must be very proud.</dialogue> <scene_description>Joyce does n't know what she 's talking about .</scene_description> <character>MRS. FROELING</character> <parenthetical>( whispers . )</parenthetical> <dialogue>I met Madonna.</dialogue> <scene_description>She pats Joyce on the arm .</scene_description> <character>MRS. FROELING</character> <dialogue>She told me everything. Keep me posted, I'll want to send a gift.</dialogue> <scene_description>She toodles on her way . Joyce and the Vermont Couple are completely baffled .</scene_description> </scene> <scene> <stage_direction>EXT. BANK</stage_direction> <scene_description>Joyce and the Vermont Couple walk along the side of the bank , heading for the parking lot . Boyd 's tagging along behind . He picks up a stone and hurls it into the parking lot .</scene_description> <character>JOYCE</character> <dialogue>My son's home sick today. If you would n't mind, on our way back to the office, I'd like to just run in and check up on him.</dialogue> <scene_description>We HEAR A METALLIC PING ! as Boyd 's missle hits a car .</scene_description> <character>MOTHER</character> <dialogue>Of course.</dialogue> <scene_description>They pass a show window . As they pass , we hold on the window . It 's promoting saving for college educations . A mannequin father is congratulating his mannequin son in a mortar and gown as a stiff Sloane , Ferris and Cameron look on proudly .</scene_description> </scene> <scene> <stage_direction>INT. DEAN'S OFFICE</stage_direction> <scene_description>His secretary is dialing a number for him .</scene_description> <character>SECRETARY</character> <dialogue>This is the Peterson's home.</dialogue> <scene_description>She hands the phone to Rooney .</scene_description> <character>SECRETARY</character> <dialogue>Watch your mouth this time.</dialogue> <scene_description>Rooney glares at her .</scene_description> <character>ROONEY</character> <dialogue>Ferris Bueller's behind this. There's no doubt in my mind. That's what I was saying this morning. Why he has to be stopped. He's got Sloane Peterson involved in this thing now. See?</dialogue> <scene_description>The secretary nods .</scene_description> <character>SECRETARY</character> <dialogue>And her grandmother, too.</dialogue> <scene_description>CU . PHONE ANSWER MACHINE It clicks on . We hear a grieved woman 's voice . It sounds an awful lot like Sloane .</scene_description> <character>SLOANE</character> <dialogue>We ca n't come to the phone right now. We've had a death in the family. If you need to reach us we'll be at the following number.</dialogue> </scene> <scene> <stage_direction>INT. DEAN'S OFFICE</stage_direction> <scene_description>Rooney quickly takes down a number .</scene_description> </scene> <scene> <stage_direction>EXT. CAMERON'S HOUSE</stage_direction> <scene_description>His answering machine clicks on . We hear Cameron 's voice .</scene_description> <character>CAMERON'S VOICE</character> <dialogue>You have reached the Coughlin Bros.. Mortuary. We are unable to come to the phone right now but if you'll leave your name and number.</dialogue> </scene> <scene> <stage_direction>INT. DEAN'S OFFICE</stage_direction> <scene_description>Rooney hangs up the phone .</scene_description> <character>ROONEY</character> <dialogue>Something's going on, goddamn it.</dialogue> <scene_description>The secretary 's looking at a newspaper on Rooney 's desk . She 's not listening to him .</scene_description> <character>SECRETARY</character> <dialogue>There's a railroad strike.</dialogue> <character>ROONEY</character> <dialogue>And I'm going to stop it!</dialogue> <character>SECRETARY</character> <dialogue>My brother - in - law'll appreciate it.</dialogue> <scene_description>Rooney looks at her , puzzled .</scene_description> <character>ROONEY</character> <dialogue>What?</dialogue> <character>SECRETARY</character> <dialogue>My brother - in - law rides the train to work.</dialogue> <scene_description>Rooney stares at her like she 's crazy .</scene_description> <character>ROONEY</character> <dialogue>Who gives a good goddamn?</dialogue> </scene> <scene> <stage_direction>EXT. EDENS EXPRESSWAY</stage_direction> <scene_description>The major thoroughfare into the city of Chicago from the suburbs . The Ferrari streaks past . In the distance we see the Sears Tower , the Hancock Building and the Standard Oil Building .</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL. HALLWAY</stage_direction> <scene_description>Jeanie 's walking down the hall . She 's stopped by a KID with a Coke can .</scene_description> <character>KID</character> <dialogue>Yo. We're collecting money to buy Ferris Bueller a new kidney.</dialogue> <scene_description>Jeanie stares at him . She 's flabbergasted at the proportions her brother 's scan has reached .</scene_description> <character>KID</character> <dialogue>They run about fifty g's so it you could help out.</dialogue> <character>JEANIE</character> <dialogue>Go piss up a flagpole!</dialogue> <character>KID</character> <dialogue>Huh?</dialogue> <scene_description>She knocks the can out of his hands and storms down the hall . The kid yells after her .</scene_description> <character>KID</character> <dialogue>Hey, babe! Some day you might need a favor from Ferris Bueller! Then where'll you be?!</dialogue> <scene_description>He reaches for the can .</scene_description> <character>KID</character> <dialogue>Heartless wench.</dialogue> </scene> <scene> <stage_direction>EXT. CHICAGO LOOP. PARKING GARAGE</stage_direction> <scene_description>The Ferrari pulls into a large parking garage .</scene_description> </scene> <scene> <stage_direction>EXT. GARAGE</stage_direction> <scene_description>Ferris , Sloane and Cameron get out . Cameron 's having fits .</scene_description> <character>CAMERON</character> <dialogue>We ca n't leave the car here!</dialogue> <character>FERRIS</character> <dialogue>Why not?</dialogue> <character>CAMERON</character> <dialogue>Because we ca n't! I want it back home where it belongs!</dialogue> <character>SLOANE</character> <dialogue>What could happen to it?</dialogue> <character>CAMERON</character> <dialogue>It could get stolen, wrecked, scratched, you name it.</dialogue> <character>FERRIS</character> <dialogue>I'll give the guy a five to watch it.</dialogue> <character>CAMERON</character> <dialogue>What guy?</dialogue> <scene_description>CU . PARKING ATTENDANT He smiles with relish at the car . 6 ' 6 '' , 240 . An IQ that equals his hourly wage . Shoulder - length hair stuffed into a hairnet Gold teeth . Earring . Goatee .</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT</stage_direction> <scene_description>The Attendant swaggers over to the car . Ferris slips him a give .</scene_description> <character>FERRIS</character> <dialogue>You speak English?</dialogue> <character>ATTENDANT</character> <dialogue>Since I was three.</dialogue> <character>FERRIS</character> <dialogue>Great. I want to you take extra special care of this vehicle, okay?</dialogue> <scene_description>He pats the Attendant on the arm . He smiles .</scene_description> <character>ATTENDANT</character> <dialogue>Like it's a beautiful woman.</dialogue> <character>FERRIS</character> <dialogue>I appreciate it.</dialogue> <scene_description>The Attendant very gingerly gets into the car . Ferris turns to Cameron . The Ferrari pulls into the lot very slowly , very carefully . No squealing tires , no revving engine .</scene_description> <character>FERRIS</character> <dialogue>See what a finski can do to a person's attitude? He's going to treat it like a beautiful woman.</dialogue> <character>CAMERON</character> <dialogue>Yeah, sure. Whip it with a stick and piss on the hood.</dialogue> <character>SLOANE</character> <dialogue>Oh, please, Cameron. Do you have to be so graphic?</dialogue> <scene_description>She heads down the street .</scene_description> <character>SLOANE</character> <dialogue>This is so right!</dialogue> <scene_description>Ferris nudges Cameron on . They exit the garage and head after Sloane . A long beat and the Ferrari creeps down the exit ramp of the garage . It 's gone in the entrance and out the exit . Another attendant jumps in the passenger side . He 's skinny , tall , with a huge knit hat willed with dreads . He lets out a spirited laugh and the Ferrari peels out of the lot . It heads down the street away from Sloane , Ferris and Cameron .</scene_description> </scene> <scene> <stage_direction>EXT. FERRIS' HOUSE</stage_direction> <scene_description>Joyce 's care pulls in the driveway . She gets out and heads up the house .</scene_description> </scene> <scene> <stage_direction>INT. FERRIS' ROOM</stage_direction> <scene_description>It 's dark . There 's a figure in the bed . We hear soft snoring . A wire runs from under the bed covers to the closet door to the door to the room itself .</scene_description> </scene> <scene> <stage_direction>INT. ROOM. DOOR KNOB</stage_direction> <scene_description>The wire is tied to the doorknob . It 's taut . Downstairs , we hear a door open and close .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE. STAIRWAY</stage_direction> <scene_description>Joyce quietly walks up the stairs .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE. HALLWAY</stage_direction> <scene_description>Joyce comes up the stairs and crosses to Ferris ' room . She listens at the door . WE HEAR THE SNORING . CU . DOORKNOB Joyce slowly turns the doorknob and pushes the door open a crack . HER POV The door opens and the figure - like lump in the bed moves . CU . JOYCE She smiles and closes the door .</scene_description> </scene> <scene> <stage_direction>INT. ROOM. CLOSET</stage_direction> <scene_description>The closet door is open . The wire from the bedroom door is strung over the top of the closet door . A trophy is attached to the end of the wire and it 's resting on a yard stick . As the bedroom door closes , the trophy lifts up off the yardstick and the lump in the bed goes back down to it 's original position . CU . FERRIS ' SYNTHESIZER Little LED 's are lighting up to the rhythm of the snoring . The snoring it simulated .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY</stage_direction> <scene_description>Joyce listens at the door another beat . She 's smiles with relief and affection .</scene_description> </scene> <scene> <stage_direction>EXT. SEARS TOWER. LATER</stage_direction> <scene_description>HELICOPTER SHOT moves in on the world 's tallest building . As it passes we see three figures pressed against the windows .</scene_description> <character>FERRIS</character> <parenthetical>( VO . )</parenthetical> <dialogue>This is the world's tallest building. From our vantage point here on the 103 floor, we are provided with a view of four states.</dialogue> <character>CAMERON</character> <parenthetical>( VO . )</parenthetical> <dialogue>Do you think the car's alright?</dialogue> <character>FERRIS</character> <parenthetical>( VO . )</parenthetical> <dialogue>Illinois, Michigan, Wisconsin and my personal favorite, Indiana.</dialogue> </scene> <scene> <stage_direction>INT. SEARS TOWER OBSERVATION DECK</stage_direction> <scene_description>Ferris , Cameron and Sloane are standing against the window .</scene_description> <character>CAMERON</character> <dialogue>I do n't feel good, Ferris. Are we gon na stay long?</dialogue> <character>FERRIS</character> <dialogue>Take a step back.</dialogue> <scene_description>Ferris steps back . Sloane and Cameron follow suit .</scene_description> <character>FERRIS</character> <dialogue>Now, lean against the glass. Like this.</dialogue> <scene_description>He leans forward , putting all his weight on his forehead .</scene_description> <character>FERRIS</character> <dialogue>And look down.</dialogue> <scene_description>Sloane leans forward . Cameron follows , reluctantly .</scene_description> <character>SLOANE</character> <dialogue>Oh, shit!</dialogue> <scene_description>HER POV The street far , far below . A dizzying view .</scene_description> </scene> <scene> <stage_direction>INT. OBSERVATION DECK</stage_direction> <scene_description>The three are leaning against the glass .</scene_description> <character>SLOANE</character> <dialogue>What if the glass gives?</dialogue> <character>FERRIS</character> <dialogue>Death.</dialogue> <character>SLOANE</character> <dialogue>Cool.</dialogue> <scene_description>CU . CAMERON He 's looking down .</scene_description> <character>CAMERON</character> <dialogue>I think I see my Dad.</dialogue> </scene> <scene> <stage_direction>EXT. STREET LEVEL</stage_direction> <scene_description>A middle - aged man , Cameron 's father , HORACE FRYE , is standing on the street corner . He 's lean , clean , tough and humorless . He 's wearing a puzzled look on his face .</scene_description> <character>CAMERON'S FATHER</character> <dialogue>I think I see my car.</dialogue> <scene_description>HIS POV The Ferrari screams down the avenue and disappears down the underground ramp .</scene_description> </scene> <scene> <stage_direction>INT. SEARS TOWER LOBBY</stage_direction> <scene_description>Ferris and Sloane bound down the escalator . Cameron follows glumly . They dance past the giant Calder mobile . They 're singing .</scene_description> <character>FERRIS AND SLOANE</character> <dialogue>I BEEN ALL ` ROUND THIS GREAT BIG WORLD AND I'VE SEEN ALL KINDS OF GIRLS YEAH, BUT I COULD N'T WAIT TO GET BACK IN THE STATES BACK TO THE CUTEST GIRLS IN THE WORLD I WISH THEY ALL COULD BE CALIFORNIA I WISH THEY ALL COULD BE CALIFORNIA</dialogue> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>Ferris and Sloane burst out the doors garnering the annoyed stares of the business people busily going in and out of the building . Cameron politely waits his turn to exit . Ferris and Sloane head down the street . Cameron follows .</scene_description> <character>FERRIS AND SLOANE</character> <dialogue>I WISH THEY ALL COULD BE CALIFORNIA GIRLS!</dialogue> </scene> <scene> <stage_direction>EXT. CHICAGO MERCANTILE EXCHANGE</stage_direction> <scene_description>Giant old monolith .</scene_description> </scene> <scene> <stage_direction>INT. CHICAGO MERCANTILE EXCHANGE. TRADING ROOM</stage_direction> <scene_description>Traders are frantically buying and selling commodities .</scene_description> </scene> <scene> <stage_direction>INT. GALLERY</stage_direction> <scene_description>Ferris , Cameron and Sloane are sitting in the gallery watching the proceedings .</scene_description> <character>SLOANE</character> <dialogue>Do you love me?</dialogue> <character>FERRIS</character> <dialogue>Do you love me?</dialogue> <character>SLOANE</character> <dialogue>I asked you first.</dialogue> <character>FERRIS</character> <dialogue>Yes. You?</dialogue> <character>SLOANE</character> <dialogue>Yes.</dialogue> <character>FERRIS</character> <dialogue>Would I trash a day of education to be with you if I did n't love you?</dialogue> <character>SLOANE</character> <dialogue>Yes.</dialogue> <character>FERRIS</character> <dialogue>Would I risk damaging a deep and wonderfully enriching relationship with my parents if I did n't love you?</dialogue> <character>SLOANE</character> <dialogue>Yes.</dialogue> <character>FERRIS</character> <dialogue>Would I have introduced you as my wife if I did n't love you?</dialogue> <character>SLOANE</character> <dialogue>Wait a minute. That was a lie.</dialogue> <character>FERRIS</character> <dialogue>True.</dialogue> <scene_description>Ferris puts his arm around Sloane .</scene_description> <character>FERRIS</character> <dialogue>Would you want to get married? I mean if I was n't an asshole.</dialogue> <character>SLOANE</character> <dialogue>Sure.</dialogue> <character>FERRIS</character> <parenthetical>( serious . )</parenthetical> <dialogue>Today?</dialogue> <scene_description>Sloane stares at him . Is he serious .</scene_description> <character>FERRIS</character> <dialogue>I'm game.</dialogue> <character>SLOANE</character> <dialogue>No way!</dialogue> <character>FERRIS</character> <dialogue>I'll do it, if you will.</dialogue> <scene_description>Cameron suddenly adds his two cents .</scene_description> <character>CAMERON</character> <dialogue>You need a blood test.</dialogue> <scene_description>Ferris looks around at him .</scene_description> <character>FERRIS</character> <dialogue>Huh?</dialogue> <character>CAMERON</character> <dialogue>If your blood's not compatible, you could produce a pinhead. The state requires a blood test.</dialogue> <character>FERRIS</character> <dialogue>So?</dialogue> <character>CAMERON</character> <dialogue>So, you ca n't get married today.</dialogue> <character>FERRIS</character> <dialogue>Tomorrow?</dialogue> <character>CAMERON</character> <dialogue>If you get a blood test today.</dialogue> <character>SLOANE</character> <dialogue>I'm not getting married.</dialogue> <character>CAMERON</character> <dialogue>I'm with you, babe.</dialogue> <character>FERRIS</character> <dialogue>Why not?</dialogue> <character>SLOANE</character> <dialogue>What do you mean, why not? Think about it.</dialogue> <character>FERRIS</character> <dialogue>Besides being too young and your father hating my guts and not having any place to live and feeling awkward about being the only cheer - leader with a husband, give me a good reason why not.</dialogue> <character>CAMERON</character> <dialogue>I'll give you two. My mother and father.</dialogue> <scene_description>Ferris and Sloane look at him curiously .</scene_description> <character>CAMERON</character> <dialogue>They're married and they hate each other.</dialogue> <parenthetical>( to Ferris . )</parenthetical> <dialogue>You've seen them. Am I right?</dialogue> <character>FERRIS</character> <dialogue>You're father's a toad and your Mom's always wired out, but so what? They're old. That's natural.</dialogue> <character>CAMERON</character> <dialogue>It makes me puke. Seeing people treat each other like that. It's like the car. He loves the car. He hates his wife.</dialogue> <character>SLOANE</character> <dialogue>My parents are divorced. So what? It's not like it does n't happen ten thousand times a day.</dialogue> <character>CAMERON</character> <dialogue>Just because it happens does n't make it right. Are you comfortable with it?</dialogue> <character>SLOANE</character> <dialogue>No. It's not something I can get comfortable with. I've tried. Are yours divorced?</dialogue> <character>CAMERON</character> <dialogue>They may as well be.</dialogue> <character>SLOANE</character> <dialogue>Do you think they're staying together because of you?</dialogue> <scene_description>Cameron has n't seen it that way . He shrugs .</scene_description> <character>SLOANE</character> <dialogue>Do they like you?</dialogue> <scene_description>It has n't occured to Cameron that his parents might not like him . That parental love might not be a given .</scene_description> <character>CAMERON</character> <dialogue>Yeah. Sure.</dialogue> <character>SLOANE</character> <dialogue>Consider this. my father canned me and my brother and my Mom for a twenty five year old dipso with fake tits. He dropped us like a rock. Everything was cool at our house. I thought so. We all thought so. Then BLAM! It's over.</dialogue> <character>FERRIS</character> <parenthetical>( to CAMERA . )</parenthetical> <dialogue>This is all news to me. She keeps a pretty good secret.</dialogue> <character>SLOANE</character> <parenthetical>( to Cameron . )</parenthetical> <dialogue>It was pure selfishness. When I have a kid, I do n't care how much I want something, if it's gon na screw - up the kid, forget it.</dialogue> <character>FERRIS</character> <parenthetical>( to CAMERA . )</parenthetical> <dialogue>She's not lying.</dialogue> <character>CAMERON</character> <dialogue>You could change.</dialogue> <character>SLOANE</character> <dialogue>Yeah. But I'm gon na try not to. I'm gon na think about it. I'm gon na try to prevent it.</dialogue> <character>FERRIS</character> <dialogue>This is optomism. It's a common trait with my age group. Adults think it's cute, it's like a charming quick that infests youth. But it's a cool thing and I think, deep down, crusty old shits wish they had some. They wish they had her, too.</dialogue> <parenthetical>( points to Sloane . )</parenthetical> <dialogue>Sorry. She's taken.</dialogue> <character>CAMERON</character> <dialogue>I'd rather not have my family break apart, thank you.</dialogue> <character>SLOANE</character> <dialogue>Well, you know what? It ai n't up to you. It's out of your hands.</dialogue> <character>CAMERON</character> <dialogue>So, I in other words, I should just sit back and watch it crumble?</dialogue> <character>SLOANE</character> <dialogue>You're merely an inhabitant in their universe.</dialogue> <character>FERRIS</character> <dialogue>Frightening choice of words.</dialogue> <character>SLOANE</character> <dialogue>They call the shots. When you split from them, you call the shots.</dialogue> <character>CAMERON</character> <dialogue>So, you're saying I should run away?</dialogue> <character>FERRIS</character> <dialogue>No. She's saying it's time for lunch.</dialogue> <character>SLOANE</character> <dialogue>What?</dialogue> <character>FERRIS</character> <dialogue>Let's go feed Cameron.</dialogue> <scene_description>They stand up and head out . Ferris hangs back a moment . He cups his hands to his mouth . He yells at the top of his voice .</scene_description> <character>FERRIS</character> <dialogue>BUY!</dialogue> <scene_description>And he exits . Cool and casual .</scene_description> </scene> <scene> <stage_direction>INT. CHICAGO MERCANTILE EXCHANGE. TRADING FLOOR</stage_direction> <scene_description>It explodes with activity in response to Ferris ' shout . We HEAR A RADIO ANNOUNCER .</scene_description> <character>ANNOUNCER</character> <dialogue>Commodity prices rose sharply today in unusually heavy trading.</dialogue> </scene> <scene> <stage_direction>EXT. RESTAURANT</stage_direction> <scene_description>A French restaurant on the Gold Coast . It 's noon .</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT</stage_direction> <scene_description>Ferris , Sloane and Cameron are standing in the restaurant . Ferris is looking at the maitre 'd 's reservations book . HIS POV His fingers runs down to a party of three for 12:00 .</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT</stage_direction> <scene_description>The maitre 'd returns .</scene_description> <character>MAITRE'D</character> <parenthetical>( to Ferris . )</parenthetical> <dialogue>May I help you?</dialogue> <character>FERRIS</character> <dialogue>Yes. I'm Abe Frohman. Party of three for 12:00.</dialogue> <scene_description>The maitre 'd looks at Ferris curiously .</scene_description> <character>FERRIS</character> <dialogue>Is there a problem?</dialogue> <character>MAITRE'D</character> <dialogue>You're Abe Frohman?</dialogue> <character>FERRIS</character> <dialogue>I'm Abe Frohman.</dialogue> <character>MAITRE'D</character> <parenthetical>( chuckles . )</parenthetical> <dialogue>I'm sorry, son. I'm very busy right now. If you have trouble finding the door.</dialogue> <scene_description>Sloane tugs Ferris ' sleeve . He ignores her .</scene_description> <character>FERRIS</character> <dialogue>Are you suggesting that I'm not who I say I am?</dialogue> <character>MAITRE'D</character> <dialogue>Shall I call the police?</dialogue> <character>CAMERON</character> <dialogue>Let's go. Abe.</dialogue> <character>FERRIS</character> <dialogue>I'm not going anywhere.</dialogue> <parenthetical>( to the Maitre 'd . )</parenthetical> <dialogue>Call the police. Go ahead. Better yet.</dialogue> <parenthetical>( grabs the phone . )</parenthetical> <dialogue>. I'll call myself.</dialogue> <scene_description>Cameron chokes . Sloane grits her teeth . The maitre 'd smiles smuggly . CU . PHONE Ferris punches out a number . A beat and the restaurant 's second line lights up and the phone rings .</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT</stage_direction> <scene_description>The maitre 'd motions for the phone so that he can answer the call . Ferris waves him off angrily .</scene_description> <character>FERRIS</character> <dialogue>You touch me and I yell `` rat!'' There's another phone around here. Find it.</dialogue> <scene_description>The maitre 'd backs off .</scene_description> <character>CAMERON</character> <dialogue>Ferris, let's split, please?</dialogue> <character>SLOANE</character> <dialogue>Cameron's right. We're gon na get busted.</dialogue> <character>FERRIS</character> <dialogue>Not a chance in the world.</dialogue> <scene_description>He hands the phone to Sloane .</scene_description> <character>FERRIS</character> <dialogue>Ask for Abe Frohman.</dialogue> </scene> <scene> <stage_direction>INT. RESTAURANT. LATER</stage_direction> <scene_description>Ferris , Sloane and Cameron are seated in the restaurant . The maitre 'd is hovering over Ferris .</scene_description> <character>MAITRE'D</character> <dialogue>I appreciate your understanding.</dialogue> <character>FERRIS</character> <dialogue>Do n't grovel, Charles. Just leave us to our repast and all will be forgotten.</dialogue> <character>MAITRE'D</character> <dialogue>Enjoy your luncheon.</dialogue> <character>FERRIS</character> <dialogue>Thank you.</dialogue> <scene_description>The maitre 'd backs away . Ferris smiles . Sloane is impressed . Cameron is flushed with nerves .</scene_description> <character>FERRIS</character> <dialogue>Darling, you were wonderful.</dialogue> <character>SLOANE</character> <dialogue>Oh, but I had a wonderful teacher.</dialogue> <character>FERRIS</character> <dialogue>Cameron, dear friend?</dialogue> <scene_description>Cameron looks to Ferris .</scene_description> <character>FERRIS</character> <dialogue>And you thought we would n't have any fun. Shame on you.</dialogue> <scene_description>Ferris disappears behind his menu .</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL</stage_direction> <scene_description>We HEAR HALLWAY SOUNDS AND JEANIE .</scene_description> <character>JEANIE</character> <parenthetical>( VO . )</parenthetical> <dialogue>Ferris Bueller's days are numbered.</dialogue> </scene> <scene> <stage_direction>INT. GIRL'S LOCKER ROOM</stage_direction> <scene_description>Jeanie 's sitting on a bench in a field hockey uniform . She 's talking to a FRIEND .</scene_description> <character>JEANIE</character> <parenthetical>( mean , vicious . )</parenthetical> <dialogue>I'm gon na bust his buns.</dialogue> <character>FRIEND</character> <dialogue>Why? What's the point?</dialogue> <character>JEANIE</character> <dialogue>Why? Because I'm sick of the little dope. He manipulates my parents, he does whatever he wants, whenever he wants and he never gets nailed.</dialogue> <parenthetical>( wicked pause . )</parenthetical> <dialogue>Well, babe, today I'm the hammer.</dialogue> <scene_description>She yanks angrily on the velcro strap on her sneakers . The straps rip off in her hand .</scene_description> <character>FRIEND</character> <dialogue>I think he's cute.</dialogue> <character>JEANIE</character> <dialogue>Sweetie, it's an established fact that you have no taste. Ferris is not cute. He's not charming. He's not nice. He's not a wonderful person. He's an ignorant mule and the sooner everybody in this school comes to that realization the better off we'll all be.</dialogue> <scene_description>She displays the velcro straps to her friend .</scene_description> <character>JEANIE</character> <dialogue>See? My brother strokes you, you sympathize with him, I get pissed off and this is what happens!</dialogue> <scene_description>Jeanie tosses the straps on the floor .</scene_description> <character>JEANIE</character> <dialogue>Let me tell you something. I study hard, I work hard, I'm polite, I'm considerate, I'm friendly and fair to all kinds of people. Except morons. I try to be everything a good, decent person should be and you know what?</dialogue> <character>FRIEND</character> <dialogue>Everybody thinks you're an asshole.</dialogue> <scene_description>Jeanie freezes with her next sentence pinned to her tongue .</scene_description> <character>JEANIE</character> <dialogue>Excuse me?</dialogue> <character>FRIEND</character> <dialogue>I do n't think you're an asshole.</dialogue> <character>JEANIE</character> <dialogue>Who does?</dialogue> <scene_description>Her friend smiles sheepishly .</scene_description> <character>JEANIE</character> <dialogue>Rachel?</dialogue> <scene_description>Jeanie 's friend shrugs , wags her head , does everything but verbally confirm .</scene_description> <character>JEANIE</character> <dialogue>Rachel's a dirt bag. Who else?</dialogue> <character>FRIEND</character> <dialogue>I do n't know. Just forget it.</dialogue> <character>JEANIE</character> <dialogue>Forget that everybody thinks I'm an asshole? Would you like everybody to think you're an asshole?</dialogue> <character>FRIEND</character> <dialogue>Not everybody thinks you're an asshole. Mr. Rooney likes you.</dialogue> <character>JEANIE</character> <dialogue>Oh, hey. That's exciting. A fat fifty year old clod with B.O. likes me.</dialogue> <scene_description>Jeanie shakes her head in disbelief .</scene_description> <character>JEANIE</character> <dialogue>Would everybody be happier if maybe I were to die in a flaming car accident or something?</dialogue> <character>FRIEND</character> <dialogue>Maybe if you did n't cat like and asshole.</dialogue> <character>JEANIE</character> <dialogue>Am I acting like an asshole?</dialogue> <character>FRIEND</character> <dialogue>I did n't mean it that way.</dialogue> <character>JEANIE</character> <dialogue>I this a conspiracy to shit all over me or something? Is my brother behind this? Tell me if he is or I'll sock your tits.</dialogue> <character>FRIEND</character> <dialogue>You really do have a problem, Jeanie.</dialogue> <character>JEANIE</character> <dialogue>Me? I have a problem?</dialogue> <character>FRIEND</character> <dialogue>Somebody who threatens to sock people's tits has a problem.</dialogue> <character>JEANIE</character> <dialogue>Alright. How about if I sock your face?</dialogue> <scene_description>Jeanie 's friend gets up .</scene_description> <character>FRIEND</character> <dialogue>Take a walk, Jeanie.</dialogue> <scene_description>Her friend exits .</scene_description> <character>JEANIE</character> <parenthetical>( yells after her . )</parenthetical> <dialogue>If it means anything to you, I have my period! MY BODY'S RIDDING ITSELF OF OLD EGGS, GODDAMN IT!</dialogue> <scene_description>She snarls and slumps against the lockers .</scene_description> <character>JEANIE</character> <dialogue>He's gone. He's over. He's monkey meat.</dialogue> </scene> <scene> <stage_direction>INT. MEN'S ROOM. CHEZ PAUL</stage_direction> <scene_description>Ferris is standing at the urinal .</scene_description> <character>FERRIS</character> <dialogue>She's a person who views life as an ordeal that must be endured. Her body is a transport vehicle for her anger. I do n't know where she gets this shit. Basically, the family's pretty cool.</dialogue> <scene_description>He looks down at the urinal .</scene_description> <character>FERRIS</character> <dialogue>I wonder if everybody shoots at cigarette butts in urinals? Probably not many women.</dialogue> <parenthetical>( continues . )</parenthetical> <dialogue>I used to think that my family was the only one that had weirdness in it. It used to worry me. Then I met Cameron and I saw how his family functioned.</dialogue> <scene_description>He zips this trousers and steps away from the urinal .</scene_description> <character>FERRIS</character> <dialogue>Cameron's home life is really shit. He was n't lying. That's why he's sick all the time. It really upsets him. What he said about his parents hating each other? I refuse to sleep over at his house. His parents fight all the time. Even when I'm there. Is there anything worse than being at somebody's house when their parents are fighting? It's the absolute height of social discomfort.</dialogue> <scene_description>He checks his hair in the mirror .</scene_description> <character>FERRIS</character> <dialogue>When they go after each other, Cameron tightens up. It's scary. He gets so wadded - up, you could n't pry his buns apart with a crowbar. The thing with taking his old man's car? It's good for him. It teaches him to deal with his fear. Plus, and I must be honest here, I love driving it. I highly recommend picking one up.</dialogue> <scene_description>He exists the men 's room . We hold a beat . A toilet flushes . Another beat and Tom walks out of the stall . He crosses to the sink .</scene_description> </scene> <scene> <stage_direction>INT. RESTAURANT</stage_direction> <scene_description>Cameron and Sloane have been served their lunches . They 're staring at the plates .</scene_description> <character>CAMERON</character> <dialogue>What is it?</dialogue> <character>SLOANE</character> <dialogue>I do n't know. But it looks like it's already been eaten and digested.</dialogue> <character>CAMERON</character> <dialogue>I knew it was a mistake letting Ferris order for us.</dialogue> <scene_description>Ferris slides over to the table and drops into his seat .</scene_description> <character>FERRIS</character> <dialogue>What are you doing?</dialogue> <scene_description>Cameron looks at Ferris .</scene_description> <character>CAMERON</character> <dialogue>What is this shit?</dialogue> <character>FERRIS</character> <dialogue>You got me. I do n't speak French.</dialogue> <scene_description>He puts his napkin in his lap and smells his plate .</scene_description> <character>FERRIS</character> <dialogue>I think it's a land - based beefoid creature.</dialogue> <scene_description>He takes a bite . He savors the taste .</scene_description> <character>FERRIS</character> <dialogue>Splendid.</dialogue> <character>CAMERON</character> <dialogue>Really?</dialogue> <character>FERRIS</character> <dialogue>Superb.</dialogue> <scene_description>Cameron and Sloane try theirs . They chew tentatively .</scene_description> <character>FERRIS</character> <dialogue>Good?</dialogue> <scene_description>Sloane and Cameron shrug . It 's not bad . A WAITER passes . Ferris stops him .</scene_description> <character>FERRIS</character> <dialogue>Yo, Clouseau!</dialogue> <scene_description>The waiter stops and looks at Ferris indignantly .</scene_description> <character>FERRIS</character> <dialogue>I have a growth on my brain that causes memory lapses. Could you tell me what we ordered here?</dialogue> <scene_description>The waiter glances at the plates .</scene_description> <character>WAITER</character> <dialogue>Sweetbreads.</dialogue> <character>FERRIS</character> <dialogue>Uh, huh. And what might that be?</dialogue> <character>WAITER</character> <dialogue>Pancreas.</dialogue> <character>FERRIS</character> <dialogue>As in the gland that has important functions in digestion and metabolism?</dialogue> <scene_description>CU . SLOANE AND CAMERON They stop chewing . They 're holding their sweetbreads in their mouths . CU . FERRIS He continues his questioning .</scene_description> <character>FERRIS</character> <dialogue>That secretes a thick, colorless fluid containing digestive enzymes? The home of the world famous isles of Langerhans?</dialogue> <scene_description>CU . WAITER He nods broadly , knowing that he 's spoiling the kids ' meal . CU . SLOANE AND CAMERON They look at each other . CU . FERRIS He pats his mouth with his napkin . He looks to Cameron and Sloane . He raises a finger , holds it a beat and gives a cue . CU . WAITER He turns away as Sloane and Cameron spit out their food . CU . FERRIS He watches Sloane and Cameron then glances at the waiter .</scene_description> <character>FERRIS</character> <dialogue>Check, please!</dialogue> </scene> <scene> <stage_direction>EXT. RESTAURANT</stage_direction> <scene_description>Tom and his two GUESTS are standing at the curb , talking . A cab is waiting . The door 's open . In the B.G. Ferris , Sloane and Cameron come out of the restaurant . They approach the cab . Tom 's back it to Ferris . Ferris stops cold . FERRIS , SLOANE , CAMERON They turns on cue at Tom , now in the B.G. , turns toward the restaurant .</scene_description> <character>FERRIS</character> <dialogue>40,000 restaurants in the downtown area and I pick the one my father goes to.</dialogue> <character>CAMERON</character> <dialogue>We're gon na get nabbed, for sure.</dialogue> <character>FERRIS</character> <dialogue>No way, Cameron. Only the meek get nabbed. The bold survive. Let's go.</dialogue> <scene_description>He turns to the cab . Sloane and Cameron turn slowly .</scene_description> </scene> <scene> <stage_direction>EXT. STREET. CAB</stage_direction> <scene_description>Tom and his party are still jawing at curbside . Ferris , Sloane and Cameron slowly approach the cab . Behind the backs of the men , Ferris scoots Sloane into the cab . Cameron dashes in . The Ferris hops the cab .</scene_description> </scene> <scene> <stage_direction>INT. CAB</stage_direction> <scene_description>Ferris slams the door . CU . CAB DOOR HANDLE A man 's hand reaches for the handle as the cab pulls away .</scene_description> </scene> <scene> <stage_direction>EXT. RESTAURANT</stage_direction> <scene_description>Tom and his guests watch in bewilderment at their cab takes off . MUSIC COMES UP .</scene_description> </scene> <scene> <stage_direction>EXT. MUSEUM OR SCIENCE AND INDUSTRY</stage_direction> <scene_description>The grand old Chicago museum .</scene_description> </scene> <scene> <stage_direction>INT. MUSEUM. OVERHEAD SHOT</stage_direction> <scene_description>The main gallery is crowded with school kids .</scene_description> </scene> <scene> <stage_direction>INT. MUSEUM. FLOOR</stage_direction> <scene_description>A class of kids walking along holding hands . Among the second graders are Ferris , Sloane and Cameron , holding hands looking like giant grade schoolers .</scene_description> </scene> <scene> <stage_direction>INT. MUSEUM. DISPLAY CASE</stage_direction> <scene_description>Baby chicks are hatching in a huge , round incubator . Sloane , Ferris and Cameron are intently watching the process .</scene_description> </scene> <scene> <stage_direction>INT. MUSEUM. COAL MINE</stage_direction> <scene_description>Sloane , Ferris and Cameron ride in the coal train in the coal mine replica . Ferris and Sloane are making out .</scene_description> </scene> <scene> <stage_direction>INT. MUSEUM. INDUSTRIAL DISPLAY</stage_direction> <scene_description>Sloane operates a metal press to produce a tin ashtray .</scene_description> </scene> <scene> <stage_direction>INT. MUSEUM. HEART REPLICA</stage_direction> <scene_description>A giant , walk - thru replica of a human heart . Ferris staggers out of it , clutching his heart , feigning a massive heart attack .</scene_description> </scene> <scene> <stage_direction>INT. GERMAN U-BOAT</stage_direction> <scene_description>Ferris is examining the controls of the captured U - Boat . He checks to see if he 's being watched then he presses a button and pulls a lever . CU . PROPELLER For the first time in forty years , the screw turns . CU . HUMAN FETUS IN A BOTTLE The famous stages of life display which features bottled fetuses . The ninth month . A tiny human being in a jar . CU . SLOANE , FERRIS , CAMERON Sloane wants to cry . Cameron 's stomach is in his throat . Ferris is lost in thought . The MUSIC ENDS .</scene_description> <character>SLOANE</character> <parenthetical>( remorsefully . )</parenthetical> <dialogue>I wonder if he has a name?</dialogue> <character>FERRIS</character> <parenthetical>( blank . )</parenthetical> <dialogue>Ninth Month.</dialogue> </scene> <scene> <stage_direction>EXT. CHICAGO RIVER. LONG, HIGH SHOT</stage_direction> <scene_description>From the Merchandise Mart , looking down the fetid , green swath of water . A boat is rolling up the man - made canyon .</scene_description> <character>CAMERON</character> <parenthetical>( VO . )</parenthetical> <dialogue>Are you guys worried about nuclear war?</dialogue> <character>FERRIS</character> <parenthetical>( VO . )</parenthetical> <dialogue>Cameron, it's a beautiful day, we've won our freedom, we're traveling down one of American's most scenic polluted waterways and you have to bring up nuclear war?</dialogue> <character>SLOANE</character> <parenthetical>( VO . )</parenthetical> <dialogue>It is kind of raggy subject, Cam.</dialogue> <character>CAMERON</character> <parenthetical>( VO . )</parenthetical> <dialogue>Regardless. It's with us every day. The possiblity of global destruction.</dialogue> <character>SLOANE</character> <parenthetical>( VO . )</parenthetical> <dialogue>Do n't you think it's an issue because people need something to worry about? They have to like, have some major problem that puts all their little bullshit into some kind of persepective?</dialogue> <character>CAMERON</character> <parenthetical>( VO . )</parenthetical> <dialogue>Maybe.</dialogue> <character>FERRIS</character> <dialogue>They used to have Viet Nam. They used to have the oil crisis stuff and Iran. That's over and people have to have their big issue. It's not like somebody came up with the nuclear holocaust yesterday at noon, you know.</dialogue> <character>SLOANE</character> <parenthetical>( VO . )</parenthetical> <dialogue>To answer your question. No, I'm not worried about it at all.</dialogue> <character>FERRIS</character> <parenthetical>( VO . )</parenthetical> <dialogue>We do n't know when the bombs going off. We do know, however, that college starts in the fall.</dialogue> <character>CAMERON</character> <parenthetical>( VO . )</parenthetical> <parenthetical>( dramatic , deadly serious . )</parenthetical> <dialogue>Do you know what a nuclear winter is?</dialogue> <scene_description>Long beat .</scene_description> <character>SLOANE</character> <parenthetical>( VO . )</parenthetical> <dialogue>Yeah. Everybody's dead, it's real cold and the skiing's for shit.</dialogue> <scene_description>The boat makes the turn in the river and CLEARS FRAME .</scene_description> </scene> <scene> <stage_direction>EXT. BOAT DOCK</stage_direction> <scene_description>The three are sitting on the aft deck of the tour boat . Their feet are up on the railing . Very casual , very relaxed . Discussing the end of the world .</scene_description> <character>SLOANE</character> <dialogue>My step - father's always going off about how when he was young he was committed to all these causes.</dialogue> <character>FERRIS</character> <dialogue>He's full of shit. All the old hippies are full of shit.</dialogue> <character>SLOANE</character> <dialogue>He says I do n't care about things like he did.</dialogue> <character>FERRIS</character> <dialogue>What's he care about now?</dialogue> <character>SLOANE</character> <dialogue>Baldness, fatty meats and money.</dialogue> <character>FERRIS</character> <dialogue>I rest my case.</dialogue> <character>CAMERON</character> <dialogue>What's spooky is they still control everything. They took over when they were young and they never gave it up.</dialogue> <character>FERRIS</character> <dialogue>One of the most frightening experiences of my young life has been observing my parents and our neighbors playing the Baby Boom Edition of Trivial Pursuits. It's chilling to see people crazed with the minutia of their past.</dialogue> <character>CAMERON</character> <dialogue>It's human nature to like what you had better than what you have.</dialogue> <character>SLOANE</character> <dialogue>Agreed.</dialogue> <scene_description>A loud speaker on the boat identifies a point of interest .</scene_description> <character>LOUDSPEAKER</character> <dialogue>TO YOUR LEFT IT THE WORLD'S TALLEST BUILDING.</dialogue> <scene_description>The three look to the left .</scene_description> <character>LOUDSPEAKER, FERRIS,</character> <dialogue /> <character>SLOANE, CAMERON</character> <dialogue>The Sears Tower.</dialogue> <character>CAMERON</character> <dialogue>You know, this is all very interesting but I'm starving.</dialogue> <character>FERRIS</character> <dialogue>An hour ago you wanted to yack.</dialogue> <character>CAMERON</character> <dialogue>I feel better now.</dialogue> <character>FERRIS</character> <dialogue>Lean over and grab a fish.</dialogue> <scene_description>Cameron looks over the side of the boat . An obtuse thought flashes through Sloane 's brain .</scene_description> <character>SLOANE</character> <dialogue>What comes after a nuclear winter?</dialogue> <character>FERRIS</character> <dialogue>Nuclear spring.</dialogue> </scene> <scene> <stage_direction>EXT. SCHOOL</stage_direction> <scene_description>Meanwhile .</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY OUTSIDE THE DEAN'S OFFICE</stage_direction> <scene_description>Jeanie is having a small moral debate with herself .</scene_description> <character>JEANIE</character> <dialogue>It's reprehensible to squeal on your own flesh and blood. but it's for his own good. His cavalier attitude will get him into trouble later in life. and it'll continue to piss me off and I'll get so wadded - up that it'll cause cervex cancer and he'll ruin my life. Screw him.</dialogue> <scene_description>She slips into the Dean 's outer office .</scene_description> </scene> <scene> <stage_direction>INT. DEAN'S OUTER OFFICE</stage_direction> <scene_description>Rooney 's secretary is behind her desk . Jeanie walks in . The secretary looks up and greets her with a weary smile .</scene_description> <character>SECRETARY</character> <dialogue>Hello, Jeanie. Who's bothering you now?</dialogue> <scene_description>Jeanie scowls at her .</scene_description> <character>JEANIE</character> <dialogue>Is Dean Rooney in?</dialogue> <character>SECRETARY</character> <dialogue>I'm sorry, he's out. Can I help you?</dialogue> <character>JEANIE</character> <parenthetical>( condescending . )</parenthetical> <dialogue>I seriously doubt it. When's he back?</dialogue> <character>SECRETARY</character> <dialogue>I do n't know. He left the grounds on personal business.</dialogue> </scene> <scene> <stage_direction>EXT. STREET. CU. CURB</stage_direction> <scene_description>A car tire rolls into FRAME and stops . Slide across to the sidewalk . Rooney 's dress shoe steps out onto the pavement . Move up to reveal Rooney standing at the door of his bile - green LeBaron . Rooney peels off his shades and looks around like he 's Dirty Harry . In his mind he is Dirty Harry . CU . FIRE HYDRANT Rooney 's dres shoe on the hydrant . He ties his lace and pulls up his sock .</scene_description> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>Rooney straightens his tie and jacket and slips into a rowdy hot dog joint .</scene_description> </scene> <scene> <stage_direction>INT. HOT DOG STAND</stage_direction> <scene_description>It 's jammed with construction workers , secretaries , suburban businessmen . It 's loud and confusing . Rooney pushes his way in and scopes the crowd . HIS POV A young person is playing a video game in a far corner . CU . ROONEY He suspects it 's Ferris . It look sort of like Ferris . He smiles and cuts into the crowd . CU . THE BACK OF THE VIDEO PLAYER 'S HEAD MOVE IN on the player .</scene_description> <character>ROONEY</character> <parenthetical>( OC . )</parenthetical> <dialogue>I've been waiting a long time for this.</dialogue> <scene_description>The player looks up .</scene_description> <character>ROONEY</character> <parenthetical>( OC . )</parenthetical> <dialogue>Your ass is mine.</dialogue> <scene_description>The player turns around . It 's a GIRL . CU . ROONEY The blood evacuates his face . He stares at the girl . CU . GIRL She stares at him . She picks up her Coke . She puts the straw to her lips and sucks . CU . ROONEY He 's still staring . He ca n't think of anything to say . CU . GIRL Holding the straw in the mouth , she draws it out of the cup . She raises it , pointing it directly in Rooney 's face . CU . ROONEY He squints CU . GIRL She blows a strawful of Coke in Rooney 's face . CU . NAPKIN HOLDER A hand yanks a napkin hold .</scene_description> </scene> <scene> <stage_direction>INT. HOT DOG STAND. SERVICE COUNTER</stage_direction> <scene_description>Rooney wipes his face . Behind him is the kitchen and a grease - covered TV set broadcasting a Cubs baseball game . There 's a long foul ball . The TV camera follows the ball into the stands . A kid makes a stab at the ball . Rooney wipes his suit off . The TV camera zooms in on the boy triumphantly holding the foul ball aloft . It 's Ferris . He does a little celebration dance . Rooney wads up the napkin and tosses it in a trashbin . The TV camera returns to the game . Rooney glances at the screen .</scene_description> <character>ROONEY</character> <dialogue>What's the score?</dialogue> <character>HOT DOG MAN</character> <dialogue>Zero to zero.</dialogue> <character>ROONEY</character> <dialogue>Who's winning?</dialogue> <character>HOT DOG MAN</character> <dialogue>Cubs.</dialogue> <scene_description>Rooney nods and exits .</scene_description> </scene> <scene> <stage_direction>EXT. WRIGLEY FIELD. STANDS</stage_direction> <scene_description>Ferris sits down with the baseball . He shakes his stinging paw . On either side of him are Cameron and Sloane . Cameron 's scarfing nachos .</scene_description> <character>FERRIS</character> <dialogue>I think I broke my thumb.</dialogue> <character>SLOANE</character> <dialogue>Can we leave now?</dialogue> <character>FERRIS</character> <dialogue>You want to leave? We just got here.</dialogue> <character>SLOANE</character> <dialogue>You got a call, you broke your thumb, what's left to do?</dialogue> <scene_description>Cameron offers his nachos to Sloane . She looks at them with disgust .</scene_description> <character>SLOANE</character> <dialogue>No wonder you're always sick.</dialogue> <scene_description>Ferris leans back , puts his hands behind his head and turns his face to the bright sun .</scene_description> <character>FERRIS</character> <dialogue>Do you realize that if I played by the rules, right now I'd be in gym?</dialogue> </scene> <scene> <stage_direction>EXT. HIGH SCHOOL. PLAYING FIELD</stage_direction> <scene_description>A boy 's gym class is doing laps . A blue Fiat pulls into the shot .</scene_description> </scene> <scene> <stage_direction>INT. FIAT</stage_direction> <scene_description>Jeanie 's at the wheel . She sneaks a glance at the school .</scene_description> <character>JEANIE</character> <dialogue>I ca n't believe my brother's making me put myself in a position where I could get expelled. Selfish little moron.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Ferris? You're overshadowed me long enough. I'm gon na get you, buddy.</dialogue> <scene_description>She puts the car in gear and drives out of the shot .</scene_description> </scene> <scene> <stage_direction>EXT. STATE STREET</stage_direction> <scene_description>A parade is underway . Floats and politicians . Marching bands , drum and bugle corps , soldiers , school kids . Figure skating club in outfits and skates performing their routines on pavement . It 's GERMAN - AMERICAN APPRECIATION DAY .</scene_description> </scene> <scene> <stage_direction>EXT. STATE STREET. FLOAT</stage_direction> <scene_description>Riding atop on a float is Ferris . He 's waving to the crowd . He and half a dozen homely German - American Beauty Queens . He 's leading the girls in singing , `` DANKE SHOEN '' .</scene_description> </scene> <scene> <stage_direction>EXT. STATE STREET. SLOANE AND CAMERON</stage_direction> <scene_description>They 're watching Ferris go by . They wave to him .</scene_description> <character>SLOANE</character> <dialogue>I love him.</dialogue> <character>CAMERON</character> <dialogue>It's hard not to.</dialogue> <scene_description>Cameron breaks a smile . As worried as he is about the day and getting caught , he has to admire Ferris for his lack of inhabitions . Cameron mumbles a few words .</scene_description> <character>CAMERON</character> <dialogue>Stop. water. want.</dialogue> <character>SLOANE</character> <dialogue>Do you believe in reincarnation?</dialogue> <character>CAMERON</character> <dialogue>Huh?</dialogue> <character>SLOANE</character> <dialogue>Do you believe that you lived before?</dialogue> <character>CAMERON</character> <dialogue>Yeah. Sort of.</dialogue> <character>SLOANE</character> <dialogue>DO you ever wonder what you were?</dialogue> <character>CAMERON</character> <dialogue>I do n't have to wonder. I know.</dialogue> <scene_description>Sloane looks at him with amazement .</scene_description> <character>CAMERON</character> <dialogue>I was a tractor tire.</dialogue> </scene> <scene> <stage_direction>EXT. STATE STREET. FLOAT</stage_direction> <scene_description>Ferris is on his knees , reaching down from the float , shaking hands with people in the crowd .</scene_description> <character>FERRIS</character> <dialogue>Guten tag, dude!</dialogue> </scene> <scene> <stage_direction>EXT. STATE STREET</stage_direction> <scene_description>Sloane and Cameron continue their conversation .</scene_description> <character>CAMERON</character> <dialogue>What were you in a previous life?</dialogue> <character>SLOANE</character> <dialogue>I'm not sure but I think I know who Ferris was.</dialogue> <character>CAMERON</character> <dialogue>Hannibal.</dialogue> <character>SLOANE</character> <dialogue>From the A - Team?</dialogue> <character>CAMERON</character> <dialogue>No. The guy who rode the elephants into Switzerland.</dialogue> <scene_description>Sloane laughs at herself . They step out of the crowd and head down the street in the direction the parade 's heading .</scene_description> <character>SLOANE</character> <dialogue>I think if he was anybody, he was Magellan. You know, the guy who went around the world.</dialogue> <scene_description>Cameron nods .</scene_description> <character>SLOANE</character> <dialogue>I could see him ignoring popular belief and taking off on some impossible mission.</dialogue> <character>CAMERON</character> <dialogue>Yeah. As long as I've known him, everything works for him. There's nothing he ca n't handle. I ca n't handle anything. School, parents, the future. Ferris can do anything.</dialogue> </scene> <scene> <stage_direction>EXT. STATE STREET. FLOAT</stage_direction> <scene_description>Ferris is playing `` TWIST AND SHOUT '' on the accordian . The girls on the float are singing .</scene_description> <character>FERRIS</character> <dialogue>WELL, SHAKE IT UP, BABY, NOW!</dialogue> <character>GIRLS</character> <dialogue>SHAKE IT UP, BABY</dialogue> <character>FERRIS</character> <dialogue>TWIST AND SHOUT!</dialogue> <character>GIRLS</character> <dialogue>TWIST AND SHOUT!</dialogue> <character>FERRIS</character> <dialogue>COME ON, COME ON, COME ON, BABY ON! COME ON AND WORK IT ON OUT!</dialogue> <character>GIRLS</character> <dialogue>WORK IT ON OUT!</dialogue> </scene> <scene> <stage_direction>EXT. STREET. SLOANE AND CAMERON</stage_direction> <scene_description>They continue their conversation .</scene_description> <character>SLOANE</character> <dialogue>The future's worse for a boy, is n't it?</dialogue> <scene_description>Cameron does n't understand what she means .</scene_description> <character>SLOANE</character> <dialogue>A girl can always bail out and have a baby and get some guy to support her.</dialogue> <character>CAMERON</character> <dialogue>That's a pretty grim thought.</dialogue> <character>SLOANE</character> <dialogue>True, but it's an option. No options is worse.</dialogue> <character>CAMERON</character> <dialogue>I do n't know what I'm gon na do.</dialogue> <character>SLOANE</character> <dialogue>College.</dialogue> <character>CAMERON</character> <dialogue>Yeah, but to do what?</dialogue> <character>SLOANE</character> <dialogue>What are you interested in?</dialogue> <character>CAMERON</character> <dialogue>Nothing.</dialogue> <character>SLOANE</character> <dialogue>Me either.</dialogue> <scene_description>They walk on for a few beats . We HEAR `` TWIST AND SHOUT '' GROWING LOUDER AND LOUDER . The sons is taking over all the other tunes in the band . It 's infecting the entire parade .</scene_description> <character>CAMERON</character> <dialogue>What do you think Ferris is gon na do?</dialogue> </scene> <scene> <stage_direction>EXT. STATE STREET. MARCHING BAND</stage_direction> <scene_description>They 're playing TWIST AND SHOUT .</scene_description> </scene> <scene> <stage_direction>EXT. STREET. MOUNTED POLICE OFFICER</stage_direction> <scene_description>He 's singing .</scene_description> <character>POLICE OFFICER</character> <dialogue>YOU KNOW YOU LOOK SO GOOD!</dialogue> </scene> <scene> <stage_direction>EXT. STREET. PUNKS</stage_direction> <scene_description>A band of PUNKS are dancing on the roof of a news kiosk .</scene_description> <character>PUNKS</character> <dialogue>LOOK SO GOOD!</dialogue> </scene> <scene> <stage_direction>EXT. STREET MOTHER AND HER CHILDREN</stage_direction> <scene_description>A WOMAN and her two TODDLERS sing along .</scene_description> <character>WOMAN</character> <dialogue>YOU KNOW YOU LOOK SO FINE!</dialogue> <character>TODDLERS</character> <dialogue>LOOK SO FINE!</dialogue> </scene> <scene> <stage_direction>EXT. STREET. BLACK TEENAGER</stage_direction> <scene_description>He 's wearing a shower cap and a maroon overcoat .</scene_description> <character>TEENAGER</character> <dialogue>COME ON AND TWIST A LITTLE CLOSER!</dialogue> </scene> <scene> <stage_direction>EXT. STREET. OLD NEWSPAPER SELLER</stage_direction> <scene_description>He singing along .</scene_description> <character>NEWSPAPER SELLER</character> <dialogue>TWIST A LITTLE CLOSER!</dialogue> </scene> <scene> <stage_direction>EXT. STREET. CHOIR GROUP</stage_direction> <scene_description>They 're marching down the parade . They 're singing in their angleic voices .</scene_description> <character>CHOIR</character> <dialogue>AND LET ME KNOW THAT YOU'RE MINE!</dialogue> </scene> <scene> <stage_direction>EXT. STREET. STREET CLEANERS</stage_direction> <scene_description>With their brooms ready .</scene_description> <character>STREET CLEANERS</character> <dialogue>KNOW THAT YOU'RE MINE!</dialogue> </scene> <scene> <stage_direction>EXT. STREET. DECK</stage_direction> <scene_description>The entire parade is singing and playing `` TWIST AND SHOUT '' .</scene_description> </scene> <scene> <stage_direction>EXT. STREET. VIEWING STAND</stage_direction> <scene_description>The POLITICIANS and their WIVES stand up .</scene_description> <character>POLITICIANS AND WIVES</character> <dialogue>AH!</dialogue> </scene> <scene> <stage_direction>EXT. STREET. VIEWING STAND</stage_direction> <scene_description>The CLERGYMEN stand .</scene_description> <character>CLERGYMEN</character> <dialogue>AH!</dialogue> </scene> <scene> <stage_direction>EXT. STREET. VETERANS</stage_direction> <scene_description>Marching in formation and in WWII uniforms .</scene_description> <character>VETERANS</character> <dialogue>AH!</dialogue> </scene> <scene> <stage_direction>EXT. STREET. FLOAT</stage_direction> <scene_description>Ferris leads the Beauty Queens in the rousing finale .</scene_description> <character>FERRIS</character> <dialogue>AH!</dialogue> </scene> <scene> <stage_direction>EXT. STREET. WIDE AND HIGH</stage_direction> <scene_description>The entire parade is at frenzy pitch .</scene_description> <character>PARADE</character> <dialogue>AHHHHH!</dialogue> <scene_description>The SOUND OF THE VOICES blends with the SOUND OF A RED - LINED HIGH PERFORMANCE ENGINE .</scene_description> </scene> <scene> <stage_direction>EXT. CALUMET CITY</stage_direction> <scene_description>The Port of Chicago . Grim , gritty waterfront . Suddenly , Cameron 's father 's car flies OVER CAMERA . Like the opening shot in Star Wars . The Starship Ferrari . SLO - MO. . CU . FERRARI UNDER - CARRIAGE It travels past to reveal a beautiful blue sky . SLO - MO. . CU . PARKING ATTENDANT His eyes are wide with exhilaration . Mouth open , tongue out . Maniac at the wheel . SLO - MO. . CU . RASTAMAN His eyes are closed . Big smile . SLO - MO ,</scene_description> </scene> <scene> <stage_direction>EXT. STREETS. KIDS</stage_direction> <scene_description>They 're looking up in the air , following the car as it flies over them . Broad , excited smiles . The car 's shadow passes over them . SLO - MO. . CU . CAR GRILLE It fills the frame and stops . We MOVE UP to reveal Rooney behind the wheel of his car .</scene_description> </scene> <scene> <stage_direction>EXT. FERRIS' HOUSE</stage_direction> <scene_description>Rooney gets out of his car . He looks at the house , looks up and down the street , then crosses to Ferris ' house .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE. FOYER</stage_direction> <scene_description>Rooney 's at the front door . We see him peek in a window at the top of the door . The doorbell rings .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE. FERRIS' ROOM. COMPUTER</stage_direction> <scene_description>It acknowledges the doorbell . CU . CASSETTE PLAYER It clicks on .</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE. FRONT PORCH</stage_direction> <scene_description>The house intercom activates . We HEAR FERRIS ' VOICE .</scene_description> <character>FERRIS</character> <dialogue>Who is it?</dialogue> <scene_description>Rooney presses the intercom .</scene_description> <character>ROONEY</character> <dialogue>This is Ed Rooney, Ferris. I'd like to have a word with you.</dialogue> <character>FERRIS' VOICE</character> <dialogue>I'm sorry I ca n't come to the door right now. I'm very ill and I'm afraid that in my weakened condition, I could take a nasty spill down the stairs and subject myself to further school absenses.</dialogue> <scene_description>There 's a pause . Rooney presses the intercom again .</scene_description> <character>ROONEY</character> <dialogue>B.S. Come down here.</dialogue> <character>FERRIS' VOICE</character> <dialogue>You can reach my parents at their places of business. Thank you for stopping by. I appreciate your concern for my well - being. It will be remembered long after this illness has past.</dialogue> <scene_description>His voice clicks off . Rooney presses the intercom again .</scene_description> <character>ROONEY</character> <dialogue>I'm not leaving until you come down and talk to me.</dialogue> <character>FERRIS' VOICE</character> <dialogue>Have a nice day.</dialogue> <scene_description>Rooney presses the intercom .</scene_description> <character>ROONEY</character> <dialogue>I'm not leaving, Ferris.</dialogue> <scene_description>There 's no response . Rooney rings the doorbell again . The pre - recorded litany starts over .</scene_description> <character>FERRIS' VOICE</character> <dialogue>Who is it?</dialogue> <scene_description>Rooney does n't realize that he 's listening to a recording .</scene_description> <character>ROONEY</character> <dialogue>Do n't get smart with me Ferris!</dialogue> <character>FERRIS' VOICE</character> <dialogue>I'm sorry I ca n't come to the door right now. I'm very ill and I'm afraid that in my weakened condition.</dialogue> <scene_description>Rooney leans back from the door . He ca n't quite figure out what 's going on . But 's it 's highly suspicious .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE. LIVING ROOM</stage_direction> <scene_description>Rooney steps through the hedges and peeks in the windows . We HEAR FERRIS ' VOICE inside .</scene_description> <character>FERRIS' VOICE</character> <dialogue>You may reach my parents at their places of business.</dialogue> </scene> <scene> <stage_direction>INT. HOUSE. KITCHEN</stage_direction> <scene_description>Rooney tries to peak in the kitchen window .</scene_description> <character>FERRIS' VOICE</character> <dialogue>I appreciate your conern for my well - being. It will be remembered long after.</dialogue> </scene> <scene> <stage_direction>EXT. HOUSE. BACKDOOR</stage_direction> <scene_description>A black rubber doggie door . The type that allows a dog to come and go as it pleases . Rooney is crouched down . He lifts the doggie door and peeks in the house . HIS POV Along the kitchen floor . Through the kitchen , into the dining room . We hear a LARGE DOG GROWL . CU . ROONEY He 's peaking through the door . He hears the dog . His face freezes .</scene_description> <character>FERRIS</character> <dialogue>Have a nice day.</dialogue> </scene> <scene> <stage_direction>EXT. HOUSE. DOGGIE DOOR</stage_direction> <scene_description>A Rottweiler bursts through the doggie door in a fury of gnashing teeth and foam . CU . LARGE BREASTS Tassled pasties twirl like airplane propellers . CU . CAMERON , FERRIS AND SLOANE They 're sitting in a booth in the garish , nearly deserted strip joint . Cameron 's mouth is open in amazement . Sloane is embarrassed and revolted .</scene_description> <character>CAMERON</character> <dialogue>How does she do that? One goes one way, one goes the other.</dialogue> <character>FERRIS</character> <dialogue>She's probably schizophrenic.</dialogue> <character>SLOANE</character> <dialogue>Ferris, this is nauseating me. Really. I'm losing respect for you by the bucket.</dialogue> <character>FERRIS</character> <dialogue>You do n't think it's amazing that we got in?</dialogue> <character>SLOANE</character> <dialogue>Who wants to get in?</dialogue> <character>FERRIS</character> <dialogue>Cameron looks like a toddler, for Christ's sake. I'm talking about a major achievement in false identification.</dialogue> <character>SLOANE</character> <dialogue>I'm not interested in watching someone jiggle their mammary glands.</dialogue> <character>FERRIS</character> <dialogue>Point well taken. But consider why she does it. Why she does it and you do n't.</dialogue> <character>SLOANE</character> <dialogue>I'm not a tramp.</dialogue> <character>FERRIS</character> <dialogue>Maybe her life fell apart. Maybe she lost somebody. A lover. A boyfriend. A parent. A child.</dialogue> <parenthetical>( to CAMERA . )</parenthetical> <dialogue>This kind of thing makes me a little depressed. You may think because I'm the age I am that I'm a sex maniac. That sex is all I think about. But that's not true. I'm a romantic. I think alot of people my age are. We think about love and matters of the heart. And SAT scores and acne aside, we worry about lonliness. It's a terrible thing. And we feel it. I feel it.</dialogue> <scene_description>He flips his collar up , curls his lip and affects an Elvis impression . A sappy , do - wop track FADES UP . The club lights go down . Cameron and Sloane disappear into darkness . Ferris stands up from the booth . He strolls slowly through the empty club as the stripper bumps and grinds in a pool of blue light .</scene_description> <character>FERRIS</character> <dialogue>You know, someone said the world's a stage and each must play a part. Fate had me playing in love, with you as my sweetheart. Act one was when we met. I loved you at first glance. You read your lines so cleverly and never missed a cue. Then came act two. You seemed to change. You acted strange. And why, I've never known.</dialogue> <scene_description>He climbs up on the little runway . The stripper disappears in darkness as Ferris takes over the spotlight .</scene_description> <character>FERRIS</character> <dialogue>Honey, you lies when you said you loved me and I had no cause to doubt you. But I'd rather go on hearing your lies than to go on living without you. Now, the stage is bare and I'm standing there with emptiness all around and if you wo n't come back to me, then they can bring the curtain down.</dialogue> <scene_description>Elvis fades up . The orignal recording . Ferris lip synchs with the big , dramatic florish that was the King 's trademark ballad sign - off .</scene_description> <character>ELVIS</character> <dialogue>IS YOUR HEART FILLED WITH PAIN? SHALL I COME BACK AGAIN? TELL ME DEAR, ARE YOU LONESOME TONIGHT?</dialogue> <scene_description>Ferris drops his head . Like the King would .</scene_description> </scene> <scene> <stage_direction>EXT. DOWNTOWN STREET. CAMERON'S CAR</stage_direction> <scene_description>Cameron 's father is looking at the car . He 's studying it . It looks terribly familiar . He leans into the open car and reaches for the glovebox to see if the contents will confirm if it 's his . He freezes . He looks up slowly . HIS POV The Attendant and the Rastaman are glowering at him . They 're holding bags of fried chicken .</scene_description> <character>ATTENDANT</character> <dialogue>You looking for something in my car?</dialogue> <scene_description>CU . CAMERON 'S FATHER He shakes his head , no .</scene_description> <character>CAMERON'S FATHER</character> <dialogue>No.</dialogue> </scene> <scene> <stage_direction>EXT. FERRIS' TOWN. JEANIE</stage_direction> <scene_description>Jeanie 's standing at her car . She 's staring incredulously into the distance . Her mouth 's open . She 's shaking her head slowly . HER POV Spray - painted on the town water tower in gigantic black letters - SAVE FERRIS BUELLER . CU . JEANIE She 's furious .</scene_description> <character>JEANIE</character> <dialogue>I'm gon na microwave his nuts.</dialogue> </scene> <scene> <stage_direction>EXT. MICHIGAN AVENUE</stage_direction> <scene_description>Afternoon traffic .</scene_description> </scene> <scene> <stage_direction>INT. TAXI CAB</stage_direction> <scene_description>Ferris , Sloane and Cameron in the backseat of a checker . Ferris is on one window , Cameron on the other . Sloane 's in the middle . Ferris is talking to the DRIVER .</scene_description> <character>FERRIS</character> <dialogue>So.</dialogue> <scene_description>He leans forward and reads the driver 's name off the city license .</scene_description> <character>FERRIS</character> <dialogue>So, Yuri, how long have you been in America?</dialogue> <character>DRIVER</character> <dialogue>One year.</dialogue> <character>FERRIS</character> <dialogue>What's your overall impression?</dialogue> <character>DRIVER</character> <dialogue>It's very good here.</dialogue> <character>FERRIS</character> <dialogue>Better than Russia?</dialogue> <character>DRIVER</character> <dialogue>Much better here than in Russia.</dialogue> <character>FERRIS</character> <dialogue>Clearly you've never been to an American high school.</dialogue> <scene_description>Ferris sits back . He puts his arm around Sloane .</scene_description> <character>CAMERON</character> <dialogue>It's getting late, Ferris. I have to get the car home. I know you do n't care, but it means my ass.</dialogue> <character>FERRIS</character> <dialogue>You think I do n't care?</dialogue> <character>CAMERON</character> <dialogue>I know you do n't care.</dialogue> <character>FERRIS</character> <dialogue>That hurts, Cameron.</dialogue> <character>SLOANE</character> <dialogue>Jump back, Ferris, Cameron's been a good sport.</dialogue> <character>FERRIS</character> <dialogue>Cameron, what'd you see today?</dialogue> <scene_description>Cameron looks at him .</scene_description> <character>FERRIS</character> <dialogue>You saw four states, a submarine, a giant heart, seventy five dollars worth of cooked pancreas, two of the most incredible breasts ever to come out of modern plastics, major league baseball and.</dialogue> <parenthetical>( quizical look . )</parenthetical> <dialogue>Are you gon na chuck your nachos?</dialogue> <scene_description>Cameron 's staring past Ferris . He 's frozen . Ferris realizes he 's looking at something out the window . He turns . He freezes . HIS POV In the gridlock traffic , their cab is squeezed tight alongside another cab . In that cab is Tom . He 's about a foot from Ferris . He turns and looks right into CAMERA . TOM 'S POV Ferris ' frozen face . FERRIS ' POV Tom glances back at his paper . He pauses . Looks up . Thinks . Turns back to CAMERA . TOM 'S POV Sloane is sitting where Ferris was . She 's wearing sunglasses , looking bored . She turns and glances out the window . Fakes a yawn . HER POV Tom stares at her . He 's baffled . He looks away .</scene_description> </scene> <scene> <stage_direction>INT. CAB. FLOOR.</stage_direction> <scene_description>Cameron and Ferris are on the floor . On their asses , with their backs to the back of the front seat , feet up on the seat .</scene_description> <character>FERRIS</character> <parenthetical>( to Sloane . )</parenthetical> <dialogue>What's he doing?</dialogue> <character>SLOANE</character> <parenthetical>( revolted . )</parenthetical> <dialogue>He's looking at me and he's licking the glass and making obscene gestures with his hands.</dialogue> <character>FERRIS</character> <dialogue>What?!</dialogue> <scene_description>Sloane bursts out laughing .</scene_description> <character>SLOANE</character> <dialogue>Roast!</dialogue> <scene_description>She licks her finger and touches Ferris knee . She makes a sizzling sound . She collapes on the seat in hysterics .</scene_description> </scene> <scene> <stage_direction>INT. TOM'S CAB</stage_direction> <scene_description>Tom 's looking into Ferris ' cab . HIS POV Sloane 's bouncing up and down . CU . TOM He ca n't quite figure out what 's going on . He turns and slowly raises his newspaper over his face . We see on the back of the paper a small story with the headline : COMMUNITY RALLIES AROUND SICK YOUTH .</scene_description> </scene> <scene> <stage_direction>EXT. FERRIS' HOUSE. BACKYARD. DOG</stage_direction> <scene_description>The Rottweiler 's chewing on a shoe . Tearing it apart .</scene_description> </scene> <scene> <stage_direction>EXT. BACKYARD. ROONEY</stage_direction> <scene_description>He 's standing outside the fence . He 's missing a shoe . His suit pants are torn from the crotch to the knee . His suit coat pocket is torn off . His hair 's messed and there 're grass - stains on his knees and elbows . He 's looking in at the dog .</scene_description> <character>ROONEY</character> <dialogue>That's a $ 28.00 dress shoe, you worthless mutt!</dialogue> <scene_description>HIS POV The Rottweiler leaps at CAMERA .</scene_description> </scene> <scene> <stage_direction>EXT. CITY STREET</stage_direction> <scene_description>Ferris is leading the way down Michigan Avenue . He 's hustling through the crowd . He has Sloane by the hand . She 's jogging to keep up . Cameron 's a few steps behind . He keeps bumping into people . Ferris and Sloane make the turn at Wacker Driver and disappear into the Stone Container Building . Cameron follows , mumbling again .</scene_description> <character>CAMERON</character> <dialogue>Money. tits. please.</dialogue> </scene> <scene> <stage_direction>EXT. HOUSE. FRONT</stage_direction> <scene_description>A florist truck pulls up in front of the house . A DELIVERY MAN gets out iwth a huge floral arrangement . He heads up to the house .</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE. PORCH</stage_direction> <scene_description>Rooney 's sitting on the porch patting a bloody knee with his handkerchief . The delivery man hops up on the steps . Rooney looks up at him . He greets Rooney cheerily .</scene_description> <character>DELIVERY MAN</character> <dialogue>Howdy!</dialogue> <scene_description>He presses the doorbell . A beat and we hear Ferris ' recording .</scene_description> <character>FERRIS' VOICE</character> <dialogue>Who is it?</dialogue> <scene_description>The Deliver Man presses the intercom .</scene_description> <character>DELIVERY MAN</character> <dialogue>Focus on Flowers. I have a delivery.</dialogue> <character>FERRIS' VOICE</character> <dialogue>I'm sorry but I ca n't come to the door right now. I'm very ill and I'm afraid.</dialogue> <character>ROONEY</character> <dialogue>It's a recording, asshole.</dialogue> <character>FERRIS' VOICE</character> <dialogue>that in my weakened condition, I could take a nasty spill and subject myself to further school absenses.</dialogue> <character>DELIVERY MAN</character> <dialogue>What's your problem</dialogue> <character>ROONEY</character> <dialogue>He's one of my students.</dialogue> <character>FERRIS' VOICE</character> <dialogue>You can reach my parents at their places of business. Thank you for stopping by. I appreciate your concern for my well - being. It will be remembered long after this illness has passed.</dialogue> <character>DELIVERY MAN</character> <dialogue>Little bugger's dying.</dialogue> <character>ROONEY</character> <dialogue>What? DELIVERY MAN As I heard it from our mailman he was supposedly born with only half a kidney.</dialogue> <character>FERRIS' VOICE</character> <dialogue>Have a nice day.</dialogue> <character>DELIVERY MAN</character> <parenthetical>( to the intercom . )</parenthetical> <dialogue>Thank you.</dialogue> <parenthetical>( continues . )</parenthetical> <dialogue>I do n't know the details. But my boss had to send to Milwaukee to get more orchids. He's very popular.</dialogue> <scene_description>Rooney is flabbergasted .</scene_description> <character>DELIVERY MAN</character> <dialogue>Nobody's home here?</dialogue> <character>ROONEY</character> <dialogue>No.</dialogue> <character>DELIVERY MAN</character> <dialogue>You gon na be around for awhile?</dialogue> <character>ROONEY</character> <dialogue>I imagine so.</dialogue> <character>DELIVERY MAN</character> <dialogue>You wan na keep an eye on these?</dialogue> <scene_description>Rooney looks at the flowers . Then he looks at the Delivery Man .</scene_description> <character>DELIVERY MAN</character> <parenthetical>( happy sigh . )</parenthetical> <dialogue>It really touches me that so many people are rallying behind this guy. I guess there's hope for the human race afterall.</dialogue> <scene_description>He hands the arrangement to Rooney .</scene_description> <character>DELIVERY MAN</character> <dialogue>Got ta run.</dialogue> <scene_description>He bounds off the porch and trots to the truck . Rooney looks incredulously at the arrangement . He opens the attached card .</scene_description> <character>ROONEY</character> <parenthetical>( defeated . )</parenthetical> <dialogue>Oh, Christ.</dialogue> <scene_description>CU . CARD It 's signed : ALL OUR BEST FOR A SPEEDY RECOVERY THE ENGLISH DEPT. . FACULTY AND STAFF</scene_description> </scene> <scene> <stage_direction>INT. RADIO STATION STUDIO</stage_direction> <scene_description>The number one afternoon FM rock 'n roll D.J. is sitting behind his microphone .</scene_description> <character>D.J.</character> <dialogue>I do n't know who that was or what they were playing but I apologize for it nonetheless.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>I have a guest with me today.</dialogue> </scene> <scene> <stage_direction>INT. STUDIO. FERRIS</stage_direction> <scene_description>He put his headphones on .</scene_description> </scene> <scene> <stage_direction>EXT. FERRIS' HOUSE</stage_direction> <scene_description>Jeanie 's car pull in the driveway . We hear her car radio .</scene_description> <character>D.J.</character> <dialogue>His name is Ferris Mueller.</dialogue> <character>FERRIS</character> <dialogue>Bueller. Ferris Bueller.</dialogue> </scene> <scene> <stage_direction>INT. CAR. JEANIE</stage_direction> <scene_description>She goes into shock . Her eyes blink , her head cocks .</scene_description> <character>D.J.</character> <dialogue>Sorry about that.</dialogue> <character>FERRIS</character> <dialogue>It's cool.</dialogue> <scene_description>Jeanie draws back and punches out her radio . CU . CAR ANTENNA The impact of her blow to the radio shoots the antenna in the air .</scene_description> </scene> <scene> <stage_direction>INT. STUDIO</stage_direction> <scene_description>Ferris leans forward and adjusts the microphone .</scene_description> <character>D.J.</character> <dialogue>He has an incredible story.</dialogue> <scene_description>Ferris turns to CAMERA .</scene_description> <character>FERRIS</character> <dialogue>I'm going to tell a massive lie here. It's going to by very thick and very steamy. I think radio's a facinating medium, it challenges the imagination. Unlike television which provides the images, radio.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>You know this. Anyway, it's always been a dream of mine to be on the radio. I have what I consider to be an excellent broadcast voice. I practise it in the bathroom all the time. I used to play records and do introductions to them. But I've never had the chance to sit behind a microphone and try it out for real. This is a 50,000 watt outlet. I'm going out to several million people so let me just say, I'm in a very pleasant groove right now.</dialogue> <parenthetical>( clears his voice , speaks into the mike , affects a `` radio '' voice . )</parenthetical> <dialogue>Well, Steve, you and your listeners are probably not going to believe this but.</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL</stage_direction> <scene_description>A group of kids are sitting around a blaster .</scene_description> <character>FERRIS' VOICE</character> <dialogue>I'm the first Chicago area youth to be selected to participate in a space shuttle mission.</dialogue> </scene> <scene> <stage_direction>INT. STUDIO</stage_direction> <scene_description>Ferris turns from the mike to CAMERA .</scene_description> <character>FERRIS</character> <dialogue>I was going to say I knew Springsteen's home phone number and I was going to give out the number of the New Jersey State Police but I thought I might get busted. After I got flunked in driver's ed for sideswiping a mail box, which was not in any way, shape or from my fault. I was putting out a cigarette, like I was told. It was weird. I'm so used to getting in a car and lighting up, because I'm not allowed to smoke at home, that I got in the driver's ed. car and spaced completely, pulled out of the lot, lit up a ` boro and Mrs. Heller looked at me like I'd just pulled a bunny out of my nose or something and I realized what the hell I was doing and I went to put it out and hit the mail box. Anyway, I was so pissed off at her reaction to the whole thing that I considered running an ad in a sleaze magazine for a school teacher that does phone sex and I was gon na use Mrs. Heller's home number but is cost too much. I took it again and passed. But I had to work at Burger King to get the cash to pay for the driver's ed. car. The car got fixed in auto shop for nothing and I think Rooney pocketed the cash. But I ca n't prove it? I'm in high school, remember?</dialogue> <scene_description>He turns back to the DJ .</scene_description> <character>D.J.</character> <dialogue>How did you get picked for this.</dialogue> <character>FERRIS</character> <dialogue>It's kind of a long story but I've been doing alot of programming for NASA.</dialogue> </scene> <scene> <stage_direction>INT. SCHOOL. HALLWAY</stage_direction> <scene_description>A even larger group of kids is listening to the blaster . They 're cheering him on .</scene_description> </scene> <scene> <stage_direction>EXT. FERRIS' HOUSE. BACKYARD</stage_direction> <scene_description>The Rottweiler is laying unconscious on the lawn . The flower arrangement is scattered all over the yard and the ceramic vase the flowers were in has obviously struck the dog . The broken pieces are all around the dog 's head .</scene_description> </scene> <scene> <stage_direction>EXT. FERRIS HOUSE. BACKYARD. ROONEY</stage_direction> <scene_description>He 's smiling with great satisfaction .</scene_description> <character>ROONEY</character> <dialogue>Sleep tight, pooch.</dialogue> <scene_description>He hears something in the house . His head snaps around . He drops down and peek in the windows . HIS POV A glimpse of a fleeting figure . CU . ROONEY His eyes dance in anticipation of revenge .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE. FERRIS' ROOM</stage_direction> <scene_description>Jeanie kicks the door open . The yardstick flings the covers and the pillows beneath them in the air . She stomps in and turns off the snoring synthesizer .</scene_description> <character>JEANIE</character> <dialogue>I knew it!</dialogue> <scene_description>She grabs the phone and sits down . She dials a number .</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE. FRONT</stage_direction> <scene_description>Rooney sneaks around the side of the house . He slinks up on the porch . The front door 's open . He peeks in .</scene_description> </scene> <scene> <stage_direction>INT. FERRIS' ROOM</stage_direction> <scene_description>Jeanie 's on the phone .</scene_description> <character>JEANIE</character> <dialogue>Is Mrs. Bueller there? Where is she? This is her daughter. Do you know where she is? Do you know when she'll be back? Do you know anything?</dialogue> <scene_description>She slams the phone down .</scene_description> <character>JEANIE</character> <dialogue>The worm has luck like clams have body odor.</dialogue> <scene_description>She 's startled by a noise downstairs . A smile spreads across her face . He 's back and she 's going to nail him .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE. FOYER</stage_direction> <scene_description>Rooney sneaks into the house . He looks around the foyer and heads into the kitchen .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE. UPSTAIRS HALLWAY</stage_direction> <scene_description>Jeanie tiptoes down the stairs .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE. KITCHEN</stage_direction> <scene_description>Rooney sneaks through the kitchen into the den .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE. FOYER</stage_direction> <scene_description>Jeanie comes down the stairs into the foyer .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE. KITCHEN</stage_direction> <scene_description>Rooney comes out of the den , back into the kitchen . He crosses back toward the foyer .</scene_description> </scene> <scene> <stage_direction>INT. FOYER</stage_direction> <scene_description>Jeanie sneaks into the kitchen .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Jeanie and Rooney come face - to - face . Jeanie squeals in horror . She does n't recognize Rooney as himself but as an intruder . She drops into a karate stance and kicks Rooney in the face . He hits the deck . She flees back up the stairs .</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Boyd is sitting in the backseat of Joyce 's car listening to the radio .</scene_description> <character>FERRIS' VOICE</character> <dialogue>My input on the Star Wars defense plan was pretty substantial so I guess this is their way of rewarding me. I'm pretty flattered.</dialogue> </scene> <scene> <stage_direction>EXT. CAR</stage_direction> <scene_description>Joyce and her clients leave a show house and head toward the car .</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>Boyd looks out the window as his parents and Joyce appear .</scene_description> <character>D.J. VOICE</character> <dialogue>Can you stay around and take a few phone calls?</dialogue> <character>FERRIS' VOICE</character> <dialogue>I'd really like to but I have a kidney operation in about an hour.</dialogue> </scene> <scene> <stage_direction>EXT. CAR</stage_direction> <scene_description>Joyce and her clients take one last look at the house .</scene_description> <character>JOYCE</character> <dialogue>If you're willing to commit a little time and a little money to this place, you can really have something to be proud of. Do n't let the black living room throw you off.</dialogue> <scene_description>She opens the car door .</scene_description> </scene> <scene> <stage_direction>INT. CAR</stage_direction> <scene_description>The door opens .</scene_description> <character>D.J. VOICE</character> <dialogue>I wish you the best of luck.</dialogue> <character>FERRIS' VOICE</character> <dialogue>Thanks, Steve.</dialogue> <character>D.J. VOICE</character> <dialogue>A very interesting guy, Ferris Bueller.</dialogue> <scene_description>Joyce gets in . The clients get in the other side . A song starts .</scene_description> <character>JOYCE</character> <parenthetical>( to the kid . )</parenthetical> <dialogue>Well, Boyd, how are you bearing up?</dialogue> <scene_description>The kid stares at her .</scene_description> <character>JOYCE</character> <dialogue>Did I tell you I have a son your age?</dialogue> <character>BOYD</character> <dialogue>Twice.</dialogue> <character>JOYCE</character> <dialogue>His name is Ferris. I think you'd like him.</dialogue> <scene_description>Boyd sits up in the seat at the mention of Ferris ' name .</scene_description> <character>BOYD</character> <dialogue>Is he going up in the space shuttle in September?</dialogue> <scene_description>Joyce looks around at Boyd . She gives him a curious look .</scene_description> <character>JOYCE</character> <dialogue>Not that I know of.</dialogue> <character>BOYD</character> <dialogue>I knew he was bullshitting.</dialogue> <character>MOTHER</character> <dialogue>Watch your mouth.</dialogue> <character>BOYD</character> <dialogue>How do you watch your mouth?</dialogue> <character>JOYCE</character> <dialogue>Do you know my son?</dialogue> <character>FATHER</character> <dialogue>Do n't pay any attention to him. He thinks it's cute to bait adults.</dialogue> <character>BOYD</character> <dialogue>I do n't think it's cute. I think it's fun.</dialogue> <scene_description>Joyce give him a puzzled smile and starts the car .</scene_description> </scene> <scene> <stage_direction>INT. FERRIS' ROOM</stage_direction> <scene_description>Jeanie 's on the phone . She 's in a panic .</scene_description> <character>JEANIE</character> <dialogue>This is not a phoeny phone call. There's an intruder, male caucasian, possibly armed, certainly weird, in our kitchen.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>My name is Bueller.</dialogue> <scene_description>There 's another pause . Jeanie 's face drops .</scene_description> <character>JEANIE</character> <dialogue>It's real nice that you hope my brother's feeling better but I'm in danger, okay? I'm very cute, I'm very alone and I'm very protective of my body. I'd rather not have it violated or killed. I need help!</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Rooney 's plugging his bloody nose with paper towel . The intercom goes on .</scene_description> <character>JEANIE'S VOICE</character> <dialogue>Excuse me. If whoever's in the house is still in the house, I'd like you to know that I have just called the police. If you have any brains whatsoever, you'll get your ass out of my house real quick.</dialogue> <scene_description>Rooney stiffens with fear .</scene_description> <character>JEANIE'S VOICE</character> <dialogue>I'd also like to add that I have my father's gun. And a scorching case of herpes.</dialogue> </scene> <scene> <stage_direction>EXT. STREET</stage_direction> <scene_description>Rooney 's car is hooked to a tow truck . It 's parked in front of a fire hydrant and the windshield is decorated with parking citations . In the distance SIRENS WAIL .</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT</stage_direction> <scene_description>The three are waiting for the Ferrari . We HEAR TIRES SQUEALING , AN ENGINE REVING - OUT . Then the Ferrari pulls down the ramp and jams to a frightening stop . A BLACK GUY jumps out . Ferris hands him the parking stub .</scene_description> <character>FERRIS</character> <dialogue>Just out of curiosity, what was your top speed coming down the ramp?</dialogue> <character>BLACK GUY</character> <parenthetical>( matter - of - fact . )</parenthetical> <dialogue>About 60.</dialogue> <character>FERRIS</character> <dialogue>Stunning!</dialogue> <scene_description>He hands him a buck and opens the door and pulls the passenger seat forward for Cameron .</scene_description> <character>FERRIS</character> <dialogue>This is probably the last time you'll have to ride back here. Keep that in mind.</dialogue> <scene_description>Cameron gives him a look and squeezes in .</scene_description> </scene> <scene> <stage_direction>EXT. DOWNTOWN STREET</stage_direction> <scene_description>The Ferrari cruises through traffic .</scene_description> </scene> <scene> <stage_direction>INT. FERRARI</stage_direction> <scene_description>Sloane 's in the passenger seat . Ferris is driving and Cameron is crammed in the back .</scene_description> <character>SLOANE</character> <dialogue>What's next.</dialogue> <character>CAMERON</character> <dialogue>Nothing. We return the car.</dialogue> <character>SLOANE</character> <dialogue>We could go to my house. My parents are n't coming home until late.</dialogue> <character>FERRIS</character> <dialogue>We have enough cash left for a quick flight to Peoria and back.</dialogue> <character>CAMERON</character> <dialogue>Very funny.</dialogue> <scene_description>Ferris looks in the mirror and changes lanes . He glances down at the speedometer , then to the road . And back to the speedometer .</scene_description> <character>FERRIS</character> <dialogue>Cameron? How many miles did you say this thing had when we left?</dialogue> <character>CAMERON</character> <dialogue>One hundred and twenty six and halfway between three and four tenths. Why? How many miles are on it now?</dialogue> <scene_description>He glances down at the speedometer . CU . SPEEDOMETER The odometer reads 432.7 .</scene_description> <character>FERRIS</character> <parenthetical>( to CAMERA . )</parenthetical> <dialogue>Here's where Cameron goes berserk.</dialogue> </scene> <scene> <stage_direction>EXT. TRAFFIC</stage_direction> <scene_description>The Ferrari pulls up at a stop light . We HEAR A THUNDERING , MUFFLED SCREAM .</scene_description> </scene> <scene> <stage_direction>EXT. EXPRESSWAY</stage_direction> <scene_description>The Ferrari is buzzing through traffic .</scene_description> </scene> <scene> <stage_direction>INT. FERRARI</stage_direction> <scene_description>Sloane turns in her seat and looks at Cameron . Her gesture is one of genuine support .</scene_description> <character>SLOANE</character> <dialogue>You okay?</dialogue> <scene_description>CU . CAMERON His eyes are frozen in a mindless , vacant stare . CU . FERRIS He looks at Sloane . He 's concerned .</scene_description> <character>FERRIS</character> <dialogue>Hey, Cameron. It's okay. We'll fix it.</dialogue> <scene_description>CU . CAMERON He 's still holding the stare . He starts to breathe heavily . He 's trembling . CU . SLOANE She whips around in the seat and grabs his arms .</scene_description> <character>SLOANE</character> <dialogue>Cameron! Cut it out! What's wrong?! Ferris!</dialogue> <scene_description>CU . FERRIS He shoots Sloane a look .</scene_description> <character>FERRIS</character> <dialogue>Cameron, are you okay? It's no problem, really. Your old man wo n't know a thing. It's completely fixable.</dialogue> </scene> <scene> <stage_direction>INT. FERRARI</stage_direction> <scene_description>Sloane fires an angry look at Ferris .</scene_description> <character>SLOANE</character> <dialogue>Shut - up! It is a problem! For him it's a problem. Nothing's a problem for you. But it's a problem for him! So, just shut - up.</dialogue> <scene_description>She turns back to Cameron .</scene_description> <character>SLOANE</character> <dialogue>What can I do, Cameron?</dialogue> <scene_description>CU . FERRIS Eyes front . He knows what he 's doing .</scene_description> </scene> <scene> <stage_direction>INT. FERRIS' HOUSE. FOYER</stage_direction> <scene_description>The doorbell rings . The Ferris ' tape is activated .</scene_description> <character>FERRIS VOICE</character> <dialogue>Who is it?</dialogue> <scene_description>We hear a MALE VOICE over the intercom .</scene_description> <character>VOICE</character> <dialogue>Anybody home?</dialogue> <character>FERRIS' VOICE</character> <dialogue>I'm sorry that I ca n't come to the door right now.</dialogue> <scene_description>The tape continues as Jeanie hurtles down the stairs .</scene_description> <character>JEANIE</character> <dialogue>I'm saved! Thank you, God! Thank you, thank you, thank you!</dialogue> <scene_description>She jumps the last few stairs and slides to the front door . She whips it open .</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE. FRONT DOOR</stage_direction> <scene_description>The door swings open .</scene_description> <character>JEANIE</character> <dialogue>Thank. you.</dialogue> <scene_description>Her jaw goes slack . She blinks her eyes . HER POV The Delivery Man and a young ASSISTANT are standing at the door with floral arrangements . Spread all around them are more flowers . A sexy singing NURSE and a BALLOON MAN steps up on the porch .</scene_description> <character>NURSE</character> <parenthetical>( sings . )</parenthetical> <dialogue>WE HOPE YOU'RE FEELING BETTER WE HOPE YOU'RE FELLING FIT WE.</dialogue> <scene_description>The door slams shut .</scene_description> </scene> <scene> <stage_direction>EXT. NEIGHBORHOOD STREET</stage_direction> <scene_description>Rooney 's walking down the street . A school bus is crawling alongside him as kids hang out the windows . From inside we hear SHOUTING and seventeen different SONGS PLAYING ON BLASTERS . A top forty montage .</scene_description> <character>KID</character> <dialogue>Hey, Mr. Rooney! What're you doing?</dialogue> <scene_description>Rooney does n't respond .</scene_description> <character>ANOTHER KID</character> <dialogue>Did you get in a fight?</dialogue> <scene_description>Rooney keep walking . The bus doors open . The DRIVER calls out to him .</scene_description> <character>DRIVER</character> <dialogue>You want a lift?</dialogue> <scene_description>Rooney takes a few more steps . He stops . The bus stops . Rooney takes a deep breath . He climbs aboard the bus .</scene_description> </scene> <scene> <stage_direction>INT. BUS</stage_direction> <scene_description>The bus is jammed with WONKS and WEINERETTES . The passengers are silent as they watch Rooney shuffle down the aisle and take an empty seat next to a skinny , myopic GIRL . CU . GIRL She looks at Rooney and smiles . She pushes her Coke bottle glasses up on her nose . CU . ROONEY He looks vacantly at her . CU . GIRL She holds her smile .</scene_description> <character>GIRL</character> <dialogue>I'll bet you never smelled a real school bus before.</dialogue> <scene_description>CU . ROONEY He stares at her . CU . GIRL She holds up a candy package .</scene_description> <character>GIRL</character> <dialogue>Gummi Bear?</dialogue> <scene_description>CU . ROONEY He stares at her . CU . GIRL She puts one in her mouth .</scene_description> <character>GIRL</character> <dialogue>They've been in pocket. They're real soft and warm.</dialogue> <scene_description>CU . BOY A rotund FRESHMAN BOY sitting across from Rooney is staring at him . CU . ROONEY He looks across to the kid . CU . BOY He leans forward .</scene_description> <character>FRESHMAN BOY</character> <dialogue>It's kind of like being in the belly of the beast is n't it?</dialogue> <scene_description>CU . ROONEY He turns him eyes to the front . The bus jerks forward and pulls away .</scene_description> </scene> <scene> <stage_direction>EXT. BUS</stage_direction> <scene_description>It grinds through the gears as it heads down the quiet street . The BLASTERS go back on , the SHOUTING RESUMES .</scene_description> </scene> <scene> <stage_direction>EXT. PARK</stage_direction> <scene_description>Cameron 's laying on a picnic table . Sloane 's sitting beside him on the table . She 's stroking his hair . Ferris WALKS INTO THE FOREGROUND . He addresses CAMERA .</scene_description> <character>FERRIS</character> <dialogue>This may very well be for real. I think Cameron might have blown a micro - chip or two. He's always been a little keyed - up. All I wanted to do was give him a good day. We're gon na graduate in a couple of months. Then we have the summer. He'll work and I'll work. And we'll see each other at night and on the weekends but then he'll go to one school and I'll go to another. And basically that'll be it. As much as we like each other, the process of growing up will separate us.</dialogue> <scene_description>He begins to walk . We follow him .</scene_description> <character>FERRIS</character> <dialogue>Sloane's a bigger problem. She still has another year of high school. How do I deal with that? I was serious when I said I'd marry her. I would. This is n't just teenage infatuation. That's what my parents call it. What do they call what they have? If that's love, I'll take infatuation.</dialogue> <scene_description>CU . CAMERON His eyes are closed . Sloane 's stroking his hair .</scene_description> <character>FERRIS</character> <parenthetical>( VO . )</parenthetical> <dialogue>Cameron's never been in love. At least no one's ever been in love with him. He's gon na marry the first girl he lays. And she's gon na treat him like shit because he's gon na kiss her ass for giving him what he's built - up in his mind as the end - all, be - all of human existance. She wo n't respect him because you ca n't respect someone who kisses your ass. It just does n't work.</dialogue> <scene_description>CU . SLOANE She 's studying Cameron 's face . She looks away .</scene_description> <character>SLOANE</character> <dialogue>Ferris?</dialogue> <scene_description>CU . FERRIS He looks to the picnic table . Then back to CAMERA .</scene_description> <character>FERRIS</character> <dialogue>I'm being tested here.</dialogue> <scene_description>He starts back to the picnic table .</scene_description> <character>FERRIS</character> <dialogue>My best friend has flipped - out. Conventional wisdom would suggest a visit to the nearest trauma center. I would n't fault anybody for doing that. My, personally, I think this calls for something new, something bold, something wet and wild.</dialogue> <scene_description>CU . JACUZZI JET UNDERWATER SHOT . A hyrdojet spews a gush of air bubbles . CU . BLASTER A finger pushes the PLAY button on the cassette . MUSIC COMES UP . CU . BEER CAN LID The finger pops a beer . CU . OREO PACKAGE A painted fingernail pierces the cellophane wrapper .</scene_description> </scene> <scene> <stage_direction>INT. JACUZZI</stage_direction> <scene_description>Ferris and Sloane are in Sloane 's parents ' Jacuzzi . Their clothes are tosssed around the deck . Cameron 's been placed in a patio chair at the edge of the Jacuzzi . He 's still catatonic . He 's mummbling softly . Ferris is drinking a beer . Sloane 's eating Oreos .</scene_description> <character>FERRIS</character> <dialogue>You feeling any better, Cameron?</dialogue> <character>SLOANE</character> <dialogue>The water's really nice. I wish you'd come in.</dialogue> <scene_description>CU . CAMERON Staring into space .</scene_description> <character>CAMERON</character> <dialogue>Surgery. fire. move.</dialogue> <scene_description>CU . SLOANE AND FERRIS They look at each other . She offers him a cookie . He offers her his beer .</scene_description> <character>FERRIS</character> <dialogue>Cameron? Do you think this because of the car or is it a combination of everything shitty in your life?</dialogue> <scene_description>CU . CAMERON He does n't respond .</scene_description> <character>CAMERON</character> <dialogue>Music. kiss. attack.</dialogue> <scene_description>CU . SLOANE AND FERRIS Sloane sips the beer .</scene_description> <character>FERRIS</character> <dialogue>You just ca n't deal with anymore shit? The car took you into the red zone? Time for a reality check?</dialogue> <character>SLOANE</character> <dialogue>Cameron? I could flip real easy, too. There's nothing wrong with it. At one time or another, everybody goes to the zoo.</dialogue> <character>FERRIS</character> <dialogue>Maybe he was actually sick. Maybe he was n't bullshitting himself.</dialogue> <scene_description>CU . CAMERON No response .</scene_description> <character>CAMERON</character> <dialogue>Gesundheit. God. mercy.</dialogue> </scene> <scene> <stage_direction>EXT. BACKYARD</stage_direction> <scene_description>Ferris and Sloane watch their catatonic friend . CU . CAMERON He smiles . CU . SLOANE She leans forward and stares at Cameron . CU . FERRIS He cocks his head , wondering what Cameron 's up to . CU . CAMERON He keels over forward .</scene_description> </scene> <scene> <stage_direction>EXT. BACKYARD</stage_direction> <scene_description>Cameron falls out of the chair and splashes down , face - first , into the water . Sloane screams . Ferris leaps for him . UNDERWATER Ferris struggles with Cameron 's lifeless bulk . CU . SLOANE She 's screaming . Ferris thrashes around in the water . UNDERWATER Ferris grabs Cameron 's collar and rips him out of the water .</scene_description> </scene> <scene> <stage_direction>EXT. BACKYARD</stage_direction> <scene_description>Ferris sits Cameron on the edge of the Jacuzzi .</scene_description> <character>FERRIS</character> <dialogue>CAMERON!</dialogue> <scene_description>CU . CAMERON His eyes are closed . He 's lifeless . CU . FERRIS His face is a mask of terror . He shakes Cameron . CU . SLOANE She 's screaming . CU . CAMERON A smile spreads across his face . CU . FERRIS He sees the smile . He stops shaking Cameron .</scene_description> </scene> <scene> <stage_direction>EXT. JACUZZI</stage_direction> <scene_description>Ferris and Cameron are looking at each other . Sloane 's still screaming . She realizes that Cameron 's okay . She stops screaming .</scene_description> <character>SLOANE</character> <dialogue>What?</dialogue> <character>FERRIS</character> <parenthetical>( Cameron . )</parenthetical> <dialogue>You asshole!</dialogue> <scene_description>Cameron 's smiling .</scene_description> <character>SLOANE</character> <dialogue>What?</dialogue> <scene_description>Ferris starts to laugh . Cameron explodes with laughter . Sloane 's bewildered .</scene_description> <character>SLOANE</character> <dialogue>What's so funny?</dialogue> </scene> <scene> <stage_direction>INT. POLICE STATION. WAITING ROOM</stage_direction> <scene_description>Jeanie 's sitting on a wooden bench with a WASTED TEENAGE BOY in a Triumph t - shirt , long hair , torn jeans , creepers , studs and chains . He 's studying her .</scene_description> <character>BOY</character> <dialogue>Drugs?</dialogue> <character>JEANIE</character> <dialogue>No, thank you. I'm straight.</dialogue> <character>BOY</character> <dialogue>I meant, are you here for drugs?</dialogue> <scene_description>Jeanie stares at him .</scene_description> <character>JEANIE</character> <dialogue>Why are you here?</dialogue> <character>BOY</character> <dialogue>Drugs.</dialogue> <character>JEANIE</character> <dialogue>I do n't know why I'm here.</dialogue> <character>BOY</character> <dialogue>Then why do n't you go home?</dialogue> <character>JEANIE</character> <dialogue>Why do n't you put your thumb up your butt?</dialogue> <scene_description>The boy stares at her .</scene_description> <character>BOY</character> <dialogue>You want to talk about your problem?</dialogue> <character>JEANIE</character> <dialogue>With you? Are you serious?</dialogue> <character>BOY</character> <dialogue>Yeah, I'm serious.</dialogue> <character>JEANIE</character> <dialogue>Blow yourself.</dialogue> <scene_description>Jeanie turns away . The boy crosses his legs . Jeanie looks back at him .</scene_description> <character>JEANIE</character> <dialogue>You really want to know what's wrong?</dialogue> <scene_description>The boy shrugs .</scene_description> <character>JEANIE</character> <dialogue>Alright. If you've got the time, I've got the troubles. In a nutshell, I hate my brother. How's that?</dialogue> <character>BOY</character> <dialogue>That's cool. Did you shoot him or something?</dialogue> <character>JEANIE</character> <dialogue>No, not yet.</dialogue> <scene_description>The boy nods . He understands the emotion .</scene_description> <character>JEANIE</character> <dialogue>I went home to confirm that the shithead was ditching school and a guy broke into the house and I called the cops and they picked me up for making a phoney phone call.</dialogue> <character>BOY</character> <dialogue>What do you care if your brother ditches school?</dialogue> <scene_description>Jeanie stares at the boy .</scene_description> <character>JEANIE</character> <dialogue>Why should he get to ditch school when everybody else has to go?</dialogue> <character>BOY</character> <dialogue>You could ditch.</dialogue> <character>JEANIE</character> <dialogue>I'd get caught.</dialogue> <character>BOY</character> <dialogue>So, you're pissed at him because he ditches and does n't get caught?</dialogue> <character>JEANIE</character> <dialogue>Basically.</dialogue> <scene_description>The boy nods knowingly .</scene_description> <character>BOY</character> <dialogue>Then your problem is you.</dialogue> <character>JEANIE</character> <dialogue>Excuse me?</dialogue> <character>BOY</character> <dialogue>Excuse you. You oughta spend a little more time dealing with yourself and a little less time worrying about what your brother does. It's just an opinion.</dialogue> <scene_description>Jeanie stares angrily at him . Partly because he 's so bold and partly because he 's so right .</scene_description> <character>BOY</character> <dialogue>There's somebody you should talk to.</dialogue> <scene_description>Jeanie stares at him threateningly .</scene_description> <character>JEANIE</character> <dialogue>If you say Ferris Bueller, you lose a testicle.</dialogue> <character>BOY</character> <dialogue>You know him?</dialogue> <scene_description>CU . JEANIE 'S HAND It curls into a fist . CU . FERRARI TIRE It 's spinning rapidly . CY . ACCELERATOR A brick 's resting on the accelerator , holding it down .</scene_description> </scene> <scene> <stage_direction>INT. CAMERON'S GARAGE</stage_direction> <scene_description>Ferris , Cameron and Sloane are sitting in the garage . The Ferrari is jacked up . The wheels are turning . The engine 's racing .</scene_description> <character>CAMERON</character> <dialogue>The whole time I was just thinking things over. I was like, meditating. I was thinking about the future. And I realized it does n't make and difference if the present goes to shit.</dialogue> <character>FERRIS</character> <dialogue>I have a agree with you there.</dialogue> <character>SLOANE</character> <dialogue>Really.</dialogue> <character>CAMERON</character> <dialogue>I've been thinking all day that if you could only have the use of one word, what would it be?</dialogue> <character>FERRIS</character> <dialogue>Sloane is naked before your eyes and you're thinking about words?</dialogue> <character>SLOANE</character> <dialogue>God bless you, Cameron.</dialogue> <character>CAMERON</character> <dialogue>Thank you, Sloane.</dialogue> <character>CAMERON</character> <dialogue>If you guys only had one word, what would it be?</dialogue> <character>FERRIS</character> <dialogue>I ca n't believe you'd think up something like with a naked girl in a jacuzzi right in front of you.</dialogue> <character>SLOANE</character> <dialogue>Come on, Ferris, answer his question.</dialogue> <character>FERRIS</character> <dialogue>Bathroom.</dialogue> <character>SLOANE</character> <dialogue>I'd say.</dialogue> <scene_description>She thinks .</scene_description> <character>FERRIS</character> <dialogue>Cash.</dialogue> <character>CAMERON</character> <dialogue>It's the only word you could ever use.</dialogue> <character>FERRIS</character> <dialogue>Hello.</dialogue> <character>SLOANE</character> <dialogue>Love.</dialogue> <character>FERRIS</character> <dialogue>And what is you loathe somebody? Are you going to say `` love'' every time you see them?</dialogue> <character>SLOANE</character> <dialogue>It's better than `` hello''.</dialogue> <character>FERRIS</character> <dialogue>Hellos' generic.</dialogue> <character>SLOANE</character> <dialogue>You wan na be generic?</dialogue> <character>CAMERON</character> <dialogue>It's help.</dialogue> <scene_description>Cameron smiles at his wisdom . Ferris and Sloane think about it . It 's a good choice . Cameron gets up and walks to the Ferrari .</scene_description> <character>CAMERON</character> <dialogue>The word is help.</dialogue> <scene_description>Cameron peeks in the window . CU . ODOMETER Nothing 's happening .</scene_description> </scene> <scene> <stage_direction>INT. GARAGE</stage_direction> <scene_description>Cameron pulls his head out of the car .</scene_description> <character>CAMERON</character> <dialogue>Ferris? It's not working.</dialogue> <scene_description>Ferris looks up .</scene_description> <character>CAMERON</character> <dialogue>The miles are n't coming off, running it in reverse.</dialogue> <character>FERRIS</character> <dialogue>I thought that might be a problem. Let's crack open the odometer and roll it back by hand.</dialogue> <scene_description>Cameron shakes his head .</scene_description> <character>CAMERON</character> <dialogue>I got a better idea. It's cool.</dialogue> <scene_description>He walks back around behind the Ferrari .</scene_description> <character>CAMERON</character> <dialogue>Seventeen years and I've never taken a stand. Now, I'm gon na do it. I'm taking a stand against my father, against my family, against myself, against my past, my present and my future. I will not sit idly by as events that affect me unfold to change the course of my life. I will take a stand and I will defend it. When my father comes home tonight, he's finally going to have to deal with me. Good or bad, I'm taking a stand.</dialogue> <scene_description>CU . FERRIS He turns to CAMERA .</scene_description> <character>FERRIS</character> <dialogue>This is a big U - 2 fan.</dialogue> <scene_description>CU . SLOANE She smiles proudly at Cameron . She applauds him . CU . CAMERON He 's serious and determined . He has made up his mind and it appears that it wo n't be changed by anyone but himself . CU . TIRES It 's spinning wildly . CU . MERCEDES BUMPER Cameron 's foot rests on the bumper . A beat and it gives a mighty shove . CU . TIRE The spinning tires slam down on the cement .</scene_description> </scene> <scene> <stage_direction>INT. GARAGE</stage_direction> <scene_description>Cameron has kicked the Ferrari off the jack . It squeals out of the garage in a cloud of blue tire smoke . A $ 50,000 unmanned investment heading backwards down a driveway . CU . SLOANE AND FERRIS They 're in shock .</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE</stage_direction> <scene_description>The Ferrari shoots down the driveway .</scene_description> </scene> <scene> <stage_direction>INT. GARAGE</stage_direction> <scene_description>Cameron watches the car go . He 's strangely placcid about the impending disaster . Ferris and Sloane are bewildered . THEIR POV The Ferrari travels down the driveway , across the street , over the curb into the wooded property opposite the house . CU . TREE The Ferrari 's brief journey ends as it smacks a tree trunk .</scene_description> </scene> <scene> <stage_direction>INT. GARAGE</stage_direction> <scene_description>Ferris and Sloane exchange baffled looks . They look at Cameron . He 's proud and bold .</scene_description> <character>FERRIS</character> <dialogue>What was that about?</dialogue> <character>SLOANE</character> <dialogue>This has to be a dream.</dialogue> <character>FERRIS</character> <dialogue>Cameron? One quick question. Why'd you do that?</dialogue> <scene_description>Cameron holds his proud posture for a beat . Then a look of bewilderment comes over his face . He shoots a look to Ferris . A puzzled look .</scene_description> <character>FERRIS</character> <dialogue>You trashed the car.</dialogue> <scene_description>Cameron looks across the street .</scene_description> <character>SLOANE</character> <dialogue>Why?</dialogue> <character>CAMERON</character> <dialogue>I took a stand.</dialogue> <character>FERRIS</character> <dialogue>No, Cameron. You wrecked a car.</dialogue> <scene_description>Cameron thinks for a moment . Then he regains his confidence .</scene_description> <character>CAMERON</character> <dialogue>It's okay.</dialogue> <scene_description>Ferris looks across the street at the car .</scene_description> <character>FERRIS</character> <dialogue>I have an idea. If you're interested.</dialogue> <scene_description>Cameron looks at him . He shakes his head .</scene_description> <character>CAMERON</character> <dialogue>I'm gon na handle it.</dialogue> <character>FERRIS</character> <dialogue>I think this could work.</dialogue> <character>CAMERON</character> <dialogue>No, thanks. I want to deal with it by myself.</dialogue> <character>SLOANE</character> <dialogue>What about your one word?</dialogue> <character>CAMERON</character> <dialogue>You already did it. If I need it again, I'll use it.</dialogue> <scene_description>He smiles . He raises am impish eyebrow .</scene_description> <character>CAMERON</character> <dialogue>It's cool. I'm loose.</dialogue> </scene> <scene> <stage_direction>INT. POLICE STATION. OFFICE</stage_direction> <scene_description>Joyce is talking with the juvenile officer . Outside the office , on the bench , we see Jeanie and the boy making out .</scene_description> <character>JOYCE</character> <dialogue>She's never been in trouble before. This is a shock to me. First, I do n't know why she was n't at school. Second, I do n't know why she'd call you with this story about a rapist.</dialogue> <character>OFFICER</character> <dialogue>For whatever reasons she did it, I think she'd had a good scare.</dialogue> <character>JOYCE</character> <dialogue>I hope so. I appreciate your calling me. I can assure you that her father and I will have a long talk with her.</dialogue> <scene_description>The gathers her purse and jacket and stands .</scene_description> <character>JOYCE</character> <dialogue>Thank you.</dialogue> <character>OFFICER</character> <dialogue>Oh, by the way, I hope you son's feeling better.</dialogue> <scene_description>Joyce looks at the officer curiously .</scene_description> <character>OFFICER</character> <dialogue>Tell him, all the guys at the station here are pulling for him.</dialogue> </scene> <scene> <stage_direction>INT. POLICE STATION. WAITING ROOM</stage_direction> <scene_description>Jeanie quickly breaks the embrace with the boy as Joyce steps out of the juvenile officer 's room . She 's still a little bewildered that everybody knows Ferris was ill . Jeanie wipes her lips and sits up straight . The boy adjusts his pants to better hide his passion .</scene_description> <character>JEANIE</character> <parenthetical>( to the boy . )</parenthetical> <dialogue>If you keep this to yourself, I think we can probably get it on pretty good.</dialogue> <character>BOY</character> <dialogue>For sure.</dialogue> <scene_description>Jeanie stands up .</scene_description> <character>JEANIE</character> <dialogue>Hi.</dialogue> <character>JOYCE</character> <dialogue>Do n't `` hi'' me, young lady. Get your stuff.</dialogue> <scene_description>Jeanie reaches down for her purse .</scene_description> <character>BOY</character> <dialogue>What's your name?</dialogue> <character>JEANIE</character> <dialogue>Jean. What's yours?</dialogue> <character>BOY</character> <dialogue>Garth Volbeck.</dialogue> </scene> <scene> <stage_direction>EXT. SLOANE'S BACKYARD</stage_direction> <scene_description>Sloane and Ferris are standing at the back fence .</scene_description> <character>SLOANE</character> <dialogue>I had a great time today.</dialogue> <character>FERRIS</character> <dialogue>Yeah. It was pretty cool.</dialogue> <character>SLOANE</character> <dialogue>You think Cameron's gon na be alright?</dialogue> <character>FERRIS</character> <dialogue>Sure. He had to so it, I guess. His old man had it coming. He'll be okay. I'd be worried if he'd taken my idea.</dialogue> <scene_description>Sloane smiles knowingly .</scene_description> <character>SLOANE</character> <dialogue>You did n't have an idea, did you?</dialogue> <character>FERRIS</character> <dialogue>Not a glimmer.</dialogue> <character>SLOANE</character> <dialogue>You're so smart.</dialogue> <character>FERRIS</character> <dialogue>No. I'm just real loose.</dialogue> <scene_description>He kisses her .</scene_description> <character>FERRIS</character> <dialogue>I'll call you tonight.</dialogue> <scene_description>Sloane nods . Ferris jumps the fence and takes off across the backyards . Sloane watches him go . A huge smile spreads across her face .</scene_description> <character>SLOANE</character> <dialogue>I LOVE YOU!</dialogue> <scene_description>She backs away from the fence . MUSIC FADES UP .</scene_description> <character>SLOANE</character> <dialogue>He's gon na marry me. I know it.</dialogue> <scene_description>She turns and runs into the house .</scene_description> </scene> <scene> <stage_direction>EXT. BACKYARD</stage_direction> <scene_description>Ferris sprints across a backyard . He jumps a plaster elf .</scene_description> </scene> <scene> <stage_direction>EXT. ANOTHER BACKYARD</stage_direction> <scene_description>Ferris vaults a fence . He runs directly for a swimming pool . He 's approaching it from the side . He leaps , hits the diving board , springs off , does a flip and lands on the grass on the other side of the pool . CU . BEDSPREAD Neatly bundles stacks of bills and rolled coins . A significant amount of cash . CU . SLOANE She 's writing . CU . PIECE OF PAPER We see a portion of the typewritten letter as she signs it . '' . in the amount of $ 1,765.33 . It gives us great pleasure to assist you in performance of your worthy and much needed survives to those so desperately in need .</scene_description> <character>Sincerely,</character> <dialogue /> <character>Sloane Peterson</character> <dialogue /> <character>Executive Director</character> <dialogue /> <character>The Ferris Bueller Foundation"</character> <dialogue /> </scene> <scene> <stage_direction>EXT. FERRIS' STREET</stage_direction> <scene_description>He 's running down the middle of the street . A car honks . Ferris moves to the side . The car pulls around him .</scene_description> </scene> <scene> <stage_direction>INT. CAR.</stage_direction> <scene_description>Tom 's at the wheel . He glances in the mirror . He does a take . HIS POV . MIRROR We see Ferris cut across a front lawn and into a house . CU . TOM He realizes it could n't be Ferris .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE</stage_direction> <scene_description>Ferris runs through the kitchen , past a WOMAN , fixing dinner and out her backdoor . The Woman looks up curiously .</scene_description> </scene> <scene> <stage_direction>EXT. FERRIS' HOUSE</stage_direction> <scene_description>Tom pulls in the driveway . He parks and gets out . Joyce pulls in from the other direction .</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE. BACK PORCH</stage_direction> <scene_description>Ferris tries the door . It 's locked . He reaches down and lifts the doormat . CU . PORCH The outline of a key in the dirt under the mat . The key 's gone . The toe of a chewed - up dress shoe steps INTO FRAME . An OMNIOUS CHORD IS STRUCK . CU . FERRIS He stares up in horror . HIS POV Rooney 's looking down at him . He 's holding the house key .</scene_description> </scene> <scene> <stage_direction>EXT. PORCH</stage_direction> <scene_description>Ferris stands up . He smiles .</scene_description> <character>ROONEY</character> <dialogue>Looking for this?</dialogue> <character>FERRIS</character> <dialogue>Yes.</dialogue> <character>ROONEY</character> <dialogue>I got you, Ferris. This time I finally got you.</dialogue> <scene_description>Ferris is caught . There 's no way out . Rooney gloats severely .</scene_description> <character>ROONEY</character> <dialogue>How does another year of high school sit with you?</dialogue> <scene_description>Suddenly , the backdoor opens . Jeanie looks out . She feigns joy and relief . She rushes Ferris and hugs him .</scene_description> <character>JEANIE</character> <dialogue>Thank God, you're alright! We've been worried sick!</dialogue> <scene_description>CU . FERRIS A moment of curiosity . Then it dawns on him what 's happening . He smiles . CU . ROONEY His eyes dart from Ferris to Jeanie to Ferris . His victory is evaporating .</scene_description> </scene> <scene> <stage_direction>EXT. PORCH</stage_direction> <scene_description>Jeanie breaks the embrace .</scene_description> <character>JEANIE</character> <parenthetical>( to Rooney . )</parenthetical> <dialogue>Thank you for bringing him home, Mr. Rooney.</dialogue> <parenthetical>( to Ferris . )</parenthetical> <dialogue>You better get up in bed tight now.</dialogue> <scene_description>Ferris limps into the house .</scene_description> <character>JEANIE</character> <dialogue>Can you imagine someone as sick as Ferris trying to walk home from the hospital?</dialogue> <parenthetical>( shakes her head . )</parenthetical> <dialogue>Kids!</dialogue> <scene_description>CU . ROONEY He 's dumbfounded . CU . JEANIE She raises her hands and strikes a karate pose . A huge smile passes over her face . CU . ROONEY A look of terror as he realizes that is was Jeanie who kicked him and that Jeanie knows it was he who she kicked .</scene_description> </scene> <scene> <stage_direction>EXT. PORCH</stage_direction> <scene_description>Jeanie steps into the house .</scene_description> </scene> <scene> <stage_direction>INT. HOUSE</stage_direction> <scene_description>The door closes on Rooney 's defeated , lost , dejected , bewildered face . Not only has he lost Ferris again , he has Jeanie to deal with next year .</scene_description> </scene> <scene> <stage_direction>EXT. YARD. CU. DOG</stage_direction> <scene_description>The click of the door wakes him up . His head pops up off the grass . CU . ROONEY He senses new danger . We hear AN O.C. GROWL . Rooney squeezes his eyes shut .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Kimberly and Todd are sitting at the kitchen table watching TV and eating cereal . They look up at Ferris as he comes in from outside .</scene_description> <character>TODD</character> <dialogue>Ferris? Does my head look like it's getting bigger?</dialogue> <scene_description>Ferris leans against the counter as he tries to catch his breath . He looks at his little brother .</scene_description> <character>FERRIS</character> <dialogue>No, but Kimberly's is.</dialogue> <scene_description>He crosses to the refrigerator and opens it . Kimberly feels her head .</scene_description> <character>KIMBERLY</character> <parenthetical>( to Todd . )</parenthetical> <dialogue>Is he serious?</dialogue> <character>TODD</character> <dialogue>I think so.</dialogue> <character>KIMBERLY</character> <dialogue>Oh, shit!</dialogue> <scene_description>Ferris takes out a bottle of orange juice out of the refrigerator and drinks straight from the bottle . Jeanie comes in .</scene_description> <character>FERRIS</character> <dialogue>Thanks, Jeanie.</dialogue> <character>JEANIE</character> <dialogue>No problem.</dialogue> <character>FERRIS</character> <dialogue>By the way, I borrowed some cash from you. I'll pay you back.</dialogue> <character>JEANIE</character> <dialogue>You do n't have to.</dialogue> <character>FERRIS</character> <dialogue>I want to.</dialogue> <character>JEANIE</character> <dialogue>You do n't have to. I've been ripping off your wallet for years.</dialogue> <scene_description>Ferris gives her a proud smile .</scene_description> </scene> <scene> <stage_direction>EXT. HOUSE</stage_direction> <scene_description>Joyce and Tom head up to the kitchen .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Ferris and Jeanie exit the kitchen as Joyce and Tom enter .</scene_description> <character>JOYCE</character> <parenthetical>( to Todd and Kimberly . )</parenthetical> <dialogue>Hi, guys.</dialogue> <character>KIMBERLY</character> <dialogue>Is my head swelling up?</dialogue> </scene> <scene> <stage_direction>INT. HOUSE. FOYER</stage_direction> <scene_description>The foyer is jammed with floral arrangements , plants and gifts . Ferris and Jeanie step gingerly through the flowers and head upstairs .</scene_description> <character>JEANIE</character> <dialogue>I'm sorry I've been riding your buns for so long.</dialogue> <character>FERRIS</character> <dialogue>It's completely cool.</dialogue> <character>JOYCE</character> <parenthetical>( OC . )</parenthetical> <dialogue>Ferris!</dialogue> <scene_description>Ferris continues up the stairs . He affects a sickly voice .</scene_description> <character>FERRIS</character> <dialogue>Upstairs, Mom!</dialogue> </scene> <scene> <stage_direction>INT. SECOND FLOOR LANDING</stage_direction> <scene_description>Ferris and Jeanie stop .</scene_description> <character>JEANIE</character> <dialogue>Do you know a guy named Garth Volbeck?</dialogue> <character>FERRIS</character> <dialogue>Vaguely.</dialogue> <character>JEANIE</character> <dialogue>Is he cool?</dialogue> <character>FERRIS</character> <dialogue>He's cool. But stay away from his brother.</dialogue> <scene_description>Ferris walks into the room , brushes the crumbs off his hands and peels off his shirt . He climbs into bed . No sooner are the covers over him than the bedroom door opens and Joyce and Tom walk in . They walk over to the bed . Joyce sits down .</scene_description> <character>JOYCE</character> <dialogue>Honey?</dialogue> <scene_description>CU . FERRIS The same deathly face he had in the morning . Tongue out , eyes bulging .</scene_description> <character>TOM</character> <parenthetical>( OC . )</parenthetical> <dialogue>Ferris? How do you feel?</dialogue> <scene_description>He pulls in his tongue to speak .</scene_description> <character>FERRIS</character> <parenthetical>( deathly gasp . )</parenthetical> <dialogue>150 % better, thank you.</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM</stage_direction> <scene_description>Tom and Joyce hover over him with deep concern .</scene_description> <character>FERRIS</character> <dialogue>I'm much better, really. Please, do n't make me stay home again. I want to go to school. I'm graduating in June and I.</dialogue> <character>TOM</character> <dialogue>Ferris. You're sick. There's no point pushing yourself and making it worse.</dialogue> <character>FERRIS</character> <dialogue>Maybe you're right, Dad.</dialogue> <character>TOM</character> <dialogue>I know I'm right.</dialogue> <scene_description>Joyce leans over and kisses him forehead .</scene_description> <character>JOYCE</character> <dialogue>How did you get so sweet?</dialogue> <character>FERRIS</character> <dialogue>Years of practice.</dialogue> <scene_description>Tom pats Ferris on the rump . He and Joyce exit . CU . FERRIS The hideous face . A beat and we HEAR THE BEDROOM DOOR CLOSE . Ferris looks at CAMERA .</scene_description> <character>FERRIS</character> <parenthetical>( happy sigh . )</parenthetical> <dialogue>Yeah, life is a carousel. A great big crazy ball of pure living, breathing joy and delight.</dialogue> <scene_description>He rolls over on his back and puts his hands behind his head .</scene_description> <character>FERRIS</character> <dialogue>You got ta get one.</dialogue> <scene_description>He smiles . MUSIC UP BIG END TITLES THE END</scene_description> </scene> </script>

In suburban Chicago, near the end of the school year, high school senior Ferris Bueller fakes illness to stay at home. Throughout the film, Ferris frequently breaks the fourth wall to talk about his friends and give the audience advice on various subjects. His parents believe he really is ill, though his sister Jeanie does not. Dean of Students Edward R. Rooney suspects Ferris is a repeat truant and commits to catching him. Ferris convinces his best friend Cameron Frye, who is legitimately absent due to illness (though a hypochondriac, which Ferris sees through), to help lure Ferris' girlfriend Sloane Peterson from school on the pretext of her grandmother's supposed demise. To further the ruse, Ferris borrows Cameron's father's prized 1961 Ferrari 250 GT California Spyder. Cameron is dismayed when Ferris takes them into downtown Chicago in the car, to spend the day. Ferris promises they will return it as it was. The trio leave the car with parking attendants, who promptly take the car for a joyride. The trio explore the city, including the Art Institute of Chicago, Sears Tower, Chicago Mercantile Exchange, and attend a ball game at Wrigley Field, while occasionally their paths intersect with that of Ferris' father. Cameron remains uninterested and worried, and Ferris attempts to cheer him by joining a parade float during the Von Steuben Day parade and spontaneously lip-syncing Wayne Newton's cover of "Danke Schoen", then into a rendition of The Beatles' "Twist and Shout" that excites the gathered crowds. Meanwhile, Rooney prowls the Bueller home attempting to prove Ferris' truancy, getting into several pratfalls. At the same time, Jeanie, frustrated that the entire school supports, and will rally for Ferris, skips class and returns home to confront him. She is surprised by Rooney's presence at their home and knocks him unconscious. As she phones the police, he gains consciousness and goes back outside; unknowingly leaving his wallet behind. When the police arrive, they disbelieve her and place her under arrest for making a false report. Waiting for her mother to collect her from the police station, she meets a juvenile delinquent who advises her not to worry so much. Mrs. Bueller arrives at the station, upset about having to forgo a house sale, only to become infuriated to find Jeanie kissing the delinquent. The friends collect the Ferrari from the parking lot and head home. Discovering many more miles on the odometer, Cameron becomes catatonic with shock. Back at Cameron's house, Ferris jacks up the car and runs it in reverse to "rewind" the odometer. This does not succeed and Cameron finally snaps, letting out his anger against his overbearing father. Repeatedly kicking the car causes the jack to fail and the car races in reverse through the wall and into the ravine below. Ferris offers to take the blame, but Cameron declines the offer and decides he will stand up against his father. Ferris gets Sloane home and realizes his parents are due home any minute. As he races on foot through the neighborhood, he is nearly hit by Jeanie, who is driving their mother home. She speeds off trying to get home before him and expose his lie. Ferris makes it home first but finds Rooney there. Jeanie races into the house as their mother complains to their father about her behavior. Jeanie discovers Rooney threatening Ferris and thanks Rooney for helping return Ferris 'from the hospital.' She displays Rooney's wallet as proof that he was the one that broke into the house and Rooney gives up. As Rooney flees from the family dog, Ferris rushes back to his bedroom to greet his parents when they check in on him. Finding him sweaty and overheated (from his run) they suggest he might want to think about taking tomorrow off as well. As the parents leave, Ferris reminds the audience, "Life moves pretty fast. If you don't stop and look around once in a while, you could miss it." During the end credits, a defeated Rooney heads home and is picked up by a school bus, where he is further humiliated by the students. After the credits, a surprised and slightly annoyed Ferris tells the audience the film is over and to go home.

Lights Out_2016

tt4786282

<script> <scene> <character>LIGHTS OUT</character> <dialogue>Story by</dialogue> <scene_description>David Sandberg Screenplay by Eric Heisserer March 4, 2015 draft with marked revisions FADE IN:</scene_description> </scene> <scene> <stage_direction>INT. BACK OFFICE - NIGHT</stage_direction> <scene_description>From a ceiling angle, right up against a buzzing, occasionally flickering overhead BULB -- A MAN in this cluttered office paces back and forth. On the phone. This is PAUL, 40s, a man with gentle eyes whose body cannot hide symptoms of stress and exhaustion. Deeply concerned.</scene_description> <character>PAUL</character> <dialogue>I've tried that. She won't go.</dialogue> <scene_description>Windows in the office look out on a larger warehouse, full of racks of clothing, mannequins, and bins of coat hangers. Paul flicks through pages on a web browser as he stands at his desk, switching the phone to the other ear.</scene_description> <character>PAUL</character> <dialogue>Rebecca? She's her own train wreck. And I see her maybe once a year. I can't expect her to help us.</dialogue> <scene_description>Paul listens to the person on the other end of the call. Nods along as if he agrees with them. All the while, he absently toys with his wedding band on his ring finger with his thumb.</scene_description> <character>PAUL</character> <dialogue>Yeah. Yeah, okay.</dialogue> <scene_description>A light clicks ON in the warehouse, and a young man named KEITH (20s) crosses through an aisle to the office door. He knocks and enters, holding a tablet--</scene_description> <character>KEITH</character> <dialogue>Okay, so--</dialogue> <parenthetical>(notices phone)</parenthetical> <dialogue>Oop.</dialogue> <scene_description>Paul covers the mouthpiece with his hand.</scene_description> <character>PAUL</character> <dialogue>Inventory good?</dialogue> <scene_description>Keith holds up the tablet, an app glowing on its screen.</scene_description> <character>KEITH</character> <dialogue>More overages from J-Four. None of it is "Fall Collection." They're still treating us like a dumping ground for that failed line.</dialogue> <character>PAUL</character> <dialogue>Ship it back.</dialogue> <parenthetical>(into phone)</parenthetical> <dialogue>I hear you. I'm not saying it isn't a tough call.</dialogue> <scene_description>Keith mouths the word: "Tonight?" Paul sees the plea in Keith's eyes and waves him off. Mouths back, "Tomorrow." Keith puts his hands together and bows at Paul, then leaves, shutting the door quietly behind him.</scene_description> <character>PAUL</character> <parenthetical>(into phone)</parenthetical> <dialogue>We switched HMOs last month, and getting the prescription sorted has been a pain. So she's been off her meds and now I keep... It's just rough. I haven't slept much.</dialogue> <scene_description>The motion-activated warehouse light clicks OFF. The cavernous space outside the office is dark. Nothing but black shapes huddled together.</scene_description> <character>PAUL</character> <dialogue>You and Craig were at our wedding. She will listen to you. Get her to stop locking herself in the closet.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>So we don't call it an intervention.</dialogue> <scene_description>As Paul shuts down the applications on his computer, he gets it down to the DESKTOP WALLPAPER IMAGE: Paul, SOPHIE (40s, smiling, hair that hints Warning: Manic), and MARTIN (8, somber, looking past camera).</scene_description> <character>PAUL</character> <dialogue>I know Martin would love to see you tonight. This is really taking a toll on him.</dialogue> <scene_description>A beat, then Paul closes his eyes and leans back in great relief. Nodding again:</scene_description> <character>PAUL</character> <dialogue>Thank you, Donna. I'll be home in the next hour. See you both then?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>All right. Bye.</dialogue> <scene_description>He hangs up. And his attention is drawn to that wallpaper.</scene_description> <character>PAUL</character> <parenthetical>(sotto)</parenthetical> <dialogue>Help is on the way.</dialogue> <scene_description>It's unclear whom in the family photo he's saying it to. With a WINK, the PC powers down.</scene_description> </scene> <scene> <stage_direction>INT. CLOTHES WAREHOUSE - MOMENTS LATER</stage_direction> <scene_description>The square MOTION-ACTIVATED SENSOR tucked high in a corner clicks, its red detection-light winking off-- And the warehouse lights sputter to life again. Paul locks the back office. His keys jangle. He makes his way toward the storefront. Traversing an aisle of dresses hanging on racks. Something CLATTERS in one distant corner. Paul pauses. Listening. Looking.</scene_description> <character>PAUL</character> <dialogue>Keith? You still here?</dialogue> <scene_description>Silence. Paul stands on tiptoes to peer over the racks. No movement. The lights click OFF. Paul turns around, staring up at the motion activator.</scene_description> <character>PAUL</character> <parenthetical>(sotto)</parenthetical> <dialogue>Oh, come on.</dialogue> <scene_description>He waves his arm at it. Trying to trigger it. Behind him, at the end of the aisle, a DARK SILHOUETTE slides out from between the racks of clothes. It seems tall. With long, unkempt hair that disguises the shape of its head and neck. And oddly, it doesn't seem to be wearing clothes. Its shape is too smooth; too raw. Paul isn't aware of it. THE MOTION SENSOR still doesn't wink on. In the dark, its small red 'detection' light glows wanly. PAUL waves with bigger gestures... And the SILHOUETTE advances for him... Slowly at first, then picking up speed, then THE LIGHTS clack on again, sputtering to life-- And there is no one else in the aisle besides Paul. Paul turns around-- And notices the hanging dresses a few feet from him swaying, as if brushed by someone's shoulder.</scene_description> <character>PAUL</character> <dialogue>Hello?</dialogue> <scene_description>No answer. Paul hurries for the door.</scene_description> </scene> <scene> <stage_direction>INT. OUTLET MALL CORRIDOR - NIGHT</stage_direction> <scene_description>Paul rolls the metal security gate down on the front entrance to the clothing storefront. Locks the gate with his keys. WIDE ANGLE The mall is quiet as a museum at night. It must be October, because Halloween decorations are out. Ghosts and bats hanging on fishing wire. Scarecrows amid hay bales. Witches with pointy hats posed over kiosks. The whole place is dimly lit, mostly shut down. It's clear Paul was working past closing time. No other shops are lit. Not even the hallway. Just the shelf lighting under the planters, and the occasional kiosk lights, showcasing some ad or mall map. Paul makes his way for the parking garage. As he passes a kiosk-- His SHADOW is cast upon the wall beside him. Advancing as he continues past, stretching at a slanted angle. And a SECOND shadow advances just behind it. That same silhouette. Paul catches sight of it, and turns-- Nothing's there. Nothing to make that shadow on the wall. He looks again at the wall-- It's just his own shadow, and a very faint secondary one that could be another shadow of his cast by a separate lamp. Paul's phone RINGS. Startles the hell out of him. Nerves rattled, he checks the screen: "Home"</scene_description> <character>PAUL</character> <parenthetical>(answers)</parenthetical> <dialogue>Hello?</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Hey, kiddo. I'm coming home now. Promise I'll be there soon.</dialogue> <scene_description>Paul picks up the pace as he talks to his son.</scene_description> <character>PAUL</character> <parenthetical>(into phone)</parenthetical> <dialogue>How's mom doing tonight?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Yeah? Better?</dialogue> <scene_description>Paul reaches the doors to the parking garage. One last look back: All is quiet. All is still.</scene_description> <character>PAUL</character> <parenthetical>(into phone)</parenthetical> <dialogue>Well I'm on my way.</dialogue> </scene> <scene> <stage_direction>INT. PARKING GARAGE - NIGHT</stage_direction> <scene_description>When the sliding doors open for Paul, a sodium-vapor lamp awakens, saturating the structure in a dirty amber tint. This garage isn't a typical parking building. Someone tried to make it look "arty" with its concrete pilings, turning sharp corners into rounded ends, and elongating support beams in logarithmic curves. But at night, the effect is eerie: It looks like you're inside the ribcage of an enormous Giger-esque monster. Paul's Toyota sedan is one of maybe three cars still parked at this hour, a hundred feet from the doors. Paul marches for it, keys in one hand, phone in the other. It is a long and tense walk. Paul keeps looking around for signs of other people. His footsteps echo in the cavernous space. Paul gets to the Toyota, unlocking it with his key fob. Behind him, the sodium-vapor security light goes out, drenching the garage in darkness. Paul opens the driver's door, grateful for the car's interior light which casts a downward glow on the area around it. He hears something: The sound of the building doors sliding. Paul turns around, unnerved, because the amber security lamp did not wink on this time. At the glass doors to the mall: THE SILHOUETTE.</scene_description> <character>PAUL</character> <dialogue>Who's there?</dialogue> <scene_description>Silence. Paul leans in, the Toyota squeaking from the weight of his body. He grabs a flashlight from his glovebox and stands up again at the door. His fight-or-flight feelings battle his stubborn need to not be bullied or pranked. He clicks on the flashlight's bright, narrow beam. Shines it right at the silhouette-- And it's GONE. Like the light erased it from existence. Paul frowns. Confused. Bordering on panic. He lowers the beam of light, shining it on his feet-- And the silhouette has returned. Thirty feet closer. Paul lifts the light again. Directing it at the shadow-form. Again: Just light and garage wall in the distance. Beat. Paul lowers the flashlight beam-- And the silhouette is A DOZEN FEET AWAY. Paul jumps-- emits a partial curse word, and brings that light beam up reflexively. Protectively. Once again, nothing. But now, he hears it. Feet scuffling on the ground. Hurrying in some direction. Paul sweeps the beam left and right, in search of it. Nothing. Then: a slight sound behind him. The Toyota squeaking as something leans against it. Paul looks down. A shadow is cast from the car's interior light: Something is standing right behind him. Paul starts to whirl around but-- The flashlight shines in our eyes as some hint of a HAND grabs his wrist and-- Another dark-as-ink CLAWED HAND reaches around and covers his mouth and-- THE FLASHLIGHT crashes to the ground, breaking. WIDE ANGLE Darkness. Then the sodium-vapor lamp awakens again, revealing Paul's mangled body on the ground by his car. CUT TO: MAIN TITLES: A montage of photographs -- family photos, vacation snapshots, candids from different times around the world. In each of them, somewhere, is a vague, humanoid SHADOW. Unattached to any of the people. Sometimes it's almost a smudge on the photo. In many, it's distinct; lurking. CUT TO: A POSTER-SIZED ILLUSTRATION Malicious shadows cover a terrified, gorgeous woman trapped in a tomb. PULLING BACK to reveal it's the cover art for a DEATH METAL album of some Scandinavian band. Somewhere, heavy metal MUSIC plays on low volume. WE'RE IN:</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - NIGHT</stage_direction> <scene_description>More posters of metal bands, artwork from cult comic books. Crappy furniture. A single bed with disheveled sheets, currently occupied by a young COUPLE: REBECCA (20s) and BRET (20s) share a cigarette, staring at the ceiling. Her dark lipstick is smeared, smudges of it apparent on Bret's face and neck. Rebecca looks like a "Suicide Girl." A Gothic tattoo "sleeve" covers her left arm. Ears, nose, and lip sport piercings. Her hair and makeup are inspired by the character Death from Neil Gaiman's Sandman series. Bret's bare chest showcases a few tattoos, and his hands are rough and calloused from years of heavy guitar playing, but where Rebecca's body language says "cool as ice," his is bright and bouncy as a puppy. From the bedroom window, an outdoor neon sign for a restaurant winks on and off every few seconds.</scene_description> <character>BRET</character> <dialogue>Give me twenty minutes. I want another ride.</dialogue> <character>REBECCA</character> <parenthetical>(rolls eyes)</parenthetical> <dialogue>Uh-huh. I'm gonna go shower.</dialogue> <character>BRET</character> <dialogue>Oh yeah. Sure. Maybe I'll join you.</dialogue> <scene_description>She grins at Bret as she climbs out of bed.</scene_description> <character>REBECCA</character> <dialogue>You'll smell like girly soap.</dialogue> <scene_description>He smiles back. Completely smitten.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - NIGHT</stage_direction> <scene_description>Rebecca showers. All that makeup washes out. The teased hair, thoroughly rinsed. No sign of Bret.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - NIGHT</stage_direction> <scene_description>In a towel, Rebecca combs out her hair, staring at her own reflection. Her skin is pink from the hot water. Now it's clear how much of that makeup is a persona; a disguise. Because she looks completely different in this light. She's like a lost girl, five years younger. She examines her left arm, with the elaborate tattoo. The inside of her forearm is more heavily inked. As if to cover over an older tattoo or birthmark. She looks at her right arm, currently bare. The inside of this arm is peppered with neat rows of short scars. Too neat to be accidental. Rebecca used to be a cutter. For a brief moment, there's a sadness in her expression rarely seen by someone twice her age. Then, she walls it all up again in a deep breath, and steps out.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM - NIGHT</stage_direction> <scene_description>It's raining outside, now. Watersnake shadows slink down the window, and the rain creates a soothing white noise. Bret is fast asleep on the bed. Snoring lightly. Rebecca nudges him with her naked foot.</scene_description> <character>REBECCA</character> <dialogue>Hey. Marathon Man.</dialogue> <scene_description>He wakes up. Sits up on his elbows.</scene_description> <character>BRET</character> <dialogue>I'm up, I'm up.</dialogue> <scene_description>Rebecca goes to a drawer and pulls on an oversized t-shirt. Her putter-around-the-pad comfort wear.</scene_description> <character>REBECCA</character> <dialogue>You can't stay.</dialogue> <scene_description>That's when it hits us: This isn't Bret's apartment. It's Rebecca's. All this artwork is hers.</scene_description> <character>BRET</character> <dialogue>Aww, Becca. Just one night?</dialogue> <character>REBECCA</character> <dialogue>Nope.</dialogue> <scene_description>Bret reluctantly starts to get dressed. Notices the weather.</scene_description> <character>BRET</character> <dialogue>You're kicking me out in the rain?</dialogue> <character>REBECCA</character> <dialogue>You'll be fine. You're not a puppy.</dialogue> <character>BRET</character> <dialogue>I thought I was your boyfriend.</dialogue> <character>REBECCA</character> <dialogue>You're a guy I've been seeing.</dialogue> <parenthetical>(off his reaction)</parenthetical> <dialogue>The only guy I've been seeing.</dialogue> <character>BRET</character> <dialogue>For eight months.</dialogue> <character>REBECCA</character> <dialogue>Eight months? Really? Wow. That puts you in first place.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>C'mon, out, I have work early in the morning. Then I'm gonna have Gina start on my other sleeve.</dialogue> <scene_description>Rebecca shuffles out the door to her living room.</scene_description> <character>BRET</character> <parenthetical>(calling after)</parenthetical> <dialogue>I can't even keep a pair of jeans here?</dialogue> <character>REBECCA (O.S.)</character> <dialogue>No.</dialogue> <character>BRET</character> <dialogue>Not even a sock? Just one sock!</dialogue> <character>REBECCA (O.S.)</character> <dialogue>What good is one sock?</dialogue> <character>BRET</character> <dialogue>Is that a yes?</dialogue> <character>REBECCA (O.S.)</character> <dialogue>No.</dialogue> <scene_description>Bret pulls a t-shirt over his head. It sports a band logo; his own thrash metal band -- UNHOLY TRINITY. With a peeling photo-graphic of himself and his two bandmates.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - MOMENTS LATER</stage_direction> <scene_description>Rebecca cleans up the Chinese takeout on the coffee table. This place is too small to have a dining room. Bret calls from the bedroom:</scene_description> <character>BRET (O.S.)</character> <dialogue>It's not like having a sock here would make it impossible to get rid of me. Socks are not anchors.</dialogue> <scene_description>Rebecca sighs.</scene_description> <character>REBECCA</character> <dialogue>I'll see you tomorrow night at the gig. Let's just agree to that, OK?</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM</stage_direction> <scene_description>Bret goes to her top drawer and drops one sock in among her collection of bras and panties.</scene_description> <character>BRET</character> <dialogue>All right.</dialogue> <scene_description>He puts his boots on. Hiding his one bare foot.</scene_description> </scene> <scene> <stage_direction>EXT. REBECCA'S FRONT STOOP - NIGHT</stage_direction> <scene_description>Bret steps out, protected under a small awning. The rain has gotten heavier. Rebecca kisses him, smiles, then shuts the door. Beat. Bret shakes his head, grinning.</scene_description> <character>BRET</character> <dialogue>I love you, too!</dialogue> <scene_description>Reluctantly, he steps out into the weather. Makes his way down the sidewalk. Pauses, fishing for his car keys.</scene_description> <character>REBECCA (O.S.)</character> <dialogue>Hey! Sexy!</dialogue> <scene_description>Bret looks up through the rain: Rebecca has slid open her bedroom window, grinning down at him, still in her t-shirt.</scene_description> <character>REBECCA</character> <dialogue>I like you a lot.</dialogue> <scene_description>Bret steps forward, encouraged.</scene_description> <character>BRET</character> <dialogue>Is that all?</dialogue> <character>REBECCA</character> <dialogue>Not quite.</dialogue> <scene_description>Bret smiles through the rain. Expectant. His SOCK sails down and lands on his shoulder.</scene_description> <character>REBECCA</character> <dialogue>See you tomorrow.</dialogue> <scene_description>She slides the window shut. Bret picks his drenched sock from his shoulder.</scene_description> <character>BRET</character> <parenthetical>(sotto)</parenthetical> <dialogue>So close...</dialogue> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>Grinning like a girl in love, Rebecca saunters back into this room and crosses the fireplace, leaning down to turn up the music in here. SLOWLY PUSHING IN on a photo gathering dust on the mantle: A much younger Sophie, and a 12-year-old REBECCA together. Snapped in mid-laugh, Sophie surprised by her daughter. No sign of Paul or Martin here. THE PHOTO FILLS THE FRAME-- And then a shadow passes over it, and suddenly it's not as dusty as it was-- PULLING BACK to reveal-- WE'RE IN:</scene_description> </scene> <scene> <stage_direction>INT. SOPHIE'S LIVING ROOM - NIGHT</stage_direction> <scene_description>Another mantle, this one littered with framed photos. Next to the identical photo of Sophie and Rebecca: that photo of Paul, Sophie, and Martin seen earlier on his computer. The collection showcases Martin most of all, but little Rebecca is there quite a lot, too. And then there's PAUL. Center-stage on the mantle. A handsome portrait... Next to his framed OBITUARY, dated two weeks earlier.</scene_description> </scene> <scene> <stage_direction>INT. MARTIN'S ROOM - NIGHT</stage_direction> <scene_description>Martin sits up in bed, still under the covers. He listens. He stares at his bedroom door. It hangs open a crack. He can hear murmured conversation, as if someone is on the phone down the hall. Martin makes a face -- his struggle to be brave plays out in his body language -- and then he hops out of bed.</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - CONTINUOUS</stage_direction> <scene_description>Martin steps into the hall and travels past the upstairs bathroom to another door at the far end. The master bedroom. Half-closed. Martin can hear his mother's voice in the room.</scene_description> <character>MARTIN</character> <parenthetical>(small)</parenthetical> <dialogue>Mommy?</dialogue> <scene_description>Martin pushes the door open... revealing...</scene_description> </scene> <scene> <stage_direction>INT. SOPHIE'S BEDROOM</stage_direction> <scene_description>A nest of clothes, empty glasses and stray plateware. This is a hoarder's room. In one corner, the light from the master bathroom offers a crease of light into this otherwise dreary, dark space. In the other corner, SOPHIE stands at the open doorway to the master closet, in profile, muttering to herself. She looks worse than in those photos. The manic is full-blown here. Her hair frazzled. Her nails chewed.</scene_description> <character>SOPHIE</character> <dialogue>I just don't know what to do about it. And I'm sorry. I really am.</dialogue> <character>MARTIN</character> <dialogue>Mommy?</dialogue> <scene_description>Sophie turns to face Martin, surprised by him.</scene_description> <character>SOPHIE</character> <dialogue>Yes, Martin?</dialogue> <character>MARTIN</character> <parenthetical>(beat)</parenthetical> <dialogue>Are you okay?</dialogue> <character>SOPHIE</character> <dialogue>I will be. Just not there yet. Did we wake you?</dialogue> <scene_description>Martin tenses at that pluralization.</scene_description> <character>MARTIN</character> <dialogue>What?</dialogue> <character>SOPHIE</character> <dialogue>Go back to bed, sweetie. Only ones wandering the halls at this hour should be grown-ups.</dialogue> <scene_description>Sophie stares tiredly at her son. Gives him a slight nod -- "Go on, now." Martin turns around, takes two steps back for his room...</scene_description> <character>SOPHIE (O.S.)</character> <parenthetical>(sotto)</parenthetical> <dialogue>I know. But he means well.</dialogue> <scene_description>Martin looks back, over his shoulder. Sophie's returned to looking into the closet... Where a SHADOW SLIDES along the door -- could it be cast by Sophie herself? -- And then some floorboard CREAKS inside the closet. Martin's breath catches. His nostrils flare. He hurries back down the hall, for his door--</scene_description> </scene> <scene> <stage_direction>INT. MARTIN'S ROOM - CONTINUOUS</stage_direction> <scene_description>--rushing in and shutting the door behind him. Locking it. Climbing into bed. Tense, expectant, he stares at his door. Beat. Nothing happens. Martin begins to calm down. CLICK. The hall light goes out. Martin holds his breath. From down the hall: the SOUND of bare feet thumping on the hardwood floor, with the added CLICKING of long nails. Right up to Martin's bedroom door. Martin grips his blanket like a Spartan's shield. A tense beat. Quiet.</scene_description> <character>MARTIN</character> <dialogue>...Mommy?</dialogue> <scene_description>SCRATCHING on the door. Like a cat. THE DOORKNOB jiggles. From way farther down the hall, deep in Sophie's room:</scene_description> <character>SOPHIE (O.S.)</character> <dialogue>You want a kiss goodnight?</dialogue> <scene_description>Martin's reply is swift and loud:</scene_description> <character>MARTIN</character> <dialogue>NO.</dialogue> <scene_description>THE DOORKNOB stops jiggling. But there is no sound of receding footsteps. Martin slowly sinks under the covers, looking up at his nightstand lamp. THE BULB burns steadily. HANGING on that bulb, PRESSING IN... did it weaken? Did it just flicker? ON MARTIN, settling in for another sleepless night...</scene_description> </scene> <scene> <stage_direction>INT. SOPHIE'S LIVING ROOM - DAY</stage_direction> <scene_description>The land-line phone RINGS. One of those old-fashioned, loud bell tones. No one answers. PULLING BACK, sunlight pierces through the window. Wide open. It's the next day. The phone stops RINGING. A beat later-- Sophie enters from the garage, carrying a shopping bag. She moves to the big bay window in the living room... And pulls out a heavy fabric from the bag. She bought some brand new curtains. To keep the sun out.</scene_description> </scene> <scene> <stage_direction>EXT. MARTIN'S GRADE SCHOOL - DAY</stage_direction> <scene_description>Establishing.</scene_description> <character>PRINCIPAL FULLER (V.O.)</character> <parenthetical>(pre-lap)</parenthetical> <dialogue>She isn't answering.</dialogue> </scene> <scene> <stage_direction>INT. PRINCIPAL'S OFFICE - DAY</stage_direction> <scene_description>Principal Fuller (40s, snappy dresser) moves around his desk and approaches a couch on the other side of his office. Martin has dozed off. Fuller nudges him gently.</scene_description> <character>PRINCIPAL FULLER</character> <dialogue>Hey. Martin?</dialogue> <scene_description>Martin wakes, tense. Blinks.</scene_description> <character>PRINCIPAL FULLER</character> <dialogue>Is there someone else we could call for you?</dialogue> <scene_description>Martin considers the question.</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL HALL - DAY</stage_direction> <scene_description>Rebecca marches in from outside, with Bret trailing her. Bret grins at the seasonal calendar for the grade school.</scene_description> <character>BRET</character> <dialogue>I didn't know you had a brother.</dialogue> <scene_description>Rebecca makes a bee-line for the principal's office. Before she enters:</scene_description> <character>EMMA (O.S.)</character> <dialogue>Are you Rebecca?</dialogue> <scene_description>Rebecca wheels around to find EMMA (30s, sincere) waiting for her, outside the door to the school nurse's station.</scene_description> <character>REBECCA</character> <dialogue>Who are you?</dialogue> <character>EMMA</character> <dialogue>I'm Emma. I'm with Child Services.</dialogue> <parenthetical>(off her look)</parenthetical> <dialogue>I was assigned to Martin after your father's death last month, and--</dialogue> <character>REBECCA</character> <dialogue>Step-father.</dialogue> <character>EMMA</character> <dialogue>Excuse me?</dialogue> <character>REBECCA</character> <dialogue>Paul was Martin's father, not mine. My dad ran off with his physical therapist when I was ten.</dialogue> <scene_description>Emma wasn't expecting this information. She rolls with it.</scene_description> <character>EMMA</character> <dialogue>Okay. Let's talk about Martin for a minute. How is he when he's at home? Is he sleeping?</dialogue> <character>REBECCA</character> <dialogue>I don't live there.</dialogue> <character>EMMA</character> <dialogue>So it's just your mother in the house, then?</dialogue> <character>REBECCA</character> <dialogue>Yeah?</dialogue> <character>EMMA</character> <dialogue>How is she holding up?</dialogue> <character>REBECCA</character> <dialogue>Well, she takes antidepressants for her mood swings. Is that what you're asking?</dialogue> <scene_description>Emma opens a small Moleskine notebook and makes a note.</scene_description> <character>EMMA</character> <dialogue>How bad is it? The depression.</dialogue> <scene_description>Rebecca doesn't like the notebook.</scene_description> <character>REBECCA</character> <dialogue>Nothing to write about.</dialogue> <character>EMMA</character> <dialogue>Is it a chemical deficiency?</dialogue> <character>REBECCA</character> <dialogue>What?</dialogue> <character>EMMA</character> <dialogue>Genetic?</dialogue> <character>REBECCA</character> <dialogue>No. I mean, I don't know?</dialogue> <character>EMMA</character> <dialogue>But you don't live with her anymore, so can't speak to her current behavior.</dialogue> <character>REBECCA</character> <dialogue>Look, is Martin okay? You're talking like he has a black eye or something.</dialogue> </scene> <scene> <stage_direction>INT. NURSE'S OFFICE - MOMENTS LATER</stage_direction> <scene_description>Martin sits on a cushioned chair, dark rings around his eyes from lack of sleep.</scene_description> <character>EMMA (V.O.)</character> <dialogue>He fell asleep in homeroom this morning. For the third time in the past week.</dialogue> <scene_description>Rebecca enters, brow furrowed in concern. Martin looks up at her. Astonished.</scene_description> <character>MARTIN</character> <dialogue>You showed up.</dialogue> <character>REBECCA</character> <dialogue>Yeah.</dialogue> <character>MARTIN</character> <dialogue>I didn't know if you would.</dialogue> <character>REBECCA</character> <dialogue>Where's Mom?</dialogue> <scene_description>Martin shrugs. Looks away. Emma steps in, putting her notebook back in her bag.</scene_description> <character>EMMA</character> <dialogue>Martin. I know you and your mother are going through a lot. And it's harder for you, because you really can't talk to your mother about it. She's fighting her own battles.</dialogue> <scene_description>Rebecca rolls her eyes. She's sat through these talks.</scene_description> <character>EMMA</character> <dialogue>Living with someone struggling with depression is exhausting. I know because my father battled it.</dialogue> <character>EMMA</character> <dialogue>You don't know who you're going to get. One moment they're sweet, the next they're a monster. But if you feel threatened, we can help. Okay?</dialogue> <character>MARTIN</character> <parenthetical>(right at Rebecca)</parenthetical> <dialogue>This is why you left, isn't it.</dialogue> <scene_description>This gives Emma pause. She looks to Rebecca. Rebecca shrugs.</scene_description> <character>REBECCA</character> <dialogue>My deal was more complicated. And has nothing to do with you and mom. Come on. I'll take you home.</dialogue> <character>MARTIN</character> <dialogue>Your home? Or mom's?</dialogue> <character>REBECCA</character> <dialogue>Where you live.</dialogue> <scene_description>Martin lets out a tired breath and eases off the chair. Rebecca can read his body language.</scene_description> <character>REBECCA</character> <dialogue>You're gonna be okay.</dialogue> <parenthetical>(to Emma)</parenthetical> <dialogue>He's gonna be fine.</dialogue> </scene> <scene> <stage_direction>EXT. SOPHIE'S HOUSE - DAY</stage_direction> <scene_description>Bret's beat-up SUV pulls into the driveway.</scene_description> </scene> <scene> <stage_direction>INT. BRET'S SUV</stage_direction> <scene_description>Bret shifts into park and smiles through the rearview at Martin, who's buckled into the back seat. Rebecca rides shotgun.</scene_description> <character>BRET</character> <dialogue>Here we are.</dialogue> <character>REBECCA</character> <dialogue>Her car is here, so she's home.</dialogue> <scene_description>Martin makes no move to unbuckle his seat belt. His backpack sits on the seat next to him.</scene_description> <character>MARTIN</character> <dialogue>You should take me to your place instead. Just for a night.</dialogue> <scene_description>Rebecca looks back at Martin. Bret chuckles.</scene_description> <character>BRET</character> <dialogue>Good luck barking up that tree.</dialogue> <scene_description>Rebecca gives Bret a "don't start" glance, then tells Martin:</scene_description> <character>REBECCA</character> <dialogue>You wouldn't like it there. I have lots of scary posters on the walls.</dialogue> <scene_description>But Martin looks more scared of his own house now.</scene_description> <character>MARTIN</character> <parenthetical>(sotto)</parenthetical> <dialogue>I just need some sleep.</dialogue> <character>BRET</character> <dialogue>This is exciting.</dialogue> <character>REBECCA</character> <dialogue>Why are you excited?</dialogue> <character>BRET</character> <dialogue>Getting to meet your mom is a big deal. That's like, the next step.</dialogue> <scene_description>Rebecca rolls her eyes and opens her door.</scene_description> <character>REBECCA</character> <dialogue>C'mon Martin, let's go.</dialogue> <parenthetical>(points at Bret)</parenthetical> <dialogue>You, stay in the car.</dialogue> <character>BRET</character> <dialogue>Oh come on. I wore my good jeans!</dialogue> <scene_description>Bret's jeans: Patched and shredded.</scene_description> </scene> <scene> <stage_direction>EXT. SOPHIE'S HOUSE - MOMENTS LATER</stage_direction> <scene_description>Rebecca leads Martin up to the front door.</scene_description> <character>REBECCA</character> <dialogue>Mom goes through phases like this. Just give her a while and she'll bounce back. Is she being social with anyone right now?</dialogue> <character>MARTIN</character> <dialogue>Someone keeps coming over.</dialogue> <character>REBECCA</character> <dialogue>Good. Who?</dialogue> <character>MARTIN</character> <dialogue>"Diana."</dialogue> <scene_description>This stops Rebecca in her tracks. She turns to face Martin. Her whole body language has changed now. Her hands make fists at her sides. Her jaw pulses.</scene_description> <character>REBECCA</character> <dialogue>...What?</dialogue> <character>MARTIN</character> <dialogue>Her name is Diana.</dialogue> </scene> <scene> <stage_direction>INT. SOPHIE'S LIVING ROOM</stage_direction> <scene_description>POV ANGLE: Watching Rebecca and Martin through a crack in the curtains. Is this Sophie watching? Rebecca bends slightly to speak in low tones with Martin.</scene_description> <character>REBECCA</character> <dialogue>I know what you're going through. She did it to me after my dad left. She got off her meds and started talking to... someone.</dialogue> </scene> <scene> <stage_direction>EXT. SOPHIE'S HOUSE - CONTINUOUS</stage_direction> <scene_description>Rebecca puts a hand on Martin's shoulder.</scene_description> <character>REBECCA</character> <dialogue>I had bad dreams about Diana, but that's all they are. Because she isn't real. Okay?</dialogue> <scene_description>Martin's face goes from hopeful confidant to disappointed. Suddenly he looks more exhausted than any eight-year-old should ever be. Head bowed:</scene_description> <character>MARTIN</character> <dialogue>If you say so.</dialogue> <scene_description>The door opens and Sophie steps out, in a bath robe.</scene_description> <character>SOPHIE</character> <dialogue>Becca? Is that you?</dialogue> <scene_description>Rebecca stands up and approaches Sophie.</scene_description> <character>REBECCA</character> <dialogue>Hey, mom.</dialogue> <scene_description>Sophie notes Rebecca's clothing color choice.</scene_description> <character>SOPHIE</character> <dialogue>Still in mourning?</dialogue> <character>REBECCA</character> <dialogue>I just like black.</dialogue> <scene_description>Sophie nods, conceding. She pulls Rebecca into a welcome hug.</scene_description> <character>SOPHIE</character> <dialogue>It's good to see you.</dialogue> <scene_description>It takes a moment for Rebecca to hug back. Didn't expect one.</scene_description> <character>REBECCA</character> <dialogue>You, too.</dialogue> <scene_description>Martin moves past, into the house.</scene_description> <character>SOPHIE</character> <dialogue>What are you doing home, little mister?</dialogue> </scene> <scene> <stage_direction>INT. SOPHIE'S LIVING ROOM - CONTINUOUS</stage_direction> <scene_description>Martin doesn't look back, he just marches for his bedroom. Over his shoulder:</scene_description> <character>MARTIN</character> <dialogue>She'll tell you.</dialogue> <character>REBECCA</character> <dialogue>He hasn't been sleeping.</dialogue> <character>SOPHIE</character> <dialogue>Who can blame him. Paul was everything to us.</dialogue> <parenthetical>(corrects)</parenthetical> <dialogue>Nearly everything.</dialogue> <character>REBECCA</character> <dialogue>Are you seeing a therapist?</dialogue> <scene_description>Sophie deflects by idly tidying up. As she does:</scene_description> <character>SOPHIE</character> <dialogue>I'm not going to talk about my problems to some stranger. I've been through this before. You were there when Vic left me, you remember.</dialogue> <character>REBECCA</character> <dialogue>Oh yeah, I remember.</dialogue> <scene_description>She looks around the room and spies a half-eaten lunch on the coffee table. The TV plays, muted. For the first time, we get a better look at the room, with the new curtains. It's more of a cave now. Some boxes of clothes (Paul's) sit in a corner of the room, like a hoarder's starter kit. The lack of natural light, mixed with the multicolored ambient TV light, all makes for a depressing, if macabre feel.</scene_description> <character>REBECCA</character> <dialogue>How long have you been off-roading it?</dialogue> <scene_description>Sophie's poor-me vibe disappears in a breath. She bites back:</scene_description> <character>SOPHIE</character> <dialogue>Excuse me?</dialogue> </scene> <scene> <stage_direction>INT. MARTIN'S ROOM</stage_direction> <scene_description>Martin gets a gym bag from his closet and begins to stuff various articles of clothing from his chest of drawers. The raised voices of Sophie and Rebecca can be heard through the walls and down the hall as Martin packs.</scene_description> <character>SOPHIE (O.S.)</character> <dialogue>--and once again, I am here by myself, trying to do it all on my own without any help--</dialogue> <character>REBECCA (O.S.)</character> <dialogue>Help? Is that your code word for making someone listen to you complain about your life all day?</dialogue> <character>SOPHIE (O.S.)</character> <dialogue>Listen here, Rebecca Ann--</dialogue> </scene> <scene> <stage_direction>INT. BEDROOM HALL - MOMENTS LATER</stage_direction> <scene_description>Martin crosses from his bedroom to the bathroom across the hall, hefting his gym bag with him.</scene_description> <character>REBECCA (O.S.)</character> <dialogue>Answer the question!</dialogue> <character>SOPHIE (O.S.)</character> <dialogue>You're not my doctor, you're my daughter, why can't you just be on my side for once--</dialogue> <scene_description>Martin emerges with his toothbrush in one hand. He heads back for the living room, glancing into-- A HOME OFFICE, its door halfway open. Martin stops. Curious. This is a room that is typically closed to him. Down the hall, the fight continues.</scene_description> <character>REBECCA (O.S.)</character> <dialogue>How about you be on Martin's side, have you thought about that?</dialogue> <scene_description>Martin slowly approaches the door, to peer inside... POV: A SHADOW on the wall moves. Something's in there. Startled, Martin hurries for the living room.</scene_description> </scene> <scene> <stage_direction>INT. SOPHIE'S LIVING ROOM</stage_direction> <scene_description>Mother and daughter still go at it.</scene_description> <character>SOPHIE</character> <dialogue>Are you seriously accusing me of being a bad mother? You of all people?</dialogue> <character>REBECCA</character> <dialogue>Can we talk about Martin without you jumping to that idea? Come on!</dialogue> <character>SOPHIE</character> <dialogue>Excuse me for being upset that I have to raise him without his father. Look how you turned out.</dialogue> <scene_description>This cuts Rebecca deep. If she lets it fester, she'll start crying. Instead, she hardens up.</scene_description> <character>REBECCA</character> <dialogue>I'm going to give you some time. And when you aren't totally manic, you can call me. Until then, I'm not letting Martin stay here.</dialogue> <parenthetical>(calling)</parenthetical> <dialogue>Martin, pack your--</dialogue> <scene_description>Martin steps in, tense, carrying his bag and backpack.</scene_description> <character>MARTIN</character> <dialogue>I'm ready.</dialogue> <scene_description>Sophie is shocked.</scene_description> <character>SOPHIE</character> <dialogue>Martin. Honey. Come on now.</dialogue> <scene_description>Rebecca is now empowered again. Authoritative.</scene_description> <character>REBECCA</character> <dialogue>Let's go.</dialogue> <scene_description>Rebecca leads Martin out the front door. Sophie is hot on their tracks.</scene_description> <character>SOPHIE</character> <dialogue>You two planned this! Didn't you!</dialogue> <character>REBECCA</character> <dialogue>Nobody planned anything, mom.</dialogue> <scene_description>Martin looks back at his mother with a gentle look of pure sympathy. On his way out:</scene_description> <character>MARTIN</character> <dialogue>I'll be back soon as I can.</dialogue> <parenthetical>(halfway out the door)</parenthetical> <dialogue>Take your vitamins after dinner!</dialogue> </scene> <scene> <stage_direction>EXT. SOPHIE'S HOUSE - MOMENTS LATER</stage_direction> <scene_description>Rebecca hurries for Bret's idling SUV with Martin in tow. Bret meets them at the passenger side--</scene_description> <character>BRET</character> <dialogue>Whoa whoa--</dialogue> <character>REBECCA</character> <dialogue>Get back in, we're leaving.</dialogue> <character>BRET</character> <dialogue>Where we going?</dialogue> <character>REBECCA</character> <dialogue>My place.</dialogue> <scene_description>Bret moves. No questions. At the front door, Sophie calls after Rebecca:</scene_description> <character>SOPHIE</character> <dialogue>You're just like your father!</dialogue> <scene_description>Already in the SUV, Rebecca turns her full anger toward her mother and starts cursing her, while Bret races to shut the passenger automatic window. It seals up at the last word--</scene_description> <character>REBECCA</character> <dialogue>You're just like a crazy b--</dialogue> </scene> <scene> <stage_direction>EXT. REBECCA'S APARTMENT BUILDING - EVENING</stage_direction> <scene_description>Establishing. The sky threatens to rain. The clouds are the color of fresh bruises.</scene_description> </scene> <scene> <stage_direction>INT. REBECCA'S BEDROOM - EVENING</stage_direction> <scene_description>Rebecca opens the door for Martin, showing him in like a bell hop to a hotel suite.</scene_description> <character>REBECCA</character> <dialogue>Here we are. You can take the bed tonight. Just stash your stuff wherever.</dialogue> <scene_description>Martin steps in and looks wide-eyed at the posters on the walls. Like he's on an alien planet. Rebecca watches Martin. Suddenly feels embarrassed.</scene_description> <character>REBECCA</character> <dialogue>Or if you prefer the couch...</dialogue> <scene_description>Martin puts his bag on the bed.</scene_description> <character>MARTIN</character> <dialogue>No. This is fine.</dialogue> <character>REBECCA</character> <dialogue>I'm gonna order some dinner.</dialogue> <scene_description>She gently shuts her door, letting him alone. Martin unzips the gym bag and digs around through the clothes inside. He finds what he's after, and pulls it out-- A FLASHLIGHT. He checks the switch, then puts it on the nightstand.</scene_description> </scene> <scene> <stage_direction>INT. REBECCA'S LIVING ROOM</stage_direction> <scene_description>Bret pulls Rebecca around to speak to her quietly before she gets to the kitchen phone.</scene_description> <character>BRET</character> <dialogue>Was this your idea?</dialogue> <character>REBECCA</character> <dialogue>What do you mean?</dialogue> <character>BRET</character> <dialogue>Bringing the kid here.</dialogue> <character>REBECCA</character> <dialogue>It's not safe there.</dialogue> <character>BRET</character> <dialogue>So. You call the lady at the school. That's what CPS is for. Exactly this.</dialogue> <character>REBECCA</character> <dialogue>He's my brother.</dialogue> <character>BRET</character> <dialogue>She's his mother.</dialogue> <character>REBECCA</character> <dialogue>So?</dialogue> <scene_description>Bret takes a beat. Watches her carefully.</scene_description> <character>BRET</character> <dialogue>Becks. Did you do this to help him, or to hurt her?</dialogue> <scene_description>Rebecca crosses her arms. Nostrils flaring. In a scary even tone, she tells Bret:</scene_description> <character>REBECCA</character> <dialogue>You should go now.</dialogue> <scene_description>Bret deflates. He grabs his keys. Staying on Rebecca, all stern face and disappointment... The sound of the front door SHUTTING... And Rebecca slumps, almost caving in on herself. She puts a hand over her face and lets out a long breath.</scene_description> </scene> <scene> <stage_direction>INT. REBECCA'S KITCHEN - NIGHT</stage_direction> <scene_description>Dark. Then a light clicks on to reveal we're inside the fridge and Rebecca has just opened the door, peering in.</scene_description> <character>REBECCA</character> <dialogue>Let me see what I can put together for you...</dialogue> <scene_description>She grabs some lunchmeat.</scene_description> <character>REBECCA</character> <dialogue>How about a sandwich?</dialogue> <scene_description>In the dinette right off the kitchen, Martin sits at the table, in his pajamas. He nods. His hair is wild from a recent bath. Rebecca builds a sandwich for him at the counter.</scene_description> <character>REBECCA</character> <dialogue>I know this is a little late for dinner. So. We'll call it a snack.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Crust or no crust?</dialogue> <character>MARTIN</character> <dialogue>Crust is fine.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Can you make them triangles?</dialogue> <scene_description>Rebecca grins.</scene_description> <character>REBECCA</character> <dialogue>Oh, you take after your big sister.</dialogue> <scene_description>She brings the sandwich on a plate to the table and presents it to him. Martin takes a bite. Nods: He approves. Rebecca then notices a HAIRBRUSH on the table.</scene_description> <character>MARTIN</character> <dialogue>Mom usually brushes my hair.</dialogue> <character>REBECCA</character> <dialogue>Well. I'll give it a try.</dialogue> <scene_description>Rebecca works on taming Martin's messy hair while he eats. For a moment, the two are actually content as siblings. He feels nurtured, and she feels like a proper caregiver. Then, Martin puts down his sandwich.</scene_description> <character>MARTIN</character> <dialogue>Rebecca?</dialogue> <character>REBECCA</character> <dialogue>Hmm?</dialogue> <character>MARTIN</character> <dialogue>If mom is crazy, does it mean we're a little crazy too?</dialogue> <scene_description>Rebecca pauses. Unsure how to answer that question. It eats at her conscience.</scene_description> </scene> <scene> <stage_direction>EXT. SOPHIE'S BACK YARD - DUSK (FLASHBACK)</stage_direction> <scene_description>A bonfire crackles. A bonfire made of clothes, CDs, and other personal effects. SOPHIE (younger, exhausted) stands at the fire with a box at her feet. She wears a bath robe that she's been living in for the past week, judging by its condition. Next to her, a 10-year-old REBECCA. Big eyes. And scared the way children get when a pillar of their life changes.</scene_description> <character>YOUNG REBECCA</character> <dialogue>Is that Daddy's stuff?</dialogue> <character>SOPHIE</character> <dialogue>Not anymore. He abandoned it all when he ran off with that little harlot from work.</dialogue> <scene_description>Sophie pulls another shirt out of the box. Holds it in front of her daughter.</scene_description> <character>SOPHIE</character> <dialogue>Smell this. You know what that is?</dialogue> <parenthetical>(Rebecca sniffs)</parenthetical> <dialogue>Dior. "Dune." Your mother doesn't wear Dior.</dialogue> <scene_description>Sophie tosses the shirt onto the fire. The flames consume it hungrily, flaring up.</scene_description> <character>YOUNG REBECCA</character> <dialogue>...What happens now?</dialogue> <character>SOPHIE</character> <dialogue>Transformation.</dialogue> <scene_description>Sophie reaches into her robe's pocket and pulls out a prescription pill bottle. Holds it up... ...and tosses it into the fire with the clothes. Mental alarm bells go off in Rebecca's head.</scene_description> <character>YOUNG REBECCA</character> <dialogue>Why'd you do that?</dialogue> <character>SOPHIE</character> <dialogue>That's the old me. They were supposed to help me keep my life together. Look what happened.</dialogue> <parenthetical>(a breath)</parenthetical> <dialogue>Time to let the world know I'm ready for something new.</dialogue> <scene_description>She dumps the last of the box into the fire. It ROARS up.</scene_description> <character>SOPHIE</character> <dialogue>You hear me? Bring me someone who won't run away!</dialogue> <scene_description>From one angle, with Sophie in silhouette against the roaring bonfire, her head raised to the sky, the scene could be mistaken as something much more... ritualistic.</scene_description> </scene> <scene> <stage_direction>EXT. REBECCA'S APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Dead of night. It's raining.</scene_description> </scene> <scene> <stage_direction>INT. REBECCA'S BEDROOM - NIGHT</stage_direction> <scene_description>Rebecca sleeps, spooning a set of covers partly turned back. She's made visible in four-second intervals by the bright neon light from the sign outside her window. A faint SCRATCHING SOUND somewhere in the room causes her to stir in her sleep. She wakes. And she finds she's alone in the bed. Rebecca sits up. Blinks. Looks around.</scene_description> <character>REBECCA</character> <dialogue>Martin?</dialogue> <scene_description>The neon winks off to reveal A SILHOUETTE in the door. Small. Partly enveloped in shadow from the room beyond. The SCRATCHING comes from somewhere in that direction.</scene_description> <character>REBECCA</character> <dialogue>What are you doing?</dialogue> <scene_description>The neon lights up the room in a green glow, revealing nothing in the hall... Then it goes out, and the SILHOUETTE is back. The SCRATCHING continues. Rebecca reaches over to turn on the bedside lamp-- click. But nothing happens. Click-click. Nope.</scene_description> <character>REBECCA</character> <dialogue>You need to flip the light switch by you. The outlet is... here.</dialogue> <scene_description>She gets out of bed. The neon light returns, illuminating the doorway... No one is there. Rebecca frowns. Takes a step forward, cautious. Beat. The light goes out again... Revealing the SILHOUETTE still there. Rebecca's breath catches.</scene_description> <character>REBECCA</character> <parenthetical>(softly)</parenthetical> <dialogue>Martin?</dialogue> <scene_description>The shadow RISES now, from its small, hunched over state, to something taller than Rebecca by a foot. Rebecca backpedals, stumbles, hits the hardwood floor-- The silhouette takes a step into the room and something like toenails CLICK against the wood surface-- Rebecca is trapped, the bedroom door her only way out, adrenaline dumping into her system all at once-- Then the neon returns-- And the silhouette EVAPORATES when the light washes over it, and for a precious few seconds Rebecca is safe-- Which is when Rebecca scrambles to get back up and RUSH for the wall switch by the door-- Slapping it with her hand while she's in the wash of light-- CLICK. The bedside lamp turns on. Rebecca is alone in the lit room. Suddenly out of breath, but alone.</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM - MOMENTS LATER</stage_direction> <scene_description>Rebecca steps in -- the light is already on in here. She takes a hard look at herself in the mirror. Glances down at her arm with the old scars. She tucks her arm to her side, like she's trying not to think about it. Something makes a small sound in the room with her, and in a heartbeat she's back to fight-or-flight mode. The shower curtain is drawn partway. Rebecca advances slowly. She relaxes when she sees: MARTIN, asleep in the dry bathtub basin, in his pajamas. He clutches his flashlight to his chest. He's using a towel for a pillow. Rebecca sits down on the tub's edge and watches Martin sleep. Her attention drifts back to the bathroom door; to the hallway beyond. Questioning what just happened. PRE-LAP the sound of a doorbell RING--</scene_description> </scene> <scene> <stage_direction>EXT. REBECCA'S APARTMENT BUILDING - MORNING</stage_direction> <scene_description>The rain has stopped. The sun shines. A lone figure in a raincoat stands at Rebecca's stoop.</scene_description> </scene> <scene> <stage_direction>INT. REBECCA'S LIVING ROOM - MORNING</stage_direction> <scene_description>Rebecca opens the front door to reveal the figure is EMMA. And she looks sternly at Rebecca.</scene_description> <character>REBECCA</character> <dialogue>Hey.</dialogue> <character>EMMA</character> <dialogue>Did you take Martin?</dialogue> <character>REBECCA</character> <dialogue>What?</dialogue> <character>MARTIN (O.S.)</character> <dialogue>Who is it?</dialogue> <scene_description>Emma pushes past Rebecca, into the apartment.</scene_description> <character>EMMA</character> <dialogue>You can't do this.</dialogue> <scene_description>MOMENTS LATER Emma sits on the couch, Rebecca paces.</scene_description> <character>REBECCA</character> <dialogue>She's unstable. It's not a safe environment for him. For anyone.</dialogue> <character>EMMA</character> <dialogue>Where is he?</dialogue> <character>REBECCA</character> <dialogue>Getting dressed for school.</dialogue> <scene_description>Emma looks to the closed bedroom door, then speaks directly but in a slightly low voice to prevent Martin overhearing.</scene_description> <character>EMMA</character> <dialogue>Think about what you want to do.</dialogue> <character>REBECCA</character> <dialogue>I did. I brought him here.</dialogue> <character>EMMA</character> <dialogue>I'm not talking about some kneejerk reaction. He can't stay here.</dialogue> <character>REBECCA</character> <dialogue>Sure he can.</dialogue> <character>EMMA</character> <dialogue>Not without-- Rebecca, come on. You know why I'm here? She called me.</dialogue> <character>REBECCA</character> <dialogue>So Child Services takes orders from nutjobs now? She's on triazolam and beta blockers for a reason.</dialogue> <scene_description>Emma stands up like she's taking the pulpit.</scene_description> <character>EMMA</character> <dialogue>I went there, I stopped by in person to make sure she was lucid, and she was, but you know what? That's not how this works.</dialogue> <character>REBECCA</character> <dialogue>Why the hell not?</dialogue> <character>EMMA</character> <dialogue>Sophie is his birth mother. His legal guardian. To get Martin from her custody requires you to file charges against her. Take her to court. That's a long, painful process, and that's only the first half. To keep Martin from being placed into foster care, you'd need to prove yourself and your home as an appropriate surrogate.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>So that's two major choices for you to make: Declaring war on your mother, and transforming into a responsible guardian for him. Are you ready to do that?</dialogue> <scene_description>Rebecca blinks. She didn't expect that truth slapped at her this early.</scene_description> <character>REBECCA</character> <dialogue>I can be a responsible guardian.</dialogue> <scene_description>Emma answers by looking past Rebecca, and then around the room, taking it all in. More HEAVY METAL POSTERS. Some with provocative illustrated women. A book on the coffee table about tattoo artists. And finally, a plastic bong on the bookshelf. Emma doesn't say a word. She doesn't have to.</scene_description> </scene> <scene> <stage_direction>EXT. REBECCA'S FRONT STOOP - MORNING</stage_direction> <scene_description>Emma takes Martin by the hand to her car. Martin looks back at Rebecca who stands at her doorway. He waves at her.</scene_description> <character>MARTIN</character> <dialogue>It's okay. I got some sleep. I'll do better tonight.</dialogue> <scene_description>Rebecca waves and smiles wanly. But honestly, the little boy is breaking her heart.</scene_description> </scene> <scene> <stage_direction>INT. REBECCA'S BEDROOM - MOMENTS LATER</stage_direction> <scene_description>Rebecca shuffles in, hand over her eyes. Her body language screams, "What the hell am I doing." She bends down to pick up a t-shirt of hers on the floor. When she does, she freezes. Her attention is riveted to something on the floor... A STICK FIGURE IN A DRESS has been carved into the hardwood flooring, with a name scrawled beneath it:</scene_description> <character>DIANA</character> <dialogue>Rebecca shudders. Crouches down and traces one of the letters with her finger. It's triggering some memory; her gaze wanders off the floor and up, as if she starts to see it in the same room--</dialogue> <dialogue>All the while darkness encroaches around her, until--</dialogue> </scene> <scene> <stage_direction>INT. REBECCA'S CHILDHOOD BEDROOM - NIGHT (FLASHBACK)</stage_direction> <scene_description>A young REBECCA (age 10) sleeps in her bed. From somewhere in the room, a nightlight casts a wan glow over her. Then... with a brief BUZZ, the nightlight winks OUT. STAYING ON REBECCA who stirs in her sleep, some part of her aware that the light has changed. A door creaks open. Rustling sounds. Like a rat in a cupboard. This wakes Rebecca. She blinks. Sits up. Her bedroom CLOSET DOORS hang open. Inside: pitch black. All is quiet. Then: the rustling continues. A bit clearer now: Paper is involved. Someone handling paper. Coming from the closet. Rebecca gets gooseflesh and her heart rate skyrockets. She reaches over to her nightstand to turn on her lamp-- But the lamp is GONE. A place for a lamp is there, even a footprint on the surface, but it's not there now. Rebecca turns back to face the closet with renewed fear. There, at the base, on its side: the lamp. Nostrils flaring, Rebecca slips out of the bed.</scene_description> <character>YOUNG REBECCA</character> <dialogue>Mom...? Is that you?</dialogue> <scene_description>Beat. The rustling pauses.</scene_description> <character>WOMAN'S VOICE</character> <dialogue>Sweetheart.</dialogue> <scene_description>Rebecca frowns. Takes a tentative step for the closet.</scene_description> <character>YOUNG REBECCA</character> <dialogue>What are you doing?</dialogue> <scene_description>No answer. Scratching on paper. Then:</scene_description> <character>WOMAN'S VOICE</character> <dialogue>Your mother is going to be fine.</dialogue> <scene_description>Rebecca takes two more steps. The closet interior is a black hole in the wall.</scene_description> <character>WOMAN'S VOICE</character> <dialogue>I'm here now.</dialogue> <scene_description>Rebecca quickly reaches out and flicks on the closet light-- The closet LIGHTS UP to reveal-- NO ONE INSIDE, but something FALLS from midair-- An old sketch pad. And a black crayon. The crayon rolls to Rebecca's bare foot. Rebecca looks around, utterly terrified there's no one there. THE SKETCH PAD lies open to an old drawing. A stick-figure trio. Mommy, Daddy, Me. Daddy has been crossed through. And in the same black crayon, a new figure has been added:</scene_description> <character>DIANA</character> <dialogue>Young Rebecca stares down in shock--</dialogue> </scene> <scene> <stage_direction>INT. REBECCA'S BEDROOM - BACK TO SCENE</stage_direction> <scene_description>Present-day Rebecca stares down at the same handwriting carved into her floor. She grabs her phone. Still distracted by the carving, she brings up her voicemail. On speaker, she plays an old message.</scene_description> <character>VOICEMAIL (V.O.)</character> <dialogue>Saved message. Thirty-two days old.</dialogue> <scene_description>BEEP. Then Paul's voice:</scene_description> <character>PAUL (V.O.)</character> <dialogue>Rebecca. This is your step-father. You know I wouldn't be calling if it weren't serious. I just... It involves your mother. Call me?</dialogue> <scene_description>BEEP. Rebecca never called. But she has a grim idea now--</scene_description> </scene> <scene> <stage_direction>INT. REBECCA'S KITCHEN - DAY</stage_direction> <scene_description>QUICK SHOTS: - Rebecca's thumb on the power button to her weathered laptop as the boot sequence CHIMES. - Rebecca's hand on the fridge, pulling a card for an LAPD detective from the door. - Digits lighting up on her cell phone's screen: "7-1-4" - Rebecca's fingers flutter on the keyboard, that black nail polish shining in the screen's glow. THEN: Rebecca holds the phone in her hand at the little kitchen table, her laptop screen visible. On screen: An ARTICLE from LA Times: Store Owner Beaten to Death in Anaheim A PHOTO of Paul's car in the garage accompanies the article, but it's shot from the other side of where his body was found, so all we see are LAPD officers standing around and looking grim at the (unseen) body.</scene_description> <character>DET. PETRUCCI (V.O.)</character> <parenthetical>(faint; from phone)</parenthetical> <dialogue>Yeah, Petrucci.</dialogue> <character>REBECCA</character> <dialogue>Detective Petrucci? This is Rebecca Lloyd. We spoke a few weeks ago, about my step-father's murder?</dialogue> <scene_description>She paces the room as she listens. The Detective's voice is barely heard on the other line.</scene_description> <character>REBECCA</character> <dialogue>Paul Wells, yes. Did you catch whoever did it?</dialogue> <scene_description>Rebecca scrolls down the article on her laptop and puts Petrucci on speakerphone while she keeps reading.</scene_description> <character>DET. PETRUCCI (V.O.)</character> <parenthetical>(filtered)</parenthetical> <dialogue>--pursuing every lead, but what we need most now is some help from people who knew Paul. How well did you know him?</dialogue> <character>REBECCA</character> <dialogue>Me? I mean, not really.</dialogue> <character>DET. PETRUCCI (V.O.)</character> <parenthetical>(filtered)</parenthetical> <dialogue>Did you get along with him?</dialogue> <scene_description>Rebecca doesn't like where this is going. Is she a suspect? Now her attention is on her phone.</scene_description> <character>REBECCA</character> <dialogue>I guess? He was my step-dad. Why?</dialogue> <character>DET. PETRUCCI (V.O.)</character> <dialogue>Because you're the first family member to call me since I was put on the case. Usually the wife is calling me every day, asking for updates.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>What happened with your mother's first husband?</dialogue> <scene_description>Holy shit -- he's not suspicious of her, he's after Sophie.</scene_description> <character>REBECCA</character> <dialogue>Dad ran off with a client. That's all.</dialogue> <scene_description>Over the speakerphone, she can hear Petrucci typing at his computer, making notes.</scene_description> <character>DET. PETRUCCI (V.O.)</character> <parenthetical>(filtered)</parenthetical> <dialogue>Uh-huh, and you were Martin's age when that happened, right? Would you say your mother suffers from mood swings?</dialogue> <scene_description>Suddenly this is a very charged call. Rebecca takes it off speaker and puts it to her ear --</scene_description> <character>REBECCA</character> <dialogue>I gotta go.</dialogue> <scene_description>And she hangs up. For a moment her eyes wander, then she gets up, having committed to a course of action: Time to go straight to the source. PRE-LAP a DOORBELL:</scene_description> </scene> <scene> <stage_direction>EXT. SOPHIE'S HOUSE - DAY</stage_direction> <scene_description>Rebecca stands on the front porch just as a taxi pulls away from the curb. She rings the bell again. Stands back and checks the driveway: No car.</scene_description> <character>REBECCA</character> <parenthetical>(calling out)</parenthetical> <dialogue>Mom? You home?</dialogue> <scene_description>Nothing. Checking over her shoulder, Rebecca bends down -- And pulls a small plastic magnetized CONTAINER from under a windowsill. Slides it open to reveal: A HOUSE KEY.</scene_description> </scene> <scene> <stage_direction>INT. SOPHIE'S LIVING ROOM - MOMENTS LATER</stage_direction> <scene_description>Rebecca steps inside and shuts the door behind her.</scene_description> <character>REBECCA</character> <dialogue>Hello?</dialogue> <scene_description>No response. Rebecca ventures deeper into the house.</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY</stage_direction> <scene_description>Rebecca ascends the stairs and heads for the master bedroom. She glances in at the home office on her way and stops in her tracks. Turns. And steps inside.</scene_description> </scene> <scene> <stage_direction>INT. HOME OFFICE</stage_direction> <scene_description>Paul's working space. Oak desk, home computer, filing cabinets. A small treadmill in the corner. That's not the strange part. The weirdness is the fact that the framed photos have been taken down. Paul's diploma, his choice of landscape art... Even the filing cabinets are partly gutted. Rebecca notices a corner of the room: A weird MAKESHIFT BED built from pillows and a quilt is tucked back behind one side of the desk, where the desk lamp has been unplugged, and the cord CHEWED OFF. Something new hangs on the wall here. It's not the same dimensions as what used to hang on the hook; the paint on the wall is discolored in a different shape. Rebecca leans in to look at the new framed photo: A black-and-white snapshot, at least thirty years old. Even the frame suggests 1980s. It's at a hospital, outside on the grounds. Slightly off the center of the pic stands a WOMAN with her back to us, head partly turned to look our way. The shade of a wild-shaped tree hides her face from us. Rebecca looks around. Feeling like she's being watched. Carefully, she takes the framed photo down from the wall... And slides the photograph out from under the glass. On the other side of the photo, some handwritten info in old, faded pen: "Diana / Mulberry Hill Rehab Hospital (1986)" Rebecca stares at the photo again with renewed tension. As if the figure under that crooked tree could come to life.</scene_description> </scene> <scene> <stage_direction>EXT. STREET OUTSIDE SOPHIE'S HOUSE - DAY</stage_direction> <scene_description>Rebecca stands at the curb, still clutching the photo. Bret pulls up in his SUV and gets out. Approaches her.</scene_description> <character>BRET</character> <dialogue>Got your message. You wanna tell me what this is about?</dialogue> <character>REBECCA</character> <dialogue>I need a ride. To a hospital.</dialogue> <character>BRET</character> <dialogue>You okay?</dialogue> <character>REBECCA</character> <dialogue>Yeah. Come on--</dialogue> <scene_description>She goes for the passenger door, but it's locked.</scene_description> <character>REBECCA</character> <dialogue>Let's just go. I'll tell you about it in the car.</dialogue> <scene_description>Bret isn't caving. He crosses his arms at her.</scene_description> <character>BRET</character> <dialogue>Don't you think we should finish talking about last night? You know, when you kicked me out for trying to be honest with you?</dialogue> <scene_description>Rebecca takes a moment to remember. It's readable on her face, "Oh, right." Bret's a bit surprised. She doesn't remember?</scene_description> <character>REBECCA</character> <dialogue>That. Yeah. Hey.</dialogue> <scene_description>She steps up to him. Looks him in the eyes. And kisses him on the mouth. She pulls back. Takes a breath.</scene_description> <character>REBECCA</character> <dialogue>You were right. I was using Martin to get back at mom. I'm sorry.</dialogue> <scene_description>Bret's a little loopy from the kiss. But he recovers.</scene_description> <character>BRET</character> <dialogue>Well, you should apologize to Martin, really. I mean, uh-- not like you did with me, but...</dialogue> <character>REBECCA</character> <dialogue>I need to do a lot of things. Starting with a visit to Mulberry Hill mental hospital.</dialogue> <scene_description>Bret heads back around to the driver's side--</scene_description> <character>BRET</character> <dialogue>Why?</dialogue> <character>REBECCA</character> <dialogue>Diana was a patient there.</dialogue> <parenthetical>(still amazed)</parenthetical> <dialogue>The bitch is real!</dialogue> <scene_description>They both get in the car.</scene_description> <character>BRET</character> <dialogue>Who's Diana?</dialogue> <character>REBECCA</character> <dialogue>Let's find out.</dialogue> </scene> <scene> <stage_direction>EXT. QUIET STREET - DAY</stage_direction> <scene_description>Bret's SUV pulls up to the curb. Bret and Rebecca get out. They both stare at something O.S., disturbed. Rebecca looks at the photo in her hands, then back up. ARM AROUND TO REVEAL: The mental hospital building, set back from the street on a wide, once-green lawn. It's the same structure, for sure. Some different paint here and there, stripped landscaping, in need of a pressure wash. Oh, and the SIGN out front: "MULBERRY HILL APARTMENTS"</scene_description> <character>REBECCA</character> <dialogue>Shit.</dialogue> <character>BRET</character> <dialogue>Well. This is awkward.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>So, what now?</dialogue> <character>REBECCA</character> <dialogue>Someone's gotta know.</dialogue> <scene_description>She heads for the front doors. Bret reluctantly follows.</scene_description> </scene> <scene> <stage_direction>INT. MANAGER'S OFFICE - DAY</stage_direction> <scene_description>The PHOTO is examined in a man's meaty hand. This is the apartment manager, LOUIS. He scratches his chin.</scene_description> <character>LOUIS</character> <dialogue>This place hasn't been a medical center for over ten years. Looks like this was taken back in the nineties.</dialogue> <scene_description>Rebecca takes the photo back.</scene_description> <character>REBECCA</character> <dialogue>What happened to it?</dialogue> <scene_description>Louis shrugs.</scene_description> <character>LOUIS</character> <dialogue>Got shut down. Bankruptcy.</dialogue> <character>BRET</character> <dialogue>What happened to all the patients?</dialogue> <character>LOUIS</character> <dialogue>They lived happily ever after. How do I know? I just manage the place.</dialogue> <character>REBECCA</character> <dialogue>You don't have any forwarding info?</dialogue> <character>LOUIS</character> <dialogue>If I did, it'd be at least ten years old by now.</dialogue> <scene_description>Louis goes back to his fast food meal at his desk, talking while he eats.</scene_description> <character>LOUIS</character> <dialogue>They got evicted. State law is three day's notice. They left a lot of junk behind for the owners to clean up, tenants do that shit all the time.</dialogue> <character>REBECCA</character> <dialogue>What happened to that stuff?</dialogue> <character>LOUIS</character> <dialogue>Auctioned or thrown out.</dialogue> <parenthetical>(slurps soda)</parenthetical> <dialogue>All except for the patient files.</dialogue> <scene_description>Rebecca and Bret are on their way out the door when he says that last line. They stop.</scene_description> <character>REBECCA</character> <dialogue>They left patient files?</dialogue> </scene> <scene> <stage_direction>INT. MULBERRY HILL APARTMENTS HALLWAY - DAY</stage_direction> <scene_description>Stained carpet. Flickering piss-yellow bulbs. This place would feel right at home in Fincher's SE7EN. Louis leads them down the hall, keychain jangling.</scene_description> <character>LOUIS</character> <dialogue>I keep telling the owners to just burn this stuff, but everyone's afraid of lawsuits these days, so they have me keep it in 157.</dialogue> <scene_description>He goes to a door that's been damaged recently. "157." A fresh deadbolt LOCK has been installed. Rebecca notices.</scene_description> <character>REBECCA</character> <dialogue>That looks new.</dialogue> <character>LOUIS</character> <dialogue>We get break-ins around here. Welcome to the neighborhood. 'Course, I don't know what's worth stealing in here, or who'd care.</dialogue> <scene_description>He opens the door and turns on the light.</scene_description> </scene> <scene> <stage_direction>INT. UNIT 157</stage_direction> <scene_description>Metal shelves and an old gurney serve as storage spaces for ROWS OF BOXES, some with lids, others open to the elements. It's an auditor's nightmare. And it smells of mildew.</scene_description> <character>LOUIS</character> <dialogue>If someone's files are in here, odds are the world stopped caring about 'em long ago.</dialogue> <scene_description>Rebecca steps in and starts looking around. At the door, Bret stops Louis.</scene_description> <character>BRET</character> <dialogue>You turned a creepy hospital into low-income housing? Seriously?</dialogue> <scene_description>Louis looks at Bret as if Bret still believes in Santa.</scene_description> <character>LOUIS</character> <dialogue>It's a building.</dialogue> <parenthetical>(as he leaves)</parenthetical> <dialogue>Tell her she can look but she can't take anything home with her.</dialogue> <scene_description>Bret steps in to find Rebecca in the middle of the room. Surrounded by files.</scene_description> <character>BRET</character> <dialogue>You hear that?</dialogue> <scene_description>Rebecca nods, but her mind is elsewhere.</scene_description> <character>REBECCA</character> <dialogue>Yeah.</dialogue> <parenthetical>(sotto)</parenthetical> <dialogue>Someone should've told my mom that.</dialogue> </scene> <scene> <stage_direction>EXT. SOPHIE'S HOUSE - DAY</stage_direction> <scene_description>A school bus pulls away from the curb as Martin walks to the front door of the house. The heavy curtains are still drawn.</scene_description> </scene> <scene> <stage_direction>INT. SOPHIE'S HOUSE - MOMENTS LATER</stage_direction> <scene_description>Martin lets himself in. The house is quiet. The TV muted.</scene_description> <character>MARTIN</character> <dialogue>Mom? I'm home...</dialogue> <scene_description>Martin crosses to the bedroom hallway, turning lights on as he goes.</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM HALL</stage_direction> <scene_description>From the home office, Sophie emerges, holding a small hammer. She approaches, happy to see him.</scene_description> <character>SOPHIE</character> <dialogue>Welcome home. How was school?</dialogue> <scene_description>Martin regards her cautiously.</scene_description> <character>MARTIN</character> <dialogue>Okay.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>What are you doing?</dialogue> <character>SOPHIE</character> <dialogue>Just fixing up around the house. How did it go at your sister's?</dialogue> <character>MARTIN</character> <dialogue>Fine. Did you take your vitamins?</dialogue> <character>SOPHIE</character> <dialogue>Well, I am feeling better. Listen, I've been a little... distant lately. And I want to fix that. How about pizza and a movie tonight?</dialogue> <scene_description>Martin brightens. Is old mom coming back?</scene_description> <character>MARTIN</character> <dialogue>Yes, please.</dialogue> <scene_description>Sophie smiles, relieved.</scene_description> <character>SOPHIE</character> <dialogue>Good. Some personal time is just what we need. Just the three of us.</dialogue> <scene_description>She moves past Martin for the stairs... And at the other end of the hall, a SHADOW extends from the home office at the doorway. Someone standing just inside the room, out of view. DIANA. Martin's body seizes with tension. He keeps his eyes on that silhouette, but reaches over for a wall switch... And turns on the hall light. Diana is gone the instant the light comes on. An apparition. Martin takes a tense breath.</scene_description> <character>MARTIN</character> <parenthetical>(calls)</parenthetical> <dialogue>Mom?</dialogue> <character>SOPHIE (V.O.)</character> <dialogue>Yes?</dialogue> <character>MARTIN</character> <dialogue>How about just you and me tonight?</dialogue> <scene_description>Sophie appears at the mouth of the hall. She and Martin make eye contact. She smiles politely.</scene_description> <character>SOPHIE</character> <dialogue>We'll see.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>She isn't that bad, you know.</dialogue> </scene> <scene> <stage_direction>INT. UNIT 157 - DAY</stage_direction> <scene_description>Rebecca and Bret dig through files. They've been at it for a while. The place is messier, boxes opened, papers scattered.</scene_description> <character>REBECCA</character> <dialogue>This is useless. All I got are patient numbers. No names.</dialogue> <character>BRET</character> <dialogue>How does this photo of someone named Diana have anything to do with your family?</dialogue> <character>REBECCA</character> <dialogue>Because my mother went here, when she was about my age.</dialogue> <character>BRET</character> <dialogue>Well then, here's a thought: Why don't you call her and ask?</dialogue> <character>REBECCA</character> <dialogue>I can't. Not about this.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Mom's always been a little... off. It's just brain chemistry, not her fault. But after Dad left, she started talking to herself. Just whispers. Then, it became a full character. She called her Diana.</dialogue> <character>BRET</character> <dialogue>And you think she's based on another patient here.</dialogue> <scene_description>Rebecca puts her hands on her face, weary from the digging around in other people's crazy.</scene_description> <character>REBECCA</character> <dialogue>I was really hoping.</dialogue> <scene_description>Bret opens another box. Does a double take.</scene_description> <character>BRET</character> <dialogue>Whoa. Mother lode.</dialogue> <scene_description>He pulls up a shoebox full of MICRO-CASSETTE TAPES. Plucks one from the pile.</scene_description> <character>BRET</character> <dialogue>They're so tiny! I didn't even know this was a thing.</dialogue> <character>REBECCA</character> <dialogue>You didn't know about micro- cassette recorders?</dialogue> <scene_description>Bret discovers a MCR/Player inside as well. Fascinated.</scene_description> <character>BRET</character> <dialogue>I think I have batteries for this in my truck.</dialogue> <scene_description>He gets up and heads for the door.</scene_description> <character>REBECCA</character> <dialogue>Where are you going?</dialogue> <character>BRET</character> <dialogue>We can't take the stuff out of here. So.</dialogue> <character>REBECCA</character> <dialogue>...Okay.</dialogue> <scene_description>Bret steps out. Immediately Rebecca feels uneasy. She starts digging in the same box Bret was searching. She pulls out a slim POWER CORD. Tries one end on the jack for the MCR/Player-- It fits.</scene_description> <character>REBECCA</character> <dialogue>Bret! Wait-- I found a cord!</dialogue> <scene_description>No answer. He's already gone. Rebecca stares at the cassettes a beat. QUICK CUTS: - She plugs the cord into a power outlet. - She snaps a cassette into the tiny recorder. - MACRO SHOT of the cassette heads spinning. - VOICES drone on from the player. - Rebecca EJECTS a tape, slaps in another. - The whole process is repeated. She's searching... LATER: WHITE NOISE hisses like steady rain. The volume is cranked on the little speaker. Rebecca lets it play as she digs through file boxes. A pile of opened cassette cases lies next to the player.</scene_description> <character>DOCTOR'S VOICE</character> <dialogue>Patient two-eighty-three, admitted October 3, 1984. Removed from the basement of her father's home. She has a peculiar skin condition, worse than albinism. Never seen anything like it before. We've been testing her with--</dialogue> <parenthetical>(knocking)</parenthetical> <dialogue>Bring her in. Shut off the-- okay.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Hello, Diana.</dialogue> <scene_description>Rebecca stops her search. Looks at the recorder now.</scene_description> <character>DIANA'S VOICE</character> <dialogue>...Keep the lights out.</dialogue> <scene_description>Her voice is meek; ethereal. A little raspy. Rebecca stops the tape. Rewinds. Replays.</scene_description> <character>DOCTOR'S VOICE</character> <dialogue>Patient two-eighty-three, admitted--</dialogue> <scene_description>Paused again. Rebecca goes to another shelf. Every file box here is numbered. In the 200s. Rebecca's finger drifts past box after box... 281, 282-- Boom. Box 283. Rebecca pulls it. MOMENTS LATER Rebecca digs through the box, sitting near the recorder.</scene_description> <character>DOCTOR'S VOICE (V.O.)</character> <dialogue>Hello, Diana.</dialogue> <character>DIANA'S VOICE</character> <dialogue>Keep the lights out.</dialogue> <scene_description>Rebecca stares at the recorder now. She knows this voice.</scene_description> <character>DOCTOR'S VOICE</character> <dialogue>How long have you had this condition? Diana?</dialogue> <scene_description>The player hisses white noise. No answer.</scene_description> <character>DOCTOR'S VOICE</character> <dialogue>Did your father have it too? Or your mother?</dialogue> <character>DIANA'S VOICE</character> <dialogue>They aren't my real parents.</dialogue> <scene_description>A pause. Rebecca leans closer.</scene_description> <character>DOCTOR'S VOICE</character> <dialogue>Another patient in the heliotherapy ward says you visit her at night.</dialogue> <scene_description>The word rings a bell, and Rebecca thumbs through files until she finds a folder with the same tab: "HELIOTHERAPY." In the folder, Rebecca finds PHOTOS of patients standing in front of light boxes. Others in rooms with UV-lit walls.</scene_description> <character>DIANA'S VOICE</character> <dialogue>She is my friend.</dialogue> <scene_description>Annotations of disorders treated this way: Bipolar. Sleep phase disorder. Nervous breakdown.</scene_description> <character>DOCTOR'S VOICE</character> <dialogue>Then why did you hurt her? Her arm is broken in three places.</dialogue> <scene_description>An ARTICLE slips out of the folder, on aged newsprint: New 'light therapy' claims life of patient Diana Walter REBECCA'S EYES frantically skim the words on the piece -- "skin condition" -- "perhaps spontaneous combustion" -- "left nothing but a shadow on the wall" And the date: 1987.</scene_description> <character>DIANA'S VOICE</character> <parenthetical>(small)</parenthetical> <dialogue>She was getting better. When she gets better she goes away. Leaves.</dialogue> <scene_description>A shadow SLIDES OVER HER in a vague humanoid form, as if something were rising behind Rebecca in the small room-- Rebecca whirls around, on edge-- WIDE ANGLE: Nothing is there. She's alone.</scene_description> <character>DIANA'S VOICE</character> <dialogue>So I made her stay.</dialogue> </scene> <scene> <stage_direction>EXT. SOPHIE'S HOUSE - DUSK</stage_direction> <scene_description>The sun sets, with a sliver of a crescent moon higher in the sky, among brooding clouds.</scene_description> </scene> <scene> <stage_direction>INT. SOPHIE'S LIVING ROOM - DUSK</stage_direction> <scene_description>The lights are on. But the curtains are drawn. Sophie and Martin share the couch with a bowl of popcorn between them, watching TV. Sophie wears a hat now, shielding her eyes from the overhead light. Martin steals a glance at his mother. Noting the hat. Sophie gives him a sidelong glance in return. Then smiles.</scene_description> <character>SOPHIE</character> <dialogue>How are you doing over there?</dialogue> <character>MARTIN</character> <dialogue>Okay.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>How are you?</dialogue> <character>SOPHIE</character> <dialogue>I'm gonna be fine. I am.</dialogue> <scene_description>They watch TV some more. Then:</scene_description> <character>SOPHIE</character> <dialogue>I miss your father. He was strong for me. He protected me. I think I need to feel that, sometimes. And I know you need that, too.</dialogue> <scene_description>Martin's expression suggests he clearly does. Yet:</scene_description> <character>MARTIN</character> <dialogue>I'm okay.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Rebecca is strong.</dialogue> <scene_description>Sophie makes a sarcastic noise through her teeth.</scene_description> <character>SOPHIE</character> <dialogue>She tries to look the part, all that makeup and loud music. But when it got tough she abandoned me. Don't let her do the same to you.</dialogue> <character>MARTIN</character> <dialogue>Sometimes, the strongest thing to do, is to face your fears. That's what Emma told me.</dialogue> <scene_description>Beat. Sophie looks at Martin with newfound respect. Smiles.</scene_description> <character>SOPHIE</character> <dialogue>You know what, you're right.</dialogue> <parenthetical>(gets up)</parenthetical> <dialogue>Be right back.</dialogue> <scene_description>Sophie crosses, leaving Martin on the couch. Martin grabs the remote and PAUSES the TV. The lights go OUT.</scene_description> <character>MARTIN</character> <dialogue>Mom!</dialogue> <scene_description>Sophie is back in a breath, before Martin can stand up-- She puts her hands on his shoulders. Firmly.</scene_description> <character>SOPHIE</character> <dialogue>It's okay. It's all right.</dialogue> <scene_description>Martin goes from zero to sheer panic:</scene_description> <character>MARTIN</character> <dialogue>What are you doing--</dialogue> <character>SOPHIE</character> <dialogue>Look at me. Trust me.</dialogue> <scene_description>With her position between Martin and the TV, Sophie casts a LONG, INK-DARK SHADOW over him that extends to the edge of the room.</scene_description> <character>MARTIN</character> <dialogue>Mom, let go--</dialogue> <character>SOPHIE</character> <dialogue>A long time ago, I was friends with Diana. She was different. Special.</dialogue> <scene_description>From that shadow, SOMETHING MOVES. Sophie talks in a crazed reverence, one part nostalgia, one part Stockholm Syndrome.</scene_description> <character>SOPHIE</character> <dialogue>After I left the hospital, I thought something... tragic happened to Diana. But the newspapers got it wrong, she was still here, and she finally visited me when I had a clear head again.</dialogue> <scene_description>Martin tries to look back, not sure if he wants to-- As the shadow EXTENDS, as if moving on its own-- No, not extending... GETTING CLOSER.</scene_description> <character>MARTIN</character> <dialogue>Mom please no, please please--</dialogue> <character>SOPHIE</character> <dialogue>Took me another ten years to realize why she left. It was the medicine. It blocked her out, left her all alone. And you know what? She's tired of being alone.</dialogue> <scene_description>Martin struggles, but Sophie remains firm. DIANA'S SHADOW now looms over him... A clawed HAND touching his hair...</scene_description> <character>SOPHIE</character> <dialogue>I have been a terrible friend to her, but now she's going to stay. Long as I keep my head clear... and you keep the lights out.</dialogue> <scene_description>MARTIN'S HAND digs into the seat cushion, searching-- Just as JET BLACK HAIR descends by Martin's face, like the shadow is starting to LEAN OVER AT HIM-- MARTIN'S HAND finds its target and lifts out a small, aluminum FLASHLIGHT-- Which he flicks on straight up, under-lighting his face--</scene_description> <character>MARTIN</character> <dialogue>NO!</dialogue> <scene_description>Something SHRIEKS. SOPHIE IS THROWN BACK, spilling over the coffee table. Martin stands on the couch, holding the flashlight over him like a spot in a darkened theater. His heart is racing like a marathon runner. Eyes wide. MARTIN'S POV: Whipping around the room, in search of Diana.</scene_description> <character>SOPHIE</character> <dialogue>Martin, what did you do?!</dialogue> <scene_description>Martin races to the wall switch and turns on the lights. Sophie blinks at the sudden light. Like an alcoholic stepping out from a dive bar in the morning.</scene_description> <character>SOPHIE</character> <dialogue>Don't make this harder than it has to be, please --</dialogue> <scene_description>But Martin is too terrified to talk to her now. He runs to the front door, swings it open, and flees outside.</scene_description> </scene> <scene> <stage_direction>INT. BRET'S SUV - NIGHT</stage_direction> <scene_description>Bret drives. Rebecca rides shotgun. She places earbuds in her ears. The thin cord snakes down to the microcassette player. Bret glances over at her. Does a double take.</scene_description> <character>BRET</character> <dialogue>The dude said not to take anything.</dialogue> <character>REBECCA</character> <dialogue>Like he's gonna know what's missing.</dialogue> <scene_description>Rebecca presses 'play' and stares out her window, listening to one of the tapes.</scene_description> <character>BRET</character> <dialogue>Is that another session with Diana?</dialogue> <scene_description>Rebecca doesn't look back at Bret. She watches the city lights drift by her window, thumb on the player.</scene_description> <character>REBECCA</character> <dialogue>No... This one is my mother.</dialogue> <scene_description>She turns up the volume and starts to tune out the rest of the world. SLOW PUSH as she listens to the tape. We don't hear the recording, beyond the dull mono-channel pitch of that doctor's VOICE in her ears... CLOSING IN on Rebecca, closing her eyes... THE SCORE builds as the sound of that doctor's voice gets a little clearer... Can start to make out some of it --</scene_description> <character>DOCTOR'S VOICE (V.O.)</character> <dialogue>Sophie, you need to be careful around Diana. She isn't your friend.</dialogue> <character>YOUNG SOPHIE (V.O.)</character> <dialogue>Yes she is. She may be my only friend in here.</dialogue> <scene_description>TIGHTER ON REBECCA as we can make out --</scene_description> <character>YOUNG SOPHIE (V.O.)</character> <dialogue>That's all she wants --</dialogue> <scene_description>When Bret's HAND enters frame, touching Rebecca:</scene_description> <character>BRET (O.S.)</character> <dialogue>Hey --</dialogue> </scene> <scene> <stage_direction>INT. BRET'S SUV - NIGHT</stage_direction> <scene_description>Rebecca snaps open her eyes -- Bret is nudging her. She stops the player and pulls out the earbuds.</scene_description> <character>REBECCA</character> <dialogue>What?</dialogue> <character>BRET</character> <dialogue>You have a visitor.</dialogue> <scene_description>He nods at something on her side of the road. They've parked out front of her apartment building. And MARTIN is standing on her front stoop. A nervous wreck.</scene_description> <character>REBECCA</character> <dialogue>Oh, no...</dialogue> </scene> <scene> <stage_direction>INT. REBECCA'S KITCHEN - NIGHT</stage_direction> <scene_description>Bret searches the fridge, closes the door in defeat.</scene_description> <character>BRET</character> <dialogue>You need to go shopping, girl.</dialogue> <scene_description>Rebecca and Martin are seated at her little dining table. Martin has hold of Rebecca's hand.</scene_description> <character>REBECCA</character> <dialogue>Can you run down to the little mart on the corner?</dialogue> <character>BRET</character> <dialogue>Yeah. I'll get some snacks, maybe a couple sodas --</dialogue> <character>REBECCA</character> <dialogue>No caffeine.</dialogue> <character>BRET</character> <dialogue>Copy that.</dialogue> <scene_description>As Bret breezes by, he pats Martin on the shoulder. A moment later, he's out the door... Leaving Martin with his sister.</scene_description> <character>REBECCA</character> <dialogue>You wanna talk about it now?</dialogue> <character>MARTIN</character> <dialogue>I know you don't believe me, but Diana is real. She touched my hair.</dialogue> <character>REBECCA</character> <dialogue>Hey, hey. Look at me.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I believe you. She's real. I don't know how or why...</dialogue> <character>MARTIN</character> <dialogue>She doesn't like the light.</dialogue> <scene_description>Rebecca lets out a long breath. Nods. Then stands up -- MOMENTS LATER Rebecca places printouts of web resources on the table between her and Martin. Wikipedia. WebMD.</scene_description> <character>REBECCA</character> <dialogue>Here's what I know: In 1986, mom hit a low point with her depression and was admitted to a hospital for treatment. Her kind of depression is best fought with heliotherapy.</dialogue> <parenthetical>(off the boy's look)</parenthetical> <dialogue>That's using sunlight, or a special kind of artificial light, exposure to it for long stretches.</dialogue> <character>MARTIN</character> <dialogue>I've only seen her take pills.</dialogue> <character>REBECCA</character> <dialogue>That works, too. So, when she was in the hospital, she made friends with another patient -- an extreme case. Her name was Diana.</dialogue> <scene_description>This gets Martin's full attention.</scene_description> <character>MARTIN</character> <dialogue>She's like Mom?</dialogue> <character>REBECCA</character> <dialogue>No. Mom got better and was released, but Diana reacted to the treatment so badly she died.</dialogue> <character>MARTIN</character> <dialogue>So, if Diana is dead, I mean... How can she be doing this to us?</dialogue> <character>REBECCA</character> <dialogue>Every time our mom falls off the wagon and lets depression back in, Diana shows up. Like a schism, or, I don't know...</dialogue> <character>MARTIN</character> <dialogue>How did you get rid of Diana the first time?</dialogue> <character>REBECCA</character> <dialogue>I didn't. Mom took a spill down the stairs one night, spent a month in the hospital where they put her back on her meds, and--</dialogue> <parenthetical>(ding ding ding)</parenthetical> <dialogue>That's what we do. We get her back on the wagon, Diana will go away.</dialogue> <character>MARTIN</character> <dialogue>Diana wants to stay. She won't like you trying to make mom better.</dialogue> <character>REBECCA</character> <dialogue>How do you know?</dialogue> <character>MARTIN</character> <dialogue>That's what my dad was doing.</dialogue> <scene_description>At that moment, a KNOCKING from the front door. Insistent.</scene_description> <character>REBECCA</character> <dialogue>That's Bret, hang on.</dialogue> <scene_description>Rebecca goes to her door, opens it --</scene_description> <character>REBECCA</character> <dialogue>I left it unlocked, silly --</dialogue> <scene_description>But no one's there. Rebecca looks left, right -- nothing. An even LOUDER KNOCKING happens from the coat closet, causing Rebecca to jump. She shuts the front door and cautiously approaches the coat closet. Reaches for the door knob.</scene_description> <character>REBECCA</character> <dialogue>Bret...?</dialogue> <scene_description>FROM THE LIVING ROOM Martin watches; starts to tense up. He retreats a couple of steps, for Rebecca's bedroom. REBECCA Gets close to the door... she can hear something on the other side. A raspy breath. Sub-vocal muttering. Flicks on the light beside the coat closet door. The yellow light seeps through the door's cracks. And in that moment, all the noises inside STOP.</scene_description> </scene> <scene> <stage_direction>INT. REBECCA'S BEDROOM - CONTINUOUS</stage_direction> <scene_description>Martin turns on the light and backs from the bedroom door. All is quiet, then -- the bedroom closet door BANGS from someone KNOCKING on it inside. Martin freaks out. CLOSING IN ON THE DOOR -- Hearing that muttering now but more pronounced:</scene_description> <character>DIANA'S VOICE</character> <dialogue>Never-going-away-never-going-away never-going-away-never-going-away--</dialogue> <scene_description>Rebecca rushes in, flips on the bedroom closet light, and swings open the door and -- No one's there. It's empty. Rebecca and Martin stare at the clothes on hangars, swaying as if someone had just brushed past... Pre-lap the sound of a DOORBELL --</scene_description> </scene> <scene> <stage_direction>EXT. SOPHIE'S HOUSE - NIGHT</stage_direction> <scene_description>Sophie opens the door and peers out at: Rebecca, Martin, and Bret.</scene_description> <character>REBECCA</character> <dialogue>Mom... We need to talk.</dialogue> </scene> <scene> <stage_direction>INT. SOPHIE'S DINING ROOM - NIGHT</stage_direction> <scene_description>Sophie, Martin, Rebecca, and Bret all sit at the dining table. You could hear a pin drop. The awkward silence lasts a long beat as everyone keeps glancing around at everyone else. It's the Cold War. Rebecca finally speaks up.</scene_description> <character>REBECCA</character> <dialogue>Mom... Tell us about Diana.</dialogue> <scene_description>Sophie puts down her glass of water. Suspicious.</scene_description> <character>SOPHIE</character> <dialogue>What are you talking about?</dialogue> <scene_description>Martin and Rebecca glance at each other: What's she doing? Bret takes a bite from a corner-store snack. Trying to figure out how to be supportive at a time like this.</scene_description> <character>REBECCA</character> <dialogue>Your "friend" Diana? Martin says she was just here an hour ago?</dialogue> <scene_description>Sophie looks from Martin to Rebecca with a guarded expression. Holds up her hand to shield her eyes from the dining room lights. Her looks even paler, now.</scene_description> <character>SOPHIE</character> <dialogue>Yes, she's my friend... And she wants to be yours, too.</dialogue> <scene_description>Rebecca puts the PHOTO onto the table. The one she took from Sophie's office.</scene_description> <character>REBECCA</character> <dialogue>This the same Diana you're friends with now? Yes?</dialogue> <character>SOPHIE</character> <dialogue>Where did you get this?</dialogue> <character>REBECCA</character> <dialogue>Answer my question--</dialogue> <character>SOPHIE</character> <dialogue>Answer mine!</dialogue> <character>REBECCA</character> <dialogue>You met her at Mulberry Hill when you got put in for depression, right? Am I right?</dialogue> <character>SOPHIE</character> <dialogue>What does it matter when we met?</dialogue> <character>REBECCA</character> <dialogue>Because she died a year later!</dialogue> <character>SOPHIE</character> <dialogue>That's a lie. Listen to yourself--</dialogue> <character>REBECCA</character> <dialogue>That's the truth--</dialogue> <scene_description>Sophie stands up, her chair SCREECHING on the floor. In full "defensive peacock" mode.</scene_description> <character>SOPHIE</character> <dialogue>What is this about? You trying to take my son away again, is that it? With your made-up stories--</dialogue> <scene_description>Bret attempts to intervene--</scene_description> <character>BRET</character> <dialogue>Whoa whoa, let's all be cool--</dialogue> <scene_description>But now voices are overlapping, everyone trying to get in--</scene_description> <character>REBECCA</character> <dialogue>I found the obituary! All right?</dialogue> <character>SOPHIE</character> <dialogue>Like those can't be faked, listen to yourself, you sound crazy--</dialogue> <character>BRET</character> <dialogue>This whole thing's a little crazy--</dialogue> <scene_description>Rebecca looks down at the table, aware it's come to this:</scene_description> <character>REBECCA</character> <dialogue>There's a dead woman in this house.</dialogue> <scene_description>Everyone hears her. And it quiets the whole room. Rebecca looks up at her mother, accusing--</scene_description> <character>REBECCA</character> <dialogue>And you let her in, mom. You let her stay. Every time.</dialogue> <scene_description>Beat. The tension: through the roof. Everyone staring at each other like it's a Mexican standoff. Then... Sophie chuckles. A small laugh.</scene_description> <character>SOPHIE</character> <dialogue>I am so sorry. All this time I was worried about the wrong thing.</dialogue> <character>SOPHIE</character> <parenthetical>(a breath)</parenthetical> <dialogue>You're not here to take Martin. You aren't coming back into our lives. You're here to feel better about leaving me. Do you know how I felt, not hearing from you or seeing you like family should? You know how that hurt me? Well, turns out I've been shutting out Diana the same way, all this time, and I won't be that kind of person to a friend.</dialogue> <character>REBECCA</character> <dialogue>Mom. She's not a friend. She's dead.</dialogue> <scene_description>Sophie leans in. Looks right at her.</scene_description> <character>SOPHIE</character> <dialogue>Sweetie... Ghosts aren't real.</dialogue> <scene_description>Sophie turns and walks out, up the stairs. Martin stares at the pills on the table. Scared.</scene_description> <character>REBECCA</character> <dialogue>Then what is she?</dialogue> <scene_description>From the back of the house, they all hear Sophie's bedroom door slamming SHUT.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT</stage_direction> <scene_description>Rebecca, Bret and Martin clean dishes and toss trash.</scene_description> <character>REBECCA</character> <dialogue>You can sleep over at my place again tonight. I'll talk to CPS about this.</dialogue> <character>MARTIN</character> <dialogue>No.</dialogue> <character>REBECCA</character> <dialogue>What do you mean 'no'?</dialogue> <character>MARTIN</character> <dialogue>I know you've been gone a long time, but she's our mom. And she needs us now, more than ever.</dialogue> <character>REBECCA</character> <dialogue>I'm not here for her, I'm here for you. That's the priority.</dialogue> <scene_description>Beat. Martin takes a dish and moves it to the drying rack, turning his back on Rebecca. This little boy has grown up heartbreakingly fast.</scene_description> <character>MARTIN</character> <dialogue>I can't just leave her.</dialogue> <scene_description>Rebecca notices.</scene_description> <character>REBECCA</character> <dialogue>It isn't safe here.</dialogue> <scene_description>Martin turns around to face her.</scene_description> <character>MARTIN</character> <dialogue>It isn't safe anywhere.</dialogue> <character>REBECCA</character> <dialogue>All right. Here's what we'll do. Bret and I will stay over tonight. Tomorrow, I'll find some more history on Diana and show it to Emma. Make the case that this is a serious threat. Maybe we can get mom some real help that way. Okay?</dialogue> <character>MARTIN</character> <dialogue>Okay.</dialogue> </scene> <scene> <stage_direction>INT. SOPHIE'S LIVING ROOM - NIGHT</stage_direction> <scene_description>The place looks like someone has been a shut-in for a month. Messy. Those boxes of Paul's clothes and other sundries are still stacked. A few other eye sores. Rebecca surveys the room, arms akimbo. Bret and Martin stand at her side.</scene_description> <character>REBECCA</character> <dialogue>How long does she stay in her room at night?</dialogue> <character>MARTIN</character> <dialogue>Mom? She won't usually come out again until morning.</dialogue> <character>REBECCA</character> <dialogue>Okay. First priority, make this more of a home.</dialogue> <scene_description>SERIES OF SHOTS The trio clean the room. - Rebecca pulls the heavy curtains back and ties them. - Martin wipes down surfaces. - Bret carries boxes to the garage.</scene_description> <character>REBECCA (V.O.)</character> <dialogue>Next, we put in some safeguards.</dialogue> <scene_description>- Rebecca duct-tapes a light panel in the "on" position. - Martin tests a flashlight and sets it on an end table. - Bret places a heavy piece of furniture up against a power cord plugged into an outlet.</scene_description> <character>REBECCA (V.O.)</character> <dialogue>The important thing is to just be smart about it.</dialogue> <scene_description>- Rebecca sets an extra box of LIGHT BULBS on a counter. - Martin places another flashlight in a hallway potted plant. Like it's a handgun or a piece of contraband. - Bret sets his cigarette lighter next to a large candle.</scene_description> </scene> <scene> <stage_direction>INT. MARTIN'S ROOM - NIGHT</stage_direction> <scene_description>Martin climbs into bed. Rebecca watches from the door.</scene_description> <character>REBECCA</character> <dialogue>Bret and I will be downstairs on the sleeper sofa. Okay?</dialogue> <character>MARTIN</character> <dialogue>Okay.</dialogue> <character>REBECCA</character> <dialogue>Door open or closed?</dialogue> <character>MARTIN</character> <dialogue>Closed.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Wait--</dialogue> <scene_description>Rebecca pauses.</scene_description> <character>MARTIN</character> <dialogue>Could you sleep in here instead?</dialogue> <scene_description>Beat. Rebecca was obviously looking forward to being close to her boyfriend.</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - MOMENTS LATER</stage_direction> <scene_description>Rebecca walks past the door to the home office -- shut. She checks the door out of curiosity. Locked. Rebecca frowns. Moves on.</scene_description> </scene> <scene> <stage_direction>INT. SOPHIE'S LIVING ROOM - MOMENTS LATER</stage_direction> <scene_description>Bret fluffs an old pillow on the fold-out sofa bed. He's made do with blankets from the downstairs closet. Rebecca arrives and admires Bret for a moment.</scene_description> <character>REBECCA</character> <dialogue>You don't have to stay, you know.</dialogue> <character>BRET</character> <dialogue>I know.</dialogue> <character>REBECCA</character> <dialogue>Martin wants me to sleep in his room tonight.</dialogue> <scene_description>Bret takes a breath. Nods.</scene_description> <character>BRET</character> <dialogue>Yeah. He needs you more than I do right now.</dialogue> <character>REBECCA</character> <dialogue>You still staying?</dialogue> <character>BRET</character> <dialogue>Unless you say otherwise. Yeah. Although it's gonna be weird trying to sleep with all the lights on--</dialogue> <scene_description>Rebecca pulls him into a hug.</scene_description> <character>REBECCA</character> <dialogue>Thank you.</dialogue> <scene_description>Bret is a bit surprised by her intimacy.</scene_description> <character>BRET</character> <dialogue>You can be like this around me, you know. I'm not going anywhere.</dialogue> <scene_description>Rebecca looks at him curiously. Like she's weighing a decision. Then:</scene_description> <character>REBECCA</character> <dialogue>Bottom drawer of my dresser.</dialogue> <character>BRET</character> <dialogue>...What?</dialogue> <character>REBECCA</character> <dialogue>It's yours. I'll clear it out for you.</dialogue> <character>BRET</character> <dialogue>Seriously?</dialogue> <scene_description>She smiles and heads back up. Bret waits until she's out of sight, then does a silent "touchdown celebration" move.</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>Rebecca returns to Martin's room, but then continues to the end of the hall, to the master bedroom door. Sophie's door. It's shut. Rebecca gets close. Listens. Knocks.</scene_description> <character>REBECCA</character> <dialogue>Mom? We're staying overnight.</dialogue> <parenthetical>(beat; silence)</parenthetical> <dialogue>See you in the morning.</dialogue> <parenthetical>(another beat)</parenthetical> <dialogue>Love you.</dialogue> <scene_description>Rebecca pulls away. The door opens a crack. Sophie peers out at her daughter. Her eyes are bloodshot and her face is wet from crying.</scene_description> <character>SOPHIE</character> <dialogue>You're staying?</dialogue> <character>REBECCA</character> <dialogue>Yeah.</dialogue> <scene_description>Sophie nods, relieved.</scene_description> <character>SOPHIE</character> <dialogue>Good.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I'd like to maybe start over, in the morning. Would... would you grant me that?</dialogue> <scene_description>Beat. Rebecca is cautious. But hopeful.</scene_description> <character>REBECCA</character> <dialogue>Of course.</dialogue> <character>SOPHIE</character> <dialogue>Shake on it.</dialogue> <scene_description>She opens the door further to reach out her hand. The interior of the bedroom is PITCH DARK. Rebecca shakes hands with her mother. As she does, she frowns; something is amiss, but we don't yet know what she's reacting to. They pull away.</scene_description> <character>REBECCA</character> <dialogue>Goodnight, mom.</dialogue> <character>SOPHIE</character> <dialogue>Goodnight, Becks.</dialogue> <scene_description>The pajama top Sophie wears starts to PULL as if someone were tugging it from behind, coaxing her back in. Rebecca doesn't see it. She's distracted... As she gets to Martin's bedroom, she looks down. IN HER HAND is a slip of paper, handed to her by Sophie. She unfolds it to read: "I NEED HELP." Written hastily. Rebecca looks back down the hall. Worried. Because she's starting to think of mom not as an opponent, but as a victim.</scene_description> </scene> <scene> <stage_direction>INT. UPSTAIRS BATHROOM - MOMENTS LATER</stage_direction> <scene_description>Rebecca turns on the light and immediately goes to the medicine cabinet. Flings it open, digs around the shelves, checking bottles, getting more and more frustrated--</scene_description> <character>REBECCA</character> <dialogue>C'mon, c'mon...</dialogue> <scene_description>Finally she exhausts the selection of OTC and prescription bottles in the cabinet and looks around the bathroom in desperation. Her attention is drawn to the small trash bin, by the toilet. Rebecca reaches in and pulls out a narrow pill bottle. Empty. She reads the prescription on the side, and--</scene_description> <character>REBECCA</character> <parenthetical>(sotto)</parenthetical> <dialogue>Shit...</dialogue> <scene_description>The bottle is missing its white lid. Overhead, the bathroom light begins to FLICKER and BUZZ. Rebecca keeps the pill bottle and backs out of the room, suddenly nervous, as if she were being watched.</scene_description> </scene> <scene> <stage_direction>INT. MARTIN'S ROOM - NIGHT</stage_direction> <scene_description>Rebecca joins Martin under the covers. Puts a hand on Martin's shoulder so he knows she's there. The bedside lamp is on, plus two large candles on the nightstands on either side of the bed. She closes her eyes. Martin is still awake.</scene_description> <character>MARTIN</character> <parenthetical>(beat)</parenthetical> <dialogue>Rebecca?</dialogue> <character>REBECCA</character> <dialogue>Hmm?</dialogue> <character>MARTIN</character> <dialogue>Did you find her vitamins?</dialogue> <character>REBECCA</character> <dialogue>No. But we'll figure something out.</dialogue> <character>MARTIN</character> <dialogue>You think so?</dialogue> <scene_description>Rebecca opens her eyes. Stares at the ceiling.</scene_description> <character>REBECCA</character> <dialogue>Heliotherapy works, too. We'll get her out in the sun tomorrow. Go to the beach, maybe.</dialogue> <character>MARTIN</character> <dialogue>That sounds nice...</dialogue> <character>REBECCA</character> <parenthetical>(softer)</parenthetical> <dialogue>Get some sleep.</dialogue> <scene_description>He closes his eyes, but she lingers on that last question. PRESSING IN on Rebecca, as she drifts to sleep...</scene_description> </scene> <scene> <stage_direction>INT. MARTIN'S ROOM - NIGHT</stage_direction> <scene_description>Only a night-light on the far wall sheds light in the room now. And the decor is different; girly. Dolls and pink. In the bed is YOUNG REBECCA, maybe eight years old, huddled under the covers. She's been crying. She stares at: A PHOTO of her father VICTOR standing with her, holding a pair of fishing rods. Father and daughter out playing. CLOSE ON REBECCA, breaking out of her memory when she hears the CLICKING OF TOENAILS on the hardwood floor. She holds her breath. Terrified. The mattress sinks under the weight of something new. PUSHING IN CLOSER on Rebecca's face, as... Black HAIR descends near Rebecca's ear -- that's all we see of Diana, but then:</scene_description> <character>DIANA'S VOICE</character> <dialogue>Be my friend...</dialogue> <scene_description>It's a gravelly version of the voice we heard on the micro- cassette recording. Young Rebecca is too scared to scream. As if in a nightmare. And with that, Diana starts to CRAWL INTO BED WITH REBECCA, pulling the covers on the far side of the bed. Rebecca closes her eyes even tighter than before and opens her mouth to scream --</scene_description> </scene> <scene> <stage_direction>INT. MARTIN'S ROOM - NIGHT</stage_direction> <scene_description>And Rebecca wakes with a start. Sits up. It was just a nightmare. Or a memory. Before it was Martin's room it was hers, and she's back again. Martin sleeps soundly next to her. Rebecca calms down. Somewhere in the bowels of the house -- a distant CLAP. And immediately after, the power goes out. Only the two candles burn in Martin's room.</scene_description> <character>REBECCA</character> <parenthetical>(sotto)</parenthetical> <dialogue>Shit...</dialogue> <scene_description>Rebecca grabs a commercial-grade flashlight from her side of the bed, clicks it on, and slips out.</scene_description> </scene> <scene> <stage_direction>INT. SOPHIE'S LIVING ROOM - MOMENTS LATER</stage_direction> <scene_description>Rebecca descends the stairs and enters the room, saying in a stage-whisper:</scene_description> <character>REBECCA</character> <dialogue>Bret! Wake up--</dialogue> <scene_description>She sweeps the light over the sofa-bed... Bret isn't there.</scene_description> <character>REBECCA</character> <parenthetical>(sotto)</parenthetical> <dialogue>Shit. Shit shit shit.</dialogue> <scene_description>She moves for the downstairs hallway.</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT - MOMENTS LATER</stage_direction> <scene_description>From the utter darkness, a door opens and Rebecca stands in silhouette at the threshold. She shines the beam downstairs. The steps are more like a ladder; steep. More boxes on the floor and on metal shelving down here. Old furniture. Seasonal junk for the lawn... And, on a load-bearing post: the house's CIRCUIT BREAKER BOX. Rebecca descends the precarious steps. She advances for the box. As she does, shadows seem to bounce around the room. It makes her paranoid. She keeps glancing behind her. At the box, she pries open the lid and shines the light at the breaker switches. They all seem to be in the proper position.</scene_description> <character>REBECCA</character> <dialogue>C'mon, c'mon...</dialogue> <scene_description>She begins flipping switches back and forth. She glances back at the door for signs of power-- And a SILHOUETTE now stands in the threshold. Rebecca nearly screams, but recovers quickly enough to swing the flashlight beam at it-- Revealing it's MARTIN with a candle in the hall.</scene_description> <character>MARTIN</character> <dialogue>What are you doing?</dialogue> <character>REBECCA</character> <dialogue>The power went out. I'm trying to restart it--</dialogue> <scene_description>Martin sets the candle on the top step in the doorway.</scene_description> <character>MARTIN</character> <dialogue>Keep the light on me--</dialogue> <character>REBECCA</character> <dialogue>What are you doing?</dialogue> <scene_description>Martin descends and hurries to her side.</scene_description> <character>MARTIN</character> <dialogue>Don't leave me alone again.</dialogue> <character>REBECCA</character> <parenthetical>(terse)</parenthetical> <dialogue>Okay.</dialogue> <character>MARTIN</character> <dialogue>Please.</dialogue> <character>REBECCA</character> <parenthetical>(softens)</parenthetical> <dialogue>All right.</dialogue> <scene_description>She returns to the circuit breaker switches.</scene_description> <character>REBECCA</character> <dialogue>Nothing is working.</dialogue> <character>MARTIN</character> <dialogue>What else could it be?</dialogue> <scene_description>Rebecca thinks. Something sinister occurs to her...</scene_description> <character>REBECCA</character> <dialogue>...A trap.</dialogue> <scene_description>The soft sound of a short, quick breath comes from upstairs-- And Martin's CANDLE SNUFFS OUT. Rebecca looks up that way-- DIANA'S SILHOUETTE stands at the basement door. Rebecca grabs the flashlight and wheels it around but-- The door SLAMS shut and locks from the other side.</scene_description> <character>REBECCA</character> <dialogue>No-- NO.</dialogue> <scene_description>She hurries up the steps. Martin begins to fall into darkness, since she's taking the flashlight with her--</scene_description> <character>MARTIN</character> <dialogue>Wait up--</dialogue> <scene_description>He hurries to keep up with her. The two reach the top step and try the door. No go. Rebecca shoulders against it. Won't budge. Partly because she has to be on the steps, and can't get much leverage or room to charge the door.</scene_description> <character>REBECCA</character> <dialogue>Come on!</dialogue> <parenthetical>(bangs on door)</parenthetical> </scene> <scene> <stage_direction>EXT. SOPHIE'S HOUSE - NIGHT</stage_direction> <scene_description>Bret stands on the front lawn with his own flashlight, looking down the street. The whole block is out. Bret curses under his breath.</scene_description> </scene> <scene> <stage_direction>INT. SOPHIE'S LIVING ROOM - NIGHT</stage_direction> <scene_description>Bret enters from the front door and immediately hears dull THUMPING from down the hall. He stops in his tracks. He then hears Rebecca's muted CRIES-- And he kicks back into gear again.</scene_description> <character>BRET</character> <dialogue>Becca?</dialogue> </scene> <scene> <stage_direction>INT. DOWNSTAIRS HALL - MOMENTS LATER</stage_direction> <scene_description>Bret advances for the hall, shining his light down ahead of him rather carelessly. He sees the basement door (built much like a door to a garage) rattling in its frame as Rebecca pounds on it from the other side.</scene_description> <character>BRET</character> <dialogue>Becca is that you?</dialogue> <character>REBECCA (O.S.)</character> <dialogue>Bret! Get us out!</dialogue> <character>BRET</character> <dialogue>What are-- okay hang on--</dialogue> <scene_description>Bret reaches for the doorknob to try it-- But then something distracts him down the hall.</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT</stage_direction> <scene_description>Rebecca and Martin get quiet.</scene_description> <character>REBECCA</character> <dialogue>Bret?</dialogue> <character>BRET (O.S.)</character> <dialogue>Hang on.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Mrs. Wells?</dialogue> </scene> <scene> <stage_direction>INT. DOWNSTAIRS HALL</stage_direction> <scene_description>Bret squints down the hall at: DIANA'S SILHOUETTE. Statuesque. That same wild, ratty hair. As tall as he is.</scene_description> <character>BRET</character> <dialogue>What's going on here?</dialogue> <scene_description>He points his flashlight down the hall-- And like a mirage, Diana VANISHES soon as the beam hits the space where we saw her. Bret frowns.</scene_description> <character>REBECCA (O.S.)</character> <parenthetical>(muted)</parenthetical> <dialogue>Bret! Listen to me! Keep in the light!</dialogue> <scene_description>Bret lowers the beam... And Diana's shadow IS CLOSER. Halfway to him now. Bret jumps out of his skin, and pulls the flashlight back to shine down the hall-- And she's gone again.</scene_description> <character>REBECCA (O.S.)</character> <dialogue>Don't have just one-- she'll get around you!</dialogue> <scene_description>Panicked, Bret swings around, checking behind him, toward the front of the house-- No one there. He swings back-- The hall is empty. He holds the flashlight up high-- Swings down hard on the knob. CLANNNG. He holds it up again-- And something GRABS HIS ARM, yanking him out of frame--</scene_description> </scene> <scene> <stage_direction>INT. SOPHIE'S LIVING ROOM</stage_direction> <scene_description>--hurtling him to the floor of the living room as if he were a child's toy. THE FLASHLIGHT lands on the hallway floor, its light guttering like a candle about to be snuffed. The flashes give the hallway a "strobe" effect. Bret has wrenched his shoulder but he starts to get up-- And then he sees her. The SILHOUETTE advances for him in fits of speed, backlit by the sputtering flashlight in the hall-- Bret scrambles and pulls up his CELL PHONE pointing the screen out and shining it in front of him, like a talisman. Diana is gone again.</scene_description> <character>REBECCA (O.S.)</character> <parenthetical>(muffled)</parenthetical> <dialogue>Bret!</dialogue> <scene_description>Bret is hyperventilating as he stands. Scared out of his mind. It doesn't make sense to him. The phone's paltry ambient screen-light barely illuminates four feet in front of him. And it's the passcode screen. Bret hears footfall on the floor-- To his left-- But he can't see that far into the living room. Then to his right-- Still nothing. Then he hears it: raspy BREATHING. Like it's right there.</scene_description> <character>REBECCA (O.S.)</character> <parenthetical>(distant)</parenthetical> <dialogue>Bret! Come here!</dialogue> <character>DIANA'S VOICE</character> <parenthetical>(imitating Rebecca)</parenthetical> <dialogue>Come here.</dialogue> <scene_description>The passcode screen goes dark again-- AND DIANA IS RIGHT IN FRONT OF HIM. Even this close, she appears almost two-dimensional until-- Bret is struck across the face-- And he stumbles backward over an end table, spilling near the front foyer. The PHONE lands on the floor, face down. A tiny halo of refreshed light from the screen. Some dark foot SMASHES IT, and the light goes out. Bret gets up again, bleeding from the face, and he runs as fast as he fucking can for the front door.</scene_description> </scene> <scene> <stage_direction>EXT. SOPHIE'S HOUSE</stage_direction> <scene_description>Out the front he goes, flinging the door behind him-- And stumbling on the porch step. No-- worse. Like something had hold of one leg. It's outside. It should feel safe. But the blackout is along the entire block, and the new moon makes this world anything but safe and well-lit. CLOSE ON BRET His lip is bloody from hitting it when he fell. More blood flows from gashes on his face and neck. He fumbles for his car keys. Gets up once more. The KEY FOB is in his hand now but-- WIDE ANGLE From across the street. A dark FIGURE, so dark it's as if it were made of nothing, grabs Bret by the neck and LIFTS HIM OFF HIS FEET with one arm. He struggles, legs flailing, arm raised-- And then he presses the 'unlock' button on the key fob-- And his SUV's headlights suddenly SHINE on the front of the house and in that very same breath-- Bret seems suspended in midair by nothing, and promptly falls back to the front lawn. BACK TO BRET Gasping for air. Terrified and confused. He's in fight-or-flight and flight has won. Bret rushes for his SUV, climbs in, mashes the dome light, and starts it up.</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT - THAT MOMENT</stage_direction> <scene_description>Rebecca and Martin are still huddled by the door. Straining to listen. They hear the SUV engine start. And then the sound of the vehicle peeling out and away. Rebecca's heart sinks.</scene_description> <character>MARTIN</character> <dialogue>Is he leaving?</dialogue> <character>REBECCA</character> <dialogue>No. He wouldn't... He wouldn't do that, would he?</dialogue> <scene_description>The reality sets in: They're alone in the basement. With a monster in the house.</scene_description> <character>MARTIN</character> <dialogue>You did.</dialogue> <scene_description>He's eight years old, he doesn't say it to be mean, he says it matter-of-factly; it makes sense to him. Rebecca's been strong up until now, but the significance of that hits her so hard, she struggles not to cry. The commercial-grade flashlight flickers. Once. Twice. Both of them tense up.</scene_description> <character>REBECCA</character> <dialogue>Oh no, do not die on me--</dialogue> <character>MARTIN</character> <dialogue>I forgot to tell you, the big ones are battery hogs.</dialogue> <scene_description>She snaps out of her heartbreak, takes a breath for courage, and gets back into problem-solving mode.</scene_description> <character>REBECCA</character> <dialogue>Let's make some other light.</dialogue> </scene> <scene> <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction> <scene_description>Sophie opens her door, emerging from the master bedroom and the white noise of an air purifier.</scene_description> <character>SOPHIE</character> <dialogue>Rebecca? Hello?</dialogue> <scene_description>Sophie sees Martin's door open. Steps to the threshold... No one's there. Sophie tries the light switch-- nothing. She tenses.</scene_description> <character>SOPHIE</character> <dialogue>Martin?</dialogue> <scene_description>Distant noises from deep within the house, below: The sounds of Rebecca and Martin scavenging in the basement.</scene_description> <character>SOPHIE</character> <dialogue>Diana, where are you?</dialogue> <scene_description>A creak from the bedroom, and Sophie sees her-- the familiar SILHOUETTE standing inside the master bedroom door. She's taller than ever, now. Like she's getting bigger. Sophie is scared, but finds her anger and approaches, challenging the shadow:</scene_description> <character>SOPHIE</character> <dialogue>I told you not to bother my kids.</dialogue> <scene_description>Diana steps aside as Sophie gets close, vanishing behind the door so that when Sophie enters, she shuts the door to confront Diana but-- No one's there.</scene_description> <character>SOPHIE</character> <dialogue>Diana? We're not through, here.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Don't make me punish you!</dialogue> <scene_description>THE BEDROOM DOORKNOB LOCKS by itself... Then-- Diana GRABS Sophie from behind and THROWS her against a wall-- --where Sophie CRASHES into a bureau and collapses to the floor, unconscious.</scene_description> </scene> <scene> <stage_direction>INT. BASEMENT - NIGHT</stage_direction> <scene_description>Fire flickers from gas tubing. We're in: An iron "fireplace" stove with a large ventilation pipe. At one time, before central air/heating was a thing, this basement was kept warm with this wood-burning heater. But now there is no wood. It hasn't been used in years. Rebecca shoves crinkled newspaper into the mouth of the thing, and the flames catch it, offering the room some fleeting warm light. Behind Rebecca, Martin holds the weakening flashlight.</scene_description> <character>MARTIN</character> <dialogue>Rebecca...</dialogue> <character>REBECCA</character> <dialogue>I know.</dialogue> <character>MARTIN</character> <dialogue>Hurry.</dialogue> <character>REBECCA</character> <dialogue>I know!</dialogue> <scene_description>Rebecca starts scavenging for whatever she can find. She grabs a cardboard box's lid. And then from the box, an old stuffed ANIMAL missing one button-eye. And a stack of yellowed MAGAZINES. All of it goes into the stove's mouth. The junk doesn't catch fire right away. Martin hears something in the dark: CLICKING toenails. Scurrying sounds from somewhere. He sweeps the flashlight around. Its beam has narrowed.</scene_description> <character>DIANA'S VOICE</character> <parenthetical>(sing-song)</parenthetical> <dialogue>Maaaaartin...</dialogue> <scene_description>Martin tenses. Rebecca blows on the fire. Puts her hand in and grabs some burning newsprint to try and spread it. The flashlight flickers. Martin tries to keep it everywhere at once. All he succeeds in doing is make the shadows in the room dance and sway. The plastic, four-foot-tall "wise men" figures trotted out for the lawn in December continue to cast humanoid shadows on the wall. Martin keeps his focus on them. From directly above him... matted jet-black hair DESCENDS, like she's perched on the rafter above him--</scene_description> <character>DIANA'S VOICE</character> <parenthetical>(sotto)</parenthetical> <dialogue>Brush your hair--</dialogue> <scene_description>Martin freaks and points the flashlight directly up-- And, like flashlights with batteries in the handle, it causes the light to nearly go out, flickering-- Martin backs up, but just in the nick of time-- The STUFFED ANIMAL in the stove catches fire. WIDE ANGLE The corner of the room by the stove is saturated in the glow of the fire. Rebecca did it. Martin sits down, already exhausted.</scene_description> <character>REBECCA</character> <dialogue>That won't last more than a few minutes. We need to find more stuff to burn.</dialogue> </scene> <scene> <stage_direction>INT. BASEMENT - MOMENTS LATER</stage_direction> <scene_description>Rebecca and Martin dig through boxes. Anything deemed burnable gets tossed in a pile near the stove. Martin's lack of sleep is catching up with him. Fatigue is setting in.</scene_description> <character>REBECCA</character> <parenthetical>(re: her file box)</parenthetical> <dialogue>Mom saved her tax forms from ten years ago. She's still got receipts in here.</dialogue> <scene_description>Rebecca puts a stuffed folder of papers on the pile.</scene_description> <character>MARTIN</character> <dialogue>How long are we gonna stay in here?</dialogue> <character>REBECCA</character> <dialogue>I don't know.</dialogue> <character>MARTIN</character> <dialogue>There aren't any windows.</dialogue> <character>REBECCA</character> <dialogue>I'm working on a plan.</dialogue> <scene_description>Beat.</scene_description> <character>MARTIN</character> <dialogue>I'm not much good to you.</dialogue> <character>REBECCA</character> <dialogue>You're doing great. Feed the fire for a while.</dialogue> <scene_description>Martin does so. Rebecca scoots a new file box from one shelf and sits down with it by the stove. On the side: the box is labeled "REBECCA."</scene_description> <character>REBECCA</character> <dialogue>What's this? My old clothes?</dialogue> <scene_description>She opens it. Inside: a lone SHOE BOX. Rebecca pulls this out and opens this. She lifts out a set of developed PHOTOGRAPHS. Goes through them, curious. THE PHOTOS: Birthday cakes, all taken on the dining table upstairs. Sixteen candles. Seventeen. Then eighteen.</scene_description> <character>REBECCA</character> <dialogue>She made birthday cakes?</dialogue> <character>MARTIN</character> <dialogue>Every year, on your birthday.</dialogue> <character>REBECCA</character> <dialogue>But, I was in San Diego those years. Mom knew that.</dialogue> <character>MARTIN</character> <dialogue>She made them anyway. We sang the song for you.</dialogue> <scene_description>This is news to Rebecca. She pulls out the other materials in the shoe box... LETTERS. Folded into personal envelopes. Unmailed. Each with dates on the front.</scene_description> <character>REBECCA</character> <dialogue>She wrote me letters?</dialogue> <scene_description>Rebecca opens one. Unfolds the paper. Martin glances at them, then returns to feeding the fire.</scene_description> <character>MARTIN</character> <dialogue>Yeah. She did that a lot.</dialogue> <scene_description>Rebecca reads one. Aside from a quick look over her shoulder at the handwritten letters on lined paper, we don't see the content. We just see Rebecca's face as she reads. Whatever is in the content, it affects her deeply. By page two, she starts to tremble. By page three, she's in tears. At the end, she sniffs, wipes her eyes, and stuffs the letter back in its envelope. It's one of maybe a dozen. Gently, as if it were a newborn infant, Rebecca places the shoe box back in the larger file box. Martin watches.</scene_description> <character>MARTIN</character> <dialogue>What did it say?</dialogue> <scene_description>Rebecca lets out a breath. Doesn't directly answer his question, but looks him in the eye to say:</scene_description> <character>REBECCA</character> <dialogue>We are going to help mom. I will find a way to get rid of Diana.</dialogue> <scene_description>The fire crackles. Martin nods at his sister, then gets the energy to grab another box from the other side of the stove. This one is marked 'HALLOWEEN.' As he digs through it, Rebecca puts a protective hand on the file box containing her mother's letters to her.</scene_description> <character>MARTIN (O.S.)</character> <dialogue>Hey, I found a flashlight.</dialogue> <scene_description>She looks over to see Martin has a rectangular light tube.</scene_description> <character>MARTIN</character> <dialogue>Or something.</dialogue> <scene_description>He turns it on-- its batteries work. But it casts a cold blue/green glow on Martin.</scene_description> <character>REBECCA</character> <dialogue>That's a black light.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But a light's a light.</dialogue> <scene_description>He hands it to her. She shines it around.</scene_description> <character>REBECCA</character> <dialogue>Still got some juice.</dialogue> <scene_description>Rebecca takes a breath, steels her nerves, and advances for another corner of the basement. The black light casts a deep blue hue over all the stored junk in this space. Rebecca moves from the fire. One step at a time. Martin watches, scared and exhausted all at once.</scene_description> <character>MARTIN</character> <dialogue>Where are you going?</dialogue> <character>REBECCA</character> <dialogue>To take inventory.</dialogue> <scene_description>With the glove of the amber fire at her back, and the blue glow in front of her, Rebecca navigates the nest of shelving and boxes. Somewhere in the dark, the sound of scurrying feet. Rebecca tenses. She moves for the next aisle. The black light reveals FOOT PRINTS on the floor-- And occasional HAND PRINTS on other items. Rebecca looks down to see the wan glow of a similar hand print ON HER OWN SHIRT SLEEVE. Like a mark of ownership. Freaked, Rebecca rubs the sleeve to smear the print. In moving her arm with the black light, she reveals -- HANDWRITING on a far wall. Just a faint glimpse of it. Invisible without the black light. Rebecca ventures toward it, past a shelf, holding the light up to get a closer look... ...The wall is covered in Diana's scrawled writing. Like the journal of a prisoner of war. Just a taste of the blanket of run-on sentences written over the course of years -- Can hear them around me upstairs talking laughing no way in no way out trapped just like the hospital just like father always in the basement forget about Diana no one likes you but Sophie does Sophie did she let me out she misses her child pretty child pretty doll I just want to be your friend It's enough to freak Rebecca out. She turns away from it. At the other end of the shelf, among other junk: the black light illuminates a gardening spade with a long wooden grip. A weapon. Potentially. Makeshift, but still. More scurrying in the dark. This time to her right. Rebecca shines the black light into a darkened corner where a rack of clothes hangs -- leftover inventory from one of Paul's years at the shop. But wait. There's a HUMANOID FIGURE standing there too-- Standing and staring at us in the blue-tinted darkness. Wild, long hair. Eyes that shine like a cat's. And teeth that GLOW in the black light. Eyes and teeth. She's so still she looks like a Halloween lawn-scarecrow but-- Then SHE MOVES, back out of sight and we realize HOLY SHIT YES THAT WAS DIANA. Rebecca nearly jumps out of her skin-- She hurries for the gardening spade at the end of the aisle-- Looking back-- More scurrying sounds-- Where is that monster now-- Rebecca gets to the end and grabs the wooden handle. The spade is laid lengthwise on the shelf, so the metal shovel end sticks out the other side, on the other aisle. She starts to pull it away-- And it sticks. Like it's hung up on something. Rebecca shines the light to see what's caught it-- And the black light shines right in DIANA'S FACE on the other side of the aisle. It's only visible for a dozen frames of the film, but her mouth is distorted; bigger than a human's mouth, and full of crooked teeth. Her eyes are milky like they have cataracts. And she hisses at Rebecca.</scene_description> <character>REBECCA</character> <dialogue>NO!</dialogue> <scene_description>Rebecca falls back, still clutching the spade in one hand, crashing against another shelf, toppling it-- Scrambling to escape, to find that black light-- Shit, she dropped that-- Scurrying sound again-- Rebecca reaches for the black light-- But then a bare ARM black as an oil slick slams down on her, snaring her wrist, in the glow of the black light-- Diana's matted, black hair suddenly sinking close to Rebecca's face-- And then a weak FLASHLIGHT BEAM lands on Diana's arm-- And in an inhuman SCREECH, Diana is gone faster than a jumping spider. MARTIN steps close, holding the big flashlight as it sputters out again.</scene_description> <character>MARTIN</character> <dialogue>Come on!</dialogue> <scene_description>Rebecca grabs the black light, the spade, and they move back to the corner with the fireplace. She takes a breath. Martin guts the flashlight's batteries and switches them around.</scene_description> <character>MARTIN</character> <dialogue>Sometimes this gives you a little more juice.</dialogue> <character>REBECCA</character> <dialogue>I saw her. I got a clear look at her.</dialogue> <parenthetical>(holds black light)</parenthetical> <dialogue>She doesn't disappear in this light. She's real.</dialogue> <character>MARTIN</character> <dialogue>So?</dialogue> <character>REBECCA</character> <dialogue>So, if I can see her, at least I know where she is. I can keep her from vanishing.</dialogue> <parenthetical>(points at flashlight)</parenthetical> <dialogue>And with that thing, maybe I can even hurt her.</dialogue> <scene_description>She hefts the gardening spade like a short spear. Heavy footfall overhead. Someone thumping around upstairs. Martin and Rebecca both look up.</scene_description> <character>MARTIN</character> <dialogue>What is she doing now?</dialogue> <scene_description>Rebecca doesn't answer right away; she doesn't know. Then: something echoes inside the stove's piping. Another loud WHUMP as something wet lands in the stove's fire immediately SNUFFING IT OUT.</scene_description> <character>MARTIN</character> <dialogue>Now what?</dialogue> <scene_description>Rebecca stares at the ceiling for a beat. Smoke begins to fill the lit space where they're huddled.</scene_description> <character>REBECCA</character> <dialogue>Mom!!</dialogue> </scene> <scene> <stage_direction>INT. SOPHIE'S BEDROOM - NIGHT</stage_direction> <scene_description>Sophie is still unconscious on the floor. Unresponsive.</scene_description> <character>REBECCA (O.S.)</character> <parenthetical>(distant)</parenthetical> <dialogue>Mommmm!</dialogue> </scene> <scene> <stage_direction>INT. BASEMENT - THAT MOMENT</stage_direction> <scene_description>Rebecca and Martin keep CALLING until Martin's flashlight starts sputtering out again. All that's left is Rebecca's black light. She pulls her brother close, and they back into a corner. His eyes are wide with fear.</scene_description> <character>MARTIN</character> <dialogue>Are we going to die?</dialogue> <character>REBECCA</character> <dialogue>No. We're fighters.</dialogue> <scene_description>She holds onto him. Trying to give him a brave face. But honestly, she doesn't know what to do next. And then, in the distance: the sound of SIRENS. Rebecca perks up. Suddenly hopeful.</scene_description> </scene> <scene> <stage_direction>EXT. RESIDENTIAL STREET - NIGHT</stage_direction> <scene_description>An LAPD squad car comes tearing down the street. As it approaches, half a block before Sophie's house, the sirens are shut off, and it runs only with the lights. Tailing the squad car: Bret's SUV. The cops pull to the curb outside Sophie's house. Bret's SUV skids to a halt, nearly rear-ending the squad car. Bret climbs out, leaving his headlights on. He still looks bloody, his shirt stained with it. Someone attempted to bandage his neck but it's clear he left before they could finish the job. Now that he's back, Bret doesn't take his eyes off the house. Two LAPD OFFICERS get out of the squad car. One male, one female. Both cool, calm, and collected. The male is OFFICER FORM; 30s, tall, African-American. The female is OFFICER GOMEZ; early 30s, muscular, two stripes on her uniform indicate she's the senior officer. Bret's already pointing and talking--</scene_description> <character>BRET</character> <dialogue>She's in there, my girlfriend and her family--</dialogue> <character>OFFICER GOMEZ</character> <dialogue>Sir, please return to your car, you need to get to the hospital--</dialogue> <character>BRET</character> <dialogue>Listen to me, you need flashlights.</dialogue> <character>OFFICER FORM</character> <dialogue>Get back in your car, sir.</dialogue> <scene_description>Said loudly. Bret backs up. But notices he's not quite in the light of his SUV's beams, and takes a side-step into them. The two Officers approach the house. Its front door remains partly open. Officer Gomez speaks into her shoulder radio handset:</scene_description> <character>OFFICER GOMEZ</character> <dialogue>Unit eighty-one, we're at the Marigold house, power grid is out. Over.</dialogue> <scene_description>Officer Form looks back at his partner when they get to the door, then gets his flashlight out and knocks on the door.</scene_description> <character>OFFICER FORM</character> <dialogue>LAPD. Anyone home?</dialogue> <scene_description>The door opens from his knocking. He shines the light into the living room. Overturned furniture from the attack on Bret gives the place the look of a war zone.</scene_description> <character>OFFICER FORM</character> <parenthetical>(louder)</parenthetical> <dialogue>Hello?</dialogue> <character>REBECCA (O.S.)</character> <parenthetical>(muffled)</parenthetical> <dialogue>Help!</dialogue> <scene_description>The Officers hear that. They go inside.</scene_description> </scene> <scene> <stage_direction>INT. DOWNSTAIRS HALL - MOMENTS LATER</stage_direction> <scene_description>The Officers reach the hall with the door to the basement.</scene_description> <character>OFFICER GOMEZ</character> <dialogue>LAPD, we're responding to a domestic disturbance?</dialogue> <character>REBECCA (O.S.)</character> <dialogue>In here!</dialogue> <scene_description>Officer Form springs into action and kicks the door. It doesn't give on the first kick, so he goes again--</scene_description> <character>OFFICER GOMEZ</character> <parenthetical>(into radio)</parenthetical> <dialogue>Unit eighty-one, possible fire at residence, alert LAFD--</dialogue> <scene_description>BOOM! The door is kicked in. Officer Form shines the light down the stairs at-- Rebecca and Martin, who remain in the corner, Rebecca still holding her gardening spade. A thin veil of smoke displaced from the stove hangs in the room, creeping out into the hall. Like a residual fog.</scene_description> <character>OFFICER FORM</character> <dialogue>You okay?</dialogue> <scene_description>DOWN THE HALL, Diana's silhouette appears. Gomez notices. Puts a hand on her partner's shoulder-- Form sees her--</scene_description> <character>OFFICER FORM</character> <dialogue>Ma'am?</dialogue> <scene_description>He shines the light down the hall-- but Diana is gone. Officer Form draws his sidearm and advances down the hall with the flashlight before him. Officer Gomez stays at the door where she can keep sight of her partner and call down to Rebecca--</scene_description> <character>OFFICER GOMEZ</character> <dialogue>Can you move?</dialogue> <scene_description>Rebecca grabs Martin and moves up the stairs, saying:</scene_description> <character>REBECCA</character> <dialogue>Keep the light on us!</dialogue> </scene> <scene> <stage_direction>INT. SOPHIE'S BEDROOM - THAT MOMENT</stage_direction> <scene_description>Sophie gets up, a trickle of blood marking a path on her head from where she was thrown. She sets upon the door to the hall, determined. It's lodged, somehow. Can't open. So she starts bashing the door with whatever she can find.</scene_description> <character>SOPHIE</character> <dialogue>Diana! You hurt my children and we are never speaking again!</dialogue> <scene_description>WHANG! She starts to dislodge the doorknob. WHANG! Again, weakening the door.</scene_description> </scene> <scene> <stage_direction>INT. DOWNSTAIRS HALL</stage_direction> <scene_description>The upstairs sound is muted down here with all the chaos. At the end of the hall, Officer Form looks for where the figure disappeared.</scene_description> <character>OFFICER FORM</character> <dialogue>Show yourself!</dialogue> <scene_description>BACK WITH GOMEZ, she sees her partner check down one part of the family room where the hallway ends-- And then that silhouette ATTACKS from behind, pulling him out of Gomez's view-- But it's so quick, neither has time to react--</scene_description> </scene> <scene> <stage_direction>INT. FAMILY ROOM</stage_direction> <scene_description>Officer Form crashes hard on a card table-- His flashlight resting on the floor by the hall-- And DIANA stands before him. Menacing. We can't see that insane face but we know it's there; we can hear her raspy breath through that too-big mouth... Officer Form raises his sidearm--</scene_description> <character>OFFICER FORM</character> <dialogue>Back off!</dialogue> <scene_description>But she takes a step toward him-- BLAM! He fires-- And in the muzzle flash from the Glock SHE DISAPPEARS-- But a fraction of a second later, the moment the flash dissipates, she's A STEP CLOSER-- He fires AGAIN-- to the same effect--</scene_description> </scene> <scene> <stage_direction>INT. DOWNSTAIRS HALL</stage_direction> <scene_description>Gomez hears her partner firing once, then twice, then a third time before he WAILS IN AGONY out of view--</scene_description> <character>OFFICER GOMEZ</character> <dialogue>Andrew!</dialogue> <parenthetical>(into handset)</parenthetical> <dialogue>Eleven ninety-nine! Get me backup!</dialogue> <scene_description>Gomez has her gun drawn. Flashlight in the other hand. Trying to control her breathing. Rebecca and Martin huddle close to the Officer. Footsteps from elsewhere in the house. The sound bounces around -- upstairs, in the basement, like someone playing a game with them. Gomez is taut as a wire, changing the grip on her Glock.</scene_description> <character>OFFICER GOMEZ</character> <dialogue>How many are there?</dialogue> <character>REBECCA</character> <dialogue>Use this. You won't see her otherwise.</dialogue> <scene_description>Rebecca offers the black light. But Gomez instead moves for the back room where her partner was last seen. Rebecca checks on Martin.</scene_description> <character>REBECCA</character> <dialogue>You okay?</dialogue> <scene_description>Martin nods weakly.</scene_description> <character>REBECCA</character> <dialogue>We're getting out -- now --</dialogue> <scene_description>Martin holds onto Rebecca with pleading eyes.</scene_description> <character>MARTIN</character> <dialogue>Mom.</dialogue> <character>REBECCA</character> <dialogue>We'll find her too.</dialogue> <scene_description>A cut-off SCREAM from Gomez in the dark. Close by. But then a battery-operated smoke detector begins WAILING, drowning out all other sound, like a nail-biting soundtrack. Rebecca looks for her and sees a SILHOUETTE approaching from down the hall. The smoke thins, revealing it's GOMEZ, staggering back... But she's being held up. Like a puppet. And then she falls. Collapsing in a lifeless heap a dozen feet from Rebecca... But her SILHOUETTE REMAINS standing -- Diana. Diana was her puppeteer, behind Gomez like a physical shadow. Rebecca, wide-eyed with fear, grabs hold of Martin and starts crawling away from Diana, holding out the black light -- Diana's arm moves like a snake striking and KNOCKS the light out of Rebecca's hand -- And it SMASHES against the wall, the bulb shattering. Rebecca turns and pushes Martin for the door --</scene_description> <character>REBECCA</character> <dialogue>Go!</dialogue> <scene_description>And he runs, but she doesn't get far: Diana GRABS Rebecca by the neck and SHOVES her to the floor. Pitch-black clawed HANDS encircle Rebecca's throat. She can't breathe. Struggling against Diana, fists pounding and legs bucking, but it's like fighting an onyx statue. Martin returns, in a panic --</scene_description> <character>MARTIN</character> <dialogue>Stop it!</dialogue> <scene_description>-- and he's backhanded, thrown back. Diana's attention returns to Rebecca. Choking the life out of her. That black hair dangling in Rebecca's face. And then:</scene_description> <character>SOPHIE (O.S.)</character> <dialogue>I told you.</dialogue> <scene_description>SOPHIE stands in the room, pointing one of the Officer's handguns at Diana. Gone is the manic woman we knew. Standing here, legs slightly apart, is a woman of pure determination.</scene_description> <character>SOPHIE</character> <dialogue>You don't hurt my kids.</dialogue> <character>DIANA'S VOICE</character> <dialogue>They won't let me be your friend.</dialogue> <scene_description>Sophie FIRES -- But we know the result: Diana BLINKS out of existence for that moment of muzzle-blast -- Rebecca SUCKS IN A BREATH for a second before Diana RETURNS and immediately clamps down on her neck.</scene_description> <character>DIANA'S VOICE</character> <dialogue>That won't hurt me...</dialogue> <scene_description>And then Sophie puts the gun to her own head.</scene_description> <character>SOPHIE</character> <dialogue>This will.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>My daughter was right. I let you in. I let you stay. You are here because of me.</dialogue> <scene_description>This gets Diana's attention. Her chokehold on Rebecca eases up, just enough for Rebecca to croak out the words --</scene_description> <character>REBECCA</character> <dialogue>Mom -- what are you doing --</dialogue> <scene_description>CLOSE ON SOPHIE: A tear streaks down her cheek, but she says with conviction:</scene_description> <character>SOPHIE</character> <dialogue>Saving your lives.</dialogue> <scene_description>BACK ON REBECCA: At the sound of a single GUNSHOT that causes Diana to VANISH in mid-screech. Rebecca sits up, coughing. But can't take her eyes off: Her mother's body. In a heap on the floor. Dead. Eyes welling with tears, she crawls to Sophie.</scene_description> <character>REBECCA</character> <dialogue>No...</dialogue> <scene_description>Martin comes to and sees the aftermath.</scene_description> <character>MARTIN</character> <dialogue>Mom? Mom...</dialogue> <scene_description>WIDE ANGLE From outside looking in through the bay window, two small figures (Rebecca and Martin) huddle over their dead mother. Their bodies shudder from sudden grief. And then Rebecca raises her head and we see the silent wail of raw pain. WIDER STILL A bird's eye view of the block shrouded in darkness... And then the power is restored. Street lamps awaken. DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>INT. SOPHIE'S LIVING ROOM - NIGHT</stage_direction> <scene_description>Paramedics hoist up the gurney, locking its wheels in place. Sophie's body now rests under a sheet on it. Rebecca stands back, watching them carry out her mother's body while the lights of emergency vehicles flare across the interior of the room through the window. A beat. Rebecca looks down at the floor where Sophie's body had been moments ago. A SHADOW remains on the spot. Darkening the wood. In the exact pose as Sophie. Rebecca stares. Fists clenched. More angry than scared now. Slowly, the shadow EVAPORATES before our eyes. And then it's gone. And Rebecca un-clenches her fists.</scene_description> </scene> <scene> <stage_direction>EXT. RESIDENTIAL STREET - NIGHT</stage_direction> <scene_description>Later still. Rebecca and Martin sit on the back bumper of a parked ambulance. Both of them are wrapped in blankets. They look utterly spent. Bret approaches. A little worse for wear, but with bottles of water for them. Rebecca scoots over so he can sit with them. For a beat they simply lean on each other. Then, Rebecca nudges Bret.</scene_description> <character>REBECCA</character> <dialogue>I thought it was too much for you, and you ran off. But you came back.</dialogue> <character>BRET</character> <dialogue>Of course.</dialogue> <scene_description>Rebecca looks at Martin, who gazes up at her like a lost puppy. Unsure of his future.</scene_description> <character>REBECCA</character> <parenthetical>(to Martin)</parenthetical> <dialogue>So did I. And I'm here to stay.</dialogue> <scene_description>Martin holds onto his sister. Two PARAMEDICS load Sophie into an ambulance, the body covered in a white sheet. The mood turns sad once more. Especially for Martin, who looks hollowed-out by this loss. His one remaining hope:</scene_description> <character>MARTIN</character> <dialogue>Is Diana finally gone?</dialogue> <scene_description>CLOSE ON REBECCA, finding her strength again. Using a damp towel from the ambulance, she wipes off her mascara. No more hiding behind a warrior's mask. The warrior is here.</scene_description> <character>REBECCA</character> <dialogue>She better be.</dialogue> <scene_description>PULLING BACK for one last view of the neighborhood... FADE TO BLACK. FADE UP ON:</scene_description> </scene> <scene> <stage_direction>EXT. REBECCA'S APARTMENT BUILDING - EVENING</stage_direction> <scene_description>Sundown. One week later. Rebecca, Bret, and Martin march up the steps to her front door. They're all dressed in black.</scene_description> </scene> <scene> <stage_direction>INT. REBECCA'S LIVING ROOM - EVENING</stage_direction> <scene_description>A slow pan around the place -- it looks remarkably different from the last time we saw it. Gone are the heavy metal posters, save for one that shows the ascension of a Valkyrie to Asgard. The place is cleaned up. Reorganized. Some new furniture. Or some adopted from Sophie's house. The three tired mourners settle in for the night as they step in from the front stoop.</scene_description> <character>REBECCA</character> <dialogue>Okay, little man, you got school tomorrow, so let's get you prepped for the morning.</dialogue> <character>MARTIN</character> <dialogue>I got it.</dialogue> <character>REBECCA</character> <dialogue>Well then, show me so I know what "got it" looks like.</dialogue> <scene_description>Martin nods and moves off for the back room. Bret stays with Rebecca. Puts a hand on her.</scene_description> <character>BRET</character> <dialogue>It'll work out.</dialogue> <character>REBECCA</character> <dialogue>Will it?</dialogue> </scene> <scene> <stage_direction>INT. REBECCA'S KITCHEN - NIGHT</stage_direction> <scene_description>Bret makes a sandwich at the counter. Rebecca joins him. She's now dressed down in sweats, her hair tied behind her. Somewhere from the living room, the soft sounds of the TV.</scene_description> <character>REBECCA</character> <dialogue>He likes the triangle cut.</dialogue> <character>BRET</character> <dialogue>I know.</dialogue> <character>REBECCA</character> <dialogue>And the crust is okay.</dialogue> <character>BRET</character> <parenthetical>(grins)</parenthetical> <dialogue>I know.</dialogue> <scene_description>Rebecca paces. Bret offers her a slice of cheese. She takes it.</scene_description> <character>REBECCA</character> <dialogue>What if--</dialogue> <character>BRET</character> <dialogue>No sense worrying.</dialogue> <scene_description>The doorbell rings. Rebecca and Bret trade looks. Expectant. Clearly Rebecca's been waiting for this.</scene_description> </scene> <scene> <stage_direction>INT. REBECCA'S LIVING ROOM - MOMENTS LATER</stage_direction> <scene_description>She opens the door to reveal EMMA at her stoop. With an envelope in her hands.</scene_description> <character>REBECCA</character> <parenthetical>(beat)</parenthetical> <dialogue>Hey.</dialogue> <scene_description>Emma smiles. Hands her the envelope.</scene_description> <character>REBECCA</character> <dialogue>Did they...?</dialogue> <character>EMMA</character> <dialogue>Understand, it's not a formal adoption. But yes. You are now a foster parent.</dialogue> <scene_description>Rebecca jumps a little and then relaxes.</scene_description> <character>REBECCA</character> <dialogue>Thank you so much.</dialogue> <character>EMMA</character> <dialogue>Well, you're the one who did the work and-- oh!</dialogue> <scene_description>Rebecca pulls Emma into a big, earnest hug. MOMENTS LATER Rebecca closes the door and turns around, smiling-- To find Martin and Bret waiting like two pets.</scene_description> <character>BRET</character> <dialogue>Well?</dialogue> <character>REBECCA</character> <dialogue>We're a family!</dialogue> <scene_description>Martin smiles.</scene_description> <character>BRET</character> <dialogue>I knew it! We're celebrating.</dialogue> <character>MARTIN</character> <dialogue>Popcorn and movies?</dialogue> <character>REBECCA</character> <dialogue>Not so fast, school boy.</dialogue> <character>MARTIN</character> <dialogue>Awww.</dialogue> <character>REBECCA</character> <dialogue>C'mon, time for bed.</dialogue> </scene> <scene> <stage_direction>EXT. REBECCA'S APARTMENT BUILDING - NIGHT</stage_direction> <scene_description>Later. The neon sign winks by their bedroom window... But the interior lights now extinguish. It's bedtime.</scene_description> </scene> <scene> <stage_direction>INT. REBECCA'S LIVING ROOM - NIGHT</stage_direction> <scene_description>Later. The middle of the night. A lone night light shines in this room, illuminating the sofa bed where Martin sleeps... Except he's not asleep. He's sitting up. And his eyes are SQUINTING at the brightness of the night light. He holds up his pale arm to protect him from it. Martin then crawls to the coffee table against the edge of the bed and places something on it. As a gift. An offering. It's his mother's HAIRBRUSH.</scene_description> </scene> <scene> <stage_direction>INT. REBECCA'S BEDROOM - NIGHT</stage_direction> <scene_description>Rebecca and Bret sleep together in her bed. This room has been redone as well. Not to the point Rebecca has lost her personality, just... matured a step. And also, some of Bret's stuff is here. Including an electric guitar in the corner and a cloth-covered rig that looks like it might be a homemade amplifier. Night lights illuminate this room, too. There's at least one in every room, actually. The digital clock flickers at 1:57am. Precisely that time. And then-- Power cuts out. The whole place goes dark. CLOSING IN on Rebecca, asleep. Pressing closer. Closer. A faint SCRATCHING sound creeps in. Enough to wake her. She blinks. Looks around. And fear sets in. The scratching continues. Rebecca looks toward the door-- Drenched in darkness. But in that dark... is... is that a hunched-over FIGURE? Rebecca is almost afraid to speak at it. But then--</scene_description> <character>REBECCA</character> <dialogue>Martin?</dialogue> <scene_description>The SCRATCHING stops suddenly. Rebecca nudges Bret by her side. Bret stirs. Sits up.</scene_description> <character>BRET</character> <dialogue>Hmm?</dialogue> <character>REBECCA</character> <parenthetical>(sotto)</parenthetical> <dialogue>Emergency plan.</dialogue> <scene_description>This wakes him up in a heartbeat. He reaches for the shelf by his side of the bed-- --and the silhouette of AN ARM from under the bed CATCHES HIS in its grasp INCHES before Bret can grab a FLASHLIGHT--</scene_description> <character>BRET</character> <dialogue>Becks--!</dialogue> <scene_description>And then he's YANKED off the bed-- Slamming into THE DRESSER. Out cold. Rebecca pulls something from her nightstand drawer-- is it another flashlight? No. It's a ROAD FLARE. Which she cracks-- Suddenly casting the entire room in a FIERY RED GLOW.</scene_description> <character>REBECCA</character> <dialogue>Bret!</dialogue> <scene_description>Bret is unresponsive. But there's no sign of Diana now. Scurrying from the living room. It draws her attention. Rebecca opens a nightstand drawer on her side and reaches in. Inside: one item. A FUCKING MACHETE. With knife in one hand and sparking flare in the other, Rebecca ventures for the living room.</scene_description> <character>REBECCA</character> <dialogue>Martin? Sound off!</dialogue> <character>MARTIN (O.S.)</character> <parenthetical>(beat)</parenthetical> <dialogue>I'm here...</dialogue> <scene_description>Rebecca gets to the threshold and then she hears:</scene_description> <character>MARTIN (O.S.)</character> <dialogue>She says it's all right...</dialogue> <scene_description>With a fresh fear, she steps into--</scene_description> </scene> <scene> <stage_direction>INT. REBECCA'S LIVING ROOM</stage_direction> <scene_description>--and the red glow of the flare shows Martin on the edge of the sofa bed, positioned as if he were just looking at something in the dark space underneath. He's been crying. But now he's not.</scene_description> <character>MARTIN</character> <dialogue>You don't need that this time.</dialogue> <scene_description>Indicating the flare in her hand. He says it too calmly. Why isn't he scared out of his mind? It takes Rebecca a beat to find her voice.</scene_description> <character>REBECCA</character> <dialogue>Martin. What are you saying.</dialogue> <character>MARTIN</character> <dialogue>She can talk to mom. She's here to protect me.</dialogue> <character>REBECCA</character> <dialogue>"Protect" you... from what?</dialogue> <scene_description>A hoarse WHISPER from underneath Martin's sofa-bed, which Martin seems to hear clear as day.</scene_description> <character>MARTIN</character> <dialogue>Anything.</dialogue> <character>REBECCA</character> <dialogue>Martin, look at me. You don't need this. You don't need her!</dialogue> <character>MARTIN</character> <dialogue>She can talk to mom--</dialogue> <character>REBECCA</character> <dialogue>That's a lie--</dialogue> <character>MARTIN</character> <dialogue>She won't go away, please, this is the only way to survive!</dialogue> <scene_description>He says it so desperately, trying so hard to make Rebecca go along with it, now it's clear what Martin is doing. He's just as broken as his mother.</scene_description> <character>REBECCA</character> <dialogue>There's a better way. She's not real, you hear me? And we can't let her become real. Listen--</dialogue> <scene_description>Something scurries in the kitchen. Rebecca whirls around with the flare, trying to see in. No sign. Of anything. Shadows thrown left and right.</scene_description> <character>DIANA'S VOICE (O.S.)</character> <dialogue>Becksss...</dialogue> <scene_description>From one corner. Then, a slightly different intonation:</scene_description> <character>DIANA'S VOICE (O.S.)</character> <parenthetical>(lower pitch)</parenthetical> <dialogue>Becksss...</dialogue> <scene_description>From somewhere else. Playing with Rebecca.</scene_description> <character>MARTIN</character> <dialogue>Please, don't make her mad...</dialogue> <scene_description>And then from the bedroom:</scene_description> <character>BRET'S VOICE (O.S.)</character> <dialogue>Becks?</dialogue> <character>REBECCA</character> <dialogue>Bret?</dialogue> <scene_description>She starts back for her bedroom but stops-- her flare is the only light source here. If she leaves, Martin is back in total darkness again. Rebecca goes to Martin and hands him the flare.</scene_description> <character>REBECCA</character> <dialogue>Here. Hold onto this at the base. Okay? I'll be right back.</dialogue> <character>MARTIN</character> <dialogue>What are you going to use?</dialogue> <scene_description>Rebecca holds up the machete to show him a personal addition to one side of the blade: A compact PEN LIGHT, taped in place. She clicks it on-- It's black light.</scene_description> </scene> <scene> <stage_direction>INT. REBECCA'S BEDROOM - MOMENTS LATER</stage_direction> <scene_description>Rebecca enters, holding knife with white knuckles.</scene_description> <character>REBECCA</character> <dialogue>Bret?</dialogue> <scene_description>In the weak, bluish light, she finds Bret's body still passed out at the foot of the dresser. It wasn't Bret. Diana's silhouette STRIKES from behind-- And Rebecca FALLS HARD, hair already matted with her own blood. The machete skitters off to the corner by the guitar. Rebecca tries to get up-- But Diana's silhouette STRIKES her again and Rebecca's ear gets a nasty gash. Rebecca crawls for the part of the room where the machete lies, tauntingly close... TIGHT ON REBECCA'S BLOODY FACE. A heavy weight descends on her. Pinning her. It hurts. HER HAND struggles to reach for the direction of the machete, by the power supply to the homemade amp. DIANA'S HAIR drifts down by Rebecca's face. She reaches again. The knife is a good foot away.</scene_description> <character>DIANA'S VOICE</character> <dialogue>I just want to be your friend...</dialogue> <character>REBECCA</character> <parenthetical>(disgusted)</parenthetical> <dialogue>You're dead.</dialogue> <scene_description>Her hand touches the power supply. AND NOW WE SEE THE LABEL on the thing. It's a BATTERY PACK. With an old-school radio SWITCH. Diana digs into Rebecca's flesh, whispering:</scene_description> <character>DIANA'S VOICE</character> <dialogue>You can't run away this time.</dialogue> <scene_description>Rebecca turns onto her back, to face Diana--</scene_description> <character>REBECCA</character> <dialogue>Neither can you, bitch.</dialogue> <scene_description>And she flips the switch. It's not an amplifier. It's a LIGHTING RIG. VRRRRM -- first a set of heavy-duty BLACK LIGHTS clack on-- And Diana is EXPOSED as the demonic-looking woman atop Rebecca in the darkened bedroom. Her wicked grin vanishes when she looks up at the rig-- Just in time to see the second set of lights power on-- BRIGHT FLOODLIGHTS like a set of high-beams. DIANA SCREAMS in agony-- From a LOW ANGLE BEHIND HER, the silhouette now made flesh by the black light is TURNED TO ASH by the flood lights. She DISSOLVES and blows away like powder in a stiff breeze. Rebecca takes a breath. Two. Props up on her elbows. Looks around. Bret MOANS and begins to wake. Then, the power returns. LIGHTS flicker back on. And Rebecca remains drenched in the hard light of the custom lighting rig -- obviously part of the Emergency Plan. She's bloodied from the fight. But she ignores it for now.</scene_description> <character>REBECCA</character> <dialogue>Martin?</dialogue> <scene_description>Martin steps in from the hall. Squints at the light.</scene_description> <character>MARTIN</character> <dialogue>Is she gone?</dialogue> <scene_description>Rebecca sees the ash around her.</scene_description> <character>REBECCA</character> <dialogue>Yeah.</dialogue> <scene_description>Martin rushes to her. Rebecca sits up to hug him. Still in the embrace, he asks a follow-up:</scene_description> <character>MARTIN</character> <dialogue>For good?</dialogue> <scene_description>Beat. Rebecca looks around. Still holding him.</scene_description> <character>REBECCA</character> <dialogue>I think so.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>And if not, we'll be stronger next time. You know why?</dialogue> <scene_description>Martin stares at one of the posters still on the bedroom wall: One depicting a fearsome WARRIOR in some fantasy setting, battling goblins with a torch and sword.</scene_description> <character>MARTIN</character> <dialogue>Because we're fighters.</dialogue> <scene_description>Rebecca smiles. A survivor's smile. Looking straight ahead:</scene_description> <character>REBECCA</character> <dialogue>That's right.</dialogue> <scene_description>HARD SLAM TO BLACK. THE END.</scene_description> </scene> </script>

In a textile factory during closing hours, after an employee named Esther says goodbye to her boss Paul, she encounters a silhouette of a strange woman with claw-like hands when the lights are off, but she cannot see it when the lights are on. After she leaves, Paul encounters the woman as well. As he tries to run away, he locks himself into an office, but is killed after the lights go out. Some time later Paul's son, Martin, witnesses his mother, Sophie, talking to something in the dark. Sophie notices Martin and comforts him about the event, but as Martin goes back to bed he notices a strange figure in the shadow behind Sophie, and locks himself in his bedroom out of fear. Shortly thereafter Martin begins to have trouble staying awake at school. The nurse is unable to get in touch with Sophie to inform her of this, so Paul's stepdaughter (Martin's older half-sibling) Rebecca is called into the school nurse's office instead. A Child Protective Services agent questions Rebecca about Martin's living conditions, and Rebecca tells the official that Sophie is taking antidepressants. Martin tells his sister that their mother has been talking to a woman named "Diana". Rebecca assures him that Diana is not real, and that she had also heard their mother talk to the imaginary girl when she was a child. Once they arrive at Martin's house, Rebecca gets into an argument with Sophie when she realizes her mother is not taking her medication. Sophie tells Rebecca she has no right to lecture her since she also abandoned her like Rebecca's father. Questioning her mother's sanity, Rebecca takes Martin to her apartment, much to Sophie's despair. That night, Rebecca is awoken by the same shadowed woman that killed Paul. She narrowly escapes an attack when she turns the lights on, making the woman disappear. The next morning, Rebecca notices that the name "Diana" has been scratched into her floor, along with a scratch drawing of a stick figure. She remembers finding the same name and drawing as a child and realizes Diana is real. Rebecca finds a box of medical records and research in Paul's office. His findings reveal that her mother was admitted to a mental hospital as a child. While there, she befriended a young patient named Diana. Diana suffered from a severe skin condition that meant she could not go out in sunlight. It was believed that she was evil and was able to "get into people's heads" since Diana's father committed suicide after Diana influenced him to kill himself. In the end, Diana was accidentally reduced to ashes by the hospital staff when they tried to perform an experimental treatment on her under intense light. Sophie has a conversation with Martin, who was taken back to their mother by the CPS agent, and she decides to allow Martin to meet Diana after turning the light off. However, Martin is frightened by Diana and runs away from them back to Rebecca's place. Rebecca, her boyfriend Bret, and Martin stage an intervention with Sophie about how their mother is letting Diana haunt them. Sophie becomes irate but secretly asks Rebecca for help, as Diana will not let Sophie go. The group stays the night at Sophie's, intending to get her help in the morning. To avoid an attack from Diana during the night, they rig the house to be as brightly lit as possible, but this proves useless when Diana cuts the power of the whole neighborhood. She traps Rebecca and Martin in the basement and attempts to kill Bret. Despite being injured, Bret escapes by shining the headlight of his car and drives away. In the basement, Martin and Rebecca find a black-light; when Rebecca is using it, she clearly sees Diana with it, but realizes it is not powerful enough to ward her off. Bret returns with two police officers. When the officers free Martin and Rebecca from the basement, they also see the shadow of Diana and try to go after her, but she kills them. Rebecca and Martin go out, but Martin insists on getting Sophie out as well. Rebecca goes back alone for her mother. As she climbs the stairs, Diana tells Rebecca that she killed Rebecca's father years ago, because, like Paul, he tried to help Sophie recover from her trauma. She then injures Rebecca for trying to do the same, but as Diana prepares to kill her, Sophie appears with a gun from one of the dead officers and shoots at Diana, but Diana says that can’t harm her, to which Sophie replies “I know”. Sophie has realized she is the tether for Diana to exist in the real world and kills herself to save Rebecca and Martin. As Sophie's body falls, Diana vanishes from existence. After the long night, Bret comforts Martin and Rebecca in an ambulance outside the house; a light flickers inside the ambulance but Bret assures them that Diana is truly gone.

Disturbia_2007

tt0486822

<script> <scene> <stage_direction>DISTURBIA</stage_direction> <character>KALE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( tense . )</parenthetical> <dialogue>Do you think he sees us?</dialogue> <character>JEFF</character> <parenthetical>( V.O . )</parenthetical> <dialogue>No, he ca n't see us. But he feels us watching.</dialogue> <scene_description>DEEP BLUE WATER FILLS THE FRAME . And there . a few feet beneath the surface . something SHIMMERS in the sunlight . As ripples dissipate , we make out the shape of a bright yellow CRANKBAIT waiting patiently for its prey on the end of a 10 - pound line . We hold on this for another silent beat . then - a huge BLACK BASS suddenly swoops into frame , circling the bait ! ON KALE BRECHT -LRB- 17 -RRB- AND HIS DAD , JEFF BRECHT -LRB- 45 -RRB- Both startle at the sight . Kale , a clean - cut all - American kid , reflexively yanks back on his rod and reel .</scene_description> <character>KALE</character> <dialogue>Whoa, did you see that thing?</dialogue> <scene_description>Kale anxiously winds the spool -</scene_description> <character>JEFF</character> <dialogue>Settle down, slow it down.</dialogue> <scene_description>Jeff lightly puts his hand on Kale 's , slowing the cranking to a slight , steady pull as we WIDEN TO REVEAL them standing near the stern of their 16 - foot BASSMASTER . We are .</scene_description> </scene> <scene> <stage_direction>EXT. BISHOP LAKE - DAY</stage_direction> <scene_description>The undisturbed beauty of nature serves as our backdrop as we MOVE CLOSER to Kale and Jeff , taking note of their t - shirts : Jeff 's has a silkscreened cartoon rendition of a Bass wearing aviator goggles with mounted missiles on its fins . Beneath it , the slogan : `` Weapons of Bass Destruction . '' The fish on Kale 's shirt wears a stock car uniform , a single word across the bottom : BASSCAR . As Jeff steadies Kale 's hand and pulls away :</scene_description> <character>JEFF</character> <dialogue>You do n't want to scare him off. You've got his attention, now just play with him. Tease him a little.</dialogue> <scene_description>Kale and Jeff watch the water in anxious silence . Kale inching the line back toward the boat . One more crank , then - The BLACK BASS suddenly ATTACKS THE LURE with a tremendous SLOSH OF HIS TAIL !</scene_description> <character>KALE</character> <dialogue>Holy shit!</dialogue> <character>JEFF</character> <dialogue>It's all you, Kale, keep cranking!</dialogue> <scene_description>Kale cranks fast and furious . But this is one fish that 's going down fighting .</scene_description> <character>KALE</character> <dialogue>I need reinforcements!</dialogue> <scene_description>Jeff moves in , grabs the rod and reel from behind Kale .</scene_description> <character>JEFF</character> <dialogue>Heave, laddie!</dialogue> <scene_description>They PULL . The rod curls under the weight .</scene_description> <character>JEFF</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( pirate accent . )</parenthetical> <dialogue>Give it all ya got, mate, or you're gon na lose him!</dialogue> <character>KALE</character> <parenthetical>( laughing ; pulling ; struggling . )</parenthetical> <dialogue>Dad, your pirate - impersonation - sucks!</dialogue> <character>JEFF</character> <dialogue>How would ya know, have ya ever met one? I doubt it -</dialogue> <scene_description>The BASS SLOSHES FURIOUSLY around the bait , now just a few feet from the boat !</scene_description> <character>KALE</character> <dialogue>He's freakin' pulling us in!</dialogue> <character>JEFF</character> <parenthetical>( laughing . )</parenthetical> <dialogue>Never! No Brecht has ever - lost a fight - to a fish!</dialogue> <scene_description>The BASS suddenly snaps free . The line goes limp . Jeff and Kale lose their balance , nearly falling backward . Then - All becomes silent save for Jeff and Kale 's heavy breathing . Kale winds the empty line back to the boat , shoots a glance to Jeff , then throws the rod aside in mock disgust . Jeff takes a seat in the captain 's chair .</scene_description> <character>JEFF</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Throw me a -</dialogue> <scene_description>Kale is already in the cooler . He throws Jeff a Coke . Both sit in silence for a beat . Then -</scene_description> <character>JEFF</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hey, at least the weather's great. we're spending quality time together.</dialogue> <character>KALE</character> <parenthetical>( grabbing pole . )</parenthetical> <dialogue>That fish is going down.</dialogue> <character>JEFF</character> <parenthetical>( not missing a beat . )</parenthetical> <dialogue>Let's nab the bastard.</dialogue> <scene_description>They both cast their lines -</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY 395 - NORTHERN SIERRA MOUNTAINS - EVENING</stage_direction> <scene_description>An amber glow sets the mountainside ablaze as Jeff 's SUV winds through the serpentine pass .</scene_description> </scene> <scene> <stage_direction>INT. SUV - EVENING - CONTINUOUS - MOVING</stage_direction> <scene_description>Jeff drives . Kale 's on his cell :</scene_description> <character>KALE</character> <parenthetical>( cont 'd . )</parenthetical> <parenthetical>( into phone as needed . )</parenthetical> <dialogue>Hey mom, it's us. Listen, fire up the grill'cause the Bassmasters are headed home!</dialogue> <scene_description>Jeff slaps Kale five as he veers the SUV into the left lane , passing a slow - moving PATHFINDER .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S HOUSE - KITCHEN - DAY - CONTINUOUS</stage_direction> <scene_description>Kale 's attractive mom , JULIE , 40 , on cordless , preps dinner .</scene_description> <character>JULIE</character> <dialogue>You're kidding. So I can actually put the burgers away this time?</dialogue> <character>KALE</character> <dialogue>Yes, be gone with the red meat!</dialogue> <scene_description>Julie smiles . Jeff grabs the phone from Kale .</scene_description> <character>JEFF</character> <parenthetical>( into phone as needed . )</parenthetical> <dialogue>We're having fish for a week.</dialogue> <scene_description>Kale smiles as a LINCOLN NAVIGATOR PICK - UP zooms past in the right lane , swerves back in the left lane in front of them .</scene_description> <character>JEFF</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( over the above . )</parenthetical> <dialogue>I'd say an hour. Love you, too.</dialogue> <scene_description>Jeff flips the phone shut , tosses it to Kale . They exchange smiles . A silent moment passes . They both turn to face the road as - THE NAVIGATOR PICK - UP suddenly SWERVES back into the right lane , revealing a STALLED MINI - VAN directly in front of them !</scene_description> <character>KALE</character> <dialogue>DAD -</dialogue> <scene_description>Jeff instinctively reaches his arm in front of Kale as he SWINGS the wheel hard right and SLAMS ON THE BRAKES . But it 's not in time . The SUV clips the mini - van 's right rear bumper , SMASHING it into the left lane concrete barricade . The SUV spins into the right lane where that SLOW - MOVING PATHFINDER suddenly BROADSIDES IT with such FORCE that it FLIPS the SUV up and over . It TUMBLES off the highway , barreling into .</scene_description> </scene> <scene> <stage_direction>EXT. VACANT CLIFFSIDE PULLOFF/VIEWING AREA - EVENING - CONT</stage_direction> <scene_description>A couple of final , METAL - CRUNCHING FLIPS send the SUV 's undercarriage CRASHING to a violent stop on top of a rickety wood beam - mounted GUARDRAIL . A silent beat . Then - steam billows from the hood . INSIDE THE SUV Airbags deflate . Dust settles . Blood streams from Jeff 's hairline . His eyes flutter open . He looks up to Kale , strapped in the passenger seat , unconscious . A small gash on his forehead . We only see blue sky through Kale 's shattered passenger window .</scene_description> <character>JEFF</character> <dialogue>Kale? - Kale, are you okay?</dialogue> <scene_description>Kale opens his eyes . Jeff reaches up , touches Kale 's face .</scene_description> <character>KALE</character> <dialogue>I think so.</dialogue> <scene_description>Kale looks down at his dad - his eyes widen in horror , not only at the sight of Jeff , but of the ravine beneath them - For this brief moment , we may have thought the SUV was stable . But we CRANE BACK UP AND OUT KALE 'S PASSENGER WINDOW to REVEAL A MUCH GRIMMER REALITY : the SUV is PERCHED LENGTHWISE ON TOP OF THE GUARDRAIL AT A 45 - DEGREE DOWNWARD ANGLE . The SUV 's right front and rear tires precariously grip the rail , keeping it from plunging 500 feet to the RAVINE below . BACK INSIDE THE SUV</scene_description> <character>KALE</character> <dialogue>Oh my God, dad -</dialogue> <scene_description>- Jeff 's leg is trapped beneath the crumpled dashboard .</scene_description> <character>JEFF</character> <dialogue>I'm fine. But you're gon na have to climb out, Kale. Can you do that?</dialogue> <scene_description>Kale 's hands shake from the SHOCK as his fingers search for the seatbelt buckle . But the shoulder strap is LOCKED IN PLACE , preventing Kale from turning . He tugs it furiously .</scene_description> <character>KALE</character> <dialogue>I ca n't - It wo n't give -</dialogue> <character>JEFF</character> <dialogue>That's okay, I've got it - grab the door, I do n't need your ass falling on my face -</dialogue> <scene_description>Kale reaches up , grips the outside of the door as JEFF 'S HAND shakily reaches to Kale 's seatbelt buckle and presses . Kale 's belt SNAPS LOOSE . Kale 's body DROPS , but he hangs on to the window - just as a GUARDRAIL BEAM SNAPS LOOSE FROM ITS FOUNDATION ! The SUV ROCKS VIOLENTLY as the guardrail starts to bend and peel away from the cliffside under the SUV 's weight . INSIDE THE SUV - JEFF reaches up , grabs Kale 's legs and pushes , helping Kale climb out the window . OUTSIDE THE SUV - KALE slowly slides down the outside of the door , then turns around on his chest , reaches his hand back down to Jeff -</scene_description> <character>KALE</character> <dialogue>Dad, here -</dialogue> <scene_description>Jeff reaches up as a SECTION OF GUARDRAIL RIVETS a few inches behind the SUV 's rear bumper suddenly POP LOOSE . THE GUARDRAIL SNAPS IN TWO ! KALE SCREAMS , hangs on for dear life as the GUARDRAIL and SUV SWING OUT AND OVER THE RAVINE . The guardrail is buckling fast . Another beam RIPS FREE of its foundation - Kale slides a few more inches down the door and right front fender allowing HIS FEET to find the edge of the foundering rail underneath . Having at least some footing , Kale reaches back inside -</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Dad, please, you can do it -</dialogue> <scene_description>Jeff unbuckles his belt and reaches up . Kale summons his strength , grabs Jeff 's wrist , pulls him up and through the passenger window just as the SUV FALLS AWAY ! Jeff 's weight pulls Kale down . Kale 's feet SLIP off the rail . Kale SLAMS chest down , his TORSO wrapping around the top of the rail , feet dangling . But he 's still clutching Jeff 's wrist as the SUV CRASHES INTO THE RAVINE IN A MUSHROOM CLOUD OF DUST AND DEBRIS . JEFF 'S WRIST slips from Kale 's grasp . Kale struggles to hang on , but he 's losing the battle and the balancing act . And he knows it . Tears well in Kale 's eyes .</scene_description> <character>JEFF</character> <dialogue>Kale, you have to climb up -</dialogue> <character>KALE</character> <dialogue>No - I'm not leaving -</dialogue> <character>JEFF</character> <dialogue>Kale -</dialogue> <scene_description>Another GUARDRAIL BEAM UPROOTS -</scene_description> <character>KALE</character> <dialogue>NO - Dad, please, I've got you -</dialogue> <character>JEFF</character> <parenthetical>( with a slight smile . )</parenthetical> <dialogue>I know -</dialogue> <scene_description>CU - Jeff 's left hand enters frame , clasps Kale 's . Another beat of eyes on eyes . The guardrail continues to BUCKLE . Then - Jeff starts to PRY KALE 'S HAND AWAY - Jeff 's arm RELEASES FROM KALE 'S GRIP . Kale opens his mouth to scream as a shrill bell RINGS !</scene_description> </scene> <scene> <stage_direction>INT. MORROW HIGH SCHOOL - HALLWAY - DAY</stage_direction> <scene_description>ON THE RINGING BELL . STUDENTS disappear into their respective classrooms . As the corridor quiets down . SUPER : ONE YEAR LATER</scene_description> <character>RONNIE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( subtitles as needed . )</parenthetical> <dialogue>This summer, after visiting Hawaii, I will perhaps visit my grandparents in Korea.</dialogue> </scene> <scene> <stage_direction>INT. CLASSROOM - DAY - CONTINUOUS</stage_direction> <scene_description>ON RONNIE YUN , 16 , a scrawny Korean kid with a knack for perfect Spanish , stands at the front giving his speech . Note : every time Ronnie says `` quizás '' -LRB- `` perhaps '' -RRB- the class giggles because it sounds a lot like `` kiss - ass . '' The teacher , SENOR GUTIERREZ , a rotund 50 , bad comb - over and khakis up to his naval , stands off to the side , quickly picking up on Ronnie 's excessive and increasingly dramatic use of the word .</scene_description> <character>RONNIE</character> <dialogue>Perhaps I wo n't. Perhaps I'll just stay at home. But perhaps my parents will take pity on me.</dialogue> <parenthetical>( more dramatic . )</parenthetical> <dialogue>Perhaps they will make my dream a reality! Perhaps they will take me to a beach on the French Riviera so that I may gaze upon the natural beauty of its female inhabitants.</dialogue> <scene_description>Over this , only one GIRL , MINNIE TYCO , a rail - thin BLONDE , picks up on this :</scene_description> <character>MINNIE TYCO</character> <parenthetical>( under her breath . )</parenthetical> <dialogue>Keep dreaming, perv.</dialogue> <character>RONNIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Perhaps. Thank you.</dialogue> <scene_description>The class laughs , claps . Ronnie bows , heads to his seat .</scene_description> <character>SR GUTIERREZ</character> <dialogue>Thank you, Ronnie. Perhaps I'll give you an `` F.''</dialogue> <scene_description>The class laughs again . Gutierrez shakes his head , zeros in on the student behind Ronnie . Sleeping with his arms folded on his desk , a grey hoodie pulled over his head .</scene_description> <character>SENOR GUTIERREZ</character> <dialogue>Senor Brecht.</dialogue> <scene_description>Senor Gutierrez takes some chalk , flicks it at the kid . He still does n't budge . Ronnie nudges him .</scene_description> <character>RONNIE</character> <dialogue>Dude -</dialogue> <scene_description>The kid stirs , raises his head . The hoodie falls away to reveal KALE . Longer , disheveled hair . The spark in his eye 's been replaced with an empty haze .</scene_description> <character>SENOR GUTIERREZ</character> <dialogue>So Kale, think you can stay conscious long enough to tell us your plans for the three wondrous summer months ahead?</dialogue> <scene_description>Kale glances around . All eyes on him . He looks at Ronnie who nods in support . Kale gets up , heads to the front of the class . He pauses . Trying to focus . Then -</scene_description> <character>KALE</character> <dialogue>Este invierno -</dialogue> <scene_description>The class chuckles .</scene_description> <character>SENOR GUTIERREZ</character> <parenthetical>( correcting . )</parenthetical> <dialogue>Verano.</dialogue> <character>KALE</character> <dialogue>Este verano - voy a -</dialogue> <character>SENOR GUTIERREZ</character> <dialogue>¿ Qué?</dialogue> <scene_description>Kale shuts his eyes , frustrated at the interruption . Senor Gutierrez , also losing patience , steps closer to Kale .</scene_description> <character>SR GUTIERREZ</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( subtitled . )</parenthetical> <dialogue>What are you going to do?</dialogue> <character>KALE</character> <dialogue>I do n't know, alright? I have n't gotten that far.</dialogue> <character>SENOR GUTIERREZ</character> <dialogue>Did you do the homework or not?</dialogue> <character>KALE</character> <parenthetical>( no eye contact . )</parenthetical> <dialogue>Guess not.</dialogue> <character>SENOR GUTIERREZ</character> <parenthetical>( in Kale 's face . )</parenthetical> <dialogue>You `` guess'' not. I do n't know who you think you are or who you think you're dealing with. You ca n't give me a straight answer, fine, give me one good reason why I should n't fail you right now?</dialogue> <scene_description>Kale CLOCKS Gutierrez .</scene_description> </scene> <scene> <stage_direction>INT. JUVENILE COURTROOM - DAY</stage_direction> <scene_description>ON SENOR GUTIERREZ - displaying a black eye , sitting next to the school 's PRINCIPAL and COUNSELOR in a single row of seats behind the attorneys ' tables . Kale , a little more cleaned up , wearing a suit , sits between Julie and his DEFENSE ATTORNEY . Julie , noticeably tired , glances at her son , her expression a fusion of anger and sympathy . Kale 's eyes shift her way , but his head never turns . The JUDGE mulls over his notes .</scene_description> <character>JUDGE</character> <dialogue>Okay, Mr. Brecht.</dialogue> <scene_description>Kale 's lawyer prompts him to stand .</scene_description> <character>JUDGE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You're six months shy of eighteen, that means the assault - two charge you've pled guilty to carries a max of one year in juvey. With these priors, you're up to three.</dialogue> <scene_description>The judge lets that sink in . Kale remains silent .</scene_description> <character>JUDGE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>But losing a parent is n't easy. Which is why I'm sentencing you to three months house arrest.</dialogue> <scene_description>Julie closes her eyes in relief .</scene_description> <character>JUDGE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You can thank your counselors and lawyer later. Mr. Brecht, I just cut you a break. Do n't test me.</dialogue> <scene_description>The judge taps his gavel .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S HOUSE - KITCHEN - DAY</stage_direction> <scene_description>A pair of hands wrap an ELECTRONIC MONITORING BRACELET around Kale 's left ankle . WIDER TO REVEAL the hands belong to Kale 's case officer , JANET PARKER , 35 , no - nonsense . Kale 's perched on the center island . Julie watches from the b.g. . As Parker clicks the bracelet 's buckle into place , a GREEN LED light illuminates . It 's ON THE TOP EDGE OF THE BRACELET 'S BAND so Kale can easily see it if he looks down . Next to this light is an additional RED LIGHT that is n't on .</scene_description> <character>PARKER</character> <parenthetical>( making final checks . )</parenthetical> <dialogue>Okay, you. are all set. to go nowhere.</dialogue> <parenthetical>( re : the LED lights . )</parenthetical> <dialogue>Now, green means you're good, you're in the safe zone which covers about a sixty - foot radius from this guy here.</dialogue> <scene_description>Parker points to a big black box -LRB- the CENTRAL TRACKING UNIT -RRB- on the kitchen counter .</scene_description> <character>PARKER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>He's like a modem. He gets a constant signal from Mr. Bracelet that he sends through your phone line to the monitoring station downtown. So they know where you are, where you've been and what you're thinkin' 25/7.</dialogue> <character>JULIE</character> <dialogue>What if he accidentally goes beyond -</dialogue> <character>PARKER</character> <parenthetical>( anticipating ; re : red light on bracelet . )</parenthetical> <dialogue>Red light flashes. Means you've got about ten seconds to get your butt back to green, or else -</dialogue> <character>KALE</character> <dialogue>The execution squad shows up?</dialogue> <character>PARKER</character> <dialogue>And they do n't bring blindfolds. It's also tamper proof and waterproof. So do n't try sticking your foot in a bucket of water and hopping across the line. It wo n't work, and you'll look stupid. Now, I'll be checking up on you a lot. Here's my card - You're set up to pay his incarceration fee, Ms. Brecht?</dialogue> <character>JULIE</character> <dialogue>Automatic withdrawal.</dialogue> <parenthetical>( to Kale . )</parenthetical> <dialogue>Twelve bucks every day.</dialogue> <character>PARKER</character> <parenthetical>( re : a booklet . )</parenthetical> <dialogue>Everything else is in the manual.</dialogue> <parenthetical>( making her way out . )</parenthetical> <dialogue>Oh, except this - House arrest might sound like a breeze, but trust me, I've seen all kinds of folks get a bit loopy before too long, some after just a day or two. So make sure you find lots of constructive things to keep yourself busy.</dialogue> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - NIGHT - LATER</stage_direction> <scene_description>Kales sits in his video game chair , wearing his X - box live headset , playing HALO 2 - he 's on the final `` boss level . '' GUNFIRE and EXPLOSIONS BLARE over his stereo speakers .</scene_description> <character>KALE</character> <parenthetical>( into headset as needed . )</parenthetical> <dialogue>Hobby, you read me? I said come around my left flank and draw his fire - damn straight I'm trying to get you smoked, you've been hiding behind my ass the whole game -</dialogue> <scene_description>The TV SCREEN suddenly GLITCHES .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hobby, Jet, you guys still there?</dialogue> <scene_description>The screen goes black . The XBOX LIVE LOGO APPEARS along with the words : SERVER ERROR . Kale throws the headset aside , makes sure all the wires are connected . Checks the TV screen . Same thing . Kale glares at the screen another beat , then gets up , wanders out of his room .</scene_description> </scene> <scene> <stage_direction>INT. ENTRY HALL - NIGHT - CONTINUOUS</stage_direction> <scene_description>Kale slowly heads down the stairs , rounds the corner into .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S HOUSE - KITCHEN - NIGHT - CONTINUOUS</stage_direction> <scene_description>Kale runs into Julie who wears a black blouse and slacks , the required uniform of the steakhouse she works at . She 's just thrown a couple of microwave dinners on the kitchen table . She 's scrambling around , eating a couple bites , gathering her things .</scene_description> <character>JULIE</character> <dialogue>Dinner's on the table. I'm closing at the restaurant the next few nights. Could be some late ones, but hey. the extra tips could n't hurt.</dialogue> <scene_description>Kale sits at the table , picks through his food .</scene_description> <character>JULIE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( glancing around . )</parenthetical> <dialogue>Where's my apron. apron.</dialogue> <scene_description>She heads O.S. for a beat , comes back in with her apron and purse , sets them on the counter . Eyes her watch , sits at the table , takes a couple more quick bites . Then -</scene_description> <character>JULIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You wan na talk about anything?</dialogue> <character>KALE</character> <dialogue>I got nothin'.</dialogue> <character>JULIE</character> <dialogue>Y' know, when we're finally free of all this legal stuff with the accident, the other families' lawyers. there might be a little insurance money left. maybe you should go back and see Dr. Phillips?</dialogue> <character>KALE</character> <dialogue>What, so he can tell me I'm ADD, have PTSD, and severe IAD?</dialogue> <character>JULIE</character> <dialogue>IAD?</dialogue> <character>KALE</character> <parenthetical>( messing with bracelet . )</parenthetical> <dialogue>Freakin' irritated ankle disorder.</dialogue> <scene_description>Julie ca n't help but crack a little smile :</scene_description> <character>JULIE</character> <dialogue>Well, that one could've been avoided.</dialogue> <scene_description>Kale looks back up . He 's not smiling . Whatever chance we had of a lighter conversation panning out here quickly fizzles . Another beat , then - Julie pushes her chair back , heads to the counter , grabs her apron and purse .</scene_description> <character>JULIE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( heading out . )</parenthetical> <dialogue>Do the dishes.</dialogue> <parenthetical>( pleading . )</parenthetical> <dialogue>Please?</dialogue> <scene_description>Julie leaves . Kale glances around the kitchen . A mess of dirty dishes , stacks of paper . screw that .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - NIGHT - LATER</stage_direction> <scene_description>Kale , looking disheveled and very perplexed , now has his TV pulled out from the wall . He 's behind it , meticulously checking and re - connecting all the wires and ethernet cable . Carefully studying the manual as he goes . He blows on the Halo 2 CD , wipes it down with his sweatshirt , gently puts it in the tray , giving us the idea this might not be his first attempt at this . He powers up the Xbox , grabs a controller . so far , so good . he scrolls through the screens , a little hope returning . SERVER ERROR . Kale throws a mini - fit , slams the controller to the floor . Rips the controller cord out of the XBOX -</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - THE NEXT MORNING</stage_direction> <scene_description>A few stray beams of sunlight pierce the blinds . Otherwise , it 's a tomb . Clothes strewn everywhere . We TRACK ACROSS the floor and a virtual DEBRIS FIELD of junk food bags , wrappers , Mountain Dew cans . find Kale in bed , ankle and bracelet stick out from the sheets , arm hangs over the side -</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - MORNING</stage_direction> <scene_description>Still a mess as we find Kale , hair disheveled , rummaging through the cabinets . Lots of Costco - size boxes : crackers , Pringles . a HUGE BOX OF TWINKIES . Kale spots a jar of peanut butter . He grabs the nearest bowl , pulls a bottle of Hershey 's syrup from the fridge , pours it all into the bowl . He 's about to throw the syrup bottle in the trash when something in the bottom of the can catches his eye . He reaches in , pulls out a bill for XBOX LIVE : SUBSCRIPTION CANCELED .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - MORNING - MOMENTS LATER</stage_direction> <scene_description>Kale lounges in on the couch watching `` The Price is Right '' as he spoons the peanut butter from the jar , dips it in the bowl of chocolate syrup , devours it . Brings up a two - liter of Mountain Dew , takes a big swig to wash it down .</scene_description> <character>KALE</character> <parenthetical>( to contestant on TV . )</parenthetical> <dialogue>C'mon, bid a dollar, one dollar -</dialogue> <character>CONTESTANT</character> <parenthetical>( ON TV . )</parenthetical> <dialogue>I'll bid one dollar, Bob.</dialogue> <scene_description>Kale belches as he raises his spoon , saluting the screen . Then , after a beat , a look of grave concern crosses his face -</scene_description> </scene> <scene> <stage_direction>INT. 2ND FL HALL OUTSIDE BATHROOM - DAY</stage_direction> <scene_description>The toilet flushes O.S. Kale opens the door , leans against the frame , spent . He stands there a beat , absorbing the silence of the house . He eyes a door at the end of the hall .</scene_description> </scene> <scene> <stage_direction>INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - DAY - SECONDS LATER</stage_direction> <scene_description>CU - the doorknob . Kale 's hand enters frame , slowly turns it . Click . Kale pushes . The door CREAKS open to reveal DAD 'S OFFICE Hardwood floor . Ornate , cherry wood desk . Plush leather chairs . Quiet . ON THE DESK - dad 's reading glasses sit on a stack of papers next to an antique typewriter . THE WALLS - adorned with framed , poster - size covers of Dad 's books - non - fiction , true account titles : WHISTLEBLOWER - The Inside Story of a Real Corporate Insider ; THE SENATOR 'S SHADOWS : How Eight Men Conspired to Control One . ON ANOTHER WALL - a family portrait of Jeff , Julie , and Kale - age six ; Jeff at a book signing , smiling wide . Kale takes it all in from the doorway . His feet never once cross into the room . His eyes say everything . Loss , anger , regret . He gently pulls the door shut .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - THAT NIGHT</stage_direction> <scene_description>Kale samples some rap clips on I - tunes . Likes what he 's hearing . ON THE SCREEN - Kale moves the cursor to `` buy song . '' The account screen pops up . Kale types his password . After a beat , bold red letters pop up : `` THE APPLE ID OR PASSWORD YOU ENTERED WAS INVALID OR INCORRECT . '' Kale types it again . Same thing . Then - like we all do to be sure , Kale types his password at a rate of ONE KEY PER SECOND . Same thing . Kale fumes , smelling a rat .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - DAYS LATER</stage_direction> <scene_description>The shades are drawn . Kale 's door is closed . Find Kale looking utterly miserable , lounging in bed watching `` Bikini Destinations '' on HD NET . Julie enters wearing a business suit and name badge emblazoned with the RE/MAX LOGO . Kale quickly changes the channel to the local news .</scene_description> <character>JULIE</character> <parenthetical>( heading to the window . )</parenthetical> <dialogue>More trash TV?</dialogue> <character>NEWS ANCHOR</character> <parenthetical>( ON TV . )</parenthetical> <dialogue>Thirty - three year old Patricia Walsh was last seen three nights ago.</dialogue> <character>KALE</character> <parenthetical>( innocently . )</parenthetical> <dialogue>News.</dialogue> <scene_description>Kale points to the TV showing a photo of a smiling PATRICIA WALSH , VIBRANT , FLOWING RED HAIR - `` MISSING '' keyed in underneath . Julie shoots him a look , then rips open the blinds . Sunlight pours in . She gathers trash off the floor .</scene_description> <character>JULIE</character> <dialogue>The lawyer's sending some papers over.</dialogue> <character>KALE</character> <dialogue>And your point is?</dialogue> <character>JULIE</character> <parenthetical>( heading O.S . )</parenthetical> <dialogue>I've got two open houses, you've got ta sign for them. That's the point.</dialogue> <character>KALE</character> <dialogue>You canceled my Xbox subscription.</dialogue> <character>JULIE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I - tunes, too.</dialogue> <parenthetical>( then . )</parenthetical> <dialogue>You know what else I'm canceling?</dialogue> <scene_description>Kale turns to Julie who suddenly drops a pile of Kale 's clothes on the floor in front of him .</scene_description> <character>JULIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Maid service.</dialogue> <parenthetical>( off Kale . )</parenthetical> <dialogue>Sorry, you're a felon. And we're broke. I ca n't do it all, anymore, Kale. This is n't gon na be vacation as usual. I want these washed and the kitchen cleaned by the time I get home.</dialogue> <character>KALE</character> <dialogue>That might be difficult.</dialogue> <character>JULIE</character> <dialogue>Well let me make it easier.</dialogue> <scene_description>Julie goes to the TV , UNPLUGS IT .</scene_description> <character>KALE</character> <dialogue>That's a little dramatic, is n't it? I'm just gon na plug it back -</dialogue> <scene_description>Julie suddenly yanks a pair of scissors off Kale 's desk and SNIPS THE POWER CORD IN HALF .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What are you, mental?</dialogue> <character>JULIE</character> <parenthetical>( a very stern tone . )</parenthetical> <dialogue>One more look at that kitchen and I will be.</dialogue> <scene_description>Julie picks up her keys and briefcase , pecks Kale on the forehead , leaves .</scene_description> <character>JULIE</character> <parenthetical>( O.S. ; CONT 'D . )</parenthetical> <dialogue>You heard what I said about the lawyer?</dialogue> <character>KALE</character> <dialogue>Yes!</dialogue> </scene> <scene> <stage_direction>INT. LAUNDRY ROOM - DAY - LATER</stage_direction> <scene_description>Kale furiously stuffs clothes in the washer , blindly cranks the knob , presses start .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - DAY - LATER</stage_direction> <scene_description>Kale SHOVELS dishes and glasses into the dishwasher , breaking a couple as he goes . He pours half the box of Cascade in the dispenser , kicks the door up and closed , cranks the knob .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - DAY - LATER</stage_direction> <scene_description>Kale sits on his bed , staring into space . He eyes the clock . Tick tick tick . We hear KIDS PLAYING IN THE STREET O.S. Kale glances out the window . HIS POV - Kids on bikes , NEIGHBORS out on walks . ahh . the sights and sounds of summer . And Kale 's not invited . He glares down at his ankle bracelet . It glares back .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - DAY - LATER</stage_direction> <scene_description>Kale sits on the floor as he spreads a line of Elmer 's glue across the bottom of a Twinkie . He 's just completed the first couple of floors of what will be . TWINKIE TOWER .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - DAY</stage_direction> <scene_description>Kale , on cell , sits in his video game chair painting his toe nails .</scene_description> <character>KALE</character> <parenthetical>( into phone as needed . )</parenthetical> <dialogue>Dammit, Ronnie, I'm losing my mind. Give me some details, what's happening out there?</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( phone filter ; party sounds in the b.g . )</parenthetical> <dialogue>Dude, the chicks here in Oahu rock the houusse! Oh my god, this one is totally showing me her kite board. Belay that, she was n't pointing at me. Look, Kale, I've got ta hop -</dialogue> <character>KALE</character> <dialogue>Wait, Ronnie - Hello?</dialogue> <scene_description>Kale tosses the phone and the nail polish aside . Sits there in silence for a beat . Then eyes a racketball on the floor . Picks it up . Starts mindlessly bouncing it against the wall . and keeps bouncing it . and keeps bouncing it .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - DAY - LATER</stage_direction> <scene_description>Kale reclines in his chair , now FURIOUSLY SWATTING the racketball against the wall - with a racket . We PULL BACK to reveal SCUFF MARKS on the walls and CEILING where Kale has figured out the exact points to hit it allowing him to bounce the ball off multiple walls and return it perfectly to his hand . He SWATS it . and SWATS it .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - DAY - STILL LATER</stage_direction> <scene_description>Kale 's passed out in his chair , the racket still in his hand . He 's about to fall out of the chair when a loud BANG O.S. JOLTS him awake .</scene_description> </scene> <scene> <stage_direction>INT. 2ND FLOOR HALLWAY/WINDOW - DAY - SECONDS LATER</stage_direction> <scene_description>Kale goes to the window , tilts his head , trying to see where the noise is coming from . KALE 'S POV - He 's able to make out some bits of movement next door , but his VIEW is OBSTRUCTED by the architecture of his house . Kale steps back from the window , studies it a beat - then opens it , slowly sticks his head out . HIS POV - A U - HAUL TRUCK comes into view . It 's backed into the driveway next door . ALAN NORRIS , 43 , appears from inside the truck 's cab , carrying a moving box . He hands it down to his wife , BONNIE , 42 , who walks back in the house . Kale 's about to pull his head in when another PERSON comes out of the moving truck . She 's carrying a box that 's obscuring her face as she carefully negotiates the incline of the moving truck 's ramp . But her blonde hair and perfect legs look to be about 17 . We 'll soon know her as ASHLEY , the Norris ' daughter . She reaches the end of the ramp . Bends over to retrieve another smaller box , her back and ass to Kale who stares in utter disbelief . Ashley stacks the boxes , picks them up and heads into the house , her face still a mystery . Kale watches her go . Mesmerized . Suddenly , the DOORBELL RINGS O.S. Kale snaps to , yanks his head back in - and KERBONGS it on the underside of the window . He drops to the floor .</scene_description> <character>KALE</character> <dialogue>GODDAMMIT!</dialogue> <scene_description>Kale staggers to his feet .</scene_description> </scene> <scene> <stage_direction>INT. ENTRY HALL - DAY - SECONDS LATER</stage_direction> <scene_description>More doorbell RINGING . Kale heads down the stairs to the front door .</scene_description> <character>KALE</character> <dialogue>I'm coming!</dialogue> <scene_description>Kale swings the door open to see - A BURNING PAPER BAG on the welcome mat .</scene_description> </scene> <scene> <stage_direction>EXT. KALE'S HOUSE - FRONT PORCH - DAY - CONTINUOUS</stage_direction> <scene_description>Kale instinctively STOMPS ON IT with his SOCKED FEET !</scene_description> <character>KALE</character> <dialogue>Oh shit! Shit water shit!</dialogue> <scene_description>Kale frantically hops around , looking for a hose , bucket , anything wet - but the flames are already out . Kale looks down , finally realizes this - but there 's another problem - his socks are smothered in SLIMY DOG SHIT . We hear GIGGLING O.S. Kale glances up as two neighborhood BRATS on bikes emerge from their hiding place behind a shrub across the street . They high five each other .</scene_description> <character>BRAT #1</character> <dialogue>What a retard!</dialogue> <scene_description>Kale glares - then heads down the steps into .</scene_description> </scene> <scene> <stage_direction>EXT. KALE'S YARD - DAY - CONTINUOUS</stage_direction> <scene_description>Kale walks briskly , menacingly toward them -</scene_description> <character>KALE</character> <dialogue>You think that's funny?</dialogue> <scene_description>The Brats grow more concerned , back away as Kale draws closer -</scene_description> <character>BRAT #2</character> <dialogue>What are you gon na do, kill us like your teacher?</dialogue> <scene_description>KALE CHARGES THEM !</scene_description> <character>KALE</character> <dialogue>Not before I shove this shit up your ass!</dialogue> <scene_description>The brats pedal away . Kale races through the sprinkler , crossing his yard into the far corner of Ashley 's , trying to cut the Brats off as they race down .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - DAY - CONTINUOUS</stage_direction> <scene_description>The chase is on . Kale increases his speed . Almost catching up to them -</scene_description> <character>BRAT #2</character> <parenthetical>( terrified to Brat # 1 . )</parenthetical> <dialogue>Dude, you said he could n't leave his house!</dialogue> <scene_description>Kale overhears , stops cold . He glances to the ANKLE BRACELET : FLASHING RED LIGHT .</scene_description> <character>KALE</character> <dialogue>Shit!</dialogue> <scene_description>Kale races back down the street , his shit - stained feet leaving tracks as he goes . He cuts through Ashley 's yard again , yelling at the bracelet all the way -</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Turn green turn green turn green.</dialogue> <scene_description>Kale races by ASHLEY 'S PARENTS , leaps back into .</scene_description> </scene> <scene> <stage_direction>EXT. KALE'S FRONT YARD - DAY - CONTINUOUS</stage_direction> <scene_description>He looks at the bracelet . Still FLASHING RED . He hops up and down as the SPRINKLER STREAMS approach him from behind .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>No, c'mon, I'm way inside, turn green -</dialogue> <scene_description>He spins back toward the house , runs SMACK into the STREAMS , trips on the sprinkler , falls on his face . Now his foot 's tangled in the sprinkler . Spraying water all over him . Kale 's foot jiggles the sprinkler free . He then sees the ankle bracelet : GREEN LIGHT .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yes! That's what I'm talking about!</dialogue> <scene_description>He gazes over : ASHLEY 'S PARENTS , EACH WITH A MOVING BOX , STAND THERE , JAWS DROPPED . BOTH TAKE A NERVOUS STEP BACKWARD as ASHLEY steps out the front door . Freezes at the sight of the sopping wet , shit - and - grass - stained Kale . Kale locks eyes with her . Then smiles and waves .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's cool, I'm all green.</dialogue> <scene_description>Then - SIRENS WAIL . Kale turns to the street : TWO POLICE CARS SCREECH TO A STOP . Kale loses the smile .</scene_description> <character>PARKER</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( phone filter prelap . )</parenthetical> <dialogue>Kale, calm down, the officers were probably in the neighborhood already.</dialogue> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - EVENING</stage_direction> <scene_description>ON KALE - pacing , on cell phone , pressing an ice - filled Ziplock back to his head .</scene_description> <character>KALE</character> <parenthetical>( into phone as needed . )</parenthetical> <dialogue>Okay, fine, but if I'd known -</dialogue> <character>PARKER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Kale, first times happen. The officers knew that. But next time they will take you to jail.</dialogue> <scene_description>Kale flips the phone shut , collapses to the bed - PRELAP - The doorbell RINGS .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S HOUSE - ENTRY HALL - THAT NIGHT</stage_direction> <scene_description>Kale , his Louisville Slugger firmly in hand , groggily heads to the door , swings it open . COURIER . With papers .</scene_description> <character>COURIER</character> <dialogue>Hi, I'm from McNeill - Stewart law firm, dropping off for Ms. Julie -</dialogue> <scene_description>Over this , Kale yanks the envelope away , SLAMS the door in the guy 's face . Kale heads away . The doorbell RINGS . Kale opens the door , grabs the courier 's clipboard , signs his name , SLAMS THE DOOR EVEN HARDER .</scene_description> </scene> <scene> <stage_direction>EXT. KALE'S BACK YARD - THE NEXT DAY</stage_direction> <scene_description>ON KALE 'S FEET - entering frame , inching their way through the yard . ON THE BRACELET - The green light suddenly goes out , red light FLASHES . Kale 's foot quickly steps back . GREEN LIGHT . A beat , then - A SMILING GARDEN GNOME SLAMS DOWN INTO FRAME . WIDER - Kale ties kite string around the gnome 's hat , then unspools it across the yard to a waiting croquet mallet already hammered into the ground . He pulls the string taut and ties it off . We PULL BACK to REVEAL Kale 's emerging KITE STRING PERIMETER - a crude SEMI - CIRCULAR ARC around the yard tied off at different points using makeshift `` stakes '' - gnomes , mallets , shovels , screwdrivers .</scene_description> </scene> <scene> <stage_direction>EXT. KALE'S FRONT YARD - DAY - SHORT TIME LATER</stage_direction> <scene_description>Same `` BOUNDARY CONSTRUCTION '' here . Kale shoves a screwdriver into the ground a few feet shy of his mailbox . He ties some string to it as he glances over to the other neighbors ' -LRB- the PILCH 's -RRB- yard , sees their black Labra - doodle watching him .</scene_description> <character>KALE</character> <dialogue>Hey doggie, come here.</dialogue> <scene_description>The dog trots toward Kale . It almost reaches his outstretched hand when it suddenly gets ZAPPED by the underground electric fence . It YELPS away . Spins back around , sits and stares .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( re : his ankle bracelet . )</parenthetical> <dialogue>Hey, you and me both.</dialogue> <scene_description>OVER KALE 'S SHOULDER IN THE B.G. - ASHLEY lifts more boxes from the back of their station wagon . She sets them on the drive , SLAMS the liftgate . Kale turns around . Ashley throws him a quick glance , then heads around the back of her house . Kale stares after her .</scene_description> </scene> <scene> <stage_direction>INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - DAY</stage_direction> <scene_description>CU - The doorknob . Kale 's hand enters frame , slowly turns it . Click . Kale pushes .</scene_description> </scene> <scene> <stage_direction>INT. DAD'S OFFICE - DAY - CONTINUOUS</stage_direction> <scene_description>Kale stands in the doorway . He takes a moment , considering what he 's about to do . Then - HIS FOOT steps inside . He goes to the window , gently pulls the blind up to reveal the BACK OF ASHLEY 'S HOUSE He peers down , sees Ashley and her mom standing by the swimming pool . Ashley disappears through the back door . Kale tilts his head up , curiously gazing through the pair of OPEN WINDOWS on the SECOND FLOOR of Ashley 's house . HIS POV - ASHLEY 'S BEDROOM Unmade bed , stacks of open moving boxes , poster frames waiting to be hung . Kale squints , steps closer . ASHLEY enters the room . Digging clothes from boxes , stuffing them in her dresser , then - she pulls her hair back , yanks off her t - shirt , revealing a black bra . ON KALE - he continues to watch as Ashley digs a towel out of a moving box , and , with her back to us , pulls off the bra and disappears into the bathroom . Off Kale -</scene_description> </scene> <scene> <stage_direction>INT. KALE'S HOUSE - ENTRY HALL - DAY</stage_direction> <scene_description>The front door swings open to reveal Ronnie , DV camera in hand . He 's wearing aviator shades , half a dozen leis and a hawaiian shirt .</scene_description> <character>RONNIE</character> <parenthetical>( hula dancing . )</parenthetical> <dialogue>Aloooha Senor Ka - Dude, you look like hell.</dialogue> <scene_description>REVERSE ANGLE TO REVEAL KALE - now with a patchy stubble , wearing a bathrobe and a SHRUNKEN t - shirt that used to be white but is now LIGHT PINK . He holds his bat in one hand , quart of Haagen Dazs in the other . He smiles , hugs Ronnie . Tight - and not letting go -</scene_description> </scene> <scene> <stage_direction>INT. 2ND FL HALLWAY/WINDOW - DAY - MOMENTS LATER</stage_direction> <scene_description>Kale leads Ronnie up the stairs and to the window .</scene_description> <character>RONNIE</character> <dialogue>Seriously man, you need some sun.</dialogue> <parenthetical>( re : DV cam . )</parenthetical> <dialogue>Hey, I've got ta show you this. Maui chicks rule.</dialogue> <character>KALE</character> <parenthetical>( anxious . )</parenthetical> <dialogue>I've got something to show you, too.</dialogue> <parenthetical>( then ; slightly crazed . )</parenthetical> <dialogue>I mean. there's such structure to it, so many layers, but it's invisible if you're not looking close enough.</dialogue> <character>RONNIE</character> <dialogue>What are you talking about?</dialogue> <character>KALE</character> <dialogue>The world right outside the window.</dialogue> <scene_description>Kale gestures out the window . Ronnie looks out . They peer down to the Pilch 's backyard . A Ford Escort is in the drive . Besides that , all 's quiet .</scene_description> <character>RONNIE</character> <dialogue>- Fascinating.</dialogue> <character>KALE</character> <parenthetical>( eyeing his watch . )</parenthetical> <dialogue>Just wait. and.</dialogue> <parenthetical>( then . )</parenthetical> <dialogue>Three. two. one. dog.</dialogue> <scene_description>The Pilch 's dog darts out the back door - then -</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Mrs. Pilch. saying goodbye to Lonnie.</dialogue> <character>RONNIE</character> <dialogue>Husband?</dialogue> <character>KALE</character> <parenthetical>( shaking a `` no '' . )</parenthetical> <dialogue>Maid.</dialogue> <scene_description>Over the above , Mrs. Pilch , wearing an unflattering tennis skirt , exits the house . The dog hops around her as she waves back to her heavy set , male maid , LONNIE , 35 .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Four o'clock every Thursday, she goes to the country club to play tennis with Betty Big - Bangs there.</dialogue> <scene_description>Kale and Ronnie watch as Mrs. Pilch heads down the walkway , meets her rail - thin 50 - ish female tennis PARTNER at the curb . As they walk away , the dog tries to follow but gets ZAPPED by the electric fence and YELPS back into the house .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And. ladies disappear. cue white Mercedes. Mr. Pilch. arriving from the office.</dialogue> <scene_description>A white mercedes pulls in the driveway . MR. PILCH , 63 , gets out , carrying briefcase and flowers .</scene_description> <character>RONNIE</character> <dialogue>Great, that still does n't explain why you're in a bathrobe at four in the afternoon.</dialogue> <character>KALE</character> <parenthetical>( pulls Ronnie closer . )</parenthetical> <dialogue>Will you just look -</dialogue> <character>RONNIE</character> <dialogue>Dude, he's gon na see -</dialogue> <character>KALE</character> <dialogue>He ca n't. We do n't have any lights on. Plus the angle's sharper from ground level, it only seems like he could see us. I did the math.</dialogue> <character>RONNIE</character> <dialogue>Oh, you did the math.</dialogue> <character>KALE</character> <dialogue>Optical illusion, line - of - sight does n't apply to the subject.</dialogue> <character>RONNIE</character> <dialogue>Kale -</dialogue> <character>KALE</character> <dialogue>Now tilt your gaze up.</dialogue> <scene_description>RONNIE AND KALE 'S POV - TILTING UP TO THE PILCH 'S BEDROOM WINDOW - Lonnie vacuums as Mr. Pilch enters the room behind him . Mr. Pilch flips off the light switch , cutting the power to the vacuum . Lonnie startles , turns around , sees Pilch standing there with the flowers and a big smile . A beat , then - Lonnie jumps in Pilch 's arms , kissing him passionately .</scene_description> <character>RONNIE</character> <dialogue>DAMN!</dialogue> <scene_description>Kale slaps his hand over Ronnie 's mouth . Ronnie pulls away , reaches in his pocket , yanks out his ASTHMA INHALER and takes a hit . Then -</scene_description> <character>RONNIE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( re : hallway and window . )</parenthetical> <dialogue>Seal this area off, Kale.</dialogue> <character>KALE</character> <dialogue>C'mon, there's more.</dialogue> <character>RONNIE</character> <dialogue>What, I go to Maui, you become a stalker?</dialogue> <character>KALE</character> <dialogue>No, stalking's for psychos. These are just simple observations. natural side effects of chronic boredom.</dialogue> <scene_description>As Kale heads away :</scene_description> <character>RONNIE</character> <parenthetical>( pleading . )</parenthetical> <dialogue>Find your passion, Kale.</dialogue> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - DAY</stage_direction> <scene_description>Kale leads Ronnie to the window . Ronnie takes in the mess in Kale 's room - the scuff marks on the walls , the completed TWINKIE TOWER . He glances to the desk , sees a penciled GEOMETRIC DIAGRAM of Kale 's line - of - sight spying theory - shit , Kale was n't lying - he did do the math .</scene_description> <character>KALE</character> <parenthetical>( pointing out . )</parenthetical> <dialogue>So. Robert Giles.</dialogue> <scene_description>KALE AND RONNIE 'S POV - In the yard across from Kale 's back yard , find ROBERT GILES , gassing up his lawnmower in the driveway . He 's early 40 's , clean - cut , fit , decent looking . He closes the garage door via remote , then fires up the mower , pushes it around the side of his house toward the front yard .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>He's lived there a couple of years, but I've never noticed he mows his lawn every two days.</dialogue> <character>RONNIE</character> <dialogue>Huh, I guess he likes his grass short.</dialogue> <character>KALE</character> <dialogue>Next to him is Judy Thorp. Dude, she freakin' sneaks over to her neighbors' every morning, steals their newspaper, I guess reads it or swipes the coupons, then puts it back before they even wake up.</dialogue> <character>RONNIE</character> <parenthetical>( sarcastic . )</parenthetical> <dialogue>No shit?</dialogue> <parenthetical>( weirdly eyeing Kale who heads out . )</parenthetical> <dialogue>People. You never can tell these days.</dialogue> </scene> <scene> <stage_direction>INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - DAY - MOMENTS LATER</stage_direction> <scene_description>Kale slowly pushes on the door . It creaks open . Kale tilts his head , listening . Then - SPLASH ! Kale smiles .</scene_description> <character>RONNIE</character> <dialogue>What was that?</dialogue> </scene> <scene> <stage_direction>INT. DAD'S OFFICE - DAY - CONTINUOUS</stage_direction> <scene_description>Kale leads Ronnie to the window .</scene_description> <character>KALE</character> <dialogue>Last stop on the tour.</dialogue> <scene_description>KALE AND RONNIE 'S POV - ASHLEY swims underwater the length of the pool . She finally surfaces in all her two - piece glory .</scene_description> <character>RONNIE</character> <dialogue>Oh - my - God. Who be she?</dialogue> <scene_description>They watch as Ashley steps out of the pool , towels off . She pulls her bikini from her butt , lies in the lounge chair .</scene_description> <character>KALE</character> <dialogue>Do n't know.</dialogue> <character>RONNIE</character> <dialogue>What's stopping you?!</dialogue> <scene_description>Off Kale , considering -</scene_description> </scene> <scene> <stage_direction>EXT. KALE'S FRONT YARD - THE NEXT DAY</stage_direction> <scene_description>ON KALE - now clean - shaven , sitting on the front steps . He eyes his watch , then stretches his neck . Yawns . Then he sees something O.S. KALE 'S POV - peering down the street , Ashley 's stationwagon rounds the corner - Kale hops to his feet , quickly fixes his hair as the stationwagon draws closer . Kale casually strides into the yard , approaching the kite string boundary and mailbox . Then - keeping his feet planted in what looks to be a very practiced maneuver , he suddenly falls forward against the mailbox . Reaches around with his free hand , opens the door , going to grab the mail inside just as ASHLEY pulls the car into and up the drive . She glances at Kale who nods and smiles back . As the stationwagon heads up the driveway , Kale tries to push himself upright - but his feet SLIP . He pitches forward more . He glances back over his shoulder , sees Ashley getting out of the car and looking his way . Kale struggles under his own weight , trying to keep his feet from crossing the line - he looks back to Ashley who 's now heading toward him . A slight smile crosses Kale 's face as -</scene_description> <character>ASHLEY</character> <dialogue>Can I help you?</dialogue> <character>KALE</character> <dialogue>Nope, no I'm fine.</dialogue> <character>ASHLEY</character> <parenthetical>( helping him up . )</parenthetical> <dialogue>Too late.</dialogue> <character>KALE</character> <dialogue>Thanks, that was really humiliating.</dialogue> <scene_description>Ashley reaches in the box , grabs the mail , hands it over .</scene_description> <character>ASHLEY</character> <dialogue>Please. I think any pride you had left was gone a while ago.</dialogue> <character>KALE</character> <dialogue>Oh, you mean that thing with the cops? They had the wrong guy, total foul up. I'm Kale by the way.</dialogue> <scene_description>Ashley nods with a semi - polite smile , starts to head away -</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hey, so - how'd the move go?</dialogue> <character>ASHLEY</character> <dialogue>Still going.</dialogue> <character>KALE</character> <dialogue>I'd help, but.</dialogue> <parenthetical>( re : ankle bracelet . )</parenthetical> <dialogue>I'm a little spatially challenged at the moment.</dialogue> <scene_description>Ashley walks closer to Kale , checks out his ankle bracelet .</scene_description> <character>ASHLEY</character> <dialogue>Yeah, you've kinda got the whole Martha Stewart thing going on -</dialogue> <character>KALE</character> <parenthetical>( nodding . )</parenthetical> <dialogue>But minus the 48 - hour allowance for office visits. And no lame `` Apprentice'' spin - off.</dialogue> <parenthetical>( off her laugh . )</parenthetical> <dialogue>So where'd you move from?</dialogue> <character>ASHLEY</character> <dialogue>I'm a city girl. Born, raised, and now.</dialogue> <parenthetical>( glances around ; sighs . )</parenthetical> <dialogue>Forcefully relocated.</dialogue> <character>KALE</character> <dialogue>That does n't sound good.</dialogue> <character>ASHLEY</character> <dialogue>I'm telling you, if I have another clueless jock hit on me or one more soccer mom cuts me off in her oversize SUV, I'm gon na go postal.</dialogue> <character>KALE</character> <dialogue>Oh, sorry, I was just gon na see if you wanted to hop in my Hummer and cruise to a kegger.</dialogue> <parenthetical>( turning away . )</parenthetical> <dialogue>Nice talking to you.</dialogue> <character>ASHLEY</character> <parenthetical>( cracking a smile . )</parenthetical> <dialogue>Wait, I -</dialogue> <character>BONNIE</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( from inside house . )</parenthetical> <dialogue>Ashley? Can you come in here, please?</dialogue> <character>ASHLEY</character> <parenthetical>( quietly to Kale . )</parenthetical> <dialogue>My mom - she's very polite, always says `` please'' but she's got that tone, did you notice?</dialogue> <character>KALE</character> <dialogue>I know the tone.</dialogue> <character>ASHLEY</character> <parenthetical>( heading away . )</parenthetical> <dialogue>Oh, I'm Ashley -</dialogue> <character>KALE</character> <dialogue>Noticed that, too.</dialogue> <scene_description>Ashley smiles , disappears inside . Kale 's in love .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT</stage_direction> <scene_description>The wind HOWLS outside . Kale sits on the couch flipping channels . Julie 's in the chair , nodding off . ON THE TV - Kale lands on that same photo of PATRICIA WALSH , the MISSING REDHEAD we saw earlier .</scene_description> <character>NEWS ANCHOR</character> <parenthetical>( ON TV . )</parenthetical> <dialogue>attended a friend's birthday party at a local nightclub before she was last seen alone at a diner outside Madison, 50 miles east of here. A waitress said Ms. Walsh was picked up around 10:30 P.M. by an unidentified person driving a black 1960's era Mustang that was dented on the left side and may have -</dialogue> <scene_description>Kale CLICKS the TV off - looks over to Julie who 's now sound asleep . Kale 's watch ALARM suddenly BEEPS . He quickly shuts it off , eyes Julie . She stirs but does n't wake up . Kale quietly gets up , grabs the blanket off the sofa , covers Julie up . He then picks up his soda and bowl of popcorn from the coffee table , heads away .</scene_description> </scene> <scene> <stage_direction>INT. DAD'S OFFICE - NIGHT - SECONDS LATER</stage_direction> <scene_description>Kale , immersed in shadow , enters . He quietly pulls Dad 's leather chair toward the window , positions it just right , and sits . KALE 'S POV - Ashley 's working out to a YOGA DVD .</scene_description> <character>KALE</character> <parenthetical>( to Ashley . )</parenthetical> <dialogue>You started without me?</dialogue> <scene_description>As if eerily on cue , Ashley suddenly stops .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What are you stopping for?</dialogue> <scene_description>She goes to her window and peers out - Kale ducks - He looks back up , sees Ashley gazing in his direction - Kale 's breathing intensifies - could she actually be seeing him ?</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( convincing himself . )</parenthetical> <dialogue>No -</dialogue> <scene_description>ASHLEY turns around , goes back to her yoga mat . She takes a breath , getting back in `` the zone , '' then - she slowly raises her arms and bends into a ridiculously sexy pose .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Whoa.</dialogue> <scene_description>Kale watches Ashley another couple of beats . Then her dad appears in the doorway . Looking pissed . Kale leans closer - Ashley stops the DVD . From her body language , she 's clearly annoyed at the interruption . The scene quickly devolves into a heated argument . But Ashley 's dad gets the last word in and leaves . Ashley SLAMS the door behind him , flips off the TV , storms in the bathroom and SLAMS that door , too . Kale watches the vacant room . waiting . another beat , then - Ashley emerges from the bathroom with a box of tissues . She sits on her bed , pulls THREE TISSUES from the box , staring off . From this angle , it almost looks as if her eyes could meet Kale 's at any moment . Kale instinctively lowers himself in the chair , his eyes never leaving her . Then - with a huge gust of HOWLING WIND we</scene_description> </scene> <scene> <stage_direction>INT. DAD'S OFFICE - NIGHT - LATER</stage_direction> <scene_description>Kale SNAPS AWAKE . Breathing hard . Bad dream . He sits up , peers across to Ashley 's windows . Dark , shades pulled . Kale pulls himself out of the chair .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - NIGHT - SHORT TIME LATER</stage_direction> <scene_description>Kale enters , grabs his PSP and falls back to the bed . As he starts playing , HEADLIGHT BEAMS appear from O.S. . He glances out the window : KALE 'S POV - A BLACK 1965 MUSTANG CONVERTIBLE pulls in Giles ' driveway . Kale goes back to playing the PSP , then suddenly stops -</scene_description> <character>KALE</character> <parenthetical>( realizing . )</parenthetical> <dialogue>- Mustang -</dialogue> <scene_description>Kale hops up , heads to the window - KALE 'S POV - Kale watches as Giles hops out , leaves the car running as he heads inside the house . After a beat , the MAIN GARAGE DOOR raises up . Giles appears , ducking underneath , heads back to the Mustang , gets in . Giles maneuvers the car around the driveway . The front end of the car swings around , revealing a bashed - in right front fender .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Holy shit. A dent -</dialogue> <scene_description>Kale races to his closet , pulls down a pair of binoculars , heads back to the window . BINOCULAR POV - In the garage , Giles is already out of the car , rounding the back as the garage door lowers . Kale crouches , trying to see under the CLOSING DOOR . catching a glimpse of Giles popping the trunk - A HAND suddenly enters frame , lands on Kale 's shoulder ! Kale SCREAMS , whips around - Julie . She SCREAMS , too .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Jesus, mom!</dialogue> <character>JULIE</character> <dialogue>Christ, Kale!</dialogue> <character>JULIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm sorry. I thought you heard me.</dialogue> <character>KALE</character> <dialogue>What? No, I -</dialogue> <character>JULIE</character> <dialogue>What's going on?</dialogue> <character>KALE</character> <dialogue>Nothing, just watching the wind blow.</dialogue> <character>JULIE</character> <parenthetical>( re : binoculars . )</parenthetical> <dialogue>Anything else?</dialogue> <scene_description>Kale turns back . HIS POV - Giles ' garage door is now closed .</scene_description> <character>KALE</character> <dialogue>No, see for yourself.</dialogue> <character>JULIE</character> <parenthetical>( beat ; then . )</parenthetical> <dialogue>That's okay, I just. wanted to say good night.</dialogue> <scene_description>Julie leaves . Kale turns back to the window , stares out at Giles ' house . The lights go out .</scene_description> </scene> <scene> <stage_direction>INT. DAD'S OFFICE - THE NEXT DAY</stage_direction> <scene_description>ON KALE - sitting in the leather chair , binoculars raised . On the floor next to the chair is a 7 - 11 bag , a slurpee cup , a bag of beef jerky and an AUTOMOTIVE MAGAZINE with a MUSTANG on the cover . BINOCULAR POV - Ashley sits on the roof leaning against her closed window . She 's reading Lolita .</scene_description> <character>RONNIE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>So you do n't know what year the Mustang is?</dialogue> <scene_description>REVEAL RONNIE - sitting at dad 's computer looking at the FBI 'S OFFICIAL WEBSITE .</scene_description> <character>KALE</character> <parenthetical>( now flipping through magazine . )</parenthetical> <dialogue>'65 or' 66, could n't tell.</dialogue> <character>RONNIE</character> <dialogue>Check this out. The feds think your missing girl might be related to three murders in Austin. All redheads.</dialogue> <scene_description>Kale processes that as we suddenly hear a car door SLAM O.S. BINOCULAR POV - Kale TILTS DOWN to see Ashley 's mom backing out the driveway . Kale TILTS UP to Ashley 's window - Ashley ducks back inside her room , disappears .</scene_description> <character>KALE</character> <dialogue>Movement.</dialogue> <scene_description>BINOCULAR POV - Kale TILTS DOWN to the pool , sees Ashley emerging from the house with a towel that she throws on the lounge chair .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Better late than never.</dialogue> <scene_description>Ronnie joins Kale at the window . THEIR POV - Ashley flips her sandals off one at a time , pulls her tank off revealing her bronzed back and bikini top .</scene_description> <character>RONNIE</character> <dialogue>Dude.</dialogue> <scene_description>Ashley slinks out of her shorts revealing a `` near - thong '' bikini this time .</scene_description> <character>RONNIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>DUDE!</dialogue> <character>KALE</character> <parenthetical>( re : bikini . )</parenthetical> <dialogue>That's definitely new.</dialogue> <scene_description>Ashley crouches down , runs her fingers through the water .</scene_description> <character>RONNIE</character> <dialogue>Oh, it's so warm, baby.</dialogue> <scene_description>Ashley cups her hands , scoops a handful of water from the pool , splashes her face . runs her hands through her hair . She stands , takes a deep breath , holds it - then exhales .</scene_description> <character>RONNIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Cleansing breath.</dialogue> <scene_description>Ashley stretches her arms high above her head .</scene_description> <character>RONNIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Concentrate now. This is for the gold.</dialogue> <scene_description>Ronnie grabs the binoculars from Kale , puts them to his eyes , moves closer to the window - but his zoomed - in vision causes him to underestimate the distance - THWUMP . The end of the binoculars HIT THE WINDOW just as Ashley dives into the pool - Ronnie and Kale hit the deck as we hear the splash O.S.</scene_description> <character>KALE</character> <dialogue>Jackass!</dialogue> <character>RONNIE</character> <dialogue>Dude, there's no way she heard that.</dialogue> <character>KALE</character> <dialogue>Dick, my deaf aunt in Omaha heard that.</dialogue> <scene_description>Kale grabs the binoculars from Ronnie . BINOCULAR POV - Ashley 's underwater at the far end of the pool . She tucks and pushes off the wall , swims back .</scene_description> <character>RONNIE</character> <parenthetical>( peering out . )</parenthetical> <dialogue>She's got great lung capacity.</dialogue> <scene_description>ON ASHLEY - She suddenly surfaces , hoists herself from the water . She spins and sits on the ledge , rings the water from her hair . But she suddenly stops - and shifts her GAZE UP toward Kale and Ronnie !</scene_description> <character>KALE</character> <parenthetical>( pulling Ronnie down . )</parenthetical> <dialogue>I think she saw me -</dialogue> <character>RONNIE</character> <dialogue>There's no way -</dialogue> <scene_description>Ronnie grabs the binoculars back .</scene_description> <character>RONNIE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( re : Ashley O.S . )</parenthetical> <dialogue>Okay, maybe she did.</dialogue> <character>KALE</character> <dialogue>Seriously?</dialogue> <scene_description>Kale peeks out - THEIR POV - Ashley 's slipping back into her shorts and tank top . She heads to the back door , tries the knob . Locked . Over this , Ronnie turns to Kale :</scene_description> <character>RONNIE</character> <dialogue>Her swims always that short?</dialogue> <character>KALE</character> <parenthetical>( growing concern . )</parenthetical> <dialogue>No, she usually takes her time -</dialogue> <scene_description>They turn back . Ashley 's gone .</scene_description> <character>RONNIE</character> <dialogue>Now where is she?</dialogue> <scene_description>The DOORBELL RINGS . Kale and Ronnie freeze . Then -</scene_description> <character>KALE</character> <dialogue>No.</dialogue> <character>RONNIE</character> <dialogue>No.</dialogue> </scene> <scene> <stage_direction>INT. ENTRY HALL - LATE AFTERNOON - MOMENTS LATER</stage_direction> <scene_description>Kale and Ronnie quietly approach the door . Ronnie suddenly pulls Kale back .</scene_description> <character>RONNIE</character> <dialogue>Do n't, it could be her!</dialogue> <character>KALE</character> <dialogue>It's not gon na be her.</dialogue> <character>RONNIE</character> <dialogue>Then stop! Just - let'em go away.</dialogue> <scene_description>The DOORBELL RINGS AGAIN . Kale heads to the door .</scene_description> <character>KALE</character> <dialogue>I have to.</dialogue> <scene_description>Kale peeps through the peephole - DISTORTED PEEPHOLE POV - Ashley . Kale calmly turns to Ronnie .</scene_description> <character>RONNIE</character> <dialogue>What?! What?! Speak.</dialogue> <character>KALE</character> <dialogue>It's her.</dialogue> <character>RONNIE</character> <dialogue>You're full of -</dialogue> <scene_description>Ronnie tip - toes to the door . One look at Ashley and he covers his mouth , grabs Kale and pulls him back .</scene_description> <character>RONNIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Shit shit! Oh my shit!</dialogue> <scene_description>Both laugh , giggle , acting `` girlie , '' practically spinning in circles as they speak in hushed , panicked whispers :</scene_description> <character>KALE</character> <dialogue>She totally saw us -</dialogue> <scene_description>The DOORBELL RINGS again . Kale heads to the door .</scene_description> <character>RONNIE</character> <dialogue>We are so busted. Do n't answer it!</dialogue> <character>KALE</character> <parenthetical>( re : his bracelet . )</parenthetical> <dialogue>Dude, she knows I'm here.</dialogue> <scene_description>Kale swings the door open . Ashley stands there a beat . Her arms folded . Then -</scene_description> <character>ASHLEY</character> <dialogue>What took you so long?</dialogue> <parenthetical>( eyeing Ronnie in b.g . )</parenthetical> <dialogue>The house is n't that big.</dialogue> <character>KALE</character> <dialogue>Yeah, no, we were playing upstairs -</dialogue> <scene_description>Ronnie cringes at how that sounded .</scene_description> <character>RONNIE</character> <parenthetical>( covering . )</parenthetical> <dialogue>Video games?</dialogue> <character>KALE</character> <parenthetical>( awkward beat ; then . )</parenthetical> <dialogue>So. what brings you here.</dialogue> <character>ASHLEY</character> <dialogue>Oh. - Locked out.</dialogue> <character>KALE</character> <dialogue>Do you need to call anyone?</dialogue> <character>ASHLEY</character> <dialogue>Thanks, but I'd rather stay stranded if you do n't mind.</dialogue> <scene_description>Kale and Ronnie trade glances .</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>May I?</dialogue> <character>KALE</character> <dialogue>Uh, sure, come on in -</dialogue> <scene_description>Ashley steps inside , glances around , checking out the place .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That's Ronnie.</dialogue> <character>ASHLEY</character> <dialogue>Nice to meet you. Video games, huh?</dialogue> <parenthetical>( then suggestively to Kale . )</parenthetical> <dialogue>I like to play.</dialogue> <scene_description>Kale trades a look with Ronnie as Ashley nonchalantly heads up the stairs .</scene_description> <character>KALE</character> <dialogue>Excuse me.</dialogue> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - LATE AFTERNOON - MOMENTS LATER</stage_direction> <scene_description>Ashley barges in , instantly struck by the mess . Kale pushes past her , starts grabbing underwear and garbage off the floor .</scene_description> <character>KALE</character> <dialogue>It's a little messy.</dialogue> <character>ASHLEY</character> <dialogue>A little?</dialogue> <scene_description>Kale keeps gathering clothes , tossing them to Ronnie who tosses them in the closet . Ashley picks up the binoculars from the window sill , peers outside .</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Anything interesting out there?</dialogue> <scene_description>Kale and Ronnie trade looks . Ashley turns around , binoculars still raised , aiming them like a gun at Kale .</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Are you spying on the neighbors, Kale?</dialogue> <scene_description>Kale freezes .</scene_description> <character>RONNIE</character> <parenthetical>( stepping in . )</parenthetical> <dialogue>Actually, he is.</dialogue> <scene_description>Kale 's eyes widen in panic .</scene_description> <character>RONNIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>See, he has this neighbor - who I guess by definition would also be your neighbor - who may, in point of fact, be a cold - blooded killer.</dialogue> <character>ASHLEY</character> <dialogue>Is that so.</dialogue> <scene_description>Ronnie points out the window to Giles ' house .</scene_description> <character>RONNIE</character> <dialogue>Exhibit A, Robert Giles.</dialogue> <character>ASHLEY</character> <dialogue>Yeah, I've seen him. So?</dialogue> <character>KALE</character> <dialogue>So you hear about that missing girl from Madison?</dialogue> <character>ASHLEY</character> <parenthetical>( realizing ; then pointing out to Giles ' . )</parenthetical> <dialogue>What, you think he -</dialogue> <character>KALE</character> <dialogue>He drives a car like the one she was seen in.</dialogue> <character>RONNIE</character> <dialogue>Black Mustang.</dialogue> <character>KALE</character> <dialogue>60's era Mustang.</dialogue> <character>ASHLEY</character> <dialogue>Gee, that really narrows it down.</dialogue> <character>KALE</character> <dialogue>They said it was dented. His has a bashed - in fender.</dialogue> <character>ASHLEY</character> <parenthetical>( re : binoculars . )</parenthetical> <dialogue>So this is why - you're -</dialogue> <scene_description>Suddenly seeing something O.S. , Kale RIPS the binoculars out of Ashley 's hand , goes to the window .</scene_description> <character>RONNIE</character> <dialogue>What?</dialogue> <scene_description>BINOCULAR POV - Giles pulls the Silver Toyota out of the garage and out the driveway . Ashley suddenly grabs the binoculars from Kale , peers out .</scene_description> <character>KALE</character> <dialogue>Hey -</dialogue> <character>ASHLEY</character> <dialogue>So that's the infamous black mustang, huh?</dialogue> <character>KALE</character> <dialogue>Yeah -</dialogue> <character>ASHLEY</character> <dialogue>The one with no dent?</dialogue> <character>KALE</character> <parenthetical>( grabbing the binocs . )</parenthetical> <dialogue>What?</dialogue> <scene_description>BINOCULAR POV - Sure enough , the Mustang NO LONGER HAS A BASHED - IN FENDER . The garage door starts to close -</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>How'd he fix it so fast -</dialogue> <character>ASHLEY</character> <dialogue>Because it was never there in the first place?</dialogue> <scene_description>Kale eyes Ashley . Shit , could he have imagined it ? Ashley playfully grabs the binoculars back from Kale . BINOCULAR POV - Ashley catches a glimpse of a faded TEXAS LONGHORNS BUMPER STICKER .</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Sorry guys, no bashed - in fender, just a Longhorns bumper sticker.</dialogue> <character>KALE</character> <parenthetical>( grabbing the binocs . )</parenthetical> <dialogue>You serious?</dialogue> <parenthetical>( then to Ronnie . )</parenthetical> <dialogue>She's right.</dialogue> <scene_description>THEIR POV - Giles ' garage door finally SLAMS CLOSED .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( off Ashley 's questioning look . )</parenthetical> <dialogue>They think it might be linked to some murders in Texas two years ago.</dialogue> <character>RONNIE</character> <dialogue>Austin, Texas. Texas Longhorns.</dialogue> <scene_description>Kale and Ronnie eye Ashley as if to say `` see ? '' Ashley eyes them another beat - then :</scene_description> <character>ASHLEY</character> <dialogue>Okay, fine, stakeout.</dialogue> <parenthetical>( grabs binoculars . )</parenthetical> <dialogue>Who's on my shift?</dialogue> <scene_description>Off Kale and Ronnie , their dreams realized -</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - EVENING - LATER</stage_direction> <scene_description>A BOX OF SPYING CRAP is dumped onto Kale 's bed . Another DV Camera , an old , bulky VHS camera , a black and white portable TV , couple of tri - pods , walkie talkies , wires . a real mess .</scene_description> <character>RONNIE</character> <dialogue>This is all the stuff I could find -</dialogue> <scene_description>Ashley sits at Kale 's computer as Kale anxiously sifts through Ronnie 's stuff .</scene_description> <character>ASHLEY</character> <dialogue>Do you know how long Giles has lived there?</dialogue> <character>KALE</character> <dialogue>About two or three years.</dialogue> <character>ASHLEY</character> <dialogue>So he could've lived in Texas.</dialogue> <parenthetical>( re : computer screen . )</parenthetical> <dialogue>Hey, check this out.</dialogue> <scene_description>Ronnie goes to Ashley , reads the Amazon web page for the book :</scene_description> <character>RONNIE</character> <dialogue>`` Murderer : Tell Tale Signs of a Serial Killer.'' Qualifies for free shipping if you pair it with `` The Shrine of Jeffrey Dahmer.''</dialogue> <character>ASHLEY</character> <dialogue>The summary lists four main criteria. Our guy meets at least three. White male between the age of twenty - five and fifty. He does n't have any pets, right?</dialogue> <character>KALE</character> <dialogue>Not that I've seen -</dialogue> <character>ASHLEY</character> <dialogue>You said he lives alone -</dialogue> <character>RONNIE</character> <dialogue>What's the fourth?</dialogue> <character>ASHLEY</character> <parenthetical>( nonchalant . )</parenthetical> <dialogue>Sexual dysfunction.</dialogue> <scene_description>Silence . Kale and Ronnie trade awkward glances , shaking their heads to each other as if reassuring themselves they do n't suffer from such a condition .</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( changing the subject . )</parenthetical> <dialogue>I'm hungry, let's order pizza.</dialogue> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - NIGHT - LATER</stage_direction> <scene_description>TRACKING ACROSS KALE 'S ROOM - The two tri - pod - mounted DV Cams stand watch over Giles ' house . One camera feeds a grainy close - up shot of Giles ' garage door to Ronnie 's portable TV on the floor . The other feeds a WIDE SHOT of Giles ' entire house to Kale 's color TV . Both images appear on Kale 's computer monitor . WIDER TO REVEAL - Kale and Ashley sit on the floor near the window . Kale peers over to Giles with the binoculars as Ashley messes with Kale 's cell phone . In the b.g. Ronnie 's passed out on Kale 's bed , his hand resting inside the pizza box just inches from the last slice .</scene_description> <character>KALE</character> <parenthetical>( re : Giles . )</parenthetical> <dialogue>He's been gone awhile.</dialogue> <scene_description>ON ASHLEY - she 's messing with Kale 's cell phone .</scene_description> <character>ASHLEY</character> <parenthetical>( handing him his cell . )</parenthetical> <dialogue>Here.</dialogue> <character>KALE</character> <dialogue>How'd you get my phone?</dialogue> <character>ASHLEY</character> <dialogue>I'm crafty like that.</dialogue> <character>KALE</character> <dialogue>What'd you do?</dialogue> <scene_description>Ashley carefully unclips Ronnie 's cell from his hip , flips it open , dials . After a beat , Kale 's cell RINGS with Madonna 's `` LIKE A VIRGIN . '' Kale laughs .</scene_description> <character>ASHLEY</character> <dialogue>Every time he calls, that's what you'll hear.</dialogue> <scene_description>Kale laughs as Ashley delicately re - clips the phone to Ronnie 's belt . KALE 'S POV - the Pilch 's dog , wearing a pink sweater , suddenly darts into Kale 's yard .</scene_description> <character>KALE</character> <dialogue>What the hell?</dialogue> <scene_description>THEIR POV - Pilch 's dog stops , spins around and takes a dump .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Where's -</dialogue> <scene_description>Mr. Pilch , in his robe , suddenly appears from the shadows , watches the dog do its business .</scene_description> <character>ASHLEY</character> <parenthetical>( re : Mr. Pilch . )</parenthetical> <dialogue>Three to one he does n't pick it up.</dialogue> <scene_description>Nope . The dog finishes . Pilch calls it over , scoops up the dog and heads O.S.</scene_description> <character>KALE</character> <dialogue>So that's why the grass is greener.</dialogue> <character>ASHLEY</character> <dialogue>Only in disturbia.</dialogue> <character>KALE</character> <dialogue>So why the move?</dialogue> <character>ASHLEY</character> <dialogue>What do you mean? The greener grass, the safer pastures.</dialogue> <character>KALE</character> <dialogue>No, seriously.</dialogue> <scene_description>There 's a beat as Ashley locks eyes with Kale . Then -</scene_description> <character>ASHLEY</character> <dialogue>Well, I guess my mom thought it'd help keep dad on a shorter leash. City life. had its temptations.</dialogue> <parenthetical>( beat ; then matter of fact . )</parenthetical> <dialogue>But my mom pretty much cries just as much as she always did, and dad does n't care - more than ever.</dialogue> <character>KALE</character> <dialogue>What did they think, an extra bathroom and two - car garage would actually change things. somehow protect them and you from all that crap you can never escape?</dialogue> <scene_description>Ashley holds Kale 's gaze for a beat . Then , she nods , with :</scene_description> <character>ASHLEY</character> <dialogue>Something like that.</dialogue> <parenthetical>( eyeing the bracelet . )</parenthetical> <dialogue>So. what're your issues, Kale?</dialogue> <scene_description>Kale hesitates . We see in his eyes that he 's flashing to the past . `` going there . '' There 's an uneasy beat as Ashley picks up on it : Then - HEADLIGHTS APPEAR OUTSIDE . Kale quickly turns away from Ashley , pulls one of the DV Cams off its tri - pod , flips out the three - inch LCD SCREEN .</scene_description> <character>KALE</character> <dialogue>That's him.</dialogue> <scene_description>DV CAM POV - Giles ' silver Toyota pulls in the driveway . Stops . Engine and headlights turn off .</scene_description> <character>ASHLEY</character> <dialogue>Another car -</dialogue> <scene_description>DV CAM POV - Kale ZOOMS IN . The GRAINY IMAGE finally steadies to reveal a SECOND CAR pulling in behind Giles . A thirty - something attractive WOMAN - a REDHEAD - is at the wheel . She pulls in next to Giles ' car .</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You seen her before?</dialogue> <character>KALE</character> <dialogue>No.</dialogue> <scene_description>DV CAM POV - Giles gets out . Wearing a suit , no tie .</scene_description> <character>ASHLEY</character> <parenthetical>( re : Giles . )</parenthetical> <dialogue>Cute for a killer.</dialogue> <scene_description>Giles goes to the woman 's car , opens her door .</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Who said chivalry's dead?</dialogue> <scene_description>The woman gets out , wearing a black cocktail dress .</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>There's a club girl for you.</dialogue> <character>KALE</character> <dialogue>How do you know?</dialogue> <character>ASHLEY</character> <dialogue>Bright green bracelet's `` The Pyramids,'' purple's `` Club 360,'' the big black stamp's from `` Flavor.''</dialogue> <scene_description>DV CAM POV - Kale ZOOMS in on the woman 's wrist and hand . Sure enough , she 's wearing both a green and a purple bracelet , and has a black stamp blotch on her hand .</scene_description> <character>KALE</character> <parenthetical>( over the above . )</parenthetical> <dialogue>Missing girl was seen at a club. Did n't say which one though.</dialogue> <parenthetical>( then aside to Ashley . )</parenthetical> <dialogue>Your I.D. must be pretty good.</dialogue> <character>ASHLEY</character> <parenthetical>( with a smile . )</parenthetical> <dialogue>I do n't need one.</dialogue> <scene_description>They turn back to the window , watch as Giles escorts the woman to the house , shows her in . A light comes on inside . DV CAM POV - Kale ZOOMS IN on one of the living room windows , spots the woman moving around inside , looking at artwork . she sits on the sofa as Giles enters with two glasses and a bottle of wine . He sits down , pours the wine . They toast , take sips . Giles moves in for a kiss -</scene_description> <character>KALE</character> <dialogue>He's going in.</dialogue> <scene_description>DV CAM POV - The woman shies away from Giles , stands from the sofa .</scene_description> <character>ASHLEY</character> <dialogue>Denied.</dialogue> <scene_description>They watch as the woman gets up , moves to the center of the room , and starts to get a little groove on .</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( been there , done that . )</parenthetical> <dialogue>Oh no, he put on music.</dialogue> <scene_description>DV CAM POV - Giles watches the woman as she seductively moves her body to the music we 're not hearing .</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh, c'mon, Giles, all she wants to do is dance.</dialogue> <character>KALE</character> <dialogue>What do you think they're listening to?</dialogue> <character>ASHLEY</character> <dialogue>Could be radio. See if you can find the station.</dialogue> <scene_description>Kale sets the camera down , turns on his receiver . As he toggles through radio stations - Rock , Alternative .</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( watching the woman &amp; Giles . )</parenthetical> <dialogue>No. no.</dialogue> <scene_description>Kale flips to an easy listening R &amp; B station playing Lou Rawls `` You 'll Never Find Another Love Like Mine . ''</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Stop.</dialogue> <scene_description>BINOCULAR POV - Ashley watches as Giles takes the woman 's hand and dances with her . Their rhythm fits the music perfectly . ON RONNIE - he stirs on the bed , still asleep .</scene_description> <character>RONNIE</character> <parenthetical>( eyes closed ; grinning re : music . )</parenthetical> <dialogue>Hmmm.</dialogue> <scene_description>Ashley and Kale eye Ronnie for a beat . Then turn back to the window . DV CAM POV - Kale pans back to the woman and Giles . They 're really dancing close now . Kale 's and Ashley 's eyes shift to each other , then quickly flick away . A beat . Then - Ashley raises the binoculars , faces back toward Giles ' with :</scene_description> <character>ASHLEY</character> <dialogue>Now's the time to bust your move.</dialogue> <scene_description>Ashley glances to Kale . Kale turns , holds her gaze . A palpable tension between these two . They ever so slowly lean toward each other when - RONNIE - suddenly interrupts , pushing himself between them .</scene_description> <character>RONNIE</character> <parenthetical>( yawning ; re : woman with Giles . )</parenthetical> <dialogue>Who's that?</dialogue> <scene_description>Ronnie looks to Kale and Ashley who glare back .</scene_description> <character>RONNIE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( realizing . )</parenthetical> <dialogue>Ookay, just fill me in later.</dialogue> <parenthetical>( taking Ashley 's hand . )</parenthetical> <dialogue>A pleasure.</dialogue> <parenthetical>( then ; aside to Kale , mouths ; re : Ashley . )</parenthetical> <dialogue>Duude!</dialogue> <parenthetical>( slaps Kale 's hand . )</parenthetical> <dialogue>Later.</dialogue> <scene_description>Ronnie stands , leaves . Kale shakes his head , turns back to Ashley . They lean in again when - Ashley 's CELL PHONE ominously RINGS with the first measures of BEETHOVEN 'S 5TH - `` BUM BUM BUM BUMMMMM . '' She pulls the cell from her pocket .</scene_description> <character>ASHLEY</character> <parenthetical>( re : cell . )</parenthetical> <dialogue>It's my mom.</dialogue> <parenthetical>( into cell . )</parenthetical> <dialogue>Hi. No, I'm fine.</dialogue> <parenthetical>( with a smile . )</parenthetical> <dialogue>I'm at Barnes and Noble. Okay, I'm leaving. No, I'll walk.</dialogue> <scene_description>Ashley flips the phone shut , joins Kale who 's watching the LCD screen : DV CAM POV - Giles and the woman are back on the couch . The woman is leaning her head on Giles ' shoulder . As Giles leans forward to take her wine glass , the woman falls over behind him . Out cold . Kale and Ashley cringe .</scene_description> <character>KALE</character> <dialogue>And she's down for the count.</dialogue> </scene> <scene> <stage_direction>EXT. KALE'S BACK YARD - NIGHT - MOMENTS LATER</stage_direction> <scene_description>Kale and Ashley cross the yard to Kale 's kite string boundary .</scene_description> <character>ASHLEY</character> <dialogue>Looks like this is as far as you go.</dialogue> <character>KALE</character> <dialogue>Looks like.</dialogue> <scene_description>They peer into each other 's eyes . Then -</scene_description> <character>ASHLEY</character> <dialogue>Y' know, I have to admit, you're different than I expected.</dialogue> <character>KALE</character> <dialogue>What were you expecting?</dialogue> <character>ASHLEY</character> <dialogue>I thought you'd be more messed up.</dialogue> <character>KALE</character> <dialogue>Does that disappoint you?'Cause I can be more messed up if you want me to.</dialogue> <character>ASHLEY</character> <dialogue>No, you're fine.</dialogue> <character>KALE</character> <dialogue>`` Fine?''</dialogue> <character>ASHLEY</character> <dialogue>Yeah.</dialogue> <character>KALE</character> <dialogue>`` Fine'' like your first cousin `` fine'' or `` fine'' in kind of a Brad Pitt sorta way?</dialogue> <scene_description>Ashley smiles . They suddenly hear VOICES O.S. Kale and Ashley glance over to Giles ' house . THEIR POV - The woman is heading briskly to her car . Giles is right behind her . Ashley grabs Kale 's arm and pulls him behind a shrub on his side of the boundary . They peek back over to Giles ' . THEIR POV - We 're crouched low now , so we only hear the barely audible voices of Giles and the WOMAN . Talking SERIOUSLY about something -</scene_description> <character>GILES</character> <parenthetical>( voice raising . )</parenthetical> <dialogue>Just come back in the house, you should n't drive -</dialogue> <character>ASHLEY</character> <dialogue>He wants her to come back in -</dialogue> <character>KALE</character> <dialogue>I ca n't hear -</dialogue> <character>ASHLEY</character> <dialogue>Let's get closer -</dialogue> <scene_description>Ashley suddenly darts from behind the shrub and bolts toward the fence -</scene_description> <character>KALE</character> <parenthetical>( re : his bracelet . )</parenthetical> <dialogue>I ca n't -</dialogue> <scene_description>But Ashley keeps going . WE FOLLOW BEHIND ASHLEY - She creeps over to the fence , presses up against it , peering through the cracks - ASHLEY 'S POV - We see the dark silhouettes of Giles and the woman - Ashley shifts her head , straining to listen -</scene_description> <character>GILES</character> <dialogue>You really should stay.</dialogue> <character>WOMAN</character> <dialogue>I just do n't think it's a good idea -.</dialogue> <parenthetical>( still searching ; more frustrated . )</parenthetical> <dialogue>Where the hell are they?</dialogue> <scene_description>The woman suddenly drops her purse . The CONTENTS spill onto the driveway . ASHLEY 'S POV - Giles bends down , picks up her car keys .</scene_description> <character>WOMAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Here -</dialogue> <character>GILES</character> <dialogue>You're in no condition -</dialogue> <character>WOMAN</character> <dialogue>Give me my keys.</dialogue> <character>GILES</character> <dialogue>Sorry.</dialogue> <scene_description>ASHLEY 'S POV - She sees Giles make a motion toward the fence . Suddenly , the woman 's CAR KEYS WHACK the other side of the fence , then PLOP DOWN underneath it just a couple of feet from Ashley 's position ! ON ASHLEY - she startles , looks over , sees the keys . ASHLEY 'S POV - She looks back toward Giles and the woman . Hears the woman start to LAUGH . Giles , not laughing , purposefully steps toward the woman , takes her arm .</scene_description> <character>GILES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>C'mon.</dialogue> <scene_description>ASHLEY 'S POV - The woman relents . Giles helps her back toward the house . WITH KALE - He 's seeing it all .</scene_description> <character>KALE</character> <parenthetical>( whispering . )</parenthetical> <dialogue>Ashley, come on.</dialogue> <scene_description>WITH ASHLEY - she glances down , eyes the car keys sparkling in the moonlight . She scoots toward them as - WE CRANE UP TO REVEAL - Giles - heading back toward the fence ! ON KALE - seeing this . Kale tries to get Ashley 's attention , but she 's not looking - CU - ASHLEY 'S HAND - she reaches for the car keys - CLOSER - ASHLEY 'S FINGERTIPS barely TOUCH them when - GILES ' HAND - suddenly SWOOPS IN from O.S. , BRUSHES ASHLEY 'S FINGERS just before grabbing the keys and swiping them back to his side ! Somehow Ashley keeps herself from screaming as she YANKS HER HAND BACK , PRESSES HERSELF AGAINST THE FENCE . She puts her hand over her mouth to silence her own breathing - KALE 'S POV - Giles stands frozen in the shadows behind Ashley . WITH ASHLEY - She slowly turns her head , sees Giles through one of the cracks - STANDING RIGHT THERE . Ashley starts to slowly SLIIIDE away . when suddenly - a TWIG SNAPS under her foot ! Ashley FREEZES . She peers back through the nearest crack . ASHLEY 'S POV - searching for Giles - does n't see him - Ashley presses herself even harder against the fence as we . TILT UP AND PAN OVER TO REVEAL GILES - peering over the fence . We can only hope it 's tall enough to keep him from looking down and seeing Ashley . WITH KALE - He 's seeing it all . ON GILES - He raises up , standing on his tip toes to get a better look down . Shifting his head back and forth . WITH KALE - He ducks behind the shrub , contemplating his next move . He glances down , picks up a large pebble . He pops out and tosses it over into Giles ' yard . We HEAR IT DROPPING through branches , SCATTERING to the ground as Kale ducks back behind the shrub , breathing hard . He then peers back out - HIS POV - Giles lowers back down , turns and heads back toward the house . Kale sighs in relief . Waves Ashley the `` all clear . '' Ashley heads back over to Kale , breathless .</scene_description> <character>ASHLEY</character> <parenthetical>( oddly exhilarated . )</parenthetical> <dialogue>That was intense.</dialogue> <character>KALE</character> <dialogue>Are you nuts?!</dialogue> <scene_description>Ashley silences Kale with a finger to his lips . She then leans in , gives him a peck on the cheek and bolts away - Off Kale , utterly stupefied -</scene_description> </scene> <scene> <stage_direction>INT. DAD'S OFFICE - NIGHT - MOMENTS LATER</stage_direction> <scene_description>Exhilarated , Kale SLAMS through the office door , binoculars in hand . He goes to his chair , sits , taking position . BINOCULAR POV - Ashley walks in , heads straight for the window and draws the blinds . Kale slumps . Damn .</scene_description> </scene> <scene> <stage_direction>INT. DAD'S OFFICE - NIGHT - LATER</stage_direction> <scene_description>ON ASHLEY 'S WINDOW - shades still drawn . Lights are out now . The wind picks up outside as we PAN TO REVEAL Kale asleep in the leather chair . We suddenly hear GLASS SHATTER O.S. Kale 's eyes POP OPEN . He looks around . Did he hear something or did he dream it - he pulls himself out of the chair , makes his way to the door , slowly swings it open .</scene_description> </scene> <scene> <stage_direction>INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - NIGHT - CONTINUOUS</stage_direction> <scene_description>Kale cautiously steps into the hall .</scene_description> <character>KALE</character> <dialogue>Mom?</dialogue> <scene_description>No answer . He heads to .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - NIGHT - CONTINUOUS</stage_direction> <scene_description>Kale enters , tosses the binoculars on the desk , throws a glance out the window to Giles ' house . Dark . Kale turns to the bed , pulls back the sheets . As Kale unties his shoes , takes off his socks , we notice over his shoulder - IN THE B.G. - A LIGHT COMES ON IN GILES ' LIVING ROOM . ON KALE - not noticing as he strips down to his boxers - IN THE B.G. - GILES ' LIVING ROOM - THE WOMAN HEADS INTO THE ROOM FOLLOWED CLOSELY BY GILES . SHE SPINS AND SLAPS HIM IN THE FACE . SHE WALKS AWAY AS GILES STANDS THERE FROZEN . ON KALE - he throws his clothes in the closet , finally turns back and sees - KALE 'S POV - Giles standing in the living room , glaring at the woman .</scene_description> <character>KALE</character> <dialogue>Dammit.</dialogue> <scene_description>Kale darts to his desk , turns off the light , grabs the binoculars . BINOCULAR POV - Giles and the woman are arguing . The woman paces around the room as Giles stands there . The woman 's arms flail about . As she paces back by Giles , he suddenly GRABS HER ARMS .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Shit!</dialogue> <scene_description>Kale watches as the woman yanks herself from his grasp and knocks over the lamp . The BULB shatters on the floor , throwing the living room into total darkness . Kale drops the binoculars and grabs the DV CAM . He fumbles with it , flips open the LCD SCREEN . But as he presses the power button , the camera 's LAMP suddenly IGNITES , MOMENTARILY LIGHTING UP KALE 'S ROOM ! Kale spins and hits the floor . He frantically finds the switch , turns off the lamp .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Dumbass dumbass -</dialogue> <scene_description>Kale stays on the floor , slouched under the window sill for a couple of beats . Then - he slowly raises up , peers out . DV CAM POV - Giles , now alone , has turned on another light and is simultaneously picking up pieces of shattered light bulb and wiping some RED LIQUID OFF THE FLOOR . Could be wine . or blood even . Giles wads the towel up , picks up one of the woman 's HIGH HEELS lying near the couch . Giles then moves to the stereo , turns it off , leans down , picks up the woman 's OTHER SHOE . He flips off the lights , heads out of the room . Kale trades the grainy DV CAM for the binoculars . BINOCULAR POV - Kale PANS ACROSS the lower floor windows of Giles ' house that 's now become eerily still . He TILTS UP to the second floor , SLOWLY PANS ACROSS those windows - Again , nothing .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Okay, so where is she -</dialogue> <scene_description>BINOCULAR POV - Over the above , Kale SLOWLY PANS BACK ACROSS THE SAME WINDOWS , comes to the last one and see GILES STARING RIGHT BACK AT HIM . Kale spins and dives to the floor , knocking the other camera and tri - pod over .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh shit oh shit.</dialogue> <scene_description>Kale shoves himself against the wall , frozen in terror . He does n't dare get up . He spots his CELL PHONE - on the floor a few feet away . He extends his leg out , uses his foot to slowly SLIIIDE the phone toward him . KALE 'S TREMBLING HAND reaches for the phone , picks it up - Kale 's about to flip it open when the PHONE 'S LCD SCREEN SUDDENLY LIGHTS UP , BLARING MADONNA 'S `` LIKE A VIRGIN . '' Kale startles , fumbles the phone - realizes it 's Ronnie , flips the phone open -</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( into phone as needed . )</parenthetical> <dialogue>Ronnie -</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( phone filter as needed . )</parenthetical> <dialogue>Dude, Ashley is ho - ho - hotttt -</dialogue> <character>KALE</character> <dialogue>Giles totally busted me.</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What do you mean, are you sure?</dialogue> <scene_description>Kale finally musters the courage to peek over the sill - KALE 'S POV - Gile 's BACK DOOR is OPEN .</scene_description> <character>KALE</character> <dialogue>They were arguing -</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Who?</dialogue> <character>KALE</character> <dialogue>Giles and the girl he brought home. They had an argument, he grabbed her -</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>And then what?</dialogue> <character>KALE</character> <dialogue>And then - nothing.</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Uh - huh.</dialogue> <character>KALE</character> <dialogue>Dude, something is going on over there. What if he killed her, too?</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Then call your friends at the police department.</dialogue> <scene_description>A DOOR suddenly SLAMS O.S.</scene_description> <character>KALE</character> <dialogue>Wait -</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What?</dialogue> <character>KALE</character> <dialogue>A door just slammed.</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( in his best sinister `` Scream '' voice . )</parenthetical> <dialogue>That's right, Kale, and now I'm coming up to slash your guts out, you little bastard!</dialogue> <character>KALE</character> <dialogue>Asshole, I'm serious.</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I'm not and I'm hanging up.</dialogue> <character>KALE</character> <dialogue>Just - wait - wait till I check the hall -</dialogue> <scene_description>This as Kale grabs his bat , slowly approaches his door . Ronnie yawns , starts snoring . Kale 's hand is about to grab the knob -</scene_description> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>BOO!</dialogue> <character>KALE</character> <dialogue>Goddamn you!</dialogue> <scene_description>Kale flips the phone closed , throws it to the bed . He turns back to the door just as IT SUDDENLY PUSHES OPEN , SMACKING KALE IN THE FOREHEAD ! Kale STUMBLES BACK , screams , raises the bat .</scene_description> <character>JULIE</character> <dialogue>Kale, Kale, it's me!</dialogue> <scene_description>Kale does n't immediately drop the bat as he focuses on Julie , dressed in her serving uniform , barely visible in the darkness . She flips the light on .</scene_description> <character>KALE</character> <dialogue>No, do n't!</dialogue> <character>JULIE</character> <dialogue>What's going on, who were you talking to?!</dialogue> <character>KALE</character> <dialogue>Ronnie - just Ronnie.</dialogue> <scene_description>Kale falls back to the bed .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I heard the door -</dialogue> <character>JULIE</character> <dialogue>I'm sorry, the wind caught it -</dialogue> <character>KALE</character> <dialogue>Fine. Good. Okay -</dialogue> <character>JULIE</character> <dialogue>Okay then, so.</dialogue> <parenthetical>( catching her breath ; then . )</parenthetical> <dialogue>You want anything from the grocery? I'm going in the morning.</dialogue> <character>KALE</character> <dialogue>Anything caffeinated.</dialogue> <scene_description>Kale turns back on his side . Julie eyes him a long beat . What to say . she flips off the light , then - pulls the door closed . ON KALE - eyes wide open , heart racing . He 's gon na need that caffeine in the morning .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - THE NEXT MORNING</stage_direction> <scene_description>A groggy Kale tugs on the blind , cautiously raises it - KALE 'S POV - GILES ' DRIVEWAY - The silver Toyota 's gone . The woman 's car is still there .</scene_description> </scene> <scene> <stage_direction>INT. ENTRY HALL - LATE THE NEXT MORNING</stage_direction> <scene_description>Kale saunters down the stairs .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - DAY - CONTINUOUS</stage_direction> <scene_description>Kale enters , notices a few full grocery bags on the counter and the coffee maker brewing . He opens the fridge , sees a new Mountain Dew twelve - pack . He cracks open the carton , pulls out a can , closes the fridge door revealing GILES - IN THE FLESH , IN KALE 'S KITCHEN . Kale JUMPS , drops the can . It rolls to Giles ' feet .</scene_description> <character>GILES</character> <parenthetical>( picking up the can . )</parenthetical> <dialogue>Whoa, whoa, settle down, slow down. Robert Giles, your neighbor -.</dialogue> <parenthetical>( gesturing outside . )</parenthetical> <dialogue>Behind you?</dialogue> <scene_description>Kale glares , breathing hard . Giles taps on the top of the dented soda can , hands it to Kale . Kale does n't take it . Note : Giles ' shirt should have BURNT ORANGE somewhere in it , either in the pattern , stripes , etc .</scene_description> <character>KALE</character> <dialogue>I know, how did you -</dialogue> <scene_description>Giles puts the soda on the counter as Julie comes through the kitchen door carrying groceries .</scene_description> <character>GILES</character> <parenthetical>( to Julie . )</parenthetical> <dialogue>Think I startled him.</dialogue> <character>JULIE</character> <parenthetical>( laughs . )</parenthetical> <dialogue>Oh. Kale, I ran into Mr. Giles at -</dialogue> <character>GILES</character> <dialogue>Robert.</dialogue> <character>JULIE</character> <parenthetical>( smiles . )</parenthetical> <dialogue>. At the grocery. I had a flat tire when I came out. We tried to change it, but -</dialogue> <character>KALE</character> <dialogue>Dad put those security bolts on -</dialogue> <character>JULIE</character> <dialogue>And that adapter thingy that unscrews it ended up stripping it instead -</dialogue> <character>GILES</character> <dialogue>My fault.</dialogue> <character>JULIE</character> <dialogue>No, it was n't. You saved my life.</dialogue> <parenthetical>( then to Kale . )</parenthetical> <dialogue>We had it towed to Frank's.</dialogue> <character>KALE</character> <parenthetical>( with attitude . )</parenthetical> <dialogue>Gee, really lucky you were there.</dialogue> <character>GILES</character> <dialogue>Just glad I could help.</dialogue> <parenthetical>( then ; favors Julie . )</parenthetical> <dialogue>Must be a little difficult when the man of the house is stuck in the house.</dialogue> <scene_description>Kale reacts to that . There 's an awkward silence as Kale 's eyes instinctively glance down to the ankle bracelet .</scene_description> <character>JULIE</character> <dialogue>Oh. no, it's okay, we're managing.</dialogue> <scene_description>Giles steps closer to Kale , bends down to get a closer look at the ankle bracelet .</scene_description> <character>GILES</character> <dialogue>I've always been curious about those things, do you mind?</dialogue> <character>KALE</character> <dialogue>Yeah, I do.</dialogue> <character>JULIE</character> <dialogue>Oh c'mon, Kale.</dialogue> <parenthetical>( to Giles . )</parenthetical> <dialogue>I'm sorry.</dialogue> <character>GILES</character> <dialogue>No, no. It's none of my business.</dialogue> <character>KALE</character> <dialogue>That's right.</dialogue> <character>GILES</character> <dialogue>Whoa, hey, dude. you seem like a straight hitter. You ask me, whoever they are deserved it.</dialogue> <scene_description>Kale reacts , surprised at how genuine that sounded .</scene_description> <character>JULIE</character> <parenthetical>( stepping in . )</parenthetical> <dialogue>Okay. I do n't think that's the case, and -</dialogue> <character>KALE</character> <dialogue>I think I'd like to hear his opinion.</dialogue> <character>GILES</character> <dialogue>And I think I opened my big mouth again. You're absolutely right.</dialogue> <parenthetical>( then ; heading for the door . )</parenthetical> <dialogue>I should go.</dialogue> <character>JULIE</character> <dialogue>Wait, what about your coffee?</dialogue> <character>KALE</character> <dialogue>I popped my Spanish teacher.</dialogue> <scene_description>Awkward beat . Giles turns back to Julie :</scene_description> <character>GILES</character> <dialogue>In that case, cafe con leche, por favor?</dialogue> <character>JULIE</character> <parenthetical>( searching bags . )</parenthetical> <dialogue>Shoot, milk's. still in the car.</dialogue> <scene_description>Julie heads out the door . Giles turns to Kale . An awkward , silent beat . Then -</scene_description> <character>KALE</character> <dialogue>I like your shirt, by the way. I mean, the color.</dialogue> <character>GILES</character> <dialogue>Which one?</dialogue> <character>KALE</character> <dialogue>Oh, the. that dark orange. Always reminds me of Texas.</dialogue> <character>GILES</character> <dialogue>Yeah? You a Longhorns fan, too?</dialogue> <character>KALE</character> <dialogue>Sure, absolutely. Even though I've never stepped foot in Texas -</dialogue> <character>GILES</character> <dialogue>Me neither. Had a lot of friends who went there. I stayed in Minnesota till I moved here.</dialogue> <character>KALE</character> <dialogue>Huh.</dialogue> <character>GILES</character> <dialogue>So when you say you `` popped'' your teacher -</dialogue> <character>KALE</character> <dialogue>Just a black eye.</dialogue> <character>GILES</character> <dialogue>Phew, just making sure I was n't living next to some psycho killer. Listen, I get it though. I had plenty of teachers I wanted to just. kill.</dialogue> <scene_description>Giles quickly adjusts his tone as Julie comes back with a last bag of groceries :</scene_description> <character>GILES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>But no matter how hard it is to hold back, the high road's always the better choice.</dialogue> <scene_description>As Giles says this , he casually sits at the kitchen table . Kale eyes him , about to turn and leave , but :</scene_description> <character>JULIE</character> <dialogue>Kale, could you grab the sugar?</dialogue> <parenthetical>( to Giles . )</parenthetical> <dialogue>Sugar?</dialogue> <character>GILES</character> <parenthetical>( favors Kale . )</parenthetical> <dialogue>Why not.</dialogue> <scene_description>Kale quickly grabs the jar of sugar from the counter and even thinks to grab a spoon from the drawer . He delivers it to Giles as Julie brings the coffee , sits at the table .</scene_description> <character>GILES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Thanks, man.</dialogue> <scene_description>Kale turns to leave again .</scene_description> <character>GILES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh, hey, Kale.</dialogue> <parenthetical>( as Kale turns back . )</parenthetical> <dialogue>Nice to finally meet you.</dialogue> <scene_description>Off Kale -</scene_description> <character>ASHLEY</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( prelap . )</parenthetical> <dialogue>Oooh. That's creepy.</dialogue> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - DAY - LATER</stage_direction> <scene_description>Ashley sits on the bed . She looks damned good , too . Dolled up , lipstick . She 's just heard the story from Kale .</scene_description> <character>KALE</character> <dialogue>I know, he's a total freak, right?</dialogue> <character>ASHLEY</character> <dialogue>And very vague. did he genuinely mean it was nice meeting you or was he sending you a `` sinister message?''</dialogue> <character>KALE</character> <dialogue>Are you messing with me?</dialogue> <character>ASHLEY</character> <dialogue>Maybe a little. Did you even notice my hair?</dialogue> <character>KALE</character> <dialogue>So you think it's all a coincidence. We've got the car -</dialogue> <character>ASHLEY</character> <dialogue>With the non dent dent -</dialogue> <character>KALE</character> <dialogue>The bumper sticker, the argument, the staring contest - And now he's showing up in my kitchen -</dialogue> <character>ASHLEY</character> <dialogue>Why, because he slashed your mom's tire?</dialogue> <character>KALE</character> <dialogue>Maybe.</dialogue> <scene_description>Ashley rolls her eyes .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( pointing out window . )</parenthetical> <dialogue>Her car has n't moved.</dialogue> <character>ASHLEY</character> <dialogue>It's called `` the day after,'' Kale. Nobody moves after a night like that.</dialogue> <character>KALE</character> <dialogue>Well what if she's really `` not moving?'' What if she's tied in the dungeon with the other girl, starving to death -</dialogue> <character>ASHLEY</character> <parenthetical>( getting up . )</parenthetical> <dialogue>Then come up with a rescue plan and get back to me.</dialogue> <character>KALE</character> <dialogue>You're leaving?</dialogue> <character>ASHLEY</character> <dialogue>Have to. Party.</dialogue> <character>KALE</character> <dialogue>Whose?</dialogue> <character>ASHLEY</character> <dialogue>Uh, mine?</dialogue> <character>KALE</character> <dialogue>How is that possible?</dialogue> <character>ASHLEY</character> <dialogue>Excuse me?</dialogue> <character>KALE</character> <dialogue>Well, I mean. Sorry, I just did n't think you knew anybody -</dialogue> <character>ASHLEY</character> <dialogue>I do n't, I did n't -.</dialogue> <parenthetical>( off Kale 's confusion . )</parenthetical> <dialogue>I met this girl earlier, Minnie Tyco?</dialogue> <character>KALE</character> <dialogue>Oh my god, `` Skinny Psycho?!'' I sat next to that bitch in Spanish -</dialogue> <character>ASHLEY</character> <parenthetical>( skipping that one . )</parenthetical> <dialogue>I told her my parents were outta town -</dialogue> <character>KALE</character> <dialogue>And now the whole neighborhood's coming.</dialogue> <character>ASHLEY</character> <dialogue>Look, I'm stuck here. So I figured I can either shut myself in and keep hating it or. try to make the most of it.</dialogue> <character>KALE</character> <dialogue>Hey, I get it. You do n't have to explain.</dialogue> <character>ASHLEY</character> <dialogue>Kale, you're welcome to come, but -</dialogue> <scene_description>Kale looks at Ashley , realizes what she 's referring to as he glances down to the ankle bracelet .</scene_description> <character>KALE</character> <parenthetical>( with attitude . )</parenthetical> <dialogue>Well, I appreciate the thought. Really.</dialogue> <character>ASHLEY</character> <parenthetical>( returning the tude . )</parenthetical> <dialogue>Glad to hear it.</dialogue> <scene_description>Ashley turns to leave .</scene_description> <character>KALE</character> <dialogue>It's funny, though.</dialogue> <character>ASHLEY</character> <parenthetical>( turning back . )</parenthetical> <dialogue>What?</dialogue> <character>KALE</character> <dialogue>I did n't peg you as a conformist.</dialogue> <scene_description>Ashley glares , furious . She picks up the DV cam and binoculars , approaches Kale , hands them over with :</scene_description> <character>ASHLEY</character> <dialogue>Try to keep these in your drawers tonight, will ya?</dialogue> <scene_description>Ashley leaves . A sullen Kale stares after her - PRELAP - CROWD WALLA and THWUMPING MUSIC .</scene_description> </scene> <scene> <stage_direction>INT. DAD'S OFFICE - EARLY EVENING</stage_direction> <scene_description>Kale sits in the darkness at dad 's desk . He 's on the phone , pressing his other finger to his ear , trying to drown out the NOISE emanating from Ashley 's party next door . Kale , on phone , gets Ronnie 's VOICE MAIL .</scene_description> <character>RONNIE</character> <parenthetical>( phone filter . )</parenthetical> <dialogue>This is Ronnie, leave a message.</dialogue> <scene_description>Kale slams the phone down , sits there a beat . JUMP CUT : - The white pages THWUMP onto the desk . JUMP CUT : - Kale on the phone :</scene_description> <character>KALE</character> <parenthetical>( into phone . )</parenthetical> <dialogue>Yeah, I'm calling about the Jeep Cherokee that was brought in with the flat and the stripped lug - it's ready? Listen, did they have to replace the whole tire - they patched it? Is there any way to tell if it was slashed or - But a nail usually acts like its own plug for awhile, does n't it? I mean it's a really slow leak, it ca n't flatten a tire in twenty minutes.</dialogue> <parenthetical>( beat as Kale listens . )</parenthetical> <dialogue>- Yeah, I guess anything's possible.</dialogue> <scene_description>A ROAR of LAUGHTER O.S. makes Kale jump from his chair . He grabs the binoculars , heads to the window . BINOCULAR POV - Kale scans the crowd until he finds Ashley , talking with a group of PARTYGOERS . She pretends to listen to one of the guy 's stories as she furtively glances toward Kale 's window . But it 's quick . We ca n't be a hundred percent sure if it was on purpose .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Wait, what was that? You think I'm watching? Well, I'm not. Nope, I am minding my own business.</dialogue> <scene_description>BINOCULAR POV - Ashley excuses herself from the group and approaches the drink and food table where MINNIE TYCO -LRB- a.k.a. `` Skinny Psycho '' -RRB- is standing , nitpicking over her snack choices . Ashley hugs her then taps the cute GUY next to her on the shoulder . The guy turns around . Ashley mouths `` Oh my God '' like he 's some long lost lover . Ashley hugs the surprised guy who wastes no time in hugging her back .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You think I'm buying that?</dialogue> <scene_description>Kale keeps watching .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm not biting -</dialogue> <scene_description>BINOCULAR POV - Ashley glances up in Kale 's direction again - it 's more obvious this time as she keeps HUGGING THE GUY .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That's it.</dialogue> <scene_description>Kale tosses the binoculars , heads out .</scene_description> </scene> <scene> <stage_direction>EXT. 2ND FL PORCH - EVENING - SHORT TIME LATER</stage_direction> <scene_description>Kale SLAMS a ladder up against the roof .</scene_description> </scene> <scene> <stage_direction>EXT. ROOF - EVENING - SECONDS LATER</stage_direction> <scene_description>Kale SLAMS a speaker down on the edge of the roof facing Ashley 's . Makes sure the speaker wires are securely clamped in place , then unwinds the roll of wire back across the roof toward the ladder . JUMP CUT :</scene_description> </scene> <scene> <stage_direction>INT. 2ND FL PORCH - EVENING - SECONDS LATER</stage_direction> <scene_description>Kale runs the wire down the hall .</scene_description> </scene> <scene> <stage_direction>INT. DAD'S OFFICE - EVENING - MOMENTS LATER</stage_direction> <scene_description>CU - Kale 's hand flips on dad 's bookshelf amplifier , CRANKS THE VOLUME CONTROL KNOB . CU - Kale 's I - POD LCD SCREEN lights up . His thumb hovers over the PLAY button . BINOCULAR POV - Ashley 's party comes into focus . Kale presses play . The speaker EXPLODES with the ROAR OF BARRY MANILOW -LRB- or AIR SUPPLY -RRB- . BINOCULAR POV - Ashley 's party comes to a grinding halt . Kale PANS AROUND , picks up Ashley again . Glaring . Fire in her eyes as she storms O.S. Kale smiles with perverse satisfaction as he tilts his head , anticipating the doorbell to ring . Another beat , then - DING DONG .</scene_description> </scene> <scene> <stage_direction>INT. ENTRY HALL - EVENING - SECONDS LATER</stage_direction> <scene_description>Kale descends the stairs , maintaining his wicked grin . He opens the door for Ashley , but instead - gets PELTED WITH A BARRAGE OF WATER BALLOONS . Kale stands there , frozen as the two BRATS jump from the bushes , AD LIB MOCKING Kale as they laugh and race away into the shadows . Kale 's about to pursue when the sound of a DOOR OPENING O.S. stops him cold . He spins around to see ASHLEY storming in from the kitchen and marching up the stairs !</scene_description> <character>KALE</character> <dialogue>Hey!</dialogue> <scene_description>Kale races back to the stairs . Ashley increases her speed .</scene_description> </scene> <scene> <stage_direction>INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - EVENING - CONTINUOUS</stage_direction> <scene_description>Ashley storms down the hall , sees the speaker wires running into dad 's office .</scene_description> </scene> <scene> <stage_direction>INT. DAD'S OFFICE - EVENING - CONTINUOUS</stage_direction> <scene_description>Ashley SLAMS through the door , spots Kale 's I - pod , rips it out of its dock . The music stops . She spins around , runs smack into Kale who SWIPES the I - pod out of her hand and SLAMS it back in the dock . The music BLARES . Ashley moves in , but Kale blocks her path . She tries to get around him . He stands in her way .</scene_description> <character>ASHLEY</character> <parenthetical>( peering out the window as if shocked by something . )</parenthetical> <dialogue>Oh my God -</dialogue> <scene_description>Kale falls for it . He looks . Ashley shoves him out of the way , grabs the I - pod . Kale chases her out into .</scene_description> </scene> <scene> <stage_direction>INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - EVENING - CONTINUOUS</stage_direction> <scene_description>Ashley bolts into .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - EVENING - CONTINUOUS</stage_direction> <scene_description>Where she holds the I - pod out the window , stopping Kale in his tracks .</scene_description> <character>ASHLEY</character> <dialogue>Back off or I'll throw it where you ca n't follow.</dialogue> <character>KALE</character> <dialogue>Take it easy, that's sixty gigs of my life.</dialogue> <character>ASHLEY</character> <dialogue>Even better.</dialogue> <character>KALE</character> <dialogue>Okay - okay -</dialogue> <character>ASHLEY</character> <dialogue>What are you doing?</dialogue> <character>KALE</character> <dialogue>What are you doing?</dialogue> <character>ASHLEY</character> <dialogue>I'm trying to enjoy my party. Wait, that's wrong. According to you, I'm trying to conform -</dialogue> <character>KALE</character> <dialogue>Coulda fooled me.</dialogue> <character>ASHLEY</character> <dialogue>What does that mean?</dialogue> <character>KALE</character> <dialogue>Forget -</dialogue> <character>ASHLEY</character> <dialogue>No, I'm not gon na forget it.</dialogue> <character>KALE</character> <dialogue>You wan na blend in with that crowd, fine, then stop looking up and trying to get a rise outta me.</dialogue> <character>ASHLEY</character> <parenthetical>( realizing . )</parenthetical> <dialogue>So you were watching me. Question is for how long? Just tonight? Or maybe a week? Two weeks? Since I moved in?</dialogue> <scene_description>Kale tries to respond , but Ashley keeps pressing :</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And the whole `` my - neighbor's - the - killer'' thing. Great cover -</dialogue> <character>KALE</character> <dialogue>It's not a cover -</dialogue> <scene_description>Over the above Ashley glances around</scene_description> <character>ASHLEY</character> <dialogue>So what is it, Kale? Huh? What else have you seen?</dialogue> <character>KALE</character> <dialogue>What else have I seen?</dialogue> <character>ASHLEY</character> <dialogue>Yeah. What else?</dialogue> <character>KALE</character> <dialogue>Okay - I've seen how you always pull your kleenex from the box in groups of three. Not two, not four, always three. I've seen you're the only one in the world who eats pizza - flavored Pringles. And you never stuff the chips in, you savor each one by dividing it into four precise bites. I did n't know that was even possible. You're also the first girl I've ever seen who spends more time on her roof than in her own house. And what do you do out there? You do n't talk on the phone, you do n't paint your nails, you read books. Now one would think with the whole numbers thing you've got going on that you'd put them on your shelf alphabetically, but you do n't. Your system's much more perfect. The ones you like go on the bottom, the ones you love go in the middle, and the ones you need, the ones you keep going back to. well they go straight to the top next to the dream encyclopedia. You know what all this tells me? You know how things should be. The world according to Ashley. And guess what? It's a very entertaining and beautiful thing. Even when it takes a hit. When you end up in a place like this. when your parents dump their baggage on you, or just. when it seems like those curveballs are never gon na stop - It sucks, but just so you know - I get it. But I've also seen those designer window shades of yours, and guess what? They always go up the next day - no matter what. And even if no one else has, I've noticed that. And I ai n't sorry. The only thing I'll even consider apologizing for is. not dropping the binoculars and telling you this a lot sooner.</dialogue> <scene_description>A long beat as Ashley peers into Kale 's eyes . She slowly steps closer to him :</scene_description> <character>ASHLEY</character> <dialogue>That was either the creepiest. or the sweetest thing I've ever heard.</dialogue> <scene_description>Kale leans in and kisses her . They pull away , lock eyes . Then - Ashley pulls Kale by his soaking wet t - shirt , kisses him back even harder . Heavy make - out . Then - they stumble back toward the bed out of frame as we hold on Kale 's window - and Giles ' house beyond .</scene_description> </scene> <scene> <stage_direction>INT. DAD'S OFFICE - NIGHT</stage_direction> <scene_description>OUR POV - peering down into Ashley 's back yard . There 's a couple of guys passed out on rafts floating in the pool . WE SLOWLY PAN to reveal - KALE - looking tired , his eyes glazed , sitting at dad 's computer surfing a website : `` BRUTAL KILLINGS IN AUSTIN . '' ON THE SCREEN - As Kale clicks pages , we see FLASHES of CRIME SCENE PHOTOS from the three murders - the bodies of the three redheads - BLOODIED , BRUISED . ON KALE - he does n't blink as he clicks on ONE PHOTO after the OTHER . We see a FLASHES of the victims ' eyes - WIDE OPEN , LIFELESS . We suddenly hear laughter O.S. Kale SNAPS TO . He runs a hand through his hair , gets up , moves to the window . HIS POV - ASHLEY 'S POOL - a couple of girls GIGGLE as they stand at the edge of the pool pouring beer onto the passed - out guys ' chests .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - NIGHT - MOMENTS LATER</stage_direction> <scene_description>Kale quietly enters and shuts the door . He 's hiding something behind his back as he sits on the bed next to a sleeping Ashley . She stirs , opens her eyes , peers up at him , smiles .</scene_description> <character>KALE</character> <dialogue>Hey.</dialogue> <character>ASHLEY</character> <dialogue>Hey. where have you been?</dialogue> <scene_description>Kale holds up a folded piece of paper , hands it to Ashley . She curiously eyes Kale , then takes it , opens it to reveal a printed - out picture of a long - stem red rose . Ashley smiles .</scene_description> <character>KALE</character> <dialogue>If would have gone to the flower shop, but -</dialogue> <character>ASHLEY</character> <dialogue>I know.</dialogue> <scene_description>Ashley pulls Kale in for a kiss . She pulls away , falls back to the bed . Her eyes glance down at Kale 's ankle bracelet .</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>So how much longer?</dialogue> <character>KALE</character> <dialogue>Oh, two months, twelve days, nineteen hours give or take.</dialogue> <scene_description>A beat as the two peer into each other 's eyes . Then :</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You know the other night. when you said you thought I'd be more messed up.</dialogue> <character>ASHLEY</character> <dialogue>For a guy who killed his teacher.</dialogue> <character>KALE</character> <dialogue>I did n't kill my -</dialogue> <character>ASHLEY</character> <dialogue>Shhh.</dialogue> <parenthetical>( kisses him again . )</parenthetical> <dialogue>I know. - I know.</dialogue> <scene_description>We get the impression she knows a lot . Kale leans in for another kiss . But this time , as they lock lips , Ashley 's eyes shoot open . HER POV - the first hints of daylight out the window .</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh my God, what time is it?</dialogue> <character>KALE</character> <dialogue>Three - thirty.</dialogue> <character>ASHLEY</character> <dialogue>I've got ta go.</dialogue> <scene_description>Ashley scrambles out of bed for her clothes , getting dressed , searching for her shirt . Kale spots it behind the bed . As he gets up to retrieve it , he hears a NOISE O.S. Kale peers out the window - HIS POV - Giles is dragging a HEAVY BLUE PLASTIC BAG down the stairs leading to the garage .</scene_description> <character>KALE</character> <dialogue>You better see this.</dialogue> <scene_description>Ashley throws on her shoes , joins Kale at the window . THEIR POV - Giles pulls the bag into the garage next to what we presume is the Mustang that 's now been covered with a TARP . -LRB- Note : The woman 's car is still in the driveway . -RRB- Kale grabs the binoculars . BINOCULAR POV - We catch a glimpse of a few CRIMSON RED SMEARS on the blue bag as Giles heaves it behind the Mustang .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Look, quick -</dialogue> <character>ASHLEY</character> <dialogue>What?</dialogue> <scene_description>Kale gives her the binoculars . Ashley looks over .</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( sarcastic . )</parenthetical> <dialogue>That's normal.</dialogue> <scene_description>Giles ' GARAGE DOOR CLOSES .</scene_description> <character>KALE</character> <parenthetical>( re : woman 's car . )</parenthetical> <dialogue>Her car. still has n't moved.</dialogue> <scene_description>Ashley pauses , peers out the window again . She ca n't help but be a little concerned . Then -</scene_description> <character>ASHLEY</character> <dialogue>So what do you wan na do?</dialogue> <scene_description>Off Kale -</scene_description> <character>RONNIE</character> <parenthetical>( prelap . )</parenthetical> <dialogue>You want me to do what?</dialogue> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - DAY - LATER</stage_direction> <scene_description>ON KALE - holding up a UNIVERSAL GARAGE DOOR REMOTE still in the package . Ashley and Ronnie are on the bed . Note : Kale is wearing the same clothes he was yesterday , the stubble coming back . Hair more disheveled , eyes a little puffier .</scene_description> <character>KALE</character> <dialogue>Phase one, steal his code from his opener.</dialogue> <character>RONNIE</character> <dialogue>There's more than one phase?</dialogue> <character>KALE</character> <dialogue>There's only two. Now look, his remote's in the glove compartment of his Toyota. All you have to do is pop it open and read me the switch settings. `` On'' or `` off.''</dialogue> <character>RONNIE</character> <dialogue>For the later purpose of doing what? Breaking in to his house?</dialogue> <character>KALE</character> <dialogue>No, not breaking in. We're just talking about having access to his garage so we can go in on our own time - when he's not there - to just. to get a closer look at the car, the bag -</dialogue> <character>RONNIE</character> <parenthetical>( to Ashley . )</parenthetical> <dialogue>All this sounds reasonable to you?</dialogue> <character>ASHLEY</character> <dialogue>I do n't know about that, but -</dialogue> <character>KALE</character> <parenthetical>( re : universal remote . )</parenthetical> <dialogue>This is good up to thirteen digits -</dialogue> <character>RONNIE</character> <parenthetical>( realizing . )</parenthetical> <dialogue>How long have you been planning this?</dialogue> <scene_description>Ronnie eyes Kale with concern . Kale does n't answer . GILES suddenly FIRES UP HIS LAWNMOWER O.S. KALE 'S POV - Giles pushes the mower around the side of the house to the front yard .</scene_description> <character>KALE</character> <dialogue>Look, if we're gon na do this, it's got ta be now. He takes twenty - one minutes average to mow his front yard. you'll be hearing him the whole time.</dialogue> <scene_description>Ashley grabs the remote .</scene_description> <character>ASHLEY</character> <dialogue>I'll do it.</dialogue> <character>RONNIE</character> <dialogue>No.</dialogue> <parenthetical>( beat ; then grabbing the remote . )</parenthetical> <dialogue>It is n't safe.</dialogue> <parenthetical>( getting up ; macho . )</parenthetical> <dialogue>Let's do it.</dialogue> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - DAY - LATER</stage_direction> <scene_description>CU - KALE 'S CELL PHONE - `` LIKE A VIRGIN '' suddenly blares . WIDER - Kale flips his cell open , holds it in one hand , binocs in the other .</scene_description> <character>KALE</character> <parenthetical>( into headset as needed . )</parenthetical> <dialogue>Yo, you set?</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( phone filter as needed ; suddenly sounding not so macho . )</parenthetical> <dialogue>I ca n't believe I'm doing this.</dialogue> <character>KALE</character> <dialogue>Let me conference Ashley in.</dialogue> <parenthetical>( punches buttons ; then . )</parenthetical> <dialogue>Ashley, you there?</dialogue> <character>ASHLEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Ten - four.</dialogue> <character>KALE</character> <dialogue>Nice.</dialogue> <scene_description>Kale presses `` RECORD '' on the tri - pod - mounted DV CAM . He peers back out the window . We hear Giles ' lawnmower O.S. Both sides of his house are clear .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Okay, Ron - Green light.</dialogue> <scene_description>KALE 'S POV - OUT HIS WINDOW - RONNIE - suddenly appears from the bottom of frame , keeping low as he darts to the fence . Ronnie turns , peers back up to Kale , gives him the thumbs up or down .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You're all good.</dialogue> <scene_description>BINOCULAR POV - Ronnie draws a breath , then very ungracefully hops the fence and falls into Giles ' yard out of sight .</scene_description> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Oww, shit -</dialogue> <character>KALE</character> <dialogue>You okay -</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What do you think?</dialogue> <scene_description>BINOCULAR POV - Ronnie scrambles to his feet from behind the fence , darts to the driver 's side door of Giles ' Toyota .</scene_description> <character>KALE</character> <dialogue>Dude, glove compartment, other side.</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Excuse me if I'm used to my mom's import. Can I just try this one while I'm here?</dialogue> <scene_description>BINOCULAR POV - Ronnie lifts up on the latch . Locked .</scene_description> <character>RONNIE</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>Shit.</dialogue> <scene_description>Ronnie tries the back door . Locked .</scene_description> <character>RONNIE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( in Korean . )</parenthetical> <dialogue>Shit.</dialogue> <scene_description>BINOCULAR POV - Kale PANS ACROSS to the other side of Giles ' house . Nothing . He PANS BACK to Ronnie . OUR POV - Over Kale 's shoulder , we see Kale is clearly aiming his binocs at Ronnie . But we also see ON THE FAR SIDE OF FRAME GILES ' NEIGHBOR PULLS HER LAWNMOWER OUT OF HER GARAGE AND ROLLS IT O.S - But Kale is n't seeing this !</scene_description> <character>RONNIE</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>They're all gon na be locked -</dialogue> <character>KALE</character> <dialogue>Well, while you're there, will you just check?</dialogue> <scene_description>Ronnie goes around the back of the Toyota to the other side . He lifts up on the passenger door latch . Bingo .</scene_description> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I'm in.</dialogue> <character>KALE</character> <dialogue>You see the package?</dialogue> <scene_description>We see and hear Ronnie , his ass to us , rummaging around the inside of Giles ' car .</scene_description> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Oh my God -</dialogue> <character>ASHLEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What's wrong?</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>There's like a month - old order of Nachos Bell Grande under the seat.</dialogue> <parenthetical>( then . )</parenthetical> <dialogue>Okay, I found it.</dialogue> <scene_description>Kale grabs the pencil and notebook .</scene_description> <character>KALE</character> <dialogue>Whenever you're ready.</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Looks like `` on, on, on, off, off, on.'' No wait, that one was `` off.''</dialogue> <character>KALE</character> <dialogue>Just start over.</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>`` On, on, on, off, off, off, on -''</dialogue> <scene_description>Ronnie pauses . Kale glances up . Just happens to shift his gaze to the side of Giles ' house to see - KALE 'S POV - GILES IS WALKING BACK AROUND with no lawnmower ! But for some reason we still HEAR A LAWNMOWER .</scene_description> <character>KALE</character> <dialogue>No, no -</dialogue> <scene_description>Kale grabs the binoculars .</scene_description> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I'll get it right this time.</dialogue> <character>KALE</character> <dialogue>Ronnie, he's coming around.</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Dude, stop dicking with me, I still hear his -</dialogue> <scene_description>BINOCULAR POV - Kale WHIP PANS to Giles ' neighbor , JUDY THORP - CUTTING HER GRASS , TOO .</scene_description> <character>KALE</character> <parenthetical>( trying to remain calm and succinct . )</parenthetical> <dialogue>Ronnie, I am not dicking with you. The neighbor is also mowing her lawn and he's going to see you -</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( full - on panic . )</parenthetical> <dialogue>Kale, what do I do?! Where -</dialogue> <character>KALE</character> <dialogue>GET IN THE CAR!</dialogue> <scene_description>KALE 'S POV - Ronnie dives in the car just as Giles rounds the corner of the house .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Put the remote back -</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I did, I did -</dialogue> <character>KALE</character> <dialogue>Easy on the door.</dialogue> <scene_description>Ronnie gently pulls the door shut .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do n't panic, he's coming straight for you -</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>What?! Kale, you've got ta get me -</dialogue> <character>KALE</character> <dialogue>Back seat, NOW!</dialogue> <scene_description>BINOCULAR POV - Ronnie TUMBLES into the back seat and out of sight just as GILES heads for the car .</scene_description> <character>KALE</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>Ashley -</dialogue> <character>ASHLEY</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I'm on it.</dialogue> <character>RONNIE</character> <parenthetical>( practically crying . )</parenthetical> <dialogue>Kale, tell my mom -</dialogue> <character>KALE</character> <dialogue>Shut up, stay down and do n't move.</dialogue> <scene_description>KALE 'S POV - Giles opens the passenger door . About to reach in when something distracts him - Giles pulls himself out , looks over to see ASHLEY Heading up the driveway . We barely hear her introduce herself to Giles . Giles steps around to the front of the car , uneasily shakes her hand .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Ronnie, you're good -</dialogue> <scene_description>No answer .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Ronnie?</dialogue> <scene_description>BINOCULAR POV - Kale TILTS BACK TO THE TOYOTA , sees Ronnie sneaking out the back seat door on the driver 's side as Ashley distracts Giles , pointing up to the trees on the opposite side of the yard . Who knows what they 're talking about . Bird - watching perhaps . Whatever it is , it 's working .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Ronnie, was that the whole code? Ronnie?</dialogue> <scene_description>BINOCULAR POV - Kale PANS BACK to Ronnie as he hops the fence back into Kale 's yard . Kale TILTS BACK UP to Ashley and Giles in the driveway .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( talking to Ashley even though she ca n't hear . )</parenthetical> <dialogue>Okay, Ashley, you're good, come on.</dialogue> <scene_description>Over this , a breathless Ronnie stumbles into the bedroom , joins Kale at the window .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Was that the whole code?</dialogue> <character>RONNIE</character> <parenthetical>( pissed . )</parenthetical> <dialogue>Excuse me?</dialogue> <character>KALE</character> <parenthetical>( serious . )</parenthetical> <dialogue>The code, did you get it?</dialogue> <character>RONNIE</character> <dialogue>You've got ta be kidding.</dialogue> <scene_description>Ronnie and Kale lock eyes for a tense beat . Then :</scene_description> <character>KALE</character> <parenthetical>( re : something O.S . )</parenthetical> <dialogue>No way.</dialogue> <scene_description>KALE 'S POV - THE CLUB GIRL Giles brought home the other night exits the back door and walks up to Ashley and Giles !</scene_description> <character>RONNIE</character> <parenthetical>( stepping closer . )</parenthetical> <dialogue>Great, Kale. She lives.</dialogue> <scene_description>Kale and Ronnie watch as Ashley shakes hands with the club girl , then throws a quick surprised glance up to Kale and Ronnie . Giles ' body language tells us he 's ready for Ashley to leave . Ashley gets the hint , shakes his hand , heads back down the driveway and out of sight . Kale raises the binoculars again , then furiously grabs for his pad and pencil . BINOCULAR POV - The club girl gets in her car . Giles closes her door , watches as she backs out . Kale TILTS DOWN to her license plate , starts jotting down the number .</scene_description> <character>RONNIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What are you doing?</dialogue> <character>KALE</character> <dialogue>Getting her license number -</dialogue> <character>RONNIE</character> <dialogue>Why?</dialogue> <scene_description>Kale does n't answer , still trying to get the rest of the number as Ashley enters , eyes Ronnie who gestures to Kale .</scene_description> <character>ASHLEY</character> <dialogue>Okay, case closed.</dialogue> <character>RONNIE</character> <dialogue>Try telling Inspector Clouseau that. Now he thinks he needs her license number.</dialogue> <character>ASHLEY</character> <dialogue>Why, Kale? It's over.</dialogue> <scene_description>Kale 's starting to get manic :</scene_description> <character>KALE</character> <dialogue>`` Yeah, he seemed like such a normal guy. Sure he kept to himself, but he was always nice to me.'' That's what they all say. That's what all the neighbors always say - after the fact. Only after they've caught the guy, after he's killed thirty people -</dialogue> <scene_description>Ashley and Ronnie trade concerned looks .</scene_description> <character>ASHLEY</character> <dialogue>Okay, I think we all just need to take a breath.</dialogue> <character>KALE</character> <parenthetical>( heading out . )</parenthetical> <dialogue>Fine, but what about the bumper sticker, there's still a girl missing, just. what's in the bag?</dialogue> <parenthetical>( then from O.S . )</parenthetical> <dialogue>Can anyone tell me that?</dialogue> <scene_description>Off Ronnie and Ashley -</scene_description> </scene> <scene> <stage_direction>INT. DAD'S OFFICE - DAY - CONTINUOUS</stage_direction> <scene_description>Kale enters , goes to the desk , sits at dad 's computer , clicking keys as Ashley and Ronnie enter -</scene_description> <character>ASHLEY</character> <dialogue>Kale, why are you so -</dialogue> <scene_description>Ashley and Ronnie stop in their tracks at the MESS . Note : Up till now , the office has been in reasonably good order . But now , it 's noticeably different . WIDER - The shades are drawn . Soda cans everywhere . papers are spread on the floor : PRINTED OUT FULL COLOR GRUESOME CRIME SCENE PHOTOS , BLACK &amp; WHITE AUTOPSY PHOTOS of the murdered redheads . more pictures of the girl who disappeared , PATRICIA WALSH . `` MISSING '' FLYERS . Over the above , Ronnie leans down , lifts a couple of books out of an Amazon.com box : `` Murderer : Tell Tale Signs of a Serial Killer '' and `` The Shrine of Jeffrey Dahmer '' - the titles Ashley was referencing earlier . Ronnie shows them to Ashley who takes a RECEIPT out of a nearby Home Depot box - on the page - SMITH 'S UNIVERSAL GARAGE DOOR REMOTE QTY -LRB- 1 -RRB- $ 29.99 . Ashley and Ronnie turn to Kale . They notice on the wall behind him , hanging next to his Dad 's book cover posters , a BLACK AND WHITE POSTER - SIZE SATELLITE PHOTO of THE NEIGHBORHOOD . Giles ' house is circled and labeled in flourescent ink . Kale finally looks up , notices them looking -</scene_description> <character>KALE</character> <parenthetical>( re : satellite poster . )</parenthetical> <dialogue>Ronnie, you've seen this satellite website, right? You can find any location on earth and take a picture -</dialogue> <character>RONNIE</character> <dialogue>Yeah, for a small fee -</dialogue> <character>ASHLEY</character> <dialogue>Kale, what are you doing?</dialogue> <character>KALE</character> <dialogue>Trying to get to the bottom of this.</dialogue> <character>ASHLEY</character> <parenthetical>( delicately . )</parenthetical> <dialogue>Kale, right now, it does n't look that way.</dialogue> <character>KALE</character> <dialogue>What's it look like?</dialogue> <character>ASHLEY</character> <dialogue>Like you're determined to turn Giles in to who you think he is.</dialogue> <character>KALE</character> <dialogue>Not who I think.</dialogue> <character>ASHLEY</character> <parenthetical>( beat ; then . )</parenthetical> <dialogue>I just did n't realize - you were this -</dialogue> <character>KALE</character> <dialogue>What, crazy? Maybe I am. But maybe I'm right.</dialogue> <character>ASHLEY</character> <dialogue>It's not about that, it's about -.</dialogue> <parenthetical>( beat ; then quietly . )</parenthetical> <dialogue>- What I see. What Ronnie and I are seeing right now. I see a guy who looks like he has n't slept in days.</dialogue> <parenthetical>( peers at dad 's book cover posters . )</parenthetical> <dialogue>I'm seeing you sitting at your dad's desk -</dialogue> <scene_description>That gets Kale 's attention .</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>- Because you lost him before maybe. you ever really knew him. Before the world according to Kale took a hit from that same stuff you were telling me about, remember? All those curveballs? But it's like - it's like you're still trying to dodge them by forcing pieces together that are never gon na fit. by getting all wrapped up in.</dialogue> <parenthetical>( re : mess . )</parenthetical> <dialogue>This.</dialogue> <parenthetical>( beat ; then . )</parenthetical> <dialogue>Obsessing's not gon na `` protect you,'' Kale. It's not gon na make the hurt go away.</dialogue> <scene_description>Kale locks eyes with Ashley . A long beat , then -</scene_description> <character>KALE</character> <dialogue>Are you two gon na help me or not?</dialogue> <scene_description>Ashley pauses , shocked she has n't gotten through to Kale . Then -</scene_description> <character>ASHLEY</character> <dialogue>I want to.</dialogue> <character>KALE</character> <parenthetical>( picks up a stack . )</parenthetical> <dialogue>Then start looking through these -</dialogue> <character>ASHLEY</character> <dialogue>That's not what I meant.</dialogue> <character>KALE</character> <parenthetical>( beat ; then . )</parenthetical> <dialogue>Well, this is all I need, so - I guess I'll see you later.</dialogue> <scene_description>Ashley and Ronnie trade looks . Then - Ashley leaves . Ronnie turns back to Kale .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>So what's your deal? You hanging out or not?</dialogue> <character>RONNIE</character> <dialogue>I would, dude, but - I've got ta pull it together and - change my underwear. Catch you later?</dialogue> <character>KALE</character> <dialogue>Sure.</dialogue> <scene_description>Ronnie leaves . Kale sits in silence , his thoughts unreadable - Kale falls back in the leather chair , fighting his emotions , trying to keep them in check . He glances out to Ashley 's . Dark . He peers around the office - the articles , the books , his DAD 'S PHOTOS . the family portrait of Dad , Mom , and Kale , smiling wide . their lives ahead of them .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - NIGHT</stage_direction> <scene_description>In the darkness , find Kale sitting in his video game chair staring out at Giles ' house . HIS POV - Giles ' garage door is open . Giles ' silver Toyota is parked inside next to the Mustang . There 's a light or two on inside Giles ' house but no signs of movement . Kale throws intermittent glances out the window as he starts to UNSCREW the back of the DV CAM . He lifts the back off , then reaches in a nearby BOX and pulls out a BLUE TOOTH WIRELESS CIRCUIT BOARD . He starts connecting it inside the camera . JUMP CUT : Kale screws the back of the camera on , takes a swig of a soda . There 's suddenly fierce KNOCKING at Kale 's front door . Kale just sits there . Staring ahead . More knocking and DOORBELL RINGING . Kale jumps from his chair , grabs the bat .</scene_description> </scene> <scene> <stage_direction>INT. ENTRY HALL - NIGHT - SECONDS LATER</stage_direction> <scene_description>Kale swings the door open - nobody 's there - then - Ronnie suddenly STEPS INTO FRAME , grabs Kale -</scene_description> <character>KALE</character> <dialogue>Get off me, man.</dialogue> <character>RONNIE</character> <dialogue>Dude - my cell phone's - still in his car.</dialogue> <scene_description>Kale eyes Ronnie a beat .</scene_description> <character>RONNIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Kale, did you hear me?</dialogue> <character>KALE</character> <parenthetical>( beat ; then . )</parenthetical> <dialogue>Ronnie, I know you think I'm losing my mind, but. listen, I'll help you get it, I just need you to do one thing.</dialogue> <character>RONNIE</character> <parenthetical>( shaking his head . )</parenthetical> <dialogue>Phase two. I knew it.</dialogue> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - NIGHT - SHORT TIME LATER</stage_direction> <scene_description>A SHAKY and grainy VIDEO IMAGE appears on Kale 's computer screen . Kale picks up one of Ronnie 's old walkie - talkies .</scene_description> <character>KALE</character> <parenthetical>( into walkie talkie as needed . )</parenthetical> <dialogue>You read?</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( walkie talkie filter as needed . )</parenthetical> <dialogue>Yeah, you got a signal?</dialogue> <scene_description>ON KALE 'S COMPUTER SCREEN - Ronnie suddenly aims THE VIDEO CAMERA AT HIS FACE .</scene_description> <character>KALE</character> <dialogue>Got video, no audio.</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Yeah, mic's on the fritz. How am I looking?</dialogue> <scene_description>Kale picks up the binoculars . BINOCULAR POV - Giles ' garage door is still open . There 's a light on at the opposite end of the house .</scene_description> <character>KALE</character> <dialogue>Light on, far end.</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I guess it's now or never. Moving out.</dialogue> <scene_description>Kale turns back to the computer screen - RONNIE 'S DV CAM POV - His feet dart across the yard - he TILTS UP - approaching the fence .</scene_description> <character>KALE</character> <parenthetical>( re : Giles . )</parenthetical> <dialogue>No movement.</dialogue> <scene_description>RONNIE 'S DV CAM POV - Ronnie hops the fence .</scene_description> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>First hurdle -</dialogue> <scene_description>RONNIE 'S DV CAM POV - The image goes to SNOW for a split second - the signal weakening . Kale peers out the window - BINOCULAR POV - We barely make out Ronnie 's silhouette as he makes his way toward the garage -</scene_description> <character>RONNIE</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>Twenty feet. Ten feet -</dialogue> <scene_description>RONNIE 'S DV CAM POV - Rapidly approaching the back of Giles ' Toyota .</scene_description> <character>RONNIE</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>Garage -</dialogue> <scene_description>RONNIE 'S DV CAM POV - Very shaky as Ronnie makes his way to the back seat door - he takes out a pen light , aims it at the door as his hand enters frame , lifts up on the latch . The door pops open .</scene_description> <character>RONNIE</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>Bingo.</dialogue> <scene_description>RONNIE 'S DV CAM POV - We see Ronnie 's hand feeling around the back seat floor of Giles ' car . Kale 's CALL WAITING suddenly BEEPS . He looks at the CALLER I.D : ASHLEY . Shit . He has to let it go .</scene_description> <character>RONNIE</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>I'm not seeing it -</dialogue> <character>KALE</character> <dialogue>Stay calm, it's there.</dialogue> <scene_description>RONNIE 'S DV CAM POV - Ronnie 's hand finally pulls out the cell phone .</scene_description> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I've got it.</dialogue> <scene_description>BINOCULAR POV - Giles ' house . Still no sign of movement .</scene_description> <character>KALE</character> <dialogue>You're still clear, check the bag.</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Hang on -</dialogue> <scene_description>RONNIE 'S DV CAM POV - We see Ronnie 's hand gently push the door of Giles ' Toyota closed . The angle TILTS DOWN - we 're now watching Ronnie 's feet as they stride deeper into the garage , walking in between the Toyota and Mustang .</scene_description> <character>RONNIE</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>I'm setting the camera on the trunk.</dialogue> <character>KALE</character> <dialogue>Try to get the plate number of the Mustang and check for dents -</dialogue> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I'm checking the bag first.</dialogue> <scene_description>RONNIE 'S DV CAM POV - Ronnie sets the camera on the trunk of the Mustang , aims it perfectly at the BLUE BAG sitting in the corner . We watch with Kale as Ronnie enters frame , crouched low , heading toward the bag . He raises the walkie talkie -</scene_description> <character>RONNIE</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>It does look like blood - and hair -</dialogue> <scene_description>RONNIE 'S DV CAM POV - We watch as Ronnie kneels down , starts to open the bag . But suddenly , the still POV suddenly STARTS TO SLOWLY , STEADILY TRACK TO THE LEFT - And Kale realizes -</scene_description> <character>KALE</character> <dialogue>The camera's sliding -</dialogue> <scene_description>RONNIE 'S DV CAM POV - We watch as Ronnie spins and grabs the camera .</scene_description> <character>RONNIE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>That was close.</dialogue> <scene_description>We hear another NOISE O.S.</scene_description> <character>RONNIE</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>Oh shit -</dialogue> <scene_description>Kale looks out - KALE 'S POV - Giles ' GARAGE DOOR STARTS TO CLOSE .</scene_description> <character>KALE</character> <dialogue>Ronnie?</dialogue> <character>RONNIE</character> <parenthetical>( staticky . )</parenthetical> <dialogue>- make it - interference - somebody's here -</dialogue> <character>KALE</character> <dialogue>Ronnie?!</dialogue> <scene_description>Dead air . Giles ' GARAGE DOOR SLAMS SHUT . RONNIE 'S DV CAM POV - We watch as Ronnie picks up the camera , aims it at his face . Looking terrified . The camera swings away as we see Ronnie 's feet scrambling along the concrete floor and then - they appear to RACE THROUGH A DOORWAY ONTO DIMLY LIT HARDWOOD FLOOR - making us and Kale realize -</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>He's in the house -.</dialogue> <parenthetical>( into walkie . )</parenthetical> <dialogue>Ronnie?</dialogue> <scene_description>Still nothing . RONNIE 'S DV CAM POV - Shaky . We catch GLIMPSES OF RONNIE 'S FEET - hauling ass down a HALLWAY , ROUNDING A CORNER ONTO CARPET , THEN BACK ONTO HARDWOOD -</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What the hell -</dialogue> <scene_description>ON THE SCREEN - Ronnie suddenly PANS THE CAMERA up to his face as he runs , clearly mouthing `` HELP ME ! ''</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>RONNIE! Shit -</dialogue> <scene_description>Then - the camera seems to fall , SLIDING ON THE HARDWOOD FLOOR TOWARD AN OLD BOOKCASE . THE IMAGE CUTS OUT - GOES TO ALL SNOW - Kale jumps up , pacing . Peers out the window to Giles ' . No telling what the hell 's happening - or happened - in there . Kale eyes his ankle bracelet . Green light . Kale eyes his bat . Grabs it . Fuck it .</scene_description> </scene> <scene> <stage_direction>EXT. KALE'S BACK YARD - NIGHT - MOMENTS LATER</stage_direction> <scene_description>Kale SLAMS out the back door , races across the yard , skips over his kite string boundary - ON HIS ANKLE BRACELET - Red light FLASHES . WITH KALE - he hops the fence , racing to .</scene_description> </scene> <scene> <stage_direction>EXT. GILES' BACK YARD/HOUSE - NIGHT - CONTINUOUS</stage_direction> <character>KALE</character> <dialogue>Ronnie?!</dialogue> <scene_description>Kale darts to Giles ' back door , tries the knob - locked .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Ronnie, can you hear me?! Giles, open the door!</dialogue> <scene_description>The house is still . Kale bolts around the side , uneasily feeling his way through shadows and low - hanging branches .</scene_description> </scene> <scene> <stage_direction>EXT. GILES' FRONT YARD - NIGHT - CONTINUOUS</stage_direction> <scene_description>It 's even darker on this side . No lights on in Giles ' house . Kale cautiously rounds the side , approaches the front door - it 's open a few inches - darkness beyond . Kale eyes it a beat . Then - steps up onto the porch , about to push it open when - SIRENS BLARE O.S. Kale SPINS AROUND to see A POLICE CRUISER ROLLING TO A STOP . Kale races toward it as two uniformed officers step out -</scene_description> <character>KALE</character> <dialogue>Hey!</dialogue> <scene_description>The officer pulls his sidearm , aims it at Kale -</scene_description> <character>UNIFORM #1</character> <dialogue>Freeze. Hands above your head, now!</dialogue> <character>KALE</character> <dialogue>Please, my friend's been kidnapped, he's in this house - he's inside, I think the owner's trying to kill him -</dialogue> <character>UNIFORM #1</character> <dialogue>Stay right there.</dialogue> <character>UNIFORM #2</character> <dialogue>I've got it -</dialogue> <scene_description>Uniform # 2 heads briskly to Giles ' front door .</scene_description> <character>UNIFORM #1</character> <parenthetical>( into radio mic . )</parenthetical> <dialogue>Dispatch, 13A74, we're 10 - 26 with the kid, he's claiming a 10 - 31 at.</dialogue> <parenthetical>( eying numbers above Giles ' door . )</parenthetical> <dialogue>4710 Fairway Court. House behind his residence, request 10 - 78.</dialogue> <character>DISPATCHER</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( over mic . )</parenthetical> <dialogue>13A74, ten - four, units already in the area, will advise -</dialogue> <scene_description>Kale watches as Uniform # 2 approaches the Giles ' door .</scene_description> <character>UNIFORM #2</character> <dialogue>It's open.</dialogue> <character>KALE</character> <dialogue>It was already open.</dialogue> <scene_description>Uniform # 2 knocks on the door . Rings the bell . No answer . Uniform # 2 's about to knock again when a light comes on inside . After a beat - Giles opens the door . Looking disheveled , in his bathrobe .</scene_description> <character>GILES</character> <dialogue>Uh, yes, can I help you, officer?</dialogue> <character>UNIFORM #2</character> <dialogue>Sorry to wake you, sir, we have a young man here claiming a friend of his is in your house. Would you know anything about that?</dialogue> <character>GILES</character> <parenthetical>( laughs . )</parenthetical> <dialogue>No, I certainly would n't.</dialogue> <character>KALE</character> <dialogue>You're a lying son of a bitch!</dialogue> <scene_description>Uniform # 1 retrains Kale as another CRUISER rolls to a stop . Uniforms # 3 &amp; 4 hop out , head to Uniform # 1 to assist .</scene_description> <character>UNIFORM #1</character> <dialogue>Take it easy -</dialogue> <character>KALE</character> <dialogue>He's in there, goddammit! He's inside! He's lying!</dialogue> <scene_description>Uniform # 1 pulls Kale back to the cruiser , opens the back door and pushes him down on the seat -</scene_description> <character>UNIFORM #1</character> <dialogue>Sir, calm down -</dialogue> <character>KALE</character> <dialogue>Okay, but he's lying - he has my friend, and he kidnapped that girl last week, he killed maybe three others, all redheads, they could be in a bag - a big blue plastic bag - in his garage - my friend knew this -.</dialogue> <parenthetical>( re : Giles . )</parenthetical> <dialogue>That's why he's covering - he did n't just wake up five minutes ago -</dialogue> <scene_description>Uniform # 1 looks concerned as he steps away from Kale .</scene_description> <character>UNIFORM #1</character> <parenthetical>( to Uniform # 3 ; re : Kale . )</parenthetical> <dialogue>Can you -</dialogue> <scene_description>Uniform # 3 nods as Uniform # 1 heads back up to Giles and Uniform # 2 . KALE 'S POV - Uniform # 1 whispers something to Uniform # 2 . They turn back to Giles .</scene_description> <character>UNIFORM #2</character> <dialogue>Sir, do you mind if we take a look inside?</dialogue> <scene_description>A beat . A couple more police cruisers roll to a stop . Curious NEIGHBORS are now gathering across the street .</scene_description> <character>GILES</character> <dialogue>Absolutely, be my guest.</dialogue> <scene_description>Giles ushers them through the door and follows them into the house . Giles turns , shoots a quick glance to Kale before closing the door . ON KALE - all he can do is wait . He shifts his gaze to the gathering neighbors . A few lock eyes with him , shake their heads . Kale turns back toward the house .</scene_description> </scene> <scene> <stage_direction>EXT. GILES' BACK YARD - GARAGE - NIGHT - SHORT TIME LATER</stage_direction> <scene_description>ON THE GARAGE DOOR - as it slowly raises up . WIDER - The uniforms , standing with Kale , wait as the door opens all the way . A light comes on inside . Giles and Uniform # 1 come out the inner garage door as Uniform # 2 Giles drags the BLUE BAG out from the garage . Sure enough , there 's blood smears and visible strands of matted hair near the top . Uniform # 2 unties the bag , pulls the sides away . Everyone gathers around , peers inside , then suddenly yank themselves back at the horrible STENCH emanating from within . Kale eyes Uniform # 1 who gestures him to look . Kale steps toward the bag . KALE 'S POV - We peer into the bag to reveal the WIDE OPEN eyes of a dead - DEER .</scene_description> <character>GILES</character> <parenthetical>( to the cops . )</parenthetical> <dialogue>I hit it the other night. Thought I'd save a few steps and get it off the road myself. I was gon na bury it sooner, but it's been a helluva week -</dialogue> <character>KALE</character> <dialogue>So why'd you have to have the car fixed in record time, huh? Because it was covered in her blood -</dialogue> <character>GILES</character> <parenthetical>( talking over him ; re : Mustang . )</parenthetical> <dialogue>Because it's a classic, I got it out of storage for the auto show, I needed it in pristine condition.</dialogue> <character>UNIFORM #2</character> <dialogue>It's one of the biggest in the world.</dialogue> <parenthetical>( off Uniform # 1 . )</parenthetical> <dialogue>The auto show.</dialogue> <scene_description>All eyes on Kale . He slumps . Giles has an answer for everything .</scene_description> <character>UNIFORM #1</character> <dialogue>I think we're done here. Sorry for the intrusion, sir.</dialogue> <character>GILES</character> <dialogue>Please, I understand.</dialogue> <scene_description>As the Uniforms lead Kale back down the driveway .</scene_description> <character>KALE</character> <parenthetical>( quietly ; drained . )</parenthetical> <dialogue>So where's my friend, then? Can anyone tell me that? Does anyone believe me?!</dialogue> <scene_description>Kale looks over , sees PARKER , standing with JULIE whose eyes are filled with it all : anger , concern , sadness .</scene_description> <character>JULIE</character> <dialogue>Kale, come on -</dialogue> <scene_description>Kale turns back to Giles ' house . Sees lights being turned out inside . As Kale shifts his gaze forward , he locks eyes with ASHLEY standing in the crowd of neighbors . She watches him with concern . Kale turns away , drops his head as the cops , Parker and Julie lead him away . a FLASH OF LIGHTNING in the distance .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT - LATER</stage_direction> <scene_description>Kale sits on the sofa , staring off . He looks to the stairs as Julie and Parker head down . Parker nods to Uniform # 3 who 's standing next to Kale . Uniform # 3 meets Parker and Julie at the front door . Julie quietly nods to them , opens the door . A few more inaudible words are exchanged before Julie gently closes the door behind them . Julie heads back into the living room , sits across from Kale .</scene_description> <character>JULIE</character> <parenthetical>( a beat ; then . )</parenthetical> <dialogue>I'm sorry, Kale.</dialogue> <scene_description>Not the words Kale expected . He looks up -</scene_description> <character>JULIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I really am. You know, one thing I always told myself was that no matter what, I would always know what was going on with my kid -</dialogue> <character>KALE</character> <dialogue>Mom -</dialogue> <character>JULIE</character> <dialogue>Let me finish - because I have to tell you something.</dialogue> <parenthetical>( then . )</parenthetical> <dialogue>I feel like I let you down. I was too caught up in my own grief to see straight. I thought time would heal this and taking a second job was. the answer to keeping a roof over our heads -</dialogue> <character>KALE</character> <dialogue>It was -</dialogue> <character>JULIE</character> <parenthetical>( points to ceiling . )</parenthetical> <dialogue>That's just wood. Do you hear me? We're still not through this - obviously - it's gon na take more time - maybe a lot more time - and that's just got ta be okay, because I know - it'll get better.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I want us to be us again. I want us to be honest with each other like we used to be. Is that possible?</dialogue> <character>KALE</character> <dialogue>Yeah. I just - did n't think you'd believe me -</dialogue> <character>JULIE</character> <dialogue>Listen to me. I am always on your side. No matter what. It may not look like it sometimes, but it's the truth. And we'll get through this. Okay?</dialogue> <scene_description>Kale nods . He stands , goes to Julie and hugs her - tight .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - NIGHT - LATER</stage_direction> <scene_description>Kale enters amidst a few more LIGHTNING FLASHES and distant ROLLS OF THUNDER . He heads to his window , glances out at Giles ' house . Dark . The wind 's picking up . Kale closes his window , draws the shade , sticks his cell in the charger . He collapses to the bed , stares at the roof over his head for a beat - then `` LIKE A VIRGIN '' suddenly BLARES ON HIS CELL PHONE . Kale stares at it . then jumps from his bed , races to the phone , rips it from the charger , flips it open - ON THE PHONE 'S LCD SCREEN - A text message : LOOK AT YOUR SCREEN . The LCD SCREEN suddenly BLACKS OUT . The battery 's dead . A wide eyed Kale puts the cell phone on his desk , slowly shifts his gaze to his computer monitor - a grainy image suddenly pops on - shaky at first - then it finally steadies , and clears up . A torso and face come into focus : RONNIE , lying in the corner of a very enclosed space . Eyes open , head tilted against the wall . Dead .</scene_description> <character>KALE</character> <dialogue>OH MY GOD -</dialogue> <scene_description>Nearly hyperventilating , Kale leans closer to the screen , sees a pile of clothes and a stray racketball trophy lying next to Ronnie .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Shit -</dialogue> <scene_description>Kale realizes - Ronnie 's IN HIS CLOSET . Kale slowly turns , eyes his closet door . He then steps toward it , reaches out - and SLIDES THE CLOSET DOOR OPEN TO REVEAL - RONNIE - lying dead in the corner .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Ronnie -</dialogue> <scene_description>Kale kneels down to Ronnie who suddenly POPS BACK TO LIFE !</scene_description> <character>RONNIE</character> <dialogue>BOO!</dialogue> <scene_description>Kale screams , falls back to the floor as Ronnie cracks up . MORE LIGHTNING FLASHES and THUNDER . Kale staggers to his feet . Stunned . Not knowing whether to hug Ronnie or beat the shit out of him .</scene_description> <character>RONNIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Dude, do n't kill me, do n't kill me - I can explain -</dialogue> <character>KALE</character> <dialogue>How - How long have you been here?</dialogue> <character>RONNIE</character> <dialogue>You should have seen your face -.</dialogue> <parenthetical>( off Kale 's glare . )</parenthetical> <dialogue>I got out his front door. I got lucky. I heard you yelling, but dude, cops were everywhere -</dialogue> <character>KALE</character> <dialogue>Still, you could have -</dialogue> <character>RONNIE</character> <dialogue>What, popped out and said, `` oh yeah, officers, my friend's right, I was just in that house, I'd gone to get my cell phone out of the guy's car I broke into earlier.'' Are you kidding me?</dialogue> <character>KALE</character> <parenthetical>( beat ; then . )</parenthetical> <dialogue>I get it.</dialogue> <scene_description>Kale paces around , runs a hand through his hair as Ronnie steps out of the closet , DV CAM in hand .</scene_description> <character>RONNIE</character> <dialogue>Dude, I am sorry. Can we just. hug it out?</dialogue> <character>KALE</character> <dialogue>Why did n't Giles tell the cops someone broke in? I mean, he did see you, right?</dialogue> <character>RONNIE</character> <dialogue>You know, let's be positive for a change. I thought he did, but maybe he did n't. Or maybe he's a nice guy afterall, and he did n't wan na make a big deal of it, you know? I mean, he's a guy, he was a kid once.</dialogue> <scene_description>Kale eyes Ronnie .</scene_description> <character>KALE</character> <dialogue>What if he was n't always a guy?</dialogue> <scene_description>Ronnie eyes Kale for a beat , wondering if he 's serious . Then Kale cracks a smile . Ronnie cracks up .</scene_description> <character>RONNIE</character> <dialogue>But I do have to ask. what was in the bag?</dialogue> <character>KALE</character> <parenthetical>( as if it were obvious . )</parenthetical> <dialogue>Dead deer.</dialogue> <scene_description>Kale and Ronnie lock eyes a beat . Then crack up again . Both laugh hysterically , slap happy as hell .</scene_description> <character>RONNIE</character> <dialogue>Naturally.</dialogue> <parenthetical>( re : DV CAM . )</parenthetical> <dialogue>Hey, you want more evidence, detective?</dialogue> <character>KALE</character> <dialogue>I was watching, remember?</dialogue> <scene_description>Kale grabs the DV CAM from Ronnie - Ronnie pulls it away .</scene_description> <character>RONNIE</character> <dialogue>No, no, this is comedy, it deserves big screen treatment.</dialogue> <scene_description>Ronnie grabs some wires , starts hooking the camera up to Kale 's TV .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - NIGHT - SHORT TIME LATER</stage_direction> <scene_description>Kale and Ronnie watch the video of Ronnie 's break - in . They 're cracking themselves up as we see - ON THE TV - Ronnie 's feet stumbling through the garage , the camera sliding away off the trunk of the Mustang , Ronnie diving for it .</scene_description> <character>RONNIE</character> <dialogue>Hey, I caught that.</dialogue> <character>KALE</character> <dialogue>So that's when the garage door started closing.</dialogue> <character>RONNIE</character> <dialogue>Yeah, he must have heard me. He came through the inside door -.</dialogue> <parenthetical>( re : TV screen . )</parenthetical> <dialogue>This is where I ducked low and started.</dialogue> <scene_description>ON THE TV - Ronnie 's feet start motoring across the concrete floor , racing through the doorway onto the hardwood floor .</scene_description> <character>RONNIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>hauling aaaass.</dialogue> <character>KALE</character> <dialogue>That's great.</dialogue> <scene_description>ON THE TV - As before , we 're mostly watching Ronnie 's feet as they scamper around Giles ' house . Then - the camera falls away , slides across the floor toward that bookcase , its POV - FOR A SPLIT SECOND - aiming UNDER THE BOOKCASE .</scene_description> <character>RONNIE</character> <dialogue>Dropped it.</dialogue> <character>KALE</character> <dialogue>Yeah, I lost signal -</dialogue> <scene_description>ON THE TV - This we did n't see earlier - The camera is quickly scooped up by Ronnie whose feet dart across Giles ' entry hall floor toward the front door . We see Ronnie 's hand reach for the knob .</scene_description> <character>RONNIE</character> <dialogue>But I never leave evidence behind.</dialogue> <scene_description>ON THE TV - Ronnie 's feet dart out Giles ' front door and into the darkness of the yard .</scene_description> <character>RONNIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And that's about when you started yelling bloody murder and the shit hit the fan.</dialogue> <scene_description>The TV SCREEN goes black .</scene_description> <character>RONNIE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( getting up . )</parenthetical> <dialogue>I'm starving. All that running around.</dialogue> <scene_description>Ronnie heads from the room .</scene_description> <character>KALE</character> <parenthetical>( re : video . )</parenthetical> <dialogue>I'm gon na burn this.</dialogue> <scene_description>Kale gets up , heads to the camera . About to eject the tape , when a thought stops him . He pulls the camera off the TV , sits on the floor , presses `` PLAY '' , scans back through the tape . ON THE TV - The same footage . Nothing glaring stands out . The camera falls from Ronnie 's hand , slides to the bookcase . Ronnie quickly scoops the camera up , keeps running .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You're not fooling me, Giles.</dialogue> <scene_description>Kale scans the tape back again , this time just to the point where Ronnie drops the camera . ON KALE - his eyes suddenly narrow - did he see something ? Kale scans back again .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT - CONTINUOUS</stage_direction> <scene_description>Ronnie enters , starts rummaging through the fridge , pulls a soda out , then goes for the cabinets .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - NIGHT - CONTINUOUS</stage_direction> <scene_description>ON THE TV - just as the camera slides to a stop at the bookcase and aims underneath it , Kale FREEZES THE IMAGE . Dark , grainy . Kale grabs his remote , cranks the brightness all the way up on his TV . Kale scoots closer to the TV amidst another FLASH OF LIGHTNING &amp; MUCH LOUDER CLAP OF THUNDER . ON HIS FINGER - pressing the FRAME BY FRAME ADVANCE button - ON THE TV - we start to see SOMETHING UNDER THE BOOKCASE . Kale presses the button a couple more times . ON THE TV - The next frames are blurred - this is the point where Ronnie grabs the camera back - but - KALE 'S FINGER - presses the advance button one more time . ON THE TV - The next frame POPS INTO FOCUS . THERE , UNDER THE BOOKCASE , WE SEE A FADED BLACK STAMP ON THE BACK OF A WOMAN 'S HAND ! Kale 's eyes widen as he keeps pressing the ADVANCE BUTTON . CU - Kale 's eyes are transfixed on the screen , his face just inches away as a few more blurry frames FLIP BY then - BAM - THE FACE OF THE MISSING GIRL - PATRICIA WALSH - POPS ON THE SCREEN IN SHARP FOCUS , HER LONG RED HAIR PARTIALLY COVERING HER GHOSTLY , WIDE OPEN EYES THAT STARE RIGHT INTO CAMERA ! Kale recoils in horror as LIGHTNING IGNITES his room .</scene_description> <character>KALE</character> <parenthetical>( calling O.S . )</parenthetical> <dialogue>Ronnie, get your ass up here!</dialogue> <scene_description>But a ROLL OF THUNDER drowns our Kale 's voice -</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT - CONTINUOUS</stage_direction> <scene_description>Ronnie throws a bag of popcorn in the microwave , punches the clock . Presses start . As he reaches behind him for his soda can on the island , a BASEBALL BAT suddenly enters frame and SLAMS DOWN on RONNIE 'S ARM - FWACK ! Ronnie WHIRLS AROUND in excruciating pain to come face to face with GILES who swings the bat across Ronnie 's face . Ronnie drops out of frame behind the island .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - NIGHT - CONTINUOUS</stage_direction> <character>KALE</character> <dialogue>Ronnie?!</dialogue> <scene_description>No answer . Shit . Kale grabs the cordless off his bed , clicks it on : DEAD . Another lightning FLASH . He grabs the tape out of the camera , buries it in his closet , pulls out his racketball trophy then creeps to the door , peers out - KALE 'S POV - The hallway 's empty . Clear shot to the stairs .</scene_description> </scene> <scene> <stage_direction>INT. 2ND FL HALLWAY - NIGHT - CONTINUOUS</stage_direction> <scene_description>Kale steps out , raises the trophy , ready for anything as he approaches the stairs , glancing in every direction . He reaches the railing , peers down . No movement .</scene_description> </scene> <scene> <stage_direction>INT. ENTRY HALL - NIGHT - CONTINUOUS</stage_direction> <scene_description>Kale heads down , slowly makes his way toward the kitchen , peeks around the corner - KALE 'S POV - IN THE KITCHEN - The popcorn 's POPPING in the microwave .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT - CONTINUOUS</stage_direction> <scene_description>Kale rounds the island to the microwave , presses `` STOP '' then glances down , sees Ronnie 's body -</scene_description> <character>KALE</character> <dialogue>Ronnie - MOM!</dialogue> <scene_description>Kale spins around as GILES SUDDENLY APPEARS FROM THE SHADOWS . More THUNDER . Kale whirls around , HURLS the trophy at Giles . Giles knocks it away as Kale BOLTS for the back door , throws it open . Giles pursues .</scene_description> </scene> <scene> <stage_direction>EXT. KALE'S BACK YARD - NIGHT - CONTINUOUS</stage_direction> <scene_description>Kale bolts out the door , but trips on a well - placed garden gnome on the steps . Giles or the brats must have put it there . Regardless , it slows Kale down . He staggers into the yard , SCREAMING for anyone to hear . But the WIND and THUNDER drown him out as GILES - Now right behind him - swings the bat and trips Kale up . Kale falls just short of his kite string boundary line . Like a quarterback pressing to the goal line , Kale lunges forward , but - GILES ' HAND suddenly grab 's KALE 'S ANKLE just as the ANKLE BRACELET is about to cross the line . Kale screams , digs his hands into the earth , trying to pull himself forward , but Giles is too strong . He DRAGS Kale backward , then PINS him to the ground , pulls out a roll of duct tape , quickly and efficiently wraps some around Kale 's mouth , hands and ankles . Giles yanks Kale up , throws him over his shoulder and heads back toward Kale 's house .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT - CONTINUOUS</stage_direction> <scene_description>Giles quickly opens and shuts the door as Kale struggles against him .</scene_description> <character>GILES</character> <parenthetical>( hard in Kale 's ear . )</parenthetical> <dialogue>You finally wan na be an orphan?</dialogue> <scene_description>Giles drags Kale into .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT - CONTINUOUS</stage_direction> <scene_description>To reveal a bruised but conscious JULIE tied to the chair , her arms wrapped behind it ! Kale 's eyes widen with rage as he pulls free of Giles , drops to the floor , tries to roll away . But Giles grabs him back up , gets in his face -</scene_description> <character>GILES</character> <dialogue>If you do n't stop fighting me, I will gut her like a fish.</dialogue> <scene_description>Kale glares as Giles drags him into the . ENTRY HALL - NIGHT - CONTINUOUS . And pulls him up the stairs .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - NIGHT - SECONDS LATER</stage_direction> <scene_description>Giles SLAMS Kale down in his desk chair . Giles eyes the DV CAM sitting on the TV . The tape slot 's open .</scene_description> <character>GILES</character> <dialogue>So where's the tape?</dialogue> <scene_description>Kale mumbles a muffled `` FUCK YOU '' under the duct tape .</scene_description> <character>GILES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You're right, I'll find it later.</dialogue> <scene_description>Giles sits on Kale 's bed . Eyes the book on serial killers . He picks it up , flips through it .</scene_description> <character>GILES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's funny, I hear a lot of authors say their first books were easy, it's the second one that's really hard. Wonder if your dad thought that.</dialogue> <parenthetical>( off Kale 's glare . )</parenthetical> <dialogue>See with me, it's the opposite. The very first one was.</dialogue> <parenthetical>( sickly reminiscing . )</parenthetical> <dialogue>. Very difficult. she was very beautiful. fragile. a lot of promise. the others in Texas were flings, low class. Patty Walsh had potential, but so did Amy. You saw her, right? When you were watching me? You should feel good, Kale, you guys saved her life. I was headed in to kill her when your girlfriend showed up. So, you're a hero, Kale. Savor the moment.</dialogue> <parenthetical>( tosses the book . )</parenthetical> <dialogue>You have Microsoft Word?</dialogue> <parenthetical>( off Kale 's questioning look ; re : computer . )</parenthetical> <dialogue>Turn it on.</dialogue> <scene_description>Kale does n't move . Giles raises the bat :</scene_description> <character>GILES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I can type, you know.</dialogue> <scene_description>Kale turns to the computer , lifts his taped wrists to the keyboard .</scene_description> <character>GILES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>`` Dear Ashley. I killed Ronnie and my mom because.</dialogue> <parenthetical>( re : Kale not typing . )</parenthetical> <dialogue>What's wrong? Hey, you're the one who could n't leave me alone. Truthfully, I'm sick of covering my tracks. You think I like spending my spare time looking over my shoulder for people like you? Word of advice, if you ever need to hurt someone, think everything through. Because you do get a taste for it, do n't you? But damned if people are n't just waiting to stand in your way. cops, reporters, determined relatives, nosy fucking neighbors. next thing you know, you're on tilt, you ca n't think straight, you're clocking your teacher in front of the whole class, me. I'm hitting a damned deer. Man, that was some shitty luck.</dialogue> <parenthetical>( then . )</parenthetical> <dialogue>Anyway, it's pretty clear how we've got ta clean this up. The irony is, you've done all the hard stuff. Whaddaya think : `` Troubled youth finally snapped.'' Maybe because he was jealous of his girlfriend, or maybe he just could n't deal with the guilt from not saving daddy.</dialogue> <parenthetical>( off Kale . )</parenthetical> <dialogue>Hey, you Googled me.</dialogue> <scene_description>Giles steps away , turns back to the bed as Kale suddenly does SNAP . He leans forward , grabs the LCD computer monitor with his taped wrists , stands , whirls around , and HURLS it at GILES , SMACKING HIM on the side of his head - a one in a hundred shot ! Giles goes down . But the forward momentum of Kale 's throw combined with his taped ankles causes him to lose his balance . Kale falls to the floor , scrambles for the BASEBALL BAT just inches away - GILES staggers to his feet and charges Kale . Kale grabs the bat , rolls around and swings up at Giles , WHACKING HIM IN THE CHEST . Giles doubles over as Kale frantically plants the bat on the floor , using it as a `` cane '' to pull himself back to his feet . He HOPS toward Giles , raises the bat , swings it , but Giles anticipates , grabs the bat , pulls it forward , and REVERSE JABS KALE in the face ! Kale staggers back , but somehow keeps his balance and the bat . He spins around , hops to the door into .</scene_description> </scene> <scene> <stage_direction>INT. 2ND FL HALLWAY - NIGHT - CONTINUOUS</stage_direction> <scene_description>Kale rounds the corner and runs smack into ASHLEY . The collision sends Kale back to the floor .</scene_description> <character>ASHLEY</character> <dialogue>KALE -</dialogue> <scene_description>Ashley leans down to Kale . Kale gestures with his eyes and head : BEHIND YOU ! Ashley gets the message , whirls around just as Giles GRABS HER . Ashley SCREAMS and knees Giles . He drops her to the floor . Ashley scrambles for Kale , helps him to his feet , pulls Kale back down the hall to .</scene_description> </scene> <scene> <stage_direction>INT. DAD'S OFFICE - NIGHT - CONTINUOUS</stage_direction> <scene_description>Ashley shoves Kale inside as she spins back , SLAMS the office door in Giles ' face , locks it . Giles BANGS on the door . Ashley goes to Kale , RIPS the duct tape off his mouth . Kale SCREAMS in PAIN as Ashley heads for the desk phone .</scene_description> <character>KALE</character> <dialogue>It's dead.</dialogue> <scene_description>Ashley grabs a pair of scissors off dad 's desk , cuts Kale 's ankles and hands free . Kale reaches down to the ankle bracelet , furiously tugs at it .</scene_description> <character>ASHLEY</character> <dialogue>Let me try -</dialogue> <scene_description>Ashley moves in , tries to cut it loose with the scissors as Giles suddenly SLAMS SOMETHING against the door , trying to break it down !</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Where's your mom -</dialogue> <character>KALE</character> <parenthetical>( tugging on bracelet . )</parenthetical> <dialogue>Living room - tied up - he got Ronnie - in the kitchen -.</dialogue> <parenthetical>( then ; re : bracelet . )</parenthetical> <dialogue>GODDAMN YOU!</dialogue> <character>ASHLEY</character> <parenthetical>( giving up with scissors . )</parenthetical> <dialogue>Okay, just - I'll get your mom, you figure out a way to call the cops -</dialogue> <character>KALE</character> <dialogue>No, I've got ta get her -</dialogue> <character>ASHLEY</character> <dialogue>Kale, you've got ta get outside, get over the boundary - do you hear me?</dialogue> <character>KALE</character> <parenthetical>( beat ; then ; an idea sparking . )</parenthetical> <dialogue>Okay, but - just follow my lead - we're gon na need stuff -</dialogue> <scene_description>Ashley and Kale glance around for weapons . Ashley pockets the scissors , grabs a letter opener off dad 's desk . Kale finds his racketball racket and the ball . Pockets the ball , slips the racket in the back of his shorts , then grabs the baseball bat as he heads for the bookshelves near the door that leads to the outside porch . He reaches up , runs his fingers to the third book on the middle shelf , pulls it out , flips it open to reveal a KEY that drops in his hand .</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Once I have his attention, you go get her.</dialogue> <scene_description>Ashley nods . Kale takes the key , heads to the porch door , unlocks it with a quiet CLICK . He swings the door open , steps out onto .</scene_description> </scene> <scene> <stage_direction>EXT. 2ND FL PORCH - NIGHT - CONTINUOUS</stage_direction> <scene_description>Kale raises the bat , swings it at the 2nd floor hallway window that separates the interior of the house from the porch . The window SHATTERS . Kale tosses the bat back to Ashley .</scene_description> <character>KALE</character> <parenthetical>( to Giles O.S . )</parenthetical> <dialogue>We're out here, asshole!</dialogue> <scene_description>There 's a lull in the thunder . All becomes eerily quiet for a beat as Kale waits for Giles to appear at the window . He glances back at Ashley who ducks behind the wall inside dad 's office - she glances to the office door . No more BANGING . She shrugs to Kale : `` where is he ? '' Another beat , then suddenly - a FLASH OF LIGHTNING reveals GILES Standing in the other porch doorway BEHIND KALE !</scene_description> <character>ASHLEY</character> <dialogue>Kale!</dialogue> <scene_description>Kale whirls around just as Giles reaches out , grabs him by the throat , pulls him off his feet and HURLS KALE through the shattered window into the hallway !</scene_description> <character>ASHLEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>NO! You son of a -</dialogue> <scene_description>Ashley charges out onto the porch with the bat . Swings it at Giles who promptly RIPS it from her hand and hurls it off the porch . Ashley whips out the letter opener , spins around , about to stab Giles , but he backhands her . Ashley falls , SMACKS her head on the porch railing . She drops to the floor , half conscious as Giles picks up the letter opener , turns his attention back to the 2nd floor hallway window - HIS POV - THE HALLWAY - KALE 'S GONE . WHIP PAN to behind Giles - REVEAL KALE - CHARGING OUT the same porch door Giles just came out ! Kale uses his FULL BODY WEIGHT to SHOVE Giles back through the SAME BROKEN WINDOW and into the hallway !</scene_description> <character>KALE</character> <dialogue>Ashley! Are you okay?</dialogue> <character>ASHLEY</character> <dialogue>I wan na kill him -</dialogue> <character>KALE</character> <dialogue>Stick to the plan -</dialogue> <scene_description>Over this , Kale pulls Ashley to her feet . They share a smile as Ashley ducks into the porch door leading to Kale 's room . Kale turns back - KALE 'S POV - A BLOODY GILES Gets to his feet and heads toward the window . Kale turns for the ladder , starts climbing up . Giles pursues , steps out the window as we see Ashley , in the b.g. , appear from Kale 's bedroom and race for the stairs !</scene_description> </scene> <scene> <stage_direction>EXT. ROOF - NIGHT - CONTINUOUS</stage_direction> <scene_description>Kale reaches the top of the ladder , steps onto the roof , but Giles , from below , HEAVES THE LADDER UPWARD , tripping Kale . Kale SLAMS down on the roof , smacks the back of his head . KALE 'S BLURRY POV - against a fury of lightning flashes , Giles races up the ladder and steps onto the roof . Stalks toward Kale . Kale gets to his feet , draws the racketball racket from his shorts , takes out the ball , assumes a professional looking serving position and WHAM ! Kale beams the ball at Giles - and misses completely .</scene_description> <character>KALE</character> <dialogue>That was a warning!</dialogue> <scene_description>Giles rushes Kale who wails on him with the racket . Giles ducks , spins around , brings his fist up and punches Kale in the chest . Kale drops the racket . It slides away down the roof as Kale doubles over . But Giles grabs Kale before he can fall . He pulls Kale up off his feet , pulls him closer , gets in his face . Kale summons some strength , tilts his head up and HEADBUTTS GILES . Giles stumbles back , pulling Kale with him . Giles SLAMS down on the roof . He and Kale roll down the incline and stop just short of the edge - Kale looks over , spots his STEREO SPEAKER a few feet away .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT - CONTINUOUS</stage_direction> <scene_description>Ashley rounds the corner , heads to Julie .</scene_description> <character>ASHLEY</character> <dialogue>Hi, Mrs. Brecht, I'm Ashley -.</dialogue> <parenthetical>( re : duct tape . )</parenthetical> <dialogue>It's gon na hurt.</dialogue> <scene_description>Julie nods as Ashley RIPS the tape off Julie 's mouth .</scene_description> <character>JULIE</character> <parenthetical>( not flinching . )</parenthetical> <dialogue>Where's Kale?</dialogue> </scene> <scene> <stage_direction>EXT. ROOF - NIGHT - CONTINUOUS</stage_direction> <scene_description>Kale HURLS the speaker at Giles ' , SMACKING him hard . Giles shakes it off , grabs the speaker wire - WITH KALE - he gets to his feet , heads back up the roof as Giles suddenly whips out the letter opener and hurls it like a THROWING KNIFE at Kale . The letter opener embeds itself in the back of Kale 's thigh . Kale screams , falls to his knees . CU - Kale cringes from the pain as Giles , now right behind him , wraps the SPEAKER WIRE around Kale 's NECK and pulls . Kale grabs for it as Giles chokes the life out of him . Kale only has one chance . He reaches behind his leg , grabs the embedded letter opener , RIPS it away , twirls it in his hand and shoves it back into Giles ' stomach ! Giles recoils as Kale flings himself away from the choke - hold , falls back to the roof , rolls down and PLUMMETS to -</scene_description> </scene> <scene> <stage_direction>EXT. GARAGE ROOF - NIGHT - CONTINUOUS</stage_direction> <scene_description>Kale hits HARD , the wind knocked out of him . He looks over , sees his racketball racket lying there . He grabs it , looks back up . KALE 'S POV - Giles stands on the upper roof , smiles as he brings up the letter opener . Kale 's eyes widen . He pulls himself to his feet , and sidearms the racket up at Giles . The racket spins through the air like a boomerang and miraculously smacks Giles in the hand , knocking the letter opener away ! WITH KALE - he whirls around , races toward the edge of the roof . and JUMPS . ANGLE : FOLLOWING BEHIND KALE IN MID AIR , WE CRANE UP AND OVER HIM PEERING DOWN TO REVEAL ASHLEY 'S POOL ! ON THE ANKLE BRACELET - it FLASHES RED .</scene_description> </scene> <scene> <stage_direction>EXT. ASHLEY'S BACK YARD/SWIMMING POOL - NIGHT - CONTINUOUS</stage_direction> <scene_description>Kale drops into the pool with a tremendous SPLASH ! He pulls himself to the surface , peers up - KALE 'S POV - the roof - Giles is gone . Kale frantically swims to the edge , pulls himself out -</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT - MOMENTS LATER</stage_direction> <scene_description>The kitchen door slowly pushes open . After a beat , Kale quietly steps in , heavily armed with a swimming pool LEAF - SKIMMING NET . Another FLASH OF LIGHTNING illuminates the kitchen . Kale cautiously rounds the island , glances down : Ronnie 's gone . He glances to the block of butcher knives - empty . Kale grabs a couple of table knives from the kitchen drawer , opts to keep the leaf - skimming net as he makes his way out of the kitchen and into .</scene_description> </scene> <scene> <stage_direction>INT. ENTRY HALL - NIGHT - CONTINUOUS</stage_direction> <scene_description>Breathing hard , Kale glances around , up the stairs - No sign of Giles . He rounds the corner into .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - NIGHT - CONTINUOUS</stage_direction> <scene_description>Julie 's GONE . Kale 's eyes widen . He turns around as ASHLEY suddenly jumps up from behind the sofa brandishing a BUTCHER KNIFE ! She exhales in relief at the sight of Kale who rounds the back of the couch , sees Ronnie 's body lying on the floor next to the entire set of butcher knives .</scene_description> <character>KALE</character> <dialogue>Where's my mom?</dialogue> <character>ASHLEY</character> <dialogue>She went upstairs for you - where's Giles?</dialogue> <character>KALE</character> <dialogue>I do n't know - the cops should be here any sec -</dialogue> <scene_description>The doorbell RINGS . Kale and Ashley whip their heads to the door . Kale throws a troubled glance out the window -</scene_description> <character>ASHLEY</character> <dialogue>What's wrong?</dialogue> <character>KALE</character> <dialogue>No flashing lights - stay here -</dialogue> <scene_description>Kale trades Ashley the net for the butcher knife . We then FOLLOW KALE into .</scene_description> </scene> <scene> <stage_direction>INT. ENTRY HALL - NIGHT - CONTINUOUS</stage_direction> <scene_description>Still no sign of Giles - Kale turns back to Ashley , then heads to the front door - PEEPHOLE POV - Parker . Kale swings the door open .</scene_description> <character>PARKER</character> <dialogue>Kale, what's going on now?</dialogue> <character>KALE</character> <dialogue>Parker, where's the cavalry?!</dialogue> <character>PARKER</character> <dialogue>I told'em do n't bother, you were my responsibility -</dialogue> <character>KALE</character> <dialogue>Parker, you need to get them here right now - Giles is -</dialogue> <character>GILES</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Evening.</dialogue> <scene_description>Parker turns to see Giles casually walking up the front steps .</scene_description> <character>KALE</character> <dialogue>PARKER LOOK OUT, HE'S THE -</dialogue> <scene_description>As Parker turns , Giles suddenly GRABS HER , spins her around and TWISTS HER NECK . Parker drops forward into the entry hall . Kale stumbles back inside the door , tries to SLAM it closed , but Giles overpowers Kale , shoves the door open , knocking Kale to the floor . The butcher knife slides away under a table . Giles enters , kicks Parker 's body out of the way and closes the door . He steps toward Kale as Ashley , from O.S. suddenly drops the LEAF - SKIMMING NET OVER HIS HEAD and furiously YANKS Giles back to the floor ! Kale gets to his feet , grabs a vase off the entry hall table and SMASHES it over Giles ' head . Giles rolls away , only to be KICKED HARD in the face by Ashley . Kale and Ashley TAG TEAM Giles . But Giles finds an opening and elbows both Ashley and Kale back to the floor . Kale scrambles for the butcher knife back down the entry hall . Giles gets to his feet , pounds after Kale who slides the butcher knife out from under the table . But Giles suddenly STOMPS down on Kale 's hand . Giles lifts his foot up . Kale pulls his hand away . Giles kicks the knife away , grabs Kale up , SLAMS him against the staircase banister , splintering it . Kale drops back to the floor . Giles leans down to pick him up when the BUTT OF A SHOTGUN suddenly SLAMS into the back of Giles ' head ! Giles tumbles forward , spins around to see JULIE standing on the staircase with a 12 - GAUGE SHOTGUN - KABOOM ! Julie BLOWS GILES BACK INTO THE WALL ! - And THAT 'S WHERE HE STAYS . Julie races down to Kale , hugs him tight . Ashley comes to , slowly makes her way over and joins the huddle . MONTAGE</scene_description> </scene> <scene> <stage_direction>EXT. NEIGHBORHOOD - DAWN</stage_direction> <scene_description>- Police , squad cars , ambulances surround Kale 's and Giles ' houses . - CRIME SCENE TECHS tape off Giles ' entire back yard .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAWN</stage_direction> <scene_description>- SUITED detectives jot notes as they question Kale , Ashley , Julie . - Kale hands the detective the VIDEO TAPE .</scene_description> </scene> <scene> <stage_direction>INT. GILES' HOUSE</stage_direction> <scene_description>- DETECTIVES and CRIME SCENE TECHS slide the bookcase away to reveal the body of the dead club girl . CAMERAS FLASH .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - DAY</stage_direction> <scene_description>- Kale sits on the island as CASE OFFICER # 2 removes the ankle bracelet . Julie and Ashley watch in the b.g .</scene_description> </scene> <scene> <stage_direction>EXT. GILES' BACK YARD - DAY</stage_direction> <scene_description>- Crime scene techs excavate portions of Giles ' back yard . - A crime scene tech waves his colleagues over , points down . - GLOVED HANDS of techs gently clear the damp earth away to reveal an ARM and HAND . and matted strands of RED HAIR .</scene_description> </scene> <scene> <stage_direction>EXT. GILES' FRONT YARD - DAY</stage_direction> <scene_description>- A REPORTER stands at the end of Giles ' driveway as CRIME TECHS carry body bags to the coroner 's van in the b.g .</scene_description> <character>REPORTER</character> <dialogue>the body of Partricia Walsh, missing since last week, has been recovered along with the remains of at least three other women. Authorities say Giles meticulously maintained his yard, mowing the lawn routinely in order to avoid the formation of sinkholes which could have exposed his terrible secret.</dialogue> </scene> <scene> <stage_direction>INT. COUNSELOR'S OFFICE - DAY</stage_direction> <scene_description>A cleaner - cut Kale sits across from a COUNSELOR .</scene_description> <character>KALE</character> <parenthetical>( beat . )</parenthetical> <dialogue>He was my best friend. We always talked about what guys talk about. sports, women. food. We were talking about the freakin' fish - this huge, amazing black bass we'd just caught - and how we'd be eating it for a week. the next thing I know - I ca n't hold on. and he's letting go. I was so pissed at him, I was so - he's the one who left, he's the one who gave up, you know? - But that's b.s. See, the truth is, my dad - He saved me.</dialogue> </scene> <scene> <stage_direction>INT. 2ND FL HALL OUTSIDE DAD'S OFFICE - DAY</stage_direction> <scene_description>CU - The doorknob . A hand slowly enters frame . WIDER TO REVEAL Kale and Julie stand outside the door that 's now been fixed .</scene_description> <character>JULIE</character> <dialogue>You ready?</dialogue> </scene> <scene> <stage_direction>INT. DAD'S OFFICE - DAY - CONTINUOUS</stage_direction> <scene_description>Kale and Julie enter with two large boxes , set them on the floor . They both take breaths , then - start sifting through dad 's things , deciding which items to keep and which to box up . As they carefully consider each one we slowly PULL BACK and BINOCULAR POV - Giles ' house . The yard 's been completely put back together . We are .</scene_description> </scene> <scene> <stage_direction>INT. KALE'S BEDROOM - WEEKS LATER</stage_direction> <scene_description>CU - KALE intently watches . Then :</scene_description> <character>KALE</character> <dialogue>Movement.</dialogue> <scene_description>Ashley joins him at the window . THEIR POV - Julie , wearing her realtor business suit , walks a YOUNG COUPLE up Giles ' driveway and into the back yard .</scene_description> <character>ASHLEY</character> <dialogue>Why's your mom doing this again?</dialogue> <character>KALE</character> <dialogue>She's whacked. Plain and simple. I think she thought it'd be some sick challenge or something - hey, commission's the same I guess.</dialogue> <scene_description>They watch as Julie points out the yard to the couple . The couple turns back to the house . Julie suddenly spins around and gives a quick sotto `` thumbs up '' to Kale and Ashley !</scene_description> <character>KALE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>No way. She ca n't be serious.</dialogue> <character>ASHLEY</character> <dialogue>Hey, if anyone can spin a psycho house into the opportunity of a lifetime, I'd bet on your mom any day of the week.</dialogue> <character>KALE</character> <parenthetical>( re : the couple . )</parenthetical> <dialogue>Fine, but we still have to seriously question the yayhoos buying the place.</dialogue> <character>ASHLEY</character> <dialogue>Whaddaya think, another stakeout?</dialogue> <character>KALE</character> <parenthetical>( tossing the binoculars . )</parenthetical> <dialogue>Screw that. My mom has another half hour over there at least.</dialogue> <scene_description>Kale pulls Ashley back to the bed . They kiss , but then suddenly stop - sensing something O.S. . They both slowly shift their heads to see - THEIR POV - Ronnie , with a head bandage , stands in the doorway , aiming his DV camera straight at them .</scene_description> <character>RONNIE</character> <parenthetical>( do n't mind me . )</parenthetical> <dialogue>I'm not even here.</dialogue> <scene_description>Off this we - SMASH TO BLACK .</scene_description> </scene> </script>

Troubled by the death of his father in an auto accident, Kale Brecht attacks his Spanish teacher when the teacher invokes his father while reprimanding him. For the assault, he is sentenced by a sympathetic judge to three months under house arrest with an ankle monitor and a proximity sensor. Detective Parker explains the system to Kale and his mother Julie. Initially, the teen just plays video games and watches television, but he is soon grounded by Julie and loses his access to the iTunes Music Store, Xbox Live, and his television. Kale's boredom leads him to watch the neighborhood, including the two neighbor boys who play pranks on him, his next-door neighbor Robert Turner, and Ashley Carlson, the new girl in town. One night, Kale becomes suspicious of Turner, who returns home in a 1960s Ford Mustang with a dented fender that matches the description given on a news report of a serial killer at large. Kale's best friend Ronnie visits to spy on Ashley and, when they accidentally alert her to their hijinks, the curious girl joins them in spying on Turner. Kale observes a young woman Turner had picked up from a nightclub as she flees the house in a panic but later appears to leave in her car. Ashley throws a party and teases Kale, knowing he is watching. He plays non-party music loudly to needle her, and Ashley comes over to stop it. But the two flirt and start to make out, distracting each other while blood splatters on Turner's windows. Later, as Kale and Ashley watch, Turner drags a heavy bag to his garage. Kale gets Ashley to follow Turner, but he confronts her in her car with a calm, but threatening manner. Meanwhile, Ronnie successfully breaks into Turner's garage with a camera but gets trapped when the garage door closes. Kale leaves to rescue him but alerts the police upon leaving his property with the ankle monitor. The police come and search the garage but show Kale the bag contains a roadkill deer. Julie then goes across the street to talk to Turner to ask him not to press charges, while Ronnie reveals that he has escaped from Turner's house. When Kale watches the tape when Ronnie made it into Turner's house, he notices a corpse in plastic in a vent. Next door, Turner takes Julie captive and enters Kale's house, knocking out Ronnie and binding and gagging Kale. The killer reveals his plan to frame Kale for the murders of Ronnie and Julie and make it appear Kale then killed himself. When Ashley arrives, interrupting the plan, Kale attacks Turner, throwing him from the top of the stairs before Ashley frees him from his bindings; they jump out of the window into the pool when Turner resurfaces. Kale's ankle monitor again alerts the police, and he enters Turner's home to search for his mother. In a hidden room, Kale finds ample evidence of Turner's previous murders. The officer who monitors Kale arrives at the scene but Turner breaks his neck, killing him. Kale stumbles upon the decaying remains of murder victims and finds his mother bound and gagged. Turner appears, slashes Kale in the back and pins him to a wall, but before Turner can kill Kale, Julie stabs him in the leg with a dagger, allowing Kale to grab a pair of gardening shears and impale Turner in the chest with them, killing him. In the aftermath, Kale is shown having his ankle bracelet removed by the authorities for good behavior and getting back at the two boys from earlier pranks. He then passionately kisses Ashley on his sofa, while Ronnie is playfully video taping them.

Inside Out_2015

tt2096673

<script> <scene> <character>INSIDE OUT</character> <dialogue>original story by</dialogue> <scene_description>Pete Docter Ronnie Del Carmen Screenplay by Pete Docter Meg LeFauve Josh Cooley BLACK.</scene_description> <character>JOY (V.O.)</character> <dialogue>Do you ever look at someone and wonder, "What is going on inside their head?" Well, I know. I know Riley's head.</dialogue> <scene_description>WHITE. FADE IN...</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - DAY</stage_direction> <scene_description>A newborn baby swaddled in a blanket, held by her parents. Push in... and ZOOM IN TO HER HEAD.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Out of the blackness steps a glowing figure. This is JOY. The room is black except for a bright CONSCIOUSNESS SCREEN.</scene_description> <character>JOY</character> <dialogue>Hmm?</dialogue> <scene_description>In front of Joy is a single large BUTTON. She pushes it.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - CONTINUOUS</stage_direction> <scene_description>The baby gurgles and wiggles happily.</scene_description> <character>JOY (V.O.)</character> <dialogue>And there she was...</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS - CONTINUOUS</stage_direction> <scene_description>ON THE CONSCIOUSNESS SCREEN:</scene_description> <character>MOM</character> <dialogue>Hello, Riley.</dialogue> <character>DAD</character> <dialogue>Oh look at you. Aren't you a little bundle of joy?</dialogue> <scene_description>A GOLDEN GLOWING SPHERE rolls from behind the screen. It's a MEMORY of what we just saw: Mom and Dad cooing at Riley.</scene_description> <character>JOY</character> <dialogue>Whoa.</dialogue> <scene_description>Joy rolls the memory on its track, illuminating the room. She turns back to the button and pushes it again.</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - CONTINUOUS</stage_direction> <scene_description>Baby Riley gurgles happily.</scene_description> <character>JOY (V.O.)</character> <dialogue>It was amazing. Just Riley and me, forever...</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS - CONTINUOUS</stage_direction> <scene_description>Baby Riley CRIES.</scene_description> <character>JOY (V.O.)</character> <dialogue>...for 33 seconds.</dialogue> <scene_description>Joy looks to her side. There's a new, droopy, blue character touching the button.</scene_description> <character>SADNESS</character> <dialogue>I'm Sadness.</dialogue> <character>JOY</character> <dialogue>Oh, hello. I'm Joy.</dialogue> <scene_description>Joy tries to muscle past Sadness to press the button.</scene_description> <character>JOY</character> <dialogue>Can I just... if you could... I just want to fix that. Thanks.</dialogue> <scene_description>The two struggle.</scene_description> <character>JOY (V.O.)</character> <dialogue>And that was just the beginning. Headquarters only got more crowded from there.</dialogue> </scene> <scene> <stage_direction>INT. MINNESOTA HOUSE - DAY</stage_direction> <scene_description>Riley, now age 3, barrels through the house pulling a wagon.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>ON THE SCREEN: Riley's POV as she runs through the house. Fear "supervises" Joy, who drives.</scene_description> <character>FEAR</character> <dialogue>Very nice. Okay, looks like you got this. Very good, sharp turn...</dialogue> <scene_description>Riley approaches a POWER CORD on the ground.</scene_description> <character>FEAR</character> <dialogue>Ahh! Look out!!! No!</dialogue> <scene_description>Fear leaps to the console.</scene_description> <character>JOY (V.O.)</character> <dialogue>That's Fear. He's really good at keeping Riley safe.</dialogue> </scene> <scene> <stage_direction>INT. MINNESOTA HOUSE - CONTINUOUS</stage_direction> <scene_description>Riley stops. She cautiously steps over the power cord.</scene_description> <character>FEAR (O.S.)</character> <dialogue>Easy... we're good! We're good.</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>A fear memory (purple) rolls in.</scene_description> <character>JOY/SADNESS</character> <dialogue>Whew!/Nice job.</dialogue> <character>FEAR</character> <dialogue>Thank you! Thank you very much.</dialogue> <scene_description>Joy jumps back into driving position.</scene_description> <character>JOY</character> <dialogue>And we're back!</dialogue> </scene> <scene> <stage_direction>INT. MINNESOTA HOUSE - CONTINUOUS</stage_direction> <scene_description>Riley continues her sprint through the house. Suddenly she's picked up.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - CONTINUOUS</stage_direction> <scene_description>PLOP into highchair. Bib. Tray. Bowl.</scene_description> <character>DAD</character> <dialogue>Here we go. Alright, open.</dialogue> <scene_description>Dad lifts a spoonful of food to Riley's mouth.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>JOY</character> <dialogue>Hmm. This looks new.</dialogue> <character>FEAR/SADNESS</character> <dialogue>Do you think it's safe?/What is it?</dialogue> <scene_description>ON THE SCREEN: a spoonful of broccoli. DISGUST enters.</scene_description> <character>DISGUST</character> <dialogue>Okay, caution! There is a dangerous smell, people. Hold on, what is that?</dialogue> <character>JOY (V.O.)</character> <dialogue>This is Disgust. She basically keeps Riley from being poisoned, physically and socially.</dialogue> <character>DISGUST</character> <dialogue>That is not brightly colored or shaped like a dinosaur... Hold on guys... It's broccoli!</dialogue> <scene_description>Disgust GAGS and pulls a lever.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <character>YOUNG RILEY</character> <dialogue>Yucky!</dialogue> <scene_description>Riley swats the broccoli. It flies into Dad's face.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>A disgust memory (green) rolls in.</scene_description> <character>DISGUST</character> <dialogue>Well, I just saved our lives. Yeah. You're welcome.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <character>DAD</character> <dialogue>Riley, if you don't eat your dinner, you're not going to get any dessert.</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>ANGER looks up from reading his newspaper.</scene_description> <character>ANGER</character> <dialogue>Wait. Did he just say we couldn't have dessert?</dialogue> <character>JOY (V.O.)</character> <dialogue>That's Anger. He cares very deeply about things being fair.</dialogue> <character>ANGER</character> <dialogue>So that's how you want to play it, old man? No dessert? Oh, sure, we'll eat our dinner, right after YOU eat this! GrrrraaaAAHH!!!!</dialogue> <scene_description>Anger takes the controls as FLAMES blast out of his head. An anger memory (red) rolls in.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Riley throws a fit. Dad distracts her.</scene_description> <character>DAD</character> <parenthetical>('flying' the spoon)</parenthetical> <dialogue>Hey, Riley, Riley, here comes an airplane!</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Anger stops screaming.</scene_description> <character>ANGER</character> <dialogue>Oh, airplane. We got an airplane, everybody.</dialogue> <character>DISGUST/FEAR/SADNESS/JOY</character> <dialogue>Ohh!/Ahh!</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN</stage_direction> <scene_description>Dad "lands" the food into Riley's smiling mouth.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>A happy memory (golden) rolls in. The others leave Joy alone at the console with Sadness.</scene_description> <character>JOY (V.O.)</character> <dialogue>And you've met Sadness. She... well, she...</dialogue> <scene_description>FLASH CUTS of Riley crying: broken toy, spilled ice cream, tantrum in the supermarket, wanting out of her car seat.</scene_description> <character>JOY (V.O.)</character> <dialogue>I'm not actually sure what she does. And I've checked, there's no place for her to go, so she's good, we're good. It's all great!</dialogue> <scene_description>Sadness exits. Joy turns to the wall of golden memories.</scene_description> <character>JOY (V.O.)</character> <dialogue>Anyway! These are Riley's memories-- and they're mostly happy, you'll notice, not to brag.</dialogue> <scene_description>She inspects one of the golden memories: Riley and her friend MEG (both age 3) going down a slide. She REWINDS it, relishing the happy moment.</scene_description> <character>JOY (V.O.)</character> <dialogue>But the REALLY important ones are over here. I don't want to get too technical, but these are called CORE MEMORIES.</dialogue> <scene_description>Joy pops up the CORE MEMORY HOLDER. Inside are five intensely bright golden memories.</scene_description> <character>JOY (V.O.)</character> <dialogue>Each one came from a super- important time in Riley's life. Like when she first scored a goal? That was so amazing!</dialogue> </scene> <scene> <stage_direction>EXT. MINNESOTA LAKE, WINTER - DAY</stage_direction> <scene_description>Two-and-a-half-year-old Riley shoots a hockey puck across the ice. She trips and accidentally scores a goal.</scene_description> <character>MOM/DAD</character> <parenthetical>(cheering)</parenthetical> <dialogue>Heeey! Would you look at that?! We got a future center here!</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>A super-bright CORE MEMORY rolls in. It rolls to the Core Memory Holder. Clicking into position, a LIGHTLINE shoots out. The Emotions follow it to the back window and watch a new ISLAND OF PERSONALITY form.</scene_description> <character>JOY (V.O.)</character> <dialogue>And each core memory powers a different aspect of Riley's personality. Like Hockey Island!</dialogue> <scene_description>Five ISLANDS OF PERSONALITY float in space, miles from Headquarters, connected by LIGHTLINES -- their power sources.</scene_description> <character>JOY (V.O.)</character> <dialogue>Goofball Island is my personal favorite.</dialogue> </scene> <scene> <stage_direction>INT. MINNESOTA LIVING ROOM - NIGHT</stage_direction> <scene_description>Toddler Riley runs naked from the bathroom, underpants on her head, laughing wildly. Dad chases her with a towel.</scene_description> <character>DAD</character> <dialogue>Come back here, you little monkey!</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Goofball Island activates: lights, movement, etc.</scene_description> </scene> <scene> <stage_direction>INT. MINNESOTA LIVING ROOM</stage_direction> <scene_description>Naked Riley does the goofy dance on the sofa.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>JOY (V.O.)</character> <dialogue>Yup, Goofball is the best! Friendship Island is pretty good too.</dialogue> <scene_description>Joy looks at FRIENDSHIP ISLAND.</scene_description> </scene> <scene> <stage_direction>EXT. SIDEWALK - DAY</stage_direction> <scene_description>Riley and Meg walk leg over leg, arms linked, laughing.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Joy inspects Honesty Island.</scene_description> <character>JOY (V.O.)</character> <dialogue>Oh, I love Honesty Island! And that's the truth!</dialogue> </scene> <scene> <stage_direction>INT. MINNESOTA HOUSE - DAY</stage_direction> <scene_description>A guilty Riley stands by a broken plate. She reveals a HAMMER from behind her back.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Joy examines Family Island.</scene_description> <character>JOY (V.O.)</character> <dialogue>And, of course, Family Island is amazing.</dialogue> </scene> <scene> <stage_direction>EXT. MINNESOTA KITCHEN TABLE - DAY</stage_direction> <scene_description>The family decorate cookies together. Riley stuffs one into Dad's mouth.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>The Emotions look out over the Islands of Personality.</scene_description> <character>JOY (V.O.)</character> <dialogue>The point is, the Islands of Personality are what make Riley... Riley!</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM</stage_direction> <scene_description>Riley splashes in the bathtub.</scene_description> <character>YOUNG RILEY</character> <dialogue>Look out, mermaid!</dialogue> </scene> <scene> <stage_direction>INT. MINNESOTA LIVING ROOM</stage_direction> <scene_description>Riley climbs the couch. She looks at the floor.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Joy projects an IMAGINATION of LAVA onto the screen.</scene_description> </scene> <scene> <stage_direction>INT. MINNESOTA LIVING ROOM</stage_direction> <character>YOUNG RILEY</character> <dialogue>Lava!</dialogue> <scene_description>Riley jumps from couch to chair to avoid the lava.</scene_description> </scene> <scene> <stage_direction>INT. MINNESOTA HOUSE</stage_direction> <scene_description>Riley draws. Pull back to reveal she's drawing on the wall.</scene_description> <character>YOUNG RILEY</character> <parenthetical>(singing)</parenthetical> <dialogue>Who's your friend who likes to play? Bing Bong, Bing Bong...</dialogue> </scene> <scene> <stage_direction>EXT. MINNESOTA LAKE - DAY</stage_direction> <scene_description>Six-year-old Riley skates across the ice backwards.</scene_description> <character>MOM/DAD</character> <dialogue>Hey! Very nice! Where did you learn that?</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Joy skates around the room, in sync with Riley.</scene_description> </scene> <scene> <stage_direction>EXT. MINNESOTA FRONT STEPS - DAY</stage_direction> <scene_description>Riley and Meg slurp frozen drinks. Riley grimaces: ice headache!</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>FEAR</character> <dialogue>Brain freeze!</dialogue> <scene_description>The Emotions scream as Headquarters freezes over.</scene_description> </scene> <scene> <stage_direction>EXT. MINNESOTA LAKE - DAY</stage_direction> <scene_description>A kids' hockey game. Riley takes a shot and scores!</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>JOY</character> <dialogue>Yaaay!</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S MINNESOTA BEDROOM - NIGHT</stage_direction> <scene_description>Parents tuck Riley into bed and turn off the light.</scene_description> <character>DAD</character> <dialogue>Good night, kiddo!</dialogue> <character>RILEY</character> <dialogue>G'night, Dad.</dialogue> <scene_description>She looks up at the stars on her ceiling and falls asleep.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Joy watches the screen go DARK. She inspects the shelves mostly populated with GOLDEN MEMORIES.</scene_description> <character>JOY</character> <dialogue>And... we're out. That's what I'm talking about: another perfect day! Nice job everybody! Let's get those memories down to Long Term.</dialogue> <scene_description>Joy pulls a lever. Memories cascade down the shelves.</scene_description> <character>FEAR</character> <dialogue>All right, we did not die today! I call that an unqualified success.</dialogue> <scene_description>The memories pachinko down the shelves and up a tube. Joy runs to the back window to watch them glide through the distant tubes towards Long-Term Memory like falling stars.</scene_description> <character>JOY (V.O.)</character> <dialogue>And that's it! We love our girl. She's got great friends and a great house. Things couldn't be better. After all, Riley's 11 now. What could happen?</dialogue> <scene_description>CUT TO:</scene_description> </scene> <scene> <stage_direction>EXT. MINNESOTA HOUSE FRONT YARD - DAY</stage_direction> <scene_description>Moving sign: Sold!</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>JOY</character> <dialogue>Wha...?</dialogue> <character>SADNESS/FEAR/ANGER/DISGUST</character> </scene> <scene> <stage_direction>EXT. DRIVEWAY - DAY</stage_direction> <scene_description>SLAM! A packed car hatchback closes.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>JOY</character> <dialogue>Huh?</dialogue> <character>SADNESS/FEAR/ANGER/DISGUST</character> </scene> <scene> <stage_direction>EXT. MINNESOTA STREET - DAY</stage_direction> <scene_description>VROOM! A moving van drives away.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>JOY</character> <dialogue>OK, not what I had in mind.</dialogue> <character>SADNESS/FEAR/ANGER/DISGUST</character> </scene> <scene> <stage_direction>EXT. AMERICAN HIGHWAYS</stage_direction> <scene_description>A SERIES OF SHOTS: the family car drives across America. The car passes corn fields and rolling hills. TITLE CARD: A PIXAR ANIMATION STUDIOS FILM Riley sleeps in the back seat. The car zips around a mountain curve, down a desert highway. Riley looks out the back window. The car emerges from a tunnel onto the GOLDEN GATE BRIDGE. TITLE CARD: INSIDE OUT The car drives across the bridge. Riley looks out the window.</scene_description> <character>JOY (V.O.)</character> <dialogue>Hey look! The Golden Gate Bridge! Isn't that great?! It's not made out of solid gold like we thought, which is kind of a disappointment, but still!</dialogue> <scene_description>The car drives past the Ferry Building.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>FEAR</character> <dialogue>I sure am glad you told me earthquakes are a myth, Joy. Otherwise I'd be terrified right now!</dialogue> <scene_description>Everyone eyes each other behind Fear's back.</scene_description> <character>JOY</character> <dialogue>Uh... yeah.</dialogue> </scene> <scene> <stage_direction>EXT. LOMBARD STREET - DAY</stage_direction> <scene_description>The car is stuck in traffic. Cars HONK and people YELL.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>ANGER</character> <dialogue>These are my kind of people!</dialogue> </scene> <scene> <stage_direction>EXT. MARKET STREET - DAY</stage_direction> <character>DAD</character> <dialogue>All right, just a few more blocks. We're almost to our new house!</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>ANGER</character> <dialogue>Step on it, Daddy!</dialogue> <character>DISGUST</character> <dialogue>Why don't we just live in this smelly car? We've already been in it forever.</dialogue> <character>JOY</character> <dialogue>Which, actually, was really lucky, because that gave us plenty of time to think about what our new house is going to look like! Let's review the top five daydreams.</dialogue> <scene_description>Joy plugs in DAYDREAMS showing fantasy houses: tree house, water-slide house, etc.</scene_description> <character>FEAR</character> <dialogue>Ooh! That looks safe!</dialogue> <character>JOY</character> <dialogue>Ohh, this is will be great for Riley! Oh, no, no, no, THIS one.</dialogue> <scene_description>A gingerbread house.</scene_description> <character>DISGUST (O.S.)</character> <dialogue>Ugh, Joy. For the last time, she cannot live in a cookie.</dialogue> <scene_description>A castle.</scene_description> <character>ANGER</character> <dialogue>THAT'S the one! It comes with a dragon!</dialogue> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO HOUSE - DAY</stage_direction> <character>JOY (O.S.)</character> <dialogue>Now we're getting close, I can feel it. Here it is, here's our new house... and...</dialogue> <scene_description>The car stops and Riley steps out. REVEAL: a run-down Victorian. Nothing like the daydreams.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Everyone looks slackjawed.</scene_description> <character>JOY</character> <dialogue>Maybe it's nice on the inside.</dialogue> </scene> <scene> <stage_direction>INT. SAN FRANCISCO HOUSE - CONTINUOUS</stage_direction> <scene_description>Riley steps inside. The room is dark, dusty, uninviting.</scene_description> <character>ANGER (V.O.)</character> <dialogue>We're supposed to live here?</dialogue> <character>SADNESS (V.O.)</character> <dialogue>Do we have to?</dialogue> <character>DISGUST (V.O.)</character> <dialogue>I'm telling you, it smells like something died in here.</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>A disgust memory rolls in.</scene_description> <character>FEAR</character> <dialogue>Can you die from moving?</dialogue> <character>JOY</character> <dialogue>Guys, you're overreacting. Nobody is dying--</dialogue> <character>DISGUST</character> <dialogue>A DEAD MOUSE!!!</dialogue> <scene_description>ON THE SCREEN: A dead mouse in the corner.</scene_description> <character>DISGUST (O.S.)</character> <dialogue>I'm gonna be sick...</dialogue> <character>ANGER (O.S.)</character> <dialogue>Great, this is just great.</dialogue> <character>FEAR (O.S.)</character> <dialogue>Ahhhhh!! It's the house of the dead! What are we gonna do?! We're gonna get rabies!!!</dialogue> <scene_description>Fear jumps into Anger's arms. Anger fires up the flames.</scene_description> <character>ANGER</character> <dialogue>GET OFFA ME!!!</dialogue> <scene_description>Fear runs around on fire. Joy puts him out with a fire extinguisher.</scene_description> <character>JOY</character> <dialogue>Hey, hey, hey, all through the drive Dad talked about how cool our new room is. Let's go check it out!</dialogue> <character>FEAR/ANGER/DISGUST (O.S.)</character> <dialogue>You're right, Joy/Yeah!/That's right!/Yes, yes, yes!</dialogue> </scene> <scene> <stage_direction>INT. SAN FRANCISCO HOUSE</stage_direction> <scene_description>Riley dashes up the stairs.</scene_description> </scene> <scene> <stage_direction>INT. RILEY'S ROOM - CONTINUOUS</stage_direction> <scene_description>It's tiny. Depressing.</scene_description> <character>FEAR/DISGUST/ANGER (O.S.)</character> <dialogue>No, no, no, no, no./I'm starting to envy the dead mouse./Get out the rubber ball, we're in solitary confinement.</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>SADNESS</character> <dialogue>Oh, Riley can't live here.</dialogue> <character>ANGER</character> <dialogue>She's right.</dialogue> <character>FEAR</character> <dialogue>Really bad.</dialogue> <character>DISGUST</character> <dialogue>It's the worst. It's absolutely the worst.</dialogue> <character>ANGER</character> <dialogue>This house stinks.</dialogue> <scene_description>Memories roll in: anger, disgust, fear.</scene_description> <character>JOY</character> <dialogue>Hey, it's nothing our butterfly curtains couldn't fix. I read somewhere that an empty room is an opportunity.</dialogue> <character>ANGER</character> <dialogue>Where did you read that?</dialogue> <character>JOY</character> <dialogue>It doesn't matter. I read it and it's great. We'll put the bed there. And the desk over there...</dialogue> <scene_description>Joy projects an IMAGINATION of Riley's furniture.</scene_description> <character>FEAR</character> <dialogue>The hockey lamp goes there...</dialogue> <character>ANGER</character> <dialogue>Put the chair there.</dialogue> <character>DISGUST</character> <dialogue>Well, the trophy collection goes there.</dialogue> <character>SADNESS</character> <dialogue>Posters...</dialogue> <character>FEAR</character> <dialogue>Stars! I like that.</dialogue> <character>JOY</character> <dialogue>Now we're talking! Let's go get our stuff from the moving van!</dialogue> </scene> <scene> <stage_direction>INT. SAN FRANCISCO HOUSE - DAY</stage_direction> <scene_description>Riley dashes down the stairs as Mom and Dad enter the house. Dad is on the phone.</scene_description> <character>DAD</character> <dialogue>Alright. Goodbye.</dialogue> <parenthetical>(hangs up; to Mom)</parenthetical> <dialogue>Well, guess what? The moving van won't be here until Thursday.</dialogue> <character>MOM</character> <dialogue>You're kidding.</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>FEAR</character> <dialogue>The van is lost?! This is the worst day ever!</dialogue> <scene_description>ON THE SCREEN: Mom and Dad ARGUE.</scene_description> <character>MOM</character> <dialogue>You said it would be here yesterday!</dialogue> <character>DAD</character> <dialogue>I know that's what I said. That's what they told me!</dialogue> <character>FEAR (O.S.)</character> <dialogue>Mom and Dad are stressed out!</dialogue> <character>FEAR/ANGER/DISGUST/SADNESS</character> <dialogue>They're arguing!/What are we going to do?/This is so stressful./What is their problem?</dialogue> <scene_description>Joy runs to storage and grabs what looks to be a LIGHTBULB.</scene_description> <character>JOY</character> <dialogue>I've got a great idea!</dialogue> <scene_description>She clicks the IDEA into the console.</scene_description> </scene> <scene> <stage_direction>INT. SAN FRANCISCO LIVING ROOM - DAY</stage_direction> <scene_description>Riley's face lights up. Riley grabs her hockey stick. Puts a wad of paper in play.</scene_description> <character>MOM</character> <dialogue>Did you even read the contract?</dialogue> <character>DAD</character> <dialogue>Honey, you act like this is my fault--</dialogue> <character>RILEY</character> <dialogue>Andersen makes her move. She's closing in!</dialogue> <character>DAD</character> <parenthetical>(grabbing a broom)</parenthetical> <dialogue>Hey! Oh, no you're not!</dialogue> <character>RILEY</character> <dialogue>She's lining up for the shot!</dialogue> <character>DAD</character> <dialogue>Coming behind you! Watch out!</dialogue> <scene_description>She slides past him. Knocks the "puck" into the fireplace.</scene_description> <character>RILEY</character> <dialogue>She shoots and she scores! Yeah!</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>The Emotions cheer. Out the back window, Family Island runs.</scene_description> </scene> <scene> <stage_direction>INT. SAN FRANCISCO LIVING ROOM - CONTINUOUS</stage_direction> <character>RILEY</character> <parenthetical>(taunting Mom)</parenthetical> <dialogue>Come on, Grandma!</dialogue> <character>MOM</character> <dialogue>Ha! "Grandma?"</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>JOY</character> <dialogue>Uh-oh, she put her hair up, we're in for it!</dialogue> </scene> <scene> <stage_direction>INT. SAN FRANCISCO LIVING ROOM</stage_direction> <scene_description>They all play hockey, Mom using a pillow to guard the "goal." Dad picks her up to shoot past her.</scene_description> <character>MOM</character> <parenthetical>(laughing)</parenthetical> <dialogue>Woo! Hey, put me down!</dialogue> <scene_description>Dad scoops up Riley, too. Riley giggles.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>A happy memory rolls in. Joy's back in charge.</scene_description> </scene> <scene> <stage_direction>INT. SAN FRANCISCO LIVING ROOM</stage_direction> <scene_description>Dad's cell phone beeps.</scene_description> <character>DAD</character> <dialogue>Ugh. Sorry, hold on, hold on.</dialogue> <parenthetical>(answers)</parenthetical> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>JOY</character> <dialogue>Wait. Wha--?</dialogue> </scene> <scene> <stage_direction>INT. SAN FRANCISCO LIVING ROOM</stage_direction> <character>DAD</character> <dialogue>You're kidding. All right. Stall for me, I'll be right there.</dialogue> <parenthetical>(hangs up)</parenthetical> <dialogue>The investor's supposed to show up on Thursday, not today! I gotta go.</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Joy is disappointed.</scene_description> </scene> <scene> <stage_direction>INT. SAN FRANCISCO LIVING ROOM</stage_direction> <character>MOM</character> <dialogue>It's okay. We get it.</dialogue> <character>DAD</character> <dialogue>You're the best. Thanks, Hon.</dialogue> <parenthetical>(to Riley, as he leaves)</parenthetical> <dialogue>See you, Sweetie.</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>FEAR</character> <dialogue>Dad just left us.</dialogue> <character>SADNESS</character> <dialogue>Oh, he doesn't love us anymore. That's sad. I should drive, right?</dialogue> <scene_description>JOY BLOCKS HER.</scene_description> <character>SADNESS</character> <dialogue>Joy? What are you doing?</dialogue> <character>JOY</character> <dialogue>Uh, just uh, gimme one second... You know what I've realized? Riley hasn't had lunch!</dialogue> <parenthetical>(takes a memory off the wall and plays it)</parenthetical> <dialogue>Remember?</dialogue> <scene_description>MEMORY: A PIZZA SHOP.</scene_description> </scene> <scene> <stage_direction>INT. SAN FRANCISCO LIVING ROOM</stage_direction> <character>RILEY</character> <dialogue>Hey I saw a pizza place down the street. Maybe we could try that?</dialogue> <character>MOM</character> <dialogue>Pizza sounds delicious!</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>FEAR/ANGER/DISGUST</character> <dialogue>Yeah!/Pizza!/Good idea, Joy.</dialogue> <scene_description>Joy smiles.</scene_description> </scene> <scene> <stage_direction>INT. PIZZA PLACE - DAY</stage_direction> <scene_description>Riley and Mom get their pizza. On it: broccoli.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>FEAR/JOY/DISGUST</character> <dialogue>What the HECK IS THAT?!/Who puts broccoli on pizza?/That's it. I'm done.</dialogue> <character>ANGER</character> <dialogue>Congratulations, San Francisco, you've ruined pizza! First the Hawaiians, and now YOU!</dialogue> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREET - LATER</stage_direction> <scene_description>Mom and Riley walk home. Riley looks disappointed.</scene_description> <character>MOM</character> <dialogue>What kind of a pizza place only serves one kind of pizza? Must be a San Francisco thing, huh?</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Joy glances at the wall of multi-colored memories. She sighs: things are not going well.</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREET - CONTINUOUS</stage_direction> <character>MOM</character> <dialogue>Still, it's not as bad as the soup at that diner in Nebraska.</dialogue> <character>RILEY</character> <dialogue>Oh yeah. The spoon stood up in the soup by itself! That was disgusting.</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Joy looks out the back window. Family Island is going.</scene_description> <character>JOY</character> <dialogue>Oh good. Family is running.</dialogue> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREET</stage_direction> <character>MOM</character> <dialogue>The drive out was pretty fun, huh? What was your favorite part?</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>ANGER</character> <dialogue>Spitting out the car window!</dialogue> <character>DISGUST</character> <dialogue>Definitely not when Dad was singing.</dialogue> <character>FEAR</character> <dialogue>Wearing a seat belt!</dialogue> <character>JOY</character> <dialogue>What about the time with the dinosaur!</dialogue> <scene_description>Joy pulls up a memory.</scene_description> <character>SADNESS/FEAR/ANGER/DISGUST</character> <dialogue>Yeah./Yup./That's the one.</dialogue> <scene_description>ON THE SCREEN: Riley and Mom pose in front of a roadside cement dinosaur in Vernal, Utah.</scene_description> <character>DAD (ON SCREEN)</character> <dialogue>Say cheese!</dialogue> <scene_description>Behind Dad, the car rolls down the hill. No brakes!</scene_description> <character>RILEY (ON SCREEN)</character> <dialogue>Dad! Dad! Look behind you.</dialogue> <character>MOM (ON SCREEN)</character> <dialogue>Honey. The car! The car!</dialogue> <character>DAD (ON SCREEN)</character> <dialogue>Hold still. Huh?</dialogue> <parenthetical>(runs off after the car)</parenthetical> <dialogue>Stoooop! No no no nononono!!</dialogue> <scene_description>Stegosaurus tail through the back window. The family laughs. Enjoying the memory, Joy and the others chuckle.</scene_description> <character>FEAR</character> <dialogue>Nice one, Joy.</dialogue> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREET</stage_direction> <character>RILEY</character> <parenthetical>(smiling)</parenthetical> <dialogue>I liked that time at the dinosaur. That was pretty funny.</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Joy's cheer is cut short when the dinosaur memory TURNS BLUE.</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREET - DAY</stage_direction> <scene_description>Riley's smile fades.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>JOY</character> <dialogue>Wait. What? What happened?</dialogue> <scene_description>Joy looks back. Sadness is touching the memory.</scene_description> <character>FEAR</character> <dialogue>She did something to the memory.</dialogue> <scene_description>Joy tries to fix the memory.</scene_description> <character>JOY</character> <dialogue>What did you do?</dialogue> <character>SADNESS</character> <dialogue>I just touched it.</dialogue> <character>JOY</character> <dialogue>That shouldn't make it change.</dialogue> <character>FEAR</character> <dialogue>Change it back, Joy!</dialogue> <scene_description>Joy rubs it, but the memory stays blue.</scene_description> <character>JOY</character> <dialogue>I'm trying.</dialogue> <character>ANGER</character> <dialogue>You can't change it back?</dialogue> <character>JOY</character> <dialogue>No, I guess I can't!</dialogue> <character>DISGUST</character> <dialogue>Good going Sadness. Now when Riley thinks of that moment with Dad, she's gonna feel sad. Bravo.</dialogue> <character>SADNESS</character> <dialogue>I'm sorry Joy... I don't really know-- I thought maybe, if you-- if I-- if... I mean...</dialogue> <character>DISGUST</character> <dialogue>Joy, we've got a stairway coming up.</dialogue> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREET - DAY</stage_direction> <scene_description>Riley runs towards a stairway and handrail.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>JOY</character> <dialogue>Just don't touch any other memories until we figure out what's going on.</dialogue> <character>SADNESS</character> <dialogue>Okay.</dialogue> <character>JOY</character> <parenthetical>(stepping up to controls)</parenthetical> <dialogue>Alright. Get ready, this is a monster railing, and we are riding it all the way down!</dialogue> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREET - CONTINUOUS</stage_direction> <scene_description>Riley sits on the railing, ready to slide.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Joy looks back: GOOFBALL ISLAND is whirring like crazy.</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREET</stage_direction> <scene_description>Riley goes to slide... but hops off and walks down instead.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>JOY</character> <dialogue>Wait, what? What happened?</dialogue> <scene_description>Suddenly a CORE MEMORY ROLLS up to Joy's feet.</scene_description> <character>FEAR</character> <dialogue>A core memory!</dialogue> <character>JOY</character> <dialogue>Oh no!</dialogue> <scene_description>Out the back window, GOOFBALL ISLAND GOES DARK. Joy rushes to the Core Memory Holder.</scene_description> <character>JOY</character> <dialogue>Sadness! What are you doing?</dialogue> <character>SADNESS</character> <dialogue>It looked like one was crooked so I opened it and then it fell out!</dialogue> <scene_description>Joy pops the memory back in. GOOFBALL ISLAND comes back on.</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREET</stage_direction> <scene_description>Riley jumps back on the railing and slides down.</scene_description> <character>RILEY</character> <dialogue>Woo hoo!</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>SADNESS</character> <dialogue>It's just that... I wanted to maybe hold one.</dialogue> <scene_description>She reaches out to touch one, AND IT STARTS TO GO BLUE.</scene_description> <character>FEAR</character> <dialogue>JOY!</dialogue> <scene_description>Joy pushes Sadness away before she can touch it.</scene_description> <character>JOY</character> <dialogue>Whoa, whoa, whoa!</dialogue> <scene_description>The core memory TURNS BACK TO YELLOW.</scene_description> <character>JOY</character> <dialogue>Sadness! You nearly touched a core memory. And when you touch them, we can't change them back!</dialogue> <character>SADNESS</character> <dialogue>I know. I'm sorry. Something's wrong with me. It's like I'm having a breakdown.</dialogue> <character>JOY</character> <dialogue>You are not having a breakdown. It's stress.</dialogue> <character>SADNESS</character> <dialogue>I keep making mistakes like that. I'm awful...</dialogue> <character>JOY</character> <dialogue>Nooo, you're not.</dialogue> <character>SADNESS</character> <dialogue>...and annoying.</dialogue> <character>JOY</character> <dialogue>Well... uh... You know what? You can't focus on what's going wrong. There's always a way to turn things around, to find the fun!</dialogue> <character>SADNESS</character> <dialogue>Yeah. Find the fun. I don't know how to do that.</dialogue> <character>JOY</character> <dialogue>Okay. Well, try think of something funny!</dialogue> <scene_description>Long pause.</scene_description> <character>SADNESS</character> <dialogue>Oh! Remember the funny movie where the dog dies?</dialogue> <character>JOY</character> <dialogue>Yeah, that's not...</dialogue> <parenthetical>(tries another approach)</parenthetical> <dialogue>What about that time with Meg, when Riley laughed so hard milk came out of her nose? I mean come on...</dialogue> <scene_description>INSERT: Riley spitting milk out of her nose, Meg laughing.</scene_description> <character>SADNESS</character> <dialogue>Yeah, that hurt. It felt like fire.</dialogue> <character>JOY</character> <dialogue>Okay, okay, don't think of that. Let's try something else. What are your favorite things to do?</dialogue> <character>SADNESS</character> <dialogue>My favorite? Um, well, I like it when we're outside.</dialogue> <character>JOY</character> <dialogue>That's good! Like there's the beach and sunshine... Oh!</dialogue> <character>JOY</character> <dialogue>Like that time we buried Dad in the sand up to his neck?</dialogue> <scene_description>INSERT: Riley at beach, Dad buried in sand.</scene_description> <character>SADNESS (V.O.)</character> <dialogue>I was thinking more like rain.</dialogue> <scene_description>INSERT: Riley stands in a downpour.</scene_description> <character>JOY</character> <dialogue>Rain? Rain... is my favorite too! We can stomp around in puddles...</dialogue> <scene_description>INSERT: Riley happily jumps through puddles.</scene_description> <character>JOY</character> <dialogue>There's cool umbrellas, lightning storms...</dialogue> <character>SADNESS (V.O.)</character> <dialogue>More like when the rain runs down our back and makes our shoes soggy. And we get all cold and shivery...</dialogue> <scene_description>INSERT: Riley's shoes fill with water. She looks miserable.</scene_description> <character>SADNESS</character> <dialogue>...and everything just starts feeling droopy...</dialogue> <scene_description>Sadness melts to the floor, crying.</scene_description> <character>JOY</character> <dialogue>Oh, hey, hey... easy. Why are you crying? That's really the opposite of what we're going for here.</dialogue> <character>SADNESS</character> <dialogue>Crying helps me slow down and obsess over the weight of life's problems.</dialogue> <character>JOY</character> <dialogue>Ugh, you know what? Let's think about something else. How about we read some mind manuals, huh? Sounds fun!</dialogue> <scene_description>She drags Sadness over to a shelf of technical manuals.</scene_description> <character>SADNESS</character> <dialogue>I've read most of them.</dialogue> <character>JOY</character> <dialogue>Well have you read this one? This seems interesting: "Long-Term Memory Retrieval, Volume 47?"</dialogue> <character>SADNESS</character> <dialogue>No.</dialogue> <character>JOY</character> <dialogue>Ohhh! A real page turner!</dialogue> <character>SADNESS</character> <parenthetical>(opens manual; reads)</parenthetical> <dialogue>"Long-Term Memory Data Selection via channel sub-grouping?"</dialogue> <character>JOY</character> <dialogue>See? Fun already! You lucky dog, you're reading these cool things and I gotta go work. Life is so unfair.</dialogue> <scene_description>Joy walks away. But just as she thinks things are handled... DING! Another memory -- Disgust -- slides in. Joy groans.</scene_description> </scene> <scene> <stage_direction>INT. SAN FRANCISCO HOUSE - NIGHT</stage_direction> <scene_description>Riley hops down the stairs towards the living room.</scene_description> <character>DAD (O.S.)</character> <parenthetical>(on phone)</parenthetical> <dialogue>What can we do? We've only got capital to last a month, maybe two. If we can't find investors by then, we're going to have to lay people off.</dialogue> <scene_description>Riley hears the stress in Dad's voice.</scene_description> <character>RILEY</character> <dialogue>Mom! Dad! Come kiss me g'night!</dialogue> <character>MOM</character> <dialogue>Be right there!</dialogue> <character>DAD</character> <parenthetical>(on phone)</parenthetical> <dialogue>I know, I know! We've got to land this, okay?</dialogue> <scene_description>Riley heads back upstairs.</scene_description> </scene> <scene> <stage_direction>INT. RILEY'S ROOM - MOMENTS LATER</stage_direction> <scene_description>Riley climbs into her sleeping bag.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>FEAR</character> <dialogue>Did you hear Dad? He sounded really upset.</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM</stage_direction> <scene_description>STRANGE NOISES from outside. Headlights cast shadows on the wall. Riley looks scared.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>FEAR</character> <dialogue>What was that? Was it a bear? It's a bear!</dialogue> <character>DISGUST</character> <dialogue>There are no bears in San Francisco!</dialogue> <character>ANGER</character> <dialogue>I saw a really hairy guy. He looked like a bear.</dialogue> <character>FEAR</character> <dialogue>Oh, I'm so jumpy, my nerves are shot!</dialogue> <character>DISGUST</character> <dialogue>Ew, I don't want to hear about your nerves!</dialogue> <character>ANGER</character> <dialogue>I'll tell you what it is. This move has been a bust.</dialogue> <character>FEAR</character> <dialogue>That's what I've been telling you guys! There are at least 37 things for Riley to be scared of right now!</dialogue> <character>DISGUST</character> <dialogue>The smell alone is enough to make her gag.</dialogue> <character>ANGER</character> <dialogue>I can't believe Mom and Dad moved us here!</dialogue> <character>JOY</character> <dialogue>Look, I get it. You guys have concerns. But we've been through worse! Tell you what: let's make a list of all the things Riley should be HAPPY about!</dialogue> <character>ANGER</character> <dialogue>Fine. Let's see... this house stinks, our room stinks...</dialogue> <character>DISGUST</character> <dialogue>Pizza is weird here...</dialogue> <character>SADNESS</character> <dialogue>Our friends are back home...</dialogue> <character>FEAR</character> <dialogue>And all of our stuff is in the missing van!</dialogue> <character>JOY</character> <dialogue>Oh c'mon, it could be worse...</dialogue> <character>DISGUST</character> <dialogue>Yeah, Joy. We could be lying on the dirty floor. In a bag.</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM</stage_direction> <scene_description>Riley is lying on the dirty floor in a sleeping bag.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>JOY</character> <dialogue>Okay, I admit it, we had a rough start. But think of all the good things that--</dialogue> <character>ANGER</character> <dialogue>No, Joy. There's absolutely no reason for Riley to be happy right now. Let us handle this.</dialogue> <character>FEAR</character> <dialogue>I say we skip school tomorrow and lock ourselves in the bedroom.</dialogue> <character>DISGUST</character> <dialogue>We have no clean clothes. I mean, no one should see us.</dialogue> <character>SADNESS</character> <dialogue>Yeah, we could cry until we can't breathe.</dialogue> <character>ANGER</character> <dialogue>We should lock the door and scream that curse word we know. It's a good one!</dialogue> <character>JOY</character> <dialogue>Now hold on! Look, we all have our off days. You know, I--</dialogue> <scene_description>ON THE SCREEN: Mom opens Riley's bedroom door.</scene_description> <character>MOM</character> <dialogue>Hi honey.</dialogue> <character>ANGER</character> <dialogue>The Mom Bad News Train is pulling in! Toot toot!</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM</stage_direction> <scene_description>Mom sits next to Riley.</scene_description> <character>MOM</character> <dialogue>Still no moving van. Now they're saying it won't be here 'til Tuesday, can you believe it?</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>ANGER</character> <dialogue>Toot toot toot!</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM</stage_direction> <character>RILEY</character> <dialogue>Where's Dad?</dialogue> <character>MOM</character> <dialogue>On the phone. This new venture is keeping him pretty busy. Your dad's a little stressed -- you know, about getting his new company up and running...</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>ANGER</character> <dialogue>I rest my case!</dialogue> <scene_description>Joy sighs. She falls back from the controls. Anger steps up to the console.</scene_description> <character>ANGER</character> <dialogue>Now for a few well-placed withering scowls.</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM</stage_direction> <character>MOM</character> <dialogue>I guess all I really want to say is: thank you.</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>ANGER</character> <dialogue>Huh?</dialogue> <scene_description>Anger drops the controls.</scene_description> </scene> <scene> <stage_direction>INT. RILEY'S ROOM</stage_direction> <character>MOM</character> <dialogue>You know, through all this confusion you've stayed... well, you've stayed our happy girl!</dialogue> <scene_description>Mom brushes Riley's cheek.</scene_description> <character>MOM</character> <dialogue>Your dad's under a lot of pressure. But if you and I can keep smiling, it would be a big help. We can do that for him, right?</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Joy, smiling with renewed purpose, steps back to the console.</scene_description> <character>JOY</character> <dialogue>Whoa! Well.</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM</stage_direction> <character>RILEY</character> <parenthetical>(smiles)</parenthetical> <dialogue>Yeah! Sure.</dialogue> <character>MOM</character> <dialogue>What did we do to deserve you?</dialogue> <parenthetical>(kisses Riley)</parenthetical> <dialogue>Sweet dreams.</dialogue> <character>RILEY</character> <dialogue>Good night.</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>ANGER</character> <dialogue>Well, you can't argue with Mom. "Happy" it is.</dialogue> <character>FEAR</character> <dialogue>Team Happy!</dialogue> <character>DISGUST</character> <dialogue>Sounds great!</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM</stage_direction> <scene_description>Riley goes to sleep.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>The screen goes black.</scene_description> <character>JOY</character> <dialogue>Looks like we're going into REM. I got Dream Duty, so I'll take care of sending these to Long Term. Great day today, guys! Sleep well TEAM HAPPY!</dialogue> <scene_description>The team heads off to bed. Harp music plays.</scene_description> <character>JOY</character> <dialogue>Alright, what's on tonight, Dream Production?</dialogue> <scene_description>ON THE SCREEN: a DREAM COMES UP. The family FLIES happily through the air in the car. They land in front of the house--</scene_description> <character>DAD</character> <dialogue>Well, this is it. The new place.</dialogue> <scene_description>-- except it's haunted! Organ music. Ghosts howling. The dead mouse rises up into frame.</scene_description> <character>MOUSE</character> <dialogue>Come live with me, Riley!</dialogue> <scene_description>The mouse falls over, dead. A bear enters, holding a pizza.</scene_description> <character>PIZZA BEAR</character> <dialogue>Somebody order a broccoli pizza?</dialogue> <scene_description>The pizza slices hop up and dance a jig.</scene_description> <character>PIZZA SLICE</character> <dialogue>Eat me! I'm organic!</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM</stage_direction> <scene_description>Riley frowns in her sleep.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>JOY</character> <dialogue>Ah, NO, who is in charge of programming down there?! I know I'm not supposed to do this, but...</dialogue> <scene_description>Joy ducks behind the console and REBOOTS it. The dream ends.</scene_description> </scene> <scene> <stage_direction>INT. RILEY'S ROOM - NIGHT</stage_direction> <scene_description>Riley still looks troubled.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>JOY</character> <dialogue>We are not going to end the day like this.</dialogue> <scene_description>Joy has a thought. She recalls a memory. ON THE SCREEN: Riley ice skates with her parents. Joy watches, loving this kid. She shadows Riley, "skating" around headquarters.</scene_description> <character>JOY</character> <dialogue>Don't you worry. I'm gonna make sure that tomorrow is another great day. I promise.</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM - NIGHT</stage_direction> <scene_description>Riley SMILES in her sleep.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - MORNING</stage_direction> <scene_description>Riley excitedly snarfs down breakfast cereal.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS - MORNING</stage_direction> <scene_description>Joy plays the accordion around Headquarters. The others appear, looking grumpy. Joy yells over the noise.</scene_description> <character>JOY</character> <dialogue>Hello! Did I wake you?</dialogue> <character>ANGER</character> <dialogue>DO you have to play that?</dialogue> <character>JOY</character> <dialogue>Well, I have to practice. And I don't think of it as playing so much as hugging.</dialogue> <scene_description>She tosses aside the accordion and runs off.</scene_description> <character>JOY</character> <dialogue>Okay, first day of school! Very, very exciting! I was up late last night figuring out a new plan. Here it is.</dialogue> <parenthetical>(to Fear)</parenthetical> <dialogue>Fear! I need a list of all the possible negative outcomes on the first day at a new school.</dialogue> <character>FEAR</character> <dialogue>Way ahead of you there. Does anyone know how to spell "meteor?"</dialogue> <character>JOY</character> <dialogue>Disgust! Make sure Riley stands out today... but also blends in.</dialogue> <character>DISGUST</character> <dialogue>When I'm through, Riley will look so good the other kids will look at their own outfits and barf.</dialogue> <character>JOY</character> <parenthetical>(addressing herself)</parenthetical> <dialogue>Joy! Yes Joy? You'll be in charge of the console, keeping Riley happy all day long. And may I add I love your dress, it's adorable. Oh, This ol' thing? Thank you so much, I love the way it twirls...</dialogue> <scene_description>TOOT TOOT! A TRAIN rushes by outside.</scene_description> <character>JOY</character> <dialogue>Train of Thought! Right on schedule.</dialogue> <scene_description>The engineer waves from the cab and drops off a large bag.</scene_description> <character>JOY</character> <dialogue>Anger! Unload the daydreams. I ordered extra in case things get slow in class.</dialogue> <character>ANGER</character> <dialogue>Might come in handy, if this new school is full of boring useless classes, which it probably will be...</dialogue> <scene_description>Sadness walks by. Joy stops her.</scene_description> <character>JOY</character> <dialogue>Oh - Sadness! I have a super important job just for you.</dialogue> <character>SADNESS</character> <dialogue>Really?</dialogue> <character>JOY</character> <dialogue>Mmm-hmmm. Follow me.</dialogue> <scene_description>CUT TO: THE BACK OF THE ROOM Joy draws a chalk circle on the floor around Sadness's feet.</scene_description> <character>SADNESS</character> <dialogue>What are you doing?</dialogue> <character>JOY</character> <parenthetical>(finishing the circle)</parenthetical> <dialogue>And... there. Perfect. This is the circle of Sadness. Your job is to make sure that all the Sadness stays inside of it.</dialogue> <character>SADNESS</character> <dialogue>So... you want me to just stand here?</dialogue> <character>JOY</character> <dialogue>Hey, it's not MY place to tell you how to do your job. Just make sure--</dialogue> <parenthetical>(nudging Sadness' foot back over the line)</parenthetical> <dialogue>--ALL the Sadness stays in the circle.</dialogue> <scene_description>Sadness stands there.</scene_description> <character>JOY</character> <dialogue>See? You're a pro at this! Isn't this fun?!</dialogue> <character>SADNESS</character> <dialogue>No.</dialogue> <character>JOY</character> <parenthetical>(heading to the console)</parenthetical> <dialogue>Atta girl. Alright everyone, fresh start! We are gonna to have a good day, which will turn into a good week, which will turn into a good year, which turns into a good LIFE!</dialogue> </scene> <scene> <stage_direction>INT. SAN FRANCISCO HOUSE - MORNING</stage_direction> <scene_description>Mom helps Riley on with her backpack. Dad is on the phone.</scene_description> <character>MOM</character> <dialogue>So, the big day! New school, new friends, huh?</dialogue> <character>RILEY</character> <dialogue>I know! I'm kinda nervous, but I'm mostly excited! How do I look? Do you like my shirt?</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Joy looks back at Family Island, working away.</scene_description> </scene> <scene> <stage_direction>INT. SAN FRANCISCO HOUSE - CONTINUOUS</stage_direction> <character>MOM</character> <dialogue>Very cute! You gonna be okay? You want us to walk with you?</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>DISGUST</character> <dialogue>Mom and Dad? With us in public? No thank you.</dialogue> <character>JOY</character> <parenthetical>(operating console)</parenthetical> <dialogue>I'm on it.</dialogue> </scene> <scene> <stage_direction>INT. SAN FRANCISCO HOUSE</stage_direction> <character>RILEY</character> <dialogue>Nope, I'm fine. Bye Mom! Bye Dad!</dialogue> <character>DAD</character> <parenthetical>(covering phone)</parenthetical> <dialogue>Have a good day at school, Monkey!</dialogue> <scene_description>All three make monkey sounds at each other.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Goofball Island works out the back window.</scene_description> </scene> <scene> <stage_direction>INT. SAN FRANCISCO HOUSE</stage_direction> <scene_description>Riley giggles as she exits.</scene_description> <character>MOM</character> <dialogue>Have a great day, sweetheart.</dialogue> </scene> <scene> <stage_direction>EXT. SCHOOL - MORNING</stage_direction> <scene_description>Riley walks up to her new school. New kids everywhere. She hesitates.</scene_description> <character>FEAR (O.S.)</character> <dialogue>Are you sure we want to do this?</dialogue> <character>JOY (O.S.)</character> <dialogue>In we go!</dialogue> <character>FEAR (O.S.)</character> <dialogue>Okayyy! Going in! Yes.</dialogue> <scene_description>Riley perks up and walks in.</scene_description> </scene> <scene> <stage_direction>INT. CLASSROOM - MORNING</stage_direction> <scene_description>Riley sits at her desk and looks at the other kids in class.</scene_description> <character>DISGUST (O.S.)</character> <dialogue>Okay, we've got a group of cool girls at 2 o'clock.</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS - CONTINUOUS</stage_direction> <character>JOY</character> <dialogue>How do you know?</dialogue> <character>DISGUST</character> <dialogue>Double ears pierced, infinity scarf...</dialogue> <scene_description>A group of makeup-wearing girls look back at Riley.</scene_description> <character>JOY</character> <dialogue>Whoa. Is she wearing eye shadow?</dialogue> <character>DISGUST</character> <dialogue>Yeah, we want to be friends with them.</dialogue> <character>JOY</character> <dialogue>Let's go talk to 'em!</dialogue> <character>DISGUST</character> <dialogue>Are you kidding?? We're not TALKING to them, we want them to like us.</dialogue> <character>JOY</character> <dialogue>Oh!</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Wait, what?</dialogue> <character>FEAR</character> <parenthetical>(drops a giant stack of paper on the console)</parenthetical> <dialogue>Almost finished with the potential disasters. Worst scenario is either quicksand, spontaneous combustion, or getting called on by the teacher. So as long as none of those happen...</dialogue> </scene> <scene> <stage_direction>INT. CLASSROOM</stage_direction> <character>TEACHER</character> <dialogue>Okay, everybody. We have a new student in class today.</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>FEAR</character> <dialogue>Are you kidding me?! Out of the gate? This is not happening!</dialogue> </scene> <scene> <stage_direction>INT. CLASSROOM</stage_direction> <character>TEACHER</character> <dialogue>Riley would you like to tell us something about yourself?</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>FEAR</character> <dialogue>Nooooooo! Pretend we can't speak English!</dialogue> <character>JOY</character> <dialogue>Don't worry. I got this.</dialogue> <scene_description>Joy pushes a lever.</scene_description> </scene> <scene> <stage_direction>INT. CLASSROOM</stage_direction> <character>RILEY</character> <dialogue>Uhh... okay. My name is Riley Andersen. I'm from Minnesota. And now I live here.</dialogue> <character>TEACHER</character> <dialogue>And how about Minnesota?... Can you tell us something about it? Well you certainly get a lot more snow than we do.</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>JOY</character> <parenthetical>(laughs)</parenthetical> <dialogue>She's hilarious!</dialogue> <scene_description>She turns a lever.</scene_description> </scene> <scene> <stage_direction>INT. CLASSROOM</stage_direction> <scene_description>Riley smiles, in spite of all the eyes on her.</scene_description> <character>RILEY</character> <dialogue>Yeah, it gets pretty cold. The lake freezes over, and that's when we play hockey. I'm on a great team. We're called the Prairie Dogs. My friend Meg plays forward. My Dad's the coach. Pretty much everyone in my family skates.</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Joy recalls a MEMORY: the family skating together.</scene_description> </scene> <scene> <stage_direction>INT. CLASSROOM</stage_direction> <scene_description>Riley "watches" the memory, smiling.</scene_description> <character>RILEY</character> <dialogue>It's a kind of family tradition. We go out on the lake almost every weekend.</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Joy smiles. Then, mysteriously, the IMAGE TURNS BLUE.</scene_description> </scene> <scene> <stage_direction>INT. CLASSROOM</stage_direction> <scene_description>Riley's smile fades, her brow furrows.</scene_description> <character>RILEY</character> <dialogue>Or we did, 'til I moved away.</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Confused, Joy looks around.</scene_description> <character>FEAR/DISGUST/ANGER</character> <dialogue>Huh?/Hey, what gives?/What?</dialogue> <character>JOY</character> <dialogue>Hey--</dialogue> <scene_description>She spots Sadness, who is guiltily touching the memory.</scene_description> <character>JOY</character> <dialogue>Sadness! You touched a memory?! We talked about this.</dialogue> <character>SADNESS</character> <dialogue>Oh yeah, I know. I'm sorry.</dialogue> <character>JOY</character> <dialogue>Get back in your circle.</dialogue> <parenthetical>(trying to eject memory)</parenthetical> <dialogue>Gnnh! What's going on? Why won't it eject?!!</dialogue> <scene_description>She fiddles with the console, but the blue memory won't move.</scene_description> <character>FEAR</character> <dialogue>Get it out of there, Joy!</dialogue> </scene> <scene> <stage_direction>INT. CLASSROOM</stage_direction> <character>RILEY</character> <parenthetical>(sniffling)</parenthetical> <dialogue>We used to play tag and stuff...</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>DISGUST</character> <dialogue>Cool kids whispering at 3 o'clock!</dialogue> </scene> <scene> <stage_direction>INT. CLASSROOM</stage_direction> <scene_description>The other kids whisper and stare.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>FEAR</character> <dialogue>Did you see that look?!? They're judging us!</dialogue> <character>JOY</character> <dialogue>Oh no.</dialogue> <scene_description>Joy tries pulling the memory. Anger, Fear and Disgust help.</scene_description> <character>JOY</character> <dialogue>Somebody help me. Grab that... everybody...</dialogue> <scene_description>They pull with all their might, but the memory's not budging.</scene_description> </scene> <scene> <stage_direction>INT. CLASSROOM</stage_direction> <character>RILEY</character> <dialogue>But everything's different now. Since we moved...</dialogue> <scene_description>TEARS stream down Riley's face.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>FEAR</character> <dialogue>Oh no! We're CRYING AT SCHOOL!!!</dialogue> <scene_description>Joy turns to the console. SADNESS IS DRIVING.</scene_description> <character>JOY</character> <dialogue>What? No! Sadness, what are you doing?</dialogue> <scene_description>Joy finally yanks the memory out. She runs to the console and pulls Sadness away from the controls.</scene_description> <character>SADNESS</character> <dialogue>Oh no, I'm sorry... I... oh...</dialogue> <scene_description>PING! A memory is created. BRIGHT BLUE.</scene_description> <character>JOY</character> <dialogue>Huh?</dialogue> <character>ANGER</character> <dialogue>Whoa!</dialogue> <character>FEAR</character> <dialogue>It's a core memory!</dialogue> <character>DISGUST</character> <dialogue>But it's blue!</dialogue> <scene_description>The bright blue core memory rolls through the memory shelf and STARTS TOWARDS THE CORE MEMORY HOLDER!</scene_description> <character>JOY</character> <dialogue>No wait... stop it! No! Ahh!</dialogue> <scene_description>Joy leaps to the holder and pops it open, preventing the new blue core memory from going in. Joy grabs it. She pushes the end-of-day "memory flush" button. The tube comes down from the ceiling.</scene_description> <character>SADNESS</character> <parenthetical>(trying to take her memory back from Joy)</parenthetical> <dialogue>Joy, no. That's a core memory, Joy!</dialogue> <character>JOY</character> <dialogue>Hey! Stop it. Let go.</dialogue> <scene_description>As they struggle, they bump into the Core Memory Holder, KNOCKING ALL OF THE CORE MEMORIES OUT onto the floor.</scene_description> <character>FEAR/DISGUST/ANGER</character> <dialogue>Ahh!</dialogue> <character>FEAR</character> <dialogue>The core memories!</dialogue> <scene_description>Out the window, the ISLANDS OF PERSONALITY GO DARK.</scene_description> </scene> <scene> <stage_direction>INT. CLASSROOM</stage_direction> <scene_description>Riley, her face tear-stained, looks up.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>JOY</character> <dialogue>Ahh!</dialogue> <scene_description>Joy tosses the blue core memory aside to collect the yellow core memories. Sadness grabs the blue core memory and heads to the Core Memory Holder to plug it in. Joy lunges, knocking the blue core memory out of Sadness's hands. It's SUCKED UP the vacuum tube. Joy trips backward. In the chaos a yellow core memory rolls toward the tube.</scene_description> <character>JOY</character> <dialogue>No, no, no, no!</dialogue> <scene_description>She reaches to grab it and gets sucked up the tube herself, along with the other core memories -- and Sadness! Fear, Anger and Disgust now stand alone in Headquarters. A stunned silence as the tube retracts.</scene_description> </scene> <scene> <stage_direction>INT. CLASSROOM</stage_direction> <scene_description>Riley sits and wipes her tears.</scene_description> <character>TEACHER</character> <dialogue>Thank you, Riley. I know it can be tough moving to a new place, but we're happy to have you here. Alright everyone, get out your history books and turn to chapter seven.</dialogue> <scene_description>Riley hides behind her book.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>ANGER</character> <dialogue>Can I say that curse word now?</dialogue> </scene> <scene> <stage_direction>INT. TUBE</stage_direction> <scene_description>Joy and Sadness scream as they rocket down the tube. Joy desperately tries to hold on to the core memories. The blue core memory is sorted to a side tube.</scene_description> </scene> <scene> <stage_direction>EXT. LONG-TERM MEMORY CLIFF EDGE</stage_direction> <scene_description>Joy lands in a bin of memories. Sadness crashes next to her.</scene_description> <character>JOY</character> <dialogue>Oh no...</dialogue> <parenthetical>(gathering memories)</parenthetical> <dialogue>One, two, three... okay, got 'em. Wha-- where are we?</dialogue> <scene_description>Joy takes in the shelving around her.</scene_description> <character>JOY</character> <dialogue>Long-Term Memory...!</dialogue> <scene_description>Joy grabs the core memories and jumps out of the dumpster. She sees GOOFBALL ISLAND, silent and dark.</scene_description> <character>JOY</character> <dialogue>Goofball Island.</dialogue> <scene_description>Joy surveys the islands beyond. They're all dark.</scene_description> <character>SADNESS</character> <dialogue>Hoh... Riley's Islands of Personality. They're ALL down! This is bad.</dialogue> <character>JOY</character> <dialogue>We-- we can fix this. We just have to get back to Headquarters, plug the core memories in, and Riley will be back to normal.</dialogue> <scene_description>Joy and Sadness hurry towards headquarters.</scene_description> <character>SADNESS</character> <dialogue>Riley has no core memories, no personality islands and no--</dialogue> <parenthetical>(gasp)</parenthetical> <character>JOY</character> <dialogue>Wha-- What is it?</dialogue> <character>SADNESS</character> <dialogue>You! YOU'RE not in headquarters. Without you, Riley can't be happy. We gotta get you back up there.</dialogue> <character>JOY</character> <dialogue>I'm coming, Riley.</dialogue> <scene_description>They set off across the bridge to Goofball Island. We see the LIGHTLINE beyond it, leading towards Headquarters.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN TABLE - EVENING</stage_direction> <scene_description>Riley and her parents eat dinner.</scene_description> <character>MOM</character> <dialogue>So as it turns out the green trash can is not recycling, it's for greens. Like compost. And eggshells.</dialogue> <character>DAD</character> <parenthetical>(not really listening)</parenthetical> <dialogue>Mmm.</dialogue> <character>MOM</character> <dialogue>And the blue one is recycling. And the black one is trash.</dialogue> <scene_description>Riley pushes food around on her plate.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>DISGUST</character> <dialogue>Riley is acting so weird. Why is she acting so weird?</dialogue> <character>ANGER</character> <dialogue>What do you expect? All the islands are down.</dialogue> <character>DISGUST</character> <dialogue>Joy would know what to do.</dialogue> <character>FEAR</character> <dialogue>That's it! Until she gets back, we just do what Joy would do!</dialogue> <character>DISGUST</character> <dialogue>Great idea! Anger, Fear, Disgust. How are WE supposed to be happy?</dialogue> <character>MOM (O.S.)</character> <dialogue>Hey, Riley. I've got good news!</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN TABLE - CONTINUOUS</stage_direction> <character>MOM</character> <dialogue>I found a junior hockey league right here in San Francisco. And get this: try-outs are tomorrow after school. What luck, right?</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>ANGER</character> <dialogue>Hockey?</dialogue> <character>DISGUST</character> <dialogue>Uh-oh. What do we do?</dialogue> <character>FEAR</character> <dialogue>Guys, uh, this... Here, you pretend to be Joy.</dialogue> <scene_description>Fear pushes Disgust forward. She steps up to drive. ON THE SCREEN:</scene_description> <character>MOM</character> <dialogue>Won't it be great to be back out on the ice?</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN DINING TABLE</stage_direction> <character>RILEY</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>Oh yeah, that sounds fantastic.</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>FEAR</character> <dialogue>What was that? That wasn't anything like Joy.</dialogue> <character>DISGUST</character> <dialogue>Uh, because I'm NOT Joy.</dialogue> <character>FEAR</character> <dialogue>Yeah, no kidding.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN TABLE</stage_direction> <scene_description>Mom, taken aback, eyes Riley. Zoom in to Mom's head...</scene_description> </scene> <scene> <stage_direction>INT. MOM'S HEADQUARTERS</stage_direction> <character>MOM'S SADNESS</character> <dialogue>Did you guys pick up on that?</dialogue> <character>MOM'S ANGER</character> <dialogue>Uh-huh.</dialogue> <character>MOM'S JOY / MOM'S FEAR / MOM'S DISGUST</character> <dialogue>Oh yeah/Definitely.</dialogue> <character>MOM'S DISGUST</character> <dialogue>Something's wrong.</dialogue> <character>MOM'S ANGER</character> <dialogue>Should we ask her?</dialogue> <character>MOM'S SADNESS</character> <dialogue>Let's probe. But keep it subtle, so she doesn't notice.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN TABLE</stage_direction> <character>MOM</character> <dialogue>So! How was the first day of school?</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S HEADQUARTERS</stage_direction> <character>ANGER</character> <dialogue>She's probing us.</dialogue> <character>DISGUST</character> <dialogue>I'm done.</dialogue> <parenthetical>(to Fear)</parenthetical> <dialogue>YOU pretend to be Joy.</dialogue> <character>FEAR</character> <dialogue>What? Uh... okay... hmm.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN TABLE</stage_direction> <character>RILEY</character> <parenthetical>(nervous)</parenthetical> <dialogue>It was fine, I guess, I don't know.</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S HEADQUARTERS</stage_direction> <character>DISGUST</character> <dialogue>Oh, very smooth, that was JUST like Joy.</dialogue> </scene> <scene> <stage_direction>INT. MOM'S HEADQUARTERS</stage_direction> <character>MOM'S ANGER</character> <dialogue>Something's definitely going on.</dialogue> <character>MOM'S DISGUST</character> <dialogue>She's never acted like this before. What should we do?</dialogue> <character>MOM'S SADNESS</character> <dialogue>We're going to find out what's happening. But we'll need support. Signal the husband.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN TABLE</stage_direction> <scene_description>Mom clears her throat at Dad. He doesn't notice. Zoom in to Dad's head...</scene_description> </scene> <scene> <stage_direction>INT. DAD'S HEADQUARTERS</stage_direction> <scene_description>All of Dad's emotions are watching a HOCKEY MATCH, cheering.</scene_description> <character>SPORTS ANNOUNCER</character> <dialogue>...with a nice pass over to Reeves, he comes across center ice...</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN TABLE</stage_direction> <scene_description>Again Mom stares, clears her throat. Dad looks up, clueless.</scene_description> </scene> <scene> <stage_direction>INT. DAD'S HEADQUARTERS</stage_direction> <character>DAD'S ANGER</character> <dialogue>Uh-oh. She's looking at us.</dialogue> <parenthetical>(turns off the memory)</parenthetical> <dialogue>What did she say?</dialogue> <character>DAD'S FEAR</character> <dialogue>What? Uh, sorry, Sir. No one was listening.</dialogue> <character>DAD'S ANGER</character> <dialogue>Is it garbage night? We left the toilet seat up? What? What is it, woman, what?!?</dialogue> </scene> <scene> <stage_direction>INT. MOM'S HEADQUARTERS</stage_direction> <character>MOM'S DISGUST</character> <parenthetical>(re: Dad on the screen)</parenthetical> <dialogue>He's making that stupid face again.</dialogue> <character>MOM'S ANGER</character> <dialogue>I could strangle him right now!</dialogue> <character>MOM'S SADNESS</character> <dialogue>Signal him again.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN TABLE</stage_direction> <scene_description>Mom raises her eyebrows and tilts her head towards Riley. Dad finally gets it.</scene_description> <character>DAD</character> <dialogue>Ahh, so, Riley! How was school?</dialogue> </scene> <scene> <stage_direction>INT. MOM'S HEADQUARTERS</stage_direction> <scene_description>Mom's Emotions give up.</scene_description> <character>MOM'S JOY / MOM'S SADNESS / MOM'S FEAR</character> <dialogue>/ MOM'S DISGUST</dialogue> <scene_description>You gotta be kidding me!/He really needs to start paying attention./ Is he paying attention at all?</scene_description> <character>MOM'S ANGER</character> <dialogue>For THIS we gave up that Brazilian helicopter pilot?</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S HEADQUARTERS</stage_direction> <character>ANGER</character> <dialogue>Move! I'LL be Joy.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN TABLE</stage_direction> <character>RILEY</character> <parenthetical>(snarky)</parenthetical> <dialogue>School was great, alright?</dialogue> <character>MOM</character> <dialogue>Riley, is everything okay?</dialogue> <scene_description>Riley rolls her eyes.</scene_description> </scene> <scene> <stage_direction>INT. DAD'S HEADQUARTERS</stage_direction> <character>DAD'S FEAR</character> <dialogue>Sir, she just rolled her eyes at us.</dialogue> <character>DAD'S ANGER</character> <dialogue>What is her deal? Alright, make a show of force. I don't want to have to put "the Foot" down.</dialogue> <character>DAD'S FEAR</character> <dialogue>No. Not the Foot.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN TABLE</stage_direction> <character>DAD</character> <dialogue>Riley, I do NOT like this new attitude.</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S HEADQUARTERS</stage_direction> <character>ANGER</character> <dialogue>Oh I'll show you attitude, old man.</dialogue> <character>FEAR</character> <dialogue>No, no, no! Stay happy!</dialogue> <scene_description>Anger shoves him away and hits a button.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN TABLE</stage_direction> <character>RILEY</character> <dialogue>What is your problem? Just leave me alone.</dialogue> </scene> <scene> <stage_direction>INT. DAD'S HEADQUARTERS</stage_direction> <character>DAD'S FEAR</character> <dialogue>Sir! Reporting high levels of sass!</dialogue> <character>DAD'S ANGER</character> <dialogue>Take it to DEFCON 2.</dialogue> <scene_description>Sirens begin to BLARE.</scene_description> <character>DAD'S FEAR</character> <dialogue>You heard that, gentleman. DEFCON 2.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN TABLE</stage_direction> <character>DAD</character> <dialogue>Listen young lady, I don't know where this disrespectful attitude came from...</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S HEADQUARTERS</stage_direction> <character>ANGER</character> <dialogue>You want a piece of this, Pops? Come and get it!</dialogue> <scene_description>Anger grasps two levers with all his might.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN TABLE</stage_direction> <character>RILEY</character> <dialogue>Yeah, well... well...</dialogue> </scene> <scene> <stage_direction>INT. DAD'S HEADQUARTERS</stage_direction> <character>DAD'S ANGER</character> <dialogue>Here it comes... Prepare the Foot!</dialogue> <scene_description>Dad's Emotions uncover "Launch Station" buttons, insert keys.</scene_description> <character>DAD'S FEAR</character> <dialogue>Keys to safety position! Ready to launch on your command, Sir!</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S HEADQUARTERS</stage_direction> <scene_description>ANGER, flames and yell at full blast, pushes up the levers.</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN TABLE</stage_direction> <character>RILEY</character> <dialogue>Just SHUT UP!</dialogue> <scene_description>Dad and Mom are shocked.</scene_description> </scene> <scene> <stage_direction>INT. DAD'S HEADQUARTERS</stage_direction> <character>DAD'S ANGER</character> </scene> <scene> <stage_direction>INT. KITCHEN TABLE</stage_direction> <character>DAD</character> <dialogue>That's it, go to your room! Now!</dialogue> <scene_description>Riley pushes away from the table and goes upstairs in a huff.</scene_description> </scene> <scene> <stage_direction>INT. DAD'S HEADQUARTERS</stage_direction> <character>DAD'S FEAR</character> <dialogue>The Foot is down! The Foot is down!</dialogue> <scene_description>They all CHEER.</scene_description> <character>DAD'S ANGER</character> <dialogue>Good job gentlemen. That could have been a disaster.</dialogue> </scene> <scene> <stage_direction>INT. MOM'S HEADQUARTERS</stage_direction> <character>MOM'S SADNESS</character> <dialogue>Well, that was a disaster.</dialogue> <scene_description>Mom's Anger recalls a memory: the Brazilian helicopter pilot.</scene_description> <character>HELICOPTER PILOT</character> <dialogue>Come fly with me, gatinha.</dialogue> <scene_description>They all SIGH.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - CONTINUOUS</stage_direction> <scene_description>Riley slams her bedroom door.</scene_description> </scene> <scene> <stage_direction>EXT. MIND WORLD, LIGHTLINE</stage_direction> <scene_description>In the distance, Family Island RUMBLES. Joy and Sadness have made it across Goofball Island and must now walk across the thin lightline. Below is the darkness of the Memory Dump.</scene_description> <character>SADNESS</character> <dialogue>We're gonna walk out there? On that?</dialogue> <character>JOY</character> <dialogue>It's the quickest way back.</dialogue> <character>SADNESS</character> <dialogue>But it's right over the Memory Dump. If we fall we'll be forgotten forever!</dialogue> <character>JOY</character> <dialogue>We have to do this. For Riley. Just follow my footsteps.</dialogue> <character>SADNESS</character> <dialogue>Hohh... ok.</dialogue> <character>JOY</character> <parenthetical>(stepping onto lightline)</parenthetical> <dialogue>It's not that high. It's totally fiii... Whoa...</dialogue> <scene_description>She loses her balance. Almost drops a memory over the side. Sadness steps out onto the lightline. They inch along.</scene_description> </scene> <scene> <stage_direction>INT. RILEY'S ROOM - LATER</stage_direction> <scene_description>Dad knocks on Riley's door, peeks in.</scene_description> <character>DAD</character> <dialogue>Hey.</dialogue> <scene_description>Riley's in her sleeping bag. She doesn't answer.</scene_description> <character>DAD</character> <dialogue>So uh, things got a little out of hand downstairs. You want to talk about it?</dialogue> <parenthetical>(still no answer)</parenthetical> <dialogue>Come on. Where's my happy girl? Monkey.</dialogue> <parenthetical>(he tries monkey noises)</parenthetical> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>ANGER</character> <dialogue>He's trying to start up Goofball.</dialogue> <scene_description>Fear looks at the empty Core Memory Holder, then out the window: GOOFBALL ISLAND is dark and silent.</scene_description> </scene> <scene> <stage_direction>INT. RILEY'S ROOM</stage_direction> <character>DAD</character> <dialogue>Come on.</dialogue> <parenthetical>(tries more monkey noises)</parenthetical> <dialogue>Riley looks at Dad, but TURNS AWAY.</dialogue> </scene> <scene> <stage_direction>EXT. GOOFBALL ISLAND</stage_direction> <scene_description>Goofball Island crumbles and breaks.</scene_description> </scene> <scene> <stage_direction>EXT. GOOFBALL ISLAND LIGHTLINE</stage_direction> <scene_description>Joy sees the lightline breaking ahead.</scene_description> <character>JOY</character> <dialogue>Ahhh! Go back! RUN! RUN! RUN!</dialogue> <scene_description>They run back onto Goofball Island as the lightline crumbles.</scene_description> </scene> <scene> <stage_direction>EXT. GOOFBALL ISLAND</stage_direction> <scene_description>Joy and Sadness frantically outrun collapsing debris.</scene_description> </scene> <scene> <stage_direction>EXT. LONG-TERM MEMORY CLIFF EDGE</stage_direction> <scene_description>They leap across the buckling bridge, making it over to the cliff just in time to see Goofball Island fall into the dump.</scene_description> <character>JOY</character> <dialogue>What-- ?</dialogue> <scene_description>Joy watches it sink. FLASH CUTS of Young Riley: \* Riley twirling until she falls over. \* The family jumping on a trampoline. \* Riley riding on Dad's shoulders, making silly faces with ice cream all over her face.</scene_description> </scene> <scene> <stage_direction>INT. RILEY'S ROOM - CONTINUOUS</stage_direction> <character>DAD</character> <dialogue>I get it, you need some alone time. We'll talk later.</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>The Emotions stare out the back window in disbelief.</scene_description> <character>DISGUST</character> <dialogue>We have a major problem.</dialogue> <character>FEAR</character> <dialogue>Ohh, Joy where are you?</dialogue> </scene> <scene> <stage_direction>EXT. LONG-TERM MEMORY CLIFF EDGE</stage_direction> <scene_description>Joy and Sadness stare down into the abyss.</scene_description> <character>SADNESS</character> <dialogue>We lost Goofball Island. That means she can lose Friendship, and Hockey, and Honesty, and Family! You can fix this, right Joy?</dialogue> <character>JOY</character> <dialogue>I... I don't know.</dialogue> <parenthetical>(Sadness sighs in despair)</parenthetical> <dialogue>But we have to try. C'mon.</dialogue> <scene_description>The sky darkens.</scene_description> <character>JOY</character> <dialogue>Riley's gone to sleep.</dialogue> <parenthetical>(more sighs from Sadness)</parenthetical> <dialogue>...which is a good thing, when you think about it, because nothing else bad can happen while she's asleep! We'll be back to Headquarters before she wakes up. We'll just go across Friendship Island.</dialogue> <scene_description>Shelves jut out over the cliff edge, making Friendship Island inaccessible.</scene_description> <character>SADNESS</character> <dialogue>We'll never make it, hoh... nooo...</dialogue> <character>JOY</character> <dialogue>No, no, no, don't obsess over the weight of life's problems, remember the funny movie where the dog dies?!</dialogue> <scene_description>Sadness face plants.</scene_description> <character>JOY</character> <dialogue>Uhhh, Sadness, we don't have time for this.</dialogue> <scene_description>She looks to her side. Memory shelves wind into the distance. Joy heads off into the maze.</scene_description> <character>JOY</character> <dialogue>We'll just have to go around! Take the scenic route.</dialogue> <character>SADNESS</character> <dialogue>Wait! Joy, you could get lost in there!</dialogue> <character>JOY</character> <dialogue>Think positive!</dialogue> <character>SADNESS</character> <dialogue>Okay. I'm positive you will get lost in there. That's Long-Term Memory. An endless warren of corridors and shelves. I read about it in the manuals.</dialogue> <scene_description>Joy stops. Sadness is right. But wait!</scene_description> <character>JOY</character> <dialogue>The manuals? The manuals! You read the manuals!</dialogue> <character>SADNESS</character> <dialogue>Yeah...</dialogue> <character>JOY</character> <dialogue>So you know the way back to headquarters!</dialogue> <character>SADNESS</character> <dialogue>I, guess...</dialogue> <character>JOY</character> <dialogue>You are my map! Let's go! Lead on, Mind Map! Show me where we're going!</dialogue> <character>SADNESS</character> <dialogue>Okay! Only, I'm too sad to walk. Just give me a few... hours.</dialogue> <scene_description>Joy grabs Sadness' leg and DRAGS her into the shelves.</scene_description> <character>JOY</character> <dialogue>Which way? Left?</dialogue> <character>SADNESS</character> <dialogue>Right.</dialogue> <parenthetical>(Joy turns right)</parenthetical> <dialogue>No. I mean, go left. I said left was right, like "correct."</dialogue> <character>JOY</character> <dialogue>Okay.</dialogue> <character>SADNESS</character> <dialogue>This actually feels kind of nice.</dialogue> <scene_description>Joy heads off into the COMPLICATED LABYRINTH ahead of them.</scene_description> <character>JOY</character> <dialogue>Okay! Here we go. We'll be back to Headquarters before morning. We can do it. This'll be easy. This is working!</dialogue> <scene_description>DISSOLVE TO:</scene_description> </scene> <scene> <stage_direction>EXT. LONG-TERM MEMORY - LATER</stage_direction> <scene_description>Joy, exhausted, drags Sadness through the maze of shelves.</scene_description> <character>JOY</character> <dialogue>This is not working. Are we getting close?</dialogue> <character>SADNESS</character> <dialogue>Yeah. Just another right. And a left. Then another left, and a right...</dialogue> <character>JOY</character> <dialogue>Are you sure you know where we're going? Because we seem to be walking AWAY from Headquarters--</dialogue> <scene_description>The SKY BRIGHTENS. Day. And they're still lost.</scene_description> <character>JOY</character> <dialogue>Riley's awake.</dialogue> <scene_description>Joy drops a core memory. Sadness reaches to grab it.</scene_description> <character>JOY</character> <dialogue>Ah ah ah, don't touch, remember? If you touch them, they stay sad!</dialogue> <character>SADNESS</character> <dialogue>Oh. Sorry. I won't...</dialogue> <scene_description>Joy looks behind her. The bottom row of memories are BLUE.</scene_description> <character>SADNESS</character> <dialogue>...starting now.</dialogue> <character>JOY</character> <dialogue>I can't take much more of this.</dialogue> <character>MALE FORGETTER (O.S.)</character> <dialogue>Forget 'em!</dialogue> <character>JOY</character> <dialogue>Mind Workers!</dialogue> <scene_description>Joy runs off toward the voice.</scene_description> <character>SADNESS</character> <dialogue>But Joy we're almost... ohhhh.</dialogue> </scene> <scene> <stage_direction>EXT. LONG-TERM MEMORY - LATER</stage_direction> <scene_description>Joy finds two workers vacuuming up memories from the shelves.</scene_description> <character>FEMALE FORGETTER</character> <dialogue>Phone numbers. We don't need all of these. They're in her phone.</dialogue> <character>MALE FORGETTER</character> <dialogue>Just forget all of that. Please. Forget it!</dialogue> <character>JOY</character> <dialogue>Excuse me. Hi. I need to find Friendship Island...</dialogue> <character>FEMALE FORGETTER</character> <parenthetical>(pointing to memories)</parenthetical> <dialogue>Look at this. Four years of piano lessons.</dialogue> <character>MALE FORGETTER</character> <dialogue>Yeah, looks pretty faded.</dialogue> <character>FEMALE FORGETTER</character> <dialogue>You know what? Save "Chopsticks" and "Heart and Soul," get rid of the rest.</dialogue> <scene_description>Zoop! The memories get vacuumed up.</scene_description> <character>JOY</character> <dialogue>Are you--</dialogue> <character>FEMALE FORGETTER</character> <dialogue>U.S. Presidents. What do you think?</dialogue> <character>MALE FORGETTER</character> <dialogue>Eh, just keep Washington, Lincoln and the fat one.</dialogue> <character>FEMALE FORGETTER</character> <dialogue>Forget 'em!</dialogue> <character>JOY</character> <dialogue>Hey! You can't throw those away! Those are perfectly good memories.</dialogue> <character>MALE FORGETTER</character> <dialogue>The names of every "Cutie Pie Princess" doll?</dialogue> <character>JOY</character> <dialogue>Yes! That is critical information! Glitterstorm, Honeypants, Officer Justice...</dialogue> <character>FEMALE FORGETTER</character> <dialogue>Forget 'em!</dialogue> <scene_description>He vacuums up the memories behind Joy.</scene_description> </scene> <scene> <stage_direction>EXT. CLIFFSIDE - CONTINUOUS</stage_direction> <scene_description>The memories shoot out a sewer pipe and fall into the darkness of the Memory Dump.</scene_description> </scene> <scene> <stage_direction>EXT. LONG-TERM MEMORY - CONTINUOUS</stage_direction> <character>JOY</character> <dialogue>Hey! Bring those back.</dialogue> <character>FEMALE FORGETTER</character> <dialogue>They're in the dump. Nothing comes back from the dump.</dialogue> <character>MALE FORGETTER</character> <dialogue>Yeah. Look lady, this is our job, OK?</dialogue> <character>FEMALE FORGETTER</character> <dialogue>When Riley doesn't care about a memory, it fades.</dialogue> <character>JOY</character> <dialogue>Fades?</dialogue> <character>FEMALE FORGETTER</character> <dialogue>Happens to the best of 'em.</dialogue> <character>MALE FORGETTER</character> <parenthetical>(pulls memory from a cart)</parenthetical> <dialogue>Except for this bad boy! This one will NEVER fade.</dialogue> <character>JOY</character> <parenthetical>(recognizing it)</parenthetical> <dialogue>The song from the gum commercial?</dialogue> <character>MALE FORGETTER</character> <parenthetical>(conspiratorial)</parenthetical> <dialogue>Sometimes we send that one up to headquarters for no reason.</dialogue> <character>FEMALE FORGETTER</character> <dialogue>It just plays in Riley's head over and over again. Like a million times! Ha! Let's watch it again!</dialogue> <scene_description>She rewinds it and plays it again. They sing along.</scene_description> <character>MALE FORGETTER</character> <dialogue>Tripledent gum will make you smile! Tripledent gum! It lasts a while! Tripledent gum will help you, mister, to punch bad breath right in the kisser.</dialogue> <character>JOY</character> <dialogue>We all know the song. Okay. Yup. Real catchy.</dialogue> <character>MALE FORGETTER</character> <parenthetical>(to Female Forgetter)</parenthetical> <dialogue>What do ya think? Should we do it?</dialogue> <character>FEMALE FORGETTER</character> <dialogue>Yeah! Ha ha!</dialogue> <character>MALE FORGETTER</character> <dialogue>OK, here we go! Ha ha ha!</dialogue> <scene_description>He tips the gum memory into the inner workings of the shelf. FWOOM! It shoots up towards Headquarters.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS - CONTINUOUS</stage_direction> <scene_description>Fear, Anger and Disgust are having a peaceful morning. The memory drops into Headquarters, playing at full volume.</scene_description> <character>GUM MEMORY</character> <dialogue>Tripledent gum will make you smile! Tripledent gum! It lasts a while--</dialogue> <character>ANGER</character> <dialogue>Wha-- this again!?!</dialogue> </scene> <scene> <stage_direction>INT. LONG-TERM MEMORY</stage_direction> <scene_description>The Forgetters walk away, laughing and singing.</scene_description> <character>JOY</character> <parenthetical>(following them)</parenthetical> <dialogue>Wait! Do you know how to get to Friendship Island?!</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM - DAY</stage_direction> <scene_description>Riley, laptop on her stomach, hums the Tripledent gum song.</scene_description> <character>MEG (O.S.)</character> <parenthetical>(on the computer)</parenthetical> <dialogue>Do you like it there? Did you feel any earthquakes? Is the bridge cool?</dialogue> <character>RILEY</character> <dialogue>Yeah, it's good. What happened with the playoffs?</dialogue> <character>MEG</character> <dialogue>We won the first game. Coach says we might actually go to the finals this year. Oh, and we've got this new girl on the team. She's so cool.</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>DISGUST</character> <dialogue>Oh, she did NOT just say that.</dialogue> <character>FEAR</character> <dialogue>A NEW GIRL? Meg has a new friend already?!</dialogue> <scene_description>Anger GROWLS.</scene_description> <character>DISGUST</character> <dialogue>Hey hey, stay happy! We do NOT want to lose any more islands here guys!</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM</stage_direction> <character>MEG</character> <dialogue>We can pass the puck to each other without even looking. It's like mind reading!</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>ANGER</character> <dialogue>You like to read minds, Meg? I got something for you to read right here!</dialogue> <parenthetical>(grabbing the controls)</parenthetical> <character>DISGUST</character> <dialogue>No no no, what are you doing?!</dialogue> <character>FEAR</character> <dialogue>Wait, wait-- let's just be calm for one second--</dialogue> <scene_description>Anger snaps Fear's nose like a rubber band. Anger slams the controls forward like a lunatic.</scene_description> <character>ANGER</character> </scene> <scene> <stage_direction>INT. RILEY'S ROOM</stage_direction> <character>MEG (O.S.)</character> <dialogue>I heard they have parrots living in-</dialogue> <character>RILEY</character> <dialogue>I gotta go.</dialogue> <character>MEG</character> <dialogue>What?</dialogue> <character>RILEY</character> <dialogue>I GOTTA GO.</dialogue> <scene_description>Riley slams down the computer and SCOWLS.</scene_description> </scene> <scene> <stage_direction>EXT. LONG-TERM MEMORY</stage_direction> <scene_description>Joy follows the Forgetters, trying to get directions. They ignore her, singing the gum-commercial jingle. A horrible mechanical GROANING sound. Joy reacts.</scene_description> <character>JOY</character> <dialogue>What...?</dialogue> </scene> <scene> <stage_direction>EXT. LONG-TERM MEMORY</stage_direction> <scene_description>Joy rounds a corner and sees Friendship Island crumbling.</scene_description> <character>JOY</character> <dialogue>Friendship Island?</dialogue> <scene_description>The FRIENDSHIP CORE MEMORY Joy holds fades. She runs forward.</scene_description> <character>JOY</character> <dialogue>Wh-- ?</dialogue> <scene_description>She looks on in horror as Friendship Island falls.</scene_description> <character>JOY</character> <dialogue>Ohh, not Friendship.</dialogue> <scene_description>Joy hugs the core memories. One of them is memory of young Riley and Meg walking together.</scene_description> <character>SADNESS</character> <dialogue>Oh, Riley loved that one. And now it's GONE. Goodbye friendship, hello loneliness.</dialogue> <scene_description>Joy sees Hockey Island in the distance.</scene_description> <character>JOY</character> <parenthetical>(trying to stay positive)</parenthetical> <dialogue>We'll just have to go the long way.</dialogue> <scene_description>They turn to look back into the deep memory shelves.</scene_description> <character>SADNESS</character> <dialogue>Yeah. The long, long, looong way. I'm ready.</dialogue> <scene_description>Sadness lies down on the ground, offering her leg. Joy sighs. She doesn't want to do this again.</scene_description> <character>JOY</character> <dialogue>Ah, yes.</dialogue> <parenthetical>(pulling Sadness)</parenthetical> <dialogue>There's gotta be a better way.</dialogue> <character>BING BONG (O.S.)</character> <parenthetical>(talking to the memories)</parenthetical> <dialogue>Ohhh, look at you, you're a KEEPER!</dialogue> <character>JOY</character> <dialogue>Huh?</dialogue> <scene_description>Joy sees a strange figure up ahead, gathering memories.</scene_description> <character>BING BONG</character> <dialogue>I will take you, but not you.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Oh who am I kidding, I can't leave you!</dialogue> <character>JOY</character> <dialogue>Hello!</dialogue> <scene_description>The figure sees Joy -- and bolts.</scene_description> <character>JOY</character> <dialogue>Wait! Hey, wait! Stop!</dialogue> <scene_description>Joy chases after him.</scene_description> </scene> <scene> <stage_direction>EXT. LONG-TERM MEMORY DEAD END</stage_direction> <scene_description>Joy rounds a corner to find the figure crouched on the ground, hiding his face in his hands like a three year old.</scene_description> <character>JOY</character> <dialogue>Excuse me...?</dialogue> <character>BING BONG</character> <parenthetical>(jumping up; cornered)</parenthetical> <dialogue>Ahhhh! Uh, I was looking for, uh--</dialogue> <parenthetical>(grabs a memory)</parenthetical> <character>--DIVERSION!</character> <dialogue>He THROWS IT and makes a run for it.</dialogue> <character>BING BONG</character> <dialogue>Ha ha! So long, sucker!</dialogue> <scene_description>He immediately crashes into a cart of memories.</scene_description> <character>BING BONG</character> <dialogue>Ow! Oww, I hurt all over.</dialogue> <character>JOY</character> <dialogue>Wait. I know you.</dialogue> <character>BING BONG</character> <dialogue>No you don't. I get that a lot, I look like a lot of people.</dialogue> <character>JOY</character> <dialogue>No, I do! Bing Bong! Riley's Imaginary Friend!</dialogue> <character>BING BONG</character> <dialogue>You really DO know me!</dialogue> <character>JOY</character> <dialogue>Well of course! Riley loved playing with you, you two were best friends! Oh! You would know. We're trying to get back to Headquarters...</dialogue> <character>BING BONG</character> <dialogue>Headquarters? You guys are from Headquarters?</dialogue> <character>JOY</character> <parenthetical>(mock modesty)</parenthetical> <dialogue>Well, yeah. I'm Joy. This is Sadness.</dialogue> <character>BING BONG</character> <dialogue>You're Joy? THE Joy?</dialogue> <character>JOY</character> <dialogue>Mm-hmm.</dialogue> <character>BING BONG</character> <dialogue>Well what the heck are you doing out here?</dialogue> <character>JOY</character> <dialogue>That's a good question! You want to answer that, Sadness?</dialogue> <character>BING BONG</character> <dialogue>Without you, Riley won't ever be happy. We can't have that, we gotta get you back! I'll tell you what, follow me.</dialogue> <character>JOY</character> <dialogue>Oh, thank you!</dialogue> </scene> <scene> <stage_direction>EXT. LONG-TERM MEMORY</stage_direction> <scene_description>Bing Bong leads them on through the memory shelves.</scene_description> <character>JOY</character> <dialogue>It is so great to see you again. I gotta tell you, I am such a huge fan of your work. Do you remember when you and Riley were in a band?</dialogue> <scene_description>FLASH CUTS of their adventures: \*Riley bangs on pots and pans, Bing Bong plays his trunk.</scene_description> <character>JOY (V.O.)</character> <dialogue>I went to all of your concerts.</dialogue> <character>BING BONG (V.O.)</character> <dialogue>Yeah, I blow a mean nose.</dialogue> <scene_description>\*Bing Bong runs on ceiling, Riley chases after him.</scene_description> <character>JOY (V.O.)</character> <dialogue>Watching you play tag was such a treat.</dialogue> <character>BING BONG (V.O.)</character> <dialogue>Two-time world champ.</dialogue> <scene_description>\*Riley and Bing Bong sit in her wagon ("rocket").</scene_description> <character>JOY (V.O.)</character> <dialogue>Oh, and remember your rocket?!</dialogue> <character>BING BONG (V.O.)</character> <dialogue>Of course! It runs on song power.</dialogue> <character>JOY</character> <dialogue>That's right, your theme song!</dialogue> <parenthetical>(singing)</parenthetical> <dialogue>Who's your friend who likes to play?</dialogue> <character>BING BONG</character> <parenthetical>(sings)</parenthetical> <character>BING BONG BING BONG!</character> <dialogue>JOY</dialogue> <scene_description>His rocket makes you yell "Hooray!"</scene_description> <character>BING BONG/JOY</character> <dialogue>BING BONG BING BONG!</dialogue> <scene_description>Sadness eyes Bing Bong, who is a pink elephant made with a cat tail.</scene_description> <character>SADNESS</character> <dialogue>What exactly are you supposed to be?</dialogue> <character>BING BONG</character> <dialogue>You know, it's unclear. I'm mostly cotton candy, but shape-wise, I'm part cat, part elephant, part dolphin.</dialogue> <character>JOY</character> <dialogue>Dolphin?</dialogue> <scene_description>Bing Bong does a spot-on dolphin impression.</scene_description> <character>BING BONG</character> <dialogue>You gotta remember, when Riley was three, animals were all the rage. The cow goes moo. The horse goes neigh. That's all people talked about back then.</dialogue> <character>JOY</character> <dialogue>Yeah, I guess that's true. What are you doing out here?</dialogue> <character>BING BONG</character> <dialogue>Well, there's not much call for imaginary friends lately, so, uh, you know, I'm...</dialogue> <character>JOY</character> <dialogue>Hey, hey, don't be sad. Tell you what, when I get back up to Headquarters, I'll make sure Riley remembers you.</dialogue> <character>BING BONG</character> <dialogue>You will?!</dialogue> <character>JOY</character> <dialogue>Of course, she'd love that!</dialogue> <character>BING BONG</character> <dialogue>Ha ha! This is the greatest day of my life!</dialogue> <scene_description>He launches into a jig, but hurts himself and bursts into tears. Candy pours out of his tear ducts.</scene_description> <character>JOY</character> <dialogue>Are you okay?</dialogue> <character>SADNESS</character> <dialogue>What's going on?</dialogue> <character>BING BONG</character> <dialogue>I cry candy. Try the caramel, it's delicious.</dialogue> <character>JOY</character> <dialogue>Ooo.</dialogue> <parenthetical>(fumbles memories)</parenthetical> <dialogue>Woah!</dialogue> <character>BING BONG</character> <dialogue>Oh-- here-- use this.</dialogue> <parenthetical>(offers his satchel)</parenthetical> <character>JOY</character> <dialogue>Thanks!</dialogue> <character>BING BONG</character> <dialogue>Oh, hold on. Wait a second.</dialogue> <scene_description>He empties out an impossible amount of stuff: tons of memories, a boot, an anchor, a cat... Joy and Sadness stare in amazement.</scene_description> <character>BING BONG</character> <dialogue>What? It's imaginary.</dialogue> <scene_description>Joy accepts the satchel and puts in the core memories.</scene_description> <character>JOY</character> <dialogue>Thanks! This'll make it a lot easier to walk back to Headquarters.</dialogue> <character>BING BONG</character> <dialogue>Walk? We're not walkin'! We're taking the Train of Thought!</dialogue> <scene_description>He points to the train speeding towards Headquarters.</scene_description> <character>JOY</character> <dialogue>The train, of course! That is so much faster! But how do we catch it?</dialogue> <character>BING BONG</character> <dialogue>Well, it kind of goes all over the place, but there is a station in Imaginationland. I know a short cut. Come on, this way!</dialogue> <character>JOY</character> <dialogue>I'm so glad we ran into you!</dialogue> <scene_description>A giant BUILDING blocks their progress. Bing Bong opens a door. It's dark inside.</scene_description> <character>BING BONG</character> <dialogue>The station is right through here.</dialogue> <scene_description>The train station is visible through a door on the other side.</scene_description> <character>BING BONG</character> <dialogue>After you.</dialogue> <character>SADNESS</character> <dialogue>Joy...</dialogue> <character>JOY</character> <dialogue>What?</dialogue> <character>SADNESS</character> <dialogue>I read about this place in the manual. We shouldn't go in there.</dialogue> <character>JOY</character> <dialogue>Bing Bong says it's the quickest way to Headquarters.</dialogue> <character>SADNESS</character> <dialogue>No, but Joy, this is Abstract Thought.</dialogue> <character>BING BONG</character> <dialogue>What're you talking about? I go in here all the time. It's a shortcut, see?</dialogue> <scene_description>He points to a "Danger" sign above the door.</scene_description> <character>BING BONG</character> <dialogue>D-A-N-G-E-R: shortcut. I'll prove it to you.</dialogue> <parenthetical>(he climbs in)</parenthetical> <character>BING BONG</character> <dialogue>Look at me! I'm closer to the station 'cause I'm taking the shortcut!</dialogue> <character>SADNESS</character> <dialogue>Let's go around. This way.</dialogue> <scene_description>She points: the building is huge -- it's a long way around.</scene_description> <character>BING BONG</character> <dialogue>Almost there...!</dialogue> <scene_description>Joy looks back at Bing Bong. The station is right there.</scene_description> <character>JOY</character> <parenthetical>(to Sadness)</parenthetical> <dialogue>If you want to walk the long way, go for it. But Riley needs to be happy. I'm not missing that train.</dialogue> <parenthetical>(walks in)</parenthetical> <dialogue>Bing Bong knows what he's doing. He's part dolphin. They're very smart.</dialogue> <character>SADNESS</character> <dialogue>Well, I guess...</dialogue> <scene_description>She climbs in.</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL LUNCH YARD - LUNCHTIME</stage_direction> <scene_description>Riley carries her lunch tray outside. The yard is full of chatty, happy kids, but Riley finds an empty bench and eats by herself.</scene_description> </scene> <scene> <stage_direction>EXT. ABSTRACT THOUGHT BUILDING - HATCH DOOR - MOMENTS LATER</stage_direction> <scene_description>Two Mind Workers approach the same door our trio entered.</scene_description> <character>ABSTRACT WORKER #1</character> <dialogue>Okay, what abstract concept are we trying to comprehend today?</dialogue> <character>ABSTRACT WORKER #2</character> <parenthetical>(checking a clipboard)</parenthetical> <dialogue>Um... loneliness.</dialogue> <character>ABSTRACT WORKER #1</character> <dialogue>Hm. Looks like there's something in there. I'm going to turn it on for a minute and burn out the gunk.</dialogue> <scene_description>She closes the door.</scene_description> </scene> <scene> <stage_direction>INT. ABSTRACT THOUGHT BUILDING</stage_direction> <character>BING BONG</character> <dialogue>What'd I tell ya? You'll be at Headquarters in no time.</dialogue> <scene_description>BAM! The door closes behind them. The LIGHTS GO ON.</scene_description> <character>BING BONG</character> <dialogue>Say, would you look at that!</dialogue> <scene_description>Around them, strange SHAPES float into space.</scene_description> <character>JOY</character> <dialogue>Whoa! What's happening?!</dialogue> <character>SADNESS</character> <dialogue>Oh no. They turned it on.</dialogue> <character>BING BONG</character> <dialogue>Huh! I've never seen this before.</dialogue> <scene_description>Bing Bong's head turns into a Picasso-like form. Joy and Sadness scream as they become Cubist versions of themselves.</scene_description> <character>BING BONG</character> <dialogue>My face! My beautiful face!</dialogue> <character>JOY</character> <dialogue>What is going on?</dialogue> <character>SADNESS</character> <dialogue>We're abstracting! There are four stages. This is the first: non- objective fragmentation!</dialogue> <character>BING BONG</character> <dialogue>Alright, do not panic! What is important is that we all STAY TOGETHER.</dialogue> <scene_description>His arm falls off.</scene_description> <character>JOY</character> <dialogue>Ah!</dialogue> <scene_description>Joy's head falls off. Sadness' leg goes. She topples.</scene_description> <character>SADNESS</character> <dialogue>We're in the second stage: we're deconstructing!</dialogue> <character>BING BONG</character> <dialogue>Run!</dialogue> <scene_description>Bing Bing falls into pieces.</scene_description> <character>BING BONG</character> <dialogue>Aaah! I can't feel my legs!</dialogue> <parenthetical>(his disassembled arm finds them)</parenthetical> <dialogue>Oh, there they are.</dialogue> <character>JOY</character> <dialogue>Come here, me!</dialogue> <scene_description>They gather their pieces as they rush to the exit.</scene_description> <character>SADNESS</character> <dialogue>We've gotta get out of here before we're nothing but shape and color! We'll get stuck here forever!</dialogue> <character>JOY</character> <dialogue>"Stuck?!" Why did we come in here?!</dialogue> <character>BING BONG</character> <dialogue>I told you, it's a shortcut!</dialogue> <scene_description>Though the window, the TRAIN OF THOUGHT pulls in.</scene_description> <character>JOY</character> <dialogue>The train!</dialogue> <scene_description>POP! They change into FLAT COLOR VERSIONS of themselves.</scene_description> <character>SADNESS</character> <dialogue>Oh no... We're two-dimensional! That's stage three!</dialogue> <character>JOY</character> <dialogue>We're getting nowhere!</dialogue> <character>BING BONG</character> <dialogue>Depth! I'm lacking depth!</dialogue> <scene_description>It's hard to move. They struggle towards the window.</scene_description> <character>JOY</character> <dialogue>Come on!</dialogue> <scene_description>Sadness and Bing Bong follow and try to squeeze through. But because of the broken perspective, they are now all HUGE compared to the door.</scene_description> <character>JOY</character> <dialogue>AUGH! We can't fit!</dialogue> <scene_description>POP! They abstract into ABSTRACT COLORED BLOBS.</scene_description> <character>SADNESS</character> <dialogue>Oh no, we're nonfigurative. This is the last stage!</dialogue> <character>BING BONG</character> <dialogue>We're not going to make it!</dialogue> <scene_description>Sadness slumps to the ground... and becomes a line!</scene_description> <character>SADNESS</character> <dialogue>Wait! We're two dimensional. Fall on your face!</dialogue> <parenthetical>(crawls like an inchworm)</parenthetical> <character>JOY</character> <dialogue>Oh!</dialogue> <scene_description>They follow Sadness and inch safely out the window.</scene_description> </scene> <scene> <stage_direction>EXT. ABSTRACT THOUGHT BUILDING</stage_direction> <scene_description>The three lines land outside just as the train pulls out. They get up to go, but as lines they can barely move.</scene_description> <character>JOY</character> <dialogue>Wait! Stop! Stop! STOP!</dialogue> <scene_description>POP! Joy goes from non-representational to two-dimensional. She falls down flat as the train speeds off. POP! The three transform back to normal.</scene_description> <character>JOY</character> <parenthetical>(to Bing Bong)</parenthetical> <dialogue>I thought you said that was a shortcut.</dialogue> <character>BING BONG</character> <dialogue>I did, but wow, we should NOT have gone in there. That was dangerous! They really should put up a sign.</dialogue> <character>JOY</character> <dialogue>How long till the next train?</dialogue> <character>BING BONG</character> <dialogue>Who knows? But don't worry. There's another station. That way!</dialogue> <character>BING BONG</character> <parenthetical>(points O.S.)</parenthetical> <dialogue>The train always stops there right before it goes to Headquarters. If we hurry, we can catch it!</dialogue> <character>JOY</character> <dialogue>This isn't another one of your short cuts, is it?</dialogue> <character>BING BONG</character> <parenthetical>(laughing exuberantly)</parenthetical> <dialogue>Yeah!</dialogue> <scene_description>Joy skeptically watches him head off.</scene_description> <character>JOY</character> <parenthetical>(to Sadness)</parenthetical> <dialogue>Is there really another station?</dialogue> <character>SADNESS</character> <dialogue>Uh-huh. Through there.</dialogue> <scene_description>Bing Bong leads them towards the impressive gates of...</scene_description> <character>BING BONG</character> <dialogue>Welcome to Imaginationland!</dialogue> </scene> <scene> <stage_direction>INT. IMAGINATIONLAND - CONTINUOUS</stage_direction> <character>JOY</character> <dialogue>Imaginationland?</dialogue> <character>BING BONG</character> <dialogue>Sure! I come here all the time. I'm practically the mayor. Hey, you guys hungry? There's French Fry Forest!</dialogue> <parenthetical>(starts eating)</parenthetical> <dialogue>Nom nom nom, delicious!</dialogue> <scene_description>Joy is loving this.</scene_description> <character>JOY</character> <dialogue>No way!</dialogue> <character>BING BONG</character> <dialogue>Check it out! Trophy Town! Medals! Ribbons! Everyone's a winner!</dialogue> <scene_description>Bing Bong kicks a soccer ball into a giant goal and workers appear out of nowhere to shower him with awards.</scene_description> <character>BING BONG</character> <dialogue>I won first place!</dialogue> <scene_description>Workers give Joy a medal and Sadness a ribbon.</scene_description> <character>JOY</character> <dialogue>Me too!</dialogue> <character>SADNESS</character> <dialogue>Hohh... Participation award...</dialogue> <character>JOY</character> <dialogue>Wait, is that-- Sadness, look, it's Cloud Town! That is my favorite!</dialogue> <scene_description>Joy rips off a chunk of cloud and floats up into the air.</scene_description> <character>JOY</character> <dialogue>It's so soft!</dialogue> <scene_description>Joy jumps down and runs off.</scene_description> <character>BING BONG</character> <dialogue>Woah! Let me try!</dialogue> <scene_description>Bing Bong rips off some cloud. A CLOUD MAN emerges from the house, angry.</scene_description> <character>CLOUD MAN</character> <dialogue>Hey! What's the big idea? You'd better fix that wall, or else you're in big troub--</dialogue> <scene_description>POOF! Bing Bong blows the Cloud Man away and walks off nervously.</scene_description> </scene> <scene> <stage_direction>EXT. IMAGINATIONLAND, LAVA DAYDREAM</stage_direction> <scene_description>Joy and Bing Bong gleefully jump between couch cushions.</scene_description> <character>JOY</character> <dialogue>Oh no, lava! Whooo!</dialogue> <character>BING BONG</character> <dialogue>Whawhoooo! Imaginationland is the best!</dialogue> <scene_description>Sadness tries to jump to a rock, barely makes it.</scene_description> <character>SADNESS</character> <dialogue>Is it all going to be so interactive?</dialogue> </scene> <scene> <stage_direction>EXT. IMAGINATIONLAND, HOUSE OF CARDS</stage_direction> <character>BING BONG</character> <dialogue>Hey, look! The House of Cards!! Ooh, wait, hang on just a minute...</dialogue> <scene_description>From a nearby garage made of cards, Bing Bong pulls a wagon.</scene_description> <character>JOY</character> <dialogue>Your rocket!</dialogue> <character>BING BONG</character> <dialogue>Yeah! I stashed it in there for safekeeping. Now I'm all set to take Riley to the MOON!</dialogue> <scene_description>He gestures proudly -- accidentally knocking over the house.</scene_description> <character>BING BONG</character> <dialogue>Oh, I'm sorry.</dialogue> <character>HOUSE OF CARDS WORKER</character> <dialogue>Great.</dialogue> </scene> <scene> <stage_direction>EXT. IMAGINATIONLAND</stage_direction> <character>JOY</character> <dialogue>I love Imaginationland!</dialogue> <character>BING BONG</character> <dialogue>Isn't it great? And there's always something new, like...</dialogue> <scene_description>A giant machine. A conveyer belt reveals a handsome teenager.</scene_description> <character>BING BONG</character> <dialogue>Who the heck is that?</dialogue> <character>BOYFRIEND GENERATOR WORKER</character> <dialogue>Imaginary Boyfriend.</dialogue> <character>IMAGINARY BOYFRIEND</character> <dialogue>I would die for Riley.</dialogue> <scene_description>Joy grimaces.</scene_description> <character>BING BONG</character> <dialogue>I've never seen him before.</dialogue> <character>IMAGINARY BOYFRIEND</character> <dialogue>I live in Canada.</dialogue> <character>BING BONG</character> <dialogue>Anyway. This way, through Preschool World! We're nearly to the train!</dialogue> <character>JOY</character> <dialogue>Riley, here we come!</dialogue> </scene> <scene> <stage_direction>EXT. HOCKEY RINK - FOOT OF GOLDEN GATE BRIDGE -- SUNSET</stage_direction> </scene> <scene> <stage_direction>INT. HOCKEY RINK - BLEACHERS - CONTINUOUS</stage_direction> <scene_description>Mom and Riley sit on the bleachers.</scene_description> <character>MOM</character> <dialogue>This should be fun. New team, new friends! These kids look pretty good -- considering they're from San Francisco. Heh heh!</dialogue> <character>HOCKEY COACH (O.S.)</character> <dialogue>Okay Andersen, you're up!</dialogue> <character>RILEY</character> <dialogue>I gotta go.</dialogue> <scene_description>Riley heads onto the ice.</scene_description> <character>MOM</character> <dialogue>Okay. Good luck, sweetie!</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>DISGUST</character> <dialogue>Luck isn't gonna help us now. If she tries to use Hockey Island, it's going down.</dialogue> <character>FEAR</character> <dialogue>Which is why I've recalled every hockey memory I can think of.</dialogue> <scene_description>The Emotions are standing ankle deep in memories.</scene_description> <character>FEAR</character> <dialogue>One of these has got to work in place of the core memory.</dialogue> <scene_description>O.S. Hockey whistle.</scene_description> <character>ANGER/DISGUST</character> <dialogue>She's about to play!/Hurry!</dialogue> <scene_description>Fear loads a memory into the core holder.</scene_description> </scene> <scene> <stage_direction>INT. HOCKEY RINK</stage_direction> <scene_description>Riley skates onto the ice.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Out the window, Hockey Island lights up feebly.</scene_description> <character>FEAR</character> <dialogue>Ha ha! We did it gang! It's working--</dialogue> <scene_description>BOOM! The Core Memory Holder ejects a memory, slamming Anger in the face. Hockey Island shakes. Fear SHRIEKS.</scene_description> </scene> <scene> <stage_direction>INT. HOCKEY RINK</stage_direction> <scene_description>Riley struggles to dribble the puck.</scene_description> <character>HOCKEY COACH</character> <dialogue>Line change! Line change! Change it up! Change it up!</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Fear frantically loads memories into the Holder, which spits them out like dodge balls. Disgust and Anger run for cover. The Holder spins furiously, flinging Fear against the window. Memories pelt him.</scene_description> <character>DISGUST</character> <parenthetical>(hiding behind a sofa)</parenthetical> <dialogue>It's like we don't learn anything.</dialogue> </scene> <scene> <stage_direction>INT. HOCKEY RINK</stage_direction> <character>HOCKEY COACH</character> <dialogue>Let's pick it up out there!</dialogue> <scene_description>Riley attempts to slap the puck, misses, and TRIPS.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>ANGER</character> <dialogue>That's it!</dialogue> <character>FEAR</character> <dialogue>No, no, no, breathe! Find your happy place--</dialogue> <scene_description>Anger grabs Fear by the neck and ricochets him off the console, then furiously takes the controls.</scene_description> </scene> <scene> <stage_direction>INT. HOCKEY RINK</stage_direction> <scene_description>Riley angrily throws her stick to the ice and skates off. The other players stop and watch.</scene_description> </scene> <scene> <stage_direction>INT. HOCKEY RINK - BLEACHERS - CONTINUOUS</stage_direction> <scene_description>Mom stands up, concerned. Riley heads to the stands and removes her skates.</scene_description> <character>MOM</character> <dialogue>Riley, what's wrong?</dialogue> <character>RILEY</character> <dialogue>Let's go.</dialogue> <character>MOM</character> <dialogue>You're not going to finish tryouts?</dialogue> <character>RILEY</character> <dialogue>What's the point?</dialogue> <character>MOM</character> <dialogue>Hey, it'll be alright. Let's just--</dialogue> <character>RILEY</character> <dialogue>Stop saying everything will be alright!</dialogue> <scene_description>Riley stomps towards the exit. She looks back at the rink. All the players cheer and high five. Riley turns away from the rink and walks out.</scene_description> </scene> <scene> <stage_direction>INT. IMAGINATIONLAND, PRESCHOOL WORLD ENTRANCE</stage_direction> <scene_description>Boom! Joy turns around and watches Hockey Island crumble.</scene_description> <character>JOY</character> <dialogue>Hockey? Oh no... no, she loves hockey. She can't give up hockey.</dialogue> <scene_description>Joy pulls out the HOCKEY CORE MEMORY: Riley's first goal.</scene_description> </scene> <scene> <stage_direction>INT. IMAGINATIONLAND, PRESCHOOL WORLD</stage_direction> <character>JOY</character> <dialogue>Bing Bong, we have to get to that station.</dialogue> <character>BING BONG</character> <dialogue>Sure thing. This way, just past Graham Cracker Castle. Hey. That's weird. Graham Cracker Castle used to be right here. I wonder why they moved it?</dialogue> <scene_description>He walks on, concerned, LEAVING HIS WAGON BEHIND HIM.</scene_description> <character>BING BONG</character> <dialogue>Wow, that's not... I would have sworn Sparkle Pony Mountain was right here. Hey, what's going on?</dialogue> <character>JOY</character> <dialogue>Yeah, yeah, I dunno, we'll have to come back--</dialogue> <character>BING BONG</character> <dialogue>Princess Dream World!</dialogue> <scene_description>A wrecking ball hits a pink castle. Glitter dust plumes.</scene_description> <character>BING BONG</character> <dialogue>Oh no! The Stuffed Animal Hall of Fame!</dialogue> <scene_description>RIIIP! The head of a bear comes off. Too late, Bing Bong notices some construction workers CARRYING AWAY HIS ROCKET.</scene_description> <character>BING BONG</character> <dialogue>My rocket!</dialogue> <parenthetical>(running after them)</parenthetical> <dialogue>Wait! Riley and I, we're still using that rocket! It still has some song power left!!</dialogue> <parenthetical>(sings)</parenthetical> <dialogue>Who's your friend who likes to play?</dialogue> <scene_description>THE ROCKET RESPONDS weakly, propelling it forward. The workers toss it onto a junk pile. A bulldozer pushes the pile towards the CLIFF EDGE.</scene_description> <character>BING BONG</character> <dialogue>Nooo!!! No! No! No! You can't take my rocket to the dump! Riley and I are going to the MOON! Ahhh!</dialogue> <scene_description>Over it goes, into the darkness.</scene_description> <character>BING BONG</character> <dialogue>Riley can't be done with me.</dialogue> <scene_description>Bing Bong sits, stunned. Joy approaches gingerly.</scene_description> <character>JOY</character> <dialogue>Hey, it's going to be okay. We can fix this! We just need to get back to Headquarters. Which way to the train station?</dialogue> <character>BING BONG</character> <parenthetical>(still stunned)</parenthetical> <dialogue>I had a whole trip planned for us.</dialogue> <scene_description>Joy tries another tactic.</scene_description> <character>JOY</character> <dialogue>Hey, who's ticklish, huh? Here comes the tickle monster...</dialogue> <scene_description>No response.</scene_description> <character>JOY</character> <dialogue>Hey! Bing Bong, look at this! Dohoioih!</dialogue> <scene_description>She makes a silly face. Nothing.</scene_description> <character>JOY</character> <dialogue>Oh, here's a fun game! You point to the train station and we all go there! Won't that be fun? Come on, let's go to the train station!</dialogue> <scene_description>Joy walks off, attempting to lead.</scene_description> <character>SADNESS</character> <parenthetical>(sits beside Bing Bong)</parenthetical> <dialogue>I'm sorry they took your rocket. They took something that you loved. It's gone, forever.</dialogue> <character>JOY</character> <dialogue>Sadness, don't make him feel worse.</dialogue> <character>SADNESS</character> <dialogue>Sorry.</dialogue> <character>BING BONG</character> <dialogue>It's all I had left of Riley.</dialogue> <character>SADNESS</character> <dialogue>I bet you and Riley had great adventures.</dialogue> <character>BING BONG</character> <dialogue>They were wonderful. Once we flew back in time. We had breakfast twice that day.</dialogue> <character>SADNESS</character> <dialogue>That's sounds amazing. I bet Riley liked it.</dialogue> <character>BING BONG</character> <dialogue>Oh she did. We were best friends.</dialogue> <character>SADNESS</character> <dialogue>Yeah. It's sad.</dialogue> <scene_description>Bing Bong puts his head on Sadness' shoulder and CRIES. Sadness keeps her arm around him until he's done.</scene_description> <character>BING BONG</character> <dialogue>I'm okay now.</dialogue> <parenthetical>(stands)</parenthetical> <dialogue>C'mon, the train station is this way.</dialogue> <scene_description>He walks off. Joy and Sadness follow.</scene_description> <character>JOY</character> <dialogue>How did you do that?</dialogue> <character>SADNESS</character> <dialogue>I don't know. He was sad, so I listened to what--</dialogue> <character>BING BONG (O.S.)</character> <dialogue>Hey, there's the train!</dialogue> </scene> <scene> <stage_direction>INT. TRAIN CAR - DAY</stage_direction> <scene_description>Our trio climb aboard just as the train moves.</scene_description> <character>JOY</character> <dialogue>We made it! We're finally going to get home!</dialogue> <scene_description>Twirling, she knocks over two boxes labeled "FACTS" and "OPINIONS." Small objects spill out of both.</scene_description> <character>JOY</character> <dialogue>Oh no! These Facts and Opinions look so similar!</dialogue> <scene_description>He dumps them into the "FACTS" box.</scene_description> <character>BING BONG</character> <dialogue>Eh, don't worry about it -- happens all the time.</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM - NIGHT</stage_direction> <scene_description>Riley drops her gear and throws herself on her sleeping bag.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>DISGUST</character> <dialogue>On a scale of one to ten, I give this day an F.</dialogue> <character>ANGER</character> <dialogue>Well why don't we quit standing around and DO something?</dialogue> <character>DISGUST</character> <dialogue>Like what, genius?</dialogue> <scene_description>Fear enters with a suitcase.</scene_description> <character>FEAR</character> <dialogue>Like quitting! That's what I'm doing.</dialogue> <scene_description>He stomps on the recall button.</scene_description> <character>FEAR</character> <dialogue>Sure, it's the coward's way out. But this coward is gonna survive!</dialogue> <scene_description>The tube drops over him, but pummels Fear with dozens of memories. The tube shuts off and retracts. Fear drops to the floor in pain.</scene_description> <character>DISGUST</character> <dialogue>Emotions can't quit, genius.</dialogue> <scene_description>Fear spits up a memory.</scene_description> <character>DISGUST</character> <dialogue>Euch! I thought we were supposed to be keeping Riley happy.</dialogue> <character>ANGER</character> <dialogue>Wait a minute. Wait a minute!</dialogue> <scene_description>Anger runs to the back and rummages through the ideas.</scene_description> <character>ANGER</character> <dialogue>Ah ha!</dialogue> <character>FEAR</character> <dialogue>What is it?</dialogue> <character>ANGER</character> <parenthetical>(holds up the lightbulb)</parenthetical> <dialogue>Oh nothing. Just the best idea ever.</dialogue> <character>DISGUST</character> <dialogue>What?</dialogue> <character>ANGER</character> <dialogue>All the good core memories were made in Minnesota. Ergo, we go back to Minnesota and make more. Ta-da!</dialogue> <character>FEAR</character> <dialogue>Wait. You're saying we run away?</dialogue> <character>ANGER</character> <dialogue>Well, I wouldn't call it that. I'd call it, "The Happy Core Memory Development Program."</dialogue> <character>FEAR</character> <dialogue>You can't be serious.</dialogue> <character>ANGER</character> <dialogue>Hey. Our life was perfect until Mom and Dad decided to move to San Fran Stinktown.</dialogue> <character>FEAR</character> <dialogue>But, I mean, it's just so drastic!</dialogue> <character>ANGER</character> <dialogue>Need I remind you of how great things were there? Our room? Our back yard? Our friends?</dialogue> <scene_description>He punches up a memory. It plays on the screen.</scene_description> <character>GUM MEMORY</character> <dialogue>Tripledent gum will make you smile! Tripledent gum it lasts--</dialogue> <character>ANGER</character> <dialogue>Did I ASK for the gum commercial?!?!</dialogue> <parenthetical>(he ejects the memory)</parenthetical> <dialogue>Anyway, it was better, that's my point.</dialogue> <character>DISGUST</character> <parenthetical>(considering)</parenthetical> <dialogue>Riley was happier in Minnesota...</dialogue> <character>FEAR</character> <dialogue>Wait, hold on. Shouldn't we just sleep on this or something?</dialogue> <character>ANGER</character> <dialogue>Fine. Let's sleep on it. Because hey, I'm sure jolly fun-filled times are just around the corner.</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM - NIGHT</stage_direction> <scene_description>Riley goes to sleep.</scene_description> </scene> <scene> <stage_direction>EXT. LONG-TERM MEMORY CLIFFS</stage_direction> <scene_description>The train slows to a stop.</scene_description> <character>JOY</character> <dialogue>Huh?</dialogue> <scene_description>The engineer and his assistant hop off the engine.</scene_description> <character>JOY</character> <dialogue>Hey hey! Why aren't we moving?</dialogue> <character>TRAIN ENGINEER</character> <dialogue>Riley's gone to sleep. We're all on break.</dialogue> <character>SADNESS</character> <dialogue>You mean we're stuck here until morning?</dialogue> <character>BING BONG</character> <dialogue>Yeah, the Train of Thought doesn't run while she's asleep.</dialogue> <character>JOY</character> <dialogue>Oh, we can't wait that long!</dialogue> <character>SADNESS</character> <dialogue>How about we wake her up?</dialogue> <character>JOY</character> <dialogue>Sadness, that's ridiculous. How could we possibly...</dialogue> <scene_description>She follows Sadness' gaze and spots DREAM PRODUCTIONS.</scene_description> <character>JOY</character> <dialogue>How about we wake her up!?</dialogue> <character>SADNESS</character> <dialogue>Great idea, Joy.</dialogue> <character>JOY</character> <dialogue>Thanks. Come on!</dialogue> </scene> <scene> <stage_direction>EXT. DREAM PRODUCTIONS - NIGHT</stage_direction> <scene_description>Pan down from the DREAM PRODUCTIONS GATE: a busy backlot.</scene_description> <character>JOY</character> <dialogue>Whoa! This place is huge.</dialogue> <character>SADNESS</character> <dialogue>Yeah, it looks so much smaller than I expected.</dialogue> <scene_description>They walk past dream "movie posters."</scene_description> <character>BING BONG</character> <dialogue>Whoa! "I Can Fly"? I love that one!</dialogue> <scene_description>Joy spots a Unicorn sitting in a director's chair.</scene_description> <character>JOY</character> <dialogue>Rainbow Unicorn! She's RIGHT THERE!</dialogue> <scene_description>Joy tries to play it cool as they walk past.</scene_description> <character>SADNESS</character> <dialogue>My friend says you're famous. She wants your autograph.</dialogue> <character>JOY</character> <dialogue>No, no, Sadness, don't bother Miss Unicorn, okay?</dialogue> <parenthetical>(to unicorn)</parenthetical> <dialogue>Sorry, she's from outta town. So embarrassing, right?</dialogue> <scene_description>She pushes Sadness away. Joy pops back in.</scene_description> <character>JOY</character> <dialogue>I loved you in Fairy Dream Adventure Part 7. Okay, bye. I love you.</dialogue> <scene_description>They reach STAGE B. A sign below a red flashing light reads, "DO NOT ENTER WHEN LIGHT FLASHING."</scene_description> <character>BING BONG</character> <dialogue>Huh. Wonder what that means. Oh well, let's go in!</dialogue> <scene_description>They enter.</scene_description> </scene> <scene> <stage_direction>INT. STAGE B - BUSTLING SOUND STAGE</stage_direction> <scene_description>Workers scramble to get ready for the production. A Director distributes scripts.</scene_description> <character>DREAM DIRECTOR (O.S.)</character> <dialogue>Set up the classroom set! Today's memories are in, we've got a lot to work with here. Riley dumped her best friend, had a miserable day at school, and quit hockey. The writers have put together a killer script!</dialogue> </scene> <scene> <stage_direction>INT. STAGE B - COSTUME AREA</stage_direction> <scene_description>Joy cringes at the news as the three hide behind costumes.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Fear enters drinking tea.</scene_description> <character>FEAR</character> <parenthetical>(grumbling to self)</parenthetical> <dialogue>Just because Joy and Sadness are gone, I have to do stupid dream duty...</dialogue> </scene> <scene> <stage_direction>INT. STAGE B - COSTUME AREA</stage_direction> <scene_description>Joy, Sadness and Bing Bong watch from behind boxes.</scene_description> <character>JOY</character> <dialogue>Okay, how are we gonna wake her up?</dialogue> <character>SADNESS</character> <dialogue>Well, she wakes up sometimes when she has a scary dream. We could scare her.</dialogue> <character>JOY</character> <dialogue>Scare her? No no, she's been through enough already.</dialogue> <character>SADNESS</character> <dialogue>But Joy--</dialogue> <character>JOY</character> <dialogue>Sadness you may know your way around down here, but I know Riley! We're gonna make her so happy she'll wake up with exhilaration! We'll excite her awake!</dialogue> <character>SADNESS</character> <dialogue>That's never happened before.</dialogue> <scene_description>Joy spots a nearby dog costume and tosses it to Sadness.</scene_description> <character>JOY</character> <dialogue>Ooh, Riley loves dogs. Put this on!</dialogue> <character>SADNESS</character> <dialogue>I don't think that'll work.</dialogue> <character>JOY</character> <dialogue>Bing Bong.</dialogue> <character>BING BONG</character> <dialogue>Yeah?</dialogue> <scene_description>She gives him the satchel containing the CORE MEMORIES.</scene_description> <character>JOY</character> <dialogue>Don't let anything happen to these.</dialogue> <character>BING BONG</character> <dialogue>Got it!</dialogue> </scene> <scene> <stage_direction>INT. STAGE B - STAGE AREA, CLASSROOM SET</stage_direction> <scene_description>DREAM DIRECTOR checks the monitor.</scene_description> <character>DREAM DIRECTOR</character> <dialogue>Mm hm. Add the reality distortion filter.</dialogue> <scene_description>A WORKER slips a filter over the camera lens, transforming the MIND WORKERS into replicates of Riley's classmates.</scene_description> <character>DREAM DIRECTOR</character> <dialogue>Love it.</dialogue> <parenthetical>(to actors)</parenthetical> <dialogue>Remember, play to the camera, everyone! Riley is the camera! Makeup, get out of there, we are on in 5,4,3...</dialogue> <scene_description>A UNION HARP PLAYER strums: the dream is starting. From the camera's POV: the classroom set. STUDENTS at desks. An EXTRA playing Riley's teacher reads cue cards badly.</scene_description> <character>EXTRA</character> <dialogue>Hello class. Before we begin today's pop quiz, which counts for 90% of your final grade...</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS - CONTINUOUS</stage_direction> <character>FEAR</character> <dialogue>Man, she is one bad actress.</dialogue> </scene> <scene> <stage_direction>INT. STAGE B - CLASSROOM SET</stage_direction> <scene_description>The CUE CARD GUY flips over the next card.</scene_description> <character>EXTRA</character> <dialogue>...I want to introduce our new student. Riley. Would you like to stand up and introduce yourself?</dialogue> <character>DREAM DIRECTOR</character> <dialogue>Camera.</dialogue> <scene_description>The camera adjusts as if Riley is standing.</scene_description> <character>DREAM DIRECTOR</character> <dialogue>And... cue Riley.</dialogue> <scene_description>A CREW MEMBER clears his throat and reads into a megaphone.</scene_description> <character>RILEY VOICE</character> <dialogue>My name's Riley Andersen, I'm from Minnesota and now I live here.</dialogue> <scene_description>A STUDENT points to the camera.</scene_description> <character>DREAM STUDENT #1</character> <dialogue>Ew, look! Her teeth are falling out!</dialogue> <scene_description>A crew member drops handfuls of teeth in front of the camera.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>FEAR</character> <parenthetical>(dismissive)</parenthetical> <dialogue>Pff, teeth falling out, I'm used to that one. Let me guess, we have no pants on.</dialogue> <scene_description>ON THE SCREEN:</scene_description> <character>DREAM STUDENT #2</character> <dialogue>Hey look! She came to school with no pants on!</dialogue> <scene_description>The camera adjusts down to reveal Riley's bare legs. Riley's hands try to block them.</scene_description> <character>FEAR</character> <dialogue>Called it!</dialogue> </scene> <scene> <stage_direction>INT. STAGE B - BACKSTAGE</stage_direction> <scene_description>Joy and Sadness are in the dog costume, waiting to go on.</scene_description> <character>JOY</character> <dialogue>Ready?</dialogue> <character>SADNESS</character> <dialogue>I don't think this happy thing is going to work. But if we scare her--</dialogue> <character>JOY</character> <dialogue>Just follow my lead. Here we go!</dialogue> <scene_description>Joy yanks Sadness onto the set.</scene_description> </scene> <scene> <stage_direction>INT. STAGE B - CLASSROOM SET</stage_direction> <scene_description>They run around in playful circles. Joy makes puppy noises.</scene_description> <character>DREAM DIRECTOR</character> <parenthetical>(flipping through script)</parenthetical> <dialogue>Who is that?</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>FEAR</character> <dialogue>What's going on?</dialogue> </scene> <scene> <stage_direction>INT. STAGE B - CLASSROOM SET</stage_direction> <scene_description>Joy and Sadness run around, Joy licking students and barking. Through the reality distortion they look like a happy puppy. Joy looks at the sleep indicator: Riley is still asleep.</scene_description> </scene> <scene> <stage_direction>INT. RILEY'S ROOM - CONTINUOUS</stage_direction> <scene_description>Riley is sound sleep.</scene_description> </scene> <scene> <stage_direction>INT. STAGE B - CLASSROOM SET</stage_direction> <character>JOY</character> <parenthetical>(to Bing Bong)</parenthetical> <dialogue>Psst. You're on! Go!</dialogue> <scene_description>Bing Bong pulls a rope. Balloons drop! A colorful backdrop!</scene_description> <character>JOY</character> <dialogue>Woo! Let's party! Let's dance. Woo!</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>FEAR</character> <dialogue>Hey, a party!</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM</stage_direction> <scene_description>Riley is still sound asleep.</scene_description> </scene> <scene> <stage_direction>INT. STAGE B - CLASSROOM SET</stage_direction> <scene_description>On stage, Joy and Sadness run in circles, barking.</scene_description> <character>SADNESS</character> <dialogue>Joy, this isn't working.</dialogue> <scene_description>Bing Bong knocks over a light, causing spooky uplighting. Sadness tries to stop. The dog costume RIPS IN HALF.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Fear does a spit take. On screen, a real dog is in two pieces.</scene_description> </scene> <scene> <stage_direction>INT. STAGE B - CLASSROOM SET</stage_direction> <scene_description>Joy runs after Sadness.</scene_description> <character>JOY</character> <dialogue>Huh? Sadness, what are you doing?! Come back here!</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>On screen, the front half of a dog chases the rear half.</scene_description> <character>FEAR</character> <dialogue>It's just a dream, it's just a dream, it's just a dream...</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM</stage_direction> <scene_description>Riley stirs in her sleep.</scene_description> </scene> <scene> <stage_direction>INT. STAGE B - CLASSROOM SET</stage_direction> <character>DREAM DIRECTOR</character> <dialogue>They're trying to wake her up! Call security!</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Bing Bong appears on screen.</scene_description> <character>BING BONG (O.S.)</character> <dialogue>Hi Riley, it's me! Who's your friend who likes to play? Bing Bong, Bing Bong!</dialogue> <character>FEAR</character> <dialogue>Bing Bong?</dialogue> </scene> <scene> <stage_direction>INT. STAGE B - CLASSROOM SET</stage_direction> <scene_description>Bing Bong slips, tipping over the set wall.</scene_description> <character>JOY</character> <dialogue>Sadness! You are ruining this dream! You're scaring her!</dialogue> <character>SADNESS</character> <dialogue>But look, it's working!</dialogue> <scene_description>The SLEEP INDICATOR is starting to tip. Joy's eyes widen.</scene_description> <character>JOY</character> <dialogue>Whoa!</dialogue> <scene_description>But before she can do anything, Security enters.</scene_description> <character>DREAM DIRECTOR</character> <parenthetical>(to Security)</parenthetical> <dialogue>They are not part of this dream! Get them!</dialogue> <scene_description>Sadness pulls Joy out of harms way as guards GRAB Bing Bong.</scene_description> <character>DREAM PRODUCTIONS COP #1</character> <dialogue>Stop right there!</dialogue> <character>BING BONG</character> <dialogue>Ow! Hey!</dialogue> <character>DREAM DIRECTOR</character> <parenthetical>(to camera operator)</parenthetical> <dialogue>Pan away! Pan away!</dialogue> <scene_description>The camera pans away to Rainbow Unicorn making off with a giant cupcake platter from the craft services table.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>FEAR</character> <dialogue>Booooo! Pick a plot line!</dialogue> </scene> <scene> <stage_direction>INT. STAGE B - CLASSROOM SET</stage_direction> <scene_description>Joy and Sadness watch as guards haul off Bing Bong.</scene_description> </scene> <scene> <stage_direction>EXT. STAGE B</stage_direction> <scene_description>Joy and Sadness exit Stage B.</scene_description> <character>BING BONG (O.S.)</character> <dialogue>Ow! Ow! Cut that out. Ow! Please... you can't do this!</dialogue> <character>BING BONG (O.S.)</character> <dialogue>Do you like candy? You look hungry. I can get you candy! Please! Ow. Ow. Ow.</dialogue> <scene_description>Joy and Sadness watch Bing Bong being dragged far off to the dark, menacing entry of SUBCONSCIOUS.</scene_description> <character>JOY</character> <dialogue>No, no no no, there go the core memories...!</dialogue> <scene_description>The door opens. SPOOKY LIGHT spills out.</scene_description> <character>BING BONG</character> <dialogue>I can't go in there. I'm scared of the dark. Please!</dialogue> <scene_description>He's thrown in and the door SLAMS SHUT. Joy and Sadness head after him, down the long stairway.</scene_description> </scene> <scene> <stage_direction>EXT. SUBCONSCIOUS STAIRS</stage_direction> <character>JOY</character> <dialogue>What is this place?</dialogue> <character>SADNESS</character> <parenthetical>(hushed tone)</parenthetical> <dialogue>The Subconscious. It's where they take all the troublemakers.</dialogue> </scene> <scene> <stage_direction>EXT. SUBCONSCIOUS GATE</stage_direction> <scene_description>Joy and Sadness hide. TWO CLUELESS GUARDS block the gate.</scene_description> <character>SUBCONSCIOUS GUARD DAVE</character> <dialogue>My hat feels loose.</dialogue> <character>SUBCONSCIOUS GUARD FRANK</character> <dialogue>Let me see.</dialogue> <scene_description>How to get in? Sadness has an idea.</scene_description> </scene> <scene> <stage_direction>EXT. SUBCONSCIOUS GATE</stage_direction> <scene_description>Sadness leads Joy around and behind the guards.</scene_description> <character>SUBCONSCIOUS GUARD DAVE</character> <dialogue>You got my hat? Or, or is that your hat?</dialogue> <character>SUBCONSCIOUS GUARD FRANK</character> <dialogue>Yeah, it's my hat.</dialogue> <character>SUBCONSCIOUS GUARD DAVE</character> <dialogue>You sure? I don't know, look in the label.</dialogue> <character>SUBCONSCIOUS GUARD FRANK</character> <dialogue>Yeah, it says, "My Hat."</dialogue> <character>SUBCONSCIOUS GUARD DAVE</character> <dialogue>Wait, it says, "My Hat"?</dialogue> <character>SUBCONSCIOUS GUARD FRANK</character> <dialogue>"My Hat," it says.</dialogue> <character>SUBCONSCIOUS GUARD DAVE</character> <dialogue>That's what I wrote in my hat.</dialogue> <character>SUBCONSCIOUS GUARD FRANK</character> <dialogue>What are you talking about?</dialogue> <character>SUBCONSCIOUS GUARD DAVE</character> <dialogue>You've got my hat on.</dialogue> <character>SUBCONSCIOUS GUARD FRANK</character> <dialogue>Okay, but it's my handwriting--</dialogue> <scene_description>Sadness loudly SHAKES the door.</scene_description> <character>SUBCONSCIOUS GUARD DAVE</character> <dialogue>Hey! You!</dialogue> <character>SADNESS</character> <dialogue>Oh! You caught us! Heh.</dialogue> <character>SUBCONSCIOUS GUARD FRANK</character> <dialogue>Get back in there! No escaping!</dialogue> <scene_description>The guards shove them through and slam the door.</scene_description> </scene> <scene> <stage_direction>INT. SUBCONSCIOUS CAVE</stage_direction> <scene_description>Joy gives Sadness an approving nod: nice work. They head forward. This place is spooky.</scene_description> <character>SADNESS</character> <dialogue>I don't like it here. It's where they keep Riley's darkest fears.</dialogue> <scene_description>Joy spots a dark shape ahead:</scene_description> <character>JOY</character> <dialogue>It's broccoli!</dialogue> <scene_description>Behind them:</scene_description> <character>SADNESS</character> <dialogue>The stairs to the basement!</dialogue> <scene_description>They SCAMPER AWAY like frightened mice.</scene_description> <character>JOY</character> <dialogue>Grandma's vacuum cleaner!</dialogue> <scene_description>The vacuum gives chase. Joy and Sadness lose it and hide behind a rock.</scene_description> <character>JOY</character> <parenthetical>(catching her breath)</parenthetical> <dialogue>Okay, come on.</dialogue> <scene_description>Sadness makes a loud CRINKLING NOISE with each step.</scene_description> <character>JOY</character> <dialogue>Would you walk quieter?</dialogue> <character>SADNESS</character> <dialogue>I'm trying!</dialogue> <character>JOY</character> <dialogue>What is going--</dialogue> <parenthetical>(looking down)</parenthetical> <dialogue>Candy wrappers.</dialogue> <scene_description>They follow a trail of candy wrappers into the cave to find--</scene_description> </scene> <scene> <stage_direction>INT. SUBCONSCIOUS CAVE, CLOWN LAIR</stage_direction> <scene_description>--a crying Bing Bong in a balloon cage, atop a large mound.</scene_description> <character>JOY</character> <dialogue>Bing Bong!</dialogue> <character>BING BONG</character> <dialogue>Joy?</dialogue> <character>JOY</character> <dialogue>There you are.</dialogue> <character>BING BONG</character> <dialogue>SHHHHH!</dialogue> <parenthetical>(points)</parenthetical> <dialogue>They are standing in front of a giant SLEEPING CLOWN.</dialogue> <character>JOY</character> <parenthetical>(terrified)</parenthetical> <dialogue>It's Jangles.</dialogue> <character>JANGLES</character> <parenthetical>(talking in his sleep)</parenthetical> <dialogue>Who's the birthday girl, who's the birthday girl...</dialogue> <scene_description>They gingerly approach Jangles. Joy climbs up to Bing Bong.</scene_description> <character>JOY</character> <dialogue>Do you have the core memories?</dialogue> <scene_description>He gives her the satchel. Joy holds them close.</scene_description> <character>BING BONG</character> <dialogue>All he cared about was the candy!</dialogue> <scene_description>Joy helps Bing Bong squeeze through, but the balloon-bars make loud twisting noises. Jangles stirs. Joy freezes. She stretches them further... Success! Joy and Bing Bong hurry down and the trio rush away.</scene_description> <character>BING BONG</character> <dialogue>We're out of here! Let's get to that train.</dialogue> <character>JOY</character> <dialogue>Wait. The train's not running. We still have to wake up Riley.</dialogue> <character>SADNESS</character> <dialogue>But how?</dialogue> <scene_description>Joy and Sadness look back at the clown.</scene_description> <character>BING BONG</character> <dialogue>Oh no.</dialogue> <scene_description>Together, Joy and Sadness approach Jangles and HONK HIS NOSE. His eyes open. He stands. He's HUGE, towering over them.</scene_description> <character>JOY</character> <parenthetical>(loudly)</parenthetical> <dialogue>H-hhey Sadness, did you hear about the p-pahh-party that we're having?</dialogue> <character>SADNESS</character> <dialogue>Ohhhh yeah, yes Joy! Isn't it a ba- bahh... birthday party?</dialogue> <character>JANGLES</character> <dialogue>Did you say... birthday?</dialogue> <character>JOY</character> <dialogue>And there's going to be cake, and presents and--</dialogue> <character>SADNESS</character> <dialogue>--and games and balloons--</dialogue> <character>JANGLES</character> <parenthetical>(pulls out a giant mallet)</parenthetical> <character>A BIRTHDAY?!?!</character> <dialogue>JOY</dialogue> <scene_description>Okay. Follow us! All three run towards the gate, followed by the giant clown!</scene_description> <character>JOY</character> <dialogue>Nothing like a good scare to wake you up, right?</dialogue> </scene> <scene> <stage_direction>EXT. SUBCONSCIOUS GATE -- CONTINUOUS</stage_direction> <scene_description>The guards inspect each others' hats.</scene_description> <character>SUBCONSCIOUS GUARD FRANK</character> <dialogue>Okay, but it's my handwriting.</dialogue> <character>SUBCONSCIOUS GUARD DAVE</character> <dialogue>No, it isn't. That's my handwrit-- I wrote that!</dialogue> <character>SUBCONSCIOUS GUARD FRANK</character> <dialogue>No, but THIS one's my handwriting--</dialogue> <scene_description>BASH! Jangles' mallet smashes through, laughing maniacally. Our trio run up the stairs, Jangles close behind.</scene_description> </scene> <scene> <stage_direction>INT. DREAM PRODUCTIONS - STAGE B - MOMENTS LATER</stage_direction> <scene_description>The UNICORN DREAM is mid-production: a Glitter Dance Party, rainbows and sparkles aplenty. The crew is bored.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Fear is practically asleep.</scene_description> </scene> <scene> <stage_direction>INT. STAGE B</stage_direction> <scene_description>The set begins to shake. BLAAAM! Jangles crashes in.</scene_description> <character>JANGLES</character> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Fear SHRIEKS, bashes a button and passes out.</scene_description> </scene> <scene> <stage_direction>INT. RILEY'S ROOM - NIGHT</stage_direction> <scene_description>Riley bolts upright in bed.</scene_description> </scene> <scene> <stage_direction>INT. STAGE B</stage_direction> <scene_description>The meter reads "AWAKE." Joy and Sadness do a happy dance.</scene_description> <character>BING BONG</character> <dialogue>Come on, let's go!</dialogue> <scene_description>They bolt, leaving Jangles gleefully demolishing the sets.</scene_description> </scene> <scene> <stage_direction>EXT. TRAIN STATION - MOMENTS LATER</stage_direction> <scene_description>Our trio leap aboard just as the train picks up speed.</scene_description> <character>JOY</character> <dialogue>Ha ha! We made it!</dialogue> <character>SADNESS</character> <dialogue>Whoo-hoo! Ha ha!</dialogue> <character>JOY</character> <dialogue>Guess who's on their way to Headquarters?!</dialogue> <scene_description>Joy grabs Sadness and picks her up in celebration.</scene_description> <character>SADNESS</character> <dialogue>We are!</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM - NIGHT</stage_direction> <scene_description>Riley sitting up in bed after being scared awake.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS - MORNING</stage_direction> <scene_description>Anger and Disgust come out looking tired, rumpled...</scene_description> <character>DISGUST</character> <dialogue>What is going on?</dialogue> <character>ANGER</character> <dialogue>He did it again.</dialogue> <character>FEAR</character> <parenthetical>(huddled on the floor)</parenthetical> <dialogue>We were at school, and we were naked, and there was a dog, and his back half was chasing him... and then we saw Bing Bong.</dialogue> <character>ANGER</character> <dialogue>You idiot! It was a DREAM! This is ridiculous, we can't even get a good night sleep anymore. Time to take action.</dialogue> <scene_description>He goes and gets the Idea Bulb he held up earlier.</scene_description> <character>ANGER</character> <dialogue>Stupid Mom and Dad. If they hadn't moved us, none of this would've happened. Who's with me?</dialogue> <scene_description>Fear stammers nervously. Anger looks to Disgust.</scene_description> <character>DISGUST</character> <dialogue>Yeah, let's do it.</dialogue> <scene_description>Anger plugs the Idea Bulb in.</scene_description> </scene> <scene> <stage_direction>INT. RILEY'S ROOM - NIGHT</stage_direction> <scene_description>Riley gets the idea. She takes out her computer.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>ANGER</character> <dialogue>She took it. There's no turning back.</dialogue> <character>DISGUST</character> <dialogue>So, how're we gonna get to Minnesota from here?</dialogue> <character>ANGER</character> <dialogue>Well, why don't we go to the elephant lot and rent an elephant?</dialogue> <character>FEAR</character> <dialogue>Hey! That sounds nice!</dialogue> <character>ANGER</character> <dialogue>We're taking the bus, nitwit!</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM - NIGHT</stage_direction> <scene_description>On her laptop, Riley pulls up the Transway Bus Lines website.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>ANGER</character> <dialogue>There's a bus leaving tomorrow. Perfect.</dialogue> <character>DISGUST</character> <dialogue>A ticket costs money. How do we get money?</dialogue> <character>ANGER</character> <dialogue>Mom's purse.</dialogue> <character>DISGUST</character> <dialogue>You wouldn't.</dialogue> <character>ANGER</character> <dialogue>Oh, but I would. Where was it we saw it last?</dialogue> <scene_description>He punches up a memory. It comes up and plays.</scene_description> <character>GUM MEMORY (O.S.)</character> <dialogue>Tripledent gum will--</dialogue> <character>ANGER</character> <dialogue>NOOOO!!!</dialogue> <parenthetical>(slams his fist, canceling the memory)</parenthetical> <dialogue>It's downstairs somewhere. Mom and Dad got us into this mess. They can pay to get us out.</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM - NIGHT</stage_direction> <scene_description>Riley's face grows angry.</scene_description> </scene> <scene> <stage_direction>EXT. MIND WORLD - MORNING</stage_direction> <scene_description>The train speeds ahead. The trio look out the train door.</scene_description> <character>BING BONG</character> <dialogue>How about this, huh? Isn't this nice? You can see everything from up here! Look, there's Inductive Reasoning. There's Deja Vu. There's Language Processing! There's Deja Vu. There's Critical Thinking! There's Deja Vu. Hey look at this, guys! Memories!</dialogue> <scene_description>Bing Bong ducks inside the train. Joy looks over to Sadness.</scene_description> <character>JOY</character> <dialogue>Hey, that was a good idea. About scaring Riley awake. You're not so bad.</dialogue> <character>SADNESS</character> <dialogue>Really?</dialogue> <character>JOY</character> <dialogue>Nice work.</dialogue> <scene_description>Joy turns to sit on a crate inside the train.</scene_description> <character>JOY</character> <dialogue>I can't wait to get the old Riley back. As soon as we get there I'm going to fix this whole mess.</dialogue> <scene_description>Bing Bong looks at a memory.</scene_description> <character>BING BONG</character> <dialogue>Whoa. Is this Riley?</dialogue> <scene_description>A RECENT MEMORY: Riley hoisted in the air by her teammates.</scene_description> <character>BING BONG</character> <dialogue>She's so big now. She won't fit in my rocket. How're we gonna get to the moon?</dialogue> <character>JOY</character> <parenthetical>(taking the memory)</parenthetical> <dialogue>Oh, it's that time in the twisty tree, remember? The hockey team showed up and Mom and Dad were there cheering. Look at her, having fun and laughing. I love this one.</dialogue> <character>SADNESS</character> <dialogue>Mmm. I love that one too.</dialogue> <character>JOY</character> <dialogue>Atta girl! Now you're getting it!</dialogue> <character>SADNESS</character> <dialogue>Yeah. It was the day the Prairie Dogs lost the big playoff game. Riley missed the winning shot. She felt awful. She wanted to quit.</dialogue> <scene_description>Joy's smile fades.</scene_description> <character>SADNESS</character> <dialogue>Sorry. I went sad again, didn't I?</dialogue> <character>JOY</character> <dialogue>I'll tell ya what. We'll keep working on that when we get back. Okay?</dialogue> <character>SADNESS</character> <dialogue>Okay.</dialogue> <scene_description>Joy puts the memory in the satchel.</scene_description> </scene> <scene> <stage_direction>INT. SAN FRANCISCO HOUSE - NIGHT</stage_direction> <scene_description>Riley sneaks down the stairs. Mom is on the phone in the kitchen with her back to Riley.</scene_description> <character>MOM</character> <parenthetical>(on phone)</parenthetical> <dialogue>But I just don't understand, why did our moving van even go to Texas?</dialogue> <scene_description>Riley spots Mom's purse on the table.</scene_description> <character>MOM</character> <dialogue>Multiple customers?</dialogue> <scene_description>Riley opens the purse.</scene_description> <character>MOM (O.S)</character> <dialogue>Well, we were promised delivery on the fifth. Uh-huh.</dialogue> <scene_description>Riley takes out Mom's credit card. She pauses. Is she really doing this? Suddenly Mom turns. Riley panics. Mom looks up. Empty room.</scene_description> <character>MOM</character> <parenthetical>(still on phone)</parenthetical> <dialogue>Excuse me, isn't there any way that you can rush it?</dialogue> <scene_description>Riley slips off with the credit card.</scene_description> </scene> <scene> <stage_direction>EXT. MIND WORLD - CONTINUOUS</stage_direction> <scene_description>The train passes crumbling HONESTY ISLAND.</scene_description> </scene> <scene> <stage_direction>INT. TRAIN CAR</stage_direction> <scene_description>Honesty Island crashes into the train tracks. Joy, Sadness and Bing Bong scream. Workers below see the train falling towards them.</scene_description> <character>WORKER #1</character> <dialogue>LOOK OUT!</dialogue> <scene_description>The train CRASHES onto the cliffside. It slips towards the edge. Joy struggles to get up, but the floor is pitching.</scene_description> <character>BING BONG</character> <dialogue>Hold on!</dialogue> <scene_description>Workers grab Joy, Sadness and Bing Bong just as the train slides off the cliff and drops into the dump below. Joy looks towards Headquarters.</scene_description> <character>JOY</character> <dialogue>That was our way home! We lost another island... what is happening?</dialogue> <character>WORKER #1</character> <dialogue>Haven't you heard? Riley is running away.</dialogue> <character>JOY</character> <dialogue>What?!</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM - MORNING</stage_direction> <scene_description>Riley packs her clothes when her expression changes to worry.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Fear is driving.</scene_description> <character>FEAR</character> <dialogue>Wait, wait, hang on, guys. Are we really doing this? I mean, this is serious.</dialogue> <scene_description>Anger pushes Fear aside and works the console.</scene_description> <character>ANGER (O.S.)</character> <dialogue>Look. We have no core memories. You want Riley to be happy? Let's get back to Minnesota and make more.</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM</stage_direction> <scene_description>Riley's worried face goes angry. She packs and exits.</scene_description> </scene> <scene> <stage_direction>EXT. LONG-TERM MEMORY CLIFFS</stage_direction> <character>SADNESS</character> <dialogue>If we hurry, we can still stop her.</dialogue> <parenthetical>(points)</parenthetical> <character>JOY</character> <dialogue>Family Island. Let's go!</dialogue> <scene_description>The trio run along the cliff edge towards the last island.</scene_description> </scene> <scene> <stage_direction>INT. SAN FRANCISCO HOUSE - STAIRWAY - DAY</stage_direction> <scene_description>Riley walks downstairs.</scene_description> </scene> <scene> <stage_direction>EXT. LONG-TERM MEMORY CLIFFS</stage_direction> <scene_description>Family Island shakes and crumbles.</scene_description> <character>SADNESS</character> <dialogue>Joy! Joy! It's too dangerous! We won't make it in time!</dialogue> <character>JOY</character> <dialogue>But that's our only way back!</dialogue> <scene_description>The rumbling causes an END CAP of a nearby shelf to break, exposing an open tube. A memory gets sucked up and shot towards Headquarters.</scene_description> <character>JOY</character> <dialogue>A recall tube!</dialogue> <character>SADNESS</character> <dialogue>We can get recalled!</dialogue> <scene_description>They run towards it.</scene_description> </scene> <scene> <stage_direction>INT. SAN FRANCISCO HOUSE - DAY</stage_direction> <scene_description>Riley goes to the front door. Mom and Dad are in the kitchen.</scene_description> <character>MOM</character> <dialogue>Have a great day, sweetheart.</dialogue> <character>DAD</character> <dialogue>See you after school, monkey.</dialogue> <character>MOM</character> <dialogue>We love you!</dialogue> <scene_description>Riley doesn't respond. She turns and walks out the door.</scene_description> </scene> <scene> <stage_direction>EXT. LONG-TERM MEMORY CLIFFS</stage_direction> <scene_description>Family Island rumbles. A LARGE CHUNK of cliff edge breaks off behind them, driving Joy and Sadness forward.</scene_description> <character>JOY</character> <dialogue>Go! Run! RUN!</dialogue> <scene_description>Joy steps into the disconnected TUBE, ready to sail up to Headquarters. Sadness tries to climb in, but there's not enough room; she jostles, pressing against the satchel. The CORE MEMORIES start to turn blue.</scene_description> <character>JOY</character> <dialogue>Woah woah! Sadness!</dialogue> <parenthetical>(pushing her back)</parenthetical> <dialogue>Sadness, stop! You're hurting Riley!</dialogue> <scene_description>Joy pulls a core memory from the satchel. It is BRIGHT BLUE, but slowly fades back to normal.</scene_description> <character>SADNESS</character> <dialogue>Oh no, I did it again...</dialogue> <character>JOY</character> <dialogue>If you get in here, these core memories will get sad!</dialogue> <scene_description>Joy watches FAMILY ISLAND crumble. She looks down at Sadness. Joy, pained, decides.</scene_description> <character>JOY</character> <dialogue>I'm sorry. Riley needs to be happy.</dialogue> <scene_description>She pulls the tube closed and starts up alone. Sadness and Bing Bong watch, betrayed and despondent. Joy looks guilt-ridden, but looks on towards Headquarters. Suddenly, the cliffside rumbles. Joy's tube BREAKS. Joy FALLS! Bing Bong runs forward to help her, but the ground beneath him crumbles away. Joy and Bing Bong tumble into the abyss.</scene_description> <character>SADNESS</character> <dialogue>Joy!!!</dialogue> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO ALLEY - DAY</stage_direction> <scene_description>Riley walks off into the fog.</scene_description> </scene> <scene> <stage_direction>EXT. MEMORY DUMP - MOMENTS LATER</stage_direction> <scene_description>Joy falls, clutching the satchel of core memories. She lands hard, rolling down a hill of faded memories. She sits up, looks around. The satchel! All the memories are still there. Panicked, Joy runs up the hills of memories. Off in another part of the dump, Bing Bong comes to.</scene_description> <character>BING BONG</character> <dialogue>Joy?</dialogue> <scene_description>Bing Bong notices his hand beginning to fade. He gasps.</scene_description> <character>BING BONG</character> <dialogue>Joy!</dialogue> <scene_description>He finds Joy desperately clawing her way up the hill.</scene_description> <character>BING BONG</character> <dialogue>Joy? Joy, what are you doing? Will you stop it please?</dialogue> <scene_description>Joy ignores him; keeps trying.</scene_description> <character>BING BONG</character> <dialogue>Don't you get it, Joy? We're stuck down here. We're forgotten.</dialogue> <scene_description>This stops Joy. All around, memories are fading to dust. Vapors blowing in the atmosphere, they disappear.</scene_description> <character>RILEY (O.S.)</character> <dialogue>We used to play tag and stuff.</dialogue> <scene_description>Joy recognizes this. She finds Sadness' BLUE CORE MEMORY: Riley crying in class.</scene_description> <character>RILEY (O.S.)</character> <dialogue>But everything's different now since we moved.</dialogue> <scene_description>Seeing Riley cry breaks Joy's heart. She falls to her knees. She picks up a nearby MEMORY of young happy Riley coloring.</scene_description> <character>JOY</character> <dialogue>Do you remember how she used to stick her tongue out when she was coloring?</dialogue> <scene_description>Another memory: Riley talking to a bug.</scene_description> <character>JOY</character> <dialogue>I could listen to her stories all day.</dialogue> <scene_description>Another memory: Riley spinning.</scene_description> <character>JOY</character> <dialogue>I just wanted Riley to be happy. And now...</dialogue> <scene_description>She holds the recent blue memory of Riley in class. Joy hugs them all until the memories fall out of her arms. Joy cries. A long, deep, painful cry. Joy has lost everything. Around her, memories fade and disappear. A tear falls onto the faded TWISTY-TREE MEMORY. Joy wipes it. In wiping the tear, the memory rewinds. Its color CHANGES from GOLD TO BLUE. IN THE MEMORY: Riley sits in the tree with her parents, the team approaching in the distance. Joy looks closer. What's this? She rewinds more. IN THE MEMORY: Riley sits in the tree, crying, alone. Joy remembers what Sadness said about the memory...</scene_description> <character>SADNESS (V.O.)</character> <dialogue>It was the day the Prairie Dogs lost the big playoff game. Riley missed the winning shot. She felt awful. She wanted to quit.</dialogue> <scene_description>IN THE MEMORY: Mom and Dad come to console Riley. Joy fast forwards. IN THE MEMORY: The hockey team lifts Riley on their shoulders and cheers. Riley smiles.</scene_description> <character>JOY</character> <dialogue>Sadness. Mom and Dad, the team... they came to help because of Sadness.</dialogue> <scene_description>She turns to Bing Bong, ready to take action.</scene_description> <character>JOY</character> <dialogue>We have to get back up there!</dialogue> <character>BING BONG</character> <dialogue>Joy, we're stuck down here. We might as well be on another planet.</dialogue> <character>JOY</character> <parenthetical>(getting an idea)</parenthetical> <dialogue>Another planet.</dialogue> <parenthetical>(sings)</parenthetical> <dialogue>Who's your friend who likes to play?</dialogue> <scene_description>Silence.</scene_description> <character>JOY</character> <parenthetical>(sings louder)</parenthetical> <dialogue>Who's your friend who likes to play?</dialogue> <character>BING BONG</character> <parenthetical>(understanding; excited)</parenthetical> <dialogue>His rocket makes you yell "Hooray!"</dialogue> <scene_description>Far off, BING BONG'S ROCKET answers. They run towards it.</scene_description> <character>BING BONG</character> <dialogue>Who's the best in every way and wants to sing this song to say, who's your friend who likes to play? Bing Bong Bing Bong!</dialogue> <scene_description>Joy and Bing Bong find the rocket!</scene_description> </scene> <scene> <stage_direction>EXT. MEMORY DUMP - LATER</stage_direction> <scene_description>They perch the wagon atop a hill. Joy looks resigned.</scene_description> <character>JOY</character> <dialogue>Hop in!</dialogue> <scene_description>Both inside, Bing Bong pushes off. They speed down a slope to gain momentum, singing all the way. They reach the bottom and shoot up another hill, launching up towards the cliff top. Joy and Bing Bong enthusiastically, if not desperately, sing at the top of their lungs. Not even close. They crash back to the bottom.</scene_description> <character>JOY</character> <dialogue>C'mon!</dialogue> </scene> <scene> <stage_direction>EXT. MEMORY DUMP - MOMENTS LATER</stage_direction> <scene_description>They shoot down a taller hill for another go. They SING faster and louder. Joy reaches for the ledge but they fall with a thud. Bing Bong stands. There's no way they'll make it. He looks up at the ledge and then to his hand -- it's disappearing!</scene_description> <character>BING BONG</character> <dialogue>Come on, Joy. One more time. I've got a feeling about this one.</dialogue> </scene> <scene> <stage_direction>EXT. MEMORY DUMP - MOMENTS LATER</stage_direction> <scene_description>Hurdling down the largest hill yet, they continue to sing Bing Bong's song.</scene_description> <character>BING BONG</character> <dialogue>Louder! Louder, Joy! Sing louder!</dialogue> <scene_description>Bing Bong times it just right... and jumps out of the wagon. Without his weight, the Joy gains momentum. She's unaware of Bing Bong's absence.</scene_description> <character>JOY</character> <dialogue>We're gonna make it!</dialogue> <scene_description>The rocket makes it over the ledge! It crashes atop the cliff.</scene_description> <character>JOY</character> <dialogue>Woohoo! Bing Bong, we did it! We--</dialogue> <scene_description>She turns around. She's alone.</scene_description> <character>JOY</character> <dialogue>Bing Bong? Bing Bong!</dialogue> <scene_description>She runs to the cliff side. Below, Bing Bong laughs excitedly, happy to help Riley in the only way he can.</scene_description> <character>BING BONG</character> <dialogue>Ya ha ha! You made it! Ha ha! Go! Go save Riley!</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Take her to the moon for me. Okay?</dialogue> <scene_description>He waves as the last of him vanishes into the air. Joy's eyes widen in awe; he's sacrificed his life for her.</scene_description> <character>JOY</character> <dialogue>I'll try, Bing Bong. I promise.</dialogue> <scene_description>Joy gets up and soldiers on.</scene_description> </scene> <scene> <stage_direction>INT. SAN FRANCISCO HOUSE - EVENING</stage_direction> <scene_description>Mom and Dad walk in.</scene_description> <character>MOM</character> <dialogue>We're home! Riley? Riley!</dialogue> </scene> <scene> <stage_direction>INT. RILEY'S ROOM - EVENING</stage_direction> <scene_description>Dad opens the door. The room is empty.</scene_description> <character>MOM</character> <dialogue>I'll call her cell.</dialogue> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREET - EVENING</stage_direction> <scene_description>Riley walks through a sketchy part of the city.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>FEAR</character> <dialogue>This is terrible. Wait. Is that someone walking towards us? Let's cross the street.</dialogue> <scene_description>Riley's cell phone rings. MOM is calling.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>FEAR</character> <dialogue>It's Mom! She's on to us! Where's my bag?</dialogue> <scene_description>Fear finds a paper bag and breathes into it to calm himself.</scene_description> <character>DISGUST</character> <dialogue>What do we do?</dialogue> <character>ANGER</character> <dialogue>Riley needs to get core memories. We keep going.</dialogue> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREET - CONTINUOUS</stage_direction> <scene_description>Riley ignores the call and walks on.</scene_description> </scene> <scene> <stage_direction>EXT. LONG-TERM MEMORY</stage_direction> <scene_description>Joy runs through the Long-Term Memory stacks.</scene_description> <character>JOY</character> <dialogue>Sadness!</dialogue> <scene_description>She sees Family Island rumble, pieces beginning to break off. She frantically continues on.</scene_description> </scene> <scene> <stage_direction>EXT. BUS DEPOT - EVENING</stage_direction> <scene_description>Riley walks into the bus depot.</scene_description> </scene> <scene> <stage_direction>EXT. LONG-TERM MEMORY</stage_direction> <scene_description>Joy runs through a long corridor.</scene_description> <character>JOY</character> <dialogue>Sadness? Sadness?</dialogue> <parenthetical>(no answer; desperate)</parenthetical> <dialogue>C'mon Sadness, where are you? Okay. If I were Sadness, where would I be?</dialogue> <scene_description>Joy slumps to the ground. She kicks a leg up in the air.</scene_description> <character>JOY</character> <parenthetical>(Sadness voice)</parenthetical> <dialogue>Ohhh... everything is awful and my legs don't work and you have to drag me around while I touch all the--</dialogue> <scene_description>Joy stops. Something has caught her eye. REVEAL: a path of blue memories on the bottom shelves. Joy follows the path.</scene_description> </scene> <scene> <stage_direction>EXT. BUS DEPOT - MOMENT LATER</stage_direction> <scene_description>Riley walks out of the bus depot and into the advancing line. Her cell phone rings again: "Mom."</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Fear breathes faster into his paper bag.</scene_description> <character>DISGUST</character> <dialogue>Oh no. It's Mom again. What do we do?!</dialogue> <character>ANGER</character> <dialogue>Uh... Uh...</dialogue> <scene_description>Boom! Family Island rumbles behind them. QUICK INTERCUTS between the line getting shorter, Riley declining Mom's call, and Family Island crumbling. Finally...</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Fear's bag POPS.</scene_description> <character>ANGER</character> <dialogue>This is madness! She shouldn't run away!</dialogue> <character>DISGUST</character> <dialogue>Let's get this idea out of her head.</dialogue> <scene_description>They rush to unplug the idea.</scene_description> </scene> <scene> <stage_direction>INT. LONG-TERM MEMORY</stage_direction> <scene_description>Joy runs, following the path of blue memories.</scene_description> <character>JOY</character> <dialogue>Sadness!</dialogue> <scene_description>Joy rounds a corner and spots Sadness far down the next row.</scene_description> <character>JOY</character> <dialogue>Sadness!</dialogue> <scene_description>Sadness turns around.</scene_description> <character>SADNESS</character> <dialogue>Joy?</dialogue> <scene_description>Inexplicably, Sadness turns and runs away.</scene_description> <character>JOY</character> <dialogue>Wait, Sadness!</dialogue> <scene_description>Joy chases after her. Sadness doesn't stop.</scene_description> <character>SADNESS</character> <dialogue>Just let me go! Riley's better off without me!</dialogue> <scene_description>Joy follows Sadness straight into...</scene_description> </scene> <scene> <stage_direction>INT. IMAGINATIONLAND, FRENCH FRY FOREST</stage_direction> <scene_description>Sadness topples giant french fries in Joy's path.</scene_description> <character>JOY</character> <dialogue>Come back!</dialogue> <scene_description>Joy uses a super-long fry to vault over the mound of fries.</scene_description> </scene> <scene> <stage_direction>INT. IMAGINATIONLAND, CLOUD TOWN</stage_direction> <scene_description>Two MIND WORKER COPS are questioning a CLOUD WITNESS.</scene_description> <character>MIND WORKER COP #1</character> <dialogue>So you're saying your husband was blown away by an elephant.</dialogue> <scene_description>The Cloud Witness nods. Sadness runs past the crime scene. They don't notice.</scene_description> <character>MIND WORKER COP #1</character> <dialogue>Was he with anyone?</dialogue> <character>CLOUD WITNESS</character> <dialogue>Yes! And there she is!</dialogue> <scene_description>Joy runs right through the Cloud Witness, dissipating her.</scene_description> <character>MIND WORKER COP #1</character> <parenthetical>(runs after Joy)</parenthetical> <dialogue>Hey! Come back here!</dialogue> <character>MIND WORKER COP #2</character> <dialogue>Forget it, Jake. It's Cloud Town.</dialogue> </scene> <scene> <stage_direction>EXT. IMAGINATIONLAND, CLIFF EDGE</stage_direction> <scene_description>Joy searches for Sadness. Suddenly, rain falls on her. Above, Sadness is floating on a chunk of rain cloud, away from Headquarters.</scene_description> <character>JOY</character> <dialogue>What? Sadness!</dialogue> <character>SADNESS</character> <parenthetical>(crying)</parenthetical> <dialogue>I only make everything worse!</dialogue> <character>JOY</character> <dialogue>Wait-- Sadness! We've gotta get you back to...</dialogue> <parenthetical>(Sadness is too far away)</parenthetical> <dialogue>Ugh.</dialogue> <scene_description>Joy looks back at Family Island crumbling. She looks around: what does she have to work with? The Boyfriend Generator...</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Anger tries to untwist the Idea Bulb, but IT WON'T MOVE.</scene_description> <character>ANGER</character> <dialogue>It's stuck!</dialogue> <character>DISGUST</character> <dialogue>Oh great.</dialogue> <character>FEAR</character> <dialogue>Whadayamean it's stuck?!?</dialogue> <character>DISGUST</character> <dialogue>Now what?</dialogue> <scene_description>A strange BLACKNESS spreads over the console.</scene_description> <character>FEAR</character> <dialogue>Oh, no, no, no. What is THIS?!</dialogue> </scene> <scene> <stage_direction>INT. BUS - EVENING</stage_direction> <scene_description>Riley boards the bus.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Anger slams a chair down on the console. It bounces off with no effect. Fear lunges in with a crowbar. He loses control and it smacks him in the face.</scene_description> </scene> <scene> <stage_direction>INT. BUS - CONTINUOUS</stage_direction> <scene_description>Riley walks down the aisle of the bus.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>FEAR</character> <dialogue>Oh, how do we stop it?</dialogue> <character>DISGUST</character> <dialogue>I got it! Make her feel scared! That'll make her change her mind!</dialogue> <character>FEAR</character> <dialogue>Brilliant!</dialogue> <character>DISGUST</character> <dialogue>I know it's brilliant. Do it!</dialogue> <scene_description>Fear frantically pushes buttons.</scene_description> <character>FEAR</character> <dialogue>Ahh! Nothing's working! Why isn't it working??</dialogue> <character>ANGER</character> <dialogue>Let me try!</dialogue> <scene_description>Disgust and Fear pound on the console buttons.</scene_description> <character>DISGUST</character> <dialogue>Great, you broke it!</dialogue> <character>FEAR</character> <dialogue>No, I didn't!</dialogue> <character>ANGER</character> <dialogue>Let me do it!</dialogue> </scene> <scene> <stage_direction>INT. BUS - CONTINUOUS</stage_direction> <scene_description>Riley takes a seat.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>By now, the console is mostly black.</scene_description> <character>FEAR</character> <dialogue>Guys. We can't make Riley feel anything.</dialogue> </scene> <scene> <stage_direction>INT. BUS - CONTINUOUS</stage_direction> <scene_description>Riley sits on the bus.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>ANGER</character> <dialogue>What have we done?</dialogue> </scene> <scene> <stage_direction>EXT. IMAGINATIONLAND, BOYFRIEND GENERATOR</stage_direction> <scene_description>Joy runs up to Riley's Imaginary Boyfriend.</scene_description> <character>JOY</character> <dialogue>Hey! Hey, look at me. Did you mean what you said before?</dialogue> <character>IMAGINARY BOYFRIEND</character> <dialogue>I would die for Riley! I would die for Riley!</dialogue> <character>JOY</character> <dialogue>Yeah, yeah, okay, Haircut. Time to prove it.</dialogue> <scene_description>Joy scoops him into her satchel. She activates the generator. Imaginary Boyfriends pour out, directly into Joy's satchel.</scene_description> </scene> <scene> <stage_direction>EXT. IMAGINATIONLAND</stage_direction> <scene_description>Joy spots Sadness ahead, and runs past her.</scene_description> </scene> <scene> <stage_direction>EXT. IMAGINATIONLAND, BALLOON TREES</stage_direction> <scene_description>Joy pulls a balloon free from a TWISTY BALLOON PALM TREE. She aims it towards the approaching Sadness and unties it. PTHHPT! The balloon blows Sadness back over the MEMORY DUMP. In the process, the HOUSE OF CARDS behind them collapses.</scene_description> <character>HOUSE OF CARDS WORKER</character> <parenthetical>(angry)</parenthetical> <dialogue>That's it! I fold!</dialogue> </scene> <scene> <stage_direction>EXT. IMAGINATIONLAND, BOYFRIEND GENERATOR</stage_direction> <scene_description>Joy sprints by grabbing the SATCHEL, now full of boyfriends.</scene_description> </scene> <scene> <stage_direction>EXT. IMAGINATIONLAND, CLIFFSIDE</stage_direction> <scene_description>Sadness floats out over the Memory Dump. Joy runs along the cliff edge, parallel to Sadness, towards Family Island.</scene_description> </scene> <scene> <stage_direction>EXT. LONG-TERM MEMORY CLIFFS, NEAR FAMILY ISLAND</stage_direction> <scene_description>Joy sights Sadness and aligns herself with Family Island. She dumps the satchel, pouring out the Boyfriends. Their momentum pulls her to the top of a TOWER OF BOYFRIENDS.</scene_description> <character>JOY</character> <parenthetical>(to herself)</parenthetical> <dialogue>This is crazy, this is crazy... No, no, no! Joy! Be positive.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I am POSITIVE this is crazy!</dialogue> <scene_description>Joy spots the trampoline on Family Island, then Sadness floating away. She times it...</scene_description> <character>JOY</character> <dialogue>NOW!</dialogue> <scene_description>The tower tips forward.</scene_description> <character>IMAGINARY BOYFRIENDS</character> <dialogue>For Riley!</dialogue> <scene_description>Joy falls towards Family Island, bounces on the TRAMPOLINE, flying up towards Sadness. She intercepts Sadness midair...</scene_description> <character>JOY</character> <dialogue>Gotcha!</dialogue> <character>SADNESS</character> <dialogue>Joy?</dialogue> <character>JOY</character> <dialogue>Hang on!</dialogue> <scene_description>They launch towards Headquarters. Will they make it?</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Anger, Fear and Disgust watch the screen, worried.</scene_description> <character>FEAR</character> <dialogue>Ohhh, I wish Joy was here!</dialogue> <scene_description>SPLAT! Joy and Sadness hit the back window and slide down, grabbing the window edge. The Emotions run to the window.</scene_description> <character>DISGUST</character> <dialogue>It's Joy!</dialogue> <character>ANGER</character> <dialogue>Stand back! Arrrrgh!</dialogue> <scene_description>Anger throws a chair at the window. It bounces off.</scene_description> <character>DISGUST</character> <parenthetical>(sarcastically)</parenthetical> <dialogue>That worked.</dialogue> <character>ANGER</character> <dialogue>Well, what would you do, if you're so smart?!</dialogue> <scene_description>He's smoldering. Disgust's eyes light up.</scene_description> <character>DISGUST</character> <dialogue>I'd tell you, but you're too dumb to understand.</dialogue> <character>ANGER</character> <dialogue>What?!</dialogue> <character>DISGUST</character> <dialogue>Of course your tiny brain is confused. Guess I'll just have to dumb it down to your level. Sorry I don't speak "moron" as well as you, but let me try: Duuuuhhhhh.</dialogue> <scene_description>Anger explodes, bursting into full blowtorch flames. Disgust, sporting a welding mask, picks him up and blows a hole in the window. Joy and Sadness climb through. Anger Fear and Disgust all talk at the same time, explaining:</scene_description> <character>FEAR</character> <dialogue>Oh, thank goodness you're back.</dialogue> <character>DISGUST</character> <dialogue>Things are really messed up.</dialogue> <character>ANGER</character> <dialogue>We found this idea, and now Riley's on a bus heading for Minnesota!</dialogue> <scene_description>Joy looks at the screen. ON THE SCREEN: Riley stares vacantly out the bus window.</scene_description> </scene> <scene> <stage_direction>EXT. BUS DEPOT - NIGHT</stage_direction> <scene_description>The bus starts to pull away.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <character>DISGUST</character> <dialogue>Joy, you've got to fix this. Get up there.</dialogue> <character>JOY</character> <dialogue>Sadness, it's up to you.</dialogue> <character>SADNESS</character> <dialogue>Me?</dialogue> <scene_description>Joy pushes Sadness towards the console.</scene_description> <character>ANGER/FEAR/DISGUST</character> <dialogue>Sadness?!?</dialogue> <character>SADNESS</character> <dialogue>I can't, Joy.</dialogue> <character>JOY</character> <dialogue>Yes you can. Riley needs you.</dialogue> <scene_description>Sadness looks at Joy. Really? Joy nods.</scene_description> </scene> <scene> <stage_direction>INT. BUS - CONTINUOUS</stage_direction> <scene_description>The bus pulls out onto the street.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Sadness approaches the console and takes charge.</scene_description> <character>SADNESS</character> <dialogue>Okay.</dialogue> <scene_description>She grips the Idea Bulb. The console is now completely black.</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREET - NIGHT</stage_direction> <scene_description>The bus is on the road.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Sadness works... and ejects the Idea Bulb. The blackness retracts.</scene_description> </scene> <scene> <stage_direction>INT. BUS - NIGHT</stage_direction> <scene_description>Feeling comes back to Riley: her expression changes from listless to sad. She stands.</scene_description> <character>RILEY</character> <dialogue>Wait! Stop! I wanna get off.</dialogue> <scene_description>The bus stops. Riley runs to the front and out the door.</scene_description> </scene> <scene> <stage_direction>EXT. BUS STOP - NIGHT</stage_direction> <scene_description>Riley runs away from the bus.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>The Emotions watch the screen in anticipation.</scene_description> </scene> <scene> <stage_direction>EXT. SAN FRANCISCO STREET - NIGHT</stage_direction> <scene_description>Riley runs back towards home.</scene_description> </scene> <scene> <stage_direction>INT. SAN FRANCISCO DINING ROOM - NIGHT</stage_direction> <scene_description>Mom sits at the table, on the phone. Dad hovers.</scene_description> <character>MOM</character> <parenthetical>(on phone)</parenthetical> <dialogue>Alright. Thank you. We will.</dialogue> <parenthetical>(to Dad)</parenthetical> <dialogue>Her teacher hasn't even seen Riley all day.</dialogue> <character>DAD</character> <dialogue>What? I can't believe this.</dialogue> <character>MOM</character> <dialogue>What was she wearing last? Do you even remember what--</dialogue> <scene_description>The door opens. Riley walks in. They rush over to her.</scene_description> <character>MOM</character> <dialogue>Riley!</dialogue> <character>DAD</character> <dialogue>Riley, there you are! Thank goodness!</dialogue> <character>MOM</character> <dialogue>Oh, we were worried sick! Where have you been? It's so late...</dialogue> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Sadness drives. Joy walks to her, holding the golden core memories. She hands them over to Sadness. The core memories turn BLUE. Sadness places one in the recall unit. THE MEMORY PLAYS ON SCREEN: Young Riley and young Meg walk side by side.</scene_description> </scene> <scene> <stage_direction>INT. SAN FRANCISCO DINING ROOM - CONTINUOUS</stage_direction> <scene_description>Riley remembers.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Sadness places another blue memory in the recall unit. MEMORIES PLAY ON SCREEN: Young Riley makes cookies with Mom and Dad. Riley runs around with underpants on her head, Dad chasing. Riley scores her first goal. Riley skates with Mom and Dad. Sadness places her hand on the console. It turns BLUE.</scene_description> </scene> <scene> <stage_direction>INT. SAN FRANCISCO DINING ROOM</stage_direction> <scene_description>Riley cries.</scene_description> <character>RILEY</character> <dialogue>I know you don't want me to but... I miss home. I miss Minnesota.</dialogue> <scene_description>Mom and Dad, concerned, listen quietly.</scene_description> <character>RILEY</character> <dialogue>You need me to be happy, but... I want my old friends, and my hockey team... I wanna go home. Please don't be mad.</dialogue> <character>MOM</character> <dialogue>Oh sweetie...</dialogue> <character>DAD</character> <dialogue>We're not mad. You know what? I miss Minnesota too. I miss the woods where we took hikes.</dialogue> <character>MOM</character> <dialogue>And the back yard where you used to play.</dialogue> <character>DAD</character> <dialogue>Spring Lake, where you learned to skate.</dialogue> <scene_description>Riley cries harder.</scene_description> <character>DAD</character> <dialogue>Come here.</dialogue> <scene_description>He pulls Riley towards them. The three hug.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Joy steps forward with one more gift for Sadness: the blue core memory. Sadness pulls Joy by the hand and places it on the console.</scene_description> </scene> <scene> <stage_direction>INT. SAN FRANCISCO DINING ROOM</stage_direction> <scene_description>Still in an embrace, Riley smiles through her tears.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>BING! Joy and Sadness hear the sound of a new memory being produced. It's a NEW CORE MEMORY: BLUE AND GOLD, swirled together. A first. The Emotions react in awe. The memory travels down the track and into the holder. A lightline extends out the back of Headquarters. It is a new FAMILY ISLAND, bigger than before. Joy and Sadness turn back to the console together.</scene_description> </scene> <scene> <stage_direction>INT. SAN FRANCISCO DINING ROOM</stage_direction> <scene_description>Riley, Mom and Dad embrace.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Watching the screen, Joy rests her head on Sadness. They're a team.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS - DAYS LATER</stage_direction> <scene_description>We see many new, multicolored core memories in the Core Memory Holder. The Emotions admire the new Islands of Personality.</scene_description> <character>FEAR</character> <dialogue>Hey, I'm liking this new view.</dialogue> <character>ANGER</character> <dialogue>Friendship Island has expanded. Glad they finally opened that Friendly Arguments section.</dialogue> <character>SADNESS</character> <dialogue>I like Tragic Vampire Romance Island.</dialogue> <character>DISGUST</character> <dialogue>Fashion Island. Everyone shut up!</dialogue> <character>FEAR</character> <dialogue>Boy Band Island. Hope that's just a phase.</dialogue> <character>JOY</character> <dialogue>Say what you want, I think it's all beautiful.</dialogue> <character>WORKER FRITZ</character> <dialogue>Alright!</dialogue> <scene_description>The Emotions turn to see workers at a new, larger console.</scene_description> <character>WORKER FRITZ</character> <dialogue>There you go. Your new expanded console is up and running.</dialogue> <scene_description>The new console lights up.</scene_description> <character>JOY/SADNESS/FEAR/ANGER/DISGUST</character> <dialogue>Whoa!</dialogue> <character>DISGUST</character> <dialogue>Cool. Upgrade!</dialogue> <character>JOY</character> <dialogue>Ooohh.</dialogue> <scene_description>Fear leans on the console. BEEP!</scene_description> <character>FEAR</character> <dialogue>Hey! Whoa! Whoops, wait. Did I just do that?</dialogue> <character>DISGUST</character> <parenthetical>(re: a warning light label)</parenthetical> <dialogue>Hey guys? What's "pub-er-ty?"</dialogue> <character>JOY</character> <dialogue>I don't know. It's probably not important.</dialogue> <character>ANGER</character> <dialogue>Whoa. I have access to the entire Curse Word Library! This new console is the sh--</dialogue> <scene_description>BEEP!</scene_description> <character>FEAR</character> <dialogue>Sorry. I did it again. My bad.</dialogue> <character>DISGUST</character> <parenthetical>(pointing to screen)</parenthetical> <dialogue>They're getting to the rink!</dialogue> </scene> <scene> <stage_direction>EXT. HOCKEY RINK - DAY</stage_direction> <scene_description>The same rink Riley left before. The Golden Gate gleams in the background.</scene_description> </scene> <scene> <stage_direction>INT. HOCKEY RINK</stage_direction> <scene_description>A pep talk from Riley's parents. We don't see their faces.</scene_description> <character>DAD</character> <dialogue>Now when you get out there, you be aggressive!</dialogue> <character>RILEY</character> <parenthetical>(embarrassed)</parenthetical> <dialogue>I know, Dad.</dialogue> <character>MOM</character> <dialogue>-- but not too aggressive.</dialogue> <character>RILEY</character> <dialogue>You know, you guys don't have to come to every game.</dialogue> <scene_description>REVEAL: Mom and Dad's faces are painted blue and green.</scene_description> <character>DAD</character> <dialogue>Are you kidding? I'm not missing one! GO FOGHORNS!</dialogue> <character>MOM</character> <dialogue>GO RILEY! FOGHORNS ARE THE BEST!</dialogue> <character>RILEY</character> <dialogue>Okay, okay. I gotta go.</dialogue> <scene_description>Riley walks away, mortified, as Dad makes foghorn noises.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>All the Emotions at the control panel.</scene_description> <character>JOY</character> <dialogue>Awww...</dialogue> <character>FEAR</character> <dialogue>They love us!</dialogue> <character>ANGER</character> <dialogue>Yeah, Mom and Dad are pretty cool.</dialogue> <character>DISGUST</character> <dialogue>Guys, of course they are. But we can't SHOW IT!</dialogue> </scene> <scene> <stage_direction>INT. HOCKEY RINK</stage_direction> <scene_description>Zoom in to Dad's head...</scene_description> </scene> <scene> <stage_direction>INT. DAD'S HEADQUARTERS</stage_direction> <scene_description>Dad's Emotions cheer. They all have their faces painted. ON THE SCREEN: Mom beams at Dad.</scene_description> <character>DAD'S FEAR</character> <dialogue>She loved the face painting!</dialogue> <character>DAD'S ANGER</character> <dialogue>Ha! Told you it was a great idea!</dialogue> <scene_description>Dad turns to Mom. She smiles, and we zoom in to her head...</scene_description> </scene> <scene> <stage_direction>INT. MOM'S HEADQUARTERS</stage_direction> <scene_description>All Mom's Emotions are also painted.</scene_description> <character>MOM'S ANGER</character> <dialogue>Best idea he's had in awhile.</dialogue> <character>MOM'S SADNESS</character> <dialogue>He's a really good guy.</dialogue> <scene_description>They all sigh. Mom's Anger tosses the MEMORY of the Brazilian helicopter pilot. Mom's Fear retrieves it.</scene_description> <character>MOM'S FEAR</character> <dialogue>Just in case.</dialogue> </scene> <scene> <stage_direction>INT. HOCKEY RINK</stage_direction> <scene_description>Riley walks towards the ice and bumps into A TEEN BOY. He drops his water bottle. She picks it up for him.</scene_description> <character>RILEY</character> <dialogue>Oh. Sorry!</dialogue> <scene_description>She smiles. ZOOM IN TO THE BOY'S HEAD.</scene_description> </scene> <scene> <stage_direction>INT. BOY'S HEADQUARTERS</stage_direction> <scene_description>A dirty, chaotic room. Stuff everywhere.</scene_description> <character>GIRL ALARM</character> <dialogue>GIRL! GIRL! GIRL!</dialogue> <scene_description>WARNING LIGHTS ARE BLARING. His Emotions run around in a panic, screaming. One of them is HUDDLED, CRYING.</scene_description> </scene> <scene> <stage_direction>INT. HOCKEY RINK</stage_direction> <scene_description>The boy stands stunned, unable to speak. Riley hands him the water bottle.</scene_description> <character>RILEY</character> <dialogue>Uhh... Ooooo-kay. Bye!</dialogue> <scene_description>Riley skates out onto the ice, looking back over her shoulder... with a hint of a smile?</scene_description> <character>HOCKEY TEAMMATE (O.S.)</character> <dialogue>All set, Riley?</dialogue> <scene_description>She HIGH-FIVES a new teammate. They skate into position as Mom and Dad cheer from the stands.</scene_description> </scene> <scene> <stage_direction>INT. HEADQUARTERS</stage_direction> <scene_description>Joy and Sadness stand side by side at the new console, flanked by the others.</scene_description> <character>JOY</character> <dialogue>You ready?</dialogue> <character>SADNESS</character> <dialogue>Yeah!</dialogue> <character>JOY</character> <dialogue>Alright. Let's play some hockey!</dialogue> <scene_description>We ZOOM OUT of Riley's head.</scene_description> </scene> <scene> <stage_direction>INT. HOCKEY RINK</stage_direction> <scene_description>Riley faces off. The puck drops.</scene_description> <character>JOY (O.S.)</character> <dialogue>All right Anger, take it!</dialogue> <character>ANGER (O.S.)</character> <dialogue>Give us that puck or you're dead meat!</dialogue> <scene_description>Riley gets it!</scene_description> <character>FEAR (O.S.)</character> <dialogue>On our left! On our left!</dialogue> <scene_description>An opponent steals the puck.</scene_description> <character>DISGUST (O.S.)</character> <dialogue>Let's just try not to get all smelly this time.</dialogue> <character>SADNESS (O.S.)</character> <dialogue>Hooh, Mom and Dad are watching us fail.</dialogue> <character>ANGER (O.S.)</character> <dialogue>Not today!</dialogue> <scene_description>Riley regains the puck and skates off with a smile.</scene_description> <character>JOY (V.O.)</character> <dialogue>We've been through a lot lately, that's for sure. But we still love our girl. She has great new friends, a great new house... things couldn't be better! After all, Riley's 12 now. What could happen?</dialogue> <scene_description>THE END.</scene_description> </scene> </script>

In the mind of a young girl named Riley are a series of personified basic emotions that control her actions: Joy, Sadness, Fear, Disgust, and Anger. Riley's experiences become memories that are stored as colored orbs and are sent into long-term memory each night. The aspects of five most-important "core memories" within her personality take the form of five floating islands. Joy acts as the leader; she tries to limit Sadness's influence. Joy sees purpose in Fear, Disgust, and Anger but thinks Sadness worsens everything. At the age of 11, Riley moves from Minnesota to San Francisco for her father's new job. At first, she has poor experiences; the new house is cramped and old, her father hardly has any time for Riley, a local pizza parlor only serves pizza topped with broccoli, which she dislikes, and the moving van with their belongings was misdirected to Texas and will not arrive for weeks. On Riley's first day at her new school, Sadness retroactively saddens joyous memories, causing Riley to cry in front of her class and creates a sad core memory. Joy tries to dispose of this memory using a pneumatic tube but accidentally knocks loose the other core memories during a struggle with Sadness, disabling the personality islands. Joy, Sadness, and the core memories are sucked out of Headquarters. In the absence of Joy and Sadness, Anger, Fear, and Disgust are forced to take control of Riley; they try to make happy core memories but the results are disastrous, distancing Riley from her parents, peers, and hobbies. Without the core memories, Riley's personality islands gradually crumble and fall into the "Memory Dump", where things fade to non-existence as they are forgotten. Anger, intending to restore Riley's happiness, resolves to run away to Minnesota. While navigating the vast long-term memory area, Joy and Sadness encounter Bing Bong, Riley's imaginary friend, who suggests riding the "train of thought" back to Headquarters. After several adventures and mishaps, the trio catch the train but it halts when Riley falls asleep then entirely derails when another island collapses. Joy, who is afraid all of the core memories will become sad, abandons Sadness and tries to ride a "recall tube" back to Headquarters. The ground below the tube collapses, breaking it and plunging Joy and Bing Bong into the Memory Dump. After discovering a sad memory that turned happy when Riley's parents and friends comforted her, Joy understands Sadness's purpose in alerting others when Riley is emotionally overwhelmed and needs help. Joy and Bing Bong try to use Bing Bong's song-fueled wagon rocket to escape the Memory Dump. They fail to fully ascend due to their combined weight until Bing Bong jumps out at the last moment and fades away. Joy reunites with Sadness and they return to Headquarters, discovering Anger's idea has disabled the console, putting Riley into depression as she boards a bus to Minnesota. To the surprise of the others, Joy hands control of the console to Sadness, who is able to reactivate it and prompt Riley to return to her parents. As Sadness re-installs the core memories, transforming them from happy to sad, Riley tearfully tells her parents she misses her old life. Riley's parents comfort her and tell her they also miss Minnesota. Joy and Sadness work the console together, creating a new core memory consisting of happiness and sadness, and new island forms, representing Riley's acceptance of her new life in San Francisco. A year later, Riley, who is now aged 12, has adapted to her new home, made new friends, and returned to her old hobbies and has acquired new ones. Inside Headquarters, Riley's emotions admire her new personality islands and are given a newly expanded console with enough room for them to work together.

Strawberry Mansion_2021

tt11398346

<script> <scene> <scene_description>STRAWBERRY MANSION By Albert Birney and Kentucker Audley 11/15/19</scene_description> </scene> <scene> <stage_direction>0A INT. - PINK ROOM - DAY 0A</stage_direction> <scene_description>In a small pink room, a man in a black suit sits at a table with a hand covering his face. Everything in the room is pink. The table, cabinets, even a house plant is pink. The man is JAMES PREBLE, 35 years old. By his body language, we sense he's in pain. We get closer - he's pressing his fingers against his forehead, above his eyes. Then he drops his hand to reveal his eyes and face. He looks around the room without moving his head. The following is handheld with many jump cuts. He opens the pink cabinets. Looks through his pill bottles. Everything is empty. He goes to the pink refrigerator. There are bottles and food containers, but everything is empty. To a pantry, no food. To a faucet, no water. Preble collapses to his knees. In agony. He can barely move. There's a knock at the door. Preble looks up. The door begins to slowly open on its own… Preble watches as fog filters into the room. Out of the fog emerges a smiling man wearing a Hawaiin shirt. He is BUDDY. He enters the room holding up a giant bucket of chicken from Captain Kelly's and a 2 liter bottle of Red Rocket Soda. Preble's eyes light up. Buddy leans down next to Preble, and begins pouring Red Rocket Soda down his throat. Still in slow motion, Preble looks up to Buddy.</scene_description> <character>PREBLE</character> <dialogue>You're my best friend.</dialogue> <scene_description>Buddy smiles and puts out his hand to help Preble up.</scene_description> <character>BUDDY</character> <dialogue>You can always count on me, Buddy. Whenever you need anything, I'm here for you.</dialogue> <scene_description>Preble smiles like a child.</scene_description> </scene> <scene> <stage_direction>0B INT. - PREBLE'S BEDROOM - MORNING 0B</stage_direction> <scene_description>Preble lays in bed and opens his eyes. He takes a moment to wake up. Next to his bed is a strange machine. Preble takes a small USB like device from the machine and exits the room.</scene_description> </scene> <scene> <stage_direction>0C INT. - PREBLE'S LIVING ROOM - MORNING 0C</stage_direction> <scene_description>A living room with some futuristic elements, like a box with digital jellyfish swimming around. Preble pours a cup of coffee and walks over to a wall and turns on a large projection of numerous TV channels. He scrolls through some screens and then settles on one. He walks over to a wall of plants and waters them. Above the plants is a digital aquarium filled with exotic fish. He picks up a small audio recorder and begins to speak into it...</scene_description> <character>PREBLE</character> <dialogue>Okay... on the docket for today... Arabella Isadora. 80 years old. Widow. No records on file. Hmm. Assignment length: 1 day. Address of Residence: 3102 Domino Lane. (under breath) Where's that? Estimated arrival: 1:00pm.</dialogue> <scene_description>Preble puts the recorder away and takes one last sip of his coffee.</scene_description> </scene> <scene> <stage_direction>EXT. - FAST FOOD DRIVE THROUGH - DAY</stage_direction> <scene_description>A large, fried chicken drive-through sign fills most of the frame. Behind the sign, a perfect blue sky. The sign is filled with pictures of fried chicken. A robotic voice comes from the speaker.</scene_description> <character>FAST FOOD ROBOT</character> <dialogue>Welcome to Captain Kelly's Chicken, home of the new chicken shake. What can I get you today?</dialogue> <scene_description>Preble leans out the window of his car and talks into the speaker.</scene_description> <character>PREBLE</character> <dialogue>A chicken shake?</dialogue> <character>FAST FOOD ROBOT</character> <dialogue>One chicken shake. Anything else?</dialogue> <character>PREBLE</character> <dialogue>No, I don't want a chicken shake.</dialogue> <character>FAST FOOD ROBOT</character> <dialogue>Our new Chicken Shake, made with real blended chicken meat and whipped gravy, all under 500 calories. Would you like to try one?</dialogue> <scene_description>Preble looks disgusted.</scene_description> <character>PREBLE</character> <dialogue>No, no, no. I'll just have a Barnyard Bucket.</dialogue> <character>FAST FOOD ROBOT</character> <dialogue>For an extra dollar you can upgrade to a Mega Barnyard Bucket.</dialogue> <character>PREBLE</character> <dialogue>Ok. Sure.</dialogue> <character>FAST FOOD ROBOT</character> <dialogue>And would you like regular or crispy chicken?</dialogue> <character>PREBLE</character> <dialogue>Um, regular is fine.</dialogue> <character>FAST FOOD ROBOT</character> <dialogue>And would you like double gravy?</dialogue> <character>PREBLE</character> <dialogue>How much extra is that?</dialogue> <character>FAST FOOD ROBOT</character> <dialogue>89 cents.</dialogue> <scene_description>Preble thinks for a second.</scene_description> <character>PREBLE</character> <dialogue>Sure.</dialogue> <character>FAST FOOD ROBOT</character> <dialogue>Smooth or chunky?</dialogue> <character>PREBLE</character> <dialogue>Um. Smooth.</dialogue> <character>FAST FOOD ROBOT</character> <dialogue>And anything to drink?</dialogue> <character>PREBLE</character> <dialogue>A medium Red Rocket.</dialogue> <character>FAST FOOD ROBOT</character> <dialogue>Ok, so I've got a Mega Barnyard Bucket with extra double gravy, smooth and a medium Red Rocket. Will that be all?</dialogue> <scene_description>Preble thinks for a moment.</scene_description> <character>PREBLE</character> <dialogue>And I'll take a chicken shake too.</dialogue> </scene> <scene> <stage_direction>EXT. - PARKING LOT OF A LARGE SHOPPING CENTER - DAY</stage_direction> <scene_description>Preble hesitantly takes a sip of the chicken shake. It's not bad. He's sitting in his car in an empty parking lot. The shopping center has seen better days. Many of the businesses appear to be permanently closed. Preble puts the shake down and looks in the bag. He pulls out a clear bag. He opens it up and takes out a small stuffed animal. Preble looks confused and annoyed by this unexpected toy. He begins eating his fried chicken. He turns on the radio and scans the dial until settling on a sad song. Preble sits there, slowly eating his chicken, taking sips of his soda, staring straight ahead. Preble looks up, sees something strange. 15 feet in front of his car stands what appears to a man covered head to toe in lush, green grass. Preble is transfixed. After a few seconds the GRASS MAN is gone. Preble sits there, holding his half eaten drumstick, unsettled, not knowing what he just saw.</scene_description> </scene> <scene> <stage_direction>EXT. - BUSY ROAD - DAY</stage_direction> <scene_description>Preble drives by stores, signs and traffic lights. The endless sprawl of capitalism whizzing past his window. The sad song on the radio continues.</scene_description> </scene> <scene> <stage_direction>EXT. - FOUR LANE HIGHWAY - DAY</stage_direction> <scene_description>Preble drives by fields and trees as the landscape becomes noticeably more rural.</scene_description> </scene> <scene> <stage_direction>EXT. - SIDE OF THE ROAD - DAY</stage_direction> <scene_description>Preble is consulting a map laid out on the front of his car. He looks over and see a roadside memorial. There's a weathered white cross covered in faded stuffed animals. Preble walks back to the car. CU of the small stuffed animal from Captain Kelly's being placed on the roadside cross.</scene_description> </scene> <scene> <stage_direction>EXT. - COUNTRY ROAD - DAY</stage_direction> <scene_description>The car winds along a narrow road. He pulls off into a driveway. The driveway abruptly stops. We see a house in the distance. The driveway does not connect to the house. There's a sign that says THE END blocking the car from going any further. Preble gets out of the car.</scene_description> </scene> <scene> <stage_direction>EXT. - FIELD - DAY</stage_direction> <scene_description>Preble gets out and inspects the property. He double checks the mailbox. It reads "Isadora." He's at the right place. He begins to walk into an open field in the direction of the house.</scene_description> </scene> <scene> <stage_direction>EXT. - FIELD - DAY</stage_direction> <scene_description>AN OLD COUNTRY HOUSE sits atop a hill. Clouds drift through the sky. TWO BUTTERFLIES flutter by. Preble steps into the frame. He surveys the scene for a moment before advancing towards the house.</scene_description> </scene> <scene> <stage_direction>EXT. - MANSION - DAY</stage_direction> <scene_description>Preble steps onto the porch and places his suitcase at his feet. He rings the doorbell and adjusts his tie. The two butterflies reappear and flap next to Preble. He looks at them just as the door opens. ARABELLA ISADORA, a colorfully dressed woman in her late 70s, greets Preble. She's wearing an elaborate machine of wires and blinking lights on her head.</scene_description> <character>ARABELLA</character> <parenthetical>(shocked)</parenthetical> <dialogue>Oh hello!</dialogue> <character>PREBLE</character> <dialogue>Hello ma'am, are you Ms. Arabella Isadora?</dialogue> <character>ARABELLA</character> <parenthetical>(smiling)</parenthetical> <dialogue>One second, let me get her for you.</dialogue> <scene_description>Arabella goes inside. The butterflies flap around the porch. Preble watches them. The moment is interrupted as Arabella steps back onto the porch, no longer wearing the machine on her head. She has one hand positioned behind her back, holding an ice cream cone. The butterflies land on top of Arabella's head.</scene_description> <character>ARABELLA</character> <dialogue>Hello, Arabella Isadora at your service. And what can I do for you young man?</dialogue> <character>PREBLE</character> <dialogue>My name is James Preble. I'm a tax auditor.</dialogue> <scene_description>He hands her a business card that reads "James Preble. Tax Auditor." Arabella looks at the card with the hand that's not behind her back, and then at Preble.</scene_description> <character>ARABELLA</character> <dialogue>Yes I see.</dialogue> <scene_description>She hands the card back to Preble and in the same motion he grabs a piece of paper from his suit pocket.</scene_description> <character>PREBLE</character> <dialogue>Ma'am, did you send me this letter?</dialogue> <character>ARABELLA</character> <dialogue>Yes, I suppose I did.</dialogue> <character>PREBLE</character> <dialogue>Ms. Isadora, it...</dialogue> <character>ARABELLA</character> <dialogue>Please, call me Bella.</dialogue> <character>PREBLE</character> <dialogue>Bella, it appears we do not have any tax records for you or your property.</dialogue> <character>BELLA</character> <parenthetical>(smiling)</parenthetical> <dialogue>Oh dear, is that so?</dialogue> <character>PREBLE</character> <dialogue>Yes. I'm here to perform a preliminary audit-- account, assess, and appraise what you have accumulated here on the premises.</dialogue> <character>BELLA</character> <dialogue>Of course. So you'd like to come in?</dialogue> <character>PREBLE</character> <dialogue>Yes ma'am. The sooner we get started the sooner I'll be out of your hair.</dialogue> <scene_description>Bella smiles, her hand still behind her back. The butterflies fly into the house. She looks intensely at Preble, and says the following in the style of an old-fashioned rhyme...</scene_description> <character>BELLA</character> <parenthetical>(dramatically)</parenthetical> <dialogue>Out of my hair and into my home, to enter you must lick the ice cream cone.</dialogue> <scene_description>She brings forth the strawberry ice cream cone that she has been hiding behind her back. Preble stares at the ice cream. Then up at her. Bella smiles.</scene_description> <character>BELLA</character> <dialogue>It's melting dear.</dialogue> <scene_description>Preble hesitantly grabs the cone. CLOSE UP, SLOW MOTION shot of Preble's tongue licking the ice cream.</scene_description> </scene> <scene> <stage_direction>INT. - MUSIC ROOM - DAY</stage_direction> <scene_description>A wide shot of a room filled with musical instruments. A piano is the centerpiece. Stacks of VHS cassette tapes of varying colors are everywhere. On top of the mantle is an old bowling pin. Preble and Bella enter the room. Bella motions for Preble to have a seat on a reading chair. He does so, and she follows suit Preble takes out a clipboard and pen.</scene_description> <character>PREBLE</character> <dialogue>Shall we get started?</dialogue> <character>BELLA</character> <dialogue>Yes, of course.</dialogue> <scene_description>Bella cries out in the direction of a succulent garden:</scene_description> <character>BELLA</character> <dialogue>You have to get to the witch!</dialogue> <character>PREBLE</character> <dialogue>Excuse me?</dialogue> <scene_description>Bella stands up and walks over the an old fashioned, hand cranked music box. She cranks it and music begins to play.</scene_description> <character>BELLA</character> <dialogue>Did you know in ancient times it was believed a witch's heart was made of a beet and during years when the beet harvest was particularly abundant it was believed that there was a new coven of witches living in the area.</dialogue> <scene_description>Preble looks at Bella as if she is crazy.</scene_description> <character>PREBLE</character> <dialogue>I...did not know that.</dialogue> <scene_description>Bella sits back down.</scene_description> <character>BELLA</character> <dialogue>Of course I've always loved beets. So juicy. A perfect side on a dinner plate. I've always thought if you could take a bite from the planet Mars it would taste something like a beet.</dialogue> <character>BELLA</character> <dialogue>Of course the moon probably tastes like a turnip. I'm sure it would be lovely in a stew.</dialogue> <scene_description>Preble just stares.</scene_description> <character>PREBLE</character> <dialogue>I'll need to ask you a few preliminary questions. First, what is your full name?</dialogue> <character>BELLA</character> <dialogue>Arabella Henrietta Buckingham Isadora.</dialogue> <scene_description>Preble takes notes.</scene_description> <character>PREBLE</character> <dialogue>And what is your current or former profession?</dialogue> <character>BELLA</character> <dialogue>Oh dear, I never know how to answer this. Recently I've been painting, oh I'd love to show you some! And I'm always writing. I'm currently working on a short story about an astronaut who falls in love with a super nova. And of course I've been composing songs for many years and constructing various machines and gadgets. I think of myself as something of an atmosphere creator.</dialogue> <scene_description>Preble smirks and nods. CLOSE UP of him checking the box next to 'Artist.'</scene_description> <character>PREBLE</character> <parenthetical>(pointing at the VHS tapes)</parenthetical> <dialogue>I couldn't help but notice all the tapes. Have you not updated to the new format?</dialogue> <scene_description>For the first time we see a close up of the stacks of VHS tapes.</scene_description> <character>BELLA</character> <dialogue>Oh, I'm old fashioned.</dialogue> <character>PREBLE</character> <dialogue>Well you know the Air Sticks became mandatory seven years ago.</dialogue> <character>BELLA</character> <parenthetical>(laughing)</parenthetical> <dialogue>I suppose I've lost track of time.</dialogue> <character>PREBLE</character> <dialogue>Ok. And are these are all of them?</dialogue> <character>BELLA</character> <dialogue>Oh heavens no! There are many more. My husband was always trying to get me to organize them.</dialogue> <character>PREBLE</character> <dialogue>Your husband?</dialogue> <character>BELLA</character> <dialogue>Yes.</dialogue> <character>PREBLE</character> <dialogue>And where is your husband now?</dialogue> <character>BELLA</character> <dialogue>He's moved on to that distant shore.</dialogue> <scene_description>Preble gives a respectful nod.</scene_description> <character>BELLA</character> <dialogue>He was a terrific man. I miss him but I do still feel his presence. Now there was a man who loved toast.</dialogue> <scene_description>Preble doesn't know how to react to this out-of-nowhere statement.</scene_description> <character>PREBLE</character> <dialogue>And where are his tapes?</dialogue> <character>BELLA</character> <dialogue>I'm afraid they're all gone.</dialogue> <character>PREBLE</character> <parenthetical>(concerned)</parenthetical> <dialogue>Gone?</dialogue> <character>BELLA</character> <dialogue>Burned in a fire.</dialogue> <character>PREBLE</character> <parenthetical>(jotting something down)</parenthetical> <dialogue>I see. Well, I'm here for yours, so let's start there.</dialogue> <character>BELLA</character> <dialogue>Yes of course!</dialogue> <scene_description>Preble looks around the room.</scene_description> <character>PREBLE</character> <dialogue>I must say, there a lot more than I was anticipating.</dialogue> <character>BELLA</character> <parenthetical>(laughing)</parenthetical> <dialogue>Then I'd better make us some tea!</dialogue> <scene_description>Bella leaves as Preble takes more notes. He stands up and strolls around the room. He picks up a tape, blows dust from it, and puts it back. A FLY begins buzzing around his face. Preble swats it away but it comes right back and he swats again, more irritated. This fly won't give up. He swats a third time and makes contact. Preble exits the music room and on the way to the kitchen he notices hundred of more tapes in the library.</scene_description> </scene> <scene> <stage_direction>INT. - KITCHEN - DAY</stage_direction> <scene_description>A small, circular table sits in the middle of kitchen. There are more VHS tapes stacked around the room. Bella puts the tea kettle on the stove. Preble enters and notices all the VHS tapes.</scene_description> <character>PREBLE</character> <parenthetical>(pointing at the tapes)</parenthetical> <dialogue>Just how many would you say you have?</dialogue> <character>BELLA</character> <dialogue>Oh, I don't know. A couple thousand?</dialogue> <scene_description>Preble is shocked.</scene_description> <character>PREBLE</character> <dialogue>Bella, I'm going to be straight with you-- what you've got here is a serious federal offense. I can't say I've ever seen a case of this magnitude.</dialogue> <character>BELLA</character> <parenthetical>(smiling)</parenthetical> <dialogue>Oh dear!</dialogue> <character>PREBLE</character> <dialogue>I don't think you comprehend exactly what you have here. You're looking at a lot of fines, not to mention all the money owed on back taxes. Possibly even jail time. There's no way to know exactly until we take a good look at everything. Now my superiors are going to be checking all my findings so let's make this as painless as possible.</dialogue> <scene_description>Sound of the teapot screaming. Bella saunters over and takes it off the stove.</scene_description> <character>PREBLE</character> <dialogue>Bella, I'd like to get started right away. With a case like this it will take some time, hopefully not too long. Maybe a couple of weeks, a month at the most.</dialogue> <scene_description>Toast pops up from a toaster.</scene_description> <character>BELLA</character> <dialogue>Oh darnit. This old thing is going haywire. Let me put a fresh one in.</dialogue> <character>PREBLE</character> <dialogue>No, this is fine.</dialogue> <character>BELLA</character> <dialogue>Oh no, you don't want it burnt.</dialogue> <character>PREBLE</character> <dialogue>Perhaps you can recommend a motel nearby?</dialogue> <character>BELLA</character> <dialogue>Oh nonsense, Preble. You'll stay in Sugarbaby's room.</dialogue> <character>PREBLE</character> <dialogue>Oh no, I couldn't impose. Plus it's against protocol and--</dialogue> <character>BELLA</character> <dialogue>Oh please, it's no bother to me or Sugarbaby.</dialogue> <character>PREBLE</character> <dialogue>No, really, I'll get a...</dialogue> <character>BELLA</character> <dialogue>I insist.</dialogue> <scene_description>Preble stares at Bella for a moment. He knows this is a battle he can't win.</scene_description> <character>PREBLE</character> <dialogue>Ok then. Thank you.</dialogue> <character>BELLA</character> <dialogue>You just make yourself right at home.</dialogue> <scene_description>Bella pours cream into the tea.</scene_description> <character>BELLA</character> <dialogue>Preble, we are going to have a beautiful time together.</dialogue> <scene_description>CLOSE UP of the cream swirling around.</scene_description> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM - DAY</stage_direction> <scene_description>CLOSE UP of SUGARBABY THE TURTLE, walking along a dresser in a sparsely decorated room. There's a large bed next to the dresser and a few plants by the window. Along one wall is a wooden table and chair. Preble stands next to the bed unpacking his suitcase. He takes a machine from the suitcase and assembles it on the table. The machine resembles a VCR mixed with an old telephone switchboard. From the suitcase he brings out a pink helmet and connects it to the machine. Bella enters with a tray of VHS tapes, tea and toast. She puts the tray down on the table near the door and starts to riffle through the tapes, which are all labeled with dates. She decides on one.</scene_description> <character>BELLA</character> <dialogue>Let's start with this. August 23rd, 1977. This is the first one I had of my father after he died.</dialogue> <character>PREBLE</character> <dialogue>Yes, I see. Well I appreciate you being so helpful.</dialogue> <character>BELLA</character> <dialogue>Of course! This is going to be great fun!</dialogue> <character>PREBLE</character> <dialogue>Right. I'll keep you informed of my progress.</dialogue> <character>BELLA</character> <dialogue>Lovely! I hope it goes smoothly.</dialogue> <scene_description>Bella walks over to the turtle and picks him up.</scene_description> <character>BELLA</character> <dialogue>Come on Sugarbaby. Let's give Mr. Preble enough space to work.</dialogue> <scene_description>She leaves the room and Preble takes a sip of his tea and a bite of his toast. He gives a quick glance to the sculpture of the man at the foot of the bed. He takes a small tape recorder out of his pocket and begins to speak into it.</scene_description> <character>PREBLE</character> <dialogue>Arrived at the home of Arabella Isadora at 2:27 p.m. on Monday, July 22nd, 2035. It is now...3:08 p.m. Arabella, or Bella as she has requested that I call her, has put me in a spare room on the second floor. It appears she has well over a thousand tapes. I will begin the audit immediately.</dialogue> <scene_description>He picks up a VHS tape and walks over to the VCR-like machine. He puts the tape into a slot, picks up a tablet and pen, sits down and puts on the pink helmet. The helmet comes down over his eyes and nose but his mouth is still visible. Preble presses the PLAY button on the tablet and the machine begins to come to life. Cut wide of the scene, and then slowly track into Preble as music and sound design builds... And then... We see quick flashes of random video images and then shoot through a VHS wormhole into Bella's dream.</scene_description> </scene> <scene> <stage_direction>EXT. - FIELD - DAY</stage_direction> <scene_description>An open field. POV looking right, then left. Preble appears blue and see through, a HOLOGRAM. He looks around. He sees someone. In the distance a man with a large beard holds a trumpet. The trumpet sounds. Preble watches for a moment. With a whoosh, someone runs right by Hologram Preble, startling him. It's a young woman running straight at the trumpeter. They embrace. Whenever FATHER speaks, smokes comes out of his mouth but we never see him smoking anything.</scene_description> <character>YOUNG BELLA</character> <dialogue>Where did you go?</dialogue> <character>FATHER</character> <dialogue>I'm right here.</dialogue> <character>YOUNG BELLA</character> <dialogue>I miss you dad.</dialogue> <scene_description>Hologram Preble watches and takes notes. CUT TO: Young Bella and her Father walk arm in arm and come upon a buffalo laying on the ground with a large gaping wound on the side who appears to be in pain. Father notices the wound. His arm disappears into the buffalo, up to his own elbow, and he feels around for a second, grabs hold of something...</scene_description> <character>FATHER</character> <dialogue>There we are.</dialogue> <scene_description>He brings out an airplane dripping with blood and shows it to his daughter...</scene_description> <character>FATHER (CONT'D)</character> <dialogue>Nothing is sharper than an airplane.</dialogue> <scene_description>Bella looks at the buffalo, concerned.</scene_description> <character>YOUNG BELLA</character> <dialogue>Is he going to die?</dialogue> <character>FATHER</character> <dialogue>Nothing ever dies.</dialogue> <scene_description>HOLOGRAM PREBLE, looking a little perplexed, watches the scene play out. Father touches his hand to the beast and the fur is replaced by vibrating colors. The technicolor beast gets to his feet and runs through the landscape. Father picks a yellow dandelion. He holds it in front of his daughter.</scene_description> <character>FATHER</character> <dialogue>All things are changing.</dialogue> <scene_description>The dandelion is now all white seeds. Young Bella blows and they scatter in the wind. We follow close behind one seed as it floats away into the countryside.</scene_description> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM - DAY</stage_direction> <scene_description>Preble takes off the pink helmet as the tape ejects from the machine. He pushes a button and an official looking form prints out. CLOSE UP of the form as he checks off boxes for "Buffalo" "Airplane" "Trumpet" "Dandelion." Elements from the dream have been itemized and monetarily assessed. Numbers and money signs are all over the form. Preble files the form in a folder and takes a bite of his toast and a sip of his tea. He feels something on his tongue and brings his finger up to get it off. CLOSE UP of dandelion seed on the tip of his finger. Preble thinks nothing of it and wipes it off on his pants.</scene_description> </scene> <scene> <stage_direction>INT. - DINING ROOM - DAY</stage_direction> <scene_description>Preble enters the dining room with a stack of tapes (ones that he's finished auditing) carried on the same tray that Bella brought to him earlier. He notices a rat skeleton posed in a glass box, gives it a good look. The rat skeleton is wearing a tiny helmet of wires, like the one Bella was wearing when she answered the door at the beginning. There's also a key in the rat skeleton's hand.</scene_description> </scene> <scene> <stage_direction>INT. - MUSIC ROOM</stage_direction> <scene_description>Preble follows Bella into the music room. Bella picks up some more tapes. She hands him one.</scene_description> <character>BELLA</character> <dialogue>Oh this one. May 12th, 1985. I had this one the night after I met my husband for the first time. It's a very special one.</dialogue> <character>PREBLE</character> <dialogue>Well I'm going to have watch them all, regardless of their personal significance to you.</dialogue> <character>BELLA</character> <dialogue>Of course, of course.</dialogue> <scene_description>Preble looks down. Again, he can't help but notice the big sculpture of the man sitting in the chair. There's something about it that draws him in. On the head of the sculpture sits a helmet of wires and electronic parts. In the sculpture's hand is a paper mache rat wearing a similar helmet.</scene_description> <character>BELLA</character> <dialogue>My husband made them for me before he died. He didn't want me to be lonely. And I must say, it's nice to have someone to play to.</dialogue> <scene_description>She turns and takes a violin off the wall.</scene_description> <character>PREBLE</character> <dialogue>Do you play all of these instruments?</dialogue> <scene_description>Out of nowhere, a single note rings out on the piano. Preble looks at Bella.</scene_description> <character>BELLA</character> <dialogue>Yes, and sometimes they play themselves.</dialogue> <scene_description>Bella brings the violin up to her chin and smiles.</scene_description> </scene> <scene> <stage_direction>EXT. CEMETERY - DAY</stage_direction> <scene_description>Standing in a cemetery, Young Bella plays a violin. A skeleton crawls out of the ground and begins dancing. The music continues over a dream montage of various moments Bella's dreams. Hologram Preble watches all of these off to the side. The dreams are: 1. A clown hands Bella an ice cream cone with 12 scoops and she licks the scoops from bottom to top. 2. Bella sits in a small boat and fishes. Then she's on land holding an enormous fish, twice the size of her. 3. Bella has a bike pump connected a purple character, Fanny, with a round head. She pumps it up until Fanny's head floats away. 4. A furry beast with antlers, The Beast King, is holding a large wasp nest. Bella puts her hand inside the nest. 5. Sitting at a school desk writing math equations on a piece of paper. Bella's tooth falls out and lands on the paper. The tooth suddenly grows in size and has eyeballs and a mouth. It smiles at Bella and picks up the pencil and begins to finish her math work. Bella smiles with a tooth missing. Hologram Preble smiles.</scene_description> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM - NIGHT</stage_direction> <scene_description>The dream tape ejects. Paper prints out. Preble takes a moment to collect himself and wipes sweat from his brow. He jumps as he notices Bella sitting on the dresser watching him.</scene_description> <character>PREBLE</character> <dialogue>Ahhhhh!</dialogue> <character>BELLA</character> <dialogue>Oh I didn't mean to startle you.</dialogue> <character>PREBLE</character> <dialogue>What are you doing?</dialogue> <character>BELLA</character> <dialogue>I was watching you do your work. You were smiling.</dialogue> <scene_description>Preble is embarrassed. He busies himself with the printout.</scene_description> <character>PREBLE</character> <dialogue>Bella, I hate to be rude but I prefer to do my work in private.</dialogue> <character>BELLA</character> <dialogue>Ah, of course. My apologies.</dialogue> <scene_description>On her way out she hands him a plate with a sandwich on it.</scene_description> <character>BELLA</character> <dialogue>Some dinner for the tax man.</dialogue> <scene_description>Preble inspects it as Bella stands in the doorway.</scene_description> <character>PREBLE</character> <dialogue>Bella, you need not...</dialogue> <character>BELLA</character> <dialogue>It's avocado and tomato. You love avocados.</dialogue> <scene_description>She leaves the room. Preble stands up and closes the door. He takes a bite of the sandwich, walks over to a painting of a 17th century British ship hanging on the wall. Preble stares at the ship and eats his sandwich. He moves over to the bed and sits in front of a small TV. He turns it on. Behind the TV is a spiderweb. There is a fly stuck in the web. Preble stares at the fly for a moment before he touches the web and frees the fly. He takes the last bite of his sandwich and leaves the room.</scene_description> </scene> <scene> <stage_direction>18A INT. - PICTURE ROOM - NIGHT 18A</stage_direction> <scene_description>Preble peaks into the room next to Sugarbaby's room. There's buckets of paint and large canvases spread out. There's also a small table with machine parts. One wall is nothing but pictures an inspiration wall.</scene_description> </scene> <scene> <stage_direction>INT. - STAIRS - NIGHT</stage_direction> <scene_description>Preble walks down the stairs holding the dirty plate.</scene_description> </scene> <scene> <stage_direction>INT. - KITCHEN</stage_direction> <scene_description>Preble places the plate into the sink. From the other room he hears the piano.</scene_description> <character>PREBLE</character> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>INT. - MUSIC ROOM - NIGHT</stage_direction> <scene_description>Preble enters.</scene_description> <character>PREBLE</character> <dialogue>I'm going to-</dialogue> <scene_description>He sees that it is SUGARBABY walking on the piano keys.</scene_description> <character>PREBLE</character> <dialogue>Oh.</dialogue> <scene_description>He looks around the corner to make sure Bella isn't around then looks back at Sugarbaby.</scene_description> <character>PREBLE</character> <dialogue>Do you know this one?</dialogue> <scene_description>He reaches down and spontaneously plays a simple rendition of "Row Your Boat."</scene_description> </scene> <scene> <stage_direction>EXT. - FRONT PORCH - NIGHT</stage_direction> <scene_description>Bella sits in a rocking chair, smoking a pipe. She listens, smiling wide, nodding her head, quietly singing to herself. As Preble plays the last line on the piano ("Life is but a dream")</scene_description> <character>CUT TO</character> <dialogue>A long shot of the house at night, bathed in blue moon light.</dialogue> <character>FADE TO BLACK</character> </scene> <scene> <stage_direction>INT. - PINK ROOM - NIGHT</stage_direction> <scene_description>We're back in the same pink room from the opening scene. A simple room where everything is painted pink. Preble sits at a table surrounded by spiderwebs, which fill up the entire room. Preble looks up. We see a spider dangling. Preble stands up and sweeps the webs with a broom. He sweeps and sweeps but doesn't appear to be making progress. He stops the job, frustrated. Just then, there's a knock on the door. The door begins to open on its own, like in the opening scene, fog spills into the house. The same jovial man wearing a Hawaiian shirt enters holding a can of bug spray. Preble is relieved to see him, as always...</scene_description> <character>BUDDY</character> <dialogue>Whoa buddy! You got a spider problem! Here, try this.</dialogue> <scene_description>Buddy hands Preble the spray can. The label has a picture of a spider with a red X over it. It reads SPIDER SPRAY.</scene_description> <character>BUDDY</character> <dialogue>This stuff is great! Couple 'o sprays with that and you'll be bug free fo' sure! Haha!</dialogue> <scene_description>Preble holds the can and smiles.</scene_description> <character>BUDDY</character> <dialogue>Three times more deadly than the other leading brand, you're guaranteed to kill 'em all, haha!</dialogue> <scene_description>Preble begins to spray around his apartment. Buddy is loving it.</scene_description> <character>BUDDY</character> <dialogue>Oh yeah! Watch 'em squirm, haha!</dialogue> <scene_description>Preble is getting into it, egged on by his friend.</scene_description> <character>BUDDY</character> <dialogue>Bad day to have 8 legs! Oh yeah, good shot buddy!</dialogue> <scene_description>While Preble continues to spray, there's another knock on the door. Preble looks up confused. He looks at Buddy.</scene_description> <character>PREBLE</character> <dialogue>Who's that?</dialogue> <character>BUDDY</character> <dialogue>I'm sure it's nobody.</dialogue> <scene_description>Another knock. Preble turns to the door…</scene_description> <character>BUDDY</character> <dialogue>Wait, no.</dialogue> <scene_description>Buddy puts up his hand preventing Preble from going to the door.</scene_description> <character>PREBLE</character> <dialogue>What are you doing?</dialogue> <character>BUDDY</character> <dialogue>If you answer that door, you're only gonna let in pain.</dialogue> <character>PREBLE</character> <dialogue>What, no. Somebody's knocking. I should answer it.</dialogue> <character>BUDDY</character> <dialogue>I'll get it!</dialogue> <scene_description>Preble thinks for a moment and shrugs. Buddy goes to the door, and opens it slightly.</scene_description> <character>BUDDY</character> <dialogue>We're not interested, thank you.</dialogue> <scene_description>We can't see who it is, but it's a woman's voice. It sounds like Young Bella.</scene_description> <character>YOUNG BELLA</character> <dialogue>Can I speak with James Preble?</dialogue> <character>BUDDY</character> <dialogue>He's not accepting visitors at the moment.</dialogue> <character>YOUNG BELLA</character> <dialogue>Well is he here?</dialogue> <scene_description>Preble leans over to see the woman, but she's being blocked by Buddy.</scene_description> <character>BUDDY</character> <dialogue>He's busy. I'll tell him you came by.</dialogue> <character>YOUNG BELLA</character> <dialogue>Please I need to see him.</dialogue> <character>BUDDY</character> <dialogue>James has everything he needs. I assure you, if there's anything he needs, he can get it from me.</dialogue> <scene_description>Buddy shuts the door rudely. He turns back to Preble.</scene_description> <character>PREBLE</character> <dialogue>Who was that?</dialogue> <character>BUDDY</character> <dialogue>Nobody.</dialogue> <scene_description>Preble looks a little irritated. Buddy looks to change the subject back to the spiderwebs.</scene_description> <character>BUDDY</character> <dialogue>Here, let me help you with these. I got ya, buddy. You need it, I got it.</dialogue> <scene_description>Buddy takes the Spider Spray and douses the rest of the room. Preble looks to the door, unsettled. FADE TO BLACK: FADE UP ON...:</scene_description> </scene> <scene> <stage_direction>23 A INT. - SUGARBABY'S ROOM - MORNING 23 A</stage_direction> <scene_description>A tiny satellite dish on top of the dream recording machine is rotating and then stops. A VHS tape ejects. The camera rack focuses and we see Preble waking up. A rooster crows in the background.</scene_description> </scene> <scene> <stage_direction>EXT. - BACKYARD - MORNING</stage_direction> <scene_description>Close up of a chicken pecking. Bella scatters seeds for the chickens. Preble stands on the back porch watching her. They watch the chickens for a moment. She walks by him holding some fresh eggs and smiles.</scene_description> </scene> <scene> <stage_direction>EXT. - PATIO - MORNING</stage_direction> <scene_description>Preble and Bella sit eating eggs in silence. Bella keeps smiling at Preble. He looks uncomfortable. There is a bowl of strawberries on the table.</scene_description> <character>BELLA</character> <dialogue>How long have you been auditing dreams?</dialogue> <character>PREBLE</character> <dialogue>About 15 years now.</dialogue> <character>BELLA</character> <dialogue>And do you enjoy it?</dialogue> <character>PREBLE</character> <dialogue>Yes I do ma'am.</dialogue> <scene_description>They sit in silence for a moment. Bella holds a pinwheel.</scene_description> <character>BELLA</character> <dialogue>I used to make them for my son, but he was never interested.</dialogue> <scene_description>Preble takes a second to ask...</scene_description> <character>PREBLE</character> <dialogue>I didn't know you have a son.</dialogue> <character>BELLA</character> <dialogue>We don't see much of each other anymore.</dialogue> <character>PREBLE</character> <dialogue>Oh yeah, why is that?</dialogue> <character>BELLA</character> <dialogue>Well, we don't always see eye to eye. I was so young when I had Peter. His father was an older student. We were divorced before Peter could even crawl.</dialogue> <character>PREBLE</character> <dialogue>Oh, so you were married before... the toast guy?</dialogue> <character>BELLA</character> <dialogue>Yes. What a mistake. He was an evil man. And unfortunately, our son took after him in that regard.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Now he has a son of his own. My grandson. I only met the boy once. Years ago. He tried to flush Sugarbaby down the toilet.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>If I could go back, there's some things I would do differently. Ah, but that's life.</dialogue> <scene_description>They sit in silence for a moment, eating their breakfast.</scene_description> <character>PREBLE</character> <dialogue>So, what was your second husband like?</dialogue> <character>BELLA</character> <dialogue>He was a gentle soul. We had a wonderful life together.</dialogue> <scene_description>They stare at each other for a long moment, feeling something - sadness or connection.</scene_description> </scene> <scene> <stage_direction>INT. - RESTAURANT - DAY</stage_direction> <scene_description>A table at a quaint French restaurant. Young Bella is positioned in the same spot that Bella and Preble just were. Hologram Preble stands nearby, taking notes, but also smiling at the scene... A FROG WAITER (a human body with a giant, hand painted paper mache frog head) walks by Hologram Preble, and approaches the table with two menus...</scene_description> <character>FROG WAITER</character> <dialogue>Will anyone be joining you this evening?</dialogue> <character>YOUNG BELLA</character> <dialogue>Oh no, it's just me.</dialogue> <scene_description>Hologram Preble hesitantly goes over and sits down next to her.</scene_description> <character>FROG WAITER</character> <dialogue>Can I start you with anything to drink?</dialogue> <character>YOUNG BELLA</character> <dialogue>I'll have a glass of wine.</dialogue> <character>FROG WAITER</character> <dialogue>Sure thing.</dialogue> <character>YOUNG BELLA</character> <dialogue>Thank you! And what's your soup of the day?</dialogue> <character>FROG WAITER</character> <dialogue>Today we have a cream of asparagus.</dialogue> <character>YOUNG BELLA</character> <dialogue>That sounds good.</dialogue> <character>FROG WAITER</character> <dialogue>It is delicious.</dialogue> <character>YOUNG BELLA</character> <dialogue>You have a very deep voice. It's nice.</dialogue> <character>FROG WAITER</character> <dialogue>Thank you madam.</dialogue> <character>YOUNG BELLA</character> <dialogue>I mean it, you could be an announcer on TV or the radio.</dialogue> <character>FROG WAITER</character> <dialogue>I've been told that before, madam.</dialogue> <character>YOUNG BELLA</character> <dialogue>I bet you're a great singer.</dialogue> <character>FROG WAITER</character> <dialogue>I play the saxophone.</dialogue> <scene_description>The Frog Waiter holds up his saxophone and begins to play as he walks away. She continue looking at the menu. Just then a bird flies overhead. Young Bella and Hologram Preble watch it.</scene_description> <character>YOUNG BELLA</character> <dialogue>Ohh!</dialogue> <scene_description>The Frog Waiter reappears with the wine on a tray.</scene_description> <character>YOUNG BELLA</character> <dialogue>There's a bird in here.</dialogue> <scene_description>The Frog Waiter puts the wine glass in front of her.</scene_description> <character>FROG WAITER</character> <dialogue>Yes madam, we are aware. We are working to remedy the situation.</dialogue> <scene_description>He holds up a net. Young Bella smiles. Hologram Preble smiles too. Young Bella takes a sip of her wine. A moment goes by and then the bird lands on the back of Preble's chair. It's positioned directly behind Preble's head, so that when Bella looks at the bird it appears she's looking at Hologram Preble.</scene_description> <character>YOUNG BELLA</character> <dialogue>Hello friend.</dialogue> <scene_description>Hologram Preble smiles, like she's talking to him. The Frog Waiter reappears with the net and just before he can catch the bird it flies away. He walks away. Hologram Preble looks to another table and notices a bucket of static. Then looks at another table and sees another. Preble begins to look a little unsettled... The Frog Waiter reappears with a tray filled with static, which he places down on the table. It's the shape of a bucket of chicken.</scene_description> <character>FROG WAITER</character> <dialogue>Our apologies about the bird. Here is a bucket of dsflhbds salihfb sljhfb, on the house.</dialogue> <scene_description>The lines he speaks after "bucket" are reversed and distorted. Then he walks away. Hologram Preble gives a perplexed look. He touches the bucket is and inspects it. It glitches for a second and becomes a bucket of Captain Kelly's Chicken before going back to static.</scene_description> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM - DAY</stage_direction> <scene_description>Preble, with the pink helmet on, sits in front of his machine. The tape ejects and Preble takes off the pink helmet. He's finishing the paperwork when he looks over to the window and notices the same yellow bird sitting on a tree branch singing. Preble is unnerved staring at the bird.</scene_description> </scene> <scene> <stage_direction>INT. - DINING ROOM - NIGHT</stage_direction> <scene_description>They begin their meal. Preble takes a bite and another sip of wine. A faint whistling sound is heard.</scene_description> <character>PREBLE</character> <dialogue>Did you hear that?</dialogue> <character>BELLA</character> <dialogue>Probably just the pipes.</dialogue> <scene_description>Another beat of silence. They continue eating. Preble tries to spear a beet on his plate but it inexplicably moves away. Preble looks confused. When he looks up from his plate Bella is Young Bella.</scene_description> <character>YOUNG BELLA</character> <dialogue>Do you want to kiss me?</dialogue> <scene_description>Preble is shocked.</scene_description> <character>PREBLE</character> <dialogue>What?</dialogue> <scene_description>Bella is back to her old self.</scene_description> <character>BELLA</character> <dialogue>Do you want more wine?</dialogue> <character>PREBLE</character> <dialogue>Please, excuse me. I--</dialogue> <scene_description>He gets up and walks out of the room.</scene_description> </scene> <scene> <stage_direction>INT. - BATHROOM</stage_direction> <scene_description>Preble splashes water on his face and looks at himself in the mirror. He has a concerned look - he doesn't feel quite right. He stares at himself in the mirror. Gradually his reflection begins to distort, almost like it's melting. He closes his eyes and rubs them. He opens his eyes again and his reflection is back to normal. He takes a couple of deep breaths.</scene_description> </scene> <scene> <stage_direction>INT. - DINING ROOM</stage_direction> <scene_description>Preble walks back in.</scene_description> <character>PREBLE</character> <dialogue>I'm not feeling well. I should go to bed.</dialogue> <character>BELLA</character> <dialogue>You should sit down.</dialogue> <character>PREBLE</character> <dialogue>Perhaps I had too much wine.</dialogue> <character>BELLA</character> <dialogue>Or not enough.</dialogue> <scene_description>Bella offers him the bottle.</scene_description> <character>PREBLE</character> <dialogue>No thank you.</dialogue> <character>BELLA</character> <dialogue>Well at least sit with me while I finish.</dialogue> <scene_description>Preble reluctantly sits down. Close up of a fork spearing a beet. Bella continues eating dinner.</scene_description> <character>BELLA</character> <dialogue>It looks like there will be a storm tonight.</dialogue> <scene_description>Preble looks out the window and when he looks back Bella is young again.</scene_description> <character>YOUNG BELLA</character> <dialogue>I need to see you again.</dialogue> <scene_description>Preble closes his eyes and when he reopens them Bella is old once again.</scene_description> <character>PREBLE</character> <dialogue>I think I'm losing my mind.</dialogue> <character>BELLA</character> <dialogue>Well it's about time!</dialogue> <scene_description>Bella fills up both wine glasses and raises her glass into the air.</scene_description> <character>BELLA</character> <dialogue>To losing one's mind!</dialogue> <scene_description>She drinks a big gulp from her glass. Preble waits a moment and then drinks all of his wine.</scene_description> <character>BELLA</character> <dialogue>That's the ticket! Another round!</dialogue> <scene_description>Bella refills the glasses. Preble looks troubled.</scene_description> <character>PREBLE</character> <dialogue>There's something I don't understand.</dialogue> <character>BELLA</character> <dialogue>I'm glad to hear that.</dialogue> <character>PREBLE</character> <dialogue>There was a bucket of chicken in your dream...but I couldn't see it.</dialogue> <character>BELLA</character> <parenthetical>(knowingly)</parenthetical> <dialogue>Oh?</dialogue> <character>PREBLE</character> <dialogue>Yeah, it was like it was being blocked.</dialogue> <character>BELLA</character> <dialogue>Well maybe it was being blocked because it shouldn't be there.</dialogue> <scene_description>Preble looks confused.</scene_description> <character>PREBLE</character> <dialogue>What do you mean it shouldn't be there?</dialogue> <scene_description>Bella takes a moment.</scene_description> <character>BELLA</character> <dialogue>Let me ask you something.</dialogue> <character>PREBLE</character> <dialogue>Okay.</dialogue> <character>BELLA</character> <dialogue>Do you believe that your dreams are your own?</dialogue> <character>PREBLE</character> <dialogue>Of course, yeah.</dialogue> <character>BELLA</character> <dialogue>And you don't think anything should be transmitted in there against your will?</dialogue> <character>PREBLE</character> <dialogue>Of course not.</dialogue> <scene_description>Bella leans back in her chair. We let the moment breathe for a second.</scene_description> <character>PREBLE</character> <dialogue>What are you trying to say?</dialogue> <scene_description>Bella stands up and leaves the room. Preble sits for a moment and bats the final beet around on his plate. Bella reenters wearing the helmet of wires and lights (the same one on her head the first time she answers the door.)</scene_description> <character>BELLA</character> <dialogue>Jim and I developed this together. Its an ad blocker.</dialogue> <character>PREBLE</character> <dialogue>I don't understand.</dialogue> <scene_description>Bella realizes she needs to back up.</scene_description> <character>BELLA</character> <dialogue>Once we started wearing these, the ads disappeared.</dialogue> <character>PREBLE</character> <dialogue>Bella. What ads?</dialogue> <character>BELLA</character> <dialogue>The ads they're transmitting into our dreams without us knowing.</dialogue> <scene_description>Preble is confused.</scene_description> <character>PREBLE</character> <dialogue>That doesn't happen. (beat) How do you know that?</dialogue> <character>BELLA</character> <dialogue>You of all people should know. Don't you see them in there when you're doing your work?</dialogue> <character>PREBLE</character> <dialogue>Why would they do that, that's crazy?</dialogue> <character>BELLA</character> <dialogue>Because it makes them money.</dialogue> <scene_description>Preble just stares at her in disbelief.</scene_description> <character>PREBLE</character> <dialogue>I don't...</dialogue> <character>BELLA</character> <dialogue>Tell me...what did you dream about last night?</dialogue> <character>PREBLE</character> <parenthetical>(trying to recall)</parenthetical> <dialogue>Last night I had a dream where I was clearing out all these spider webs in my apartment and I couldn't get them out, and my buddy came over with some spider spray. And then we ate some Captain Kelly's chicken.</dialogue> <character>BELLA</character> <dialogue>You hear what you're saying?</dialogue> <character>PREBLE</character> <dialogue>Well of course I see Captain Kelly's occasionally in my dreams, that doesn't mean it's an an ad. So what if I dream of eating chicken? What if I'm hungry?</dialogue> <scene_description>Preble puts down his fork.</scene_description> <character>BELLA</character> <dialogue>The dream you told me about earlier. The first one you ever recorded. It was so adventurous and imaginative. You were in a boat, in the forest. When was the last time you had a dream like that, that felt that vivid and alive?</dialogue> <character>PREBLE</character> <dialogue>I can go back and watch my old tapes any time I want to.</dialogue> <character>BELLA</character> <dialogue>No! When was the last time you had a new dream that you realized something or were searching for something?</dialogue> <character>PREBLE</character> <dialogue>I don't have to search for much, my buddy is always there.</dialogue> <character>BELLA</character> <dialogue>That's not your buddy, Preble! It's an ad!</dialogue> <character>PREBLE</character> <dialogue>No, it's not! It's my friend, how dare you!</dialogue> <character>BELLA</character> <dialogue>They gave me one to. I had a lady friend. I would be climbing a snowy mountain, and then all of the sudden, I'd be at the mall with my "friend" selling me an arctic tent.</dialogue> <scene_description>Bella takes off the helmet and hands it to Preble, who doesn't take it...</scene_description> <character>BELLA</character> <dialogue>I read somewhere that thousands of years ago one of the most common dreams of our ancestors was being chased by wolves. Maybe nine times out of ten the wolves would get them. But then the one time they got away, well that memory stayed inside them, and then when a wolf was really chasing them, somewhere deep inside them, they knew how to get away. (beat) Dreams are how we imagine scenarios, how we release anxiety. How we process our lives. How we make sense of ourselves.</dialogue> <scene_description>Preble just stares at her.</scene_description> <character>BELLA</character> <dialogue>Believe me, the blocker works. Please will you try it, Preble?</dialogue> <character>BELLA</character> <dialogue>It's so dangerous to dream without it. They've taken everything from us, keep your dreams for yourself. Our lives depend on it.</dialogue> <scene_description>Bella lifts the helmet once again urging Preble to take it. He finally does, and leaves the room.</scene_description> <character>PREBLE</character> <dialogue>Thank you for dinner.</dialogue> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM - NIGHT</stage_direction> <scene_description>Preble walks around the bedroom, preparing to go to sleep. He crawls into bed. He adjusts the covers. The helmet sits on the bedside table. He wonders if he will put it on, but decides against it... He turns off the lights. A moment later the lights come back on and Preble reluctantly picks up the helmet and slowly places it on his head. He turns it on and a few dim blinking lights start up. He turns off the bedside lamp.</scene_description> </scene> <scene> <stage_direction>INT. PINK ROOM - NIGHT</stage_direction> <scene_description>Preble is back in the simple pink room. He's standing at the table holding a toothbrush in one hand and the toothpaste in the other. He's trying to squeeze the last of the toothpaste out but is struggling. The doorknob rattles. Preble looks over. CU of the doorknob. Buddy appears in the window with a confused look on his face.</scene_description> <character>BUDDY</character> <dialogue>Hey buddy! Let me in!</dialogue> <scene_description>The doorknob keeps rattling. He locks eyes with Preble. Preble looks down. He keeps trying to squeeze his toothpaste out.</scene_description> <character>BUDDY</character> <dialogue>Hey dude, what's going on!</dialogue> <scene_description>Buddy holds up a fresh tube of toothpaste.</scene_description> <character>BUDDY</character> <dialogue>Got ya covered bud! Just let me in.</dialogue> <scene_description>Preble looks back over. This is hard to see. Buddy has been his trusted friend for years. He's conflicted. Buddy unscrews the top of the toothpaste.</scene_description> <character>BUDDY</character> <dialogue>Fr-fr-fr-fresh and mi-mi-mi-minty, gonna keep your Te-Te-Te-teeth clean ALL DAY LONG!</dialogue> <scene_description>Preble shakes his head at Buddy.</scene_description> <character>BUDDY</character> <dialogue>What's going on? You need a fresh tube.</dialogue> <scene_description>Quick CU of more tube squeezing.... Preble grits his teeth and makes one last squeeze. Nothing comes out. He puts down the tube, takes a breath.</scene_description> <character>BUDDY</character> <dialogue>It's okay, I just wanna talk.</dialogue> <scene_description>Preble finally goes to the door.</scene_description> <character>BUDDY</character> <dialogue>That's it. Just open the door.</dialogue> <character>PREBLE</character> <dialogue>I can't.</dialogue> <character>BUDDY</character> <dialogue>After all I've done for you.</dialogue> <scene_description>Preble listens.</scene_description> <character>BUDDY</character> <dialogue>How many years have I been by your side?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>After the divorce. Who was there every night with a 6 pack of ice cold Double Duckpin Ale, brewed fresh with the coldest glacier water known to man.</dialogue> <scene_description>Preble listens more intently...</scene_description> <character>BUDDY</character> <dialogue>And when your dad got sick. Who came over with a pint of all new Dion's Delicious Double Chocolate Mint Ecstasy. With ice cream this good, who cares if your sad.</dialogue> <scene_description>Another shot of Preble. He's trying to stay unemotional.</scene_description> <character>PREBLE</character> <dialogue>I can't do it, Buddy.</dialogue> <scene_description>Buddy begins to glitch out and suddenly glitches right through the wall. Comes face to face with Preble:</scene_description> <character>BUDDY</character> <dialogue>You can't keep me out, James.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Trust your cravings.</dialogue> <scene_description>Preble takes a step back. Buddy lifts up the tube of toothpaste.</scene_description> <character>BUDDY</character> <dialogue>Sparkling cl-cl-cl-clean! Wow! Teeth so br-br-br-bright you'll make the moon jealous, haha!</dialogue> <scene_description>Now Buddy's voice is skipping like a CD and his body keeps randomly filling with static. He begins to squeeze toothpaste out all over the room.</scene_description> </scene> <scene> <stage_direction>33A INT. SUGARBABY'S ROOM - NIGHT 33A</stage_direction> <scene_description>Cut back to Preble sleeping wearing the helmet. Red lights blink all over.</scene_description> </scene> <scene> <stage_direction>INT. PINK ROOM - CONTINUOUS</stage_direction> <scene_description>Back to the dream. A knock at the door.</scene_description> <character>BUDDY</character> <dialogue>It's no one. Don't get it!</dialogue> <scene_description>Buddy is glitching out of control. Preble hurries to the door.</scene_description> <character>BUDDY</character> <dialogue>I wouldn't do that.</dialogue> <scene_description>Preble opens the door. It's Young Bella.</scene_description> <character>YOUNG BELLA</character> <dialogue>Hi Preble.</dialogue> <character>PREBLE</character> <dialogue>Hi Bella.</dialogue> <scene_description>They share a smile and, as they do, the four walls of the pink room fall away suddenly, revealing an open field all around them.</scene_description> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM - NIGHT</stage_direction> <scene_description>A huge flash of lightning fills the room with light, followed by a crash of thunder. Preble startles awake. He sits there a moment. He looks out the window. Another flash of light, another crash of thunder, and a downpour begins. Preble walks over to the window and watches the rain for a moment. Another lightening strike, thunder roll. Preble turns and walks out of the room, not wanting to be alone. He's holding the ad blocker.</scene_description> </scene> <scene> <stage_direction>INT. -HALLWAY - DAY</stage_direction> <scene_description>Preble looks out in the hallway and standing there is a VHS MAN, a man's body covered entirely in flowing VHS tape. Preble stares at it, eyes wide. This is a tense moment. The VHS Man disappears. Preble stands there a moment longer, in shock.</scene_description> </scene> <scene> <stage_direction>INT. - MUSIC ROOM - NIGHT</stage_direction> <scene_description>Preble enters the music room, noticing Bella sitting in a large chair by the fire. He's got the ad blocker in his hands. Preble sits down next to her. Preble and Bella sit for a moment.</scene_description> <character>PREBLE</character> <dialogue>The storm woke me up.</dialogue> <character>BELLA</character> <dialogue>Were you dreaming?</dialogue> <character>PREBLE</character> <dialogue>Yeah.</dialogue> <scene_description>She looks at him, waiting for him to say more.</scene_description> <character>BELLA</character> <dialogue>And?</dialogue> <character>PREBLE</character> <dialogue>I think it worked.</dialogue> <scene_description>Bella smiles.</scene_description> <character>BELLA</character> <dialogue>What did you see?</dialogue> <character>PREBLE</character> <dialogue>You were there?</dialogue> <character>BELLA</character> <dialogue>Oh was I?</dialogue> <character>PREBLE</character> <dialogue>Well you as a young woman.</dialogue> <character>BELLA</character> <dialogue>And your buddy?</dialogue> <character>PREBLE</character> <dialogue>Well, he was there, but not doing so well.</dialogue> <scene_description>A huge clap of thunder just then. Preble flinches, looks around, then back to Bella...</scene_description> <character>PREBLE</character> <dialogue>Does anybody else know?</dialogue> <character>BELLA</character> <dialogue>I'm not sure.</dialogue> <character>PREBLE</character> <dialogue>What am I supposed to do with this?</dialogue> <character>BELLA</character> <dialogue>That's up to you.</dialogue> <scene_description>Preble is fidgeting with the ad blocker helmet in his hands.</scene_description> <character>PREBLE</character> <dialogue>Well then why did you bring me here?</dialogue> <character>BELLA</character> <dialogue>I wanted someone to share my dreams with.</dialogue> <scene_description>That line sits in the air for a moment. Bella takes out a VHS tape that has a star drawn on it.</scene_description> <character>BELLA</character> <dialogue>I want you to see this.</dialogue> <scene_description>She hands him the tape.</scene_description> <character>BELLA</character> <dialogue>We're more connected than you think, Preble.</dialogue> <scene_description>Preble can sense the intensity in her words. They lock eyes. He's searching for something but he doesn't know what it is.</scene_description> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM - MORNING</stage_direction> <scene_description>Preble's eyes open. He wakes up slowly and sits up in bed.</scene_description> </scene> <scene> <stage_direction>INT. - MUSIC ROOM</stage_direction> <scene_description>Preble enters and sees Bella sitting in the chair by the fireplace.</scene_description> <character>PREBLE</character> <dialogue>Good morning Bella.</dialogue> <scene_description>He walks up to the chair and gently touches her shoulder.</scene_description> <character>PREBLE</character> <dialogue>Bella. Bella?</dialogue> <scene_description>Preble shakes her shoulder and she does not move.</scene_description> <character>BELLA IS DEAD.</character> <dialogue>Preble stares in disbelief.</dialogue> </scene> <scene> <stage_direction>INT. - MUSIC ROOM - DAY</stage_direction> <scene_description>Paramedics wheel Bella out on a stretcher. A man with a small notebook talks with Preble.</scene_description> </scene> <scene> <stage_direction>INT. - KITCHEN - DAY</stage_direction> <scene_description>Preble talks on the phone and nods.</scene_description> </scene> <scene> <stage_direction>EXT. - BACKYARD - DAY</stage_direction> <scene_description>Preble stands on the back porch, getting some fresh air. He notices the chickens and walks over to their pen. He grabs some of their feed and sprinkles it down, just as he has seen Bella do.</scene_description> </scene> <scene> <stage_direction>INT. - KITCHEN - DAY</stage_direction> <scene_description>Preble takes some strawberries from the fridge and chops them up into slices.</scene_description> </scene> <scene> <stage_direction>INT. - MUSIC ROOM - DAY</stage_direction> <scene_description>Preble puts the strawberry slices into Sugarbaby's aquarium. Close up of Sugarbaby eating.</scene_description> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM - DAY</stage_direction> <scene_description>Preble's suitcase is on the bed. He's packing up. He places the special tape, with the star on it that Bella gave him the previous night, on top of his clothes. He picks up the ad blocker helmet and considers whether to pack it. He shakes his head slightly.</scene_description> </scene> <scene> <stage_direction>INT. - STAIRS - DAY</stage_direction> <scene_description>Preble, with suitcase in one hand, and the ad blocker in the other, walks toward Bella's room at the end of the hall. He gets to the door and looks in.</scene_description> </scene> <scene> <stage_direction>INT. - BELLA'S BEDROOM - DAY</stage_direction> <scene_description>Preble walks into her bedroom. Puts down his suitcase. He puts down the ad blocker on her bedside table, deciding not to take it with him. Then wanders around the room. Soaking up her spirit, saying goodbye, what have you. The doorbell rings. Preble turns to look in the direction of the door.</scene_description> </scene> <scene> <stage_direction>INT. - FRONT DOOR - DAY</stage_direction> <scene_description>Preble opens the door.</scene_description> <character>PETER</character> <dialogue>Hello, you must be James Preble.</dialogue> <character>PREBLE</character> <dialogue>Yes.</dialogue> <character>PETER</character> <dialogue>Peter Bloom. Bella was my mother.</dialogue> <character>PREBLE</character> <dialogue>Oh. Yes. Hello.</dialogue> <scene_description>Peter enters and looks around.</scene_description> </scene> <scene> <stage_direction>INT. - MUSIC ROOM</stage_direction> <scene_description>Peter and Preble walk into the room. Peter takes a look around.</scene_description> <character>PETER</character> <dialogue>Terrible thing to lose your mother. Very sad.</dialogue> <character>PREBLE</character> <dialogue>Yes. I'm sorry for your loss.</dialogue> <character>PETER</character> <dialogue>Thank you. She was rather old so I guess it's not terribly surprising.</dialogue> <character>PREBLE</character> <dialogue>She was a beautiful soul.</dialogue> <character>PETER</character> <dialogue>Yes yes, she was. Listen James, I'd love to have a few words with you about the last couple of days.</dialogue> <scene_description>Preble stares at him.</scene_description> <character>PETER</character> <dialogue>To be honest, I think her mind had been slipping these past few years, ever since Jim died. I hope she didn't fill your head with any of her nonsense.</dialogue> <scene_description>Preble half smiles.</scene_description> <character>PETER</character> <dialogue>Of course you understand she was totally delusional.</dialogue> <character>PREBLE</character> <dialogue>I wasn't aware.</dialogue> <character>PETER</character> <dialogue>Oh yes. Quite. Listen, my wife and son are arriving this afternoon. Why don't we all have dinner here tonight. We can all talk and then send you on your way.</dialogue> <character>PREBLE</character> <dialogue>Okay, that sounds fine.</dialogue> <character>PETER</character> <dialogue>Great. I have some business in town, but we'll see you tonight.</dialogue> <scene_description>They stand looking at each other for a moment.</scene_description> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM - DAY</stage_direction> <scene_description>Preble opens his suitcase and takes out the special tape with the star on it. He puts it into the viewing machine and presses play.</scene_description> </scene> <scene> <stage_direction>EXT. - FOREST - DAY</stage_direction> <scene_description>Young Bella walks with a man made of grass. Now Young Bella and the Grass Man are sitting on a picnic blanket, with a full spread of food and drink. The Grass Man reads from a book of poetry...</scene_description> <character>GRASS MAN</character> <dialogue>I've loved you in many lifetimes. In many forms. In many places. Through many storms. In the desert. Lost at sea. With little hope to comfort me. But there you were, all alone. Arm in arm we made it home.</dialogue> <scene_description>They share a passionate look. It feels like the moment before a kiss. Hologram Preble is watching the scene with rapt attention. His notepad is down at his side. The Grass Man plucks a flower that has been growing from his chest and hands it to Young Bella. Young Bella takes the flower and smiles. Hologram Preble can't help but smile himself. Young Bella walks through a forest. She's smiling and laughing as she goes. Shes comes to the end of the forest and walks into a field. She turns around, waiting for someone to come out. After a moment the Grass Man appears. Young Bella is delighted. He walks over to her, and they begin to slow dance, her head on his grassy shoulder. After a lovely moment, Young Bella and the Grass Man separate. Bella puts her hand on his face and rubs it lovingly. The Grass Man smiles. Bella lifts her other hand up to his face, and begins brushing the grass off his face, almost like removing makeup. Hologram Preble watches on. She slowly begins to peel off the layers of grass. We're starting to see signs of a human face underneath, at first a hint of a nose, then eyes and a mouth. Back to Hologram Preble for a beat. Bella makes one last wiping motion and it's about to reveal...</scene_description> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM - NIGHT</stage_direction> <scene_description>Peter is standing in the doorway watching Preble lost in the dream. It's creepy - Peter is calculating... After a couple moments, Peter knocks on the door to signal to Preble that he is here.</scene_description> <character>PETER</character> <dialogue>There you are.</dialogue> <scene_description>Preble presses PAUSE and we see Young Bella and the Grass Man pause. Preble takes off the helmet.</scene_description> <character>PETER</character> <dialogue>Come on down and get some dinner.</dialogue> </scene> <scene> <stage_direction>INT. - DINING ROOM - NIGHT</stage_direction> <scene_description>Peter enters the room with Preble close behind him. At the table sits BRIAN. Brian is in his mid 20s. He's wearing a shirt a with a penguin on it. His hair is disheveled. He's devouring the greasy chicken in front of him. On the table sits a bucket of Captain Kelly's Chicken and a bottle of Red Rocket soda.</scene_description> <character>PETER</character> <dialogue>This is my son, Brian.</dialogue> <character>PREBLE</character> <dialogue>Hello.</dialogue> <character>BRIAN</character> <parenthetical>(with food in his mouth)</parenthetical> <dialogue>Mhhesliollo.</dialogue> <character>PETER</character> <dialogue>Chicken?</dialogue> <scene_description>Peter offers Preble the bucket of chicken.</scene_description> <character>PREBLE</character> <dialogue>Thank you.</dialogue> <scene_description>Preble takes a chicken leg. Off screen a toilet flushes. MARTHA enters. She is in her early 50s, trying too hard to hold on to her youthful looks.</scene_description> <character>PETER</character> <dialogue>Here's Martha.</dialogue> <character>MARTHA</character> <dialogue>How do you do?</dialogue> <character>PREBLE</character> <dialogue>James Preble. A pleasure to meet you.</dialogue> <character>MARTHA</character> <dialogue>So you're a tax man?</dialogue> <character>PREBLE</character> <dialogue>I am.</dialogue> <character>MARTHA</character> <dialogue>It must be very interesting.</dialogue> <character>PREBLE</character> <dialogue>It is. I enjoy it. I get to travel and meet a lot of interesting people, like Bella.</dialogue> <character>PETER</character> <dialogue>Yes. So what was my mother like these past few days?</dialogue> <character>PREBLE</character> <dialogue>Well, she was...a very unique person. Never really met anyone else like her. Full of stories. And her tapes...so different and...</dialogue> <scene_description>Brian burps. Preble stops talking. Peter looks at Martha.</scene_description> <character>PETER</character> <dialogue>Martha dear, do you want to take Brian and start going through mother's belongings.</dialogue> <scene_description>Martha doesn't respond. She just gets up and leaves the room with Brian. Once they are gone, Peter continues talking.</scene_description> <character>PETER</character> <dialogue>Did my mother ever mention me?</dialogue> <character>PREBLE</character> <dialogue>Just one time, briefly. I didn't ask her much about her personal life. Just here doing my job.</dialogue> <character>PETER</character> <dialogue>So, found anything interesting on her tapes?</dialogue> <character>PREBLE</character> <dialogue>She had a very vivid imagination.</dialogue> <character>PETER</character> <dialogue>Indeed she did. I'm curious, if you don't mind me asking, what's the protocol for cases of this nature?</dialogue> <character>PREBLE</character> <dialogue>Yes, it can be tricky when someone passes mid audit. I personally deal with the living. We have a specialized team that this case will be passed along to now.</dialogue> <character>PREBLE</character> <dialogue>They could be arriving as early as the next few days.</dialogue> <character>PETER</character> <dialogue>So your work is complete?</dialogue> <scene_description>We start to hear some odd noises from the other room. Preble looks to where the noise is coming from and then back to Peter.</scene_description> <character>PREBLE</character> <dialogue>Well yes, my work is done but the agency will ensure the audit is complete.</dialogue> <character>PETER</character> <dialogue>Sure, Sure. Listen Preble, I have to ask you: did my mother tell you anything that seemed strange or unbelievable?</dialogue> <scene_description>Peter stares at him.</scene_description> <character>PREBLE</character> <dialogue>Nothing stands out like that, no.</dialogue> <character>PETER</character> <dialogue>You can understand that someone in my position needs to make sure that my family is...protected from any unwanted attention.</dialogue> <character>PREBLE</character> <dialogue>If you'll excuse me, I have to finish packing.</dialogue> <scene_description>Preble gets up and leaves the room. Peter follows close behind him.</scene_description> </scene> <scene> <stage_direction>INT. - MUSIC ROOM - NIGHT</stage_direction> <scene_description>Martha and Brian are ripping the insides out of VHS tapes. At their feet are a few already finished tapes. Preble enters in a panic.</scene_description> <character>PREBLE</character> <dialogue>What are you doing?!</dialogue> <scene_description>Peter walks in behind them.</scene_description> <character>PETER</character> <dialogue>All of these belong to us now.</dialogue> <character>PREBLE</character> <dialogue>They're still part of the audit.</dialogue> <scene_description>Preble rips the tape out of Martha's hand, and heads towards the stairs.</scene_description> <character>PREBLE</character> <dialogue>What's wrong with you people?</dialogue> </scene> <scene> <stage_direction>INT. - STAIRS - DAY</stage_direction> <scene_description>Peter grabs Preble's arm as he's about to climb the stairs.</scene_description> <character>PETER</character> <dialogue>Those don't belong to you.</dialogue> <character>PREBLE</character> <dialogue>I'm just doing my job.</dialogue> <character>PETER</character> <dialogue>My mother is dead! This audit is over!</dialogue> <character>PREBLE</character> <dialogue>Well you'll have to square that away with the bureau. But just so you know, you and your family have just committed a federal crime. And I'll have no choice but to report it.</dialogue> <scene_description>Preble frees his arm from Peter's grasp and walks up the stairs.</scene_description> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM - NIGHT</stage_direction> <scene_description>Preble walks back in to Sugarbaby's room and is about to eject the paused tape. But he can't help himself. He's got to go back in and see the face of the Grass Man...</scene_description> </scene> <scene> <stage_direction>EXT. FIELD - DAY</stage_direction> <scene_description>Young Bella continues taking away the grass on the face...</scene_description> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM</stage_direction> <scene_description>Peter appears in the doorway. He watches Preble ominously... We see he's holding a bowling pin in his hand.</scene_description> </scene> <scene> <stage_direction>EXT. FIELD - DAY</stage_direction> <scene_description>Young Bella finishes clearing away the grass and the face is revealed...</scene_description> <character>IT'S PREBLE!</character> <dialogue>Hologram Preble sees himself for just one second and then...</dialogue> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM</stage_direction> <scene_description>Peter slams the bowling pin down hard on Preble's head, knocking him out immediately. The pink helmet is smashed into pieces. Preble slumps to the floor. The room stretches and contracts. After a moment Preble staggers to his feet, wiping blood from his face. In a daze he looks around the room and stumbles into the hallway.</scene_description> </scene> <scene> <stage_direction>INT. - HALLWAY</stage_direction> <scene_description>Peter is walking down the hallway, bloody bowling pin in his hand. Preble sees him and woozily calls out.</scene_description> <character>PREBLE</character> <dialogue>Excuse me, Peter!</dialogue> <scene_description>Preble catches up to him.</scene_description> <character>PREBLE</character> <dialogue>I-I think something happened, I think I'm in trouble.</dialogue> <scene_description>Peter turns around and he has a WOLF HEAD! Preble leaps back and Wolf Peter begins creeping towards him, growling.</scene_description> <character>WOLF PETER</character> <dialogue>You!? What are YOU doing here?</dialogue> <character>PREBLE</character> <dialogue>(delirious) I-Iaaaaaaaaaay.</dialogue> <character>WOLF PETER</character> <dialogue>You've been a bad boy and you need to be punished!</dialogue> <scene_description>Wolf Peter lunges at Preble! Preble ducks under his claws and runs down the stairs.</scene_description> </scene> <scene> <stage_direction>INT. - DINING ROOM</stage_direction> <scene_description>Martha has her back to Preble. She's stooped over a giant bucket of chicken, treating it like a cauldron. Preble is still woozy.</scene_description> <character>PREBLE</character> <dialogue>Excuse me, I've been a bad boy.</dialogue> <scene_description>Martha turns around and she's a WITCH. She cackles.</scene_description> <character>WITCH MARTHA</character> <dialogue>Death to all bad boys!</dialogue> <scene_description>Witch Martha laughs and creeps towards Preble. Preble runs from the room and crashes right into Brian, except now Brian looks like an OGRE!</scene_description> <character>OGRE BRIAN</character> <dialogue>You should watch where you're going you dumb donkey boy!</dialogue> <character>PREBLE</character> <dialogue>I'm lost and my head hurts.</dialogue> <character>OGRE BRIAN</character> <dialogue>I'm going to break your head wide open!</dialogue> <scene_description>Ogre Brian, Witch Martha and Wolf Peter stalk towards Preble.</scene_description> <character>WOLF PETER, WITCH MARTHA, OGRE BRIAN</character> <dialogue>Death to all bad boys! Death to all bad boys!</dialogue> <scene_description>Preble tries to open the front door but it's locked. He runs back up the stairs and down the hallway. A hand grabs him and pulls him into a closet.</scene_description> </scene> <scene> <stage_direction>INT. - COAT CLOSET</stage_direction> <scene_description>Young Bella stands surrounded by coats.</scene_description> <character>PREBLE</character> <dialogue>Bella!</dialogue> <character>YOUNG BELLA</character> <dialogue>Shhhhh!</dialogue> <scene_description>She puts her hand over Preble's mouth and locks the closet from the inside. Outside the door Wolf Peter, Witch Martha and Ogre Brian are making a racket.</scene_description> <character>WOLF PETER</character> <dialogue>You can't hide from us! We'll find you little man!</dialogue> <scene_description>Young Bella removes her hand from Preble's mouth and brings her finger to her mouth, motioning him to remain quiet.</scene_description> <character>PREBLE</character> <dialogue>(whispering) Bella, I'm in trouble.</dialogue> <character>YOUNG BELLA</character> <dialogue>(whispering) I know. Look, first things first, we have to get out of this closet.</dialogue> <character>PREBLE</character> <dialogue>(whispering) How are we going to do that?</dialogue> <character>YOUNG BELLA</character> <dialogue>We're going to swim.</dialogue> <scene_description>The doorknob rattles.</scene_description> <character>OGRE BRIAN</character> <dialogue>Hey dad! This door is locked!</dialogue> <character>PREBLE</character> <dialogue>How are we going to swim?</dialogue> <character>YOUNG BELLA</character> <dialogue>Hold your breath.</dialogue> <scene_description>Wolf Peter begins to break down the door.</scene_description> <character>WOLF PETER</character> <dialogue>Now I'm angry!</dialogue> <character>YOUNG BELLA</character> <dialogue>One-</dialogue> <scene_description>Wolf Peter repeatedly slams against the door.</scene_description> <character>WOLF PETER</character> <dialogue>Open this fucking door!</dialogue> <character>YOUNG BELLA</character> <dialogue>Two-</dialogue> <character>WOLF PETER</character> <dialogue>Ahhhhhhhhhhhhhh!</dialogue> <character>YOUNG BELLA</character> <dialogue>Three!</dialogue> <scene_description>Young Bella and Preble fall backwards into the coats just as Wolf Peter breaks down the door. He searches through the coats and finds nothing. AAAAAARRRRRGGGGGGHHHHHH!:</scene_description> </scene> <scene> <stage_direction>EXT. - OCEAN - DAY</stage_direction> <scene_description>Young Bella and Preble land in the ocean. Preble begins sinking. Hazy blue waters overtake the frame.</scene_description> <character>FADE TO BLACK</character> </scene> <scene> <stage_direction>EXT. - ISLAND - DAY</stage_direction> <scene_description>A small desert island with a single palm tree. A hand gently rubs Preble's cheek. A soft voice calls.</scene_description> <character>YOUNG BELLA</character> <dialogue>Preble. Preble.</dialogue> <scene_description>In a daze, Preble opens his eyes and comes to. He's laying with his head in Young Bella's lap. He looks at his hands and realizes he's no longer a hologram. Back to Young Bella...</scene_description> <character>YOUNG BELLA</character> <dialogue>It's okay.</dialogue> <character>PREBLE</character> <dialogue>Bella?</dialogue> <character>YOUNG BELLA</character> <dialogue>Hi Preble.</dialogue> <scene_description>They're smiling at each other. Young Bella picks up a conch shell and holds it to her ear. Then she holds it up at Preble's ear. Preble smiles as he hears the ocean. Music begins and we cut ahead. Preble walks around the island and brings his tape recorder out of his suit pocket.</scene_description> <character>PREBLE</character> <dialogue>(into tape recorder) This little island became our home. We have everything we need. Fresh coconut water to drink.</dialogue> <scene_description>We see what he's talking about.</scene_description> <character>PREBLE</character> <dialogue>All sorts of vegetables from under the sand. We invented games with pebbles and pieces of driftwood.</dialogue> <scene_description>A shot of pebbles and driftwood arranged in a pattern in the sand. Young Bella moves one and they both laugh.</scene_description> <character>PREBLE</character> <dialogue>One morning a boombox washed up on the shore and we danced until the sun went down.</dialogue> <scene_description>A beautiful silhouetted shot of them dancing against the sunset sky.</scene_description> <character>PREBLE</character> <dialogue>We wrote novels in the sand and whispered poetry to the rising sun. For every dolphin in the water there was another in the sky.</dialogue> <scene_description>We see a dolphin jump out of the water and then a cloud that looks like a dolphin.</scene_description> <character>PREBLE</character> <dialogue>The days stretched out in front of us like diamonds on a necklace.</dialogue> <scene_description>Sitting on the sand, they watch the ocean at sunset.</scene_description> <character>PREBLE</character> <dialogue>But like all fairytales, it had to come to an end.</dialogue> </scene> <scene> <stage_direction>66B EXT. - ISLAND - DAY 66B</stage_direction> <scene_description>Preble sitting next to Young Bella but now there is blood dripping down his forehead.</scene_description> <character>PREBLE</character> <dialogue>I don't feel so good.</dialogue> <character>YOUNG BELLA</character> <dialogue>You're bleeding.</dialogue> <scene_description>He feels his head.</scene_description> <character>PREBLE</character> <dialogue>Ouch.</dialogue> <scene_description>Preble looks up at Young Bella.</scene_description> <character>PREBLE</character> <dialogue>What's going on?</dialogue> <scene_description>Out of nowhere, BUDDY appears... But he's not like he was before - it's like the personalized settings have been reset, and now he's functioning as a generic ad. He pulls out a bottle of pills and begins shaking them around.</scene_description> <character>BUDDY</character> <dialogue>Fast acting! Double strength! These puppies will take away the pa-pa-pa- pain!</dialogue> <scene_description>Buddy glitches away for a moment...</scene_description> <character>YOUNG BELLA</character> <dialogue>Preble, there's something I have to tell you.</dialogue> <character>PREBLE</character> <dialogue>What?</dialogue> <character>YOUNG BELLA</character> <dialogue>You're in danger.</dialogue> <character>PREBLE</character> <dialogue>Huh?</dialogue> <scene_description>She stands up.</scene_description> <character>YOUNG BELLA</character> <dialogue>They're trying to kill you!</dialogue> <character>PREBLE</character> <dialogue>What, why?</dialogue> <scene_description>Buddy glitches back into the scene. He's not even looking at Preble or Young Bella. He repeats...</scene_description> <character>BUDDY</character> <dialogue>Fast acting! Double strength! These puppies will take away the pa-pa-pa- pain!</dialogue> <scene_description>Preble looks to Bella.</scene_description> <character>PREBLE</character> <dialogue>What's wrong with him?</dialogue> <character>YOUNG BELLA</character> <dialogue>There's interference with the signals. Come on, we gotta go.</dialogue> <scene_description>Young Bella takes his hand and turns to leave.</scene_description> <character>PREBLE</character> <dialogue>Why are they trying to kill me!?</dialogue> <character>YOUNG BELLA</character> <dialogue>Because of what you know!</dialogue> <character>PREBLE</character> <dialogue>What do I know?</dialogue> <scene_description>Another Buddy pops up in front of Preble, blocking him. This time shilling another product...</scene_description> <character>BUDDY</character> <parenthetical>(holding a bucket of chicken)</parenthetical> <dialogue>Captain Kelly's Barnyard Bucket. It's your Clucky Day!</dialogue> <parenthetical>(immediately repeating)</parenthetical> <dialogue>Captain Kelly's Barnyard Bucket. It's your Clucky Day.</dialogue> <scene_description>Young Bella peeks out from behind the ad...</scene_description> <character>YOUNG BELLA</character> <dialogue>You know about the ads!</dialogue> <scene_description>They take off for another part of the island.</scene_description> <character>YOUNG BELLA</character> <dialogue>Do you know who my son is?</dialogue> <character>PREBLE</character> <dialogue>No, who is he?</dialogue> <character>YOUNG BELLA</character> <dialogue>Have you ever heard of Guavatron Industries?</dialogue> <character>PREBLE</character> <dialogue>I don't know, maybe.</dialogue> <character>YOUNG BELLA</character> <dialogue>It's the largest ad agency in the country. My son is their CEO.</dialogue> <scene_description>Another Buddy pops up...</scene_description> <character>BUDDY</character> <parenthetical>(holding a 2 liter of soda)</parenthetical> <dialogue>Red Rocket Soda! One sip and you'll blast off.</dialogue> <parenthetical>(repeating)</parenthetical> <dialogue>Red Rocket Soda! One sip and you'll blast off.</dialogue> <character>YOUNG BELLA</character> <dialogue>Don't watch that, come on.</dialogue> <scene_description>They take off in another direction.</scene_description> <character>YOUNG BELLA</character> <dialogue>You know how they got to be the biggest ad agency in the country?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Because they put ads in our dreams.</dialogue> <character>PREBLE</character> <dialogue>How do you know all this?</dialogue> <character>YOUNG BELLA</character> <dialogue>The experiments! Jim and I discovered it with our experiments. The rats. Come on!</dialogue> <scene_description>She gets a step ahead. Another buddy appears, and then another, and another. All at once now. It's hard to see Young Bella.</scene_description> <character>PREBLE</character> <parenthetical>(losing track of her)</parenthetical> <dialogue>Bella!</dialogue> <scene_description>Dozens more Buddies appear, a cacophony of ads selling different products, making it impossible for Preble to spot Bella.</scene_description> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM - NIGHT</stage_direction> <scene_description>Peter is picking up Preble's limp body, trying to get him into the bed. Preble begins to come to...</scene_description> <character>PREBLE</character> <dialogue>Bella. Bella.</dialogue> <scene_description>He gradually opens his eyes and faintly sees Peter dragging him.</scene_description> <character>PREBLE</character> <dialogue>No, no! Stop it! What are you doing?</dialogue> <scene_description>Peter is frightened. In a panic he repeatedly beats Preble over the head with the bowling pin, knocking out Preble once again.</scene_description> </scene> <scene> <stage_direction>EXT. - SHIP DECK</stage_direction> <character>FADE UP</character> <dialogue>Preble is laying on the deck of a large skipper ship. He opens his eyes and two sailors with RAT HEADS stare down at him.</dialogue> <character>RICHARD RAT</character> <dialogue>He's waking up!</dialogue> <scene_description>Preble groggily sits up.</scene_description> <character>PREBLE</character> <dialogue>Where is Bella?</dialogue> <character>MARCUS RAT</character> <dialogue>Who's Bella?</dialogue> <scene_description>The Rats help Preble to his feet.</scene_description> <character>PREBLE</character> <dialogue>I've got to find her.</dialogue> <scene_description>The Rat sailors look at each other and then back to Preble.</scene_description> </scene> <scene> <stage_direction>EXT. - OCEAN - DAY</stage_direction> <scene_description>Wide, epic shot of a 17th century British Sailing Ship sailing across the ocean (the same ship that was in a painting hanging in Sugarbaby's room)</scene_description> </scene> <scene> <stage_direction>EXT. - SHIP DECK - DAY</stage_direction> <scene_description>Preble is now decked out in full captain regalia with medals and elaborate fringes. He's surrounded by three life sized Rat Sailors. Preble rings a giant bell.</scene_description> <character>CAPTAIN PREBLE</character> <dialogue>Gentlemen, all hands on deck.</dialogue> <character>RAT SAILORS</character> <dialogue>Ay ay Captain!</dialogue> <scene_description>Preble is now behind a giant steering wheel.</scene_description> <character>CAPTAIN PREBLE</character> <dialogue>Come hell or high water, we're going to find Bella!</dialogue> <scene_description>The ship sails onward through the waves.</scene_description> <character>CAPTAIN PREBLE</character> <dialogue>Richard, stay on an even keel!</dialogue> <character>RICHARD RAT</character> <dialogue>Yes Captain!</dialogue> <character>CAPTAIN PREBLE</character> <dialogue>Stewart, batten down the hatches. Keep us at nine knots!</dialogue> <character>STEWART RAT</character> <dialogue>Yes Captain!</dialogue> <scene_description>Captain Preble looks determined behind the steering wheel.</scene_description> </scene> <scene> <stage_direction>INT. - CAPTAIN'S QUARTERS - DAY</stage_direction> <scene_description>Captain Preble now has a full, dark beard. He pours himself a brandy, sits down at a writing desk, dips a feather quill into ink and begins writing.</scene_description> <character>CAPTAIN PREBLE (V.O.)</character> <dialogue>We've been at sea now for seven years with no sign of Bella. As we stay on course across endless waters I'm beginning to wonder if she was ever out here in the first place. Time and tide waits for no man and despite our fruitless efforts morale remains high as the men stay merry with song and swill.</dialogue> <scene_description>Classic shot of Captain Preble drinking with the rat sailors.</scene_description> <character>CAPTAIN PREBLE</character> <dialogue>Last week Vincent found a stowaway hidden among the potatoes and we've put him to work scrubbing the barnacles from the deck.</dialogue> <scene_description>Quick shot of someone scrubbing the deck. Captain Preble is no longer writing in his journal, but speaking into his tape recorder.</scene_description> <character>CAPTAIN PREBLE</character> <dialogue>Marcus is teaching me to play the fiddle and these new melodies keep my old heart afloat.</dialogue> <scene_description>Quick shot of Captain Preble with a fiddle and a Rat Sailor playing in the underbelly of the ship. Richard Rat and Marcus Rat nervously enter the cabin.</scene_description> <character>RICHARD RAT</character> <parenthetical>(exasperated)</parenthetical> <dialogue>Captain, no sign of Bella.</dialogue> <character>CAPTAIN PREBLE</character> <dialogue>Keep looking men.</dialogue> <character>MARCUS RAT</character> <dialogue>Captain, with all due respect, I don't think we're ever going to find her.</dialogue> <character>CAPTAIN PREBLE</character> <dialogue>Nonsense! She's out there.</dialogue> <character>RICHARD RAT</character> <dialogue>What's so special about her anyway?</dialogue> <scene_description>Captain Preble walks dramatically over to the window, with a soft gaze focus on the open seas...</scene_description> <character>CAPTAIN PREBLE</character> <dialogue>She's the only one that knows.</dialogue> <character>RICHARD RAT</character> <dialogue>Knows what?</dialogue> <scene_description>Pause for effect.</scene_description> <character>CAPTAIN PREBLE</character> <dialogue>The way home.</dialogue> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM</stage_direction> <scene_description>Peter stands next to the bed staring at the bleeding Preble. Martha appears in the doorway.</scene_description> <character>MARTHA</character> <dialogue>C'mon Peter, let's get going.</dialogue> <scene_description>She notices Preble bleeding in the bed.</scene_description> <character>PETER</character> <dialogue>Go get Brian and wait in the car. I'll be right down.</dialogue> <scene_description>Martha leaves. Peter looks around the room. He goes to the window and lights the curtain on fire. Some flames start to rise. Peter leaves the room as flames continue to leap up the curtain. Preble lays on the bed, motionless.</scene_description> </scene> <scene> <stage_direction>EXT. - SHIP DECK - DAY</stage_direction> <scene_description>Captain Preble appears on the desk. The Rat Sailors run around in a panic.</scene_description> <character>STEWART RAT</character> <dialogue>Captain! We're being attacked!</dialogue> <scene_description>Captain Preble looks through a telescope.</scene_description> <character>CAPTAIN PREBLE</character> <dialogue>Good Lord.</dialogue> <scene_description>A giant BLUE DEMON with jagged horns and teeth emerges from the water. The Rat Sailors stare up in disbelief. Captain Preble seizes this moment to be the heroic leader of the bunch. He pulls out a large sword.</scene_description> <character>CAPTAIN PREBLE</character> <dialogue>Men! From stern to stern we'll stay on course! Ready the canons! Steady the oars! Let's show this ungodly beast what we've--</dialogue> <scene_description>The Blue Demon interrupts Preble's dramatic speech by picking up the ship, like King Kong picking up a tiny human. He brings the ship up to his mouth and swallows it whole. A blur of wood splintering, water spraying and faces in agony as the ship travels down the demon's esophagus and lands in the stomach.</scene_description> </scene> <scene> <stage_direction>INT. - BELLY OF THE BLUE DEMON</stage_direction> <scene_description>Captain Preble floats in a yellow bile, among the ship's remains, past the rib cage and internal organs. Feels like the inside of the whale in Pinnochio. Preble pulls himself up to a rocky shore where a small wooden cabin sits. Yellow light streams out from the windows. Captain Preble slowly enters.</scene_description> </scene> <scene> <stage_direction>INT. - CABIN - NIGHT</stage_direction> <scene_description>The room is sparsely decorated. A stove in one corner, a grandfather clock in the other. There is an eerie silence in the room. Captain Preble sits down in the chair and looks across the table. The gigantic Blue Demon that just swallowed Captain Preble has now assumed a smaller form, and sits across from Preble. They have a stare down for a moment. Then, the Blue Demon picks up a large chain on the ground and begins to bring it in. Eventually we see what's on the other end of the chain. It's Young Bella. Chain around her neck, like Princess Leia in Return of the Jedi. She's carrying a glass pitcher filled with a blue liquid. Captain Preble notices her before she notices him.</scene_description> <character>CAPTAIN PREBLE</character> <parenthetical>(whispering)</parenthetical> <dialogue>Bella.</dialogue> <scene_description>Young Bella sees him and silently nods. She gets to the table and pours the blue liquid into two cups. There's a feeling of danger hanging over the scene so Captain Preble and Young Bella are afraid to show they know each other. The Blue Demon lifts up his glass in the air and toasts Captain Preble. Captain Preble picks his up and toasts him back. Each gulp is heard as they slowly drink the blue liquid. They finish drinking and place their cups back on the table. Tick. Tock. TICK. TOCK. Time crawls by. They sit frozen in an epic duel of silence. Young Bella and Captain Preble steal another round of secret looks at each other. The Blue Demon notices that they're looking at each other. The Blue Demon opens his mouth and instead of a scream, the sound that comes out is the loud blaring of a fire detector. The sound is deafening. Captain Preble and Young Bella throw their hands over their ears to protect against the piercing sound. Back to a frightening close up of The Blue Demon screaming!</scene_description> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM - NIGHT</stage_direction> <scene_description>Preble lays unconscious on the bed. Flames and smoke fill one wall of the room. The smoke alarm is blaring. The flames reach the fire detector and it begins to melt. As it melts the noise slows down and stops. Preble lays helpless on the bed.</scene_description> </scene> <scene> <stage_direction>INT. - CABIN</stage_direction> <scene_description>Back in the cabin. The Blue Demon is now standing at the stove cooking a steak in a large pan. Taking great care not to burn it. Captain Preble and Young Bella look at each other, afraid.</scene_description> <character>YOUNG BELLA</character> <parenthetical>(whispering)</parenthetical> <dialogue>You have to get out of here!</dialogue> <character>CAPTAIN PREBLE</character> <parenthetical>(whispering)</parenthetical> <dialogue>I'm not going to leave you.</dialogue> <scene_description>The Blue Demon interrupts them by walking over to the table with his steak. He cuts two small pieces off and gives them to his house guests. Then goes to turn on the TV. He switches through a few channels and settles on a news program that consists of a blue demon in a suit reading the news. The Newscaster Blue Demon's voice is all garbled. The Blue Demon sits back down and gets to work on his steak. Captain Preble and Young Bella eat their tiny portions, while they exchange a few more glances... After dinner the Blue Demon yawns and heads over to a small cot. He removes the key that has been hanging around his neck and hangs it on a nail right next to the cot. The Blue Demon begins to snore. Captain Preble and Young Bella look at each other, knowing what has to be done. Captain Preble tip toes over to the cot. One false move and the Blue Demon will wake. Captain Preble slowly takes the key off of the nail. He tip toes over to Young Bella and unlocks the chain around her neck. They're careful to gently place the chain on the floor. They walk over to the front door together and stop before leaving. They're both kind of shocked with how easy that was. They smile and leave the cabin.</scene_description> </scene> <scene> <stage_direction>EXT. - ROCKY SHORE - SUNSET</stage_direction> <scene_description>Preble and Young Bella walk out of the ocean onto a rocky shore, laughing. For a couple moments, they are in exuberant relief. It's amazing - how did that just happen? They got away! After a moment Bella begins to shiver in her wet clothes. Preble notices this.</scene_description> <character>PREBLE</character> <dialogue>I'll start a fire.</dialogue> </scene> <scene> <stage_direction>EXT. - ROCKY SHORE - NIGHT</stage_direction> <scene_description>Young Bella and Preble stand around a small fire, peeling off layers of clothes, positioning them on rocks or propping them up on sticks near the fire. Eventually they're down to the underwear. It's slightly awkward. They smile and sit down. They look at the fire, then at each other, then back at the fire. Slow build up here. At one point we see Old Bella's face around the fire. Preble gives a warm smile seeing Bella again. Then when we cut back she's Young Bella once more.</scene_description> </scene> <scene> <stage_direction>INT. - TENT - NIGHT</stage_direction> <scene_description>Preble and Young Bella are in a camping tent laying next to one another. A tender moment.</scene_description> <character>PREBLE</character> <dialogue>I want to stay here.</dialogue> <scene_description>He looks over to Young Bella.</scene_description> <character>PREBLE</character> <dialogue>I don't wanna go anywhere else.</dialogue> <scene_description>Young Bella doesn't know what to say.</scene_description> <character>YOUNG BELLA</character> <dialogue>It can't last.</dialogue> <character>PREBLE</character> <dialogue>Why?</dialogue> <character>YOUNG BELLA</character> <dialogue>The house is on fire. You're gonna die soon.</dialogue> <character>PREBLE</character> <dialogue>I'm here. You're here.</dialogue> <character>YOUNG BELLA</character> <dialogue>Once the fire takes over, you won't be.</dialogue> <character>PREBLE</character> <dialogue>I can't be without you again.</dialogue> <character>YOUNG BELLA</character> <dialogue>Then you have to go back.</dialogue> </scene> <scene> <stage_direction>81B EXT. - ROCKY SHORE - MORNING 81B</stage_direction> <scene_description>Preble sits around the smoldering fire, wearing his shirt, but no tie, jacket or hat. He's bleeding.</scene_description> <character>YOUNG BELLA</character> <dialogue>You're bleeding again.</dialogue> <character>PREBLE</character> <dialogue>I know.</dialogue> <scene_description>Young Bella looks at him, preparing to say something she knows will be shocking...</scene_description> <character>YOUNG BELLA</character> <dialogue>You need to turn yourself into a caterpillar.</dialogue> <character>PREBLE</character> <dialogue>What?</dialogue> <character>YOUNG BELLA</character> <dialogue>Preble, look, I know this sounds crazy. But you need to trust me.</dialogue> <scene_description>Preble doesn't know how to react.</scene_description> <character>YOUNG BELLA</character> <dialogue>I understand. (pause) You've been lied to your whole life. By the whole world. And worst of all, you thought you had a friend.</dialogue> <character>PREBLE</character> <dialogue>Buddy?</dialogue> <character>YOUNG BELLA</character> <dialogue>Yes Buddy.</dialogue> <character>YOUNG BELLA</character> <dialogue>You're lost, Preble. You need to get back to yourself. I know you think you love me. But you can't love me unless you trust me. (beat) You need to become a caterpillar.</dialogue> <scene_description>Preble just stares at her. Cut to Young Bella holding a caterpillar in her hand. Cut to two cocoons on a tree branch. 81C Cut to two butterflies flying through landscapes. 81C</scene_description> <character>YOUNG BELLA</character> <dialogue>Okay, here's the deal. We're about a hundred miles from my house. We can make that in a day. Once we get there, we need to get you back in your body.</dialogue> <character>PREBLE</character> <dialogue>Got it!</dialogue> <scene_description>Still flying, over a different landscape....</scene_description> <character>PREBLE</character> <dialogue>This is really beautiful, by the way.</dialogue> <character>YOUNG BELLA</character> <dialogue>It really is.</dialogue> <character>PREBLE</character> <dialogue>I know we're in a hurry, but gosh.</dialogue> <scene_description>They keep flying.</scene_description> <character>PREBLE</character> <dialogue>So, do you have any brothers, or sisters?</dialogue> <character>YOUNG BELLA</character> <dialogue>I do. A brother and two sisters.</dialogue> <character>PREBLE</character> <dialogue>That's nice.</dialogue> <character>YOUNG BELLA</character> <dialogue>You?</dialogue> <character>PREBLE</character> <dialogue>Just me. I always wanted a brother.</dialogue> <scene_description>They continue to chat here and there, getting to know each other. And commenting on the places they are flying over. After awhile...</scene_description> <character>YOUNG BELLA</character> <dialogue>Oh my god, that's it.</dialogue> <scene_description>Preble doesn't respond.</scene_description> <character>YOUNG BELLA</character> <dialogue>We're here.</dialogue> <character>YOUNG BELLA</character> <dialogue>Preble!</dialogue> <scene_description>He's sleeping.</scene_description> <character>YOUNG BELLA</character> <dialogue>Preble, wake up! We're home!</dialogue> <character>PREBLE</character> <dialogue>Huh.</dialogue> <character>YOUNG BELLA</character> <dialogue>Were you sleeping?</dialogue> <character>PREBLE</character> <dialogue>No, no. I'm up.</dialogue> <character>YOUNG BELLA</character> <dialogue>It's bad. Look.</dialogue> <scene_description>As they fly back, you can see a room on fire, smoke billowing out...</scene_description> <character>YOUNG BELLA</character> <dialogue>We have to hurry.</dialogue> <character>PREBLE</character> <dialogue>Oh shit.</dialogue> </scene> <scene> <stage_direction>81D INT. - STRAWBERRY MANSION - NIGHT 81D</stage_direction> <scene_description>Smoke fills the stairwell as Butterfly Bella and Butterfly Preble fly to Sugarbaby's room.</scene_description> <character>PREBLE</character> <dialogue>(coughing) I can't breath.</dialogue> <character>YOUNG BELLA</character> <dialogue>We're almost there.</dialogue> </scene> <scene> <stage_direction>81E INT. SUGARBABY'S ROOM - CONTINUOUS 81E</stage_direction> <scene_description>They fly into Sugarbaby's room.</scene_description> <character>PREBLE</character> <dialogue>There I am!</dialogue> <character>YOUNG BELLA</character> <dialogue>Go fly into your mouth, quick!</dialogue> <scene_description>They fly to the bed and hover around.</scene_description> <character>YOUNG BELLA</character> <dialogue>Go, go, go!</dialogue> <character>PREBLE</character> <dialogue>Okay, okay!</dialogue> <character>YOUNG BELLA</character> <dialogue>Shit, shit, shit.</dialogue> <character>PREBLE</character> <dialogue>My mouth's shut. I can't get in!</dialogue> <character>YOUNG BELLA</character> <dialogue>Try again!</dialogue> <character>PREBLE</character> <dialogue>Wake up! Wake up! You idiot. You're gonna die. Open your mouth!</dialogue> <character>YOUNG BELLA</character> <dialogue>It's not gonna work. We have to go back.</dialogue> <character>PREBLE</character> <dialogue>What?</dialogue> <character>YOUNG BELLA</character> <dialogue>We have to go back to the beginning.</dialogue> <scene_description>Cut to the title shot when Preble is approaching the mansion for the first time. The two butterflies fly into view.</scene_description> </scene> <scene> <stage_direction>INT. FRONT PORCH - MOMENTS LATER</stage_direction> <scene_description>Butterfly Preble lands on Preble.</scene_description> <character>BUTTERFLY BELLA</character> <dialogue>Okay, fly into your mouth.</dialogue> <scene_description>Butterfly Preble looks up and sees a clear opening into his mouth. He hesitates.</scene_description> <character>BUTTERFLY BELLA</character> <dialogue>Now!</dialogue> <scene_description>Preble shoos him away. The original scene plays out... Bella comes to the door.</scene_description> <character>PREBLE</character> <dialogue>Ma'am, are you Ms. Arabella Isadora?</dialogue> <character>BELLA</character> <dialogue>One second, I'll get her for you.</dialogue> <scene_description>Butterfly Preble hovers around the scene.</scene_description> <character>BUTTERFLY BELLA</character> <dialogue>What are you waiting for. Go in.</dialogue> <scene_description>He doesn't budge.</scene_description> <character>BUTTERFLY BELLA</character> <dialogue>Preble!</dialogue> <scene_description>Butterfly Preble flies into the house. Bella follow, irritated.</scene_description> <character>BUTTERFLY BELLA</character> <dialogue>What are you doing? Why didn't you fly into your mouth?</dialogue> <character>BUTTERFLY PREBLE</character> <dialogue>I just...I don't know...It wasn't the right time. We'll find another way.</dialogue> <character>BUTTERFLY BELLA</character> <dialogue>What are you talking about? That was the perfect chance!</dialogue> <character>BUTTERFLY PREBLE</character> <dialogue>It's okay. I just...I just need to land here and think for a second...</dialogue> </scene> <scene> <stage_direction>INT. - MUSIC ROOM - DAY</stage_direction> <scene_description>Butterfly Preble and Butterfly Bella fly into the music room and land on a cactus in a bowl of sand. Preble and Bella talk in the background (one of the first scenes in the movie when Preble first interviews her).</scene_description> </scene> <scene> <stage_direction>EXT. - DESERT - DAY</stage_direction> <scene_description>Preble and Young Bella, standing next to a cactus, are now back to their familiar selves.</scene_description> <character>YOUNG BELLA</character> <dialogue>What the hell happened back there?</dialogue> <character>PREBLE</character> <dialogue>I don't know. I panicked. I can't explain it.</dialogue> <character>YOUNG BELLA</character> <dialogue>You had a perfect path!</dialogue> <character>PREBLE</character> <dialogue>I know. I know! I just couldn't do it. It didn't feel right.</dialogue> <character>YOUNG BELLA</character> <dialogue>Well when is it ever going to feel right?!</dialogue> <scene_description>Preble just shrugs. Young Bella looks around the desert.</scene_description> <character>YOUNG BELLA</character> <dialogue>Well what are we supposed to do now?</dialogue> <scene_description>Bella's head is large, looming in the distance. When she speaks it echoes over the land.</scene_description> <character>BELLA</character> <dialogue>You have to get to the Witch!</dialogue> <scene_description>Preble and Young Bella scan the landscape and sees desert in every direction.</scene_description> <character>PREBLE</character> <dialogue>Where's the witch?</dialogue> <scene_description>Preble looks through a telescope. We see the witch ripping out the insides of VHS tapes.</scene_description> <character>PREBLE</character> <dialogue>Oh no! She's destroying the tapes! We have to hurry!</dialogue> <scene_description>They start walking aimlessly. They walk for a few minutes. Preble puts his hand to his forehead to block the light and scans the horizon.</scene_description> <character>PREBLE</character> <dialogue>I'm so hot. I'm so thirsty.</dialogue> <scene_description>Buddy pops up in front of Preble.</scene_description> <character>BUDDY</character> <dialogue>Did somebody say thirsty?!</dialogue> <character>PREBLE</character> <dialogue>Yeah, I need water.</dialogue> <character>BUDDY</character> <dialogue>Straight from the freshest, mountain clear springs, it's new Heaven's Cascade.</dialogue> <character>PREBLE</character> <dialogue>No, nevermind. I don't need it.</dialogue> <character>BUDDY</character> <dialogue>Looks like ya need it to me, my friend. One sip and you'll hear angels singing. Heaven's Cascade, purify your thirst.</dialogue> <character>PREBLE</character> <dialogue>Bella.</dialogue> <scene_description>He notices that Bella is no where in sight.</scene_description> <character>PREBLE</character> <dialogue>Bella?</dialogue> <scene_description>Bella is gone. He sees someone in the distance.</scene_description> <character>PREBLE</character> <dialogue>Is that the witch?</dialogue> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM - NIGHT</stage_direction> <scene_description>Preble lays in the bed, blood and sweat on his forehead. Flames are creeping ever closer, almost to the bed now.</scene_description> </scene> <scene> <stage_direction>EXT. - DESERT - DAY</stage_direction> <scene_description>Preble is now dressed in a giant, ugly sweater that is way too big for him. He is sweating profusely, barely able to move. As he gets closer to the table, he sees it's Ogre Brian drinking coffee and chowing down on hot chicken wings.</scene_description> <character>PREBLE</character> <dialogue>(delirious) I'm so hot. Do you have any water.</dialogue> <scene_description>He sits down.</scene_description> <character>PREBLE</character> <dialogue>I'm so hot.</dialogue> <scene_description>He closes his eyes. Preble sits at the table across from Ogre Brian. He wipes the sweat from his brow and his hand comes back down covered in blood.</scene_description> <character>PREBLE</character> <dialogue>I'm going to die.</dialogue> <scene_description>Ogre Brian picks up a penguin toy and tosses into a toilet next to the table, then flushes it. Ogre Brian begins pouring some coffee.</scene_description> <character>PREBLE</character> <dialogue>It's too hot.</dialogue> <character>OGRE BRIAN</character> <dialogue>Drink it.</dialogue> <scene_description>Preble sips the coffee, while Brian picks up another penguin toy, same as the other one, tosses it into the toilet as well, flushes it again. Preble, weak and confused, brings his tape recorder up to his mouth and begins recording.</scene_description> <character>PREBLE</character> <dialogue>I can barely breathe I'm so hot. I'm hoping to find something to cool me down.</dialogue> <scene_description>The tape recorder is now a cherry popsicle and Preble licks it. Preble offers the popsicle to Ogre Brian.</scene_description> <character>PREBLE (CONT'D)</character> <dialogue>Would you like a lick?</dialogue> <character>OGRE BRIAN</character> <dialogue>Take off your pants.</dialogue> <scene_description>Preble is caught off guard. Things are slowing down. The cherry Popsicle is quickly melting in his hands.</scene_description> <character>OGRE BRIAN</character> <dialogue>Take off your pants so I can give you a spanking.</dialogue> <scene_description>Preble accidentally knocks his cup of coffee over. Crickets emerge from the cup and cover the table. Preble slowly rises to his feet.</scene_description> <character>PREBLE</character> <dialogue>No thank you.</dialogue> <character>OGRE BRIAN</character> <dialogue>Sit down.</dialogue> <scene_description>Preble sits back down. He has to figure out how to get away. Ogre Brian flushes another penguin toy down the toilet. This gives Preble an idea. Preble takes off the over-sized sweater and puts it in the toilet. He flushes. The sweater swirls for a moment and then gets caught. The toilet backs up and Ogre Brian's head explodes. Preble smiles before succumbing to the heat and passing out in the sand. Fade to Black.</scene_description> </scene> <scene> <stage_direction>EXT. - DESERT - DAY</stage_direction> <scene_description>Preble is laying in the sand. A tiny periscope emerges from the sand and moves towards Preble. A pink submarine surfaces from the sand and circles Preble.</scene_description> <character>TINY SUBMARINE</character> <dialogue>Captain! Captain!</dialogue> <scene_description>Preble looks down at the tiny pink submarine.</scene_description> </scene> <scene> <stage_direction>INT. - SUBMARINE - DAY</stage_direction> <scene_description>Preble, dressed in a Russian Submarine Captain's outfit, climbs down a ladder into the sub. The same rats from earlier are there, though now they are dressed in Russian sailor sweaters.</scene_description> <character>STEWART RAT</character> <dialogue>Captain, we finally found you!</dialogue> <scene_description>Preble regards Stewart Rat and nods approvingly.</scene_description> <character>RICHARD RAT</character> <dialogue>Captain, what's our course?</dialogue> <character>PREBLE</character> <dialogue>(with total determination) To the witch.</dialogue> <character>STEWART RAT</character> <dialogue>But Captain, the witch lives in the Swamp of Evaporating Snakes.</dialogue> <character>MARCUS RAT</character> <dialogue>Where all things go to be erased!</dialogue> <character>PREBLE</character> <dialogue>Do not fear men, for we have--</dialogue> <scene_description>Preble looks down at his foot.</scene_description> <character>PREBLE</character> <dialogue>My foot is on fire.</dialogue> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM - NIGHT</stage_direction> <scene_description>Flames are about to reach Preble's feet as he lays unconscious on the bed.</scene_description> </scene> <scene> <stage_direction>INT. - SUBMARINE - DAY</stage_direction> <scene_description>Preble smashes his burning foot on the ground to extinguish the flames.</scene_description> <character>PREBLE</character> <dialogue>Double speed men, balls to the wall! We're running out of time!</dialogue> </scene> <scene> <stage_direction>EXT. - DESERT - DAY</stage_direction> <scene_description>The submarine speeds up in the sand and passes old VHS tapes half buried in the sand. Eventually the sand turns into the black tape found inside VHS tapes. The submarine slowly moves through the black tape swamp.</scene_description> </scene> <scene> <stage_direction>INT. - SUBMARINE</stage_direction> <character>MARCUS RAT</character> <dialogue>Captain, we've entered the swamp.</dialogue> <character>PREBLE</character> <dialogue>Stay alert men. Things are not what they seem. The witch is near.</dialogue> <scene_description>An eerie quiet descends upon the submarine. The rat sailors look around, waiting for something to happen. Richard Rat inspects his compass.</scene_description> <character>RICHARD RAT</character> <dialogue>Napkin, I can't get a reading. The compass is going haywire.</dialogue> <character>PREBLE</character> <dialogue>Keep your wits men! We've got to stay strong!</dialogue> <scene_description>More eerie silence.</scene_description> <character>STEWART RAT</character> <dialogue>Captain it appearaeppa ti naitpac.</dialogue> <character>PREBLE</character> <dialogue>Come again Stewart?</dialogue> <scene_description>Stewart Rat's head is now slowly turning around 360°.</scene_description> <character>STEWART RAT</character> <dialogue>ohlololo ohlololo ohlololo ohlololo</dialogue> <character>PREBLE</character> <dialogue>Hmmmm.</dialogue> <scene_description>Preble glances across the submarine and observes a rat quietly beheading another rat.</scene_description> <character>PREBLE</character> <dialogue>Hmmmmmm.</dialogue> <scene_description>Preble walks over to Richard Rat.</scene_description> <character>PREBLE (CONT'D)</character> <dialogue>I've been thinking about the bubble bath. Where are the marigolds?</dialogue> <scene_description>Richard Rat morphs into a chicken. He clucks for a second before opening his beak and roaring like a T-Rex.</scene_description> <character>PREBLE</character> <dialogue>Oh dear.</dialogue> <character>MARCUS RAT</character> <parenthetical>(backwards and distorted)</parenthetical> <dialogue>sabbabhfbasuhfewinjaksnfdl</dialogue> <character>PREBLE</character> <dialogue>Of course I removed the tourniquet. It was a wonderful addition to the party.</dialogue> <scene_description>Preble wanders away, muttering to himself.</scene_description> <character>PREBLE</character> <dialogue>Getting the old job done.</dialogue> <scene_description>Preble is slowing down. All the rats are gone. Preble sits down on the submarine floor.</scene_description> <character>PREBLE (CONT'D)</character> <dialogue>Health and wholesome milk. Just a small taste is enough for me.</dialogue> <scene_description>He's now holding a glass of milk with a long straw that he puts into his mouth. He begins blowing bubbles. Close up of the bubbles.</scene_description> <character>PREBLE</character> <dialogue>If the bubbles get lost, how do they find their way home?</dialogue> <scene_description>Preble's face is being wrapped in VHS tape. Slowly, around and around, like he's in a cocoon.</scene_description> <character>PREBLE (CONT'D)</character> <dialogue>Wait now a moment! What goes on here?</dialogue> </scene> <scene> <stage_direction>INT. - PICTURE ROOM - DAY</stage_direction> <scene_description>Preble sits on the lap of Witch Martha. Preble's whole body is wrapped in VHS tape, resembling a caterpillars cocoon.</scene_description> <character>WITCH MARTHA</character> <dialogue>Calm your heart. You are going to sleep. Away from all pain. Away from all memories. I will erase you.</dialogue> <scene_description>As she says this last line she covers Preble's face in VHS tape. Static and video distortion flicker on the screen. Image of Preble walking backwards with his suitcase. Preble as a young boy running backwards. Preble as a baby going back into his mother's vagina. Preble as a fetus in his mother's womb. Static and distortion and Preble is in an endless sea of VHS tape. He struggles to stay afloat. When he goes under images flash on the screen. A high diver going back to the diving board. A flower closing. Barf going back into a mouth. Preble rips through the image and he surfaces in the room in the mansion, though now there is VHS tape everywhere. It's up to his waist. Preble is in one corner of the room and the Witch is in the other.</scene_description> <character>WITCH MARTHA</character> <dialogue>Go to sleep my darling!</dialogue> <character>PREBLE</character> <dialogue>I'm not tired!</dialogue> <scene_description>Preble charges through the tape towards the Witch. She lifts her arms up, conjuring tape that flows up like water around Preble and drags him under. More images flash on the screen. Scenes from life. A baby blowing out a candle on a cake, in reverse. A couple hugging backwards. Cars driving in reverse. VHS images breaking down and erasing and distorting all together. Lightning flashes.</scene_description> </scene> <scene> <stage_direction>INT. - MUSIC ROOM - NIGHT</stage_direction> <scene_description>A hit of loud thunder. Preble jolts awake. He's sitting in the music room, in the chair next to Bella. Sugarbaby is playing the piano.</scene_description> <character>PREBLE</character> <dialogue>Oh. Ohhhhhh. I just had quite the dream. Wow. It was so real.</dialogue> <character>BELLA</character> <dialogue>I always have vivid dreams during a lightning storm. Maybe it's all the electricity in the air.</dialogue> <character>PREBLE</character> <dialogue>But this one was SO real.</dialogue> <character>BELLA</character> <dialogue>I hope it was a nice dream.</dialogue> <character>PREBLE</character> <dialogue>Parts were nice. Yeah. But...but you were dead.</dialogue> <character>BELLA</character> <dialogue>Oh dear.</dialogue> <character>PREBLE</character> <dialogue>And then your son came and his family and I was with you and we hid in a closet and then we were on an island and then a ship with rats and then a desert and there was this witch-</dialogue> <character>BELLA</character> <dialogue>What did the witch look like?</dialogue> <character>PREBLE</character> <dialogue>She had a big nose and horrible teeth and just looked awful!</dialogue> <scene_description>Bella swivels around in the chair and it's really the Witch!</scene_description> <character>WITCH MARTHA</character> <dialogue>That's not very nice!</dialogue> <scene_description>The Witch cackles and Preble screams. The music room begins breaking down. Items in the room begin floating away and glitching out until VHS distortion takes over. Preble surfaces once more from the tape.</scene_description> <character>WITCH MARTHA</character> <dialogue>Did you think she was still alive you silly stupid boy!</dialogue> <scene_description>The Witch brings her arms up and more tape envelops Preble, dragging him under. More images. Static and video distortion and chaotic images all mixing together. We see flashes from Bella's dreams - of the Grass Man, of the Frog Waiter and then... We see Bella's father bringing out the airplane from the buffalo and holding it in his hands. (from Bella's first dream) Preble notices the airplane and grabs it from the dream. Preble reemerges right in front of the Witch. He slices with the airplane and cuts open The Witch's chest. He plunges his hand into the wound.</scene_description> <character>PREBLE</character> <dialogue>Ahhhhh!</dialogue> <scene_description>Preble removes his hand from the wound and there, in his palm, is her still beating heart.</scene_description> </scene> <scene> <stage_direction>INT. - PICTURE ROOM</stage_direction> <scene_description>The Witch collapses into the VHS tape. The tapes slither away. Preble looks down at the heart in his hand and now it's a beet. He shrugs and takes a bite.</scene_description> </scene> <scene> <stage_direction>INT. - DINING ROOM - NIGHT</stage_direction> <scene_description>Preble and Young Bella are BEETS on a plate. Around them is chicken, peas and salad. This is the dinner scene between Bella and Preble from earlier in the film. They are sitting next to each other, looking straight ahead, embarrassed, unsure. Beet Preble looks over to Beet Bella Just then a fork comes down, missing beet Preble.</scene_description> <character>BEET PREBLE</character> <dialogue>When he eats me what's going to happen to you?</dialogue> <scene_description>Beet Bella doesn't answer, she's still upset...</scene_description> <character>BEET PREBLE</character> <dialogue>Once I get back to my body, I'll be alive and you'll still be dead.</dialogue> <character>BEET BELLA</character> <dialogue>Don't worry about me.</dialogue> <scene_description>Silence for a moment. The fork comes down again and Beet Preble dives away again.</scene_description> <character>BEET PREBLE</character> <dialogue>I don't want to leave you anymore. Maybe we can just live as beets.</dialogue> <scene_description>The giant fork comes back down and Beet Bella moves so it spears her.</scene_description> <character>BEET BELLA</character> <dialogue>Take me!</dialogue> <scene_description>Beat Bella gets eaten.</scene_description> <character>BEET PREBLE</character> <dialogue>Bella no! Eat me! Come on! EAT ME!</dialogue> <scene_description>Over and over the fork comes down and takes other food away. Finally, Beet Preble is the last bit of food on the plate. The fork comes down but stops.</scene_description> <character>BEET PREBLE</character> <dialogue>No! What are you doing!</dialogue> <character>ORIGINAL PREBLE</character> <dialogue>Thank you for dinner.</dialogue> <scene_description>Original Preble leaves the room. Beet Preble is all alone on the plate. A fly lands on the plate and walks over to Beet Preble. The fly jumps onto Beet Preble's face.</scene_description> <character>BEET PREBLE</character> <dialogue>Shoo! Get out of here!</dialogue> <scene_description>Beet Preble blows but the fly does not budge. He blows again and still nothing. The fly takes a bite of the beet and Preble becomes the Fly. He flies away. FLY PREBLE looks back and sees the lone beet receding below.</scene_description> </scene> <scene> <stage_direction>97B INT. - SUGARBABY'S ROOM - NIGHT 97B</stage_direction> <scene_description>FLY PREBLE flies into a spider web in Sugarbaby's room. He gets stuck, he tries to shake himself out. To no avail.</scene_description> <character>FLY PREBLE</character> <dialogue>Well this is it. This is how it's gonna end... I know you can't hear me, but we're gonna die soon...</dialogue> <character>FLY PREBLE</character> <dialogue>I'm sorry. I screwed up. I got scared. That's no way to live, I know. She was right. I was so stupid...</dialogue> <scene_description>A shot of Preble in bed, flames ever closer... Fly Preble stuck in the web...</scene_description> <character>FLY PREBLE</character> <dialogue>I need your help. I'm just a tiny creature that needs help. I'm stuck. I swear if I just had once more chance, I wouldn't screw it up this time. If there's anyone or anything in this universe listening to me right now.</dialogue> <scene_description>A finger enters the frame and free FLY PREBLE.</scene_description> </scene> <scene> <stage_direction>INT. - MUSIC ROOM</stage_direction> <scene_description>Fly Preble flies around the music room, trying to fly into Preble's mouth. (This is the same scene from the beginning of the film when Preble has just arrived at the mansion and swats at the fly.)</scene_description> <character>FLY PREBLE (SCREAMING)</character> <dialogue>Open my mouth! OPEN MY MOUTH!</dialogue> <scene_description>Preble's hand hits Fly Preble in slow motion. Fly Preble hurtles through the air, out of control.</scene_description> <character>FLY PREBLE</character> <dialogue>Ahhhhh!!!</dialogue> <scene_description>Now it's actually Preble falling through an endless blue sky. He lands on a giant piano key and a single note rings out. We see the scene from earlier when Bella says:</scene_description> <character>BELLA</character> <dialogue>Sometimes they play themselves.</dialogue> <scene_description>Preble stands up on the piano key and begins running. Slowly the piano keys change into a snowy tundra. Preble is dressed in furs, running through a blizzard.</scene_description> </scene> <scene> <stage_direction>EXT. - MOON - NIGHT</stage_direction> <scene_description>The blizzard calms down and reveals a sky of endless stars. The frozen snowy ground is now the surface of the moon. Preble keeps trudging along and in the distance sees a small building next to a giant radio tower. The tower is sending bright colors up into the sky. Preble approaches the building and enters.</scene_description> </scene> <scene> <stage_direction>INT. PINK ROOM - NIGHT</stage_direction> <scene_description>Preble walks through a door and quickly realizes... It's the Pink Room.</scene_description> <character>BUDDY</character> <parenthetical>(from offscreen)</parenthetical> <dialogue>I've been looking for you.</dialogue> <scene_description>Preble looks over startled. Buddy is there sitting in a chair blocking a door. He looks more real now. He doesn't say anything. It's unsettling.</scene_description> <character>BUDDY</character> <dialogue>I know what you did.</dialogue> <character>PREBLE</character> <dialogue>I don't want you here.</dialogue> <character>BUDDY</character> <dialogue>That's no way to talk to an old friend.</dialogue> <character>PREBLE</character> <dialogue>You're not my friend.</dialogue> <character>BUDDY</character> <dialogue>No?</dialogue> <scene_description>Buddy looks over to the wall. Preble hears a sound. The walls of the room start to move in. The room is rapidly shrinking. Preble panics.</scene_description> <character>BUDDY</character> <dialogue>When you were hungry, I gave you food. (pause for effect) When you were thirsty, I gave you drink. (beat) When you were sick, I made you well.</dialogue> <scene_description>As Buddy says these lines, food, drinks, and other branded objects start to materialize and fill the now tiny pink room. The objects are the normal shapes of household items we recognize, but are all painted bright colors.</scene_description> <character>PREBLE</character> <dialogue>Buddy stop it!</dialogue> <scene_description>More products surround Preble, creating a layer that covers the entire room...</scene_description> <character>PREBLE</character> <dialogue>I don't want any of this!</dialogue> <character>BUDDY</character> <dialogue>But you wanted it before.</dialogue> <character>PREBLE</character> <dialogue>Did you give me a choice?!</dialogue> <character>BUDDY</character> <dialogue>I just gave you what you wanted.</dialogue> <scene_description>The room keeps shrinking, and the products keep piling up, starting to crawl up past Preble's head. Preble begins to thrash around...</scene_description> <character>PREBLE</character> <dialogue>Buddy I can't breathe!</dialogue> <character>BUDDY</character> <parenthetical>(holding up a plastic bottle)</parenthetical> <dialogue>New PureAir™. 100% naturally sourced Oxygen for all of your respiratory needs.</dialogue> <scene_description>Preble is now completely submerged in products. He gasps for air.</scene_description> <character>BUDDY</character> <dialogue>You need more. (beat) You need me.</dialogue> <scene_description>With his last breath, Preble yells out...</scene_description> <character>PREBLE</character> <dialogue>Bella!</dialogue> <scene_description>When he says this, it rings out. Then all goes quiet. Every centimeter in the room is covered with products. All hope is lost. For a good five or six seconds, we watch the top of the garbage pile with no sign of life. Then all of a sudden, a hand punches up triumphantly through the trash, holding the ad-blocker. Music begins... The hand starts walking toward where we last saw Preble. Eventually we see who the hand belongs to, as she emerges from the trash...</scene_description> <character>YOUNG BELLA</character> <dialogue>Preble!</dialogue> <scene_description>She desperately searches for Preble.</scene_description> <character>YOUNG BELLA</character> <dialogue>Preble, where are you?!</dialogue> <scene_description>After several frantic seconds, she feels something in the heap. She shoves aside enough trash to get some room, and confirms its Preble that she's found. She grabs him and maneuvers him to a position where she can place the ad-blocker helmet on his head. She throws on the helmet...</scene_description> <character>YOUNG BELLA</character> <dialogue>Breathe, Preble! Breathe!</dialogue> <scene_description>Lights begin to flash on the helmet.</scene_description> <character>YOUNG BELLA</character> <dialogue>Breathe! You're okay. Just breathe!</dialogue> <scene_description>An enormous 'booting up' type sound begins to rumble through the room... And then it begins... All the trash begins to be sucked away. It's a mess of images… hard to see what's going on… Until eventually we begin to make out Preble laying in the lap of Young Bella. He's still passed out, but all the trash is gone, and we're back to the normal sized pink room.</scene_description> <character>YOUNG BELLA</character> <dialogue>Wake up. Wake up, Preble.</dialogue> <scene_description>Finally, Preble comes to. He looks up at Bella and smiles. They kiss. But before long, they begin to hear a disturbing sound... Buddy is cowering in the corner. He's glitching out.</scene_description> <character>BUDDY</character> <dialogue>Preble. Don't do this.</dialogue> <scene_description>Preble sits up and turns toward Buddy. He makes intense eye contact with him. Then adjusts a dial on the ad blocker and Buddy glitches out even more.</scene_description> <character>BUDDY</character> <dialogue>Preble. Stop.</dialogue> <scene_description>Preble adjusts the dial again and Buddy glitches once more.</scene_description> <character>BUDDY</character> <dialogue>No.</dialogue> <scene_description>Preble reaches his hand to the dial one more time and turns it. All goes quiet and we hear Buddy's last line:</scene_description> <character>BUDDY</character> <dialogue>What planets will I be?</dialogue> <scene_description>Buddy explodes into a thousand blue pixels. The room is quiet. Celebratory music begins... Young Bella helps Preble to his feet and they walk through a door.</scene_description> </scene> <scene> <stage_direction>INT. BROADCAST ROOM - NIGHT</stage_direction> <scene_description>Young Bella and Preble walk into a large room, where a group of people and creatures are cheering and smiling and shooting confetti into the air. It's a big celebration. Everyone we've seen in the movie is there: Bella's Dad, The Frog Waiter, The Rat Sailers, The Blue Demon, and a few characters we have not even seen yet like Sylvio, Herpert Herpels, and Fanny. They break off into two lines, forming a tunnel in between them. Young Bella and Preble are led through, and they can't help but get caught up in the reverie even though they don't know exactly what's going on. They pass Bella's father who says:</scene_description> <character>FATHER</character> <dialogue>Hello Bella, I'm so proud of you.</dialogue> <scene_description>After awhile, they look up and see an unsettling sight… It's Bella's son, Peter, but he has a different air about him. He's all smiles and warmth...</scene_description> <character>PETER</character> <dialogue>Hello Mother!</dialogue> <scene_description>Young Bella smiles in disbelief.</scene_description> <character>YOUNG BELLA</character> <dialogue>Peter?</dialogue> <character>PETER</character> <dialogue>I'm so sorry for everything. I love you so so SO much.</dialogue> <scene_description>For a moment we see Bella as the older version of herself. She smiles and a single tear falls out of her eye. Peter smiles and Bella is young again. Peter and Young Bella embrace. When they pull apart Peter looks at Preble.</scene_description> <character>PETER</character> <dialogue>Hello Preble. It's time to go home.</dialogue> <scene_description>Preble looks at Young Bella and then at Peter. A giant glowing orb is behind Peter.</scene_description> <character>PETER</character> <dialogue>Step right up. The rides about to begin.</dialogue> <scene_description>Preble and Bella step into the orb.</scene_description> <character>PETER</character> <dialogue>Please keep your hands inside the ride at all times and don't forget to have fun!</dialogue> <scene_description>Everyone in the room has moved around them as the orb begins to float away.</scene_description> </scene> <scene> <stage_direction>EXT. - MOON - NIGHT</stage_direction> <scene_description>When Preble and Young Bella hit the top they becomes a colorful comet of energy and are shot out into space.</scene_description> </scene> <scene> <stage_direction>EXT. - SPACE - NIGHT</stage_direction> <scene_description>COMET PREBLE and COMET BELLA, comet's with faces on them, are speeding faster and faster towards Earth. Flames begin to form around them as they pass into Earth's atmosphere.</scene_description> <character>COMET PREBLE</character> <dialogue>He tricked us! This isn't the way home! We're disintegrating!</dialogue> <character>COMET BELLA</character> <dialogue>No! I don't believe that!</dialogue> <character>COMET PREBLE</character> <dialogue>I can feel the fire. It's overtaking me. I can't stop it.</dialogue> <character>COMET BELLA</character> <dialogue>Fight it Preble!</dialogue> <character>COMET PREBLE</character> <dialogue>I can't!</dialogue> <character>COMET BELLA</character> <dialogue>Yes you can!</dialogue> <character>COMET PREBLE</character> <dialogue>Goodbye Bella! I'm melting!</dialogue> <scene_description>Comet Bella has been disintegrating at a more rapid pace and she is almost gone.</scene_description> <character>COMET BELLA</character> <dialogue>Melting! That's it! The ice cream cone...</dialogue> <scene_description>Comet Bella turns to a single flake of dust and is gone.</scene_description> <character>COMET PREBLE</character> <dialogue>Ice cream cone? What ice cream cone?</dialogue> <scene_description>Suddenly he gasps! He knows what to do! He begins to steer himself as a rapidly dwindling fireball. Triumphant music begins.</scene_description> <character>COMET PREBLE</character> <dialogue>Ahhhhhhhhhhhhhhhhhhhh!</dialogue> <scene_description>Comet Preble shoots through the atmosphere.</scene_description> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM</stage_direction> <scene_description>CLOSE UP of Preble's face in bed. Fire is so close to burning him.</scene_description> </scene> <scene> <stage_direction>EXT. - SPACE - NIGHT</stage_direction> <scene_description>Comet Preble is disintegrating as the dark of space is turning into dark blue and then light blue as we're getting closer to Earth. Eventually the comet is just a speck of dust.</scene_description> </scene> <scene> <stage_direction>EXT. - FRONT PORCH - DAY</stage_direction> <scene_description>The speck that was once Preble lands on top of the strawberry ice cream that Bella gives Preble from the very first scene of the film. Super CLOSE UP, SLOW MOTION shot of Preble's tongue licking the ice cream.</scene_description> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM - NIGHT</stage_direction> <scene_description>Preble wakes up in the bedroom, fire burning all around him. He's back in his body! He groggily touches his head and jumps out of the bed. He stumbles out of the room.</scene_description> </scene> <scene> <stage_direction>INT. - MUSIC ROOM - NIGHT</stage_direction> <scene_description>Preble runs downstairs, and sees Sugarbaby sitting on the aquarium on top of the piano. He grabs the turtle.</scene_description> </scene> <scene> <stage_direction>INT. - FRONT DOOR - NIGHT</stage_direction> <scene_description>Preble, holding Sugarbaby, tries to open the front door but it's locked. He kicks at it. It won't budge. He looks around, unsure of what to do. Smoke is filling up around him. A quick flash of one of Rat Sailors, wearing an ad-blocker helmet.</scene_description> <character>RICHARD RAT</character> <dialogue>Here Captain, I've got the key!</dialogue> <scene_description>The Rat Sailor holds up a huge, over sized key.</scene_description> </scene> <scene> <stage_direction>INT. - DINING ROOM - NIGHT</stage_direction> <scene_description>Preble runs into the room, he breaks the glass around the rat skeleton and grabs the key.</scene_description> </scene> <scene> <stage_direction>INT. - FRONT DOOR - NIGHT</stage_direction> <scene_description>Preble, still holding Sugarbaby, unlocks the front door and exits the house.</scene_description> </scene> <scene> <stage_direction>EXT. - OUTSIDE MANSION - NIGHT</stage_direction> <scene_description>Preble runs out of the house, coughing. He places Sugarbaby on the ground so he can catch his breath. He looks up at the house as it burns. CU of Preble's face with fire reflecting on it. He stands there a moment. Then all of the sudden without explanation, he takes off on a sprint back to toward the house...</scene_description> </scene> <scene> <stage_direction>INT. - STAIRS - NIGHT</stage_direction> <scene_description>Preble runs back up the stairs through the fire.</scene_description> </scene> <scene> <stage_direction>INT. - SUGARBABY'S ROOM - NIGHT</stage_direction> <scene_description>Evading flames all the way, Preble runs back into the burning room and grabs the VHS tape Bella gave him the night she died, and the ad blocker helmet. Then runs back. Out of the room. Down the stairs. Before he leaves he looks over into the music room and sees a VHS tape man standing there. The statue turns and looks at Preble through the smoke. And then Preble is out of the house.</scene_description> </scene> <scene> <stage_direction>EXT. - OUTSIDE MANSION - CONTINUOUS</stage_direction> <scene_description>Holding the ad blocker, the last VHS tape, and Sugarbaby, Preble watches the house burn.</scene_description> </scene> <scene> <stage_direction>INT. - PREBLE'S APARTMENT - NIGHT</stage_direction> <scene_description>CU of Sugarbaby eating a strawberry. Preble, with a bandage around his head, stands next to Sugarbaby, watching him eat. He pats Sugarbaby on his head and then walks over to his desk. He sits down and picks up the ad blocker helmet. He turns it around in his hands, studying it. He turns a switch and a light begins to blink. He turns it off and sets it back down. Next he picks up the tape that Bella gave him the night she died. He puts it into his VCR and presses play.</scene_description> </scene> <scene> <stage_direction>EXT. - FRONT PORCH - DAY</stage_direction> <scene_description>CU of Preble's face with grass around it. Young Bella helps him removes the layers of grass from the rest of his body. They smile back and forth and walk into the house together. A few VHS Tape Characters enters the frame and walk into the house.</scene_description> </scene> <scene> <stage_direction>EXT. - OUTSIDE MANSION</stage_direction> <scene_description>Cut to wide shot of Strawberry Mansion atop the hill. Fifty VHS Tape Characters walk up the hill towards the house. Clouds drift through the sky. Two butterflies flutter into view and then are gone.</scene_description> <character>CUT TO BLACK</character> <dialogue>THE END</dialogue> </scene> </script>

In 2035, society's dreams are taxed by the government, which has mandated increased surveillance measures upon the general public. Government agent James Preble travels to the countryside home of the elderly Arabella Isadora, an artist who lives alone with her pet tortoise Sugar Baby in the self-titled Strawberry Mansion. Arabella's dreams are stored on a vast library of VHS tapes, which Preble reviews to conduct an audit; at Bella's insistence, he stays in her guest room. In his dreams, he regularly spends his time in a pink room with Buddy, who presents him with commercial products; one such session is interrupted by a younger apparition of Bella. During his audit, Preble begins to fall in love with the younger Bella; he grows closer to her in the real world, and she reveals that the government allows advertisers to transmit ads to a person's dreams. She presents him with homemade headgear designed to hold them off; it successfully defends against Buddy. Sometime later, she dies peacefully and is discovered by Preble. Bella's estranged son Peter Bloom arrives with his wife, Martha, and son, Brian, to handle Bella's affairs. Peter suggests to Preble that he is finished his audit and may now leave. A suspicious Preble discovers Martha and Brian destroying the VHS tapes mid-audit and declares it a federal offense, angrily informing Peter that he will have to notify his superiors; Peter responds by later knocking him unconscious with a bowling pin. Preble vividly dreams of himself being chased around the house by exaggerated incarnations of the Blooms before he is rescued by the younger Bella. They escape to a small island, where they sustain and entertain themselves for a long time. Eventually, Bella reveals that Peter is the CEO of the country's largest advertisement corporation and that his knowledge of the dream-infiltrating advertisement scheme has placed him in danger. Various incarnations of Buddy appear and Preble wakes up; Peter knocks him out a second time and sets the room on fire; he and the family leave Preble to die. Preble reawakens in his dream as the captain of a ship, helmed by two humanoid sailor rats, Richard and Marcus Rat. For the next seven years, they sail the seas in search of Bella, but the Rats eventually begin to question the mission's viability. As the fire in his room picks up, a giant Blue Demon attacks the ship at sea. Preble's surroundings dissolve around him and he dines with the normal-sized Blue Demon, who is keeping Bella in servitude. After the Demon goes to bed, Preble frees Bella and they escape back to the island. Bella warns him that he cannot stay with her for much longer, as he will soon die from the fire if he does not wake up. At her insistence, Preble turns into a caterpillar and spends the next several centuries traversing the earth, finally arriving at his pink room. He is confronted by a wrathful Buddy, but Bella arrives to help Preble overpower and ultimately vanquish him. Preble and Bella are bid farewell by a sendoff party of all of the dream's characters; an apparition of Peter warmly greets and apologizes to both of them. They float off into space but find themselves disintegrating as Preble's mind continues to feel the fire's heat. Preble awakens and escapes the house, but reenters to retrieve the headgear, Sugar Baby, and a tape. Preble sorrowfully watches Strawberry Mansion burn down. Upon returning home, Preble reminisces on the VHS tape, the contained dream of which shows Bella on a date with a mysterious grass man; Bella eventually brushes off the grass to reveal Preble underneath. The film ends with the two of them walking hand-in-hand to Strawberry Mansion.

All of Us Strangers_2023

tt21192142

<script> <scene /> <scene> <stage_direction>INT. ADAM'S APARTMENT - DUSK</stage_direction> <scene_description>A view of London stretches south past half-built tower blocks rising above the Victorian housing stock. This is the view from inside an apartment, twenty-seven floors up. As twilight comes, our focus shifts to Adam \[45\] gazing out the window. Something on the horizon catches his attention. It looks like the glint from a shard of glass or the light from a distant star: a guide, maybe a warning.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S APARTMENT - TWILIGHT</stage_direction> <scene_description>Adam wakes on the sofa, woozy from a dream. It is silent in the room; the sound of the city blocked by the triple- glazed glass. His flat is comfortable and well-looked after. Furniture is all carefully selected and the shelves are lined with books, DVDs and records. Adam lies still for a while, more than a while, watching light fade from the room. He sits up, switches on a lamp. His stomach grumbles. He looks down at his hands resting on his belly and rubs his thumb gently against his finger. The room is quiet enough to hear the sound of skin stroking skin, such a strange, sensual sound.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S APARTMENT - NIGHT</stage_direction> <scene_description>Adam opens the fridge door, the "buzz" of the appliance loud in the silence. There's nothing to tempt him, just leftovers and soggy salad in bags. He takes out his phone and orders from his 'favourites'. Suddenly, the building's fire alarm comes on, a howl in the silence. Adam contemplates whether to ignore it.</scene_description> </scene> <scene> <stage_direction>INT. TOWER CORRIDOR - NIGHT</stage_direction> <scene_description>The alarm is louder now. Adam walks the long corridor to the elevator knocking gently on each door that he passes. He doesn't pause for an answer. He knows no-one is in.</scene_description> </scene> <scene> <stage_direction>INT. TOWER ELEVATOR - NIGHT</stage_direction> <scene_description>The alarm continues as Adam descends to the ground floor, his reflection thrown into infinity by the mirrors lining the walls.</scene_description> </scene> <scene> <stage_direction>INT. TOWER LOBBY - NIGHT</stage_direction> <scene_description>The lift doors open. Adam passes rarely-used sofas, the rolling news playing on a large TV. There's no security guard at the desk. Blue lights from a police car travel across the wall and onto Adam. He turns to look for the car through the large glass windows but it has already passed.</scene_description> </scene> <scene> <stage_direction>I/E. TOWER - CONTINUOUS</stage_direction> <scene_description>Adam heads through the doors into the landscaped gardens secured by a metal perimeter -- the meeting point in case of a fire. He's the only one to have left the building. There are signs of construction everywhere, new towers going up, but the cranes are still. Hoardings on his own block promise community through mocked-up photos of friends gathering in apartments and drinking on a roof terrace. Adam cranes his neck to look up at his building. There are few signs of life but Adam spots a faint glow on the sixth floor, the flickering light of a television. In that glow he sees the shape of a man. Watching him. The alarm suddenly stops. Calm is restored. Adam's phone pings. He checks the app: food is getting close. When he looks back at the window, the man is gone.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S APARTMENT - NIGHT</stage_direction> <scene_description>Sweet &amp; sour pork balls lie half-eaten on the counter as Adam watches HELLRAISER by Clive Barker (1987), a classic (queer) horror with a soaring score. He is loading his vape with weed when the doorbell rings; an ugly, glitchy sound as if rarely used. He pauses the DVD. Adam is not expecting anyone.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S APARTMENT / CORRIDOR - NIGHT</stage_direction> <scene_description>Adam opens the door to find a man in his twenties holding a half-empty bottle of whisky, shit-faced drunk, his eyes tired and heavy. This is HARRY (28). He wears a green sweatshirt with stains on the front. The corridor is quiet but for an extractor fan somewhere in the building, humming, groaning.</scene_description> <character>HARRY</character> <dialogue>Hello.</dialogue> <character>ADAM</character> <parenthetical>(cautiously)</parenthetical> <dialogue>Hi.</dialogue> <character>HARRY</character> <dialogue>I saw you looking at me from the street. I've seen you a bunch of times, coming and going with your head down. One day it will be for real, that alarm.</dialogue> <scene_description>Harry looks down the corridor towards the elevator. They can hear it open and close but no-one get outs.</scene_description> <character>HARRY</character> <dialogue>We're basically the only ones here. Can you fucking believe it? They still haven't got a security guard yet.</dialogue> <scene_description>He turns back towards Adam, anxious in Harry's presence, not wanting to engage.</scene_description> <character>HARRY</character> <dialogue>I'm Harry.</dialogue> <scene_description>CONTINUED: He smiles, offers up his hand. Adam has no option but to shake it.</scene_description> <character>ADAM</character> <dialogue>Adam.</dialogue> <scene_description>The extractor fan stops. Harry searches for the source of the missing sound.</scene_description> <character>HARRY</character> <dialogue>How do you cope?</dialogue> <character>ADAM</character> <dialogue>With what?</dialogue> <character>HARRY</character> <dialogue>Listen?</dialogue> <scene_description>They both listen. Silence.</scene_description> <character>HARRY</character> <dialogue>It's so quiet. London's out there but we can't hear a fucking thing.</dialogue> <scene_description>Harry edges closer, almost conspiratorially. Adam backs away.</scene_description> <character>HARRY</character> <dialogue>I play music but it's worse when it ends. I even bought one of those white-noise machines. It's like someone's in the corner of the room, whispering about me. We can't even open the windows but I guess they don't want us to jump. Bad for business, bodies broken on the concrete. Who's gonna move in then? You want a drink? It's Japanese.</dialogue> <scene_description>Harry lifts up the bottle. He really does seem fucked. Adam wants him gone.</scene_description> <character>HARRY</character> <dialogue>It's meant to be the best in the world but I couldn't tell you why.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>ADAM</character> <dialogue>No thanks.</dialogue> <scene_description>Harry looks at him for longer than is comfortable.</scene_description> <character>HARRY</character> <dialogue>How about I come in anyway? If not for a drink then for whatever else you might want.</dialogue> <scene_description>There is a desperation to Harry's tone that is unnerving, his sexual intention clear.</scene_description> <character>ADAM</character> <dialogue>I don't think that's a good idea.</dialogue> <character>HARRY</character> <dialogue>Do I scare you?</dialogue> <character>ADAM</character> <dialogue>Excuse me?</dialogue> <character>HARRY</character> <dialogue>We don't have to do anything if I'm not your type.</dialogue> <parenthetical>(leaning in)</parenthetical> <dialogue>There's vampires at my door.</dialogue> <scene_description>What a strange thing to say. Adam closes the door in his face. Adam waits, uneasy. He puts his ear to the door. Harry's still there.</scene_description> <character>HARRY</character> <dialogue>Everyone is meant to be kinder nowadays but surprise fucking surprise, nothing has changed.</dialogue> <scene_description>Adam feels a stab of guilt, Harry's as alone as him, but he waits and waits until he is sure Harry is gone. When he finally opens the door, the corridor is empty. Adam closes and double locks the door.</scene_description> </scene> <scene> <stage_direction>EXT. TOWER - NIGHT</stage_direction> <scene_description>From the vantage point of a half-built tower, we zoom out as Adam walks to the window, taking a long drag on his vaporizer. CONTINUED: Pulling out further, we reveal Harry's apartment on the sixth floor, the television still on. Harry is by the window finishing off his whisky. He starts to scream at the top of his lungs. Only no one can hear him through the triple-glazed windows. Not Adam. Not even us.</scene_description> </scene> <scene> <stage_direction>EXT. TOWER - DAY</stage_direction> <scene_description>Harsh cut to a new day, the sun watery, a warm summer morning.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S APARTMENT - DAY</stage_direction> <scene_description>Adam flicks through his eclectic LP collection ordered by the year of release. The sleeves become more battered and torn as he goes back through time. He picks THE CIRCUS by ERASURE (1987). On the inside of the album sleeve is some handwriting, a little childish. It says 'Dec 1987'. The title track plays as Adam sits at his desk trying to write a script. His fingers rest on the keys but nothing comes. The flash of the cursor taunts him, hovering like a heartbeat over the start of a scene.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S APARTMENT - DAY TO DUSK</stage_direction> <scene_description>Adam opens the top cupboard -- a place for comfort food. Devonshire Custard. Rice Pudding. He takes out a pack of Ginger Nuts and opens them. He eats two in quick succession, wiping the crumbs from his sweatshirt which fall to the floor with a sprinkle. As the sun sets, Adam stands by the window. He sees Harry sitting in the garden below. He looks forlorn, all alone down there.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S BEDROOM - NIGHT</stage_direction> <scene_description>A white noise machine plays the sound of the wind. Adam lies in bed, half-awake, half-asleep; that time of night when nothing feels entirely real. With a remote control, he raises the blinds just enough to see the horizon of the city. There is that glint, that shard of light beckoning him.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S APARTMENT - DAY</stage_direction> <scene_description>Adam takes a piss, a shower. He makes coffee. At his desk near the window he types on his laptop, looser and more curious. EXT. SUBURBAN HOUSE. 1987. He sits back, looks at the words, his cursor spiralling around the screen. He doesn't know what to write next.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S BEDROOM - DAY</stage_direction> <scene_description>Adam pulls out a plastic storage box from under his bed, the lid covered with a layer of dust. Inside are hundreds of old photos, random snapshots of a life. Adam flicks back through time as he did with the record sleeves; back through drunken moments in the noughties, university in the nineties, school in the eighties, long- vanished enemies and friends. There are other things in the box too: a few old birthday cards. Aged 10. Aged 11. Adam opens one, it says simply 'Love from Mum and Dad'. Some diaries, school exercise books, some of them backed with old wallpaper to stop them falling apart. Some sugar packets from an American themed Restaurant. And a chrome RONSON VARAFLAME lighter. Adam tries it. It doesn't work. Then he finds what he's looking for: a photo of himself aged about two sitting in a red pedal car in the front garden of a semi-detached suburban house, his mother by his side. It looks like the late seventies. Adam smiles softly but not sadly.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S BEDROOM - DAY</stage_direction> <scene_description>Adam stands at the window in his bedroom. There is no sign of Harry this time but his attention drifts to a train heading away from the half-built tower blocks. He can almost hear the soothing rhythm of the carriage on the tracks.</scene_description> </scene> <scene> <stage_direction>INT. TRAIN - DAY</stage_direction> <scene_description>Adam is on the train. The carriage is quiet. The sunlight flashes through the window. He closes his eyes and feels the warmth on his face.</scene_description> </scene> <scene> <stage_direction>EXT. SANDERSTEAD STATION - DAY</stage_direction> <scene_description>Sanderstead is a suburb thirty minutes from London just south of Croydon. It is small and conservative but not particularly wealthy. Adam stands on the platform as the train pulls away. The station is quiet, only a few people around. It all seems familiar to Adam yet only half-remembered.</scene_description> </scene> <scene> <stage_direction>EXT. ALLEYWAY - DAY</stage_direction> <scene_description>Adam walks down a long ginnel flanked by wooden fences, taller than he remembered. There is a sweet melancholy that comes from being back. He hears voices behind him, some kids, but when he turns around, no one is there.</scene_description> </scene> <scene> <stage_direction>EXT. FAMILY HOME - DAY</stage_direction> <scene_description>Adam stands outside a small semi-detached house with a garage and a low-hedged front garden. He takes a photo from his pocket, the one with his mother and the little red car. Is this even the same house? There is now white render on the brick walls, and the window frames, once green, are black. There is even a new tree reaching as high as the roof. CONTINUED: Adam notices a YOUNG BOY watching from a bedroom window. It is hard to see him clearly. A WOMAN appears behind the boy, raises her middle finger and shoos Adam away.</scene_description> </scene> <scene> <stage_direction>EXT. HIGH STREET - LATE AFTERNOON</stage_direction> <scene_description>Adam walks along the high street: 1950's architecture, mock-Tudor, mediocre shops on the street level. Adam is caught by a scent sparking a memory.</scene_description> </scene> <scene> <stage_direction>EXT. SANDERSTEAD PARK - AFTERNOON INTO DUSK</stage_direction> <scene_description>Adam eats his chips at a picnic table near a playground. He flicks through a handful of photos brought with him, mainly of him and his Mum. In one photograph, Adam finds his 7-YEAR-OLD-SELF on a swing in the same playground where he sits now. Eating the same soggy chips. Adam walks through the park as the sun falls. TEENAGERS sit on rugs drinking beer. Some LADS kick a ball around. Somewhere is a game of cricket. He reaches a line of swaying trees, the wind picking up. Adam walks through the tree-line to find the landscape drop away with a distant view to London. Adam has no memory of this place. He sits on the ground as the sun sets. He watches the grass blow in the breeze. Suddenly the wind stops. A stillness falls. Adam turns around, sensing he's being watched. At the tree-line, he finds a MAN, younger than Adam, watching him. It is hard for him to see his face, the light obscure, but Adam feels a rush of adrenaline, a tingle of fear. With a subtle gesture, the man beckons Adam to follow as he walks back through the trees, the wind returning. Adam hesitates, then gets up. As Adam follows him from a distance, the light continues to fade, turning bluer and darker. Adam can't get a good look of his face. Before too long, the man arrives at the park gates. CONTINUED: He stops. Turns back to Adam. Their eyes lock. The blood drains from Adam's face. Surely it can't be him? The man smiles, then crosses the road.</scene_description> </scene> <scene> <stage_direction>EXT. SANDERSTEAD HIGH STREET - TWILIGHT</stage_direction> <scene_description>Close to darkness now. The street-lights come on. Adam crosses the road as the man heads into an off-license. Adam approaches and cautiously peeks through the window, the dirty glass distorting the man's face. A car alarm goes off and Adam turns to find the source. When he looks back to the shop, the man is standing in front of him. He has a bottle of whisky (Bells, 1980's label) and a packet of fags (purple Silk Cut, 1980's label).</scene_description> <character>MAN</character> <dialogue>Hi.</dialogue> <scene_description>The man offers Adam a cigarette. Adam shakes his head as if in a dream. The man lifts up the bottle.</scene_description> <character>MAN</character> <dialogue>I thought something strong might be good for a night like this.</dialogue> <scene_description>Adam tries to speak but no words come. The man smiles and lights a cigarette (with the lighter from Adam's box under the bed). He exhales a smoke ring into the air. Adam follows it skyward.</scene_description> <character>MAN</character> <dialogue>Shall we go?</dialogue> <character>ADAM</character> <dialogue>Where?</dialogue> <character>MAN</character> <dialogue>Home, of course.</dialogue> </scene> <scene> <stage_direction>EXT. SUBURBAN STREET - TWILIGHT</stage_direction> <scene_description>The man flicks the butt of his fag onto the ground. He stamps on it with his trainers, eighties in style. CONTINUED: They have arrived back at the house from the photograph, but the red pedal car from his childhood is now there. A wooziness builds.</scene_description> <character>MAN</character> <dialogue>She's gonna be over the moon to see you.</dialogue> <scene_description>The man knocks on the door. A car passes, an old Granada looking like new. The front door opens but from where Adam stands he can't see who it is.</scene_description> <character>MAN</character> <dialogue>Guess who I found loitering in the park?</dialogue> <character>WOMAN</character> <dialogue>Surprise me.</dialogue> <scene_description>Adam recognizes the voice instantly. His eyes fill with tears. As the woman pops her head around the corner, we recognize her too. She is the woman from the photo. His mother. Only younger than Adam. And if this is his mother, then this man must be his Dad. She looks at Adam, unsure it's really him.</scene_description> <character>MUM</character> <dialogue>Is it him?</dialogue> <character>DAD</character> <dialogue>It's definitely him. Look at the eyes.</dialogue> <scene_description>Then suddenly, she sees.</scene_description> <character>MUM</character> <dialogue>Yes.</dialogue> <parenthetical>(she smiles)</parenthetical> <dialogue>It is you.</dialogue> <character>ADAM</character> <dialogue>Hi.</dialogue> <character>MUM</character> <dialogue>Don't just stand there. Get yourself inside.</dialogue> <scene_description>CONTINUED: (2) Adam doesn't even hesitate. He steps inside as if in a trance. His 'mother' shuts the door behind him as we pull out wide to reveal the house. It looks different now (just for now), the white render gone, the window frames now green, and an orange Cortina parked in the drive.</scene_description> </scene> <scene> <stage_direction>INT. FAMILY KITCHEN - NIGHT</stage_direction> <scene_description>The room feels like it belongs in the mid-eighties. Adam sits at the kitchen table as his Mum gets a packet of KP dry roasted peanuts from the cupboard and puts them in a bowl. His Dad gets some glasses and opens the whisky. He pours the largest for Adam.</scene_description> <character>DAD</character> <dialogue>So where are you living now? Not round here that's for sure.</dialogue> <character>ADAM</character> <dialogue>I'm in London.</dialogue> <character>MUM</character> <dialogue>How fancy.</dialogue> <character>DAD</character> <dialogue>Whereabouts?</dialogue> <character>MUM</character> <dialogue>Do you live by yourself?</dialogue> <scene_description>Adam downs his whisky in one. His Dad pours him another. His mother joins them at the table with the peanuts but no-one touches them.</scene_description> <character>DAD</character> <dialogue>Do you own your own place?</dialogue> <character>ADAM</character> <dialogue>It's just a flat.</dialogue> <character>DAD</character> <dialogue>I knew it!</dialogue> <parenthetical>(to his wife)</parenthetical> <dialogue>I told you he'd have done well.</dialogue> <scene_description>CONTINUED:</scene_description> <character>DAD</character> <dialogue>It can't be cheap living up there in the smoke.</dialogue> <character>MUM</character> <dialogue>What do you do?</dialogue> <character>ADAM</character> <dialogue>I'm a writer. I'm not particularly rich though, not really.</dialogue> <character>MUM</character> <dialogue>A writer?</dialogue> <parenthetical>(to her husband)</parenthetical> <dialogue>And what did I tell you?</dialogue> <scene_description>His mother cannot control her excitement. She jumps up and kisses Adam over and over again on the top of his head like he was a child, her child. He can't help but laugh, finally relaxing a little.</scene_description> <character>MUM</character> <dialogue>I always knew you'd be creative. What kind of writer? You know how I love Stephen King. Carrie, Cujo, Different Seasons.</dialogue> <character>ADAM</character> <dialogue>I'm not a proper writer. I write scripts, a few films. TV when I have to.</dialogue> <character>MUM</character> <dialogue>This is so bloody exciting. If I knew the neighbours I'd run over and tell them right now.</dialogue> <scene_description>She sits back down.</scene_description> <character>DAD</character> <dialogue>I've always said that writers know less about the real world than almost anyone else.</dialogue> <scene_description>He winks at his son to let him know he not serious; it's to wind up his wife. She bashes her husband on the arm.</scene_description> <character>MUM</character> <dialogue>What the hell do you know? You can barely write joined-up.</dialogue> <scene_description>CONTINUED: (2) Adam smiles at this gentle mocking. It brings him back. His mum takes a cigarette and lights it, inhaling deeply.</scene_description> <character>MUM</character> <dialogue>A writer. Our son.</dialogue> <scene_description>That hits Adam squarely between the eyes. His Dad reaches over and places his hand on his.</scene_description> <character>DAD</character> <dialogue>We're very bloody pleased to see you doing so well.</dialogue> <scene_description>Adam looks down at his hand. It stays there long enough for Adam to experience his touch, his Dad's thumb gently stroking his skin. Then he reaches for the whisky.</scene_description> <character>DAD</character> <dialogue>But enough of that poofy stuff. Our boy is home so let's get fucking drunk.</dialogue> <scene_description>The 'poofy' remark lands on Adam but he ignores it. He swigs down his whisky and hands the glass back for more.</scene_description> </scene> <scene> <stage_direction>INT. FAMILY KITCHEN - NIGHT</stage_direction> <scene_description>Adam lets the night wash over him. They are all drinking more and more. Still no-one eats the peanuts. Adam stays quiet, enjoying their stories of him as a little boy. We hear snippets. Like overlapping dreams. What about the time he wiped his poo on the anaglypta walls. Or that day he got hit by a Ford Granada when he tried to pedal his red car onto the main road.</scene_description> </scene> <scene> <stage_direction>EXT. FAMILY HOME DRIVEWAY - NIGHT</stage_direction> <scene_description>It is a little cold outside, a chill blown in. Adam's mother hugs him tightly, kisses him on the lips. His father does the same thing, a kiss full on the lips.</scene_description> <character>DAD</character> <dialogue>It's been so bloody nice to see you again. We weren't sure we ever would but here you are.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ADAM</character> <dialogue>Here I am.</dialogue> <character>MUM</character> <dialogue>Come back soon. One of us will be in.</dialogue> <character>ADAM</character> <dialogue>I will.</dialogue> <scene_description>But there is a sense from Adam that this can't possibly be real, that it can't happen again.</scene_description> <character>MUM</character> <dialogue>Please.</dialogue> <scene_description>There is an insistence in her tone as if she needs this as much as him.</scene_description> </scene> <scene> <stage_direction>INT. MINICAB - NIGHT</stage_direction> <scene_description>Adam sits in the rear, his eyes heavy. A 'traffic light' air-freshener hangs from the rear view mirror. It rocks back and forth.</scene_description> <character>TAXI DRIVER</character> <dialogue>Best get you home before your missus sends out a search party.</dialogue> <scene_description>Taxi drivers always assume you have a wife. Adam says nothing. He smells his sweatshirt for signs of the night: smoke, booze.</scene_description> <character>TAXI DRIVER</character> <dialogue>Out with your mates?</dialogue> <character>ADAM</character> <dialogue>No.</dialogue> <scene_description>Adam tries to wrestle with the ramifications of tonight.</scene_description> <character>ADAM</character> <dialogue>I was with my parents.</dialogue> </scene> <scene> <stage_direction>EXT. MINICAB - NIGHT</stage_direction> <scene_description>Adam's eyes start to close as he watches the approaching city sparkle through the window. New buildings going up but the streets are quiet. A smile, almost euphoric, comes over his face.</scene_description> </scene> <scene> <stage_direction>INT. TOWER LOBBY / ELEVATOR - NIGHT</stage_direction> <scene_description>Adam, still a little drunk, heads through the lobby to the elevators. Harry is waiting at the lift with his back towards him. Adam considers and then decides to join him.</scene_description> <character>ADAM</character> <dialogue>Hello.</dialogue> <character>HARRY</character> <dialogue>Hi.</dialogue> <scene_description>Harry looks burnt-out, exhausted. He avoids eye contact. But the lift opens and they both get inside. The mirrored walls mean they can't ignore each other for long.</scene_description> <character>HARRY</character> <dialogue>I'm sorry for the other night.</dialogue> <character>ADAM</character> <dialogue>Don't worry about it.</dialogue> <scene_description>But Harry seems deeply ashamed, with a vulnerability now that Adam finds attractive. The lift arrives on the sixth floor and Harry gets out. Adam feels emboldened.</scene_description> <character>ADAM</character> <dialogue>I do like whisky if you want to come --</dialogue> <scene_description>Harry turns back to Adam but the doors shut between them before anything else is said and Adam is left staring at his reflection in the textured steel doors. What a strange fucking night.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S BEDROOM - NIGHT</stage_direction> <scene_description>Adam looks at the photos again. He finds himself aged 11, a melancholy kid. He stands beside his parents who look exactly as they did tonight, right down to the clothes. CONTINUED: He lies back on top of the bed clothes. He holds the photo to his chest, a look of blissed-out exhaustion on his face. Delicate beads of sweat start to appear on his forehead but he doesn't seem to notice. He coughs, once, the photo jumps in his hand. He coughs again...</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S BEDROOM - DAY</stage_direction> <scene_description>The blinds are open, sunlight weak through the windows. Adam wakes slowly, hungover, undressed now. He sits up as if trying to remember a fading dream.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S APARTMENT - DAY</stage_direction> <scene_description>Adam puts on a record: 1987's NOW THAT'S WHAT I CALL MUSIC 10. He chooses the track BUILD by THE HOUSEMARTINS. He lays some photos over the kitchen counter including one of his YOUNGER SELF AGED 9 stirring flapjack mixture with his Mum in the same kitchen as last night. Adam sits at this laptop, the music continuing. Writer's block seems to have gone. His mind is alive. As he types, his eyes redden with tears, not with sadness but rather something sweeter.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S APARTMENT - DUSK</stage_direction> <scene_description>Music is gone. It is quiet now. Adam stands by the window as the sun drops behind a cloudy sky, lights coming on in distant towers. He sees Harry again sitting down below. This time Adam uses a pair of binoculars to get a closer look. Sensing he's being watched, Harry turns to look up. Adam is embarrassed but waves softly anyway. After a few tentative beats, Harry waves back.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S APARTMENT - DUSK</stage_direction> <scene_description>There is a knock at the door. No doorbell this time. Adam opens up to find Harry standing there. CONTINUED:</scene_description> <character>HARRY</character> <dialogue>Hello.</dialogue> <character>ADAM</character> <dialogue>Hi.</dialogue> <character>HARRY</character> <dialogue>Hi.</dialogue> <character>ADAM</character> <dialogue>Do you want to come in?</dialogue> <scene_description>A beat of doubt as Harry looks down the corridor and then back to Adam. He smiles, tentatively.</scene_description> <character>HARRY</character> <dialogue>Okay.</dialogue> </scene> <scene> <stage_direction>INT. ADAM'S APARTMENT - DUSK</stage_direction> <scene_description>Harry takes in the apartment: the records, the books on the shelving unit. Adam hovers behind.</scene_description> <character>ADAM</character> <dialogue>How long have you lived in the building?</dialogue> <character>HARRY</character> <dialogue>Long enough. I work for the company that owns it. They rent it to me for close to cheap. I work from home most of the time anyway.</dialogue> <character>ADAM</character> <dialogue>What do you do?</dialogue> <character>HARRY</character> <dialogue>I.T. I wanted to do something else but never worked out what that something was.</dialogue> <character>ADAM</character> <dialogue>Do you want a drink?</dialogue> <scene_description>He turns around to face Adam.</scene_description> <character>HARRY</character> <dialogue>What have you got?</dialogue> <scene_description>CONTINUED:</scene_description> <character>ADAM</character> <dialogue>Vodka. Some beer. Weed if you want that instead.</dialogue> <character>HARRY</character> <dialogue>Weed is better.</dialogue> <parenthetical>(with a small smile)</parenthetical> <dialogue>I'm off alcohol.</dialogue> <scene_description>Harry's got a nice smile, kind about the eyes. He walks to the window to look at the view. Adam sits on the sofa and loads up his vaporizer. They are silent for a few moments, both a little awkward.</scene_description> <character>HARRY</character> <dialogue>All these towers going up but there is nothing to do. Do you like living here?</dialogue> <character>ADAM</character> <dialogue>I bought it off-plan. I read that was the smart thing to do. I'm hoping it'll get better when people move in. If more people move in.</dialogue> <character>HARRY</character> <dialogue>You got friends nearby?</dialogue> <character>ADAM</character> <dialogue>Not really. You?</dialogue> <character>HARRY</character> <dialogue>Not really.</dialogue> <character>ADAM</character> <dialogue>Mine have all moved out of London. They want gardens for their kids. They want to be near grandparents so someone can look after their kids.</dialogue> <character>HARRY</character> <dialogue>I'm guessing you didn't want to move too.</dialogue> <character>ADAM</character> <dialogue>What am I going to do in Dorking? It's not for people like me.</dialogue> <scene_description>CONTINUED: (2) Adam inhales on the vape. Harry finally sits beside him. Looks at him.</scene_description> <character>HARRY</character> <dialogue>You are queer, right?</dialogue> <scene_description>Adam exhales slowly with a smile. The room is so silent. We can hear every breath.</scene_description> <character>ADAM</character> <dialogue>Yeah.</dialogue> <character>HARRY</character> <parenthetical>(smiling)</parenthetical> <dialogue>That's good.</dialogue> <character>ADAM</character> <dialogue>Well -- gay. I can't get used to calling myself 'queer'. It was always such an insult.</dialogue> <character>HARRY</character> <parenthetical>(thinking on that)</parenthetical> <dialogue>It's probably why we hate 'gay' so much now. Gay meant lame and shit. Those trainers are gay. That haircut's gay. This sofa is gay. Your school bag's gay.</dialogue> <scene_description>Adam smiles. He takes another hit.</scene_description> <character>HARRY</character> <dialogue>Queer does feel polite somehow though. Like all the dick sucking's been taken out.</dialogue> <scene_description>Adam laughs. Harry is happy he's made Adam laugh. It relaxes him. Adam hands the vape to him. There is a silence again.</scene_description> <character>HARRY</character> <dialogue>I'm assuming you're not with anyone. I never see you with anyone.</dialogue> <character>ADAM</character> <dialogue>I'm not.</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>HARRY</character> <dialogue>Are you often single?</dialogue> <character>ADAM</character> <dialogue>Often?</dialogue> <character>HARRY</character> <dialogue>Uh-uh.</dialogue> <character>ADAM</character> <dialogue>I suppose so. What about you?</dialogue> <character>HARRY</character> <dialogue>Yeah. But not for want of trying.</dialogue> <scene_description>In the silence that follows, Harry inhales on the vape. Adam watches him. The action feels incredibly sensual, bringing an erotic charge. After he's exhaled, he puts the vape down and looks at Adam.</scene_description> <character>HARRY</character> <dialogue>How about I kiss you?</dialogue> <character>ADAM</character> <dialogue>Okay.</dialogue> <scene_description>Harry leans close enough to Adam to kiss him but not yet. They look at each other, both getting hard. Harry smiles. Finally, Harry leans in. It is slow at first, then more passionate. They kiss for a while until Adam pulls away, breathless.</scene_description> <character>HARRY</character> <dialogue>What is it?</dialogue> <character>ADAM</character> <dialogue>It's been a while. I've forgotten how to breathe my way through it.</dialogue> <scene_description>It is Adam who leans in this time. They kiss some more. Harry tugs off Adam's top. He's a little self-conscious.</scene_description> <character>HARRY</character> <dialogue>You don't need to worry about that with me.</dialogue> <scene_description>CONTINUED: (4) Harry takes off his own top, more confident. He undoes his belt, unbuttons his flies. Adam reaches out to touch him. Harry unbuttons Adam's jeans and rubs Adam's cock over his underwear. Adam tries to sit up, to feel Harry, but he pushes him back onto the sofa. Harry pulls down Adam's underwear and goes down on him. Adam closes his eyes, his lips falling apart.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S APARTMENT - TWILIGHT</stage_direction> <scene_description>There is barely any light left. Adam and Harry sit still on the sofa, breathing deeply. Adam has cum on his belly and his chest. Harry leans over as if to kiss Adam but instead ducks to lick the cum off Adam's chest. As he comes up, Harry grins before kissing him. Adam pulls back at first, but then let's him.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S APARTMENT - NIGHT</stage_direction> <scene_description>Harry wanders around the apartment only half-dressed as Adam puts his clothes back on. Harry finds the photos on the kitchen counter.</scene_description> <character>HARRY</character> <dialogue>Is this you?</dialogue> <character>ADAM</character> <dialogue>Afraid so.</dialogue> <character>HARRY</character> <dialogue>You were cute. I hate my photos. I was a fat kid. If you're a fat kid no-one asks why you don't have a girlfriend.</dialogue> <scene_description>He looks at the photo again and smiles.</scene_description> <character>HARRY</character> <dialogue>We'd have been friends for sure. Bunked off football to spy on the boys.</dialogue> <scene_description>CONTINUED: Adam likes the sound of that. Harry picks up a photo of his Dad smiling for the camera.</scene_description> <character>HARRY</character> <dialogue>This your dad?</dialogue> <character>ADAM</character> <dialogue>Yeah.</dialogue> <character>HARRY</character> <dialogue>He's handsome.</dialogue> <character>ADAM</character> <dialogue>I'm trying to write something about them.</dialogue> <character>HARRY</character> <dialogue>Is that what you do?</dialogue> <character>ADAM</character> <dialogue>Yeah.</dialogue> <character>HARRY</character> <dialogue>How's it going?</dialogue> <character>ADAM</character> <dialogue>Strangely.</dialogue> <character>HARRY</character> <dialogue>What does that mean?</dialogue> <scene_description>Adam looks at the photos.</scene_description> <character>ADAM</character> <dialogue>I've tried to not write about them for years but all people want now is the personal. It will probably be good for me. Or not. Depending if people like it.</dialogue> <scene_description>Harry smiles, then looks back at the photo of Adam's dad.</scene_description> <character>HARRY</character> <dialogue>I don't see my Dad much. Do you see yours?</dialogue> <character>ADAM</character> <dialogue>They died just before I was twelve.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>HARRY</character> <dialogue>Both of them?</dialogue> <character>ADAM</character> <dialogue>A car crash. Not the most original of deaths.</dialogue> <character>HARRY</character> <dialogue>That's horrible.</dialogue> <character>ADAM</character> <dialogue>Yeah.</dialogue> <character>HARRY</character> <dialogue>Who looked after you?</dialogue> <character>ADAM</character> <dialogue>I went to Dublin. I lived with my Gran.</dialogue> <character>HARRY</character> <dialogue>Fuck. I'm sorry.</dialogue> <character>ADAM</character> <dialogue>It was a long time ago.</dialogue> <character>HARRY</character> <dialogue>I don't think that matters.</dialogue> <scene_description>Harry looks back at one of the photos. Adam is touched by the emotion on Harry's face.</scene_description> <character>HARRY</character> <dialogue>I'd like to see you again.</dialogue> <character>ADAM</character> <dialogue>Okay.</dialogue> <character>HARRY</character> <dialogue>I could stay the night if --</dialogue> <scene_description>Harry really wants this but Adam's reticence is clear. He smiles.</scene_description> <character>HARRY</character> <dialogue>How about not tonight?</dialogue> <character>ADAM</character> <dialogue>I do want to see you again, honest, but maybe just not --</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>HARRY</character> <dialogue>You don't need to explain.</dialogue> <character>ADAM</character> <dialogue>Thanks.</dialogue> <scene_description>Harry can wait. He puts the photo back on the kitchen counter. It is of Adam in his dressing gown sitting with his mum on the stairs, red tinsel around the bannister, the age he was when they died.</scene_description> </scene> <scene> <stage_direction>EXT. TRAIN - DAY</stage_direction> <scene_description>A rumbling train ploughs through a dark tunnel and out into a blustery day. The trees billow as storm clouds build in the sky.</scene_description> </scene> <scene> <stage_direction>EXT. ALLEYWAY - DAY</stage_direction> <scene_description>The clouds break. Heavy rain soaks Adam as he runs down the alleyway. Without an umbrella, he's soon drenched to the bone.</scene_description> </scene> <scene> <stage_direction>EXT. FAMILY HOME - DAY</stage_direction> <scene_description>It's still raining when Adam arrives. He hesitates before he knocks but his excitement at being back is clear. It's not long before she answers.</scene_description> <character>MUM</character> <dialogue>Sweetheart!</dialogue> <character>ADAM</character> <dialogue>Hi. Mum.</dialogue> <character>MUM</character> <dialogue>You came back.</dialogue> <character>ADAM</character> <dialogue>Of course I came back.</dialogue> </scene> <scene> <stage_direction>INT. FAMILY HOME HALLWAY - DAY</stage_direction> <scene_description>Mum shuts the door. They stand in the hallway. The rain slows outside. CONTINUED: Some of those photos from the box under Adam's bed are now framed on the walls. He knows it makes no sense but he doesn't care. He is just glad to be back.</scene_description> <character>MUM</character> <dialogue>You need to get those wet clothes off before you catch your death.</dialogue> <character>ADAM</character> <dialogue>I'll dry.</dialogue> <scene_description>She comes over to him, fussing like a mother would to a young child.</scene_description> <character>MUM</character> <dialogue>Don't talk rubbish. You're leaving a puddle on the floor.</dialogue> <scene_description>Adam takes off his jacket but he's soaked through. She starts pulling at his sweatshirt.</scene_description> <character>MUM</character> <dialogue>Jesus, you're sodden. Take them off.</dialogue> <character>ADAM</character> <dialogue>I'm not taking my clothes off!</dialogue> <character>MUM</character> <dialogue>Don't be silly, it's only me. Jeans too, they're drenched. I'll put them in the hot press.</dialogue> <scene_description>Unable to resist, or not wanting to resist, Adam lets her help him take off his sweatshirt.</scene_description> <character>MUM</character> <dialogue>It's just me today. Is that okay?</dialogue> <scene_description>She seems insecure all of a sudden. Worried she won't be enough.</scene_description> <character>ADAM</character> <dialogue>Of course.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>MUM</character> <dialogue>Good because there's so much I want to know. I want to hear everything! C'mon, jeans!</dialogue> <scene_description>Adam takes off his jeans. He stands there in his under- pants and t-shirt, still damp from the rain.</scene_description> <character>MUM</character> <dialogue>Now get upstairs and change.</dialogue> <character>ADAM</character> <dialogue>Upstairs?</dialogue> <character>MUM</character> <dialogue>To your bedroom!</dialogue> <scene_description>She makes a face as if he's being crazy and she heads off to the utility room. Adam rubs dust from one of the photos. We've seen it before, him stuffing his face with chips. Walking upstairs, Adam feels the bannister with his hand, looks up at the sky through the window, down at his feet on the thick carpet. Memories trickling back. His bedroom is the first room at the top of the stairs but he pauses before opening the door. A little afraid somehow.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S OLD BEDROOM - DAY</stage_direction> <scene_description>The past hits him hard. There is his old single bed. The walls plastered with posters from Smash Hits and Look-In. Toys in a box in the corner. His school books lie in a neat pile on his little desk. Adam opens the drawers to see pens and pencils, a half- eaten pack of ginger nuts. Some of the LP's from his apartment are here too. Adam picks up FRANKIE GOES TO HOLLYWOOD'S 'WELCOME TO THE PLEASUREDOME'. He opens the wardrobe to find his old clothes. His school uniform. He takes out the jacket and holds it up against himself. It looks tiny. CONTINUED:</scene_description> <character>MUM</character> <dialogue>I guess nothing's gonna fit anymore.</dialogue> <scene_description>Mum stands in the doorway holding some dry clothes.</scene_description> <character>MUM</character> <dialogue>I got some of your Dad's things instead.</dialogue> <scene_description>She hands them over, feeling Adam's T-shirt, still damp from the rain.</scene_description> <character>MUM</character> <dialogue>T-shirt too. I'll dry it with the rest.</dialogue> <scene_description>Adam dithers, then takes it off. She watches him closely.</scene_description> <character>MUM</character> <dialogue>God. Look at you.</dialogue> <character>ADAM</character> <dialogue>What?</dialogue> <character>MUM</character> <dialogue>You were just a boy and now you're not. You look totally different and yet it's still you.</dialogue> <scene_description>She reaches out and touches his chest ever-so-gently. She touches him in the same place that Harry licked off the cum.</scene_description> <character>MUM</character> <dialogue>I thought you'd be hairier. Like your Dad. I like a hairy chest if I'm honest. Christ. You know who you look like?</dialogue> <character>ADAM</character> <dialogue>Who?</dialogue> <character>MUM</character> <dialogue>Like my father. Or how I remember him when I was a little girl. Isn't that mad? It's like seeing both of you at the exact same time.</dialogue> <scene_description>CONTINUED: (2) She laughs away a few tears as Adam puts on his Dad's clothes, ill-fitting but with a smell he remembers.</scene_description> <character>MUM</character> <dialogue>I wish you'd got to meet him, my Dad. You'd have liked him, always with the stupid jokes and silly puns.</dialogue> <scene_description>The oven suddenly pings repetitively downstairs, something ready.</scene_description> <character>MUM</character> <dialogue>I've made your favorite. I hope it's still your favorite. I'll make some tea and then you can tell me everything.</dialogue> </scene> <scene> <stage_direction>INT. FAMILY HOME / KITCHEN - DAY</stage_direction> <scene_description>Adam eats a gooey flapjack, more golden syrup than oats, perfectly cooked and fucking delicious. Mum takes two mismatched mugs from a mug tree and brings them to the table where a teapot is waiting. Adam's mug is from CHESSINGTON ZOO.</scene_description> <character>MUM</character> <dialogue>Your Dad told me not to ask, and I'm guessing you're not married because I don't see a ring, but have you got a girlfriend?</dialogue> <scene_description>Adam smiles, awkwardly.</scene_description> <character>MUM</character> <dialogue>I'm picturing her with brown hair, maybe curly, not too skinny. Smart obviously.</dialogue> <character>ADAM</character> <dialogue>You mean like you?</dialogue> <character>MUM</character> <dialogue>That's nice you think I'm smart.</dialogue> <scene_description>A long beat as Adam purposely chews on the flapjack, hoping to avoid the question. He hadn't imagined he'd have to come out today. CONTINUED:</scene_description> <character>MUM</character> <dialogue>Well?</dialogue> <character>ADAM</character> <dialogue>What?</dialogue> <character>MUM</character> <dialogue>Do you?</dialogue> <character>ADAM</character> <dialogue>I don't have a girlfriend.</dialogue> <character>MUM</character> <dialogue>That's a shame.</dialogue> <scene_description>She seems disappointed. Adam considers taking another bite of the flapjack but puts it down. He struggles to find the words, amused at his own reticence.</scene_description> <character>ADAM</character> <dialogue>I don't have a girlfriend because I'm not into girls, into women.</dialogue> <character>MUM</character> <dialogue>What do you mean?</dialogue> <character>ADAM</character> <dialogue>I mean I'm gay.</dialogue> <scene_description>His voice cracks with unexpected nerves. It is clear Adam still needs her validation, or fears her rejection. This is a surprise even to him.</scene_description> <character>MUM</character> <dialogue>As in homosexual?</dialogue> <character>ADAM</character> <dialogue>Yes, as in -- that.</dialogue> <character>MUM</character> <dialogue>Really?</dialogue> <character>ADAM</character> <dialogue>Uh-huh.</dialogue> <character>MUM</character> <dialogue>Since when?</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>ADAM</character> <dialogue>Since a long time ago.</dialogue> <character>MUM</character> <dialogue>How long ago?</dialogue> <character>ADAM</character> <dialogue>Forever.</dialogue> <character>MUM</character> <dialogue>But you don't look gay.</dialogue> <character>ADAM</character> <dialogue>I don't know what that means.</dialogue> <character>MUM</character> <dialogue>It means what it means. You know what it means.</dialogue> <scene_description>She seems a little irritated by his news. She picks up a flapjack but puts it back down. Adam tries to use humour to diffuse the situation (a defense mechanism every gay person knows only too well).</scene_description> <character>ADAM</character> <dialogue>I bet you're glad you don't know the neighbours now.</dialogue> <character>MUM</character> <parenthetical>(ignoring him)</parenthetical> <dialogue>I must admit, I'm a bit surprised. I'm not sure how to feel about it.</dialogue> <character>ADAM</character> <dialogue>You never thought that it might be a possibility.</dialogue> <character>MUM</character> <dialogue>Of course not. What parent wants to think that about their child. No parent I know.</dialogue> <scene_description>This makes Adam a touch defensive.</scene_description> <character>ADAM</character> <dialogue>I'm very okay with it. I have been for a long time.</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>MUM</character> <dialogue>Are people nasty to you?</dialogue> <character>ADAM</character> <dialogue>Things are different now.</dialogue> <character>MUM</character> <dialogue>So they aren't nasty?</dialogue> <character>ADAM</character> <dialogue>Not out loud.</dialogue> <character>MUM</character> <dialogue>Does everyone know? Are you open about it, I don't know, on the high street, down WHSmiths?</dialogue> <scene_description>Adam's amused at the specificity of her fears, fears that somehow feel more about her than about him.</scene_description> <character>ADAM</character> <dialogue>It depends on the high street. And yes, everyone knows.</dialogue> <character>MUM</character> <dialogue>Don't you want to get married and have kids?</dialogue> <character>ADAM</character> <dialogue>I can have kids. And men can get married. Women too.</dialogue> <character>MUM</character> <parenthetical>(shocked)</parenthetical> <dialogue>To each other?</dialogue> <character>ADAM</character> <dialogue>Yes.</dialogue> <character>MUM</character> <dialogue>Why?</dialogue> <character>ADAM</character> <dialogue>What do you mean why?</dialogue> <character>MUM</character> <dialogue>Isn't that like having your cake and eating it?</dialogue> <scene_description>CONTINUED: (4) Adam is not sure how to answer that.</scene_description> <character>MUM</character> <dialogue>Do you want to get married and have kids?</dialogue> <scene_description>The very idea seems alien to her.</scene_description> <character>ADAM</character> <dialogue>I don't know. It wasn't a possibility for such a long time. It didn't seem worth the effort to want it.</dialogue> <scene_description>There is a long beat. The sun goes behind a cloud, the room darkens. Neither were expecting this conversation today. Mum gets up and walks to the sink. She pours away her tea and looks out towards the garden, clearly a little upset.</scene_description> <character>ADAM</character> <dialogue>Are you okay?</dialogue> <character>MUM</character> <dialogue>I'm fine.</dialogue> <character>ADAM</character> <dialogue>Are you sure?</dialogue> <character>MUM</character> <dialogue>I suppose I never did know what was going on in your odd little head. You were always running away. Do you remember?</dialogue> <character>ADAM</character> <dialogue>Yes.</dialogue> <character>MUM</character> <dialogue>There was the time you got to the train station but you'd lost your money on the way and couldn't buy a ticket.</dialogue> <character>ADAM</character> <dialogue>Five pounds from Grannie.</dialogue> <scene_description>CONTINUED: (5)</scene_description> <character>MUM</character> <dialogue>Yes. That was it. Where were you hoping to go?</dialogue> <character>ADAM</character> <dialogue>I don't know. London I guess.</dialogue> <character>MUM</character> <dialogue>Or the time you got as far as the bottom of the garden but cut your thumb on an old milk bottle. You came running back, all sheepish, blood all over your shirt, banging and banging on the window to be let back in.</dialogue> <scene_description>She comes back over and gently takes his left hand. She finds the scar, just the palest of lines on his thumb.</scene_description> <character>MUM</character> <dialogue>There it is. Just.</dialogue> <scene_description>She sits down with a heavy sigh, remembering perhaps the sadness of her little boy. Adam rubs the scar with his forefinger (we've seen this gesture before).</scene_description> <character>MUM</character> <dialogue>They say it's a very lonely kind of life.</dialogue> <character>ADAM</character> <dialogue>They don't say that anymore.</dialogue> <character>MUM</character> <dialogue>So you're not lonely?</dialogue> <character>ADAM</character> <dialogue>If I am it's not because I'm gay. Not really.</dialogue> <character>MUM</character> <dialogue>Not really?</dialogue> <parenthetical>(a fear rising)</parenthetical> <dialogue>And what about this awful ghastly disease. I've seen the gravestones on the adverts. Should I be worried about it?</dialogue> <scene_description>CONTINUED: (6)</scene_description> <character>ADAM</character> <dialogue>Mum! Jesus. Please. It's very different now. It's all very different.</dialogue> <character>MUM</character> <dialogue>Well. I guess I wouldn't know about that.</dialogue> <scene_description>The strange reality of their situation fills the silence that follows. A mother, younger than her son, living in the present but from a time in Adam's past. She finally picks up a flapjack and takes a bite. It is burnt. They all are now.</scene_description> <character>MUM</character> <dialogue>Not enough butter. Are you going to tell your Dad?</dialogue> <character>ADAM</character> <dialogue>I never thought I'd have to.</dialogue> <character>MUM</character> <dialogue>Maybe it's for the best if I tell him. You know what men are like. He's a lot less open-minded than me.</dialogue> <character>ADAM</character> <dialogue>If you think that's --</dialogue> <character>MUM</character> <dialogue>I do.</dialogue> <scene_description>A strained silence follows. She's not angry with her son. Not at all. It is clear that she loves him but something hangs in the air that can't be fixed right away.</scene_description> <character>MUM</character> <dialogue>Your clothes should be dry by now. You can take the flapjacks if you want. I'll not be eating them.</dialogue> </scene> <scene> <stage_direction>INT. TRAIN - AFTERNOON</stage_direction> <scene_description>Adam stares out of the window at passing graffiti, moving as if animated. He is pretty okay with his sexuality but his mother's reaction has thrown him off-balance. A group of teenage boys sit close by. Adam turns to see one of the lads unselfconsciously raising his t-shirt to show the other boys his stomach. He catches Adam staring. Adam turns away quickly and looks out of the window. He is sure he can see the words poof queer faggot spray- painted onto the brickwork. It's there only a second before the train blasts into a tunnel with a violent shift of sound. His image appears in the dark reflection, his face stretched and contorted by the surface of the glass. It seems to express how he feels.</scene_description> </scene> <scene> <stage_direction>EXT. TOWER BLOCK - LATE AFTERNOON</stage_direction> <scene_description>Adam walks back to his apartment, the sun bright and hot in his face. It is making him sweat.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S APARTMENT - LATE AFTERNOON</stage_direction> <scene_description>Adam closes the door and slumps slowly to the floor. An anxiety builds, a tension in the back of his throat. A nausea gathering strength.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S BATHROOM - LATE AFTERNOON</stage_direction> <scene_description>Adam takes off his top. He's burning up, like he might puke in the sink. He tries to calm himself with short, shallow breaths. Looking in the mirror, Adam feel his glands. They seem tender and sore. In the reflection he notices five small lesions appearing on his chest. But when he looks down they are no longer lesions, just the outline of his mother's fingertips where she touched him. Adam traces them with his own fingertips when the door bell rings.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S APARTMENT - DUSK</stage_direction> <scene_description>Adam, his t-shirt back on, opens the door to find Harry. He can see that something is up with Adam.</scene_description> <character>HARRY</character> <dialogue>What's wrong?</dialogue> <character>ADAM</character> <dialogue>I'm okay.</dialogue> <scene_description>Harry goes to feel Adam's forehead but Adam pulls away; not used to being looked after. Harry smiles, then goes in again with the back of his hand. Both of them enjoy the tenderness of this exchange.</scene_description> <character>HARRY</character> <dialogue>You're hot.</dialogue> <character>ADAM</character> <dialogue>It's probably just a chill. I got wet in the rain.</dialogue> <character>HARRY</character> <dialogue>When did it rain?</dialogue> <scene_description>Adam doesn't answer. Harry looks at him.</scene_description> <character>HARRY</character> <dialogue>Why don't you have a hot bath? My nan said there was nothing a bath couldn't solve. Literally fucking nothing.</dialogue> <character>ADAM</character> <dialogue>I don't like baths.</dialogue> <character>HARRY</character> <dialogue>Fuck off. Who doesn't like baths?</dialogue> <scene_description>Harry pushes past Adam into the apartment and heads to the bathroom.</scene_description> <character>ADAM</character> <parenthetical>(calling after him)</parenthetical> <dialogue>I don't want you catching whatever I've got.</dialogue> <character>HARRY</character> <dialogue>You said it was a chill.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ADAM</character> <dialogue>It is. I'm sure.</dialogue> <character>HARRY</character> <dialogue>So there's nothing to catch.</dialogue> </scene> <scene> <stage_direction>INT. ADAM'S BATHROOM - NIGHT</stage_direction> <scene_description>As the bath fills, the mirrors steam. Adam gets undressed still self-conscious getting naked in front of Harry.</scene_description> <character>HARRY</character> <dialogue>There's no need to be shy.</dialogue> <character>ADAM</character> <dialogue>Easier said than done.</dialogue> <scene_description>Harry comes close.</scene_description> <character>HARRY</character> <dialogue>I can close my eyes if that makes you feel better.</dialogue> <scene_description>He pretends to close his eyes then takes a cheeky peak. It makes Adam laugh. He touches Adam's chest, the same spot his mother did. When Harry's hand leaves his skin, the red marks from Adam's mother are gone.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S BATHROOM - MOMENTS LATER</stage_direction> <scene_description>Adam sinks into the bath, the water immediately bringing relief.</scene_description> <character>HARRY</character> <dialogue>Better?</dialogue> <character>ADAM</character> <dialogue>Yes.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>I'm sorry.</dialogue> <character>HARRY</character> <dialogue>What for?</dialogue> <character>ADAM</character> <dialogue>This is not very sexy.</dialogue> <scene_description>CONTINUED:</scene_description> <character>HARRY</character> <dialogue>Feels pretty fucking sexy to me.</dialogue> <scene_description>Kneeling beside him, Harry puts his hand under the water and strokes his chest.</scene_description> <character>HARRY</character> <dialogue>I've been thinking about you a whole heap today.</dialogue> <character>ADAM</character> <dialogue>Thinking what?</dialogue> <character>HARRY</character> <dialogue>When I saw you. Before. Coming and going. I always imagined you were smart. It was a relief to know you were.</dialogue> <character>ADAM</character> <dialogue>Why do you think I'm smart?</dialogue> <character>HARRY</character> <dialogue>Just a vibe. I like you've got 'Walden' on your shelf. I've always wanted to read it. Always liked the idea of living in the woods.</dialogue> <character>ADAM</character> <parenthetical>(with a smile)</parenthetical> <dialogue>I haven't read it yet. But yes, I'd like to live in the woods.</dialogue> <scene_description>Harry likes even more that he hasn't read it yet. Harry's hand moves a little lower under the water. It's taking a while for Adam to fully relax.</scene_description> <character>HARRY</character> <dialogue>I thought about watching crappy TV with you on a Friday night. Eating take away on your sofa watching old episodes of Top of Pops from before I was born.</dialogue> <scene_description>Harry leaves a pause. His hand goes down to his crotch. Adam tenses at first, smiles, then relaxes. CONTINUED: (2)</scene_description> <character>HARRY</character> <dialogue>I thought about something else too.</dialogue> <character>ADAM</character> <dialogue>What?</dialogue> <character>HARRY</character> <dialogue>I thought about fucking you. Or you fucking me. I don't care which. Are you into that?</dialogue> <character>ADAM</character> <dialogue>It depends.</dialogue> <character>HARRY</character> <dialogue>It's okay if you're not. We don't all need to be into fucking.</dialogue> <character>ADAM</character> <dialogue>I wasn't for the longest time. For obvious reasons. Now it depends on who's asking.</dialogue> <character>HARRY</character> <dialogue>Obvious reasons?</dialogue> <scene_description>Harry is wanking Adam off now.</scene_description> <character>ADAM</character> <dialogue>You know. Aids. Terrified out of my mind. That I'd get sick and die. Even a blow job could send me into three months of sweats and swollen glands. I bet that's hard for you to imagine now, that fear.</dialogue> <character>HARRY</character> <dialogue>A little.</dialogue> <scene_description>Harry leans in and kisses Adam as water slaps gently on the sides of the bath.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S BEDROOM - NIGHT</stage_direction> <scene_description>On the bed, they kiss. Harry undresses. Soon they are fucking, facing each other. Slow and soft. We 'feel' rather than observe. It is close, intimate. The walls seem to breathe, match their rhythm as they get close to cumming...</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S BEDROOM - NIGHT</stage_direction> <scene_description>Adam lies with Harry. Adam seems a little preoccupied with thoughts. Music plays on a bluetooth speaker. An insomnia playlist.</scene_description> <character>ADAM</character> <dialogue>You said the other day you don't see you Dad so often.</dialogue> <character>HARRY</character> <dialogue>Yeah.</dialogue> <character>ADAM</character> <dialogue>And your mum too?</dialogue> <character>HARRY</character> <dialogue>Yeah.</dialogue> <character>ADAM</character> <dialogue>How come? They know you're -- queer, right?</dialogue> <character>HARRY</character> <dialogue>Of course.</dialogue> <character>ADAM</character> <dialogue>And they're okay with it?</dialogue> <character>HARRY</character> <dialogue>Yeah, they're okay. But they're pretty old-school. Less okay than everyone's meant to be. They've got used to it, sort of. If I don't say too much.</dialogue> <scene_description>Adam shifts in the bed, up onto his elbow, inviting Harry to talk. CONTINUED:</scene_description> <character>HARRY</character> <dialogue>You could say I've drifted to the edge, right up to the edge, almost over the edge.</dialogue> <character>ADAM</character> <dialogue>What do you mean?</dialogue> <scene_description>Harry turns over to meet him.</scene_description> <character>HARRY</character> <dialogue>Edge of the family. My sister and her kids, my older brother who just got married, they've got that spot in the centre. But it's okay.</dialogue> <character>ADAM</character> <dialogue>Why's it okay?</dialogue> <character>HARRY</character> <dialogue>I don't go home much.</dialogue> <character>ADAM</character> <dialogue>Doesn't that make you sad?</dialogue> <character>HARRY</character> <dialogue>It's inevitable really.</dialogue> <character>ADAM</character> <dialogue>Why?</dialogue> <character>HARRY</character> <dialogue>I always felt like a stranger in my own family anyway. Coming out just puts a name to the difference that had always been there.</dialogue> <scene_description>They are silent a while. Adam deep in thought. Thinking about today, of course. His mother. Her reaction. How it made him feel.</scene_description> <character>HARRY</character> <dialogue>You okay?</dialogue> <character>ADAM</character> <dialogue>Yeah. It's funny though. It's so much better now, of course it is.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>ADAM</character> <dialogue>Most of the scabs have healed but it doesn't take much to be back there again, does it? Skin all fucking raw, feeling how you used to feel.</dialogue> <scene_description>Harry smiles with understanding. More than sex, it's a mutual understanding of something shared that brings deepening intimacy. Harry leans in and kisses him. As they break away...</scene_description> <character>ADAM</character> <dialogue>Am I still hot?</dialogue> <scene_description>Harry feels his forehead again.</scene_description> <character>HARRY</character> <dialogue>No.</dialogue> <character>ADAM</character> <dialogue>Will you stay tonight?</dialogue> <scene_description>Harry nods. Of course he will. They cuddle up and drift into a deeper silence. But neither fall asleep just yet. Adam's eyes remain open, far too many thoughts in his head.</scene_description> </scene> <scene> <stage_direction>EXT. TOWER BLOCK - DAY</stage_direction> <scene_description>A breezy summer day. Fast moving clouds. Adam sits at his desk, writing. It feels a little harder for him to work today. He looks up and out of the window.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S APARTMENT - CONTINUOUS</stage_direction> <scene_description>Passing clouds create moving shadows on the wall as Adam stares out of the window. In the reflection, a plane cuts a line across his neck.</scene_description> </scene> <scene> <stage_direction>INT. TRAIN - DAY</stage_direction> <scene_description>Adam sits in the opposite direction of travel as if his childhood home is dragging him back. He sees a family at the end of the carriage. CONTINUED: A TUBBY BOY (9) with dusty blond hair sitting with his older brother and sister, looking out of the window like he might just cry. A train suddenly passes with a roar. It makes Adam jump and in the reflection of the window, his image flickers in the light, untethered.</scene_description> </scene> <scene> <stage_direction>INT. ALLEYWAY - DAY</stage_direction> <scene_description>Adam heads down the alleyway as the wind picks up. Fallen leaves blow across the ground as if Autumn has come. Three BOYS, around 13 in age and dressed in 1980's school uniform, pass in the opposite direction. Adam hears them laugh, whisper names. He spots an old five-pound note, wedged under the bottom of a fence (from the story of running away). Adam goes to pick it up when...</scene_description> </scene> <scene> <stage_direction>INT. FAMILY LOUNGE - DAY</stage_direction> <scene_description>The lounge has comfy sofas and textured wallpaper. Dad flicks through some LP's as Adam picks up an ornament on the mantlepiece, a figurine of a woman, a long-forgotten memory.</scene_description> <character>DAD</character> <dialogue>She'll be back soon, I'm sure.</dialogue> <character>ADAM</character> <dialogue>I wanted to talk to her.</dialogue> <character>DAD</character> <dialogue>I know you did.</dialogue> <parenthetical>(picking a LP)</parenthetical> <dialogue>This was your Grandad's favorite. I never liked it at the time but the sentiment's grown on me.</dialogue> <scene_description>He puts the needle on the vinyl. It is the same record- player we saw in Adam's apartment only now it looks new. The song is mournful and melancholy. CONTINUED:</scene_description> <character>DAD</character> <parenthetical>(re: the figurine)</parenthetical> <dialogue>If you want to see your mum really lose her shit go ahead and break that bloody thing. Sit yourself down.</dialogue> <scene_description>Adam puts the figurine down but doesn't sit down yet. The record crackles to life as Adam's Dad sits on his chair. He lights a fag.</scene_description> <character>ADAM</character> <dialogue>She told you then.</dialogue> <character>DAD</character> <dialogue>Yep. I was scared you wouldn't come back. I hope you're not too disappointed in her.</dialogue> <scene_description>Adam turns around to look at his Dad.</scene_description> <character>ADAM</character> <dialogue>I'm not.</dialogue> <character>DAD</character> <dialogue>She just needs to rearrange some things in her head. Stories she'd built up. She'll soon realise it's not actually about her.</dialogue> <scene_description>Adam smiles. Waits a beat. Then sits down on the sofa beside his Dad. He might even take a drag of his fag.</scene_description> <character>ADAM</character> <dialogue>What about you?</dialogue> <character>DAD</character> <dialogue>What about me?</dialogue> <character>ADAM</character> <dialogue>How do you feel about it?</dialogue> <character>DAD</character> <dialogue>It was hardly a shock. I always knew you were a bit tooty fruity.</dialogue> <scene_description>Adam laughs. CONTINUED: (2)</scene_description> <character>DAD</character> <dialogue>You couldn't throw a ball for shit however much I tried to teach you.</dialogue> <character>ADAM</character> <dialogue>You make me sound like a horrible cliche.</dialogue> <character>DAD</character> <dialogue>Can you throw a ball?</dialogue> <character>ADAM</character> <dialogue>Not at all.</dialogue> <scene_description>They both laugh again. Softly, and perhaps with a little regret. Adam pulls at a thread of material from the arm of the sofa. He wraps it around his ring finger. It makes the blood swell in his fingertip.</scene_description> <character>DAD</character> <dialogue>Would you have liked me to have known?</dialogue> <character>ADAM</character> <dialogue>I don't know.</dialogue> <character>DAD</character> <dialogue>I would hear you cry in your room after school. Did the boys bully you?</dialogue> <character>ADAM</character> <dialogue>Not just the boys.</dialogue> <character>DAD</character> <dialogue>What would they do?</dialogue> <character>ADAM</character> <parenthetical>(with a shrug)</parenthetical> <dialogue>They'd call me a girl. Refuse to play with me. Flick drawing pins at my face and flush my head down the loo.</dialogue> <character>DAD</character> <dialogue>Kids are such little cunts.</dialogue> <scene_description>CONTINUED: (3) Adam smiles but it is a painful memory. He's silent a moment.</scene_description> <character>ADAM</character> <dialogue>Why didn't you come into my room if you heard me crying?</dialogue> <character>DAD</character> <dialogue>Why didn't you tell me what was happening at school?</dialogue> <character>ADAM</character> <dialogue>You answer first. You can be honest.</dialogue> <character>DAD</character> <dialogue>I didn't want to think of you as the kind of boy that other lads picked on. I knew that if I was at your school, I'd have probably picked on you too. I can't imagine that's very nice to hear.</dialogue> <character>ADAM</character> <dialogue>I think I always knew that anyway. It's probably why I never told you what was happening to me.</dialogue> <scene_description>That makes his Dad sad, and a little ashamed. He looks over to the record playing...</scene_description> <character>DAD</character> <dialogue>You know my dad thought I was a big softy too. He thought I had too many feelings for a boy.</dialogue> <scene_description>He stubs out the fag, gets up, and walks towards the record player. Adam snaps the piece of thread from around his finger, the blood coming back.</scene_description> <character>DAD</character> <dialogue>I think that both of us, him back then and me with you, were just products of the time. Or is that letting us off the hook?</dialogue> <scene_description>Dad takes the needle off the record, having enough of the song. CONTINUED: (4)</scene_description> <character>DAD</character> <dialogue>When she told me, I did think of some of the jokes we'd make. How we used to do impressions of your English teacher mincing around with his limp wrists.</dialogue> <character>ADAM</character> <dialogue>You'd tell me over and over again not to cross my legs like a woman.</dialogue> <scene_description>He turns around to face Adam.</scene_description> <character>DAD</character> <dialogue>Did I?</dialogue> <character>ADAM</character> <dialogue>I still think about it every time I cross my legs.</dialogue> <scene_description>Adam's Dad looks deflated -- the weight of his mistakes weighing heavy. Adam can't help but want to soften.</scene_description> <character>ADAM</character> <dialogue>I have good memories too.</dialogue> <character>DAD</character> <dialogue>I hope so.</dialogue> <scene_description>His Dad needs to know he did something right. Adam makes a gesture to the corner of the room.</scene_description> <character>ADAM</character> <dialogue>I remember how much you loved to decorate the tree. You went crazy for it. Every year. And you'd always let me put the fairy on top.</dialogue> <scene_description>His Dad remembers it well and his eyes bubble with tears. He comes over to his son.</scene_description> <character>DAD</character> <dialogue>I'm sorry I never came into your room when I heard you crying.</dialogue> <character>ADAM</character> <dialogue>Really. It's okay.</dialogue> <scene_description>CONTINUED: (5)</scene_description> <character>DAD</character> <dialogue>It's not okay though, is it?</dialogue> <character>ADAM</character> <dialogue>Dad. I get it. It was so long ago.</dialogue> <scene_description>But all of a sudden, Adam feels like he's back again, a young boy balling his eyes out in his bedroom not sure why everyone thinks he's a freak.</scene_description> <character>DAD</character> <dialogue>Do you want a hug now?</dialogue> <character>ADAM</character> <parenthetical>(voice cracking)</parenthetical> <dialogue>Yes, please.</dialogue> <scene_description>Dad gets up and Adam follows. He lets his father hold him tight allowing his body to relax, collapse into his arms. Adam catches sight of the two of them in the mirror above the fireplace. Adam can see himself as an ELEVEN-YEAR-OLD BOY being held by his dad.</scene_description> </scene> <scene> <stage_direction>INT. TRAIN - DAY</stage_direction> <scene_description>As he returns home, Adam feels a lightness of being. He doesn't notice that some of the passengers are staring at him.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S APARTMENT - DAY</stage_direction> <scene_description>Adam pushes Harry up against the wall and kisses him. It is playful and hot. He pulls off Harry's top, hungry and passionate, laughing, taking control.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S BATHROOM - DAY</stage_direction> <scene_description>Adam dries himself off after a shower as Harry gets out to join him at the mirror. He looks at Adam's reflection, pallid in this light.</scene_description> <character>HARRY</character> <dialogue>You okay? I hope I've not being tiring you out.</dialogue> <scene_description>CONTINUED:</scene_description> <character>ADAM</character> <dialogue>No. I feel great.</dialogue> <scene_description>Harry comes up behind him, stroking his shoulder gently, kissing him on the back of the neck.</scene_description> <character>ADAM</character> <dialogue>Let's go out tonight.</dialogue> <character>HARRY</character> <dialogue>Really? Where to?</dialogue> <character>ADAM</character> <dialogue>'OUT' out.</dialogue> <character>HARRY</character> <dialogue>What do you mean?</dialogue> <character>ADAM</character> <dialogue>Have you been to Duckie? I think it's still clinging on. I used to go all the fucking time, too many times.</dialogue> <scene_description>Harry is still resistant.</scene_description> <character>ADAM</character> <dialogue>Please?</dialogue> </scene> <scene> <stage_direction>INT. TUBE - NIGHT</stage_direction> <scene_description>Adam and Harry head out for the night, the tube is busy and boisterous. A straight couple that look queer make- out in front of them as if no-one is watching. Adam and Harry's reflections distort behind them.</scene_description> </scene> <scene> <stage_direction>EXT. ROYAL VAUXHALL TAVERN - NIGHT</stage_direction> <scene_description>'DUCKIE' is a famous queer night, an institution, and the queue is surprisingly long. A passing car blasts its horn but it's hard to tell if its condemnation or celebration.</scene_description> </scene> <scene> <stage_direction>INT. ROYAL VAUXHALL TAVERN - NIGHT</stage_direction> <scene_description>Inside, it is packed, like a flashback to another time. The club is a converted Victorian pub with black walls and sticky floors. The music is loud: 80's new-wave and 90's indie. 'I WANT A DOG' by the PET SHOP BOYS plays as Adam and Harry push through the crowds towards the bar. Both seem a little nervous but it doesn't take too long for them to relax. People dancing. Making out. Getting drunk.</scene_description> </scene> <scene> <stage_direction>INT. ROYAL VAUXHUALL TAVERN - LATER</stage_direction> <scene_description>The music has changed. GRACE JONES and 'LA VIE ON ROSE'. A gentle euphoria in the air. We gaze through dancing bodies as Adam and Harry drink fizzy pints of lager at the bar. Harry has nearly finished his pint already and is keen for another. He seems different in here, like something is being unlocked. Adam cups his hand to Harry's ear who can't really hear him.</scene_description> <character>ADAM</character> <dialogue>Fuck me. I've missed this feeling whatever that feeling is.</dialogue> <character>HARRY</character> <dialogue>I can't hear you.</dialogue> <character>ADAM</character> <dialogue>Do you dance?</dialogue> <character>HARRY</character> <dialogue>Of course. If I'm wasted enough.</dialogue> <character>ADAM</character> <dialogue>Then let's get wasted.</dialogue> <scene_description>Harry downs his drink. Adam orders more. Adam talks about the old days, all the old clubs, all the guys he pulled. They both watch the crowd as the song reaches a glorious mid-climax, hands in the air, people together, very gay.</scene_description> </scene> <scene> <stage_direction>INT. ROYAL VAUXHUALL TAVERN - NIGHT</stage_direction> <scene_description>DEPECHE MODE and 'SHAKE THE DISEASE'. Adam stands at the bar counter, struggling to get served. Harry is nowhere to be seen. Adam notices someone staring at him, barely out of his teens but full of swagger and confidence. The YOUNG GUY looks at Adam with something like pity in his eyes. Feeling a little paranoid, Adam checks his reflection in the mirror above the bar, rearranges his hair, the glass stretching his image. He is relieved to see Harry in that reflection coming back from the loos.</scene_description> <character>HARRY</character> <dialogue>Look what I found in my wallet.</dialogue> <scene_description>He shows a baggy to Adam.</scene_description> <character>HARRY</character> <dialogue>Fuck knows when I bought this.</dialogue> <character>ADAM</character> <dialogue>What is it?</dialogue> <character>HARRY</character> <dialogue>Coke, I think. Maybe.</dialogue> <scene_description>Adam catches sight of that confident kid again. What's he staring at? Adam looks back to Harry.</scene_description> <character>ADAM</character> <dialogue>Let's do it.</dialogue> </scene> <scene> <stage_direction>INT. ROYAL VAUXHALL TAVERN TOILET - NIGHT</stage_direction> <scene_description>The bass of DEE-LIGHT'S 'DEEP ENDING' pulsates through the walls of the cubicle, blasting louder every time someone opens the door to the bathroom. Two lines of powder are lined up on the cistern. It takes Adam a few goes to snort it and it catches the back of his throat. It's been a while. But Harry is clearly a pro. His line goes down with ease. Too much ease. He stands up, sniffs. CONTINUED:</scene_description> <character>HARRY</character> <dialogue>Shit. Doesn't taste like coke. Think it's K.</dialogue> <character>ADAM</character> <dialogue>Ketamine?</dialogue> <character>HARRY</character> <dialogue>Have you had it before?</dialogue> <character>ADAM</character> <dialogue>No. Will you look after me?</dialogue> <character>HARRY</character> <dialogue>I'll do my best.</dialogue> <character>ADAM</character> <dialogue>Then fuck it.</dialogue> <scene_description>They make out for a while, messily.</scene_description> </scene> <scene> <stage_direction>INT. ROYAL VAUXHALL TAVERN - NIGHT</stage_direction> <scene_description>The music is louder now, the dance floor rammed. 'DEATH OF A PARTY' by BLUR. A strange choice for a dance floor. A sexual, slow-motion car crash of a song. Glowing with sweat, Adam and Harry dance with lusty drug- fueled vigour. The young guy from the bar passes him with a few young handsome friends in tow. They all seem to be staring at Adam. Adam follows them with his gaze as they head to the side of the dance-floor and he catches sight of himself in the mirror over their shoulders. Adam slows down. He stops dancing. Only his reflection continues to dance, clothes damp with sweat, the mirror, the image, pulsating. Adam watches himself look up at the ceiling, arms aloft, letting go, grinning from ear to ear. Suddenly we are high above, gazing down on Adam as if we have become his POV of his out-of-body experience. As he reaches for Harry, pulling him close, making out, we crash towards them...</scene_description> </scene> <scene> <stage_direction>INT/EXT. "DEATH OF A PARTY" - NIGHT AND DAY</stage_direction> <scene_description>We are back in the flat. The song continues, pulsating heavy over images of time passing, of a relationship building. They stand naked in front of each other, still sweating, senses alive. We can literally see their hearts pulsating in time with the music. They sleep entangled, and in the morning, they kiss in the soft light of a new day. They make eggs. They taste good. Time throbs onwards as the sun rises and falls. Adam works, tired, skin clammy. Typing. Dreaming. They eat take-away on the sofa watching FRANKIE GOES TO HOLLYWOOD on an old 'Top of the Pops'. They drink and get stoned and dance around like they're back in the club. They watch HELLRAISER curled up in bed on a projector screen. Harry is grossed out, laughing, needing Adam to protect him. Later, they lie opposite each other, a slight tension or fear as the lights of the club, blue strobes, start to flash through the windows.</scene_description> </scene> <scene> <stage_direction>INT. VAUXHALL TAVERN - NIGHT</stage_direction> <scene_description>Back in Duckie again -- or perhaps some other club night. The music continues, sweat and strobing lights, throwing us in and out of darkness. Harry seems off his head, his eyes rolling back. Someone offers Adam poppers and he inhales deeply, the screen throbbing as he closes his eyes. When he opens them again, Harry has gone. He's somewhere off in the crowd. Adam sees him dancing with other guys. Is he kissing them? Are they kissing him? Does Adam even mind? He catches his own reflection in the mirror again. A howl of pain flashing in the strobe, an existential howl like the figure in Francis Bacon's 'A Study after Velázquez's Portrait of Pope Innocent X'. CONTINUED: Adam pushes through the crowd, desperate to get a closer look. The strobe starts to flash blue and in one of those blasts of light he sees his mother drinking in one of the reflections. His father too, drunk. Adam screams for his parents, screams for Harry but he's vanished. The clubbers around him start to get out of his way, fear and horror on their faces. Suddenly, Adam wretches into his hands. He stumbles and falls, through bodies and space until he hits the dirty floor...</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S CHILDHOOD BEDROOM - NIGHT</stage_direction> <scene_description>Adam wakes in darkness trying to work out where he is. He feels the texture of his sheets -- multi-coloured candy stripped winceyette. He reaches out to touch a patch of woodchip wallpaper on the wall that has been picked off.</scene_description> </scene> <scene> <stage_direction>INT. FAMILY HOME - NIGHT</stage_direction> <scene_description>Adam opens his door to the landing upstairs. He wears a terry-cloth dressing gown, the carpet thick under bare feet. He walks down the stairs, he touches the banister again. There is red tinsel wrapped around this time like we have seen from old photos. Adam can hear music quietly coming from the lounge. He stops at the door. Slowly, turns the door handle.</scene_description> </scene> <scene> <stage_direction>INT. FAMILY HOME - NIGHT</stage_direction> <scene_description>A fire crackles in the hearth. Mum and Dad unpack baubles that have been in storage. They've both had a few drinks. Adam breathes in the scent of the Christmas tree. 'Top of the Pops' is on the TV. 1987.</scene_description> <character>MUM</character> <dialogue>Adam?</dialogue> <scene_description>CONTINUED: She looks at him, concerned.</scene_description> <character>MUM</character> <dialogue>What's wrong?</dialogue> <character>ADAM</character> <dialogue>I'm okay.</dialogue> <character>DAD</character> <dialogue>You look like you've been up to something.</dialogue> <scene_description>Adam is pale and clammy, his eyes dark with shadows. His mother comes over and feels his forehead with the back of her hand. Just like Harry did.</scene_description> <character>MUM</character> <dialogue>You're really hot.</dialogue> <scene_description>She looks back at her husband.</scene_description> <character>MUM</character> <dialogue>He's very hot.</dialogue> <character>ADAM</character> <dialogue>I'm fine.</dialogue> <scene_description>She looks at Adam as if wanting to say something, make an apology, but she can't find the words. Adam's Dad steps in. He holds up a brightly coloured bauble with a smile.</scene_description> <character>DAD</character> <dialogue>Get yourself over here.</dialogue> <scene_description>Adam likes the idea of that and he goes to decorate the tree. Mum comes to join them as the PET SHOP BOYS hits the 1987 No 1 spot on 'Top of the Pops' with "ALWAYS ON MY MIND". After a few beats, she sings gently along with the song, almost to herself but loud enough for it feel like the apology she can't find the words for. CONTINUED: (2)</scene_description> <character>MUM</character> <dialogue>And maybe I didn't hold you / All those lonely, lonely times / And I guess I never told you / I'm so happy that your mine / If I made you feel second best / I'm so sorry I was blind...</dialogue> <scene_description>Adam appreciates the gesture. She takes a few steps back and looks at the over-decorated tree.</scene_description> <character>MUM</character> <dialogue>Too much?</dialogue> <character>DAD</character> <dialogue>No such thing.</dialogue> <scene_description>He hands Adam a fairy for the tree with a knowing smile. It's been a while since Adam's seen it. He reaches up and puts it on the top.</scene_description> <character>DAD</character> <dialogue>Okay, get together.</dialogue> <scene_description>He has his camera on the side table, set on self-timer. The three of them gather around the tree and the flash goes off. They all smile. The Christmas lights flicker.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S CHILDHOOD BEDROOM - NIGHT</stage_direction> <scene_description>Adam is in bed now. His mum gives him two dissolvable painkillers that melt and fizz on his tongue. She looks at him still concerned but wants to reassure.</scene_description> <character>MUM</character> <dialogue>You'll feel better in a jiffy.</dialogue> <character>ADAM</character> <dialogue>Mum?</dialogue> <character>MUM</character> <dialogue>Yes, sweetheart.</dialogue> <character>ADAM</character> <dialogue>Do you think any of this is real?</dialogue> <character>MUM</character> <dialogue>Does it feel real?</dialogue> <scene_description>CONTINUED:</scene_description> <character>ADAM</character> <dialogue>Yes.</dialogue> <character>MUM</character> <dialogue>Then there you go.</dialogue> <scene_description>A flicker of fear in Adam's expression.</scene_description> <character>ADAM</character> <dialogue>For how long?</dialogue> <character>MUM</character> <dialogue>I can't answer that. I suppose we don't get to decide when it's over.</dialogue> <scene_description>She kisses him on the forehead.</scene_description> <character>ADAM</character> <dialogue>Will you promise me you'll stay home tonight?</dialogue> <character>MUM</character> <dialogue>Where would we go?</dialogue> <character>ADAM</character> <dialogue>To the Walsh's?</dialogue> <character>MUM</character> <parenthetical>(a memory sparked)</parenthetical> <dialogue>The Walsh's?</dialogue> <character>ADAM</character> <dialogue>Just promise you won't go out. Please.</dialogue> <character>MUM</character> <dialogue>I promise. We'll just be in the bedroom.</dialogue> <scene_description>She leaves, closing the door. The room is thrown into darkness. Adam turns on to his side and tries to sleep, but he starts to feel sick. Blue lights seem to flash through the curtains. And then something else: a subdued crying from the corner of the room. CONTINUED: (2) Adam peers into the shadows, sure he can see himself AGED 11, crying in the corner. Adam turns on the bedside light but there is no-one there.</scene_description> </scene> <scene> <stage_direction>INT. HALLWAY - NIGHT</stage_direction> <scene_description>Adam comes out onto the landing. He spies a crescent moon through the frosty window. He taps gently on his parents door.</scene_description> <character>MUM (O.S)</character> <dialogue>What is it?</dialogue> <character>ADAM</character> <dialogue>I can't sleep.</dialogue> <scene_description>Adam pushes open the door against the thick carpet.</scene_description> </scene> <scene> <stage_direction>INT. MUM AND DAD'S BEDROOM - CONTINUOUS</stage_direction> <scene_description>Adam breathes in the smell of the room, familiar and comforting.</scene_description> <character>MUM</character> <dialogue>Do you want to get in?</dialogue> <character>ADAM</character> <dialogue>Can I?</dialogue> <character>MUM</character> <dialogue>Of course.</dialogue> <scene_description>Adam's Dad grunts and rolls over, leaving a space for Adam in-between.</scene_description> <character>ADAM</character> <dialogue>It smells the same in here. Aramis and Comfort fabric softener.</dialogue> <scene_description>That makes her smile. As Dad falls back to sleep, Adam and his Mum talk in whispers, almost sensual.</scene_description> <character>MUM</character> <dialogue>You'd creep in here night after night saying you couldn't sleep.</dialogue> <scene_description>CONTINUED:</scene_description> <character>MUM</character> <dialogue>You were scared of so many things: murderers breaking in, rabies, nuclear war. Do people still get rabies?</dialogue> <character>ADAM</character> <dialogue>Not so much.</dialogue> <character>MUM</character> <dialogue>I was desperate for you to grow up just so I could get a good night's sleep.</dialogue> <character>ADAM</character> <dialogue>I'm sorry.</dialogue> <character>MUM</character> <dialogue>Why are you sorry? I'm the sorry one. I should have relished you driving me bananas.</dialogue> <scene_description>Adam smiles. It softens his anxiety. Mum is silent a beat but she has a lot on her mind.</scene_description> <character>MUM</character> <dialogue>After it happened, did Granny take you to Dublin?</dialogue> <character>ADAM</character> <dialogue>Yes.</dialogue> <character>MUM</character> <dialogue>That's what we thought. Why did she want to move back to Ireland?</dialogue> <character>ADAM</character> <dialogue>She wanted nothing more to do with England. She was done with the place.</dialogue> <character>MUM</character> <dialogue>Why?</dialogue> <character>ADAM</character> <dialogue>She'd lost her daughter.</dialogue> <character>MUM</character> <dialogue>Oh. I see.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>Is she still alive?</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>ADAM</character> <dialogue>No.</dialogue> <character>MUM</character> <dialogue>Of course not. What about your Dad's lot? I'm rather glad you didn't go live with them.</dialogue> <character>ADAM</character> <dialogue>No.</dialogue> <character>MUM</character> <dialogue>Gosh. All gone. Were you okay over there with my mum? Did you fit in better? At school.</dialogue> <character>ADAM</character> <dialogue>I made sure I did.</dialogue> <scene_description>She sighs heavy.</scene_description> <character>MUM</character> <dialogue>I hate that I wasn't around for you at the time you must have needed us the most.</dialogue> <character>ADAM</character> <dialogue>That wasn't your fault.</dialogue> <character>MUM</character> <dialogue>I hate even more that I wasn't around for you even before. Not really.</dialogue> <character>ADAM</character> <dialogue>Why do you think that was?</dialogue> <character>MUM</character> <dialogue>Why? I don't know. I was so anxious about it all. Restless too, for more. I'd like to think I'd have got better at it in time. Given time.</dialogue> <character>ADAM</character> <dialogue>You know when I was a teenager, even later, much later, I would plot it all out.</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>MUM</character> <dialogue>What do you mean?</dialogue> <character>ADAM</character> <dialogue>All the things we might have done together. All in intricate detail. Birthdays meals at the Whitgift Centre. Alton Towers. Trips up to town. The Planetarium. London Dungeon.</dialogue> <character>MUM</character> <dialogue>I always wanted to go there.</dialogue> <character>ADAM</character> <dialogue>Holidays we might have gone on.</dialogue> <character>MUM</character> <dialogue>Disneyland?</dialogue> <character>ADAM</character> <dialogue>Yep. My 14th birthday. It rained non-stop and Space Mountain was shut for repairs. We fought the whole time.</dialogue> <character>MUM</character> <dialogue>Why did we have to fight?</dialogue> <character>ADAM</character> <dialogue>Because that's what everyone did with their parents. They fought and bickered and pretended they were ruining each other's lives.</dialogue> <character>MUM</character> <dialogue>Did we make up?</dialogue> <character>ADAM</character> <dialogue>We didn't need to make up. It was enough to know that we got to come home together, back here.</dialogue> <scene_description>His Mum smiles, sadly, the imagined memory feeling almost real. But it isn't real. A fear creeps into the room. A knowledge that none of this can last. She looks at Adam with growing concern as sweat appears on his forehead, his anxiety building. CONTINUED: (4) She touches his brow as Dad turns over in the bed, putting his arm around Adam, rubbing his chest. It becomes almost sensual. Adam turns over to find it is no longer his Dad. It is Harry.</scene_description> <character>ADAM</character> <dialogue>What are you doing here?</dialogue> <character>HARRY</character> <dialogue>You're okay.</dialogue> <character>ADAM</character> <parenthetical>(whispering)</parenthetical> <dialogue>You shouldn't be here.</dialogue> <scene_description>Harry kisses him. Adam resists at first but then softens his gaze, relishing the intimacy, sinking into it. Until he notices blue lights flashing through the window again, brighter this time.</scene_description> <character>MUM</character> <dialogue>Adam? What's happening? Who's there? Someone's here.</dialogue> <scene_description>She sounds increasingly panic-stricken. Adam turns over, but she's gone. And when he turns back to Harry, he's gone too. Adam is alone, the blue flashing lights of a police car spiralling across the ceiling. Suddenly, he is an ELEVEN- YEAR-OLD BOY again. He gasps for air.</scene_description> </scene> <scene> <stage_direction>INT. TRAIN AT VICTORIA STATION - DAY</stage_direction> <scene_description>Adam wakes, exhaling. He is on the train at the station. Everyone is getting off. On the platform, walking away, he is sure he can see Harry.</scene_description> </scene> <scene> <stage_direction>EXT. VICTORIA STATION - DAY</stage_direction> <scene_description>The station is busy. Adam leaves the platform barrier and weaves through the rush-hour commuters, all ignoring him. He tries to keep his eye on Harry but loses him in the crowd. CONTINUED:</scene_description> <character>MUM (O.S)</character> <parenthetical>(a whisper)</parenthetical> <dialogue>Adam?</dialogue> <scene_description>Adam pivots around to see his Mum in the distance, behind the barriers, urging him back to her. One of her eyes is missing, leaving nothing but a bloody hole.</scene_description> </scene> <scene> <stage_direction>INT. PLATORM / TUBE - DAY</stage_direction> <scene_description>A tube roars onto the platform. Doors open. Passengers push in and out of the carriage without consideration. Adam gets in and stays standing. As the train jerks into the tunnel, the lights flicker. Adam thinks he sees Harry in the next carriage down but when the lights come back on he is gone. Adam is sweating now, unstable on his feet. He coughs, then again, more uncontrollable. People look up as a fear of contagion ripples down the carriage. The train bursts onto a platform. Adam spies old posters through the windows as the tube slows: Chessington World of Adventures, Drunk Driving, AIDS Awareness. As people get off, Adam goes to sit down. Hurtling forward through the tunnel now, Adam finds his reflection in the tube windows. He looks distorted, full of pain. It's as if his reflection is screaming, trapped in a circus mirror or a monstrous kaleidoscope. He tries to get up...</scene_description> </scene> <scene> <stage_direction>EXT. STREETS - DUSK</stage_direction> <scene_description>Adam stumbles back to his apartment, trying to avoid his reflection, like a barrage of pain made visible in the windows of passing buses and cars.</scene_description> </scene> <scene> <stage_direction>INT. TOWER ELEVATOR - DUSK</stage_direction> <scene_description>Adam staggers into the lift, his reflection bounced into infinity by the mirrored walls. He shuts his eyes and sinks to the floor.</scene_description> </scene> <scene> <stage_direction>INT. CORRIDOR - NIGHT</stage_direction> <scene_description>The lift doors open and Adam stumbles to his flat. He calls out for help but no-one comes.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S APARTMENT - NIGHT</stage_direction> <scene_description>Adam shuts the door and falls to the floor. He tries to control his breathing but he can't. Someone is knocking at the door, louder and louder, calling his name, we don't recognize the voice. Adam ignores it. He staggers to the bedroom, gets himself in bed, curls himself up into a ball as a hand reaches out for him in the darkness...</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S APARTMENT - DAWN</stage_direction> <scene_description>It is Harry reaching for him. He also seems shaken, as if he hasn't slept. The dawn rises through the window behind him.</scene_description> <character>ADAM</character> <dialogue>Harry?</dialogue> <character>HARRY</character> <dialogue>It's okay.</dialogue> <character>ADAM</character> <dialogue>What day is it?</dialogue> <character>HARRY</character> <dialogue>I wish I'd never found the baggy. I never could go anywhere without taking something.</dialogue> <character>ADAM</character> <dialogue>What day is it?</dialogue> <character>HARRY</character> <dialogue>Sunday.</dialogue> <character>ADAM</character> <dialogue>How can it still be Sunday?</dialogue> <scene_description>Harry's eyes redden. CONTINUED:</scene_description> <character>HARRY</character> <dialogue>You kept screaming out for your parents in the club, over and over again. And I didn't know what to do, so I took you back here and just lay with you until you fell asleep.</dialogue> <scene_description>Adam is grateful for the care but is close to breaking. Tears build in his eyes but he tries to keep it in.</scene_description> <character>ADAM</character> <dialogue>I don't think I'm very well.</dialogue> <character>HARRY</character> <dialogue>No. I don't think you are.</dialogue> <character>ADAM</character> <dialogue>Am I sick?</dialogue> <scene_description>Harry leaves a beat then...</scene_description> <character>HARRY</character> <dialogue>You look scared.</dialogue> <scene_description>The emotion in Adam finally breaks.</scene_description> <character>ADAM</character> <dialogue>I am scared.</dialogue> <scene_description>Harry pulls him close as Adam's tears turn into sobs that sound like howls of pain.</scene_description> </scene> <scene> <stage_direction>EXT/INT. APARTMENT - MORNING INTO AFTERNOON</stage_direction> <scene_description>The sun drops lower in the sky as we push past half-built towers towards Adam's apartment. Inside, he drifts in and out of a restless sleep. Even when awake, it feels closer to a dream. He showers. He brushes his teeth. Studies his face in the mirror. He knows he looks worn out, consumed. He watches Harry try to make scrambled eggs in the kitchen. When he looks back to Adam, he gives him a gentle smile. CONTINUED:</scene_description> <character>ADAM (PRE-LAP)</character> <dialogue>I was sleeping in their bed the night they went out. I was meant to go with them, Christmas drinks at the Walsh's house, but I didn't want to go. Their son was always a dick to me at school so I pretended to be ill.</dialogue> <scene_description>Adam and Harry, both exhausted and hungover, sit at the kitchen counter with the eggs barely touched by either. Maybe Harry is smoking now.</scene_description> <character>ADAM</character> <dialogue>I tried to get my Mum and Dad to stay in, but they'd never miss a party.</dialogue> <scene_description>Adam takes a sip of tea from an old mug. We recognize it from his parents' house -- the one from CHESSINGTON ZOO. There is a knock on the door, the same knock we heard last night. Adam looks towards it.</scene_description> <character>ADAM</character> <dialogue>Two police came to the door, a man and a woman. It was dark outside. Really cold too.</dialogue> <scene_description>Flash to a memory. We open the door, back at the house. The POLICEMAN is there, it is only him we see. He looks like Harry. We stay in this memory only for a moment.</scene_description> <character>ADAM</character> <dialogue>I don't remember what she looked liked but he had kind eyes and a shadow of stubble like it was drawn on. When he told me what happened all I could think about was wanting to touch that stubble.</dialogue> <scene_description>Adam shakes his head with a smile. Adam takes another sip of tea. What follows is recalled without too much emotion. As if being told about someone else. CONTINUED: (2)</scene_description> <character>ADAM</character> <dialogue>The car crashed after skidding on black ice. Both of them had been drinking. Dad died right away but they took Mum to St Mary's in Croydon. She died a few days later.</dialogue> <character>HARRY</character> <dialogue>Did you get to see her?</dialogue> <character>ADAM</character> <dialogue>You mean to say goodbye?</dialogue> <character>HARRY</character> <dialogue>Yeah.</dialogue> <scene_description>Adam takes out a chip of porcelain from his mouth. It has snapped off the rim of the mug. He rubs it between thumb and finger.</scene_description> <character>ADAM</character> <dialogue>Granny thought it would scar me too much. My mum was pretty fucked up. She lost an eye when she went through the windscreen.</dialogue> <character>HARRY</character> <dialogue>Jesus.</dialogue> <character>ADAM</character> <dialogue>I went looking for that eye. I didn't want anyone else to find it. I thought it would be by the side of the road staring up at me. I did find a tiny piece of windscreen glass. In my head it had blood on it but I'm not sure that's true.</dialogue> <scene_description>Harry smiles reassuringly but says nothing.</scene_description> <character>ADAM</character> <dialogue>The nurse said Mum woke up once before she died. She must have been really confused waking up like that, having no-one around she knew. My dad not there. Me not there.</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>HARRY</character> <dialogue>I can't even begin to imagine how you felt. How lonely you must have been.</dialogue> <character>ADAM</character> <dialogue>Truth is I've always felt lonely, even before. This was something else. A quiet terror. Like now I'll always be alone. Then as I got older it kind of solidified into a knot or a ball of tangled Christmas lights.</dialogue> <scene_description>Adam touches his solar plexus.</scene_description> <character>ADAM</character> <dialogue>It's not like I wanted to die or anything. I didn't want to be in that car. It's more like the future just didn't matter so much now they weren't around. Does that make sense?</dialogue> <scene_description>Harry seems to understand that feeling only too well.</scene_description> <character>HARRY</character> <dialogue>Yes. I understand how easy it can be to stop caring about yourself.</dialogue> <scene_description>He reaches out and gently strokes Adam's arm. Adam lets that hang a moment in the air. It is reassuring for both of them to feel each other's touch.</scene_description> <character>ADAM</character> <dialogue>It's why these last weeks have been so extraordinary. To actually care about something. To feel that a future might be possible.</dialogue> <scene_description>Harry can't help but think Adam is talking about the two of them. And he feels the same way.</scene_description> <character>HARRY</character> <dialogue>Yeah.</dialogue> <scene_description>But Adam's expression darkens. CONTINUED: (4)</scene_description> <character>HARRY</character> <dialogue>Adam.</dialogue> <scene_description>In Adam we see something evolve; a decision to bring Harry further into the story. Harry shivers as if the window is letting in a draught.</scene_description> <character>ADAM</character> <dialogue>Will you come with me?</dialogue> <character>HARRY</character> <dialogue>Where to?</dialogue> <character>ADAM</character> <dialogue>Home. To where I used to live. So you can see for yourself.</dialogue> <character>HARRY</character> <dialogue>See what?</dialogue> <scene_description>Adam doesn't give an answer. Harry looks down at his forearm as all the hairs slowly rise.</scene_description> </scene> <scene> <stage_direction>EXT. TRAIN - DUSK</stage_direction> <scene_description>A train heads out of the city back to Sanderstead. We follow it from high above.</scene_description> </scene> <scene> <stage_direction>INT. TRAIN - DUSK</stage_direction> <scene_description>Adam is not alone this time. He holds Harry's hand. The sunlight blasts through the window and it's making Harry sweat.</scene_description> </scene> <scene> <stage_direction>EXT. FAMILY HOME - TWILIGHT INTO NIGHT</stage_direction> <scene_description>The once-decorated Christmas tree has been left in the driveway, brown and threadbare. Adam's red pedal car is there too, all busted up. The wind rustles the large trees in front of the house.</scene_description> <character>HARRY</character> <dialogue>Should we be here?</dialogue> <scene_description>CONTINUED:</scene_description> <character>ADAM</character> <dialogue>These were saplings when I was born. Can you believe that? They're the same age as me.</dialogue> <scene_description>Adam knocks on the front door but there is no answer. He looks through the glass. There are no lights on.</scene_description> <character>HARRY</character> <dialogue>Whose house is it?</dialogue> <character>ADAM</character> <dialogue>My parents.</dialogue> <character>HARRY</character> <dialogue>But who lives here now?</dialogue> <character>ADAM</character> <dialogue>It's okay. You don't need to worry.</dialogue> <scene_description>But Harry is afraid. Adam knocks again, louder. The wind picks up; not a harsh winter wind but lighter. Delicate, more wistful. Stranger.</scene_description> <character>HARRY</character> <dialogue>Adam?</dialogue> <scene_description>Harry's voice sounds strained. Adam peers through into the lounge. It is dark. Nothing but shadows. He calls up to the front bedrooms.</scene_description> <character>ADAM</character> <dialogue>HELLO?</dialogue> <scene_description>Nothing. What if they are gone? Adam passes Harry and moves towards the gate by the garage. Harry can do nothing but follow.</scene_description> </scene> <scene> <stage_direction>INT/EXT. BACK GARDEN - CONTINUOUS</stage_direction> <scene_description>Adam bangs on the textured glass door at the side of the kitchen. No answer. The lights are off. Then again on the french doors at the back of the house. Still nothing. Adam takes some steps back into the garden for a view of the upstairs windows. CONTINUED: No lights on anywhere, the curtains closed. Anxiety builds as the wind picks up. For both of them.</scene_description> <character>HARRY</character> <dialogue>We shouldn't be here.</dialogue> <character>ADAM</character> <parenthetical>(calling up)</parenthetical> <character>WHERE ARE YOU?</character> <dialogue>HARRY</dialogue> <scene_description>Adam? Adam ignores him. He goes to the french doors. Bangs on the window again. Harder this time. Still nothing. Adam looks to Harry as if he holds the key.</scene_description> <character>ADAM</character> <dialogue>Where are they?</dialogue> <character>HARRY</character> <dialogue>Who?</dialogue> <scene_description>Adam cups his hand over his face to look through the glass, more manic now.</scene_description> <character>ADAM</character> <dialogue>My parents. This is our house. You see the wallpaper? The table. We had fish and chips every Friday at that table so my mum could pretend we were still Catholic.</dialogue> <scene_description>Harry is starting to freak out, his chest tight. Scared out of his mind. Terrified that Adam has lost his mind. He tries to be more forceful.</scene_description> <character>HARRY</character> <dialogue>I want to go home. Let me take you home.</dialogue> <character>ADAM</character> <dialogue>This is my home.</dialogue> <character>HARRY</character> <dialogue>It used to be. Not anymore.</dialogue> <character>ADAM</character> <dialogue>They have to be here.</dialogue> <scene_description>CONTINUED: (2) Adam desperately rattles the handle. Harry sees a flash of Adam in the reflection as a hysterical NINE-YEAR-OLD BOY tries to be let back in.</scene_description> <character>ADAM</character> <parenthetical>(desperate)</parenthetical> <character>MUM? DAD?</character> <dialogue>Adam can feel his parents slipping away. Harry tries to pull him from the door, but Adam pushes him off, angry, afraid.</dialogue> <character>ADAM</character> <dialogue>You can leave if you want. I'm not going.</dialogue> <scene_description>It is Harry that spots them first. Then Adam. Standing through the windows, deep in the shadows of the house: Adam's Mum and Dad. They look, for the first time, like apparitions.</scene_description> <character>ADAM</character> <dialogue>MUM!</dialogue> <parenthetical>(to Harry)</parenthetical> <dialogue>Can you see them? Tell me you can see them.</dialogue> <scene_description>In the reflection of the glass, Adam can see a terrified Harry stepping away from the doors into the darkness of the garden as his mum gets closer towards him. The pull for his parents, his need to be with them, is too strong. He ignores Harry as he vanishes into the background. Adam bangs his fist on the window one more time.</scene_description> <character>ADAM</character> <parenthetical>(desperate)</parenthetical> <dialogue>Please. Let me in.</dialogue> <scene_description>His fist shatters a pane of glass into thousands of tiny pieces, not like normal glass but like a shattered windscreen of a car.</scene_description> </scene> <scene> <stage_direction>INT. MUM AND DAD'S BEDROOM - MORNING</stage_direction> <scene_description>Adam wakes in his parents bed to find Mum and Dad looking out the window, whispering to each other, the light soft. CONTINUED: They seem older, clothes more worn. There is a dust sheet over the dressing table. Mum seems resistant to something that Dad is saying but Adam can't hear the words</scene_description> <character>ADAM</character> <dialogue>Why didn't you let us in?</dialogue> <character>MUM</character> <parenthetical>(turning around)</parenthetical> <dialogue>You're awake.</dialogue> <character>ADAM</character> <dialogue>Is he here? Harry.</dialogue> <character>MUM</character> <dialogue>No.</dialogue> <scene_description>Mum sits beside him and lifts up his hand. There are no cuts from the broken window, only a raised red scar on his thumb. As she rubs it gently, it fades.</scene_description> <character>MUM</character> <dialogue>But we did see him.</dialogue> <character>ADAM</character> <dialogue>I really wanted you to meet him. Him to meet you.</dialogue> <character>MUM</character> <dialogue>I know. But I don't think it works like that.</dialogue> <character>DAD</character> <dialogue>He seemed like a handsome fella mind you.</dialogue> <character>MUM</character> <dialogue>Is he a special friend?</dialogue> <character>ADAM</character> <dialogue>You mean boyfriend? You can say the word.</dialogue> <character>MUM</character> <dialogue>Is he your boyfriend?</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>ADAM</character> <dialogue>I don't know. I think so.</dialogue> <character>MUM</character> <dialogue>Are the two of you in love?</dialogue> <character>ADAM</character> <dialogue>In love?</dialogue> <scene_description>Adam lets out a chuckle. As if the idea is preposterous. As if he doesn't quite believe Harry could be in love with him. Dad comes over and sits on the bed alongside them.</scene_description> <character>MUM</character> <dialogue>Why's that so strange?</dialogue> <character>ADAM</character> <dialogue>I don't know. I don't think I've been in love before. Not really. I'm not sure what it's meant to feel like.</dialogue> <character>MUM</character> <dialogue>Oh sweetheart.</dialogue> <character>DAD</character> <dialogue>He certainly seems to care about you, a whole heap. In my not so humble opinion.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>Do you think you'd like to be in love with him?</dialogue> <character>ADAM</character> <dialogue>Yes.</dialogue> <scene_description>Saying it out-loud has a profound effect on Adam. That makes his parents happy. There is a long beat. Mum and Dad look at each other and smile sadly. They know what has to come next. Adam knows it too. It has drifted into the room like a ghost.</scene_description> <character>DAD</character> <dialogue>Son --</dialogue> <character>ADAM</character> <dialogue>Don't say it.</dialogue> <scene_description>CONTINUED: (3)</scene_description> <character>DAD</character> <dialogue>We have to.</dialogue> <character>ADAM</character> <dialogue>Please don't.</dialogue> <character>DAD</character> <dialogue>We think it's best you don't come visit us anymore.</dialogue> <character>ADAM</character> <dialogue>Mum?</dialogue> <character>MUM</character> <parenthetical>(reluctantly)</parenthetical> <dialogue>You're going to keep coming and coming, I just know you are. We can see what it's doing to you.</dialogue> <character>ADAM</character> <dialogue>I don't care what it's doing to me.</dialogue> <scene_description>He pulls his parents towards him into the bed.</scene_description> <character>MUM</character> <dialogue>Yes you do.</dialogue> <character>ADAM</character> <dialogue>What if I come less? Just once in a while, now and then. Only at Christmas.</dialogue> <character>DAD</character> <dialogue>You have to have known this wouldn't last forever.</dialogue> <character>ADAM</character> <dialogue>I'm not asking for forever but it's not been long enough. It's not been anywhere near close to long enough.</dialogue> <character>MUM</character> <dialogue>How could it ever be?</dialogue> <scene_description>Dad gently takes control. CONTINUED: (4)</scene_description> <character>DAD</character> <dialogue>Listen. I've got an idea. How about we go to your favorite place in the whole bloody world? I'm sure it's still there.</dialogue> <character>MUM</character> <dialogue>Next best thing to Disneyland.</dialogue> <character>DAD</character> <dialogue>And a damn sight cheaper.</dialogue> <scene_description>Adam laughs gently.</scene_description> <character>DAD</character> <dialogue>What do you think?</dialogue> <character>MUM</character> <dialogue>Tiger?</dialogue> <scene_description>Adam nods. He knows it is the right choice, the only and inevitable choice.</scene_description> </scene> <scene> <stage_direction>INT. MINICAB - LATE AFTERNOON</stage_direction> <scene_description>The three of them sit silently in the back of a taxi as they drive towards Croydon.</scene_description> </scene> <scene> <stage_direction>EXT/INT. WHITGIFT CENTRE - LATE AFTERNOON</stage_direction> <scene_description>The family arrive at the WHITGIFT CENTRE, a brutalist concrete shopping centre, faded, falling apart. Inside, it is virtually empty as they take the escalator to the ground floor.</scene_description> </scene> <scene> <stage_direction>INT. AMERICAN THEMED RESTAURANT - DUSK</stage_direction> <scene_description>The restaurant is adorned with American flags and cheap paraphernalia. Adam sits opposite his parents, who both try to be light and jovial. There is no-one else there. The waitress comes over but her eye contact is only with Adam. He tries to summon the same spirit as his parents. To give this 'last supper' some joy.</scene_description> <character>ADAM</character> <dialogue>It's not very busy.</dialogue> <scene_description>CONTINUED:</scene_description> <character>WAITRESS</character> <dialogue>No-one comes anymore. I'm amazed we're still open.</dialogue> <character>ADAM</character> <dialogue>It was one of my favorite places as a kid.</dialogue> <character>WAITRESS</character> <dialogue>Uh-huh.</dialogue> <scene_description>He looks at the menu. His parents too. The waitress is silent. She doesn't look in their direction.</scene_description> <character>ADAM</character> <parenthetical>(to the waitress)</parenthetical> <dialogue>Can we get the family special?</dialogue> <character>WAITRESS</character> <dialogue>It's a lot of food.</dialogue> <character>ADAM</character> <dialogue>That's fine.</dialogue> <scene_description>She smiles and leaves. A long beat.</scene_description> <character>DAD</character> <dialogue>I want to ask something.</dialogue> <character>MUM</character> <dialogue>Oh God. Don't ask him.</dialogue> <character>DAD</character> <dialogue>I have to.</dialogue> <parenthetical>(to Adam)</parenthetical> <dialogue>Was it quick?</dialogue> <character>MUM</character> <dialogue>Jesus. I told you not to.</dialogue> <character>DAD</character> <dialogue>How can you not want to know?</dialogue> <character>MUM</character> <dialogue>What if it was slow and horribly painful?</dialogue> <character>DAD</character> <dialogue>What difference does it make?</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>MUM</character> <dialogue>It makes a big difference.</dialogue> <character>ADAM</character> <dialogue>It was quick.</dialogue> <character>MUM</character> <dialogue>It was?</dialogue> <character>ADAM</character> <dialogue>Yes.</dialogue> <character>MUM</character> <dialogue>For both of us?</dialogue> <character>ADAM</character> <parenthetical>(lying)</parenthetical> <dialogue>Yes.</dialogue> <character>MUM</character> <dialogue>You don't look like you're sure. Don't be fibbing. No secrets now.</dialogue> <character>ADAM</character> <dialogue>It was quick.</dialogue> <character>MUM</character> <dialogue>Okay. Phew. That's a relief of sorts. It's been playing on my mind.</dialogue> <scene_description>The waitress arrives quicker than expected with the 'family special', a large tray of burgers, shakes and fries.</scene_description> <character>WAITRESS</character> <dialogue>Enjoy.</dialogue> <character>ADAM</character> <dialogue>Thank you.</dialogue> <scene_description>She leaves them staring at the mountain of food.</scene_description> <character>DAD</character> <dialogue>You know I'm not really very hungry.</dialogue> <character>MUM</character> <dialogue>Me neither. Can we even eat?</dialogue> <scene_description>CONTINUED: (3) They start to laugh. It's contagious, the three of them together. After a while, the laughs fade. Mum and Dad seem tired, eyes watery and distant as if whatever exists inside is fading.</scene_description> <character>DAD</character> <dialogue>What do you think we should say to each other? I'm not sure I've much wisdom to share. Maybe Adam, being older, should be sharing some with us!</dialogue> <character>ADAM</character> <dialogue>Maybe we don't need to say anything.</dialogue> <character>DAD</character> <dialogue>Maybe. Although I will say that getting to know you has made us very proud.</dialogue> <character>ADAM</character> <dialogue>I'm not sure I've done much to be proud of. I've muddled through at best.</dialogue> <character>DAD</character> <dialogue>But you've got through it, some very tough times, I'm sure. And you're still here. That's what we're proud of.</dialogue> <scene_description>Adam throat tightens. Dad's voice gets quiet. His eyes cloud over. He seems a little drunk.</scene_description> <character>DAD</character> <dialogue>Wow. Fuck. I'm feeling, I don't know what I'm feeling...</dialogue> <character>ADAM</character> <dialogue>Dad?</dialogue> <character>DAD</character> <dialogue>Yes, son.</dialogue> <scene_description>CONTINUED: (4)</scene_description> <character>ADAM</character> <parenthetical>(his voice cracking)</parenthetical> <dialogue>Stay a bit longer.</dialogue> <character>DAD</character> <dialogue>I don't think so.</dialogue> <scene_description>Adam's Mum takes her husband's hand.</scene_description> <character>MUM</character> <dialogue>I love you, darling.</dialogue> <character>DAD</character> <dialogue>You sure? Sometimes I was never so sure.</dialogue> <character>MUM</character> <dialogue>Whatever problems we had, I'm glad I get to be with you at the end.</dialogue> <character>DAD</character> <dialogue>Me too. You always did feel a little bit like my lifeboat.</dialogue> <scene_description>She reaches out and strokes his face, gently. Kisses him. Dad likes that. He looks back at Adam.</scene_description> <character>DAD</character> <dialogue>I know I was never good at saying it -- I couldn't get the words out, but I do love you, very much. Somehow even more now that I know you.</dialogue> <scene_description>That is almost too much for Adam, his eyes filling with tears, his face crumpling. His Dad takes his hand and holds it tight.</scene_description> <character>DAD</character> <dialogue>It's important you believe me.</dialogue> <character>ADAM</character> <dialogue>I do. And I love you too Dad.</dialogue> <scene_description>Suddenly his Dad exhales heavy and slumps in his chair, life draining from his eyes.</scene_description> <character>ADAM</character> <parenthetical>(voice breaking)</parenthetical> <dialogue>Did you hear me? Dad?</dialogue> <scene_description>CONTINUED: (5) Mum gasps, reaches for her eye, inhaling sharply, her eyes tightly closed, terrified.</scene_description> <character>ADAM</character> <dialogue>Mum?</dialogue> <scene_description>Her eyes open wide in a panic.</scene_description> <character>MUM</character> <dialogue>Adam? Are you there?</dialogue> <character>ADAM</character> <dialogue>Yes.</dialogue> <character>MUM</character> <dialogue>I can't see you. Why can't I see you? Are you there?</dialogue> <scene_description>Adam reaches out and takes the hand that covers her eye. He brings it back to the table.</scene_description> <character>ADAM</character> <dialogue>I'm here, Mum.</dialogue> <character>MUM</character> <dialogue>Oh yes. There you are. I can feel you. Your skin is warm.</dialogue> <character>ADAM</character> <dialogue>It's okay. I'm here.</dialogue> <scene_description>Adam looks down at her hand now in his own, her skin almost transparent like she is now eighty years old, as if they have had a full life together.</scene_description> <character>MUM</character> <dialogue>Promise me you'll try with this Harry boy. I'd have liked him, I just know it.</dialogue> <parenthetical>(a beat)</parenthetical> <dialogue>He might need a bit of looking after mind you. Such a sad face.</dialogue> <scene_description>Adam doesn't answer.</scene_description> <character>MUM</character> <dialogue>You hear me?</dialogue> <character>ADAM</character> <dialogue>Yes.</dialogue> <scene_description>CONTINUED: (6)</scene_description> <character>MUM</character> <dialogue>Good. That's good. I hope you can make each other a little happier.</dialogue> <scene_description>She starts to sway a little as if she is seeing a song in her head, drifting away, but with a slight smile.</scene_description> <character>ADAM</character> <dialogue>Mum?</dialogue> <character>MUM</character> <parenthetical>(her voice faint)</parenthetical> <dialogue>Are you still there?</dialogue> <character>ADAM</character> <dialogue>Yes.</dialogue> <character>MUM</character> <dialogue>You're such a kind and gentle boy.</dialogue> <scene_description>And then she is gone. They are both gone. Adam sits alone in the restaurant surrounded by burgers and fries, tears streaming down his face.</scene_description> </scene> <scene> <stage_direction>INT. TRAIN - TWILIGHT</stage_direction> <scene_description>Adam returns on a busy train, surrounded by people who know nothing of what he's been through, laughing, talking, life carrying on.</scene_description> </scene> <scene> <stage_direction>EXT/INT. TOWER - NIGHT</stage_direction> <scene_description>Adam returns to his block to find the alarm going off, just like on the first night. No-one seems to have left the building. Adam cranes his neck and looks up at the tower, only a few lights on. He hesitates but decides to enter anyway. He has someone he wants to see. As Adam heads into the lobby, we stay outside. We look up to catch the flicker of a TV coming from the sixth floor. The alarm suddenly stops.</scene_description> </scene> <scene> <stage_direction>INT. TOWER ELEVATOR - NIGHT</stage_direction> <scene_description>As the lift rises through the floors, Adam's reflection seems normal. He looks into that image and gives himself a timid smile. He takes a photograph from his pocket: the one his Dad took of the three of them around the tree. Only now the photo is old and faded and Adam is eleven-years old. Adam feels a sense of calm looking at the photo, a sense of something having changed, and rather than put it back in his pocket, he finds a place for it in his wallet. The lift reaches Adam's floor. As the door opens, he makes a decision. He presses the button for the sixth floor. At first as he descends, he smiles. He checks his hair in the many mirrors. But slowly -- the closer he gets to the sixth floor, his mood changes. He can feel something.</scene_description> </scene> <scene> <stage_direction>INT. SIXTH FLOOR CORRIDOR - NIGHT</stage_direction> <scene_description>A strange reality hits Adam. He has never been to Harry's apartment. He doesn't know which flat is his. But he can hear a television playing. Adam follows the sound down the long corridor, louder and louder until he's finally outside a door. He knocks -- no answer. He knocks again. Nothing. Adam can feel in his gut that something is wrong. He tries the handle. It is unlocked and the door opens.</scene_description> </scene> <scene> <stage_direction>INT. HARRY'S APARTMENT - NIGHT</stage_direction> <scene_description>The smell hits Adam first, stale and fetid. Dirty dishes and take-away boxes festering with mould. An old horror film plays on the TV. Adam finds empty baggies on the kitchen counter. He turns off the TV with the remote control. Silence now. He looks towards the bedroom, door closed. Every muscle stiffens. CONTINUED:</scene_description> <character>ADAM</character> <parenthetical>(a near whisper)</parenthetical> <dialogue>Harry?</dialogue> <scene_description>Adam walks towards the door, fear building with each slow step. His fingers hover over the handle. Sliding the door open, Adam is hit by a sickening stench. He looks away. His heart racing. Adam tries to catch his breath. Then something dawns on him, a truth perhaps he has always known. He looks back to find Harry curled up on the bed, turned away, foetal position. He wears the very same clothes he wore on that first night. And there is the same bottle of Japanese whisky by his side -- empty. It's clear from the state of his body that he's been there some time. Adam edges towards Harry and sits by the side of the bed. By the man he has fallen in love with. He reaches out to touch the body but before he finds contact... A noise. The front door opening and closing. Adam gets up from the bed and walks out of the bedroom. He finds Harry standing there, wearing the same clothes as the body in the bed and is confused, agitated.</scene_description> <character>HARRY</character> <dialogue>I came to see you but you didn't answer the door. Why are you down here?</dialogue> <character>ADAM</character> <parenthetical>(barely a whisper)</parenthetical> <dialogue>I came to find you.</dialogue> <scene_description>Harry notices the half-empty bottle of whisky now held in his hand as if he had no idea it was there. It sparks some kind of painful memory.</scene_description> <character>HARRY</character> <dialogue>I don't want you down here. You shouldn't be here.</dialogue> <scene_description>Adam edges closer, keeping Harry from the bedroom door. CONTINUED: (2)</scene_description> <character>HARRY</character> <dialogue>I don't want you to see my place like this. Not like this. I don't understand why you're here.</dialogue> <character>ADAM</character> <dialogue>I said goodbye to them and came to find you.</dialogue> <scene_description>But Harry isn't listening. It's as if Harry is piecing together what happened to him. The truth bubbling up. An agitation grows in him, a quiet terror. He spots the empty baggies on the kitchen counter. He picks one up.</scene_description> <character>ADAM</character> <dialogue>It's okay, Harry.</dialogue> <character>HARRY</character> <dialogue>But it's not okay.</dialogue> <scene_description>Harry rubs his chest with his fist as if he has a knot of pain stopping him breathe. We have seen Adam do this same action. Adam comes closer as Harry thumps his chest harder and harder. In the window's reflection, and only there, Harry sees himself scream. Adam grabs Harry's fist in his own hand. Holds it tight. Harry's grip softens.</scene_description> <character>HARRY</character> <dialogue>Adam?</dialogue> <character>ADAM</character> <dialogue>I'm here.</dialogue> <scene_description>Harry's eyes fill with tears, drowsier all of a sudden, drugs and drink through his veins.</scene_description> <character>HARRY</character> <dialogue>I was so frightened. That night. I just needed to not be by myself.</dialogue> <character>ADAM</character> <dialogue>And I'm sorry I was so scared. To let you in.</dialogue> <scene_description>But Harry's focus is now on the bedroom behind. As if he remembers what happened to him, as if somehow he's always known. CONTINUED: (3)</scene_description> <character>HARRY</character> <dialogue>I'm in there, aren't I?</dialogue> <character>ADAM</character> <dialogue>Let's just go upstairs.</dialogue> <character>HARRY</character> <dialogue>I can smell it, taste it in the back of my throat.</dialogue> <scene_description>He looks at Adam not in shock, nor anger, but terrible sadness. His face collapses on the brink of tears.</scene_description> <character>HARRY</character> <dialogue>How come no-one found me? Where are my friends? My brother and sister. Where are my mum and dad?</dialogue> <character>ADAM</character> <dialogue>I found you.</dialogue> <character>HARRY</character> <dialogue>But I don't want you to see me like that. Not like that. In there.</dialogue> <scene_description>Harry seems so ashamed with himself, disgusted almost -- with the very idea of himself. Adam knows what to say. He has never been so sure of anything.</scene_description> <character>ADAM</character> <dialogue>You are not in there. This is you, here. With me.</dialogue> <scene_description>Adam grabs hold of Harry as he breaks into sobs. Letting out the pain he has stored for so long. Adam knows that all that matters in this moment is that he eases Harry's pain. That is what love means. We push in close as they kiss through Harry's tears.</scene_description> </scene> <scene> <stage_direction>INT. ADAM'S BEDROOM - NIGHT</stage_direction> <scene_description>It is dark, floating free from the confines of the tower. We are back in Adam's bed now. He has let him in. They lie together facing each other at first. CONTINUED: Harry is grateful. They are silent a moment. Harry is getting sleepier and sleepier.</scene_description> <character>HARRY</character> <dialogue>I saw her. Your mum. Your dad too. At the house.</dialogue> <character>ADAM</character> <dialogue>They saw you too.</dialogue> <character>HARRY</character> <dialogue>They did?</dialogue> <character>ADAM</character> <dialogue>My dad said you looked like a handsome fella. They'd have liked you. They both would.</dialogue> <character>HARRY</character> <dialogue>That's good to know. Did you get to say everything you wanted to say?</dialogue> <character>ADAM</character> <dialogue>I don't know. I got to be with them</dialogue> <character>HARRY</character> <dialogue>It's good that you were all together.</dialogue> <character>ADAM</character> <dialogue>Yeah.</dialogue> <scene_description>A long beat. Harry looks at Adam, glad he is not alone. Both of them glad to not be alone.</scene_description> <character>HARRY</character> <dialogue>I'm scared.</dialogue> <character>ADAM</character> <dialogue>I know.</dialogue> <character>HARRY</character> <dialogue>What do you think happens now?</dialogue> <character>ADAM</character> <dialogue>I don't know.</dialogue> <scene_description>CONTINUED: (2)</scene_description> <character>HARRY</character> <dialogue>How long will this last?</dialogue> <scene_description>A beat. A memory of something Adam's Mum said to him.</scene_description> <character>ADAM</character> <dialogue>I can't answer that. I suppose we don't get to decide when it's over.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>For now, why don't I just hold you a bit longer.</dialogue> <scene_description>Harry looks as if he may be about to say something but decides against it. They don't need to declare their love. Actions are enough. Harry turns over and lets Adam hold him from behind. The same position Harry was in downstairs. But now he is no longer by himself.</scene_description> <character>HARRY</character> <parenthetical>(barely a whisper)</parenthetical> <dialogue>It's so quiet in here. I never could stand how quiet this place was. Will you put a record on?</dialogue> <character>ADAM</character> <dialogue>What would you like?</dialogue> <character>HARRY</character> <dialogue>You choose.</dialogue> <scene_description>The piano introduction to THE POWER OF LOVE by FRANKIE GOES TO HOLLYWOOD starts to play. We don't need to know how. Adam whispers with the opening words.</scene_description> <character>ADAM</character> <dialogue>I'll protect you from the hooded claw / Keep the vampires from your door.</dialogue> <scene_description>Harry smiles. As the song builds, Adam holds Harry tighter, comforted at last, cared for at last, no longer strangers. Harry's breathing slows. "Love is the light, scaring darkness away". CONTINUED: (3) As the music soars, we pull away from them. It seems like they are almost dancing, swaying together, for how long we won't ever know. Further and further we come. Out of the room. Spiralling. Into the night. Adam and Harry fall away as we rise into the stars. Finally, as the music crescendos, Adam and Harry are no more than a glint in the dark sky. A guide not a warning. "Make love your goal". "THE POWER OF LOVE":</scene_description> <character>CONTINUES AS THE</character> <dialogue>END CREDITS ROLL</dialogue> </scene> </script>

Lonely television screenwriter Adam lives a secluded life in London. At his tower block, he meets his drunk neighbour Harry, who has noticed him in the building and wants to join him for the night. Reluctantly, Adam declines and sends Harry away. Adam begins writing and decides to visit his childhood home, now unoccupied. He sees a vision of his parents, who both died in a car accident decades earlier when Adam was twelve. He has dinner with them and promises to visit again. Returning to his flat, he encounters Harry by the lift. He reciprocates Harry's interest from earlier and they have sex. Adam goes to visit his mother again and they discuss his sexuality. Adam tells her he is gay. She accepts him but reacts with concern and slight bitterness due to past perceptions of homosexuals. Adam begins a passionate relationship with Harry. Harry describes his own feelings of distance from his family. Adam talks to his father during his next visit home. His father is more comfortable with Adam’s sexuality, and they tearfully reconcile over his father’s prior reactions about the bullying Adam faced as a child. Adam and Harry go clubbing and do ketamine together. Their relationship flourishes. Adam then wakes up after a blackout at his parents' home, this time at Christmas. Unable to sleep, he gets in bed with them and tells his mother about how he was sent to stay with his grandmother after her death, which his mother laments. Adam drifts back to his life with Harry after seeing Harry in bed with them. Adam awakes on a train and sees Harry in the next car. He pursues Harry, but then sees a vision of his younger self screaming in the reflection of the train car. Adam wakes in his bed, crying. Harry has brought him home after a club incident where Adam had a panic attack. Adam tells Harry about how his father died instantly in the car accident but his mother lingered for several days in the hospital. His grandmother kept him from seeing her due to her dire condition. Adam decides to take Harry on a trip to meet his parents. Harry is skeptical, and they find the house empty. Harry worries about Adam’s mental condition and urges them to leave, just as a glimpse of Adam’s mother peers at them through the window. Adam pounds on the glass door until it breaks. Upon waking the next morning with his parents, they explain that Harry went home. They tell him that in order for him to find happiness, he must let them go and move forward in his life with Harry. They take him to his favourite childhood restaurant, where they ask about the circumstances of their death. Adam tells them they both died instantly, which is a relief to his mother although untrue. The three tearfully reaffirm their love for each other, after which both parents vanish. Having accepted the loss of his parents, Adam goes home to see Harry. He enters Harry’s flat and notices an awful stench, with drug residue on a table and squalor throughout the flat. He finds Harry dead in the bedroom, holding the same whiskey bottle he was drinking from on the night they met. Harry has been dead all along, also a vision of Adam’s imagination like his parents. Outside the room, Harry’s ghost is distraught and doesn’t want Adam to see him as a corpse. Adam assures Harry that everything will be all right and takes him back to his flat. They lie in bed together and hold one another. Harry asks Adam to play a record. Adam plays "The Power of Love" by Frankie Goes to Hollywood. The two fade into a small beam of light among the stars as the screen turns to black.

Raging Bull_1980

tt0081398

<script> <scene> <stage_direction>Raging Bull</stage_direction> <scene_description>MUSIC IN : `` Stone Cold Dead in the Market '' by Louis Jordon THE TITLES appear on black . They are intercut with CLOSE - UPS of a fighter 's body . Feet move . Credit over black . Body lunges . Credit over black . Fists swing and punch at the air . Credit over black . WE CATCH A GLIMPSE of young JAKE LAMOTTA .</scene_description> </scene> <scene> <stage_direction>INT. BARBIZON PLAZA THEATRE - DRESSING ROOM - NIGHT (1964)</stage_direction> <scene_description>JAKE LAMOTTA , wearing a tux , is shadow - boxing . We are unsure of where he is - he moves in and out of the shadows . At 42 , he 's overweight and out of shape , but the balls of his feet still pop up and down like they were on canvas and his tiny fists still jerk forward with short bursts of light . He is rehearsing a nightclub monologue .</scene_description> <character>JAKE</character> <dialogue>Good evening, ladies and gentlemen. It's a thrill to be standing here talking to you wonderful people. In fact, it's a thrill to be standing! I have n't seen so many people since my last fight at Madison Square Garden. After that fight, a reporter asked me, ` Jake, where do you go from here?' I said, ` To a hospital!' I fought one hundred and six professional fights and still none of them bums figured out how to fight me - they kept hitting me in the head! And that's why I'm here tonight.</dialogue> <parenthetical>( starts to sing . )</parenthetical> <dialogue>` When the fighter's not engaged in his employment, his employment, although he was Champ and quite the rage, he must go somewhere else to seek employment, seek employment. But a fighter's life is not a bowl of cherries, still I'd rather have an egg than a fist upon my face. That's Entertainment!'</dialogue> </scene> <scene> <stage_direction>INT. CLEVELAND ARENA - NIGHT (1941)</stage_direction> <scene_description>Bam ! JIMMY REEVES , a fast , black middleweight , jabs LAMOTTA , 19 years old , in the face . JAKE staggers forward . No matter how hard LAMOTTA is hit , no matter how often , he always staggers forward - like a bull . The bell sounds . Battered , JAKE slumps on the stool in his corner . It 's September , 1941 . Europe and Asia are already at war . Young SOLDIERS , freshly recruited , dot the hostile audience - each screaming at the FIGHTERS in the ring . Suddenly , words are exchanged , a GIRL screams , and a SOLDIER and a CIVILIAN stand and start swinging . AND IN THE RING : JAKE LAMOTTA takes a swig of water and spits blood into the bucket his younger brother , JOEY , holds for him . TONY , his trainer , works the cuts .</scene_description> <character>JOEY</character> <dialogue>You did n't have to come to Cleveland to get beat by a `` moulan yan,'' Jake!</dialogue> <character>TONY</character> <dialogue>He's got you, Jake! You're outpointed! You're coming up for the tenth. You got ta knock him out!</dialogue> <scene_description>The bell sounds for the tenth . JAKE pulls himself up and charges at REEVES . REEVES slides away , jabbing , punching , piling up points . In JAKE 's corner , JOEY stands and yells at JAKE :</scene_description> <character>JOEY</character> <dialogue>A grand apiece! We got a grand apiece on this, Jake! A fucking grand!</dialogue> <scene_description>JAKE suddenly corners REEVES and unleashes a desperate , wild alley - fighting attack . One ferocious punch after another . The SPECTATORS go wild ; everyone 's up for the kill . REEVES staggers , then falls to the canvas . The REFEREE counts :</scene_description> <character>REFEREE</character> <dialogue>One, two, three, four.</dialogue> <scene_description>The GAMBLERS call out new odds ; ten to one for REEVES , the underdog . JOEY , excited , sees that time is running out and steps in front of the bell . He swings his arms , pretending not to realize he literally holds back the TIMER 's arm for a few seconds . This gives JAKE more time for a knockout - but not enough . JOEY is pushed back and the bell rings at the count of nine , ending the match . Boos and cheers . The BETTORS scramble back to the BOOKIE to get their money . JAKE dances around the ring , kissing his gloves and thrusting them toward the CROWD . JOEY rushes out and hugs him . The ANNOUNCER steps into the ring with the mike :</scene_description> <character>ANNOUNCER</character> <dialogue>Ladies and Gentlemen, the winner, under the rules of the Cleveland Boxing Commission, after ten rounds, by a decision - Jimmy Reeves.</dialogue> <scene_description>The ANNOUNCER holds up REEVES ' arm as his corner tries to lift him off the canvas - still out cold . TWO ATTENDANTS bring in a stretcher . JAKE is stunned . He still prances around , now trying to figure out what happened . He raises his arms in victory , and the FANS go crazy , cheering , ripping chairs out , fighting with the COPS , throwing bottles and junk into the ring . PEOPLE go into the ring .</scene_description> <character>JOEY</character> <parenthetical>( to Jake . )</parenthetical> <dialogue>Do n't get out of the ring. You won the fight - let him go out first.</dialogue> <scene_description>REEVES being placed on the stretcher . A ringside OFFICIAL signals the ORGANIST and she starts to play the `` Star Spangled Banner . '' REEVES is carried out . Only then do JOEY and TONY escort JAKE out of the ring .</scene_description> </scene> <scene> <stage_direction>EXT. WEBSTER AVENUE AND 169TH ST., THE BRONX - NEXT DAY</stage_direction> <scene_description>It 's a rough neighborhood , inhabited primarily by welfare cases and street kids . In the street , two young PUNKS , 13 or 14 years old , exchange words and start to fight . Their FRIENDS cheer them on . SALVY and JOEY turn the corner .</scene_description> <character>JOEY</character> <dialogue>Salvy, would I steer you wrong? Let's say that's the truck ; it's full of cigarettes, right? Now, two o'clock this morning we move the truck from here to there.</dialogue> <parenthetical>( he points ; the CAMERA PANS . )</parenthetical> <dialogue>take the cigarettes out, sell'em, make some cash.</dialogue> <character>SALVY</character> <dialogue>Hey but Joey, you're thinking nickels and dimes. The money's with your brother.</dialogue> <character>JOEY</character> <dialogue>What do you want from my life, Salvy? He's my brother.</dialogue> <character>SALVY</character> <dialogue>He ai n't doin' the right thing. He's makin' beans compared to what he should be makin'. Ca n't you make him understand that?</dialogue> <scene_description>A COP goes over and starts to break up the fight .</scene_description> <character>JOEY</character> <parenthetical>( to cop . )</parenthetical> <dialogue>Hey, leave the kids alone.</dialogue> <character>SALVY</character> <dialogue>Get lost.</dialogue> <parenthetical>( joking , he knows the Cop . )</parenthetical> <dialogue>Hey kids, `` A cop is a rat.'' Remember that, `` A rat.''</dialogue> <scene_description>The KIDS yell .</scene_description> <character>JOEY</character> <parenthetical>( to Cop . )</parenthetical> <dialogue>Hey Jimmy, here's a dollar for your trouble. There's some bums around the corner - they need your help.</dialogue> <character>COP</character> <dialogue>Keep the dollar, Joey. Get yourself a new suit.</dialogue> <character>JOEY</character> <parenthetical>( laughs . )</parenthetical> <dialogue>Here's my new suit.</dialogue> <parenthetical>( grabs his crotch . )</parenthetical> <dialogue>Right here.</dialogue> <character>COP</character> <dialogue>Hey, do n't get wise!</dialogue> <character>JOEY</character> <dialogue>Just kidding, take it easy.</dialogue> <parenthetical>( to himself . )</parenthetical> <dialogue>No fuckin' sense of humor.</dialogue> <scene_description>SALVY and JOEY continue to walk a little faster , giggling .</scene_description> </scene> <scene> <stage_direction>INT. JAKE AND IRMA'S KITCHEN - DAY</stage_direction> <scene_description>JAKE , bandaged from the REEVES fight the night before , sits at the kitchen table -LRB- he 's had a few glasses of wine -RRB- while his wife , IRMA , 19 , cooks at the stove . JAKE gets up and pokes at the frying steak with a fork .</scene_description> <character>JAKE</character> <dialogue>This looks done.</dialogue> <character>IRMA</character> <dialogue>It's not done.</dialogue> <character>JAKE</character> <dialogue>It looks done. I'll take it the way it is.</dialogue> <character>IRMA</character> <dialogue>Here's your steak. You ca n't wait for it to be done. Here.</dialogue> <scene_description>She slams the steak onto his plate , and reaches back to the stove .</scene_description> <character>IRMA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Here's your carrots. You're in such a hurry. You ca n't wait.</dialogue> <character>JAKE</character> <dialogue>No, I ca n't wait. You know when I wait? When it's important to wait. It's not important to wait for no steak. It's important to wait for Reeves to leave the ring. It ai n't important to wait for no steak! I won that fight. So, I stayed in the ring, and that way I made sure everybody knew it. I shoulda knocked him out earlier, sonofabitch.</dialogue> <scene_description>He starts to eat the steak . He takes a drink of wine .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Wait! I'll wait. But let me tell you, if this steak was the middleweight championship, I'd show you how I'd wait. I'd eat it raw. I'd drink the blood. I'd eat it before it came out of the cow - that's how I'd wait.</dialogue> </scene> <scene> <stage_direction>EXT. JAKE AND IRMA'S APARTMENT BUILDING/TENEMENT - DAY</stage_direction> <scene_description>SALVY and JOEY approach the building .</scene_description> <character>JOEY</character> <dialogue>I ca n't convince him. He's got such a thick head, I'd like to crack it open myself. Believe me, my own brother. It's very hard. You do n't have to convince me - I know we should be with Tommy. You talk to him. He do n't listen to nobody.</dialogue> <character>SALVY</character> <dialogue>Look, I'm just tellin' you how Tommy feels. Jake is makin' it hard on himself. Tommy wants him with us. It's as simple as that.</dialogue> <scene_description>They stop at the doorway .</scene_description> <character>SALVY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Talk some sense into him, will ya? You're still his brother. If he ai n't gon na listen to you, he ai n't gon na listen to nobody!</dialogue> <character>JOEY</character> <dialogue>All right, I'll try. See you later.</dialogue> <character>SALVY</character> <dialogue>Tomorrow, at the gym. Do n't forget.</dialogue> <character>JOEY</character> <dialogue>Right, the gym.</dialogue> <scene_description>SALVY leaves . JOEY goes into the building .</scene_description> </scene> <scene> <stage_direction>INT. JAKE AND IRMA'S KITCHEN - DAY</stage_direction> <scene_description>JOEY is knocking at the door . IRMA opens it .</scene_description> <character>JOEY</character> <parenthetical>( noticing Jake . )</parenthetical> <dialogue>What's the matter?</dialogue> <character>IRMA</character> <dialogue>He's doing it again.</dialogue> <character>JOEY</character> <parenthetical>( goes to Jake . )</parenthetical> <dialogue>What's the matter? You're drinking. You're eating like an animal.</dialogue> <scene_description>JOEY sits next to JAKE at the kitchen table . JAKE has a drink in his hand , and tears on his face .</scene_description> <character>JOEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What's wrong?</dialogue> <character>JAKE</character> <parenthetical>( gets up . )</parenthetical> <dialogue>Nothing.</dialogue> <scene_description>JAKE goes into the living room . IRMA looks at JOEY . JOEY follows JAKE .</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM</stage_direction> <scene_description>JOEY walks up to JAKE .</scene_description> <character>JOEY</character> <dialogue>Hey, c'mon, what's the matter?</dialogue> <character>JAKE</character> <parenthetical>( privately , to Joey . )</parenthetical> <dialogue>I ai n't ever gon na fight Joe Louis, that's what's the matter.</dialogue> <character>JOEY</character> <dialogue>What're you talking about? He's a heavyweight. You're a middleweight.</dialogue> <scene_description>JAKE holds out his scarred hands .</scene_description> <character>JAKE</character> <dialogue>Look at these hands. These fuckin' hands. I was born with a girl's hands. And even if I put on enough weight to be a heavyweight, I'd be too slow to fight. No matter how big I get, I'll never be big enough to fight Louis.</dialogue> <scene_description>JAKE pauses . IRMA watches from the doorway .</scene_description> <character>JOEY</character> <dialogue>That's what I'm sayin'. You should n't even think like that. It's crazy.</dialogue> <character>JAKE</character> <dialogue>I tell you one thing. Ok, I'll never be big enough to fight Louis, but I know Joey, I know.</dialogue> <character>JOEY</character> <dialogue>You know?</dialogue> <character>JAKE</character> <dialogue>Yeah. Do me a favor.</dialogue> <character>JOEY</character> <dialogue>Sure. What is it?</dialogue> <character>JAKE</character> <dialogue>Hit me in the face.</dialogue> <character>JOEY</character> <parenthetical>( after a pause . )</parenthetical> <dialogue>You want me to do what?</dialogue> <character>JAKE</character> <dialogue>You heard me, I said hit me.</dialogue> <character>JOEY</character> <dialogue>C'mon, Jack. You had a few drinks.</dialogue> <character>JAKE</character> <dialogue>Go ahead. I ai n't drunk. Take your best shot. On the jaw.</dialogue> <character>JOEY</character> <dialogue>Jack, I got no gloves.</dialogue> <character>JAKE</character> <parenthetical>( grabs a nearby towel . )</parenthetical> <dialogue>Here's your glove.</dialogue> <scene_description>JOEY wraps it around his fist . IRMA watches . JOEY hits JAKE with his right . JAKE holds fast .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Go ahead. Hit me. C'mon, do n't worry about it. I want you to hit me with everything you got.</dialogue> <scene_description>JOEY hauls off and lands him a real belt . JAKE rolls with it and stands firm .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Again. Harder.</dialogue> <scene_description>JOEY hits him again .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Harder. Go ` head.</dialogue> <scene_description>JOEY hits him again .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Harder.</dialogue> <parenthetical>( grabs the towel . )</parenthetical> <dialogue>Take the towel off.</dialogue> <character>JOEY</character> <dialogue>Jack! Enough!</dialogue> <character>JAKE</character> <dialogue>Go ahead.</dialogue> <scene_description>JOEY hits him again . JAKE holds fast . JAKE starts to walk away .</scene_description> <character>JOEY</character> <dialogue>What was that for? I know you can take punches. I can hit you from now to doomsday. What the fuck does that prove?</dialogue> <character>JAKE</character> <dialogue>See that, I do n't feel it. I can take it. I know I can take anybody.</dialogue> </scene> <scene> <stage_direction>EXT. GLEASON'S GYM - NEXT DAY</stage_direction> <scene_description>Gleason 's , a small gym and fight club , stands on 149th Street and 3rd Avenue above a small sandwich shop . Each day BOBBY GLEASON posts a small sign alongside the door listing the fighters who will be working out . JAKE 's name is posted at the top ; the other names are unmemorable .</scene_description> </scene> <scene> <stage_direction>INT. GLEASON'S - DAY</stage_direction> <scene_description>Gleason 's has a single sparring ring and ten training bags . About a dozen managers train their fighters out at Gleason 's . For 50 cents , spectators sit in the gallery and watch the workouts . JAKE is sparring with JOEY in the ring . They 've been working out for a while now . The bell rings ending the third round . JAKE prances about the ring waiting for the bell to sound again . At that moment , SALVY , along with two other young `` BUTTON '' MEN -LRB- actually , they are very young - about JOEY 's age -RRB- enter the gym . They are well - dressed -LRB- over - coat , ties , suits , flashy rings , etc. -RRB- . They say hello to some PEOPLE by the door . JAKE looks over and notices them . SALVY looks over to the ring .</scene_description> <character>SALVY</character> <parenthetical>( waves . )</parenthetical> <dialogue>Hey Joey -</dialogue> <scene_description>JOEY waves back .</scene_description> <character>SALVY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( waves again . )</parenthetical> <dialogue>Jake, how you doin'?</dialogue> <scene_description>JAKE nods to SALVY very cold . SALVY notices and can feel that he 's not exactly wanted there by JAKE . JOEY notices the same and becomes a bit nervous . SALVY sits down near the ring but not as close as he 'd like to . His two friends , FRANKIE and GUIDO , sit nearby also . JAKE goes to JOEY 's corner .</scene_description> <character>JAKE</character> <dialogue>Did you know they were coming up here?</dialogue> <scene_description>JOEY does n't answer .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Answer me when I talk to you.</dialogue> <character>JOEY</character> <dialogue>Yeah, yeah. They just wanted to talk to you. So I.</dialogue> <character>JAKE</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Do n't ever bring those kids up here again! I'm working out, I'm killin' myself in here, and they walk around like they fuckin' own the neighborhood.</dialogue> <scene_description>SALVY and the OTHERS see JOEY being chewed out by JAKE . They begin to feel unwelcome at the gym . The bell sounds . JAKE is more aggressive now as he corners JOEY . JAKE swings away with body punches . JOEY ca n't block them . SALVY and the OTHERS watch . The bell sounds again . With that , SALVY and the OTHERS start to leave .</scene_description> <character>SALVY</character> <parenthetical>( to Joey . )</parenthetical> <dialogue>Hey Joey, we better go. See you later.</dialogue> <scene_description>JOEY , dazed , turns to wave .</scene_description> <character>JAKE</character> <dialogue>Go ` head. Wave goodbye. They're your friends.</dialogue> <scene_description>JAKE watches them leave .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And that hard - on, Salvy. Who's he think he is? I'm gon na let that fuckin' hard - on come up here and act like a big shot.</dialogue> <character>JOEY</character> <dialogue>What are you getting so hot about - Tommy Como told him to come down here.</dialogue> <character>JAKE</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Hey, I do n't care about Tommy Como. I do n't care about Jesus Christ on the fuckin' cross. I got ta give them a percentage of what I make! I'm in here breaking my ass, not them. Do n't ever bring them up here again.</dialogue> <character>JOEY</character> <dialogue>I did n't tell them to come. Tommy Como.</dialogue> <scene_description>The bell sounds again . JAKE hits JOEY a few more solid body punches . JOEY gets angry and fights back with a flurry of punches which have no effect on JAKE . JAKE laughs .</scene_description> <character>JAKE</character> <dialogue>That's right, fight back. I got laid three times before I came up here this morning and I can still break your ass.</dialogue> <scene_description>JOEY fights back , but it 's no use .</scene_description> <character>JOEY</character> <dialogue>You cocksucker.</dialogue> <scene_description>JAKE laughs . The two continue to swing it out , as SALVY watches unseen from the doorway .</scene_description> </scene> <scene> <stage_direction>EXT. SHOREHAVEN POOL - DAY (1942-43)</stage_direction> <scene_description>The Shorehaven Pool , spic - and - span in the summer sun is the closest thing to a country club in the Bronx . An eight foot fence stands between the pool and the street . JAKE , wearing slacks and a sportshirt , hangs out with the `` BOYS '' near the bar area . Older , `` MADE '' MEN play cards . A young FAN walks by and says :</scene_description> <character>FAN</character> <dialogue>Hey, Jake.</dialogue> <scene_description>At the opposite end of the pool where the GIRLS gossip , and sunbathe , JOEY swaps small talk with VICKIE , a school girl , about 15 . VICKIE is a knockout . SALVY , FRANKIE and JUNIOR are with VICKIE and her FRIENDS . They joke with JOEY . JAKE watches SALVY and VICKIE . JAKE 'S P.O.V. : JOEY is talking -LRB- PAN -RRB- to VICKIE . VICKIE giggles . JOEY stands and walks over to JAKE .</scene_description> <character>JAKE</character> <parenthetical>( referring to Vickie . )</parenthetical> <dialogue>Who's that?</dialogue> <character>JOEY</character> <dialogue>Whadda you care?</dialogue> <character>JAKE</character> <dialogue>Whadda ya mean, whadda I care? Who is she? What's a matter? You afraid I'm gon na take her on you?</dialogue> <character>JOEY</character> <dialogue>No, I'm not afraid. Why? You wan na meet her?</dialogue> <character>JAKE</character> <dialogue>Yeah -</dialogue> <character>JOEY</character> <dialogue>Cause I'll go right over there and bring her here.</dialogue> <character>JAKE</character> <dialogue>Go ` head.</dialogue> <character>JOEY</character> <dialogue>You sure you wan na meet her? Do n't make me go over there, you change your mind and you make me look bad, cause she's really a knockout. She's 15, this kid - a great piece of ass.</dialogue> <character>JAKE</character> <dialogue>How do you know? You know her that good?</dialogue> <character>JOEY</character> <dialogue>No, I see her around the pool. I know her. I know her like that - not like that.</dialogue> <character>JAKE</character> <parenthetical>( gesturing to his bandage . )</parenthetical> <dialogue>Nah, not now. I wan na wait. I do n't feel right.</dialogue> <scene_description>JAKE watches VICKIE .</scene_description> </scene> <scene> <stage_direction>INT. JAKE AND IRMA'S APARTMENT, LIVING ROOM - LATE NIGHT</stage_direction> <character>JOEY</character> <parenthetical>( to Jake . )</parenthetical> <dialogue>I'm tellin' you, she'll be there, I know she'll be there.</dialogue> <character>JAKE</character> <dialogue>'Cause I wan na catch her alone.</dialogue> <character>JOEY</character> <dialogue>How you gon na catch anybody alone at a dance? I do n't know if she'll be there alone. She'll probably be there with her girlfriends or something.</dialogue> <character>JAKE</character> <dialogue>She ever go with them? Like Salvy?</dialogue> <character>JOEY</character> <dialogue>Nah, she do n't go with nobody. She's only 15 years old.</dialogue> <character>JAKE</character> <dialogue>What does that have to do with it? She do n't look 15 to me. I heard somethin' with Salvy. She was with him once or somethin', I think. It was like some blonde. That's the one.</dialogue> <character>JOEY</character> <dialogue>Probably. You know she talks to everybody, and not just him.</dialogue> <character>JAKE</character> <dialogue>Yeah, she's nice.</dialogue> <character>JOEY</character> <dialogue>Ah, some piece of ass, I'm tellin' you.</dialogue> <character>JAKE</character> <dialogue>You was n't with her, were you?</dialogue> <character>JOEY</character> <dialogue>Huh?</dialogue> <character>JAKE</character> <dialogue>You was n't with her?</dialogue> <character>JOEY</character> <dialogue>With her? How?</dialogue> <character>JAKE</character> <dialogue>You know, like bang her or anything?</dialogue> <character>JOEY</character> <dialogue>Ah, no, no. I did n't bang her. I know her from around here, that's all. You want to meet her or what?</dialogue> <character>JAKE</character> <dialogue>Nah, not now - all those hard - ons around. I'll wait. Not now.</dialogue> <scene_description>The scene ends on VICKIE as JAKE watches her .</scene_description> </scene> <scene> <stage_direction>INT. JAKE AND IRMA'S APARTMENT - LIVING ROOM - LATE NIGHT</stage_direction> <character>JOEY</character> <parenthetical>( to Jake . )</parenthetical> <dialogue>I'm tellin' you, she'll be there, I know she'll be there. Dressed up and everything.</dialogue> <character>JAKE</character> <dialogue>I do n't like all those other clowns around. That's all I know.</dialogue> <character>JOEY</character> <dialogue>C'mon, hurry up. We're never gon na get outa here tonight.</dialogue> <scene_description>JOEY sips a drink as JAKE knots his tie . IRMA enters from the bedroom .</scene_description> <character>IRMA</character> <dialogue>Where you going at this hour?</dialogue> <character>JAKE</character> <dialogue>What're you, a cop? I'm goin' out - business.</dialogue> <character>IRMA</character> <dialogue>You fuckin' worm, if you're going out, I'm going out.</dialogue> <character>JAKE</character> <dialogue>And where you goin'?</dialogue> <character>IRMA</character> <dialogue>None of your fuckin' business.</dialogue> <scene_description>JOEY lifts his eyes up .</scene_description> <character>JAKE</character> <dialogue>Eh, go out. Do what you're gon na do. What do I care?</dialogue> <scene_description>JOEY opens the door to leave . JAKE follows .</scene_description> <character>IRMA</character> <dialogue>That's right - run out. I ai n't gon na be here when you get back.</dialogue> </scene> <scene> <stage_direction>INT. JAKE AND IRMA'S APT. BUILDING - HALLWAY - LATE NIGHT</stage_direction> <scene_description>JAKE and JOEY hurry down the stairs . IRMA shouts after them .</scene_description> <character>IRMA</character> <dialogue>Bunch of guys. You all hang out together. Yeah, you're all going out on business. You're all gon na suck each other off.</dialogue> </scene> <scene> <stage_direction>INT. JAKE AND IRMA'S BUILDING - GROUND FLOOR - LATE NIGHT</stage_direction> <character>JOEY</character> <dialogue>What a mouth on her - you shoulda hit her - no good fuckin' Jewish cunt - breakin' our balls. You shoulda hit her with a chair.</dialogue> <character>JAKE</character> <dialogue>Hey, watch your mouth. Do n't talk like that. She's still my wife.</dialogue> <character>JOEY</character> <dialogue>No, but Jake. how much abuse can you take.</dialogue> <character>JAKE</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>How many times do I have to hit her? I hit her enough.</dialogue> <scene_description>They exit to street .</scene_description> </scene> <scene> <stage_direction>EXT. JAKE AND IRMA'S APARTMENT BUILDING - STREET - LATE NIGHT</stage_direction> <scene_description>JOEY and JAKE come out of the building and start walking down the street . IRMA opens the window on the second floor right above them , and shouts out to them :</scene_description> <character>IRMA</character> <dialogue>Go ahead - that's all you're good for - to go out and leave me here like a dog. You and your brother! You do n't even look like brothers. You look like faggots! That's what you look like - faggots!</dialogue> <scene_description>JAKE and JOEY walk faster down the block , pretending that IRMA must be shouting at someone else . She throws a bottle at them . It smashes in the street .</scene_description> </scene> <scene> <stage_direction>EXT. WEBSTER HALL - NIGHT (AN HOUR LATER)</stage_direction> <scene_description>ESTABLISHING SHOT .</scene_description> </scene> <scene> <stage_direction>INT. WEBSTER HALL - NIGHT</stage_direction> <scene_description>A neighborhood dance is in progress . A small BAND is playing while mainly OLDER COUPLES dance . There are TWO PRIESTS present . The younger people are divided into two groups - the BOYS , who are dressed in suits and ties , and spend most of their time at the bar area - and the GIRLS , who are in evening dresses , and spend most of their time dancing together . Some of the more popular GIRLS are surrounded by `` WISE - GUYS . '' There are tables near the dance floor with `` set ups '' -LRB- bottles of Scotch , rye , and a bucket of ice -RRB- on them . These tables are the `` bases of operation '' for different neighborhood groups , as if they were street corners . JAKE and JOEY are walking toward a table . VERA , a young neighborhood girl , blocks their way as she bends over to talk to some GUYS at a table . VERA 's well - built , and knows it . JOEY tries to move one way ; VERA again blocks his way . This little game goes on for a few seconds , then :</scene_description> <character>JOEY</character> <dialogue>Look, could you move a little. Would you mind, darling?</dialogue> <character>VERA</character> <dialogue>Mind what, Mr. Big Shot?</dialogue> <character>JAKE</character> <parenthetical>( annoyed . )</parenthetical> <dialogue>Eh, girlie, take a walk.</dialogue> <scene_description>JAKE starts to move forward ; JOEY stops him .</scene_description> <character>JOEY</character> <parenthetical>( to Vera . )</parenthetical> <dialogue>All right, darling, I'll just stand here and wait.</dialogue> <scene_description>JOEY cups his hands and grabs VERA 's breasts . VERA squeals , covers her breasts , and moves back . JOEY and JAKE walk past her . JOEY smiles . JOEY and JAKE sit down at an empty table .</scene_description> <character>JAKE</character> <dialogue>Do you see her yet?</dialogue> <character>JOEY</character> <dialogue>Give me a chance. Let me look.</dialogue> <scene_description>MOVING SHOTS JAKE tries to find her - Camera pans until we find her . JOEY points out a distant table . He spots VICKIE with a couple of other GIRLS . VICKIE locks beautiful and is obviously having a good time .</scene_description> <character>JOEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>THERE she is over there on the other side. What did I tell you? Oh, ai n't she nice? Ai n't she a fuckin' doll?</dialogue> <scene_description>As they watch , WE SEE , from JAKE 's POV : SALVY , FRANKIE , and JUNIOR show up at VICKIE 's table . They are in overcoats and hats and do n't sit down . They are obviously on their way to bigger things than a neighborhood dance - and VICKIE and her GIRLFRIENDS are glad to go with them . They get up to leave .</scene_description> <character>JAKE</character> <dialogue>Be right back.</dialogue> <scene_description>SALVY , FRANKIE , JUNIOR , VTCKIE and the other TWO GIRLS leave the dance hall . JAKE , unseen , follows them to the entrance way , as they go out onto the sidewalk .</scene_description> </scene> <scene> <stage_direction>EXT. WEBSTER HALL - NIGHT</stage_direction> <scene_description>JAKE watches as SALVY ushers everyone into his Cadillac , and then drives off . JAKE stares after the car for a moment , then goes back inside .</scene_description> </scene> <scene> <stage_direction>EXT. SHOREHAVEN POOL - DAY (1942-43)</stage_direction> <scene_description>JAKE and JOEY get out of their Packard convertible and walk over to the fence surrounding the pool . VICKIE is by the pool .</scene_description> <character>JOEY</character> <parenthetical>( calling out to Vickie . )</parenthetical> <dialogue>Hey, Vickie, c ` mere. Do n't be afraid. C'mere. Just say hello. This is my brother.</dialogue> <scene_description>VICKIE comes over to the fence .</scene_description> <character>JOEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Vickie, I want you to meet my brother, Jake. He's gon na be the next champ.</dialogue> <scene_description>JAKE puts his fingers through the fence .</scene_description> <character>JAKE</character> <dialogue>Joey said you wanted to meet me. Is that right? You wanted to meet me?</dialogue> <character>VICKIE</character> <parenthetical>( to Joey . )</parenthetical> <dialogue>I just wanted to say hello.</dialogue> <character>JAKE</character> <dialogue>You wanted to say hello, eh? I ca n't believe it. When did you fall outa heaven? Anyone ever tell you you're the most beautiful one here, princess of the pool. You got a baby face. Look at mine. Whatcha wan na meet me for?</dialogue> <character>VICKIE</character> <dialogue>I do n't know.'Cause you're cute.</dialogue> <character>JAKE</character> <parenthetical>( to Joey . )</parenthetical> <dialogue>Ya hear, Joey? She thinks this face is cute? Hey, whatcha doin' now? You wan na go for a ride?</dialogue> <scene_description>PAN to car .</scene_description> <character>VICKIE</character> <dialogue>Sure. Gim me a few minutes.</dialogue> <scene_description>She starts to go .</scene_description> <character>JAKE</character> <dialogue>Hey.</dialogue> <scene_description>She turns . JAKE kisses his hand and holds it up to the fence by her lips .</scene_description> </scene> <scene> <stage_direction>EXT. SHORE ROAD - DAY</stage_direction> <scene_description>JAKE drives his Packard convertible down Shore Road . VICKIE sits in the passenger seat , her blonde hair blowing in the wind . VICKIE feels JAKE 's eyes all over her , and loves it . On the radio , Bing Crosby sings `` Just One More Charce . ''</scene_description> </scene> <scene> <stage_direction>EXT. MINIATURE GOLF COURSE - DAY</stage_direction> <scene_description>JAKE parks across the street from the new miniature golf course on Shore Road . The Shore Road course is one of the best . The first green features a pink windmill . JAKE and VICKIE get out to cross the street .</scene_description> <character>VICKIE</character> <dialogue>You do n't talk very much.</dialogue> <character>JAKE</character> <dialogue>I ai n't ever talked to a movie star before.</dialogue> <character>VICKIE</character> <parenthetical>( giggles . )</parenthetical> <dialogue>I ai n't no movie star. I'm just in high school.</dialogue> <character>JAKE</character> <dialogue>Oh no? I thought you was a movie star.</dialogue> <scene_description>A bus heads toward them .</scene_description> <character>VICKIE</character> <dialogue>Jake! The bus!</dialogue> <scene_description>JAKE holds up his hand .</scene_description> <character>JAKE</character> <dialogue>Any bus gives you trouble, I knock it out for ya.</dialogue> <scene_description>The bus stops for them as they cross the street .</scene_description> </scene> <scene> <stage_direction>EXT. THE FIRST GREEN - DAY</stage_direction> <scene_description>JAKE sets VICKIE 's ball on the tee facing the windmill .</scene_description> <character>VICKIE</character> <dialogue>You go first. Let me watch how to do this.</dialogue> <character>JAKE</character> <dialogue>You do n't get nothin' done by watchin'. You just got ta do it. Here, I'll help you.</dialogue> <scene_description>JAKE hands VICKIE the putter , then moves behind her and puts her hand on the club .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That's it. Just grip up a little tighter. That's it. You're gon na be real good at this. How does that feel?</dialogue> <character>VICKIE</character> <dialogue>It feels real good.</dialogue> <character>JAKE</character> <dialogue>Just keep your eye on the ball.</dialogue> <character>VICKIE</character> <dialogue>Should I hit it?</dialogue> <character>JAKE</character> <dialogue>Just give it a nice little tap.</dialogue> <scene_description>VICKIE swings and the ball rolls into the center of the windmill . VICKIE breaks free and follows her ball . JAKE follows .</scene_description> <character>VICKIE</character> <dialogue>I ca n't find my ball.</dialogue> <character>JAKE</character> <dialogue>Can you see it?</dialogue> <scene_description>VICKIE bends and looks under the windmill .</scene_description> <character>VICKIE</character> <dialogue>No.</dialogue> <scene_description>JAKE bends and looks .</scene_description> <character>VICKIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Can you see it?</dialogue> <character>JAKE</character> <dialogue>No.</dialogue> <character>VICKIE</character> <dialogue>What does that mean?</dialogue> <scene_description>JAKE takes VICKIE by the arm .</scene_description> <character>JAKE</character> <dialogue>It means the game is over.</dialogue> <scene_description>JAKE throws his putter on the next green .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Let's get outa here.</dialogue> </scene> <scene> <stage_direction>EXT. ARTHUR AVENUE APARTMENT BUILDING - BRONX - DAY</stage_direction> <scene_description>JAKE and VICKIE pull up to a tenement . JAKE dashes around the car to open the door for VICKIE . They enter the building .</scene_description> </scene> <scene> <stage_direction>INT. ARTHUR AVENUE APARTMENT - DAY</stage_direction> <scene_description>JOSEPH LAMOTTA , SR. is finishing his Sunday dinner with a glass of wine as JAKE and VICKIE enter .</scene_description> <character>JAKE</character> <dialogue>Hi Pop. This is my new girlfriend, Vickie. V for victory. How do you like that Pop?</dialogue> <character>JOE LAMOTTA</character> <dialogue>V for victory.</dialogue> <character>VICKIE</character> <parenthetical>( nervous . )</parenthetical> <dialogue>It's a pleasure to meet you, Mr. LaMotta.</dialogue> <character>JOE LAMOTTA</character> <parenthetical>( in Italian . )</parenthetical> <dialogue>Sit down. Eat something.</dialogue> <scene_description>JAKE is anxious . VICKIE is scared .</scene_description> <character>JAKE</character> <dialogue>C'mon, Pop. You've been in America so many years. Speak English.</dialogue> <character>JOE LAMOTTA</character> <parenthetical>( joking . )</parenthetical> <dialogue>You want me to speak English - Fuck you. That's English.</dialogue> <character>JAKE</character> <dialogue>Pop, do n't curse. There's a girl here. I'm gon na show her around the house. Why do n't you just finish your wine?</dialogue> <scene_description>JOE stares at him . JAKE grasps VICKIE 's arm firmly .</scene_description> </scene> <scene> <stage_direction>INT. ARTHUR AVENUE APARTMENT - BEDROOM - DAY</stage_direction> <scene_description>The bedroom is a few rooms away from the kitchen . JAKE closes the door . -LRB- There is a warm light in the bedroom . -RRB-</scene_description> <character>VICKIE</character> <dialogue>Jake, this is your father's bedroom.</dialogue> <character>JAKE</character> <dialogue>That's all right. He do n't mind.</dialogue> <scene_description>The room is sparsely furnished . On the bureau , there is a large framed photo of the boxing brothers : JAKE and JOEY LAMOTTA . -LRB- JOEY wears a suit in the picture . -RRB- JAKE puts VICKIE on the bed and removes his jacket and tie .</scene_description> <character>VICKIE</character> <dialogue>Jake.</dialogue> <character>JAKE</character> <dialogue>It's OK.</dialogue> <scene_description>He pushes her against the bed and gently undresses her . They make love .</scene_description> </scene> <scene> <stage_direction>INT. OLYMPIA STADIUM - DETROIT (FEB. 5, 1943)</stage_direction> <scene_description>JAKE is fighting SUGAR RAY ROBINSON . -LRB- It 's their 2nd match . -RRB- WE SEE highlights of the fight : JAKE is fighting ferociously , but SUGAR RAY is a formidable opponent . AN ANNOUNCER 'S VOICE gives a blow by blow description . JAKE takes a lot of punishment from SUGAR RAY - until the 8th round . Then , JAKE nails SUGAR RAY with a savage left . JAKE chases SUGAR RAY and pounds him with a left and a right . SUGAR RAY gets in a right cross . They stand toe to toe , fighting . Then , JAKE lands a left to SUGAR RAY 's stomach , and knocks him through the ropes . JAKE goes after SUGAR RAY , but the REFEREE stops him . SUGAR RAY gets back into the ring and sinks to one knee , while the REFEREE counts to 9 . The bell sounds . TIME CUT : THE ANNOUNCER calls out that JAKE is the winner . JAKE throws kisses . The CROWD goes wild .</scene_description> </scene> <scene> <stage_direction>INT. GLEASON'S - DAY (1943)</stage_direction> <scene_description>JAKE 's press conference . FIVE REPORTERS meander around the gym , waiting for JAKE to finish sparring . They are not thrilled with their assignment . JAKE is not thrilled with having them there . The gallery is spotted with the usual BRONX TYPES . The lone exception is VICKIE , dressed very well , very sensual , and quite content to watch JAKE make his SPARRING PARTNERS ' lives miserable , despite their head and belly protectors . JOEY is off in one of the corners arguing with ONE of the</scene_description> <character>JOEY</character> <dialogue>The fuckin' papers are full of Robinson and nothing on Jake - and Jake knocked him clear outa the ring in Detroit. He's the only guy ever to beat Robinson. Whatsa matter with you? I thought we had an arrangement.</dialogue> <character>REPORTER</character> <dialogue>We do Joey. You know we do.</dialogue> <character>JOEY</character> <dialogue>You holding me up for more cash or what?</dialogue> <scene_description>The bell sounds , ending the sparring round .</scene_description> <character>REPORTER</character> <dialogue>I ca n't print nothing if Jake wo n't give me nothing.</dialogue> <scene_description>JOEY walks over to the ring . The REPORTER follows not far behind .</scene_description> <character>JOEY</character> <dialogue>C'mon, Jake. You're makin' us look stupid. I brought these guys up here, now you do n't wan na talk to them? What are ya doin'? Open your mouth, for Christsake.</dialogue> <scene_description>JAKE nods his head , steps out of the ring , and goes directly over to the REPORTER , who is about to say : `` Hi , Jake . ''</scene_description> <character>JAKE</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>I'm tallin' you now, when I read this, it better not make me look bad.</dialogue> <character>REPORTER</character> <dialogue>Jake, did I ever make you look bad before?</dialogue> <character>JAKE</character> <dialogue>Maybe it was n't you, but you know what I'm talkin' about.</dialogue> <character>JOEY</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Do n't worry. Do n't worry. It's gon na be all right.</dialogue> <parenthetical>( to reporter . )</parenthetical> <dialogue>Ask him your questions.</dialogue> <character>REPORTER</character> <dialogue>All right, Jake, you're being talked about as the top middleweight contender. Do you think another victory over Sugar Ray will get you a shot at the title?</dialogue> <character>JAKE</character> <dialogue>Why not? There's nobody else around who wants to fight me ; they're all afraid. I do n't see why I should n't have a shot at the title right now.</dialogue> <character>REPORTER</character> <dialogue>Well, the word is to get a title shot you have to cooperate with the people who control boxing, in New York. And they're saying that you do n't cooperate.</dialogue> <character>JAKE</character> <dialogue>You guys know more about that than I do. I just fight.</dialogue> <character>JOEY</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>He fights the toughest guys around that everybody else is afraid to fight.</dialogue> <character>JAKE</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>I'm the only guy ever to beat Sugar Ray, and I still do n't have a shot at the title.</dialogue> <character>REPORTER</character> <dialogue>You just fought Sugar Ray two weeks ago and you're training like this right now. Are you afraid Sugar Ray might beat you this time?</dialogue> <character>JAKE</character> <dialogue>I tell you what. You hit me here.</dialogue> <parenthetical>( points to his right cheek . )</parenthetical> <dialogue>Sugar Ray hits me here.</dialogue> <parenthetical>( points to his left cheek . )</parenthetical> <dialogue>I ca n't tell the difference. I just fight.</dialogue> <scene_description>JAKE turns to VICKIE , smiles , and prepares for his next SPARRING PARTNER .</scene_description> </scene> <scene> <stage_direction>INT. ARTHUR AVENUE APARTMENT - BEDROOM - DAY (FEB. 1943)</stage_direction> <scene_description>JAKE , wearing pleated dress slacks , sits on the edge of the bed examining his muscle tone . He studies his small fists . Squeezes each knuckle . Twists his wrists . Clenches . Unclenches . VICKIE steps out of the bathroom wearing a nightie and panties .</scene_description> <character>VICKIE</character> <dialogue>Are you sure we should be doing this?</dialogue> <character>JAKE</character> <dialogue>Come over here.</dialogue> <character>VICKIE</character> <dialogue>You said never to touch you before a fight.</dialogue> <character>JAKE</character> <parenthetical>( lovingly . )</parenthetical> <dialogue>If you let me do it, I'll murder you. Come here.</dialogue> <character>VICKIE</character> <dialogue>You said I could n't. You've been good for two weeks.</dialogue> <character>JAKE</character> <dialogue>Come here.</dialogue> <scene_description>JAKE watches VICKIE approach him . He respects her as he would a shrine ; he slowly removes her sheer nightie . His round hands caress her smooth skin . He glides his bruised knuckles across her shoulders , pride on his face . She kisses his bruised knuckles sensuously , then his bruised face .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Take off my pants.</dialogue> <character>VICKIE</character> <dialogue>Jake.</dialogue> <character>JAKE</character> <dialogue>Do what I say.</dialogue> <scene_description>He touches her breasts as she removes his trousers .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Now take the rest off.</dialogue> <character>VICKIE</character> <dialogue>Jake, you made me promise not to get you excited.</dialogue> <character>JAKE</character> <dialogue>Go ` head. Do it.</dialogue> <scene_description>She pulls off his shorts . VICKIE is now getting excited . She kisses his chest and licks it .</scene_description> <character>VICKIE</character> <dialogue>I like the gym smell.</dialogue> <character>JAKE</character> <dialogue>Now take your panties off.</dialogue> <scene_description>She does .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Now, touch me.</dialogue> <parenthetical>( takes her hand . )</parenthetical> <dialogue>. here.</dialogue> <character>VICKIE</character> <dialogue>Oh, Jake.</dialogue> <scene_description>She caresses his broad shoulders and runs her hand along his erection . JAKE 's lips are trembling . He quickly turns his back on VICKIE , goes into the bathroom , and gets a full glass of cold water . VICKIE watches as he puts his erection in the glass of cold water . She is shocked and surprised .</scene_description> <character>JAKE</character> <dialogue>I ca n't do it. I ca n't fool around. This Robinson, I got ta beat him again. I ca n't fool around. Do n't come near me.</dialogue> <scene_description>JAKE grabs her again and kisses her . Then , gently but firmly , he turns her around and pushes her out . -LRB- It 's starting again , and he must stop it . -RRB- He goes back the bathroom and closes the door .</scene_description> </scene> <scene> <stage_direction>INT. OLYMPIC STADIUM - DETROIT (FEB. 26, 1943)</stage_direction> <scene_description>This is JAKE 's rematch with SUGAR RAY -LRB- their 3rd fight -RRB- . AN ANNOUNCER 's VOICE gives a blow by blow description . THE FOURTH ROUND : JAKE is in serious trouble . SUGAR RAY knocks him with a hard right , then a series of rights and lefts . JAKE is punched all the way across the ring , but stays in there . THE SEVENTH ROUND : JAKE , coming on strong , forces SUGAR RAY into his own corner , then lands a left hook to his chin . SUGAR RAY drops , and takes a nine count . This time , however , the blow does not have a crippling effect on SUGAR RAY ; instead , he comes back and outboxes JAKE . TIME CUT : THE ANNOUNCER calls out the decision : SUGAR RAY is the winner . JAKE is stunned . The CROWD boos so loud and for so long that THE ANNOUNCER is unable to introduce the fighters in the next bout .</scene_description> </scene> <scene> <stage_direction>INT. OLYMPIA STADIUM - DRESSING ROOM - NIGHT</stage_direction> <scene_description>JOEY and TONY are in the dressing room . JAKE sits on the table , dejected . His hand is being examined by a DOCTOR . TWO HANGERS - ON are also present .</scene_description> <character>JOEY</character> <parenthetical>( angry . )</parenthetical> <dialogue>They robbed us! Those fuckin' judges - What the fuck fight were they watching? If I see them on the street, I'll break their heads. Decision Robinson, my fuckin' ass! Those judges give him the decision'cause he's goin in the army next week! How else could this have happened? What do you think they gave him the decision for, that's why.</dialogue> <character>JAKE</character> <parenthetical>( almost to himself . )</parenthetical> <dialogue>Whadda I got ta do, Joey? I knocked him down. What did I do wrong? I do n't understand.</dialogue> <character>JOEY</character> <dialogue>You won and was robbed! You did n't do nothin' wrong.</dialogue> <character>JAKE</character> <dialogue>I dunno. Maybe I do n't deserve to win. I've done a lot of bad things. I dunno.</dialogue> <scene_description>TONY goes to the door .</scene_description> <character>JOYE</character> <dialogue>Fuck that. This was the fight. This coulda done it. This was our shot. They out and out robbed us.</dialogue> <scene_description>MARIO comes back from the door .</scene_description> <character>MARIO</character> <dialogue>Vickie is here, Jake.</dialogue> <character>JAKE</character> <dialogue>I do n't wan na see nobody.</dialogue> <character>JOEY</character> <dialogue>You want us to wait for you?</dialogue> <character>JAKE</character> <dialogue>No, take her home. I wan na be alone for a while. Everybody go.</dialogue> <scene_description>They exit .</scene_description> </scene> <scene> <stage_direction>INT. BATHROOM NEAR THE DRESSING ROOM</stage_direction> <scene_description>JAKE , now alone , goes into the bathroom . He looks in the bathroom mirror . After a pauseg , he touches his newly acquired bruises and bandages . He combs his hair . We hear the beginning of an early Frank Sinatra song . This song carries over onto the following MONTAGE . MONTAGE This MONTAGE covers the period between 1943 and early 1947 . It shows JAKE hard at work fighting all the tough guys he can . Each of the fights will be introduced by the corresponding title card from the `` Big Fights '' film showing a boxing glove with the fighters ' names and the places of the fights superimposed on it . The actual fight images will be black and white newspaper photos JUMP CUT together to simulate real action . For example : In still # 1 JAKE is about to land a punch on an OPPONENT . Still # 2 , and the punch lands , distorting the OPPONENT 's face , sweat spraying out everywhere . Live sound effects accompany these stills . The fight stills are INTERCUT with 16mm black and white home movies of JAKE , VICKIE , JOEY , etc. -LRB- to be shot in 16mm black and white -RRB- . It 'll go something like this : A -RRB- JAKE VS. FRITZIE ZIVIC at the Detroit Olympia -LRB- January 14 , 1944 -RRB- B -RRB- JAKE , VICKIE , and JOEY , wearing sunglasses , pose in front of a Cadillac . -LRB- 1944 -RRB- C -RRB- JAKE VS. SUGAR RAY ROBINSON at Madison Square Garden -LRB- February 23 , 1945 -RRB- D -RRB- JAKE and VICKIE getting married . -LRB- This will be a black and white still photo , posed especially for the occasion . -RRB- -LRB- 1945 , New Jersey courthouse -RRB- E -RRB- JAKE VS. SUGAR RAY ROBINSON at Comiskey Park , Chicago -LRB- September 26 , 1945 -RRB- F -RRB- JAKE and VICKIE on vacation - very loving . They are dancing , and he allows her to knock him into the pool . Then , JAKE gives VICKIE a present by the poolside . She opens the box and takes out a white garment and turban . She kisses JAKE . VICKIE dressed in the outfit . She looks very much like Lana Turner in `` The Postman Always Rings Twice . '' She kisses JAKE . -LRB- 1946 -RRB- G -RRB- JAKE VS. JIMMY EDGAR at Detroit -LRB- The University of Detroit Stadium -RRB- -LRB- June 12 , 1946 -RRB- H -RRB- JOEY 's marriage . JAKE and VICKIE are there as witnesses . -LRB- Could also be a still photo as D was . -RRB- -LRB- 1946 -RRB- I -RRB- JAKE VS. BOB SATTERFIELD at Wrigley Field , Chicago -LRB- September 12 , 1946 -RRB- J -RRB- JAKE and VICKIE in front of their new Pelham Parkway house . It is an affluent , split - level house , an idyllic scene - stone terrace , freshly cut lawn , etc. . JAKE carries VICKIE inside . JAKE and VICKIE with their two boys JACK , age 2 , and JOEY , age 1 in the backyard of the Pelham Parkway house ; they are having a cookout . JOEY and his WIFE and their two children -LRB- a BOY and a GIRL about the same ages as JAKE 's -RRB- are there also . -LRB- 1947 -RRB- K -RRB- JAKE VS. TOMMY BELL at Madison Square Garden -LRB- March 14 , 1947 -RRB-</scene_description> </scene> <scene> <stage_direction>INT. PELHAM PARKWAY HOUSE (1947)</stage_direction> <scene_description>WE SEE an early model , round screen television . Nearby an old radio . On it , Sinatra is finishing the song we heard in the preceding montage . JAKE enters , and turns down the volume on the radio . WE SEE JAKE 's living room ; it is late forties modern . JOEY and VICKIE are seated around the coffee table , which is near the television . There are some remnants of a snack on the table . JAKE 's TWO BOYS are playing nearby .</scene_description> <character>JAKE</character> <parenthetical>( to Joey as he turns down the radio . )</parenthetical> <dialogue>I just weighed myself - I'm 161. No more deals like this Janiro bullshit. I did n't tell you to do it in the first place.</dialogue> <character>JOEY</character> <dialogue>Jake, you're the one who said you could get down to 155! What did I do, pull it out of the fuckin' hat?</dialogue> <character>JAKE</character> <parenthetical>( angry . )</parenthetical> <dialogue>Well, sometimes you should n't listen to me! Now I do n't know if I can make it down to 155. I'm having trouble making 160, and without telling me, you sign me for a fight at 155 pounds, and if I do n't make 155, I forfeit $ 15,000! You're supposed to know what you're doin'. You're supposed to be a manager!</dialogue> <character>JOEY</character> <dialogue>You want the title shot?</dialogue> <character>JAKE</character> <dialogue>Say what you're gon na say.</dialogue> <character>JOEY</character> <dialogue>You want the title shot or not?</dialogue> <character>JAKE</character> <dialogue>Say what you got ta say. Do n't be a smart ass.</dialogue> <character>JOEY</character> <parenthetical>( yelling . )</parenthetical> <dialogue>This Janiro's an up - and - coming fighter, this kid you got ta knock out. Knockout this fuckin' kid! I'm telling you, this is your step towards getting a shot at the title. Listen to me : I'm telling you. You been killin' yourself for three years. There's nobody left - they're afraid to fight you. This Janiro's up - and - coming. He do n't know. Fuckin' tear him apart, wipe him out! What are you worried about? Your weight? Look, even if you lose they're gon na think you're weak ; they're gon na think you're not the fighter you used to be. They'll match you with guys they were afraid to match you with before, and then you'll kill them and you'll get your title shot. And if you beat this kid Janiro, they got ta give you a shot at the title because there's nobody else. Either way you win and you do it on your own - just like you want it. All right?</dialogue> <character>VICKIE</character> <dialogue>Joey's right. Janiro's up - and coming, he's good looking.</dialogue> <character>JAKE</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>What do you mean, `` good looking?''</dialogue> <character>VICKIE</character> <dialogue>Well, he's popular. A lotta people like Janiro. You beat him and it only figures they'll wan na see you get a title shot. But, what do I know? I should keep my mouth shut, I should.</dialogue> <character>JAKE</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Who asked you?</dialogue> <character>VICKIE</character> <dialogue>But, Jake, I was just.</dialogue> <character>JAKE</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Who asked you?</dialogue> <character>VICKIE</character> <dialogue>I was just.</dialogue> <character>JAKE</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Who asked you?</dialogue> <scene_description>VICKIE , amazed , gets up to leave . JAKE glares at her . VICKIE rounds up the kids and takes them into the kitchen . -LRB- MOVING SHOT -RRB- . WE SEE VICKIE in the kitchen angrily throwing things around . We clearly see the tension as she cleans up , muttering to herself .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( turns to Joey . )</parenthetical> <dialogue>All right, manager. Everybody had their say around here. Now this is what I'm gon na say. I'm gon na get down to 155, and I'm gon na destroy this kid - get my title shot. And do n't ever bet 15 thousand without my sayso again.</dialogue> <scene_description>JAKE comes into the kitchen . He tries to make up with VICKIE . She plays hard - to - get . They begin to tease each other .</scene_description> </scene> <scene> <stage_direction>INT. COPACABANA LOUNGE - NIGHT (1947)</stage_direction> <scene_description>A COMEDIAN is in the middle of his act . JAKE , VICKIE , JOEY , and JANET sit at a nearby table . JANET , an attractive blonde , is are of JOEY 's girlfriends ; the moment you set eyes on her , you know this is not his wife . The lounge is very crowded . The COMEDIAN interrupts his routine to point out that JAKE LAMOTTA is in the audience , and even tries a little harmless joking at JAKE 's expense .</scene_description> <character>COMEDIAN</character> <dialogue>Ladies and gentlemen, I'd like to point out a special guest we have with us tonight - The Raging Bull, The Bronx Bull, Mr. Jake LaMotta.</dialogue> <scene_description>There is applause . JAKE smiles , and gives a hesitant wave .</scene_description> <character>COMEDIAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Stand up, Jake, c'mon. Oh, you are standing. Sorry.</dialogue> <parenthetical>( laughs . )</parenthetical> <dialogue>Just kiddin', Jake.</dialogue> <scene_description>JAKE waves a fist at the COMEDIAN , good - naturedly playing along with the joke - even though he hates it .</scene_description> <character>JAKE</character> <parenthetical>( to Joey . )</parenthetical> <dialogue>Look at this abuse I got ta take.</dialogue> <scene_description>JOEY , VICKIE , and JANET are amused .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( joking . )</parenthetical> <dialogue>What's so funny?</dialogue> <parenthetical>( lifting his glass . )</parenthetical> <dialogue>Cheers! Post - time. Joey, Vickie, and.</dialogue> <parenthetical>( to Janet . )</parenthetical> <dialogue>What's your name again, darling?</dialogue> <character>JANET</character> <dialogue>Janet.</dialogue> <scene_description>JAKE Smiles . They all drink . SALVY , a little older , but still young - looking , and dressed even better than when we last saw him -LRB- flashy rings , etc. -RRB- , comes over to their table . He walks around like he owns the fucking place . JAKE hates it .</scene_description> <character>SALVY</character> <dialogue>Hi, Joey. Jake, how you doin'? Vickie.</dialogue> <scene_description>They respond . JAKE is cold towards SALVY . SALVY goes on his way to COMO 's table . As SALVY walks away , JAKE turns to VICKIE .</scene_description> <character>JAKE</character> <dialogue>What're you lookin' at? You lookin' at him?</dialogue> <character>VICKIE</character> <dialogue>No, I'm not. I'm looking at you.</dialogue> <character>JAKE</character> <dialogue>Do n't tell me `` No.'' I saw you lookin' at him. Why, you like him?</dialogue> <character>VICKIE</character> <dialogue>I'm not interested in him.</dialogue> <character>JAKE</character> <dialogue>You're not interested in him?</dialogue> <character>VICKIE</character> <dialogue>No, I'm not.</dialogue> <character>JAKE</character> <dialogue>In other words, you're not interested in him but you'd be interested in somebody else, right?</dialogue> <character>VICKIE</character> <dialogue>Jake, c'mon now. Do n't start.</dialogue> <character>JAKE</character> <parenthetical>( turns to Joey , referring to Salvy . )</parenthetical> <dialogue>Look at this, all of a sudden everybody's a fuckin' Romeo around here. Did you see the way she was lookin' at him?</dialogue> <character>JOEY</character> <dialogue>Nah, she would never.</dialogue> <character>JAKE</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Did n't you just see her lookin' at him? She told me no, but I do n't believe her.</dialogue> <character>JOEY</character> <parenthetical>( uncomfortable . )</parenthetical> <dialogue>C'mon, Jake. You know she's crazy about you.</dialogue> <scene_description>JAKE gives him a suspicious look . JOEY feels uneasy .</scene_description> <character>JAKE</character> <dialogue>I'd just love to catch her. Oooooh, I'd just love to catch her once.</dialogue> <scene_description>Drinks arrive at their table .</scene_description> <character>WAITER</character> <dialogue>These are from Tommy Como.</dialogue> <scene_description>JAKE looks up but ca n't see where COMO is . JOEY gets up .</scene_description> <character>JOEY</character> <parenthetical>( to Jake . )</parenthetical> <dialogue>Excuse me for a minute. Be right back.</dialogue> <character>JAKE</character> <parenthetical>( sarcastic . )</parenthetical> <dialogue>Do n't be long. I'm afraid with all these tough guys here.</dialogue> <scene_description>JOEY goes to COMO 's table in the rear of the lounge . JAKE slides over and watches . JOEY shakes hands with COMO . SALVY is there at COMO 's table . JOEY comes right back .</scene_description> <character>JOEY</character> <dialogue>Jake, come over for a few minutes. Tommy wants to say hello to you. C'mon, just come and say hello.</dialogue> <scene_description>JAKE does n't like the idea , but goes along with it anyway . ANOTHER ANGLE : COMO 's table . JAKE comes over .</scene_description> <character>JAKE</character> <dialogue>Hi, Tommy. How are you?</dialogue> <character>TOMMY</character> <dialogue>Jake, sit down for a minute.</dialogue> <scene_description>JAKE sits . SALVY smiles and nods to JAKE . JAKE barely nods back .</scene_description> <character>TOMMY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( his arm around Jake . )</parenthetical> <dialogue>Fuckin' kid! You're the best fuckin' fighter around. Loved what you did to Satterfield. Them `` moulan yans'' - forget about it. They're all afraid to fight you.</dialogue> <character>JAKE</character> <parenthetical>( a little embarrassed . )</parenthetical> <dialogue>C'mon, Tommy -</dialogue> <character>TOMMY</character> <dialogue>How you feelin'? Ok? You feelin' good?</dialogue> <character>JAKE</character> <dialogue>Never felt better.</dialogue> <character>TOMMY</character> <dialogue>Tony Janiro's got ta watch out, eh?</dialogue> <character>JAKE</character> <dialogue>He should.</dialogue> <character>TOMMY</character> <parenthetical>( to Salvy . )</parenthetical> <dialogue>This Janiro's a good fiahter, pretty good - lookin' kid.</dialogue> <character>SALVY</character> <dialogue>Bet on him three times. Always come through for me.</dialogue> <scene_description>JAKE just stares , holding his anger in . There is a pause .</scene_description> <character>TOMMY</character> <dialogue>How's the weight? Ok?</dialogue> <character>JAKE</character> <dialogue>Yeah, the weight's Ok.</dialogue> <scene_description>Another pause . TOMMY smiles and moves closer to JAKE .</scene_description> <character>TOMMY</character> <dialogue>All right, lem me ask you something. Let's say I was a good friend of yours. And I was telling you I was gon na bet a lot of money on you in this Janiro fight. What would you tell me?</dialogue> <character>JAKE</character> <dialogue>I'd tell you to bet a bundle.</dialogue> <scene_description>TOMMY sips his drink .</scene_description> </scene> <scene> <stage_direction>INT. PELHAM PARKWAY HOUSE - BEDROOM - NIGHT</stage_direction> <scene_description>VICKIE is in bed trying to sleep . JAKE comes out of the bathroom half - dressed , and sits on the edge of the bed -LRB- preoccupied -RRB- . Silence .</scene_description> <character>JAKE</character> <dialogue>Vickie? Vickie, you asleep?</dialogue> <character>VICKIE</character> <dialogue>What?</dialogue> <character>JAKE</character> <dialogue>You asleep?</dialogue> <character>VICKIE</character> <dialogue>Yeah.</dialogue> <character>JAKE</character> <dialogue>Huh?</dialogue> <character>VICKIE</character> <dialogue>Yeah, what?</dialogue> <character>JAKE</character> <dialogue>Tell me, you think of anybody else when I'm making love to you?</dialogue> <character>VICKIE</character> <dialogue>Nobody. I love you, remember?</dialogue> <character>JAKE</character> <dialogue>Then why'd you say that thing about Tony Janiro?</dialogue> <character>VICKIE</character> <dialogue>What did I say?</dialogue> <character>JAKE</character> <dialogue>That he's got a pretty face.</dialogue> <character>VICKIE</character> <dialogue>I never noticed his face.</dialogue> <character>JAKE</character> <dialogue>You sure you're not thinking of him right now?</dialogue> <character>VICKIE</character> <dialogue>Positive.</dialogue> <character>JAKE</character> <dialogue>You're the one who said he was good looking. You think he's good looking'cause I know you think he's good - looking. I'll smash his face inside out. I'll make him into dog meat. Nobody's gon na think he's good - looking when I get through with him. So you just go ahead and think about who you want.</dialogue> <scene_description>VICKIE freezes .</scene_description> </scene> <scene> <stage_direction>INT. WORTH STREET BASEMENT - DAY</stage_direction> <scene_description>TONY JANIRO , wearing boxer trunks , steps off the scale . Commissioner COL. EDDIE EAGAN , a white - haired , heavyset man in his mid - forties , calls out the weight . The basement of the New York Boxing Commission on Worth Street is a sparse room , crowded with REPORTERS , TRAINERS and MANAGERS .</scene_description> <character>EAGAN</character> <dialogue>Tony Janiro, 151 lbs. and one half.</dialogue> <scene_description>JAKE steps on the scale . He looks weak and woozy . After the customary adjustments , EAGAN calls out :</scene_description> <character>EAGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Jake LaMotta, 155 lbs. and one fourth.</dialogue> <scene_description>There 's a commotion in JAKE 's camp . JANIRO smiles .</scene_description> <character>JAKE</character> <dialogue>Just a minute.</dialogue> <scene_description>JAKE , JOEY , and TONY confer . JAKE gets off the scale and enters the men 's room . An OFFICIAL follows him .</scene_description> </scene> <scene> <stage_direction>INT. THE MEN'S ROOM</stage_direction> <scene_description>JAKE forces himself to urinate .</scene_description> </scene> <scene> <stage_direction>INT. WORTH STREET BASEMENT</stage_direction> <scene_description>JAKE comes out of the bathroom , and gets back on the scale .</scene_description> <character>EAGAN</character> <dialogue>Ok. This is official.</dialogue> <scene_description>LAMOTTA stares at JANIRO .</scene_description> <character>EAGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>LaMotta, 155 lbs. on the nose.</dialogue> <scene_description>JAKE throws JANIRO a kiss .</scene_description> </scene> <scene> <stage_direction>INT. MADISON SQUARE GARDEN - NIGHT</stage_direction> <scene_description>It 's the last round and JAKE is pouring it on a beaten and virtually helpless JANIRO . The CROWD chants :</scene_description> <character>CROWD</character> <dialogue>LaMotta.</dialogue> <scene_description>HALF THE AUDIENCE is already on its feet . The kill is imminent - and they love it . JAKE lands one blow after another . He is relentless . Several rows back , TOMMY COMO , SALVY and SEVERAL OTHER `` MADE '' GUYS sit with sober looks on their faces . JAKE moves in fast , and with a powerful barrage , smashes JANIRO 's nose - plastering it against his left cheek . The final bell rings . JANIRO , his legs all rubber , staggers back to his corner . JAKE prances about , kissing his fists and throwing them to the CROWD . JOEY rushes out , throws JAKE 's leopard skin robe over him and embraces him . TONY follows . JAKE looks right at COMO and SALVY . AN ANNOUNCER steps into the center of the ring :</scene_description> <character>ANNOUNCER</character> <dialogue>The winner, by unanimous decision, in ten rounds, Jake LaMotta!</dialogue> <character>JOEY</character> <dialogue>I love you.</dialogue> <scene_description>JAKE , weak from losing the weight and winning the fight , still manages to prance around the ring victoriously . VICKIE , now near the ring , throws kisses to JAKE .</scene_description> <character>JAKE</character> <parenthetical>( shouts to Vickie . )</parenthetical> <dialogue>This is my night! Listen to them! I'm gon na be champ!</dialogue> <scene_description>He bends down and gives her a kiss through the ropes .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm making everything up to you.</dialogue> </scene> <scene> <stage_direction>INT. COPACABANA - NIGHT (1947)</stage_direction> <scene_description>JOEY is at the bar with a DETROIT PROMOTER and JACKIE CURTIE .</scene_description> <character>DETROIT PROMOTER</character> <dialogue>When we gon na get Jake back in Detroit? Jesus, he really did a job on Janiro. Who you after next, Joey?</dialogue> <character>JOEY</character> <parenthetical>( evasive . )</parenthetical> <dialogue>I dunno. We're working on it. He's training at the camp now.</dialogue> <character>JACKIE CURTIE</character> <dialogue>After what I seen, they got ta give him a shot at the title.</dialogue> <character>JOEY</character> <dialogue>We're gon na get our shot.</dialogue> <scene_description>The DETROIT PROMOTER introduces JOEY to JACKIE CURTIE .</scene_description> <character>DETROIT PROMOTER</character> <dialogue>Oh Joey, this is Jackie Curtie. He handles a lot of business in South Ohio.</dialogue> <character>JACKIE CURTIE</character> <dialogue>I like your brother. Made a lot of money on him.</dialogue> <character>JOEY</character> <dialogue>Betcha more than he has.</dialogue> <character>JACKIE CURTIE</character> <dialogue>Made a little cabbage on the Tommy Bell fight too. Whatever happened to him?</dialogue> <character>JOEY</character> <dialogue>Ai n't he dead?</dialogue> <character>DETROIT PROMOTER</character> <dialogue>Nah. He's got a job downtown. Runs an elevator in some building.</dialogue> <character>JOEY</character> <dialogue>Yeah?</dialogue> <character>DETROIT PROMOTER</character> <dialogue>Went down to see him the other day. I says, `` Tommy, take me up to the fifth floor.'' And you know, he took me right up there.</dialogue> <character>JACKIE CURTIE</character> <dialogue>Yeah, Tommy always was a stand - up guy.</dialogue> <scene_description>SALVY and PATSY arrive with VERA , SANDY -LRB- two neighborhood girls -RRB- , and VICKIE . They go to a nearby table . The bar area : JOEY sees this .</scene_description> <character>DETROIT PROMOTER</character> <dialogue>Joey, let me get you another drink.</dialogue> <character>JOEY</character> <parenthetical>( distracted . )</parenthetical> <dialogue>Just a minute. Excuse me. I'll be right back.</dialogue> <scene_description>The table area : JOEY arrives at SALVY 's table . VICKIE is nervous . There is a cold exchange of ' `` hellos . ''</scene_description> <character>JOEY</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( to Vickie . )</parenthetical> <dialogue>C'mere, let me talk to you for a minute.</dialogue> <scene_description>There is an awkward silence as he grabs VICKIE by the arm and takes her over to the hat - check area .</scene_description> <character>JOEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What're you doin' with Salvy? You should n't be here with him. Jake's away killin' himself. Suppose he found out.</dialogue> <character>VICKIE</character> <dialogue>What the hell am I doing wrong? Just because Jake is training, I ca n't go out? What am I, a goddamn prisoner?</dialogue> <character>JOEY</character> <dialogue>No, you're his wife.</dialogue> <character>VICKIE</character> <dialogue>I'm not doing anythina wrong. I'm just trying to have a good time. Do I have to be cooped up in the house all the time?</dialogue> <character>JOEY</character> <dialogue>It do n't look right.</dialogue> <character>VICKIE</character> <dialogue>Well, go ahead, tell Jake. He's gon na kill me anyway. It's a matter of time.</dialogue> <character>JOEY</character> <dialogue>I'm not gon na tell him nothing ; but if he finds out, he will kill you. What's the matter with you? Are n't you happy? You got everything you want.</dialogue> <character>VICKIE</character> <dialogue>You do n't sleep with him. I do. I do n't get to breathe without tellin' him. He keeps me in a cage. If he thinks I'm lookin' at somebody the wrong way, I get used as a punching bag. He do n't trust nobody. If he saw the two of us talking together right now, you'd be in trouble too - believe me. Look at me, Joey. I'm 19 years old. I wan na enjoy my life. I love Jake, but you do n't know. He gets crazy sometimes. I'm scared.</dialogue> <character>JOEY</character> <dialogue>Try to understand, Vickie. Jake's got a lotta aggravation. He's been a top contender too long.</dialogue> <character>VICKIE</character> <dialogue>That's right, take his part. You're his brother. He's never gon na be champ. Too many people are against him.</dialogue> <character>JOEY</character> <dialogue>And you're drinking with them right now.</dialogue> <character>VICKIE</character> <dialogue>And I'm gon na finish my drink. And, I'm gon na have a good time, because I ai n't doing nothing wrong.</dialogue> <scene_description>She starts to go back to the table .</scene_description> <character>JOEY</character> <parenthetical>( grabbing her . )</parenthetical> <dialogue>You're wrong to be here. Let's go.</dialogue> <scene_description>VICKIE pulls away from JOEY , and goes back to the table . The table area : JOEY arrives at the table . He grabs VICKIE .</scene_description> <character>JOEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I said, let's go.</dialogue> <character>SALVY</character> <dialogue>Joey, relax. You're taking this the wrong way. Why do n't you sit down and have a drink?</dialogue> <character>JOEY</character> <dialogue>Excuse me, I'm talking to my sister in - law.</dialogue> <character>SALVY</character> <dialogue>Excuse me for living.</dialogue> <character>JOEY</character> <dialogue>What do you think, I'm blind? My brother's breaking his ass in a ring, and you're here with his wife.</dialogue> <character>SALVY</character> <dialogue>Hey Joey, I'm here with Patsy and Vera and Sandy. And Vickie just happened to come along. We're just trying to have a good time. What do you want from me? So, why do n't you just take it easy before this gets out of hand.</dialogue> <scene_description>As the conversation gets louder , PEOPLE begin to notice . PAUL , the owner -LRB- a tough - looking , well - dressed guy -RRB- , and some BOUNCERS also become aware of the argument .</scene_description> <character>JOEY</character> <dialogue>Get the fuck outa here. What did you do, take your gangster pills today? I'll tear your fuckin' head off your shoulders!</dialogue> <scene_description>JOEY goes for SALVY . PEOPLE react . The GIRLS begin to scream . VICKIE exits . JOEY notices her leave , and calls after her .</scene_description> <character>JOEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hey, wait -</dialogue> <scene_description>PAUL comes over and stops the fight .</scene_description> <character>PAUL</character> <dialogue>Ai n't you forgettin' something? Ai n't there never supposed to be no trouble in this joint?</dialogue> <scene_description>SALVY and JOEY give each other looks . JOEY goes out after VICKIE .</scene_description> </scene> <scene> <stage_direction>EXT. COPACABANA - NIGHT</stage_direction> <scene_description>JOEY looks up the street for VICKIE . She is gone . SALVY and PATSY come out of the entrance .</scene_description> <character>SALVY</character> <dialogue>Hey Joey, whadda ya lookin' to die young?</dialogue> <character>JOEY</character> <parenthetical>( as he turns and lashes into Salvy and Patsy . )</parenthetical> <dialogue>I'll suck your eyes out! I'll fuckin' take the two of you.</dialogue> <scene_description>After a few moments , PAUL and the BOUNCERS from the Copa come out . The BOUNCERS pull PATSY away . They try to separate SALVY and JOEY , but ca n't . JOEY savagely beats SALVY on the Copa steps and in the street against the parked cars .</scene_description> <character>JOEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Fuckin' low - life, cocksucker, etc.</dialogue> <scene_description>SALVY tries to fight back , but JOEY is too tough for him . SALVY hits the pavement . JOEY kicks him . PAUL , PATSY , and the BOUNCERS finally pull JOEY away . PATSY tries to go after JOEY again , but PAUL stops him .</scene_description> <character>PATSY</character> <parenthetical>( to Paul . )</parenthetical> <dialogue>Do n't fuckin' put your hands on me! You're gon na near about this, Paul.</dialogue> <character>PAUL</character> <parenthetical>( to Patsy . )</parenthetical> <dialogue>Get the fuck outa here. Do n't come in my place and start fuckin' trouble - I do n't care who you are!</dialogue> <parenthetical>( to Joey . )</parenthetical> <dialogue>Get outa here. Go on.</dialogue> <scene_description>JOEY looks back at him , and then walks away .</scene_description> </scene> <scene> <stage_direction>INT. THE BACK ROOM OF THE DEBONAIR SOCIAL CLUB</stage_direction> <scene_description>The room is furnished with a few round tables and some chairs ; it is somewhat reminiscent of an old - fashioned candy store . TOMMY COMO , SALVY , PATSY and JOEY are present . SALVY 's face is bruised from the beating JOEY gave him .</scene_description> <character>COMO</character> <dialogue>All rightg I do n't have to hear any more. I think I understand what happened. I understand it was your brother's wife and there was probably a misunderstanding. I'm not sayin' Salvy should n't have acted the way he did. But, Joey, you do n't raise your hands. You do n't do that kind of thing. This time we forget about it but no more after this. You understand?</dialogue> <character>JOEY</character> <dialogue>Yeah, I understand, Tommy.</dialogue> <character>COMO</character> <dialogue>All right, you guys, shake hands.</dialogue> <scene_description>SALVY , JOEY , and PATSY shake hands .</scene_description> <character>COMO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Go ` head. Be friends. That's it.</dialogue> <parenthetical>( to Salvy and Patsy . )</parenthetical> <dialogue>All right, lem me be alone with him for a minute.</dialogue> <scene_description>SALVY and PATSY exit . There is a pause .</scene_description> <character>COMO</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Aside from everything else, your family all right?</dialogue> <character>JOEY</character> <dialogue>Yeah, they're good. They're good, Tommy.</dialogue> <character>COMO</character> <dialogue>What is it with you? Ca n't you talk? You got like a funny attitude. I ca n't figure you out, Joey. What's with you and the quick answers? You wan na get outa here fast?</dialogue> <character>JOEY</character> <dialogue>Aw, Tommy, c'mon, it ai n't that.</dialogue> <character>COMO</character> <dialogue>Look Joey, I wan na tell you something. Your brother ai n't gon na get nowhere without us - nowhere. And I'm tellin' you between the two of us, it's gettin' to the point where it's gettin' to be a real embarrassment to me, a real embarrassment.</dialogue> <character>JOEY</character> <dialogue>How can he embarrass you?</dialogue> <character>COMO</character> <dialogue>He's an embarrassment because Frankie and the other guys are expectin' me to do something about it, and I'm lookin' very bad. I ca n't deliver a kid from my own neighborhood. Why's he make it so hard on himself? He comes to me, I can make it easier for him.</dialogue> <character>JOEY</character> <dialogue>Tommy, Jake respects you. He wo n't even say hello to anybody else - you know that. But you know when Jake gets set on somethin', Jesus Christ Almighty could get off the fuckin' cross and he ai n't gon na talk him out of it. I'm his kid brother. I got no say with Jake on this. He thinks he can buck everybody and make it on his own.</dialogue> <character>COMO</character> <dialogue>Make it on his own? Does he know the kind of money involved? I mean the real money. He thinks he's gon na become champ on his own? We're gon na sit by and see some nut come in there and hold one of the most important titles in the world? A nut who do n't listen to nobody or respect nobody? Is he really crazy? Listen, Joey, you understand, you tell him. I do n't care how great he is or how colorful. He could beat all the Sugar Ray Robinsons and all the Janiros he wants to. He ai n't gon na get a shot at the title without us. I'm not askin' you to do another thing except get that message into that thick head!</dialogue> </scene> <scene> <stage_direction>EXT. SHORERAVEN POOL - DAY</stage_direction> <scene_description>Another day . JOEY , fully clothed , opens the gate and looks around . JAKE is sitting alone near the deep end . JOEY walks over to him .</scene_description> <character>JOEY</character> <dialogue>Whatcha doin'?</dialogue> <character>JAKE</character> <dialogue>I remember the first time I met Vickie. I know there's somethin' up. I know she's doin' somethin', but I ca n't catch her.</dialogue> <character>JOEY</character> <dialogue>Maybe she's afraid you're gon na hit her so she ca n't talk to you the way she wants to.</dialogue> <character>JAKE</character> <dialogue>What do you mean?</dialogue> <character>JOEY</character> <dialogue>Try talkin' to her. She's your wife - ask her what's the matter.</dialogue> <character>JAKE</character> <dialogue>When I'm away, did you ever notice anythin' funny with her? Tell me the truth.</dialogue> <character>JOEY</character> <dialogue>Jack, if there was anything funny, I would tell you.</dialogue> <character>JAKE</character> <dialogue>I want you to keep an eye on her when I'm not here. Understand?</dialogue> <character>JOEY</character> <dialogue>Sure, I'll keep an eye on her.</dialogue> <character>JAKE</character> <dialogue>What did Tommy say?</dialogue> <character>JOEY</character> <dialogue>I got good news, and I got bad news. The good news is you got your shot at the title. The bad news is.</dialogue> <character>JAKE</character> <parenthetical>( interrupting , resigned . )</parenthetical> <dialogue>Yeah, I know.</dialogue> </scene> <scene> <stage_direction>INT. WORTH STREET BASEMENT - DAY</stage_direction> <scene_description>As BILLY FOX steps off the scales , EDDIE EAGAN calls out :</scene_description> <character>EAGAN</character> <dialogue>Billy Fox, 173 3/4 pounds.</dialogue> <scene_description>JOEY removes JAKE 's leopard - skin robe as he steps on the scale . The REPORTERS crowd around .</scene_description> <character>EAGAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Jake LaMotta, 167 pounds.</dialogue> <scene_description>JAKE 'S HANDLERS urge him with words of encouragement as they walk toward his dressing room .</scene_description> </scene> <scene> <stage_direction>INT. JAKE'S DRESSING ROOM - DAY</stage_direction> <scene_description>EAGAN walks over .</scene_description> <character>JAKE</character> <dialogue>What's up, Colonel?</dialogue> <character>EAGAN</character> <dialogue>I'd like to talk to Jake a minute.</dialogue> <character>JOEY</character> <dialogue>Sure.</dialogue> <character>EAGAN</character> <dialogue>I suppose you heard what everybody's been saying, Jake.</dialogue> <character>JAKE</character> <dialogue>What who's been sayin'?</dialogue> <character>EAGAN</character> <dialogue>You were a big favorite in this fight. Then two days ago the odds start jumping all over the place until you're a 12 - 5 underdog.</dialogue> <character>JAKE</character> <dialogue>I do n't follow no gamblin' Commissioner. I'm just a fighter.</dialogue> <character>EAGAN</character> <dialogue>Now the fight's off the books altogether. Meyer Lansky could n't get a bet down on this fight. Some people are saying you're going into the tank.</dialogue> <character>JAKE</character> <dialogue>Believe what you want.</dialogue> <character>EAGAN</character> <dialogue>I want to believe you, LaMotta.</dialogue> <character>JAKE</character> <dialogue>I'm gon na kill him. That fuckin' jig's gon na wish he never came outa the jungle. You got any money?</dialogue> <character>EACAN</character> <dialogue>What?</dialogue> <character>JAKE</character> <dialogue>You got any money you want to bet on Billy Fox, you can put it right here.</dialogue> <parenthetical>( extends his hand . )</parenthetical> <dialogue>'cause Jake LaMotta do n't go down for nobody.</dialogue> <scene_description>EAGAN taps JAKE on the shoulder .</scene_description> <character>EAGAN</character> <dialogue>That's all I wanted to hear.</dialogue> <scene_description>JAKE glares at EAGAN as the COMMISSIONER walks away .</scene_description> </scene> <scene> <stage_direction>INT. MADISON SQUARE GARDEN - NIGHT (NOV. 14, 1947)</stage_direction> <scene_description>The old Garden is packed . The EX - CHAMPS , the PRESS , the OFFICIALS , the MOB GUYS , the FANS - they 're all here . The FIGHTERS are announced . BILLY FOX and JAKE touch gloves and return to their corners . FOX is taller and has a longer reach than JAKE . The bell sounds and the FIGHTERS come out . FOX goes to the head ; JAKE goes to the body . FOX lands a solid blow to JAKE 's jaw , but LAMOTTA is unfazed . FOX is surprised . In the past , his opponents have gone down when he connected . In the audience , COMO , SALVY , and some other BOYS watch with interest . JAKE moves in with a rapid series of trademark body blows . All of a sudden , FOX is wobbly . JAKE goes for the head , then cuts his punch short . FOX is about to go down . JAKE throws his arms around FOX to make sure he does n't fall .</scene_description> <character>JAKE</character> <parenthetical>( to Fox . )</parenthetical> <dialogue>Stand up! What the fuck are you doin'?</dialogue> <scene_description>The REFEREE breaks them apart and FOX remounts his attack . JAKE bicycles into a corner and lets FOX work him over . FOX connects : once , twice , three times . JAKE barely defends himself - but he does n't go down either . The CROWD starts to smell a fix . There are calls from the AUDIENCE .</scene_description> <character>CROWD</character> <dialogue>Got your swimming trunks on, Jake? I hope they're paying you enough. Fake, fake.</dialogue> <scene_description>JAKE 's corner . JAKE is acting stunned . TONY , not aware of what 's going on , is slapping JAKE .</scene_description> <character>TONY</character> <dialogue>What's the matter with you? What's the matter with you?</dialogue> <scene_description>The sign reads `` Round Four . '' JAKE is in the center of the ring taking a relentless pasting from FOX . JAKE 's arms hang at waist level . FOX lands one blow after another . The stink of a fix permeates the arena . JAKE is furious that FOX ca n't deck him . He curses through his mouthpiece -LRB- as he absorbs blow after blow -RRB- :</scene_description> <character>JAKE</character> <dialogue>Hit me! Hit me! What's the matter with you, you motherfucker? Hit me!</dialogue> <scene_description>Boos and catcalls echo through the Garden . This is not even a fight . The REFEREE , realizing this , steps in between FOX and LAMOTTA , waves his arms and signals that FOX is the winner by a technical knockout . As he does , JAKE spits his mouthpiece in disgust at FOX and struts back to his corner . JAKE , JOEY , and TONY are already on their way out of the arena as the REFEREE declares FOX the winner . COMO and the OTHERS , satisfied , get up to leave .</scene_description> </scene> <scene> <stage_direction>INT. JAKE'S DRESSING ROOM - MADISON SQUARE GARDEN - NIGHT</stage_direction> <scene_description>As a REPORTER and a PHOTOGRAPHER come through the door , WE SEE and hear a commotion in the hall behind them . They rush in , look , and stop by the door . There is silence - except for JAKE 'S uncontrollable sobbing . The atmosphere is like that of funeral . JAKE is seated behind the rubbing table . He is still in his leopard - skin robe . His head hangs low as he sobs . The PHOTOGRAPHER snaps a picture . The HANDLER motions to him to stop , and then goes and sits near the door . The REPORTER still stands near the doorway , seeming quite stunned by the scene he is witnessing , but nevertheless continuing to scribble away on his pad . JOEY , standing near JAKE , has his back to everyone ; his shoulders are shaking , his lips are tightly drawn . He cries soundlessly . TONY is pacing nearby .</scene_description> <character>TONY</character> <dialogue>Do n't fight anymore!</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>It's a free country, do n't fight anymore!</dialogue> <character>JAKE</character> <parenthetical>( between sobs . )</parenthetical> <dialogue>Why did they have to stop it? Why did they have to stop it?</dialogue> <scene_description>The REPORTER leans over to the HANDLER and whispers .</scene_description> <character>REPORTER</character> <dialogue>What happened?</dialogue> <character>HANDLER</character> <parenthetical>( quietly . )</parenthetical> <dialogue>He must've been really hurt in the 2nd. He did n't answer me when I tried to tell him something in the corner.</dialogue> <scene_description>JAKE , still buried in his robe , becomes aware of the hum of voices and shouts out :</scene_description> <character>JAKE</character> <dialogue>Get everyone out of here!</dialogue> <scene_description>The REPORTER and the PHOTOGRAPHER leave . JAKE continues to sob .</scene_description> </scene> <scene> <stage_direction>INT. PELHAM PARKWAY HOUSE - LIVING ROOM - DAY</stage_direction> <scene_description>INSERT : CLOSE UP of a Daily News Headline from November 22 , 1947 : `` Board Suspends LaMotta . '' JAKE , dejected , sits on the couch . In front of him , on the coffee table are scattered several newspapers - including the one with the headline we have just seen . JOEY paces in front of JAKE .</scene_description> <character>JOEY</character> <parenthetical>( yelling . )</parenthetical> <dialogue>It woulda been so easy, Jack. So easy.</dialogue> <scene_description>JOEY goes into a boxing stance .</scene_description> <character>JOEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Stick out your hands, Jake.</dialogue> <character>JAKE</character> <dialogue>C'mon, Joey.</dialogue> <character>JOEY</character> <dialogue>G'wan, do it.</dialogue> <parenthetical>( jabs at him . )</parenthetical> <dialogue>Protect yourself, rummy.</dialogue> <scene_description>JAKE , out of reflex , sticks out his hands . As he does , JOEY feigns a hit and falls onto the floor - `` out cold . '' JAKE looks down at him . JOEY pops to his feet .</scene_description> <character>JOEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>See? That's all there was to it.</dialogue> <character>JAKE</character> <dialogue>What the fuck they want? I took the dive. They want me to fall down too? I do n't fall down for nobody. I never went down in my life. Joey, what do I got ta do? Crawl on my hands and knees? I made an asshole of myself in the fuckin' Garden! All the newspaper writers make fun of me. I'm the bum of the year. All I want is a shot. Just a fuckin' shot. What do I got ta do? I'll do anything.</dialogue> <character>JOEY</character> <dialogue>Except fall down like a normal person.</dialogue> <character>JAKE</character> <dialogue>Yeah, except fall down. That's right.</dialogue> <character>JOEY</character> <dialogue>All right, you do n't wan na fall down, so now you got ta take a rest. So, you enjoy the suspension.'Cause there's nothin' you can do about it. Let the Commissioner and the D.A. jerk you around. So you wait.</dialogue> <character>JAKE</character> <dialogue>Jesus Christ! Seven months! What am I gon na do for seven months? I'm gon na go crazy. How do I keep my strength? By that time I'll be too weak to win the title. And my weight? Forget about it - I'm gon na blow up like a balloon. I ai n't never gon na hold my weight down. Seven months! I do n't know.</dialogue> <character>JOEY</character> <dialogue>We did what we had to do. Tommy do n't forget. Sooner or later you'll get your shot - if Tommy do n't die.</dialogue> </scene> <scene> <stage_direction>EXT. BOOK-CADILLAC HOTEL, DETROIT - DAY (1949)</stage_direction> <scene_description>It 's raining outside the stately Book - Cadillac . A banner above the door proclaims . The Book - Cadillac Welcomes Marcel Cerdan , Middleweight Champion of the World , and the Challenger Jake LaMotta .</scene_description> </scene> <scene> <stage_direction>INT. BOOK-CADILLAC LOBBY - DAY</stage_direction> <scene_description>The lobby is chaotic : FIGHT PEOPLE and SPORTSWRITERS mill anxiously about . Something 's in the air . The BELL CAPTAIN pages :</scene_description> <character>BELL CAPTAIN</character> <dialogue>Mr. Williams.</dialogue> <scene_description>MR. WILLIAMS , THE DETROIT PROMOTER last seen in the Copacabana Lounge , answers the page . WILLIAMS listens on the phone a moment , then hands it back to the BELL CAPTAIN and announces :</scene_description> <character>DETROIT PROMOTER</character> <dialogue>It's official. The fight's been postponed twenty - four hours.</dialogue> <scene_description>A groan goes up from the lobby .</scene_description> </scene> <scene> <stage_direction>INT. LAMOTTA'S SUITE - DAY</stage_direction> <scene_description>JAKE 's suite is modestly decorated and consists of a living room and two bedrooms . DR. PINTO is there sewing up a pork chop . JAKE , shadow - boxing in sportswear , paces back and forth . TONY watches him . VICKIE sits quietly on the sofa , sipping some wine . JOEY is on the phone .</scene_description> <character>JOEY</character> <dialogue>That's right. `` No comment.''</dialogue> <parenthetical>( listens . )</parenthetical> <dialogue>You like that? Good,'cause I got a lot more `` No comments'' where that one came from.</dialogue> <scene_description>JOEY cuts the line off , then leaves the receiver off the hook .</scene_description> <character>JOEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm gon na order up some stuff. Have a steak.</dialogue> <character>JAKE</character> <dialogue>I ca n't eat a steak. If I eat a steak, I'm gon na have trouble making the weigh - in.</dialogue> <character>JOEY</character> <dialogue>So eat just a little. You got ta eat something.</dialogue> <character>JARS</character> <dialogue>What am I gon na do for 24 hours? I ca n't even eat!</dialogue> <scene_description>JAKE goes into the bedroom . JOEY goes over to the DOCTOR .</scene_description> <character>DOCTOR</character> <parenthetical>( shows him the pork chop . )</parenthetical> <dialogue>How's that?</dialogue> <character>JOEY</character> <dialogue>How long did it take you?</dialogue> <character>DOCTOR</character> <dialogue>45 seconds.</dialogue> <character>JOEY</character> <dialogue>No good. Try to get it down. It's got ta be no more than 30 seconds to be on the safe side if we got ta stitch him up.</dialogue> </scene> <scene> <stage_direction>INT. THE BEDROOM</stage_direction> <scene_description>JAKE is alone . There is a knock at the door . JOEY opens it and pokes his head in .</scene_description> <character>JOEY</character> <dialogue>Jake, somebody wants to say hello to you.</dialogue> <scene_description>JOEY opens the door wider . TOMMY COMO is at the door with JOEY . JAKE goes over to the door .</scene_description> <character>COMO</character> <dialogue>Hey champ!</dialogue> <character>JAKE</character> <dialogue>Tommy, thanks for coming over.</dialogue> <character>COMO</character> <dialogue>You just take it easy, now. You'll do all right. Feelin' Ok?</dialogue> <character>JAKE</character> <dialogue>I'm Ok.</dialogue> <character>COMO</character> <dialogue>Just come by to wish you luck.</dialogue> <parenthetical>( shakes his hand . )</parenthetical> <dialogue>Need anything?</dialogue> <character>JAKE</character> <dialogue>No, we're all right. Thanks anyway, Tommy.</dialogue> <character>COMO</character> <dialogue>Ok, champ.</dialogue> <scene_description>COMO turns to go . He says goodbye to everyone in the living room . He goes over and kisses VICKIE . JAKE watches this from the bedroom doorway .</scene_description> <character>COMO</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( as he kisses Vickie . )</parenthetical> <dialogue>Look at her. As beautiful as always. Take care of that guy, will ya?</dialogue> <character>VICKIE</character> <parenthetical>( going to the door with him . )</parenthetical> <dialogue>I'll take care of him. Thanks, Tommy. Bye.</dialogue> <character>JAKE</character> <parenthetical>( to Vickie . )</parenthetical> <dialogue>C'mere.</dialogue> <scene_description>She goes to the bedroom doorway . JAKE grabs her arm , pulls her in , and slams the door .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( pushing her toward the bed area . )</parenthetical> <dialogue>Hey, you do n't say goodbye to him like that.</dialogue> <character>VICKIE</character> <dialogue>What did I do?</dialogue> <character>JAKE</character> <parenthetical>( pushing her . )</parenthetical> <dialogue>You do n't kiss like that. Hello and goodbye, that's all you do.</dialogue> <character>VICKIE</character> <dialogue>All I did.</dialogue> <character>JAKE</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>You know what I'm talking about. Do n't ever make me look bad on the night of my big fight.</dialogue> <character>VICKIE</character> <dialogue>You're hurting my arm.</dialogue> <scene_description>JAKE has her by the night table now . They are edging their way to the wall .</scene_description> <character>JAKE</character> <dialogue>Shut up. You just say hello and goodbye to him. You do n't kiss him the way you did. That's out of line.</dialogue> <scene_description>JAKE pushes her against the wall . The lamp falls . There is a loud crash . She tries to move away . He grabs her by the throat and pins her against the wall . She 's gagging .</scene_description> <character>VICKIE</character> <dialogue>But Jake. I did n't say anything.</dialogue> <character>JAKE</character> <dialogue>Do n't ever do that again. You do n't.</dialogue> <parenthetical>( he pushes her against the wall . )</parenthetical> <dialogue>do it!</dialogue> <character>VICKIE</character> <parenthetical>( gagging . )</parenthetical> <dialogue>Jake.</dialogue> <scene_description>JOEY looks in and then starts to come over .</scene_description> <character>JAKE</character> <dialogue>You hear what I said? You do n't do it.</dialogue> <scene_description>He pushes her again . VICKIE tries to get away , but ca n't move .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( pushing her again . )</parenthetical> <dialogue>You do n't do it.</dialogue> <scene_description>JOEY has his hand on JAKE 's arm , trying to pry it away from VICKIE 's throat .</scene_description> <character>JOEY</character> <dialogue>Jake, Jake.</dialogue> <scene_description>TONY and the DOCTOR watch from the doorway . VICKIE 's eyes close . JAKE releases his grip . JOEY helps VICKIE . JAKE watches this .</scene_description> <character>JAKE</character> <parenthetical>( to himself . )</parenthetical> <dialogue>She ai n't gon na ruin this fight for me.</dialogue> </scene> <scene> <stage_direction>EXT. BRIGGS STADIUM - NIGHT (JUNE 16, 1949)</stage_direction> <scene_description>Bright floodlights illuminate the arena . The weather 's clear and the stadium is filled with cheering fight FANS . An ANNOUNCER steps into the center of the ring and begins ti introduce the many CELEBRITIES that have gathered for the fight .</scene_description> <character>ANNOUNCER</character> <dialogue>And here is the young man who has inherited Marcel Cerdan's European championship - Laurent Dauthuille.</dialogue> <scene_description>DAUTHUILLE jumps into the ring . While WE HEAR him introduce the boxers and celebrities , WE SEE a rapid MONTAGE : JAKE preparing for the title bout : PRE - FIGHT MONTAGE A -RRB- JAKE and GROUP arrive in the dressing room . B -RRB- In his bathrobe , JAKE puts on his boxing shoes . C -RRB- We see a pan with raw steak in it . JOEY drains the blood -LRB- juice -RRB- into a glass and JAKE takes a long , slow swallow . D -RRB- REPRISE of IMAGES from PREVIOUS SCENE -LRB- SLOW MOTION -RRB- - NEW ANGLE . TOMMY COMO shakes JAKE 's hand in the bathroom doorway . VICKIE kisses COMO . Jake watches .</scene_description> <character>ANNOUNCER</character> <parenthetical>( V.O . )</parenthetical> <dialogue>And our very special guest tonight needs no introduction. The only man to defend the heavyweight crown a remarkable twenty - five times, the king of all heavyweights, the Brown Bomber, Joe Louis. Come into the ring, Joe.</dialogue> <character>JOE LOUIS</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Thank you, Johnny. Let's bring the middleweight crown back to the old U.S.A. where it belongs.</dialogue> <scene_description>Many cheers . E -RRB- DR. PINTO injects a hypodermic needle filled with novocaine into each of JAKE 's fists . F -RRB- JOEY massages JAKE 's neck . G -RRB- JAKE 's hands are bandaged H -RRB- REPRISE of IMAGES from PREVIOUS SCENE -LRB- SLOW MOTION - NEW ANGLE -RRB- JAKE strangles VICKIE in the bedroom , then releases her . JOEY looks after her , but the IMAGE makes them look as if they 're making love . Jake watches .</scene_description> <character>ANNOUNCER</character> <dialogue>And in this corner, the middleweight champion of the world, from Casablanca, Morocco, the Casablanca Clouter, Marcel Cerdan!</dialogue> <scene_description>I -RRB- JAKE puts on his cup and trunks . J -RRB- MARIO laces up JAKE 's gloves . K -RRB- JAKE , ready to fight , a towel draped around his head , bounces on the balls of his feet . He starts walking down the corridor from his dressing room , surrounded by MARIO , JOEY , DR. PINTO and his HANDLERS . He enters the stadium .</scene_description> </scene> <scene> <stage_direction>INT. BRIGGS STADIUM - NIGHT</stage_direction> <scene_description>JAKE , wearing his leopard - skin robe , is pushed through the CROWD by JOEY , MARIO and his HANDLERS . He 's still shadow boxing . JAKE steps into the ring to both cheers and boos -LRB- many still remember the Fox fight -RRB- . JAKE raises his gloves .</scene_description> <character>ANNOUNCER</character> <dialogue>And in the opposite corner, from New York, New York, the challenger, the Bronx Bull, Jake LaMotta!</dialogue> <scene_description>JAKE shakes hands with the assembled CELEBRITIES and EX CHAMPIONS .</scene_description> <character>JAYE</character> <dialogue>I only wish it was you, Joe.</dialogue> <character>JOE LOUIS</character> <dialogue>Win the belt back for us, Jake. Good luck.</dialogue> <scene_description>JAKE glances at VICKIE who is sitting in the third row . She is nervous . The opening bell sounds . CERDAN and LAMOTTA touch gloves and begin to fight . JAKE is hot : there 's no stopping him tonight . He fights like a man possessed . CERDAN clinches JAKE to avoid his brutal body blows . JAKE pushes him out of the clinch in disgust . There are no more boos . JAKE has won over the crowd . END OF ROUND NINE . JAKE is working over a bloody CERDAN . Punches to the body , then to the head , then back to the body . The bell sounds . JAKE walks back to his corner and sits down . JOEY is ecstatic :</scene_description> <character>JOEY</character> <dialogue>Look at him, Jackie! You got at! The fuckin' championship! He's yours! Finish him off.</dialogue> <scene_description>JAKE does n't have the chance . The REFEREE , standing in CERDAN 's corner , waves his hands signaling the end of the fight . The REFEREE holds up JAKE 's hands as THE ANNOUNCER takes the mike :</scene_description> <character>ANNOUNCER</character> <dialogue>The new middleweight champion of the world by a knockout after nine rounds, the Bronx Bull, Jake LaMotta!</dialogue> <scene_description>JOEY is all over him . TONY helps VICKIE through the MOB . In his corner , CERDAN holds his head in his hands and says , `` My title , my title ! '' The OFFICIALS clear a circle as they bring over the jewel studded championship belt . JOE LOUIS fastens the belt around JAKE 's waist . JAKE touches the oversized belt with his bloody gloves . Tears fall across JAKE 's huge grin as he holds his hands high in the air . It is the most glorious night in his life .</scene_description> </scene> <scene> <stage_direction>EXT. "JAKE LAMOTTA'S" - NIGHT (1956)</stage_direction> <scene_description>The name `` Jake LaMotta 's Lounge '' is emblazoned in neon across a lounge/liquor store on Collins Avenue , Miami 's main drag . JAKE 's bar is across from The Rooney Plaza , one of Miami 's more prestigious hotels . Fifties cars are parked outside the club .</scene_description> </scene> <scene> <stage_direction>INT. "JAKE LAMOTTA'S" - NIGHT</stage_direction> <scene_description>JAKE LAMOTTA , 34 years old , wearing a tux , steps in front of a large painted wall mural of the Cerdan fight as he enters his club . The Lounge is dominated by a large circular bar . Featured entertainers perform on a raised platform in the center of the bar . The club is half filled with SPORTS , ENTERTAINMENT and MOB TYPES . The small BAND plays a routine fanfare as JAKE steps onto the platform . He takes the mike with one hand and silences the BAND with the other . The applause dies out as he speaks :</scene_description> <character>JAKE</character> <dialogue>Good evening, ladies and gentlemen. It's a thrill to be standin' here talking to you wonderful people. In fact, it's a thrill to be standin'. I have n't seen so many people since my last fight at Madison Square Garden. After that fight a reporter asked me, `` Jake, where do you go from here?'' I said, `` To a hospital.''</dialogue> <scene_description>About HALF THE PATRONS are listening ; of them , HALF are laughing , SOME a little too loud .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I fought one hundred and six professional fights and none of them bums figured out how to fight me - they kept hitting me in the head!</dialogue> <parenthetical>( calls to the bar . )</parenthetical> <dialogue>Will somebody at the bar - Linda? - get me a drink. I figure if I'm gon na work to drunks I might as well be one of'em! I like this place. It's a family type club. every night I see a lot of fathers sitting out there with their young daughters! That's nice.</dialogue> <scene_description>LINDA hands him a drink .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Thanks, honey. - She's terrific. The kinda girl you wanta take home to meet your father. Especially if your old man's a degenerate! - Here's a toast! `` To your health! You only live once. But if you play it right, once is enough.'' I should n't be drinkin' like this'cause I'm tryin' to lose weight. I'm on this terrific diet - I'm allowed to eat anything I want. As long as I do n't swallow it! Well, I never had much luck with my weight. In fact, - I never had much luck with anything - until about a few years ago, when this happened -</dialogue> <scene_description>He indicates the blow - up behind him and waits for applause , of which there is some .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>thanks, I'm glad to see you remember. For those of you that do n't. that's me takin' the title from Cerdan. You know, the tough thing about winnin' the title. the next thing you got ta do is have a rematch. just to show it was n't no fluke. So what happens? Marcel Cerdan, a really great champ, after I beat him. he gets himself killed in that airplane crash. a pretty rotten break for him. That's why I do n't like to fly. People say to me, `` Look, Jake, when your time is up, your time is up.'' And I say, `` Yeah, but suppose I'm on the plane and the pilot's time is up?'' As good as Cerdan was, I could've taken him again. But I never got the chance to prove it was n't no fluke. He got killed but he got to be what they call a legend. I do n't know what's worse - bein' a fluke or bein' a legend. - That's the kinda luck I got. That's why I quit the ring and moved down here from New York. My wife said, `` You got ta get outa this town, Jake.'' Come to think of it. the boxing commission said the same thing! But I do n't miss New York. Give me Miami any day.</dialogue> <scene_description>The AUDIENCE applauds .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Miami's a great place. I get along with everybody in this town. even the police force. They got the best cops here money can buy! - Only kiddin'. By the way. me and my wife Vickie's gettin' ready to celibrate our eleventh wedding anniversary.</dialogue> <scene_description>More applause .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We get along real great. We fight a little but I never really belted her on purpose. Once in a while I'm standin' there doin' little shadow - boxin' and she happens to walk right into the shadow. I ca n't help that. She says, `` Whataya hittin' me for?'' I says, `` It's nothin'. It's only a love tap.'' She says, `` It's a good thing you're not crazy about me!'' - I am crazy about her. I heard her talkin' to a friend on the phone and she was sayin', `` After eleven years, I'm still in love with the same guy.'' - If I ever find out who the bum is, I'll kill him! Women. You ca n't live with'em, you ca n't live without'em.</dialogue> <scene_description>Then , suddenly , falling into character . he quotes lago 's speech in Othello .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . ) ''</parenthetical> <dialogue>` Oh, beware, my lord, of jealousy. It is the green - eyed monster, which doth mock the meat it feeds on. That cuckold lives in bliss who, certain of his fate, loves not his woronger ; But O, what damned minutes tells he o'er who dotes, yet doubts - suspects, yet fondly loves!'' - That's from somethin' called `` Othello'' -</dialogue> <scene_description>OR , ALTERNATE SPEECH :</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Is whispering nothing? Is leaning cheek to cheek? Is meeting noses? Kissing with inside lip? Stopping the career of laughter with a sign? - A note infallible of breaking honesty - horsing foot on foot? Skulking in corners? Wishing clocks more swift? Hours, minutes? Noon, midnight? and all eyes blind with the pin and web but theirs, theirs only, that would unseen be wicked? Is this nothing? Why, then the world and all that's i n't is nothing ; The covering sky is nothing ; Bohemia nothing ; My wife is nothing ; nor nothing have these nothings, if this be nothing.'' - That's from something called `` The Winter's Tale'' - Shakespeare! You all remember Shakespeare. He wrote all them famous plays one after the other, then he went into a big slump and he ai n't done anything good in years. That speech is about jealousy - jealousy's a bad thing. Jealousy bothers a lot of guys. take me. I almost killed my brother. I love him. he's my family. I mean, there's nothin' he would n't do for me. And that's the way we been goin' thru life - doin' nothin' for each other! Anytime he got in trouble when we was kids, I got him out of it. You know, he used to steal little things when we was growin' up. But he was particular. only stole things that begin with an ` a' - a watch, a car, a suit, a ring. But I was wrong. I shoulda never hit my brother. Afterwards, I was sorry. Now every time I need somethin' I got ta go shoppin' for it! A psychiatrist once told me, `` When you hit your brother you're really hittin' your mother, but you ca n't admit it to yourself.'' He's really crazy. I woulda never hit my mother. I mean, only in self - defense!</dialogue> </scene> <scene> <stage_direction>INT. JAKE'S LIVING ROOM - DAY (1950)</stage_direction> <scene_description>JAKE is struggling with his later model ten - inch RCA TV . He fools with the dials , then slaps the side . The bluish video image comes and goes . JOEY watches JAKE fix the TV . JAKE has a half - eaten sandwich in his hand . VICKIE enters the house , surprised to find JAKE home .</scene_description> <character>VICKIE</character> <dialogue>Jake, you're home.</dialogue> <scene_description>JAKE looks up at her . -LRB- She goes over to him and kisses him . -RRB- MOVING SHOT . JOEY gives VICKIE a polite peck on the mouth . MOVING SHOT .</scene_description> <character>JOEY</character> <dialogue>Hi, Vickie.</dialogue> <scene_description>JAKE watches JOEY kiss VICKIE . VICKIE notices JAKE 'S reaction .</scene_description> <character>VICKIE</character> <dialogue>What's the matter with you?</dialogue> <character>JAKE</character> <dialogue>Tryin' to get this fuckin' TV to work. Paid all this money for it and still ca n't get a station a mile away. And Mr. Wizard here ai n't no help.</dialogue> <character>JOEY</character> <dialogue>Screw you, Jack.</dialogue> <character>JAKE</character> <parenthetical>( to Vickie . )</parenthetical> <dialogue>Where you been?</dialogue> <scene_description>VICKIE goes into the bedroom to take off her coat . On the stairs , MOVING SHOT :</scene_description> <character>VICKIE</character> <dialogue>I went out.</dialogue> <character>JAKE</character> <parenthetical>( to Joey . )</parenthetical> <dialogue>What's that kissing on the mouth shit?</dialogue> <character>JOEY</character> <dialogue>What? I just said hello. Since when I ca n't kiss my sister - in - law?</dialogue> <character>JAKE</character> <dialogue>Ai n't a cheek ever good enough for you? I never even kissed Mama on the mouth.</dialogue> <character>JOEY</character> <dialogue>Well, you're not supposed to kiss your mother on the mouth.</dialogue> <character>JAKE</character> <dialogue>Well, that's what I mean.</dialogue> <scene_description>JAKE leans over the TV .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>How's that?</dialogue> <character>JOEY</character> <dialogue>I ca n't tell. You're stomach's in the way.</dialogue> <scene_description>JAKE stares at JOEY .</scene_description> <character>JOEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do n't give me those looks. I'm just your manager. The minute you start to be champ, you start eating like there's no tomorrow. And you giving me looks. All I know is that I do n't have to defend my title next month.</dialogue> <scene_description>JAKE looks up at JOEY .</scene_description> <character>JAKE</character> <dialogue>Answer me somethin'. What happened at the Copa with Salvy when I was out of town?</dialogue> <character>JOEY</character> <dialogue>When?</dialogue> <character>JAKE</character> <dialogue>You know, when you gave him a beatin'.</dialogue> <character>JOEY</character> <parenthetical>( being as vague as possible . )</parenthetical> <dialogue>Nothin'. Salvy was out of line. He was drunk or somethin', I dunno. Anyway, the windup was I gave him a beatin'. Tommy called me down, and we straightened it out. It's all forgotten about.</dialogue> <character>JAKE</character> <dialogue>Why did n't you tell me about it?</dialogue> <character>JOEY</character> <dialogue>It did n't have nothin' to do with you.</dialogue> <character>JAKE</character> <dialogue>Did n't it have nothin' to do with me?</dialogue> <character>JOEY</character> <dialogue>No, I just told you what happened.</dialogue> <character>JAKE</character> <parenthetical>( he obviously knows . )</parenthetical> <dialogue>Who did it have anything to do with. Vickie?</dialogue> <character>JOEY</character> <dialogue>Jack, no. I just explained the whole thing to you. It was just between me and Salvy, if it had anything to do with you and Vickie, I woulda told you about it.</dialogue> <character>JAKE</character> <dialogue>Well, I heard some things.</dialogue> <scene_description>MOVING in on JOEY , JAKE 'S P.O.V.</scene_description> <character>JOEY</character> <dialogue>`` You heard some things.'' Will you stop worryin' about that shit? Forget about it. You know you got a title fight comin' up.</dialogue> <scene_description>PAUSE .</scene_description> <character>JOEY</character> <parenthetical>( refering to the TV . )</parenthetical> <dialogue>Whatever you touched, that's good now.</dialogue> <character>JAKE</character> <dialogue>Did Salvy fuck Vickie?</dialogue> <character>JOEY</character> <dialogue>What?</dialogue> <character>JAKE</character> <dialogue>You're supposed to keep an eye on her for me. I'm askin'.</dialogue> <character>JOEY</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>I did keep an eye.</dialogue> <character>JAKE</character> <dialogue>Then why did you give him a beatin' if he did n't do anything? You and him been friends a long time.</dialogue> <character>JOEY</character> <dialogue>Some things changed between us. Now, he thinks who the fuck he is. He's been passing certain remarks that I do n't like.</dialogue> <character>JAKE</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>Do n't bullshit me, Joey. You ai n't tellin' me the truth.</dialogue> <character>JOEY</character> <dialogue>What bullshit? Hey, I'm your brother. You wan na believe me - you trust me?</dialogue> <character>JAKE</character> <dialogue>When it comes to her, I do n't trust nobody. I'm askin' you somethin'.</dialogue> <character>JOEY</character> <dialogue>Well, you're wrong Jack. I'm tellin'' you what happened. He got outta line, we had a fight, and it's staightened out now.</dialogue> <scene_description>There is a pause . -LRB- Move in on JOEY , JAKE 'S P.O.V. -RRB-</scene_description> <character>JAKE</character> <parenthetical>( suspicious . )</parenthetical> <dialogue>You givin' me that look. I got ta accept your word, but if I find out anythin', I'm gon na kill somebody.</dialogue> <character>JOEY</character> <parenthetical>( yelling . )</parenthetical> <dialogue>So, go ahead. Kill everybody. Kill Salvy, kill Vickie, kill Tommy Como, kill me while you're at it. What do I care? You're killing yourself the way you're eating, the way you worry about things you do n't have to worry about.</dialogue> <character>JAKE</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>What do you mean, `` you''?</dialogue> <character>JOEY</character> <dialogue>What?</dialogue> <character>JAKE</character> <parenthetical>( interrupting , catching Joey . )</parenthetical> <dialogue>What do you mean, `` you''?</dialogue> <character>JOEY</character> <parenthetical>( caught . )</parenthetical> <dialogue>I meant, kill everybody. You or me or anybody. You're a big shot. Kill, kill. g ` head.</dialogue> <character>JAKE</character> <dialogue>But you said `` you.''</dialogue> <character>JOEY</character> <dialogue>So what?</dialogue> <character>JAKE</character> <dialogue>Eh, Joey, even you do n't know what you meant. You mentioned Salvy, Tommy Como, you - that means somethin'. Why'd you say them? You coulda said anybody.</dialogue> <character>JOEY</character> <dialogue>You're worried about this girl, you're gon na let this girl ruin you're life for you. You wan na worry, worry about your fuckin' stomach that you ca n't bend over - that you got ta step in the ring in a month.</dialogue> <character>JAKE</character> <dialogue>Did you ever fuck my wife?</dialogue> <character>JOEY</character> <dialogue>What?</dialogue> <character>JAKE</character> <dialogue>I do n't mean now. I mean before - before we met.</dialogue> <character>JOEY</character> <dialogue>Whadda ya mean?</dialogue> <character>JAKE</character> <dialogue>Did you ever fuck my wife?</dialogue> <character>JOEY</character> <dialogue>Whatsa matter with you?</dialogue> <character>JAKE</character> <dialogue>You're very smart, Joey, very smart. Nobody gives me a straight answer around here. You're givin' me these answers, but you still did n't answer my question. Did you fuck Vickie?</dialogue> <character>JOEY</character> <parenthetical>( fed up , he starts to leave . )</parenthetical> <dialogue>I got ta go. I got ta get outta here. I ca n't take this shit. Lenore is waitin' for me. I got ta go. You're a definite wacko. You're fuckin' crazy, you know that, crazy.</dialogue> <scene_description>JAKE 'S P.O.V. , MOVING SHOT as JOEY leaves . JAKE goes into the bedroom .</scene_description> </scene> <scene> <stage_direction>INT. THE BEDROOM</stage_direction> <scene_description>JAKE walks over to VICKIE . -LRB- MOVE in on VICKIE - JAKE 'S P.O.V. becomes her shot . -RRB-</scene_description> <character>JAKE</character> <dialogue>Where you been all day?</dialogue> <character>VICKIE</character> <dialogue>I took the kids to my sister's.</dialogue> <character>JAKE</character> <dialogue>I called. You were n't there.</dialogue> <character>VICKIE</character> <dialogue>I got bored so I went to the movies.</dialogue> <character>JAKE</character> <dialogue>What'd you see?</dialogue> <character>VICKIE</character> <dialogue>I went to the movies.</dialogue> <character>JAKE</character> <dialogue>What'd you see?</dialogue> <character>VICKIE</character> <dialogue>`` Father of the Bride.''</dialogue> <character>JAKE</character> <dialogue>What was it about?</dialogue> <character>VICKIE</character> <dialogue>Oh, c'mon. For Christsake, do I have to tell you everything?</dialogue> <character>JAKE</character> <dialogue>Did you ever go to the Copa when I was away?</dialogue> <character>VICKIE</character> <dialogue>What're you talking about?</dialogue> <character>JAKE</character> <dialogue>Answer me when I talk to you. What happened that night?</dialogue> <character>VICKIE</character> <parenthetical>( interrupting , yelling . )</parenthetical> <dialogue>I am answering.</dialogue> <character>JAKE</character> <parenthetical>( hits her . )</parenthetical> <dialogue>What do I have to do to get a straight answer around here.</dialogue> <scene_description>JAKE holds onto her , but she gets away .</scene_description> <character>VICKIE</character> <dialogue>Jake, no -</dialogue> <character>JAKE</character> <parenthetical>( as he chases her around the room . )</parenthetical> <dialogue>Do I have to kill you, eh?</dialogue> <parenthetical>( hits her . )</parenthetical> <dialogue>Do I have to kill somebody to get an answer?</dialogue> <parenthetical>( hits her . )</parenthetical> <dialogue>I know about you at the Copa. I know all about it.</dialogue> <scene_description>JAKE catches her .</scene_description> <character>VICKIE</character> <dialogue>I did n't do anything wrong. I swear. I just had a few drinks.</dialogue> <character>JAKE</character> <parenthetical>( pins her down , hits her . )</parenthetical> <dialogue>With Salvy, eh?</dialogue> <character>VICKIE</character> <dialogue>I went with Sandy and Vera. Salvy was there.</dialogue> <parenthetical>( gets hit . )</parenthetical> <dialogue>Stop it. I just had a drink, that's all. I did n't do anything wrong.</dialogue> <parenthetical>( gets hit . )</parenthetical> <dialogue /> <scene_description>VICKIE escapes and locks herself in the bathroom .</scene_description> <character>JAKE</character> <parenthetical>( by bathroom door . )</parenthetical> <dialogue>Come out of there! Did you fuck Salvy?</dialogue> <parenthetical>( punches door . )</parenthetical> <dialogue>Answer me. Open this fuckin' door, you fuckin' cunt!</dialogue> <parenthetical>( punches door . )</parenthetical> <dialogue>Who've you been fuckin'?</dialogue> <character>VICKIE</character> <parenthetical>( from inside bathroom . )</parenthetical> <dialogue>Nobody, I tell you. Jake stop it.</dialogue> <character>JAKE</character> <dialogue>You're a fuckin' liar.</dialogue> <scene_description>He breaks down the door .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Who've you been fuckin'? Salvy?</dialogue> <parenthetical>( hits her . )</parenthetical> <dialogue>Tommy Como?</dialogue> <parenthetical>( hits her . )</parenthetical> <dialogue>I ca n't trust nobody.</dialogue> <parenthetical>( hits her . )</parenthetical> <dialogue>Did you fuck Joey?</dialogue> <parenthetical>( hits her . )</parenthetical> <dialogue>Who you been fuckin'?</dialogue> <scene_description>She finally manages to push him away .</scene_description> <character>VICKIE</character> <dialogue>All right, I fucked everybody! Go ahead, kill me, kill me.</dialogue> <scene_description>VICKIE takes JAKE 's hand and hits herself . JAKE is stunned .</scene_description> <character>VICKIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'll say anything you want me to say. I fuckled Salvy. I fucked Tommy. I fucked your brother. I fucked everybody! What do you want to hear? I sucked your brother's fuckin' cock!</dialogue> <character>JAKE</character> <dialogue>You did?</dialogue> <character>VICKIE</character> <dialogue>Yeah, I sucked his cock.</dialogue> <scene_description>JAKE starts to walk away . VICKIE goes after him . JAKE is gone .</scene_description> </scene> <scene> <stage_direction>INT. JOEY'S PELHAM PARKWAY HOUSE - DAY</stage_direction> <scene_description>JOEY is at the kitchen table eating lunch with his family . His wife , LENORE , her hair done up in pin curls , sits next to him . JOEY 's TWO KIDS sit across the table from them , bickering .</scene_description> <character>JOEY</character> <parenthetical>( to kids . )</parenthetical> <dialogue>Do n't hit your brother! Be nice.</dialogue> <scene_description>Suddenly , JAKE comes through the front door , goes directly to the table , grabs JOEY , lifts him into the air , and starts hitting him .</scene_description> <character>JOEY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Jake, stop it.</dialogue> <scene_description>JAKE keeps hitting JOEY . The KIDS start to cry . LENORE wants to stop the fight , but is afraid to get too close .</scene_description> <character>JAKE</character> <dialogue>Was Vickie part of the deal with Tommy? Was my wife part of the deal? Tell me, was that it?</dialogue> <character>JOEY</character> <dialogue>Stop it. What're you, crazy?</dialogue> <scene_description>JAKE drags JOEY into the living room , and pushes him onto the floor .</scene_description> <character>JAKE</character> <parenthetical>( kneeling over Joey and hitting him . )</parenthetical> <dialogue>You did n't tell me. You did n't tell me. You let me marry her. You let me marry her.</dialogue> <scene_description>VICKIE rushes into the house , past LENORE and the TWO KIDS who are screaming even louder now .</scene_description> <character>VICKIE</character> <parenthetical>( hitting Jake on his back as he hits Joey . )</parenthetical> <dialogue>You're killing him. You're killing him for nothing. Stop it.</dialogue> <character>JAKE</character> <parenthetical>( hits her . )</parenthetical> <dialogue>Get the fuck outa here. Whadda you mean nothing'? You stupid bitch!</dialogue> <character>VICKIE</character> <parenthetical>( still hitting Jake . )</parenthetical> <dialogue>Nothing is what I said! Go on, kull me.</dialogue> <parenthetical>( hits him . )</parenthetical> <dialogue>Kill me.</dialogue> <parenthetical>( hits him . )</parenthetical> <dialogue>I'm not afraid of you anymore. I do n't care if you kill me like you're killing him. You're a sick animal.</dialogue> <scene_description>JOEY is knocked out . LENORE goes over to him and holds him .</scene_description> <character>JAKE</character> <parenthetical>( to Vickie . )</parenthetical> <dialogue>You're the fuckin' animal! You ran around with every guy I knew while I was breakin' my ass for you.</dialogue> <character>VICKIE</character> <parenthetical>( as she pushes and hits Jake to the front door . )</parenthetical> <dialogue>You're not only an animal, you're a stupid animal.</dialogue> <parenthetical>( pushes and hits him out the front door . )</parenthetical> <dialogue>You're rotten.</dialogue> <parenthetical>( hits him . )</parenthetical> <dialogue>Rotten.</dialogue> <parenthetical>( hits him . )</parenthetical> <dialogue>Rotten.</dialogue> <parenthetical>( hits him . )</parenthetical> <dialogue>You're a sick maniac. A maniac! You belong in a mental hospital.</dialogue> </scene> <scene> <stage_direction>EXT. JOEY'S PELHAM PARKWAY HOUSE - DAY</stage_direction> <scene_description>VICKIE gives JAKE a final push out the door and then slams it in his face . JAKE is left alone on the front steps .</scene_description> </scene> <scene> <stage_direction>INT. JAKE'S PELHAM PARKWAY HOUSE - LIVING ROOM - EARLY EVENING</stage_direction> <scene_description>JAKE sits alone in the darkness . VICKIE lets herself in . She comes and stands behind him .</scene_description> <character>VICKIE</character> <dialogue>Well, he ai n't dead in case you're interested.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>I'm leaving you. And I do n't care if you do try to kill me. Go ahead. I'm not afraid of you anymore. There's worse things than being dead and one of them's living with you -.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>I'm leaving tonight. I must have been crazier than you are for stayin' with you this long. You're hopeless. You're not gon na let anybody love you. I kept thinking that you'd change when you got to be the champ. But I just ca n't take it anymore. I'm taking the kids and I'm leavin'.</dialogue> <scene_description>There is a pause .</scene_description> <character>JAKE</character> <dialogue>Aw, Vickie, aw Vickie, please no. Vickie, no. do n't leave me. Christ, I'm pleading. I know, I know all the bad things, but I need you. I'm a bum without you and the kids. I'll change. Aw, Vickie, maybe I do n't do it the right way, but I love you. I love you.</dialogue> <scene_description>There is a pause .</scene_description> <character>VICKIE</character> <dialogue>You know, if there's one thing - I just do n't understand you, not one single little bit. You love me?</dialogue> <character>JAKE</character> <dialogue>Yeah -</dialogue> </scene> <scene> <stage_direction>INT. STEAM BATH - NIGHT</stage_direction> <scene_description>The steam is oppressively thick . It must be 140 degrees . JAKE , nude , does push - ups on the floor . His body is bathed in sweat . He pushes himself up , then collapses . His eyes are glazed over from lack of strength . He makes his way to the door and pounds on it . TONY opens the door and gets on his knees beside JAKE .</scene_description> <character>TONY</character> <dialogue>It ai n't worth it, Jake. Get out.</dialogue> <character>JAKE</character> <parenthetical>( barely coherent . )</parenthetical> <dialogue>What time is it?</dialogue> <character>TONY</character> <dialogue>Nine o'clock.</dialogue> <character>JAKE</character> <dialogue>At night?</dialogue> <character>TONY</character> <dialogue>Yeah. At night.</dialogue> <character>JAKE</character> <dialogue>How many pounds I got ta lose?</dialogue> <character>TONY</character> <dialogue>Three more, I figure.</dialogue> <character>JAKE</character> <dialogue>Just give me a chip of ice to put in my mouth. Just a chip of ice.</dialogue> <character>TONY</character> <dialogue>I'll give you anything you want, Jake. I think you should come out for a few minutes - give yourself a break.</dialogue> <character>JAKE</character> <parenthetical>( barely audible . )</parenthetical> <dialogue>Are you outa your mind? If I come out, I'll lose the title.</dialogue> </scene> <scene> <stage_direction>INT. JAKE'S PELHAM PARKWAY HOUSE - LIVING ROOM</stage_direction> <scene_description>VICKIE is seated on the sofa , reading newspapers . JAKE is pacing .</scene_description> <character>VICKIE</character> <dialogue>Jake, why do n't you just try lying down and get some rest.</dialogue> <character>JAKE</character> <dialogue>I do n't know what it is. I dunno, it's the kind of thing that - the words wo n't come out.</dialogue> <character>VICKIE</character> <dialogue>Jake -</dialogue> <character>JAKE</character> <dialogue>What?</dialogue> <character>VICKIE</character> <dialogue>I want to say something to you without you blowing your stack.</dialogue> <character>JAKE</character> <dialogue>OK. Talk.</dialogue> <character>VICKIE</character> <parenthetical>( pause . )</parenthetical> <dialogue>Why do n't you just call him up?</dialogue> <character>JAKE</character> <dialogue>What do I say to him? Call him up on the phone and say, `` Joey, I'm sorry about that little trouble we had. How about havin' dinner?'' Is that what I say?</dialogue> <character>VICKIE</character> <dialogue>No, not that.</dialogue> <character>JAKE</character> <dialogue>Then what?</dialogue> <character>VICKIE</character> <parenthetical>( pause . )</parenthetical> <dialogue>I do n't know.</dialogue> </scene> <scene> <stage_direction>INT. OLYMPIA STADIUM, DETROIT - NIGHT (SEPT. 13, 1950)</stage_direction> <scene_description>The LAMOTTA - DAUTHUILLE middleweight championship is told through the eyes and words of the RINGSIDE ANNOUNCER . JAKE is not doing well .</scene_description> <character>RINGSIDE ANNOUNCER</character> <dialogue>Ladies and gentlemen, I've sat in front of these microphones for over twenty years but this is the strangest championship bout I've ever seen. With two minutes to go in the final round, the champion, the mighty Bull from the Bronx, is just simply taking punch after punch from the challenger. Dauthuille scores a combination, then backpedals. LaMotta pursues him. One minute to go. Laurent DauthuiLlle, who has already beat Lamotta in a non - title bout, is about to fulfill a dream - to bring the middleweight crown back to France.</dialogue> <scene_description>In the ring , JAKE looks like he 's on queer street . Bouncing off the ropes , opening his jaw to DAUTHUILLE . But DAUTHUILLE 's punches lack strength . JAKM is playing possum .</scene_description> <character>RINGSIDE'ANNOUNCER</character> <dialogue>Thirty seconds to go. The Bull starts to swing. LaMotta comes in for a brutal body combinaticn : one, two, three, four punches. LaMotta has landed a solid left hook to the Frenchman's jaw! Dauthuille seems confused. LaMotta is swinging wildly now : right, left, right, left! Dauthuille is backing off! Everyone is on their feet! I can hardly see, ladies and gentlemen. Dauthuille is on the ropes. LaMotta hits a right - Dauthuille is down! Dauthuille is down! Referee Lou Handler is counting him out - three, four, five - if Dauthuille can stand, he'll win the decision - eight, nine - Dauthuille is on one knee - ten! It's all over! With thirteen seconds left on the clock, Jake LaMotta has retained his middleweight championship in one of the most remarkable combacks in boxing! Dauthuille is standing now, confused. But the fight is over.</dialogue> <scene_description>AN ANNOUNCER holds up JAKE 's victorious hand . He seems as surprised as everyone else . TONY throws JAKE 'S robe around his shoulders as THE ANNOUNCER calls out :</scene_description> <character>ANNOUNCER</character> <dialogue>The middleweight champion, and still champion by a knockout in fifteen rounds, the Bronx Bull, the Raging Bull, Jake LaMotta!</dialogue> <scene_description>The CROWD cheers . JAKE raises his arms in victory .</scene_description> </scene> <scene> <stage_direction>INT. JAKE'S DRESSING ROOM - OLYMPIA STADIUM - NIGHT</stage_direction> <scene_description>It is after the fight . TONY , VICKIE , and OTHERS are in the room . Some PEOPLE are leaving . Congratulations are heard . TONY puts away JAKE 's fight gear . JAKE , half - dressed , looks troubled .</scene_description> <character>JAKE</character> <parenthetical>( to Vickie . )</parenthetical> <dialogue>I miss Joey. I wish Joey was here.</dialogue> <character>VICKIE</character> <dialogue>Why do n't you just call him?</dialogue> <character>JAKE</character> <dialogue>I dunno.</dialogue> <character>VICKIE</character> <dialogue>Tell him how you feel - you miss him. Tell him you're sorry.</dialogue> <character>JAKE</character> <parenthetical>( pauze . )</parenthetical> <dialogue>Ok, all right. Telephone's in the hall. Dial his number.</dialogue> <scene_description>VICKIE goes to the pay phone in the hall , and dials long distance . JAKE is nervous , but follows VICKIE .</scene_description> <character>THE HALLWAY</character> <dialogue>As the number starts to ring, VICKIE hands the phone to JAKE.</dialogue> <character>JOEY</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hello. hello.</dialogue> <scene_description>JAKE ca n't answer .</scene_description> <character>JOEY</character> <parenthetical>( O.S. ; CONT 'D . )</parenthetical> <dialogue>What's this, a joke? Hello. Hey!</dialogue> <scene_description>JAKE ca n't answer .</scene_description> <character>JOEY</character> <parenthetical>( O.S. ; CONT 'D . )</parenthetical> <dialogue>Well, if there's somebody listenin', their mother's a fuckin' whore who takes it in the ass.</dialogue> <scene_description>There is a click as JOEY hangs up . JAKE stands there , and finally hangs up the phone .</scene_description> </scene> <scene> <stage_direction>INT. "JAKE LAMOTTA'S" - NIGHT (1956)</stage_direction> <scene_description>JAKE gulps down the last of his Scotch .</scene_description> <character>JAKE</character> <parenthetical>( continuing his monologue . )</parenthetical> <dialogue>I shoulda never hit my brother. Afterwards I was sorry. Now every time I need somethin' I got ta go shoppin' for it! A psychiatrist once told me, `` When you hit your brother you're really hittin' your mother but you ca n't admit it to yourself.'' He's really crazy. I woulda never hit my mother. I mean, only in self - defense! A lot of people wanta know who was the best guy I ever fought. Let's see. there was that one I fought twice. the other Frenchman. you know who I mean.</dialogue> <parenthetical>( having trouble pronouncing the name . )</parenthetical> <dialogue>. Dauthuille! He was tough, but I beat him. I had to! I mean, how would it sound losin' to a guy whose name you ca n't even pronounce? But. Robinson. I can say that alright. I fought Sugar Ray so many times it's a wonder I do n't have diabetes! Linda. get me another drink! Linda's the most popular waitress here. you can tell by her tips! She's the kinda girl I go for. You oughta see the ones I get.</dialogue> <scene_description>LINDA brings him another Scotch .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Thanks, babe. She's a nice kid. She'll only do it with a guy if she really likes him. She's got a lot in common with Will Rogers - never met a man she did n't like! I was talkin' about Sugar Ray. Some of you think I was better than him. but you know, it's a toss up. Except the last fight. February 14, 1951.</dialogue> <scene_description>JAKE sips his drink .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Valentine's Day. The anniversary of the St. Valentine's Massacre. Robinson did n't use a machine gun but it was still a massacre.</dialogue> <scene_description>JAKE takes another drink .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Actually, I was doin' okay at first. In fact, by the end of the fifth round I really had him worried - he thought he killed me.</dialogue> </scene> <scene> <stage_direction>INT. JOEY'S PELHAM PARKWAY HOUSE - LIVING ROOM - NIGHT (FEB. 14, 1951)</stage_direction> <scene_description>LENORE , JOEY 's wife , watches the 6th Robinson - LaMotta fight on JOEY 's new television console . JOEY walks by on his way to another room , but stops to watch . LENORE is not a fight fan , but is caught up in the fight , anyway .</scene_description> <character>LENORE</character> <dialogue>Look at that. The sonofabitch is outboxing Robinson.</dialogue> <character>JOEY</character> <dialogue>I ca n't believe he's getting that jab in.</dialogue> <scene_description>The bell sounds , and a Pabst commercial comes on :</scene_description> <character>PABST COMMERCIAL</character> <dialogue>`` Friend, the quality that has carried Pabst Blue Ribbon around the world is yours for the asking. Next time that friendly bartender says, ` What'll you have?' give him the answer the whole world gives, Pabst Blue Ribbon!''</dialogue> </scene> <scene> <stage_direction>INT. CHICAGO STADIUM - NIGHT</stage_direction> <scene_description>TONY is wiping JAKE off in his corner .</scene_description> <character>JAKE</character> <dialogue>He ai n't hurting me, but I ca n't get him down.</dialogue> <character>TONY</character> <dialogue>Do n't talk. Keep at it. Jab, jab, jab. You're ahead on points.</dialogue> <scene_description>In the other , SUGAR RAY 'S TRAINER pats down ROBINSON 's pompadour as he says :</scene_description> <character>S.R.'S TRAINER</character> <dialogue>He's going, Sugar. He's old. He ai n't Jake LaMotta no more. Make your move, Sugar. Kill him!</dialogue> <scene_description>ROBINSON nods . The bell sounds and the FIGHTERS step onto the canvas . They look at each other before the boxing starts - they both know the inevitable outcome . ROBINSON smiles .</scene_description> </scene> <scene> <stage_direction>INT. JOEY'S LIVING ROOM - NIGHT</stage_direction> <scene_description>ROBINSON makes his move . His arms are a blur , swinging rapidly but accurately . JOEY and LENORE are suddenly silent .</scene_description> <character>TV ANNOUNCER</character> <dialogue>LaMotta's on queer street, but he's still standing. Robinson throws a right, a left, a right, a right and a right again! How can LaMotta stay on his feet?</dialogue> <scene_description>On the TV , WE SEE that ROBINSON has JAKE up against the ropes . He 's giving JAKE a pier six beating . It 's the Fox fight for real . JAKE 's face is so soaked in blood that it 's impossible to pinpoint the cuts .</scene_description> <character>TV ANNOUNCER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>No man can take this kind of punishment. LaMotta is just a rag doll now. God knows what's holding him up. This is an historic beating. Sugar Rav staggers LaMotta with a left and comes across with a blackjack punch to the champion's head. The referee is stepping in, Robinson has LaMotta on the ropes. That's it! Sugar Ray Robinson, former welterweight champion, has taken the middleweight crown from Jake LaMota.</dialogue> <scene_description>As the REFEREE stops the fight , JOEY sighs with relief .</scene_description> </scene> <scene> <stage_direction>INT. CHICAGO STADIUM - NIGHT</stage_direction> <scene_description>LAMOTTA , a bloody and beaten fighter , walks over to the victorious ROBINSON and puts his arm on his shoulder .</scene_description> <character>JAKE</character> <dialogue>You never knocked me down. You could never knock me down.</dialogue> <scene_description>ROBINSON , receiving congratulations from every direction , takes time to turn to JAKE and say :</scene_description> <character>ROBINSON</character> <dialogue>So what?</dialogue> </scene> <scene> <stage_direction>EXT. JAKE'S MIAMI HOUSE - DAY (JUNE 2, 1954)</stage_direction> <scene_description>ESTABLISHING SHOT . The house is quite large , and has beautiful landscaping and a swimming pool .</scene_description> </scene> <scene> <stage_direction>INT. JAKE'S MIAMI HOUSE - LIVING ROOM - DAY</stage_direction> <scene_description>JAKE , wearing sportclothes that ca n't hide his paunch , and VICKIE , wearing a dress and looking her best , sit in the living room with their THREE CHILDREN -LRB- the TWO BOYS , and also a GIRL , about two years old -RRB- . A still PHOTOGRAPHER clicks pictures of JAKE and VICKIE as TWO REPORTERS talk with JAKE .</scene_description> <character>JAKE</character> <dialogue>I'm pulling out of next Wednesday's TV bout'cause I ca n't make the weight. I'm fighting at light heavyweight, and I still ca n't make the weight.</dialogue> <character>REPORTER</character> <dialogue>Does that mean.</dialogue> <character>JAKE</character> <dialogue>It means I'm through with boxing. I'm tired with tryin' to make the weight anymore. I'm sick of thinkin' about weight, weight, weight.</dialogue> <character>REPORTER</character> <dialogue>You sound bitter.</dialogue> <character>JAKE</character> <dialogue>Why should I be bitter? Boxing's been good to me. I got a nice house, three kids, a beautiful wife - take a picture of her. Vickie.</dialogue> <scene_description>VICKIE poses dutifully .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Ai n't she beautiful? Coulda been Mrs. America if I did n't pull her outa the contest. Did n't want her wearing a swimsuit for nobody but me.</dialogue> <character>REPORTER</character> <dialogue>What do you think of Jake's retirement, Mrs. LaMotta?</dialogue> <scene_description>JAKE cuts in :</scene_description> <character>JAKE</character> <dialogue>I also bought a club on Collins Avenue, and I'm gon na open it real soon. Know what I'm gon na call it? `` Jake LaMotta's.''</dialogue> </scene> <scene> <stage_direction>INT. "JAKE LAMOTTA'S" - NIGHT (1956)</stage_direction> <scene_description>JAKE , an empty glass in his hand , stands on the bar platform . He 's wearing a white tuxedo jacket with a red rose in the lapel . His tuxedo shirt is stained . He continues his monologue .</scene_description> <character>JAKE</character> <dialogue>Valentine's Day. The anniversary of the St. Valentine's Day Massacre. Robinsin did n't use a machine gun but it was still a massacre.</dialogue> <parenthetical>( takes another drink . )</parenthetical> <dialogue>Actually, I was doin' okay at first. In fact, by the end of the fifth round I really had him worried - he thought he killed me. You know, I could keep tellin' you this brilliant material all night - but you'd only laugh. Now I'm gon na sing. - Any requests? I mean, besides `` do n't''!</dialogue> <parenthetical>( then to piano player . )</parenthetical> <dialogue>- In the key of H.</dialogue> <parenthetical>( then to audience . )</parenthetical> <dialogue>You're laughin'. Give me the right key and I'll play in anybody's flat! I sing for a reason. When I finish, you'll be so sobered up, we'll sell a lot of booze.</dialogue> <scene_description>JAKE 's onstage version of `` That 's Entertainment '' differs from the backstage version . It 's not just that he 's a little drunk - no , his voice is defiant , sadly defiant . He is singing at the PATRONS rather than to them .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>`` When the fighter's not engaged in his employment, his employment, although he was Champ and quite the rage, he must go somewhere else to seek employment, seek employment. So what does he do? He goes upon the stage and meets his true adversaries, all you members of the human race. But a fighter's life is not a bowl of cherries, still I'd rather have an egg than a fist upon my face. That's Entertainment!</dialogue> <scene_description>JAKE brings the BAND to a crescendo with a wave of his hand , then silences it . The spotlight goes out and there is a hearty round of applause . JAKE receives the kisses , glad handshakes and congratulations of the PATRONS as he works his way around the club . JAKE 's new friends love him . They are PARTY GIRLS , SPORTS FIGURES , COLUMNISTS , MOBSTERS , B ACTORS , and OTHER `` CELEBRITIES . '' JAKE poses for a still with TWO BUXOM YOUNG LOVELIES . ONE GIRL giggles as he fondles her . After the flash goes off , the GIRLS admire his `` small , delicate '' hands . JAKE steps over to a table and greets J.R. , a newspaper columnist , and his COMPANIONS .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>J.R., glad you could make it.</dialogue> <character>J.R.</character> <dialogue>You were great, Jake. Just like old times. Good thing Sugar Ray was n't here tonight. Oh Jake, this is State's Attorney Bronson and his wife.</dialogue> <scene_description>JAKE shakes his hand , then holds it up - showing an empty palm .</scene_description> <character>JAKE</character> <parenthetical>( joking . )</parenthetical> <dialogue>Sorry, empty! Heh, heh! Oh, I did n't mean that. If I do n't give your husband no money, he wo n't have enough to buy you a drink. To show you I'm a nice guy, this one's on me. The last one was your payment for this month.</dialogue> <scene_description>BRONSON is embarrassed . He does n't think the joke is funny , but he manages a smile . His WIFE gives a nervous laugh . JAKE leans over and kisses her .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You're a good sport, lady.</dialogue> <character>J.R.</character> <dialogue>I saw you fight Bob Satterfield in' 46, Jake. In Chicago. You were great.</dialogue> <character>JAKE</character> <dialogue>Yeah, I really cleaned up on him.</dialogue> <character>J.R.</character> <dialogue>Where's your wife, Jake?</dialogue> <character>JAKE</character> <dialogue>Do you think I'd let her in a place like this with guys like you hangin' around?</dialogue> <scene_description>JAKE feigns a few jabs , and they all laugh . He walks off . As JAKE leaves , J.R. whispers to his FRIEND :</scene_description> <character>J. R.</character> <dialogue>You ought to see his wife.</dialogue> <scene_description>JAKE steps over to a table where some of the `` BOYS '' are sitting . RICKY is the Miami 1956 version of Salvy .</scene_description> <character>JAKE</character> <dialogue>Hey, Ricky, glad you came.</dialogue> <character>RICKY</character> <dialogue>Would n't miss it, Jake.</dialogue> <scene_description>JAKE calls a WAITRESS over .</scene_description> <character>JAKE</character> <dialogue>Hey, honey, give these fellas a round on me. I can tell they're gon na be regular customers.</dialogue> <scene_description>The WAITRESS says to a clearly underaged GIRL :</scene_description> <character>WAITRESS</character> <dialogue>I'll have to ask for your I.D.</dialogue> <scene_description>JAKE leans over and gives the young GIRL a long kiss on the lips . She enthusiastically reciprocates .</scene_description> <character>JAKE</character> <dialogue>Whew! Any girl that can kiss like that can drink in my club any time!</dialogue> <scene_description>They all laugh as JAKE moves on . The life of the party .</scene_description> </scene> <scene> <stage_direction>EXT. "JAKE LAMOTTA'S" - DAY</stage_direction> <scene_description>JAKE , hungover , his tux wrinkled , walks out of the club to the adjacent parking lot . VICKIE is sitting in her yellow Cadillac outside the Club . The curbside window is halfway up . She calls to him :</scene_description> <character>VICKIE</character> <dialogue>Jake.</dialogue> <scene_description>JAKE , chagrined , steps over to the car .</scene_description> <character>JAKE</character> <dialogue>I'm sorry. I had to work late last night. Slept at the club.</dialogue> <character>VICKIE</character> <dialogue>I'm leaving your Jake.</dialogue> <character>JAKE</character> <dialogue>Sure, what else is new?</dialogue> <character>VICKIE</character> <dialogue>No. This time it's true. I did n't bother to tell you until I had everything worked out.</dialogue> <scene_description>JAKE tries to open the door . It 's locked .</scene_description> <character>JAKE</character> <dialogue>Open the door, Vickie.</dialogue> <character>VICKIE</character> <dialogue>No. I wo n't talk to you where you can use your hands on me.</dialogue> <character>JAKE</character> <dialogue>Aw, c'mon. Do n't say that.</dialogue> <character>VICKIE</character> <dialogue>I got a lawyer, Jake. We're getting a divorce. I'm getting custody of the kids.</dialogue> <character>JAKE</character> <dialogue>Aw, c'mon, Vick -</dialogue> <character>VICKIE</character> <dialogue>I'm sick of it. I ca n't watch you this way. You're too drunk all the time. There's too many girls. I ca n't. I do n't wan na talk about it. I made up my mind.</dialogue> <scene_description>JAKE tries to reach in the window , but VICKIE hits the power switch , closing it and catching his hand . She now has to yell to him :</scene_description> <character>VICKIE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You got three days to get your stuff out of the house. After that, the cops will be there. I have the kids with me. I never want to see you again.</dialogue> <scene_description>VICKIE turns her face and drives away . JAKE grabs at the Cadillac , but it is bigger and stronger than him . JAKE is left alone in the parking lot . The car is gone .</scene_description> </scene> <scene> <stage_direction>INT. JAKE'S OFFICE - DAY (JAN. 9, 1957)</stage_direction> <scene_description>JAKE has an office above the lounge . Ever since VICKIE left , it 's also been his apartment . The place is a mess . JAKE sends his laundry out when he runs out of clean clothes . Dirty socks , shorts and shirts are scattered randomly . Empty whiskey bottles on the desk , empty beer cans in the wastebasket .</scene_description> <character>1ST DEPUTY</character> <dialogue>Let's go, Jake, wake up!</dialogue> <character>JAKE</character> <dialogue>Huh? Whadda ya mean, get up?</dialogue> <character>1ST DEPUTY</character> <parenthetical>( showing badge . )</parenthetical> <dialogue>We're from.</dialogue> <character>JAKE</character> <parenthetical>( interrupting . )</parenthetical> <dialogue>I know where you're from. You guys look the same every place.</dialogue> <character>1ST DEPUTY</character> <dialogue>They wan na talk to you.</dialogue> <character>JAKE</character> <dialogue>About what?</dialogue> <character>1ST DEPUTY</character> <dialogue>I do n't run the joint. They just told me to bring you in.</dialogue> <character>JAKE</character> <dialogue>For what?</dialogue> <character>2ND DEPUTY</character> <dialogue>C'mon, get dressed.</dialogue> <scene_description>JAKE hunts for his clothes .</scene_description> <character>JAKE</character> <dialogue>Hey, I'm a big tax payer down here. Do n't that entitle me to some information what this is all about?</dialogue> <scene_description>The SECOND DEPUTY shows JAKE a photo .</scene_description> <character>2ND DEPUTY</character> <dialogue>You recognize this girl? She been in the club?</dialogue> <character>JAKE</character> <dialogue>I dunno.</dialogue> <character>2ND DEPUTY</character> <dialogue>She says you introduced her to men.</dialogue> <character>JAKE</character> <dialogue>I introduced a lot of people to men. So what? What does that mean?</dialogue> <character>2ND DEPUTY</character> <dialogue>She's fourteen.</dialogue> <scene_description>CLOSE UP of picture .</scene_description> </scene> <scene> <stage_direction>EXT. JAKE'S MIAMI HOUSE - DAY</stage_direction> <scene_description>JAKE , wearing a suit , walks up to the door and pushes the bell . VICKIE opens the door and looks at him over the chain .</scene_description> <character>JAKE</character> <dialogue>Vickie, open up. I need to come in.</dialogue> <character>VICKIE</character> <dialogue>Are you drunk?</dialogue> <character>JAKE</character> <dialogue>No. Open the door.</dialogue> <scene_description>JAKE tries to touch her face through the doorway crack , but she steps back .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Please, Vick. I wo n't bother you. I'm out on bail. You can send the kids next door. I just got ta pick one thing up, then I'll get outa here.</dialogue> <scene_description>VICKIE thinks a moment , then opens the door and lets JAKE in .</scene_description> <character>VICKIE</character> <dialogue>The kids are sleeping.</dialogue> <character>JAKE</character> <dialogue>I promise I just got ta pick up one thing.</dialogue> <character>VICKIE</character> <dialogue>All right, just do n't make any noise.</dialogue> </scene> <scene> <stage_direction>INT. JAKE'S MIAMI HOUSE - DAY</stage_direction> <scene_description>JAKE walks directly past VICKIE into the living room . VICKIE watches from a safe distance . JAKE removes his jewel - studded championship belt from the glass bookcase and carries it into the kitchen . In the kitchen , he takes a hammer and screwdriver out of a drawer , places the belt on the counter top , and starts digging the jewels out of it . VICKIE appears in the doorway .</scene_description> <character>VICKIE</character> <dialogue>What are you doing?</dialogue> <character>JAKE</character> <dialogue>I need ten thousand dollars. My lawyer says if we can spread ten thousand bucks around, we can get the case dropped.</dialogue> <character>VICKIE</character> <dialogue>But they do n't have a case against you.</dialogue> <character>JAKE</character> <parenthetical>( digging at the belt . )</parenthetical> <dialogue>Are you kiddin'? Did you ever see a 14 - year - old testify in court? Did you see the papers? `` LaMotta on Vice Rap.'' Everybody likes a shot at the Champ.</dialogue> <character>VICKIE</character> <dialogue>Jake, be careful! What're you doing to the belt?!</dialogue> <character>JAKE</character> <dialogue>Do n't make no difference no more.</dialogue> <character>VICKIE</character> <dialogue>Ca n't you get the money from your friends?</dialogue> <character>JAKE</character> <dialogue>What friends?</dialogue> <scene_description>JAKE , frustrated by his task , turns the belt over and hammers at it . The jewels scatter across the counter top and floor . JAKE collects the jewels and puts them in his pockets .</scene_description> </scene> <scene> <stage_direction>INT. JEWELRY SHOP - DAY</stage_direction> <scene_description>JAKE stands at the counter of a small jewelry store . The JEWELER examines the stones .</scene_description> <character>JEWELER</character> <dialogue>Did n't you also wish to sell the Championship Belt, Mr. LaMotta?</dialogue> <character>JAKE</character> <dialogue>That's it. Those are the jewels that were in the belt.</dialogue> <character>JEWELER</character> <dialogue>But where's the belt?</dialogue> <character>JAKE</character> <dialogue>You want the jewels or the belt?</dialogue> <character>JEWELER</character> <dialogue>Both. These stones are worth about fifteen hudred dollars, but the belt of a champion is a very rare item. The belt with the stones untouched would have been worth near five thousand dollars.</dialogue> <scene_description>JAKE seems to despair of the whole thing : the belt , the attempt to raise 10 g 's , the vice case , his life .</scene_description> </scene> <scene> <stage_direction>EXT. PHONE BOOTH - DAY</stage_direction> <scene_description>JAKE places a call from a booth outside the jewelry store .</scene_description> <character>JAKE</character> <parenthetical>( on phone . )</parenthetical> <dialogue>I ca n't raise the ten thousand. Fuck'em. Let'em put me on trial.</dialogue> </scene> <scene> <stage_direction>INT. BARBIZON DRESSING ROOM - NIGHT</stage_direction> <scene_description>Same as Scene 1 . JAKE , 42 years old , continues to rehearse . He is seated across from a mirror .</scene_description> <character>JAKE</character> <dialogue>So there I am in the can. and not the one that says `` gentlemen'' on the door. I'm talkin' about jail! Down south! I mean, jail up north is got ta be like summer camp compared to jail down in cracker country. And if you're a guy like me, you ai n't got a chance in a place like that. Especially if you're Italian. you come from the Bronx. and you're an ex - champ. As soon as they saw me. soon as they heard me. I know I'm in trouble. To me, they got an accent, and to them, I got an accent! You got ta get the picture - I'm big, I got small hands, I walk like I'm still in the ring. the balls of my feet pop up and down, you know. and whenever I get the chance, I read a lot. So naturally, takin' all this into consideration, they figure it adds up to one thing - I'm queer! Now I did n't mind too much when they called me `` Queer'' or `` Mr. Tough Guy'' or `` Yankee Punk''. But one day these screws got to me. I was workin' on the work gang, pickin' up some trees that were knocked down by a storm or somethin' and puttin''em on this truck. All of a sudden. one of the trees slipped and fell on me and pinned me to the ground. I'm lyin' there with a tree across my chest! This screw walks over, takin' his time, he looks down at me and says, `` Well, Champ Pimp. you lyin' down on the job again?''! They got a great sense of humor when they're standin' there with a gun in their arms and you got a tree on your chest! So I look up at him and say, `` Oh, this tree. it fell on me.'' And he says, `` Oh, I'm sorry. If I'd have known, I would've yelled ` timber''' I said, `` Hey, look. it hurts. I think maybe I broke somethin'!'' He says, `` Well, whaddaya know. Champ PImp's got himself a boo - boo.'' Then I got as stupid as him. I said, `` If I'm Champ Pimp. how ` bout givin' me the money you made last night?''! Then another screw comes over and says, `` This Yankee creep givin' you trouble?'' - What kind of trouble? What am I gon na do - hit'em with the tree? Now anybody else in their right mind would've said, `` No sir, I would n't think of giving any of you gentlemen trouble. I just want to serve my time and get the hell out of here as soon as I can.'' That's anybody else. When I said it. it was a little different. `` You stupid cracker. take your hands off me or I'll get up and kick your brains out - but first you got ta bend over so I can find'em!'' Next thing I know I'm in the hole. Solitary confinement. All my life I had guys in my corner yellin' `` Go get'em, jake. kill'em! You're the greatest.'' Now there's nobody rootin' for me. But it was n't so bad. I learned things there. I learned how to scratch a calendar on the wall. I never knew how to do that before. Now I know. Monday is one scratch. Tuesday is two scratches. Wednesday is three scratches. And so on. Except for Sundays. Sundays is no scratches. Sundays rested.</dialogue> </scene> <scene> <stage_direction>INT. DADE COUNTY STOCKADE - DAY</stage_direction> <scene_description>The CAMERA TRACKS down the lonely corridors of the Dade County Prison . Empty faces stare out from behind the bars . JAKE is led down a long corridor by TWO GUARDS . His hands and legs are manacled and chained . The GUARDS , redneck screws both , take special pleasure in working JAKE over . They take JAKE to the `` Hole '' - solitary confinement . ONE of the GUARDS unmanacles JAKE . Both GUARDS push JAKE into the cell and slam the door .</scene_description> </scene> <scene> <stage_direction>INT. THE HOLE - DAY OR NIGHT</stage_direction> <scene_description>A thin slit provides the only light in JAKE 's cell . The rough cement walls are covered with obscure graffiti . The 8x8x8 room features only a cot and a toilet . The room is mostly darkness . Sounds are more tangible here than sights . WE SEE JAKE 's body as it passes through the slit of light . JAKE crouches into the corner away from the light . As WE SEE JAKE 's face , the following MONTAGE images appear . -LRB- There will be contrasting sound effects accompanying the images : for example , the image of JAKE hitting VICKIE might be accompanied by the sounds from a love scene between them . -RRB- A -RRB- 1940s black and white pornography : partially clothed men and women engaged in explicit sex acts . B -RRB- Boxing magazines : fighters ' beaten and bloody faces . A body building ad : Charles Atlas raises his muscled biceps . C -RRB- Li'l Abner comics ; Daisy Mae 's tits seem about to fall free . D -RRB- Reprise from earlier scene : Back in JAKE and IRMA 's old apartment , JOEY , using a towel as a glove , punches JAKE in the face . E -RRB- A 1934 `` OLDER GIRL '' sashays into the candy store in flickering 8mm black and white footage . WE SEE ohter Bronx PRETEEN GIRLS walking , smiling . F -RRB- At Shorehaven pool , JAKE and JOEY , in bathing suits , are sleeping in the sun next to each other . OTHER BATHERS are around , also taking in the sun . G -RRB- Reprise from earlier scene : As in D , JOEY hits JAKE in the face again . WE SEE again the image of JAKE 's face as he sits in his cell . The MONTAGE continues : H -RRB- JANIRO 's face at the weigh - in . I -RRB- JAKE throws JANIRO a kiss at the weigh - in . J -RRB- JAKE punches in JANIRO 's face . K -RRB- A naked GIRL stands in the doorway of a bedroom . L -RRB- JAKE lies in bed with IRMA staring at the ceiling . M -RRB- VICKIE 's pretty young face DOUBLE EXPOSES with SUGAR RAY ROBINSON 's . N -RRB- DR. PINTO injects novacaine into JAKE 's fists . O -RRB- Sitting in his corner of the ring , JAKE spits blood into a pail . P -RRB- Still in JAKE 's corner : JOEY wipes off his brother 's bloody face . Q -RRB- Still in JAKE 's corner : There is an open cut over JAKE 's eye . JOEY , rushing against time , sucks the blood from the wound as DR. PINTO begins to examine it . R -RRB- Still in JAKE 's corner : JOEY puts the mouthpiece in JAKE 's mouth . -LRB- SLOW MOTION -RRB- S -RRB- JAKE wins over CERDAN . JOEY , overenthusiastic , hits JAKE on the back of the head a little too hard . JAKE gives JOEY a quick look , but JOEY just embraces him . T -RRB- On a bed , a GIRL is going down on JOEY . The GIRL turns and looks up at JAKE . It 's LINDA , the waitress from his club . JAKE stares . U -RRB- JAKE 's fist hits LINDA 's face . V -RRB- VICKIE playfully bends JAKE 's hand back , pretending to break it . W -RRB- JAKE hits LINDA again . She cries . X -RRB- Repeat image N : DR. PINTO injects novocaine into JAKE 's fists . WE SEE again the image of JAKE 's face as he sits in his cell . The MONTAGE continues : Y -RRB- VICKIE is in her underwear in a bedroom . A pair of black arms come in and embrace her body . Z -RRB- CLOSE UP of JAKE ; he reacts to this . He 's in the ring with SUGAR RAY . He knocks SUGAR RAY out of the ring . AA -RRB- VICKIE again . JAKE approaches her from behind , pulls her head back by her hair , and slaps her . BB -RRB- THE ANNOUNCER points to SUGAR RAY as the winner . -LRB- Different fight . -RRB- CAMERA PANS to RAY , victorious , his arms up . CC -RRB- A bloodied JAKE comes over to SUGAR RAY and embraces him . WE ARE BACK WITH JAKE in the cell . He slowly starts to bang his head against the wall .</scene_description> <character>JAKE</character> <parenthetical>( murmuring . )</parenthetical> <dialogue>Why, why, why?</dialogue> <parenthetical>( with each bang of his head . )</parenthetical> <dialogue>I'm a man, I'm a man. I'm no faggot. I'm not a faggot. Ma, why? What do they want? My cock's not enough. What do they want from me? Why? Ma? Why?</dialogue> <scene_description>JAKE is now smashing the wall with all his strength - vicious body punches .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Why, why, why me? You took it away from me. They took everything away. What do they want from me? What the fuck do they want from me? I ai n't bad. I ai n't bad. I'm not that guy. I'm not that guy. I'm not a monster. I'm not an animal.</dialogue> <scene_description>JAKE breaks his knuckles ; the pain and blood are unbearable . JAKE collapses to the concrete floor . His hands are smashed . He cries , then sobs .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm not like that. Please. I'm not like that. Please. Please. Please.</dialogue> <scene_description>Then silence . We begin to hear : JAKE doing a monologue .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And so, as Shakespeare said, I've been down so low there's nowhere else to go.</dialogue> </scene> <scene> <stage_direction>INT. METROPOLE - NIGHT (1958)</stage_direction> <scene_description>The Metropole is a club on 7th Avenue off Times Square . JAKE LAMOTTA , 36 years old and wearing a hip Fifties suit , continues his monologue .</scene_description> <character>JAKE</character> <dialogue>Except here, gentlemen, with you bums. I call you `` gentlemen''. but you know what you really are! You know, this place used to be pretty exclusive. now they got bouncers outside to throw the drunks in! My first night here I said to the boss, `` Where's the toilet?'' - He said, `` You're in it!'' By the way, this engagement is just a stepping stone for me. If I do good here, I'm ready to get out of the business!</dialogue> <scene_description>The CROWD starts to shout : `` Get the fuck off the stage ! ''</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>OK, OK, I know what you're waitin' for - and from the looks of you, you been waitin' for it for a long time. I had my own joint in Miami Beach once. it was too high - class for you guys. we had a 50 - cent minimum charge just to keep out the riff - raff!</dialogue> <scene_description>The CROWD continues to shout , as before , also shouting : `` Bring out the girls ! ''</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hey, sorry. Here's your girls.</dialogue> <parenthetical>( grabs his crotch . )</parenthetical> <dialogue>Yeah, she's here. just like it's advertised out front. She's come back. A girl who's seen the Lower Depths. who's been as far as I have in that direction. She's on her way back up now. give you an idea how low she was! Let's give her a warm welcome. make her glad she's back, boys. - Miss Emma 48's!</dialogue> <scene_description>JAKE gets off the stage as MISS EMMA 48 's goes into her dance . He goes over to the bar and gets a drink . SEVERAL OLDER MEN in T - shirts - a disreputable looking lot - are at the bar .</scene_description> </scene> <scene> <stage_direction>EXT. METROPOLE - NIGHT</stage_direction> <scene_description>The Club is closing . JAKE and EMMA , the stripper , come out and walk by a delicatessen on their way to a parking lot . JAKE sees his brother JOEY enter the delicatessen .</scene_description> <character>JAKE</character> <dialogue>Look, sweetie, be a good girl. Here's some money. Take a cab. Go home by yourself. Just wan na walk around a little, sort of unwind. OK?</dialogue> <character>EMMA</character> <dialogue>Will I see you later?</dialogue> <character>JAKE</character> <dialogue>Yeah. I dunno. I'll call you.</dialogue> <scene_description>JAKE goes to the parking lot entrance as EMMA gets into a cab .</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT - NIGHT</stage_direction> <scene_description>It 's about twenty minutes later . DOLLY INTO A MEDIUM SHOT of JAKE waiting by the parking lot . He looks at the delicatessen . JOEY finally comes out carrying a paper bag . Not noticing JAKE , he walks right past him to his car which is parked near the rear of the outdoor lot .</scene_description> <character>JAKE</character> <dialogue>Hey, Joey -</dialogue> <scene_description>JAKE walks towards JOEY with his hand outstretched . JOEY looks at JAKE . Silence . JOEY turns his back and starts to get into his car . JAKE runs over to JOEY and grabs his shoulder .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>No, Joey, no. Look, wait a minute, please -</dialogue> <scene_description>JOEY looks at JAKE like he 's shit , throws JAKE 's hand off his shoulder , and starts to get into his car again .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Aw, Joey -</dialogue> <scene_description>JAKE stops JOEY from getting into his car . He puts his hand on JOEY 's shoulder again .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You're right. You're perfectly right. You got every right in the world to hate my guts.</dialogue> <scene_description>JOEY pulls away from JAKE 's hand , and tries to put the paper bag into the front seat of the car .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>No, please. I know I was a cocksucker. You're right. I shoulda never raised my hands to you.</dialogue> <scene_description>JOEY half pushes JAKE away , and begins to get into his car again . JAKE pulls JOEY by the arm .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>No, Joey, listen to me -</dialogue> <scene_description>JAKE pulls too hard , causing JOEY to drop the paper bag to his feet . The containers of coffee and tea in the bag break open and splatter JOEY 's pants legs . JOEY stares down at his pants , then up at JAKE . Suddenly , he belts JAKE with a left and a right to the jaw . JAKE is taken by surprise , and backs off to get his own hands up . JOEY keeps pouring it on . JAKE drops his hands and takes it .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Go ahead.</dialogue> <parenthetical>( gets punched . )</parenthetical> <dialogue>Hit me again.</dialogue> <parenthetical>( gets punched . )</parenthetical> <dialogue>I deserve it.</dialogue> <parenthetical>( gets punched . )</parenthetical> <dialogue>Pay me back.</dialogue> <parenthetical>( gets punched . )</parenthetical> <dialogue>More.</dialogue> <parenthetical>( gets punched . )</parenthetical> <dialogue /> <scene_description>JOEY stops in mid - punch and stares at JAKE . He ca n't figure it out . JAKE nods and tries to smile , but starts to cry instead .</scene_description> <character>JAKE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>More. Go ahead, Joey. I deserve it.</dialogue> <scene_description>JOEY pauses , then finally throws a very weak punch to JAKE 's shoulder . He leaves his hand there - then , uncurls his fist - and finally puts his hand around JAKE 's neck as tears start to fill his eyes . JOEY hugs JAKE close to him , crying . They hug each other , both crying . They do n't say anything .</scene_description> </scene> <scene> <stage_direction>EXT. BARBIZON PLAZA THEATER - NIGHT (1964)</stage_direction> <scene_description>The theater lights are flashing . This may not be Broadway , but it 's a long way from the Metropole . The entrance to the Barbizon looks out on the corner of 6th Avenue and Central Park South . A stand - up billboard in front of the theater advertises `` An Evening with Jake LaMotta . '' The billboard also lists the authors whose works will be performed : Paddy Chayevsky , Rod Serling , Shakespeare , Bud Schulberg , Tennessee Williams .</scene_description> </scene> <scene> <stage_direction>INT. BARBIZON DRESSING ROOM - NIGHT</stage_direction> <scene_description>Same as Scenes One and Eighty - One . JAKE is alone preparing to go onstage . He rehearses .</scene_description> <character>JAKE</character> <dialogue>You know, I'm not a philosopher or anything like that but I been around a little and the way I look at it is - We're, all of us, lookin' for the same thing : a shot at the title. No matter what you wanta be. you wanta shot at bein' the best. Well, I had mine and it'll always be in the record books. it do n't make no difference what happens to me from here on in - I got my shot and that's a fact. Some guys were n't that lucky. like the one Marlon Brando played in `` On the Waterfront'' - an up and comer who's now a down and outer. You remember. there was this scene in the back of the car with his brother Charlie, a small - time racket guy, and it went somethin' like this - `` It was n't him, Charlie. It was you. You ` member that night in the Garden you came down my dressing room and said. ` Kid, this ai n't your night. We're going for the price on Wilson.' You ` member that? ` This ai n't your night!' My night - I coulda taken Wilson apart! So what happens? He gets the title shot outdoors on the ballpark, and what do I get? A one - way ticket to Palookaville. I never was no good after that night. It was like a peak you reach. Then it went downhill. It was you, Charlie. You was my brother, Charlie. You shoulda looked out for me a little bit. You shoulda taken care of me just a little bit so I would n't have to take them dives for the short end money. You do n't understand! I coulda had class. I coulda been a contender. I coulda been somebody - instead of a bum, which is what I am. Let's face it. It was you, Charlie.''</dialogue> <scene_description>A shadow goes by the frame ; it 's a STAGEHAND .</scene_description> <character>STAGEHAND</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hey Jake, how you doing?</dialogue> <scene_description>The shadow exits .</scene_description> <character>JAKE</character> <dialogue>How long do I have?</dialogue> <scene_description>The shadow pops in again .</scene_description> <character>STAGEHAND</character> <parenthetical>( O.S . )</parenthetical> <dialogue>About five minutes</dialogue> <scene_description>The shadow exits .</scene_description> <character>JAKE</character> <dialogue>OK.</dialogue> <scene_description>JAKE pauses , then starts to shadow - box in his dressing room . His breath comes in quick gasps . His feet pop up and down like they were on canvas . His tiny fists jerk forward with short bursts of light . Still alive . Still a contender . A 42 - year - old man fighting for his shot . The CAMERA DOLLIES into a FULL SHOT of his fists as they hit the empty air - in and out of the frame . This quote appears : -LRB- Music in -RRB- `` Verily , verily I say unto thee , Except a man be born again , He can not enter into the kingdom of heaven . '' John 3 - 3 . The CAMERA goes into DARKNESS . The END CREDITS roll up . THE END</scene_description> </scene> </script>

In 1964, an aging, overweight Italian American, Jake LaMotta, practices a comedy routine. In 1941, LaMotta is in a major boxing match against Jimmy Reeves, where he suffered his first loss. Jake's brother, Joey LaMotta, discusses a potential shot for the middleweight title with one of his Mafia connections, Salvy Batts. Some time thereafter, Jake spots a fifteen-year-old girl named Vickie at an open-air swimming pool in his Bronx neighborhood. He eventually pursues a relationship with her, even though he is already married. In 1943, Jake defeats Sugar Ray Robinson, and has a rematch three weeks later. Despite the fact that Jake dominates Robinson during the bout, the judges surprisingly rule in favor of Robinson and Joey feels Robinson won only because he was enlisting into the Army the following week. By 1945, Jake marries Vickie. Jake constantly worries about Vickie having feelings for other men, particularly when she makes an off-hand comment about Tony Janiro, Jake's opponent in his next fight. His jealousy is evident when he brutally defeats Janiro in front of the local Mob boss, Tommy Como, and Vickie. As Joey discusses the victory with journalists at the Copacabana, he is distracted by seeing Vickie approach a table with Salvy and his crew. Joey speaks with Vickie, who says she is giving up on his brother. Blaming Salvy, Joey viciously attacks him in a fight that spills outside of the club. Como later orders them to apologize, and has Joey tell Jake that if he wants a chance at the championship title, which Como controls, he will have to take a dive first. In a match against Billy Fox, after briefly pummeling his opponent, Jake does not even bother to put up a fight. He is suspended shortly thereafter from the board on suspicion of throwing the fight, though he realizes the error of his judgment when it is too late. He is eventually reinstated, and in 1949, wins the middleweight championship title against Marcel Cerdan. A year later, Jake asks Joey if he fought with Salvy at the Copacabana because of Vickie. Jake then asks if Joey had an affair with her; Joey refuses to answer, insults Jake, and leaves. Jake directly asks Vickie about the affair, and when she hides from him in the bathroom, he breaks down the door, prompting her to sarcastically state that she had sex with the entire neighborhood (including his brother, Salvy, and Tommy Como). Jake angrily walks to Joey's house, with Vickie following him, and assaults Joey in front of Joey's wife Lenora and their children before knocking Vickie unconscious. After defending his championship belt in a grueling fifteen-round bout against Laurent Dauthuille in 1950, he makes a call to his brother after the fight, but when Joey assumes Salvy is on the other end and starts insulting and cursing at him, Jake says nothing and hangs up. Estranged from Joey, Jake's career begins to decline slowly and he eventually loses his title to Sugar Ray Robinson in their final encounter in 1951. By 1956, Jake and his family have moved to Miami. After he stays out all night at his new nightclub there, Vickie tells him she wants a divorce (which she has been planning since his retirement) as well as full custody of their kids. She also threatens to call the cops if he comes anywhere near them. He is later arrested for introducing under-age girls to men in his club. He tries and fails to bribe his way out of his criminal case using the jewels from his championship belt instead of selling the belt itself. In 1957, he goes to jail, sorrowfully questioning his misfortune and crying in despair. Upon returning to New York City in 1958, he happens upon Joey, who forgives him but is elusive. Again in 1964, Jake now recites the "I coulda been a contender" scene from the 1954 film On the Waterfront, where Terry Malloy complains that his brother should have been there for him but is also keen enough to give himself some slack. After a stagehand informs him that the auditorium where he is about to perform is crowded, Jake starts to chant "I'm the boss" while shadowboxing.

Nowhere Boy_2009

tt1266029

<script> <scene> <character>NOWHERE BOY</character> <dialogue>By</dialogue> <scene_description>Matt Greenhalgh 11th February 2009 Shooting Draft Developed with the assistance of the UK Film Council Development Fund Ecosse Films © 2008 Brigade House 8 Parsons Green London SW6 4TN Tel: 020 7371 0290 0 DULL, DISTANT EXPLOSIONS. HUSHED VOICES.</scene_description> <character>JULIA (V.O.)</character> <dialogue>You were right, Mimi. A boy.</dialogue> <character>MIMI (V.O.)</character> <dialogue>I'm always right.</dialogue> <scene_description>FADE IN:</scene_description> </scene> <scene> <stage_direction>INT. OXFORD STREET MATERNITY HOSPITAL/BIRTHING ROOM -- NIGHT</stage_direction> <scene_description>A basement room. Makeshift. Bombproof. Power battles to light an overhead bulb, often failing plunging the room into darkness. A WOMAN WITH RED HAIR (JULIA), 26, lies dishevelled and exhausted on a threadbare bed. Night-gown torn and matted to her body with sweat. She clasps a NEW BORN BABY to her chest, tightly swaddled, silent with new life. A STRIKING WOMAN (MIMI), 37, tends to her, quietly and efficiently - bathing her forehead with freshly soaked bandages. In the flickering light, we gradually make out the resemblance - sisters.</scene_description> <character>JULIA</character> <dialogue>Is the doctor coming back?</dialogue> <character>MIMI</character> <parenthetical>(another bomb hits)</parenthetical> <dialogue>I don't think so.</dialogue> <scene_description>MIMI re-soaks, turns back to find JULIA with her eyes closed.</scene_description> <character>MIMI</character> <parenthetical>(soft)</parenthetical> <dialogue>..Julia?</dialogue> <scene_description>MIMI checks her breathing, her pulse, then gently maneuvers the BABY from his mother's arms into her own.</scene_description> <character>MIMI</character> <dialogue>Like I've nothing better than to sit around and wait for...John Winston Lennon..</dialogue> <scene_description>But we can see from her eyes she hadn't - all 9 months.</scene_description> <character>JULIA</character> <parenthetical>(groggy)</parenthetical> <dialogue>Mimi?</dialogue> <scene_description>MIMI hears her but can't take herself away from the moment.</scene_description> <character>JULIA</character> <dialogue>Please..I need to feel him.</dialogue> <scene_description>CONTINUED: MIMI looks up, slowly replaces him back with his mother - a weird feeling in her stomach. BLACK OPENING CREDITS Clip-clip-clip-clip- The sound of heels (upper-leathers) running. FADE IN:</scene_description> </scene> <scene> <stage_direction>EXT. ST GEORGE'S HALL - DAY</stage_direction> <scene_description>The colossal Graeco-Roman structure that dominates the city- centre. Huge white pillars guarding the entrance. Nothing and no-one else around. Then in the distance, someone weaving through the pillars towards us, a BOY in SCHOOL UNIFORM, BLACK SHOES. FIFTEEN YEAR-OLD JOHN LENNON. The opening chorus line of the 1954 track 'Mr. Sandman' by British crooner 'Dickie Valentine' rings out. Rock'n'roll who? JOHN glances over his shoulder. As though being chased by hundreds of screaming girls. But there's no girls... and no screaming. Then, just as he's about to burst down the lens, he trips and, as he falls -</scene_description> </scene> <scene> <stage_direction>1A EXT. LIVERPOOL CITY CENTRE/VARIOUS - DAY</stage_direction> <scene_description>- we're looking up. At white fluffy things and brilliant blue. And we're moving, floating along. For a second, colours jolt into tangerine and marmalade. 'Mr. Sandman' still 'bung-bung-bung'-in along. Then a heavy object falls fast through frame. Could be a person, not sure - too quick, too dark. Slowly JOHN rises into shot. His hair struggling with the wind. His face enjoying the beating. CUT TO - St. George's Hall. A DOUBLE DECKER BUS drives past. JOHN (still in school uniform) on top of it. Surfing. CUT TO - The roof of the bus, JOHN belting out Mr. Sandman.</scene_description> <character>JOHN</character> <parenthetical>(singing)</parenthetical> <dialogue>Sandman, I'm so alone, Don't have nobody to call my own, Please turn on your magic dream, Mr. Sandman bring me a dream.</dialogue> <scene_description>1A CONTINUED: CUT TO - Several iconic Liverpool sights/buildings (TBD e.g. THE DOCKS, THE LIVER BUILDING) as this unique trip on OUR MAGICAL MYSTERY TOUR BUS takes us around this port/city that founded the western world. JOHN, larger than life, enjoying every beat.</scene_description> </scene> <scene> <stage_direction>1B EXT. MENDIPS -- DAY</stage_direction> <scene_description>The BUS suddenly in leafier environs. Suburban. It comes to a screeching halt outside an austere looking black and white house. A sign - 'MENDIPS' - on the front gate. JOHN steadies himself. He turns to look at the house. His face taught with questions. Then sorrow. He lines himself up on the edge of the bus. And with a sharp intake of breath, steps off. 2 DELETED HARD CUT TO:</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/JOHN'S BEDROOM -- DAY</stage_direction> <scene_description>JOHN being woken by sheets being ripped off him. MIMI, now 52, stands over him.</scene_description> <character>MIMI</character> <dialogue>Do I ignore you? No. I'd like to, but I don't. So please don't ignore me. I've called you twice.</dialogue> <scene_description>On a groggy JOHN curled up in a ball, freezing.</scene_description> <character>JOHN</character> <parenthetical>(after her)</parenthetical> <dialogue>Sorry.</dialogue> <scene_description>CUT TO - JOHN buttoning his shirt up. Slings his blazer on - QUARRY BANK SCHOOL - the badge, A RED AND GOLD STAG - motto: 'EX HOC METALLO VIRTUTUM' -'OUT OF THIS QUARRY COMETH FORTH VIRTUE'. He stuffs his thick NHS SPECS in his inside pocket.</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/MORNING ROOM/KITCHEN -- DAY</stage_direction> <scene_description>Breakfast neatly laid out. Large pot of tea; jam and butter. Best china. Gleaming cutlery. MIMI sits, smoking, staring out of the window - her mind in the past. Haunted. Fag-ash teetering. She hears JOHN coming downstairs, snaps back into focus. MIMI's eyes interrogate. Looking. Always looking. 4 CONTINUED: JOHN appears, school-tie crumpled in his blazer pocket.</scene_description> <character>MIMI</character> <parenthetical>(wags a finger)</parenthetical> <dialogue>Uh uh. Tie.</dialogue> <scene_description>JOHN obediently veers to a mirror on the wall, threads his tie. Mid-way, MIMI gets up finishes it for him - almost on auto-pilot - a moment where they stare at each other in the mirror. She kisses the top of his head.</scene_description> <character>MIMI</character> <parenthetical>(on the move)</parenthetical> <dialogue>Veronica Connor tells me her Terence is off studying in Edinburgh...</dialogue> <scene_description>She disappears into the kitchen.</scene_description> <character>MIMI</character> <parenthetical>(heavy hint)</parenthetical> <dialogue>...the most prestigious medical university...</dialogue> <scene_description>JOHN moves over to the table, sits, starts pouring from the huge tea pot.</scene_description> <character>JOHN</character> <parenthetical>(tongue in cheek)</parenthetical> <dialogue>Boasts a nice castle I hear. And people from Scotland if I'm not mistaken...</dialogue> <scene_description>He suddenly finds he can't control the flow, spills tea on the table. From nowhere, A TEA TOWEL lands full in his face. He picks it off - no sign of Mimi (but it must have come from her). As JOHN mops up there's a knock on the morning room window, POV: UNCLE GEORGE in his farmhand clothes, they exchange naval salutes, then suddenly George breaks into Irish dancing. Smiling, he holds up a HARMONICA. JOHN's eyes light up. UNCLE GEORGE puts his finger to his lips, points to the kitchen - 'Don't tell Mimi'. As he does MIMI appears, sees GEORGE through the window, who pretends to be scratching his chin with his finger - a stoney look delivered. CUT TO - UNCLE GEORGE coming through the kitchen door. Humour always his best bet with his wife.</scene_description> <character>UNCLE GEORGE</character> <dialogue>Ah, my darling, favourite wife. Your courageous husband has returned safely from the front line trenches of Woolton's dairy fields, ready and anticipating his hero's welcome.</dialogue> <scene_description>4 CONTINUED: (2) He grabs MIMI for a hold.</scene_description> <character>UNCLE GEORGE</character> <dialogue>That's me by the way. Your hero.</dialogue> <scene_description>Then almost forces his lips on hers.</scene_description> <character>MIMI</character> <dialogue>You smell of cows.</dialogue> <character>UNCLE GEORGE</character> <dialogue>And you my Tinkerbell, smell of pixie dust.</dialogue> <character>MIMI</character> <dialogue>Get rid of that jacket before you sit at the table.</dialogue> <character>UNCLE GEORGE</character> <parenthetical>(tugs his lock)</parenthetical> <dialogue>Ma'am.</dialogue> <scene_description>UNCLE GEORGE takes his jacket off heads into see JOHN, hangs the jacket up, gives him the CHROME HARMONICA. JOHN scoops it up, mimes playing.</scene_description> <character>UNCLE GEORGE</character> <dialogue>Very expensive.</dialogue> <character>JOHN</character> <dialogue>Really?</dialogue> <character>UNCLE GEORGE</character> <dialogue>No.</dialogue> <scene_description>Sarcastic guffaws before JOHN gives him a hug. Genuine love.</scene_description> <character>UNCLE GEORGE</character> <dialogue>First lesson tonight, front room eight o'clock. Don't be late.</dialogue> <scene_description>GEORGE starts giving him 'squeaks', a squeeze/tickle, making JOHN giggle. MIMI comes out, with a tray of toast, sees the overt affection. Something she can't give. JOHN and GEORGE - slightly guilty looks. GEORGE sits at the table opposite JOHN, finally MIMI seats herself. All start eating breakfast together, passing toast, butter and jam and the milk jug, LIKE A NORMAL FAMILY UNIT.</scene_description> </scene> <scene> <stage_direction>INT/EXT. MENDIPS -- DAY</stage_direction> <scene_description>MIMI, washing up in the kitchen, watches JOHN climb on his RALEIGH LENTON bike. She bangs on the window. 5 CONTINUED:</scene_description> <character>MIMI</character> <dialogue>Glasses, John!</dialogue> <scene_description>JOHN tuts, digs his GLASSES out - puts them on. Follow him out front where a grinning snowy blond kid, PETE SHOTTON, 15, waits on exactly the same model of bike.</scene_description> <character>PETE</character> <parenthetical>(piss taking)</parenthetical> <dialogue>Glasses John!</dialogue> <scene_description>JOHN checks Mimi's out of view, his Liverpudlian accent deepens as a result (always).</scene_description> <character>JOHN</character> <dialogue>Funny bastard you, spunk hair.</dialogue> <character>PETE</character> <dialogue>Cheers, spunk breath.</dialogue> <scene_description>JOHN gives him a friendly clip, takes his GLASSES off, puts them in his pocket. They set off riding down Menlove Avenue where after a few yards JOHN snatches a SCHOOL CAP off (his mate) IVAN VAUGHN's head as he walks to the bus stop.</scene_description> <character>JOHN</character> <parenthetical>(school master voice)</parenthetical> <dialogue>Ivan Vaughn! Where is your school cap?!</dialogue> <character>IVAN</character> <dialogue>John, don't be a dick!</dialogue> <scene_description>JOHN nonchalantly chucks IVAN's CAP into the middle road where a CAR runs over it.</scene_description> </scene> <scene> <stage_direction>EXT. STRAWBERRY FIELDS -- DAY</stage_direction> <scene_description>JOHN and PETE free-wheel past the RED GATES of the children's home. They have their own private language - nothing is said sensibly, everything has an undertone of sarcasm, piss- taking, or just plain daft. As they pass OTHER SCHOOL KIDS they shout out random insults and flick various V's signs.</scene_description> <character>JOHN</character> <dialogue>Hey, Tarbuck!</dialogue> <scene_description>A LARGE ROUGH LOOKING KID, 16, looks over.</scene_description> <character>JOHN</character> <dialogue>Keep out of the chippie, y'fat bastard!</dialogue> <scene_description>They ride on. 6 CONTINUED:</scene_description> <character>PETE</character> <parenthetical>(Indian accent)</parenthetical> <dialogue>You very, very funny man, Winston. Blady hilarious.</dialogue> <character>JOHN</character> <parenthetical>(posh)</parenthetical> <dialogue>Cheers Snowball, old chap. I do one's best to keep one's pecker up.</dialogue> </scene> <scene> <stage_direction>EXT. CALDERSTONES GIRLS SCHOOLS -- DAY</stage_direction> <scene_description>TEENAGE SCHOOL GIRLS congregating outside - one in particular, MARIE KENNEDY, with an ample bosom. JOHN and PETE ride by.</scene_description> <character>PETE</character> <dialogue>Marie Kennedy, nine o'clock!</dialogue> <scene_description>JOHN looks round.</scene_description> <character>JOHN</character> <dialogue>Marie my angel-face!</dialogue> <scene_description>MARIE turns to find where the compliment came from. Finds JOHN's eyes.</scene_description> <character>JOHN</character> <dialogue>Show us your jugs!</dialogue> <character>MARIE</character> <parenthetical>(grins)</parenthetical> <dialogue>Cock off Lennon!</dialogue> <parenthetical>(goading)</parenthetical> <dialogue>Or cock out?!</dialogue> <scene_description>JOHN brakes hard, chucks his bike down, approaches MARIE whilst undoing his pants. The GIRLS go screaming into the playground.</scene_description> <character>JOHN</character> <dialogue>Where y'going? This cock's won prizes!</dialogue> <scene_description>A SCHOOL MISTRESS, mid 30's, storms out.</scene_description> <character>MISTRESS</character> <dialogue>You! Get lost! Go on! Disgusting imbecile!</dialogue> <character>JOHN</character> <dialogue>Yes Miss, I am a disgusting and I apologise.</dialogue> <parenthetical>(shrugs)</parenthetical> <dialogue>I've seen the doctor about it.</dialogue> <parenthetical>(pause)</parenthetical> <scene_description>7 CONTINUED:</scene_description> <character>JOHN</character> <dialogue>I'd try a better bra, luv. You're sagging a bit.</dialogue> <scene_description>The MISTRESS is speechless. JOHN hops on his bike. Rides off with PETE, wailing with laughter.</scene_description> </scene> <scene> <stage_direction>EXT. QUARRY BANK SCHOOL -- DAY</stage_direction> <scene_description>Establisher of a huge Victorian sandstone school. JOHN and PETE arrive in the playground as the bell rings. They head in amongst the throng of QUARRY BANK BOYS.</scene_description> </scene> <scene> <stage_direction>INT. QUARRY BANK SCHOOL/HISTORY CLASS -- DAY</stage_direction> <scene_description>'CLIPPER' SHEARS, 60, history teacher and war veteran, pounds the blackboard about THE BATTLE OF DUNKIRK. The CLASS struggles to copy his chalked up ramblings.</scene_description> <character>CLIPPER SHEARS</character> <dialogue>...with more than 300,000 troops stranded on the Dunkirk beaches in May, June, 1940. What happened next was described as "a miracle of deliverance" by -</dialogue> <parenthetical>(stops)</parenthetical> <dialogue>By who?</dialogue> <scene_description>JOHN is at the back of the class, glasses on, head down, writing. PETE next to him. JOHN'S EXERCISE BOOK: drawings and jokes from THE DAILY HOWL (re-creating actual cartoons and sketches).</scene_description> <character>CLIPPER SHEARS</character> <dialogue>Lennon?</dialogue> <scene_description>JOHN too engrossed in his own newspaper.</scene_description> <character>PETE</character> <parenthetical>(sharp whisper)</parenthetical> <dialogue>John!</dialogue> <scene_description>JOHN looks up. Realises the whole class is looking at him, as well as CLIPPER.</scene_description> <character>PETE</character> <parenthetical>(side of his mouth)</parenthetical> <dialogue>Churchill.</dialogue> <character>JOHN</character> <dialogue>Churchill, sir.</dialogue> <scene_description>CLIPPER SHEARS heads towards JOHN, his metal leg thumping the floor. 9 CONTINUED:</scene_description> <character>CLIPPER SHEARS</character> <dialogue>Too late.</dialogue> <scene_description>JOHN quickly puts his glasses on - checks the blackboard</scene_description> <character>JOHN</character> <dialogue>For Dunkirk? Definitely. Mind you, the lads had a good drink whilst waiting on the beach. So all was not lost.</dialogue> <scene_description>CLIPPER stands over him with his hand out. JOHN reluctantly handing over The Daily Howl.</scene_description> <character>JOHN</character> <dialogue>Unless you count France and Belgium.</dialogue> <scene_description>JOHN gives a famous sarcastic grin.</scene_description> </scene> <scene> <stage_direction>INT. QUARRYBANK SCHOOL HEAD'S OFFICE -- DAY</stage_direction> <scene_description>JOHN waiting outside. Name plaque on the door, "HEADMASTER - WILLIAM E POBJOY".</scene_description> <character>POBJOY (V.O.)</character> <dialogue>You're really quite fond of me, aren't you Lennon?</dialogue> <scene_description>CUT TO - JOHN stands in front of POBJOY, 36, slick hair, sharp, tweed suit. If he wasn't a headmaster he could easily be a 'Ladies Man'. His back is to John. THE DAILY HOWL sits in the middle of his desk.</scene_description> <character>JOHN</character> <dialogue>Sir?</dialogue> <character>POBJOY</character> <dialogue>Well, you're always here, in my office. Visiting.</dialogue> <character>JOHN</character> <dialogue>I do think you're a fantastic headmaster, sir. Visionary.</dialogue> <scene_description>It's said with a completely straight face. POBJOY turns.</scene_description> <character>POBJOY</character> <parenthetical>(slight smile)</parenthetical> <dialogue>I'm sure you do.</dialogue> <scene_description>They stare each other out like friendly boxers.</scene_description> <character>POBJOY</character> <dialogue>So you're the brains behind this 'Daily Howl' are you?</dialogue> <scene_description>10 CONTINUED:</scene_description> <character>JOHN</character> <dialogue>Yes sir.</dialogue> <character>POBJOY</character> <dialogue>And you use your editorial power to lampoon my teaching staff?</dialogue> <character>JOHN</character> <dialogue>Yes sir. Most definitely sir.</dialogue> <scene_description>Again straight faced.</scene_description> <character>JOHN</character> <dialogue>Although I must say in their defence, they do a great job without me.</dialogue> <scene_description>POBJOY's loving it - but can't show it.</scene_description> <character>POBJOY</character> <dialogue>You know drawing in class is unacceptable don't you?</dialogue> <character>JOHN</character> <dialogue>What about art class, sir?</dialogue> <scene_description>POBJOY see's through the bait. Doesn't bite.</scene_description> <character>POBJOY</character> <dialogue>And what about your Aunt Mimi?</dialogue> <scene_description>JOHN's face loses its cockiness. POBJOY lets this sink in.</scene_description> <character>POBJOY</character> <dialogue>This is how you repay her is it? All she's done for you?</dialogue> <scene_description>JOHN - the thought of failing Mimi doesn't sit well.</scene_description> <character>POBJOY</character> <dialogue>She tells me, frequently, that you're a budding doctor.</dialogue> <scene_description>POBJOY shakes his head slightly in disbelief.</scene_description> <character>POBJOY</character> <dialogue>At this rate you'll be lucky to find a job on the docks.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Because at the moment, you're going nowhere. Here at Quarry Bank. Generally...</dialogue> <scene_description>Beat.</scene_description> <character>POBJOY</character> <dialogue>Nowhere.</dialogue> <scene_description>10 CONTINUED: (2) He lets this sink in on JOHN.</scene_description> <character>JOHN</character> <dialogue>Is 'Nowhere' full of geniuses, sir? Because then I probably do belong there.</dialogue> <scene_description>POBJOY sizes him up, can see the intelligence, the wit. But has no idea how to handle it. He picks up THE DAILY HOWL. Drops it in the waste-bin.</scene_description> <character>POBJOY</character> <dialogue>Next time you visit, we'll let my cane do the clever talking. Understand?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Go.</dialogue> <scene_description>JOHN turns and leaves. POBJOY waits for the door to shut. He digs THE DAILY HOWL out of the bin, starts reading... then smiling... then chuckling.</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS -- EVENING</stage_direction> <scene_description>JOHN and UNCLE GEORGE rigging a SPEAKER EXTENSION from John's bedroom to the main radio in the morning room. A job for men, father and son. In a series of cuts we see: - The SPEAKER being placed above John's headboard. - UNCLE GEORGE on his knees tacking the extension cable in the stairs and hallway. JOHN helping - holding the wire straight - passing the tacks - holding the hammer. They arrive at the morning room. MIMI sits reading Jane Austen, listening to PUCCINI on the WIRELESS. TITCH, the cat asleep on her lap. She eyes JOHN and UNCLE GEORGE as they connect the extension lead to the main radio.</scene_description> <character>UNCLE GEORGE</character> <dialogue>And so... judgement day.</dialogue> <scene_description>JOHN and GEORGE rush off back upstairs to see if it all works. It's a bit of a race, JOHN giggling as he gets in front and rushes upstairs. UNCLE GEORGE - panting heavily, stops mid-way up.</scene_description> <character>UNCLE GEORGE</character> <dialogue>OK... you win...</dialogue> <scene_description>JOHN launches himself on the bed - flicks the speaker on - Puccini pours out.</scene_description> <character>JOHN</character> <dialogue>It works!</dialogue> <scene_description>11 CONTINUED: GEORGE comes in, sits on the bed, still trying to catch his breath. JOHN flies out, shouts down.</scene_description> <character>JOHN</character> <dialogue>Mimi! It works!</dialogue> <parenthetical>(excited)</parenthetical> <dialogue>Can we turn it over? See if something else is on?</dialogue> <scene_description>CUT TO - The morning room.</scene_description> <character>MIMI</character> <parenthetical>(shouts back up)</parenthetical> <dialogue>No John! We do not turn Puccini over!</dialogue> <parenthetical>(mutters to herself)</parenthetical> <dialogue>Not in this house.</dialogue> </scene> <scene> <stage_direction>11A EXT. MENDIPS -- NIGHT</stage_direction> <scene_description>Exterior establisher, John's BEDROOM LIGHT ON, we hear the GOON SHOW on the wireless.</scene_description> <character>SEAGOON (GOON)</character> <dialogue>"We've come to disconnect your phone".</dialogue> <character>THE RED BLADDER (GOON)</character> <dialogue>"I haven't got one".</dialogue> <character>SEAGOON (GOON)</character> <dialogue>"Don't worry we've brought one with us".</dialogue> </scene> <scene> <stage_direction>11B INT. MENDIPS/JOHN'S BEDROOM -- CONTINUOUS</stage_direction> <scene_description>JOHN and GEORGE laughing. The Goon Show plays on, another joke - more laughs. GEORGE, already glassy eyed, digs out a HIP FLASK of whiskey - takes a slug. Offers it to JOHN, who readily accepts. Takes a hearty glug.</scene_description> <character>UNCLE GEORGE</character> <dialogue>Eh! Cheeky git.</dialogue> <parenthetical>(snatches it back)</parenthetical> <dialogue>You'll get me in trouble.</dialogue> <scene_description>GEORGE takes another swig, slips it back in his pocket.</scene_description> <character>JOHN</character> <dialogue>We're always in trouble...</dialogue> <scene_description>It's said with a tinge of sadness. GEORGE senses it.</scene_description> <character>UNCLE GEORGE</character> <dialogue>With Mimi? Don't be daft.</dialogue> <scene_description>11B CONTINUED:</scene_description> <character>JOHN</character> <parenthetical>(pause)</parenthetical> <dialogue>She never looks happy...</dialogue> <character>UNCLE GEORGE</character> <dialogue>Ever been married to me?</dialogue> <scene_description>GEORGE studies him, knows something's eating away. Can guess. GEORGE avoids his eyes. Not wanting to get into it.</scene_description> <character>UNCLE GEORGE</character> <parenthetical>(quickly getting up)</parenthetical> <dialogue>Now go on - you're missing your show. And I'm missing the pub.</dialogue> <scene_description>Another GOON JOKE rifles in - they share a laugh. GEORGE's expression suddenly drops as he reaches the door. He gets out a hanky, wipes his brow of cold sweat, face growing whiter by the second. He manages a smile but JOHN sees through it, his concern growing. GEORGE collapses in the doorway.</scene_description> </scene> <scene> <stage_direction>EXT. MENLOVE AVENUE/MENDIPS -- LATER</stage_direction> <scene_description>UNCLE GEORGE being carried out on a stretcher, eyes shut, white face, oxygen breathing apparatus stuck to his mouth. JOHN - petrified, panicked. MIMI following the stretcher, eyeing the nosy neighbours.</scene_description> <character>MIMI</character> <parenthetical>(to the neighbours)</parenthetical> <dialogue>He's had a fall. That's all. There's nothing to see - really.</dialogue> <scene_description>The MEDICS load GEORGE into the back of the AMBULANCE. JOHN tries to climb in, MIMI forces him back.</scene_description> <character>MIMI</character> <dialogue>The cat needs feeding.</dialogue> <scene_description>She climbs into the back of the AMBULANCE.</scene_description> <character>JOHN</character> <dialogue>But Mimi -</dialogue> <scene_description>The doors are slammed - it takes off - sirens wailing. MIMI's POV: JOHN disappears in the distance. MIMI looks down on UNCLE GEORGE, looking like death - shakes her head, as though inconvenienced by the whole scenario. UNCLE GEORGE manages to prize his oxygen mask off.</scene_description> <character>UNCLE GEORGE</character> <dialogue>D'you think I'll miss last orders?</dialogue> </scene> <scene> <stage_direction>INT. MENDIPS/LIVING ROOM/MORNING ROOM/KITCHEN -- NIGHT</stage_direction> <scene_description>JOHN on the settee, his head between his knees, half asleep. Hears the front door open and shut - the sound wakes him up. JOHN sticks his head out, looks down the hall. MIMI sits in the morning room - staring at A FRAMED PHOTOGRAPH - GEORGE, MIMI and JOHN aged 5, posing outside Mendips.</scene_description> <character>JOHN</character> <dialogue>Mimi...</dialogue> <scene_description>She doesn't hear him. He steps nearer.</scene_description> <character>JOHN</character> <dialogue>Mimi?</dialogue> <character>MIMI</character> <parenthetical>(blunt)</parenthetical> <dialogue>He's dead.</dialogue> <scene_description>JOHN bursts into giggles... but they gradually fade. He looks around, not knowing what to do. MIMI see's he's about to cry, moves off into the kitchen, evasive. JOHN rushes after her, hugs her, cries into her shoulder blades.</scene_description> <character>MIMI</character> <dialogue>Don't be silly.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Go to your bedroom if you need to do that.</dialogue> <scene_description>JOHN takes a deep breath, stops crying.</scene_description> <character>MIMI</character> <dialogue>Just us now, so let's get on with it, shall we?</dialogue> <scene_description>A moment while this registers. JOHN picks up the dish towel, starts drying the pots. MIMI gets back to washing up.</scene_description> </scene> <scene> <stage_direction>13A INT. MENDIPS/MIMI'S BEDROOM - NIGHT</stage_direction> <scene_description>Pristine and clean. Crafted oak furniture - heavily varnished. Separate single beds. MIMI sits upright in her bed, nightgown on, no make-up. Staring into nothing. Hold. Finally she reaches over - turns the bedside light out. Lies down on her side, facing George's bed. Through the darkness she sees his PYJAMAS neatly folded on his pillow. Beat. 13A CONTINUED: She turns the other way.</scene_description> </scene> <scene> <stage_direction>INT. JOHN'S BEDROOM - DAY</stage_direction> <scene_description>JOHN lying on his bed, his legs twisted upright against the wall. He stares into space - morose. A hand clicks the speaker on and off over and over... the airwaves dead. He sits up, takes the HARMONICA out of his pocket, blows random notes... trails off... thinking of GEORGE.</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/MIMI'S BEDROOM -- DAY</stage_direction> <scene_description>JOHN creeps in. Finds it weird - not really allowed in here. He opens George's wardrobe, his SUITS hung up. Takes A BLACK SUIT JACKET out, smells it. The tears come, but he fights them off. Spots A BOTTLE OF WHISKEY half-full, hidden at the bottom. He undoes the cap, throws the jacket over his head and squats down back against the wall. Drinks the bottle undercover. 16 OMITTED 17 OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. GRAVESIDE -- DAY</stage_direction> <scene_description>THE REVEREND PRYCE JONES finishing his address. JOHN and MIMI stand graveside, stoic. OTHERS around them crying.</scene_description> <character>REVEREND</character> <dialogue>God will show us the path of life; in his presence is the fullness of joy; and at his right hand there is pleasure evermore.</dialogue> <character>EVERYONE</character> <dialogue>Amen.</dialogue> <scene_description>John watches THE COFFIN being lowered into the grave. He looks away, emotion creeping up on him. Then, on the other side of the grave, through the crowd, he sees THE RED HAIR. The outline of the face. Fuzzy. He squints tight.</scene_description> </scene> <scene> <stage_direction>18A INT/EXT. MENDIPS (FLASHBACK) - DAY</stage_direction> <scene_description>THE DOORBELL ringing. We follow a 7 YEAR OLD JOHN down the stairs, staying BACK OF HEAD (never see his face). He hesitates at the front door.</scene_description> <character>7 YR OLD JOHN</character> <dialogue>Mimi?</dialogue> <scene_description>18A CONTINUED: No answer. He reaches up, opens the door. Through the FROSTED GLASS of the small porch we see the outline of a WOMAN with RED HAIR.</scene_description> <character>WOMAN WITH RED HAIR</character> <dialogue>Hello? Mimi? It's me.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Mimi?</dialogue> <scene_description>THE WOMAN presses her hands and face to the window.</scene_description> <character>WOMAN WITH RED HAIR</character> <dialogue>John?</dialogue> <scene_description>JOHN remains speechless.</scene_description> <character>WOMAN WITH RED HAIR</character> <dialogue>Oh my dream! John, it's me! Let me in!</dialogue> <scene_description>JOHN gulps, steps forward, reaches for the porch lock.</scene_description> <character>WOMAN WITH RED HAIR</character> <dialogue>Good boy!</dialogue> <scene_description>Suddenly JOHN is swept away from the door by MIMI, washing basket dropped at her feet. She throws JOHN into the hallway. Slams the front door shut. Stay on the THE WOMAN WITH RED HAIR through the frosted glass.</scene_description> </scene> <scene> <stage_direction>18B EXT. GRAVESIDE -- CONTINUOUS</stage_direction> <scene_description>JOHN reaches inside his jacket for his GLASSES - puts them on, sees A WOMAN, late 30's, staring right at him - tears streaming down her face... he recognises the face, the hair, the tears. Mother JULIA. In an act of solidarity, she puts her own glasses on. JOHN manages a half wave which JULIA returns. Hold. Contact is broken as MIMI grabs JOHN's hand, leads him to throw a handful of dirt on the coffin.</scene_description> </scene> <scene> <stage_direction>EXT. MENDIPS -- DAY</stage_direction> <scene_description>The wake going on inside. JOHN, alone out front, leaning against wall. Looking. MENLOVE AVENUE DESERTED except for the odd speeding car.</scene_description> </scene> <scene> <stage_direction>EXT/INT. MENDIPS/BACK GARDEN/KITCHEN -- MOMENTS LATER</stage_direction> <scene_description>JOHN strides across the lawn. His cousins, MICHAEL (8), DAVID (11) help STAN (17) knock apples from the tree. JOHN climbs up into his TREE HOUSE, gets his HARMONICA out - starts playing 'Swedish Rhapsody'. STAN looks over at JOHN, his face full of concern.</scene_description> <character>STAN</character> <parenthetical>(climbs up)</parenthetical> <dialogue>Fancy Blackpool tomorrow? Play the arcades, go on some rides -</dialogue> <character>JOHN</character> <dialogue>- I don't need looking after, Stan.</dialogue> <scene_description>Beat.</scene_description> <character>STAN</character> <dialogue>I'm know that. I'm asking if you want to go to Blackpool.</dialogue> <parenthetical>(defensive)</parenthetical> <dialogue>He was my Uncle too.</dialogue> <scene_description>JOHN looks up - steely.</scene_description> <character>JOHN</character> <dialogue>Yeah... but he was 'more than just an Uncle' to me, wasn't he?</dialogue> <scene_description>STAN nods sympathetically.</scene_description> <character>JOHN</character> <parenthetical>(struggling)</parenthetical> <dialogue>You saw her too right? The one with the red hair?</dialogue> <scene_description>STAN nods.</scene_description> <character>JOHN</character> <dialogue>Where is she now?</dialogue> <character>STAN</character> <dialogue>Want me to ask Aunt Mimi?</dialogue> <scene_description>JOHN nods. STAN sets off towards the kitchen where we see MIMI and THE OTHER SISTERS gossiping. They look pretty formidable. JOHN closely watching STAN, who takes a deep breath. Speaks. All the SISTERS stop talking, stare at STAN. No-one seems to say anything. MIMI turns, looks into the garden - finds JOHN's eyes. Hold. 20 CONTINUED: MIMI turns back to STAN. Stay with him as he returns from the kitchen, across the lawn, back to JOHN, being watched all the way by MIMI.</scene_description> <character>STAN</character> <dialogue>She was busy, apparently. Things to do.</dialogue> <scene_description>JOHN nods wearily, his emotions in check. He clambers down from the tree house.</scene_description> <character>STAN</character> <dialogue>You should call her 'Mum', y'know. 'The one with the red hair'.</dialogue> <scene_description>JOHN looks over at MIMI, chatting to her OTHER SISTERS.</scene_description> </scene> <scene> <stage_direction>INT/EXT. MENDIPS -- DAY</stage_direction> <scene_description>STAN and JOHN are leaving for a day out. MIMI behind them.</scene_description> <character>MIMI</character> <dialogue>Be careful. These coastal towns are riddled with all sorts.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Where are your glasses, John?</dialogue> <character>JOHN</character> <dialogue>In my pocket.</dialogue> <character>MIMI</character> <dialogue>And is your pocket blind?</dialogue> <scene_description>JOHN puts his GLASSES on. They open the front door, MIMI watches them walk down the path.</scene_description> <character>MIMI</character> <dialogue>And don't talk to strangers.</dialogue> <scene_description>MIMI watches them head off down Menlove Avenue. JOHN, one eye on MIMI, waiting for her to go back inside. She finally does. He stops, takes his glasses off.</scene_description> <character>STAN</character> <dialogue>Want to go and see your Mum?</dialogue> <scene_description>JOHN, confused.</scene_description> <character>STAN</character> <dialogue>I found out where she lives.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>You wanted to see her, right?</dialogue> <character>JOHN</character> <parenthetical>(overwhelmed)</parenthetical> <dialogue>Yeah, but..</dialogue> <scene_description>21 CONTINUED:</scene_description> <character>STAN</character> <dialogue>We don't have to.</dialogue> <character>JOHN</character> <dialogue>No. No...</dialogue> <parenthetical>(deep breath)</parenthetical> <dialogue>What bus do we get?</dialogue> <character>STAN</character> <dialogue>We don't. We walk.</dialogue> <scene_description>STAN sets off. JOHN stay put - walk?!</scene_description> <character>STAN</character> <parenthetical>(stop and turns)</parenthetical> <dialogue>Are y'coming or what?</dialogue> <scene_description>JOHN nods, sets off after him, in shock.</scene_description> </scene> <scene> <stage_direction>21A EXT. JOURNEY TO JULIA'S HOUSE - MOMENTS LATER</stage_direction> <scene_description>- JOHN and STAN cut across the (Allerton) golf course. - cross another busy main road (Mather Avenue). - traipse over a farmers field, jump over a stile and into:</scene_description> </scene> <scene> <stage_direction>EXT. BLOMEFIELD ROAD/JULIA'S HOUSE -- DAY</stage_direction> <scene_description>...a pretty tree-lined road, council houses, but bigger. KIDS run riot on the street, MUMS chatting, DADS fixing things in their gardens. They reach the corner house. NUMBER 1. STAN stands outside the gate, looks at JOHN, who's slowed down behind, apprehensive. STAN opens the gate, lets JOHN in first, they walk up the path get to the door. Hear Piano playing and singing from inside. JOHN goes to knock, but can't make contact. He closes his eyes - summoning courage. But his bottle has gone. He looks around, down the street, thinks about running off. Escape. About to go, when STAN's HAND bangs on the door. JOHN looks at STAN in shock but a second later - - JULIA opens the door. She freezes at the sight of JOHN. Then JULIA grabs hold of her son, folds him into her body, kissing, smelling his skin. Squeezing tight. JOHN - a deep hidden smile.</scene_description> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE -- MOMENTS LATER</stage_direction> <scene_description>JULIA rattles around the kitchen. JOHN and STAN sit opposite TWO STARING GIRLS, LITTLE JULIA, 8, and JACKIE, 6. 23 CONTINUED:</scene_description> <character>JULIA (O.S.)</character> <dialogue>Blackpool's loss, my gain! But we love Blackie don't we girls? Fun fun fun.</dialogue> <scene_description>JOHN looks round the house. It is a playful tip, dressing up clothes and patterned fabrics for making dresses strewn over hand-me down furniture. Bright, loud paintings (by Julia) hang on the wall. A PIANO in one corner - a BANJO and ACCORDION propped up. A GRAMOPHONE and a large, messy collection of VINYL.</scene_description> <character>JULIA (O.S.)</character> <dialogue>I knew you were coming though, John. Want to know how I knew? Because I -</dialogue> <scene_description>She appears with a cake.</scene_description> <character>JULIA</character> <dialogue>- Baked a cake!</dialogue> <scene_description>She shovels a piece into his mouth.</scene_description> <character>JULIA</character> <dialogue>What'd'you think? Nice, eh? Vanilla bun.</dialogue> <scene_description>JOHN nods his head, mouth full. JULIA carries on handing cake out to the GIRLS.</scene_description> <character>JULIA</character> <dialogue>A piece for you, Julia... and Jackie. Have you said hello to your brother, girls?</dialogue> <scene_description>They shake their heads.</scene_description> <character>JULIA</character> <dialogue>Well, go on then.</dialogue> <character>LITTLE JULIA/JACKIE</character> <dialogue>Hello, John.</dialogue> <character>JOHN</character> <dialogue>Hello.</dialogue> <scene_description>JOHN finds the cake hard to swallow.</scene_description> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE -- LATER</stage_direction> <scene_description>THE GIRLS play outside. STAN plink-plonks aimlessly on the piano. JOHN sits opposite JULIA, she smiles and hums nervously, but is really at a loss for words. Finally she notices his HARMONICA in his shirt pocket. 24 CONTINUED:</scene_description> <character>JULIA</character> <dialogue>A mouthie! Let's have a look.</dialogue> <scene_description>JOHN passes it over. She checks it out, feels the chrome, reads the etching.</scene_description> <character>JULIA</character> <dialogue>A 'Hohner'. German. Boo. Down with the krauts. Good at mouthies though.</dialogue> <character>JOHN</character> <dialogue>Not so good at war.</dialogue> <scene_description>JULIA giggles. She mimes having a blow.</scene_description> <character>JULIA</character> <dialogue>D'you mind?</dialogue> <scene_description>JOHN shrugs.</scene_description> <character>JULIA</character> <dialogue>Your spit's my spit anyway.</dialogue> <scene_description>JULIA blasts out a few bars - tuneful, nothing specific.</scene_description> <character>JULIA</character> <dialogue>Good lungs on it.</dialogue> <character>JOHN</character> <dialogue>Uncle George gave it me just before he died.</dialogue> <scene_description>A silence at his name. JOHN can't help feel a twinge of pain.</scene_description> <character>JULIA</character> <dialogue>He'll be missed... He was a good man.</dialogue> <scene_description>JOHN looks up, stares at her.</scene_description> <character>JOHN</character> <parenthetical>(pointedly)</parenthetical> <dialogue>In what way?</dialogue> <scene_description>The indirect mention of 'the situation' creates an awkward silence. JULIA suddenly vanquishes her bad thoughts, jumps up. Snatches the banjo.</scene_description> <character>JULIA</character> <dialogue>Listen, my party piece, well, one of them.</dialogue> <scene_description>She launches into a great GEORGE FORMBY IMPRESSION, singing 'Mother What'll I do now'. 24 CONTINUED: (2)</scene_description> <character>JULIA</character> <dialogue>Mother you give good advice, Always you mean well. Now I need it more than ever I'm inside this cell...'</dialogue> <scene_description>The REAL GEORGE FORMBY takes over through the following:</scene_description> </scene> <scene> <stage_direction>EXT. BLACKPOOL PROMENADE -- DAY</stage_direction> <scene_description>JOHN and JULIA walking slowly, sun clipping her hair. JOHN finding it hard to keep his eyes off her, keeps glancing up - checking she's there. Like she's a ghost. The feeling she could vanish at any moment. They come across a row of tacky stalls. DAYTRIPPERS everywhere. JULIA buys a 'Kiss Me Quick' hat, plonks it on JOHN's head, smothers him in quick kisses. Takes it off, puts it on her head - signals it's JOHN's turn to pucker up. He kisses her slowly on each cheek. C/UP of JOHN - confused pleasure.</scene_description> </scene> <scene> <stage_direction>INT. HALL OF MIRRORS/BLACKPOOL -- DAY</stage_direction> <scene_description>JOHN and JULIA howling at their distorted reflections. JOHN in particular loving the grotesqueness of it all. Then the last one - a 'straight' mirror.</scene_description> <character>THEY STAND TOGETHER.</character> <dialogue>MOTHER AND SON. AN UNFAMILIAR IMAGE.</dialogue> <scene_description>GEORGE FORMBY track finishes.</scene_description> </scene> <scene> <stage_direction>EXT. BLACKPOOL PIER -- DAY</stage_direction> <scene_description>JOHN and JULIA strolling arm in arm, sharing a bag of chips. JOHN still stealing glances. Finding confidence in her presence. JULIA stops - her ears prick up.</scene_description> <character>JULIA</character> <dialogue>Y'hear that?</dialogue> <scene_description>Excited, she grabs JOHN, leads him off.</scene_description> </scene> <scene> <stage_direction>INT. PIER MILK BAR/BLACKPOOL -- DAY</stage_direction> <scene_description>A tiny place selling milkshakes and colorful sweets, A small dancefloor in the middle - empty. A JUKE BOX is playing IKE TURNER's 'Rocket 88' - the first Rock'n'Roll track. JULIA immediately starts grooving her head, clicking her fingers - sings the lyrics. 28 CONTINUED:</scene_description> <character>JULIA/IKE</character> <parenthetical>(singing)</parenthetical> <dialogue>Step in my rocket, And don't be late, We're pulling out 'bout half past eight...</dialogue> <scene_description>Beat.</scene_description> <character>JULIA</character> <dialogue>Know what it means? 'Rock'n'Roll'?</dialogue> <scene_description>JOHN shakes his head innocently.</scene_description> <character>JULIA</character> <parenthetical>(mischievous)</parenthetical> <dialogue>Sex.</dialogue> <scene_description>JOHN's eyes light up at the word. He looks at JULIA, who as she lights up a cigarette exhales cool mystery. She wanders onto the small dancefloor, loses herself in a sultry dance. Alone. No fear. JOHN watching this woman. End tight on the record spinning.</scene_description> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE -- EVENING</stage_direction> <scene_description>The same record spinning - on JULIA's gramophone. JULIA and JOHN ('Kiss Me Quick' hat on) back at home, still dancing, still high. THE SISTERS asleep on the settee. STAN slumped in the arm-chair, checks his watch. But for JOHN and JULIA it's still early. JOHN tries to sing along. Knocks out a decent note. A TALL, SWARTHY MAN enters from the kitchen, unseen, wears the tails of a Head Waiter - BOBBY DYKINS - Julia's long term boyfriend. He eyes JOHN suspiciously, walks to the gramophone - needle off.</scene_description> <character>JULIA</character> <parenthetical>(excited)</parenthetical> <dialogue>Bobby! John! Here! John, remember Bobby?</dialogue> <scene_description>BOBBY hold out his hand, shakes with JOHN - no smile.(BOBBY's speech is accompanied by a facial twitch).</scene_description> <character>BOBBY</character> <dialogue>Hello John... again.</dialogue> <character>JULIA</character> <dialogue>We've been to Blackpool, haven't we John? Found Ike Turner on the south pier.</dialogue> <scene_description>29 CONTINUED:</scene_description> <character>BOBBY</character> <dialogue>Was he lost?</dialogue> <scene_description>BOBBY looks at JOHN like he's lost too. JULIA drapes herself round BOBBY, kisses him. JOHN, finding this strange.</scene_description> <character>JULIA</character> <parenthetical>(quickly)</parenthetical> <dialogue>Stan brought him over. You know Stan.</dialogue> <scene_description>A vague nod between BOBBY and STAN.</scene_description> <character>JULIA</character> <dialogue>He looked after the girls while we were out.</dialogue> <character>BOBBY</character> <dialogue>Who should be in bed.</dialogue> <character>JULIA</character> <dialogue>I know. But John's here!</dialogue> <character>JOHN</character> <dialogue>Yeah, I'm here.</dialogue> <scene_description>It's said with a glint in his eye.</scene_description> <character>BOBBY</character> <dialogue>And it's late.</dialogue> <scene_description>BOBBY lifts the GIRLS up in his arms.</scene_description> <character>BOBBY</character> <dialogue>I'll take these two up. Nice to see you, John.</dialogue> <scene_description>He throws a quick look at JULIA then moves to the stairs. The room falls silent. JOHN not making the first move, wants to stay with JULIA - who stares into the distance.</scene_description> <character>STAN</character> <dialogue>C'mon John. It's getting dark.</dialogue> <scene_description>JOHN still not moving.</scene_description> </scene> <scene> <stage_direction>EXT. JULIA'S HOUSE -- NIGHT</stage_direction> <scene_description>JOHN and JULIA together. STAN has conscientiously moved on ahead. They reach the gate. JULIA lets out a low, visceral sigh then suddenly jumps into life.</scene_description> <character>JULIA</character> <dialogue>Next time I'll make Eccles cakes, I love those! Need raisins. Bobby'll have them in his restaurant. Nick them for us.</dialogue> <scene_description>30 CONTINUED: JULIA grabs JOHN close. Shuts her eyes tight.</scene_description> <character>JULIA</character> <dialogue>Don't tell Mimi. Please. This is our secret. Promise me.</dialogue> <scene_description>JOHN doesn't say anything. JULIA breaks the hug, puts her finger to his lips. JOHN manages a nod.</scene_description> <character>JULIA</character> <dialogue>We'll have an even better time next time. OK? Go now. I love you. You're my dream, don't forget that!</dialogue> <scene_description>With that she quickly walks back into the house. The door shuts. JOHN watching on from the bottom of the path. He finally turns to go - catches up with STAN waiting further on up. Keeps looking back as he walks away, expecting her to rush out and take him back in. Tell him it's all been a mistake. Everything. The door stays shut.</scene_description> </scene> <scene> <stage_direction>INT/EXT MENDIPS -- NIGHT</stage_direction> <scene_description>MIMI, reading 'The Happy Prince' by Oscar Wilde, every so often she looks up at the clock. Finally the doorbell rings. CUT TO - MIMI opens up, JOHN on the step, a weird guilty look in his eye. He steps past. MIMI follows him into the kitchen. JOHN pours himself a glass of water. MIMI spots the 'Kiss Me Quick' hat in JOHN's hands. She snatches it, puts it on his head.</scene_description> <character>MIMI</character> <parenthetical>(derisory)</parenthetical> <dialogue>Suits you.</dialogue> <scene_description>JOHN needs to get away, his thoughts and guilt too much. He pushes past MIMI, heads straight upstairs. On MIMI - sensing something.</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/JOHN'S BEDROOM -- NIGHT</stage_direction> <scene_description>JOHN sits on the window sill, in his pyjamas, glasses on - staring into the night. He fingers the 'Kiss Me Quick' hat - a memento. Remembers how she kissed him. But her kisses have always been too quick and never enough. Slowly he puts the hat on his head. FADE TO BLACK: FADE IN:</scene_description> </scene> <scene> <stage_direction>EXT. SHABBY TOWN-HOUSE (RECURRING DREAM) -- DAY</stage_direction> <scene_description>Establisher of a bed-sit style town house. Painted red. No sound. SEA-GULL SQUAWKS crash in. Violently loud. A DONKEY, like you'd find on the beach, trots slowly past.</scene_description> </scene> <scene> <stage_direction>INT. ROOM (RECURRING DREAM) -- DAY</stage_direction> <scene_description>5 YR OLD JOHN sits on a chair too big for him. A red front door behind him. His eyes switch to the faces of the ADULTS, which we never see. A Grandfather Clock tick-tocks somewhere.</scene_description> <character>5YR OLD JOHN (V.O.)</character> <dialogue>Mummy... Daddy... Mummy... Daddy... Mummy...</dialogue> <scene_description>Close on JOHN as he repeats this mantra. The clock stops.</scene_description> <character>5YR OLD JOHN</character> <parenthetical>(speaks)</parenthetical> <dialogue>Daddy.</dialogue> <scene_description>We hear a WOMAN'S HEELS rushing across the room. Then a door bang. 5YR OLD JOHN - confused, frightened.</scene_description> <character>5YR OLD JOHN</character> <dialogue>Mummy?</dialogue> <scene_description>CUT TO - JOHN wailing at the front-door. Tears streaming down his face. Panic rising.</scene_description> <character>5YR OLD JOHN</character> <dialogue>Mummmeeeyy!!</dialogue> <scene_description>He tugs at the handle with all his might.</scene_description> <character>5YR OLD JOHN</character> <dialogue>MUMMEEEEEY!!!</dialogue> <scene_description>But it never opens.</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/JOHN'S BEDROOM -- MORNING</stage_direction> <scene_description>JOHN takes a gasp of air - suddenly waking himself and falling out of bed. THUMP! 35 CONTINUED: CUT TO - MIMI coming out of the bathroom hears the thump - rushes into John's room, finds a dis-orientated JOHN on the floor. She scoops him up back into bed, pulls the covers up tight around him - kisses his forehead. JOHN just stares at her.</scene_description> </scene> <scene> <stage_direction>35A INT. MENDIPS/MORNING ROOM -- DAY</stage_direction> <scene_description>JOHN rifling through Mimi's hand-bag, finds her cigarettes, nicks one.</scene_description> </scene> <scene> <stage_direction>35B EXT. MENDIPS/TREE HOUSE - MOMENTS LATER</stage_direction> <scene_description>JOHN blazes up. Leans back on the wooden floor, looks up at the clouds floating by. Chases them with smoke. Then his eyes glaze over, his imagination taken over. He forgets about the cigarette. His mind on his Mum.</scene_description> </scene> <scene> <stage_direction>EXT/INT. JULIA'S HOUSE -- DAY</stage_direction> <scene_description>JOHN wandering back down the street. Pensive. He wanders up the path to the house - curtains drawn. Finally knocks. Nothing. He knocks again - louder. Nothing. He moves to the window. Through a crack in the curtain he sees JULIA in her nightgown, laid out on the settee, smoking. He knocks on the window. JULIA suddenly rises up sharp.</scene_description> <character>JULIA</character> <dialogue>GO AWAY!</dialogue> <scene_description>JULIA locks eyes with JOHN - her expression remains the same.</scene_description> <character>JOHN</character> <dialogue>...it's me.</dialogue> <scene_description>JULIA reaches for her glasses, slowly gets up. Unlocks the door. No kisses this time, no proclamations of dreams.</scene_description> <character>JOHN</character> <dialogue>Having a lie in?</dialogue> <character>JULIA</character> <parenthetical>(snaps)</parenthetical> <dialogue>So? I've got Spanish blood. What time is it?</dialogue> <character>JOHN</character> <dialogue>Two.</dialogue> <scene_description>She backs into the house, JOHN follows. 36 CONTINUED:</scene_description> <character>JULIA</character> <dialogue>Pass my cigarettes please.</dialogue> <scene_description>JOHN does so. She lights one, offers one to JOHN, who accepts.</scene_description> <character>JULIA</character> <dialogue>No school?</dialogue> <character>JOHN</character> <dialogue>Teacher was sick.</dialogue> <character>JULIA</character> <dialogue>And they just open the gates?</dialogue> <scene_description>JULIA shoots a knowing look, goes to the window, peers out.</scene_description> <character>JULIA</character> <dialogue>Mimi know you're here?</dialogue> <character>JOHN</character> <dialogue>No.</dialogue> <scene_description>JULIA turns, walks past him.</scene_description> <character>JULIA</character> <dialogue>Come on. Play me a tune on your mouthie whilst I get dressed.</dialogue> <scene_description>She heads upstairs.</scene_description> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE/BEDROOM -- MOMENTS LATER</stage_direction> <scene_description>JOHN playing 'When The Saints Go Marching In', his playing has become more confident. JULIA in her underwear, snaps her suspenders on. JOHN trying his best not to see this as sexual. His playing tails off. JULIA looks up. JOHN manages an awkward smile. No smile back.</scene_description> <character>JULIA</character> <dialogue>I was getting into that...</dialogue> <scene_description>JOHN starts playing again.</scene_description> </scene> <scene> <stage_direction>INT. CAFE -- LATER</stage_direction> <scene_description>JOHN and JULIA walk into a raucous greasy spoon. WORKMEN immediately alerted by her sassy presence. JOHN, embarrassed and confused by their response.</scene_description> <character>JULIA</character> <parenthetical>(sitting back down)</parenthetical> <dialogue>I met Bobby for the first time here.</dialogue> <scene_description>38 CONTINUED:</scene_description> <character>JOHN</character> <dialogue>Twitchy's kind of place.</dialogue> <character>JULIA</character> <dialogue>Who?</dialogue> <scene_description>JOHN mimics Bobby's facial tick.</scene_description> <character>JOHN</character> <dialogue>Twitchy. Bobby.</dialogue> <scene_description>JULIA, unimpressed at the joke, casts a glance over at the WORKMEN, sees them looking at her, fancying her. JULIA smiles, the male gaze cheering her up.</scene_description> <character>JOHN</character> <dialogue>So... That's Bobby sorted. Where was I at the time?</dialogue> <scene_description>JULIA's face drops, she fidgets around for her cigarettes.</scene_description> <character>JULIA</character> <dialogue>With me.</dialogue> <character>JOHN</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>So I was with you when you met Twitchy, then, suddenly, I wasn't... interesting.</dialogue> <scene_description>The WAITRESS butts in - LILLIAN, rough and sexy, too much lipstick.</scene_description> <character>JULIA</character> <dialogue>Tea for two please, Lillian.</dialogue> <character>LILLIAN</character> <parenthetical>(flirty)</parenthetical> <dialogue>Who's this?</dialogue> <scene_description>JULIA looks at JOHN.</scene_description> <character>JULIA</character> <dialogue>...an old friend.</dialogue> <scene_description>JOHN can't believe what he's just heard.</scene_description> <character>LILLIAN</character> <dialogue>Doesn't look old to me. He looks young... and cute.</dialogue> <scene_description>LILLIAN sets off to the counter. JULIA goes all quiet.</scene_description> <character>JOHN</character> <dialogue>An old friend?!</dialogue> <scene_description>38 CONTINUED: (2)</scene_description> <character>JULIA</character> <dialogue>People gossip, I don't want it getting back to...</dialogue> <parenthetical>(can't say the name)</parenthetical> <dialogue>you know...</dialogue> <character>JOHN</character> <dialogue>Mimi? Your sister? My aunt?</dialogue> <scene_description>JULIA avoids his eyes.</scene_description> <character>JOHN</character> <dialogue>Don't worry. She wouldn't set foot in this place. She's got taste.</dialogue> <parenthetical>(angrier)</parenthetical> <dialogue>Where were we? Oh yeah, 'Where was I?'</dialogue> <scene_description>JULIA shifts around uneasily.</scene_description> <character>JULIA</character> <dialogue>What do you want from me, John?</dialogue> <scene_description>JOHN shakes his head in disbelief - regains composure.</scene_description> <character>JOHN</character> <dialogue>Mimi said you moved away. That's why you stopped coming to see me. I was about seven. Is that true?</dialogue> <scene_description>Beat.</scene_description> <character>JULIA</character> <dialogue>Yes.</dialogue> <scene_description>JOHN waiting for more. Nothing comes.</scene_description> <character>JOHN</character> <dialogue>'Yes'... And?</dialogue> <scene_description>JULIA stubs her cigarette out.</scene_description> <character>JULIA</character> <parenthetical>(getting up)</parenthetical> <dialogue>Today's not a good day for this.</dialogue> <character>JOHN</character> <dialogue>For what?</dialogue> <character>JULIA</character> <dialogue>Us. Me... I dunno, these bloody awkward questions!</dialogue> <character>JOHN</character> <dialogue>Where you going?</dialogue> <scene_description>38 CONTINUED: (3)</scene_description> <character>JULIA</character> <dialogue>To pick the girls up from school.</dialogue> <character>JOHN</character> <dialogue>You've got ages yet.</dialogue> <scene_description>JOHN tries to grabs her hand. But JULIA shakes him off, leaves the cafe. JOHN sets off after her.</scene_description> </scene> <scene> <stage_direction>EXT. CAFE -- CONTINUOUS</stage_direction> <scene_description>JULIA walking off. JOHN behind her.</scene_description> <character>JOHN</character> <dialogue>C'mon!</dialogue> <scene_description>She keeps walking.</scene_description> <character>JOHN</character> <dialogue>Please...</dialogue> <scene_description>Beat.</scene_description> <character>JOHN</character> <dialogue>MUM!</dialogue> <scene_description>The first time he's said it. JULIA stops, can't avoid that word. Slowly she turns back.</scene_description> <character>JULIA</character> <dialogue>I can't answer those questions, John, OK?</dialogue> <character>JOHN</character> <dialogue>But -</dialogue> <character>JULIA</character> <dialogue>- If you keep on asking then this won't work. Understand?</dialogue> <scene_description>JOHN forces a nod. JULIA heads back in the cafe. JOHN, confused and uncomfortable, trails in after her.</scene_description> </scene> <scene> <stage_direction>EXT. CALDERSTONES PARK -- DAY</stage_direction> <scene_description>JOHN walking through the park approaching MARIE KENNEDY and GIRLFRIENDS on a park bench.</scene_description> <character>MARIE</character> <dialogue>Here he comes. 'The Prize Cock'.</dialogue> <scene_description>JOHN forcibly whips her up from the bench.</scene_description> <character>MARIE</character> <parenthetical>(excited)</parenthetical> <dialogue>Get off me Lennon!</dialogue> <scene_description>40 CONTINUED:</scene_description> <character>JOHN</character> <dialogue>Want a quick chat that's all.</dialogue> <scene_description>CUT TO - A deserted corner of the park. JOHN sits looking out across Liverpool, troubled. MARIE leans against a tree, checking her nails out, this is not what she wants or expected.</scene_description> <character>MARIE</character> <dialogue>I thought you wanted to 'chat'.</dialogue> <scene_description>JOHN doesn't look round.</scene_description> <character>MARIE</character> <dialogue>Well... here I am... to 'chat'.</dialogue> <scene_description>MARIE sighs, sits next to him. Inches her thighs into his. JOHN suddenly holds her, softly - his head lying in her bosom. A need for human contact. MARIE confused at first... soon settles. Strokes his head. 41 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/MORNING ROOM -- LATER</stage_direction> <scene_description>JOHN comes in, schleps down the hallway thinking the house is empty, gets to the morning room, reveal MIMI standing waiting for him, coiled like a cobra. They eye each other up.</scene_description> <character>JOHN</character> <dialogue>Didn't see you there.</dialogue> <character>MIMI</character> <dialogue>Where did you see me then?</dialogue> <scene_description>JOHN drops his school bag</scene_description> <character>MIMI</character> <dialogue>How was school?</dialogue> <character>JOHN</character> <dialogue>Alright. Killing us with homework though...</dialogue> <scene_description>JOHN rolls with it.</scene_description> <character>JOHN</character> <dialogue>Tonight we've got Maths, chemistry, physics and that famous crowd pleaser... history.</dialogue> <scene_description>MIMI smiles at him. Suddenly she scoops an apple from the fruit bowl and it at JOHN, shaving his cheek. 42 CONTINUED:</scene_description> <character>MIMI</character> <dialogue>Lies lies lies lies lies!</dialogue> <scene_description>She glares him down.</scene_description> <character>MIMI</character> <dialogue>Or I suppose it's Mr. Pobjoy lying when he rings me up to ask why you aren't in school!</dialogue> <scene_description>Beat.</scene_description> <character>MIMI</character> <dialogue>Where have you been?</dialogue> <scene_description>JOHN shrugs his shoulders.</scene_description> <character>MIMI</character> <dialogue>Where?!</dialogue> <scene_description>JOHN, defiant. Thinks about telling her... bottles it.</scene_description> <character>MIMI</character> <dialogue>An embarrassment, that's what you are. To me, yourself.</dialogue> <parenthetical>(nasty)</parenthetical> <dialogue>Without me you'd be in a children's home. Just remember that. Remember all I've done for you!</dialogue> <character>JOHN</character> <dialogue>Like you'll ever let me forget?!</dialogue> <scene_description>In a flash MIMI picks up another apple and launches it at JOHN's head - it hits with a loud THUNK!</scene_description> <character>JOHN</character> <dialogue>Ahhh! That hurt!</dialogue> <character>MIMI</character> <dialogue>Good.</dialogue> <scene_description>They stare at each other. THE DOORBELL rings. They still stare. It rings again. Finally MIMI breaks off to answer. A YOUNG MAN on the doorstep, 24, well dressed.</scene_description> <character>MIMI</character> <dialogue>Not today!</dialogue> <scene_description>MIMI slams the door shut. JOHN heading towards her.</scene_description> <character>MIMI</character> <dialogue>Where are you going?</dialogue> <scene_description>42 CONTINUED: (2) JOHN opens the front door, the YOUNG MAN (FISHWICK) is still standing there. JOHN walks off down the path.</scene_description> <character>MIMI</character> <dialogue>Don't you walk away!?</dialogue> <scene_description>JOHN keeps walking away.</scene_description> <character>MIMI</character> <dialogue>John!</dialogue> <scene_description>MIMI fuming. Her eyes fall on the young man.</scene_description> <character>MIMI</character> <dialogue>Whatever you're selling, NO!</dialogue> <character>FISHWICK</character> <dialogue>Er...</dialogue> <parenthetical>(holds up a paper)</parenthetical> <dialogue>...the advert? For a lodger?</dialogue> <character>MIMI</character> <dialogue>Oh. Right.</dialogue> <character>FISHWICK</character> <parenthetical>(holds his hand out)</parenthetical> <dialogue>Michael Fishwick.</dialogue> <scene_description>MIMI looks him up and down.</scene_description> <character>MIMI</character> <dialogue>What do you do?</dialogue> <character>FISHWICK</character> <dialogue>Excuse me?</dialogue> <character>MIMI</character> <parenthetical>(impatient)</parenthetical> <dialogue>What are you? What is it you do?</dialogue> <character>FISHWICK</character> <dialogue>Oh, I'm a student at the University.</dialogue> <character>MIMI</character> <dialogue>What? Medicine?</dialogue> <character>FISHWICK</character> <dialogue>Biochemistry</dialogue> <character>MIMI</character> <dialogue>Oh..</dialogue> <scene_description>MIMI finally takes the handshake.</scene_description> <character>MIMI</character> <dialogue>Come in then.</dialogue> </scene> <scene> <stage_direction>EXT. JULIA'S HOUSE -- LATER</stage_direction> <scene_description>JOHN knocks on the door, still fuming. He expects Julia but BOBBY opens up blocking the door behind him.</scene_description> <character>BOBBY</character> <dialogue>You can't just turn up like this mate, sorry, it doesn't -</dialogue> <scene_description>JULIA appears - eyes light up.</scene_description> <character>JULIA</character> <dialogue>My dream is back...</dialogue> <scene_description>JOHN smiling, looks up victorious at a concerned BOBBY. "ONE, TWO, THREE O'CLOCK, FOUR O'CLOCK ROCK" Bill Haley's 'Rock Around the Clock' strikes up. The track that lit the fuse.</scene_description> </scene> <scene> <stage_direction>EXT. WOOLTON CINEMA -- LATER</stage_direction> <scene_description>Track still playing. 'BLACKBOARD JUNGLE' up in cinema lights. JULIA waiting outside. JOHN and PETE rush up, wagging it. JULIA hugs JOHN, introduces her to PETE who also gets a smothering.</scene_description> </scene> <scene> <stage_direction>INT. WOOLTON CINEMA -- DAY</stage_direction> <scene_description>JULIA sits in between JOHN and PETE, all eyes glued to the screen. Intercut with snippets from 'BLACKBOARD JUNGLE'. Glenn Ford as MR. DADIER, his first day as teacher at the all- boys North Manual High. Walking through the playground, menacingly wolf-whistled by the DELINQUENT BOYS with their check shirts, drainpipe jeans, slicked-back haircuts. CUT TO - MR. DADIER is beaten-up by the DELINQUENT BOYS in his class. CUT TO - the TOUGH DETECTIVE trying to get MR. DADIER to press charges:</scene_description> <character>TOUGH DETECTIVE</character> <dialogue>"Maybe the kids today are like the rest of the world, mixed up, suspicious, scared - I don't know. But I do know this. The gang leaders have taken the place of the parents."</dialogue> <scene_description>CUT TO - The DELINQUENTS smashing up a WEEDY TEACHER'S beloved Jazz records. 45 CONTINUED:</scene_description> <character>DELINQUENT</character> <dialogue>"What about some Bop, Daddio!"</dialogue> <scene_description>CUT TO - 'THE END'. 'Rock Around The Clock' kicks in again. The HOUSE LIGHTS come up. Everyone starts bopping - including PETE and JULIA. JOHN sits still and stares at the screen.</scene_description> </scene> <scene> <stage_direction>EXT. WOOLTON CINEMA -- DAY</stage_direction> <scene_description>JOHN, PETE and JULIA come out. Hyped.</scene_description> <character>JOHN</character> <dialogue>We've got to see it again, yeah! See it again, and - and, slash the fuckin' seats up, yeah?! What d'you think Mum?</dialogue> <scene_description>PETE laughs nervously, expecting JULIA's admonishment.</scene_description> <character>JULIA</character> <dialogue>I'm just thinking Sidney Poitier at the moment. Nothing else. Just Sidney, and me, somewhere private.</dialogue> <scene_description>She blows hot, pretends to fan herself. PETE realising JULIA's no normal Mum. He looks over at JOHN - who's staring at the film's poster with fascination.</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/BATHROOM -- DAY</stage_direction> <scene_description>JOHN in the mirror, seen from behind, as he finishes off his 'Ducks Arse' hairdo with dollops of Brylcreem.</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/JOHN'S BEDROOM -- MOMENTS LATER</stage_direction> <scene_description>JOHN falls back in bed. Looks up at a life-sized BRIGITTE BARDOT POSTER stuck to the ceiling. It is made up in segments collected from magazines - twelve would be a complete Brigitte, John currently has six.</scene_description> <character>JOHN</character> <dialogue>Bonjour, Brigeeet...</dialogue> <scene_description>He closes his eyes, uses his imagination - his right-hand drops down his pants.</scene_description> </scene> <scene> <stage_direction>INT. RECORD SHOP -- LATER</stage_direction> <scene_description>JOHN's right hand still dropping down his pants, this time as he nicks RECORDS whilst PETE diverts the attention of the STORE OWNER.</scene_description> </scene> <scene> <stage_direction>EXT. PIER-HEAD -- MOMENTS LATER</stage_direction> <scene_description>The LADS on the waterfront. SHIPS unloading crates, DOCKERS and CUNARD YANKS milling about. JOHN flicking through his haul, most of them meet with a sneer and get chucked into the river.</scene_description> <character>JOHN</character> <dialogue>Jazz - shit.</dialogue> <parenthetical>(chuck)</parenthetical> <dialogue>Jazz - shit.</dialogue> <parenthetical>(chuck)</parenthetical> <dialogue>I've nicked the wrong stuff. Hang on!</dialogue> <scene_description>He pulls another record out. Looks hopeful then realises.</scene_description> <character>JOHN</character> <dialogue>Jazz - shit.</dialogue> <character>CUNARD YANK (O.S.)</character> <dialogue>Hey!</dialogue> <scene_description>A CUNARD YANK, mid 30's, (a sailor on the passenger ferries to US) catches up with them.</scene_description> <character>CUNARD YANK</character> <dialogue>No man's vinyl deserves to be tossed in the drink.</dialogue> <scene_description>Takes the records off JOHN.</scene_description> <character>JOHN</character> <dialogue>But it's jazz.</dialogue> <character>CUNARD YANK</character> <dialogue>Jazz is cool.</dialogue> <character>JOHN</character> <dialogue>Er... No. It's shit.</dialogue> <scene_description>CUNARD YANK flicks through the records, likes what he sees.</scene_description> <character>CUNARD YANK</character> <dialogue>Rock 'n' rollers? I got a record in my cab that's not even out here yet. Straight from New York City. I'll swap you.</dialogue> <character>JOHN</character> <dialogue>Who's it by?</dialogue> <character>CUNARD YANK</character> <dialogue>Screamin' Jay Hawkins.</dialogue> <scene_description>50 CONTINUED:</scene_description> <character>JOHN</character> <dialogue>OK. We'll wait...</dialogue> <scene_description>JOHN takes the jazz record back.</scene_description> <character>JOHN</character> <dialogue>With these.</dialogue> <scene_description>The CUNARD YANK runs back to his ship.</scene_description> <character>PETE</character> <dialogue>Never heard of him, have you?</dialogue> <scene_description>JOHN excited at the prospect of playing it to Julia.</scene_description> <character>JOHN</character> <dialogue>I bet Mum has. Mum knows everyone.</dialogue> </scene> <scene> <stage_direction>EXT. BUS SHELTER/CITY CENTRE - LATER</stage_direction> <scene_description>Tight on JOHN and PETE, smoking. City scape backdrop.</scene_description> <character>JOHN</character> <dialogue>Here she comes...</dialogue> <scene_description>Widen out to reveal they are stood on top of A BUS SHELTER outside the BUSY LIME STREET TRAIN STATION. A DOUBLE DECKER bus pulls up, the TOP DECK PASSENGERS look bemused. JOHN notices a COUPLE OF PRETTY GIRLS. Gives them a wink as THE LADS clamber onto the bus's roof.</scene_description> </scene> <scene> <stage_direction>EXT. BUS/CITY CENTRE/PENNY LANE/WOOLTON -- MOMENTS LATER</stage_direction> <scene_description>JOHN and PETE on their backs, head to head and smoking - cool as you like. CUT TO - BOLD STREET, known as "The Bond Street of the North". CUT TO - the bus passing The TOWN HALL. CUT TO - PENNY LANE and it's Barbers shop. CUT TO - The leafier surrounds of WOOLTON.</scene_description> </scene> <scene> <stage_direction>EXT. WOOLTON VILLAGE/BUS-STOP -- LATER</stage_direction> <scene_description>MARIE KENNEDY, Teddy-girl look, hanging out with HER TEDDY GIRL MATES at a bus shelter with a bunch of OLDER TEDDY BOYS. MARIE is messing about with one particular ROUGH LOOKING TED, play fighting (could be mistaken for flirting). A BUS pulls up. Two loud thumps on top of the shelter and JOHN and PETE's HEADS appear upside down - they're once perfect DA's blown into bog brushes. They flip to the ground. JOHN eyes MARIE and THE ROUGH LAD - jealous. 53 CONTINUED:</scene_description> <character>JOHN</character> <dialogue>Must have forgot to lock the zoo tonight.</dialogue> <scene_description>JOHN and PETE whip out combs, sort their hair.</scene_description> <character>JOHN</character> <dialogue>Never knew you fucked monkeys, Marie.</dialogue> <scene_description>There's an immediate souring of the atmosphere. OLDER TEDS circle them. Then, the click of a FLICK-KNIFE. JOHN turns to see the KNIFE in the ROUGH LAD's hand</scene_description> <character>ROUGH LAD</character> <dialogue>I could always fuck you instead, dickhead?</dialogue> <scene_description>Stand-off.</scene_description> <character>PETE</character> <parenthetical>(worried)</parenthetical> <dialogue>Only joking mate.</dialogue> <character>JOHN</character> <dialogue>I don't have primates for mates.</dialogue> <scene_description>JOHN's stare - proper fuck you.</scene_description> <character>JOHN</character> <dialogue>You're obviously really clever because you carry a big knife. But are you clever enough to use it?</dialogue> <scene_description>JOHN takes a step forward, so that the KNIFE is centimetres away from his heart. ROUGH LAD so not expecting this!</scene_description> <character>JOHN</character> <dialogue>C'mon Brains. It's not hard. Push.</dialogue> <scene_description>JOHN stares wilting ROUGH LAD out.</scene_description> <character>MARIE (O.S.)</character> <dialogue>Jim.</dialogue> <scene_description>MARIE walks in, stands close to ROUGH LAD.</scene_description> <character>MARIE</character> <dialogue>That's enough.</dialogue> <scene_description>MARIE slowly forces ROUGH LAD's knife hand down.</scene_description> <character>ROUGH LAD</character> <dialogue>Just fuck off.</dialogue> <scene_description>JOHN smiles, backs off looking looks at MARIE with curious affection. 53 CONTINUED: (2)</scene_description> <character>JOHN</character> <dialogue>Marie Kennedy. My guardian angel.</dialogue> <scene_description>She stares back at him with wonder (at his bravery) and lust. He grabs PETE.</scene_description> <character>JOHN</character> <parenthetical>(to the gang)</parenthetical> <dialogue>Lads. Always a pleasure. Let's not leave it so long, eh?</dialogue> <scene_description>They walk off - fast!</scene_description> </scene> <scene> <stage_direction>EXT. ALLERTON GOLF COURSE -- MOMENTS LATER</stage_direction> <scene_description>JOHN and PETE walking home.</scene_description> <character>MARIE (O.S.)</character> <dialogue>John!</dialogue> <scene_description>They turn to see MARIE following them. JOHN immediately KNOWS - he grins behind the eyes. MARIE reaches the lads - her eyes lock into JOHN's.</scene_description> <character>JOHN</character> <dialogue>Tut tut. Your boyfriend wouldn't be happy now, would he?</dialogue> <character>MARIE</character> <dialogue>He's not my boyfriend.</dialogue> <character>JOHN</character> <dialogue>What is he then, apart from ugly?</dialogue> <character>MARIE</character> <dialogue>My cousin.</dialogue> <scene_description>PETE's brain ticks.</scene_description> <character>PETE</character> <dialogue>You fuck your cousin?</dialogue> <scene_description>JOHN and MARIE are too stuck into each other to hardly notice PETE. THEY BOTH KNOW WHY SHE'S HERE. JOHN takes out 'Screamin' Jay Hawkins' from his jacket gives it PETE. JOHN leads MARIE off by the hand.</scene_description> <character>PETE</character> <dialogue>Where y'going?</dialogue> <character>JOHN</character> <parenthetical>(eyes Marie)</parenthetical> <dialogue>For a quick chat...a proper one.</dialogue> </scene> <scene> <stage_direction>EXT. ALLERTON GOLF COURSE/SHADED TREE AREA -- MOMENTS LATER</stage_direction> <scene_description>JOHN leads MARIE into the deep rough. He backs her up to a tree. They start necking and french kissing. Through the leaves we can just make out PETE watching. JOHN's hands clasp MARIE's tits. He swings her round, holds her from behind, MARIE arching her neck back as his hands wander south, pressing her body into his. JOHN pulling up her skirt, finding the heat between her legs. MARIE moans, on the verge.</scene_description> <character>JOHN</character> <parenthetical>(in her ear)</parenthetical> <dialogue>Hello little girl.</dialogue> <scene_description>MARIE orgasms. JOHN lets her enjoy it.</scene_description> <character>JOHN</character> <dialogue>Now... your turn to help me.</dialogue> <scene_description>He turns her round, unbelts his trousers, gently pushes her to her knees. MARIE starts helping. JOHN looks over at PETE perving, he holds his hands together and looks to the skies in mock prayer. An angel at his feet.</scene_description> </scene> <scene> <stage_direction>55A EXT. JULIA'S HOUSE -- LATER</stage_direction> <scene_description>A flushed JOHN rushes up to the door holding SCREAMIN' JAY RECORD. Excitedly rings the doorbell.</scene_description> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE -- MOMENTS LATER</stage_direction> <scene_description>JULIA sticks the SCREAMIN' JAY HAWKINS on. JOHN slumped into the arm of the settee. Watching her. JULIA looks at the sleeve - a scary pic of Jay - bulging, mad eyes.</scene_description> <character>JULIA</character> <dialogue>Looks like Bobby after a few pints.</dialogue> <scene_description>They laugh. Needle to the groove. 'I Put A Spell on You'. JULIA lights up a fag - starts swaying to the slow, sexy, building beat. She slumps in next to JOHN, her head resting on his chest - she blows smoke out into the room. They listen to the magnetic track throughout. JOHN feeling JULIA more than ever. Silence at the end. 56 CONTINUED: Hold. FADE OUT.: FADE IN:</scene_description> </scene> <scene> <stage_direction>56A INT. MENDIPS/JOHN'S BEDROOM - NIGHT</stage_direction> <scene_description>JOHN sat at his desk drawing his characters. Door open. FISHWICK hovers in the landing.</scene_description> <character>FISHWICK</character> <parenthetical>(small talk)</parenthetical> <dialogue>Your Aunt looked all excited for her trip to the theatre didn't she?</dialogue> <scene_description>JOHN ignores him.</scene_description> <character>FISHWICK</character> <dialogue>You like drawing then?</dialogue> <character>JOHN</character> <dialogue>You must go to university.</dialogue> <scene_description>Beat.</scene_description> <character>FISHWICK</character> <dialogue>What is it? The drawing.</dialogue> <character>JOHN</character> <dialogue>A big fat ugly thing with warts.</dialogue> <scene_description>FISHWICK moves in close for a look at the drawing. JOHN looks up at him.</scene_description> <character>JOHN</character> <dialogue>Oh! I get it. Like the smell of lavender do you ducky?</dialogue> <scene_description>FISHWICK smiles, looks up at the BARDOT POSTER on the ceiling.</scene_description> <character>FISHWICK</character> <parenthetical>(pause)</parenthetical> <dialogue>Not really. I'd like to get a sniff of her though.</dialogue> <scene_description>JOHN follows his POV. The both admire the poster.</scene_description> <character>FISHWICK</character> <dialogue>In the meantime...</dialogue> <scene_description>A copy of 'PARADE' (a porn mag) lands on JOHN's desk. JOHN can't believe it - eyes light up. FISHWICK is already cooly walking back to his bedroom. 56A CONTINUED:</scene_description> <character>FISHWICK</character> <dialogue>Try page 52. Vanda Hudson.</dialogue> </scene> <scene> <stage_direction>56B INT. QUARRYBANK SCHOOL/HEADMASTERS OFFICE -- DAY</stage_direction> <scene_description>A guilty looking JOHN and PETE stand in front of POBJOY. BAMBOO CANE in his hands. On his desk lies the porn mag, PARADE. He stares them out.</scene_description> <character>POBJOY</character> <dialogue>Hands.</dialogue> <scene_description>JOHN and PETE gingerly hold their hands out. POBJOY administers pain, several times. The BOYS comfort their stinging hands beneath their armpits.</scene_description> <character>POBJOY</character> <dialogue>I warned you, didn't I? After the urinating in the bins debacle I told you things would get serious. And in less than two days...</dialogue> <scene_description>He picks up the PORN MAG.</scene_description> <character>POBJOY</character> <dialogue>This.</dialogue> <scene_description>POBJOY returns behind his desk.</scene_description> <character>POBJOY</character> <dialogue>Your parents, and your Aunt, will receive letters in the post. I don't want you near this school for at least a week. Questions?</dialogue> <character>JOHN</character> <dialogue>Any chance I can have the magazine back sir?</dialogue> </scene> <scene> <stage_direction>INT. JOHN'S BEDROOM -- MORNING</stage_direction> <scene_description>Close on the QUARRY BANK TIE being knotted up to JOHN's neck. MIMI comes in, takes over the tie knotting - her close proximity suddenly makes JOHN recoil.</scene_description> <character>JOHN</character> <dialogue>I can do it myself.</dialogue> <scene_description>MIMI studies him. Leaves.</scene_description> </scene> <scene> <stage_direction>INT./EXT. MENDIPS -- MOMENTS LATER</stage_direction> <scene_description>JOHN, school uniform on, looking out of the window, spots the POSTMAN in next door's garden, rushes out of the house to the front gate as the POSTMAN arrives. 58 CONTINUED:</scene_description> <character>JOHN</character> <parenthetical>(deadpan)</parenthetical> <dialogue>Nice day.</dialogue> <scene_description>The confused POSTMAN takes a glance at the threatening clouds, hands the mail to JOHN.</scene_description> <character>JOHN</character> <dialogue>Cheers pal.</dialogue> <scene_description>He quickly looks back to check Mimi's not watching, then quickly flicks through it. POV: the QUARRY BANK SUSPENSION LETTER.</scene_description> </scene> <scene> <stage_direction>58A EXT. FIELD BY JULIA'S HOUSE - MOMENTS LATER</stage_direction> <scene_description>JOHN takes the LETTER from his inside pocket, then the cigarette from his mouth - burns it.</scene_description> </scene> <scene> <stage_direction>EXT/INT. JULIA'S HOUSE -- MOMENTS LATER</stage_direction> <scene_description>JOHN knocks on. JULIA answers in her dressing gown - a slightly manic look in her eye.</scene_description> <character>JULIA</character> <dialogue>Oh John. Thank God you're here. He's back! He walks amongst us again!</dialogue> <scene_description>JULIA smiles takes JOHN by the hand leads him inside - sits him down by the GRAMOPHONE and thrusts the album sleeve into JOHN's hands.</scene_description> <character>THE FIRST PICTURE OF ELVIS PRESLEY</character> <dialogue>Eyes closed, mouth open, guitar slung, on the RCA VICTOR ALBUM - you couldn't get a more arresting picture of a Rock'n'Roller - timeless.</dialogue> </scene> <scene> <stage_direction>INT. WOOLTON CINEMA -- LATER</stage_direction> <scene_description>ELVIS on PATHE NEWS - storming and sexing-up the world. GIRLS and WOMEN screaming at the screen. JOHN notes the effect this guy has on surrounding FEMALES OF ALL AGES, especially JULIA.</scene_description> </scene> <scene> <stage_direction>INT. CAFE -- LATER</stage_direction> <scene_description>JOHN and JULIA breeze into the buzzing cafe.</scene_description> <character>JOHN</character> <dialogue>He makes Bill Haley look like a fat copper.</dialogue> <scene_description>JOHN swings his pelvis, Elvis style, with a pretend mic. Sings a verse of 'Teddy Bear'. 61 CONTINUED: Other CUSTOMERS look on, bemused. JULIA impressed at that voice, its depth, impact - the clarity. JOHN suddenly plunges into mock screaming. Pulling his hair. He faints into the soft seats.</scene_description> <character>JOHN</character> <dialogue>Why couldn't God make me Elvis?</dialogue> <character>JULIA</character> <dialogue>Because he was saving you for John Lennon.</dialogue> <character>JOHN</character> <parenthetical>(clenched fist at the sky)</parenthetical> <dialogue>I'll get you back God, I promise!!</dialogue> <scene_description>HE sits up straight</scene_description> <character>JOHN</character> <dialogue>Fancy the ferry over to New Brighton tomorrow, fair's on.</dialogue> <character>JULIA</character> <dialogue>What about school?</dialogue> <scene_description>JULIA gives him a knowing glance, Mimi. JOHN comes clean.</scene_description> <character>JOHN</character> <dialogue>I've been suspended. Me and Pete.</dialogue> <character>JULIA</character> <parenthetical>(genuine disappointment)</parenthetical> <dialogue>Oh John.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>What for?</dialogue> <character>JOHN</character> <parenthetical>(shrugs)</parenthetical> <dialogue>...showing pornography to an old lady... on a bus.</dialogue> <scene_description>JULIA can't help a laugh. Then contains it.</scene_description> <character>JULIA</character> <dialogue>Anything else I shouldn't know about?</dialogue> <character>JOHN</character> <dialogue>Loads!</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Loads I've not been caught for anyway!</dialogue> <scene_description>JULIA's face drops. Suddenly realises how serious this is. 61 CONTINUED: (2)</scene_description> <character>JULIA</character> <dialogue>Why am I laughing?! This isn't funny.</dialogue> <parenthetical>(pointedly)</parenthetical> <dialogue>Is it?</dialogue> <scene_description>JULIA looks at the uniform - it dawns on her.</scene_description> <character>JULIA</character> <dialogue>You've not told Mimi, have you?</dialogue> <character>JOHN</character> <dialogue>No point going through all her bollocks if you don't have to.</dialogue> <character>JULIA</character> <dialogue>Why? She has to go through yours.</dialogue> <scene_description>JOHN slowly looks up.</scene_description> <character>JOHN</character> <dialogue>Well I never asked her to, did I?</dialogue> <scene_description>The subtext is there. JULIA's turn to look away. JOHN senses an opportunity.</scene_description> <character>JOHN</character> <dialogue>Can I stay with you? Just during the day. It's covered. I've burnt the school letter. Mimi still thinks I'm in school. She won't find out. I swear.</dialogue> <scene_description>JOHN, a big Lennon smile.</scene_description> <character>JOHN</character> <dialogue>Go on Mum. Please.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I need your help here.</dialogue> <scene_description>JOHN twisting her guilt. On JULIA in a conundrum.</scene_description> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE -- LATER</stage_direction> <scene_description>JOHN's sits on the piano seat, facing JULIA, who sits on the armchair with the banjo.</scene_description> <character>JULIA</character> <dialogue>Hold the pick -</dialogue> <character>JOHN</character> <dialogue>The what?</dialogue> <character>JULIA</character> <dialogue>The plectrum, it's called a pick.</dialogue> <scene_description>62 CONTINUED:</scene_description> <character>JOHN</character> <dialogue>I thought it was called a plectrum.</dialogue> <character>JULIA</character> <dialogue>Just hold it smart arse. Like this. Arm, horizontal from the elbow, strum from the wrist, think Bo Diddley.</dialogue> <character>JOHN</character> <parenthetical>(giggles)</parenthetical> <dialogue>'Strum from the wrist'...</dialogue> <character>JULIA</character> <dialogue>John, be serious or I'll phone Mimi myself.</dialogue> <scene_description>JOHN eyes her.</scene_description> <character>JULIA</character> <dialogue>Please... learn.</dialogue> <scene_description>He nods meekly.</scene_description> <character>JULIA</character> <dialogue>Now... just strum.</dialogue> <scene_description>JULIA shows him how it's done.</scene_description> <character>JULIA</character> <dialogue>Try and hit all the strings.</dialogue> <scene_description>JULIA playing softly and slowly, then suddenly busts out into some heavy intricate playing. Intense concentration. JOHN is gobsmacked. JULIA banging out a verse of 'MAGGIE MAY'. Then, just as suddenly, stops. JOHN gobsmacked.</scene_description> <character>JOHN</character> <parenthetical>(soft)</parenthetical> <dialogue>Wow.</dialogue> <scene_description>JULIA coy at his reaction.</scene_description> <character>JOHN</character> <dialogue>Who's Maggie May?</dialogue> <character>JULIA</character> <parenthetical>(nonchalant)</parenthetical> <dialogue>A whore.</dialogue> <scene_description>JOHN looks at JULIA a beat longer than usual.</scene_description> <character>JULIA</character> <parenthetical>(passing the banjo)</parenthetical> <dialogue>Your turn.</dialogue> <scene_description>62 CONTINUED: (2) JOHN sits the banjo correctly on his lap, fingers it carefully. Takes the pick, and a deep breath.</scene_description> </scene> <scene> <stage_direction>62A INT. JULIA'S HOUSE -- DAY</stage_direction> <scene_description>JOHN on the piano stool - strumming the banjo. We are as wide as we can possibly be - showing as much of the living room and kitchen as we can. Slowly... very slowly... we move in on him. And as we do the working/school week passes by. Light shifts. JULIA in different clothes. BOBBY coming in from work. The GIRLS playing - going and returning from school. Breakfast lunch and dinner... loads of everyday stuff. But JOHN doesn't move, lost in learning, lost in music. In his head and in our eyes he has been nowhere but here - on the stool practising. And as we near... we begin to notice the playing gets better and better - the strings begin to make sense. The tune becomes more melodic... until he too busts out singing 'MAGGIE MAY'. As we arrive in C/UP, he finishes. A beat of silence. It sinks in - that was pretty 'wow' too! Then JULIA's smiling face snuggles into frame, kisses his cheek.</scene_description> <character>JULIA</character> <dialogue>That's my boy.</dialogue> <scene_description>She exits. On JOHN, thrilled. 63 OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. MENDIPS -- DAY</stage_direction> <scene_description>Establisher. A phone starts ringing.</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/HALLWAY -- DAY</stage_direction> <scene_description>MIMI answers.</scene_description> <character>MIMI</character> <dialogue>Woolton 2189.</dialogue> <parenthetical>(weary sigh)</parenthetical> <dialogue>Yes, yes, there's no need to introduce yourself Mr. Pobjoy</dialogue> <scene_description>Stay on MIMI's face as she realises John has been suspended.</scene_description> </scene> <scene> <stage_direction>INT. PETE'S HOUSE -- MOMENTS LATER</stage_direction> <scene_description>PETE watching adverts on TELLY. Suddenly MIMI and PETE's MUM march into the room.</scene_description> <character>MIMI</character> <dialogue>Where is he?</dialogue> <scene_description>PETE - crumbling</scene_description> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE -- LATER</stage_direction> <scene_description>Come off a BUDDY HOLLY ALBUM COVER - the man himself in his famous glasses. 'That'll Be The Day' on the gramophone - slowed right down so JOHN (on the banjo) and JULIA (piano) have a chance to jam along. Both, innocently, wearing their Buddy Holly glasses. The song is three-quarters through when JULIA looks over at JOHN, then something catches her eye. She freezes.</scene_description> <character>JOHN</character> <parenthetical>(unaware)</parenthetical> <dialogue>C'mon Mum, you're missing it...</dialogue> <scene_description>JULIA doesn't hear him.</scene_description> <character>JOHN</character> <dialogue>Mum.</dialogue> <scene_description>He follows her eyeline, sees MIMI standing at the front-door (which was open). MIMI flicks her eyes from JULIA to JOHN. JOHN looks back at JULIA, sees she's crumbling, nervously fidgeting. BUDDY HOLLY drones on eerily...</scene_description> <character>BUDDY HOLLY</character> <dialogue>That'll be the day, that I die...</dialogue> <scene_description>...then stops. MIMI strides across the room, JULIA instinctively stands in fear. MIMI stops, her eyes bore into JULIA's soul. JULIA eyes fixed on the floor. JOHN frozen. Shallow breathing. MIMI looks around the house - disgust. Then darts her eyes back on JULIA.</scene_description> <character>MIMI</character> <dialogue>No. Way.</dialogue> <scene_description>MIMI grabs JOHN's wrist - the banjo twangs to the floor as she drags him towards the front door. He half complies, then, at the threshold yanks his arm free. 67 CONTINUED: Momentum takes MIMI a few steps down the path. She turns to JOHN - he looks guilty - the power of this woman.</scene_description> <character>MIMI</character> <dialogue>JOHN!</dialogue> <scene_description>JOHN, mustering all the courage he can, shakes his head.</scene_description> <character>MIMI</character> <dialogue>I mean it!</dialogue> <scene_description>He is pinned to the spot. In a flash JULIA appears, drags JOHN back inside and SLAM! The front door is shut, the lock turned. MIMI staring at the door. The SHOCK. Then the ANGER bubbling up. She takes strides to the door as though about to pummel it down - at the last second she about-turns, walks down the path and away. Keeping it all inside. Pent up... but the moisture in her eyes seeps out.</scene_description> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE -- DAY</stage_direction> <scene_description>JULIA sits, protective arms around JOHN's neck, clasping tight. Both are in fear of what they have unleashed.</scene_description> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE -- LATER</stage_direction> <scene_description>EVERYONE sits round the dining table eating fish and chips. JOHN making the GIRLS laugh with grotesque funny faces. BOBBY sits on a make-shift wooden box, just manages to get his legs under the small table. JULIA pours the last of the teapot into JOHN's cup. BOBBY casts a sly glance at JOHN.</scene_description> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE/LITTLE JULIA'S BEDROOM -- NIGHT</stage_direction> <scene_description>JOHN sits in Little Julia's bed, in one of Bobby's nightshirts. He takes in his new room, the bedroom of a loved child. JULIA comes in with a glass of milk, sits on the edge of the bed.</scene_description> <character>JOHN</character> <dialogue>I've stolen Little Julia's bed.</dialogue> <character>JULIA</character> <dialogue>She's your sister... she's happy you're here.</dialogue> <scene_description>JOHN nods appreciatively. Builds himself up...</scene_description> <character>JOHN</character> <dialogue>How long can I stay?</dialogue> <scene_description>70 CONTINUED:</scene_description> <character>JULIA</character> <dialogue>I need to talk with Mimi. If she'll listen...</dialogue> <scene_description>Worry in her face. She kisses his forehead, holds him tight.</scene_description> </scene> <scene> <stage_direction>INT. SHABBY TOWN-HOUSE (RECURRING DREAM) -- DAY</stage_direction> <scene_description>5YR OLD JOHN wailing at the front-door. Tears streaming.</scene_description> <character>5YR OLD JOHN</character> <dialogue>Mummmeeeyy!!</dialogue> <scene_description>He tugs at the handle with all his might.</scene_description> <character>5YR OLD JOHN</character> <dialogue>MUMMEEEEEY!!!</dialogue> <scene_description>But it never opens.</scene_description> </scene> <scene> <stage_direction>INT. JOHN'S SISTERS BEDROOM -- NIGHT</stage_direction> <scene_description>JOHN flicks his eyes open from the dream. Immediately aware of arguing voices from downstairs.</scene_description> <character>JULIA (V.O.)</character> <dialogue>I'll get a job. Please Bobby. It'll work out. Let's try.</dialogue> <character>BOBBY (V.O.)</character> <dialogue>And who looks after our girls, eh?</dialogue> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE/UPSTAIRS LANDING -- NIGHT</stage_direction> <scene_description>JOHN creeps to the top of the stairs. Sits down quietly.</scene_description> <character>JULIA</character> <dialogue>Part-time. I'll ask at the cafe. Anywhere. I can do it.</dialogue> <character>BOBBY</character> <dialogue>No you can't! It'll be too much for you. Everything'll get too much, again, and I'll lose you again... and I need you. The girls need you.</dialogue> <character>JULIA</character> <dialogue>And I need John.</dialogue> <scene_description>JULIA starts crying.</scene_description> <character>JULIA</character> <dialogue>I'm his mother.</dialogue> <scene_description>73 CONTINUED:</scene_description> <character>BOBBY</character> <dialogue>Mimi's been caring for him since he was four years old.</dialogue> <character>JULIA</character> <dialogue>I never wanted that!</dialogue> <character>BOBBY</character> <dialogue>But that's how it's worked out. Mimi needs John.</dialogue> <character>JULIA</character> <dialogue>I need John!</dialogue> <scene_description>Beat.</scene_description> <character>JULIA</character> <dialogue>You don't get it do you? He's mine. I need him to be mine.</dialogue> <character>BOBBY</character> <dialogue>John'll be OK. He has been so far. He's fifteen. A young man. He doesn't need his mother.</dialogue> <scene_description>Beat.</scene_description> <character>BOBBY</character> <parenthetical>(softer)</parenthetical> <dialogue>Julia...come on...listen to me.....for the girls...OK? They need their Mum.</dialogue> <scene_description>JULIA slowly nods her head.</scene_description> <character>BOBBY</character> <parenthetical>(forceful)</parenthetical> <character>OK?</character> <dialogue>JULIA</dialogue> <character>OK.</character> <dialogue>He kisses her..It gets heavier. JULIA conceding to her man as he envelopes her. JOHN bows his head into his knees.</dialogue> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE/JULIA JUNIOR'S BEDROOM -- LATER</stage_direction> <scene_description>JOHN awake in bed. From next door he hears the mattress springs squeak as JULIA and BOBBY make love. JOHN buries his head under the pillow to try and drown out the noise.</scene_description> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE/KITCHEN -- MORNING</stage_direction> <scene_description>LITTLE JULIA and JACKIE eat breakfast with BOBBY. JULIA is at the sink, washing up. JOHN walks in, dressed in his school uniform. 75 CONTINUED:</scene_description> <character>JOHN</character> <dialogue>I think I'll just go... It's wrong taking Little Julia's bed...</dialogue> <scene_description>BOBBY nods understandingly. JULIA doesn't turn round, can't. JOHN's eyes bore into her back.</scene_description> <character>JOHN</character> <dialogue>Thanks for the banjo lessons, Mum.</dialogue> <scene_description>JOHN leaves. JULIA takes a moment, then suddenly swings around, makes after him. BOBBY stands, holds her back.</scene_description> </scene> <scene> <stage_direction>75A EXT. JULIA'S HOUSE -- MOMENTS LATER</stage_direction> <scene_description>JOHN walking off - a hardened, angry look.</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/MORNING ROOM/KITCHEN -- LATER</stage_direction> <scene_description>MIMI, staring out of the window, smoking, having hardly slept. JOHN appears in the doorway. He avoids eye-contact.</scene_description> <character>MIMI</character> <dialogue>Any more lies you want to tell me?</dialogue> <scene_description>JOHN shakes his head.</scene_description> <character>MIMI</character> <dialogue>Have you decided where you're living these days?</dialogue> <character>JOHN</character> <dialogue>Yeah..</dialogue> <scene_description>He pointedly takes his coat off, sits down at the table. Showing MIMI where home is.</scene_description> <character>MIMI</character> <dialogue>Have you had breakfast?</dialogue> <scene_description>JOHN shakes his head. MIMI goes into the kitchen - takes a moment on her own. Closes her eyes, we see her joy.</scene_description> <character>JOHN</character> <dialogue>I'm gonna start a rock'n'roll band.</dialogue> <scene_description>MIMI winces at the thought.</scene_description> <character>JOHN</character> <dialogue>I need a guitar.</dialogue> <scene_description>MIMI pops her head round the door, ignoring the last comment.</scene_description> <character>MIMI</character> <dialogue>Exams coming up too. Let's find time for those, shall we?</dialogue> <scene_description>76 CONTINUED: He holds her stare.</scene_description> <character>JOHN</character> <dialogue>I'm sure I'll pass with flying colours.... if someone finds me a guitar.</dialogue> <scene_description>JOHN floats a Lennon-esque smirk Mimi's way.</scene_description> </scene> <scene> <stage_direction>INT. LIVERPOOL CITY CENTRE/STREET -- DAY</stage_direction> <scene_description>Saturday morning. JOHN and MIMI get off a bus outside the colossal Graeco-Roman ST. GEORGE'S HALL, on Lime Street. CUT TO - they head into a shop, FRANK HESSY'S, its windows full of guitars.</scene_description> </scene> <scene> <stage_direction>INT. FRANK HESSY'S MUSIC SHOP -- DAY</stage_direction> <scene_description>A goldmine of guitars. The shop is full of YOUNG CUSTOMERS - the skiffle craze biting. JOHN sits with an acoustic guitar in his hands, showing an unimpressed MIMI what he can do.</scene_description> <character>JOHN</character> <dialogue>Four chords, that's rock and roll. Simple.</dialogue> <character>MIMI</character> <dialogue>Do you have to be simple to like it?</dialogue> <character>JOHN</character> <dialogue>See! Funny. Well done.</dialogue> <character>MIMI</character> <dialogue>Your sarcasm worries me.</dialogue> <character>JOHN</character> <parenthetical>(weary sigh)</parenthetical> <dialogue>I Know. Not up to your high standards, but I'm working on it.</dialogue> <scene_description>She playfully thumps him. A nice genuine moment.</scene_description> <character>JOHN</character> <parenthetical>(plays on)</parenthetical> <dialogue>It comes from blues and gospel... a bit of country... cotton pickers' music from the deep south of America.</dialogue> <character>MIMI</character> <dialogue>Not exactly Bach is it?</dialogue> <scene_description>THE SHOP GUY steps in. 78 CONTINUED:</scene_description> <character>SHOP GUY</character> <dialogue>The 'Gallotone Champion' bangs out a solid tune. Guaranteed not to split. At a very good price.</dialogue> <character>MIMI</character> <dialogue>What's very good about it?</dialogue> <character>SHOP GUY</character> <dialogue>Well it's eight pounds four shillings.</dialogue> <character>MIMI</character> <dialogue>That's not very good is it John?</dialogue> <character>JOHN</character> <dialogue>Borderline mediocre if you ask me. Very good would be-</dialogue> <character>MIMI</character> <dialogue>- Seven pounds, cash.</dialogue> <character>JOHN</character> <dialogue>Now that's very good,</dialogue> <scene_description>They both stare hard at SHOP GUY, who in the end smiles, holds his hands up in surrender.</scene_description> <character>SHOP GUY</character> <dialogue>Just don't shoot, OK?</dialogue> <scene_description>Takes the guitar to the counter. JOHN steals a kiss on MIMI's cheek who peps up, like she's been pleasantly electrocuted.</scene_description> <character>MIMI</character> <dialogue>You can't say I don't buy you anything.</dialogue> <character>JOHN</character> <dialogue>Yes I can. 'I don't buy you anything'.</dialogue> </scene> <scene> <stage_direction>78A INT. MENDIPS/JOHN'S BEDROOM -- LATER</stage_direction> <scene_description>JOHN comes in with his guitar, he stands it up on his bed. Leans back against the wall, stares at it. Its potential - musically and emotionally. His salvation and his revenge.</scene_description> </scene> <scene> <stage_direction>78B INT. QUARRY BANK SCHOOL -- DAY</stage_direction> <scene_description>JOHN striding down the corridor - determined look.</scene_description> </scene> <scene> <stage_direction>INT. QUARRYBANK/TOILETS -- DAY</stage_direction> <scene_description>NIGEL, PETE, ERIC and LEN and (geeky) ROD have annexed the boys' toilets. All smoking, except ROD. JOHN struts through the doors like a peacock.</scene_description> <character>JOHN</character> <dialogue>At ease fuckwits!</dialogue> <scene_description>Combs his Duck's Arse in the mirror. Lights up. Big drag.</scene_description> <character>LEN</character> <dialogue>What's up John?</dialogue> <character>PETE</character> <dialogue>I take it we're not here for a communal crap.</dialogue> <character>JOHN</character> <dialogue>A revolution, that's what's up. And you lucky lads are about to join my rebel army.</dialogue> <scene_description>The OTHERS look at each other perplexed.</scene_description> <character>ERIC</character> <dialogue>Y'what?</dialogue> <character>JOHN</character> <dialogue>You've been picked to be in my band.</dialogue> <character>ERIC</character> <dialogue>Er... a band? None of us know how to really play..</dialogue> <parenthetical>(looks around)</parenthetical> <dialogue>I don't.</dialogue> <character>JOHN</character> <dialogue>It's a skiffle band. You don't have to know... What's important is I've chosen you. And we're gonna be great.</dialogue> <character>PETE</character> <dialogue>But what if we're shit ?</dialogue> <character>JOHN</character> <dialogue>Shut up tool!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Eric, you've got a guitar, right?</dialogue> <scene_description>ERIC shrugs a nod.</scene_description> <character>JOHN</character> <dialogue>Len, T-Chest bass.</dialogue> <scene_description>79 CONTINUED:</scene_description> <character>LEN</character> <dialogue>What the fuckinell's that?</dialogue> <character>JOHN</character> <dialogue>It's an empty tea-chest with a broom handle and string. Easy, you just do a bit of this-</dialogue> <scene_description>JOHN just wiggles his finger a bit.</scene_description> <character>JOHN</character> <dialogue>Pete, washboard.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Rod, you said in chemistry you had a banjo.</dialogue> <character>ROD</character> <dialogue>That's right...</dialogue> <character>JOHN</character> <dialogue>And it was owned by an ex-pro...</dialogue> <scene_description>The OTHERS stare at ROD.</scene_description> <character>ROD</character> <dialogue>My Uncle was a busker.</dialogue> <character>NIGEL</character> <parenthetical>(excited)</parenthetical> <dialogue>What about me John?</dialogue> <scene_description>JOHN looks him up and down disdainfully.</scene_description> <character>JOHN</character> <dialogue>Manager.</dialogue> <scene_description>NIGEL, disappointed.</scene_description> <character>JOHN</character> <parenthetical>(pause)</parenthetical> <dialogue>All we need is someone, a drummer, who has his own kit.</dialogue> <scene_description>Collective beat of thought.</scene_description> <character>LEN</character> <dialogue>There's a lad called Colin, lives behind me.</dialogue> <character>JOHN</character> <dialogue>Tell him he's in. First band practice Thursday at 6, Pete's air raid shelter in his back yard. If you don't come, I'll batter the lot of you's. Questions?</dialogue> </scene> <scene> <stage_direction>EXT. ST.PETER'S CHURCH -- DAY</stage_direction> <scene_description>The sun shining like good news. Hear the BRASS BAND of the CHESHIRE YEOMANRY. Find a POSTER stuck the sandstone wall advertising the days events - scroll down to the bottom: "The Quarrymen Skiffle Group!! Peformances 3pm and 7.30pm" Bunting and balloons. STALLS and SIDE-SHOWS manned by BROWNIES, CUBS, SCOUTS and GUIDES. CHILDREN in FANCY DRESS mix with MORRIS DANCERS. POLICE DOGS doing obedience displays. PLENTY OF GOOD-LOOKING GIRLS. MIMI takes tea in the REFRESHMENTS MARQUEE with other CHURCH ELDERS.</scene_description> </scene> <scene> <stage_direction>EXT. ST. PETER'S CHURCH FIELDS -- CONTINUOUS</stage_direction> <scene_description>THE QUARRYMEN gathered round the back of a flat bed LORRY. JOHN downs a bottle of beer, chucks it with the other empties, nicks PETE's fag - drags on it.</scene_description> <character>JOHN</character> <dialogue>Right then. Are we ready to do this, boys?</dialogue> <scene_description>Weak mumbles of "yeah". JOHN registers the lack of focus.</scene_description> <character>JOHN</character> <dialogue>I said, ARE WE READY TO DO THIS?!</dialogue> <scene_description>The BOYS get shook up.</scene_description> <character>QUARRYMEN</character> <dialogue>YEAH!</dialogue> <scene_description>Beat.</scene_description> <character>JOHN</character> <dialogue>Good...</dialogue> <parenthetical>(blows a smoke ring)</parenthetical> <dialogue>Let's fuckin' do it then.</dialogue> <scene_description>JOHN lets THE QUARRYMEN file up onto the flat-bed lorry, which is serving as the stage. JOHN pats each member on the back in encouragement.</scene_description> </scene> <scene> <stage_direction>EXT. ST. PETER'S CHURCH FIELDS -- MOMENTS LATER</stage_direction> <scene_description>PEOPLE waiting for the gig, including JULIA and THE GIRLS. THE QUARRYMEN take up their positions on the stage, JOHN at the front. JULIA whistles with her fingers.</scene_description> <character>JULIA</character> <dialogue>Go, Johnny boy!</dialogue> <scene_description>JOHN pretends he can't see her, steps up to the microphone. 82 CONTINUED:</scene_description> <character>JOHN</character> <dialogue>Where've you gone? Lost you...</dialogue> <scene_description>Then, he looks in the opposite direction of JULIA, as though the crowd have magically appeared.</scene_description> <character>JOHN</character> <dialogue>Oh, there you are.</dialogue> <scene_description>Goes to say something else, but instead does a majestic sigh... teasing. He scans the field - a genteel picture of Englishness. JOHN finds JULIA's eyes fleetingly.</scene_description> <character>JOHN</character> <dialogue>This song involves a woman with questionable morals.</dialogue> <scene_description>They launch into MAGGIE MAY. JOHN loving the irony as CHURCH PEOPLE cross in the background, oblivious.</scene_description> </scene> <scene> <stage_direction>INT. TEA-TENT -- CONTINUOUS</stage_direction> <scene_description>MIMI having tea, hears the band's noise from outside. YOUNGSTERS excitedly run out. Curious, MIMI follows them.</scene_description> </scene> <scene> <stage_direction>EXT. ST. PETER'S CHURCH FIELDS -- CONTINUOUS</stage_direction> <scene_description>MIMI making her way down to where the band are playing. Slowly she recognises the voice, then JOHN comes into focus. The first time THE QUARRYMEN have become a reality to her. JOHN spots MIMI. Worry. Then he smiles, lets it all go in the song. Making up lyrics about MIMI coming down the path. JULIA follows JOHN's eyeline, finds MIMI who can't take her eyes off JOHN. Poker faced. 'Maggie May' comes to an end. Huge applause. JOHN - his eyes on MIMI. She nods her head politely. Containing her pride. But JOHN can tell she approves.</scene_description> <character>JOHN</character> <dialogue>Maggie May. A talented girl.</dialogue> <scene_description>JULIA realises she's being ignored...in favour of MIMI. MIMI finally returns Julia's gaze. JULIA smiles hopefully... MIMI looks straight through her.... knowing that John has just done the same.</scene_description> <character>JOHN</character> <dialogue>Next one's by The Del Vikings...</dialogue> <scene_description>THE QUARRYMEN launches into 'Come Go With Me'.</scene_description> </scene> <scene> <stage_direction>EXT. ST. PETER'S CHURCH FIELDS -- CONTINUOUS</stage_direction> <scene_description>IVAN VAUGHN jogs across with a BABY FACED, QUIFFED-UP 15 YEAR OLD in a white sports jacket and pink carnation - this is PAUL McCARTNEY. They hit the periphery.</scene_description> <character>IVAN</character> <parenthetical>(excited)</parenthetical> <dialogue>That's John...</dialogue> <scene_description>PAUL nods, impressed, studying JOHN. How he plays the guitar, how he holds it, how he sings.</scene_description> <character>IVAN</character> <dialogue>Not bad, eh?</dialogue> <character>PAUL</character> <parenthetical>(casual)</parenthetical> <dialogue>He's making the words up.</dialogue> <scene_description>HIGH and WIDE - JOHN on stage, JULIA and MIMI on either flank. And now PAUL in the middle.</scene_description> </scene> <scene> <stage_direction>INT. ST. PETER'S CHURCH HALL -- LATER</stage_direction> <scene_description>THE QUARRYMEN have taken over the empty hall, hanging-out. JOHN and PETE still drinking. IVAN and PAUL walk in.</scene_description> <character>IVAN</character> <dialogue>Everyone! Meet Paul.</dialogue> <scene_description>No-one looks up. PAUL doesn't look that bothered.</scene_description> <character>IVAN</character> <dialogue>Paul plays too.</dialogue> <scene_description>JOHN looks up.</scene_description> <character>JOHN</character> <dialogue>With himself?</dialogue> <scene_description>Guffaws. JOHN sees PAUL looks a bit like Elvis.</scene_description> <character>JOHN</character> <parenthetical>(gets up)</parenthetical> <dialogue>I do. All the time... good for the wrist muscles.</dialogue> <scene_description>He pointedly offers PAUL his right hand.</scene_description> <character>JOHN</character> <dialogue>John.</dialogue> <scene_description>PAUL looks at the hand. Finally shakes. 86 CONTINUED:</scene_description> <character>JOHN</character> <dialogue>Wanna beer?</dialogue> <character>PAUL</character> <dialogue>Love a tea?</dialogue> <character>JOHN</character> <dialogue>Any tea left Pete?</dialogue> <character>PETE</character> <parenthetical>(sarcy)</parenthetical> <dialogue>No tea left John.</dialogue> <character>JOHN</character> <dialogue>Didn't think so.</dialogue> <scene_description>JOHN sizes him up.</scene_description> <character>JOHN</character> <dialogue>Did you watch us play?</dialogue> <character>PAUL</character> <dialogue>Yeah.</dialogue> <character>JOHN</character> <dialogue>And?</dialogue> <character>PAUL</character> <dialogue>Yeah, you were alright.</dialogue> <scene_description>JOHN looks at PAUL with indignation - 'alright'? JOHN hands him his guitar.</scene_description> <character>JOHN</character> <dialogue>How 'alright' are you on one of these?</dialogue> <scene_description>PAUL takes the guitar - immediately flips it over, showing his left-hand status strums it once.</scene_description> <character>PAUL</character> <dialogue>Out of tune..</dialogue> <scene_description>PAUL wanders over to the PIANO - tunes the guitar. JOHN and THE QUARRYMEN take notice. None of them can do this.</scene_description> <character>JOHN</character> <dialogue>You're not gonna charge me are you?</dialogue> <character>PAUL</character> <parenthetical>(finishing tuning)</parenthetical> <dialogue>Any requests?</dialogue> <character>JOHN</character> <dialogue>Your pink carnation?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Very gay. Can I borrow it?</dialogue> <scene_description>86 CONTINUED: (2) PAUL realises he's taking the piss. Instead he launches into 'Twenty Flight Rock' by Eddie Cochran - a virtuoso performance, he knows the words perfectly, has a great American accent, PLUS he's playing the guitar upside-down! Mid song, PAUL becomes aware of beery breath. A quick look, he sees JOHN shortsightedly studying the way his fingers hit the chords. JOHN gives him a quick Lennon smile. PAUL finishes. EVERYONE impressed. Except JOHN, (who is impressed, but not showing it). He circles PAUL, takes his guitar back.</scene_description> <character>JOHN</character> <dialogue>How old are you?</dialogue> <character>PAUL</character> <dialogue>Fifteen.</dialogue> <character>JOHN</character> <dialogue>When?</dialogue> <character>PAUL</character> <dialogue>Last month.</dialogue> <scene_description>JOHN takes this in, sneers.</scene_description> <character>PAUL</character> <dialogue>I can do Little Richard -</dialogue> <character>JOHN</character> <dialogue>- Sorry. Tick-tock. Nice to meet you and all, but we need to rehearse for our evening gig... so... gonna have to kick you out...</dialogue> <character>PAUL</character> <parenthetical>(slightly ruffled)</parenthetical> <dialogue>I've got to get off anyway.</dialogue> <character>JOHN</character> <dialogue>Ta ta, then.</dialogue> <scene_description>PAUL and IVAN leave. JOHN sits next to PETE - opens another bottle of beer. THE QUARRYMEN stare at JOHN in disbelief. But JOHN is more than aware what he's just seen in Paul. 87 OMITTED 88 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/HALLWAY -- DAY</stage_direction> <scene_description>The doorbell ringing - too keenly for MIMI's liking. She opens up. PAUL on the doorstep, guitar slung over his back. 89 CONTINUED:</scene_description> <character>MIMI</character> <dialogue>John! You have a little friend at the door!</dialogue> <scene_description>Hear rumbling from upstairs</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/JOHN'S BEDROOM -- MOMENTS LATER</stage_direction> <scene_description>PAUL and JOHN, strapped, their guitar-playing a mirror image. PAUL teaching JOHN some new chords, friendly and gently. JOHN, every bit the studious learner, tries but struggles.</scene_description> <character>JOHN</character> <dialogue>Bollocks. Hang on a sec.</dialogue> <scene_description>He reaches for his GLASSES, puts them on. PAUL is a bit taken back at how uncool he looks. JOHN notices.</scene_description> <character>JOHN</character> <dialogue>It's my Buddy Holly look.</dialogue> <scene_description>PAUL shrugs. JOHN has another go at the chords.</scene_description> <character>PAUL</character> <dialogue>Good, now add E minor.</dialogue> <scene_description>JOHN plays the chords - 'Blue Moon'... PAUL joins in with his guitar. JOHN starts to sing the words in the style of Elvis. The beat gets faster and faster. Feet start stomping. PAUL joins in, singing. THE HARMONY INSTANT.</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/LIVING ROOM -- CONTINUOUS</stage_direction> <scene_description>MIMI trying to read but the noise has shattered any peace. The vibrations from the foot stomping shudders the BEST CHINA on the shelves almost to the point of wobbling off.</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/PORCH -- MOMENTS LATER</stage_direction> <scene_description>JOHN and PAUL are being shepherded into the porch by MIMI.</scene_description> <character>PAUL</character> <parenthetical>(nodding)</parenthetical> <dialogue>Much better acoustically.</dialogue> <scene_description>MIMI looks at PAUL like he's taking the piss. He's not, he's deadly earnest. She shuts the door on them.</scene_description> <character>JOHN</character> <dialogue>So Mummy's cool about baby Paul wanting to be Elvis?</dialogue> <character>PAUL</character> <dialogue>She would have loved it.</dialogue> <scene_description>92 CONTINUED:</scene_description> <character>JOHN</character> <dialogue>Bollocks.</dialogue> <scene_description>JOHN not registering 'would have'.</scene_description> <character>PAUL</character> <dialogue>She's not around anymore.</dialogue> <scene_description>JOHN's ears prick up.</scene_description> <character>JOHN</character> <dialogue>What?</dialogue> <character>PAUL</character> <parenthetical>(stumbles)</parenthetical> <dialogue>She sort of died... last year.</dialogue> <scene_description>JOHN's eyes narrow. Looks for any trace of humour like it's a bad joke, in PAUL's face. Finds none, just a soft sadness. Awkward silence.</scene_description> <character>PAUL</character> <parenthetical>(upbeat)</parenthetical> <dialogue>Y'know, if we're gonna do this we should write our own stuff. Then you don't get stiffed by record companies.</dialogue> <character>JOHN</character> <parenthetical>(takes this in)</parenthetical> <dialogue>I write stuff... but not songs, more poetry and stories.</dialogue> <character>PAUL</character> <dialogue>Add a tune to those, you got a song.</dialogue> <scene_description>JOHN takes this in - makes sense.</scene_description> <character>JOHN</character> <dialogue>Have you written any?</dialogue> <character>PAUL</character> <dialogue>A couple.</dialogue> <scene_description>JOHN - impressed.</scene_description> <character>JOHN</character> <dialogue>Elvis doesn't write his own songs.</dialogue> <character>PAUL</character> <dialogue>Yeah, but Elvis is... The King.</dialogue> <character>JOHN</character> <parenthetical>(eyes him)</parenthetical> <dialogue>Why're you so clued up?</dialogue> <scene_description>92 CONTINUED: (2) PAUL shrugs innocently.</scene_description> <character>JOHN</character> <dialogue>You don't seem like a rock'n'roll kinda guy.</dialogue> <character>PAUL</character> <dialogue>Y'mean I don't go round smashin' things up and acting like a dick.</dialogue> <character>JOHN</character> <dialogue>Yeah.</dialogue> <scene_description>JOHN has to smile.</scene_description> <character>PAUL</character> <dialogue>It's the music. That's it. Simple.</dialogue> <parenthetical>(confused smirk)</parenthetical> <dialogue>Know what I mean?</dialogue> <scene_description>JOHN - totally the same.</scene_description> <character>JOHN</character> <dialogue>Perhaps we both know what we mean if you know what I mean?</dialogue> <character>PAUL</character> <dialogue>Not really.</dialogue> <scene_description>They share a laugh. JOHN starts 'Ain't that A Shame' by Fats Domino. PAUL joins him. Escaping in music.</scene_description> </scene> <scene> <stage_direction>92A INT. MENDIPS/JOHN'S BEDROOM -- LATER</stage_direction> <scene_description>JOHN on his own, practicing hard, his fingers raw. Stops puts the GUITAR down. Blows on his fingers. But can't wait to pick it up again and get practicing. FADE OUT.:</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/MORNING ROOM -- DAY</stage_direction> <scene_description>MIMI sits at the table, pensive. A bowl of soup in front of her - untouched. JOHN steams in through the backdoor. A frosty silence. He heads upstairs.</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/JOHN'S BEDROOM -- MOMENTS LATER</stage_direction> <scene_description>JOHN walks in, stops, sees the bed is empty. No guitar. He has a good search. Nothing.</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/MORNING ROOM/KITCHEN -- CONTINUOUS</stage_direction> <scene_description>MIMI taking a sip of soup as JOHN rushes downstairs. 95 CONTINUED:</scene_description> <character>JOHN</character> <parenthetical>(agitated)</parenthetical> <dialogue>Where is it?</dialogue> <scene_description>MIMI slowly takes another mouthful.</scene_description> <character>JOHN</character> <dialogue>Mimi, where's my guitar?</dialogue> <scene_description>She produces a LETTER from her lap, throws it at him. JOHN picks it up, sees it's his EXAM RESULTS. He looks - all D's.</scene_description> <character>MIMI</character> <dialogue>You promised me hard work. Lie and cheat all you want with others, do it with me and expect consequences.</dialogue> <character>JOHN</character> <dialogue>Where is it?</dialogue> <character>MIMI</character> <dialogue>I've sold it.</dialogue> <character>JOHN</character> <dialogue>You can't!</dialogue> <character>MIMI</character> <dialogue>Of course I can and I have.</dialogue> <character>JOHN</character> <dialogue>But we've got gigs!</dialogue> <character>MIMI</character> <dialogue>What a shame.</dialogue> <scene_description>JOHN starts filling up. MIMI detests it.</scene_description> <character>MIMI</character> <dialogue>Oh boo hoo.</dialogue> <character>JOHN</character> <dialogue>But it's my band!</dialogue> <character>MIMI</character> <dialogue>Don't be so childish. Grow up John.</dialogue> <character>JOHN</character> <parenthetical>(suddenly vicious)</parenthetical> <dialogue>- Fuck off, Mimi!</dialogue> <scene_description>MIMI's eye's pierce into him.</scene_description> <character>MIMI</character> <dialogue>What?</dialogue> <character>JOHN</character> <dialogue>I said FUCK OFF!</dialogue> <scene_description>95 CONTINUED: (2) JOHN rushes out of the house in a headspin.</scene_description> </scene> <scene> <stage_direction>EXT. MENDIPS -- CONTINUOUS</stage_direction> <scene_description>JOHN in a daze, tears come and go with anger. He boots the gate open, mutters under his breath. Looks at MENDIPS - spits in its general direction. Runs off down Menlove Avenue.</scene_description> </scene> <scene> <stage_direction>INT. FRANK HESSY'S MUSIC SHOP -- LATER</stage_direction> <scene_description>JOHN inside the shop, his beloved GUITAR up for sale in the second hand section for £5.</scene_description> <character>SHOP GUY</character> <dialogue>Help you, mate?</dialogue> <scene_description>JOHN shakes his head, no money.</scene_description> </scene> <scene> <stage_direction>EXT. JULIA'S HOUSE -- LATER</stage_direction> <scene_description>JULIA swings open the front door. Reveal JOHN, his eyes red but no tears, he makes no eye-contact.</scene_description> <character>JOHN</character> <dialogue>I need five quid.</dialogue> <character>JULIA</character> <dialogue>Oh, John -</dialogue> <scene_description>JULIA tries to hug him. JOHN steps back.</scene_description> <character>JOHN</character> <dialogue>No! No, 'Oh John's'. No 'dreams coming back'. I need five quid now - so will you give it me or not?</dialogue> <character>JULIA</character> <dialogue>That's a lot -</dialogue> <character>JOHN</character> <dialogue>- Yes or no!</dialogue> <scene_description>JULIA shocked, knows she has no choice. She steps inside for her purse - opens it, finds a FIVER. JOHN snaps it out of her hand and storms off down the path.</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/HALLWAY/LIVING ROOM -- NIGHT</stage_direction> <scene_description>JOHN walks in with his GUITAR, heads straight upstairs, then stops. Beefs his chest out, enters the living room. Reveal MIMI sitting, knitting - she doesn't look up.</scene_description> <character>JOHN</character> <dialogue>So... I got it back.</dialogue> <scene_description>Nothing from Mimi, which winds JOHN up even more. 99 CONTINUED:</scene_description> <character>JOHN</character> <dialogue>Yeah, Mum bought it for me.</dialogue> <scene_description>JOHN heads out. MIMI's face drops, she stops her knitting. The threat of Julia back to burn. 100 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. NORRISS GREEN SOCIAL CLUB -- NIGHT</stage_direction> <scene_description>THE QUARRYMEN singing 'Searchin' by The Coasters.</scene_description> <character>THE QUARRYMEN</character> <dialogue>Gonna find her, gonna find her... Yeah, I've been searchin', A-a searchin'...</dialogue> <scene_description>JOHN and PAUL stand at the front of the stage. The band all wear WHITE SHIRTS, BLACK TROUSERS and BOOTLACE TIES. However, PAUL stands out with his WHITE SPORTS JACKET. PAUL - nervous as he plays. Clammy hands. JULIA stands right at the front of the crowd, trying to catch JOHN's eye - him avoiding it. The song finishes to decent applause.</scene_description> <character>JOHN</character> <dialogue>Thanks, guys.</dialogue> <character>PAUL</character> <dialogue>Thank you.</dialogue> <scene_description>JOHN darts PAUL a look - he takes the thanks. PAUL intimidated, backs off the mic.</scene_description> <character>JOHN</character> <dialogue>Next, the scouse Chuck Berry will play 'Guitar Boogie'. I present to you... Mister Paul McCartney!</dialogue> <character>PAUL</character> <dialogue>Thanks, John. Kind words.</dialogue> <character>JOHN</character> <dialogue>...I didn't mean them.</dialogue> <scene_description>The AUDIENCE laugh. PAUL more nervous. He counts the band in, opens up with the difficult guitar riff - they get rocking - but suddenly Paul's playing breaks down.</scene_description> <character>PAUL</character> <parenthetical>(off mic)</parenthetical> <dialogue>Shit.</dialogue> <scene_description>Sweat beads forming on his forehead. JOHN looks out at the unimpressed AUDIENCE. 101 CONTINUED:</scene_description> <character>JOHN</character> <dialogue>Sorry folks. First night on the job and all that.</dialogue> <scene_description>Laughs.</scene_description> <character>PAUL</character> <parenthetical>(off mic)</parenthetical> <dialogue>Just give us a sec, mate.</dialogue> <character>JOHN</character> <parenthetical>(off mic)</parenthetical> <dialogue>You've not got a fucking sec, mate.</dialogue> <scene_description>PAUL desperately fingers the chords over and over, getting them right in his head. JOHN almost reveling in it.</scene_description> <character>JOHN</character> <parenthetical>(to barmaid)</parenthetical> <dialogue>Stick the kettle on, luv. Two sugars.</dialogue> <character>PAUL</character> <dialogue>OK. I'm right.</dialogue> <character>JOHN</character> <dialogue>Yeah?</dialogue> <character>PAUL</character> <dialogue>Yeah.</dialogue> <scene_description>THE QUARRYMEN open up again. PAUL - heavy concentration - this time he hits past breakdown point. By mid-song he's in THE ZONE. THE AUDIENCE LAP IT UP. DANCING breaks out everywhere. Including the PRETTY GIRLS at the front - all eyes on PAUL. JOHN, noticing 'the Paul effect'. Standing in the CROWD - a YOUNG GAUNT LAD (GEORGE), hair piled high, an intense, stern look. He keeps his eyes fixed on the stage. Processing.</scene_description> </scene> <scene> <stage_direction>INT/EXT. NORRISS GREEN SOCIAL CLUB/BACK STAGE -- LATER</stage_direction> <scene_description>JULIA stood with an awkward looking PAUL. NIGEL is handing out wages to a chuffed ROD and LEN.</scene_description> <character>JULIA</character> <dialogue>Really fantastic... honestly...</dialogue> <character>PAUL</character> <dialogue>...thanks...</dialogue> <character>JULIA</character> <dialogue>I'm John's mum by the way.</dialogue> <scene_description>102 CONTINUED:</scene_description> <character>PAUL</character> <dialogue>Oh... hi.</dialogue> <scene_description>JOHN appears, helping COLIN with his drum kit.</scene_description> <character>JULIA</character> <dialogue>John! I was blown away!</dialogue> <character>JOHN</character> <dialogue>Bit windy in there, wasn't it?</dialogue> <scene_description>JOHN heads out without saying goodbye. PAUL - embarrassed. JULIA doesn't know what to do next. She quickly walks off into the night. The YOUNG GAUNT LAD (GEORGE) meanders up to PAUL. They don't say hello - but it's obvious they're no strangers. He watches PAUL watch JULIA walk away.</scene_description> </scene> <scene> <stage_direction>INT. BUS -- MOMENTS LATER</stage_direction> <scene_description>JOHN on the back seat eating a BIG BAG OF CHIPS, smoking at the same time. Other QUARRYMEN sit nearby. OTHER BANDS, sit in groups elsewhere. Can't budge for guitars and washboards. NIGEL is handing out wages to a chuffed ROD and LEN. Hands JOHN his.</scene_description> <character>JOHN</character> <dialogue>And the rest?</dialogue> <character>NIGEL</character> <dialogue>Oh yeah..</dialogue> <scene_description>NIGEL rummages in his pockets, produces two fingers. JOHN raises an eye-brow. PAUL appears, tailed by GEORGE, they edge themselves on the already full seats in front of JOHN, who looks quizzically at PAUL.</scene_description> <character>PAUL</character> <dialogue>Mate of mine.</dialogue> <scene_description>GEORGE takes a handful of JOHN's chips - no hello. JOHN not sure whether to like him, or lay him out.</scene_description> <character>PAUL</character> <dialogue>He should be in the band.</dialogue> <character>JOHN</character> <dialogue>He should be in bed.</dialogue> <character>PAUL</character> <dialogue>Show him, George.</dialogue> <character>JOHN</character> <dialogue>What? Magic tricks?</dialogue> <scene_description>103 CONTINUED: GEORGE grabs PAUL's guitar, launches into 'Raunchy' by Bill Justis. As he plays, zoom in on GEORGE's magical hands.. MIX TO:</scene_description> </scene> <scene> <stage_direction>INT. WILSON HALL -- NIGHT</stage_direction> <scene_description>...his hands still playing 'Raunchy'. Pull out to reveal GEORGE on stage with THE QUARRYMEN, JOHN belting out the lyrics, tearing the place up - and the AUDIENCE, BIGGER and LOUDER. JULIA jumping up and down at the front. Next to her MARIE KENNEDY, (and friend CORRINE), awestruck at the sight of JOHN on stage. She tries to catch JOHN's eye - and we think it's working until we reveal a BARDOT LOOKALIKE - stood right behind. MARIE slowly realises JOHN's not interested in her at all. The band finish to HUGE APPLAUSE. JOHN, PAUL and GEORGE exchange big grins. GEORGE IS FUCKING GREAT.</scene_description> <character>GEORGE</character> <parenthetical>(deadpan)</parenthetical> <dialogue>Abracadabra, eh John?!</dialogue> <scene_description>Chucks him a wink.</scene_description> </scene> <scene> <stage_direction>INT. WILSON HALL BACKSTAGE -- LATER</stage_direction> <scene_description>Backslapping and beer. JOHN sits stripped to the waist, smoking - taking the scene in. His band, his creation, DOING IT. He eyes up the BARDOT LOOKALIKE across the room. Then he sees JULIA, prancing around, joyfully hugging bemused band members, PETE, NIGEL, GEORGE. Then PAUL get his.</scene_description> <character>JULIA</character> <parenthetical>(shouts to all)</parenthetical> <dialogue>We need to celebrate! Everything! John's birthday soon, so let's party! Everyone round at mine Saturday, OK?</dialogue> <character>PETE</character> <dialogue>Can we get boozed up?</dialogue> <character>JULIA</character> <dialogue>Only if I can!</dialogue> <character>NIGEL</character> <dialogue>What about birds?</dialogue> <character>JULIA</character> <dialogue>Just keep 'em in their cages.</dialogue> <character>LEN</character> <dialogue>What d'you think, Johnny boy?!</dialogue> <scene_description>105 CONTINUED: All eyes on him. A long pause.</scene_description> <character>JOHN</character> <dialogue>I think... I need a piss.</dialogue> <scene_description>He gets up and heads off. JULIA - crestfallen.</scene_description> </scene> <scene> <stage_direction>INT. WILSON HALL TOILETS -- MOMENTS LATER</stage_direction> <scene_description>JOHN stands up to a urinal - mid piss. PAUL comes in, leans by the wash basins, stares.</scene_description> <character>JOHN</character> <dialogue>Got a ticket?</dialogue> <scene_description>PAUL doesn't respond. JOHN zips up, heads to the basins, washes his hands. PAUL still staring.</scene_description> <character>PAUL</character> <dialogue>If you don't want her hanging about the band, do something about it.</dialogue> <scene_description>PAUL walks out. JOHN running this through his mind.</scene_description> <character>JOHN</character> <parenthetical>(mutters)</parenthetical> <dialogue>My fucking band.</dialogue> </scene> <scene> <stage_direction>106A INT. WILSON HALL/BACKSTAGE CORRIDOR -- LATER</stage_direction> <scene_description>Post gig. THE QUARRYMEN loading up gear and taking it out. PETE calls back from outside.</scene_description> <character>PETE</character> <dialogue>John! Driver's not stopping!</dialogue> <scene_description>Beat. JOHN appears from the toilets, zipping up and tucking his shirts in. The BARDOT LOOKALIKE sheepishly follows him out. He gives her a peck on the cheek,</scene_description> <character>JOHN</character> <dialogue>Thanks for that.</dialogue> <scene_description>Before striding outside to PETE.</scene_description> <character>JOHN</character> <dialogue>Giz a ciggie mate.</dialogue> <scene_description>FADE TO BLACK.: FADE IN:</scene_description> </scene> <scene> <stage_direction>106B INT. MENDIPS/MORNING ROOM/KITCHEN -- DAY</stage_direction> <scene_description>MIMI and FISHWICK sat at the table - reading and studying respectively and peacefully. JOHN whooshes in - looking sharp and a bit edgy. He breezes out, MIMI watches him meet PETE waiting by the gate. She and FISHWICK exchange a look, then she gets up heads into the kitchen, ruffling his hair on the way in. FISHWICK - big smile. 107 OMITTED 108 OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. ALLERTON GOLF COURSE -- EVENING</stage_direction> <scene_description>JOHN and PETE wandering over the fifteenth green. Beers and cigs. JOHN is wound up, nervous.</scene_description> <character>PETE</character> <dialogue>Have you ever tried a bra on?</dialogue> <scene_description>JOHN takes a drag of his cig. Mind elsewhere.</scene_description> <character>PETE</character> <dialogue>I sometimes wish I had tits. Not in a weird way. Just to mess around with, y'know?</dialogue> <scene_description>PETE notes JOHN's distance. Concerned.</scene_description> <character>PETE</character> <dialogue>Hey Winston!</dialogue> <character>JOHN</character> <parenthetical>(looks over)</parenthetical> <dialogue>What?</dialogue> <character>PETE</character> <dialogue>This party...</dialogue> <character>JOHN</character> <dialogue>Yeah?</dialogue> <character>PETE</character> <dialogue>We don't have to go...</dialogue> <scene_description>JOHN keeps walking with intent. 'Hound Dog' by Big Mamma Thornton bursts out.</scene_description> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE -- NIGHT</stage_direction> <scene_description>THE PARTY. The house FULL of QUARRYMEN, GIRLS, JACKIE and LITTLE JULIA, BOBBY, NEIGHBOURS. GEORGE sits glued to the TV, the sound turned down. BOOZE flows. MUSIC LOUD. 110 CONTINUED: JOHN. Looking. He finds JULIA with PAUL in the kitchen. PAUL is playing the guitar, mid song - 'Love Me Tender'. JOHN sinks more ale as PAUL finishes.</scene_description> <character>JULIA</character> <dialogue>Oh, Paul, beautiful..just..</dialogue> <scene_description>JOHN bristles.</scene_description> <character>JULIA</character> <dialogue>That's for her, isn't it? Your mum... awful... taken away from you... not fair.</dialogue> <character>JOHN</character> <dialogue>She had cancer. What's your excuse?</dialogue> <scene_description>JULIA gets the jitters, brushes past JOHN into the lounge.</scene_description> <character>PAUL</character> <dialogue>Nice.</dialogue> <scene_description>JOHN gives PAUL a sarcastic grin.</scene_description> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE -- LATER</stage_direction> <scene_description>JULIA nods to LITTLE JULIA, standing by the record player, who puts on a '78: "Oh John My Son To Me You Are so Wonderful". It's a 30's ballad - definitely not rock and roll. The room falls quiet, thinking 'what is this shiite'. JULIA re-appears from the kitchen holding a birthday cake, 17 candles on top. She brings it to JOHN. He eyes her before blowing out the candles.</scene_description> <character>JOHN</character> <dialogue>Can someone please take that bloody record off before I start crying. In pain.</dialogue> <scene_description>Music goes off.</scene_description> <character>PETE</character> <dialogue>Giz a few words, Johnny-boy.</dialogue> <character>JOHN</character> <dialogue>'Cock', 'Balls'... 'Fuck'? Is that allowed?</dialogue> <scene_description>Laughter. JULIA puts her hands over LITTLE JULIA's ears.</scene_description> <character>ALL</character> <dialogue>Speech! Speech!</dialogue> <scene_description>111 CONTINUED:</scene_description> <character>JOHN</character> <parenthetical>(Churchill voice)</parenthetical> <dialogue>We shall fight them on the beaches, we shall fight them on the landing grounds, we shall fight those bastard Garston Teds on a Saturday night at Wilson Hall.</dialogue> <parenthetical>(he laughs)</parenthetical> <dialogue>Well, ta for turning up, you're very special to me in that I hate you all equally.</dialogue> <parenthetical>(eyes Julia)</parenthetical> <dialogue>Apart from you, Mum, obviously. Thanks for all this. Big clap folks. Julia.</dialogue> <scene_description>Applause rings out. JOHN focuses on JULIA who smiles tightly.</scene_description> <character>JOHN</character> <dialogue>And my band, what can I say... You really are there for me; never on time; usually looking like a pile of shite, but nevertheless there or thereabouts.</dialogue> <scene_description>Laughs from his audience.</scene_description> <character>JOHN</character> <parenthetical>(American accent)</parenthetical> <dialogue>So tell me, where we goin', boys?</dialogue> <character>QUARRYMEN</character> <parenthetical>(American accent)</parenthetical> <dialogue>To the toppity top, Johnny.</dialogue> <character>JOHN</character> <dialogue>That's right to the</dialogue> <parenthetical>(Queens accent)</parenthetical> <dialogue>"Toppity of one's topness". Except - the boy Shotton wants out.</dialogue> <scene_description>There are 'No!'s and 'Boo!'s from the room.</scene_description> <character>JOHN</character> <dialogue>Apparently washboard players don't get enough chicks and he feels like a pansy wearing his mum's sewing thimbles.</dialogue> <scene_description>More boos.</scene_description> <character>JOHN</character> <dialogue>I know... A travesty.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>But true. C'mere, Spunkhead.</dialogue> <scene_description>111 CONTINUED: (2) PETE wanders over - grinning. JOHN breaks the washboard over PETE's head to big cheers and laughs.</scene_description> <character>JOHN</character> <dialogue>Worth a few bob when we're famous.</dialogue> <scene_description>More Laughter. JOHN spots something. POV: a beaming JULIA has her arm clasped tight around PAUL's waist. JOHN's face freezes over.</scene_description> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE -- LATER</stage_direction> <scene_description>Party in full swing, chairs moved back - dirty dancing with QUARRYMEN and VARIOUS GIRLS. JOHN stands alone, stares through the dancers. POV: JULIA sat with BOBBY on the piano stool, laughing, clapping with the track enjoying the party/dancers. At one point BOBBY leans in for a snog. As they break, JULIA finds JOHN's eyes through the crowd. She tries a smile. JOHN, serious-happy-serious. Sarcastic. JULIA looks away, lights a fag up - heads outside. JOHN watches her disappear, grabs another beer...follows her.</scene_description> </scene> <scene> <stage_direction>EXT. JULIA'S HOUSE -- MOMENTS LATER</stage_direction> <scene_description>JULIA smoking. JOHN joins her.</scene_description> <character>JULIA</character> <dialogue>I wonder if someone's up there... on Mars or something having a quick cigarette like me.</dialogue> <scene_description>JOHN rips the beer bottle cap off with his teeth.</scene_description> <character>JOHN</character> <dialogue>- Where's Dad?</dialogue> <scene_description>JULIA, rooted to the spot.</scene_description> <character>JOHN</character> <dialogue>They're called 'Dad's', right? Most people I know have got one.</dialogue> <character>JULIA</character> <dialogue>I don't think -</dialogue> <character>JOHN</character> <dialogue>- Don't you Mum? Well I do. ThinkThinkThink. That's all I do.</dialogue> <parenthetical>(sarcastic)</parenthetical> <dialogue>Where's Daddy, Mummy? Alf. That's his name, yeah?</dialogue> <scene_description>113 CONTINUED: JULIA nods.</scene_description> <character>JOHN</character> <dialogue>Where's fuckin' Alf then?</dialogue> <character>JULIA</character> <dialogue>Please don't swear, John.</dialogue> <character>JOHN</character> <dialogue>Make you feel uncomfortable does it?</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Try being me for the last seventeen years. When everyone asks why your Auntie's your Mum. Now that's uncomfortable.</dialogue> <scene_description>JULIA starts to cry.</scene_description> <character>JOHN</character> <dialogue>Oh here we go. 'Who turned the taps on?'</dialogue> <character>JULIA</character> <dialogue>Don't be horrible to me, John.</dialogue> <character>JOHN</character> <dialogue>Me being horrible to you? I see.</dialogue> <parenthetical>(scolding himself)</parenthetical> <dialogue>Horrible John. Naughty John. Poor Julia.</dialogue> <character>JULIA</character> <dialogue>You promised you wouldn't ask these questions. That was the deal.</dialogue> <character>JOHN</character> <dialogue>Sounds like the deal's off then, doesn't it?</dialogue> <scene_description>JULIA tries to head back inside. JOHN blocks her way.</scene_description> <character>JOHN</character> <dialogue>No running away. I know you're good at it, but not tonight.</dialogue> <character>JULIA</character> <dialogue>John!</dialogue> <scene_description>JULIA backs off, walks round, small circles - distressed.</scene_description> <character>JOHN</character> <dialogue>Where is he?</dialogue> <character>JULIA</character> <dialogue>New Zealand... maybe... I don't know.</dialogue> <scene_description>113 CONTINUED: (2)</scene_description> <character>JOHN</character> <dialogue>Not round the corner? Like you?</dialogue> <character>JULIA</character> <dialogue>He was in the Merchant Navy. No letters. No money. He abandoned us.</dialogue> <character>JOHN</character> <dialogue>Then you abandoned me. Thanks.</dialogue> <character>JULIA</character> <dialogue>It was a temporary thing. Mimi agreed.</dialogue> <character>JOHN</character> <dialogue>Temporary! I'm still living with her!</dialogue> <character>JULIA</character> <dialogue>I wanted you back. I always wanted you back.</dialogue> <character>JOHN</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>I believe you. Honest.</dialogue> <character>JULIA</character> <dialogue>She never gave you back.</dialogue> <scene_description>Beat.</scene_description> <character>JOHN</character> <parenthetical>(softer)</parenthetical> <dialogue>But surely... I'm not Mimi's to give... you're my mum.</dialogue> <scene_description>JULIA can't answer.</scene_description> <character>JOHN</character> <dialogue>It's Bobby, innit? It's him.</dialogue> <character>JULIA</character> <parenthetical>(shakes her head)</parenthetical> <dialogue>He saved me. I was losing it.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>We tried to get you back... we did.</dialogue> <scene_description>JULIA trails off, stares into the black night. John incredulous.</scene_description> <character>JOHN</character> <dialogue>You never moved away did you? You moved here. And just stopped seeing me.</dialogue> <scene_description>113 CONTINUED: (3)</scene_description> <character>JULIA</character> <parenthetical>(quietly)</parenthetical> <dialogue>She wouldn't let me. Mimi can be so strong. And I was so weak then. She loves you so much -</dialogue> <character>JOHN</character> <dialogue>- Yeah, more than you.</dialogue> <scene_description>JULIA looks at him, the statement valid, and it's killing her. LITTLE JULIA pops her head around the door.</scene_description> <character>LITTLE JULIA</character> <dialogue>Mummy... I'm tired now..</dialogue> <parenthetical>(notices)</parenthetical> <dialogue>Are you sad again?</dialogue> <scene_description>JULIA wipes her tears, smiles brightly.</scene_description> <character>JULIA</character> <dialogue>Mummy's not sad. Look!</dialogue> <scene_description>Points to her fake smile.</scene_description> <character>JULIA</character> <dialogue>I'm coming now, honey.</dialogue> <scene_description>JULIA goes to embrace JOHN - but he holds back.</scene_description> <character>JULIA</character> <dialogue>I love you. Believe me.</dialogue> <character>JOHN</character> <parenthetical>(pause)</parenthetical> <dialogue>Believe me. I'd love to.</dialogue> <scene_description>JOHN steps back, looks at the house, not his house, never will be. He starts walking off down the street.</scene_description> <character>JULIA</character> <dialogue>John!</dialogue> <scene_description>JOHN looks back.</scene_description> <character>JULIA</character> <dialogue>Where you going?</dialogue> <character>JOHN</character> <dialogue>Away from you.</dialogue> <scene_description>He carries on walking.</scene_description> </scene> <scene> <stage_direction>EXT. MENDIPS - LATER</stage_direction> <scene_description>JOHN stops, lights a cigarette, takes in Mendips.</scene_description> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE -- - CONTINUOUS</stage_direction> <scene_description>The party still jumping. JULIA sits in the armchair - oblivious. Cigarette lit but in a daze.</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/DINING ROOM/MORNING ROOM/KITCHEN -- NIGHT</stage_direction> <scene_description>JOHN lets himself in. The house silent, lights on.</scene_description> <character>JOHN</character> <dialogue>Mimi?</dialogue> <scene_description>He wanders down the hallway, smells food from the dining room. Goes in. On the table - a special birthday dinner. All cold. A Birthday Cake sits in the middle. MIMI sits by the window, smoking - dressed up. FISHWICK stands, he was also invited.</scene_description> <character>FISHWICK</character> <dialogue>I think I'll just... got some work to finish.</dialogue> <scene_description>Leaves.</scene_description> <character>MIMI</character> <dialogue>You said you'd be back. It was meant to be a surprise.</dialogue> <scene_description>JOHN looks genuinely upset. MIMI nods to the corner - A BRAND NEW HOFFNER GUITAR (electric). JOHN rushes over, grabs it.</scene_description> <character>JOHN</character> <dialogue>A Hoffner! Mimi?!</dialogue> <scene_description>JOHN puts it down, goes over, hugs her tight, with love.</scene_description> <character>MIMI</character> <dialogue>You stink of alcohol.</dialogue> <character>JOHN</character> <dialogue>Mum threw a party for me.</dialogue> <scene_description>MIMI breaks the hug. A hug he needs more than ever from her.</scene_description> <character>MIMI</character> <dialogue>Don't be silly.</dialogue> <scene_description>She starts clearing the table.</scene_description> <character>MIMI</character> <dialogue>Such a waste...</dialogue> <scene_description>JOHN - rejected again. He stares at her. Hardens. He is FUCKING PISSED OFF. The doorbell rings. MIMI looks up at JOHN. 116 CONTINUED:</scene_description> <character>MIMI</character> <dialogue>Tell your friends the party's over.</dialogue> </scene> <scene> <stage_direction>INT./EXT. MENDIPS - MOMENTS LATER</stage_direction> <scene_description>JOHN opens the porch door to find a forlorn JULIA. They take each other in.</scene_description> <character>JOHN</character> <dialogue>No thanks.</dialogue> <scene_description>He slams the door shut. JOHN's mind flashes angrily, quickly he opens up again, grabs JULIA by the wrist drags her in the house. CUT TO - MIMI as JOHN brings JULIA in. Her face drops.</scene_description> <character>JOHN</character> <dialogue>We've got a gatecrasher.</dialogue> <scene_description>JULIA can't hold MIMI's gaze.</scene_description> <character>JULIA</character> <dialogue>I needed to talk to John.</dialogue> <character>JOHN</character> <dialogue>More talking, wow...</dialogue> <parenthetical>(to Mimi)</parenthetical> <dialogue>Y'see, me and Mum have had a bit of a heart to heart...She's told me things, about wotsisname...Alf.</dialogue> <scene_description>MIMI's ears prick up.</scene_description> <character>JOHN</character> <dialogue>Oh..and about you, funnily enough.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>She said you stole me. What d'you reckon, Mimi? Did you?</dialogue> <scene_description>MIMI glares over at JULIA.</scene_description> <character>JULIA</character> <dialogue>I never said that -</dialogue> <character>JOHN</character> <dialogue>- You said, quote, "She," as in you Mimi, "never gave you back". Now when I do that, I've got to admit, I'm usually stealing.</dialogue> <scene_description>MIMI, disbelief. Secrets they promised to keep, spilt.</scene_description> <character>MIMI</character> <dialogue>I don't suppose she said why I</dialogue> <scene_description>'stole' you? 117 CONTINUED:</scene_description> <character>JOHN</character> <dialogue>There she is. Ask her yourself.</dialogue> <character>JULIA</character> <dialogue>Mimi-</dialogue> <character>MIMI</character> <dialogue>- Did she mention having another man's child to deal with? Another daughter?</dialogue> <character>JULIA</character> <dialogue>Mimi, please-</dialogue> <character>MIMI</character> <dialogue>PLEASE WHAT?!</dialogue> <scene_description>JULIA shuts up, frightened.</scene_description> <character>MIMI</character> <dialogue>Stop??</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Look at him Julia. You think we can stop now?</dialogue> <scene_description>JULIA refuses.</scene_description> <character>MIMI</character> <dialogue>Look at him!</dialogue> <scene_description>JULIA is forced to look at JOHN - and we see in his eyes - the need to know.</scene_description> <character>JOHN</character> <dialogue>Whose child?</dialogue> <character>MIMI</character> <dialogue>You tell him. Seeing you're so keen for him to know the truth.</dialogue> <character>JOHN</character> <parenthetical>(forceful)</parenthetical> <dialogue>What daughter?!</dialogue> <scene_description>JULIA dumbstruck, rooted, knows it's coming.</scene_description> <character>MIMI</character> <dialogue>Julia has always needed company. Do you understand what I mean by company?</dialogue> <scene_description>MIMI looks at JOHN - both don't want the word 'sex' to be said. JOHN nods, looks at JULIA.</scene_description> <character>JOHN</character> <dialogue>Rock'n'roll eh, Mum?</dialogue> <scene_description>117 CONTINUED: (2) JULIA winces at JOHN as he remembers her own 'sex' pseudonym.</scene_description> <character>MIMI</character> <dialogue>She found it with a young soldier whilst your father was away.</dialogue> <scene_description>MIMI wanting to DESTROY JULIA in her quest to keep him.</scene_description> <character>MIMI</character> <dialogue>You have another sister, Victoria.</dialogue> <character>JOHN</character> <dialogue>Where?</dialogue> <character>MIMI</character> <dialogue>The Salvation Army took her.</dialogue> <scene_description>MIMI shakes her head in disbelief.</scene_description> <character>MIMI</character> <dialogue>Then after that, she, your... mother... decides to shack up with her fancy-man, Bobby. Still married to your father I might add... and then raise you like that was normal, like that was... acceptable?</dialogue> <scene_description>Beat.</scene_description> <character>MIMI</character> <dialogue>Even when your father came home to save their marriage it made no difference. She told him to get lost. Surprise surprise....</dialogue> <scene_description>JOHN looks up, shocked. This is what he would have wanted more than anything in the world - TO BE IN A NORMAL FAMILY. JOHN holds his head in his hands.</scene_description> <character>MIMI</character> <dialogue>But he wasn't going that easily. Alf. Was he, Julia?</dialogue> <scene_description>JOHN looks up.</scene_description> <character>MIMI</character> <dialogue>Feel free to join the conversation.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>No. Didn't think so.</dialogue> <scene_description>Beat.</scene_description> <character>MIMI</character> <dialogue>You were staying here when Alf turned up out of the blue.</dialogue> <scene_description>117 CONTINUED: (3)</scene_description> <character>MIMI</character> <dialogue>Said he wanted to take you into Liverpool for the day - shopping.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>He took you to Blackpool instead.</dialogue> <scene_description>118 OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. BLACKPOOL BEACH (FLASHBACK) -- DAY</stage_direction> <scene_description>A HAPPY 5YR OLD JOHN eating an ICE CREAM on a DONKEY, being led by ALF - an image that echoes John's recurring dream.</scene_description> <character>MIMI (V.O.)</character> <dialogue>Next stop was New Zealand. With you. Emigrate. He'd sorted a passage out there... a job.</dialogue> </scene> <scene> <stage_direction>EXT. SHABBY TOWN-HOUSE (FLASHBACK) -- DAY</stage_direction> <scene_description>The SAME RED HOUSE from John's dream.</scene_description> <character>MIMI</character> <dialogue>We hadn't a clue where he'd taken you. I was distraught. Luckily The Seaman's Mission had an address for a brother in Blackpool. So we went to get you, bring you back.</dialogue> <scene_description>Pull back to find JULIA and MIMI looking up at the house.</scene_description> </scene> <scene> <stage_direction>EXT. SHABBY TOWN-HOUSE (FLASHBACK) -- DAY</stage_direction> <scene_description>The front door is opened an inch by ALF. MIMI tries to barge through but he blocks her out.</scene_description> <character>MIMI</character> <dialogue>Alf wouldn't let me in. He said this was between him and your Mother.</dialogue> </scene> <scene> <stage_direction>INT. CAFE OPPOSITE SHABBY TOWN HOUSE (FLASHBACK) -- DAY</stage_direction> <scene_description>MIMI sits at a table by the window, her eyes fixed on the RED HOUSE.</scene_description> </scene> <scene> <stage_direction>INT. SHABBY TOWN HOUSE ROOM (FLASHBACK) -- DAY</stage_direction> <scene_description>5YR OLD JOHN sits in THAT CHAIR, in THAT ROOM - looking up at ALF and JULIA.</scene_description> <character>MIMI</character> <dialogue>As Alf pleaded. Again it was of no use... was it, Julia?</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>But what to do with you?</dialogue> <scene_description>ALF and JULIA stop arguing - they both look down at JOHN. 123 CONTINUED:</scene_description> <character>MIMI (V.O.)</character> <dialogue>So in all their great wisdom... they decided to ask you... a five year old boy.</dialogue> <scene_description>Close on John.</scene_description> <character>MIMI (V.O.)</character> <dialogue>And you said -</dialogue> <character>5 YR OLD JOHN</character> <dialogue>Daddy.</dialogue> <scene_description>On JULIA as her world collapses. She collects her things, rushes towards the door. We recognise the sound of her heels on the floor from John's dream.</scene_description> <character>MIMI</character> <dialogue>So, knowing Alf was planning to take you to New Zealand. And knowing she would probably never see you again...</dialogue> <scene_description>JULIA leaves the room.</scene_description> <character>MIMI (V.O.)</character> <dialogue>Your Mother left.</dialogue> </scene> <scene> <stage_direction>INT/EXT. CAFE OPPOSITE SHABBY TOWN HOUSE (FLASHBACK) -- DAY</stage_direction> <scene_description>MIMI sees the front door open, immediately gets to her feet and sees JULIA coming out - but no John. MIMI rushes across the road to JULIA, who keeps walking.</scene_description> <character>MIMI</character> <dialogue>Julia?</dialogue> <scene_description>MIMI steps in front of her. JULIA looks back with guilty eyes. ON MIMI - can't take this in.</scene_description> </scene> <scene> <stage_direction>INT/EXT. SHABBY TOWN HOUSE ROOM/HOUSE (FLASHBACK) -- DAY</stage_direction> <scene_description>5 YEAR OLD JOHN suddenly leaps out of his chair, heads to the door. Scrambling to get out.</scene_description> <character>MUMMY!</character> <dialogue>MUMMY!</dialogue> <scene_description>Finally a guilt ridden ALF opens it for him.</scene_description> <character>5 YEAR OLD JOHN</character> <dialogue>MUMMY!</dialogue> <scene_description>JOHN appears from the house. JULIA closes her eyes, then turns around. 125 CONTINUED:</scene_description> <character>5 YEAR OLD JOHN</character> <parenthetical>(sobbing)</parenthetical> <dialogue>Mummy! Mummy!</dialogue> <scene_description>MIMI stares up at ALF who slowly heads back inside. The fight given up. JULIA tries to smile at JOHN - but finds it hard. MIMI steps in, gently unfastens JOHN's arms from around JULIA's neck... and takes him in her own.</scene_description> <character>MIMI</character> <dialogue>That's when I 'stole' you.</dialogue> </scene> <scene> <stage_direction>INT. MENDIPS/BACK DINING ROOM/HALLWAY -- NIGHT</stage_direction> <scene_description>JOHN staring at MIMI in disbelief. Then at JULIA.</scene_description> <character>MIMI</character> <dialogue>And if that's stealing then... I'm a thief.</dialogue> <scene_description>JOHN - can't take it anymore. All of this TRUTH, this HURT, these LIES, ANGER - everything suddenly boils over, he rushes past JULIA - nearly knocking her over. MIMI and JULIA lock eyes before JULIA rushes after him.</scene_description> <character>JULIA</character> <dialogue>JOHN! I wasn't going to leave you!</dialogue> <scene_description>JOHN stops at the door, takes a deep breath, turns around.</scene_description> <character>JOHN</character> <dialogue>You walked out of the house!</dialogue> <parenthetical>(angry)</parenthetical> <dialogue>Down the street?!</dialogue> <scene_description>JULIA has no answer - she starts shaking.</scene_description> <character>JULIA</character> <dialogue>Yes, yes I did. But I was ill. I get ill, and I'm not myself-</dialogue> <character>JOHN</character> <dialogue>- You left because you were ill?</dialogue> <character>JULIA</character> <dialogue>I don't think straight! I don't sleep! I've seen doctors, they don't know, don't understand.</dialogue> <scene_description>JULIA approaching hysteria. MIMI appears at the doorway.</scene_description> <character>JULIA</character> <dialogue>I don't understand!</dialogue> <scene_description>126 CONTINUED: JOHN can't get his head round that.</scene_description> <character>JOHN</character> <dialogue>For twelve years I've prayed for you to come back. That's all I've wanted...my mum back... because deep down I always thought you wanted me back.</dialogue> <character>JULIA</character> <dialogue>Me and Bobby. We got a flat together. You were with us. But then she came, with social services.</dialogue> <character>JOHN</character> <dialogue>What?</dialogue> <character>JULIA</character> <dialogue>I had no choice but to hand you over.</dialogue> <scene_description>JOHN darts a look at MIMI.</scene_description> <character>MIMI</character> <parenthetical>(unrepentant)</parenthetical> <dialogue>It was a one bedroom hovel. You were sleeping in the same bed as a stranger.</dialogue> <character>JULIA</character> <dialogue>Bobby was no stranger!</dialogue> <character>MIMI</character> <dialogue>He was to John!</dialogue> <parenthetical>(to John)</parenthetical> <dialogue>I couldn't allow that.</dialogue> <character>JOHN</character> <dialogue>Yes you could. Quite easily. You just didn't want to.</dialogue> <scene_description>MIMI for the first time looks vulnerable.</scene_description> <character>JULIA</character> <dialogue>That's right, John!! She made me give you to her. Then when she had you, she didn't let go!</dialogue> <character>JOHN</character> <dialogue>Then you should have made her!!</dialogue> <scene_description>This shuts JULIA up for moment.</scene_description> <character>JULIA</character> <dialogue>I'm here now, I'm here. I never meant to leave you...</dialogue> <scene_description>126 CONTINUED: (2) JULIA grabs him round the neck, buries her head in his chest.</scene_description> <character>JULIA</character> <dialogue>Please... I love you, John. I love you. I'm here.</dialogue> <parenthetical>(over and over)</parenthetical> <dialogue>I'm sorry, I'm sorry, I'm sorry.</dialogue> <character>JOHN</character> <dialogue>No.</dialogue> <scene_description>He picks JULIA's arms off and she drops to the floor,</scene_description> <character>JULIA</character> <dialogue>John!!</dialogue> <character>JOHN</character> <dialogue>I said NO!</dialogue> <scene_description>He fixes them both. Wild stare.</scene_description> <character>JOHN</character> <dialogue>Can't you see what you're doing? I'm going out of my brain! And that's not fair!</dialogue> <parenthetical>(shouts)</parenthetical> <dialogue>Is it?!</dialogue> <parenthetical>(looks down on Julia)</parenthetical> <dialogue>This is your fault!</dialogue> <parenthetical>(then at Mimi)</parenthetical> <dialogue>And yours!</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>So why should I go mad?</dialogue> <scene_description>Beat.</scene_description> <character>JOHN</character> <dialogue>I've had it... It's over.</dialogue> <scene_description>He quickly opens the front door and escapes.</scene_description> </scene> <scene> <stage_direction>EXT. MENDIPS -- CONTINUOUS</stage_direction> <scene_description>JOHN, tears in his eyes, sets off down Menlove, walking, then sprinting - away.</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS -- CONTINUOUS</stage_direction> <scene_description>MIMI looking down on his JULIA. Can't leave her like this. She sits down next to her. JULIA puts her head in MIMI's lap.</scene_description> <character>JULIA</character> <dialogue>How long does it have to hurt Mimi?</dialogue> <scene_description>MIMI tentatively, strokes JULIA's hair. Like a mother. For a moment we see them as sisters. Caring. 128 CONTINUED: Beat.</scene_description> <character>MIMI</character> <dialogue>Go home, Julia.</dialogue> <scene_description>MIMI gets up quickly and heads to the kitchen. We follow her as she hides away. Hear the front door slam. CUT TO - The kitchen. MIMI breaks down crying.</scene_description> </scene> <scene> <stage_direction>EXT. CITY-CENTRE/MATHEW STREET - LATER</stage_direction> <scene_description>The street that buzzed this first youth cultural movement. JOHN careers down it, pissed, giggling and mumbling at himself, providing his own hilarious running commentary. Purposely bumping into GIRLS, insincerely apologising. TRYING TO FORGET THROUGH BOOZE. He spots something. POV: a poster outside a club called THE CAVERN: "Tonight!! Rory Storm and the Hurricanes". (Ringo's band). JOHN makes a bee-line for the door, but just before he makes it over the threshold, TWO MONKEY-MEN BOUNCERS step out.</scene_description> <character>BOUNCER</character> <dialogue>No chance. Get to fuck.</dialogue> <scene_description>JOHN looks up at this symbol of authority. His boiling anger and bitter frustration. But he just backs off slowly - ends up still, emotionless, in the middle of Mathew Street madness. Then in the distance he spots MARIE KENNEDY walking up with a GROUP of FRIENDS. He walks over. Blocks her way. She looks up, threatened.</scene_description> <character>JOHN</character> <dialogue>Forgive me angel.</dialogue> <scene_description>He takes her face in his hands, kisses her gently (she lets him). Then walks off into the crowd. MARIE bemused/besotted. 130 OMITTED</scene_description> </scene> <scene> <stage_direction>EXT. ALBERT DOCK BENCH -- MORNING</stage_direction> <scene_description>Tight on JOHN, asleep. A dried blood trickle from his nose, slightly swollen cheek. Suddenly the blast of a foghorn opens his foggy eyes. Reveal JOHN on the waterfront, a FERRY passing by. He still clutches a half full pint pot - not sure how he got there. He wanders over to the waters edge, leans against the railings - sinks the rest of the pint, then hurls the glass in the vague direction of New York.</scene_description> </scene> <scene> <stage_direction>131A EXT. MENDIPS -- MORNING</stage_direction> <scene_description>Curtains on Mendips still drawn. MILKMAN delivering. JOHN ambles up the path.</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/EVERYWHERE -- CONTINUOUS</stage_direction> <scene_description>He lets himself in through the front door - checks for sounds of life - none - makes his way upstairs. At the top, Mimi's bedroom door slightly ajar. POV: two pairs of legs stretched out on Mimi's single bed. Follow JOHN as he slowly peers around the door. POV: FISHWICK and MIMI (fully clothed) asleep. His arms wrapped around her - spooning position.</scene_description> <character>IT SAYS IT ALL.</character> <dialogue>JOHN backs out. Slowly walks into his bedroom. Shutting the door quietly he sits on his bed - and stares in shock. Then in a flash of anger he gets up opens and slams his door shut. Loud.</dialogue> <dialogue>Immediately we hear stirrings from Mimi's room (Fishwick getting the hell out of there).</dialogue> <dialogue>JOHN lies back on his bed. Let's out a chuckle of disbelief.</dialogue> </scene> <scene> <stage_direction>INT. MENDIPS/JOHN'S BEDROOM -- DAY</stage_direction> <scene_description>Next day. JOHN, lying contorted on his bed, looking like he hasn't slept. He hears the front gate slam. POV: MIMI heading out with a bunch of flowers freshly picked from the garden.</scene_description> </scene> <scene> <stage_direction>EXT. ST. PETER'S CHURCH -- LATER</stage_direction> <scene_description>JOHN wandering through the gravestones, finds MIMI tending UNCLE GEORGE's plot. Knew he would.</scene_description> <character>JOHN</character> <dialogue>Did you love him?</dialogue> <scene_description>MIMI swings around frightened.</scene_description> <character>MIMI</character> <parenthetical>(calmer)</parenthetical> <dialogue>You frightened me to death.</dialogue> <character>JOHN</character> <parenthetical>(dry)</parenthetical> <dialogue>...right place for it.</dialogue> <scene_description>JOHN bends down, helps out, throwing away old flowers, planting the new. 134 CONTINUED:</scene_description> <character>JOHN</character> <dialogue>Did you?</dialogue> <character>MIMI</character> <dialogue>That's a horrible thing to say.</dialogue> <character>JOHN</character> <dialogue>You never showed it.</dialogue> <character>MIMI</character> <dialogue>Or you just didn't see it?</dialogue> <character>JOHN</character> <parenthetical>(shrugs)</parenthetical> <dialogue>With my eyesight? Possibly.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'm not going to hold it against her... Mum... what she did in Blackpool.</dialogue> <character>MIMI</character> <dialogue>Just forgive and forget I suppose.</dialogue> <character>JOHN</character> <dialogue>Forget? I wish. Just no point hating someone you love... I mean really love...</dialogue> <scene_description>JOHN turns his head, looks at MIMI.</scene_description> <character>JOHN</character> <parenthetical>(pointedly)</parenthetical> <dialogue>Is there, Mimi?</dialogue> <scene_description>MIMI doesn't answer.</scene_description> <character>JOHN</character> <dialogue>I should move out.</dialogue> <scene_description>MIMI winces at the thought of losing him.</scene_description> <character>JOHN</character> <dialogue>Mendips seems a bit crowded all of a sudden.</dialogue> <scene_description>MIMI stiffens - is he on about Fishwick?</scene_description> <character>JOHN</character> <dialogue>And I refuse to be... this thing... that you two war over. I'm too big for the trophy cabinet now.</dialogue> <scene_description>Beat. 134 CONTINUED: (2)</scene_description> <character>JOHN</character> <dialogue>Maybe with me gone, you and Mum might remember you were sisters once.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Plus I'm all grown up now, with grown up feelings.</dialogue> <scene_description>JOHN leaves the thought hanging. MIMI shifts, uneasy.</scene_description> <character>JOHN</character> <dialogue>And I fancy some decent company. And let's be honest, for a change, we all need company don't we Mimi?</dialogue> <scene_description>MIMI's heart sinks. The embarrassment acute. She tries to look it him but can't. This strong woman suddenly devoid of strength. JOHN wanders off, kissing his hand and touching Uncle George's gravestone as he passes. MIMI, watching him go.</scene_description> </scene> <scene> <stage_direction>134A INT. MENDIPS -- LATER</stage_direction> <scene_description>MIMI sat listening to the radio. Knowing what she has to do - not finding the strength to do it. FISHWICK comes down the stairs on his way out to lectures. He passes her.</scene_description> <character>FISHWICK</character> <dialogue>Bloody late as bloody usual.</dialogue> <scene_description>He leans in and gives MIMI a lingering kiss... and then exits. MIMI's expression drops - her lover's presence lingers. Her heart now softened. She stands up, straightens her skirt, heads into the hallway. picks the telephone up and dials. Beat.</scene_description> <character>MIMI</character> <dialogue>Julia..</dialogue> </scene> <scene> <stage_direction>134B INT. CAFE -- DAY</stage_direction> <scene_description>The same raucous cafe where John and Julia met. JULIA sits at a far table, nervously smoking, looking towards the door. Finally MIMI enters. JULIA manages a wave and half- smile. MIMI heads over, takes her coat off, sits opposite. It's all tentative. Neither of them knowing what to say.</scene_description> <character>MIMI</character> <dialogue>Have you ordered?</dialogue> <scene_description>134B CONTINUED:</scene_description> <character>JULIA</character> <dialogue>Yes. Tea.</dialogue> <character>MIMI</character> <dialogue>Earl Grey?</dialogue> <character>JULIA</character> <dialogue>No...</dialogue> <scene_description>MIMI grimaces slightly. Looks round the shabby cafe.</scene_description> <character>MIMI</character> <parenthetical>(sarcastic)</parenthetical> <dialogue>Lovely.</dialogue> <character>JULIA</character> <parenthetical>(smiles softly)</parenthetical> <dialogue>John said you wouldn't set foot in a place like this.</dialogue> <character>MIMI</character> <dialogue>You spoke to him?</dialogue> <character>JULIA</character> <dialogue>We came here not long ago.</dialogue> <character>MIMI</character> <dialogue>Well, he knows me better than most.</dialogue> <scene_description>JULIA shifts uneasily. The TEA's are delivered.</scene_description> <character>JULIA</character> <parenthetical>(to Lillian)</parenthetical> <dialogue>Thanks.</dialogue> <scene_description>MIMI can't help a derisory look at LILLIAN as she goes. JULIA pours. MIMI stares at her through the steam.</scene_description> <character>JULIA</character> <dialogue>It's nice to see you.</dialogue> <character>MIMI</character> <dialogue>It was time we sat down together.</dialogue> <character>JULIA</character> <parenthetical>(pause)</parenthetical> <dialogue>Yes.</dialogue> <scene_description>MIMI eyes her.</scene_description> <character>MIMI</character> <dialogue>I'm not here to say I was wrong Julia. Not about John. I want to make that clear.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>But perhaps.... I haven't always been right.</dialogue> <scene_description>134B CONTINUED: (2) Beat.</scene_description> <character>MIMI</character> <dialogue>And now it needs to be right.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>John needs us to be right.</dialogue> <scene_description>Beat.</scene_description> <character>MIMI</character> <dialogue>I do love you... as silly as that sounds. I hope you know that.</dialogue> <scene_description>MIMI quickly lights up a cigarette, her honesty not easy for her. JULIA, tears in her eyes, can't help but reach for MIMI's hand across the table. FADE TO:</scene_description> </scene> <scene> <stage_direction>EXT. LIVERPOOL ART COLLEGE -- DAY</stage_direction> <scene_description>A bright, sunny autumn day. A HUGE VICTORIAN BUILDING with ARTY TYPES hanging around, BEATNICKS, PEACENICKS and TEDS. JOHN wanders out wearing one of Uncle George's jackets, collars up, drainpipes, white socks and winkle-pickers, hair piled up. Plasters cover string fingers, acoustic GUITAR slung across his back, carrying some rolled up ART-WORK. He stops at the top of the steps, breathes in the air. Nonchalantly lights a cigarette - heads down the steps.</scene_description> </scene> <scene> <stage_direction>EXT. MENDIPS/BACK GARDEN -- DAY</stage_direction> <scene_description>JOHN arriving home. He rounds to the back door when he stops surprised. MIMI and JULIA sit on deck chairs. Afternoon tea untouched in front of them. Both take in rays with winter coats on - eyes shut. FISHWICK prunes privets at the back. JOHN takes in the scene.</scene_description> </scene> <scene> <stage_direction>EXT. MENDIPS/BACK DINING ROOM -- MOMENTS LATER</stage_direction> <scene_description>MIMI and JULIA - skirts inched up above their pale calves - eyes shut. A shadow blocks the sun.</scene_description> <character>JOHN</character> <parenthetical>(deep coppers voice)</parenthetical> <dialogue>Do you own a license for these legs, ladies?</dialogue> <scene_description>They both shield their eyes, squint towards him. JOHN has a cagey smile on his face - unsure of how to proceed. 137 CONTINUED:</scene_description> <character>JOHN</character> <parenthetical>(eye-brow squint)</parenthetical> <dialogue>Nice day for it then?</dialogue> <character>JULIA</character> <dialogue>Everything feels so different in the sunshine.</dialogue> <character>JOHN</character> <dialogue>Yes. Usually warmer.</dialogue> <scene_description>He looks at them both - so different, and so much the same. MIMI and JULIA shift in their seats.</scene_description> <character>MIMI</character> <dialogue>How was college?</dialogue> <character>JOHN</character> <dialogue>A woman came in, took her kit off, and we painted her breasts... not actually, physically...</dialogue> <scene_description>He coughs comically. MIMI can't help but look flabbergasted. JULIA smiles.</scene_description> <character>JOHN</character> <dialogue>Got my eye on you two.</dialogue> <scene_description>He pretends to put an eye on each of their heads. Begins to wander back towards the house.</scene_description> <character>MIMI</character> <dialogue>Where are you going?</dialogue> <character>JOHN</character> <dialogue>Over there somewhere.</dialogue> <character>MIMI</character> <dialogue>Sit with us a while.</dialogue> <character>JOHN</character> <dialogue>Paul's waiting for me at his. Just dropping my art stuff off.</dialogue> <scene_description>MIMI turn to raise her eye-brows. Guitars.</scene_description> <character>MIMI</character> <dialogue>What about dinner?</dialogue> <character>JOHN</character> <dialogue>Not hungry.</dialogue> <character>MIMI</character> <dialogue>You will be.</dialogue> <character>JULIA</character> <dialogue>He can have it at my house...</dialogue> <scene_description>137 CONTINUED: (2) JULIA stops as she realises this could become contentious.</scene_description> <character>JULIA</character> <dialogue>Just with him being near... y'know, at Paul's... I mean if you're not making anything special, Mimi.</dialogue> <scene_description>There's a moment, JULIA nervous she may have overstepped the mark. MIMI, as usual poker-face.</scene_description> <character>MIMI</character> <dialogue>It'd save me cooking I suppose.</dialogue> <scene_description>Subtle relief. JOHN smiles, keeps walking in.</scene_description> <character>MIMI</character> <dialogue>John.</dialogue> <scene_description>He stops.</scene_description> <character>MIMI</character> <dialogue>You've still time to sit with us.</dialogue> <scene_description>JOHN knows he has no choice - he grabs a spare deckchair, places it next to JULIA. They all admire the sun in a soothing silence.</scene_description> </scene> <scene> <stage_direction>INT. PAUL'S HOUSE -- DAY</stage_direction> <scene_description>PAUL stringing up JOHN's guitar, tuning it. Quick, excited. He hands it back. JOHN takes a deep breath then launches into 'Hello Little Girl', his first ever song. Plays it to the end. JOHN checks for PAUL's reaction. Needs his affirmation. PAUL - no expression.</scene_description> <character>PAUL</character> <dialogue>Not bad for your first one..</dialogue> <scene_description>Then he gives him a big grin and THUMBS UP. JOHN relieved.</scene_description> <character>PAUL</character> <dialogue>What's it called?</dialogue> <scene_description>On JOHN - is he serious?</scene_description> </scene> <scene> <stage_direction>EXT. MENDIPS -- DAY</stage_direction> <scene_description>MIMI walking JULIA to the front gate.</scene_description> <character>JULIA</character> <dialogue>Are you around Saturday?</dialogue> <scene_description>MIMI, noncommittal but nice. 139 CONTINUED:</scene_description> <character>MIMI</character> <dialogue>Maybe.</dialogue> <scene_description>JULIA steals an unexpected small kiss on her sister's cheek. MIMI feels the love in it. JULIA sees it - she immediately follows it up with a tight hug. Hold.</scene_description> <character>MIMI</character> <dialogue>Don't be silly.</dialogue> <scene_description>Then JULIA suddenly breaks and walks off down MENLOVE, doesn't turn back. MIMI watches her for a second, a slight smile, turns, heads back inside.</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS/KITCHEN -- CONTINUOUS</stage_direction> <scene_description>MIMI walks into the kitchen, where FISHWICK is washing his hands. She stands next to him, washes her hands under the same tap, soon their hands are entwined. Soaped up.</scene_description> </scene> <scene> <stage_direction>EXT. MENLOVE AVENUE -- CONTINUOUS</stage_direction> <scene_description>JULIA, a spring in her step as she heads towards the bus- stop, meets NIGEL WHALLEY, on his bike.</scene_description> <character>NIGEL</character> <dialogue>John in?</dialogue> <character>JULIA</character> <dialogue>Paul's. I'm seeing him later though.</dialogue> <character>NIGEL</character> <dialogue>Tell him I've got a new booking down the Stanley Abattoir Social Club.</dialogue> <character>JULIA</character> <dialogue>Not there.</dialogue> <character>NIGEL</character> <dialogue>Why not?</dialogue> <character>JULIA</character> <dialogue>You'll get slaughtered.</dialogue> <scene_description>NIGEL and JULIA laugh sarcilly at the bad joke. He breaks off, we stay with him as he rides his bike up Vale Road. He grins again at the bad joke. JULIA, in the background, crossing the road - then suddenly the screeching of tyres 141 CONTINUED:</scene_description> <character>THUMP!</character> <dialogue>JULIA is wiped out.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL WAITING ROOM - LATER</stage_direction> <scene_description>Tight on JOHN slumped back in a chair. The worst possible news just delivered. Hear tears and visceral moans off. But we just stay on JOHN - still like death. 143 DELETED</scene_description> </scene> <scene> <stage_direction>INT/EXT. JULIA'S HOUSE -- DAY</stage_direction> <scene_description>The wake. The house full of NEIGHBOURS, FAMILY and FRIENDS. JOHN sits in the living room with MIMI and the OTHER SISTERS. He holds a large whiskey, stares at the pile of records and the gramophone.</scene_description> <character>NOTHING IS REAL</character> <dialogue>Then he hears the BANJO from the kitchen. His face clouds over, he necks his whiskey, storms in.</dialogue> <dialogue>PAUL is strumming the BANJO, the one Julia taught John on. All THE QUARRYMEN are dotted around.</dialogue> <character>JOHN</character> <dialogue>Is it band practice? I don't think so!</dialogue> <scene_description>He grabs the BANJO, heads outside into the garden, holding it by its neck - like a sledgehammer.</scene_description> <character>PETE</character> <dialogue>John!</dialogue> <scene_description>JOHN raises the BANJO above his head about to smash it down, when PETE catches it - rips it off him.</scene_description> <character>PETE</character> <dialogue>It's your Mum's!</dialogue> <character>JOHN</character> <dialogue>She's fuckin' dead!</dialogue> <scene_description>PETE hangs on tight. JOHN headbutts him. PETE hits the ground - still clutching the BANJO. PAUL rushes over, checks PETE is OK. JOHN steams off.</scene_description> <character>PAUL</character> <dialogue>John!</dialogue> <scene_description>He runs after him.</scene_description> </scene> <scene> <stage_direction>EXT. BLOMEFIELD ROAD/JULIA'S HOUSE -- CONTINUOUS</stage_direction> <character>PAUL</character> <dialogue>John!</dialogue> <scene_description>PAUL grabs JOHN's shoulder, stops him. JOHN turns around, aggression burning through, fists clenched.</scene_description> <character>PAUL</character> <dialogue>Wanna hit me too?</dialogue> <scene_description>JOHN on the verge.</scene_description> <character>PAUL</character> <dialogue>Go on then!</dialogue> <scene_description>BANG! A straight right lands in PAUL's face sending him crashing into the road. He stays down, blood spilling from his mouth. JOHN immediately remorseful.</scene_description> <character>JOHN</character> <dialogue>Paul, I'm sorry mate.</dialogue> <scene_description>JOHN picks PAUL up in his arms. Then suddenly hugs him tight.</scene_description> <character>JOHN</character> <dialogue>I'm sorry...</dialogue> <scene_description>PAUL hugs him back. JOHN's floodgates open. It all comes out. All the pain and anger, the tears that have been kept in for so long. PAUL hugs him back.</scene_description> <character>JOHN</character> <dialogue>I was just getting to know her.</dialogue> <character>PAUL</character> <dialogue>I know.</dialogue> <character>JOHN</character> <dialogue>She's never coming back.</dialogue> <character>PAUL</character> <dialogue>No... no, she's not.</dialogue> <scene_description>JOHN and PAUL in each other's arms, lying in the street, both crying.</scene_description> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE -- MOMENTS LATER</stage_direction> <scene_description>JOHN comes back in with PAUL. THE QUARRYMEN can tell they've both been crying. JOHN goes up to PETE, his bleeding nose wrapped in a dish towel. 146 CONTINUED:</scene_description> <character>JOHN</character> <dialogue>I'm a dick. Soz.</dialogue> <scene_description>JOHN starts crying again. As does PETE. Then all THE QUARRYMEN start crying. The whole kitchen at it. JOHN looks around.</scene_description> <character>JOHN</character> <parenthetical>(through his tears)</parenthetical> <dialogue>Right! Everyone stop fucking crying! We're meant to be a rock'n'roll band for christ's sake!</dialogue> <scene_description>PETE starts giggling, then JOHN... soon the whole room is full of watery giggles. BOBBY appears from the lounge.</scene_description> <character>BOBBY</character> <dialogue>John.</dialogue> <scene_description>JOHN wanders over. BOBBY hands him an envelope with money in.</scene_description> <character>BOBBY</character> <dialogue>She was saving this for you... stuff for college I think. Paints.</dialogue> <scene_description>JOHN takes the ENVELOPE. Knows exactly what it's for.</scene_description> </scene> <scene> <stage_direction>EXT. VICTORIAN TERRACED/PERCY PHILLIPS STUDIO -- DAY</stage_direction> <scene_description>Establisher. A normal house, normal street. JOHN and THE QUARRYMEN walk in carrying their instruments. OTHER BANDS stand around, smoking and waiting.</scene_description> </scene> <scene> <stage_direction>INT. RECEPTION/PERCY PHILLIPS STUDIO -- DAY</stage_direction> <scene_description>PERCY PHILLIPS, 60, owner and engineer, sits behind a small desk in the front room, smoking.</scene_description> <character>PERCY</character> <dialogue>Three quid.</dialogue> <scene_description>JOHN snarls, but takes the money from the envelope. Hands it over.</scene_description> <character>PERCY</character> <dialogue>Take a seat.</dialogue> <character>JOHN</character> <dialogue>How long?</dialogue> <character>PERCY</character> <dialogue>As long as it takes.</dialogue> <scene_description>JOHN and THE QUARRYMEN find a spare corner amongst the OTHER WAITING BANDS. 148 CONTINUED: CUT TO - the middle living room of the house, scattered MICROPHONES and HEAVY CURTAINS. THE QUARRYMEN sit in position ready for their first recording session. The song: 'In Spite Of All The Danger' JOHN, PAUL and GEORGE sit close to the CENTRAL SINGING MICROPHONE hung from the ceiling.</scene_description> <character>JOHN</character> <dialogue>1,2,3,</dialogue> <parenthetical>(sings)</parenthetical> <dialogue>In spite of all the danger...</dialogue> <scene_description>Stick with this haunting, melodic, momentous track, on this momentous occasion, all the way through. PAUL singing beautiful harmonies over JOHN's lead. GEORGE takes the guitar solo. THEY get to the end. JOHN looks at PAUL. Both nodding.</scene_description> <character>PAUL</character> <dialogue>One take wonders or what?</dialogue> <scene_description>PERCY PHILLIPS barges in.</scene_description> <character>PERCY</character> <dialogue>Crack on you lot! I've got three other groups waiting.</dialogue> <scene_description>He leaves.</scene_description> <character>JOHN</character> <dialogue>No choice with that twat.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>OK. Side B... Ready?</dialogue> <scene_description>PAUL nods.</scene_description> <character>JOHN</character> <dialogue>1,2,3</dialogue> <parenthetical>(sings)</parenthetical> <dialogue>Yeah, that'll be the day when you say goodbye...</dialogue> </scene> <scene> <stage_direction>EXT. JULIA'S HOUSE -- DAY</stage_direction> <scene_description>The Quarrymen's version of Buddy Holly keeps playing over the next three scenes. JOHN walks up the path, guitar slung over his back, THE NEW RECORD in his hands.</scene_description> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE -- MOMENTS LATER</stage_direction> <scene_description>An empty house. 150 CONTINUED: THE QUARRYMEN RECORD spinning on the gramophone - mid song. JOHN sits on the sofa - playing and singing along with his guitar. Begins to smile through the words... closes his eyes... and he floats off in a dream...</scene_description> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE (DAY-DREAM) -- CONTINUOUS</stage_direction> <scene_description>JULIA sits opposite JOHN - she plays along on THE BANJO, JOHN on his guitar. John's first band re-united... Both stare and smile at each other as they sing along to what is in fact</scene_description> <character>THE FIRST BEATLES RECORD</character> <dialogue>The instrumental kicks in, they get up, dance together. Jive. JOHN still with two left feet - both of them giggling.</dialogue> <dialogue>The track finishes, JULIA and JOHN look into each other's eyes, holding both hands.</dialogue> </scene> <scene> <stage_direction>INT. JULIA'S HOUSE -- MOMENTS LATER</stage_direction> <scene_description>JOHN finally opens his eyes, still sitting on the settee, the needle making a jumping noise at the end of the record - has been for some time. JOHN - a sad smile. FADE TO BLACK: FADE IN:</scene_description> </scene> <scene> <stage_direction>152A INT. MENDIPS - DAY</stage_direction> <scene_description>JOHN lets himself in. House silent.</scene_description> <character>JOHN</character> <dialogue>Mimi?!</dialogue> <scene_description>No answer. He makes his way into the morning room. Looks at himself in the mirror. Then his eyes drift off to the PHOTO of him, Mimi and Uncle George. He backs off, on the table is Mimi's CIGARETTES - he steals three.</scene_description> </scene> <scene> <stage_direction>152B EXT. MENDIPS/TREE HOUSE - MOMENTS LATER</stage_direction> <scene_description>JOHN smoking, staring back at Mendips.</scene_description> </scene> <scene> <stage_direction>152C INT. MENDIPS -- MOMENTS LATER</stage_direction> <scene_description>JOHN exploring. Wanders into the front room, runs his eyes through Mimi's book shelves. All the classics. He picks up Oscar Wilde's 'Happy Prince' - sticks that in his jacket too. 152C CONTINUED: CUT TO - JOHN glancing at Van Gogh's 'Sunflowers' as he climbs the stairs. CUT TO - his bedroom. JOHN sits on his bed - takes in his old room - no posters. He caresses the radio extension. Then lies back, contorts himself into his favourite position. Legs up against the wall. CUT TO - MIMI's room. JOHN gingerly opens the door. The first thing he notices - a double bed (a Fishwick consequence). He moves over to the dressing table, a small framed picture of a smiling five year old John. He frowns at himself. Next to the photo, a small silver trinket box - beautiful. He opens it:</scene_description> <character>A LOCK FROM JULIA'S RED HAIR</character> <dialogue>He stares at it and through it, into the past.</dialogue> <dialogue>He snaps out of it as we hear the front garden gate open and shut. JOHN looks out to see MIMI</dialogue> <scene_description>153 OMITTED</scene_description> </scene> <scene> <stage_direction>INT. MENDIPS -- MOMENTS LATER</stage_direction> <scene_description>MIMI lets herself in as JOHN comes down the stairs. He forces a sheepish smile.</scene_description> <character>MIMI</character> <dialogue>I thought it was burglars.</dialogue> <character>JOHN</character> <dialogue>I've had a quick scout and to be honest there's not a lot worth nicking.</dialogue> <scene_description>MIMI can't help a glimmer of smile. She heads to the morning room. JOHN following.</scene_description> <character>MIMI</character> <dialogue>You should have rung.</dialogue> <character>JOHN</character> <dialogue>We don't have a phone.</dialogue> <character>MIMI</character> <dialogue>Do you have anything of use in that hole you call a home?</dialogue> <character>JOHN</character> <dialogue>Ashtrays. Some of Stu's paintings... but ashtrays mostly.</dialogue> <character>MIMI</character> <dialogue>You'll catch something rotten.</dialogue> <scene_description>MIMI lights her own cigarette. No kisses. No hugs. 154 CONTINUED:</scene_description> <character>MIMI</character> <dialogue>To what do I owe the pleasure?</dialogue> <scene_description>Beat.</scene_description> <character>JOHN</character> <dialogue>I'm off to Hamburg... with the band.</dialogue> <character>MIMI</character> <dialogue>Hamburg?</dialogue> <character>JOHN</character> <dialogue>It's in Germany.</dialogue> <scene_description>MIMI shoots him a serious 'don't be cheeky' look.</scene_description> <character>JOHN</character> <dialogue>I'll be gone a couple of months... maybe more.</dialogue> <scene_description>MIMI trying not to look affected.</scene_description> <character>MIMI</character> <dialogue>This with the new band? What are they called again?</dialogue> <character>JOHN</character> <dialogue>Do you care?</dialogue> <character>MIMI</character> <parenthetical>(shrugs)</parenthetical> <dialogue>They sound all the same to me.</dialogue> <scene_description>JOHN manages a half smile.</scene_description> <character>JOHN</character> <dialogue>We leave Saturday.</dialogue> <scene_description>MIMI taken aback. So Soon.</scene_description> <character>JOHN</character> <dialogue>Have you got my birth certificate? I need it to get a passport.</dialogue> </scene> <scene> <stage_direction>INT. MENDIPS/MORNING ROOM -- DAY</stage_direction> <scene_description>MIMI comes downstairs with John's BIRTH CERTIFICATE - she leaves it on the table. JOHN digs in his jacket - gets out a passport application form.</scene_description> <character>JOHN</character> <dialogue>Can you sign this.</dialogue> <scene_description>MIMI gives him a 'manners' look. 155 CONTINUED:</scene_description> <character>JOHN</character> <dialogue>Please.</dialogue> <scene_description>He sets it out on the table, grabs a nearby pen.</scene_description> <character>JOHN</character> <dialogue>Where it says 'Parent or Guardian'.</dialogue> <character>MIMI</character> <dialogue>Which am I?</dialogue> <scene_description>MIMI signs.</scene_description> <character>JOHN</character> <dialogue>Both.</dialogue> <scene_description>MIMI - her heart touched.</scene_description> <character>SHE GRABS JOHN FOR A HUG. TIGHT.</character> <dialogue>JOHN totally taken by surprise. Fighting back the tears - smiling at the same time. Mimi and hugs don't go together.</dialogue> <character>JOHN</character> <dialogue>...don't be silly.</dialogue> <scene_description>MIMI releases him. He sets off down the hallway. MIMI doesn't want him to go. Wants to reach out.</scene_description> <character>MIMI</character> <parenthetical>(filling up)</parenthetical> <dialogue>John!</dialogue> <scene_description>JOHN stops by the front door, doesn't turn round, tears in his eyes too, doesn't want to show Mimi.</scene_description> <character>MIMI</character> <dialogue>Glasses.</dialogue> <scene_description>JOHN half smiles, reaches in his jacket, puts his GLASSES on. Opens the door.</scene_description> <character>JOHN</character> <dialogue>I'll call when I get to Hamburg, OK?</dialogue> <character>MIMI</character> <dialogue>Don't forget... please.</dialogue> <scene_description>He disappears. ON MIMI - alone.</scene_description> </scene> <scene> <stage_direction>EXT. MENDIPS -- CONTINUOUS</stage_direction> <scene_description>JOHN ambles down the path, through the gate. Locks himself out. Takes in Mendips. 156 CONTINUED: Flick through a collage of an empty Mendips - the porch; the treehouse; The 'Sunflowers' print; the book shelf full of classics; his bedroom; the photos: the lock of red hair.</scene_description> <character>HOME.</character> <dialogue>Checks Mimi's not looking and takes his GLASSES off, puts them in his pocket... and sets off down Menlove Avenue.</dialogue> <dialogue>Away from us - and into The Beatles.</dialogue> <character>CAPTION</character> <dialogue>JOHN CALLED MIMI AS SOON AS HE</dialogue> <character>ARRIVED IN HAMBURG...</character> <dialogue>The funeral bells of Lennon's 'Mother', ring out.</dialogue> <character>CAPTION</character> <dialogue>...AND EVERY WEEK THEREAFTER FOR</dialogue> <character>THE REST OF HIS LIFE.</character> <dialogue>FADE TO BLACK</dialogue> <character>LENNON</character> <parenthetical>(singing)</parenthetical> <dialogue>Mother, you had me,</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>but I never had you,</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I wanted you,</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>you didn't want me,</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>so I,</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>I just gotta tell you,</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Goodbye.</dialogue> <parenthetical>(pause)</parenthetical> <dialogue>Goodbye.</dialogue> <scene_description>The songs plays out. Roll credits.</scene_description> <character>THE END</character> </scene> </script>

The drama tells the story of John Lennon's teenage years from 1955 to 1960. John was separated from his mother, Julia Lennon, when he was five. His aunt and uncle, Mimi and George Smith, raised him like a son. John is close to his Uncle George, who dies suddenly when John is 14. John becomes curious about his mother, who has since had three daughters, one of whom was placed for adoption. He becomes obsessed with rock and roll music during a visit to Blackpool with Julia. When John is suspended from school, Julia allows him to stay at her house during the day to keep Mimi from finding out. Julia teaches John how to play the banjo. Mimi discovers their arrangement, but John refuses to go home with her and stays at Julia's. A week later, John overhears Julia and her common-law husband arguing about him, so he returns to Mimi's. When John wants to start a rock 'n' roll band, Mimi buys him a guitar. John forms a band named the Quarrymen. At their first gig at a village fête, John meets Paul McCartney. Paul auditions and joins the band. Paul and John soon begin composing songs together. As the Quarrymen gain popularity, John meets Paul's friend, George Harrison, who becomes the band's lead guitarist. At a birthday party Julia throws for John, he confronts her about his absent father, Alf Lennon. He wants to know why Julia gave him up. He also confronts Mimi, who says Julia cheated on Alf and did not want to stay with him. Alf had asked 5-year-old John to choose whom he wanted to live with. John initially chose his father, though he then wanted to stay with his mother. Without either parent having the time or money to legally determine custody, Mimi became John's custodian. John is upset by this revelation, and leaves in a drunken anger. John moves out to live on his own. Over time, he, Julia, and Mimi become friendly. When Julia is fatally hit by a car, John is consumed by anger. Two years later, he goes to travel to Hamburg with his newly formed band, the Beatles. Mimi asks John to call her as soon as he arrives. The film ends with the caption, "John phoned Mimi as soon as he arrived in Hamburg...and every week thereafter for the rest of his life."

Friday the 13th_1980

tt0080761

<script> <scene> <stage_direction>EXT. ROAD - DAY</stage_direction> <scene_description>The TRACK is SILENT . The CAMERA looks at a sign . It reads : CAMP CRYSTAL LAKE , Established 1935 . Gradually we can begin to hear , in the BG , the SOUNDS of CHILDREN playing .</scene_description> </scene> <scene> <stage_direction>EXT. SOFTBALL FIELD - DAY</stage_direction> <scene_description>In the BG a few dozen CHILDREN , in camp uniforms , are enjoying a game of softball . In the FG CLAUDETTE is looking for someone . CLAUDETTE is 17 years old . She is pretty . She wears a t - shirt with `` Assistant Counsellor '' written on it . She fills out the shirt very well . Failing to find whomever she is looking for , CLAUDETTE walks quickly in the opposite direction . The CAMERA holds on the game for a few seconds and we JULY 4 , 1958 . The CHILDREN 'S VOICES FADE slowly .</scene_description> </scene> <scene> <stage_direction>EXT. RIFLE RANGE - DAY</stage_direction> <scene_description>ECU as a COUNSELLOR squeezes off a shot . The paper target is ripped in the black . The COUNSELLOR hands the weapon to a CAMPER who snaps in at the line . CLAUDETTE shouts up to the COUNSELLOR from the BG .</scene_description> <character>CLAUDETTE</character> <dialogue>Have you seen Barry?</dialogue> <scene_description>The COUNSELLOR smiles . Shrugs .</scene_description> <character>COUNSELLOR</character> <dialogue>He and Chloe were at the Lodge last time I saw him.</dialogue> <scene_description>CLAUDETTE leaves . The COUNSELLOR smiles .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN LODGE - DAY</stage_direction> <scene_description>Two CHILDREN run by carrying Indian headdresses . CLAUDETTE passes them impatiently as she sees BARRY and CHLOE . BARRY is leaning against the front rail of the porch , his arms behind his head - the better to show off his physique to CHLOE , and Assistant Counsellor , who is currently looking at him with cow eyes . In the BG we can hear a portable radio blaring out an Everly Brothers hit . BARRY is 17 , handsome and out for all he can get . He is not ashamed for being caught with this other good - looking girl .</scene_description> <character>CLAUDETTE</character> <dialogue>We've got to talk.</dialogue> <scene_description>BARRY looks at CHLOE , then eases off the rail . Nods .</scene_description> <character>BARRY</character> <dialogue>Okay.</dialogue> <scene_description>BARRY puts an arms around CLAUDETTE , looks over his shoulder at CHLOE , and saunters off with the former . The Everly Brothers continue as we :</scene_description> </scene> <scene> <stage_direction>EXT. LAKE - DAY</stage_direction> <scene_description>From over the tops of a rack of canoes we see BARRY and CLAUDETTE walking along the shore .</scene_description> <character>CLAUDETTE</character> <dialogue>You said we were special.</dialogue> <character>BARRY</character> <dialogue>I meant everything.</dialogue> <scene_description>In the BG , CHILDREN leap into the water .</scene_description> <character>BARRY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>You know what I said, though.</dialogue> <character>CLAUDETTE</character> <dialogue>I ca n't, Barry.</dialogue> </scene> <scene> <stage_direction>EXT. FOREST - DAY</stage_direction> <scene_description>The TRACK goes SILENT . BARRY &amp; CLAUDETTE walk along a path . This is not an aimless walk , for BARRY knows exactly where he wants to go . He leaves the path and goes to sit on a log in a small clearing . CLAUDETTE hesitates , then goes to sit next to him .</scene_description> <character>BARRY</character> <dialogue>I care very much.</dialogue> <scene_description>He puts an arm around her and draws her close . They kiss . They separate .</scene_description> <character>CLAUDETTE</character> <dialogue>Does Chloe kiss as good as I do?</dialogue> <scene_description>BARRY decides to be politic .</scene_description> <character>BARRY</character> <dialogue>I would n't know.</dialogue> <character>CLAUDETTE</character> <dialogue>Oh, you.</dialogue> <scene_description>She kisses him and they are locked . A bird calls , wheels across the patch of sky above . The CAMERA shifts to ANOTHER ANGLE : Just beyond the thicket of lacy vines . It is a slow tracking shot which gives the impression that we are watching the action from the POV of another person , an unseen visitor . watching the two teen - aged Assistant Counsellors making their first sexual encounters . This unseen observer will be called the PROWLER . BARRY reaches up outside CLAUDETTE 'S t - shirt to hold her breast . She reaches up to take his hand away .</scene_description> <character>BARRY</character> <dialogue>Claudette.</dialogue> <character>CLAUDETTE</character> <dialogue>Somebody'll see.</dialogue> <character>BARRY</character> <dialogue>No, they wo n't.</dialogue> <scene_description>He ends the argument by snaking his hand inside her t - shirt so that part of her bra is exposed . He seals her protesting lips by kissing her . From the PROWLER 's POV , the CAMERA MOVES to get a better angle . A hand moves into FRAME and pulls back some branches to clear the field of vision . A branch pops .</scene_description> <character>CLAUDETTE</character> <parenthetical>( in a thick whisper . )</parenthetical> <dialogue>Somebody's there, Barry.</dialogue> <character>BARRY</character> <dialogue>Come on, Claudette. A man's not made of stone.</dialogue> <character>CLAUDETTE</character> <dialogue>Let's go back, Barry.</dialogue> <character>BARRY</character> <dialogue>I need you so much, Claudette.</dialogue> <scene_description>BARRY leans in and unhooks her bra . They kiss again , passionately . The PROWLER pauses , then moves , never seen - except for a bit of foot or hand - from the POV of the CAMERA , closer and closer as the two TEENAGERS become more and more oblivious . Closer . The THEME has snuck in . It becomes discordant . It swells . Closer . QUICK CUT to BARRY &amp; CLAUDETTE 'S faces , their eyes closed , the perspiration streaking their flushed skin . Suddenly CLAUDETTE looks up into the CAMERA with terror . A hatchet flashes into FRAME and CLAUDETTE goes down under the blow . The CAMERA TURNS TO BARRY . The PROWLER 's powerful hand has him by the throat . He backpeddles , trying to get away . ANOTHER ANGLE : as BARRY is stopped against a tree . A hunting knife soars against the leafy sky . BARRY grabs the knife - hand at the wrist . The knife falls to the mossy floor of the clearing . Two hands go for the free blade . BARRY 's hand has it . There is a confused jumble of struggle . Onto the bed of moss falls the little finger of the PROWLER . REACTION SHOT : BARRY , horrified by the sight . The PROWLER 's hand has the knife . It moves quickly forward . We can hear the blade strike . BARRY stares up at the sky in a soundless shriek . MCU the moss where the finger fell . The PROWLER reaches into FRAME , picks up the finger , and exits FRAME . QUICK CUT TO : CHLOE , out searching for the missing Counsellors . She stands at the edge of the clearing , her hands pressed on her temples , her throat filled with a scream of terror . The MUSIC has stopped abruptly . THE SCREEN BLEEDS TO WHITE . It is completely SILENT . TITLE SEQUENCE The screen is completely black . A small white shape starts to ZOOMS towards the FG . The shape becomes a three - dimensional rendering of FRIDAY THE 13TH . Just as it gets to its final position , the FRIDAY 13 logo shatters a previously unseen pane of glass . There is a loud crash . The logo shifts to the upper left corner of the FRAME as we ROLLS TITLES , white on black . The THEME MUSIC is a reprise of the THEME we heard during the Forest sequence , now done in a childlike arrangement . TITLES END and the MUSIC fades out .</scene_description> </scene> <scene> <stage_direction>EXT. RURAL TOWN - EARLY MORNING</stage_direction> <scene_description>The TRACK is SILENT . In a LONG SHOT we see the one main street . A newspaper delivery truck drives away from the CAMERA . A GIRL walks down the street . Superimposed title : THE PRESENT . A MEDIUM SHOT in front of the bank reveals a day/date/time / temp sign which blinks : FRIDAY , 13 . 7:01 . 60 Degrees . FRIDAY , 13 . 7:01 . 60 Degrees . We can begin to hear a small - town DJ OVER as a pick - up truck moves down the street past the GIRL in her late teens . She has a knapsack , a freshly scrubbed face , jeans , and a plaid shirt . She wears her hair in a long braid . She wears Nike jogging shoes . This is ANNIE .</scene_description> <character>DJ</character> <parenthetical>( V.O . )</parenthetical> <dialogue>It's 7:01 on Friday the 13th of June. This is Big Dave and it's time for you lazy bones to GET OUT OF BED! It's black cat day in Crystal Lake. Do n't forget the big drawing today to see who gets our FRIDAY THE 13TH Monster Surprise : either a man's digital continuous readout watch or a Panasonic color television set!</dialogue> </scene> <scene> <stage_direction>INT. DINER - MORNING</stage_direction> <scene_description>In CU a hand moves to turn down an old brown plastic radio from which Big Dave is doing his morning - man routine .</scene_description> <character>DJ</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Do n't walk under a ladder! Do n't spill any salt, do n't.</dialogue> <scene_description>The radio is turned way down . We see that the hand belongs to TRUDY , a hefty waitress who wears her golden hair in a bun with a pencil stuck in it . BUDDY , the boss , is seen in the BG working the grill . The regulars are there : five MEN and two WOMEN who always come in for breakfast . They are the retailers , the oil delivery man , the switchboard operators , and the cop . ANNIE walks in the front door , crosses the past the cash register and walks down the counter .</scene_description> <character>SALESMAN</character> <dialogue>I'm sick of them repeats.</dialogue> <character>TRUDY</character> <dialogue>I musta seen that Kojak 82 times.</dialogue> <character>ANNIE</character> <dialogue>Excuse me. How far is Camp Crystal Lake?</dialogue> <character>OPERATOR</character> <dialogue>Camp Blood?</dialogue> <character>SALESMAN</character> <dialogue>They gon na open that place again?</dialogue> <character>TRUDY</character> <dialogue>What is it, Eddie? Forty miles?</dialogue> <character>COP</character> <dialogue>I heard they were gon na try it.</dialogue> <character>OIL MAN</character> <dialogue>Lotsa luck.</dialogue> <character>EDDIE</character> <dialogue>Bout that.</dialogue> <character>SALESMAN</character> <parenthetical>( with a wink . )</parenthetical> <dialogue>Be an interesting summer.</dialogue> <character>ANNIE</character> <dialogue>Can I get a bus or something?</dialogue> <character>TRUDY</character> <dialogue>Not likely. Sam? You goin' out to the crossroads?</dialogue> <scene_description>The OIL MAN nods .</scene_description> <character>TRUDY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Give her a lift? That's hallway.</dialogue> <character>OIL MAN</character> <parenthetical>( paying up . )</parenthetical> <dialogue>No sweat, Trudy. Let's do it to it, kid.</dialogue> <character>ANNIE</character> <dialogue>Name's Annie.</dialogue> <character>OIL MAN</character> <dialogue>Okay, Annie. Let's go.</dialogue> <scene_description>ANNIE steps aside as the OIL MAN heads for the front door . He is smirking . He 's fifty , strong , and balding . He makes no attempts to hide his appreciation for ANNIE 's figure . They exits .</scene_description> <character>TRUDY</character> <dialogue>I would n't send my kids to that camp for all the tea in China.</dialogue> <character>SALESMAN</character> <parenthetical>( kidding . )</parenthetical> <dialogue>I thought you hated your kids.</dialogue> <scene_description>TRUDY looks around , does a take , then laughs .</scene_description> </scene> <scene> <stage_direction>EXT. TOWN STREET - MORNING</stage_direction> <scene_description>ANNIE walks a half step behind the OIL MAN , heading for his truck which is parked there on the street .</scene_description> <character>OIL MAN</character> <dialogue>All the girls up there gon na look as good as you?</dialogue> <character>ANNIE</character> <dialogue>I do n't know.</dialogue> <scene_description>ANNIE wonders if she should accept the ride with this guy . Suddenly , from between two parked cars pops RALPH , a crazy hobo who has two dead rats in his mouth , their tails in his teeth ; they swing from him like a strange beard .</scene_description> <character>OIL MAN</character> <dialogue>Goddamnit, Ralph! Get outta here.</dialogue> <parenthetical>( to ANNIE . )</parenthetical> <dialogue>Do n't worry about him. He's harmless.</dialogue> <parenthetical>( back to Ralph . )</parenthetical> <dialogue>G'won. Git!</dialogue> <character>RALPH</character> <dialogue>It's Friday the 13th.</dialogue> <scene_description>He giggles and skulks away .</scene_description> <character>OIL MAN</character> <dialogue>Climb on up, Miss..</dialogue> <scene_description>The OIL MAN gives her a boost up and then climbs aboard the rig .</scene_description> </scene> <scene> <stage_direction>INT. OIL TRUCK - DAY</stage_direction> <scene_description>As the truck pulls away , we see RALPH through the windshield , standing at the edge of the road . He is angry and upset now . He pats his rats . The OIL MAN shifts , looks over and smiles . His two front teeth are missing on top .</scene_description> <character>OIL MAN</character> <dialogue>Must be the fourth time somebody's tried to reopen that place.</dialogue> <character>ANNIE</character> <dialogue>Camp Crystal Lake?</dialogue> <scene_description>He nods .</scene_description> <character>OIL MAN</character> <dialogue>Something always happens up there.</dialogue> <scene_description>He turns on the radio in the cab and we hear the DJ again .</scene_description> <character>DJ</character> <parenthetical>( V.O . )</parenthetical> <dialogue>of bed. I'm gon na count to three and then you better get up. It's 7:24. A beautiful day. Weatherman Dr. Jim says it's gon na be a nine point five day. Here's Meatloaf from the Bat Out of Hell album.</dialogue> </scene> <scene> <stage_direction>EXT. RURAL ROADS - DAY</stage_direction> <scene_description>The oil truck thunders along the road .</scene_description> </scene> <scene> <stage_direction>EXT. RURAL CROSSROADS - DAY</stage_direction> <scene_description>The oil truck has stopped . ANNIE stands alongside the driver 's side .</scene_description> <character>OIL MAN</character> <dialogue>Do n't let the spooks getcha, Annie.</dialogue> <scene_description>ANNIE smiles .</scene_description> <character>ANNIE</character> <dialogue>No sweat. Thanks a lot for the lift.</dialogue> <scene_description>He nods and shakes his head with the sense of what might have been if he were thirty years younger . He puts it in gear and roars off . ANNIE looks around and sees an old gas station . It is closed . There 's a sign which reads : `` No Gas 'Til Sat . '' A mangey dog sits on the stoop watching ANNIE . ANNIE kneels down and calls the dog . The dog comes . ANNIE pets him and then heads off up the road . The dog watches her go .</scene_description> </scene> <scene> <stage_direction>EXT. RURAL HIGHWAY - DAY</stage_direction> <scene_description>ANNIE is beginning to get worried about the time . It 's hot and she 's late . She looks up . From her POV a Jeep barrels along the road towards us . ANNIE puts out her numb .</scene_description> </scene> <scene> <stage_direction>INT. JEEP - DAY</stage_direction> <scene_description>From the DRIVER 'S POV , we see ANNIE waiting for a lift . The DRIVER , unseen , shifts down until ANNIE is alongside . The Jeep , an uncovered model , stops . ANNIE smiles a big delicious smile at us as we sit in the DRIVER 's seat .</scene_description> <character>ANNIE</character> <dialogue>Hiya! I'm headed for Camp Crystal Lake. Can you help me out?</dialogue> <scene_description>Apparently the DRIVER nods , because ANNIE beams at us . She tosses her pack in the back and hops aboard . The DRIVER accelerates .</scene_description> </scene> <scene> <stage_direction>EXT. RURAL ROADS - DAY</stage_direction> <scene_description>The Jeep roars along the road . The sun and shadows keep us from seeing the DRIVER .</scene_description> </scene> <scene> <stage_direction>INT. JEEP - DAY</stage_direction> <scene_description>Still in the DRIVER 's POV , the CAMERA watches as ANNIE looks around , admires the woods , the Jeep , the day . Things are going her way .</scene_description> <character>ANNIE</character> <dialogue>I ca n't remember being this excited about anything. I want to be a teacher when I finish at Southern State. I guess I've always wanted to work with children. I hate it when people call'em kids. Sounds like little goats.</dialogue> <scene_description>The forest outside the speeding Jeep is deeper and signs of civilization have all but disappeared . ANNIE still turns and looks at the CAMERA when she speaks to the DRIVER .</scene_description> <character>ANNIE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>The job market for teachers is supposed to be the pits these days, but I do n't care. When you have a dream as long as I have, you'll do anything.</dialogue> <scene_description>A look of surprise passes ANNIE 's young face .</scene_description> <character>ANNIE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Was n't that Camp Crystal Lake? Just back there?</dialogue> </scene> <scene> <stage_direction>EXT. RURAL ROADS - DAY</stage_direction> <scene_description>In the FG the sign for Camp Crystal Lake . In the BG , the Jeep roars off into the distance .</scene_description> </scene> <scene> <stage_direction>INT. JEEP/DRIVER'S POV - DAY</stage_direction> <character>ANNIE</character> <parenthetical>( frightened , confused . )</parenthetical> <dialogue>I think we better stop. Please stop. Please! Stop!</dialogue> <scene_description>The Jeep 's speed increases .</scene_description> <character>ANNIE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Please!</dialogue> <scene_description>ANNIE grabs for the ignition key , but the DRIVER 's hand darts out and slaps ANNIE away . We see that this hand is missing its little finger ! Panicked , without any other recourse , ANNIE looks about her and then leaps from the moving Jeep , aiming for the relatively soft underbrush alongside the narrow road .</scene_description> </scene> <scene> <stage_direction>EXT. ROADSIDE - DAY</stage_direction> <scene_description>ANNIE lands , rolls , is upended , scratched by brambles , and flips . She scrambles to her feet and starts running towards the camp .</scene_description> </scene> <scene> <stage_direction>EXT. RURAL ROAD - DAY</stage_direction> <scene_description>The Jeep stops , turns quickly , heads back for her .</scene_description> </scene> <scene> <stage_direction>INT. JEEP - DAY</stage_direction> <scene_description>From the DRIVER 's POV we see ANNIE run , looking back in fear .</scene_description> </scene> <scene> <stage_direction>EXT. ROADSIDE - DAY</stage_direction> <scene_description>ANNIE 's feet pound the hard - packed dirt . She looks over her shoulder to see the Jeep . The sun flares on the Jeep 's windshield , keeping us from being able to see any details of the DRIVER . In a final desperate move , ANNIE drives into the underbrush to escape . The Jeep skids to a stop .</scene_description> </scene> <scene> <stage_direction>EXT. ROADSIDE/WOODS - DAY</stage_direction> <scene_description>The CAMERA becomes the DRIVER and chases into the thicket . Branches and briars snap back at us . Just ahead , the terror - stuck ANNIE stumbles and falls . She screams as a knife flashes past her in a blur . When the knife has passed , all we can see is a look of surprise on ANNIE 's face . The CAMERA PULLS BACK . Her throat has been cut . She collapses out of FRAME . A bird soars across the sky above . The TRACK is SILENT .</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - DAY</stage_direction> <scene_description>A gaily decorated camper - van travels along the highway . We hear rock 'n roll OVER coming from a car radio as this much - in - need - of - repair vehicle passes a slower car .</scene_description> </scene> <scene> <stage_direction>INT. CAMPER VAN - DAY</stage_direction> <scene_description>In the camper van are three young people . They are full of fun , fresh and expectant as they head towards Crystal Lake . They are instantly likeable . At the wheel is NED , a short 22 - year - old whose well - developed upper body is a tribute to his weight - lifting . He is nice - looking , a joker who is always trying to get some attraction . He is funny and alert . Next to him is JACK , an athlete whose clean - cut look is as American as popcorn . He is quieter , two years younger and not as smart as NED . He has to think things through . MARCIE is JACK 's girlfriend . She is leaning over the front passenger seat so she can messenger JACK 's shoulders . She is a funny girl , pretty , and always looking for fun . She enjoys every minute of every day . She has n't been touched by tragedy .</scene_description> <character>MARCIE</character> <dialogue>Sex is all you ever think of, Neddy.</dialogue> <character>NED</character> <dialogue>There you are dead wrong.</dialogue> <character>JACK</character> <dialogue>Ha!</dialogue> <character>NED</character> <dialogue>Sometimes I only think about kissing women.</dialogue> <scene_description>MARCIE finds a sore spot on JACK 's back .</scene_description> <character>JACK</character> <dialogue>Ow!</dialogue> <character>NED</character> <dialogue>I was just wondering if you thought there'd by any other gorgeous women at Camp Crystal Lake. Besides yourself.</dialogue> <character>MARCIE</character> <dialogue>You are a true pierce of work, Ned.</dialogue> <scene_description>MARCIE hits NED on the arms , playfully .</scene_description> <character>MARCIE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>How about our last jay?</dialogue> <character>JACK</character> <dialogue>Good call.</dialogue> <scene_description>JACK reaches into the glove compartment and comes out with a joint .</scene_description> <character>NED</character> <dialogue>What about the dope paragraph in Mr. Christy's letter?</dialogue> <character>JACK</character> <dialogue>Quote : Controlled substances are expressly forbidden. Possession or use of marijuana or alcohol on campgrounds will means instant dismissal. Unquote.</dialogue> <character>MARCIE</character> <dialogue>We got two weeks before the kids even arrive. Then I'll act responsibly. Until then, hit me.</dialogue> <scene_description>She takes the lighted joint and tokes .</scene_description> </scene> <scene> <stage_direction>EXT. CAMP CRYSTAL LAKE ENTRANCE - DAY</stage_direction> <scene_description>The van turns past the sign that reads : CAMP CRYSTAL LAKE - Established 1935 .</scene_description> </scene> <scene> <stage_direction>INT. VAN - DAY</stage_direction> <scene_description>MARCIE is wide - eyed , looking at the lush surroundings .</scene_description> <character>MARCIE</character> <dialogue>It's beautiful.</dialogue> <character>NED</character> <dialogue>Yeah, and it also look like it has n't seen a coat of paint in six years.</dialogue> </scene> <scene> <stage_direction>EXT. CAMP DRIVE - DAY</stage_direction> <scene_description>The CAMERA SEES what NED saw . The buildings are run down at the heels . It is the same camp we saw in the early scenes , but time has torn the place badly . The van passes the CAMERA and we see the three new ARRIVALS looking out the window .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN CAMP AREA - DAY</stage_direction> <scene_description>This is the main building . It is the building where Barry and Claudette met . Outside is a flagpole , a small parking area , a large overhanging tree . In the BG we can see part of the lake . In the FG there is a Jeep .</scene_description> </scene> <scene> <stage_direction>EXT. CAMP MAIN AREA - DAY</stage_direction> <scene_description>An axe flashes through the FRAME and hacks apart the halves of a huge tree stump . The CAMERA PULLS BACK to reveal a middle - aged man in cut - offs , a bare chest , hiking boots and beat - up cowboy hat . This is STEVE CHRISTY . He is strong , charming , and engaging . He is animated , always in motion , impatient with how long it takes to do things . In the BG the van comes to a stop . No sooner has JACK hopped down , than STEVE is beckoning him over .</scene_description> <character>STEVE</character> <dialogue>Wanta give me a hand here?</dialogue> <scene_description>JACK smiles and comes quickly .</scene_description> <character>STEVE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Alice?</dialogue> <scene_description>NED steps down from the van and now we can see that he has had polio when he was a kid . His upper body is strong , but his legs are slightly deformed . He and MARCIE hustle over to the big stump .</scene_description> <character>STEVE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Wanta roll this sucker out of the way. Alice?</dialogue> <scene_description>ALICE comes into the MS. She is carrying a shovel and a bucket and has obviously been working for a couple of hours .</scene_description> <character>ALICE</character> <dialogue>Cabin B is ready.</dialogue> <character>STEVE</character> <dialogue>Push on this side. Alice, this is Jack, Marcie and Ned. Push.</dialogue> <scene_description>They exchange `` hellos '' as they bend to the work .</scene_description> <character>STEVE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>That's got her. Thanks. I'm Steve Christy. Welcome to Camp Crystal Lake. You got some grubby clothes? Climb into'em. Alice, see if Bill has cleaned out the boathouse. I want him to start with the canoes. What happened to Brenda?</dialogue> <character>ALICE</character> <dialogue>You told her to sweep the courts.</dialogue> <scene_description>STEVE sets off .</scene_description> <character>STEVE</character> <dialogue>I'd rather she painted. Let's go, folks.</dialogue> <scene_description>As soon as he 's gone , NED turns to ALICE .</scene_description> <character>NED</character> <dialogue>I thought we had two weeks.</dialogue> <scene_description>ALICE shrugs .</scene_description> <character>ALICE</character> <dialogue>You can changed in three.</dialogue> </scene> <scene> <stage_direction>EXT. EDGE OF LAKE - DAY</stage_direction> <scene_description>The CAMERA looks down a long line of canoes , each with its hull up . A brush slaps into view . BILL is sweating while finishing a coat of paint on the last canoe . BILL is a thin , ascetic - looking college sophomore . He rubs his long thin rose with the back of his wrist as he hears someone call his name OS . He turns to see ALICE at the bottom of the trail .</scene_description> <character>ALICE</character> <dialogue>Steve said for you to start on the boats.</dialogue> <character>BILL</character> <dialogue>I finished the boats.</dialogue> <scene_description>ALICE nods slowly .</scene_description> <character>ALICE</character> <dialogue>I'll tell him.</dialogue> <scene_description>She turns away .</scene_description> <character>BILL</character> <dialogue>Alice? The others show up?</dialogue> <character>ALICE</character> <dialogue>Everybody except the girl who's supposed to handle the kitchen. Annie.</dialogue> <scene_description>BILL puts his brush in a coffee can of turps . ALICE look at him , then turns again .</scene_description> <character>BILL</character> <dialogue>You think you're gon na last all summer?</dialogue> <character>ALICE</character> <dialogue>I'm not sure I'll last all week.</dialogue> <parenthetical>( pauses . )</parenthetical> <dialogue>I'll tell Steve.</dialogue> </scene> <scene> <stage_direction>EXT. GIRL'S CABIN - DAY</stage_direction> <scene_description>STEVE and NED are rehanging a door . Next to them is BRENDA , a dark Eurasian girl who is trying to do a good job of painting the wall . On the other side MARCIE is scraping some flaking paint .</scene_description> <character>STEVE</character> <dialogue>Shim it up just a scooch.</dialogue> <scene_description>NED levers the door higher at the top .</scene_description> <character>STEVE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Perfection. Hold it.</dialogue> <scene_description>STEVE uses a long ratchet screwdriver .</scene_description> <character>STEVE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>To answer your question, my parents once owned this camp. There were some tragic accidents and they went bankrupt. I promised them I'd reopen if I could. See if it closes right now.</dialogue> <scene_description>NED swings the door on its hinges .</scene_description> <character>NED</character> <dialogue>Looks good.</dialogue> <character>STEVE</character> <dialogue>Perfection. Did you meet Brenda?</dialogue> <scene_description>BRENDA turns and nods .</scene_description> <character>STEVE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>She's archery. He's rifle ranged. And I'm behind schedule. Let's go, Ned.</dialogue> <scene_description>They exit with the tool box . MARCIE stops and turns to BRENDA , who looks upward and blows the hair from her forehead .</scene_description> </scene> <scene> <stage_direction>EXT. EDGE OF THE LAKE - DAY</stage_direction> <scene_description>STEVE , ALICE , BRENDA , MARCIE , NED , JACK and BILL are lugging a swimming float down to the water 's edge . STEVE supervises as he carries the thing , which is quite heavy . They ad - lid as appropriate . -LRB- `` There goes my hernia . '' `` Are you sure you 're lifting ? '' `` Not so fast . '' `` I 'm walking backward . '' -RRB- They drop the things carefully .</scene_description> <character>STEVE</character> <dialogue>Come on back here and let's above the float in.</dialogue> <scene_description>They get behind it and shove it into the water . NED hops aboard for the ride , flipping into a handstand .</scene_description> </scene> <scene> <stage_direction>INT. EQUIPMENT SHED - DAY</stage_direction> <scene_description>The screen has gone completely black . The door to the shed is whipped open quickly , letting in the full brightness of the sun . There is a shape . The CAMERA IRISES DOWN so that we can see that JACK has come in on an errand . As JACK looks around , we can take the time to see that there are a half - dozen lantern , a few cans of lantern fuel , a couple of hibachis , some entrenching tools packs , portable ice chests , etc. . Up on the long side wall are a half - dozen hunting knives in sheathes , also hanging neatly . Suddenly a hand comes into FRAME and touches JACK on the shoulder as he is preoccupied with his task . JACK turns with a start . He looks into the CAMERA . REVERSE POV to see MARCIE standing in the doorway .</scene_description> <character>MARCIE</character> <dialogue>What are those for? An Indian raid?</dialogue> <scene_description>She points to the row of hatchets and knives .</scene_description> <character>JACK</character> <dialogue>Steve's got a woodlore program. You see any life rings?</dialogue> <scene_description>MARCIE looks behind some piled up equipment . She pulls out two rings .</scene_description> <character>MARCIE</character> <dialogue>Here. Meet me in my cabin after taps. Okay, Camper?</dialogue> <scene_description>She kisses him on the cheek and gives him a playful goose .</scene_description> <character>JACK</character> <dialogue>For sure.</dialogue> <scene_description>They exit together .</scene_description> </scene> <scene> <stage_direction>EXT. ARTS &amp; CRAFTS CABIN - DAY</stage_direction> <scene_description>STEVE CHRISTY comes upon ALICE , who is renailing floorboards on the porch of the Arts &amp; Crafts cabin . On the railing is a sketch pad which Steve thumbs through . INSERT : ALICE 'S SKETCH . It is a moody pierce , a sense of foreboding dominates it . Otherwise , it is the camp 's central compound , featuring the tree that forms the central focus .</scene_description> <character>STEVE</character> <dialogue>You draw very well.</dialogue> <character>ALICE</character> <dialogue>Oh, thanks. I wish I could spend more time at it.</dialogue> <scene_description>ALICE misses a nail and hits her thumb . She reacts good - naturedly and keeps on working . STEVE bends down next to ALICE .</scene_description> <character>STEVE</character> <dialogue>This is n't your cup of tea, hunh?</dialogue> <scene_description>She shakes her head .</scene_description> <character>STEVE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Any particular reason?</dialogue> <character>ALICE</character> <dialogue>Just a feeling.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Nothing personal.</dialogue> <character>STEVE</character> <parenthetical>( nodding . )</parenthetical> <dialogue>You want to leave?</dialogue> <character>ALICE</character> <dialogue>I do n't know. Probably be best for everybody.</dialogue> <character>STEVE</character> <dialogue>You may not care a lot about this place, Alice, but I mean to make it my whole life. It's been my whole life. Gim me a chance. Stay a week. Help get it ready. Next Friday, if you're not happy, I'll put you on the bus myself. I'll be grateful.</dialogue> <scene_description>He puts out a hand and runs the back of it across her cheek . She looks up . She nods .</scene_description> <character>ALICE</character> <dialogue>Next Friday.</dialogue> <character>STEVE</character> <dialogue>Thanks, Alice.</dialogue> <scene_description>He stands up .</scene_description> <character>STEVE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>I've got to go to town and pick up the trailer and all that other stuff, but I'll be back around ten. If you're still up, we can talk, okay?</dialogue> <character>ALICE</character> <dialogue>Sure.</dialogue> <scene_description>She watches him cross out of FRAME .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN CABIN AREA - DAY (LATER)</stage_direction> <scene_description>STEVE is at the wheel of his Jeep . The COUNSELLORS are standing within earshot , huddled around the Jeep .</scene_description> <character>JACK</character> <dialogue>You want it listed separately?</dialogue> <character>STEVE</character> <dialogue>Yeah. Brenda, after lunch hit the archery range. If Annie gets here, have her start in on the kitchen. Do your best. Tomorrow we have a preliminary inspection by the state safety people. I'd like to look good.</dialogue> <scene_description>He wheels the car around and out the driveway . The others stand looking before NED breaks the silence .</scene_description> <character>NED</character> <dialogue>He neglected to mention this place is called `` Camp Blood'' downtown.</dialogue> <scene_description>They are all getting back to work .</scene_description> <character>ALICE</character> <dialogue>How come?</dialogue> <character>NED</character> <dialogue>Some campers drowned. Then some counsellors got killed.</dialogue> <character>BILL</character> <dialogue>No shit. When?</dialogue> <character>NED</character> <dialogue>Late fifties sometime. They never caught the guy who did it either.</dialogue> <character>MARCIE</character> <dialogue>Neddy collects weird facts. Next he is going to tell us that there are poisonous snakes in the outhouse and green lizards in the lake.</dialogue> <scene_description>As they laugh , the CAMERA HOLDS on ALICE .</scene_description> </scene> <scene> <stage_direction>EXT. ARCHERY RANGE - DAY</stage_direction> <scene_description>BRENDA has her sleeves rolled up and is doing her job . She enjoys having the responsibility for the whole safe operation of this area . She likes to think of herself as more sophisticated than she is - or have others think her more sophisticated . BRENDA rolls a straw target out from under the lean - to shelter and heads for a tripod in the middle distance . There are already two such targets out , a product of her efforts so far . The targets are heavy . This is n't an easy one - person job . The CAMERA CLOSES IN tighter and tighter on her as she gets closer to setting up the target . In MCU , she lifts a target up . Her head is very close to the face of the target . She gets it up , lets the tripod take the weight , and then , just as she lifts her weight back , an arrow streaks into the center of the gold , missing her head by eighteen inches . BRENDA whips around . WE SEE WHAT SHE SEES : a very cocky NED , standing by the lean - to with a bow in his hands and three more arrows knocked simultaneously . He has a feather stuck in his hair . She grabs the arrow and storms at him .</scene_description> <character>BRENDA</character> <dialogue>You're crazy!</dialogue> <scene_description>She snaps the arrow in half .</scene_description> <character>NED</character> <dialogue>Did anyone ever tell you you're beautiful when you're angry?</dialogue> <character>BRENDA</character> <parenthetical>( plussed . )</parenthetical> <dialogue>I do n't believe you.</dialogue> <character>NED</character> <dialogue>Want to see my trick shot? It's even better.</dialogue> <scene_description>BRENDA still thinks he 's a jerk , but he 's so outrageous there 's little she can do . She laughs .</scene_description> <character>BRENDA</character> <parenthetical>( still laughing . )</parenthetical> <dialogue>You ever fire one of those bows again, and I'll tack you up on the wall to dry.</dialogue> <character>NED</character> <dialogue>God, but I love that sexy talk.</dialogue> <scene_description>BRENDA snatches the bow from him , shakes her head and puts the bow down next to a collection of wicked - looking arrows .</scene_description> </scene> <scene> <stage_direction>INT. ARTS &amp; CRAFTS CABIN - DAY</stage_direction> <scene_description>This is a fairly large single room . The walls are bare and uninsulated . There are a few easels , but for the most part , the room is dominated by long tables and rough - hewn benches . The light seeps through the streaked windows , making the grey wood interior appear silver - colored . ALICE , her hair in a bandana , has just finished sweeping up . The CAMERA picks up on ALICE 's sketch of the central camp area on one easel . On a second easel she has done the preliminary sketch of the lake itself . It is also a moody picture . ALICE cocks her head to look at the sketches , shivers just a little , then goes on to her next task . There is a row of newly - arrived cardboard boxes . She opens the first in CU with a matte knife . She take out the invoice and checks it against the first items : gimp , the plastic string from which all the campers will make lanyards .</scene_description> </scene> <scene> <stage_direction>EXT. ARTS &amp; CRAFTS CABIN - DAY</stage_direction> <scene_description>We watch through one of the dusty panes , seeing the charcoal sketch in the FG , ALICE in the BG checking her materials against her invoice .</scene_description> </scene> <scene> <stage_direction>INT. ARTS &amp; CRAFTS CABIN - DAY (INTERCUT)</stage_direction> <scene_description>ALICE snaps around , sensing that she is being watched . In CU her frightened face looks at the sun - drenched dusty pane . Her face relaxes until BANG ! The sound of a door slamming echoes through the room . The CAMERA ZOOMS BACK from her face to see someone standing in the doorway . It is BILL .</scene_description> <character>BILL</character> <dialogue>Sorry. How you doing?</dialogue> <scene_description>ALICE smiles , then turns back to her job of taking inventory . BILL watches her .</scene_description> <character>ALICE</character> <dialogue>Did you want something?</dialogue> <scene_description>She starts to take a box down from a high shelf . She does n't realize that there is something on top of the box .</scene_description> <character>BILL</character> <dialogue>Steve said you were thinking of leaving. True?</dialogue> <character>ALICE</character> <dialogue>Un - hunh.</dialogue> <scene_description>ALICE lugs down the box and suddenly a bunch of leather - working tools clatters down , shattering the silence . ALICE fends off the flying implements and BILL rushes to her side .</scene_description> <character>ALICE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Oh, my God.</dialogue> <character>BILL</character> <dialogue>You okay?</dialogue> <scene_description>She nods .</scene_description> <character>BILL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>You're lucky.</dialogue> <scene_description>They stoop down to pick up the fallen tools from the floor . BILL looks at her while they work .</scene_description> <character>BILL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>How come you're leaving?</dialogue> <character>ALICE</character> <dialogue>It's long and personal. It has nothing to do with you or the other kids.</dialogue> <character>BILL</character> <dialogue>Maybe I can help?</dialogue> <scene_description>ALICE looks at BILL and smiles . This really is a very nice , if naive , young man .</scene_description> <character>ALICE</character> <dialogue>And it's this place. It makes no sense, but it spooks me.</dialogue> <character>BILL</character> <parenthetical>( smiling . )</parenthetical> <dialogue>You're right. It makes no sense.</dialogue> <scene_description>As ALICE nods , she is interrupted by a shrill scream outside .</scene_description> </scene> <scene> <stage_direction>EXT. ARTS &amp; CRAFTS CABIN - DAY</stage_direction> <scene_description>MARCIE is the source of the scream . She runs towards the CAMERA , dressed in cut - offs and a floral halter . Her feet are bare . When she get closer , we see that she is being chased by JACK and NED who have found two giant green bullfrogs . The screams were not serious and MARCIE is doing some of it for effect . BRENDA brings up the rear . They are all dressed more or less for a frolic in the lake . BILL and ALICE stand in front of the Arts &amp; Crafts cabin . BILL is smiling , ALICE is a little bit amused .</scene_description> <character>MARCIE</character> <dialogue>Help me! Save me! The frog people are after me! It's swim time at Camp Crystal Lake. Come on, Alice, I need protection!</dialogue> </scene> <scene> <stage_direction>EXT. CRYSTAL LAKE - DAY</stage_direction> <scene_description>A LONG WIDE SHOT reveals the cool , clear lake during the lull of a hot afternoon . At the edge of the lake , in the shallows , are the members of the group : MARCIE , JACK , NED , BRENDA , BILL and ALICE . They are sitting or paddling or diving off the float . There is no real attempt to exert too much energy . Gradually we become aware that this LONG WIDE SHOT is someone 's POV . The CAMERA moves from its stable position , now hand - held , on a trajectory around the side of the lake , out of sight . Branches , brush , and twigs are butted through . Occasionally , we can see part of the PROWLER 's arm fending off the underbrush .</scene_description> </scene> <scene> <stage_direction>EXT. WATER - DAY</stage_direction> <scene_description>The group sits or lies in the cool water , more or less focused on NED , who is acting as moderator .</scene_description> <character>NED</character> <dialogue>What do you want to be when you grow up?</dialogue> <character>BRENDA</character> <dialogue>Dancer.</dialogue> <character>MARCIE</character> <dialogue>Cowboy.</dialogue> <character>NED</character> <dialogue>Girls ca n't be cowboys.</dialogue> <character>MARCIE</character> <dialogue>Okay, Fireman.</dialogue> <scene_description>NED goes to JACK .</scene_description> <character>NED</character> <dialogue>Jack?</dialogue> <character>JACK</character> <dialogue>Coach, athletic director somewhere.</dialogue> <character>BILL</character> <dialogue>Filmmaker.</dialogue> <character>ALICE</character> <dialogue>Artist.</dialogue> <character>NED</character> <dialogue>Doctor. Now, if you were a flavor of ice cream, what would you be?</dialogue> <character>MARCIE</character> <dialogue>Rocky Road.</dialogue> <scene_description>They laugh .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN CAMP AREA - DAY</stage_direction> <scene_description>The PROWLER looks in LONG SHOT down at the lake and we can just make out the COUNSELLORS . The CAMERA PANS and we move toward cabins .</scene_description> </scene> <scene> <stage_direction>EXT. LAKE - DAY</stage_direction> <scene_description>ALICE is treading water , talking with BRENDA , as NED comes up out of nowhere .</scene_description> <character>BRENDA</character> <dialogue>Vitamin C's supposed to neutralize the nitrites or something.</dialogue> <scene_description>NED surfaces between them . He looks with googly eyes at ALICE .</scene_description> <character>NED</character> <dialogue>There are sand sharks in this lake and they can eat the bathing suit right off you.</dialogue> <scene_description>ALICE laughs .</scene_description> <character>NED</character> <parenthetical>( continuing . )</parenthetical> <dialogue>See? I'm getting to you. Very slowly.</dialogue> <scene_description>NED does a porpoise drive and disappears . BRENDA is not laughing . She is looking off towards the cabin area . ALICE sees her and look where she looks .</scene_description> <character>ALICE</character> <dialogue>What'd you see?</dialogue> <character>BRENDA</character> <dialogue>I do n't know. Marcie's got me paranoid.</dialogue> <scene_description>She smiles .</scene_description> </scene> <scene> <stage_direction>EXT. BEHIND ALICE'S CABIN - DAY</stage_direction> <scene_description>The CAMERA , shooting from the PROWLER 's POV , moves to a place alongside Alice 's cabin . There is underbrush about two feet tall and all around that area . The PROWLER stops , leans down and reaches into FRAME with a gloved hand . The gloved hand reaches into the underbrush for the tip of a burlap bag which has been secreted there . The hand lifts the bag , which has something in it that moves . The CAMERA MOVES around to the side of the cabin right below the window . The window is open , making entry quite simple . The PROWLER 's gloved hands untie the neck of the bag , reach in and haul out quickly a medium - sized snake . One hand has the animal firmly behind the jaws . The hand takes the snake and puts it through the open window , leaving it on the clean white coverlet . It slithers across the bed . The PROWLER 's hand closes the window . The CAMERA MOVES towards one of the sheds .</scene_description> </scene> <scene> <stage_direction>EXT. EDGE OF LAKE - DAY</stage_direction> <scene_description>BILL and ALICE are lying on the shore on their towels , watching the OTHERS in the water and grabbing some afternoon sun . ALICE is on her stomach , tracing angular designs in the sand . BILL is on his back , listening .</scene_description> <character>BILL</character> <dialogue>It still hurts?</dialogue> <character>ALICE</character> <dialogue>I walked into it knowing I'd get hurt, but I thought I could stand anything.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>I just was n't ready for that kind of pain. We were supposed to meet in L.A.. When I got back there, he sent a telegram saying he was going back to his wife.</dialogue> <scene_description>BILL turns over so he can look at her better .</scene_description> <character>BILL</character> <dialogue>What'll you do when you leave here?</dialogue> <character>ALICE</character> <dialogue>I do n't know.</dialogue> <scene_description>Various feet enter the FRAME . BILL and ALICE look up to see JACK with his arm around MARCIE , NED toweling his head , and BRENDA putting on her blue workshirt .</scene_description> <character>MARCIE</character> <dialogue>Pistachio, fudge ripple, creme de menthe and I are going back to work.</dialogue> <scene_description>BILL gets up .</scene_description> <character>BILL</character> <dialogue>Speaking as black raspberry, I guess I'm ready. Frozen yogurt?</dialogue> <scene_description>ALICE smiles at the reference .</scene_description> <character>ALICE</character> <dialogue>I'll be along.</dialogue> <character>NED</character> <parenthetical>( in a nelly voice . )</parenthetical> <dialogue>Do n't burn that gorgeous body, or I'll scratch your eyes out.</dialogue> <scene_description>They head off . ALICE turns over to tan her front .</scene_description> </scene> <scene> <stage_direction>EXT. FOREST - DAY</stage_direction> <scene_description>A machete rips through some vines . Again it hacks at the brush . PULLS BACK to reveal BILL clearing away the years of vine growth which have choked off a path . He wipes the perspiration from his eyes and continues along .</scene_description> </scene> <scene> <stage_direction>EXT. BEHIND THE MAIN CABIN - DAY</stage_direction> <scene_description>Set up behind the cabin is a make - shift exercise area . There are chinning bars - pipeslashed between two trees - and there 's an aging set of parallel bars . There is even a set of weights made from tin cans , pipes and assorted amount of cement . ECU of NEDS 's face in a distorted , twisted expression . He explodes his breath . We PULL BACK to see BRENDA watching NED work out on the uneven parallel bars . He is really very good and there is no doubt about his strength .</scene_description> <character>BRENDA</character> <dialogue>Not bad.</dialogue> <scene_description>As NED moves off the apparatus , BRENDA comes in and does a neat little turn which is dazzling . NED does a take .</scene_description> <character>NED</character> <dialogue>Holy shit.</dialogue> <character>BRENDA</character> <dialogue>We would n't want you thinking you're the only show - off in camp, would we?</dialogue> </scene> <scene> <stage_direction>EXT. LAKE - DAY</stage_direction> <scene_description>The sun has dropped lower on the horizon . The CAMERA looks down on ALICE as she sleeps peacefully in the late sun . A shadow passes across her face , and she awakes with a start . CUT BACK to see BILL standing over her with a machete .</scene_description> <character>ALICE</character> <dialogue>I did n't know I was asleep. What time is it?</dialogue> <character>BILL</character> <dialogue>Almost five.</dialogue> <scene_description>ALICE gets up .</scene_description> <character>ALICE</character> <dialogue>Now I'm only eleven hours behind schedule. Steve is going to have a small cow.</dialogue> <scene_description>They walk away from the shore .</scene_description> </scene> <scene> <stage_direction>EXT. ALICE'S CABIN - DAY</stage_direction> <scene_description>ALICE is walking quicker than BILL . We realize we have seen this cabin before - when the snake was placed in it .</scene_description> <character>BILL</character> <dialogue>You can only do what you can do.</dialogue> <character>ALICE</character> <dialogue>And then Steve looks at you with those hurt eyes - like you do n't care about children.</dialogue> <scene_description>BILL laughs at her imitation .</scene_description> <character>ALICE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>I'll see you later.</dialogue> <scene_description>She turns to go up the steps to her front door .</scene_description> <character>BILL</character> <dialogue>Alice?</dialogue> <scene_description>She stops and look down at him . He is serious and he cares . ALICE appreciates what 's she 's just heard . She knows that it was n't easy for BILL to say .</scene_description> <character>ALICE</character> <dialogue>You're very nice.</dialogue> <scene_description>They share a short silent moment .</scene_description> <character>BILL</character> <dialogue>Hope you will.</dialogue> <scene_description>BILL smiles and turns and jogs off , still carrying his long blade . ALICE watches him go . She shrugs . This might be a good place to stay . She turns and goes into her cabin .</scene_description> </scene> <scene> <stage_direction>INT. ALICE'S CABIN - DAY</stage_direction> <scene_description>In the FG is the camp bed with its white coverlet . The snake is nowhere in sight - which means it could be anywhere . ALICE is humming to herself and is happier now than she has been since we met her . The room is small . There is the metal - frame cot , an old wooden dresser with a cloudy mirror on top . The walls are a light blue , freshly painted . The wall on the inside does not go all the way to the ceiling so that she can monitor what 's going on in the campers ' section of the cabin on the other side . ALICE looks at herself in the old cloudy mirror and likes what she sees . She pushes her hair so that she looks a little sexier . She smiles at herself . She reaches out in CU . Open a drawer . Takes out a towel . ALICE turns and goes to her footlocker . Bends down and opens it up . Takes out a terrycloth robe . She closes the footlocker , stands up and heads out the door .</scene_description> </scene> <scene> <stage_direction>EXT. ALICE'S CABIN - DAY</stage_direction> <scene_description>ALICE heads from her cabin to the showers .</scene_description> </scene> <scene> <stage_direction>INT. SHOWER ROOM - DAY</stage_direction> <scene_description>ALICE walks into her room wearing her bathrobe , her hair in a towel - turban . She flicks off her shower clogs , and looks for her hairbrush . She takes her towel off and lets her tangled hair fall down . She hums . Opens her top drawer . Nothing there . Opens the next drawer . Nothing there . Opens the next drawer . Nothing there . ALICE opens the fourth drawer and the snake strikes ! It flails at her right wrist , a wrist which we have established earlier as having a Navajo bracelet on it . The snake strikes the bracelet , hangs on as ALICE tries to shake it free . The snake falls to the floor and recoils for another attack . There is no way that ALICE can get past the snake to run away . Her scream is loud .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN CABIN - DAY</stage_direction> <scene_description>BILL , returning from his last half hour of trail - blazing , hears ALICE .</scene_description> <character>ALICE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Help!</dialogue> <scene_description>BILL does n't hesitate . Carrying his machete , he runs to ALICE 's cabin . MARCIE and JACK follow in the BG .</scene_description> </scene> <scene> <stage_direction>INT. ALICE'S CABIN - DAY</stage_direction> <scene_description>ALICE is backed against the wall . The snake could strike and get her . BILL runs into the room , still carrying his machete . He looks at ALICE .</scene_description> <character>ALICE</character> <parenthetical>( a tight whisper . )</parenthetical> <dialogue>There's a fucking snake in here.</dialogue> <scene_description>BILL sees it . He freezes , then takes a step forward . Carefully , he winds up and smashes down with the edge of the machete , cutting the snake into two pieces . Blood spurts onto the floor . MARCIE and JACK enter . JACK carries a shovel as a weapon . MARCIE stops when she sees the embrace , but then looks further to see the blood and guts .</scene_description> <character>MARCIE</character> <dialogue>Steve never mentioned serpents. Jack, would you get some paper towels?</dialogue> <scene_description>JACK nods and exits .</scene_description> <character>ALICE</character> <dialogue>How the. did he get in there?</dialogue> <character>BILL</character> <dialogue>Slipped in. Probably liked the scent of your perfume.</dialogue> <scene_description>JACK return and tosses a roll to MARCIE .</scene_description> <character>MARCIE</character> <dialogue>Thanks.</dialogue> <character>BILL</character> <dialogue>You okay now?</dialogue> <scene_description>ALICE nods . BILL gives her an extra hug . Then steps back awkwardly , stepping on MARCIE 's big toe .</scene_description> <character>MARCIE</character> <dialogue>Go ahead. I walk on'em all the time.</dialogue> <parenthetical>( to JACK . )</parenthetical> <dialogue>Would you shovel Mr. Snake outta here?</dialogue> <scene_description>JACK nods . He picks up his shovel and we see in CU as he gets underneath the wide - fanged snake . MARCIE begins to clean the blood off the floor with the paper toweling .</scene_description> </scene> <scene> <stage_direction>EXT. CAMP - LATE AFTERNOON</stage_direction> <scene_description>Looking across the lake , we can see the camp , nestled in among the late afternoon rays of the sun . We can hear the sounds of the nocturnal animals beginning to rise and hunt .</scene_description> </scene> <scene> <stage_direction>INT. CAMP KITCHEN - LATE AFTERNOON</stage_direction> <scene_description>The kitchen and the main meeting room are really one in the same room , cut off by a partition . The kitchen has a couple of sinks , a heavy old stove , long shelves , a pantry/larder , and some windows which look out on the rear . BRENDA is making a salad for herself . She is a vegetarian . MARCIE is making a guacamole dip . In the big room there is a fireplace and a ping pong table . JACK and BILL are playing .</scene_description> <character>JACK</character> <dialogue>Get ready for the schneider.</dialogue> <character>BRENDA</character> <dialogue>She all right?</dialogue> <character>MARCIE</character> <dialogue>Yeah. Scared the hell out of her.</dialogue> <character>BILL</character> <dialogue>No chance.</dialogue> <character>BRENDA</character> <dialogue>How'd it get in the drawer?</dialogue> <character>JACK</character> <dialogue>Four zip.</dialogue> <scene_description>ALICE walks into the kitchen . She has washed her face after getting her act together . She stands in the doorway to the kitchen .</scene_description> <character>MARCIE</character> <dialogue>How you doin'?</dialogue> <character>ALICE</character> <dialogue>Okay. Can I help?</dialogue> <character>BRENDA</character> <dialogue>It's catch as catch can. I'm making a salad. The guys are planning to cook greaseburgers for themselves.</dialogue> <character>MARCIE</character> <dialogue>There's a lot of dishes if you just want something to do.</dialogue> <scene_description>ALICE smiles . Nods .</scene_description> <character>ALICE</character> <dialogue>The way I feel, that's perfect.</dialogue> <scene_description>ALICE goes to the sink and begins to work her way through the dirty dish pan . NED comes flying through the door dressed in various bits and pieces of old Indian costumery . He does a bad dance . JACK and BILL quit their game and come to the doorway .</scene_description> <character>JACK</character> <dialogue>What the hell?</dialogue> <character>BILL</character> <dialogue>Where'd you get that stuff?</dialogue> <character>MARCIE</character> <dialogue>Oh, Lord!</dialogue> <character>BRENDA</character> <dialogue>Neddy!</dialogue> <character>JACK</character> <dialogue>It's gon na be a long summer.</dialogue> <character>NED</character> <dialogue>Wait, wait! When I was finding these goodies in the shed. I also found this letter which a camper never sent home. Listen.</dialogue> <scene_description>He takes a letter out of his breechclout . He pretends to read , when really we can see that the paper is blank .</scene_description> <character>NED</character> <parenthetical>( improvising . )</parenthetical> <dialogue>Dear Mom and Dad, Camp Blood is real fine except for the strange man who flies at night and sucks our counsellor's body.</dialogue> <scene_description>ALICE leans against the sink and laughs . She is a very pretty girl , younger than she first appeared .</scene_description> <character>NED</character> <parenthetical>( continuing . )</parenthetical> <dialogue>And, Mommy, we really love our counsellor. He says that whenever I'm scared, I can sleep in his bunk with him.</dialogue> <scene_description>JACK and BILL laugh . NED takes off his headdress .</scene_description> <character>NED</character> <parenthetical>( continuing . )</parenthetical> <dialogue>No wonder they lost America. How could you sneak around in the bushes wearing that? What's to eat?</dialogue> <character>BRENDA</character> <dialogue>Whatever you make yourself.</dialogue> <scene_description>ALICE looks up from her dishes and cocks her head to the side . Does she sees something ? The CAMERA PANS SLOWLY to look over her shoulder . The window pane is dirty and it 's a bit difficult to see , but there is something standing there out by a cabin . But it stands , does n't move . Is it a building ? CUT AWAY to see ALICE using her dishcloth to clear the glass . When we CUT BACK , the shape is gone . REACTION SHOT : ALICE . Curious . A cold chill . ALICE looks around at the others who are still adlibbing about food .</scene_description> <character>BRENDA</character> <dialogue>How can you eat that stuff? Looks like dead animals.</dialogue> <character>JACK</character> <dialogue>You like them rare?</dialogue> <character>BILL</character> <dialogue>Too bad that Annie never showed. She was supposed to be a good cook.</dialogue> <character>NED</character> <dialogue>Cannibals. It's old counsellor.</dialogue> <character>BRENDA</character> <dialogue>You can get all the protein you need if you mix them right.</dialogue> <character>MARCIE</character> <dialogue>No way I am gon na play chef to all of you guys. It's women's lib from here on out.</dialogue> <character>NED</character> <dialogue>The squaws are revolting!</dialogue> <scene_description>ALICE looks up . Pulls the light cord in the middle of the room . The bulb does not light . ALICE pulls it again .</scene_description> <character>BILL</character> <dialogue>Trouble?</dialogue> <character>ALICE</character> <dialogue>Bad bulb or no power. It's getting a little gloomy in here.</dialogue> <character>JACK</character> <dialogue>Steve taught me how to use the emergency generator. The town power lines are supposed to be real shitty.</dialogue> <character>NED</character> <dialogue>God, but I love that macho talk! Emergency generators! The Indian used campfires.</dialogue> <scene_description>JACK turns to BILL .</scene_description> <character>JACK</character> <dialogue>Give me a hand?</dialogue> <character>BILL</character> <dialogue>For sure.</dialogue> </scene> <scene> <stage_direction>INT. GENERATOR SHED - LATE AFTERNOON</stage_direction> <scene_description>JACK steps in and , in CU , we see there is a puddle where he is standing . The puddle is somehow significant . BILL leans over JACK 's shoulder to see what he 's doing .</scene_description> <character>BILL</character> <dialogue>This is almost like the one at my uncle's cabin in Maine.</dialogue> <character>JACK</character> <dialogue>Here we go.</dialogue> <scene_description>The CAMERA watches JACK 's actions tightly . In a REVERSE POV we see JACK 's tongue come out the side of his mouth as he concentrates . He bites down on it . ANOTHER ANGLE : as JACK pulls the starter cord . The engine roars into action .</scene_description> <character>JACK</character> <parenthetical>( yelling . )</parenthetical> <dialogue>Now ya' close the switch.</dialogue> <scene_description>CU as JACK 's hand reaches in and touches a heavy - duty metal switch . A spark arcs and we PULL BACK to see JACK with a perfect connection running through his body . There is a sparking sound , the little light in the shed blinks , JACK screams , the generator chugs roughly . Hundreds of volts are streaking through JACK 's body and grounded through his wet shoes . BILL reacts quickly : knowing better than to touch him and continue the connection , he takes a half - step backwards , aims at an oblique angle and executes a perfect Bruce Lee - type drop - kick on his friend , severing the contact . JACK stumbles out of the shack and the light goes dead . The machine stops .</scene_description> </scene> <scene> <stage_direction>EXT. GENERATOR SHED - LATE AFTERNOON</stage_direction> <scene_description>JACK lands , almost unconscious . BILL kneels into FRAME and cheeks JACK 's vital sign : his eyes , his carotid pulse , his breathing . JACK shakes his head .</scene_description> <character>JACK</character> <dialogue>I'll be okay. Holy shit.</dialogue> <character>BILL</character> <dialogue>Do n't get up. Take a second.</dialogue> <scene_description>JACK lies back down . Covers his eyes with his arm .</scene_description> <character>JACK</character> <dialogue>You saved my life.</dialogue> <character>BILL</character> <dialogue>I had to.</dialogue> <character>JACK</character> <dialogue>Thanks.</dialogue> <character>BILL</character> <dialogue>I figured if I did n't save you. I'd have to give you mouth - to - mouth and that would have ruined my appetite.</dialogue> <scene_description>JACKS looks up and smiles . BILL give him a hand and the groggy athlete gets to his feet .</scene_description> <character>JACK</character> <dialogue>Whew.</dialogue> <scene_description>Satisfied that JACK wo n't fall down , BILL goes to the shed and looks in . We can look in over BILL 's shoulder and see a smoke - scarred switch and a now - silent generator .</scene_description> <character>BILL</character> <dialogue>This puddle was enough to ground you all the way to China.</dialogue> <scene_description>JACK looks in , too .</scene_description> <character>JACK</character> <dialogue>Floor probably leaks. This area is full of springs.</dialogue> <character>BILL</character> <dialogue>A short somewhere.</dialogue> <scene_description>BILL leans down and sees a smokey - colored wire that touches another wire .</scene_description> <character>BILL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>There's the problem, Jack. Wire worked itself loose.</dialogue> <scene_description>He starts to wind it round a set - screw in CU .</scene_description> <character>JACK</character> <dialogue>Just in cause this bugger goes bad. I'm gon na pick up some lanterns from the equipment shack.</dialogue> <scene_description>JACKS walks away .</scene_description> </scene> <scene> <stage_direction>INT. EQUIPMENT SHED - DUSK</stage_direction> <scene_description>The door opens at us , letting in the limited light . JACK comes in and goes to pick up a fluorescent lamp . He flicks it on . As he bends down to pick up two Coleman lanterns , the CAMERA slowly moves toward the wall where once we saw all the hatchets and knives . They are all missing . JACK takes his booty and exits . The light is gone and we are alone in the dark .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - DUSK</stage_direction> <scene_description>ECU of the lightbulb over the kitchen area . It flickers on as we hear in the BG the sound of the generator start up . The bulb glows , goes down , glows cheerily .</scene_description> <character>NED</character> <dialogue>What hath God wrought?</dialogue> <character>BRENDA</character> <dialogue>That was the telephone.</dialogue> <character>NED</character> <dialogue>Ha! You wily oriental! The phone was `` Mr. Watson, come in here, I need you.'' `` What hath God wrought'' was the telegraph.</dialogue> <scene_description>JACK comes in with his lanterns followed by BILL .</scene_description> <character>MARCIE</character> <dialogue>Last line of Gone With the Wind?</dialogue> <character>NED</character> <dialogue>Frankly, Scarlet, I do n't give a damn!</dialogue> <scene_description>ALICE listens as she washes the dishes . It looks as if things will be okay .</scene_description> <character>BRENDA</character> <dialogue>Shows how much you know. It's something about tomorrow.</dialogue> <character>ALICE</character> <dialogue>Tomorrow is another day.</dialogue> <character>BRENDA</character> <dialogue>Right! Right!</dialogue> <scene_description>MARCIE is finishing up making her green California dip . Suddenly ALICE cries out . Everybody whips around to see . ALICE holds up a piece of broken glass - the bottom half of a bottle . She has cut her finger . It is not a serious cut , but the blood is visible .</scene_description> <character>ALICE</character> <dialogue>This just plain ai n't my day.</dialogue> <scene_description>BILL reaches into a cupboard and pulls out a BandAid .</scene_description> <character>MARCIE</character> <dialogue>You okay?</dialogue> <character>NED</character> <dialogue>Those things can be nasty.</dialogue> <character>BRENDA</character> <dialogue>Wash it out real good.</dialogue> <scene_description>BILL comes up to ALICE .</scene_description> <character>BILL</character> <dialogue>Lem me see. Does n't look too bad.</dialogue> <scene_description>That said , the OTHERS go back to what they were doing . BILL and ALICE are featured even though we can hear the others . BILL takes great care and puts the BandAid on ALICE 's finger . They share this moment with soft smiles as the trivia contest continues .</scene_description> <character>NED</character> <dialogue>Who played the role of Gorgon in Star Trek?</dialogue> <character>BILL</character> <dialogue>I do n't want you getting hurt.</dialogue> <character>BRENDA</character> <dialogue>Melvin Belli.</dialogue> <character>ALICE</character> <dialogue>I was careless.</dialogue> <character>NED</character> <dialogue>Aaaargh! That my guaranteed winner!</dialogue> <character>BILL</character> <dialogue>How'd it get in there?</dialogue> <character>MARCIE</character> <dialogue>Melvin Belli?</dialogue> <character>ALICE</character> <dialogue>Somebody probably dropped something too hard.</dialogue> <character>NED</character> <dialogue>Alice, you're just lucky there are no snakes in the dishwater here.</dialogue> <scene_description>NEDDY is hovering over a bowl of California dip which MARCIE has just made . He dips a chip as soon as she steps back .</scene_description> <character>MARCIE</character> <dialogue>Soooooeeeeey, piggy, piggy.</dialogue> <scene_description>Suddenly NED 's face goes red . His eyes bulge out . He grabs his throat and gags . Coughs , ca n't clear it .</scene_description> <character>JACK</character> <dialogue>What is it?</dialogue> <character>BILL</character> <dialogue>Is it stuck?</dialogue> <scene_description>NED points to the dip and slumps down on the floor where he writhes about .</scene_description> <character>MARCIE</character> <dialogue>Help him!</dialogue> <character>ALICE</character> <dialogue>Oh, my God!</dialogue> <character>BILL</character> <dialogue>Roll him over!</dialogue> <character>JACK</character> <dialogue>Get behind him more.</dialogue> <scene_description>As BILL and JACK flip him over to try to give him the Heimlich , NED stops his act and grins from ear to ear . It 's a big finish :</scene_description> <character>NED</character> <dialogue>Ta - da!</dialogue> <scene_description>REACTION SHOTS : as it sinks in that NED has been putting them on .</scene_description> <character>JACK</character> <dialogue>Not funny, Ned.</dialogue> <scene_description>BILL stands up , angry , but willing to keep his mouth shut .</scene_description> <character>MARCIE</character> <dialogue>Wait'll you're really in trouble and see what happens.</dialogue> <character>NED</character> <dialogue>But it's in the brochure! `` Camp Crystal Lake has a full drama program.'' You just saw it.</dialogue> <scene_description>NED tries to laugh it off . They shake their heads . MARCIE walks away . JACK looks at BILL .</scene_description> <character>BILL</character> <dialogue>Chance to get even?</dialogue> <character>JACK</character> <dialogue>I'll spot you five points.</dialogue> <character>NED</character> <dialogue>Hey, look, I'm sorry. I'll never do it again.</dialogue> <scene_description>NED turns and heads for the door . ALICE comes up next to him . The OTHERS are out of earshot now . BILL and JACK play a little ping - pong . NED is a little embarrassed by his play - acting stunt .</scene_description> <character>NED</character> <parenthetical>( continuing . )</parenthetical> <dialogue>I'm sorry.</dialogue> <character>ALICE</character> <dialogue>Ned? We're gon na be working together for a while. You're a nice guy without all the entertainment, okay?</dialogue> <scene_description>NED relaxes . Nods . He knows what she means . He turns to look at the others .</scene_description> <character>NED</character> <dialogue>Tell'em I'm sorry?</dialogue> <scene_description>ALICE nods .</scene_description> <character>ALICE</character> <dialogue>Sure.</dialogue> <character>NED</character> <dialogue>I'm gon na go lie down and catch some z's. Today wiped me out.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Thanks, Alice.</dialogue> <character>ALICE</character> <dialogue>You're welcome.</dialogue> <scene_description>The CAMERA stays on ALICE 's face as NED exits . In the BG , MARCIE speaks .</scene_description> <character>MARCIE</character> <dialogue>I hope that's the last time we see the Camp Crystal Lake Drama Program.</dialogue> </scene> <scene> <stage_direction>EXT. MAIN CAMP AREA - EVENING</stage_direction> <scene_description>We watch NED come away from the main cabin and walk moodily toward his cabin . The CAMERA stays with the troubled child as he stops , leans down , picks up a pebble and skips it off into the brush . It cuts through . He flips a few stones in his hand . NED looks off . Sees something . WE SEE WHAT HE SEES : a shape - a human shape - standing by a cabin . NED walks towards it .</scene_description> <character>NED</character> <dialogue>Hello? Can I help you?</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN AREA - EVENING</stage_direction> <scene_description>ALICE is just drying her hands . She stands next to a giant stack of clean dishes and pots . BRENDA is reading a magazine while picking at some cauliflower and cucumber slices . BILL and JACK saunter in .</scene_description> <character>JACK</character> <dialogue>You just had some lucky shots.</dialogue> <character>BILL</character> <dialogue>Where's Ned?</dialogue> <character>ALICE</character> <dialogue>He went to bed early.</dialogue> <character>MARCIE</character> <dialogue>I do n't blame him.</dialogue> <character>BRENDA</character> <dialogue>He's probably setting up another one of his practical jokes.</dialogue> <character>MARCIE</character> <dialogue>Yeah, like draining the lake!</dialogue> <scene_description>They laugh .</scene_description> <character>JACK</character> <parenthetical>( to MARCIE . )</parenthetical> <dialogue>Hey, how about a walk by the lake?</dialogue> <scene_description>The OTHERS all go `` Ooooooooh . ''</scene_description> <character>JACK</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Just a walk, for Chrissakes.</dialogue> <character>MARCIE</character> <parenthetical>( kidding . )</parenthetical> <dialogue>Boy, we sure do have a lot of filthy small - minded people around here.</dialogue> <parenthetical>( to JACK . )</parenthetical> <dialogue>Wait a minute, I'll get my diaphragm and be right with you.</dialogue> <scene_description>MARCIE puts an arm through JACK 's arm and they exit . The OTHERS laugh .</scene_description> </scene> <scene> <stage_direction>EXT. EDGE OF LAKE - NIGHT</stage_direction> <scene_description>JACK and MARCIE walk across the pint needles towards the lake . There is the low rumble of thunder preceeded by a faint glow on the horizon . JACK and MARCIE walk along the shore to the lake . They have turned on the flashlights which they carry with them .</scene_description> <character>JACK</character> <dialogue>Wind's up. It's shifted a good hundred and eighty degrees.</dialogue> <character>MARCIE</character> <dialogue>Makes me want to hold on and never let go.</dialogue> <character>JACK</character> <dialogue>I love you.</dialogue> <character>MARCIE</character> <dialogue>I love you.</dialogue> <scene_description>They kiss . MARCIE pulls back .</scene_description> <character>MARCIE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>What about Neddy?</dialogue> <character>JACK</character> <dialogue>I do n't love Neddy.</dialogue> <character>MARCIE</character> <dialogue>He keeps on acting like such an asshole!</dialogue> <character>JACK</character> <parenthetical>( yelling . )</parenthetical> <dialogue>Ned!</dialogue> <character>MARCIE</character> <dialogue>Do n't call him.</dialogue> <character>JACK</character> <dialogue>I thought you wanted to give him one of your motherly lectures. Ned is gon na do whatever he wants to do, you know.</dialogue> <character>MARCIE</character> <dialogue>I guess.</dialogue> <scene_description>The moon is victim of a blank cloud which cuts off the light .</scene_description> <character>JACK</character> <dialogue>Looks like a storm.</dialogue> <character>MARCIE</character> <dialogue>I'm a little scared of storms. Always have been. Since I was a kid.</dialogue> <character>JACK</character> <dialogue>You? The brick?</dialogue> <scene_description>JACK shines the flashlight so that we can see her face in eerie shadows . She flashes hers at him .</scene_description> <character>MARCIE</character> <dialogue>I've dreamed this dream. Maybe half a dozen times. There is a thunderstorm. The rain comes down like pebbles. I can hear the sound. I try to close my ears off. It does n't work. The sounds gets louder. The rain turns to blood and the blood washes down in little rivers. And the sound stops.</dialogue> <scene_description>A loud crack of heat lightning slices the sky apart . MARCIE is startled and reaches out for her lover .</scene_description> <character>JACK</character> <dialogue>It's just a dream.</dialogue> <character>MARCIE</character> <dialogue>I call it my shower dream.</dialogue> <scene_description>They look at one another in the two lights . They grin . Rain drops begin to fall on their faces and on the lake behind them .</scene_description> <character>JACK</character> <dialogue>This is no dream. Want to escape for a while?</dialogue> <character>MARCIE</character> <dialogue>Lead the way!</dialogue> <scene_description>JACK turns and jogs toward the nearest cabin . MARCIE is only a half step behind , laughing . FROM A DISTANT ANGLE we watch them run . There is no theme , just the rumble of thunder .</scene_description> </scene> <scene> <stage_direction>INT. BOY'S CABIN - NIGHT</stage_direction> <scene_description>The door bursts open , a flashlight pierces the shadows , and JACK and MARCIE rush in and plop on the bottom bunk of the nearest bed .</scene_description> <character>MARCIE</character> <dialogue>Are you wet?</dialogue> <character>JACK</character> <dialogue>Just a little. Wait a minute, woman.</dialogue> <scene_description>He reaches down and put his flashlight on its end so it points straight up and gives them some light to see by . They go into a long passionate kiss which is broken by MARCIE 's hand coming up from behind JACK and tugging his t - shirt up towards his head . He leans back and takes it off , and tosses it at the CAMERA .</scene_description> </scene> <scene> <stage_direction>EXT. FRONT OF MAIN CABIN - NIGHT</stage_direction> <scene_description>The rain has gathered in intensity . ALICE comes up to the front door and looks out . BILL comes up behind her .</scene_description> <character>ALICE</character> <dialogue>Jack and Marcie are gon na be drenched.</dialogue> <character>BILL</character> <dialogue>Not if they're where I think they are.</dialogue> <scene_description>ALICE laughs .</scene_description> <character>ALICE</character> <dialogue>I'm not always this stupid.</dialogue> <scene_description>She turned back into the cabin .</scene_description> </scene> <scene> <stage_direction>INT. BOY'S CABIN - NIGHT</stage_direction> <scene_description>TIGHT on JACK and MARCIE as they make love under a camp blanket . Their breathing and noises are heard just above the sounds of the rain outside . The CAMERA becomes interested in a droplet which appear to have leaked from the ceiling , hit the vertical member of the bed and dribbled down . As the bed shakes with its love - making , the CAMERA PANS up the bunk 's strut to trace the droplet 's course . As the CAMERA PANS UPWARD , it pulls back slightly and we see NED lying in the upper bunk . In a flash of lightning we realize he is dead : his throat has been slashed . ANOTHER ANGLE : JACK and MARCIE lie completely still beneath their blanket . The CAMERA PANS along their quiet bodies . MARCIE 's face is contented . JACK is ready to doze off .</scene_description> <character>MARCIE</character> <dialogue>Mmmmmmmph?</dialogue> <character>JACK</character> <dialogue>Mmmmmmmph.</dialogue> <character>MARCIE</character> <dialogue>Best over.</dialogue> <character>JACK</character> <dialogue>Umhummmmph.</dialogue> <character>MARCIE</character> <dialogue>Like waves. It's never been likes waves before.</dialogue> <character>JACK</character> <dialogue>Whassamatta?</dialogue> <character>MARCIE</character> <dialogue>Got ta pee. You're lying on my bladder.</dialogue> <scene_description>She rolls over and grabs her underpants and t - shirt . While still on the bottom bunk , she puts herself into her limited clothing . JACK gives her room .</scene_description> <character>MARCIE</character> <parenthetical>( dressing . )</parenthetical> <dialogue>I know this ai n't very romantic, but what can I say? I do n't want to explode.</dialogue> <scene_description>She grabs a flashlight , scoots to the door and is gone . JACK lies back and puts his hands under his hand .</scene_description> </scene> <scene> <stage_direction>EXT. CAMP GROUNDS - NIGHT</stage_direction> <scene_description>MARCIE runs across the now - wet central area towards the bathroom facility . She tries to skip between the raindrops , but she knows she 'll get a drenching .</scene_description> </scene> <scene> <stage_direction>INT. BOY'S CABIN - NIGHT</stage_direction> <scene_description>JACK rolls to his side , picks up a small hand - rolled cigarette and lights it . He inhales deeply , rolls on his back . Something overhead catches his eye . Across the way from the row of toilet stalls is a row of shower stalls , and further down is a row of several sinks and mirrors . We hear the toilet flush . We CUT INSIDE the toilet booth as MARCIE stands reading the graffiti to herself . We can only see her from the chest up .</scene_description> <character>MARCIE</character> <parenthetical>( reading . )</parenthetical> <dialogue>`` Forty yards to the outhouse by Willie Makit.'' `` The Yellow Stream by I.P. Daley.'' Not the most original stuff, kids.</dialogue> <scene_description>There is a noise outside the stall .</scene_description> <character>MARCIE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Jack?</dialogue> <scene_description>She hears no response and assumes that her imagination is playing tricks with her . MARCIE picks up the flashlight and exits the stall . MARCIE crosses to the row of sinks , stops , puts the flashlight down and turns on the water faucet . There is no water . PROWLER 'S POV : of MARCIE . From the end of the row of showers , we watch MARCIE bend under the sink and turn on one of the spigots . Water rushes into the sink . MCU MARCIE : She rinses her hands , shakes them dry and turns off the water . Again she hears a noise . She looks to the row of showers and smiles .</scene_description> <character>MARCIE</character> <dialogue>Jack?</dialogue> <scene_description>The screen door to the shower room is swinging open and shut . MARCIE looks over , smiles . She thinks someone is trying to scare her .</scene_description> <character>MARCIE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Jack? Neddy? Do n't put me on.</dialogue> <scene_description>There is a dripping sound . MARCIE stops at the first shower , hesitates . Throws back the first curtain . There is no one there . She reaches in and makes sure the spigot is really off . She goes to the second shower , looks over her shoulder to the empty toilet . Then reaches in to the shower curtain .</scene_description> <character>MARCIE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Allee allee infree!</dialogue> <scene_description>She throws back the curtain . Again no one is there . She breathes a sigh of disappointment .</scene_description> <character>MARCIE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Must be my imagination.</dialogue> <scene_description>In CU she turns back toward the sink area when suddenly the TRACK explodes with a MUSICAL STINGER . It happens in a flash . A shape lunges from the toilet booth across from the first shower . A hatchet glints . MARCIE screams . The hatchet strikes . The flashlight clatters to the floor .</scene_description> </scene> <scene> <stage_direction>EXT. DINER - NIGHT</stage_direction> <scene_description>The sound of a cash register ringing up a sale hangs over an establishing shot of the diner . Through the window , which are being pelted with rain , we can see a WAITRESS and some CUSTOMERS seated on stools at the counter .</scene_description> </scene> <scene> <stage_direction>INT. DINER - NIGHT</stage_direction> <scene_description>The WAITRESS is different from the morning woman , slightly older , but still attractive . She says good night to her CUSTOMER , who finishes paying his bill and crosses down the counter . Seated there is STEVE CHRISTY , finishing his cup of coffee . The waitress , SANDY , picks up his empty pie plate and tosses it in a pan of other dirty dishes .</scene_description> <character>SANDY</character> <dialogue>Anything else you want?</dialogue> <character>STEVE</character> <dialogue>No, thanks. I'm fine. Sandy.</dialogue> <character>SANDY</character> <dialogue>You ca n't go back there tonight. Not in that stuff. ` Less you wanta get drownded.</dialogue> <character>STEVE</character> <parenthetical>( drinking quickly . )</parenthetical> <dialogue>I got to.</dialogue> <character>SANDY</character> <dialogue>Aw.</dialogue> <scene_description>SANDY likes STEVE and enjoys flirting with him .</scene_description> <character>STEVE</character> <dialogue>I have six new counsellor up there. They're all babes in the woods in every sense of the word.</dialogue> <character>SANDY</character> <dialogue>They'll be okay if they know enough to stay in outta the rain. How much do I owe you?</dialogue> <character>SANDY</character> <dialogue>One night on the town.</dialogue> <character>STEVE</character> <dialogue>I mean.</dialogue> <character>SANDY</character> <dialogue>I know what you mean. Two and a quarter. Plus fifteen percent tip to make up for me spending the night alone.</dialogue> <scene_description>STEVE pays up and walks to the cash register .</scene_description> <character>SANDY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>You got a roof for that Jeep?</dialogue> <scene_description>She rings up the money . Gives him his change . He hands her a tip .</scene_description> <character>STEVE</character> <dialogue>Yeah. I got it on before this -.</dialogue> <parenthetical>( indicates the storm outside . )</parenthetical> <dialogue>- all started.</dialogue> <character>SANDY</character> <dialogue>That's thirty percent.</dialogue> <character>STEVE</character> <dialogue>For two lonely nights.</dialogue> <scene_description>She smiles and is really kind of pretty underneath all that extra makeup .</scene_description> <character>SANDY</character> <dialogue>Drive careful and do n't drownd your dumb self.</dialogue> <scene_description>STEVE smiles and leaves . She watches , then counts her changes and sticks it her pocket with the rest of her tips for the day .</scene_description> </scene> <scene> <stage_direction>EXT. DINER - NIGHT</stage_direction> <scene_description>The rain continues as STEVE exits the diner , gets in his Jeep and starts it up . He roars off through a big puddle , splashing water towards the CAMERA . The Jeep pulls a small equipment trailer .</scene_description> </scene> <scene> <stage_direction>EXT. HIGHWAY - NIGHT</stage_direction> <scene_description>The Jeep plows through the rain , leaving the town lights behind . A sign off to the side reads : CRYSTAL LAKE 45 Mi .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN CABIN - NIGHT</stage_direction> <scene_description>PROWLER 'S POV : From outside the cabin , we can see some activity in the big meeting room . The CAMERA moves slightly from left to right as the shot is established . Then an unseen hand releases a branch which partially blocks the shot .</scene_description> </scene> <scene> <stage_direction>INT. BIG MEETING ROOM - NIGHT</stage_direction> <scene_description>ALICE enters from the kitchen , carrying two cups of coffee . She hands one to BRENDA , who is curled up on the couch in front of the fire . BILL stands to the left of the hearth , picks up a couple of pieces of dry woods and puts them on to burn .</scene_description> <character>BRENDA</character> <dialogue>You think they fell asleep?</dialogue> <character>BILL</character> <dialogue>Anything's possible. My parents taught me to leave sleeping lovers alone.</dialogue> <character>ALICE</character> <dialogue>It would n't matter except Steve should be getting back pretty soon. It would n't look so great if he fell over them.</dialogue> <character>BILL</character> <dialogue>Good point.</dialogue> <character>ALICE</character> <dialogue>Well, it has n't been that long.</dialogue> <scene_description>BRENDA smiles .</scene_description> <character>BRENDA</character> <dialogue>Long enough for me.</dialogue> <scene_description>They laugh .</scene_description> <character>ALICE</character> <dialogue>I think we should go wake them up. Just in case.</dialogue> <character>BRENDA</character> <dialogue>Give them a little while longer. It's still early, anyway.</dialogue> <character>ALICE</character> <dialogue>I guess.</dialogue> </scene> <scene> <stage_direction>EXT. RURAL ROAD - NIGHT</stage_direction> <scene_description>The rain is very heavy . Steve 's Jeep drives past the CAMERA . The tires squish in the muddy roadway .</scene_description> </scene> <scene> <stage_direction>INT. STEVE'S JEEP - NIGHT</stage_direction> <scene_description>Lighted by dash panel , STEVE tries to concentrate on seeing the road . He leans forward , rubs a cloth on the windshield to get rid of the condensation . From his POV we watch the windshield wipers struggle to stay ahead of the rain . Beyond them the headlights make a slight dent in the night . In the BG we hear a country station on the radio , but it is bringing in more static than music , owing to the electrical storm . STEVE 's hand reaches in and shuts off the radio .</scene_description> </scene> <scene> <stage_direction>INT. BIG MEETING ROOM - NIGHT</stage_direction> <scene_description>ALICE has finished her coffee . BILL enters , shakes the rain off his poncho and stamps his feet .</scene_description> <character>BILL</character> <dialogue>Got to it just in time. The generator was running on fumes. I filled it up. That should keep it humming until Steve gets back.</dialogue> <scene_description>BRENDA gets up .</scene_description> <character>BRENDA</character> <dialogue>Good night, Alice.</dialogue> <character>ALICE</character> <dialogue>Good night, Brenda.</dialogue> <scene_description>BRENDA takes her lantern , and , throwing the slicker over her head like a portable tent , she races off into the night . ALICE watches her go . A glimmer of lightning outlines her as she heads off . BILL walks back into the big room , followed by ALICE .</scene_description> <character>BILL</character> <dialogue>Help you clean up?</dialogue> <character>ALICE</character> <dialogue>Absolutely.</dialogue> <scene_description>She walks with him as he carries the tray of empty coffee cups into the kitchen .</scene_description> </scene> <scene> <stage_direction>INT. CAMP BATHROOM - NIGHT</stage_direction> <scene_description>The door opens and BRENDA comes in with her lantern and slicker . Her actions are direct and business - like . BRENDA goes first to the row of sinks and looked at herself in the mirror , holding up a propane Coleman lantern like an examination lamp . She takes out a toothbrush and some other toilet articles . She flips on both faucets and nothing comes out . She put her lantern down on the floor and turns on the water valves . She stands up , and washes her hands and face . She turns off the faucets and now we hear the dripping sound that Marcie had heard . BRENDA looks off at the shower stalls , shrugs , picks up her lantern and makes her exit .</scene_description> </scene> <scene> <stage_direction>EXT. RURAL ROAD - NIGHT</stage_direction> <scene_description>STEVE 's Jeep coughs , sputters , stalls . OVER we can hear him trying to re - start his dead engine . R - r - r - r .</scene_description> </scene> <scene> <stage_direction>INT. STEVE'S JEEP - NIGHT</stage_direction> <scene_description>STEVE angrily steps on the gas again and hits the starter . R - r - r - r - rrr . nothing . He looks up to see headlights coming at him in his rear view mirror . STEVE , wearing a yellow slicker , gets out of the Jeep to try to flag down the oncoming car .</scene_description> </scene> <scene> <stage_direction>EXT. RURAL ROAD - NIGHT</stage_direction> <scene_description>STEVE smiles to see that the oncoming car is the local police car , driven by a middle - aged cop named TIERNEY . TIERNEY has the window down already .</scene_description> <character>TIERNEY</character> <dialogue>I told you not to buy that hunk of junk!</dialogue> <character>STEVE</character> <dialogue>I think water got into the electrical system. You ride me back to camp? I'll get one of my counsellors to drive me back tomorrow morning.</dialogue> <character>TIERNEY</character> <dialogue>Why not?</dialogue> <scene_description>STEVE is around the car and hopping in almost before TIERNEY can answer .</scene_description> <character>TIERNEY</character> <parenthetical>( continuing . )</parenthetical> <dialogue>`` To serve and protect'' do n't mean to chauffeur.</dialogue> <scene_description>He puts the car in gear and roars into the night .</scene_description> </scene> <scene> <stage_direction>INT. GIRL'S CABIN/COUNSELLOR'S SECTION - NIGHT</stage_direction> <scene_description>Under a single hanging lightbulb , BRENDA finishes writing at a small table . The weather howls outside . There 's a tapping sound . BRENDA looks up . Listens , yawns , then gets up and starts to take off her clothes .</scene_description> </scene> <scene> <stage_direction>EXT. GIRL'S CABIN - NIGHT</stage_direction> <scene_description>Through her window we can see BRENDA changing into her soft yellow pajamas .</scene_description> </scene> <scene> <stage_direction>INT. GIRL'S CABIN - NIGHT</stage_direction> <scene_description>The tapping returns .</scene_description> <character>BRENDA</character> <dialogue>That could drive a person bug - city.</dialogue> <scene_description>The SOUND is apparently coming from the front of the cabin ; perhaps she can fix it without getting too wet . BRENDA grabs her slicker and heads out . The CAMERA FOLLOWS BRENDA through the darkened cabin to the front door .</scene_description> </scene> <scene> <stage_direction>EXT. GIRL'S CABIN - NIGHT</stage_direction> <scene_description>There is a small roof overhang like a porch , affording some protection from the wind and wet . ANOTHER ANGLE , CLOSER : as BRENDA hears the tapping sound closer by . She looks and sees . WE SEE WHAT SHE SEES : somebody has ties a kitchen knife to a string and left it dangling from the eaves . The wind blows , making the knife tap against the building .</scene_description> <character>BRENDA</character> <dialogue>Neddy? Cut the screwing around, Neddy!</dialogue> <scene_description>She grabs the knife , breaking the string .</scene_description> <character>BRENDA</character> <parenthetical>( continuing . )</parenthetical> <dialogue>This is n't even half funny.</dialogue> <scene_description>Angry , BRENDA turns and goes back inside the cabin .</scene_description> </scene> <scene> <stage_direction>INT. GIRL'S CABIN - NIGHT</stage_direction> <scene_description>BRENDA comes in shaking off her slicker , carrying the knife .</scene_description> <character>BRENDA</character> <dialogue>Christ, what a jerk.</dialogue> <scene_description>The single bulb goes out .</scene_description> <character>BRENDA</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Great. Now what?</dialogue> <scene_description>BRENDA crosses to the table , puts down her knife and strikes a match . She fires up the propane lantern .</scene_description> <character>BRENDA</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Looks like I turn in early.</dialogue> <scene_description>She moves the lamp and gets ready to climb into her bed . She reaches down and takes the coverlet and tugs it clear , revealing something that has been left there . REACTION SHOT : Fear spreads across her face . REVERSE POV : WE SEE WHAT SHE SEES : A camp hatchet lies across her pillow . The shiny blade is marked with blood . BRENDA turns and runs from her room .</scene_description> </scene> <scene> <stage_direction>EXT. PATHWAY/CAMP - NIGHT</stage_direction> <scene_description>BRENDA runs through the rain , her flimsy pajamas drenched . Her bare feet slip in the mud . She heads for a small rise that leads to the softball field .</scene_description> </scene> <scene> <stage_direction>EXT. SOFTBALL FIELD - NIGHT</stage_direction> <scene_description>WIDE SHOT of BRENDA running across the softball diamond .</scene_description> </scene> <scene> <stage_direction>EXT. ELECTRICAL JUNCTION BOX - NIGHT</stage_direction> <scene_description>CLOSE UP : a hand reaches in and slams on a circuit breaker .</scene_description> </scene> <scene> <stage_direction>EXT. SOFTBALL FIELD - NIGHT</stage_direction> <scene_description>CLOSE UP : Two large spot lights on a telephone pole light up .</scene_description> </scene> <scene> <stage_direction>EXT. SOFTBALL FIELD - NIGHT</stage_direction> <scene_description>The softball field is now lit . BRENDA is confused . She looks off behind the backstop . Then to center field . Confused , she runs out of the light into the darkness and underbrush behind third base . The CAMERA slowly zooms in on the darkness where BRENDA exited . We hold on that spot for several seconds . Finally the silence is broken by a terrified scream . Then another .</scene_description> </scene> <scene> <stage_direction>INT. BIG MEETING ROOM - NIGHT</stage_direction> <scene_description>ALICE is at one of the windows .</scene_description> <character>ALICE</character> <dialogue>I do n't here it anymore.</dialogue> <character>BILL</character> <dialogue>Ca n't hear anything through that wind and rain.</dialogue> <character>ALICE</character> <dialogue>It sounded like Brenda.</dialogue> <character>BILL</character> <dialogue>I'll go take a look.</dialogue> <character>ALICE</character> <dialogue>Did somebody leave the lights on at the softball field?</dialogue> <scene_description>We are looking over at her shoulder . The distant glimmer suddenly goes dark . BILL joins her and looks .</scene_description> <character>BILL</character> <dialogue>Where?</dialogue> <character>ALICE</character> <dialogue>They're off now.</dialogue> <scene_description>BILL heads for the door .</scene_description> <character>BILL</character> <dialogue>I'll go check on Brenda.</dialogue> <character>ALICE</character> <dialogue>Okay.</dialogue> <scene_description>ALICE turns . BILL is halfway out the door .</scene_description> <character>ALICE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>I'll go with you.</dialogue> <scene_description>BILL shrugs .</scene_description> <character>BILL</character> <dialogue>If it'll make you feel better.</dialogue> </scene> <scene> <stage_direction>INT. POLICE CAR - NIGHT</stage_direction> <scene_description>The rain continues as they drive along .</scene_description> <character>TIERNEY</character> <dialogue>Bad enough we got a full moon ; it's Friday the 13th. They keep statistics. We get more accidents, more robberies, more rapes, more homicides, more of everything when there's a full moon. It affects people. Makes'em nuts.</dialogue> <character>STEVE</character> <dialogue>You've made a science out of coincidence.</dialogue> <scene_description>The police radio , which has been on `` squelch , '' comes on .</scene_description> <character>DISPATCHER #1</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( filtered . )</parenthetical> <dialogue>Sgt. Tierney, Report.</dialogue> <character>DISPATCHER #2</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( filtered . )</parenthetical> <dialogue>Need a clear frequency.</dialogue> <character>DISPATCHER #1</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( filtered . )</parenthetical> <dialogue>Sgt. Tierney, car niner.</dialogue> <scene_description>TIERNEY takes the mike .</scene_description> <character>TIERNEY</character> <dialogue>This is Tierney.</dialogue> <character>DISPATCHER #2</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( filtered . )</parenthetical> <dialogue>Rescue squad with jaws of life. near mile marker 17. possible fatals. three, maybe more. head on. at least one trapped.</dialogue> <character>DISPATCHER #1</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( filtered . )</parenthetical> <dialogue>Sgt. Tierney, there's a bad accident. One fatality known, several possibles near mile marker 17 on the Interstate. Bus, tractor trailer. Over.</dialogue> <character>TIERNEY</character> <dialogue>Roger. Acknowledge receipt. Estimate arrival time fifteen minutes. How copy?</dialogue> <scene_description>TIERNEY has jammed on his brakes and swung the car around .</scene_description> <character>DISPATCHER #1</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( filtered . )</parenthetical> <dialogue>100 %. I'll tell'em you'll be there in fifteen minutes. Out.</dialogue> <scene_description>TIERNEY bangs the mike down on the holder . He stops the car .</scene_description> <character>TIERNEY</character> <dialogue>Have to drop you here, Steve.</dialogue> <character>STEVE</character> <dialogue>Sure.</dialogue> <scene_description>STEVE gets out quickly .</scene_description> <character>STEVE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Good luck.</dialogue> <character>TIERNEY</character> <dialogue>Another coincidence.</dialogue> <character>STEVE</character> <dialogue>Yeah.</dialogue> </scene> <scene> <stage_direction>EXT. RURAL ROAD - NIGHT</stage_direction> <scene_description>STEVE turns as the cop 's car door slams . TIERNEY peels out on the wet road . CU as STEVE watches the lights grow dim in the distance . ANOTHER ANGLE : as STEVE turns and jogs the other way . Low thunder rolls in the distance .</scene_description> </scene> <scene> <stage_direction>EXT. GIRL'S CABIN - NIGHT</stage_direction> <scene_description>BILL and ALICE have made their way to BRENDA 's cabin . From the outside they can see the Coleman lantern burning on the table within .</scene_description> <character>ALICE</character> <dialogue>Brenda? Brenda? You there?</dialogue> <scene_description>There is no response . The CAMERA stays in a MCU of ALICE as she and BILL cross up the stairs and into the cabin .</scene_description> </scene> <scene> <stage_direction>INT. GIRL'S CABIN - NIGHT</stage_direction> <scene_description>The SHOT continues on ALICE as she looks about the empty cabin . Finally she stops , looking down . The CAMERA continues to hold on her face .</scene_description> <character>ALICE</character> <dialogue>Bill.</dialogue> <scene_description>BILL crosses over to ALICE . They are both looking down , past the CAMERA LENS . ANOTHER ANGLE : WE SEE WHAT THEY SEE : the bloody hatchet left on Brenda 's pillow . ANGLE on BILL and ALICE : -LRB- as before -RRB- . Their faces are serious .</scene_description> <character>ALICE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>What the fuck is going on here?</dialogue> </scene> <scene> <stage_direction>EXT. JACK'S CABIN - NIGHT</stage_direction> <scene_description>The rain slants down as BILL and ALICE make their way towards Jack 's cabin . They go to the door . BILL knocks .</scene_description> <character>BILL</character> <dialogue>Jack?</dialogue> <character>ALICE</character> <dialogue>Marcie?</dialogue> <character>BILL</character> <dialogue>Hey, guys!</dialogue> <scene_description>BILL opens the door to the cabin .</scene_description> </scene> <scene> <stage_direction>INT. JACK'S CABIN - NIGHT</stage_direction> <scene_description>The door opens at us . We see the silhouetted figures of BILL and ALICE . BILL flips on the light switch . The cabin is empty . Jack 's backpack lies on the bed , the contents neatly laid out .</scene_description> </scene> <scene> <stage_direction>INT. CAMP BATHROOM - NIGHT</stage_direction> <scene_description>It is dark inside . The door slams open at us as BILL and ALICE make their way inside .</scene_description> <character>ALICE</character> <dialogue>Marcie? Brenda? Jack?</dialogue> <scene_description>BILL walks slowly towards the row of toilets and showers .</scene_description> <character>ALICE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>I think we should call the police, Bill.</dialogue> <scene_description>BILL , who was just about to open one of the toilet stalls , nods and turns back to ALICE .</scene_description> <character>BILL</character> <dialogue>Okay.</dialogue> <scene_description>They exit . There is a beat . and then a slickered shape passes between us and the night sky light which comes through the windows . The shape is dragging something .</scene_description> </scene> <scene> <stage_direction>EXT. OFFICE CABIN - NIGHT</stage_direction> <scene_description>ALICE and BILL are on the porch of one of the cabins . To the left of the door is a small sign that reads : `` Office . '' BILL tries the door , but can not open it .</scene_description> <character>BILL</character> <dialogue>Sucker's locked. Who's got the key?</dialogue> <scene_description>ALICE ignores the question , bends down beside the cabin and comes up with a short 2x4 . She crosses to the door and smashes through one of the window panes . She puts her arm through the broken glass , unlocks the door and enters . BILL follows . The CAMERA continues to watch them from outside the cabin . They turn on a light and cross to a phone on Steve Christy 's desk . BILL picks up the receiver , listens , clicks the switch on the desk set several times .</scene_description> <character>BILL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>It's dead. Try the pay phone.</dialogue> <character>ALICE</character> <dialogue>Do you have a dime? A quarter?</dialogue> <character>BILL</character> <dialogue>No. There must be some in the desk somewhere.</dialogue> <scene_description>They fumble through the desk to find some change . BILL finds some in the postage drawer . He then crosses over to a pay phone mounted on the wall . The CAMERA moves to the cornice of the building where the phone line exits . It follows the link up the side of the cabin to the junction where the power and phone lines come in from the pole . Here we see a dangling phone cable which has been recently cut . OVER , we hear the sound of a quarter dropping in the dead telephone .</scene_description> <character>ALICE</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Hello? Hello? This damn thing's dead, too.</dialogue> </scene> <scene> <stage_direction>EXT. PARKING LOT - NIGHT</stage_direction> <scene_description>BILL and ALICE comes out into the rain , heading for the camper van . They hop in .</scene_description> </scene> <scene> <stage_direction>EXT. VAN/PARKING LOT - NIGHT</stage_direction> <scene_description>BILL slides behind the wheel . The keys are in the ignition . ALICE hops in on the passenger side . BILL turns over the engine . It grinds away but does not catch . From an ANGLE behind the outside mirror , we hear the engine fail to catch . We look in the mirror and see someone standing in the distance , watching . BILL gets out of the driver 's side . Slams the door . The CAMERA TRUCKS with him as he opens the door to the engine . ALICE joins him as he shines his light on the engine .</scene_description> <character>ALICE</character> <dialogue>What's the matter with it?</dialogue> <character>BILL</character> <dialogue>Wet. I do n't know.</dialogue> <scene_description>He tries a few more times .</scene_description> <character>ALICE</character> <dialogue>Why do n't we run? Just run now?</dialogue> <character>BILL</character> <dialogue>It's over twenty miles to the crossroads. Steve'll be back in an hour. Things will straighten out then. We'll take his Jeep and get help.</dialogue> <scene_description>He goes to her and cradles her face in his hands .</scene_description> <character>BILL</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Do n't worry. There is probably some really stupid explanation for all this. When the sun comes up tomorrow, you'll smile.</dialogue> <parenthetical>( pause . )</parenthetical> <dialogue>Promise.</dialogue> <scene_description>ALICE nods .</scene_description> </scene> <scene> <stage_direction>EXT. CAMP ENTRANCE - NIGHT</stage_direction> <scene_description>In the FG we see a camp sign . In the BG we see a figure running towards us . The figure reaches our vantage point and is revealed as STEVE CHRISTY . Just as he 's about to make the turn into the driveway , he looks up and smiles . He stops and catches his breath as the other person catches him in the light of a flashlight .</scene_description> <character>STEVE</character> <dialogue>Hi. What are you doing out in this mess?</dialogue> <scene_description>He shields his eyes from the light .</scene_description> </scene> <scene> <stage_direction>EXT. LAKE - NIGHT</stage_direction> <scene_description>From across the lake , the lights from the camp twinkle through the rain drops .</scene_description> </scene> <scene> <stage_direction>EXT. GENERATOR SHED - NIGHT</stage_direction> <scene_description>The CAMERA as PROWLER moves to the shed . The noise of the generator grows louder as the door is opened .</scene_description> </scene> <scene> <stage_direction>INT. BIG MEETING ROOM - NIGHT</stage_direction> <scene_description>BILL sits on the chair , a rifle across his lap . In the BG , ALICE sits on the couch , dozing . On the coffee table in front of her is a large machete . BILL 's eyes are closing . He jerks himself awake , then starts to doze again . The bulb overhead grows yellow , orange , and then goes out . BILL snaps awake . He grabs a flashlight by his feet and flicks it on .</scene_description> <character>BILL</character> <dialogue>Oh, shit.</dialogue> <scene_description>He goes to the ping - pong table where he has placed some lanterns . He fires up a Coleman and places it on the pong table . BILL checks on ALICE , makes sure she 's asleep , then exits , carrying his rifle and a battery - operated fluorescent lamp . HOLD on ALICE 's peaceful face as she slumbers .</scene_description> </scene> <scene> <stage_direction>EXT. GENERATOR SHED - NIGHT</stage_direction> <scene_description>The rain has lessened a bit . BILL approaches the shed with his fluorescent lamp and rifle . He has the rifle at the ready . CU on his hand on the door handle . He pulls it open .</scene_description> </scene> <scene> <stage_direction>INT. GENERATOR SHED - NIGHT</stage_direction> <scene_description>The generator stands there quietly . BILL comes into view , spraying the interior with lamplight . In the FG a broken sparkplug which BILL does not see immediately . It has been smashed by the blow of a hammer . BILL goes to the gas tank and unscrews the top . He looks in - there is enough gas . He puts the cap back on . Then his eye catches something . He looks at the broken plug . He shakes his head and looks around for a wrench to fix it . He puts the rifle down on the floor of the shed .</scene_description> </scene> <scene> <stage_direction>INT. BIG MEETING ROOM - NIGHT</stage_direction> <scene_description>ALICE sits up into the CAMERA , startled and afraid .</scene_description> <character>ALICE</character> <dialogue>Bill?!</dialogue> <scene_description>She gets her bearings and looks around . Stands up . She looks at the bulb overhead . Pulls its string . No light . She sees the lanterns which have been placed around .</scene_description> <character>ALICE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>The generator.</dialogue> <scene_description>Now that she has figured out where Bill must be , she relaxes a little . Smiles . She goes to the mantelpiece , takes the lantern , and walks into the kitchen .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT</stage_direction> <scene_description>ALICE puts down the lamp and goes about filling a big old tea kettle with water . She puts it on the stove and pops on a burner and prepares two cups of instant coffee . Impatient and curious , she walks to the front door of the cabin and looks out .</scene_description> <character>ALICE</character> <dialogue>Bill? Bill?</dialogue> <scene_description>The calm which she had grasped a few moments before is beginning to desert her . INSERT : Whistling tea kettle on the kitchen stove .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN - NIGHT</stage_direction> <scene_description>ALICE takes the kettle off the flame . The whistling stops abruptly . ALICE pours water into the two cups . She stirs the coffee . Unable to contain her impatience any longer , ALICE picks up her lantern , grabs a slicker , and heads out the door .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN CABIN AREA - NIGHT</stage_direction> <scene_description>ALICE walks very quickly around the side of the cabin , headed for the generator shed .</scene_description> <character>ALICE</character> <dialogue>Bill!</dialogue> </scene> <scene> <stage_direction>EXT. GENERATOR SHED - NIGHT</stage_direction> <scene_description>The door to the shed is closed . ALICE looks around and then puts a hand on the hand . In CU we see the hand pull . The door does n't budge . REACTION SHOT : ALICE decides to pull harder . She puts down her lamp and uses both hands and tugs . She pulls until she finally wrenches the door open . The lamp casts long shadows upwards . The generator sits silent . ALICE leans into the shed to look . The CAMERA TRACKS very slowly around behind her so that we can see behind the right - hand corner of the building . As we clear the edge , we see something hanging from a rope which runs down from a branch above . The something turns slowly in the wind . It is BILL - dead - in a travesty of the martyrdom of St. Sebastian , shot with arrows . ALICE comes out of the shed , distraught .</scene_description> <character>ALICE</character> <dialogue>Bill?</dialogue> <scene_description>She closes the door , and turns in the direction of the body . REACTION SHOT : ALICE . She is riveted with horror , unable to move or turn or run . The SOUNDTRACK screams with the THEME , the insistent STINGER , a shriek and a thunderclap . ALICE finally gives voice to her terror - again and again . She turns , leaving the lantern , and runs back towards the main cabin .</scene_description> <character>ALICE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Help! Help!</dialogue> </scene> <scene> <stage_direction>INT. MAIN CABIN - NIGHT</stage_direction> <scene_description>ALICE bursts through the front door into CAMERA .</scene_description> <character>ALICE</character> <dialogue>Jack! Marcie! Help me!</dialogue> </scene> <scene> <stage_direction>INT. BIG MEETING ROOM - NIGHT</stage_direction> <scene_description>ALICE races to the coffee table , looking for BILL 's machete . It is not there .</scene_description> <character>ALICE</character> <dialogue>The knife!</dialogue> <scene_description>She gets down on her hands and knees to look for it . LOW ANGLE : as she scrabbles on all fours . Nothing under the couch . ALICE gets back up and rushes to the ping - pong table to get the lamp . Just as she reaches the table - which is more or less against a window - a figure swings , pendulum - like , into the glass , shattering the pane in the window opposite ALICE . It is BRENDA , long - since dead , dripping wet , white - faced . ALICE sees her , turns and runs as fast as she can for the front door . ALICE flings open the wooden door and runs into a rain - suited figure . ALICE screams . The figure holds ALICE in a strong grasp . When ALICE focuses , she sees a kindly woman in her early forties . She is strong , fairly tall , and very nice - looking . This is MRS. VOORHEES . She wants ALICE to stop shrieking long enough to tell her what the matter is . ALICE sobs incoherently , pointing back to the rear window .</scene_description> <character>MRS. VOORHEES</character> <dialogue>There now, my dear. Please. I ca n't help you if you ca n't talk to me. There, there now.</dialogue> <scene_description>ALICE allows the woman to lead her back into the room . MRS. VOORHEES leads ALICE to the couch . In the BG we can see the broken window , but BRENDA is not visible .</scene_description> <character>ALICE</character> <dialogue>He's dead. She's dead. all dead. Please save me. oh. poor Bill. Oh my God, oh my God. oh God.</dialogue> <character>MRS. VOORHEES</character> <dialogue>It will be all right. I'll take care of you.</dialogue> <character>ALICE</character> <dialogue>Jack? Marcie? Ned?</dialogue> <scene_description>MRS. VOORHEES comforts her with a strong arm .</scene_description> <character>MRS. VOORHEES</character> <dialogue>It's just this place. The storm. That's why you're all upset.</dialogue> <character>ALICE</character> <dialogue>No, no, they're all dead.</dialogue> <scene_description>ALICE points over her shoulder towards the ping - pong table without looking . MRS. VOORHEES looks , shrugs .</scene_description> <character>MRS. VOORHEES</character> <dialogue>I'll go look.</dialogue> <scene_description>ALICE 's face registers the new terror .</scene_description> <character>ALICE</character> <dialogue>They'll kill you! Do n't leave me!</dialogue> <scene_description>MRS. VOORHEES smiles warmly .</scene_description> <character>MRS. VOORHEES</character> <dialogue>I'm not afraid.</dialogue> <scene_description>ALICE waits by the couch as MRS. VOORHEES crosses the room to the back window .</scene_description> <character>ALICE</character> <dialogue>All dead? Neddy? Oh, Marcie.</dialogue> <scene_description>ALICE stands close to the fireplace . MRS. VOORHEES reaches the window and looks out . BRENDA 's body sways just out of reach . MRS. VOORHEES is shocked .</scene_description> <character>MRS. VOORHEES</character> <dialogue>Oh, my lord.</dialogue> <scene_description>MRS. VOORHEES turns back and , as she passes the ping - pong table , she picks up the lantern . ALICE waits at the fireplace .</scene_description> <character>MRS. VOORHEES</character> <parenthetical>( continuing . )</parenthetical> <dialogue>So young, so pretty. What monster could have done such a thing?</dialogue> <character>ALICE</character> <dialogue>Bill - Bill - Bill is out there.</dialogue> <scene_description>She lets MRS. VOORHEES take her in her arms .</scene_description> <character>MRS. VOORHEES</character> <dialogue>We shall go straight to the police.</dialogue> <scene_description>ALICE backs up .</scene_description> <character>ALICE</character> <dialogue>The killer is still out there.</dialogue> <character>MRS. VOORHEES</character> <dialogue>I will protect you.</dialogue> <scene_description>MRS. VOORHEES looks around the room .</scene_description> <character>MRS. VOORHEES</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Oh, this place. It should never have been a camp. Not for children. They had so much trouble here.</dialogue> <scene_description>The fire glimmers slightly in the fireplace . A log burns through and rolls off , throwing up a small shower of sparks .</scene_description> <character>MRS. VOORHEES</character> <parenthetical>( continuing . )</parenthetical> <dialogue>Camp Blood.</dialogue> <scene_description>MRS. VOORHEES has almost completely calmed the girl down . Strokes her soft hair .</scene_description> <character>MRS. VOORHEES</character> <parenthetical>( continuing . )</parenthetical> <dialogue>You know a boy drowned the year before those two others were killed? An accident? It was inadequate supervision. The counsellors were not paying enough attention. They were making love when that boy drowned.</dialogue> <scene_description>ALICE looks up as the WOMAN strokes her hair . ANOTHER ANGLE : MCU as the OLDER WOMAN 's hand strokes the YOUNGER WOMAN 's hair . The hand is missing its little finger ! The THEME enters upon the TRACK in a lyrical , child - like version , echoing back to another era , pretty and light .</scene_description> <character>MRS. VOORHEES</character> <parenthetical>( continuing . )</parenthetical> <dialogue>We should go now.</dialogue> <character>ALICE</character> <dialogue>Maybe we should wait for Mr. Christy.</dialogue> <scene_description>MRS. VOORHEES shakes her head gently .</scene_description> <character>MRS. VOORHEES</character> <dialogue>No. That wo n't be necessary.</dialogue> <scene_description>As she speaks , MRS. VOORHEES reaches into her slicker in a surreptitious manner and very slowly slips out a long hunting knife .</scene_description> <character>ALICE</character> <dialogue>I do n't understand.</dialogue> <scene_description>MIXED on the TRACK , filtered , echoed and distant , is the SOUND of a ten year old boy , JASON , crying for help in a fantasy version of what might have happened when he drowned in 1957 .</scene_description> <character>JASON</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( filtered . )</parenthetical> <dialogue>Help me, mommy. save me. please, mommy. please, mommy. help me, mommy. save me.</dialogue> <character>MRS. VOORHEES</character> <parenthetical>( cocking her hand to listen . )</parenthetical> <dialogue>I am, Jason. I am.</dialogue> <character>ALICE</character> <parenthetical>( a little confused . )</parenthetical> <dialogue>Why should n't we wait for Mr. Christy?</dialogue> <scene_description>MRS. VOORHEES has gone through some subtle changes . While her voice remains warm and comforting , her face has started to slip into her other manifestation . All of this is in concert with the visibility of her weapon .</scene_description> <character>MRS. VOORHEES</character> <dialogue>It was my son they killed. They said he drowned, but I know it was inadequate supervision.</dialogue> <scene_description>ALICE starts to become increasingly anxious . She ca n't see the knife rise behind her .</scene_description> <character>ALICE</character> <dialogue>Mr. Christy will be back soon.</dialogue> <scene_description>MRS. VOORHEES shakes her head from side to side .</scene_description> <character>MRS. VOORHEES</character> <dialogue>No, he wo n't. I killed him as well.</dialogue> <scene_description>The shock of recognition hits ALICE . In CU her eyes look up and see the knife which MRS. VOORHEES now has poised and ready to strike . ALICE bolts off the couch and stumbles backwards into the fireplace , scattering ashes and sparks . MRS. VOORHEES stands and steps forward .</scene_description> <character>MRS. VOORHEES</character> <parenthetical>( continuing . )</parenthetical> <dialogue>I could n't let them start this camp again, could I?</dialogue> <scene_description>ALICE , in panic , looks for an escape . She grabs the fireplace poker .</scene_description> <character>ALICE</character> <dialogue>I wo n't let you!</dialogue> <scene_description>ALICE swings the poker back and forth .</scene_description> <character>ALICE</character> <parenthetical>( continuing . )</parenthetical> <dialogue>No! No! No!</dialogue> <scene_description>MRS. VOORHEES raises her arm to slash downward with the knife . ALICE swings the poker hard to MRS. VOORHEES ' other arm and rib cage . MRS. VOORHEES is in pain , her face a mask of rage . ALICE drops the poker to run for the door . MRS. VOORHEES hesitates for a moment , then follows ALICE deliberately . Lightning goes off followed quickly by thunder .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN CABIN/TREE - NIGHT</stage_direction> <scene_description>ALICE gets to the door and stops . She fiddles with the side of the screen . somebody has latched it . CLOSER on ALICE , taking one look over her shoulder , kicks at the door , snapping the latch . ANOTHER ANGLE : as ALICE runs out into the rain , the mud , the thunder and the lightning . The THEME is going full - tilt as ALICE makes a quick turn to run towards the road . TWO - SHOT : as ALICE bumps into an object which swings from above . A slice of lightning reveals it to be the dead body of STEVE CHRISTY hanging from the tree . A rope is looped under his arms , his head is down on his chest , and a long blade protrudes from his heart . REACTION SHOT : ALICE in terror . ANOTHER ANGLE : ALICE runs and suddenly bumps into another pair of legs which swing from the same big tree . STROBE SHOT : of JACK , dead . ANOTHER ANGLE : ALICE runs for the Arts &amp; Crafts . In the BG we see can the yellow - slickered MRS. VOORHEES closing the distance between herself and ALICE .</scene_description> </scene> <scene> <stage_direction>EXT. ARTS &amp; CRAFTS CABIN - NIGHT</stage_direction> <scene_description>ALICE runs for the door , slams through it . The CAMERA waits for MRS. VOORHEES , but she does not appear .</scene_description> </scene> <scene> <stage_direction>EXT. GENERATOR SHACK - NIGHT</stage_direction> <scene_description>MRS. VOORHEES runs to the door and opens it quickly .</scene_description> </scene> <scene> <stage_direction>INT. ARTS &amp; CRAFTS CABIN - NIGHT</stage_direction> <scene_description>ALICE is hiding in the shadows behind a table . We hear the SOUNDS of the generator starting outside and suddenly three bright overhead lights come on . ALICE looks across the room to the light switch , afraid to reveal her hiding place . She looks for an escape . There 's a window . She starts for it , then stops and turns and dives under an arts &amp; crafts table . ANOTHER ANGLE : MRS. VOORHEES opens the door and walks in a few feet . She carries a machete in her hand . We see this instrument in CU as we hear OVER the sound of her son , JASON , calling to her .</scene_description> <character>JASON</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Help, mommy, I'm drowning! Oh, mommy, please.</dialogue> <scene_description>The CAMERA PANS UP to her face and we see that the voice of JASON is coming from within her in LIP SYNC . She is both characters - though the child 's voice is authentically dubbed . ALICE can just make out what is happening and can hear the VOICE OF JASON . ALICE is very still . Her eyes widen as she listens to MRS. VOORHEES rave .</scene_description> <character>JASON</character> <parenthetical>( Lipsync . )</parenthetical> <dialogue>Do n't let me die, mommy. I ca n't breathe. Help me, breathe.</dialogue> <scene_description>MRS. VOORHEES is having trouble catching her own breath . She strokes her throat with her free hand and the voice of the child stops .</scene_description> <character>MRS. VOORHEES</character> <parenthetical>( in her own voice . )</parenthetical> <dialogue>I ca n't let them kill any more children. Come out now.</dialogue> <scene_description>She wades through table after table , pushing them out of her way with the strength she has demonstrated throughout as the PROWLER . When MRS. VOORHEES is too quick for her , shoving a table across her path like a barred door . Before ALICE can think twice , MRS. VOORHEES has shoved a second table in behind her so that now ALICE is sandwiched between them . She can duck down or climb over or come out the only open end - the end where MRS. VOORHEES is standing . ALICE looks behind her and sees a shelf . On the shelf is a box . MRS. VOORHEES is coming down the aisle between the two tables . Her machete is coming up in an attack . ALICE reaches into the box in CU and pulls out a handful of leather - working tools . She hurls them at MRS. VOORHEES as hard as she can . MRS. VOORHEES has to put her arms up to ward off the spinning knives . One cuts her under the eye and she lets out a low animal bellow . ALICE leaps up , climbs over the table and runs for the door . MRS. VOORHEES shoves the tables over and hurries after her . ALICE gets to the door , shuts off the light switch and runs out . We can hear JASON 'S VOICE .</scene_description> <character>JASON</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Kill her, mommy! Kill her!</dialogue> </scene> <scene> <stage_direction>EXT. CAMP GROUNDS/EQUIP. SHED - NIGHT</stage_direction> <scene_description>The central area is bathed in light . The rain has stopped . MRS. VOORHEES has turned on all the flood - lights . ALICE runs to the corner of one of the cabins . She stops to look back . MRS. VOORHEES is gaining on her . ALICE runs to the equipment shed . ANOTHER ANGLE : The door is thrown back . ALICE goes in . Looks for a weapon . Nothing is available . ALICE sobs with fear . She runs . MRS. VOORHEES passes the equipment shed .</scene_description> </scene> <scene> <stage_direction>EXT. RIFLE RANGE SHACK - NIGHT</stage_direction> <scene_description>A single bulb outside the building shows ALICE as she bursts through the door .</scene_description> </scene> <scene> <stage_direction>INT. RIFLE RANGE SHACK - NIGHT</stage_direction> <scene_description>It is a small cabin . On the walls are five .22 calibre rifles . ALICE runs into the dimly lit cabin and takes one of the rifles from the wall . She rummages in a drawer . It 's empty . She tries another . Empty .</scene_description> <character>ALICE</character> <dialogue>Where are the goddamned bullets?</dialogue> <scene_description>The next drawer has a lock and hasp on it . ALICE looks around .</scene_description> </scene> <scene> <stage_direction>EXT. RIFLE RANGE SHACK - NIGHT</stage_direction> <scene_description>MRS. VOORHEES is on her way , charging through the night .</scene_description> </scene> <scene> <stage_direction>INT. RIFLE RANGE SHACK - NIGHT</stage_direction> <scene_description>ANGLE ON ALICE : She whacks the hasp with the butt of the rifle . The hasp does n't give . She gives it another butt stroke . It wo n't give . A shadow covers ALICE 's back . She turns . ANOTHER ANGLE : MRS. VOORHEES is standing in the doorway , blocking the light . Still carrying the machete , MRS. VOORHEES steps slowly toward ALICE . ALICE , with an almost useless .22 in her hands , does the only thing she can . She takes the weapon by the barrel and , swinging it like a baseball bat , whacks MRS. VOORHEES on the arm/shoulder , knocking the killer off balance and into the wall . MRS. VOORHEES slams through a flimsy table , crushing it , and drops to the floor . ALICE runs out the door .</scene_description> </scene> <scene> <stage_direction>EXT. MAIN CABIN FRONT - NIGHT</stage_direction> <scene_description>ALICE huffs past the dead camper van , through the mud to the front door of the main cabin . She runs in quickly . There is no sign of MRS. VOORHEES . She turns off the lights and runs into the kitchen .</scene_description> </scene> <scene> <stage_direction>INT. KITCHEN AREA - NIGHT</stage_direction> <scene_description>ALICE looks from side to side , hoping to find a place to hide . She spots the half - open door to the larder , looks inside and then hides there , closing the door behind her .</scene_description> </scene> <scene> <stage_direction>INT. LARDER - NIGHT</stage_direction> <scene_description>There is some light that comes through the cracks and crevices . ALICE 's hands fasten onto the inside lock - the dead bolt type which requires a key to unlock it from the other side . ALICE relaxes a little bit now that she is locked inside . As soon as she relaxes , we hear the front screen door slam . Then we hear some shuffling around outside . The lights are turned on .</scene_description> <character>JASON</character> <parenthetical>( V.O . )</parenthetical> <dialogue>Please kill her, mommy. Help me, please. Kill her, mommy.</dialogue> <scene_description>There is the sound of pots being rustled through . Then the sound of another door being slammed . ALICE relaxes again . Then there is a silence . ALICE thinks about unlocking the door now . She reaches out for the lock . Then thinks better of the idea . She cases down the door frame to the floor . On all sides are the cans of food and cooking implements . There is a large skillet , some bags of flour , etc. . ALICE covers her head with her arms . The doorknob above her head -LRB- a few inches away -RRB- turns very slowly . We see it , but she does not . MRS. VOORHEES ' hand finishes turning and now starts to push gently . There is almost no give , but we see that the door is being tested . The voice on the other side is very young , very sing - song .</scene_description> <character>JASON</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Come out, come out, wherever you are.</dialogue> <scene_description>ALICE jerks back and stands up on the far side of the small room . Fists bang in a rage on the floor .</scene_description> <character>ALICE</character> <dialogue>Please.</dialogue> <scene_description>ALICE folds her hands at the side of her face . The fist - banging gives way to a short silence . The silence is interrupted by a new sound : MRS. VOORHEES has begun to use her machete to chop away at the outside of the door to the larder . REACTION SHOT : ALICE . oh , my God . At first we see nothing on our side . Then , gradually , we see little slivers of lights admitted by the blade 's chops . ALICE 's eyes race around the larder to try to find a weapon , a defense , anything . Larger holes are now made . MRS. VOORHEES stops just long enough to take a peck inside . We can see her eye at the largest hole . She goes back to whacking away at the door . The hole is near the lock . It is soon big enough for MRS. VOORHEES to reach inside with her hand and turn the rachet . ALICE realizes she must defend herself . She reaches down and picks up a heavy skillet and , as the door opens , ALICE raises her weapon and , screaming , charges the woman who is trying to come through the entrance . MRS. VOORHEES chops down with the machete . ALICE fends off the blow with the skillet that she holds with both hands above her head . As the machete blade bounces off the skillet , ALICE is able to swing the skillet downward and hit MRS. VOORHEES with a solid blow on top of her head . MRS. VOORHEES sprawls sideways across the table and then collapses in a heap on the floor . ALICE raises the skillet again to strike . She crosses carefully to MRS. VOORHEES and pushes her gently with her foot , the way she might poke a dead animal in the roadway . ANOTHER ANGLE : MRS. VOORHEES lies totally inert . There is a small puddle of blood under her head . ANGLE ON ALICE : She relaxes , puts down her weapon and crosses slowly out of the room .</scene_description> </scene> <scene> <stage_direction>EXT. LAKE - NIGHT</stage_direction> <scene_description>The moon comes out from behind a cloud . ALICE pushes a canoe into the water and paddles , as rapidly as her tired body will permit , out in the lake to safety .</scene_description> </scene> <scene> <stage_direction>EXT. LAKE - NIGHT</stage_direction> <scene_description>Exhausted , ALICE puts her paddle across her lap and falls forward , slumped across a thwart .</scene_description> </scene> <scene> <stage_direction>EXT. CAMP - DAWN</stage_direction> <scene_description>The first rays of sunlight streak the sky from beyond the horizon , promising a hot and sunny summer 's day . The birds are up , foraging for food . As the CAMERA scans the peaceful scene , we see the sky reflected in the calm waters of Crystal Lake . The canoe holding ALICE is drifting in big slow circles across the surface of the lake .</scene_description> </scene> <scene> <stage_direction>EXT. LAKE - DAWN</stage_direction> <scene_description>ALICE lies , in MCU , in the canoe , sleeping . She has not changed her position since collapsing a few hours before . The water laps gently against the side of the canoe . Very slowly , she wakes . She opens her eyes . The canoe has drifted into the shade of some enormous tree boughs that overhang the edge of the lake . They shade ALICE from the bright rays of the sun . The canoe rocks gently . ALICE is still , listening to the sound of the lapping water . Suddenly there is a blood - curdling scream , a MUSICAL STINGER , and the screen is filled with the flying , whirling form of MRS. VOORHEES , who leaps from the overhanging boughs into the canoe , barely missing ALICE 's slumped form ! The canoe immediately overturns and both MRS. VOORHEES and ALICE try to find their footing in the shallow water . MRS. VOORHEES is covered in mud and blood . She sees ALICE struggling to get up and move toward her , brandishing her blood - spattered machete . ALICE turns , sees MRS. VOORHEES coming . ALICE grabs a paddle floating near her . MRS. VOORHEES pushes the canoe to one side , wading through the waist - high water as fast as she can . She screams with rage . Her face goes through a horrifying transformation . From her mouth comes the VOICE OF JASON .</scene_description> <character>JASON</character> <parenthetical>( Lipsync . )</parenthetical> <dialogue>Mommy! Mommy! Mommy!</dialogue> <scene_description>ALICE ca n't move fast enough to get away from MRS. VOORHEES , who is slashing the air with her big knife trying to hit ALICE . ALICE slips , falls in the water , gets her footing back and has to turn and block the blow of the machete with the paddle , using it like a staff to ward off the blow . The machete cuts the paddle nearly in half . MRS. VOORHEES raises the knife for another blow and ALICE lunges for her knees and succeeds in throwing MRS. VOORHEES into the water . The machete flies out of her hand and lands in the water . The two women roll in the water . MRS. VOORHEES is trying to strangle ALICE , her hands stretching to reach around her throat . They roll over and under the water . We can not see who is winning . Suddenly MRS. VOORHEES finds her footing and stands up , looking for ALICE . She is screeching madly .</scene_description> <character>JASON</character> <parenthetical>( Lipsync . )</parenthetical> <parenthetical>( continuing . )</parenthetical> <dialogue>Kill her, mommy! Kill her, mommy!</dialogue> <scene_description>ALICE shoots up out of the water holding the machete , and in one , wild swing , decapitates MRS. VOORHEES , whose head flies off into the water . The body stands for a minute , then falls heavily into the lake . ALICE drops the machete into the water and starts to wade to shore .</scene_description> </scene> <scene> <stage_direction>EXT. CAMP ROAD/SIGN - MORNING</stage_direction> <scene_description>ALICE walks slowly down the road away from the camp . We hear the sound of a car approaching . Now it comes into view . It is a state vehicle , black and white , with an emblem on the door that says `` State Department of Health and Safety '' . There are two middle - aged bureaucrats inside . ALICE waves down the car , which pulls up beside her .</scene_description> <character>1st INSPECTOR</character> <dialogue>Good morning, miss.</dialogue> <character>2nd INSPECTOR</character> <parenthetical>( Leaning across the front seat . )</parenthetical> <dialogue>Are you all right, ma'am?</dialogue> <character>ALICE</character> <dialogue>Help me.</dialogue> <scene_description>The CAMERA PANS BACK while the two men get out of their vehicle and come around to help ALICE .</scene_description> </scene> <scene> <stage_direction>EXT. CAMP - MORNING</stage_direction> <scene_description>LONG SHOT of the camp with the sun sparkling on the waters of Crystal Lake . The canoe lies half sunken in the shallows . One paddle drifts in the current . The lake has swallowed its secret . ROLL CREDITS .</scene_description> </scene> </script>

In 1958 at Camp Crystal Lake, counselors Barry and Claudette sneak inside a storage cabin to have sex, where an unseen assailant murders them. Twenty-one years later, camp counselor Annie Phillips is given a lift halfway to the reopened Camp Crystal Lake by a truck driver named Enos, despite an elderly man named Crazy Ralph warning her. While driving, Enos warns Annie about the camp's past, informing her about a young boy who drowned at Crystal Lake in 1957, the two murders in 1958, several fires after that, and poisoned water in 1962. After being dropped off, she hitches another ride from an unseen person, who chases her into the woods and slashes her throat. At the camp, counselors Ned Rubenstein, Jack Burrell, Bill Brown, Marcie Cunningham, Brenda Jones, and Alice Hardy, along with the owner Steve Christy, refurbish the cabins and facilities. As a thunderstorm approaches, Steve leaves the campground to stock supplies. Ned sees someone walk into a cabin and follows. While Jack and Marcie have sex in one of the cabin's bunk beds, they are unaware of Ned's body above them, with his throat slit. When Marcie leaves to use the bathroom, Jack's throat is pierced with an arrow from beneath the bed. The killer follows Marcie into the bathrooms and slams an axe into her face. Brenda hears a child's voice calling for help and ventures outside to the archery range, where the lights turn on. Later, Steve returns and recognizes the unseen killer, who stabs him. Worried by their friends' disappearances, Alice and Bill leave the main cabin to investigate. They find the axe in Brenda's bed, the phones disconnected, and the cars inoperable. When the power goes out, Bill goes to check on the generator. Alice heads out to look for him and finds his body pinned with arrows to the generator room's door. She flees to the main cabin to hide, only to be traumatized further when Brenda's body is thrown through the window. Soon after, Alice sees a vehicle pull up and rushes outside, thinking it is Steve. Instead, she is greeted by a middle-aged woman named Pamela Voorhees, who claims to be an old friend of Steve and his family. She reveals that her son, Jason Voorhees was the young boy who drowned in 1957, blaming his death on the counselors who were supposed to be watching him, but they instead were having sex. Revealing herself as the killer, she attempts to kill Alice, but Alice knocks her out. At the shore, she tries to kill her again with a machete, but Alice gains the advantage and decapitates her. Exhausted, Alice boards and falls asleep inside a canoe, which floats out on Crystal Lake. Just as she wakes up and Jason's corpse attacks her, she awakens inside a hospital with Sgt. Tierney and medical staff tending to her. When Alice asks about Jason, Tierney says there was no sign of any boy. She says: "Then he's still there", as the lake is shown at peace.

Annette_2021

tt6217926

<script> <scene> <scene_description>ANNETTE A FILM by Leos Carax ORIGINAL STORY by Ron Mael &amp; Russell Mael OPENING CREDITS We hear the murmur of an audience getting seated before a show.</scene_description> <character>ANNOUNCER'S VOICE (CARAX)</character> <dialogue>Ladies and gentlemen, We now ask for your complete attention. If you want to sing, laugh, clap, cry, yearn, boo or fart Please, do it in your head, only in your head. You are now kindly requested to keep silent and to hold your breath until the very end of the show. Breathing will not be tolerated during the show. So, please take a deep, last breath right now. Thank you.</dialogue> <scene_description>The audience takes a deep last breath. SONG (first recorded human voice ever) "Au Clair de la Lune"</scene_description> <character>PROLOGUE</character> </scene> <scene> <stage_direction>EXT. THE VILLAGE MUSIC STUDIO - NIGHT</stage_direction> <scene_description>Traffic at night in front of the L.A music studio. Waveforms, following sound, superimposed on picture.</scene_description> </scene> <scene> <stage_direction>INT. THE VILLAGE MUSIC STUDIO - NIGHT</stage_direction> <scene_description>IN THE CONTROL-ROOM: A man (Carax), sitting behind the mixing console, waiting for something to start on the other side of the windowpane. Close-up of VU meters on a mixing console: the needles react to offscreen sounds- instruments tuning up, feedback, amplifiers and mikes being plugged in and tested, chorus girl warming up, etc. CARAX (to his young daughter, Nastya, sitting behind him) Tu viens Nastya? Ça va commencer. (Into the mike) So…!May we start? SPARKS (offscreen) So may we start? High time to start… IN THE LIVE ROOM: Starting the song "So May We Start?": Hands on drums, hands on keyboards.</scene_description> <character>SPARKS</character> <dialogue>One, two, three, four!</dialogue> <character>SO MAY WE START?</character> <dialogue>SPARKS &amp; CHORUS GIRLS</dialogue> <dialogue>So may we start? So may we start? It's time to start High time to start</dialogue> <scene_description>Sparks put their coats on to go out of the studio. They hope that it goes the way !-it's supposed to go There's fear in them all but they -can't let it show They're underprepared but that -may be enough The budget is large but still -it's not enough</scene_description> </scene> <scene> <stage_direction>INT. MUSIC STUDIO: CORRIDOR - NIGHT</stage_direction> <scene_description>Sparks leave the recording studio, still singing…!and the Chorus Girls join in.</scene_description> <character>SPARKS &amp; CHORUS GIRLS</character> <dialogue>So may we start?</dialogue> <scene_description>May we start, may we, may we now start? So may we start? The main actors (Adam Driver &amp; Marion Cotillard) join in, and sing along.</scene_description> <character>MAIN ACTORS, SPARKS &amp; CHORUS GIRLS</character> <dialogue>May we start, may we, may we now start?</dialogue> <scene_description>It's time to start May we start, may we, may we now start? High time to start May we start, may we, may we now start?</scene_description> </scene> <scene> <stage_direction>EXT. MUSIC STUDIO - NIGHT</stage_direction> <scene_description>They leave the building and continue singing outside, walking on the sidewalk</scene_description> <character>MAIN ACTORS, SPARKS &amp; CHORUS GIRLS</character> <dialogue>We've fashioned a world, a world -built just for you A tale of songs and fury -with no taboo We'll sing and die for you -yes in minor keys And if you want us to kill too -we may agree</dialogue> <dialogue>So may we start?</dialogue> <scene_description>May we start, may we, may we now start? So may we start? May we start, may we, may we now start? It's time to start May we start, may we, may we now start? High time to start May we start, may we, may we now start? Simon Helberg joins in.</scene_description> <character>MAIN ACTORS, SPARKS &amp; CHORUS GIRLS</character> <dialogue>So close all the doors and let's -begin the show The exits are clearly marked -thought you should know The authors are here so ! -let's not show disdain The authors are here and they're -a little vain</dialogue> <scene_description>Chorus Boys, Carax and Nastya, join in here. The actors and Sparks kneel down, as for a prayer.</scene_description> <character>ALL</character> <dialogue>Now… The music resounds and all -the flames are lit So ladies and gents, please -shut up and sit The curtains of our eyelids -!lazily rise But where's the stage, you wonder Is it outside? Or is it within?</dialogue> <dialogue>Outside?…!Within? Outside?…!Within?</dialogue> <scene_description>They ALL stand up and start walking and singing again:</scene_description> <character>ALL</character> <dialogue>So may we start?</dialogue> <scene_description>May we start, may we, may we now start? So may we start? May we start, may we, may we now start? It's time to start May we start, may we, may we now start? High time to start May we start, may we, may we now start?</scene_description> <character>(€�)</character> <dialogue>Towards the end of the song, Adam and Marion change while walking and singing (trainees hand them their coat or jacket, a helmet, a wig, etc.)</dialogue> <dialogue>Still singing, the other singers watch as: -Henry McHenry (Adam) goes to a powerful bike parked on the sidewalk, puts his helmet on, and rides off -The Accompanist (Simon) walks away down the street -Ann Defrasnoux (Marion) gets in the back of a SUV (door opened by the driver). The car drives off.</dialogue> <character>SPARKS</character> <dialogue>Bye Henry!</dialogue> <character>NASTYA</character> <dialogue>Bye Henry, good luck.</dialogue> <character>SPARKS</character> <dialogue>Bye Ann…!Bon Voyage!</dialogue> <character>CHORUS BOYS &amp; GIRLS</character> <dialogue>Bye!… Bye-bye!… Good luck!… Bye-bye!</dialogue> <character>TITLE APPEARS (MOTION</character> <dialogue>LOGO) ANNETTE</dialogue> <scene_description>LOS: ANGELES:</scene_description> </scene> <scene> <stage_direction>INT/EXT. ANN'S CAR THROUGH L.A. - NIGHT</stage_direction> <scene_description>Ann Defrasnoux is in the back of her chic car (the star soprano is being driven to the opera house where she is to perform). She bites into a red apple. While Ann vocalizes, a Chorus (offscreen) sings:</scene_description> <character>TRUE LOVE A</character> <dialogue>True love always finds a way</dialogue> <scene_description>A way, a way But true love often goes astray</scene_description> </scene> <scene> <stage_direction>EXT. HENRY'S BIKE FREEWAY. - NIGHT</stage_direction> <scene_description>Henry is riding his large motorcycle on a L.A freeway. The famous comedian is on his way to the theater where he is to perform his one-man show. Astray, astray</scene_description> </scene> <scene> <stage_direction>INT/EXT. ANN'S CAR THROUGH L.A. - NIGHT</stage_direction> <scene_description>True love always finds a way A way, a way But true love often goes astray Astray, astray</scene_description> </scene> <scene> <stage_direction>EXT. LOS- ANGELES / HENRY'S THEATER - NIGHT</stage_direction> <scene_description>Henry arrives at his theater, the Orpheum Theatre. The billboards announce: THE APE OF GOD / HENRY McHENRY / SOLD OUT</scene_description> </scene> <scene> <stage_direction>EXT. OPERA HOUSE - NIGHT</stage_direction> <scene_description>Ann arrives at the opera house, the modern Walt Disney Concert Hall. On the gigantic frontage:</scene_description> <character>THE FOREST</character> </scene> <scene> <stage_direction>INT. HENRY'S THEATER: BACKSTAGE - NIGHT</stage_direction> <scene_description>Henry, backstage, pacing the corridor as he's getting ready to go on stage. All he is wearing is a green toweling bathrobe (hood on his head), which makes him look like a boxer before the fight-especially as he seems very concentrated and does a little dance in front of a wall, boxing the wall. But unlike any sportsman, he's eating a banana and smoking a cigarette at the same time. (It's all part of his pre-show ritual.) Sporadically, he seems aggressive, almost angry. We hear distant impatient cheering and clapping growing. And then the intro music to Henry's show. HENRY (mumbling) Yes, "laugh, laugh, laugh…"</scene_description> </scene> <scene> <stage_direction>INT. OPERA HOUSE: ANN'S DRESSING ROOM - NIGHT</stage_direction> <scene_description>Ann, alone in her dressing room, is getting ready to go on stage. Lying on the floor, she's doing strange breathing exercises.</scene_description> <character>ANN</character> <dialogue>One, two, three, four five, six seven, eight, nine, ten… One, two, three, four five, six seven, eight, nine, ten…</dialogue> </scene> <scene> <stage_direction>INT. HENRY'S THEATER: BACKSTAGE - NIGHT</stage_direction> <scene_description>The ANNOUNCER and the FEMALE STAGE MANAGER are standing behind a mike stand.</scene_description> <character>ANNOUNCER</character> <dialogue>Ladies and gentlemen, are you ready? No! No one is ever ready for…!a mildly offensive evening with…!The Ape of God! Here with his triumphal new show, the world infamous Henry McHenry!</dialogue> <scene_description>Henry crushes his cigarette and banana in an ashtray. Still in his bathrobe, he enters the stage through a glass corridor full of smoke.</scene_description> </scene> <scene> <stage_direction>INT. HENRY'S THEATER: ON STAGE - NIGHT</stage_direction> <scene_description>At first, we can hardly see him. Because of the semidarkness on stage, but mostly because of the dense smoke emitted by smoke machines. On stage: a high stool with a mike and a glass of whiskey. Henry, coughing, angry, grabs the mike on the stool. HENRY (mumbling to himself) This smoke…!shit! He loudly takes a sip of whiskey.</scene_description> <character>HENRY</character> <dialogue>What is this fucking smoke supposed to mean anyway? I think I'm getting allergic to it. Wish they'd use laughing gas instead, would make my life easier. Or even better, cyanide gas.</dialogue> <scene_description>Henry now faces the audience (the smoke dissipates). He seems ill at ease, hesitant, reluctant. (The public loves his unique blend of introversion and extraversion.) He takes his time; he's in no hurry to make people laugh. He talks into the mike, his lips touching the mike, almost in a whisper.</scene_description> <character>HENRY</character> <dialogue>So…!I'm here to make you laugh tonight.</dialogue> <character>AUDIENCE</character> <dialogue>Waoooh!</dialogue> <character>HENRY</character> <dialogue>Yes, "Laugh, laugh, laugh…" Not sure I can do it tonight.</dialogue> <character>AUDIENCE</character> <dialogue>Ooooooooh…</dialogue> <character>HENRY</character> <dialogue>Not sure I should even try… Making people laugh is a disgusting, deceitful trick anyway.</dialogue> <scene_description>THE ZYGOMATIC RAP:</scene_description> <character>HENRY</character> <dialogue>Yes…! Why should I activate your ventromedial prefrontal cortex So your fifteen facial muscles will contract So your fucking zygomatic muscle will react While your epiglottis half-closes your larynx !-CLAP!</dialogue> <dialogue>Yes, why the fuck should I? Why should I make you…!</dialogue> <scene_description>Suddenly: lights! music! Chorus Girls! Henry sings his (rock) refrain, with the Chorus Girls:</scene_description> <character>LAUGH LAUGH LAUGH (A)</character> <dialogue>HENRY &amp; CHORUS GIRLS</dialogue> <dialogue>Laugh, laugh, laugh? But don't make me, don't make me, don't make me Can't stand to hear you Laugh, laugh, laugh 'Cause You bore me, you bore me, you bore me</dialogue> <dialogue>First, I'll make you Gasp, gasp, gasp But don't worry, don't worry, don't worry You probably will not Choke, choke, choke Kick the bucket, kick the bucket, Kick the bucket, kick the bucket.</dialogue> <scene_description>The music stops. The stage goes back to semidarkness. While the audience claps and cheers, Henry takes a few pages (his contract) out of one his bathrobe pockets…!studies it a few seconds…!</scene_description> <character>HENRY</character> <dialogue>Hu" hum" Well of course, I've heard the rumors too. They say my show kills. But relax, see my contract? Save your breath. Says so here: "Mr. Henry McHenry is not allowed to make the public laugh to death"</dialogue> <scene_description>Henry pretends to hang himself with the mike.</scene_description> <character>HENRY</character> <dialogue>Can't make your alveoli pop tonight No dislocated jaws, no belly explosions. However, asthmatics, keep your inhalers in position!</dialogue> <scene_description>OK, READY, LAUGH!:</scene_description> <character>HENRY</character> <dialogue>Ok?!…!</dialogue> <character>AUDIENCE</character> <dialogue>OK!</dialogue> <character>HENRY</character> <dialogue>Ready?</dialogue> <character>AUDIENCE</character> <dialogue>READY!</dialogue> <character>HENRY</character> <dialogue>Laugh!</dialogue> <character>AUDIENCE</character> <dialogue>Ha ha ha ha ha ha ha ha ha ha ha! Ha ha ha ha ha ha ha ha ha ha ha!</dialogue> <scene_description>Henry stops the audience's singing, with a big wave of his arm (like a conductor).</scene_description> <character>HENRY</character> <dialogue>Ok, shut up…</dialogue> </scene> <scene> <stage_direction>7B. INT. OPERA HOUSE: THE STAGE -!NIGHT</stage_direction> <scene_description>A few seconds away from the beginning of the opera. Ann, her back to the stage curtain that separates her from her public. She slightly bends over, in a prostrate posture. Shivering, hands around her elbows. The curtain starts to open…</scene_description> </scene> <scene> <stage_direction>6C. INT. HENRY'S THEATER: ON STAGE - NIGHT</stage_direction> <scene_description>We're back with Henry on stage. He's wiping his face with a tissue.</scene_description> <character>HENRY</character> <dialogue>Yes, why…!why did I become a comedian?</dialogue> <character>SO WHY DID I BECOME A COMEDIAN</character> <dialogue>HENRY</dialogue> <dialogue>To entertain some balding men? To bring a touch of levity to tragic times? Not me</dialogue> <dialogue>To bring some joy to those who have none? To cast a skeptical eye toward common knowledge? Uh uh</dialogue> <dialogue>To make you notice what you've always surely noticed never noticing you noticed until I ask you: "Have you ever noticed?" Hmm sure -but not only that</dialogue> <dialogue>To convey with a smile these deep-seated feelings of hatred and humiliation we all seem to be sharing, when…!</dialogue> <dialogue>All the Catholics hate the Muslims And the Muslims hate the Catholics And the Tutsis hate the Hutus and everybody hates the Jews!</dialogue> <scene_description>The audience laughs and claps. Henry goes to the high stool to drink more whiskey. Someone in the audience yells: So why Henry?!</scene_description> <character>WOMAN IN THE AUDIENCE</character> <dialogue>Yes, why Henry?</dialogue> <character>HENRY</character> <dialogue>Why?</dialogue> <scene_description>And the audience starts talking/singing: SO WHY DID YOU BECOME A COMEDIAN?</scene_description> <character>AUDIENCE</character> <dialogue>Yes, why did you become a comedian? For the money? For the money?</dialogue> <scene_description>Henry takes a lighter and a few $100 bills from his pocket.</scene_description> <character>HENRY</character> <dialogue>Oh no, no 'Cause I come from poverty and severity And now have reached big money and obscenity</dialogue> <character>AUDIENCE</character> <dialogue>So why did you become a comedian? For the fame? For the fame?</dialogue> <scene_description>Henry starts burning the $100 bills.</scene_description> <character>HENRY</character> <dialogue>Oh no, no Though fame is like a flame, glorious, superfluous So nice being famous for being infamous</dialogue> <character>AUDIENCE</character> <dialogue>OK but why did you become a comedian? Fear of death? Fear of death?</dialogue> <character>HENRY</character> <dialogue>Oh, no, no 'Cause you see I have sympathy for the abyss. … A-B-Y-S-S!!! You illiterates!</dialogue> <dialogue>That's why I must never…!never cast my eyes towards the abyss.</dialogue> <scene_description>He "casts his eyes"!on a woman in the first row.</scene_description> <character>HENRY</character> <dialogue>Lady, that's quite an abyss you've got…</dialogue> <scene_description>The lady nervously laughs.</scene_description> <character>AUDIENCE</character> <dialogue>So why…!why did you become a comedian? For the women? For the women?</dialogue> <character>HENRY</character> <dialogue>Oh no… OK, let me explain.</dialogue> <scene_description>He walks to the back of the stage, lost in his thoughts.</scene_description> <character>INTROSPECTIVE 1</character> <dialogue>HENRY</dialogue> <dialogue>You see, my serial pussy days are over Because, well…!I've just met someone Someone so…! It all went so fast I just moved into her tiny hidden palace -'cause, yes, she's a queen And now, I'm engaged</dialogue> <character>AUDIENCE</character> <dialogue>Oouh"</dialogue> <character>HENRY</character> <dialogue>I know, I know: marrying a girl when you're as young and green as me, it's like…!swimming the Atlantic with a concrete block tied to your left testicle.</dialogue> <dialogue>Well yes now, I'm engaged Copped out in my early age So who, you ask, would marry me? Who would be the least likely? No, this ain't a joke so far: Yes, Ann Defrasnoux, the opera star</dialogue> <character>WOMAN IN AUDIENCE</character> <dialogue>OH NO!</dialogue> <character>HENRY</character> <dialogue>What? What's wrong, lady? Ann and me? -You disagree? What is it? -Blasphemy? Why? Is she too perfect?</dialogue> <character>AUDIENCE</character> <dialogue>Yes, yes, yes!</dialogue> <character>HENRY</character> <dialogue>And I? Some loathsome insect?</dialogue> <character>AUDIENCE</character> <dialogue>Yes, yes, yes!</dialogue> <character>HENRY</character> <dialogue>OK…!I'll accept that!</dialogue> </scene> <scene> <stage_direction>INT. ANN'S OPERA HOUSE: STAGE -!NIGHT</stage_direction> <scene_description>Slow motion, Ann on stage, beautiful and spectral. She acts nervous and fearful, moving as if trying to escape from a frightening situation.</scene_description> <character>HENRY</character> <dialogue>First time I fell in love, woke up next to the girl…</dialogue> </scene> <scene> <stage_direction>INT. HENRY'S THEATER: ON STAGE -!NIGHT</stage_direction> <scene_description>Henry, pacing the stage, lost in his thoughts.</scene_description> <character>HENRY</character> <dialogue>… rushed out to buy myself the biggest motorbike I could find, and escaped, fast and far.</dialogue> </scene> <scene> <stage_direction>INT. ANN'S OPERA HOUSE: STAGE -!NIGHT</stage_direction> <scene_description>Ann starts singing the Aria. HENRY (offscreen) But Ann the soprano has changed me, I have changed… How? I'm still not sure… Time will tell… What I see in her is obvious. What she sees in me, hmmm, that's a little more puzzling…</scene_description> </scene> <scene> <stage_direction>INT. HENRY'S THEATER: ON STAGE -!NIGHT</stage_direction> <scene_description>The Chorus Girls get close to their mikes.</scene_description> <character>OPERA BOWS</character> <dialogue>HENRY</dialogue> <dialogue>Wish that she could be here now But she's at the opera tonight Opera, where everything is…! Saaaacred!</dialogue> <character>CHORUS GIRLS</character> <dialogue>A-MEN!</dialogue> <character>HENRY</character> <dialogue>First she dies and dies and dies And then she bows and bows and bows She'll be bowing now 'til dawn Ann, dear, I love you so But all that bowing's gotta go Take a last bow-enough!</dialogue> <scene_description>Make it seem more off the cuff Audience laughing and clapping.</scene_description> <character>WOMAN IN AUDIENCE</character> <dialogue>But Henry, you didn't answer: why?</dialogue> <character>AUDIENCE</character> <dialogue>Yes, why did you become a comedian? So why did you become a comedian? Yes, why did you become a comedian? Hey, Henry?</dialogue> <scene_description>The music abruptly stops. Silence. Henry, facing the audience, mouth touching the mike.</scene_description> <character>HENRY</character> <dialogue>Why?…!I'll tell you why: to disarm people. "Make them laugh"-it's the only way I know to tell the truth without getting killed.</dialogue> <scene_description>Lost in his thoughts, he turns his back to the audience and slowly walks towards the back of the stage.</scene_description> <character>HENRY</character> <dialogue>Anyway, every fuckin'….</dialogue> <scene_description>The deep silence is suddenly broken by loud gunshots. Screams of panic in the audience…!as Henry, hit by each invisible bullet, staggers through the stage… He falls, "dead." But after a few seconds, Henry slowly gets back on his feet. Sounds of relief in the audience, and laughs.</scene_description> <character>WOMAN IN AUDIENCE</character> <dialogue>Henry, you bastard!</dialogue> <character>MAN IN AUDIENCE</character> <dialogue>Fuck you, Henry!</dialogue> <scene_description>Henry picks up his mike.</scene_description> <character>HENRY</character> <dialogue>See, I too can die…and then…. bow Ok, well, that's it for tonight!</dialogue> <character>AUDIENCE</character> <dialogue>Oh no, no, no!</dialogue> <character>HENRY</character> <dialogue>Oh yes, yes…!'cause I'm sick and tired of making you…!</dialogue> <scene_description>Lights! music!…!Henry and the Chorus Girls sing: LAUGH LAUGH LAUGH:</scene_description> <character>HENRY &amp; CHORUS GIRLS</character> <dialogue>Laugh, laugh, laugh But don't leave me, don't leave me, don't leave me Can't bear to hear you Laugh, laugh, laugh 'Cause you bore me, you bore me, you bore me</dialogue> <dialogue>But I need to hear you Clap, clap, clap Yes, I'm cocky, I'm cocky, I'm cocky Want each-one-of-you to Clap, clap, clap Like a loony, like a loony, like a loony, like a loony</dialogue> <scene_description>Henry throws his mike in the air. He air-kisses the Chorus Girls and walks to the back of the stage. He drops his bathrobe to the floor, moons at the audience and leaves the stage. Screams and claps from the crowd. The Chorus Girls go on singing on their own.</scene_description> <character>CHORUS GIRLS</character> <dialogue>We promised that you'd laugh, We promised that you'd laugh We promised that you'd laugh, laugh, laugh, laugh</dialogue> <dialogue>Laugh, laugh, laugh 'Cause he's Henry, he's Henry, The Henry He didn't make you choke, choke, choke Or kick the bucket, kick the bucket, kick the bucket</dialogue> <dialogue>He needs to hear you Clap, clap, clap 'Cause he's Henry, he's Henry, The Henry Wants each of you to Clap, clap, clap</dialogue> <scene_description>The audience, now standing, claps and sings along.</scene_description> </scene> <scene> <stage_direction>EXT. HENRY'S BIKE ON L.A. STREET-!NIGHT</stage_direction> <scene_description>Henry on his bike, riding fast.</scene_description> <character>CHORUS GIRLS</character> <dialogue>So let's hear it, let's hear it, let's hear it, let's hear it!</dialogue> </scene> <scene> <stage_direction>EXT. HENRY'S BIKE TO OPERA HOUSE - NIGHT</stage_direction> <scene_description>Henry on his bike going through a tunnel.</scene_description> </scene> <scene> <stage_direction>INT. INSIDE ANN'S OPERA HOUSE - NIGHT</stage_direction> <scene_description>It is the end of the opera, and the very refined audience is clapping with great enthusiasm (but control) as Ann the soprano star "bows and bows and bows"!on stage.</scene_description> </scene> <scene> <stage_direction>EXT. VIP EXIT ANN'S OPERA HOUSE - NIGHT</stage_direction> <scene_description>Henry drives past the public coming out of the opera. As he slows down, approaching the sortie des artistes, he can see a crowd, flashes. He parks, a bit away from the crowd. Still wearing his helmet, he watches from a distance: Ann, surrounded by admirers and photographers, signing autographs. She notices him, and is visibly moved. He comes down from the bike, and walks towards Ann. She rushes through a few last autographs and, helped by security men, pushes her way through the crowd to go meet him (in her arms, a bunch of flowers offered by her admirers). They grab each other's hands, eagerly, tenderly-but with some of the awkwardness of new lovers. Henry pulls up his helmet's visor, and they exchange a short kiss. (They're both extremely shy people, but deal with their shyness very differently: she stays discreet, but complies politely with the basic rules of celebrity; he deals with his insecurity and anxiety by being provocative.) While the photographers are taking pictures, calling their names, they exchange a few words, whispering:</scene_description> <character>ANN</character> <dialogue>How did the show go?</dialogue> <character>HENRY</character> <dialogue>I killed them…!destroyed them…!murdered them.</dialogue> <character>ANN</character> <dialogue>Good boy.</dialogue> <character>HENRY</character> <dialogue>And your "gig"?</dialogue> <dialogue>ANN (with her shy smile) I…!I Saved Them.</dialogue> <character>HENRY</character> <dialogue>Well, you die so magnificently…! Honey, you're always dying!</dialogue> <dialogue>PHOTOGRAPHERS (Shouting) Ann! Henry! How 'bout a smile! Give us a smile! Over here!… That's it!…!Alright…!Over this way!… this way…</dialogue> <scene_description>HOW 'BOUT A SMILE:</scene_description> <character>PHOTOGRAPHERS</character> <dialogue>How 'bout a smile, Ann? Give us a smile, Ann! How 'bout a smile, Ann? Give us a smile, Ann!</dialogue> <dialogue>Henry, please, in the frame! In the frame, Henry! Helmet off, Henry! In the frame, Henry! Helmet off, Henry!</dialogue> <scene_description>Ann asks Henry (mutely and apologetically) to comply with the photographers. He then poses with her, clowning: he leans his face on her shoulder and closes his eyes-which embarrasses her, but she loves him so…!He's like a kid in love.</scene_description> <character>PHOTOGRAPHERS</character> <dialogue>How 'bout a smile, please? How 'bout a smile, please? And give us a smile, please! Give us a smile, please!</dialogue> <dialogue>Henry, your helmet! Take off your helmet!</dialogue> <scene_description>Henry takes the flowers from Ann's hands and majestically throws them into the air.</scene_description> </scene> <scene> <stage_direction>EXT. FOREST AMONG CANYONS - DAY</stage_direction> <scene_description>Beauty and silence of nature (no dialog, no music). Henry and Ann taking a lovers' walk in a forest, holding hands. Again, we feel the strong love and this touching shyness between them. For a few seconds, they separate: he stops to light a cigarette. She goes on walking, slower. As he catches up with her: slow POV TRACKING SHOT towards Ann's back (as she's walking) -a feeling of sensuality (her naked neck, shoulders) and menace (is he going to hit her, strangle her?) He puts his hand on her neck, and they resume their walk. Now holding hands, both looking in different directions, they start singing:</scene_description> <character>WE LOVE EACH OTHER SO MUCH</character> <dialogue>HENRY</dialogue> <dialogue>We love each other so much We love each other so much We're scoffing at logic This wasn't the plan We love each other so much</dialogue> <character>ANN</character> <dialogue>We love each other so much We love each other so much Counterintuitive, baby And yet we remain We love each other so much</dialogue> <character>HENRY &amp; ANN</character> <dialogue>Counterintuitive, baby And yet we remain We love each other so much</dialogue> </scene> <scene> <stage_direction>EXT. ON THE ROAD - EVENING</stage_direction> <scene_description>They're driving back home on Henry's bike, racing through the night, Ann's arms lovingly embracing his torso.</scene_description> <character>HENRY &amp; ANN</character> <dialogue>We love each other so much We love each other so much So hard to explain it So hard to explain We love each other so much</dialogue> </scene> <scene> <stage_direction>EXT. ANN'S HOUSE - NIGHT</stage_direction> <scene_description>They park the bike in the big garden in front of the house, and go towards the house, holding each other lovingly.</scene_description> </scene> <scene> <stage_direction>EXT. ANN'S HOUSE: POOL - NIGHT</stage_direction> <scene_description>Ann's house, above the pool. Behind the 1st floor bay window's curtains, we can see the shadow of the couple embracing.</scene_description> </scene> <scene> <stage_direction>INT. ANN'S HOUSE: BEDROOM - NIGHT</stage_direction> <scene_description>Henry is carrying Ann in his arms, from the window to the bed. As they make love:</scene_description> <character>HENRY</character> <dialogue>We love each other so much</dialogue> <character>HENRY &amp; ANN</character> <dialogue>We love each other so much</dialogue> <character>ANN</character> <dialogue>Speak soft when you say it Speak soft when you say</dialogue> <character>HENRY &amp; ANN</character> <dialogue>We love each other so much Speak soft when you say it Speak soft when you say We love each other so much</dialogue> <scene_description>The song ends with their (singing) orgasm outcry: So much…!so much…!so much…!so much…!so much…</scene_description> </scene> <scene> <stage_direction>INT. ANN'S HOUSE: BEDROOM &amp; BATHROOM - NIGHT</stage_direction> <scene_description>After Sex. Semidarkness. Henry is taking a shower. Ann, still in bed, bites into an apple. Henry re-emerges from the bathroom, in a black bathrobe. He approaches Ann, hands in the air in front of him-again as if he was going to strangle her, but this time playfully, impersonating a vampire in an old horror movie.</scene_description> <character>HENRY</character> <dialogue>Tickling time…</dialogue> <character>ANN</character> <dialogue>#$$…!No no no…!</dialogue> <scene_description>She tries to hide underneath the sheets… but Henry jumps on the bed, and starts tickling her. ANN (trying not to laugh) Henry! No, no, no! Henry please, not my feet, not my feet! No, no, no! Stop it! Henry licks the sole of her feet. Ann can't help laughing. They "fight"… They kiss each other… SHOWBIZ NEWS (SBN) ON SCREEN Images of Henry and Ann on their wedding day, on their yacht.</scene_description> <character>SHOW BIZ NEWS (TIED THE KNOT)</character> <dialogue>CONNIE O'CONNOR'S VOICE</dialogue> <dialogue>Connie O'Connor here for Show Biz News, bringing you the latest on Anne and Henry's whirlwind romance: the two stars both at the pinnacle of their careers have officially tied the knot.</dialogue> <character>CHORUS</character> <dialogue>Tied the knot…!Tied the knot…!Tied the knot…</dialogue> </scene> <scene> <stage_direction>INT. ANN'S OPERA HOUSE -!NIGHT</stage_direction> <scene_description>Before the beginning of the opera. The musicians, in the orchestra pit, are tuning their instruments. Ann's long-time piano accompanist (The Accompanist) is on the stage (behind the curtain), playing the piano and singing. He's a gentle man, but an ambitious one.</scene_description> <character>I'M AN ACCOMPANIST</character> <dialogue>THE ACCOMPANIST</dialogue> <scene_description>I'm an accompanist, I'm an accompanist I'm an accompanist for Ann, for Ann Ann's the one with the genius, the grace I'm the one with the technical expertise Ah, the tease, ah, the tease, of being so near, so far From the star, from the stars But someday I'll join them 'cause… I'm a conductor, I'm a conductor! I'm a conductor, a conductor at heart! It's a temp job I'm doing This should only be seen as a means to an end In the end, in the end, I'll lead orchestras near and far Every bar, every bar, will bear my own signature But I'm an accompanist, for the present, for Ann That's what I do I'm an accompanist, for the present, for Ann But now, let's listen to her sing… The orchestra starts playing the dramatic intro to Ann's famous "Aria."</scene_description> </scene> <scene> <stage_direction>INT. HENRY'S THEATER: BACKSTAGE - NIGHT</stage_direction> <scene_description>The orchestral intro overlaps with images of: Henry doing his pre-show ritual (banana &amp; cigarettes). The opera's music gives these images (already seen almost identically in Henry's first show sequence) a whole different weight-a sort of tragic dimension.</scene_description> </scene> <scene> <stage_direction>INT. ANN'S OPERA HOUSE: STAGE - NIGHT</stage_direction> <scene_description>The orchestra finishes the intro while the curtain slowly opens. The set is a forest at night, with fake stylized trees. Ann appears: beautiful, spectral. She starts singing: ARIA (THE FOREST):</scene_description> <character>ANN</character> <dialogue>There's a chill in the air on this night Where is the moon, where is the starlight? Bearings lost, we're adrift on this night Where is the moon? Where is the starlight tonight?</dialogue> <scene_description>Afraid, don't know why Where is the moonlight? Afraid, don't know why Where is the starlight? Afraid, 'fraid of you Something about the look in your eyes The back of the stage opens up on…!a real forest (at night). Ann rushes toward the back of the stage…</scene_description> </scene> <scene> <stage_direction>EXT. REAL FOREST -!NIGHT</stage_direction> <scene_description>…!and enters the real forest…!walking deeper and deeper into it as she sings, cold and frightened…!Is she being followed? She's not sure…</scene_description> <character>ANN</character> <dialogue>Hurry, dawn, I need help, I need light Cut short the night, I am in danger Though I thought that I knew him, I'm wrong I don't know him, he is a stranger, tonight</dialogue> <dialogue>Afraid, don't know why Where is the moonlight? Afraid, don't know why Where is the starlight?</dialogue> <scene_description>Ann turns and starts to walk back towards the fake forest and the public. Afraid, 'fraid of you Something about the look in your eyes</scene_description> </scene> <scene> <stage_direction>INT. HENRY'S THEATER - NIGHT</stage_direction> <character>ARIA TRANSITION</character> <dialogue>Slow motion: Henry's plays with his mike's cable as with a lasso.</dialogue> <scene_description>IN A TUNNEL - NIGHT</scene_description> <character>ARIA TRANSITION</character> <dialogue>Henry on his bike: -racing though the night in the tunnel -close-up: his face behind the helmet; his eyes.</dialogue> </scene> <scene> <stage_direction>INT. ANN'S OPERA HOUSE - NIGHT</stage_direction> <scene_description>BACKSTAGE: Henry, helmet in one hand, crosses a long corridor (he passes opera technicians). Ann's singing becomes clearer and louder as he approaches the stage. It's the end of the opera-the music is dramatic and poignant…! Henry is getting more and more tense, as if he was approaching with dread the scene of a terrible crime. He stops near the stage (so he can see Ann performing without being seen by the public).</scene_description> <character>FINALE</character> <dialogue>ANN</dialogue> <dialogue>I am Love! A fickle thing a finite thing I am Love! Do not approach me! AAAAAAhhh"</dialogue> <scene_description>Ann appears from the back of the stage, staggering, stumbling towards the front of the stage -her nightgown is soaked with blood. She's dying, singing her final lines on high, heartrending notes.</scene_description> <character>ANN</character> <dialogue>I was Love A gruesome thing, a gruesome thing I was Love But now I'm dying Dying, dying, dying, dying…!dyyyyyying!</dialogue> <scene_description>The Accompanist, at his piano, has noticed Henry's arrival: he watches Henry watch Ann. Henry watching Ann singing/dying: hard to know what strong feelings he's experiencing- love and admiration for sure, but also some kind of anxiety, it seems. Ann is dead. Thunderous applause as the curtain closes. As Ann gets ready to bow on the other side of the curtain. She and Henry exchange short, intimate glances. Henry then watches Ann bow to her exulting audience on the other side of the curtain (on control video screens).</scene_description> <character>AUDIENCE</character> <dialogue>Bravo Ann…!Bravo!…!Brava!</dialogue> <scene_description>I love you Ann! SHOWBIZ NEWS Paparazzi pictures of Ann, pregnant, walking in LA with Henry.</scene_description> <character>SBN (NEW BORN GIRL)</character> <dialogue>CONNIE O'CONNOR'S VOICE</dialogue> <dialogue>And, in Show Biz News, anonymous sources report that the singing and laughter around the Defrasnoux - McHenry household will soon be drowned out by the cries of a newborn girl.</dialogue> <character>CHORUS</character> <dialogue>Newborn girl…!Newborn girl…!</dialogue> </scene> <scene> <stage_direction>INT. THE COUPLE'S BEDROOM - NIGHT</stage_direction> <scene_description>The couple asleep (long exposure shot). Ann (now very pregnant) is asleep, totally still during the night. Henry, on the contrary, is very agitated. HENRY'S VISIONS</scene_description> </scene> <scene> <stage_direction>INT. MATERNITY WARD - NIGHTMARE</stage_direction> <scene_description>A nurse hands Henry his new-born baby. …Its face is made-up as a clown's!</scene_description> </scene> <scene> <stage_direction>INT. ANN'S OPERA HOUSE: ON STAGE - NIGHT</stage_direction> <scene_description>Slow motion: Ann, very pregnant, bowing on stage-her nightgown soaked with blood.</scene_description> </scene> <scene> <stage_direction>INT. THE COUPLE'S BEDROOM - NIGHT</stage_direction> <scene_description>The couple in bed, having sex. Ann is now 9 months pregnant.</scene_description> </scene> <scene> <stage_direction>INT. MATERNITY WARD - NIGHT</stage_direction> <scene_description>Ann is on the delivery bed, with Henry by her side. They are surrounded by the Doctor and Nurses. Ann is taking deep, painful breaths.</scene_description> <character>ANN</character> <dialogue>Oh merde…</dialogue> <scene_description>SHE'S OUT OF THIS WORLD (PART 1)</scene_description> <character>NURSES</character> <dialogue>Breathe in, breathe out, breathe in Breathe in, breathe out, breathe in Breathe in, breathe out, breathe in Breathe in, breathe out, breathe in (…)</dialogue> <character>THE DOCTOR &amp; NURSES</character> <dialogue>Push Ann, push Ann That's it! Push Ann, push Ann That's it! (…)</dialogue> <scene_description>Ann is in labor, panting. Henry is sweating profusely, even more than his wife. He seems not just worried about the delivery, but seized by deep personal angst. Nervousness (and his sense of unusefulness) makes him say something strange and inappropriate, with no intention of being funny: Doctor, am I doing everything…!right? …which sends Ann into a fit of laughter…!which triggers much stronger contractions…</scene_description> <character>NURSE</character> <dialogue>Yes, Ann!…!yes, keep on laughing, that's great!</dialogue> <character>DOCTOR</character> <dialogue>She's coming! She's coming!</dialogue> <scene_description>Henry is visibly reassured by the fact that he has been useful. The Nurses and the Doctor advise Ann at the same time now, singing:</scene_description> <character>DOCTOR &amp; NURSES</character> <dialogue>Breathe in, breathe out, breathe in Breathe in, breathe out, breathe in Push, push, push, push, push, Ann That's it! That's it! Breathe in, breathe out, breathe in Breathe in, breathe out, breathe in Push, push, push, push, push, Ann That's it! That's it! (…)</dialogue> <character>DOCTOR</character> <dialogue>She's almost there!</dialogue> <scene_description>Henry leaves Ann's side, to go see what's "going on."</scene_description> <character>HENRY</character> <dialogue>Shit Ann…!she seems completely naked!</dialogue> <scene_description>Ann has another howl of laughter…!</scene_description> <character>NURSE</character> <dialogue>Yes, yes, yes!…!Laugh, laugh Ann, laugh!</dialogue> <character>DOCTOR</character> <dialogue>Great Ann! Keep on laughing!</dialogue> <character>NURSE</character> <dialogue>Laugh, laugh, laugh, yes Ann!</dialogue> <character>DOCTOR &amp; NURSES</character> <dialogue>There she is!</dialogue> <scene_description>Henry cuts the umbilical cord, with a huge, frightening pair of scissors. The baby passes from person to person… It is like a real baby, but something makes it extraordinary, a subtle and indefinable strangeness. A mystifying little creature. A poetic baby. SHE'S OUT OF THIS WORLD (PART 2)</scene_description> <character>DOCTOR &amp; NURSES</character> <dialogue>She's out of this world!</dialogue> <scene_description>Out of this world Welcome to the world, Annette! She's out of this world! Out of this world Welcome to the world, Annette! Henry takes the baby and delicately places her on Ann's chest.</scene_description> <character>HENRY</character> <dialogue>She's out of this world</dialogue> <character>DOCTOR &amp; NURSES</character> <dialogue>Out of this world….</dialogue> <character>ANN</character> <dialogue>Welcome to the world, Annette! HENRY She's out of this world</dialogue> <character>DOCTOR AND NURSES</character> <dialogue>Out of this world….</dialogue> <scene_description>ANN Welcome to the world, Annette! 2nd ACT</scene_description> <character>(A FEW MONTHS LATER)</character> <scene_description>ELLIPSIS A: SECOND ACT Henry seems changed. At times he shows a new anger; he drinks more. And strangely (after his daughter's birth), he has more and more morbid thoughts. Are his recent family life and happiness suffocating him? Is his "domestic bliss" in conflict with his work-his sense of comedy and provocation? Is he becoming jealous of his wife's growing success? He loves her, and the baby, but…!</scene_description> </scene> <scene> <stage_direction>EXT. ANN'S HOUSE: THE POOL - DAY</stage_direction> <scene_description>The beautiful pool, with baby swim floats, an inflatable ball, etc. Sounds of baby Annette babbling and laughing.</scene_description> </scene> <scene> <stage_direction>INT. THE COUPLE'S BEDROOM - EARLY MORNING</stage_direction> <scene_description>The couple in bed, asleep. The baby is between them, awake, calm. She slowly looks at one parent, then the other.</scene_description> </scene> <scene> <stage_direction>EXT/INT. ANN'S HOUSE: POOL &amp; LIVINGROOM - DAY</stage_direction> <scene_description>Henry is in the garden, bare-chested, smoking a cigarette. The baby is lying asleep on his forearm. He makes slow movements, like a dancer exercising.</scene_description> <character>HENRY</character> <dialogue>This is a baby. This is my baby.</dialogue> <scene_description>FADE TO</scene_description> </scene> <scene> <stage_direction>EXT. THE CITY (LA) - DUSK</stage_direction> <scene_description>FADE TO</scene_description> </scene> <scene> <stage_direction>INT. ANN'S HOUSE: LIVING ROOM - DUSK</stage_direction> <scene_description>A glass: whiskey flows into the glass.</scene_description> <character>HENRY</character> <dialogue>Tonight, while she's singing and dying I'm baaaaaaby-sitting!</dialogue> <scene_description>HENRY'S VISONS</scene_description> </scene> <scene> <stage_direction>INT. ANN'S HOUSE: LIVING ROOM - NIGHT</stage_direction> <scene_description>Henry sitting on the sofa, his feet on a coffee table, watching TV with a glass of whiskey in hand. But suddenly, panicked, he looks for the baby... Where did he leave her?…!He stands up abruptly: yes, he was sitting on the baby! (He was "baby-sitting"). EXCERPT FROM KING VIDOR'S THE CROWD A theater audience laughing their heads off. FADE TO</scene_description> </scene> <scene> <stage_direction>INT. ANN'S OPERA HOUSE - NIGHT</stage_direction> <scene_description>Ann on stage, "dying" while singing: …Dyyyyinnnnng! FADE TO EXCERPT FROM KING VIDOR'S THE CROWD The theater audience laughing their heads off. FADE TO Ann on stage, bows, as she is acclaimed by her audience.</scene_description> </scene> <scene> <stage_direction>INT. ANN'S HOUSE: LIVING ROOM - DAY</stage_direction> <scene_description>Annette sleeping on Henry's forearms (he's drinking a glass of whiskey).</scene_description> <character>CALM BEFORE THE OPERA</character> <dialogue>CHORUS (offscreen) Something's about to break, but it isn't clear Is it something we should cheer?</dialogue> <dialogue>Is it something we should fear?</dialogue> <scene_description>HENRY'S VISONS IN ANNETTE'S ROOM - NIGHT A big gorilla (hug plush toy) tenderly holding Annette in its arms. The baby is looking at the gorilla's face, at ease, babbling.</scene_description> </scene> <scene> <stage_direction>INT. LIVING ROOM - DAY</stage_direction> <scene_description>Annette's eyes open. She's in Henry's arms. He looks at himself and the baby in a mirror. Henry's expression is pensive. He smiles at the baby-loving but solemn. CHORUS (offscreen) Something's about to break, but it isn't clear Is it something we should cheer? Is it something we should fear? Henry is playing with the baby, gently moving her into different positions: on his forearm, in the palms of his hands, etc. CHORUS (offscreen) Something's about to break, but it isn't clear Is it something we should cheer? Is it something we should fear?</scene_description> </scene> <scene> <stage_direction>EXT. LOS ANGELES FREEWAY - DAY</stage_direction> <scene_description>Cars rushing on a freeway outside LA.</scene_description> </scene> <scene> <stage_direction>INT. ANN'S CAR ON FREEWAY - DAY</stage_direction> <scene_description>Ann, sitting in the back of the car: she seems tense, exhausted. ANN (Talking to her driver) Oscar, I feel like sleeping now. Please wake me up before we get there.</scene_description> <character>DRIVER</character> <dialogue>Sure.</dialogue> <scene_description>She uses her steroid nasal spray, takes off her glasses and lies down on the back seat, vaguely watching TV news on the small TV monitor mounted into the headrest facing her: Footage of Wildfires across California. Ann tries to relax, eyes half-closed… The driver, the freeway. Ann is now asleep. The (low) sound of the news turns into a song. ANN'S NIGHMARE</scene_description> <character>SIX WOMEN HAVE COME FORWARD</character> <dialogue>CHORUS OF MEN</dialogue> <dialogue>Six women have come forward Each with a similar story Subjected to Henry McHenry's abuses Witnesses to his violence</dialogue> </scene> <scene> <stage_direction>INT. PRESS CONFERENCE - DAY</stage_direction> <scene_description>A crowd of journalists facing 6 women sitting on a stage, singing into their mikes.</scene_description> <character>CHORUS OF MEN</character> <dialogue>Why now? Why now?</dialogue> <character>THE 6 WOMEN</character> <dialogue>Each of us has come forward All with a similar story Subjected to his abuses, witnesses to his violence And his anger, his anger!</dialogue> <scene_description>6 SPLIT SCREENS: THE 6 WOMEN</scene_description> <character>CHORUS OF MEN</character> <dialogue>Six women have come forward</dialogue> <character>THE 6 WOMEN</character> <dialogue>Each of us have come forward</dialogue> <scene_description>Each with a similar story All with a similar story Subjected to his abuses Subjected to his abuses, Witnesses to his violence And his anger, his anger</scene_description> </scene> <scene> <stage_direction>INT/EXT. ANN'S CAR ON FREEWAY - CONTINUOUS</stage_direction> <scene_description>Ann, awake now (but, as we'll soon understand, she's dreaming she's awake), looking at the news on the TV monitor, as hypnotized.</scene_description> <character>JOURNALISTS</character> <dialogue>But why?… Why only now? Why come forward now? Why only now?… Yes why? Yes, why only now?</dialogue> </scene> <scene> <stage_direction>INT. PRESS CONFERENCE - CONTINUOUS</stage_direction> <scene_description>Close-up of one woman after the other, singing:</scene_description> <character>WOMAN 1</character> <dialogue>I, I fear for Ann</dialogue> <character>WOMAN 2</character> <dialogue>She must be warned McHenry is not not what he seems</dialogue> <character>CHORUS OF MEN</character> <dialogue>Why? Why come forward now?</dialogue> <character>WOMAN 3</character> <dialogue>So charming that I a woman with sense I quickly became a moth to a flame</dialogue> <character>THE 6 WOMEN</character> <dialogue>A moth to a flame!</dialogue> </scene> <scene> <stage_direction>INT/EXT. ANN'S CAR ON FREEWAY / STUDIO - DAY</stage_direction> <scene_description>Ann, mortified, lies back on the seat and hides her face between her arms. CHORUS OF MEN (Offscreen) Six women have come forward</scene_description> <character>THE 6 WOMEN</character> <dialogue>Each of us have come forward</dialogue> <scene_description>Each with a similar story All with a similar story Subjected to his abuses Subjected to his abuses</scene_description> </scene> <scene> <stage_direction>EXT. HENRY ON HIS BIKE IN TUNNEL</stage_direction> <scene_description>SONG CONTINUED On the road, some engine seems to be rushing towards the car…!yes, a big powerful motorbike, rushing straight towards Ann in her car…!We now recognize Henry, on his bike…!</scene_description> <character>CHORUS OF MEN (OFFSCREEN) &amp; THE 6 WOMEN</character> <dialogue>Witnesses to his violence</dialogue> </scene> <scene> <stage_direction>INT/EXT. ANN'S CAR ON FREEWAY - CONTINUOUS</stage_direction> <scene_description>Ann's driver honks his horn. Ann suddenly straightens up to look at the road ahead. Her anxiety grows as she sees Henry on his bike about to collide with her car…</scene_description> <character>THE 6 WOMEN</character> <dialogue>And his anger, his anger</dialogue> </scene> <scene> <stage_direction>EXT. HENRY ON HIS BIKE IN TUNNEL - CONTINUOUS</stage_direction> <scene_description>Henry speeding towards the car…!the collision seems inescapable…</scene_description> <character>THE 6 WOMEN</character> <dialogue>His anger, his anger!</dialogue> </scene> <scene> <stage_direction>INT/EXT. ANN'S CAR ON FREEWAY -!CONTINUOUS</stage_direction> <scene_description>We move back to day light. Anne suddenly (really) wakes up, feeling lost.</scene_description> </scene> <scene> <stage_direction>INT. THE COUPLE'S BEDROOM - DAWN OR DUSK</stage_direction> <scene_description>Ann asleep, in bed (in a strange, morbid position). Henry finishes getting dressed and goes out.</scene_description> </scene> <scene> <stage_direction>EXT. ON THE ROAD TO LAS VEGAS - EVENING</stage_direction> <scene_description>Desert. Henry speeding through the night on his bike. HENRY'S VISIONS ANN ON STAGE - NIGHT Ann, dying again and again: -leaping into the flames (as Norma in Norma) -strangled by Othello (as Desdemona in Othello) -stabbed by José!(as Carmen in Carmen) -preparing to cut her own throat with a knife (as Cio-Cio San in Madame Butterfly) -dying of tuberculosis (as Violetta in La Traviata) -Annette, smiling.</scene_description> </scene> <scene> <stage_direction>EXT. LAS VEGAS THEATER- NIGHT</stage_direction> <scene_description>Images of Las Vegas neon signs.</scene_description> </scene> <scene> <stage_direction>INT. LAS VEGAS THEATER: BACKSTAGE - NIGHT</stage_direction> <scene_description>Before the show: Henry in his green toweling bathrobe, hood on. We hear the audience (offscreen) clapping and cheering.</scene_description> <character>MUSIC INTRO</character> <dialogue>THE ANNOUNCER</dialogue> <dialogue>And now, here in Vegas for the very first time…! The Ape of God! Mr. Henry McHenry!</dialogue> <scene_description>As Henry heads towards the double door corridor filled with smoke, the Announcer gives him a tap on the shoulder-but Henry, taciturn, doesn't react.</scene_description> </scene> <scene> <stage_direction>INT. LAS VEGAS THEATER: STAGE - NIGHT</stage_direction> <scene_description>Henry exits the corridor and enters the stage, coughing.</scene_description> <character>AUDIENCE</character> <dialogue>Henry!</dialogue> <dialogue>HENRY (Coughing, angry) Fucking idiotic smoke!</dialogue> <scene_description>He knocks violently on the backstage door, yelling at some invisible technicians. Have you no sense of proportions?! Having to be funny here…!it's like trying to enjoy a blowjob in a gas chamber. Laughter, but also a few boos… Henry takes the glass of whisky on the high stool and starts drinking. Someone in the audience shouts: That was not funny Henry!</scene_description> <character>HENRY</character> <dialogue>You're right, not funny… I'm so…!too fucking tired…! I knew it, I should've cancelled the show tonight.</dialogue> <character>AUDIENCE</character> <dialogue>No, no, no!</dialogue> <character>HENRY</character> <dialogue>Yes, yes, yes…! You see, my house was broken into last night… The bastards, stole all my jokes.</dialogue> <scene_description>A few laughs. But Henry seems more and more tense.</scene_description> <character>HENRY</character> <dialogue>No, the truth is…!now that I have my own soprano and baby…! not sure I have it in me anymore to make sad people laugh. (He interrupts himself) No, the truth is…!this morning, something happened…I did a …! no, no I can't say… (He interrupts himself again) No, the truth is I'm sick…!Being in love makes me sick…!Sick! (He interrupts himself again) Well, no…the true truth is…this morning, I …!</dialogue> <scene_description>He moves closer to the audience, forgetting to keep his mike in place…</scene_description> <character>HENRY</character> <dialogue>…!I killed my wife</dialogue> <character>MAN IN AUDIENCE</character> <dialogue>What? What was that?</dialogue> <character>WOMAN IN AUDIENCE</character> <dialogue>Louder, Henry!</dialogue> <character>MAN IN AUDIENCE</character> <dialogue>Can't hear you back here!</dialogue> <character>WOMAN IN AUDIENCE</character> <dialogue>Your mike Henry, your mike!</dialogue> <character>HENRY</character> <dialogue>…I killed my wife.</dialogue> <scene_description>A few laughs, a murmur of dread. Everyone "knows" it's "a joke"…!but: 1) it isn't funny 2) is it really a joke? Henry seems so devastated, in a daze.</scene_description> <character>HENRY</character> <dialogue>Yes, "laugh, laugh, laugh…!Laugh, laugh, laugh" So, I've said it: I killed my wife. (…) I didn't mean to…!God knows I didn't mean to.</dialogue> <character>INTROSPECTIVE (B)</character> <dialogue>She woke up, so beautiful…!She looked at me and smiled…!That smile…!She is…!was a very shy person you see…!and I know, I knew this shy smile meant she wanted to fuck…!But this time, I pretended not to get it…!And I kept on pretending and so she said it, ever so shyly: "Please Henry, fuck me Henry…" I could see the effort in her smile…!for her to ask that…!to say those dirty words…!to be wicked and bold…!So out of character…! With that very shy smile I loved so much…!But I couldn't answer, I couldn't meet her desire…!'Cause, yes, being in love makes me sick…!sick! I had been sleepless all night, you see, suffocating, suffocated by love…!A wreck…!absolutely no desire left…!</dialogue> <scene_description>Some people in the (until now deadly silent) audience start to complain…</scene_description> <character>WOMAN IN AUDIENCE</character> <dialogue>Come on Henry, drop it please!</dialogue> <character>WOMAN IN AUDIENCE</character> <dialogue>Yeah…</dialogue> <dialogue>HENRY (Angry) What? Am I letting you know more than you care to know about me?</dialogue> <character>WOMAN IN AUDIENCE</character> <dialogue>Uh uh…</dialogue> <character>HENRY</character> <dialogue>About her? Sex? Death?</dialogue> <scene_description>He lies on the floor, takes off his shoes. Yes, no desire left, zero…!So I was looking for something, anything to…!"change the subject…"!to spare us both this horrible, dreadful moment of rejection…!That's when the idea came to me…!I remembered how extremely ticklish she is, was…!especially on the soles of her feet…!So I thought: I'll tickle her, to "change the subject…" So I grabbed her legs, both of her feet under my arms, and started to tickle them… He vaguely pretends to tickle Ann's feet.</scene_description> <character>HENRY</character> <dialogue>I could see in her eyes she understood it all…!Why I was doing what I was doing…!to "change the subject…" and it seemed impossible she would laugh this time…!She was hurt, and ashamed, and sad, and confused…!but I persisted, I tickled gently…</dialogue> <scene_description>He starts to alternately mime himself and Ann. He tickles gently…!tickles stronger-then throws himself on the floor and "becomes" Ann: Ann lying on her back, fighting him, not wanting to laugh…!starting to laugh a little… HENRY (with a woman's voice) "Stop it Henry…" It wasn't working! So I tickled stronger… I tickled madly, I tickled wild… The whole performance (the miming, the female laughter coming out of Henry's body) is frightening-morbid, sexual, very upsetting. The audience is stunned, in dread. Henry/Ann's laughter gets louder… faster… the note higher and higher… until it strikes a last long high (soprano) note -"the supreme spasm"- and abruptly ends… as Henry/Ann drops motionless on the floor… Terrible silence (on stage now, and in the audience). Henry/Henry leans over his wife, panicked, dazed… trying to wake the inert body… first gently… then shaking it wildly…</scene_description> <character>HENRY</character> <dialogue>Ann…!ANN…!ANNNNNNNNNN! NO NO NO ANN! ANNN! ANNN! NO ! NO ANN! NOOOOO!</dialogue> <dialogue>I had tickled her to death.</dialogue> <scene_description>A few vague laughs, a few claps, hesitant boos. Henry very slowly rises his face, devastated.</scene_description> <character>HENRY</character> <dialogue>I then tried to kill myself…!the same way…!tickling myself.</dialogue> <scene_description>He vaguely mimes the act of tickling his bare feet. But it didn't work… A few scattered laughs in the deafening silence. Henry stands back up, facing the audience.</scene_description> <character>HENRY</character> <dialogue>This is how I killed my wife.</dialogue> <scene_description>And he bows.</scene_description> <character>AUDIENCE</character> <dialogue>That was sick!</dialogue> <scene_description>Gradually, the audience seems to wake up…!and starts to protest…!more and more vocally.</scene_description> <character>AUDIENCE</character> <dialogue>You're sick! Poor Ann! Poor Annette!</dialogue> <character>HENRY</character> <dialogue>I sense some animosity Am I right or is it me?</dialogue> <scene_description>An angry group starts singing:</scene_description> <character>AUDIENCE</character> <dialogue>You must've bitten Something bitter In your cradle! Bitten, bitter, cradle!</dialogue> <character>HENRY</character> <dialogue>So, why did I become a comedian?</dialogue> <scene_description>But now the audience, in a fury, answers back: You're not! You're not! Not anymore!</scene_description> <character>HENRY</character> <dialogue>So, why did I become a comedian?</dialogue> <scene_description>While Henry goes to an audio device in a corner of the stage.</scene_description> <character>AUDIENCE</character> <dialogue>Asshole! Asshole! Sick, sick, sick! Boo!…!Go home!</dialogue> <character>HENRY</character> <dialogue>Okay?…!Ready?…!Laugh!</dialogue> <scene_description>He pushes a button on the audio device: we hear a (prerecorded) amplified audience singing- laughing (as in Henry's first act): Ha ha ha ha ha ha ha ha ha ha ha! Ha ha ha ha ha ha ha ha ha ha ha! Henry waves at the audience to "encourage"!their boos and insults. The Announcer pushes the Chorus Girls on stage and turns off the audio device. The Chorus Girls start singing in panic: We promised that you'd laugh We promised that you'd laugh We promised that you'd laugh, laugh, laugh, laugh! Laugh, laugh, laugh 'Cause he's Henry, he's Henry-The Henry He didn't make you choke, choke, choke Kick the bucket, kick the bucket, kick the bucket!</scene_description> <character>HENRY</character> <dialogue>OK everybody, thank you very much…!but enough already! Have a goodnight!</dialogue> <scene_description>He throws his mike in the air (much more aggressively than in his first show). The mike lands on a table, hitting glasses and a champagne bucket. Henry leaves the stage as the audience yells its hostility, and the Chorus Girls keep singing.</scene_description> <character>CHORUS GIRLS</character> <dialogue>He needs to hear you Clap, clap, clap! 'Cause he's Henry, he's Henry, The Henry, Wants each of you to Clap, clap, clap! So let's hear it! Let's hear it! Let's hear it! Let's hear it!</dialogue> </scene> <scene> <stage_direction>INT. LAS VEGAS THEATER: BACKSTAGE - NIGHT</stage_direction> <scene_description>Henry, alone backstage: enraged, he starts singing as he goes through the labyrinthine corridors.</scene_description> <character>YOU USED TO LAUGH</character> <dialogue>HENRY</dialogue> <dialogue>You used to laugh But now you sure ain't laughing at me no more!</dialogue> <scene_description>You used to laugh But now you sure ain't laughing at me no more! What's your problem? What's your fucking problem?! What's your problem? Your fucking problem?! Do you think I care? Do you think I care what you all think of me now? Do you think I care? Do you think I care what you wimps think of me now?</scene_description> <character>AUDIENCE</character> <dialogue>Henry, Henry we've had enough! Henry, Henry we've had enough! Henry, Henry we've had enough! Henry, Henry we've had enough!</dialogue> <character>HENRY</character> <dialogue>What's your problem? What's your fucking problem?! What's your problem? Your fucking problem?!</dialogue> <scene_description>Suddenly, Henry turns back and goes back on stage. The people from the audience are standing, facing the stage, still angry, booing.</scene_description> <character>AUDIENCE</character> <dialogue>Henry, Henry we've had enough! Henry, Henry we've had enough! Henry, Henry we've had enough! Henry, Henry we've had enough!</dialogue> <scene_description>Henry sings while pacing the stage with rage.</scene_description> <character>HENRY</character> <dialogue>My dear public, My dear public, you fucking headless beast! You're makin'!me sick! You ruthless, unpredictable beast!</dialogue> <character>AUDIENCE</character> <dialogue>Get off, get off, get off the stage! Get off, get off, get off the stage! Get off, get off, get off the stage! Get off, get off, get off the stage!</dialogue> <character>HENRY</character> <dialogue>It's your problem?</dialogue> <scene_description>Fuck it's not my problem! It's your problem? Your fucking problem?!</scene_description> <character>AUDIENCE</character> <dialogue>Get off, get off, get off the stage! Get off, get off, get off the stage! Get off, get off, get off the stage! Get off, get off, get off the stage! (…)</dialogue> <character>HENRY</character> <dialogue>Well you better laugh! Or I'll get the hell right off of this stage! If you don't laugh You're gonna feel, feel, feel the fire of my rage!</dialogue> <character>HENRY</character> <dialogue>We used to laugh</dialogue> <character>&amp;</character> <dialogue>Fuck off, fuck off, fuck out of here!</dialogue> <scene_description>Until we wised up, man you're sick as they come! We used to laugh Fuck off, fuck off, fuck out of here! Fuck off, fuck off, fuck out of here! But now we see you as you are, you are scum! Fuck off, fuck off, fuck out of here! You got a problem What's your problem? A big old problem! What's your fucking problem! You got a problem You've got a problem! A big old problem! A big old proooooo-blem!</scene_description> </scene> <scene> <stage_direction>EXT. ON THE ROAD BACK TO LA - NIGHT</stage_direction> <scene_description>Henry, riding his bike full speed through the desert, furious: God damn it!… Fuck, fuck, fuck, FUCK!</scene_description> </scene> <scene> <stage_direction>EXT. ANN'S HOUSE SWIMMING POOL - DAY</stage_direction> <scene_description>Ann, in the pool, watching herself in a small mirror.</scene_description> <character>ANN</character> <dialogue>Henry, I'm worried about you. I'm worried…</dialogue> <scene_description>She lets herself go in the water, on her back. She swims a slow back crawl, while singing: A GIRL FROM THE MIDDLE OF NOWHERE</scene_description> <character>ANN</character> <dialogue>There was a girl from the middle of nowhere Utterly plain, a little plump She sang alone, in her bedroom Wild acclaim from those four walls</dialogue> </scene> <scene> <stage_direction>INT. COUPLE'S BATHROOM &amp; BEDROOM - NIGHT</stage_direction> <character>SONG CONTINUED</character> <dialogue>Ann drying her hair with a towel.</dialogue> <scene_description>But she didn't want to be there She didn't want to be there She didn't want to be there at all She had the voice of a goddess Strings, winds and horns Inside her chest. She goes to the door, opens it, listens to make sure no one's near…!then goes to open a drawer: hidden under her bras, a pack of cigarettes. She takes one. Hour after hour, She would struggle 'Til her voice became Her Royal realm She goes back to the bathroom…!sits down on toilet…opens a window…!lights her cigarette. Oh, she wanted just to be there Only wanted to live there Really wanted to live there-forever more On the toilet, she pisses and smokes. She headed west, the wild direction No longer plain, no longer plump The men were on her doorstep Many men were on her doorstep Her voice had brought her beauty and set her free She throws the cigarette in the toilet…!wipes herself…!flushes the toilet…!washes her hands…! But she never listened to those men who came and whispered: "You're a flame to me" -a flame to me, a flame to me, a flame to me She was a queen, didn't need a king who'd put her brand new palace in jeopardy -in jeopardy, in jeopardy A queen should never be a moth to a flame Ann, defeated, is lying down on her bed. I have a wonderful gift, and a beautiful child People adore me, and I adore this man But… something's wrong. A slight noise, coming from the door…!Ann turns and sees baby Annette in the doorway: the baby, smiling, is taking her first steps…</scene_description> <character>ANN</character> <dialogue>Annette!</dialogue> <scene_description>Ann goes over to her, shaking off her sad mood, moved. She stretches her arms towards the baby:</scene_description> <character>ANN</character> <dialogue>That's it, Annette! Just keep right on walking One foot then the other</dialogue> </scene> <scene> <stage_direction>EXT. AROUND THE POOL - NIGHT</stage_direction> <scene_description>The pool is beautiful at night, shining (underwater lights), with big floating toys on its surface. Ann with the baby in her arms, singing "Lalala," while joyfully dancing around the pool…! faster and faster…!The baby giggles. LA LA LA LA:</scene_description> <character>ANN</character> <dialogue>La, la, la, la, la, la, la, la, la, la, la, la, la, la La, la, la, la, la, la, la, la, la, la, la, la, la, la La, la, la, la, la, la, la, la, la, la, la, la, la, la La, la, la, la, la, la, la, la, la, la, la, la, la, la (…)</dialogue> <scene_description>Ann is now spinning like a whirling dervish, with the baby still in her arms. They spin until they fall to the ground, like drunk, laughing. OUTDOOR POOL - CONTINUOUS Ann now sitting near the pool, with the baby in her arms. They play tenderly together. But their attention is snagged by a loud and menacing sound: the engine of Henry's bike slowing down as it approaches the house. The powerful lights of the machine shine on Ann and the baby.</scene_description> </scene> <scene> <stage_direction>INT/EXT. ANN'S HOUSE - NIGHT</stage_direction> <scene_description>Henry (is he drunk?) sings, as he rushes up the staircase and into the couple's bedroom:</scene_description> <character>MY STAR'S IN DECLINE</character> <dialogue>HENRY</dialogue> <dialogue>What goes up Must come down My star's in decline</dialogue> <dialogue>Ah!</dialogue> <dialogue>Once profound For a clown My star's in decline</dialogue> <scene_description>He steps outside the bedroom on the terrace. He can see: Ann with the baby in her arms, by the pool area. They are looking up at the window, at him, frightened. SHOWBIZ NEWS</scene_description> <character>SHOW BIZ NEWS 3 (SUCCESS)</character> <dialogue>Images of: - The happy family: paparazzi picture of Ann and Henry standing with Baby Annette, smiling in the sun. - Tension within the couple: paparazzi picture of the couple, looking sad, pushing Annette's stroller under the rain.</dialogue> <character>CONNIE O'CONNOR'S VOICE</character> <dialogue>Show Biz News announces that Ann, Henry, and baby Annette will travel on their yacht this week, evidently in the hope of saving the couple's marriage. Could the problems be due in large part to the growing discrepancy between their respective success? We wish them the best.</dialogue> <character>CHORUS</character> <dialogue>Respective success… Respective success…</dialogue> </scene> <scene> <stage_direction>EXT. AT SEA: YACHT - NIGHT</stage_direction> <scene_description>The slender yacht is caught in a turbulent sea. A storm is approaching.</scene_description> <character>A STORM IS ROLLING</character> <dialogue>IN CHORUS</dialogue> <dialogue>A storm is rolling in… A storm is rolling in… A storm is rolling in… A storm is rolling in…</dialogue> </scene> <scene> <stage_direction>INT. INSIDE YACHT: SLEEPING CABIN - NIGHT</stage_direction> <scene_description>Ann is in a cabin with Annette, trying to calm her and put her to sleep with a song. While she sings softly, she tries not to show the baby her own growing anxiety: she feels the boat sway, and sees through the porthole the waves getting big, hitting the yacht harder and harder. And where is Henry?</scene_description> <character>ANN</character> <dialogue>I will calm the sea Baby don't fear I will stop the storm Sleep, baby, sleep The world revolves 'round you My little innocent</dialogue> <dialogue>Sleep a perfect sleep I'm always here Dream a perfect dream And never fear Thunder, rain nor lightning My little innocent</dialogue> <scene_description>Worried about the storm outside, Ann goes to the porthole. Big waves are violently hitting the glass. She resumes singing, trying to hide her anxiety from the baby. All of the danger that I feel I will dispel it with some magic Alakazam, I'll change the reel! Look at the happy family dancing Ann turns back towards the baby: she is at last asleep. We'll look back and laugh That crazy night… As we walk a path 'Neath city lights The lights will shine on you My little innocent Ann takes a last look at the baby, then leaves the cabin.</scene_description> </scene> <scene> <stage_direction>INT. INSIDE YACHT: CORRIDOR - NIGHT</stage_direction> <scene_description>Ann, searching for Henry through the cabins.</scene_description> <character>ANN</character> <dialogue>Henry! Henry! Henry, where are you?</dialogue> </scene> <scene> <stage_direction>EXT. YACHT: DECK - NIGHT</stage_direction> <scene_description>Ann goes up to the deck. Pitch-dark night, pouring rain, chaotic movements of the boat.</scene_description> <character>ANN</character> <dialogue>Henry?</dialogue> <scene_description>No one there. But suddenly, she's grabbed by two arms, from behind: Henry, drunk, soaked. HENRY (tenderly) Ann…</scene_description> <character>ANN</character> <dialogue>Are you drunk Henry?</dialogue> <character>HENRY</character> <dialogue>I'm not that drunk…! Let's waltz…!</dialogue> <character>ANN</character> <dialogue>But…!I'll kill my voice out here. Henry, a storm is rolling in.</dialogue> <character>HENRY</character> <dialogue>I'm well aware of that my dear …!Let's waltz in the storm!</dialogue> <scene_description>Henry forces Ann into a waltz, while the Chorus (offscreen) sings:</scene_description> <character>LET'S WALTZ IN THE STORM!</character> <dialogue>CHORUS</dialogue> <dialogue>A storm is rolling in… A storm is rolling in… A storm is rolling in… A storm is rolling in…</dialogue> <character>ANN</character> <dialogue>Henry, you're drunk! Henry, you're drunk!</dialogue> <character>HENRY</character> <dialogue>I'm not that drunk, I'm not that drunk Hey, where's Annette? Where did she go?</dialogue> <character>ANN</character> <dialogue>Annette's asleep, she's safe below Henry, you're not the man I know</dialogue> <scene_description>Henry grabs Ann again, forcing her to waltz with him again.</scene_description> <character>HENRY</character> <dialogue>I'm not that drunk I'm not that drunk I'm not that drunk I'm not that drunk</dialogue> <character>ANN</character> <dialogue>Henry, you're not the man I know We'll catch our death in this rain Henry, stop fooling around We could slip, we could drown</dialogue> <dialogue>Henry don't fool around There's a storm, settle down Careful, hey! What if we fell? No one could survive this swell</dialogue> <dialogue>You're quite drunk, let's calm down When we're safe you can be a clown What has gotten into you? What has gotten into you?</dialogue> <scene_description>Ann holds onto Henry, her face against his torso-but he seems elsewhere, haunted.</scene_description> <character>ANN</character> <dialogue>With this storm and this sea I feel scared, look at me Comfort me, hold me tight, Oh, what a terrible, terrible night</dialogue> <scene_description>My voice, Henry! Is nothing sacred to you? She coughs, again and again. Henry seems to "wake up," suddenly-surprised to see Ann trying to pull away from him. He forces her to get closer, gets violent.</scene_description> <character>HENRY</character> <dialogue>Oh, God knows everything is-to you! Always trumpeting…!values…!The Sacred Values! And then dying, dying, dying! And then bowing, bowing, bowing!</dialogue> </scene> <scene> <stage_direction>INT. INSIDE YACHT: SLEEPING CABIN - NIGHT</stage_direction> <scene_description>Annette is awake. She holds her monkey plush very tight. She listens to what's happening out there on the deck. ON THE DECK - CONTINUOUS Henry forces Ann to waltz, faster and faster. The storm has gotten more violent, dangerously rocking the yacht now.</scene_description> <character>ANN</character> <dialogue>Henry stop it, stop it now! We're gonna fall, gonna die! What has gotten into you?</dialogue> <dialogue>Think of Annette!</dialogue> <scene_description>Ann is violently ejected by the centrifugal spin of the crazy waltz…!</scene_description> <character>AAAAAH!</character> <dialogue>Henry, still swirling, like a drunken dancer, but alone now… What happened?-how did Ann so suddenly disappear?</dialogue> <dialogue>He tries to steady his body…!falls on the deck. A huge wave hits him. And then he hears Ann's voice, coming from the sea, the waves, outside the boat.</dialogue> <character>ANN</character> <dialogue>Henry, help me Pull me out Henry, help me Pull me out Where are you? Help, Henry, I'm almost out of air</dialogue> <scene_description>Henry, horrified, dazed, paralyzed.</scene_description> <character>HENRY</character> <dialogue>There's so little I can do There's so little I can do There's so little I can do There's so little I can do</dialogue> </scene> <scene> <stage_direction>INT. CABIN -!NIGHT</stage_direction> <scene_description>Ann's dead body, underwater, passes in front of the cabin's porthole.</scene_description> </scene> <scene> <stage_direction>EXT. AT SEA: LIFE BOAT - NIGHT</stage_direction> <scene_description>The sea is now totally calm, and the rain has stopped. Henry and Annette are on a little lifeboat. He is rowing, haunted, looking straight ahead. Annette (wearing a life jacket) is awake on his laps.</scene_description> </scene> <scene> <stage_direction>EXT. ON THE SHORE OF AN ISLAND - NIGHT</stage_direction> <scene_description>Father and daughter have washed up on the shore of an island. As Henry is trying to warm up Annette's body, he starts singing to her:</scene_description> <character>WE'VE WASHED ASHORE</character> <dialogue>HENRY</dialogue> <dialogue>We washed ashore, Annette On some island, somewhere Your mother's gone, Annette I'll take care of you</dialogue> <dialogue>Help is on the way, Annette Someone's heard our calls In the meantime, stars line up They line up for you</dialogue> <scene_description>Henry lies down on the sand. Annette stays sitting, facing the sea. As the moon comes out from behind a cloud and shines down on the baby, the baby starts…! to sing. Yes, the baby is singing, in a beautiful crystalline voice-and what she is singing is a wordless version of the "Aria"!made famous by her mother.</scene_description> <character>BABY ARIA (THE MOON)</character> <dialogue>ANNETTE</dialogue> <character>ARIA</character> <dialogue>Henry looks at the baby, stunned. Drunk, dazed and exhausted, he lies back on the sand, closes his eyes, and laughs.</dialogue> <character>HENRY</character> <dialogue>Somehow, I'm imagining Annette is singing Just as the light of the moon lit her beautiful face How foolish! How very foolish I can be. Now, I can hear the…!stars laughing at me! In the morning I'll be free of all these…!hallucinations.</dialogue> <scene_description>Clouds start to obscure the moon again. The Baby stops singing. Henry has fallen asleep. The moonlight on Henry's body is shadowed by…!The Spirit of Ann (wet, skin almost green, very long hair covered in seaweed). She is now standing above him. Turning around his lying body, sings in an uncharacteristically angry tone: I WILL HAUNT YOU, HENRY!:</scene_description> <character>THE SPIRIT OF ANN</character> <dialogue>I will haunt you, Henry For the rest of your life Through Annette I'll haunt you Her voice will be my ghost</dialogue> <dialogue>I am no longer Love I am now Revenge!</dialogue> <scene_description>The moonlight disappears again. The Spirit of Ann looks at Henry asleep …!then moves towards her daughter (asleep) …!then moves towards the water, takes a few steps inside the water</scene_description> <character>THE SPIRIT OF ANN</character> <dialogue>I will haunt you, Henry I'll die day after day, after day I will haunt you, Henry Night after night, after night</dialogue> <scene_description>She disappears into the ocean. FADE TO BLACK 3rd ACT WORLD (FALL):</scene_description> </scene> <scene> <stage_direction>INT. L.A. POLICE STATION - DAY</stage_direction> <scene_description>Henry appears before the police for questioning. He faces five policemen and women. Each time the policemen have finished asking a question, they turn a crude light on Henry while he answers. They turn it off when it's time for another question-then back on again, etc. WE ARE THE POLICE:</scene_description> <character>POLICE</character> <dialogue>We are the police and we have got some routine questions You're not suspected but we have to ask some questions It won't take long-how 'bout some coffee with your questions It won't take long, we don't have very many questions -Not many questions</dialogue> <dialogue>Can you describe the night and how your wife went missing?</dialogue> <character>HENRY</character> <dialogue>There was a storm and I looked up and she was missing</dialogue> <character>POLICE</character> <dialogue>And did you try at all to dive in and to save her?</dialogue> <character>HENRY</character> <dialogue>The sea was rough and with Annette-how could I save her? The storm was very strong there was no way to save her And anyway, I had Annette, I had to save her I had Annette</dialogue> <character>POLICE</character> <dialogue>We've heard the rumors that you're somewhat of a raver Were there some problems between you that made you waver?</dialogue> <character>HENRY</character> <dialogue>That is an insult, I loved Ann, was always faithful!</dialogue> <character>POLICE</character> <dialogue>How about that "comic" piece in which you said you killed her?</dialogue> <dialogue>Was that a prank, or something more, an aspiration?</dialogue> <character>HENRY</character> <dialogue>Everybody knows my acts are full of provocation!</dialogue> <character>POLICE</character> <dialogue>Well that 'bout wraps it up, we sure are grateful Henry It now seems clear to us there is no guilty party It was an act of God, that is our firm conclusion It was an act of God, and pardon the intrusion</dialogue> </scene> <scene> <stage_direction>EXT. POLICE STATION - EVENING</stage_direction> <scene_description>Henry comes out of the building, puts on a hat and dark glasses, and walks away-avoiding glances from passersby who recognize him.</scene_description> <character>I'M A GOOD FATHER</character> <dialogue>HENRY</dialogue> <dialogue>Sure, I've sinned in all your eyes But one thing you cannot deny is I'm a good father, I'm a good father, I'm a good father-am I?</dialogue> </scene> <scene> <stage_direction>EXT. A TOY STORE - EVENING</stage_direction> <scene_description>Henry stops in front of a large toy shop: the window display shows a wide range of magic lamps, each lamp projecting its own enchanting world of light and shadows (stars, fishes, trains, water cascades, etc.)</scene_description> <character>HENRY</character> <dialogue>My Annette will ask someday Where is my mother? I will say that I'm a good father, I'm a good father, I'm a good father, but-she's gone</dialogue> </scene> <scene> <stage_direction>INT. ANN'S HOUSE - NIGHT</stage_direction> <scene_description>Henry climbs the main staircase (the big house now feels empty, without life). He's carrying a package wrapped in paper-a present for Annette.</scene_description> <character>HENRY</character> <dialogue>I'm a good father, mother and father, I'm a good father-am I?</dialogue> </scene> <scene> <stage_direction>INT. ANNETTE'S BEDROOM - NIGHT</stage_direction> <scene_description>He enters Annette's bedroom. The baby is in her little bed. Her nanny, CONSUELO, is sitting on a chair, facing the baby's crib (perhaps reading a story).</scene_description> <character>HENRY</character> <dialogue>Hi, Consuelo. How's my baby Annette?</dialogue> <character>CONSUELO</character> <dialogue>Much better, no more fever.</dialogue> <character>HENRY</character> <dialogue>Ah! Thank you so much.</dialogue> <dialogue>CONSUELO (getting up to leave) You're welcome, Mr. McHenry.</dialogue> <character>HENRY</character> <dialogue>See you tomorrow?</dialogue> <character>CONSUELO</character> <dialogue>Yes. Have a good evening.</dialogue> <character>HENRY</character> <dialogue>You too.</dialogue> <dialogue>CONSUELO (To Annette) Bye-bye my love.</dialogue> <scene_description>Henry unwraps Annette's present. Annette, standing in her crib, is very excited.</scene_description> <character>HENRY</character> <dialogue>Oh, look at what I've got for you! What is it? What is it Annette? Oh, what is that?! Look at that! Are you excited?</dialogue> <scene_description>The present is a small magic lamp. Henry sets it on the baby's night stall. He plugs the lamp in: projected motifs of planets and stars start spinning across the walls and ceiling.</scene_description> <character>HENRY</character> <dialogue>Annette, isn't it magical that…</dialogue> <scene_description>As the light starts shining on the baby's face, she starts singing again-her mother's "Aria" once more:</scene_description> <character>BABY ARIA (SHE'S A MIRACLE)</character> <dialogue>ANNETTE</dialogue> <dialogue>Aria</dialogue> <scene_description>Henry turns off the lamp: the baby stops singing-silence. He turns the lamp back on: the baby starts singing again.</scene_description> <character>HENRY</character> <dialogue>Unbelievable… amazing… It's really happening… She sings, she's a miracle When the light shines on her Astounding… unbelievable… amazing It's really happening, it's really happening…!to me!</dialogue> </scene> <scene> <stage_direction>INT. ANNETTE'S BEDROOM - NIGHT</stage_direction> <scene_description>LATER Henry and Annette are both lying in the little crib. Henry is wide awake. Silence.</scene_description> </scene> <scene> <stage_direction>INT. CONDUCTOR'S CONCERT HALL - NIGHT</stage_direction> <scene_description>Ann's former Accompanist has achieved his aim and is now The Conductor of a large metropolitan symphony orchestra. While conducting a rehearsal, he takes advantage of the musical piece's slow sections to sing a monologue: THE CONDUCTOR:</scene_description> <character>THE CONDUCTOR</character> <dialogue>It's a fast-changing world, And I am now the conductor of the city's finest orchestra, No longer the self-deprecating accompanist from such a short while ago. Ann would be proud of me. I do have my suspicions, though about why she isn't alive. And doubts too about something else but… Excuse me a minute</dialogue> <scene_description>As a loud musical section begins, The Conductor leads forcefully. Then, when the music calms down again.</scene_description> <character>THE CONDUCTOR</character> <dialogue>Henry has invited me to his place tomorrow To discuss a matter that he says concerns Annette and Ann. As awkward as it is for me to attend, anything that concerns Ann and the future of Annette is something that concerns me. Excuse me one more time.</dialogue> <scene_description>Loud music passage again. This one is louder and more energetic than the previous one. The Conductor leads forcefully, then goes back into his monologue.</scene_description> <character>THE CONDUCTOR</character> <dialogue>My love for Ann has never died. Neither has my regret that our affair was only an affair. I had been hoping for so long… Then at a time when she was in despair, we started an affair. But the very next week she met Henry, and that was the end of it -the end of me. I'll always regret that. I deeply miss her. Her warmth, her voice. I miss Ann Excuse me!</dialogue> <scene_description>Strong and brief last loud passage ending on a big final gesture of the Conductor.</scene_description> </scene> <scene> <stage_direction>INT/EXT. ANN'S HOUSE - EVENING</stage_direction> <scene_description>Henry, standing on the balcony, watches The Conductor's taxi enter the property. The Conductor pays the driver, and walks towards the house. Henry goes downstairs and opens the door for The Conductor.</scene_description> <character>THE CONDUCTOR</character> <dialogue>Hey Henry!</dialogue> <scene_description>Henry takes him up the stairs, to Annette's room, singing: SOMETHING THAT WILL BLOW YOUR MIND:</scene_description> <character>HENRY</character> <dialogue>Thanks for coming by My conductor friend Got something to show you That will blow your mind</dialogue> <dialogue>Follow me upstairs As a friend of mine You deserve to see this It will blow your mind</dialogue> <scene_description>The Conductor is obviously anxious, wary of Henry.</scene_description> <character>HENRY</character> <dialogue>Careful with the stairs Have no fear my friend</dialogue> <scene_description>I'm not gonna play Any trick of mine</scene_description> </scene> <scene> <stage_direction>INT. ANNETTE'S BEDROOM - NIGHT</stage_direction> <scene_description>They enter Annette's bedroom. Semidarkness. Annette is deeply asleep. Henry closes the door behind the Conductor.</scene_description> <character>THE CONDUCTOR</character> <dialogue>Henry…!What do you…</dialogue> <dialogue>HENRY (Low, so as not to disturb the baby) Shhhh!</dialogue> <scene_description>Henry turns the little magic lamp on Annette…. And she starts singing. BABY ARIA (CAN YOU EXPLAIN IT?):</scene_description> <character>ANNETTE</character> <dialogue>Aria</dialogue> <scene_description>The Conductor, amazed.</scene_description> <character>HENRY</character> <dialogue>Can you believe it?</dialogue> <character>THE CONDUCTOR</character> <dialogue>I just can't believe it!</dialogue> <character>HENRY</character> <dialogue>Can you explain it?</dialogue> <character>THE CONDUCTOR</character> <dialogue>I can't explain it…</dialogue> <character>HENRY</character> <dialogue>Is it really happening?</dialogue> <character>THE CONDUCTOR</character> <dialogue>I don't know what to think…</dialogue> <character>HENRY</character> <dialogue>Is it really happening?</dialogue> <character>THE CONDUCTOR</character> <dialogue>I really don't know what to think…</dialogue> <character>HENRY</character> <dialogue>To us?</dialogue> <scene_description>Henry turns the magic lamp off.</scene_description> <character>HENRY</character> <dialogue>How 'bout a drink?</dialogue> <character>THE CONDUCTOR</character> <dialogue>I need a drink… A strong drink.</dialogue> </scene> <scene> <stage_direction>INT. KITCHEN &amp; LIVING-ROOM - NIGHT</stage_direction> <scene_description>Henry is pouring a drink. He hands the Conductor the glass of wine. IT'S NOT REALLY EXPLOITATION:</scene_description> <character>HENRY</character> <dialogue>Here's my plan my sweet conductor We three travel 'round the world She performs with you conducting Backing her around the world</dialogue> <dialogue>All the world deserves to see this It's our moral duty, right? Well, what do you think, Conductor Am I wrong or am I right?</dialogue> <dialogue>If you would consent To be there for her Your fame will go greater Two hundred percent</dialogue> <dialogue>We would tour the world Show her to the world Millions would go wild Cherishing the child</dialogue> <character>THE CONDUCTOR</character> <dialogue>This is really exploitation…</dialogue> <character>HENRY</character> <dialogue>No, not really.</dialogue> <scene_description>The Conductor follows Henry, through the living room, towards the pool.</scene_description> <character>THE CONDUCTOR</character> <dialogue>Sure it is.</dialogue> <dialogue>This is really exploitation.</dialogue> <character>HENRY</character> <dialogue>No, not really!</dialogue> <character>THE CONDUCTOR</character> <dialogue>Sure it is.</dialogue> <character>HENRY</character> <dialogue>You know what my future looks like From a money point of view With the income from performance She could have a future too</dialogue> <character>THE CONDUCTOR</character> <dialogue>But you're exploiting her, Henry.</dialogue> <character>HENRY</character> <dialogue>No, not really</dialogue> <character>THE CONDUCTOR</character> <dialogue>You're exploiting Annette.</dialogue> <character>HENRY</character> <dialogue>No, not really!</dialogue> <dialogue>Please make up your mind Please make up your mind Please conductor friend We cannot waste time</dialogue> <scene_description>The small magic lamp, spinning. FADE TO</scene_description> </scene> <scene> <stage_direction>EXT. HENRY &amp; ANNETTE ON BIKE: MULHOLLAND DRIVE - NIGHT</stage_direction> <scene_description>Henry on his bike, riding carefully on a road overlooking LA, with Annette sitting against his chest. He's singing:</scene_description> <character>EVERY NIGHT THE SAME DREAM</character> <dialogue>HENRY</dialogue> <dialogue>I have the same dream every night Every night the same dream</dialogue> </scene> <scene> <stage_direction>INT. HENRY'S BEDROOM - NIGHT</stage_direction> <scene_description>Only the bedside lamp is on. Henry, sitting on the side of his bed, sings while undressing. He takes sleeping pills. Adrift on an angry sea And in a moment of rage and stupidity I kill the one I love Ann, forgive me Ann, I beg you Ann, forgive me He lies down under the covers. LATER THAT NIGHT Henry asleep. On the other (empty) half of the bed appears: Ann, lying by his side, awake. They don't touch. She watches Henry sleep. ANOTHER NIGHT Only the bedside lamp is on. Henry, sitting on the side of his bed, smoking and singing while undressing. He takes sleeping pills.</scene_description> <character>HENRY</character> <dialogue>I have the same dream every night Every night the same dream She's here lying by my side An exercise in futility</dialogue> <scene_description>He turns off the bedside lamp, and goes inside the bed. Did I kill the one I loved? There's no forgiveness Ann, I beg you There's no forgive… (He screams, like in a nightmare) On the other (empty) half of the bed appears: Ann, phantasmal. She slowly rolls her body to get closer to Henry…!until her body "merges into" Henry's…! Sound of the bedroom opening (offscreen). Ann has disappeared… The Spirit of Ann enters the room and approaches the bed. The Spirit watches Henry asleep. FADE TO BLACK</scene_description> <character>MONTHS LATER</character> <dialogue>Henry's look has changed: a cleaner haircut, a well-trimmed beard.</dialogue> </scene> <scene> <stage_direction>INT. CONCERT HALL - NIGHT</stage_direction> <character>PREMIERE PERFORMANCE OF BABY ANNETTE</character> <dialogue>The green stage curtain is not open yet.</dialogue> <dialogue>The Conductor conducts the orchestra.</dialogue> <dialogue>A large audience sits in anticipation of Annette's first show.</dialogue> <dialogue>Henry, standing behind the curtain, in the darkness of the stage. He's nervous, sweating.</dialogue> <dialogue>Baby Annette, standing behind him on a small podium. She's barely visible in the darkness. She's holding her chimp plush tight.</dialogue> <character>ANNOUNCER'S VOICE</character> <dialogue>You've read about her You've heard about her But nothing will have prepared you for</dialogue> <scene_description>The ANNOUNCER on the stage, facing the audience: What you are about to see Nothing will have prepared you for what you are about to see and hear Tonight, tonight The curtain starts opening. The audience claps. Henry is standing still behind his mike stand.</scene_description> <character>HENRY</character> <dialogue>Ladies and gentlemen Welcome to the premiere performance of Baby Annette, Baby Annette I am Henry McHenry, I am Henry McHenry</dialogue> <scene_description>While conducting from the orchestra pit, the Conductor nervously watches Henry. Henry, also nervous, starts pacing the stage, mike in hand.</scene_description> <character>HENRY</character> <dialogue>Cynics among you may doubt that what you are about to see is real, That it is not faked in some way.</dialogue> <dialogue>Let me assure you it is real. Annette is a miracle. Miracles do exist.</dialogue> <scene_description>He walks to the back of the stage, and kisses Annette on the forehead. He grabs her toy chimp from her hands.</scene_description> <character>HENRY</character> <dialogue>Without further ado, I introduce to you Baby Annette, Baby Annette!</dialogue> <scene_description>He exits the stage. The Conductor starts conducting the intro to Annette's "Aria." The baby starts singing, slowly walking on the podium towards the audience. The audience sits in stunned silence.</scene_description> <character>BABY ARIA (FIRST PERFORMANCE)</character> <dialogue>ANNETTE</dialogue> <character>ARIA</character> <dialogue>Backstage, Henry, sweating, is nervously watching the audience.</dialogue> <dialogue>At one point, the baby magically rises in the air, floating above the stage and the audience, singing in levitation.</dialogue> <dialogue>Kids in the audience are fascinated by Annette's performance.</dialogue> </scene> <scene> <stage_direction>INT. OTHER CONCERTS HALL</stage_direction> <scene_description>While the song is sung in its entirety, we cut to different performances, in different concert halls, TV shows, etc.-as Baby Annette gains lightning attention. Different shots with Annette bowing.</scene_description> <character>AUDIENCE</character> <dialogue>Annette!…!Annette! Exploitation!… It's exploitation! Bravo, Bravo, Bravo! We love you Annette!</dialogue> </scene> <scene> <stage_direction>INT. ON TV, COMPUTERS, CELL PHONES</stage_direction> <scene_description>CLOSE-UP OF a video webpage: the view count of the video:</scene_description> </scene> <scene> <stage_direction>INT. AIRPORTS AND PLANE - DAWN / DAY / DUSK / NIGHT</stage_direction> <scene_description>Henry, Baby Annette, and the Conductor fly and perform around the world. Baby Annette's crew (Chorus) sings with Henry (bodyguards, agents, secretaries, etc.). As they all rush through different airports all around the world, they sing, along with Annette's fans: WE LOVE ANNETTE!:</scene_description> <character>HENRY</character> <dialogue>Annette and me and The Conductor are three!</dialogue> <character>CHORUS</character> <dialogue>We're traveling 'round the world, We're traveling 'round the world, We're traveling 'round the world, We're traveling 'round the world (…)</dialogue> </scene> <scene> <stage_direction>INT. PLANE - DAWN / DAY / NIGHT</stage_direction> <scene_description>Henry, Annette and the Conductor on their private jet. The baby is asleep on the Conductor's lap. Henry is drinking whiskey from tiny bottles.</scene_description> <character>PILOTS (SPARKS)</character> <dialogue>Ladies and gentlemen, please make sure your seats are in the upright position. We'll be landing…!shortly.</dialogue> <character>HENRY</character> <dialogue>Here in Madrid</dialogue> <character>FANS</character> <dialogue>We love Annette!</dialogue> <character>HENRY</character> <dialogue>Here in Paris</dialogue> <character>FANS</character> <dialogue>We love Annette!</dialogue> </scene> <scene> <stage_direction>EXT. AIRPORT TARMAC - DAWN / DAY / DUSK / NIGHT</stage_direction> <scene_description>Fans welcoming Annette in airports around the world.</scene_description> <character>HENRY</character> <dialogue>Here in London</dialogue> <character>FANS</character> <dialogue>We love Annette! We love Annette! (…)</dialogue> <character>FANS</character> <dialogue>Annette! Annette!</dialogue> <scene_description>NIGHT Annette flying over major cities.</scene_description> <character>ANNETTE</character> </scene> <scene> <stage_direction>INT. AIRPORTS AND PLANE - DAY (CONTINUOUS)</stage_direction> <character>FANS</character> <dialogue>Bon voyage! Bon voyage! Bon voyage! Bon voyage! Bon voyage!</dialogue> </scene> <scene> <stage_direction>INT. AIRPORTS AND PLANE -!DAY /NIGHT (CONTINUOUS)</stage_direction> <character>HENRY &amp; CHORUS</character> <dialogue>We're traveling 'round the world, We're traveling 'round the world, We're traveling 'round the world, (…)</dialogue> <character>FANS</character> <dialogue>Bon voyage! Here in Mumbai We love Annette! Bon voyage! We love Annette! Bon voyage! Here in Cuba! We love Annette!</dialogue> <scene_description>Bon voyage! Here in Tokyo! We love Annette Bon voyage! We love Annette Bon voyage! We love Annette (…)</scene_description> </scene> <scene> <stage_direction>INT. LUXURY HOTEL: ACAPULCO - DUSK</stage_direction> <scene_description>The Conductor is holding Annette in his arms. They're alone in the large suite's living room, facing the window that overlooks the bay of Acapulco. We sense the Conductor's strong attachment to the baby.</scene_description> <character>THE CONDUCTOR</character> <dialogue>What a beautiful, beautiful night, hum?</dialogue> <scene_description>Henry breaks in, putting on his coat.</scene_description> <character>HENRY</character> <dialogue>Hey, my friend, would you look after Annette while I go out and let off just a little bit of…!steam?</dialogue> <character>THE CONDUCTOR</character> <dialogue>Sure, Henry, I'll look after Annette.</dialogue> <scene_description>Henry blows a kiss to Annette and leaves the suite. A LITTLE LATER The Conductor is at his keyboard, with Annette on his lap. He starts softly playing the tune to "We Love Each Other So Much" (Henry and Ann's love song). The baby listens intensely and watches the Conductor's fingers move across the keyboard. WE LOVE EACH OTHER SO MUCH (LULLABY)</scene_description> <character>THE CONDUCTOR</character> <dialogue>We love each other so much So hard to explain it So hard to explain We love each other so much</dialogue> <dialogue>We love each other so much We love each other so much</dialogue> <dialogue>Speak soft when you say it Speak soft when you say it We love each other so much</dialogue> <scene_description>Annette has fallen asleep.</scene_description> </scene> <scene> <stage_direction>INT. DIFFERENT NIGHTCLUBS IN DIFFERENT CITIES AROUND THE WORLD</stage_direction> <scene_description>- NIGHT We see Henry in different clubs and bars, with women from different countries (Brazil, Japan, Russia).</scene_description> <character>ALL THE GIRLS</character> <dialogue>HENRY (with Brazilian girls) All the girls I see Look so great to me What amazes me Is what they see in me</dialogue> <parenthetical>(With Japanese girls)</parenthetical> <dialogue>All the girls I see In France and Italy Or here in Roppongi What do they see in me?</dialogue> <parenthetical>(Dancing with Russian girls)</parenthetical> <dialogue>Am I handsome?-No</dialogue> <character>THE RUSSIAN GIRLS</character> <dialogue>You're so handsome!</dialogue> <scene_description>Charming?-Well, so-so You're so charming! I'm a foreign guy So exotic! Rich and drunk, maybe that's why</scene_description> <character>THE RUSSIAN GIRLS</character> <dialogue>Hard to imagine All these fucking men Who hate themselves but Want us to love them!</dialogue> </scene> <scene> <stage_direction>INT. CLUB / RESTROOM - NIGHT</stage_direction> <scene_description>Henry, drunk, finishes taking a piss, then goes to the washstand. He looks at his reflection in the mirror.</scene_description> <character>HENRY</character> <dialogue>All the girls I see</dialogue> <dialogue>Look so great to me But…!will I ever be Lovable again?</dialogue> <character>BACK IN LA</character> </scene> <scene> <stage_direction>EXT. IN THE HILLS ABOVE LA - DUSK</stage_direction> <scene_description>A coyote, howling.</scene_description> </scene> <scene> <stage_direction>EXT/INT. ANN'S HOUSE - EVENING</stage_direction> <scene_description>Henry returns to his villa on his bike. He parks the bike and, swaying, walks towards the house.</scene_description> <character>SO GLAD TO BE BACK HOME</character> <dialogue>HENRY</dialogue> <dialogue>I'm feeling just a little bit drunk I'm feeling just a little bit tipsy</dialogue> <scene_description>Behind him, the heavy bike slowly falls on its side. (Henry hadn't put the kickstand properly.) Shit… Where, you might ask, did I go? That would be none of your business! (Searching for his keys) Where did I put my house keys? The Conductor opens the door for Henry. As always, he has looked after the baby while Henry was fooling around.</scene_description> <character>HENRY</character> <dialogue>So glad to be back at home Hey, Mr. Conductor friend, good to see you Thanks for watching Annette How is Annette?</dialogue> <character>THE CONDUCTOR</character> <dialogue>She%s fine.</dialogue> <scene_description>Henry enters the living room, where Annette is sitting on the floor in pajamas, playing on a toy piano. On his way to the kitchen bar, he pats Annette on the head.</scene_description> <character>HENRY</character> <dialogue>There's my little Annette There's my little Annette How's my little Annette? How's my little Annette?</dialogue> <scene_description>He starts pouring himself a glass of whiskey. WE LOVE EACH OTHER SO MUCH (ANNETTE)</scene_description> <character>ANNETTE</character> <dialogue>La da di da da….</dialogue> <scene_description>The baby (without any change in lighting, this time) starts singing softly…!and she's not singing the "Aria," but a wordless version of "We Love Each Other So Much"-the love song Henry and Ann used to sing together. Henry stops pouring his drink…!listening to his daughter sing, haunted. HENRY'S VISIONS Images of Ann and Henry together, (holding hands, fucking, etc.) Henry brutally interrupts Annette's singing and gets furious at The Conductor (Annette watches, puzzled).</scene_description> <character>HENRY</character> <dialogue>How does she know that song?!</dialogue> <character>YOU HAD NO RIGHT!</character> <dialogue>You had no right, you had no right to teach her that! You had no right, you had no right at all!</dialogue> <scene_description>He then takes The Conductor outside, into the garden, so that Annette won't hear. He goes on singing, louder, with rage: You had no right, you had no right to teach her that! You had no right, you had no right at all! That song was our song, Ann's and my song, that was our song! That song was our song, Ann's song and mine! That was our song…!That was our song…</scene_description> <character>THE CONDUCTOR</character> <dialogue>No! No, Henry, I wrote that song-for Ann.</dialogue> <character>HENRY</character> <dialogue>What?!</dialogue> <character>THE CONDUCTOR</character> <dialogue>So I had every right to teach it to my star pupil, Annette.</dialogue> <character>HENRY</character> <dialogue>Yeah, bullshit!</dialogue> <parenthetical>(Getting even more furious)</parenthetical> <dialogue>You'd think you were her father! You'd think you were her father! You'd think you were her father!</dialogue> <character>THE CONDUCTOR</character> <dialogue>Maybe…!I am… I think I am…</dialogue> <scene_description>For once, the Conductor stands up to Henry. Henry almost collapses, dizzy...</scene_description> <character>HENRY</character> <dialogue>This can't be true! This can't be true!</dialogue> <character>THE CONDUCTOR</character> <dialogue>Sorry Henry … You see, before you came along, Ann and I…</dialogue> <character>HENRY</character> <dialogue>This can't be true! Could this be true? (Leaning against a tree, singing to himself) No one must know this, or I'll loose my daughter. No one must know this, or I'll loose my child…</dialogue> <scene_description>Slowly, he moves away from the tree, and walks back towards the house as he tells the Conductor: Let's put Annette to bed, and then go by the pool and talk it over, OK?</scene_description> </scene> <scene> <stage_direction>INT. ANNETTE'S BEDROOM - NIGHT</stage_direction> <scene_description>Henry is tucking Annette in her bed. The Conductor is on the side of the bed. (Strange sight, these two "fathers" putting "their" baby to bed). Henry is about to kiss his daughter's forehead, but she turns her face away from him. The Conductor kneels down, and whispers to Annette:</scene_description> <character>CONDUCTOR</character> <dialogue>Good night, Annette.</dialogue> <scene_description>The Conductor and the baby exchange a silent gaze. But Henry turns off the bedroom's light immediately.</scene_description> </scene> <scene> <stage_direction>EXT. AROUND THE POOL - NIGHT</stage_direction> <scene_description>The two men arrive at the pool. The pool is now derelict: most of the underwater lights don't work (or only in intermittent bursts), the surface is swamped with dead leaves, and the floating toys are half deflated. The two men start slowly walking along the pool-Henry staying menacingly close to the Conductor, as if sniffing at him.</scene_description> <character>HENRY</character> <dialogue>You see, my friend…</dialogue> <scene_description>Suddenly, he "jokingly" pretends to push the Conductor into the pool.</scene_description> <character>MURDER OF CONDUCTOR</character> <dialogue>THE CONDUCTOR</dialogue> <dialogue>Henry, don't fool around! The water must be freezing You wouldn't want me to drown, would you?</dialogue> <character>HENRY</character> <dialogue>I don't know… What was I about to say…</dialogue> <character>CONDUCTOR</character> <dialogue>Shall we talk, as you'd asked I can't stay, can you make it fast Not to be impolite But it's been a long, long night</dialogue> <scene_description>But once again Henry pretends to push the Conductor into the pool -more brutally this time.</scene_description> <character>THE CONDUCTOR</character> <dialogue>Hey Henry, no! Stop fooling around! You're quite drunk, let's both sit down What is it you need to say?</dialogue> <dialogue>Sit down, Henry!…!Watch it, hey!</dialogue> <scene_description>Henry has pulled out the chair the Conductor was about to sit on…!the Conductor falls down on his back…!then quickly and nervously tries to get up…!but Henry violently drags his body towards the pool's edge… Henry orders him to shut up (the baby is sleeping in the house:) Shhhh!</scene_description> <character>THE CONDUCTOR</character> <dialogue>This isn't funny anymore! Not the least bit funny anymore!</dialogue> <dialogue>HENRY (Shaking him violently) Shhhh!</dialogue> <character>THE CONDUCTOR</character> <dialogue>Get your hands off me…</dialogue> <character>HENRY</character> <dialogue>Shhhh!</dialogue> <character>THE CONDUCTOR</character> <dialogue>Get your hands off me! What are you trying to do to me? What are you trying… what are you trying to do to me? Stop it… just stop it… just stop it, stop it, stop it Ok, ok, ok, ok, ok, stop it…</dialogue> <character>HENRY</character> <dialogue>Shhhh!</dialogue> <scene_description>Henry violently throws the Conductor into the pool: he kneels at the edge of the pool, so that the Conductor can't escape him. When the Conductor tries to put his head out of the water, Henry pushes him back under water.</scene_description> <character>THE CONDUCTOR</character> <dialogue>Henry, it's fr-freezing, Henry, I'm g-going down I won't tell a single soul Even you can't be this c-c-cold</dialogue> <dialogue>So it was y-you, after all…</dialogue> <dialogue>HENRY (he pushes the Conductor back under water) No. No.</dialogue> <character>THE CONDUCTOR</character> <dialogue>If only I had gotten Ann to love me more…</dialogue> <scene_description>Henry strongly punches the Conductor's face. The Conductor disappears under water.</scene_description> <character>HENRY</character> <dialogue>There's so little I can do There's so little I can do</dialogue> <scene_description>The Conductor's body, lying flat dead on the water. THE CONDUCTOR (voice over) If only……!I'd gotten Ann to love me more</scene_description> <character>HENRY</character> <dialogue>There's so little I can do</dialogue> <dialogue>THE CONDUCTOR (voice over) If only…</dialogue> <character>HENRY</character> <dialogue>There's so little I can do</dialogue> <dialogue>THE CONDUCTOR (voice over) If only…</dialogue> <scene_description>Henry grabs the Conductor's leg and pulls the whole floating corpse to one side of the pool. He then pulls the corpse out of the pool, and carries it further in the darkness of the garden.</scene_description> </scene> <scene> <stage_direction>INT/EXT. ANNETTE'S ROOM - NIGHT</stage_direction> <scene_description>Henry, soaked, enters Annette's bedroom. The baby is in bed, in the dark. As Henry comes closer, he sees she's awake, looking at him.</scene_description> <character>HENRY</character> <dialogue>Annette, you%re awake"!</dialogue> <scene_description>They look at each other through the darkness, in silence. Then, calmly, silently, the baby pushes the magic lamp off the nightstand-the lamp breaks on the floor. Henry, distraught, kneels down and starts picking up the broken glass. HENRY (whispering) Everything will be alright now. I promise Annette… SHOWBIZ NEWS Images of: Henry and Baby Annette holding hands during a photocall. SHOW BIZ NEWS (NEVER AGAIN):</scene_description> <character>CONNIE O'CONNOR'S VOICE</character> <dialogue>Connie O'Connor here for Show Biz News, with the shocking announcement that Henry McHenry has decided to end Baby Annette's singing career. Before they move to Europe, she will give one last performance, to be announced shortly…!The baby will never perform again after that.</dialogue> <character>CHORUS</character> <dialogue>Never again…!Never again…Never again…!</dialogue> </scene> <scene> <stage_direction>EXT. FOOTBALL STADIUM - NIGHT</stage_direction> <scene_description>It's the Hyper Bowl halftime show. A huge crowd is gathered for Baby Annette's last performance. The ANNOUNCER is standing in a glass booth above the stadium, among a crew of technicians. Henry is standing next to him, nervous. The Announcer sings, joined by a Chorus of footballers and cheerleaders, and a choir of little boys.</scene_description> <character>ANNOUCER &amp;</character> <dialogue>Ladies and gentlemen, welcome</dialogue> <character>CHEERLEADERS</character> <dialogue>Welcome!</dialogue> <scene_description>Welcome to the Hyper Bowl HalfTime Show Waouh! To the thousands who are here in attendance Welcome! And the millions that are watching at home At home!</scene_description> <character>ANNOUNCER &amp; CHORUS</character> <dialogue>Ladies and gentlemen, welcome Welcome to the Hyper Bowl HalfTime Show To the thousands who are here in attendance And the millions that are watching at home</dialogue> <scene_description>The Announcer and Henry start looking towards the sky. Baby Annette, suspended on drones, descending from the sky. She greets the audience, waving her arms.</scene_description> <character>ANNOUNCER</character> <dialogue>Ladies and gentlemen, please welcome our cherished…!Baby Annette! As you all know by now, this will be her last public appearance. So, ladies and gentlemen... Darkness…!then a very sweet soft light. And then, for all eternity…!Baby Annette!</dialogue> <scene_description>The drones gently drop Annette at the center of the stadium, on the top of a high, green, monolith. Rapturous applause from the crowd. The instrumental intro to "Aria"!begins, in the darkness…!</scene_description> <character>CHOIR BOYS</character> <dialogue>Baby Annette! Baby Annette!</dialogue> <scene_description>A huge spotlight slowly moves on Annette…!but when it's time for her to sing, she does not sing…!Silence.</scene_description> <character>ANNOUNCER</character> <dialogue>This is the largest audience that Annette has ever performed in front of, so some nervousness is completely understandable. Ladies and gentlemen…!Baby Annette!</dialogue> <scene_description>Again: applause…!instrumental intro to "Aria…" the spotlight slowly moving on Annette…!</scene_description> <character>CHOIR BOYS</character> <dialogue>Baby Annette! Baby Annette!</dialogue> <scene_description>…but when it's time for her to sing, she does not sing…!Silence. In the glass booth: Henry has a nervous laugh.</scene_description> <character>ANNOUNCER</character> <dialogue>Ladies and gentlemen…!please… We ask for your patience. Baby Annette is a baby, after all…! Please, once again…!Baby Annette!</dialogue> <scene_description>Henry goes to sit down at one side of the glass booth. He lights a cigarette. ANNOUNCER (Not talking into his mike anymore) What the fuck is the little bitch doing? The instrumental intro to "Aria"!starts again…!</scene_description> <character>CHOIR BOYS</character> <dialogue>Baby Annette! Baby Annette!</dialogue> <scene_description>Henry seems to deflate, about to collapse, not caring about anything anymore. When it's time for Annette to sing, she does not sing. The audience is getting very angry now. After a few seconds of silence, Baby Annette whispers into her mike (her first words ever.)</scene_description> <character>BABY ANNETTE</character> <dialogue>Daddy…</dialogue> <scene_description>The audience falls silent…! Daddy kills people. FADE TO BLACK 4th ACT COURTHOUSE &amp; PRISON:</scene_description> </scene> <scene> <stage_direction>EXT. ANN'S HOUSE: POOL - GREY DAY</stage_direction> <scene_description>Images of the pool, now empty, derelict, surrounded by police crime scene tape: CRIME SCENE DO NOT CROSS</scene_description> <character>TRUE LOVE B</character> <dialogue>CHORUS</dialogue> <dialogue>True love always finds a way But true love often goes astray</dialogue> </scene> <scene> <stage_direction>INT. POLICE STATION: INTERROGATION ROOM</stage_direction> <scene_description>True love always finds a way But true love often goes astray Astray, astray Away, away Time going by: Henry sitting at the desk of an interrogation room, in semidarkness. The crude light of the desk lamp at times hits his face (as in during his previous interrogation scene with the police, "We Are The Police"&amp;) He's changed quite a bit-seems older, puffed face. The light goes off. The crude light hits his face again: he has changed even more-heavier, a beard, longer hair, etc. The light goes off.</scene_description> </scene> <scene> <stage_direction>INT. POLICE VAN - DAY</stage_direction> <scene_description>Henry, handcuffed, in prison uniform, seated in the back of the police van taking him to the courthouse-a mere shadow of his former self now.</scene_description> </scene> <scene> <stage_direction>EXT. OUTSIDE COURTHOUSE - DAY</stage_direction> <scene_description>Flanked by police officers, Henry walks towards the courthouse among the angry crowd singing:</scene_description> <character>HE IS A MURDERER</character> <dialogue>CROWD</dialogue> <dialogue>He is a murderer, he is a murderer! There is no doubt at all that He is a murderer, he is a murderer! And he must pay the price and Whether it's first degree, or less than first degree The point is moot to us 'cause He's still a murderer and, whether it's death or jail We'll send him far, far, far away!</dialogue> <dialogue>You are a murderer, you are a murderer! You killed the one that we all loved Near religiously, nearly religiously, No more will she die for us Who will now die for us, who will now die for us? No one can take her place, but You who despise us all, you who despise us all, We will now tame, break and destroy!</dialogue> <scene_description>The police officers push Henry inside an underground parking.</scene_description> <character>REPORTERS</character> <dialogue>Henry, over here!…!What do you have to say?… The public has the right to know!</dialogue> </scene> <scene> <stage_direction>INT. COURTROOM - DAY</stage_direction> <scene_description>The courtroom obviously used to be a theater or an opera house (it has an oval shape, with a balcony-now closed to the public). The atmosphere is solemn as Henry takes the stand. CLERK (Woman with runny nose) Please, raise your right hand. Henry McHenry, do you solemnly swear that you will tell the truth, the whole truth, and nothing but the truth, so help you God? (She sneezes into her handkerchief) Truuuuth!</scene_description> <character>HENRY</character> <dialogue>Yes. The truth is… you remind me so much of my mother.</dialogue> <scene_description>A murmur of disapproval in the audience-and a few laughs. The Judge bangs his gavel, one time.</scene_description> <character>JUDGE</character> <dialogue>Mr. McHenry: this court won't tolerate effrontery! Clerk, please, once again please.</dialogue> <character>CLERK</character> <dialogue>Please, Henry McHenry, do you solemnly swear that you will tell the truth, the whole truth, and nothing but the truth, so help you…!(Singing) God!</dialogue> <scene_description>Henry stays silent a few seconds-then mumbles: No. You'll kill me if I do. Again, a murmur of disapproval in the audience. The Judge bangs his gavel, three times. Light and sounds in the courtroom slowly fade. We can now only see Henry, everyone else in the courtroom is in darkness and completely motionless-as if time had stopped, except for Henry. He stands up and, walking around the silent and dark courtroom (among the lawyers, people in the audience), he starts singing:</scene_description> <character>STEPPING BACK IN TIME</character> <dialogue>HENRY</dialogue> <dialogue>Stepping back in time, I'd pull Ann aside, "I'm so proud of you, I'm so proud of you" Stepping back in time, I'd pull Ann aside, "I'm so happy for you, I'm so happy for you"</dialogue> <scene_description>Henry thinks he's heard Ann's voice singing…!But he's not sure…!No, it can't be…</scene_description> <character>HENRY</character> <dialogue>I'd say, "Ann, what gives me the most joy Is to watch you, I'm a small boy</dialogue> <character>ANN</character> <dialogue>You're a small boy</dialogue> <scene_description>Wide-eyed in my awe at your silken voice I admire you, never tired of you" Never be tired of you Henry has heard Ann's voice again. Or is he imagining he did? Bewildered, he goes on singing while his eyes search for Ann through the darkness of the courtroom. His search for Ann becomes more frantic…!and he finally spots her in a mirror (the "real" her, not her angry Spirit) high above him-standing alone at the balcony, looking at him. Beautiful tender Ann…!Henry hasn't seen her for so long. She's moving around the oval balcony. He moves too so as not to lose sight of her, as he goes on singing:</scene_description> <character>HENRY</character> <dialogue>Teary-eyed, she'll say</dialogue> <character>ANN &amp; HENRY</character> <dialogue>"I'm ashamed to see That we both can't be, where we ought to be"</dialogue> <scene_description>Crying, you will say "It's so sad, you see That we both can't be, who we ought to be" Stepping back in time, I could step aside Not allow my rage to be magnified To a dangerous point where a rash act What an impact, I can't grab back</scene_description> <character>ANN &amp; HENRY</character> <dialogue>Now there's no more time, what a shame to see That we both can't be, where we ought to be No there's no more time, it's so sad to see That we both can't be, who we ought to be</dialogue> <character>THE SPIRIT OF ANN</character> <dialogue>Henry!</dialogue> <scene_description>The voice didn't come from Ann at the balcony, but from a few feet behind him…! Henry turns around, and faces (not sweet Ann but) the angry Spirit of Ann-coming from the dais right by the Judge (who's motionless and in the dark). The Spirit moves closer to Henry.</scene_description> <character>COURTROOM SPIRIT</character> <dialogue>THE SPIRIT OF ANN</dialogue> <dialogue>Henry. She won't be the one keeping you company in jail. I will! Day after day after day… Night after night after night!</dialogue> </scene> <scene> <stage_direction>EXT. ANN'S HOUSE: POOL - DAY</stage_direction> <scene_description>At the bottom of the pool: muddy waters and toads, vegetation grown wild. FADE TO BLACK</scene_description> </scene> <scene> <stage_direction>INT. PRISON: VISITING ROOM - DAY</stage_direction> <scene_description>Henry in his prisoner's uniform, waiting for Annette's visit in the visiting room. He has aged quite a bit. He is mumbling some incoherent logorrhea.</scene_description> </scene> <scene> <stage_direction>INT. PRISON: CORRIDORS - DAY</stage_direction> <scene_description>A PRISON GUARD is walking through the corridors of the prison, carrying Annette in his arms. She is 5 years old now-her hair longer.</scene_description> </scene> <scene> <stage_direction>INT. PRISON: VISITING ROOM - DAY</stage_direction> <scene_description>Henry, still mumbling.</scene_description> </scene> <scene> <stage_direction>INT. PRISON: CORRIDORS - DAY</stage_direction> <scene_description>The Prison Guard, still walking through the corridors with Annette in his arms.</scene_description> </scene> <scene> <stage_direction>INT. PRISON: VISITING ROOM -!DAY</stage_direction> <scene_description>Henry stops his mumbling, and turns towards the door: through the glass panel, he can see Annette in the guard's arms. She is staring at him from behind the door. The guard opens the door, and Annette enters the visiting room. She sits on a chair in front of Henry. At first, father and daughter sit there, mute and distressed. Henry is the first to break the silence: Annette?…!Annette? You've changed so much Annette.</scene_description> <character>ANNETTE'S VOICE</character> <dialogue>Yes.</dialogue> <scene_description>But the voice doesn't come from where Annette is sitting… Henry's eyes focus on the other side of the room…!he seems to be facing a tormented vision. On the other side of the room: another Annette (a real little girl, in the flesh-not a puppet anymore) is standing, her back to the wall.</scene_description> <character>REAL ANNETTE</character> <dialogue>Yes, I have.</dialogue> <scene_description>Although her voice is a little girl's voice, she now speaks with the words of a penetrating adolescent. She approaches the table where Puppet-Annette is sitting in front of Henry. She takes the place of the puppet. Silence, then:</scene_description> <character>ANNETTE</character> <dialogue>You too have changed. But at least, you're safe here, yes? You can't drink and you can't smoke here, can you?</dialogue> <character>HENRY</character> <dialogue>…No…!no I can't.</dialogue> <character>ANNETTE</character> <dialogue>And…!you can't kill here, can you? (No answer from Henry. She then has a shy smile.) Hum…!it was a joke…</dialogue> <character>HENRY</character> <dialogue>Hum, you are my daughter after all. No. No more killing. Only time. "Killing Time." Have you heard that expression?</dialogue> <character>ANNETTE</character> <dialogue>No. But now, you have nothing to love.</dialogue> <character>HENRY</character> <dialogue>Can't I love you?</dialogue> <character>ANNETTE</character> <dialogue>No. Not really…</dialogue> <scene_description>Henry tries not to show how hurt he is. HENRY (He looks at the clock on the wall.) Annette… We don't have long. He then starts singing-slow, low:</scene_description> <character>SYMPATHY FOR THE ABYSS</character> <dialogue>HENRY</dialogue> <dialogue>I'll sing these words to you I hope that they'll ring true They're not some magic chimes To cover up my crimes Annette, of this I'm sure: Imagination's strong And Reason's song Is weak and thin …We don't have long</dialogue> <dialogue>I stood upon a cliff A deep abyss below Compelled to look, I tried To fight it off, God knows I tried This horrid urge to look below But half-horrified And half-relieved I cast my eyes Toward the abyss, the dark abyss</dialogue> <scene_description>Henry gets up, paces the cell as he goes on singing: I heard a ringing in my ears I knew my death knell's ugly sound The overbearing urge to gaze Into the deep abyss, the haze! So strong the yearning for the fall Imagination's strong And Reason's song Is weak and thin …We don't have long Annette violently throws her chimp plush towards her father. For the first time, we see a real toughness in her expression. She bangs her little fist repeatedly on the table, as she sings: I'll never sing again! Shunning all lights at night I'll never sing again! Smashing every lamp I see I'll never sing again! Living in full darkness I'll never sing again! A vampire forever!</scene_description> <character>HENRY</character> <dialogue>Annette!-no, no, no! Annette, Annette no!</dialogue> <scene_description>For the first time, Henry sees his daughter but as a real person, a real little girl of flesh and blood. Father and daughter now sing in duet:</scene_description> <character>HENRY</character> <dialogue>I sang these words to you</dialogue> <character>ANNETTE</character> <dialogue>Can I forgive what you have done?</dialogue> <scene_description>I hoped that they'd ring true And will I ever forgive mom? Imagination's so strong Her deadly poison I became And Reason's song is never strong Merely a child to exploit Imagination is so strong Forgive you both? And Reason's song Or forget you both? So faint and shrill To take that oath? I stood above The deep abyss To take that oath? ANNETTE (Angry) Why should I now forgive? Why should I now forget? I can never forgive! I can never forget! Both of you were using me for your own ends -for your own ends Not an ounce of shame the two of you, you're both to blame! I wish that both of you were gone Wish you were gone!</scene_description> <character>HENRY</character> <dialogue>No don't blame Ann</dialogue> <scene_description>Wish you were gone! Annette that's wrong Wish you were gone! No don't blame Ann Both of you gone! Annette turns away from Henry, seeming to now sing to herself:</scene_description> <character>ANNETTE</character> <dialogue>But is forgiveness the sole way</dialogue> <character>HENRY</character> <dialogue>This horrid urge to look below</dialogue> <scene_description>When all has gone so far astray God knows I tried, to fight it off Half-horrified, and half-relieved Extract the poison from one's heart And from one's soul, I can't be sure I cast my eyes down the abyss Annette turns to face Henry again: Forgive the two of you or not I take this oath Sympathy for the dark abyss Forgive you both? I take this oath Sympathy for the dark abyss I take this oath Forgive you both? Or forget you both? Don't cast your eyes Down the abyss I must be strong I must be strong! The guard steps inside the room.</scene_description> <character>GUARD</character> <dialogue>Time's up!</dialogue> <scene_description>Henry grabs the child, hugs her. She doesn't resist his embrace, but doesn't commit to it either.</scene_description> <character>GUARD</character> <dialogue>No contact!</dialogue> <scene_description>The guard steps in to separate them… but Henry hangs onto the child. WE LOVE EACH OTHER SO MUCH melody ANNETTE (singing, sadly, to her father) Now, you have nothing to love</scene_description> <character>HENRY</character> <dialogue>Why can't I love you? Can't I love you?</dialogue> <character>ANNETTE</character> <dialogue>Now, you have nothing to love</dialogue> <character>HENRY</character> <dialogue>Can't I love you, Annette?</dialogue> <character>ANNETTE</character> <dialogue>No, not really Daddy, it's sad but it's true: Now you having nothing to love</dialogue> <scene_description>Henry lets go of the child. The guard picks her up in his arms, and leaves the room with her.</scene_description> <character>HENRY</character> <dialogue>Annette, my Annette… Never cast your eyes down the Abyss!</dialogue> </scene> <scene> <stage_direction>INT. PRISON: CELL / CORRIDOR - DAY</stage_direction> <scene_description>Henry goes to the closed door. Through the glass panel in the door, he can see Annette in the guard's arms, her face turned towards him. The child is getting smaller and smaller, as the guard moves away in the corridor. She waves goodbye.</scene_description> <character>HENRY</character> <dialogue>Goodbye Annette…!Goodbye Annette…!Goodbye Annette…! Goodbye, Annette…!Goodbye…</dialogue> </scene> <scene> <stage_direction>INT. PRISON: VISITING ROOM - DAY</stage_direction> <scene_description>Henry moves away from the door. For a brief moment, his eyes catch the surveillance camera watching him…!He immediately looks away. HENRY (mumbling) Stop watching me… He moves to one corner of the cell, rests his head on the wall (his back to the camera). Last image: Annette's puppet and plush chimp, lying on the floor, motionless. FADE TO BLACK</scene_description> </scene> <scene> <stage_direction>EXT. FOREST - NIGHT</stage_direction> <scene_description>As the end credits roll: the cast and the authors of the film reappear as themselves (as in the Prologue), followed by the whole film crew. They're all walking side by side in the dark, singing: THE END:</scene_description> <character>ALL</character> <dialogue>It's the end So we bid you Goodnight Safe journey home, watch out for strangers</dialogue> <dialogue>If you liked what you saw ! -tell a friend If you've no friends -then tell a stranger Tonight</dialogue> <dialogue>Good night, one and all Good night, one and all Good night, one and all (…)</dialogue> </scene> </script>

After a swift courtship, provocative stand-up comedian Henry McHenry publicly declares his engagement to world-famous soprano Ann Desfranoux. Shortly afterward, Ann gives birth to their daughter Annette, portrayed by a wooden marionette puppet. The marriage becomes rocky when Henry begins to take care of Annette while Ann's career flourishes and takes her overseas. Later, Ann has dreams about six women who come forward with allegations of past abuse at the hands of Henry and nightmares about Henry almost killing her. Back home, Henry's career begins to spiral, exacerbated by an onstage meltdown, and he comes to resent Ann's continued success. The two schedule a private cruise with the goal of mending their relationship. However, the cruise ends in disaster when Ann falls overboard during a stormy night after Henry drunkenly forces her to waltz with him. After realizing that his wife is dead, Henry and Annette get to an island using a lifeboat. There, both fall asleep, when Ann's ghost suddenly appears and gives her voice to infant Annette as a form of revenge, so she can haunt Henry. Though cleared of legal suspicion for Ann's death, Henry finds himself at a financial dead-end without her income. He contacts Ann's former accompanist, revealing Annette's singing voice and suggesting they use her gift for a musical act. The accompanist reluctantly agrees, having been in love with Ann, and as they tour, Baby Annette becomes a worldwide hit. Henry continues to drink heavily and stay out late, haunted by memories of Ann. One night, when returning home, Henry overhears Annette singing a rendition of “We Love Each Other So Much”, which was Ann and Henry's song. He confronts the accompanist, who implies that he is Annette's real father. In retaliation, Henry drowns him in the backyard pool, witnessed by Annette from her bedroom window. Henry plans one final performance at the "Hyperbowl" halftime show, but Annette refuses to sing, instead declaring, "Daddy kills people," to the packed stadium. Henry is tried and convicted. A few years later, Annette visits her father in prison. Annette, suddenly portrayed by a living human girl, denies his attempts at reconciliation and even blames her mother for using her to get revenge. She tells him that he now has "nothing to love". After the living Annette leaves, the Annette puppet lies lifeless on the floor.

Cherry_2021

tt9130508

<script> <scene> <character>CHERRY</character> <dialogue>by</dialogue> <scene_description>Angela Russo-Otstot and Jessica Goldberg Based on the novel CHERRY by Nico Walker CHYRON -- PROLOGUE, 2007 A MALE VOICE with the soft lilt and tone of a mumble poet...</scene_description> <character>MALE VOICE (V.O.)</character> <dialogue>This movie is a work of fiction. These things didn't ever happen. These people didn't ever exist...</dialogue> <scene_description>FADE IN:</scene_description> </scene> <scene> <stage_direction>EXT. CHERRY AND EMILY'S HOUSE - MORNING</stage_direction> <scene_description>DRONE SHOT OF CLEVELAND, OHIO-- FIND A RESIDENTIAL STREET: Two-story wood and brick homes. Small front yards. If not for the BLACK 70's SEDAN that screams "drug dealer" parked in the road, it would look like a Norman Rockwell painting...</scene_description> <character>MALE VOICE (V.O.)</character> <dialogue>Emily and I live on a street of homes with front porches where we don't belong.</dialogue> <scene_description>FIND ONE HOUSE IN PARTICULAR: A quintessential starter home, though it has seen some wear these past few years. The owner of the voice exits the side door-- let's call him CHERRY (23)...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>But we're happy enough, though we're often sad because we feel like we're losing everything.</dialogue> <scene_description>LAND ON CHERRY'S FACE: Brown guileless eyes peek out from dark hair, a certain resolve written in his visage. AND OFF THIS-- INSERT FLASHBACK: LIVING ROOM, DAY-- EMILY (23), big dark eyes and thrift store duds, SCREAMS from the bowels of unknowable pain.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Sometimes Emily gets to carrying on real loud and screaming at me about shit, like I can help it...</dialogue> <scene_description>REVEAL Cherry hopping up and down beside her, like the floor was hot coals.</scene_description> <character>CHERRY</character> <dialogue>What the fuck is wrong with you? Are you fucking crazy? Why are you making all this noise like you're being murdered? Are you being murdered? Am I murdering you?</dialogue> <scene_description>REVEAL Livinia, their dog, HOWLING. Emily SCREAMS LOUDER. Cherry freaks out more--</scene_description> <character>CHERRY</character> <dialogue>The neighbors will think I'm murdering you. And they'll call the fucking police. And the police'll come over here and they'll see me, and they'll say, "This guy looks like the guy who's been doing all this shit." And then I'll go to fucking prison, and you'll feel terrible.</dialogue> <scene_description>Emily stops crying now.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And sometimes she says--</dialogue> <character>EMILY</character> <dialogue>--I'm sorry.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>And sometimes she doesn't say anything...</dialogue> <scene_description>IN THE BATHROOM, ON ANOTHER DAY Cherry shuts the medicine cabinet, FINDS Emily standing behind him in the mirror, nostrils flared.</scene_description> <character>CHERRY</character> <parenthetical>(startled)</parenthetical> <dialogue>Jesus Christ...</dialogue> <character>CHERRY (V.O.)</character> <dialogue>Or sometimes she punches me in the neck...</dialogue> <scene_description>IN THE KITCHEN, ON ANOTHER DAY Cherry pours milk into his cereal when Emily suddenly PUNCHES him in the neck.</scene_description> <character>CHERRY</character> <dialogue>Ah!! Ahh shit! Baby, why'd you punch me in the neck?</dialogue> <scene_description>Livinia licks the spilled milk.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And then she'll run upstairs and lock herself in the bathroom--</dialogue> <scene_description>FOLLOW EMILY upstairs, where she slams the bathroom door.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>--and not come out for hours, while I'm crying my eyes out over her.</dialogue> <scene_description>PAN DOWN TO FIND CHERRY, lying on the floor outside the bathroom door, sobbing hysterically. HE SPEAKS ALOUD NOW, AS IF "TO US"--</scene_description> <character>CHERRY (TO US)</character> <dialogue>I love her so much it feels like dying every time she does that. She's a beauty and I tell her all the time--</dialogue> <character>CHERRY</character> <parenthetical>(calling, through the door)</parenthetical> <dialogue>--You're a beauty, Em!</dialogue> <character>CHERRY (TO US)</character> <dialogue>I think she'd do anything for me.</dialogue> <scene_description>BACK TO OUTSIDE THE HOUSE Cherry gets into his Dodge and pulls out the driveway-- FOLLOWING HIM: THAT 70'S SEDAN, ALL BLACK WITH BLACKED-OUT WINDOWS. Cherry turns left on Cedar, the landscapes glimpsed through his windshield shifting to reveal-- QUICK CUTS OF A CITY PASSING BY: A pharmacy, an abandoned KFC, the movie theater, Wendy's, another pharmacy...</scene_description> <character>CHERRY (TO US)</character> <dialogue>I'm twenty-three years old and I still don't understand what it is people do.</dialogue> <scene_description>ON CHERRY, considering it all--</scene_description> <character>CHERRY</character> <dialogue>It's as if all this were built on nothing, and nothing were holding this together. And then I hear people talk and that just makes things worse.</dialogue> </scene> <scene> <stage_direction>EXT. HAMPSHIRE BLVD - MOMENTS LATER</stage_direction> <scene_description>Cherry gets out of the car on the picturesque street and walks down the sidewalk. DRONE SHOT of mature trees, pre-war apartment buildings--</scene_description> <character>CHERRY (TO US)</character> <dialogue>Some of the apartments here have balconies. And the trees are nice.</dialogue> <character>CHERRY (TO US)</character> <dialogue>I don't understand them either, but I like them. I think I'd like them all...</dialogue> <scene_description>CHERRY considers the trees, getting lost in thought. And it's here that we start to realize he may not be fully in his right mind. Maybe he's on something. Maybe he's just tortured by rumination. Maybe both. Finally, he settles on--</scene_description> <character>CHERRY (TO US)</character> <dialogue>It'd have to be a pretty fucked up tree for me not to like it.</dialogue> <scene_description>VFX: BEAUTIFUL IMAGES surrounding him begin to SATURATE WITH COLOR, one at a time: Some are obvious (the swaying trees, vibrant grass, overcast sunlight); some not so obvious (the abstract expressionism of dirt stained on a car, power lines criss-crossing like poetry, cracks in the pavement weaving a delicate tapestry).</scene_description> <character>CHERRY (TO US)</character> <dialogue>It's not that I'm dumb to the beauty of things. I take all the beautiful things to heart, and they fuck my heart till I about die from it.</dialogue> <scene_description>Cherry reaches the 70's Sedan. The tinted window slowly rolls down to REVEAL-- "BLACK" -- A WEST-SIDE DRUG DEALER WITH A BLACK HOLE FOR A FACE.</scene_description> <character>CHERRY</character> <dialogue>I'll be quick. You know where you're going, right?</dialogue> <scene_description>Black half nods.</scene_description> <character>CHERRY</character> <dialogue>Just make the first left three times and you can't go wrong.</dialogue> <scene_description>Black nods again.</scene_description> <character>CHERRY</character> <dialogue>I'll meet you in the parking lot in two minutes, give or take.</dialogue> <scene_description>MOMENTS LATER Cherry walks calmly down the street now, low profile.</scene_description> <character>CHERRY (TO US)</character> <dialogue>I'm in a baseball hat and a red scarf with a blue hoodie, white button down shirt, some jeans, white Adidas, nothing out of the ordinary...</dialogue> <scene_description>He turns the corner and arrives at the main drag: coffee shops and restaurants and pharmacies and-- banks.</scene_description> <character>CHERRY (TO US)</character> <dialogue>--The scarf covers the lower half of my face. It's a little late for it to do any good; I've been at this awhile now, and it's no secret what my face looks like.</dialogue> <scene_description>Arriving at a "CREDIT NONE" bank on the corner, Cherry pauses, exhales. Steadying himself...</scene_description> <character>CHERRY</character> <dialogue>The gun is in my waist. I pull the scarf up before I go--</dialogue> <scene_description>HE ENTERS THE FOYER... Cherry, scarf up, looks to a SECURITY CAMERA and we CUT TO-- VIDEO FOOTAGE OF CHERRY VIA THE CAMERA: VARIOUS DIFFERENT BANK- ROBBING CHERRYS-- all in different garb from different days, and all looking up at the lens. BACK ON CHERRY as he opens the door, pulling his gun from his waistband--</scene_description> <character>CHERRY (TO US)</character> <dialogue>I'm through the door and I have my gun out so everyone can see...</dialogue> </scene> <scene> <stage_direction>INT. CREDIT NONE - CONTINUOUS</stage_direction> <character>CHERRY</character> <dialogue>NO ALARMS. I'M A WANTED MAN. THEY'LL KILL</dialogue> <character>ME.</character> <dialogue>FREEZE-FRAME ON CHERRY, his face crazed. UNFREEZE--</dialogue> <character>CHERRY (TO US)</character> <dialogue>I have a lot of sadness in the face to make up for, so I have to act like I'm crazy or else people will think I'm a pussy.</dialogue> <scene_description>The few patrons shudder with fear as Cherry approaches the YOUNG FEMALE TELLER.</scene_description> <character>CHERRY (TO US)</character> <dialogue>One thing about holding up banks is that you're mostly robbing women, so you don't ever want to be rude.</dialogue> <parenthetical>(then, to the teller)</parenthetical> <dialogue>It's nothing personal. I'm sorry.</dialogue> <character>YOUNG FEMALE TELLER</character> <parenthetical>(nervous)</parenthetical> <dialogue>That's okay.</dialogue> <character>CHERRY</character> <dialogue>What's your name?</dialogue> <character>YOUNG FEMALE TELLER</character> <dialogue>Vanessa.</dialogue> <character>CHERRY</character> <dialogue>I'm sorry, Vanessa.</dialogue> <character>YOUNG FEMALE</character> <dialogue>TELLER/VANESSA</dialogue> <scene_description>What's your name?</scene_description> <character>CHERRY</character> <dialogue>You're funny, Vanessa.</dialogue> <scene_description>As Vanessa quickly empties out cash drawers--</scene_description> <character>CHERRY (TO US)</character> <dialogue>About 80% of the time, so as long as you're not rude, the women don't mind when you hold up the bank; probably breaks up the monotony for them. Of course there are exceptions...</dialogue> <scene_description>INSERT FLASHBACK: WESTSIDE CREDIT NONE Cherry robs a WOMAN WHO LOOKS LIKE JANET RENO.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Like there was this one lady on the Westside, looked like Janet Reno, wouldn't go above--</dialogue> <character>WOMAN WHO LOOKS LIKE JANET</character> <dialogue>RENO</dialogue> <scene_description>--Eighteen hundred dollars. Cherry stares at her, clearly not having it. She shrugs.</scene_description> <character>WOMAN WHO LOOKS LIKE JANET</character> <dialogue>RENO</dialogue> <scene_description>That's as high as I go.</scene_description> <character>CHERRY</character> <dialogue>You mean to tell me you'd see everybody here dead before you come off another cent?</dialogue> <scene_description>Janet stares at him, unmoved. Cherry shakes his head and takes the $1800, depressed as all hell.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>She actually thought the bank was right. But this was a fanatic...</dialogue> <scene_description>BACK TO CREDIT NONE Vanessa places stacks of money on the counter.</scene_description> <character>CHERRY (TO US)</character> <dialogue>Usually it's very civilized.</dialogue> <scene_description>Cherry takes the cash. He and Vanessa lock eyes as-- ALL THE PEOPLE IN THE BANK SINK INTO DARKNESS, as if Cherry and Vanessa are under a SPOTLIGHT on a theater stage. CAMERA SPINS AROUND VANESSA TO LAND ON CHERRY'S FACE, as he takes her in...</scene_description> <character>CHERRY (TO US)</character> <dialogue>I think maybe we're the same age. I could be in love with her if things had been different...</dialogue> <scene_description>Then as Cherry disappears to darkness, WE TRANSITION OFF THE BACK OF VANESSA'S HEAD TO--</scene_description> </scene> <scene> <stage_direction>INT. JESUIT COLLEGE, CLASSROOM - DAY</stage_direction> <scene_description>THE BACK OF ANOTHER YOUNG WOMAN, sitting in the front row of a CLASSROOM... CHYRON -- PART ONE: WHEN LIFE WAS BEGINNING I SAW YOU, 2002</scene_description> <character>CHERRY (V.O.)</character> <dialogue>When I first saw Emily, I was attending one of the local universities, the one with the Jesuits, a decent school...</dialogue> <scene_description>The young woman, EMILY (at 18 years old), turns to look at us. She wears a thin WHITE RIBBON around her neck... REVERSE TO REVEAL Cherry (also 18), watching her through a mop of strawberry-blonde hair a few rows back. He has his iPod headphones in, LISTENING TO THE SCORE OF THE FILM...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And I don't want to tell lies. The first thing I thought was, "I'd like to have sex with that girl."</dialogue> <scene_description>A PROFESSOR, running an overhead projector near Cherry, approaches him. The MUSIC CUTS as the Professor yanks his headphones out--</scene_description> <character>PROFESSOR</character> <dialogue>Can we at least pretend to care?</dialogue> <scene_description>Cherry stands, ignoring this Professor. Grabs his book-bag and walks down the riser stairs as--</scene_description> <character>CHERRY (TO US)</character> <dialogue>I shouldn't have even been there. Just my folks had enough money so it was expected...</dialogue> <scene_description>As Cherry exits the classroom, a DIOPTER WIPES FRAME, TRANSPORTING HIM TO--</scene_description> </scene> <scene> <stage_direction>INT. CHERRY'S CHILDHOOD HOME, DINING ROOM - DAY</stage_direction> <scene_description>Where his MOM and DAD eat steak dinners. Cherry puts his book bag down to sit at the table with them. VFX: Throughout the film, CHERRY'S DAD APPEARS AS A SHADOW OF A MAN-- as if he is present but not really. A cigarette dangles from his lips. CHERRY'S MOM'S own lips are slightly overdrawn with lip liner--</scene_description> <character>CHERRY'S MOM</character> <dialogue>How is school?</dialogue> <character>CHERRY</character> <dialogue>Good. We're reading The Canterbury Tales.</dialogue> <character>CHERRY'S MOM</character> <dialogue>The Canterbury Tales! I'd have liked to have gone to college and read The Canterbury Tales. That sounds wonderful, The Canterbury Tales! I'd like to have read all the books and talked about them. But me and your Dad, we didn't get to do that...</dialogue> <character>CHERRY'S DAD</character> <dialogue>We had to work.</dialogue> <scene_description>ON CHERRY, troubled by this, when his Mom reaches out and squeezes his hand, wanting desperately to know--</scene_description> <character>CHERRY'S MOM</character> <dialogue>Why aren't you happy, honey? You never seem happy...</dialogue> <scene_description>Her eyes press him for an answer as she takes a long sip of her wine. Cherry just stares at her, as if a Greek tragedy were playing out before him and it's too much to bear. The lights in the dining room THEATRICALLY DIM--</scene_description> <character>CHERRY (TO US)</character> <dialogue>And she was right. I wasn't happy. Problem was I didn't know why. I mean, I tried to be good. I didn't even eat meat--</dialogue> <scene_description>INSERT: CHERRY'S PLATE. A bare veggie burger patty, baked potato and broccoli. BACK ON a depressed Cherry--</scene_description> <character>CHERRY (TO US)</character> <dialogue>All I could figure was the world was wrong and I was in it.</dialogue> </scene> <scene> <stage_direction>EXT. JESUIT COLLEGE - DAY</stage_direction> <scene_description>FOLLOW CHERRY (with headphones in, LISTENING TO THE SCORE AGAIN). He walks across the quad as-- The world around him seems to move at a SLIGHTLY MORE ELEVATED SPEED, as if he can't keep up. A FOOT playfully kicks him in the ass. Cherry pulls the headphones out, the MUSIC ABRUPTLY CUTTING OFF. Turns around to find Emily laughing--</scene_description> <character>EMILY</character> <dialogue>I called your name like ten times.</dialogue> <character>CHERRY</character> <parenthetical>(embarrassed)</parenthetical> <dialogue>My music's loud...</dialogue> <character>EMILY</character> <dialogue>I like your sweater.</dialogue> <character>CHERRY</character> <dialogue>I got it on Coventry.</dialogue> <character>EMILY</character> <dialogue>It's an old, sad bastard sweater.</dialogue> <scene_description>Cherry doesn't know how to respond--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Her eyes were dark and merciful. Sometimes given to melancholy. Not entirely guileless.</dialogue> <character>EMILY</character> <dialogue>You're in my English class.</dialogue> <character>CHERRY</character> <dialogue>I know.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>The class sucks.</dialogue> <character>EMILY</character> <dialogue>But you always go.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>Her voice overtook me.</dialogue> <scene_description>Cherry stands there like a deer in headlights. Emily smiles, thinking it's cute.</scene_description> <character>EMILY</character> <dialogue>Well. See ya.</dialogue> <scene_description>She starts to head off, so he finds something to say--</scene_description> <character>CHERRY</character> <dialogue>Where're you from?</dialogue> <character>EMILY</character> <dialogue>Elba. New York.</dialogue> <character>CHERRY</character> <dialogue>What's that like?</dialogue> <character>EMILY</character> <dialogue>Same kind of lake, same kind of town, only a little shittier.</dialogue> <character>INSERT SCENE: CHERRY'S IMAGINING OF ELBA, NEW YORK--</character> <dialogue>Emily stares at us, lonely and depressed. Standing in front of a CARDBOARD POP-UP OF CRUDE CRAYON DRAWINGS: A city-scape of factories and bridges next to grey a lake. Black scribbles over the smoke stacks.</dialogue> <scene_description>15A BACK TO THE COLLEGE QUAD: Cherry nods. He gets it. 15A</scene_description> <character>CHERRY</character> <dialogue>I have to work.</dialogue> <character>EMILY</character> <dialogue>You work?</dialogue> <character>CHERRY</character> <dialogue>At a shoe store. In the mall.</dialogue> <character>EMILY</character> <dialogue>That's impressive.</dialogue> <character>CHERRY</character> <dialogue>Really? I have no interest whatsoever in shoes.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>Albeit, I had tried...</dialogue> <scene_description>INSERT FLASHBACK: SHOE STORE Cherry's BOSS stares at him incredulous. Everything in the store is GREY.</scene_description> <character>BOSS</character> <dialogue>This is a shoe store...</dialogue> <scene_description>Cherry looks down at his flip flops. Then back to his boss.</scene_description> <character>CHERRY</character> <dialogue>I'm sorry. I won't let it happen again.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>I was marked for failure. My last job was indicative of such...</dialogue> <scene_description>INSERT ANOTHER FLASHBACK: FATOOK'S PIZZA, KITCHEN A mom-and-pop pizza restaurant with red checkered table cloths.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I was helping make pizzas at Fatook's...</dialogue> <scene_description>ON CHERRY in the kitchen, struggling with a stretched pizza dough, like it was alive and attacking him.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Old Man Fatook had a half a dozen daughters and granddaughters. And they all worked at the restaurant. I don't know if he had any grandsons, but if he did, none of them worked there.</dialogue> <scene_description>QUICK POPS of SIX FATOOK DAUGHTERS and GRANDDAUGHTERS, aged 15- 35, standing in front of various SUV's in the parking lot, like the intro of a reality TV show--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>All the granddaughters drove Escalades or Denalis or whatever. Some of the waiters dated them.</dialogue> <scene_description>INSERT SCENE: BACK ALLEY Cherry and a WAITER (25) take a smoke break--</scene_description> <character>WAITER</character> <dialogue>She's always buyin' me shit at the mall. And she likes to take it in the ass.</dialogue> <scene_description>Cherry, horrified, doesn't know what to say to this. So he looks up at the sky. BACK TO THE KITCHEN Cherry, still struggling with the pizza dough. Several Fatook girls watch him, smacking their gum.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I had just started at Fatook's when the Old Man caught me trying to learn how to throw the dough in the air and all that.</dialogue> <scene_description>A petite elderly man enters wearing a petite suit. This is OLD MAN FATOOK. He watches Cherry, less than amused.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>He had a slight frame and he wore a little grey suit so he looked like a puppet. I saw him and I thought, "Oh here comes a nice old man..."</dialogue> <character>OLD MAN FATOOK</character> <parenthetical>(to Cherry)</parenthetical> <dialogue>Come on. Let me see you do it.</dialogue> <scene_description>Cherry tries again, but he doesn't get much spin on it, and the dough comes down roughly in the same shape it was.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>There had been an all-encompassing sadness in its trajectory. I didn't have the magic.</dialogue> <scene_description>Old Man Fatook goes nuts on Cherry--</scene_description> <character>OLD MAN FATOOK</character> <dialogue>WHAT THE FUCK WAS THAT, YOU COCKSUCKER?</dialogue> <character>YOU'RE ALL WRONG, COCKSUCKER. DO IT AGAIN.</character> <scene_description>QUICK SHOTS: -- Cherry tries it again, worse. The Fatook girls laugh.</scene_description> <character>OLD MAN FATOOK</character> <dialogue>NO. FUCK. SHIT. NO NO NO. SHIT FUCK. DO IT</dialogue> <character>AGAIN, COCKSUCKER.</character> <dialogue>-- Cherry does it again, same. Fatook gyrates with disdain.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>The Old Man started pantomiming a series of motions so as to insinuate that I threw like a queen.</dialogue> <scene_description>-- Fatook does just that. Then he wheels around and--</scene_description> <character>OLD MAN FATOOK</character> <dialogue>WHAT THE FUCK IS THE MATTER WITH YOU? ARE</dialogue> <character>YOU A MAN OR WHAT? THROW IT HIGH. HIGH. SO</character> <dialogue>THEY CAN HEAR IT IN THE DINING ROOM.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>I didn't understand what was happening...</dialogue> <scene_description>BACK TO THE COLLEGE QUAD</scene_description> <character>CHERRY</character> <dialogue>I'm only making $6 an hour.</dialogue> <character>EMILY</character> <dialogue>Still, any job is great...</dialogue> <scene_description>A beat. They stand there awkwardly. Then Cherry blurts out--</scene_description> <character>CHERRY</character> <dialogue>I have a girlfriend from high school.</dialogue> <character>CHERRY (TO US)</character> <dialogue>Why did I mention that?</dialogue> <character>EMILY</character> <dialogue>Really. That's sweet...</dialogue> <character>CHERRY</character> <dialogue>She goes to school in New Jersey.</dialogue> <character>EMILY</character> <dialogue>She got a name?</dialogue> <character>CHERRY</character> <dialogue>Madison. Kowalski.</dialogue> <scene_description>He takes out his wallet and shows her MADISON'S SENIOR-YEAR PICTURE: She's laying in the grass with her head propped up in her hands.</scene_description> <character>EMILY</character> <dialogue>She's so pretty.</dialogue> <scene_description>She hands the picture back, smiles--</scene_description> <character>EMILY</character> <dialogue>Well, tell Madison I said hello...</dialogue> <scene_description>And then she walks away. ON CHERRY, collapsing inside, knowing he just shit the bed. Watches Emily traverse the quad, before glancing back down at Madison's photo, dismayed--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I really liked Emily, but I had already promised Madison that I'd take the Greyhound bus to visit her at school that weekend...</dialogue> </scene> <scene> <stage_direction>INT. WHATEVER COLLEGE UNIVERSITY, DORM ROOM - DAY</stage_direction> <scene_description>In a dorm room the size of a coffin, an uncomfortable Cherry watches Madison get ready to go out, looking in a mirror...</scene_description> <character>CHERRY (TO US)</character> <dialogue>She was staying in the dorms and her bed was small for two people, but at least her roommate had gone home because--</dialogue> <character>MADISON</character> <dialogue>--Her grandmother died.</dialogue> <character>CHERRY</character> <dialogue>That's too bad.</dialogue> <character>MADISON</character> <dialogue>Whatever. She was old.</dialogue> <scene_description>Cherry watches through the mirror as Madison adjusts her boobs in her halter top, smiles at herself. INSERT FLASHBACK: MADISON'S CAR, DAY Where Madison is kissing Cherry in the passenger's seat.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Madison had cheated on me last year with Mark Miller. She said--</dialogue> <character>MADISON</character> <dialogue>--Mark would always force my head down when I was blowing him...</dialogue> <parenthetical>(she kisses Cherry)</parenthetical> <dialogue>And it made me realize how you never force my head down...</dialogue> <parenthetical>(she kisses Cherry more)</parenthetical> <dialogue>And I really appreciate that, you know?</dialogue> <scene_description>Madison starts to go down on Cherry, who really considers what she just said. He talks to us, her head bobbing up and down--</scene_description> <character>CHERRY (TO US)</character> <dialogue>I mean it really fucked me up when I thought about it... Like how I used to think you were always supposed to be in love with the girl.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I'd got a lot of bad advice. It was 2002. All indications were that things were coming to an end.</dialogue> <scene_description>BACK TO MADISON'S DORM ROOM Madison is finally ready. She starts to leave, without Cherry--</scene_description> <character>MADISON</character> <parenthetical>(annoyed)</parenthetical> <dialogue>Let's go.</dialogue> </scene> <scene> <stage_direction>INT. WHATEVER COLLEGE UNIVERSITY, FRAT PARTY - NIGHT</stage_direction> <scene_description>Kids' party in a basement done out in plywood; beer pong and grinding bodies.</scene_description> <character>CHERRY (TO US, LOUDLY)</character> <dialogue>Madison took me to parties. They were mostly shit, though...</dialogue> <scene_description>As Cherry moves through the crowd, no one talks to him--</scene_description> <character>CHERRY (TO US)</character> <dialogue>The kids drank beer in a basement done out in plywood. Some kind of beer-pong sex dungeon, everything dismal as murder.</dialogue> <scene_description>Cherry pours himself a beer from the keg as rap music blasts from a set of blown-out speakers.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>They were playing a song that was popular then. It was a song about making all the females crawl on the floor and jizzing on all the females and stuff.</dialogue> <scene_description>Cherry finds Madison-- She's sucking and licking her RED LOLLIPOP, yukking it up with a FRAT BOY, his hand on her waist. Cherry tries to inch his way in.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Random dudes knew Madison. She'd only been at this school a month, and they all knew her.</dialogue> <scene_description>CUT TO Madison dancing on a coffee table. Beer SPRAYS over her.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>It was on account of Madison could dance.</dialogue> <scene_description>Kids start to crowd around Madison dancing. Her hair wet now, skin moist from the beer spraying. ON CHERRY standing in the corner, drinking from his Solo cup...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And that was fine and whatever, just it got a little awkward when you were the one who was there at the party with the girl who was on top of the table fucking a ghost.</dialogue> <scene_description>BACK TO MADISON, fucking the air. Her drenched clothes clinging to her body as she grinds. The crowd goes wild, boys touching her, leaving SMEARS OF RED where their hands slide across skin. ON CHERRY, devastated. Watching like a cuckold ass. Having had enough, he turns, walking into--</scene_description> </scene> <scene> <stage_direction>INT. SHOE STORE - DAY</stage_direction> <scene_description>The entire shoe store is PAINTED GREY, INCLUDING THE SHOES.</scene_description> <character>CHERRY (TO US)</character> <dialogue>I went to work most days, in the afternoon, when I could have been doing better things, such as anything. I had a well-cultivated sense of shame, what kept me going...</dialogue> <scene_description>SOME GUY walks into the store--</scene_description> <character>SOME GUY</character> <dialogue>I need a pair of white tennis shoes. All white. And none of the jazzy designs on them either. Nine and a half wide. I have a wide foot.</dialogue> <scene_description>ON CHERRY, now in his uniform. He takes the request very seriously.</scene_description> <character>CHERRY</character> <dialogue>I'll do what I can, but most all the shoes have the jazzy designs on them nowadays.</dialogue> <character>SOME GUY</character> <dialogue>Just do the best you can.</dialogue> <scene_description>FOLLOW CHERRY until he disappears into the back room... then PAN BACK OVER TO-- The Guy, sitting with a dejected Cherry. They are engulfed by discarded shoes and grey tissue paper...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>By the time it was over, there were boxes everywhere. Tissue paper was everywhere. The remnants of despair and hesitation...</dialogue> <character>SOME GUY</character> <dialogue>Well, sorry kid.</dialogue> <scene_description>The Guy stands up to leave when--</scene_description> <character>CHERRY</character> <dialogue>Give me one more shot-- I have trouble reading the boxes-- And I'm not so good with colors--</dialogue> <scene_description>The Guy considers Cherry.</scene_description> <character>CHERRY</character> <dialogue>Please... I want to get this right. One more shot. I need to get this right.</dialogue> <scene_description>BACK ON THE GUY: He sighs, okay. And QUICK CUTS play out: -- Cherry grabbing more boxes. His boss watches, dismayed.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I sensed an uneasiness in this customer...</dialogue> <scene_description>-- The Guy trying another shoe, stepping tentatively through the store.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I wanted to help him...</dialogue> <scene_description>-- The Guy looking at another shoe in the mirror.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I wanted to make him happy...</dialogue> <scene_description>-- The Guy looking at another shoe. He looks at it again. Cherry waiting in breathless anticipation. Then the Guy looks up--</scene_description> <character>SOME GUY</character> <dialogue>Let me tell you something, kid... You're going places... You stuck to the sale... You're going places.</dialogue> <scene_description>BINGO. Cherry's eyes sting with tears.</scene_description> </scene> <scene> <stage_direction>EXT. SHAKER SQUARE - DAY</stage_direction> <scene_description>The Shaker Heights RAPID TRAIN stops, Cherry getting off with headphones in, THE SCORE PLAYING.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>After the ordeal, I needed a cigarette. So I went by the diner in Shaker Square...</dialogue> </scene> <scene> <stage_direction>EXT. DINER, SHAKER SQUARE - DAY</stage_direction> <scene_description>Three SHAKER KIDS, big sweatshirts, elaborate handshakes--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I bumped into some Shaker kids I knew and they asked for some of my Xanax.</dialogue> <scene_description>CLOSE ON A PRESCRIPTION BOTTLE: It reads, "Generic White Male, Xanax, For Anxiety, .5 Mg, etc." Cherry spills a few PILLS in his palm and hands them out.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And they offered me some ecstasy.</dialogue> <scene_description>CLOSE ON CHERRY'S HAND: A PILL SMILEY FACE is slapped into his palm. Cherry hesitates, then pops the ecstasy in his mouth.</scene_description> <character>SHAKER KID</character> <dialogue>We're going to a party at this girl Maggie's house--</dialogue> </scene> <scene> <stage_direction>EXT. MAGGIE'S HOUSE - DAY</stage_direction> <scene_description>A smiling Cherry gets out of the car in the upscale neighborhood.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>--So I went with them.</dialogue> <scene_description>He looks over at the bucolic WHITE COLONIAL bordered by a pristine WHITE PICKET FENCE. VFX: FOLLOW CHERRY and the Shaker Kids up the drive, THE BRIGHTNESS OF THE WHITE starting to overpower everything else around him. Cherry passes through the garden gate and to the wide flat yard where-- EMILY stands under a trellis. Her signature WHITE RIBBON tied around her neck. Cherry is floored as the rest of the world GOES COMPLETELY AWASH, he and Emily THE ONLY TWO BEINGS IN FULL COLOR.</scene_description> <character>EMILY</character> <dialogue>Whoa. Is that you?</dialogue> <character>CHERRY</character> <dialogue>Yes.</dialogue> <character>EMILY</character> <dialogue>You know Maggie?</dialogue> <character>CHERRY</character> <dialogue>Kind of.</dialogue> <character>EMILY</character> <dialogue>Small world, huh?</dialogue> <scene_description>Cherry nods, feeling his pill now.</scene_description> <character>EMILY</character> <dialogue>Holy shit! Your pupils are huge.</dialogue> <character>CHERRY</character> <dialogue>I'm on ecstasy.</dialogue> <character>EMILY</character> <dialogue>How is it?</dialogue> <character>CHERRY</character> <dialogue>It's pretty good. I'm sorry I don't have any more, I'd give you one.</dialogue> <character>EMILY</character> <dialogue>That's okay. I already turned some down. This weird guy offered me some. He said I should pop it in my butt.</dialogue> <character>CHERRY</character> <parenthetical>(looking around, incensed)</parenthetical> <dialogue>Who was it? I'm gonna knock him down.</dialogue> <character>EMILY</character> <dialogue>Don't. He was just lonely. It could have happened to anyone.</dialogue> <character>CHERRY</character> <dialogue>It's kind of fucking disrespectful.</dialogue> <character>EMILY</character> <dialogue>That's just how some boys talk.</dialogue> <character>CHERRY</character> <dialogue>Who is this motherfucker?</dialogue> <character>EMILY</character> <dialogue>I don't know. He's not here anymore. Please don't worry about it. I thought it was funny. I didn't mean to upset you.</dialogue> <character>CHERRY</character> <dialogue>I'm sorry. It's just not right-- that motherfucker talking to you like that--</dialogue> <scene_description>She takes both his hands, her touch overwhelms him.</scene_description> <character>EMILY</character> <dialogue>Forget it.</dialogue> <character>CHERRY</character> <dialogue>I'm really glad you're here.</dialogue> <character>EMILY</character> <dialogue>Why's that?</dialogue> <character>CHERRY</character> <dialogue>Cuz I like you a lot.</dialogue> <character>EMILY</character> <dialogue>Shut up.</dialogue> <character>CHERRY</character> <dialogue>No, I really do.</dialogue> <character>EMILY</character> <dialogue>Hmmm...</dialogue> <character>CHERRY</character> <dialogue>What?</dialogue> <character>EMILY</character> <dialogue>I was just thinking...</dialogue> <character>CHERRY</character> <dialogue>... Yeah?</dialogue> <character>EMILY</character> <dialogue>I was just thinking that you're shady.</dialogue> <scene_description>Cherry's rolling, he can't help but laugh. Which makes her laugh. AND WE CUT TO--</scene_description> </scene> <scene> <stage_direction>INT. CHERRY'S DORM ROOM - EVENING</stage_direction> <scene_description>Cherry and Emily (ATTACHED TO THE DOLLY) slam into his wall, kissing.</scene_description> <character>CHERRY</character> <dialogue>Your lips taste amazing...</dialogue> <scene_description>Then, as they pull each other's shirts off--</scene_description> <character>EMILY</character> <dialogue>What happened to Madison Kowalski?</dialogue> <character>CHERRY</character> <dialogue>She's cold-blooded.</dialogue> <scene_description>They kiss even more. Then Cherry suddenly stops, gazing into her eyes. Smitten and genuine--</scene_description> <character>CHERRY</character> <dialogue>I think I adore you...</dialogue> <scene_description>Emily hesitates. Then turns her head away--</scene_description> <character>EMILY</character> <dialogue>Do whatever you want, man.</dialogue> <scene_description>Cherry takes in her PROFILE against the wall, her eyes closed. He's suddenly overwhelmed by sadness.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Sometimes, I feel like I've already seen everything that's gonna happen... and it's a nightmare...</dialogue> <scene_description>Emily realizes he has stopped. Opens her eyes--</scene_description> <character>EMILY</character> <dialogue>What?</dialogue> <scene_description>Cherry looks so fragile, like he might even cry.</scene_description> <character>CHERRY</character> <dialogue>Nothing. Sorry, I...</dialogue> <scene_description>Embarrassed, he goes in to kiss her. She stops him, gentle.</scene_description> <character>EMILY</character> <dialogue>It's okay... You don't ever have to be embarrassed about how you feel...</dialogue> <scene_description>Cherry can see there are wells of compassion buried inside of her.</scene_description> <character>CHERRY</character> <dialogue>Why are you being so sweet to me?</dialogue> <character>EMILY</character> <parenthetical>(shrugs, jokes)</parenthetical> <dialogue>I have a thing for weak guys...</dialogue> <scene_description>She smiles. Then she kisses him. And he kisses her back.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And that's how you find the one to break your heart.</dialogue> <scene_description>DRONE SHOT OF A CEMETERY Finding Cherry and Emily wandering among graves--</scene_description> </scene> <scene> <stage_direction>EXT. LAKE VIEW CEMETERY - DAY</stage_direction> <scene_description>Cherry and Emily stroll, a six-pack of Milwaukee's Best in tow--</scene_description> <character>EMILY</character> <dialogue>He was on the phone with her and I was eavesdropping.</dialogue> <character>CHERRY</character> <dialogue>Why were you eavesdropping?</dialogue> <character>EMILY</character> <parenthetical>(stops)</parenthetical> <dialogue>You're a jerk--</dialogue> <character>CHERRY</character> <dialogue>I'm sorry, I mean-- that must have been awful.</dialogue> <scene_description>They continue walking.</scene_description> <character>EMILY</character> <dialogue>I confronted him, and he tried to buy me off. He said he would send me to volleyball camp if I promised not to tell my mom.</dialogue> <character>CHERRY</character> <dialogue>Goddamn.</dialogue> <character>EMILY</character> <dialogue>I wanted to go to volleyball camp.</dialogue> <character>CHERRY</character> <dialogue>What did you do?</dialogue> <character>EMILY</character> <dialogue>I went to volleyball camp.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And then I told my mom.</dialogue> <character>CHERRY</character> <dialogue>Your dad sounds like a dick...</dialogue> <scene_description>Emily looks off, getting lost in thought--</scene_description> <character>EMILY</character> <dialogue>Sometimes I don't think love even exists. It's just pheromones playing tricks on people...</dialogue> <scene_description>And with that, she wanders ahead. Cherry sips his beer, watching her as--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I knew that the girl could take my life if she ever felt like it, yet all I could think was that I never wanted her to come to any harm.</dialogue> <scene_description>Just then, Emily looks back at him.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And like an asshole I said--</dialogue> <parenthetical>(then, to Emily)</parenthetical> <dialogue>--I love you.</dialogue> <scene_description>Emily stares dead at him, not saying anything for a very long time. Finally--</scene_description> <character>EMILY</character> <dialogue>Thank you.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>After that she went back home for break.</dialogue> <scene_description>INSERT FLASHBACK: Sixteen year old Emily sitting on her bed in a room. Braces adorn her nervous smile. An unseen man enters, puts his hand to her face. Her smile fades as he strokes her chin...</scene_description> </scene> <scene> <stage_direction>EXT. STREET, OUTSIDE BANK - DAY</stage_direction> <scene_description>JAMES LIGHTFOOT (18) has one eye fixed on something we cannot see. His other eye is lazy.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>You'll have friends. Usually it's nothing. James Lightfoot was alright, though.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>He'd remember your birthday. Wouldn't ever start shit. Strictly a pacifist...</dialogue> <scene_description>REVEAL Cherry standing next to James Lightfoot.</scene_description> <character>CHERRY</character> <dialogue>Sorry about your car, James.</dialogue> <scene_description>REVEAL James's car is ON FIRE in front of them. James sighs--</scene_description> <character>JAMES LIGHTFOOT</character> <dialogue>It was a piece of shit.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>James Lightfoot lived at his mom's house...</dialogue> <scene_description>INSERT FLASHBACK: JAMES LIGHTFOOT'S MOM'S HOUSE, EARLIER THAT DAY A brown on brown oddity with a $300 GTI parked in the driveway. James Lightfoot sits on the front stoop, waiting, drinking a Schlitz.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>But it had been a while since his mom lived at his mom's house...</dialogue> <scene_description>INSERT: AWKWARD FAMILY PHOTOS FROM JAMES LIGHTFOOT'S MOM'S HOUSE PANNING PAST A SERIES OF FRAMED PICTURES ON THE WALL...</scene_description> <character>CHERRY (TO US)</character> <dialogue>Still it was done up like a family place. There were pictures on the wall that showed James growing up, year in and year out...</dialogue> <scene_description>The photos tell the story of how James came to be alone in the world-- First a young James with his Mom, Dad and Big Brother; then an older James with his Mom and Brother; then an even older James with just his Brother...</scene_description> <character>CHERRY (TO US)</character> <dialogue>And the one eye, all the way back, fucking him up.</dialogue> <scene_description>END ON A BABY PHOTO OF JAMES, the one eye fucking him up. LATER, OUTSIDE THE HOUSE Cherry walks up, arriving now. James Lightfoot gets up from the stoop as--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>He was probably my best friend. Since grade school...</dialogue> <scene_description>CUT TO the two of them sitting inside the GTI. The engine sputters as James starts the ignition.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And so he gave me a ride to the bank...</dialogue> <scene_description>CUT TO JAMES DRIVING NOW Cherry is riding shotgun. They travel a few houses, bullshitting with each other, as--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>The sun was shining on us that day. Roy also came...</dialogue> <scene_description>They STOP so ROY (18) can climb into the backseat. He smokes a giant spliff...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>He painted houses, but he wasn't working. And James Lightfoot was yelling at Roy about his cousin Joe...</dialogue> <scene_description>Now COUSIN JOE (20) also climbs into the backseat.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>... because Joe kept saying--</dialogue> <character>COUSIN JOE</character> <dialogue>--It's happening. Get over it.</dialogue> <character>JAMES LIGHTFOOT</character> <parenthetical>(to Roy)</parenthetical> <dialogue>You need to talk him out of joining the Marines!</dialogue> <character>ROY</character> <dialogue>He's joining the Marines.</dialogue> <character>JAMES LIGHTFOOT</character> <dialogue>That's so messed up. Why? Just tell me why?</dialogue> <character>COUSIN JOE</character> <parenthetical>(shrugs)</parenthetical> <dialogue>I don't want to do this for the rest of my life...</dialogue> <scene_description>ON CHERRY, hearing that, clocking some smoke coming out the hood of the car. James continues to rant and rave--</scene_description> <character>JAMES LIGHTFOOT</character> <dialogue>But it's insane. Tell your cousin it's insane--</dialogue> <character>ROY</character> <parenthetical>(exhaling smoke)</parenthetical> <dialogue>He wants to do a thing, let him do a thing...</dialogue> <character>JAMES LIGHTFOOT</character> <dialogue>No man, it's the obligation of your LOVE! YOUR LOVE FOR YOUR COUSIN WHO WE ALL LOVE SO MUCH!</dialogue> <scene_description>MUTE JAMES LIGHTFOOT as he continues yelling in slo-motion. Cherry watches--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I could only understand half of what he was saying but I couldn't help noticing that he looked helpless waving his arm around, and that probably no one would ever listen to him as long as he lived.</dialogue> </scene> <scene> <stage_direction>EXT. BANK - LATER</stage_direction> <scene_description>James throws open the hood of his car, smoke billowing out.</scene_description> <character>CHERRY (V.O)</character> <dialogue>By the time we got to the Bank, James' car was fucked...</dialogue> <character>ROY</character> <dialogue>This car is such a piece of shit...</dialogue> <character>JAMES LIGHTFOOT</character> <dialogue>It's not a piece of shit. Get me a cup of water. It just needs a cup of water on the engine block...</dialogue> </scene> <scene> <stage_direction>INT. THE BANK</stage_direction> <scene_description>Cherry stands at the back of a four-person line, nervous.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I had a problem with the bank. They made a mistake and I was there to sort it out.</dialogue> <scene_description>He looks down at his shoe-- there's a hole in it. He grimaces.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I realized I probably looked like my life was more fucked up than it really was.</dialogue> <character>CHERRY (V.O.)</character> <parenthetical>(then psyching himself up)</parenthetical> <dialogue>But I was in earnest. I had a receipt--</dialogue> <scene_description>INSERT: DOWN ANGLE of the receipt.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>--and that was as good as the truth. I had their letter with me--</dialogue> <scene_description>INSERT: DOWN ANGLE of the letter.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>--and I had the receipt--</dialogue> <scene_description>BACK TO the receipt.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>--and I was going to have the mistake sorted out. This wasn't gonna be a problem.</dialogue> <scene_description>VFX: Cherry, puts his best foot forward with THE TELLER, WHO IS A GREY SHADOW.</scene_description> <character>CHERRY</character> <dialogue>You guys sent me this overdraft notice, but it isn't right. I paid this off already.</dialogue> <character>GREY TELLER</character> <dialogue>This is a new overdraft.</dialogue> <character>CHERRY</character> <dialogue>But that's impossible. I haven't made a withdrawal since the last deposit. I put a hundred and sixty dollars in.</dialogue> <character>GREY TELLER</character> <dialogue>That deposit brought your balance up to ten dollars' credit, but there was an additional overdraft charge against your account that put you back in the negative.</dialogue> <character>CHERRY</character> <dialogue>How could you charge me another overdraft charge after I'd paid it off?</dialogue> <character>GREY TELLER</character> <dialogue>The deposit didn't clear in time.</dialogue> <character>CHERRY</character> <dialogue>I paid it in cash. Right here.</dialogue> <character>GREY TELLER</character> <dialogue>It didn't clear, sir.</dialogue> <character>CHERRY</character> <dialogue>It was fucking cash.</dialogue> <character>GREY TELLER</character> <dialogue>It. Didn't. Clear.</dialogue> <scene_description>OFF CHERRY, hating her.</scene_description> </scene> <scene> <stage_direction>EXT. STREET, OUTSIDE BANK - DAY</stage_direction> <scene_description>The Bank's door swings open and Cherry comes out to find-- James Lightfoot's GTI is ON FIRE in the parking lot. James watches it burn; Roy and Cousin Joe sit on the curb nearby.</scene_description> <character>COUSIN JOE</character> <parenthetical>(to himself)</parenthetical> <dialogue>I don't want to do this for the rest of my life...</dialogue> <scene_description>And we are right back at the SAME MOMENT we previously witnessed...</scene_description> <character>CHERRY</character> <dialogue>Sorry about your car, James.</dialogue> <scene_description>James sighs.</scene_description> <character>JAMES LIGHTFOOT</character> <dialogue>It was a piece of shit.</dialogue> <scene_description>He looks over at Cherry--</scene_description> <character>JAMES LIGHTFOOT</character> <dialogue>Did you get your money back?</dialogue> <scene_description>Cherry shakes his head, no.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>So we walked back to James's mom's house...</dialogue> <scene_description>MOMENTS LATER The car, FULLY ENGULFED IN FLAMES NOW, burns in the background as a FIRE TRUCK approaches... Cherry, James, Roy and Joe have started their walk home when James sighs, depressed. So Roy passes his spliff--</scene_description> <character>ROY</character> <dialogue>Here. It's Trainwreck.</dialogue> <scene_description>James takes a hit. As he exhales, we shift into slo-motion...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And we felt like we were winning again...</dialogue> </scene> <scene> <stage_direction>INT. CHERRY'S DORM ROOM - DAY</stage_direction> <scene_description>Cherry lays in bed, LISTENING TO THE SCORE.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Emily finally got back from break and she came by to see me...</dialogue> <scene_description>Emily taps on the door, peeking in.</scene_description> <character>EMILY</character> <dialogue>Hey.</dialogue> <character>CHERRY</character> <parenthetical>(sitting up)</parenthetical> <dialogue>Hey.</dialogue> <scene_description>A beat.</scene_description> <character>EMILY</character> <dialogue>So did you miss me?</dialogue> <scene_description>-- CUT TO Cherry and Emily tearing each other's clothes off. Emily lays down on the bed in her underwear. Looks away as she tells him--</scene_description> <character>EMILY</character> <dialogue>Do whatever you need to do to cum.</dialogue> <scene_description>ON CHERRY, saddened by this. He climbs on top of her, gently kissing her. CHERRY AND EMILY IN THE QUAD INSERT: CHERRY'S IPOD. They listen to Modest Mouse on his headphones.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>She liked Modest Mouse and played Night on the Sun.</dialogue> <scene_description>CHERRY AND EMILY EAT AT THE SANDWICH SHOP They argue with fervor.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>We'd have wild arguments about different things-- God, Oasis--</dialogue> <scene_description>CHERRY AND EMILY READ FROM ZOO STORY They sit on a stairwell outside their English classroom.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>She had me read two plays by Edward Albee. I thought he was a kinky motherfucker.</dialogue> </scene> <scene> <stage_direction>INT. CHAPEL - DAY</stage_direction> <character>CHERRY (V.O.)</character> <dialogue>Then one day we were hooking up in the chapel at school...</dialogue> <scene_description>FIND Cherry and Emily making out in a pew when Cherry stops--</scene_description> <character>CHERRY</character> <dialogue>Doesn't that Jesus look like a man suffering an accident while setting up a basketball hoop?</dialogue> <scene_description>PAN TO A STATUE OF JESUS: It really does look that way. Emily laughs. And Cherry laughs. And together they laugh... ... until the laughter dies down and Emily rests her head on Cherry's shoulder.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Suddenly the world felt right.</dialogue> <scene_description>And as they sit there in front of the altar, perfectly content--</scene_description> <character>CHERRY</character> <dialogue>I feel lucky...</dialogue> <scene_description>A beat and Emily blinks. Reflexively raises her head up off of him. And as she sits there, struck by a feeling she can't shake--</scene_description> </scene> <scene> <stage_direction>INT. CHERRY'S DORM ROOM - DAY</stage_direction> <scene_description>Emily lays in bed with Cherry, still strangely affected in the same way she had been in the chapel.</scene_description> <character>CHERRY</character> <dialogue>We should do something this summer. Go to Mexico. Or climb Machu Picchu.</dialogue> <character>EMILY</character> <parenthetical>(beat)</parenthetical> <dialogue>I'm leaving for good at the end of the semester.</dialogue> <character>CHERRY</character> <dialogue>What?</dialogue> <character>EMILY</character> <dialogue>I really want to go to school in Canada...</dialogue> <scene_description>Cherry sits up, incredulous--</scene_description> <character>CHERRY</character> <dialogue>Since... when?</dialogue> <character>EMILY</character> <parenthetical>(shrugs)</parenthetical> <dialogue>Since... now. There's this school-- in Montreal...</dialogue> <character>CHERRY</character> <dialogue>In Montreal?</dialogue> <character>EMILY</character> <dialogue>Yes.</dialogue> <parenthetical>(long beat)</parenthetical> <dialogue>It's the Paris of Canada...</dialogue> <character>CHERRY</character> <dialogue>I know what it fucking is!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You're kidding me, right?</dialogue> <character>EMILY</character> <dialogue>Why would I be kidding you?</dialogue> <scene_description>They sit there for a long moment. Cherry reels as if someone had punched him in the gut.</scene_description> <character>CHERRY</character> <dialogue>So what-- that's it? We're breaking up?</dialogue> <character>EMILY</character> <dialogue>Well we can't exactly be together when we live in two different countries, so...</dialogue> <scene_description>Cherry snaps--</scene_description> <character>CHERRY</character> <dialogue>What the fuck, Em?!</dialogue> <scene_description>Emily gets up and puts on her pants--</scene_description> <character>EMILY</character> <dialogue>Jesus Christ, at least you could be mature about it...</dialogue> <scene_description>Cherry watches in disbelief when-- Emily holds a beat at the door, guilty. Then she leaves-- DORM HALLWAY, CONTINUOUS TRACKING EMILY. Cherry can be seen through the half open door--</scene_description> <character>CHERRY</character> <dialogue>What the absolute fuck!</dialogue> <scene_description>Emily continues walking, letting a tear surface.</scene_description> <character>CHERRY</character> <dialogue>Why would you fucking doing this?!</dialogue> <scene_description>He throws a coffee mug into the wall.</scene_description> <character>CHERRY</character> <dialogue>Fuck!!</dialogue> <scene_description>As Emily exits frame, a concerned STUDENT pokes their head out of their room, sees Cherry slam his door shut--</scene_description> <character>CHERRY (V.O.)</character> </scene> <scene> <stage_direction>INT. CHERRY'S DORM ROOM - MOMENTS LATER</stage_direction> <scene_description>HOLD ON A BROKEN AND HOLLOW CHERRY, sliding motionless to the floor. And as we SLOWLY PUSH IN ON HIS DEADENING EYES... FADE TO BLACK.: CHYRON: 37 days later...</scene_description> </scene> <scene> <stage_direction>INT. FATHER WHOMEVER'S OFFICE - DAY</stage_direction> <scene_description>ON CHERRY, physically and mentally altered. He sits across from a PRIEST with a mustache; nameplate on his desk reads "FATHER WHOMEVER"--</scene_description> <character>FATHER WHOMEVER</character> <dialogue>It's been 37 days since you've come to class.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>I meant to drop out...</dialogue> <scene_description>INSERT FLASHBACK: SUPER 8 FOOTAGE OF CHERRY OUTSIDE THE ART MUSEUM He takes a Xanax; chugs from a Forty of OLD ENGLISH.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>But I took one of my pills and drank a Forty of Old English and then fucked off at the Art Museum.</dialogue> <scene_description>A SERIES OF CUTS: Cherry throwing Doritos to geese in the pond; taking a piss behind some bushes; passing out on a bench.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>So I missed the deadline for dropping classes and ended up having to fail out.</dialogue> <scene_description>BACK TO FATHER WHOMEVER'S OFFICE</scene_description> <character>FATHER WHOMEVER</character> <parenthetical>(considering Cherry)</parenthetical> <dialogue>Tell me, have you ever traveled outside the United States?</dialogue> <character>CHERRY</character> <dialogue>My parents took me to Spain once.</dialogue> <scene_description>Father Whomever smiles, delighted by this.</scene_description> <character>FATHER WHOMEVER</character> <dialogue>You're lucky. The only time I've ever been overseas was to visit a military base. And here you are so young and you've already been to Spain!</dialogue> <scene_description>Cherry doesn't respond.</scene_description> <character>FATHER WHOMEVER</character> <dialogue>So, what are you going to do now that you've failed out of school, son?</dialogue> <scene_description>A beat. Cherry shrugs.</scene_description> <character>CHERRY</character> <dialogue>Probably mind my own goddamn business.</dialogue> </scene> <scene> <stage_direction>EXT. US ARMY RECRUITMENT OFFICE - DAY</stage_direction> <scene_description>Cherry gets off the bus outside a small storefront. A sign reads, BE ALL YOU CAN BE. Cherry hesitates, heads across the street to--</scene_description> </scene> <scene> <stage_direction>INT. RECRUITMENT OFFICE - LATER</stage_direction> <scene_description>Cherry sits across from a man in uniform: the nameplate on his desk reads "SERGEANT WHOMEVER"--</scene_description> <character>SERGEANT WHOMEVER</character> <dialogue>So what makes a joker like you want to join the Army?</dialogue> <scene_description>FREEZE-FRAME ON WHOMEVER--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>The recruiter had a face like death and every other word out of his mouth was joker...</dialogue> <scene_description>INSERT SCENE: CHERRY'S IMAGINING OF SERGEANT WHOMEVER OUT IN THE WORLD Whomever, in his Ford Bronco, waits for the light to change on Mayfield Road, slowly eating a Whopper. Finally, it turns green. The car behind him HONKS.</scene_description> <character>SERGEANT WHOMEVER</character> <parenthetical>(re: the driver behind him)</parenthetical> <dialogue>Goddamn joker...</dialogue> <scene_description>BACK TO THE RECRUITMENT OFFICE</scene_description> <character>CHERRY</character> <dialogue>Well, I keep seeing on the news that kids are dying over there. Guys my age, from Cleveland, just trying to do something good. And here I am feeling sorry for myself 'cause I broke up with my girlfriend a few months ago...</dialogue> <scene_description>Sergeant Whomever considers Cherry.</scene_description> <character>SERGEANT WHOMEVER</character> <dialogue>I get it. You're searching for gold in the gutter. A sense of purpose.</dialogue> <character>CHERRY</character> <parenthetical>(beat, realizing)</parenthetical> <dialogue>Yeah...</dialogue> <scene_description>Another beat... and Sergeant Whomever smiles. REVEAL he has a GOLD TOOTH.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Turns out my piss was clean, so he starts telling me things like--</dialogue> <scene_description>A SERIES OF QUICK CUTS:</scene_description> <character>SERGEANT WHOMEVER</character> <dialogue>My wife's Korean. / I drive a government car. / I got BAH and TRICARE.</dialogue> <scene_description>As Sergeant Whomever keeps talking...</scene_description> <character>CHERRY (TO US)</character> <dialogue>I could tell he was excited. For a while he and his like were having a hard time getting enough kids to sign up. But there I was and I was too easy; I'd made his day. And if I'm honest that made me happy.</dialogue> <scene_description>Whomever shakes Cherry's hand as we CUT TO-- THE NEXT DAY, IN THE RECRUITMENT OFFICE ON A CONTRACT: Cherry signs.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>By the next day I had signed the contract.</dialogue> <scene_description>ON A BIBLE: Cherry, a hand on it, recites his oath.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And I was sworn in.</dialogue> <scene_description>CUT TO FUTURE CHERRY, SHIVERING OUTSIDE SOMEWHERE, UNDER A GREY SKY He's bundled up in an INDUSTRIAL JACKET.</scene_description> <character>FUTURE CHERRY</character> <dialogue>But I never told a soul about it. Not even my parents.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I guess I was resolved to do a thing.</dialogue> </scene> <scene> <stage_direction>EXT. MURRAY HILL DUPLEX - PATIO - DAY</stage_direction> <scene_description>James Lightfoot and Roy drink beers on the patio. INSIDE: Cherry can be seen fucking around on a guitar as Cousin Joe flips through channels on a mute TV. A PHONE RINGS from the kitchen...</scene_description> <character>JAMES LIGHTFOOT</character> <dialogue>I can't believe you're letting him go!</dialogue> <character>ROY</character> <dialogue>There's not much I can do--</dialogue> <character>COUSIN JOE</character> <parenthetical>(lighting a cigarette)</parenthetical> <dialogue>Just give it up man. It's done-- I'm leaving next week--</dialogue> <character>JAMES LIGHTFOOT</character> <dialogue>Why? Just give me one good reason why?</dialogue> <character>CHERRY</character> <dialogue>He doesn't want to do this for the rest of his life.</dialogue> <scene_description>Everyone looks at Cherry.</scene_description> <character>JAMES LIGHTFOOT</character> <dialogue>What the fuck?! Since when do you care?</dialogue> <character>COUSIN JOE</character> <dialogue>Jesus, someone get the phone...</dialogue> <scene_description>Cherry drops the guitar and goes to answer the phone--</scene_description> <character>CHERRY</character> <dialogue>Hello.</dialogue> <scene_description>INTERCUT WITH: Emily in her dorm room--</scene_description> <character>EMILY</character> <dialogue>Hey, it's me.</dialogue> <scene_description>Cherry is stunned silent.</scene_description> <character>EMILY</character> <dialogue>You there?</dialogue> <character>CHERRY</character> <dialogue>Yeah-- yeah-- I'm here.</dialogue> <character>EMILY</character> <dialogue>I'm leaving tomorrow. For Montreal.</dialogue> <parenthetical>(off Cherry's silence)</parenthetical> <dialogue>Can we say goodbye?</dialogue> <character>CHERRY</character> <parenthetical>(hesitates)</parenthetical> <dialogue>I have to work...</dialogue> <character>EMILY</character> <dialogue>Oh-- okay-- no worries then--</dialogue> <character>CHERRY</character> <dialogue>No-- no-- I want to say goodbye.</dialogue> </scene> <scene> <stage_direction>EXT. MURRAY HILL NEIGHBORHOOD - DAY</stage_direction> <scene_description>A DRONE FOLLOWS CHERRY through Little Italy.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I had gotten fired from the shoe store and Roy got me a job at a restaurant...</dialogue> <scene_description>INSERT FLASHBACK: TWO WEEKS AGO IN THE RESTAURANT The OWNER wears a pork-pie hat. He slaps bill after bill into Cherry's hand.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>The owner was a dick but not too bad and you could make money there.</dialogue> <character>OWNER</character> <dialogue>Clean up that fucking bathroom.</dialogue> <scene_description>A WEEK AGO IN THE RESTAURANT Cherry heads to the kitchen.</scene_description> <character>CHERRY (TO US)</character> <dialogue>And they had these Turkish guys working in the kitchen--</dialogue> <scene_description>KITCHEN, CONTINUOUS: Cherry enters through the swinging door.</scene_description> <character>CHERRY (TO US)</character> <dialogue>--They'd pull a knife on you over nothing.</dialogue> <scene_description>He bumps into a Turkish guy, who pulls a pocket-knife, swears in Turkish. Cherry's eyes light with fear.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>So you felt like you were really alive.</dialogue> <scene_description>BACK TO PRESENT Two Opera singers belt "Vis si D'arte, Vissi D'amore" from Tosca, Act 2. Cherry's behind a make-shift bar, looking uncomfortable in his black button-down...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>The owner was throwing a party that day. And I got to serve drinks. I told Roy and Joe to come by so they could drink for free. I also asked Emily to stop in so we could say goodbye.</dialogue> <scene_description>Cherry searches the crowd, anxious. -- CUT TO Cherry sneaking a shot for himself. He searches the crowd again. -- CUT TO Roy standing next to Cherry now. They discreetly down another shot. Cherry scans more faces in the crowd. -- CUT TO Cousin Joe with Roy and Cherry now. Joe's talking to the owner.</scene_description> <character>COUSIN JOE</character> <dialogue>I leave for Parris Island on Sunday.</dialogue> <character>OWNER</character> <dialogue>Parris Island. That's the Marines, ain't it?</dialogue> <character>COUSIN JOE</character> <dialogue>Yeah.</dialogue> <character>OWNER</character> <dialogue>That's a good way to go to heaven.</dialogue> <character>CHERRY</character> <parenthetical>(to Roy)</parenthetical> <dialogue>Have you seen Emily at all?</dialogue> <character>ROY</character> <dialogue>I don't know. She's probably somewhere.</dialogue> <character>CHERRY</character> <dialogue>Okay... that doesn't really help me but thanks.</dialogue> <character>ROY</character> <dialogue>Gosh, look who's on his period.</dialogue> <character>CHERRY</character> <dialogue>Man, what the fuck!</dialogue> <character>ROY</character> <dialogue>What?</dialogue> <character>CHERRY</character> <parenthetical>(even more emphatic)</parenthetical> <dialogue>Man, what the fuck?! Who the hell is he?</dialogue> <scene_description>Roy looks over his shoulder and sees what Cherry sees-- Emily entering with a GUY (mid 20's).</scene_description> <character>ROY</character> <dialogue>How should I know?</dialogue> <scene_description>Cherry approaches Emily. She notices him for the first time--</scene_description> <character>EMILY</character> <dialogue>Hey...</dialogue> <character>CHERRY</character> <dialogue>Hey.</dialogue> <scene_description>The Guy, BENJI, stands there, awkward.</scene_description> <character>EMILY</character> <dialogue>This is Benji. He's from Ghana. He goes to Case.</dialogue> <character>CHERRY</character> <parenthetical>(nods)</parenthetical> <dialogue>What's up?</dialogue> <scene_description>Benji flashes a smile and turns back to Emily.</scene_description> <character>BENJI</character> <dialogue>I know this great restaurant. It's called Mi Aldea. The food is so good there. I must take you sometime.</dialogue> <character>EMILY</character> <dialogue>Mmm. That sounds good.</dialogue> <scene_description>Cherry, clearly drunk now, drags on his under-ashed cigarette, clocking Benji's hand on the small of Emily's back.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I gave Benji a real man handshake, like I was a real man, so he was forced to take his hand off her back...</dialogue> <scene_description>Cherry seizes the opportunity. Drapes his own arm over Emily, kissing the top of her head.</scene_description> <character>BENJI</character> <parenthetical>(to Emily)</parenthetical> <dialogue>Watch out. He has dropped his cigarette in your hoodie.</dialogue> <character>EMILY</character> <dialogue>Jesus Christ. Get it out, man! Get it out!</dialogue> <scene_description>Cherry fishes it out.</scene_description> <character>EMILY</character> <dialogue>Is it okay??</dialogue> <character>CHERRY</character> <dialogue>It's fine. Can we please talk somewhere?</dialogue> <character>EMILY</character> <dialogue>No.</dialogue> <character>CHERRY</character> <dialogue>Why?</dialogue> <character>EMILY</character> <dialogue>Because you're being a jerk...</dialogue> <character>CHERRY</character> <dialogue>Shhh. Listen to me. Nobody thinks the food at Mi Aldea is good. The only reason he wants to take you there is cuz they don't card and he wants to get you drunk.</dialogue> <character>EMILY</character> <dialogue>What is your problem! I came here to say goodbye.</dialogue> <character>COUSIN JOE</character> <parenthetical>(coming over)</parenthetical> <dialogue>Want me to punch that guy in the dick?</dialogue> <character>CHERRY</character> <dialogue>Not yet.</dialogue> <parenthetical>(back to Emily)</parenthetical> <dialogue>You came here to say goodbye to me? With him--</dialogue> <character>EMILY</character> <dialogue>--I'm not with him--</dialogue> <character>CHERRY</character> <dialogue>--You think that's fair? You think that's fucking fair?</dialogue> <character>EMILY</character> <dialogue>Yes.</dialogue> <character>COUSIN JOE</character> <dialogue>Lemme punch him in the dick.</dialogue> <character>CHERRY</character> <dialogue>You know what, please punch him in the dick.</dialogue> <character>EMILY</character> <dialogue>I'm done with this...</dialogue> <scene_description>Emily storms out, Cherry watching after her. AN HOUR LATER A dejected Cherry stands slumped behind the salad/bar in his stupid collared shirt.</scene_description> <character>OWNER</character> <dialogue>Hey man, can you do me a solid? I need you to look after one of my boys. He just got out of prison.</dialogue> <scene_description>He points to TOMMY-- Big plastic eyeglasses, a grey bowl cut, a shiny red bowling jacket; talks animatedly.</scene_description> <character>OWNER</character> <dialogue>Twenty years they put him in there. Twenty. And he's a stand up guy.</dialogue> <scene_description>REVEAL TOMMY, bullshitting with some other patrons at the bar--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Tommy was drunk as fuck and I was supposed to make sure he didn't throw up on anybody. He kept saying everybody was full of shit and they're all a--</dialogue> <character>TOMMY</character> <dialogue>--BUNCH OF FAKES! You hear me?! All these Cosa Nostra motherfuckers you see around the neighborhood like to talk a big game. But they don't have the balls... to put a gun to the guy's head and BLOW HIS BRAINS OUT.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>And that's what he kept saying, the stuff about brains. He'd start talking about--</dialogue> <scene_description>QUICK CUTS OF--</scene_description> <character>TOMMY</character> <dialogue>This punk / And that peckerhead / And the other turkey--</dialogue> <character>CHERRY (V.O.)</character> <dialogue>--and he'd finish up by saying that they didn't have the balls to put a gun to the guy's head and--</dialogue> <character>TOMMY</character> <dialogue>--BLOW HIS BRAINS OUT!</dialogue> <character>CHERRY (V.O.)</character> <dialogue>Then he got to asking me about what I did.</dialogue> <scene_description>REVEAL Cherry, now cleaning behind the bar.</scene_description> <character>TOMMY</character> <dialogue>So what do you do, kid?</dialogue> <character>CHERRY</character> <dialogue>Not much. But I joined the Army, so I'm hopeful. I leave for basic training in three weeks.</dialogue> <character>TOMMY</character> <dialogue>Don't be a fool. Those people don't give a shit about you.</dialogue> <character>CHERRY</character> <dialogue>I know.</dialogue> <character>TOMMY</character> <dialogue>So what are you thinking?</dialogue> <character>CHERRY</character> <dialogue>I just-- I didn't have any other ideas.</dialogue> <character>TOMMY</character> <dialogue>But do you have the balls... to put a gun to a guy's head and BLOW HIS BRAINS OUT?</dialogue> <scene_description>ON CHERRY--</scene_description> <character>CHERRY</character> <dialogue>I don't know.</dialogue> <character>TOMMY</character> <dialogue>AGGH! You'll be alright.</dialogue> <scene_description>AN HOUR LATER The restaurant is closed down now. Cherry pushes out the front door to find-- Tommy, standing alone on the sidewalk, swaying to and fro.</scene_description> <character>CHERRY</character> <dialogue>Tommy, you alright?</dialogue> <character>TOMMY</character> <dialogue>Yeah. What are you doing?</dialogue> <character>CHERRY</character> <dialogue>I'm all done. I'm about to walk home.</dialogue> <character>TOMMY</character> <dialogue>You need a ride? I'll give yaz a ride.</dialogue> <scene_description>Tommy half-heartedly waves his keys towards a BLUE CHEVY ASTROVAN parked next to him. MOMENTS LATER, IN THE VAN Tommy looks to Cherry--</scene_description> <character>TOMMY</character> <dialogue>You ready?</dialogue> <scene_description>Cherry nods. Tommy fires up the engine. Proceeds to hit the car in front of them. Then hits the car behind them too.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>He looked like he was feeling real ill.</dialogue> <scene_description>-- CUT TO SECONDS LATER: Tommy puking out his door. Violently. -- CUT TO SECONDS LATER: Tommy with his head against the steering wheel.</scene_description> <character>TOMMY</character> <dialogue>Oh Jesus. Oh Jesus Jesus Jesus...</dialogue> <character>CHERRY</character> <dialogue>Bad news, Tommy. You threw up on your sleeve.</dialogue> <scene_description>Tommy looks down at the sleeve of his shiny red bowling jacket.</scene_description> <character>TOMMY</character> <dialogue>Jesus Jesus Jesus...</dialogue> <character>CHERRY</character> <dialogue>Don't worry, Tommy. We can fix it.</dialogue> <scene_description>Cherry uses a paper grocery bag to wipe the vomit off.</scene_description> <character>TOMMY</character> <dialogue>Those people don't give a fuck about you kid...</dialogue> <scene_description>Cherry considers this as Tommy looks down at his sleeve again--</scene_description> <character>TOMMY</character> <dialogue>Close enough for rock and roll.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>We resumed the drive and Tommy ran over a curb for good measure.</dialogue> </scene> <scene> <stage_direction>INT. MURRAY HILL DUPLEX - CHERRY'S BEDROOM - NIGHT</stage_direction> <scene_description>Cherry enters with a BAKERY BOX, stops when he sees Emily sitting on his mattress on the floor.</scene_description> <character>EMILY</character> <dialogue>Is it okay that I'm here?</dialogue> <scene_description>Cherry's so happy he could cry. He offers her the box.</scene_description> <character>CHERRY</character> <dialogue>I was gonna bring these to you later.</dialogue> <scene_description>Emily takes a muffin out.</scene_description> <character>CHERRY</character> <dialogue>It was supposed to be a good-bye cake but they only had muffins ready. And there was supposed to be 12, but I had to give one to this guy Tommy because he needed to eat something.</dialogue> <scene_description>Emily smiles. Then she starts to cry. Cherry has never seen her cry before.</scene_description> <character>CHERRY</character> <dialogue>What's wrong...</dialogue> <scene_description>For some reason, this makes her cry harder.</scene_description> <character>CHERRY</character> <dialogue>Look, I'm sorry about earlier...</dialogue> <scene_description>Cherry sits down next to her, starts talking to her as--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I told her how I knew she didn't mean anything by bringing Benji around, and that she was just a sweetheart who believed in diversity and developing countries--</dialogue> <character>EMILY</character> <dialogue>--No it's my fault. All of it. I'm fucking awful to you... when you've been nothing but good to me.</dialogue> <scene_description>She searches his eyes for the first time, desperate and vulnerable in this moment.</scene_description> <character>EMILY</character> <dialogue>I'm so sorry.</dialogue> <character>CHERRY</character> <dialogue>You don't ever need to be sorry with me.</dialogue> <scene_description>She starts crying again. Cherry pulls her in tight, kissing her head.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>It was a while before she stopped crying. And then we laughed...</dialogue> <scene_description>-- CUT TO Emily and Cherry laughing about it.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And then we fucked around...</dialogue> <scene_description>-- CUT TO Emily and Cherry fucking around.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And then we went to sleep.</dialogue> <scene_description>-- CUT TO Emily sleeping, nestled into Cherry. He closes his eyes, happy. FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. CHERRY'S BEDROOM - LATE MORNING</stage_direction> <scene_description>Hands intertwined. Cherry's chin on Emily's shoulder.</scene_description> <character>EMILY</character> <dialogue>I'm not gonna go to Montreal.</dialogue> <scene_description>A long beat.</scene_description> <character>CHERRY</character> <dialogue>I joined the Army.</dialogue> <scene_description>Emily sits up, floored by this--</scene_description> <character>EMILY</character> <dialogue>What? Why the fuck would you do that?</dialogue> <character>CHERRY</character> <parenthetical>(shrugs)</parenthetical> <dialogue>I was sad, baby...</dialogue> <character>EMILY</character> <dialogue>So you joined the fucking Army?</dialogue> <scene_description>Cherry nods. Emily shakes her head, unwilling to accept this.</scene_description> <character>EMILY</character> <dialogue>You have to un-list...</dialogue> <character>CHERRY</character> <dialogue>I don't see that I can. I signed a contract.</dialogue> <scene_description>Emily's winded, still trying to process it all.</scene_description> <character>CHERRY</character> <dialogue>Maybe it'll be good... I'll go away. You can still go to your school in Montreal...</dialogue> <character>EMILY</character> <dialogue>But I don't wanna go to school in Montreal.</dialogue> <character>CHERRY</character> <dialogue>I thought you loved Montreal.</dialogue> <character>EMILY</character> <dialogue>I was only going to Montreal to get away from you. Because I love you.</dialogue> <scene_description>ON CHERRY, an intimate understanding of this fucked up sentiment... and he's touched by it.</scene_description> <character>CHERRY</character> <dialogue>But school's important to you. You wanna finish, right?</dialogue> <parenthetical>(she nods)</parenthetical> <dialogue>And while you do that, I can do this. And when I come back, they'll pay for me to go to school...</dialogue> <scene_description>But Emily just can't see the good in it. He appeals to her.</scene_description> <character>CHERRY</character> <dialogue>I fucked up, Em. I failed out of school and this is how I can make it right. It's a couple years. A couple years in a lifetime together...</dialogue> <scene_description>Cherry's eyes search Emily's now. He can't help but tell her--</scene_description> <character>CHERRY</character> <dialogue>Really, I mean that. Like you're it for me...</dialogue> <scene_description>Emily searches his eyes, too.</scene_description> <character>EMILY</character> <dialogue>I feel the same way...</dialogue> <scene_description>And they kiss. And kiss more. Lost in each other and so happy. Until Emily pulls away--</scene_description> <character>EMILY</character> <dialogue>Maybe we should get married.</dialogue> <scene_description>Cherry just looks at her-- seriously?</scene_description> <character>EMILY</character> <dialogue>I'm serious! It makes practical sense. You get paid more right? And I could be on your health insurance.</dialogue> <scene_description>A beat. And Cherry smiles wide.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>So we went down to the courthouse and we got married--</dialogue> </scene> <scene> <stage_direction>INT. SANDWICH SHOP - DAY</stage_direction> <scene_description>Emily and Cherry eat sandwiches, post-ceremony. Emily wears a white dress with flowers in her hair.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>--and then we went to our favorite restaurant to celebrate.</dialogue> <scene_description>They LAUGH over whatever it is they're talking about. Truly happy and truly in love.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>We knew in that moment we were the two most beautiful things in the world.</dialogue> <parenthetical>(then, as they kiss)</parenthetical> <dialogue>Six billion people and no one had it on us.</dialogue> <scene_description>DRONE SHOT OF AN ARMY BASE: FORT LEONARD, MISSOURI</scene_description> <character>CHERRY (V.O.)</character> <dialogue>But the days ran out...</dialogue> <scene_description>CHYRON -- PART TWO: BASIC, 2003</scene_description> <character>CHERRY (V.O.)</character> <dialogue>...and I had to go basic training.</dialogue> </scene> <scene> <stage_direction>INT. FORT LEONARD BARBER SHOP - DAY</stage_direction> <scene_description>A RAZOR rolls across a full head of hair.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>First, we got the haircut...</dialogue> <scene_description>REVEAL CHERRY, the suction attachment violently sucking the locks straight off his scalp.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Next we got a hundred fucking shots...</dialogue> </scene> <scene> <stage_direction>INT. FORT LEONARD CLINIC - DAY</stage_direction> <scene_description>SPEED THROUGH shot after shot after shot jabbing into Cherry's arms, legs, and ass.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Then, I found out I was color-blind...</dialogue> </scene> <scene> <stage_direction>INT. FORT LEONARD EXAM ROOM - DAY</stage_direction> <scene_description>ON CHERRY, absorbing this news as a NURSE writes in his chart--</scene_description> <character>CHERRY</character> <dialogue>That explains a lot.</dialogue> <parenthetical>(then to the nurse, realizing)</parenthetical> <dialogue>Wait, can I still be a medic?</dialogue> <character>NURSE</character> <parenthetical>(shrugs)</parenthetical> <dialogue>You already know what color blood is.</dialogue> </scene> <scene> <stage_direction>INT. FORT LEONARD TRAINING HALL - DAY</stage_direction> <scene_description>THE RECRUITS are lined up. Cherry among them.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>There was a lot of standing in line, and our legs ached because we weren't used to it--</dialogue> <scene_description>-- CUT TO Cherry shifting uncomfortably.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>They had us strip down to our underwear and duckwalk the circuit of a big room.</dialogue> <scene_description>-- CUT TO the Recruits duckwalking in their underwear.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>The room smelled of balls, unwashed. And feet, ditto.</dialogue> </scene> <scene> <stage_direction>INT. FORT LEONARD EXAM ROOM 2 - DAY</stage_direction> <scene_description>Cherry, naked in a separate and smaller room now. Bent over. Ass cheeks spread...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And there was a man whose job it was to check everybody's asshole--</dialogue> <character>ASSHOLE MAN</character> <parenthetical>(clicking off his flashlight)</parenthetical> <dialogue>I'd say it looks okay.</dialogue> </scene> <scene> <stage_direction>INT. FORT LEONARD CLOTHING DISPATCH - DAY</stage_direction> <scene_description>A Soldier hands Cherry piles of clothes. The guy next to Cherry, JIMINEZ (19) is trying on a CLASS A UNIFORM. He looks at himself in the mirror.</scene_description> <character>JIMINEZ</character> <dialogue>I'ma take my girl out to dinner in this when I get back. Imagine all them patches and medals on it...</dialogue> <scene_description>FREEZE-FRAME on the earnest Jiminez, grinning with pride--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>That's Jiminez. He had gotten his girl pregnant...</dialogue> <scene_description>INSERT SCENE: CHERRY'S IMAGINING OF JIMINEZ BACK HOME IN EL PASO Jiminez sits behind the wheel of a parked pick-up truck.</scene_description> <character>JIMINEZ</character> <dialogue>I love you so much, and I want this. I'll get a job, I'll take care of you both--</dialogue> <scene_description>REVEAL HIS GIRL (18) in the passenger's seat, crying.</scene_description> <character>HIS GIRL</character> <dialogue>How??</dialogue> <character>JIMINEZ</character> <dialogue>We'll figure it out.</dialogue> </scene> <scene> <stage_direction>INT. FORT LEONARD CAFETERIA - DAY</stage_direction> <scene_description>Cherry and Jiminez sit with other recruits at long tables, like kids at a summer camp.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>We had become friends on account of the fact we both wanted to be medics.</dialogue> <character>JIMINEZ</character> <dialogue>This food is shit.</dialogue> <character>CHERRY</character> <dialogue>Total shit.</dialogue> <character>DRILL SERGEANT COLE (O.S.)</character> <dialogue>Why don't you eat meat, Private?</dialogue> <scene_description>REVEAL DRILL SERGEANT COLE (28) standing over Cherry and Jiminez.</scene_description> <character>CHERRY</character> <dialogue>Excuse me, Sergeant?</dialogue> <character>DRILL SERGEANT COLE</character> <dialogue>Are you rich?</dialogue> <character>CHERRY</character> <dialogue>Not especially.</dialogue> <character>DRILL SERGEANT COLE</character> <dialogue>I SAW A SHOW ON TV. IT SAID THAT PEOPLE WHO</dialogue> <character>DON'T EAT MEAT HAVE WEAK MINDS. THEY ARE</character> <dialogue>EASY TO BRAINWASH. THAT MEANS YOU ARE EASY</dialogue> <character>TO BRAINWASH.</character> <dialogue>CHERRY</dialogue> <character>YES, DRILL SERGEANT!</character> <dialogue>DRILL SERGEANT COLE</dialogue> <character>THROW IT AWAY!</character> <parenthetical>(off Cherry's look)</parenthetical> <character>I WANT YOU TO GET UP, AND THROW THAT GOD</character> <dialogue>DAMN VEGGIE BURGER AWAY. THEN I WANT YOU TO</dialogue> <character>DO PUSH-UPS UNTIL YOU REACH MUSCLE FAILURE.</character> <dialogue>Cherry gets up and throws it away. Starts doing push ups.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>I swear, if the outcomes of all wars were decided by push-ups and idle talk, America might never lose...</dialogue> </scene> <scene> <stage_direction>EXT. FORT LEONARD FIELD - DAY</stage_direction> <scene_description>Cherry runs, clearly on his last leg. A Drill Sergeant runs alongside him, yelling in his face--</scene_description> <character>DRILL SERGEANT DECO</character> <dialogue>DO YOU WANT TO DIE, YOU BEEF CURTAIN??!!</dialogue> <character>THERE ARE HAJIS BREATHING DOWN YOUR PISS</character> <dialogue>HOLE!!</dialogue> <character>CHERRY (V.O.)</character> <dialogue>There was a lot of yelling...</dialogue> <scene_description>ON ANOTHER DAY, IN THE FIELD Cherry's platoon in formation now. QUICK CUTS of Drill Sergeants shouting at various Recruits--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>They called us names like--</dialogue> <character>DRILL SERGEANT COLE</character> <dialogue>--HIGH SPEED DICK WITH EARS!</dialogue> <character>CHERRY (V.O.)</character> <dialogue>Our hands were--</dialogue> <character>DRILL SERGEANT DECO</character> <dialogue>--DICK SKINNERS!</dialogue> <character>CHERRY (V.O.)</character> <dialogue>Our mouths were--</dialogue> <character>DRILL SERGEANT COLE</character> <dialogue>--COCK HOLSTERS!</dialogue> <character>CHERRY (V.O.)</character> <dialogue>The Drill Sergeants pretended to be real angry all the time...</dialogue> <scene_description>DRILL SERGEANT DECO (26) gets in a kid's face, all wild-eyed and crazy for show--</scene_description> <character>DRILL SERGEANT DECO</character> <dialogue>Don't get too close, boy. I said back the fuck off! I might wig out and snap your neck!</dialogue> <character>CHERRY (V.O.)</character> <dialogue>PTSD they said...</dialogue> </scene> <scene> <stage_direction>INT. FORT LEONARD LATRINE - DAY</stage_direction> <scene_description>Cherry stands in line for the toilet.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Like this one time, Drill Sergeant Cole punched me in the penis for no reason.</dialogue> <scene_description>Drill Sergeant Cole walks by, punching him in the penis.</scene_description> <character>CHERRY</character> <dialogue>And Drill Sergeant Deco even choked a kid...</dialogue> </scene> <scene> <stage_direction>EXT. FORT LEONARD FIELD - DAY</stage_direction> <scene_description>Recruits run a drill, dressed for role-play. Drill Sergeant Deco chokes a kid who's dressed like an Iraqi Man.</scene_description> <character>CHERRY (O.S.)</character> <dialogue>Drill Sergeant Deco?</dialogue> <scene_description>REVEAL a nervous Cherry watching, dressed like an Iraqi Woman holding flowers. Deco keeps choking--</scene_description> <character>DRILL SERGEANT DECO</character> <parenthetical>(strained)</parenthetical> <dialogue>Fuckin' haji...</dialogue> <scene_description>The kid turning blue now--</scene_description> <character>CHERRY</character> <dialogue>That's Coppelson, Sarge...</dialogue> <scene_description>The kid goes unconscious, his body falling to the ground. Cherry looks down at him, horrified...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>It wasn't because of PTSD though. Deco hadn't ever been anywhere. He was full of shit.</dialogue> </scene> <scene> <stage_direction>EXT. FORT LEONARD FIELD - DAY</stage_direction> <scene_description>Cherry and the Recruits back in formation.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Some of the Drill Sergeants had actually seen Iraq. But they were full of shit too...</dialogue> <scene_description>Drill Sergeant Cole steps forward, like he's telling a ghost story--</scene_description> <character>DRILL SERGEANT COLE</character> <dialogue>In Iraq there are children with grenades who try to sneak up on American soldiers so as to blow them the fuck up. I had to RUN OVER the hand grenade children with my truck. THIS IS WHY I AM SICK IN THE HEAD!</dialogue> </scene> <scene> <stage_direction>EXT. FORT LEONARD TRAINING STAIRS - DAY</stage_direction> <scene_description>Cherry and the Recruits run a drill, bounding down stairs with RUBBER M16S, shooting at various POP-UP TARGETS. As they "fire" they say--</scene_description> <character>CHERRY AND THE RECRUITS</character> <dialogue>BANG BANG. BANG. BANG BANG BANG.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>I started to get a weird feeling like it was all just make believe...</dialogue> <character>DRILL SERGEANT COLE</character> <dialogue>HAJI ON THE LEFT!</dialogue> <character>CHERRY</character> <dialogue>BANG BANG.</dialogue> <character>DRILL SERGEANT COLE</character> <dialogue>HAJI ON THE RIGHT!</dialogue> <character>CHERRY</character> <dialogue>BANG BANG.</dialogue> <character>DRILL SERGEANT COLE</character> <dialogue>HAJI BEHIND!</dialogue> <character>CHERRY</character> <dialogue>BANG BANG.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>That we were pretending to be soldiers...</dialogue> <scene_description>PRELAP The Army Song--</scene_description> </scene> <scene> <stage_direction>EXT. FORT LEONARD MAIN FIELD - DAY</stage_direction> <scene_description>FOLLOW CHERRY singing The Army Song with the other Recruits as they march in a circle. FROM CHERRY'S POV: The other Recruits' uniforms suddenly look like OVER-SIZED COSTUMES.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>The Drill Sergeants were just pretending to be Drill Sergeants...</dialogue> <scene_description>The Drill Sergeants shout nonsense--</scene_description> <character>DRILL SERGEANT COLE</character> <dialogue>JABERWOCKY! JABERWOCKY! JABERWOCKY!</dialogue> <character>DRILL SERGEANT DECO</character> <dialogue>MISH MASH! MISH MASH! MISH MASH!</dialogue> <scene_description>WIDE SHOT of TWO HUNDRED SOLDIERS marching chaotically now--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And the Army was pretending to be the Army.</dialogue> <scene_description>All are singing the song on top of each other... until it builds to a maddening crescendo... THEN SILENCE.</scene_description> </scene> <scene> <stage_direction>INT. FORT LEONARD LATRINE - NIGHT</stage_direction> <scene_description>The steam-filled bathroom is seemingly empty, save for Cherry who exits one of the shower stalls in a towel.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>The only way not to graduate basic was to try and kill yourself.</dialogue> <scene_description>Cherry lathers up with shaving cream in a mirror. Unbeknownst to him, in the deep background, ANOTHER RECRUIT throws a rope over a pipe.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>One kid tried to hang himself from the water pipe in the latrine...</dialogue> <scene_description>The kid steps off a bench, hanging himself. Suddenly, a LOUD CRASH as the pipe breaks, the recruit crashing to the ground. Cherry turns to see the kid lying there with the rope around his neck. Water sprays from the pipe--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>He didn't die. But he didn't graduate either.</dialogue> <scene_description>FADE TO BLACK.:</scene_description> <character>PRELAP CHERRY</character> <parenthetical>(whispering)</parenthetical> <dialogue>Can you hear me?</dialogue> </scene> <scene> <stage_direction>INT. FORT LEONARD HALLWAY - PAYPHONE - NIGHT</stage_direction> <scene_description>Cherry on the payphone in the middle of the night, whispering--</scene_description> <character>EMILY (OVER PHONE)</character> <dialogue>Yes, hi! Are you alright?</dialogue> <character>CHERRY</character> <dialogue>Yeah. I snuck out of the barracks.</dialogue> <character>EMILY (OVER PHONE)</character> <dialogue>But are you okay?</dialogue> <scene_description>He closes his eyes, just reveling in hearing her.</scene_description> <character>CHERRY</character> <dialogue>I'm good now...</dialogue> </scene> <scene> <stage_direction>INT. FORT LEONARD MEDIC CLASSROOM - DAY</stage_direction> <scene_description>Cherry, Jiminez, and the medics-to-be crawl on the floor, surrounded by MANNEQUINS. A blown out speaker plays WAR NOISES.</scene_description> <character>DRILL SERGEANT MURPHY</character> <dialogue>HEADS DOWN! ASSES DOWN!!</dialogue> <character>CHERRY (V.O.)</character> <dialogue>When it was finally time for classroom instruction, there was a lot of fucking around with mannequins...</dialogue> <scene_description>QUICK CUTS OF THE VARIOUS MANNEQUINS--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>There were mannequins that were just trunks with heads. There were mannequins with rubber bones sticking out of their legs.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>There were mannequins that could squirt fake blood. There were even little baby mannequins with cherubim faces.</dialogue> <scene_description>SERIES OF CUTS: Each time DRILL SERGEANT MURPHY (28) blows his WHISTLE, Cherry stops at the dummy he is closest to, pretends to treat the wounded patient--</scene_description> <character>DRILL SERGEANT MURPHY</character> <dialogue>BLOOD PRESSURE DROPPED TO SEVENTY OVER</dialogue> <character>TWENTY / SUCKING CHEST WOUND / SEVERE</character> <dialogue>FACIAL BURNS AROUND THE MOUTH AND NOSE!</dialogue> <character>CHERRY (V.O.)</character> <dialogue>I saved the lives of 47 dummies. And so I passed the class...</dialogue> <scene_description>END ON CHERRY WITH THE OTHER MEDICS IN HIS CLASS: All posing, faux gang signs, next to their grotesques DUMMIES in front of a painted Iraq backdrop. SNAP! As a PHOTO is captured--</scene_description> </scene> <scene> <stage_direction>EXT. FORT LEONARD MAIN FIELD - DAY</stage_direction> <scene_description>Recruits in the usual line-up. There is a palpable tension in the air today as DRILL SERGEANT MASTERS (28), a perfect honky if ever there was one, paces back and forth...</scene_description> <character>DRILL SERGEANT MASTERS</character> <dialogue>WARRIOR MEDICS, YOU WERE TOLD TO COME UP</dialogue> <character>WITH A COMPANY CHEER. YOU WERE GIVEN A WEEK</character> <dialogue>TO DO THIS. THIS IS WHAT IS CALLED A</dialogue> <character>DEADLINE. AS OF NOW YOU HAVE MISSED THE</character> <dialogue>DEADLINE...</dialogue> <parenthetical>(a tense beat)</parenthetical> <character>NOW. SINCE YOU HAVE FAILED TO COME UP WITH</character> <dialogue>A COMPANY CHEER, I HAVE TAKEN WHAT IS</dialogue> <character>CALLED THE INITIATIVE AND COME UP WITH ONE</character> <dialogue>FOR YOU. ONE WHICH YOU WILL HAVE TO LEARN.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>And this is what he came up with--</dialogue> <scene_description>Drill Sergeant Masters delivers an impassioned performance--</scene_description> <character>DRILL SERGEANT MASTERS</character> <dialogue>Warrior Medics in the fight! On the double day and night! We will beat out all the rest! Charlie Company is the best! Don't stop! Get it, get it! Soldier on, Warrior Medic! Don't stop! Get it, get it!</dialogue> <character>DRILL SERGEANT MASTERS</character> <dialogue>Wooooooooooooooooooooooooooo- OoooooooooooooooooooOOOOOOOO- OOOOOOOOOOOOOOOOOOOOOOOOOAAH! MAKE! Way! Here come the Warrior Medics! Oo! Ta-ah! Here come the Warrior Medics! MAKE! Way! Here come the Warrior Medics! Oo! Ta-ah! Here come the Warrior Medics! MAKE! Way! Here come the Warrior Medics! Oo! Ta-ah! Here come the Warrior Medics!</dialogue> <character>CHERRY (V.O.)</character> <dialogue>The refrain was to go on indefinitely, till we were signaled to stop.</dialogue> <scene_description>-- CUT TO the Medics doing the Company Cheer.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And from that day on, whenever the company was called to attention, something that happened no less than a million times on any given day, the company cheer was to be recited in its entirety. No exceptions. To make matters worse, after a while it got to be expected that the guidon bearer would do the robot throughout the refrain.</dialogue> <scene_description>-- CUT TO Cherry as the guidon bearer, doing the robot.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>So don't ever join the fucking Army.</dialogue> <scene_description>THE SOUND OF CHOPPERS TAKES US TO-- A FLEET OF BLACK HAWKS SWEEP OVER BURNING OIL FIELDS IN A DESERT WASTELAND. TWO JETS CREASE THE FRAME, COUNTERING... CHYRON -- PART THREE: CHERRY</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Unless you happen to have been in Iraq, you've never heard of where we were, so it doesn't matter...</dialogue> <scene_description>FIND A CARAVAN OF HUMVEES crossing this great expanse--</scene_description> </scene> <scene> <stage_direction>INT. HUMVEE, DRIVING - DAY</stage_direction> <scene_description>Cherry and Jiminez sit in the back of a moving Humvee, clutching their medic bags, anxious. CHEETAH drives. No one is in the turret.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>You were wide awake when you got on the ground outside the wire for the first time. You expected to get shot at any moment.</dialogue> <scene_description>Cherry scans his sector-- HIS POV: miles of nothing surround. Just small mounds of dirt stretching to meet the horizon, reflecting a pinkish hue up into the sky...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Even if it was a spot you couldn't see anyone for miles, you were nevertheless sure that there was a haji out there who had been waiting all day just to shoot you.</dialogue> <scene_description>The crackle of gunfire over the radio, followed by an urgent VOICE...</scene_description> <character>VOICE (OVER RADIO)</character> <dialogue>Attention on the net. Attention on the net. Troops in contact. Current location, Victor Sierra. 4 5 3, 1 3 2. Standby for SALUTE REPORT.</dialogue> <character>STAFF SERGEANT GREENE</character> <parenthetical>(grabbing the radio)</parenthetical> <dialogue>X-RAY ONE SEVEN, this is PAPA ONE BRAVO. Roger, understand location 4 5 3, 1 3 2. Standing by.</dialogue> <parenthetical>(to Cheetah)</parenthetical> <dialogue>Get us in there...</dialogue> <scene_description>Cherry and Jiminez share a look, nervous, as-- FROM OUTSIDE: The caravan of Humvees pick up speed--</scene_description> </scene> <scene> <stage_direction>EXT. VALLEY - DAY</stage_direction> <scene_description>Mayhem. Chaos. Smoke and fire. We are in the middle of a brutal ambush. Five U.S. Humvee's are surrounded. Three ablaze. Insurgents in the hills surrounding. A Soldier drags a KIA to one of the two functioning Humvees. A wounded AMBUSH SERGEANT kneels at a radio, barking orders to his unit as he goes--</scene_description> <character>AMBUSH SERGEANT</character> <parenthetical>(yelling)</parenthetical> <dialogue>Get that fucking gun operational! Troops on the left!</dialogue> <character>STAFF SERGEANT GREENE</character> <parenthetical>(OVER RADIO)</parenthetical> <dialogue>Thirty seconds out.</dialogue> <character>AMBUSH SERGEANT</character> <parenthetical>(into radio)</parenthetical> <dialogue>Roger, standby for signal.</dialogue> <parenthetical>(to his men)</parenthetical> <dialogue>Smoke out! Smoke out!</dialogue> <scene_description>Soldiers start hurling canisters filled with white screen smoke into the dead zones. REVEAL the QRF arriving, fanning out. We race down the hill towards the QRF as the Gunners light up the hillside. We spilt the deafening fifty cals on two arriving Humvees, just as soldiers disembark. We land on Cherry, in vehicle four, panicked, adrenalized.</scene_description> <character>AMBUSH SERGEANT (OVER</character> <dialogue>RADIO)</dialogue> <scene_description>...two wounded that I need immediate CASEVAC for. Five KIA.</scene_description> <character>STAFF SERGEANT GREENE</character> <parenthetical>(into radio)</parenthetical> <dialogue>Roger, link up at smoke.</dialogue> <parenthetical>(to Cherry and Jiminez)</parenthetical> <dialogue>Get your shit, let's go.</dialogue> <scene_description>Cherry and Jiminez nod, swallowing hard, taking in the insanity--</scene_description> <character>JIMINEZ</character> <dialogue>Holy shit...</dialogue> <scene_description>They grab their med bags and bail out of the vehicle, Cherry tripping, Greene dragging him to his feet.</scene_description> <character>STAFF SERGEANT GREENE</character> <dialogue>Stay on me!</dialogue> <scene_description>He leads Cherry and Jiminez through the lead vehicles. The fifty cals are deafening. Cherry's hands are plastered to his ears. He looks like he just shit his pants. As they break from the vehicles, Soldiers flood down the hill towards them. One of the Soldiers, leading a wounded comrade, screams at Cherry...</scene_description> <character>SOLDIER</character> <dialogue>Medics up!! Medics up!!</dialogue> <scene_description>Greene breaks into a run, Cherry and Jiminez plunge into the madness behind him, like two underweight freshman being thrown into the final minutes of the big game. GUNFIRE everywhere-- Cherry and Jiminez follow Greene into a defilade in the hillside, ducking as low as they possibly can. They wind their way past the first Humvee, an RPG exploding only feet away from them. Cherry spots a bleeding soldier firing at the insurgents. He stops to help him.</scene_description> <character>CHERRY</character> <dialogue>You're wounded!</dialogue> <character>WOUNDED SOLDIER</character> <dialogue>No shit!</dialogue> <scene_description>As he tries to treat the man's bleeding shoulder..</scene_description> <character>WOUNDED SOLDIER</character> <dialogue>Get the fuck off me!</dialogue> <parenthetical>(points)</parenthetical> <dialogue>Up the hill! Up the hill!</dialogue> <character>STAFF SERGEANT GREENE</character> <dialogue>Doc! Doc!!</dialogue> <scene_description>Cherry looks up to see Jiminez and Greene waiting for him, hunched under one of the functional Humvees. The fifty cal blaring. Cherry runs to them. Greene knocks him to his knees.</scene_description> <character>STAFF SERGEANT GREENE</character> <dialogue>Down! Down!</dialogue> <scene_description>Greene crawls under the fifty cal dragging Cherry with him to cover. They land next to the Ambush Sergeant. Jiminez follows.</scene_description> <character>AMBUSH SERGEANT</character> <parenthetical>(to Greene)</parenthetical> <dialogue>Two WIA's, lead Humvee.</dialogue> <character>STAFF SERGEANT GREENE</character> <dialogue>On it.</dialogue> <scene_description>Greene breaks into a sprint towards the lead Humvee. Cherry and Jiminez lay there, completely overwhelmed.</scene_description> <character>AMBUSH SERGEANT</character> <parenthetical>(to Cherry and Jiminez)</parenthetical> <dialogue>What the fuck are you doing??? Go!!! Go!!!</dialogue> <scene_description>They scramble to their feet and sprint after Greene. Cherry suddenly does a face plant. Looking back-- he's tripped over a blackened body, burnt to a crisp. Smoke still simmering from the seared flesh. Cherry's stunned, his brain unable to process what he's looking at. The sounds of the battle giving way to his breathing. Cherry is going "black"...</scene_description> <character>VOICE (O.C.)</character> <dialogue>Hey Man!</dialogue> <scene_description>A hand grabs his shoulder. He looks, it's Jiminez.</scene_description> <character>JIMINEZ</character> <dialogue>Keep moving! Keep moving!</dialogue> <scene_description>Cherry comes back. Slowly picks himself up, and follows Jiminez. They finally arrive at the lead Humvee. There's two WOUNDED, SCREAMING SOLDIERS on the ground. A more SEASONED MEDIC (24) is treating one of them. He barks at Cherry and Jiminez--</scene_description> <character>SEASONED MEDIC</character> <dialogue>THAT ONE-- GET HIS GUTS BACK IN!!</dialogue> <scene_description>They look to the other wounded soldier, whose guts are spilling out. Cherry, in shock, reaches for the Soldier's innards, and with his bare hands scoops them against his stomach. Jiminez applies the wrap. They then pull him onto the litter. A Marine Chopper approaches in the distance. Greene and the Seasoned Medic lift the other litter, break into a run--</scene_description> <character>STAFF SERGEANT GREENE</character> <parenthetical>(as he passes Cherry and Jiminez)</parenthetical> <dialogue>Down the hill! GO.</dialogue> <scene_description>Cherry and Jiminez follow, litter in hand. APPROACHING THE LZ Soldiers stream up the hill, past them, finally gaining control of the firefight. THE CHOPPER LANDS IN A SECURE LZ, HUMVEES SURROUNDING IT. ARRIVING AT THE CHOPPER: Cherry and Jiminez wait to load the barely conscious soldier onto the CASEVAC.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>In the dust, I could see the man's face...</dialogue> <scene_description>The Soldier locks eyes with Cherry and TIME SLOWS FOR A MOMENT--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>His eyes were wild and grieving. He was in his lizard brain. We locked eyes and I said-</dialogue> <character>CHERRY</character> <parenthetical>(shouting)</parenthetical> <character>--I GOT YOU!</character> <dialogue>CHERRY (V.O.)</dialogue> <scene_description>I said it real loud so he could hear me over the helicopter. And then I was embarrassed because it was a stupid and melodramatic thing to have said. Cherry gives one last look towards him as they load him on the chopper...</scene_description> <character>STAFF SERGEANT GREENE</character> <parenthetical>(to Cherry)</parenthetical> <dialogue>Back up! Back up!!</dialogue> <scene_description>He pulls Cherry away as the CASEVAC lifts into the air. OFF CHERRY, forever changed--</scene_description> </scene> <scene> <stage_direction>EXT. FOB (FORWARD OPERATING BASE) - DAY</stage_direction> <scene_description>A DRONE SHOT SWEEPS OVER THE BASE... FIND: Cherry and Jiminez, both still traumatized, traverse the base. Other people's BLOOD covers their uniforms...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Our Company was Delta. I was the medic assigned to Second Platoon. Jiminez was assigned to Third.</dialogue> <scene_description>They walk past a soldier sucking shit from the "porta-shitters" through a long hose; another sleeping face-down, sunbathing in his underwear-- MOMENTS LATER, AT THE SHOWERS Cherry and Jiminez stand naked in adjacent showers... ON CHERRY: Quiet and still, watching red-tinged water rush down the drain, a melancholy taking hold when--</scene_description> <character>JIMINEZ (O.S.)</character> <dialogue>Fuck. I can't get the blood outta my wedding ring...</dialogue> <scene_description>ON JIMINEZ: Scrubbing at his knuckles--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>They told us not to wear our wedding rings, in the event they got caught on something.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>But Jiminez wore his anyway...</dialogue> <scene_description>CLOSE ON THE GOLD RING: Jiminez's thumbnail scrapes at blood encrusted between small diamond chips.</scene_description> </scene> <scene> <stage_direction>INT. BARRACKS</stage_direction> <scene_description>A DRONE SHOT AS CHERRY AND JIMINEZ EXIT THE SHOWERS. THE DRONE SLOWLY CREEPS TOWARDS THE FRONT OF THE BARRACKS, REVEALING: VARIOUS SOLDIERS FUCKING AROUND, CHARGED WITH HEIGHTENED TESTOSTERONE--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>In the early days the infantry felt like they were ten feet tall and invincible. They were impatient to begin killing. They wanted to kill so bad. There was a profligate confidence in our firepower. There was a bullshit camaraderie.</dialogue> </scene> <scene> <stage_direction>INT. LIVING QUARTERS, CHERRY'S BUNK - DAY</stage_direction> <scene_description>Cherry's in his bunk, a collection of misfits are littered around the room...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I went back to the room I stayed in. Bautista, Yuri, Lessing, Cheetah: they were there--</dialogue> <scene_description>INSERT QUICK SHOTS OF EACH OF THEM: FOLLOWED BY DEATH CERTIFICATES being typed up: Bautista, Yuri, Lessing-- place of birth, rank, cause of death, photo.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Everyone but Arnold was there. He was on radio watch. Even though I was just arriving back, they had heard already...</dialogue> <character>LESSING</character> <dialogue>Dude, what the fuck happened?</dialogue> <character>CHERRY (V.O.)</character> <dialogue>I didn't really know what the fuck had happened but I started to tell them--</dialogue> <character>CHERRY</character> <dialogue>--You could see all the bones sticking out of their bodies.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>And then Arnold got back--</dialogue> <character>ARNOLD</character> <dialogue>--Hey--</dialogue> <scene_description>ARNOLD enters, wearing thick, military-issued EYEGLASSES. QUICK SHOTS of his DEATH CERTIFICATE typed up.</scene_description> <character>ARNOLD</character> <dialogue>--I heard on the radio that the guys you put on the helicopter are dead.</dialogue> <scene_description>ON CHERRY, utterly devastated by this news. MOMENTS LATER, IN THE LIVING QUARTERS A concerned Cherry finds STAFF SERGEANT GREENE at his desk--</scene_description> <character>CHERRY</character> <dialogue>Sarge, is it true the guys we put on the bird are dead?</dialogue> <character>STAFF SERGEANT GREENE</character> <dialogue>Who told you that?</dialogue> <character>CHERRY</character> <dialogue>Arnold said he heard on the net that they were dead.</dialogue> <character>STAFF SERGEANT GREENE</character> <dialogue>Arnold's a fucking retard.</dialogue> <scene_description>REVEAL Arnold is standing next to Cherry.</scene_description> <character>ARNOLD</character> <dialogue>I thought that was what I heard, Sarge.</dialogue> <character>STAFF SERGEANT GREENE</character> <dialogue>Shut up, Arnold.</dialogue> <scene_description>FREEZE-FRAME on Greene--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Staff Sergeant Greene had been a line cook and enlisted after September 11...</dialogue> <scene_description>INSERT SCENE: CHERRY'S IMAGINING OF GREENE OUT IN THE WORLD THE FOOTAGE IS PIXALATED, AS IF IT'S BEEN SHOT ON A TV SCREEN: The South Tower falls. REVEAL Greene, draped in an apron, standing on a Brooklyn rooftop, crying as he watches. Other kitchen workers behind him.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>They said he'd already killed 15 hajis. He was a hard motherfucker.</dialogue> <scene_description>BACK TO THE LIVING QUARTERS</scene_description> <character>CHERRY</character> <dialogue>So they're not dead?</dialogue> <scene_description>Greene considers Cherry, then--</scene_description> <character>STAFF SERGEANT GREENE</character> <dialogue>Quit worrying so much...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You got your cherry popped today...</dialogue> <scene_description>Not the answer Cherry was looking for... LATER, IN THE BUNKS - NIGHT The whole crew ponders the day's events. Bautista shrugs--</scene_description> <character>BAUTISTA</character> <dialogue>We took eight fucking casualties today.</dialogue> <character>YURI</character> <dialogue>Out of eight hundred.</dialogue> <character>CHEETAH</character> <dialogue>And we're here for a fucking year.</dialogue> <scene_description>Cherry processes this--</scene_description> <character>CHERRY</character> <dialogue>A year's worth of fucking days.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Do the math...</dialogue> <character>ARNOLD</character> <dialogue>We're fucked.</dialogue> <character>LESSING</character> <parenthetical>(incredulous)</parenthetical> <dialogue>What did you guys think you were coming here to do?</dialogue> <scene_description>A quiet realization settles over the group.</scene_description> <character>CHERRY</character> <dialogue>And he was right...</dialogue> <scene_description>AN EXPLOSION! U.S. TANKS FIRE IN SLOW MOTION...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Everything there was about dying.</dialogue> <scene_description>REVEAL A CARAVAN OF HUMVEES ENTERING FRAME, ALSO IN SLOW MOTION. THEY ARE SHADOWED BY TWO BLACKHAWKS. They travel like a circus train across the horizon.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>They even called the area we were stationed in the Triangle of Death...</dialogue> <scene_description>VARIOUS SHOTS OF THE HUMVEE TRAIN CROSSING THE TERRAIN IN EVERY DIRECTION....</scene_description> <character>CHERRY</character> <dialogue>And like idiots, we patrolled every inch of it.</dialogue> </scene> <scene> <stage_direction>INT. HUMVEE, DRIVING - DAY</stage_direction> <scene_description>ON CHERRY, dust caked, blood caked, weary as he rides. He watches a similarly tired Jiminez fidget with his wedding ring--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I'm not gonna lie. Most days it felt like we were just glorified scarecrows...</dialogue> <scene_description>Cherry sighs, clearly missing Emily...</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE CHECKPOINT - ENTERING THE FOB ZONE</stage_direction> <scene_description>The Humvee stops at the checkpoint-- the vehicle swarmed by filthy IRAQI CHILDREN, mostly skinny shoeless boys.</scene_description> <character>IRAQI KIDS</character> <dialogue>MRE! MRE!</dialogue> <character>ARNOLD</character> <dialogue>Look, it's Pebbles...</dialogue> <scene_description>Cherry finds the one GIRL among them (maybe 7 or maybe older and more malnourished). She has hair like a bird's nest and her dress is tattered like something out of the Flintstones.</scene_description> <character>JIMINEZ</character> <dialogue>She does look like Pebbles.</dialogue> <scene_description>SERGEANT NORTH (23), who is sitting up front, hears this. He looks at the small girl begging. Just then, the Humvee starts up again--</scene_description> <character>SERGEANT NORTH</character> <parenthetical>(to Cheetah)</parenthetical> <dialogue>Stop the vehicle.</dialogue> <scene_description>CHEETAH (22, Somali) stops. North opens the door and holds out an MRE, gesturing to Pebbles.</scene_description> <character>SERGEANT NORTH</character> <dialogue>Come here-- come here little Pebbles--</dialogue> <character>CHERRY (V.O.)</character> <dialogue>That's Sergeant North. He took over for Sergeant Greene after Greene got promoted. North didn't look like it, but he was also a killer...</dialogue> <scene_description>INSERT SCENE: CHERRY'S IMAGINING OF NORTH OUT IN THE WORLD WE'RE OUTSIDE A PONTIAC, SLAYER THRASHING OVER A BLOWN SUBWOOFER. We hear a struggle as North's date begs him to stop.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And he was from Idaho.</dialogue> <scene_description>BACK TO THE HUMVEE "Pebbles" hurries to North, reaching for the MRE. As soon as she arrives, North pulls the MRE out of her reach and SLAMS the up- armored door. North laughs like an asshole. The Humvee starts up again. Cherry watches Pebbles out the window, getting swallowed up by the dust in their wake. PRELAP MUSIC--</scene_description> </scene> <scene> <stage_direction>EXT. BLUE SKY - DAY</stage_direction> <scene_description>FOUR FORBIDDING BLACK HAWKS charge across blue sky.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>On Christmas Day, the Denver Mustang Cheerleaders arrived...</dialogue> </scene> <scene> <stage_direction>EXT. FOB, REC AREA - DAY</stage_direction> <scene_description>HIGH-KICKS breaking frame as a chopper hovers in the background. NUDE FISHNETS lace across thighs; KNEE-HIGH WHITE BOOTS kick up sand.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And they waved and bounced with their white teeth...</dialogue> <scene_description>-- CUT TO DENVER MUSTANG CHEERLEADERS mid-routine. Bouncing in the middle of the desert. Waving and flashing their white teeth. Christmas Garland and lights strung around.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And the whole thing seemed kind of goddamn awful. Beautiful women with skin like expensive cream. It wasn't like they were going to fuck you...</dialogue> <scene_description>-- SLOW MOTION on their hips as they dance. PANNING UP to their tanned chests and faces, eyes throwing amorous winks.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And that was what this was all about: you were supposed to want to fuck them, and they were supposed to not fuck you.</dialogue> <scene_description>-- CUT TO SOLDIERS taking pictures with the Cheerleaders. Lessing squeezes between six of them, ogling their cleavage.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>But I was okay with that...</dialogue> <scene_description>-- PAN TO CHERRY standing off to the side with Jiminez.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I didn't even watch much porn, you know. And when I'd jerk off in the porta- shitters, I didn't think of other girls.</dialogue> <scene_description>CUT TO CHERRY JERKING OFF IN A PORTA-SHITTER</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I'm not ashamed of this. I tried to be good.</dialogue> <scene_description>He closes his eyes and... CUT TO Emily, wearing her white ribbon around her neck at Maggie's Party... except she's dressed only in her pink bra and underwear. She smiles at us, swinging.</scene_description> <character>PRELAP CHERRY</character> <dialogue>I miss you...</dialogue> </scene> <scene> <stage_direction>INT. LIVING QUARTERS - DAY</stage_direction> <scene_description>Cherry is on the phone, a couple soldiers waiting behind him.</scene_description> <character>CHERRY</character> <dialogue>I miss you so much.</dialogue> <scene_description>INTERCUT WITH: Emily studying with classmates. Her phone rings.</scene_description> <character>EMILY</character> <dialogue>I miss you too! I have good news...</dialogue> <character>CHERRY</character> <dialogue>What?</dialogue> <character>EMILY</character> <dialogue>Your parents offered to help us get a starter home.</dialogue> <scene_description>ON CHERRY, smiling. Imagining this new home with her.</scene_description> <character>EMILY</character> <dialogue>You there... ?</dialogue> <character>CHERRY</character> <dialogue>Yeah. Yeah, I'm here... just happy is all.</dialogue> <character>SOLDIER IN LINE</character> <parenthetical>(getting impatient)</parenthetical> <dialogue>Time!</dialogue> <character>CHERRY</character> <dialogue>Jesus Christ...</dialogue> <character>SOLDIER IN LINE</character> <dialogue>Get off the phone already--</dialogue> <character>CHERRY</character> <parenthetical>(snaps)</parenthetical> <dialogue>--Gimme a minute!</dialogue> <parenthetical>(then, quietly to Emily)</parenthetical> <dialogue>I think about you everywhere I go...</dialogue> <character>SOLDIER IN LINE</character> <parenthetical>(to Cherry)</parenthetical> <dialogue>Fuck you, new dick!</dialogue> <character>CHERRY</character> <parenthetical>(to the Soldier)</parenthetical> <dialogue>Fuck you!</dialogue> <character>EMILY</character> <dialogue>What is it?</dialogue> <character>CHERRY</character> <dialogue>Nothing. I just... I can't wait to be there with you.</dialogue> <character>SERGEANT NORTH</character> <parenthetical>(to Cherry)</parenthetical> <character>TIME, PRIVATE!</character> <dialogue>CHERRY</dialogue> <scene_description>Fuck!</scene_description> <character>SERGEANT NORTH</character> <dialogue>TIME. PRIVATE.</dialogue> <character>CHERRY</character> <parenthetical>(beat)</parenthetical> <dialogue>I gotta go. I love you.</dialogue> <character>EMILY</character> <dialogue>I love you.</dialogue> </scene> <scene> <stage_direction>INT. IRAQI SCHOOLHOUSE - DAY</stage_direction> <scene_description>A LONG LINE of Iraqis wait to be treated at a U.S. pop-up clinic. There's pushing and shoving. North oversees Cheetah, Lessing, Yuri and Bautista as they try to get the crowd in order. Stringing wire. Arnold mans the gun of a bordering Humvee.</scene_description> <character>SERGEANT NORTH</character> <dialogue>Get their asses in line. Let's go!</dialogue> <scene_description>An Iraqi man argues with Lessing...</scene_description> <character>LESSING</character> <parenthetical>(speaking loud and slow)</parenthetical> <dialogue>You don't back up, we ain't gonna fucking help you. BACK UP!</dialogue> <character>YURI</character> <parenthetical>(to Bautista)</parenthetical> <dialogue>This idiot isn't moving.</dialogue> <character>BAUTISTA</character> <parenthetical>(to the Iraqi man)</parenthetical> <dialogue>I'm gonna fucking blast you, you don't get in line. GET IN LINE!</dialogue> <character>CHERRY (V.O.)</character> <dialogue>When we were sent out to "win the hearts and minds," we worked in pop-up clinics at various schools and town squares and what not. Medical Civil Action Programs they called them...</dialogue> <scene_description>FIND Cherry, next to Jiminez, inspecting deep lacerations on an OLD HAJI's wrists. An INTERPRETER listens to the Haji, then tells Cherry--</scene_description> <character>INTERPRETER</character> <dialogue>He says they're from when he was Zip-tied a few days ago.</dialogue> <scene_description>-- CUT TO Cherry washing the lacerations out. -- CUT TO Cherry bandaging them with gauze when he notices the old man's hand has SWELLED UP.</scene_description> <character>CHERRY</character> <parenthetical>(to Jiminez)</parenthetical> <dialogue>Jesus. Look at his hand.</dialogue> <character>JIMINEZ</character> <dialogue>You got any antibiotics?</dialogue> <character>CHERRY</character> <dialogue>No.</dialogue> <character>JIMINEZ</character> <dialogue>I'm out too...</dialogue> <scene_description>-- CUT TO Cherry approaching the same Seasoned Medic who yelled at him to help get the guy's guts back in. The Medic is asleep.</scene_description> <character>CHERRY</character> <dialogue>'Scuse me, Sarge? Sarge?</dialogue> <scene_description>He pops an eye open, annoyed. -- CUT TO The Haji's swollen hand, shaking now.</scene_description> <character>CHERRY (O.S.)</character> <dialogue>What do you think about this?</dialogue> <scene_description>-- REVEAL Cherry and the Seasoned Medic with the old man.</scene_description> <character>SEASONED MEDIC</character> <dialogue>It's cellulitis.</dialogue> <character>CHERRY</character> <dialogue>We're out of antibiotics.</dialogue> <character>SEASONED MEDIC</character> <dialogue>So.</dialogue> <character>CHERRY</character> <dialogue>Well, what can I do for this guy?</dialogue> <character>SEASONED MEDIC</character> <dialogue>Nothing.</dialogue> <character>CHERRY</character> <dialogue>What should I tell him?</dialogue> <character>SEASONED MEDIC</character> <dialogue>Tell him to eat shit and die.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>This was the kind of crap that happened.</dialogue> <scene_description>The Seasoned Medic leaves. A concerned Cherry looks to the interpreter--</scene_description> <character>CHERRY</character> <dialogue>Tell him to go to a hospital and try and get some antibiotics from a doctor because I don't have any medicine.</dialogue> <scene_description>DRONE SHOT OF OIL BURNING AT DUSK, CASTING ITS ORANGE GLOW REVEAL a caravan of HUMVEES, riding past--</scene_description> <character>CHERRY(V.O.)</character> <dialogue>I went on a fuckload of patrols. Especially after First Platoon's medic got wounded. As in he was so fucked up, he wasn't coming back...</dialogue> </scene> <scene> <stage_direction>EXT. IRAQ TOWN - NIGHT</stage_direction> <scene_description>ON CHERRY, face painted, moving stealthily with first platoon down a dark alley.</scene_description> <character>CHERRY(V.O.)</character> <dialogue>I didn't like going out with First Platoon because they did night patrols and they were all tough guys and they weren't trying to lie about shit. They would say--</dialogue> <character>RODGERS</character> <dialogue>--I want to kill somebody--</dialogue> <character>CHERRY (V.O.)</character> <dialogue>--Really anybody if it came to it. It was that simple.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>But when there wasn't anybody for them to kill, we'd just walk around. And when we got bored enough, we'd talk...</dialogue> <character>CLOVER</character> <dialogue>Hey Doc, you ever suck computer duster?</dialogue> <character>CHERRY (V.O.)</character> <dialogue>And they were all huffers...</dialogue> <scene_description>Cherry shakes his head.</scene_description> <character>CLOVER</character> <dialogue>You ain't livin', brother.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>Indeed I had done it. Just the week before...</dialogue> <scene_description>INSERT FLASHBACK: BEHIND THE FOB, JUST THE WEEK BEFORE Cherry and Bautista are crouched between two abutting tents. Bautista slips a can of COMPUTER DUSTER from his bag, like a kid who's just swiped a candy bar--</scene_description> <character>BAUTISTA</character> <dialogue>You know what to do?</dialogue> <scene_description>Cherry shakes his head, nervous but attempting not to show it.</scene_description> <character>BAUTISTA</character> <dialogue>Like this--</dialogue> <scene_description>Bautista sprays the can into a balled-up tee-shirt. Presses the shirt over his mouth, inhaling deep.</scene_description> <character>BAUTISTA</character> <dialogue>Just like that.</dialogue> <scene_description>Cherry hesitates, takes the can. He tries, but with markedly less ardor and intensity. Bautista grabs the can back, having another go as--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Bautista huffed till he lost touch with his central nervous system. He swayed back and forth like a blind piano player...</dialogue> <scene_description>CUT TO Cherry, fucked up and watching Bautista-- who has a stream of drool running from his lip and pooling in his lap. He sways back and forth, blindly playing the piano.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>It was enough to make me not want to try again.</dialogue> <scene_description>BACK WITH FIRST PLATOON Rodgers and Clover fuck with Cherry--</scene_description> <character>RODGERS</character> <dialogue>You scared of getting hit, Doc?</dialogue> <scene_description>REVEAL A DOG BARKING AT THE SOLDIERS.</scene_description> <character>CHERRY</character> <dialogue>I'd prefer not to get hit if I had any say in it.</dialogue> <character>CLOVER</character> <dialogue>I want to get hit cause I'd get free hunting and fishing licenses for life if I had a Purple Heart.</dialogue> <scene_description>Cherry considers this.</scene_description> <character>RODGERS</character> <dialogue>What, you don't want a Purple Heart, Doc?</dialogue> <character>CHERRY</character> <dialogue>Not especially.</dialogue> <scene_description>Rodgers scoffs at Cherry...</scene_description> <character>RODGERS</character> <dialogue>Fucking pussy...</dialogue> <scene_description>A gunshot off camera. The dog cries in pain. As Cherry rounds a corner, he spies the dog's motionless body laying in the square. Cherry closes his eyes, as if to try and escape... CUT TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. BLACKHAWK</stage_direction> <scene_description>We are inside a Blackhawk, looking down over the Gunner at a line of Humvees stopped in the road. The lead Humvee, post IED, is engulfed in flames.</scene_description> <character>CHERRY</character> <dialogue>By January, Arnold had been assigned to another squad after they lost their gunner.</dialogue> <character>PILOT (O.S.)</character> <dialogue>Base this is YANKEE FOUR TWO, spot report follows over....</dialogue> <character>BASE (O.S.)</character> <dialogue>YANKEE FOUR TWO, this is base. Send spot report, over.</dialogue> <scene_description>One survivor, engulfed in flames, runs away from the burning vehicle, before collapsing in the dirt. Other soldiers race to put him out...</scene_description> <character>PILOT (O.S)</character> <dialogue>Observe one US Forces Humvee on fire. One friendly casualty, also on fire. Appears to be KIA...</dialogue> <character>CHERRY (V.O.)</character> <dialogue>Two days later he was dead.</dialogue> <scene_description>ZOOM IN on the burning body.</scene_description> <character>BASE (O.S.)</character> <dialogue>Spot report received, YANKEE FOUR TWO.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>They told us to pack up his stuff...</dialogue> </scene> <scene> <stage_direction>INT. FOB, CHERRY'S BUNK - DAY</stage_direction> <scene_description>Cherry and the others pack up Arnold's things, including his eyeglasses.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>But it seemed pointless. He was dead as shit.</dialogue> <scene_description>LATER Cherry lays on his bunk with his headphones in. The others lay on their bunks too. One bed is empty. Cherry considers it--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Who needed it...</dialogue> </scene> <scene> <stage_direction>EXT. HUMVEE, LEAVING THE FOB CHECKPOINT - DAY</stage_direction> <scene_description>The HUMVEE TRAIN waits to exit. Cheetah in the driver's seat, North shotgun. Cherry and Jiminez in back, with Bautista now the gunner. The kids swarm their Humvee. Cherry calls Pebbles over. He hands her an MRE. North watches him, hating his guts. As the Humvee rolls away, Cherry watches Pebbles. She holds the MRE tight against her chest, running off with it as-- One of the shoeless boys punches her in the head, takes the MRE away from her. North laughs--</scene_description> <character>SERGEANT NORTH</character> <dialogue>Look at that. You made her fucking day...</dialogue> <scene_description>Cherry watches Pebbles. She lays in the dust, crying...</scene_description> </scene> <scene> <stage_direction>EXT. HUMVEE, DRIVING - MOUNTAIN PASS - DAY</stage_direction> <scene_description>The Humvee train navigates a dirt road through a mountain pass. As the pass opens up, North picks up his radio--</scene_description> <character>NORTH</character> <parenthetical>(into radio)</parenthetical> <dialogue>PAPA ONE BRAVO FOUR, this is PAPA ONE BRAVO SEVEN. Audible. We're gonna get off this line...</dialogue> <scene_description>North clicks off the radio as Cherry watches them veer off the main road, onto caked dirt.</scene_description> <character>CHERRY</character> <dialogue>'Scuse me, Sergeant North...</dialogue> <character>SERGEANT NORTH</character> <dialogue>What is it, fuckstick?</dialogue> <character>CHERRY</character> <dialogue>I don't think we should try to drive through here. We oughta stay on the road.</dialogue> <character>SERGEANT NORTH</character> <parenthetical>(with disdain)</parenthetical> <dialogue>Oh. Is that what you think, you fucking PFC wanna be a private?</dialogue> <character>CHERRY</character> <parenthetical>(beat)</parenthetical> <dialogue>Yes. That's what I think, Sergeant.</dialogue> <character>SERGEANT NORTH</character> <dialogue>That road runs right through an "oh shit" zone. You want I should put all these men in danger 'cause you don't wanna save two minutes?</dialogue> <scene_description>Cherry considers that, can't help but tell him--</scene_description> <character>CHERRY</character> <dialogue>It's just-- When I was out with First Platoon, we got four vehicles stuck in here trying to drive through this shit.</dialogue> <character>SERGEANT NORTH</character> <dialogue>Looks fine to me.</dialogue> <character>CHERRY</character> <dialogue>It ain't fine. It's all shit under the surface--</dialogue> <scene_description>North turns around, looking at Cherry--</scene_description> <character>SERGEANT NORTH</character> <dialogue>Enough! Close your fucking man pleaser.</dialogue> <parenthetical>(then, to Cheetah)</parenthetical> <dialogue>Floor it, Cheetah.</dialogue> <scene_description>MOMENTS LATER, OUTSIDE THE HUMVEE Wheels spin in the mud as Cherry and company stand out in the open now, nervous and clutching weapons. A gunner scans the area, tense, as-- Sergeant North signals for the driver to stop. Kicks the tire.</scene_description> <character>SERGEANT NORTH</character> <dialogue>Motherfuck a whore!!</dialogue> <parenthetical>(yelling)</parenthetical> <dialogue>Cheetah, get up here and pull this goddamn POS out of the mud!</dialogue> <scene_description>Cherry can't hold back--</scene_description> <character>CHERRY</character> <dialogue>You don't want to do that, Sarge. That's exactly what we did. You'll only make things harder for QRF when they get here. You need a Bradley with a tow cable.</dialogue> <character>SERGEANT NORTH</character> <dialogue>Shut the fuck up and watch your sector...</dialogue> <character>CHERRY</character> <dialogue>You need a Bradley--</dialogue> <character>SERGEANT NORTH</character> <dialogue>--Shut. The Fuck. Up.</dialogue> <scene_description>MOMENTS LATER TWO HUMVEES are stuck in the mud; even more soldiers baking in the sun.</scene_description> <character>SERGEANT NORTH</character> <dialogue>Shit!</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Shit! Shit! Shit!</dialogue> <scene_description>Cherry watches from afar now, providing cover near to the THIRD TRUCK (the only truck not stuck in the mud). Jiminez, Lessing and Yuri are with him, weapons at the ready. Bautista's inside the Third Truck on radio--</scene_description> <character>BAUTISTA</character> <dialogue>North says QRF can't get here for a few hours. He wants us to go back and get a Bradley with a tow cable.</dialogue> <character>CHERRY</character> <parenthetical>(pissed)</parenthetical> <dialogue>No shit.</dialogue> <character>BAUTISTA</character> <dialogue>Now he's saying he wants you to get back down there and get on radio watch.</dialogue> <character>CHERRY</character> <dialogue>Tell him I said get fucked.</dialogue> <character>BAUTISTA</character> <parenthetical>(skips a beat)</parenthetical> <dialogue>Really?</dialogue> <character>CHERRY</character> <parenthetical>(yeah)</parenthetical> <dialogue>Tell him I said get fucked...</dialogue> <character>BAUTISTA (INTO RADIO)</character> <dialogue>Says he's coming, Sarge.</dialogue> <scene_description>Cheetah approaches now--</scene_description> <character>CHEETAH</character> <dialogue>Come on guys, move out--</dialogue> <character>YURI</character> <parenthetical>(to Cheetah)</parenthetical> <dialogue>What are you North's bottom?</dialogue> <character>CHEETAH</character> <dialogue>No, I don't want to spend the next 4 hours waitin' to get shot.</dialogue> <character>LESSING</character> <dialogue>Cheetah just loves America...</dialogue> <scene_description>They laugh.</scene_description> <character>CHEETAH</character> <dialogue>I do! I'm fighting to be a member of this great country--</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Not this great country-- I never want to come back to this fucking shit-hole sand- box ever again--</dialogue> <scene_description>Jiminez gives Cherry a pat on the back as the others start getting in their Humvee--</scene_description> <character>JIMINEZ</character> <dialogue>Don't let North fuck with you too hard.</dialogue> <character>LESSING</character> <dialogue>Think he means don't let North fuck you too hard.</dialogue> <scene_description>Yuri fires up the engine - Jiminez, Lessing, and Bautista also inside. The Humvee pulls away as-- MOMENTS LATER North gets out of the Humvee as Cherry and Cheetah approach. Cherry climbs in, tension rising. He grabs the handset, clipping it to him, when-- BOOM! THIS IS THE LOUDEST EXPLOSION! Cherry spins around in his seat-- And for one moment, there is an eerie sense of quiet. No sound at all... and it's another moment before Cherry knows if he's even alive... and then he realizes... The Humvee with his friends has hit an IED and is now dust. FOLLOW CHERRY, GETTING OUT OF HIS HUMVEE AND RUNNING STRAIGHT TOWARD THE CHAOS North is heard shouting after him--</scene_description> <character>SERGEANT NORTH (O.S.)</character> <dialogue>Don't fucking run into it!</dialogue> <scene_description>But a force beyond Cherry's control is sending him head-first INTO THE FIRE, overwhelmed by-- Body parts scattered on the ground. The imprint of a face melted to a window. All the faces are burned off, actually... there are no faces left. Cherry takes in each horror as TIME SLOWS--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>The smell is something you already know. It's coded in your blood. The smoke gets into every pore and every gland, your mouth full of it to where you may as well be eating it.</dialogue> <scene_description>A SERIES OF CUTS: Cherry, running back and forth from the culvert to the burning Humvee, his helmet full with water... and it's not occurring to him that this is useless, since everyone is fucking dead already. MOMENTS LATER -- CUT TO other soldiers arriving now, joining in to help him, using helmets, ammo cans, whatever. LATER The Captain arrives, taking the scene in, his eyes landing on-- CHERRY standing immobile where the fire once burned. He's looking up at Bautista, who's on the platform under the turret-- A burned-up skull with empty sockets, teeth clenched. The Captain approaches Cherry with gentle tact--</scene_description> <character>CAPTAIN</character> <dialogue>Private...</dialogue> <character>CHERRY</character> <parenthetical>(beat)</parenthetical> <dialogue>That's Bautista. He was the gunner...</dialogue> <scene_description>The Captain gives Cherry a look as if to say, help me get him. And, together, they pick up Bautista's CORPSE-- Cherry has it by the top half and the Captain has it by the legs. The black muscle tissue is scalding, slick. Cherry lets go, his hands searing--</scene_description> <character>CHERRY</character> <dialogue>Shit my gloves are melting-- I'm sorry, Captain--</dialogue> <scene_description>--he rips the gloves off, hands trembling. The Captain, acutely aware that Cherry is on the verge of falling to pieces--</scene_description> <character>CAPTAIN</character> <dialogue>It's alright. Try hooking your arms instead.</dialogue> <scene_description>Cherry nods and they hoist the corpse up again, Cherry hooking his arms under Yuri's this time. A SERIES OF CUTS: Cherry and the Captain carrying Bautista; Bautista set down in a body bag; Bautista zipped up inside-- Gone. Cherry notices Cheetah watching, shaken.</scene_description> <character>CHERRY</character> <dialogue>That was Bautista...</dialogue> <character>CHEETAH</character> <dialogue>I think there's some more of him still in the truck.</dialogue> <scene_description>TIGHT ON CHERRY, scraping a piece of Bautista off the seared seat. He doesn't know what to do, so he throws it in the water. CUT TO CHERRY: Staring at Lessing's melted face stuck to the front windshield. He says to the Captain...</scene_description> <character>CHERRY</character> <dialogue>That one was Lessing...</dialogue> <scene_description>Then he notices SOMETHING on the ground next to him. STAY ON CHERRY'S FACE as he considers it, his jaw tensing...</scene_description> <character>CHERRY</character> <parenthetical>(to the Captain)</parenthetical> <dialogue>This one's Jiminez.</dialogue> <scene_description>REVEAL A LEFT HAND lying on the ground, severed from the rest of its body-- Jiminez's gold WEDDING RING still in place underneath. LATER SLANT BACK HUMVEES taking away the bodies now. Cherry stands there like a lost dog--</scene_description> <character>SERGEANT NORTH</character> <dialogue>Let's get back in the vehicle, Private.</dialogue> <character>CHERRY</character> <parenthetical>(beat)</parenthetical> <dialogue>No.</dialogue> <character>SERGEANT NORTH</character> <dialogue>Come on, man.</dialogue> <character>CHERRY</character> <dialogue>I'm not getting back in the fucking vehicle.</dialogue> <character>SERGEANT NORTH</character> <dialogue>Look, I know you're upset. We're all upset. But we need to get back to the FOB--</dialogue> <character>CHERRY</character> <dialogue>I'm not going anywhere with you.</dialogue> <scene_description>North is caught off guard.</scene_description> <character>CHERRY</character> <dialogue>How many times are you gonna ignore me when I try to tell you something you need to know? I don't tell you these things 'cause I like to hear myself talk. I tell you these things 'cause I want to help you! And now four guys got killed! Four guys who were my friends-- my friends are fucking dead--</dialogue> <scene_description>Cherry is practically out of his mind now. He turns to walk away, North screaming after him--</scene_description> <character>STAFF SERGEANT NORTH</character> <dialogue>Where you going?</dialogue> <parenthetical>(Cherry ignores him)</parenthetical> <dialogue>None of it matters if you're dead too!</dialogue> <scene_description>ON CHERRY Blood-drenched, wind and sand whipping him. He stumbles off alone into the DESERT VOID. Before collapsing, exhausted, no longer making sense in the world--</scene_description> </scene> <scene> <stage_direction>INT. HUMVEE, DRIVING, ENTERING THE FOB CHECK POINT</stage_direction> <scene_description>A vacant Cherry rides, covered in blood and dust. Cheetah drives and Staff Sergeant North sits shotgun. It's SILENT now. A stark contrast to the hell they just left behind... THE HUMVEE stops at the usual checkpoint. Pebbles is there. She reaches her hands out, calling to Cherry through the window.</scene_description> <character>PEBBLES</character> <dialogue>MRE-- MRE--</dialogue> <scene_description>But Cherry keeps looking straight ahead.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Suddenly there was nothing interesting about it anymore...</dialogue> </scene> <scene> <stage_direction>INT. FOB, HOLDING SITE FOR WAR DEAD - DAY</stage_direction> <scene_description>Cherry sits alone. Motionless. Hollow inside. Gazing at FOUR COFFINS with American Flags draped over them.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>... nothing at all.</dialogue> <character>PRELAP EMILY</character> <dialogue>Babe? Babe are you doing okay?</dialogue> </scene> <scene> <stage_direction>INT. FOB, LIVING QUARTERS - DAY</stage_direction> <scene_description>Cherry, on the phone. He's fucked up and Emily senses it.</scene_description> <character>CHERRY</character> <dialogue>Uh-huh.</dialogue> <scene_description>INTERCUT WITH: Emily standing outside her classroom, concerned--</scene_description> <character>EMILY</character> <dialogue>Are you seeing bad things?</dialogue> <character>CHERRY</character> <dialogue>A little.</dialogue> <character>EMILY</character> <dialogue>Are... people getting killed? 'Cause I'm seeing on the news that people are getting killed.</dialogue> <parenthetical>(then, off his silence)</parenthetical> <dialogue>Hello... ?</dialogue> <character>CHERRY</character> <parenthetical>(long beat)</parenthetical> <dialogue>I'm here.</dialogue> <scene_description>Emily tears up, assuring him--</scene_description> <character>EMILY</character> <dialogue>Babe... you're gonna make it through this. I have faith--</dialogue> <character>CHERRY</character> <dialogue>Tell me... more about you.</dialogue> <character>EMILY</character> <parenthetical>(long beat)</parenthetical> <dialogue>Well, I got a job as a waitress at The Academy. It's close to the neighborhood I think we should settle on. You like those streets over by Larchmere, right?</dialogue> <scene_description>Cherry presses his head into the wall, crying--</scene_description> <character>EMILY (OVER PHONE)</character> <dialogue>Babe?</dialogue> <character>CHERRY</character> <dialogue>Uh-huh.</dialogue> <character>EMILY</character> <dialogue>You're sure you're okay?</dialogue> <character>CHERRY</character> <parenthetical>(on the verge of tears)</parenthetical> <dialogue>Just missing you is all.</dialogue> <character>EMILY</character> <dialogue>Me too. I'll email you some photos. You can help me pick out a couch.</dialogue> <character>CHERRY</character> <dialogue>Okay, yeah, that would be great--</dialogue> <character>EMILY</character> <dialogue>Love y--</dialogue> <scene_description>But he's hung up before she can get the words out. A beat, as he continues crying, cathartic... until slowly he stops. A moment as he catches his breath, bottling it up. A little more dead in the eyes-- GUNFIRE!</scene_description> </scene> <scene> <stage_direction>EXT. VILLAGE - DAY</stage_direction> <scene_description>Cherry and a squad of soldiers navigate heavy gunfire in a smoke filled alley--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Over the next ten months, I did 237 combat missions...</dialogue> <character>VOICE (O.S.)</character> <parenthetical>(yelling)</parenthetical> <dialogue>Medic!!</dialogue> <scene_description>Fearless, Cherry breaks into a run up the alley, bullets pinging the wall around him....</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And every one of them should've killed me.</dialogue> </scene> <scene> <stage_direction>EXT. BATTLEFIELD - MOMENTS LATER</stage_direction> <scene_description>Cherry crawls through the dust to a SCREAMING SOLDIER with his leg blown off. Cherry applies a tourniquet. Looks up to see a scared YOUNG MEDIC, a cherry, taking cover nearby. Shouts to him through the mayhem--</scene_description> <character>CHERRY</character> <dialogue>Slide me that litter!</dialogue> <scene_description>The Young Medic, still in shock, does as he's told.</scene_description> <character>CHERRY</character> <dialogue>Help me get him on!</dialogue> <scene_description>The Young Medic stares at Cherry, afraid to come out. Cherry scrambles over to the Medic, making physical and visual contact. Pulling the kid out of the "black"...</scene_description> <character>CHERRY</character> <dialogue>Let's go, move!</dialogue> <scene_description>Jolted, the Young Medic scrambles out into the gunfire, helps Cherry load up the Screaming Soldier. Together they run the litter back out of the village to the landing CASEVAC. ON CHERRY, as they run, taking in the anguished Soldier's face--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Truth was, I wasn't some hard motherfucker...</dialogue> <scene_description>REVERSE TO CHERRY'S POV: The Soldier no longer looks like a human being to him, but a MANNEQUIN instead (just like the ones Cherry worked with in training).</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I was just some guy who couldn't give a shit anymore. And just so happened not to get shot.</dialogue> <scene_description>They load the litter onto the chopper and the Young Medic bowls over, vomiting into the dust. OFF CHERRY, no longer a cherry, running back into battle to get more wounded as if on auto-pilot, DISAPPEARING INTO THE SMOKE. PRELAP DISCO MUSIC-- THROUGH THE SMOKE Cherry emerges, blood no longer caked on his skin, his uniform no longer covered dust... He walks alongside OTHER SOLDIERS. An unwilling participant in this dog and pony show as we REVEAL we are now in-- A GYMNASIUM: SMOKE MACHINES are on full blast as a DJ spins; MUSIC pounds from a subwoofer. HUNDREDS OF FAMILIES call out the names of newly returned loved ones; taking photos and videos... CHYRON -- PART FOUR: HOME, 2005 Cherry's eyes scan the chaos through the smoke-- QUICK CUTS of children and wives and parents. He sees-- Emily with his parents (VFX: Cherry's dad is A GREY SHADOW AGAIN). Cherry's heart stops. He watches Emily, who is absolutely beaming. But Cherry can't seem to smile back.</scene_description> <character>SOLDIER'S VOICE (O.C.)</character> <dialogue>FORM UP!</dialogue> <scene_description>CUT TO the soldiers lined up in ranks. It's quiet now.</scene_description> <character>COLONEL HIGHTOWER</character> <parenthetical>(over microphone)</parenthetical> <dialogue>After Private First Class Jiminez was killed in action, this soldier went on to take care of his platoon as well, serving three platoons in total to complete more combat missions than any other medic in his battalion.</dialogue> <scene_description>REVEAL CHERRY, standing next to HIGHTOWER (32). His mind is racing, his jaw tense--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I wanted to get the fuck out of there because I felt a panic attack coming on. Dry heaves and everything.</dialogue> <character>COLONEL HIGHTOWER</character> <parenthetical>(over microphone)</parenthetical> <dialogue>--It is my honor to award you this medal of valor.</dialogue> <scene_description>The crowd ERUPTS into applause. Hightower pins the medals on Cherry, snapping him back into reality--</scene_description> <character>COLONEL HIGHTOWER</character> <dialogue>Congratulations, Specialist.</dialogue> <scene_description>Cherry's Mom wipes away tears in the bleachers, her mascara smudging. Emily blows kisses. Cherry, struggling with it all.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I just didn't feel like I'd done anything to go running into gymnasiums about.</dialogue> <scene_description>CUT TO THE SOLDIERS BACK IN FORMATION NOW: Hightower signals their DISMISSAL as they each begin moving towards the bleachers, searching the hoards of family members who rush out onto the gymnasium floor to reunite with their loved ones...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>My one true accomplishment was not dying-- and really I had nothing to do with it.</dialogue> <scene_description>Just then, Emily reaches Cherry, wrapping her arms around his body for the first time in an eternity, feeling the warmth of his face with her hands, searching his eyes as-- Cherry tears up, all of the emotion he has stuffed down for so long finally able to surface. And as the two of them stand there, holding one another-- DRONE SHOT OF THE SAME CHARMING LITTLE HOUSE FROM THE BEGINNING OF THE FILM</scene_description> <character>CHERRY (V.O.)</character> <dialogue>When I got back to Ohio, we moved into our new home...</dialogue> </scene> <scene> <stage_direction>EXT. CHERRY AND EMILY'S HOUSE - DAY</stage_direction> <scene_description>ON CHERRY, wearing his fatigues, taking in the house for the very first time... happier than he's ever been. He pulls Emily close to kiss her head.</scene_description> </scene> <scene> <stage_direction>INT. CHERRY AND EMILY'S KITCHEN - MORNING</stage_direction> <scene_description>Emily pours coffee into two thermoses.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I started taking night classes at a school Emily was working at...</dialogue> <scene_description>She hands a thermos to Cherry, who packs his backpack. As she kisses him goodbye--</scene_description> </scene> <scene> <stage_direction>EXT. SUBURBAN HOUSE UNDER CONSTRUCTION - DAY</stage_direction> <scene_description>Cherry works with a few other guys on a house.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And I got a job that paid $8.00 an hour. Roy's Cousin Joe helped me get it...</dialogue> <scene_description>REVEAL ROY'S COUSIN JOE hammering next to Cherry.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>No one there but Joe and I had ever had anything to do with murderers or anything like that.</dialogue> <scene_description>REVEAL THE OTHER CONSTRUCTION WORKERS, young guys who have never had to look death in the eye, or put a gun to a guy's head and blow his brains out.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>The world meant something else to them than it did to us.</dialogue> <scene_description>One of them complains--</scene_description> <character>CONSTRUCTION WORKER</character> <dialogue>Shit. My fuckin' coffee's cold...</dialogue> <scene_description>As he dumps it--</scene_description> <character>COUSIN JOE</character> <parenthetical>(under breath)</parenthetical> <dialogue>Spoiled fucks.</dialogue> <scene_description>VFX: ON AN ANGRY JOE, pummeling a nail with his hammer, the clouds above him suddenly growing DARK AND SINISTER--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>After he got back, Joe had problems for a while...</dialogue> <scene_description>INSERT FLASHBACK: JOE'S GIRLFRIEND'S CAR, DRIVING Joe is drinking in the passenger seat; his girlfriend freaking out at the wheel. Cherry and Emily watch, uncomfortable, from the backseat.</scene_description> <character>JOE'S GIRLFRIEND</character> <dialogue>You're being a dick!</dialogue> <character>JOE</character> <dialogue>You're being a dick!</dialogue> <character>JOE'S GIRLFRIEND</character> <dialogue>All I did was ask you if you really need to keep drinking seeing as you're already shit faced!</dialogue> <character>JOE</character> <dialogue>AND I SAID I DID!</dialogue> <character>JOE'S GIRLFRIEND</character> <dialogue>AND I SAID: NO YOU DID NOT!!</dialogue> <scene_description>Joe can't take it, he opens the door and jumps out of the moving car. His girlfriend screams. Cherry and Emily react, too. SECONDS LATER, OUTSIDE THE CAR: Joe lies beat up in a ditch on the side of the road. Cherry helps him to his feet.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>He wasn't the only one with problems...</dialogue> </scene> <scene> <stage_direction>INT. CHERRY AND EMILY'S HOUSE, VARIOUS</stage_direction> <scene_description>IN THE BEDROOM, NIGHT Cherry wakes up SCREAMING. Emily is freaked out, trying to comfort him.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I didn't sleep. And when I did I dreamt of violence...</dialogue> <scene_description>CUT TO Cherry crying into Emily's stomach. She rocks him like a child, her face wrought with concern. IN THE BATHROOM, MORNING Cherry stares at a BLOOD-FILLED TOILET, numb.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I shit blood, I farted blood...</dialogue> <scene_description>He looks at himself in the mirror.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And then I craved sleep...</dialogue> <scene_description>IN THE KITCHEN, ANOTHER MORNING Cherry cooks eggs for breakfast, the smell of sulfur hitting him. Suddenly throws the entire egg carton at the wall.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Basically I was being a sad crazy fuck about the horrors I'd seen...</dialogue> <scene_description>REVEAL Emily watching him from the doorway. She flinches as he throws the whole toaster against the wall now. Tears well in her eyes as--</scene_description> <character>CHERRY (TO US)</character> <dialogue>And I was making Emily miserable. And knowing that I was making her miserable made me more miserable...</dialogue> <scene_description>IN THE BEDROOM, ANOTHER NIGHT Now Emily sobs into Cherry's stomach, and he holds her.</scene_description> <character>CHERRY (TO US)</character> <dialogue>I wanted so badly to be better than this for her.</dialogue> <scene_description>IN THE BATHROOM, ANOTHER DAY, A FEW MONTHS LATER Cherry, his hair longer now, straightens his tie, looking in the mirror-- Where his reflection appears slightly out of sync. A KNOCK on the door--</scene_description> <character>EMILY (O.S.)</character> <dialogue>Hurry-- we'll be late.</dialogue> <scene_description>Cherry dumps some Xanax into his palm. Swallows them.</scene_description> </scene> <scene> <stage_direction>INT. THE PALACE THEATRE, BALCONY - NIGHT</stage_direction> <scene_description>Cherry and Emily, all dressed up for a special night out, settle into their seats before the show, sipping drinks.</scene_description> <character>EMILY</character> <dialogue>Thank you for thinking to do this...</dialogue> <scene_description>But Cherry is lost somewhere in his own thoughts, stoned from the pills and alcohol...</scene_description> <character>CHERRY</character> <dialogue>Why are we the only ones dressed up?</dialogue> <scene_description>Emily looks around. She hadn't noticed. She shrugs--</scene_description> <character>EMILY</character> <dialogue>I don't know.</dialogue> <character>CHERRY</character> <parenthetical>(with increasing volume)</parenthetical> <dialogue>They're fucking middle-aged people with money for chrissakes, and they can't even bother to wear a fucking sports coat to a fucking play?</dialogue> <scene_description>A MAN WEARING KHAKI SHORTS and locating his row down below them looks up to the balcony, hearing Cherry. Cherry locks eyes with the Man, calling--</scene_description> <character>CHERRY</character> <dialogue>Yeah, I'm talking to you, dipshit. You who didn't have the decency to remove your LL Bean after you ran here from the fucking golf course.</dialogue> <character>MAN</character> <parenthetical>(calling back up)</parenthetical> <dialogue>Dude, what's your problem?</dialogue> <character>EMILY</character> <parenthetical>(to Cherry, quiet)</parenthetical> <dialogue>Babe...</dialogue> <character>CHERRY</character> <parenthetical>(to the man)</parenthetical> <dialogue>You deserve vomit.</dialogue> <character>EMILY</character> <parenthetical>(grabbing onto Cherry)</parenthetical> <dialogue>Okay, let's go--</dialogue> <character>CHERRY</character> <parenthetical>(to everyone now)</parenthetical> <dialogue>All of you!</dialogue> <parenthetical>(then, to Emily)</parenthetical> <dialogue>I can't believe this is the life we fought for--</dialogue> <character>EMILY</character> <dialogue>--We're leaving.</dialogue> <character>CHERRY</character> <dialogue>WE'RE NOT FUCKING LEAVING.</dialogue> <scene_description>Everyone goes quiet. MOMENTS LATER, IN THE BATHROOM Cherry stares in the mirror for a long moment-- His reflection even more out of sync now. He turns on the sink. Starts washing his hands.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I punched the bathroom mirror on accident when I was washing my hands...</dialogue> <scene_description>CUT TO Cherry PUNCHING the mirror. The mirror crashes to the ground. The lone other occupants are TWO KIDS (somewhere around the eighth grade and scared shitless). The older kid pulls the younger one away from Cherry, then they hurry out the door.</scene_description> <character>MOMENTS LATER, ON THE BALCONY</character> <dialogue>Cherry beelines to Emily.</dialogue> <character>CHERRY</character> <dialogue>We gotta go. I mean like we gotta go right fuckin' now.</dialogue> <scene_description>He grabs onto her arm. Emily sees his hand is bleeding.</scene_description> <character>EMILY</character> <dialogue>Jesus Christ...</dialogue> <scene_description>152A THE LOBBY 152A Cherry leads Emily through a sea of people flooding into the open theater doors. He's like a salmon swimming upstream--</scene_description> <character>INT. CHERRY AND EMILY'S BEDROOM - NIGHT</character> <dialogue>Emily sits in bed, quietly crying.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>We went home and I took a few more Xanax...</dialogue> <scene_description>REVEAL Cherry sleeping next to her, his hand bandaged. An open Xanax bottle on his nightstand. CUT TO Emily taking a Xanax now. She lays down next to Cherry.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>That also happened to be the night James Lightfoot tried coming around to welcome me back. But he got arrested breaking into my house...</dialogue> <character>INSERT SCENE: CHERRY'S IMAGINING OF JAMES LIGHTFOOT GETTING</character> <dialogue>ARRESTED</dialogue> <dialogue>A strung-out James, who has taken a turn for the worse since Cherry left for Iraq, tries to wake a sleeping COUPLE.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>Except it wasn't my house; he broke into the wrong house...</dialogue> <scene_description>The Couple wakes up, freaking the fuck out at the sight of James. The husband GRABS A GUN from his nightstand drawer.</scene_description> <character>LATER, OUTSIDE THE HOUSE</character> <dialogue>James is frisked by TWO COPS.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>Since I left for Iraq, James had busted his knee up working for the highway department and got to using Oxycontin pretty hard...</dialogue> <scene_description>The Cops find a BAGGIE OF PILLS on him, and a knife. James starts to cry.</scene_description> </scene> <scene> <stage_direction>INT. CHERRY AND EMILY'S KITCHEN - DAY</stage_direction> <scene_description>Cherry, Emily, and James eat dinner. Cherry looks anxious.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>After I bailed him out, he started hanging around a lot. My Xanax weren't doing shit anymore.</dialogue> <character>JAMES LIGHTFOOT</character> <parenthetical>(to Cherry)</parenthetical> <dialogue>Dude, you okay?</dialogue> <scene_description>Just then, Cherry starts hyperventilating.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And James Lightfoot, having half a heart, offered to spot me some of his pills...</dialogue> <scene_description>As James spills out some pills from his bottle of Oxycontin-- LATER, IN THE LIVING ROOM Cherry sits on the couch watching TV with James and Emily. Peaceful. Stoned on Oxy.</scene_description> </scene> <scene> <stage_direction>EXT. SHITTY BANK - A COUPLE WEEKS LATER</stage_direction> <scene_description>Cherry and James, both high, get out of Cherry's Dodge.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>A few weeks later, James asked me to take him to the bank...</dialogue> <scene_description>As they cross the parking lot to the bank, James lays out the plan for Cherry--</scene_description> <character>JAMES LIGHTFOOT</character> <dialogue>So basically I'll sign some of my paychecks over to you so you can give me cash for them... because I can't have a bank account... because I'm in ChexSystems... and my credit is totally fucked.</dialogue> </scene> <scene> <stage_direction>INT. SHITTY BANK - DAY</stage_direction> <scene_description>Cherry stands at the TELLER'S window. James stands off to the side, trying to keep a low profile. The Teller looks down at the paychecks, annoyed--</scene_description> <character>TELLER</character> <dialogue>I can't cash these checks, sir.</dialogue> <character>CHERRY (V.O.)</character> <dialogue>It wasn't exactly a smash hit. The teller thought I was being a dick because I was high on Oxycontin and I wasn't hiding that I thought he was an asshole.</dialogue> <scene_description>Cherry stares down the Teller.</scene_description> <character>CHERRY</character> <dialogue>You know what, you're an asshole. I'd like to speak to your manager.</dialogue> <scene_description>CUT TO the manager and security guard escorting Cherry and James out of the bank--</scene_description> <character>CHERRY</character> <parenthetical>(into his cell phone)</parenthetical> <dialogue>I'm a war veteran and the teller and the manager at your Mayfield branch are treating me like I'm an undesirable and I don't know what I'm going to do about it yet, but it sure as fuck isn't right the way they treat people.</dialogue> </scene> <scene> <stage_direction>EXT. JAMES LIGHTFOOT'S MOM'S DRIVEWAY - DAY</stage_direction> <scene_description>Cherry and James get out of the car.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>So I drove James back to his mom's house.</dialogue> <character>CHERRY</character> <dialogue>I'm sorry, James. It's really unfortunate how that all played out.</dialogue> <character>JAMES LIGHTFOOT</character> <dialogue>Yeah, well, thanks anyway.</dialogue> <scene_description>James heads to the front door. But Cherry lingers in the driveway, considering it all--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Everything had changed and nothing had changed.</dialogue> </scene> <scene> <stage_direction>160A INT. CHERRY AND EMILY'S HOUSE - BEDROOM - DAY 160A</stage_direction> <scene_description>Cherry lays on the bed, stoned.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>The problem was I really, really liked Oxy; it made me feel a type of way so as I wasn't about taking shit from anyone.</dialogue> <character>EMILY (O.S.)</character> <dialogue>What did you take?</dialogue> <scene_description>REVEAL Emily standing over him, pissed. Cherry cracks a smile.</scene_description> <character>CHERRY</character> <dialogue>I'm not taking your shit.</dialogue> <scene_description>Emily marches out, slamming the door. A beat. Then--</scene_description> <character>PRELAP CHERRY</character> <dialogue>My wife is ready to leave me...</dialogue> <character>INT. VETERAN'S HOSPITAL, DOCTOR'S OFFICE - DAY</character> <dialogue>Cherry sits across from DOCTOR WHOMEVER (50), who wears a corduroy jacket covered in cat fur; plaque on his desk reads, "DOCTOR WHOMEVER"...</dialogue> <dialogue>As Doctor Whomever makes a very long note in Cherry's file--</dialogue> <character>CHERRY (V.O.)</character> <dialogue>I had promised Emily I would find a better way of dealing with my war shit than taking pills...</dialogue> <scene_description>Doctor Whomever finally looks up--</scene_description> <character>DOCTOR WHOMEVER</character> <dialogue>And have you been experiencing suicidal thoughts?</dialogue> <character>CHERRY</character> <dialogue>Sometimes. I think if I had just died in Iraq she would be happier now. I mean of course she would have been sad for awhile. But ultimately her life would be better.</dialogue> <scene_description>Doctor Whomever makes another very long note.</scene_description> <character>DOCTOR WHOMEVER</character> <dialogue>How long have you been back?</dialogue> <character>CHERRY</character> <dialogue>Eight months.</dialogue> <character>DOCTOR WHOMEVER</character> <dialogue>And have you been evaluated for PTSD before?</dialogue> <character>CHERRY</character> <dialogue>Isn't that what we're doing here?</dialogue> <scene_description>Doctor Whomever looks up at him. Says nothing. Finally--</scene_description> <character>CHERRY</character> <dialogue>I've tried. But you guys keep transferring my file because someone left and then the new someone was still getting caught up.</dialogue> <scene_description>Doctor Whomever writes again. Cherry watches, frustration bubbling.</scene_description> <character>DOCTOR WHOMEVER</character> <dialogue>Are you currently taking any medications?</dialogue> <character>CHERRY</character> <dialogue>Xanax for anxiety. But they don't work anymore...</dialogue> <character>DOCTOR WHOMEVER</character> <dialogue>And how's your pain level?</dialogue> <character>CHERRY</character> <parenthetical>(confused)</parenthetical> <dialogue>You mean mental? Or physical?</dialogue> <character>DOCTOR WHOMEVER</character> <dialogue>Both.</dialogue> <character>CHERRY</character> <dialogue>Nine out of ten...</dialogue> <scene_description>Doctor Whomever looks up at him, considering this. Then--</scene_description> <character>DOCTOR WHOMEVER</character> <dialogue>Have you ever heard of Oxycontin?</dialogue> <scene_description>AND OFF CHERRY, staring back at him--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>So I got more Oxy...</dialogue> </scene> <scene> <stage_direction>INT. CHERRY AND EMILY'S BEDROOM - DAY</stage_direction> <scene_description>Cherry lies on the bed again, stoned. A smile on his face.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Naturally Emily was pissed. She had understandably reached her limit...</dialogue> <scene_description>REVEAL Emily pacing next to him. She snaps--</scene_description> <character>EMILY</character> <dialogue>FINE!!</dialogue> <scene_description>She snatches the pill bottle off the bedside table, shaking it in Cherry's face, slightly crazed.</scene_description> <character>EMILY</character> <dialogue>These... are for me! Because I'm done taking your shit!</dialogue> <scene_description>Emily dry swallows one of the pills, manic.</scene_description> <character>EMILY</character> <dialogue>Because I would love a motherfucking break--</dialogue> <scene_description>She starts waving her arms around, wild, indicating the den of depression around them--</scene_description> <character>EMILY</character> <dialogue>From all... of this... SHIT!!</dialogue> <scene_description>Cherry watches her, oddly unaffected. AN HOUR LATER FIND EMILY on the bed next to Cherry now, her pill having also kicked in. They both lay there, not taking shit from the world.</scene_description> <character>EMILY</character> <dialogue>I wish I never told you I was leaving.</dialogue> <scene_description>Cherry looks over at her.</scene_description> <character>EMILY</character> <dialogue>For Montreal.</dialogue> <scene_description>A moment, both of them pondering this.</scene_description> <character>CHERRY</character> <dialogue>Remember how you used to wear a white ribbon around your neck?</dialogue> <scene_description>Emily, remembering... She smiles.</scene_description> <character>EMILY</character> <dialogue>That was my jam.</dialogue> <character>CHERRY</character> <dialogue>Yeah. I liked that.</dialogue> <scene_description>A long beat.</scene_description> <character>CHERRY</character> <dialogue>I can't see that we'll ever get back to there.</dialogue> <character>EMILY</character> <dialogue>No.</dialogue> <scene_description>They lie there some more.</scene_description> <character>EMILY</character> <dialogue>But I'm okay with that.</dialogue> <scene_description>She looks to Cherry again. He looks to her.</scene_description> <character>CHERRY</character> <dialogue>Yeah. Me too.</dialogue> <scene_description>Then they look back up at the ceiling, at peace with everything in this moment...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And that's how we became addicts.</dialogue> <scene_description>DRONE SHOT OF CHERRY AND EMILY'S PRETTY TREE-LINED STREET The saturated sun shining down on their brilliant little house-- CHYRON -- PART FIVE: DOPE LIFE</scene_description> <character>CHERRY (V.O.)</character> <dialogue>The story of being a dope fiend is that you could kill yourself real slow and feel like a million dollars...</dialogue> </scene> <scene> <stage_direction>INT. CHERRY AND EMILY'S KITCHEN - MORNING</stage_direction> <scene_description>On Cherry cooking eggs, feeling like a million bucks. Emily bounds down the stairs. The house feels alive with an abundance of beautiful vibrancy.</scene_description> <character>EMILY</character> <parenthetical>(re: the dog)</parenthetical> <dialogue>Can you walk Livinia today? I have to leave in like 10 minutes.</dialogue> <character>CHERRY</character> <dialogue>Yep.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Scrambled or Sunny side up?</dialogue> <character>EMILY</character> <dialogue>Scrambled. On toast please.</dialogue> <character>CHERRY</character> <dialogue>Like a sandwich?</dialogue> <character>EMILY</character> <dialogue>Yeah, a sandwich. And this is the day I stay late, so you have to be there by 5 or I won't make it through class and the proff is still out.</dialogue> <character>CHERRY</character> <dialogue>Don't worry, babe, I gotchoo...</dialogue> <scene_description>MOMENTS LATER Emily rolls up a sleeve, her arm littered with track marks. She ties off with a white ribbon as Cherry maneuvers a needle into her vein. As the heroin warms over her, pull back to REVEAL her egg sandwich on a paper towel next to their dope cooking paraphernalia. Cherry touches her stoned face lovingly...</scene_description> <character>EMILY</character> <dialogue>Ok. I gotta go...</dialogue> <scene_description>As she rises, Cherry now shoots up...</scene_description> </scene> <scene> <stage_direction>INT.CLASSROOM - DAY</stage_direction> <scene_description>Emily sits at a desk, slightly anxious. A student reads from a book.</scene_description> <character>CHERRY (V.O)</character> <dialogue>In the beginning, we were completely functioning addicts...</dialogue> <character>EMILY</character> <dialogue>Keep reading, Lia, I have to use the restroom...</dialogue> <scene_description>The camera tracks with her as she exits, WIPING TO:</scene_description> </scene> <scene> <stage_direction>INT. CHERRY'S PICKUP TRUCK</stage_direction> <scene_description>As Emily gets in, Cherry is ready with a shot,</scene_description> <character>CHERRY</character> <dialogue>Hey babe...</dialogue> <scene_description>He shoots her up.</scene_description> <character>EMILY</character> <dialogue>Thanks sweetie. Love you.</dialogue> <character>CHERRY</character> <dialogue>Love you too...</dialogue> <scene_description>They kiss. Emily exits the car, WIPE TO:</scene_description> </scene> <scene> <stage_direction>INT. CLASSROOM - DAY</stage_direction> <scene_description>Emily walks back into the room, sits at her desk. The class continues...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>But if we looked closely, there were certainly cracks in the mirror...</dialogue> </scene> <scene> <stage_direction>EXT. BANK - DAY</stage_direction> <scene_description>Cherry tries the ATM, "no funds."</scene_description> <character>CHERRY (V.O.)</character> <dialogue>We were always broke...</dialogue> <scene_description>He kicks the machine.</scene_description> </scene> <scene> <stage_direction>INT. CHERRY AND EMILY'S LIVING ROOM - DAY</stage_direction> <scene_description>Cherry and Emily watch TV on the couch with Livinia.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>We got sick all the time...</dialogue> <scene_description>He casually reaches over and lifts a little green garbage can to his face, vomits in it.</scene_description> </scene> <scene> <stage_direction>INT. CHERRY'S CHILDHOOD HOME, DINING ROOM - DAY</stage_direction> <scene_description>Cherry sits at the table with his Mom.</scene_description> <character>CHERRY</character> <dialogue>... somehow they deposited my last GI check into the wrong account-- and the application is due today-- and the fee is a hundred dollars-- fucking robbery I know...</dialogue> <scene_description>Cherry's Mom watches him, broken and hollow.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>We stabbed our parents in the heart over and over again...</dialogue> </scene> <scene> <stage_direction>EXT. SHAKER BOULEVARD HOUSE - DAY</stage_direction> <scene_description>Cherry walks up to a very nice house on a very nice street.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Our old friends stayed away...</dialogue> <scene_description>Cherry pauses when he sees-- A Black 70's Sedan parked out front (the same Sedan from the film's opening).</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And our new friends would eat the eyes out of our head with a spoon...</dialogue> <scene_description>The tinted window is halfway down, revealing a LARGE MAN WITH A FACE TATTOO behind the wheel.</scene_description> <character>CHERRY</character> <parenthetical>(tentative)</parenthetical> <dialogue>Hey, Black...</dialogue> <scene_description>A long moment, as this mammoth and mysterious figure stares at Cherry, slowly crunching Funyuns into his mouth, one at a time. He takes a sip from his Big Gulp.</scene_description> <character>BLACK</character> <dialogue>Don't get behind. I don't do credit...</dialogue> <scene_description>The window goes up, and Black pulls away.</scene_description> </scene> <scene> <stage_direction>INT. SHAKER BOULEVARD HOUSE, KITCHEN - DAY</stage_direction> <scene_description>Cherry, standing in the newly updated kitchen.</scene_description> <character>CHERRY</character> <dialogue>I know I owe you 160, but I only have 40-- If you could front me another 80, I've got money from the GI Bill coming on Friday.</dialogue> <character>PILLS AND COKE</character> <dialogue>Flip that grilled cheese for me...</dialogue> <scene_description>FREEZE-FRAME ON PILLS AND COKE (24)-- He wears dock-siders and a shirt with the collar up, cooking heroin at the Viking stove (along with a grilled cheese sandwich)--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>If you didn't know better you'd have thought he was Biff from Back To The Future. But he wasn't, he was Pills and Coke.</dialogue> <scene_description>UNFREEZE. Cherry flips the grilled cheese with a spatula.</scene_description> <character>CHERRY</character> <dialogue>It looks done. You want me to put it on a plate?</dialogue> <scene_description>Pills and Coke preps Cherry's shot, yelling out to the family room--</scene_description> <character>PILLS AND COKE</character> <dialogue>Shelly, come get your toasted cheese!</dialogue> <scene_description>SHELLY (30) enters the kitchen. She's Pills and Coke's older sister and she has down syndrome. She looks at the needle.</scene_description> <character>SHELLY</character> <dialogue>What are you guys doing?</dialogue> <character>PILLS AND COKE</character> <parenthetical>(re: the heroin)</parenthetical> <dialogue>Why, you wanna try some?</dialogue> <scene_description>Pills and Coke laughs like this is very funny. Cherry just stands there, fucking depressed.</scene_description> <character>SHELLY</character> <dialogue>What is it?</dialogue> <character>PILLS AND COKE</character> <dialogue>It's candy.</dialogue> <scene_description>Pills and Coke winks at Cherry-- like this is all a big fucking show for his benefit.</scene_description> <character>SHELLY</character> <dialogue>I like candy...</dialogue> <character>PILLS AND COKE</character> <dialogue>I know you like candy...</dialogue> <character>SHELLY</character> <dialogue>Can I try it?</dialogue> <character>PILLS AND COKE</character> <dialogue>No! Go watch your CSI and eat your goddamn toasted cheese!</dialogue> <scene_description>As she leaves the room, dejected, Pills and Coke laughs--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>Everyone we met was a fucker.</dialogue> <scene_description>LATER, AT THE DOOR Cherry, high now, is about to leave. He lingers in the doorway--</scene_description> <character>CHERRY</character> <dialogue>So...</dialogue> <scene_description>Pills and Coke pretends to have no clue what he's getting at.</scene_description> <character>CHERRY</character> <dialogue>...can you spot me that 80?</dialogue> <scene_description>Pills and Coke exhales, like this is a big fucking decision.</scene_description> <character>PILLS AND COKE</character> <dialogue>Fine. But I need you to go see a guy on Buckeye. I need you to go see him and pick up something for Black.</dialogue> <character>CHERRY</character> <parenthetical>(slightly concerned)</parenthetical> <dialogue>For Black?</dialogue> <character>PILLS AND COKE</character> <dialogue>Yep.</dialogue> <character>CHERRY</character> <dialogue>What am I picking up?</dialogue> <character>PILLS AND COKE</character> <dialogue>A safe. And don't ask what's in it.</dialogue> <character>CHERRY</character> <dialogue>What's in it?</dialogue> <character>PILLS AND COKE</character> <dialogue>You're a cunt-nugget.</dialogue> <character>CHERRY</character> <dialogue>Did you just call me a cunt-nugget?</dialogue> <scene_description>Pills and Coke slams the door. Cherry, desperate now--</scene_description> <character>CHERRY</character> <parenthetical>(through the door)</parenthetical> <dialogue>Fine, I'll get Black's safe!</dialogue> <scene_description>Pills and Coke opens the door, slaps some dope in Cherry's hand.</scene_description> <character>PILLS AND COKE</character> <dialogue>I'll text you the address.</dialogue> <scene_description>Cherry starts to walk away when--</scene_description> <character>PILLS AND COKE</character> <dialogue>Oh, and I need you to hang onto it for a while, too.</dialogue> <character>CHERRY</character> <dialogue>Wait, why--</dialogue> <scene_description>But the door slams shut.</scene_description> </scene> <scene> <stage_direction>INT. CHERRY AND EMILY'S KITCHEN - DAY</stage_direction> <scene_description>ON THE SAFE, sitting on Cherry and Emily's kitchen table. Emily enters from work.</scene_description> <character>EMILY</character> <dialogue>What the fuck is this?</dialogue> <scene_description>REVEAL Cherry cooking.</scene_description> <character>CHERRY</character> <dialogue>Pills and Coke asked me to watch a safe for him.</dialogue> <character>EMILY</character> <dialogue>That fucking guy? I hate that fucking guy!</dialogue> <character>CHERRY</character> <dialogue>I know. He fronted me, though. So it felt like the right thing to do.</dialogue> <character>EMILY</character> <dialogue>I do not like this...</dialogue> <character>CHERRY</character> <dialogue>Babe, there was nothing I could do; he was the only one holding.</dialogue> <character>EMILY</character> <dialogue>But admit, you find this cagey...</dialogue> <character>CHERRY</character> <dialogue>I had no choice.</dialogue> <scene_description>He draws the heroin into the needle, and Emily rolls her sleeve up. She takes the needle from Cherry and shoots. AN HOUR LATER Emily and Cherry lie on the floor with the dog.</scene_description> <character>EMILY</character> <dialogue>This isn't doing shit for me.</dialogue> <character>CHERRY</character> <dialogue>Me neither.</dialogue> <character>EMILY</character> <dialogue>I told you that guy's a scumbag. Might as well've given us mashed fucking potatoes. And here you are risking your life watching his safe that probably has all the good shit in it.</dialogue> <scene_description>A beat. Emily and Cherry look at each other, realizing... AN HOUR LATER, JAMES LIGHTFOOT HAS HIS EAR TO THE SAFE Testing numbers on the dial. REVEAL Cherry and Emily watching with anticipation.</scene_description> <character>JAMES LIGHTFOOT</character> <dialogue>I can't hear anything...</dialogue> <scene_description>CHERRY AND JAMES PUSH THE SAFE OUT OF A SECOND STORY WINDOW Emily is down below. She jumps back as it CRASHES to the ground.</scene_description> <character>CHERRY</character> <parenthetical>(calling down to Emily)</parenthetical> <dialogue>Did it work?</dialogue> <scene_description>JAMES AND EMILY STAND IN THE DRIVEWAY Watch as Cherry drives past with the safe chained to the back of his truck. BACK TO THE LIVING ROOM WHERE A CROWBAR WHACKS THE SAFE LOCK The dog howls. Emily covers her ears. James lays on the couch. Cherry hacks the shit out of it until -- the door cracks open and DRUGS spill out. They all look at each other, wide-eyed.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>We mixed things up...</dialogue> <scene_description>-- CUT TO the three of them doing lines of cocaine.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>But not too much...</dialogue> <scene_description>-- CUT TO them doing more cocaine.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And then we brought it home.</dialogue> <scene_description>-- CUT TO them shooting up. They finally pass out. CUT TO BLACK.:</scene_description> </scene> <scene> <stage_direction>INT. CHERRY AND EMILY'S LIVING ROOM - THE NEXT DAY</stage_direction> <scene_description>BANG! BANG! BANG! CHERRY'S POV: Coming to from sleep... blinking... BANG! BANG! Cherry sits up, tweaking and freaked out. He's not wearing any pants. It's dawn now, and he looks over at the front door where-- BANG! BANG! BANG!</scene_description> <character>EMILY (O.S.)</character> <parenthetical>(freaked out)</parenthetical> <dialogue>It's the fucking police!</dialogue> <scene_description>REVEAL Emily sitting up next to Cherry, equally tweaking. Wearing just her bra and a pair of shorts.</scene_description> <character>CHERRY</character> <dialogue>It's not the police...</dialogue> <scene_description>Just then, through the door--</scene_description> <character>DEEP VOICE (O.S.)</character> <dialogue>IT'S THE POLICE. OPEN UP!</dialogue> <character>CHERRY</character> <dialogue>It's the fucking police!</dialogue> <scene_description>More BANGING.</scene_description> <character>EMILY</character> <dialogue>They know about the safe--</dialogue> <character>CHERRY</character> <dialogue>I bet they followed me from Pills and Coke's house--</dialogue> <scene_description>Cherry's cell phone starts RINGING. Cherry looks at it, amazed--</scene_description> <character>CHERRY</character> <dialogue>It's Pills and Coke calling...</dialogue> <character>EMILY</character> <dialogue>Don't! They're tapping his phone.</dialogue> <scene_description>Cherry considers what to do as-- MORE BANGING. James lays motionless on the floor, sleeping through it all.</scene_description> <character>CHERRY</character> <dialogue>Shit. Shit-Shit-Shit.</dialogue> <scene_description>MOMENTS LATER, IN THE BATHROOM Emily and Cherry flush all the drugs down the toilet. MORE BANGING.</scene_description> <character>CHERRY</character> <dialogue>Listen to me, I want you to get on your knees with your hands behind your head like so--</dialogue> <scene_description>He demonstrates. Emily gets on her knees--</scene_description> <character>CHERRY</character> <dialogue>This way the cops won't shoot if they bust through the door.</dialogue> <scene_description>Emily nods, freaked.</scene_description> <character>CHERRY</character> <dialogue>Act normal. Just act like everything's normal.</dialogue> <scene_description>MOMENTS LATER, STAIRWELL/LIVING ROOM Cherry bounds down the stairs--</scene_description> <character>CHERRY</character> <dialogue>Act like you're not on drugs. Act like you love the police. Act like you love America so much it's retarded. But don't act like you're on drugs.</dialogue> <scene_description>He reaches the door, straightens himself. Then calls outside--</scene_description> <character>CHERRY</character> <dialogue>LET'S DO THIS NICE AND PEACEFUL!</dialogue> <scene_description>Cherry opens the door to find-- Pills and Coke standing there, laughing.</scene_description> <character>PILLS AND COKE</character> <dialogue>You're a dumbass.</dialogue> <scene_description>He laughs harder, at Cherry's expense.</scene_description> <character>PILLS AND COKE</character> <dialogue>You look like you shit your pants.</dialogue> <scene_description>Pills and Coke wanders inside. Stops cold when he sees Black's safe busted open on the floor, empty...</scene_description> <character>PILLS AND COKE</character> <dialogue>Holy fuck-nuts...</dialogue> <scene_description>MOMENTS LATER Pills and Coke paces the room, mind racing.</scene_description> <character>PILLS AND COKE</character> <dialogue>How much fucking shit was in there?</dialogue> <parenthetical>(no answer)</parenthetical> <dialogue>Tell me!!</dialogue> <character>EMILY</character> <dialogue>A lot...?</dialogue> <scene_description>Pills and Coke absorbs the blow.</scene_description> <character>PILLS AND COKE</character> <dialogue>Fuck!!!</dialogue> <character>CHERRY</character> <dialogue>You said you were the police...</dialogue> <scene_description>Pills and Coke lunges at a pants-less Cherry, choking him.</scene_description> <character>PILLS AND COKE</character> <dialogue>Fucking shit-fucker!!</dialogue> <scene_description>Emily, still in her bra and shorts, pulls at Pills and Coke, panicking--</scene_description> <character>EMILY</character> <dialogue>Stop! You're gonna kill him!</dialogue> <scene_description>Pills and Coke does stop, looks right at her--</scene_description> <character>PILLS AND COKE</character> <dialogue>Oh yeah? Well Black is gonna put on his motherfucking black mask...</dialogue> <character>EMILY</character> <dialogue>What?</dialogue> <character>PILLS AND COKE</character> <dialogue>His black mask.</dialogue> <character>EMILY</character> <dialogue>What black mask?</dialogue> <character>PILLS AND COKE</character> <dialogue>His black mask.</dialogue> <character>EMILY</character> <dialogue>What are you talking about?</dialogue> <character>PILLS AND COKE</character> <dialogue>His fucking black mask!</dialogue> <character>EMILY</character> <dialogue>Stop saying that!! I don't know what it means!!</dialogue> <character>PILLS AND COKE</character> <dialogue>HE'S GONNA PUT ON HIS BLACK MASK!</dialogue> <character>EMILY</character> <parenthetical>(crying now)</parenthetical> <dialogue>Noooo...</dialogue> <scene_description>Pills and Coke starts pacing again, manic now--</scene_description> <character>PILLS AND COKE</character> <dialogue>He's gonna kill us all!! He's gonna kill YOU and YOU--</dialogue> <parenthetical>(then, re: a sleeping James)</parenthetical> <dialogue>--and he's sure as fuck's gonna kill THAT CUNT-NUGGET! And then guess what? He's gonna fucking KILL ME for letting you goddamn reprobates watch his stupid fucking safe--</dialogue> <scene_description>He walks right up onto the couch, out of his fucking mind--</scene_description> <character>PILLS AND COKE</character> <dialogue>Unless one of you shitbags can give me a giant fucking shitwad of cash right now. RIGHT NOW! RIGHT NOW!!</dialogue> <scene_description>Cherry and Emily stare up at him for a long moment. Then--</scene_description> <character>EMILY</character> <dialogue>We don't have any money. We don't even have dog food.</dialogue> <scene_description>A beat, and Pills and Coke screams--</scene_description> <character>PILLS AND COKE</character> <dialogue>HE'S GONNA PUT ON HIS BLACK MASK!</dialogue> <character>CHERRY</character> <dialogue>Stop-- I have an idea...</dialogue> <scene_description>Pills and Coke looks at him--</scene_description> <character>PILLS AND COKE</character> <dialogue>Talk.</dialogue> <character>CHERRY</character> <dialogue>I need you... to give me some cash.</dialogue> <scene_description>Pills and Coke jumps off the couch at Cherry, attacking him--</scene_description> <character>PILLS AND COKE</character> <dialogue>FUCK YOU!!</dialogue> <character>CHERRY</character> <parenthetical>(fighting him off)</parenthetical> <dialogue>Just a dollar...</dialogue> <scene_description>James Lightfoot, just waking now--</scene_description> <character>JAMES LIGHTFOOT</character> <dialogue>... I got a dollar.</dialogue> </scene> <scene> <stage_direction>INT. THE BANK - DAY</stage_direction> <scene_description>Cherry, his hat pulled down low, stands in line at the SAME BANK where he brought the overdraft letter and receipt all those years ago. He holds A SINGLE DOLLAR BILL in his shaking hand.</scene_description> <character>WOMAN'S VOICE (O.S.)</character> <parenthetical>(calls out)</parenthetical> <dialogue>Next.</dialogue> <scene_description>Cherry exhales, steeling himself, steps up to the window to see-- The same GREY TELLER who wouldn't accept his receipt in the overdraft confusion. But she doesn't recognize him. Instead, she just waits for him to tell her what he needs, like any other customer... So Cherry places the dollar down on the counter. Slides it towards the Grey Teller, who looks at it-- Black marker is scrawled across the bill: "This is a robbery. I have a gun." VFX: The Grey Teller looks back up at Cherry, the shadow falling away to reveal her frightened face. She turns to her drawer, and starts to pull out the cash... ...then places it on the counter. Cherry stares at it, stunned-- that was easier than he thought. A beat and he nods. Takes the cash and goes.</scene_description> </scene> <scene> <stage_direction>INT. CHERRY AND EMILY'S LIVING ROOM - DAY</stage_direction> <scene_description>Cherry counts out the cash for Pills and Coke, who watches in disbelief. As Cherry hands it over--</scene_description> <character>PILLS AND COKE</character> <parenthetical>(under breath)</parenthetical> <dialogue>Fuck me...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>Okay. We're square.</dialogue> <scene_description>He walks to the door. Can't help but turn back, impressed--</scene_description> <character>PILLS AND COKE</character> <dialogue>That was some John Wayne, balls-out shit.</dialogue> <scene_description>He leaves. Emily stares at the leftover pile of cash.</scene_description> <character>EMILY</character> <dialogue>Whoa. That's a lotta fucking dope.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>We should celebrate.</dialogue> </scene> <scene> <stage_direction>INT. SANDWICH SHOP - DAY</stage_direction> <scene_description>Cherry and Emily order sandwiches...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And we went to our favorite restaurant.</dialogue> <scene_description>They stand at the counter, paying-- Emily throws in two big cookies; Cherry makes a show of putting twenty dollars in the tip jar. LATER, AT A TABLE Cherry's cell phone rings.</scene_description> <character>CHERRY</character> <dialogue>Hello?</dialogue> <scene_description>INTERCUT WITH: Cousin Joe sprawled out on his living room couch, phone tucked under his ear. A TV flickers, the news playing on low volume--</scene_description> <character>COUSIN JOE</character> <dialogue>Hey, it's Joe.</dialogue> <character>CHERRY</character> <dialogue>Joe?</dialogue> <character>COUSIN JOE</character> <dialogue>Roy's cousin, Joe.</dialogue> <character>CHERRY</character> <dialogue>What's up, Joe?</dialogue> <character>COUSIN JOE</character> <dialogue>Did-- uh-- you rob a bank today?</dialogue> <scene_description>Cherry chokes on his cookie.</scene_description> <character>CHERRY</character> <dialogue>What?</dialogue> <character>COUSIN JOE</character> <dialogue>They've got a picture of a guy who looks a lot like you on the news and he robbed a bank.</dialogue> <scene_description>Cherry grabs the food--</scene_description> <character>CHERRY</character> <dialogue>Oh man, that's so weird-- because that definitely wasn't me--</dialogue> <parenthetical>(hushed, to Emily now)</parenthetical> <dialogue>We gotta go!</dialogue> </scene> <scene> <stage_direction>INT. CHERRY AND EMILY'S LIVING ROOM - 15 MINUTES LATER</stage_direction> <scene_description>ON A COMPUTER SCREEN: A SURVEILLANCE PHOTO OF CHERRY. REVEAL Cherry and Emily, staring at the screen, frozen.</scene_description> <character>CHERRY</character> <dialogue>I'm going to jail.</dialogue> <character>EMILY</character> <parenthetical>(scanning the article)</parenthetical> <dialogue>Nope. No. It says the suspect is six foot and has blue eyes.</dialogue> <parenthetical>(phew)</parenthetical> <dialogue>You're okay...</dialogue> <character>CHERRY</character> <dialogue>Look at the picture though, can you tell it's me?</dialogue> <scene_description>She looks from the surveillance photo to Cherry, and back again. She closes the computer.</scene_description> <character>EMILY</character> <dialogue>Maybe you shouldn't leave the house for a while.</dialogue> <scene_description>Cherry sighs.</scene_description> <character>CHERRY</character> <dialogue>I need to shoot up...</dialogue> <scene_description>BLACK SCREEN. CHYRON: Three weeks later...</scene_description> </scene> <scene> <stage_direction>INT. US PRANK - DAY</stage_direction> <scene_description>Cherry, with a buzz-cut and a mustache, waits in line at the bank, overcome with dope sickness.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>The essential problem of being hooked on dope is that whenever you get flush, you spend it on dope. Until the money's gone. And then when the dope's gone, you get sick.</dialogue> <scene_description>Just then, he throws up in his shirt.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>At which point you need to find more money.</dialogue> <scene_description>A WOMAN IN LINE turns around, disturbed--</scene_description> <character>WOMAN IN LINE</character> <dialogue>Are you okay?</dialogue> <character>CHERRY</character> <dialogue>Just a sneeze.</dialogue> <character>WOMAN IN LINE</character> <dialogue>I think you're really sick...</dialogue> <character>CHERRY</character> <dialogue>No, no I'm fine... I just can't stop sneezing--</dialogue> <scene_description>He vomits into his shirt again. His mustache revealed to be a FAKE as it is now starting to fall off.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>I don't imagine that anyone goes in for robbery if they are not in some kind of desperation. With robbery it's a matter of pure abasement...</dialogue> <scene_description>JUMP TO Cherry sliding a note to the TELLER. She reads it and looks at him, almost saddened. Starts emptying her drawer. Cherry, ready to collapse, takes the cash off the counter and stuffs it in his pocket. He stumbles towards the door.</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And we were abased...</dialogue> </scene> <scene> <stage_direction>INT. CHERRY AND EMILY'S LIVING ROOM - DAY</stage_direction> <scene_description>Cherry sits on the couch, high and wearing a hockey mask.</scene_description> <character>EMILY</character> <parenthetical>(entering)</parenthetical> <dialogue>Where were you?</dialogue> <scene_description>Cherry slowly turns his head to look at her. She yanks the mask off, pissed--</scene_description> <character>EMILY</character> <dialogue>It's Wednesday.</dialogue> <scene_description>Cherry doesn't understand.</scene_description> <character>EMILY</character> <dialogue>You were supposed to come down to school and meet me by five?</dialogue> <character>CHERRY</character> <parenthetical>(realizing)</parenthetical> <dialogue>Shit, I was getting sick...</dialogue> <character>EMILY</character> <dialogue>Well now I'm sick! And I had to cancel my fucking class... because I shit my fucking pants!!</dialogue> <scene_description>She whacks him in the face with a plastic bag containing her shit-in pants.</scene_description> <character>CHERRY</character> <parenthetical>(mumbling)</parenthetical> <dialogue>I'm sorry, Em...</dialogue> <scene_description>She snatches her kit out of the cupboard--</scene_description> <character>EMILY</character> <dialogue>It's just-- I'm trying to do something here, you know? I'm not just sitting at home on the couch enjoying my fucking high--</dialogue> <character>CHERRY</character> <parenthetical>(mumbling again, under her)</parenthetical> <dialogue>I let you down...</dialogue> <character>EMILY</character> <dialogue>Because it would probably be really nice to just sit at home on the couch, enjoying my motherfucking high!!</dialogue> <scene_description>She collapses down on the couch next to Cherry. Frantically trying to get her kit open. A pile of CASH on the table before them.</scene_description> <character>EMILY</character> <dialogue>How much did you get?</dialogue> <character>CHERRY</character> <dialogue>A lot. Enough to get us by for the next... three or four months... at least.</dialogue> <scene_description>Emily starts to cry. She can't steady her hand to prep her shot.</scene_description> <character>EMILY</character> <dialogue>I can't do it...</dialogue> <scene_description>Cherry finally emerges from his stupor. Sits up.</scene_description> <character>CHERRY</character> <dialogue>I got you babe...</dialogue> <character>EMILY</character> <dialogue>I can't do it.</dialogue> <character>CHERRY</character> <dialogue>I got you.</dialogue> <scene_description>And he preps her shot for her...</scene_description> <character>INT. HOSPITAL - EMERGENCY ROOM - NIGHT</character> <dialogue>The doors burst open, two paramedics race Emily on a gurney into the hospital. Emily's blue. A ventilator over her mouth.</dialogue> <character>PARAMEDIC</character> <dialogue>Female. 22. Agonal breathing, pinpoint pupils. Heart rate 141. BP 117 over 65.</dialogue> <scene_description>A shattered Cherry running alongside.</scene_description> <character>CHERRY</character> <dialogue>Is she breathing?! Is she breathing?!</dialogue> <scene_description>190C RESUSCITATION ROOM 190C They hoist Emily from the gurney to an ED bed. Remove her top. Attach electrodes, an IV. A NURSE questions Cherry.</scene_description> <character>CHERRY</character> <dialogue>We were... asleep on the couch. When I woke up... her face was blue...</dialogue> <character>NURSE</character> <dialogue>How long was she unconscious?</dialogue> <character>CHERRY</character> <dialogue>I don't know...</dialogue> <character>NURSE</character> <dialogue>What did she take?</dialogue> <character>CHERRY</character> <dialogue>I...</dialogue> <character>NURSE</character> <dialogue>What did she take?</dialogue> <character>CHERRY</character> <dialogue>I...don't know...</dialogue> <scene_description>A Doctor in the room shouts...</scene_description> <character>DOCTOR</character> <dialogue>2 milligrams of Narcan! Let's go! Let's go!</dialogue> <scene_description>Cherry, tears flooding his eyes, watches helplessly through a window as the chaos in the room builds to a cacophony. He tries to enter the room...</scene_description> <character>CHERRY</character> <dialogue>Is she breathing?!</dialogue> <scene_description>The Nurse intercepts him.</scene_description> <character>NURSE</character> <dialogue>Sir, I'm going to need you to go to the waiting room now.</dialogue> <character>CHERRY</character> <parenthetical>(desperate, like a child)</parenthetical> <dialogue>No, please, let me stay...</dialogue> <character>NURSE</character> <dialogue>Sir.</dialogue> <character>CHERRY</character> <dialogue>Please, I'm begging you.</dialogue> <character>NURSE</character> <dialogue>Sir, there's nothing you can do here but get in the way.</dialogue> <character>CHERRY</character> <parenthetical>(crying)</parenthetical> <dialogue>Please... please...</dialogue> <scene_description>190D WAITING ROOM 190D A devastated, ashen Cherry is slumped on the floor. His back against a wall. His eyes shallow...</scene_description> <character>NURSE</character> <parenthetical>(to Cherry)</parenthetical> <dialogue>Come with me...</dialogue> <scene_description>190F HALLWAY 190F Cherry follows the nurse down a hallway.</scene_description> <character>NURSE</character> <dialogue>She's very, very lucky. We brought her back to life, you understand? We brought her back to life...</dialogue> <scene_description>Cherry stops dead in his tracks. Down the hall, a COUPLE in their mid-fifties -- Emily's parents. Working class Pennsylvania. They are conversing with a doctor. When they see Cherry, they stop. After a moment, Emily's STEP-FATHER angrily rushes down the hall towards Cherry. Cherry backpedals, unsure what to do. Her Step-Father crashes into Cherry, knocking him to the ground.</scene_description> <character>EMILY'S STEP-FATHER</character> <dialogue>You piece of shit! You fucking piece of shit!</dialogue> <scene_description>The Paramedics restrain him.</scene_description> <character>PARAMEDIC</character> <dialogue>Calm down!! Calm down!!</dialogue> <scene_description>Cherry, stunned, on his ass, stares up. The Paramedics pull Emily's screaming, incensed Step-Father down the hallway. Emily's Mother approaches Cherry, heartbroken...</scene_description> <character>EMILY'S MOTHER</character> <parenthetical>(pointing through the glass at Emily)</parenthetical> <dialogue>Look at what you did to her. Look at my baby. I don't even recognize her no more...</dialogue> <character>CHERRY</character> <dialogue>I'm... sorry...</dialogue> <character>EMILY'S MOTHER</character> <dialogue>I know you got problems. I know you're broken. But you can't break her. Please don't break her.</dialogue> <character>CHERRY</character> <dialogue>I love her more than anything.</dialogue> <character>EMILY'S MOTHER</character> <dialogue>Then get up and walk away. You walk away right now. And leave her be. She doesn't deserve this...</dialogue> <character>CHERRY</character> <dialogue>I never wanted to hurt her...</dialogue> <character>EMILY'S MOTHER</character> <dialogue>Then be a man and walk away. Before you kill her...</dialogue> <character>CHERRY</character> <dialogue>I never...</dialogue> <character>EMILY'S MOTHER</character> <dialogue>Walk away!!</dialogue> <scene_description>Cherry stares at her for some time. He's exhausted. Suffocated by guilt.</scene_description> <character>EMILY'S MOTHER</character> <parenthetical>(snapping)</parenthetical> <character>WALK AWAY!!</character> <dialogue>He has no choice but to go. He turns and heads down the hallway. Stops, looks back. Is met by a cold stare.</dialogue> <character>CHERRY</character> <dialogue>I'm sorry...</dialogue> <character>EMILY'S STEP-FATHER</character> <dialogue>Get fucked...</dialogue> <scene_description>He disappears out the door.</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT - HOSPITAL</stage_direction> <scene_description>Cherry sits in his car. Lost. REVEAL a needle on the seat. He picks it up. Debates it. Numb, angry, he stabs himself in the thigh with it, over and over again. His pants soaking through with blood. As Cherry loses his shit, we pan up and into a street light, dissolving...</scene_description> </scene> <scene> <stage_direction>EXT. GREYHOUND STATION - DAY - THREE WEEKS LATER</stage_direction> <scene_description>Cherry rests against his car, expectantly watching a bus unload. And then he sees her. And she sees him. It's Emily. She slowly walks across the parking lot towards him. Stops. They stare at each other for some time. Heartbroken, Cherry rebukes her...</scene_description> <character>CHERRY</character> <dialogue>You need to go back.</dialogue> <character>EMILY</character> <dialogue>No.</dialogue> <character>CHERRY</character> <dialogue>Go back to rehab.</dialogue> <character>EMILY</character> <dialogue>I don't want to be in rehab.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>I want to be with you.</dialogue> <character>CHERRY</character> <dialogue>I'm not clean, Em.</dialogue> <character>EMILY</character> <dialogue>I know.</dialogue> <character>CHERRY</character> <dialogue>Well... you can't stay here.</dialogue> <character>EMILY</character> <dialogue>That's not your decision to make.</dialogue> <character>CHERRY</character> <dialogue>It is.</dialogue> <character>EMILY</character> <dialogue>No, it isn't. I waited... almost two years for you to come back from that hell hole. Two years. And I've been with you through a lot of fucked up shit. And now I'm fucked up.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And I don't want to do this alone...</dialogue> <character>CHERRY</character> <dialogue>I'm not good for you. I'm not good for anybody...</dialogue> <scene_description>She crosses to him. Touches his face.</scene_description> <character>CHERRY</character> <dialogue>I just want all that crap out of my head. I want it gone...</dialogue> <character>EMILY</character> <dialogue>It will. One day. It'll go quiet. It'll just stop...</dialogue> <scene_description>A long beat. Emily kisses Cherry.</scene_description> <character>CHERRY</character> <dialogue>Please...</dialogue> <character>EMILY</character> <dialogue>I'm gonna get high, with or without you...</dialogue> <character>CHERRY</character> <dialogue>Don't do this to me...</dialogue> <character>EMILY</character> <dialogue>I'm gonna get high...</dialogue> <scene_description>She kisses him again, passionately. He surrenders. BLACK SCREEN. CHYRON: One month later...</scene_description> </scene> <scene> <stage_direction>INT. PILLS AND COKE'S CAR - DAY</stage_direction> <scene_description>A coked-up Pills and Coke sits in the driver seat--</scene_description> <character>PILLS AND COKE</character> <dialogue>How in the fuck have you robbed all these goddamn banks and yet, somehow, in some fucking way, you still owe me a fuck ton of money?</dialogue> <scene_description>Cherry, tying off in the passenger's seat, weighs the question... then, as he shoots up--</scene_description> <character>CHERRY</character> <dialogue>We shoot a lot of dope.</dialogue> <scene_description>REVEAL they are parked across the street from a "SHITTY BANK." As Pills and Coke grabs Cherry's needle, whipping it out the window--</scene_description> <character>PILLS AND COKE</character> <dialogue>Well you need to shoot a lot less, motherfucker. Cuz when you owe me money, I owe Black money. And Black doesn't like being owed money...</dialogue> <scene_description>But a high Cherry is assessing the bank. DISTORTED POV SHOTS of what he's clocking-- Windows on the bank (tinted); Doors (double); Sightline from Whole Foods (obstructed); Number of cars parked in back (presumably two employees). As Cherry pulls a GUN from his waistband, grabbing a BOUQUET OF FLOWERS off the floor--</scene_description> <character>CHERRY</character> <dialogue>Meet me 'round the corner...</dialogue> <scene_description>He opens the door to get out when--</scene_description> <character>PILLS AND COKE</character> <dialogue>Whoa, whoa, whoa. What the fuck are you talking about?</dialogue> <character>CHERRY</character> <dialogue>I told you I need a driver.</dialogue> <character>PILLS AND COKE</character> <dialogue>You did not tell me this.</dialogue> <character>CHERRY</character> <dialogue>When I called you this morning...</dialogue> <character>PILLS AND COKE</character> <dialogue>That's not what I heard. I'm not robbing a fucking bank!</dialogue> <character>CHERRY</character> <dialogue>You just said you owe Black money, right?</dialogue> <character>PILLS AND COKE</character> <dialogue>Yeah. Because you owe me money!</dialogue> <character>CHERRY</character> <dialogue>Well I can't be rolling up in my own car anymore.</dialogue> <character>PILLS AND COKE</character> <dialogue>Why the fuck not?</dialogue> <character>CHERRY</character> <dialogue>Cause I been at this too long. Cause the cops have a description...</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>You want to pay Black back or not?</dialogue> <character>PILLS AND COKE</character> <dialogue>Fuck. We need to discuss terms.</dialogue> <character>CHERRY</character> <dialogue>The terms are I rob a fucking bank, you meet me around the corner, and then you pay Black back.</dialogue> <character>PILLS AND COKE</character> <dialogue>I don't like those terms.</dialogue> <scene_description>Cherry slams the door, starts crossing the lot toward the bank in his flip flops. Pills and Coke yells out after him--</scene_description> <character>PILLS AND COKE</character> <dialogue>I may or may not be there, motherfucker!</dialogue> </scene> <scene> <stage_direction>INT. SHITTY BANK - DAY</stage_direction> <scene_description>Cherry, holding the bouquet up high to block his face, assesses the scene-- ONE FEMALE TELLER and a MALE MANAGER talking with a customer. He gives the note to the teller, whose name-tag reads SHEINA. Sheina grabs a banded wad and tosses it on the counter--</scene_description> <character>CHERRY</character> <dialogue>Sheina, you're better than that.</dialogue> <character>SHEINA</character> <dialogue>That's a lotta money.</dialogue> <scene_description>Cherry doesn't have time for this--</scene_description> <character>CHERRY</character> <dialogue>That's a fucking fifty banded to some ones. That note says all the money in your drawer.</dialogue> <scene_description>Sheina glances to her bullshitting manager.</scene_description> <character>CHERRY</character> <dialogue>He could give a fuck what's happening with you right now.</dialogue> <scene_description>Sheina glares at him, not wanting to do this. Cherry lifts his jacket, letting her glimpse the gun. Left with no choice, she begrudgingly empties her drawer. Cherry watches her, his demeanor shifting to certain sadness. Then, as he sweeps the cash off the counter--</scene_description> <character>CHERRY</character> <dialogue>I'll flash my gun at the camera as I leave, so he can't argue that you just gave the money away.</dialogue> <character>SHEINA</character> <dialogue>What, is that supposed to make you a good guy now?</dialogue> <scene_description>Cherry absorbs the quip. Turns to leave... flashing his gun for the camera as he goes.</scene_description> </scene> <scene> <stage_direction>EXT./INT. PILLS AND COKE'S CAR, A BLOCK AWAY</stage_direction> <scene_description>Cherry walks to the car, keeping a low profile. Gets in--</scene_description> <character>PILLS AND COKE</character> <dialogue>You know what terms we never discussed? The ones where you're in my car with me, and the motherfucking police shoot us! We never discussed those fucking terms!</dialogue> <scene_description>As Cherry lays down on the floor--</scene_description> <character>CHERRY</character> <dialogue>Just drive.</dialogue> <character>PILLS AND COKE</character> <dialogue>I want a 100% percent vig, bitch.</dialogue> <scene_description>Pills and Coke starts driving away. A tired Cherry lays there on the floor, watching trees pass by above--</scene_description> <character>CHERRY (V.O.)</character> <dialogue>When you have tried to cheat life's suffering, it finds a way of catching back up with you...</dialogue> </scene> <scene> <stage_direction>INT. CHERRY AND EMILY'S LIVING ROOM - DAY</stage_direction> <scene_description>The same tired Cherry enters the darkened house, cash stuffed in his hoodie pockets. Emily lays passed out on the chair, visibly frailer. Cherry pulls a wooden box from the cupboard, hides the cash in it. Looks to Emily. Saddened... MOMENTS LATER Cherry carries Emily up the stairwell.</scene_description> </scene> <scene> <stage_direction>INT. PILLS AND COKE'S CAR - DAY</stage_direction> <scene_description>Pills and Coke sits behind the wheel, eyeing "CAPITALIST ONE."</scene_description> <character>CHERRY (V.O.)</character> <dialogue>By mid-march I had robbed something like nine or ten banks.</dialogue> <scene_description>From the passenger seat, Cherry delivers a pep talk to someone in the back--</scene_description> <character>CHERRY</character> <dialogue>It's really not that interesting. The banks aren't ever gonna fight you over the cash. 'Cause they don't care. It's like taking sand from the beach.</dialogue> <scene_description>REVEAL James Lightfoot in the back, taking it all in, intense.</scene_description> <character>JAMES LIGHTFOOT</character> <dialogue>But it's somebody's money.</dialogue> <character>CHERRY</character> <dialogue>No, it's the bank's money.</dialogue> <scene_description>James considers this, unsold.</scene_description> <character>CHERRY</character> <dialogue>Look, do you need the money or don't you need the money?</dialogue> <character>JAMES LIGHTFOOT</character> <dialogue>Of course I need the money.</dialogue> <character>CHERRY</character> <dialogue>Okay. So I can get a lot more if I can hit all the tellers. But to hit all the tellers, I need you.</dialogue> <character>JAMES LIGHTFOOT</character> <dialogue>But if we're both pulling the robbery, why am I only getting 10%?</dialogue> <character>CHERRY</character> <dialogue>Because I'm the one carrying the gun and doing the talking. If you were carrying the gun and threatening the innocents, then it would be a different story.</dialogue> <character>JAMES LIGHTFOOT</character> <dialogue>Okay, then give me the gun...</dialogue> <character>CHERRY</character> <parenthetical>(skips a beat)</parenthetical> <dialogue>No...</dialogue> <character>JAMES LIGHTFOOT</character> <dialogue>You just said if I--</dialogue> <character>CHERRY</character> <dialogue>I don't care what I said. It's the arrangement we discussed or nothing.</dialogue> <character>PILLS AND COKE</character> <parenthetical>(to James)</parenthetical> <dialogue>Jesus. Quit being such a flaming pussy, dude...</dialogue> <scene_description>As James considers--</scene_description> </scene> <scene> <stage_direction>INT. CAPITALIST ONE - DAY</stage_direction> <scene_description>Cherry storms into the bank wearing OPAQUE EYEGLASSES that have eyeballs painted on them. A MESSY WIG peeks out from under his hoodie. He fires off a couple shots into the ceiling--</scene_description> <character>CHERRY</character> <dialogue>NO ALARMS. I WANT EVERYBODY TO GIVE THIS</dialogue> <character>MAN HERE YOUR MONEY--</character> <dialogue>He extends his arm, dramatically pointing to his left as we PAN TO FIND: no one is there.</dialogue> <dialogue>Seconds later, Cherry sees James Lightfoot outside, running away past the bank windows.</dialogue> <dialogue>A beat, and Cherry looks back at the terrified bank employees--</dialogue> <character>CHERRY</character> <parenthetical>(under his breath)</parenthetical> <dialogue>Fuck.</dialogue> <scene_description>He leaves the bank. SECONDS LATER, IN PILLS AND COKE'S CAR Cherry jumps back in--</scene_description> <character>CHERRY</character> <dialogue>Go go go.</dialogue> <scene_description>As they drive, Cherry narrows in on James in the backseat.</scene_description> <character>CHERRY</character> <dialogue>What the fuck? That was embarrassing.</dialogue> <character>JAMES LIGHTFOOT</character> <dialogue>Sorry man.</dialogue> <character>PILLS AND COKE</character> <dialogue>That was fucking infamous.</dialogue> <character>JAMES LIGHTFOOT</character> <dialogue>I said I was sorry...</dialogue> <scene_description>Pills and Coke pops a quaalude. Then another.</scene_description> <character>PILLS AND COKE</character> <dialogue>What do we do now?</dialogue> <character>CHERRY</character> <dialogue>I don't know.</dialogue> <character>JAMES LIGHTFOOT</character> <dialogue>How about we try again, but I drive, and you and Pills and Coke do the robbery?</dialogue> <character>PILLS AND COKE</character> <dialogue>Oh great. So now I gotta rob a bank cuz you're a pussy?</dialogue> <character>JAMES LIGHTFOOT</character> <dialogue>I'm not comfortable doing it.</dialogue> <scene_description>Cherry looks at Pills and Coke.</scene_description> <character>CHERRY</character> <dialogue>Three, four times the money.</dialogue> <scene_description>Pills and Coke considers as he drives. Sighs. Shakes his head.</scene_description> <character>PILLS AND COKE</character> <parenthetical>(to himself)</parenthetical> <dialogue>Fucking coercion, man. It's coercion...</dialogue> <scene_description>Finally--</scene_description> <character>PILLS AND COKE</character> <dialogue>Alright, but I want the gun--</dialogue> <character>CHERRY</character> <dialogue>No. No.</dialogue> <scene_description>Cherry hesitates. But Pills and Coke assures him--</scene_description> <character>PILLS AND COKE</character> <dialogue>Holding a gun makes me feel safe.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>And you're a junkie motherfucker. With PTSD...</dialogue> <scene_description>As Cherry Considers...</scene_description> </scene> <scene> <stage_direction>EXT. BANK FUCKS AMERICA</stage_direction> <scene_description>Cherry and Pills surreptitiously approach the bank. Cherry glances back at Pills, stops...</scene_description> <character>CHERRY</character> <dialogue>Dude...</dialogue> <scene_description>Pills' eyes are glazed. His face constipated. He's clearly feeling his quaaludes now</scene_description> <character>CHERRY</character> <dialogue>What's going on with you?</dialogue> <scene_description>Pills stares back at him, shrugs.</scene_description> <character>CHERRY</character> <dialogue>Your eyes...are all fucking glazed.</dialogue> <character>PILLS AND COKE</character> <dialogue>Prolly the Klonnie...</dialogue> <character>CHERRY</character> <dialogue>What Klonnie?</dialogue> <character>PILLS AND COKE</character> <dialogue>My nerves were shot..</dialogue> <character>CHERRY</character> <dialogue>You took klonnie?</dialogue> <character>PILLS AND COKE</character> <dialogue>Just some...</dialogue> <scene_description>Beat.</scene_description> <character>CHERRY</character> <dialogue>You good for this?</dialogue> <scene_description>Pills and Coke hesitates, nods.</scene_description> <character>CHERRY</character> <dialogue>Look at me. Are you good?</dialogue> <character>PILLS AND COKE</character> <parenthetical>(staring at him)</parenthetical> <dialogue>I'm good...</dialogue> </scene> <scene> <stage_direction>INT. BANK FUCKS AMERICA - MOMENTS LATER</stage_direction> <scene_description>Cherry enters the bank with Pills and Coke, who is clearly feeling his quaaludes now--</scene_description> <character>PILLS AND COKE</character> <dialogue>EVERYONE GIVE YOUR MAN THIS MONEY...</dialogue> <scene_description>He raises the gun to fire it into the ceiling but pulls the trigger while it is still en route upwards-- a bullet taking out the window to an interior office. The MANAGER ducks as the GLASS SHATTERS. Pills and Coke reacts, delayed and slow--</scene_description> <character>PILLS AND COKE</character> <dialogue>Sorry... sorry, man...</dialogue> <scene_description>Cherry takes the gun and shoves the bag at Pills and Coke--</scene_description> <character>CHERRY</character> <dialogue>Just go get the goddamn cash--</dialogue> <scene_description>Pills and Coke doesn't move. Cherry shoves him.</scene_description> <character>CHERRY</character> <dialogue>Go get it!</dialogue> <scene_description>Pills and Coke nods... then turns around and proceeds to amble right out of the bank. Cherry closes his eyes for a moment, as if wishing himself away from here. Then he steels himself, starts sweeping cash off the counter and stuffing it in his pockets when-- He HEARS the door behind him BOLT SHUT, turns to see a red light activated...</scene_description> <character>CHERRY</character> <parenthetical>(freaked)</parenthetical> <dialogue>Who pushed the button?</dialogue> <scene_description>Panicked, Cherry fires off three shots in the ceiling -- BAM! BAM! BAM! Patrons SCREAM and cower. He levels his gun at a teller--</scene_description> <character>CHERRY</character> <dialogue>WHO PUSHED THE FUCKING BUTTON?</dialogue> <parenthetical>(a tense beat)</parenthetical> <character>WHO?!</character> <dialogue>A desperate Cherry aims down the line of tellers, one by one... until he finds a guilty MANAGER, standing near the back. Cherry beelines to him, gun still aimed--</dialogue> <character>CHERRY</character> <dialogue>The fuck is the matter with you? You don't close a gunman in with innocent people. Are you fucking retarded?</dialogue> <scene_description>The Manager backs away, stammering--</scene_description> <character>MANAGER</character> <dialogue>The police will be here soon...</dialogue> <scene_description>Cherry pins the Manager up against the wall now--</scene_description> <character>CHERRY</character> <dialogue>Listen to me, whoever your boss is will fire your motherfucking ass. Open it. Now.</dialogue> <scene_description>The Manager swallows, holding his ground when-- Cherry jams the gun into the Manager's head, ready to blow his fucking brains out--</scene_description> <character>CHERRY</character> <dialogue>ARE YOU FUCKING DEAF?! I SAID OPEN THE</dialogue> <character>DOOR, BITCH, OR I WILL SHOOT YOU IN YOUR</character> <dialogue>FUCKING FACE!</dialogue> <scene_description>OFF THE MANAGER, trembling with terror--</scene_description> </scene> <scene> <stage_direction>EXT. PARKING LOT - MOMENTS LATER</stage_direction> <scene_description>Cherry, freaking the fuck out, runs from the bank as James Lightfoot pulls up in Pills and Coke's car--</scene_description> </scene> <scene> <stage_direction>INT. PILLS AND COKE'S CAR - CONTINUOUS</stage_direction> <scene_description>Cherry jumps into the back seat as James Lightfoot punches the gas.</scene_description> <character>JAMES LIGHTFOOT</character> <dialogue>What happened?! Did you shoot somebody?</dialogue> <scene_description>Cherry, sinking down low--</scene_description> <character>CHERRY</character> <dialogue>No.</dialogue> <character>JAMES LIGHTFOOT</character> <parenthetical>(realizing)</parenthetical> <dialogue>Where's Pills and Coke?</dialogue> <character>CHERRY</character> <dialogue>He bailed.</dialogue> <character>JAMES LIGHTFOOT</character> <dialogue>Jesus...</dialogue> <scene_description>Cherry's mind races, fighting adrenaline. Then decides--</scene_description> <character>CHERRY</character> <dialogue>We can't leave him, he'll rat us out for sure. You gotta turn around...</dialogue> <character>JAMES LIGHTFOOT</character> <dialogue>No...</dialogue> <character>CHERRY</character> <dialogue>James! We cannot leave him.</dialogue> <scene_description>James, torn, turns the car around, slow-driving. Cherry watches, intense, as James scans out the window...</scene_description> <character>CHERRY</character> <dialogue>You see him?</dialogue> <scene_description>Suddenly, a GUNSHOT--</scene_description> <character>CHERRY</character> <dialogue>What the fuck was that?</dialogue> <character>JAMES LIGHTFOOT</character> <parenthetical>(freaked)</parenthetical> <dialogue>I don't like this. I don't like this...</dialogue> <scene_description>Just then, James sees Pills and Coke ambling down a driveway. He slams on the brakes as Cherry pops open the door--</scene_description> <character>CHERRY</character> <dialogue>Get in.</dialogue> <scene_description>Pills and Coke, still high, stares at Cherry, slowly piecing together who he is.</scene_description> <character>CHERRY</character> <parenthetical>(panicking)</parenthetical> <character>FUCK IS WRONG WITH YOU?</character> <dialogue>JAMES LIGHTFOOT</dialogue> <character>GET IN THE CAR!</character> <dialogue>Pills and Coke barely gets in as James peels off.</dialogue> <scene_description>MORE SIRENS.</scene_description> <character>CHERRY</character> <parenthetical>(to James)</parenthetical> <dialogue>Make a left, then a right on Van Aken.</dialogue> <scene_description>Cherry, looking back to check for cops--</scene_description> <character>CHERRY</character> <dialogue>Those people were so rude. The manager didn't even care if I killed everybody. Really reckless. Over pieces of fucking paper.</dialogue> <scene_description>They ride in silence, the sirens finally getting further away. Then Pills and Coke sighs, saddened--</scene_description> <character>PILLS AND COKE</character> <dialogue>Guys...</dialogue> <character>CHERRY</character> <dialogue>What?</dialogue> <character>PILLS AND COKE</character> <dialogue>Look...</dialogue> <scene_description>Cherry turns, sees there's BLOOD all over Pills and Coke's shirt.</scene_description> <character>PILLS AND COKE</character> <dialogue>I think they shot me...</dialogue> <character>CHERRY</character> <dialogue>Jesus Christ...</dialogue> <scene_description>Cherry is back in Iraq, leaps into action. Jams the pillowcase into the gunshot wound, applying pressure.</scene_description> <character>JAMES LIGHTFOOT</character> <dialogue>What the fuck...</dialogue> <character>CHERRY</character> <parenthetical>(to Pills)</parenthetical> <dialogue>Keep talking to me, man. Look in my eyes.</dialogue> <character>CHERRY</character> <parenthetical>(to James)</parenthetical> <dialogue>Go to the hospital on Green Road.</dialogue> <character>JAMES LIGHTFOOT</character> <dialogue>We can't go to the hospital.</dialogue> <character>CHERRY</character> <dialogue>Go to the fucking hospital!</dialogue> <character>JAMES LIGHTFOOT</character> <dialogue>They'll arrest us!</dialogue> <character>PILLS AND COKE</character> <dialogue>Take me to the hospital...</dialogue> <scene_description>Cherry considers this...</scene_description> <character>JAMES LIGHTFOOT</character> <dialogue>They'll arrest us...</dialogue> <scene_description>Labored breathing from Pills and Coke.</scene_description> <character>PILLS AND COKE</character> <dialogue>Take me...</dialogue> <scene_description>Cherry eases the pressure off the pillowcase...</scene_description> <character>PILLS AND COKE</character> <dialogue>...take...me...</dialogue> <scene_description>...and then, the breathing stops. A beat, as Cherry stares at Pills and Coke. James drives, helpless, quietly crying now-- Cherry finally checks Pills' pulse.</scene_description> <character>JAMES LIGHTFOOT</character> <dialogue>Is he...</dialogue> <scene_description>A long, silent beat as Cherry and James sit there. Then--</scene_description> <character>JAMES LIGHTFOOT</character> <dialogue>What do we do... ?</dialogue> <scene_description>AND AS WE PUSH IN ON CHERRY, STILL STUNNED--</scene_description> </scene> <scene> <stage_direction>EXT. UNDERPASS - EAST CLEVELAND</stage_direction> <character>CHERRY (V.O.)</character> <dialogue>We didn't have a choice. We dumped his body in East Cleveland.</dialogue> <scene_description>Cherry and James leave Pills' body on the side of the road. Drive away... A SLOW FADE TO BLACK.:</scene_description> </scene> <scene> <stage_direction>EXT. PARK - DAY</stage_direction> <scene_description>A SIDEWAYS LAKE. REVERSE TO REVEAL, CHERRY, stoned on a bench, lost in thought. Emily, mid-high, sits on a picnic table, watching Livinia play with another dog. She is even more deteriorated than the last time we saw her.</scene_description> <character>WIFE (O.S.)</character> <dialogue>She yours?</dialogue> <scene_description>REVEAL A COUPLE, about Cherry and Emily's age. Emily blinks, as if taking a moment to realize what the woman is talking about...</scene_description> <character>EMILY</character> <dialogue>Yeah.</dialogue> <character>WIFE</character> <dialogue>I think our dog is in love with your dog.</dialogue> <character>EMILY</character> <dialogue>She's so cute.</dialogue> <character>HUSBAND</character> <dialogue>Your dog is fast...</dialogue> <scene_description>BACK ON CHERRY, turns to see the back of Emily, talking to someone off camera.</scene_description> <character>EMILY</character> <dialogue>She loves to run.</dialogue> <character>HUSBAND</character> <dialogue>So does ours. Hard to keep her on a leash sometimes.</dialogue> <character>EMILY</character> <dialogue>What kind of dog is she?</dialogue> <scene_description>AS CHERRY AMBLES UP THE HILL, HE FINDS EMILY TALKING TO NO ONE--</scene_description> <character>WIFE</character> <dialogue>Not sure. She's a rescue.</dialogue> <character>EMILY</character> <dialogue>Oh really? So is Livinia...</dialogue> <character>WIFE</character> <dialogue>Are you from around here?</dialogue> <character>EMILY</character> <dialogue>We're not too far. Near Shaker Square.</dialogue> <character>WIFE</character> <dialogue>We're right next door in Cleveland Heights...</dialogue> <character>HUSBAND</character> <dialogue>What do you do?</dialogue> <character>EMILY</character> <dialogue>I go to CSU. I'm a graduate assistant there.</dialogue> <scene_description>BACK ON CHERRY, watching Emily hallucinate, engaging in the banality of a life that could have been... She turns to Cherry, her face lighting up--</scene_description> <character>EMILY</character> <dialogue>This is my husband. He goes to CSU, too.</dialogue> <scene_description>Cherry stares back at Emily, heartbroken. SHIFT BACK TO EMILY'S POV: She proudly tells the Couple--</scene_description> <character>EMILY</character> <dialogue>He's on the G.I. Bill. He was in the Army.</dialogue> <character>WIFE</character> <dialogue>Really? Jeff was a Marine. He's a cop now...</dialogue> <character>HUSBAND</character> <dialogue>Cleveland Heights PD.</dialogue> <character>EMILY</character> <dialogue>How do you like it?</dialogue> <character>HUSBAND</character> <dialogue>It's a job.</dialogue> <character>EMILY</character> <dialogue>Jobs are hard to come by these days.</dialogue> <scene_description>Emily looks to Cherry. A beat, and he nods in agreement. Then wanting this to end, he tells her--</scene_description> <character>CHERRY</character> <dialogue>We should... probably get going...</dialogue> <character>EMILY</character> <dialogue>Yeah. I have a paper to write.</dialogue> <parenthetical>(then)</parenthetical> <dialogue>Maybe we can get the dogs together sometime. See ya around--</dialogue> <scene_description>GO WIDE: Cherry with Emily, alone in the park, walking away...</scene_description> </scene> <scene> <stage_direction>EXT. CHERRY AND EMILY'S HOUSE - DAY</stage_direction> <scene_description>Cherry holds Emily's arm, supporting her as they walk up. Black's car is in the street.</scene_description> <character>EMILY</character> <dialogue>What does he want?</dialogue> <character>CHERRY</character> <dialogue>Go inside, baby.</dialogue> <character>EMILY</character> <dialogue>What does...</dialogue> <character>CHERRY</character> <dialogue>Go inside.</dialogue> </scene> <scene> <stage_direction>INT. BLACK'S CAR - MOMENTS LATER</stage_direction> <scene_description>A depressed Cherry gets in the passenger's side of the 70's Sedan. A bag on the seat between them. A long beat, then --</scene_description> <character>CHERRY</character> <dialogue>Whatchoo buy...</dialogue> <scene_description>Black opens the bag. Tilts it to Cherry, who nods, pretending to care--</scene_description> <character>CHERRY</character> <dialogue>It's cool...</dialogue> <character>BLACK</character> <dialogue>It is, right?</dialogue> <scene_description>Another long beat.</scene_description> <character>CHERRY</character> <dialogue>I don't have your money.</dialogue> <parenthetical>(beat)</parenthetical> <dialogue>So if you need to shoot me, please drive me somewhere else. 'Cause the neighbors.</dialogue> <character>BLACK</character> <dialogue>I'm not gonna shoot you.</dialogue> <scene_description>ON CHERRY, almost disappointed.</scene_description> <character>BLACK</character> <dialogue>I won't get my money back if I shoot you.</dialogue> <scene_description>Now he's overcome with exhaustion...</scene_description> <character>CHERRY</character> <dialogue>I can't do this anymore.</dialogue> <character>BLACK</character> <dialogue>Sure you can.</dialogue> <character>CHERRY</character> <dialogue>I can't.</dialogue> <character>BLACK</character> <dialogue>You can.</dialogue> <scene_description>Black lays his gun on the bag.</scene_description> <character>BLACK</character> <dialogue>For your girl you can.</dialogue> <scene_description>The threat is clear. A loaded moment as Cherry swallows that. Then looks at Black, studying the hole that is his face... Finally--</scene_description> <character>CHERRY</character> <dialogue>You know the bank on Coventry?</dialogue> <scene_description>Black nods.</scene_description> <character>CHERRY</character> <parenthetical>(beat)</parenthetical> <dialogue>I need to get right first...</dialogue> <scene_description>Black considers, fronts him 2 grams--</scene_description> <character>BLACK</character> <dialogue>This'll make it six.</dialogue> <scene_description>Cherry nods, taking the dope.</scene_description> <character>CHERRY</character> <dialogue>I'll be right out.</dialogue> <scene_description>As Cherry gets out of the car--</scene_description> </scene> <scene> <stage_direction>INT. CHERRY AND EMILY'S BEDROOM - DAY</stage_direction> <scene_description>Cherry sits on the edge of the bed, watching Emily sleep. She looks as though she might be dead with track marks up and down both arms. Her skin almost a luminescent white. She stirs. Cherry forcing a smile--</scene_description> <character>CHERRY</character> <dialogue>I just talked to Black.</dialogue> <character>EMILY</character> <dialogue>Oh yeah... ?</dialogue> <scene_description>But something awful is building inside Cherry...</scene_description> <character>CHERRY</character> <dialogue>Guess what?</dialogue> <character>EMILY</character> <dialogue>Hmmm?</dialogue> <character>CHERRY</character> <dialogue>He's gonna drive for me. So I can pay him back.</dialogue> <scene_description>Emily, made happy by this--</scene_description> <character>EMILY</character> <dialogue>Yeah?</dialogue> <scene_description>Cherry nods, tears welling. Then--</scene_description> <character>CHERRY</character> <dialogue>Guess what else?</dialogue> <character>EMILY</character> <dialogue>Hmmm?</dialogue> <character>CHERRY</character> <parenthetical>(beat)</parenthetical> <dialogue>He's got a new leather jacket...</dialogue> <scene_description>Cherry's crying now. Gently stroking her arm.</scene_description> <character>EMILY</character> <dialogue>Did he front you?</dialogue> <scene_description>Cherry nods again, losing the battle-- heaving sobs now. Emily's eyes peer through slits, looking up at him, unaffected. She speaks in short breaths--</scene_description> <character>EMILY</character> <dialogue>I'm so tired. Can you... get me a shot? I just want to sleep... I just want it... to be quiet...</dialogue> <scene_description>ON CHERRY: shattered and heartbroken over this... until... he comes to a decision.</scene_description> <character>CHERRY</character> <dialogue>When I get back, babe. When I get back...</dialogue> <scene_description>He gets himself together and stands, resolved to do a thing. Then leans over and softly kisses her head. Whispering--</scene_description> <character>CHERRY</character> <dialogue>Love you.</dialogue> <character>EMILY</character> <parenthetical>(beat)</parenthetical> <dialogue>Love... you too.</dialogue> <scene_description>And off that, we GO BACK TO--</scene_description> </scene> <scene> <stage_direction>INT. CREDIT NONE - DAY</stage_direction> <scene_description>The same moment from the start of the film: Cherry and the teller, Vanessa, facing one another under the spotlight, the world around them lost to darkness. Until-- Cherry takes the cash, stuffing it in his pocket. He removes his baseball hat, looking back up at Vanessa... and smiles warmly--</scene_description> <character>CHERRY</character> <dialogue>I'd like you to do me a favor, Vanessa...</dialogue> <character>VANESSA</character> <dialogue>And what's that?</dialogue> <character>CHERRY</character> <parenthetical>(beat)</parenthetical> <dialogue>I'd like you to press the alarm.</dialogue> </scene> <scene> <stage_direction>EXT. CREDIT NONE - MOMENTS LATER</stage_direction> <scene_description>THE ALARM BLARES. Cherry walks out of the bank, oddly serene. He walks over to Black's waiting Sedan and opens the back door. Tosses the money in and then closes it again... walking off down the street. A beat, and Black's Sedan pulls off. ON CHERRY, looking around as he goes: The apartments with balconies; the trees-- the beautiful fucking trees...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>The morning was overcast, but it was bright nonetheless-- a bright overcast morning. In just-spring...</dialogue> <scene_description>The sounds of SIRENS rise from a few blocks away. Cherry stops, getting down to his knees now...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>This is the beauty of things fucking my heart. I wish I could lie down on the grass in the sun for a while. But it's a childish thing to wish for.</dialogue> <scene_description>The SIRENS grow louder and Cherry pulls a syringe from his pocket...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>But here come the sirens. Here come their fucking gangsters--</dialogue> <scene_description>The SIRENS, deafening now, closing in on him. He shoots up, the sun shining down on his face...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>The sirens screaming now, now turning--</dialogue> <scene_description>Police cars approach from behind as Cherry falls back to the concrete, his head landing just next to the green grass. Feeling the rush of his high...</scene_description> <character>CHERRY (V.O.)</character> <dialogue>And I feel peaceful.</dialogue> <scene_description>AND OFF CHERRY'S FACE-- DRONE SHOT OF A CAVALCADE OF POLICE CARS ON CEDAR ROAD CHYRON -- PART SIX: THE COMEDOWN, 2007-2017 IN A POLICE STATION, THE COMMUNAL HOLDING AREA A hallway. Screaming. We hear a nervous, unknown voice call from a cell...</scene_description> <character>VOICE (O.S.)</character> <dialogue>Guard? Guard??</dialogue> <scene_description>As we travel to the holding area, we find: Cherry, among a few shocked inmates. He's coming down now, balled up in excruciating pain, his stomach cramping. Vomit all over the floor. As he continues to scream... ECHO TO BLACK.: FADE UP: IN A PRISON HALLWAY (NOTE: THRU THE FOLLOWING SCENES, THE CAMERA TRAVELS LEFT TO RIGHT.) A hollowed out Cherry (STILL 23), now in uniform, is led to his cell through a crowded common area. IN A PRISON CELL, NIGHT An insomnia laden Cherry sits on his bunk, hunched against the wall, unable to sleep... IN THE PRISON YARD Cherry sits in the prison yard, bundled up in his INDUSTRIAL PRISON JACKET. Smoking a cigarette with headphones in, LISTENING TO THE FILM'S SCORE THAT HAS BEEN PLAYING. He takes in the world around him when-- He pulls the headphones out, the MUSIC ABRUPTLY CUTTING OFF. THE CAMERA STOPPING. A long beat, as he sits there, really hearing the quiet of the morning, reflecting on the choice he's made... Then as the MUSIC and CAMERA start up again-- A SUPPORT MEETING Cherry enters a support meeting for the first time. Awkwardly finds a seat... IN THE LATRINE (NOTE: CHERRY IS NOW 26) Cherry, a little older, brushes his teeth at a row of sinks, sandwiched in-between the other inmates, a sense of normalcy to it all... IN THE CAFETERIA Cherry quietly eats at a long table with his CELLMATE and some others...</scene_description> <character>CHERRY'S CELLMATE</character> <dialogue>This food is shit.</dialogue> <character>CHERRY</character> <dialogue>It's alright...</dialogue> <scene_description>IN THE PRISON YARD AGAIN A healthier Cherry does sit ups... IN A SUPPORT MEETING Cherry listens to a Guidance Counselor in his drug support group... AT THE EMAIL KIOSK (NOTE: CHERRY IS NOW 29) Cherry sits down, writes an email... IN ANOTHER SUPPORT MEETING Cherry shares his story... AT THE PHONES Cherry patiently waits in line for his turn to make a call... IN THE COMMON AREA Cherry watches a movie with the other inmates... IN THE LATRINE Cherry brushes his teeth again... IN A PAROLE HEARING (NOTE: CHERRY IS NOW 33) Cherry, visibly more than a decade older, sits anxiously before the THREE MEMBERS OF THE PAROLE BOARD.</scene_description> <character>PAROLE COMMISSIONER</character> <dialogue>... These were serious crimes and you deserved to go to prison for the minimum 10 years. You have no prior history of criminal activity. You have complied with prison regulations and rules. You have programmed in an acceptable manner. Considering these factors, you are deemed low-risk to reoffend. Therefore, it is our vote to grant your parole effective immediately. This decision, although difficult, is fair and just...</dialogue> <scene_description>THE CAMERA STOPS ON CHERRY as he smiles, tearing up... IN CHERRY'S CELL AGAIN (NOTE: THE CAMERA IS NO LONGER MOVING LEFT TO RIGHT) Cherry reads alone on his bunk, clean shaven and with a fresh haircut.</scene_description> <character>GUARD (O.S.)</character> <dialogue>Hey, Cleveland--</dialogue> <scene_description>Cherry looks to the GUARD standing in his cell door.</scene_description> <character>OFFICER</character> <dialogue>--You ready?</dialogue> <scene_description>REVEAL Cherry has been reading on a bare mattress. The linens on his bed have been stripped and folded in a pile. IN THE HALLWAY, MOMENTS LATER Cherry follows the guard, passing by other convicts who watch him go. OUTSIDE THE PRISON Cherry is led outside where... AN OLDER EMILY (NOW ALSO 33) stands, waiting. Clean and healthy. Cherry looks at her... ready to try to begin again... CUT TO BLACK.:</scene_description> </scene> </script>

College student Cherry falls in love at first sight with his classmate Emily. Their relationship blossoms but Emily decides to leave him and study in Montreal. Cherry is devastated and enlists in the Army as a medic to escape his heartbreak. Just before he is about to leave for basic training, Emily realizes her mistake and confesses she is in love with Cherry too and that they are meant for one another. Cherry and Emily marry before his deployment. During his two year service in the Army, Cherry suffers from PTSD after having several horrific experiences, including seeing his friend, Jimenez, burnt and killed from an IED. To cope with his panic attacks and severe anxiety when he comes home, he abuses OxyContin, prescribed from a doctor helping to decrease his PTSD symptoms. His growing addiction begins to frustrate Emily and as a result, she begins taking Cherry's medication to deal with her own frustration of not knowing how to support him without drugs and the two soon become addicted to OxyContin, and eventually heroin. After they break into a safe that he was looking after for his drug dealer, Pills and Coke, he and Emily use most of the drugs secured inside for themselves. Sometime later, Pills and Coke visits and sees the empty safe. Cherry learns that his drug dealer's boss, Black, is the owner of the safe and will kill all three of them for this. To get the money for the drugs they used, Cherry robs a bank and pays back the money. As a result of their daily heroin use, Cherry continues to rob banks frequently after he and Emily go through severe withdrawals. Emily overdoses and almost dies in a hospital. Cherry is blamed and forced by Emily's mother to leave her alone. Emily leaves her drug rehabilitation facility and reunites with Cherry. He tries to send her back and persuade her that he is no good for her. Emily does not care and tells Cherry she wants to be with him; she will get high on drugs again no matter what. Needing more money to support their addiction, he enlists Pills and Coke and his friend, James Lightfoot, to help him rob multiple tellers at once. During a robbery, the drug dealer runs away, forcing Cherry to rob the bank alone. As he drives away with Lightfoot in a getaway car, Cherry stresses that Pills and Coke will likely rat him out if he gets caught and convinces Lightfoot to turn the car around and search for him. After putting Pills and Coke in the car, he sees that he has been shot and is severely bleeding. They debate whether to take him to the hospital, but decide it is too risky, and he dies from his gunshot wound. They dump the body on the side of the road and part ways. Black later confronts Cherry outside his home to settle the drug debt. Cherry kisses and says goodbye to Emily before performing one last robbery. During the robbery, Cherry persuades the bank teller to set off the alarm before he leaves with the money. Cherry gives Black all of the money. Cherry then walks out to the open road and gets the attention of the police by firing his gun in the air, proceeding to sit by the side of the road and get high one last time, before police arrive and arrest him. Cherry detoxes and recovers in prison, spending 14 years serving his sentence before being released on parole. As Cherry makes his way out of the prison, he sees Emily waiting for him.

Lost in Translation_2003

tt0335266

<script> <scene> <stage_direction>EXT. NARITA AIRPORT - NIGHT</stage_direction> <scene_description>We hear the sound of a plane landing over black .</scene_description> </scene> <scene> <stage_direction>INT. CHARLOTTE'S ROOM - NIGHT</stage_direction> <scene_description>The back of a GIRL in pink underwear , she leans at a big window , looking out over Tokyo . Melodramatic music swells over the Girl 's butt in pink sheer underwear as she lies on the bed . TITLE CARDS OVER IMAGE . LOST IN TRANSLATION</scene_description> </scene> <scene> <stage_direction>INT. CAR - NIGHT</stage_direction> <scene_description>POV from a car window - the colors and lights of Tokyo neon at night blur by . In the backseat of a Presidential limousine , BOB -LRB- late - forties -RRB- , tired and depressed , leans against a little doily , staring out the window . P.O.V. from car window - We see buildings covered in bright signs , a billboard of Brad Pitt selling jeans , another of Bob in black &amp; white , looking distinguished with a bottle of whiskey in a Suntory ad . more signs , a huge TV with perky Japanese pop stars singing .</scene_description> </scene> <scene> <stage_direction>EXT. PARK HYATT - NIGHT</stage_direction> <scene_description>Bob 's black Presidential -LRB- looks like a 60 's diplomat 's car -RRB- pulls up at the entrance of the Park Hyatt , a modern sky rise . The automatic doors open on the car , as Bob gets out . Eager BELLHOPS with white gloves approach at the sight of the car , welcoming Bob and helping him with his bags .</scene_description> </scene> <scene> <stage_direction>INT. PARK HYATT - NIGHT</stage_direction> <scene_description>Bob stands in the back of a crowded elevator surrounded by Japanese businessmen below his shoulders . The elevator stops at the 50th floor and the doors open onto the massive , streamline lobby of the Park Hyatt . Bob follows the JAPANESE BUSINESSMEN out into the marble and glass lobby that frames the view of Tokyo . The CONCIERGE and several eager HOTEL MANAGERS greet Bob . He just wants to sleep , but more STAFF continue to greet him , ask him about his fright . They lead him to reception .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL RECEPTION - NIGHT</stage_direction> <scene_description>At the reception area four JAPANESE BUSINESSMEN and two WOMEN quickly sit up from their seats on sight of Bob , and extend handshakes and gifts . They bow and introduce themselves from the commercial company , extend name cards and welcome him enthusiastically . More staff welcomes him and offer their service during his stay . One of them presents a fax that has come for him . INSERT - `` TO : BOB HARRIS FROM : LYDIA HARRIS YOU FORGOT ADAM 'S BIRTHDAY . I 'M SURE HE 'LL UNDERSTAND . HAVE A GOOD TRIP , L '' He does n't know what to do with it , and stuffs it in his pocket . The commercial people tell him when they 'll be picking him up , and ask if he needs anything else . Some JAPANESE ROCK STARS with shag haircuts and skinny leather pants pass by . Each commercial person has to shake Bob 's hand before leaving .</scene_description> </scene> <scene> <stage_direction>INT. BOB'S HOTEL ROOM - NIGHT</stage_direction> <scene_description>Bob sits on the end of the bed in a too small hotel kimono .</scene_description> </scene> <scene> <stage_direction>INT. PARK HYATT BAR - NIGHT</stage_direction> <scene_description>Bob sits at the bar . A few minutes pass as he sits in silence looking around , drinking a scotch . Chet Baker sings `` The Thrill is Gone '' over the stereo . We see Bob 's POV of tables of people talking . JAPANESE WOMEN SMOKING , AMERICAN BUSINESSMEN tying one on , talking about software sales . A WAITER carefully setting down a coaster , and pouring a beer very , very slowly . It 's all very foreign .</scene_description> </scene> <scene> <stage_direction>INT. BOB'S HOTEL ROOM - MORNING</stage_direction> <scene_description>The automatic hotel curtains open , pouring light into the room .</scene_description> </scene> <scene> <stage_direction>INT.HOTEL BATHROOM - DAY</stage_direction> <scene_description>Bob gets in the shower overlooking the view of Tokyo . The shower head is at his elbows , he raises it as high as it goes , and leans down to have a shower . This hotel was not designed with him in mind .</scene_description> </scene> <scene> <stage_direction>INT. STUDIO - DAY</stage_direction> <scene_description>Whiskey commercial shoot . The set is full of activity as the JAPANESE CREW work . Bob , in a shawl collared tuxedo sits at a European style bar set with a cut crystal glass of whiskey . A JAPANESE GIRL quickly powders his face as they adjust lights and the DIRECTOR and crew speak in hurried Japanese . The Director -LRB- with blue contact lenses -RRB- says a few long sentences in Japanese . TRANSLATOR , a middle - aged woman in a coordinated outfit , translates but it is only a short sentence now .</scene_description> <character>TRANSLATOR</character> <dialogue>He wants you to turn, look in camera and say the lines.</dialogue> <scene_description>Bob wonders what she 's leaving out , or if that 's the way it works from Japanese to English .</scene_description> <character>BOB</character> <dialogue>That's all he said?</dialogue> <character>TRANSLATOR</character> <dialogue>Yes, turn to camera.</dialogue> <scene_description>Bob thinks let 's just get it over with .</scene_description> <character>BOB</character> <dialogue>Turn left or right?</dialogue> <scene_description>The Translator blots her face with a tissue , and asks the director in a Japanese sentence 5 times as long . The Director answers her in a long excited phrase .</scene_description> <character>TRANSLATOR</character> <dialogue>Right side. And with intensity.</dialogue> <character>BOB</character> <dialogue>Is that everything? It seemed like he was saying a lot more.</dialogue> <scene_description>The excited Director says more in Japanese . Translator nods in understanding . Bob does n't really know what 's going on .</scene_description> <character>TRANSLATOR</character> <dialogue>Like an old friend, and into the camera.</dialogue> <character>DIRECTOR</character> <parenthetical>( to Bob . )</parenthetical> <dialogue>. -RRB- Suntory Time!</dialogue> <scene_description>They get ready , and roll camera : Bob turns and looks suavely to the camera :</scene_description> <character>BOB</character> <dialogue>For relaxing times, make it Suntory Time.</dialogue> <scene_description>The Director yells something about ten sentences long . The translator nods .</scene_description> <character>TRANSLATOR</character> <dialogue>Could you do it slower, and with more intensity?</dialogue> <character>BOB</character> <dialogue>Okay.</dialogue> <scene_description>The Translator answers for him in four sentences . ON THE MONITOR - we see the next take : the moody lighting shines on Bob , the camera gets closer as he stares into camera and gives them the line .</scene_description> <character>BOB</character> <dialogue>For relaxing times, make it Suntory Time.</dialogue> </scene> <scene> <stage_direction>EXT. TOKYO - NIGHT</stage_direction> <scene_description>Shinjuku High rises sparkle .</scene_description> </scene> <scene> <stage_direction>INT. PARK HYATT BAR - NIGHT</stage_direction> <scene_description>Tall glass walls show the neon and high - rises of the city . A sad and romantic Bill Evans song plays . Bob sits alone with a scotch at the bar . Some drunk AMERICAN BUSINESSMEN , with their ties thrown over their shoulders recognize him .</scene_description> <character>BUSINESS GUY</character> <dialogue>Hey - you're Bob Harris - you're awesome, man.</dialogue> <character>ANOTHER BUSINESS GUY</character> <dialogue>Yeah, I love Sunset Odds! BOB Oh, Ok, thanks.</dialogue> <character>BUSINESS GUY</character> <dialogue>Man, that car chase -</dialogue> <scene_description>Bob nods .</scene_description> </scene> <scene> <stage_direction>INT. BOB'S HOTEL ROOM - NIGHT</stage_direction> <scene_description>Bob comes back to his room . The maids have left everything perfect , his beige bed is turned down , and the TV has been left on to a channel playing a montage of flower close - ups in nature while sad violin music plays . It 's supposed to be relaxing , but it 's just sad . Bob lies in bed . He flips through TV channels from the remote control . He passes a Japanese game show , to an 80s Cannon Ball run - type movie with him in it dubbed into Japanese . He turns it off as he hears a knock at the door . He goes to the door , and opens it part way .</scene_description> <character>WOMAN</character> <parenthetical>( O.C . )</parenthetical> <parenthetical>( Raspy Japanese voice . )</parenthetical> <dialogue>Mr. Harris?</dialogue> <character>BOB</character> <dialogue>Yes?</dialogue> <character>WOMAN</character> <dialogue>Mr. Kazuzo sent me.</dialogue> <character>BOB</character> <dialogue>Oh?</dialogue> <character>WOMAN</character> <dialogue>Can I enter?</dialogue> <scene_description>He pauses , then opens the door . A WOMAN in her forties in a short tight leather mini skirt and stockings comes in . She is wearing '60s style make - up . Bob sits on the bed not sure what to do as he watches her . Bob 's POV - We see her back to us as she puts a CD on the stereo - it begins to play : Serge Gainsberg and Brigitte Bardot sing `` Bonnie &amp; Clyde '' . The woman turns slyly around and shimmies over to Bob .</scene_description> <character>WOMAN</character> <parenthetical>( as she tries to undress him . )</parenthetical> <dialogue>Mr. Harris?</dialogue> <character>BOB</character> <dialogue>Yes?</dialogue> <character>WOMAN</character> <dialogue>Do you like massage?</dialogue> <character>BOB</character> <dialogue>I do n't think so.</dialogue> <character>WOMAN</character> <dialogue>Mr. Kazuzo send Premium Fantasy.</dialogue> <scene_description>She pushes him back onto the bed . He hesitates , but then goes along with it passively .</scene_description> <character>WOMAN</character> <dialogue>My stockings.</dialogue> <character>BOB</character> <dialogue>Yes?</dialogue> <character>WOMAN</character> <dialogue>Take them.</dialogue> <scene_description>He fumbles with her stockings , trying to do as she says .</scene_description> <character>WOMAN</character> <dialogue>No - Lip them. Do n't touch me!</dialogue> <scene_description>He takes his hands back confused .</scene_description> <character>WOMAN</character> <dialogue>Lip my stockings!</dialogue> <scene_description>He backs away , as he tries to understand her .</scene_description> <character>WOMAN</character> <dialogue>Lip them!</dialogue> <scene_description>She throws her leg up to him on the bed .</scene_description> <character>BOB</character> <dialogue>Huh?</dialogue> <scene_description>She pantomimes ripping them . He finally understands .</scene_description> <character>BOB</character> <dialogue>Oh, you want me to rip them?</dialogue> <scene_description>He pulls at her stockings trying to rip them , but they just snap . She pretends to struggle .</scene_description> <character>WOMAN</character> <dialogue>Please let me go!</dialogue> <scene_description>He pulls his hands away . She grabs them and puts them back on her , and keeps struggling dramatically . They wrestle around awkwardly , her pretending to try to get away , but not letting him go . She rips her stockings and falls off the bed in fake - defense .</scene_description> <character>WOMAN</character> <dialogue>Let me go!</dialogue> <scene_description>She pulls a confused Bob down on top of her . He does n't know what she wants . She rips another stocking and pins him on the ground . He tries to crawl away , she grabs his leg and trips him . He grabs a nearby table leg as he falls , the lamp crashes to the floor , the room goes black .</scene_description> <character>BOB</character> <dialogue>I think you should leave.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL RESTAURANT - DAY</stage_direction> <scene_description>In the harsh sunlight of the big windows Bob eats breakfast alone . Next to him is a table of TEXANS in cowboy hats . At another table a JAPANESE COUPLE in sunglasses chain smoke and drink coffee .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL ELEVATOR - DAY</stage_direction> <scene_description>Bob gets into the ded elevator . He is stopped momentarily by the Concierge who asks him if everything is fine for his stay . In the elevator Bob 's surrounded by JAPANESE BUSINESSPEOPLE and a FAMILY dressed for a wedding . Across , at the other side of the elevator he sees CHARLOTTE , a pretty Ivy - league girl in her mid - twenties , and the only other Westerner in the elevator . Her honey - colored hair stands out in the crowd . She 's looking at him like you do when someone new comes in the elevator , but the Japanese look straight ahead at the elevator doors . Charlotte and Bob look at each other across the Japanese heads . She smiles , from one foreigner to another . The door opens and she gets out with the crowd . Bob watches her leave .</scene_description> <character>MISS KAWASAKI</character> <dialogue>Mr. Harris</dialogue> <scene_description>He is approached by a group of eight excited people from the commercial company there waiting to take him .</scene_description> <character>PRESS AGENT</character> <parenthetical>( as they are on their way . )</parenthetical> <dialogue>We just got a request from Tanabe Mori - he is the Johnny Carson of Japan! It is a big honor to be invited to his show.</dialogue> <scene_description>Bob feigns enthusiasm briefly .</scene_description> <character>MISS KAWASAKI</character> <dialogue>Can you stay until Friday?</dialogue> <character>BOB</character> <dialogue>I'll have to see about that.</dialogue> </scene> <scene> <stage_direction>INT. PHOTO STUDIO - DAY</stage_direction> <scene_description>Bob 's back is to us as a MAKE - UP ARTIST is putting some final touches on him . The PHOTOGRAPHER is giving her enthusiastic direction in Japanese . Bob talks on his cell phone , not paying attention to the make - up artist .</scene_description> <character>BOB</character> <dialogue>Can you get me on a flight Thursday night?</dialogue> <character>ELAINE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>We're looking into it Bob, but they really want you to stay to do that talk show Friday, apparently it's a really big deal, he's the Johnny Carson of Japan.</dialogue> <character>BOB</character> <dialogue>Yeah, they told me.</dialogue> <character>ELAINE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>These people are paying you a lot, do you think you could consider it?</dialogue> <character>BOB</character> <dialogue>Just get me out of here as soon as you can.</dialogue> <character>ELAINE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Ok, you're scheduled to leave Saturday, but we'll hold a seat Thursday in case, but first class is full, you're waitlisted for an upgrade. there might be a seat on Lufthansa.</dialogue> <character>BOB</character> <dialogue>Oh, great. I'll talk to you later, bye.</dialogue> <scene_description>He hangs up . The make - up artist dusts him with powder . The commercial people are crowding around . Bob 's chair is swivelled around and we see him in his tuxedo , wearing too much make - up and some weird looking eyeliner . In front of a grey backdrop , moody lighting is being adjusted and Bob is handed a bottle of Suntory . small documentary crew moves in on Bob with a video camera - the camera man is tilting the camera at his face in arty dutch camera moves . The agency people crowd around . The photographer is excited and urges Bob to do dumb poses , he wo n't do .</scene_description> <character>PHOTOGRAPHER</character> <dialogue>Can you put hands close to face.</dialogue> <scene_description>The photographer demonstrates a dramatic pose with his hands at his face .</scene_description> <character>BOB</character> <dialogue>Urn, I do n't think so. How bout I just hold the bottle.</dialogue> <scene_description>The photographer starts shooting . Bob obviously hates the whole thing , what you do for money .</scene_description> </scene> <scene> <stage_direction>INT. PARK HYATT BAR - NIGHT</stage_direction> <scene_description>Bob , still in his tuxedo and make - up from the shoot , sits alone having a drink . A JAZZ BAND FROM SAUSALITO performs . The SINGER is a middle - aged woman with red wavy hair , dressed in red , and takes her singing very seriously . She sings a slow version of `` Parsley , Sage , Rosemary and Thyme '' . C.U. - a golden beer is poured very slowly . Bob drinks his scotch , hoping it will all go away . Across the bar , Charlotte sits with JOHN , her husband -LRB- he is in his late twenties and sloppy in a fashionable way -RRB- , and some FRIENDS - super stylish , weird Japanese fashion people -LRB- all smoking -RRB- . One of them , CHARLIE , in a shiny suit , keeps taking pictures , and showing them magazine layouts .</scene_description> <character>JAZZ SINGER</character> <dialogue>Thank you. We're glad to be here, we're Sausalito.</dialogue> <scene_description>Charlotte laughs and looks down , the Japanese audience clap very seriously . she and Bob catch eyes - about Sausalito and how weird it is there .</scene_description> </scene> <scene> <stage_direction>INT. ELEVATOR - LATER</stage_direction> <scene_description>The mirrored elevator doors close and Bob sees himself close - up in the elevator 's mirrored walls - noticing the heavy makeup and weird eyeliner from the shoot which he had forgotten about . He looks at himself .</scene_description> </scene> <scene> <stage_direction>INT. CHARLOTTE'S HOTEL ROOM - NIGHT</stage_direction> <scene_description>Charlotte lays close to her young husband , John . She looks to see if he 's awake , but he 's sleeping soundly . She leans her chin on his shoulder .</scene_description> <character>CHARLOTTE</character> <dialogue>Are you awake?</dialogue> <scene_description>He does n't answer .</scene_description> <character>CHARLOTTE</character> <dialogue>John?</dialogue> <scene_description>He grumbles something , opens one sleepy eye to look at her , and grabs her under the covers . He kisses her .</scene_description> <character>JOHN</character> <dialogue>Go to sleep.</dialogue> <scene_description>He holds her close , but she ca n't sleep . Charlotte sits on a ledge looking out at the big buildings . The sun is starting to come up . Below she watches cars going places .</scene_description> </scene> <scene> <stage_direction>INT. BOB'S HOTEL ROOM - NIGHT</stage_direction> <scene_description>Bob lies in bed awake . The clock says 4:20 . The in - room fax machine is making noise as a fax rolls in . Bob looks at the fax machine but does n't get out of bed . The fax curls and falls to the floor . CLOSE ON FAX - `` BOB - YOU DID N'T TELL ME WHICH SHELVES YOU WANT IN YOUR STUDY . PLEASE PICK ONE OUT AND LET ME KNOW . I 'M HAVING LOTS OF QUALITY TIME WITH THE CONSTRUCTION CREW . HOPE YOU 'RE HAVING FUN THERE . LOVE , L '' Three pages of shelf diagrams follow .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL GYM - NIGHT</stage_direction> <scene_description>The gym is empty except for an old man vacuuming . Bob passes piles of little towels and bottles of water . He takes a water for his workout . He approaches an exercise machine and puts the water in the drink holder of the machine . He looks at the lit - up instruction panel '99 it is all in Japanese . He pushes a button , and the machine starts beeping , then a soothing woman 's voice recites instructions in Japanese . He gets on it , and sinks . He tries to make the arms and foot peddles coordinate . He pushes a button and it starts moving too fast . In an upward rotation he tries to reach the control panel , but is not fast enough . The soothing woman 's voice continues instruction . -LRB- she occasionally includes an English word - gently , gently . vigorous -RRB- He tries to keep up with it , and tries again to push the right button to slow it down , but the machine steps starts going swiftly backwards instead .</scene_description> </scene> <scene> <stage_direction>INT. PARK HYATT LOBBY (GROUND FLOOR) - DAY</stage_direction> <scene_description>The agency group wait for Bob . They stand up as he approaches from the elevator , trying to mask a slight limp .</scene_description> <character>BOB</character> <parenthetical>( everything 's fine . )</parenthetical> <dialogue>Good morning.</dialogue> <scene_description>Miss Kawasaki notices his limp with concern as they leave the hotel .</scene_description> </scene> <scene> <stage_direction>EXT. SHIBUYA STATION - DAY</stage_direction> <scene_description>Charlotte gets out at shibuya station , a crowded neighborhood filled with neon , ads , and people . She looks up at the huge intersection as tons of JAPANESE PEOPLE wait to cross the street , no one steps forward until the cross - walk light changes , and all of them cross . A TV screen covering a building plays commercials . She roams around the narrow streets , crowded with stylish JAPANESE KIDS , tan SCHOOLGIRLS pass her . Charlotte wanders down a crowded street , looking around . On a small side street she stops at a little park . She watches a JAPANESE MAN AND WOMAN together : CHARLOTTE 'S POV - C.U. . The man reaches his hand to the back of the woman 's neck , and leans in close . The woman smiles at him , in love .</scene_description> </scene> <scene> <stage_direction>INT. CHARLOTTE'S HOTEL ROOM - NIGHT</stage_direction> <scene_description>John is sound asleep . Charlotte is awake next to him . She looks at the clock - it 's three a.m. . She slides close to him , kisses his mouth . He grumbles something in his deep sleep , and rolls over . She goes to the couch , stepping over camera equipment . She looks at the fruit basket , decides to try an apple . She has a piece but is n't really hungry . She reaches over some proof sheets and looks at a magazine , but she 's already looked at it a few times before . She decides to go downstairs .</scene_description> </scene> <scene> <stage_direction>INT. PARK HYATT BAR - NIGHT</stage_direction> <scene_description>Bob sits alone at the bar . Charlotte sits down a seat away from him , lost in his thoughts , he does n't see her until he turns and finds her next to him . They look at each other . A young BARTENDER with a sweet face tends to them .</scene_description> <character>BARTENDER</character> <dialogue>What can I get you?</dialogue> <character>CHARLOTTE</character> <dialogue>I'm not sure.</dialogue> <character>BOB</character> <parenthetical>( line from commercial . )</parenthetical> <dialogue>For relaxing times, make it --</dialogue> <character>BOB &amp; BARTENDER</character> <dialogue>` Suntory time'!</dialogue> <scene_description>Charlotte smiles at him sympathetically</scene_description> <character>CHARLOTTE</character> <dialogue>What are you doing here?</dialogue> <character>BOB</character> <dialogue>My wife needs space, I do n't know my kids' birthdays. Everyone wants Tiger Woods, but they could get me, so I'm here doing a whiskey commercial.</dialogue> <scene_description>She looks at him .</scene_description> <character>CHARLOTTE</character> <dialogue>Oh.</dialogue> <scene_description>She lifts a cigarette , he lights it for her .</scene_description> <character>CHARLOTTE</character> <dialogue>I'll just have a beer.</dialogue> <scene_description>He makes small talk about the pickled seaweed breakfast and jet lag , they commiserate about having not slept in days .</scene_description> <character>BOB</character> <dialogue>What about you? Why are you here?</dialogue> <character>CHARLOTTE</character> <dialogue>My husband's here for work - he's a photographer - and I just came along. I'm not really doing anything right now, and we have some friends who live here.</dialogue> <character>BOB</character> <dialogue>How long have you been married?</dialogue> <character>CHARLOTTE</character> <dialogue>Two years.</dialogue> <character>BOB</character> <dialogue>Try twenty - five.</dialogue> <character>CHARLOTTE</character> <dialogue>You're probably just having a mid - life crisis. Did you buy a Porche?</dialogue> <character>BOB</character> <dialogue>I'm thinking about it.</dialogue> <character>CHARLOTTE</character> <dialogue>25 years. that's a long time. Are you still in love with your wife?</dialogue> <character>BOB</character> <dialogue>Yes. I do n't know, I do n't know her anymore. I do n't know if you can be in love with one person the whole time. I was. actually I was in love with her sister first, when I was twenty - one. And one day her sister said to me she wanted to move to Paris, so I said okay, and she said no, she wanted to move to Paris with Francois, and she's still married to him. And I moved in with Lydia. but I always really liked Lydia.</dialogue> <character>CHARLOTTE</character> <parenthetical>( amused with too much info . )</parenthetical> <dialogue>Oh.</dialogue> <character>BOB</character> <dialogue>What do you do?</dialogue> <character>CHARLOTTE</character> <dialogue>I'm not sure, yet. I graduated last spring.</dialogue> <character>BOB</character> <dialogue>What did you study?</dialogue> <character>CHARLOTTE</character> <dialogue>Philosophy.</dialogue> <character>BOB</character> <dialogue>Oh, what do you do with that?</dialogue> <character>CHARLOTTE</character> <dialogue>I do n't know, but I can think about it, a lot.</dialogue> <character>BOB</character> <dialogue>It takes a while to figure it out. I'm sure you will, though.</dialogue> <character>CHARLOTTE</character> <dialogue>Thanks. I'm sure your mid - life crisis will work out, too.</dialogue> <character>BOB</character> <dialogue>Thanks.</dialogue> <scene_description>They clink glasses .</scene_description> <character>CHARLOTTE</character> <dialogue>I wish I could sleep BOB Me, too.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL LOBBY - DAY</stage_direction> <scene_description>The hotel is filled with business people . A dressed up FAMILY is going to lunch . We follow a jet - lagged Charlotte and John , as they walk down the lobby hall . An energetic blonde actress , KELLY , pops up to them . -LRB- She 's carrying a copy of Memoirs of a Geisha . -RRB- John , who was holding Charlotte 's hand , drops it .</scene_description> <character>KELLY</character> <dialogue>John! What are you doing here?</dialogue> <character>JOHN</character> <dialogue>I'm just here shooting this band, what about you?</dialogue> <character>KELLY</character> <dialogue>Promoting that action movie I did.</dialogue> <scene_description>She does a karate chop and laughs .</scene_description> <character>KELLY</character> <dialogue>doing like twenty million interviews a day. It's soo good to see you. How long are you here for?</dialogue> <character>JOHN</character> <dialogue>We're here for the week. I'm shooting in Osaka for a few days.</dialogue> <character>KELLY</character> <dialogue>It's amazing there!</dialogue> <character>JOHN</character> <dialogue>Have you met Charlotte? My wife.</dialogue> <character>KELLY</character> <dialogue>No! Hi! So great to meet you!</dialogue> <character>CHARLOTTE</character> <dialogue>Hi, nice to meet you.</dialogue> <character>KELLY</character> <dialogue>You know, John, you're my favorite photographer, I only want to be shot by you.</dialogue> <scene_description>Charlotte looks at John .</scene_description> <character>JOHN</character> <dialogue>Uh. thanks.</dialogue> <character>KELLY</character> <parenthetical>( as she fans out her top . )</parenthetical> <dialogue>Sorry if I have the worst B.O., I've been sweating in this little room with T.V. lights for hours.</dialogue> <scene_description>Kelly , giggling and acting all too comfortable with herself , is eating up all the oxygen around them .</scene_description> <character>JOHN</character> <dialogue>Oh no.</dialogue> <character>KELLY</character> <parenthetical>( with a big smile . )</parenthetical> <dialogue>. Well, I have the worst headache, I have to go find some aspirin. But, call me, let's have a drink, I'm under Evelyn Waugh.</dialogue> <scene_description>Kelly giggles . Charlotte smirks .</scene_description> <character>JOHN</character> <dialogue>Ok, see you later.</dialogue> <scene_description>And Kelly and her make - up artist and publicist are off . John and Charlotte continue .</scene_description> <character>CHARLOTTE</character> <dialogue>Evelyn Waugh?</dialogue> <character>JOHN</character> <dialogue>What?</dialogue> <character>CHARLOTTE</character> <dialogue>Evelyn Waugh was a man.</dialogue> <scene_description>John shrugs .</scene_description> <character>JOHN</character> <dialogue>Oh, c'mon, she's nice. Not everyone went to Yale.</dialogue> <scene_description>Charlotte shoots him a look .</scene_description> <character>JOHN</character> <dialogue>Its just a pseudonym, it does n't matter.</dialogue> <character>CHARLOTTE</character> <dialogue>Why do you have to defend her?</dialogue> <character>JOHN</character> <dialogue>I'm not, but do you have to point out how stupid everyone is.</dialogue> <character>CHARLOTTE</character> <dialogue>No, I thought it was funny. Forget it.</dialogue> <scene_description>His producer comes up to them . John puts his arm around Charlotte , kisses her , everything 's fine .</scene_description> <character>PRODUCER</character> <parenthetical>( looks at his watch . )</parenthetical> <dialogue>We should get going.</dialogue> <character>JOHN</character> <dialogue>OK, I'll see you later.</dialogue> <scene_description>He kisses her on the cheek , and is gone .</scene_description> </scene> <scene> <stage_direction>INT. CHARLOTTE'S HOTEL ROOM - DAY</stage_direction> <scene_description>Charlotte walks into the empty hotel room . C.U. - Charlotte 's feet as she clips her toenails . C.U. - Charlotte 's hand by an ashtray , writes in a journal . Charlotte looks in a mirror , trying on an unfinished scarf she 's knitting . She checks the length on herself . Charlotte sits on the big window sill checking her messages on the phone .</scene_description> <character>CHARLOTTE</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( voice mail recording . )</parenthetical> <dialogue>Hi, leave a message.</dialogue> <scene_description>We hear the # key as Charlotte hits it to interrupt the message .</scene_description> <character>VOICE MAIL</character> <dialogue>You have eighteen new messages. Press -</dialogue> <scene_description>She hits a button .</scene_description> <character>MAN'S VOICE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hi Charlotte, I do n't know if you're in town. but I'm having a birthday party for my dog, Louise, tomorrow night, at my house around eight.</dialogue> <scene_description>She pushes a number to delete the message .</scene_description> <character>MOTHER</character> <parenthetical>( O.S . )</parenthetical> <dialogue>fabulous time in Japan! How exciting, and hope you and your adorable husband are enjoying it. I was sitting next to Cathryn Myles last night at this dinner and she was telling me about her daughter who had this awful boyfriend and a messy break - up and how hard it is, and now she's single and wants to start a family, I'm so glad that you're settled, and not in that situation. Anyway, call me when you have a chance, I'm trying to put Thanksgiving plans together, whether we want to go skiing or. Daddy wants to stay home and have it here, which might be easier with Lauren and the children, but let me know what your feelings are, I do hope you and John can make it. Call me, I love you.</dialogue> <scene_description>Charlotte pushes a button .</scene_description> <character>VOICE MAIL</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Charlotte hangs up</dialogue> <scene_description>Charlotte lies on the bed , in the knit scarf and underwear She 's doing a quiz in a magazine : `` ARE YOU HAVING A MID - TWENTIES CRISIS ? ARE YOU FATIGUED ? DO YOU HAVE NO IDEA WHERE YOUR CAREER IS GOING ? DO YOU HATE MOST PEOPLE ? ''</scene_description> </scene> <scene> <stage_direction>INT. HOTEL POOL - DAY</stage_direction> <scene_description>An Olympic pool is framed by tall glass walls with the Tokyo view . Bob is handed a swim cap and goggles . Bob watches a Japanese BUSINESSMAN swimming , he looks like an over - grown baby . Bob swims laps in the pristine pool . He continues his laps . Under water he sees the jumping legs of MIDDLE - AGED WOMEN . A disco mixed tape starts , and above water we see a WESTERN INSTRUCTOR in tight shorts leading an aqua - aerobics class to the group of WOMEN , They jump up and down to Sister Sledge .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL SPA - DAY</stage_direction> <scene_description>Bob walks past the rows of lockers to the Sauna room . He sits in the sauna , two HOTEL GUESTS speak German in the corner . Bob comes out from the sauna , red and sweaty . Bob submerges in the cold water of a small pool in the sauna room , having a moment of relief .</scene_description> </scene> <scene> <stage_direction>INT. CHARLOTTE'S ROOM - DAY</stage_direction> <scene_description>Charlotte lies on the floor with big headphones on , listening to a book on tape . After a corny music intro , a very serious scholar man 's voice speaks clearly : DR. KENGARD -LRB- 0 . S. -RRB- Did you ever wonder what your purpose in life is ? This book is about finding your soul 's purpose or destiny . Every soul has its path , but sometimes that path is not clear . The acorn theory is an example of each soul beginning with an imprint . Charlotte tries to get into it , but ca n't get past feeling like a loser listening to a self - help tape . She looks at the doctor 's photo on the audio - book box , he 's bald , in a turtleneck and glasses .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL - DAY</stage_direction> <scene_description>Charlotte follows a JAPANESE FAMILY in formal dress out of the elevator onto the mezzanine level . She wanders down a big hall . She sees an open door and steps in the crowded room , which is in the midst of a press conference . Cameras flash as Kelly , with wide eyes , behind a table , answers questions enthusiastically . KELLY You know , barbecuing , and yoga , and I love taking my dogs , Buster and Lulu , for walks on the beach . and it was great learning karate for `` Midnight Racer '' - I did all my own stunts ! The JAPANESE JOURNALISTS seem excited by her answer . Kelly throws a Karate punch for a PHOTOGRAPHER .</scene_description> <character>SWEATY JOURNALIST</character> <dialogue>What was it like working with Keanu Reeves?</dialogue> <character>KELLY</character> <dialogue>It was great. I've known him for a while now - you know we both live in L.A.. We both have dogs.</dialogue> <scene_description>Charlotte walks out .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL HALLWAY - DAY</stage_direction> <scene_description>Charlotte continues down a hall , she stops at an open door and peeks in . A quiet group of JAPANESE WOMEN are gathered around a table . Charlotte goes in , as she gets closer she sees they are being instructed in Ikebana floral design . Each woman has a little vase and elegant flower cuttings . She watches as they delicately arrange the tiny flowers . The INSTRUCTOR hands Charlotte a vase and cuttings . Alongside the women , Charlotte tries to follow along .</scene_description> </scene> <scene> <stage_direction>INT. CHARLOTTE'S HOTEL - BATHROOM</stage_direction> <scene_description>Charlotte reclines low in the bathtub staring off . She can see mount Fuji in the distance . The audio tape plays on the stereo .</scene_description> <character>DR. KENEGARD</character> <parenthetical>( dry &amp; monotonous . )</parenthetical> <dialogue>Plato's text calls this image the `` paradeigma''. So the lot is the image that is your inheritance, your place on earth, all compacted into a pattern that has been selected by your soul before you even got here - or better said, that is always and continually being selected by your soul, because time does not enter the equation of myth. -</dialogue> </scene> <scene> <stage_direction>INT. CHARLOTTE'S HOTEL ROOM - EVENING</stage_direction> <scene_description>With her back to us , Charlotte looks out the big window . John comes up and kisses her .</scene_description> <character>CHARLOTTE</character> <dialogue>How'd it go today?</dialogue> <character>JOHN</character> <dialogue>Good. I'm tired.</dialogue> <scene_description>He hugs her for a moment , leaning on her .</scene_description> <character>JOHN</character> <dialogue>I got ta go meet Kelly for a drink downstairs. She wants to talk about some photo thing.</dialogue> <character>CHARLOTTE</character> <dialogue>Ok. Maybe I'll walk down with you.</dialogue> <character>JOHN</character> <dialogue>You wan na come?</dialogue> <character>CHARLOTTE</character> <dialogue>Sure.</dialogue> <character>JOHN</character> <parenthetical>( does n't really want her to . )</parenthetical> <dialogue>Ok.</dialogue> </scene> <scene> <stage_direction>INT. PARK HYATT BAR - NIGHT</stage_direction> <scene_description>At a corner table Charlotte sits with John , Kelly , and DJ CLEAN , a skinny kid in a sweatshirt , on tour in Japan . Charlotte is bored while Kelly talks on . Sausalito performs in the background .</scene_description> <character>KELLY</character> <dialogue>My Dad was anorexic.</dialogue> <character>CHARLOTTE</character> <parenthetical>( she 's never heard of that . )</parenthetical> <dialogue>Really?</dialogue> <scene_description>John shoots Charlotte a look .</scene_description> <character>KELLY</character> <parenthetical>( very serious . )</parenthetical> <dialogue>He was on the American side at the Bay of Pigs, in Cuba, and he was taken prisoner, and they tortured them about their food the whole time.</dialogue> <character>BENZO</character> <dialogue>Where?</dialogue> <character>KELLY</character> <dialogue>My dad fought on the American side at the Bay of Pigs. So, when he was a prisoner, they would tell them they had put poison in their food and they would make themselves throw up. and when he got back, he did better, but he still has food issues. He has to have really clean food. And really simple. He ca n't just go have, say, Chinese food.</dialogue> <character>JOHN</character> <parenthetical>( trying . )</parenthetical> <dialogue>Oh, that's too bad.</dialogue> <scene_description>Charlotte ashes her cigarette in a clean ashtray , and she watches as it is quickly replaced with a new one by a WAITER .</scene_description> <character>BENZO</character> <parenthetical>( nodding at the view . )</parenthetical> <dialogue>How crazy is this shit?</dialogue> <character>CHARLOTTE</character> <dialogue>Yeah, it is.</dialogue> <scene_description>DJ Clean starts doing a human beat box at her . Charlotte looks over at Kelly .</scene_description> <character>KELLY</character> <dialogue>Oh my god you have to try it, this power cleanse is amazing - it's lemon juice and grade B maple syrup and cayenne pepper for seven days. Just like a half a teaspoon of cayenne. The first few days you're a little scattered, but by day four - it's amazing. my eyes were so white.</dialogue> <scene_description>Charlotte excuses herself . She passes Bob who sits at his usual spot at the bar , as she is leaving .</scene_description> <character>CHARLOTTE</character> <dialogue>Hi again, how's it going?</dialogue> <character>BOB</character> <dialogue>Who do I have to fuck to get off this planet?</dialogue> <scene_description>Charlotte laughs with sympathy , but does n't know what to tell him .</scene_description> </scene> <scene> <stage_direction>INT. CHARLOTTE'S HOTEL ROOM - NIGHT</stage_direction> <scene_description>John sleeps soundly -LRB- turned away from her -RRB- , Charlotte ca n't sleep . She turns on the T.V. to a crazy local T.V. variety show .</scene_description> </scene> <scene> <stage_direction>INT BOB'S HOTEL ROOM - NIGHT</stage_direction> <scene_description>Bob ca n't sleep , he watches the same show on T , V . He flips the channel - it 's an old black &amp; white Japanese movie of a man committing Hari Kari .</scene_description> </scene> <scene> <stage_direction>EXT. TOKYO - MORNING</stage_direction> <scene_description>Charlotte finds her way down a narrow street in an old section of Tokyo . She turns a corner and finds a square with what she was looking for .</scene_description> </scene> <scene> <stage_direction>EXT. TEMPLE - DAY</stage_direction> <scene_description>The sun shines over a beautiful old temple . Birds chirp , Charlotte approaches and goes inside .</scene_description> </scene> <scene> <stage_direction>INT. TEMPLE - DAY</stage_direction> <scene_description>Charlotte stands in the back and watches a ceremony . A ROSHI speaks in Japanese , monks chant . It 's all very foreign . Charlotte tries to feel something .</scene_description> </scene> <scene> <stage_direction>INT. CHARLOTTE'S HOTEL ROOM - AFTERNOON</stage_direction> <scene_description>Charlotte sits on the bed talking to John who 's coming out of the bathroom , getting ready to go to work . He checks himself in the mirror , CHARLOTTE Am I shallow ?</scene_description> <character>JOHN</character> <dialogue>No, what are you talking about.</dialogue> <character>CHARLOTTE</character> <dialogue>I went to a temple today and I did n't feel anything.</dialogue> <character>JOHN</character> <dialogue>That's ok.</dialogue> <scene_description>He looks for his mobile phone .</scene_description> <character>CHARLOTTE</character> <dialogue>I do n't know what to do.</dialogue> <character>JOHN</character> <dialogue>That's ok, you'll figure it out.</dialogue> <scene_description>He comes close and kisses her .</scene_description> <character>CHARLOTTE</character> <dialogue>You smell weird.</dialogue> <character>JOHN</character> <dialogue>What?</dialogue> <scene_description>She leans back to look at him .</scene_description> <character>CHARLOTTE</character> <dialogue>Like popcorn?</dialogue> <character>JOHN</character> <dialogue>I got some hair stuff.</dialogue> <scene_description>She looks at him funny .</scene_description> <character>CHARLOTTE</character> <dialogue>Hair stuff?</dialogue> <character>JOHN</character> <dialogue>I got ta go to work.</dialogue> <scene_description>He grabs her , kissing her good - bye , she wraps her him , when his cell phone rings .</scene_description> <character>JOHN</character> <dialogue>I'll be right down. I'm just leaving. ok.</dialogue> <scene_description>He kisses her , and leaves .</scene_description> <character>JOHN</character> <dialogue>See you later.</dialogue> <character>CHARLOTTE</character> <dialogue>Bye.</dialogue> <scene_description>She makes a call . We see her back and hair , as she looks out the bright window .</scene_description> <character>CHARLOTTE</character> <dialogue>Lauren?</dialogue> <character>LAUREN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Charlotte?! How's Tokyo?</dialogue> <character>CHARLOTTE</character> <dialogue>It's cool. but, I do n't know. I went to a shrine today and all these little monk's were chanting. and, I did n't feel anything. I even tried ikebana,. and John's using hair products. I do n't know who I --.</dialogue> <scene_description>Lauren 's Call - waiting beeps , cutting off her sentence .</scene_description> <character>LAUREN</character> <dialogue>Oh, wait, can you hold on one sec?</dialogue> <character>CHARLOTTE</character> <dialogue>Sure.</dialogue> <scene_description>Charlotte waits .</scene_description> <character>LAUREN</character> <dialogue>Sorry about that, what were you saying?</dialogue> <scene_description>In the background a baby starts crying .</scene_description> <character>CHARLOTTE</character> <dialogue>Oh, it's nothing. I better go, I'll talk to you later.</dialogue> <character>LAUREN</character> <dialogue>Ok, have fun there, you're so lucky you do n't have any kids yet and you can go off to Japan. call me when you get back.</dialogue> <character>CHARLOTTE</character> <dialogue>Ok, bye.</dialogue> <scene_description>She hangs up . She sits there for a moment , starting to cry , she wipes the tears , trying to make them go away .</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY - AFTERNOON</stage_direction> <scene_description>Tokyo goes by out the window . Charlotte looks at the PEOPLE on the crowded train . A sweaty BUSINESSMAN blots his face with a little handkerchief . Another older BUSINESSMAN reads an erotic comic book .</scene_description> </scene> <scene> <stage_direction>INT. SUBWAY STATION - AFTERNOON</stage_direction> <scene_description>Charlotte looks up at the many signs , trying to figure out which way to go , but they are all in Japanese characters . Confused , she chooses the west exit .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - AFTERNOON</stage_direction> <scene_description>Charlotte walks down a little street in a quiet neighborhood . She stops at a window of a portrait studio and looks at all of the wedding portraits . They are very formal and retouched , Japanese brides and grooms dressed in a Western old - fashion style .</scene_description> </scene> <scene> <stage_direction>EXT. ARCADE - DAY</stage_direction> <scene_description>Charlotte looks through the window as a tan Japanese boy , tries to win a stuffed animal for his girlfriend .</scene_description> </scene> <scene> <stage_direction>INT. ARCADE - AFTERNOON</stage_direction> <scene_description>In a crowded arcade , Charlotte watches some kids play Dance Revolution , a video game where you dance along to cues on the light - up floor . One BUSINESSMAN in a suit is really good and into it . She sees a sushi chef game where you have to cut an electronic fish . She looks at a firefighter game , and rows of plexi boxes filled with some little character dolls you try to win .</scene_description> </scene> <scene> <stage_direction>INT. GALLERY BOOKSTORE - DAY</stage_direction> <scene_description>Charlotte looks at the shelves of books she passes , she flips through some books . She walks over to a small gallery space and goes up to the wall to see the small photos . They are of tied - up , partially naked Japanese school girls , one girl is spanking another one with a stuffed animal . She 's making a face of ecstacy . Charlotte looks at it , not getting it .</scene_description> </scene> <scene> <stage_direction>EXT. SHIBUYA - DAY</stage_direction> <scene_description>Charlotte stands alone on a side street , smoking a cigarette and watching the CROWDS go by .</scene_description> </scene> <scene> <stage_direction>EXT. SHIBUYA - DAY</stage_direction> <scene_description>Charlotte walks up a little street filled with shops . She stops at a window of cute underwear that she.looks at . She goes into the shop .</scene_description> </scene> <scene> <stage_direction>INT. CHARLOTTE'S HOTEL ROOM - LATE AFTERNOON</stage_direction> <scene_description>51C . U. Charlotte 's lips . She puts watermelon color lipstick on.She looks at herself in the mirror in her new underwear . We hear the shower running in the bathroom . Charlotte decorates the room , putting up some paper cherry blossom decorations . She goes over to the bed and stubs her toe on it , as she flops down .</scene_description> <character>CHARLOTTE</character> <dialogue>Ouch.</dialogue> <scene_description>She holds her toe , annoyed with her klutziness . John talks to her from the shower .</scene_description> <character>JOHN</character> <parenthetical>( O.C . )</parenthetical> <dialogue>At the fitting, they had all these rock n roll clothes, the label guys kept saying lock n loll, though, but the band does n't look tough at all. they look better just skinny and nerdy, like how when they came in. they looked so uncomfortable in these Keith Richards clothes, they should just be like they are, do n't you think?</dialogue> <scene_description>She 's drifted off .</scene_description> <character>CHARLOTTE</character> <dialogue>Yeah.</dialogue> <character>JOHN</character> <dialogue>Yeah, I think you're probably right. because when you try to.</dialogue> <scene_description>He gets out and is rushing to get his stuff together to go . Charlotte 's lounging on the bed in her new pink underwear . She tries her scarf on that she 's been knitting .</scene_description> <character>CHARLOTTE</character> <dialogue>Do you think it's done?</dialogue> <character>JOHN</character> <dialogue>I do n't know.</dialogue> <scene_description>He goes to get all his stuff together . He passes an ashtray with cigarette butts in it .</scene_description> <character>JOHN</character> <dialogue>Will you please stop smoking?</dialogue> <character>CHARLOTTE</character> <dialogue>But I like to. and I do n't smoke that much.</dialogue> <character>JOHN</character> <dialogue>Its bad for you.</dialogue> <character>CHARLOTTE</character> <dialogue>Ok, I will. later.</dialogue> <scene_description>He picks up a camera from a table in the corner . He looks at the self - help audio book box .</scene_description> <character>JOHN</character> <dialogue>A Soul's Search : Finding Your True Character and calling? Is this yours?</dialogue> <character>CHARLOTTE</character> <dialogue>Oh. that's nothing, someone gave it to me.</dialogue> <character>JOHN</character> <dialogue>You do n't have to be embarrassed.</dialogue> <character>CHARLOTTE</character> <dialogue>I'm not. It's just corny, but I'm not into it.</dialogue> <character>JOHN</character> <dialogue>It's ok if you are.</dialogue> <scene_description>He kisses the side of her face and her shoulder like a cute pet , and then continues getting his stuff together . John sets two bottles of Cristal on the bed next to her , not really seeing her .</scene_description> <character>JOHN</character> <dialogue>Oh, the record company sent these.</dialogue> <character>CHARLOTTE</character> <dialogue>Mmm, I love Cristal, let's have some.</dialogue> <character>JOHN</character> <dialogue>I got ta go. and I do n't really like champagne.</dialogue> <scene_description>As he unplugs his cell phone from the wall .</scene_description> <character>JOHN</character> <dialogue>Are you sure you want to stay?</dialogue> <character>CHARLOTTE</character> <dialogue>Are you sure you have to go?</dialogue> <scene_description>He looks at her - like do n't make it harder .</scene_description> <character>CHARLOTTE</character> <dialogue>Yeah, I know you have to work the whole time, I'll probably have more fun here. I'll call Charlie and those guys.</dialogue> <character>JOHN</character> <dialogue>Ok, definitely call them, I'll be back Friday. I love you.</dialogue> <scene_description>They kiss .</scene_description> <character>CHARLOTTE</character> <dialogue>I love you.</dialogue> <scene_description>He tackles her , kisses her , bites her , grabs her ribs , tickling her in a burst of affection . She laughs , her arms around his neck .</scene_description> <character>CHARLOTTE</character> <dialogue>I miss you.</dialogue> <character>JOHN</character> <dialogue>It'll just be a few days.</dialogue> <scene_description>He kisses her and is off . Charlotte sits there alone with the unopened bottles of champagne .</scene_description> </scene> <scene> <stage_direction>INT. PARK HYATT POOL - EVENING</stage_direction> <scene_description>Water splashes as Charlotte dives into the pool -LRB- in a one - piece bathing suit -RRB- as the sun goes down .</scene_description> </scene> <scene> <stage_direction>INT. PARK HYATT HALL - EVENING</stage_direction> <scene_description>Leaving in her robe , Charlotte runs into Bob , in his robe , going to the pool .</scene_description> <character>CHARLOTTE</character> <dialogue>Oh, hi.</dialogue> <character>BOB</character> <parenthetical>( awkward , but glad to run into her . )</parenthetical> <dialogue>Hi. Did you have a nice swim?</dialogue> <character>CHARLOTTE</character> <dialogue>Yeah. Did you get some sleep?</dialogue> <character>BOB</character> <dialogue>No, how about you?</dialogue> <character>CHARLOTTE</character> <dialogue>Not really. How long are you here for?</dialogue> <character>BOB</character> <dialogue>I'm here for the week.</dialogue> <character>CHARLOTTE</character> <dialogue>Oh, good. Do you want to go to a party tonight with me and some friends who live here?</dialogue> <character>BOB</character> <dialogue>Ok.</dialogue> <character>CHARLOTTE</character> <dialogue>See you later.</dialogue> <scene_description>He watches her go .</scene_description> </scene> <scene> <stage_direction>INT. BOB'S ROOM - EVENING</stage_direction> <scene_description>As Bob opens his door to his room , a FedEx package falls in his path . He opens it - large carpet swatches fall out with a note `` BOB - WHICH ONE DO YOU WANT FOR YOUR STUDY ? I LIKE THE BURGUNDY , BUT WHATEVER YOU WANT . LOVE , L '' He looks at them for a second , they all look the same , and why is she sending these ? He puts them down .</scene_description> </scene> <scene> <stage_direction>INT. CHARLOTTE'S HOTEL ROOM - NIGHT</stage_direction> <scene_description>The elaborate chiming doorbell rings . Charlotte opens the door to see Bob . He 's wearing an orange camouflage T - shirt . She looks at his shirt , suppressing a smile .</scene_description> <character>CHARLOTTE</character> <dialogue>You really are having a mid - life crisis.</dialogue> <character>BOB</character> <parenthetical>( embarrassed . )</parenthetical> <dialogue>I know, it's stupid.</dialogue> <scene_description>He goes into the bathroom to change it . He comes out with it on inside out so it 's just an orange T - shirt . He asks her to cut the label out for him . She goes to find some scissors . He picks up A Soul 's Search : Finding Your True Calling audio - book box .</scene_description> <character>BOB</character> <dialogue>A Soul's Search : Finding Your True Calling - are you reading this?</dialogue> <character>CHARLOTTE</character> <dialogue>No.</dialogue> <scene_description>She returns with the hotel room sewing kit .</scene_description> <character>BOB</character> <dialogue>I read it, too.</dialogue> <scene_description>She smiles , busted , but does n't say anything as she cuts his shirt label with little hotel sewing - kit scissors . She slips on her shoes on to leave .</scene_description> </scene> <scene> <stage_direction>INT. TOKYO BAR - NIGHT</stage_direction> <scene_description>All white nightclub , lit with black lights so it seems to glow in the dark , with the booming sound of helicopters . JAPANESE GALLAGER BROTHERS walk by . Bob watches Charlotte as Charlie , in a crazy outfit , hugs her . Charlotte tries to talk to Bob over the loud music .</scene_description> <character>CHARLOTTE</character> <dialogue>Charlie, this is Bob. Bob -- Charlie Brown.</dialogue> <character>BOB</character> <dialogue>Hi, Charlie.</dialogue> <scene_description>They shake hands .</scene_description> <character>CHARLOTTE</character> <dialogue>His real name's Hayashi, but someone started calling him Charlie because they thought he looked like Charlie Brown. They've all got American nicknames because its easier for me to remember. they were just out in L.A. last month doing a shoot with John. that guy's Mr.Valentine, he's the art director of their magazine, I do n't even know his real name, or why I call him that.</dialogue> <scene_description>Bob looks over at some SKINNY GUY in huge glasses smiling at them . Charlie hands them some drinks .</scene_description> <character>CHARLIE</character> <dialogue>This is Bambi.</dialogue> <character>CHARLOTTE</character> <dialogue>Hi.</dialogue> <scene_description>A young SHY GUY with a shaved head smiles at her , and takes her picture . A JAPANESE KRAFTWERK COVER - BAND plays Trans Europa Express . Some people at the bar buy drinks for Bob and insist on drinking with him . Bob and Charlotte look over as Charlie gets into some problem with the BARTENDER . The Bartender gets mad and starts shooting a real - looking BB gun at him . Orange bullets fly through the air . They all rush out of there .</scene_description> </scene> <scene> <stage_direction>EXT. BAR - NIGHT</stage_direction> <scene_description>Bob and Charlotte try to get past the crowd at the entrance . A big BOUNCER stops them and is yelling fast Japanese at him . The crowd parts as the Bartender emerges shooting his BB gun , and Bob and Charlotte run for it . BB GUN CHASE - The Bartender climbs on a car , threatening them from above . Bob covers Charlotte as they duck behind the car . They make a run for it , ducking into a pachinko parlor .</scene_description> </scene> <scene> <stage_direction>INT.PACHINKO PARLOR - NIGHT</stage_direction> <scene_description>Bob and Charlotte run past the blinking machines , and gamblers , to another door to the street .</scene_description> </scene> <scene> <stage_direction>EXT. STREET - NIGHT</stage_direction> <scene_description>Bob spots a cab and they run to it , seeing Charlie now throwing bottles in the direction of the bartender . Bob and Charlotte get in the cab .</scene_description> </scene> <scene> <stage_direction>INT. CAB - NIGHT</stage_direction> <scene_description>Charlotte hits her head as they get in . Bob yells to the driver to go , but he does n't understand . Through the windshield they see the Bartender and sidekick coming with baseball bats . They hear a bang on the door and Charlie hops in . He makes sure she is ok and shouts something to the Driver , and they speed away .</scene_description> </scene> <scene> <stage_direction>INT. KARAOKE BAR - NIGHT</stage_direction> <scene_description>Charlie , in his flashy outfit , sings `` God Save the Queen '' into the Karaoke mic . He rolls his r 's just like Johnny Rotten . Charlotte laughs and loves watching Charlie . They 're other friends wear the different color wigs they provide at this place . There are big bottles of beer and sake . They are all pretty formal . Bambi tries to talk to Charlotte with a big grin , he can barely speak English .</scene_description> <character>BAMBI</character> <dialogue>How's california?</dialogue> <character>CHARLOTTE</character> <parenthetical>( smiles . )</parenthetical> <dialogue>Good.</dialogue> <character>BAMBI</character> <dialogue>Good. I like your swimming pool.</dialogue> <character>CHARLOTTE</character> <dialogue>Thanks, you guys should come back sometime.</dialogue> <character>BAMBI</character> <dialogue>Yes.</dialogue> <scene_description>He tries wigs on her . He puts a light pink wig on her and beams . Bob smokes and watches .</scene_description> <character>BAMBI</character> <dialogue>Kawaii.</dialogue> <parenthetical>( Kawaii means `` cute '' . )</parenthetical> <dialogue /> <scene_description>She smiles a lovable smile at Bambi . Charlie and Charlotte sings `` Brass in Pocket '' by The Pretenders -LRB- `` you 're special , so special . '' -RRB- , everyone is drunk now , as they all sing along at the chorus . WOMEN keep refilling the glasses . Mr. Valentine sings a popular slow heartfelt Japanese song that everyone knows and sings along to . Charlotte and Bob look at each other , it is very foreign , but Bob likes being there with Charlotte and her friends . She flips through a big binder of songs .</scene_description> <character>CHARLOTTE</character> <dialogue>What do you feel like singing, Bob?</dialogue> <character>BOB</character> <dialogue>No way.</dialogue> <scene_description>Bob sings `` I fall to Pieces '' to Charlotte . Charlie and everyone cheers for him . Beer pitchers are replaced . Charlie starts singing `` Angle '' . The little room is fxlled with smoke , Charlotte makes her way to the door to get some air .</scene_description> </scene> <scene> <stage_direction>INT. KARAOKE BAR HALLWAY - NIGHT</stage_direction> <scene_description>Taking a break from the crowded and hot Karaoke room , Charlotte sits for a break alone on a bench in the bright hallway . It is quiet with just the muffled sound of music from the Karaoke room . She 's wearing a pink geisha wig . Bob sits down next to her . Charlotte lights his cigarette with some crazy Japanese light - up lighter . She leans her head back - it 's getting too heavy . She looks at his hands .</scene_description> <character>CHARLOTTE</character> <dialogue>You bite your nails?</dialogue> <scene_description>He nods .</scene_description> <character>CHARLOTTE</character> <dialogue>I could cut the ones that are left for you.</dialogue> <character>BOB</character> <dialogue>Ok.</dialogue> </scene> <scene> <stage_direction>INT. NOBU'S COMPOUND - NIGHT</stage_direction> <scene_description>NOBU , a cool skinny stoner guy in a Hawaiian shirt , plays phsycadellic records in his seventies hippie surfer - pad . His JAPANESE GIRLFRIEND , who looks like a 60 's pin - up , pours cold sake . Bob is handed a ridiculously big bong . Charlie is drunk and taking polaroids . Nobu , really stoned , talks to Bob about surfing . A SHORT GUY with thick glasses introduces himself to Charlotte , extending his hand .</scene_description> <character>HANS</character> <dialogue>I'm Hans.</dialogue> <character>CHARLOTTE</character> <dialogue>Hans? Nice to meet you.</dialogue> <scene_description>Charlie takes pictures of Charlotte and HIROMIX , a sexy Japanese girl , posing on a sheepskin run . They are being hammy for Charlie who loves it . Bob walks up and is amused watching her , she sees him and gets embarrassed . DECADENT TOKYO PARTY - NIGHT Hiromix dances -- Charlotte dances with Hans - she looks sweaty but beautiful . Bob dances with his eyes closed , really into it , in the midst of all of them . the song `` I Feel Too Young '' plays .</scene_description> </scene> <scene> <stage_direction>INT. NOBU'S ENTRY - NIGHT</stage_direction> <scene_description>Bob and Charlotte are leaving Nobu 's . She 's wearing Bob 's jacket .</scene_description> <character>CHARLIE</character> <dialogue>Make sure she gets home okay?</dialogue> <character>BOB</character> <dialogue>I will.</dialogue> <scene_description>Bob takes Charlotte 's arm carefully just as she bangs her head walking into the glass door - it makes a loud thud .</scene_description> <character>BOB</character> <dialogue>Are you ok?</dialogue> <scene_description>She nods . Bob looks back at Charlie who is watching - she 's fine . He leads her into a waiting cab .</scene_description> </scene> <scene> <stage_direction>EXT. TOKYO - NIGHT</stage_direction> <scene_description>POV from cab - Tokyo neon blurs by . It looks beautiful .</scene_description> </scene> <scene> <stage_direction>INT. CAB - NIGHT</stage_direction> <scene_description>Charlotte looks at the neon going by . She looks over at Bob , her eyelids are too heavy for her .</scene_description> <character>CHARLOTTE</character> <dialogue>I do n't want to go home.</dialogue> <character>BOB</character> <dialogue>I know. I do n't either.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL HALL - NIGHT</stage_direction> <scene_description>Bob carries a very drunk Charlotte to her room . Her purse dangling from his arm .</scene_description> </scene> <scene> <stage_direction>INT. CHARLOTTE'S ROOM - NIGHT</stage_direction> <scene_description>He puts her on her bed . He takes her shoes off for her and pulls a blanket over her . He looks at her lying on the bed . She opens her eyes to smile at him . He wants to kiss her , but he leaves .</scene_description> </scene> <scene> <stage_direction>INT.HOTEL HALL - NIGHT</stage_direction> <scene_description>He walks down the empty hall , not wanting to leave her . As he goes he looks at various trays of leftover room service in the hallway .</scene_description> </scene> <scene> <stage_direction>INT. BOB'S ROOM - NIGHT</stage_direction> <scene_description>Bob comes back to his room , tripping over the carpet samples . He makes a phone call from bed . He 's still a little drunk and thinking about his night out in Tokyo .</scene_description> <character>BOB</character> <dialogue>Lydia?</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hello, darling.</dialogue> <character>BOB</character> <dialogue>Lydia, I went to this great house tonight, this guy designed and built, you would have loved it.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Oh, yeah? I wish I had seen it.</dialogue> <character>BOB</character> <dialogue>He was this fashion guy, and there were all these Japanese fashion people - it's a whole other world, and I was talking to these Japanese surfers. He was playing all this great music - I have to find out what it was.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>That sounds great -- can you hold on.</dialogue> <parenthetical>( talks to daughter . )</parenthetical> <dialogue>What Zoe?</dialogue> <character>ZOE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I do n't want it.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Well, you have to have something for breakfast. Do you want cereal?</dialogue> <character>ZOE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>No.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Just trying to get her to eat something. I'm glad you're having fun.</dialogue> <character>BOB</character> <dialogue>Yeah, its really different here.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Well, that's good, I have to get the kids off for school. Can I call you in a little while?</dialogue> <character>BOB</character> <dialogue>It's four in the morning. I'm going to go to sleep.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Ok, well. I love you.</dialogue> <character>BOB</character> <dialogue>I love you, too, good - night, or good - morning.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Good - night.</dialogue> <scene_description>He hangs up .</scene_description> </scene> <scene> <stage_direction>INT. CHARLOTTE'S ROOM - MORNING</stage_direction> <scene_description>Charlotte can - ' t get out of bed . She looks at the clock - it 's 10 a.m. . She picks up the phone .</scene_description> </scene> <scene> <stage_direction>INT. BOB'S ROOM - MORNING</stage_direction> <scene_description>Bob -LRB- still in camouflage T - shirt from last night -RRB- answers the phone by his bed .</scene_description> <character>BOB</character> <parenthetical>( grumbly . )</parenthetical> <dialogue>Hello?</dialogue> <character>CHARLOTTE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>It's Charlotte.</dialogue> <character>BOB</character> <dialogue>Charlotte, who?</dialogue> <character>CHARLOTTE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Thanks for getting me back in one piece.</dialogue> <scene_description>C.U. Charlotte 's feet on her bed</scene_description> <character>BOB</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Of course.</dialogue> <character>CHARLOTTE</character> <dialogue>Do you want to have some breakfast?</dialogue> <scene_description>C.U. her hand wraps the phone cord around her fingers .</scene_description> <character>BOB</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Yeah, I'm going to take a shower and I'll meet you downstairs.</dialogue> <character>CHARLOTTE</character> <dialogue>OK, see you downstairs.</dialogue> </scene> <scene> <stage_direction>INT. HOTEL RESTAURANT - DAY</stage_direction> <scene_description>They sit in the bright light . She squints and drinks a Bloody Mary . Bob is distant . She looks across at two middle - aged MID - WESTERN WOMEN talking about plastic surgery , you ca n't hear them , but can tell as they gesture and one pulls her eye lids up . Charlotte looks at another table by the elaborate buffet and sees the redhead Singer having breakfast with the rest of Sausalito .</scene_description> <character>CHARLOTTE</character> <parenthetical>( trying to make it light . )</parenthetical> <dialogue>Hey look, it's Sausalito.</dialogue> <character>BOB</character> <dialogue>I see them every morning.</dialogue> <scene_description>They do n't know what to say . Somehow it 's too intimate having breakfast . She eats her breakfast aware of her every movement . C.U. - her POV of soft scrambled eggs .</scene_description> </scene> <scene> <stage_direction>EXT. GOLF COURSE - DAY</stage_direction> <scene_description>In the distance , Bob swings on a perfect golf course .</scene_description> </scene> <scene> <stage_direction>INT. CHARLOTTE'S HOTEL ROOM - NIGHT</stage_direction> <scene_description>Charlotte lies in bed awake . The clock says its 4 a.m. Finally she gives up on trying to sleep , and turns the light on . In John 's old T - shirt and Ugg boots , she goes to the couch , looks at some strange pastry with an elaborate presentation left by the hotel . She picks up a magazine , but she 's already looked at it a few times before . She hears something and goes over to the door . On her way , she passes her red T. Anthony suitcase overflowing with stuff that looks like a bomb went off in it . A HOTEL MESSAGE envelope is slipped under the door . She opens it to see a typed note from the operator : `` From : Mr. Harris . Message : Are you awake ? '' She smiles like she 's gotten a valentine .</scene_description> </scene> <scene> <stage_direction>INT. BOB'S ROOM - NIGHT</stage_direction> <scene_description>Bob opens the door , Charlotte 's standing there trying to look casual , she 's happy to see him -LRB- she 's put some pants on and flip flops instead of her dumb looking Ugg boots -RRB- . She knocks into a low table , bumping her knee as she comes in . Bob pours some cold sake , smoothly . Bob and Charlotte watch La Dolce Vita with Japanese subtitles on the TV .</scene_description> <character>BOB</character> <dialogue>Hans was very attentive to you.</dialogue> <character>CHARLOTTE</character> <dialogue>I think he kind of liked me. Is that so hard to imagine?</dialogue> <character>BOB</character> <dialogue>No, its easy.</dialogue> <character>CHARLOTTE</character> <dialogue>How'd a Japanese guy get a name like Hans?</dialogue> <character>BOB</character> <dialogue>I do n't know.</dialogue> <scene_description>Anita Ekberg holds the kitten on T.V. Charlotte gets up to pour more sake . She picks up and looks at a prescription bottle on his night stand and reads the label : Lipitor .</scene_description> <character>CHARLOTTE</character> <dialogue>Do you remember when we met at the bar? You were wearing a tuxedo.</dialogue> <character>BOB</character> <dialogue>But the first time I saw you was in the elevator.</dialogue> <character>CHARLOTTE</character> <dialogue>Really?</dialogue> <character>BOB</character> <dialogue>Yeah, you do n't remember?</dialogue> <scene_description>She shrugs .</scene_description> <character>CHARLOTTE</character> <dialogue>Did I scowl at you?</dialogue> <character>BOB</character> <dialogue>No, you smiled.</dialogue> <character>CHARLOTTE</character> <dialogue>I do n't remember.</dialogue> <character>BOB</character> <dialogue>I know, I kind of blend in here.</dialogue> <scene_description>PAN the view of Tokyo at night as we hear their conversation :</scene_description> <character>CHARLOTTE</character> <parenthetical>( O.C . )</parenthetical> <dialogue>Why do they switch the r's and l's here?</dialogue> <character>BOB</character> <parenthetical>( O.C . )</parenthetical> <dialogue>I do n't know. My fax said `` have a good fright''.</dialogue> <character>CHARLOTTE</character> <parenthetical>( O.C . )</parenthetical> <dialogue>Let's never come here again, because it would never be as much fun.</dialogue> <character>BOB</character> <parenthetical>( O.C . )</parenthetical> <dialogue>Ok, whatever you want.</dialogue> <character>CHARLOTTE</character> <parenthetical>( O.C . )</parenthetical> <dialogue>Did you see Hiromix last night dancing with Bambi?</dialogue> <character>BOB</character> <parenthetical>( O.C . )</parenthetical> <dialogue>No, I was looking at you.</dialogue> <character>CHARLOTTE</character> <parenthetical>( O.C . )</parenthetical> <dialogue>Oh. Well. they were dancing on the couch with that weird English guy who kept talking about hanging out with the Sex Pistols on Kings Road.</dialogue> <character>BOB</character> <parenthetical>( O.C . )</parenthetical> <dialogue>I got a fax today from your friend Hiromix.</dialogue> <character>CHARLOTTE</character> <parenthetical>( O.C . )</parenthetical> <dialogue>Oh, for her show?</dialogue> <character>BOB</character> <parenthetical>( O.C . )</parenthetical> <dialogue>No, for a candlelight dinner, yes, for her show.</dialogue> <character>CHARLOTTE</character> <parenthetical>( O.C . )</parenthetical> <dialogue>Oh.</dialogue> <character>BOB</character> <parenthetical>( O.C . )</parenthetical> <dialogue>You're possessive.</dialogue> <character>CHARLOTTE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I know.</dialogue> <scene_description>Charlotte and Bob lie a few feet apart on the bed .</scene_description> <character>CHARLOTTE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I'm stuck. Does it get easier.</dialogue> <character>BOB</character> <dialogue>No, yes, it does.</dialogue> <character>CHARLOTTE</character> <dialogue>Yeah? But look at you.</dialogue> <character>BOB</character> <dialogue>Thanks. It does, the more you know who you are. you do n't care about things the same way.</dialogue> <character>CHARLOTTE</character> <dialogue>I just do n't know what I'm supposed to be. I thought maybe I wanted to be a writer. but I hate what I write, and I tried taking pictures, but John's so good at that, and mine are so mediocre. and every girl goes through a photography phase, like horses, you know dumb pictures of your feet.</dialogue> <character>BOB</character> <dialogue>You'll figure it out. I'm not worried about you. Keep writing.</dialogue> <character>CHARLOTTE</character> <dialogue>But, I'm mean.</dialogue> <character>BOB</character> <dialogue>That's ok.</dialogue> <character>CHARLOTTE</character> <dialogue>And marriage, does that get easier?</dialogue> <character>BOB</character> <dialogue>It's hard. We started going to a marriage counselor.</dialogue> <character>CHARLOTTE</character> <dialogue>Did that help? Did you learn anything?</dialogue> <character>BOB</character> <dialogue>We established that we have no communication.</dialogue> <character>CHARLOTTE</character> <dialogue>Oh.</dialogue> <character>BOB</character> <dialogue>We used to have fun, she used to like to go to places with me for my movies and we would laugh at all the weirdos, but now she's tired of it all. She never wants to leave the kids, she does n't need me, and they do n't need me, I feel like I'm in the way. It gets complicated when you have kids. that changes everything.</dialogue> <character>CHARLOTTE</character> <dialogue>That's too scary.</dialogue> <character>BOB</character> <dialogue>When they're born its like Vietnam. It's terrifying.</dialogue> <character>CHARLOTTE</character> <parenthetical>( getting tired . )</parenthetical> <dialogue>No one ever tells you that.</dialogue> <character>BOB</character> <dialogue>But, it's great being with them, after they can talk, and can do things with you.</dialogue> <character>CHARLOTTE</character> <dialogue>That's nice. My parents were always traveling, they were n't around so much.</dialogue> <character>BOB</character> <dialogue>Where'd you grow up?</dialogue> <character>CHARLOTTE</character> <dialogue>In D.C., my dad was the Ambassador to France in the eighties, so we went to school in Paris for a few years. but we mostly lived in D.C., and they were never around. and then I moved to Los Angeles when John and I got married. it's so different there.</dialogue> <scene_description>They are starting to get tired .</scene_description> <character>BOB</character> <dialogue>I know.</dialogue> <character>CHARLOTTE</character> <dialogue>John thinks I'm so snotty.</dialogue> <character>BOB</character> <dialogue>You are.</dialogue> <character>CHARLOTTE</character> <dialogue>I know, but that's what you like about me.</dialogue> <scene_description>She looks over at him . He does like her .</scene_description> <character>CHARLOTTE</character> <dialogue>Why do you have to be with your opposite, why cant similar people be together?</dialogue> <character>BOB</character> <dialogue>Because that would be too easy.</dialogue> <scene_description>They fall asleep dressed , on top of the sheets , on opposite sides of the bed .</scene_description> </scene> <scene> <stage_direction>EXT.STREET BASKETBALL COURT - DAY</stage_direction> <scene_description>Full of life , Bob plays basketball with some local guys . All over the court , and towering over the other players , Bob dominates the game .</scene_description> </scene> <scene> <stage_direction>INT. BOB'S HOTEL ROOM - DAY</stage_direction> <scene_description>Bob looks at himself in the bathroom mirror , he feels his stubble and sees that it 's turning grey . He opens the hotel shaving kit . He squirts shaving cream from the child - size can . Even the razor is small . He covers his face with shaving cream when the phone rings .</scene_description> <character>BOB</character> <dialogue>Hello?</dialogue> <character>RECEPTION</character> <dialogue>Mr. Harris, we have fax for you!</dialogue> <character>BOB</character> <dialogue>Ok.</dialogue> <character>RECEPTION</character> <dialogue>Do you want I send it to your room?</dialogue> <character>BOB</character> <parenthetical>( sarcastic . )</parenthetical> <dialogue>Great.</dialogue> <character>RECEPTION</character> <dialogue>Thank you, Mr. Harris.</dialogue> <scene_description>He hangs up and shaves .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL GROUND FLOOR LOBBY - DAY</stage_direction> <scene_description>Bob gets out of the elevator - the Suntory group is waiting for him . He ducks behind a wall and sneaks out a side entrance of the hotel .</scene_description> </scene> <scene> <stage_direction>EXT. PARK HYATT - DAY</stage_direction> <scene_description>Bob comes out of the hotel into the sunlight . The street is crowded with MOTORCYCLE GANGS going by , one waves a big flag . Bob watches the strange scene in the street for a moment , and then makes his way past .</scene_description> </scene> <scene> <stage_direction>EXT. DAKINYAMA - DAY</stage_direction> <scene_description>He walks down a little street in a more old - fashioned neighborhood . He 's wearing new techno sneakers . He makes a call on his cell phone .</scene_description> <character>BOB</character> <dialogue>Miss Kawasaki? It's Bob Harris. I'm not going to be able to do that interview today., yeah. ok. Yes, I'd love to stay to be on his talk show. sure. ok. bye.</dialogue> <scene_description>A light rain starts as he looks at a fax from Charlotte with a map she 's drawn and tries to figure out where he is - there are no street signs .</scene_description> </scene> <scene> <stage_direction>EXT/INT. ICHICAN SUSHI - DAY</stage_direction> <scene_description>Bob finally finds the small restaurant . The automatic door opens for him , and Charlotte , at the bar with the cute chubby SUSHI CHEF , turns to Bob happy to see him . He is disheveled from the rain and adorable . He sits down next to Charlotte , she pours him a beer and orders for him .</scene_description> <character>CHARLOTTE</character> <dialogue>You made it.</dialogue> <character>BOB</character> <dialogue>They really have to work on that street name thing.</dialogue> <scene_description>A perky recording voice says `` Kornichiwa ! '' from his pocket .</scene_description> <character>CHARLOTTE</character> <dialogue>What's that?</dialogue> <scene_description>He pulls a pink Hello Kitty watch from his pocket .</scene_description> <character>BOB</character> <dialogue>It's for my daughter.</dialogue> <character>CHARLOTTE</character> <dialogue>How old is she?</dialogue> <character>BOB</character> <dialogue>Four.</dialogue> <character>CHARLOTTE</character> <dialogue>Oh, she'll love it.</dialogue> <scene_description>The Sushi Chef gives him perfect little pieces of sushi on a banana leaf . Charlotte takes a bite of a piece - but it wo n't break , so she has to stuff the whole thing in her mouth , embarrassed . Bob makes fun of her gracelessness .</scene_description> <character>BOB</character> <dialogue>Nice one.</dialogue> <character>CHARLOTTE</character> <parenthetical>( mouth full . )</parenthetical> <dialogue>Fuck off.</dialogue> <scene_description>They have lunch , he makes her laugh . He looks down at her feet in flip flops , her toe is purple .</scene_description> <character>BOB</character> <dialogue>What happened to your toe?</dialogue> <character>CHARLOTTE</character> <dialogue>I do n't know, I think maybe I broke it? I knocked into something the other day.</dialogue> <scene_description>She slips her shoe off and shows it to him - her middle toe is black and blue .</scene_description> <character>BOB</character> <dialogue>That does n't look good.</dialogue> <scene_description>She enjoys the sympathy .</scene_description> <character>CHARLOTTE</character> <dialogue>It's bad is n't it?</dialogue> <character>BOB</character> <dialogue>We should get you to the doctor.</dialogue> <character>CHARLOTTE</character> <dialogue>You think so?</dialogue> <character>BOB</character> <dialogue>Yeah, look at that thing.</dialogue> <scene_description>She smiles at him .</scene_description> </scene> <scene> <stage_direction>EXT. DAIKANYAMA STREET - DAY</stage_direction> <scene_description>Bob tries to get a taxi , finally one stops and they get in . He tries to explain `` hospital '' , he does pantomime , draws a first aid cross , but the DRIVER does n't understand . Charlotte is enjoying Bob 's effort . Finally he finds a Park Hyatt matchbook and calls the hotel number .</scene_description> <character>BOB</character> <dialogue>How do you say `` hospital'' in Japanese?</dialogue> <character>RECEPTION</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Excuse me?</dialogue> <character>BOB</character> <dialogue>Hospital?</dialogue> <character>RECEPTION</character> <parenthetical>( O.S . )</parenthetical> <dialogue>One moment, please.</dialogue> <scene_description>She transfers call , it rings .</scene_description> <character>CONCIERGE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Concierge desk, may I help you?</dialogue> <character>BOB</character> <dialogue>Yes, can you tell me how to say `` hospital'' in Japanese?</dialogue> <character>CONCIERGE</character> <dialogue>`` Hospital'' in Japanese? Hosupitari.</dialogue> <character>BOB</character> <dialogue>Hosupitari?</dialogue> <scene_description>He tells the Driver who looks at him funny . Bob says it again - faster , with a Japanese accent . The driver nods excitedly and drives off .</scene_description> </scene> <scene> <stage_direction>INT.HOSPITAL LOBBY - DAY</stage_direction> <scene_description>Bob and Charlotte walk in , looking around at where to go . Bob talks to a woman at the desk to explain what they need .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL 2ND FLOOR - DAY</stage_direction> <scene_description>Bob takes a seat in waiting area as Charlotte goes into a little room with a number on it . Bob waits next to a 100 year old lady .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL - DAY</stage_direction> <scene_description>Charlotte stands alone barefoot on a little box , wearing a lead apron , as a MAN and ASSISTANT X - ray different angles of her foot .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL GIFT SHOP - DAY</stage_direction> <scene_description>Bob looks around at all the Japanese gift stuff , and buys a little stuffed bunny . His phone rings as he 's paying for it .</scene_description> <character>BOB</character> <dialogue>Hello?</dialogue> <character>ELAINE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Bob, it's me.</dialogue> <character>BOB</character> <dialogue>Oh, hi, Elaine.</dialogue> <character>ELAINE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>So, we got you on an earlier flight, but I really think you should think about staying for that talk show.</dialogue> <character>BOB</character> <dialogue>Ok.</dialogue> <character>ELAINE</character> <parenthetical>( O.S . )</parenthetical> <dialogue>You'll do it?</dialogue> <character>BOB</character> <dialogue>Yeah, I'll stay.</dialogue> </scene> <scene> <stage_direction>INT. HOSPITAL ROOM - DAY</stage_direction> <scene_description>Charlotte 's foot X - rays are displayed on a big light box . An older DOCTOR talks about them in Japanese to his younger ASSISTANT as he wraps Charlotte 's toes together . She does n't know what they 're talking about .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL WAITING ROOM - DAY</stage_direction> <scene_description>Charlotte comes out where Bob waits with the little stuffed bunny .</scene_description> <character>CHARLOTTE</character> <dialogue>Is that for me?</dialogue> </scene> <scene> <stage_direction>EXT. PARK HYATT - LATE AFTERNOON</stage_direction> <scene_description>Bob and Charlotte arrive back at the massive hotel , they stroll in casually , she is carrying the stuffed rabbit in her arm .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL SPA BATH - EVENING</stage_direction> <scene_description>Bob reclines in the big Japanese wooden tub , steam rises as he is turning red . His phone rings . He dries his hands quickly to reach it before it stops ringing .</scene_description> <character>BOB</character> <dialogue>Hello?</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Bob?</dialogue> <character>BOB</character> <dialogue>Hi, Lydia.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Is this a bad time?</dialogue> <character>BOB</character> <dialogue>Uh, no.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( O.S . )</parenthetical> <dialogue>It's really hard to reach you. Did you get the carpet samples? I like the burgundy.</dialogue> <character>BOB</character> <dialogue>Ok, whatever you think. I'm lost.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>It's just carpet.</dialogue> <character>BOB</character> <dialogue>That's not what I'm talking about.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>What are you talking about?</dialogue> <character>BOB</character> <dialogue>I do n't know.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Is there anything I can do?</dialogue> <character>BOB</character> <dialogue>I do n't know. I want to be more healthy. I want to eat better.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>What?</dialogue> <character>BOB</character> <dialogue>You know, eat healthier.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Alright?</dialogue> <character>BOB</character> <dialogue>Not all that pasta.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Fine.</dialogue> <character>BOB</character> <dialogue>Like Japanese food.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( sarcastic . )</parenthetical> <dialogue>Why do n't you just stay there, and you can have it everyday.</dialogue> <character>BOB</character> <dialogue>Oh, come on.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I have to go, Adam's tormenting Zoe, I'll talk to you later. Are you going to be Ok?</dialogue> <character>BOB</character> <dialogue>Yeah, I'll be fine. Bye.</dialogue> </scene> <scene> <stage_direction>INT. CAR - NIGHT</stage_direction> <scene_description>Bob rides in the back of a cab .</scene_description> <character>CHARLOTTE</character> <parenthetical>( V.O . )</parenthetical> <parenthetical>( voice - mail message . )</parenthetical> <dialogue>Hi Bob, it's Charlotte. how are you doing today? I'm going to meet Charlie and those guys at this place called Orange around ten. come meet us if you get this.</dialogue> </scene> <scene> <stage_direction>EXT. OFFICE BUILDING - NIGHT</stage_direction> <scene_description>Bob 's cab pulls up at an empty office building .</scene_description> </scene> <scene> <stage_direction>INT. OFFICE BUILDING - NIGHT</stage_direction> <scene_description>Bob looks at a fax from Charlotte with a map , wondering if he 's in the right place . It 's quiet and looks like a generic office building . He goes in the little metal elevator , and the door opens on the 8th floor onto a little nightclub you would have never thought was there .</scene_description> </scene> <scene> <stage_direction>INT. ORANGE NIGHTCLUB - NIGHT</stage_direction> <scene_description>Lights strobe and Peaches ' seedy `` Fuck the Pain Away '' booms through the speakers . Tan JAPANESE STRIPPERS with platinum hair dance and hang from a pole on a little platform . Bob sits alone on a brown ultra suede couch feeling out of place and empty . He looks over at a table of young AMERICAN INVESTMENT BROKERS . He wishes he was n't there , but tries to seem comfortable . Charlotte shows up with Charlie and the other guys . She sits down next to him , and gives him an ` are you going to kill me ? ' look .</scene_description> <character>CHARLOTTE</character> <dialogue>How long have you been here?</dialogue> <scene_description>He looks at her like it 's been forever . She smiles for forgiveness . They look over and see a WEIRD GUY in the corner getting a lap dance , they look at each other , sharing the joke of the place , but both uncomfortable about the sexuality of it . Through a beaded curtain , Charlie and Bambi get lap dances in a dark corner of pillows . Charlotte looks at Bob .</scene_description> <character>CHARLOTTE</character> <dialogue>C'mon, let's go.</dialogue> </scene> <scene> <stage_direction>EXT. TOKYO STREETS - NIGHT</stage_direction> <scene_description>Bob and Charlotte go up to a cab , but the driver refuses them . They do n't know why , but just make their way down an empty side street . Little plastic cherry blossom decorations hang above them .</scene_description> <character>BOB</character> <dialogue>Where's your husband?</dialogue> <character>CHARLOTTE</character> <parenthetical>( like she 's said it a million times . )</parenthetical> <dialogue>Working.</dialogue> <character>BOB</character> <dialogue>Do you ever see him?</dialogue> <character>CHARLOTTE</character> <parenthetical>( sorta . )</parenthetical> <dialogue>Yeah.</dialogue> <character>BOB</character> <dialogue>Do you know where we are?</dialogue> <character>CHARLOTTE</character> <dialogue>No.</dialogue> <scene_description>She puts a coin in a vending machine and takes a cold sake `` one - cup '' . A tiny brad Pitt head smiles at her next to an iced coffee .</scene_description> <character>CHARLOTTE</character> <dialogue>Is n't it weird there are no street names in Tokyo. you'd think a city like this would have street names. you need a map to get anywhere. look, there are no signs.</dialogue> <scene_description>They keep walking , small figures on a little empty street .</scene_description> </scene> <scene> <stage_direction>INT. PARK HYATT LOBBY - NIGHT</stage_direction> <scene_description>As they make their way back , they pass a lounge off the lobby . It 's late , it 's pretty empty , a housekeeper vacuums and just a SLEEPING MAN sits in the back of the lounge , and a snuggled up romantic JAPANESE COUPLE sit close to : Kelly , the blonde actress , singing to them . She stands facing them with a karaoke mic singing `` Nobody Does It Better '' with all her heart . Bob and Charlotte look at each other and keep walking -LRB- trying to be invisible -RRB- .</scene_description> </scene> <scene> <stage_direction>INT.CHARLOTTE'S HOTEL ROOM - MORNING</stage_direction> <scene_description>Charlotte lies in bed . She picks up a photo next to the bed as she dials the phone . - The picture is of her and John on their honeymoon . The phone answers - it 's a weird Japanese recording .</scene_description> <character>CHARLOTTE</character> <dialogue>Um. Hi, John, if this is your phone? I'm not sure. I'm going to go to Kyoto for the day. I'11 try you when I get back. Hope it's going good. I love you, bye.</dialogue> </scene> <scene> <stage_direction>INT. TRAIN - DAY</stage_direction> <scene_description>Charlotte watches the Japanese countryside go by out her window .</scene_description> </scene> <scene> <stage_direction>EXT. KYOTO - DAY</stage_direction> <scene_description>Charlotte walks through a beautiful garden . She 's a small figure in the landscape . She approaches a temple where she stops to watch a wedding procession . A young bride and groom in traditional kimono walk under a parasol with their family . Charlotte looks as - the nervous , young bride clutches her mother 's hand . The young groom walks along with them . Charlotte is moved by the whole scene , the beauty of the temple and the wedding party . Her eyes well up . She walks up a narrow path , surrounded by red maple leaves . At the top of a little hill , she comes up to a shrine . At its entrance she sees a tree covered in little white pieces of paper tied to its branches . She sees Japanese people writing on the paper and tying them to the tree . Charlotte writes her wish on a paper and ties it to a branch .</scene_description> </scene> <scene> <stage_direction>INT. T.V. STUDIO - DAY</stage_direction> <scene_description>Exciting music plays as the talk/game show starts . Bob , in an elegant suit , goes out to meet the HOST .</scene_description> <character>TV HOST</character> <parenthetical>( in Japanese . )</parenthetical> <dialogue>We hear you're quite a golfer.</dialogue> <scene_description>A TRANSLATOR translates .</scene_description> <character>BOB</character> <parenthetical>( nodding . )</parenthetical> <dialogue>I enjoy the sport.</dialogue> <scene_description>The Translator translates - four sentences longer and with added enthusiasm . After a few questions the Host excitedly announces something to the AUDIENCE in Japanese . They scream , the lights flash , Bob has no idea what 's going on . A cloud of smoke reveals the IRON CHEF , with feathered hair , wearing an 18th century waistcoat . A large red chef hat is placed on Bob 's head .</scene_description> <character>TRANSLATOR</character> <dialogue>They now have the competition for you with the Iron Chef.</dialogue> <scene_description>Bob looks around as a counter is pulled up to him and now Bob and the Iron Chef are at dueling counters . The Host barks instructions in Japanese , an apron with a stuffed animal lobster on it is tied around Bob , the crowd cheers - there 's no way out .</scene_description> </scene> <scene> <stage_direction>INT. CAR - NIGHT</stage_direction> <scene_description>Bob rides in the back of the presidential , looking out the window at the city . He pulls a polaroid out of his pocket and looks at it . It 's Charlotte , peering over her shoulder with a little smile , from their sake - drenched night at Nobu 's compound .</scene_description> </scene> <scene> <stage_direction>INT. PARK HYATT BAR - NIGHT</stage_direction> <scene_description>Melodramatic '70s Japanese music plays . Bob sits alone , hating himself , at the bar . The redheaded Jazz Singer takes a break , and a seat next to him .</scene_description> </scene> <scene> <stage_direction>INT. BOB'S ROOM - MORNING</stage_direction> <scene_description>In the harsh - morning light , Bob wakes up in his bed . He hears the Jazz Singer singing in the shower `` Midnight at the Oasis '' . Her red mane of hair passes frame as she ushers in room service . She seems to have taken over the whole room . He wants it all to go away . She walks off to the bathroom and there 's a knock at the door . Bob rushes to get it before she can . He opens the door a crack , Charlotte looking sweet , is standing there . Her hair is back in a pony - tail . Bob 's just wearing a towel around his waist , and his hair is sticking up .</scene_description> <character>CHARLOTTE</character> <dialogue>Rough night?</dialogue> <scene_description>He 's not in the mood , he looks at her like he already hates himself , does n't need more help .</scene_description> <character>CHARLOTTE</character> <dialogue>I'm going to Daikanyama, do you want to come walk around?</dialogue> <character>BOB</character> <dialogue>Yes, but no, I ca n't right now.</dialogue> <scene_description>The singer starts singing again in the background . Charlotte gives Bob a look .</scene_description> <character>CHARLOTTE</character> <dialogue>Oh, I guess you're busy, huh.</dialogue> <character>BOB</character> <dialogue>I do n't want to be.</dialogue> <scene_description>He watches Charlotte walk away down the beige hall .</scene_description> </scene> <scene> <stage_direction>EXT. TOKYO STREETS - DAY</stage_direction> <scene_description>Bob is walking down the crowded street looking for Charlotte , when his cell phone rings .</scene_description> <character>BOB</character> <dialogue>Hello?</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hello, Bob, it's me.</dialogue> <character>BOB</character> <parenthetical>( ca n't hear . )</parenthetical> <dialogue>Hello?</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>It's Lydia, your wife.</dialogue> <character>BOB</character> <dialogue>I could n't hear you. How are you?</dialogue> <character>LYDIA</character> <parenthetical>( sighs . )</parenthetical> <dialogue>Fine. Is it going ok?</dialogue> <character>BOB</character> <dialogue>It's ok.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Do you want to -.</dialogue> <parenthetical>( garbled . )</parenthetical> <dialogue /> <character>BOB</character> <dialogue>What?</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Do you want to talk to Zoe?</dialogue> <character>BOB</character> <dialogue>Yeah.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <parenthetical>( calls in background . )</parenthetical> <dialogue>Zoe, come say hello to your father.</dialogue> <scene_description>A little girl 's voice shouts `` No ! '' in the background .</scene_description> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>I guess she's busy.</dialogue> <character>BOB</character> <dialogue>That's ok.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>When are you coming home?</dialogue> <character>BOB</character> <dialogue>Tomorrow.</dialogue> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Her ballet recital is Saturday, do n't forget.</dialogue> <character>BOB</character> <dialogue>Ok.</dialogue> <scene_description>In the background the daughter calls for her Mommy over and over and a dog starts barking .</scene_description> <character>LYDIA</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Ok, well, travel safely. See you soon.</dialogue> <character>BOB</character> <dialogue>Bye.</dialogue> </scene> <scene> <stage_direction>EXT. ICHICAN SUSHI RESTAURANT - DAY</stage_direction> <scene_description>Charlotte , with sunglasses on , leans against the wall as Bob approaches .</scene_description> <character>CHARLOTTE</character> <dialogue>You ca n't get sushi anywhere in Japan after 2 o'clock. Did you know that?</dialogue> <character>BOB</character> <dialogue>No, we'll find something around here.</dialogue> <scene_description>She goes with him .</scene_description> </scene> <scene> <stage_direction>INT. SHABU SHABU RESTAURANT - DAY</stage_direction> <scene_description>Bob and Charlotte are seated at a big booth in a corny Shabu Shabu restaurant .</scene_description> <character>CHARLOTTE</character> <dialogue>The Jazz singer? The red - head?</dialogue> <scene_description>Bob looks at her like - do n't make it worse .</scene_description> <character>CHARLOTTE</character> <dialogue>Well, I guess she's more around your age. You guys could talk about things in common, like growing up in the fifties.</dialogue> <character>BOB</character> <dialogue>You're a brat, was n't there anyone else around to lavish you with attention?</dialogue> <scene_description>She scowls at him . The waitress brings them drinks - she pours beer slowly , and turns on a pot on the table to cook their food . Charlotte looks at the menu - it is filled with photos of different trays of meat . The waitress does n't speak English .</scene_description> <character>CHARLOTTE</character> <dialogue>I ca n't tell the difference?</dialogue> <scene_description>They have trouble ordering , but point to a picture on the menu .</scene_description> <character>BOB</character> <dialogue>We'll have two of these.</dialogue> <scene_description>He makes some small talk , she is bugged .</scene_description> <character>BOB</character> <dialogue>What do you want to drink?</dialogue> <character>CHARLOTTE</character> <dialogue>A coke.</dialogue> <scene_description>He orders the drinks .</scene_description> <character>BOB</character> <dialogue>So, where'd you go today.</dialogue> <character>CHARLOTTE</character> <dialogue>Around.</dialogue> <scene_description>`` This is the End '' by The Doors starts playing on the stereo . The waitress brings two huge trays of sliced raw beef . Steam rises from the pot on the table . The song ends , and another Doors song comes on .</scene_description> <character>CHARLOTTE</character> <dialogue>They're not going to play the whole album, are they?</dialogue> <scene_description>They look across the table , over the steam and meat , at each other - the whole thing is awful .</scene_description> </scene> <scene> <stage_direction>INT.CHARLOTTE'S HOTEL ROOM - NIGHT</stage_direction> <scene_description>In the darkness , under covers , Charlotte is woken up by a loud fire alarm .</scene_description> </scene> <scene> <stage_direction>EXT. PARK HYATT - NIGHT</stage_direction> <scene_description>The fire alarm booms as the hotel guests and staff hurry out of the hotel . Amidst the crowd of Hotel guests in their pajamas , Charlotte finds Bob - he 's wearing a kimono and slippers . She 's in boxer shorts and an undershirt and slippers .</scene_description> <character>BOB</character> <dialogue>I'm sorry.</dialogue> <character>CHARLOTTE</character> <dialogue>That lunch was the worst, huh.</dialogue> <scene_description>He laughs . She looks down at his feet stuffed into the little hotel slippers .</scene_description> <character>CHARLOTTE</character> <dialogue>When are you leaving?</dialogue> <character>BOB</character> <dialogue>Tomorrow.</dialogue> <character>CHARLOTTE</character> <parenthetical>( friendly . )</parenthetical> <dialogue>I'm going to miss you.</dialogue> <character>BOB</character> <dialogue>That's what you said the other night.</dialogue> <character>CHARLOTTE</character> <dialogue>Well, I mean it more now.</dialogue> </scene> <scene> <stage_direction>INT. PARK HYATT BAR - NIGHT</stage_direction> <scene_description>and Charlotte , still in their pajamas , sit at their usual spot at the bar , with the bartender , drinking cold sake . She lights two cigarettes and passes one to him . A NEW JAZZ BAND is now playing . The SINGER is full of enthusiasm as they start their stint at the Park Hyatt .</scene_description> <character>NEW SINGER</character> <dialogue>Good Evening. I'm Carl West, and we're thrilled to be joining you this week, here at the NY bar in Shinjuku.</dialogue> <scene_description>He sings `` Where or When '' with all his heart . Now , old - timers there , Bob and Charlotte look at each other and chuckle .</scene_description> <character>SINGER</character> <dialogue>Jt seems we stood and talked like this before, we looked at each other in the same way thenr but I cant remember where or when.</dialogue> <scene_description>Bob and Charlotte sit there together .</scene_description> <character>BOB</character> <dialogue>I do n't want to go back tomorrow.</dialogue> <character>CHARLOTTE</character> <dialogue>I know. But, it does n't last, you have to go back sometime.</dialogue> <character>BOB</character> <dialogue>Why ca n't it last?</dialogue> <character>CHARLOTTE</character> <dialogue>I do n't know, it just does n't, reality changes things. we ca n't stay here forever, unless maybe we started a Jazz band.</dialogue> <scene_description>-LRB- alt Charlotte dialog : I do n't know it just does n't , reality changes things . and we ca n't stay here forever -RRB- He looks over at her . The singer continues Where or When , as they sit there together , the view sparkling .</scene_description> <character>SINGER</character> <parenthetical>( O.C . )</parenthetical> <dialogue>Somethings that happen for the first time, seem to be happening again and so it seems we have met before, and laughed before, and loved before, but who knows where or when.</dialogue> </scene> <scene> <stage_direction>INT. ELEVATOR - NIGHT</stage_direction> <scene_description>Bob and Charlotte , drunk in the elevator .</scene_description> <character>CHARLOTTE</character> <dialogue>54?</dialogue> <scene_description>He nods , she pushes 54 for him and 56 for herself . They look at each other across the empty elevator , both leaning against the walls . The elevator stops at 54 , he leans in to kiss her good - night . They kiss like you would on the cheek - but it 's closer to their mouths . The door shuts - he missed his floor . The elevator continues up , and stops on her floor . They kiss good - night again and she gets out before the door closes . He watches the door close on her as she makes her way down the long beige hall .</scene_description> </scene> <scene> <stage_direction>INT. CHARLOTTE'S ROOM - DAY</stage_direction> <scene_description>A fax comes through the machine in the empty room . IT 'S A NOTE AND CUTE DRAWING FROM JOHN - SEE YOU ON SATURDAY , I MISS YOU . ''</scene_description> </scene> <scene> <stage_direction>INT. PARK HYATT LOBBY LOUNGE - DAY</stage_direction> <scene_description>A sexy EXECUTIVE WOMAN asks Bob for a light . He looks at her great legs as he lights her cigarette . He looks around , keeping an eye out for Charlotte . The group of commercial people arrive to see him off . He excuses himself for a moment and goes to a phone on a little table in the corner . Bob picks up the house phone .</scene_description> <character>RECEPTION</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Hello? Yes?</dialogue> <character>BOB</character> <dialogue>Hello, can I have room 5601.</dialogue> <character>RECEPTION</character> <dialogue>One moment.</dialogue> <scene_description>Traditional Japanese music plays on hold .</scene_description> <character>RECEPTION</character> <dialogue>I will connect you.</dialogue> <scene_description>Bob gets the room voice - mail .</scene_description> <character>BOB</character> <dialogue>Uh. Hi, Charlotte. it's me, Bob. ok, I guess you're not there. wanted to say good - bye.</dialogue> <scene_description>He hangs up , feeling lame .</scene_description> </scene> <scene> <stage_direction>INT. HOTEL RECEPTION -DAY</stage_direction> <scene_description>Bob with his bags tries to call again . The commercial people and hotel staff crowd around to help him , asking about his stay .</scene_description> <character>BOB</character> <dialogue>Charlotte?</dialogue> <character>CHARLOTTE</character> <dialogue>Hi, Bob.</dialogue> <character>BOB</character> <dialogue>I'm just leaving. do you have my jacket?</dialogue> <character>CHARLOTTE</character> <dialogue>Uh, yeah. I'll bring it down.</dialogue> <character>BOB</character> <dialogue>That'd be great.</dialogue> <character>CHARLOTT</character> <dialogue>E Ok, see you in a second.</dialogue> <scene_description>A member of the hotel staff brings him an envelope on a little silver tray . Miss Kawasaki gives him some gifts from their company in traditional Japanese wrapping , he does n't know what to do with them and has to carry them . The Executive Woman from the bar walks up to him . He hangs up the phone .</scene_description> <character>BOB</character> <dialogue>0hr hi.</dialogue> <character>EXEC WOMAN</character> <dialogue>You're leaving?</dialogue> <scene_description>She looks at him like , we could have had some fun .</scene_description> <character>BOB</character> <dialogue>Yeah, yeah, I'm going.</dialogue> <scene_description>He sees Charlotte come out of the elevator .</scene_description> <character>BOB</character> <dialogue>I have to go, thanks, bye.</dialogue> <scene_description>He rushes over to Charlotte . She looks at his bag .</scene_description> <character>CHARLOTTE</character> <dialogue>Just saying good - bye to everyone before you leave?</dialogue> <character>BOB</character> <dialogue>Yes, no.</dialogue> <scene_description>She hands him his jacket .</scene_description> <character>BOB</character> <dialogue>Thanks.</dialogue> <scene_description>She waits for him to say something more . He wants to tell her he loves her , that she should come with him .</scene_description> <character>CHARLOTTE</character> <dialogue>That's it?</dialogue> <scene_description>The concierge tells him his car is here .</scene_description> <character>CHARLOTTE</character> <dialogue>You're leaving right now?</dialogue> <character>BOB</character> <dialogue>Yes.</dialogue> <character>CHARLOTTE</character> <dialogue>Well. have a good flight.</dialogue> <character>BOB</character> <dialogue>Thanks.</dialogue> <character>CHARLOTTE</character> <parenthetical>( hurt . )</parenthetical> <dialogue>Ok, bye.</dialogue> <scene_description>She walks away . A hotel manager asks Bob about his luggage , another asks if he had a pleasant stay . Charlotte gets in the elevator to go out , the doors close on her back .</scene_description> </scene> <scene> <stage_direction>EXT. PARK HYATT - DAY</stage_direction> <scene_description>It 's bright outside the main entrance . A presidential pulls up and the automatic door opens . Bob squints as the Bellboy in white gloves slowly loads his luggage into the trunk .</scene_description> </scene> <scene> <stage_direction>INT. CAR - DAY</stage_direction> <scene_description>In the backseat , Bob leans back on the little doily . The car pulls away . Around the corner , he looks down a crowded alley and sees Charlotte 's blonde hair .</scene_description> <character>BOB</character> <dialogue>Can you pull over a second?</dialogue> <scene_description>The DRIVER , wearing white cloth gloves , pulls the car over slowly . Bob tries to open the door '99 it wo n't open , he has to wait for the automatic doors to open for him -LRB- slowly -RRB- .</scene_description> </scene> <scene> <stage_direction>EXT. TOKYO STREETS - DAY</stage_direction> <scene_description>Bob gets out and rushes down the street to where he saw Charlotte . The street is crowded with JAPANESE PEOPLE , and different colored umbrellas , -LRB- it 's sunny out with a light rain -RRB- . Music blasts from speakers on the street , and there is some promo going on with GIRLS handing out little cologne samples . Bob looks around for her , but only sees dark hair , umbrellas , and super tan JAPANESE KIDS . In the distance an umbrella moves to reveal Charlotte .</scene_description> <character>BOB</character> <dialogue>CHARLOTTE!</dialogue> <scene_description>But she ca n't hear him over the loudspeaker . He rushes to her . C.U. she turns and we see she is crying . The music swells . He embraces her , holding her close to him in the crowd .</scene_description> <character>BOB</character> <dialogue>Why are you crying?</dialogue> <character>CHARLOTTE</character> <parenthetical>( sincere . )</parenthetical> <dialogue>I'll miss you.</dialogue> <scene_description>He kisses her , hugs her good - bye .</scene_description> <character>BOB</character> <dialogue>I know, I'm going to miss you, too.</dialogue> <scene_description>He holds her close . Charlotte watches Bob as he reaches his car , he turns and looks at her . She smiles at him , and is lost in the crowd . Bob gets into his car . Charlotte walks with the crowd as they go on their way .</scene_description> </scene> <scene> <stage_direction>INT. CAR - DAY</stage_direction> <scene_description>Back in the Presidential , alone , Bob leans against the little doily . They drive off . He looks out the window , Bob 's happy he 's going home , he 's happy he came to Tokyo . Bob 's P.O.V. - Tokyo goes past his window . THE END</scene_description> </scene> </script>

Bob Harris, an aging American movie star, arrives in Tokyo to film an advertisement for Suntory whiskey. Charlotte, a young college graduate, sits bored in her hotel room while her husband John, a celebrity photographer, is on assignment in Tokyo. Charlotte is unsure of her future with John, feeling detached from his lifestyle and disillusioned about their relationship. Bob's 25-year marriage is also strained as he goes through a midlife crisis. Each day, Bob and Charlotte encounter each other in the hotel and after both experience insomnia, they sit and chat at the hotel bar one night. Eventually, Charlotte invites Bob to meet with some local friends of hers. The two bond through a fun night in Tokyo with Charlotte's friends, experiencing Japanese nightlife and culture. In the days that follow, Bob and Charlotte's friendship develops as they spend more time together. One night, each unable to sleep, the two share an intimate conversation about Charlotte's personal troubles and Bob's married life. On the penultimate night of his stay, Bob sleeps with the hotel bar's female jazz singer. The next morning Charlotte arrives at his room to invite him for lunch and overhears the woman in his room, leading to an argument over lunch. Later that night, outside the hotel during a fire alarm, Bob and Charlotte reconcile and express how they will miss each other as they make a final visit to the hotel bar. The following morning, Bob is set to return to the United States. He tells Charlotte goodbye at the hotel lobby and sadly watches her walk back to the elevator. In a taxi to the airport, Bob sees Charlotte on a crowded street, leaves the car and walks to her. He embraces the tearful Charlotte and whispers something in her ear. The two share a brief kiss, say goodbye and Bob departs.

The Exorcist_1973

tt0070047

<script> <scene> <stage_direction>EXTERIOR IRAQ- EXCATVATION SITE- NINEVEH- DAY</stage_direction> <scene_description>Pickaxes and shovels weld into the air as hundreds of excavators tear at the desert . The camera pans around the area where hundreds of Iraqi workmen dig for ancient finds . The caption Northern Iraq appears at the bottom of the screen as the digging continues . The camera then follows a young boy running bare foot over the rocky mounds . He comes to a stop and the camera is positioned in between the boys legs looking at and aging man also digging .</scene_description> <character>YOUNG BOY</character> <parenthetical>( In Iraqi language . )</parenthetical> <dialogue>They've found something. small pieces.</dialogue> <character>MERRIN</character> <parenthetical>( In Iraqi language . )</parenthetical> <dialogue>Where?</dialogue> <character>YOUNG BOY</character> <parenthetical>( In Iraqi language . )</parenthetical> <dialogue>At the base of the mound.</dialogue> <scene_description>The boy runs off and the old man pulls himself to his feet to follow . The old man walks to the base of the mound where another man who looks in command is there to greet him .</scene_description> <character>MAN</character> <parenthetical>( In Iraqi language . )</parenthetical> <dialogue>Some interesting finds. Lamps, arrow - heads, coins.</dialogue> <scene_description>The old man picks up an old pendant and holds it up .</scene_description> <character>MERRIN</character> <parenthetical>( In Iraqi language . )</parenthetical> <dialogue>This is strange!</dialogue> <scene_description>The man dusts the pendant and takes a look .</scene_description> <character>MAN</character> <parenthetical>( In Iraqi language . )</parenthetical> <dialogue>Not of the same period.</dialogue> <scene_description>The old man reaches into a hole in the rock , moving and re - arranging small rocks to see what he can find . He grabs a pickaxe and scrapes out a small sculpted piece of rock crushed into another . The man takes a dust brush from the man 's pocket and brushes some dust from the sculpted rock . As the dust is swept we see that it is a face . The old man recognises it and looks worried . He brakes the sculpted rock away from the ordinary rock and takes a good look at it .</scene_description> </scene> <scene> <stage_direction>EXTERIOR IRAQ- MARKET PLACE- DAY</stage_direction> <scene_description>An Iraqi man walks through the noisy crowd with a tray and up to the old man 's table . He puts the drink on the table and watches as the old man opens a small pendant full of pills and puts one into his mouth . The old man is trembling with fear as he downs his drink . He puts the glass down and looks at the people around him . The man with the tray comes back to the old man 's table and picks up the glass .</scene_description> <character>MAN WITH TRAY</character> <parenthetical>( In Iraqi language . )</parenthetical> <dialogue>Something else?</dialogue> <character>MERRIN</character> <parenthetical>( In Iraqi language . )</parenthetical> <dialogue>No thank you.</dialogue> <scene_description>The old man stands up and looks at the bus boy . We cut to a group of workers hitting there hammers on an anvil . The old man walks in there direction but stops as he sees one of the workers stop work to wipe his brow . When the worker makes eye contact with the old man we see that the worker has one eye without pigment , bleached white as if it has rolled backward . The old man stares at him and then walks on . INTERIORIRAQ - ARCHAEOLOGIST 'S OFFICE - DAY We see a clocks pendulum swinging , uncovered sculpted rocks of all kinds and a man sitting at a desk writing up the report on what they found . The old man picks up the pendant he found and then the rock head he found and takes a look .</scene_description> <character>MERRIN</character> <parenthetical>( In Iraqi language . )</parenthetical> <dialogue>Evil against evil.</dialogue> <scene_description>The man at the table looks confused .</scene_description> <character>MAN</character> <parenthetical>( In Iraqi language . )</parenthetical> <dialogue>Father.</dialogue> <scene_description>We then see the clocks pendulum stop over the old man 's shoulder . He turns around and walks toward it . After looking he sits down beside it . As he sits the man at the desk stands up .</scene_description> <character>MAN</character> <parenthetical>( In Iraqi language . )</parenthetical> <dialogue>I wish you did n't have to go.</dialogue> <character>MERRIN</character> <parenthetical>( In Iraqi language . )</parenthetical> <dialogue>There is something I must do.</dialogue> </scene> <scene> <stage_direction>EXTERIOR IRAQ- OUTSIDE ARCHAEOLOGIST'S OFFICE- DAY</stage_direction> <scene_description>The two men shake hands and hug . The old man walks away and a group of people bow in a row .</scene_description> </scene> <scene> <stage_direction>EXTERIOR IRAQ- MARKET PLACE - ALLEY WAY- DAY</stage_direction> <scene_description>The old man walks through the noisy , crowded alley way and exits through the other side . As he exits he approaches a tunnel , in the distance we can here a bell ringing quite fast . As the old man gets closer to the tunnel the bell gets louder . When he reaches the tunnel a horse and cart flies out in front of him , aboard the cart we see a frightened old women . The old man looks around as if he was lucky to survive .</scene_description> </scene> <scene> <stage_direction>EXTERIOR - IRAQ- NINEVEH- DAY</stage_direction> <scene_description>The old man arrives back at that dig site in a small jeep . As he pulls up two armed guards rush out . When they see who it is the old man gives them a wave and they slowly walk back to there quarters . The old man walks up the rocky mound and sees a huge statue of the demon Pazuzu , which has the head of the small rock he earlier found . He climbs to a higher point to get a closer look . When he reaches the highest point he looks at the statue dead on . He then turns his head as we hear rocks falling and sees a guard standing behind him . He then turns again when he hears two dogs savagely attacking each other . The noise is something of an evil nature . He looks again at the statue and we are then presented with a classic stand off side view of the old man and the statue as the noises rage on . We then fade to the sun slowly setting as the noises lower in volume .</scene_description> </scene> <scene> <stage_direction>EXTERIOR GEORGETOWN- CITY STREETS- EARLY HOURS</stage_direction> <scene_description>We are transformed from the blazing suns of Iraq to the dusk of Washington . As the cross fade is made , the caption GEORGETOWN appears at the bottom of the screen . We slowly zoom in on a house in the distance .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- CHRIS' BEDROOM- EARLY HOURS</stage_direction> <scene_description>A small light is switched on by Chris MacNeil , a woman in her mid thirties , mother and famous actress . She is clad in her night clothes lying in bed , examining lines from a script . She is disturbed by a scratching noise that seems to be coming from outside her room . She looks over her shoulder to hear for it again . When it does happen again she climbs out of bed and puts her robe on . She walks toward the bedroom door and exits to the hall .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- HALLWAY-EARLY HOURS</stage_direction> <scene_description>Chris walks through the dark hallway toward her daughters room , as she passes the attic hatch she hears the noise again and it appears to be coming from the attic . She walks into Regan 's -LRB- her daughter -RRB- room and sees that the window is wide open and she is on top of her bed covers . Chris walks in and shivers because of the cold night air which enters through the open window . As Chris approaches the window another scratch is heard from the attic . Chris takes no notice and closes the window . She then walks round Regan 's bed and puts the covers back over her , she tucks her in and strokes her face .</scene_description> <character>CHRIS</character> <parenthetical>( Whispering . )</parenthetical> <dialogue>I sure do love you.</dialogue> <scene_description>Chris kisses Regan and turns away .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- KITCHEN- MORNING</stage_direction> <scene_description>Chris walks into the kitchen in her robe , with a pen in her mouth and her script in her hands . She is greeted by Willie an ageing , Swiss house maid .</scene_description> <character>CHRIS</character> <dialogue>Morning.</dialogue> <character>WILLIE</character> <dialogue>Good morning Mrs. MacNeil.</dialogue> <character>CHRIS</character> <dialogue>How are you today?</dialogue> <character>WILLIE</character> <dialogue>Fine thank you.</dialogue> <character>CHRIS</character> <dialogue>That's good.</dialogue> <scene_description>Chris puts the script and pen on the table and lifts the coffee pot to pour her self a mug . Willie offers to do it for her but Chris refuses .</scene_description> <character>CHRIS</character> <dialogue>It's okay I got it, thanks.</dialogue> <scene_description>Willie returns to making breakfast as the ageing , Swiss , butler Karl walks in .</scene_description> <character>KARL</character> <dialogue>Good morning Madame.</dialogue> <character>CHRIS</character> <dialogue>Good morning Karl. Oh Karl, we've got rats in the attic you better get some traps.</dialogue> <character>KARL</character> <dialogue>Rats?</dialogue> <character>CHRIS</character> <dialogue>Uh huh. ` Fraid so.</dialogue> <scene_description>Chris walks to the fridge with her cup of coffee .</scene_description> <character>KARL</character> <dialogue>But it's clean?</dialogue> <character>CHRIS</character> <dialogue>All right then we've got clean rats.</dialogue> <scene_description>Chris takes a carton of milk out of the fridge and pours some into her coffee .</scene_description> <character>KARL</character> <dialogue>No. No rats.</dialogue> <character>CHRIS</character> <dialogue>I just heard them Karl.</dialogue> <scene_description>Karl shrugs his shoulders</scene_description> <character>KARL</character> <dialogue>Maybe plumbing?</dialogue> <scene_description>Chris puts the carton of milk away .</scene_description> <character>CHRIS</character> <dialogue>Yeah or maybe rats now will you just get those traps.</dialogue> <character>KARL</character> <dialogue>Yes, I go now.</dialogue> <character>CHRIS</character> <dialogue>Well do n't go now Karl the stores are n't open yet.</dialogue> <scene_description>Karl picks up a huge jar . And heads out the door .</scene_description> <character>KARL</character> <dialogue>I'll go see.</dialogue> <character>WILLIE</character> <parenthetical>( Shouting at Karl . )</parenthetical> <dialogue>They're closed!</dialogue> </scene> <scene> <stage_direction>EXTERIOR UNIVERSITY OF GEORGETOWN- FILM SET- DAY</stage_direction> <scene_description>We are looking at the building of Washington University when suddenly we are transported to the film set on campus . Lights , camera 's , crew members all of the place . A group of crew members are surrounding one man , the director Burke Dennings . Burke does n't respond to any of them until he hears a voice calling from a trailer .</scene_description> <character>CHRIS</character> <parenthetical>( calling . )</parenthetical> <dialogue>Burke? oh Burke?</dialogue> <character>CREW MEMBER</character> <dialogue>Is this scene really essential Burke?</dialogue> <scene_description>Burke turns to see Chris walking toward him . He walks to her .</scene_description> <character>CREW MEMBER</character> <dialogue>Can you just consider on whether or not we can do without it?</dialogue> <scene_description>Chris walks to Burke with her script in hand .</scene_description> <character>CHRIS</character> <dialogue>Burke take a look at this damn thing it just does n't make sense.</dialogue> <character>BURKE</character> <dialogue>Why it's perfectly plain, your the teacher at the college, you do n't want the building torn down.</dialogue> <character>CHRIS</character> <dialogue>C'mon I can read for Christ sake.</dialogue> <character>BURKE</character> <dialogue>Well what's wrong?</dialogue> <character>CHRIS</character> <dialogue>Well why are they tearing the building down?</dialogue> <character>BURKE</character> <dialogue>Shall we summon the writer? He's in Paris I believe.</dialogue> <character>CHRIS</character> <dialogue>Hiding?</dialogue> <scene_description>We see a crowd of people looking on . Standing out is a young , dark , handsome Jesuit Priest .</scene_description> <character>BURKE</character> <dialogue>Fucking.</dialogue> <scene_description>Chris bursts into laughter and hugs Burke as the crowd including the priest burst into laughter.We cut to a crew member with a clapper board .</scene_description> <character>CREW MEMBER</character> <dialogue>Scene 39, hotel, take 4!</dialogue> <scene_description>As he claps the board we hear the assistant director 's voice on a mega phone .</scene_description> <character>CREW</character> <dialogue>Okay Action!</dialogue> <scene_description>The crowd of movie extras cheer and chant as an actor with a mega phone plays his part . Chris is being touched up with make up before she makes her appearance . She walks toward the set .</scene_description> <character>ACTOR</character> <parenthetical>( with mega - phone . )</parenthetical> <dialogue>Has there been enough killing</dialogue> <scene_description>After the actor says each line , the crowd cheer . Chris walks into the crowd of extras , as we see Burke on the directors chair smiling and laughing . Chris reaches the guy with the mega - phone and turns on character . She takes the mega - phone and begins .</scene_description> <character>CHRIS</character> <parenthetical>( with mega - phone . )</parenthetical> <dialogue>Wait a minute, please, hold it! Hey c'mon we're all concerned with human rights for god's sake, but the kids who wan na get an education have a right too!</dialogue> <scene_description>The crowd cheer .</scene_description> <character>CHRIS</character> <parenthetical>( with mega - phone . )</parenthetical> <dialogue>Can you understand it's against your own principles for gods sake.</dialogue> <scene_description>The crowd cheer .</scene_description> <character>CHRIS</character> <dialogue>You ca n't, you ca n't accomplish anything by sending kids out.</dialogue> <scene_description>The crowd cheer cutting her short . We focus on the young priest who is walking away from the campus .</scene_description> <character>CHRIS</character> <parenthetical>( with mega - phone . )</parenthetical> <dialogue>Order! Order! If you wan na effect any change you'll have to do it within the system.</dialogue> <scene_description>The crowd cut her short again with an almighty cheer . We move in front of the young priest who continues to walk from the set .</scene_description> <character>CREW</character> <dialogue>Okay cut! That's a rap!</dialogue> </scene> <scene> <stage_direction>EXTERIOR GEORGETOWN UNIVERSITY- ENTRANCE- DAY</stage_direction> <scene_description>We see Chris descending a flight of stairs walking toward a car .</scene_description> <character>CHRIS</character> <dialogue>I think I'll walk home tonight Mike.</dialogue> <character>MIKE</character> <dialogue>All right.</dialogue> <scene_description>She hands her leather case to him .</scene_description> <character>CHRIS</character> <dialogue>And take that and drop it by my house.</dialogue> <scene_description>She walks off and waves goodnight to the crew across the road . As she turns the corner and walks down the road , Mike Oldfield 's Tubular Bells begins to play . She walks through the leaf covered street on Halloween and sees a group of kids in costume run past her . She carries on walking and sees to nuns waking in the wind , with the gowns blowing . She approaches the local chapel and over hears a voice .</scene_description> <character>KARRAS</character> <dialogue>There's not a day in my life when I do n't feel like a fraud. I mean priests, doctor, lawyers I've talked to them all, I do n't know anyone who has n't felt that.</dialogue> <scene_description>She sees that 's it 's the young Jesuit who was at the campus earlier , and that he is talking to another priest . We do n't hear the rest of the conversation because of a low flying aeroplane .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- DINNING ROOM- DUSK</stage_direction> <scene_description>We cut to the dinning room where Chris 's house sitter and nanny , Sharon is sitting at a type writer eating an apple .</scene_description> <character>CHRIS</character> <parenthetical>( calling from outside . )</parenthetical> <dialogue>Hello?</dialogue> <character>SHARON</character> <dialogue>In here!</dialogue> <scene_description>Chris walks into the dinning room .</scene_description> <character>CHRIS</character> <dialogue>Hi</dialogue> <character>SHARON</character> <dialogue>Hi, how'd your day go?</dialogue> <character>CHRIS</character> <dialogue>Oh not to bad, kinda like the Walt Disney version of the Ho Chi Minh story, but other than that it was terrific.</dialogue> <scene_description>Chris picks up her mail .</scene_description> <character>CHRIS</character> <dialogue>What have we got here?</dialogue> <scene_description>Sharon gives her a letter .</scene_description> <character>SHARON</character> <dialogue>Here.</dialogue> <character>CHRIS</character> <dialogue>Oh great, anything else?</dialogue> <character>SHARON</character> <dialogue>And you got an invitation.</dialogue> <character>CHRIS</character> <dialogue>What's this?</dialogue> <character>SHARON</character> <dialogue>Dinner at the White House.</dialogue> <character>CHRIS</character> <dialogue>Your kidding me. What is it a big party or something?</dialogue> <character>SHARON</character> <dialogue>Just five or six people.</dialogue> <character>CHRIS</character> <dialogue>No kidding.</dialogue> <scene_description>Chris walks toward the cabinet and pours herself a drink . We hear a small voice call from the hall .</scene_description> <character>REGAN</character> <dialogue>Hi mom.</dialogue> <scene_description>Regan runs in and hugs and kisses Chris .</scene_description> <character>CHRIS</character> <dialogue>What did you do today?</dialogue> <character>REGAN</character> <dialogue>Um. Stuff.</dialogue> <character>CHRIS</character> <dialogue>What kind of stuff?</dialogue> <character>REGAN</character> <dialogue>Well, me and Sharon played a game in the back yard, and we had a picnic down by the river.</dialogue> <scene_description>Chris sits down .</scene_description> <character>REGAN</character> <dialogue>Oh mom, you should have seen this man came along on this beautiful grey horse.</dialogue> <parenthetical>( to Sharon . )</parenthetical> <dialogue>Was n't it pretty?</dialogue> <character>CHRIS</character> <dialogue>Really, what kind was it a mair or guilding?</dialogue> <character>REGAN</character> <dialogue>Think it was a guilding. It was grey. Oh it was so beautiful, the guy let me ride it all around.</dialogue> <character>CHRIS</character> <dialogue>Your kidding?</dialogue> <character>SHARON</character> <dialogue>Yeah for about half an hour.</dialogue> <character>REGAN</character> <dialogue>It was so nice, oh I loved it. Oh mom ca n't we get a horse?</dialogue> <character>CHRIS</character> <dialogue>Well, not while we're in Washington.</dialogue> <character>REGAN</character> <dialogue>Oh.</dialogue> <character>CHRIS</character> <dialogue>We'll see when we get home okay.</dialogue> <character>REGAN</character> <dialogue>When can I have one?</dialogue> <character>CHRIS</character> <dialogue>We'll see Regan.</dialogue> <parenthetical>( to Sharon . )</parenthetical> <dialogue>Now about those party invitations.</dialogue> <scene_description>Regan opens the jar of candy for the trick or treaters and takes some candy . Regan runs of and Chris chases her .</scene_description> <character>CHRIS</character> <dialogue>Regan come back here.</dialogue> <scene_description>Chris catches Regan and wrestle her to the floor . Regan is giggling constantly .</scene_description> <character>CHRIS</character> <dialogue>All right give it up, give it up, now! You'll be sorry.</dialogue> </scene> <scene> <stage_direction>INTERIOR SUBWAY- DAY</stage_direction> <scene_description>We cut to a train screaming through a subway station . When the train goes past we see the young Jesuit priest standing at the platform . As things get quiet he hears and Irish voice behind him .</scene_description> <character>HOMELESS GUY</character> <dialogue>Fa - dah! Can you help an old altar boy? I'm a Cat - lick!</dialogue> <scene_description>A train goes past illuminating the homeless guys face . The young priest just walks on .</scene_description> </scene> <scene> <stage_direction>EXTERIOR NEW YORK STREET- DAY</stage_direction> <scene_description>The young priest walks down a garbage infested , New York city street . Kids making noise and jumping on cars are the only source of noise . The young priest walks up a porchway and enters a building .</scene_description> </scene> <scene> <stage_direction>INTERIOR KARRAS' MOTHER'S FLAT- HALLWAY</stage_direction> <scene_description>The young priest enters the apartment , turns on the light and takes off his jacket , and his collar .</scene_description> <character>KARRAS</character> <dialogue>Momma?</dialogue> <scene_description>He walks into the living room where an old woman sits listening to a radio .</scene_description> <character>KARRAS</character> <dialogue>Momma?</dialogue> <scene_description>He leans over the chair .</scene_description> <character>KARRAS</character> <dialogue>Momma?</dialogue> <scene_description>The old woman stands up with joy .</scene_description> <character>MRS.KARRAS</character> <dialogue>Dimmy! Damien!</dialogue> <scene_description>They greet each other in Greek as Mrs. Karras hugs him .</scene_description> <character>MRS. KARRAS</character> <dialogue>I'm so happy to see you.</dialogue> <character>KARRAS</character> <dialogue>You look good.</dialogue> <character>MRS.KARRAS</character> <dialogue>I'm all right.</dialogue> <character>KARRAS</character> <dialogue>How's your leg?</dialogue> <character>MRS. KARRAS</character> <dialogue>How about you Dimmy? Are you all right?</dialogue> <character>KARRAS</character> <dialogue>I'm fine mom, I'm fine.</dialogue> <scene_description>We cut to Karras eating his supper and his mom rocking in her chair with the radio on still playing in the background .</scene_description> <character>MRS.KARRAS</character> <dialogue>Your Uncle John stopped by to visit me.</dialogue> <character>KARRAS</character> <dialogue>Oh really, when?</dialogue> <character>MRS.KARRAS</character> <dialogue>Last month.</dialogue> <scene_description>We now cut to Karras putting a bandage around his mothers leg .</scene_description> <character>KARRAS</character> <dialogue>Is that too tight?</dialogue> <character>MRS.KARRAS</character> <dialogue>No.</dialogue> <character>KARRAS</character> <dialogue>Now momma you have to stay off it, you ca n't keep go up and down those stairs you have to give it rest.</dialogue> <character>MRS.KARRAS</character> <dialogue>Okay</dialogue> <character>KARRAS</character> <dialogue>Momma I can take you somewhere to a place where you would n't be alone. There'd be people around, you know you wo n't have to sit here listening to the radio.</dialogue> <scene_description>Mrs. Karras responds by shouting in Greek .</scene_description> <character>MRS.KARRAS</character> <dialogue>You understand me, This is my house, and I'm not going no place.</dialogue> <scene_description>Damien stands up and lights a cigarette .</scene_description> <character>MRS.KARRAS</character> <dialogue>Dimmy, you worry for something?</dialogue> <character>KARRAS</character> <dialogue>No momma.</dialogue> <character>MRS.KARRAS</character> <dialogue>You are not happy. Tell me what is the matter?</dialogue> <character>KARRAS</character> <dialogue>Momma, I'm all right, I'm fine, really I am.</dialogue> <scene_description>We cut to the bedroom light going out , with Damien walking out back in uniform . He put 's some money on the table and turns up the radio so that his leaving does n't wake his mother . He kisses her and walks out .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- BASEMENT- NIGHT</stage_direction> <scene_description>Regan is in the basement making a model . Chris is decending the steps .</scene_description> <character>REGAN</character> <dialogue>Here it comes. There</dialogue> <scene_description>She holds up a clay model of an orange bird . Chris and Regan both laugh .</scene_description> <character>CHRIS</character> <dialogue>Oh look at that.</dialogue> <character>REGAN</character> <dialogue>You like it?</dialogue> <character>CHRIS</character> <dialogue>Oh it's so funny.</dialogue> <scene_description>Chris takes it and put 's it on a shelf .</scene_description> <character>CHRIS</character> <dialogue>I better put him over here to dry though. He's still wet.</dialogue> <scene_description>Regan walks over to the ping pong table and bounces a ping pong ball . By the shelf Chris picks up an ouiji board .</scene_description> <character>CHRIS</character> <dialogue>Hey, where'd this come from?</dialogue> <character>REGAN</character> <dialogue>I found it.</dialogue> <character>CHRIS</character> <dialogue>Where?</dialogue> <character>REGAN</character> <dialogue>The closet</dialogue> <scene_description>Chris walks toward the ping pong table with the ouiji board in hand .</scene_description> <character>CHRIS</character> <dialogue>You've been playing with it?</dialogue> <character>REGAN</character> <dialogue>Yeah.</dialogue> <character>CHRIS</character> <dialogue>You know how?</dialogue> <character>REGAN</character> <dialogue>Here I'll show you.</dialogue> <scene_description>Regan places the board down on the table . Chris drags a chair over and sits down .</scene_description> <character>CHRIS</character> <dialogue>Wait a minute you need two.</dialogue> <character>REGAN</character> <dialogue>No you do n't. I do it all the time.</dialogue> <character>CHRIS</character> <dialogue>Oh yeah, well let's both play.</dialogue> <scene_description>The pointer pulls itself away from Chris .</scene_description> <character>CHRIS</character> <dialogue>You really do n't want me to play huh?</dialogue> <character>REGAN</character> <dialogue>No I do, Captain Howdy said no.</dialogue> <character>CHRIS</character> <dialogue>Captain who?</dialogue> <character>REGAN</character> <dialogue>Captain Howdy.</dialogue> <character>CHRIS</character> <dialogue>Who's Captain Howdy?</dialogue> <character>REGAN</character> <dialogue>You know, I make the questions and he does the answers.</dialogue> <character>CHRIS</character> <dialogue>Oh, Captain Howdy.</dialogue> <character>REGAN</character> <dialogue>He's nice.</dialogue> <character>CHRIS</character> <dialogue>Oh I bet he is.</dialogue> <character>REGAN</character> <dialogue>Here I'll show you.</dialogue> <scene_description>Regan places the magnifier on the board and closes her eyes .</scene_description> <character>REGAN</character> <dialogue>Captain Howdy, Do you think my mom's pretty? Captain Howdy? Captain Howdy that is n't very nice.</dialogue> <character>CHRIS</character> <dialogue>Well, maybe he's sleeping.</dialogue> <character>REGAN</character> <dialogue>You think?</dialogue> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM- NIGHT</stage_direction> <scene_description>Regan is lying in bed looking at a magazine which has Chris and Regan on the cover . Chris is tucking Regan in .</scene_description> <character>CHRIS</character> <dialogue>Regan, why are you reading that?</dialogue> <character>REGAN</character> <dialogue>Cause I like it.</dialogue> <character>CHRIS</character> <dialogue>It's not even a good picture. Looks to mature.</dialogue> <character>REGAN</character> <dialogue>I would n't talk.</dialogue> <character>CHRIS</character> <dialogue>Oh you would n't talk, well I did n't have my make up man there.</dialogue> <scene_description>Chris sits down on Regan 's bed leaning over her .</scene_description> <character>CHRIS</character> <dialogue>Just got ta get this eye - lash off of you.</dialogue> <scene_description>Chris tries to get an eye lash from Regan 's eye lid .</scene_description> <character>CHRIS</character> <dialogue>No I did n't get it.</dialogue> <scene_description>Chris tries again and gets it .</scene_description> <character>CHRIS</character> <dialogue>What are we gon na do on your birthday, is n't that nice it's on a Sunday this year, what can we do?</dialogue> <character>REGAN</character> <dialogue>I do n't know</dialogue> <character>CHRIS</character> <dialogue>Well what would you like to do? Got any ideas?</dialogue> <scene_description>Regan shakes her head .</scene_description> <character>CHRIS</character> <dialogue>Let me think, let me think, what can we do? Hey you know we never finished seeing all the sights in Washington, the Lee Mansion, shall we to do that? Go sight seeing. If it's a nice day.</dialogue> <scene_description>Regan nods</scene_description> <character>REGAN</character> <dialogue>Yeah</dialogue> <character>CHRIS</character> <dialogue>Okay. And tomorrow night, I'll take you to a movie, okay?</dialogue> <character>REGAN</character> <dialogue>Oh I love you.</dialogue> <scene_description>Regan hugs Chris .</scene_description> <character>CHRIS</character> <dialogue>I love you Rags. We'll have a good day yeah?</dialogue> <character>REGAN</character> <dialogue>You can bring Mr. Dennings if you like.</dialogue> <character>CHRIS</character> <dialogue>Mr. Dennings?</dialogue> <character>REGAN</character> <dialogue>Well you know it's okay.</dialogue> <character>CHRIS</character> <dialogue>Well thank you very much but why on earth would I want to bring Burke on your birthday?</dialogue> <character>REGAN</character> <dialogue>You like him.</dialogue> <character>CHRIS</character> <dialogue>Yeah I like him. Do n't you like him? Hey what's going on? What is this?</dialogue> <character>REGAN</character> <dialogue>Your not gon na marry him are you?</dialogue> <character>CHRIS</character> <dialogue>Oh my god, you kidding, me marry Burke Dennings do n't be silly, of course not.</dialogue> <character>REGAN</character> <dialogue>What?</dialogue> <character>CHRIS</character> <dialogue>Where'd you ever get an idea like that?</dialogue> <character>REGAN</character> <dialogue>But you like him.</dialogue> <character>CHRIS</character> <dialogue>Course I like him, I like pizzas to but I'm not gon na marry one.</dialogue> <character>REGAN</character> <dialogue>Do you not like him like daddy?</dialogue> <character>CHRIS</character> <dialogue>Oh Regan I love your daddy. I'll always love your daddy. Burke just comes around here a lot because he's lonely, do n't got nothin' to do.</dialogue> <character>REGAN</character> <dialogue>Well I heard differently.</dialogue> <character>CHRIS</character> <dialogue>Oh you did. What did you hear?</dialogue> <character>REGAN</character> <dialogue>I do n't know, I just thought.</dialogue> <character>CHRIS</character> <dialogue>Well your thinking's not so good.</dialogue> <character>REGAN</character> <dialogue>How do you know?</dialogue> <character>CHRIS</character> <dialogue>Cause Burke and I are just friends. Okay, really.</dialogue> <character>REGAN</character> <dialogue>Okay.</dialogue> <scene_description>Chris kisses Regan .</scene_description> <character>REGAN</character> <dialogue>Goodnight.</dialogue> </scene> <scene> <stage_direction>INTERIOR UNIVERSITY OF GEORGETOWN- CAMPUS BAR- NIGHT</stage_direction> <scene_description>Damien is walking away from the bar with two beers . He sits at a table and puts one beer in front of the president of the university . Loud trendy music is playing in the background and the bar is full of students .</scene_description> <character>KARRAS</character> <dialogue>It's my mother Tom. She's alone I never should have left her. At least in New York I'd be nearer, I'd be closer.</dialogue> <character>PRESIDENT</character> <dialogue>Could see about a transfer Damien.</dialogue> <character>KARRAS</character> <dialogue>I need reassignment Tom, I want out of this job. It's wrong, it's no good.</dialogue> <character>PRESIDENT</character> <dialogue>You're the best we've got.</dialogue> <character>KARRAS</character> <dialogue>Am I really? It's more than psychiartry and you know that Tom, some of there problems come down to faith, there vocation, the meaning of there lives and I ca n't cut it anymore. I need out I'm unfit. I think I've lost my faith Tom.</dialogue> </scene> <scene> <stage_direction>EXTERIOR WASHINGTON DC- CHRIS' CAR- DAY</stage_direction> <scene_description>Chris and Regan are driving through the streets of Washington . They are laughing and joking .</scene_description> </scene> <scene> <stage_direction>EXTERIOR WASHINGTON DC- LEE MANSION- DAY</stage_direction> <scene_description>In a montage of shots , Chris is walking and Regan is running around the huge pilars . Chris takes pictures of Regan as she poses for the camera .</scene_description> </scene> <scene> <stage_direction>EXTERIOR WASHINGTON DC- MEMORIAL DRIVE- DAY</stage_direction> <scene_description>Chris and Regan have stopped to watch a soldier march . They both look at a Tomb of an unknown soldier . They both stare .</scene_description> <character>REGAN</character> <dialogue>Mom, why do people have to die?</dialogue> <scene_description>Chris looks at her . She does n't know how to answer .</scene_description> <character>CHRIS</character> <dialogue>People get tired.</dialogue> <character>REGAN</character> <dialogue>Why does God let us get tired?</dialogue> <character>CHRIS</character> <dialogue>God gets lonesome for us, Rags. He wants us back.</dialogue> <scene_description>EXTERIORMACNEIL HOUSE - STREET - DAY We see leaves blow as we cut to a front shot of the house .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM- DAY</stage_direction> <scene_description>We start with a close up of Chris on the phone and slowly zoom out to see Regan over hearing the phone call .</scene_description> <character>CHRIS</character> <dialogue>Hello? Yes this is Mrs. MacNeil. Operator you have got to be kidding I have been on this line for twenty minutes.</dialogue> <parenthetical>( to Sharon . )</parenthetical> <dialogue>Jesus Christ, can you believe this, he does n't even call his daughter on her birthday for christ sake.</dialogue> <character>SHARON</character> <dialogue>Maybe the circuit is busy?</dialogue> <character>CHRIS</character> <dialogue>Oh circuit my ass, he does n't give a shit!</dialogue> <character>SHARON</character> <dialogue>Why do n't you let me?</dialogue> <scene_description>Sharon reaches for the phone from Chris ' hand</scene_description> <character>CHRIS</character> <dialogue>No I've got it Sharon, it's all right.</dialogue> <parenthetical>( on the phone . )</parenthetical> <dialogue>Yes. No, Operator do n't tell me there's no answer, it's the Hotel Excelcia in Rome would you try it again please and let it ring. Hello? Operator you've given me the number four times. What did you do, take an iliteracey test to get that job for Christ sake.</dialogue> <parenthetical>( shouting . )</parenthetical> <dialogue>No do n't tell me to be calm god damn it! I've been on this fucking line for twenty minutes.</dialogue> <scene_description>Regan sits on her bed and takes off her shoes .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- CHRIS' BEDROOM- NIGHT</stage_direction> <scene_description>It 's dark and we see Chris a sleep in her bed . The silence is broken by the phone ringing . She clubs her hand on the reciever and picks it up . She holds it to her head .</scene_description> <character>CHRIS</character> <dialogue>Yeah? You're kidding me? I thought I just went to bed. Uh huh. What are we doing scene sixty one?</dialogue> <parenthetical>( switches the light on . )</parenthetical> <dialogue>Okay, just remind him about that blue belt huh?</dialogue> <scene_description>She puts the phone down and rolls over to find Regan laying next to her .</scene_description> <character>CHRIS</character> <dialogue>What are you doing here?</dialogue> <character>REGAN</character> <dialogue>My bed was shaking, I ca n't get to sleep.</dialogue> <character>CHRIS</character> <dialogue>Oh, honey.</dialogue> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- HALLWAY- NIGHT</stage_direction> <scene_description>We cut to a close up of the attic outside Chris ' room . We then see Chris exit her room tying the cord on her robe . She walks toward the attic and looks as a crashing noise comes from the attic . She walks round to the entrance of the attic and pulls the steps down with a pole . She pushes the light switch but nothing happens , so she lights a candle and climbs the steps as Regan looks on from Chris ' bed . When Chris reaches the attic , she walks around in the darkness , knocking things over and looking for what is making the crash . She looks for the rat traps to see if any rats have been caught but all of them remain in tact with the lumps of cheese still in place . Chris hears the crash again and follows the sound , as she walks through the junk her candle blows up ans she hears a voice . Chris turns around to see Karl standing on the steps of the entrance shining a flash - light toward her .</scene_description> <character>KARL</character> <dialogue>There is nothing.</dialogue> <character>CHRIS</character> <dialogue>Oh Karl, Jesus Christ Karl, do n't do that.</dialogue> <character>KARL</character> <dialogue>Very sorry, but you see, no rats!</dialogue> <character>CHRIS</character> <dialogue>No rats. Thanks a lot that's terrific.</dialogue> </scene> <scene> <stage_direction>EXTERIOR UNIVERSTIY OF WASHINGTON- DAHLGREN CHAPEL- DAY</stage_direction> <scene_description>We cut to an elderly bishop , walking across the campus carrying two large bouquet flower pots . He walks up to the entrance of the chapel and enters .</scene_description> </scene> <scene> <stage_direction>INTERIOR UNIVERSITY OF WASHINGTON- DAHLGREN CHAPEL- DAY</stage_direction> <scene_description>The bishop walks into the chapel , and walks to the aisle . When he reaches the aisle he bows and then approaches the altar . He places one of the boucuets in front of one statue , but as he turns to the camera he walks very slowly and we see him in shock as he gasps . We cut to what he has seen . It 's the statue of the Virgin Mary , which has been horribly desecrated , by being given a clay penis and pointing clay breasts .</scene_description> </scene> <scene> <stage_direction>INTERIOR BELLEVUE PSYCHIATRIC HOSPITAL- HALLYWAY- DAY</stage_direction> <scene_description>We cut to Karras hurridly walking down a corridor being followed by his Uncle .</scene_description> <character>UNCLE</character> <dialogue>The edima affected her brain, you understand Dimmy? She do n't let no doctor come near her. She was all the time screaming, even talking to the radio.</dialogue> <character>KARRAS</character> <dialogue>You should have called me the minute it happened.</dialogue> <character>UNCLE</character> <dialogue>Listen, regular hospital not going to put up with her Dimmy, understand? So we give her a shot and bring her here, till the doctors fix up her leg, then we take her out Dimmy, two or three months and she's out good as new.</dialogue> <scene_description>They approach an office and Karras ' Uncle walks in to speak to the nurse .</scene_description> <character>UNCLE</character> <dialogue>Miss?</dialogue> <character>NURSE</character> <dialogue>Yes?</dialogue> <character>UNCLE</character> <dialogue>We want to see Mrs. Karras.</dialogue> <character>NURSE</character> <dialogue>Do you have an appointment?</dialogue> <character>UNCLE</character> <dialogue>Yes</dialogue> <character>NURSE</character> <dialogue>Are you a relative?</dialogue> <character>UNCLE</character> <dialogue>Yes I am her brother, he's the son</dialogue> <character>NURSE</character> <dialogue>Just a minute.</dialogue> <scene_description>The grabs a set of keys and writes something in a note book . We then cut to Damien staring in the window of the ward . He 's see 's all sorts of people , all with mental problems .</scene_description> <character>UNCLE</character> <dialogue>You know it's funny. If you was n't a priest you'd be famous psychiatrist now on Park Avenue, your mother she'd be living in a penthouse instead of here.</dialogue> <scene_description>The nurse unlocks the door and opens it . Damien looks at his Uncle .</scene_description> <character>UNCLE</character> <dialogue>You go in Dimmy. I wait for you outside.</dialogue> <scene_description>Karras walks in and leaves his Uncle behind .</scene_description> <character>NURSE</character> <dialogue>You'll find Mrs. Karras on the last bed on the left hand side.</dialogue> <scene_description>As Damien enters , a few of the patients rush toward him . Two of them grab him , as the nurse tries to get them away . Damien barges them out of his way only to have another patient rush into him and take his collar . The nurse takes her away as bed bound patients look on with arms out stretched . Damien approaches his mothers bed .</scene_description> <character>KARRAS</character> <dialogue>Momma? It's Dimmy momma.</dialogue> <scene_description>Mrs. Karras slowly turns her eyes to him .</scene_description> <character>MRS. KARRAS</character> <dialogue>Dimmy. Why they did this to me Dimmy? Why?</dialogue> <scene_description>Damien rushes to comfort his mother .</scene_description> <character>KARRAS</character> <dialogue>Momma, I'm gon na take you outta here momma.</dialogue> <scene_description>Mrs. Karras struggles to turn away from him .</scene_description> <character>KARRAS</character> <dialogue>Momma I'm goona take you home.</dialogue> <scene_description>Mrs. Karras shouts at him in Greek as Damien tries to comfort her .</scene_description> <character>KARRAS</character> <dialogue>Momma, everything's gon na be alright momma, I'm gon na take you home!</dialogue> </scene> <scene> <stage_direction>EXTERIOR NEW YORK- CITY STREET- DAY</stage_direction> <scene_description>We cut to Damien talking to his Uncle face to face .</scene_description> <character>KARRAS</character> <dialogue>Could n't you have put her some place else?</dialogue> <character>UNCLE</character> <dialogue>Like what? Private hospital? Who got the money for that Dimmy? You?</dialogue> </scene> <scene> <stage_direction>INTERIOR UNIVERSITY OF GEORGETOWN- BOXING GYM- DAY</stage_direction> <scene_description>We cut Damien taking his frustration out on a punch bag . He throws a few hard punches before stopping for breath .</scene_description> </scene> <scene> <stage_direction>INTERIOR DR. KLEIN'S EXAMINING ROOM- DAY</stage_direction> <scene_description>Brief montage of shots . Klein administering a physical to Regan . Including opthalmoscope , tuning fork and simple coordination tests . Also blood sample in centrifograph , and urine sampl under microscope . Final shot has a nurse with her back against the examining table , her expression partly puzzled , partly disturbed as she observes Regan , who is in her slip and in constant motion ; stepping , twirling , touching , making nervous movements whilst aimlessly humming . Klein is not present .</scene_description> </scene> <scene> <stage_direction>INTERIOR DR. KLEIN'S OFFICE- DAY</stage_direction> <scene_description>Chris is seated on the edge of a chair . Klein is behind his desk , writing a prescription .</scene_description> <character>DR. KLEIN</character> <dialogue>A disorder of the nerves. At least we think it is. We do n't know yet exactly how it works, but it's often seen in earl adolescence. She shows all the symptoms : the hyperactivity ; the temper ; her performance in math.</dialogue> <character>CHRIS</character> <dialogue>Why the math?</dialogue> <character>DR. KLEIN</character> <dialogue>It affects concentration.</dialogue> <scene_description>Here tears the prescription away from the pad .</scene_description> <character>DR. KLEIN</character> <dialogue>Now this is for Ritalin. Ten miligrams a day.</dialogue> <character>CHRIS</character> <dialogue>What is it? A tranquilizer?</dialogue> <character>DR. KLEIN</character> <dialogue>A stimulant.</dialogue> <character>CHRIS</character> <dialogue>Stimulant? She's higher than a kite right now!</dialogue> <character>DR. KLEIN</character> <dialogue>Her condition is n't quite what it seems. Nobody knows the cause of her hyperkinetic behaviour in a child. The Ritalin sems to work to relieve the condition, but we really do n't know how or why, frankly. Your daughter's symptoms could be an overreaction to depression - but that's out of my field.</dialogue> <character>CHRIS</character> <dialogue>Depression?</dialogue> <character>DR. KLEIN</character> <dialogue>Well, you mentioned her father. the divorce.</dialogue> <character>CHRIS</character> <dialogue>Do you think I should take her to see a psychiatrist?</dialogue> <character>DR. KLEIN</character> <dialogue>Oh no. I'd wait and see what happens with the Ritalin. I think that's the answer. Wait two or three weeks.</dialogue> <character>CHRIS</character> <dialogue>And those lies she's been telling?</dialogue> <character>DR. KLEIN</character> <dialogue>Lies?</dialogue> <character>CHRIS</character> <dialogue>Ya know, those things to get attention, like saying that her bed shakes and stuff.</dialogue> <character>DR. KLEIN</character> <dialogue>Have you ever known your daughter to swear and use obscenities?</dialogue> <character>CHRIS</character> <dialogue>Never.</dialogue> <character>DR. KLEIN</character> <dialogue>Well, you see, that's quite similar to things like her lying - uncharacter -</dialogue> <character>CHRIS</character> <dialogue>Wait a minute. What are you talking about?</dialogue> <character>DR. KLEIN</character> <dialogue>Well, she let loose quite a string while I was examining her, Mrs. MacNeil.</dialogue> <character>CHRIS</character> <dialogue>You're kidding! Like what?</dialogue> <character>DR. KLEIN</character> <dialogue>Well, I'd say her vocabulary's rather extensive.</dialogue> <character>CHRIS</character> <dialogue>Well, what, for example? I mean, give me a for instance!</dialogue> <scene_description>Klein shrugs . No reply .</scene_description> <character>CHRIS</character> <dialogue>Hey, come on, I'm grown - up. What'd she say? I mean specifically, Doctor.</dialogue> <character>DR. KLEIN</character> <dialogue>Well, specifically, Mrs. MacNeil, she advised me to keep my fingers away from her goddam cunt.</dialogue> <character>CHRIS</character> <parenthetical>( shocked , laughing . )</parenthetical> <dialogue>She used those words?</dialogue> <character>DR. KLEIN</character> <dialogue>She used those words. Look, I doubt that she even understood what she was saying.</dialogue> <character>CHRIS</character> <dialogue>Yeah, I guess. Maybe not. You do n't think a psychiatrist -?</dialogue> <character>DR. KLEIN</character> <dialogue>The best explanation is always the simplest one. Let's wait. Let's wait and see. In the meantime try not to worry.</dialogue> </scene> <scene> <stage_direction>EXTERIOR MACNEIL HOUSE- PROSPECT STREET- NIGHT</stage_direction> <scene_description>We see the house is lit up as there 's a party going on inside . A car pulls up before we enter .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- NIGHT</stage_direction> <scene_description>We see lots of people enjoying them selves , talking , laughing , eating . Music playing and people having a good time . We see Burke sitting on a couch with two people beside him , he 's drunk and is sat twirling his finger around in his drink .</scene_description> <character>BURKE</character> <dialogue>There seems to be an alien pubic hair in my Gin.</dialogue> <character>ASTRONAUT</character> <dialogue>I beg your pardon?</dialogue> <character>BURKE</character> <dialogue>Never seen it before in my life. Have you?</dialogue> <scene_description>We see more people having fun , Regan laughing and we then cut to Father Dyer , a young priest who is talking to the same guy Burke was .</scene_description> <character>ASTRONAUT</character> <dialogue>Well actually Father, we're quite comfortable up there, at least compared to the Gemini and Mercury program. So they were tight for space, see we've got about two - hundred and ten cubic feet so we can move around.</dialogue> <character>FATHER DYER</character> <dialogue>Listen, if you ever go up there again will you take me along?</dialogue> <character>ASTRONAUT</character> <parenthetical>( laughs . )</parenthetical> <dialogue>What for?</dialogue> <character>FATHER DYER</character> <dialogue>First missionary on mars.</dialogue> <scene_description>We then cut to Burke who is approaching Karl , who is carrying a tray of drinks .</scene_description> <character>BURKE</character> <dialogue>Tell me, was it public relations you done for the Gestapo or community relations?</dialogue> <character>KARL</character> <dialogue>I'm Swiss.</dialogue> <character>BURKE</character> <dialogue>Yes of course. Never went bowling with Goebbels either I suppose ah?</dialogue> <scene_description>Karl walks away .</scene_description> <character>BURKE</character> <dialogue>Nazi bastard.</dialogue> <scene_description>We cut to Chris who is talking to Father Dyer .</scene_description> <character>CHRIS</character> <dialogue>Over behind the church, you know where I mean over there, it's a red brick wing?</dialogue> <character>FATHER DYER</character> <dialogue>St. Mike's.</dialogue> <character>CHRIS</character> <dialogue>What goes down there? I mean who's the priest I keep seeing, he's there all the time. He has black hair and he's very intense looking?</dialogue> <character>FATHER DYER</character> <dialogue>Damien Karras.</dialogue> <character>CHRIS</character> <dialogue>Karras.</dialogue> <character>FATHER DYER</character> <dialogue>That's his office back of St. Mike's. He's our psychiatric counsellor. He had a pretty rough knock last night poor guy, his mother passed away. She was living by herself and I guess she was dead a couple of days before they found her.</dialogue> <scene_description>We cut to the kitchen where Burke is once again taunting Karl .</scene_description> <character>BURKE</character> <dialogue>Cunting Hun! Bloody damn butchering Nazi pig!</dialogue> <scene_description>Karl lunges at Burke and grabs him by the throat .</scene_description> <character>KARL</character> <dialogue>Bastard! I will kill you.</dialogue> <character>CHRIS</character> <dialogue>Karl!</dialogue> <scene_description>Chris , Sharon and Willie pull Karl away from Burke . Willie takes him into another room .</scene_description> <character>KARL</character> <dialogue>You fiend!</dialogue> <scene_description>Burke just laughs and claps his hands .</scene_description> <character>BURKE</character> <dialogue>What's for dessert?</dialogue> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM-NIGHT</stage_direction> <scene_description>We see Regan is tucked up in bed with her eyes closed . Chris pulls the covers up to her shoulders .</scene_description> <character>CHRIS</character> <dialogue>Are you asleep?</dialogue> <scene_description>There is no reply so Chris kisses her and exits . As Chris disappears Regan 's eyes open suddenly .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- NIGHT</stage_direction> <scene_description>We cut to Chris and Sharon who are trying to help -LRB- a very drunk -RRB- Burke to the front door . Burke is trying to mumble a song . Sharon opens the front door for him .</scene_description> <character>CHRIS</character> <dialogue>Listen Burke, your car is on the curbe. Luis is waiting.</dialogue> <scene_description>Burke hugs her . Chris looks confused and hugs him back . Burke pulls away and points his finger as if he wants to say something , but he forgets .</scene_description> <character>CHRIS</character> <dialogue>What honey?</dialogue> <character>BURKE</character> <dialogue>Fuck it.</dialogue> <scene_description>Burke walks off and Chris and Sharon close the door and return to the party . Father Dyer is sitting at the piano and everyone is singing songs .</scene_description> <character>FATHER DYER</character> <dialogue>Hi Chris. Great party.</dialogue> <character>CHRIS</character> <dialogue>Yeah, do n't stop. Keep going.</dialogue> <character>FATHER DYER</character> <dialogue>Listen, I do n't need any encouragement, but my idea of heaven is a solid white night club, with me as the head liner, for all eternity and they love me.</dialogue> <scene_description>Everyone laughs . Father Dyer starts to play a song and everyone sings along .</scene_description> <character>EVERYONE</character> <dialogue>`` Down on the east side of Toyd.''</dialogue> <character>FATHER DYER</character> <dialogue>Toyd, Toyd.</dialogue> <character>EVERYONE</character> <dialogue>`` Toyd, that's my home, sweet home. Can we both think it's.''</dialogue> <scene_description>Regan appears in view and Father Dyer notices her first .</scene_description> <character>FATHER DYER</character> <dialogue>Hey I, I think we have a guest.</dialogue> <scene_description>Everyone turns to Regan as she stands and stares at the astronaut guy .</scene_description> <character>REGAN</character> <dialogue>Your gon na die up there.</dialogue> <scene_description>The guy looks puzzled and Regan begins to urinate on the floor .</scene_description> <character>CHRIS</character> <dialogue>Regan, my God honey.</dialogue> <parenthetical>( to the guests . )</parenthetical> <dialogue>I'm sorry, she's been sick. She did n't know what she was saying.</dialogue> <character>PART GUY1</character> <dialogue>That's all right.</dialogue> <character>CHRIS</character> <parenthetical>( to Regan . )</parenthetical> <dialogue>C'mon.</dialogue> <scene_description>Chris takes Regan out .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- REGAN'S BATHROOM- NIGHT</stage_direction> <scene_description>Regan is in the bath tub , hunched forward , staring infront of her . Chris has a sponge and is rinsing water on Regan 's back .</scene_description> <character>CHRIS</character> <dialogue>What made you say that Regan? Do you know sweetheart?</dialogue> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM-NIGHT</stage_direction> <scene_description>Chris tucks Regan in and walks to the door .</scene_description> <character>REGAN</character> <dialogue>Mother? What's wrong with me?</dialogue> <scene_description>Chris walks back to her .</scene_description> <character>CHRIS</character> <dialogue>It's just like the doctor said, it's nerves and that's all. Okay, you just take your pills and you'll be fine really. Okay?</dialogue> <scene_description>Regan nods and Chris exits the room .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- HALLWAY- NIGHT</stage_direction> <scene_description>Chris walks to the stairs where we see Willie , down stairs , cleaning up Regan 's mess .</scene_description> <character>CHRIS</character> <dialogue>Is it coming out Willie?</dialogue> <character>WILLIE</character> <dialogue>Yes, I think so.</dialogue> <scene_description>All of a sudden we here Regan screaming along with a constant crashing sound . Chris rushes to Regan 's room .</scene_description> <character>REGAN</character> <dialogue>Mother! Mother! Mother! Mother help!</dialogue> <scene_description>Chris opens the door and gasps in shock . We then see Regan on her bed , but the bed is thumping and shaking ferociously .</scene_description> <character>CHRIS</character> <dialogue>Oh my God!</dialogue> <character>REGAN</character> <dialogue>Make it stop! What's wrong! I'm scared!</dialogue> <scene_description>Chris jumps on the bed to comfort Regan and they both sit screaming as the bed continues to rapidly jump around .</scene_description> </scene> <scene> <stage_direction>INTERIOR UNIVERSITY OF GEORGETOWN- HALLWAY- NIGHT</stage_direction> <scene_description>Father Dyer is walking down the long corridor to Damien 's room . He reaches the room , knocks ad then enters .</scene_description> <character>KARRAS</character> <dialogue>Where'd you get the money for the Chivas Regal? The poor box?</dialogue> <character>FATHER DYER</character> <dialogue>That's an insult, I got a vow of poverty.</dialogue> <character>KARRAS</character> <dialogue>Where'd you get it then?</dialogue> <character>FATHER DYER</character> <dialogue>I stole it.</dialogue> <character>KARRAS</character> <dialogue>I believe you.</dialogue> <character>FATHER DYER</character> <dialogue>College president should n't drink. Tends to set a bad example, I figure I saved them from a big temptation.</dialogue> <character>KARRAS</character> <dialogue>Oh Christ! I should of been there and I was n't there, I should've been there.</dialogue> <character>FATHER DYER</character> <dialogue>There was nothing you could do. Lye down. C'mon.</dialogue> <scene_description>Father Dyer helps Damien onto his bed , takes his cigarette and takes his shoes off .</scene_description> <character>FATHER DYER</character> <dialogue>Think you can sleep?</dialogue> <character>KARRAS</character> <dialogue>Are you gon na steal my shoes now?</dialogue> <character>FATHER DYER</character> <dialogue>No, I tell fortunes by reading the crease, now shut up and go to sleep.</dialogue> <scene_description>Damien grabs Father Dyer 's arm but slowly let 's go . Father Dyer turns the light out and heads for the door .</scene_description> <character>FATHER DYER</character> <dialogue>Goodnight Dims.</dialogue> <character>KARRAS</character> <dialogue>Stealing is a sin.</dialogue> <scene_description>Dyer exists . We slowly zoom in on Damien while he 's asleep . He starts to dream and we see the images that come into his head . There is falling medallion , a swing pendulum in a clock and a running dog . He then sees his mother ascending a subway tunnel to the street , Karras is on the other side of the street and although there is no sound , we can see that Damien is calling `` Momma '' and Mrs. Karras is calling `` Damien '' . A white demonic face flashes a split second as Karras starts to run across the street to his mother , but we see her once again descend to the subway . We see the falling medallion again and as it hits the floor , the silence is broken by Regan 's screamng .</scene_description> </scene> <scene> <stage_direction>INTERIOR HOSPITAL- DR. KLEIN'S OFFICE- DAY</stage_direction> <character>REGAN</character> <dialogue>I do n't want it.</dialogue> <character>CHRIS</character> <dialogue>Honey it's to help you.</dialogue> <scene_description>We can see Dr. Klein preparing an injection .</scene_description> <character>REGAN</character> <dialogue>I do n't want it, I do n't want it.</dialogue> <scene_description>Dr. Klein injects the needle into Regan 's arm . She spits at him .</scene_description> <character>REGAN</character> <dialogue>You fucking bastard!</dialogue> </scene> <scene> <stage_direction>INTERIOR UNIVERSITY OF GEORGETOWN- CHAPEL- DAY</stage_direction> <scene_description>Karras is doing a church service in the chapel .</scene_description> <character>KARRAS</character> <parenthetical>( whisper . )</parenthetical> <dialogue>Remember O Lord, Thy servant, Mary Karras. who has gone before us with the sign of faith, and sleeps the sleep of peace.</dialogue> <parenthetical>( to the attendants . )</parenthetical> <dialogue>Lord I am not worthy to receive you, but only say the words and I shall be healed. May the body of Christ bring me ever lasting life.</dialogue> </scene> <scene> <stage_direction>INTERIOR HOSPITAL- CORRIDOR- DAY</stage_direction> <scene_description>Chris is waiting outside Dr. Klein 's office . Dr.Klein emerges from his room .</scene_description> <character>DR. KLEIN</character> <dialogue>Well, It's a symptom of a type of desturbance in the chemico - electrical activity of the brain. In the case of your daughter in the temperal lobe, up here in the lateral part of the brain. It's rare, but it does cause bizarre hallucinations and usually just before a convulsion.</dialogue> <character>CHRIS</character> <dialogue>Convulsion?</dialogue> <character>DR. KLEIN</character> <dialogue>The shaking of the bed, that's doubtless due to musuclar spasms.</dialogue> <character>CHRIS</character> <dialogue>Oh no, that was no spasm. I got on the bed, the whole bed was thumping and rising off the floor and shaking. The whole thing, with me on it!</dialogue> <character>DR. KLEIN</character> <dialogue>Mrs. MacNeil the problem with your daughter is not her bed, it's her brain.</dialogue> <scene_description>They both walk into Klein 's office .</scene_description> </scene> <scene> <stage_direction>INTERIOR HOSPITAL- DR. KLEIN'S OFFICE- DAY</stage_direction> <character>CHRIS</character> <dialogue>So, what causes this?</dialogue> <character>DR. KLEIN</character> <dialogue>Lesion, Lesion in the temperal lobe. It's a kind of seizure disorder.</dialogue> <character>CHRIS</character> <dialogue>Look doc, I really do n't understand how her whole personality could change.</dialogue> <character>DR. KLEIN</character> <dialogue>The temperal lobe is very common. Could last for days, even weeks. It is n't rare to find destructive or even criminal behaviour.</dialogue> <character>CHRIS</character> <dialogue>Hey do me a favour will ya'. Tell me something good.</dialogue> <character>DR. KLEIN</character> <dialogue>Do n't be alarmed. If it's a lesion in a way she's fortunate. All we have to do is remove the scar.</dialogue> </scene> <scene> <stage_direction>INTERIOR HOSPITAL- OPERATING THEATRE- DAY</stage_direction> <scene_description>We see Regan being wheeled on a bed to the operating bench . The place the bed next to the bench and pull the bars down .</scene_description> <character>MALE NURSE</character> <dialogue>Regan, could you sit up and scoot over here?</dialogue> <scene_description>Regan does so and she lays back onto the operating bench . The male nurse pushes a button and the bench begins to move forward .</scene_description> <character>MALE NURSE</character> <dialogue>Regan, I'm just gon na move you down to the table okay?</dialogue> <scene_description>The bench comes to a halt .</scene_description> <character>MALE NURSE</character> <dialogue>Just for a short time.</dialogue> <scene_description>Both nurses , male and female , loosen Regans gown around the neck to prep her for the doctor . They place monitors on her arms .</scene_description> <character>MALE NURSE</character> <dialogue>Very sticky.</dialogue> <scene_description>The doctor approaches Regan with a pot of betadine and puts a sponge into the pot .</scene_description> <character>DOCTOR</character> <dialogue>Now Regan you're going to feel something, a little bit cold and wet.</dialogue> <scene_description>He dabs the sponge onto her neck making it a light brown colour . The doctor then picks up a hypodermic needle and moves toward her . We can see Chris and Dr. Klein in the viewing room .</scene_description> <character>DOCTOR</character> <dialogue>Okay, now you're gon na feel a little stick here. Do n't move.</dialogue> <scene_description>The doctor injects the needle into Regan 's neck .</scene_description> <character>DOCTOR</character> <dialogue>Good.</dialogue> <scene_description>He then picks up a a needle head without the syringe , and moves toward her .</scene_description> <character>DOCTOR</character> <dialogue>Okay, you're gon na feel some pressure here, now do n't move.</dialogue> <scene_description>The doctor places the needle into the hole he made with the syringe . Regan is quietly yelping in pain , and Chris is in pain watching her daughter suffer . The doctor takes the tiny cap from the needle , Regan 's clothing is squirted with blood and places a tube into the needle 's head . We see the blood rush from Regan 's neck through the tube . The male nurse then tapes Regan 's chin down to prevent her from moving . The nurses then move in a huge machine , two pieces either side of Regan 's head and a piece above . The lights fade out in the theatre and all we can see is Regan 's face illuminated by this huge machince above her .</scene_description> <character>DOCTOR</character> <dialogue>Hook up.</dialogue> <scene_description>We see a finger flip a switch and the machine comes to life . A guy in the view room pushes another button and the machine lets off several loud bangs . In the theatre we can see Regan crying .</scene_description> </scene> <scene> <stage_direction>INTERIOR HOSPITAL- X-RAY ROOM- DAY</stage_direction> <scene_description>We see an X - ray slide of Regan 's skull appear on an illuminated screen . Then several more appear one after the other . We see Dr. Tanney is controlling the slides as he examines them , Dr. Klein is with him .</scene_description> <character>DR. TANNEY</character> <dialogue>There's nothing there. No vascular displacement at all. You want me to run another series?</dialogue> <character>DR. KLEIN</character> <dialogue>I do n't think so. I'd like you to see her again.</dialogue> <scene_description>A nurse enters the room .</scene_description> <character>NURSE</character> <dialogue>Excuse me Doctor. Chris MacNeil is on the phone, she says it's urgent.</dialogue> <scene_description>DR. KlEIN Got some time ?</scene_description> <character>DR. TANNEY</character> <dialogue>Of course.</dialogue> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE-DAY</stage_direction> <scene_description>We hear the doorbell ring and Sharon racing down the stairs to answer it , but no sound could block out Regan 's screaming from up stairs . Sharon opens the door .</scene_description> <character>SHARON</character> <dialogue>Dr. Klein?</dialogue> <character>DR. KLEIN</character> <dialogue>Yes I'm Dr. Klein, this is Dr. Tanney.</dialogue> <character>DR. TANNEY</character> <dialogue>How do you do?</dialogue> <character>SHARON</character> <dialogue>Hi Sharon, things have gotten worse since we called you, I better take you up stairs.</dialogue> <character>DR. KLEIN</character> <dialogue>Is she having spasms again?</dialogue> <character>SHARON</character> <dialogue>Yes but they've gotten violent.</dialogue> <character>DR. KLEIN</character> <dialogue>Did you give her the medication she needed?</dialogue> <character>SHARON</character> <dialogue>Yes.</dialogue> <character>DR. TANNEY</character> <dialogue>What was that?</dialogue> <character>DR. KLEIN</character> <dialogue>Thorazine. Before that it was Ritalin.</dialogue> <scene_description>They approach Regan 's door . Sharon knocks .</scene_description> <character>SHARON</character> <dialogue>Chris, Doctors.</dialogue> <scene_description>Chris opens the door .</scene_description> <character>DR. KLEIN</character> <dialogue>Mrs. MacNeil, this is Doctor Tanney.</dialogue> <scene_description>We see Regan is laying on her bed , thrashing her torso against the mattress and up again .</scene_description> <character>REGAN</character> <dialogue>Mother please! Oh please mother make it stop! It's burning, it's burning please mother!</dialogue> <character>CHRIS</character> <dialogue>So something please Doctor, Help her!</dialogue> <character>REGAN</character> <dialogue>Make it stop, it really hurts! Mother! Make it.</dialogue> <scene_description>Regan suddenly growls , her eyes roll back and her throat swells abnormally . She stands up on the bed .</scene_description> <character>DR. KLEIN</character> <dialogue>Alright then Regan, let's see.</dialogue> <scene_description>Regan back hands Dr. Klein and he flies backward .</scene_description> <character>CHRIS</character> <dialogue>Oh Regan!</dialogue> <character>REGAN/DEMON</character> <dialogue>Keep away! The sow is mine!</dialogue> <scene_description>She pulls up her dress and mimes masturbation .</scene_description> <character>REGAN/DEMON</character> <dialogue>Fuck me! Fuck Me! Fuck me!</dialogue> <scene_description>She falls back and starts to scream again .</scene_description> <character>DR. KLEIN</character> <dialogue>Get my bag!</dialogue> <scene_description>Sharon grabs Dr. Klein 's bag and Karl slaps Regan to stop her from screaming . Chris screams with horror in reaction to what she 's just seen . Karl and Dr. Tanney hold Regan down as Dr. Klein prepares a syringe to knock her out .</scene_description> <character>REGAN</character> <dialogue>Stay away from me! Stay away! Mother!</dialogue> <character>DR. KLEIN</character> <dialogue>Hold her steady, Hold her tight!</dialogue> <scene_description>Dr. Klein injects the needle and Sharon takes Chris outside . When the door is closed , Regan 's screaming becomes dead silence .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- SECOND FLOOR HALLWAY- DAY</stage_direction> <scene_description>Chris and Sharon sit in the hallway with their heads in hands . Klein and Tanney exit Regan 's room and approach them . Chris stands .</scene_description> <character>DR. KLEIN</character> <dialogue>She's heavily sedated. She'll probably sleep through tomorrow.</dialogue> <character>CHRIS</character> <dialogue>What was going on in there, how could she jump off the bed like that?</dialogue> <character>DR. TANNEY</character> <dialogue>Pathological states can induce abnormal strength, accelerated motor performance. For example, a ninety - pound women sees her child pinned under the wheel of a truck, runs out and lifts the wheels half a foot up off the ground. You know the story, same thing here. Same principle, I mean.</dialogue> <character>CHRIS</character> <dialogue>So what's wrong with her?</dialogue> <character>DR. KLEIN</character> <dialogue>We still think the temporal lobe.</dialogue> <character>CHRIS</character> <dialogue>Oh. What are you talking about for Christ sake! Did you see her or not? She's acting like a fucking out of her mind psychotic or a split personality or.</dialogue> <character>DR. TANNEY</character> <dialogue>There have n't been more than a hundred authenticated cases of so - called split personality, Mrs. MacNeil. Now I know the temptation is to leap to psychiatry, but any reasonable psychiatrist would exhaust the somatic possibilities first.</dialogue> <character>CHRIS</character> <dialogue>So what's next?</dialogue> <character>DR. TANNEY</character> <dialogue>A pneumoencephelogram, I would think, pin down that lesion. It will involve another spinal.</dialogue> <character>CHRIS</character> <dialogue>Oh, Christ.</dialogue> <character>DR. TANNEY</character> <dialogue>What we missed in the EEG and the arteriogram could conceivably turn up there. At the least, it would eliminate certain other possibilities.</dialogue> </scene> <scene> <stage_direction>INTERIOR MEDICAL LABORATORY- DAY</stage_direction> <scene_description>We see a piece of heavy machinery swivelling above the camera . We then see Regan strapped to a table , hooked up to the machine . She 's yelping in pain .</scene_description> </scene> <scene> <stage_direction>INTERIOR DR. KLEIN'S OFFICE-DAY</stage_direction> <scene_description>Dr. Klein is looking over the lab reports and seems baffled .</scene_description> <character>DR. KLEIN</character> <dialogue>Dr. Tanney says the X - rays are negative. In other words normal.</dialogue> <scene_description>Chris sighs .</scene_description> <character>DR. KLEIN</character> <dialogue>Do you keep any drugs in your house?</dialogue> <character>CHRIS</character> <dialogue>No. Of course not, nothing like that.</dialogue> <character>DR. KLEIN</character> <dialogue>Are you sure?</dialogue> <character>CHRIS</character> <dialogue>Well of course I'm sure. I'd tell you. Christ, I do n't even smoke grass.</dialogue> <character>DR. KLEIN</character> <dialogue>Are you planning to be home soon? LA, I mean.</dialogue> <character>CHRIS</character> <dialogue>No. I'm building a new house, the old one's been sold. I was going to take Regan to Europe for a while, after she finished school here. Why d'you ask?</dialogue> <character>DR. KLEIN</character> <dialogue>I think it's time we started looking for a psychiatrist.</dialogue> </scene> <scene> <stage_direction>INTERIOR CHRIS' CAR- NIGHT</stage_direction> <scene_description>Angle from driver 's seat - 'M ' Street and 36th . Through the windshield , dead ahead , a crowd has gathered by the base of the steep steps beside the house , and an ambulance is pulling out into traffic . Police car lights are flashing . As Chris rounds off the bridge on to Prospect street , the ambulance pulls out and then gets ahead of her , siren wailing . We follow the ambulance for two beats .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- KITCHEN- NIGHT</stage_direction> <scene_description>The lights are blinking on and off and the phone is ringing . Chris enters the kitchen and answers the phone .</scene_description> <character>CHRIS</character> <parenthetical>( down the phone . )</parenthetical> <dialogue>Hello?</dialogue> <scene_description>But there is no answer . She puts the phone down and wanders further into the kitchen . The lights are still blinking .</scene_description> <character>CHRIS</character> <dialogue>Sharon?</dialogue> <scene_description>The lights come back on .</scene_description> <character>CHRIS</character> <dialogue>Shar?</dialogue> <scene_description>Still no response . Chris exits to the lounge .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- SECOND FLOOR HALL- NIGHT</stage_direction> <scene_description>As Chris reaches the landing she halts , her eyes warily scanning around , then she continues down the hall toward us , and opens the door to Regan 's bedroom .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM- NIGHT</stage_direction> <scene_description>There is silence as Chris stands by the door a moment . Chris hugs herself , shivering from the cold . Regan is sound asleep and uncovered from the bed sheets . Chris sees that the window is wide open .</scene_description> <character>CHRIS</character> <parenthetical>( whisper . )</parenthetical> <dialogue>Shit.</dialogue> <scene_description>Chris moves to the window and closes it , but still feels cold . She walks to Regan and pulls the covers back over her .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- SECOND FLOOR HALL- NIGHT</stage_direction> <scene_description>As Chris exits and softly closes Regan 's door . She walks toward the stairs when we hear the front door close , followed by a call .</scene_description> <character>SHARON</character> <parenthetical>( downstairs . )</parenthetical> <dialogue>Sharon!</dialogue> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- FOYER- NIGHT</stage_direction> <scene_description>Sharon enters with a brown pharmacy bag .</scene_description> <character>CHRIS</character> <dialogue>What the hell do you mean going out and leaving Regan by her self! What are you kidding her window's wide open.</dialogue> <character>SHARON</character> <dialogue>What did n't he tell you?</dialogue> <character>CHRIS</character> <dialogue>Did n't who tell me?</dialogue> <character>SHARON</character> <dialogue>Burke.</dialogue> <character>CHRIS</character> <dialogue>What's Burke got to do with it?</dialogue> <character>SHARON</character> <dialogue>Well, when I went to get the Thorazine I had him to stay with her and. Oh, I should of known better.</dialogue> <character>CHRIS</character> <dialogue>Yeah, well I guess you should've.</dialogue> <scene_description>Chris hangs up her jacket and the doorbell rings .</scene_description> <character>SHARON</character> <dialogue>What did the doctor say?</dialogue> <character>CHRIS</character> <dialogue>We have to start looking for a shrink.</dialogue> <scene_description>She opens the door . It 's the assistant director .</scene_description> <character>CHRIS</character> <dialogue>Hi Chuck, c'mon in.</dialogue> <character>CHUCK</character> <dialogue>I suppose you've heard.</dialogue> <character>CHRIS</character> <dialogue>Heard what?</dialogue> <scene_description>Chuck takes his hat off and holds it to his chest .</scene_description> <character>CHUCK</character> <dialogue>You have n't heard.</dialogue> <scene_description>Chris turns around to face him and looks baffled .</scene_description> <character>CHUCK</character> <dialogue>Burke's dead.</dialogue> <parenthetical>( Short pause . )</parenthetical> <dialogue>He must of been drunk. He fell down from the top of the steps right outside, by the time he hit'M' Street he'd broken his neck.</dialogue> <scene_description>Chris puts her hands to her mouth .</scene_description> <character>CHRIS</character> <dialogue>Oh God!</dialogue> <scene_description>Chris breaks into tears and press up against the wall . Chuck gently hugs her from behind .</scene_description> <character>CHUCK</character> <dialogue>Yeah, I know.</dialogue> <scene_description>Chuck backs away .</scene_description> <character>CHUCK</character> <dialogue>I'll see you later.</dialogue> <scene_description>Chuck exits .</scene_description> <character>CHRIS</character> <dialogue>Oh Burke! Poor Burke!</dialogue> <character>SHARON</character> <dialogue>I ca n't believe it.</dialogue> <scene_description>Chris lowers her brow into her hand , leaning against the door . She shakes her head , exhales .</scene_description> <character>CHRIS</character> <dialogue>I guess everything -</dialogue> <scene_description>She breaks off , staring with horror at something descending the stairs . It 's Regan on all fours . She 's gliding , spiderlike , noiselessly and swiftly , down the staircase . She halts directly at the bottom . Staring at Sharon . Sharon is shocked and eyes fixed on Regan . Regan 's tongue begins to flicker rapidly in and out of her mouth . She crawls very speedly toward Sharon with her tongue sticking out . Sharon screams and runs toward the door , Chris falls on Regan trying to hold her back .</scene_description> <character>CHRIS</character> <dialogue>Call the doctor!</dialogue> <scene_description>We fade to black</scene_description> <character>PSYCHIATRIST</character> <dialogue>Now when I touch your forehead, open your eyes.</dialogue> <scene_description>We fade back with a full face shot of Regan , with two fingers wiping her brow .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- CHRIS' BEDROOM- DAY</stage_direction> <scene_description>We stay fixed on Regan 's full mug shot .</scene_description> <character>PSYCHIATRIST</character> <dialogue>Are you comfortable Regan?</dialogue> <character>REGAN</character> <dialogue>Yes.</dialogue> <character>PSYCHIATRIST</character> <dialogue>How old are you?</dialogue> <character>REGAN</character> <dialogue>Twelve.</dialogue> <character>PSYCHIATRIST</character> <dialogue>Is there someone inside you?</dialogue> <character>REGAN</character> <dialogue>Sometimes.</dialogue> <character>PSYCHIATRIST</character> <dialogue>Who is it?</dialogue> <character>REGAN</character> <dialogue>I do n't know.</dialogue> <character>PSYCHIATRIST</character> <dialogue>Is it Captain Howdy?</dialogue> <character>REGAN</character> <dialogue>I do n't know.</dialogue> <character>PSYCHIATRIST</character> <dialogue>If I ask him to tell me, will you let him answer?</dialogue> <scene_description>We now get a view of the whole room . Chris and Dr. Klein are also present .</scene_description> <character>REGAN</character> <dialogue>No.</dialogue> <character>PSYCHIATRIST</character> <dialogue>Why not?</dialogue> <character>REGAN</character> <dialogue>I'm afraid.</dialogue> <character>PSYCHIATRIST</character> <dialogue>If he talks to me, I think he'll leave you. Do you want him to leave you?</dialogue> <character>REGAN</character> <dialogue>Yes.</dialogue> <scene_description>We get a close up of the psychiatrist .</scene_description> <character>PSYCHIATRIST</character> <dialogue>I'm talking to the person inside of Regan now. If you are there you too are hypnotised and must answer all my questions. Come forward answer me now.</dialogue> <scene_description>A framed picture of Regan drops to the floor . We switch to a close up of Regan who is growling like some kind of animal . Chris and Dr. Klein both cover there nose and mouth as if a foul stench is circulating the room .</scene_description> <character>PSYCHIATRIST</character> <dialogue>Are you the person inside of Regan?</dialogue> <scene_description>Regan 's eyes are fixed on the psychiatrist . Her arm is propped up like a cobra ready to strike .</scene_description> <character>PSYCHIATRIST</character> <dialogue>Who are you?</dialogue> <scene_description>Regan 's hand drops and grips the psychiatrists scrotum , squeezing like a vice . The psychiatrist screams in pain .</scene_description> <character>PSYCHIATRIST</character> <dialogue>ARGHHHH Harold! Help me!</dialogue> <scene_description>Dr. Klein grabs Regan and pulls her away . Regan falls back and screams extremely loud .</scene_description> </scene> <scene> <stage_direction>EXTERIOR RUNNING TRACK- GEORGETOWN UNIVERSITY- DAY</stage_direction> <scene_description>In training gear , Karras is running laps . Seated on a bench at the edge of the track , watching Karras , Lt. Kinderman . Karras seems curious , if not disturbed , by Kinderman 's presence . When Karras stops , panting , Kinderman rises and moves toward him .</scene_description> <character>KINDERMAN</character> <dialogue>Father Karras?</dialogue> <scene_description>Karras picks up his towel and wipes his brow .</scene_description> <character>KARRAS</character> <dialogue>Have we met?</dialogue> <character>KINDERMAN</character> <dialogue>No we have n't met, but they said I could tell ; that you looked like a boxer.</dialogue> <scene_description>Kinderman shows his badge .</scene_description> <character>KINDERMAN</character> <dialogue>William F. Kinderman. Homicide.</dialogue> <character>KARRAS</character> <dialogue>What's this about?</dialogue> <character>KINDERMAN</character> <dialogue>Yeah, it's true. You do look like a boxer. John Garfield, in Body and Soul. Exactly John Garfield anyone told you that Father?</dialogue> <character>KARRAS</character> <dialogue>Do people tell you look like Paul Newman?</dialogue> <character>KINDERMAN</character> <dialogue>Always.</dialogue> <scene_description>Karras walks away toward the campus .</scene_description> <character>KINDERMAN</character> <dialogue>You this director was doing a film here, Burke Dennings?</dialogue> <character>KARRAS</character> <dialogue>I've seen him.</dialogue> <character>KINDERMAN</character> <dialogue>You've seen him. You're also familiar with how last week he died?</dialogue> <character>KARRAS</character> <dialogue>Only what I read in the papers.</dialogue> <character>KINDERMAN</character> <dialogue>Papers. Tell me, what do you know about the subject of witchcraft? From the witching end, not the hunting.</dialogue> <character>KARRAS</character> <dialogue>I once did a paper on it</dialogue> <character>KINDERMAN</character> <dialogue>Really?</dialogue> <character>KARRAS</character> <dialogue>From the psychiatric end.</dialogue> <character>KINDERMAN</character> <dialogue>I know. I read it. These desecration's in the church... you think they have anything to do with witchcraft?</dialogue> <character>KARRAS</character> <dialogue>Maybe. Some rituals used in Black Mass.. Maybe.</dialogue> <character>KINDERMAN</character> <dialogue>And Dennings, you read how he died?</dialogue> <character>KARRAS</character> <dialogue>Yeah, a fall.</dialogue> <character>KINDERMAN</character> <dialogue>Let me tell you how Father, and please confidential. Burke Dennings, good Father, was found at the bottom of those steps leading to'M' Street, with his head turned completely around. Facing backwards.</dialogue> <character>KARRAS</character> <dialogue>Could n't it of happened on the fall.</dialogue> <character>KINDERMAN</character> <dialogue>It's possible. Possible however...</dialogue> <character>KARRAS</character> <dialogue>Unlikely.</dialogue> <character>KINDERMAN</character> <dialogue>Exactly. So on the one hand we've got a witchcraft type of murder and a Black Mass style of desecration in the church.</dialogue> <character>KARRAS</character> <dialogue>You think the killer and the desecrator are the same?</dialogue> <character>KINDERMAN</character> <dialogue>Maybe somebody crazy, someone with a spite against the church, some unconscious rebellion, perhaps.</dialogue> <character>KARRAS</character> <dialogue>Sick priest, is that it?</dialogue> <character>KINDERMAN</character> <dialogue>Look, Father this is hard for you - please. But for priests on the campus here, you're the psychiatrist ; you'd know who was sick at the time, who was n't. I mean this kind of sickness. You'd know that.</dialogue> <character>KARRAS</character> <dialogue>I do n't know anyone who fits the description.</dialogue> <character>KINDERMAN</character> <dialogue>Ah, doctor's ethics. If you knew you would n't tell, huh?</dialogue> <character>KARRAS</character> <dialogue>No I probably would n't.</dialogue> <character>KINDERMAN</character> <dialogue>Not to bother you with trivia, but a psychiatrist in sunny California was thrown in jail for not telling the judge what he knew about a patient.</dialogue> <character>KARRAS</character> <dialogue>Is that a threat?</dialogue> <character>KINDERMAN</character> <dialogue>No, I mentioned it only in passing.</dialogue> <character>KARRAS</character> <dialogue>Incidentally I mention only in passing that I could tell the judge that it was a matter of confession.</dialogue> <scene_description>Karras walks off toward his dormitory and Kinderman chases him .</scene_description> <character>KINDERMAN</character> <dialogue>Hey, Father? You like movies?</dialogue> <character>KARRAS</character> <dialogue>Very much.</dialogue> <character>KINDERMAN</character> <dialogue>I get passes to the best shows in town. Mrs. K though, she gets tired and never likes to go.</dialogue> <character>KARRAS</character> <dialogue>That's to bad.</dialogue> <character>KINDERMAN</character> <dialogue>Yeah, I hate to go alone. You know, I like to talk film ; discuss the critique. D'you wan na see a film with me? I got passes to The Crest. It's Othello.</dialogue> <character>KARRAS</character> <dialogue>Who's in it?</dialogue> <character>KINDERMAN</character> <dialogue>Who's in it? Debbie Reynolds, Desdemona, and Othello, Groucho Marx. You're happy?</dialogue> <character>KARRAS</character> <dialogue>I've seen it.</dialogue> <character>KINDERMAN</character> <dialogue>One last time : Can you think of some priest who fits the bill?</dialogue> <character>KARRAS</character> <dialogue>Come on!</dialogue> <character>KINDERMAN</character> <dialogue>Answer the question, Father Paranoia.</dialogue> <character>KARRAS</character> <dialogue>Alright. You know who I think really did it?</dialogue> <character>KINDERMAN</character> <dialogue>Who?</dialogue> <character>KARRAS</character> <dialogue>The Dominicans. Go pick on them.</dialogue> <character>KINDERMAN</character> <dialogue>I could have you deported, you know that?</dialogue> <scene_description>Karras walks to the front door .</scene_description> <character>KINDERMAN</character> <parenthetical>( shouts to Karras . )</parenthetical> <dialogue>I lied!</dialogue> <scene_description>Karras turns around .</scene_description> <character>KINDERMAN</character> <parenthetical>( shouting to Karras . )</parenthetical> <dialogue>You look like Sal Mineo!</dialogue> <scene_description>Karras smiles and walks inside .</scene_description> </scene> <scene> <stage_direction>EXTERIOR BARRINGER CLINIC- DAY</stage_direction> <scene_description>The leaves blow as the camera zooms in on the Barringer Clinic .</scene_description> </scene> <scene> <stage_direction>INTERIOR BARRINGER CLINIC- WARD- DAY</stage_direction> <character>CLINIC DIRECTOR</character> <dialogue>It looks like a type of disorder that you rarely ever see anymore, except in primitive cultures.</dialogue> <scene_description>We see Regan on a monitor screen . She 's in another fit , in bed and restrained by straps .</scene_description> <character>CLINIC DIRECTOR</character> <dialogue>We call it a somnambuliform possession.</dialogue> <scene_description>We cut to another angle of Regan who has slightly visible welts on her face . She 's still screaming . We then cut to Regan , now flat on her back , mumbling to herself .</scene_description> </scene> <scene> <stage_direction>INTERIOR BARRINGER CLINIC- DIRECTOR'S OFFICE- DAY</stage_direction> <character>CLINIC DIRECTOR</character> <dialogue>Quite frankly, we do n't know much about it except that it's starts with some conflict or guilt that eventually leads to the patient's delusion that his body's been invaded by an alien intellegence ; a spirit if you will.</dialogue> <character>CHRIS</character> <dialogue>Look, I'm telling you again and you'd better believe it, I'm not about to put her in a goddamn asylum!</dialogue> <character>CLINIC DIRECTOR</character> <dialogue>It's -</dialogue> <character>CHRIS</character> <dialogue>And I do n't care what you call it! I'm not putting her away!</dialogue> <character>CLINIC DIRECTOR</character> <dialogue>I'm sorry.</dialogue> <character>CHRIS</character> <dialogue>You're sorry. Christ, eighty - eight doctors and all you can tell me is all of your bullshit.</dialogue> <scene_description>CLINIC DIRECTOR - There is one outside chance of a cure . I think of it as shock treatment . As I say , there is an outside chance .</scene_description> <character>CHRIS</character> <dialogue>Will you just name it, for God's sake? What is it?</dialogue> <character>MALE DOCTOR</character> <dialogue>Do you have any religious beliefs?</dialogue> <character>CHRIS</character> <dialogue>No.</dialogue> <character>FEMALE DOCTOR</character> <dialogue>What about your daughter?</dialogue> <character>CHRIS</character> <dialogue>No, why?</dialogue> <character>CLINIC DIRECTOR</character> <dialogue>Have you ever heard of exorcism?</dialogue> <scene_description>Chris looks at him baffled .</scene_description> <character>CLINIC DIRECTOR</character> <dialogue>It's a stylized ritual in which rabbis or priests try to drive out the so - called invading spirit. It's pretty much discarded these days, except by the Catholics who keep it in the closet as a sort of embarrassment. It has worked, in fact, although not for the reason they think, of course. It was purely the force of suggestion. The victim's belief in possession helped cause it ; and just in the same way this belief in the power of exorcism can make it disappear.</dialogue> <character>CHRIS</character> <dialogue>You're telling me that, I should take my daughter to a witch doctor? Is that it?</dialogue> <scene_description>The Clinic Director nods and looks at Chris .</scene_description> </scene> <scene> <stage_direction>EXTERIOR PROSPECT STREET- MACNEIL HOUSE- DAY</stage_direction> <scene_description>A car has pulled up and Karl is exiting the driver 's seat and opening the rear door while Sharon exits on the right rear side . Karl reaches in and picks up a small figure -LRB- Regan -RRB- wrapped in a blanket from Chris ' back seat .</scene_description> </scene> <scene> <stage_direction>EXTERIOR M STREET- DAY</stage_direction> <scene_description>Kinderman is examing the area where Burke was found dead . He walks to the steep concrete steps and looks up them . We feel and eerie atmosphere surounding these steps .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM- DAY</stage_direction> <scene_description>Regan is tucked up in bed . Chris moves slowly forward to the bedside and looks down at Regan . Chris then leans and tenderly adjuts her pillow . In the process , she uncovers a crucifix under it . She lifts it out , examining it .</scene_description> </scene> <scene> <stage_direction>EXTERIOR M STREET- DAY</stage_direction> <scene_description>Kinderman begins to climb the stairs but stops and turns back . He looks down in a small ditch beside the steps . He clears the grass with his feet and reaches down for something . He picks up a small sculpture of an animal made of clay . He examines it and then climbs the steps .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- SECOND FLOOR HALLWAY- DAY</stage_direction> <scene_description>Chris exits Regan 's room and approaches Karl who is descending the stairs . Chris leans over the bannister .</scene_description> <character>CHRIS</character> <dialogue>Karl? Did you put this in Regan's bedroom?</dialogue> <character>KARL</character> <dialogue>She is going to be well?</dialogue> <character>CHRIS</character> <dialogue>Karl if you put this in Regan's room I want you to tell me, now did you?</dialogue> <character>KARL</character> <dialogue>No. It was n't me. I did n't.</dialogue> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- STUDY- DAY</stage_direction> <scene_description>Chris has now confronted both Sharon and Willie in the study . She shows the crucifix to them .</scene_description> <character>CHRIS</character> <dialogue>This was under Regan's pillow. Did you put it there?</dialogue> <character>SHARON</character> <dialogue>Of course I did n't.</dialogue> <character>WILLIE</character> <dialogue>I did n't put it.</dialogue> <scene_description>Karl enters the room .</scene_description> <character>KARL</character> <dialogue>Excuse me Miss?</dialogue> <character>CHRIS</character> <parenthetical>( shouting . )</parenthetical> <dialogue>What!</dialogue> <character>KARL</character> <dialogue>A man to see you.</dialogue> <character>CHRIS</character> <parenthetical>( shouting . )</parenthetical> <dialogue>What man?</dialogue> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- FOYER- DAY</stage_direction> <scene_description>Kinderman stands with his hat in his hand as Chris approaches .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- KITCHEN- DAY</stage_direction> <scene_description>Chris and Kinderman both sit in the kitchen , coffee cups in hand .</scene_description> <character>KINDERMAN</character> <dialogue>Does your daughter remember if perhaps Mr. Dennings was in her room in her room that night?</dialogue> <character>CHRIS</character> <dialogue>No, she was heavily sedated.</dialogue> <character>KINDERMAN</character> <dialogue>It's serious?</dialogue> <character>CHRIS</character> <dialogue>Yes, I'm affraid it is.</dialogue> <character>KINDERMAN</character> <dialogue>May I ask?</dialogue> <character>CHRIS</character> <dialogue>We still do n't know.</dialogue> <character>KINDERMAN</character> <dialogue>Watch out for drafts. A draft in the fall when the house is hot is a magic carpet for bacteria.</dialogue> <scene_description>Karl enters the room .</scene_description> <character>KARL</character> <dialogue>Excuse me Madame? Will there be anything else?</dialogue> <character>CHRIS</character> <dialogue>No thanks Karl.</dialogue> <scene_description>Karl stands in the background . Chris turns to him .</scene_description> <character>CHRIS</character> <dialogue>It's okay Karl.</dialogue> <scene_description>Karl exits .</scene_description> <character>KINDERMAN</character> <dialogue>Strange. strange. so baffling. The deceased comes to visit, stays only twenty minutes, and leaves all alone a very sick girl. And speaking plainly Mrs. MacNeil, as you say, it's not likely he would fall from a window. Besides that, a fall would n't do to his neck what we found except maybe a chance in a thousand. My hunch? My opinion? I believe he was killed by a very powerful man : point one. And the fracturing of the skull - point two - plus the various things I have mentioned, would make it very probable - probable, not certain - that the deceased was killed and then pushed from your daughter's window. But no - one was here except your daughter. So how could this be? It could be one way : if someone came calling between the time Miss Spencer left and the time you returned. The servants, they have visitors?</dialogue> <character>CHRIS</character> <dialogue>No. Not at all,</dialogue> <character>KINDERMAN</character> <dialogue>You were expecting a deliver y that day?</dialogue> <character>CHRIS</character> <dialogue>Not that I know of.</dialogue> <character>KINDERMAN</character> <dialogue>Groceries maybe? A package?</dialogue> <character>CHRIS</character> <dialogue>I really would n't know, you see Karl takes care of that.</dialogue> <character>KINDERMAN</character> <dialogue>Oh, I see.</dialogue> <character>CHRIS</character> <dialogue>Want to ask him?</dialogue> <character>KINDERMAN</character> <dialogue>Never mind.</dialogue> <scene_description>Chris rises .</scene_description> <character>CHRIS</character> <dialogue>Would you like some more coffee?</dialogue> <character>KINDERMAN</character> <dialogue>Please.</dialogue> <scene_description>Kinderman follows Chris further into the kitchen . He notices some of Regan 's artwork . He picks up a small sculpted Turtle and examines it .</scene_description> <character>KINDERMAN</character> <dialogue>That's cute.</dialogue> <scene_description>Chris looks over at Kinderman .</scene_description> <character>KINDERMAN</character> <dialogue>Your daughter, she's the artist?</dialogue> <scene_description>Chris smiles . She hands him the coffee .</scene_description> <character>KINDERMAN</character> <dialogue>Incidentally, just a chance in a million, I know ; but your daughter - you could possibly ask her if she saw Mr. Dennings in her room that night?</dialogue> <character>CHRIS</character> <dialogue>Look, he would n't have any reason to be up there in the first place.</dialogue> <character>KINDERMAN</character> <dialogue>I know that. I realize. But if a certain British doctor never asked `` What's this fungus?'' we would n't today have penicillin. Correct?</dialogue> <character>CHRIS</character> <dialogue>When she's well enough, I'll ask.</dialogue> <character>KINDERMAN</character> <dialogue>Could n't hurt. In the meantime.</dialogue> <scene_description>Kinderman falters , embarrassed .</scene_description> <character>KINDERMAN</character> <dialogue>I hate to ask you this but. for my daughter could you maybe give an autograph?</dialogue> <character>CHRIS</character> <dialogue>Of course. Have you got a pen?</dialogue> <scene_description>Kinderman pulls out a pen and a calling card and gives them to Chris .</scene_description> <character>KINDERMAN</character> <dialogue>Oh, she'd love it.</dialogue> <character>CHRIS</character> <dialogue>What's her name?</dialogue> <scene_description>Kinderman hesitates . His eyes are desperate and defiant .</scene_description> <character>KINDERMAN</character> <dialogue>I lied. It's for me. The spelling is on the back, Kinderman. You know that film you made called Angel? Isaw that six times.</dialogue> <character>CHRIS</character> <dialogue>Really? wow.</dialogue> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- FOYER- DAY</stage_direction> <scene_description>Chris helps Kinderman put hic coat on .</scene_description> <character>KINDERMAN</character> <dialogue>You're a very nice lady.</dialogue> <scene_description>Chris gives his hat to him .</scene_description> <character>KINDERMAN</character> <dialogue>Thank you.</dialogue> <character>CHRIS</character> <dialogue>You're a nice man.</dialogue> <scene_description>Chris opens the front door .</scene_description> <character>KINDERMAN</character> <dialogue>I'll come back when she's feeling better.</dialogue> <scene_description>Kinderman exits and Chris closes the door an locks it . She holds her hands to her mouth and slowly walks away . We suddenly here a crash from Regan 's room , followed by loud voices .</scene_description> <character>REGAN</character> <dialogue>Please! No!</dialogue> <character>MALE VOICE</character> <dialogue>Do it!</dialogue> <character>REGAN</character> <dialogue>Please no!</dialogue> <character>MALE VOICE</character> <dialogue>You bitch! Do it! Do it!</dialogue> <scene_description>Chris races up the stairs and runs to Regan 's room .</scene_description> <character>REGAN</character> <dialogue>No! Please! No!</dialogue> <scene_description>Chris opens the door and sees objects rapdly flying around the room . We hear a last gasp scream from Regan untill Chris turns to Regan and covers her mouth with horror .</scene_description> <character>REGAN/DEMON</character> <dialogue>Let Jesus fuck you!</dialogue> <scene_description>Regan has the crucifix gripped in her hand and is plunging it into her bloodied vagina . There are fresh cuts all over her face , streaming with blood .</scene_description> <character>REGAN/DEMON</character> <dialogue>Let Jesus fuck you! Let him fuck you!</dialogue> <scene_description>Chris runs over to Regan and tries to pry the crucifix from her hand . They struggle for the crucifix . Regan then grabs Chris ' head and pushes it into her bloodied crotch .</scene_description> <character>REGAN/DEMON</character> <dialogue>Lick me! Lick me!</dialogue> <scene_description>Chris ' face emerges covered with Regan 's blood . Regan slaps her mother and sends her flying to the floor . Chris screams in pain . Sharon and Willie race up the stairs .</scene_description> <character>SHARON</character> <dialogue>Chris?</dialogue> <scene_description>The door closes by itself being held shut by a chair . They both bag on the door to help her . Chris looks up to see that Regan 's wardrobe is moving toward her . Chris scurries out of the way . We turn back to Regan who is sitting with her back to us , but she has spun her head in a 180 - degree angle , facing backward -LRB- Chris -RRB- . Chris looks up at her .</scene_description> <character>REGAN/BURKE</character> <dialogue>Do you know what she did, your cunting daughter?</dialogue> <scene_description>Chris turns away and screams , bursting into tears .</scene_description> </scene> <scene> <stage_direction>EXTERIOR 35th STREET BRIDGE AND CANAL- DAY</stage_direction> <scene_description>Chris is standing on the bridge alone . She 's wearing oversized dark glasses . Father Karras approaches her , he is wearing khakis , sweater and sturdy , scuffled tennis shoes .</scene_description> <character>KARRAS</character> <dialogue>Chris MacNeil?</dialogue> <character>CHRIS</character> <dialogue>Please go away.</dialogue> <character>KARRAS</character> <dialogue>I'm Father Karras.</dialogue> <scene_description>Chris turns around and shakes his hand .</scene_description> <character>CHRIS</character> <dialogue>Oh, I'm very sorry Father. Hi.</dialogue> <character>KARRAS</character> <dialogue>That's okay. I should've told you I would n't be in uniform.</dialogue> <character>CHRIS</character> <dialogue>Yeah, it would've helped. Have you got ta cigarette Father?</dialogue> <scene_description>Karras seaches his pocket and pulls out a pack of cigarettes . Chris takes one and Karras lights it for her . They walk down the steps to the canal side .</scene_description> <character>CHRIS</character> <dialogue>So, how'd a shrink ever get to be a priest?</dialogue> <character>KARRAS</character> <dialogue>It's the other way around. The society sent me through med school.</dialogue> <character>CHRIS</character> <dialogue>Where?</dialogue> <character>KARRAS</character> <dialogue>Harvard, Bellevue, John Hopkins.</dialogue> <character>CHRIS</character> <dialogue>You're a friend of Father Dyer, right?</dialogue> <character>KARRAS</character> <dialogue>Yes am.</dialogue> <character>CHRIS</character> <dialogue>Pretty close?</dialogue> <character>KARRAS</character> <dialogue>Pretty close.</dialogue> <character>CHRIS</character> <dialogue>Did he tell you about my party?</dialogue> <character>KARRAS</character> <dialogue>Sure did.</dialogue> <character>CHRIS</character> <dialogue>About my daughter?</dialogue> <character>KARRAS</character> <dialogue>No I did n't know you had one.</dialogue> <character>CHRIS</character> <dialogue>He did n't mention?</dialogue> <character>KARRAS</character> <dialogue>No.</dialogue> <character>CHRIS</character> <dialogue>Did n't tell you of what she did?</dialogue> <character>KARRAS</character> <dialogue>He did n't mention her.</dialogue> <character>CHRIS</character> <dialogue>Priests keep pretty tight mouthed then?</dialogue> <character>KARRAS</character> <dialogue>That depends.</dialogue> <character>CHRIS</character> <dialogue>On what?</dialogue> <character>KARRAS</character> <dialogue>The priest.</dialogue> <character>CHRIS</character> <dialogue>I mean, what if a person, let's say, was a criminal, like maybe a murderer or something, you know? If he came to you for help, would you have to turn him in?</dialogue> <character>KARRAS</character> <dialogue>If he came to me for spritual help, I'd say no.</dialogue> <character>CHRIS</character> <dialogue>You would n't.</dialogue> <character>KARRAS</character> <dialogue>No I would n't. But I'd try to persuade him to turn himself in.</dialogue> <character>CHRIS</character> <dialogue>And how do you go about getting an exorcism?</dialogue> <character>KARRAS</character> <dialogue>I beg your pardon?</dialogue> <character>CHRIS</character> <dialogue>If a person was possessed by a demon of some kind, how do you go about getting an exorcism?</dialogue> <character>KARRAS</character> <dialogue>Well, the first thing I'd do is put them into a time macine and send them back to the sixteenth century.</dialogue> <character>CHRIS</character> <dialogue>I did n't get you?</dialogue> <character>KARRAS</character> <dialogue>Well it just does n't happen anymore Mrs. MacNeil.</dialogue> <character>CHRIS</character> <dialogue>Oh yeah, since when?</dialogue> <character>KARRAS</character> <dialogue>Since we learned about mental illness, paranoia, schizophrenia. All the things they taught me in Harvard. Mrs. MacNeil since the day I joined the Jesuits, I've never met one priest who has performed an exorcism, not one.</dialogue> <character>CHRIS</character> <dialogue>Yeah well, it just so happens that somebody very close to me is probably possessed, and needs an exorcist.</dialogue> <scene_description>Chris bursts into tears .</scene_description> <character>CHRIS</character> <dialogue>Father Karras it's my little girl.</dialogue> <scene_description>Karras grabs Chris ' arm and walks her over to a bench . They both sit . Chris is still crying .</scene_description> <character>KARRAS</character> <dialogue>That's all the more reason to forget about exorcism.</dialogue> <character>CHRIS</character> <dialogue>Why, I do n't understand?</dialogue> <character>KARRAS</character> <dialogue>To begin with it could make things worse.</dialogue> <character>CHRIS</character> <dialogue>But how?</dialogue> <character>KARRAS</character> <dialogue>Well before the church approves an exorcism, it conducts an investigation to see if it's warranted. That takes time. In the meantime.</dialogue> <character>CHRIS</character> <dialogue>You could do it yourself.</dialogue> <character>KARRAS</character> <dialogue>No I could n't, I have to have church approval, and frankly, that's rarely given, -</dialogue> <character>CHRIS</character> <dialogue>Could you see her?</dialogue> <character>KARRAS</character> <dialogue>Yes I could, I could see her as a psychiatrist.</dialogue> <character>CHRIS</character> <dialogue>Not a psychiatrist! She needs a priest! She's already seen every fucking psychiatrist in the world and they sent me to you, now you're gon na send me back to them! Jesus Christ, wo n't somebody help her!</dialogue> <character>KARRAS</character> <dialogue>No, you do n't understand. Your daughter -</dialogue> <character>CHRIS</character> <dialogue>Oh, will you help her! Just help her!</dialogue> <scene_description>Chris bursts into tears again and buries her head into Karras shoulder . Karras puts his arm around her .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- STAIRCASE- DAY</stage_direction> <scene_description>Chris and Karras are ascending the staircase . When they reach the door we see Karl holding a huge headboard with straps and padding on it .</scene_description> <character>KARL</character> <dialogue>It wants no straps.</dialogue> <scene_description>Karras stares at him , then gives Chris a look . He plucks up his courage and enters the room .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM- DAY</stage_direction> <scene_description>Karras stops as he sees Regan , on the bed , arms held down by a set of restraining straps , it seems no longer entirley Regan but something somehow demonic that now lies on the bed and stares at him . Her face is puffy , scratched and bruised from self - mutilation . There is a sustagen flask used for a naso - gastric feeding , the tube is placed up her left nostril . Karras is momentarily taken aback . Then , reining in his revulsion , he slowly and warily closes the door behind him , and walks around the other side of the bed .</scene_description> <character>KARRAS</character> <dialogue>Hello Regan. I'm a friend of your mother, I'd like to help you.</dialogue> <character>REGAN/DEMON</character> <dialogue>You might loosen the straps then.</dialogue> <character>KARRAS</character> <dialogue>I'm affraid you might hurt yourself Regan.</dialogue> <character>REGAN/DEMON</character> <dialogue>I'm not Regan.</dialogue> <character>KARRAS</character> <dialogue>I see. Well then let's introduce ourselves, I'm Damien Karras.</dialogue> <character>REGAN/DEMON</character> <dialogue>And I'm the Devil! Now kindly undo these straps!</dialogue> <character>KARRAS</character> <dialogue>If you're the devil, why not make the straps disappear?</dialogue> <character>REGAN/DEMON</character> <dialogue>That's much to vulgar a display of power Karras.</dialogue> <character>KARRAS</character> <dialogue>Where's Regan?</dialogue> <character>REGAN/DEMON</character> <dialogue>In here. With us.</dialogue> <character>KARRAS</character> <dialogue>Show me Regan and I'll loosen one of the straps.</dialogue> <character>REGAN/HOMELESS GUY</character> <dialogue>Can you help an old altar boy Fa - dah?</dialogue> <scene_description>Karras looks at Regan . He 's puzzled by what she has just said . He sits down on a chair beside the window .</scene_description> <character>REGAN/DEMON</character> <dialogue>Your mother's in here with us Karras, would you like to leave a message? I'll see that she gets it.</dialogue> <character>KARRAS</character> <dialogue>If that's true, then you must know my mother's maiden name. What is it?</dialogue> <scene_description>Regan keeps a sharp stare on Karras . Karras ' smile turns to an angry stare . He rises and moves to her bed side .</scene_description> <character>KARRAS</character> <dialogue>What is it?</dialogue> <scene_description>Regan leans forward a vomits a disgusting , green bile in Karras ' face . Karras wipes it off , coughing . Regan keeps her eyes fixed on him , with green vomit covering her night gown .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- BASEMENT- EARLY EVENING</stage_direction> <scene_description>Karras is looking through some of Regan 's drawings . Chris approaches him with his sweater , now clean . She hands it to him .</scene_description> <character>KARRAS</character> <dialogue>Thanks. Look, I'm only against the possibility of doing your daughter more harm than good.</dialogue> <character>CHRIS</character> <dialogue>Nothing you could do would make it any worse.</dialogue> <character>KARRAS</character> <dialogue>I ca n't do it. I need evidence that the church would accept as signs of possession.</dialogue> <character>CHRIS</character> <dialogue>Like what?</dialogue> <character>KARRAS</character> <dialogue>Like her speaking in a language that she's never known or studied.</dialogue> <character>CHRIS</character> <dialogue>What else?</dialogue> <character>KARRAS</character> <dialogue>I do n't know. I'll have to look it up.</dialogue> <character>CHRIS</character> <dialogue>I thought you were supposed to be an expert.</dialogue> <character>KARRAS</character> <dialogue>There are no experts. You probably know as much about possession than most priests. Look your daughter does n't say she's a demon, she says she's the devil himself and if you've seen as many psychotics as I have, you'd know it's like saying you're Napoleon Bonaparte. You ask me what I think is best for your daughter. Six months, under observation in the best hospital you can find.</dialogue> <character>CHRIS</character> <dialogue>You show me Regan's double : same face, same voice, same everything. I'd know it was n't Regan. I'd know in my gut and I'm telling you that that thing upstairs is n't my daughter! And I want you to tell me that you know for a fact that there's nothing wrong with my daughter except in her mind! You tell me you know for a fact that an exorcism would n't do any good! You tell me that!</dialogue> </scene> <scene> <stage_direction>EXTERIOR MACNEIL HOUSE- NIGHT</stage_direction> <scene_description>Chris opens the door for Karras . He steps out on the stoop carrying his sweater .</scene_description> <character>KARRAS</character> <dialogue>Did Regan know a priest was coming over?</dialogue> <character>CHRIS</character> <dialogue>No.</dialogue> <character>KARRAS</character> <dialogue>Did you know my mother died recently?</dialogue> <character>CHRIS</character> <dialogue>Yes I did, I'm sorry.</dialogue> <character>KARRAS</character> <dialogue>No, is Regan aware of it?</dialogue> <character>CHRIS</character> <dialogue>Not at all. Why d'you ask?</dialogue> <character>KARRAS</character> <dialogue>It's not important good night.</dialogue> <scene_description>Karras exits the gates and crosses the street . We cut to Kinderman in an unmarked car watching Karras cross the street . Kinderman then looks up to Regan 's window and sees a silohette moving around .</scene_description> </scene> <scene> <stage_direction>INTERIOR UNIVERSITY OF WASHINGTON- DAHLGREN CHAPEL- DAY</stage_direction> <scene_description>Karras is performing a service in the church .</scene_description> <character>KARRAS</character> <dialogue>He broke the bread, gave it to his disciples and said `` Take this, all of you and eat. For this is my body.'' When the supper had ended, he took the cup, again he gave you thanks and praise. Gave the cup to his disciples and said `` Take this, all of you will drink from it, this is the cup of blood, the blood of the new and ever lasting covenant and the mystery of faith''.</dialogue> <character>REGAN/DEMON</character> <parenthetical>( Voice Over . )</parenthetical> <dialogue>What an excellent day for an exorcism.</dialogue> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM- DAY</stage_direction> <scene_description>Karras pulls a tape recorder out of his bag and props an microphone on her bed near her . Karras sits on a chair next to her wardrobe .</scene_description> <character>KARRAS</character> <dialogue>You'd like that?</dialogue> <character>REGAN/DEMON</character> <dialogue>Intensely.</dialogue> <character>KARRAS</character> <dialogue>But would n't that drive you out of Regan?</dialogue> <character>REGAN/DEMON</character> <dialogue>It would bring us together.</dialogue> <character>KARRAS</character> <dialogue>You and Regan?</dialogue> <character>REGAN/DEMON</character> <dialogue>You and us.</dialogue> <scene_description>The bureau drawer flies open on it 's own .</scene_description> <character>KARRAS</character> <dialogue>Did you do that?</dialogue> <character>REGAN/DEMON</character> <dialogue>Uh Huh.</dialogue> <scene_description>Karras pushes the drawer back in .</scene_description> <character>KARRAS</character> <dialogue>Do it again.</dialogue> <character>REGAN/DEMON</character> <dialogue>In time.</dialogue> <character>KARRAS</character> <dialogue>No now.</dialogue> <character>REGAN/DEMON</character> <dialogue>In time. But mirabile dictu, do n't you agree?</dialogue> <scene_description>Karras presses record on the tape recorder .</scene_description> <character>KARRAS</character> <dialogue>You speak Latin?</dialogue> <character>REGAN/DEMON</character> <dialogue>Ego te abslovo.</dialogue> <character>KARRAS</character> <dialogue>Quod nomen mihi est?</dialogue> <character>REGAN/DEMON</character> <dialogue>Bon Jour.</dialogue> <character>KARRAS</character> <dialogue>Quod nomen mihi est?</dialogue> <character>REGAN/DEMON</character> <dialogue>La plume de ma tante.</dialogue> <scene_description>The demon laughs full and mockingly .</scene_description> <character>KARRAS</character> <dialogue>How long are you planning to stay in Regan?</dialogue> <character>REGAN/DEMON</character> <dialogue>Until she rots and lie stinking in the earth.</dialogue> <scene_description>Karraspulls out a small vial of water .</scene_description> <character>REGAN/DEMON</character> <dialogue>What's that?</dialogue> <character>KARRAS</character> <dialogue>Holy water.</dialogue> <scene_description>Karras moves to the end of the bed .</scene_description> <character>REGAN/DEMON</character> <dialogue>You keep it away.</dialogue> <scene_description>Karras uncaps the vial and now sprinkles it 's contents over Regan . Instantly , Regan writhes in pain and terror .</scene_description> <character>REGAN/DEMON</character> <dialogue>Ahhhhhhhhhhh! Ahhhhhhh! It burns! Ohhhh! It burns!</dialogue> <scene_description>Regan 's head falls back onto the pillow as she rolls her head from side to side shouting out indistrict gibberish :</scene_description> <character>REGAN/DEMON</character> <dialogue>Emit su evig!</dialogue> <scene_description>Karras is intrigued and sits on the bed beside her . He moves the microphone up to her mouth an listens .</scene_description> <character>REGAN/DEMON</character> <dialogue>Ydob eht ni mraw si ti! Uoy ees I! Tseirp a si eh! Emit su evig! Nirrem! Nirrem!</dialogue> <character>KARRAS</character> <dialogue>Who are you?</dialogue> <character>REGAN/DEMON</character> <dialogue>Tseirp a si eh! Eno on ma I! Eno on ma I! Ahhhhhhhhhhh!</dialogue> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- STUDY- DAY</stage_direction> <scene_description>We see Karras descending the stairs as we hear Chris on the phone with someone . Karras waits outside until Chris is finished .</scene_description> <character>CHRIS</character> <parenthetical>( on the phone . )</parenthetical> <dialogue>Okay, I'll talk to you some other time. No it's just that I'm going through something and. No, no there's nothing. Thanks alot. Bye.</dialogue> <scene_description>Chris hangs up the phone . Karras enters and sits on the couch .</scene_description> <character>CHRIS</character> <dialogue>Wan na drink.</dialogue> <character>KARRAS</character> <dialogue>Please.</dialogue> <character>CHRIS</character> <dialogue>What do you drink?</dialogue> <scene_description>Chris walks to the drinks cabinet .</scene_description> <character>KARRAS</character> <dialogue>Scotch, Ice, water.</dialogue> <scene_description>Chris pours the drink .</scene_description> <character>CHRIS</character> <dialogue>No ice. I'll get some from the kitchen.</dialogue> <scene_description>Chris walks toward the kitchen but Karras stops her .</scene_description> <character>KARRAS</character> <dialogue>No it's alright I'll take it straight.</dialogue> <character>CHRIS</character> <dialogue>Are you sure?</dialogue> <character>KARRAS</character> <dialogue>It's fine really, sit.</dialogue> <scene_description>Chris sits down .</scene_description> <character>KARRAS</character> <dialogue>Where's Regan's father?</dialogue> <character>CHRIS</character> <dialogue>In Europe.</dialogue> <character>KARRAS</character> <dialogue>Have you told him what's happening?</dialogue> <character>CHRIS</character> <dialogue>No</dialogue> <character>KARRAS</character> <dialogue>Well I think you should.</dialogue> <scene_description>He holds up the empty vial .</scene_description> <character>KARRAS</character> <dialogue>I told Regan that was holy water, I sprinkled some on her and she reacted very violently. It's tap water.</dialogue> <character>CHRIS</character> <dialogue>What's the difference?</dialogue> <character>KARRAS</character> <dialogue>Holy water's blessed. And that does n't help support a case for possession.</dialogue> <scene_description>Chris turns her head away and frowns . She looks at Karras again .</scene_description> <character>CHRIS</character> <parenthetical>( whispering . )</parenthetical> <dialogue>She. killed Burke Dennings.</dialogue> <character>KARRAS</character> <dialogue>What?</dialogue> <character>CHRIS</character> <dialogue>She killed Burke Dennings. She pushed him out of the window.</dialogue> <scene_description>Karras looks shocked .</scene_description> </scene> <scene> <stage_direction>INTERIOR LANGUAGE LAB- NIGHT</stage_direction> <scene_description>Karras is with the lab director . They are listening to Karras recording of Regan . Karras is tense . The director stops the tape .</scene_description> <character>LAB DIRECTOR</character> <dialogue>It's a language alright. It's english.</dialogue> <scene_description>Karras stands up .</scene_description> <character>KARRAS</character> <dialogue>What do you mean english?</dialogue> <character>LAB DIRECTOR</character> <dialogue>It's english in reverse, listen.</dialogue> <scene_description>The lab director throws a switch and the tape starts again , in perfect english .</scene_description> <character>REGAN/DEMON</character> <parenthetical>( tape . )</parenthetical> <dialogue>Give us time! Let her die!</dialogue> </scene> <scene> <stage_direction>INTERIOR KARRAS' ROOM- NIGHT</stage_direction> <scene_description>Karras is listening to the eerie , unearthly voices on the tape .</scene_description> <character>REGAN/DEMON</character> <parenthetical>( tape . )</parenthetical> <dialogue>I am no one! I am no one! He is a priest!</dialogue> <character>KARRAS</character> <parenthetical>( tape . )</parenthetical> <dialogue>Uoy era ohw.</dialogue> <character>REGAN/DEMON</character> <parenthetical>( tape . )</parenthetical> <dialogue>Merrin! Merrin!</dialogue> <scene_description>Karras stops the tape and rewinds it slightly . He plays it again .</scene_description> <character>REGAN/DEMON</character> <parenthetical>( tape . )</parenthetical> <dialogue>I am no one! I am no one! He is a priest!</dialogue> <character>KARRAS</character> <parenthetical>( tape . )</parenthetical> <dialogue>Uoy era ohw.</dialogue> <scene_description>The phone rings and startles him . He answers the phone .</scene_description> <character>KARRAS</character> <parenthetical>( on phone . )</parenthetical> <dialogue>Yeah, yes? I'll be right there.</dialogue> </scene> <scene> <stage_direction>EXTERIOR PROSPECT STREET- NIGHT</stage_direction> <scene_description>It 's very late , Karras is running down the street . He comes to the gate of the MacNeil house . Sharon opens the gate . She 's holding a flashlightand she puts her finger on her lips for quiet .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- STAIRWAY- NIGHT</stage_direction> <scene_description>They both ascend the stairs and creep toward Regan 's room .</scene_description> <character>SHARON</character> <parenthetical>( whispering . )</parenthetical> <dialogue>I do n't want Chris to see this.</dialogue> <character>KARRAS</character> <dialogue>Well what's wrong? What is it?</dialogue> <scene_description>They stop at Regan 's door . Sharon puts her coat on and turns on the flash light . She opens the door and they enter .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM- NIGHT</stage_direction> <scene_description>Sharon closes the door behind them . Karras reacts to the extreme cold . His breath , like Sharon 's , is frosttily condensing in the chill air of the room . He looks at Sharon with wonder . They both approach the bedside . They stop by the bed . Regan seems to be in a coma , heavily breathing . Sharon is bending , gently pulling Regan 's pajama top wide apart , exposing Regan 's stomach . Sharon points the flashlight at Regan 's stomach . Karras looks in shock when we see on her stomach , rising up slowly on her skin are two words HELP ME . Karras ' eyes are fixed on these two words as we once again see them on Regan 's stomach .</scene_description> </scene> <scene> <stage_direction>INTERIOR HEALY BUILDING- GROUND FLOOR HALLWAY- DAY</stage_direction> <scene_description>Karras walks down the hall toward the stairway . He climbs the stairs and we follow him to the top .</scene_description> </scene> <scene> <stage_direction>INTERIOR HEALY BUILDING- CARDINAL'S OFFICE- DAY</stage_direction> <scene_description>In the room , Karras and the Cardinal .</scene_description> <character>CARDINAL</character> <dialogue>You're convinced that it's genuine.</dialogue> <character>KARRAS</character> <dialogue>I do n't know. No, not really I suppose. But I've made a prudent judgement that it meets the conditions set down in the Ritual.</dialogue> <character>CARDINAL</character> <dialogue>You'd want to do the exorcism yourself?</dialogue> <character>KARRAS</character> <dialogue>Yes.</dialogue> <character>CARDINAL</character> <dialogue>It might be best to have a man with experience. Maybe someone who's spent time in the foreign missions.</dialogue> <character>KARRAS</character> <dialogue>I see, your excellency.</dialogue> <character>CARDINAL</character> <dialogue>Let's see whose around. In the meantime I'll call you as soon as I know.</dialogue> <character>KARRAS</character> <dialogue>Thank you your excellency.</dialogue> <scene_description>Karras stands up and kisses the Cardinal 's hand .</scene_description> </scene> <scene> <stage_direction>INTERIOR GEORGETOWN UNIVERSITY PRESIDENT'S OFFICE- DAY</stage_direction> <character>PRESIDENT</character> <dialogue>Well, he does know the background. I doubt there's any danger in just having him assist. There should be a psychiatrist present, anyway.</dialogue> <character>CARDINAL</character> <dialogue>And what about the exorcist? Any ideas?</dialogue> <character>PRESIDENT</character> <dialogue>How about Lankaster Merrin.</dialogue> <character>CARDINAL</character> <dialogue>Merrin? I had notion he was over in Iraq. I think I read he was working on a dig around Nineveh.</dialogue> <character>PRESIDENT</character> <dialogue>That's right Mike. But he's finished and came back around three ot four months ago, He's in Woodstock now.</dialogue> <character>CARDINAL</character> <dialogue>What's he doing there? Teaching?</dialogue> <character>PRESIDENT</character> <dialogue>No, he's working on another book.</dialogue> <character>CARDINAL</character> <dialogue>Do n't you think he's too old, though? How's his health?</dialogue> <character>PRESIDENT</character> <dialogue>It must be alright. He's still running around digging up tombs. Besides, he's had experience.</dialogue> <character>CARDINAL</character> <dialogue>I did n't know that.</dialogue> <character>PRESIDENT</character> <dialogue>Ten maybe twelve years ago, in Africa. The exorcism supposedly lasted for months. I heard it damn near killed him.</dialogue> </scene> <scene> <stage_direction>EXTERIOR PROSPECT STREET- MACNEIL HOUSE- NIGHT</stage_direction> <scene_description>A cab pulls up to the house in long shot . Out of the cab steps a tall , old priest , carrying a battered valise . A hat obscures his face . As the cab pulls away , the priest stands rooted in the mist , staring up at the second floor window like a melancholy traveler frozen in time .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- FRONT DOOR- NIGHT</stage_direction> <scene_description>Chris opens the door , disclosing the priest , face still shaded by the hat , and Roman collar by coat buttoned at the top .</scene_description> <character>MERRIN</character> <dialogue>Mrs. MacNeil?</dialogue> <character>CHRIS</character> <dialogue>Yes.</dialogue> <character>MERRIN</character> <dialogue>I'm Father Merrin.</dialogue> <character>CHRIS</character> <dialogue>Come in.</dialogue> <scene_description>Merrin takes off his hat and coat .</scene_description> <character>MERRIN</character> <dialogue>Is Father Karras here?</dialogue> <scene_description>Karras enters the foyer . Chris takes Merrin 's hat and coat .</scene_description> <character>CHRIS</character> <dialogue>Yes. He's already here.</dialogue> <character>KARRAS</character> <dialogue>Father?</dialogue> <scene_description>Merrin walks over to greet Karras .</scene_description> <character>MERRIN</character> <dialogue>Father Karras.</dialogue> <scene_description>They shake hands .</scene_description> <character>KARRAS</character> <dialogue>It's an honour to meet you Father.</dialogue> <scene_description>They both look up as the scream of the demon , booming , amplifying , comes from Regan 's room .</scene_description> <character>REGAN/DEMON</character> <dialogue>MERRIN!</dialogue> <character>MERRIN</character> <dialogue>Are you tired?</dialogue> <character>KARRAS</character> <dialogue>No.</dialogue> <character>MERRIN</character> <dialogue>I would like you to go quickly over to the resdence Damien, and gather up a cassock for myself, two surplices, a purple stole, and some holy water, and your copy of The Roman Ritual. The Large one. I believe we should begin.</dialogue> <character>KARRAS</character> <dialogue>Do you want to hear the background of the case, first?</dialogue> <character>MERRIN</character> <dialogue>Why?</dialogue> </scene> <scene> <stage_direction>EXTERIOR UNIVERSITY STEPS-NIGHT</stage_direction> <scene_description>Karras is running down the steps carrying a the cassocks and a large case .</scene_description> <character>MERRIN</character> <parenthetical>( Voice Over . )</parenthetical> <dialogue>Especially important is the warning to avoid conversation with the demon.</dialogue> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- STUDY- NIGHT</stage_direction> <scene_description>Karras and Merrin are dressing in vestments taken from the case .</scene_description> <character>MERRIN</character> <dialogue>We may ask what is relevant, but anything beyond that is dangerous. He is a liar, the demon is a liar. He will lie to confuse us. But he will also mix lies with the truth to attack us. The attack is psychological, Damien. And powerful. So do n't listen, remember that, do not listen.</dialogue> <character>KARRAS</character> <dialogue>I think it would be helpful if I gave you some background on the different personalities Regan has manifested. So far, there seems to be three. She's convinced -</dialogue> <character>MERRIN</character> <dialogue>There's only one.</dialogue> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- SECOND FLOOR LANDING- NIGHT</stage_direction> <scene_description>Merrin and Karras , fully vested , Roman Rituals in hand , slowly ascend the stairs in single file . We can hear the demon making horrible , growling noises in the room . The priests approach Chris and Sharon , bundled in sweaters . The priests halt , and look at Chris .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM- NIGHT</stage_direction> <scene_description>Merrin opens the door and sees Regan staring at him with burning eyes . Merrin steps into the room follwed by Karras . Karras closes the door on Chris before she walks in . Merrin walks to the side of the bed and Karras halts at the foot . -LRB- the room is freezing . Breath is condensing throughout -RRB- . Merrin lays his holy water on the bedside table , takes a crucifix out of a leather case . He then traces the sign of the cross at Regan . She looks up .</scene_description> <character>REGAN/DEMON</character> <dialogue>Stick your cock up her ass! You mother fucking, worthless cocksucker!</dialogue> <character>MERRIN</character> <dialogue>Be silent!</dialogue> <scene_description>Merrin sprinkles some holy water on her . She throws her head back and crys in pain . Merrin leans down beside her and opens up The Roman Ritual .</scene_description> <character>MERRIN</character> <dialogue>Our Father who art in heaven.</dialogue> <scene_description>Regan spits and hits Merrin in the eye with a yellowish glob of mucus that slowly oozes down his cheek . Karras quickly hides behind the bed post as Merrin pulls out a handkerchief and unhurriedly wipes away the spittle :</scene_description> <character>MERRIN</character> <dialogue>Hallowed be thy name. Thy kingdom come, thy will be done, on earth as it is in heaven. Give us this day, our daily bread, and forgive us our trespasses, as we forgive those who trespass against us. And lead us not into temptation.</dialogue> <character>KARRAS</character> <dialogue>But deliver us from the evil one.</dialogue> <scene_description>Regan is coughing and groaning as the two priests continue with the ritual .</scene_description> <character>MERRIN</character> <dialogue>Save me o' God by thy name, by thy might defend my cause, proud men have risen up against me, men of violence seek my life, but God is my helper, the Lord sustains my life and every need he has delivered to me, glory be to the Father, the Son and the Holy Spirit.</dialogue> <character>KARRAS</character> <dialogue>As it was in the begin is now and ever shall be, world without end, amen.</dialogue> <character>MERRIN</character> <dialogue>Save your servant</dialogue> <character>KARRAS</character> <dialogue>Who places her trust in thee, my God.</dialogue> <character>MERRIN</character> <dialogue>Be unto her o' Lord a fortified tower.</dialogue> <character>KARRAS</character> <dialogue>In the face of the enemy.</dialogue> <scene_description>Regan raises her head and screams at Merrin several times .</scene_description> <character>MERRIN</character> <dialogue>Let the enemy have no power over her.</dialogue> <character>KARRAS</character> <dialogue>And the son of iniquity be powerless to harm her.</dialogue> <character>REGAN/DEMON</character> <dialogue>Your mother sucks cocks in hell Karras, you faithless slime!</dialogue> <character>MERRIN</character> <dialogue>O'Lord hear my prey.</dialogue> <character>KARRAS</character> <dialogue>And let my cry come unto thee.</dialogue> <character>MERRIN</character> <dialogue>The Lord be with you.</dialogue> <character>KARRAS</character> <dialogue>And also with you.</dialogue> <character>MERRIN</character> <dialogue>Let us pray. Holy Lord, almighty Father, everlasting God and Father of our Lord Jesus Christ, who once and for all consigned that fallen tyrant to the flames of hell. Who sent your only begotten son into the world to crush that roaring lion.</dialogue> <scene_description>Regans bed begins to jump up and down , crashing onto the floor . Regan continues to scream at the two priests .</scene_description> <character>MERRIN</character> <dialogue>Hasten to our call for help and snatch from ruination and from the clutches of the noonday devil, this human being made in your image and likeness. Strike terror Lord, into the beast, now laying waste your vineyard, let your mighty hand cast him out of your servant, Regan Teresa MacNeil, so he may no longer hold captive this person, whom it pleased you to make in your image.</dialogue> <scene_description>Merrin sprinkles more holy water on Regan . She falls back crying in pain .</scene_description> <character>MERRIN</character> <dialogue>and to redeem through your son. Who lives and reigns with you, in the unity of the holy spirit, God forever and ever.</dialogue> <character>KARRAS</character> <dialogue>Amen</dialogue> <character>MERRIN</character> <dialogue>O'Lord hear my preyer.</dialogue> <scene_description>To Karras ' amazement the bed begins to rise . Merrin waits for Damien 's reponse , but Karras is frozen with shock as the bed rises past his face .</scene_description> <character>MERRIN</character> <dialogue>Father Karras? Father Karras? Damien? The reponse please Damien!</dialogue> <character>KARRAS</character> <dialogue>And let my cry come unto thee.</dialogue> <scene_description>The bed crashes back to the floor . Regan still screams and writhes in pain .</scene_description> <character>MERRIN</character> <dialogue>Almighty Lord, word of God the father Jesus Christ, God and Lord of all creation, who gave to your holy apostle the power to tramp underfoot serpents and scorpions. Grant me, your unworthy servant pardon for all my sins.</dialogue> <character>REGAN/DEMON</character> <dialogue>Bastards! Stop!</dialogue> <scene_description>Regan stares at Father Karras and snakes her abnormaly long tongue in and out at him .</scene_description> <character>MERRIN</character> <dialogue>and the power to confront this cruel demon.</dialogue> <character>KARRAS</character> <dialogue>Amen</dialogue> <scene_description>Regan falls back on her pillow and begins to groan . Both priests trace the sign of the cross . Merrin holds his purple stole to Regan 's cheek as green vomit slowly oozes from her mouth . Regan turns her head and vomits on the stole .</scene_description> <character>MERRIN</character> <dialogue>See the cross of the Lord. Be gone you hostile power. O'Lord hear my prayer.</dialogue> <character>KARRAS</character> <dialogue>And let my cry come unto thee.</dialogue> <character>MERRIN</character> <dialogue>The Lord be with you.</dialogue> <character>KARRAS</character> <dialogue>And also with you.</dialogue> <scene_description>Merrin takes the bile covered stole from around his neck and hands it to Karras who quickly washes it in Regan 's bathroom . We hear banging , as cupboard doors open against the wall . Regan is flat on her back laughing wickedly . Merrin holds his hands to his ears because of the noise . Karras hands the stole back to Merrin , who kisses it before applying around his neck . Regan continues to laugh as Merrin begins to cough violently .</scene_description> <character>MERRIN</character> <dialogue>I cast you out! Unclean spirit!</dialogue> <character>REGAN/DEMON</character> <dialogue>Shove it up your ass you faggot!</dialogue> <character>MERRIN</character> <dialogue>in the name of the Lord Jesus Christ! It is he who commands you! He who flung you from the heights of Heaven to the depths of hell!</dialogue> <character>REGAN/DEMON</character> <dialogue>Fuck him!</dialogue> <character>MERRIN</character> <dialogue>Be gone!</dialogue> <character>REGAN/DEMON</character> <dialogue>Fuck him Karras! Fuck him!</dialogue> <character>MERRIN</character> <dialogue>from this creature of God!</dialogue> <scene_description>Regan lays back as Merrin races to her bedside tracing the sign of the cross with his fingers in her hair .</scene_description> <character>MERRIN</character> <dialogue>Be gone! In the name of the Father, and of the son, and of the holy spirit! By this sign of the holy cross, of our Lord Jesus Christ, who lives and reigns with the father and the holy spirit.</dialogue> <scene_description>Regan sits up and with a nightmare slowness , a fraction at a time , her head begins to turn , swiveling like a mannequin 's and creaking with the sound of a rusted mechanism . Once again Damien 's attention is diverted and Merrin has to prompt him .</scene_description> <character>MERRIN</character> <dialogue>Damien!</dialogue> <scene_description>Her head completly turns in a 360 - degree turn and stares at Karras .</scene_description> <character>KARRAS</character> <dialogue>Amen.</dialogue> <character>MERRIN</character> <dialogue>Defender of the human race.</dialogue> <scene_description>A thunderous earthquake knock both priests to the ground .</scene_description> <character>MERRIN</character> <dialogue>look down in pity.</dialogue> <character>REGAN/DEMON</character> <dialogue>You killed your mother! You left her alone to die! She'll never forgive you! Bastard!</dialogue> <character>KARRAS</character> <dialogue>Shut up!</dialogue> <character>MERRIN</character> <dialogue>upon this your servant, Regan Teresa MacNeil.</dialogue> <scene_description>Another quake knocks them to the ground . Regan falls back , the bed sheets fly off of the bed and the straps slowly rip apart . Regan 's eyes roll back into the socket and she slowly starts to levitate .</scene_description> <character>MERRIN</character> <dialogue>I command you by the judge of the living and the dead, to depart from this servant of God.</dialogue> <scene_description>Regan is now levitating toward the celing , arms out stretched like a cross .</scene_description> <character>MERRIN</character> <dialogue>It's the power!</dialogue> <parenthetical>( To Karras . )</parenthetical> <dialogue>- Holy water.</dialogue> <scene_description>Karras runs to the bedside table and grabs the bottle of holy water , he runs back and gives it to Merrin .</scene_description> <character>MERRIN</character> <dialogue>It's the power of Christ, that compels you.</dialogue> <scene_description>MERRIN + KARRAS The power of Christ compels you . Merrin sprinkles holy water . MERRIN + KARRAS The power of Christ compels you . Merrin sprinkles holy water and we see a cut appear on her skin . MERRIN + KARRAS The power of Christ compels you . The power of Christ compels you . The power of Christ compels you . The power of Christ compels you . Regan begins to descend . MERRIN + KARRAS The power of Christ compels you . The power of Christ compels you . The power of Christ compels you . The power of Christ compels you . The power of Christ compels you . The power of Christ compels you . The power of Christ compels you . Regan lands back on the bed once more . MERRIN + KARRAS The power of Christ compels you . Karras rushes to the bed and ties her hands together to symbolize the cross .</scene_description> <character>MERRIN</character> <dialogue>He brought you low by his bloodstained cross! Do not despise my command because you no me to be a sinner. It's God himself who commands you! The majestic Christ who commands! God the Father commands you! God the son commands you!</dialogue> <scene_description>As Karras turns away , Regan raises her tied hands and deals him a powerful blow on the back of his head . He falls to the floor .</scene_description> <character>MERRIN</character> <dialogue>God the holy spirit commands you!</dialogue> <scene_description>Merrin sprinkles more holy water on Regan , she falls back and screams in pain .</scene_description> <character>MERRIN</character> <dialogue>The mystery of the cross commands you! The blood of the martyrs commands you!</dialogue> <scene_description>The priests are again knocked to the floor by an earthquake . Briefly Regan lifts herself toward an apparition of the demon statue Pazuzu .</scene_description> <character>MERRIN</character> <dialogue>Give way to Christ, you prince of murderers. You're guilty, before Almighty God, guilty before his son, guilty before the whole human race. It's the Lord who expels you. He who is coming to judge both the living and the dead and the world by fire.</dialogue> <scene_description>As Merrin kneels by the bed , Karras crawls over and covers Regan with a blanket .</scene_description> <character>MERRIN</character> <dialogue>Are you tired?</dialogue> <scene_description>Karras nods .</scene_description> <character>MERRIN</character> <dialogue>Let's rest before we start again.</dialogue> <scene_description>Merrin leaves the room , but Karras stays sat on the bed , shivering with both coldness and fear . Regan is asleep .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- SECOND FLOOR HALLWAY- STAIRS- NIGHT</stage_direction> <scene_description>An exhausted Merrin and Karras are sitting in the hallway , on the stairs , outside the bathroom .</scene_description> <character>KARRAS</character> <dialogue>Why this girl it makes no sense?</dialogue> <character>MERRIN</character> <dialogue>I think the point is to make us dispair. To see our selves as. animal and ugly. To reject the possibillity that God could love us.</dialogue> <character>MERRIN</character> <dialogue>Will you excuse me, Damien?</dialogue> <scene_description>Merrin rises and moves toward the bathroom .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- BATHROOM- NIGHT</stage_direction> <scene_description>Merrin sits on the toilet and takes out his pilbox . He extracts a nitorglycerin tablet and places it under his tongue . He is shaking with fear as he holds his head with exhaustion .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- SECOND FLOOR HALLWAY- NIGHT</stage_direction> <scene_description>Karras moves back toward the bedroom and enters .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM- NIGHT</stage_direction> <scene_description>Karras is shocked to see an instant apparition of his mother , laying on the bed in place of Regan . It vanishes . He moves toward Regan , who is shivering and drenched with sweat .</scene_description> <character>REGAN/MRS. KARRAS</character> <dialogue>KARRAS says. Dimmy, why you did this to me?</dialogue> <scene_description>Karras gets out a stehoscope and places it on Regan 's chest .</scene_description> <character>REGAN/MRS. KARRAS</character> <dialogue>KARRAS says. Please Dimmy, I'm affraid.</dialogue> <character>KARRAS</character> <dialogue>You're not my mother.</dialogue> <character>REGAN/MRS. KARRAS</character> <dialogue>KARRAS says. Dimmy please!</dialogue> <scene_description>Merrin re - enters the room .</scene_description> <character>MERRIN</character> <dialogue>What is it?</dialogue> <character>KARRAS</character> <dialogue>Her heart.</dialogue> <character>MERRIN</character> <dialogue>Can you give her something?</dialogue> <character>KARRAS</character> <dialogue>She'll go into coma.</dialogue> <scene_description>Regan , in the voice of Karras ' mother , speaks a few pleading phrases in Greek to Karras .</scene_description> <character>KARRAS</character> <parenthetical>( shouting . )</parenthetical> <dialogue>You're not my mother!</dialogue> <character>MERRIN</character> <dialogue>Do n't listen.</dialogue> <character>REGAN/MRS. KARRAS</character> <dialogue>KARRAS says. Why, Dimmy?</dialogue> <scene_description>Damien breaks into convulsive sobbing .</scene_description> <character>MERRIN</character> <dialogue>Damien.</dialogue> <character>REGAN/MRS. KARRAS</character> <dialogue>KARRAS says. Dimmy, please!</dialogue> <character>MERRIN</character> <dialogue>Damien! Get out!</dialogue> <scene_description>Damien arises from the bed . Merrin leads him out , and then re - enters the room himself . He sprinkles some holy water on Regan and kneels at her side . He holds her hand tightly .</scene_description> <character>MERRIN</character> <dialogue>Our Father, who art in heaven.</dialogue> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- FOYER- NIGHT</stage_direction> <scene_description>Downstairs Karras sits brooding as Chris enters .</scene_description> <character>CHRIS</character> <dialogue>Is it over?</dialogue> <scene_description>Karras shakes his head negatively .</scene_description> <character>CHRIS</character> <dialogue>Is she gon na die?</dialogue> <character>KARRAS</character> <parenthetical>( firmly . )</parenthetical> <dialogue>No.</dialogue> <scene_description>He rises and starts ascending the stairs with renewed conviction . The doorbell rings and Chris moves toward the door . Before opening she applies the chain lock on . She opens the door slowly and we see Kinderman staring at her from the gap .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- REGAN'S BEDROOM- NIGHT</stage_direction> <scene_description>Karras re - enters Regan 's room and sees Merrin face down on her bed . Regan is sitting up against the bottom right hand bed post as Karras pulls Merrin to the floor . Karras feels for Merrin 's pulse , then tries frantically to pump life back into the priest with blows to his chest , but gives up when he realises Merrin is dead . He hears a giggle and turns to Regan .</scene_description> <character>KARRAS</character> <dialogue>You son of a bitch!</dialogue> <scene_description>He grabs her and pulls her to the floor . He begins to punch her in the face and head , then shakes her and nearly strangles her in his fury .</scene_description> <character>KARRAS</character> <dialogue>Take me! Come into me! God damn you! Take me! Take me!</dialogue> <scene_description>A gargantuan struggle is visible in the demonic features of Regan 's face . His face has taken on a demonic shade , and his eyes have turned bright green . She screams out as Karras ' body jerks back , apparently manipulated by some inner force , which now reaches toward Regan to strangle her . Karras fights the force for control of his body , and he screams , compelling it toward the window .</scene_description> <character>KARRAS</character> <dialogue>No!</dialogue> <scene_description>With his last angiushed cry , Karras leaps out of the window . We see him roll down the concrete steps outside and hit the floor at the bottom . His cry was immediatly followed by frightened sobs and whimpers that are unmstakably those of an ordinary little girl .</scene_description> <character>REGAN</character> <parenthetical>( crying . )</parenthetical> <dialogue>Mother. Mother. Mother. Mother.</dialogue> <scene_description>Chris rushes in and pauses to make sure that it 's really Regan again . She 's follwed in by Kinderman .</scene_description> <character>CHRIS</character> <dialogue>Rags?</dialogue> <scene_description>She dashes over to where her daughter is cowering on the floor . She flings herself down on top of Regan , cradling her and crying in hysterical relief , as Kinderman looks at Karras ' body from the window , looks at Merrin 's dead body on the floor and then looks at Chris and Regan .</scene_description> </scene> <scene> <stage_direction>EXTERIOR M-STREET- STEPS- NIGHT</stage_direction> <scene_description>A crowd is gathering at the scene of an accident . Their attentionis focused by a man lying in a pool of blood on the pavement at the foot of the steps under Regan 's window .</scene_description> <character>BYSTANDER</character> <dialogue>Somebody fell at the bottom of the steps here!</dialogue> <scene_description>Father Dyer pushes through the crowd and kneels beside Karras . Fighting back tears , he grasps Karras ' hand and leans close to whisper in his ear .</scene_description> <character>FATHER DYER</character> <dialogue>Do you want to make your confession? Are you sorry -.</dialogue> <parenthetical>( his voice catches . )</parenthetical> <dialogue>Are you sorry for having offended God, with all the sins of your past life?</dialogue> <parenthetical>( he breaks down for a moment , then starts administiring the last rites . )</parenthetical> <dialogue>Ego to abslovo in nomine patris, et filli, et spiritus sancti. Amen.</dialogue> <scene_description>As a wailling siren signals the approach of an ambulance , Dyer weeps openly .</scene_description> </scene> <scene> <stage_direction>EXTERIOR PROSPECT STREET- TOP OF STEPS- DAY</stage_direction> <scene_description>On a bright , sunny day , we are looking down the steps which are now clean . No blood , or body at the bottom .</scene_description> </scene> <scene> <stage_direction>INTERIOR MACNEIL HOUSE- DINING ROOM- DAY</stage_direction> <scene_description>Sharon and Chris are briskly packing up last minute items before moving out .</scene_description> <character>SHARON</character> <dialogue>Where do you want this?</dialogue> <character>CHRIS</character> <dialogue>What is it?</dialogue> <character>SHARON</character> <dialogue>Phonograph.</dialogue> <character>CHRIS</character> <dialogue>Storage.</dialogue> <scene_description>Sharon puts in in one of the large cardboard boxes that are standing about .</scene_description> <character>CHRIS</character> <dialogue>I'm gon na miss you.</dialogue> <character>SHARON</character> <dialogue>Me too.</dialogue> <character>CHRIS</character> <dialogue>Sure you wo n't change your mind?</dialogue> <scene_description>Sharon shakes her head . She reaches into her pocket and hands Chris the St. Joseph medal .</scene_description> <character>SHARON</character> <dialogue>I found this in her room.</dialogue> <scene_description>Chris puts in her pocket .</scene_description> <character>SHARON</character> <dialogue>That's everything.</dialogue> <scene_description>Chris hugs her . She pulls away and walks to the foot of the stairs .</scene_description> <character>CHRIS</character> <dialogue>Regan! C'mon honey we have to get going!</dialogue> </scene> <scene> <stage_direction>EXTERIOR MACNEIL HOUSE- PROSPECT STREET- DAY</stage_direction> <scene_description>We see Karl is loading the car with cases . Father Dyer is standing outside the gates . Chris exits the house and Dyer moves toward her .</scene_description> <character>CHRIS</character> <dialogue>She does n't remeber a thing.</dialogue> <character>FATHER DYER</character> <dialogue>That's good.</dialogue> <scene_description>Regan exits the house and walks to Chris .</scene_description> <character>REGAN</character> <dialogue>All done.</dialogue> <character>CHRIS</character> <dialogue>Honey this is Father Dyer.</dialogue> <character>REGAN</character> <dialogue>Hi Father.</dialogue> <character>DYER</character> <dialogue>Hello.</dialogue> <character>KARL</character> <dialogue>Ready Mrs.</dialogue> <scene_description>Chris shakes Father Dyer 's hand .</scene_description> <character>CHRIS</character> <dialogue>Goodbye Father. I call you.</dialogue> <character>FATHER DYER</character> <dialogue>Okay.</dialogue> <scene_description>Chris gets into the car , but Regan stands staring at Dyer 's collar . She leans forward and kisses Father Dyer on the cheek . Not sure of what she has done , she retreats to the car . The car drives out to the street and Father Dyer waves goodbye . Father Dyer walks out and Willie closes the gates .</scene_description> <character>FATHER DYER</character> <dialogue>Goodbye.</dialogue> <character>WILLIE</character> <dialogue>Good bye Father.</dialogue> <character>FATHER DYER</character> <dialogue>I hope to see you again soon,</dialogue> <character>WILLIE</character> <dialogue>I hope so too.</dialogue> <scene_description>The car stops and we hear Chris call .</scene_description> <character>CHRIS</character> <dialogue>Father Dyer?</dialogue> <scene_description>Dyer rushes to the car .</scene_description> <character>CHRIS</character> <dialogue>I thought you'd like to keep this.</dialogue> <scene_description>She hands him Karras ' St. Joseph medal . Dyer clutches it tightly . The car drives on , and Dyer watches it drive off . Dyer walks down toward the top of the M Street Steps . He looks down them and frowns , we see Regan 's window in the background , boarded up . Dyer then turns away and walks back to Prospect Street . As he turns the corner he sees Kinderman standing outside the house .</scene_description> <character>FATHER DYER</character> <dialogue>Lieutenant?</dialogue> <character>KINDERMAN</character> <dialogue>I came to say goodbye.</dialogue> <character>FATHER DYER</character> <dialogue>You just missed them.</dialogue> <character>KINDERMAN</character> <dialogue>How's the girl?</dialogue> <character>FATHER DYER</character> <dialogue>She seemed fine.</dialogue> <character>KINDERMAN</character> <dialogue>Ah, that's good. That's all that's important. Back to business. Back to work. Bye now, Father.</dialogue> <character>FATHER DYER</character> <dialogue>Good bye.</dialogue> <scene_description>They both walk their separate ways . Kinderman stops .</scene_description> <character>KINDERMAN</character> <dialogue>Father Dyer?</dialogue> <scene_description>Dyer turns back to him .</scene_description> <character>KINDERMAN</character> <dialogue>Do you like films?</dialogue> <character>FATHER DYER</character> <dialogue>Sure.</dialogue> <character>KINDERMAN</character> <dialogue>I get passes. In fact I got a pass for The Crest tomorrow night. Would you like to go?</dialogue> <character>FATHER DYER</character> <dialogue>What's playing.</dialogue> <character>KINDERMAN</character> <dialogue>Withering Heights.</dialogue> <character>FATHER DYER</character> <dialogue>Who's in it?</dialogue> <character>KINDERMAN</character> <dialogue>Heathcliff, Jackie Gleason, and in the role of Catherine Earnshaw, Lucille Ball.</dialogue> <character>FATHER DYER</character> <dialogue>I've seen it.</dialogue> <character>KINDERMAN</character> <dialogue>Another one. Had your lunch?</dialogue> <character>FATHER DYER</character> <dialogue>No.</dialogue> <scene_description>Kinderman loops his arm around Dyer 's . They start to walk off .</scene_description> <character>KINDERMAN</character> <dialogue>I'm reminded of a line in the film Casablanca. At the end Humphrey Bogart says to Claude Rains,'' Louie - I think this is the begining of a beautiful friendship.''</dialogue> <character>DYER</character> <dialogue>You know you look a bit like Bogart.</dialogue> <character>KINDERMAN</character> <dialogue>You noticed.</dialogue> <scene_description>We fade out as Tubular Bells starts to play . FADE TO BLACK The music changes to the loud Fantasia For Strings . THE EXORCIST</scene_description> </scene> </script>

Lankester Merrin, a veteran Catholic priest who performed an exorcism in the 1950s, is on an archaeological dig in the ancient city of Hatra in Iraq. There he finds an amulet that resemble Pazuzu, a demon of ancient origins with whose history Merrin is familiar. In Georgetown, actress Chris MacNeil is living on location with her 12-year-old daughter Regan; she is starring in a film about student activism directed by her friend and associate Burke Dennings. After playing with a Ouija board and contacting a supposedly imaginary friend whom she calls Captain Howdy, Regan begins acting strangely, including making mysterious noises, stealing, constantly using obscene language, and exhibiting abnormal strength. Chris hosts a party, during which Regan comes downstairs unannounced, tells one of the guests—an astronaut—that he will die ”up there” and then urinates on the floor. Later, Regan's bed begins to shake violently, further adding to her mother's horror. Chris consults a number of physicians, but Dr. Klein and his associates find nothing physiologically wrong with her daughter, despite Regan undergoing a battery of diagnostic tests. One night when Chris is out, Burke Dennings is babysitting a heavily sedated Regan. Chris returns to hear that he has died falling out of the window. Although this is assumed to have been an accident given Burke's history of heavy drinking, his death is investigated by Lieutenant William Kinderman. Kinderman interviews Chris. He also consults psychiatrist Father Damien Karras, recently shaken after the death of his frail mother. The doctors, thinking that Regan's aberrations are mostly psychological in origin, recommend an exorcism be performed, reasoning that believing oneself to be possessed can sometimes be cured by believing that exorcism works as well. Chris arranges a meeting with Karras. After Regan speaks backward, in different voices, and exhibits scars in the form of the words "Help Me" on her stomach, Karras is convinced that Regan is possessed. Believing her soul is in danger, he decides to perform an exorcism. The experienced Merrin is selected for performing the actual exorcism with Karras assisting. Both priests witness Regan perform a series of bizarre, vulgar acts. They attempt to exorcise the demon, but the stubborn entity toys with them, especially Karras. Karras shows weakness and is dismissed by Merrin, who attempts the exorcism alone. Karras enters the room later and discovers Merrin has died of a heart attack. After failing to revive Merrin, the enraged Karras confronts the mocking, laughing spirit, and wrestles Regan's body to the ground. At Karras' invitation, it leaves Regan's body and possesses Karras. In a moment of self-sacrifice, Karras throws himself out of the window before he can be compelled to harm Regan, thus killing himself. Father Dyer, an old friend of Karras, happens upon the scene and administers the last rites to his friend. A few days later, Regan, now back to her normal self, prepares to leave for Los Angeles with her mother. Although Regan has no apparent recollection of her possession, she is moved by the sight of Dyer's clerical collar to kiss him on the cheek. Kinderman, who narrowly misses their departure, befriends Father Dyer as he investigates Karras' death.

The Hangover_2009

tt1119646

<script> <scene> <stage_direction>EXT. BEL AIR BAY CLUB -- PACIFIC PALISADES, CA -- MORNING</stage_direction> <scene_description>It 's a beautiful spring morning in the Palisades . High atop the cliffs , looking out over the Pacific Ocean , sits the exclusive BEL AIR BAY CLUB . Workers bustle about the lawn , setting up a high - end wedding . A STRING QUARTET warms up . A team of FLORISTS arrange centerpieces . CATERERS set the white linen tables .</scene_description> </scene> <scene> <stage_direction>INT. BRIDAL SUITE -- DAY</stage_direction> <scene_description>A simple , classic wedding dress hangs on a closet door in this sun - drenched bridal suite . Sitting at the makeup table , surrounded by her bridesmaids , is the beautiful bride , TRACY TURNER , 20 's . She 's busy doing her makeup . Just then , Tracy 's rich , stern FATHER , 50 's , blows in .</scene_description> <character>MR. TURNER</character> <dialogue>Any word from Doug?</dialogue> <scene_description>The way he spits out `` Doug '' tells us all we need to know about how Mr. Turner feels about his future son - in - law .</scene_description> <character>TRACY</character> <dialogue>No, but I'm sure he's -</dialogue> <scene_description>Just then , Tracy 's CELLPHONE rings . She quickly answers it .</scene_description> <character>TRACY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>EXT. MOJAVE DESERT -- MORNING</stage_direction> <scene_description>Heat - waves rise off the Mojave . Standing at a lone , dust - covered payphone in the middle of the desert is VICK LENNON He 's in his late 20 's , tall , rugged - and currently a mess . His shirt is ripped open , his aviator sunglasses are bent , his lip is bloodied , and he clearly has n't slept in days .</scene_description> <character>VICK</character> <dialogue>Tracy, it's Vick.</dialogue> <scene_description>Parked on the dirt road behind Vick is his near - totalled 1967 Cadillac Deville convertible ; it 's scratched , dented , filthy - and missing its passenger side door . Slouched inside are TWO OTHER GUYS , also looking like hell .</scene_description> <character>TRACY</character> <dialogue>Hey Vick!</dialogue> <character>VICK</character> <dialogue>Listen, honey. The bachelor party got a little out of control and, well. we lost Doug.</dialogue> <character>TRACY</character> <parenthetical>( her jaw dropping . )</parenthetical> <dialogue>What?! But we're getting married in like four hours!</dialogue> <scene_description>Vick squints at the rising sun .</scene_description> <character>VICK</character> <dialogue>Yeah, that's not gon na happen.</dialogue> <scene_description>TITLE OVER BLACK : 40 HOURS EARLIER</scene_description> </scene> <scene> <stage_direction>EXT. THE 10 FREEWAY -- DAY</stage_direction> <scene_description>The top down , The Who 's `` Baba O'Riley '' blasting from the stereo , Vick 's pristine Cadillac convertible rockets down Highway 10 towards Nevada . At the wheel is Vick , looking as sharp as his Caddy in a half - open shirt and mint condition aviators . Sitting shotgun is the groom , DOUG BILLINGS , late 20 's , handsome , barefoot , crunchy - an all around great guy . Behind Vick sits ALAN MERVISH , late 20 's , an anal tax attorney from Connecticut , his Izod shirt tucked into his khakis . He 's currently applying sun screen to his forehead . Next to Alan is STU PRYCE , late 20 's , former high school linebacker and lovably dimwitted father of two . He drums the back of the frontseat to the music , totally pumped , like this is his first time out of the house in years . Because it is .</scene_description> <character>STU</character> <dialogue>Dude this is already the best weekend ever!</dialogue> <character>VICK</character> <dialogue>Stu, relax, we're still on the 10.</dialogue> <character>STU</character> <dialogue>Oh, did I show you pictures of my kids?!</dialogue> <character>DOUG</character> <dialogue>No, dude, show ` em.</dialogue> <scene_description>Stu fishes pictures out of his wallet and eagerly shows them to Doug in the front seat . Doug is clearly the core of this group , the glue that holds these childhood friends together .</scene_description> <character>STU</character> <dialogue>Haylee is two, and Kaitlin is already four! Can you believe it?!</dialogue> <character>DOUG</character> <parenthetical>( smiling at photos . )</parenthetical> <dialogue>How cute. Good for you, man.</dialogue> <scene_description>Doug shows the photos to Vick ; he nods , impressed .</scene_description> <character>VICK</character> <dialogue>The one on the left is gon na be a hottie. The other one, not so much.</dialogue> <scene_description>Stu protectively snatches the photos back , muttering :</scene_description> <character>STU</character> <dialogue>Jesus, dude, those are my children -</dialogue> <character>ALAN</character> <parenthetical>( re : sunscreen . )</parenthetical> <dialogue>Hey, am I rubbed in?</dialogue> <scene_description>Stu glances over and sees un - rubbed - in sunscreen all over Alan 's face .</scene_description> <character>STU</character> <dialogue>Yeah, you're good.</dialogue> <character>DOUG</character> <dialogue>Hey so Alan, are you and Becky still together?</dialogue> <scene_description>But before Alan can answer -</scene_description> <character>VICK</character> <dialogue>Of course they are, Doug. Jesus, Alan's been dating Becky for 14 years. When they first met, Alan had braces and soccer hair, and Becky had a functioning hymen. Asking Alan if he's still with Becky is like asking the sun if it still rises in the east.</dialogue> <scene_description>The guys try not to laugh ; Alan scowls .</scene_description> <character>DOUG</character> <dialogue>She still pressuring you to get married?</dialogue> <character>ALAN</character> <dialogue>Enh, we've moved past the pressure stage. it's more like aggravated assault stage now? Like at the last wedding we went to, she threw a camera at my head, called me a closet fag, then ran out crying.</dialogue> <scene_description>The guys wince , oooo .</scene_description> <character>ALAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>But we talked, and everything's cool now.</dialogue> <character>STU</character> <dialogue>Maybe you could wear a helmet to Doug's wedding.</dialogue> <character>ALAN</character> <dialogue>Great idea, Stu. Thanks.</dialogue> <character>DOUG</character> <parenthetical>( LAUGHING . )</parenthetical> <dialogue>So Vick, how's business going?</dialogue> <character>VICK</character> <dialogue>Oh, great. Yeah, I'm working on bringing the next big dessert craze to Los Angeles. It's gon na be huge.</dialogue> <character>DOUG</character> <dialogue>What is it?</dialogue> <character>VICK</character> <dialogue>Bavarian custard. We ran the numbers, and it's gon na be bigger than fro yo.</dialogue> <scene_description>Doug and Stu nod , impressed ; only Alan looks skeptical .</scene_description> <character>ALAN</character> <dialogue>Is n't custard like a trillion calories -?</dialogue> <character>VICK</character> <dialogue>Our plan is to open three stores in the Valley and then franchise it. Shares are selling fast, but I can probably squeeze you guys in.</dialogue> <character>DOUG</character> <dialogue>Yeah, man, count me in.</dialogue> <character>STU</character> <dialogue>Me too, man! I love pudding!</dialogue> <scene_description>Alan just shakes his head , unbelievable .</scene_description> <character>ALAN</character> <dialogue>Is this gon na do better than the hip - hop label you started, Vick? Or the topless sushi bar? Or the mobile tattoo parlor -?</dialogue> <character>VICK</character> <dialogue>Tattoo - To - You was an idea ahead of it's time, Alan! And do n't come crying to me when there's a Custard Cabana on every street corner in America and you did n't buy in -!</dialogue> <character>DOUG</character> <parenthetical>( LAUGHING . )</parenthetical> <dialogue>All right, all right, save it for the party.</dialogue> <scene_description>Vick and Alan quiet . Stu is still drumming the seat .</scene_description> <character>STU</character> <dialogue>Dude! I ca n't believe I get to party all night, and then, tomorrow. I get to sleep in! It's almost too much! And FYI, if anyone gets really drunk and craps themself, just let me know, I can have you cleaned up and partying again in under three minutes. No joke. I am a master of stool removal.</dialogue> <scene_description>They rocket off into the desert , LAUGHING . TITLE CARD : `` FRIDAY , 5:12 PM ''</scene_description> </scene> <scene> <stage_direction>EXT. LAS VEGAS -- MAGIC HOUR</stage_direction> <scene_description>As the last rays of sun fade , the Cadillac crests the final hill to reveal LAS VEGAS in all its illuminated splendor .</scene_description> </scene> <scene> <stage_direction>EXT. LAS VEGAS BLVD. -- SUNSET</stage_direction> <scene_description>The Caddy rolls down the famed Strip . We are again reminded of the absurd scale of Las Vegas . The 5,000 room hotels , the eight lane roads , the 60 foot billboards .</scene_description> </scene> <scene> <stage_direction>EXT. MANDALAY BAY -- NIGHT</stage_direction> <scene_description>The Caddy rolls up to the Mandalay Bay . The guys hop out , exhilarated . Vick throws the key to the VALET .</scene_description> </scene> <scene> <stage_direction>INT. MANDALAY BAY -- NIGHT</stage_direction> <scene_description>The guys enter the glittering casino four men - wide , all smiling , all exuding vibe . Passing WOMEN sneak glances . Vick slides a drink off a nearby waitress 's tray as they make for THE FRONT DESK A perfectly pressed LEBANESE MAN waits behind the front desk . Vick strides up , smiling , sunglasses still on .</scene_description> <character>FRONT DESK MAN</character> <dialogue>Welcome to the Mandalay Bay.</dialogue> <character>VICK</character> <dialogue>Checking in. Lennon comma Victor.</dialogue> <scene_description>The man types into his computer .</scene_description> <character>FRONT DESK MAN</character> <dialogue>Yes, we have you down for a one night stay in an economy suite -</dialogue> <scene_description>Vick glances at the man 's nametag ; it reads `` ATASHIR . ''</scene_description> <character>VICK</character> <dialogue>Hold it right there, Atashir. This is my best friend from childhood, Douglas Billings. In two days, he is to marry a woman of great beauty and strong teeth, do you understand? A woman of gigantic bosoms who will give him many, many sons.</dialogue> <scene_description>Atashir looks confused . Alan looks embarrassed .</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>My two other childhood friends have travelled great distances, across many deserts, to be here. This is n't a night in a hotel for us, Atashir : this is a family reunion. Perhaps you too have family situated great distances away, in a foreign country with much sand?</dialogue> <scene_description>Atashir looks like , sort of ? Vick reaches over the counter and touches his arm , simpatico .</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Then I have but one question for you, friend : if they came to town, would you put them in an economy suite?</dialogue> <character>ATASHIR</character> <dialogue>No, sir.</dialogue> <character>VICK</character> <dialogue>Well, then. I think one of us needs to get back on his little computer and find us a suitable room.</dialogue> <scene_description>Atashir frowns . but types away at his computer .</scene_description> <character>ATASHIR</character> <dialogue>All the deluxe rooms are taken. The Dean Martin suite is available, but I'd have to ask my -</dialogue> <character>VICK</character> <dialogue>Dean - o will be fine. Send up a case of Cristal, two bottles of Patron, four ahi sandwiches, and a crate of skinless mangos.</dialogue> <scene_description>Vick turns to the guys :</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You guys want anything?</dialogue> <scene_description>The guys stammer , too stunned to speak .</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And have Jean - Marie cook up a dozen of those duck skewers I like so well. He knows the ones.</dialogue> <character>ATASHIR</character> <dialogue>And how would you like to pay?</dialogue> <character>VICK</character> <dialogue>American Express.</dialogue> <scene_description>Atashir looks up to accept the card . After a beat , Vick turns to Alan :</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Dude, give him your AmEx.</dialogue> <character>ALAN</character> <dialogue>What?</dialogue> <character>VICK</character> <dialogue>Do n't worry, we'll hit you later.</dialogue> <scene_description>Alan stammers .</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Dude, come on, I paid for gas. Stop being such a Jew.</dialogue> <scene_description>Alan stammers some more - then angrily pulls out his card .</scene_description> </scene> <scene> <stage_direction>INT. THE DEAN MARTIN SUITE -- NIGHT</stage_direction> <scene_description>The guys enter the room , jostling ; Stu has Doug in a headlock . Then they freeze : the Dean Martin Suite is massive , complete with lounge area , two flat screen TVs , full bar and multiple bedrooms . The guys just gape .</scene_description> <character>STU</character> <dialogue>This is bigger than my house.</dialogue> <scene_description>Vick blows past them , totally unfazed .</scene_description> <character>VICK</character> <dialogue>Get dressed, ladies. We're wheels up in ten.</dialogue> <scene_description>Stu and Doug race off to find their bedrooms , leaving Alan standing alone , just staring at the decadent suite .</scene_description> <character>ALAN</character> <dialogue>I am so not getting paid back.</dialogue> </scene> <scene> <stage_direction>INT. DEAN MARTIN SUITE -- MASTER BEDROOM -- NIGHT</stage_direction> <scene_description>Vick enters the bedroom , drops his bag , and starts changing his shirt - when his cell phone RINGS . He answers .</scene_description> <character>VICK</character> <dialogue>This is Vick.</dialogue> <scene_description>Vick listens - then grows a bit panicked :</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>He's in Vegas?! You're kidding me!</dialogue> <parenthetical>( WINCING . )</parenthetical> <dialogue>All right, I'll get it. All right. All right -!</dialogue> <scene_description>When Stu walks past , Vick turns away and covers the phone , trying to keep the call confidential :</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I said all right, dude! How many more times you want me to say all right?!</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>All right. All right.</dialogue> <scene_description>Vick hangs up , looking uncharacteristically stressed .</scene_description> </scene> <scene> <stage_direction>INT. THE DEAN MARTIN SUITE -- BATHROOM -- SAME</stage_direction> <scene_description>Doug brushes his teeth while , at the next sink over , Alan selects a facial wash from his highly organized toiletries kit and begins washing his face .</scene_description> <character>ALAN</character> <dialogue>So, you ready for Sunday?</dialogue> <character>DOUG</character> <dialogue>Yeah. I thought I'd be nervous, but I'm actually just really psyched.</dialogue> <scene_description>Alan nods , impressed .</scene_description> <character>ALAN</character> <dialogue>Tracy's dad still hate you?</dialogue> <character>DOUG</character> <dialogue>Oh yeah.</dialogue> <character>ALAN</character> <dialogue>Any closer to figuring out why?</dialogue> <character>DOUG</character> <dialogue>Enh, I think he wanted more for his girl. I mean, I'm a teacher who makes 45 grand a year, and he's a titan of industry who makes 45 grand a day, you know? I sort of get it.</dialogue> <parenthetical>( beat , brushing teeth . )</parenthetical> <dialogue>Also, I'm banging his daughter. I'm not sure you ever get past that.</dialogue> <scene_description>Alan smiles , yeah , there 's that . Doug spits out his paste .</scene_description> <character>DOUG</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You got floss?</dialogue> <scene_description>Alan gestures towards his toiletries kit . Doug picks it up , starts looking for the floss . Then Alan remembers something - but it 's too late . Doug has found the RING BOX inside Alan 's kit , and opened it to reveal a HUGE DIAMOND ENGAGEMENT RING .</scene_description> <character>DOUG</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Holy Christ!</dialogue> <scene_description>Alan quickly reaches for the ring -</scene_description> <character>ALAN</character> <dialogue>Ahhh yeah, I was n't going to tell anyone about that -</dialogue> <scene_description>Just then , Stu wanders in , wearing only his COLORADO STATE BOXER SHORTS . His gut is sizable .</scene_description> <character>STU</character> <dialogue>Anyone got any nipple lube -?</dialogue> <parenthetical>( seeing ring . )</parenthetical> <dialogue>Jesus would you look at the size of that thing?!</dialogue> <scene_description>Stu grabs the ring from Doug .</scene_description> <character>DOUG</character> <dialogue>It's Alan's. For Becky.</dialogue> <character>STU</character> <dialogue>Jesus, who made this thing? Diddy?</dialogue> <character>ALAN</character> <parenthetical>( clutching for ring . )</parenthetical> <dialogue>Actually, I - I was trying to keep it a secret, so -</dialogue> <scene_description>Just then Vick blows in , singing , effeminate :</scene_description> <character>VICK</character> <dialogue>Boy Party in the bathrooooom -!</dialogue> <parenthetical>( sees ring , snags it . )</parenthetical> <dialogue>Miner's cut, 2.6 Carats, slight pink tint, street value : 26, 27K.</dialogue> <scene_description>Vick studies it in the light . Alan just rubs his temples .</scene_description> <character>STU</character> <dialogue>Dude, it's for Becky! Alan's finally going to propose!</dialogue> <character>VICK</character> <dialogue>Well gosh - golly, Alan Mervish, good for you! Where'd you get the ring?</dialogue> <character>ALAN</character> <dialogue>Oh, it's a family heirloom. My grandmother smuggled it through the Holocaust, actually. I was going to propose to Beck this weekend.</dialogue> <scene_description>Doug throws his arm around Alan , happy for him .</scene_description> <character>DOUG</character> <dialogue>Well : now we have two things to celebrate!</dialogue> <scene_description>TITLE CARD : `` FRIDAY , 6:10 PM ''</scene_description> </scene> <scene> <stage_direction>EXT. MANDALAY BAY ROOFTOP -- NIGHT</stage_direction> <scene_description>The guys , dressed to the nines , open the steel rooftop door and file out onto the flat tar roof of the Mandalay Bay ; Vick is carrying a bottle of Patron and four hotel glasses . Bringing up the rear , Alan slides a wood block between the door and the frame so they are n't locked up here . The guys step out onto the dark , windy roof and take in the stunning panorama . the Strip . the mountains . the countless stars . It 's breathtaking .</scene_description> <character>STU</character> <dialogue>Thish is so great! I love you guys!</dialogue> <character>VICK</character> <dialogue>Check it out, Stu's already wasted.</dialogue> <scene_description>Vick starts refilling everyone 's glasses .</scene_description> <character>ALAN</character> <dialogue>We've only had two shots, man!</dialogue> <character>DOUG</character> <dialogue>Yeah, what happened, Stuey?! You used to be able to drink us all under the table!</dialogue> <character>STU</character> <dialogue>Dude, I'm a dad! I do n't have time to get plastered anymore! It blows!</dialogue> <parenthetical>( QUICKLY . )</parenthetical> <dialogue>Am I a bad dad for saying that?</dialogue> <character>DOUG</character> <dialogue>What? No!</dialogue> <character>STU</character> <dialogue>Because my dad was a bad dad.</dialogue> <character>DOUG</character> <parenthetical>( patting his shoulder . )</parenthetical> <dialogue>That's true, Stuey, but you're different. We've talked about this.</dialogue> <scene_description>Stu just stares at the guys , glassy - eyed . Beat .</scene_description> <character>STU</character> <dialogue>Have I showed you guys pictures of my kids yet -?</dialogue> <character>ALAN &amp; DOUG &amp; VICK</character> <dialogue>YES!</dialogue> <scene_description>Doug laughs and raises his glass for a toast , heartfelt :</scene_description> <character>DOUG</character> <dialogue>Little toast : to Tracy, the coolest, kindest, most beautiful woman I've ever met. I ca n't believe she let me come this weekend - much less agreed to spend the rest of her life with me. I think both will prove to be massive errors of judgement on her part.</dialogue> <scene_description>The guys chuckle , hear - hear .</scene_description> <character>DOUG</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And to being here, with my best friends in the world. There's nowhere else I'd rather be.</dialogue> <scene_description>The guys raise their glasses , touched .</scene_description> <character>DOUG</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That said, let's not get too stupid tonight, okay? I'm getting married in 36 hours.</dialogue> <character>ALAN &amp; STU &amp; VICK</character> <dialogue>No, no. / We'll be good. / Totally, dude.</dialogue> <scene_description>Doug lowers his glass , laughing , completely unconvinced .</scene_description> <character>DOUG</character> <dialogue>I'm serious, dudes! Nothing above the neck - no piercings, no weird haircuts, no facial tattoos. I got ta look decent on Sunday.</dialogue> <character>VICK</character> <dialogue>Jesus, what do you take us for?</dialogue> <character>DOUG</character> <dialogue>Vick : you shaved Alan's eyebrows off the night before graduation!</dialogue> <character>STU</character> <dialogue>Oh yeah! That was hilarious! And remember when I blacked out at Homecoming and you wrote on my face with permanent marker?! That was awesome! What'd you write again?</dialogue> <character>ALAN &amp; DOUG &amp; VICK</character> <dialogue>`` Respect me!''</dialogue> <scene_description>They all laugh . Stu throws his arm around Doug , nostalgic .</scene_description> <character>STU</character> <dialogue>Ahh, good times, man. Good times.</dialogue> <character>VICK</character> <dialogue>We'll be good tonight, Doug.</dialogue> <character>ALAN</character> <dialogue>Seriously, man, we're your friends.</dialogue> <character>STU</character> <dialogue>Yeah, we've totally grown up since then.</dialogue> <scene_description>Doug looks at them , highly dubious , then hoists his glass .</scene_description> <character>DOUG</character> <dialogue>Well then. to a night we'll never forget.</dialogue> <scene_description>They CLINK glasses , shoot their shots , and THE NEXT MORNING Shafts of white desert sunlight pour into THE DEAN MARTIN SUITE THE CAMERA follows a LIVE CHICKEN as it walks through the totalled suite . Furniture is broken , the minibar ransacked , and the floor is covered with remnants of the night before : empty beer cans , platefuls of room service food , a cowboy hat , the Gideon Bible , half - eaten skinless mangos , a bra , a battle axe , etc. . SNORING on the couch , wearing only his jeans and one shoe , the word ASSHOLE written in Sharpie across his chest , is Stu . TITLE CARD : `` SATURDAY , 11:15 AM '' The chicken struts across the top of the couch , until it reaches a plastic coin cup from Bellagio blocking its path . Beat . Then the chicken pecks it off . onto Stu . The cup hits Stu in the face , and stale beer splashes all over him . Stu spastically jerks awake and flips off the couch , onto a pile of newspapers .</scene_description> <character>PILE OF NEWSPAPERS</character> <dialogue>OWW! Get off! Get off! Jesus!</dialogue> <scene_description>Confused , Stu clambers off the pile of newspapers - to find Vick sleeping underneath , on the floor , fully dressed . Vick pulls himself onto the couch , clearly in pain .</scene_description> <character>VICK</character> <dialogue>Damn, dude, why are you retarded?</dialogue> <scene_description>Both men are ragingly hungover . A long beat as both of them rub their faces , then :</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Um, Stuey?</dialogue> <character>STU</character> <dialogue>Yo.</dialogue> <character>VICK</character> <dialogue>Why do you have a mullet?</dialogue> <scene_description>Stu does , in fact , have a mullet haircut . But he 's too hungover to understand .</scene_description> <character>STU</character> <dialogue>What?</dialogue> <character>VICK</character> <dialogue>You know, business on top, party down the back?</dialogue> <scene_description>Stu still looks confused . This is excruciating for Vick .</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Your hair, dude. You have a mullet.</dialogue> <scene_description>Stu touches his hair . Then he stumbles into the bathroom . After a beat , we hear his voice :</scene_description> <character>STU</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Dude. I have a mullet.</dialogue> <scene_description>Then we hear ALAN 'S VOICE in the bathroom , groggy :</scene_description> <character>ALAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Just give me ten more minutes, Beck.</dialogue> <character>STU</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Whoa, did you sleep in the tub?</dialogue> <scene_description>Beat , then Stu pokes his head out of the bathroom .</scene_description> <character>STU</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Check it out : Alan slept in the tub.</dialogue> <character>VICK</character> <dialogue>Get him up. I'm hungry.</dialogue> <scene_description>Stu disappears back into the bathroom . We hear the SHOWER turn on . Beat . Then we hear Alan slowly awaken :</scene_description> <character>ALAN</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Wet. Water. Jesus, what's -?!</dialogue> <scene_description>There 's a THUD as Alan falls out of tub . Beat . Then Stu and a very confused , very hungover , very wet Alan stumble out of the bathroom . Alan appears to be wearing his polo shirt from the night before . Only , as we PULL BACK , we see that his shirt is cut off at his chest - he 's naked from there down .</scene_description> <character>VICK</character> <dialogue>Jesus, dude, put away your sack.</dialogue> <scene_description>Alan looks down at his hairy nakedness , totally bewildered .</scene_description> <character>STU</character> <dialogue>Yeah, and it might be time for some manscaping, bro. Your bush looks like Yanni.</dialogue> <scene_description>Alan looks back up again , squinting , hungover .</scene_description> <character>ALAN</character> <dialogue>What did we do last night?</dialogue> </scene> <scene> <stage_direction>INT. HALLWAY -- MOMENTS LATER</stage_direction> <scene_description>The guys , now dressed , stagger out of their suite moments later . Stu walks incredibly bow - legged , like an aging cowboy .</scene_description> <character>STU</character> <dialogue>Dude, why is my ass killing me?</dialogue> </scene> <scene> <stage_direction>INT. ELEVATOR -- MOMENTS LATER</stage_direction> <scene_description>Looking like crap , the guys silently descend in the elevator . BING ! The elevator opens to expose a NICE - LOOKING COUPLE waiting to get on . They see the guys and immediately step away from the elevator .</scene_description> <character>MAN</character> <dialogue>We'll. we'll get the next one.</dialogue> <scene_description>The doors close . The guys continue to descend . Beat .</scene_description> <character>VICK</character> <dialogue>We might not smell very good.</dialogue> <scene_description>The guys shake their heads , yeah , no .</scene_description> </scene> <scene> <stage_direction>INT. MANDALAY BAY -- BREAKFAST BUFFET -- DAY</stage_direction> <scene_description>The guys slouch in a booth , shoveling masses of buffet food into their mouths , washing it down with huge mugs of coffee .</scene_description> <character>STU</character> <dialogue>This might be the worst hangover anyone has ever had, ever.</dialogue> <character>ALAN</character> <dialogue>I ca n't taste anything.</dialogue> <character>VICK</character> <dialogue>Please stop talking. If I do n't focus on eating I'm going to throw up all over myself.</dialogue> <scene_description>The guys nod , right . They keep eating . After a long while :</scene_description> <character>ALAN</character> <dialogue>Hey. Are we missing something?</dialogue> <scene_description>The guys all slowly look around . Then Stu points at Alan :</scene_description> <character>STU</character> <dialogue>Yes : I left my hat in the room - thank you, Alan.</dialogue> <scene_description>They continue eating . Alan looks up again , still troubled .</scene_description> <character>ALAN</character> <dialogue>No. That's not it. There's something else.</dialogue> <scene_description>Vick nods at Stu as he stuffs food in his mouth .</scene_description> <character>VICK</character> <dialogue>You gon na finish that cruller?</dialogue> <scene_description>Stu shakes his head , no . Vick takes it , packs it into his already stuffed mouth . Then Alan realizes :</scene_description> <character>ALAN</character> <dialogue>Doug. Guys, where's Doug?</dialogue> <scene_description>The guys look around . Hunh .</scene_description> <character>STU</character> <dialogue>Yeah. He's not here.</dialogue> <character>VICK</character> <dialogue>Probably left him in the room.</dialogue> <scene_description>Vick pulls out his cell phone , starts dialing .</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'll call his cell.</dialogue> <scene_description>Then a phone RINGS in Stu 's pocket . He answers :</scene_description> <character>STU</character> <dialogue>Good morning, this is Stu?</dialogue> <character>VICK</character> <dialogue>It's me, meatdick.</dialogue> <character>STU</character> <parenthetical>( to Alan , concerned . )</parenthetical> <dialogue>It's Vick -</dialogue> <scene_description>Then Stu realizes . Oh .</scene_description> <character>STU</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>This is Doug's phone.</dialogue> <scene_description>Vick nods , ya . He 's already dialing another number .</scene_description> <character>ALAN</character> <dialogue>You calling the room?</dialogue> <scene_description>Vick nods , uh - huh . He lets it ring , rubbing his temples . Then he hangs up .</scene_description> <character>VICK</character> <dialogue>No answer.</dialogue> <scene_description>Vick goes back to eating . Alan frowns .</scene_description> <character>ALAN</character> <dialogue>Ummm. should n't we look for him? Check - out is in like ten minutes.</dialogue> <character>STU</character> <dialogue>Yeah, and we told Tracy we'd have Doug back to LA by five.</dialogue> <scene_description>Vick just looks at both of them , his mouth full of food :</scene_description> <character>VICK</character> <dialogue>I'm eabing.</dialogue> <character>ALAN</character> <dialogue>What an asshole. Stu, check the pool and the casino, I'll check the room and the gym. Maybe he's working out or something.</dialogue> <scene_description>Stu nods , and they slowly slide out of the booth .</scene_description> <character>ALAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And Vick, if you could keep a close eye on the buffet, that'd be really helpful. Thanks, man.</dialogue> <scene_description>Alan and Stu saunter off . Vick yells after them , mouth full :</scene_description> <character>VICK</character> <dialogue>HE'S FIME! YOU'RE OBERWEACTING!</dialogue> <scene_description>Vick scowls , and angrily takes Alan 's last cruller .</scene_description> </scene> <scene> <stage_direction>INT. DEAN MARTIN SUITE -- MOMENTS LATER</stage_direction> <scene_description>Alan weaves through the totalled suite , half - awake .</scene_description> <character>ALAN</character> <dialogue>Doug? Doug? Wake up, man.</dialogue> <scene_description>Alan enters the bedroom where Doug slept , and stops . It takes him a second to realize what 's wrong : THE BED IS MISSING There are four indentations on the carpet where it once lay . Alan scratches his head .</scene_description> <character>ALAN</character> <dialogue>That's weird.</dialogue> </scene> <scene> <stage_direction>EXT. MANDALAY BAY -- POOL -- DAY</stage_direction> <scene_description>Stu , walking bow - legged , squinting painfully in the bright sun , tries to inspect everyone lying around the huge pool . Doug ? Doug ? Several HOT WOMEN in bikinis sit up , disgusted !</scene_description> <character>STU</character> <dialogue>No, no. It's cool, I'm a dad. It's totally cool.</dialogue> </scene> <scene> <stage_direction>INT. GYM -- DAY</stage_direction> <scene_description>Alan stumbles through the gym , looking for Doug . The place is packed with fit people , working out . Alan mumbles to himself :</scene_description> <character>ALAN</character> <dialogue>I hate you all.</dialogue> </scene> <scene> <stage_direction>INT. CASINO FLOOR -- NICKEL SLOTS</stage_direction> <scene_description>Stu wanders through the casino , calling out , incredibly loud :</scene_description> <character>STU</character> <dialogue>DOUG! DOUG!</dialogue> <scene_description>Two GAY MEN in identical tank tops pass by , holding hands .</scene_description> <character>GAY MAN</character> <dialogue>Hey Stu.</dialogue> <character>STU</character> <dialogue>Hey guys. DOUG! DOUG -!</dialogue> <scene_description>Then Stu registers what just happened . He stops and turns around - enh ? - but the gay men are gone . Before he can comment , however , he sees Vick and Alan talking to Atashir at THE RECEPTION DESK He slowly bow - legs himself over .</scene_description> <character>STU</character> <dialogue>You find Doug?</dialogue> <character>ALAN</character> <dialogue>No, I assume you did n't either?</dialogue> <scene_description>Stu shakes his head , no . Then Atashir hangs up his phone .</scene_description> <character>ATASHIR</character> <dialogue>There is no Doug Billings at any of the area hospitals, morgues, or police stations.</dialogue> <scene_description>The guys frown , starting to grow worried .</scene_description> <character>STU</character> <dialogue>Maybe he went for a jog?</dialogue> <character>ALAN</character> <dialogue>Dude. It's 120 degrees outside.</dialogue> <character>STU</character> <dialogue>Or shopping?</dialogue> <scene_description>The guys just look at him like : you 're an idiot .</scene_description> <character>ALAN</character> <dialogue>Great. So we've officially lost Doug. His wedding is in what, 22 hours?</dialogue> <character>VICK</character> <dialogue>Relax, it's Doug, he's probably crashed out on someone's couch right now. All we have to do is retrace our steps from last night, and we'll find him.</dialogue> <character>ALAN</character> <dialogue>Okay, so last night.</dialogue> <scene_description>The guys wince , trying to remember . It 's painful to think .</scene_description> <character>VICK</character> <dialogue>Well, we started on the roof.</dialogue> <character>ALAN</character> <dialogue>Right, that was like, 6ish?</dialogue> <character>VICK</character> <dialogue>Then. I think. we had steaks at the Palm?</dialogue> <character>ALAN</character> <dialogue>Yeah. Then. we played craps at the Hard Rock. maybe?</dialogue> <character>VICK</character> <dialogue>That sounds right.</dialogue> <scene_description>Stu throws up his arms , already giving up .</scene_description> <character>STU</character> <dialogue>Okay, honestly? I do n't even remember going to dinner.</dialogue> <character>VICK</character> <dialogue>I vaguely recall. doing body shots. at some point? Is that. maybe?</dialogue> <character>ALAN</character> <dialogue>I'm pretty much blank after The Hard Rock.</dialogue> <character>VICK</character> <dialogue>I think we went to the Flamingo after that? And then, I just remember a lot of blue light. and the overpowering smell of baby oil.</dialogue> <character>ALAN</character> <dialogue>So that was what, 10ish?</dialogue> <character>VICK</character> <dialogue>Give or take.</dialogue> <character>STU</character> <dialogue>Was Doug still with us?</dialogue> <scene_description>Vick rubs his temples , trying to fight through the hangover .</scene_description> <character>VICK</character> <dialogue>Yes. Yes. Doug was with us. I tackled him. for some reason.</dialogue> <scene_description>The guys nod , okay , okay .</scene_description> <character>ALAN</character> <dialogue>Okay. So we only have a 13 hour window where we could've lost him.</dialogue> <scene_description>They guys frown . Shit . Stu puts his hands into his pockets , thinking . Then he feels something . A matchbook . He pulls it out . It 's from The Flamingo Nightclub .</scene_description> <character>STU</character> <dialogue>Hey! Look, we were at the Flamingo.</dialogue> <scene_description>A long beat of silence . Then the guys hurry to an empty BLACKJACK TABLE and start emptying their pockets of the detritus from the night before . They find matchbooks , receipts , room keys , a valet ticket .</scene_description> <character>ALAN</character> <dialogue>ATM receipt from the Rio at 10:37 -.</dialogue> <parenthetical>( reading it . )</parenthetical> <dialogue>For 600 dollars?!</dialogue> <character>VICK</character> <dialogue>The valet ticket says we returned here at 4:57 AM.</dialogue> <character>STU</character> <dialogue>We drove last night?</dialogue> <scene_description>The guys wince , jesus .</scene_description> <character>ALAN</character> <dialogue>Here's a receipt from Sbarro. The meal was comped for some reason -</dialogue> <character>VICK</character> <dialogue>Why do we have a matchbook from The Golden Pony All Male Revue?</dialogue> <scene_description>The guys exchange a look , alarmed .</scene_description> <character>ALAN</character> <dialogue>Someone could've given that to us.</dialogue> <character>STU</character> <parenthetical>( laughing , nervous . )</parenthetical> <dialogue>Yeah, totally! There's no way we went there! We're not gay! Hahaha!</dialogue> <scene_description>They frown , then stare at all the clues lined up on the blackjack table .</scene_description> <character>ALAN</character> <dialogue>I think we should call Tracy.</dialogue> <character>VICK</character> <dialogue>Absolutely not.</dialogue> <character>ALAN</character> <dialogue>What if Doug called her? She might know where he is.</dialogue> <scene_description>Stu shifts uncomfortably , tenderly adjusting his ass .</scene_description> <character>STU</character> <dialogue>Yeah, I'm with Alan on this one.</dialogue> <character>VICK</character> <dialogue>Of course you're with Alan, you're both gutless cowards. But we're not calling Tracy. You never call the bride from the bachelor party. Ever. If my balls were on fire and Tracy was sitting next door with a tall glass of water, I still would n't call her. It's a rule.</dialogue> <character>ALAN</character> <dialogue>But should n't we at least tell her we're gon na be getting home late?</dialogue> <character>VICK</character> <dialogue>She has a watch, she'll figure it out.</dialogue> <character>ALAN</character> <dialogue>I think I'm beginning to see why you're always single.</dialogue> <character>VICK</character> <dialogue>And I think I'm beginning to see why you're always a douche -</dialogue> <character>STU</character> <parenthetical>( clutching his ass . )</parenthetical> <dialogue>Guys, wait. I need your help - oh my God - like right now. Come on.</dialogue> <character>ALAN</character> <dialogue>Jesus, what is it?</dialogue> </scene> <scene> <stage_direction>INT. BATHROOM -- MOMENTS LATER</stage_direction> <scene_description>Vick and Alan unhappily stand in the lavish , gold - ensconsed men 's room , watching Stu painfully undo his jeans .</scene_description> <character>VICK</character> <dialogue>I ca n't believe we're doing this.</dialogue> <character>STU</character> <dialogue>You do n't have to look up my butt, just at it. Something is terribly, terribly wrong.</dialogue> <scene_description>Stu 's jeans fall to the ground - and everyone freezes . He 's wearing a snug FLUORESCENT PINK G - STRING with `` I ROGER '' written vertically down the front . In glitter .</scene_description> <character>ALAN</character> <dialogue>Sweet mother of mercy.</dialogue> <character>VICK</character> <dialogue>Who's Roger?</dialogue> <character>STU</character> <dialogue>I - I - I do n't know?! What do you think it means?!</dialogue> <character>VICK</character> <dialogue>What do I think it means? Well, Stuart, your ass is all torn up and you're wearing thong underwear declaring your love for another dude - I do n't think we need the CSI team for this one! You got reamed last night, man!</dialogue> <scene_description>Stu covers his mouth , horrified !</scene_description> <character>ALAN</character> <dialogue>I'm sure there's a perfectly logical explanation for this.</dialogue> <character>STU</character> <dialogue>Really?! What?!</dialogue> <scene_description>Alan tries to think of one .</scene_description> <character>ALAN</character> <dialogue>Yeah, maybe there is n't.</dialogue> <character>VICK</character> <dialogue>Look, I'm sure Roger is a very nice, considerate young man -</dialogue> <character>STU</character> <dialogue>Oh my God, guys : what if I'm gay?!</dialogue> <character>VICK</character> <dialogue>Come on, Stu, you're nowhere near cool enough.</dialogue> <character>STU</character> <parenthetical>( gasping , realizing . )</parenthetical> <dialogue>I do watch Dancing With The Stars with the kids!</dialogue> <character>ALAN</character> <dialogue>Oh god, that does n't mean you're gay.</dialogue> <character>VICK</character> <dialogue>But sort of. it does?</dialogue> <scene_description>Stu grows increasingly frantic .</scene_description> <character>STU</character> <dialogue>And once, I caught myself gazing at a topless photo of David Beckham!</dialogue> <character>ALAN</character> <dialogue>So what, he's a great - looking dude -</dialogue> <character>STU</character> <dialogue>And then I had those weird feelings for Vick that time in middle school, remember?!</dialogue> <scene_description>Everyone stops . Vick most of all .</scene_description> <character>VICK</character> <dialogue>Um, what?</dialogue> <character>STU</character> <dialogue>Yeah, that weekend we were all camping - I told you this.</dialogue> <character>VICK</character> <dialogue>Yeah, no you did n't.</dialogue> <character>STU</character> <dialogue>I did n't?</dialogue> <character>VICK</character> <dialogue>I think I'd remember, dude.</dialogue> <character>ALAN</character> <dialogue>Yeah, I think we'd all remember.</dialogue> <character>STU</character> <dialogue>Yeah. I had weird feelings for you that weekend. Like really hot, really gay feelings. But then they went away.</dialogue> <scene_description>Vick is just looking at him , stunned .</scene_description> <character>ALAN</character> <dialogue>Wait - I was there that weekend. Did you have gay feelings for me?</dialogue> <character>VICK</character> <dialogue>Unbelievable.</dialogue> <character>ALAN</character> <dialogue>What?! I was a good - looking kid!</dialogue> <character>VICK</character> <dialogue>Please, you're so not his type!</dialogue> <character>STU</character> <dialogue>Wait, what?</dialogue> <scene_description>Just then , a FATHER and his YOUNG SON enter the men 's room and see Stu standing there , pants down , in his G string .</scene_description> <character>VICK</character> <dialogue>Look, Stu, one homosexual experience does n't mean you're permanently gay, okay? A lot of guys test the waters.</dialogue> <scene_description>the FATHER and SON wheel right back around and exit .</scene_description> <character>ALAN</character> <dialogue>All right, we're scaring the children. Let's go.</dialogue> <scene_description>The guys head for the door . Stu quickly pulls up his pants .</scene_description> <character>STU</character> <dialogue>Wait - so have either of you tested the waters?</dialogue> <character>VICK</character> <dialogue>No! We're not gay!</dialogue> <scene_description>Stu looks highly confused as he follows them out onto THE CASINO FLOOR The guys power through the crowded casino , towards the exit . Stu tries to keep up , genuinely concerned .</scene_description> <character>STU</character> <dialogue>How am I going to tell my wife?</dialogue> <character>VICK</character> <dialogue>Quickly, and from a great distance.</dialogue> <scene_description>Alan 's hand accidentally hits a brass railing and CLINKS .</scene_description> <character>STU</character> <dialogue>Jesus, what kind of father am I?</dialogue> <scene_description>Alan 's hand CLINKS against the railing again , and this time it registers . Alan looks down - and stops cold .</scene_description> <character>ALAN</character> <dialogue>Oh my God.</dialogue> <character>STU</character> <parenthetical>( really scared . )</parenthetical> <dialogue>You think Erin will try to take the kids -?</dialogue> <character>ALAN</character> <dialogue>Oh. my. God.</dialogue> <character>VICK</character> <parenthetical>( turning , annoyed . )</parenthetical> <dialogue>What now?</dialogue> <scene_description>Alan holds up the source of his CLINKING : on his ring finger is a huge , tacky , silver WEDDING RING with a unicorn on it .</scene_description> <character>STU</character> <parenthetical>( not getting it . )</parenthetical> <dialogue>Cool ring. Also, my Dad is gon na have a field day with this.</dialogue> <scene_description>Vick , however , recognizes the implications of the ring , and starts back towards Alan .</scene_description> <character>VICK</character> <dialogue>Oh my God. Oh my God.</dialogue> <character>STU</character> <dialogue>What's the big -?</dialogue> <parenthetical>( finally realizing . )</parenthetical> <dialogue>Oh! OH! OH!</dialogue> <scene_description>Alan steadies himself against a SLOT MACHINE , and shakily takes off the massive unicorn ring .</scene_description> <character>STU</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Maybe it's not a wedding ring?</dialogue> <character>ALAN</character> <parenthetical>( reading inscription . )</parenthetical> <dialogue>`` To My Noble Husband, Alan.''</dialogue> <scene_description>The guys eyes bulge , oh shit !</scene_description> <character>STU</character> <dialogue>This is worse than my underwear!</dialogue> <scene_description>Vick takes the ring and reads the rest of the inscription :</scene_description> <character>VICK</character> <dialogue>`` Now &amp; Forever Wedding Chapel.''</dialogue> <scene_description>They guys exchange a look .</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Well, at least it's a lead.</dialogue> <scene_description>Beat . Then Alan turns and THROWS UP all over the slot machine . Nearby OCTOGENARIAN SLOT PLAYERS look over , disgusted - but continue playing their nickels .</scene_description> </scene> <scene> <stage_direction>EXT. MANDALAY BAY -- VALET STAND -- DAY</stage_direction> <scene_description>The three guys exit the hotel looking like crap . Vick hands his ticket to the valet . Alan chews mint gum .</scene_description> <character>VICK</character> <dialogue>So, we go to the wedding chapel, we find out what we did with Doug, we recover him, and we're back in LA before sundown. Easy as Stu's ass.</dialogue> <scene_description>No one laughs . Tense SILENCE as they wait for the car .</scene_description> <character>STU</character> <dialogue>Check it out, some idiot threw his bed out the window last night.</dialogue> <scene_description>Stu points over at a huge stone GRIFFIN in front of the hotel with an ENTIRE BED impaled upon its ear .</scene_description> <character>ALAN</character> <dialogue>That was us, dude.</dialogue> <character>STU</character> <dialogue>Really?</dialogue> <character>ALAN</character> <dialogue>Yeah, there's no bed in Doug's room.</dialogue> <character>STU</character> <parenthetical>( FROWNING . )</parenthetical> <dialogue>Oh. Well, I'm sure we had a good reason for doing it.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>You think they'll charge us for -?</dialogue> <character>ALAN</character> <dialogue>Yeah, Stu, I really do.</dialogue> <character>VICK</character> <dialogue>Guys, relax. Everything's gon na be cool.</dialogue> <scene_description>Just then the Valet drives up in VICK 'S DESTROYED CADILLAC The exterior is scratched and filthy , like it 's been off - roading . The hubcaps are gone , as is the front passenger side door . A wisp of STEAM trails up from under the hood . The guys just stand there , agape .</scene_description> <character>STU</character> <dialogue>You okay, Vick?</dialogue> <character>VICK</character> <dialogue>I'm not emotionally prepared to talk about it just yet, Stuart, but thank you.</dialogue> <scene_description>Vick dons his sunglasses and heads for his destroyed car . THE GUYS ROLLING DOWN THE STRIP in their ridiculous car . Cars full of FAMILIES , cute GIRLS , even NUNS , point and stare . Our guys just face forward , each quietly suffering in their own personal Hell .</scene_description> <character>ALAN</character> <dialogue>Seriously : what am I gon na tell Becky? For 14 years she's been begging me to get married.</dialogue> <character>VICK</character> <dialogue>Well, now you did. Just not to her.</dialogue> <scene_description>Alan glowers at the city going by . Then he sits up -</scene_description> <character>ALAN</character> <dialogue>Wait, is that homeless guy wearing Doug's shirt?</dialogue> <scene_description>The guys turn to see a HOMELESS GUY weaving down the sidewalk in Doug 's DISTINCTIVE ORANGE SHIRT from the night before . Once they pass , the guys exchange a look .</scene_description> <character>STU</character> <dialogue>Naaah.</dialogue> <character>VICK</character> <dialogue>Yeah, that was a different shirt.</dialogue> <scene_description>Alan does n't look so sure . They drive in silence . Then :</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Left turn.</dialogue> <scene_description>Stu , sitting shotgun , braces against the empty doorframe so as not to fall out of the car as they turn left .</scene_description> </scene> <scene> <stage_direction>EXT. NOW &amp; FOREVER WEDDING CHAPEL -- DAY</stage_direction> <scene_description>Sitting in an East Vegas strip mall , sandwiched between a laundromat and a pawn shop , is the pink Now &amp; Forever Wedding Chapel . The Cadillac parks in the lot out front .</scene_description> </scene> <scene> <stage_direction>INT. NOW &amp; FOREVER WEDDING CHAPEL -- DAY</stage_direction> <scene_description>Everything in the small , tacky wedding chapel is white plastic . White plastic plants , white plastic cross , white plastic chairs . The guys enter .</scene_description> <character>ALAN</character> <dialogue>What if they do n't remember us -?</dialogue> <character>VOICE BEHIND THEM</character> <dialogue>AAAAYYYYY!</dialogue> <scene_description>The guys turn to find the hirsute owner of the chapel , STEVE GIANOPOLUS , 40 's , in a tight white suit , his arms spread wide . Steve is all Vegas , by way of Long Island .</scene_description> <character>STEVE</character> <dialogue>How are you, you dumb bastards?!</dialogue> <scene_description>He warmly hugs the guys . They have zero memory of him , and it shows as they hug back weakly , unfamiliar .</scene_description> <character>STEVE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>CARLA, GET YOUR FAT ASS OUT HERE! ALAN AND THE BOYS ARE HERE!</dialogue> <parenthetical>( to the guys . )</parenthetical> <dialogue>You here to pick up your wedding photos?!</dialogue> <scene_description>Alan starts to decline , when -</scene_description> <character>VICK</character> <dialogue>Does the pope wear a funny hat?! Let's do this thing!</dialogue> <scene_description>Steve CACKLES and guides them over to a table ; Alan scowls .</scene_description> <character>STEVE</character> <dialogue>And where is Chastity today?</dialogue> <scene_description>They all sit on white plastic chairs .</scene_description> <character>ALAN</character> <dialogue>W - Who's. Chastity?</dialogue> <character>STEVE</character> <parenthetical>( LAUGHING . )</parenthetical> <dialogue>Your wife, man -! AWW, you're just breaking my balls!</dialogue> <scene_description>Alan looks ill . Laughing , Steve retrieves a folder and starts laying out a series of WEDDING PHOTOS on the table . Vick eagerly peruses them , enjoying this .</scene_description> <character>VICK</character> <dialogue>Uh, it was such a lovely ceremony, was n't it?</dialogue> <character>STEVE</character> <dialogue>Hand to God, I've never seen two people more in love!</dialogue> <character>VICK</character> <dialogue>Sadly, I believe you.</dialogue> <scene_description>The guys look at the photos of Alan 's wedding from the night before . They 're typical wedding shots , only the guys are all wearing MEDIEVAL COSTUMES , swords , bows , tights , even armor . They look incredibly happy - and incredibly drunk . The next photo is of Alan and his BUSTY BLONDE BRIDE . She 's having a blast in a white medieval gown and tiara .</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hello, Chastity.</dialogue> <scene_description>Alan just closes his eyes , oh God .</scene_description> <character>ALAN</character> <dialogue>I am never. ever. drinking again.</dialogue> <character>STU</character> <dialogue>Jesus, she is stacked.</dialogue> <character>VICK</character> <dialogue>Stu, please, show some class. That's Alan's wife you're talking about.</dialogue> <character>STU</character> <parenthetical>( to Alan , guilty . )</parenthetical> <dialogue>Sorry. She looks really nice.</dialogue> <scene_description>But Alan is too busy gaping at the next photo , of him and Chastity atop a UNICORN in the chapel . -LRB- It is , of course , a rented pony with a lame horn strapped to its head . -RRB-</scene_description> <character>ALAN</character> <dialogue>We got a unicorn?!</dialogue> <character>STEVE</character> <dialogue>Oh, yeah, you got the entire Double Camelot Package.</dialogue> <scene_description>Alan just rubs his temples , oh no .</scene_description> <character>ALAN</character> <dialogue>A - And how much did that cost?</dialogue> <character>STEVE</character> <dialogue>7 thousand dollars.</dialogue> <scene_description>Alan closes his eyes . Stu and Vick exchange a look , no way !</scene_description> <character>STEVE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yeah, you did n't want to get it, either, but Vick insisted.</dialogue> <scene_description>Beat . Then Alan pounces across the table at Vick !</scene_description> <character>ALAN</character> <dialogue>I'm gon na kill you!</dialogue> <character>VICK</character> <parenthetical>( fending him off . )</parenthetical> <dialogue>You ca n't put a pricetag on love, Alan! OW! You just ca n't!</dialogue> <scene_description>Stu hops up and starts pulling Alan off of Vick .</scene_description> <character>VOICE BEHIND THEM</character> <dialogue>STOP FIGHTING IMMEDIATELY!</dialogue> <scene_description>The guys straighten like schoolboys as Steve 's wife CARLA , 40 's , enters . She 's wearing a toga , smoking a menthol , and dollying in several large CARDBOARD BOXES . Then she grins :</scene_description> <character>CARLA</character> <dialogue>Ahhh! I'm just busting your nuts!</dialogue> <scene_description>She lowers the dolly and hurries over for hugs .</scene_description> <character>CARLA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Good to see you, you stupid mooks!</dialogue> <scene_description>Stu and Alan force smiles , no idea who this woman is . Vick , on the other hand , steps forward and hugs her tightly .</scene_description> <character>VICK</character> <dialogue>It's good to be seen, Carla. It's good to be seen.</dialogue> <character>CARLA</character> <dialogue>I brought the rest of your package.</dialogue> <scene_description>Carla begins unloading things from the cardboard boxes .</scene_description> <character>CARLA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>First : Two dozen commuter mugs.</dialogue> <scene_description>She unpacks 24 COMMUTER MUGS with Alan and Chastity 's photo emblazoned on them . Alan winces , oh god . Stu grabs one :</scene_description> <character>STU</character> <dialogue>No way! Awesome!</dialogue> <character>STEVE</character> <dialogue>A hundred DVDs of the ceremony.</dialogue> <scene_description>She lays out the stacks of DVDs . Vick nods at Alan :</scene_description> <character>VICK</character> <dialogue>For you and Chastity to watch on your anniversary.</dialogue> <scene_description>Alan just clenches his jaw , I fucking hate you .</scene_description> <character>CARLA</character> <dialogue>The velvet wall hanging.</dialogue> <scene_description>She pulls out a six foot air - brushed velvet WALL HANGING of Alan and Chastity riding the unicorn together in outer space .</scene_description> <character>VICK</character> <dialogue>And it looks like real velvet, Alan, so no machine wash, okay?</dialogue> <character>CARLA</character> <dialogue>And the big finish :</dialogue> <scene_description>Vick and Stu do a DRUMROLL on the table , excited . Then Carla pulls out a FOUR FOOT BRONZE SHIELD with a bas - relief of Alan and Chastity MAKING OUT on it . Alan just closes his eyes .</scene_description> <character>STU</character> <dialogue>HOLY CRAP!</dialogue> <character>VICK</character> <dialogue>DUDE, YOU HAVE A SHIELD!</dialogue> <character>STU</character> <dialogue>I want a shield!</dialogue> <character>VICK</character> <dialogue>Me too! Hey, can Stu and I get a shield?</dialogue> <character>ALAN</character> <dialogue>I do n't suppose you have any sort of return policy, do you?</dialogue> <character>STEVE</character> <dialogue>Um. if you know another couple who looks exactly like you guys, and who want two dozen commuter mugs, a wall hanging, and a shield. sure.</dialogue> <scene_description>Alan scowls . Then his cellphone RINGS . He angrily answers it without looking at the Caller ID .</scene_description> <character>ALAN</character> <dialogue>What.</dialogue> <scene_description>We hear someone YELLING AT HIM . Alan 's eyes bulge .</scene_description> <character>ALAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh, hey Becky! Hi!</dialogue> <scene_description>He steps away to take the call . Vick explains to Carla :</scene_description> <character>VICK</character> <dialogue>That's his girlfriend of 14 years. I'm sure this'll only take a minute.</dialogue> <scene_description>Vick and Stu go back to looking at the wedding photos as Alan tries to talk to his furious girlfriend . BECKY in her Laura Ashley bedroom , angrily packing up her suitcase . She 's beautiful and preppy in pearls and a sweater set .</scene_description> <character>BECKY</character> <dialogue>Can you tell me why all the goddamn credit cards are maxed out?!</dialogue> <character>ALAN</character> <dialogue>No! I - I have no idea -!</dialogue> <scene_description>Then Vick calls over from the white plastic table , pissed :</scene_description> <character>VICK</character> <dialogue>HEY ALAN, HOW COME I WAS N'T YOUR BEST MAN, DUDE!</dialogue> <character>STU</character> <dialogue>YEAH, WHAT THE HELL, ME EITHER! WHY'D YOU PICK DOUG?!</dialogue> <scene_description>Alan waves at them , shut the hell up ! But Becky has heard .</scene_description> <character>BECKY</character> <dialogue>`` Your best man?!'' What's going on there, Alan?!</dialogue> <character>ALAN</character> <dialogue>Nothing! Baby, nothing, the GUYS ARE JUST BEING DICKS!</dialogue> <character>VICK</character> <dialogue>HEY ALAN, YOU WANT ALL YOUR WALLET - SIZED WEDDING PHOTOS, OR CAN I BOGART A FEW?!</dialogue> <scene_description>Alan furiously flips them off , shut up !</scene_description> <character>BECKY</character> <dialogue>I really do n't appreciate being mocked right now, Alan, especially about wedding - related issues. You know how hard this weekend is going to be for me.</dialogue> <character>ALAN</character> <dialogue>I know, baby! I know -</dialogue> <character>BECKY</character> <dialogue>So you'll call the credit card company and straighten this out?</dialogue> <character>ALAN</character> <dialogue>Yes. I will. I promise.</dialogue> <character>BECKY</character> <dialogue>Okay. Okay.</dialogue> <parenthetical>( beat , calming . )</parenthetical> <dialogue>Look, sorry I'm so tense. I'll see you soon, okay? Love you.</dialogue> <scene_description>But Alan is just staring at the BRONZE SHIELD of him making out with his blonde bombshell wife .</scene_description> <character>BECKY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Alan? Hello? I said I love you?!</dialogue> <character>ALAN</character> <dialogue>Yes, no, I love you too!</dialogue> <scene_description>Becky hangs up , rolling her eyes , unbelievable . STAY WITH ALAN as he closes his cellphone . Exhales .</scene_description> <character>STU</character> <dialogue>Hey, how's Becky doing, man?!</dialogue> <character>VICK</character> <dialogue>Yeah, did she ask about us?!</dialogue> <scene_description>Off of Alan 's hate - filled glare , we STEVE AND THE GUYS SCHLEPPING ALL OF THE WEDDING CRAP through the strip mall parking lot , back to their car . Alan sullenly carries the GIANT BRONZE SHIELD .</scene_description> <character>STU</character> <dialogue>Look on the bright side, Alan. Vick found a great clue.</dialogue> <character>VICK</character> <dialogue>Turns out Doug was in all the wedding photos, which means - if the time stamp was right - we had him in our possession until 11 pm.</dialogue> <character>STU</character> <dialogue>That's another hour of last night that we can account for. Is n't that great?</dialogue> <character>ALAN</character> <parenthetical>( bitterly sarcastic . )</parenthetical> <dialogue>Amazing.</dialogue> <character>VICK</character> <dialogue>Hey, Steve, you do n't happen to know where we were heading when we left here last night, do you?</dialogue> <character>STEVE</character> <dialogue>Well, the Double Camelot Package comes with a five course wedding feast, so I assume you went there.</dialogue> <character>STU</character> <dialogue>Great - where was the feast?</dialogue> <character>STEVE</character> <dialogue>Sbarro, over in the Fremont mall.</dialogue> <character>ALAN</character> <parenthetical>( V.O . )</parenthetical> <dialogue>I paid 7 grand for Sbarro?!</dialogue> </scene> <scene> <stage_direction>INT. VICK'S CAR -- MOMENTS LATER</stage_direction> <scene_description>The beatup Caddy is packed with wedding crap . Vick is busy trying to reverse the overloaded car out of the parking spot . Stu 's in the backseat with the huge shield , while Alan seethes up front .</scene_description> <character>VICK</character> <dialogue>Your negativity is like a little black cloud over our car, Alan. You've got to let go of this.</dialogue> <character>ALAN</character> <dialogue>Let go of what, exactly, Vick?! The fact that I married a complete stranger last night? Or that my girlfriend's about to leave me? Or that I'm broke? Which one?!</dialogue> <character>VICK</character> <dialogue>You're broke? I thought you were LOADED -</dialogue> <character>ALAN</character> <dialogue>I know you think it's like terminally uncool to be in a committed relationship, Vick, but I actually love Becky, okay?</dialogue> <parenthetical>( SINCERE . )</parenthetical> <dialogue>I - I honestly do n't know what I'd do without her. I really do n't.</dialogue> <scene_description>Alan looks off , lost , sick . Vick stops the car short .</scene_description> <character>VICK</character> <dialogue>Alan. Honey. Have you considered, even for a second, that maybe the things we do when we're drunk are what we secretly want to do?</dialogue> <character>ALAN</character> <parenthetical>( dripping with sarcasm . )</parenthetical> <dialogue>Yeah, no, you're absolutely right, Vick, I've always secretly wanted to marry a bottle blonde with big fake melon tits named Chastity!</dialogue> <character>STU</character> <dialogue>I ai n't mad atcha, dude.</dialogue> <character>VICK</character> <dialogue>Or, after 14 years, maybe you do n't have the balls to leave Becky, and this is your way of getting her to leave you.</dialogue> <character>ALAN</character> <dialogue>I was going to propose to her this weekend, you jackass!</dialogue> <character>VICK</character> <dialogue>All the more reason to freak out.</dialogue> <scene_description>Alan opens his mouth to respond , but nothing comes out . Vick nods , chew on that , and continues slowly reversing the car .</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I love you, Alan Mervish, I do, but you've always had a major pole up your ass. Maybe last night was your inner cool person trying to get out -</dialogue> <character>ALAN</character> <dialogue>I swear to God, Vick, if you say one more word to me, I will destroy you.</dialogue> <character>STU</character> <dialogue>Guys, come on, let's not use our angry words -</dialogue> <scene_description>SMASH ! A baseball bat SHATTERS the windshield ! The guys all jump ! Vick slams on the brakes !</scene_description> <character>VICK</character> <dialogue>What the -?!</dialogue> <scene_description>They look up to see two MASSIVE SAMOAN MEN in loud Hawaiian shirts , KALOLO FANALUA and KIKIOLANI , 30 's , standing on either side of the car . And they look pissed .</scene_description> <character>KALOLO FANALUA</character> <dialogue>Get out of the car, Vick.</dialogue> <scene_description>Stu and Alan recoil in terror .</scene_description> <character>STU</character> <dialogue>Who are these guys?!</dialogue> <character>VICK</character> <dialogue>Stu, please.</dialogue> <parenthetical>( to Kalolo Fanalua . )</parenthetical> <dialogue>I think there's been some sort of mistake, Mister?</dialogue> <character>KALOLO FANALUA</character> <dialogue>I'm Mr. Shut The Hell Up And Get The Hell Outta The Car, and this is my associate, Mr. Smash You In The Teeth If You Say Another Word.</dialogue> <character>VICK</character> <parenthetical>( beat , to Alan . )</parenthetical> <dialogue>Those so are n't their real names.</dialogue> <character>ALAN</character> <dialogue>Vick, do n't be a dick -!</dialogue> <character>VICK</character> <dialogue>Alan? Relax. These men are n't going to hurt us. They're from Hawaii.</dialogue> <scene_description>SMASH ! SMASH ! SMASH ! Kikiolani starts viciously smashing the car !</scene_description> <character>KALOLO FANALUA</character> <dialogue>We're from Guam, bitch! Now get outta the car!</dialogue> <character>VICK</character> <dialogue>Okay, okay! Cool it with the bat! Jesus, why is everyone trying to kill my car?</dialogue> <scene_description>Vick undoes his seatbelt and reaches for his door handle . Kikiolani lowers his bat - and Vick throws the door open , right into his nuts ! The huge Samoan staggers back , OWWW , and Vick slams his door shut and FLOORS IT OUT OF THERE IN REVERSE ! The Caddy sideswipes a car , hops the curb , and lands on the street ! They SQUEAL AWAY , the huge bronze shield flying out of the backseat as they do ! It CLATTERS on the pavement .</scene_description> </scene> <scene> <stage_direction>EXT. EAST VEGAS STREET -- CONTINUOUS</stage_direction> <scene_description>Vick drives like the wind , trying to see around the huge SPIDERWEB in the windshield . Alan and Stu are freaking out .</scene_description> <character>ALAN</character> <dialogue>Why'd you do that?!</dialogue> <character>VICK</character> <parenthetical>( INCREDULOUS . )</parenthetical> <dialogue>Really?</dialogue> <character>STU</character> <dialogue>Maybe they just wanted to talk!</dialogue> <character>VICK</character> <dialogue>I honestly do n't know how you two are still alive.</dialogue> <character>ALAN</character> <dialogue>Do you think we stole something from them last night?!</dialogue> <character>STU</character> <dialogue>Oh my god I am such a bad dad!</dialogue> <character>ALAN</character> <parenthetical>( producing cellphone . )</parenthetical> <dialogue>I'm calling the police. This is getting way out of control -</dialogue> <character>VICK</character> <dialogue>No! No cops!</dialogue> <character>ALAN</character> <dialogue>`` No cops?!'' Who are you, Fitty Cent?!</dialogue> <character>STU</character> <dialogue>Yeah, Vick, what's going on?</dialogue> <character>VICK</character> <dialogue>Nothing! I just think we should focus on finding Doug and not get distracted by every little thing!</dialogue> <character>ALAN</character> <dialogue>Every little thing?! We were just assaulted by the Yakuza!</dialogue> <character>VICK</character> <dialogue>Oh please, those guys are from Guam. Get a grip.</dialogue> <character>ALAN</character> <dialogue>They knew your name, Vick! Which means they probably know who Stu and I are, too!</dialogue> <character>STU</character> <dialogue>If anything ever happened to my family, Vick.</dialogue> <character>VICK</character> <dialogue>Fine. Let's just go back to the hotel - Doug is probably back from wherever he spent the night, we'll get him, we'll straighten out whatever we did to those angry Samoans, then we'll get the hell back to LA, okay? Left turn.</dialogue> <scene_description>Vick angrily takes a harder - than - necessary left turn . Alan hangs on tight , almost flying out of the car . TITLE CARD : `` SATURDAY , 2:26 PM ''</scene_description> </scene> <scene> <stage_direction>INT. DEAN MARTIN SUITE -- DAY</stage_direction> <scene_description>The boys hurry into their room , stressed .</scene_description> <character>VICK</character> <dialogue>Doug? Doug?</dialogue> <scene_description>Alan quickly checks the room phone .</scene_description> <character>ALAN</character> <dialogue>No messages.</dialogue> <character>STU</character> <dialogue>Come on, let's toss the place.</dialogue> <scene_description>Alan starts wading through the crap in the living room , while Vick and Stu head off to check the bedrooms .</scene_description> </scene> <scene> <stage_direction>INT. BEDROOM</stage_direction> <scene_description>Stu brushes aside beer bottles and room service dishes , looking for anything relevant . He spots a LEGAL CONTRACT on the ground . Picks it up .</scene_description> <character>STU</character> <dialogue>Hey, check it out, Vick! I invested 30 grand in your custard store last night!</dialogue> <scene_description>Vick calls from the other bedroom .</scene_description> <character>VICK</character> <parenthetical>( O.S . )</parenthetical> <dialogue>Smart move, man.</dialogue> <scene_description>Stu opens the closet door - and freezes .</scene_description> <character>STU</character> <dialogue>Hey, you wan na come in here a sec?!</dialogue> <scene_description>Vick enters a moment later to find Stu staring into the closet . Vick follows his gaze and sees a SEXY WOMAN snoring away on the closet floor , her blonde hair obscuring her face .</scene_description> <character>VICK</character> <dialogue>Whoa.</dialogue> <character>STU</character> <dialogue>You think she's what those Guamian dudes wanted?</dialogue> <character>VICK</character> <dialogue>No. I think she's Alan's wife.</dialogue> <scene_description>Stu covers his mouth , oh shit ! Vick produces the wallet - sized photos from Alan 's wedding , compares them , and nods .</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Alan? Wan na step in here, buddy?</dialogue> <scene_description>A second later Alan enters , what 's up ?</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Alan, Chastity. Chastity, Alan.</dialogue> <scene_description>Alan looks down , sees Chastity SNORING on the closet floor , her body all contorted , and freezes . Oh my God .</scene_description> <character>ALAN</character> <dialogue>What. what am I supposed to do?</dialogue> <character>STU</character> <dialogue>Wake her up, man!</dialogue> <character>ALAN</character> <dialogue>Why me?!</dialogue> <character>VICK</character> <dialogue>Because she's your spouse, dude!</dialogue> <scene_description>Scowling , Alan slowly crouches down . Then , a little scared , he nudges her . Nothing . He nudges her harder .</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Pinch her tit. It always works.</dialogue> <scene_description>Alan shakes her a bit harder and - BRRAPPPP - the girl lets out a massive burp and awakens , COUGHING . Alan jumps back up , terrified . The woman , CHASTITY , looks around , disoriented .</scene_description> <character>CHASTITY</character> <dialogue>Dang, did I sleep in the closet again?</dialogue> <scene_description>Then she notices the guys staring down at her . She smiles , recognizing them :</scene_description> <character>CHASTITY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh hey, guys! What's up?</dialogue> <scene_description>She shakily climbs to her feet to expose a skimpy skirt , a snug tube top , and mascara smeared all over her face . The guys have no idea what to say . She kisses Alan on the cheek , very intimate - like , well , a husband and wife .</scene_description> <character>CHASTITY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Morning, honey.</dialogue> <scene_description>She exits into the living room , picking her wedgie . Beat . Alan is speechless .</scene_description> <character>STU</character> <dialogue>She seems really cool.</dialogue> <character>VICK</character> <dialogue>Yeah, I really like her, man.</dialogue> </scene> <scene> <stage_direction>INT. DEAN MARTIN SUITE -- LIVING ROOM</stage_direction> <scene_description>Chastity gathers her belongings - jacket , purse , G string - from around the totalled living room . The guys file in .</scene_description> <character>VICK</character> <dialogue>So, um, did you take Alan's name?</dialogue> <character>STU</character> <dialogue>Yeah, are you Chastity Mervish now -?</dialogue> <character>ALAN</character> <dialogue>Listen to me. Just. did we, or did we not, have sex last night?</dialogue> <scene_description>Alan braces , please say no , please say no . Vick braces , please say yes , please say yes .</scene_description> <character>CHASTITY</character> <dialogue>Well. ya?</dialogue> <scene_description>Alan slumps , his life over . Vick pumps his fist , YES !</scene_description> <character>CHASTITY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>But we waited til we were married.</dialogue> <scene_description>Alan GROANS .</scene_description> <character>VICK</character> <dialogue>What a responsible, upstanding young Jew. They do n't make ` em like that anymore, am I right?</dialogue> <scene_description>Chastity smiles , sweet , as she straps on her 6 inch heels .</scene_description> <character>CHASTITY</character> <dialogue>I know - he even wanted to use a rubber.</dialogue> <scene_description>Alan breaks into a COUGHING FIT .</scene_description> <character>ALAN</character> <dialogue>Wait - we did n't use a condom?!</dialogue> <character>CHASTITY</character> <dialogue>It's cool, I sponge.</dialogue> <scene_description>Alan leans against a wall , dizzy .</scene_description> <character>ALAN</character> <dialogue>Can someone. please open a window?</dialogue> <scene_description>Stu turns and tries to open a window . No luck .</scene_description> <character>STU</character> <dialogue>They do n't open.</dialogue> <character>CHASTITY</character> <dialogue>So you guys do n't remember any of last night?</dialogue> <character>VICK</character> <dialogue>Yeah, not so much.</dialogue> <character>CHASTITY</character> <dialogue>Hey, been there before, right?</dialogue> <parenthetical>( grabbing her sizable bra . )</parenthetical> <dialogue>Sucks, though. The wedding was really fun. I'm bummed you do n't remember it, Alan.</dialogue> <scene_description>She smiles , a little saddened . Stu whispers to Alan :</scene_description> <character>STU</character> <dialogue>Dude, I think your wife's mad at you.</dialogue> <character>VICK</character> <dialogue>You do n't happen to remember what time we met you last night, do you?</dialogue> <character>CHASTITY</character> <dialogue>Sure, we met at the bar at like 10:00? Then we got married on my smoke break, which was like 11:00?</dialogue> <character>VICK</character> <dialogue>It's the All - American love story, is n't it? What happened next?</dialogue> <character>CHASTITY</character> <dialogue>Well, I had to go back to work. But when I got off at 5:30, I met up with you guys back here.</dialogue> <character>VICK</character> <dialogue>And was Doug with us then?</dialogue> <character>CHASTITY</character> <dialogue>No.</dialogue> <character>VICK</character> <dialogue>Interesting. Do you have any idea where we went after the wedding?</dialogue> <character>CHASTITY</character> <dialogue>No, but I bet some of my work friends do. You were partying with them pretty hard.</dialogue> <character>STU</character> <dialogue>Work friends?</dialogue> <scene_description>STRIPPERS Dozens of ` em , dancing , grinding , shimmying on poles .</scene_description> </scene> <scene> <stage_direction>INT. CRAZY HORSE GENTLEMEN'S CLUB -- DAY</stage_direction> <scene_description>Chastity leads the guys through Vegas 's Most Notorious Strip Club , The Crazy Horse . It 's bacchanalia writ large , complete with throbbing music , flashing strobe lights , and six stages of spinning flesh . The place is mobbed with PATRONS . Alan follows after Chastity , horrified .</scene_description> <character>ALAN</character> <dialogue>You work here?</dialogue> <scene_description>Behind him , Vick SLAPS FIVE with Stu , psyched .</scene_description> <character>CHASTITY</character> <dialogue>Yeah - and this is the pole where we first met!</dialogue> <scene_description>She stops at a pole , around which a BRUNETTE STRIPPER currently spins . Alan looks ill .</scene_description> <character>CHASTITY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's always been my lucky pole.</dialogue> <character>ALAN</character> <dialogue>Look, I do n't know how to tell you this, but -</dialogue> <character>CHASTITY</character> <dialogue>HEY PLATINUM, CHECK IT OUT!</dialogue> <scene_description>She holds up her hand , showing off ALAN 'S GRANDMOTHER 'S RING to the stripper currently upside - down on the pole .</scene_description> <character>PLATINUM THE STRIPPER</character> <dialogue>Get it, girl!</dialogue> <character>CHASTITY</character> <dialogue>Come on, let's go meet my bridesmaids!</dialogue> <scene_description>She hurries off , but Alan ca n't move .</scene_description> <character>STU</character> <dialogue>Dude.</dialogue> <character>VICK</character> <dialogue>I know.</dialogue> <character>ALAN</character> <dialogue>The Holocaust, man.</dialogue> <scene_description>Alan just stares into space . Vick takes him by the shoulder .</scene_description> <character>VICK</character> <dialogue>Look, we can get your grandmother's ring back. We just got ta go about it in the right way.</dialogue> <character>ALAN</character> <dialogue>I have besmirched my people.</dialogue> <character>STU</character> <dialogue>Do n't be so hard on yourself, dude -</dialogue> <scene_description>Just then Chastity runs back over with two BLONDE STRIPPERS .</scene_description> <character>CHASTITY</character> <dialogue>These were my bridesmaids, Anastasia and Starr!</dialogue> <character>STARR</character> <dialogue>Hey, boys! Good to see you again!</dialogue> <character>ANASTASIA</character> <dialogue>Mazel Tov -!</dialogue> <character>ALAN</character> <dialogue>Please. do n't.</dialogue> <scene_description>Just then a SPOTLIGHT finds Chastity and Alan , and the SLEAZY PONYTAILED DJ up in the booth comes over the P.A. system :</scene_description> <character>STRIP CLUB D.J.</character> <dialogue>OKAY, GUYS! LET'S GIVE A CRAZY HORSE SHOUT - OUT TO OUR HAPPY NEW COUPLE, CHASTITY AND ALANNNN!</dialogue> <scene_description>The entire club CHEERS ! Chastity holds up her wedding ring and dances around , WOO HOO ! Alan waves meekly . Thanks .</scene_description> <character>STRIPPER D.J.</character> <dialogue>IN HONOR OF THEIR MARRIAGE, WE'RE DOING TWO - FOR - ONE LAPDANCES! TWO SONGS FOR TWENTY BUCKS!</dialogue> <scene_description>The DJ puts on Nine Inch Nails ' `` I Want to Fuck You Like An Animal '' and the club gets hopping again .</scene_description> <character>CHASTITY</character> <dialogue>Oh my God, he's playing our song!</dialogue> <parenthetical>( giddy , to Alan . )</parenthetical> <dialogue>This song was playing when we met, remember?! You kept sliding twenties into my thong and saying `` I will always love you. I will always love you.''</dialogue> <scene_description>Alan closes his eyes .</scene_description> <character>ALAN</character> <dialogue>Twenties?</dialogue> <character>CHASTITY</character> <dialogue>Yeah, it was so sweet.</dialogue> <character>ALAN</character> <dialogue>Look, I do n't know how to say this, but my friends and I were very drunk last night. We would never come to a place like this -</dialogue> <scene_description>He glances over at Vick and Stu - but they 're gone .</scene_description> <character>ALAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Guys?</dialogue> <scene_description>VICK AND STU TOASTING SHOTS OF JAGERMEISTER and downing them . PULL BACK to see that they are sitting in THE CHAMPAGNE ROOM getting lapdances from STARR and ANASTASIA . The Champagne Room is a dark , plush private suite in the back of the Crazy Horse where strippers ply their craft ; the room is half full . Vick watches Starr lean over and make out with Anastasia .</scene_description> <character>VICK</character> <dialogue>You are the best bridesmaids ever.</dialogue> <character>STU</character> <parenthetical>( huge boobs in his face . )</parenthetical> <dialogue>Dude : I might not be gay.</dialogue> <scene_description>Then Alan hurries in with Chastity ; he looks pissed .</scene_description> <character>ALAN</character> <dialogue>What the hell are you doing?!</dialogue> <character>VICK</character> <dialogue>Two - for - ones, man.</dialogue> <character>ALAN</character> <dialogue>We do n't have time for this! We got ta find Doug!</dialogue> <character>VICK</character> <dialogue>What do you think we're doing?</dialogue> <character>ALAN</character> <dialogue>What?</dialogue> <character>VICK</character> <dialogue>We're getting into the mindset of last night, to see if it sparks any memories.</dialogue> <parenthetical>( to his stripper . )</parenthetical> <dialogue>Now : is this exactly how you were dancing for me last night, Starr?</dialogue> <scene_description>She nods . Vick nods , pensive , scientific .</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yeah, still no memories. Keep going - and put your back into it.</dialogue> <character>ALAN</character> <dialogue>You are so goddamn selfish, Vick. You really are. Stu, let's go.</dialogue> <character>VICK</character> <dialogue>No. Stu, sit and enjoy your dance.</dialogue> <scene_description>Stu looks between them , torn .</scene_description> <character>ALAN</character> <dialogue>Dude : Doug is missing! We have less than 18 hours til his wedding! We do not have time for this!</dialogue> <character>VICK</character> <dialogue>I'm trying to save your life here, Alan Mervish.</dialogue> <character>ALAN</character> <dialogue>Vick -!</dialogue> <character>VICK</character> <dialogue>I'm not kidding, man! Life is one long series of emergencies, and if you do n't learn to stop and have a little fun along the way, you're gon na grow into a joyless old prick like your dad. I'm sorry to bring Moshe Mervish into it, but it had to be said. Now yes, we have 18 hours to find Doug - which means we can afford to spend ten minutes celebrating the special talents of these gifted young body - artists. So sit down, have a jager shot, and smell the goddamn roses for once in your miserable life. Chastity, honey? When you're ready?</dialogue> <scene_description>Chastity pushes Alan onto the red leather banquette and starts dancing for him . He tries to squirm away :</scene_description> <character>ALAN</character> <dialogue>No, look - I am like totally against this, morally and politically. Plus Becky specifically asked me not to -</dialogue> <scene_description>ALAN SITTING ON THE BANQUETTE , LOOKING AWESTRUCK as Chastity works a wildly erotic lapdance on him . She crawls onto his lap , she whips him with her long hair , she puts her tongue in his ear . Next to him , no longer getting lapdances , Vick and Stu just sit , staring at Chastity , entranced .</scene_description> <character>STU</character> <dialogue>I think I know why he married her.</dialogue> <character>VICK</character> <dialogue>Because if he had n't, I would've.</dialogue> <scene_description>They continue watching on in silence .</scene_description> <character>STU</character> <dialogue>Is it weird that we're sitting this close watching?</dialogue> <character>VICK</character> <dialogue>Not for me.</dialogue> <scene_description>More watching in silence .</scene_description> <character>STU</character> <dialogue>I really should n't be here. I have daughters.</dialogue> <scene_description>Then both of their heads angle the same way .</scene_description> <character>VICK</character> <dialogue>Not that can do that.</dialogue> <character>STU</character> <dialogue>How can she do that without dislocating her hip?</dialogue> <character>VICK</character> <dialogue>Because she's been touched by God.</dialogue> <scene_description>They continue staring , amazed . Just then , the door is kicked open and KIKIOLANI and KALOLO FANALUA burst into the Champagne Room , peering through the darkness , looking for our guys . Vick and Stu see them immediately .</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Shit.</dialogue> <scene_description>They both hop up . Alan remains sitting , however , hypnotized by Chastity . Vick grabs him .</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Alan, come on, man, we got ta go!</dialogue> <character>ALAN</character> <dialogue>Whoa, whoa, I'm smelling the roses -</dialogue> <scene_description>Vick literally yanks Alan up from the banquette .</scene_description> <character>VICK</character> <dialogue>Come on, man! We got company!</dialogue> <scene_description>Finally , the Guamians spot the guys and lumber for them !</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Chastity, honey, is there a back way out of here?!</dialogue> <scene_description>Thinking fast , Chastity grabs her clothes and darts over to a darkened , unlabeled FIRE DOOR .</scene_description> <character>CHASTITY</character> <dialogue>Come on!</dialogue> <scene_description>The guys race after her .</scene_description> </scene> <scene> <stage_direction>INT. CRAZY HORSE -- BACK HALLWAY</stage_direction> <scene_description>Chastity and the guys sprint through the bright , crowded back hallways of the Crazy Horse , weaving through strippers , cocktail waitresses , and barbacks . Behind them , the two massive Samoans try to follow , but are slowed by all the foot traffic . Strippers SCREAM as they 're bowled over by the obese Islanders .</scene_description> </scene> <scene> <stage_direction>INT. CRAZY HORSE -- MAIN STAGE</stage_direction> <scene_description>A spotlight holds on a CLOSED CURTAIN covering the main stage . Some sort of techno Limp Bizkit song is playing .</scene_description> <character>STRIPPER D.J.</character> <parenthetical>( O.S . )</parenthetical> <dialogue>ANNND ON STAGE ONE, PUT YOUR HANDS TOGETHER FOR. DOUBLE STAXXX!</dialogue> <scene_description>All the patrons turn their attention to Stage One - then Stu blows through the curtain , out of breath . Beat . The patrons look at Stu , confused . Stu looks at them , equally so . The patrons start to BOOO , just as Vick , Chastity , and Alan blow through the curtain after Stu .</scene_description> <character>CHASTITY</character> <dialogue>Come on!</dialogue> <scene_description>Chastity , in six inch leucite heels , sprints down the main runway , leaps over the patrons sitting at the end , and hits the floor running !</scene_description> <character>STU</character> <dialogue>Did she just do that in heels?!</dialogue> <character>VICK</character> <dialogue>I'm really starting to like this girl.</dialogue> <scene_description>The guys all follow suit , sprinting down the runway and leaping over the patrons ! Then the Guamians blow through the curtain , panting , very upset . They lumber down the stage - and the patrons at the end of the runway clear the hell out of the way . CHASTITY AND THE GUYS RACE THROUGH THE STRIP CLUB Upsetting cocktails , hopping onto stages and then off again , leaping over chairs , spinning around stripper poles , and , finally , sprinting out the front door ! The massive Guamians give chase , leaving a wide trail of destruction behind them , like two elephants trampling through a forest . Just as they 're blowing out of the door , however , THEY 'RE CLOTHESLINED BY TWO CHAIRS being swung into their chests ! SMASH ! They both stumble backwards , and then four roided - up STRIP CLUB SECURITY GUARDS pounce on them , wrestling them to the ground .</scene_description> <character>CRAZY HORSE SECURITY GUARD</character> <parenthetical>( to walkie talkie . )</parenthetical> <dialogue>Viper One, this is Rolling Thunder, we've subdued the targets, over.</dialogue> </scene> <scene> <stage_direction>EXT. CRAZY HORSE -- DAY</stage_direction> <scene_description>Chastity and the guys hurry around the corner from the Crazy Horse , laughing , exhilarated from the chase .</scene_description> <character>STU</character> <dialogue>Did you see them trample those tiny Japanese businessmen?! I think they killed like four of them!</dialogue> <scene_description>Everyone laughs . Vick puts his arm around Alan .</scene_description> <character>VICK</character> <dialogue>Come on, Alan : tell me that was n't just a little fun.</dialogue> <character>ALAN</character> <dialogue>That was. a little fun.</dialogue> <scene_description>Vick smiles - just as a LAS VEGAS POLICE CAR hops the curb , lights flashing , and cuts them off ! Two mustachioed COPS get out and hurry for them , pointing , intense .</scene_description> <character>LAS VEGAS POLICEMAN</character> <dialogue>Victor Lennon?! Alan Mervish?! Stuart Pryce?!</dialogue> <character>STU</character> <parenthetical>( SCARED . )</parenthetical> <dialogue>Y - Yes?!</dialogue> <character>LAS VEGAS POLICEMAN</character> <dialogue>You're coming with us.</dialogue> </scene> <scene> <stage_direction>INT. LAS VEGAS POLICE STATION -- INTERROGATION ROOM -- DAY</stage_direction> <scene_description>The two LVPD cops , OFFICER MERRIWEATHER and OFFICER BLADEN , 40 's , pace about this bare interrogation room , while Vick , Alan and Stu sit behind the cold metal table . Vick looks tense , but in control . Stu and Alan are sweating , terrified . They 've clearly been here a while .</scene_description> <character>OFFICER MERRIWEATHER</character> <dialogue>Where were you last night at 3am?</dialogue> <character>VICK</character> <dialogue>No idea.</dialogue> <character>OFFICER BLADEN</character> <dialogue>Okay, how about at 2am?</dialogue> <character>VICK</character> <dialogue>Ditto.</dialogue> <scene_description>Officer Bladen SLAMS the table with his fist .</scene_description> <character>OFFICER MERRIWEATHER</character> <dialogue>You think this is cute, son?! You think this is a game?!</dialogue> <character>ALAN</character> <dialogue>Whatever we did, we're so sorry!</dialogue> <character>STU</character> <dialogue>Honestly, man, I will confess to anything you want!</dialogue> <character>VICK</character> <dialogue>Stu : stop talking. Alan : sit up straight. Officer Merriweather, I've told you twelve times now : we have no memory of last night. Now either charge us with a crime, or let us go.</dialogue> <scene_description>Merriweather scowls and nods at Bladen , who steps over to a TELEVISION and turns it on . Merriweather , meanwhile , pulls out a photograph of a slick ASIAN MAN in a red suit , slides it onto the table .</scene_description> <character>OFFICER MERRIWEATHER</character> <dialogue>What do you know about Jimmy Lang?</dialogue> <scene_description>Vick flinches ever - so - slightly , clearly knowing something . Stu and Alan just look at the photograph , confused .</scene_description> <character>ALAN</character> <dialogue>Nothing?</dialogue> <character>STU</character> <dialogue>Who is he?</dialogue> <character>OFFICER MERRIWEATHER</character> <dialogue>Jimmy Lang runs the infamous Shiang - Xi crime organization, and is wanted in seven states for money laundering, drug smuggling, racketeering and murder.</dialogue> <character>ALAN</character> <dialogue>Oh my god -</dialogue> <character>STU</character> <dialogue>Did we kill someone last night -?!</dialogue> <character>VICK</character> <dialogue>We have no idea who this man is.</dialogue> <character>OFFICER MERRIWEATHER</character> <dialogue>Is that right?</dialogue> <character>VICK</character> <dialogue>Yeah, that's right.</dialogue> <scene_description>ON THE TELEVISION , grainy surveillance camera footage of a birthday party starts playing . In the video , JIMMY LANG sits in an upscale restaurant , in front of a BIRTHDAY CAKE , as a table full of hip ASIAN GUYS serenade him with `` Happy Birthday To You . '' When the guys sitting next to Jimmy lean forward to help him blow out the candles on his cake , however , we see that it 's Vick , ALAN , STU , DOUG , and some BLACK GUY , all very drunk !</scene_description> <character>VICK &amp; ALAN &amp; STU &amp; DOUG</character> <parenthetical>( ON TAPE . )</parenthetical> <dialogue>HAPPY BIRTHDAY DEAR JIMMMMY, HAPPY BIRTHDAY TOOO YOOOOU!</dialogue> <scene_description>Everyone applauds . Vick drunkenly hugs Jimmy Lang .</scene_description> <character>VICK</character> <parenthetical>( ON TAPE . )</parenthetical> <dialogue>I love you, Jimmy Lang!</dialogue> <scene_description>Merriweather FREEZES FRAME on Vick kissing the top of Jimmy Lang 's shaved head . In the interrogation room , Vick , Stu and Alan sit , frozen . Silence .</scene_description> <character>STU</character> <dialogue>We're in a lot of trouble, are n't we.</dialogue> <character>ALAN</character> <dialogue>Officers, I swear, we have no memory of that ever occurring -</dialogue> <character>OFFICER BLADEN</character> <dialogue>Okay. Maybe a night in jail will jostle something loose.</dialogue> <character>STU</character> <dialogue>Oh no, sir, please do n't!</dialogue> <character>ALAN</character> <dialogue>We have a very important wedding -!</dialogue> <character>VICK</character> <dialogue>I know Jimmy Lang.</dialogue> <scene_description>Everyone stops , looks at Vick .</scene_description> <character>ALAN</character> <dialogue>You do?!</dialogue> <character>VICK</character> <dialogue>Jimmy and I tried to raise capital for Girl - nasium, a 24 hour fitness center and day spa for tween - age girls, but it never got off the ground. It was an entirely legitimate enterprise - I had no idea he was a criminal. We must've bumped into him last night, and he must've invited us to join his birthday celebration. No crime in that, is there, Officers?</dialogue> <scene_description>Merriweather gets in Vick 's face , intense .</scene_description> <character>OFFICER MERRIWEATHER</character> <dialogue>You actually expect me to believe that dung?</dialogue> <character>VICK</character> <parenthetical>( UNBLINKING . )</parenthetical> <dialogue>Yes, Officer Merriweather. I do.</dialogue> <character>OFFICER MERRIWEATHER</character> <dialogue>If I find out you're lying to me, son, I will take all of you down, is that clear?</dialogue> <character>OFFICER BLADEN</character> <dialogue>You boys would n't last three hours in prison.</dialogue> <character>VICK</character> <dialogue>Stu might.</dialogue> <scene_description>Stu shakes his head , unbelievable .</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Now : are you gon na charge us with something, or are we free to go?</dialogue> <scene_description>The cops look at each other , scowling . Beat .</scene_description> <character>OFFICER BLADEN</character> <dialogue>Get outta here.</dialogue> <scene_description>Stu and Alan quickly hop to their feet and make for the door .</scene_description> <character>ALAN</character> <dialogue>Oh, thank you, Officers!</dialogue> <character>STU</character> <dialogue>It was really nice meeting you -!</dialogue> <character>OFFICER MERRIWEATHER</character> <dialogue>If you know what's good for you, you'll get the hell out of Vegas.</dialogue> </scene> <scene> <stage_direction>EXT. LAS VEGAS POLICE STATION -- NIGHT</stage_direction> <scene_description>Day has turned to night . Vick , Stu , and Alan descend the steps of the police station . The mood is grim .</scene_description> <character>ALAN</character> <dialogue>Did you have to be such a dick?!</dialogue> <character>VICK</character> <dialogue>We got out, did n't we?</dialogue> <character>ALAN</character> <dialogue>Yeah, four hours later! If we'd just cooperated with them -</dialogue> <character>VICK</character> <dialogue>If we'd cooperated with them, we'd be in jail right now, Alan.</dialogue> <scene_description>They reach the curb , and Stu starts trying to hail a cab . Desperation is setting in .</scene_description> <character>ALAN</character> <dialogue>What are we gon na do now? We've got zero leads on where Doug is!</dialogue> <character>STU</character> <dialogue>Why has n't he called? It's 8:30.</dialogue> <scene_description>The guys shake their heads , I do n't know .</scene_description> <character>STU</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do you think he's okay -?</dialogue> <character>VICK</character> <dialogue>Stu, do n't. Doug is fine.</dialogue> <character>STU</character> <dialogue>I mean, we were hanging out with mobsters last night, man! They kill people for looking at ` em weird -!</dialogue> <character>VICK</character> <dialogue>Stu : Doug is fine.</dialogue> <character>STU</character> <dialogue>Or what if we like drove Doug out to the desert and left him, just as like a funny prank -?!</dialogue> <character>VICK</character> <dialogue>Stu! Enough!</dialogue> <character>ALAN</character> <parenthetical>( MUTTERING . )</parenthetical> <dialogue>I knew I should n't have come.</dialogue> <character>VICK</character> <dialogue>What did you just say?</dialogue> <character>ALAN</character> <dialogue>I said I knew I should n't have come this weekend, Vick!</dialogue> <character>VICK</character> <parenthetical>( getting heated . )</parenthetical> <dialogue>Is that right?</dialogue> <character>ALAN</character> <dialogue>Yeah, that's right. I only came because Doug insisted.</dialogue> <scene_description>Vick steps towards Alan , heated .</scene_description> <character>VICK</character> <dialogue>Why do think you're so much better than us, dude?!</dialogue> <character>ALAN</character> <dialogue>I do n't - I just think I'm better than you, Vick! And trust me, it's not that hard! You have n't changed one bit since high school! Jesus, you're 28 years old and you still talk back to cops?! Really?!</dialogue> <character>VICK</character> <dialogue>You're out of your depth, Alan -</dialogue> <character>ALAN</character> <dialogue>And you're still the one getting us in trouble! Only then it was hiding your weed in our locker, and now you've got us partying with wanted felons! It's not cute anymore, man! We're too old for this!</dialogue> <scene_description>Vick scowls ; this is actually hitting home .</scene_description> <character>ALAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And all your stupid get - rich - quick schemes?! Girl - nasium?! Custard?! In Los Angeles?! Are you joking?!</dialogue> <character>STU</character> <dialogue>Okay, let's all take a breath -</dialogue> <character>ALAN</character> <dialogue>When's the last time you had a real job, man?! When's the last time you had a girlfriend?! Hell, when's the last time you picked up the check?!</dialogue> <character>VICK</character> <dialogue>What's so great about any of those things?!</dialogue> <character>ALAN</character> <dialogue>Those `` things,'' Vick, are what grown men do!</dialogue> <scene_description>Vick swallows , furious .</scene_description> <character>STU</character> <dialogue>Look, we're all tired and hungry -</dialogue> <character>VICK</character> <dialogue>None of us ever liked you, Alan! We only hung out with you because Doug made us!</dialogue> <scene_description>Alan recoils , whoa , stung . This is clearly news to him .</scene_description> <character>ALAN</character> <dialogue>Stu? Is that true?</dialogue> <scene_description>Stu gestures , uncomfortable , enh , who 's to say ? Alan nods , I see , his face reddening .</scene_description> <character>VICK</character> <dialogue>Why would anyone like you, dude? Have you ever thought about that? You're uptight, you're judgemental, you're cheap, and yet somehow you think you're sweeter than everyone else! Well look around, man : no one wants to be you! I'd rather be Stu than you!</dialogue> <character>STU</character> <dialogue>Wait, what -?</dialogue> <scene_description>Too late : Alan charges Vick and TACKLES him onto the lawn ! They roll on the ground , trying to punch each other , but it ends up being a mess of half - chops , pulled hair , and hands in each other 's faces .</scene_description> <character>ALAN</character> <dialogue>I've. always. hated you.</dialogue> <character>VICK</character> <dialogue>You punch like. your sister.</dialogue> <scene_description>Stu runs over and jumps in , trying to break them apart .</scene_description> <character>STU</character> <dialogue>Hey, no! Time out! We all need a time out -!</dialogue> <scene_description>THUNK ! Stu is accidentally kicked in the face and goes down . Alan and Vick continue rolling on the lawn , trying to beat the crap out of each other . They could be kids again . Then , just when it starts getting way too intense , A CAR HORN SOUNDS And all three of them look up to see Vick 'S BEAT - UP CADILLAC parked on the curb , Chastity at the wheel .</scene_description> <character>CHASTITY</character> <dialogue>That might not be like, the smartest place to fight?</dialogue> <scene_description>Vick and Alan look over at the huge LAS VEGAS POLICE DEPARTMENT sign right next to them . They frown .</scene_description> </scene> <scene> <stage_direction>EXT. THE COYOTE CANTINA -- NIGHT</stage_direction> <scene_description>Vick 's car sits parked in front of a country bar .</scene_description> </scene> <scene> <stage_direction>INT. THE COYOTE CANTINA -- NIGHT</stage_direction> <scene_description>The guys sit at a booth , their hair a mess , their faces bruised , their clothing ripped , ravenously chowing down on TACOS . Stu 's mouth is full of food :</scene_description> <character>STU</character> <dialogue>Good call on happy hour, Chastity. These tacos kick ass.</dialogue> <character>CHASTITY</character> <dialogue>Yeah, I always come here when I get out of jail.</dialogue> <scene_description>The guys exchange a quick look .</scene_description> <character>ALAN</character> <dialogue>Hey - how'd you start Vick's car?</dialogue> <character>CHASTITY</character> <dialogue>Oh, my daddy taught me how to hotwire almost anything.</dialogue> <character>VICK</character> <dialogue>That's funny, because Alan's daddy taught him tax law.</dialogue> <scene_description>Chastity smiles , a little confused . Alan is quick to retort :</scene_description> <character>ALAN</character> <dialogue>And Vick's daddy taught him how to get really drunk at his kid's soccer games and then piss himself.</dialogue> <character>VICK</character> <dialogue>It's a disease, dude -!</dialogue> <character>STU</character> <dialogue>Guys, come on! For Doug?</dialogue> <scene_description>Alan and Vick angrily continue eating their tacos . Then Stu 's PHONE rings . He pulls it out , reads the caller ID .</scene_description> <character>STU</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>`` Number blocked.'' VINCE ALAN</dialogue> <scene_description>Do n't answer it . Answer it .</scene_description> <character>ALAN</character> <dialogue>What if it's Doug?</dialogue> <character>VICK</character> <dialogue>What if it's Tracy?!</dialogue> <character>STU</character> <parenthetical>( torn , answers phone . )</parenthetical> <dialogue>Good evening, this is Stu!</dialogue> </scene> <scene> <stage_direction>INT. VENICE BUNGALOW -- NIGHT</stage_direction> <scene_description>It 's Tracy . She 's sitting in her living room , on the phone . Her STERN FATHER sits nearby , as do other FAMILY MEMBERS .</scene_description> <character>TRACY</character> <dialogue>Stu, it's Tracy!</dialogue> <scene_description>His eyes bulging , Stu covers the phone and hisses :</scene_description> <character>STU</character> <dialogue>It's Tracy!</dialogue> <scene_description>Vick glares at Alan . Alan looks away , shit .</scene_description> <character>STU</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Why is she calling me?!</dialogue> <character>VICK</character> <dialogue>Because she knows you're the most easily tricked.</dialogue> <character>ALAN</character> <dialogue>We have tell her we lost Doug.</dialogue> <character>VICK</character> <dialogue>No we do n't! Tell her nothing, Stu!</dialogue> <scene_description>Stu turns back to the phone , rattled .</scene_description> <character>STU</character> <dialogue>Hey, Trace! W - What's going on?</dialogue> <character>TRACY</character> <dialogue>Oh, nothing, just here with my family.</dialogue> <character>STU</character> <dialogue>Wow, that sounds amazing!</dialogue> <character>TRACY</character> <dialogue>Yeah? Hey, you would n't happen to know where Doug is, would you? He said he'd be home by 5 for this dinner, and now it's almost 9:00. I tried his cell, but he did n't answer.</dialogue> <character>STU</character> <dialogue>Ummmm. Hang on.</dialogue> <parenthetical>( covering the mouthpiece . )</parenthetical> <dialogue>She wants to know where Doug is!</dialogue> <character>VICK</character> <dialogue>I'm working on it! Buy us some time!</dialogue> <character>ALAN</character> <dialogue>No, just tell her the truth! Honesty is always the best policy!</dialogue> <character>VICK</character> <dialogue>What are you, retarded?! Honesty is never the best policy! Especially not with brides!</dialogue> <character>STU</character> <parenthetical>( lamely , to phone . )</parenthetical> <dialogue>Um, what'd you say?</dialogue> <character>TRACY</character> <parenthetical>( FROWNING . )</parenthetical> <dialogue>I asked if you knew where Doug was.</dialogue> <character>STU</character> <dialogue>Yeah, um, hang on.</dialogue> <parenthetical>( to guys . )</parenthetical> <dialogue>She still wants to know!</dialogue> <character>VICK</character> <dialogue>Okay : tell her Alan got really drunk last night and fell down, and the doctor said not to move him for a few hours, but that we'll be back in time for the wedding.</dialogue> <character>ALAN</character> <dialogue>Why do I have to be the one that fell over drunk?!</dialogue> <character>VICK</character> <dialogue>It's a fictitious canard, Alan, get over yourself! Stu : tell her!</dialogue> <character>STU</character> <parenthetical>( TO PHONE . )</parenthetical> <dialogue>Listen, Tracy, Alan fell on a DOCTOR -</dialogue> <character>VICK</character> <dialogue>Fell over drunk.</dialogue> <character>STU</character> <dialogue>H - He was drunk. And the doctor - a different doctor, not the one he fell on - he said we could n't move him until the wedding -</dialogue> <character>VICK</character> <dialogue>For a few hours! We'll be home before the wedding!</dialogue> <character>STU</character> <dialogue>But we're going to have the wedding at your home -</dialogue> <scene_description>Tracy just looks really confused . Exasperated , Vick rips the phone away from Stu .</scene_description> <character>VICK</character> <dialogue>Tracy?! Vick! How are ya, hon?</dialogue> <character>TRACY</character> <parenthetical>( now very concerned . )</parenthetical> <dialogue>Vick, what is going on?</dialogue> <character>VICK</character> <dialogue>Nothing! Stu is a moron. Listen, Alan hurt his back last night, so we're gon na be laid up here for a bit, but I promise we'll have Doug home in time for the wedding, okay?</dialogue> <character>TRACY</character> <dialogue>Oh God, is Alan all right?</dialogue> <character>VICK</character> <dialogue>Yes, luckily he had a steel rod surgically implanted up his ass at birth, so the doctors anticipate a complete and swift recovery.</dialogue> <scene_description>Alan flips him the bird .</scene_description> <character>TRACY</character> <dialogue>Can I talk to Doug?</dialogue> <character>VICK</character> <dialogue>What? No! No, you ca n't actually, Doug. Doug is out.</dialogue> <character>TRACY</character> <dialogue>Where is he?</dialogue> <character>VICK</character> <dialogue>Where is he? He's aaaat. the pharmacy. Yeah, picking up Alan's medications. Listen, Trace, I'm losing you, but we'll see you tomorrow, okay? Bye, sweetie -!</dialogue> <scene_description>Vick hangs up and nods confidently .</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>She bought it.</dialogue> </scene> <scene> <stage_direction>INT. VENICE BUNGALOW -- NIGHT</stage_direction> <scene_description>Back in her bungalow , Tracy hangs up the phone , frowning .</scene_description> <character>TRACY</character> <dialogue>They've done something stupid.</dialogue> <scene_description>Her stern father is standing there , frowning .</scene_description> <character>MR. TURNER</character> <dialogue>No surprise there.</dialogue> <character>TRACY</character> <dialogue>DAD -</dialogue> <character>MR. TURNER</character> <dialogue>I'm just saying, what kind of man stands up his fiancée the night before their wedding?</dialogue> <character>TRACY</character> <dialogue>Dad, I do n't want to hear it. I trust Doug absolutely.</dialogue> <scene_description>Mr. Turner backs off . Tracy , however , looks a bit rattled .</scene_description> </scene> <scene> <stage_direction>INT. THE COYOTE CANTINA -- NIGHT</stage_direction> <scene_description>The guys get up from the booth and head for the door , grim .</scene_description> <character>ALAN</character> <dialogue>Perfect. We just told Tracy we'd have Doug home in 13 hours, and we still have no idea where he is.</dialogue> <scene_description>They pass a DOORMAN on their way out , who 's standing with a stamp and a UV light reader .</scene_description> <character>DOORMAN</character> <dialogue>Handstamp for re - entry? Handstamp for re - entry?</dialogue> <scene_description>Everyone waves , no thanks - except for Stu , who shrugs , why not , and stops , holding out his hand .</scene_description> <character>VICK</character> <dialogue>Maybe we should go back to the hotel and -</dialogue> <character>STU</character> <dialogue>Oh my God, guys! Look!</dialogue> <scene_description>Stu holds his hand under the UV light - it 's covered in STAMPS from all the clubs they 've been to the night before ! Stu yanks up his sleeve to reveal his ENTIRE FOREARM GLOWS , completely covered with stamps ! The guys hurry back and slide their forearms under the UV light , too : they all have the same stamps ! Their eyes alight :</scene_description> <character>ALAN</character> <dialogue>It's like a map of last night!</dialogue> <scene_description>The guys look at each other , hope returning to their faces ! TITLE CARD : `` SATURDAY , 9:10 PM ''</scene_description> </scene> <scene> <stage_direction>EXT. LAS VEGAS/INT. VICK'S CAR -- NIGHT</stage_direction> <scene_description>The guys rocket down the Strip , weaving in and out of traffic ! All the stamps on Stu 's arm are now labelled in regular ink . MUSIC blares , and the mood is high .</scene_description> <character>STU</character> <dialogue>Where do you want to start?!</dialogue> <character>VICK</character> <dialogue>At the top! We hit every club we went to til someone remembers what we did with Doug!</dialogue> <character>ALAN</character> <dialogue>Nice clue, Stuey! I ca n't believe we're actually gon na pull this off!</dialogue> <scene_description>Stu grins over at the car next to them . Then he stops .</scene_description> <character>STU</character> <dialogue>Hey : is that guy wearing Doug's hat?!</dialogue> <scene_description>The guys look over to see that the DRIVER of the next car over is , in fact , wearing the DISTINCTIVE FEDORA - STYLE HAT Doug was wearing last night . The guy turns off the Strip .</scene_description> <character>VICK</character> <dialogue>Naaah, could n't be.</dialogue> <character>ALAN</character> <dialogue>Lots of people have hats like that.</dialogue> <scene_description>Stu nods , yeah , I guess . TIGHT ON : STU 'S HAND The first bar written on it is `` GhostBar . ''</scene_description> </scene> <scene> <stage_direction>INT. GHOSTBAR -- NIGHT</stage_direction> <scene_description>Chastity and the guys blow in , each with a photo of Doug -LRB- in medieval armor -RRB- from Alan 's wedding . As they move into the club , every single waiter , bartender , and busboy sees them and throws open their arms , heyyyy , remembering them ! They flash the picture of Doug to anyone who 'll look - waiters , maitre d 's , thugs , bachelorettes , fetishists , bikers , swingers , brides and grooms - but all of them shake their heads , we have no idea where Doug is .</scene_description> </scene> <scene> <stage_direction>INT. VICK'S CAR -- NIGHT</stage_direction> <scene_description>Stu crosses off `` GhostBar '' from his arm .</scene_description> </scene> <scene> <stage_direction>INT. BODY ENGLISH NIGHTCLUB -- NIGHT</stage_direction> <scene_description>The guys and Chastity enter and disperse . Again , everyone recognizes them and hugs them like returning heroes - and again , no one remembers where they were taking Doug .</scene_description> </scene> <scene> <stage_direction>INT. VICK'S CAR -- NIGHT</stage_direction> <scene_description>Stu crosses off another stamp from his arm .</scene_description> </scene> <scene> <stage_direction>EXT. PURE NIGHTCLUB -- NIGHT</stage_direction> <scene_description>The BOUNCER recognizes the guys from the night before and unclips the rope , letting them in past the immense line .</scene_description> </scene> <scene> <stage_direction>INT. TAO NIGHTCLUB -- NIGHT</stage_direction> <scene_description>The BOUNCER recognizes the guys from the night before and unclips the rope , letting them in past the immense line .</scene_description> </scene> <scene> <stage_direction>INT. ICE NIGHTCLUB -- NIGHT</stage_direction> <scene_description>The BOUNCER recognizes the guys from the night before and unclips the rope , letting them in past the immense line .</scene_description> </scene> <scene> <stage_direction>INT. VICK'S CAR -- NIGHT</stage_direction> <scene_description>The guys race through a shadier , more industrial area of town , their hopes dimming .</scene_description> <character>STU</character> <dialogue>All right, this is the last place we went, `` Chaps.''</dialogue> <scene_description>Vick rolls to a stop in front of . CHAPS NIGHTCLUB It takes a moment for the guys to realize that everyone in line is male , buff , and wearing erotic cowboy gear .</scene_description> <character>STU</character> <dialogue>You sure we came here?</dialogue> <scene_description>Then they look up at the marquee . It reads `` CHAPS : HOME OF THE GOLDEN PONY ALL MALE REVUE . ''</scene_description> <character>ALAN</character> <dialogue>The Golden Pony. That's us.</dialogue> <character>STU</character> <dialogue>Maybe I'll just wait in the car -</dialogue> <scene_description>But Vick is already shoving Stu out of the car .</scene_description> </scene> <scene> <stage_direction>INT. CHAPS NIGHTCLUB -- NIGHT</stage_direction> <scene_description>The guys walk into the massive nightclub and stop . It 's got a kitschy barn theme , and hosts 200 TOPLESS DUDES in cowboy hats and short - shorts grinding on each other .</scene_description> <character>VICK</character> <dialogue>You think we would've remembered this.</dialogue> <character>STU</character> <dialogue>Yeah, I do n't think we came here.</dialogue> <character>ALAN</character> <dialogue>Then why is your underwear nailed to the wall?</dialogue> <scene_description>The guys turn to see numerous pairs of MEN 'S UNDERWEAR nailed to the wall nearby . A sign above it reads `` CHAPS WALL OF FAME . '' We recognize Stu 's COLORADO STATE BOXERS .</scene_description> <character>STU</character> <dialogue>Those could be anybody's. Thousands of people go to Colorado State -</dialogue> <character>ALAN</character> <parenthetical>( looking more closely . )</parenthetical> <dialogue>Oh my God, are they autographed?</dialogue> <character>VICK</character> <parenthetical>( READING . )</parenthetical> <dialogue>`` Stu Pryce, 9/30/08. I Chaps!''</dialogue> <character>STU</character> <parenthetical>( realizing , stunned . )</parenthetical> <dialogue>I am so gay.</dialogue> <scene_description>Just then , a BUFF WAITER in assless chaps blows by , smiling .</scene_description> <character>WAITER</character> <dialogue>Hey, guys! Roger is backstage!</dialogue> <scene_description>The guys look at each other , eyes wide .</scene_description> <character>STU</character> <dialogue>R - Roger?</dialogue> </scene> <scene> <stage_direction>INT. CHAPS -- DANCE FLOOR</stage_direction> <scene_description>The guys move through the throng of undulating , sweaty men , uncomfortable . Alan takes Chastity 's hand tightly .</scene_description> <character>ALAN</character> <dialogue>Stay very close to me.</dialogue> <scene_description>She smiles and dances through the crowd .</scene_description> </scene> <scene> <stage_direction>INT. CHAPS -- BACKSTAGE AREA</stage_direction> <scene_description>They reach a HUGE MALE BOUNCER guarding the backstage area . He sees the guys and unclips the VELVET ROPE , kissing each of them on the cheek as they pass .</scene_description> <character>BOUNCER</character> <dialogue>How are Haylee and Kaitlin?</dialogue> <character>STU</character> <parenthetical>( totally disturbed . )</parenthetical> <dialogue>Oh. G - Good, thanks?</dialogue> </scene> <scene> <stage_direction>INT. BACKSTAGE AREA -- DRESSING ROOM DOOR</stage_direction> <scene_description>The guys reach the dressing room door and stop . They inhale .</scene_description> <character>VICK</character> <dialogue>We're going to love you either way, Stu.</dialogue> <scene_description>Stu nods , focussed , nervous , like before a big game .</scene_description> <character>ALAN</character> <dialogue>Some of my best friends are gay.</dialogue> <character>STU</character> <dialogue>Is that true?</dialogue> <character>ALAN</character> <dialogue>Not. not really? I live in Connecticut, man, we do n't even have black people yet.</dialogue> <scene_description>Stu nods , right . Then , after steeling himself , he enters .</scene_description> </scene> <scene> <stage_direction>INT. CHAPS -- DRESSING ROOM</stage_direction> <scene_description>The dressing room is packed with muscular , tan , buck - naked men , walking around , rubbing baby oil on themselves , donning chaps and codpieces , getting ready for the next show . Chastity and the guys move through the mob of beefcake , staying ridiculously close together . Vick stops at one dancer , trying not to look down at his junk :</scene_description> <character>VICK</character> <dialogue>Excuse me, friend, can you tell me where Roger is?</dialogue> <character>BEEFCAKE COWBOY</character> <dialogue>Oh, hey, Vick! Roger's over there.</dialogue> <scene_description>He points to a really hot , really naked guy with a funky mullet , stretching out in front of his mirror . The guys shuffle over to him . Vick tries to be supportive with Stu :</scene_description> <character>VICK</character> <dialogue>He's cute. I guess?</dialogue> <scene_description>Stu shrugs , yeah , I guess ? As they draw close , Roger sees them , and smiles .</scene_description> <character>ROGER</character> <dialogue>Oh! Hey guys!</dialogue> <scene_description>He hugs all of them . The guys make sure to keep their asses arched back to avoid genital contact .</scene_description> <character>ROGER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm surprised you're even walking yet, Stu.</dialogue> <character>STU</character> <parenthetical>( inhaling sharply . )</parenthetical> <dialogue>Oh my god.</dialogue> <character>VICK</character> <dialogue>Listen, man, we do n't really remember what happened last night, can you fill us in?</dialogue> <character>ROGER</character> <dialogue>Really? No memory?</dialogue> <scene_description>Stu shakes his head , wide - eyed , scared .</scene_description> <character>ROGER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Well, I must say, Stu, I'm a little hurt.</dialogue> <character>STU</character> <dialogue>Did we. you know. do anything?</dialogue> <character>ROGER</character> <dialogue>Well, duh? Yeah?</dialogue> <scene_description>The guys all freeze . A beat . Then Vick pats Stu 's shoulder , supportive .</scene_description> <character>STU</character> <dialogue>Was I. the boy or the girl?</dialogue> <character>ROGER</character> <dialogue>Oh, honey, you were everything.</dialogue> <scene_description>Stu WHIMPERS . Vick and Alan exchange a look , holy shit !</scene_description> <character>ROGER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>But you were nothing like Vick.</dialogue> <character>VICK</character> <dialogue>Wait - what?!</dialogue> <character>ROGER</character> <dialogue>I know, I'm sort of over group stuff too, but Alan insisted.</dialogue> <scene_description>Now it 's Alan 's turn to look stunned .</scene_description> <character>VICK</character> <dialogue>You insisted?! Why'd you insist?!</dialogue> <character>ALAN</character> <dialogue>I do n't know! I do n't know why I insisted!</dialogue> <character>ROGER</character> <dialogue>Actually, after the anger went away, it was really quite tender.</dialogue> <scene_description>The guys look at each other , nauseous .</scene_description> <character>STU</character> <dialogue>I'm really not sure we can be friends anymore.</dialogue> <scene_description>Finally , Chastity starts LAUGHING .</scene_description> <character>CHASTITY</character> <dialogue>Guys : he's kidding.</dialogue> <scene_description>Roger breaks into a smile and slaps five with Chastity . The guys all exhale , incredibly relieved .</scene_description> <character>VICK</character> <dialogue>Not cool, Roger. Not cool.</dialogue> <character>ALAN</character> <dialogue>So what did happen last night?</dialogue> <character>ROGER</character> <dialogue>Oh, well, you guys came in near the end of our last set, like 2ish. Doug pretty much dragged you in.</dialogue> <character>ALAN</character> <dialogue>Really? Doug did?</dialogue> <character>ROGER</character> <dialogue>Oh no, my Doug, not your Doug. Black guy, shaved head?</dialogue> <scene_description>The guys look at each other , confused .</scene_description> <character>ROGER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>He's a cake designer, he said he met you guys at some sort of birthday party at the Rio?</dialogue> <character>VICK</character> <parenthetical>( snapping his finger . )</parenthetical> <dialogue>The guy from the Jimmy Lang surveillance video.</dialogue> <scene_description>The guys nod , right .</scene_description> <character>ROGER</character> <dialogue>Anyway, for the big finale of our show, we always bring someone on stage, and, well, Stu, you volunteered pretty aggressively.</dialogue> <parenthetical>( to nearby dancer . )</parenthetical> <dialogue>Hey Dallas, do we have the video of last night's show?</dialogue> <character>STU</character> <dialogue>No! That's cool, I do n't need to see it -</dialogue> <character>VICK</character> <dialogue>We must see that video.</dialogue> <character>DALLAS</character> <dialogue>It's in the machine.</dialogue> <scene_description>Roger nods and presses PLAY on a little VCR/TV combo sitting in front of his mirror . ON THE TV a very Brokeback , Chippendale 's - style male revue starts playing . Stu GASPS . Roger fast forwards .</scene_description> <character>ROGER</character> <dialogue>You were pretty mellow at first, Stu, but once we got you into the chaps, you really came alive - oh, here it is.</dialogue> <scene_description>ON THE TV we see Stu , wearing only his `` I ROGER '' g - string and assless chaps , grinding on stage with the Golden Pony dancers . He is way fatter , paler , and hairier than the greased young studs . The guys look away , oooo .</scene_description> <character>STU</character> <dialogue>I'm a Dad, I - I do n't get to the gym as much as I'd like.</dialogue> <character>ROGER</character> <dialogue>You even taught us The Pony, which we'd never even heard of before.</dialogue> <scene_description>ON THE TV Stu gets on all fours on the stage , and eagerly gestures for the dancers to take turns `` riding '' him . Stu 's face drops .</scene_description> <character>ROGER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>And then, of course, the pièce de resistance : the Ride of the Valkyries.</dialogue> <scene_description>ON THE VIDEO Stu clutches onto Roger from behind as they ride a LAVENDER MECHANICAL BULL together . The crowd goes wild .</scene_description> <character>STU</character> <dialogue>Annnnd that would explain the searing ass pain.</dialogue> <character>ROGER</character> <dialogue>After the show, we split a couple pitchers of flirtinis, you had our stylist cut your hair like mine, and then you split.</dialogue> <character>VICK</character> <dialogue>And what time was all this?</dialogue> <character>ROGER</character> <dialogue>4:30 in the morning? 4:45?</dialogue> <character>ALAN</character> <dialogue>And our Doug was with us?</dialogue> <character>ROGER</character> <dialogue>Yeah, he had passed out by then, but you carried him out. It was all very Officer And A Gentleman.</dialogue> <scene_description>The guys look at each other , confused .</scene_description> <character>ALAN</character> <dialogue>Wait, so we left with Doug at 4:45, we got back to the hotel at 5:00, and Doug was gone by 5:30 when Chastity met back up with us?</dialogue> <character>STU</character> <dialogue>That does n't make any sense.</dialogue> <character>VICK</character> <dialogue>Did we lose him along the way?</dialogue> <character>STU</character> <dialogue>He was passed out, how far could he have gone -?</dialogue> <scene_description>Just then , Vick 's cellphone rings . The caller ID reads `` MANDALAY BAY . '' He answers :</scene_description> <character>VICK</character> <dialogue>Hello?</dialogue> </scene> <scene> <stage_direction>INT. MANDALAY BAY -- NIGHT</stage_direction> <scene_description>Atashir is on the phone at the reception desk .</scene_description> <character>ATASHIR</character> <dialogue>Mr. Lennon?</dialogue> <character>VICK</character> <dialogue>Atashir, many greetings to you.</dialogue> <character>ATASHIR</character> <dialogue>I thought you might like to know that one of our maids just found your friend, Douglas, passed out in your room.</dialogue> <scene_description>Vick 's jaw drops .</scene_description> <character>VICK</character> <dialogue>What?! Are you sure it's him?!</dialogue> <character>ATASHIR</character> <dialogue>I saw him with my own eyes. He is unconscious but breathing nicely.</dialogue> <character>VICK</character> <dialogue>Oh thank you, Atashir! You are a man of great honor! A thousand blessings upon your ancestors!</dialogue> <scene_description>Vick SLAMS his phone shut , overjoyed .</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Doug is in the room! A maid just found him! He's passed out, but he's okay!</dialogue> <character>STU</character> <dialogue>They're sure it's him?!</dialogue> <character>VICK</character> <dialogue>Atashir swears it is!</dialogue> <scene_description>The guys all laugh , a massive weight lifted .</scene_description> <character>STU</character> <dialogue>Oh thank God he's okay.</dialogue> <character>ALAN</character> <dialogue>After all this?! He's in the room?!</dialogue> <scene_description>They keep laughing and hug each other , heartfelt . Vick even hugs Roger .</scene_description> <character>VICK</character> <dialogue>I do n't even care! Hug me, you big shiny homosexual!</dialogue> </scene> <scene> <stage_direction>EXT. CHAPS -- NIGHT</stage_direction> <scene_description>Chastity and the guys bound out of Chaps , jubilant . Stu is carrying a box of TWO DOZEN VIDEOTAPES .</scene_description> <character>ALAN</character> <dialogue>That was cool of Roger to give you all the tapes of your performance.</dialogue> <character>STU</character> <dialogue>I know, if I actually was gay, I'd totally date Roger first. What a gentle soul.</dialogue> <scene_description>They get into Vick 's clunker .</scene_description> <character>VICK</character> <dialogue>How we doing on time?</dialogue> <character>ALAN</character> <parenthetical>( looking at watch . )</parenthetical> <dialogue>2:22.</dialogue> <character>VICK</character> <dialogue>We'll be in LA by dawn.</dialogue> <parenthetical>( firing up engine . )</parenthetical> <dialogue>I told you bitches this would all work out.</dialogue> <scene_description>They drive off into the night , grins all around .</scene_description> </scene> <scene> <stage_direction>EXT. THE STRIP/INT. VICK'S CAR -- NIGHT</stage_direction> <scene_description>Vick drives , Stu sits shotgun . Alan sits in the back with Chastity . The cool night air washes over them . They look happily exhausted .</scene_description> <character>ALAN</character> <dialogue>This has officially been the craziest weekend of my life.</dialogue> <parenthetical>( to Chastity . )</parenthetical> <dialogue>Thanks for all your help. You were awesome.</dialogue> <character>CHASTITY</character> <dialogue>Anything for my hubby.</dialogue> <scene_description>Alan 's smile flickers slightly .</scene_description> <character>CHASTITY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm kidding, Alan. I know last night was n't, you know, real.</dialogue> <scene_description>She looks out at Vegas as it flies by .</scene_description> <character>ALAN</character> <dialogue>I'm sorry about all this, Chastity.</dialogue> <character>CHASTITY</character> <dialogue>Jennifer.</dialogue> <character>ALAN</character> <dialogue>Beg pardon?</dialogue> <character>CHASTITY</character> <dialogue>My name is Jennifer. Jennifer Elly.</dialogue> <scene_description>Alan hesitates ; suddenly she seems a lot more . human .</scene_description> <character>ALAN</character> <dialogue>Okay, well, I'm sorry, Jennifer.</dialogue> <character>CHASTITY</character> <dialogue>Oh, do n't be. Last night was n't the first flaky decision I've ever made in my life. I mean, I am a stripper.</dialogue> <scene_description>Alan tries not to laugh . She smiles , a twinge sadly .</scene_description> <character>ALAN</character> <dialogue>Where you from?</dialogue> <character>CHASTITY</character> <dialogue>LA.. Tarzana.</dialogue> <character>ALAN</character> <dialogue>Oh yeah?</dialogue> <character>CHASTITY</character> <dialogue>Yeah. I work here on the weekends.</dialogue> <character>ALAN</character> <dialogue>You fly out every week?</dialogue> <character>CHASTITY</character> <dialogue>Yeah. I'd move, but my kid is in a great school.</dialogue> <character>ALAN</character> <dialogue>Kid?</dialogue> <character>VICK</character> <parenthetical>( aside , to Stu . )</parenthetical> <dialogue>They always have kids.</dialogue> <character>CHASTITY</character> <dialogue>I have a little girl, Sarah. She's. Well, she's everything.</dialogue> <scene_description>Chastity proudly shows Alan a photo from her purse of a cute little toddler . Alan smiles .</scene_description> <character>CHASTITY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What about you?</dialogue> <character>ALAN</character> <dialogue>No kids. Same girlfriend for 14 years. Becky.</dialogue> <scene_description>Alan shows her a photo of Becky on his cellphone .</scene_description> <character>CHASTITY</character> <dialogue>Wow, she's stunning.</dialogue> <scene_description>Stu turns around , unable to keep quiet any longer :</scene_description> <character>STU</character> <dialogue>We like you way better.</dialogue> <character>ALAN</character> <dialogue>STU!</dialogue> <scene_description>Chastity tries to stymie her laugh .</scene_description> <character>ALAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Becky is great.</dialogue> <character>STU</character> <dialogue>Becky collects teapots.</dialogue> <character>VICK</character> <dialogue>Yeah, she's a total canwego.</dialogue> <character>CHASTITY</character> <dialogue>A what?</dialogue> <character>VICK</character> <dialogue>You know, she's the girl at the party who's always like `` Can we go? Can we go?''</dialogue> <scene_description>Chastity laughs . Alan does too , shaking his head .</scene_description> <character>ALAN</character> <dialogue>She has low blood sugar.</dialogue> <character>STU</character> <dialogue>She has low fun sugar.</dialogue> <character>ALAN</character> <dialogue>Jesus, guys! This is the girl I'm going to marry!</dialogue> <parenthetical>( beat , considers . )</parenthetical> <dialogue>If, you know. she forgives me for cheating on her.</dialogue> <character>VICK</character> <dialogue>Wait : you're going to tell her?</dialogue> <character>ALAN</character> <dialogue>Of course I'm going to tell her! I could never keep something like that from her.</dialogue> <character>VICK</character> <dialogue>Dude, she still has n't forgiven me for scratching her Queensryche CD in sixth grade - she's neeeeever gon na forgive you for marrying a stripper in Vegas.</dialogue> <character>ALAN</character> <dialogue>Well, then that's just the price I'm going to have to pay.</dialogue> <scene_description>Alan looks off , stoic . Chastity pats his hand , proud .</scene_description> <character>CHASTITY</character> <dialogue>Good for you.</dialogue> <scene_description>She smiles at Alan , impressed , pulling her hair from her face . Alan looks at her anew . It 's a sweet moment .</scene_description> <character>VICK</character> <dialogue>She's gon na cut your dick off, dude.</dialogue> </scene> <scene> <stage_direction>EXT. MANDALAY BAY -- NIGHT</stage_direction> <scene_description>Lamborghini 's , Ferrari 's and Hummer limos clog the valet stand . Vick rolls up in his clunker . The guys hop out .</scene_description> <character>VICK</character> <parenthetical>( to the valet . )</parenthetical> <dialogue>Keep ` er close, Paco. We'll be right back.</dialogue> </scene> <scene> <stage_direction>INT. MANDALAY BAY -- HALLWAY -- NIGHT</stage_direction> <scene_description>Chastity and the guys hurry down the hallway to their suite . Vick unlocks their door and pushes inside .</scene_description> <character>VICK</character> <dialogue>Doug! Wake up, man!</dialogue> </scene> <scene> <stage_direction>INT. DEAN MARTIN SUITE -- NIGHT</stage_direction> <scene_description>Instead of finding Doug , however , they find KALOLO FANALUA , sitting on their couch , pissed . He 's got a huge WHITE CAST on his right arm , courtesy of the strip club bouncers .</scene_description> <character>KALOLO FANALUA</character> <dialogue>Aloha, assholes.</dialogue> <scene_description>The guys freeze .</scene_description> <character>STU</character> <dialogue>Uh - oh.</dialogue> <scene_description>The door SLAMS behind them , and they whip around to see KIKIOLANI standing in front of the door , blocking their exit . He has an identical CAST on his right arm .</scene_description> <character>STU</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Not good.</dialogue> <scene_description>Just then , a toilet FLUSHES and an immensely large man in a red suit exits the bathroom , drying his hands . We recognize him from his police photo as crime boss JIMMY LANG , 50 's .</scene_description> <character>JIMMY LANG</character> <dialogue>Oh, hello. Good to see you again.</dialogue> <character>VICK</character> <dialogue>Where is Doug?</dialogue> <character>ALAN</character> <dialogue>Listen, Mr. Lang, whatever we did last night, we are incredibly sorry -</dialogue> <character>JIMMY LANG</character> <dialogue>These your rich friends you were telling me about, Vick?</dialogue> <scene_description>Alan and Stu glance at Vick , confused .</scene_description> <character>JIMMY LANG</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Oh, you have n't told them yet? Really, that's low. Even for you.</dialogue> <character>ALAN</character> <dialogue>What's going on, Vick?</dialogue> <scene_description>Vick stammers , trying to find the words .</scene_description> <character>JIMMY LANG</character> <dialogue>Six months ago, your friend Vick borrowed some money from me at what can only be described as a very unfavorable interest rate. When the loan came due, he failed to pay me back, but he promised me that he could get the money from you guys this weekend.</dialogue> <scene_description>Alan and Stu look at Vick , shocked and hurt .</scene_description> <character>ALAN</character> <dialogue>Jesus, Vick.</dialogue> <character>STU</character> <dialogue>How could you do this to us, man? We're your best friends.</dialogue> <scene_description>Vick looks away , ashamed .</scene_description> <character>VICK</character> <dialogue>They were gon na hurt me, man.</dialogue> <character>JIMMY LANG</character> <dialogue>Well, Vick, it looks like you and your friends have some issues to discuss. In the meantime.</dialogue> <scene_description>He draws a huge , red - plated .357 MAGNUM .</scene_description> <character>JIMMY LANG</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I need my goddamn money.</dialogue> <scene_description>The guys jump back , whoa ! Vick holds up his hands :</scene_description> <character>VICK</character> <dialogue>I can get it! I can! I just -</dialogue> <character>JIMMY LANG</character> <dialogue>I've heard that before, Vick, including last night, when you so rudely skipped out on my birthday party. That's why I've taken some collateral to ensure your payment. His name is Doug.</dialogue> <scene_description>The guys all look sick .</scene_description> <character>VICK</character> <dialogue>You have Doug?</dialogue> <character>STU</character> <dialogue>Oh my God.</dialogue> <character>JIMMY LANG</character> <dialogue>If you want your friend to live, meet me at mile marker 26 off Highway 12 at dawn, and bring the money. Are we clear?</dialogue> <character>VICK</character> <dialogue>Yes! Yes.</dialogue> <scene_description>Jimmy nods and heads for the door . The Samoans follow him .</scene_description> <character>ALAN</character> <dialogue>M - M - Mr. Lang?</dialogue> <character>JIMMY LANG</character> <dialogue>Yes, Mr. Mervish?</dialogue> <character>ALAN</character> <dialogue>H - How much does Vick owe?</dialogue> <character>ALAN</character> <parenthetical>( V.O. ; CONT 'D . )</parenthetical> <dialogue>200 thousand dollars?!</dialogue> </scene> <scene> <stage_direction>INT. THE DEAN MARTIN SUITE -- MOMENTS LATER</stage_direction> <scene_description>Alan and Stu pace about the suite , beyond stressed . Vick stands , looking out the window . Chastity gets them all water .</scene_description> <character>ALAN</character> <dialogue>How the hell could you blow that kind of money?!</dialogue> <character>STU</character> <dialogue>Was it for the custard store?</dialogue> <character>ALAN</character> <dialogue>Jesus, Stu, wake up! There is no custard store! Vick was just trying to rip us off to pay back Jimmy Lang!</dialogue> <character>STU</character> <dialogue>Is that true, Vick?</dialogue> <scene_description>Vick just stares out at the city , not denying it .</scene_description> <character>STU</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Were any of your deals. real?</dialogue> <character>VICK</character> <parenthetical>( GUILTY . )</parenthetical> <dialogue>Some.</dialogue> <scene_description>Stu drops onto the couch , deeply disillusioned .</scene_description> <character>STU</character> <dialogue>Dude, I manage an Applebee's, that money meant something to me.</dialogue> <scene_description>Vick spins around , furious :</scene_description> <character>VICK</character> <dialogue>Do you really think I wanted my life to turn out like this, Stu?! Do you really think I do n't know that I'm a massive loser?! Jesus, you guys got out of high school and you just knew what to do, you went to college and got good jobs and found cool wives and made beautiful children - what do I have to show for the last decade of my life?! Nothing!</dialogue> <scene_description>Vick swats a lamp off a nearby end - table - it SMASHES against the wall ! The guys freeze . Tense silence . Vick grows emotional .</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Jesus, I'm almost 30, and the only thing I really have. the only thing I really have is you guys.</dialogue> <character>STU</character> <dialogue>Come on, Vick -</dialogue> <character>VICK</character> <dialogue>No, man, it's true! I put on a good show, but my life is so goddamn hollow and vapid and lonely, it scares me, man. I - I do n't know how much longer I can keep this scam going. And now I've gone and ruined the one good thing I had.</dialogue> <scene_description>Tears threaten in his eyes . He wipes at them , angry .</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Just. please do n't give up on me, okay? I - I do n't know what I'd do without you guys. I really do n't.</dialogue> <scene_description>Alan and Stu exchange a look . They 've never seen brash , cocky Vick this vulnerable before . Stu ca n't help but give in .</scene_description> <character>STU</character> <dialogue>Come on, man, we've been bro's since third grade, it's gon na take a lot more than money to ruin our friendship.</dialogue> <scene_description>Vick looks down , deeply touched .</scene_description> <character>STU</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What I do n't understand is why you did n't just ask me for the money. I would've given you every last cent I had, man.</dialogue> <scene_description>Tears trail down Vick 's cheeks . He crosses and gives Stu a hug . Stu hugs back , emotional .</scene_description> <character>STU</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I love you, man.</dialogue> <character>VICK</character> <dialogue>Love you too, bro. Love you too.</dialogue> <scene_description>They hug tight . For a while .</scene_description> <character>STU</character> <dialogue>Also, I banged your sister sophomore year.</dialogue> <scene_description>Vick pulls away .</scene_description> <character>VICK</character> <dialogue>What?!</dialogue> <character>STU</character> <dialogue>Sorry. Just seemed like a good time to tell you.</dialogue> <scene_description>Vick stammers at Stu , speechless .</scene_description> <character>STU</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>She had just broken up with that guy from Central, we were playing `` I Never'' at Tim Donahee's pool, one thing lead to another -</dialogue> <character>VICK</character> <dialogue>No! No. That's. that's plenty.</dialogue> <scene_description>Vick desperately tries to clear the image from his mind . Alan just frowns at his watch , stressed .</scene_description> <character>ALAN</character> <dialogue>Look, I'm glad we're all sharing, but we've got three hours to come up with 200 grand, or else.</dialogue> <scene_description>The guys nod , frowning , back on point .</scene_description> <character>ALAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'd offer to take a loan out, but it's 3 o'clock in the morning, I'm pretty sure my bank is closed.</dialogue> <character>STU</character> <dialogue>I think I can get a 20 grand cash advance on my credit card.</dialogue> <character>ALAN</character> <dialogue>So that just leaves 180 grand.</dialogue> <scene_description>The guys frown at each other .</scene_description> <character>CHASTITY</character> <dialogue>Well, it is Vegas.</dialogue> <scene_description>The guys ' eyebrows all rise , you think ? ALAN THROWING DOWN BLACKJACK AT A BLACKJACK TABLE The guys erupt in CHEERS around him , YAAA ! The dealer slides over a large pile of CHIPS . CHASTITY THROWING CRAPS AT A CRAPS TABLE Again the guys erupt ! Alan hugs Chastity . Their pile of CHIPS grows . STU YELLING `` BINGO '' AT A BINGO TABLE The guys jump up , slapping ten , YELLING ! Stu points at a table full of OLD LADIES nearby : in your face ! ALAN , STU , VICK AND CHASTITY SITTING AT A PAI GOW TABLE looking lost . Then they take their large stack of chips and quietly leave . No one knows how to play Pai Gow poker . VICK JUMPING UP FROM A WAR TABLE having just won ! Chastity and the guys aggressively hug him . Stu drinks from his glass , hands shaking , wired .</scene_description> <character>STU</character> <dialogue>Time check!</dialogue> <character>VICK</character> <parenthetical>( looking at watch . )</parenthetical> <dialogue>12 minutes.</dialogue> <character>STU</character> <dialogue>Chip check!</dialogue> <scene_description>Alan quickly counts the chips .</scene_description> <character>STU</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Faster! Come on chip check!</dialogue> <character>VICK</character> <dialogue>Dude, how many Red Bulls have you had?</dialogue> <character>STU</character> <dialogue>I stopped counting at six! I can hear my heart beating in my head!</dialogue> <scene_description>Alan finishes counting the chips - and frowns .</scene_description> <character>ALAN</character> <dialogue>Just over 100 grand.</dialogue> <scene_description>The guys wince , damn .</scene_description> <character>VICK</character> <dialogue>There's only one thing left to do.</dialogue> <scene_description>They all exchange a knowing look . $ 100,000 WORTH OF CHIPS BEING PLACED ON BLACK at a roulette table . The guys sweat , tense . Stu is insane .</scene_description> <character>STU</character> <dialogue>You sure we do n't want red?! What if the ball lands on red -!</dialogue> <character>VICK</character> <dialogue>Shut up, Stu.</dialogue> <character>ROULETTE CROUPIER</character> <dialogue>Betting is closed.</dialogue> <scene_description>The Croupier drops the ball into the wheel . It bounces , hops , spins . Vick crosses himself . Stu looks away .</scene_description> <character>STU</character> <dialogue>I ca n't watch! My heart's gon na explode! Can your heart even explode?! Because I think my heart is gon na explode! I ca n't watch!</dialogue> <scene_description>The ball lands . Dead silence .</scene_description> <character>STU</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's red, is n't it?! I knew it! Tell me it's not red!</dialogue> <character>ALAN</character> <dialogue>It's not red.</dialogue> <scene_description>Stu turns , ecstatic -</scene_description> <character>ALAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's green.</dialogue> <scene_description>The ball has stopped on green , DOUBLE ZERO . Stu clutches his chest , like he 's having a seizure . Vick inhales , grim . Alan slowly drops to his knees . Chastity closes her eyes . Their HUGE PILE OF CHIPS is raked off the table .</scene_description> </scene> <scene> <stage_direction>EXT. MANDALAY BAY -- PARKING CIRCLE -- PRE-DAWN</stage_direction> <scene_description>The guys pack their bags into Vick 's beat - up Caddy . The mood is as dark as the pre - dawn sky . When the car is loaded , Chastity takes Alan 's hands , gentle .</scene_description> <character>CHASTITY</character> <dialogue>Would you like me to come with?</dialogue> <character>ALAN</character> <dialogue>No. It might get a little dangerous. I would n't want.</dialogue> <scene_description>He trails off . Chastity nods .</scene_description> <character>CHASTITY</character> <dialogue>I'm so sorry. about everything.</dialogue> <character>ALAN</character> <dialogue>Thanks for all your help.</dialogue> <scene_description>Awkward silence . The cold desert wind blows .</scene_description> <character>CHASTITY</character> <dialogue>There's no sense. in exchanging numbers or anything. right?</dialogue> <character>ALAN</character> <dialogue>Yeah, probably not.</dialogue> <scene_description>Alan looks genuinely sad .</scene_description> <character>CHASTITY</character> <dialogue>Well. I'll always remember you as a great first husband, then.</dialogue> <scene_description>They both smile weakly .</scene_description> <character>CHASTITY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You can just send the divorce papers to the Crazy Horse or whatever.</dialogue> <scene_description>Alan nods , okay . Another awkward pause .</scene_description> <character>CHASTITY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Thanks for reminding me that there are still some really good guys out there, Alan. I do n't. I do n't get to meet too many of them.</dialogue> <scene_description>She smiles a bit sadly , kisses him on the cheek , and walks off . TIGHT ON Alan 's Grandmother 's ring still on her finger . Alan does n't remember the ring , however ; he 's too busy watching her walk out of his life , and feeling a real sense of loss . Then Vick fires up the car next to him .</scene_description> <character>VICK</character> <dialogue>We got ta go, man.</dialogue> <scene_description>Alan nods , yeah , and gets in the car .</scene_description> </scene> <scene> <stage_direction>INT. VICK'S CAR -- PRE-DAWN</stage_direction> <scene_description>Vick 's car races down a dark , abandoned desert highway . The guys look tired , stressed , and most of all , scared .</scene_description> <character>ALAN</character> <dialogue>Yep, just driving out to the middle of desert to meet some mobsters, what could possibly go wrong?</dialogue> <scene_description>The guys all frown .</scene_description> <character>STU</character> <dialogue>So what's our plan?</dialogue> <character>ALAN</character> <dialogue>I think we should tell Mr. Lang that we could n't get the money, but that, if he's amenable, we could create a payment calendar -</dialogue> <character>VICK</character> <dialogue>We're gon na give Jimmy a dummy bag of money, grab Doug, and make a run for it.</dialogue> <character>ALAN</character> <dialogue>Yes, good! What an airtight plan -!</dialogue> <character>VICK</character> <dialogue>Jimmy Lang does n't do payment calendars, Alan! Trust me : this is our only shot of getting Doug back! Left turn!</dialogue> <scene_description>Vick skids onto Highway 12 - a barely labelled dirt road . Things are quickly going from bad to worse . THE FIRST RAYS OF DAWN streaking across Venice Beach . TITLE CARD : `` SUNDAY , 6:04 AM ''</scene_description> </scene> <scene> <stage_direction>INT. VENICE BUNGALOW -- MORNING</stage_direction> <scene_description>Tracy exits her bedroom in her jammies , looking like she barely slept . Her father is up , and making breakfast .</scene_description> <character>TRACY</character> <dialogue>Any word from Doug?</dialogue> <character>MR. TURNER</character> <dialogue>Nope.</dialogue> <parenthetical>( BEAT . )</parenthetical> <dialogue>I know you do n't want to hear it, Trace, but you deserve better.</dialogue> <scene_description>Tracy frowns , overwhelmed with stress .</scene_description> <character>TRACY</character> <dialogue>I'm sure everything's fine. They're all smart, capable adults.</dialogue> <scene_description>VICK DELICATELY LAYING CASH INSIDE HIS DUFFEL BAG on top of his dirty clothing , fruitlessly trying to create the appearance of a bag full of money . He 's using some $ 20 bills , but also some $ 5 's and $ 1 's .</scene_description> <character>VICK</character> <dialogue>This all the cash we got?</dialogue> <scene_description>The guys frown at their empty wallets , yeah . We are</scene_description> </scene> <scene> <stage_direction>INT. VICK'S CAR/EXT. MOJAVE DESERT -- DAWN</stage_direction> <scene_description>The Caddy is parked next to MILE MARKER 26 in the middle of the windy desert . The Las Vegas skyline is just barely visible in the distance . Vick very delicately zips up his duffel bag so as not to disturb the bills , and places it on his lap .</scene_description> <character>ALAN</character> <dialogue>This is the dumbest plan ever.</dialogue> <character>VICK</character> <dialogue>Alan I need you positive please.</dialogue> <character>STU</character> <dialogue>Here they come.</dialogue> <scene_description>They all look up to see a WHITE YUKON approaching on the far horizon , kicking up a trail of dust . The guys tense up .</scene_description> <character>VICK</character> <dialogue>Stuart?</dialogue> <character>STU</character> <dialogue>Yeah?</dialogue> <character>VICK</character> <dialogue>There's an emergency bottle of tequila in my glove box. Get it out please.</dialogue> <scene_description>Stu opens the glovebox , pulls out a bottle of Patron . He opens it , takes a swig , then passes it to Vick , who takes a pull and passes it to Alan , who also drinks . They all watch the white Yukon draw ever closer .</scene_description> <character>ALAN</character> <dialogue>I ca n't believe this is how we're going to die.</dialogue> <scene_description>The Yukon pulls up about ten yards away . No one moves . The Yukon 's doors open . The Cadillac 's doors open . TIGHT ON the Jimmy Lang 's RED BOOT as it hits the road . TIGHT ON Vick 's LEATHER SHOE , then Alan 's SAILING TOPSIDER , then Stu 's FLIP - FLOP , as they all hit the dusty road . The two parties stand by their respective cars , facing off . Somewhere in the desert , a rattlesnake RATTLES .</scene_description> <character>JIMMY LANG</character> <dialogue>Let's see the money!</dialogue> <scene_description>Vick gently holds up his duffel bag .</scene_description> <character>VICK</character> <dialogue>Let's see Doug!</dialogue> <scene_description>Jimmy Lang nods to Kalolo , who opens the back door of the Yukon and pulls out a GUY with his hands tied behind his back and a plastic RALPH 'S BAG over his head ; he struggles a bit . The guys look a bit alarmed .</scene_description> <character>ALAN</character> <dialogue>Jesus, what'd they do to him?</dialogue> <character>VICK</character> <dialogue>Pull off the Ralph's bag!</dialogue> <scene_description>Jimmy yanks the bag off of the guy 's head to reveal IT 'S NOT DOUG It 's some black dude . Vick , Stu , and Alan look confused .</scene_description> <character>VICK</character> <dialogue>Who the hell is that?!</dialogue> <character>JIMMY LANG</character> <parenthetical>( ANNOYED . )</parenthetical> <dialogue>This is Doug!</dialogue> <scene_description>He pushes the guy forward .</scene_description> <character>ALAN</character> <dialogue>Oh my God : it's the other Doug! Roger's friend, the cake designer!</dialogue> <character>BLACK DOUG</character> <parenthetical>( to Jimmy Lang . )</parenthetical> <dialogue>I told you, man, I'm Doug Howland! I barely even know these guys!</dialogue> <character>VICK</character> <dialogue>Yeah, you got the wrong Doug, man!</dialogue> <scene_description>Jimmy Lang and the thugs look exasperated .</scene_description> <character>JIMMY LANG</character> <dialogue>You sure?!</dialogue> <character>VICK</character> <dialogue>Yeah, man, our Doug is white!</dialogue> <character>JIMMY LANG</character> <dialogue>But you were partying with this guy at my birthday thing!</dialogue> <character>VICK</character> <dialogue>I do n't know what to tell you, bro, this is n't the Doug we requested!</dialogue> <character>JIMMY LANG</character> <dialogue>Well. I apologize for the mix - up.</dialogue> <parenthetical>( drawing his HUGE GUN . )</parenthetical> <dialogue>But I'm still gon na need my money.</dialogue> <scene_description>Vick and the guys start backtracking towards their car .</scene_description> <character>ALAN</character> <dialogue>Oh my God Oh my God Oh my God.</dialogue> <character>JIMMY LANG</character> <dialogue>Do n't move, Vick.</dialogue> <scene_description>Vick freezes , duffel in hand , as Stu and Alan slink from view . Jimmy reaches Vick , gun calmly trained at his head .</scene_description> <character>JIMMY LANG</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Now please. Give me my money.</dialogue> <scene_description>All eyes on Vick , anxiously clutching the bag in his hand . Sweat beads on his brow .</scene_description> <character>JIMMY LANG</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do n't be stupid, son. You -</dialogue> <scene_description>Then Vick throws a hard left hook , SLAMMING Jimmy square in his massive stomach ! And NOTHING HAPPENS Jimmy is built like a tank . Vick freezes , oh shit . Then Jimmy PISTOL - WHIPS Vick - his lip explodes with blood and he falls to the ground .</scene_description> <character>VICK</character> <dialogue>Christ that hurts!</dialogue> <scene_description>Then Jimmy picks up the duffel bag . Hefts it . Feels wrong . He goes to open the zipper when he hears :</scene_description> <character>STU</character> <dialogue>AAAAAAAHHHHHHH!</dialogue> <scene_description>Jimmy looks up to see Stu insanely charging him like the linebacker he once was ! Jimmy raises his gun , but STU TACKLES JIMMY TO THE GROUND FIRST ! The gun flies free and they wrestle for it ! Dust flies ! BACK BY THE YUKON The two Guamians fumble for their guns - but it 's difficult with huge CASTS on their shooting hands ! ON BLACK DOUG He sees what 's going down , and , his hands tied behind his back , takes off sprinting towards Vegas ! BY THE CADDILAC Alan looks around , what should I do ?! What should I do ?! Then he spots the keys in the ignition of the car . He hops in and fires up the engine ! Just then THE TWO GUAMIANS OPEN FIRE Bullets pound into the Cadillac ! Alan ducks down , terrified , and floors the gas !</scene_description> <character>ALAN</character> <dialogue>I'm being shot at! I'm being shot at!</dialogue> <scene_description>UP AHEAD Jimmy Lang throws Stu off of him and recovers his gun , panting . He cocks it , aims it at Stu on the ground .</scene_description> <character>JIMMY LANG</character> <dialogue>I really did n't want to kill anyone TODAY -</dialogue> <scene_description>Then WHAM ! Alan drives the car into Jimmy Lang at 25mph ! The obese mobster is pitched off his feet , and lands a good ten yards away , in a heap of dust ! The guys freeze , shocked . The Guamians freeze , shocked .</scene_description> <character>ALAN</character> <dialogue>Oh my god, is he okay?!</dialogue> <character>VICK</character> <dialogue>Who cares! Go go!</dialogue> <scene_description>Alan floors the car while Stu and Vick SPRINT and DIVE in ! The caddy peels the hell out of there , kicking up rocks and dust ! The Guamians FIRE after them ! BULLETS IMPACT ALL ALL OVER CAR taking out the tail - lights , the windshield , the headrests . The guys duck down til they 're sufficiently far away . Then they sit up , amazed , out of breath .</scene_description> <character>STU</character> <dialogue>I ca n't believe you just saved my life!</dialogue> <character>VICK</character> <dialogue>I ca n't believe you just drove my car into Jimmy Lang!</dialogue> <scene_description>Alan drives , his eyes as big as saucers .</scene_description> <character>STU</character> <dialogue>He's gon na be really upset!</dialogue> <character>ALAN</character> <dialogue>Yeah, I was just thinking that!</dialogue> <scene_description>BACK ON JIMMY LANG The huge mobster lies face - down on the desert floor . His two henchmen waddle up , highly concerned .</scene_description> <character>KIKIOLANI</character> <dialogue>Boss, Boss, you okay?!</dialogue> <scene_description>Jimmy sputters into the dirt , furious .</scene_description> <character>JIMMY LANG</character> <dialogue>Find Vick. And kill him.</dialogue> </scene> <scene> <stage_direction>INT. VICK'S CAR -- DAWN</stage_direction> <scene_description>The guys race down the dusty highway in traumatized silence .</scene_description> <character>ALAN</character> <dialogue>Now can we call Tracy?</dialogue> <scene_description>Vick frowns and blots his split lip with his sleeve .</scene_description> <character>VICK</character> <dialogue>Yeah. It's probably time.</dialogue> </scene> <scene> <stage_direction>EXT. MOJAVE DESERT -- LONE PAYPHONE -- DAWN</stage_direction> <scene_description>The guys pull up at a lone , dusty payphone in the middle of the desert . They all look at the phone .</scene_description> <character>ALAN</character> <dialogue>Who wants to make the call?</dialogue> <scene_description>Beat . Then Vick reaches for his nose , odd man out . Stu and Alan immediately reach for their noses , too . It 's close .</scene_description> <character>STU</character> <dialogue>That was you!</dialogue> <character>ALAN</character> <dialogue>What?! No! I beat you by a mile!</dialogue> <character>STU</character> <dialogue>Vick, who won?!</dialogue> <character>VICK</character> <parenthetical>( FROWNING . )</parenthetical> <dialogue>Actually. I should do it. This weekend was mostly my fault. I need to Man Up.</dialogue> <scene_description>Alan looks shocked - and impressed - by Vick 's newfound sense of responsibility .</scene_description> <character>ALAN</character> <dialogue>Well, I'll be damned.</dialogue> <scene_description>Vick grabs the bottle of Patron , takes a long swig . Beat .</scene_description> <character>VICK</character> <dialogue>I still ca n't believe Stu banged my sister.</dialogue> <scene_description>Vick hands the bottle to Alan , gets out , and makes for the pay phone .</scene_description> </scene> <scene> <stage_direction>INT. BEL AIR BAY CLUB -- BRIDAL SUITE -- DAY</stage_direction> <scene_description>Tracy is putting on her makeup in the bridal suite . Her stern dad blows in .</scene_description> <character>MR. TURNER</character> <dialogue>Any word from Doug?</dialogue> <scene_description>The way he spits out `` Doug '' tells us all we need to know about how Mr. Turner feels about his future son - in - law .</scene_description> <character>TRACY</character> <dialogue>No, but I'm sure he's -</dialogue> <scene_description>Just then , Tracy 's CELL PHONE rings . She quickly answers it .</scene_description> <character>TRACY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Hello?</dialogue> <scene_description>VICK In the desert , on the pay phone , looking through his busted aviators into the rising sun .</scene_description> <character>VICK</character> <dialogue>Tracy, it's Vick.</dialogue> <character>TRACY</character> <dialogue>Hey Vick!</dialogue> <character>VICK</character> <dialogue>Listen, honey. The bachelor party got a little out of control and, well. we lost Doug.</dialogue> <character>TRACY</character> <parenthetical>( her jaw dropping . )</parenthetical> <dialogue>What?! But we're getting married in like four hours!</dialogue> <character>VICK</character> <dialogue>Yeah, that's not gon na happen.</dialogue> <scene_description>BACK IN THE CAR Alan starts to take a pull of Patron - when he freezes , realizing something ! BACK TO VICK on the phone with Tracy , being genuinely contrite .</scene_description> <character>VICK</character> <dialogue>Look, I'm really sorry, Trace. This is all my fault -</dialogue> <scene_description>Suddenly , Alan flies out of nowhere and snatches the receiver out of Vick 's hand !</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What the -?!</dialogue> <scene_description>Alan gets on the phone with Tracy , his heart racing .</scene_description> <character>ALAN</character> <dialogue>Tracy, it's Alan! Hey, Vick is just joking around! We've got Doug right here!</dialogue> <scene_description>Vick looks like : what ?!</scene_description> <character>TRACY</character> <parenthetical>( HORRIFIED . )</parenthetical> <dialogue>What kind of joke is that?!</dialogue> <character>ALAN</character> <dialogue>I know, Vick is such a prick! We'll see you at the wedding! Bye!</dialogue> <scene_description>Alan hangs up and races back to the car . Vick follows .</scene_description> <character>VICK</character> <dialogue>What are you doing?</dialogue> <character>ALAN</character> <dialogue>I know where Doug is!</dialogue> </scene> <scene> <stage_direction>INT. BRIDAL SUITE -- DAY</stage_direction> <scene_description>Tracy stands in her bridal suite . Then she just BREAKS DOWN SOBBING . Her father hurries over , concerned .</scene_description> </scene> <scene> <stage_direction>EXT. MOJAVE DESERT -- DAY</stage_direction> <scene_description>Alan floors the car back onto the 15 towards Vegas , amped !</scene_description> <character>ALAN</character> <dialogue>Remember when we saw Doug's bed impaled on the griffin thing?!</dialogue> <character>STU</character> <dialogue>Yeah, we threw it out the window.</dialogue> <character>ALAN</character> <dialogue>No : the windows do n't open, remember?!</dialogue> <character>VICK</character> <dialogue>So how did -?</dialogue> <parenthetical>( REALIZING . )</parenthetical> <dialogue>Oh my God.</dialogue> <character>STU</character> <dialogue>I do n't get it.</dialogue> <character>ALAN</character> <dialogue>And that's why we've been seeing Doug's clothes all over Vegas! He was trying to signal someone!</dialogue> <character>VICK</character> <dialogue>I do n't believe it.</dialogue> <character>STU</character> <dialogue>I - I still do n't get it -</dialogue> <character>ALAN</character> <dialogue>And it totally jives with the timeline, right?! We brought Doug back to the hotel at 5:00, he was passed out.</dialogue> <character>VICK</character> <dialogue>It's so obvious!</dialogue> <character>STU</character> <dialogue>Not. to me. so much?</dialogue> <character>VICK</character> <dialogue>How'd you figure it out?!</dialogue> <character>ALAN</character> <dialogue>The Patron, man! It reminded me of our first drink of the night!</dialogue> <character>VICK</character> <dialogue>Honestly, dude, you're a genius.</dialogue> <character>STU</character> <dialogue>CAN SOMEONE PLEASE TELL ME WHERE DOUG IS?!</dialogue> <character>VICK</character> <dialogue>He's on the roof!</dialogue> <scene_description>Stu looks confused , the roof ?</scene_description> <character>ALAN</character> <dialogue>After Doug passed out, we must've taken him up there in his bed as a prank, so he'd wake up on the roof or whatever? Then we forgot him.</dialogue> <character>VICK</character> <dialogue>And all day he's been throwing his crap off the roof, trying to signal someone to get him down!</dialogue> <character>STU</character> <dialogue>You think he's still up there?!</dialogue> <character>ALAN</character> <dialogue>Only one way to find out.</dialogue> </scene> <scene> <stage_direction>EXT. MANDALAY BAY -- DAY</stage_direction> <scene_description>The guys peel up to the valet and sprint out of the car .</scene_description> </scene> <scene> <stage_direction>INT. MANDALAY BAY -- LOBBY -- DAY</stage_direction> <scene_description>The guys race through the lobby at top speed .</scene_description> </scene> <scene> <stage_direction>EXT. MANDALAY BAY -- ROOFTOP -- DAY</stage_direction> <scene_description>The guys burst out of the steel door , onto the massive black tar roof . It 's empty .</scene_description> <character>ALAN</character> <dialogue>DOUG?! DOUG?!</dialogue> <character>VICK</character> <dialogue>WHERE ARE YOU, MAN?!</dialogue> <scene_description>But Doug is nowhere to be seen . The guys start to despair . Then . stepping out from behind an air - conditioning vent , naked except for tighty - whities , his entire body bright pink from sunburn . IS DOUG ! And he looks furious . The guys run to him , overjoyed !</scene_description> <character>ALAN</character> <dialogue>DOUG!</dialogue> <character>STU</character> <dialogue>Oh my god, I'm so glad you're okay!</dialogue> <scene_description>Before they can hug him , though , Doug holds up his hand , and whispers , nasty , parched :</scene_description> <character>DOUG</character> <dialogue>Do n't. even. talk to me.</dialogue> <scene_description>The guys stop short .</scene_description> <character>VICK</character> <dialogue>Okay, no, that's cool!</dialogue> <character>STU</character> <dialogue>Yeah, you have every right to be upset! We validate your anger!</dialogue> <scene_description>TITLE CARD : `` SUNDAY , 7:05 AM ''</scene_description> </scene> <scene> <stage_direction>EXT. MANDALAY BAY/INT. VICK'S CAR -- MORNING</stage_direction> <scene_description>The guys gingerly rush Doug , now in a Mandalay Bay bathrobe and clutching an arm - full of BOTTLED WATERS , through the hotel lobby . Alan is arguing into his cellphone . As they pass ATASHIR at his desk , Vick yells over :</scene_description> <character>VICK</character> <dialogue>Why'd you do it, sweet Atashir?! Why did you betray us?!</dialogue> <character>ATASHIR</character> <dialogue>Because they paid me. And also because you're kind of racist.</dialogue> <character>VICK</character> <dialogue>Fair enough! See you next time, you beautiful Judas!</dialogue> <scene_description>They blow out of the hotel .</scene_description> </scene> <scene> <stage_direction>EXT. MANDALAY BAY -- VALET -- CONTINUOUS</stage_direction> <scene_description>where their beatup Caddy is waiting . Alan slams his cellphone shut , frowning .</scene_description> <character>ALAN</character> <dialogue>No flights to LA with empty seats!</dialogue> <character>STU</character> <dialogue>Well, we ca n't drive! It's 350 miles to LA and the wedding starts at 10, which is in -.</dialogue> <parenthetical>( looking at watch . )</parenthetical> <dialogue>- three hours!</dialogue> <scene_description>Beat . Then Vick , Stu and Alan exchange a look . a smile slowly creeps across their faces . THE TOTALLED CADILLAC ROCKETING DOWN I - 15 Vick is at the wheel , leaning on the HORN , keeping the three - doored Caddy at 110 miles per hour . When traffic gets thick , he does n't hesitate to drive in the shoulder . In the backseat , Doug chugs bottled water , still simmering .</scene_description> <character>VICK</character> <dialogue>Look, Doug, I think I speak for everyone in the car when I say I'm really sorry about locking you on the roof of the hotel.</dialogue> <character>STU</character> <dialogue>You got ta admit, it's a pretty funny prank. I mean, up until the part when we forgot all about you.</dialogue> <scene_description>Doug just stares out at the desert in stony silence .</scene_description> <character>STU</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>He's still not talking to us.</dialogue> <character>ALAN</character> <dialogue>Totally understandable, man. Whenever you're ready.</dialogue> <scene_description>TITLE CARD : `` SUNDAY , 9:15 AM ''</scene_description> </scene> <scene> <stage_direction>EXT. BEL AIR BAY CLUB -- DAY</stage_direction> <scene_description>Workers bustle about the grand lawn of the Bel Air Bay Club , putting the last touches on the outdoor wedding site . It 's beautiful : the royal palms , the expansive views of the Pacific , the white chairs in perfect rows , the altar adorned in roses . A HARPIST begins to warm up as well - heeled GUESTS filter in , finding their seats .</scene_description> </scene> <scene> <stage_direction>INT. BEL AIR BAY CLUB -- BRIDAL SUITE -- DAY</stage_direction> <scene_description>Tracy checks her watch as a HAIRSTYLIST works on her hair . Then she checks her watch again . TITLE CARD : `` SUNDAY , 9:47 AM ''</scene_description> </scene> <scene> <stage_direction>EXT. INTERSTATE 10 -- DAY</stage_direction> <scene_description>A GARY 'S TUXEDO VAN speeds up alongside the Caddy as they fly down the 10 freeway . A very nervous TEENAGER opens the van 's sliding door and , wind whipping his face , throws a huge PACKAGE over to Alan , who stands and catches it ! Vick nods at the van driver and shouts over the wind :</scene_description> <character>VICK</character> <dialogue>I OWE YOU, NEECO!</dialogue> <scene_description>The driver gives Vick a thumbs up , and heads off . Alan rips open the package - inside are four TUXEDOS . The guys start taking off their tattered clothes .</scene_description> </scene> <scene> <stage_direction>EXT. BEL AIR BAY CLUB -- DAY</stage_direction> <scene_description>All the seats at the wedding are filled . Everyone is there . Except the Groomsmen . Or the Groom . The harpist still plays , though she 's starting to look a little pissed .</scene_description> </scene> <scene> <stage_direction>INT. BRIDAL SUITE -- DAY</stage_direction> <scene_description>Looking beautiful in her wedding gown , Tracy gazes out of the window at the perfect wedding arranged below . Then she notices guests whispering , is something wrong ? Where 's the groom ? She turns away , trying to hold it together . TITLE CARD : `` SUNDAY , 10:03 AM ''</scene_description> </scene> <scene> <stage_direction>INT. VICK'S CAR/EXT. THE 10 FREEWAY -- DAY</stage_direction> <scene_description>The guys , now in their tuxes , rocket down the freeway , primping . Alan brushes his teeth , Doug tries to comb his hair , Stu flosses , and Vick shaves with an electric razor as he weaves in and out of traffic . TITLE CARD : `` SUNDAY , 10:19 AM ''</scene_description> </scene> <scene> <stage_direction>INT. BRIDAL SUITE -- DAY</stage_direction> <scene_description>Tracy paces in the bridal suite . Then Mr. Turner enters .</scene_description> <character>MR. TURNER</character> <dialogue>I'm sorry, honey, but I think you need to seriously consider that Doug might not be coming.</dialogue> <scene_description>Tracy stops short , speechless .</scene_description> <character>MR. TURNER</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Some men just are n't cut out for this kind of commitment. I'm so sorry that this is how you had to find out -</dialogue> <scene_description>Just then , we hear a car SQUEALING UP outside .</scene_description> </scene> <scene> <stage_direction>INT. BEL AIR BAY CLUB</stage_direction> <scene_description>The Bridesmaids sit around the posh lobby , waiting , anxious . Just then , the doors blow open and VICK , ALAN , STU , AND DOUG stride inside ! Their tuxes are wrinkled , their hair is a mess , and the groom is bright pink - but they 're here .</scene_description> <character>VICK</character> <dialogue>Sorry, Mapquest took us a crazy route. We ready to do this thing?</dialogue> <scene_description>The bridesmaids sit up , stunned . TRACY AND HER FATHER walking down the aisle , arm - in - arm , as Mozart plays . Tracy looks tentative . Her father frowns , not at all happy . IN THE AUDIENCE Everyone smiles , AHHS , and snaps photos . AT THE ALTAR The groomsmen smile as well . Vick whispers to Doug :</scene_description> <character>VICK</character> <dialogue>She looks beautiful, man.</dialogue> <scene_description>Doug still does n't speak to him .</scene_description> <character>VICK</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That's cool. I get it.</dialogue> <scene_description>TRACY reaches the altar , then turns to her dad . His face is a mess of emotions . They hug .</scene_description> <character>TRACY</character> <dialogue>I love you, Daddy.</dialogue> <character>MR. TURNER</character> <dialogue>I love you too, pumpkin.</dialogue> <scene_description>Tracy 's Dad shoots Doug a nasty look before taking his seat in the first row . Then Tracy approaches Doug at the altar , and whispers to him , angry , hurt :</scene_description> <character>TRACY</character> <dialogue>Where were you? And why are you pink?</dialogue> <character>DOUG</character> <dialogue>It's a long story. All I can say is I'm so sorry. And I promise, for as long as we're married, I will never ever put you through something like this again.</dialogue> <parenthetical>( desperate , pleading . )</parenthetical> <dialogue>Can. Can you forgive me?</dialogue> <scene_description>Tracy studies his face , searching . All the guests wait with bated breath . The groomsmen wince , come on come on come on . Then , unable to be mad at Doug , Tracy smiles and kisses him . He kisses her back . The guests all SIGH in relief . The groomsmen exhale , whew . Vick and Alan covertly knock fists . The Minister clears his throat .</scene_description> <character>MINISTER</character> <dialogue>We, um, we traditionally wait til the end for the kiss?</dialogue> <scene_description>But Doug and Tracy just keep on kissing . DOUG AND TRACY STILL KISSING at the reception . The entire wedding party is applauding . CHAMPAGNE IS UNCORKED and the WEDDING BAND kicks in . We are now down on the lawn , where white tables and a dance floor have been set up . STANDING IN THE BACK OF THE RECEPTION Vick , Stu , and Alan aggressively APPLAUD and WHISTLE for the bride and the groom .</scene_description> <character>VICK</character> <dialogue>We did it, fellahs. We pulled it off.</dialogue> <character>ALAN</character> <dialogue>I never had a doubt.</dialogue> <scene_description>They LAUGH . Alan smiles , more relaxed than we 've ever seen him . They sip champagne and watch Doug and Tracy enjoy their first dance on the dance floor .</scene_description> <character>STU</character> <dialogue>You think Doug's ever going to talk to us again?</dialogue> <character>VICK</character> <dialogue>Give him time.</dialogue> <character>ALAN</character> <dialogue>Yeah. Like a decade or two -</dialogue> <scene_description>Then Stu sees someone approaching over Alan 's shoulder .</scene_description> <character>STU</character> <dialogue>Uh - oh.</dialogue> <scene_description>The guys all look over to see BECKY Alan 's girlfriend of 14 years , bearing down on them , irate .</scene_description> <character>VICK</character> <dialogue>Hey Beck -!</dialogue> <character>BECKY</character> <dialogue>Shut up, Vick! Alan, where the hell have you been?! I've been calling and calling! What, you do n't answer your phone anymore?!</dialogue> <scene_description>Alan shrinks down , back to being the chastised boyfriend .</scene_description> <character>ALAN</character> <dialogue>I - I'm so sorry, I can explain -</dialogue> <scene_description>Then there 's a WOMAN 'S VOICE behind them .</scene_description> <character>WOMAN'S VOICE</character> <dialogue>Alan?</dialogue> <scene_description>They all turn to see CHASTITY standing behind them in a very sexy , very elegant dress , her hair back . She cleans up nicely . Alan swallows , whoa .</scene_description> <character>VICK</character> <dialogue>This just got complicated.</dialogue> <character>ALAN</character> <dialogue>Jennifer?</dialogue> <scene_description>Chastity smiles that he called her by her real name .</scene_description> <character>CHASTITY</character> <dialogue>I - I know I was n't invited, but I just had to return this.</dialogue> <scene_description>She hands Alan his GRANDMOTHER 'S HOLOCAUST RING . Becky watches on , stunned .</scene_description> <character>BECKY</character> <dialogue>Okay : who the hell is this chick, and why the hell does she have your Grandmother's wedding ring?!</dialogue> <scene_description>Alan looks back and forth between Becky and Chastity . It 's the moment of truth . The fork in life 's road .</scene_description> <character>BECKY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Talk, you moron! Jesus, you're just like your mother! Talk! Who's the ho wearing my ring?!</dialogue> <scene_description>And in that moment , it all becomes so clear . Alan turns :</scene_description> <character>ALAN</character> <dialogue>She's my wife.</dialogue> <scene_description>Becky 's jaw drops . Chastity smiles slightly . Stu and Vick grin , oh shit !</scene_description> <character>ALAN</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>We do n't make each other happy anymore, Beck. And we can keep not making each other happy for another 14 years - hell, maybe even another 50 years - but let's not. Let's find people who make our hearts race. Let's be excited and fun and alive again.</dialogue> <scene_description>Alan looks at Becky , sincere , honest . Beat .</scene_description> <character>BECKY</character> <dialogue>Are you fucking kidding me?</dialogue> <scene_description>Alan shakes his head , sadly , no .</scene_description> <character>ALAN</character> <dialogue>I'm sorry, Beck. I really am.</dialogue> <parenthetical>( to Chastity . )</parenthetical> <dialogue>Can I buy you a free drink?</dialogue> <scene_description>Chastity smiles , takes his arm , and they walk off together towards the bar .</scene_description> <character>CHASTITY</character> <dialogue>We're not. actually. still married, are we?</dialogue> <character>ALAN</character> <dialogue>Let's start with dinner, and see where it goes?</dialogue> <character>CHASTITY</character> <parenthetical>( smiling warmly . )</parenthetical> <dialogue>I'd like that.</dialogue> <scene_description>BACK ON BECKY She finally recovers enough to speak :</scene_description> <character>BECKY</character> <dialogue>Alan! Alan Steven Mervish, get back here this second!</dialogue> <parenthetical>( but Alan keeps walking . )</parenthetical> <dialogue>Do n't you walk away from me, you stupid little clown! I own you! GET BACK HERE IMMEDIATELY!</dialogue> <scene_description>But Alan just keeps walking away with Chastity . Vick and Stu wave him on , go dude ! Go ! Then Becky turns on them . Beat . They both scatter , terrified . STAY WITH STU as he hurries off through the crowd . After a moment , he</scene_description> <character>VOICE</character> <dialogue>Daddy?!</dialogue> <scene_description>Stu turns to see his TWO ANGELIC DAUGHTERS in sundresses racing through the crowd towards him ! They leap into his arms , so excited to see him ! He scoops them both up .</scene_description> <character>STU</character> <dialogue>Oh, I missed you guys so much!</dialogue> <character>HAYLEE</character> <dialogue>We missed you too, daddy!</dialogue> <character>KAITLIN</character> <dialogue>You're the best dad ever!</dialogue> <scene_description>Beat . And then Stu just starts BAWLING . Tears everywhere . His lovely wife ERIN appears , harried , a diaper bag over her shoulder , and sees him crying . She rolls her eyes .</scene_description> <character>ERIN</character> <dialogue>Jesus, are you still drunk?</dialogue> <scene_description>Stu shakes his head , no , and keeps SOBBING as he pulls her into a big family hug .</scene_description> </scene> <scene> <stage_direction>INT. BEL AIR BAY CLUB -- MEN'S BATHROOM -- LATER</stage_direction> <scene_description>Vick , a cocktail in hand , his tie undone , heads into the men 's room and approaches a urinal . Then KIKIOLANI and KALOLO FANALUA walk in behind him , still in their huge arm casts , still very pissed . Vick inhales , scared .</scene_description> <character>VICK</character> <dialogue>Okay, okay, I'll go with you. Just. do n't ruin the wedding.</dialogue> <scene_description>Then JIMMY LANG enters the bathroom on RED CRUTCHES .</scene_description> <character>JIMMY LANG</character> <dialogue>I really did n't want it to end like this, Vick.</dialogue> <scene_description>Vick nods , resigned , and starts towards him . Then Jimmy extends his hand for Vick to shake .</scene_description> <character>JIMMY LANG</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Good luck.</dialogue> <character>VICK</character> <parenthetical>( totally thrown . )</parenthetical> <dialogue>Um, what?</dialogue> <character>JIMMY LANG</character> <dialogue>Your friend Alan just paid your marker. Took out a second mortgage on his house. The full 200 grand, plus medical expenses, which I thought was a classy touch.</dialogue> <scene_description>Vick looks blown away .</scene_description> <character>JIMMY LANG</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Without our friends, we are nothing, Vick. Remember that.</dialogue> <scene_description>The three injured mobsters exit . Vick remains standing there , overwhelmed , his life literally saved . VICK , STU , AND ALAN standing on the cliffs overlooking the Pacific , drinks in hand , as the wedding reception rages on behind them .</scene_description> <character>VICK</character> <dialogue>I will pay you back, you know.</dialogue> <character>ALAN</character> <dialogue>Damn straight you will!</dialogue> <scene_description>They all LAUGH .</scene_description> <character>VOICE BEHIND THEM</character> <dialogue>Okay, so what the hell happened this weekend?</dialogue> <scene_description>The guys turn to see Doug approaching , smiling . They grin as he falls in with them , looking out at the calm blue ocean .</scene_description> <character>VICK</character> <dialogue>Well, Alan married a stripper, Stu went gay, and I learned a very important life lesson from an obese hoodlum.</dialogue> <character>STU</character> <dialogue>We'll tell you the whole story when you get back from your honeymoon.</dialogue> <character>ALAN</character> <dialogue>We really are sorry, man.</dialogue> <scene_description>Doug nods , I know . Vick raises his cocktail .</scene_description> <character>VICK</character> <dialogue>To Doug and Tracy.</dialogue> <character>STU</character> <dialogue>To Doug and Tracy.</dialogue> <character>ALAN</character> <dialogue>To Doug and Tracy.</dialogue> <character>DOUG</character> <dialogue>To me and Tracy - and to being here, with my three former best friends in the world.</dialogue> <scene_description>The guys LAUGH .</scene_description> <character>DOUG</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>There's nowhere else I'd rather be right now.</dialogue> <scene_description>They nod , heartfelt , hear - hear .</scene_description> <character>DOUG</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That said, let's not get too stupid tonight, okay? I'm going on my honeymoon in 24 hours.</dialogue> <scene_description>The guys all nod reassuringly .</scene_description> <character>THE GUYS</character> <dialogue>No, no. / We'll be good. / Totally, dude.</dialogue> <scene_description>The guys exchange a sly smile , CLINK glasses , then CUT TO BLACK . THE END</scene_description> </scene> </script>

To celebrate his upcoming marriage to Tracy Garner, Doug Billings travels to Las Vegas with his best friends Phil Wenneck, Stuart "Stu" Price, and Tracy's brother Alan, in Doug's future father-in-law Sid's vintage Mercedes-Benz W111. They spend the night at Caesars Palace, where they relax in their hotel suite before celebrating with a few drinks on the hotel rooftop. The next morning, Phil, Stu, and Alan awaken to find they have no memory of the previous night. Doug is nowhere to be found, Stu's tooth is in Alan's pocket, their suite is in a state of complete disarray, a tiger is in their bathroom, a chicken is in their living room, and a baby is in the closet, whom Alan names "Carlos". They see Doug's mattress impaled on a statue outside of Caesars Palace and when they ask for their Mercedes, the valet delivers an LVPD police cruiser. Using clues to retrace their steps, the trio travel to a hospital where they discover they were drugged with Rohypnol, causing their memory loss, and that they came to the hospital from a chapel. At the chapel, they learn that Stu married a stripper named Jade, despite being in a long-term relationship with his psychotic, abusive, domineering and unfaithful girlfriend Melissa. Outside the chapel, the trio is attacked by gangsters saying they are looking for someone. They flee and visit Jade, discovering that she is the mother of the baby, whose real name is Tyler. They are then arrested by the police for stealing the police cruiser. After being told that the Mercedes has been impounded, the trio are released when they unknowingly volunteer to be targets for a taser demonstration. While driving the Mercedes, they discover a naked Chinese man named Leslie Chow in the trunk. Chow jumps out of the trunk, beats the trio up with a crowbar and flees. Alan confesses that he drugged their drinks to ensure they had a good night, believing the drug to be ecstasy. Returning to their suite, they find the boxer Mike Tyson, who orders the trio to return the tiger to his mansion immediately. Stu drugs the tiger with the remaining Rohypnol, and they drive towards Tyson's home in the Mercedes-Benz. However, the tiger awakens midway and attacks them, clawing Phil on the neck and damaging the car's interior. After pushing the car the rest of the way to the mansion, Tyson shows the trio footage of them at his house to help them locate Doug. While driving, their car is intentionally t-boned by a black Cadillac Escalade. The passengers are revealed to be the gangsters from the chapel, and their boss Chow. Chow accuses the trio of kidnapping him and stealing $80,000 that was in his purse. As the trio denies this, Chow tells them he has Doug, and threatens to kill him if his money is not returned. Unable to find Chow's $80,000, Alan, with help from Stu and Jade, uses his knowledge of card counting to win $82,400 playing Blackjack. The next morning, they meet with Chow in the desert and exchange the money, only to find that "Doug" is the black drug dealer who accidentally sold Alan Rohypnol. With the wedding set to occur in five hours, Phil calls Tracy and tells her that they cannot find Doug. When "Black Doug" mentions that, "If you take Roofies, you're more likely to end up on the floor than on the roof," Stu realizes where Doug is. The trio travels back to their hotel where they find a badly sunburned Doug on the roof. Stu, Phil, and Alan had moved him there on his mattress the night before as a practical joke, but forgot where they left him upon coming down. Doug had thrown his own mattress onto the statue, in an attempt to signal help. Before leaving, Stu makes arrangements to go on a date with Jade the following week. Jade also reveals Stu had pulled out his own tooth after Alan dared him to. With less than four hours before the wedding and with no flights to L.A. available, the four quickly drive home. Along the way, Doug reveals he has possession of Chow's original $80,000. Despite their late arrival, Doug and Tracy are married, the former learns the damaged Mercedes was a wedding gift, and Stu angrily breaks up with Melissa, having grown tired of her domineering and abusive attitude, and living with the fact she had an affair with a bartender on her cruise. As the reception ends, Alan finds Stu's digital camera containing photos of the events they can't remember, and the four agree to look at the pictures together before deleting the evidence of their exploits. All of them, except for Alan, are traumatized by what they see.

The Sweet Hereafter_1997

tt0120255

<script> <scene> <stage_direction>INT. SUMMER COTTAGE -- DAY</stage_direction> <scene_description>A young family together in bed . It is a bright summer morning . Father , mother , and a three year old girl are still asleep . They are naked . A light breeze drifts into the room . The scene is serene and softly suspended . Head credits appear over this idyllic image . The little girl turns in her sleep . A dog barks outside . CUT TO</scene_description> </scene> <scene> <stage_direction>INT./EXT. CAR WASH. -- NIGHT</stage_direction> <scene_description>From the peaceful tableau of the sleeping family , the scene shifts to a vehicle entering a car wash . The image is shot through the windshield , from the driver 's point of view . The car enters the lathered world of spinning felt wheels and gushing water . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. CAR WASH. -- NIGHT</stage_direction> <scene_description>Inside the car MITCHELL STEPHENS , a man in his mid - fifties , listens to a stirring piece of music . The sound of the car wash is filtered out by the strains of music . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. PHONE BOOTH -- NIGHT</stage_direction> <scene_description>The phone booth is located in a rundown area of a large city . A young woman , ZOE , enters the booth and lifts the receiver . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. CAR WASH. -- NIGHT</stage_direction> <scene_description>MITCHELL STEPHENS is going through the wash . The automatic mops and buffers embrace his car with water and suds . The cellular phone in the car rings . MITCHELL picks it up .</scene_description> <character>MITCHELL</character> <dialogue>Yes? Yes, I'll accept the charges.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. PHONE BOOTH -- NIGHT</stage_direction> <scene_description>ZOE is on the phone . There 's a figure outside the booth waiting for her .</scene_description> <character>ZOE</character> <dialogue>Daddy, it's me. How are you doing? That's great. Where are you? What's that sound?</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. CAR WASH. -- NIGHT</stage_direction> <scene_description>MITCHELL in his car , playing with the volume on his radio .</scene_description> <character>MITCHELL</character> <dialogue>I'm in a car wash.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. PHONE BOOTH -- NIGHT</stage_direction> <character>ZOE</character> <dialogue>A car wash! Wow, I've never talked to you when you've been in a car wash. Make sure you've got the windows closed.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. CAR WASH. -- NIGHT</stage_direction> <character>ZOE</character> <parenthetical>( over the phone . )</parenthetical> <dialogue>Remember that time we were having the car washed and I started playing with the automatic window? How old was I, Daddy? Five or six? I got absolutely soaked, remember?</dialogue> <character>MITCHELL</character> <dialogue>Why are you calling me, Zoe?</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. PHONE BOOTH -- NIGHT</stage_direction> <character>ZOE</character> <dialogue>Why am I calling you? You're my father. I'm not supposed to call you? What's the matter with wanting to talk to you, Daddy?</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. CAR WASH. -- NIGHT</stage_direction> <character>MITCHELL</character> <dialogue>Nothing's wrong with trying to talk to me, Zoe.</dialogue> <character>ZOE</character> <parenthetical>( over the phone . )</parenthetical> <dialogue>So what's the problem?</dialogue> <character>MITCHELL</character> <dialogue>The problem is I have no idea who I'm talking to right now.</dialogue> <character>ZOE</character> <parenthetical>( over the phone . )</parenthetical> <dialogue>'Cause you think I'm stoned, Daddy?'Cause you think I've got a needle stuck in my arm? Is that what you're thinking, Daddy?</dialogue> <scene_description>Pause . MITCHELL does n't respond . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. PHONE BOOTH -- NIGHT</stage_direction> <character>ZOE</character> <dialogue>Are you wondering if I scored, Daddy, and I'm calling you for money? That I'm begging? God, I do n't fucking believe it!</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. CAR WASH. -- NIGHT</stage_direction> <scene_description>MITCHELL is emotionally stunned by ZOE 'S voice . She is heard over the phone .</scene_description> <character>ZOE</character> <parenthetical>( over the phone . )</parenthetical> <dialogue>Daddy! Are you listening to me, Daddy?!</dialogue> <scene_description>The music that MITCHELL has been listening to becomes louder as he stares at the spinning felt wheels of the car wash .</scene_description> <character>ZOE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>DADDY!</dialogue> <character>MITCHELL</character> <dialogue>Yes.</dialogue> <character>ZOE</character> <dialogue>Why ca n't you talk to me?</dialogue> <character>MITCHELL</character> <dialogue>I. I just need to know what state you're in so I know. how to talk to you. how to act.</dialogue> <scene_description>MITCHELL is in pain . He closes his eyes . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. PHONE BOOTH -- NIGHT</stage_direction> <scene_description>The phone booth is deserted . ZOE is nowhere to be seen . Over this image , the sounds of a band playing a blues number . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. FAIRGROUND -- DAY</stage_direction> <scene_description>The blues number continues as the camera cranes down to the bandstand of a country fair . A local band is rehearsing . Around the practising band , various carpenters and technicians are making final preparations for that evening 's big event . One of the people watching the band is SAM BURNELL , a man in his early forties . He watches his daughter , NICOLE , as she sings into the microphone . NICOLE is sixteen . NICOLE stares at her father as she sings . ANGLE ON SAM looking back at his daughter . He is intensely proud of her . SAM is a carpenter , working on at the fair site . He gets back to his work , hammering a supporting beam into the grandstand . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. AIRPORT. WASHROOM -- AFTERNOON</stage_direction> <scene_description>CLOSE UP of a three year old girl , staring up into the lens . Her face is full of sweetness and trust . ANGLE ON MITCHELL STEPHENS in a crowded airport washroom , watching a young father , PETER , trying to change the diaper on his three year old daughter . MITCHELL stares at the little girl , his face registering a wistful smile . PETER is having a hard time trying to find the towel from the toddler 's bag and keeping an eye on her at the same time .</scene_description> <character>MITCHELL</character> <dialogue>Need a hand?</dialogue> <character>PETER</character> <dialogue>Sure, it you could find a towel in this bag. I know my wife packed one in there.</dialogue> <scene_description>MITCHELL comes forward and searches through the toddler 's bag .</scene_description> <character>MITCHELL</character> <dialogue>You always think you're prepared for these things.</dialogue> <character>PETER</character> <dialogue>Tell me about it.</dialogue> <character>MITCHELL</character> <dialogue>How old is she?</dialogue> <character>PETER</character> <dialogue>Almost three.</dialogue> <character>MITCHELL</character> <parenthetical>( finding a towel . )</parenthetical> <dialogue>Is this it?</dialogue> <character>PETER</character> <dialogue>Perfect.</dialogue> <character>MITCHELL</character> <dialogue>Here we go.</dialogue> <character>PETER</character> <dialogue>Thanks.</dialogue> <scene_description>PETER lays the towel across the counter , and dries the little girl . MITCHELL watches as PETER puts a new diaper on her . The toddler stares up at MITCHELL , her eyes are playful . MITCHELL stares at the girl 's face . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. CAR WASH. -- NIGHT</stage_direction> <scene_description>TIME CUT back to MITCHELL honking the horn of his car , trying to get someone 's attention . No response . MITCHELL picks up his cell phone , and dials the operator .</scene_description> <character>MITCHELL</character> <dialogue>Yes, operator, I'm in a strange situation. I'm calling from my car, and I appear to be stuck in a car wash. A car wash, yes. Is there anyway you could. Hello? Hello?</dialogue> <scene_description>The line has died . MITCHELL searches for an umbrella , finds one , and tries to get out of the car without getting soaked . ANGLE ON MITCHELL as he leaves the car , trying to protect himself from the onslaught of water with his umbrella . He is immediately soaked by a large mop . The camera watches MITCHELL as he makes his way towards light at the end of the wash . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. CAR WASH. -- NIGHT</stage_direction> <scene_description>MITCHELL walks into the office of the car wash . No one is there . There is an ominous buzz coming from another room . MITCHELL moves towards the garage of the car wash/auto repair establishment . He moves into a larger room , full of discarded auto parts . The buzzing noise is coming from an electric guitar , which has been left on , and is on the verge of screeching feedback . Someone was just here . They are nowhere to be seen .</scene_description> <character>MITCHELL</character> <dialogue>Hello?</dialogue> <scene_description>No response . MITCHELL picks up the guitar , which begins to produce a terrifying electronic feedback . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. FAIRGROUND -- DAY</stage_direction> <scene_description>SAM and NICOLE wander through the fairground . Various rides and concession stands are being set up . SAM has his arm around NICOLE .</scene_description> <character>SAM</character> <dialogue>That was great.</dialogue> <character>NICOLE</character> <dialogue>Really?</dialogue> <character>SAM</character> <dialogue>You're going to blow everyone away.</dialogue> <character>NICOLE</character> <dialogue>You mean it?</dialogue> <character>SAM</character> <dialogue>Of course.</dialogue> <character>NICOLE</character> <dialogue>You do n't sound like one hundred percent absolutely sure.</dialogue> <character>SAM</character> <dialogue>I am. Really. It was awesome.</dialogue> <scene_description>NICOLE assesses SAM . Sensing his sincerity , she throws her arms around him in a gesture of unabashed excitement .</scene_description> <character>NICOLE</character> <dialogue>I'm so happy, Daddy.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. BIDE-A-WILE MOTEL -- DUSK</stage_direction> <scene_description>MITCHELL STEPHEN 'S car pulls into the parking lot of this run - down roadside motel . In the fading light , a magnificent mountain range is seen in the background . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BIDE-A-WILE MOTEL -- EVENING</stage_direction> <scene_description>MITCHELL enters the reception area , and rings a bell on the desk . After a few moments RISA WALKER appears . She is an exhausted looking woman in her mid - thirties , once attractive but very run - down . RISA stares at MITCHELL 'S soaked clothes .</scene_description> <character>MITCHELL</character> <dialogue>Hello.</dialogue> <character>RISA</character> <dialogue>Is it raining outside?</dialogue> <character>MITCHELL</character> <dialogue>No, I. had an accident.</dialogue> <scene_description>Pause . RISA stares at MITCHELL , her expression somewhere else .</scene_description> <character>MITCHELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do you have a room?</dialogue> <character>RISA</character> <dialogue>Will you be spending more than a night?</dialogue> <character>MITCHELL</character> <dialogue>Hard to say. I might have. some business here.</dialogue> <scene_description>A voice is heard from the darkness beyond the desk .</scene_description> <character>WENDELL</character> <dialogue>Are you a reporter?</dialogue> <character>MITCHELL</character> <dialogue>No.</dialogue> <scene_description>WENDELL WALKER , RISA 'S husband , appears from the darkness .</scene_description> <character>WENDELL</character> <dialogue>You here about the accident?</dialogue> <scene_description>MITCHELL stares at WENDELL 'S haunted eyes , then looks back at RISA . He immediately knows their story .</scene_description> <character>MITCHELL</character> <dialogue>Yes. I'm a lawyer. I realize this is an awful time, but it's important that we talk.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. FAIRGROUND -- DAY</stage_direction> <scene_description>A group of men are setting up the ferris wheel for the country fair . SAM and NICOLE walk into the shot , eating ice cream cones . SAM waves at someone he recognizes in the distance .</scene_description> <character>SAM</character> <dialogue>Let's sit down.</dialogue> <scene_description>NICOLE nods , her mind elsewhere . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. FAIRGROUND -- DAY</stage_direction> <scene_description>SAM and NICOLE are sitting at an outside table , finishing their cones . A school bus pulls up into the fairground . NICOLE watches as young children spill out of the bus and gather outside . NICOLE smiles at this scene . SAM notices , turns around to see the children , then turns back to NICOLE .</scene_description> <character>SAM</character> <dialogue>What's so funny?</dialogue> <character>NICOLE</character> <dialogue>Just the way Dolores gets so excited about bringing the kids to check out the animals. It's like the biggest thing in her life.</dialogue> <scene_description>ANGLE ON DOLORES DRISCOLL , a warm and cheery woman in her forties , leading the young children into the large exhibition barn on the fair site .</scene_description> <character>DOLORES</character> <dialogue>Alright, kids. I want you all to listen to me. Rule number one No one is allowed to stick their fingers into the cages. I do n't care how cute some of these animals may be, the fact is they do n't like being here, no matter how many ribbons some of them have won.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BIDE-A-WILE MOTEL -- EVENING</stage_direction> <scene_description>MITCHELL STEPHENS is having a meeting with WENDELL and RISA WALKER in their livingroom behind the reception area . MITCHELL has a pad of paper and is taking notes .</scene_description> <character>WENDELL</character> <dialogue>Kyle Lambston's a drunk. Nobody likes him. He's a nasty piece of work.</dialogue> <character>MITCHELL</character> <dialogue>In what way?</dialogue> <character>WENDELL</character> <dialogue>Been drinking since high school. Fucked himself up. Used to be smart enough.</dialogue> <character>MITCHELL</character> <dialogue>Any criminal record?</dialogue> <character>WENDELL</character> <dialogue>Probably half a dozen traffic convictions. Drunk driving. Lost his licence. That's why he do n't work no more.</dialogue> <character>WENDELL</character> <dialogue>Ca n't get off that shitty dump they live on. What little money comes in goes to booze.</dialogue> <character>MITCHELL</character> <dialogue>How does the family survive?</dialogue> <character>WENDELL</character> <dialogue>Do n't know. Food banks, welfare, church charity. They scrape by.</dialogue> <scene_description>MITCHELL looks at RISA , who has remained silent .</scene_description> <character>MITCHELL</character> <dialogue>What about Doreen?</dialogue> <character>RISA</character> <dialogue>She. she was a friend of mine.</dialogue> <character>MITCHELL</character> <dialogue>When?</dialogue> <character>RISA</character> <dialogue>At school. She fell for Kyle just before we graduated. Got pregnant, and. went to live in a trailer up on a woodlot Kyle's dad used to own. Kyle started spending more and more time at the Spread Eagle.</dialogue> <character>MITCHELL</character> <dialogue>That's the local bar?</dialogue> <character>RISA</character> <parenthetical>( nodding . )</parenthetical> <dialogue>. coming home drunk and I guess feeling trapped by his life and blaming her for that. and.</dialogue> <scene_description>RISA hesitates .</scene_description> <character>WENDELL</character> <dialogue>Taking it out on her.</dialogue> <scene_description>MITCHELL stops taking notes , and looks at the WALKERS .</scene_description> <character>MITCHELL</character> <dialogue>He beat her?</dialogue> <scene_description>RISA nods . MITCHELL crosses the LAMBSTONS off of his list . He looks up at RISA and WENDELL .</scene_description> <character>MITCHELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You see, to do this right, to actually have a chance at winning - of getting some money to compensate you for the loss of your boy - we need folks like you. Sensitive, loving parents. People with no criminal background or history of trouble in town. Do you understand?</dialogue> <scene_description>The WALKERS nod .</scene_description> <character>MITCHELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Now, of all these parents you've told me about whose kids were killed, who would you consider to be good upstanding neighbors?</dialogue> <scene_description>RISA stares hard at MITCHELL .</scene_description> <character>RISA</character> <dialogue>What do you mean?</dialogue> <character>MITCHELL</character> <dialogue>People who will help our cause.</dialogue> <scene_description>Pause .</scene_description> <character>RISA</character> <dialogue>Well, there's the Hamiltons. Joe and Shelly Hamilton.</dialogue> <character>WENDELL</character> <parenthetical>( caustically . )</parenthetical> <dialogue>Yeah, right.</dialogue> <scene_description>Beat . MITCHELL looks at WENDELL , waiting for an explanation .</scene_description> <character>WENDELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I mean, everyone knows Joey steals antiques from summer cottages. Resells them to dealers in the city. He's been doing that for years.</dialogue> <scene_description>MITCHELL regards WENDELL with a slight smile of admiration .</scene_description> <character>MITCHELL</character> <dialogue>That's great, Wendell. That's the sort of thing I need to know. So it does n't come back to haunt our case later on.</dialogue> <character>RISA</character> <dialogue>There's the Prescots.</dialogue> <character>WENDELL</character> <dialogue>That sonofabitch owes thousands to the bank and half the businesses in town. He's about to lose his house and car.</dialogue> <character>RISA</character> <dialogue>But Charlene.</dialogue> <character>WENDELL</character> <dialogue>Charlene's over at the Spread Eagle every other night. Sleeps with whatever she can get her hands on. She'll go down for a pat on the head and a fistful of peanuts.</dialogue> <scene_description>MITCHELL is taking notes .</scene_description> <character>WENDELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do n't even think of the Bilodeaus or the Atwaters. They're all inbred.</dialogue> <character>RISA</character> <dialogue>The Ottos.</dialogue> <scene_description>Pause . MITCHELL waits . No response from WENDELL .</scene_description> <character>MITCHELL</character> <dialogue>Tell me about the Ottos.</dialogue> <character>RISA</character> <dialogue>Wanda and Hartley. They lost Bear. He was their adopted son. A beautiful boy. Indian.</dialogue> <character>MITCHELL</character> <dialogue>Indian?</dialogue> <character>RISA</character> <dialogue>Yes.</dialogue> <character>MITCHELL</character> <dialogue>That's good. Judges like adopted Indian boys. Tell me more about the Ottos.</dialogue> <scene_description>As RISA talks , MITCHELL takes notes .</scene_description> <character>RISA</character> <dialogue>They're smart. Been to college. They moved here from the city about a dozen years ago.</dialogue> <character>MITCHELL</character> <dialogue>What do they do?</dialogue> <character>RISA</character> <dialogue>Crafts.</dialogue> <character>MITCHELL</character> <dialogue>Crafts?</dialogue> <character>RISA</character> <dialogue>Wanda does these photographic things. That's one of her pictures on the wall.</dialogue> <character>WENDELL</character> <dialogue>Yeah, well, they probably smoke weed.</dialogue> <character>RISA</character> <dialogue>You do n't know that.</dialogue> <character>MITCHELL</character> <dialogue>Have they ever been busted?</dialogue> <character>RISA</character> <dialogue>No.</dialogue> <character>WENDELL</character> <dialogue>You do n't know is what you mean.</dialogue> <scene_description>MITCHELL regards the tension between RISA and WENDELL as he continues to make notes . MITCHELL 'S cell phone rings . He answers it .</scene_description> <character>MITCHELL</character> <dialogue>Yes, I'll accept the charges.</dialogue> <scene_description>MITCHELL stands up .</scene_description> <character>MITCHELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Do you mind if I step outside for a moment? It's a private call.</dialogue> <scene_description>The WALKERS nod as MITCHELL moves outside . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. BIDE-A-WILE MOTEL -- DUSK</stage_direction> <scene_description>MITCHELL speaks into his cellular phone .</scene_description> <character>MITCHELL</character> <dialogue>Zoe. Zoe, where are you?</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. AIRPLANE. FIRST CLASS CABIN -- DAY</stage_direction> <scene_description>A newscaster is giving a report on the television screen of a first class airplane cabin . The image is silent . This scene takes place two years after the accident . MITCHELL STEPHENS is playing with his headset , which does n't seem to be working . He summons a STEWARDESS over .</scene_description> <character>MITCHELL</character> <dialogue>I'm not getting any sound.</dialogue> <scene_description>The STEWARDESS checks the headset and confirms the problem .</scene_description> <character>STEWARDESS</character> <dialogue>I'll find you another pair.</dialogue> <scene_description>The STEWARDESS leaves . A young woman seated beside MITCHELL hands him her headset .</scene_description> <character>ALISON</character> <dialogue>You can have mine.</dialogue> <scene_description>MITCHELL takes ALISON 'S headset . Their eyes lock for a moment .</scene_description> <character>ALISON</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Yes, we do know each other. I'm Alison Jones.</dialogue> <character>MITCHELL</character> <dialogue>Alison Jones.</dialogue> <character>ALISON</character> <dialogue>I was a friend of Zoe's. We went to school together. I used to come to your house.</dialogue> <character>MITCHELL</character> <parenthetical>( pretending to remember . )</parenthetical> <dialogue>Yes.</dialogue> <character>ALISON</character> <dialogue>Ally. That was my nickname.</dialogue> <character>MITCHELL</character> <dialogue>Ally. That's right.</dialogue> <character>ALISON</character> <dialogue>How are you?</dialogue> <character>MITCHELL</character> <dialogue>I'm just fine, Ally. What about you?</dialogue> <character>ALISON</character> <dialogue>I'm fine. Still working with my father.</dialogue> <character>MITCHELL</character> <dialogue>And what does he do again?</dialogue> <character>ALISON</character> <dialogue>He used to work with you. Until you found out he was having an affair with your wife.</dialogue> <scene_description>Pause . MITCHELL finally remembers ALISON JONES .</scene_description> <character>MITCHELL</character> <dialogue>Ally Jones.</dialogue> <character>ALISON</character> <dialogue>How is Mrs. Stephens?</dialogue> <character>MITCHELL</character> <dialogue>We're. not together.</dialogue> <character>ALISON</character> <dialogue>I'd heard that. But she's well?</dialogue> <character>MITCHELL</character> <dialogue>Yes. fine.</dialogue> <character>ALISON</character> <dialogue>And Zoe? How's Zoe?</dialogue> <scene_description>Pause . The STEWARDESS comes back with a new headset . She notices the set that ALISON has given him .</scene_description> <character>STEWARDESS</character> <dialogue>Oh, you've beaten me to it.</dialogue> <scene_description>The STEWARDESS hands the headset to ALISON .</scene_description> <character>STEWARDESS</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Here.</dialogue> <scene_description>The camera has remained fixed on MITCHELL 'S face . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. ROADSIDE -- MORNING</stage_direction> <scene_description>WANDA and HARTLEY OTTO are waiting for the school bus with their adopted son BEAR . The bus arrives , and the door opens to reveal DOLORES DRISCOLL , who is driving .</scene_description> <character>DOLORES</character> <dialogue>Good morning, Wanda. Hi, Hartley.</dialogue> <character>WANDA</character> <dialogue>Hi, Dolores.</dialogue> <scene_description>DOLORES watches as WANDA and HARTLEY OTTO affectionately say goodbye to their boy . WANDA gives BEAR a photograph , which has strong psychedelic influences . BEAR shows it proudly to DOLORES .</scene_description> <character>WANDA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>What do you think?</dialogue> <character>DOLORES</character> <dialogue>Well, it's certainly what you'd call interesting.</dialogue> <character>WANDA</character> <parenthetical>( laughing . )</parenthetical> <dialogue>You hate it.</dialogue> <character>DOLORES</character> <dialogue>I did n't say that.</dialogue> <character>WANDA</character> <dialogue>I could wrap it up. Protect the other kids.</dialogue> <character>DOLORES</character> <dialogue>I'll just strap it on the roof.</dialogue> <character>WANDA</character> <dialogue>It's for the school bazaar.</dialogue> <character>DOLORES</character> <dialogue>Oh, it's bizarre alright. C'mon Bear. Let's get you out of here.</dialogue> <character>WANDA</character> <dialogue>Away from your crazy Mom.</dialogue> <character>DOLORES</character> <parenthetical>( voice over . )</parenthetical> <dialogue>The Ottos always waited for the bus with Bear. They were the only parents who did that, together like that. I guess they're what you might call hippies.</dialogue> <character>MITCHELL</character> <parenthetical>( voice over . )</parenthetical> <dialogue>What do you mean by that, Mrs. Driscoll?</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. DOLORES'S HOUSE -- DAY</stage_direction> <scene_description>DOLORES and MITCHELL are in the modest livingroom of DOLORES 'S house . The conversation continues from the previous voice over . In the corner of the room sits ABBOTT , DOLORES 'S husband . ABBOTT has suffered a massive stroke , and seems to be completely paralyzed . His presence , however , is intense and powerful . MITCHELL frequently looks over to ABBOTT during his conversations with DOLORES . ABBOTT is always watching him like a hawk , making MITCHELL uneasy .</scene_description> <character>DOLORES</character> <dialogue>Dolores. No one calls me ` Mrs. Driscoll'.</dialogue> <character>MITCHELL</character> <dialogue>What do you mean by that, Dolores?</dialogue> <character>DOLORES</character> <dialogue>About the Ottos?</dialogue> <character>MITCHELL</character> <dialogue>Yes. What do you mean by ` hippies'?</dialogue> <character>DOLORES</character> <dialogue>I mean, the way they look. Their hair and clothing.</dialogue> <character>MITCHELL</character> <dialogue>Do they have any reputation for drugs?</dialogue> <character>DOLORES</character> <dialogue>No, nothing like that. The Ottos are what I'd call model citizens. They're regular at town meetings. They give their opinions in a respectful way. They always help out at various fund - raising bazaars in town, though they are n't church goers.</dialogue> <character>MITCHELL</character> <dialogue>And they loved Bear.</dialogue> <character>DOLORES</character> <dialogue>Oh yes. Like I said, they always came out together to see him off to school. It's like he was their little treasure. He was such a beautiful boy. That's a picture of him on the wall there, behind Abbott.</dialogue> <scene_description>MITCHELL turns around to find the picture of BEAR . It is right behind ABBOTT 'S head , so MITCHELL has to divide his attention between the cute PHOTOGRAPH of BEAR clutching a prize rabbit at last year 's county fair , and ABBOTT 'S glaring eyes . ANGLE ON The PHOTOGRAPHS of various children with their pets . Some have ribbons .</scene_description> <character>DOLORES</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( voice over . )</parenthetical> <dialogue>Those are all from the fair last year. Abbott and me were judges at the pet show.</dialogue> <character>MITCHELL</character> <dialogue>For rabbits?</dialogue> <character>DOLORES</character> <parenthetical>( nodding . )</parenthetical> <dialogue>Abbott used to breed them'til he had the stroke. Bear won first prize. Just look at the smile on his face.</dialogue> <character>DOLORES</character> <dialogue>He was one of those children that bring out the best in people. He would have been a wonderful man.</dialogue> <scene_description>ANGLE ON MITCHELL as he stares at the photo of BEAR . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL BUS -- MORNING</stage_direction> <scene_description>The camera is outside the bus , looking at BEAR as he finishes waving to his parents . ANGLE ON BEAR 'S P.O.V. of WANDA and HARTLEY disappearing as the bus pulls away . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL BUS -- MORNING</stage_direction> <scene_description>The camera moves inside the crowded bus , peering at the childrens ' activity as they play with each other in the bus . ANGLE ON JESSICA and MASON ANSEL are seated at the back of the bus , looking out the rear window , waving at someone . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL BUS -- MORNING</stage_direction> <scene_description>JESSICA and MASON are seen waving at . BILLY ANSEL , driving behind them in his pick up truck . He waves back at his children .</scene_description> <character>DOLORES</character> <parenthetical>( voice over . )</parenthetical> <dialogue>Billy Ansel started honking at us up around Upper Hat Creek. He always started to do that when he caught up to the bus. He'd wave at his kids, Jessica and Mason, who always sat at the back. Normally, he followed us the whole distance over the ridge towards the school.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. DOLORES'S HOUSE -- DAY</stage_direction> <scene_description>The conversation between MITCHELL and DOLORES continues from the previous scene .</scene_description> <character>MITCHELL</character> <dialogue>So Billy was driving behind the bus at the time of the accident?</dialogue> <scene_description>DOLORES nods . Her expression is distant .</scene_description> <character>DOLORES</character> <dialogue>Billy loved to see his kids in the bus. They always sat in the back, so they could wave to each other. It comforted him.</dialogue> <character>MITCHELL</character> <dialogue>From what?</dialogue> <character>DOLORES</character> <parenthetical>( confused . )</parenthetical> <dialogue>From what?</dialogue> <character>MITCHELL</character> <dialogue>Did he have any particular problems that you knew of? Financial pressures. run - ins with the law.</dialogue> <character>DOLORES</character> <dialogue>No, nothing like that. Billy's wife, Lydia, died of cancer a few years ago. He took over raising the children by himself. It was obvious how much he missed Lydia.</dialogue> <character>MITCHELL</character> <dialogue>You talked about it?</dialogue> <character>DOLORES</character> <dialogue>No.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>I saw it on his face.</dialogue> <scene_description>Pause . DOLORES stares at MITCHELL . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. BILLY'S PICK-UP -- MORNING</stage_direction> <scene_description>Through the windshield , the camera fixes on BILLY 'S face as he stares at his children . ANGLE ON Inside the cab of his pick up , BILLY dials a number on his cell phone . He continues to wave at his children as he speaks into the phone .</scene_description> <character>BILLY</character> <parenthetical>( into the phone . )</parenthetical> <dialogue>Hi. Can you talk? I'm on my way to work. I'm waving at them now. What's that noise?</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. BIDE-A-WILE MOTEL -- MORNING</stage_direction> <scene_description>RISA is on a cordless phone . She has just finished cleaning a room . WENDELL is hammering in the background .</scene_description> <character>RISA</character> <dialogue>Wendell's working on the roof. He thinks he's fixing a leak. As far as I'm concerned he's just punching in a few new holes.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BILLY'S PICK-UP -- MORNING</stage_direction> <scene_description>BILLY smiles as he continues the conversation .</scene_description> <character>BILLY</character> <dialogue>Nicole's coming over to look after the kids tonight. She'll be there around six.</dialogue> <character>RISA</character> <dialogue>Billy, that's too early.</dialogue> <character>BILLY</character> <dialogue>She said she's got to be home by nine.</dialogue> <character>RISA</character> <dialogue>Ca n't you make it later?</dialogue> <character>BILLY</character> <dialogue>Look, I'll be waiting in the room. You get over as soon as you can. Okay?</dialogue> <character>RISA</character> <dialogue>I guess.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. ROAD. -- MORNING</stage_direction> <scene_description>HELICOPTER AERIAL SHOT The bus and the pick - up are travelling through a beautiful mountain pass . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. AIRPLANE. FIRST CLASS CABIN -- DAY</stage_direction> <scene_description>MITCHELL continues his conversation with ALISON as they eat dinner .</scene_description> <character>ALISON</character> <dialogue>I'm glad to hear that Zoe's okay.</dialogue> <character>MITCHELL</character> <dialogue>Are you still in touch?</dialogue> <character>ALISON</character> <dialogue>Not really. The last time I saw her was at that clinic. That was a long time ago.</dialogue> <character>MITCHELL</character> <dialogue>Which one?</dialogue> <character>ALISON</character> <dialogue>Which one?</dialogue> <character>MITCHELL</character> <dialogue>Which clinic?</dialogue> <character>ALISON</character> <dialogue>I do n't remember the name. It was near a beach.</dialogue> <character>MITCHELL</character> <dialogue>Sunnyridge. That was a long time ago.</dialogue> <scene_description>Beat . ALISON proceeds cautiously .</scene_description> <character>ALISON</character> <dialogue>So there were others?</dialogue> <character>MITCHELL</character> <parenthetical>( as he eats . )</parenthetical> <dialogue>Other clinics? Oh sure. Clinics, half - way houses, treatment centers, detox units.</dialogue> <character>ALISON</character> <dialogue>Then. when did she get better?</dialogue> <character>MITCHELL</character> <dialogue>She did n't.</dialogue> <character>ALISON</character> <dialogue>But you said.</dialogue> <character>MITCHELL</character> <dialogue>That's where I'm going. To see her.</dialogue> <character>ALISON</character> <dialogue>She's in trouble?</dialogue> <character>MITCHELL</character> <dialogue>Yes.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Do you find there's something strange about this meat?</dialogue> <scene_description>ALISON stares at her plate . MITCHELL summons the STEWARDESS .</scene_description> <character>STEWARDESS</character> <dialogue>Some more wine?</dialogue> <character>MITCHELL</character> <dialogue>I'm afraid this meat is overdone.</dialogue> <character>STEWARDESS</character> <dialogue>I'm sorry about that, Mr. Stephens. Would you like to try the fish?</dialogue> <character>MITCHELL</character> <dialogue>What is it?</dialogue> <character>STEWARDESS</character> <dialogue>Poached salmon.</dialogue> <scene_description>MITCHELL considers this . He is polite , but slightly edgy .</scene_description> <character>MITCHELL</character> <dialogue>Do you have a cold plate?</dialogue> <character>STEWARDESS</character> <dialogue>We do.</dialogue> <character>MITCHELL</character> <dialogue>Is there shrimp on it?</dialogue> <character>STEWARDESS</character> <dialogue>Yes.</dialogue> <character>MITCHELL</character> <dialogue>If you could pick the shrimp off, as well as anything that touches the shrimp.</dialogue> <character>STEWARDESS</character> <parenthetical>( smiling . )</parenthetical> <dialogue>I'm not sure if that will leave much on the plate.</dialogue> <character>MITCHELL</character> <dialogue>Well, let's see what we get.</dialogue> <scene_description>The STEWARDESS leaves with MITCHELL 'S food . MITCHELL gets up .</scene_description> <character>MITCHELL</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( to ALISON . )</parenthetical> <dialogue>If you could excuse me for a moment.</dialogue> <scene_description>ALISON nods . MITCHELL leaves . ALISON picks at her meat undecidedly . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. AIRPLANE. FIRST CLASS CABIN -- DAY</stage_direction> <scene_description>In the mirror of the tiny washroom of the plane , MITCHELL washes some water on his face . He stares at his reflection in the mirror . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. THE OTTOS HOUSE. -- DAY</stage_direction> <scene_description>MITCHELL approaches the house of HARTLEY and WANDA OTTO . He gets out of his car and knocks on the door . WANDA OTTO answers . She has been crying . The two stare at each other .</scene_description> <character>MITCHELL</character> <dialogue>Mrs. Otto, my name is Mitchell Stephens. The Walkers told me you might be willing to talk to me.</dialogue> <scene_description>Pause .</scene_description> <character>MITCHELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm sorry for coming over unannounced like this, Mrs. Otto, but the Walkers said you would understand. I know it's an awful time, but it's important that we talk.</dialogue> <character>WANDA</character> <dialogue>Who are you?</dialogue> <character>MITCHELL</character> <dialogue>I'm a lawyer.</dialogue> <character>WANDA</character> <dialogue>You ca n't come here.</dialogue> <character>MITCHELL</character> <dialogue>Please, let me explain. I'll only take a moment of your time.</dialogue> <character>WANDA</character> <dialogue>No.</dialogue> <character>MITCHELL</character> <dialogue>Please.</dialogue> <scene_description>WANDA pauses , stares at MITCHELL , then lets him in . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. THE OTTOS HOUSE. -- DAY</stage_direction> <scene_description>MITCHELL walks into the OTTO residence . It is a large two - storey space divided into several smaller chambers with sheets of brightly colored cloth - tie - dyes and Indian madras - that hang from wires . On a low brick platform in the centre of the main chamber is a large wood - burning stove . A few feet from the stove , sitting on an overstuffed cushion , is HARTLEY OTTO . HARTLEY is listening to music on his headphones . He is very stoned . WANDA moves over , and pulls the headphones off her husband 's head .</scene_description> <character>WANDA</character> <dialogue>We have a guest. What did you say your name was?</dialogue> <character>MITCHELL</character> <dialogue>Mitchell Stephens.</dialogue> <scene_description>MITCHELL hands them a card . HARTLEY reads it with deliberation .</scene_description> <character>WANDA</character> <dialogue>The Walkers sent him by.</dialogue> <scene_description>HARTLEY rises up . He stares at MITCHELL . A tense pause .</scene_description> <character>HARTLEY</character> <dialogue>You want a cup of tea or something?</dialogue> <character>MITCHELL</character> <dialogue>A cup of tea would be nice.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Would it be alright if I sit down for a few minutes, Mrs. Otto? I want to talk to you.</dialogue> <scene_description>WANDA stares at MITCHELL . No response . MITCHELL waits a beat , then seats himself rather uncomfortably on a large pillow . He is unsure whether to cross his legs , or fold them under his chin .</scene_description> <character>MITCHELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>The Walkers spoke very highly of you.</dialogue> <character>WANDA</character> <dialogue>You've been retained?</dialogue> <character>MITCHELL</character> <dialogue>Yes.</dialogue> <character>WANDA</character> <dialogue>Their child died, and they got a lawyer.</dialogue> <scene_description>Pause . MITCHELL assesses WANDA 'S energy .</scene_description> <character>MITCHELL</character> <dialogue>It should be said that my task is to represent the Walkers only in their anger. Not their grief.</dialogue> <character>WANDA</character> <dialogue>Who did they get for that?</dialogue> <character>MITCHELL</character> <dialogue>You are angry, are n't you, Mrs. Otto? That's why I'm here. To give your anger a voice. To be your weapon against whoever caused that bus to go off the road.</dialogue> <character>WANDA</character> <dialogue>Dolores?</dialogue> <character>MITCHELL</character> <dialogue>It's my belief that Dolores was doing exactly what she'd been doing for years. Besides, the school board's insurance on Dolores is minimal. A few million at the very most. The really deep pockets are to be found in the town, or in the company that made the bus.</dialogue> <character>WANDA</character> <dialogue>You think someone else caused the accident?</dialogue> <character>MITCHELL</character> <dialogue>Mrs. Otto, there is no such thing as an accident. The word does n't mean anything to me. As far as I'm concerned, somebody somewhere made a decision to cut a corner. Some corrupt agency or corporation accounted the cost variance between a ten - cent bolt and a million dollar out - of - court settlement. They decided to sacrifice a few lives for the difference. That's what's done, Mrs. Otto. I've seen it happen so many times before.</dialogue> <scene_description>HARTLEY returns with the tea .</scene_description> <character>HARTLEY</character> <dialogue>But Dolores said she saw a dog and tried to.</dialogue> <character>MITCHELL</character> <dialogue>How long has Dolores been driving that bus, Mr. Otto? How many times has she steered clear of danger? What went wrong that morning?</dialogue> <scene_description>MITCHELL takes the cup of tea .</scene_description> <character>MITCHELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Someone calculated ahead of time what it would cost to sacrifice safety. It's the darkest, most cynical thing to imagine, but it's absolutely true. And now, it's up to me to make them build that bus with an extra bolt, or add an extra yard of guard rail. It's the only way we can ensure moral responsibility in this society. By what I do.</dialogue> <scene_description>Pause .</scene_description> <character>WANDA</character> <dialogue>So you're just the thing we need.</dialogue> <character>MITCHELL</character> <dialogue>Excuse me?</dialogue> <character>WANDA</character> <dialogue>Is n't that what you want us to believe? That we're completely defenseless? That you know what's best?</dialogue> <character>MITCHELL</character> <dialogue>Listen to me, Mrs Otto. Listen very carefully. I do know what's best. As we're sitting here the town or the school board or the manufacturer of that bus are lining up a battery of their own lawyers to negotiate with people as grief - stricken as yourselves. And this makes me very, very mad. It's why I came all the way up here. If everyone had done their job with integrity your son would be alive this morning and safely in school. I promise you that I will pursue and reveal who it was that did not do their job.</dialogue> <character>MITCHELL</character> <dialogue>Who is responsible for this tragedy. Then, in your name and the Walkers' name and the name of whoever decides to join us, I shall sue. I shall sue for negligence until they bleed.</dialogue> <scene_description>Pause .</scene_description> <character>WANDA</character> <dialogue>I want that person to go to jail. For the rest of his life. I want him to die there. I do n't want his money.</dialogue> <scene_description>MITCHELL nods sympathetically .</scene_description> <character>MITCHELL</character> <dialogue>It's unlikely that anyone will go to prison, Mrs. Otto. But he or his company will pay in other ways. And we must make them pay. Not for the money or to compensate you for the loss of your son. That ca n't be done. But to protect other innocent children. You see, I'm not just here to speak for your anger, but for the future as well.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>What we're talking about is an ongoing relationship to time.</dialogue> <scene_description>Pause . HARTLEY looks at MITCHELL 'S teacup .</scene_description> <character>HARTLEY</character> <dialogue>I did n't ask if you wanted milk.</dialogue> <character>MITCHELL</character> <dialogue>No. A little sugar though.</dialogue> <character>HARTLEY</character> <dialogue>We've only got honey.</dialogue> <character>MITCHELL</character> <dialogue>I'll. take it straight.</dialogue> <scene_description>MITCHELL maintains his eye contact with WANDA .</scene_description> <character>WANDA</character> <dialogue>Are you expensive?</dialogue> <character>MITCHELL</character> <dialogue>No.</dialogue> <character>MITCHELL</character> <dialogue>If you agree to have me represent you in this suit, I will require no payment until after the case is won, when I will require one third of the awarded amount. If there is no award made, then my services will cost you nothing. It's a standard agreement.</dialogue> <character>WANDA</character> <dialogue>Do you have this agreement with you?</dialogue> <character>MITCHELL</character> <dialogue>It's in my car.</dialogue> <scene_description>MITCHELL gets up .</scene_description> <character>MITCHELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'll just be a minute. Anyhow, you should discuss this all without me before you make any decision.</dialogue> <scene_description>MITCHELL moves to the door . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. THE OTTOS HOUSE. -- DAY</stage_direction> <scene_description>MITCHELL leaves the house and moves to his car . He gets inside and closes the door . Once inside , MITCHELL opens his briefcase and takes out an agreement for the OTTOS . Something inside the briefcase catches his attention . ANGLE ON A photograph of ZOE . MITCHELL stares at this photograph .</scene_description> <character>MITCHELL</character> <parenthetical>( voice over . )</parenthetical> <dialogue>I've done everything the loving father of a drug addict is supposed to do.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. AIRPLANE. FIRST CLASS CABIN -- EVENING</stage_direction> <scene_description>MITCHELL and ALISON have finished dinner . MITCHELL is drinking a triple scotch .</scene_description> <character>MITCHELL</character> <parenthetical>( continuing from voice over . )</parenthetical> <dialogue>. I've sent her to the best hospitals, she's seen all the best doctors. It does n't matter. Two weeks later she's on the street. New York, Vancouver, Pittsburgh, Toronto, L.A.. The next time I hear from her, it's a phone call scamming for money. Money for school, or money for a new kind of therapist, or money for a plane ticket home. ` Oh Daddy, just let me come home. Please, Daddy, I have to see you.' But she never comes home. I'm always at the airport, but she's never there. Ten years of this, ten years of these lies, of imagining what happens if I do n't send the money, of kicking down doors and dragging her out of rat - infested apartments, of explaining why that could n't be my daughter in a porn flick someone saw. well, enough rage and helplessness, and your love turns to something else.</dialogue> <character>ALISON</character> <parenthetical>( soft . )</parenthetical> <dialogue>What. does it turn to?</dialogue> <character>MITCHELL</character> <dialogue>It turns to steaming piss.</dialogue> <scene_description>Pause . ALISON is shocked by MITCHELL 'S intensity . He collects himself .</scene_description> <character>MITCHELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'm. so sorry.</dialogue> <character>ALISON</character> <dialogue>That's okay.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. BILLY'S HOUSE. -- LATE DAY</stage_direction> <scene_description>BILLY is chasing his kids around the yard of their house . NICOLE appears , and watching BILLY play with JESSICA and MASON . BILLY notices her , and runs up breathlessly ,</scene_description> <character>BILLY</character> <dialogue>Hi, Nicole.</dialogue> <character>NICOLE</character> <dialogue>Hi, Mr. Ansel. Hi, Jessica, Mason.</dialogue> <character>BILLY</character> <dialogue>They just finished supper.</dialogue> <character>NICOLE</character> <parenthetical>( to the kids . )</parenthetical> <dialogue>Was it good?</dialogue> <scene_description>The children shake their heads . NICOLE and BILLY laugh .</scene_description> <character>BILLY</character> <dialogue>I'll be back around nine.</dialogue> <character>NICOLE</character> <dialogue>Okay.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. GAS STATION -- DUSK</stage_direction> <scene_description>BILLY is playing his electric guitar in the same garage that MITCHELL walked into at the beginning of the film . This is the gas station/repair shop/car wash that BILLY runs . BILLY checks his watch , and takes his guitar off . He leaves the garage . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. BIDE-A-WILE MOTEL -- DUSK</stage_direction> <scene_description>BILLY is walking along a path behind the hotel , making sure that he is not seen . He sneaks into Room 11 . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BIDE-A-WILE MOTEL -- EVENING</stage_direction> <scene_description>BILLY is sitting in a chair in Room 11 , smoking a cigarette . The room is dark . After a while , RISA enters through the door and slips inside .</scene_description> <character>RISA</character> <dialogue>Have you been waiting long?</dialogue> <character>BILLY</character> <dialogue>A while.</dialogue> <character>RISA</character> <dialogue>Billy, do you have to smoke? Wendell can smell if someone's been smoking.</dialogue> <scene_description>BILLY gets up to put out his cigarette in the toilet . He notices some work tools in the washroom .</scene_description> <character>BILLY</character> <dialogue>What's all this?</dialogue> <character>RISA</character> <dialogue>Wendell put some fresh enamel on that break in the tub.</dialogue> <character>BILLY</character> <dialogue>Does this mean I ca n't take a shower?</dialogue> <character>RISA</character> <dialogue>No. It should be dry by now.</dialogue> <scene_description>BILLY nods . He turns around , looks at RISA , and begins to unbutton her shirt . RISA stops him , smiles , and kisses BILLY . After a moment , she pulls away , unbuckles her belt , and slips off her jeans . She moves to the bed .</scene_description> <character>BILLY</character> <dialogue>What time's he coming home?</dialogue> <character>RISA</character> <dialogue>When the game's over, I guess.</dialogue> <scene_description>BILLY moves to the radio and turns it on , tuning into a hockey game . RISA laughs . He lowers the volume . RISA takes off her shirt , and moves behind BILLY , kissing his neck . BILLY closes his eyes . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BILLY'S HOUSE. -- EVENING</stage_direction> <scene_description>JESSICA and MASON , BILLY 'S children , are being read to sleep by NICOLE . She reads from Robert Browning 's THE PIED PIPER OF HAMELIN .</scene_description> <character>NICOLE</character> <dialogue>The Pied Piper of Hamelin. By famous Hanover city ; The river Weser, deep and wide, Washes its wall on the southern side ; A pleasanter spot you never spied ; But, when begins my ditty.</dialogue> <character>MASON</character> <dialogue>What's a ditty again?</dialogue> <character>NICOLE</character> <dialogue>It's like a song.</dialogue> <character>MASON</character> <dialogue>Oh.</dialogue> <character>NICOLE</character> <dialogue>When begins my ditty, Almost five hundred years ago, To see the townsfolk suffer so From vermin, was a pity.</dialogue> <character>MASON</character> <dialogue>What's vermin again?</dialogue> <character>NICOLE</character> <dialogue>Rats! They fought the dogs and killed the cats, And bit the babies in the cradles, And ate the cheeses out of vats. And licked the soup from the cook's own ladles, Split open the kegs of salted sprats, Made nests inside men's Sunday hats, And even spoiled the women's chats, By drowning their speaking With shrieking and squeaking In fifty different sharps and flats.</dialogue> <character>MASON</character> <dialogue>Nicole?</dialogue> <character>NICOLE</character> <dialogue>Yes.</dialogue> <character>MASON</character> <dialogue>Can I sit beside you on the bus tomorrow?</dialogue> <character>NICOLE</character> <dialogue>Do n't you usually like to sit at the back? To wave at your Dad?</dialogue> <character>MASON</character> <dialogue>I want to sit beside you tomorrow.</dialogue> <character>NICOLE</character> <dialogue>Okay.</dialogue> <scene_description>NICOLE covers JESSICA , and gets up to leave .</scene_description> <character>MASON</character> <dialogue>Nicole?</dialogue> <character>NICOLE</character> <dialogue>What, Mason?</dialogue> <character>MASON</character> <dialogue>Did the Pied Piper take the children away because he was mad that the town did n't pay him?</dialogue> <character>NICOLE</character> <dialogue>That's right.</dialogue> <character>MASON</character> <dialogue>Well, if he knew magic - if he could get the kids into the mountain - why could n't he use his pipe to make the people pay him for getting rid of the rats?</dialogue> <character>NICOLE</character> <dialogue>Because. he wanted to them to be punished.</dialogue> <character>MASON</character> <dialogue>The people in the town?</dialogue> <character>NICOLE</character> <dialogue>Yes.</dialogue> <character>MASON</character> <dialogue>So he was mean?</dialogue> <character>NICOLE</character> <dialogue>No. Not mean. Just. very angry.</dialogue> <character>MASON</character> <dialogue>Oh.</dialogue> <character>NICOLE</character> <dialogue>Should I keep reading?</dialogue> <character>MASON</character> <dialogue>Okay.</dialogue> <scene_description>NICOLE smiles at MASON . JESSICA is already asleep . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BIDE-A-WILE MOTEL -- EVENING</stage_direction> <scene_description>Room 11 at the Bide - A - Wile . RISA is naked , sitting cross - legged on the bed . BILLY has just gotten into the shower . RISA stares at BILLY through the semi - transparent curtain . RISA stands up and walks to the window . She looks across the parking lot . ANGLE ON RISA 'S P.O.V. of the rain - glistened concrete . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BILLY'S HOUSE. -- NIGHT</stage_direction> <scene_description>NICOLE is in BILLY 'S bedroom . She has some womens ' clothing laid out on the bed , and is staring at the selection of blouses and summer dresses . The camera slowly glides to a picture that BILLY has beside his bed . ANGLE ON The photograph . It shows BILLY and his deceased wife , LYDIA . Back to NICOLE , selecting various items of LYDIA 'S clothing , and placing them over her body , seeing how she looks in the mirror . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. BIDE-A-WILE MOTEL -- DAY</stage_direction> <scene_description>RISA 'S DAYDREAM . A montage of various events , watched from the window in Room 11 . RISA is seen talking to BILLY on her cordless phone -LRB- Scene 34 -RRB- , as well as going through various activities . Finally , RISA is seen putting her son , SEAN , into the schoolbus . As the bus pulls away , RISA waves goodbye . RISA turns around and walks to the camera . She stops in front of the lens and stares into it , her expression calm and serene . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BIDE-A-WILE MOTEL -- EVENING</stage_direction> <scene_description>Present time . Night . RISA is sitting on the bed , naked , her legs crossed . She looks to the side , lost in thought . BILLY is behind her , putting on his clothes .</scene_description> <character>BILLY</character> <dialogue>What are you thinking?</dialogue> <character>RISA</character> <dialogue>Tomorrow I'm going to put Sean on the bus. He wo n't want to go. He never does. He'll cry and want to hold on to me.</dialogue> <character>BILLY</character> <dialogue>That's because he misses you.</dialogue> <character>RISA</character> <dialogue>Yes.</dialogue> <character>BILLY</character> <dialogue>It's natural.</dialogue> <character>RISA</character> <dialogue>Your kids never cry.</dialogue> <character>BILLY</character> <dialogue>Well, maybe that's because they know I'm going to follow them. Behind the bus.</dialogue> <character>RISA</character> <dialogue>They can look forward to that.</dialogue> <character>BILLY</character> <dialogue>Sure.</dialogue> <character>RISA</character> <dialogue>Just like we look forward to this.</dialogue> <scene_description>BILLY looks at RISA and smiles at her with affection . He moves to the door .</scene_description> <character>RISA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You're leaving.</dialogue> <character>BILLY</character> <dialogue>I better get back.</dialogue> <scene_description>RISA nods .</scene_description> <character>RISA</character> <dialogue>Good night, Billy.</dialogue> <character>BILLY</character> <dialogue>Good night.</dialogue> <scene_description>BILLY leaves . RISA , still naked , moves to the washroom . She stares into the tub , noticing that the white enamel that WENDELL has applied has been washed away from BILLY 'S shower . RISA picks up a tube of the enamel , and begins to re - apply it . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BILLY'S HOUSE. -- EVENING</stage_direction> <scene_description>NICOLE shows BILLY the clothes she has chosen . BILLY stares at the selection .</scene_description> <character>NICOLE</character> <dialogue>Are you sure?</dialogue> <character>BILLY</character> <dialogue>Yeah.</dialogue> <character>NICOLE</character> <dialogue>It just seems. kind of weird.</dialogue> <character>BILLY</character> <dialogue>Why?</dialogue> <character>NICOLE</character> <dialogue>I do n't know.</dialogue> <character>BILLY</character> <dialogue>Nicole, I'm just going to pack all this stuff and give it to the church for charity. Do n't feel bad. Unless you feel strange about wearing it.</dialogue> <character>NICOLE</character> <dialogue>No. I mean, I remember Mrs. Ansel wearing some of this stuff, but. I do n't feel funny about that. I really liked her.</dialogue> <character>BILLY</character> <dialogue>And she really liked you. She would've given you all this if she'd outgrown it, or.</dialogue> <scene_description>BILLY trails off , suddenly consumed with sadness .</scene_description> <character>NICOLE</character> <dialogue>What do you mean ` outgrown it'?</dialogue> <character>BILLY</character> <dialogue>I'm not sure.</dialogue> <character>NICOLE</character> <dialogue>Oh.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Right.</dialogue> <scene_description>NICOLE turns to leave , taking the clothes with her .</scene_description> <character>NICOLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Goodnight, Mr. Ansel.</dialogue> <character>BILLY</character> <dialogue>Goodnight, Nicole.</dialogue> <scene_description>NICOLE leaves the house and walks towards the car where her father is waiting . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. SAM'S CAR. -- DUSK</stage_direction> <scene_description>NICOLE gets into the car beside her father .</scene_description> <character>SAM</character> <dialogue>What took so long?</dialogue> <character>NICOLE</character> <dialogue>Nothing.</dialogue> <scene_description>SAM stares at the bundle of clothes on NICOLE 's lap .</scene_description> <character>SAM</character> <dialogue>What's that?</dialogue> <character>NICOLE</character> <dialogue>Mrs. Ansel's clothing.</dialogue> <character>SAM</character> <dialogue>Does it fit?</dialogue> <scene_description>NICOLE nods , staring ahead , as SAM starts the car and drives away . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. BURNELL HOME -- NIGHT</stage_direction> <scene_description>SAM drives up the driveway to the Burnell home . He opens the door , and takes a blanket from the back . NICOLE gets out as well . The two walk towards the barn .</scene_description> <character>NICOLE</character> <parenthetical>( voice over . )</parenthetical> <dialogue>Once more he stept into the street, And to his lips again Laid his long pipe of smooth straight cane ; And ere he blew three notes such sweet soft notes as yet musician's cunning Never gave the enraptured air - There was a rustling, seemed like a bustling Of merry crowds justling at pitching and hustling, Small feet were pattering, wooden shoes clattering, Little hands clapping and little tongues chattering, And, like fowls in a farm - yard when the barley is scattering, Out came the children running. All the little boys and girls, With rosy cheeks and flaxen curls, And sparkling eyes and teeth like pearls. Tripping and skipping, ran merrily after The wonderful music with shouting and laughter.</dialogue> <scene_description>Inside the barn , SAM and NICOLE are engaged in a sexual embrace . The camera glides past them as NICOLE 's voice continues to read from the poem .</scene_description> <character>NICOLE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( voice over . )</parenthetical> <dialogue>When, lo, as they reached the mountain - side, A wondrous portal opened wide, As if a cavern was suddenly hollowed ; And the Piper advanced and the children followed, And when all were in to the very last, The door in the mountain - side shut fast.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BUS -- DAY</stage_direction> <scene_description>CLOSE - UP of NICOLE in the bus as it makes it 's way to school . She seems to be listening to her own voice as it reads from the poem .</scene_description> <character>NICOLE</character> <parenthetical>( voice over . )</parenthetical> <dialogue>Did I say, all? No! One was lame, And could not dance the whole of the way ; And in after years, if you would blame His sadness, he was used to say, - ` It's dull in the town since my playmates left! I ca n't forget that I'm bereft Of all the pleasant sights they see, Which the Piper also promised me. For me led us, he said, to a joyous land, Joining the town and just at hand, Where waters gushed and fruit - trees grew, And flowers put forth a fairer hue, And everything was strange and new.</dialogue> <scene_description>On this last line , NICOLE 's lips begin to move , as she repeats the line out loud to herself .</scene_description> <character>NICOLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Everything was strange and new.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. ROAD. -- MORNING</stage_direction> <scene_description>A HELICOPTER shot of the schoolbus making its way through the winter terrain . DOLORES ' voice is heard over this sweeping panoramic shot .</scene_description> <character>DOLORES</character> <parenthetical>( voice over . )</parenthetical> <dialogue>By the time I reached the bottom of Bartlett Hill Road, I had half my load, over twenty kids, aboard.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. WINTER ROAD -- MORNING</stage_direction> <scene_description>The bus comes to a stop where a couple of children in bright snow suits are waiting by the side of the road . DOLORES opens the door and the kids climb in .</scene_description> <character>DOLORES</character> <parenthetical>( voice over . )</parenthetical> <dialogue>They had walked to their places on the main road from the smaller lanes</dialogue> <character>DOLORES</character> <dialogue>and private roadways that run off it. Bright little clusters of three and four children - like berries waiting to be plucked.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. DOLORES'S HOUSE -- DAY</stage_direction> <scene_description>DOLORES is continuing her conversation with MITCHELL .</scene_description> <character>DOLORES</character> <parenthetical>( smiling to herself . )</parenthetical> <dialogue>That's the way I thought of them sometimes.</dialogue> <character>MITCHELL</character> <dialogue>Berries.</dialogue> <character>DOLORES</character> <dialogue>Yes. Like I was putting them into my big basket. Clearing the hillside of its children.</dialogue> <scene_description>Pause . MITCHELL stares at DOLORES , disturbed by this image . DOLORES looks back at him .</scene_description> <character>DOLORES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Abbott and I used to do a lot of that in the spring.</dialogue> <character>MITCHELL</character> <dialogue>Berry - picking.</dialogue> <character>DOLORES</character> <dialogue>Yes. The old - fashioned way.</dialogue> <character>MITCHELL</character> <dialogue>And what's that?</dialogue> <character>DOLORES</character> <dialogue>With our hands.</dialogue> <scene_description>MITCHELL nods , stealing a glance ABBOTT , who stares at him intensely . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. BIDE-A-WILE MOTEL -- MORNING</stage_direction> <scene_description>The bus pulls up across the road from the Bide - A - Wile Motel . DOLORES watches as RISA walks her little boy , SEAN , across the road to the bus .</scene_description> <character>DOLORES</character> <parenthetical>( voice over . )</parenthetical> <dialogue>Anyhow, my next stop was across from the Bide - A - Wile, which is owned and operated by Risa and Wendell Walker. Risa walked her little boy, Sean, across the road, which was customary. Sean had some kind of learning disability.</dialogue> <character>DOLORES</character> <dialogue>He was behind all the other kids his age in school and was too fragile and nervous to play sports.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. DOLORES'S HOUSE -- DAY</stage_direction> <scene_description>DOLORES continues to talk to MITCHELL , who takes notes .</scene_description> <character>DOLORES</character> <parenthetical>( smiling . )</parenthetical> <dialogue>A strange little fellow, but you could n't help liking him. He was close to ten but seemed more like a frightened five or six.</dialogue> <character>MITCHELL</character> <dialogue>Were his parents. attentive to him?</dialogue> <character>DOLORES</character> <dialogue>What do you mean?</dialogue> <character>MITCHELL</character> <dialogue>You mentioned that he had a learning disability.</dialogue> <character>DOLORES</character> <dialogue>That's right.</dialogue> <character>MITCHELL</character> <dialogue>Did his parents attend to that?</dialogue> <character>DOLORES</character> <dialogue>What do you mean?</dialogue> <character>MITCHELL</character> <dialogue>Did they give him special care?</dialogue> <character>DOLORES</character> <dialogue>The Walkers loved Sean. He was their only child. the object of all their attention. I mean, Wendell's a withdrawn sort of man. That's his nature. But Risa, she's still got dreams.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. BIDE-A-WILE MOTEL -- MORNING</stage_direction> <scene_description>DOLORES opens the door for SEAN . RISA is wearing a down parka over her nightgown and bathrobe and is wearing slippers .</scene_description> <character>RISA</character> <dialogue>Morning, Dolores.</dialogue> <character>DOLORES</character> <dialogue>Hi, Risa. Are n't your feet freezing?</dialogue> <scene_description>RISA looks down at her slippers .</scene_description> <character>RISA</character> <dialogue>I guess they are.</dialogue> <scene_description>SEAN gets to the landing of the bus , then turns around and looks at his mother . He extends his hands like a baby wanting to be hugged .</scene_description> <character>SEAN</character> <dialogue>I want to stay with you.</dialogue> <scene_description>Pause . RISA stares at her son with great intensity and feeling .</scene_description> <character>RISA</character> <dialogue>Go on now, Sean. Go on.</dialogue> <scene_description>SEAN turns away and looks into the bus full of children .</scene_description> <character>NICOLE</character> <dialogue>C'mon, Sean. Sit next to me.</dialogue> <scene_description>MASON is sitting beside NICOLE . NICOLE whispers something to him , and he makes his way for SEAN . MASON goes to the back of the bus and sits beside his sister , JESSICA . SEAN moves tentatively towards NICOLE . ANGLE ON Back on DOLORES and RISA .</scene_description> <character>DOLORES</character> <dialogue>Is he okay?</dialogue> <character>RISA</character> <dialogue>I do n't know.</dialogue> <character>DOLORES</character> <dialogue>Temperature?</dialogue> <character>RISA</character> <dialogue>No. He's not sick or anything. It's just one of those mornings, I guess.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. DOLORES'S HOUSE -- DAY</stage_direction> <scene_description>DOLORES continues her conversation with MITCHELL STEPHENS .</scene_description> <character>DOLORES</character> <dialogue>But I never had ` those mornings' myself. Not so long as I had the schoolbus to drive. Not so long as I had my kids.</dialogue> <scene_description>DOLORES is lost in this memory , realizing she will never drive the children again . A tear runs down her cheek . ABBOTT , sensing his wife 's mood , activates his electric wheelchair and maneuvers himself towards DOLORES . MITCHELL watches as DOLORES grasps ABBOTT 'S hand . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL BUS -- MORNING</stage_direction> <scene_description>NICOLE is seated in the bus next to SEAN . She is staring at the large speedometer on the front panel . ANGLE ON The speedometer reads 51 miles an hour . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL BUS -- MORNING</stage_direction> <scene_description>JESSICA and MASON , BILLY 'S children , wave at their father from the back of the bus . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. BILLY'S PICK-UP -- MORNING</stage_direction> <scene_description>BILLY waving back at his children . His expression suddenly changes as he sees . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. ROAD. -- MORNING</stage_direction> <scene_description>From BILLY 'S point of view , the schoolbus smashes through the guardrail and the snowbank . It plummets down the embankment to the frozen - over pond . Still upright , the bus slides across the ice to the far side . The ice lets go and the rear half of the yellow bus is swallowed at once by the freezing water . The sound of the ice breaking is terrifying .</scene_description> <character>DOLORES</character> <parenthetical>( voice over . )</parenthetical> <dialogue>It emerged from the blowing snow on the right side of the road. It might have been a dog or a small deer or maybe even a lost child. It might have been an optical illusion or a mirage. Whatever it was, for the rest of my life I will remember that red - brown blur.</dialogue> <scene_description>An eerie silence as the camera stares at the scene of the accident . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. SUMMER COTTAGE -- MORNING</stage_direction> <scene_description>The camera is high above the bed , looking down on a sleeping family . This is the same image as from the beginning of the film . A FATHER , a MOTHER , and a THREE YEAR OLD GIRL , naked in bed .</scene_description> <character>MITCHELL</character> <parenthetical>( voice over . )</parenthetical> <dialogue>Every time I get on one of these flights to rescue Zoe, I remember the summer we almost lost her. She was three years old. It happened in the morning, at this cottage we used to rent. We were all sleeping together in bed. It was a wonderful time in our lives. We still thought we had a future together, the three of us. Did you ever visit the cottage?</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. AIRPLANE. FIRST CLASS CABIN -- NIGHT</stage_direction> <scene_description>MITCHELL is telling the story to ALISON .</scene_description> <character>ALISON</character> <dialogue>I. do n't think so.</dialogue> <character>MITCHELL</character> <dialogue>I woke to the sound of Zoe's breathing. It was laboured. I looked over and noticed she was sweating and all swollen. I grabbed her, rushed to the kitchen, and splashed water on her face.</dialogue> <character>ALISON</character> <dialogue>What happened?</dialogue> <character>MITCHELL</character> <dialogue>I did n't know. I was in a panic. I guessed she'd been bitten by an insect, but there was no doctor. The nearest hospital was forty miles away, and Zoe was continuing to swell. Klara took her in her arms and tried to breast - feed her, while I dialed the hospital. I finally got a doctor on the line. He sounded young, but cool. He was confident, but there was a nervousness. He have been an intern. This was the first time he ever had to deal with anything like this. He wanted to seem like he knew what he was doing, but he was just as scared as I was.</dialogue> <scene_description>ALISON stares at MITCHELL , taken by his need to chronicle and detail this irrelevant stranger . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. SUMMER COTTAGE -- MORNING</stage_direction> <scene_description>FATHER -LRB- YOUNG MITCHELL -RRB- is on the phone . The camera is behind his head . In front of him , MOTHER -LRB- KLARA -RRB- is breast - feeding the THREE YEAR OLD GIRL -LRB- ZOE -RRB- .</scene_description> <character>MITCHELL</character> <parenthetical>( voice over . )</parenthetical> <dialogue>He surmised that there was a nest of baby black widow spiders in the mattress. He told me they had to be babies, or else with Zoe's body weight she'd be dead. He told me I had to rush her to the hospital. He was alone. There was no ambulance available. ` Now you listen', he said, ` There's a good chance you can get her to me before her throat closes, but the important thing is to keep her calm.' He asked if there was one of us she was more relaxed with than the other. I said, ` Yes, with me.'</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. AIRPLANE. FIRST CLASS CABIN -- NIGHT</stage_direction> <scene_description>MITCHELL continues telling the story to ALISON .</scene_description> <character>MITCHELL</character> <dialogue>Which was true enough, especially at that moment. Klara was wild - eyed with fear, and her fear was contagious. I was a better actor than she was, that's all. Zoe loved us equally then. Just like she hates us both equally now.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>The doctor told me that I should hold her in my lap, and let Klara drive to the hospital. He asked me to bring a small, sharp knife. It had to be clean. There was no time to sterilize properly. He explained how to perform an emergency tracheotomy. How to cut into my daughter's throat and windpipe without causing her to bleed to death. He told me there'd be a lot of blood. I said I did n't think I could do it. ` If her throat closes up and stops her breathing, you'll have to, Mr. Stephens. You'll have a minute and a half, two minutes maybe, and she'll probably be unconscious when you do it. But if you can keep her calm and relaxed, if you do n't let her little heart beat too fast and spread the poison around, then you might just make it over here first. You get going now', and he hung up.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. CAR -- MORNING</stage_direction> <scene_description>A little girl staring innocently into the lens as a male voice sings a lullaby to her . It is now recognized as MITCHELL 'S voice , singing to his daughter as she is driven to the hospital .</scene_description> <character>MITCHELL</character> <parenthetical>( voice over . )</parenthetical> <dialogue>It was an unforgettable drive. I was divided into two people. One part of me was Daddy, singing a lullaby to his little girl.</dialogue> <character>MITCHELL</character> <dialogue>The other part was a surgeon, ready to cut into her throat. I waited for the second that Zoe's breath stopped to make that incision.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. AIRPLANE. FIRST CLASS CABIN -- NIGHT</stage_direction> <scene_description>ALISON stares at MITCHELL as he finishes his story .</scene_description> <character>ALISON</character> <dialogue>What happened?</dialogue> <character>MITCHELL</character> <dialogue>Nothing. We made it to the hospital. I did n't have to go as far as I was prepared to. But I was prepared to go all the way.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. ACCIDENT SITE -- DAY</stage_direction> <scene_description>An open sky . BILLY ANSEL 'S face appears in the frame , looking down at the camera . ANGLE ON The camera is staring down at BILLY as he identifies the bodies of his two children . The camera is at a great height . As BILLY walks away , the camera floats down , slowly moving on his face . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. WOODS -- DAY</stage_direction> <scene_description>BILLY 's P.O.V. of his wife , LYDIA , tugging a sled through the snow . JESSICA and MASON are on either side of her . The three figures are seen from behind , trudging their way through the winter landscape . This image has a ghostly quality to it . It is filmed in slow motion . Suddenly , a snowball enters the frame and hits LYDIA on the back of the head . She turns around , laughing into the camera . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BIDE-A-WILE MOTEL -- EVENING</stage_direction> <scene_description>EXTREME - CLOSE - UP BILLY in his chair in Room 11 of the Bide - A - Wile . He is alone , smoking a cigarette . A slight faraway smile on his lips . After a moment , the door opens . It is RISA . They stare at each other . Silence .</scene_description> <character>RISA</character> <dialogue>I knew you'd be here.</dialogue> <scene_description>RISA sits on the bed . Pause .</scene_description> <character>RISA</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Are you going to the funeral?</dialogue> <scene_description>Pause .</scene_description> <character>BILLY</character> <dialogue>I stopped by the station a while ago. I stared at the bus. I could almost hear the kids inside. There was a lawyer there. He told me he'd gotten you signed up. Is that true?</dialogue> <character>RISA</character> <dialogue>Something made this happen, Billy. Mr. Stephens is going to find out what it was.</dialogue> <character>BILLY</character> <dialogue>What are you talking about? It was an accident.</dialogue> <character>RISA</character> <dialogue>Mr. Stephens says that someone did n't put a right bolt in the bus.</dialogue> <character>BILLY</character> <dialogue>Risa, I serviced that bus. At the garage. There's nothing wrong with it.</dialogue> <character>RISA</character> <dialogue>or that the guardrail was n't strong enough.</dialogue> <character>BILLY</character> <dialogue>You believe that?</dialogue> <character>RISA</character> <dialogue>I have to.</dialogue> <character>BILLY</character> <dialogue>Why?</dialogue> <character>RISA</character> <dialogue>Because I have to.</dialogue> <character>BILLY</character> <dialogue>Well I do n't.</dialogue> <scene_description>BILLY gets up to leave .</scene_description> <character>RISA</character> <dialogue>Is it true that you gave Nicole one of Lydia's dresses? That she was wearing it when the bus crashed?</dialogue> <character>BILLY</character> <dialogue>Yes.</dialogue> <character>RISA</character> <dialogue>Why did you do that, Billy?</dialogue> <character>BILLY</character> <dialogue>You think that caused the accident, Risa? That it brought bad luck? Christ, it sounds to me you're looking for a witch doctor, not a lawyer. Or maybe they're the same thing.</dialogue> <scene_description>RISA is crying . BILLY opens the door .</scene_description> <character>BILLY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You know what I'm going to miss? More than making love? It's the nights you could n't get away from Wendell. It's the nights I'd sit in that chair for an hour. Smoking cigarettes and remembering my life before.</dialogue> <scene_description>BILLY stares at RISA painfully , then leaves . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. GAS STATION -- NIGHT</stage_direction> <scene_description>MITCHELL is videotaping the bus with a portable camcorder . The bus is badly damaged , though essentially intact . Most of the windows in the rear have gone . There is a ghostly quality to this image , as though the video light is searching through the remains of an ancient shipwreck . MITCHELL turns off the camcorder and stands in the silent night , absorbing the disturbing energy of the bus . He hears a truck approaching the garage from the distance . It 's BILLY ANSEL . MITCHELL retreats to his parked car as BILLY stops his truck in front of the bus and steps out of the truck . BILLY leaves his headlights on , and they cast dark shadows over the inside passenger seats . BILLY stares at the bus a long time . MITCHELL approaches him .</scene_description> <character>MITCHELL</character> <dialogue>I'm here about your children, Mr. Ansel.</dialogue> <scene_description>BILLY takes a moment , then turns around to face MITCHELL . The two men stare at each other .</scene_description> <character>MITCHELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>My name is.</dialogue> <character>BILLY</character> <dialogue>Mister, I do n't want to know your name.</dialogue> <character>MITCHELL</character> <dialogue>I understand.</dialogue> <character>BILLY</character> <dialogue>No you do n't.</dialogue> <character>MITCHELL</character> <dialogue>I can help you.</dialogue> <character>BILLY</character> <dialogue>Not unless you can raise the dead.</dialogue> <scene_description>MITCHELL hands BILLY a card .</scene_description> <character>MITCHELL</character> <dialogue>Here. You may change your mind.</dialogue> <scene_description>BILLY looks at the card .</scene_description> <character>BILLY</character> <dialogue>Mr. Mitchell Stephens, Esquire, would you be likely to sue me if I was to beat you right now? Beat you so bad that you pissed blood and could n't walk for a month. Because that's what I'm about to do.</dialogue> <character>MITCHELL</character> <dialogue>No, Mr. Ansel. I would n't sue you.</dialogue> <character>BILLY</character> <dialogue>Leave us alone, Stephens. Leave the people of this town alone. You ca n't help.</dialogue> <character>MITCHELL</character> <dialogue>You can help each other. Several people have agreed to let me represent them in a negligence suit. Your case as an individual will be stronger if I'm allowed to represent you together as a group.</dialogue> <character>BILLY</character> <dialogue>Case?</dialogue> <character>MITCHELL</character> <dialogue>The Walkers have agreed. The Ottos. Nicole Burnell's parents. It's important to initiate proceedings right away. Things get covered up. People lie. That's why we have to begin our investigation quickly. Before the evidence disappears. That's why I'm out here tonight.</dialogue> <character>BILLY</character> <dialogue>I know Risa and Wendell Walker. They would n't hire a goddamned lawyer. And the Ottos would n't deal with you. We're not country bumpkins you can put a big city hustle on. You're trying to use us.</dialogue> <character>MITCHELL</character> <dialogue>You're angry, Mr. Ansel. You owe it to yourself to feel that way. All I'm saying is let me direct your rage.</dialogue> <scene_description>BILLY stares at MITCHELL with a cold intensity . The cell phone in MITCHELL 'S car begins to ring .</scene_description> <character>MITCHELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That's my daughter. Or it may be the police to tell me that they've found her dead. She's a drug addict.</dialogue> <character>BILLY</character> <dialogue>Why are you telling me this?</dialogue> <character>MITCHELL</character> <dialogue>I'm telling you this because. we've all lost our children, Mr. Ansel.</dialogue> <character>MITCHELL</character> <dialogue>They're dead to us. They kill each other in the streets. They wander comatose in shopping malls. They're paralyzed in front of televisions. Something terrible has happened that's taken our children away. It's too late. They're gone.</dialogue> <scene_description>The phone continues to ring , as BILLY stares at MITCHELL . MITCHELL turns to look at the ringing phone . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. DOLORES'S HOUSE -- DAY</stage_direction> <scene_description>MITCHELL is getting ready to leave . DOLORES is still grasping onto ABBOTT 'S hand .</scene_description> <character>DOLORES</character> <dialogue>I have a question for you, Mr. Stephens.</dialogue> <character>MITCHELL</character> <dialogue>What's that, Dolores?</dialogue> <character>DOLORES</character> <dialogue>I told you that I was doing fifty miles an hour when the accident happened. That's how I remembered it. But the truth is, I might have been doing sixty. Or sixty five. And if that's true, that I was over the limit when the bus went over, what would happen then?</dialogue> <character>MITCHELL</character> <dialogue>That would complicate things.</dialogue> <character>DOLORES</character> <dialogue>Because I'd be to blame, right?</dialogue> <character>MITCHELL</character> <dialogue>Billy Ansel will insist that you were driving fifty - one miles an hour. Just like you've done every morning for the past fifteen years.</dialogue> <character>DOLORES</character> <dialogue>He knows that? Billy?</dialogue> <character>MITCHELL</character> <dialogue>Yes. He does.</dialogue> <character>DOLORES</character> <dialogue>Billy said that?</dialogue> <scene_description>MITCHELL nods .</scene_description> <character>DOLORES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You've talked to Billy?</dialogue> <character>MITCHELL</character> <dialogue>I did.</dialogue> <character>DOLORES</character> <dialogue>And Billy told you that he'll tell that to.</dialogue> <character>MITCHELL</character> <dialogue>Mrs. Driscoll, if Billy Ansel does not volunteer to say so in court, I will subpoena him and oblige him to testify to that effect.</dialogue> <scene_description>Pause . MITCHELL plans his next step .</scene_description> <character>MITCHELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>But in order to do that, you must let me bring a suit in your name charging negligent infliction of emotional harm. That's what I'm now asking you to consider.</dialogue> <scene_description>Pause . DOLORES is lost .</scene_description> <character>MITCHELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It's clear to me and other people that you have suffered significantly from this event.</dialogue> <character>DOLORES</character> <dialogue>What other people?</dialogue> <character>MITCHELL</character> <dialogue>Excuse me?</dialogue> <character>DOLORES</character> <dialogue>Who's been talking to you about what I'm feeling? Who should care about what I'm feeling?</dialogue> <scene_description>MITCHELL stares at DOLORES .</scene_description> <character>MITCHELL</character> <dialogue>Dolores, people have to know that you've suffered too.</dialogue> <character>MITCHELL</character> <dialogue>And they wo n't understand until you let me clear your name - your good name - once and for all. Will you let me do that? Will you let me do my duty?</dialogue> <scene_description>Suddenly , ABBOTT says something . He twists his face around his mouth , purses his lips on the left side and emits a string of broken syllables and sounds . After this outburst , DOLORES looks at MITCHELL , a comforted smile on her face .</scene_description> <character>DOLORES</character> <dialogue>You heard what Abbott said?</dialogue> <character>MITCHELL</character> <dialogue>Yes.</dialogue> <character>DOLORES</character> <dialogue>Anything you did n't understand?</dialogue> <character>MITCHELL</character> <dialogue>There might have been a word or two that slipped by. Maybe you could clarify it for me, just to be absolutely sure.</dialogue> <character>DOLORES</character> <dialogue>Abbott said that the true jury of a person's peers is the people of her town. Only they, the people who have known her all her life, and not twelve strangers, can decide her guilt or innocence. And if I have committed a crime, then it's a crime against them, so they are the ones who must decide my punishment.</dialogue> <scene_description>MITCHELL stares at ABBOTT , who stares back .</scene_description> <character>MITCHELL</character> <dialogue>That's what he said, is it?</dialogue> <character>DOLORES</character> <dialogue>Yes. Abbot understands these things.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. DOLORES'S HOUSE -- DAY</stage_direction> <scene_description>MITCHELL leaves the DRISCOLL house , watched by DOLORES .</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL -- MORNING</stage_direction> <scene_description>NICOLE BURNELL is in bed . A doctor , DR. ROBESON , is touching her forehead . NICOLE 'S family -LRB- SAM , her mother MARY , and her little sister JENNY -RRB-</scene_description> <character>DR. ROBESON</character> <dialogue>The mind is kind.</dialogue> <scene_description>The camera fixes on NICOLE 'S expression as she stares ahead .</scene_description> <character>NICOLE</character> <parenthetical>( voice over . )</parenthetical> <dialogue>They say I'm lucky because I ca n't remember the accident.</dialogue> <character>SAM</character> <dialogue>Do n't even try to remember.</dialogue> <character>MARY</character> <dialogue>You just think about getting well, Nicole, that's all.</dialogue> <scene_description>The camera is always fixed on NICOLE 'S face when her voice over is heard .</scene_description> <character>NICOLE</character> <parenthetical>( voice over . )</parenthetical> <dialogue>I know I'm as well as I ever can be again. So shut up, Mom. To stay like this, to live like a slug, I'm going to have to work like someone trying to get into the Olympics.</dialogue> <character>SAM</character> <dialogue>Just wait till you see what we've got waiting for you at home.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL -- DAY</stage_direction> <scene_description>NICOLE , in a wheelchair , is being led down a hallway with her family .</scene_description> <character>NICOLE</character> <parenthetical>( voice over . )</parenthetical> <dialogue>It's an incredible relief to be leaving the hospital. I'm so sick of looking at my doctor, listening to Frankenstein ask me stupid questions about what I was feeling.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. HOSPITAL. LOBBY. -- DAY</stage_direction> <scene_description>NICOLE is being wheeled to the front door of the hospital .</scene_description> <character>NICOLE</character> <parenthetical>( voice over , continuing . )</parenthetical> <dialogue>He thought it was cute when I called him Frankenstein. It was n't. I feel like his monster.</dialogue> <character>MARY</character> <dialogue>Is n't it a lovely day?</dialogue> <character>NICOLE</character> <dialogue>What happened to summer?</dialogue> <character>MARY</character> <dialogue>Summer's over. It's fall.</dialogue> <character>NICOLE</character> <dialogue>And winter?</dialogue> <character>MARY</character> <dialogue>Well, winter's far behind us now.</dialogue> <character>NICOLE</character> <dialogue>How was it?</dialogue> <character>MARY</character> <dialogue>We had a terrible winter last year, did n't we, Sam?</dialogue> <scene_description>SAM nods .</scene_description> <character>NICOLE</character> <dialogue>Good thing I was in Florida.</dialogue> <scene_description>MARY does n't know quite what to make of NICOLE 'S joke . SAM flashes NICOLE a smile . She does n't return it . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. BURNELL HOME -- DAY</stage_direction> <scene_description>NICOLE arrives at home . The car pulls up in front of the modest house . SAM opens the door and puts the wheelchair up next to it . He points out the ramp he has built for NICOLE . The ramp is painted green .</scene_description> <character>SAM</character> <dialogue>How do you like it, Nicole?</dialogue> <character>NICOLE</character> <dialogue>The ramp?</dialogue> <character>SAM</character> <dialogue>Pretty slick, eh?</dialogue> <character>NICOLE</character> <dialogue>Very slick.</dialogue> <character>SAM</character> <dialogue>Do you like the colour?</dialogue> <character>NICOLE</character> <dialogue>It's okay.</dialogue> <character>SAM</character> <dialogue>And I had to widen a few doors. You'll see.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BURNELL HOME -- DAY</stage_direction> <scene_description>Inside the house . The interior of the house is dark and somewhat tawdry . The BURNELL 'S are almost poor . But SAM then leads NICOLE into the special room he has built for her . It seems like another world . Every detail has been lovingly attended to . No expense has been spared to make this room as attractive and inviting as possible . A room that a guilty , abusive father might dream up for his crippled daughter .</scene_description> <character>SAM</character> <dialogue>What do you think?</dialogue> <scene_description>Pause . NICOLE wheels around , trying to control her emotions as she inspects the room . A phone rings in the background . MARY goes to answer it . NICOLE fixes her gaze at the back of the door .</scene_description> <character>NICOLE</character> <dialogue>The door needs a lock.</dialogue> <character>SAM</character> <parenthetical>( taken aback . )</parenthetical> <dialogue>Sure. I'll fix it right away.</dialogue> <scene_description>SAM goes to get his tools . JENNY stares at NICOLE .</scene_description> <character>JENNY</character> <dialogue>Can I come and visit you here?</dialogue> <character>NICOLE</character> <dialogue>You better. And you can sleep in my new bed with me too.</dialogue> <scene_description>NICOLE grabs her sister 's hand , and JENNY moves in close to her . SAM comes back with the tools . He starts to screw in the hook .</scene_description> <character>NICOLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>That's too high. I'll never reach it.</dialogue> <character>SAM</character> <parenthetical>( nervous . )</parenthetical> <dialogue>Oh. I better get some spackle.</dialogue> <scene_description>SAM leaves again .</scene_description> <character>JENNY</character> <dialogue>Mommy says you need to lock the boys out.</dialogue> <character>NICOLE</character> <dialogue>What boys?</dialogue> <character>JENNY</character> <dialogue>I do n't know.</dialogue> <scene_description>NICOLE stares at JENNY , as MARY comes back into the room .</scene_description> <character>MARY</character> <dialogue>So do you like your new room?</dialogue> <character>NICOLE</character> <dialogue>It's interesting.</dialogue> <character>MARY</character> <dialogue>Your Dad spent all his spare time in here. He wanted to make it absolutely perfect.</dialogue> <character>NICOLE</character> <dialogue>I feel like a princess.</dialogue> <scene_description>SAM comes back and begins to work on the door . NICOLE watches him . She notices a new computer on a desk .</scene_description> <character>NICOLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Is this mine?</dialogue> <character>MARY</character> <dialogue>Yes. It's a present.</dialogue> <character>NICOLE</character> <dialogue>From you?</dialogue> <character>MARY</character> <dialogue>No. From Mr. Stephens. That was him on the phone just now. He was calling to see how you were.</dialogue> <character>NICOLE</character> <dialogue>Who's Mr. Stephens?</dialogue> <character>SAM</character> <dialogue>He's a lawyer. He's our lawyer.</dialogue> <character>NICOLE</character> <dialogue>You and Mom have a lawyer?</dialogue> <character>SAM</character> <dialogue>Well, yes. He's your lawyer too.</dialogue> <character>NICOLE</character> <dialogue>My lawyer? Why do I need a lawyer?</dialogue> <character>MARY</character> <dialogue>Maybe we should n't be talking about this just now, with you barely home. Are n't you hungry, honey? Want me to fix you something?</dialogue> <character>NICOLE</character> <dialogue>No. What's this lawyer business?</dialogue> <scene_description>MARY turns to JENNY .</scene_description> <character>MARY</character> <dialogue>Jenny, why do n't you go and play outside?</dialogue> <scene_description>JENNY looks at NICOLE .</scene_description> <character>JENNY</character> <dialogue>He's given me some stuff too. Toys, and some books.</dialogue> <character>MARY</character> <dialogue>Jenny.</dialogue> <scene_description>JENNY turns to leave . When she 's outside , MARY continues .</scene_description> <character>MARY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>He's a very kind man. And he knew that you'd need a computer for doing schoolwork.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. BURNELL HOME. PORCH -- DAY</stage_direction> <scene_description>NICOLE wheels her chair to the exterior porch , where she watches her sister climb a tree . SAM follows her outside .</scene_description> <character>SAM</character> <dialogue>It's because of the accident, Nicole. Most people in this town whose kids were on the bus have got lawyers. A lot of people. well, people in this town are very angry. Us included.</dialogue> <character>NICOLE</character> <dialogue>But you did n't lose me.</dialogue> <character>MARY</character> <dialogue>No, honey. And we will thank the Lord for that every day and night for the rest of our lives. But you almost died, and you were badly injured, and you wo n't be. you ca n't.</dialogue> <character>NICOLE</character> <dialogue>I ca n't walk anymore.</dialogue> <scene_description>ANGLE ON NICOLE 'S P.O.V. of JENNY playing on a tree branch .</scene_description> <character>SAM</character> <dialogue>You're going to need special care for a long time to come. It's not going to be easy. Not for you, not for any of us. Because we love you so much. And it's going to cost money. More than we can imagine.</dialogue> <character>NICOLE</character> <dialogue>What about insurance? Does n't insurance pay for these things?</dialogue> <character>SAM</character> <dialogue>Partly. But there's a lot the insurance does n't cover. That's one of the reasons we have a lawyer. To make sure the insurance gets paid and to help us look after the rest.</dialogue> <character>NICOLE</character> <dialogue>How will he do that?</dialogue> <character>SAM</character> <dialogue>Well, Mr. Stephens is representing several families. The Ottos, the Walkers, us, and I think a couple more. Mr. Stephens is suing the town for negligence. He's sure that the accident could have been avoided if they had done their jobs right. He's a very smart man.</dialogue> <scene_description>NICOLE stares at her sister who 's at the top of the tree . JENNY turns to look back at NICOLE . There 's a tension , as it seems as though JENNY is going to let herself fall .</scene_description> <character>NICOLE</character> <parenthetical>( voice over . )</parenthetical> <dialogue>That's the first thing I heard about you. That you were a smart man. That you were so smart that you were going to sue the town, then make us all feel better.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. GAS STATION -- NIGHT</stage_direction> <scene_description>FLASHBACK to the scene outside the gas station between MITCHELL and BILLY . The cell phone in MITCHELL 'S car has begun to ring . The two men stare at each other .</scene_description> <character>NICOLE</character> <parenthetical>( voice over . )</parenthetical> <dialogue>You're good at that. Good at getting people to believe you could do something for them. Something they could never do for themselves.</dialogue> <scene_description>MITCHELL breaks the silence .</scene_description> <character>MITCHELL</character> <dialogue>That's my daughter. Or it may be the police to tell me that they've found her dead. She's a drug addict.</dialogue> <character>BILLY</character> <dialogue>Why are you telling me this?</dialogue> <character>MITCHELL</character> <dialogue>I'm telling you this because we've all lost our children, Mr. Ansel.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. AIRPLANE. FIRST CLASS CABIN -- NIGHT</stage_direction> <scene_description>MITCHELL stares at the sleeping figure of ALISON .</scene_description> <character>MITCHELL</character> <parenthetical>( voice over . )</parenthetical> <dialogue>They're dead to us.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. GAS STATION -- NIGHT</stage_direction> <scene_description>Back to the scene between BILLY and MITCHELL . The cellular phone is ringing . MITCHELL breaks the stare with BILLY and moves to his car . The camera follows him , as BILLY moves back to his truck in the background . MITCHELL gets in his car and picks up the phone .</scene_description> <character>MITCHELL</character> <dialogue>Yes, I'll accept the charges.</dialogue> <character>ZOE</character> <dialogue>Daddy?</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. PHONE BOOTH -- AFTERNOON</stage_direction> <character>MITCHELL</character> <dialogue>Yes.</dialogue> <character>ZOE</character> <dialogue>I'm calling because I've got some news for you, Daddy. Some big news.</dialogue> <character>MITCHELL</character> <dialogue>News?</dialogue> <character>ZOE</character> <dialogue>Do n't you want to hear?</dialogue> <character>MITCHELL</character> <dialogue>Yes. Give me your news, Zoe.</dialogue> <character>ZOE</character> <dialogue>You always think you know what I'm going to say, do n't you? You always think you're two steps ahead of me. The lawyer.</dialogue> <character>MITCHELL</character> <dialogue>Tell me your news, Zoe.</dialogue> <character>ZOE</character> <dialogue>Okay. I went to sell blood yesterday. That's how it is. I'm in this fucking city where my father is a hot shit lawyer, and I'm selling my blood.</dialogue> <character>MITCHELL</character> <dialogue>That's not news, Zoe.</dialogue> <character>ZOE</character> <dialogue>No. But this is. They would n't take my blood.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. CAR -- DAY</stage_direction> <scene_description>Image of ZOE as a little girl in MITCHELL 'S lap . Her face is swollen . She is being driven to the hospital . MITCHELL is singing her a lullaby . MiTCHELL 's conversation with ZOE continues over this image .</scene_description> <character>ZOE</character> <dialogue>Do you know what that means, Daddy? Does it register?</dialogue> <character>MITCHELL</character> <dialogue>Yes.</dialogue> <character>ZOE</character> <dialogue>I tested positive.</dialogue> <character>MITCHELL</character> <dialogue>Yes.</dialogue> <character>ZOE</character> <dialogue>Welcome to hard times, Daddy.</dialogue> <scene_description>Pause .</scene_description> <character>MITCHELL</character> <dialogue>What do you want me to do, Zoe? I'll do whatever you want.</dialogue> <character>ZOE</character> <dialogue>I need money.</dialogue> <character>MITCHELL</character> <dialogue>What for?</dialogue> <character>ZOE</character> <dialogue>You ca n't ask me that! Not anymore! You asked me what I wanted. Not what I wanted it for. I want money.</dialogue> <character>MITCHELL</character> <dialogue>Do you have the blood test?</dialogue> <character>ZOE</character> <dialogue>You do n't believe me? You do n't fucking believe me?</dialogue> <character>MITCHELL</character> <dialogue>Of. course I do. I just thought. I could get you another test. In case the one you got. was wrong.</dialogue> <character>ZOE</character> <dialogue>I like it when you do n't believe me, Daddy. It's better you do n't believe me but have to act like you do.</dialogue> <scene_description>Pause .</scene_description> <character>ZOE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I can hear you breathing, Daddy.</dialogue> <character>MITCHELL</character> <dialogue>Yes. I can hear you breathing too.</dialogue> <scene_description>ZOE begins to cry over the phone .</scene_description> <character>ZOE</character> <dialogue>Oh God, I'm scared.</dialogue> <character>MITCHELL</character> <dialogue>I love you, Zoe. I'll be there soon, and I'll take care of you. No matter what happens. I'll take care of you.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. AIRPLANE. FIRST CLASS CABIN -- NIGHT</stage_direction> <scene_description>MITCHELL is still staring at the sleeping figure of ALISON . ALISON 'S blanket has fallen to the side . MITCHELL lifts the blanket , and covers the sleeping figure of the young woman . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. BURNELL HOME -- DAY</stage_direction> <scene_description>MITCHELL drives up to the BURNELL home . He gets out of his car and walks to the front door . SAM has repainted the ramp . It is now red . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BURNELL HOME. KITCHEN -- DAY</stage_direction> <scene_description>MITCHELL meets NICOLE . SAM and MARY are also seated at the table . The meeting takes place in the kitchen/diningroom .</scene_description> <character>MITCHELL</character> <dialogue>Well, Nicole, I've been wanting to meet you for a long time now. Not just because I've heard so many good things about you, but because, as you know, I'm the guy representing you and your mom and dad and some other folks here in town. We're trying to generate some compensation, however meager, for what you have suffered, and at the same time see that an accident like this never happens again. You're central to the case I'm trying to build, Nicole. But you'd probably just as soon let the whole thing lie. Just get on with your life as quickly and smoothly as possible.</dialogue> <scene_description>NICOLE nods . Pause , as MITCHELL waits for her to go on .</scene_description> <character>NICOLE</character> <dialogue>I do n't like thinking about the accident. I do n't even remember it happening. Besides, it just makes people feel sorry for me, and.</dialogue> <character>MITCHELL</character> <dialogue>You hate that.</dialogue> <scene_description>NICOLE nods .</scene_description> <character>SAM</character> <dialogue>What she means, Mitch.</dialogue> <scene_description>MITCHELL silences SAM with a gesture of his hand .</scene_description> <character>MITCHELL</character> <dialogue>People ca n't help it, you know. They really ca n't. When they see you in this wheelchair, knowing what your life was life eight months ago, people are going to feel sorry for you. There's no way around it, Nicole. You and I just met, and already I admire you. Who would n't? You're a brave tough smart kid. That's obvious. And I did n't know you, know how exciting and promising your life was before the accident. But listen, even I feel sorry for you.</dialogue> <character>NICOLE</character> <dialogue>You can only feel lucky that you did n't die for so long. Then you start to feel. unlucky.</dialogue> <character>MITCHELL</character> <dialogue>That you did n't die? Like the other children?</dialogue> <character>NICOLE</character> <dialogue>Yes. Like Bear and the Ansel twins and Sean and.</dialogue> <character>MARY</character> <dialogue>Nicole!</dialogue> <character>NICOLE</character> <dialogue>It's the truth.</dialogue> <scene_description>MITCHELL regards MARY with calm authority , as though he 's telling her the time .</scene_description> <character>MITCHELL</character> <dialogue>It is the truth.</dialogue> <scene_description>Pause . MITCHELL looks back at NICOLE .</scene_description> <character>MITCHELL</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It would be strange if you did n't feel that way.</dialogue> <character>NICOLE</character> <parenthetical>( after a slight pause . )</parenthetical> <dialogue>What do you want me to do for you, Mr. Stephens?</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BURNELL HOME. LIVINGROOM. -- DAY</stage_direction> <scene_description>TIME CUT fifteen minutes forward . The scene shifts to the livingroom . MITCHELL and NICOLE are alone in the room . SAM comes back from another room , as MARY appears from the kitchen with a plate of cookies .</scene_description> <character>NICOLE</character> <parenthetical>( voice over . )</parenthetical> <dialogue>That got you talking about depositions and lawyers. By the time Daddy came back from the washroom and Mom came in with her tea and cookies, you were going on about how tough it would be for me to answer some of the questions those other lawyers would ask.</dialogue> <character>MITCHELL</character> <dialogue>They work for the people we're trying to sue. Their job is to try to minimize damages. Our job, Nicole, is to try to maximize them. You have to think of it that way. As people doing their jobs. No good guys or bad guys. Just our side and their side.</dialogue> <character>NICOLE</character> <dialogue>I wo n't lie.</dialogue> <character>MITCHELL</character> <dialogue>I do n't want you to lie.</dialogue> <character>NICOLE</character> <dialogue>The truth is that it was an accident, and no one's to blame.</dialogue> <character>MITCHELL</character> <dialogue>There's no such thing as an accident, Nicole. Not in a situation like this.</dialogue> <character>NICOLE</character> <dialogue>You seem very sure about that.</dialogue> <character>MITCHELL</character> <dialogue>I'm absolutely positive.</dialogue> <scene_description>NICOLE turns to face SAM . She stares at him .</scene_description> <character>NICOLE</character> <dialogue>No matter what I'm asked, I'll tell the truth.</dialogue> <scene_description>SAM looks back , expressionless .</scene_description> <character>MITCHELL</character> <dialogue>That's fine. I want you to be absolutely truthful. And I'll be right there to advise and help you. And there'll be a court stenographer there to make a record of it, and that's what'll go to the judge, before the trial is set. It'll be the same for everybody. They'll be deposing the Ottos and the Walkers, the bus driver.</dialogue> <character>NICOLE</character> <dialogue>Dolores.</dialogue> <character>MITCHELL</character> <dialogue>Yes. Dolores. and even your mom and dad. But I'll make sure you go last.</dialogue> <character>NICOLE</character> <dialogue>Why?</dialogue> <character>MITCHELL</character> <dialogue>So you can keep on getting well before you have to go and do this. It's not going to be easy, Nicole. Do you understand that?</dialogue> <scene_description>NICOLE nods .</scene_description> <character>SAM</character> <dialogue>When do they award damages?</dialogue> <character>MITCHELL</character> <dialogue>Depends. This could drag on for quite a while. But we'll be there at the end, Sam. Do n't you worry.</dialogue> <character>NICOLE</character> <parenthetical>( voice over . )</parenthetical> <dialogue>At that moment, I hated my parents - Daddy for what he knew and had done,</dialogue> <character>NICOLE</character> <dialogue>and even Mom for what she did n't know and had n't done. You told me it was n't going to be easy. But as I sat there, staring at Daddy, I knew it was going to be the easiest thing in my life.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. BIDE-A-WILE MOTEL -- MORNING</stage_direction> <scene_description>REPLAY of the scene of SEAN WALKER entering the bus . He turns around to face his mother .</scene_description> <character>SEAN</character> <dialogue>I want to stay with you.</dialogue> <character>RISA</character> <dialogue>Go on now. Go on.</dialogue> <scene_description>SEAN hesitantly turns to face the inside of the bus . He sees NICOLE BURNELL , who pats the seat beside her . MASON leaves his place beside NICOLE to make way for SEAN .</scene_description> <character>NICOLE</character> <dialogue>C'mon, Sean, sit next to me.</dialogue> <scene_description>ANGLE ON DOLORES as she watches SEAN move towards NICOLE . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. COMMUNITY CENTRE. -- DAY</stage_direction> <scene_description>DOLORES gives her deposition . A stenographer takes notes . MITCHELL listens , along with SCHWARTZ , the opposing lawyer .</scene_description> <character>DOLORES</character> <dialogue>He never took his eyes off his mother, even as he moved to sit beside Nicole. He looked frightened.</dialogue> <character>MITCHELL</character> <dialogue>Why would he be frightened?</dialogue> <character>DOLORES</character> <dialogue>I do n't know. But it was weird in terms of what happened next. Sean was still watching his mother.</dialogue> <character>DOLORES</character> <dialogue>I shut the door with one hand, and released the brake with the other, and waited for a second for Risa to cross in front of the bus. There was a sixteen wheeler behind me, and I heard his air brakes hiss as the driver chunked into gear. I looked into the side view mirror, and saw him move into line behind me. Then suddenly Sean shrieked.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL BUS -- MORNING</stage_direction> <scene_description>SEAN leaps to the front of the bus .</scene_description> <character>SEAN</character> <dialogue>Mommy!</dialogue> <character>MITCHELL</character> <parenthetical>( voice over , from the court chamber . )</parenthetical> <dialogue>What happened then?</dialogue> <character>DOLORES</character> <parenthetical>( voice over . )</parenthetical> <dialogue>Sean was all over me, scrambling across my lap to the window. I glimpsed Risa off to my left, leaping out of the way of a red Saab that seemed to have bolted out of nowhere.</dialogue> <scene_description>The scene is horrifying , as SEAN watches his mother just missing a terrible accident with the speeding vehicle .</scene_description> <character>DOLORES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Sean! Sit down! Your Mom's okay! Now sit down!</dialogue> <scene_description>SEAN sits back down beside NICOLE . DOLORES slides open her window , and speaks to RISA .</scene_description> <character>DOLORES</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>You get his number?</dialogue> <scene_description>RISA is stunned .</scene_description> <character>DOLORES</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( voice over . )</parenthetical> <dialogue>She was shaken, standing there with her arms wrapped around herself.</dialogue> <character>DOLORES</character> <dialogue>She shook her head, turned away, and walked slowly back to the office. I drew a couple of breaths and checked Sean, who was seated now but still craning and looking after his mother.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. COMMUNITY CENTRE. -- DAY</stage_direction> <scene_description>The deposition continues .</scene_description> <character>DOLORES</character> <dialogue>I smiled at him, but he only glared back at me, as if I was to blame.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. SCHOOL BUS -- MORNING</stage_direction> <scene_description>AERIAL VIEW of the bus as it makes its way through the mountains . NICOLE 'S voice is heard reading The Pied Piper from the scene with the ANSEL children .</scene_description> <character>NICOLE</character> <parenthetical>( voice over . )</parenthetical> <dialogue>For he led us, he said, to a joyous land, Joining the town and just at hand, Where waters gushed and fruit - trees grew, And flowers put forth a fairer hue, And everything was strange and new.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. SCHOOL BUS -- DAY</stage_direction> <scene_description>A montage showing the faces of the various children in the bus . These images are intercut with DOLORES 'S deposition . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. COMMUNITY CENTRE. -- DAY</stage_direction> <scene_description>The deposition . DOLORES is trying to control her emotions .</scene_description> <character>DOLORES</character> <dialogue>I remember wrenching the steering wheel to the right and slapping my foot against the brake petal. I was n't the driver anymore.</dialogue> <character>DOLORES</character> <dialogue>The bus was like this huge wave about to break over us. Bear Otto, the Lambston kids, the Hamiltons, the Prescotts, the teenaged boys and girls from Bartlett Hill, Sean, Nicole Burnell, Billy Ansel's twins, Jessica and Mason. all the children of my town.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BURNELL HOME -- NIGHT</stage_direction> <scene_description>SAM and JENNY are watching television . Lumberjack log - rolling . NICOLE , in her wheelchair , is reading a book off to one corner . MARY comes into the room .</scene_description> <character>MARY</character> <dialogue>That was Billy Ansel on the phone. He wants to come over to talk to us.</dialogue> <character>SAM</character> <dialogue>Did he say what about?</dialogue> <character>MARY</character> <dialogue>No.</dialogue> <character>SAM</character> <dialogue>Was he drinking? Could you tell?</dialogue> <character>MARY</character> <dialogue>Jenny, it's time for you to go to bed.</dialogue> <character>JENNY</character> <dialogue>Mom.</dialogue> <character>SAM</character> <dialogue>Come on, Jen. I let you watch your nature show.</dialogue> <scene_description>JENNY reluctantly kisses her father goodnight , then NICOLE . As she leaves the room , MARY starts clearing the table .</scene_description> <character>SAM</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Is he coming over now? Right away?</dialogue> <character>MARY</character> <dialogue>That's what he said.</dialogue> <scene_description>SAM is anxious . He looks over to NICOLE .</scene_description> <character>SAM</character> <dialogue>What are you up to, Nicole?</dialogue> <character>NICOLE</character> <dialogue>Nothing.</dialogue> <character>SAM</character> <dialogue>Nothing good on your T.V?</dialogue> <character>NICOLE</character> <dialogue>As opposed to this T.V?</dialogue> <scene_description>NICOLE stares at SAM .</scene_description> <character>NICOLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Besides, I'd like to see Billy.</dialogue> <scene_description>NICOLE stares at the television . ANGLE ON On the television screen , an image of a studio audience applauding . The image is silent . The T.V. is on MUTE .</scene_description> <character>NICOLE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( voice over . )</parenthetical> <dialogue>That was n't true. I did n't want to be seen by anyone whose kids had been killed by the accident. Especially not Billy Ansel.</dialogue> <scene_description>NICOLE turns her attention back to her parents .</scene_description> <character>NICOLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>Actually, now that I think about it, I'd just as soon stay in my room.</dialogue> <scene_description>NICOLE shoves her wheelchair towards her room , as the camera remains on her face .</scene_description> <character>NICOLE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( voice over . )</parenthetical> <dialogue>I remembered all the times I had tucked Jessica and Mason into bed. How they loved to have me read to them before they slept. There was nothing for me to say to Billy, except I'm sorry. I'm sorry that your children died when my parent's children did n't.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. BURNELL HOME -- NIGHT</stage_direction> <scene_description>BILLY pulls up to the BURNELL home . He gets out of his pick up and approaches the house . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BURNELL HOME -- NIGHT</stage_direction> <scene_description>From her room , NICOLE watches as BILLY approaches the house . He leaves her view as a knock is heard at the door . NICOLE wheels over to the door and presses her ear to the door so that she can hear the conversation . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BURNELL HOME. KITCHEN. -- NIGHT</stage_direction> <character>SAM</character> <dialogue>Hey, Billy! What brings you out on a night like this? C'mon in. Take a load off.</dialogue> <character>MARY</character> <dialogue>Would you like a cup of tea, Billy? There's a piece of cake left.</dialogue> <character>BILLY</character> <dialogue>No. No, thanks, Mary.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BURNELL HOME. KITCHEN/LIVINGROOM -- NIGHT</stage_direction> <scene_description>SAM leads BILLY into the livingroom .</scene_description> <character>SAM</character> <dialogue>So what brings you out tonight?</dialogue> <character>BILLY</character> <dialogue>Well, Sam, I might as well tell you the truth. It's this lawsuit you've gotten yourself all involved with. I want you to drop the damned thing.</dialogue> <scene_description>Pause .</scene_description> <character>SAM</character> <dialogue>I do n't see how that concerns you, Billy.</dialogue> <character>BILLY</character> <dialogue>It does concern me.</dialogue> <character>SAM</character> <dialogue>Well, I do n't know why it should. There's a whole lot of people in town involved with lawsuits. We're hardly unique here, Billy. I mean, I can understand how you feel.</dialogue> <character>BILLY</character> <dialogue>How?</dialogue> <character>SAM</character> <dialogue>Well, it being so depressing and all. But it's reality. You ca n't just turn this off because you happen to think it's a bad idea.</dialogue> <character>BILLY</character> <dialogue>Why not?</dialogue> <character>SAM</character> <dialogue>Because it's what we have to do.</dialogue> <character>BILLY</character> <dialogue>Well I do n't want a damned thing to do with it.</dialogue> <character>SAM</character> <dialogue>Okay, fine. So. stay out of it.</dialogue> <scene_description>Pause . BILLY stares at SAM . Tension .</scene_description> <character>BILLY</character> <dialogue>I've tried to stay out of it. But it turns out that's not so easy, Sam. You've gone and got yourself this lawyer. Mitchell Stephens. You and Risa and Wendell and the Ottos.</dialogue> <character>SAM</character> <dialogue>So? I mean, lot's of folks have got lawyers.</dialogue> <character>BILLY</character> <dialogue>But yours is the one who's going to subpoena me, Sam. Force me to testify in court. He came by the garage this afternoon. Gave me this piece of paper.</dialogue> <scene_description>BILLY reaches into his pocket and shows the paper to SAM .</scene_description> <character>MARY</character> <dialogue>Why would he do that? You did n't have anything to do with the accident.</dialogue> <character>BILLY</character> <dialogue>Because I was driving behind the bus, Mary. Because I saw it. I saw it happen.</dialogue> <scene_description>BILLY is harrowed by this image . SAM and MARY stare at him , frightened by his intensity .</scene_description> <character>BILLY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>If that bastard does subpoena me, if he forces me to go over this again, then all those other lawyers will line up behind him and try and do the same thing.</dialogue> <character>SAM</character> <dialogue>That wo n't happen, Billy. Mitch Stephens' case is small, compared to some of those other guys. The way he told me, all he needs is for you to say what you saw that day, driving behind the bus. I know it's a painful thing to do, but it'll only take a few minutes of your time. That'll be the end of it.</dialogue> <character>BILLY</character> <dialogue>That's wrong, Sam. You know that. We'll be tangled up in this thing for the next five years. This is never going to go away.</dialogue> <character>SAM</character> <dialogue>C'mon, you know that wo n't.</dialogue> <character>BILLY</character> <dialogue>We've got lawyers suing lawyers because some people were stupid enough to sign on with more than one of the bastards. We've got people pointing fingers, making side deals, and dickering over percentages. Yesterday, I heard somebody wants to sue the rescue squad. The rescue squad. Because they did n't act fast enough.</dialogue> <scene_description>ANGLE ON NICOLE listening from her door .</scene_description> <character>BILLY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>If you two dropped the case, then the others would come to their senses</dialogue> <character>BILLY</character> <dialogue>and follow. You're good sensible parents, you and Mary. People respect you.</dialogue> <scene_description>Pause .</scene_description> <character>SAM</character> <dialogue>No, Billy. We ca n't drop the lawsuit. You know how much we need the money.</dialogue> <character>BILLY</character> <dialogue>Why? You got money from Dolores' insurance with the school board. We all did.</dialogue> <character>SAM</character> <dialogue>It's not enough. For hospital bills. For Nicole.</dialogue> <character>BILLY</character> <dialogue>I'll help pay for Nicole, if that's what you're really talking about. I'll even give you the money I got for my kids.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>That's what we used to do, remember? Help each other. This was a community.</dialogue> <character>SAM</character> <dialogue>I'm sorry.</dialogue> <scene_description>BILLY stares at SAM .</scene_description> <character>BILLY</character> <dialogue>I used to like it here. I used to care about what happened. Now I think I'll sell my house and move the fuck away.</dialogue> <character>MARY</character> <dialogue>Billy, please. The children.</dialogue> <character>BILLY</character> <dialogue>The children.</dialogue> <scene_description>BILLY looks at SAM and MARY , s strange smile on his face . He moves to leave . He pauses at the door of the kitchen .</scene_description> <character>BILLY</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>How is Nicole? Is she around?</dialogue> <character>MARY</character> <dialogue>She's resting. In her room.</dialogue> <character>BILLY</character> <dialogue>Say hello for me.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. BURNELL HOME -- NIGHT</stage_direction> <scene_description>BILLY walks to his car . SAM and MARY watch him from the porch/ramp .</scene_description> <character>SAM</character> <parenthetical>( calling out . )</parenthetical> <dialogue>We're getting on with our lives, Billy. Maybe it's time you got on with yours.</dialogue> <scene_description>BILLY turns around , looks at SAM one final time , then moves to his pick up . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BURNELL HOME -- NIGHT</stage_direction> <scene_description>NICOLE is watching BILLY from her window . She is crying . ANGLE ON NICOLE 'S P.O.V. of BILLY driving away . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BURNELL HOME. NICOLE'S BEDROOM. -- NIGHT</stage_direction> <scene_description>NICOLE is lying in her bed . A knock at the door . SAM enters the dark bedroom and sits on the bed beside her .</scene_description> <character>SAM</character> <dialogue>Are you sleeping?</dialogue> <character>NICOLE</character> <dialogue>No.</dialogue> <character>SAM</character> <dialogue>Nicole, tomorrow Mr. Stephens wants you to make your deposition at the courthouse. I thought I'd take you over.</dialogue> <character>NICOLE</character> <dialogue>Great.</dialogue> <character>SAM</character> <dialogue>You seem. I do n't know. well, distant, I guess. Hard to talk to.</dialogue> <character>NICOLE</character> <dialogue>We used to talk a lot, did n't we, Daddy. About all the things you were going to do for me.</dialogue> <character>SAM</character> <dialogue>What do you mean?</dialogue> <character>NICOLE</character> <dialogue>I mean I'm a wheelchair girl now. It's hard to pretend I'm a beautiful rock star. Not like you used to tell me. Remember, Daddy? All the people that were going to discover me? Where are they now?</dialogue> <scene_description>SAM turns away from NICOLE .</scene_description> <character>NICOLE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( voice over . )</parenthetical> <dialogue>He could n't look at me. But I looked at him. Right at him. His secret was mine now. We used to share it. But not anymore. Now, I owned it completely.</dialogue> <character>SAM</character> <dialogue>Well, okay. I'll take you about nine - thirty in the morning. That's okay with you?</dialogue> <character>NICOLE</character> <dialogue>Great.</dialogue> <scene_description>Silence . SAM gets up to leave the room .</scene_description> <character>NICOLE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( voice over . )</parenthetical> <dialogue>Before, everything had been so confusing. I never knew who was to blame. But now I know. He's just a thief, a sneaky thief who had robbed his daughter. Robbed me of. whatever it was that my sister still had and I did n't. And then the accident robbed me of my body.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. CAR -- DAY</stage_direction> <scene_description>SAM and NICOLE are driving to town . They do n't exchange a word . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. COMMUNITY CENTRE. -- DAY</stage_direction> <scene_description>SAM is carrying NICOLE up the stairs of the community centre . There is no ramp , so the wheelchair is left at the bottom . He is having difficulty , because NICOLE is keeping her body stiff and wo n't hold on to him . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. COMMUNITY CENTRE. -- DAY</stage_direction> <scene_description>NICOLE is wheeled across the floor of the community centre to a table where the depositions are being made . MITCHELL , SCHWARTZ , and the STENOGRAPHER are waiting for her .</scene_description> <character>NICOLE</character> <parenthetical>( voice over . )</parenthetical> <dialogue>The last time I was in the community hall was for the big Christmas party almost a year ago. It had n't changed.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. COMMUNITY CENTRE. -- DAY</stage_direction> <scene_description>The deposition . SAM watches his daughter as she speaks confidently into the microphone . The STENOGRAPHER takes notes . NICOLE is answering questions from the opposing lawyer . MITCHELL is also taking notes .</scene_description> <character>SCHWARTZ</character> <dialogue>Now on that morning, did there come a time, Nicole, when you left your parents' house?</dialogue> <character>NICOLE</character> <dialogue>Yes.</dialogue> <character>SCHWARTZ</character> <dialogue>What time in the morning was this?</dialogue> <character>NICOLE</character> <dialogue>About eight - thirty in the morning.</dialogue> <character>SCHWARTZ</character> <dialogue>Was anyone waiting for the bus with you?</dialogue> <character>NICOLE</character> <dialogue>No. I was alone. My sister Jenny was sick and stayed home that day.</dialogue> <character>SCHWARTZ</character> <dialogue>Was there anything unusual about the driver, Dolores Driscoll, or the bus that particular morning?</dialogue> <character>NICOLE</character> <dialogue>Like what? I mean, I do n't remember a lot.</dialogue> <scene_description>ANGLE ON MITCHELL</scene_description> <character>MITCHELL</character> <dialogue>I object to the form of that question. Note that.</dialogue> <character>SCHWARTZ</character> <dialogue>Was the bus on time?</dialogue> <character>NICOLE</character> <dialogue>Yes.</dialogue> <character>SCHWARTZ</character> <dialogue>And where did you sit that morning?</dialogue> <character>NICOLE</character> <dialogue>My usual place. On the right side. The first seat.</dialogue> <character>SCHWARTZ</character> <dialogue>And according to your recollection, there was nothing unusual about the drive that morning?</dialogue> <character>NICOLE</character> <dialogue>Until the accident? No.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Yes, there was.</dialogue> <scene_description>ANGLE ON MITCHELL Worried about this new information .</scene_description> <character>NICOLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>It was when Sean Walker got on. He was crying and did n't want to leave his mother. Mason Ansel was sitting beside me. I asked him to move, so I could quiet Sean down. When the bus started up, a car came around the corner and almost hit Sean's mother. She was okay, but it really scared Sean, because he watched it out the window.</dialogue> <character>SCHWARTZ</character> <dialogue>And was this incident caused in any way by anything the driver of the bus did?</dialogue> <scene_description>Pause . MITCHELL is nervous .</scene_description> <character>NICOLE</character> <dialogue>No, she had n't even started to move the bus. It was the car's fault.</dialogue> <scene_description>MITCHELL is relieved .</scene_description> <character>SCHWARTZ</character> <dialogue>There was nothing reckless in Mrs. Driscoll's behavior?</dialogue> <character>MITCHELL</character> <dialogue>I object to that form of question. Note that.</dialogue> <character>NICOLE</character> <parenthetical>( answering the question . )</parenthetical> <dialogue>No.</dialogue> <character>SCHWARTZ</character> <dialogue>Did there come a time when all the children had been picked up?</dialogue> <character>NICOLE</character> <dialogue>Yes.</dialogue> <character>SCHWARTZ</character> <dialogue>You remember that much?</dialogue> <character>NICOLE</character> <dialogue>As I'm talking, I'm remembering more about it.</dialogue> <scene_description>MITCHELL is worried .</scene_description> <character>MITCHELL</character> <dialogue>Note my objection. She said, ` As I'm talking.'</dialogue> <character>SCHWARTZ</character> <dialogue>Did there come a time when the bus turned off Staples Mill Road onto the Marlowe Road at what's called Wilmot Springs?</dialogue> <character>NICOLE</character> <dialogue>Yes.</dialogue> <character>NICOLE</character> <dialogue>There was a brown dog that ran across the road up there, right by the dump, and Dolores slowed down not to hit him, and he ran into the woods. And then Dolores drove on and turned onto the Marlowe road, as usual. I remember that. I'm remembering it pretty clearly.</dialogue> <character>SCHWARTZ</character> <parenthetical>( eyebrows raised . )</parenthetical> <dialogue>You are?</dialogue> <character>NICOLE</character> <dialogue>Yes.</dialogue> <character>MITCHELL</character> <parenthetical>( worried . )</parenthetical> <dialogue>Note that she said ` pretty clearly'. Not ` clearly'.</dialogue> <character>SCHWARTZ</character> <dialogue>And what was the weather like at this time?</dialogue> <character>NICOLE</character> <dialogue>It was snowing.</dialogue> <character>MITCHELL</character> <dialogue>Unless the report from the National Weather Bureau for the district on January 23 goes into the record, I will object to that question.</dialogue> <character>SCHWARTZ</character> <dialogue>I will offer that report. Well, then, now that your memory seems to be clearing, can you tell us what else you observed at that time?</dialogue> <character>NICOLE</character> <dialogue>Before the actual accident?</dialogue> <character>SCHWARTZ</character> <dialogue>Yes.</dialogue> <scene_description>NICOLE stares at her father as she responds .</scene_description> <character>NICOLE</character> <dialogue>I was scared.</dialogue> <character>SCHWARTZ</character> <dialogue>Why were you scared?</dialogue> <character>SCHWARTZ</character> <dialogue>This is before the accident, Nicole. Do you understand what I'm asking?</dialogue> <character>NICOLE</character> <dialogue>Yes, I understand.</dialogue> <character>SCHWARTZ</character> <dialogue>Why were you scared?</dialogue> <character>NICOLE</character> <dialogue>Dolores was driving too fast.</dialogue> <scene_description>Silence . MITCHELL is watching his entire case crumble .</scene_description> <character>SCHWARTZ</character> <dialogue>Mrs. Driscoll was driving too fast? What made you think that, Nicole?</dialogue> <character>NICOLE</character> <dialogue>The speedometer. And it was downhill there.</dialogue> <character>SCHWARTZ</character> <dialogue>You could see the speedometer?</dialogue> <character>NICOLE</character> <dialogue>Yes. I looked. I remember clearly now. It seemed we were going too fast down the hill. I was scared.</dialogue> <scene_description>NICOLE looks at MITCHELL , who stares back .</scene_description> <character>SCHWARTZ</character> <dialogue>How fast would you say Mrs. Driscoll was going? To the best of your recollection?</dialogue> <character>NICOLE</character> <dialogue>Seventy - two miles an hour.</dialogue> <character>SCHWARTZ</character> <dialogue>Seventy - two miles an hour? You're sure of this?</dialogue> <character>NICOLE</character> <dialogue>Positive.</dialogue> <character>SCHWARTZ</character> <dialogue>You believe that the bus driven by Mrs. Driscoll was going at seventy - two miles an hour at this time?</dialogue> <character>NICOLE</character> <dialogue>I told you I was positive. The speedometer was large and easy to see from where I was.</dialogue> <scene_description>ANGLE ON The speedometer from NICOLE 'S P.O.V. . It reads fifty - one miles an hour .</scene_description> <character>SCHWARTZ</character> <parenthetical>( voice over . )</parenthetical> <dialogue>You saw the speedometer?</dialogue> <character>NICOLE</character> <dialogue>Yes.</dialogue> <character>SCHWARTZ</character> <dialogue>Did you say anything to Mrs. Driscoll?</dialogue> <character>NICOLE</character> <dialogue>No.</dialogue> <character>SCHWARTZ</character> <dialogue>Why not?</dialogue> <character>NICOLE</character> <dialogue>I was scared. And there was n't time.</dialogue> <character>SCHWARTZ</character> <dialogue>There was n't time?</dialogue> <character>NICOLE</character> <dialogue>No. Because the bus went off the road. And crashed.</dialogue> <character>SCHWARTZ</character> <dialogue>You remember this?</dialogue> <character>NICOLE</character> <dialogue>Yes. I do now. Now that I'm telling it.</dialogue> <character>MITCHELL</character> <parenthetical>( defeated . )</parenthetical> <dialogue>She said, ` Now that I'm telling it'. Note that.</dialogue> <character>SCHWARTZ</character> <dialogue>What do you remember about the accident?</dialogue> <character>NICOLE</character> <dialogue>I remember the bus swerved, it just suddenly swerved to the right, and it hit the guardrail and the snowbank on the side of the road, and then it went over the embankment there, and everyone was screaming and everything. And that's all. I guess I was unconscious after that. That's all. Then I was in the hospital.</dialogue> <scene_description>SCHWARTZ smiles and makes some notes in his pad . He talks to MITCHELL without looking up .</scene_description> <character>SCHWARTZ</character> <dialogue>Do you have any questions, Mr. Stephens?</dialogue> <scene_description>MITCHELL stares silently at NICOLE for a long time .</scene_description> <character>NICOLE</character> <parenthetical>( voice over . )</parenthetical> <dialogue>Daddy was leaning forward in his chair, his mouth half open, as if he wanted to say something. Like what, Daddy? Like ` What about my money?'</dialogue> <scene_description>NICOLE and SAM stare at each other .</scene_description> <character>MITCHELL</character> <dialogue>I have no questions.</dialogue> <character>SCHWARTZ</character> <dialogue>Thank you, Nicole.</dialogue> <scene_description>NICOLE wheels herself away . She passes MITCHELL .</scene_description> <character>MITCHELL</character> <parenthetical>( in a low voice . )</parenthetical> <dialogue>You'd make a great poker player, kid.</dialogue> <scene_description>NICOLE wheels herself over to her father .</scene_description> <character>NICOLE</character> <dialogue>Let's go, Daddy.</dialogue> </scene> <scene> <stage_direction>EXT. COMMUNITY CENTRE -- DAY</stage_direction> <scene_description>NICOLE is in the car in front of the community centre . She stares at SAM as he argues with MITCHELL on the steps .</scene_description> <character>NICOLE</character> <parenthetical>( voice over . )</parenthetical> <dialogue>Daddy took a long time. I guess he wanted to have a few words with you. He must have tried to tell you that I was lying. Then you would tell Daddy that it did n't matter if I was lying or not, the lawsuit is dead.</dialogue> <scene_description>As NICOLE 'S words are heard , her point of view of SAM and MITCHELL arguing is seen . The movement of their lips is in sync with NICOLE 'S voice over .</scene_description> <character>NICOLE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( voice over . )</parenthetical> <dialogue>Everyone's lawsuit is dead. Forget it. Tell the others to forget it. It's over. Right now, Sam, the thing you've got to worry about is why she lied. A kid who'd do that to her own father is not normal, Sam.</dialogue> <scene_description>SAM comes down the stairs and enters the car , sitting down at the driver 's seat . NICOLE stares at him as he starts the car .</scene_description> <character>NICOLE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( voice over . )</parenthetical> <dialogue>But Daddy knows who lied. He knows who the liar is. He knows who's normal.</dialogue> <scene_description>SAM stares ahead , not knowing what to do next .</scene_description> <character>NICOLE</character> <parenthetical>( CONT 'D . )</parenthetical> <parenthetical>( speaking to SAM . )</parenthetical> <dialogue>I hope he lets us keep the computer.</dialogue> <scene_description>SAM turns to look at NICOLE .</scene_description> <character>NICOLE</character> <parenthetical>( CONT 'D . )</parenthetical> <dialogue>I'd like an ice cream.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. AIRPORT. -- MORNING</stage_direction> <scene_description>MITCHELL is at the baggage section of the arrival area , waiting for his luggage . He watches PETER , the man he met in the washroom changing his daughter , playing with the little girl . PETER is full of love as he swings the little girl into the air as she laughs . MITCHELL is caught in a daydream , smiling at the happy image of father and daughter . ALISON approaches him .</scene_description> <character>ALISON</character> <dialogue>Well, it was nice meeting you again, Mr. Stephens.</dialogue> <character>MITCHELL</character> <dialogue>Mitchell. It was nice to see you again, Ally.</dialogue> <character>ALISON</character> <dialogue>Alison.</dialogue> <character>MITCHELL</character> <dialogue>Alison.</dialogue> <character>ALISON</character> <dialogue>Say hi to Zoe.</dialogue> <character>MITCHELL</character> <dialogue>I will.</dialogue> <character>ALISON</character> <dialogue>I hope she gets better.</dialogue> <character>MITCHELL</character> <dialogue>I'll tell her that.</dialogue> <scene_description>ALISON shakes MITCHELL 'S hand , and leaves . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. FAIRGROUND -- DAY</stage_direction> <scene_description>SAM wheels NICOLE along a path away from the same concession stand that was seen at the beginning of the film . NICOLE is licking an ice - cream cone . Around them , people are setting up the bandstand .</scene_description> <character>NICOLE</character> <dialogue>Daddy, can we come to the fair?</dialogue> <character>SAM</character> <dialogue>Yes.</dialogue> <character>NICOLE</character> <dialogue>How about Sunday night? That's always the best time.</dialogue> <character>SAM</character> <dialogue>Okay.</dialogue> <scene_description>NICOLE looks at a team of men constructing a ride . A school bus pulls up , and a group of children spill out . NICOLE watches as the driver tries to form them into a group .</scene_description> <character>NICOLE</character> <dialogue>What's going to happen to Dolores?</dialogue> <character>SAM</character> <dialogue>I do n't know.</dialogue> <character>NICOLE</character> <dialogue>Will the police do anything to her?</dialogue> <character>SAM</character> <dialogue>It's too late for that. She ca n't drive the bus anymore. The school board saw to that right off.</dialogue> <character>NICOLE</character> <dialogue>She'll move away.</dialogue> <character>SAM</character> <dialogue>There's talk of that.</dialogue> <character>NICOLE</character> <dialogue>Someplace where no one knows her.</dialogue> <parenthetical>( beat . )</parenthetical> <dialogue>Someplace strange and new.</dialogue> <scene_description>SAM is frozen . NICOLE smiles to herself . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. AIRPORT. -- MORNING</stage_direction> <scene_description>At the airport , in the arrivals bay , MITCHELL waits for his limousine . Across the road , a hotel minibus is parked . The driver is DOLORES . The camera settles on her face as she stares at MITCHELL . MITCHELL catches her gaze , and the two stare at each other .</scene_description> <character>NICOLE</character> <parenthetical>( voice over . )</parenthetical> <dialogue>As you see each other, almost two years later, I wonder if you realize something.</dialogue> <scene_description>MITCHELL 'S limo arrives . He gets inside . CUT TO</scene_description> </scene> <scene> <stage_direction>INT. LIMOUSINE -- MORNING</stage_direction> <scene_description>CLOSE - UP of MITCHELL as he stares ahead , lost in thought .</scene_description> <character>NICOLE</character> <parenthetical>( voice over . )</parenthetical> <dialogue>I wonder if you realize that all of us - Dolores, me, the children who survived, the children who did n't - that we're all citizens of a different town now.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. GAS STATION -- DAY</stage_direction> <scene_description>BILLY watches as a crane lifts the demolished schoolbus onto a flatbed truck .</scene_description> <character>NICOLE</character> <parenthetical>( voice over . )</parenthetical> <dialogue>A town of people living in the sweet hereafter.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. CAR -- AFTERNOON</stage_direction> <scene_description>NICOLE and SAM driving home from the fairground .</scene_description> <character>NICOLE</character> <parenthetical>( voice over . )</parenthetical> <dialogue>Whether others defend us, protect us, love us or hate us - they do it to meet their own needs, not ours.</dialogue> <scene_description>The camera leaves the car to look up at the sky . CUT TO</scene_description> </scene> <scene> <stage_direction>EXT. FAIRGROUND -- DUSK</stage_direction> <scene_description>Sunday night at the fairground . NICOLE is staring at the ferris wheel . In her imagination , the swinging cars of the slowly turning wheel are full of children . The laughter and noise is haunting . NICOLE smiles as she stares at this private apparition .</scene_description> <character>NICOLE</character> <parenthetical>( voice over . )</parenthetical> <dialogue>This is what I learned. This is what I found out.</dialogue> <scene_description>CUT TO</scene_description> </scene> <scene> <stage_direction>INT. BILLY'S HOUSE. JESSICA AND MASON'S BEDROOM. -- NIGHT</stage_direction> <scene_description>NICOLE has just finished reading a story to JESSICA and MASON . The children are asleep . NICOLE puts the book down , and kisses the two sleeping children on the cheek . NICOLE gets up to leave the bedroom , leaving the door slightly open . Light spills in from the hallway . The End</scene_description> </scene> </script>

In the small town of Sam Dent, British Columbia, a school bus hits a patch of ice, runs through a barrier and crashes into a lake, killing 14 children. The grieving parents are approached by an out-of-town lawyer, Mitchell Stephens, who is haunted by his dysfunctional relationship with his drug-addicted daughter. Stephens persuades the reluctant parents and bus driver Dolores Driscoll to file a class action lawsuit against the town and bus company for damages, arguing that the accident is a result of negligence in constructing the barrier or the bus. The case depends on coaching the few surviving witnesses to say the right things in court, particularly Nicole Burnell, a 15-year-old paralyzed from the waist down as a result of the accident. Before the accident, Nicole was an aspiring songwriter and was being sexually abused by her father, Sam. One bereaved parent, Billy Ansel, distrusts Stephens and pressures Sam to drop the case; Nicole overhears their argument. In the pretrial deposition, Nicole unexpectedly accuses the bus driver Driscoll of speeding, halting the lawsuit given Driscoll's lack of deep pockets. Stephens and Nicole's father know she is lying but can do nothing. Two years later, Stephens sees Driscoll working as a bus driver in a city.